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DESpecs 2.0 Autumn 2009
| author | Klaus Thoden <kthoden@mpiwg-berlin.mpg.de> |
|---|---|
| date | Thu, 02 May 2013 11:14:40 +0200 |
| parents | 22d6a63640c6 |
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<?xml version="1.0" encoding="UTF-8"?> <!DOCTYPE archimedes SYSTEM "../dtd/archimedes.dtd"> <archimedes xmlns:xlink="http://www.w3.org/1999/xlink"> <info> <author>Vitruvius Pollio</author> <title>I dieci libri dell'architettura</title> <date>1567</date> <place>Venice</place> <translator>Daniele Barbaro</translator> <lang>it</lang> <cvs_file>vitru_archi_045_it_1567.xml</cvs_file> <cvs_version/> <locator>045.xml</locator> </info> <text> <front> </front> <body> <chap> <pb xlink:href="045/01/001.jpg"/><figure id="id.045.01.001.1.jpg" xlink:href="045/01/001/1.jpg"/> <pb xlink:href="045/01/002.jpg"/> <subchap1> <pb id="p.0003" xlink:href="045/01/003.jpg"/> <p type="head"> <s id="s.000001">ALLO ILLVSTRISSIMO,<!-- REMOVE S-->ET REVERENDISSIMO <lb/>CARDINAL DI FERRARA <lb/>D. HIPPOLITO DA ESTE,<!-- REMOVE S--><lb/>DANIEL BARBARO ELETTO <lb/>D'AQVILEGGIA S.<!-- KEEP S--></s> </p> <p type="main"> <s id="s.000002"><emph type="italics"/>TVTTE le belle opere, Illustrißimo, & Re­<lb/>uerendißimo Signore, piu che &longs;ono guarda­<lb/>te, et contemplate da gli huomini, piu &longs;cuo­<lb/>preno la bellezza loro, et l'artificio del mae­<lb/>stro; & bene &longs;pe&longs;&longs;o dal primo a&longs;petto non &longs;i <lb/>proua quel gu&longs;to di e&longs;&longs;e, che ben mirate, & <lb/>con&longs;iderate &longs;i &longs;ente dapoi: Ilche come &longs;iauero, non mi affatiche­<lb/>rò di prouare, perche, & le pitture, & le &longs;colture, & le fabri­<lb/>che de i grand' huomini, & altre co&longs;e che &longs;i uedeno ogni giorno, <lb/>chiar amente lo dimostrano, perche piu che &longs;i guardano, mag­<lb/>giormente di &longs;e inamorano i riguardanti. </s> <s id="s.000003">ilche è &longs;egno manife­<lb/>&longs;to, che in quelle &longs;empre &longs;i &longs;cuopra maggior bellezza. </s> <s id="s.000004">Que&longs;to, <lb/>o &longs;imigliante effetto fanno le uere, & precio&longs;e pietre di natura, <lb/>comparate alle fal&longs;e, et uili fatte da gli huomini. </s> <s id="s.000005">imperoche le fal <lb/>&longs;e al primo guardo fanno di&longs;e mo&longs;tra allegrißima, & &longs;plendidi&longs;­<lb/>&longs;ima, et qua&longs;i adulatrici allettano la ui&longs;ta con un fal&longs;o &longs;plendo­<lb/>re; et poi uanno mancando. </s> <s id="s.000006">Male uere naturali, & fine, perche <lb/>&longs;ono fatte dalla uerità della natura, non per ingannare alcuno, <lb/>ma per drizzare gli animi a piu alto uiaggio, piu pre&longs;tano di <lb/>quello, che prometteno. </s> <s id="s.000007">la doue i po&longs;&longs;editori di quelle, &longs;coprendoci<emph.end type="italics"/><pb xlink:href="045/01/004.jpg"/><emph type="italics"/>ogni giorno piu uaghezza, & piu uerità, piu le apprezza­<lb/>no, &' piu le ammirano. </s> <s id="s.000008">Il &longs;imile adiuiene a i lettori delle <lb/>co&longs;e de gli huomini eccellenti, i quali beendo con di&longs;iderio i <lb/>precetti delle arti, et continuando con lo studio, & e&longs;&longs;erci­<lb/>tio nella intelligenza di quelli, ritrouano nel progre&longs;&longs;o, che <lb/>fanno, la uirtù dell' autore piu chiara, & piu ammiranda. </s> <s id="s.000009"><lb/>Come è auuenuto a me nella fatica fatta &longs;opra Uitru­<lb/>uio gia dedicata a Uo&longs;tra Signoria Illu&longs;trißima, & Reueren­<lb/>dißima: imperoche, per quello amore, che ha ognuno di fare le <lb/>&longs;ue fatture ogni giorno migliori, riuedendo, & rileggendo il <lb/>detto autore, & &longs;entendoui piu gu&longs;to della eccellenZa &longs;ua, <lb/>& uedendo ancho, che &longs;otto la protettione della gratia uo­<lb/>&longs;tra egli era &longs;tato abbracciato dal mondo: &longs;pinto dalla &longs;olleci­<lb/>tudine de i librari, ho uoluto rimandarlo in luce tenendo tut­<lb/>tauia raccolto lo &longs;tudio, & l'o&longs;&longs;eruanZa mia nella dignità, & <lb/>chiarezza della per&longs;ona uostra, con quel de&longs;iderio, che &longs;em­<lb/>pre ho hauuto di giouare, quanto porta&longs;&longs;ero le forZe mie ad <lb/>ognuno. </s> <s id="s.000010">& per dare uno illu&longs;tre te&longs;timonio delle magnifiche, <lb/>& eccellenti fabriche, che ella ha fatto, & fa tuttauia in <lb/>diuer&longs;e parti del mondo con merauiglia de gli huomini: del­<lb/>lequali opere io ne haueua uedute alcune prima, che io le de­<lb/>dica&longs;&longs;e il Vitruuio, alcune ho ueduto dapoi, & &longs;ono quelle, che <lb/>con tanta &longs;plendideZZa ella ha fatto in Roma, & a Tioli, nel­<lb/>lequali la natura conuiene confe&longs;&longs;are di e&longs;&longs;ere &longs;tata &longs;uperata <lb/>dall' arte, & dalla &longs;plendidezza dell' animo &longs;uo. </s> <s id="s.000011">come che in <lb/>uno in&longs;tante &longs;iano nati i giardini, & cre&longs;ciute le &longs;elue, & gli <lb/>alberi pieni di &longs;oauißimi frutti, in u na notte ritrouati, anzi <lb/>delle ualli u&longs;citi i monti, & ne i monti di durißime rocche <lb/>fatto i letti a i fiumi, & aperta la pietra per dar luogo alle ac­<lb/>que, & allagato il&longs;ecco terreno, & irrigato di fonti, et diri-<pb xlink:href="045/01/005.jpg"/>ui correnti, et di pe&longs;chiere rari&longs;sime; dellequali co&longs;e hanno <lb/>fatto honorato giudicio huomini piu intelligenti di me. </s> <s id="s.000012">però <lb/>non anderò piu oltre, la&longs;ciando in ognuno un de&longs;iderio arden­<lb/>ti&longs;simo di uederle. </s> <s id="s.000013">et contentandomi della &longs;ua buona gratia, <lb/>allaquale humilmente mi riccomando. </s> <s id="s.000014">Di Uinetia del <lb/>M D LXVII.<emph.end type="italics"/><!-- KEEP S--></s> </p> </subchap1><subchap1> <pb xlink:href="045/01/006.jpg"/> <p type="head"> <s id="s.000015">FRANCESCO DE FRANCESCHI SANESE</s> </p> <p type="head"> <s id="s.000016">A I LETTORI.<!-- KEEP S--></s> </p> <p type="main"> <s id="s.000017">VOLENDO io ri&longs;tampare il Vitruuio con il <lb/>commento del Reuerendi&longs;simo Mon&longs;ignor <lb/>Daniel Barbaro Eletto d'Aquileggia, &longs;pe&longs;&longs;e <lb/>fiate &longs;ono &longs;tato in pen&longs;iero di non offendere <lb/>l'animo &longs;uo &longs;apendo, che &longs;ua Signoria Reue­<lb/>rendi&longs;sima era occupata in altri &longs;tudi, conue­<lb/>nienti al grado, che tiene; però io &longs;ono &longs;tato <lb/>molto tempo a dar principio a quello, che io di&longs;ideraua grande­<lb/>mente. </s> <s id="s.000018">Hora che fidandomi nella humanità &longs;ua, & imaginandomi, <lb/>che gli huomini &longs;tudio&longs;i &longs;empre riuedeno le co&longs;e loro, & cercano <lb/>di ampliarle, & ornarle, ho pre&longs;o ardire di &longs;cuoprirle il mio di&longs;ide­<lb/>rio: nè mi &longs;ono ingannato della bontà &longs;ua, perche hauendo&longs;i corte­<lb/>&longs;emente contentato che io lo ri&longs;tampa&longs;si, mi di&longs;&longs;e, che haueua anco <lb/>apparecchiato il latino, che egli fece gia in&longs;ieme col uolgare: & che <lb/>gli haueua aggiunto molte co&longs;e, & molte figure che non &longs;ono nel <lb/>primo: & che mi donarebbe anche il Latino: la doue hauendo io <lb/>hauuto piu di quello, che hauerei &longs;aputo dimandare, ho uoluto Be­<lb/>nigni Lettori ad utilità commune, mandar in luce l'uno & l'altro <lb/>Vitruuio, & u&longs;are ogni diligenza, per rifarli in forma commoda, & <lb/>& con figure accuratamente & diligentemente intagliate dal mio <lb/>honorato compare & compagno in que&longs;ta impre&longs;a, M. </s> <s id="s.000019">Giouanni <lb/>Chrieger Alemano, & accommodate a que&longs;ta nuoua forma, accio­<lb/>che ognuno po&longs;&longs;a godere il frutto delle dotte fatiche del &longs;opradet­<lb/>to mio Signore. <!-- KEEP S--></s> <s id="s.000020">Ilquale uolto col pen&longs;iero a tutte le belle arti, uà <lb/>&longs;empre ritrouando modi di giouare al mondo, & &longs;i affatica di inten­<lb/>dere da ognuno le belle co&longs;e, che &longs;ono nelle arti piu nobili, facendo <lb/>ingenua profe&longs;sione di e&longs;&longs;ere obligato a chi gli &longs;cuopre qualche <lb/>bella inuentione. </s> <s id="s.000021">& però hauendo ueduto, che nello Analemma di <lb/>Vitruuio lo eccellente me&longs;&longs;er Federico Commandino &longs;i ha porta­<lb/>to egregiamente interpretando lo Analemma di Tolomeo, che è <lb/>lo i&longs;te&longs;&longs;o con lo Analemma di Vitruuio, & che il punto è po&longs;to in <pb xlink:href="045/01/007.jpg"/>quello, & che gli altri, che hanno &longs;critto de gli horologi, non hanno <lb/>dato nel fondamento loro, giudicando quella e&longs;&longs;er uera, &longs;ola, & i&longs;pe­<lb/>dita uia, che in&longs;egna, dimo&longs;tra, & pratica una delle parti principali <lb/>dell' Architettura, ha uoluto leuare dal nono libro i di&longs;cor&longs;i gia fatti <lb/>&longs;opra gli horologi, & in loro uece riponere que&longs;ti di Tolomeo, & <lb/>del Commandino, aggiugnendoui la facilità, che è propria &longs;ua. </s> <s id="s.000022">però <lb/>i lettori del rinouato Vitruuio gli haueranno que&longs;to obligo di piu, <lb/>come anco deono hauerlo per molte figure aggiunte; & &longs;pecial­<lb/>mente quelle de i Cauedi, che &longs;ono difficili, & quelle de i bagni, & <lb/>della pale&longs;tra belli&longs;sime, che portano gran lume alle co&longs;e di Vitru. <!-- KEEP S--></s> <s id="s.000023"><lb/>Ha &longs;imilmente aggiunti molti di&longs;cor&longs;i, & molte belle pratiche, ecci­<lb/>tando gli &longs;tudio&longs;i della uerità a fare qualche bella co&longs;a, & a ponere <lb/>le &longs;palle &longs;otto a que&longs;ta honorata impre&longs;a, nellaquale molti &longs;i &longs;ono <lb/>inutilmente affaticati, per e&longs;&longs;ere impre&longs;a di per&longs;one letterate, & pra­<lb/>tiche, lequali due conditioni di raro &longs;i ritrouano in un &longs;ogetto, & <lb/>&longs;ono piu che nece&longs;&longs;arie, &longs;e l'huomo uuole hauere, & la co&longs;a, & il no­<lb/>me di Architetto. <!-- KEEP S--></s> <s id="s.000024">& io ho ueduto gli &longs;critti di molti, che fanno pro­<lb/>fe&longs;sione di Architetti, & non &longs;anno fare di&longs;tintione tra la Theorica, <lb/>& la pratica: & in&longs;egnando a tirare le linee &longs;emplicemente, &longs;enza le <lb/>dimo&longs;trationi mathematiche, pen&longs;ano, che quella &longs;ia la Theorica, <lb/>& a que&longs;to modo non hanno nè Theorica, nè pratica; perche la <lb/>Theorica &longs;i riferi&longs;ce alla pratica, & la pratica dipende dalla Theori­<lb/>ca: & in &longs;omma chi non ha le mathematiche, non ha la Theorica. <!-- KEEP S--></s> <s id="s.000025"><lb/>però io de&longs;idererei per utilità di que&longs;ti tali, che &longs;i gloriano d'hauere <lb/>l'Architettura, che &longs;i re&longs;trigne&longs;&longs;ero in &longs;e &longs;te&longs;si, & che &longs;i e&longs;&longs;amina&longs;&longs;e­<lb/>ro bene, & face&longs;&longs;ero a &longs;e &longs;te&longs;si le interrogationi &longs;econdo Vitruuio, <lb/>& dice&longs;&longs;ero. </s> <s id="s.000026">Vitruuio dice, che lo Architetto deue e&longs;&longs;er ornato del­<lb/>la cognitione di molte arti, & di molte &longs;cienze. </s> <s id="s.000027">ben ho io tali orna­<lb/>menti? </s> <s id="s.000028">Vitruuio dice, che lo Architetto deue hauere &longs;econdo il bi­<lb/>&longs;ogno, & con una certa &longs;obrietà, Lettere, Di&longs;egno, Arihmetica, <lb/>Geometria, ragion naturale, & ciuile, A&longs;trologia, Mu&longs;ica, Pro&longs;pet­<lb/>tiua, & altre arti. </s> <s id="s.000029">bene. </s> <s id="s.000030">le cono&longs;co io o tutte, o molte, o niuna di <lb/>quelle? </s> <s id="s.000031">Vitruuio dice, che lo Architetto, è Architetto, per l'Ordi­<lb/>ne, per la Di&longs;po&longs;itione, per la Simmetria, per lo Decoro, per la Di-<pb xlink:href="045/01/008.jpg"/>&longs;tributione, per la gratio &longs;a maniera. </s> <s id="s.000032">bene. </s> <s id="s.000033">ho io l'habito di que&longs;te <lb/>co&longs;e nella mente? </s> <s id="s.000034">& co&longs;i facendo a &longs;e &longs;te&longs;si que&longs;te interrogationi, &longs;e <lb/>non &longs;i uorranno ingannare, &longs;aperanno fare giudicio di &longs;e mede&longs;imi, <lb/>& trouando di hauere quelli ornamenti, che dice Vitruuio, ringra­<lb/>tieranno Iddio, che gli ha donati in&longs;ieme con lo ingegno, & altri be­<lb/>ni, nè per que&longs;to &longs;i anderanno gloriando di e&longs;&longs;ere Architetti, ma &longs;i<lb/>sforzeranno ogni giorno con le opere auanzare &longs;e &longs;te&longs;si: & &longs;e non <lb/>troueranno in &longs;e le co&longs;e, che &longs;i richiedeno all' Architetto, ouero s'af­<lb/>faticheranno per hauerle, ouero &longs;taranno queti, & non &longs;i attribui­<lb/>ranno quello, che ueramente non hanno. </s> <s id="s.000035">però benigni lettori, & uoi <lb/>&longs;tudio&longs;i del nome, & della gloria affaticateui di gettare il fondamen<lb/>to &longs;odo di quella con l'acqui&longs;to delle uirtu, & delle arti, & u&longs;ando <lb/>quella mode&longs;tia, che &longs;i conuiene, non ui attribuite le co&longs;e d'altri, <lb/>non ui arrogate quello, che non hauete, &longs;iate obligati a chi ui in&longs;e­<lb/>gna, u&longs;ate diligenza per imparare, o&longs;&longs;eruate i buoni & pigliate in <lb/>bene, quello che per lo mio poco &longs;apere & buon uolere mi pare di <lb/>ricordarui, e&longs;&longs;endo io &longs;empre apparecchiato a uo&longs;tri commodi &longs;en­<lb/>za alcuno ri&longs;parmio di &longs;pe&longs;a, & di fatica. </s> </p> </subchap1><subchap1> <pb xlink:href="045/01/009.jpg"/> <p type="head"> <s id="s.000036">IL PRIMO LIBRO <lb/>DELL' ARCHITETTVRA<!-- REMOVE S--><lb/>DI M. VITRVVIO.<!-- KEEP S--></s> </p> <p type="main"> <s id="s.000037">AL NOME DI DIO GLORIOSO, io Da­<lb/>niel Barbaro nobile Vinitiano mi &longs;ono po&longs;to <lb/>ad e&longs;ponere, & interpretare i dieci Libri del­<lb/>l'architettura di M. Vitruuio. <!-- KEEP S--></s> <s id="s.000038">Mia intentione <lb/>è &longs;tata con qualche hone&longs;ta fatica di giouare <lb/>a gli &longs;tudio&longs;i delle artificio&longs;e inuentioni, & di <lb/>dare occa&longs;ione ad altri di&longs;criuere piu chiara­<lb/>mente di quelle co&longs;e (come che molte humanamente auuengono) <lb/>mi &longs;aranno dalle mani fuggite. </s> <s id="s.000039">Ecco benigno Lettore, che io non <lb/>di&longs;idero premio &longs;enza fatica, nè con ripo&longs;o cerco arricchirmi de be <lb/>ni altrui: giu&longs;tamente richiedo la tua gratitudine: Huomini nati <lb/>&longs;iamo, & ciò che procede dalla humanità è atto di noi proprio, & <lb/>naturale, che uer&longs;o altrui &longs;i e&longs;&longs;ercita: imperoche ad altri uiuemo, <lb/>& l'un l'altro aiutamo. </s> <s id="s.000040">Solo Iddio nella &longs;ua e&longs;&longs;enza raccolto, bi&longs;o­<lb/>gno non ha di co&longs;a, che non &longs;ia e&longs;&longs;o: ma il tutto è di &longs;ua gratia bi&longs;o­<lb/>gneuole. </s> <s id="s.000041">Godiamci adunque di quella, & &longs;enza inuidia porgen­<lb/>doci mano di pari pa&longs;&longs;o tentiamo di peruenire a quella bella uerità, <lb/>che nelle degne Arti &longs;i troua: accioche con lo &longs;plendore della uirtù, <lb/>& della gloria, &longs;cacciamo le tenebre dello errore, & della morte. </s> </p> <subchap2> <p type="head"> <s id="s.000042">VITA DI M. VITRVVIO.<!-- KEEP S--></s> </p> <p type="main"> <s id="s.000043"><emph type="italics"/>MARCO<emph.end type="italics"/> VITRVVIO <emph type="italics"/>fu al tempo di Giulio Ce&longs;are, ui&longs;&longs;e anche &longs;otto il <lb/>buono Augu&longs;to ne gli anni di Roma &longs;ettecento & uenti &longs;ette. </s> <s id="s.000044">Fu di &longs;tatura me <lb/>diocre, & de beni di fortuna non molto accommodato. </s> <s id="s.000045">Hebbe felice &longs;orte, ri <lb/>&longs;petto al padre, & alla madre: imperoche con diligentia da quelli nodrito, & <lb/>bene ammae&longs;trato &longs;i diede alla cognitione di molte Arti, per lequali peruen­<lb/>ne all' acqui&longs;to dell' Architettura: ui&longs;&longs;e molti anni, operò, & &longs;cri&longs;&longs;e, & uir­<lb/>tuo&longs;amente &longs;i condu&longs;&longs;e a i termini della uita: nè altra memoria di lui &longs;i truoua, che le proprie <lb/>compo&longs;itioni: dalle quali &longs;i ha, quanto fin' hora s'è detto. </s> <s id="s.000046">& prima nella dedicatione dell' opera <lb/>dice.<emph.end type="italics"/></s> <s id="s.000047"> Ma hauendo il concilio de i Dei, quello con&longs;ecrato a i troni della immortalità, & <lb/>transferito nel poter tuo lo imperio del padre: lo i&longs;te&longs;&longs;o mio &longs;tudio nella memoria di lui <pb pagenum="2" xlink:href="045/01/010.jpg"/>re&longs;tando fermo, in te ogni fauore tenne raccolto. </s> <s id="s.000048">Adunque con M.Aurelio, P.Mini­<lb/>dio, & Gn.Cornelio fui &longs;opra l'apparecchio delle Bali&longs;te, & de gli Scorpioni, & alla pro­<lb/>ui&longs;ione de gli altri tormenti. </s> <s id="s.000049">i quali, &longs;ubito che mi concede&longs;ti, molto bene per la rac­<lb/>commandatione di tua &longs;orella ne &longs;erua&longs;ti lo ricono&longs;cimento. </s> <s id="s.000050">Et però e&longs;&longs;endo io per <lb/>quel beneficio tenuto, & obligato, di modo, che io non haueua a temere ne gli ultimi an <lb/>ni della uita mia la poucrtà, io ho cominciato a &longs;criuere que&longs;te co&longs;e. <emph type="italics"/>Nel proemio del &longs;e&longs;to <lb/>libro co&longs;i dice.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.000051">Et però io grandi&longs;sime, & infinite gratie rendo a i miei progenitori, i quali approuan<lb/>do la legge de gli A thenie&longs;i, mi hanno nelle Arti ammae&longs;trato, & in quelle &longs;pecialmen­<lb/>te, che &longs;enza lettere, & &longs;enza quella raccommunanza di tutte le dottrine, che in giro &longs;i uol <lb/>ge, non puo per alcun modo e&longs;&longs;ere commendata.} <emph type="italics"/>Nel proemio del &longs;econdo libro an­<lb/>chora dice.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.000052">Ma a me, o Imperatore, la natura non ha dato la grandezza del corpo: & la ctà mi <lb/>ha deformata la faccia, & la infirmita leuate le forze: la doue e&longs;&longs;endo io da co&longs;i fatti <lb/>pre&longs;idij abbandonato, io &longs;pero per mezzo della &longs;cientia, & de gli &longs;critti in qualche gra­<lb/>do &longs;alire. </s> </p> <p type="main"> <s id="s.000053"><emph type="italics"/>Et altroue dimo&longs;tra non e&longs;&longs;ere &longs;tato ambitio&longs;o, nè arrogante, nè auaro, & di &longs;e mode&longs;tamen­<lb/>te parlando, difende i letterati, riprende i temerarij, ammae&longs;tra gli imperiti, & ammoni&longs;ce con <lb/>amore, & con fede quelli, che uogliono fabricare: &longs;egni certißimi della bontà dell' animo, & <lb/>dell' innocenza della uita. </s> <s id="s.000054">Scri&longs;&longs;e dieci libri d'Architettura (come egli afferma nella fine del­<lb/>l'opera,) & &longs;otto uno a&longs;petto, & in un corpo la ridu&longs;&longs;e, raunando le parti di e&longs;&longs;a a beneficio di tut <lb/>te le genti, come egli dice nel proemio del quarto libro. </s> <s id="s.000055">Il modo, che u&longs;a Vitruuio nello &longs;criuere <lb/>è (come &longs;i conuiene) prima ordinato, dapoi con &longs;implicità di uocaboli, & proprietà di parole. </s> <s id="s.000056"><lb/>del che egline rende la ragione nel proemio del quinto libro: ilquale io di&longs;idero, che letto &longs;ia, <lb/>prima che ad altro &longs;i uegna. </s> <s id="s.000057">Ma noi hauemo altre difficultà: lequali ouero &longs;pauentano i Letto­<lb/>ri di Vitruuio, ouero ritardano gli &longs;tudio&longs;i dell' Architettura: & quelle grandi &longs;ono & potenti. </s> <s id="s.000058"><lb/>Et la prima è il poco &longs;apere di molti, i quali &longs;i uogliono dare a Vitruuio &longs;enza cognitione di let­<lb/>tere. </s> <s id="s.000059">Altri non cono&longs;cono il bi&longs;ogno di &longs;apere, & &longs;ono come Sofi&longs;ti, e V antatori: i difetti de i <lb/>quali dallo Auttore &longs;ono in piu luoghi &longs;coperti. </s> <s id="s.000060">L'altra difficultà è po&longs;ta nel mancamento de gli <lb/>e&longs;&longs;empi, sì delle opere antiche citate da Vitruuio, sì delle figure, che egli ci promette nel fine <lb/>di cia&longs;cuno de i &longs;uoi dieci Libri. </s> <s id="s.000061">Quelle ci in&longs;egnarebbeno molto, & non ci la&longs;ciarebbeno il ca­<lb/>rico di piu pre&longs;to indouinare, che approuare la uerità delle co&longs;e. </s> <s id="s.000062">Ma io non uorrei, che per que&longs;te <lb/>cagioni alcuno sbigottito &longs;i rimoue&longs;&longs;e da &longs;i bella, & lodata impre&longs;a, nella quale molti di genero&longs;o <lb/>animo affaticati &longs;i &longs;ono, & tutt' hora s'affaticano, & s'affaticheranno, &longs;perando, che la fati­<lb/>ca, & la diligentia dell' huomo &longs;in per &longs;uperare ogni humana difficultà. </s> <s id="s.000063">Io per que&longs;ta ragione <lb/>aiutato dal diletto, & dallo &longs;tudio, che riuiue in molti, po&longs;to mi &longs;ono a que&longs;ta impre&longs;a, alla <lb/>quale èhomai tempo di entrare. </s> <s id="s.000064">Per di&longs;ponere adunque gli intelletti, accioche meglio &longs;ia loro <lb/>dimo&longs;trato il &longs;entiero, & il fine, al quale deono peruenire, dirò, che co&longs;a è Arte: onde na&longs;ce: <lb/>come cre&longs;ce: a che peruenga. </s> <s id="s.000065">Di&longs;tinguerò le Arti; Ritrouerò l'Architettura, & le parti di e&longs;&longs;a: <lb/>dichiarando l'ufficio, & il fine dello Architetto.<emph.end type="italics"/><!-- KEEP S--></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.000066"><emph type="italics"/>PROEMIO.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.000067"><emph type="italics"/>Diuer&longs;e &longs;ono le qualità delle co&longs;e, tra lequali una è, che Habito &longs;i dimanda &longs;econdo che <lb/>&longs;i dice. </s> <s id="s.000068">Far buon' habito: e&longs;&longs;er ben habituato: & &longs;imiglianti modi, che dinotano o <lb/>prendere, o po&longs;&longs;edere una qualità, che di là, doue è, di&longs;&longs;icilmente &longs;i po&longs;&longs;a leuare. </s> <s id="s.000069">Sot­<lb/>to il predetto nome, ogni &longs;cientia, ogni arte, ogni uirtu, & ogni uitio &longs;i comprende. </s> <s id="s.000070">Da que­<lb/>&longs;ta cognitione lo intelletto trahe due co&longs;e. </s> <s id="s.000071">L'una è, che egli cono&longs;ce la importanza di apprende-<emph.end type="italics"/><pb pagenum="3" xlink:href="045/01/011.jpg"/><emph type="italics"/>re piu uno habito, che un' altro. </s> <s id="s.000072">L'altra è, che non co&longs;i agecuolmente s'acqui&longs;tano i belli habiti, <lb/>nè di leggieri alcuno merita e&longs;&longs;er con i chiari nomi di quelli chiamato. </s> <s id="s.000073">Il che co&longs;i e&longs;&longs;endo, l'huomo <lb/>auueduto s'affatica, & pratica con le per&longs;one eccellenti, & non &longs;educe &longs;e mede&longs;mo, credendo ue<lb/>ramente di &longs;apere, quello che egli ueramente non &longs;a. </s> <s id="s.000074">Diuidon&longs;i gli habiti in que&longs;to modo, che al­<lb/>tri &longs;ono dello intelletto, altri della uolontà no&longs;tra. </s> <s id="s.000075">Gli habiti dello intelletto &longs;ono ditre manie­<lb/>re. </s> <s id="s.000076">Alcuni non la&longs;ciano lo intelletto piu al uero, che al fal&longs;o piegare, come è la opinione, il &longs;o­<lb/>&longs;petto, la credulità: Altri uolgeno la mente humana dal uero, & di fermo al fal&longs;o la torcono. </s> <s id="s.000077">co <lb/>me &longs;e alcuno da fal&longs;i principij di&longs;po&longs;to, al uero per modo alcuno con&longs;entire non pote&longs;&longs;e: & que­<lb/>&longs;to mal habito &longs;i chiama Ignoranza praua. </s> <s id="s.000078">La terza maniera di habiti è quella, che auuezza <lb/>lo intelletto al uero, di modo, che egli non &longs;i può alla fal&longs;ità, & all' errore per alcuna uia riuol­<lb/>gere; Degna ucramente & precio&longs;a qualità, & conditione di habito, come quella, che lieui la <lb/>in&longs;tabilità dell' oppinione, chiari&longs;ca il &longs;o&longs;petto, & induca la certezza, & la fermezza della ue­<lb/>rità. </s> <s id="s.000079">Ma perche il uero nelle co&longs;e diuer&longs;amente &longs;i truora: però d'intorno al uero nelle co&longs;e mol­<lb/>ti &longs;ono gli habiti dello intelletto. </s> <s id="s.000080">Dico adunque nello intelletto humano e&longs;&longs;er un' habito del ue­<lb/>ro, che di nece&longs;&longs;ità adiuiene, & un' altro habito di quel uero, che non è nece&longs;&longs;ario, detto da <lb/>Filo&longs;ofi Vero contingente. </s> <s id="s.000081">Il Vero nece&longs;&longs;ario è quello, che per uera, & certa ragione &longs;i con <lb/>chiude. </s> <s id="s.000082">& oltra di que&longs;to uero nece&longs;&longs;ario è quello, che per proua de alcuna co&longs;a &longs;i piglia. </s> <s id="s.000083">& fi­<lb/>nalmente uero nece&longs;&longs;ario è quello, che della proua, & della co&longs;a prouata è compo&longs;to. </s> <s id="s.000084">La onde <lb/>dalla predetta diui&longs;ione tre maniere di habiti d'intorno al uero nece&longs;&longs;ario ci &longs;ono manife&longs;te. </s> <s id="s.000085">La <lb/>prima è nominata Scienza, che habito è di conclu&longs;ione per uera & nece&longs;&longs;aria proua acqui&longs;tato. </s> <s id="s.000086"><lb/>La &longs;econda è detta Intelletto, che è habito de i principij, & delle proue, & ritiene il nome della <lb/>potenza dell' anima, nella quale egli &longs;i truoua: la onde è nominato, Intelletto. </s> <s id="s.000087">imperoche allo <lb/>acqui&longs;to di quello non ui concorre altro habito precedente: ma cono&longs;ciuti i termini, cioè &longs;apen­<lb/>do&longs;i la &longs;ignificatione de i nomi: di &longs;ubito lo intelletto &longs;enza altra proua, &longs;olo da diuini raggi il­<lb/>lu&longs;trato del lume naturale cono&longs;ce, & con&longs;ente e&longs;&longs;er uero quello, che gli è propo&longs;to. </s> <s id="s.000088">Però Dan<lb/>te chiama il cono&longs;cimento di que&longs;to uero, prima notitia. </s> <s id="s.000089">& quel uero, primo uero. </s> <s id="s.000090">i Filo&longs;ofi, <lb/>primi concetti, o Dignità, o Ma&longs;&longs;ime &longs;ogliono chiamare. </s> <s id="s.000091">Da que&longs;to habito detto intelletto, han­<lb/>no hauuto uigore, & forza &longs;pecialmente le Mathematice. <!-- KEEP S--></s> <s id="s.000092">perche in quelle &longs;ono que&longs;te notitie <lb/>manife&longs;ti&longs;&longs;ime, & benche picciole &longs;iano di quantità, &longs;ono però di ualore ine&longs;timabile. </s> <s id="s.000093">Per &longs;ape <lb/>re adunque conchiudere molte co&longs;e da i proprij principij, (che altro non è, che hauere &longs;cienza) <lb/>bi&longs;ogna prima acqui&longs;tar&longs;i lo Intelletto: cioè l'habito, che cono&longs;ce i principij. </s> <s id="s.000094">che io in que&longs;to luo <lb/>go chiamerei, Intendimento, per non confondere i uocaboli delle co&longs;e: perche intelletto è nome <lb/>di potenza & di uirtu dell' anima, che intende: & intendimento è operatione, ouero habito di <lb/>quella potenza. </s> <s id="s.000095">La terza maniera è detta Sapienza, che è pronta & i&longs;pedita cognitione delle <lb/>proue alle conchiu&longs;ioni applicate. </s> <s id="s.000096">Et come lo acume della diuina intelligenza penetra per entro <lb/>al mezo di ogni co&longs;a, co&longs;i ad uno ri&longs;uegliamento dello intelletto habituato in molte &longs;cienze, & <lb/>nella cognitione di molti principij &longs;i ritroua il uero: & que&longs;ti &longs;ono gli habiti dello intelletto d'in­<lb/>torno al uero nece&longs;&longs;ario: cioè d'intorno al uero, che non puo e&longs;&longs;ere, che non &longs;ia, ne i quali non <lb/>&longs;i è ritrouato quello habito, che noi Arte chiamamo: propriamente dico, perche hora &longs;iragio <lb/>na con i proprij, & ueri uocaboli delle co&longs;e. </s> <s id="s.000097">Hora uediamo &longs;e tra gli habiti, che &longs;ono d'intorno <lb/>al uero Contingente &longs;i troua l'Arte. </s> <s id="s.000098">Dico che nelle co&longs;e fatte da gli huomini, perche dipende­<lb/>no dalla loro uolontà, che non piu a que&longs;to, che a quello è terminata, non &longs;itroua quella nece&longs;­<lb/>&longs;ità, di che &longs;opra dicemmo. </s> <s id="s.000099">& altre di quelle &longs;ono pertinenti alla unione, & conuer&longs;atione, al­<lb/>tre conuengono all utilità, & commodo uniuer&longs;ale. </s> <s id="s.000100">La regola di quelle è nominata Pruden­<lb/>za, che è habito moderatore delle attioni humane, & ciuili. </s> <s id="s.000101">La regola delle &longs;econde è detta Ar <lb/>te, che è habito regolatore delle opere, che ricercano alcuna materia e&longs;teriore. </s> <s id="s.000102">& &longs;i come dallo <lb/>habito della prima regola gli huomini &longs;ono chiamati Prudenti, Giudici, Legislatori, e Rettori: <lb/>Co&longs;i dal &longs;econdo &longs;ono detti Architetti, Soldati, Agricoltori, Fabri, & Artefici. <!-- KEEP S--></s> <s id="s.000103">Dalle gia<emph.end type="italics"/><pb pagenum="4" xlink:href="045/01/012.jpg"/><emph type="italics"/>dette co&longs;e ritrouato hauemo, che Arte è habito nella mente, come in uero &longs;oggetto ripo&longs;to, che <lb/>la di&longs;pone a fare, & operare con regola, & ragione fuori di &longs;e co&longs;e utili alla uita: Come Pru<lb/>denza è habito, che di&longs;pone lo intelletto a regolare la uolontà in quelle co&longs;e, che alla unione, & <lb/>bene della republica, & della famiglia, & di &longs;e &longs;te&longs;&longs;o, conuengono. </s> <s id="s.000104">La onde giu&longs;ti, mode&longs;ti, <lb/>forti, liberali, amici, ueraci, & in &longs;omma buoni, & uirtuo&longs;i diuentiamo: & di piu qua&longs;i &longs;emi­<lb/>dei per la uirtu heroica &longs;iamo giudicati. </s> <s id="s.000105">Ma la&longs;ciamo a dietro le co&longs;e, che non fanno per no, & <lb/>ritrouiamo il na&longs;cimento delle Arti, &longs;econdo, che prome&longs;&longs;o hauemo di &longs;opra. </s> <s id="s.000106">Na&longs;ce ogni arte <lb/>da i&longs;perienza. </s> <s id="s.000107">Il che come &longs;ia, dirò breuemente, dimo&longs;trando che co&longs;a è I&longs;perienza: Da che na­<lb/>&longs;ce: Come &longs;ia fonte delle Arti. <!-- KEEP S--></s> <s id="s.000108">I&longs;perienza non è altro che una cognitione nata da molte ricor­<lb/>danze di co&longs;e &longs;imiglianti a i &longs;en&longs;i humani &longs;ottopo&longs;te, per lequali ricordanze l'huomo giudica di <lb/>tutte ad uno i&longs;te&longs;&longs;o modo. </s> <s id="s.000109">Eccoti l'e&longs;&longs;empio. </s> <s id="s.000110">Nel cono&longs;cere una co&longs;a, ui concorre prima il &longs;en <lb/>&longs;o, dapoi la memoria: oltra di que&longs;to la comparatione delle co&longs;e ricordate. </s> <s id="s.000111">Hauendo l'huo­<lb/>mo per uia de i &longs;en&longs;i compre&longs;o, che lo A&longs;&longs;enzo, per e&longs;&longs;empio, ha conferito a que&longs;to, & a quel­<lb/>lo nella debolezza dello &longs;tomaco, ricordando&longs;i di tale effetto, ne caua una &longs;omma uniuer&longs;a­<lb/>le, & dice: Adunque doue è debolezza di &longs;tomaco lo a&longs;&longs;enzo è gioueuole, & buono. </s> <s id="s.000112">Il &longs;imile <lb/>puo fare delle altre piante, & da molte particolari, et di&longs;tinte i&longs;perienze col mezo della memo­<lb/>ria puo trarre le propo&longs;itioni uniuer&longs;ali, lequali &longs;ono principij dell' arti. </s> <s id="s.000113">La i&longs;perienza adunque <lb/>è &longs;imile all' orma, che ci dimo&longs;tra le fiere. </s> <s id="s.000114">perche &longs;i come l'orma è principio di ritrouare il Cer­<lb/>uo, nè però è parte del Ceruo, (percioche il Ceruo non è compo&longs;to di orme,) co&longs;i la i&longs;perienza è <lb/>principio di ritrouar le arti, & non è parte di alcuna arte; perche le co&longs;e a i &longs;en&longs;i &longs;ottopo&longs;te non <lb/>&longs;ono principij dell' Arti; ma occa&longs;ione, come chiaramente &longs;i uede, per che il principio dell' Arte <lb/>è uniuer&longs;ale, & non &longs;ottopo&longs;to a i &longs;en&longs;i humani, benche per uia de' &longs;en&longs;i &longs;tato &longs;ia ritrouato. </s> <s id="s.000115"><lb/>ma che differenza &longs;ia tra la i&longs;perienza, & l'Arte, &longs;i uede in que&longs;to modo. </s> <s id="s.000116">Certo è, che quan <lb/>to all' operare non è dall' Arte la i&longs;perienza differente: percioche tanto in que&longs;ta, quanto in quel­<lb/>la uenendo&longs;i all' effetto, &longs;i di&longs;cende allo indiuiduo; perche le attioni &longs;ono cerca le co&longs;e particola­<lb/>ri: Ma quanto alla forza, & alla efficacia dell' operare, gli e&longs;perti fanno effetto maggiore, che <lb/>quelli, i quali hanno &longs;olamente la ragione uniuer&longs;ale delle co&longs;e: & però &longs;pe&longs;&longs;o adiuiene che lo Ar <lb/>tefice ine&longs;perto, auuenga Dio, che egli habbia nella mente la ragione de gli Artificij, erra però, <lb/>& pecca bene &longs;pe&longs;&longs;o, non per non &longs;apere, nè perche la ragione &longs;ia men uera: ma perche non è <lb/>e&longs;&longs;ercitato, nè cono&longs;ce i difel ti della materia, laquale molte fiate non ri&longs;ponde alla intentione <lb/>dell' Arte. <!-- KEEP S--></s> <s id="s.000117">Con tutto que&longs;to l'Arte è piu eccellente, & piu degna della i&longs;perienza, perche è piu <lb/>uicina al &longs;apere, intendendo le cau&longs;e, & le ragioni delle co&longs;e, là doue la i&longs;perienza opera &longs;enza <lb/>ragione. </s> <s id="s.000118">Appre&longs;&longs;o lo intelligente Artefice è piu pronto a ri&longs;oluere, & dar conto delle co&longs;e, che <lb/>il &longs;emplice, et puro e&longs;perto. </s> <s id="s.000119">La onde l'Arte è alla &longs;apienza, che è habito nobili&longs;&longs;imo, piu uici­<lb/>na. </s> <s id="s.000120">Segno manife&longs;to del &longs;apere è il potere in&longs;egnare, & ammae&longs;trare altrui, percioche la <lb/>perfettione con&longs;i&longs;te in potere far altri a &longs;e mede&longs;imi &longs;imiglianti. </s> <s id="s.000121">Et però l'Artifice, che è quello <lb/>che intende la ragione, può in&longs;egnare & fare un' altro &longs;e &longs;te&longs;&longs;o, quanto all' Arte &longs;ua: Ma lo <lb/>E&longs;perto non co&longs;i. </s> <s id="s.000122">& &longs;e bene lo E&longs;perto mo&longs;tra ad altri come egli fa, non però è atto a darne con <lb/>to, non hauendo l'Arte: & la &longs;ua dimo&longs;tratione oltra il &longs;en&longs;o non &longs;i e&longs;tende, & è &longs;olamente in <lb/>modo di uedere congiunto con alcuna oppinione, o credenza di colui, che uede: ilquale in &longs;imi­<lb/>le atto fa ufficio &longs;eruile imperfetto, & lontano dall' ufficio dell' Arte: & però Vitrunio uuole, <lb/>che la i&longs;perienza &longs;ia con la cognitione accompagnata. </s> <s id="s.000123">Come adunque na&longs;ce la i&longs;perienza; che <lb/>co&longs;a è; & in che modo l'Arte da quella procede, chiaramente s'è dimo&longs;trato. </s> <s id="s.000124">Dal che &longs;i com­<lb/>prende e&longs;&longs;er due maniere di i&longs;perienza. </s> <s id="s.000125">l'una, che all' Arte è prepo&longs;ta, cioè che &longs;i fa prima, che <lb/>s'acqui&longs;ti l'Arte: come quando &longs;i dice. </s> <s id="s.000126">Io faccio i&longs;perienza, & uoglio prouare, &longs;emi rie&longs;ce al­<lb/>cuna co&longs;a: & que&longs;to ècome fonte a fiume quanto all' Arte. <!-- KEEP S--></s> <s id="s.000127">L'altra maniera è quella, che è ec<lb/>citata, & de&longs;ta dall' Arte, che &longs;i truoua in noi, & &longs;econdo le ragioni dell' Arte la e&longs;&longs;ercitiamo. </s> <s id="s.000128"><lb/>Egli &longs;i puo anche dalle predette co&longs;e uedere, che la i&longs;perienza molto piu &longs;erue alle Arti, che<emph.end type="italics"/><pb pagenum="5" xlink:href="045/01/013.jpg"/><emph type="italics"/>s'acqui&longs;tano per inuentione, che a quelle, che s'imparano per ammae&longs;tramento. </s> <s id="s.000129">Il na&longs;cimento <lb/>delle arti da principio è debole, ma col tempo acqui&longs;ta for za et uigore: imperochei primi inuen<lb/>tori hanno poco lume delle co&longs;e, & non po&longs;&longs;ono ageuolmente raccogliere molte uniuer&longs;ali pro­<lb/>po&longs;itioni, per lequali l'Arte s'ingagliardi&longs;ca, perche per la breuità della uita non hanno tem­<lb/>po di farne la ifperienza: ma la&longs;ciando a po&longs;teri le co&longs;e trouate da loro &longs;cemano la fatica di quel <lb/>li, & aggiugneno loro occa&longs;ione di aumentare le Arti, per la molta uirtù, che ne i pochi prin<lb/>cipij &longs;i truoua. </s> <s id="s.000130">perche &longs;i come nella mente &longs;i concepe la moltitudine de &longs;udditi &longs;otto un Principe, <lb/>co&longs;i molti concetti dell' arte al &longs;uo principio &longs;i riferi&longs;ceno. </s> <s id="s.000131">& per que&longs;to di gran laude &longs;ono de­<lb/>gni gli inuentori delle co&longs;e, iquali banno trouato i principij &longs;enza ri&longs;parmio di fatica, da i quali <lb/>deriua il compimento, & la perfettione dell' Arti: doue egli &longs;i può dire che la metà del fatto, è <lb/>il cominciar bene. </s> <s id="s.000132">Et qui &longs;ia detto a ba&longs;tanza d'intorno alla origine, diffinitione, accre&longs;cimen­<lb/>to, et perfettione dell' Arte. <!-- KEEP S--></s> <s id="s.000133">Re&longs;ta che io di&longs;tingua l'Arti &longs;econdo, che di &longs;opra promi&longs;i di fa­<lb/>re. </s> <s id="s.000134">Certo io non uoglio in que&longs;to luogo fare una &longs;cielta di tutte l'Arti partitamente, perche <lb/>troppo ritardarei lo intendimento di chi legge, & poco giouerei. </s> <s id="s.000135">La&longs;cierò a dietro quella &longs;i­<lb/>gnificatione uniuer&longs;ale di que&longs;to uocabolo, che abbraccia l'Arti liberali, delle quali tre &longs;o­<lb/>no d'intorno al parlare, & quattro cerca la quantità, d'intorno al parlare è la Grammatica, <lb/>la Rhetorica, la Logica: Cerca la quantità è la Geometria, l'A&longs;trologia, l'Arithmetica, la <lb/>Mu&longs;ica. <!-- KEEP S--></s> <s id="s.000136">La&longs;cierò l'Arti uili, & ba&longs;&longs;e, che degne non &longs;ono della pre&longs;ente con&longs;ideratione, nè <lb/>del nome dell' Arte. <!-- KEEP S--></s> <s id="s.000137">Non ragionerò di quelle Arti, et dottrine, che ci &longs;ono in&longs;pirate da Dio, <lb/>come è la no&longs;tra chri&longs;tiana Theologia; perche hora non &longs;itende a que&longs;to fine, che ritruouia­<lb/>mo tutto quello, che &longs;otto nome di Arte &longs;i contiene: imperoche non è al propo&longs;ito no&longs;tro: &longs;i <lb/>che io la&longs;cierò le diuinationi, che me&longs;colate &longs;ono di diuina in&longs;piratione, & humana inuentio­<lb/>ne. </s> <s id="s.000138">Sono adunque al pre&longs;ente bi&longs;ogno quelle Arti nece&longs;&longs;arie, che &longs;erueno con dignità, & gran<lb/>dezza alla commodità, & u&longs;o de' mortali: come è l'Arte di andar per mare detta Nauigatio­<lb/>ne, l'Arte Militare, l'Arte del fabricare, la Medicina, l'Agricoltura, la Venaggione, la <lb/>Pittura, & Scoltura, il Lanificio, & altre &longs;imiglianti, lequali in due modi &longs;i po&longs;&longs;ono con­<lb/>&longs;iderare. </s> <s id="s.000139">prima come di&longs;correno, & con uie ragioneuoli trouando uanno le ragioni, & le <lb/>regole dell' operare. </s> <s id="s.000140">dapoi come con prontezza di mano s'affaticano di ponere in alcuna materia <lb/>e&longs;teriore, quello che era ripo&longs;to nella mente. </s> <s id="s.000141">Donde na&longs;ce che alcune Arti hanno piu della &longs;cien­<lb/>za, & altre meno. </s> <s id="s.000142">& a cono&longs;cere l'Arti piu degne, que&longs;ta è la uia. </s> <s id="s.000143">Quelle, nelle quali fa bi&longs;ogno <lb/>l'Arte del numerare, la Geometria, & l'altre Mathematice, tutte hanno del grande: il rimanen <lb/>te &longs;enza le dette Arti (come dice Platone) è uile, & abietto, come co&longs;a nata da &longs;emplice ima<lb/>ginatione, fallace coniettura, & dal uero abbandonata i&longs;perienza. </s> <s id="s.000144">Et quiui apparirà la di­<lb/>gnità dell' Architettura, laquale approua è giudica le opere, che dalle altre Arti &longs;i fanno. </s> <s id="s.000145">Ma <lb/>perche prima non &longs;i deue lodare alcuna co&longs;a, &longs;e prima non &longs;i &longs;a, che co&longs;a ella &longs;ia: giu&longs;to, & ra <lb/>gioneuole è, che dimo&longs;triamo l'origine, & la forza, & le parti dell' Architettura, & qual <lb/>&longs;ia l'ufficio, & il fine dello Architetto. <!-- KEEP S--></s> <s id="s.000146">& perche il mede&longs;imo &longs;i fa dallo Auttore, come <lb/>da erudito, & ammae&longs;trato ne i precetti dell' Arte, darò principio alla dichiaratione de i &longs;uoi <lb/>detti, sbrigandomi prima dalla dedicatione dell' opera. </s> <s id="s.000147">Dedicando adunque ad Ottauio Au­<lb/>&longs;to dice in que&longs;to modo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.000148">MENTRE, che la tua diuina mente, & Deità, ò Ce&longs;are Imperatore, acqui&longs;taua <lb/>l'Imperio del mondo, & i cittadini &longs;i gloriauano del trionfo & della uittoria <lb/>tua, e&longs;&longs;endo tutti i nimici dalla tua inuitta uirtu à terra battuti: & mentre, che <lb/>tutte le nationi domite, & &longs;oggiogate il tuo cenno attendeuano, & il popolo Romano in­<lb/>&longs;ieme col &longs;enato fuori d'ogni timore, da i tuoi alti&longs;simi prouedimenti & con&longs;igli era go­<lb/>uernato; io non ardiua mandare in luce le co&longs;e dell' Architettura da me &longs;critte, tra tante <lb/>occupationi, & con grandi pen&longs;ieri e&longs;plicate: dubitando non fuor di tempo tramettendo-<pb pagenum="6" xlink:href="045/01/014.jpg"/>mi, incorrefsi nell' offe&longs;a dell' animo tuo. </s> <s id="s.000149">Ma poi, che io m'accor&longs;i, che egual cura tene­<lb/>ui & della &longs;alute d'ognuno con il publico maneggio, & della opportunità de i publici edi­<lb/>ficij; accioche non &longs;olamente fu&longs;&longs;e col fauor tuo la Città di &longs;tato fatta maggiore, ma an­<lb/>chora la mae&longs;tà dello imperio grandezza haue&longs;&longs;e, & riputatione delle publiche fabricatio­<lb/>ni: io hò pen&longs;ato non e&longs;&longs;er piu tempo di tardare; & non ho uoluto pretermettere, che di <lb/>&longs;ubito à nome tuo non manda&longs;si in luce le già dette co&longs;e. </s> <s id="s.000150">Imperoche per que&longs;ta ragione <lb/>io era da tuo padre cono&longs;ciuto, & della &longs;ua uirtu molto &longs;tudio&longs;o. </s> <s id="s.000151">Ma hauendo il conci­<lb/>lio de i cele&longs;ti Dei quello con&longs;ecrato ne i &longs;eggi della immortalità, & trasferito nel poter <lb/>tuo lo imperio del padre: lo i&longs;te&longs;&longs;o mio &longs;tudio nella memoria di quello re&longs;tando fermo, in <lb/>te ripo&longs;e il fauore. </s> <s id="s.000152">Adunque con M. Aurelio, Pub. <!-- REMOVE S-->Minidio, & Gn. <!-- REMOVE S-->Cornelio fui &longs;opra <lb/>l'apparecchio delle Bali&longs;te, & de gli Scorpioni. <!-- KEEP S--></s> <s id="s.000153">& alla rifattione de gli altri tormenti; & <lb/>in&longs;ieme con e&longs;&longs;o loro ne riportai delle commodità, lequali &longs;ubito che tu mi concede&longs;ti, <lb/>molto bene per la raccommandatione di tua &longs;orella il ricono&longs;cimento &longs;erua&longs;ti; & però e&longs;­<lb/>&longs;endo io per quel beneficio tenuto & obbligato, di modo che in&longs;ino allo e&longs;tremo della ui­<lb/>ta non haue&longs;si a temere alcun di&longs;agio: Io diedi principio à &longs;criuere que&longs;te co&longs;e: perche io <lb/>haueua auuertito, che tu haueui fabricato molte co&longs;e, & tutta uia ne uai edificando; & <lb/>anche per lo auuenire &longs;ei per hauer cura, & pen&longs;iero delle publiche, & priuate opere &longs;econ­<lb/>do la grandezza delle co&longs;e fatte, accioche &longs;iano alla memoria de' po&longs;teri commendate. </s> <s id="s.000154">Io <lb/>ho &longs;critto con diligenza determinati precetti in modo, che da te &longs;te&longs;&longs;o ponendoui pen&longs;ie­<lb/>ro pote&longs;ti cono&longs;cere quali fu&longs;&longs;ero le co&longs;e già fabricate, & come haue&longs;&longs;ero a riu&longs;cir quelle, <lb/>che &longs;i doue&longs;&longs;ero fabricare: percioche in que&longs;ti uolumi, io ho aperto tutte le ragioni di que <lb/>&longs;to ammae&longs;tramento. </s> </p> <p type="main"> <s id="s.000155"><emph type="italics"/>Il &longs;auio & prudente lettore potrà per le parole di Vitr. con&longs;iderare la prudenza, & bontà &longs;ua, <lb/>come di per&longs;ona, che e&longs;&longs;endo per beneficij riceuuti obligato & tenuto, dimo&longs;tra gratitudine, & <lb/>nella gratitudine giudicio, offerendo quelle co&longs;e, che po&longs;&longs;ono e&longs;&longs;er grate à chi le riceue. </s> <s id="s.000156">& in ue­<lb/>ro e&longs;&longs;endo tutto il mondo &longs;otto un principe, l'armi erano ce&longs;&longs;ate, & le porte di Giano rinchiu&longs;e. </s> <s id="s.000157"><lb/>Il principe raccolto nella gloria delle belle impre&longs;e da lui &longs;atte, godeua del &longs;uo &longs;plendore, & &longs;om­<lb/>mamente &longs;i dilettaua di &longs;abricare gloriando&longs;i di la&longs;ciar la città (che prima era di pietre cotte) la­<lb/>&longs;tricata di Marmo. </s> <s id="s.000158">Fu adottiuo figliuolo di Giulio Ce&longs;are: nacque di Accia, & di Ottauio. </s> <s id="s.000159">Al <lb/>co&longs;tui tempo nacque no&longs;tro Signore. <!-- KEEP S--></s> <s id="s.000160">Fu ueramente buono, & grande appoggio de' uirtuo&longs;i, per <lb/>ilche non tanto per hauere accre&longs;ciuto lo Imperio e&longs;&longs;er deue nominato Augu&longs;to, quanto per haue­<lb/>re fauorito gli huomini da bene, & aumentato con lode, & premio ogni uirtù, & dottrina. </s> <s id="s.000161">A lui <lb/>dunque meriteuolmente con&longs;acra Vitruuio le fatiche &longs;ue, & con ingegno di quelle co&longs;e, & con <lb/>quelle parole lo e&longs;&longs;alta, che ueramente, & &longs;enza adulatione &longs;e gli conueniuano. </s> <s id="s.000162">Et tanto &longs;ia det­<lb/>to, d'intorno la dedicatione dell' opera. </s> <s id="s.000163">Egli &longs;i legge in alcuni te&longs;ti non Minidio, ma Numidio, & <lb/>in alcuni Numidico. </s> <s id="s.000164">Io non truouo altra fede, che piu ad uno, che altro modo &longs;i debbia legge­<lb/>re. </s> <s id="s.000165">Benche in alcune Medaglie &longs;i legga e&longs;&longs;ere &longs;tato &longs;opra la Cecca un L. Mu&longs;idio. </s> <s id="s.000166">ma que&longs;to po­<lb/>co c'importa. </s> <s id="s.000167">Nè io &longs;ono curio&longs;o di dichiarare che co&longs;a è Bali&longs;ta, & Scorpione, percioche &longs;e ne <lb/>dirà nel decimo libro al proprio luogo. </s> <s id="s.000168">nè &longs;i deue (per quanto &longs;timo io) confondere l'ordine delle <lb/>co&longs;e. </s> <s id="s.000169">Venirò adunque a Vitr. ilquale &longs;econdo il precetto' dell' Arte diffini&longs;ce, e determina, che <lb/>co&longs;a è Architettura, dicendo.<emph.end type="italics"/></s> <s id="s.000170"> Architettura è &longs;eienza, di molte di&longs;cipline, & di diuer&longs;i am­<lb/>mae&longs;tramenti ornata, dal cui giudicio s'approuano tutte le opere, che dalle altre Arti com <lb/>piutamente &longs;i fanno. </s> </p> <p type="main"> <s id="s.000171"><emph type="italics"/>Prima, che &longs;i e&longs;ponga, & dimo&longs;tri che co&longs;a è Architettura, dirò la forza di que&longs;to nome, per­<lb/>cioche molto gioua allo intendimento delle co&longs;e, che &longs;i diranno. </s> <s id="s.000172">Architettura è nome, che dal <lb/>greco derriua; & è di due uoci compo&longs;to. </s> <s id="s.000173">La prima &longs;ignifica principale, & capo; La &longs;econda <lb/>fabbro, ò artefice. </s> <s id="s.000174">Et chi uole&longs;&longs;e bene e&longs;primere uolgarmente la forza del detto nome, direbbe <lb/>capo mae&longs;tra. </s> <s id="s.000175">Et però dice Platone, che lo Arch tetto non &longs;a me&longs;tieri alcuno, ma è &longs;opra&longs;tan-<emph.end type="italics"/><pb pagenum="7" xlink:href="045/01/015.jpg"/><emph type="italics"/>te à quelli, che gli fanno. </s> <s id="s.000176">La doue potremo dire l'Architetto non e&longs;&longs;er Fabro, non mae&longs;tro di <lb/>legname, non muratore, non &longs;eparatamente certo, & determinato artefice, ma capo, &longs;opra&longs;tante, <lb/>& regolatore di tutt i gli arteficij: come quello, che non &longs;ia prima, a tanto grado &longs;alito, che egli <lb/>non &longs;i habbia prima in molte, & diuer&longs;e dottrine, & opere e&longs;&longs;ercitato. </s> <s id="s.000177">Sopra&longs;tando adunque di­<lb/>mo&longs;tra, di&longs;egna, di&longs;tribui&longs;ce, ordina, & comanda. </s> <s id="s.000178">& in que&longs;ti uffici appare la dignità dell'Ar­<lb/>chitettura e&longs;&longs;er alla &longs;apienza uicina, & come uirtù heroica nel mezo di tutte le arti dimorare. </s> <s id="s.000179"><lb/>perche &longs;ola intende le cagioni; &longs;ola abbraccia le belle, & alte co&longs;e: &longs;ola, dico, tra tutte l'Arti <lb/>partecipa delle piu certe &longs;cienze, come è l'Arithmetica, & la Geometria, & le altre, &longs;enza le­<lb/>quali (come s'è detto) ogni arte è uile, & &longs;enza riputatione. </s> <s id="s.000180">Vedendo adunque Vitr. l'Archi­<lb/>tettura e&longs;&longs;er tale, dice prima ella e&longs;&longs;er<emph.end type="italics"/> {<emph type="italics"/>Scienza.<emph.end type="italics"/>} <emph type="italics"/>& per Scienza intende cognitione, & rau­<lb/>nanza di molti precetti, & ammae&longs;tramenti, che unitamente riguardano alla cono&longs;cenza d'un fi­<lb/>ne propo&longs;to. </s> <s id="s.000181">poi perche in que&longs;to la Architettura conuiene conmolte altre &longs;cienze, delle quali par <lb/>titamente &longs;i puo dire, che cia&longs;cuna &longs;ia cognitione: però Vitr. le attribui&longs;ce alcune differenze, <lb/>che ri&longs;tringono quello intendimento uniuer&longs;ale, & commune del predetto nome. </s> <s id="s.000182">& que&longs;to è ufficio <lb/>della uera diffinitione, cioè dichiarire la natura, & la forza della co&longs;a diffinita, inmodo che ella <lb/>da tutte altre co&longs;e di&longs;tinta, & &longs;eparata &longs;i cono&longs;ca. </s> <s id="s.000183">& però foggiugne Vitr.<emph.end type="italics"/> {<emph type="italics"/>Di molte di&longs;cipline, & <lb/>di diuer&longs;i ammae&longs;tramenti ornata.<emph.end type="italics"/>} <emph type="italics"/>Et di&longs;tingue per le dette parole l'Architettura, da molte par <lb/>ticolari notitie, che uengono da i &longs;en&longs;i, &longs;tanno nella i&longs;perienza, & &longs;i e&longs;&longs;ercitano per pratica. </s> <s id="s.000184">Nè <lb/>per que&longs;to anchora è bene diffinita l'Architettura: percioche &longs;e quiui re&longs;ta&longs;&longs;e la diffinitione, ella <lb/>&longs;arebbe commune, & piu ampia di quello, che &longs;i conuiene. </s> <s id="s.000185">Imperoche l'Arte del dire, la Me­<lb/>dicina, & molte altre Arti, & &longs;cienze ornate &longs;ono dimolte dottrine, & di diuer&longs;i ammae&longs;tra­<lb/>menti, come chiaramente per gli &longs;critti di Cicerone, di Galeno, & d'altri autori &longs;i uede. </s> <s id="s.000186">Ri&longs;tri­<lb/>gnendo adunque Vitr. con maggiori proprietà la &longs;ua diffinitione, dice<emph.end type="italics"/> {<emph type="italics"/>Dal cui giudicio s'appro­<lb/>uano tutte le opere, che dalle altre arti &longs;i fanno.<emph.end type="italics"/>} <emph type="italics"/>Ecco l'ultima differenza, che ne i ueri, & giu­<lb/>&longs;ti termini, & qua&longs;i confini rinchiude l'Architettura. <!-- KEEP S--></s> <s id="s.000187">percioche il giudicare le opere compiute dal <lb/>le Arti, è proprio di lei, & non d'altre. </s> <s id="s.000188">L'oratore s'adorna di molte Arti, & di&longs;cipline, & <lb/>quelle grandi&longs;&longs;ime, &longs;ono, & belli&longs;&longs;ime. </s> <s id="s.000189">Il &longs;imigliante fa il Medico; ma l'uno, & l'altro hanno <lb/>diuer&longs;i intendimenti. </s> <s id="s.000190">l'Oratore s'adorna per potere per&longs;uadere, cioè indurre opinione in ogni ma­<lb/>teria propo&longs;ta. </s> <s id="s.000191">Il Medico per indurre, ò con&longs;eruare la &longs;anità. </s> <s id="s.000192">Malo Architetto &longs;olo per giu­<lb/>dicare, & approuare le opere perfette dalle altre Arti: perfette, dico, ouer compiute, come di­<lb/>ce Vitr. però che non &longs;i può giudicare &longs;e non le cofe finite, accio niuna &longs;cu&longs;a &longs;ia dello Artefice. <!-- KEEP S--></s> <s id="s.000193"><lb/>Vero è anche que&longs;to, che lo Architetto &longs;opra&longs;tando mentre che &longs;i fanno le opere, giudica &longs;e el­<lb/>le &longs;i fanno bene, ò male, & approua que&longs;ta, et bia&longs;ma quella, &longs;econdo il giudicio, & la cognitio­<lb/>ne, che eglì ha; & for&longs;e que&longs;ta è migliore e&longs;po&longs;itione che la di &longs;opra. </s> <s id="s.000194">Dalla diffinitione dell'Ar­<lb/>chitettura, &longs;i comprende che co&longs;a è Architetto, & &longs;i cono&longs;ce, Architetto e&longs;ser colui, che <lb/>per certa, & merauiglio&longs;a ragione, & uia sì con la mente, & con l'animo &longs;a determinare, co­<lb/>me con lo in&longs;egnare, & con l'opera condurre à fine quelle co&longs;e, che dal mouimento de i pe&longs;idal <lb/>compartimento de i corpi, & dalla compo&longs;itione delle opere à beneficio de gli huomini &longs;aranno <lb/>commendate.<emph.end type="italics"/> {<emph type="italics"/>Architettura è &longs;cienza ornata di molte di&longs;cipline, & di diuer&longs;i ammae&longs;tramen­<lb/>ti.<emph.end type="italics"/>} <emph type="italics"/>Et per di&longs;ciplina intende quello, che i di&longs;cepoli imparano. </s> <s id="s.000195">Et per ammaeftramenti, quello <lb/>che i mae&longs;tri in&longs;egnano. </s> <s id="s.000196">il parlare è in&longs;trumento dello in&longs;egnare, & l'udire dello imparare. </s> <s id="s.000197">La dot­<lb/>trina comincia nel concetto di colui, che in&longs;egna, & &longs;i e&longs;tende &longs;ino alle parole. </s> <s id="s.000198">la di&longs;ciplina co­<lb/>mincia nell'udito di colui, che impara, & termina nel concetto. </s> <s id="s.000199">Ma bella co&longs;a èil &longs;upponere' <lb/>per ragione, & dimo&longs;trare per pratica; in quello è la Dottrina, in que&longs;to è la Eruditione, cioè lo <lb/>&longs;gro&longs;&longs;amento.<emph.end type="italics"/> {<emph type="italics"/>Per lo cui giuditio s'approuano.<emph.end type="italics"/>} <emph type="italics"/>Il giudicare è co&longs;a eccellentißima, & non <lb/>ad altri conce&longs;&longs;a, che à i &longs;aui, & prudenti: percioche il giuditio &longs;i fa &longs;opra le co&longs;e cono&longs;ciute, <lb/>& per quello<emph.end type="italics"/>, {<emph type="italics"/>S'approua<emph.end type="italics"/>,} <emph type="italics"/>cioè &longs;i dà la &longs;entenza, & &longs;i dimo&longs;tra, che con ragione &longs;iè ope­<lb/>rato. </s> <s id="s.000200">Approua adunque l'Architettura, l'opere fatte dalle altre arti. </s> <s id="s.000201">Opera è quello artificio<emph.end type="italics"/>, <pb pagenum="8" xlink:href="045/01/016.jpg"/><emph type="italics"/>o lauoro, che re&longs;ta ce&longs;&longs;ando l'operatione dello Artefice, o finita, o non finita, che ella &longs;ia: come <lb/>Operatione è quel mouimento che egli fa mentre lauora. </s> <s id="s.000202">Ma Attione s'intende negotio, o ma­<lb/>reggio ciuile, & uirtuo&longs;o, ce&longs;&longs;ato che egli &longs;ia, niente re&longs;ta di fuori<emph.end type="italics"/>, {<emph type="italics"/>Arti.<emph.end type="italics"/>} <emph type="italics"/>Qui s'intende <lb/>l'arti in quanto &longs;i opera, le ragioni delle quali ad e&longs;&longs;a patrona &longs;i riferi&longs;cono. </s> <s id="s.000203">Et qui &longs;ia fine alla <lb/>diffinitione dell'Architettura. <!-- KEEP S--></s> <s id="s.000204">nella quale uirtualmente compre&longs;e &longs;ono le belle ucrità dell'Ar­<lb/>chitettura, & de i precetti &longs;uoi; co&longs;a degna di molta con&longs;ideratione. </s> <s id="s.000205">& perche egli s'intenda <lb/>que&longs;to mirabile &longs;ecreto: Dico, che in cia&longs;cuna &longs;cienza la diffinitione del &longs;oggetto, del qual &longs;i trat­<lb/>ta, che è quello à cui &longs;i riferi&longs;ce tutto quello che nella &longs;cienza è trattato, contiene uirtualnunte <lb/>le &longs;olutioni de i dubij, le inuentioni de i &longs;ecreti, & la uerità delle co&longs;e in quella &longs;cienza contenu­<lb/>te. </s> <s id="s.000206">Virtualmente contenere intendo poter produrre una co&longs;a, come il &longs;eme contiene in uirtu il <lb/>frutto. </s> <s id="s.000207">La diffinitione adunque del &longs;oggetto quando è fatta con le ragioni dichiarate di &longs;opra, <lb/>cioè quando dimo&longs;tra la natura della co&longs;a diffinita, la raccommunanzà, che ha con molte altre <lb/>co&longs;e, & la differenza & propietà che tiene, ha uirtu di far manife&longs;te le o&longs;cure dimande, che &longs;o­<lb/>no fatte in quella &longs;cienza. </s> <s id="s.000208">& la ragione è, perche la diffinitione del &longs;oggetto è principio della di­<lb/>mo&longs;tratione. </s> <s id="s.000209">ilquale come precetto dell'Arte e&longs;&longs;er deue uero, utile, & conforme; (come dice <lb/>Galeno) Vero, perche niente &longs;i comprende, che uero non &longs;ia, come &longs;e egli &longs;i dice&longs;&longs;e, il Fele della <lb/>chimera e&longs;&longs;er utile à gli infermi. </s> <s id="s.000210">que&longs;to non &longs;i potrebbe comprendere, perche uero non è, che la <lb/>chimera tra le co&longs;e che &longs;ono &longs;i troui. </s> <s id="s.000211">Vtile, perche è nece&longs;&longs;ario, che egli tenda à qualche fine; <lb/>& Vtilità non è altro che riferire le co&longs;e al debito fine, & inuero degna non è del nome di Arte <lb/>quella cognitione, la cui operatione non è utile alla humana uita. </s> <s id="s.000212">La conformità è po&longs;ta nella <lb/>uirtu predetta di produrre. </s> <s id="s.000213">perche molte co&longs;e hanno in &longs;e la forza della uerità, che non hanno la <lb/>forza della conformità, & la uirtu con&longs;i&longs;te nell'applicatione, & quelle non hanno ualore d'influi­<lb/>re il lume loro nelle co&longs;e. </s> <s id="s.000214">Ilche &longs;i cono&longs;ce, che uolendo noi applicare i principij alle co&longs;e, non &longs;i <lb/>raccoglie alcuna ragione, percioche non &longs;ono conformi, nè concludenti. </s> <s id="s.000215">Quando adunque il <lb/>&longs;oggetto, & le propriet à na&longs;ceno da i principij, & cau&longs;e, allhora ui è la conformità. </s> <s id="s.000216">Vero è <lb/>da tutti giudicato (cono&longs;ciuti i termini, come io diceua) che &longs;e dalle co&longs;e eguali &longs;i leueranno l'e­<lb/>guali, ò dalle pari le pari, il rimanente &longs;arà pari ò eguale. </s> <s id="s.000217">nè &longs;olamente è uero que&longs;to principio, <lb/>ma di ualore grandi&longs;&longs;imo. </s> <s id="s.000218">percioche egli &longs;i applica dal Filo&longs;ofo naturale a i mouimenti, al tem­<lb/>po, a gli &longs;patij: dal Geometra alle mi&longs;ure, & grandezze; dallo Arithmetico a i Numeri; dal Mu<lb/>&longs;ico a i &longs;uoni; dal Medico alle uirtu & qualità delle co&longs;e. </s> <s id="s.000219">Stando adunque cio, che s'è detto, ne <lb/>&longs;eguita quello, che dirà Vitr. dell'Architettura. <!-- KEEP S--></s> <s id="s.000220">& prima del &longs;uo na&longs;cimento, & poi delle &longs;ue <lb/>conditioni. </s> <s id="s.000221">dice adunque.<emph.end type="italics"/> {<emph type="italics"/>E&longs;&longs;a na&longs;ce da fabrica, & da di&longs;cor&longs;o.<emph.end type="italics"/>} <emph type="italics"/>Que&longs;ta con&longs;equenza non <lb/>&longs;i può cono&longs;cere, &longs;e prima non &longs;i fa manife&longs;to, che co&longs;a è Fabrica, & che co&longs;a è Di&longs;cor&longs;o, però <lb/>dice Vitr.<emph.end type="italics"/> {<emph type="italics"/>Fabrica è continuo, & e&longs;&longs;ercitato pen&longs;iero dell'u&longs;o, che di qualunque materia, che <lb/>per dar forma all'opera propo&longs;ta &longs;i richiede, con le mani &longs;i compie. </s> <s id="s.000222">Di&longs;cor&longs;o è quello, che le co&longs;e <lb/>fabricate prontamente, & con ragioneuole proportione puo dimo&longs;trando manife&longs;tare.<emph.end type="italics"/>} <emph type="italics"/>Diuino <lb/>è ueramente il de&longs;iderio di quelli, che leuando la mente alla con&longs;ideratione delle co&longs;e belle, cerca­<lb/>no le cagioni di quelle, & riguardando come dal di &longs;opra s'accendeno alle fatiche per lo contra­<lb/>rio molti &longs;ono, che con grandi&longs;&longs;ime lodi inalzando al cielo i dotti, & letterati huomini, & con <lb/>merauiglia riguardando le &longs;cienze fanno ogni altra co&longs;a piu pre&longs;to che affaticar&longs;i per acqui&longs;tarle. </s> <s id="s.000223"><lb/>Sono anche molti, i quali auenga, che &longs;appiano e&longs;&longs;er bi&longs;ogno per l'acqui&longs;to d'una &longs;cienza partici­<lb/>pare di molte altre, poco però di quelle &longs;i curano, anzi danno à bia&longs;imo &longs;e alcuno &longs;i dà allo &longs;tudio <lb/>di quelle. </s> <s id="s.000224">Que&longs;ti come gente trauiata & folle, &longs;i denno la&longs;ciare da parte. </s> <s id="s.000225">Bella co&longs;a è il potere <lb/>giudicare, & approuare le opere de' mortali, come atto di uirtu &longs;uperiore, uer&longs;o l'inferiore: <lb/>niente di meno pochi &longs;i danno alla fatica, pochi uogliono adoperar&longs;i, & u&longs;cire delle pelli dell'otio: <lb/>& percio non fanno giudicio, & per con&longs;eguente non peruengono al fine dell'Architettura; Ma <lb/>&longs;olo &longs;i uanno gloriando di e&longs;&longs;er chiamati Architetti di que&longs;to principe & di quello. </s> <s id="s.000226">& allegano <lb/>non le ragioni, ma le opere loro, dicendo co&longs;i feci io, co&longs;i ordinai nel tal pallazzo, & nella tal<emph.end type="italics"/><pb pagenum="9" xlink:href="045/01/017.jpg"/><emph type="italics"/>chie&longs;a. </s> <s id="s.000227">& non uogliono con&longs;iderare, che non hanno, Geometria, nè Arithmetica, nè intende <lb/>no la for za delle proportioni, & la natura delle co&longs;e. </s> <s id="s.000228">Egli bi&longs;ogna adunque hauere e&longs;&longs;ercitio, & <lb/>fabrica; bi&longs;ogna di&longs;cor&longs;o. </s> <s id="s.000229">Il di&longs;cor&longs;o come padre; la Fabrica è come madre dell'Architettu­<lb/>ra.<emph.end type="italics"/> {<emph type="italics"/>La fabrica è continuato pen&longs;iero dell'u&longs;o.<emph.end type="italics"/>} <emph type="italics"/>Ogni artificio&longs;o componimento ha lo e&longs;&longs;er <lb/>&longs;uo dalla notitia del fine come dice Galeno. <!-- KEEP S--></s> <s id="s.000230">Volendo adunque fabricare, fa di me&longs;tieri hauerc co<lb/>no&longs;cimento del fine. </s> <s id="s.000231">Fine intendo io quello, a cui s'indrizza la operatione: Et in que&longs;to lo intel­<lb/>letto con&longs;idera, che co&longs;a è principio, & che co&longs;a è mezo. </s> <s id="s.000232">& truoua che il principio &longs;i con&longs;ide­<lb/>ra in modo di pre&longs;idenza, & nel principiare il fine è prima dello agente, perche il fine è quello, <lb/>che muoue all'opera: lo agente è prima che la forma, perche lo agente induce la forma; & la <lb/>forma è prima, che la materia: imperoche la materia non è mo&longs;&longs;a, &longs;e la forma non è prima nel­<lb/>la mente di colui che opera. </s> <s id="s.000233">Il mezo ueramente è il &longs;oggetto nel quale il fine manda la &longs;ua &longs;imi­<lb/>glianza al principio, & il principio la rimanda al fine: però non è concordanza maggiore di <lb/>quella, che è tra'l principio, e'l fine. </s> <s id="s.000234">oltra di que&longs;to egli &longs;i comprende che chiunque impedi&longs;ce il <lb/>mezo, leua il principio dal fine: & che il mezo per cagione del principio s'affatica, & ri&longs;petto <lb/>al fine &longs;iripo&longs;a. </s> <s id="s.000235">Volendo adunque fabricare, bi&longs;ogna cono&longs;cere il fine, come quello, ch'al me­<lb/>zo impone forza, & nece&longs;&longs;ità. </s> <s id="s.000236">Ma per la cognitione del fine è nece&longs;&longs;ario lo &longs;tudio, & il pen&longs;a­<lb/>mento: Et &longs;i come il &longs;aettatore non indrizzarebbe la &longs;aetta alla brocca, &longs;e egli non tene&longs;&longs;e fer­<lb/>ma la mira, co&longs;i l'Artefice non toccarebbe il fine, &longs;e con la mente altroue egli &longs;i riuolge&longs;&longs;e. </s> <s id="s.000237"><lb/>L'u&longs;o adunque è (come s' è detto) drizzare le co&longs;e al debito fine: come abu&longs;o è torcerle da quel­<lb/>lo. </s> <s id="s.000238">Ma per hauere que&longs;to indrizzamento delle co&longs;e al fine, fa bi&longs;ogno d'hauere un'altro u&longs;o, ilqua <lb/>le uuol dire A&longs;&longs;uefattione, laquale non è altro, che &longs;pe&longs;&longs;a, & frequentata operatione d'alcuna <lb/>uirtù, & potenza dell'anima, o del corpo. <!-- KEEP S--></s> <s id="s.000239">onde egli &longs;i dice e&longs;&longs;er u&longs;ato alle fatiche, e&longs;&longs;er u&longs;ato, po­<lb/>&longs;to in u&longs;o, u&longs;anza, & con&longs;uetudine. </s> <s id="s.000240">Bi&longs;ogna adunque e&longs;&longs;er u&longs;o di continuamente pen&longs;are al fi­<lb/>ne. </s> <s id="s.000241">Et però dice Vitr.<emph.end type="italics"/><!-- KEEP S--></s> <s id="s.000242"> Fabrica e&longs;&longs;er continuo, & e&longs;&longs;ercitato, & come uia trita, & battu­<lb/>ta da pa&longs;&longs;aggieri frequentato pen&longs;iero d'indrizzare le co&longs;e a fine conueniente. </s> </p> <p type="main"> <s id="s.000243"><emph type="italics"/>Et da que&longs;te parole &longs;i dimo&longs;tra la utilità che era conditione dell'Arte. <!-- KEEP S--></s> <s id="s.000244">Ma perche con tanta <lb/>&longs;ollecitudine di pen&longs;iero affaticar&longs;i, a che &longs;enza intermi&longs;&longs;ione pen&longs;are? </s> <s id="s.000245">certo non per altro, che <lb/>per manife&longs;tare in qualche materia e&longs;teriore la forma, che prima era nel pen&longs;iero, & nella men­<lb/>te; & però dice Vitr. dando fine alla diffinitione della Fabrica, quella e&longs;&longs;ere operatione manife­<lb/>&longs;ta in qualche materia fuori di noi, &longs;econdo il pen&longs;iero, che era in noi. </s> <s id="s.000246">Vero è, che Fabrica è <lb/>nome commune a tutte le parti dell'Architettura, & molto piu abbraccia, di quèllo che commu<lb/>nemente &longs;i &longs;tima, come &longs;i dirà poi.<emph.end type="italics"/></s> <s id="s.000247"> Di&longs;cor&longs;o è quello che le co&longs;e fabricate prontamente, <lb/>& con ragione di proportione puo dimo&longs;trando manife&longs;tare. </s> </p> <p type="main"> <s id="s.000248"><emph type="italics"/>Il di&longs;cor&longs;o è proprio dell'huomo, & la uirtu, che di&longs;corre, è quella che con&longs;idera quanto &longs;i puo <lb/>fare con tutte le ragioni all'opere pertinenti; & però erra il di&longs;cor&longs;o, quando lo intelletto non <lb/>concorda le proprietà delle co&longs;e atte a fare, con quelle che &longs;ono atte a riceuere. </s> <s id="s.000249">Di&longs;corre adun­<lb/>que l'huomo, cioè applica il principio al fine per uia del mezo: ilche, come s'è detto, è proprio <lb/>della humana &longs;pecie. </s> <s id="s.000250">Auenga che gli antichi habbiano à gli altri animali conce&longs;&longs;o una parte di <lb/>ragione, & chiamati gli habbiano mae&longs;tri dell'huomo, dicendo, che l'Arte del te&longs;&longs;ere è &longs;tata <lb/>pre&longs;a dalla Ragna, la di&longs;po&longs;itione della ca&longs;a, dalla Formica, il gouerno ciuile dalle Api; ma noi <lb/>trouamo, che quelli &longs;ono in&longs;tinti di natura, & non di&longs;cor&longs;i dell'Arte: & &longs;e Arte &longs;i deue chia­<lb/>mare la loro naturale, & non auueduta prudenza, perche non &longs;i potrebbe &longs;imilmente Arte chia­<lb/>mare la uirtù che nelle piante, & nelle pietre &longs;i truoua? </s> <s id="s.000251">Come l'Arte dello Elleboro purgar il fu­<lb/>rore, l'Arte della pietra ne i nidi dell'Aquile, detta Aetite, rila&longs;ciare i parti? </s> <s id="s.000252">Perche anche <lb/>non &longs;i potrebbe dire e&longs;&longs;ere un'Arte diuina che regge, & con&longs;erua il mondo? </s> <s id="s.000253">una Cele&longs;te che re­<lb/>gola i mouimenti de i cieli? </s> <s id="s.000254">una Mondana, che tramuta gli elementi? </s> <s id="s.000255">Ma la&longs;ciamo la tralatione <lb/>de i nomi, fatta per la &longs;imiglianza, & pigliamo la uerità, & la proprietà delle co&longs;e. </s> <s id="s.000256">Di&longs;cor&longs;o <lb/>adunque è come padre, &longs;econdo che detto hauemo di &longs;opra, dell'Architettura: nel quale ui bi&longs;o-<emph.end type="italics"/><pb pagenum="10" xlink:href="045/01/018.jpg"/><emph type="italics"/>gna &longs;olertia. </s> <s id="s.000257">Solertia non è altro, che &longs;ubita, & pronta inuentione del mezo. </s> <s id="s.000258">Et quello è me­<lb/>zo, che hauendo conuenienza con gli e&longs;tremi, lega quelli ad uno effetto, & però, nella &longs;olertia <lb/>&longs;i puo dire, che &longs;ia la uirtu del &longs;eme. </s> <s id="s.000259">La onde Vitr. u&longs;a quella parola.<emph.end type="italics"/> {<emph type="italics"/>Prontamente.<emph.end type="italics"/>} <emph type="italics"/>Che <lb/>nel latino dice &longs;olertia. </s> <s id="s.000260">Ma non è a ba&longs;tanza lo e&longs;&longs;er pronto a ritrouare il ucro, però che potreb<lb/>be e&longs;&longs;er quel uero poco atto à concludere, per que&longs;to &longs;oggiugne.<emph.end type="italics"/> {<emph type="italics"/>Con ragione di proportione.<emph.end type="italics"/>} <lb/><emph type="italics"/>Che co&longs;a &longs;ia Proportione, egli &longs;i dirà nel &longs;eguente capo. </s> <s id="s.000261">Vitr. ha parlato in modo, che quelle <lb/>parole che dicono.<emph.end type="italics"/> {<emph type="italics"/>Prontamente, & con ragione di proportione<emph.end type="italics"/>,} <emph type="italics"/>&longs;i po&longs;&longs;ono riferire a quella <lb/>parola<emph.end type="italics"/> {<emph type="italics"/>Fabricate.<emph.end type="italics"/>} <emph type="italics"/>Et il &longs;entimento &longs;arebbe che il Di&longs;cor&longs;o pote&longs;&longs;e dimo&longs;trare, cioè rendere <lb/>la ragione delle co&longs;e fabricate con &longs;olertia, & proportione, e&longs;&longs;endo l'ufficio dello Architetto <lb/>approuare le co&longs;e ragioneuoli. </s> <s id="s.000262">Ma &longs;ia quale &longs;i uoglia il &longs;en&longs;o, tutto è conforme al uero. </s> <s id="s.000263">piu &longs;e­<lb/>creta intelligenza &longs;i tragge anchora dalle co&longs;e dichiarate: & prima che lo Artefice ri&longs;petto al­<lb/>l'opera tiene doppia con&longs;ideratione: poi tiene doppia affettione a quelle con&longs;iderationi ri&longs;ponden­<lb/>te. </s> <s id="s.000264">La prima con&longs;ideratione è una &longs;emplice notitia uniuer&longs;ale, per la quale &longs;i dice, che l'huomo <lb/>&longs;a, quanto &longs;i richiede affine che l'opera rie&longs;ca, & niente piu ui aggiugne. </s> <s id="s.000265">L'altra è una notitia <lb/>particolare, & pro&longs;&longs;ima all'operare che con&longs;idera il tempo, il modo, il luogo, la materia. </s> <s id="s.000266">Da <lb/>que&longs;ta particolare cognitione na&longs;ce una affettione, che muoue l'huomo a comandare, & ad ope­<lb/>rare, come &longs;econdo la prima con&longs;ideratione l'huomo &longs;i compiaceua, & in uniuer&longs;ale abbraccia­<lb/>ua non l'opera, ma la cognitione, & però non è &longs;ufficiente que&longs;ta &longs;ola con&longs;ideratione: &longs;ola del di­<lb/>&longs;cor&longs;o, &longs;ola dell'uniuer&longs;ale: ma &longs;i richiede, quella &longs;econda notitia, & quella &longs;econda affettione <lb/>laquale è ripo&longs;ta nella fabrica. </s> <s id="s.000267">Dichiarita la diffinitione dell'Architettura, & dichiarito il na <lb/>&longs;cimento di quella, hora uiene Vitr. a formare lo Architetto, co&longs;a molto ragioneuole, & con <lb/>ueniente, come &longs;i uedrà dal &longs;eguente. </s> <s id="s.000268">dice adunque.<emph.end type="italics"/></s> <s id="s.000269"> Dalle dette co&longs;e ne &longs;egue, che quelli Ar­<lb/>chitettori i quali &longs;enza lettere tentato hanno di affaticar&longs;i, & e&longs;&longs;ercitar&longs;i con le mani, non han <lb/>no potuto fare, che s'habbiano per le fatiche loro acqui&longs;tato riputatione, & quelli, che ne <lb/>i di&longs;cor&longs;i, & nella cognitione delle lettere &longs;olamente fidati &longs;i &longs;ono, l'ombra, non la co&longs;a, <lb/>pare che habbiano &longs;eguitato. </s> <s id="s.000270">Ma chi l'una, & l'altra di que&longs;te co&longs;e hanno bene appre&longs;o, co­<lb/>me huomini di tutte armi coperti, & ornati, con credito, & riputatione, hanno illoro inten <lb/>to facilmente con&longs;eguito. </s> </p> <p type="main"> <s id="s.000271"><emph type="italics"/>Si come alla natural generatione &longs;i richiede l'uno & l'altro &longs;e&longs;&longs;o, & &longs;enza uno di loro niente <lb/>&longs;i concepe: co&longs;i allo e&longs;&longs;er Architetto che è una artificiale generatione unitamente il di&longs;cor&longs;o, <lb/>& la Fabrica &longs;i richiede. </s> <s id="s.000272">Et &longs;e alcuno &longs;i per&longs;uade&longs;&longs;e e&longs;&longs;er Architetto con la fabrica &longs;ola, oue­<lb/>ro col di&longs;cor&longs;o &longs;olo, egli s'ingannerebbe, & &longs;arebbe &longs;timato co&longs;a imperfetta. </s> <s id="s.000273">Et di gratia &longs;e uno <lb/>haue&longs;&longs;e il &longs;apere &longs;olamente, & u&longs;urpare &longs;i uole&longs;&longs;e il nome di Architetto, non &longs;arebbe egli &longs;otto­<lb/>po&longs;to alle offe&longs;e de gli e&longs;perti? </s> <s id="s.000274">non potrebbe ogni manoale (dirò co&longs;i) rimprouerargli, & dirgli <lb/>che fai tu? </s> <s id="s.000275">dall'altra parte &longs;e per hauere un lieue e&longs;&longs;ercitio, & alquanto di pratica, di &longs;i gran no <lb/>me degno e&longs;&longs;er &longs;i crede&longs;&longs;e, non potrebbe uno intelligente, & letterato chiudergli la bocca, di­<lb/>mandandogli conto, & ragione delle co&longs;e &longs;atte? </s> <s id="s.000276">& però bi&longs;ogna e&longs;&longs;er ornati, & armati di tut­<lb/>te arme per acqui&longs;tare la uittoria, & il uanto d'Architetto. </s> <s id="s.000277">Bi&longs;ogna e&longs;&longs;er coperto per dife&longs;a, <lb/>armato per offe&longs;a, ornato per gloria, maneggiando la i&longs;perienza con l'Artificio. </s> <s id="s.000278">perche adun­<lb/>que i puri pratichi non hanno acqui&longs;tato credito? </s> <s id="s.000279">perche l'Architettura na&longs;ce da di&longs;cor&longs;o. </s> <s id="s.000280">per­<lb/>che &longs;olo i letterati? </s> <s id="s.000281">percioche l'Architettura na&longs;ce da Fabrica. </s> <s id="s.000282">Et però dice Vitr.<emph.end type="italics"/> {<emph type="italics"/>Dalle det­<lb/>te co&longs;e.<emph.end type="italics"/>} <emph type="italics"/>Cioè dal na&longs;cimento dell'Architettura, che uiene da Fabrica, & da di&longs;cor&longs;o, cioè ope­<lb/>ra, & ragione ne &longs;egue quello, che egli dice. </s> <s id="s.000283">Ma in que&longs;to luogo potrebbe alcuno dubitare, & <lb/>dire, &longs;eu ramente l'Arte è nello intelletto, & nella mente, perche cagione ha detto Vitr. che <lb/>quelli, i quali nel &longs;apere &longs;i &longs;ono fidati, l'ombra non la co&longs;a, pare, che habbiano &longs;eguitato? </s> <s id="s.000284">Ri­<lb/>&longs;pondo, che le co&longs;e dello intelletto alla piu parte ombre paiono, & il uolgo &longs;tima le co&longs;e, in quan­<lb/>to, che a i &longs;en&longs;i, & a gli occhi&longs;ottopo&longs;te &longs;ono. </s> <s id="s.000285">& non in quanto non appareno. </s> <s id="s.000286">& que&longs;to auuie­<lb/>ne per la con&longs;uetudine, perche le genti non &longs;ono auezze a di&longs;correre. </s> <s id="s.000287">& però l'accorto Vitr. non<emph.end type="italics"/><pb pagenum="11" xlink:href="045/01/019.jpg"/><emph type="italics"/>afferma, che i letterati habbiano &longs;eguitato le ombre: ma dice<emph.end type="italics"/> {<emph type="italics"/>Pare<emph.end type="italics"/>} <emph type="italics"/>dinotando che il g'udi­<lb/>cio de gli imperiti è fatto &longs;opra le co&longs;e apparenti. </s> <s id="s.000288">Et però mi pare, che molti uaneggiano nel de­<lb/>cidere qual &longs;ia piu nobile, o la Scultura, o la Pittura; improche uanno alla materia, al tem­<lb/>po, & a molti altri accidenti, che non &longs;ono dell'. Arte. <!-- KEEP S--></s> <s id="s.000289">perche l'Arte è nello intelletto, la doue <lb/>tanto è pittore, & &longs;cultore il diuino Michiel Angelo, dormendo, & mangiando, quanto ope­<lb/>rando il pennello, o lo &longs;carpello: però egli &longs;i doueria con&longs;iderare, quale è piu degno habito nello in <lb/>telletto, la Pittura, o la Scultura. </s> <s id="s.000290">& co&longs;i la&longs;ciati i marmi, gli azurri, i rilieui, & le <lb/>pro&longs;pettiue, la facilità, ò la difficultà delle dette Arti; & allhora egli &longs;i potrebbe dire qualche <lb/>co&longs;a, che haue&longs;&longs;e del buono ma hora non è tempo di decidere que&longs;ta qui&longs;tione. </s> <s id="s.000291">Dice adunque <lb/>Vitr. che l'Arte non deue e&longs;&longs;er ocio&longs;a, ma con e&longs;&longs;a lei e&longs;&longs;er nece&longs;&longs;arie le mani; & que&longs;to approua <lb/>con altre parole dicendo.<emph.end type="italics"/></s> <s id="s.000292"> Perche &longs;e in ogni altra co&longs;a, come &longs;pecialmente nell'Architettu<lb/>ra, que&longs;te due parti &longs;i truouano cioè la co&longs;a &longs;ignificata, & quella, che &longs;igni&longs;ica, la co&longs;a &longs;i­<lb/>gnificata, è l'opera propo&longs;ta, dellaquale &longs;i parla. </s> <s id="s.000293">Quella, che &longs;igni&longs;ica è la proua, & il <lb/>perche di quella, con mae&longs;treuole ragione di dottrina e&longs;pre&longs;&longs;o, & dichiarito. </s> </p> <p type="main"> <s id="s.000294"><emph type="italics"/>Trale Arti ne &longs;ono alcune, il fine delle quali non pa&longs;&longs;a oltra la con&longs;ideratione delle co&longs;e a quel <lb/>le &longs;oggette, come &longs;ono le Mathematiche. </s> <s id="s.000295">Alcune &longs;ono che oltre la con&longs;ideratione uengono alla <lb/>operatione, ma ce&longs;&longs;ando l'operatione niente re&longs;ta di fatto. </s> <s id="s.000296">Come è l'arte del &longs;uonare, & del &longs;al­<lb/>tare, & altre &longs;imiglianti. </s> <s id="s.000297">Sonoui alcune che dietro a &longs;e la&longs;ciano alcuna opera, o lauoro, come è <lb/>l'Arte Fabrile, & l'Arte del fabricare. </s> <s id="s.000298">Appre&longs;&longs;o ue n'ha che a prendere, & acqui&longs;tare &longs;i dà, <lb/>come la caccia delle fiere, l'uccellare, & la pe&longs;cagione, in fine altre non a con&longs;iderare, non a fi­<lb/>nire, non a pigliare intente &longs;ono. </s> <s id="s.000299">Ma correggono, & emendano gli errori, & i danni delle co&longs;e <lb/>fatte, & quelle racconciano; come for&longs;e è la medicina, &longs;econdo Galeno. <!-- KEEP S--></s> <s id="s.000300">Con tutte le predette <lb/>Artianzi &longs;opra tutte è l'Architettura, come giudice, ch'ella è di cia&longs;cuna. </s> <s id="s.000301">La onde è nece&longs;&longs;a­<lb/>rio, che in e&longs;&longs;a &longs;i con&longs;ideri alcuna co&longs;a fatta, o da e&longs;&longs;er fatta, & la ragione: Et però due co&longs;e &longs;o­<lb/>no, l'una è la &longs;ignificata, & propo&longs;ta opera, l'altra è la &longs;ignificante cioè dimo&longs;tratiua ragione. </s> <s id="s.000302"><lb/>Tutti gli effetti adunque, tutte le opere, o lauori delle Arti, tutte le conclu&longs;ioni di tutte le &longs;cien <lb/>ze &longs;ono le co&longs;e &longs;ignificate; ma le ragioni, le proue, le cau&longs;e di quelle &longs;ono le co&longs;e &longs;ignificanti. </s> <s id="s.000303">Et <lb/>que&longs;to è, perche il &longs;egno &longs;i riferi&longs;ce alla co&longs;a &longs;ignificata: lo effetto alla cau&longs;a: La conclu&longs;ione alla <lb/>proua. </s> <s id="s.000304">Ma per dichiaratione dico, che &longs;ignificare è per &longs;egni dimo&longs;trare, & &longs;egnare è imprime <lb/>re il &longs;egno. </s> <s id="s.000305">La doue in ogni opera da ragione drizzata, & con di&longs;egno finita, è impre&longs;&longs;o il &longs;e­<lb/>gno dello Artefice, cioè la qualità, & la forma, che era nella mente di quello. </s> <s id="s.000306">percioche lo <lb/>Artefice opera prima nello intelletto, & concepe nella mente, & &longs;egna poi la materia e&longs;teriore, <lb/>dello habito interiore<emph.end type="italics"/> {<emph type="italics"/>Specialmente nell'Architettura.<emph.end type="italics"/>} <emph type="italics"/>Percioche ella &longs;opra ogni arte &longs;igni­<lb/>fica cioè rappre&longs;enta le co&longs;e alla uirtu, che cono&longs;ce, & concorre principalmente a formare il con <lb/>cetto &longs;econdo la &longs;ua intentione: & que&longs;to è proprio &longs;ignificare. </s> <s id="s.000307">Ma l'e&longs;&longs;er &longs;ignificato è proprio <lb/>e&longs;&longs;er rappre&longs;entato al &longs;opra detto modo. </s> <s id="s.000308">De i &longs;egni alcuni &longs;ono co&longs;i adentro, che ueramente &longs;ono <lb/>come cagioni delle co&longs;e. </s> <s id="s.000309">Altri fanno una &longs;oper&longs;iciale, & debile i&longs;timatione di quelle. </s> <s id="s.000310">Lo Ar­<lb/>chitetto la&longs;cia que&longs;ti ultimi &longs;egni all'oratore, & al poeta, & in&longs;ieme con la Dialettica, che è <lb/>modo dello artificio&longs;o di&longs;cor&longs;o abbraccia quelli, perche &longs;ono nece&longs;&longs;arij, intimi, & concludenti.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.000311">Donde adiuiene, che chi fa profe&longs;sione di Architetto pare, che nell'una, & ne l'altra <lb/>parte e&longs;&longs;er debbia e&longs;&longs;ercitato. </s> </p> <p type="main"> <s id="s.000312"><emph type="italics"/>Ogni agente nel grado, che egli tiene deue e&longs;&longs;er perfetto, accioche l'opera compita, & per­<lb/>fetta &longs;ia. </s> <s id="s.000313">Tre &longs;ono gli agenti, Diuino, Naturale, Artificiale: cioè Iddio, la natura, l'huo­<lb/>mo. </s> <s id="s.000314">Noi parleremo dell'huomo. </s> <s id="s.000315">Se adunque l'Architettura è co&longs;i eccellente, che ella giudica <lb/>l'opere delle Arti, bi&longs;ogno fa, che lo Architetto &longs;ia in talmodo formato, che egli po&longs;&longs;a far <lb/>l'ufficio del giudicare: Et però direi, che le infra&longs;critte co&longs;e gli &longs;ono nece&longs;&longs;arie. </s> <s id="s.000316">Prima, che egli <lb/>&longs;ia di natura docile, & per&longs;picace, cioè, che dimo&longs;tratagli una co&longs;a molto ageuolmente & pre­<lb/>&longs;to l'apprenda. </s> <s id="s.000317">Et benche di natura diuina è colui, che da &longs;e troua, & impara, non è però di<emph.end type="italics"/><pb pagenum="12" xlink:href="045/01/020.jpg"/><emph type="italics"/>poca lode, chi pre&longs;to s'ammae&longs;tra: come è d' infima conditione, chi nè da &longs;e &longs;te&longs;&longs;o nè per opera <lb/>de'mae&longs;tri apprende. </s> <s id="s.000318">Que&longs;te buone conditioni &longs;ono da Vitr. nelle dette parole compre&longs;e.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.000319">Donde adiuiene, che chi fa profe&longs;sione d'Architetto pare che nell'una & l'altra parte e&longs;­<lb/>&longs;er debbia effercitato cioè nella co&longs;a &longs;igni&longs;icata, & nella &longs;igni&longs;icante. <emph type="italics"/>Poi &longs;egue.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.000320">Doue & ingenio&longs;o, & docile bi&longs;ogna che egli &longs;ia, percioche nè lo ingegno &longs;enza lo am <lb/>mae&longs;tramento, nè lo ammae&longs;tramento &longs;enza lo ingegno puo fare l'huomo eccellente. </s> </p> <p type="main"> <s id="s.000321"><emph type="italics"/>Lo ingegno &longs;erue & alla inuentione, che fa l'huomo da &longs;e &longs;te&longs;&longs;o, & alla dottrina, che egli <lb/>impara da altri. </s> <s id="s.000322">Rare fiate adiuiene, che uno &longs;ia inuentore, & compito fattore d'un'arte, cioè, che <lb/>ritroiti, & riduca a perfettione tutto un corpo d'un'arte. </s> <s id="s.000323">però ben dice Vitr. che &longs;enza lo ingegno lo <lb/>ammae&longs;tramento, & &longs;enza lo ammae&longs;tramento lo ingegno non fa l'huomo eccellente. </s> <s id="s.000324">La &longs;econda <lb/>conditione dello Architetto, èla educatione, & lo e&longs;&longs;ercitio da primi anni fatto, nelle prime <lb/>&longs;cienze. </s> <s id="s.000325">prime chiamo l'Arithmetica, la Geometria, & l'altre di&longs;cipline. </s> <s id="s.000326">Que&longs;te hebbe Vitr. <lb/>per opera de i &longs;uoi progenitori, come egli confe&longs;&longs;a nel proemio del &longs;e&longs;to libro. </s> <s id="s.000327">La terza condi­<lb/>tione è l'hauere udito, & letto i piu eccellenti, & rari huomini, & &longs;crittori, come fece <lb/>Vitr. il quale atte&longs;ta nel proemio del &longs;econdo libro, quello, che io dico, dicendo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.000328">Io e&longs;ponerò &longs;eguitando gli ingre&longs;si della prima natura, & di quelli, che i principij del <lb/>con&longs;ortio humano, & le belle, & fondate inuentioni, con gli &longs;critti, & regole dedicaro­<lb/>no, & però come io &longs;ono da quelli ammae&longs;trato, dimo&longs;trerò. </s> </p> <p type="main"> <s id="s.000329"><emph type="italics"/>Et que&longs;to è quanto appartiene a gli &longs;crittori, & alla lettione de i buoni; ma quanto al­<lb/>la pre&longs;enza, & all'udita dice nel proemio del &longs;e&longs;to libro hauere hauuto ottimi precettori. </s> <s id="s.000330"><lb/>La quarta conditione è la toleranza delle fatiche, & il continuo pen&longs;iero, & ragiona­<lb/>mento delle co&longs;e pertinenti all'arte. </s> <s id="s.000331">Difficilmente &longs;i truoua ingegno eleuato, & man&longs;ue­<lb/>to. </s> <s id="s.000332">Vitruuio hebbe acuto ingegno, & &longs;offerente: però dice.<emph.end type="italics"/></s> <s id="s.000333"> Et dilettandomi delle co­<lb/>fe pertinenti al parlare, & alle arti, & delle &longs;critture de'commentarij. </s> <s id="s.000334">Io ho acqui&longs;tato <lb/>con l'animo quelle po&longs;&longs;e&longs;sioni, dalle quali ne uiene que&longs;ta &longs;omma di tutti i frutti, che <lb/>io non ho piu alcuna nece&longs;sità, & che io &longs;timo, quella e&longs;&longs;er la proprietà delle ricchezze <lb/>di di&longs;iderare niente piu. </s> </p> <p type="main"> <s id="s.000335"><emph type="italics"/>La quinta conditione è di non de&longs;iderare altro, che la uerità, nè altro hauere dinanzi a gii <lb/>occhi, & per meglio con&longs;eguirla, euui la &longs;e&longs;ta conditione, che con&longs;i&longs;te nello hauere una uia ragio <lb/>neuole di ritrouare il uero, & quella uia poco ci giouerebbe &longs;enza la &longs;ettima conditione, che è <lb/>po&longs;ta nell'u&longs;o della detta uia, & nell'applicatione di e&longs;&longs;a. </s> <s id="s.000336">Che Vitr. fu&longs;&longs;e &longs;tudio&longs;o del uero; che <lb/>egli haue&longs;&longs;e la regola di trouarlo; & che finalmente &longs;ape&longs;&longs;e u&longs;are la detta regola, molto bene ap­<lb/>pare nel &longs;uo procedere ordinatamente, nel &longs;ignificar le co&longs;e, nel dar forma, & perfettione a tut­<lb/>to il corpo dell'Architettura. <!-- KEEP S--></s> <s id="s.000337">Le dette conditioni &longs;i deduceno da i principij detti di &longs;opra, cioè dalla <lb/>diffinitione dell'Architettura, & dal &longs;uo na&longs;cimento, come &longs;i puo con&longs;iderando uedere. </s> <s id="s.000338">Ma noi a <lb/>Vitr. il quale narra quante co&longs;e fanno bi&longs;ogno all'Architetto, & quali, & perche cagione, & in <lb/>che modo.<emph.end type="italics"/></s> <s id="s.000339"> Appre&longs;&longs;o bi&longs;ogna che egli habbia lettere, perito &longs;ia nel di&longs;egno, erudito nella <lb/>Geometria, non ignorante della pro&longs;pettiua, &longs;appia l'Arithmetica, cono&longs;ca molte hi&longs;torie, <lb/>udito habbia con diligenza i filo&longs;ofi, di Mu&longs;ica, di Medicina, delle leggi, delle ri&longs;po&longs;te de <lb/>Iure con&longs;ulti &longs;ta intelligente, & finalmente rozo non &longs;ia nel cono&longs;cere la ragione del cie­<lb/>lo, & deile &longs;telle. </s> </p> <p type="main"> <s id="s.000340"><emph type="italics"/>Poi che Vitruuio ha detto quante, & quali co&longs;e &longs;ono neceßarie per formare un'eccellente Ar­<lb/>chitetto dice perche ragione co&longs;i bi&longs;ogno &longs;ia & partitamente di cia&longs;cuna ne rende conto dicendo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.000341">Ma perche co&longs;i bi&longs;ogno &longs;ia, que&longs;ta è la ragione. </s> <s id="s.000342">E nece&longs;&longs;ario che lo Architetto hab­<lb/>bia lettere, accioche leggendo gli &longs;critti libri, commentari nominati, la memoria &longs;i fac­<lb/>cia piu ferma. </s> </p> <p type="main"> <s id="s.000343"><emph type="italics"/>Il giudicare è co&longs;a da prudente; la prudenza compara le co&longs;e &longs;eguite con le in&longs;tanti, & fa &longs;ti­<lb/>ma delle &longs;eguenti. </s> <s id="s.000344">Le co&longs;e &longs;eguite per memoria &longs;i hanno, però è neceßario a quell' ufficio di giudi-<emph.end type="italics"/><pb pagenum="13" xlink:href="045/01/021.jpg"/><emph type="italics"/>care che apartiene allo Architetto hauere memoria ferma delle co&longs;e, & la memoria ferma &longs;i fa <lb/>per la lettione, perche le co&longs;e &longs;tanno fermamente ne gli &longs;critti: però bi&longs;ogna, che lo Architetto <lb/>habbia la prima arte, detta cognitione di lettere, cioè del parlare, & dello &longs;criuere drittamente. </s> <s id="s.000345"><lb/>Egli &longs;i ferma adunque la memoria con la lettione de'commentarij. </s> <s id="s.000346">il nome i&longs;teßo lo dimo&longs;tra, per­<lb/>cioche Commentario è detto, come quello, che alla mente commetta le co&longs;e, & è breue, & &longs;uc­<lb/>cinta narratione di co&longs;e; la doue con la breuita &longs;ouuiene alla memoria. </s> <s id="s.000347">Bi&longs;ogna adunque leggere, <lb/>& le co&longs;e lette, per la mente riuolgere; altrimenti male ne auuerrebbe dalla inuentione delle let­<lb/>tere (come dice<emph.end type="italics"/> P<emph type="italics"/>latone) percioche fidando&longs;i gli huomini ne gli &longs;critti, &longs;i fanno pigri, & negli­<lb/>genti. </s> <s id="s.000348">Vitr. hebbe cognitione di lettere Greche, & latine; usò i uocaboli Greci, & confe&longs;&longs;a <lb/>hauere da Greci molte belle co&longs;e ne i &longs;uoi commentarij traportate. </s> <s id="s.000349">In que&longs;to modo io dichiaro ha <lb/>uere cognitione di lettere: perche piu &longs;otto pare, che Vitr. co&longs;i uoglia: e&longs;ponendo cognitione di <lb/>lettere e&longs;&longs;er la Grammatica. </s> <s id="s.000350">Altri intendono l'arti &longs;critte: ma io uedo, che l'arti &longs;critle &longs;enza <lb/>Grammatica, & letteratura non &longs;i hanno. </s> <s id="s.000351">Et for&longs;e dal non intendere le lettere è nata la difficul­<lb/>tà di intendere Vitr. & la &longs;correttione de i te&longs;ti.<emph.end type="italics"/></s> <s id="s.000352"> Appre&longs;&longs;o habbia di&longs;egno, accioche con di­<lb/>pinti e&longs;&longs;empi, ogni maniera d'opera, che egli faccia formi, & dipinga. </s> </p> <p type="main"> <s id="s.000353"><emph type="italics"/>Tutte le Matematiche hanno &longs;ottopo&longs;te alcune arti, le quali, nate da quelle, &longs;i danno alla pra <lb/>tica, & all'operare. </s> <s id="s.000354">Sotto l'A&longs;tronomia è la nauigatione. </s> <s id="s.000355">Sotto la Mu&longs;ica è quella pratica di <lb/>cantare, & di &longs;uonare diuer&longs;i in&longs;trumenti, &longs;otto l'Arithmetica, è l'abaco, & l'algebra. </s> <s id="s.000356">Sotto <lb/>la Geometria è la perticatione, & l'arte di mi&longs;urarei terreni. </s> <s id="s.000357">Sono anche altre arti nate da piu <lb/>di una delle predette, come è la pratica della pro&longs;pettiua. </s> <s id="s.000358">Vitr. uuole che non &longs;olamente habbia­<lb/>mo quelle prime, & communi, che rendeno le ragioni delle co&longs;e; ma anche le pratiche, & gli e&longs;­<lb/>&longs;ercitij na&longs;ciuti da quelle. </s> <s id="s.000359">& però quanto al di&longs;egno uuole che habbiamo facilità, & pratica, & <lb/>la mano pronta a tirar dritte linee. </s> <s id="s.000360">& uuole, che habbiamo la ragione di quelle: che altro non è <lb/>che certa, & ferma determinatione concetta nella mente e&longs;pre&longs;&longs;a con linee, & anguli, approua­<lb/>ta dal uero. </s> <s id="s.000361">il cui ufficio è di pre&longs;criuere a gli edificij luogo atto, numero certo, modo degno, & or <lb/>dine grato. </s> <s id="s.000362">Que&longs;ta ragione non ua dietro alla materia, ma è la i&longs;te&longs;&longs;a in ogni materia. </s> <s id="s.000363">perche <lb/>la ragione del circolo, è la mede&longs;ima nel ferro, nel piombo, in cielo, m terra, & nell'Abi&longs;&longs;o. <!-- KEEP S--></s> <s id="s.000364">Fa <lb/>dunque bi&longs;ogno hauere la peritia de i lineamenti, che Vitr. chiama<emph.end type="italics"/> {<emph type="italics"/>Peritiam graphidos<emph.end type="italics"/>} <emph type="italics"/>che <lb/>è peritia de i lineamenti, che &longs;erue a pittori, &longs;cultori, intagliatori, & &longs;imiglianti. </s> <s id="s.000365">La quale in <lb/>quel modo &longs;erue alle arti predette, che le Mathematiche &longs;erueno alla Filo&longs;ofia. <!-- KEEP S--></s> <s id="s.000366">Que&longs;ta peritia <lb/>contiene la dimen&longs;ione, & la terminatione delle co&longs;e, cioè la grandezza, & i contorni. </s> <s id="s.000367">la gran­<lb/>dezza s'ha per le &longs;quadre, & per le regole, che in piedi, & once di&longs;tinte &longs;ono. </s> <s id="s.000368">Il contorno &longs;i pi­<lb/>glia con uno in&longs;trumento del Raggio, & del finitore compo&longs;to, del quale ne tratta Leon Batti&longs;ta: <lb/>& da quello &longs;i piglia de comparationi di tutte le membra alla grandezza di tutto il corpo; le diffe­<lb/>renze, & le conuenienze di tutte le parti tra &longs;e &longs;te&longs;&longs;e, alle quali la pittura aggiugne i colori, & <lb/>le ombre. </s> <s id="s.000369">Bi&longs;ogna adunque, che lo Architetto habbia di&longs;egno. </s> <s id="s.000370">Ilche &longs;i uede per le co&longs;e dette <lb/>nel quinto libro al &longs;e&longs;to capo, della conformatione del Theatro. <!-- KEEP S--></s> <s id="s.000371">Similmente all'ottauo del detto li­<lb/>bro, doue &longs;itratta della di&longs;crittione delle &longs;cene. </s> <s id="s.000372">Et al quarto del &longs;e&longs;to, & in molti luoghi, doue <lb/>&longs;i puo uedere quanto nece&longs;&longs;aria &longs;ia la pratica del di&longs;egno, la qual pratica è pre&longs;a dalla Geometria, <lb/>come quando bi&longs;ogno è di pigliare una linea a piombo &longs;opra un'altra, formare gli angoli dritti, <lb/>partirgli, & mi&longs;urargli, & fare le figure di piu lati, trouar il centro di tre punti, parti­<lb/>re un piano, & &longs;imili altre co&longs;e, che giouano à far le piante, & i rilieui, & mi&longs;urare i <lb/>corpi regolari, & irregolari, le quali tutte co&longs;e alla data apritura della &longs;e&longs;ta con ragione, & <lb/>con opera &longs;i po&longs;&longs;ono dimo&longs;trare, & fare. </s> <s id="s.000373">Et però dice Vitruuio che<emph.end type="italics"/>, La Geometria gioua <lb/>molto allo Architetto, perche ella in&longs;egna l'u&longs;o della linea dritta & circolare, dal che poi <lb/>ageuolmente ne i piani &longs;i fanno i di&longs;egni de gli edificij, & le dritture delle &longs;quadre, dei <lb/>liuelli, & de i lineamenti. </s> </p> <p type="main"> <s id="s.000374"><emph type="italics"/>L'Arte del mi&longs;urare è detta Geometria; & benche il &longs;oggetto delle Mathematiche &longs;ia la<emph.end type="italics"/><pb pagenum="14" xlink:href="045/01/022.jpg"/><emph type="italics"/>quantità intelligibile, il che &longs;e non fu&longs;&longs;e, bi&longs;ognarebbe per ogni quantità naturale fare una &longs;cien <lb/>tia di nuouo; non dimeno la Geometria gioua al di&longs;egno, & alla pratica per la &longs;ua uirtu & for <lb/>za. </s> <s id="s.000375">come &longs;i uede nella uoluta del capitello Ionico, nel compartimento delle Metrope, & Tri­<lb/>gliphi nell' opera Dorica, & in molte proportionate mi&longs;ure. </s> <s id="s.000376">Oltra di que&longs;to perche egli adiuie­<lb/>ne, che è nece&longs;&longs;ario liuellare i piani, quadrare, & drizzare i terreni, però bi&longs;ogna hauere la <lb/>Geometria; come &longs;i uede nel liuellar delle acque nell' ottauo, nella diui&longs;ione delle opere nel <lb/>primo; nel mi&longs;urar i terreni nel nono; & finalmente in ogni parte: doue egli &longs;i puo dire, che la <lb/>Geometria è madre del di&longs;egno, & è la ragione di quello, laquale è po&longs;ta in &longs;apere la cagio­<lb/>ne de gli effetti fatti con la regola, & col compa&longs;&longs;o, che &longs;ono le linee dritte, le piegate, gli <lb/>archi, i uolti, le corde, & le dritture, per u&longs;are i nomi della prattica. </s> <s id="s.000377">la Geometria adun <lb/>que dal punto procede, le linee di&longs;te&longs;e, le torte, le pendenti, le trauer&longs;e, l'equid&longs;tanti, gli <lb/>inguli giu&longs;ti, larghi, & &longs;tretti, le punte, i circoli intieri, imperfetti, & compo&longs;ti. </s> <s id="s.000378">le figure <lb/>di piu lati, le &longs;operficie, i corpi regolari, & irregolari, le piramidi, le sfere, l'aguglie, li ta­<lb/>gli, & altre co&longs;e che alle colonne, a gli architraui, alle cube, tribune, lanterne, & a mol­<lb/>te altre parti appartengono. </s> <s id="s.000379">& a que&longs;to modo la Geometria è nece&longs;&longs;aria allo Architetto. <!-- KEEP S--></s> <s id="s.000380">& <lb/>que&longs;ta hebbe Vittr. <!-- REMOVE S-->come appare in molti luoghi, & &longs;pecialmente nel vi. </s> <s id="s.000381">& viij. </s> <s id="s.000382">libro.<emph.end type="italics"/></s> <s id="s.000383"> Per la <lb/>Pro&longs;pettiua anche nelle fabriche &longs;i pigliano i lumi da certe & determinate parti del Cielo. <!-- KEEP S--></s> </p> <p type="main"> <s id="s.000384"><emph type="italics"/>Pro&longs;pettiua è nome del tutto, & nome della parte. </s> <s id="s.000385">Pro&longs;pettiua in generale è quella che di­<lb/>mo&longs;tra tre ragioni del uedere, la dritta, la rifle&longs;&longs;a, la rifranta. </s> <s id="s.000386">nella dritta &longs;i comprende la ca­<lb/>gione de gli effetti che fanno le co&longs;e ui&longs;ibili medianti i lumi po&longs;ti per dritto. </s> <s id="s.000387">la rifle&longs;&longs;a è la ra <lb/>gione del ri&longs;alimento, & rinuerbero de i raggi, che &longs;i fa come da gli &longs;pecchi piani, caui, ri­<lb/>torti, riuer&longs;ci, & altre figure. </s> <s id="s.000388">La rifranta è la ragione delle co&longs;e che appareno per mezo di <lb/>alcuna co&longs;a lucida & trapparente, come &longs;otto l'acqua, per lo uetro: oltra le nubi, & que&longs;ta <lb/>pro&longs;pettiua &longs;i chiama pro&longs;pettiua de i lumi naturali, &longs;peculatina, & di grande conditione tra <lb/>le parti della Filo&longs;ofia: perche il &longs;uo &longs;oggetto è la luce giocondi&longs;&longs;ima alle ui&longs;te & a gli animi <lb/>de mortali. </s> <s id="s.000389">La doue e&longs;&longs;endo noi nelle &longs;tanze rinchiu&longs;i per dife&longs;a del freddo, & del caldo, ne­<lb/>ce&longs;&longs;ario è, che habbiamo la diletteuoli&longs;&longs;ima pre&longs;enza della luce, & del lume, &longs;ia egli o dritto, <lb/>o rifle&longs;&longs;o: & però è nece&longs;&longs;ario, che lo Architetto habbia la pro&longs;pettiua. </s> <s id="s.000390">Ma quando que&longs;to <lb/>nome è nome di parte, egli riguarda alla pratica, & &longs;uol fare co&longs;e merauiglio&longs;e, dimo&longs;tran­<lb/>do ne i piani politi i rilieui, le di&longs;tanze, il fuggire, & lo &longs;corcio delle co&longs;e corporali: però <lb/>nel terzo libro al &longs;econdo capo uuole Vitruuio, che le colonne de i portici, che &longs;tanno &longs;u le can<lb/>tonate &longs;ieno piu gro&longs;&longs;e, che quelle, che nel mezo trapo&longs;te &longs;ono: percioche lo aere circon&longs;tante <lb/>diminui&longs;ce, & leua della ui&longs;ta, & mangia dirò co&longs;i della gro&longs;&longs;ezza delle colonne angolari. </s> <s id="s.000391">& <lb/>nel fine del detto libro comanda, che tutte le membra &longs;opra i capitelli, come &longs;ono Architraui, <lb/>Fregi, Gocciolatoi, Fronti&longs;picij &longs;iano inclinati per la duodecima parte cia&longs;cuno della fronte <lb/>&longs;ua: & que&longs;to &longs;olo per la ueduta, come &longs;i dirà. </s> <s id="s.000392">Vuole altroue che le colonne canellate appa­<lb/>rino piu gro&longs;&longs;e, che le &longs;chiette. </s> <s id="s.000393">& in &longs;omma la pittura delle Scene tutta è po&longs;ta in que&longs;ta parte <lb/>di pro&longs;pettiua, dal che ella ne prende il nome, & &longs;i chiama Scenografia, come &longs;i dirà nel quinto <lb/>libro. </s> <s id="s.000394">Per que&longs;te co&longs;e &longs;i comprende, & che la pro&longs;pettiua è nece&longs;&longs;aria allo Architetto, & che <lb/>Vitruuio di quella non è &longs;tato imperito.<emph.end type="italics"/></s> <s id="s.000395"> Col mezo della Arithmetica &longs;i fa la &longs;omma delle <lb/>&longs;pe&longs;e, &longs;i dimo&longs;tra la ragione delle mi&longs;ure, & con modi, & uie ragioneuoli &longs;i trouano le <lb/>difficili que&longs;tioni delle proportionate mi&longs;ure. </s> </p> <p type="main"> <s id="s.000396"><emph type="italics"/>Il uulgo &longs;tima quelle pratiche na&longs;ciute dalle Mathematiche che noi &longs;opra dicemmo, e&longs;&longs;er ue­<lb/>re Arti, & eccellenti&longs;&longs;ime uirtuti; ilche non è: percioche non rendeno le ragioni delle co&longs;e, ben­<lb/>che dimo&longs;trino effetti diletteuoli, & belli. </s> <s id="s.000397">Vitru. (come ho detto) abbraccia, & la principa­<lb/>le, & la meno principale, come &longs;i uede nella Arithmetica, & nella predetta ragione della <lb/>Geometria, & del di&longs;egno. </s> <s id="s.000398">l'Abaco prima è uennto dalla uera Arithmetica, & que&longs;to è ne­<lb/>ce&longs;&longs;ario per far conto delle &longs;pe&longs;e, imperoche uano &longs;arebbe il di&longs;egno, uana la fatica del princi-<emph.end type="italics"/><pb pagenum="15" xlink:href="045/01/023.jpg"/><emph type="italics"/>piare, &longs;e l'opera per alcuno impedimento non pote&longs;&longs;e andar inanzi, & tra gli impedimenti la &longs;pe <lb/>&longs;a è il maggiore: però nel proemio del decimo libro loda Vitr. la legge de gli Efe&longs;ii, della pena de <lb/>gli Architetti, che faceuano &longs;pendere a i conduttori molto piu di quello che haueuano affer­<lb/>mato, & prome&longs;&longs;o. </s> <s id="s.000399">Ma benche ageuolmente &longs;i faccia il conto, non però ageuolmente &longs;i cono­<lb/>&longs;ce, &longs;opra che egli &longs;i debbia fare: & però Vittr. <!-- REMOVE S-->nel predetto proemio dice che &longs;olamente quel­<lb/>li farebbono profe&longs;&longs;ione di Architetto, i quali con &longs;ottigliezza di dottrine fu&longs;&longs;ero prudenti. </s> <s id="s.000400"><lb/>Ma piu adentro penetrando, oltra la pratica del numerare, che con&longs;i&longs;te nella rappre&longs;entatione <lb/>de i numeri, nel raccogliere, nell'abbattere, nel moltiplicare, nel partire, nello raddoppiare, <lb/>nello &longs;mezare, nel cauare le radici &longs;i de gli intieri, come de i rotti, & anche in una certa, <lb/>& ordinata &longs;alita di raccogliere, che &longs;i chiama Progre&longs;&longs;ione. </s> <s id="s.000401">utile è l'Arithmetica a dimo­<lb/>&longs;trare le ragioni delle mi&longs;ure, & a &longs;ciorre le dubitationi, che per Geometria &longs;ono in&longs;olubili, co­<lb/>me nel nono libro ci dimo&longs;tra hauere & Platone, & Pithagora, & Archimede ritrouato <lb/>molte co&longs;e mirabili. </s> <s id="s.000402">Et in uero uero è quello, che dice Platone, che gli huomini di natura <lb/>Arithmetici &longs;ono atti ad ogni di&longs;ciplina, come quelli, che in &longs;e habbiano prontezza, & al­<lb/>tezza di &longs;pirito. </s> <s id="s.000403">Ma perche cagione Vitr. tocca di que&longs;te cognitioni & le &longs;peculatine, & le <lb/>pratiche? </s> <s id="s.000404">certo non per altro, che per dimo&longs;trare e&longs;&longs;er uero, quanto egli ha detto di &longs;opra, <lb/>cioè che &longs;i ricerca di&longs;cor&longs;o, et fabrica. </s> <s id="s.000405">et che in ogni arte è la co&longs;a &longs;ignificata, et la &longs;ignificante.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.000406">La cognitione della i&longs;toria fa, che &longs;i &longs;a la ragione di molti ornamenti che &longs;ogliono fa <lb/>re gli Architetti nelle opere loro. <emph type="italics"/>Vitr. è chiaro per gli e&longs;&longs;empi, che egli dà, dicendo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.000407">Come &longs;e alcuno po&longs;to haue&longs;&longs;e in luogo di colonne le &longs;tatue feminili di marmo, quel­<lb/>le che Cariati &longs;ono chiamate, ue&longs;tite di habito lungo, & matronale. </s> <s id="s.000408">& &longs;opra quelle po&longs;to <lb/>haue&longs;&longs;e i modiglioni, & i goccialatoi, co&longs;i di tal'opra, a chi ne dimanda&longs;&longs;e, ne ren­<lb/>derebbe ragione. </s> <s id="s.000409">Caria Città della Morea &longs;i congiun&longs;e con Per&longs;iani contra la Grecia. <!-- KEEP S--></s> <s id="s.000410"><lb/>i Greci con la uittoria glorio&longs;amente dalla guerra liberati di commune con&longs;iglio &longs;i mo&longs;­<lb/>fero contra i Cariati, & pre&longs;a la loro fortezza, ucci&longs;i gli huomini, & &longs;pianata la terra, <lb/>per i&longs;chiaue leuorno le matrone loro, non &longs;opportando, che quelle depone&longs;&longs;ero gli ha­<lb/>biti, & gli ornamenti di matrone, accioche non in uno &longs;olo trionfo condotte fu&longs;&longs;ero, <lb/>ma con eterno e&longs;&longs;empio di &longs;eruitu da grande &longs;corno oppre&longs;&longs;e, per tutte le Città loro pa­<lb/>re&longs;&longs;ero portare la pena, gli Architetti de que tempi ne i publici edificij po&longs;ero le imagini <lb/>di quelle matrone per &longs;o&longs;tenimento de i pe&longs;i, accioche alla memoria de i po&longs;teri la cono­<lb/>&longs;ciuta pena de gli errori de' Cariati commendata fu&longs;&longs;e. </s> </p> <p type="main"> <s id="s.000411"><emph type="italics"/>Noi adunque dalle parole di Vitr. prenderemo argomento di ornare gli edificij con la memo<lb/>ria di que fatti, che grati &longs;aranno a que Principi ouero a quelle republiche, le quali noi uorre­<lb/>mo honorare, & honorandole a noi grate rendere, & fauoreuoli. </s> <s id="s.000412">come &longs;te&longs;&longs;ero &longs;otto i pe&longs;i quel <lb/>le matrone Vitr. non dichiara. </s> <s id="s.000413">prende&longs;i argomento da Atheneo dotto, & diletteuole &longs;crittore, <lb/>che &longs;te&longs;&longs;ero col capo &longs;ottopo&longs;to, & con la &longs;ini&longs;tra mano leuata al &longs;o&longs;tenimento de i pe&longs;i. </s> <s id="s.000414">Ma <lb/>non ci douemo obligare a credere che &longs;olamente le Cariati &longs;te&longs;&longs;ero in quella maniera. </s> <s id="s.000415">ben loda­<lb/>remo lo ingegno di Vitr. che dimo&longs;trando la i&longs;toria e&longs;&longs;er nece&longs;&longs;aria allo Architetto, egli habbia uo <lb/>luto narrare con forma, et idea i&longs;torica, que&longs;to fatto de Greci et il &longs;eguente de' prigioni Per&longs;iani.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.000416">Similmente i Lacedemonij &longs;otto Pau&longs;ania figliuolo di Ege&longs;ipolide dopo il fatto d'arme <lb/>di Platea, hauendo con poca gente &longs;uperato il numero&longs;o e&longs;&longs;ercito de' Per&longs;iani, & con gran <lb/>gloria trionfato: de i dinari tratti delle &longs;poglie, & della preda, fabricorono in luogo di <lb/>trofeo della uittoria il portico Per&longs;iano dimo&longs;tratore della lode, & della uirtu de i cit­<lb/>tadini. </s> <s id="s.000417">& in quel portico po&longs;ero i Simulachri de i prigioni con l'ornamento barbaro del <lb/>ue&longs;tire, che &longs;o&longs;teneuano il tetto, hauendo con meritato di&longs;pregio la loro &longs;uperbia ca­<lb/>&longs;tigato: af&longs;ine che i nimici cagione haue&longs;&longs;ero di temere impauriti della fortezza loro, & <lb/>i cittadini guardando in quello e&longs;&longs;empio di uirtu, dalla gloria &longs;olleuati alla dife&longs;a della li <lb/>bertà pronti fu&longs;&longs;ero, & preparati: la doue ne gli anni &longs;eguenti molti cominciorno a por-<pb pagenum="16" xlink:href="045/01/024.jpg"/>re le &longs;tatue Per&longs;iane, che &longs;o&longs;teneuano gli Architraui, & i loro ornamenti: & d'indi tra&longs;&longs;ero <lb/>argomento di accre&longs;cere nelle opere marauiglio&longs;a uarietà di maniere. </s> <s id="s.000418">Di &longs;imiglianti altre <lb/>ne &longs;ono, delle quali bi&longs;ogna che lo Architetto ne &longs;ia bene informato. </s> </p> <p type="main"> <s id="s.000419"><emph type="italics"/>Come &longs;i legge della inuentione del capitello Corinthio nel quarto, & d'altri effetti, che &longs;i ue<lb/>dranno leggendo. </s> <s id="s.000420">egli &longs;i ha nel primo libro di Tucidide Pau&longs;ania Spartano figliuolo di Cleom-<emph.end type="italics"/><lb/><figure id="id.045.01.024.1.jpg" xlink:href="045/01/024/1.jpg"/><lb/><emph type="italics"/>broto capitano de Greci. <!-- KEEP S--></s> <s id="s.000421">Plutarco citando Chi&longs;iferno nelle comparationi de Romani, & de i <lb/>Greci, narra, che di&longs;correndo i Greci per la Per&longs;ia, & facendo di molte prede Pau&longs;ania duce de <lb/>Lacedemonij riceuè quaranta talenti d'oro da Xer&longs;e, accioche gli tradi&longs;&longs;e la Grecia. <!-- KEEP S--></s> <s id="s.000422">la qual co <lb/>&longs;a poi, che &longs;i ri&longs;eppe, hauendo Age&longs;ilao padre per&longs;eguitato il figliuolo fin' al tempio di Pallade <lb/>& edicalcha otturò con mattoni le porte del tempio, & iui per fame lo fece con&longs;umare: & la<emph.end type="italics"/><pb pagenum="17" xlink:href="045/01/025.jpg"/><emph type="italics"/>madre lo la&longs;ciò in&longs;epolto. </s> <s id="s.000423">Que&longs;to dice Plutarco diuer&longs;amente da Tucidide. </s> <s id="s.000424">Soleuano i Greci <lb/>nel luogo oue haueuano po&longs;to in fuga, & &longs;uperati i nemici tagliare i rami de gli alberi, & orna­<lb/>re i tronchi di &longs;poglie ho&longs;tili, per &longs;egno, & raccordanza della uittoria; quel tronco co&longs;i adorno <lb/>&longs;i chiamaua trofeo, come in Tucidide &longs;i legge in molti luoghi. </s> <s id="s.000425">I Lacedemonij hauendo uinto i Per­<lb/>&longs;iani, in uece di trofeo, fecero co&longs;a piu illu&longs;tre, & memorabile, percioche de i dinari tratti del­<lb/>le uendute &longs;poglie, che &longs;i chiamano Manubie, & della preda, che è tutto il corpo del butino, <lb/>fecero il portico detto Per&longs;iano, del quale Pau&longs;ania ne i Laconici ne fa mentione. </s> <s id="s.000426">Ragiona <lb/>anche nell'Attica della &longs;tirpe di Pau&longs;ania, & nell'Arcadia dice, che Pau&longs;ania figliuolo di <lb/>Cleombroto duce de Plate&longs;i, hebbe impedimento di e&longs;&longs;er chiamato benemerito della Grecia per <lb/>le ribalderie, che egli fece dapoi. </s> <s id="s.000427">Dalle i&longs;torie adunque lo Architetto prende occa&longs;ione, di ador <lb/>nare le opere &longs;ue, come anche Vitr. in molti luoghi adorna i uolumi &longs;uoi, come nel &longs;e&longs;to capo del <lb/>primo, nel nono del &longs;econdo, nel primo del &longs;e&longs;to, & ne i proemi de i &longs;uoi libri, & altroue è pie­<lb/>no di belli&longs;&longs;imi ammae&longs;tramenti tratti dall'i&longs;torie.<emph.end type="italics"/></s> </p> <figure id="id.045.01.025.1.jpg" xlink:href="045/01/025/1.jpg"/> <p type="main"> <s id="s.000428">La Filo&longs;ofia fa lo Architetto d'animo grande, &longs;enza arroganza, piaceuole, giu&longs;to, & <lb/>fedele, non auaro; il che è co&longs;a grandi&longs;sima: la doue &longs;enza fede, & ca&longs;tità niuna co&longs;a <pb pagenum="18" xlink:href="045/01/026.jpg"/>ueramente &longs;i può fare. </s> <s id="s.000429">La Filo&longs;ofia oltra di que&longs;to non la&longs;cia entrare la cupidita, ne per­<lb/>mette che l'animo &longs;ia occupato in riceuer doni, ma fa che con grauità &longs;i difenda la pro­<lb/>pria dignità, & &longs;e ne riporti buon nome. </s> </p> <p type="main"> <s id="s.000430"><emph type="italics"/>La Filo&longs;ofia dimo&longs;tra allo Architetto il modo di uiuere acco&longs;tumatamente; perche nella Filo&longs;o <lb/>fia, che è amore & &longs;tudio di &longs;apienza, cioè del bene, & del uero, & la &longs;peculatione delle co&longs;e, <lb/>& la Regola delle attioni: l'una & l'altra è nece&longs;&longs;aria allo Architetto. <!-- KEEP S--></s> <s id="s.000431">Quanto alla regola <lb/>delle attioni dice Vitr. che la Filo&longs;ofia è nece&longs;&longs;aria allo Architetto, perche la Filo&longs;ofia ua facen­<lb/>do l'Architetto d'animo grande, sì per abbracciare le grandi impre&longs;e, come per non temere le <lb/>graui offe&longs;e. </s> <s id="s.000432">Ma perche pare che la grandezza dello animo apporti il di&longs;prezzo altrui, & una <lb/>certa &longs;euerità, & arroganza: però &longs;ia lo Architetto di grande animo &longs;enza arroganza, che è <lb/>uitio oppo&longs;to alla uerità, che oltra il debito attribui&longs;ce a &longs;e. </s> <s id="s.000433">&longs;ia piaceuole sì nell'udire, & &longs;atisfa­<lb/>re alle dimande de gli imperiti, sì nel &longs;opportare i loro difetti. </s> <s id="s.000434">Ma perche la facilità di natura, <lb/>& la piaceuolezza puo piegare alla ingiu&longs;titia: però come mae&longs;tro di proportione &longs;ia egli giu­<lb/>&longs;to, & eguale ad ognuno, & nella egualità &longs;ia fedele nel con&longs;igliare, non &longs;ia auaro nel pigliar <lb/>doni, nè cupido nel de&longs;iderargli. </s> <s id="s.000435">Con que&longs;te conditioni lo Architetto, con&longs;eruerà il grado, <lb/>re&longs;terà honorato, & con &longs;ua fatica uiuendo accomodato, dopo &longs;e la&longs;cierà fama immortale. </s> <s id="s.000436">Et però <lb/>Vitr. hauendo cono&longs;ciuto in &longs;e &longs;te&longs;&longs;o quanto &longs;ia l'ornamento delle predette uirtù, & brutta la <lb/>macchia de gli oppo&longs;ti errori, dimo&longs;tra in molti luoghi dell'opera &longs;ua &longs;timare piu la uerità che <lb/>le ricchezze, piu la gloria che l'utile, & bia&longs;ima gli adulatori, arroganti, & auari Ar­<lb/>chitetti, come da i proemi de i libri &longs;uoi &longs;i puo uedere, i quali ueramente &longs;e fu&longs;&longs;ero uno <lb/>proemio &longs;olo a tutti i uolumi &longs;i deono leggere inanti, & molto bene con&longs;iderare. </s> <s id="s.000437">La Filo­<lb/>&longs;ofia adunque ci gioua alla uirtu de i co&longs;tumi, &longs;imilmente ci gioua quanto alla parte po&longs;ta <lb/>nella cognitione del uero, come dice Vitruuio.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.000438">Appre&longs;&longs;o la Filo&longs;ofia ci e&longs;plica la &longs;cienza delle co&longs;e naturali, che da Greci è detta phy­<lb/>&longs;iologia, laquale è nece&longs;&longs;ario che lo Architetto con &longs;tudio maggiore habbia cono&longs;ciuto; <lb/>come quella che in &longs;e contenga molte & diuer&longs;e dimande naturali; come anche &longs;i uede nel <lb/>condurre le acque. </s> <s id="s.000439">percioche ne i cor&longs;i, nelle uolte, & nelle sboccature, & u&longs;cite nei <lb/>piani liuellati, gli &longs;piriti naturali a molti modi &longs;i fanno, a i danni, & difetti delle quali <lb/>co&longs;e niuno potrà rimediare &longs;e non chi dalla Filo&longs;ofia haurà pre&longs;o i principij dalla natura <lb/>delle co&longs;e. </s> <s id="s.000440">Oltra di que&longs;to chi leggerà i uolumi di Cte&longs;ibio, o di Archimede, & de gli <lb/>altri, che hanno la&longs;ciato ne gli &longs;critti precetti di que&longs;ta maniera, non anderà nella loro <lb/>opnione, &longs;e prima di co&longs;e tali non &longs;arà da Filo&longs;ofi ammae&longs;trato. </s> </p> <p type="main"> <s id="s.000441"><emph type="italics"/>Vna parte della Filo&longs;ofia natur ale è chiamata i&longs;toria naturale, & l'altra &longs;cienza natura­<lb/>le. </s> <s id="s.000442">l'i&longs;toria è &longs;implice narratione de gli effetti di natura. </s> <s id="s.000443">Lo e&longs;&longs;empio &longs;i puo da gli &longs;critti di <lb/>Plmio commodatamente pigliare, percioche egli narra &longs;emplicemente tutto quello che &longs;i tro­<lb/>ua delle co&longs;e fatte dalla natura, cominciando dal mondo, & dalle &longs;ue parti principali, come <lb/>&longs;ono i cieli, & gli elementi. </s> <s id="s.000444">uiene poi al particolare delle parti della terra, delle pietre, de <lb/>i metalli, delle piante, de gli Animali, & del huomo, che è fine di tutte le co&longs;e. </s> <s id="s.000445">La &longs;cien <lb/>za naturale è cognitione delle cau&longs;e; & de i principij di tutte le predette co&longs;e, della quale <lb/>con ordine, & con dottrina mirabile il buon, Ari&longs;totile ne tratta. </s> <s id="s.000446">tanto l'i&longs;toria, quanto la &longs;cienza <lb/>naturale, è utile allo Architetto. <!-- KEEP S--></s> <s id="s.000447">Vitr. hebbe l'una, & l'altra quanto faceua al bi&longs;ogno, come <lb/>&longs;i uede nel quarto capo del primo libro, doue &longs;i tratta de i principij delle co&longs;e; & nell'ottauo <lb/>libro, & nel &longs;econdo prima, & finalmente per tutta l'opera, doue egli parla de gli alberi, <lb/>delle pietre, delle minere, de gli animali, della uoce, dell'udito, & del uedere, & di mol <lb/>te opere di natura, le cagioni delle quali &longs;ono a molti propo&longs;iti ricercate, & &longs;pecialmente nella <lb/>materia delle acque, come &longs;i uederà nell'ottauo libro.<emph.end type="italics"/></s> <s id="s.000448"> Della Mu&longs;ica e&longs;&longs;er deue intelligente lo <lb/>Architetto, accioche egli cono&longs;ca la regolata ragione, & la Mathematica, & accioche <lb/>dirittamente caricare & temprare &longs;appia gli in&longs;trumenti da pietre o &longs;aette dette bali&longs;te, <lb/>catapulte, & &longs;corpioni. </s> </p> <pb pagenum="19" xlink:href="045/01/027.jpg"/> <p type="main"> <s id="s.000449"><emph type="italics"/>Dimo&longs;tra Vitr. che & quanto alla pratica, & quanto alla ragione la Mu&longs;ica è utile allo <lb/>Architetto, per quelle parole<emph.end type="italics"/> {<emph type="italics"/>Regolata<emph.end type="italics"/>} <emph type="italics"/>che nel latino &longs;i dice<emph.end type="italics"/> {<emph type="italics"/>Canonica<emph.end type="italics"/>,} <emph type="italics"/>& Mathema­<lb/>tica. </s> <s id="s.000450">La Canonica appartiene alle orecchie, come la pro&longs;pettiua a gli occhi. </s> <s id="s.000451">& è pre&longs;a da Mu<lb/>&longs;ici pratichi, come fondamento della loro arte u&longs;itata. </s> <s id="s.000452">& è quella, che mi&longs;ura le altezze, & <lb/>le lunghezze delle uoci. </s> <s id="s.000453">L'altezza delle uoci da' Greci è detta Melos, cioè canto, & la mi <lb/>&longs;ura del durare, & del tenere la uoce, è chiamata rithmus, cioè numero, che è mi&longs;ura del <lb/>tempo. </s> <s id="s.000454">Tiene la canonica un'altra parte, che è detta Metrica, che è Arte del mi&longs;urato com­<lb/>ponimento, & legato alla quantità delle &longs;illahe; onde a differenza del parlar &longs;ciolto è detta Ar <lb/>te di far ucr&longs;i. </s> <s id="s.000455">Canonica uuol dire regolata, o regolatrice, come afferma Boetio; percioche egli <lb/>non &longs;i deue dare tutto il giudicio a i &longs;en&longs;i humani, fallaci, & alterabili per ogni minima offe­<lb/>&longs;a, benche &longs;iano principij, cioè occa&longs;ioni delle Arti, & ci facciano auuertiti di molte co&longs;e: pe­<lb/>rò la perfettione, & la forza del cono&longs;cere è po&longs;ta nella ragione, la quale con certe regole re­<lb/>gi&longs;tra dirò co&longs;i, gli in&longs;trumenti Mu&longs;icali. </s> <s id="s.000456">La Mathematica ueramente la&longs;cia affatto il &longs;en&longs;o, & <lb/>s'inalza alla &longs;peculatione de i numeri &longs;onori, & de i modi, & delle idee & maniere delle can­<lb/>zoni, & de i me&longs;colamenti po&longs;&longs;ibili de i tempi delle &longs;illabe, & for&longs;e piu alto &longs;alendo la hu­<lb/>mana, & mondana conuenienza de i cieli, & l'harmonia delle anime, & de i corpi ua con&longs;i<lb/>derando. </s> <s id="s.000457">Nel quinto libro ne ragionaremo alquanto, dichiarando quanto &longs;i dirà de i ua&longs;i detti <lb/>Echei, & delle machine, che egli chiama hydrauliche dicendo poco di &longs;otto.<emph.end type="italics"/></s> <s id="s.000458"> Que ua&longs;i di rame <lb/>che ne i Theatri &longs;otto i gradi nelle celle con mathematica ragione &longs;i fanno, & il re&longs;to. <emph type="italics"/>Ma <lb/>proua prima quanto egli intende delle tempre & carcature de gli in&longs;trumenti predetti & dice.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.000459">Imperoche ne i capitelli dalla de&longs;tra, & dalla &longs;ini&longs;tra &longs;ono i buchi de gli homotoni, per <lb/>liquali con na&longs;pi, o molinelli, &longs;ono tratte le torte fune di neruo, i quali non &longs;i &longs;errano, o <lb/>legano &longs;e prima non mandano fuori certi, & eguali &longs;uoni alle orecchie de gli artefici. </s> <s id="s.000460"><lb/>percioche le braccia, lequali nel tirare, & in quelle carcature &longs;i &longs;errano, quando poi &longs;i ri­<lb/>la&longs;ciano & &longs;i &longs;tendeno, egualmente deono, & parimente mandar fuori la perco&longs;&longs;a. </s> <s id="s.000461">La do­<lb/>ue &longs;e non &longs;aranno di pari tuoni impediranno il tirare drittamente. </s> </p> <p type="main"> <s id="s.000462"><emph type="italics"/>Certo è nella Mu&longs;ica, che la egualità del &longs;uono mo&longs;tra egualità di &longs;patio, & quella propor­<lb/>tione che è tra &longs;patio, & &longs;patio, &longs;i truoua anche tra &longs;uono & &longs;uono, & però e&longs;&longs;endo il &longs;uono <lb/>eguale dall'uno & l'altro braccio, &longs;eguita, che'l neruo, il quale tirato rende il &longs;uono, dentro <lb/>le braccia &longs;ia eguale. </s> <s id="s.000463">dal che na&longs;ce la bontà dello in&longs;trumento, la giu&longs;tezza della carcatura, & <lb/>il dritto & certo tiro di quello, come prouano gli arcieri, & i bale&longs;trieri tutto il giorno, & a <lb/>noi &longs;arà manife&longs;to nel decimo libro, a i diciotto capi.<emph.end type="italics"/></s> <s id="s.000464"> Que ua&longs;i anche di rame che ne i Thea­<lb/>tri &longs;otto i gradi nelle celle con ragione mathematica, & le differenze de i tuoni, che da <lb/>Greci, Echea, dette &longs;ono, &longs;i compongono a i dolci, & &longs;oaui ri&longs;uegliamenti Mu&longs;icali, a <lb/>cella per cella in que giri con quelle con&longs;onanze, che da mu&longs;ici Diate&longs;&longs;eron, Diapente, & <lb/>Diapa&longs;on nominate &longs;ono: accioche la uoce de i &longs;uoni &longs;cenici nelle di&longs;po&longs;itioni conuenien<lb/>ti, quando toccherà l'udito, piu chiara, & piu &longs;oaue peruenga all'orecchie de i &longs;pettatori. </s> </p> <p type="main"> <s id="s.000465"><emph type="italics"/>O&longs;curo è Vitr. per la breuità &longs;ua, perche in poche parole uuole e&longs;primere la forza delle co­<lb/>&longs;e. </s> <s id="s.000466">ma noi nel quinto libro faremo, quanto per noi &longs;i potrà, chiara ogni parola di Vitruuio.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.000467">Le machine hydrauliche, & altre che &longs;imili a que&longs;ti organi &longs;i fanno, &longs;enza ragione di <lb/>mu&longs;ica non &longs;i potranno fare giamai. <emph type="italics"/>Hydraulica è una machina, che con acqua moue <lb/>gli &longs;piriti a far &longs;onare un'organo. </s> <s id="s.000468">della quale ingenio&longs;amente ne tratta Vitr. nel decimo libro.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.000469">Deue anche lo Architetto hauere notitia della di&longs;ciplina del Medico, per cono&longs;cere <lb/>le inclinationi del Cielo, climata, da Greci nominate. </s> <s id="s.000470">& gli aeri de i luoghi &longs;alubri, o <lb/>mal &longs;ani, & per l'u&longs;o delle acque: peroche &longs;enza tali ragioni non &longs;i puo fare habitatione <lb/>che &longs;ia &longs;alubre. </s> </p> <p type="main"> <s id="s.000471"><emph type="italics"/>Le inclinationi, & climi del Cielo &longs;ono &longs;pacij po&longs;ti tra due circoli egualmente di&longs;tanti detti <lb/>paralleli, come &longs;i dirà poi parlando de gli horologij nel nono libro. </s> <s id="s.000472">Vitruuio ueramente hebbe<emph.end type="italics"/><pb pagenum="20" xlink:href="045/01/028.jpg"/><emph type="italics"/>qualche notitia della Medicina, come &longs;i uede nel primo libro, doue egli dimo&longs;tra quali infer­<lb/>mità da quali uenti &longs;iano generate: & in altri luoghi dello i&longs;te&longs;&longs;o libro, & de gli altri dichia­<lb/>ra le qualità de i pae&longs;i quanto all'acqne, alle herbe, a gli animali cele&longs;ti, terre&longs;tri, & acquati­<lb/>ci, co&longs;e tutte alla cognitione del Medico &longs;ottopo&longs;te.<emph.end type="italics"/></s> <s id="s.000473"> Dapoi bi&longs;ogna, che egli habbia <lb/>notitia della ragion ciuile, inquanto è nece&longs;&longs;ario a i communi pareti ne gli edificij, al­<lb/>lo &longs;patio delle grondi, & de i tetti, & delle chiauiche, & de i lumi, & &longs;imilmente <lb/>delle condotte delle acque, & d'altre co&longs;e &longs;imiglianti bi&longs;ogna che lo Architetto habbia <lb/>cono&longs;cimento: accioche prima, che &longs;i mettino a fabricare &longs;ieno cauti, & accioche non <lb/>&longs;i la&longs;cino finite l'opere litigi & controuer&longs;ie a i padri di famiglia, & che nel fare gli &longs;crit­<lb/>ti, & gli accordi, con prudentia prouedino, & a chi dà, & a chi conduce l'opere. </s> <s id="s.000474">per­<lb/>che &longs;e il patto &longs;erà ben fatto, & con auertimento, auerrà, che quello da que&longs;to, & que­<lb/>&longs;to da quello &longs;enza fraude, & inganno &longs;i potrà liberare. </s> </p> <p type="main"> <s id="s.000475"><emph type="italics"/>Qui Vitr. dichiara quello, che egli ha detto di &longs;opra appartenere alla fedeltà & giu&longs;titia dello <lb/>Architetto. <!-- KEEP S--></s> <s id="s.000476">Dico adunque, che quella parte di Filo&longs;ofia, che ci dà la regola del ben uiuere, <lb/>tratta di diuer&longs;e maniere di beni, tra quali è la uirtu de co&longs;tumi po&longs;ta nella parte ragioneuole, <lb/>ouero in quella, che ubidi&longs;ce alla ragione. </s> <s id="s.000477">In que&longs;ta parte di Filo&longs;ofia &longs;i tratta de gli affetti hu<lb/>mani, delle potenze dell'anima, nelle quali &longs;ono gli affetti, de gli habiti di quelle potenze, &longs;ia­<lb/>no quegli o ecce&longs;&longs;i, o mancamenti, o mediocrità. </s> <s id="s.000478">tratta&longs;&longs;i anche dello arbitrio, della elet­<lb/>tione, del con&longs;iglio, dello appetito, in cui è la cupidigia, l'ira, & la uoglia. </s> <s id="s.000479">tratta&longs;i delle <lb/>co&longs;e, che uogliono &longs;imigliar&longs;i alla uirtù, ouero che di quella &longs;ono principij. </s> <s id="s.000480">Per le quali tutte co <lb/>&longs;e l'huomo è ba&longs;teuole a &longs;e &longs;te&longs;&longs;o. </s> <s id="s.000481">dapoi riguarda il pro&longs;&longs;imo &longs;uo congiunto di &longs;augue, o parte di &longs;ua <lb/>famiglia, o come parte di uniuer&longs;al gouerno. </s> <s id="s.000482">& nella famiglia ritruoua l'ufficio del patrone, & <lb/>del &longs;eruo, della moglie, & del marito, del padre, & del figliuolo, acqui&longs;ta, di&longs;pen&longs;a, u&longs;a, gouer­<lb/>na, & adorna il tutto. </s> <s id="s.000483">Ma nella ciuile, & publica ammini&longs;tratione contenuta da un &longs;olo, o <lb/>da grandi, o da molti con legittimo reggimento, uede i &longs;aui e&longs;&longs;er in uece di ragione, i &longs;oldati <lb/>in luogo della iracondia, & gli artefici per la concupi&longs;centia, che &longs;i troua in noi. </s> <s id="s.000484">De i &longs;aui &longs;i <lb/>fanno i capi, imagi&longs;trati, i &longs;acerdoti, i &longs;enatori, i giudici, ne i quali ha fondamento la ragion ci­<lb/>uile, che è quella, che è fatta da cia&longs;cuna città &longs;econdo il fine del proprio gouerno. </s> <s id="s.000485">La &longs;omma <lb/>di que&longs;ta ragione è raccolta ne i libri delle pandette; che co&longs;i chiamate &longs;ono, perche raccoglieno <lb/>tutte le parti della ragion ciuile. </s> <s id="s.000486">La doue &longs;otto il primo titolo &longs;i ragunano i Principi, &longs;otto il &longs;e­<lb/>condo i Giudici, &longs;otto il terzo le co&longs;e, &longs;otto il quarto le hypothecationi, &longs;otto'l quinto i te&longs;tamenti <lb/>con le co&longs;e a quelli pertinenti. </s> <s id="s.000487">&longs;otto'l &longs;e&longs;to uarij titoli delle po&longs;&longs;e&longs;&longs;ioni, de i beni cogniti, i danni, <lb/>le fabriche rouinate, le in&longs;idie di quelle, la legge delle gronde, & dell'acqua piouana parte <lb/>allo Architetto nece&longs;&longs;aria. </s> <s id="s.000488">& finalmente &longs;otto altri capi, che lungo &longs;arebbe a nominarli. </s> <s id="s.000489">Nel­<lb/>l'ultimo titolo &longs;ono le &longs;tipulationi, i contratti, i maleuadori, le opere publiche, i mercati, i cen&longs;i <lb/>& altre co&longs;e, ne i gran uolumi de legi&longs;ti compre&longs;e. </s> <s id="s.000490">delle quali &longs;econdo il bi&longs;ogno ne deue lo <lb/>Architetto e&longs;&longs;er informato, come di co&longs;e al uiuer pacifico, & &longs;enza litigij pertinenti. </s> <s id="s.000491">Ma pin<lb/>alto &longs;alire bi&longs;ogna per beneficio de gli huomini, & però dice Vitruuio.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.000492">Dall'A &longs;trologia ueramente &longs;i cono&longs;ce il Leuante, il Ponente, il Meriggie, & il Setten­<lb/>trione, & la ragione del cielo lo Equinottio, il Sol&longs;titio, i cor&longs;i delle Stelle, la notitia del­<lb/>le quali co&longs;e, chi non po&longs;siede, non puo &longs;apere la ragione de gli Horologi. </s> </p> <p type="main"> <s id="s.000493"><emph type="italics"/>Vna delle parti principali dell'Architettura è (come &longs;i ucde al terzo capo del primo libro') <lb/>cerca l'ombre cau&longs;ate dal &longs;ole, & da gli &longs;tili neceßarie a fare gli horologij da &longs;ole, & que&longs;ta par­<lb/>te è detta Gnomonica, benche puo importare maggiore intelligenza, & piu ampia, che la de&longs;crit<lb/>tione de gli horologi come da Euclide &longs;i puo hauere, della cognitione de quali è ripieno con mer aui­<lb/>glio&longs;a dottrina il nono libro di Vitruuio, nel quale anche &longs;i uede l'altra parte dell'a&longs;trologia, che <lb/>con&longs;idera le eleuationi, & le di&longs;tanze de i pianeti, & delle &longs;telle, alle quali a&longs;petta la inuentio­<lb/>ne dello A&longs;trolabio. <!-- KEEP S--></s> <s id="s.000494">Quanto ueramente appartiene à quella parte, che da gli a&longs;cendenti nel na-<emph.end type="italics"/><pb pagenum="21" xlink:href="045/01/029.jpg"/><emph type="italics"/>&longs;cer no&longs;tro comprende i &longs;ucce&longs;&longs;i delle future co&longs;e; niuno u&longs;o &longs;i troua nell'Architettura, &longs;e for&longs;e noi <lb/>non uogliamo cercare alcune qualità &longs;ecrete de luoghi, le cognitioni delle quali non &longs;i po&longs;&longs;ono <lb/>riferire ad altro che à gli ordini, & influ&longs;&longs;i de i pianeti, dal che molti &longs;i mettono a fare le natiuità, <lb/>& le riuolutioni delli principij della edificatione delle città. </s> <s id="s.000495">ma non è lecito per l'amore, che &longs;i por <lb/>ta all' Architettura e&longs;&longs;er curio&longs;i di tante cognitioni, che non meno dubie, che inutili, &longs;alua la pace <lb/>di chi altrimenti crede, eßer ueggiamo. </s> <s id="s.000496">però quiui &longs;ia fine alla indottione fatta da Vitr. per di­<lb/>mo&longs;trare che tanta diuer&longs;ità di cognitioni &longs;ia nece&longs;saria allo Architetto. <!-- KEEP S--></s> <s id="s.000497">& però conchiude in que <lb/>&longs;to modo, dicendo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.000498">E&longs;&longs;endo adunque co&longs;i degna di&longs;ciplina ornata, & copio&longs;a di tante, & co&longs;i uarie dottri­<lb/>ne, io non pen&longs;o, che alcuno di &longs;ubito po&longs;&longs;a ragioneuolmente far profe&longs;sione, & chia­<lb/>mar&longs;i Architetto, &longs;e con que&longs;ti gradi di &longs;cienze a poco a poco &longs;alendo &longs;in da i teneri anni no <lb/>drito della cognitione di uarie &longs;orti di lettere non peruenirà al colmo dell'Architettura. <!-- KEEP S--></s> </p> <p type="main"> <s id="s.000499"><emph type="italics"/>Quanto uero &longs;ia, che lodar non &longs;i deue co&longs;a alcuna prima, che egli non &longs;i ha dimo&longs;trato quello <lb/>che è, chiaramente &longs;i uede per le co&longs;e dichiarate fin hora: percioche niuno haurebbe potuto de­<lb/>gnamente lodare l'Architettura &longs;enza la cognitione della forza, & natura &longs;ua, & delle proprie­<lb/>tà che le conuengono; & &longs;e &longs;cioccamente egli po&longs;to s'haueße à lodarla; prima non l'haurebbe &longs;a­<lb/>puto fare, poi non gli &longs;arebbe &longs;tato creduto; & finalmente con&longs;tretto a renderne ragione, fuggito <lb/>&longs;arebbe, ouero a &longs;e &longs;teßo haueria contradetto; & in que&longs;to ca&longs;o di pari con gli ignoranti re&longs;tato <lb/>&longs;arebbe. </s> <s id="s.000500">Ma prouamo noi &longs;e con ragione potemo lodare l'Architettura: Si ueramente, & prima <lb/>quanto alla cognitione, poi quanto alle operationi; perche nel cono&longs;cimento, & nel giudicio ella <lb/>puo eßere con la &longs;apienza, & con la prudenza paragonata, & per le operationi tra le arti come <lb/>Heroica uirtu & regina chiaramente riluce. </s> <s id="s.000501">Mirabil co&longs;a è il potere a commun beneficio rau­<lb/>nare gli huomini rozi, & quelli ridurre al culto, & alla di&longs;ciplina &longs;icuri, & tranquilli nelle cit­<lb/>tà, & nelle fortezze; & poi con maggior uiolenza fatta alla natura, tagliar le rupi, for are i monti, <lb/>empir le ualli, a&longs;ciugar le paludi, fabricar le naui, drizzare i fiumi, munire i porti, gettar i ponti, & <lb/>&longs;uperar la natura in quelle co&longs;e, nelle quali noi &longs;iamo dalla natura &longs;uperati: leuando pe&longs;i im­<lb/>men&longs;i, & &longs;atisfacendo in parte al di&longs;iderio della eternità, dilettando chi non fabrica, & molto <lb/>piu chi fabrica; ornando i Regni, le prouincie, e'l mondo. </s> <s id="s.000502">Ma perche alcuno piu oltre non &longs;a­<lb/>pendo puo l'infinito, & lo impo&longs;&longs;ibile propor&longs;i dinanzi, argomentando che non cape in animo <lb/>humano tanta cognitione, & uarietà di &longs;cienze: però Vitruuio ci dimo&longs;tra in che modo, & <lb/>in &longs;ino à qual termine, hauer bi&longs;ogna le predette &longs;cienze, & dice.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.000503">Ma for&longs;e a gli imperiti puo impo&longs;sibil co&longs;a parere, che la natura apprenda, & tenga a <lb/>memoria tanto numero di dottrine. </s> </p> <p type="main"> <s id="s.000504"><emph type="italics"/>Que&longs;ta è la dubitatione fondata nel potere della natura humana, come impotente a riceuere, <lb/>& ritenere tanta uarietà di dottrine. </s> <s id="s.000505">Scioglie Vitr. la predetta dubitatione in que&longs;to modo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.000506">Ma quando auuertiranno, che tutte le di&longs;cipline tra &longs;e tengono una certa raccommu=<lb/>nanza, & congiuntione, crederanno quello, che io dico, facilmente poter auuenire, per­<lb/>che quello, che s'impara a gui&longs;a di corpo di tai membri compo&longs;to in &longs;e &longs;te&longs;&longs;o &longs;i raggira, & pe <lb/>rò chi da primi anni &longs;i e&longs;&longs;ercita in uarie &longs;orti di ammae&longs;tramenti ricono&longs;ce in tutte manie­<lb/>re di lettere i &longs;egni mede&longs;imi, & uede la raccommunanza delle di&longs;cipline, & per quella fa­<lb/>cilmente hanno cognitione di tutte le co&longs;e. </s> </p> <p type="main"> <s id="s.000507"><emph type="italics"/>Il dubbio &longs;i puo formare in que&longs;to modo. </s> <s id="s.000508">Quello effetto è impo&longs;&longs;ibile, la cau&longs;a del quale non <lb/>puo e&longs;&longs;ere, però l'huomo non puo apprendere tante arti, & di&longs;cipline, peroche la cagione di ap­<lb/>prenderle, e&longs;&longs;er non puo. </s> <s id="s.000509">la uirtù dell'anima in&longs;ufficiente & incapace è la cagione, la quale impe­<lb/>dita non puo e&longs;&longs;er cagione dello apprendere tante arti. </s> <s id="s.000510">Ri&longs;ponde Vitruuio, & dice argomentan­<lb/>do; che po&longs;&longs;ibile è quello effetto, il modo del quale è po&longs;&longs;ibile, però puo e&longs;&longs;ere che l'huomo &longs;ia ador <lb/>nato di molte, & diuer&longs;e di&longs;cipline: percioche il modo è po&longs;&longs;ibile. </s> <s id="s.000511">Il modo ueramente è, che ha­<lb/>uendo le &longs;cienze una certa raccommunanza tra &longs;e, & qua&longs;i in giro l'una nell'altra mouendo&longs;i, per<emph.end type="italics"/><pb pagenum="22" xlink:href="045/01/030.jpg"/><emph type="italics"/>alcune &longs;imiglianze di co&longs;e, non è impo&longs;&longs;ibile, a chi per tempo comincia, & s' affatica ricono&longs;cere <lb/>la detta communanza, & fare di piu co&longs;e &longs;imiglianti lo i&longs;te&longs;&longs;o giudicio. </s> <s id="s.000512">& però puo e&longs;&longs;er'un ter­<lb/>mine, & una &longs;obrietà (dirò co&longs;i) di &longs;apere, che hauendo noi tanto po&longs;&longs;iamo commodamente &longs;er <lb/>uirci. </s> <s id="s.000513">Vedremo di &longs;otto per e&longs;empio quello, che hora s'è detto. </s> <s id="s.000514">Fin tanto Vitr. riprende Pythio <lb/>Architetto, ilquale haueua opinione, che lo Architetto pote&longs;&longs;e meglio in opinione partitamente, che <lb/>i proprij profe&longs;&longs;ori cia&longs;cuno nella &longs;ua. </s> <s id="s.000515">dice adunque.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.000516">Et però Pythio uno de gli antichi Architetti, quello che in Priene fece co&longs;i nobilmente <lb/>il tempio di Minerua, dice ne i &longs;uoi commentari, che lo Architetto piu deue operare in <lb/>tutte l'Arti, & dottrine, che quelli, i quali cia&longs;cuna co&longs;a con la loro indu&longs;tria, & e&longs;&longs;erci­<lb/>tio hanno a &longs;omma chiarezza condotto. </s> <s id="s.000517">Ma que&longs;to con effetto non &longs;i uede chiaro, percio <lb/>che non deue nè puo l'Architetto e&longs;&longs;er Grammatico come Ari&longs;tarcho, ma bene non &longs;enza <lb/>letteratura. </s> <s id="s.000518">Nè come Ari&longs;toxeno Mu&longs;ico, ma non lontano dalla Mu&longs;ica. <!-- KEEP S--></s> <s id="s.000519">nè pittore co- <lb/>me Apelle, pure habbia di&longs;egno. </s> <s id="s.000520">nè qual Mirone &longs;tatuario, o Policleto lauoratore di &longs;tuc <lb/>chi, ma non ignorante di tale Arte. <!-- KEEP S--></s> <s id="s.000521">nè di nuouo Medico come Hippocrate, ma non &longs;enza <lb/>ragione di Medicina. <!-- KEEP S--></s> <s id="s.000522">nè nelle altre dottrine &longs;ingularmente eccellente, ma in que&longs;te non <lb/>&longs;ia nuouo, & imperito. </s> <s id="s.000523">percioche non puo alcuno in tanta uarietà di co&longs;e con&longs;eguire &longs;in­<lb/>gular &longs;cieltezza, perche apena cade nel potere no&longs;tro il cono&longs;cere, & perfettamente capi­<lb/>re le lor ragioni. </s> <s id="s.000524">Nè però non tanto gli Architetti non po&longs;&longs;ono hauere in tutte le co&longs;e gli <lb/>ultimi effetti, ma anche quelli, che ad una &longs;ola &longs;cientia &longs;i danno, & priuatamente tengono <lb/>le proprietà delle Arti, non po&longs;&longs;ono fare, che tutti riportino il &longs;ommo principato della <lb/>lode. </s> <s id="s.000525">Se adunque non tutti in cia&longs;cuna dottrina, ma pochi in molti anni apena ottenuto <lb/>hanno la nobiltà, come l'Architetto, che e&longs;&longs;er deue in tante arti perito, non farà co&longs;a <lb/>grande, & merauiglio&longs;a accioche egli non habbia bi&longs;ogno di alcuna delle predette co&longs;e? <lb/></s> <s id="s.000526">& di piu &longs;e egli anderà inanzi à tutti gli Artefici, i quali con &longs;omma indu&longs;tria hanno pre&longs;ta <lb/>to grande &longs;ollicitudine in cia&longs;cuna dottrina. </s> </p> <p type="main"> <s id="s.000527"><emph type="italics"/>Le parole &longs;econdo la interpretatione &longs;ono chiare. </s> <s id="s.000528">proua con argomenti, non e&longs;&longs;er uero il detto <lb/>di Pythio. <!-- KEEP S--></s> <s id="s.000529">Molto piu ragioneuole pare, ch'un'huomo con&longs;egui&longs;ca la perfettione d'una &longs;ola &longs;cien­<lb/>za, che di molte; & pure di raro &longs;i truoua, che que&longs;to auegna, cioè, che uno &longs;ia in un'arte &longs;ola <lb/>perfetto: però &longs;e non è quello che pare piu ragioneuole, che &longs;ia meno &longs;arà quello, che manco ci pa­<lb/>re, cioè, che un'huomo &longs;olo ottenga il &longs;ommo grado in molte, & diuer&longs;e cognitioni. </s> <s id="s.000530">La onde &longs;i <lb/>conchiude da Vitruuio.<emph.end type="italics"/> {<emph type="italics"/>Per il che pare, che in que&longs;to Pythio errato habbia<emph.end type="italics"/>} <emph type="italics"/>cioè &longs;e Pythio <lb/>è &longs;tato eccellente Architetto, &longs;e ha detto molte belle co&longs;e, in que&longs;to però pare, che errato hab­<lb/>bia, in que&longs;to non gli do fede, e&longs;&longs;endoci il &longs;en&longs;o, & la ragione contraria. </s> <s id="s.000531">Et per piu &longs;tabilire i <lb/>detti &longs;uoinon &longs;i &longs;corda Vitr. delle co&longs;e &longs;opra po&longs;te da lui, quando, ci diße, che nell'Architettura, <lb/>come in ogni altra peritia erano due co&longs;e da eßer con&longs;iderate, cioè la co&longs;a &longs;ignificante, & la &longs;i­<lb/>gnificata, però dice il mede&longs;imo con altre parole.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.000532">Pare adunque, che in que&longs;to Pythio habbia errato, non hauendo auuertito, che ogni <lb/>arte partitamente è di due co&longs;e compo&longs;ta, cioè dell'opera, & della ragione di quella. </s> <s id="s.000533">& <lb/>di que&longs;te due una è propria di coloro, che in cia&longs;cuna co&longs;a particolare &longs;i &longs;ono e&longs;&longs;ercitati: <lb/>& que&longs;to è lo effetto dell'opera. </s> <s id="s.000534">l'altra è commune con tutti i dotti, cioè la ragione. </s> </p> <p type="main"> <s id="s.000535"><emph type="italics"/>Non è alcuno, che ricordando&longs;i delle co&longs;e dette di &longs;opra non intenda quello, che dice Vitru. in<lb/>que&longs;to luogo, & &longs;e egli non haue&longs;&longs;e anchora appre&longs;o bene che co&longs;a è Fabrica, & di&longs;cor&longs;o, la <lb/>co&longs;a &longs;ignificante, & la &longs;ignificata, l'opera, & la ragione dell'opera: legga et con&longs;ideri lo infra&longs;crit­<lb/>to e&longs;&longs;empio dell'autore, che intenderà il tutto, & cono&longs;cerà il giro, & la raccommunanza delle <lb/>&longs;cienze. </s> <s id="s.000536">dice adunque.<emph.end type="italics"/></s> <s id="s.000537"> Come adiuiene a i Medici, & a i Mu&longs;ici, & &longs;opra il numero&longs;o bat­<lb/>tere de pol&longs;i, & del mouimento de i piedi. </s> <s id="s.000538">Ma &longs;e egli accaderà medicare una ferita, ò bi­<lb/>&longs;ognerà trarre di pericolo un'ammalato, non uerrà il Mu&longs;ico, ma &longs;arà opera del Medico <lb/>propria, così nell'organo non il Medico, ma il Mu&longs;ico canterà, accioche dal &longs;uono le orec-<pb pagenum="23" xlink:href="045/01/031.jpg"/>chie prendino la dolcezza, & dilettation &longs;ua. </s> </p> <p type="main"> <s id="s.000539"><emph type="italics"/>Molti e&longs;&longs;empi ci adduce Vitr. per li quali &longs;i comprende, come &longs;i &longs;tia la communanza delle &longs;cien­<lb/>ze; & prima dimo&longs;tra quella tra due &longs;cienze, & poi tra molte. </s> <s id="s.000540">La Mu&longs;ica, & La Medicina &longs;o­<lb/>no &longs;cienze, o Arti che uogliamo. </s> <s id="s.000541">l'officio del Medico in quanto Medico, è di indurre, & di con­<lb/>&longs;eruare la &longs;anità; l'opera del Mu&longs;ico in quanto Mu&longs;ico è dilettare col &longs;uono, & col canto le orec­<lb/>chie de gli a&longs;coltanti. </s> <s id="s.000542">in que&longs;ti ufficij, & effetti &longs;ono differenti, ma nelle ragioni po&longs;&longs;ono e&longs;&longs;er <lb/>conformi. </s> <s id="s.000543">la conformità na&longs;ce da una regola commune, che all'uno, & all'altro puo facilmente <lb/>&longs;eruire, perche con&longs;iderando il Medico la eleuatione, & la depre&longs;&longs;ione de i pol&longs;i, la uelocità, & <lb/>tardezza, la egualità ouero la di&longs;aguaglianza, conuiene col Mu&longs;ico, ilquale nelle uoci con&longs;i­<lb/>dera le i&longs;te&longs;&longs;e co&longs;e riguardando a i piedi delle parole che &longs;ono ne i uer&longs;i, o al mouimento de i piedi, <lb/>che &longs;i fa al &longs;uono di qualche in&longs;trumento. </s> <s id="s.000544">percioche lo e&longs;&longs;er tardo o ueloce, che ri&longs;ponde al tem­<lb/>po, alto o ba&longs;&longs;o, che ri&longs;ponde al tenore, & a i gradi della noce eguale o di&longs;eguale, che ri&longs;ponde <lb/>all'uno, & all'altro &longs;ono termini communi, che a molte co&longs;e di natura diuer&longs;e, &longs;i po&longs;&longs;ono appli­<lb/>care: però non è incommodo alcuno che nella ragione conuenghino molti artefici, i quali &longs;iano <lb/>nelle opere differenti; & que&longs;to na&longs;ce dal ualore de i principij, i quali e&longs;&longs;endo uniuer&longs;ali, & in­<lb/>differenti abbracciano piu co&longs;e, & non dipendeno da &longs;oggetto alcuno. </s> <s id="s.000545">Eguale adunque &longs;i puo di­<lb/>re, de i tempi, de gli &longs;patij, de i mouimenti, de i corpi, de i numeri, delle uirtù, & di molte altre <lb/>co&longs;e che a diuer&longs;i Artefici con ragione diuer&longs;amente conferme a&longs;pettano. </s> <s id="s.000546">dico diuer&longs;amente con­<lb/>forme; percioche il principio è uno; come &longs;e io diceßi. </s> <s id="s.000547">Lo eguale giunto allo eguale fa il tutto <lb/>eguale, ma l'applicatione &longs;i fa in materie, & &longs;oggetti diuer&longs;i: perche il Medico applicherà il det­<lb/>to principio alle qualità, & uirtù dell'herbe, il Mu&longs;ico a i tempi delle &longs;illabe, il filo&longs;ofo naturale <lb/>a i moti, il Geometra alle grandezze, & altri ad altre co&longs;e; come anche il Medico pigliando dal <lb/>Geometra, che gli angoli facilmente &longs;i uni&longs;ceno, & la circonferenza non co&longs;i. </s> <s id="s.000548">dice per que&longs;to le <lb/>ferite circolari e&longs;&longs;er difficili da &longs;aldare, & unire, & i tagli migliori; & in que&longs;to il Medico s'ac­<lb/>compagnerà col Geometra, nè però il Geometra o&longs;era metter le mani addo&longs;&longs;o d'un ferito, nè il <lb/>Medico come Medico ardirà oppor&longs;i al Geometra.<emph.end type="italics"/><!-- KEEP S--></s> <s id="s.000549"> Simigliantemente tra Mu&longs;ici, & A&longs;tro­<lb/>logi è commune il di&longs;putare del con&longs;en&longs;o delle &longs;telle, de i concenti & con&longs;onanze Dia­<lb/>te&longs;&longs;aron, & Diapente nominate, che &longs;ono ne gli a&longs;petti quadrati, o triangolari. </s> </p> <p type="main"> <s id="s.000550"><emph type="italics"/>Io de&longs;idero la&longs;ciarmi intendere, percioche il Philandro benche &longs;idelmente e&longs;ponga le parole <lb/>dello interprete di Tolomeo; ci la&longs;cia però di &longs;iderio di maggior intelligenza. </s> <s id="s.000551">Dico adunque, che <lb/>uolendo gli A&longs;trologi dimo&longs;trare come i corpi cele&longs;ti concordano a mandar qua giu nel centro i <lb/>diuini loro influßi, hanno pigliato alcune figure di Geometria tra &longs;e proportionate, & ri&longs;ponden­<lb/>ti. </s> <s id="s.000552">La prima è quella, che ha tre anguli, & tre lati eguali, la &longs;econda che ne ha quattro, la ter­<lb/>za, che ne ha &longs;gi. </s> <s id="s.000553">hanno poi mi&longs;urato gli angoli di quelle figure, & ritrouato tra quelli e&longs;&longs;ere pro­<lb/>portione, & corri&longs;pondenza mirabile; & per quelle hanno giudicato la conformità, & con&longs;o­<lb/>nanza, che hanno le &longs;telle nel mandar qua giu le loro diuine uirt uti, & per maggior chiarezza, <lb/>io dico, che gli angoli &longs;i mi&longs;urano dalla circonferenza compre&longs;a, che tengono le linee, che gli <lb/>fanno. </s> <s id="s.000554">Dico dapoi, che gli antichi chiamauano Aße ogni co&longs;a intiera atta ad eßer mi&longs;urata, o <lb/>partita, & la diuideuano in dodici parti. </s> <s id="s.000555">L'una era detta onza; le due, &longs;e&longs;tante: perche entra­<lb/>uano &longs;ei fiate nel tutto, che era dodici. </s> <s id="s.000556">Le tre, quadrante, perche entrauano quattro fiate nel­<lb/>l'Aße. <!-- KEEP S--></s> <s id="s.000557">Le quattro triente, perche u'intrauano tre fiate. </s> <s id="s.000558">& non denominauano altrimenti le cin­<lb/>que, che Quincunce, perche non entrauano egualmente a far il tutto come le due, le tre, & le <lb/>quattro. </s> <s id="s.000559">Ma le &longs;ei erano dette &longs;emißes, qua&longs;i la metà dell'Aße. <!-- REMOVE S-->le &longs;ette, &longs;ettunce, per la i&longs;teßa <lb/>ragione delle cinque. </s> <s id="s.000560">le otto, beßem, perche alli &longs;ei ne aggiugneno duc. </s> <s id="s.000561">Le noue dodrante, le dieci <lb/>De&longs;tante, & le undeci deunce, perche in quelle non era moltiplicatione, nè aggiunta, che egual­<lb/>mente entraße a finire le dodici. </s> <s id="s.000562">Stando le co&longs;e nel &longs;opradetto modo, io dico che lo angolo dritto <lb/>del quadrato giu&longs;to, & intiero occuperà dodici parti, l'angolo del triangulo, che èmaggiore, & <lb/>piu largo ne abbraccera &longs;edici, l'angolo della figura di &longs;ei, come piu &longs;tretto, ne tenirà otto. </s> <s id="s.000563">lo an-<emph.end type="italics"/><pb pagenum="24" xlink:href="045/01/032.jpg"/><emph type="italics"/>gulo del quadrato per e&longs;&longs;er giu&longs;to, & intiero &longs;arà detto A&longs;&longs;e. <!-- KEEP S--></s> <s id="s.000564">quello del triangulo per e&longs;&longs;er mag­<lb/>giore un terzo, contenerà il dritto intiero, & &longs;arà di piu uno quadrante, che è un terzo, & qui <lb/>&longs;arà la proportione detta &longs;e&longs;quiterza. </s> <s id="s.000565">L'angulo della figura e&longs;&longs;angulare è minor la metà dell'an­<lb/>gulo della triangulare, & occupa otto parti della circonferenza, che è di mi&longs;ura be&longs;&longs;ule, cioè <lb/>d'otto parti; & però tra que&longs;ti anguli è la proportione Doppia nominata. </s> <s id="s.000566">come tra lo angulo del <lb/>quadrato, & l'angulo dell'e&longs;&longs;angulo è proportione &longs;e&longs;quialtera, cioè che nel continente è una<emph.end type="italics"/><lb/><figure id="id.045.01.032.1.jpg" xlink:href="045/01/032/1.jpg"/><lb/><emph type="italics"/>uolta è meza il contenuto, come otto, cioè il be&longs;­<lb/>&longs;ale è nel dodici, cioè nell'A&longs;&longs;e una fiata, & uno <lb/>triente, che è la metà di otto. </s> <s id="s.000567">& que&longs;to &longs;ia detto <lb/>per quello, che apartiene all'A&longs;trologia. </s> <s id="s.000568">Quello <lb/>ueramente, che è della Mu&longs;ica, è che il Mu&longs;ico <lb/>&longs;imilmente con&longs;idera la con&longs;onanza, & quella <lb/>non ne gli a&longs;petti, ma nelle uoci, & ne i &longs;uoni, & <lb/>non hanno uoluto u&longs;are i nomi de gli Arithmeti­<lb/>ci, ma in uece di &longs;e&longs;quiterza hanno detto quarta, <lb/>in uece di &longs;e&longs;quialtera hanno detto quinta, & per <lb/>doppia hanno pigliato ottaua, che dette con no­<lb/>mi Greci &longs;uonano Diate&longs;&longs;aron, Diapente, Diapa­<lb/>&longs;on; come &longs;i farà manife&longs;to nel quinto libro. </s> <s id="s.000569">Egli <lb/>bi&longs;ogna adunque &longs;e le uoci deono e&longs;&longs;er con&longs;onan­<lb/>ti, cioè uenire alle orecchie in modo diletteuole <lb/>unite & me&longs;colate; bi&longs;ogna dico, che egli ci &longs;ia <lb/>tra le uoci graui, & acute proportionata di&longs;tan­<lb/>za. </s> <s id="s.000570">Il mede&longs;imo è bi&longs;ogno, che &longs;ia nel con&longs;en­<lb/>timento delle &longs;telle (che Vitr. chiama Sympathia) <lb/>accioche mandino qua giù, unitamente con for­<lb/>za, & uirtu gl'influ&longs;&longs;i loro. </s> <s id="s.000571">le regole adunque <lb/>dell'Arithmetica &longs;ono quelle, che fanno la Mu­<lb/>&longs;ica unita con l'A&longs;trologia. </s> <s id="s.000572">perche la proportio­<lb/>ne è commune, & uniuer&longs;ale in tutte le co&longs;e atte <lb/>ad e&longs;&longs;er mi&longs;urate, pe&longs;ate, & numerate.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.000573">Et con il Geometra della pro&longs;pettiua, & <lb/>del uedere, & co&longs;i in tutte le altre dottrine <lb/>molte co&longs;e, ò tutte &longs;ono communi da e&longs;&longs;er <lb/>di&longs;putate &longs;olamente. </s> <s id="s.000574">Ma gli incominciamen­<lb/>ti delle opere, che con le mani, & col trat­<lb/>tamento & e&longs;&longs;ercitio alla &longs;cieltezza, & bellez­<lb/>za &longs;i conduceno, à quelli &longs;olamente a&longs;petta­<lb/>no, i quali in una Arte propriamente all'ope­<lb/>rare &longs;ono ordinati. </s> </p> <p type="main"> <s id="s.000575"><emph type="italics"/>Oltra il commertio (dirò co&longs;i) che tiene l'A­<lb/>&longs;trologia con la Mu&longs;ica per le &longs;opradette ragioni, <lb/>&longs;i uede anche la raccommunanza che ella ha con la Geometria per la pro&longs;pettiua, che da Greci <lb/>opticos logos, cioè ragione del uedere, è nominata. </s> <s id="s.000576">& qui Vitru. dimo&longs;tra la communanza tra <lb/>piu di due &longs;cienze, & uuole dire, che oltra quello che ha da fare l'A&longs;trologia con la Mu&longs;ica, el­<lb/>la anche tiene compagnia con la Geometria, perche dal Geometra ella piglia le ragioni della <lb/>pro&longs;pettiua ri&longs;petto a gli a&longs;petti, & alle di&longs;tanze, d'onde na&longs;ce il ritorno, lo &longs;tato, & il pro­<lb/>gre&longs;&longs;o de pianeti ne i loro mouimenti. </s> <s id="s.000577">prende il &longs;uo &longs;oggetto la pro&longs;pettiua da due &longs;cienze, dalla <emph.end type="italics"/><pb pagenum="25" xlink:href="045/01/033.jpg"/><emph type="italics"/>Geometria la linea: dalla naturale la ueduta: & ne fa una &longs;ola, che io chiamerei Raggio. </s> <s id="s.000578">ma <lb/>que&longs;te co&longs;e altroue ci &longs;aranno manife&longs;te. </s> <s id="s.000579">Stando adunque quanto &longs;i è detto, & la raccommu­<lb/>nanza delle &longs;cienze, Vitr. conchiudendo ci pre&longs;criue il modo, & il termine del &longs;apere, & dice.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.000580">Et però a&longs;&longs;ai parerà hauer fatto colui, che di cia&longs;cuna dottrina hauerà mediocremente <lb/>cono&longs;ciute le parti, & le ragioni di quelle, & quelle che nece&longs;&longs;arie &longs;ono all'Architettura: <lb/>accioche egli non &longs;ia la&longs;ciato, & &longs;i perda & manchi, quando di co&longs;e tali, & di tal'Arti bi­<lb/>&longs;ognerà far giudicio, & proua. </s> </p> <p type="main"> <s id="s.000581"><emph type="italics"/>Perche non deue, ne puo lo Architetto e&longs;&longs;ere perito nella Grammatica come Ari&longs;tarcho, & <lb/>il re&longs;to, che Vitr. &longs;i ricorda d'hauer detto di &longs;opra, doue di&longs;&longs;e<emph.end type="italics"/> {<emph type="italics"/>non deue.<emph.end type="italics"/>} <emph type="italics"/>percioche &longs;e bene <lb/>lo Architetto pote&longs;&longs;e e&longs;&longs;er perfetto in tante arti, non però per quella perfettione &longs;i douerrebbe <lb/>propriamente chiamare Architetto, perche u&longs;cirebbe &longs;uori de i termini dell'Architettura; & <lb/>per que&longs;to molto piu forte &longs;i fa l'argomento di Vitr. contra Pythio, perche prima s'è dimo&longs;trato, <lb/>che la &longs;ua oppinione per la i&longs;perienza non è uera, poi per ragione non è po&longs;&longs;ibile, & in fine &longs;e be­<lb/>ne fuße po&longs;&longs;ibile non è conueniente. </s> <s id="s.000582">Simili argomenti u&longs;a Platone, Ari&longs;totele & Galeno, ragio­<lb/>nando quelli dell'Oratore, & que&longs;to del Medico, &longs;econdo il propo&longs;ito loro: & però quiui dirò <lb/>co&longs;a, che a me pare degna di con&longs;ideratione, per fare auuertiti quelli, che &longs;i danno ad alcuna &longs;cien <lb/>za; che chi &longs;ape&longs;&longs;e bene quali fu&longs;&longs;ero i termini di cia&longs;cuna &longs;cienza, & cono&longs;cer pote&longs;&longs;e quando <lb/>altri ne u&longs;ci&longs;&longs;ero, &longs;enza dubbio egli cono&longs;cerebbe, & ritrouerebbe tante, & co&longs;i belle co&longs;e in <lb/>cia&longs;cuna, che egli ci darebbe da merauigliare; percioche chi ha bene le proprietà, & le di&longs;tin­<lb/>tioni delle co&longs;e, puote anche & le raccommunanze, & le &longs;imiglianze cono&longs;cere.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.000583">Ma quelli, a i quali la natura benigna tanta di &longs;olertia, & uiuezza d'ingegno, & di me­<lb/>moria hauerà conceduto, che po&longs;sino in&longs;ieme, & la Geometria, & l'A&longs;trologia, & la Mu= <lb/>&longs;ica, & le altre di&longs;cipline perfettamente cono&longs;cere, certamente pa&longs;&longs;ano i termini, & gli of­<lb/>ficij dello Architetto, & &longs;i fanno Mathematici, doue facilmente po&longs;&longs;ono di&longs;putare contra <lb/>quelle di&longs;cipline, perche di piu arme di &longs;cienze armati &longs;ono. </s> </p> <p type="main"> <s id="s.000584"><emph type="italics"/>Egli &longs;i &longs;uole di&longs;putare de i principij d'una &longs;cienza, & &longs;i &longs;uole anche di&longs;putare delle co&longs;e con­<lb/>tenute &longs;otto que' principij contra chiunque le nega&longs;&longs;e. </s> <s id="s.000585">&longs;e egli &longs;i di&longs;puta de i principij, bi&longs;ogna u&longs;ci­<lb/>re de i termini di quella &longs;cienza, & u&longs;are una &longs;cienza commune, & uniuer&longs;ale: perche &longs;e le <lb/>proue na&longs;ceno da i principij, come &longs;i puo contra chi gli niega di&longs;putare &longs;tando ne i termini di quel­<lb/>la &longs;cienza, non e&longs;&longs;endo co&longs;a inanzi i principij? </s> <s id="s.000586">& però dice Vitr. che chi è armato di piu armi di <lb/>&longs;cienze puo di&longs;putare contra le &longs;cienze, cioè contra coloro che di quelle ne face&longs;&longs;ero profe&longs;&longs;ione. <lb/></s> <s id="s.000587">& per que&longs;to Ari&longs;totele non come Filo&longs;ofo naturale di&longs;puta contra Parmenide, & Melißo, i <lb/>quali negauano i principij della Filo&longs;ofia naturale: ma come Dialettico, & &longs;opra naturale. </s> <s id="s.000588">Ma <lb/>&longs;e egli &longs;i di&longs;puta delle co&longs;e contenute &longs;otto i principij di alcuna &longs;cienza, puo bene alcuno non u&longs;cen­<lb/>do de i termini di quella &longs;cienza di&longs;putare contra chi ragionaße male delle co&longs;e à quella pertinen­<lb/>ti, perche egli &longs;i &longs;eruirebbe de i principij di quella &longs;cienza; & però quelli che &longs;ono in molte &longs;cien­<lb/>ze periti, &longs;empre armati &longs;ono, & all'offe&longs;a, & alla dife&longs;a, percioche u&longs;cendo o &longs;tando nella <lb/>propo&longs;ta qui&longs;tione, &longs;i poßono &longs;aluare con auantagio.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.000589">Ma rare uolte &longs;i truouano &longs;imili huomini, come fu Ari&longs;tarcho Samio, Philolao, & Ar­<lb/>chita Tarentini, Apollonio Pergeo, Erato&longs;thene Cireneo, Archimede, & Scopinas Sira­<lb/>cu&longs;ani, i quali per uia di numeri, & di ragioni naturali molte co&longs;e ritrouate circa gli in­<lb/>&longs;trumenti, & le regole & gli &longs;tili, a i po&longs;teri degnamente la&longs;ciorno. </s> <s id="s.000590">Quando adunque <lb/>&longs;ia, che dalla &longs;olertia naturale non a tutte le genti per tutto, ma a pochi huomini conce­<lb/>duto &longs;ia l'hauere co&longs;i buoni ingegni, & l'ufficio dello Architetto &longs;ia e&longs;&longs;ere in tutti gli am­<lb/>mae&longs;tramenti e&longs;&longs;ercitato, & la ragione della co&longs;a permetta, che non &longs;econdo la nece&longs;sità <lb/>le &longs;omme, ma le mediocri cognitioni delle di&longs;cipline egli habbia: io ò Ce&longs;are, & a te, & a <lb/>quelli, che leggeranno i miei uolumi, dimando, che &longs;e alcuna co&longs;a poco &longs;econdo le re­<lb/>gole di Grammatica &longs;arà da me e&longs;plicata, egli mi &longs;ia perdonato. </s> <s id="s.000591">perche non come &longs;om­<pb pagenum="26" xlink:href="045/01/034.jpg"/>mo Filo&longs;ofo, nè eloquente Oratore, nè Grammatico nelle piu eccellenti ragioni del­<lb/>l'Arte e&longs;&longs;ercitato, ma come Architetto di que&longs;ta maniera di lettere ammae&longs;trato mi &longs;ono <lb/>sforzato di &longs;criuere que&longs;te co&longs;e. </s> </p> <p type="main"> <s id="s.000592"><emph type="italics"/>Conchiude Vitr. con mirabile circondottione, & abbracciamento le dette co&longs;e, tenendo lun­<lb/>gamente &longs;o&longs;pe&longs;o lo intendimento prima, che uenghi al fine, ilche èidea, & forma della grandez­<lb/>za del parlare, che &longs;i &longs;ostenta con alcune particelle la &longs;ententia, come &longs;ono, benche, non &longs;ola­<lb/>mente, quantunqae, auegna Dio, & altre &longs;imiglianti, che richiedeno altre ri&longs;pondenze. </s> <s id="s.000593">Ecco <lb/>quanto è ripieno que&longs;to parlare di &longs;entimenti, & d'Argomenti, & prima dalla natura delle co­<lb/>fe, quando dice<emph.end type="italics"/> {<emph type="italics"/>ma a pochi huomini conceduto &longs;ia.<emph.end type="italics"/>} <emph type="italics"/>Da poi dall'Arte, quando dice<emph.end type="italics"/> {<emph type="italics"/>& <lb/>l'ufficio dello Architetto.<emph.end type="italics"/>} <emph type="italics"/>Indi dalle co&longs;e i&longs;teße quando dice.<emph.end type="italics"/> {<emph type="italics"/>Et la ragione della co&longs;a per­<lb/>metta.<emph.end type="italics"/>} <emph type="italics"/>& finalmente chiude il &longs;entimento.<emph.end type="italics"/> {<emph type="italics"/>10 che o Ce&longs;are.<emph.end type="italics"/>} <emph type="italics"/>Propone poi di che egli <lb/>habbia a trattare dicendo.<emph.end type="italics"/></s> <s id="s.000594"> Quanto ueramente ricerca il potere di que&longs;t'Arte, & le ra­<lb/>gioni, che in quello po&longs;te &longs;ono, prometto (come io &longs;pero) in que&longs;ti libri non &longs;olo à <lb/>gli edificatori, ma à tutti i &longs;aui &longs;enza dubio con grandi&longs;sima autorità poter pre&longs;tare. </s> </p> <p type="main"> <s id="s.000595"><emph type="italics"/>Pareua la promeßa di Vitr. grande, & gonfia, però con prudenza egli ui po&longs;e quelle paro­<lb/>le<emph.end type="italics"/> {<emph type="italics"/>come io &longs;pero<emph.end type="italics"/>} <emph type="italics"/>per dimo&longs;trare mode&longs;tia. </s> <s id="s.000596">dice adunque che egli promette pre&longs;tare quanto por <lb/>ta la facoltà dell'Architettura, non &longs;olamente a gli edificanti; ricordando&longs;i di hauer detto, che <lb/>l'Architettura na&longs;ce da Fabrica, ma a tutti i periti le ragioni dell'Arte promette, lequali nel <lb/>di&longs;cor&longs;o, nella co&longs;a &longs;ignificante, & nella proua della Fabrica &longs;ono ripo&longs;te. </s> <s id="s.000597">& però &longs;enza dub­<lb/>bio con grandi&longs;&longs;ima autorità oßerua le promeße, percioche come &longs;auio Architetto fonderà l'Ar­<lb/>te &longs;ua &longs;opra ueri, efficaci, utili, & conformi precetti. </s> <s id="s.000598">Et tanto detto &longs;ia &longs;opra il primo capo.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.000599"><emph type="italics"/>Di quali co&longs;e è composta l'Architettura. <!-- KEEP S--></s> <s id="s.000600"><lb/>Cap. II.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.000601">L'ARCHITETTVRA con&longs;i&longs;te in Ordine, in Di&longs;po&longs;itione, in bel Numero, in <lb/>Compartimento, in Decoro, & in Di&longs;tributione. </s> </p> <p type="main"> <s id="s.000602"><emph type="italics"/>Chiunque inten derà bene il pre&longs;ente capo, con uerità potrà dire &longs;apere, & in­<lb/>tendere in che con&longs;i&longs;ta la forza dell'Architettura. <!-- KEEP S--></s> <s id="s.000603">percioche le &longs;ei co&longs;e, nelle quali <lb/>afferma Vitr. che con&longs;i&longs;te l'Architettura, &longs;ono quelle, che appartengono alla forza, & natura di <lb/>eßa; quelle delle quali è l'habito nella mente dello Architetto; & quelle finalmente, &longs;enza le <lb/>quali niuna opera puo hauer forma, o perfettione. </s> <s id="s.000604">Difficil co&longs;a è dimo&longs;trare la diuer&longs;ità che è <lb/>tra le predette co&longs;e: & bella co&longs;a è la&longs;ciar&longs;i intendere, & non fuggire. </s> <s id="s.000605">Percioche a molti può pa­<lb/>rere, che Vitru. nel diffinire le dette &longs;ei co&longs;e, dica il mede&longs;imo in piu modi: Il che non è, com'io <lb/>mi sforzerò di dimo&longs;trare chiaramente. </s> <s id="s.000606">Dico adunque per intelligentia di quello, che &longs;i deue <lb/>e&longs;ponere, che alcune co&longs;e inquanto all'e&longs;&longs;er loro non &longs;i riferi&longs;cono ad altre, ma libere, & a&longs;&longs;olute <lb/>&longs;ono. </s> <s id="s.000607">Altre hanno rilatione, & ri&longs;petto, & &longs;enza non &longs;tarebbeno. </s> <s id="s.000608">l'huomo, la pietra, la pianta, <lb/>& finalmente ogni &longs;o&longs;tanza non hanno riguardo, & comparatione ad altra co&longs;a, perche da &longs;e <lb/>&longs;tanno: ma l'e&longs;&longs;er padre, patrone, mae&longs;tro, amico, fratello, non puo &longs;tare da &longs;e, ma di nece&longs;&longs;ità ad <lb/>altro &longs;i riferi&longs;ce. </s> <s id="s.000609">perche'l padre ha rilatione al figliuolo, il patrone al &longs;eruo, il mae&longs;tro al di&longs;ci­<lb/>pulo, l'amico all'amico, il fratello, al fratello. </s> <s id="s.000610">&longs;imilmente il doppio, il maggiore, il minore & <lb/>l'eguale &longs;ono co&longs;e, che &longs;ole non po&longs;&longs;ono nè e&longs;&longs;er inte&longs;e. </s> <s id="s.000611">Oltra la predetta di&longs;tintione egli <lb/>è degno di auuertimento, che delle co&longs;e, le quali di loro natura &longs;i riferi&longs;cono ad altre, &longs;ono alcu­<lb/>ni termini: & que&longs;ti &longs;ono il fondamento & principio dal quale s'incomincia la relatione, & il fine <lb/>nel quale ella termina: come la ragione di eßer padre comincia da chi genera, & termina in chi <lb/>è generato. </s> <s id="s.000612">Lo e&longs;&longs;er mae&longs;tro &longs;i fonda in colui, che in&longs;egna, & ha il &longs;uo termine in colui, che <lb/>impara. </s> <s id="s.000613">lo e&longs;&longs;er maggiore comincia in quella co&longs;a, che eccede, & fini&longs;ce nella co&longs;a ecce&longs;&longs;a. </s> <s id="s.000614">In<emph.end type="italics"/><pb pagenum="27" xlink:href="045/01/035.jpg"/><emph type="italics"/>que&longs;te comparationi di co&longs;e &longs;peßo adiuiene egualità, & parità, cioè che tanto nel fondamento, <lb/>quanto nel termine &longs;i troua ragione eguale, come dicendo, amico, o fratello: percioche l'ami­<lb/>co è pari all'amico, il fratello al fratello, nè &longs;i troua ragione maggiore nell'uno che nell'al­<lb/>tro termine. </s> <s id="s.000615">&longs;pe&longs;&longs;o anche &longs;i uede nelle co&longs;e riferite di&longs;parità, & di&longs;aguaglianza, come dire pa­<lb/>trone & &longs;eruo, padre & figliuolo, mae&longs;tro & di&longs;cipulo, perche egli importa che &longs;i cominci <lb/>piu da uno, che dall'altro; & altra ragione è nell'uno termine, & altra nell'altro. </s> <s id="s.000616">Que&longs;te di­<lb/>&longs;tintioni hanno gran forza a fare, che bene s'intendino le &longs;ei predette co&longs;e. </s> <s id="s.000617">percioche tutte &longs;ono <lb/>comparationi, & relationi, come &longs;i uederà qui &longs;otto. </s> <s id="s.000618">Hauendo adunque Vitru. formato lo Ar­<lb/>chitetto, cioè fattolo degno agente di tanti artificij; tratta della forma; percioche e&longs;&longs;endo la ma­<lb/>teria imperfetta niuna co&longs;a da e&longs;&longs;a &longs;i trarrebbe &longs;enza la perfettione, & la forma; la quale con­<lb/>&longs;i&longs;te nelle &longs;ei predette co&longs;e. </s> <s id="s.000619">Due fini &longs;i truouano delle opere, uno è il compimento, & finimento <lb/>del lauoro, come, quando &longs;i dice, l'opera è finita, & compita: l'altro è il fine della intentione; <lb/>che è, quando fornita l'opera &longs;i dice, io ho l'intento mio; come fornita la ca&longs;a io &longs;ono dife&longs;o da i <lb/>uenti, & dal &longs;ole, & &longs;icuro de i contrarij. </s> <s id="s.000620">Per uenire adunque al fine dell'opera, egli è nece&longs;­<lb/>&longs;ario (&longs;e con arte ci uogliamo gouernare) procedere ordinatamente; & que&longs;to in due modi; pri­<lb/>ma quanto alla quantità, & grandezza delle parti, poi quanto alla &longs;o&longs;tanza con qualità di e&longs;&longs;e <lb/>parti. </s> <s id="s.000621">nel primo è l'ordine, nel &longs;econdo è la di&longs;po&longs;itione. </s> <s id="s.000622">& perche la qualità &longs;i può con&longs;iderare <lb/>in &longs;e &longs;te&longs;&longs;a, & comparandola alla forma, che all'a&longs;petto, & à gli occhi &longs;i riferi&longs;ce; però bi&longs;ogna <lb/>che nell'opera &longs;ia una certa qualità, che contenti, & diletti gli occhi de' riguardanti; & que­<lb/>&longs;ta è detta da Vitr. <!-- KEEP S--></s> <s id="s.000623">Eurithmia, della quale &longs;i dirà poi. </s> <s id="s.000624">Et perche non &longs;i propone l'opera infinita, <lb/>ma terminata in grandezza sì del tutto, come delle parti; però bi&longs;ogna, che oltra l'ordine ci &longs;ia <lb/>una corri&longs;pondenza delle mi&longs;ure tra &longs;e, & al tutto comparate. </s> <s id="s.000625">che propo&longs;to che ci &longs;ia la mi&longs;ura <lb/>d'una &longs;ola parte, &longs;appiamo le mi&longs;ure delle altre; & propo&longs;taci la grandezza del tutto &longs;appiamo <lb/>la grandezza di cia&longs;cuna parte. </s> <s id="s.000626">& que&longs;ta corri&longs;pondenza è nominata Simmetria, qua&longs;i concor­<lb/>&longs;o, & corri&longs;pondenza di mi&longs;ure. </s> <s id="s.000627">Noi la chiamamo compartimento, i latini &longs;i &longs;erueno del nome <lb/>Greco. <!-- KEEP S--></s> <s id="s.000628">Ma perche l'opere che &longs;i fanno hauer deono autorità, & riputatione, & e&longs;&longs;er anche <lb/>all'u&longs;o de' mortali accommodate, & con prudenza di&longs;pen&longs;ate; però uolendo noi ottennere le <lb/>predette co&longs;e, fa bi&longs;ogno &longs;eruar quello, che &longs;i conuiene, che Decoro &longs;i chiama, & di&longs;pen&longs;are il <lb/>tutto, il che è po&longs;to nella di&longs;tributione, dellequali co&longs;e &longs;i dirà poi partitamente, ponendo prima <lb/>&longs;otto un'a&longs;petto la &longs;opra detta &longs;ufficienza delle &longs;ei co&longs;e.<emph.end type="italics"/></s> </p> <figure id="id.045.01.035.1.jpg" xlink:href="045/01/035/1.jpg"/> <p type="main"> <s id="s.000629"><emph type="italics"/>Noi di&longs;tintamente ragioneremo di cia&longs;cuna parte, & prima dell'ordine.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.000630">Ordine è moderata attitudine de i membri dell'opera, partitamente, & ri&longs;petto a tut <lb/>ta la proportione al compartimento, ilquale &longs;i compone di quantità, </s> </p> <p type="main"> <s id="s.000631"><emph type="italics"/>Perche in molte co&longs;e ritrouamo ordine, di&longs;po&longs;itione, decoro, di&longs;tributione, & le altre par <lb/>ti &longs;opradette, però diremo che que&longs;ti termini &longs;ono generali & communi: & come generali, & <lb/>communi hanno le loro diffinitioni nella &longs;cienza generale, & commune, che è la prima detta <lb/>Metaphy&longs;ica. </s> <s id="s.000632">Ma quando alcuno artefice uuole applicare alcuna di quelle parti alla propria co<lb/>gnitione, re&longs;trigne quella uniuer&longs;alità al particolare, & proprio dell'arte &longs;ua. </s> <s id="s.000633">come &longs;i uede al <emph.end type="italics"/><pb pagenum="28" xlink:href="045/01/036.jpg"/><emph type="italics"/>pre&longs;ente, nelle dette diffinitioni, & prima nella diffinitione dell'ordine. </s> <s id="s.000634">Certo è che l'ordine in <lb/>&longs;e, & &longs;econdo la natura &longs;ua nel generale, è quando una co&longs;a di &longs;ua ragione pone un'e&longs;&longs;er dopo <lb/>l'altro: & però ne &longs;egue, che doue è ordine &longs;ia prima, & poi, & que&longs;ti &longs;ono termini communi, <lb/>& che abbracciano molto. </s> <s id="s.000635">Ma lo Architetto gli ri&longs;trigne a &longs;e, benche con piu larghezza, che <lb/>ogni altro Artefice: percioche la &longs;cientia & cognitione dello Architetto è piu ampia che quella <lb/>d'un altro. </s> <s id="s.000636">Dice adunque che l'ordine è quando in una opera di &longs;ua ragione l'e&longs;&longs;er d'una quantità <lb/>è po&longs;to prima, & l'altro poi: & in que&longs;to modo la diffinitione dell'ordine è fatta propria per <lb/>l'applicatione de i termini communi & uniuer&longs;ali, ne i quali &longs;i può dire, che po&longs;ta &longs;ia la racco­<lb/>munanza delle &longs;cienze. </s> <s id="s.000637">Perche adunque &longs;i &longs;tia ne i no&longs;tri primi fondamenti, io dico che l'ordi­<lb/>ne è tra quelle co&longs;e, che &longs;i riferi&longs;cono ad altre, & che po&longs;te &longs;ono in comparatione, & ri&longs;petto. </s> <s id="s.000638"><lb/>Dico di piu che la comparatione è di quelle, che &longs;ono nella di&longs;aguaglianza. </s> <s id="s.000639">chiaro è che nell'or <lb/>dine &longs;ia ri&longs;petto, perche nell'ordine s'intende, che alcuna co&longs;a preceda, & altra &longs;ucceda. </s> <s id="s.000640">euui <lb/>anche di&longs;aguaglianza perche &longs;e tutte le co&longs;e fu&longs;&longs;ero eguali, già non &longs;arebbeno tutte, come dice <lb/>&longs;anto Ago&longs;tino, perche non ui &longs;arebbono quelli che haue&longs;&longs;ero a precedere; & però l'ordine è <lb/>di&longs;pen&longs;atione delle co&longs;e pari, & di&longs;pari, eguali, & di&longs;eguali. </s> <s id="s.000641">L'ordine dello Architetto è d'in­<lb/>torno la quantità, & nella quantità &longs;i troua l'ordine, che riguarda al tutto, & l'ordine, che <lb/>riguarda alle parti, non che l'un ordine in effetto &longs;i ritruoui &longs;enza l'altro: ma in modo, che lo <lb/>intelletto puo fare la di&longs;tintione, & intendere cia&longs;cuno &longs;eparatamente: & però dice Vitruuio <lb/>quanto all'ordine, che è tra le parti, che l'ordine è moderata attitudine de i membri dell'ope <lb/>ra partitamente, & que&longs;ta attitudine, che egli chiama commodità, con&longs;i&longs;te nel regolare, & <lb/>temprare una parte cerca la &longs;ua grandezza in modo, che &longs;ia mi&longs;ura delle altre, & con <lb/>quelle conuegna, & ri&longs;ponda; & in que&longs;ta regolatione la parte, che come mi&longs;ura &longs;i piglia, <lb/>deue precedere alle altre. </s> <s id="s.000642">nell'ordine adunque applicato all'Architettura, &longs;i truoua il prima, <lb/>& il poi. </s> <s id="s.000643">& que&longs;te &longs;ono differenze oppo&longs;te, & di&longs;eguali, & però &longs;i deono ridurre &longs;otto un <lb/>termine commune; & que&longs;ta è la regola. </s> <s id="s.000644">ma piu chiaramente per lo e&longs;&longs;empio; & que&longs;to <lb/>quando io hauerò dichiarito l'ordine delle parti comparate al tutto. </s> <s id="s.000645">Dice inquanto a que&longs;to <lb/>ordine. </s> <s id="s.000646">Vitr.<emph.end type="italics"/> {<emph type="italics"/>Et un ri&longs;petto di tutta la Proportione al compartimento.<emph.end type="italics"/>} <emph type="italics"/>Proportione è <lb/>comparatione di co&longs;e tra &longs;e, che &longs;ono d'una i&longs;te&longs;&longs;a natura. </s> <s id="s.000647">Que&longs;ta &longs;i fa nell'Architettura, <lb/>pigliando una certa, & determinata quantità, la quale &longs;ia regolatrice di tutte le altre gran<lb/>dezze, & mi&longs;ure delle parti, & membri dell'opere. </s> <s id="s.000648">Lo e&longs;&longs;empio è que&longs;to. </s> <s id="s.000649">Vitr. nel terzo <lb/>libro al &longs;econdo Capo uolendo render conto della bella maniera de i tempij, nella quale è lo <lb/>&longs;patio conueniente, & bello tra una colonna, & l'altra, dice che egli bi&longs;ogna, che lo &longs;patio <lb/>& il uano o lume &longs;ia della gro&longs;&longs;ezza di due colonne, & un quarto piu. </s> <s id="s.000650">& con que&longs;to dice. <lb/></s> <s id="s.000651">&longs;e la facciata del luogo, doue &longs;i ha da fabricare &longs;arà di quattro colonne, bi&longs;ognerà compartirla <lb/>in undici parti & meza, la&longs;ciando le &longs;pire: & di quelle undici, una deue e&longs;&longs;er il modulo; che co&longs;i <lb/>egli chiama quella mi&longs;ura, che regola tutte le grandezze dell'opere. </s> <s id="s.000652">Dona alle gro&longs;&longs;ezze delle co<lb/>lonne un modulo, a i uani due moduli, & un quarto, al uano di mezo tre moduli. </s> <s id="s.000653">& in que&longs;to modo <lb/>ordina tutta la facciata; come chiaramente &longs;i uede che quattro moduli &longs;i danno a quattro colon­<lb/>ne, tre allo &longs;patio di mezo, che &longs;ono &longs;ette, quattro et mezo a gli &longs;patij, & uani da i lati, che &longs;ono <lb/>undici & mezo. </s> <s id="s.000654">Et la ragione i&longs;te&longs;&longs;a è lodata &longs;e la fronte &longs;arà di &longs;ei colonne, perche quella &longs;arà <lb/>partita in parti diciotto, una di quelle &longs;arà il modulo, la gro&longs;&longs;ezza delle colonne &longs;arà d'un modulo, <lb/>e&longs;&longs;endo adunque &longs;ei colonne, anderanno &longs;eimoduli nelle loro gro&longs;&longs;ezze, nel uano di mezo tre mo<lb/>duli, che con i predetti &longs;ei fanno noue. </s> <s id="s.000655">ma ne i uani dall'una & l'altra parte, che &longs;ono in tut­<lb/>to quattro, andandoui due moduli, & un quarto per uano, u' anderanno altri noue moduli, i qua <lb/>li raccolti con i noue di prima faranno la &longs;omma di diciotto. </s> <s id="s.000656">& co&longs;i ua nella facciata di <lb/>otto colonne che in uentiquattro parti, & meza partita, fa il modulo d'una di quelle, col <lb/>quale &longs;i mi&longs;iura come di &longs;opra. </s> <s id="s.000657">Nelle machine anchora, & nelle altre opere &longs;i uede o&longs;&longs;eruato <lb/>quanto s'è detto. </s> <s id="s.000658">Ordine adunque è comparatione di di&longs;aguaglianza, che comincia in una pri-<emph.end type="italics"/><pb pagenum="29" xlink:href="045/01/037.jpg"/><emph type="italics"/>ma pre&longs;a quantità, come regola di tutte le parti, & a quelle, & al tutto riferita: &longs;acendo <lb/>una conuenienza di mi&longs;ure nominata &longs;immetria.<emph.end type="italics"/></s> <s id="s.000659"> Que&longs;ta &longs;i compone di quantità, laquale è <lb/>conueniente effetto de i moduli dalla pre&longs;a dell'opera, & di tutte le parti de i membri. </s> </p> <p type="main"> <s id="s.000660"><emph type="italics"/>La &longs;immetria, & compartimento &longs;i compone di molte quantità ad uno i&longs;te&longs;&longs;o effetto: la qual <lb/>quantità è diffinita da Vitr. & di noi con l'e&longs;&longs;empio dichiarata. </s> <s id="s.000661">nel qual e&longs;&longs;empio prima &longs;i pi­<lb/>glia il piano intiero della fronte, & quello in parte &longs;i diuide, & d'una di quelle parti &longs;e ne &longs;a <lb/>la regoletta, & il modulo, ilquale tempera, & modera i membri, & le parti dell'opera fa­<lb/>cendo nel tutto un conueniente effetto.<emph.end type="italics"/></s> <s id="s.000662"> La di&longs;po&longs;itione è atta collocatione delle co&longs;e, & <lb/>nel componimento &longs;cielto effetto con qualità. <emph type="italics"/>La di&longs;po&longs;itione compara le parti dell'ope­<lb/>re non come grandezze, & quantità, ma come parti da e&longs;&longs;er collocate nel proprio luogo. </s> <s id="s.000663"><lb/>percioche non è a ba&longs;tanza ritrouare una commune mi&longs;ura, che &longs;ia regola della grandezza <lb/>delle parti, ma bi&longs;ogna anche ritrouare un'ordine di quella co&longs;a, che ha parti, non compa­<lb/>rando le parti come grandezze, & quantità, ma comparandole come co&longs;e da e&longs;&longs;er po&longs;te al &longs;uo <lb/>luogo. </s> <s id="s.000664">Due maniere ci fa la di&longs;po&longs;itione, l'una dal ca&longs;o procede, o dalla neceßità, & l'altra <lb/>dall'artificio, o dal &longs;apere. </s> <s id="s.000665">Vitr. ragiona di pre&longs;ente di que&longs;ta ultima, ma nel &longs;e&longs;to libro ra­<lb/>giona della prima, & molto bene &longs;i la&longs;cia intendere al &longs;econdo Capo del detto libro, cerca le <lb/>predette co&longs;e dicendo in quel luogo.<emph.end type="italics"/></s> <s id="s.000666"> Niuna cura maggiore hauer deue lo Architetto, che <lb/>fare, che gli edificij habbiano per le proportioni della rata parte i componimenti delle lo <lb/>ro ragioni. </s> <s id="s.000667">quando adunque &longs;arà fornita la ragione delle mi&longs;ure, & con di&longs;cor&longs;o e&longs;pli­<lb/>cate le proportioni. <emph type="italics"/>(Come ricerca l'ordine, & la &longs;immetria,)<emph.end type="italics"/> all'hora è proprio an­<lb/>che dell'acutezza dello ingegno prouedere alla natura del luogo, all'u&longs;o, alla bellezza, <lb/>& aggiugnendo, o &longs;cemando far conueneuoli temperamenti, accioche quando &longs;arà leua <lb/>to, o aggiunto alcuna co&longs;a alla mi&longs;ura, cio paia e&longs;&longs;er &longs;tato drittamente formato.</s> </p> <p type="main"> <s id="s.000668"><emph type="italics"/>Come fa Vitruuio nella di&longs;po&longs;itione delle Ba&longs;iliche, nel quinto libro.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.000669">In modo che niente piu &longs;i di&longs;ideri nell'a&longs;petto <emph type="italics"/>(Ecco la Eurithmia,)<emph.end type="italics"/> perche altra <lb/>forma pare, che &longs;ia d'appre&longs;&longs;o, & al ba&longs;&longs;o; altra di lontano, & in altezza, nè quella <lb/>pare in luogo rinchiu&longs;o, che pare in luogo aperto. </s> <s id="s.000670">nelle quali co&longs;e è opera di grande inge<lb/>gno &longs;apere prendere partito. </s> </p> <p type="main"> <s id="s.000671"><emph type="italics"/>Et in fine del detto capo dice piu chiarmente, toccando la di&longs;po&longs;itione, che dal ca&longs;o, o dalla ne <lb/>ce&longs;&longs;ità procede.<emph.end type="italics"/></s> <s id="s.000672"> Io non pen&longs;o, che bi&longs;ogni dubitare, che alle nature, & nece&longs;sità de i <lb/>luoghi, non &longs;i debbiano fare gli accre&longs;cimenti, & le diminutioni, ma in modo, che in &longs;i­<lb/>mil opera niente &longs;ia di&longs;iderato. </s> <s id="s.000673">& que&longs;to non &longs;olo per dottrina, ma per acutezza d'inge­<lb/>gno &longs;i puo fare; & però prima egli &longs;i deue ordinare la ragione delle mi&longs;ure, dalla quale &longs;i <lb/>po&longs;&longs;a pigliare &longs;enza dubitatione, il mutamento delle co&longs;e. </s> <s id="s.000674">Da poi &longs;ia e&longs;plicato lo &longs;patio <lb/>dal ba&longs;&longs;o dell'opera, che &longs;i deue fare, di largezza, & di lungezza. </s> <s id="s.000675">della qual opera, quan­<lb/>do una fiata &longs;arà determinata la grandezza, ne &longs;egua l'apparat o della proportione alla <lb/>bellezza, accioche dubbio non &longs;ia lo a&longs;petto della con&longs;onanza, a chi ui uorrà &longs;opra con­<lb/>&longs;iderare. </s> </p> <p type="main"> <s id="s.000676"><emph type="italics"/>Dalle parole &longs;opra dette chiaramente &longs;i cono&longs;ce il numero, l'ordine, & la natura delle &longs;ei co­<lb/>&longs;e predette. </s> <s id="s.000677">io ho uoluto allegare i luoghi di Vitr. per e&longs;&longs;ere lo intento mio di e&longs;ponere Vitr. con <lb/>Vitr. i&longs;te&longs;&longs;o. </s> <s id="s.000678">dice adunque, &longs;eguitando la &longs;ua diffinitione, che la di&longs;po&longs;itione è atta collocatione del <lb/>le co&longs;e. </s> <s id="s.000679">Et per co&longs;e intende le &longs;tanze, & le parti di e&longs;&longs;e nella fabrica, ouero le parti dell'opere fat <lb/>te dall'Architetto, &longs;ieno quali &longs;i uoglia. </s> <s id="s.000680">da que&longs;ta ben di&longs;po&longs;ta collocatione delle parti, na&longs;ce il ue­<lb/>dere in tutta la compo&longs;itione una bella qualità, che è &longs;ito conueniente di cia&longs;cuna co&longs;a. </s> <s id="s.000681">& però <lb/>dice, &longs;cielto effetto, cioè sbrigato, netto, di&longs;tinto. </s> <s id="s.000682">Alla di&longs;po&longs;itione s'oppone il &longs;uperfluo come <lb/>all'ordine s'oppone la confu&longs;ione. </s> <s id="s.000683">Et &longs;i puo dire, che l'ordine è di&longs;po&longs;itione delle mi&longs;ure alla &longs;im­<lb/>metria, & la di&longs;po&longs;itione è ordine delle parti al luogo, come &longs;i uederà al &longs;e&longs;to capo del primo, & <lb/>in molti altri luoghi.<emph.end type="italics"/></s> <s id="s.000684"> Le idee della di&longs;po&longs;itione &longs;ono que&longs;te la pianta, lo in piè, il profilo. <pb pagenum="30" xlink:href="045/01/038.jpg"/>La pianta è un moderato u&longs;o della &longs;e&longs;ta, & della regola, dal quale &longs;i piglia il di&longs;egno delle <lb/>forme nel piano. </s> <s id="s.000685">Lo in piè, è la imagine dritta della fronte, & figura con modo dipinta, <lb/>con le ragioni dell'opera, che &longs;i deue fare. </s> <s id="s.000686">il pro&longs;ilo è adombratione della fronte, & dei <lb/>lati che &longs;i &longs;co&longs;tano, & una ri&longs;pondenza di tutte le linee al centro della &longs;e&longs;ta. </s> </p> <p type="main"> <s id="s.000687"><emph type="italics"/>Nel di&longs;ponere, & collocare le parti lo Architetto forma nel &longs;uo pen&longs;iero, & poi di&longs;egna tre <lb/>maniere, ouero idee delle opere: Vna è detta da Greci, ichnografia, cioè de&longs;crittione, & di&longs;egno <lb/>della pianta, per dare ad intendere la collocatione delle parti, & la largbezza, & lungezza <lb/>dell'opera. </s> <s id="s.000688">alche fare ci uuole un moderato u&longs;o della &longs;e&longs;ta, & della regola. </s> <s id="s.000689">L'altra è detta, ortho<lb/>graphia, cioè de&longs;crittione, & di&longs;egno del leuato, & dritto, sì per dimo&longs;trare l'altezza delle ope­<lb/>re, come la maniera. </s> <s id="s.000690">deue e&longs;&longs;er lo in piè conforme alla pianta, altrimenti non &longs;arebbe un'i&longs;te&longs;&longs;a <lb/>co&longs;a quella, che na&longs;ce, & quella, che cre&longs;ce: ilche è grande errore, & contra la natuna delle co <lb/>&longs;e, percioche nelle piante, & ne gli animali &longs;i uede quello, che na&longs;ce, & quello, che cre&longs;ce e&longs;­<lb/>&longs;er lo i&longs;te&longs;&longs;o, & niuna parte aggiugner&longs;i da poi. </s> <s id="s.000691">La terza idea è il profilo, detto &longs;ciografia, dal <lb/>quale grande utilità &longs;i prende, perche per la de&longs;crittione del profilo &longs;i rende conto delle gro&longs;&longs;ezze <lb/>de i muri, de gli &longs;porti, delle ritrattioni d'ogni membro, & in que&longs;to l'Architetto come Medico <lb/>dimo&longs;tra tutte le parti interiori, & e&longs;teriori delle opere, & però in que&longs;to ufficio ha bi&longs;ogno di <lb/>grandi&longs;&longs;imo pen&longs;amento, & giudicio, & pratica, come à chi, con&longs;idera gli effetti del profilo <lb/>è manife&longs;to: perche la eleuatione della fronte, & la mae&longs;tà non dimo&longs;tra gli &longs;porti, le ritrationi, <lb/>le gro&longs;&longs;ezze delle cornici, de i capitelli, de i ba&longs;amenti, delle &longs;cale, & d'altre co&longs;e, però è nece&longs;­<lb/>&longs;ario il profilo; & con que&longs;te tre maniere di di&longs;po&longs;itione l'Architetto s'a&longs;&longs;icura della riu&longs;cita del­<lb/>l'opera, & fa piu certa la &longs;ua intentione, & l'altrui di&longs;iderio di far opera lodata, & degna. </s> <s id="s.000692">Et <lb/>appre&longs;&longs;o puo fare il conto della &longs;pe&longs;a, & di molte co&longs;e all'opere pertinenti. </s> <s id="s.000693">Dalle dette idee, che <lb/>&longs;ono forme concette nella mente, & e&longs;pre&longs;&longs;e nelle tauole, o carte, ne uiene quello effetto &longs;cielto, & <lb/>elegante, che egli ha detto. </s> <s id="s.000694">Si deue anche auuertire, che Vitr. e&longs;ponendo le nature delle &longs;ei pre­<lb/>dette co&longs;e, uiene a confermare quelle, che &longs;ono nece&longs;&longs;arie allo Architetto, percioche &longs;i uede nella <lb/>di&longs;po&longs;itione, & nelle &longs;ue &longs;pecie, quanto utile &longs;ia il di&longs;egno, & la Geometria. <!-- KEEP S--></s> <s id="s.000695">&longs;i uede nell'ordine, <lb/>quanto commoda &longs;ia l'Arithmetica. </s> <s id="s.000696">& uedera&longs;&longs;i nelle altre parti quanto ci &longs;arà a propo&longs;ito la <lb/>Pro&longs;pettiua, la Mu&longs;ica, & quelle co&longs;e, che all'i&longs;toria, & alle altre qualità dello Architetto &longs;o­<lb/>no conuenienti. </s> <s id="s.000697">L'in piè è imagine della fronte. </s> <s id="s.000698">Là doue rappre&longs;enta &longs;opra il piano d'una carta, <lb/>tela, o tauola quello, che na&longs;ce dalla pianta riferendo il tutto alle ragioni dell'opera, che &longs;i deue <lb/>&longs;are &longs;ia ella Dorica, Ionica, o qual &longs;i uoglia. </s> <s id="s.000699">Vitruuio ha chiamato fronte ogni co&longs;a, che dritta <lb/>&longs;i uede. </s> <s id="s.000700">Molti &longs;ono, da i quali &longs;i potrà hauere una pianta, & anche non u&longs;cendo fuori de i termi <lb/>ni di quella, faranno lo in piè &longs;econdo la ragione dell'opera futura, ma non &longs;apranno in ogni ordi­<lb/>ne della fabrica dimo&longs;trare in di&longs;egno la gro&longs;&longs;ezza de i pareti, quello, che po&longs;a &longs;ul uiuo, quello, <lb/>che e&longs;ce, & quello, che entra; & però mancheranno di que&longs;ta terza &longs;pecie, & Idea della di&longs;po&longs;i­<lb/>tione, per la &longs;ua difficultà. </s> <s id="s.000701">Que&longs;ta utilità del profilo mi muoue ad interpretare &longs;ciografia, & <lb/>non &longs;cenografia. </s> <s id="s.000702">perche &longs;e bene la &longs;cenografia che è de&longs;crittione delle &longs;cene, & pro&longs;pettiua, è <lb/>nece&longs;&longs;aria nelle co&longs;e de i Theatri, come &longs;i uederà nel quinto libro; non però pare, che &longs;ia &longs;econdo <lb/>le idee della di&longs;po&longs;itione, delle quali &longs;i parla. </s> <s id="s.000703">Altri uogliono, che s'intenda il modello. </s> <s id="s.000704">ma que­<lb/>&longs;to non corre con il propo&longs;ito no&longs;tro, &longs;e bene egli fa piu chiara, & certa la intentione dello Archi­<lb/>tetto: oltra che non conuiene la diffinitione data da Vitr. al modello. </s> <s id="s.000705">Potrebbe dire alcuno <lb/>che la detta diffinitione non quadra al profilo; io ri&longs;pondo, che e&longs;&longs;endo tanto nece&longs;&longs;ario il profilo, <lb/>& molto piu, che la pro&longs;pettiua, bi&longs;ogna con&longs;iderar bene la detta diffinitione. </s> <s id="s.000706">Io per me, quan­<lb/>do haue&longs;&longs;i ad intendere in que&longs;to luogo la pro&longs;pettiua, uorrei che fu&longs;&longs;ero quattro le idee della di­<lb/>&longs;po&longs;itione, per ponerui il profilo; tanto egli mi pare nece&longs;&longs;ario. </s> <s id="s.000707">Ma pare anche di nuouo, che <lb/>conuenendo la diffinitione della di&longs;po&longs;itione a due delle &longs;ue idee, cioè alla pianta, & allo in piè, per­<lb/>che di cia&longs;cuna &longs;i può dire, che è atta collocatione delle co&longs;e, & nel componimento &longs;cielto effetto <lb/>con qualità: mi pare dico, di nuouo, che ella non conuenghi alla &longs;ciografia, &longs;e per &longs;ciografia s'in-<emph.end type="italics"/><pb pagenum="31" xlink:href="045/01/039.jpg"/><emph type="italics"/>tende pro&longs;pettiua, perche nella pro&longs;pettiua non &longs;i puo uedere atta collocatione delle co&longs;e, nè meno <lb/>nel componimento &longs;cielto effetto con qualità. </s> <s id="s.000708">La cagione è, che è nece&longs;&longs;ario, che il genere &longs;i di­<lb/>ca delle &longs;ue &longs;pecie, & che la diffinitione del genere conuegna alle &longs;petie &longs;otto quel genere compre&longs;e. </s> <s id="s.000709"><lb/>Molto bene adunque al profilo conuiene la diffinitione della di&longs;po&longs;itione, perche &longs;i uede nel profi-<emph.end type="italics"/><lb/><figure id="id.045.01.039.1.jpg" xlink:href="045/01/039/1.jpg"/><lb/><emph type="italics"/>lo &longs;cielto è sbrigato effetto nel componimento, & &longs;i uede una atta collocatione delle co&longs;e. </s> <s id="s.000710">come <lb/>a chi ben con&longs;idera, è manife&longs;to, perche tutte le linee uengono all'occhio &longs;enza impedimento, <lb/>& &longs;i cono&longs;cono gli &longs;porti, & le ritrattioni, & le gro&longs;&longs;ezze come &longs;ono, & non come appareno <lb/>con linee, & anguli proportionati, come &longs;i fa nella pro&longs;pettiua: &longs;e bene pare, che la diffinitio-<emph.end type="italics"/><pb pagenum="32" xlink:href="045/01/040.jpg"/><emph type="italics"/>ne della &longs;ciografia addotta da Vitr. accenni la diffinitione della pro&longs;pettiua. </s> <s id="s.000711">Et quando pure egli, <lb/>& altri intender uogliono, che &longs;i ragioni della pro&longs;pettiua, & io con loro m'accorderò, & dirò <lb/>di piu, che egli è nece&longs;&longs;ario conceder qualche luogo al profilo nella di&longs;po&longs;itione, per le ragioni, <lb/>che io ho detto, rimettendomi &longs;empre à miglior giudicio. </s> <s id="s.000712">Ma &longs;arebbe gran co&longs;a, che trattando <lb/>Vitr. in que&longs;to luogo di co&longs;e uniuer&longs;ali a tutta l'arte egli uole&longs;&longs;e intendere delle particolari, & la­<lb/>&longs;cia&longs;&longs;e le co&longs;e importanti mancando al &longs;uo ordine.<emph.end type="italics"/></s> </p> <figure id="id.045.01.040.1.jpg" xlink:href="045/01/040/1.jpg"/> <p type="main"> <s id="s.000713">Que&longs;te na&longs;ceno da pen&longs;amento, & da Inuentione. </s> <s id="s.000714">Pen&longs;amento è cura piena di &longs;tudie <lb/>& effetto d'indu&longs;tria, & uigilanza d'intorno all'opera propo&longs;ta con dilettatione. </s> </p> <p type="main"> <s id="s.000715"><emph type="italics"/>Vitruuio in que&longs;to luogo dimo&longs;tra da che na&longs;ceno le predette maniere, & idee della di&longs;po&longs;itio­<lb/>ne: & come huomo, che bene habbia prouato, & &longs;entito in &longs;e &longs;te&longs;&longs;o quello, che egli dice, u&longs;a a <lb/>cuni termini efficaci per i&longs;primere la &longs;ua intentione. </s> <s id="s.000716">Se adunque la natura ci apporta&longs;&longs;e le prede.<lb/>te forme & idee, &longs;enza dubio poco ci bi&longs;ognerebbe u&longs;are dello artificio. </s> <s id="s.000717">Ma perche la natura <lb/>non ci mo&longs;tra le dette co&longs;e: nece&longs;&longs;ario è ricorrere all'Arte. </s> <s id="s.000718">& perche con l'arte &longs;i cerca di <lb/>rappre&longs;entare gli effetti alla natura &longs;imiglianti, però ci uuole pen&longs;amento: & per e&longs;&longs;er difficile, <lb/>con arte con&longs;eguire lo intento no&longs;tro, però grande &longs;tudio, & indu&longs;tria &longs;i richiede: ma poi che <lb/>dalla diligenza & indu&longs;tria na&longs;ceno belle & leggiadre co&longs;e, di &longs;ubito s'accompagna il diletto <lb/>& il piacere, il quale non è altro, che riceuere impre&longs;&longs;ione di qualità che &longs;ia conforme allo appeti­<lb/>to, & de&longs;iderio, & però il piacere dello intelletto è di apprendere il uero, perche niuna co&longs;a è piu <lb/>conueniente allo intelletto, che la uerità, onde &longs;i dice: Altro diletto ch'imparar non trouo. </s> <s id="s.000719">Il dilet <lb/>to del &longs;en&longs;o èriceuere qualità di qualche oggetto, che conuenga, & corri&longs;ponda al &longs;en&longs;o: co­<lb/>me &longs;i pruoua nelle delicate uiuande, nella &longs;uauità de gli odori, nella dolcezza de &longs;uoni, nella ua-<emph.end type="italics"/><pb pagenum="33" xlink:href="045/01/041.jpg"/><emph type="italics"/>ghezza delle pitture, & ne i giocondi oggetti de i no&longs;tri &longs;entimenti. </s> <s id="s.000720">& però dice Vitr. & bene, <lb/>che pen&longs;amento è cura piena di &longs;tudio: percioche è cerca le co&longs;e difficili, & non dimo&longs;trate <lb/>dalla natura, & per meglio i&longs;primere il &longs;uo concetto dice.<emph.end type="italics"/> {<emph type="italics"/>E&longs;fetto d'indu&longs;tria & uigilanza <lb/>cerca l'opera propo&longs;ta con dilettatione<emph.end type="italics"/>} <emph type="italics"/>Percioche non pen&longs;a bene chi non è indu&longs;trio&longs;o, & <lb/>uigilante, come era Archimede, il quale comparando gli effetti naturali, & cercandone le <lb/>cagioni, hebbe cau&longs;a di trouare il uero della propo&longs;ta dimanda, come dice Vitr. nel nono libro <lb/>al terzo Capo. <!-- REMOVE S-->& hauendolo trouato da mirabile letitia &longs;oprapre&longs;o, u&longs;cito del bagno ignudo <lb/>correndo gridaua, io l'ho trouato, io l'ho trouato. </s> <s id="s.000721">nel che apparue la pronta, & nobile uiua­<lb/>cità dell'ingegno &longs;uo, hauendo in poco &longs;patio applicato il mezo al debito fine, re&longs;tandone &longs;om­<lb/>mamente &longs;atisfatto per la inuentione la quale &longs;econdo Vitr.<emph.end type="italics"/> E dimo&longs;tramento delle o&longs;cure <lb/>dimande, & ragione della co&longs;a ritrouata di nuouo con pre&longs;ta, & mobile uiuacità. <lb/><emph type="italics"/>& que&longs;ti &longs;ono i termini della di&longs;po&longs;itione; Dimanda è propo&longs;ta dubbio&longs;a, dubbio è po&longs;to tra <lb/>mezo l'affirmare, & il negare. </s> <s id="s.000722">quando adunque lo intelletto è tra'l &longs;i, & il nò, egli forma <lb/>una dubbio&longs;a propo&longs;ta, che &longs;i chiama dimanda, ouero qui&longs;tione. </s> <s id="s.000723">& u&longs;a alcune particelle, che <lb/>dimo&longs;trano il modo dello interrogare, & di richiederne la ri&longs;po&longs;ta. </s> <s id="s.000724">come è. </s> <s id="s.000725">&longs;ei tu buono o no? </s> <s id="s.000726"><lb/>che co&longs;a è bontà? </s> <s id="s.000727">d'onde uiene? </s> <s id="s.000728">a chi peruiene? </s> <s id="s.000729">& altre co&longs;e & modi &longs;imiglianti, i quali non <lb/>piegando piu all' affirmatione, che alla negatione, richieggono certa, & indubitata ri&longs;po&longs;ta, <lb/>la quale non puo e&longs;&longs;er ben fatta, &longs;e non da quelli, che haueranno la inuentione per lo pen­<lb/>&longs;amento, & per la indu&longs;tria, & uiuacità dello ingegno, & que&longs;ti &longs;ono i termini della di&longs;po­<lb/>&longs;itione: cioè la di&longs;po&longs;itione è rinchiu&longs;a nelle tre &longs;opradette maniere, che &longs;ono la pianta, lo <lb/>in piè, il profilo.<emph.end type="italics"/></s> <s id="s.000730"> Il bel numero detto Eurithmia, è a&longs;petto gratio&longs;o, & commoda <lb/>forma nelle compo&longs;itioni de i membri. </s> <s id="s.000731">que&longs;ta &longs;i fa quando i membri dell'opera &longs;ono <lb/>conuenienti, come dell'altezza alla larghezza, della larghezza alla lunghezza, & in fine <lb/>ogni co&longs;a ri&longs;ponda al &longs;uo compartimento proprio. </s> </p> <p type="main"> <s id="s.000732"><emph type="italics"/>Suo proprio dico, peroche &longs;e ri&longs;ponde&longs;&longs;e a i compartimenti, & alle &longs;immetrie conuenienti ad <lb/>altre parti, non &longs;arebbe cono&longs;ciuta la gratio&longs;a maniera. </s> <s id="s.000733">& qui &longs;i deue riferire la Eurithmia <lb/>allo a&longs;petto, come Vitruuio dichiara in molti luoghi, nel terzo libro al &longs;econdo Cap. & all'ul <lb/>timo, & nel &longs;e&longs;to al &longs;econdo. </s> <s id="s.000734">Et perche ogni proportione è nata da i numeri, però egli &longs;i <lb/>ha &longs;eruato il nome predetto in ogni co&longs;a, doue &longs;ia proportione. </s> <s id="s.000735">& perche la larghezza, al­<lb/>tezza, & lunghezza delle opere, deue e&longs;&longs;er grata allo a&longs;petto, & que&longs;to non &longs;i fa &longs;enza <lb/>proportione, & doue è proportione, è nece&longs;&longs;ario che &longs;i truoui numero; però il nome di Eu­<lb/>rithmia è &longs;tato pigliato. </s> <s id="s.000736">Deue e&longs;&longs;er adunque ogni artificio&longs;o lauoro a gui&longs;a d'un belli&longs;&longs;imo <lb/>uer&longs;o, il quale &longs;e ne corra &longs;econdo le ottime con&longs;onanze &longs;uccedendo le parti l'una all'altra, <lb/>&longs;in che peruenghino all'ordinato fine. </s> <s id="s.000737">Et benche alcuna co&longs;a ottima non &longs;ia, niente di me­<lb/>no puo e&longs;&longs;ere ottimamente ordinata, come egli è manife&longs;to nelle parti, & membra del corpo <lb/>humano, & nelle co&longs;e artificiali, doue è la con&longs;onanza, & l'armonia. </s> <s id="s.000738">Imperoche &longs;e bene l'oc<lb/>chio è piu nobil co&longs;a del piede, pure &longs;e riguardamo l'ufficio di cia&longs;cuno, tanto l'occhio, quan <lb/>to il piede, &longs;aranno nel corpo ottimamente &longs;ituati: in modo che nè l'occhio &longs;arà miglior del pie­<lb/>de, nè il piede miglior dell'occhio. </s> <s id="s.000739">Similmente è nella citara: percioche tutte le corde po&longs;­<lb/>&longs;ono e&longs;&longs;er proportionate in modo, che &longs;e alcuna &longs;arà tirata, accioche &longs;e le dia &longs;uono migliore, <lb/>non re&longs;terà però la con&longs;onanza. </s> <s id="s.000740">Il &longs;imile &longs;i richiede nelle opere, nelle quali è nece&longs;&longs;ario, che <lb/>ci &longs;ia que&longs;to ri&longs;petto di formare con perfetta ragione tutte le parti, che &longs;ono di lor natura <lb/>di&longs;tinte, di modo che tutte concorrino alla bellezza, & dilettino la ui&longs;ta de riguardanti. </s> <s id="s.000741">Co <lb/>me nel cantare &longs;i richiede il con&longs;erto delle uoci, nel quale oltra che le uoci &longs;ono giu&longs;te: oltre <lb/>che conuengono nelle con&longs;onanze, bi&longs;ogna anche un certo temperamento, che faccia dolce, <lb/>& &longs;oaue tutta la armonia, come adiuiene a que mu&longs;ici, che cantano con la &longs;olita compa­<lb/>gnia, perche &longs;i &longs;ono accommodati l'uno all'altro con di&longs;cretione. </s> <s id="s.000742">Que&longs;ta bella maniera sì <lb/>nella Mu&longs;ica, come nell'Architettura è detta Eurithmia, madre della gratia, & del dilet-<emph.end type="italics"/><pb pagenum="34" xlink:href="045/01/042.jpg"/><emph type="italics"/>to, &longs;i nelle co&longs;e immobili, come in quelle, che &longs;i moueno.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.000743">Il compartimento, & ri&longs;pondenza delle mi&longs;ure detto &longs;immetria, è conueneuole con <lb/>&longs;entimento da i membri dell'opera, & dalle parti &longs;eparate alla forma di tutta la figura, &longs;e <lb/>condo la rata portione come &longs;i uede nel corpo humano, il quale con il cubito, co'l pie­<lb/>de, col palmo, col dito, & con le altre parti è commi&longs;urato, co&longs;i adiuiene nelle per­<lb/>fettioni dell'opere. </s> <s id="s.000744">Et prima ne i &longs;acri tempij dalle gro&longs;&longs;ezze delle colonne, ouero <lb/>dal Triglifo. <!-- REMOVE S-->poi nel forame della bali&longs;ta quella co&longs;a, che ui entra, detta Peritriton. <!-- KEEP S--></s> <s id="s.000745"><lb/>Simigliantemente nelle naui dallo &longs;pacio, che è tra un &longs;chelmo all'altro, che per e&longs;&longs;er di <lb/>mi&longs;ura di due cubiti, &longs;i chiama, dipichaichi, & co&longs;i nelle altre opere da i membri lo <lb/>ro &longs;i troua la ragione delle &longs;immetrie, & de i compartimenti. </s> </p> <p type="main"> <s id="s.000746"><emph type="italics"/>La &longs;immetria è la bellezza dell'ordine, come è la Eurithmia la bellezza della di&longs;po&longs;i­<lb/>tione. </s> <s id="s.000747">Non è a ba&longs;tanza ordinare le mi&longs;ure una dopo l'altra, ma nece&longs;&longs;ario è, che quelle mi&longs;u­<lb/>re habbiano conuenienza tra &longs;e, cioè &longs;iano in qualche proportione; & però doue &longs;arà propor<lb/>tione, iui non puo e&longs;&longs;ere co&longs;a &longs;uperflua. </s> <s id="s.000748">& &longs;i come il mae&longs;tro della natural proportione, è lo in&longs;tin<lb/>to della natura, co&longs;i il mae&longs;tro dell'Artificiale è l'habito dell'Arte: d'onde ne na&longs;ce, che la pro­<lb/>portione è propria della forma, & non della materia: & doue non &longs;ono parti, non può e&longs;&longs;ere pro­<lb/>portione: perche e&longs;&longs;a na&longs;ce dalle parti compo&longs;te, & dalla relatione di e&longs;&longs;e, & in ogni rela­<lb/>tione è neceßario almeno, che &longs;iano due termini, come s'è detto: ne &longs;i può lodare a ba­<lb/>&longs;tanza lo effetto della proportione, nella quale è po&longs;ta la gloria dello Architetto, la bellez­<lb/>za dell'opera, la merauiglia dello artificio. </s> <s id="s.000749">come &longs;i uederà chiaramente quando noi ragio­<lb/>naremo delle proportioni, & apriremo i &longs;ecreti di que&longs;t'Arte, dimo&longs;trando qual ri&longs;petto è <lb/>nella proportione, quali termini, qual u&longs;o, & quanti effetti, & di che forza ella faccia parere <lb/>le co&longs;e: però mi riporto al &longs;uo luogo. </s> <s id="s.000750">Vitruuio fin tanto dà lo e&longs;&longs;empio di quello, che egli ha det­<lb/>to<emph.end type="italics"/> {<emph type="italics"/>Secondo la rata portione,<emph.end type="italics"/>} <emph type="italics"/>dicendo.<emph.end type="italics"/> {<emph type="italics"/>Come &longs;i uede nel corpo humano.<emph.end type="italics"/>} <emph type="italics"/>Hauendo <lb/>Hercole mi&longs;urato il cor&longs;o, & lo &longs;pacio di Pi&longs;a, & trouatolo di piedi &longs;eicento de i &longs;uoi, & e&longs;&longs;en­<lb/>do&longs;i poi nelle altre parti della Grecia fatti quegli &longs;pacij da correre di piedi &longs;eicento, ma piu breui. </s> <s id="s.000751"><lb/>il buon Pithagora comparando quelli cor&longs;i l'uno con l'altro, ritrouò il piede di Hercole e&longs;&longs;ere <lb/>&longs;tato maggiore de i piedi, con i quali i Greci haueuano mi&longs;urato gli altri &longs;pacij. </s> <s id="s.000752">& &longs;apendo qua­<lb/>le doueua e&longs;&longs;er la proportione del piede alla giu&longs;ta grandezza dell'huomo, compre&longs;e la &longs;tatura di <lb/>Hercole e&longs;&longs;ere &longs;tata tanto maggiore della &longs;tatura de gli altri huomini, quanto il cor&longs;o mi&longs;urato da <lb/>Hercole eccedeua gli altri cor&longs;i della Grecia. <!-- KEEP S--></s> <s id="s.000753">Quando adunque le mi&longs;ure &longs;eranno accommoda­<lb/>te alle maniere, non ha dubbio, che dalla grandezza d'una parte non &longs;i cono&longs;ca la mi&longs;ura del­<lb/>l'altra, & con&longs;eguentemente la grandezza del tutto.<emph.end type="italics"/> {<emph type="italics"/>Et prima ne i &longs;acri tempij.<emph.end type="italics"/>} <emph type="italics"/>Que&longs;to <lb/>ho dichiarito di &longs;opra, che dalla gro&longs;&longs;ezza delle colonne, che ci daua il modulo, &longs;i pigliauano gli <lb/>&longs;pacij tra le colonne, & le altezze di quelle.<emph.end type="italics"/> {<emph type="italics"/>Ouero dal Triglipho.<emph.end type="italics"/>} <emph type="italics"/>que&longs;to è un membrello, <lb/>che ha tre canellature come canali, donde prende il nome, & &longs;i mette &longs;opra l'Architraue nelle <lb/>opere Doriche, dal quale &longs;i mi&longs;ura l'opera Dorica, &longs;i come al terzo capo del quarto libro ci &longs;a­<lb/>rà dichiarito.<emph.end type="italics"/> {<emph type="italics"/>Poi nel foro della Bali&longs;ta.<emph.end type="italics"/>} <emph type="italics"/>Nella Bali&longs;ta, che è in&longs;trumento da trarre, egli <lb/>&longs;i fa i fori dalle te&longs;te, ne i quali entra il capo della corda. </s> <s id="s.000754">i fori &longs;i cauano dal pe&longs;o della pietra: & <lb/>da i fori &longs;i caua la mi&longs;ura di quello, che Vitr. chiama &longs;cutula. </s> <s id="s.000755">nel decimo al cap. XVII. & qui <lb/>Peritriton. <!-- KEEP S--></s> <s id="s.000756">come dalla palla &longs;i piglia la mi&longs;ura del pezzo dell'artigliaria,<emph.end type="italics"/> {<emph type="italics"/>&longs;imigliantemente <lb/>nelle naui, da gli &longs;chelmi, cioè dallo &longs;pacio, che è tra il ligamento d'un remo & l'altro, &longs;i piglia <lb/>quella mi&longs;ura, che regola tutto il corpo della galera,<emph.end type="italics"/>} <emph type="italics"/>co&longs;i trouo che &longs;i o&longs;&longs;erua nel fabricar le <lb/>galere, & per que&longs;to io ho e&longs;po&longs;to Vitruuio in que&longs;to modo. </s> <s id="s.000757">ma &longs;eguitiamo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.000758">Decoro è a&longs;petto &longs;enza menda dell'opera prouato per le co&longs;e compo&longs;te con autorità. </s> </p> <p type="main"> <s id="s.000759"><emph type="italics"/>Io e&longs;ponerò decoro per le co&longs;e che &longs;egueno, ma in uero Vitr. lo abbraccia &longs;otto nome di orna­<lb/>mento, quando egli dice,<emph.end type="italics"/> {<emph type="italics"/>a&longs;petto &longs;enza menda,<emph.end type="italics"/>} <emph type="italics"/>benche nella &longs;econda parte &longs;i tegna al <lb/>decoro, quando dice,<emph.end type="italics"/> {<emph type="italics"/>prouato per le co&longs;e compo&longs;te con autorità.<emph.end type="italics"/>} <emph type="italics"/>& lo e&longs;&longs;empio di Vitru.<emph.end type="italics"/><pb pagenum="35" xlink:href="045/01/043.jpg"/><emph type="italics"/>molto bene ce lo dimo&longs;tra.<emph.end type="italics"/></s> <s id="s.000760"> Que&longs;to è con&longs;umato o per &longs;tanza, o per con&longs;uetudine, o per <lb/>natura: per &longs;tanza, quando a Gioue folgoratore, al Cielo, al Sole, & alla Luna &longs;i fanno <lb/>gli edifici &longs;coperti, & all'aere. </s> <s id="s.000761">Percioche noi uedemo le forme, & gli effetti pre&longs;enti <lb/>nello aperto, & lucente mondo. </s> <s id="s.000762">A Minerua, & a Marte, & ad Hercole &longs;i fanno i tem­<lb/>pij di maniera Dorica: percioche a que&longs;ti Dei per la uirtu loro &longs;i conuiene fare le fabri­<lb/>che &longs;enza delicatezze, & tenerezze. </s> <s id="s.000763">Ma a Venere a Flora, & alle Ninfe delle fonti &longs;e &longs;a­<lb/>ranno fatte l'opere Corinthie, pareranno hauere conueniente proprietà; perche a que­<lb/>&longs;ti Dei per la loro tenerezza l'opere &longs;ottili, & floride, ornate di foglie, & di uolute pa­<lb/>reranno accre&longs;cere il debito ornamento. </s> <s id="s.000764">Ma a Giunone, a Diana, al Padre Baccho, & <lb/>a gli altri Dei che &longs;ono di quella &longs;imiglianza facendo&longs;i i lauori Ionichi, egli &longs;i hauerà ri <lb/>guardo alla uia di mezo: percioche & dalla &longs;euerità della maniera Dorica, & dalla delica­<lb/>tezza della Ionica &longs;arà la loro proprietà moderata. </s> </p> <p type="main"> <s id="s.000765"><emph type="italics"/>Dalle parole di Vitr. il prudente Architetto puo trarre molti belli documenti cerca il Decoro, <lb/>& gli adornamenti, che conuengono alle fabriche de i no&longs;tri tempi. </s> <s id="s.000766">Imperoche &longs;e bene noi non <lb/>hauemo i Dei fal&longs;i, & buggiardi, non manca però l'occa&longs;ione di &longs;eruare il Decoro nelle chie&longs;e <lb/>con&longs;ecrate a i ueri amici del uero Dio, & anche alla Maie&longs;tà di quello; & come che molti &longs;ono, <lb/>& differenti nello &longs;plendore di diuer&longs;e uirtuti, come le &longs;telle del cielo differenti &longs;ono in chiarez <lb/>za; egli &longs;i può bene u&longs;are ogni maniera conueniente, & propria a gli effetti di cia&longs;cuno. </s> <s id="s.000767">L'Au<lb/>&longs;terità de i &longs;anti, che nella uita &longs;olitaria &longs;i &longs;ono macerati in digiuni, uigilie, & orationi ricer <lb/>ca &longs;odi, & inculti lauori. </s> <s id="s.000768">La &longs;emplicità, & purità Virginale i piu gentili, & delicati: & &longs;imil­<lb/>mente la moderata uita ricerca la temperatura dell'una, & dell'altra parte. </s> <s id="s.000769">Ma non &longs;i deue cre­<lb/>dere, che &longs;olamente habbiano ad e&longs;&longs;ere tre maniere di opere, perche Vitru. ne habbia tre &longs;ole <lb/>numerate. </s> <s id="s.000770">percioche egli &longs;te&longs;&longs;o nel quarto libro al &longs;ettimo cap. ui aggiugne la To&longs;cana, & dice <lb/>anche che ui &longs;ono altre maniere, & i moderni ne fanno, & la ragione lo richiede, per fare differen­<lb/>za da i nostri &longs;anti alli Dei fal&longs;i de gli antichi, & è in potere d'uno circon&longs;petto & prudente Ar­<lb/>chitetto di componere con ragione di mi&longs;ure molte altre maniere, &longs;eruando il Decoro, & non &longs;er­<lb/>uendo a &longs;uoi capricci. </s> <s id="s.000771">Ma le tre &longs;opradette maniere &longs;ono le piu nominate.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.000772">Ma alla con&longs;uetudine in que&longs;to modo &longs;i exprime il decoro. </s> <s id="s.000773">quando alle parti di dentro <lb/>de gli edificij magnifiche &longs;i daranno l'entrate, & i ne&longs;tibuli conuenienti, & belli, percio­<lb/>che non &longs;arà di decoro, & ornamento, &longs;e le parte interiori &longs;aranno fatte con eleganza, & <lb/>le intrate ba&longs;&longs;e, & uergogno&longs;e. </s> <s id="s.000774">Simigliantemente &longs;e ne gli Architraui Dorici &longs;i &longs;colpi= <lb/>ranno nelle cornici i dentelli, ouero &longs;e ne i capitelli puluinati, o ne gli architraui Ionichi <lb/>&longs;aranno cauati gli Triglifi. <!-- REMOVE S-->traportando&longs;i da un'altra ragione le proprietà in altro lauoro, &longs;i <lb/>offenderà il uedere, per e&longs;&longs;er prima la u&longs;anza altrimenti. </s> </p> <p type="main"> <s id="s.000775"><emph type="italics"/>Proprio è nel gocciolatoio Ionico &longs;colpire i dentelli; que&longs;ti &longs;e nella opera Dorica &longs;aranno trapor­<lb/>tati, come fece colui il quale fabricò il Theatro, che Augu&longs;to fece fare in nome di Marcello &longs;uo ni <lb/>pote, offenderà gli occhi a&longs;&longs;uefatti ad altra ueduta: &longs;imilmente farà colui, il quale ne gli architra<lb/>ui Ionichi farà i membretti canelati, che &longs;i chiamano Triglifi. <!-- REMOVE S-->percioche que&longs;ti &longs;ono proprij della <lb/>maniera Dorica, come Vitr. ci dimo&longs;tra nel quarto libro. </s> <s id="s.000776">Io la&longs;cio al luogo &longs;uo la dichiaratio­<lb/>ne di molti uocabuli, per non ritardare la intentione di chi de&longs;idera &longs;apere ordinatamente.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.000777">Il decoro naturale &longs;arà, &longs;e prima per fabricare tutti i Tempij &longs;i farà elettione di luo­<lb/>ghi &longs;ommamente &longs;ani, & delle fonti delle acque idonee, in quelle parti, doue &longs;i hanno a <lb/>fare le &longs;acre ca&longs;e &longs;aranno eletti; Et &longs;pecialmente dopo ad E&longs;culapio, alla Salute, & a que­<lb/>gli dei, per le medicine de i quali molti infermi pare, che &longs;iano ri&longs;anati; perche quando i <lb/>corpi ammalati &longs;aranno traportati di pe&longs;tilente in luogo &longs;ano, & dalle fonti &longs;alubri &longs;aran= <lb/>no loro le buone acque recate, molto piu pre&longs;to ricouereranno la &longs;anità, & co&longs;i auenirà che <lb/>dalla natura del luogo, l'opinione della diuinità con grandezza, & credito &longs;i faccia maggio <lb/>re. </s> <s id="s.000778">Appre&longs;&longs;o le dette co&longs;e, il decoro naturale &longs;arà, &longs;e per le &longs;tanze, oue &longs;i dorme, & per <pb pagenum="36" xlink:href="045/01/044.jpg"/>le librarie &longs;i piglierà i lumi dal leuante; per li bagni, & per li luoghi del uerno <lb/>dalla parte, doue il &longs;ol tramonta la inuernata: per le cancellarie, o &longs;crittoi, & per quel­<lb/>li, che richiedeno certa egualità di lumi, dal &longs;ettentrione: perche quella parte del cielo, <lb/>non &longs;i fa piu chiara, nè piu o&longs;cura per lo cor&longs;o del &longs;ole, ma è certa, & non &longs;i muta in tut­<lb/>to'l giorno. </s> </p> <p type="main"> <s id="s.000779"><emph type="italics"/>Perche Vitr. nel quinto libro al decimo, & nel &longs;e&longs;to al &longs;ettimo capo ragiona delle dette co&longs;e, <lb/>& &longs;imilmente nel quinto al duodecimo, & in altri luoghi ragiona del decoro, & della bellezza, <lb/>io non uoglio preuertire con dichiaratione di parole la intelligenza ri&longs;eruata al luogo &longs;uo. </s> <s id="s.000780">Ba&longs;ti­<lb/>mi dire che la bellezza, & decoro è relatione di tutta l'opera allo a&longs;petto, & à quello, che &longs;ta be <lb/>ne, a che è l'opera indrizzata, &longs;eruan do l'u&longs;anza, & la commodità della natura.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.000781">La di&longs;tributione è commoda, & utile di&longs;pen&longs;atione delle co&longs;e, che bi&longs;ognano, & del <lb/>luogo, et moderato temperamento della &longs;pe&longs;a fatta con ragione. </s> <s id="s.000782">Que&longs;ta &longs;i o&longs;&longs;eruerà <lb/>&longs;e prima lo Architetto non cercherà quelle co&longs;e, che non &longs;i po&longs;&longs;ono trouare, o preparare <lb/>&longs;enza grandi&longs;sima &longs;pe&longs;a. </s> <s id="s.000783">percioche non in ogni luogo &longs;i caua la rena, nè per tutto è copia <lb/>di cementi, di abeti, di &longs;appine, di marmi. </s> <s id="s.000784">Ma una co&longs;a in un luogo, & altra in altra <lb/>parte &longs;i truoua, & le condotte di tali co&longs;e &longs;ono difficili, & di molta &longs;pe&longs;a, & però doue non <lb/>&longs;i puo cauare &longs;abbione di fo&longs;&longs;e, u&longs;i&longs;i quello di fiume, ouero l'arena del mare ben lauata. </s> <s id="s.000785"><lb/>Fuggiranno&longs;i i bi&longs;ogni de gli abeti, & delle &longs;appine, u&longs;ando&longs;i il cipre&longs;&longs;o, il poppio l'ol­<lb/>mo, ouero il pino. </s> <s id="s.000786">Et in tal maniera &longs;i e&longs;pedirà le altre co&longs;e. </s> <s id="s.000787">Euui un'altro grado di di­<lb/>&longs;tributione; quando &longs;i fabrica all'u&longs;o de i padri di famiglia, ouero &longs;econdo la commodità <lb/>del dinaro, ouero &longs;econdo la dignità della bellezza. </s> <s id="s.000788">percioche egli pare che altrimenti s'hab<lb/>biano a fare le ca&longs;e nella città, da quelle, nelle quali s'hanno à riponere i frutti delle uille; <lb/>& non &longs;arà quello i&longs;te&longs;&longs;o il fabricare per li mercanti gabellieri, & per li dilicati & quieti. </s> <s id="s.000789"><lb/>Ma le habitationi de i grandi, che con i loro graui pen&longs;ieri gouernano la republica &longs;i deono <lb/>fabricare all'u&longs;o loro, & in &longs;omma le di&longs;tributioni de gli edificij conuiene e&longs;&longs;er fatte &longs;econ­<lb/>do le per&longs;one. </s> </p> <p type="main"> <s id="s.000790"><emph type="italics"/>Come le maniere del parlare, che &longs;i chiamano idee, &longs;ono qualità dell'oratione conueniente alle <lb/>co&longs;e, & alle per&longs;one, co&longs;i le maniere de gli edificij &longs;ono qualità dell'arte conueniente alle co&longs;e, & <lb/>alle per&longs;one. </s> <s id="s.000791">& &longs;i come à formare una idea dell'or atione otto co&longs;e &longs;ono nece&longs;&longs;arie, cioè la &longs;enten­<lb/>za, che è lo intendimento dell'huomo; lo artificio, col quale come con certo in&longs;trumento &longs;i leua il <lb/>concetto; le parole che e&longs;primono i concetti; la compo&longs;itione di quelle, con i colori, & figure; il <lb/>mouimento delle parti, che numero &longs;i chiama; & la chiu&longs;a & il fine della compo&longs;itione: co&longs;i per <lb/>i&longs;pedire una maniera delle arti, &longs;ei co&longs;e &longs;ono nece&longs;&longs;arie, & que&longs;te già qua&longs;i tutti hauemo e&longs;pedite. </s> <s id="s.000792"><lb/>Re&longs;ta &longs;olamente la di&longs;tributione, la quale & nell'arte del dire, & nella cura publica, & priua­<lb/>ta è &longs;ommamente nece&longs;&longs;aria, & molto &longs;i apprezza. </s> <s id="s.000793">Que&longs;ta pare, che con il decoro conuegna ri­<lb/>ferendo&longs;i alle co&longs;e, & alle per&longs;one. </s> <s id="s.000794">ma è differente. </s> <s id="s.000795">perche il decoro &longs;i riferi&longs;ce alle co&longs;e, & alle <lb/>per&longs;one in quella parte che è conueneuole, & d'ornamento, & hone&longs;tà, ma la di&longs;tributione in <lb/>quella parte che è utile, & commoda, come &longs;i uederà nel &longs;e&longs;to libro all'ottauo cap. nel quale Vitr.<lb/>pare che habbia uoluto dichiarare la pre&longs;ente parte. </s> <s id="s.000796">Hora egli è da auuertire che &longs;e bene Vitr. <!-- REMOVE S--><lb/>ha applicato le predette &longs;ei co&longs;e alla fabrica de i tempij, & delle ca&longs;e, per e&longs;&longs;er co&longs;e principali, pe­<lb/>rò egli &longs;i deue applicarle a tutte le altre co&longs;e, & opere, che &longs;i fanno come machine, in&longs;trumenti, <lb/>horologi, & altre co&longs;e &longs;ottopo&longs;te alla Architettura, & tanto &longs;ia detto dell'habito, & della for­<lb/>ma che deue e&longs;&longs;ere nell'animo, & nel pen&longs;iero dello Architetto, accioche egli meriti, co&longs;i de­<lb/>gno, & celebrato nome.<emph.end type="italics"/></s> </p> <pb pagenum="37" xlink:href="045/01/045.jpg"/> </subchap2><subchap2> <p type="head"> <s id="s.000797"><emph type="italics"/>Delle parti dell' Architettura. <!-- KEEP S--></s> <s id="s.000798">Cap. III.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.000799">LE parti dell' Architettura &longs;ono tre Edificatione, Gnomonica, Machinatione. <lb/><emph type="italics"/>Tempo è che io &longs;atisfaccia hormai alla prome&longs;&longs;a di e&longs;ponere le parti della Architet­<lb/>tura: però con quella breuità, che mi &longs;arà conce&longs;&longs;a i&longs;primere intendo tutta la forma <lb/>intiera, & unita dell' Architettura, & dimo&longs;trare ordinatamente le parti &longs;ue, ac­<lb/>cioche &longs;i rinchiuda ne i termini &longs;uoi tutto il corpo di quella. </s> <s id="s.000800">Il &longs;apere non è altro che cono&longs;cere <lb/>gli effetti per le proprie cau&longs;e. </s> <s id="s.000801">ogni effetto è fatto da alcuna co&longs;a, di qualche co&longs;a, ad alcun fine, <lb/>con alcun modo, & forma. </s> <s id="s.000802">Quello, che fa è detto agente; la co&longs;a di che &longs;i fa, è chiamata Mate­<lb/>ria: quella à cui s'indrizza, è detta Fine; quella, che compie, & rende perfetta in e&longs;&longs;ere è nomi­<lb/>nata forma. </s> <s id="s.000803">Le cau&longs;e principali adunque &longs;ono quattro. </s> <s id="s.000804">Noi dello agente artificio&longs;o, quale egli <lb/>&longs;i &longs;ia, & di che conditione e&longs;&longs;er debbia gia detto hauemo quando & l'ufficio, & le uirtù dello <lb/>Architetto narrammo. </s> <s id="s.000805">La forma &longs;imilmente in uniuar&longs;ale è &longs;tata e&longs;po&longs;ta. </s> <s id="s.000806">Re&longs;taci a dire della <lb/>materia, & del fine. </s> <s id="s.000807">Et per piu chiara intelligenza in &longs;omma dicemo, che ad imitatione delle co­<lb/>&longs;e naturali, con&longs;ideramo nelle artificiali due co&longs;e. </s> <s id="s.000808">L'una è lo e&longs;&longs;ere, l'altra il bene e&longs;&longs;ere. </s> <s id="s.000809">cerca <lb/>lo e&longs;&longs;ere con&longs;ideramo la materia, la forma, & il compo&longs;to dell' una & dell' altra. </s> <s id="s.000810">circa il bene e&longs;­<lb/>&longs;ere con&longs;ideramo gli adornamenti, & gli acconciamenti delle co&longs;e. </s> <s id="s.000811">Et perche molti &longs;trumenti ci <lb/>bi&longs;ognano per componere la materia con la forma, però è nece&longs;&longs;ario trattare de gli in&longs;trumenti, & <lb/>delle machine. </s> <s id="s.000812">& la ragione delle &longs;opradette co&longs;e in tal modo &longs;i e&longs;pone. </s> <s id="s.000813">L'arte quanto puo imita <lb/>la natura: Et que&longs;to adiuiene per che il principio dell' arte, che è lo intelletto humano, ha gran &longs;i­<lb/>miglianza col principio, che muoue la natura, che è una intelligenza. </s> <s id="s.000814">dalla &longs;imiglianza delle <lb/>uirtù, & de i principij na&longs;ce la &longs;imiglianza dell' operare, che per hora chiameremo imitatione. </s> <s id="s.000815"><lb/>Que&longs;ta imitatione &longs;i uede in tutte le Arti, ma molto maggiormente in quella che è giudice di tutte. </s> <s id="s.000816"><lb/>imitaremo adunque la natura nel <expan abbr="trattamēto">trattamento</expan> dell' Arte. <!-- KEEP S--></s> <s id="s.000817">La doue l'Architettura cioè la &longs;cienza di <lb/>chiara la materia, la forma, & la compo&longs;itione delle opere, & imitando la natura per l'occulta <lb/>uirtù del &longs;uo principio, procede dalle co&longs;e meno perfette alle piu perfette: & prima pone le co&longs;e in <lb/>e&longs;&longs;ere, & poi le adorna; percioche non &longs;i puo adornare quello, che non è. </s> <s id="s.000818">Ma perche il princi­<lb/>pio, che regge la natura, è d'infinita &longs;apienza, ottimo, & potenti&longs;&longs;imo, però fa le co&longs;e &longs;ue belle, <lb/>utili, & durabili: conueneuolmente lo Architetto imitando il fattor della natura deue riguarda­<lb/>re alta bellezza, utilità, & fermezza delle opere. </s> <s id="s.000819">Trattando adunque della forma bi&longs;ogna, <lb/>che egli &longs;appia ordinare, di&longs;ponere, mi&longs;urare, di&longs;tribuire, ornare, & &longs;atisfare al diletto de gli <lb/>occhi con bella, & gratio&longs;a maniera. </s> <s id="s.000820">& per cio fare &longs;ia egli in&longs;tituito con quelle conditioni, che <lb/>&longs;ono contenute nel primo capo, & con quelle, che nel &longs;econdo &longs;i leggeno. </s> <s id="s.000821">Sotto nome di forma <lb/>compre&longs;i &longs;ono i lineamenti, & i &longs;iti delle co&longs;e, la doue &longs;i con&longs;idera la ragione con tutte le &longs;ue quali­<lb/>tà, occulte, & manife&longs;te, buone, & ree; il piano, il compartimento di quello, la eleuatione del <lb/>la fronte, & de i lati, le apriture, i coperti, con ogni lor conditione, ammae&longs;tramento, & re­<lb/>gola, come &longs;i dirà poi. </s> <s id="s.000822">Seguita quella con&longs;ideratione, che appartiene alla materia. </s> <s id="s.000823">ma prima, che <lb/>la materia &longs;ia di&longs;po&longs;ta, & apparecchiata, bi&longs;ogna con&longs;iderare, che lo ingegno dell' huomo è im­<lb/>perfetto, & di gran lunga inferiore allo intelletto diuino. </s> <s id="s.000824">& la materia (come &longs;i dice) è &longs;orda, <lb/>& non ri&longs;ponde alla intentione dell' arte; Et però prima, che lo Architetto &longs;i dia à cominciar le <lb/>opere deue imitare lo agente naturale, il quale non opera &longs;e non &longs;econdo il &longs;uo potere; co&longs;i farà <lb/>lo Architetto con&longs;iderando l'opera, & la &longs;pe&longs;a. </s> <s id="s.000825">Et perche la natura nelle co&longs;e piu perfette, & <lb/>piu tempo, & piu diligenza ui mette però lo Architetto ha da pen&longs;ar molto bene; & per fare piu <lb/>certa la riu&longs;cita delle opere, col di&longs;egno, & col modello &longs;i mouerà, prima udendo anche i meno e&longs;per<lb/>ti, & la&longs;ciando raffreddare lo affetto, per dar luogo al giuditio, imiterà la natura, che contra il <lb/>&longs;uo fattore non opera co&longs;a alcuna; però egli non cercherà co&longs;e impo&longs;&longs;ibili, & quanto alla mate-<emph.end type="italics"/><pb pagenum="38" xlink:href="045/01/046.jpg"/><emph type="italics"/>ria, & quanto alla forma, che nè egli, nè altri le po&longs;&longs;a finire, con&longs;iderando, che il fattor del mon <lb/>do uolendo quello formare, fece di niente la materia delle co&longs;e. </s> <s id="s.000826">& la natura come primo &longs;uo par­<lb/>to, mancando di tanto potere, & pur uolendo a&longs;&longs;imigliar&longs;i al &longs;uo fattore, nella generatione delle <lb/>co&longs;e piglia quella materia, che ha uno e&longs;&longs;er, ma &longs;enza forma con potenza, & habilità a riceuere <lb/>ogni forma. </s> <s id="s.000827">Et di quella fa cio, che &longs;i troua di &longs;en&longs;ibile, & corporale. </s> <s id="s.000828">Onde l'arte o&longs;&longs;eruatrice <lb/>della natura, come nipote (dirò co&longs;i) del primo fattore, uolendo anche ella fare alcuna co&longs;a pren<lb/>de la materia, che le dà la natura in e&longs;&longs;er di forma &longs;en&longs;ibile, & naturale; come è il legno, il <lb/>ferro, & la pietra; & forma quella materia di quella idea, & di quel &longs;egno, che nella mente del­<lb/>lo artefice è ripo&longs;to. </s> <s id="s.000829">Apparecchiato adunque il dinaro, accio niente &longs;ia, che lo impedi&longs;ca, pro­<lb/>uedera&longs;&longs;i della materia, della quale &longs;i tralta nel &longs;econdo libro. </s> <s id="s.000830">La principal materia, che u&longs;a lo <lb/>Architetto è la pietra, il legno, & quelle co&longs;e, che componeno, & metteno in&longs;ieme il legno, & <lb/>la pietra, però nel predetto libro con&longs;idera le pietre, & gli alberi, l'arena, & la calce, & par­<lb/>titamente la natura, la qualità, l'u&longs;o, & il modo di tutte le co&longs;e, ragionando di quella materia, <lb/>che la natura, & l'u&longs;o ne apporta. </s> <s id="s.000831">perche di quella a che la nece&longs;&longs;ità ci a&longs;trigne, non accade ra­<lb/>gionarne: eßendo in diuer&longs;i luoghi diuer&longs;a, come bitume, cocciole, & altre co&longs;e, che in luogo <lb/>di pietre, o d'arena &longs;i u&longs;ano, doue non &longs;i troua nè arena, nè pietre. </s> <s id="s.000832">in alcuni luoghi &longs;i cuopreno <lb/>le ca&longs;e con te&longs;tugini; alcuni con cannuccie, & palme, altri u&longs;ano il cuoio: del ferro, & de gli <lb/>altri metalli non &longs;i ragiona, perche le loro nature, & qualità &longs;ono piu conformi, & hanno <lb/>meno differenze, che le co&longs;e dette di &longs;opra. </s> <s id="s.000833">preparata dunque la materia, & con&longs;iderata la for­<lb/>ma in uniuer&longs;ale, ci re&longs;ta a dire della compo&longs;itione. </s> <s id="s.000834">Ma prima egli &longs;i deue auuertire, che lo agen<lb/>te, che regge la natura, è d'infinite idee ripieno, & ordinatamente procedendo muoue le cau&longs;e ad <lb/>un'ad una, infondendo le uirtù &longs;econdo la libertà del &longs;uo uolere: quelle cau&longs;e co&longs;i mo&longs;&longs;e, portano <lb/>qua giu quel diuino influ&longs;&longs;o con ordine merauiglio&longs;o. </s> <s id="s.000835">La doue dal primo e&longs;&longs;ere, dalla prima uita, <lb/>& dal primo intelletto, ogni e&longs;&longs;ere, ogni uita, ogni intelletto dipende. </s> <s id="s.000836">Il che e&longs;&longs;endo in que&longs;to <lb/>modo: bi&longs;ogna che lo Architetto &longs;ia &longs;aggio, & buono: &longs;aggio in cono&longs;cere per le regole della non <lb/>fucata a&longs;trologia, i tempi atti a dar principio alle opere, trala&longs;ciando gli ardenti&longs;&longs;imi, &longs;oli, & gli <lb/>acuti&longs;&longs;imi giacci. </s> <s id="s.000837">buono, sì in fatti non e&longs;&longs;endo auaro, nè dato a uitij, sì in parole, pregando il da <lb/>tore di tutte le forme, che lo &longs;pogli d'ignoranza, & lo &longs;uegli a partorire le belle inuentioni con pro­<lb/>&longs;pero, & felice &longs;ucce&longs;&longs;o dell' arte &longs;ua, a beneficio delle genti. </s> <s id="s.000838">Hora per ritornare a propo&longs;ito, <lb/>io dico, che non &longs;olamente imitar &longs;i deue la natura, nel modo piu uniuer&longs;ale, & commune, ma <lb/>&longs;empre al meno, & piu ri&longs;tretto di&longs;cendere. </s> <s id="s.000839">per il che gli Architetti &longs;i deono sforzare, di fare <lb/>l'opere loro, a qualche effetto di natura &longs;imiglianti. </s> <s id="s.000840">Et non e&longs;&longs;endo qua giu co&longs;a, che in perfet­<lb/>tione all' huomo s'aguaglie; belli&longs;&longs;imo e&longs;&longs;empio ci darà in ogni artificio il con&longs;iderare la proportio­<lb/>ne del corpo humano. </s> <s id="s.000841">Certo è, che la natura nella generatione dell' huomo dimo&longs;tra ueramente <lb/>a quello douer&longs;i riferire tutte le co&longs;e, la doue lo rende perfetto; & perciò di molte parti, come di <lb/>molti in&longs;trumenti dotato in &longs;eruigio dell' anima, & della uita &longs;i uede. </s> <s id="s.000842">Delle dette parti alcune <lb/>&longs;ono di nome, & di natura &longs;imiglianti, come il &longs;angue, l'o&longs;&longs;a, i nerui; imperoche ogni parte di <lb/>&longs;angue, è &longs;angue, ogni parte di o&longs;&longs;o è o&longs;&longs;o, & ogni parte di neruo è neruo, & co&longs;i uien chiama­<lb/>to. </s> <s id="s.000843">Altre &longs;ono di nature, & uocaboli diuer&longs;i, come è la mano, il piede, il capo: imperoche <lb/>non ogni parte della mano è mano, o uien detta mano; & co&longs;i del piede, & del capo &longs;i dirà. </s> <s id="s.000844"><lb/>Delle prime parti &longs;imiglianti &longs;i fanno le &longs;econde, & que&longs;te nel corpo hanno ufficij, & fini diuer&longs;i. </s> <s id="s.000845"><lb/>Volendo adunque lo Architetto far l'opera &longs;ua in modo, che ella &longs;ia una intiera, & unita, bi&longs;o­<lb/>gna, che egli con&longs;ideri le parti principali, accioche &longs;i dia loro materia che conuenga, & buona <lb/>&longs;ia per le opere ad imitatione di natura, che dà luogo conueniente, & ben preparato, nel quale <lb/>per tanto &longs;pacio di tempo s'habbiano à formare compiutamente le membra humane, gettando pri <lb/>ma per fondamento della uita, del &longs;en&longs;o, & del mouimento, i &longs;egni del cuore, del fegato, & <lb/>del ceruello. </s> <s id="s.000846">Lo Architetto hauerà la con&longs;ideratione, del luogo, del modo, delle parti, & u&longs;o <lb/>di e&longs;&longs;e: & però &longs;egue che la materia &longs;ia e&longs;pedita &longs;econdo l'u&longs;o delle parti. </s> <s id="s.000847">Quanto adunque al <emph.end type="italics"/><pb pagenum="39" xlink:href="045/01/047.jpg"/><emph type="italics"/>luogo &longs;i uede per certi &longs;egni, & inditij le qualità del terreno, o&longs;&longs;eruan&longs;i alcune regole, & &longs;i dan­<lb/>no alcuni ammae&longs;tramenti. </s> <s id="s.000848">D'indi alla dichiaratione delle altre co&longs;e &longs;i ragiona delle pietre &longs;econ <lb/>do la quantità, è figura loro, affine che ci &longs;eruiamo &longs;econdo l'u&longs;o. </s> <s id="s.000849">il &longs;imigliante &longs;i dirà della calce, <lb/>con quelle o&longs;&longs;eruationi, che &longs;eruiranno al bi&longs;ogno. </s> <s id="s.000850">& pa&longs;&longs;ando piu oltre &longs;i dirà il modo di ponere <lb/>in&longs;ieme le pietre con la calce. </s> <s id="s.000851">& con belli auuertimenti pre&longs;i dalla natura delle co&longs;e, &longs;i farà con­<lb/>&longs;ideratione delle fondamenta, & poi delle parti della fabrica, che &longs;ono &longs;opra il fondamento. </s> <s id="s.000852">le <lb/>quali &longs;ono i panimenti, i pareti, i muri, & i tetti con tutte le maniere di murature abbracciate <lb/>da Vitr. nel &longs;econdo libro. </s> <s id="s.000853">& co&longs;i l'o&longs;&longs;a, i &longs;o&longs;tegni, l'apriture, i legamenti, i cor&longs;i, i riempimen­<lb/>ti chiaramente &longs;i daranno ad intendere & que&longs;ta è particolare, & di&longs;tinta ragione della Archi­<lb/>tettura, ma ancora non i&longs;pedita. </s> <s id="s.000854">imperoche fin hora non &longs;i ha hauuto alcuna con&longs;ideratione del <lb/>fine, che è quello che pone forza, & nece&longs;&longs;ità a i mezi, & con&longs;titui&longs;ce ogni arte, (come dice Ga­<lb/>leno) operando adunque lo Architetto affine, che gli huomini &longs;otto l'unione, alla quale per natu­<lb/>ra &longs;ono inclinati, commodi & &longs;icuri uiuino, & &longs;iano l'un l'altro di giouamento: nece&longs;&longs;erio è con <lb/>&longs;iderare la diuer&longs;ità de gli huomini, accioche &longs;i proueda al bi&longs;ogno. </s> <s id="s.000855">Vedendo adunque noi un gran <lb/>numero d'huomini ad un fine in&longs;ieme raunati, potemo con&longs;ider are tutto quel numero in &longs;e &longs;teßo, <lb/>potemo anche di&longs;correre tra quella moltitudine, & trouarui per entro qualche differenza delle <lb/>per&longs;one. </s> <s id="s.000856">Se noi con&longs;ideramo tutta la raunanza in&longs;ieme neceßario diremo, che &longs;e le faccia <lb/>una città con tutte quelle parti, che per tutta quella raunanza utili, & &longs;icure &longs;aranno. </s> <s id="s.000857"><lb/>Et però prima &longs;i hauerà ri&longs;petto all' ampiezza, & giro, nel quale &longs;i hauerà a rinchiudere <lb/>quella moltitudine, & però &longs;i tratterà della &longs;ua capacità, & grandezza, & poi delle mura, nel­<lb/>le quali &longs;i farà con&longs;ider atione della dife&longs;a, onde egli &longs;i ordinerà la fabrica delle torri, & di quel­<lb/>le parti, che. </s> <s id="s.000858">&longs;i chiamano baloardi, caualieri piateforme, porte, riuellini, & &longs;aracine&longs;­<lb/>che, poi &longs;i compartirà il piano rinchiu&longs;o dalle mura per commodo d'ognuno, percioche tutto <lb/>non deue eßer fabricato nè tutto uoto. </s> <s id="s.000859">però &longs;i tratterà delle piazze & uie publiche, delle <lb/>&longs;trade, & androne, & calli, hauendo &longs;empre ri&longs;petto, che non &longs;iano battute da i uenti. </s> <s id="s.000860"><lb/>come &longs;i dirà poi. </s> <s id="s.000861">Oltra di que&longs;to, perche ne i luoghi delle città &longs;ogliono pa&longs;&longs;are fiumi, ouero <lb/>altre acque condotte, per lequali &longs;i conduceno le merci, & le uettouaglie, però è nece&longs;&longs;aria <lb/>la fabrica de i ponti, & de i porti per la commodità d'ognuno. </s> <s id="s.000862">Ma uolgendoci noi alle di&longs;tin­<lb/>tioni delle per&longs;one troueremo altri e&longs;&longs;er piu degni, altri meno, & tra i degni, ouero uno ca­<lb/>po &longs;olo, ouero molti. </s> <s id="s.000863">& quel capo o per elettione di molti, & permi&longs;&longs;ione di leggi, o per uio­<lb/>lenza, & for za. </s> <s id="s.000864">nel primo ca&longs;o ci apparirà il Principe, nel &longs;econdo il Tiranno. <!-- KEEP S--></s> <s id="s.000865">dal fine di <lb/>cia&longs;cuno prenderà lo Architetto la di&longs;po&longs;itione delle fabriche, & delle habitationi facendo <lb/>al Principe il pallazzo, & al Tiranno la rocca. </s> <s id="s.000866">Tra i molti degni ritrouerà, che alcuni &longs;ono <lb/>dedicati alla religione, altri fuori dell' o&longs;&longs;eruanze della religione. </s> <s id="s.000867">di que&longs;ti altri &longs;aranno at­<lb/>ti ad u&longs;cir fuori per la republica, altri per regger quella di dentro la citta. </s> <s id="s.000868">di quelli, che &longs;ono <lb/>atti ad u&longs;cire, altri al mare, altri alla terra &longs;i daranno, & chi prenderà il mare hauerà bi­<lb/>&longs;ogno di nauali, cioè Arzane di naui, di munitione & porti; & però l'Architetto deue an­<lb/>che hauere con&longs;ideratione di quelle fabriche, che conuengono al mare. </s> <s id="s.000869">Ma chi prenderà la <lb/>terra come capitano, & condottore di e&longs;&longs;erciti hauerà bi&longs;ogno di alloggiamenti, &longs;teccati, for­<lb/>ti, d'artigliarie, machine, & in&longs;trumenti diuer&longs;i per dife&longs;a, & offe&longs;a. </s> <s id="s.000870">alle quai tutte co&longs;e l'Ar<lb/>chitetto deue dare ordine. </s> <s id="s.000871">Ma perche quelli, che &longs;tanno dentro al gouerno, ouero &longs;ono pre&longs;i­<lb/>denti alle controuer&longs;ie ciuili, & criminali, ouero &longs;ono con&longs;ultori delle co&longs;e di &longs;tato: però è <lb/>nece&longs;&longs;ario per li giudici il foro, & per li &longs;enatori il &longs;enato & la curia, & co&longs;i le per&longs;one <lb/>degne, che non &longs;ono dedicate al culto diuino della religione haueranno conuenienti habita­<lb/>tioni. </s> <s id="s.000872">Ma a gli o&longs;&longs;eruatori della religione &longs;i faranno i mona&longs;teri, i chio&longs;tri, gli ho&longs;pitali, <lb/>per gli huomini, & per le donne, come ricerca l'u&longs;o, & il decoro d'ogni per&longs;ona, et &longs;pecial­<lb/>mente &longs;i metterà ogni indu&longs;tria nella fabrica delle chie&longs;e, & de i &longs;acri tempij. </s> <s id="s.000873">Ma perche <lb/>&longs;ono alcune opere, che nè in tutto publiche, nè in tutto prinate &longs;i deono chiamare: però di <emph.end type="italics"/><pb pagenum="40" xlink:href="045/01/048.jpg"/><emph type="italics"/>quelle anche &longs;i deue hauer cura, alcune delle quali &longs;ono per con&longs;erua delle co&longs;e da uiuere, o <lb/>da mercantare, alcune per difen&longs;ione, & aiuto, come &longs;ono i fondachi, le dogane, i magaze­<lb/>ni, la Cecca, gli armamenti, i luoghi delle munitioni. </s> <s id="s.000874">alcune all' u&longs;o come bagni, acquedotti, <lb/>& &longs;imil co&longs;e. </s> <s id="s.000875">Altre al diletto &longs;eruono, & alle fe&longs;te, come &longs;ono i theatri, gli amphiteatri, le <lb/>loggie, i luoghi diputati al cor&longs;o, & a giuochi diuer&longs;i. </s> <s id="s.000876">altre all' honore, & alla memoria, co <lb/>me gli archi, i trofei, le &longs;epolture, le mete, gli obeli&longs;chi, & le piramidi. </s> <s id="s.000877">Altre in fine a i <lb/>rei huomini &longs;i fanno, come il carcere, che è con&longs;eruatore della giu&longs;titia. </s> <s id="s.000878">& tutte le predet<lb/>te fabriche hanno del publico, & del priuato in un certo modo, come &longs;i puo ben con&longs;ider an­<lb/>do uedere. </s> <s id="s.000879">Ma le per&longs;one &longs;enza grado &longs;ono gli huomini cittadine&longs;chi, gli artefici, gli agri­<lb/>coltori. </s> <s id="s.000880">& però con&longs;iderando lo Architetto la commodità, & la conditione d'ognuno, non la­<lb/>&longs;cierà a dietro maniera alcuna di priuato edificio sì nella città, come nella uilla. </s> <s id="s.000881">& con que <lb/>&longs;to &longs;i darà fine a quella parte, che tratta dello e&longs;&longs;er delle co&longs;e: riuolgendo&longs;i poi al ben e&longs;&longs;er trat <lb/>terà de gli ornamenti, adornando la città, le fortezze, i tempij, i palazzi, le ca&longs;e, le &longs;trade, <lb/>i ponti, gli archi, le &longs;epolture, & in &longs;omma ogni opera publica, & priuata. </s> <s id="s.000882">Di que&longs;ta &longs;i trat <lb/>ta nel &longs;ettimo libro. </s> <s id="s.000883">Finalmente perche a fare &longs;i grandi, & belle opere ci bi&longs;ognano molti in­<lb/>&longs;trumenti, ne i quali oltra la natura delle co&longs;e, l'arte dimo&longs;tra la forza &longs;ua, & la materia <lb/>& &longs;oggetto d'ogni opera, & la potenza dello agente la fa e&longs;&longs;ere quello, che ella non era; & <lb/>que&longs;to con diuer&longs;i in&longs;trumenti, per e&longs;&longs;ere lo in&longs;trumento mezano tra lo operante, & la co&longs;a ope <lb/>rata: però il &longs;aggio Architetto tratta de gli in&longs;trumenti, & delle machine, da leuare, tirare, <lb/>& mouere i pe&longs;i, & di tutte altre &longs;orti d'artigliarie: & perche il tempo è mi&longs;ura delle opera­<lb/>tioni de gli huomini, & della natura, & il mouimento de i corpi cele&longs;ti, & &longs;pecialmente del pri <lb/>mo ua in&longs;ieme col tempo, & ci apporta il Sole, & la Luna, come quelli che di&longs;tingueno i giorni <lb/>& le notti: però, accioche gli huomini comparti&longs;chino le hore, & i tempi delle loro operatio­<lb/>ni, lo Architetto &longs;i uolgerà con gli occhi al cielo, & &longs;eruendo&longs;i di que bei lumi, con arti­<lb/>ficio&longs;i lineamenti de&longs;criuerà gli horologi da Sole qua&longs;i mettendoci il cielo nelle mani: & que&longs;ta <lb/>è la &longs;omma dell' Architettura, laquale (&longs;e ben &longs;i con&longs;idera) abbraccia ogni commodo, & dilet <lb/>to dell' humana generatione. </s> <s id="s.000884">& con lo &longs;opradetto di&longs;cor&longs;o potemo andare &longs;icuramente alla di­<lb/>chiaratione del pre&longs;ente Capo. <!-- KEEP S--></s> <s id="s.000885">dice adunqne Vitruuio diuidendo l'Architettura.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.000886">Le parti dell' Architettura &longs;ono tre, Edificatione, Gnomonica, & Machinatione. <!-- KEEP S--></s> <s id="s.000887">La <lb/>edificatione è diui&longs;a in due parti. </s> <s id="s.000888">una è la collocatione delle mura, & delle opere com­<lb/>muni, ne i luoghi publici, l'altra è la e&longs;plicatione de i priuati edificij. </s> </p> <p type="main"> <s id="s.000889"><emph type="italics"/>Dapoi che Vitruuio ci ha dimo&longs;trato che co&longs;a e&longs;&longs;er deue nella mente dello Architetto prima, <lb/>che egli uenghi all' opera, hora egli ci mo&longs;tra in quante co&longs;e egli ha da porre le &longs;ei predette <lb/>forme: & dice, che l'ordine, la &longs;immetria, la di&longs;po&longs;itione, la di&longs;tributione, il decoro, & la <lb/>eurithmia &longs;i hanno ad e&longs;&longs;ercitare in tre co&longs;e principalmente, che egli chiama parti dell' Ar­<lb/>chitettura, & &longs;ono parti materiali: & la prima è la Edificatione, & fabrica; la &longs;econda Gno<lb/>monica, la terza Machinatione. <!-- KEEP S--></s> <s id="s.000890">Fabrica è nome generale, & particolare; in generale fa­<lb/>brica è arte, & componimento d'alcuna co&longs;a, come latinamente Fabbro è detto ogni ope­<lb/>rario. </s> <s id="s.000891">Similmente machinatione è quello i&longs;te&longs;&longs;o, che è fabrica in generale; ma quando l'uno, <lb/>& l'altro nome è pre&longs;o in particolare', fabrica s'intende edificatione, & machinatione s'inten­<lb/>de arte di fare le machine: della quale &longs;i tratta nel decimo libro. </s> <s id="s.000892">la edificatione ha due parti, <lb/>l'una è la collocatione delle mura, & delle opere communi ne i publici luoghi. </s> <s id="s.000893">di que&longs;ta &longs;i trat­<lb/>ta ne i primi cinque uolumi. </s> <s id="s.000894">L'altra è la e&longs;plicatione de i priuati edificij, delli quali &longs;i trat­<lb/>ta nel &longs;e&longs;to.<emph.end type="italics"/></s> <s id="s.000895"> Le Di&longs;tributioni delle opere publiche &longs;ono tre, delle quali una &longs;i dà alla di <lb/>fe&longs;a, l'altra alla religione, l'altra al commodo. </s> <s id="s.000896">Alla dife&longs;a appartiene la ragione di fare <lb/>le mura della città, & delle torri, & delle porte, lequali co&longs;e &longs;ono &longs;tate ritrouate per &longs;cac<lb/>ciare gl'impeti de i nimici continuamente. <emph type="italics"/>Et que&longs;ta &longs;i ha ne i &longs;eguenti capi del pre&longs;ente libro.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.000897">Della religione è la collocatione de i tempij, & delle &longs;acre ca&longs;e, de gli immortal Dei. <pb pagenum="41" xlink:href="045/01/049.jpg"/><emph type="italics"/>come &longs;i tratta nel terzo, & nel quarto libro.<emph.end type="italics"/></s> <s id="s.000898"> Della opportunità è la di&longs;po&longs;itione de i luo <lb/>ghi communi all' u&longs;o publico, come &longs;ono i porti, i fori, i portichi, i bagni, i Theatri, i <lb/>luoghi da pa&longs;&longs;eggiare, & le altre co&longs;e, le quali con le i&longs;te&longs;&longs;e ragioni, &longs;ono ne i publici luo­<lb/>ghi di&longs;egnate. </s> </p> <p type="main"> <s id="s.000899"><emph type="italics"/>Di quefte co&longs;e &longs;i tratta nel quinto libro di&longs;tintamente.<emph.end type="italics"/></s> <s id="s.000900"> Que&longs;te co&longs;e di tal maniera deono e&longs; <lb/>&longs;er di&longs;po&longs;te, che egli &longs;i habbia riguardo alla fermezza, all' utilità, alla uenu&longs;tà. </s> <s id="s.000901">Alla fermez­<lb/>za &longs;i riguarderà, quando le fabriche &longs;aranno ben fondate &longs;in &longs;ul &longs;odo. </s> <s id="s.000902">& &longs;e &longs;enza auaritia &longs;i <lb/>farà elettione, & &longs;cielta della materia d'ogni &longs;orte. </s> <s id="s.000903">All' utilità &longs;i prouederà, quando &longs;enza <lb/>impedimento al commodo, & u&longs;o de i luoghi, & &longs;enza menda &longs;aranno le co&longs;e di&longs;po&longs;te, <lb/>& bene accompagnate, & partite ad ogni maniera. </s> <s id="s.000904">Alla bellezza &longs;i &longs;atisferà, quando con <lb/>bella, & gioconda maniera dello a&longs;petto, la compartita de i membri, &longs;arà giu&longs;ta, eguale, <lb/>& proportianata. </s> </p> </subchap2><subchap2> <p type="head"> <s id="s.000905"><emph type="italics"/>Delle elettione de i luoghi &longs;ani, & quali co&longs;e nuocono alla <lb/>&longs;anità. </s> <s id="s.000906">Cap. IIII.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.000907">NEL fabricare le mura della città que&longs;ti &longs;ono i principij. </s> <s id="s.000908">Primamente è la elettio <lb/>ne di luogo &longs;ani&longs;simo: Quello &longs;ia lo eleuato, non coperto di nebbie, nè cari­<lb/>co di freddi uapori: Ma che riguardi quelle parti del cielo, che nè troppo cal<lb/>de &longs;ono, nè troppo fredde, ma temperate. </s> <s id="s.000909">Dapoi &longs;e egli &longs;i &longs;chiferà la uici­<lb/>nanza delle paludi; perche uenendo alla città col na&longs;cente &longs;ole l'aure mattutine, &longs;e con <lb/>quelle &longs;e congiugneranno le na&longs;ciute nebbie, & i fiati delle be&longs;tie palu&longs;tri &longs;pargeranno <lb/>nei corpi de gli habitanti i ueneno&longs;i uapori me&longs;chiati con le nebbie, & faranno il luogo <lb/>mal &longs;ano. </s> <s id="s.000910">Anchora &longs;e le mura &longs;aranno a canto'l mare, & riguarderanno al meriggie, o al <lb/>ponente, non &longs;aranno i luoghi &longs;alubri. </s> </p> <p type="main"> <s id="s.000911"><emph type="italics"/>Hauendo Vitr. fondata la trattatione dell' Architettura &longs;opra i principij dichiarati, comincia <lb/>hora a fabricarui &longs;opra; & &longs;econdo la &longs;ua diui&longs;ione comincia dalle opere publiche, & delle &longs;ei co­<lb/>&longs;e, che apartengono alla forma, tocca prima la di&longs;tributione, & il decoro naturale: & delle tre, <lb/>che deue hauer ogni fabrica ragiona prima della utilità, & dirà poi della fermezza, & uenu&longs;tà <lb/>delle opere. </s> <s id="s.000912">Quanto alle opere publiche ci uiene inanzi la città, che per dife&longs;a della uita, della <lb/>religione, & delle publiche commodità, &longs;i &longs;uol fare. </s> <s id="s.000913">Sei co&longs;e &longs;ono (come dice il dotto Leon Bat­<lb/>ti&longs;ta) da e&longs;&longs;er con&longs;ider ate da chi uuol fabricare una città. </s> <s id="s.000914">La prima è l'ampiezza di tutta la ter <lb/>ra po&longs;ta d'intorno, & la faccia, doue &longs;i debbe fabricare, detta regione. </s> <s id="s.000915">La &longs;econda è il campo, <lb/>& la piazza, o &longs;patio determinato della regione da e&longs;&longs;er cinto, & rinchiu&longs;o di mura. </s> <s id="s.000916">La terza, <lb/>è il compartimento del detto &longs;pacio. </s> <s id="s.000917">La quarta è tutto quello, che &longs;i lieua dal piano, parete, o <lb/>muro nominato. </s> <s id="s.000918">La quinta è tutto quello, che ci &longs;tà &longs;opra il capo, o ci cuopre in qualunque mo­<lb/>do. </s> <s id="s.000919">La &longs;e&longs;ta è l'apritura, doue & le per&longs;one, & le co&longs;e entrano, & e&longs;ceno. </s> <s id="s.000920">Vitr. comincia <lb/>a dire della regione, cioè della elettione de i luoghi &longs;ani, percioche gran forza, & uirtù è po&longs;ta <lb/>nella natura de i luoghi, & dello aere, come quello, che da noi non &longs;i puote &longs;eparare; & il luogo <lb/>è come padre della generatione, in quanto egli è affetto dalle qualità cele&longs;ti. </s> <s id="s.000921">& però le co&longs;e na­<lb/>turalmente &longs;i con&longs;eruano piu doue na&longs;ceno che altroue. </s> <s id="s.000922">Egli &longs;i ragiona adunque della elettione <lb/>de i luoghi &longs;ani per fabricare la città: & que&longs;ta è la prima con&longs;ideratione, che &longs;i deue hauere. </s> <s id="s.000923"><lb/>La regione adunque contiene alcune qualità, delle quali altre &longs;ono pale&longs;i, altre a&longs;co&longs;e. </s> <s id="s.000924">& di que <lb/>&longs;te, & di quelle alcune &longs;ono ree, alcune buone. </s> <s id="s.000925">Le ree &longs;i cono&longs;ceno dalle buone per lo contrario. </s> <s id="s.000926"><lb/>Delle buone altre ci &longs;erueno al commodo, come il pae&longs;e abondante di acque, di frutti, di pa&longs;coli, <lb/>che ha buoni uicini, porti, entrate, per commodità del contrattare, & condurre le merci. </s> <s id="s.000927">Al­<lb/>tre &longs;ono buone all a &longs;anità. </s> <s id="s.000928">sì perche hanno l'acque mobili, lucide, non ui&longs;co&longs;e, non metalliche,<emph.end type="italics"/><pb pagenum="42" xlink:href="045/01/050.jpg"/><emph type="italics"/>&longs;enza qualit à di odore, colore, & &longs;apore, sì anche, perche i uenti non uengorio troppo freddi a <lb/>troppo caldi, o da luoghi infetti. </s> <s id="s.000929">Similmente &longs;e la temperatur a &longs;arà alquanto humida, & dolce, <lb/>croè temperata. </s> <s id="s.000930">dopo la quale è piu &longs;ana la fredda: & &longs;e lo aere &longs;arà puro, purgato, peruio alla ui <lb/>&longs;ta, mobile, & uniforme; & il &longs;ole non cuocerà molto, o non &longs;arà troppo lontano, ma potrà col <lb/>&longs;uo calore confirmare le fredde aure mattutine. </s> <s id="s.000931">Le a&longs;co&longs;e qualità, che ree &longs;ono, come ho detto, <lb/>&longs;i cono&longs;ceno dalle buone. </s> <s id="s.000932">Et le buone &longs;i attendeno da gli animali grandi, gagliardi, &longs;aporiti di <lb/>carne, & fegato buono, & da gli huomini, quando &longs;ono copio&longs;i dell'uno, & l'altro &longs;e&longs;&longs;o, & <lb/>quando &longs;ono belli, &longs;ani, & di lunga uita: & che &longs;ono coloriti, gagliardi, & di temperata com­<lb/>ple&longs;&longs;ione. </s> <s id="s.000933">Et dalle piante, quando &longs;ono belle, ben nodrite, non offe&longs;e da i uenti, & non &longs;ono <lb/>di quelle &longs;pecie, che na&longs;ceno in luoghi paludo&longs;i, o &longs;trani. </s> <s id="s.000934">Et dalle co&longs;e diuine, come dal Genio, & <lb/>buona fortuna del luogo: & dalle naturali, quando le co&longs;e &longs;i con&longs;eruano, come &longs;ono le merci, i <lb/>frutti: & dalle artificio&longs;e, quando gli edificij non &longs;ono corro&longs;i da i uenti, o dalla &longs;al&longs;ugine. </s> <s id="s.000935">Que­<lb/>&longs;te co&longs;e di&longs;corre Vitr. accioche faccia l'huomo cauto et auuertito: & conferma con e&longs;&longs;empi, quan <lb/>to dice, & con ragioni naturali, & dimo&longs;tra non e&longs;&longs;ere ine&longs;perto della Filo&longs;ofia. <!-- KEEP S--></s> <s id="s.000936"><lb/>Leggi Leon Batti&longs;ta a i capi, terzo, quarto, quinto, & &longs;e&longs;to del primo libro, & hauerai la <lb/>pre&longs;ente materia, copio&longs;a, ornata, & dotta: nel re&longs;tante Vitr. &longs;i la&longs;cia intendere in conformità <lb/>di molti antichi &longs;crittori, & proua quanto nociui &longs;iano i luoghi &longs;ottopo&longs;ti al calore del &longs;ole, <lb/>dicendo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.000937">Perche nella &longs;tate l'aere, che è uer&longs;o il meriggie na&longs;cendo il &longs;ole &longs;i ri&longs;calda, nel merig­<lb/>gie arde: & quello, che è uer&longs;o il ponente, na&longs;cendo il &longs;ole intepidi&longs;ce, &longs;alendo al mezo <lb/>dì ri&longs;calda, cadendo abbrucia: la doue per le mutationi del caldo, & del freddo i corpi <lb/>che &longs;ono in que luoghi s'infermano. </s> <s id="s.000938">& que&longs;to &longs;i puo cono&longs;cere dalle co&longs;e inanimate, im­<lb/>peroche nelle cantine coperte niuno prende il lume dal meriggie, nè dal ponente, ma dal <lb/>&longs;ettentrione: perche quella parte non &longs;i uede in alcun tempo mutata, ma è ferma &longs;empre, <lb/>& immutabile; & però i Granai, che riguardano al cor&longs;o del &longs;ole pre&longs;to mutano la bontà <lb/>loro; & le co&longs;e del mangiare, & i frutti, che non &longs;ono alla parte oppo&longs;ta al cor&longs;o del &longs;o­<lb/>le, non &longs;i con&longs;eruano lungamente, perche &longs;empre il calore cocendo leua la fermezza delle <lb/>co&longs;e, & con i &longs;uoi caldi uapori &longs;uggendo le uirtù naturali le di&longs;cioglie, & quelle per lo <lb/>caldo ammollite, rende debili, & inferme. </s> <s id="s.000939">come &longs;i uede nel ferro, il quale benche &longs;ia du­<lb/>ro di natura, nondimeno dal fuoco ri&longs;caldato nelle fornacì, s'ammolli&longs;ce in modo, che in <lb/>ogni forma &longs;i puo ageuolmente piegare, & fabricare: & lo i&longs;te&longs;&longs;o e&longs;&longs;endo molle, & rouen <lb/>te po&longs;to nell' acqua fredda &longs;i rindura, & ritorna nella proprietà di prima. </s> <s id="s.000940">Egli &longs;i può an­<lb/>chora con&longs;iderare, che co&longs;i &longs;ia, da che nel tempo della &longs;tate tutti i corpi per lo caldo s'inde­<lb/>boli&longs;ceno, non tanto ne i luoghi pe&longs;tilenti, quanto ne i &longs;ani: & per lo contrario nel uer­<lb/>no, quantunque le regioni &longs;ieno molto mal &longs;ane, diuentano però &longs;ane, percioche i fred­<lb/>di le fortificano grandemente. </s> <s id="s.000941">Similmente &longs;i uede, che i corpi da luoghi freddi in parti <lb/>calde traportati poco durano, & &longs;i di&longs;cioglieno, ma quelli, che &longs;ono di pae&longs;i caldi, &longs;e &longs;ta­<lb/>ranno nelle fredde regioni del &longs;ettentrione, non &longs;olamente per la mutatione del luogo <lb/>non &longs;aranno &longs;ottopo&longs;ti a malatie, ma &longs;i confermeranno. </s> <s id="s.000942">Et però nel fare le mura delle <lb/>città bi&longs;ogna guardar&longs;i da quelle regioni, i quali con i calori loro po&longs;&longs;ono &longs;pargere i cal­<lb/>di uapori ne i corpi humani. </s> <s id="s.000943">perche di que principij, che chiamano elementi, tutti i corpi <lb/>&longs;ono compo&longs;ti, cioè di calore, di humore, di terra, & di aere, & dalla me&longs;colanza di que <lb/>&longs;ti con naturale me&longs;colamento in &longs;omma formate &longs;ono le qualità di tutti gli animali nel <lb/>mondo. </s> <s id="s.000944">in que corpi adunque, ne i quali di que principij abonda il calore, &longs;i uede, che il <lb/>caldo gli uccide, & di&longs;cioglie tutte le altre co&longs;e, & que&longs;ti difetti &longs;uol fare il feruore del cie<lb/>lo, che uiene d'alcune parti, quando egli entrato &longs;iede nelle aperte uene, piu di quello, <lb/>che puo portare il corpo per le me&longs;colanze della &longs;ua natural temperatura. </s> <s id="s.000945">parimente <lb/>&longs;e l'humore hauerà occupato le uene de i corpi, & quelle hauerà fatto di&longs;eguali, <pb pagenum="43" xlink:href="045/01/051.jpg"/>e gonfie, tutti gli altri principij, come gua&longs;ti, & corrotti dal liquore &longs;i liquefaranno. <lb/></s> <s id="s.000946">& le uirtù della compo&longs;itione &longs;i di&longs;ciglieranno. </s> <s id="s.000947">Similmente dai raffreddamenti dell hu­<lb/>more de i uenti, & dell' aure, s'infondeno i difetti ne i corpi. </s> <s id="s.000948">Nè meno la natural compo <lb/>&longs;itione dello aere, & del terreno cre&longs;cendo, o &longs;cemando fa debili gli altri principij, ijter <lb/>re&longs;tri con la pienezza del cibo, gli aeri con la grauezza dello aere. </s> <s id="s.000949">Ma &longs;e alcuno uorrà <lb/>con piu diligenza uedere &longs;en&longs;ibilmente, auuerti&longs;ca, & attenda alle nature de gli uccelli, <lb/>de i pe&longs;ci, & de i terre&longs;tri animali. </s> <s id="s.000950">& a que&longs;to modo potrà con&longs;iderare le differenze delle <lb/>tempre de i corpi. </s> <s id="s.000951">imperoche altra me&longs;colanza hanno gli uccelli, altra i pe&longs;ci, & molto <lb/>anche piu è diuer&longs;a la natura de i terre&longs;tri animali. </s> <s id="s.000952">gli uccelli hanno manco del terreno, <lb/>& meno dell' humore, &longs;ono di temperato calore, abondano di aere, da che na&longs;ce, che e&longs;­<lb/>&longs;endo di piu lieui elementi compo&longs;ti, ageuolmente &longs;i leuano contra lo impeto dello ae­<lb/>re. </s> <s id="s.000953">Ma le nature aquatili de i pe&longs;ci, perche &longs;ono dal calor temperate, & piu d'aere & di <lb/>terreno, & poco dell' humore ritengono, quanto meno hanno di que principij dell' humo <lb/>re, tanto piu facilmente nell' humore &longs;i con&longs;eruano. </s> <s id="s.000954">& però tratti a terra ad un i&longs;te&longs;&longs;o tem <lb/>po, & la uita, & l'acqua mandano fuori: co&longs;i i terre&longs;tri animali, perche tra i principij lo <lb/>ro &longs;ono dallo aere, & dal calore temperati, & meno ritengono del terreno, & piu del­<lb/>l'humore, abondando in quelli le parti humide, non po&longs;&longs;ono &longs;tando nell' acqua lunga­<lb/>mente con&longs;eruare la uita. </s> <s id="s.000955">Se adunque co&longs;i pare, come propo&longs;to hauemo, & &longs;e col &longs;en&longs;o <lb/>uedemo i corpi de gli animali e&longs;&longs;er di tali principij compo&longs;ti, & dimo&longs;trato hauemo per <lb/>lo mancamento, & per lo &longs;operchio di tal co&longs;e, il tutto ce&longs;&longs;are, o patire, non dubitamo, <lb/>che nece&longs;&longs;ario non &longs;ia con ogni diligenza sforzar&longs;i di eleggere le parti del Cielo tempe­<lb/>perati&longs;sime, quando nel fare le mura &longs;i richiede la &longs;anità; & però io giudico fermamen­<lb/>te douer&longs;i a que&longs;to propo&longs;ito riuocare la ragione de gli antichi: imperoche i maggiori <lb/>diligentemente riguardauano i fegati delle pecore &longs;acrificate, che pa&longs;ceuano in que luo <lb/>ghi, doue &longs;i faceuano le ca&longs;tella, ouero le guarnigioni: & &longs;e le prime erano liuide, & <lb/>uitio&longs;e ne &longs;acrificauano delle altre, dubitando &longs;e per infirmità, o per li pa&longs;coli fu&longs;&longs;ero <lb/>uitiate: ma poi hauendo fatto la i&longs;perienza in molte di e&longs;&longs;e, & prouata la intiera, & &longs;o­<lb/>da natura de i fegati, dalle acque, & da gli pa&longs;coli, s'accampauano in que luoghi: ma &longs;e <lb/>trouauano difetto in quelli, per certo indicio argomentando, il mede&longs;imo ne i corpi hu <lb/>mani traportando, che in que luoghi e&longs;&longs;er doue&longs;&longs;e pe&longs;tilente la copia dell' acqua, & del ci <lb/>bo: & co&longs;i per altre parti &longs;i moueuano, & mutauano pae&longs;e, in ogni luogo cercando la <lb/>&longs;anità: ma che per li pa&longs;coli, & per li cibi &longs;i apparino e&longs;&longs;er &longs;alubri le proprietà della terra, <lb/>argomento manife&longs;to ci danno i campi di Candia, i quali &longs;ono d'intorno il &longs;iume Po­<lb/>thereo, tra Gno&longs;o & Cortina, perche dalla de&longs;tra, & dalla &longs;ini&longs;tra di quel fiume pa&longs;ce­<lb/>no le pecore, ma quelle, che &longs;i uanno pa&longs;colando cerca Gno&longs;o, hanno la milza grande, <lb/>& quelle che &longs;ono appre&longs;&longs;o Cortina non l'hanno apparente. </s> <s id="s.000956">perche dimandandone i medi­<lb/>ci la cagione, ritrouarono in que luoghi un'herba, che pigliata dalle pecore, &longs;cemaua loro <lb/>la milza. </s> <s id="s.000957">& co&longs;i cogliendone, ne dauano a quelli, che patiuano di milza. </s> <s id="s.000958">& per que&longs;to i Cre <lb/>ten&longs;i, chiamano quell' herba A&longs;plenon. <!-- KEEP S--></s> <s id="s.000959">Da que&longs;to egli &longs;i puo &longs;apere, che dal cibo, & dal <lb/>le acque i luoghi &longs;ono o pe&longs;tilenti, o &longs;alubri. </s> <s id="s.000960">Oltra di que&longs;to &longs;e nelle paludi &longs;arà fabricata la <lb/>città, & che le paludi uicine al mare riguarderanno al &longs;ettentrione, ouero tra'l &longs;ettentrio­<lb/>ne & leuante, pure che &longs;iano piu alte che il lito del mare, con ragione parerà e&longs;&longs;er fabricata. </s> <s id="s.000961"><lb/>perche tratte le fo&longs;&longs;e, le ac que &longs;e ne correno al lito, & dal mare gonfio per le fortune ri­<lb/>battute nelle paludi per uarij mouimenti &longs;ono commo&longs;&longs;e, doue per le amare me&longs;colanze <lb/>nei luoghi palu&longs;tri non na&longs;ceranno animali ueneno&longs;i. </s> <s id="s.000962">& quelli, che da piu alti luoghi nuo<lb/>tando uer&longs;o i liti &longs;e ne anderanno, per la non con&longs;ueta &longs;al&longs;ugine &longs;e ne moriranno. </s> <s id="s.000963">Lo e&longs;­<lb/>&longs;empio di que&longs;te co&longs;e, &longs;i puo hauere dalle paludi Galliche, che &longs;ono d'intorno Altino, Ra­<lb/>uenna, & Aquilegia, & altre terre uicine alle palludi, le quali per que&longs;te ragioni hanno <pb pagenum="44" xlink:href="045/01/052.jpg"/>una incredibile &longs;alubrità. </s> <s id="s.000964">Ma quelli luoghi, che hanno le paludi ba&longs;&longs;e, & non hanno u&longs;ci­<lb/>te correnti nè per fiumi, nè per fo&longs;&longs;e, come &longs;ono le paludi Pontine, &longs;tando ferme &longs;i putre <lb/>fanno, & mandano fuori in que' luoghi humori graui, & pe&longs;tilenti. </s> <s id="s.000965">Nella Puglia l'antica <lb/>Salapia, che da Diomede nel ritorno da Troia fu fabricata, ouero (come altri dice) da <lb/>Elfia Rodiotto, era &longs;ituata in luoghi tali, doue gli habitatori infermando&longs;i ogni anno, <lb/>andorono finalmente da M. Ho&longs;tilio, & da quello per publico nome chiedendo impetro­<lb/>rono, che egli troua&longs;&longs;e loro luogo idoneo, & elegge&longs;&longs;e per fabricar la città. </s> <s id="s.000966">Non ritardò <lb/>M. Ho&longs;tilio, ma &longs;ubito inue&longs;tigate le ragioni dotti&longs;simamente comprò una po&longs;&longs;e&longs;sione ap<lb/>pre&longs;&longs;o il mare in luogo &longs;ano, & chie&longs;e dal &longs;enato, & populo Romano, che lecito fo&longs;&longs;e tra­<lb/>portare la terra, & co&longs;i la cin&longs;e di mura, compartì le piazze, & fatte le parti uendette a cia&longs;<lb/>cuno habitante la &longs;ua per due libre & meza d'Argento. <!-- KEEP S--></s> <s id="s.000967">& fatte que&longs;te co&longs;e, egli aper&longs;e il la <lb/>go nel mare, & dallago fece il porto con i doni conce&longs;si, la doue hora i Salapini per quat <lb/>tro miglia lontani dalla loro antica città habitano in luogo &longs;ano. </s> </p> <p type="main"> <s id="s.000968"><emph type="italics"/>Vna gran parte del &longs;ettimo della Republica d'Ari&longs;totele tratta di quello, che &longs;i contiene in <lb/>que&longs;to Capo, & ne gli altri &longs;eguenti del pre&longs;ente libro. </s> <s id="s.000969">Ma noi non uolemo a pompa empire i <lb/>fogli, nè di&longs;putare &longs;ottilmente delle co&longs;e dette da Vitruuio: nelle quali egli ha uoluto & Medi <lb/>co, & Filo&longs;ofo dimo&longs;trar&longs;i. </s> <s id="s.000970">Io de&longs;criuerei l'herba A&longs;plenon, i luogi di Candia, Rhetimo, & <lb/>Cortina, doue ella na&longs;ce, & dimo&longs;trarei in pittura il &longs;ito, & la regione, nella quale deue e&longs;&longs;er <lb/>collo cata una Città, (&longs;e però la pittura puo far que&longs;to) ma perche io intendo, che altri &longs;i <lb/>pigliano que&longs;to carico, uolentieri lo la&longs;ciarò a loro. </s> <s id="s.000971">Cerca l'i&longs;torie uoglio credere a Vitruuio: <lb/>perche non pare conueniente confermare i detti di Vitr. con autorità di Plinio, o d'altro, che <lb/>for&longs;e ha pigliato da Vitr. quello che egli ha &longs;critto. </s> <s id="s.000972">E a&longs;&longs;ai, che Leon Batti&longs;ta con ogni dili­<lb/>genza raccolto habbia molte, & diuer&longs;e co&longs;e ad un propo&longs;ito, che po&longs;&longs;ono &longs;atisfare i curio&longs;i <lb/>di &longs;aper piu oltra. </s> <s id="s.000973">leggi al &longs;econdo Capo del quarto libro del &longs;opra detto. </s> <s id="s.000974">Quella parola che <lb/>dice Vitr. <!-- KEEP S--></s> <s id="s.000975">Municipium, gli Spagnuoli dicono Villa con giuriditione, & Ca&longs;trum, Villa cercada.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.000976"><emph type="italics"/>Delle fondamenta delle muraglie, et delle <lb/>torri. </s> <s id="s.000977">Cap. V.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.000978">QVANDO adunque con que&longs;te ragioni e&longs;po&longs;ta &longs;arà la &longs;alubrità de i luoghi, <lb/>ne i quali &longs;i hanno a fare le cinte delle mura della Città, & che per &longs;ouue­<lb/>gno, & nutrimento di quella elette &longs;aranno le regioni copio&longs;e di frutti, <lb/>& per gli acconciamenti delle &longs;trade, de i fiumi, ouero de i porti del ma <lb/>re &longs;i potrà con le condotte delle co&longs;e commodamente uenire, Allhora in <lb/>que&longs;to modo &longs;i hanno a fare le fondamenta. </s> </p> <p type="main"> <s id="s.000979"><emph type="italics"/>Hauendo Vitruuio trattato della regione, & delle &longs;ue qualit à, & buone & ree; accioche la <lb/>&longs;ciando que&longs;te abbracciamo quelle, hora uuole trattare di quella parte, che noi dicemmo di &longs;o <lb/>pra e&longs;&longs;er certa, & terminata, nè co&longs;i ampia, come è la Regione. </s> <s id="s.000980">comincia adunque a rinchiu­<lb/>derla con le muraglie, & tratta delle fondamenta di quelle, & delle torri, riguardando al­<lb/>l'utile, alla fermezza, & alla bellezza dell' opera, & con&longs;ider a il fine, come far &longs;i deue in ogni <lb/>operatione. </s> <s id="s.000981">Nella diui&longs;ione dell' Architettura detto hauemo la nece&longs;&longs;ità di far le muraglie, hora <lb/>&longs;i tratta del modo di fondarle, delle parti della forma, della gro&longs;&longs;ezza, delle Torri, & figure <lb/>loro. </s> <s id="s.000982">Ma per applicare i principij alle co&longs;e, che &longs;i hanno da fare: dico che egli bi&longs;ogna haue­<lb/>re le idee della di&longs;po&longs;itione, & i termini loro, accioche il tutto &longs;ia preui&longs;to, & con&longs;idera­<lb/>to. </s> <s id="s.000983">Veniremo adunque alla pianta, che ichnografia &longs;i chiama. </s> <s id="s.000984">I termini, & contorni della <lb/>quale &longs;i fanno con linee, & anguli. </s> <s id="s.000985">Angulo è quella parte del piano &longs;ottopo&longs;to, che &longs;i con­<lb/>tiene tra due linee, che &longs;i toccano. </s> <s id="s.000986">& però quattro anguli &longs;i fanno da due linee, che &longs;i tagliano<emph.end type="italics"/><pb pagenum="45" xlink:href="045/01/053.jpg"/><emph type="italics"/>in&longs;ieme, de i quali &longs;e uno &longs;arà a cia&longs;cuno de i tre eguale, giu&longs;to, & dritto &longs;arà detto. </s> <s id="s.000987">& quel <lb/>li, che del dritto &longs;aranno minori, &longs;tretti, & acuti &longs;aranno chiamati, & i maggiori larghi, ot­<lb/>tu&longs;i, & rintuzzati. </s> <s id="s.000988">Delle linee alcune &longs;on dritte, & &longs;ono quelle il mezo delle quali non adona<lb/>bra gli e&longs;tremi, & che tra due punti nel piu breue &longs;pacio &longs;i contengono: altre &longs;ono piegate, <lb/>& torte, & &longs;ono quelle, che col mezo loro e&longs;cono de gli e&longs;tremi. </s> <s id="s.000989">Delle piegate alcune &longs;ono <lb/>parti del circolo. </s> <s id="s.000990">Circolo è figura piana, & &longs;operficiale rinchiu&longs;a da una linea, dal cui centro <lb/>che & punto immobile nel mezo, tutte le linee tirate alla circonferenza &longs;ono eguali. </s> <s id="s.000991">La linea <lb/>piegata da gli Architetti è chiamata Arco, intendo della &longs;implice. </s> <s id="s.000992">Corda poi &longs;i dice quel­<lb/>la linea, che pa&longs;&longs;a da un capo dell' Arco all' altro. </s> <s id="s.000993">Saetta &longs;i chiama quella, che dal mezo del <lb/>la corda con anguli eguali a&longs;cende alla circonferenza dell' arco. </s> <s id="s.000994">Raggio è quella, che dall' immo<lb/>bil punto peruiene alla circonferenza. </s> <s id="s.000995">Diametro quella, che pa&longs;&longs;a per lo centro, & diuide il <lb/>circolo in due parti eguali. </s> <s id="s.000996">Intiero arco è il &longs;emicircolo. </s> <s id="s.000997">Diminuito, & &longs;cemo quello, che è <lb/>minore, cioè che ha la corda &longs;ua minore del diametro. </s> <s id="s.000998">Il compo&longs;to è di due archi diminuti: & <lb/>però fa nella &longs;ommità uno angulo di due archi. </s> <s id="s.000999">gli e&longs;&longs;empi delle predette co&longs;e &longs;ono qui &longs;otto<emph.end type="italics"/></s> </p> <figure id="id.045.01.053.1.jpg" xlink:href="045/01/053/1.jpg"/> <p type="main"> <s id="s.001000"><emph type="italics"/>Hora la natura de i luogi porta &longs;anità è fortezza: hora l'Arte: hara l'una, & l'altra. </s> <s id="s.001001">Nel <lb/>primo ca&longs;o egli &longs;i deue cono&longs;cere quello, che di natura &longs;uo è buono. </s> <s id="s.001002">come &longs;i ha dal prece­<lb/>dente Capo. <!-- KEEP S--></s> <s id="s.001003">nel &longs;econdo bi&longs;ogna por mano al Di&longs;cor&longs;o, come &longs;i dirà nel &longs;eguente. </s> <s id="s.001004">Nè uoglio <lb/>hora commendare la con&longs;uetudine delle genti &longs;traniere, che hora nelle amplißime &longs;olitudini, & <lb/>di&longs;erti habitando, hora ne gli a&longs;prißimi monti, & tra le o&longs;curißime &longs;elue riducendo&longs;i, & alcu<lb/>na fiata in mezo di larghi&longs;&longs;ime paludi, qua&longs;i attuffando&longs;i, & habitando luoghi &longs;terili&longs;&longs;imi &longs;icu­<lb/>ri &longs;i chiamauano da ogni uiolenza. </s> <s id="s.001005">comè &longs;i legge ne i commentarij de' Germani: & altroue <lb/>de gli Irlandi, & Scoce&longs;i: non lodo io que&longs;ti auantaggi: percioche non mi pare, che egli &longs;i deb<lb/>bia eleggere la pouertà, perche niuno ci porti inuidia: nè anche &longs;ognarei un poetico mondo, o <lb/>terre&longs;tre paradi&longs;o: doue i fiumi di latte correno, mele &longs;udano le quercie, manna e nettare pioue­<lb/>no i cieli: peroche all' humana nece&longs;&longs;ità &longs;i puo con mediocre & conueneuole habitatione proue­<lb/>dere, & quelle copie piu pre&longs;to de&longs;iderare, che hauere &longs;i po&longs;&longs;ono. </s> <s id="s.001006">Quanto adunque richiede la <lb/>uita de gli huomini, elegga&longs;i la Città in tal &longs;ito, che ella &longs;i notri&longs;ca del &longs;uo tenitorio, che non <lb/>po&longs;&longs;a di leggieri e&longs;&longs;ere a&longs;&longs;alita, che &longs;ia libera alle &longs;ortite, & che habbia le &longs;opradette conditio­<lb/>ni: dapoi habbia&longs;i cura di fondare la muraglia. </s> <s id="s.001007">Gli inditij di buono, & &longs;odo terreno &longs;ono; <lb/>che ne i luoghi, ne i quali s'ha da fondare, non ui &longs;iano herbe &longs;olite di na&longs;cere in luoghi humi <lb/>di, che nel pae&longs;e d'intorno &longs;iano &longs;a&longs;&longs;i acuti & &longs;odi, & alberi &longs;olo na&longs;centi in luoghi a&longs;ciutti: <lb/>che non ui &longs;iano acque &longs;ortiue &longs;otto: &longs;e il terreno per li pe&longs;i in terra gettati, non ri&longs;uonerà <lb/>nè l'acqua ripo&longs;ta ne' ua&longs;i per li cadimenti &longs;i muouerà. </s> <s id="s.001008">Le cauationi de i pozzi oltra l'utilità <lb/>dell' acqua, & della materia, ne daranno &longs;egno della &longs;odezza del terreno. </s> <s id="s.001009">Il fondamento non <lb/>è parte della fabrica: imperoche la natura &longs;enza l'aiuto dell' Arte, &longs;uol darci il luogo fon<lb/>dato, facendo&longs;i il piano &longs;odi&longs;&longs;imo con alti, & duri &longs;a&longs;&longs;i: doue non fa bi&longs;ogno d'alcuna bu-<emph.end type="italics"/><pb pagenum="46" xlink:href="045/01/054.jpg"/><emph type="italics"/>mana fatica: ma cerca il fondamento, che &longs;i fa da gli huomini, &longs;i deue con&longs;iderare la forma <lb/>del terreno, la qualità, il compartimento, & le regole. </s> <s id="s.001010">La forma del terreno, è fatta &longs;econdo <lb/>la quantilà de i luoghi, i quali &longs;ono o alti, o ba&longs;&longs;i, o pendenti: la qualità è perche la terra ba <lb/>di molte &longs;corze, onde altre &longs;ono coperte di gro&longs;&longs;a, altre di minuta &longs;abbia, & altre di creta. </s> <s id="s.001011"><lb/>altre di to&longs;o, molte di giara me&longs;colata: & in fine altre &longs;ono &longs;ecche, & areno&longs;e, altre hu­<lb/>mide, & molli. </s> <s id="s.001012">Il compartimento richiede, che i piani &longs;iano di&longs;egnati con linee, & con la <lb/>&longs;quadra, ri&longs;petto al drizzare le co&longs;e, & a formare gli anguli. </s> <s id="s.001013">Fa una croce di funi, &longs;econ­<lb/>do che dice Leon Batti&longs;ta, & nel mezo &longs;ia fitto un chiodo, col quale ti reggerai, & co&longs;i fa­<lb/>rai le tue &longs;acome. </s> <s id="s.001014">tirando il filo per ogni uer&longs;o, le Regole ueramente per le fondamenta di <lb/>ogni fabrica &longs;ono trouare il uiuo, & il &longs;odo, ne i luoghi pendenti cominciar dal ba&longs;&longs;o, ne i <lb/>molli, ouer areno&longs;i battere le palificate &longs;pe&longs;&longs;e & &longs;ode: & quelle ra&longs;&longs;odare piu pre&longs;to col con­<lb/>tinuo battere, che col pe&longs;o, o gran perco&longs;&longs;a di quelli &longs;trumenti, che noi chiamamo becchi, <lb/>latini &longs;i&longs;tucas. </s> <s id="s.001015">Con&longs;igliar&longs;i con i periti del luogo cerca la natura del terreno. </s> <s id="s.001016">Non &longs;i &longs;i­<lb/>dare di fondar &longs;opra ruine, cauar egualmente, & i&longs;pianare il fondo delle fo&longs;&longs;e, accioche il <lb/>pe&longs;o prema egualmente. </s> <s id="s.001017">Sia la parte di &longs;otto piu ampia, & pia gro&longs;&longs;a della &longs;uperiore imitan<lb/>do la natura delle co&longs;e, & &longs;pecialmente gli alberi, che &longs;ono da piedi piu gro&longs;&longs;i, che da cima. </s> <s id="s.001018">&longs;ia <lb/>la palificata piu gro&longs;&longs;a del muro il doppio: i pali &longs;peßi&longs;&longs;imi, & gro&longs;&longs;i per la lunghezza loro la <lb/>duodecima parte, ne corti meno dell' ottaua. </s> <s id="s.001019">ne luoghi d'acqua &longs;ortiua per piu &longs;icurtà &longs;i fonda <lb/>a uolti &longs;opra pali. </s> <s id="s.001020">Ne i grandi edificij &longs;i la&longs;ciano alcuni &longs;piragli nel mezo delle fondamenta <lb/>per l'opera fino alla cima: accioche i uenti po&longs;&longs;ino u&longs;cire ri&longs;petto a i terremoti, l'ampiezza <lb/>della Città, & giro quanto alla dignità, &longs;i richiede ampia & grande per la moltitudine, et fre<lb/>quenza delle genti: quanto alla fortezza, la grande ben guardata, da poche genti non puo <lb/>e&longs;&longs;er offe&longs;a, la picciola da manco genti è dife&longs;a: piu facilmente può e&longs;&longs;er rubbata, & piu &longs;i­<lb/>cura al tempo di guerra. </s> <s id="s.001021">Deue la Città e&longs;&longs;er capace di moltitudine, ma non hauere molto di <lb/>uoto. </s> <s id="s.001022">Egli bi&longs;ogna però &longs;econdo i tempi far le Città forti, perche dalle offe&longs;e, che &longs;econdo le <lb/>inuuentioni de gli huomini, tutto'l giorno &longs;i fanno, &longs;i piglia forma alle dife&longs;e. </s> <s id="s.001023">Ma tempo e di ue­<lb/>nire a Vitruuio.<emph.end type="italics"/><!-- KEEP S--></s> <s id="s.001024"> All' hora in que&longs;to modo &longs;i hanno a fare le fondamenta, cioè, che &longs;i ca <lb/>ui tanto, che &longs;i truoui il &longs;odo, s'egli &longs;i puo ritrouare, & nel &longs;odo quanto ragioneuolmen <lb/>te parerà per la grandezza dell' opera, con que&longs;ta conditione però, che la parte &longs;otterra <lb/>tenga &longs;pacio maggiore, & piu gro&longs;&longs;a &longs;ia, che i pareti &longs;opra terra, & quelle fondamenta <lb/>&longs;iano riempite di &longs;odi&longs;sime pietre me&longs;colate con calce & arena. </s> </p> <p type="main"> <s id="s.001025"><emph type="italics"/>Que&longs;to riempimento di &longs;odi&longs;&longs;ima &longs;truttura (come dice Vitru.) da noi è detto lauorar a ca&longs;­<lb/>&longs;a. </s> <s id="s.001026">& rincerca l'incarni&longs;ciata, come &longs;i uederà.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001027">Le Torri deono &longs;portar fuori dell' ordine, & drittura della muraglia nella parte e&longs;terio <lb/>re, accioche uolendo il nimico dare l'a&longs;&longs;alto, &longs;ia da ogni parte da gli aperti fianchi dalla <lb/>de&longs;tra, & dalla &longs;ini&longs;tra dalle torri con pietre, & altre co&longs;e da trarre, ferito. </s> </p> <p type="main"> <s id="s.001028"><emph type="italics"/>Dalle offe&longs;e, &longs;i cauano le dife&longs;e, & dal fine &longs;i tragge ogni co&longs;a. </s> <s id="s.001029">& perche alcune offe&longs;e &longs;ono <lb/>manife&longs;te, alcune a&longs;co&longs;e, altre lontane, altre d'appre&longs;&longs;o: però Vitru. cerca di prouedere quanto &longs;i <lb/>può (come deue far ognuno che fortifica) a tutte &longs;orte di offe&longs;e. </s> <s id="s.001030">& perche l'ultima, & piu uici­<lb/>na & gagliarda, è lo a&longs;&longs;alto, & l'impeto che fa il nimico per entrare nella città, però a questa <lb/>prima prouede Vitr. per far stare lontano il nimico. </s> <s id="s.001031">Le Torri adunque de gli antichi, (in luogo <lb/>delle quali per altri ri&longs;petti &longs;ono a dì nostri, i baloardi, le piatte forme, i caualieri, le forfici) <lb/>erano fatte per que&longs;to effetto, che difendeßero la cortina, però è nece&longs;&longs;ario, che le e&longs;chino nella par­<lb/>te esteriore uer&longs;o il nimico. </s> <s id="s.001032">La &longs;omma del fortificare da alcuni è ridotta a que&longs;to, che i defen&longs;ori <lb/>&longs;ieno &longs;icuri, che &longs;ia il nimico uietato, & anche &longs;cacciato. </s> <s id="s.001033">Il nimico &longs;i uieta con l'acqua, col fo&longs;­<lb/>&longs;o, & col muro. </s> <s id="s.001034">la fo&longs;&longs;a uieta, & per la di&longs;ce&longs;a, & molto piu per l'a&longs;ce&longs;a, quando ella è profon­<lb/>da, & precipite, & piu d'una. </s> <s id="s.001035">L'acqua &longs;ortiua m alcuni luoghi non &longs;i può leuare; &longs;e è alta, an­<lb/>niega, &longs;e è ba&longs;&longs;a fa &longs;drucciolare. </s> <s id="s.001036">impedi&longs;ce i fuochi, & fa difficultà nell' adoperar&longs;i. </s> <s id="s.001037">La muraglia <emph.end type="italics"/><pb pagenum="47" xlink:href="045/01/055.jpg"/><emph type="italics"/>deue e&longs;&longs;er großa, & fatta con le ragioni che ci &longs;ono in&longs;egnate da Vltru. <!-- REMOVE S-->che molto bene &longs;erueno a <lb/>no&longs;tri giorni. </s> <s id="s.001038">il nimico &longs;i &longs;caccia molto meglio dalle Torri, baloardi, argini, & altre co&longs;e &longs;imili <lb/>rileuate, & che e&longs;ceno in fuori, & &longs;pecialmente quelle che hanno maggior piazza; perche la &longs;i­<lb/>curtà de i defen&longs;ori è posta nella piazza de i baloardi, oltra, che la muraglia uuole e&longs;&longs;er ben &longs;at­<lb/>ta, & ordinata in modo che i fuochi, i colpi dell' artigliarie, quanto piu &longs;i puo, &longs;i rendino uani: & <lb/>&longs;e bene la batteria è gagliarda, & l'artigliaria è uiolenta, però l'indu&longs;tria de gli huomini puo ri­<lb/>parare con molte inuentioni alla for za terribile di quelle machine trouate da Lucifero. </s> <s id="s.001039">Stando <lb/>adunque le fortificationi come dice il Signor Conte Gian Giacopo Leonardi, nella Cortina, nel <lb/>fianco, nel fo&longs;&longs;o, nella strada, nella piazza, oue &longs;i po&longs;&longs;ono adoperare le dife&longs;e, & le machine: Vi­<lb/>tru. <!-- REMOVE S-->molto bene con&longs;idera il tutto. </s> <s id="s.001040">& perche le porte &longs;ono nece&longs;&longs;arie per l'u&longs;o della città, bi&longs;ogna <lb/>a&longs;&longs;icurarle, ma non in modo, che pre&longs;e da alcuno di dentro a&longs;&longs;icurino il traditore, & offendino i <lb/>Cittadini. <!-- KEEP S--></s> <s id="s.001041">Deue adunque e&longs;&longs;er &longs;icura la porta dal nimico, & batter di fuori, & e&longs;&longs;ere a&longs;co&longs;a, & <lb/>che ad eßa non mettino capo le &longs;trade, accioche alla di&longs;te&longs;a correndo non po&longs;&longs;ino entrarui i ni­<lb/>mici. </s> <s id="s.001042">& però dice Vitru<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.001043">Egli pare anche che prouedere &longs;i debbia grandemente, che il nimico non habbia facile <lb/>l'entrata ad oppugnare il muro, ma co&longs;i di fo&longs;si precipito&longs;i circondato &longs;ia, & proui&longs;to, <lb/>che le uie non &longs;iano alle porte drizzate, ma per torto camino uadino alla &longs;ini&longs;tra, perche <lb/>quando que&longs;to fatto &longs;ia, la de&longs;tra parte di coloro che anderanno alla città, che non è dallo <lb/>&longs;cudo coperta, &longs;arà uer&longs;o la muraglia. </s> </p> <p type="main"> <s id="s.001044"><emph type="italics"/>Cerca il &longs;ito delle porte, (come in molte altre co&longs;e) conuengono le u&longs;anze moderne, con le <lb/>antiche, nel re&longs;tante pare, che &longs;ia qualche differenza, perche Vitru. loda il Torrione tondo, co­<lb/>me piu atto a re&longs;i&longs;tere alle machine oppugnatorie, che erano gli Arieti, & le Testuggini. </s> <s id="s.001045">bia&longs;­<lb/>ma gli anguli, perche &longs;ono piu di&longs;&longs;ipabili, & copreno gli inimici, che non po&longs;&longs;ono e&longs;&longs;er battuti <lb/>da due lati, come nel tondo. </s> <s id="s.001046">Ma&longs;e auuertimo bene la i&longs;te&longs;&longs;a dottrina &longs;erue a ino&longs;tri tempi, per­<lb/>cioche &longs;iamo tenuti a fuggire gli anguli &longs;iano piani, di linee dritte, curui, &longs;trelti ò larghi: &longs;iamo <lb/>obligati tirar le faccie de i fianchi de i no&longs;tri baloardi con fuggir, piu che &longs;i puo gli anguli; per­<lb/>che &longs;i faccia legatura migliore, che non fa l'angulo, il quale puo e&longs;&longs;er tagliato dall' artigliaria, <lb/>che farebbe il luogo &longs;enza dife&longs;a. </s> <s id="s.001047">Fa lo angulo il mede&longs;imo danno, che dice Vitru. percioche il <lb/>nimico re&longs;ta coperto, ci mo&longs;tra il fianco, il che con la regola de gli antichi potemo eßequire con <lb/>le no&longs;tre artigliarie, perche Vitr. uuole che le Torri &longs;iano di&longs;tanti uno tiro di &longs;aetta, che il nimi­<lb/>co poßa eßer offe&longs;o dalla de&longs;tra, & dalla &longs;ini&longs;tra: noi applicando que&longs;ta dottrina alla no&longs;tra for­<lb/>tificatione facemo la distanza di modo, che la no&longs;tra artigliaria offenda da due lati, & che po&longs;­<lb/>&longs;a ca&longs;tigare chi ardiße fabricar di terreno tra l'uno fianco, & l'altro. </s> <s id="s.001048">le Torri, che egli ci mo­<lb/>&longs;tra, è ragioneuole, che fußero &longs;icure, poi che uuole, che i defen&longs;ori po&longs;&longs;ino &longs;tarui &longs;opra alle di­<lb/>fe&longs;e. </s> <s id="s.001049">Nè i &longs;oldati, nè le machine &longs;ariano &longs;tate con &longs;icurezza, &longs;e non haueßero hauuto le loro <lb/>&longs;palle gagliarde &longs;econdo l'offe&longs;a delle machine de&longs;critte nel decimo libro. </s> <s id="s.001050">Noi (&longs;e haueremo <lb/>que&longs;ta con&longs;ideratione) &longs;econdo la mente dello autore uedremo, che egli ci mo&longs;tra, che le &longs;palle de <lb/>no&longs;tri fianchi eßer deono &longs;icure, le piazze di quelle &longs;pacio&longs;e. </s> <s id="s.001051">Hauemo anche di qual modo &longs;i <lb/>deono fare le &longs;trade, ouero le porte. </s> <s id="s.001052">Noi &longs;eguendo que&longs;ta auuertenza faremo &longs;empre le no&longs;tre &longs;or­<lb/>tite, che fuggiremo lo ri&longs;chio, che il nimico non poßa entrare in&longs;ieme con i no&longs;tri nelle ritirate, co <lb/>me è molte uolte auuenuto a quelli, che non hanno hauuto que&longs;ta con&longs;ideratione. </s> <s id="s.001053">ma &longs;eguitiamo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001054">Le ca&longs;tella deon&longs;i fare non quadrate, nè di anguli, che e&longs;chino fuori, ma deono piu <lb/>pre&longs;to girare; accioche da piu parti &longs;ia ueduto il nimico. </s> <s id="s.001055">percioche doue gli anguli uengo­<lb/>no in fuori, quel luogo difficilmente &longs;i difende, e&longs;&longs;endo lo angulo piu in dife&longs;a del nimi­<lb/>co, che del Cittadino. <!-- KEEP S--></s> <s id="s.001056">Ma la gro&longs;&longs;ezza del muro &longs;i deue fare in modo, che gli huomini <lb/>armati, incontrando&longs;i l'uno con l'altro po&longs;sino pa&longs;&longs;are &longs;enza impedimento, pure che nel­<lb/>la gro&longs;&longs;ezza del muro le taglie di oliua&longs;tro bru&longs;tolate, & inca&longs;trate &longs;iano po&longs;te &longs;pe&longs;si&longs;sime, <lb/>accioche amendue le fronti del muro tra &longs;e come Fibbie, & chiaui, con quelli pezzi ta-<pb pagenum="48" xlink:href="045/01/056.jpg"/>gliati, in&longs;ieme legati durino eternamente; imperoche a &longs;imil materia, nè pioggie impe <lb/>tuo&longs;e, nè tarli, nè uecchiezza po&longs;&longs;ono fare nocumento alcuno, ma & in terra &longs;epolta, & <lb/>po&longs;ta in acqua dura &longs;enza danno in &longs;empiterno; & però non &longs;olamente nel muro, ma nel­<lb/>le fondamenta, & in que pareti, che haueranno gro&longs;&longs;ezza come di muro, &longs;e con que&longs;ta <lb/>ragione &longs;aranno ben legati, non &longs;i potranno di leggieri intaccare ne uitiare. </s> <s id="s.001057">Gli &longs;pacij da <lb/>Torre a Torre non &longs;iano piu lontani, che un tiro di arco. </s> <s id="s.001058">percioche &longs;e la Torre &longs;arà hat­<lb/>tuta da una parte, &longs;aranno i nimici &longs;cacciati con bale&longs;tre, & altri &longs;aettamenti dalle Tor­<lb/>ri che &longs;aranno dall'una, & l'altra parte. </s> <s id="s.001059">& anchora per lo contrario il muro uer&longs;o la parte <lb/>interiore delle Totri deue e&longs;&longs;ere diui&longs;o con i&longs;pacij tanto grandi, quanto &longs;aranno le Tor­<lb/>ri, & &longs;iano le uie nelle parti di dentro delle Torri con traui congiunte, nè &longs;iano fitte con <lb/>ferro. </s> <s id="s.001060">Perche &longs;e'l nimico per &longs;orte hauerà occupato alcuna parte del muro, quelli, che <lb/>&longs;aranno alle dife&longs;e, potranno tagliare le dette uie, & &longs;e &longs;aranno pre&longs;ti non la&longs;ciaranno, <lb/>che il nimico pa&longs;si all'altra parte delle Torri o del muro, &longs;e egli non uole&longs;&longs;e andare in pre­<lb/>cipitio. </s> <s id="s.001061">Bi&longs;ogna adunque fare le torri, ouero di forma ritonda, ouero di molti angu­<lb/>li, perche le quadrate di leggieri &longs;i gettano a terra dalle machine, perche gli Arieti urtan­<lb/>do rompeno le cantonate, ma nelle ritonde, &longs;pignendole uer&longs;o il centro come cunci non <lb/>le po&longs;&longs;ono offendere. </s> </p> <p type="main"> <s id="s.001062"><emph type="italics"/>Que&longs;ta parte s'è aba&longs;tanza dichiarita di &longs;opra, &longs;olo aßai ci &longs;arà lo eßempio, della Torre <lb/>aperta di dentro, benche ad altri modi &longs;i po&longs;&longs;ino acconciar le traui, che &longs;i poßa con pre&longs;tezza <lb/>gettarle a terra.<emph.end type="italics"/></s> </p> <pb pagenum="49" xlink:href="045/01/057.jpg"/> <p type="main"> <s id="s.001063"><emph type="italics"/>G. <!-- KEEP S--></s> <s id="s.001064">Sono alcuni peducci o gatelli, che &longs;pigneuano fuori del muro per due terzid un piede, <lb/>quattro piedi lont ani uno dall' altro, &longs;opra i quali poneua tanti capi di traui, che tutti concorre&longs;­<lb/>&longs;ero al centro della torre: & que&longs;ti con una ferma catena raccomandata all'ultimo palco della <lb/>torre, con uno molinello, o argano doue è la. </s> <s id="s.001065">A. fermaua tuttii palchi con tauole &longs;enza chio­<lb/>di, che leuate le tauole, & rauolgendo là catena, tutte le traui rimarriano appe&longs;e alla catena, <lb/>che con grandi&longs;&longs;ima pre&longs;tezza li potria leuare. </s> <s id="s.001066">& que&longs;ti po&longs;&longs;ono portare ogni gran carico, per­<lb/>che cia&longs;cuno di loro affronta nel centro, nè poßono calare, &longs;e la torre non con&longs;ente. </s> <s id="s.001067">B. è il <lb/>centro. </s> <s id="s.001068">Vuole poi che l'ultimo palco &longs;ia forti&longs;&longs;imo non &longs;olo per &longs;o&longs;tentamento di que&longs;ti, ma anche <lb/>occorrendo fabricarui &longs;opra per alzarla, &longs;tia forte. </s> <s id="s.001069">C. tauolato. </s> <s id="s.001070">E. <!-- KEEP S--></s> <s id="s.001071">La muraglia. </s> <s id="s.001072">H. &longs;ca <lb/>la per a&longs;cender alla muraglia. </s> <s id="s.001073">F. piano della muraglia. </s> <s id="s.001074">D. muro di dentro, che &longs;erraua la <lb/>torre. </s> <s id="s.001075">K. I. Großezze.<emph.end type="italics"/></s> </p> <figure id="id.045.01.057.1.jpg" xlink:href="045/01/057/1.jpg"/> <p type="main"> <s id="s.001076">Appre&longs;&longs;o di que&longs;to le dife&longs;e delle muraglie, & delle Torri congiunte à gli argini, e terra <pb pagenum="50" xlink:href="045/01/058.jpg"/>pieni &longs;ono piu &longs;icure. </s> <s id="s.001077">imperoche nè gli arieti, nè le mine, nè altre machine li po&longs;&longs;ono fare <lb/>offe&longs;a. </s> <s id="s.001078">Ma non in ogni luogo &longs;i ricerca lo argine, ma &longs;olamente la doue dal di fuori da luo <lb/>go alto a piè piano, &longs;i puo uenire ad oppugnare la città. </s> <s id="s.001079">Et però in tali luoghi bi&longs;ogna <lb/>prima cauare le fo&longs;&longs;e di larghezza, & di altezza grandi&longs;sima. </s> <s id="s.001080">Dapoi deue il fondamento <lb/>della muraglia e&longs;&longs;er depre&longs;&longs;o, & calcato tra lo alueo della fo&longs;&longs;a, & fatto di quella gro&longs;&longs;ez­<lb/>za, che egli po&longs;&longs;a &longs;o&longs;tenere il carico dell' opera terrena. </s> <s id="s.001081">& ancora dalla parte della &longs;abrica <lb/>di dentro uer&longs;o la terra, egli &longs;i deue fare il fondamento per ampio &longs;patio di&longs;tante da quel <lb/>di fuori di modo, che le compagnie po&longs;sino come in ordinanza, nelle dife&longs;e formar&longs;i &longs;o­<lb/>pra la larghezza dello argine. </s> <s id="s.001082">Quando adunque &longs;aranno fatte le fondamenta co&longs;i di&longs;tanti <lb/>l'uno dall' altro, allhora &longs;arà bi&longs;ogno di farne dell' altre per lo trauer&longs;o, che congiunte &longs;ia­<lb/>no col fondamento di fuori, & col fondamento di dentro di&longs;po&longs;te come pettini a gui&longs;a de <lb/>i denti di &longs;iega. </s> <s id="s.001083">perche quando in que&longs;ta maniera &longs;arà fabricato, & fondato il muro, &longs;e <lb/>ne hauerà que&longs;to commodo, che la grandezza del pe&longs;o in picciole parti compartita, non <lb/>calcando con tutto il carico &longs;uo, non potrà per modo alcuno &longs;cacciare, o &longs;pignere le fonda <lb/>menta. </s> <s id="s.001084">Ma della muraglia, di che materia fare &longs;i conuenga, non &longs;i deue in que&longs;to luogo al <lb/>trimenti determinare: perche non &longs;i puo per tutto hauere quella copia di co&longs;e, che &longs;i di&longs;i­<lb/>dera: ma doue &longs;aranno i &longs;a&longs;si di lati, & anguli eguali, & di piana &longs;uperficie, che quadrati <lb/>&longs;i chiamano, ouero il &longs;elice, ouero il cemento, ouero il mattone cotto, o crudo, que&longs;te <lb/>co&longs;e &longs;i deono u&longs;are: perche non &longs;i puo in tutte le parti del mondo, & in tutte le nature de i <lb/>luoghi, accioche i muri durino eternamente &longs;enza difetto adoperar quello, che copio&longs;a­<lb/>mente uiene in Babilonia, doue in luogo di calce, & di arena, &longs;i u&longs;a il bitume liquido, & <lb/>di quello, & di cotto mattone è fatto il muro della città. </s> </p> <p type="main"> <s id="s.001085"><emph type="italics"/>La città è ouero in terra, ouero in acqua. </s> <s id="s.001086">&longs;e in terra, o in piano, o in monte, o parte in piano <lb/>& parte in monte. </s> <s id="s.001087">Del fabricare nell' acqua Vitr. ne parlerà nel quinto libro, doue ragiona de i <lb/>porti. </s> <s id="s.001088">Bi&longs;ogna auuertire nel fabricare delle città nell' acque, che il cre&longs;cere delle acque non le fac<lb/>cia danno; che &longs;i facciano belli pallazzi &longs;opra l'acque, & ponti, che habbiano del grande. </s> <s id="s.001089">& &longs;e <lb/>non &longs;ono dife&longs;e dal &longs;ito, & dalla difficultà de i uadi, bi&longs;ogna farui le fortezze, & le mura, & a&longs;­<lb/>&longs;icurare anche il porto, con catene, come &longs;i dirà al &longs;uo luogo. </s> <s id="s.001090">&longs;e la città &longs;arà in terra, & in altez<lb/>za, & in luoghi di precipit ij, come pare, che Vitr. uoglia, nel primo modo di fortificare &longs;enza ar<lb/>gini, ella &longs;arà piu &longs;icura, perche difficilmente il nimico la potrà a&longs;&longs;altare, per la &longs;alita difficile, <lb/>& hauerà le &longs;coperte commode, & chi la difenderà, &longs;arà &longs;opra l'auantaggio: & quelle città, che <lb/>haueranno del piano, & del monte, haueranno de i commodi, che hanno le città del mon­<lb/>te, & doueranno hauere delle proui&longs;ioni, che hanno le città in piano. </s> <s id="s.001091">Deue in <lb/>quelle e&longs;&longs;er un luogo forte nella piu alta parte, per &longs;tare i caualieri della città, quan­<lb/>do ci fu&longs;&longs;ero cittadini di mala uolontà, o che i nimici haue&longs;&longs;ero occupato la terra. </s> <s id="s.001092">per­<lb/>che que&longs;ti luogi &longs;pe&longs;&longs;o a&longs;pettando il &longs;occor&longs;o &longs;icuramente intertengono il nimico, & &longs;o­<lb/>no occa &longs;ione della ricuperatione delle città. </s> <s id="s.001093">Se adunque la città &longs;arà in piano, & <lb/>come dice Vitruuio, &longs;e egli &longs;i potrà andare a piede piano, bi&longs;ognerà fargli gli ar­<lb/>gini, le fo&longs;&longs;e, le contra&longs;carpe &longs;econdo le regole di &longs;opra, & quelli ri&longs;petti, che ha po&longs;ti <lb/>Vitruuio nel fondar le torri, & farle alte, & che &longs;portino in fuori, & che &longs;iano aperte <lb/>di dentro, & che habbiano precipitij, & che tenghino i defen&longs;ori, & che &longs;i po&longs;&longs;ino &longs;eparare le <lb/>entrate, & impedire la pre&longs;a loro, applicarle al modo no&longs;tro di fare i baloardi, & i caualieri, <lb/>& le altre dife&longs;e, pigliando quello, che farà per noi. </s> <s id="s.001094">Et però Vitru. nel dare i precetti della <lb/>fortificatione ha cominciato dalle Torri, come quelle, che principalmente ci difendino, & &longs;ia­<lb/>no à noi come &longs;cuto, & a nimici come offe&longs;a, & propugnaculo, dal quale, & il nimico &longs;ia tenu­<lb/>to lontano, & la muraglia &longs;ia guardata, & anche la parte di dentro &longs;ia &longs;icura. </s> <s id="s.001095">Ma in que&longs;ta <lb/>materia na&longs;ceno de i dubbij. </s> <s id="s.001096">L'uno è che &longs;e le torri &longs;ono tanto larghe, & gro&longs;&longs;e di muraglia, che <lb/>po&longs;&longs;ino tenere corpo di gente alle dife&longs;e, &longs;e bene quelle traui, che dice Vitr. &longs;aranno pre&longs;to getta-<emph.end type="italics"/><pb pagenum="51" xlink:href="045/01/059.jpg"/><emph type="italics"/>te a terra, potranno però i nimici per lo circoito delle torri andare da uno muro, all altro. </s> <s id="s.001097">A que <lb/>&longs;to &longs;i ri&longs;ponde, che le torri erano alte, & che i nimici non poteuano &longs;alire a quelle altezze, &longs;e <lb/>bene haueuano occupato il muro. </s> <s id="s.001098">Erano dico alte, & per di&longs;e&longs;a, & per contra&longs;tare à quelle ma <lb/>chine grandi fatte de legnami, che conduceuano i nimici nelle e&longs;pugnationi delle città. </s> <s id="s.001099">l'altro dubio <lb/>è che Vitr. uuole, che le Torri dalla parte di dentro &longs;iano aperte, accioche leuate quelle traui, <lb/>& que ponti, lo inimico uedendo il grande precipitio non &longs;i metta a uoler pa&longs;&longs;are da una mura­<lb/>glia all' altra. </s> <s id="s.001100">per que&longs;to &longs;i uede, che meglio &longs;aria &longs;tato per lo inimico battere una torre, che la mu<lb/>raglia. </s> <s id="s.001101">perche tagliata o rotta la torre, baueuano il re&longs;tante libero, & aperto per entrar den­<lb/>tro. </s> <s id="s.001102">A que&longs;to &longs;i ri&longs;ponde dallo eccellente M. Aleßandro Piccheroni huomo de pochi pari nelle for <lb/>tificationi, & in altre belle arti, che le torri che erano, o doueuano e&longs;&longs;ere &longs;errate da piedi di mu<lb/>ro alto almeno per la metà dell' altezza della cortina, haueuano quel muro che le &longs;erraua gro&longs;&longs;o <lb/>da piedi a ba&longs;tanza per impedimento delle zappe, ma poi uenendo uer&longs;o la cima &longs;i faceua piu &longs;tret <lb/>to. </s> <s id="s.001103">la torre poi douena nel mezo e&longs;&longs;ere profonda molto, & eguale al meno al fondo de i precipi­<lb/>tij, & &longs;e per ca&longs;o lo inimico fuße, rompendo la torre, per entrarui dentro, egli era &longs;ottopo&longs;to <lb/>ad una infinità di offe&longs;e, sì da quelli, che &longs;tauano di &longs;opra nelle torri, come da quelli, che da ogni <lb/>lato &longs;tauano &longs;opra le mura, come &longs;te&longs;&longs;ero quelli palchi, o contignatione, che dice Vitr. per &longs;icur <lb/>tà di quelle, che difendeuano le torri, & che facilmente &longs;i poteßero leuare, altri uno, altri al­<lb/>tro modo hanno trouato, nè &longs;opra que&longs;to c'è da di&longs;putare qual &longs;ia piu uicino alla mente di Vitr. e&longs; <lb/>&longs;endo libero ad ognuno di affermare qual modo gli piace. </s> <s id="s.001104">però il &longs;opradetto ha ritrouato unmodo <lb/>ingenio&longs;o, il quale noi nella &longs;oprapo&longs;ta de&longs;crittione hauemo pigliato.<emph.end type="italics"/></s> </p> <figure id="id.045.01.059.1.jpg" xlink:href="045/01/059/1.jpg"/> <p type="main"> <s id="s.001106"><emph type="italics"/>A. <!-- KEEP S--></s> <s id="s.001107">Denti a gui&longs;a di &longs;ega.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001108"><emph type="italics"/>B. </s> <s id="s.001109">Contra forti a gui&longs;a di pettine.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001110"><emph type="italics"/>C. <!-- KEEP S--></s> <s id="s.001111">La muraglia uer&longs;o la città.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001112"><emph type="italics"/>D. <!-- KEEP S--></s> <s id="s.001113">Lamuraglia e&longs;teriore.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001114"><emph type="italics"/>E. argine, o Terrapieno.<emph.end type="italics"/><pb pagenum="52" xlink:href="045/01/060.jpg"/><figure id="id.045.01.060.1.jpg" xlink:href="045/01/060/1.jpg"/></s> </p> <pb pagenum="53" xlink:href="045/01/061.jpg"/> <figure id="id.045.01.061.1.jpg" xlink:href="045/01/061/1.jpg"/> <pb pagenum="54" xlink:href="045/01/062.jpg"/> <p type="main"> <s id="s.001115"><emph type="italics"/>a. <!-- REMOVE S-->f. <!-- REMOVE S-->correnti per lo lungo de i contra&longs;orti, ouero catena. </s> <s id="s.001116">b. <!-- REMOVE S-->paloni per lo dritto <lb/>del parete. </s> <s id="s.001117">c. <!-- REMOVE S-->incrocciamenti e&longs;teriori. </s> <s id="s.001118">e. <!-- REMOVE S-->ripre&longs;e & immor&longs;ature. </s> <s id="s.001119"><lb/>A pareti e&longs;teriori. </s> <s id="s.001120">I Il piano doue fini&longs;ce i paloni.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001121">Ordine nelle di&longs;po&longs;itioni delle mura nelle fortificationi de gli antichi. </s> </p> <p type="main"> <s id="s.001122"><emph type="italics"/>A il luogo del terrapieno. </s> <s id="s.001123">d. <!-- REMOVE S-->nerue per le fibule che &longs;e incrocciano. </s> <s id="s.001124">p. <!-- REMOVE S-->o. <!-- REMOVE S-->lun­<lb/>ghezza da un contraforte all'altro. </s> <s id="s.001125">o. <!-- REMOVE S-->r. <!-- REMOVE S-->& p <expan abbr="q.">que</expan> lunghezza de i contraforti che è <lb/>piedi uenti due. </s> <s id="s.001126">b & f. <!-- REMOVE S-->incrocciamenti delle nerue. </s> <s id="s.001127">q angoli a modo di &longs;eghe. </s> <s id="s.001128"><lb/>e b &longs; catena per il lungo de i contraforti lunga piedi trenta&longs;ei, & gro&longs;&longs;a per larghez <lb/>zo uno piede, & per altezza tre quarti. </s> <s id="s.001129">G H nerua ocorrente di legno che riceue <lb/>in &longs;e i capi delle catene. </s> <s id="s.001130">K l parte interiore, cioè pomerio. </s> <s id="s.001131">i u gro&longs;&longs;ezza delle <lb/>mura. </s> <s id="s.001132">i r ri&longs;alto de gli angoli a modo di &longs;eghe piedi quattro. </s> <s id="s.001133">M N parte e&longs;te <lb/>riore delle mura.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.001134"><emph type="italics"/>Della diui&longs;ione delle opere, che &longs;ono dentro le mura, & <lb/>della di&longs;po&longs;itione di quelle per i&longs;chifare i fiati no­<lb/>ciui de i uenti. </s> <s id="s.001135">Cap. VI.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.001136">CIRCONDATA la Città di mura, &longs;eguita il compartimento di dentro del­<lb/>le piazze, & de gli &longs;pacij, & il drizzamento delle contrade, & de i capi del­<lb/>le uie alle parti del Cielo. <!-- KEEP S--></s> <s id="s.001137">Drizzeranno&longs;i bene, &longs;e prudentemente &longs;aranno <lb/>e&longs;clu&longs;i i uenti da i capi delle uie: perche i uenti, &longs;e &longs;ono freddi, offendeno, &longs;e <lb/>caldi, gua&longs;tano, &longs;e humidi, nu oceno. </s> <s id="s.001138">per il che pare, che egli &longs;i debbia &longs;chifare que&longs;to <lb/>difetto, & auertire, che non auuenga quello, che in molte Città &longs;uole auenire. </s> <s id="s.001139">Come <lb/>nell'I&longs;ola di Lesbo il ca&longs;tello di Metelino, è fatto magnificamente, & con molti orna­<lb/>menti, ma po&longs;to &longs;enza con&longs;ideratione. </s> <s id="s.001140">in quella Città &longs;offiando l'O&longs;tro gli huomini &longs;i am­<lb/>malano, &longs;offiando Cauro to&longs;si&longs;cono, &longs;offiando Tramontana &longs;i ri&longs;anano, ma non po&longs;&longs;ono <lb/>per la forza del freddo fermar&longs;i nelle piazze, o ne i capi delle &longs;trade. </s> </p> <p type="main"> <s id="s.001141"><emph type="italics"/>Dapoi che Vitruuio ha trattato della regione, & delle &longs;ue qualità; che era la prima <lb/>con&longs;ideratione, che &longs;i doueua hauere per &longs;ituare la Città, & dapoi che ci ha dimo&longs;trato come <lb/>egli &longs;i ha da pigliare una parte della regione, & circondarla di dife&longs;e, & munitione di mu­<lb/>raglia, con ragione egli uuole in&longs;egnare a compartire il piano rinchiu&longs;o da tutto il circoito <lb/>delle mura. </s> <s id="s.001142">& prima con&longs;idera il compartimento quanto appartiene a &longs;chifare le co&longs;e no­<lb/>ciue, & que&longs;to fa nel pre&longs;ente Capo. <!-- KEEP S--></s> <s id="s.001143">Dapoi quanto appartiene alla di&longs;tributione, & di&longs;pen<lb/>&longs;atione de i luoghi, & que&longs;to fa nel &longs;ettimo, & ultimo capo del pre&longs;ente libro. </s> <s id="s.001144">Quanto al­<lb/>la prima parte Vitruuio con e&longs;&longs;empi prima ci fa auuertiti, che per li noio&longs;i fiati de uenti al­<lb/>cun danno non &longs;i &longs;enta. </s> <s id="s.001145">Dapoi di&longs;correndo &longs;opra la natura, forza, nomi, numero, & &longs;ito <lb/>de i uenti per formarne poi certa, & terminata figura, ci mo&longs;tra come habbiamo con quel­<lb/>la a reggerci nelle dritture delle &longs;trade. </s> <s id="s.001146">Lesbo è I&longs;ola nel mar Egeo detto Arcipelago, uolge <lb/>cento et &longs;e&longs;&longs;anta miglia, & ha la &longs;ua metropoli detta Metilino, dalla quale hoggi tutta l'i&longs;o<lb/>la è nominata. </s> <s id="s.001147">ben è uero, che hora è priua de gli antichi ornamenti, & è andata in ruina. </s> <s id="s.001148"><lb/>Giace Metelino uer&longs;o Tramontana, è uolto s. <!-- REMOVE S-->Theodoro a Ponente. <!-- KEEP S--></s> <s id="s.001149">il colfo Caloni a Garbino, <lb/>il colfo Ieremidia tra Sirocco, & Leuante. <!-- KEEP S--></s> <s id="s.001150">Metelino adunque è mal &longs;ituato, & compartito: <lb/>percioche è &longs;ottopo&longs;ta a i uenti, de i quali la maggior parte &longs;ono mal &longs;ani: però nel com­<lb/>partimento delle piazze, & delle shoccature delle &longs;trade, bi&longs;ogna hauere con&longs;ideratione al-<emph.end type="italics"/><pb pagenum="55" xlink:href="045/01/063.jpg"/><emph type="italics"/>le qualità de i uenti. </s> <s id="s.001151">Da que&longs;to precetto, Vitruuio &longs;i piglia una bella occa&longs;ione di filo&longs;ofa­<lb/>re d'intorno la natura, & qualità de i uenti, & però dicendo prima, che co&longs;a è uento, co<lb/>mincia a que&longs;to modo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001152">Il uento è onda del mare, che &longs;corre con incerta abbondanza di mouimento: egli na <lb/>&longs;ce quando il caldo ritroua il &longs;reddo, & lo impeto del feruore e&longs;prime la forza dello &longs;pi <lb/>rito che &longs;offia: & que&longs;to &longs;i dimo&longs;tra e&longs;&longs;er uero dalle palle dette Eolopile: & con gli ar­<lb/>tificio&longs;i ritrouamenti delle co&longs;e &longs;i tragge dalle &longs;ecrete ragioni del cielo quanto è uero <lb/>della diuinità. </s> <s id="s.001153">Fanno&longs;i le dette palle cauate di rame con un punto &longs;tretti&longs;simo per lo­<lb/>quale &longs;i ui mette dentro l'acqua, & &longs;i poneno al fuoco. </s> <s id="s.001154">& prima che &longs;iano calde non <lb/>mandano fuori alcun &longs;iato, ma poi che cominciano a bollire, fanno al fuoco una gran <lb/>forza di &longs;pignere, & di &longs;offiare. </s> </p> <p type="main"> <s id="s.001155"><emph type="italics"/>Diffini&longs;ce Vitruuio il uento, & mo&longs;tra da che na&longs;ce, & proua il na&longs;cimento con co&longs;e &longs;en­<lb/>&longs;ibili. </s> <s id="s.001156">Dice adunque il uento e&longs;&longs;er onda del mare: &longs;i come l'onda non è altro, che una parte <lb/>d'acqua unita, & raccolta, che uer&longs;o alcuna parte cacciata in&longs;ieme &longs;i muoue: co&longs;i uuole <lb/>Vitruuio, che il uento &longs;ia parte dello aere in &longs;e ri&longs;tretta, che in alcuna parte pieghi, & però ha <lb/>detto, che'l uento è onda del aere, che con incerto & sforzeuole mouimento &longs;i commoue. </s> <s id="s.001157">Na&longs;ce <lb/>il uento (come dice Vitr.) quando il calore s'incontra con l'humore, & per lo feruore &longs;i man­<lb/>da fuori la forza dello &longs;pirito, che &longs;offia. </s> <s id="s.001158">&longs;e bene Vitruuio ci da lo e&longs;&longs;empio per prouare, che <lb/>il uento na&longs;ce dal calore, che opera nella humidità: non però e&longs;pone chiaramente lo effetto. </s> <s id="s.001159"><lb/>Diremo adunque noi quello, che da no&longs;tri precettori hauemo imparato. </s> <s id="s.001160">Il uento, è uapore del <lb/>la terra, che a&longs;cende all'altezza dello aere, & &longs;cacciato dal freddo, che in quella parte &longs;i <lb/>truoua, percuote lo aere con uiolenza. </s> <s id="s.001161">il calore del Sole, & d'altri corpi celesti ha uirtù di <lb/>trarre dalla terra alcuni fumi o uapori, & leuarli in alto, perche la proprietà del calore, <lb/>è tirare a &longs;e: il che &longs;i fa &longs;caldando, & facendo i corpi piu rari. </s> <s id="s.001162">Que&longs;ti uapori &longs;ono alcune <lb/>parti &longs;ottili dell'humore terre&longs;ire, che non hanno nè calore, nè figura determinata, hanno al <lb/>cuni calore, & humidità: alcuni calore, & &longs;iccità. </s> <s id="s.001163">de i primi &longs;i genera ogni humida impre&longs;sio­<lb/>&longs;ione, come le nubi, la pioua, la rugiada, la neue, la grandine, la brina, le fonti, il mare. </s> <s id="s.001164">de <lb/>i &longs;econdi &longs;i fa ogni infiammato, & acce&longs;o ardore, & tutto quello, che è di calda, & &longs;eccá <lb/>natura, & però i fuochi, i lampi, i tizzoni, le comete, le ca&longs;e ardenti, le &longs;telle cadenti, le <lb/>corone lumino&longs;e, i fulmini, le uoragini, & apriture dello aere e&longs;tiuo, i uenti, i turbini, & al <lb/>tre apparenze d'imperfette mi&longs;ture da quelli hanno origine, come da materie loro proportio­<lb/>nate. </s> <s id="s.001165">Noi diremo de i uenti. </s> <s id="s.001166">Il Sole adunque ha uirtu di tirar al modo che detto hauemo quel <lb/>uapore che è caldo, & &longs;ecco, & &longs;i chiama e&longs;altatione, come il primo caldo, & humido, &longs;i <lb/>dice uapore; Que&longs;ti adunque u&longs;cito dalla terra, per e&longs;&longs;er di natura di fuoco s'inalza, & &longs;i <lb/>lieua dritto all'in &longs;u, & a&longs;cende fin che egli ritruoua la parte di mezo dello aere, & che è fred<lb/>da per e&longs;&longs;er di&longs;tante, & dal ri&longs;alimento de i raggi del Sole, che dalla terra &longs;i fa, & dal fer­<lb/>uore dello elemento del fuoco. </s> <s id="s.001167">ritrouando adunque il freddo, come nimico lo fugge, & hauen­<lb/>do pure natura di fuoco cerca di a&longs;cendere: ma e&longs;&longs;endo ribattuto dal freddo, è forza, che di­<lb/>&longs;cenda, & per que&longs;to contra&longs;to è &longs;cacciato da i lati, & in giro &longs;i muoue per la uiolenza fat­<lb/>tagli dal freddo, che lo ribatte in giu, & per la naturale inclinatione, che lo porta in &longs;u, pre <lb/>dominando il fuoco in e&longs;&longs;o. </s> <s id="s.001168">& però il uento non è altro che calda, & &longs;ecca e&longs;alatione mo&longs;&longs;a <lb/>da i lati, d'intorno la terra, per la ribattuta del freddo, che è nella mezana parte dello ae­<lb/>re. </s> <s id="s.001169">& &longs;e bene alcuna fiata chiamamo uento lo aere mo&longs;&longs;o, come &longs;i uede dal &longs;offiar de i folli, o <lb/>dal far&longs;i uento la &longs;tate, o dalle palle &longs;opradette, che Elopile &longs;i chiamano, qua&longs;i palle uento&longs;e, <lb/>non è però, che il uento &longs;ia mouimento dello aere, perche bene puo &longs;tare, che lo aere &longs;i muo­<lb/>ua con il uento, & il uento però non &longs;ia onda dello aere. </s> <s id="s.001170">La ragione del &longs;offiar delle Eolopile, <lb/>è perche il fuoco opera nell'acqua col &longs;uo calore, & cerca di conuertirla in aere, & perche le di<lb/>men&longs;ioni dello aere &longs;ono maggiori delle dimen&longs;ioni dell'acqua, per e&longs;&longs;ere lo aere piu raro, però<emph.end type="italics"/><pb pagenum="56" xlink:href="045/01/064.jpg"/><emph type="italics"/>l'acqua conuertita in acre cerca d'u&longs;cire, & ritrouar luogo capace, & pa&longs;&longs;ando per uno &longs;ireti&longs;­<lb/>&longs;imo punto, &longs;a quello impeto, che &longs;i uede. </s> <s id="s.001171">& &longs;e con piu forza il calore, pote&longs;&longs;e pre&longs;to conuer­<lb/>tire l'acqua in fuoco, come &longs;a la poluere dell artigliaria; &longs;i uedercbbe gagliardi&longs;&longs;imo e&longs;&longs;etto, & <lb/>le palle non durerebbono, ma &longs;pezzate fariano del male, come hanno fatto ad alcuni. </s> <s id="s.001172">Maper­<lb/>che l'e&longs;alatione, che è uapore caldo, & &longs;ecco, &longs;ia principio de i uenti, egli &longs;i proua per tre &longs;egni. </s> <s id="s.001173"><lb/>Il primo è, che per li molti uenti, che regnano, le regioni &longs;i fanno calde, & &longs;ecche. </s> <s id="s.001174">il &longs;econdo è, che <lb/>i gran uenti fanno ce&longs;&longs;ar le pioggie. </s> <s id="s.001175">Il terzo è, che uengono piu uenti, cioè dal Settentrione, <lb/>meriggie, & da Ponente, che da Leuante, perche in quelle parti &longs;i troua maggior copia di e&longs;ala­<lb/>tioni. </s> <s id="s.001176">Que&longs;ti &longs;egni pareno contrarij di primo a&longs;petto alla i&longs;perienza. </s> <s id="s.001177">& prima, perche quando <lb/>&longs;ono gran uenti, pare che regni maggior freddo. </s> <s id="s.001178">dapoi non &longs;i uede, che gli huomini ri&longs;caldati cer­<lb/>cano di far&longs;i uento, per raffreddar&longs;i? </s> <s id="s.001179">Ri&longs;pondo, che il freddo, che &longs;i &longs;ente al tempo, che &longs;o&longs;&longs;ia­<lb/>no i uenti, na&longs;ce per la me&longs;colanza che &longs;anno le e&longs;alationi, con i uapori &longs;reddi, & humidi, <lb/>quando s'incontrano, & anche dalla freddura dello aere, con il quale &longs;ono me&longs;colati i uapori, <lb/>perche puo anche e&longs;&longs;ere, che la e&longs;alatione &longs;ia mutata per lo freddo, che ella troua nel mezo <lb/>dello aere, ma ce&longs;&longs;ando il uento il pae&longs;e re&longs;ta a&longs;ciutto, & caldo. </s> <s id="s.001180">Al &longs;econdo io dico, che per lo <lb/>far&longs;i uento egli &longs;i muoue lo aere, & &longs;i ri&longs;trigne, il quale aere è piu freddo che il corpo humano <lb/>ri&longs;caldato, & però è di&longs;iderato. </s> <s id="s.001181">il uento adunque è e&longs;alatione leuata da terra alla mezana par­<lb/>te dello aere, & dal freddo &longs;cacciata. </s> <s id="s.001182">& &longs;i come il fiume da principio pre&longs;&longs;o la fonte è poco, & <lb/>allontanando&longs;i dalla &longs;ua origine per lo ingre&longs;&longs;o d'altre acque &longs;i fa maggiore, co&longs;i il uento uicino al <lb/>luogo, doue egli &longs;i lieua è poco, & partendo&longs;i è molto, ritrouando &longs;empre altri uapori, con i quali <lb/>egli s'accompagna, nè prima la e&longs;alatione &longs;ifa uento, che ella &longs;ia &longs;cacciata dal freddo dello aere. </s> <s id="s.001183"><lb/>Muoue&longs;i in giro per la &longs;opra detta cagione, & for&longs;e anche &longs;eguendo il mouimento delle stelle, <lb/>& de i pianeti, che lo muoueno.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001184">Et in que&longs;to modo da picciola, & breui&longs;sima ueduta, &longs;i puo &longs;apere, & far giudicio del­<lb/>le grandi, & immen&longs;e ragioni del Cielo, & della natura de i uenti; perche &longs;e i uenti &longs;aran­<lb/>no i&longs;clu&longs;i, non &longs;olo a i corpi &longs;ani faranno il luogo &longs;alubre, ma anchora &longs;e per altri difetti <lb/>ci &longs;aranno delle infirmità, le quali in altri luoghi &longs;ani &longs;i curano con medicine contrarie, <lb/>qui per la temperata e&longs;clu&longs;ione de i uenti piu facilmente &longs;aranno curate. </s> </p> <p type="main"> <s id="s.001185"><emph type="italics"/>Conchiude Vitru. quanto ha &longs;opra detto. </s> <s id="s.001186">poi comincia a narrare le infermità, che na&longs;ce­<lb/>no da i uenti, dicendo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001187">I mali, che difficilmente &longs;i curano ne i detti luoghi &longs;ono, la grauezza, i dolori artetici, <lb/>la puntura, il Ti&longs;ico, l'u&longs;cire il &longs;angue, & le altre infermità, che con lo aggiugnere, & non <lb/>con lo &longs;cemare &longs;i curano. </s> <s id="s.001188">Que&longs;te difficilmente &longs;i leuano, prima perche uengono da i fred­<lb/>di, dapoi perche indebolite le forze per l'infermità, lo aere commo&longs;&longs;o da i uenti &longs;i a&longs;&longs;otti­<lb/>glia, & unitamente leua il &longs;ucco da i corpi offe&longs;i, & gli rende piu uoti, & e&longs;tenuati. </s> <s id="s.001189">Ma per <lb/>lo contrario l'aere dolce, quieto, & ripo&longs;ato, & non agitato da i uenti, è piu den&longs;o, perche <lb/>non &longs;offia, nè ha &longs;pe&longs;&longs;e commotioni per la &longs;ua &longs;tabilità, aggiugnendo alle membra de i <lb/>corpi, notri&longs;ce, & ri&longs;tora coloro, che &longs;ono da &longs;imili infermità oppre&longs;si. </s> </p> <p type="main"> <s id="s.001190"><emph type="italics"/>Ogni infermità na&longs;ce ouero da ecce&longs;&longs;o, ouero da mancamento, cura&longs;i dal contrario riem­<lb/>piendo oue manca, & leuando doue abonda. </s> <s id="s.001191">Vuole Vitru. che le &longs;opradette infermità, uenghino <lb/>da difetto, & mancamento, dicendone la ragione, che lo aere a&longs;&longs;ottigliato per l'agitatione de i <lb/>uenti, a&longs;ciuga l'humore de i corpi, & gli indeboli&longs;ce, & il freddo gli offende: per que&longs;to riuol­<lb/>gendo&longs;i al contrario, uuole che lo aere dolce, & tranquillo gli riempia, & notri&longs;ca, & &longs;ia ot­<lb/>timo rimedio alle &longs;opradette infirmità. </s> <s id="s.001192">Grauezza è humore, che di&longs;cende dal capo, &longs;erra le na­<lb/>rici, ingro&longs;&longs;a la uoce, & muoue la &longs;ecca to&longs;&longs;e. </s> <s id="s.001193">Hippocrate chiama tutte le grauezze, & di­<lb/>&longs;tillationi crizas. </s> <s id="s.001194">I dolori artetici &longs;ono pa&longs;&longs;ioni di quelle parti, che &longs;ono appreßo le giunture, <lb/>& legamenti, & &longs;ono nerui, oßa, & uene. </s> <s id="s.001195">Dubita Galeno &longs;opra il &longs;estodecimo aphori&longs;mo <lb/>d' Hippocrate nel terzo libro, che co&longs;a ueramente s'intenda, per que&longs;to nome Arthritis, & dice.<emph.end type="italics"/><pb pagenum="57" xlink:href="045/01/065.jpg"/><emph type="italics"/>Degni co&longs;a è adunque cercare quali pa&longs;&longs;ioni de nerui, & di ligature detto habbia Hippocrate, <lb/>che &longs;i fanno nelle &longs;iccità: percioche &longs;e li &longs;ecchi immoderati haueranno con&longs;umata la humidità de <lb/>ilegamenti, faranno un certo mouimento difficile per la &longs;iccità, & for&longs;e apporteranno dolore, <lb/>ma non faranno però quella infermità, che è detta Arthritis, &longs;e per &longs;orte alcuno non uuole nomi­<lb/>nare con que&longs;to nome ogni dolore de nerui. </s> <s id="s.001196">Ma il medc&longs;imo Hipp. <!-- REMOVE S-->nel &longs;econdo libro delle Epidi­<lb/>mie dice in que&longs;to modo. </s> <s id="s.001197">Quelli, che per fame nell'I&longs;ola Aeno, che è nel golfo Arabico, man­<lb/>giauano de legumi haueuano debolezza di gambe, & quelli, che u&longs;auano per cibo la ueccia, pa­<lb/>tiuano dolori nelle ginocchia. </s> <s id="s.001198">questi Hippocrate non chiama arthretici, ma doglio&longs;i delle ginoc­<lb/>chia. </s> <s id="s.001199">Ma for&longs;e alcuno dirà, che Arthritis &longs;i chiama il dolore non di una giuntura, o d un neruo <lb/>&longs;olo, ma di molti in&longs;ieme, & in latino è detto morbus articularis. </s> <s id="s.001200">& nell'ultima parte è posta la <lb/>&longs;olutione della dimanda. </s> <s id="s.001201">La pleuritide è apo&longs;tema dentro le co&longs;te, chiama&longs;i la puntura. </s> <s id="s.001202">Pthi&longs;is <lb/>&longs;ono le piaghe in&longs;anabili del polmone, dalle quali con lenta febre uiene la estenuatione di tutto il <lb/>corpo, & finalmente la morte, ce&longs;&longs;ando lo &longs;puto. </s> <s id="s.001203">l'u&longs;cire il &longs;angue, cioe &longs;putare il &longs;angue, è det­<lb/>to in Greco Aemopthi&longs;is, & &longs;i cau&longs;a da &longs;iccità, & le &longs;opradette infirmità &longs;i curano difficilmente <lb/>ri&longs;petto alli uenti, & però Hipp. <!-- REMOVE S-->al quinto Aphori&longs;mo del terzo libro dice in que&longs;to modo. </s> <s id="s.001204">i uenti <lb/>Au&longs;trali a&longs;&longs;ordano, ingro&longs;&longs;ano la ui&longs;ta, fanno pe&longs;are il capo, rendeno gli huomini lenti, & pi­<lb/>gri, & gli di&longs;cioglieno, & quando anderanno que&longs;ti tempi, nelle malattie &longs;i deono a&longs;pettare &longs;i­<lb/>mili effetti. </s> <s id="s.001205">da gli aquilonari, & &longs;ettentrionali nengono le to&longs;&longs;i, la raucedine, durezza di uentre, <lb/>difficultà d'urina, gli horrori, & i dolori delle co&longs;te, & del uentre. </s> <s id="s.001206">La ragione delle predette <lb/>co&longs;a, è (come dice Gal.) percioche i uenti Au&longs;trali riempieno, & otturano, perche &longs;eco appor­<lb/>tano grande humidità, la quale riempie gli in&longs;trumenti de i &longs;en&longs;i humani, donde pigri, &longs;onnac­<lb/>chio&longs;i, & aggrauati re&longs;tano. </s> <s id="s.001207">Ma per li uenti &longs;ettentrionali per i&longs;temperatura de gli instrumenti <lb/>che &longs;erueno alla re&longs;piratione, & per l'a&longs;prezza delle canne nata dal &longs;ecco, & dal freddo, uengono <lb/>le predette infirmità: & que&longs;to per hora ci può ba&longs;tare, il <expan abbr="re&longs;tãte">re&longs;tante</expan> <expan abbr="copio&longs;amēte">copio&longs;amente</expan> da medici è traltato.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001208">Piacque ad alcuno, che i uenti fu&longs;&longs;ero quattro. </s> <s id="s.001209">Dall Oriente Equinottiale il Solano: <lb/>dal Meriggie l'O&longs;tro: dal Ponente Equinottiale il Fauonio: dal Settentrionale il Setten­<lb/>trione. </s> <s id="s.001210">Ma chi con maggiore diligenza hanno inue&longs;tigato, otto ne po&longs;ero. </s> <s id="s.001211">& &longs;pecialmen­<lb/>te Andronico Cirre&longs;te, ilquale ne fece lo e&longs;&longs;empio, fabricando in Athene una Torre di <lb/>marmo fatta in otto faccie, & in cia&longs;cuna &longs;colpì la imagine d'un uento, che riguardaua <lb/>contra il &longs;offio cia&longs;cuno del &longs;uo. </s> <s id="s.001212">& &longs;opra la Torre ui po&longs;e una Meta di marmo, nella cui <lb/>&longs;ommità ui fi&longs;&longs;e un Tritone di rame, che con la de&longs;tra porgeua una uerghetta, & lo fece <lb/>in modo, che mo&longs;&longs;o dal uento facilmente &longs;i giraua, & &longs;i fermaua incontra'l uento. </s> <s id="s.001213">tenendo <lb/>&longs;opra la imagine del uento &longs;colpito la uerghetta dimo&longs;tratrice del uento, & co&longs;i tra'l So­<lb/>lano, & l'O&longs;tro dal uerno Oriente, Euro è collocato. </s> <s id="s.001214">Tra l'O&longs;tro & Fauonio dal uerno <lb/>Occidente, Affrico. <!-- KEEP S--></s> <s id="s.001215">Tra'l Fauonio, & il Settentrione Cauro, detto Coro da molti. </s> <s id="s.001216"><lb/>Tra il Settentrione e'l Solano, Aquilone. <!-- REMOVE S-->& co&longs;i pare, che dichiarito &longs;ia & e&longs;pre&longs;&longs;o di che <lb/>maniera egli prenda il numero, i nomi, & le parti de i uenti, d'onde &longs;pirino determinata­<lb/>mente. </s> <s id="s.001217">la qual co&longs;a e&longs;&longs;endo&longs;i in que&longs;to modo inue&longs;tigata, accioche egli &longs;i &longs;appia pigliare <lb/>le regioni, & i na&longs;cimenti loro, co&longs;i bi&longs;ogna ragionare. </s> </p> <p type="main"> <s id="s.001218"><emph type="italics"/>Il numero de i uenti ci darebbe confu&longs;ione, &longs;e egli non &longs;i auuerti&longs;ce, che &longs;econdo diuer&longs;e in­<lb/>tentioni, & ri&longs;petti &longs;i ua uariando. </s> <s id="s.001219">però &longs;aper douemo, che in quattro modi &longs;i distingueno i uen­<lb/>ti. </s> <s id="s.001220">primieramente &longs;econdo tutti i punti, che &longs;ono nella circonferenza dell'Orizonte. <!-- KEEP S--></s> <s id="s.001221">Orizonte <lb/>è circolo che parte la metà del mondo, che &longs;i uede da quella, che non &longs;i uede. </s> <s id="s.001222">& &longs;i puo chiama­<lb/>re terminatore de gli hemi&longs;peri. </s> <s id="s.001223">&longs;econdo que&longs;to modo, &longs;i darebbeno infiniti uenti, perche da tut­<lb/>ti i punti dell'Orizonte &longs;pirano i uenti: & perche non cadeno &longs;otto regola, non facendo di&longs;tintio­<lb/>ne alcuna, però &longs;i la&longs;ciano. </s> <s id="s.001224">I Filo&longs;ofi fanno quattro uenti ri&longs;petto alle me&longs;colanze delle quattro <lb/>prime qualità, che &longs;ono caldo, freddo, humido, & &longs;ecco; gli Astrologi &longs;imilmente, hauendo ri­<lb/>guardo a quattro parti principali del mondo, che anguli &longs;i chiamano, o regioni, conuengono con<emph.end type="italics"/><pb pagenum="58" xlink:href="045/01/066.jpg"/><emph type="italics"/>i Filo&longs;ofi, & con i &longs;acri &longs;crittori, & fanno gli i&longs;te&longs;&longs;i quattro uenti. </s> <s id="s.001225">Leuante detto Solanus, <lb/>Ostro dal mezo dì, Fauonio dal Ponente, & Tramontana dal Settentrione: & intendeno Lc­<lb/>uante & Ponente doue il Solna&longs;ce, o &longs;i pone al tempo dello Equinottio. </s> <s id="s.001226">I mede&longs;imi A&longs;trologi <lb/>per altri ri&longs;petti ne &longs;anno otto traponendoui quattro altri tra gli primi: & co&longs;i gli collocorno, <lb/>come dice Vitr. hauer &longs;atto Andronico Cirre&longs;te in una Torre in Athene. <!-- KEEP S--></s> <s id="s.001227">& i piu diligen i inqui­<lb/>&longs;itori di&longs;tingueno i uent i dalle dodici parti del Zodiaco, che &longs;ono i dodici &longs;egni cele&longs;ti, &longs;ot o i qua­<lb/>li il Sole ha uirtù di leuarela natura de i uenti. </s> <s id="s.001228">Et que&longs;ta con&longs;ideratione è propria de gli A&longs;tro­<lb/>logi. <!-- KEEP S--></s> <s id="s.001229">Il quarto modo è de i Co&longs;mografi, & nauiganti; però alcuni ne hanno fatto uentiquat­<lb/>tro, alcuni trentadue. </s> <s id="s.001230">I praticati uenti della nauigatione a i giorni no&longs;tri &longs;ono trentadue, per <lb/>commodità di marinari, i quali cono&longs;ceno &longs;en&longs;ibile mutatione da trentadue punti dell'Orizonte <lb/>nel nauigare per un dritto. </s> <s id="s.001231">i co&longs;mogra&longs;i ne hanno fatto uentiquattro, non e&longs;&longs;endo for&longs;e co&longs;i au­<lb/>nertiti del bi&longs;ogno de marinari. </s> <s id="s.001232">come dirà Vitr. ilquale &longs;e bene &longs;apeua, che da ogni parte dell'O­<lb/>rizonte &longs;offiano i uenti, però ha posto quelli, che regnano per la maggior parte, & ha hauuto <lb/>ri&longs;petto piu presto alle qualità de i uenti, che a gli uenti, la comple&longs;&longs;ione de i quali &longs;i ua mutan­<lb/>do & nell'uniuer&longs;ale, & nel particolare. </s> <s id="s.001233">per que&longs;ta cagione &longs;i potrà prendere il modo di rom­<lb/>pere quelli uenti, che &longs;aranno di maggior nocumento a gli habitanti della città, habbin&longs;i qual <lb/>nome &longs;i uoglia, & uenghino da che parte po&longs;&longs;ono uenire. </s> <s id="s.001234">per altri ri&longs;petti &longs;i po&longs;&longs;ono accre&longs;ce­<lb/>re i nomi, & il numero de i uenti, il che non ci deue perturbare. </s> <s id="s.001235">ma uediamo, come Vitru. <!-- REMOVE S--><lb/>comparti&longs;ca i uenti. </s> <s id="s.001236">perche de i loro temperar enti ne trattano i medici diffu&longs;amente.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001237">Po&longs;to &longs;ia nel mezo della città un piano quadro a huello, ouero &longs;ia i&longs;pianato il luogo, <lb/>& pareggiato in modo, che'l detto quadro non &longs;i di&longs;ideri. </s> <s id="s.001238">ponga&longs;i poi nel mezo centro <lb/>di e&longs;&longs;o lo &longs;tile di rame, che indice, & dimo&longs;tratore dell'ombra &longs;i chiama. </s> <s id="s.001239">& &longs;opra il detto <lb/>quadro, o piano &longs;egni&longs;i l'ombra e&longs;trema fatta dallo &longs;tile qua&longs;i l'hora quinta auanti il me­<lb/>riggie: & faccia&longs;i il &longs;egno con un punto, dapoi rallargata la &longs;e&longs;ta al punto, che è &longs;egno <lb/>della lunghezza dell'ombra, & fermata nel centro faccia&longs;i il giro finito. </s> <s id="s.001240">dapoi &longs;ia o&longs;&longs;er­<lb/>uato dopo'l mezo dì l'ombra cre&longs;cente cagionata dallo &longs;tile: & quando quella hauerà toc­<lb/>cito il giro gia fatto, & hauerà pareggiato all'ombra fatta dinanzi al mezo dì, l'ombra <lb/>fatta dapoi, in quel toccamento bi&longs;ogna fare un punto. </s> <s id="s.001241">da que&longs;ti due punti con la &longs;e&longs;ta <lb/>farai lo incrocciamento, & per tale incrocciamento, & per lo centro di mezo &longs;i deue ti­<lb/>rare una linea, che tocchi le e&longs;tremità del giro, accioche &longs;i habbia la regione meridiana, <lb/>& la Settentrionale. <!-- KEEP S--></s> <s id="s.001242">Fatto que&longs;to bi&longs;ogna pigliare la &longs;e&longs;tadecima parte di tutto il giro, <lb/>& poner il centro nella linea meridiana, la doue tocca la circonferenza, & &longs;i deue &longs;egna­<lb/>re dalla de&longs;tra, & dalla &longs;ini&longs;tra nella detta circonferenza, & dalla parte del mezo dì, & <lb/>dalla parte di Tramontana: dapoi da que&longs;ti quattro &longs;egni per mezo del centro &longs;i deue­<lb/>no tirare in croce le linee, che con le loro e&longs;tremità tocchino la circonferenza, & con <lb/>que&longs;to modo egli &longs;i hauerà il di&longs;egno dell'ottaua parte dell'O&longs;tro, & del Settentrione. <!-- KEEP S--></s> <s id="s.001243"><lb/>Le altre parti ueramente, che &longs;ono tre dalla de&longs;tra, & tre dalla &longs;ini&longs;tra &longs;i deono in tutta la <lb/>circonferenza tirare eguali a que&longs;te: in modo che le eguali diui&longs;ioni de gli otto uenti &longs;ia­<lb/>no nella de&longs;crittione, & compartimento di&longs;egnate. </s> <s id="s.001244">Allhora per gli anguli tra due regio­<lb/>ni de i uenti pare che drizzar &longs;i debbiano le dritture delle piazze, & i capi delle uie, per­<lb/>che con tali ragioni, & compartimenti dalle habitationi, da i borghi, & dalle contrade <lb/>&longs;arà e&longs;clu&longs;a la mole&longs;ta, & danno&longs;a &longs;orza de i uenti. </s> <s id="s.001245">Altrimenti quando le piazze &longs;aranno <lb/>a dritto de i uenti di&longs;egnate, uenendo lo impeto & il &longs;offiare frequente dallo ampio, & <lb/>libero &longs;pacio del Cielo, rin chiu&longs;o nelle bocche, & nelle entrate delle uie, & delle &longs;tra­<lb/>de, andrà con piu forzeuole mouimento uagando: perilche le dritture de i borghi, & del­<lb/>le ui cinanze deono e&longs;&longs;er riuo'te dalle regioni de i uenti, accioche peruenendo quelli a gli <lb/>anguli delle I&longs;ole, & alle cantonate de i capi delle uie, &longs;iano rotti, & ribattuti &longs;iano <lb/>di&longs;sipati. </s> </p> <pb pagenum="56" xlink:href="045/01/067.jpg"/> <p type="main"> <s id="s.001246"><emph type="italics"/>Le co&longs;e dette da Vitr. con lo e&longs;&longs;empio di alcune figure &longs;ono dimo&longs;trate. </s> <s id="s.001247">nel&longs; una &longs;egnata III. <lb/>è il modo di ritrouare la meridiana. </s> <s id="s.001248">A, è lo centro doue &longs;i pone lo &longs;tile, B, & C. &longs;ono i punti <lb/>delle ombre dello stile, C. la ombra della quinta hora inanzi, & b. <!-- REMOVE S-->della quinta dapoi il mezo <lb/>dì. </s> <s id="s.001249">D. è lo incrocciamento della &longs;esta fermata &longs;opra i punti, B. & c. <!-- REMOVE S-->dell'ombra. </s> <s id="s.001250">E F è la li­<lb/>nea meridiana. </s> <s id="s.001251">La mede&longs;ima è nella figura IIII. douef K. è la &longs;e&longs;ta decima parte di tutto il <lb/>circolo, & K i. <!-- REMOVE S-->la ottaua, come &longs;ono la h g. <!-- KEEP S--></s> <s id="s.001252">& la g m, & la L i. <!-- REMOVE S-->& la h n. <!-- REMOVE S-->& la no. <!-- REMOVE S-->& la <lb/>o K. nel mezo delle quali &longs;ono i uenti, come &longs;i uede nella piant a &longs;opra po&longs;ta della città, doue la <lb/>Croce &longs;egna il leuante, P. Ponente, O O&longs;tro, T. Tramontana, S. Sirocco, M. Mae&longs;tro, l'un <lb/>G. Garbino, & l'altro Greco. <!-- KEEP S--></s> <s id="s.001253">& &longs;i uede come i uenti &longs;i rompeno ne gli anguli delli capi del­<lb/>le uie. </s> <s id="s.001254">Euui la figura &longs;egnata. </s> <s id="s.001255">1. con li trenta due uenti de nauiganti &longs;egnati a que&longs;to modo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001256"><19>. <emph type="italics"/>Leuante, Solanus.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001257"><emph type="italics"/>P. Ponente, Fauonius, uel Zephirus.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001258"><emph type="italics"/>T. Tramontana. <!-- KEEP S--></s> <s id="s.001259">Septentrio. </s> <s id="s.001260">Aparectias.<emph.end type="italics"/><!-- REMOVE S--><emph type="italics"/>O. O&longs;tro, Au&longs;ter.<emph.end type="italics"/><!-- REMOVE S--><emph type="italics"/>M. Mae&longs;tro. <!-- REMOVE S-->Caurus.<emph.end type="italics"/><!-- REMOVE S--><emph type="italics"/>L. Libecchio, o Garbino, Caurus, o Corus.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.001261"><emph type="italics"/>S. Sirocco, Eurus.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001262"><emph type="italics"/>G. Grego, Aquilo,<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.001263">1. <emph type="italics"/>Sirocco Leuante.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.001264">2. <emph type="italics"/>O&longs;tro Sirocco. </s> <s id="s.001265">Euro Au&longs;ter.<emph.end type="italics"/><!-- REMOVE S-->3. <emph type="italics"/>O&longs;tro Garbino, Libanotus, uel Au&longs;tro affricus.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001266">4. <emph type="italics"/>Ponente Garbino.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.001267">5. <emph type="italics"/>Ponente Mae&longs;tro.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.001268">6. <emph type="italics"/>Mae&longs;tro Tramontana.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.001269">7. <emph type="italics"/>Greco Tramontana.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.001270">8. <emph type="italics"/>Greco Leuante.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.001271">9. <emph type="italics"/>Tra Sirocco, & Sirocco Leuante. <!-- KEEP S--></s> <s id="s.001272">& co&longs;i ua &longs;eguendo come dimo&longs;tra la figura.<emph.end type="italics"/></s> </p> <pb pagenum="60" xlink:href="045/01/068.jpg"/> <figure id="id.045.01.068.1.jpg" xlink:href="045/01/068/1.jpg"/> <pb pagenum="61" xlink:href="045/01/069.jpg"/> <p type="main"> <s id="s.001273">Ma &longs;or&longs;e quelli, che hanno piu nomi di uenti cono&longs;ciuto, prenderanno merauiglia, <lb/>che io habbia detto, che &longs;olo otto uenti &longs;i ritruouano. </s> <s id="s.001274">Ma &longs;e auuertiranno tutto il cir­<lb/>cuito della terra e&longs;&longs;ere &longs;tato da Erato&longs;tene Cireneo con Mathematiche ragioni, & uie ri­<lb/>trouato per lo cor&longs;o del &longs;ole, & per le ombre dello &longs;tile equinottiali, dalla inclinatione del <lb/>cielo e&longs;&longs;ere di &longs;tadi ducento & cinquanta due mila, che &longs;ono pa&longs;&longs;a 31500000. trentauna <lb/>fiata mille migliaia & cinque cento &longs;iate mille, & di que&longs;te l'ottaua parte e&longs;&longs;er da un ucnto <lb/>occupata, che è di pa&longs;si 3937500. non &longs;i doueriano merauigliare, &longs;e in tanto grande i&longs;pa­<lb/>cio un uento uagando col ce&longs;&longs;are, & col ritorno farà uarie mutationi di &longs;o&longs;&longs;iare. </s> <s id="s.001275">Et però <lb/>cerca l'O&longs;tro dalla de&longs;tra, & dalla &longs;ini&longs;tra è il uento detto Leuconotus, & il uento nomina <lb/>to Altanus. <!-- REMOVE S-->d'intorno allo Affrico &longs;o&longs;&longs;ia il Libonoto, & quello, che &longs;i chiama Subue&longs;pe­<lb/>rus; D'intorno à Fauonio &longs;pira l'Argc&longs;te, & a certi tempi le Ete&longs;ie. </s> <s id="s.001276">Da i lati del Cauro, <lb/>&longs;ta il Circio, & il Coro. <!-- REMOVE S-->cerca il Settentrione, Thra&longs;ias, & Gallico. </s> <s id="s.001277">Dalla de&longs;tra, & dal­<lb/>la &longs;ini&longs;tra dello Aquilone &longs;of&longs;ia Borea, & Supernate. </s> <s id="s.001278">D'intorno al Solano è Carbas, & a <lb/>certi tempi le Ornithie, Ma dallo Euro, che tiene le parti di mezo da i lati &longs;tanno Cecias, <lb/>& Vulturno. </s> </p> <p type="main"> <s id="s.001279"><emph type="italics"/>In que&longs;to luogo Vitr. ri&longs;ponde a quello, che &longs;e gli potrebbe opponere cerca il numero de i uen­<lb/>ti. </s> <s id="s.001280">potrebbe dire alcuno, o Vitr. tu hai numerati &longs;olamente otto uenti, ma dei &longs;apere, che ne &longs;ono <lb/>molti altri cono&longs;ciuti, però non doueui affermare quanto hai detto. </s> <s id="s.001281">Ri&longs;ponde Vitr. che motto be <lb/>ne può &longs;tar quello, che egli ha detto del numero de i uenti, & che anche &longs;iano cono&longs;ciuti altri uen<lb/>ti: Et la ragione è que&longs;ta. </s> <s id="s.001282">Perche non è da marauigliar&longs;i, &longs;e uno uento i&longs;te&longs;&longs;o uagando grandi&longs;&longs;i­<lb/>mo &longs;pacio, col ce&longs;&longs;are, & col ritorno faccia diuer&longs;amente &longs;offiando molte uarietà, dalle quali &longs;i <lb/>prendino diuer&longs;i nomi di uenti. </s> <s id="s.001283">Ma direbbe alcuno, & che &longs;pacio è co&longs;i grande, per lo quale il uen <lb/>to ha da uagare? </s> <s id="s.001284">Ri&longs;ponde, quello e&longs;&longs;er l'ottaua parte di tutto il giro della terra, la quale è di mi­<lb/>glia 3937. Prendendo adunque per lo grande &longs;patio qualche mutatione, ouero per la oppo&longs;itio­<lb/>ne de i monti, ouero per l'altezza della terra, ouero per qualche altra cagione, non ci douemo <lb/>marauigliare &longs;e da i lati de gli otto uenti altri ne &longs;ono &longs;tati collocati, come narra Vitr. fin'al nume <lb/>ro di uentiquattro. </s> <s id="s.001285">Et come appare per la figura &longs;egnata. </s> <s id="s.001286">I. doue.<emph.end type="italics"/></s> </p> <figure id="id.045.01.069.1.jpg" xlink:href="045/01/069/1.jpg"/> <p type="main"> <s id="s.001287"><emph type="italics"/>Dice Vitr. che Erato&longs;tene Cireneo che fu gran­<lb/>di&longs;&longs;imo Mathematico, rilrouò con uie, & modi <lb/>ragioneuoli tutto il giro, & circuito della terra, <lb/>e&longs;&longs;ere &longs;tadi ducento cinquanta due mila, che &longs;o­<lb/>no miglia trentaun mila, & cinquecento, perche <lb/>otto &longs;tadi fanno un miglio, et &longs;ono pa&longs;&longs;a 31500000. <lb/>perche mille pa&longs;&longs;i fanno un miglio, & il pa&longs;&longs;o è di cinque piedi. </s> <s id="s.001288">L'ottaua par <lb/>te di tutto il circuito è di miglia 3937. che &longs;ono pa&longs;&longs;a 3937500. Et que&longs;to <lb/>è lo &longs;patio grande, che Vitr. dice, nel quale per diuer&longs;e cagioni &longs;i puo far ma <lb/>tatione de i uenti. </s> <s id="s.001289">Ma in che modo per lo cor&longs;o del &longs;ole, & per l'ombre dello <lb/>&longs;tile equinottiale Erato&longs;tene ritroua&longs;&longs;e con ragioni mathematiche dalla inclina<lb/>tione del cielo il circuito della terra, &longs;i dichiara dal Maurolico nella &longs;ua co&longs;­<lb/>mografia, in que&longs;to modo. </s> <s id="s.001290">Erato&longs;tene. </s> <s id="s.001291">pre&longs;e due luoghi in Egitto Ale&longs;&longs;an­<lb/>dria, & Siene, i quali due luoghi &longs;ono qua&longs;i &longs;otto un'i&longs;te&longs;&longs;o meridiano, & dallo <lb/>&longs;patio, che è tra un luogo & l'altro, egli tra&longs;&longs;e tutta la circonferenza della ter­<lb/>ra. </s> <s id="s.001292">Drizzò adunque lo &longs;tile, che Gnomone &longs;i chiama, in Ale&longs;&longs;andria, & nel me <lb/>zo dì appunto quando il &longs;ole è nel principio di Cancro con&longs;ideraua due raggi&longs;o <lb/>lari uno, che cadeua &longs;opra Siene à piombo, perche Stene è &longs;otto il tropico del Can <lb/>cro; l'altro, che cadeua &longs;opra la punta dello &longs;tile drizzato in Ale&longs;&longs;andria, & gettaua l'ombra uer&longs;o <lb/>Settentrione, percioche Ale&longs;&longs;andria è di qua dal Tropico detto: & per ragione dello &longs;tile all'om­<lb/>bra trouò per uia Geometrica, che lo angulo compre&longs;o &longs;otto lo &longs;tile, & &longs;otto'l raggio &longs;olare, era<emph.end type="italics"/><pb pagenum="62" xlink:href="045/01/070.jpg"/><emph type="italics"/>la cinquante&longs;ima parte di quattro anguli dritti; & però e&longs;&longs;endo que&longs;to angulo eguale à quello, <lb/>che nel centro della terra fa il raggio, che di&longs;cende per Siene, in&longs;ieme col gnomone, o &longs;tile d'Ale&longs; <lb/>&longs;andria imaginato continuare fin'al centro della terra, imperoche e&longs;&longs;endo i raggi qua&longs;i paralleli, <lb/>gli anguli erano corri&longs;pondenti & &longs;imili, era nece&longs;&longs;ario, che quello &longs;patio di circonferenza, che <lb/>era da Siene ad Ale&longs;&longs;andria fu&longs;&longs;e la cinquante&longs;ima parte del tutto: & però mi&longs;urando quella par <lb/>te con gran diligenza, & ritrouandola e&longs;&longs;ere di cinquemila &longs;tad, &longs;eguita, che tutta la circonferen <lb/>za &longs;ia di 250000 &longs;tadi, che &longs;ono miglia trentaun mila ducento & cinquanta. </s> <s id="s.001293">& co&longs;i egli &longs;i po­<lb/>trebbe acconciare & Vitruuio & Plinio. <!-- KEEP S--></s> <s id="s.001294">& &longs;e è diuer&longs;ità tra gli autori, pen&longs;o, che que­<lb/>&longs;to uegna dalla diuer&longs;ità delle mi&longs;ure. </s> <s id="s.001295">La figura della dimo&longs;tratione di Erato&longs;tene è &longs;egnata. </s> <s id="s.001296"><19><emph.end type="italics"/></s> </p> <figure id="id.045.01.070.1.jpg" xlink:href="045/01/070/1.jpg"/> <p type="main"> <s id="s.001297">Sono ancora piu nomi, & fiati di uenti pre&longs;i <lb/>da i luoghi di doue &longs;pirano, ouero da i &longs;iumi, o <lb/>dalle procelle, che fanno, uenendo da i monti. </s> <s id="s.001298"><lb/>oltra di que&longs;to &longs;ono le aure mattutine, che &longs;pira­<lb/>no quando il &longs;ole &longs;i lieua da terra: perche il &longs;ole <lb/>girando percuote l'humore dello aere, & nello <lb/>alzar&longs;i con impeto &longs;cacciando tragge i fiati dello aere con lo &longs;pirito, che uiene auanti la lu­<lb/>ce. </s> <s id="s.001299">i quali fiati &longs;e leuato il &longs;ole re&longs;tano, &longs;i raunano con le parti del uento Euro; & percio Eu <lb/>ro dalle aure, delle quali egli &longs;i genera, da Greci è nominato, & il Dimane &longs;imilmente per <lb/>le aure mattutine Aurion da i mede&longs;imi, è detto. </s> </p> <p type="main"> <s id="s.001300"><emph type="italics"/>Aura è piu pre&longs;to &longs;pirito, che uento, & è detta dallo aere, perche lieue, & dolce è il moui­<lb/>mento dello aere, la onde i poeti dicono, che le aure con lieui piume tracorreno lo aere.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001301">Sono chi niegano Erato&longs;tene hauere potuto drittamente mi&longs;urare lo &longs;patio del mondo: <lb/>ma &longs;ia la mi&longs;ura &longs;ua uera, o non uera, non puo la no&longs;tra &longs;crittura, non hauere la uera <lb/>determinatione delle parti, dalle quali na&longs;ceno i uenti. </s> <s id="s.001302">ilche &longs;e co&longs;i è, poco mancherà, <lb/>che cia&longs;cun uento non habbia la certa ragione della &longs;ua mi&longs;ura: ma poco piu, o poco me­<lb/>no impeto. </s> </p> <p type="main"> <s id="s.001303"><emph type="italics"/>Non uuole contendere Vitr. &longs;e Erato&longs;tene s'habbia portato bene, nel mi&longs;urare il mondo, per­<lb/>cioche que&longs;to gli importa poco, nè egli uuole u&longs;cire de i termini dello Architetto. <!-- KEEP S--></s> <s id="s.001304">nè puo uariare <lb/>la ragione di trouare i uenti la dubietà delle mi&longs;ure della terra: percioche &longs;e bene la mi&longs;ura è in­<lb/>certa, &longs;ono però certi i uenti, & uengono da certe & determinate parti del cielo: però &longs;e altri <lb/>hanno &longs;cemato, ouero accre&longs;ciuto il numero de gli &longs;tadi di Erato&longs;tene, que&longs;to fa poco al pre&longs;ente <lb/>negotio. </s> <s id="s.001305">nè meno deue curare Vitr. &longs;e uno uento &longs;ia piu impetuo&longs;o dell'altro. </s> <s id="s.001306">I no&longs;tri per la eleua­<lb/>tione del polo caminando per uno meridiano, col quadr ante hanno trouato, che ad uno grado di <lb/>360. che diuideno il detto meridiano, ri&longs;pondeno in terra miglia &longs;e&longs;&longs;anta Italiani, dal che &longs;i puo far <lb/>conto quanto la terra uadi girando. </s> <s id="s.001307">Vitr piu chiaramente e&longs;pone la figura detta di &longs;opra, & dice.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001308">Ma perche que&longs;te co&longs;e da noi breuemente e&longs;po&longs;te &longs;ono, mi è par&longs;o nell'ultimo del libro <lb/>porre due figure dette da Greci &longs;chemata, una, che dimo&longs;tri d'onde uengono certi gli im­<lb/>peti de i uenti; l'altra con che maniera le loro forze con diuer&longs;e dritture di borghi, & di <lb/>piazze &longs;i po&longs;&longs;a &longs;chifare i noio&longs;i fiati de i uenti. </s> <s id="s.001309">Sia adunque in piano eguale il, centro doue <lb/>è la lettera A. la e&longs;tremità dell'ombra fatta dallo &longs;tile inanzi al mezo dì doue è la lettera b. <!-- REMOVE S--><lb/>dal centro A. all'ombra b. <!-- REMOVE S-->allargata la &longs;e&longs;ta &longs;i faccia la linea circolare, & ripo&longs;to lo &longs;tile do <lb/>ue era prima, a&longs;petti&longs;i tanto, che l'ombra &longs;i &longs;minui&longs;ca, & faccia di nuouo cre&longs;cendo l'om­<lb/>bre dopo il mezo dì eguale all'ombra fatta inanzi, & tocchi la linea circolare doue &longs;i &longs;egne <lb/>rà con la lettera. </s> <s id="s.001310">c. <!-- REMOVE S-->allhora dal &longs;egno B. al &longs;egno c. <!-- REMOVE S-->con la &longs;e&longs;ta &longs;i de&longs;criuerà in croce, doue <lb/>è la lettera. </s> <s id="s.001311">d. <!-- REMOVE S-->dapoi per quello incrocciamento, doue è la lettera d. <!-- REMOVE S-->& per lo centro. </s> <s id="s.001312">A. &longs;ia <lb/>tirata una linea alla e&longs;trema circonferenza, a i capi della quale &longs;aranno le lettere e. <!-- REMOVE S-->F. <!-- KEEP S--></s> <s id="s.001313">Que­<lb/>&longs;ta linea &longs;arà dimo&longs;tratrice della parte meridiana, & della parte Settentrionale. <!-- KEEP S--></s> <s id="s.001314">dapoi egli <lb/>&longs;i deue pigliare la &longs;e&longs;tadecima parte della linea circolare, & porre il centro della &longs;e&longs;ta nella <pb pagenum="63" xlink:href="045/01/071.jpg"/>linea metidiana, che tocca la circon&longs;erenza doue è la lettera. </s> <s id="s.001315">e. <!-- KEEP S--></s> <s id="s.001316">Et &longs;egnare dalla de&longs;tra, & <lb/>dalla &longs;ini&longs;tra, doue &longs;ono le lettere. </s> <s id="s.001317">g. <!-- REMOVE S-->h. <!-- REMOVE S-->& poi nella parte Settentrionale, &longs;i deue ponere il <lb/>centro doue è la lettera F. & &longs;egnare dalla de&longs;tra, & dalla &longs;ini&longs;tra, doue &longs;ono le lettere I. K. <lb/>& dal g. <!-- REMOVE S-->al K. & dal h. <!-- REMOVE S-->allo L. &longs;i deono tirare le linee per lo centro, & co&longs;i quello &longs;pacio, <lb/>che &longs;arà nel g. <!-- REMOVE S-->& K. &longs;arà lo &longs;patio del uento O&longs;tro, & della parte meridiana: & quello &longs;pa<lb/>tio, che &longs;arà tra'l I. & K. &longs;arà lo &longs;patio del Settentrione. <!-- KEEP S--></s> <s id="s.001318">Le altre parti, che &longs;ono tre dalla <lb/>de&longs;tra, & tre dalla &longs;ini&longs;tra, e&longs;&longs;er deono egualmente partite. </s> <s id="s.001319">quelle dell'oriente &longs;aranno, <lb/>doue &longs;ono le lettere l. <!-- REMOVE S-->& m. <!-- REMOVE S-->& quelle del Ponente, doue &longs;ono le lettere n. <!-- REMOVE S-->& o. <!-- REMOVE S-->dapoi dallo <lb/>m. <!-- REMOVE S-->all'o. </s> <s id="s.001320">& da l. <!-- REMOVE S-->al n. <!-- REMOVE S-->in croce &longs;i tireranno le linee: & in que&longs;to modo partiti &longs;aranno gli <lb/>&longs;patij, de gli otto uenti, in tutto il giro di&longs;egnato. </s> <s id="s.001321">le quali co&longs;e, quando &longs;aranno in que­<lb/>&longs;ta manicra de&longs;critte in cia&longs;cuno de gli anguli della figura d'otto faccie, &longs;e cominciaremo <lb/>dal mezo dì: Tra lo Euro, & l'O&longs;tro, &longs;arà la lettera. </s> <s id="s.001322">g. <!-- KEEP S--></s> <s id="s.001323">tra l'O&longs;tro, & l'Affrico la h. <!-- REMOVE S--><lb/>trall'Affrico, & Fauonio. </s> <s id="s.001324">n. <!-- REMOVE S-->tra Fauonio, & Cauro. <!-- REMOVE S-->o. <!-- REMOVE S-->tra Cauro, & Settentrione K. tra <lb/>Settentrione, & Aquilone I. tra A quilone, & Solano. </s> <s id="s.001325">L. tra Solano, & Euro. </s> <s id="s.001326">m. <!-- KEEP S--></s> <s id="s.001327">Et di&longs;po&longs;te <lb/>in tal modo le predette co&longs;e, ponga&longs;i lo &longs;tile, o gnomone tra gli anguli della figura d'ot­<lb/>to faccie, & in que&longs;ta maniera drizzate &longs;iano le piazze, & le otto diui&longs;ioni de i capi delle uie. </s> </p> <p type="main"> <s id="s.001328"><emph type="italics"/>Le figure III. & IIII. di &longs;opra, dimo&longs;irano, quanto ha detto Vitruuio, benche le lettere &longs;iano <lb/>trappo&longs;te. </s> <s id="s.001329">il re&longs;tante è facile. </s> <s id="s.001330">Parerà for&longs;e ad alcuno, che il trattare delle fortificationi &longs;ia co&longs;a <lb/>da e&longs;&longs;er tenuta &longs;ecreta, come che a principi, & a Republiche &longs;olamente debbia e&longs;&longs;er manife&longs;ta: <lb/>Oltra che io ho udito, che alcuni &longs;i dolgono che pale&longs;ando&longs;i il modo del fortificare, egli &longs;i uie­<lb/>ne a giouare a molte genti fuori d'Italia, alle quali par loro, che &longs;i debbiano tenere le <lb/>mani &longs;trette nello in&longs;egnare. </s> <s id="s.001331">A que&longs;ti io non ri&longs;pondo, perche da &longs;e &longs;te&longs;&longs;i uanno a <lb/>ba&longs;&longs;o, come quelli, che e&longs;&longs;endo huomini, uogliono mancare dell'ufficio della humani­<lb/>tà, & poi &longs;ono ingrati, perche hauendo imparato molte co&longs;e belle, dalle genti di di­<lb/>uer&longs;i pae&longs;i, non uogliono u&longs;are que&longs;ta gratitudine di ricompen&longs;arle ne i bi&longs;ogni della &longs;alu­<lb/>te loro: Oltra che non &longs;anno gli inuidio&longs;i, che gli e&longs;&longs;empi delle fortezze d'Italia po&longs;­<lb/>&longs;ono ammae&longs;trare ogni buono intelletto &longs;enza altra &longs;crittura. </s> <s id="s.001332">A quelli, che lodano la &longs;e­<lb/>cretezza direi, che quello, che appartiene alla &longs;alute de gli huomini, non &longs;i deue te­<lb/>ner &longs;ecreto, & &longs;e pare a molti co&longs;a grande la inuentione delle machine horribili, che <lb/>a &longs;trage del genere humano, &longs;ono &longs;tate ritrouate, & che il truouarne di nuouo &longs;ia meraui­<lb/>glio&longs;o, & la fatica, & industria di fare quelli tormenti, non &longs;ia fuggita da molti: quanto <lb/>piu ci douemo affaticare per la con&longs;eruatione: & &longs;e le offe&longs;e &longs;ono co&longs;i publiche, come potre­<lb/>mo, o doueremo e&longs;&longs;er pigri a far pale&longs;i, & manife&longs;te le dife&longs;e? </s> <s id="s.001333">Ma in &longs;omma io dirò a tutti i <lb/>riprenditori delle co&longs;e, que&longs;te poche parole, le quali &longs;iano dette per una fiata; che il giudica­<lb/>re è operatione di una eccellenti&longs;&longs;ima uirtù, & come che difficil co&longs;a, & pericolo&longs;a &longs;ia ad ognu­<lb/>no, a coloro ma&longs;&longs;imamente è dura, & pericolo&longs;a, i quali o non intendeno, o uengono con pro <lb/>ponimento di bia&longs;imare piu pre&longs;to, che di giudicare: & guardando con gli occhi aperti al <lb/>poco di male, &longs;ono ciechi al molto di bene che nelle opere di altri &longs;i truoua. </s> <s id="s.001334">Questa &longs;orte di <lb/>gente (benche pare tra la moltitudine e&longs;&longs;er qualche co&longs;a) perche il riprendere ha in &longs;e una mo­<lb/>&longs;tra d'eccellenza, & d'auantaggio: mentedimeno la uerità col tempo &longs;cuopre il difetto dello ani <lb/>mo, & le opere loro il mancamento della &longs;cienza, & della buona uolontà. </s> <s id="s.001335">Alla peruer&longs;ità di <lb/>que&longs;ti è &longs;ottopo&longs;to ognuno, che &longs;uol fare, o dare alcuna co&longs;a in publico, quantunque l'hab­<lb/>biano data, o fatta con buona intentione. </s> <s id="s.001336">però io &longs;timo che molti prenderanno maggiore <lb/>occa&longs;ione di bia&longs;imare quello, che io con ottimo pen&longs;amento ho propo&longs;to di publicare: impe <lb/>roche il trattamento d'un Arte &longs;ola è &longs;ottopo&longs;ta al peruer&longs;o giudicio di quelli, che in quel­<lb/>l'arte uogliono e&longs;&longs;er tenuti, o &longs;i &longs;timano, ouero &longs;ono periti, & intendenti: ma il trattare di quel <lb/>la cognitione, che abbraccia molte, & diuer&longs;e &longs;cienze, & Arti, non puo fuggire il bia&longs;i­<lb/>mo di molti, & diuer&longs;i periti, & artefici inuidio&longs;i. </s> <s id="s.001337">de i quali &longs;e in alcun tempo &longs;e n'è trouate<emph.end type="italics"/><pb pagenum="64" xlink:href="045/01/072.jpg"/><emph type="italics"/>abondanza a i dì no&longs;tri certamente ne &longs;ono in&longs;initi, & for&longs;e que&longs;to adiuiene, perche quan­<lb/>to manca loro la i&longs;perienza, la indu&longs;tria, la dottrina, & lo e&longs;&longs;empio de i buoni, tanto &longs;o­<lb/>prabonda, l'arroganza, l'auaritia, & li ignoranza loro. </s> <s id="s.001338">Io di que&longs;ti poco mi curerei, quan <lb/>do io cono&longs;ce&longs;&longs;i, che non gli fu&longs;&longs;e pre&longs;tato orecchia: percioche nè di danno, nè di uergogna <lb/>&longs;arebbono a chi s'affatica. </s> <s id="s.001339">Ma perche la co&longs;a procede altrimenti, & uolentieri &longs;i a&longs;colta, <lb/>chi dice male, & i gu&longs;ti de gli huomini per lo piu &longs;ono gua&longs;ti, io e&longs;orto ognuno, che &longs;i piglia <lb/>qualche bella impre&longs;a per giouar altrui, che non perdonino a fatica, per farė tali opere, che <lb/>da &longs;e &longs;i difendino: & che prendendo &longs;eco la dife&longs;a dalla uerità con l'aiuto del tempo po&longs;&longs;ino <lb/>conuincere di maluagità, & perfidia chi &longs;i oppone&longs;&longs;e al uero. </s> <s id="s.001340">Que&longs;to con&longs;iglio io mi &longs;ono sfor <lb/>zato di prendere nello interpretare, & e&longs;ponere i pre&longs;enti uolumi dell'Architettura. <!-- KEEP S--></s> <s id="s.001341">& &longs;e be­<lb/>ne le mie debili for ze non hanno potuto tanto, che l'opera &longs;ia riu&longs;cita a quella perfettione, <lb/>che ella po&longs;&longs;i mantener&longs;i da &longs;c: nientedimeno io po&longs;&longs;o affermare con uerità, che nè maggior di­<lb/>ligenza, nè piu indu&longs;tria, nè miglior uolontà ho potuto porui di quello, che ho po&longs;to. </s> <s id="s.001342">Io ho cer <lb/>cato d'imparare da ognuno, ad ognuno, che mi ha giouato re&longs;to debitore d'infinite gratie: & <lb/>come di&longs;pen&longs;atore de i beni riceuuti da altri mi rendo. </s> <s id="s.001343">Io ho giudicato maggior uergogna il non <lb/>uoler imparare, che danno il non &longs;apere: ho fuggito la pompa di citare a nome gli auttori, <lb/>de i quali mi &longs;ono &longs;eruito in questa fatico&longs;a impre&longs;a, & ho cercato non l'ampiezza della lingua, <lb/>o la copia delle parole, ma la elettione, & la chiarezza delle co&longs;e. </s> <s id="s.001344">piu uolte io ho di­<lb/>&longs;iderato & cercato di communicare le fatiche mie con alcuni, prima che ueni&longs;&longs;ero in lu­<lb/>ce, & in commune inue&longs;tigare la uerità. </s> <s id="s.001345">accioche quello, che non puo fare un &longs;olo, fatto fu&longs;&longs;e <lb/>da molti. </s> <s id="s.001346">ma que&longs;to, per alcuna cagione, che io bene non intendo, non mi è uenuto fatto. </s> <s id="s.001347"><lb/>ne i di&longs;egni delle figure importanti io ho u&longs;ato l'opere di M. </s> <s id="s.001348">Andrea Palladio Vicentino <lb/>Architetto, ilquale ha con incredibile profitto tra quanti io ho cono&longs;ciuto di ui&longs;ta, & per fama, <lb/>per giudicio d'huomini eccellenti, acqui&longs;tato gran nome sì ne i &longs;ottili&longs;&longs;imi, & uaghi di&longs;egni <lb/>delle piante, de gli alzati, & de i profili, come nello e&longs;eguire, & fare molti & &longs;uperbi edifi­<lb/>cij, sì nella patria &longs;ua, come altroue & publici, & priuati, che contendono con gli antichi, <lb/>danno lume a moderni, & daranno merauiglia a quelli che uerranno. </s> <s id="s.001349">Et quanto appartiene <lb/>a Vitr. l'artificio de i Theatri, de i Tempij, delle Ba&longs;iliche, & di quelle co&longs;e, che hanno piu bel­<lb/>le, & piu &longs;ecrete ragioni di compartimenti, tutte &longs;ono state da quello, con prontezza d'ani <lb/>mo, & di mano e&longs;plicate, & &longs;eco con&longs;igliate, come quello che di tutta Italia ha &longs;cielto le <lb/>piu belle maniere de gli antichi, & mi&longs;urate tutte l'opere, che &longs;i trouano. </s> <s id="s.001350">Nel re&longs;tante del <lb/>la fatica mia il buon uolere puo coprire, o &longs;cu&longs;are qualche difetto, & inuitare amoreuolmen­<lb/>te alla correttione ciuile chiunque fu&longs;&longs;e di&longs;idero&longs;o di giouare, come &longs;on io: il che attendo con <lb/>quel di&longs;iderio, che io ho hauuto &longs;empre di far bene. </s> <s id="s.001351">Ma a&longs;&longs;ai habbiamo uagato: però è tem­<lb/>po di ritornare a Vitruuio, & di credere che lo in&longs;egnare il modo del fortifioare è co&longs;a difficil­<lb/>lima ri&longs;petto alla nuoua inuentione delle offe&longs;e, dalle quali come &longs;pe&longs;&longs;o detto hauemo, dipende la <lb/>dife&longs;a: & però è degna co&longs;a trarne i precetti uniuer&longs;ali, in uirtu de i quali l'huomo può &longs;empre <lb/>ritrouare nuoua forma di dife&longs;a.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.001352"><emph type="italics"/>Della elettione de i luoghi all'u&longs;o commune della Cit­<lb/>tà. <!-- KEEP S--></s> <s id="s.001353">Cap. VII.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.001354">DIVISI i capi delle uie, & de&longs;critte le piazze, egli &longs;i deue far manife&longs;ta la <lb/>elettione de i piani al commodo, & all'u&longs;o commune della Città per li &longs;acri <lb/>Tempi, per lo Foro, & per gli altri luoghi communi. </s> <s id="s.001355">Se le mura &longs;aranno <lb/>pre&longs;&longs;o il mare: elegger &longs;i deue il piano, doue &longs;i deue fare il Foro uicino al <lb/>porto. </s> <s id="s.001356">&longs;e la Città &longs;arà fra terra, nel mezo. </s> <s id="s.001357">Ma per li &longs;acri Tempij di q uelli Dei, <pb pagenum="65" xlink:href="045/01/073.jpg"/>nella tutela de i quali &longs;pecialmente è po&longs;ta la terra, & a Gioue, & a Giunone, & <lb/>a Minerua &longs;i danno i piani in luoghi alti&longs;simi, di doue &longs;i po&longs;&longs;a unitamente uedere gran <lb/>di&longs;sima parte della città. </s> <s id="s.001358">Ma a Mercurio nel Foro, ouero, come anche ad I&longs;ide, & a <lb/>Serapi, nel &longs;ondaco, o mercato. </s> <s id="s.001359">Ad Apolline & al padre Bacco, pre&longs;&longs;o al Theatro. <!-- KEEP S--></s> <s id="s.001360"><lb/>Ad Hercole uicino al Circo. <!-- KEEP S--></s> <s id="s.001361">in que luoghi doue non &longs;aranno Gimna&longs;i, o Anfitheatri. <!-- REMOVE S-->A <lb/>Marte fuori della Cíttà, & al campo. </s> <s id="s.001362">& a Venere al porto. </s> <s id="s.001363">& que&longs;to è &longs;tato ordinato da <lb/>gli auri&longs;pici Etru&longs;chi, cioè, che a Venere, a Vulcano, & a Marte &longs;iano fatti i tempij <lb/>fuori delle mura: accioche i piaceri di Venere non prendino piede nella città appre&longs;&longs;o la <lb/>giouentù, & le madri di famiglia, & che dalla forza di Vulcano tratta fuori della città <lb/>con religione, & &longs;acri&longs;icij, gli edi&longs;ici parino e&longs;&longs;er dal timore de gli incendij liberati. </s> <s id="s.001364">Ma <lb/>la'diuinità di Marte e&longs;&longs;endo fuori della terra con&longs;ecrata, non &longs;arà la di&longs;&longs;en&longs;ione, che <lb/>uiene all'arme tra li cittadini, ma con quella dife&longs;a da i nimici con&longs;eruerà quella da i <lb/>pericoli delle battaglie. </s> <s id="s.001365">Similmente a Cerere &longs;i faranno i tempij fuori della città, in <lb/>luoghi, doue non &longs;i uada, &longs;e non per nece&longs;sità, douendo&longs;i con religione, & con &longs;anti <lb/>co&longs;tumi que&longs;to luogo con&longs;tantemente guardare. </s> <s id="s.001366">Al re&longs;tante de gli altri dei, bi&longs;ogna <lb/>ritrouar i luoghi da fabricare, che &longs;iano conuenienti guardando &longs;empre alle maniere <lb/>de i &longs;acrificij. </s> </p> <p type="main"> <s id="s.001367"><emph type="italics"/>Tratta Vitruuio in que&longs;to capo, quanto appartiene alla uniuer&longs;al di&longs;po&longs;itione, di&longs;tributione, <lb/>& decoro de i luoghi, con&longs;iderando il compartimento de i piani all'u&longs;o commune. </s> <s id="s.001368">Compar­<lb/>timento in que&longs;to luogo io chiamo una ragioneuole diui&longs;ione del piano accompagnata dal deco­<lb/>ro, dalla &longs;ufficienza delle parti, & dalla ri&longs;pondenza delle co&longs;e: &longs;i che a grandi &longs;oggetti, <lb/>grandi edificij &longs;i facciano, & de i grandi edificij grandi &longs;iano i membri; perche la Citta è <lb/>come una grandi&longs;&longs;ima ca&longs;a, come &longs;i puo dire, che la ca&longs;a &longs;ia una picciola città. </s> <s id="s.001369">Il &longs;auio Ar <lb/>chitetto deue donare alcuna co&longs;a alla u&longs;anza de i pae&longs;i, non però deue egli errare, nè ab­<lb/>bandonare la ragione: ma non la&longs;ciare la u&longs;anza, & tener&longs;i alla &longs;cienza; altrimem i la cat <lb/>tiua u&longs;anza non è altro, che la uecchiezza del uitio: dal quale animo&longs;amente l'huomo &longs;i <lb/>deue di&longs;co&longs;tare, & dar buono e&longs;empio a i &longs;ucce&longs;&longs;ori. </s> <s id="s.001370">La ragione adunque del Foro è che &longs;ia <lb/>po&longs;to pre&longs;&longs;o al porto, &longs;e la città è uicina al mare: ouero nel mezo della città, &longs;e ella è fra <lb/>terra: il Foro è luogo, doue &longs;i uendeno le co&longs;e, & doue &longs;i tiene ragione, è commodo a fore&longs;tie <lb/>ri, & mercanti, che uengono di parti lontane e&longs;&longs;endo uicino al porto, quando la città è pro&longs;­<lb/>&longs;ima al mare: ma nel mezo della città è commodo, perche il mezo è propinquo a tutte le par <lb/>ti, & pre&longs;to prouede a i bi&longs;ogni, & però Vitruuio ha detto. </s> <s id="s.001371">In medio oppido. </s> <s id="s.001372">perche oppi­<lb/>dum è detto dal dare aiuto, che in latino &longs;i dice dare opem; ouero perche iui &longs;i portano le <lb/>ricchezze, che, opes, &longs;i chiamano. </s> <s id="s.001373">Il re&longs;to è facile.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001374">Ma del modo del fabricare i tempij, & delle mi&longs;ure, & &longs;immetrie di quelle, nel ter <lb/>zo, & nel quarto libro ne renderò le ragioni: percioche mi è piacciuto determinare <lb/>prima della copia della materia, che &longs;i deue nelle fabriche preparare: & e&longs;ponere la <lb/>forza & u&longs;o di quella, & poi trattare delle mi&longs;ure de gli edi&longs;icij, & gli ordini, & le manie­<lb/>re partitamente di tutte le &longs;immetrie, & in cia&longs;cuno de i &longs;eguenti libri e&longs;plicare. </s> </p> <p type="main"> <s id="s.001375"><emph type="italics"/>Et ragioneuolmente prima tratta della materia, & poi della forma: perche prima poco è <lb/>da dire della materia, come co&longs;a che la natura ci porta, & molto della forma: & è giu&longs;to <lb/>sbrigar&longs;ene pre&longs;to. </s> <s id="s.001376">Dapoi perche un'i&longs;te&longs;&longs;a materia &longs;erue a diue&longs;e forme, & maniere. </s> <s id="s.001377">& &longs;i­<lb/>mile u&longs;anza tiene Ari&longs;totile, per commodità della dotrina, ne i libri de i principij naturali.<emph.end type="italics"/></s> </p> <p type="head"> <s id="s.001378"><emph type="italics"/>Fine del Primo Libro.<emph.end type="italics"/><!-- KEEP S--></s> </p> </subchap2></subchap1><subchap1> <pb pagenum="66" xlink:href="045/01/074.jpg"/> <p type="head"> <s id="s.001379">IL SECONDO LIBRO<!-- REMOVE S-->DELL'AR CHIT ETTVRA <lb/>DIM. VITRVVIO.<!-- KEEP S--></s> </p> <subchap2> <p type="head"> <s id="s.001380"><emph type="italics"/>Proemio.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.001381">DINOCRATE Architetto con&longs;idato&longs;i ne i &longs;uoi pen&longs;ieri, & nella &longs;ua &longs;o=<lb/>lertia, e&longs;lendo Ale&longs;&longs;andro &longs;ignore del mondo, &longs;i parti di Macedonia per <lb/>andare allo e&longs;&longs;ercito, di&longs;idero&longs;o d'e&longs;&longs;ere dalla mae&longs;ta regia commendato. </s> <s id="s.001382"><lb/>Co&longs;tui partendo&longs;i dalla patria, da i parenti, & da gli amici, ottenne lettere <lb/>di fauore drizzate a i principali, & potenti della corte, accioche per me <lb/>zo loro fu&longs;&longs;e piu facilmente introdotto. </s> <s id="s.001383">E&longs;&longs;endo adunque benigna­<lb/>mente da quelli raccolto, chie&longs;e loro, che quanto prima lo conduce&longs;&longs;ero ad Ale&longs;&longs;andro. <!-- KEEP S--></s> <s id="s.001384"><lb/>Quegli hauendoli prome&longs;&longs;o, erano alquanto tardi, a&longs;pettando il tempo commodo. </s> <s id="s.001385">Di­<lb/>nocrate pen&longs;ando e&longs;&longs;ere sbeffato da quelli, a &longs;e &longs;te&longs;&longs;o per aiuto ricor&longs;e. </s> <s id="s.001386">Era egli di gran­<lb/>de &longs;tatura, di gratio&longs;o a&longs;petto, & di &longs;omma dignità, & bellezza. </s> <s id="s.001387">fidato&longs;i adunque di <lb/>que&longs;te doti di natura, nell'albergo &longs;uo depo&longs;e le ue&longs;ti, & di oglio tutto'l corpo &longs;i un&longs;e, & <lb/>&longs;i coprì la &longs;ini&longs;tra &longs;palla di pelle di Leone, coronato di fronde di poppio, & tenendo <lb/>nella de&longs;tra la claua, &longs;e ne andò uer&longs;o il tribunale del Re, che teneua ragione. </s> <s id="s.001388">Hauen <lb/>do la nouità del fatto riuolto a dietro già tutto il popolo; Ale&longs;&longs;andro lo uidde, & mera <lb/>uigliando&longs;i commandò, che gli fu&longs;&longs;e dato luogo, accioche egli &longs;i face&longs;&longs;e innanzi, & di <lb/>mandollo, chi fu&longs;&longs;e. </s> <s id="s.001389">Egli di&longs;&longs;e. </s> <s id="s.001390">Io &longs;on Dinocrate Architetto di Macedonia, che a te <lb/>porto pen&longs;ieri, & forme degne della tua chiarezza: percioche io ho formato il monte <lb/>Atho in figura d'una &longs;tatua uirile, nella cui &longs;ini&longs;tra io ho di&longs;egnato le mura d'una gran­<lb/>di&longs;sima città, & nella de&longs;tra un ua&longs;o, che habbia a raccogliere l'acqua di tutti i fiumi, <lb/>che &longs;ono in quel monte; accioche da quel ua&longs;o &longs;i &longs;pande&longs;&longs;ero nel mare. </s> <s id="s.001391">Dilettato&longs;i <lb/>Ale&longs;&longs;andro della ragione della forma, &longs;ubito dimandò &longs;e d'intorno ui fu&longs;&longs;ero campi, che <lb/>pote&longs;&longs;ero prouedere di grano al bi&longs;ogno di quella città. </s> <s id="s.001392">Hauendo ritrouato, che non <lb/>u'era altra uia, che quella d'oltra mare; Di&longs;&longs;e. <!-- KEEP S--></s> <s id="s.001393">Io con attentione guardo al componi­<lb/>mento di co&longs;i bella forma, & di e&longs;&longs;a mi diletto: ma io con&longs;idero, che &longs;e alcuno uorrà an <lb/>dare in quel luogo ad habitare, non &longs;ia bia&longs;imato per poco giudicio. </s> <s id="s.001394">perche &longs;i come <lb/>il fanciullo già na&longs;ciuto, non &longs;i puo &longs;enza il latte della nutrice alleuare, nè cre&longs;cere; co <lb/>fi la città &longs;enza po&longs;&longs;e&longs;sioni, o frutti, che ui &longs;iano portati non puo &longs;o&longs;tentar&longs;i, nè mante­<lb/>ner&longs;i cre&longs;cendo &longs;enza copia di uettouaglia, nè e&longs;&longs;er frequentata, nè &longs;i puo il populo &longs;en=<lb/>za abondanza di uiuere con&longs;eruare. </s> <s id="s.001395">per il che (&longs;i come io &longs;timo) che &longs;i bel di&longs;egno me <lb/>rita lode, co&longs;i giudico douere e&longs;&longs;ere bia&longs;imato il luogo. </s> <s id="s.001396">Ma ben uoglio, che tu &longs;tia me <lb/>co: percioche io intendo di u&longs;ar l'opera tua. </s> <s id="s.001397">Dall hora in poi Dinocrate non &longs;i &longs;co&longs;tò <lb/>mai dal Re: & in Egitto lo &longs;eguitò. </s> <s id="s.001398">Hauendo iui ueduto Ale&longs;&longs;andro il porto per natura <lb/>&longs;icuro: lo egregio mercato, i campi d'intorno all'Egitto abondanti di grano, & le mol <lb/>te commodità del gran fiume del Nilo; commandò, che iui dal &longs;uo nome Ale&longs;&longs;andria &longs;i <lb/>fabrica&longs;&longs;e. </s> <s id="s.001399">Et per que&longs;to Dinocrate dalla bellezza, & gratia del &longs;uo a&longs;petto, & gran <lb/>dezza del corpo, a quella nobiltà, & chiarezza peruenne. </s> <s id="s.001400">Ma a me o Imperatore la na <lb/>tura non ha dato la grandezza della per&longs;ona, & la età mi ha deformata la faccia, la infer­<lb/>mità leuato le forze; la doue e&longs;&longs;endo io di tali pre&longs;idij abbandonato, &longs;pero per mezo del <lb/>la &longs;cienza, & de gli &longs;critti a qualche grado di commendatione, & gloria peruenire. </s> <s id="s.001401">Ha-<pb pagenum="67" xlink:href="045/01/075.jpg"/>uendo adunque io nel primo libro &longs;critto dell'ufficio dello Architetto, & de i termini <lb/>della Architettura, & appre&longs;&longs;o dellc mura, & delle diui&longs;ioni de i piani, che &longs;ono dentio <lb/>le mura, & &longs;eguitando l'ordine de i &longs;acri Tempij, & de i publici edificij, & anche de i <lb/>priuati, con quai mi&longs;ure, & proportioni &longs;i deono fare: io non ho pen&longs;ato di porre que&longs;te <lb/>co&longs;e prima, che io ragiona&longs;si della copia della materia, della quale &longs;i fanno le fabriche, & <lb/>con c he ragione, & che forza ella habbia nell'u&longs;o, & con che principij la natura delle co&longs;e <lb/>&longs;ia compo&longs;ta. </s> <s id="s.001402">Ma prima che io dia principio ad c&longs;plicare le co&longs;e naturali, io ragionerò <lb/>delle ragioni del fabricare doue hanno hauuto origine, & come per inuenti one cre&longs;ciu­<lb/>te &longs;ono partitamente dirò, & &longs;eguitando e&longs;ponerò gli ingre&longs;si dell'antica natura, & di <lb/>quelli, che con gli &longs;critti, & regole dedicorono il principio del con&longs;ortio humano, & <lb/>le belle, & fondate inuentioni, & però, come da quelli io &longs;on ammae&longs;trato, dimo&longs;trerò. </s> </p> <p type="main"> <s id="s.001403"><emph type="italics"/>Tratta Vitr. nel &longs;econdo libro della materia nece&longs;&longs;aria al fabricare, come &longs;i &longs;cielga, & co­<lb/>no&longs;ca, & ci dimo&longs;tra il modo di metterla in&longs;ieme. </s> <s id="s.001404">propone artificio&longs;amente il proemio. </s> <s id="s.001405">percio­<lb/>che hauendo nel primo libro ragionato ne i quattro ultimi capi di molte co&longs;e pertinenti alla elet­<lb/>tione de i luoghi per fabricar la città; & hauendo trattato delle muraglie, & dife&longs;e, del com­<lb/>partimento de i piani, sì per i&longs;chifare i uenti danno&longs;i, come per di&longs;tribuire ogni luogo con gra­<lb/>tia, & decoro: & uolendoci dare un &longs;egnalato precetto, o con&longs;eruarlo nella no&longs;tra memoria, <lb/>( benche pare, che lo dica ad altro fine ) ci dimo&longs;tra con notabile e&longs;&longs;empio, che &longs;opra tutte le <lb/>co&longs;e douemo con&longs;iderarc di fabricar in luogo, che ci dia da uiuere, & &longs;oppli&longs;ca alle nece&longs;&longs;ità de <lb/>i Cittadini. <!-- KEEP S--></s> <s id="s.001406">perche niuno &longs;i mouerebbe per habitare in luogo, doue &longs;i mori&longs;&longs;e di fame. </s> <s id="s.001407">come &longs;i <lb/>uede per lo contrario, che per l'abondanza delle co&longs;e i luoghi&longs;ono frequentati. </s> <s id="s.001408">Legge&longs;i nel li­<lb/>bro delle co&longs;e merauiglio&longs;e del mondo a&longs;critto ad Ari&longs;totele, che imercanti Cartagine&longs;i, naui­<lb/>gando fuori dello &longs;tretto per molte giornate ritrouorono un'I&longs;ola non piu per lo adietro &longs;coperta, <lb/>che era &longs;olo da fiere habitata, ma piena di alberi di merauiglio&longs;a grandezza, & di grandi&longs;&longs;imi <lb/>fiumi, fertile, & abondante di cio che puo na&longs;cere, lontana molto dalla terra dell' Africa. <!-- KEEP S--></s> <s id="s.001409"><lb/>Quiui trouando&longs;i aere temperati&longs;&longs;imo, & per i&longs;perienza copia di tutti i frutti della terra, comin­<lb/>ciauano le gente di abbandonare la propria città, & andare ad habitar quei luoghi. </s> <s id="s.001410">per laqual <lb/>co&longs;a i Cartagine&longs;i furono con&longs;tretti a fare uno editto, che &longs;otto pena capitale niuno piu naui­<lb/>ga&longs;&longs;e per quelle parti, che for&longs;e erano quelle, che a giorni no&longs;tri &longs;ono &longs;tate &longs;coperte uer&longs;o Po­<lb/>nente. </s> <s id="s.001411">Et però uedendo Vitr. la importanza del uiuere, ha uoluto di nuouo &longs;arci auuertiti, nel <lb/>proemio, come in luogo notabile, & che prima uegni nella con&longs;ideratione de i lettori.<emph.end type="italics"/> { <emph type="italics"/>Dino­<lb/>crate Architetto.<emph.end type="italics"/> } <emph type="italics"/>Legge&longs;i, Chirocrate, co&longs;i appre&longs;&longs;o Strabone, come appre&longs;&longs;o Eliano. </s> <s id="s.001412">Ma <lb/>i te&longs;ti di Vitr. hanno, Dinocrate, del quale ne fa mentione Xenofonte, s'io non m'inganno.<emph.end type="italics"/><lb/>{ <emph type="italics"/>Pen&longs;amenti, & nella &longs;ua &longs;olertia,<emph.end type="italics"/> } <emph type="italics"/>Ha detto Vitru. nel &longs;econdo Capo del primo libro. </s> <s id="s.001413">che <lb/>le idee della di&longs;po&longs;itione, na&longs;ceno da pen&longs;amento, & da inuentione: però qui dimo&longs;tra Dinocra­<lb/>te hauere hauuto Di&longs;po&longs;itione, come anche di &longs;otto mo&longs;tra lo i&longs;te&longs;&longs;o, quando dice ad Ale&longs;&longs;andro.<emph.end type="italics"/><lb/>Io &longs;ono Dinocrate Architetto di Macedonia, ilquale a te porto pen&longs;ieri, & forme degne <lb/>della tua chiarezza. <emph type="italics"/>perche dicendo,<emph.end type="italics"/> { <emph type="italics"/>Pen&longs;ieri, & forme<emph.end type="italics"/> } <emph type="italics"/>uuol dire Fabrica, & di&longs;cor&longs;o, <lb/>la co&longs;a &longs;ignificata, & quella che &longs;ignifica; l'opera, & la ragione: dalle quali co&longs;e na&longs;ce la Ar­<lb/>chitettura.<emph.end type="italics"/> { <emph type="italics"/>Io ho formato il Monte Atho in forma di&longs;tatua uirile,<emph.end type="italics"/> } <emph type="italics"/>uoleua Dinocrate rap­<lb/>pre&longs;entare la figura di Ale&longs;&longs;andro ( come &longs;i legge ) & dalla de&longs;tra cauare uno capaci&longs;&longs;imo alueo <lb/>da riceuer tutte le acque del monte Atho alti&longs;&longs;imo tra la Macedonia, & la Thracia: & nella <lb/>&longs;ini&longs;tra uoleua fabricare una città capace di dieci mila huomini. </s> <s id="s.001414">Bella, & &longs;ottile inuentione, <lb/>&longs;e co&longs;i egli haue&longs;&longs;e con&longs;iderato di dar da uiuere alla &longs;ua città, come egli le haueua proui&longs;to del <lb/>bere delle acque.<emph.end type="italics"/> P<emph type="italics"/>erò di nuouo dico, che bi&longs;ogna fare le città in luoghi commodi, & oppor­<lb/>tuni. </s> <s id="s.001415">& di que&longs;ta lode meritamente deue e&longs;&longs;er commendata la città di Vinetia, alla quale ri&longs;pon­<lb/>deno tanti fiumi, tante entrate, & tante commodità, che pare che tutto il mondo &longs;ia obligato <lb/>a notrirla, & adornarla: & &longs;i puo dire, che &longs;i come la notrice del fanciullo prende il cibo al-<emph.end type="italics"/><pb pagenum="68" xlink:href="045/01/076.jpg"/><emph type="italics"/>troue, della &longs;o&longs;tanza del quale ella ne fa poi il latte da nodrirlo, co&longs;i Vinetia riceua da ogni parte <lb/>il &longs;uo nutrimento per &longs;o&longs;tentare il re&longs;to dello &longs;tato &longs;uo. </s> <s id="s.001416">& in uero pare, che la natura s'habbia <lb/>ri&longs;eruati alcuni luoghi, che per rari&longs;&longs;imi accidenti po&longs;&longs;ono re&longs;tare dishabitati; & que&longs;to per la <lb/>conimodit à del &longs;ito. </s> <s id="s.001417">come Roma, Con&longs;tantinopoli, Pariggi, & molti altri luoghi, che &longs;empre &longs;ono <lb/>stati celebrati, & frequentati per le &longs;opra det te ragioni.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.001418"><emph type="italics"/>Della uita de gli antichihuomini, & de i principij <lb/>del uiuer humano, & delle ca&longs;e, et accre­<lb/>&longs;cimenti di quelle. </s> <s id="s.001419">Cap. I.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.001420">GLI huomini per antica u&longs;anza come &longs;iere nelle &longs;elue, & nelle &longs;pilonche, & tra <lb/>li bo&longs;chi na&longs;ceuano, & di agre&longs;te cibo pa&longs;cendo&longs;i menauano la lor uita. </s> <s id="s.001421">in <lb/>quel tanto da i uenti, & dalle fortune furono gli &longs;pe&longs;si alberi agitati, & com­<lb/>mo&longs;si, & &longs;tropicciando&longs;i in&longs;ieme i rami, mandorono fuori il fuoco, perche <lb/>i uicini dalla gran fiamma sbigottiti, &longs;i mi&longs;ero in fuga. </s> <s id="s.001422">ce&longs;&longs;ata la fiamma, & hor que&longs;to <lb/>hor quello auuicinando&longs;i al fuoco, è ritrouandolo e&longs;&longs;er di molta commodità a i corpi, ag­<lb/>giugnendoli legna mentre che mancaua, & con&longs;eruandolo, gli conduceuano de gli altri, <lb/>& accennando&longs;i fra loro dimo&longs;trauano la utilità, che di ciò ne ueniua. </s> <s id="s.001423">in quel concor&longs;o <lb/>d'huomini e&longs;&longs;endo le uoci diuer&longs;amente dallo &longs;pirito fuori mandate, per la quottidiana <lb/>conuer&longs;atione fecero, come lor fatto ueniua, i uocaboli delle co&longs;e. </s> <s id="s.001424">Dapoi &longs;ignificando­<lb/>le piu &longs;pe&longs;&longs;o, & in u&longs;o ponendole, per quello auuenimento cominciorono a parlare, & a <lb/>quel modo tra loro fabricorono i ragionamenti. </s> <s id="s.001425">E&longs;&longs;endo adunque per la inuentione del <lb/>fuoco da prima uenuto il conuer&longs;are, & il uiuere in&longs;ieme, & conuenendo molti in uno <lb/>i&longs;te&longs;&longs;o luogo, hauendo anche dalla natura, che non chinati, come gli altri animali, ma <lb/>dritti camina&longs;&longs;ero, & la magnificenza del mondo, & delle &longs;telle riguarda&longs;&longs;ero: & trattan­<lb/>do ( come piaceua loro ) con le dita facilmente ogni co&longs;a, alcuni di quella moltitudine <lb/>cominciorono a fare i coperti di fronde, altri a cauar le &longs;pilonche di &longs;otto a monti: & altri <lb/>imitando i nidi delle rondini edificauano di loto, & di uirgulti per fare luoghi da ridur&longs;i <lb/>al coperto. </s> <s id="s.001426">Allhora molti o&longs;&longs;eruando i coperti fatti da gli altri, & aggiugnendo a loro <lb/>pen&longs;ieri co&longs;e nuoue, faceuano di giorno in giorno piu bella maniera di ca&longs;e. </s> <s id="s.001427">Et e&longs;&longs;endo <lb/>gli huomini di natura docile, & che facilmente imitar poteua, gloriando&longs;i ogni giorno <lb/>piu delle proprie inuentioni, altri ad altri dimo&longs;trauano gli effetti de gli edificij, & co&longs;i <lb/>per le concorrenze e&longs;&longs;ercitando gli ingegni, alla giornata &longs;i faceuano piu giudicio&longs;i. </s> <s id="s.001428">& <lb/>& prima alzate le forcelle, & trapo&longs;ti i uirgulti con loto te&longs;&longs;euano i pareti, altri i ce&longs;pu­<lb/>gli poi, & le zoppe di loto a&longs;ciugando faceuano i pareti commettendogli con legnami, & <lb/>per i&longs;chifare le pioggie, le g randini, & i caldi le copriuano di canne, & di frondi. </s> <s id="s.001429">Dapoi <lb/>perche i tetti per le tempe&longs;te del uerno non potcuano reggere alle pioggie, facendo i <lb/>colmi, & &longs;opraponendoui il loto col fare i tetti pendenti conduceuano le grondi, & i <lb/>cadimenti dell'acque. </s> </p> <p type="main"> <s id="s.001430"><emph type="italics"/>Fin qui Vitr. ha narrato artificio&longs;amente a poco a poco per ordine il principio del fabricare, <lb/>il mezo, & il fine, quanto poteua ba&longs;tare alla humana nece&longs;&longs;ità; dico artificio&longs;amente, & per <lb/>ordine, perche prima ha detto la cagione, che con&longs;trin&longs;e gli huomini a &longs;tare in&longs;ieme, che fu il co­<lb/>no&longs;cere l'utilità, che dal fuoco procedeua, il ca&longs;o dimo&longs;trò l'utilità. </s> <s id="s.001431">Que&longs;ta con&longs;trin&longs;e gli huo­<lb/>mini ad unir&longs;i. </s> <s id="s.001432">dalla unione nacque la fauella, nacque la cognitione del poter&longs;i operare con le ma­<lb/>ni, & l'operare, dal che nacque la concorrenza di auanzar l'un l'altro nella inuentione de gli <lb/>edificij. </s> <s id="s.001433">Onde a poco a poco uenne lo artificio, nato ( come dicemmo nel primo libro nel proe-<emph.end type="italics"/><pb pagenum="69" xlink:href="045/01/077.jpg"/><emph type="italics"/>mio ) dalla i&longs;perienza, fondata nella natura delle co&longs;e. </s> <s id="s.001434">Ma perche alcuno potrebbe negare; che <lb/>tale &longs;ia &longs;tato lo ingre&longs;&longs;o dell' antica natura; Ri&longs;ponde Vitr. & dice.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001435">Ma che que&longs;te co&longs;e da que principij, che detto hauemo, &longs;iano &longs;tate ordinate, in que­<lb/>&longs;to modo &longs;i puo cono&longs;cere. </s> <s id="s.001436">percioche fin al di d'hoggi dalle nationi e&longs;terne &longs;i fanno gli <lb/>edificij, come in Francia, in Hi&longs;pagna, in Lu&longs;itania, in Aquitania, di que&longs;te co&longs;e, come di <lb/>tauole di rouere, ouero con paglic, & &longs;trame. </s> <s id="s.001437">Appre&longs;&longs;o la natione de Colchi nel Ponto <lb/>per l'abondanza delle &longs;elue &longs;i fanno gli edificij con alberi perpetui i&longs;pianati dalla de&longs;tra, & <lb/>dalla &longs;ini&longs;tra po&longs;ti in terra la&longs;ciatoui tra quelli tanto &longs;pacio, quanto ricerca la lunghezza de <lb/>gli alberi, ma di &longs;opra nelle e&longs;treme parti di quelli pongono altri trauer&longs;i, i quali d'intor­<lb/>no chiudeno lo &longs;pacio dell'habitatione, & allhora dapoi le &longs;oprapo&longs;te traui dalle quat <lb/>tro parti legando, & &longs;trignendo gli anguli, & in que&longs;ta manicra facendo i pareti d'alberi, <lb/>a piomho di quelle di &longs;otto, inalzano le Torri, & quelli &longs;pacij, che per la gro&longs;&longs;ezza della <lb/>materia &longs;ono trala&longs;ciati, otturano con loto, & &longs;cheggie, & anche ritagliando i tetti dalle <lb/>cantonate tramezano con legni trauer&longs;ati di grado in grado, ra&longs;tremandogli; & in que&longs;to <lb/>modo, al mezo delle quattro parti leuano le piramidi, lequali, & di frondi, & di loto co­<lb/>prendo all'u&longs;anza de barbari fanno i colmi te&longs;tuginati. </s> </p> <p type="main"> <s id="s.001438"><emph type="italics"/>Pare a Vitr. grande argomento a prouare l'origine delle fabriche la u&longs;anza delle genti efter­<lb/>ne. </s> <s id="s.001439">& in uero è ragioneuole, che doue non è peruenuta la bellezza, & la grandezza dell'arte, &longs;i <lb/>ueda il modo naturale, & &longs;iritegna quello, che è &longs;tato dalla natura, a i primi huomini dimo­<lb/>strato, perche egli &longs;i puo dire, che ogni arte habbia la &longs;ua pueritia, la &longs;ua adole&longs;centia, il fior <lb/>della età, & la maturità; come l'Architettura, che ne i primi &longs;ecoli hebbe i &longs;uoi &longs;gro&longs;&longs;amenti, <lb/>crebbe in A&longs;ia, ottenne in Grecia il &longs;uo uigore, & finalmente in Italia con&longs;egui perfetta, & ma­<lb/>tura dignità. </s> <s id="s.001440">Da principio adunque è ragioneuole di credere, che ella haue&longs;&longs;e quella origine, <lb/>che la nece&longs;&longs;ità dimc&longs;trò primier amente all'humana generatione, come &longs;i ha a di no&longs;tri e&longs;&longs;ere nel­<lb/>l'I&longs;ola Spagnola, & nelle parti del mondo &longs;coperte da i moderni, che le &longs;tanze, & le habita­<lb/>tioni &longs;ono fatte di alberi, te&longs;&longs;uti di canne, coperti di paglie, ma di modo, che egli &longs;i ha in con&longs;ide­<lb/>ratione la dignità de gli habitanti, dando&longs;i piu grandi & piu belle, & piu commode habitationi­<lb/>a quelli, che fra quelle genti ottengono grado maggiore. </s> <s id="s.001441">Que&longs;to &longs;i dice, che i no&longs;tri banno ri­<lb/>trouato nel &longs;opra detto modo. </s> <s id="s.001442">Ma poi che piu perite genti, & piu ingenio&longs;e banno cominciato <lb/>a praticare in que luoghi, piu bella, & piu artificio&longs;a maniera di fabricare è stata introdotta. </s> <s id="s.001443"><lb/>Lauorando i legnami, & facendogli molti ornamenti, che non haueuano prima, & co&longs;i di gior­<lb/>no in giorno aumenteranno gli artificij, & le inuentioni delle co&longs;e, dome&longs;ticando il pae&longs;e per l'hu­<lb/>mana conuer&longs;atione. </s> <s id="s.001444">Buono adunque è l'argomento di Vitruuio, &longs;e bene eglinon dice&longs;&longs;e a pun­<lb/>to il uero di quel fuoco acce&longs;o da gli alberi agitati da i uenti, non &longs;apendo egli la i&longs;toria della crea­<lb/>tione, & della origine del mondo. </s> <s id="s.001445">Ma chi pon mente alle parole di Vitru. ritruouerà nel pre&longs;en­<lb/>te di&longs;cor&longs;o un'ordine merauiglio&longs;o: perche prima ha ritruouato quanto puo la neceßità, & la <lb/>natura, dicendo la cagione, che costrin&longs;e gli huomini ad habitar in&longs;ieme, da poi ba dimostra­<lb/>to quanto puo la i&longs;perienza, & la con&longs;uetudine, dicendo quello, che molte genti acco&longs;tumano <lb/>di fare, per accommodar&longs;i, & di&longs;ender&longs;i da i contrarij, con diuer&longs;e maniere di habitationi &longs;econ­<lb/>do l'u&longs;o de i luoghi, & delle co&longs;e. </s> <s id="s.001446">& finalmeute dirà, quanto ha potuto l'Arte cerca le regola­<lb/>te inuentioni, & gli ornamenti, & pompa del fabricare. </s> <s id="s.001447">come anche al primo Capo del decimo <lb/>libro, Vitru. conferma dicendo, che quelle co&longs;e, che gli huomini auuertirono e&longs;&longs;er buone all'u&longs;o, <lb/>tentarono anche con i&longs;tudio di arte, & di ordinationi per uia di dottrina. </s> <s id="s.001448">Et qui &longs;i uederà co­<lb/>me la natura humana tutta uia auanzando &longs;e &longs;te&longs;&longs;a, digiorno in giorno dal nece&longs;&longs;ario al commo­<lb/>do, & dal commodo all'honoreuole peruiene. </s> <s id="s.001449">Bella, & degna co&longs;a è di con&longs;iderare, come l'Ar­<lb/>te &longs;i fonda &longs;opra la natura, non mutando quello, che è per natura, ma facendolo piu perfetto, & <lb/>adorno. </s> <s id="s.001450">come nel pre&longs;ente capo Vitruuio chiaramente ci mo&longs;tra per diuer&longs;i e&longs;&longs;empi non &longs;olamen­<lb/>te la origine del fabricare, ma i modi, & le maniere naturali, che poi&longs;ono &longs;tate pigliate dal-<emph.end type="italics"/><pb pagenum="70" xlink:href="045/01/078.jpg"/><emph type="italics"/>l'Arte a perfetcione delle co&longs;e, come &longs;ono i tetti pendenti, i colmi, le uolte, le colonne, & ilo­<lb/>ro ornamenti & altre co&longs;e, che &longs;ono &longs;tate dalla natural neceßità alla certezza dell'Arte, per <lb/>humana &longs;olertia traportate. </s> <s id="s.001451">Seguita adunque.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001452">Ma i Frigij, i quali habitano le campagne per la inopia de bo&longs;chi hauendo bi&longs;ogno di <lb/>&longs;egna, eleggeno alcune parti piu eleuate del terreno, & cauandole nel mezo, & uotando­<lb/>le, & facendo i &longs;entieri allargano gli &longs;pacij, quanto cape la quantità, & grandezza del <lb/>luogo: ma poi di&longs;opra legando in&longs;ieme molti fu&longs;ti fanno i colmi de i tetti piramidali, & <lb/>coprendo quelli con canne & paglie inalzano &longs;opra le &longs;tanze grandi&longs;simi grumi di terra: <lb/>& a que&longs;to modo fæono con la ragione de i tetti l'inuernate caldi&longs;sime, & l'c&longs;tati fre&longs;chi&longs;­<lb/>&longs;ime. </s> <s id="s.001453">Altri di palu&longs;tre alica ricuopreno i loro tuguri. </s> <s id="s.001454">Et anche appre&longs;&longs;o altre nationi, & <lb/>in alcuni luoghi &longs;imilmente in que&longs;ta maniera &longs;i fanno le ca&longs;e. </s> <s id="s.001455">Ne meno in Mar&longs;iglia &longs;i <lb/>puo uedere, che i tetti &longs;ono fatti &longs;enza tegole, ma &longs;olamente ui è &longs;oprapo&longs;ta la terra con le <lb/>paglie. </s> <s id="s.001456">In Athene anche per e&longs;&longs;empio di antichità nell' Arcopago fin'a no&longs;tri giorni &longs;i <lb/>uede il tetto di lottole. </s> <s id="s.001457">& nel Campidoglio nella &longs;acra rocca la ca&longs;a di Romulo ci puo fa­<lb/>re auuertiti de gli antichi co&longs;tumi, per e&longs;&longs;er coperta di paglie, & di fieno. </s> <s id="s.001458">& co&longs;i per <lb/>tali &longs;egni potemo di&longs;correre &longs;opra la inuentione de gli antichi edificij, che tali fu&longs;&longs;ero <lb/>come detto hauemo. </s> </p> <p type="main"> <s id="s.001459"><emph type="italics"/>Vitru. ha finito la proposta argomentatione, & con molti e&longs;&longs;empi ci ha confermati nella cre­<lb/>denza dell'antico, & nece&longs;&longs;ario modo del fabricare, & qua&longs;i ci ha indotto a credere, che la in­<lb/>uentione del con&longs;ortio humano &longs;iastata, &longs;econdo che egli ha detto. </s> <s id="s.001460">hora ci uuole fare accorti di <lb/>quanto l'u&longs;o, & la i&longs;perienza, dapoi l'Arte ci ha dimo&longs;trato, & dice.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001461">Ma hauendo gli huomini con l'operare ogni giorno fatto le mani piu pronte, & piu de­<lb/>&longs;tre al fabricare, & per la continua e&longs;&longs;ercitatione de gli ingegni loro e&longs;&longs;endo con &longs;olertia <lb/>peruenuti all'Arti, ne &longs;eguì, che aggiunta a gli animi loro la indu&longs;tria fece, che chi tra quel­<lb/>&longs;i fu&longs;&longs;ero piu &longs;tudio&longs;i, & diligenti, faceuano profe&longs;sione di e&longs;&longs;er fabbri. </s> </p> <p type="main"> <s id="s.001462"><emph type="italics"/>Fabbro latinamente è nominato ogni artefice. </s> <s id="s.001463">dice&longs;i in Greco Tecton, d'onde è deriuato il no­<lb/>me di Architetto, come s'è detto nel primo libro. </s> <s id="s.001464">Et qui &longs;i puo uedere come non &longs;olamente le <lb/>co&longs;e alla Architettura pertinenti habbiano hauuto principio, ma anche i uocaboli delle co&longs;e. </s> <s id="s.001465">pe­<lb/>rò non la&longs;ciando Vitru. alcuna co&longs;a, prudentemente rende perfetto l'auditore. </s> <s id="s.001466">Fabbri adunque <lb/>&longs;i chiamauano i piu &longs;tudio&longs;i, & diligenti operatori, perche alla natura, allo e&longs;&longs;ercitio, alla &longs;o­<lb/>lertia aggiugneuano la indu&longs;tria, la quale non è altro, che un di&longs;iderio di affaticar&longs;i ridotto al­<lb/>l'opera con diligenza, & e&longs;&longs;ercitio dello ingegno, & auantaggio dell'Arte per con&longs;eguire la <lb/>perfettione. </s> <s id="s.001467">conchiude Vitru. <!-- REMOVE S-->& dice.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001468">Quando adunque da principio que&longs;te co&longs;e &longs;tate &longs;iano in que&longs;to modo ordinate, & la <lb/>natura non pure di &longs;entimenti habbia gli huomini, come gli altri animali adornati, ma <lb/>ancora di con&longs;ideratione, & di con&longs;iglio armato lo intelletto, &longs;ottomettendo al poter lo­<lb/>ro gli altri animali, quelli di grado in grado alle altre Arti & di&longs;cipline peruenendo, u&longs;ci­<lb/>ti dal fabricare, dalla uita ferigna, & &longs;ilue&longs;tre, alla man&longs;ueta, & humana &longs;i condu&longs;&longs;ero: <lb/>d'indi animo&longs;amente ammae&longs;trando&longs;i, & piu oltre guardando con maggiori pen&longs;amenti <lb/>na&longs;ciuti dalla uarietà delle Arti, non piu ca&longs;e humili, & ba&longs;&longs;e, ma grandi habitationi fon­<lb/>date, & di pareti fatti di mattoni, & di pietre, & di legnami compo&longs;te, & di tegole co= <lb/>perte cominciorno a fabricare. </s> <s id="s.001469">Dapoi cre&longs;cendo in uarie o&longs;&longs;eruationi di &longs;tudi con giudi­<lb/>cio&longs;o di&longs;cor&longs;o da mcerte a certe ragioni di mi&longs;ure condu&longs;&longs;ero inanzi la co&longs;a, & d'indi au= <lb/>uertendo che la natura largamente produceua le legna, & porgeua loro abondante copia <lb/>di fabricare cominciorno a nodrirla, & a coltiuarla, & cre&longs;ciuta poi con artificij ornar­<lb/>la all'u&longs;o diletteuole, & eleganza della uita. </s> <s id="s.001470">& però io &longs;on per dire di quelle, co&longs;e le qua­<lb/>li commode, & buone &longs;ono ne gli edificij, dimo&longs;trando ( come io potrò ) le qualità, & <lb/>uirtù di quelle. </s> </p> <pb pagenum="71" xlink:href="045/01/079.jpg"/> <p type="main"> <s id="s.001471"><emph type="italics"/>Vitr. ci ha condotti a poco a poco a ritrouar la materia, & l'abondanza delle co&longs;e, che uanno <lb/>nel fabricare, & qua&longs;i ci ha fatto na&longs;cere dinanzi a gli occhi una co&longs;a dall'altra con uno cui­<lb/>dente &longs;ucce&longs;&longs;o, & accre&longs;cimento dell' Arte. <!-- KEEP S--></s> <s id="s.001472">& &longs;i ha eletto non tutte le maniere del fabricare, <lb/>perche le fabriche fatte dalle genti roze, o fatte per nece&longs;&longs;ità &longs;ono d'infinite &longs;orti, & lo infinito <lb/>non cape &longs;otto la dottrina de i precetti: ma uuole trattar di quelle, che dalla ciuile u&longs;anza, & per <lb/>commodo, & per bellezza &longs;ono degne di e&longs;&longs;er con&longs;iderate, et inte&longs;e.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001473">Ma &longs;e alcuno uorrà di&longs;putare dell'ordine di que&longs;to libro pen&longs;ando, che egli debbia e&longs;­<lb/>&longs;ere prepo&longs;to a tutti gli altri: accioche egli non pen&longs;i, che io habbia errato, ne dirò la ra­<lb/>gione. </s> <s id="s.001474">Scriuendo io il corpo dell' Archittetura, io ho pen&longs;ato di e&longs;ponere nel primo libro <lb/>di che ammae&longs;tramenti, & di&longs;cipline debbia e&longs;&longs;er ornata, & con certi termini pre&longs;inire <lb/>le &longs;ue maniere, & dire da che ella fu&longs;&longs;e na&longs;ciuta, & co&longs;i quello, che fu&longs;&longs;e allo Architetto <lb/>nece&longs;&longs;ario iui io dimo&longs;trai. </s> <s id="s.001475">& però nel primo libro io ho detto dell'officio dell' Arte; nel <lb/>pre&longs;ente io di&longs;puterò delle co&longs;e naturali della materia, che u&longs;o elle habbiano nel fabricare, <lb/>perche il pre&longs;ente libro non dichiara onde na&longs;ce l'Architettura, ma d'onde &longs;ono nate & <lb/>con quali ragioni nodrite, & peruenute di grado in grado a que&longs;ta determinatione, & pe­<lb/>rò in que&longs;to modo al luogo, & ordine &longs;uo po&longs;ta &longs;arà la compo&longs;itione di que&longs;to uolume. </s> </p> <p type="main"> <s id="s.001476"><emph type="italics"/>Come chi fabrica è tenuto rendere la ragione dell' ordine, che egli tiene, co&longs;i chi compone <lb/>un' opera, & in&longs;egna un'arte, è obligato a dire perche prima, & perche poi habbia po&longs;to le co­<lb/>&longs;e in quell' arte contenute, per acquetar glianimi di chi fa fare le fabriche. </s> <s id="s.001477">però Vitr. con grande <lb/>humanità rende conto dell' ordine del pre&longs;ente libro. </s> <s id="s.001478">Et la ragione &longs;ua in uirtù è que&longs;ta. </s> <s id="s.001479">Non è <lb/>conueniente trattare di alcuna co&longs;a partitamente contenuta in un' Arte, prima, che egli &longs;i tratti <lb/>de i principij di quell' Arte. <!-- KEEP S--></s> <s id="s.001480">percioche niuno effetto è prima della cau&longs;a &longs;ua. </s> <s id="s.001481">Se io adunque ( puo <lb/>dir Vitr. ) trattato haue&longs;&longs;i prima della materia, che è trattatione particólare di que&longs;t' arte, & non <lb/>de i principij di tutta l'arte, io non hauerei u&longs;ato l'ordine, che &longs;i conuiene. </s> <s id="s.001482">Il fine dello Architet <lb/>to non ci &longs;arebbe &longs;tato manife&longs;to, co&longs;a &longs;ommamente nece&longs;&longs;aria, perche la cognitione del fine prece <lb/>de ogni operatione. </s> <s id="s.001483">Dapoi l'ufficio dello Architetto &longs;arebbe &longs;tato a&longs;co&longs;o; i precetti dell'arte la­<lb/>&longs;ciate; La confu&longs;ione ci hauerebbe impedito il uero intendimento. </s> <s id="s.001484">Meritamente adunque le co&longs;e <lb/>dette nel primo libro doueuano precedere a tutte le altre. </s> <s id="s.001485">Ma perche il &longs;econdo libro contener <lb/>debbia il trattamento della materia, &longs;imilmente è manife&longs;to. </s> <s id="s.001486">perche la materia, è principio non <lb/>dell' Architettura, perche l'Architettura non è fatta di legno, nè di pietra, ma delle co&longs;e, che &longs;o <lb/>no dall' Arti formate, & fabricate. </s> <s id="s.001487">& è principio, & &longs;oggetto, nel quale &longs;i e&longs;prime quello, che <lb/>è nella mente dello Artefice, cioè l'ordine, la di&longs;po&longs;itione, la di&longs;tributione, la &longs;immetria, la gra <lb/>tia, & il decoro, & in &longs;omma, il perche, la ragione, il di&longs;cor&longs;o, la co&longs;a &longs;igni&longs;icante, come nel primo <lb/>libro &longs;i dimo&longs;tra. </s> <s id="s.001488">Edunque al luogo &longs;uo il trattamento della materia. </s> <s id="s.001489">Et &longs;i come nel primo li­<lb/>bro s'è detto dell' origine dell' Arte, co&longs;i nel &longs;econdo &longs;i tratta dell' origine del fabricare.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001490">Hora io tornerò al propo&longs;ito, & dirò delle copie atte ad e&longs;&longs;er po&longs;te in opera in che mo­<lb/>do &longs;iano compo&longs;te dalla natura, <emph type="italics"/>( come &longs;ono i legnami, le pietre & altre co&longs;e )<emph.end type="italics"/> & con <lb/>che me&longs;colanze, & principij &longs;iano i loro componimenti temperati, accio non o&longs;cu­<lb/>re, ma chiare &longs;iano a chi legge e&longs;ponerò con ragione. </s> <s id="s.001491">perche niuna &longs;orte di materia, nè <lb/>corpo è, nè co&longs;a alcuna, che &longs;enza la unione di que principij, po&longs;&longs;a uenire in luce, nè e&longs;­<lb/>&longs;er allo intendimento &longs;ottopo&longs;ta, nè altramente la natura delle co&longs;e puo hauere le &longs;ode, & <lb/>uere dichiarationi da i precetti de Filo&longs;ofi naturali, &longs;e prima non &longs;ono dimo&longs;trate le cau&longs;e, <lb/>che in quelle &longs;i trouano, & con &longs;ottili&longs;sime ragioni inue&longs;tigate in che modo, & perche co­<lb/>&longs;i &longs;iano. </s> </p> <p type="main"> <s id="s.001492"><emph type="italics"/>Il &longs;apere con&longs;i&longs;te nella cognitione delle cau&longs;e, & de i principij, & perche niuna co&longs;a &longs;i troua <lb/>al &longs;en&longs;o &longs;ottopo&longs;ta, che compo&longs;ta non &longs;ia per la me&longs;colanza de i &longs;uoi principij, & le co&longs;e s'inten­<lb/>deno, come &longs;ono, però è nece&longs;&longs;ario trattare de i principij. </s> <s id="s.001493">perche que&longs;ta cognitione ci dar à d'in­<lb/>tendere qual materia &longs;ia buona per una co&longs;a, & quale per un'altra. </s> <s id="s.001494">perche altra natura il Roue-<emph.end type="italics"/><pb pagenum="72" xlink:href="045/01/080.jpg"/><emph type="italics"/>re, altra l'abete, altra il larice. </s> <s id="s.001495">& altro effetto &longs;a il marmo, altro il tofo, altro il &longs;a&longs;&longs;o, altro <lb/>imattoni. </s> <s id="s.001496">però Vitr. che di&longs;correua, che da diuer&longs;e cau&longs;e uengono diuer&longs;i effetti, filo&longs;ofando nar <lb/>ra l'opinione de gli antichi cerca i principij materiali, cioè che entrano come parti a far le co&longs;e di <lb/>natura, & nel &longs;ucce&longs;&longs;o applicher à poi le cau&longs;e a gli effetti, come ci &longs;ar à manife&longs;to.<emph.end type="italics"/></s> </p> <p type="head"> <s id="s.001497"><emph type="italics"/>De i principij delle co&longs;e &longs;econdo i Filo&longs;ofi.<emph.end type="italics"/><!-- KEEP S--></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.001498"><emph type="italics"/>Cap. II.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.001499">THALES primieramente pensò, che l'acqua fu&longs;&longs;e principio di tutte le co&longs;e: <lb/>Heraclito Ephe&longs;io ( che per la o&longs;curità de &longs;uoi detti Scotinos era chiamato ) <lb/>po&longs;e il fuoco. </s> <s id="s.001500">Democrito, & lo Epicuro di Democrito fautore, gli Atomi, <lb/>che da no&longs;tri in&longs;ecabili ouero indiuidui corpi da alcuni chiamati &longs;ono. </s> <s id="s.001501">Ma <lb/>la di&longs;ciplina de Pithagorici aggiun&longs;e all'acqua, & al fuoco, l'aere, & la terra. </s> <s id="s.001502">Democri­<lb/>to adunque, auegna, che le co&longs;e di proprio nome non chiama&longs;&longs;e, ma &longs;olamente propone&longs;­<lb/>&longs;e i corpi indiuidui, pure per que&longs;ta ragione pare, che egli pone&longs;&longs;e quelli i&longs;te&longs;si principij, per <lb/>che e&longs;&longs;endo que corpi &longs;eparati, prima che concorrino in&longs;ieme alla generatione delle co&longs;e, <lb/>nè &longs;i raccoglieno, nè mancano, nè &longs;i diuideno, ma &longs;empiternamente ritengono in &longs;e per­<lb/>petua, & infinita &longs;odezza. </s> <s id="s.001503">Quando adunque &longs;i ueda, che tutte le co&longs;e na&longs;cano da que&longs;ti <lb/>principij conuenientemente compo&longs;ti, & e&longs;&longs;endo quelle in infinite &longs;ortì per natura di&longs;tin­<lb/>te, io ho pen&longs;ato, che nece&longs;&longs;ario &longs;ia di trattare delle uarietà, & differenze dell'u&longs;o loro, & <lb/>dichiarire, che qualità habbiano ne gli edi&longs;icij, accioche e&longs;&longs;endo cono&longs;ciute, quelli, i qua <lb/>li pen&longs;ano di fabricare, non errino, ma apparecchino le co&longs;e buone, & &longs;ufficienti all'u&longs;o <lb/>del fabricare. </s> </p> <p type="main"> <s id="s.001504"><emph type="italics"/>Vitruuio narra in que&longs;ta parte la diuer&longs;ità delle opinioni de gli antichi filo&longs;ofanti cerca i princi­<lb/>pij delle co&longs;e, & intende ( come ho detto ) i principij materiali, cioè quelli, che entrano nella <lb/>compo&longs;itione delle co&longs;e, ne i quali finalmente ogni co&longs;a &longs;i ri&longs;olue. </s> <s id="s.001505">Dice che Tbales, fece l'acqua <lb/>principio di tutte le co&longs;e; Heraclito il fuoco; Democrito, & lo Epicuro gli Atomi; i Pithagori­<lb/>ci l'acqua, il fuoco, l'aere, & la terra. </s> <s id="s.001506">Vitr. non contende in que&longs;to luogo quale &longs;ia &longs;tata mi­<lb/>gliore opinione, ma con&longs;ente a quella de' Pithagorici, che abbraccia tutti quattro gli elementi, co <lb/>me piu chiaramente nel proemio dell'ottauo libro &longs;i uede: & ne dice la ragione copio&longs;amente, & <lb/>con dignità della materia. </s> <s id="s.001507">Ma perche in quel luogo non &longs;i fa mentione di quello, che Democrito <lb/>intendeua per Atomi: io dichiarerò la opinione di quello con breuità. </s> <s id="s.001508">Vedendo adunque Demo­<lb/>crito, che tutti i corpi, che hanno parti diuer&longs;e di nome, & di ragione, erano compo&longs;ti di parti, <lb/>che in nome, & in ragione erano &longs;imiglianti, uolle, che anche le parti, che conueniuano in nome <lb/>& in ragione, compo&longs;te fu&longs;&longs;ero di alcuni indiui&longs;ibili, & minuti&longs;&longs;imi corpicelli, che egli Atomi <lb/>nominaua. </s> <s id="s.001509">Et &longs;e bene egli non &longs;i puo ritrouare &longs;i picciola parte corporea, che non &longs;i po&longs;&longs;a diui­<lb/>dere in altre parti, & quelle &longs;imilmente in altre, & co&longs;i in infinito, niente dimeno il buon De­<lb/>mocrito, tanto da Ari&longs;totile commendato, uoleua che infiniti corpicelli &longs;i troua&longs;&longs;ero, che per mo <lb/>do alcuno non riceue&longs;&longs;ero diui&longs;ione, ma fu&longs;&longs;ero indiui&longs;ibili, & impartibili. </s> <s id="s.001510">Ma come egli inten­<lb/>de&longs;&longs;e que&longs;to, accioche un tant'huomo non &longs;ia contra ragione bia&longs;imato, io dirò, che la diui&longs;ione <lb/>de i corpi, come corpi, & delle parti, & delle particelle andaua in infinito, nè &longs;i poteuà que&longs;ta <lb/>diui&longs;ione po&longs;&longs;ibile intendere altrimenti: ma dall' altro canto con&longs;iderando egli molto bene, che i <lb/>corpi natarali erano compo&longs;ti di materia, & di forma, & che poteuano e&longs;&longs;er diui&longs;i in co&longs;i minu <lb/>te parti, che niuna di quelle pote&longs;&longs;e piu pre&longs;tare l'ufficio &longs;uo, nè fare la &longs;ua operatione naturale, <lb/>come &longs;e egli &longs;i piglia&longs;&longs;e una minima parte di carne, che non pote&longs;&longs;e fare la operatione di carne: <lb/>però egli uolle, che i corpi naturali fu&longs;&longs;ero compo&longs;ti di que&longs;ti corpicelli indiui&longs;ibili, non in quanto <lb/>corpi, & quantità intelligibile, & mathematica, ma in quanto corpi naturali compo&longs;ti di mate-<emph.end type="italics"/><pb pagenum="73" xlink:href="045/01/081.jpg"/><emph type="italics"/>ria, & dì forma naturale. </s> <s id="s.001511">& uolle, che que&longs;ti fu&longs;&longs;ero in&longs;initi, cioè di numero grandi&longs;&longs;imo, & di <lb/>figure diuer&longs;e. </s> <s id="s.001512">& però altri ritondi, altri piani, altri dritti, altri adunchi, altri aeuti, altri rin <lb/>tuzzati, altri di quadrata, altri d'altra forma facendo, & nel uacuo del mondo di&longs;pergendogli, <lb/>uoleua, che per la unione, & per la &longs;eparatione di quelli &longs;atta diuer&longs;amente, &longs;i produce&longs;&longs;ero le <lb/>co&longs;e, & manca&longs;&longs;ero, come ci appare. </s> <s id="s.001513">Et que&longs;ta era l'opinione di Democrito, per la quale &longs;i com <lb/>prende, ch egli uoluto habbia, & creduto, che la natural figura, & apparenza de i corpi &longs;ia la <lb/>forma loro &longs;o&longs;tantiale, & uera; il che in uero non è, perche la figura è accidente, & non &longs;o&longs;tan­<lb/>za delle co&longs;e. </s> <s id="s.001514">Pare che Vitr. uoglia, che Democrito habbia hauuto la opinione de i Pithagorici&longs;e <lb/>bene egli non ha nominato aere, acqua, terra, nè fuoco: & for&longs;e per que&longs;ta cagione egli nell'otta <lb/>uo libro non ha fatto mentione di que&longs;to. </s> <s id="s.001515">Ma dichiamo anchora noi alcuna co&longs;a. </s> <s id="s.001516">Quattro &longs;ono i <lb/><18>rincipij materiali di tutte le co&longs;e ( come uogliono gli antichi, che gli chiamorono primi corpi ) <lb/>& que&longs;ti &longs;ono terra, acqua, aete, & fuoco. </s> <s id="s.001517">Et &longs;e piu oltra pa&longs;&longs;are &longs;i uole&longs;&longs;e, egli &longs;i potrcbbe <lb/>dire anche que&longs;ti e&longs;&longs;er compo&longs;ti d'altri principij; ma non &longs;i conuiene piu adentro penetrare in que­<lb/>&longs;to luogo. </s> <s id="s.001518">perche hora &longs;i tratta di que principij, le qualità de i quali fanno tutte le mutationi, & <lb/>gli effetti, che nelle co&longs;e &longs;i trouano, & quelle qualità deono e&longs;&longs;er manife&longs;te come ne i &longs;eguenti uer­<lb/>&longs;i tratti dalle no&longs;tre Meteore &longs;i dimo&longs;tra.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001519"><emph type="italics"/>Poi che da prima il mondo giouanetto <lb/>Mo&longs;trò &longs;ua bella faccia, che confu&longs;a, <lb/>Ogni forma teneua in un' a&longs;petto:<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001520"><emph type="italics"/>Et la diuina mano aprio la chiu&longs;a <lb/>A gli elementi, & in gioconda uece <lb/>Fu &longs;ua uirtute nelle co&longs;e infu&longs;a.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001521"><emph type="italics"/>Delle piaggie mondane ancora fece <lb/>L'ordine bello, e'l uariato &longs;tile, <lb/>A beneficio dell' humana &longs;pece.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001522"><emph type="italics"/>Dalla terra l'humor, l'aura gentile <lb/>Dal foco &longs;ciel&longs;e, & a que corpi diede <lb/>Loco &longs;ublime, a que&longs;ti ba&longs;&longs;o, e humile.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001523"><emph type="italics"/>Et &longs;e l'un per di&longs;tanza l'altro eccede, <lb/>Pure han tra lor uirtù conueniente, <lb/>Ond'il tutto qua giu d'indi procede.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001524"><emph type="italics"/>Etra lor ben &longs;i cangiano &longs;ouente, <lb/>Et la terra nell' acqua ri&longs;oluta <lb/>Rara diuenta, liquida, & corrente.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001525"><emph type="italics"/>L'Humor la &longs;ua grauezza anche rifiuta, <lb/>E s' a&longs;&longs;otigliain aer, & que&longs;ti ancora <lb/>In &longs;ottili&longs;&longs;imo foco &longs;i tramuta.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001526"><emph type="italics"/>In que&longs;to uariar non &longs;i dimora, <lb/>Ch'il fuoco &longs;cema la &longs;ua leggierezza, <lb/>Et per la nuoua forma &longs;i &longs;colora.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001527"><emph type="italics"/>L'aer lubrico, & graue a piu chiarezza <lb/>Si moue del liquor, che a maggior pondo, <lb/>Giugne la &longs;iccitade, & la &longs;odezza.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001528"><emph type="italics"/>Co&longs;i natura uariando il mondo, <lb/>Ripara d'una in l'altra la &longs;emenza', <lb/>Delle co&longs;e, che'l fan bello, & giocondo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001529"><emph type="italics"/>Onde'l morir non è, &longs;e non &longs;tar &longs;enza <lb/>L'e&longs;&longs;er di prima, e'l na&longs;cer cominciare <lb/>Altr'e&longs;&longs;er, altra forma, altra apparenza.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001530"><emph type="italics"/>Que&longs;to continuato uariare <lb/>Dello &longs;tato mondano ordine tiene, <lb/>Soggetto alle uirtù cele&longs;ti, & chiare<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001531"><emph type="italics"/>Ch'indi lo eterno cor&longs;o lo mantiene, <lb/>Lo tempra, & lo di&longs;cerne, & uariande <lb/>In pro di noi uiuenti lo ritiene. </s> <s id="s.001532"><lb/>Et la mi&longs;ura d'ogni co&longs;a è'l quando.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001533"><emph type="italics"/>Quattro adunque &longs;ono le prime qualità, inanzi le quali niun'altra &longs;i troua. </s> <s id="s.001534">Caldo, &longs;ecco, hu­<lb/>mido, & freddo. </s> <s id="s.001535">da que&longs;te per le loro me&longs;colanze uengono tutte le altre, duro, molle, a&longs;pro, pia <lb/>no, dolce, amaro, lieue, graue, tenace, raro, den&longs;o, & ogni altra &longs;econda qualità. </s> <s id="s.001536">la doue è <lb/>nece&longs;&longs;ario, che lo Architetto, il quale ha da con&longs;iderare la bontà, & gli effetti della materia, <lb/>che egli deue adoperare, &longs;appia le forze delle prime qualità, come dice Vitr. quando nel fine del <lb/>pre&longs;ente Capo dice<emph.end type="italics"/> { <emph type="italics"/>Vedendo&longs;i adunque, che dal cor&longs;o di que principij conuenientemente compo <lb/>&longs;ti<emph.end type="italics"/> } <emph type="italics"/>& il re&longs;tante. </s> <s id="s.001537">Quattro anche &longs;ono le po&longs;&longs;ibili, & naturali concorrenze delle prime qualità <lb/>ne gli elementi; imperoche &longs;tanno in&longs;ieme l'humore e'l calore, l'humore e'l freddo, il freddo e'l <lb/>&longs;ecco, il &longs;ecco e'l caldo: & cia&longs;cuno de gli elementi ha due di quelle, ma una gli è propria, l'altra <lb/>appropriata. </s> <s id="s.001538">Il fuoco propriamente è caldo, l'aere humido, l'acqua fredda, la terra &longs;ecca, & <lb/>appropriatamente il fuoco è &longs;ecco, l'aere caldo, l'acqua humida, la terra fredda. </s> <s id="s.001539">Quelli elemen<emph.end type="italics"/><pb pagenum="74" xlink:href="045/01/082.jpg"/><emph type="italics"/>ti, che conuengono in una qualità, piu facilmente &longs;i tramut ano l uno, ncll'altro, come il fuoco, <lb/>& l'aere, l'aere & l'acqui, l'acqua & la terra: perche doue &longs;i troua conuenienza, & &longs;imiglian <lb/>za piu facile è la tramutatione. </s> <s id="s.001540">Il fuoco è caldo per lo &longs;uo propio calore, & &longs;ecco per la &longs;iccità, <lb/>che egli riceue dalla terra: l'aere per &longs;ua natura è humido, & dal fuoco riceue il calore; l'acqua <lb/>per &longs;e &longs;te&longs;&longs;a è fredda, & dallo aere preade la humidità: la terra per la &longs;ua propria &longs;iccità è &longs;ec­<lb/>ca, ma per lo freddo dell' acqua è fredda. </s> <s id="s.001541">Et quando &longs;i dice, che i &longs;egni cele&longs;ti &longs;ono ignei, aerei, <lb/>acquei, o terre&longs;tri, egli s'intende, che le loro uirtù &longs;ono atte ad influire qua giu gli effetti delle <lb/>qualità de gli elementi. </s> <s id="s.001542">& però l'Ariete, al quale è attribuito la natura & la comple&longs;&longs;ione del <lb/>fuoco, moltiplica con i &longs;uoi calori ne i corpi mondani gli ardori, &longs;caccia la frigidit à con&longs;uma le hu <lb/>midità, &longs;ecca, & a&longs;ciuga i corpi. </s> <s id="s.001543">perche adunque la uirtù di que&longs;to &longs;egno ha maggiore conue­<lb/>nienza col fuoco, che con al cuno altro de gli elementi, però dicemo, che egli è caldo & &longs;ecco. </s> <s id="s.001544">il <lb/>&longs;imile &longs;i puo dire de gli altri &longs;egni, &longs;econdo le uirtù, & le forze delle influenze loro. </s> <s id="s.001545">Appre&longs;&longs;o <lb/>le gia dette co&longs;e è degna di con&longs;ideratione la forza delle predette qualità, peroche il fuoco ri&longs;olue, <lb/>tira a&longs;e, dilata, &longs;epara, di&longs;trugge, alleggieri&longs;ce, & fa mobili tutte le co&longs;e. </s> <s id="s.001546">il freddo conden&longs;a, <lb/>re&longs;trigne, uccide; l'humido riempie, gonfia, oppila, ritarda; Il &longs;ecco rende a&longs;pro, ranco, a&longs;ciut­<lb/>to ogni &longs;oggetto. </s> <s id="s.001547">però è nece&longs;&longs;ario auuertire a i principij delle co&longs;e, che alla compo&longs;itione di quel­<lb/>le concorreno, per bene intendere gli effetti di cia&longs;cuna. </s> <s id="s.001548">Vitr. adunque comincia à trattare de i <lb/>mattoni. </s> <s id="s.001549">& dice.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.001550"><emph type="italics"/>Dei Mattoni. </s> <s id="s.001551">Cap. III.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.001552">ADVNQVE io dirò prima de i mattoni, di che terra &longs;i habbiano à formare; <lb/>perche non di areno&longs;a, nè giaro&longs;a, nè &longs;abbionegna lota &longs;i fanno; perche e&longs;­<lb/>fendo di tal &longs;orte di terra compo&longs;ti primamente &longs;ono pe&longs;anti, dapoi e&longs;&longs;endo <lb/>dalle pioggie bagnati, cadeno da i muri, & le paglie, che in quelli &longs;i pongo­<lb/>no, per la loro a&longs;prezza non &longs;i attacano, nè &longs;i compongono in&longs;ieme. </s> <s id="s.001553">Si deono adunque fa <lb/>re di terra bianchegna, creto&longs;a, o ro&longs;&longs;a, o di &longs;abbione ma&longs;chio, perche que&longs;te &longs;orti di ter­<lb/>ra per la liggierezza loro hanno &longs;olidità, non caricano nell'opera, & fanno buona pre&longs;a. </s> </p> <p type="main"> <s id="s.001554"><emph type="italics"/>Tratta Vitr. de i mattoni, o quadrelli, che noi dichiamo, & propone que&longs;ta con&longs;ideratione a <lb/>tutte le altre; percioche l'ultima ri&longs;olutione di tutta la fabrica è ridotta ne i mattoni. </s> <s id="s.001555">prende da <lb/>gli effetti, & u&longs;o loro argomento della terra, di che &longs;i deono fare, dapoi tratta del tempo di farli. </s> <s id="s.001556"><lb/>Delle pietre altre &longs;ono natur ali, altre fatte dall' Arte. <!-- KEEP S--></s> <s id="s.001557">Si tratta prima delle artificiali nel pre&longs;en­<lb/>te Capo; & poi delle naturali nel &longs;eguente: le artificiali adunque &longs;ono i mattoni. </s> <s id="s.001558">& quiui &longs;i ha da <lb/>&longs;apere di che terra, & in che modo &longs;i fanno, che qualitati, & che forma deono hauere, & in che <lb/>&longs;tagione &longs;i deono formare. </s> <s id="s.001559">Quanto adunque alla terra, &longs;i deue pigliare la terra creto&longs;a, bianche <lb/>gna, domabile, & anche la creta ro&longs;&longs;a, & il &longs;abbion ma&longs;chio, il quale è &longs;econdo la opinione <lb/>d'alcuni, un &longs;abbione molto gro&longs;&longs;o, & granito, che per e&longs;&longs;er tale è detto ma&longs;chio, &longs;i come &longs;i dice <lb/>incen&longs;o ma&longs;chio dalla forma. </s> <s id="s.001560">Io non po&longs;&longs;o affer mare, che co&longs;i &longs;ia, &longs;e per &longs;orte non è un &longs;abbione <lb/>creto&longs;o. </s> <s id="s.001561">& che faccia pa&longs;ta, o che &longs;i ponga in compagnia di altra &longs;orte di terra. </s> <s id="s.001562">La&longs;cia&longs;i del <lb/>tutto la terra giaro&longs;a, & &longs;abionegna. </s> <s id="s.001563">Batte&longs;i bene la terra, cioè &longs;i &longs;padazza con certe &longs;patelle <lb/>di ferro, & &longs;i doma bene cacciatone le ciotole, & le pietruzze, & piu, che è domata, & bat­<lb/>tuta, è migliore. </s> <s id="s.001564">Nc gli antichi s' è ueduto marmo pe&longs;to, & &longs;abbia ro&longs;&longs;a. </s> <s id="s.001565">La terra Samia, l'Are <lb/>tina, la Modene&longs;e, la Sagontina di &longs;pagna, & la Pergame&longs;e d'A&longs;ia lodate furono da gli antichi <lb/>nelle opere di terra: ma bi&longs;ogna, che noi ne pigliamo, di doue &longs;e ne puo hauerè. </s> <s id="s.001566">Si caua l'autun­<lb/>no, &longs;i macera il uerno, & &longs;i forma la primauera, ma'l uerno &longs;i copreno di &longs;ecca arena & la &longs;ta­<lb/>te di paglia bagnata. </s> <s id="s.001567">&longs;e la nece&longs;&longs;ità ci &longs;trigne&longs;&longs;e a formargli il uerno, ouero la &longs;tate, bi&longs;ogna fatti <lb/>che &longs;ono &longs;eccargli all' ombra per molto tempo, il che non &longs;i fa bene in meno di due anni. </s> <s id="s.001568">poi &longs;i deono<emph.end type="italics"/><pb pagenum="75" xlink:href="045/01/083.jpg"/><emph type="italics"/>cuocere. </s> <s id="s.001569">Cotti molto per lo gran fuoco diuent ano durißimi. </s> <s id="s.001570">De i mattoni alcuni &longs;i cuoceuano, <lb/>altri &longs;i la&longs;ciauano crudi, & de i crudi altri uetriati erano, altri nò. </s> <s id="s.001571">La Forma era tale. </s> <s id="s.001572">faceuan&longs;t an <lb/>ticamente lunghi un piede & mezo, larghi uno. </s> <s id="s.001573">Ve ne erano anche di quattro, & di cinque pal <lb/>mi per ogni uer&longs;o per gli edifici maggiori, benche &longs;e ne uedino nelle fabriche antiche di Roma, di <lb/>lunghi &longs;ei dita, großi uno, larghi tre per &longs;elicare a &longs;pina. </s> <s id="s.001574">ne gli archi, & ne i legamenti &longs;i uede­<lb/>no quadrelli di due piedi per ogni uer&longs;o. </s> <s id="s.001575">Lodan&longs;i anche, dice Leon Batti&longs;ta di forma triangolare <lb/>d'un piede per ogni uer&longs;o, großi un dito & mezo, & &longs;i fanno quattro di e&longs;&longs;i uniti, la&longs;ciandoui un po <lb/>co di taglio lungo i loro diametri, accioche dapoi che <expan abbr="&longs;arãno">&longs;aranno</expan> cotti piu facilmente &longs;i rompino. </s> <s id="s.001576">que&longs;ta <lb/>forma è commoda al maneggiare, di manco &longs;pe&longs;a, & di piu bel uedere: perche po&longs;ta nelle fronti del <lb/>muro riuolto lo angulo in dentro dimo&longs;tra larghezza di due piedi, l'opera &longs;i &longs;a piu &longs;oda, et piu uaga, <lb/>perche pare, che ogni mattone nel muro &longs;ia intiero. </s> <s id="s.001577">& le cantonate dentate fanno una fermezza <lb/>mirabile come dimo&longs;trano le figure I. & II. &longs;imilmente i mattoni &longs;ottili politi, et fregati &longs;ono di dura <lb/>ta, & &longs;i deono fregare &longs;ubito tratti dalla fornace. </s> <s id="s.001578">Deono e&longs;&longs;er di pe&longs;o leggieri, & deono re&longs;i&longs;tere alle <lb/>acque, & non riempir&longs;i d'humore, ma bene far buona pre&longs;a; leggieri per non caricare la fabrica; <lb/>re&longs;i&longs;tere alle acque, accioche per l'humore non &longs;i &longs;tacchino; far buona pre&longs;a per fortificare il ma <lb/>ro. </s> <s id="s.001579">Nella creta, di che &longs;i faceuano i mattoni &longs;i poneuano le paglie tagliate, co&longs;i dice Palladio <lb/>nel &longs;efto al duodecimo Capo. <!-- KEEP S--></s> <s id="s.001580">Et &longs;e ne legge la, doue il populo d'I&longs;rael era afflitto da Faraone nel­<lb/>l'opera di far i mattoni.<emph.end type="italics"/> { <emph type="italics"/>Diterra bianchegna<emph.end type="italics"/> } <emph type="italics"/>Vitr. dice Albida. <!-- REMOVE S-->Plinio albicante.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001581">Deon&longs;i fare la primauera, ouero l'autunno, accioche &longs;i &longs;ecchino egualmente con uno <lb/>i&longs;te&longs;&longs;o tenore. </s> <s id="s.001582">perche quelli, che &longs;i fanno al tempo del &longs;ole&longs;titio &longs;ono difetto&longs;i, perche e&longs; <lb/>&longs;endo cotta dal &longs;ole la lor coperta &longs;operficiale, gli &longs;a parere aridi, & &longs;ecchi, ma di dentro <lb/>non &longs;ono a&longs;ciutti, & poi le parti aride crepano quando &longs;eccando&longs;i &longs;i ri&longs;trigneno; & co&longs;i <lb/>fe&longs;si, &longs;i fanno dcbili; & però &longs;ommamente buoni &longs;aranno quelli, che due anni prima &longs;i for <lb/>meranno, percioche non piu pre&longs;to &longs;i po&longs;&longs;ono &longs;eccare quanto bi&longs;ogna. </s> <s id="s.001583">Et però quando fre&longs; <lb/>chi, & non &longs;ecchi &longs;ono po&longs;ti in lauoro indottaui la cro&longs;ta, & &longs;tando quella rigidamente &longs;o <lb/>da, dando in &longs;e non po&longs;&longs;ono ritenere la i&longs;te&longs;&longs;a altezza, che tiene la cro&longs;ta, ma &longs;i &longs;taccano: & <lb/>però non potendo la intonicatura della fabrica &longs;eparata &longs;tare da &longs;e, &longs;i rompe per la &longs;ua &longs;ot <lb/>tigliezza, & dando i pareti in &longs;e per &longs;orte, riceueno mancamento. </s> <s id="s.001584">per que&longs;ta ragione gli <lb/>Vticen&longs;i nel far i pareti u&longs;ano, & metteno il mattone quando è bene a&longs;ciutto, & &longs;ecco, & <lb/>fatto cinque anni prima, & che po&longs;cia que&longs;to &longs;ia dal magi&longs;trato pre&longs;idente approuato. </s> </p> <p type="main"> <s id="s.001585"><emph type="italics"/>Dal pre&longs;ente luogo &longs;i douerebbe moderare la ingoraigia di quelli, che non prima pen&longs;ato han­<lb/>no di fabricare, che in un &longs;ubito uogliono hauere finita l'opera, &longs;enza con&longs;ideratione, o &longs;cielta del <lb/>la materia. </s> <s id="s.001586">Ma giu&longs;tamente &longs;ono poi ca&longs;tigati, quando per la loro tracuraggine, gli auuiene qual­<lb/>che &longs;ini&longs;tro.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001587">Tre maniere di Mattoni &longs;i fanno, una, che da Greci didoron è detta, quella, che da <lb/>no&longs;tri &longs;i u&longs;a lunga un piede, larga mezo. </s> <s id="s.001588">L'altre &longs;ono da Greci adoperate ne gli edi&longs;icij lo­<lb/>ro, delle quali una è detta pendadoron, l'altra tetradoron. </s> <s id="s.001589">Doron chiamano il palmo: <lb/>& in Greco Doron &longs;i chiama il dare di doni, & quello, che &longs;i dà, &longs;i porta nella palma del­<lb/>la mano: quello adunque, che per ogni uer&longs;o è di palmi cinque, pentadoron, & quello di <lb/>quattro, tetradoron &longs;i dimanda; & le opere publiche &longs;i fanno di quelli, che &longs;ono di cin­<lb/>que palmi, & le priuate di quelli, che &longs;ono di quattro. </s> </p> <p type="main"> <s id="s.001590"><emph type="italics"/>Palladio dice, che i mattoni &longs;i deono gettare di Maggio, in una forma lunga due piedi, larga <lb/>uno, alta oncie quattro. </s> <s id="s.001591">Plinio, che piglia tutto il pre&longs;ente luogo da Vitr. dice, che'l mattone <lb/>detto diodoro era longo un piede, & mezo, largo un piede, & co&longs;i il Filandro dice, che ritroua <lb/>&longs;critto in un te&longs;to di Vitr. ma gli piace piu, che Vitr. habbia hauulo ri&longs;petto alla larghezza, & <lb/>che egli habbia inte&longs;o del palmo minore, doue due palmi fanno mezo piede. </s> <s id="s.001592">De i maggiori edifi­<lb/>cij, maggiori deono e&longs;&longs;er i membri, & de i membri maggiori le parti maggiori: & però i Greci fa­<lb/>ceuano differenza nel porre in opera i mattoni.<emph.end type="italics"/></s> </p> <pb pagenum="76" xlink:href="045/01/084.jpg"/> <p type="main"> <s id="s.001593">Oltra di que&longs;to &longs;i fanno mezi mattoni, i quali quando &longs;i metteno in opera, ne i cor&longs;i di <lb/>una parte &longs;i inetteno gli intieri, dall'altra i mezi: & però quando dall'una, & l'altra parte <lb/>&longs;ono po&longs;ti à drittura i pareti cambieuolmente con gli ordini, & cor&longs;i &longs;ono legati, <lb/>& i mezi mattoni &longs;opra quelle commi&longs;&longs;ure collocati, & fermezza, & a&longs;petto non ingrato <lb/>fanno da l'una, & l'altra parte. </s> </p> <p type="main"> <s id="s.001594"><emph type="italics"/>Vitruuio dimo&longs;tra una bella maniera di mettere i mattoni uno &longs;opra l'altro, & perche la uarie <lb/>tà porge diletto in qualunque opera, però trouando egli una forma di quadrelli differente in gran­<lb/>dezza, c'm&longs;egna di accompagnarli in modo, che habbiano del buono. </s> <s id="s.001595">perche que&longs;ti mezi mat­<lb/>toni accompagnati con quelli intieri, ne i cor&longs;i, & ne gli ordini, che egli dice, Coria, fanno un <lb/>bel uedere, quando dalle commi&longs;&longs;ure di due quadrelli maggiori, &longs;opra quelle uengono ad incon­<lb/>trare il mezo de i quadrelli minori, come &longs;i uede nella figura &longs;egnata, ani&longs;odomon. </s> <s id="s.001596">& l'e&longs;&longs;empio <lb/>de i mattoni triangulari nelle figure &longs;egnate. </s> <s id="s.001597">I. & II. <!-- KEEP S--></s> <s id="s.001598">Similmente ci &longs;ono le figure de i mattoni <lb/>detti didoron, tetradoron, & pentadoron, con le maniere di murare, delle quali parla Vitru. <!-- REMOVE S--><lb/>nell' ottauo capo del pre&longs;ente libro. </s> <s id="s.001599">&longs;eguita poi Vitr. di filo&longs;ofare cerca la ragione, che in alcuni <lb/>luoghi imattoni &longs;ecchi &longs;opra nuotano all'acqua, & dice.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001600">Sono nella Spagna di là Calento, & Malsia, & nell'A&longs;ia Pitane, doue i mattoni, quan <lb/>do &longs;ono &longs;pianati, & &longs;ecchi, po&longs;ti poi nell'acqua &longs;opranuotano. </s> <s id="s.001601">Ma perche po&longs;sino co&longs;i <lb/>nuotare, que&longs;ta mi pare, che &longs;ia la ragione: perche la terra di che &longs;i fanno, è come po= <lb/>mice, & però e&longs;&longs;endo liggiera, & ra&longs;&longs;odata dallo aere non riceue, nè a&longs;&longs;orbe il liquo <lb/>re, & però e&longs;&longs;endo di lieue, & di rara proprietà, nè la&longs;ciando, che entri l'humor nella <lb/>&longs;ua corporatura, &longs;ia di che pe&longs;o e&longs;&longs;er &longs;i uoglia, è forzata, come la pomice, da e&longs;&longs;a natu <lb/>ra di e&longs;&longs;er dall'acqua &longs;o&longs;tenuta, & di quc&longs;to modo ne hanno grande utilità, perche nè <lb/>troppo pe&longs;o hanno nelle opere, nè quando &longs;i formano &longs;ono disfatti dalle pioggie. </s> </p> <p type="main"> <s id="s.001602"><emph type="italics"/>Strabone nel terzo decimo libro della &longs;ua Co&longs;mografia co&longs;i dice. </s> <s id="s.001603">Dicono che appre&longs;&longs;o Pita­<lb/>ne i quadrelli nell'acqua &longs;opranuotano, il che adiuiene &longs;imilmente in Etruria in una certa I&longs;ola: <lb/>imperoche e&longs;&longs;endo quella terra piu lieue che l'acqua, accade che e&longs;&longs;a è portata. </s> <s id="s.001604">Po&longs;&longs;idonio rife­<lb/>ri&longs;ce hauer ueduto, che i quadrelli fatti d'una certa creta, che netta le co&longs;e inargentate, &longs;ta di <lb/>opra l'acqua. </s> <s id="s.001605">puo e&longs;&longs;er anche la regione del &longs;opranuotare, la ontuo&longs;ità della pietrà, & le <lb/>&longs;cauerno&longs;ità con la ecce&longs;siua &longs;iccità, che non admmetta l'huinore.<emph.end type="italics"/></s> </p> <pb pagenum="77" xlink:href="045/01/085.jpg"/> <figure id="id.045.01.085.1.jpg" xlink:href="045/01/085/1.jpg"/> <pb pagenum="78" xlink:href="045/01/086.jpg"/> </subchap2><subchap2> <p type="head"> <s id="s.001606"><emph type="italics"/>Dell' Arena. <!-- KEEP S--></s> <s id="s.001607">Cap. IIII.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.001608">MA nelle opere di cementi bi&longs;ogna hauer cura di truouar la arena, accioche <lb/>ella &longs;ia buona a me&longs;colar la materia, nè habbia &longs;eco terra me&longs;colata. </s> <s id="s.001609">Le &longs;pe­<lb/>cie dell'arena, che &longs;i caua &longs;ono que&longs;te. </s> <s id="s.001610">La nera, la bianca, la ro&longs;&longs;a, il car­<lb/>boncino. </s> <s id="s.001611">Di que&longs;te è ottima quella, che &longs;troppicciata con le dita, cigola: <lb/>ma quella che &longs;arà me&longs;chiata con terra, non hauerà a&longs;prezza. </s> <s id="s.001612">Similmente &longs;e l'Arena get­<lb/>tata &longs;opra una ue&longs;te bianca, & poi crollata non la&longs;cierà macchia, nè iui re&longs;terà terra di <lb/>&longs;otto, quella &longs;arà buona. </s> <s id="s.001613">Ma &longs;e non &longs;aranno luoghi di caua, allhora &longs;arà nece&longs;&longs;ario cer <lb/>nirla dai fiumi, & dalle giare, & anche dal lito del mare: ma quella nelle murature, & <lb/>ne i lauori ha que&longs;ti difetti, che difficilmente &longs;i a&longs;ciuga, nè doue ella &longs;i truoua il pa­<lb/>rete &longs;opporta di e&longs;&longs;er continuamente di molto pe&longs;o aggrauato, &longs;e con qualche trala&longs;cia­<lb/>mento dell' opera non ripo&longs;a, & oltra di que&longs;to riceue i uolti: & l'arena del mare ha que <lb/>&longs;to male di piu, che quando i muri &longs;aranno coperti, & intonicati &longs;putando la &longs;al&longs;ugine &longs;i <lb/>di&longs;cioglieranno. </s> <s id="s.001614">Ma le arene, che &longs;i cauano di fo&longs;&longs;e, po&longs;te in opera, pre&longs;to &longs;i a&longs;ciuga­<lb/>no, & nelle coperte de i muri durano, &longs;opportando i uolti: ma bi&longs;ogna cauarle di fre&longs;co, <lb/>perche &longs;tando troppo allo &longs;coperto &longs;i ri&longs;olueno in terreno per lo Sole, per la Luna, & per <lb/>la brina: doue poi po&longs;te in opera non ritengo i cementi, ma &longs;i &longs;taccano, & cadeno, & i <lb/>muri fatti con quelle non &longs;o&longs;tengono i pe&longs;i. </s> <s id="s.001615">Ma le arene che di fre&longs;co &longs;i cauano, &longs;e bene <lb/>hanno tanta bontà nel murare, non &longs;ono però utili nelle incro&longs;tature, & coperte de i <lb/>muri, perche la calce con la paglia me&longs;colata con la gra&longs;&longs;ezza di quella per la fortezza, <lb/>che tiene, non puo &longs;eccar&longs;i &longs;enza fi&longs;&longs;ure. </s> <s id="s.001616">Ma quella de i fiumi per la magrezza &longs;ua, come <lb/>l'A&longs;traco, bene battuta, & impa&longs;tata, riceue nelle coperte &longs;olidità, & fermezza. </s> </p> <p type="main"> <s id="s.001617"><emph type="italics"/>Vitruuio narra le &longs;orti dell'arena, i &longs;egni di cono&longs;cerla, quello, che in ca&longs;o di nece&longs;&longs;ità do­<lb/>uemo fare, i difetti, & le utilità di quelle &longs;orti. </s> <s id="s.001618">Plinio &longs;i &longs;erue di questo luogo al duodecimo <lb/>Capo del trente&longs;imo quinto libro. </s> <s id="s.001619">La &longs;o&longs;ianza della terra è in tre modi uariata; La gro&longs;&longs;a è det <lb/>ta arena. </s> <s id="s.001620">La &longs;ottile, argilla. </s> <s id="s.001621">La mediocre, commune. </s> <s id="s.001622">La arena è &longs;terile, & non è atta ad e&longs;&longs;er <lb/>formata in modo alcuno. </s> <s id="s.001623">L'argilla è buona, & per notrire le piante, & per e&longs;&longs;ere adoper ata <lb/>in molte forme. </s> <s id="s.001624">Di que&longs;ta &longs;orte era quella terra bianca gia detta Ta&longs;conicem, della quale in <lb/>I&longs;pagna &longs;opra gli alti monti &longs;i faceuano i luoghi alti dalle guardie, & a i dì no&longs;tri ( come riferi­<lb/>&longs;ce l'Agricola ) è una torre di questa terra appre&longs;&longs;o Coruerco città di Sa&longs;&longs;onia, piu &longs;icura dal <lb/>fuoco, da i uenti, & dalle pioggie, che &longs;e fu&longs;&longs;e fatta di pietre, perche per la &longs;ua grauità re&longs;i­<lb/>&longs;te all'impeto de i uenti, per lo fuoco s'indura; & non riceuendo l'humore, non &longs;i riempe d'acque; <lb/>& però deue e&longs;&longs;er gra&longs;&longs;a, &longs;ottile & &longs;pe&longs;&longs;a. </s> <s id="s.001625">Ma torniamo all'arena. </s> <s id="s.001626">Troua&longs;i arena di caua. </s> <s id="s.001627"><lb/>que&longs;ta tiene il primo grado di bontà. </s> <s id="s.001628">troua&longs;i anche arena di fiume &longs;otto'l primo &longs;uolo, & di <lb/>torrente &longs;otto la balza, doue l'acque &longs;oendono. </s> <s id="s.001629">truoua&longs;i anche la marina: que&longs;ta &longs;e deue e&longs; <lb/>&longs;ere buona, bi&longs;ogna, che negreggi, & &longs;ia lucida come uetro. </s> <s id="s.001630">i colori dell' arena &longs;ono il nero, il <lb/>bianco, & il ro&longs;&longs;o. </s> <s id="s.001631">La néra è a&longs;&longs;ai buona, la bianca tra quelle di caua è la peggiore: la ro&longs;&longs;a &longs;i <lb/>u&longs;aua a Roma: ma hora &longs;i u&longs;a la nera detta pozzolana, che è molto buona. </s> <s id="s.001632">Il Carboncino è ter <lb/>ra ar&longs;a dal fuoco rinchiu&longs;o ne i monti piu &longs;oda di terra non cotta, piu molle del tofo, & piu <lb/>commendabile. </s> <s id="s.001633">L'arena con giara me&longs;colata è utile alle fondamenta, & piu commendata la <lb/>piu minuta, angulo&longs;a, & &longs;enza terra. </s> <s id="s.001634">Tra le marine la piu gro&longs;&longs;a, & la piu uicina alle riue <lb/>è la migliore. </s> <s id="s.001635">pre&longs;to &longs;i &longs;ecca, & pre&longs;to &longs;i bagna, & &longs;i disfà per lo &longs;al&longs;o, & non &longs;o&longs;tenta <lb/>il pe&longs;o. </s> <s id="s.001636">L'arena di fiume è buona per intonicare i mari. </s> <s id="s.001637">l'arena di caua a i uolti continuati <lb/>&longs;erue; ma è gra&longs;&longs;a, tenace, & fa peli ne i pareti. </s> <s id="s.001638">Delle &longs;pecie di caua, è migliore quella, che <lb/>e&longs;&longs;endo &longs;tropicciata con le dita &longs;tride, che sdrucciolando giu de i panni bianchi, non la&longs;cia nè ter<emph.end type="italics"/><pb pagenum="79" xlink:href="045/01/087.jpg"/><emph type="italics"/>ra, nè macchia. </s> <s id="s.001639">La pozzolana dà mirabile &longs;odezza alle opere fatte nell acque. </s> <s id="s.001640">di que&longs;ta ne par­<lb/>lerà Vitruuio piu &longs;otto.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.001641"><emph type="italics"/>Dellacalce, & del modo d'impastarla. </s> <s id="s.001642">Cap. V.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.001643">Hauendo&longs;i chiaro quello che appartiene alla copia della arena, bi&longs;ogna anche <lb/>u&longs;ar diligenza, che la calce cotta &longs;ia di pietra bianca, ouero di Selice, & quella <lb/>che &longs;arà di piu den&longs;o, & duro Selice, &longs;arà piu utilmente adoperata nelle muta <lb/>ture: ma quella che &longs;i farà di &longs;pugno&longs;a, &longs;arà buona nelle intonicature. </s> <s id="s.001644">Quan <lb/>do la calce &longs;arà e&longs;tinta, allhora &longs;i deue impa&longs;tare la materia in que&longs;to modo, che piglian­<lb/>do&longs;i arena di caua tre parti di quelle con una di calce &longs;i tempra: &longs;e di &longs;iume, o di mare, due <lb/>parti di arena, & una di calce, & co&longs;i giu&longs;ta uerrà la ragione della malta, & della t em­<lb/>pra &longs;ua. </s> <s id="s.001645">& anche &longs;e nell'arene o di fiume, o di mare pi&longs;te &longs;eranno le &longs;pezzature di te&longs;tole, & <lb/>criuellate, la terza parte farà la pa&longs;ta migliore. </s> <s id="s.001646">Ma perche la calce riceuendo l'acqua, & <lb/>l'arena faccia piu &longs;oda la muratura, que&longs;ta pare, che &longs;ia la ragione. </s> <s id="s.001647">perche i &longs;a&longs;si, come <lb/>gli altri corpi, &longs;ono compo&longs;ti di elementi, & quelli, che nella loro mi&longs;tura hanno piu <lb/>dello aere, &longs;ono teneri, quelli, che abondano d'acqua &longs;ono lenti, per l'humore, quelli, <lb/>che hanno piu della terra &longs;ono duri, & quelli doue predomina il fuoco, &longs;ono fragili. </s> <s id="s.001648">& <lb/>però di que&longs;ti corpi, &longs;e i &longs;a &longs;si, prima che &longs;iano cotti, pi&longs;tati minutamente, & con l'arena <lb/>impa&longs;tati, &longs;aranno po&longs;ti in opera, nè &longs;i faranno &longs;odi, nè potranno tenere unita la fabric <lb/>ca. </s> <s id="s.001649">Ma quando gettati nella fornace pre&longs;i dal gran feruore del fuoco, haueranno perduto <lb/>la uirtu della loro &longs;odezza, allhora abbruciate, & con&longs;umate le forze loro, re&longs;tano con <lb/>buchi, & fori aperti, & uoti. </s> <s id="s.001650">Il liquore adunque, che è nel corpo di quella pietra, & lo <lb/>aere e&longs;&longs;endo con&longs;umato, o leuato, hauendo in &longs;e a&longs;co&longs;o il re&longs;tante del calore, po&longs;to che <lb/>è nell'acqua, prima che'l fuoco e&longs;ca fuori, ricouera la forza, & penetrando l'humore nel <lb/>la rarità de i fori, bolle, & co&longs;i raffreddato manda fuori del corpo della calce quel feruo <lb/>rc: & però i &longs;a&longs;si tratti della fornace non ri&longs;pondeno al loro primo pe&longs;o: & benche hab­<lb/>biano la i&longs;te&longs;&longs;a grandezza, pure po&longs;cia che è a&longs;ciutto il liquore, &longs;i trouano mancare della <lb/>terza parte del pe&longs;o. </s> <s id="s.001651">E&longs;&longs;endo adunque i buchi loro aperti, & rari pigliano la me&longs;colan­<lb/>za dell'arena, & &longs;i accompagnano, & &longs;eccando&longs;i con le pietre &longs;i raunano, & ferma fan­<lb/>no la muratura. </s> </p> <p type="main"> <s id="s.001652"><emph type="italics"/>Nel pre&longs;ente luogo &longs;i tratta della calce, la natura, la materia, & la comparatione della ma <lb/>teria, di che &longs;i fa la calce. </s> <s id="s.001653">Ogni pietra purgata da humori, &longs;ecca, frale, & che non habbia co <lb/>&longs;a da e&longs;&longs;er con&longs;umata dal fuoco, è buona per far la calce. </s> <s id="s.001654">Gli Architetti antichi lodauano la <lb/>calce fatta di pietra duri&longs;&longs;ima, &longs;pe&longs;&longs;a, & candida. </s> <s id="s.001655">Vitruuio loda la Selice: benche altri dica, <lb/>che ogni pietra da calce cauata &longs;ia migliore della raccolta; & di ombro&longs;a, & humida ca­<lb/>ua piu to&longs;to, che di &longs;ecca; & di bianca, meglio che di bruna. </s> <s id="s.001656">Quella calce, che è fatta di <lb/>Macigni è di natura gra&longs;&longs;a, &longs;e non ha &longs;ale, & è piu ammaßata, & limata getta polue. </s> <s id="s.001657">La <lb/>calce &longs;i cuoce in hore &longs;e&longs;&longs;anta: & la piu lodata deue re&longs;tare il terzo piu liggiera della &longs;ua pietra. </s> <s id="s.001658"><lb/>Ma è co&longs;a mirabile del boglimento, che ella fa, quando &longs;i le getta l'acqua di &longs;opra. </s> <s id="s.001659">Egli &longs;i <lb/>legge in &longs;anto. </s> <s id="s.001660">Ago&longs;tino al quarto Capo del uente&longs;imo primo libro della Città di Dio, que&longs;to <lb/>bello &longs;entimento. </s> <s id="s.001661">La calce concepe il fuoco dal fuoco. </s> <s id="s.001662">& e&longs;&longs;endo la zolla fredda immer&longs;a nel <lb/>l'acqua, &longs;erua il fuoco na&longs;co&longs;o, di modo, che egli a niun &longs;en&longs;o è manife&longs;to. </s> <s id="s.001663">ma però &longs;i ha per <lb/>i&longs;perienza, che &longs;e bene il fuoco non appare, &longs;i &longs;a però, che egli ui è dentro; per il che chia <lb/>mamo quella calce uiua: come, che il fuoco na&longs;co&longs;o &longs;ia l'anima inui&longs;ibile di quel corpo ui&longs;ibi <lb/>le: ma quanto è mirabile, che mentre ella &longs;i e&longs;tingue piu &longs;i accenda? </s> <s id="s.001664">& per leuarle, il fuo <lb/>co occulto &longs;e le infonda l'acqua? </s> <s id="s.001665">& e&longs;&longs;endo prima fredda, poi bolle da quella co&longs;a, di doue tut-<emph.end type="italics"/><pb pagenum="80" xlink:href="045/01/088.jpg"/><emph type="italics"/>te le co&longs;e boglienti &longs;i raffreddano. </s> <s id="s.001666">Pare adunque che quella zolla e&longs;piri mentre appare il &longs;ue­<lb/>co, che &longs;i parte. </s> <s id="s.001667">& finalmente re&longs;ta come morta, in modo che gettat aui di nuouo l'acqua, ella <lb/>piu non arde, & quella calce, che prima era chiamata uiua, poi che è e&longs;tinta, morta &longs;i <lb/>chiama: & dí piu &longs;i ha, che la calce non boglie &longs;e ui &longs;arà infu&longs;o l'oglio. </s> <s id="s.001668">Dico io che il calore <lb/>che acqui&longs;ta la calce nella fornace, rinchiu&longs;o in e&longs;&longs;a &longs;i re&longs;trigne, fuggendo dal freddo dell'ac­<lb/>qua, come da &longs;uo nimico, & per tale unione &longs;i rinforza, & diuenta &longs;uoco: & però l'acqua <lb/>aceende la calce, che co&longs;i non accende la cenere, perche nella cenere &longs;i con&longs;uma il calore: pe­<lb/>rò la calce tratta di fornace purgata dal fuoco, è liggiera, & &longs;onora, è lodata: & ma&longs;si­<lb/>mamente &longs;e bagnata con grande &longs;trepito euapora: ma con que&longs;ta &longs;i me&longs;chia piu arena, che con <lb/>quella, che tratta dalla fornace hauerà le &longs;caglie in polue ri&longs;olte. </s> <s id="s.001669">La calce &longs;i fa piu tenera <lb/>criuellando&longs;i la &longs;abbia, piu &longs;pe&longs;&longs;a con la &longs;abbia angulare, piu tenace con la terza parte di te&longs;to­<lb/>le pi&longs;te, & bene incorporate, & ben battute.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.001670"><emph type="italics"/>Della polue pozzolana. </s> <s id="s.001671">Cap. VI.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.001672">Evui anche una &longs;pecie di polue, che di natura fa co&longs;e merauiglio&longs;e. </s> <s id="s.001673">Na&longs;ce a <lb/>Baie, & ne i campi di coloro, che &longs;ono appre&longs;&longs;o il monte Ve&longs;uuio. </s> <s id="s.001674">Que­<lb/>&longs;ta temperata con la calce, & con cementi, non &longs;olo dà fermezza a gli altri edi­<lb/>ficij, ma le grandi opere, che &longs;i fanno nel Mare per lei &longs;ott'acqua &longs;i fanno <lb/>piu forti. </s> <s id="s.001675">La ragione di que&longs;to è, perche &longs;otto que monti, & &longs;otterra &longs;ono ardenti&longs;sime, <lb/>& &longs;pe&longs;&longs;e fonti, lequali non &longs;arebbeno, &longs;e nel fondo loro non haue&longs;&longs;ero zolfo, ouero allume, <lb/>ouero bitume, che fanno grandi&longs;simi fuochi. </s> <s id="s.001676">Penetrando adunque il fuoco, & il uapo­<lb/>re della fiamma nel mezo delle uene, & ardendo rende quella terra lieue, & il tofo, che <lb/>na&longs;ce in que luoghi a&longs;&longs;orbe, & è &longs;enza liquore. </s> <s id="s.001677">E&longs;&longs;endo adunque tre co&longs;e di &longs;imigliante <lb/>natura dalla uehemenza del fuoco formate in una mi&longs;tura concorrenti, &longs;ubito che han­<lb/>no riceuuto il liquore, &longs;i raunano, & pre&longs;o l'humore indurite &longs;i raunano, & ra&longs;&longs;odano <lb/>di modo, che nè'l mare, nè la forza dell'acqua le puo di&longs;ciogliere: Ma che in que luoghi <lb/>&longs;iano ardori, egli &longs;i dimo&longs;tra per que&longs;to; che ne i monti Cumani, & Baiani, &longs;i cauano i <lb/>luoghi per li bagni, ne i quali na&longs;cendo il feruente uapore dal fondo con la forza del fuo= <lb/>co penetra per quella terra, & trapa&longs;&longs;andola in que luoghi ri&longs;orge, & d'indi per li &longs;udato­<lb/>ri &longs;i cauano grandi utilità. </s> <s id="s.001678">Similmente &longs;i narra anticamente e&longs;&longs;ere cre&longs;ciuti gli ardori, & <lb/>e&longs;&longs;er abondati &longs;otto il Monte Ve&longs;uuio, & d'indi hauere per li campi &longs;par&longs;a la fiamma d'in­<lb/>torno: & però quella pietra, che &longs;pugna, ouero pomice Pompeiana &longs;i chiama, cotta per­<lb/>fettamente, da un'altra &longs;pecie di pietra in que&longs;ta qualità pare, che &longs;ia ridotta. </s> <s id="s.001679">& quella <lb/>&longs;orte di &longs;pugna, che iui &longs;i caua, non na&longs;ce in ogni luogo, &longs;e non d'intorno il monte Etna, <lb/>& i colli della Mi&longs;ia, detti da i Greci, Catachiecaumeni, & altroue &longs;e iui &longs;ono que&longs;te pro­<lb/>prietà di luoghi. </s> <s id="s.001680">&longs;e adunque in quelle parti &longs;i trouano le fonti d'acque feruenti; & da gli <lb/>antichi &longs;i narra, che nelle concauità de i monti &longs;i trouano caldi uapori, & le fiamme &longs;ono <lb/>ite per molti luoghi uagando, pare ueramente e&longs;&longs;ere certa co&longs;a, che per la uehemenza del <lb/>fuoco dal tofo, & dalla terra, come nelle fornaci dalla calce, co&longs;i da que&longs;ti &longs;a&longs;si e&longs;&longs;er trat­<lb/>to il liquore. </s> <s id="s.001681">& però da co&longs;e di&longs;pari, & di&longs;simili in&longs;ieme raunate, & in una uirtù ri&longs;trette, <lb/>& il caldo digiuno d'humore dall'acqua &longs;ubito &longs;atiato raccommunando i corpi, bolle per <lb/>lo calore na&longs;co&longs;o, & fa, che quelli fortemente s'uni&longs;chino, & pre&longs;to riceuino la forza del­<lb/>la &longs;odezza. </s> <s id="s.001682">Ci re&longs;ta il di&longs;iderio di &longs;apere, perche e&longs;&longs;endo in Etruria molte fonti d'acque <lb/>boglienti, non ui &longs;ia anche la polue, che na&longs;ce ne i detti luoghi, laquale per la i&longs;te&longs;&longs;a ra­<lb/>gione faccia &longs;ode l'opere di &longs;ott'acqua. </s> <s id="s.001683">& però prima che cio &longs;ia richie&longs;to, mi pare, per­<lb/>che co&longs;i &longs;ia, renderne conto. </s> <s id="s.001684">In tutte le parti, & in tutti i luoghi non &longs;i truoua la i&longs;te&longs;&longs;a <pb pagenum="81" xlink:href="045/01/089.jpg"/>&longs;orte di terra, nè di pietre, ma alcune &longs;ono terregne, alcune fabbionegne, alcune giaro­<lb/>&longs;e, & altre areno&longs;e, & co&longs;i altroue diuer&longs;e, & del tutto di&longs;simili, & di&longs;pari maniere, co­<lb/>me &longs;ono le regioni &longs;i truouano le qualità della terra. </s> <s id="s.001685">& que&longs;to &longs;i puo molto bene con&longs;ide­<lb/>rare, che la doue l'Apennino cigne le parti d'Italia, & di To&longs;cana qua&longs;i in ogni luogo <lb/>non manca l'arena di caua: ma oltra lo Apennino doue è il Mare Adriatico, niente &longs;i <lb/>troua, nè in Achaia, nè in A&longs;ia, & in breue oltra il mare appena &longs;e ne &longs;ente il nome: <lb/>Adunque non in tutti i luoghi, doue bolleno le fonti dell'acque calde, concorrer po&longs;&longs;ono <lb/>le mede&longs;ime commodità delle co&longs;e, ma tutte ( come è da natura ordinato ) non &longs;econdo <lb/>le uoglie humane, ma per &longs;orte diui&longs;e, & di&longs;tribuite &longs;ono. </s> <s id="s.001686">In que luoghi adunque, ne i <lb/>quali non &longs;ono i monti terregni, ma che tengono le qualità della materia di&longs;po&longs;ta pa&longs;­<lb/>&longs;ando per quelli la forza del fuoco gli abbrucia. </s> <s id="s.001687">& quello, che è molle, & tenero a&longs;ciuga, <lb/>& la&longs;cia quello, che è a&longs;pro. </s> <s id="s.001688">& però &longs;i come in campagna la terra abbruciata diuenta pol­<lb/>ue, co&longs;i la cotta in Etruria &longs;i fa Carboncino, & l'una, & l'altra materia è ottima nel fabri <lb/>care: ma ritengono altra forza ne gli edificij, che &longs;i fanno in terra, altra nelle grandi ope= <lb/>re, che &longs;i fanno in mare, perche la uirtu della materia iui è piu molle del tofo, & piu &longs;o­<lb/>da, che la terra. </s> <s id="s.001689">del qual tofo del tutto abbru&longs;ciato dal fondo per la forza del calore in al­<lb/>cuni luoghi &longs;i fa quella &longs;orte di arena, che &longs;i chiama carboncolo. </s> </p> <p type="main"> <s id="s.001690"><emph type="italics"/>Plinio piglia que&longs;to luogo nel terzodecimo Capo del trente&longs;imo quinto libro, & non s'in­<lb/>tende, che Vitru. parli qui di quella pozzolana, che hoggidì &longs;i u&longs;a in Roma. <!-- KEEP S--></s> <s id="s.001691">il re&longs;to è facile <lb/>per la interpretatione.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.001692"><emph type="italics"/>De i luoghi, doue &longs;i tagliano le pietre.<emph.end type="italics"/></s> </p> <p type="head"> <s id="s.001693"><emph type="italics"/>Cap. VII.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.001694">Fin qui chiaramente io ho ragionato della calce, & dell'arena di che diuer&longs;ità <lb/>&longs;iano, & che forze s'habbiano: &longs;eguita che &longs;i dica per ordine delle petraie, <lb/>delle quali gran copia di quadrati &longs;a&longs;si, & di cementi &longs;i cauano per gli edifi­<lb/>cij. </s> <s id="s.001695">Que&longs;te &longs;i truouano di uarie, & molto di&longs;simiglianti maniere, perche <lb/>alcune &longs;ono molli, come d'intorno a Roma, le ro&longs;&longs;e, le Paliane, le Fidenate, le Albane; al­<lb/>cune temperate, come le Teuertine, le Amiternine, le Sorattine, & altre di que&longs;ta maniera; <lb/>Alcune poi &longs;ono dure, come &longs;ono le &longs;elici. </s> <s id="s.001696">Sonui anche altre &longs;pecie, come in Campagna <lb/>il Tofo nero, & il ro&longs;&longs;o. </s> <s id="s.001697">Nell'Vmbria, nel Piceno, & nella Marca Triui&longs;ana il bianco, <lb/>il quale come legno con dentata &longs;ega &longs;i taglia. </s> <s id="s.001698">Ma tutte quelle, che &longs;ono molli hanno <lb/>que&longs;ta utilità, che quando i &longs;a&longs;si &longs;ono cauati dalla petraia facilmente &longs;i maneggiano nelle <lb/>opere: & &longs;e &longs;ono al coperto &longs;o&longs;tentano i pe&longs;i. </s> <s id="s.001699">ma allo aere indurite, & gelate per le brine, <lb/>& per li cadimenti delle acque, &longs;i &longs;pezzano, & &longs;e &longs;ono appre&longs;&longs;o le parti maritime &longs;ono man <lb/>giate dalla &longs;al&longs;ugine, nè reggeno a i gran caldi. </s> <s id="s.001700">Le Teuertine, & quelle, che &longs;ono della <lb/>i&longs;te&longs;&longs;a maniera &longs;opportano i carichi delle opere, & le ingiurie de i mali tempi, ma non &longs;o­<lb/>no &longs;icure dal fuoco: & &longs;ubito, che da quello &longs;ono toccate &longs;i &longs;pezzano, percioche nella lo­<lb/>ro naturale temperatura hanno poco humore, & non molto del terreno. </s> <s id="s.001701">ma a&longs;&longs;ai dello <lb/>aere, & del fuoco. </s> <s id="s.001702">E&longs;&longs;endo adunque in quelle poco della terra, & del humore, & pene­<lb/>trando anche il fuoco per la forza del uapore &longs;cacciatone lo aere da quelle, &longs;eguitandole <lb/>affatto, & occupando gli &longs;pacij uoti delle uene, boglie, & le rende &longs;imili a i &longs;uoi corpi <lb/>ardenti. </s> <s id="s.001703">&longs;ono anche altre petraie ne i confini de Tarquine&longs;i dette Anitiane, del colore del­<lb/>le Albane. <!-- KEEP S--></s> <s id="s.001704">le officine delle quali &longs;pecialmente d'intorno il lago di Vol&longs;cena, & nella pre­<lb/>fettura Stratonie&longs;e &longs;i truouano, que&longs;te hanno uirtù infinite, perche nè i grandi giacci, nè <lb/>la forza del fuoco le nuoce, ma ferme &longs;ono, & per que&longs;to durabili alla uecchiezza. </s> <s id="s.001705">percio­<lb/>che nella loro mi&longs;tura hanno poco dello aere, & del fuoco, ma di temperato humore, <pb pagenum="82" xlink:href="045/01/090.jpg"/>& molto del terreno, & co&longs;i con i&longs;pe&longs;&longs;e compo&longs;itioni a&longs;&longs;odate, nè dalle tempe&longs;tate, nè dal­<lb/>le forze del fuoco &longs;enteno nocumento. </s> <s id="s.001706">& que&longs;to &longs;i puo ma&longs;simamente giudicare da i mo­<lb/>numenti, che &longs;ono d'intorno la terra di Ferento, fatti di que&longs;te pietre. </s> <s id="s.001707">perche hanno le <lb/>&longs;tatue grandi fatte egregiamente, & le figurine, & i fiori, & gli acanti mirabilmente &longs;col­<lb/>piti, lequali benche &longs;iano uecchie, pareno però co&longs;i nuoue, che &longs;e fu&longs;&longs;ero hor hora fatte. <lb/></s> <s id="s.001708">&longs;imilmente i fabbri del metallo adoperano per li getti le forme fatte di que&longs;te pietre, & ne <lb/>hanno di quelle per fondere il metallo grandi&longs;simi commodi. </s> <s id="s.001709">le quali &longs;e fu&longs;&longs;ero pre&longs;&longs;o <lb/>Roma, degna co&longs;a &longs;arebbe, che da que&longs;te officine fu&longs;&longs;ero fatte tutte le co&longs;e, ma forzan­<lb/>doci la nece&longs;sità per la uicinanza che delle ro&longs;&longs;e, & delle Paliane, & di quelle, che &longs;ono ui­<lb/>cine a Roma ci &longs;eruiamo, &longs;e alcuno uorrà porle in opera &longs;enza difetto, bi&longs;ognerà in que­<lb/>&longs;to modo apparecchiarle. </s> <s id="s.001710">Douendo&longs;i fabricare, due anni prima non nel uerno, ma nel­<lb/>la &longs;tate &longs;i caueranno quelle pietre, & &longs;i la&longs;ciaranno &longs;te&longs;e allo &longs;coperto. </s> <s id="s.001711">& quelle, che dal­<lb/>le pioggie & mali tempi per lo &longs;pacio di due anni &longs;aranno &longs;tate offe&longs;e, &longs;iano po&longs;te nelle fon<lb/>damenta: le altre non gua&longs;te, come approuate dalla natura, potranno &longs;opra terra nelle <lb/>fabriche mantener&longs;i, nè &longs;olamente &longs;i deono que&longs;te co&longs;e o&longs;&longs;eruare nelle pietre quadrate, ma <lb/>anche nelle opere di cemento. </s> </p> <p type="main"> <s id="s.001712"><emph type="italics"/>Vitruuio tratta in que&longs;to luogo delle pietre fatte dalla natura, & ne dimo&longs;tra la diuer&longs;ità, l'u­<lb/>&longs;o, & il commodo di e&longs;&longs;e molto facilmente. </s> <s id="s.001713">& tutta que&longs;ta materia &longs;imilmente è stata pigliata, <lb/>& leuata di pe&longs;o dirò co&longs;i, da Plinio nel trente&longs;imo quinto libro al uige&longs;imo &longs;econdo Capo. <!-- KEEP S--></s> <s id="s.001714"><lb/>Hora anche noi in &longs;omma diremo. </s> <s id="s.001715">Cinque generi di pietre naturali &longs;i trouano, la Gemma, il <lb/>marmo, la cote, il &longs;elice, il &longs;a&longs;&longs;o. </s> <s id="s.001716">Le Gemme &longs;i cono&longs;ceno dalla &longs;o&longs;tanza, dal uedere, dal toc­<lb/>care, & dalla lima. </s> <s id="s.001717">&longs;ono piu graui, & piu fredde del uetro, non pati&longs;ceno la lima, hanno lo <lb/>&longs;plendore piu &longs;aldo, piu chiaro, & empieno, & dilettano la uista piu che &longs;i mirano, nè &longs;i &longs;mar­<lb/>ri&longs;cono al lume della lucerna, & &longs;ono di &longs;o&longs;tanza uiuace, & piena. </s> <s id="s.001718">Di que&longs;te non ragiona l'Ar­<lb/>chitetto, perche non uanno nelle &longs;abriche. </s> <s id="s.001719">I marmi prouano la lima, &longs;ono grandi, & ri&longs;plen­<lb/>deno: le &longs;elici hanno come &longs;quame; le coti come grani; i &longs;a&longs;&longs;i non hanno &longs;plendore. </s> <s id="s.001720">Ragionan­<lb/>do delle pietre, con&longs;ideramo il tempo di cauarle, la quantità, la qualità, la comparatione, l'u&longs;o. <lb/></s> <s id="s.001721">& da gli edificij fatti &longs;i pigliano le lor qualità. </s> <s id="s.001722">però &longs;i ha, che la pietra bianca ubidi&longs;ce piu, che <lb/>la fo&longs;ca. </s> <s id="s.001723">La trapparente meglio, che l'opaca. </s> <s id="s.001724">piu intrattabile quella, che piu s'a&longs;&longs;omiglia al &longs;a­<lb/>le. </s> <s id="s.001725">il &longs;a&longs;&longs;o a&longs;per&longs;o come di arena, è a&longs;pro, &longs;e gli u&longs;ciranno come punte nere è indomabile. </s> <s id="s.001726">l'a&longs;per­<lb/>&longs;o di goccie cantonate, è piu &longs;odo, che lo a&longs;per&longs;o di ritonde. </s> <s id="s.001727">Quanto meno è uenato, tanto piu <lb/>è intiero. </s> <s id="s.001728">piu dura quello, che è di colore purgato & limpido. </s> <s id="s.001729">migliore è quello, la cui uena è <lb/>&longs;imile alla pietra. </s> <s id="s.001730">La uena &longs;ottile mo&longs;tra la pietra &longs;piaceuole. </s> <s id="s.001731">la piu torta, & che piu gira, è <lb/>piu au&longs;tera. </s> <s id="s.001732">La nodo&longs;a è piu acerba. </s> <s id="s.001733">quella pietra piu ageuolmente &longs;i fende, che nel mezo ha <lb/>una linea ro&longs;&longs;a come putrida. </s> <s id="s.001734">pro&longs;&longs;ima a quella è la bianchegna, quella, che pare un giaccio uer­<lb/>de è piu difficile. </s> <s id="s.001735">Il numero delle uene dimo&longs;tra la pietra incon&longs;tante, & che crepa. </s> <s id="s.001736">Le uene <lb/>dritte &longs;ono giudicate piggiori. </s> <s id="s.001737">Quella pietra è piu &longs;oda, le cui &longs;cheggie &longs;ono piu acute, & ter&longs;e. </s> <s id="s.001738"><lb/>La pietra, che &longs;pezzata rimane piu li&longs;cia di &longs;uperficie, è piu atta allo &longs;calpello. </s> <s id="s.001739">l'a&longs;pra quanto <lb/>piu biancheggia, tanto meno ubidi&longs;ce al ferro. </s> <s id="s.001740">La fo&longs;ca quanto piu la Luna &longs;cema, tanto meno <lb/>con&longs;ente al ferro. </s> <s id="s.001741">ogni pietra ignobile, tanto è piu dura, quanto è piu cauerno&longs;a. </s> <s id="s.001742">Quella, che <lb/>non a&longs;ciuga l'acqua, che &longs;e le &longs;pruzza &longs;opra, è piu cruda. </s> <s id="s.001743">ogni pietra graue è piu &longs;oda, & piu &longs;i <lb/>li&longs;cia, che la leggiera. </s> <s id="s.001744">& la piu leggiera della piu graue è piu fragile. </s> <s id="s.001745">Quella che perco&longs;&longs;a ri&longs;uo­<lb/>na, è piu den&longs;a della &longs;orda. </s> <s id="s.001746">La &longs;tropicciata, che &longs;a di &longs;olfo, è piu dura che la &longs;enza odore. </s> <s id="s.001747">Quel <lb/>la, che piu re&longs;i&longs;te allo &longs;calpello, piu dura alle acque, & mali tempi. </s> <s id="s.001748">Ogni pietra di nuouo ca­<lb/>uat a, è piu tenera. </s> <s id="s.001749">& io ne ho uedute in Inghilterra che bi&longs;ogna lauorarle alle caue, perche &longs;e <lb/>&longs;tanno troppo cauate s'indurano di modo, che non &longs;i po&longs;&longs;ono lauorare, &longs;e non &longs;tanno nell'acqua <lb/>un'inuernata. </s> <s id="s.001750">&longs;offiando l'O&longs;tro piu facilmente &longs;i lauorano le pietre, che &longs;offiando Borea. <!-- KEEP S--></s> <s id="s.001751">quella pie­<lb/>tra, che nell'acqua &longs;i fa piu graue, &longs;i disfa per l'humore. </s> <s id="s.001752">quella, che per lo fuoco &longs;i &longs;gretola, non<emph.end type="italics"/><pb pagenum="83" xlink:href="045/01/091.jpg"/><emph type="italics"/>dura al Sole. <!-- KEEP S--></s> <s id="s.001753">& tanto &longs;ia detto della comparatione delle pietre, &longs;i come Leon Batti&longs;ta haraccol­<lb/>to. </s> <s id="s.001754">Delle altre co&longs;e pertinenti alle pietre &longs;i dirà di &longs;otto.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.001755"><emph type="italics"/>Delle maniere di murare, qualita, modi, & luoghi <lb/>di quelle. </s> <s id="s.001756">Cap. VIII.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.001757">LE maniere del murare &longs;ono que&longs;te prima quella, che &longs;i fa in modo di rete, <lb/>che hora &longs;i u&longs;a da ogn'uno. </s> <s id="s.001758">poi l'antica, la quale &longs;i chiama incerta. </s> <s id="s.001759">Di que­<lb/>&longs;te due è piu gratio&longs;a la reticulata, la quale poi è facile a fare le fi&longs;&longs;ure, per­<lb/>che in ogni parte ha i letti, & le commi&longs;&longs;ure slegate: ma la maniera incerta <lb/>&longs;edendo i cementi l'uno &longs;opra l'altro, in modo di imbrici, non bella, come la reticulata, <lb/>ma &longs;i bene piu ferma rende la muratura: uero è che l'una, & l'altra maniera deue e&longs;&longs;er <lb/>impa&longs;tata di minuti&longs;sime co&longs;e, accioche i pareti &longs;pe&longs;&longs;o &longs;atiati della materia fatta di cal­<lb/>ce, & d'arena piu lungamente &longs;i tenghino in&longs;reme; perche e&longs;&longs;endo di molle, & rara uirtù <lb/>&longs;uggendo il &longs;ucco dalla materia, di&longs;eccano. </s> <s id="s.001760">ma quando abonderà la copia della calce, & <lb/>dell'arena, il parete, che hauerà pre&longs;o molto dell'humore, non i&longs;uanirà co&longs;i pre&longs;to, ma &longs;i <lb/>tenirà in&longs;ieme. </s> <s id="s.001761">ma &longs;ubito, che la forza humida per la rarità de i cementi &longs;arà &longs;ucciata dalla <lb/>materia, allhora la calce &longs;taccando&longs;i dall'arena &longs;i di&longs;cioglie, & i cementi non &longs;i po&longs;&longs;ono <lb/>con que&longs;ti attaccare, ma a lungo andare fanno i pareti ruino&longs;i. </s> <s id="s.001762">& que&longs;to &longs;i puo compren<lb/>dere da alcuni monumenti, che d'intorno a Roma &longs;ono fatti di marmo, ouero di pietre <lb/>quadrate, & di dentro nel mezo calcati, & empiuti la materia &longs;uanita per la uecchiezza, & <lb/>a&longs;ciutta la rarità de i cementi, ruinano, & dalla brina di&longs;ciolte le legature delle commi&longs;­<lb/>&longs;ure &longs;ono di&longs;sipati. </s> <s id="s.001763">Et &longs;e alcuno non uorrà incorrere in que&longs;to difetto, faccia i pareti di <lb/>due piedi, la&longs;ciando il mezo concauo lungo i pila&longs;trelli di dentro, & &longs;iano o di &longs;a&longs;&longs;o ro&longs;&longs;o <lb/>quadrato, ouero di terra cotta, ouero di &longs;elici ordinarij, & con le chiaui di ferro, & piom<lb/>bo &longs;iano le fronti legate. </s> <s id="s.001764">& co&longs;i non a grumo, & &longs;otto&longs;opra, ma ordinatamente fatta l'o­<lb/>pera potrà &longs;enza difetto eternamente durare. </s> <s id="s.001765">perche &longs;edendo tra &longs;e i letti, & le commi&longs;­<lb/>&longs;ure di quelli, & incatenate non &longs;pigneranno la muratura, nè la&longs;ciaranno che i pila&longs;trel­<lb/>li, o &longs;tanti legati in&longs;ieme rouinino. </s> <s id="s.001766">& però non &longs;i deue &longs;prezzare la muratura de' Greci. <!-- KEEP S--></s> </p> <p type="main"> <s id="s.001767"><emph type="italics"/>Vitru. c'in&longs;egna il modo, & le maniere di porre in&longs;ieme le pietre, commenda la muratura di <lb/>matt oni, & con belli e&longs;&longs;empi pruoua quanto dice. </s> <s id="s.001768">Prima che io e&longs;pona Vitru. io dirò delle par­<lb/>ti della fabrica &longs;opra il fondamento, & quale &longs;ia l'officio di cia&longs;cuna. </s> <s id="s.001769">In ogni fabrica noi haue­<lb/>mo a con&longs;ider are il ba&longs;&longs;o, la cima, i lati. </s> <s id="s.001770">il ba&longs;&longs;o è il pauimento, o &longs;uolo. </s> <s id="s.001771">La cima &longs;ono i coper­<lb/>ti, & i colmi; i lati &longs;ono i pareti, o muri. </s> <s id="s.001772">Del pauimento &longs;i dirà nel &longs;ettimo libro: de i coperti <lb/>nel quarto. </s> <s id="s.001773">Hora &longs;i tratta del muro; ilquale è differente dal fondamento in que&longs;to, che il fonda­<lb/>mento da i lati della foßa &longs;olamente per e&longs;&longs;er intiero, con&longs;i&longs;te: mail muro, o parete è compo&longs;to <lb/>di piu parti. </s> <s id="s.001774">perche ha il poggio, il procinto, la corona, l'o&longs;&longs;a, & i &longs;o&longs;tegni, l'apriture, le labra, <lb/>il compimento, & le &longs;ue o&longs;&longs;eruationi. </s> <s id="s.001775">noi e&longs;poneremo l'u&longs;o di que&longs;te parti a gui&longs;a de i medici, i qua­<lb/>li nella con&longs;titutione della loro arte trattano dell'u&longs;o delle parti del corpo humano. </s> <s id="s.001776">Poggio è quel­<lb/>la parte, che è la prima di &longs;otto, che &longs;i leua dal fondamento, che è alquanto piu gro&longs;&longs;a del muro, <lb/>che &longs;i potrebbe &longs;carpa nominare. </s> <s id="s.001777">Procinto, & corona &longs;ono parti del muro una di &longs;opra, l'altra <lb/>nel mezo. </s> <s id="s.001778">Procinto è la parte di mezo, & è quella legatura, che cigne il muro d'intorno come <lb/>cornice, che nelle mura delle città &longs;i potrebbe chiamar cordone, & nelle altre mura, &longs;i dicono <lb/>fa&longs;cie, & cinte, & regoloni. </s> <s id="s.001779">l'o&longs;&longs;a & i &longs;o&longs;tegni &longs;ono le cantonate, le pila&longs;trate, erte, colonne, <lb/>& trauature, & tutto quello, che &longs;o&longs;tiene le apriture, o &longs;iano in arco, o dritte; perche l'arco è <lb/>come traue piegato. </s> <s id="s.001780">Traue come colonna trauer&longs;a: & colonna come traue dritto. </s> <s id="s.001781">Le apriture, <lb/>o labra &longs;ono come le fine&longs;tre, le cannoniere, i merli, le porte, i buchi, & i nicchi che dalla forma<emph.end type="italics"/><pb pagenum="84" xlink:href="045/01/092.jpg"/><emph type="italics"/>lore &longs;ouo detti latinamente concha. </s> <s id="s.001782">i compimenti trapo&longs;ti &longs;ono tra l'o&longs;&longs;a, & l'apriture, & al­<lb/>tre parti. </s> <s id="s.001783">Hora &longs;i dirà quanto &longs;i conuenga a cia&longs;cuna parte. </s> <s id="s.001784">il che accioche commodamente &longs;i <lb/>faccia, &longs;i dirà della quantità, & qualità delle pietre. </s> <s id="s.001785">Sono le pietre ouero di &longs;operficie, anguli, <lb/>& linee eguali dette, quadrate, ouero uariate; & &longs;ono dette incerte. </s> <s id="s.001786">&longs;ono alcune grandi, che <lb/>&longs;enza &longs;tromenti, & machine non &longs;i po&longs;&longs;ono maneggiare; altre minute, che con una mano &longs;i leua­<lb/>no; altre mezane, dette giu&longs;te. </s> <s id="s.001787">Hanno le pietre qualità diuer&longs;a; perche alcune &longs;ono uiuaci <lb/>forti, &longs;ucco&longs;e, come la &longs;elice, & il marmo, nelle quali è innato il &longs;uono, & la &longs;odezza: altre <lb/>e&longs;au&longs;te, & leggieri, come è il Tofo, & le pietre areno&longs;e. </s> <s id="s.001788">I marmi &longs;ono pro&longs;&longs;imi all'honor delle <lb/>gemme per la bellezza, & gratia loro, & &longs;pecialmente que marmi nobili, che per la uarietà <lb/>di colori, o per la gran bianchezza o finezza, & &longs;plendore, o tra&longs;parenza danno mer auiglia, <lb/>come il Pario, il Porfido, il Serpentino, l'Alaba&longs;tro, & altri &longs;imiglianti marmi me&longs;chi, o gra­<lb/>niti. </s> <s id="s.001789">Il &longs;elice ueramente ha molte qualità, duro, tenero, tenace, friabile, graue, leggiero, o <lb/>che in e&longs;&longs;o non puo il fuoco, o &longs;i conuerte in cenere, & è &longs;quamo&longs;o, &longs;opporta il freddo, & l'ac­<lb/>que, non ri&longs;plende, però non è marmo: entra però nelle fabriche, come anche alcuni &longs;a&longs;&longs;i. </s> <s id="s.001790">Ma <lb/>la cote come la Dama&longs;china, il Tocco, che proua i metalli, alcune pietre, che nelle Indie &longs;i u&longs;ano <lb/>per tagliare, &longs;ono per aguzzare i ferri, &longs;i con&longs;umano a poco a poco con &longs;e &longs;te&longs;&longs;e, ma pre&longs;to con­<lb/>&longs;umano le altre co&longs;e. </s> <s id="s.001791">& la parte che è riuolta al Sole è migliore di quella di &longs;otto; perche dal So­<lb/>le &longs;i fanno perfette. </s> <s id="s.001792">I &longs;a&longs;&longs;i &longs;ono diuer&longs;i per la proprietà, come la calamita, per la uirtù, il Calamo­<lb/>co, per lo colore, l'Amochri&longs;o per la pittura, l'Alabandico per la forma, il Trochite per la no­<lb/>biltà di re&longs;i&longs;tere al fuoco, come la Magne&longs;ia all'acqua. </s> <s id="s.001793">la proprietà della calamita è nota; tira <lb/>& &longs;caccia il ferro, dimo&longs;tra le parti del Cielo, & i uenti a i nauiganti, & fa effetti merauiglio&longs;i <lb/>con incognite cau&longs;e. </s> <s id="s.001794">La &longs;puma della canna detta Calamoco, è forti&longs;&longs;ima, & calidi&longs;&longs;ima, & con­<lb/>&longs;uma i corpi in quella &longs;epolti. </s> <s id="s.001795">il Trochite è &longs;triato o canellato nel piano, & nel mezo del piano <lb/>ha un punto, dal quale &longs;i parteno tutti i canali, & il piano è circondato da un lieue timpanuzzo <lb/>& &longs;i muoue da &longs;e &longs;oprapo&longs;toui l'aceto, l'Amochri&longs;o, cioè arena d'oro, ha colore d'oro, è &longs;qua­<lb/>glio&longs;a: & &longs;e ne fa poluere da &longs;eccar le &longs;eritture l'Alabandico dimo&longs;tra in &longs;e uarie figure. </s> <s id="s.001796">Ma di <lb/>que&longs;ti &longs;a&longs;&longs;i pochi &longs;ono all'u&longs;o delle fabriche, benche per alcuni adornamenti po&longs;&longs;ono e&longs;&longs;er prez­<lb/>zati. </s> <s id="s.001797">Io ho detto della quantità, & qualità delle pietre; hora io dirò del modo di porle in&longs;ieme, <lb/>& prima di alcune auuertenze. </s> <s id="s.001798">Ogni pietra deue e&longs;&longs;er intiera, non fango&longs;a, ma bagnata bene, <lb/>& &longs;e e&longs;&longs;er puo, di torrente. </s> <s id="s.001799">le intiere dal &longs;uono &longs;i cono&longs;ceno. </s> <s id="s.001800">le cauate di nuouo &longs;ono piu atte, la <lb/>pietra altre fiate adoperata non rie&longs;ce, & non &longs;i attacca bene, perche di gia ha beuuto l'humore, <lb/>altri con minute pietre, & molta calce empieno le fondamenta, altri ui metteno ogni &longs;orte di rot­<lb/>tame. </s> <s id="s.001801">Egli &longs;i deue imitar la natura, che nel fare i monti tra le piu &longs;ode pietre tramette la piu te­<lb/>nera materia: co&longs;i &longs;opra grandi, quadrate, & intiere pietre &longs;i getta gran copia di calce &longs;tempera <lb/>ta. </s> <s id="s.001802">le piu gagliarde parti delle pietre &longs;i pongono, oue è bi&longs;ogno di maggior fermezza. </s> <s id="s.001803">Se la pie­<lb/>tra è atta a romper &longs;i non in lato &longs;i ponga, ma &longs;te&longs;a giacendo. </s> <s id="s.001804">la faccia della pietra, che è taglia­<lb/>ta per trauer&longs;o, è piu forte, che quella, che è tagliata per lungo, nel fondar le colonne non è ne­<lb/>ce&longs;&longs;ario di continuare il fondamento, ma &longs;i fa &longs;otto la colonna, (accioche col pe&longs;o loro non fori­<lb/>no la terra) fare un muretto, & tirare da colonna a colonna un'arco riuer&longs;cio. </s> <s id="s.001805">La pietra &longs;ecca <lb/>& &longs;itibonda uuole &longs;abbia di fiume, la hurnida per natura, quella di caua. </s> <s id="s.001806">non &longs;i adoperi arena <lb/>di mare nelle opere riuolte all'O&longs;tro. </s> <s id="s.001807">a minute pietre &longs;pe&longs;&longs;a, & &longs;oda calce &longs;i ponga; benche la <lb/>tenace &longs;ia &longs;tata da gli antichi approuata. </s> <s id="s.001808">Gioua di bagnare &longs;pe&longs;&longs;o la muratura. </s> <s id="s.001809">non uogliono quel­<lb/>le pietre e&longs;&longs;er bagnate, che dentro non &longs;iano humide, & negreggianti e&longs;&longs;endo rotte, o &longs;pezzate. </s> <s id="s.001810"><lb/>Le gran pietre sdrucciolando per lo liquido meglio &longs;i a&longs;&longs;ettano, & però deono andare &longs;opra tenera <lb/>& liquida calce. </s> <s id="s.001811">Hora ci re&longs;ta a dire delle maniere del murare. </s> <s id="s.001812">Tre &longs;ono le maniere del murare l'or <lb/>dimaria, la incerta, la reticulata. </s> <s id="s.001813">Di que&longs;te tratta Vitr. nel pre&longs;ente Capo, & per dichiaratio­<lb/>ne maggiore, &longs;i e&longs;porranno alcune uoci. </s> <s id="s.001814">Et prima cemento, è pietra roza, non tagliata, uul­<lb/>gare &longs;enza determinata forma: ogni giorno per Roma ne uanno i giumenti carichi. </s> <s id="s.001815">Et in terra<emph.end type="italics"/><pb pagenum="85" xlink:href="045/01/093.jpg"/><emph type="italics"/>di lauoro detta Campania, ritiene il nome. </s> <s id="s.001816">Reticulato, & incerto que&longs;ti &longs;ono due modi di po­<lb/>ner'a &longs;ilo, ouero in&longs;ieme i cor&longs;i delle pietre. </s> <s id="s.001817">il Reticulato è co&longs;i detto, perche nella muratura di­<lb/>mo&longs;tra la diui&longs;ione da una pietra all'altra in modo di rete, & que&longs;to non &longs;i puo fare, &longs;e almeno una <lb/>facciata della pietra non è quadrata, & polita. </s> <s id="s.001818">bi&longs;ogna anche, che &longs;tiano in modo, che gli angu<lb/>li &longs;i tocchino, come per la &longs;oprapo&longs;ta figura &longs;i uede. </s> <s id="s.001819">La incerta è quella, che &longs;i &longs;a di pietre di di­<lb/>uer&longs;e figure a ca&longs;o po&longs;te. </s> <s id="s.001820">perche quello, che &longs;i dice lauorare a ca&longs;&longs;a, è quello, che di &longs;otto è det­<lb/>to Emplecton. </s> <s id="s.001821">ma hora &longs;i ragiona di quello, che appare di fuori. </s> <s id="s.001822">La correttione dello incerto, ac <lb/>cioche &longs;ia &longs;icuro, & forte, &longs;i fa come per figura s'è mostrato di &longs;opra. </s> <s id="s.001823">imperoche egli è nece&longs;&longs;ario <lb/>legare ambe le fronti una con l'altra con attrauer&longs;ata muratura, et empire il uano con pietre me&longs;co <lb/>late con molta calce. </s> <s id="s.001824">Ordinaria muratura è quella, doue le pietre quadrate, le giu&longs;te, o le grandi &longs;i <lb/>pongono in&longs;ieme ordinatamente a &longs;quadra, a liuello, & a piombo. </s> <s id="s.001825">il che accenna Vitr. dicendo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001826">Et però non &longs;i deue &longs;prezzare la muratura de Greei, &longs;e bene non l'u&longs;ano polita di molle <lb/>cemento, pure quando &longs;i parteno dalla pietra quadrata, fanno l'ordinaria di &longs;elice ouero <lb/>di pietra dura. <emph type="italics"/>La quale è mezana tra la incerta, & quella, che &longs;i fa di pietra quadrata. </s> <s id="s.001827"><lb/>Ma bi&longs;ogna auuertire, che il poggio, che for&longs;e &longs;tereobata è detto da Vitr. hauer deue la incro&longs;ta <lb/>tura di pietra quadrata, grande, & dura: perche que&longs;ta parte di muro ha bi&longs;ogno di piu &longs;odezza, <lb/>come parte, che ha della natura del fondamento, che &longs;ostenga tutto il carico, & che piu &longs;ia ui­<lb/>cina all'humidità delle acque, o del terreno. </s> <s id="s.001828">il che &longs;i deue o&longs;&longs;eruare &longs;pecialmente in Vinetia, & &longs;i <lb/>o&longs;&longs;erua anche nelle ca&longs;e ben fatte. </s> <s id="s.001829">Catone dice. </s> <s id="s.001830">Leuerai da terra la fabrica un piede con &longs;oda pie <lb/>tra, & calce, l'altre parti con crudo mattone potrai formare. </s> <s id="s.001831">Ma in Venetia que&longs;ta parte è piu <lb/>leuata, & ha del grande, & ha del &longs;odo, & arriua fin a cinque, & &longs;ei piedi, & &longs;opra ui è il cor <lb/>done di forma ritonda, ouero in forma di fa&longs;cia, che &longs;porta in fuori. </s> <s id="s.001832">Fra i procinti s'interpongo­<lb/>no alcune legature di pietre maggiori, le quali &longs;ono come concatenationi dell'o&longs;&longs;a con l'o&longs;&longs;a, & <lb/>delle cro&longs;te, che &longs;ono dalla parte di dentro, con quelle, che &longs;ono di fuori, & però quiui lunghe, <lb/>larghe, & &longs;ode pietre &longs;i richiedeno. </s> <s id="s.001833">Si &longs;ogliono fare anche altri procinti per legare le cantonate <lb/>& tenere l'opere in&longs;ieme, ma piu rari. </s> <s id="s.001834">Quelli primi deono conuenire a piombo, & a &longs;quadra den<lb/>tro, & di fuori col muro, & que&longs;ti, che &longs;ono maggiori come c ornici, o gocciolatoi &longs;portare; & <lb/>con gli ordini, & cor&longs;i e&longs;&longs;ere bene legati in modo, che come &longs;oprapo&longs;to pauimento &longs;i ricuo­<lb/>pra bene la fabrica. </s> <s id="s.001835">Siano le pietre nelle murature una all'altra &longs;opraposte, come s'è detto, a <lb/>modo d'imbrici, &longs;i che la commi&longs;&longs;ura di due &longs;oprapo&longs;te, &longs;ia nel mezo della pietra di &longs;otto, & que <lb/>&longs;to &longs;pecialmente ne i procinti, & nelle legature. </s> <s id="s.001836">Gli antichi nelle opere reticulate tirauano il le <lb/>gamento di cinque mattoni, o almeno di tre, che ouero tutti, ouero in un'ordine, almeno era di <lb/>pietre non piu gro&longs;&longs;e, che le altre, ma piu lunghe, & piu larghe. </s> <s id="s.001837">Ma nelle opere ordinarie, per <lb/>ogni cinque piedi è &longs;tato a ba&longs;tanza un mattone di due piedi per legatura; però fabricando con <lb/>pietre maggiori piu raro legamento bi&longs;ogna, & è qua&longs;i a fufficienza la cornice &longs;ola. </s> <s id="s.001838">Laqual deue <lb/>e&longs;&longs;er fatta con &longs;omma diligenza, & di ferme, & larghe pietre ordinarie, & giu&longs;te, & ne i pare <lb/>ti di crudi mattoni, la corona deue e&longs;&longs;er di terra cotta, accio &longs;ia dife&longs;a dalla pioggia, & leggie­<lb/>ra di pe&longs;o. </s> <s id="s.001839">Deue&longs;i auuertire, che il marmo rifiuta la calce, & &longs;i macchia facilmente, la <lb/>doue gli antichi quanto meno poteuano adoprauano i marmi con la calce. </s> <s id="s.001840">Dell'o&longs;&longs;a, & de &longs;o&longs;te­<lb/>gni, & delle apriture &longs;i dirà poi. </s> <s id="s.001841">I compimenti trapo&longs;ti &longs;ono tra l'o&longs;&longs;a, l'apriture, & l'altre <lb/>parti, ne i quali &longs;ono da con&longs;iderare l'imboccature, i riempimenti, le intonicature tanto di den­<lb/>tro quanto di fuori, perche &longs;i uede e&longs;&longs;er di&longs;&longs;erenza tra l'o&longs;&longs;a, & i compimenti; perche nell'o&longs;&longs;a &longs;i <lb/>pongono grandi, &longs;ode, & ordinate pietre, & ne i compimenti, minute, rotte, meno ordinarie, <lb/>benche con molta calce, & arena. </s> <s id="s.001842">Vero è, che perfetta &longs;arebbe la muratura, che tutta fu&longs;&longs;e <lb/>di pietre quadrate, ma e&longs;&longs;endo di troppo &longs;pe&longs;a, bi&longs;ogna tra l'una &longs;corza, & l'altra ponere alcune <lb/>pietre ordinarie attrauer&longs;ate, nel muro, per unire le &longs;corze. </s> <s id="s.001843">le pietre da riempire non uogliono pa&longs; <lb/>&longs;are una libra di pe&longs;o, perche le pietre minute fanno miglior pre&longs;a. </s> <s id="s.001844">nelle incro&longs;tature di fuori &longs;i <lb/>deono porre le pietre migliori, & prouate, come ha detto Vitr. lontane però dai cadimenti delle<emph.end type="italics"/><pb pagenum="86" xlink:href="045/01/094.jpg"/><emph type="italics"/>acque, & non deono e&longs;&longs;er pietre di grandezze, & di pe&longs;i di&longs;eguali, ma ri&longs;pondino le de&longs;tre alle <lb/>&longs;ini&longs;tre, le rimote alle uicine &longs;eguitando gli ordini incominciati. </s> <s id="s.001845">Ma la intonicatura di dentro &longs;ia <lb/>di pietra piu dolce, o &longs;erui&longs;i la regola, che &longs;i dirà nel &longs;ettimo libro. </s> <s id="s.001846">Il muro fatto di mattoni <lb/>crudi, detto da gli antichi muro lateritto, fa piu &longs;ana la fabrica, ma è &longs;ottopo&longs;ta a terremoti. </s> <s id="s.001847">de­<lb/>ue però e&longs;&longs;er gro&longs;&longs;o per &longs;o&longs;tenere i palchi. </s> <s id="s.001848">il loto da fabricare &longs;ia &longs;imile al bitume, che po&longs;to nell'ae <lb/>qua lentamente &longs;i disfaccia, & s'attacchi alle mani, & a&longs;ciutto bene s'amma&longs;&longs;i: ma dell'opera di <lb/>loto &longs;i dirà nel &longs;ettimo libro. </s> <s id="s.001849">La nuda pietra deue e&longs;&longs;er quadra, &longs;oda, grande, dura &longs;enza &longs;caglie tra­<lb/>po&longs;te. </s> <s id="s.001850">Sia po&longs;ta in opera con arpe&longs;i, & chiodi, gli arpe&longs;i fanno stare le pietre al pari, i chiodi le <lb/>gano il di&longs;opra, con quello di &longs;otto. </s> <s id="s.001851">Se gli arpe&longs;i, & chiodi. </s> <s id="s.001852">&longs;ono d'ottone, non irrugini&longs;ceno, <lb/>ferman&longs;i con piombo &longs;colato. </s> <s id="s.001853">que di legno per la forma loro &longs;ono fatti a coda di rondine, il ferro <lb/>con biacca, o ge&longs;&longs;o &longs;i &longs;erua dalla ruggine, bi&longs;ogna però bene guardare, che le acque non toccbi­<lb/>no gli arpe&longs;i. </s> <s id="s.001854">Ma tornamo alla muratura, & a que muri, che &longs;ono fatti di rottami, ponerai ta­<lb/>uole, o craticci dalle &longs;ponde per &longs;o&longs;tegno, fin che &longs;i a&longs;ciughino. </s> <s id="s.001855">Et qui &longs;i è trouato il modo di get <lb/>tar le colonne nelle forme di legno, per &longs;cemare la &longs;pe&longs;a. </s> <s id="s.001856">Et &longs;i riempie la forma d'ogni &longs;orte di rot­<lb/>tame con molta calce. </s> <s id="s.001857">Altri ui la&longs;ciano nel mezo l'anima di rouere, o di mattoni per &longs;icurtà, <lb/>altri fanno la pa&longs;ta con minute pietre, & la&longs;ciano a&longs;ciugarla bene, & a&longs;ciutta leuano la forma, <lb/>danno poi la incro&longs;tatura, & la intonicatura alla colonna & la &longs;igneno di marmo, o di me&longs;chio, <lb/>o granito come uogliono. </s> <s id="s.001858">Egli &longs;i deue &longs;chiuare piu, che &longs;i puo la pietra di forma ritonda. </s> <s id="s.001859">Seguo, <lb/>che la calce è a&longs;ciutta, quando ella manda fuori una lanugine, & uno certo fioriome ben cono­<lb/>&longs;ciuto da muratori. </s> <s id="s.001860">Ce&longs;&longs;ando dall'opera coprirai il muro con paglia, o altro, accioche non i&longs;ua­<lb/>ni&longs;ca prima, che habbia fatto la pre&longs;a: Et quando poi &longs;i ripiglia il lauoro, non ti rincre&longs;ca &longs;atiarlo <lb/>molto bene di acqua. </s> <s id="s.001861">il muro, che è molto gro&longs;&longs;o, fa armatura a &longs;e &longs;te&longs;&longs;o. </s> <s id="s.001862">Egli bi&longs;ogna la&longs;ciare <lb/>luogho commodo per le apriture, facendoui un'arco, ilquale &longs;i otturi fino che uenghi il bi&longs;ogno <lb/>d'aprirle, perche il pe&longs;o non aggraui troppo la parte uota. </s> <s id="s.001863">Se uuoi agiugnere al muro dopo <lb/>alcun tempo, bi&longs;ogna, che ui la&longs;ci i denti &longs;porti in fuori. </s> <s id="s.001864">Gli anguli perche participan di due la­<lb/>ti, & &longs;ono per tener dritto il muro, deono e&longs;&longs;er fermißimi, & con lunghe, & dure pietre, come <lb/>con braccia tenuti. </s> <s id="s.001865">Et tanto &longs;ia detto d'intorno alla &longs;oprapo&longs;ta diui&longs;ione. </s> <s id="s.001866">la quale &longs;e &longs;arà bene <lb/>con&longs;iderata, non ha dubbio, che ella non &longs;ia per apportare gran giouamento alle con&longs;iderationi <lb/>de i &longs;aui, & alle operationi de i mae&longs;tri.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.001867">Que&longs;te fabriche de Greci in due modi &longs;i murano. </s> <s id="s.001868">L'uno è detto eguale, l'altro di­<lb/>&longs;eguale. </s> <s id="s.001869">Il primo è quando tutti i cor&longs;i &longs;ono eguali in grandezza. </s> <s id="s.001870">L'altro è quando <lb/>gli ordini de i cor&longs;i non &longs;aranno drizzati pari. </s> <s id="s.001871">l'una, & l'altra maniera per que&longs;to è <lb/>ferma, perche prima i cementi &longs;ono di &longs;oda, & ferma natura, nè po&longs;&longs;ono a&longs;ciugare <lb/>il liquore della materia, ma li con&longs;eruano nel &longs;uo humore per grandi&longs;simo tempo, & i <lb/>letti loro piani, & bene liuellati non la&longs;ciano &longs;grottare la materia, ma con la continuata <lb/>gro&longs;&longs;ezza de i pareti co&longs;i legati durano lunghi&longs;simamente. </s> <s id="s.001872">Euui un'altra maniera di fa­<lb/>brica, che &longs;i chiama riempita, la quale anche &longs;i u&longs;a da no&longs;tri ru&longs;tici. </s> <s id="s.001873">della quale &longs;ono le <lb/>fronti &longs;olamente polite, ma le altre parti come nate &longs;ono, po&longs;te in&longs;ieme con la mate­<lb/>ria, con alterne commi&longs;ure &longs;ono legate: ma i no&longs;tri per sbrigar&longs;ene pre&longs;to, facendoui i <lb/>cor&longs;i dritti, &longs;erueno alle fronti, & empieno nel mezo &longs;pezzati i cementi &longs;eparatamen­<lb/>te con la materia, & a que&longs;to modo in quella muratura leuano, & drizzano tre cro&longs;te, <lb/>due delle fronti, & una nel mezo del riempimento. </s> <s id="s.001874">Ma i Greci non fanno a que&longs;to mo= <lb/>do, ma ponendoli piani, & ordinando le lunghezze de i cor&longs;i in gro&longs;&longs;ezza con alterne <lb/>commi&longs;&longs;ure, non empieno il mezo, ma con i loro mattoni, che chiamamo frontati, fan­<lb/>no continuato il parete, & d'una gro&longs;&longs;ezza ra&longs;&longs;odato, & oltra le altre co&longs;e interpongono <lb/>quelli dall'una parte & l'altra, che hanno le fronti, che chiamano per que&longs;to diatoni, di <lb/>perpetua gro&longs;&longs;ezza, i quali grandemente legando confermano la &longs;odezza de i pareti: & pe <lb/>rò &longs;e alcuno uorrà da que&longs;ti commentarij auertire, & eleggere la &longs;orte di murare, potrà <pb pagenum="87" xlink:href="045/01/095.jpg"/>molto bene hauere riguardo alla perperuità: percioche quelle Fabriche, lequali &longs;on di <lb/>molle cemento, & di &longs;ottile a&longs;petto di bellezza, non po&longs;&longs;ono &longs;e non e&longs;&longs;er col tempo rui­<lb/>no&longs;e: & però quando s'eleggono gli arbitri di communi pareti, non &longs;i &longs;tima, per lo prez <lb/>zo, che &longs;ono &longs;tati fabricati, ma ritrouando per gli in&longs;trumenti i precij delle locationi, le <lb/>uano d'ogni anno, che pa&longs;&longs;ato &longs;ia la ottante&longs;ima parte: & co&longs;i del re&longs;tante della &longs;omma <lb/>comandano che egli &longs;i re&longs;titui&longs;ca una parte per que&longs;ti pareti, che &longs;ententiamo, che piu di <lb/>ottanta anni non po&longs;sino durare. </s> <s id="s.001875">Ma de i pareti fatti di mattoni, pure che &longs;iano fatti a <lb/>perpendicolo & dritti &longs;tiano, niente &longs;i leua, ma per quanto prezzo &longs;eranno &longs;tati fabrica­<lb/>ti, per tanto &longs;empre &longs;aranno &longs;timati. </s> <s id="s.001876">& però in alcune città, & le opere publiche, & le <lb/>ca&longs;e priuate, & le reali &longs;i uedeno fabricate di mattoni: & prima in Athene il muro, che <lb/>guarda uer&longs;o il monte Hymeto, & Petelen&longs;e, & i pareti nel tempio di Gioue, & di Her <lb/>cole, le celle &longs;ono di mattoni. </s> <s id="s.001877">E&longs;&longs;endo d'intorno al tempio le colonne & gli architraui <lb/>di pietra. </s> <s id="s.001878">In Italia in Arezzo euui un muro beni&longs;simo fatto, & in Tralli la ca&longs;a fatta da <lb/>i Re Attalici, che è data per &longs;tanza a colui, che nella Città tiene il &longs;acerdotio. </s> <s id="s.001879">Et <lb/>co&longs;i in Lacedemone di alcuni pareti leuate le pitture, che erano in forme, & i telari di le­<lb/>gno ne i pareti tagliati, rinchiu&longs;i & inca&longs;&longs;ati, furon portate nel comitio per adornamento <lb/>della edilità di Varrone, & di Minerua. <!-- KEEP S--></s> <s id="s.001880">la ca&longs;a di Cre&longs;o, la quale i Sardi con&longs;egnarono a <lb/>i cittadini per ripo&longs;o della uecchiezza al collegio de i uecchi, chiamata Geru&longs;io, era di <lb/>mattoni. </s> <s id="s.001881">&longs;imilmente la reale in Alicarna&longs;o del potenti&longs;simo Re Mau&longs;olo, in tutto, che <lb/>habbia di procone&longs;io marmo ornate tutte le co&longs;e, niente di meno i pareti &longs;ono fatti di <lb/>mattoni. </s> <s id="s.001882">& infino a que&longs;ti tempi hanno una mirabile fermezza, co&longs;i con intonicature, & <lb/>cro&longs;te politi, che come uetri riluceno. </s> <s id="s.001883">nè que&longs;to fu fatto per bi&longs;ogno, che quel Re ha <lb/>ue&longs;&longs;e, perche era ricchi&longs;simo d'entrate, come quello, che a tutta la Caria dominaua. </s> <s id="s.001884">Ma <lb/>in que&longs;to modo è da con&longs;iderare la &longs;olertia &longs;ua, & acutezza nel fabricare: percioche e&longs;­<lb/>endo egli Mila&longs;io, & hauendo ueduto il luogo di Alicarna&longs;&longs;o munito per natura, & haue­<lb/>re idoneo bazzaro, & il porto commodo, in quel luogo &longs;i fece la &longs;tanza. </s> <s id="s.001885">Que&longs;to luo­<lb/>go è &longs;imile alla curuatura d'un Theatro, & nella parte da ba&longs;&longs;o, appre&longs;&longs;o il porto è <lb/>il Foro, & per mezo la curuatura, & la cinta dell'altezza, ui è una piazza grandi&longs;sima, nel <lb/>mezo della quale è fabricato il Mau&longs;oleo de &longs;i fatta, & nobil opera, che è numerato tra <lb/>i &longs;ette &longs;pettacoli del mondo. </s> <s id="s.001886">Nel mezo dell'alta rocca è il tempio di Marte, che tiene la <lb/>&longs;tatua del colo&longs;&longs;o, detta Acrolitho, fatta dalla nobil mano di Tilocare. </s> <s id="s.001887">benche altri di­<lb/>chino di Timotheo; ma nella &longs;ommità del de&longs;tro corno è il tempio di Venere, & di Mer<lb/>curio appre&longs;&longs;o la fonte Salmacide, che per fal&longs;a opinione uien detto, che tenga di Vene <lb/>rea infirmità oppre&longs;si quelli, che beono di quella. </s> <s id="s.001888">Ma a me non rincre&longs;cerà di raccontare <lb/>da che &longs;ia andata que&longs;ta opinione con fal&longs;o rumore per lo mondo: perche e&longs;&longs;er non puo <lb/>quello, che &longs;i dice, che gli huomini per quell'acqua diuentino molli, & impudichi, ma la <lb/>uirtù di quella fonte, è molto chiara, & il &longs;apore egregio. </s> <s id="s.001889">Hauendo adunque Melante, <lb/>& Areciania d'Argo, & da Troezene in que luoghi <expan abbr="cōdotta">condotta</expan> una colonia commune &longs;caccior <lb/>no i Barbari di Caras, & di Lelege: Que&longs;ti &longs;cacciati &longs;i raunorno in&longs;ieme a i monti, & face­<lb/>uano di molte correrie, & rubbando in quel luogo crudelmente gua&longs;tauano gli habitanti. </s> <s id="s.001890"><lb/>Auenne poi, che uno de gli habitatori per guadagnare per la bontà delle acque fece appre&longs;<lb/>&longs;o quella fonte un'ho&longs;teria fornita d'ogni co&longs;a. </s> <s id="s.001891">& e&longs;&longs;ercitandola allettaua quei barbari, i <lb/>quali hor l'uno, hor l'altro uenendoui, & poi molti mettendo&longs;i in&longs;ieme concorrendoui, <lb/>di duro & ferigno co&longs;tume, nella u&longs;anza & &longs;oauità de Greci di loro propria uolonta &longs;i ridu <lb/>ceuano. </s> <s id="s.001892">Quell'acqua adunque non per dishone&longs;ta infirmità, ma per la dolcezza della hu <lb/>manità mitigati i feroci petti de i Barbari, acqui&longs;tò quel nome. </s> <s id="s.001893">Re&longs;ta hora perche io &longs;on <lb/>uenuto alla dichiaratione delle loro murature, che io le de&longs;criua tutte come &longs;ono: Come <lb/>adunque nella de&longs;tra parte è il tempio di Venere, & la fonte predetta, co&longs;i nel &longs;ini&longs;tro cor <pb pagenum="88" xlink:href="045/01/096.jpg"/>no, è il palazzo reale, che Mau&longs;olo per &longs;ua &longs;tanza fece fabricare. </s> <s id="s.001894">perche dalla de&longs;tra &longs;i uede <lb/>la piazza, & tutta la terminatione del porto, & delle mura, & &longs;otto la &longs;ini&longs;tra è il porto &longs;e <lb/>creto &longs;otto a i monti na&longs;co&longs;o in modo, che niuno puo uedere, o &longs;apere quello, che iui &longs;i <lb/>faccia, accioche il Re dal &longs;uo palazzo a i galeotti, & &longs;oldati, &longs;enza che altri &longs;e ne accorga <lb/>po&longs;&longs;a quanto bi&longs;ogna comandare. </s> <s id="s.001895">Dapoi la morte di Mau&longs;olo re&longs;tò Artemi&longs;ia moglie <lb/>&longs;ua, & &longs;degnando&longs;i i Rodiotti, che una femina &longs;ignoreggia&longs;&longs;e tutte le città della Caria, &longs;i <lb/>mi&longs;ero all'ordine per occupar quel regno. </s> <s id="s.001896">delche e&longs;lendone aui&longs;ata la Reina, comandò ella, <lb/>che in quel porto &longs;te&longs;&longs;e l'armata rinchiu&longs;a all'ordine con marinari a&longs;co&longs;i, & &longs;oldati. </s> <s id="s.001897">Ma il <lb/>re&longs;to de cittadini compare&longs;&longs;e &longs;opra le mura. </s> <s id="s.001898">Ma hauendo i Rodiotti condotta l'armata <lb/>loro in ordine nel porto maggiore, la Reina comandò, che fu&longs;&longs;ero dalle mura &longs;alutati, & <lb/>prome&longs;&longs;a loro la città. </s> <s id="s.001899">per ilche quelli abandonate le naui, entrarono dentro: ma la Reina <lb/>&longs;ubito per la fo&longs;&longs;a fatta tra&longs;&longs;e fuori l'armata dal porto minore nel mare, & entrata nel mag<lb/>giore sbarcati i galeotti, & i &longs;oldati, tirò nel mare l'armata uota de i Rodiotti, i quali non <lb/>hauendo doue ricouerar&longs;i e&longs;&longs;endo tolti di mezo, tutti furono nella piazza tagliati a pezzi. </s> <s id="s.001900"><lb/>Artemi&longs;ia entrata nelle naui de Rodiotti pre&longs;e la uia di Rodi. </s> <s id="s.001901">per il che uedendo i Rodiot<lb/>ti le lor naui tornare ingirlandate di frondi, pen&longs;ando che fu&longs;&longs;ero i cittadini loro, riceue­<lb/>rono i nemici. </s> <s id="s.001902">Allhora la Reina pre&longs;a la città, ucci&longs;i i principali, dentro ui po&longs;e il Tro­<lb/>feo della &longs;ua uittoria. </s> <s id="s.001903">& fece fare due &longs;tatue di bronzo, una rappre&longs;entaui a la città di Ro­<lb/>di. </s> <s id="s.001904">L'altra la &longs;ua imagine, figurando, che que&longs;ta con affocato ferro &longs;igilla&longs;&longs;e la città di Ro<lb/>di. </s> <s id="s.001905">Dapoi que&longs;to fatto impediti i Rodiotti dalla religione, perche non era lecito rimuo <lb/>uere i trofei con&longs;ecrati, fecero uno edificio intorno alle &longs;tatue dette, & quelle coprirono <lb/>inalzando un luogo per guardia alla u&longs;anza Greca, accioche niuno ui pote&longs;&longs;e andare: & <lb/>comandorono, che que&longs;to &longs;i chiama&longs;&longs;e Auaton, cioè inacce&longs;sibile. </s> <s id="s.001906">Non hauendo adun­<lb/>que i Re co&longs;i potenti &longs;prezzato l'opera de mattoni, potendo per le fatte prede, & per le <lb/>co&longs;e, che erano loro portate d'ogni banda, farle non &longs;olamente di cemento, ouero di <lb/>quadrata pietra, ma anche di marmo: Io non pen&longs;o, che &longs;ia da bia&longs;imare gli edificij mura <lb/>ti di mattoni, pure, che &longs;iano fatti, & drizzati bene. </s> <s id="s.001907">Ma perche non &longs;ia lecito in Roma al <lb/>populo Romano fabricare in que&longs;to modo, io ne dirò la ragione. </s> <s id="s.001908">Le leggi publiche non <lb/>comportano, che le gro&longs;&longs;ezze de i muri ne i luoghi communi &longs;iano maggiori d'un piede <lb/>& mezo, ma gli altri pareti, accioche gli &longs;patij non &longs;i face&longs;&longs;ero piu &longs;tretti, &longs;i fanno di quel­<lb/>la i&longs;te&longs;&longs;a gro&longs;&longs;ezza. </s> <s id="s.001909">Ma que mattoni crudi &longs;e non &longs;aranno di due, o di tre cor&longs;i de matto­<lb/>ni, con la gro&longs;&longs;ezza d'un piede & mezo &longs;olamente; non potranno &longs;o&longs;tenere piu che un pal<lb/>co. </s> <s id="s.001910">Ma nella mae&longs;tà di quella città in tanta frequentia di cittadini bi&longs;ognaua fare innume<lb/>rabili habitationi. </s> <s id="s.001911">non potendo adunque il piano riceuere ad habitare dentro di Roma tan <lb/>ta moltitudine, la occa&longs;ione po&longs;e nece&longs;sità, di unire all'altezza de gli edificij. </s> <s id="s.001912">Et però con <lb/>pila&longs;trate di pietra, & con murature di pietra cotta, & con pareti fatti di cemento per com <lb/>modità de i cenaculi, & de i luoghi di doue &longs;i guarda a ba&longs;&longs;o, &longs;ono &longs;tate fatte le altezze, & <lb/>con i&longs;pe&longs;&longs;e trauature, & palchi conchiauate. </s> <s id="s.001913">Et però il populo Romano &longs;enza impedi= <lb/>mento ha le &longs;tanze belli&longs;sime, moltiplicati i palchi, & i corritori in grande altezza. </s> <s id="s.001914">Ma <lb/>poi, che è &longs;tato re&longs;o la ragione, perche in Roma per la nece&longs;sità de i luoghi &longs;tretti non &longs;i <lb/>fanno i pareti di mattoni crudi, hora &longs;i dirà in che modo &longs;i deono fare, accioche durino al <lb/>la uecchiezza &longs;enza difetti. </s> <s id="s.001915">Po&longs;to &longs;ia nella &longs;ommità de i pareti &longs;otto la copritura del tetto <lb/>una muratura di terra cotta, di altezza d'un piede, & mezo, & habbia gli &longs;porti delle co­<lb/>rone, & i gocciolatoi, & co&longs;i potranno &longs;chifare i danni, o i difetti, che &longs;ogliono hauere <lb/>que pareti, perche quando nel tetto &longs;aranno le tegole rotte, o gettate a ba&longs;&longs;o da i uenti, la <lb/>&longs;portatura, & il recinto de mattoni cotti, non la&longs;cierà offendere il crudo, ma lo &longs;porto de i <lb/>cornicioni, porterà le goccie lontane, & in quel modo &longs;erueranno intiere le murature <lb/>de mattoni crudi. </s> <s id="s.001916">Ma della muratura di pietre cotte &longs;e &longs;arà buona o nò, non &longs;i puo giu-<pb pagenum="89" xlink:href="045/01/097.jpg"/>dicare in poco &longs;patio di tempo: perche &longs;e ella à ferma nelle tempe&longs;te, & &longs;trauenti, & nel­<lb/>la State, allhora è prouata: perche quella, che non &longs;arà di buona creta, o che &longs;arà mal cotta, <lb/>&longs;ubito che &longs;arà toccata dal giaccio, o dalle brine, iui &longs;i mo&longs;trerà difetto&longs;a. </s> <s id="s.001917">Quella adun <lb/>que che ne i tetti non puo &longs;opportar la fatica, meno &longs;arà buona nella muratura a &longs;o&longs;te­<lb/>ner i pe&longs;i: per il che i pareti coperti di uecchie tegole &longs;pecialmente potranno hauere fer<lb/>mezza. </s> <s id="s.001918">Ma io non uorrei, che mai in tempo alcuno fu&longs;&longs;ero &longs;tati riti ouati i craticci: per <lb/>che quanto giouano alla pre&longs;tezza, & tengono manco luogo, tanto &longs;ono di commu­<lb/>ne, & maggior calamità, perche &longs;ono come fa&longs;ci preparati a gli incendij: & però pare <lb/>che &longs;ia migliore la &longs;pe&longs;a delle pietre cotte nella &longs;ontuo&longs;ità, che lo &longs;paragno del tempo de <lb/>i craticci nel pericolo, & quelli anche, che &longs;ono po&longs;ti nelle incro&longs;tature fanno delle fi&longs;&longs;u<lb/>re in quelle, per la di&longs;po&longs;itione de i dritti, & trauer&longs;i. </s> <s id="s.001919">perche quando &longs;e gli dà la incro­<lb/>&longs;tatura, riceuendo l'humore &longs;i gon&longs;iano, & poi &longs;eccando&longs;i, &longs;i ri&longs;trigneno. </s> <s id="s.001920">& co&longs;i a&longs;&longs;oti­<lb/>gliati, rompeno la fermezza delle cro&longs;te. </s> <s id="s.001921">Ma perche alcuni &longs;ono con&longs;tretti di co&longs;i fare, o <lb/>per la pre&longs;tezza, o per bi&longs;ogno, o per &longs;eparare un luogo dall'altro, co&longs;i bi&longs;ognerà fare. </s> <s id="s.001922"><lb/>Fatto ui &longs;ia il &longs;uolo di &longs;otto alto, accioche o dal terrazzo, o dal pauimento non &longs;ia tocca­<lb/>to, perche e&longs;&longs;endo iui &longs;ommer&longs;o col tempo ammarci&longs;ce, dapoi dando in &longs;e, piega, & rom <lb/>pe la bellezza delle incro&longs;tature. </s> <s id="s.001923">Io fin qui come ho potuto, ho detto de i pareti, & del <lb/>lo apparecchio della materia loro di&longs;tintamente, di che bontà &longs;iano, & che difetti hab­<lb/>biano. </s> <s id="s.001924">Re&longs;ta, che io e&longs;pona chiaramente quanto appartiene alle trauature, & palchi, & <lb/>con che ragioni &longs;i acconci la materia da farli, & come &longs;iano di buona durata, come ci mo <lb/>&longs;tra la natura delle co&longs;e. </s> </p> <p type="main"> <s id="s.001925"><emph type="italics"/>Io ho uoluto porre tutta la interpretatione del pre&longs;ente Capo, sì perche è facile & di piana <lb/>intelligenza, sì perche mi &longs;on forzato nel &longs;oprapo&longs;to di&longs;cor&longs;o mettere in&longs;ieme tutta la materia pro <lb/>po&longs;ta. </s> <s id="s.001926">dal che ogni &longs;tudio&longs;o puo da &longs;e &longs;te&longs;&longs;o con&longs;iderare tutto quello, che Vitruuio ha uoluto fare <lb/>in que&longs;ta parte. </s> <s id="s.001927">Et uederà la &longs;ua intentione e&longs;&longs;ere &longs;tata di ragionare della fabrica de i muri, <lb/>& pareti, come egli dice nel fine del &longs;oprapo&longs;to Capo, hauere diui&longs;o que&longs;to ragionamen­<lb/>to in piu parti: & nella prima hauer detto le maniere del murare, & hauer re&longs;o le ragioni de i <lb/>difetti, & della bontà di quelle, qua&longs;i compar andole in&longs;ieme. </s> <s id="s.001928">Nella &longs;econda hauere ragio­<lb/>nato della muratura de i Greci, di tre maniere di quella, & hauere comparato il modo Greco, <lb/>col modo Latino di murare. </s> <s id="s.001929">nella terza hauere lodato il fabricar di mattoni, dimo&longs;trato il <lb/>uero modo, & con bella, & i&longs;torica commendatione hauere commendato le fabriche di Mau­<lb/>&longs;olo Re di Caria, & propo&longs;toci molti e&longs;&longs;empi di quelle, & finita la &longs;ua ornata digre&longs;&longs;ione, <lb/>accompagnata dalle leggi del populo Romano, nel qual ca&longs;o, s'è dimo&longs;trato non ignorante delle <lb/>leggi ciuili, & nell'ultima e&longs;&longs;ere ritornato ad in&longs;egnarci, quanto era nece&longs;&longs;ario a uarie &longs;orti sì <lb/>di pareti, come di craticci, de i quali ne ragiona anche nel terzo Capo del &longs;ettimo libro: con­<lb/>chiudendo finalmente quanto ha uoluto fare, & quanto intende di uoler fare nel &longs;eguente Ca­<lb/>po. <!-- KEEP S--></s> <s id="s.001930">I uocaboli del te&longs;to per la interpretatione, & altroue per la e&longs;po&longs;ition nostra &longs;ono chiari. </s> <s id="s.001931"><lb/>leggi Plinio per tutto il trente&longs;imo, &longs;e&longs;to libro, che trouerai molte co&longs;e al propo&longs;ito no&longs;tro, & <lb/>le figure delle murature &longs;ono po&longs;te di&longs;opra, & &longs;egnate con i loro nomi. </s> <s id="s.001932">doue non ui accade altro <lb/>rincontro. </s> <s id="s.001933">Hora &longs;eguita Vitruuio & parla della ragione de i legnami.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.001934"><emph type="italics"/>Del tagliare i legnami. </s> <s id="s.001935">Cap. IX.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.001936">LA materia &longs;i deue tagliare il principio dello autunno, che &longs;arà fin a quel tem­<lb/>po auanti, che Fauonio cominci a &longs;pirare: perche da prima uera gli alberi &longs;o­<lb/>no pregni, & tutti mandano la uirtù della loro proprietà nelle frondi, & ne i <lb/>frutti, che fanno ogni anno. </s> <s id="s.001937">Quando adunque per la nece&longs;sità de i tempi &longs;a­<pb pagenum="90" xlink:href="045/01/098.jpg"/>ranno uoti, & humidi, &longs;ogliono diuentar rari, & deboli per la rarità, come &longs;ono i corpi <lb/>feminili, quando hanno concetto, & dalla concettione fino al parto, non &longs;ono &longs;timati &longs;a <lb/>ni. </s> <s id="s.001938">Ne gli animali da uendere, quando &longs;ono pregni, &longs;i danno per &longs;ani. </s> <s id="s.001939">percioche cre&longs;cen <lb/>do nel corpo, quello, che prima u'è &longs;tato &longs;eminato, egli tira a &longs;e il nutrimento da tutta la <lb/>uirtù del cibo; & quanto più il parto &longs;i fa fermo al maturir&longs;i, tanto meno la&longs;cia e&longs;&longs;er &longs;oda <lb/>quella co&longs;a, di che &longs;i genera, & però &longs;ubito, che il parto è mandato fuori, quello, che per <lb/>altra maniera di aumento, era detratto; quando è libero per la &longs;eparatione fatta dal na&longs;ci­<lb/>mento della co&longs;a, riceue in &longs;e nelle uote, & aperte uene, & &longs;uggendo il &longs;ucco &longs;i fa piu fer­<lb/>mo, & ritorna nella pri&longs;tina fermezza della natura &longs;ua. </s> <s id="s.001940">Per la i&longs;te&longs;&longs;a ragione, al tempo <lb/>dell'Autunno, per la maturità de i frutti infiacchite le frondi, tirando le radici de gli albe <lb/>ri a &longs;e il &longs;ucco della terra, &longs;i ricourano, & &longs;ono re&longs;tituiti nella prima lor fermezza: Ma la <lb/>forza del uerno comprime, & ra&longs;&longs;oda quelle per quel tempo, che detto hauemo. </s> <s id="s.001941">Et però <lb/>&longs;e con quella ragione, & a quel tempo, che detto ho di &longs;opra &longs;i taglieranno gli alberi, &longs;arà <lb/>utile, & opportuna co&longs;a. </s> <s id="s.001942">Ma co&longs;i bi&longs;ogna tagliarli, che &longs;i uadi fin'a mezo la midolla, & <lb/>la&longs;ciato &longs;ia il taglio, fino, che &longs;tillando per e&longs;&longs;o &longs;i &longs;ecchi l'humore. </s> <s id="s.001943">per il che quello inuti­<lb/>le liquore, che in e&longs;si &longs;i truoua u&longs;cendo per lo &longs;uo tuorlo, non la&longs;cierà in quelli morire la <lb/>putredine, nè gua&longs;tar&longs;i la qualità della materia: ma quando poi l'albero &longs;arà &longs;eccato, nè <lb/>&longs;tillerà piu, bi&longs;ognerà gettarlo a terra. </s> <s id="s.001944">Et a que&longs;to modo &longs;i truouerà perfetto all'u&longs;o. </s> <s id="s.001945">Et <lb/>che que&longs;to &longs;ia uero, egli &longs;i puo cono&longs;cer anche da gli arbu&longs;ti. </s> <s id="s.001946">percioche quando cia&longs;cuno <lb/>al tempo &longs;uo forati fin al fondo &longs;ono ca&longs;trati mandano fuori dalle midolle il uitio&longs;o, & &longs;o­<lb/>prabundante humore, & tri&longs;to liquorè, & co&longs;i di&longs;eccando&longs;i riceueno in &longs;e la lunghezza di <lb/>durare. </s> <s id="s.001947">Ma quelli humori, che non hanno le u&longs;cite da gli alberi, re&longs;tandoui dentro &longs;i pu<lb/>trefanno, & rendeno quelli uani, & difetto&longs;i. </s> <s id="s.001948">Se adunque quegli, che &longs;tanno in piedi, <lb/>& uiueno, &longs;eccando&longs;i, non inuecchiano, certamente quando gli i&longs;te&longs;si per farne legname <lb/>a terra &longs;i mandano, quando &longs;aranno a quel modo gouernati potranno ne gli edificij lun­<lb/>gamente, & con utilità durare. </s> <s id="s.001949">Que&longs;ti alberi hanno tra &longs;e contrarie, & &longs;eparate uirtù. </s> <s id="s.001950">il <lb/>Rouere, l'olmo, il Poppio, il Cipre&longs;&longs;o, l'Abete, & gli altri idonei a gli edificij. </s> <s id="s.001951">percio­<lb/>che non puo il Rouere quello, che puo l'Abete, nè il Cipre&longs;&longs;o, quello, che puo l'Olmo. </s> <s id="s.001952"><lb/>nè gli altri alberi hanno quella &longs;imiglianza mede&longs;ima di natura fra loro: Ma cia&longs;cuna &longs;pe­<lb/>cie di quelli con le di&longs;po&longs;itioni, & proprietà de principij comparati con altri, altre &longs;orti di <lb/>effetti pre&longs;tano nelle opere. </s> <s id="s.001953">Et però l'Abete, hauendo molto dello aere, & del fuoco, <lb/>ma meno dell'humido, & del terreno, come compo&longs;to di piu lieui forze di natura, non è <lb/>pondero&longs;o: Et però contento del &longs;uo rigor naturale, non co&longs;i pre&longs;to per lo pe&longs;o &longs;i piega, <lb/>ma &longs;empre dritto rimane nelle trauature: ma perche ha in &longs;e piu di calore produce, & no­<lb/>tri&longs;ce il tarlo, & da quello è gua&longs;to, & per que&longs;to anche pre&longs;to &longs;i accende, perche la rari­<lb/>tà dello aere, che è in quel corpo aperto riceue il fuoco, & co&longs;i ne manda fuori la fiamma <lb/>grande. </s> <s id="s.001954">Et quella parte di e&longs;&longs;o, che è uicina alla terra, prima che &longs;ia tagliata riceuendo <lb/>dalla uicinanza l'humore, per le radici &longs;enza nodo, & humida &longs;i rende. </s> <s id="s.001955">ma quella, che è <lb/>di &longs;opra uer&longs;o la cima, per la uehemenza del calore mandando in aere i rami &longs;uoi tagliata, <lb/>che &longs;ia alta da terra da uinti piedi, & polita, per la durezza de i no di &longs;uoi è chiamata &longs;u&longs;ter­<lb/>na. </s> <s id="s.001956">ma la parte inferiore quando tagliata è partita per quattro tagli doue &longs;corra l'humore <lb/>trattone il tuorlo &longs;i apparecchia per le opere di legname, & &longs;i chiama Sappinea. </s> <s id="s.001957">Per lo <lb/>contrario la Rouere abondando di terra, & hauendo poco di aere, di humore, & di fuo­<lb/>co, quando è coperta di terra nelle opere terrene, ritiene un'infinita eternità. </s> <s id="s.001958">perche quan <lb/>do è toccata dall'humore non hauendo rarità per li fori non puo admetter nel corpo &longs;uo <lb/>l'humore, ma fuggendo da quello, re&longs;i&longs;te & &longs;i torce, & fa le &longs;i&longs;&longs;ure in quelle opere, nel <lb/>le quali &longs;i truoua. </s> <s id="s.001959">Ma lo E&longs;colo per e&longs;&longs;ere in tutti i &longs;uoi principij temperato è molto uti­<lb/>le nelle fabriche, ma po&longs;to in acqua riceuendo per li fori &longs;uoi l'humore, &longs;cacciato l'aere, & <pb pagenum="91" xlink:href="045/01/099.jpg"/>il fuoco per la operatione dell'humida forza &longs;i &longs;uol gua&longs;tare. </s> <s id="s.001960">Il Cerro, il &longs;ouero, il faggio, <lb/>perche parimente hanno la me&longs;colanza dell humore, del fuoco, & del terreno, & molto <lb/>dello aere, pa&longs;&longs;andoui per entro l'humore per le rarità, che hanno, pre&longs;to marci&longs;cono. </s> <s id="s.001961">Il <lb/>poppio bianco, & il nero, la Salce, & la Tiglia, & il Vitice, &longs;atiate di aere, & di fuoco, & <lb/>temperate di humore, hauendo poco del terreno, di tempra leggieri compo&longs;te, hanno nel <lb/>l'u&longs;o loro una mirabile rigidezza. </s> <s id="s.001962">Non e&longs;&longs;endo adunque dure per la me&longs;colanza della ter­<lb/>ra, &longs;ono bianche per la loro rarità, & ci pre&longs;tano nelle intagliature una mirabile trattabilità. </s> <s id="s.001963"><lb/>l'Alno, che na&longs;ce uicino alle riue de i fiumi, & non pare, che ci rechi molta utilità, tiene <lb/>in &longs;e belli&longs;sime ragioni, perche è molto temprato di aere, & di fuoco, nè ha molto del ter<lb/>reno, & poco dell'humore, & però, perche non ha tropo d'humore nel corpo, po&longs;to fra <lb/>luoghi palu&longs;tri fra gli fondamenti de gli edificij con &longs;pe&longs;&longs;e palificate riceuendo in &longs;e quel li <lb/>quore, del quale per &longs;ua natura è bi&longs;ogneuole, dura eternamente, & &longs;o&longs;tenta grandi&longs;si­<lb/>mi pe&longs;i, & &longs;i con&longs;erua &longs;enza difetto, & co&longs;i quello, che non puo per molto &longs;pacio &longs;opra ter <lb/>ra durare, po&longs;to in acqua, eternamente &longs;i con&longs;erua. </s> <s id="s.001964">Et que&longs;to &longs;i puo con&longs;iderare a Ra­<lb/>uenna, doue tutte l'opere publiche, & priuate &longs;otto le fondamenta hanno le pali&longs;icate di <lb/>que&longs;to legno. </s> <s id="s.001965">l'Olmo, & il Fra&longs;sino hanno grandi&longs;simi humori, & pochi&longs;sima parte del­<lb/>l'aere, & del fuoco, ma della terra temperatamente, &longs;i piegano po&longs;te in lauoro, & per <lb/>l'abondanza dell'humore &longs;otto il pe&longs;o non hanno durezza, ma pre&longs;to &longs;i torceno, & &longs;ubi­<lb/>to, che per uecchiezza &longs;ono aridi diuenuti, o nel campo inuecchiti, quell'humore, che <lb/>in quelli mentre &longs;tauano abondaua, &longs;e ne manca, & &longs;i fanno piu duri, & nelle commi&longs;&longs;u <lb/>re, & ne gli inca&longs;tri, per la loro lentezza riceueno ferme incatenature. </s> <s id="s.001966">Similmente il Car <lb/>peno perche è di minima mi&longs;tura di fuoco, & di terreno, ma tiene grandemente dello aere <lb/>& dell'acqua, non è fragile, ma &longs;i puo riuolgere per ogni uer&longs;o con grande utilità. </s> <s id="s.001967">Et pe <lb/>rò i Greci, che di quella materia fanno i gioghi de i buoi, perche Zygia chiamano i gio­<lb/>ghi, &longs;ogliono chiamare quella materia Zygia. </s> <s id="s.001968">nè meno è marauiglio&longs;a la natura del Ci­<lb/>pre&longs;&longs;o, & del Pino. </s> <s id="s.001969">perche hauendo que&longs;t'alberi abondanza di humore, & hauendo egua­<lb/>le mi&longs;tura de gli altri principij per la &longs;atietà dell'humore &longs;i &longs;paccano. </s> <s id="s.001970">ma alla uecchiezza <lb/>&longs;enza difetto &longs;i con&longs;eruano. </s> <s id="s.001971">perche il liquore, che è dentro a que corpi, è di amaro gu&longs;to, <lb/>che per l'agrezza non la&longs;cia penetrare il tarlo, ouero altri nociui animaletti. </s> <s id="s.001972">Et però le <lb/>opere fatte di que&longs;te &longs;orti d'alberi durano &longs;empre, & co&longs;i il Cedro, & il Ginepro hanno <lb/>le i&longs;te&longs;&longs;e uirtù. </s> <s id="s.001973">& &longs;i come dal Cipre&longs;&longs;o, & dal Pino, uiene la re&longs;ina, che noi Ra&longs;a chiama­<lb/>mo, co&longs;i dal Cedro uiene l'oglio detto Cedrino. <!-- KEEP S--></s> <s id="s.001974">del quale quando &longs;ono onte le altre co&longs;e <lb/>come anche i libri, non &longs;enteno tarli, nè tarme. </s> <s id="s.001975">Gli alberi di quelli &longs;ono &longs;imili alla foglia­<lb/>tura del Cipre&longs;&longs;o, & di quella materia la uena, & dritta. </s> <s id="s.001976">Nel tempio di Efe&longs;o ui è il &longs;imu­<lb/>lacro di Diana, & anche la trauatura di Cedro; nè iui &longs;olamente, ma ne gli altri luoghi &longs;a­<lb/>cri nobili, &longs;ono le opere di quella materia, per la &longs;ua eternità. </s> <s id="s.001977">Na&longs;ceno que&longs;ti alberi ma&longs; <lb/>&longs;imamente in Candia, in Africa, & in alcune parti della Soria. <!-- KEEP S--></s> <s id="s.001978">Ma il Larice, che non è co <lb/>no&longs;ciuto, &longs;e non da gli habitanti d'intorno la riua del pò, & i liti del mare Adriano, non <lb/>&longs;olamente per la grande amarezza del &longs;ugo dal tarlo, & dalli caroli non è offe&longs;o, ma ancho <lb/>ra non riceue la &longs;iamma dal fuoco, nè e&longs;&longs;o da &longs;e non puo ardere, &longs;enon come il &longs;a&longs;&longs;o nella <lb/>fornace, a cuocer la calce, con altri legni &longs;arà abbruciato. </s> <s id="s.001979">nè allhora però riceue fiam­<lb/>ma, o fa carbone, ma per lungo &longs;patio a pena &longs;i con&longs;uma. </s> <s id="s.001980">perche tra i principij, de i quali, <lb/>è compo&longs;to, ha pochi&longs;sima tempra di fuoco, & di acre, ma la materia &longs;ua di humore, & <lb/>di terra i&longs;pe&longs;sita, & ra&longs;&longs;odata, & non hauendo poro&longs;ità, per la quale il fuoco ui po&longs;&longs;a en­<lb/>trare &longs;caccia la forza di quello, nè &longs;i la&longs;cia co&longs;i pre&longs;to da quello offendere. </s> <s id="s.001981">Que&longs;ta per lo <lb/>pe&longs;o &longs;uo, non è &longs;o&longs;tenuta nell acqua, ma quando è condotta, &longs;i pone o nelle barche, o &longs;o­<lb/>pra le Zatte di abete. </s> <s id="s.001982">Ma l'occa&longs;ione porta, che &longs;i &longs;appia come que&longs;ta materia è &longs;tata ritro <lb/>uata, Diuo Ce&longs;are hauendo lo e&longs;&longs;ercito cerca le alpi, & hauendo comandato a gli habitato <pb pagenum="92" xlink:href="045/01/100.jpg"/>ri di quelle ca&longs;tella & terre, che gli de&longs;&longs;ero uettouaglie, & e&longs;&longs;endo iui un forte ca&longs;tello det <lb/>to Laregno, quel li che dentro erano confidando&longs;i nella fortezza naturale del luogo, non <lb/>uolleno ubidire; per il che l'Imperatore &longs;i &longs;pin&longs;e auanti con lo e&longs;&longs;ercito. </s> <s id="s.001983">Era dinanzi la por <lb/>ta una torre fatta di que&longs;ta materia con traui trauer&longs;i alternamente raddoppiati, come una <lb/>pira in alto compo&longs;ta, in modo, che con pali, & pietre poteua &longs;cacciare chi har e&longs;&longs;e uolu­<lb/>to auuicinar&longs;i. </s> <s id="s.001984">uedendo&longs;i poi, che quelli non haueuano altre armi, che pali, & che per lo <lb/>pe&longs;o di quelli non poteuano tirarli troppo lontani, fu comandato, che ui mette&longs;&longs;ero &longs;ot­<lb/>to le fa&longs;cine, & che &longs;e le de&longs;&longs;e il fuoco, Et co&longs;i pre&longs;to i &longs;oldati ne fecero una gran raunan­<lb/>za. </s> <s id="s.001985">Dapoi che la fiamma d'intorno a quella materia hebbe appre&longs;e le fa&longs;cine, leuata&longs;i al cie <lb/>lo fece credere, che tutta quella mole fu&longs;&longs;e caduta a terra. </s> <s id="s.001986">Ma poi, che quella da &longs;e fu <lb/>e&longs;tinta, & ce&longs;&longs;ata, &longs;i uide la torre non e&longs;&longs;er &longs;tata tocca dal fuoco, ammirando&longs;i Ce&longs;are co­<lb/>mandò, che lontani dalli tiri delle &longs;aette circonda&longs;&longs;ero il ca&longs;tello di trincere, per il che i ca <lb/>&longs;tellani con&longs;tretti dalla paura &longs;i diedero all'Imperatore, il quale poi gli dimandò di che fu&longs;­<lb/>&longs;ero quelle legna, che per la fiamma non &longs;i con&longs;umauano. </s> <s id="s.001987">Allhora quelli gli dimo&longs;traro­<lb/>no quegli alberi, de i quali iui è copia grandi&longs;sima, & per que&longs;to quella fortezza, & que­<lb/>&longs;ta materia fu nominata laregna. </s> <s id="s.001988">Que&longs;ta per lo Pò &longs;i conduce a Rauenna nella colonia di <lb/>Fano, di Pe&longs;aro, & d'Ancona, & in altri luoghi & terre, che &longs;ono in quella regione. </s> <s id="s.001989">Del <lb/>la qual materia &longs;e fu&longs;&longs;e commodità di condurne a Roma, &longs;i cauariano grandi&longs;sime utilità <lb/>ne gli edificij, & &longs;e non in tutte le co&longs;e, almeno le tauole &longs;otto le grondi d'intorno l'i&longs;ole <lb/>{<emph type="italics"/>cioè ca&longs;e di priuate per&longs;one<emph.end type="italics"/>} (per e&longs;&longs;er tutte le ca&longs;e &longs;eparate l'una dall'altra) &longs;e fu&longs;&longs;ero po&longs;te <lb/>di quella materia &longs;ariano liberate di pericolo del trapa&longs;are de gli incendij, perche que&longs;ti <lb/>legni non riceueno, nè fiamma, nè carbone, & da &longs;e non ne po&longs;&longs;ono fare. </s> <s id="s.001990">Sono que&longs;ti albe <lb/>ri di foglie &longs;imiglianti al Pino, la loro materia è di&longs;te&longs;a, & trattabile per lauori di legnami <lb/>non meno della Sappinea detta di &longs;opra, tiene liquida ra&longs;a di colore del mele attico, laqua­<lb/>le è di giouamento a i pti&longs;ici. </s> <s id="s.001991">Io ho detto di tutte le &longs;orti di materia, di che proprietà &longs;ia­<lb/>no per natura, & ho e&longs;po&longs;to con che ragioni &longs;i generano. </s> <s id="s.001992">&longs;eguita che egli &longs;i auuerti&longs;ca per <lb/>che cau&longs;a quello Abete, che in Roma &longs;i chiama &longs;opernate, &longs;ia peggiore dello Infernate, <lb/>il quale utilmente dura per lunghi&longs;simo tempo nelle fabriche. </s> <s id="s.001993">Et di que&longs;te co&longs;e, come <lb/>pare, che habbiano dalla proprietà de i luoghi bontà, o uitio, accioche manife&longs;te &longs;iano, a <lb/>chi ui uorrà pen&longs;are, chiaramente e&longs;ponerò. </s> </p> <p type="main"> <s id="s.001994"><emph type="italics"/>Vitruuio ci ha in&longs;egnato quanto appartiene alla materia (che co&longs;i egli &longs;i chiama il legname) <lb/>il tempo di tagliar gli alberi, la ragione, il modo di tagliarli, la natura, & u&longs;o loro. </s> <s id="s.001995">ha detto <lb/>dell'Abete, del Larice, & del Cedro co&longs;e degne, di auuertimento, & ha de&longs;critto alcuni alberi, <lb/>conchiudendo chiaramente, quanto egli fin hora ha e&longs;po&longs;to, Noi &longs;imilmente poneremo tutta la <lb/>pre&longs;ente materia &longs;otto un'a&longs;petto, &longs;econdo che letto hauemo ne buoni auttori. </s> <s id="s.001996">Nel legname adun <lb/>que &longs;i con&longs;idera il tempo, & il modo di tagliarlo, la natura, l'u&longs;o, & la comparatione delle par­<lb/>ti, & del tutto. </s> <s id="s.001997">Secondo Theofra&longs;to il Rouere, il Pezzo, il Pino &longs;i deono tagliare quando le <lb/>piante sbroccano. </s> <s id="s.001998">Ma l'Acero, l'Olmo, la Tiglia, & il Fra&longs;&longs;ino dopo la uindemia. </s> <s id="s.001999">Vitru. uuole <lb/>che &longs;i taglino dal principio dall'Autunno fin auanti, che cominci à &longs;pirare il uento zefiro: Colu­<lb/>mella da i uenti fin' a i trenta della Luna, che inuecchia; Vegetio dalla quintadecima fin' alla ui­<lb/>ge&longs;ima &longs;econda. </s> <s id="s.002000">He&longs;iodo quando cadeno le foglie. </s> <s id="s.002001">Catone il Rouere al Solestitio, & quella ma­<lb/>teria, che ha del maturo, & del uerde, quando le cade il &longs;eme. </s> <s id="s.002002">L'olmo quando cadeno le foglie. </s> <s id="s.002003"><lb/>Plinio na&longs;cendo il cane nel far della Luna. <!-- KEEP S--></s> <s id="s.002004">& è o&longs;&longs;eruatione A&longs;tronomica, percioche per la for­<lb/>za della Luna egli &longs;i commoue ogni humore. </s> <s id="s.002005">Tirando adunque la Luna l'humore alle radici il re­<lb/>&longs;tante della materia &longs;arà piu puro, & piu purgato. </s> <s id="s.002006">Perche Plinio uuole che s'a&longs;petti la notte, <lb/>che &longs;uccede al giorno, che fa la Luna, quando e&longs;&longs;a Luna &longs;arà &longs;otterra. </s> <s id="s.002007">Tutti questi auttori han­<lb/>no le loro ragioni; benche la maggior parte conuenga. </s> <s id="s.002008">Non &longs;i deono u&longs;are i legnami &longs;e non pa&longs;­<lb/>&longs;ati i tre me&longs;i, nè tirargli per la rugiada, anzi dopo il mezo giorno, cominciando la Luna a &longs;ce-<emph.end type="italics"/><pb pagenum="93" xlink:href="045/01/101.jpg"/><emph type="italics"/>mare, deon&longs;i tagliare alquanto d'intorno per la&longs;ciare u&longs;cire l'humore: & poi tagliati di tu tto <lb/>&longs;corzarli: è &longs;pecialmente quelli, che fanno frutto. </s> <s id="s.002009">nè &longs;i deono tagliare &longs;e non &longs;atto il frutto. </s> <s id="s.002010">Ri­<lb/>poni gli alberi tagliati doue nè il gran Sole, nè i uenti gli diano. </s> <s id="s.002011">alcuni &longs;iano unti di &longs;terco boui­<lb/>no, accioche &longs;i &longs;ecchino egualmente. </s> <s id="s.002012">La Castagna &longs;i purga nell'acqua del mare, la materia, che <lb/>&longs;i adopera al torno, &longs;i &longs;ommerge nell'acque, & nel fango per trent a giorni; altri ugneno la ma­<lb/>teria di morchia per li tarli, & quella, che per l'acqua &longs;i gua&longs;ta, &longs;i &longs;uole impegolare. </s> <s id="s.002013">La mate­<lb/>ria inuecchiata d'allume bagnata non arde. </s> <s id="s.002014">La natura, & u&longs;o de legnami è que&longs;ta. </s> <s id="s.002015">L'Alno <lb/>è buono grandemente alle palificate, ne i paludi, & luoghi &longs;tuuiali, ma all'aere non dura. </s> <s id="s.002016">L'E&longs;cu­<lb/>lo, che è una &longs;pecie di Rouere, è impatiente dell'humore. </s> <s id="s.002017">L'Olmo allo &longs;coperto &longs;i conden&longs;a, ma <lb/>altroue &longs;i &longs;pacca, & la &longs;ua radice è belli&longs;&longs;ima fra tutti i legni per la uarietà de i colori, & per <lb/>un certo lu&longs;tro. </s> <s id="s.002018">Dapoi la radice dell'Oliuo è belli&longs;&longs;ima. </s> <s id="s.002019">il Pezzo, & il Pino durano &longs;otterra <lb/>eternamente. </s> <s id="s.002020">Il Rouere per e&longs;&longs;er &longs;pe&longs;&longs;o, neruo&longs;o, di pochi fori, è ottimo alle opere terrene, per­<lb/>che non riceue l'humore, & &longs;o&longs;tenta i pe&longs;i mirabilmente. </s> <s id="s.002021">La Quercia non inuecchia. </s> <s id="s.002022">Il Fag­<lb/>gio, la Iuglande non &longs;i gua&longs;tano per l'acque. </s> <s id="s.002023">Il Souero, il Pina&longs;tro, il Moro, l'Acero, l'Olmo non <lb/>&longs;ono inutili all'u&longs;o delle colonne. </s> <s id="s.002024">Ma alli ta&longs;&longs;elli, & u&longs;o delle trauature la Noce Euboica, ma <lb/>&longs;opra'l tutto l'Abete; alquale però di leggieri &longs;i attacca il fuoco, nel re&longs;to è utili&longs;&longs;imo, nè gli ce­<lb/>de il Cipreßo. <!-- KEEP S--></s> <s id="s.002025">que&longs;ti non &longs;ente uecchiezza, nè tarli, nè da &longs;e &longs;i rompe, bene è uero che pe&longs;a mol­<lb/>to, & è buono per far porte. </s> <s id="s.002026">Na&longs;ce & cre&longs;ce dritti&longs;&longs;imo per natura &longs;opra tutti gli altri alberi. </s> <s id="s.002027"><lb/>Il Pino &longs;i tarla, perche il &longs;uo liquore è piu dolce che quello dell'Abete. </s> <s id="s.002028">Il Larice è buono per li <lb/>pe&longs;i, & per li trauamenti. </s> <s id="s.002029">dura, & è neruo&longs;o, & non &longs;i tarla, pare che delle fiamme &longs;i &longs;degni; <lb/>pure uediamo che egli arde. </s> <s id="s.002030">uero è che un tronco gro&longs;&longs;o di quello con la &longs;corza molto re&longs;i&longs;te al fuo <lb/>co. </s> <s id="s.002031">L'Oliuo, il Fico, la Tiglia, il Salice non &longs;ono buoni per le trauamenta. </s> <s id="s.002032">La Palma &longs;i uolge <lb/>contra il pe&longs;o. </s> <s id="s.002033">il Ginepro è propo&longs;to alle trauature &longs;coperte, a cui &longs;imile (benche piu &longs;odo) è di <lb/>natura il Cedro, del quale Vinitiani hanno fatto belli&longs;&longs;ime porte alle &longs;ale delle arme. </s> <s id="s.002034">è legno odo­<lb/>rati&longs;&longs;imo. </s> <s id="s.002035">Il Cerro, & il Faggio non durano a i lauori di legnami, come &longs;ono letti, men&longs;e, tauole. </s> <s id="s.002036"><lb/>L'Abete, il Cipre&longs;&longs;o, il Faggio, & anche il Pezzo, benche &longs;iano fragili, però &longs;ono bnoni per <lb/>ca&longs;&longs;e, letti, & a&longs;&longs;i &longs;ottili. </s> <s id="s.002037">&longs;imili a que&longs;ti è l'Elice. </s> <s id="s.002038">inutili &longs;ono la Iuglande, l'Olmo, & il Fra&longs;&longs;i­<lb/>no: percioche la Iuglande fatta in tauole facilmente &longs;i rompe, & gli altri alberi cedeno, & pun­<lb/>teggiano. </s> <s id="s.002039">Ma lo Fra&longs;&longs;ino è ubidientißimo all'opera, & co&longs;i la Noce. </s> <s id="s.002040">benche gli antichi nonne <lb/>habbiano fatto molta con&longs;ideratione: è però a giorni nostri molto &longs;timata, & adoperata in mol­<lb/>ti, & &longs;ottili&longs;&longs;imi lauori, & di piu &longs;orti. </s> <s id="s.002041">Il Moro è lodato perche col tempo &longs;i fa piu nero, & du­<lb/>ra molto. </s> <s id="s.002042">L'Olmo è buono a i cardini delle porte: perche &longs;erua il rigore, ma la radice deue eßer <lb/>posta di &longs;opra. </s> <s id="s.002043">dello Acqui&longs;oglio &longs;i fanno le &longs;tange, & co&longs;i di Lauro, & d'Olmo. </s> <s id="s.002044">i gradi &longs;i fan­<lb/>no di Orno, & di Lauro: & le chiauette di Corno. <!-- KEEP S--></s> <s id="s.002045">per cannoni d'acque coperti fanno bene il Pi­<lb/>no, & il Pezzo. </s> <s id="s.002046">Larice femina di colore &longs;imile al mele, è buona per adornar le ca&longs;e, e&longs;&longs;endo <lb/>&longs;tato auuertito, che nelle tauole de i pittori è immortale. </s> <s id="s.002047">& però è buona per le &longs;tatue, perche <lb/>non ha i nerui &longs;te&longs;i per lungo, ma interrotti, uarij, & minuti. </s> <s id="s.002048">V&longs;auano gli antichi il Loto, il <lb/>Bo&longs;&longs;o, il Cedro, il Cipre&longs;&longs;o, & la radice dell'Oliuo piu &longs;oda, & il Per&longs;ico Egittio per farne le <lb/>&longs;tatue. </s> <s id="s.002049">ma per fare le tauole da dipignere u&longs;auano gli antichi il bianco, & il nero Poppio. </s> <s id="s.002050">La <lb/>Salce, il Carpene, il Sorbo, il Sambuco, il Fico. </s> <s id="s.002051">Lodano alcuni la Giuggiola, & per lo torno il <lb/>Faggio, il Moro, il Terebinto, & &longs;pecialmente il Bo&longs;&longs;o, & l'Ebano. </s> <s id="s.002052">Il Rouero difficilmente <lb/>s'accompagna con altri alberi, & rifiuta la colla, come fanno tutti gli alberi lacrimanti, & cre&longs;­<lb/>pi, & ogni legno, che &longs;i puo radere. </s> <s id="s.002053">Non &longs;tanno in&longs;ieme gli alberi, che &longs;ono di natura differen­<lb/>ti, come l'Edera, il Lauro, la Tiglia per e&longs;&longs;er calidi, con i nati in luoghi bumidi. </s> <s id="s.002054">Similmente <lb/>non &longs;tanno lungamente in colla l'E&longs;culo, & la Quercia, nè &longs;i deono accompagnare l'Olmo, il <lb/>Fra&longs;&longs;ino, il Moro, il Cireggio con il Platano, & l'Alno, perche que&longs;ti &longs;ono di natura humida, <lb/>quelli di &longs;ecca. </s> <s id="s.002055">Gli alberi &longs;i &longs;ogliono comparare, & quanto al tutto, & quanto alle parti: quan­<lb/>to al tutto gli infecondi &longs;ono piu fermi de i fruttuo&longs;i: i &longs;eluatichi nè con mano, nè con ferro colti <emph.end type="italics"/><pb pagenum="94" xlink:href="045/01/102.jpg"/><emph type="italics"/>piu duri. </s> <s id="s.002056">Gli acuti, & tardiui tra i fruttuo&longs;i piu forti. </s> <s id="s.002057">De i dolci piu cre&longs;ceno gli &longs;terili, che i <lb/>fertili. </s> <s id="s.002058">Piu nodo&longs;i gli sterili del tutto, o quelli, che a uicenda fruttano, che i feraci. </s> <s id="s.002059">Tra i no­<lb/>do&longs;i i corti &longs;ono piu difficili. </s> <s id="s.002060">Sono piu nodo&longs;i quelli, che nodriti &longs;ono in conualli, & piu corti de i <lb/>montani. </s> <s id="s.002061">Ma i montani piu fermi, & piu gro&longs;&longs;i. </s> <s id="s.002062">Sono piu molli i na&longs;ciuti in luoghi humidi, & <lb/>ombro&longs;i de gli aprichi. </s> <s id="s.002063">I legni di color bianco &longs;ono manco den&longs;i, & piu trattabili. </s> <s id="s.002064">Ogni ma­<lb/>teria pondero&longs;a della liggiera, è piu &longs;pe&longs;&longs;a, & piu dura, & quella è piu fragile. </s> <s id="s.002065">finalmente quel­<lb/>li, che piu &longs;i con&longs;eruano in uita, durano anche tagliati piu lungamente de gli altri. </s> <s id="s.002066">Hora quan­<lb/>to alla comparatione delle parti, che quanto meno ui è di midolla tanto piu ui è di fortezza: Le <lb/>parti piu uicine alla midolla &longs;ono piu forti, & le piu uicine alla &longs;corza, &longs;ono piu tenaci, & la <lb/>peggiore è l'Alburno. </s> <s id="s.002067">Le piu uicine alla terra &longs;ono piu pondero&longs;e, le di mezo &longs;ono piu cre&longs;pe, le <lb/>interiori piu commode, le e&longs;po&longs;te al mezo di piu &longs;ecche, & &longs;ottili, & hanno la midolla piu ui­<lb/>cina al cortice. </s> <s id="s.002068">In fine molte co&longs;e re&longs;tarebbeno a dire, ma que&longs;te uoglio che &longs;iano a bastanza. </s> <s id="s.002069">Il <lb/>re&longs;to &longs;i troua raccolto con grandi&longs;&longs;ima diligenza da Leon Batti&longs;ta. <!-- REMOVE S-->nel &longs;econdo libro, & di Pli­<lb/>nio nel &longs;e&longs;to decimo, & in Theofra&longs;to. </s> <s id="s.002070">Ma quello che è degno in Vitru. di auuertimento, è la <lb/>doue egli dice dello Abete, Quadrifluuijs di&longs;paratur: non che Vitr. non habbia bene interpretato. <lb/></s> <s id="s.002071">& &longs;imilmente Plinio quando dice, Quæ habeant quadripartitos uenarum cur&longs;us, bifidos autem <lb/>omnino &longs;implices. </s> <s id="s.002072">ma perche Theofra&longs;to dice dizous, monozous, tetrazous. </s> <s id="s.002073">Parole tradotte <lb/>da Theodoro Gaza, Quadriuiuas, biniuiuas, & uniuiuas: come dice Hermolao Barbaro. <!-- KEEP S--></s> <s id="s.002074">lequa­<lb/>li parole, & nel Greco, & nel Latino non danno bene ad'intendere quello, che è in fatto. </s> <s id="s.002075">dico di <lb/>Theofra&longs;to, & di Theodoro, &longs;e for&longs;e Theofra&longs;to non uuole dire monorous, & dirous, & tetra­<lb/>rous; il che non ardirei di porre; perche egli &longs;i uede alcuni Abeti tagliati a trauer&longs;o hauere un <lb/>cor&longs;o di uene, che uanno per un uer&longs;o, & alcuni hauerne due, che uno caualca l'altro, come &longs;e <lb/>le dita d'una mano attrauer&longs;a&longs;&longs;ero le dita dell'altra; & alcuni hauerne quattro po&longs;ti in modi di <lb/>craticula o di rete; come chi pone&longs;&longs;e le dita d'una mano attrauer&longs;ate &longs;opra le dita dell'altra, & <lb/>&longs;opra quelle anche altre, fin' a quattr'ordini. </s> <s id="s.002076">Egli &longs;i ha o&longs;&longs;eruato, che lo Abete cre&longs;cendo d'an­<lb/>no in anno, ne i primi anni accre&longs;ce il numero delle uene, & da un &longs;implice ordine di uene, che di­<lb/>mo&longs;tra il primo anno ne fa un'altro attrauer&longs;ato &longs;opra quelle il &longs;eguente anno, & co&longs;i moltiplica <lb/>fino al quarto anno: & que&longs;ta credo &longs;ia l'intelligenza de gli allegati auttori.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.002077"><emph type="italics"/>Dello abete &longs;opernate, & internate con la de&longs;crittione <lb/>dell'Apennino. </s> <s id="s.002078">Cap. X.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.002079">NASCENO le prime radici del monte Apennino dal mar Tirreno in fino <lb/>all'Alpi, & all'e&longs;treme parti di To&longs;cana; ma il giogo di quel monte giran<lb/>do&longs;i, & con meza uolta appre&longs;&longs;and o&longs;i alle riue del mar Adriano, peruiene <lb/>con i &longs;uoi giri uer&longs;o il mare, la onde la &longs;ua piegatura di qua, che riguarda <lb/>alle parti di To&longs;cana, & di Campagna, è molto aprica, & fiorita, perche del conti­<lb/>nuo prende uigore dal cor&longs;o del Sole. <!-- KEEP S--></s> <s id="s.002080">ma la parte di là, & che uolta al mar di &longs;opra <lb/>&longs;ottogiace al Settentrione, è perpetuamente & fo&longs;ca, & ombro&longs;a. </s> <s id="s.002081">doue gli alberi, che <lb/>&longs;ono in quella patte e&longs;&longs;endo nodriti di uirtu humida, non &longs;olo cre&longs;cono in i&longs;mi&longs;urata <lb/>grandezza: ma anche le lor uene pregnanti di grande humidità tumide, & gonfie &longs;i &longs;atiano <lb/>dell'abondanza del liquore: ma poi quando tagliate, & i&longs;pianate hanno perduto il uigo <lb/>re naturale cangiando col &longs;eccar&longs;i il rigore delle uene diuentano per la loro rarità uote <lb/>& i&longs;uanite: & per que&longs;ta ragione non hanno ne gli edificij da durare. </s> <s id="s.002082">Ma quelli che in <lb/>luoghi e&longs;po&longs;ti al Sole &longs;ono generati, non hauendo al cuna rarità tra le uene loro a&longs;ciut <lb/>te dal &longs;ecco &longs;i fanno piu ferme, perche il Sole non &longs;olamente dalla terra a&longs;ciugando, <lb/>ma anche da gli alberi caua l'humore. </s> <s id="s.002083">& però quegli, che &longs;ono in parte e&longs;po&longs;ta al Sole <pb pagenum="95" xlink:href="045/01/103.jpg"/>a&longs;&longs;odati per la den&longs;ità delle uene, non hauendo rarità alcuna dall'humore, poi che &longs;i met­<lb/>teno in opera, piani, & politi durano con molte utilità alla uecchiezza. </s> <s id="s.002084">& però quelli, <lb/>che &longs;ono dalla parte inferiore dell'Apennino, perche &longs;ono portati da luoghi aprichi, &longs;o­<lb/>no migliori di quelli, che na&longs;ceno nella parte &longs;uperiore, & uengono da luoghi opachi. </s> <s id="s.002085"><lb/>Io ho e&longs;po&longs;to quanto ho potuto con l'animo con&longs;iderare le copie nece&longs;&longs;arie al fabri­<lb/>care, di che tempre &longs;iano per la me&longs;colanza de i loro principij, & quali perfettioni, & <lb/>difetti habbiano, accioche manife&longs;te &longs;iano a chi intende di fabricare. </s> <s id="s.002086">& però quelli, i <lb/>quali potranno &longs;eguitare le leggi di que&longs;ti precetti, &longs;arano piu auertiti, & potranno far <lb/>elettione nelle opere dell'u&longs;o di cia&longs;cuna &longs;pecie. </s> <s id="s.002087">E&longs;&longs;endo&longs;i adunque detto delle prepara­<lb/>tioni della materia. </s> <s id="s.002088">Re&longs;ta che ne gli altri uolumi io dica de gli edificij, & prima de i &longs;a<lb/>cri Tempij de i Dei immortali, & delle loro mi&longs;ure, & proportioni, come conuiene <lb/>all'ordine propo&longs;to. </s> </p> <p type="main"> <s id="s.002089"><emph type="italics"/>Ha uoluto Vitruuio nel decimo, & ultimo capo di questo &longs;econdo libro porre la differenza <lb/>de gli alberi, che na&longs;ceno dalla parte del Sole, che aprica &longs;i chiama, da quelli che ne i <lb/>luoghi ombro&longs;i riguardano al Settentrione. <!-- KEEP S--></s> <s id="s.002090">è facil co&longs;a, & confermata da Palladio nell'unde­<lb/>cimo libro al quinto decimo Capo, & da Plinio nel &longs;e&longs;todecimo libro, al trente&longs;imonono Capo. <!-- KEEP S--></s> <s id="s.002091"><lb/>Et qui &longs;ia fine del &longs;econdo libro.<emph.end type="italics"/></s> </p> </subchap2></subchap1><subchap1> <p type="head"> <s id="s.002092">IL TERZO LIBRO<!-- REMOVE S-->DELL'ARCHITETTVRA DI <lb/>M. VITRVVIO.<!-- KEEP S--></s> </p> <p type="main"> <s id="s.002093">IL Delfico Apollo nelle ripo&longs;te date a Pithia affermò Socrate e&longs;&longs;er di tut­<lb/>ti gli huomini &longs;apienti&longs;simo. </s> <s id="s.002094">Que&longs;ti (&longs;i dice) che con prudenza & dot­<lb/>ti&longs;simamente dice&longs;&longs;e, che bi&longs;ognaua, che i petti de gli huomini fu&longs;&longs;ero <lb/>come fine&longs;tre, & aperti, affine, che haue&longs;&longs;ero i &longs;en&longs;i non occulti, ma pa <lb/>le&longs;i da e&longs;&longs;er con&longs;iderati. </s> <s id="s.002095">Vole&longs;&longs;e Iddio, che la natura &longs;eguitando la o­<lb/>pinione di Socrate fatto haue&longs;&longs;e i petti apparenti, & chiari: perche &longs;e co <lb/>&longs;i fu&longs;&longs;e &longs;tato non &longs;olamente le uirtu & i uitij de gli animi &longs;i uederiano: ma anche le &longs;cien­<lb/>ze delle di&longs;cipline a gli occhi &longs;ottopo&longs;te con certo giudicio s'approueriano, & a gli eru­<lb/>diti, & intendenti huomini grande, & &longs;tabile riputatione s'accre&longs;cerebbe, & però, perche <lb/>la natura non a modo d'altri, ma al &longs;uo co&longs;i fare ha uoluto, non puo e&longs;&longs;ere, che gli huomi <lb/>ni con gli ingegni &longs;otto i petti o&longs;curati habbiano potuto giudicare come &longs;ono le &longs;cienze <lb/>de gli artificij del tutto a&longs;co&longs;e, & gli artefici anchora che promettino la loro prudenza, &longs;e <lb/>non &longs;aranno dinaro&longs;i, ouero &longs;e non &longs;aranno &longs;tati cono&longs;ciuti per la uecchiezza delle loro <lb/>officine, o non haueranno hauuto gratia, & eloquenza da piazza, non po&longs;&longs;ono per la in­<lb/>du&longs;tria de gli &longs;tudi loro hauere tanto di credito, che creduto lor &longs;ia quello, di che fanno <lb/>profe&longs;sione. </s> <s id="s.002096">& que&longs;to &longs;i può &longs;pecialmente cono&longs;cere da gli antichi &longs;tatuari, & pittori, <lb/>che di quelli, coloro che hanno hauuto i &longs;egni di dignità, & la gratia di e&longs;&longs;er commenda <lb/>ti, con eterna memoria &longs;i mantengono alla po&longs;terità. </s> <s id="s.002097">Come fu Mirone, Policleto, Phi<lb/>dia, Li&longs;ippo, & gli altri, che hanno con l'arte loro con&longs;eguita la nobiltà. </s> <s id="s.002098">perche come <lb/>alle gran Città, ouero a i Re, ouero a nobili huomini fatti hanno opere, & fabriche, co­<lb/>&longs;i hanno ottenuto quello, che io ho detto. </s> <s id="s.002099">Ma quei, che nè di manco &longs;tudio, & ingegno, <lb/>& &longs;olertia &longs;tati &longs;ono, nè manco belle opere hanno la&longs;ciato a gli ignobili cittadini, & di mi<lb/>nor fortuna, non hanno la&longs;ciato ricordo di loro alcuno: perche non dalla indu&longs;tria, & <pb pagenum="96" xlink:href="045/01/104.jpg"/>&longs;olertia dell'arte, ma dalla felicità &longs;ono &longs;tati abbandonati: come fu Hellas Athenie&longs;e, <lb/>Chione Corinthio, Miagro Phoce&longs;e, Pharace Ephe&longs;io, Bedas Bizantio, & molti altri. </s> <s id="s.002100"><lb/>Similmente i pittori come Ari&longs;tomene Tha&longs;io, Policle, & Atramitino, Nicomaco, & <lb/>gli altri, a i quali, nè indu&longs;tria, nè &longs;tudio dell'arte, nè &longs;olertia mancò, ma ouero la poca <lb/>robba, o la debil fortuna, o l'e&longs;&longs;er &longs;uperati nella ambitione delle concorrenze da gli auer <lb/>&longs;arij, po&longs;e o&longs;taculo alla dignità loro. </s> <s id="s.002101">Nè però egli è da marauigliar&longs;i, &longs;e per l'ignoranza <lb/>dell'Arte &longs;i o&longs;curano le uirtu: ma bene l'huomo &longs;i deue grandemente sdegnare, quando <lb/>&longs;pe&longs;&longs;o la gratia de i conuiti lu&longs;ingheuolmente, co&longs;i da i ueri giudicij alla fal&longs;a approbatio <lb/>ne conduca. </s> <s id="s.002102">Et però &longs;e (come piacque a Socrate) i &longs;en&longs;i, & le opinioni, & le &longs;cienze cre­<lb/>&longs;ciute dalle di&longs;cipline, fu&longs;&longs;ero &longs;tate chiare, & manife&longs;te, non ualerebbe la gratia, non <lb/>l'ambitione: ma &longs;e ci fu&longs;&longs;e, chi con uere, & certe fatiche impiegate nello imparare le dot<lb/>trine, giunto fu&longs;&longs;e al colmo della &longs;cienza, a que&longs;to &longs;i darebbe uolentieri i lauori nelle ma <lb/>ni: ma perche quelle non &longs;ono illu&longs;tri, & apparenti, nello a&longs;petto, (come pen&longs;amo che <lb/>bi&longs;ognaua) & io uedo, che piu pre&longs;to gli indotti, che i dotti auanzano di gratia: non i&longs;ti­<lb/>mando io, che buono &longs;ia il cotendere con gli ignoranti di ambitione: piu pre&longs;to con <lb/>que&longs;ti precetti dimo&longs;trerò la uirtu della &longs;cienza no&longs;tra. </s> <s id="s.002103">Nel primo libro adunque, ò Impe <lb/>ratore, ti ho e&longs;po&longs;to dell'Arte, & che potere ella habbia, & di che di&longs;cipline faccia bi&longs;o­<lb/>gno, che l'Architetto &longs;ia ornato; & &longs;oggiun&longs;i le cagioni, perche co&longs;i bi&longs;ognaua, che <lb/>egli ammae&longs;trato fo&longs;&longs;e, & diui&longs;i in &longs;omma le ragioni della Architettura, & diui&longs;e poi, io <lb/>I'ho diffinite: & oltra que&longs;to di&longs;correndo, ho dimo&longs;trato quello, che era prima, & ne­<lb/>ce&longs;&longs;ario delle mura, come fare &longs;i debbia la elettione de i luoghi &longs;ani: & ho dimo&longs;trato <lb/>con de&longs;crittioni di linee, quanti, & quali, & da che parte &longs;pirino i uenti: & ho in&longs;egnato <lb/>di fare i giu&longs;ti compartimenti delle piazze, & de i borghi dentro le mura, & con que&longs;to <lb/>io ho po&longs;to fine al primo uolume. </s> <s id="s.002104">Nel &longs;econdo anche io ho fornito di trattare della ma­<lb/>teria, che utilità &longs;i habbia da quella ne gli edificij, & che uirtu le dia la natura. </s> <s id="s.002105">Hora nel <lb/>terzo io dirò delle &longs;acre ca&longs;e de gli Dei immortali, & e&longs;ponerò in che modo e&longs;&longs;er deo­<lb/>no di&longs;egnate. </s> </p> <p type="main"> <s id="s.002106"><emph type="italics"/>Detto ha Vitruuio nel primo libro al terzo Capo, che tre &longs;ono'le parti dell'Architettura, una <lb/>delle quali era la edificatione: detto ha &longs;imilmente, che la edificatione era in due parti diui&longs;a, <lb/>una delle quali apparteneua alla fabrica delle opere communi, & publiche, l'altra cra po&longs;ta nel <lb/>le fabriche priuate. </s> <s id="s.002107">Ha uoluto, che le distributioni delle opere publiche fu&longs;&longs;ero di tre maniere, <lb/>l'una pertinente alla dife&longs;a, l'altra alla religione, la terza alla opportunità. </s> <s id="s.002108">nel mede&longs;imo libro <lb/>ha fornito quanto s'a&longs;pettaua alla dife&longs;a. </s> <s id="s.002109">Doueua egli poi trattare delle fabriche pertinenti alla re <lb/>ligione, ma parendogli molto nece&longs;&longs;ario e&longs;ponere & la materia, & il modo per ponere in&longs;ieme la <lb/>materia (&longs;econdo che egli ha detto) diede &longs;oggetto al &longs;econdo libro, nel quale chiaramente ha trat <lb/>tato della materia piu nece&longs;&longs;aria alle fabriche: e&longs;ponendo la natura, l'u&longs;o, & le ragioni di quella; pe <lb/>rò hauendo&longs;i sbrigato da quella, ritorna hora alla di&longs;tributione delle fabriche pertinenti alla Re <lb/>ligione; & tratta de i &longs;acri tempij nel terzo, & nel quarto, abbracciando tutto il corpo della <lb/>pre&longs;ente materia. </s> <s id="s.002110">per il che &longs;i puo dire, che qui comincia tutto il bello, che di mano, & d'inge­<lb/>gno s'a&longs;petta dallo Architetto. <!-- KEEP S--></s> <s id="s.002111">Qui l'ordine ha luogo, qui la di&longs;po&longs;itione di&longs;egna, qui la &longs;imme­<lb/>tria, & il decoro, & la gratia fanno proua, qui &longs;i &longs;ente la utilità della di&longs;tributione. </s> <s id="s.002112">nelle <lb/>quali co&longs;e il ualore dello Architetto, la forza dell'arte, l'acutezza dello ingegno riluce. </s> <s id="s.002113">Onde <lb/>egli &longs;i puo dire col gran poeta.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002114"><emph type="italics"/>O Mu&longs;e, o alto ingegno hor m'aiutate.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002115"><emph type="italics"/>O mente, che &longs;criuesti ciò, ch'io uidi,<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002116"><emph type="italics"/>Qui &longs;i parrà la tua nobilitate.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002117"><emph type="italics"/>Et ueramente, è degna con&longs;ideratione quella, che &longs;i farà &longs;opra la pre&longs;ente materia, & molto <lb/>gentilmente è &longs;tato auuertito da Vitru. imperoche &longs;apendo egli la grande importanza della co-<emph.end type="italics"/><pb pagenum="97" xlink:href="045/01/105.jpg"/><emph type="italics"/>&longs;a, & che infinita è la &longs;chiera de gli &longs;ciocchi, &longs;i ha mo&longs;&longs;o a de&longs;iderar quello, che di&longs;ideraua So<lb/>crate, che haue&longs;&longs;e l'huomo, cioè che egli haueße una fine&longs;trella nel petto, accioche dentro &longs;i ue­<lb/>de&longs;&longs;e la &longs;cienza, l' Arte, il bene, & il male, che dentro ui fu&longs;&longs;e. </s> <s id="s.002118">Perche la Gratia, il fauore, la <lb/>fortuna luogo darebbeno, quando il perito, & intelligente con lo imperito & ignorante di pari <lb/>ueni&longs;&longs;ero al giudicio delle genti. </s> <s id="s.002119">&longs;arebbe la Virtù di piu &longs;tima, & l' Arroganza cederebbe alla mo­<lb/>de&longs;tia. </s> <s id="s.002120">Credo io che Vitr. haue&longs;&longs;e bello, & alto pen&longs;iero, uiuo, & &longs;oaue gu&longs;to delle ragioni del­<lb/>l' Architettura, onde in &longs;e &longs;te&longs;&longs;o godendone, di&longs;ideraua, che tutto'l mondo cono&longs;ce&longs;&longs;e la bellezza <lb/>della uirtù. </s> <s id="s.002121">& però concorreua nella opinione di Socrate, la dignità del quale fu giudicata dalla <lb/>&longs;acerdote&longs;&longs;a Pithia per nome di Apollo e&longs;&longs;ere di &longs;apientia &longs;opra tutti gli huomini. </s> <s id="s.002122">Certamente io <lb/>ho o&longs;&longs;eruato, che non &longs;enza grande cagione Vitru. ha propo&longs;to i proemi a i &longs;uoi uolumi; perche <lb/>e&longs;&longs;endo il proemio, (come detto hauemo nel &longs;econdo libro) quello, che prima ciè propo&longs;to, & <lb/>per que&longs;to riguardando noi con maggiore attentione quello, che prima ci uiene inanzi, bello, & <lb/>conueneuole auuertimento è di proponere ne i proemij quelle co&longs;e, che noi uogliamo, che &longs;iano <lb/>grandemente con&longs;iderate, & atte&longs;e. </s> <s id="s.002123">Vuole adunque Vitr. (da poi che la natura non ha fatto <lb/>a modo no&longs;tro) che almeno ci forzamo &longs;coprire con la eccellenza dell' Arte quello, che ne i petti <lb/>no&longs;tri è rinchiu&longs;o. </s> <s id="s.002124">La eccellenza adunque dell' Arte (come &longs;pe&longs;&longs;e uolte hauemo detto, & ci gio­<lb/>ua di replicarlo) è po&longs;ta nella ragione, la quale Vitr. ha po&longs;to nelle &longs;ei predette co&longs;e. </s> <s id="s.002125">Que&longs;ta egli <lb/>ha chiamato di&longs;cor&longs;o, co&longs;a &longs;ignificante, & forma. </s> <s id="s.002126">Però &longs;e alcuno fia, che uoglia uedere piu a <lb/>dentro, & ritrouare la uerità delle co&longs;e, io lo prego, che con benigno animo legga il &longs;otto&longs;critto <lb/>di&longs;cor&longs;o, & ritrouando quello, che egli de&longs;idera, lodi meco la bontà di Dio. <!-- KEEP S--></s> <s id="s.002127">& &longs;e del tutto egli <lb/>non &longs;arà &longs;atisfatto, aggiunga lo &longs;tudio, & il fauore all' opera da me cominciata; l'uno per ritro­<lb/>uar il uero, l'altro per accettare il buon animo, del quale io mi faccio perpetuo debitore. </s> <s id="s.002128">Tanta <lb/>è la forza della proportione, tanta è la nece&longs;&longs;ità, tanta è l'utilit à di e&longs;&longs;a nelle co&longs;e, che non puo <lb/>alcuno nè all'orecchie, nè a gli occhi, nè a gli altri &longs;en&longs;i recare alcuna dilettatione &longs;enza la con­<lb/>ueneuolezza, & la ri&longs;pondenza della ragione, la doue tutto quello, che diletta, o piace, non <lb/>per altro diletta & piace, &longs;e non perche tiene proportionata mi&longs;ura, & moderato temper amen­<lb/>to. </s> <s id="s.002129">Non prima con diletto, & piacere nell' animo per le orecchie di&longs;cendeno le uoci, & i &longs;uoni, <lb/>che tra &longs;e non conuenghino in proportionata ragione di tempo, & di di&longs;tanza. </s> <s id="s.002130">Le belle inuentio­<lb/>ni de gli huomini tanto hanno del buono, quanto piu ingenio&longs;amente &longs;ono proportionate. </s> <s id="s.002131">Effi­<lb/>caci&longs;&longs;ima co&longs;a è nel comporre, & me&longs;colare le &longs;emplici medicine, la proportione, come nel fare <lb/>la Tiriaca, & il Mitridato. </s> <s id="s.002132">Diuina è la forza de i numeri tra &longs;e con ragione comparati. </s> <s id="s.002133">nè &longs;i puo <lb/>dire, che nella fabrica di que&longs;ta uniuer&longs;ità, che noi mondo chiamamo, & nel picciol mondo an­<lb/>chora, &longs;ia co&longs;a piu ampia, piu degna della conueneuolezza del pe&longs;o, del numero, & della mi&longs;ura, <lb/>con la quale il tempo, lo &longs;pacio, i mouimenti, le uirtù la fauella, lo artificio, la natura, il &longs;a­<lb/>pere, & ogni co&longs;a in &longs;omma diuina, & humana è compo&longs;ta, cre&longs;ciuta, & perfetta. </s> <s id="s.002134">Ilche come <lb/>è uero, co&longs;i non &longs;timo io, che util &longs;ia il uolere con piu ampie indottioni prouarlo. </s> <s id="s.002135">Quando adun­<lb/>que &longs;arà da noi con bello, & &longs;ottile auuedimento proui&longs;to, che tutto quello, che &longs;arà fatto da noi <lb/>&longs;ia con le ragioni delle proportioni compo&longs;to: non &longs;olamente &longs;aremo giudici degni delle opere de <lb/>gli antichi, ma anchora inuentori, & operatori da noi &longs;te&longs;&longs;i di co&longs;e rare, & eccellenti. </s> <s id="s.002136">& quan­<lb/>do bene Vitr. non &longs;i troua&longs;&longs;e al mondo, potrebbe colui che ueramente intende&longs;&longs;e il ualore delle <lb/>proportioni, ritrouare innumerabili precetti d'Architettura, nè per temerario &longs;arebbe hauuto, <lb/>perche in dife&longs;a &longs;ua prenderebbe la ragione. </s> <s id="s.002137">la qual co&longs;a ha dato riputatione a gli artefici, com­<lb/>modo al mondo, & gloria a i Principi. </s> <s id="s.002138">Volendo adunque noi trattare delle proportioni, diremo <lb/>primieramente, che co&longs;a è proportione, di&longs;tingueremo le &longs;pecie &longs;ue, & in fine comparando l'u&longs;o <lb/>di cia&longs;cuna &longs;pecie, accioche &longs;appiamo quale proportione a qual fabrica conuenga. </s> <s id="s.002139">Molto am­<lb/>piamente &longs;i &longs;tende que&longs;to nome di proportione nella &longs;ua &longs;ignificatione, perche ogni conuenienza, <lb/>& &longs;imiglianza di co&longs;e uolgarmente è detta proportione, & anche nella uirtù è &longs;o&longs;tanza, nella <lb/>qualità, & altri generali&longs;&longs;imi capi&longs;i dice e&longs;&longs;er proportione. </s> <s id="s.002140">Ma noi parlamo della uera propor-<emph.end type="italics"/><pb pagenum="98" xlink:href="045/01/106.jpg"/><emph type="italics"/>tione, che è compre&longs;a &longs;otto la quantità. </s> <s id="s.002141">non che la proportione &longs;ia quantità, ma perche è propria <lb/>della quantità. </s> <s id="s.002142">Trouan&longs;i due maniere di quantità, una è detta continua, come linea, &longs;operficie, <lb/>corpo, tempo, & mouimento. </s> <s id="s.002143">l'altra è detta quantità partita, & di&longs;creta, o &longs;eparata, (come <lb/>uogliamo dire) come è il numero due, tre, & quattro, & lo proferire delle &longs;illabe nel formar le <lb/>parole; & le parole i&longs;te&longs;&longs;e una è &longs;eparata dall'altra. </s> <s id="s.002144">Dell'una & dell'altra quantità, è proprio, <lb/>che &longs;econdo cia&longs;cuna &longs;i dica, le co&longs;e e&longs;&longs;ere eguali, o di&longs;eguali. </s> <s id="s.002145">Benche que&longs;ta proprieta &longs;ia &longs;ta­<lb/>ta trasferita in molte altre co&longs;e, che non &longs;ono quantità, perche tutte le co&longs;e, delle quali &longs;i puo far <lb/>tra&longs;e alcuna comparatione, ouero &longs;ono egualitra&longs;e, & pari, ouero di&longs;eguali, & di&longs;pari. </s> <s id="s.002146">Hora <lb/>io dico, che la proportione è nel num ro di quelle co&longs;e, che &longs;i riferi&longs;ceno ad altre, & lo e&longs;&longs;er &longs;uo <lb/>è tale, che non &longs;ta da &longs;e, ma ha riguardo ad altro: & perche una co&longs;a in comparatione d'un'al­<lb/>tra è o piu, o meno, o tanto: però delle proportioni altre &longs;aranno tra co&longs;e pari, & eguali, altre <lb/>tra di&longs;eguali, o maggiori, o minori, che elle &longs;iano. </s> <s id="s.002147">Ma perche noi ragionamo di quella propor­<lb/>tione, che &longs;i truoua nella quantità, però dicemo, che proportione altro non è, che una terminata <lb/>habitudine, ri&longs;petto, o comparatione di due quantità compre&longs;e &longs;otto un'i&longs;te&longs;&longs;o genere. </s> <s id="s.002148">come &longs;a­<lb/>rebbe due numeri, due corpi, due luoghi, due tempi, due linee, due piani. </s> <s id="s.002149">percioche non &longs;i puo <lb/>dire propriamente, che la linea &longs;ia minore, o maggiore, o pari alla &longs;operficie, come egli &longs;ta be­<lb/>ne a dire; che una linea, è pari all'altra, o maggiore, o minore. </s> <s id="s.002150">perche la comparatione &longs;i fa di <lb/>co&longs;e compre&longs;e &longs;otto un'i&longs;te&longs;&longs;o genere. </s> <s id="s.002151">Di&longs;&longs;i, terminata, non inquanto a noi, nè in &longs;e certa, ma <lb/>tale che non puo e&longs;&longs;er altra, come &longs;i dirà dapoi. </s> <s id="s.002152">I&longs;pedita adunque la diffinitione della proportione, <lb/>manif&longs;ta co&longs;a è, che ritrouando&longs;i ella nella quantità, alcuna appartenerà alle mi&longs;ure, alcuna a i <lb/>numeri, alcuna &longs;arà me&longs;colata di numeri, & di mi&longs;ure. </s> <s id="s.002153">La pertinente alle mi&longs;ure, che &longs;i chia­<lb/>ma Geometrica &longs;arà nelle quantità continue, le quali tutte cadeno &longs;otto mi&longs;ura. </s> <s id="s.002154">La pertinente <lb/>a numeri, che è detta Arithmetica, è nelle quantità di&longs;tinte, & &longs;eparate, come quando egli &longs;i <lb/>fa comparatione da numero, a numero. </s> <s id="s.002155">La me&longs;colata di numeri, & di mi&longs;ure, che Harmoni­<lb/>ca &longs;i chiama, è quella che compara i tempi, & gli interualli delle uoci, & gliecce&longs;&longs;i, & differen­<lb/>ze delle proportioni, come &longs;i dir à nel quinto libro. </s> <s id="s.002156">Hora diremo della proportione Geometrica, <lb/>la quale è quando &longs;i fa comparatione d'una co&longs;a continua all'altra, & della Arithmetica, che &longs;i <lb/>fa tra numeri. </s> <s id="s.002157">uolendo adunque noi ritrouare le &longs;pecie delle proportioni, bi&longs;ogna &longs;apere come &longs;ti. </s> <s id="s.002158">­<lb/>no le co&longs;e tra &longs;e comparate l'una con l'altra. </s> <s id="s.002159">per tanto ritrouando noi, che le co&longs;e &longs;ono tra &longs;e o <lb/>eguali, o di&longs;eguali, facendone la comparatione diremo, che la proportione &longs;arà di due maniere, <lb/>l'una quando &longs;i farà comparatione di due quantità tra loro, cioe che una non eccederà l'altra, ma <lb/>&longs;arà tanto a punto: & que&longs;ta è detta proportione di agguaglianza. </s> <s id="s.002160">l'altra, quando &longs;i farà com­<lb/>paratione di due quantità di&longs;eguali, cioè che una eccederà l'altra: & &longs;arà detta proportione di <lb/>di&longs;aguaglianza. </s> <s id="s.002161">& co&longs;i haueremo due &longs;orti di proportione, delle quali la prima non ha &longs;otto di &longs;e <lb/>altra &longs;pecie, perche l'agguaglianza non &longs;i puo diuidere, perche non na&longs;ce &longs;e non ad un'i&longs;te&longs;&longs;o mo­<lb/>do. </s> <s id="s.002162">Ma la &longs;econda puo e&longs;&longs;ere in due modi generali, l'uno quando &longs;i compara il piu al meno: l'al­<lb/>tro quando &longs;i compara il meno al piu. </s> <s id="s.002163">il primo &longs;i dirà proportione di di&longs;agguaglianza dal mag­<lb/>giore. </s> <s id="s.002164">il &longs;econdo, proportione di di&longs;agguaglianza dal minore. </s> <s id="s.002165">& perche tante &longs;ono le &longs;pecie di <lb/>comparare il piu al meno, quanto quelle di comparare il meno al piu: però dichiareremo le &longs;pecie <lb/>della proportione dal maggiore, perche poi l'altre ci &longs;aranno manife&longs;te. </s> <s id="s.002166">In tre modi adunque &longs;i <lb/>fa comparatione dal piu al meno, cioè in tre modi, il piu eccede il meno, dico nella &longs;emplice pro­<lb/>portione. </s> <s id="s.002167">Il primo è quando il piu contienè il meno piu uolte a punto, & &longs;i chiama proportione <lb/>moltiplice, come il quattro contiene due, due fiate a punto, & non piu. </s> <s id="s.002168">il noue contiene il tre, <lb/>tre fiate a punto. </s> <s id="s.002169">l'altro è quando il piu contiene il meno, & di piu alcuna parte di quello, & &longs;i <lb/>chiama proportione &longs;opra particolare: percioche il piu è &longs;opra il meno di qualche parte. </s> <s id="s.002170">come <lb/>quattro a tre, che quattro contiene tre una fiata, & la &longs;ua terza parte, che è, uno. </s> <s id="s.002171">il terzo mo­<lb/>do è quando il piu contiene il meno una fiata, & piu parti di quello, come cinque a tre; che cinque <lb/>contiene tre una fiata, & due parti di e&longs;&longs;o; & que&longs;ta &longs;i chiama proportione &longs;opra partiente; per-<emph.end type="italics"/><pb pagenum="99" xlink:href="045/01/107.jpg"/><emph type="italics"/>che il termine maggiore contiene il minore una fiata, & &longs;opra parti&longs;ce quello, con la aggiunta <lb/>di piu parti. </s> <s id="s.002172">Deue&longs;i però intendere di quelle parti, che non mi&longs;urano il tutto a punto. </s> <s id="s.002173">& que&longs;te <lb/>&longs;ono le &longs;emplici, & uniuer&longs;ali &longs;pecie della proportione della maggiore di&longs;agguaglianza. </s> <s id="s.002174">Hora <lb/>diuideremo breuemente cia&longs;cuna delle predette &longs;pecie in altre piu particolari di&longs;tintioni. </s> <s id="s.002175">La mol­<lb/>tiplice adunque &longs;i diuide in que&longs;to modo. </s> <s id="s.002176">&longs;e la maggior quantità contenerà due fiate, & non piu <lb/>la minore, ne na&longs;cerà la proportione che &longs;i chiama doppia, &longs;e tre tripla, &longs;i quattro quadrupla, <lb/>& co&longs;i ua in infinito. </s> <s id="s.002177">quattro a due è doppia, noue a tre tripla, otto a due quadrupla. </s> <s id="s.002178">La pro­<lb/>portione &longs;opraparticolare &longs;i troua in que&longs;to modo: che &longs;e il piu contiene il meno una fiata, & <lb/>meza, &longs;arà la proportione &longs;e&longs;quialtera; come &longs;ei a quattro; perche &longs;ei contiene quattro intiera­<lb/>mente, & di piu la metà, che &longs;on due. </s> <s id="s.002179">&longs;e contenerà il terzo oltra il tutto &longs;arà, la proportione &longs;e&longs;­<lb/>quiterza, come quattro a tre, otto a &longs;ei: &longs;e un quarto &longs;e&longs;quiquarta, come dieci ad otto: &longs;e un quinto <lb/>fe&longs;quiquinta, & co&longs;i ua &longs;eguitando in infinito. </s> <s id="s.002180">& &longs;e uorremo hauere le &longs;pecie della &longs;oprapartien­<lb/>te, diremo in que&longs;to modo: che il piu contiene il meno una fiata, & due parti d'e&longs;&longs;o, ouero tre, o <lb/>quattro, & co&longs;i in infinito. </s> <s id="s.002181">&longs;e contenerà due parti di piu del meno, dira&longs;&longs;i &longs;oprabipartiente, co­<lb/>me cinque a tre, che è un tanto & due terzi. </s> <s id="s.002182">&longs;e tre parti, chiamera&longs;&longs;i &longs;opra tripartiente, come è <lb/>otto a cinque, che è un tanto, & tre quinti. </s> <s id="s.002183">&longs;e quattro, &longs;opra quadripartiente, come noue a cin­<lb/>que, che è un tanto, & quattro quinti. </s> <s id="s.002184">& co&longs;i nel re&longs;tante. </s> <s id="s.002185">& que&longs;te &longs;ono le &longs;pecie della mag­<lb/>gior di&longs;agguaglianza nella &longs;emplice proportione. </s> <s id="s.002186">Le compo&longs;te ueramente &longs;ono due; & &longs;i chia­<lb/>mano compo&longs;te, perche &longs;ono fatte di due &longs;emplici. </s> <s id="s.002187">La prima è detta moltiplice &longs;opraparticolare, <lb/>la &longs;econda moltiplice &longs;oprapartiente, perche ritengono la natura di quelle proportioni, delle qua­<lb/>li &longs;ono compo&longs;te. </s> <s id="s.002188">inquanto adunque la prima è detta moltiplice, ne &longs;egue, che'l maggiore conten­<lb/>ga il minore piu uolte; & inquanto è detta &longs;opraparticolare, ne &longs;egue, che il maggiore contenga <lb/>il minore, con alcuna parte di quello. </s> <s id="s.002189">& però la moltiplice &longs;opraparticolare comparando il piu <lb/>al meno, ritroua che il piu contiene il meno piu uolte, & qualche parte di quello, &longs;e due fiate, & la <lb/>metà, &longs;arà proportione doppia &longs;e&longs;quialtera, come cinque a due: &longs;e tre fiate, & la metà, &longs;arà tripla <lb/>&longs;e&longs;quialtera, & co&longs;i in infinito: & &longs;imilmente due, & un terzo come &longs;ette a tre, doppia &longs;e&longs;quiterza, <lb/>&longs;e tre &longs;iate, & un terzo, &longs;arà tripla &longs;e&longs;quiterza. </s> <s id="s.002190">& co&longs;i ua di&longs;correndo. </s> <s id="s.002191">Parimente la molti­<lb/>plice &longs;opra partiente proportione in quanto moltiplice, il piu contenerà il meno piu fiate, & in­<lb/>quanto &longs;opra partiente il piu contenerà alquante parti del meno. </s> <s id="s.002192">&longs;e due fiate, & due parti&longs;arà dop<lb/>pia &longs;oprabipartiente, come dodici a cinque; &longs;e due fiate & tre parti, &longs;arà doppia &longs;opra tripartien­<lb/>te, come tredici a cinque, & co&longs;i in infinito. </s> <s id="s.002193">come &longs;e il piu contene&longs;&longs;e il meno tre fiate, & due <lb/>parti, &longs;arebbe tripla &longs;oprabipartiente, come dice&longs;&longs;ette a cinque; &longs;e tre fiate, & tre parti, &longs;arebbe tri<lb/>pla &longs;opratripartiente, come diciotto a cinque. </s> <s id="s.002194">& co&longs;i &longs;eguendo nell'altre. </s> <s id="s.002195">& perche per uno ri­<lb/>&longs;petto egli &longs;i cono&longs;ce l'altro, però dalle &longs;pecie delle proportioni della di&longs;agguaglianza del mag­<lb/>giore al minore, &longs;i hanno le &longs;pecie della di&longs;agguaglianza del minore al maggiore: nè ui è <lb/>altra differenza, &longs;e non che &longs;i come nella prima &longs;i cominciaua dal piu, & &longs;i termina­<lb/>ua nel meno, co&longs;i in que&longs;ta &longs;i comincia dal meno, & &longs;i termina nel piu, & &longs;i muta quella <lb/>particola &longs;opra, nella particola &longs;otto. </s> <s id="s.002196">però &longs;i dice &longs;otto moltiplice; &longs;otto doppia, &longs;otto &longs;e&longs;quialte­<lb/>ra, &longs;otto &longs;e&longs;quiterza. </s> <s id="s.002197">Egli &longs;i deue auuertire, che in due modi una quantità è parte dell'altra, il <lb/>primo è quando la parte d'una quantità pre&longs;a &longs;econdo alquante fiate a punto, entra nel tutto di <lb/>punto; cioè quando il par titore entra a punto nella co&longs;a partita, & niente gli auanza. </s> <s id="s.002198">Que&longs;ta <lb/>noi chiamaremo parte moltiplicante. </s> <s id="s.002199">& que&longs;ta è la uera, & propria intelligenza, di questo <lb/>nome, che parte, &longs;i chiama. </s> <s id="s.002200">In altro modo parte è quella, che pre&longs;a quante fiate uuoi, mai non <lb/>ti rende l'intiero, & &longs;i chiama parte aggiunta, imperoche aggionta con un'altra parte fa il tut­<lb/>to. </s> <s id="s.002201">L'e&longs;&longs;empio della parte moltiplicata è, come due a &longs;ei, imperoche due mi&longs;ura &longs;ei, & ui entra <lb/>tre fiate a punto: come tre a noue, otto a trenta due. </s> <s id="s.002202">l'e&longs;&longs;empio della parte aggiunta è come due <lb/>al cinque, perche due pre&longs;o due fiate non fa cinque, pre&longs;o tre fiate pa&longs;&longs;a cinque. </s> <s id="s.002203">Que&longs;te parti ag­<lb/>giunte &longs;ono però compo&longs;te di parti moltiplicanti, perche il due è compo&longs;to di unità, lequali mi&longs;u-<emph.end type="italics"/><pb pagenum="100" xlink:href="045/01/108.jpg"/><emph type="italics"/>rano due, entrandoui due fiate a punto. </s> <s id="s.002204">& tanto &longs;ia detto cerca la diffinitione, & diui&longs;ione della <lb/>proportione. </s> <s id="s.002205">Hora &longs;i dirà quello, che ne na&longs;ce. </s> <s id="s.002206">Dalle proportioni adunque na&longs;ceno le comparatio­<lb/>ni, & i ri&longs;petti, che hanno tra &longs;e, cioè quando una proportione è comparata con l'altra. </s> <s id="s.002207">& que&longs;te <lb/>&longs;imiglianze di proportioni &longs;i chiamano proportionalità: & &longs;i come la proportione è ri&longs;petto, & <lb/>conuenienza di due quantilà compre&longs;e &longs;otto un'i&longs;te&longs;&longs;o genere, co&longs;i la proportionalità è ri&longs;petto, <lb/>& comparatione non d'una quantità all'altra, ma d'una proportione all'altra. </s> <s id="s.002208">Come &longs;a­<lb/>rebbe a dire la proportione, che è fra quattro & due, e&longs;&longs;er &longs;imile alla proportione, che è fra <lb/>otto, & quattro. </s> <s id="s.002209">imperoche & l'una, & l'altra è doppia. </s> <s id="s.002210">Et però tutte le doppie, tutte le tri­<lb/>ple, tutte le quadruple, o &longs;iano d'uno i&longs;te&longs;&longs;o genere, come tra linea, & linea, tra corpo, & cor­<lb/>po, o &longs;iano di diuer&longs;i generi, come tra linea, & corpo, tra corpo, & &longs;patio, tra &longs;patio, et tempo <lb/>&longs;ono proportionali, & con&longs;eguente &longs;imili: & doue è proportionalità, iui è nece&longs;&longs;ario, che &longs;ia pro <lb/>portione; perche (come s'è detto) la proportionalità non è altro, che camparatione di propor­<lb/>tioni. </s> <s id="s.002211">ma non per lo contrario, perche fra quattro & dua, è proportione, ma non proportiona­<lb/>lità. </s> <s id="s.002212">Nelle proportionalità con&longs;i&longs;teno tutti i &longs;ecreti dell' Arte. <!-- KEEP S--></s> <s id="s.002213">Ma perche egli s'intenda bene <lb/>quanto &longs;coprir uolemo; egli è utile a dire, come &longs;i cono&longs;ceno i denominatori delle proportioni, co­<lb/>me &longs;i leua, come &longs;i aggiugne, come &longs;ono moltiplicate, & partite, & poi &longs;i dir à delle proportiona <lb/>lità, & termini loro. </s> <s id="s.002214">Per &longs;apere adunque ritrouare i denominatori delle proportioni, il che gio­<lb/>ua a cono&longs;cere qual proportione &longs;ia maggiore, qual minore: perche nelle fabriche quelle hanno <lb/>piu del grande, che &longs;ono di maggiore proportione, perche una stanza di due quadri, ha piu gran­<lb/>dezza, che una di un quadro & mezo e&longs;&longs;endo, che la doppia è maggior proportione che la &longs;e&longs;qui <lb/>altera. </s> <s id="s.002215">Egli è dunque da con&longs;iderare, che quando la proportione è di agguaglianza, cioè quan­<lb/>do &longs;ono tante unità, o mi&longs;ure in un numero, o grandezza, quante &longs;ono in un'altro, non è nece&longs;&longs;a­<lb/>rio di affaticar&longs;i in ritrouar denominatori, perche di quella &longs;pecie di proportione non &longs;i tro­<lb/>ua diui&longs;ione, non e&longs;&longs;endo tra le co&longs;e pari maggioranza, nè minoranza. </s> <s id="s.002216">Resta adunque, che <lb/>i denominatori &longs;iano tra le &longs;pecie della proportione di di&longs;agguaglianza. </s> <s id="s.002217">Breue adunque, & <lb/>i&longs;pedita regola di ritrouare i numeri, dai quali &longs;ono denominate le proportioni, è partire uno e&longs;tre <lb/>mo della proportione per l'altro. </s> <s id="s.002218">Imperoche quello, che ne uiene per tale partimento, è &longs;empre il <lb/>denominatore della proportione. </s> <s id="s.002219">Partire altro non è, che uedere quante fiate un numeroentra nel­<lb/>l'altro, & quello, che auanza. </s> <s id="s.002220">La doue è ragioneuole, che dal partimento, & da quello, che <lb/>re&longs;ta &longs;i cono&longs;ca il nome di cia&longs;cuna proportione: ecco lo e&longs;&longs;empio. </s> <s id="s.002221">&longs;e uuoi &longs;apere come &longs;i chiama la <lb/>proportione tra quattro, & otto, partirai otto per quattro, cioè uedi quante fiate il quattro en­<lb/>tra nell'otto, & trouerai, che quattro entra due fiate a punto: da due adunque chiamerai la pro <lb/>portione; che è tra otto, & quattro: & dirai, che la proportione è doppia. </s> <s id="s.002222">Similmente &longs;e uuoi <lb/>&longs;apere come &longs;i chiama la proportione, che è tra cinque, & &longs;edici, partirai &longs;edici per cinque, & <lb/>ritrouerai, che'l cinque entra in &longs;edicitre fiate, & però dirai, che è proportione tripla, e&longs;&longs;endo <lb/>denominata da tre, & perche gli re&longs;ta uno, che è la quinta parte di cinque, però dirai, che quel­<lb/>la proportione è tripla &longs;e&longs;quiquinta, & cono&longs;cerai, quella e&longs;&longs;er compo&longs;ta, cioè moltiplice &longs;opra <lb/>particolare, & co&longs;i farai nelle altre. </s> <s id="s.002223">Dalla &longs;opradetta cognitione (come ho detto) &longs;i caua que <lb/>&longs;ta utilità, che &longs;i puo &longs;apere; quale proportione è po&longs;ta tra le maggiori, & quale tra le minori, <lb/>& quale tra l'eguali, & &longs;imili proportioni. </s> <s id="s.002224">&longs;imili &longs;ono quelle, che hanno &longs;imili, & le i&longs;te&longs;&longs;e <lb/>denominationi, maggiori &longs;ono quelle, che hanno maggiore denominatione, & minori, mi­<lb/>nore, perche la denominatione è detta e&longs;&longs;er tanto grande, quanto il numero, che la dinota. </s> <s id="s.002225"><lb/>Et però la quadrupla è maggiore della tripla, perche quella dal quattro, que&longs;ta è deno­<lb/>minata dal tre. </s> <s id="s.002226">& co&longs;i la &longs;e&longs;quialtera è maggiore della &longs;e&longs;quiterza, perche la &longs;e&longs;quialtera è deno<lb/>minata dalla metà, la &longs;e&longs;quiterza da un terzo. </s> <s id="s.002227">& ne i rotti quanto è maggiore il denominatore <lb/>del rotto, tanto è minore il rotto, & però un quarto è meno d'un terzo. </s> <s id="s.002228">perche quattro è mag­<lb/>giore ditre: & però una tripla &longs;e&longs;quialtera è maggiore d'una tripla &longs;e&longs;quiterza: ma una tripla &longs;e&longs;­<lb/>quiterza è maggiore, che una doppia &longs;e&longs;quialtera, & questo non per la denominatione del rotto,<emph.end type="italics"/><pb pagenum="101" xlink:href="045/01/109.jpg"/><emph type="italics"/>ma per la denominatione del numero intiero, che è maggiore. </s> <s id="s.002229">&longs;imilmente nelle proportioni &longs;opra­<lb/>partienti maggiore è quella, che da numero maggiore è denominata. </s> <s id="s.002230">Et perche meglio s'inten­<lb/>da, io dico, che la proportione &longs;oprapartiente è quando il piu contiene il meno una fiata, & piu <lb/>parti di e&longs;&longs;o, & que&longs;to è tanto dal numero di e&longs;&longs;e parti, quanto dalla denominatione, & quante <lb/>dall'uno, & dall'altro. </s> <s id="s.002231">Dal numero delle parti quando il piu contiene il meno una fiata, & <lb/>due parti di quello, &longs;i dice &longs;oprabipartiente; &longs;e tre &longs;opratripartiente, & co&longs;inel re&longs;to. </s> <s id="s.002232">Dalla de <lb/>nominatione delle parti, quando il piu contiene il meno una fiata, & le parti, che &longs;ono terzi del <lb/>meno, &longs;i dice &longs;oprapartiente le terze, Dall'uno, & dall'altra, cioè dal numero, & dalla deno­<lb/>minatione delle parti: come &longs;e dice&longs;&longs;e &longs;oprabipartiente le terze. </s> <s id="s.002233">Dico adunque, che &longs;econdo la pri <lb/>ma denominatione, che e&longs;prime quante parti del numero minore &longs;ono contenute nel maggiore, s'in­<lb/>tende la proportion maggiore; perche la &longs;econda, che e&longs;prime quali &longs;iano quelle parti del nume­<lb/>ro minore, è quella i&longs;te&longs;&longs;a, come dire: la &longs;opraottopartiente le undecime è maggiore, che <lb/>la &longs;opratripartiente le undecime, perche que&longs;ta dal numero minore, che è tre, quella dal <lb/>maggiore, che è otto, &longs;i denomina, e&longs;&longs;endo la &longs;econda denominatione la i&longs;teßa nell'una, <lb/>& nell'altra. </s> <s id="s.002234">Qui ci bi&longs;ognerebbe la generatione, & la proprietà di cia&longs;cuna propor­<lb/>tione, & quel bello di&longs;cor&longs;o, che fanno gli Arithmetici prouando, che ogni di&longs;aggua­<lb/>glianza na&longs;ce dall'agguaglianza, & che la egualità è principio della di&longs;egualità, & che <lb/>ogni di&longs;egualità &longs;i riduce all'egualità: ma bi&longs;ogna la&longs;ciare co&longs;i alte con&longs;iderationi a quelli, che <lb/>uogliono trouare il principio di tutte le co&longs;e create, la unità trina di quello, & la produttione non <lb/>di que&longs;te fabriche particolari, ma della uniuer&longs;ità del mondo, & delle co&longs;e, che ui &longs;ono dentro. </s> <s id="s.002235"><lb/>parleremo adunque del raccogliere, moltiplicare, &longs;cemare, & partire delle proportioni. </s> <s id="s.002236">Per­<lb/>che Vitr. in molti luoghi, lieua, pone, parti&longs;ce le proportioni; come &longs;i uedrà nel primo Capo del <lb/>pre&longs;ente libro, & al &longs;econdo, & all'ultimo. </s> <s id="s.002237">& nel quarto al terzo Capo. <!-- KEEP S--></s> <s id="s.002238">& infinite &longs;ono le occo <lb/>renze di &longs;eruir&longs;i piu d'una che d'un'altra proportione, come nella diui&longs;ione de i corpi delle fabri­<lb/>che, ne gli Atrij, Tablini, &longs;ale, loggie, ba&longs;iliche, & altre co&longs;e di gran momento nel raddoppiar <lb/>i corpi, nel trouar le linee proportionali, nel &longs;corzare i piani, nella machinatione, & in &longs;omma <lb/>in ogni co&longs;a all' Arte &longs;ottopo&longs;ta. </s> <s id="s.002239">Hor al propo&longs;ito. </s> <s id="s.002240">Per raccogliere due proportioni in&longs;ieme bi­<lb/>&longs;ogna trouare il denominatore della proportione prodotta: dapoi raccogliere i numeri po&longs;ti &longs;otto <lb/>la i&longs;te&longs;&longs;a proportione prodotta. </s> <s id="s.002241">Il primo &longs;i fa a que&longs;to modo. </s> <s id="s.002242">moltiplica il denominatore d'una <lb/>proportione, nel denominatore dell'altra, & co&longs;i ne re&longs;ter à il denominatore della raccolta, & <lb/>prodotta denominatione. </s> <s id="s.002243">Il &longs;econdo &longs;i fa moltiplicando tra &longs;e i numeri antecedenti delle <lb/>propo&longs;te proportioni, & moltiplicando i numeri con&longs;eguenti anche tra &longs;e, auuertendo <lb/>che que&longs;ta regola ci &longs;erue nelle proportioni &longs;imiglianti, cioè quando amendue &longs;ono della di&longs;agua­<lb/>lianza dal maggiore, ouero amendue dal minore. </s> <s id="s.002244">Hora all'e&longs;&longs;empio. </s> <s id="s.002245">ecco la proportione che è <lb/>tra noue, & tre, è tripla, & la ragione, che è tra quattro è due è doppia: uoglio raccogliere una <lb/>tripla, & una doppia, & uedere che proportione na&longs;ce: moltiplica adunque i denominatori, <lb/>che &longs;ono due, & tre: & dirai che ne uien &longs;ei. </s> <s id="s.002246">questo adunque &longs;arà denominatore della pro­<lb/>dotta proportione: & però da una tripla, & da una doppia ne na&longs;ce una &longs;e&longs;tupla. </s> <s id="s.002247">il che ap­<lb/>pare per li numeri moltiplicati d'amendue le proportioni: perche moltiplicando noue, per <lb/>quattro, ne uiene trenta &longs;ei, & tre per due ne uien &longs;ei: la doue trenta &longs;ei ri&longs;petto a &longs;ei ritiene <lb/>proportione denominata &longs;e&longs;tupla. </s> <s id="s.002248">Voglio anche nelle &longs;opraparticolari darne lo e&longs;&longs;empio, <lb/>& raccogliere la &longs;e&longs;quialtera, che è tra tre, & due, & la &longs;e&longs;quiterza, che è tra tre & quat <lb/>tro, moltiplico mezo che è denominatore della &longs;e&longs;quialtera in un terzo, che è denominatore <lb/>della &longs;e&longs;quiterza, & ne na&longs;ce due, che è denominatore della prodotta proportione: & però da <lb/>una &longs;e&longs;quialtera, & da una &longs;e&longs;quiterza raccolte in&longs;ieme, ne na&longs;ce una doppia: moltiplica <lb/>adunque i numeri antecedenti, che &longs;ono tre & quattro, ne uien dodici, & i con&longs;eguenti che <lb/>&longs;on due e tre, & ne uien &longs;ei. </s> <s id="s.002249">adunque dodici a &longs;ei tiene proportione doppia. </s> <s id="s.002250">Que&longs;to gioua nel <lb/>la mu&longs;ica grandemente. </s> <s id="s.002251">Ecco, quando la con&longs;onanza mu&longs;icale detta diapente &longs;ia in proportio-<emph.end type="italics"/><pb pagenum="102" xlink:href="045/01/110.jpg"/><emph type="italics"/>ne &longs;e&longs;quialtera, & la diate&longs;&longs;aron in &longs;e&longs;quiterza: &longs;e egli &longs;i ponerà in&longs;ieme l'una, & l'altra, <lb/>&longs;e ne cauerà la diapa&longs;on, che è in proportion doppia. </s> <s id="s.002252">d'una quinta adunque, & d'una quarta &longs;i <lb/>fa un'ottaua. </s> <s id="s.002253">Similmente addurremo lo e&longs;&longs;empio nelle &longs;oprapartienti. </s> <s id="s.002254">uolendo adunque aggiu­<lb/>nere la &longs;oprabipartiente le terze, come cinque a tre; alla &longs;opra tripartiente le quarte, come &longs;et­<lb/>te a cinque, &longs;i piglia il denominatore della &longs;oprabipertiente le terze, che è uno & due terzi, & <lb/>&longs;i moltiplica in&longs;ieme col denominatore della &longs;opratripartiente le quarte, che è uno, & tre <lb/>quarti, & &longs;i raccoglie due, & undici duodecimi, da i quali na&longs;ce la doppia undecipartiente <lb/>le duodecime. </s> <s id="s.002255">ecco, moltiplica cinque, & &longs;ette che &longs;ono li primi numeri delle predette pro­<lb/>portioni, &longs;i produce trentacinque: moltiplica anche i &longs;econdi, che &longs;on tre, & quattro, ne uie <lb/>ne dodici. </s> <s id="s.002256">trentacinque adunque contiene il dodici due fiate, & ne auanzano undeci duodeci­<lb/>mi: & co&longs;i &longs;i raccoglieno le proportioni quando amendue &longs;ono &longs;imili. </s> <s id="s.002257">Ma quando &longs;ono di&longs;&longs;imi­<lb/>li, cioè una della maggiore, & l'altra della minore, allhora quella proportione, che è denomi<lb/>nata dalla maggior quantità, &longs;i deue partire per l'altra. </s> <s id="s.002258">&longs;ia adunque da comporre una &longs;otto <lb/>doppia, come uno & dui, con una &longs;e&longs;quialtera, come tre a due. </s> <s id="s.002259">la &longs;otto doppia è denominata <lb/>dal due, come è la doppia. </s> <s id="s.002260">& la &longs;e&longs;quialtera è denominata dall'un, & mezo, che è meno del­<lb/>La doppia. </s> <s id="s.002261">parti&longs;ca&longs;i dunque dua per un & mezo, ne re&longs;ta uno, & un terzo: & però dalle &longs;o­<lb/>predette proportionine uiene una &longs;otto&longs;e&longs;quiterza. </s> <s id="s.002262">ecco una & due &longs;opra, tre & due, moltipli­<lb/>ca i primi numeri, che &longs;ono uno, & tre, fanno tre. </s> <s id="s.002263">il che &longs;i deue notare &longs;otto una linea. </s> <s id="s.002264">da­<lb/>poi moltiplica due in due, ne ri&longs;ulterà quattro, & tre a quattro, & in proportione &longs;otto &longs;e&longs;­<lb/>quiterza. </s> <s id="s.002265">Ma quando bi&longs;ogno &longs;ia di componere piu di due proportioni in&longs;ieme, componerai con <lb/>la terza quello, che ri&longs;ulta dalle due prime, & la compo&longs;ta di tre componerai con la quarta, & <lb/>co&longs;i anderai &longs;eguitando. </s> <s id="s.002266">& di que&longs;to puo ba&longs;tare uno e&longs;&longs;empio. </s> <s id="s.002267">in que&longs;ti numeri, quattro tre, <lb/>tre & due, tre & uno. </s> <s id="s.002268">Dalle proportioni adunque di quattro a tre, che è &longs;e&longs;quiterza, & di tre <lb/>a due, che è &longs;e&longs;quialtera, ne na&longs;ce, come s'è detto, una doppia: laqual partita, per la &longs;eguen­<lb/>te &longs;equialtera tre a due, fa la &longs;equiterza, la qual moltiplicata in una tripla, che ha tre ad uno <lb/>&longs;a la quadrupla, che ha quattro ad uno. </s> <s id="s.002269">Dalle co&longs;e già dette ne na&longs;ce, che di due propor­<lb/>tioni di di&longs;aguaglianza dal maggiore in&longs;ieme compo&longs;te ne na&longs;ce la proportione della di&longs;agua­<lb/>glianza del maggiore: ma l'una & l'altra è maggiore. </s> <s id="s.002270">con&longs;eguentemente da due proportioni <lb/>della di&longs;aguaglianza dal minore, &longs;i produce la proportione della di&longs;aguaglianza dal minore, ma <lb/>l'una & l'altra è minore proportione. </s> <s id="s.002271">Ma da una della maggiore, & l'altra della minore &longs;i fa <lb/>tale proportione, quale è quella, che è denominata dal numero maggiore. </s> <s id="s.002272">Ma la proportione <lb/>dell'aguaglianza, con quella della maggiore di&longs;aguaglianza produce la i&longs;te&longs;&longs;a proportione della <lb/>maggior di&longs;aguaglianza, & &longs;a lo i&longs;te&longs;&longs;o ri&longs;pondente con la proportione della minor di&longs;aguaglian­<lb/>za. </s> <s id="s.002273">per il che &longs;i uede, che la proportione dell'agguaglianza moltiplicata in &longs;e &longs;te&longs;&longs;a produce la <lb/>ragione dell'agguaglianza. </s> <s id="s.002274">Et que&longs;to detto &longs;ia del componimento delle proportioni Ma quando uor <lb/>remo &longs;ottrarre una proportione dall'altra, et cono&longs;cer quale proportione re&longs;ta: bi&longs;ogna partire con <lb/>que&longs;to auuertimento, che (&longs;i come ne i numeri s'è detto che &longs;i leua il minore dal maggiore) co&longs;i nel <lb/>le proportioni &longs;i leua la minore dalla maggiore. </s> <s id="s.002275">Primamente adunque &longs;i parte il denominatore della <lb/>maggiore, per lo denominatore dalla minore, et &longs;i produce il denominatore di quella, che re&longs;ta, dapoi, <lb/>per li numeri po&longs;ti &longs;otto le date proportioni. </s> <s id="s.002276">ponga&longs;i <expan abbr="adunq;">adunque</expan> &longs;opra una linea tra&longs;uer&longs;a i numeri della <lb/>maggior proportione (che è quella che &longs;i deue partire) & di &longs;otto i numeri della minore, dapoi &longs;ia <lb/>moltiplicato il primo antecedente numero di quella proportione, che &longs;i deue partire, per lo con&longs;e­<lb/>guente del partitore, perche &longs;i farà l'antecedente, & primo di quella proportione, che re&longs;ta, & <lb/>per la moltiplicatione del &longs;econdo numero della proportione da e&longs;&longs;er diui&longs;a per lo antecedente del­<lb/>la diuidente, ne na&longs;ce il con&longs;eguente della restante. </s> <s id="s.002277">& que&longs;to modo conuiene col partire de i rot­<lb/>ti uulgari. </s> <s id="s.002278">poniam ca&longs;o, che uogliamo &longs;ottrarre una doppia da una tripla. </s> <s id="s.002279">partirai adunque tre, <lb/>che è denominatore della tripla, per due, ch'è denominatore della doppia, & ne uenirà uno & me <lb/>zo, dal quale &longs;i denomina la &longs;e&longs;quialtera. </s> <s id="s.002280">Siano que&longs;ti numeri noue, & tre in proportione tripla;<emph.end type="italics"/><pb pagenum="103" xlink:href="045/01/111.jpg"/><emph type="italics"/>& in doppia quattro & due: moltiplica noue per due, ne uiene diciotto & tre in quattro, ne <lb/>uien dodici. </s> <s id="s.002281">al qual numero diciotto è in proportione &longs;e&longs;quialtera. </s> <s id="s.002282">Co&longs;i anche nella proportione <lb/>&longs;opra particolare &longs;i procederà, come &longs;arebbe il leuare una &longs;e&longs;quiterza da una &longs;e&longs;quialtera. </s> <s id="s.002283">parti <lb/>adunque il denominatore della &longs;e&longs;quialtera, ch'è uno & mezo, per lo denominatore della &longs;e&longs;quiter <lb/>za, ch'è uno, & un terzo, ne &longs;eguira uno, & un'ottauo. </s> <s id="s.002284">Dalla propo&longs;ta &longs;ottrattione adunque ne re&longs;ta <lb/>una &longs;e&longs;quiottaua. </s> <s id="s.002285">tre a due è in &longs;e&longs;quialtera, quattro a tre in &longs;e&longs;quilerza, moltiplica tre per tre <lb/>fa noue, due per quattro &longs;a otto, ma noue ad otto è in proportione &longs;e&longs;quiottaua. </s> <s id="s.002286">Finalmen­<lb/>te nelle &longs;oprapartienti uoglio leuare una &longs;oprabipartiente le terze, da una &longs;opra tripar­<lb/>tiente le quarte. </s> <s id="s.002287">partendo uno, & tre quarti, per uno & due terzi, ne ri&longs;ulta uno, & un <lb/>uige&longs;imo. </s> <s id="s.002288">dal che è denominata la proportione &longs;e&longs;quiuige&longs;ima, come ci &longs;arà dato anche da gli <lb/>auuenimenti de i numeri &longs;ette a quattro, cinque a tre. </s> <s id="s.002289">moltiplica &longs;ette per trè, ne uiene uen­<lb/>tiuno: & quattro per cinque, ne uiene uenti: al qual numero &longs;i troua e&longs;&longs;er in proportione &longs;e&longs;­<lb/>quiuige&longs;ima il uenti. </s> <s id="s.002290">Dal partire adunque la proportione della maggior di&longs;aguaglianza, per la <lb/>ragione, & proportione della minore, ne na&longs;cerà la proportione della maggiore, minor dell'una, <lb/>& dell'altra. </s> <s id="s.002291">Il &longs;imile &longs;i deue giudicare delle di&longs;&longs;imiglianti proportioni, che &longs;ono della di&longs;agua­<lb/>glianza dal minore: percioche ne na&longs;cerà proportione della minor di&longs;aguaglianza, parimente mi<lb/>nore dell'una, & dell'altra: ma &longs;e amendue &longs;aranno o della maggiore, o della minore di&longs;agua<lb/>glianza, & tra &longs;e &longs;imiglianti, cioè &longs;e la propo&longs;ta proportione &longs;i partirà per &longs;e &longs;te&longs;&longs;a, ne ri­<lb/>&longs;ulterà la ragione dell ag guaglianza: & in &longs;omma &longs;e una &longs;arà della maggiore, & l'altra <lb/>della minore di&longs;aguaglianza, &longs;i produrrà una proportione, che hauerà piu in que&longs;ta par­<lb/>te dell i proportione, che &longs;i deue partire, che di quella, che parte, & &longs;arà quella, che <lb/>&longs;i e&longs;prime per lo numero maggiore. </s> <s id="s.002292">Et tanto uoglio, che detto &longs;ia dello accre&longs;cere, &longs;cemare, <lb/>o partire delle proportioni. </s> <s id="s.002293">Re&longs;ta che noi portamo inanzi quello, che piu importa, & è co­<lb/>&longs;a mirabile per &longs;apere delle &longs;imiglianze delle proportioni, & ci giouerà nelle co&longs;e ciuili, ne i di <lb/>&longs;cor&longs;i della mu&longs;ica, & in molte co&longs;e, che tutto il dì ci uengono per le mani. </s> <s id="s.002294">Re&longs;umendo <lb/>quello, che detto hauemo &longs;econdo il di&longs;cor&longs;o di Alchindo antiquo autore, che a me non gra­<lb/>uerà di ponere per maggior intelligenza. </s> <s id="s.002295">primamente adunque egli pone quattro diffini­<lb/>tioni: & &longs;on que&longs;ti, come principij.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002296"><emph type="italics"/>Proportione è &longs;cambieuole habitudine di due quantità &longs;otto un'i&longs;te&longs;&longs;o genere.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002297"><emph type="italics"/>Quando di due quantità compre&longs;e &longs;otto un'i&longs;te&longs;&longs;o genere una parte l'altra, quello che re&longs;ta <lb/>è la proportione della partita, alla partitrice. </s> <s id="s.002298">& que&longs;to s'è dichiarito.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002299"><emph type="italics"/>La prodottione, ouero la compo&longs;itione d'una proportione con l'altra non è altro, che la de­<lb/>nominatione e&longs;&longs;er prodotta dalle denominationi. </s> <s id="s.002300">que&longs;to con e&longs;&longs;empij mo&longs;tramo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002301"><emph type="italics"/>L'e&longs;&longs;er diui&longs;a una proportione per un'altra, ouero e&longs;&longs;er &longs;ottratta, non è altro, che quando la <lb/>denominatione della proportione da e&longs;&longs;er partita, è diui&longs;a per la denominatione della diuidente. </s> <s id="s.002302">Da <lb/>poi egli pone alcune propo&longs;itioni, che &longs;ono le infra&longs;critte.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002303"><emph type="italics"/>E la denominatione della proportione di qual ti piace di due e&longs;tremi, &longs;arà moltiplicata nel &longs;e <lb/>condo, &longs;i produrrà il primo. </s> <s id="s.002304">perche &longs;e per la &longs;econda diffinitione partito il primo per lo &longs;econdo, <lb/>ne na&longs;ce il denominatore: adunque moltiplicata la denominatione nel &longs;econdo, ne na&longs;cerà <lb/>il primo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002305"><emph type="italics"/>La &longs;econda propo&longs;itione è que&longs;ta. </s> <s id="s.002306">Quando tra due è interpo&longs;to un mezo, che habbia proportione <lb/>con amendu: a proportione, che hauerà il primo al terzo, &longs;arà compo&longs;ta dalle proportioni, che ha <lb/>il primo al mezo, & il mezo al terzo. </s> <s id="s.002307">&longs;iano tre termini, due, quattro, dodici, & quello di mezo hab <lb/>bia qualche proportione co gli e&longs;tremi: io dico, che la proportione, che è tra'l primo e'l terzo, è com <lb/>po&longs;ta della proportione, che ha il primo con quel di mezo, & quello di mezo con il terzo. </s> <s id="s.002308">e&longs;&longs;endo <lb/>adunque tra due, & dodici proportione &longs;e&longs;tupla, dico, che la &longs;e&longs;tupla, è compo&longs;ta dalla proportio­<lb/>ne, che ha due a quattro, & quattro a dodici. </s> <s id="s.002309">ecco, il denominatore tra due & quattro, è <lb/>due, dal che è denominata la doppia, il denominatore tra quattro, & dodici è tre, dal che è<emph.end type="italics"/><pb pagenum="104" xlink:href="045/01/112.jpg"/><emph type="italics"/>denominata la tripla. </s> <s id="s.002310">&longs;ia dunque due a. <!-- REMOVE S-->quattro b. <!-- REMOVE S-->dodici c. <!-- REMOVE S-->il denominatore tra due & quat <lb/>tro d. <!-- REMOVE S-->tra quattro & dodici e. <!-- REMOVE S-->& il denominatore tra a & c &longs;ia f. <!-- REMOVE S-->perche adunque da <lb/>f. <!-- REMOVE S-->nel c. <!-- REMOVE S-->&longs;i fa a. <!-- REMOVE S-->& da e in c &longs;i fa b. <!-- REMOVE S-->per la prima propo&longs;itione lo f. <!-- REMOVE S-->allo e. <!-- REMOVE S-->è come lo <lb/>a. <!-- REMOVE S-->al b. <!-- REMOVE S-->& però e&longs;&longs;endo il d. <!-- REMOVE S-->il denominatore tra a & b. <!-- REMOVE S-->egli &longs;arà il denominatore tra <lb/>f. <!-- REMOVE S-->& e. <!-- REMOVE S-->adunque per la i&longs;te&longs;&longs;a prima propo&longs;itione dal d in e &longs;i fa f. <!-- REMOVE S-->perche adunque la <lb/>denominatione dello a. <!-- REMOVE S-->al c. <!-- REMOVE S-->è prodotta dalla denominatione del b. <!-- REMOVE S-->al c. <!-- REMOVE S-->ne &longs;egue per la ter <lb/>za diffinitione, che la proportione, che è tra lo a, & il c. <!-- REMOVE S-->come tra due & dodici, che è la <lb/>&longs;e&longs;tupla, &longs;ia compo&longs;ta dalla proportione, che è tra lo a, & b. <!-- REMOVE S-->cioè tra due, & quattro, che <lb/>è doppia, & tra b. <!-- REMOVE S-->& c. <!-- REMOVE S-->cioè quattro & dodici, che è tripla. </s> <s id="s.002311">adunque da una doppia, & <lb/>da una tripla ne na&longs;ce una &longs;e&longs;tupla. </s> <s id="s.002312">Seguita la terza propo&longs;itione di Alchindo.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.002313"><emph type="italics"/>Siano quanti mezi &longs;i noglia, dico che la proportione, che è tra gli estremi, è compo&longs;ta di <lb/>tutte le proportioni, che hanno i mezi tra &longs;e. </s> <s id="s.002314">Sia tra a, & d. <!-- REMOVE S-->due intermedij b, & c. <!-- REMOVE S-->io di­<lb/>co, che la proportione di a, à d. <!-- REMOVE S-->è composta delle proportioni, che &longs;ono tra a, & b. <!-- REMOVE S-->tra <lb/>b, & c. <!-- REMOVE S-->tra c & d. <!-- REMOVE S-->imperoche per la precedente la proportione, che è tra a, & c. <!-- REMOVE S-->è <lb/>compo&longs;ta dalla proportione, che è tra a & b. <!-- REMOVE S-->& tra b & c. <!-- REMOVE S-->ma la proportione che è tra <lb/>b, & d. <!-- REMOVE S-->è composta dalla proportione che è tra b. <!-- REMOVE S-->& c. <!-- REMOVE S-->& c, & d. <!-- REMOVE S-->per la i&longs;te&longs;&longs;a pro­<lb/>po&longs;itione. </s> <s id="s.002315">adonque la proportione, che è tra a, & d. <!-- REMOVE S-->è compo&longs;ta di tutte proportioni, <lb/>che &longs;ono tra i mezi. </s> <s id="s.002316">& co&longs;i &longs;i hauerà a prouare, quando fu&longs;&longs;ero piu mezi. </s> <s id="s.002317">& di &longs;opra <lb/>ne hauemo con gli e&longs;&longs;empi detto a ba&longs;tanza: ma hora &longs;i replica per &longs;eguitar l'ordine di Al­<lb/>chindo, & per e&longs;&longs;ercitio della memoria, in co&longs;a di tantaimportanza.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002318"><emph type="italics"/>La quarta è, che &longs;e alcuna proportione, è compo&longs;ta di due proportioni, la &longs;ua conuer&longs;a <lb/>è compo&longs;ta delle conuer&longs;e. </s> <s id="s.002319">&longs;ia la proportione di a, à b. <!-- REMOVE S-->compo&longs;ta della proportione di c, à <lb/>d. <!-- REMOVE S-->& di e, à f. <!-- REMOVE S-->io dico che la proportione di b. <!-- REMOVE S-->ad a. <!-- REMOVE S-->&longs;arà compo&longs;ta della proportio­<lb/>ne di d, à c. <!-- REMOVE S-->& di f. <!-- REMOVE S-->ad e. <!-- REMOVE S-->perche &longs;iano continuate le proportioni di c, à d. <!-- REMOVE S-->& die, <lb/>ad f. <!-- REMOVE S-->tra g. <!-- REMOVE S-->h. <!-- REMOVE S-->K. di modo che g. <!-- REMOVE S-->&longs;ia ad h. <!-- REMOVE S-->come c, à d. <!-- REMOVE S-->& h, à K. come e. <!-- REMOVE S-->ad <lb/>f. <!-- REMOVE S-->dico, che la proportione tra a, & b. <!-- REMOVE S-->&longs;arà compo&longs;ta della proportione di g. <!-- REMOVE S-->ad h. <!-- REMOVE S-->& di <lb/>h. <!-- REMOVE S-->à K. & però per la &longs;econda propo&longs;itione, la proportione di a, à b.&longs;arà come la propor­<lb/>tione di g, à K. adunque all'incontro la proportione di b ad a. <!-- REMOVE S-->&longs;arà come K. à g. <!-- REMOVE S-->mala pro <lb/>portione di K à g. <!-- REMOVE S-->per la i&longs;te&longs;&longs;a propo&longs;itione è fatta dalla proportione di K. ad h. <!-- REMOVE S-->& di h. <!-- REMOVE S-->à <lb/>g. <!-- REMOVE S-->ma K ad h. <!-- REMOVE S-->è come f. <!-- REMOVE S-->ad e. <!-- REMOVE S-->& h. <!-- REMOVE S-->à g. <!-- REMOVE S-->& come d. <!-- REMOVE S-->à c. <!-- REMOVE S-->adunque b ad a. <!-- REMOVE S-->&longs;arà compo­<lb/>&longs;to dalla proportione, che è tra d & e. <!-- REMOVE S-->& tra f. <!-- REMOVE S-->& e. <!-- REMOVE S-->il che è lo intento no&longs;tro. </s> <s id="s.002320">Finite le <lb/>diffinitioni, & le propo&longs;itioni, che pone Alchindo, &longs;iuiene alle regole, lequali &longs;ono que&longs;te.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002321"><emph type="italics"/>Quando di &longs;ei quantità la proportione, che è tra la prima, & la &longs;econda, è compo&longs;ta <lb/>della proportione, che ha la terza alla quarta, & la quinta alla &longs;e&longs;ta, &longs;i fanno tre­<lb/>cento, & &longs;e&longs;&longs;anta &longs;pecie di compo&longs;uioni, di trenta&longs;ei, delle quali &longs;olamente ci potemo <lb/>&longs;eruire. </s> <s id="s.002322">il re&longs;tante è inutile. </s> <s id="s.002323">& que&longs;to è manife&longs;to. </s> <s id="s.002324">&longs;e noi ponemo, che la proportio­<lb/>ne, che è tra a, & b. <!-- REMOVE S-->&longs;ia compo&longs;ta delle proportioni, che &longs;ono tra e, & d. <!-- REMOVE S-->tra e, & f. <!-- REMOVE S--><lb/>perche e&longs;&longs;endo &longs;ei i termini, &longs;i puo intendere la proportione di due, qual &longs;i uoglia e&longs;&longs;er composta <lb/>di due proportioni, che &longs;iano tra i quattro termini re&longs;tanti. </s> <s id="s.002325">Il che &longs;arà dichiarito poter&longs;i fare <lb/>per uia della moltiplicatione. </s> <s id="s.002326">Da que&longs;ti &longs;ei termini uengono trenta &longs;pacij di&longs;tinti. </s> <s id="s.002327">dieci da a. <!-- REMOVE S-->ot­<lb/>to da b. <!-- REMOVE S-->&longs;ei da c. <!-- REMOVE S-->quattro da d. <!-- REMOVE S-->due da e. <!-- REMOVE S-->& niuno da f. <!-- REMOVE S-->perche tutti &longs;ono &longs;tati prima compre&longs;i. </s> <s id="s.002328"><lb/>le quali co&longs;e &longs;ono manife&longs;te dalla &longs;ottopo&longs;ta tauola. </s> <s id="s.002329">doue &longs;ono cinque compartimenti, nel primo <lb/>de i quali è la comparatione di a. <!-- REMOVE S-->agli altri termini, & de gli altri termini ad a. <!-- REMOVE S-->nel &longs;econdo è <lb/>la comparatione di b, agli altri, & de gli altri à b. <!-- REMOVE S-->nel terzo è la comparatione del e. <!-- REMOVE S-->nel quar <lb/>to di b. <!-- REMOVE S-->nel quinto die. </s> <s id="s.002330">agli altri, & de gli altri a quelli. </s> <s id="s.002331">perche adunque erano &longs;ei termini ri­<lb/>mo&longs;&longs;idue, che faceuano lo &longs;pacio compo&longs;to, i re&longs;tanti &longs;eranno quattro. </s> <s id="s.002332">de i quali ne &longs;aranno uin­<lb/>tiquattro ordini, che fanno &longs;olamente dodici &longs;pacij. </s> <s id="s.002333">& perche questo s'intenda bene &longs;iano ri­<lb/>mo&longs;&longs;i que&longs;ti termini a b. <!-- REMOVE S-->che fanno la proportione dia, à b. <!-- REMOVE S-->& la conuer&longs;a di b. <!-- REMOVE S-->ad a. <!-- REMOVE S-->re&longs;taran-<emph.end type="italics"/><pb pagenum="105" xlink:href="045/01/113.jpg"/><emph type="italics"/>no quattro termini. </s> <s id="s.002334">c.d.e.f. <!-- REMOVE S-->de i quali &longs;aranno uentiquattro ordini. </s> <s id="s.002335">Il numero posto fuori della <lb/>tauola dimo&longs;tra due ordini, che fanno un &longs;olo interuallo, come il numero quinario, che è po&longs;to <emph.end type="italics"/><lb/><figure id="id.045.01.113.1.jpg" xlink:href="045/01/113/1.jpg"/><lb/><emph type="italics"/>dentro la tauola, dinota che quel-<emph.end type="italics"/><lb/><figure id="id.045.01.113.2.jpg" xlink:href="045/01/113/2.jpg"/><lb/><emph type="italics"/>l'ordine, a cui è prepo&longs;to il deci­<lb/>mo &longs;ettimo, non compone &longs;pacio <lb/>diuer&longs;o da quello, che compone <lb/>il quinto, perche &longs;i compone la <lb/>i&longs;te&longs;&longs;a proportione che è tra d. <!-- REMOVE S-->& <lb/>e. <!-- REMOVE S-->& trac. <!-- REMOVE S-->& f. <!-- REMOVE S-->dinotata per lo <lb/>decimo &longs;ettimo modo. </s> <s id="s.002336">& di quel­<lb/>la, che è tra c. <!-- REMOVE S-->& f. <!-- REMOVE S-->& trad. </s> <s id="s.002337">& <lb/>e. <!-- REMOVE S-->laqual pretende il quinto. </s> <s id="s.002338"><lb/>Adunque per li numeri e&longs;trin&longs;e­<lb/>chi &longs;i dinota, che que&longs;ti ordini, <lb/>quanto alla compo&longs;itione delle <lb/>proportioni &longs;ono geminati, cioè <lb/>il terzodecimo. </s> <s id="s.002339">il quartodecimo, <lb/>il quintodecimo, & co&longs;i &longs;eguitan <lb/>do fin al uente&longs;imo quarto, il qua <lb/>le anche ui s'include. </s> <s id="s.002340">la propor­<lb/>tione adunque, che tra a. <!-- REMOVE S-->& b. <lb/><!-- REMOVE S-->& la &longs;ua conuer&longs;a tra b. <!-- REMOVE S-->& a. <!-- REMOVE S-->&longs;i <lb/>puo intendere, che &longs;ia compo&longs;ta <lb/>di dodici proportioni, tra quat­<lb/>tro termini c. <!-- REMOVE S-->d. <!-- REMOVE S-->e. <!-- REMOVE S-->f. <!-- REMOVE S-->& co&longs;i cia­<lb/>&longs;cuna delle predette. </s> <s id="s.002341">E&longs;&longs;endo adunque trenta quelle che &longs;ipo&longs;&longs;ono componere, tutte le combina­<lb/>tioni &longs;aranno trenta fiate dodici, che &longs;ommano trecento & &longs;e&longs;&longs;anta. </s> <s id="s.002342">Ma di tutte que&longs;te, posto, <lb/>che la proportione, che è tra a. <!-- REMOVE S-->& b. <!-- REMOVE S-->&longs;ia compo&longs;ta delle proportioni, che &longs;ono: tra c. <!-- REMOVE S-->& d. <!-- REMOVE S-->& e. <lb/><!-- REMOVE S-->& f. <!-- REMOVE S-->&longs;i dimo&longs;tra, che &longs;ole trenta &longs;ei &longs;ono utili. </s> <s id="s.002343">Ma le altre non tenere: & ci potrà ba&longs;tare di <lb/>e&longs;ponerne quindici nella tauola, e&longs;&longs;endone quindici di quelle conuer-<emph.end type="italics"/><lb/><figure id="id.045.01.113.3.jpg" xlink:href="045/01/113/3.jpg"/><lb/><emph type="italics"/>&longs;e, & noi per la quarta propo&longs;itione hauemo dimo&longs;trato, che ogni <lb/>proportione conuer&longs;a, &longs;i fa dalle conuer&longs;e di quelle proportioni, del­<lb/>lequali è compo&longs;ta la principale. </s> <s id="s.002344">come &longs;e la proportione, che è tra a. <lb/><!-- REMOVE S-->& b. <!-- REMOVE S-->è compo&longs;ta dalle proportioni che &longs;ono tra c. <!-- REMOVE S-->& d. <!-- REMOVE S-->& tra e. <!-- REMOVE S-->& f. <!-- REMOVE S--><lb/>anche la conuer&longs;a, cioè la proportione, che è tra b, & a. <!-- REMOVE S-->è compo&longs;ta <lb/>dalle proportioni, che &longs;ono tra. </s> <s id="s.002345">c. <!-- REMOVE S-->& d. <!-- REMOVE S-->et tra f. <!-- REMOVE S-->et e. <!-- REMOVE S-->et però e&longs;po&longs;te <lb/>che &longs;aranno quindici di quelle, le altre quindici &longs;aranno manife&longs;te. </s> <s id="s.002346"><lb/>E&longs;poneremo adunque le quindici po&longs;te nella tauola. </s> <s id="s.002347">dellequali di nece&longs;­<lb/>&longs;ità noue &longs;aranno compo&longs;te di due proportioni tra'l re&longs;tante di quattro <lb/>termini. </s> <s id="s.002348">ma le altre &longs;ei non hanno que&longs;ta nece&longs;&longs;ità. </s> <s id="s.002349">et quella, che &longs;i <lb/>compone è manife&longs;ta per la tauola, come anche è manife&longs;ta quella, che <lb/>non &longs;i compone.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002350"><emph type="italics"/>Ogni proportione adunque, laquale entra in compo&longs;itione, a due <lb/>modi &longs;i compone &longs;olamente: cioè dalla proportione del terzo al quar­<lb/>to, et del quinto al &longs;e&longs;to, et &longs;imilmente dalla proportione del terzo al <lb/>&longs;e&longs;to, et del quinto al quarto. </s> <s id="s.002351">per il che e&longs;&longs;endone noue compo&longs;te &longs;i fa­<lb/>ranno diciotto compo&longs;itioni, et altre tante delle loro conuer&longs;e. </s> <s id="s.002352">Tren­<lb/>ta &longs;ei adunque &longs;aranno i modi utili. </s> <s id="s.002353">Ma quelle, che non &longs;i compongo-<emph.end type="italics"/><pb pagenum="106" xlink:href="045/01/114.jpg"/><figure id="id.045.01.114.1.jpg" xlink:href="045/01/114/1.jpg"/><lb/><emph type="italics"/>no &longs;ono &longs;ei, et le loro conuer&longs;e &longs;ei, però dodici &longs;ono inutili. </s> <s id="s.002354">Adunque <lb/>tutti i modi &longs;i utili, come inutili &longs;ono quaranta otto. </s> <s id="s.002355">Soppo&longs;to <lb/>adunque il primo modo, cioè che la proportione che è tra a el b. <!-- REMOVE S-->&longs;ia <lb/>composta delle proportioni che &longs;ono tra c, et d. <!-- REMOVE S-->et tra e, et f. <!-- REMOVE S-->io dimo­<lb/>strerò il &longs;econdo, che è compo&longs;to della i&longs;te&longs;&longs;a, che è trac. <!-- KEEP S--></s> <s id="s.002356">et. </s> <s id="s.002357">f. <!-- REMOVE S-->et tra, <lb/>e. <!-- REMOVE S-->et d. <!-- REMOVE S-->percheio ponerò tra c, et f. <!-- REMOVE S-->la proportione di d, et e. <!-- REMOVE S-->doue la <lb/>proportione tra c, et f. <!-- REMOVE S-->&longs;arà compo&longs;ta delle proportioni, che &longs;ono tra <lb/>c, & d. <!-- REMOVE S-->& tra d, & c. <!-- REMOVE S-->& trae. </s> <s id="s.002358">& f. <!-- REMOVE S-->perilche ne &longs;eguita, che le pro­<lb/>portioni che &longs;ono tra e, & f. <!-- REMOVE S-->& tra e, & d. <!-- REMOVE S-->&longs;aranno composte delle <lb/>proportioni che &longs;ono trac, & d. <!-- REMOVE S-->tra d, & e. <!-- REMOVE S-->& tra e. <!-- REMOVE S-->& f. <!-- REMOVE S-->& trae. <lb/></s> <s id="s.002359">& d. <!-- REMOVE S-->Male proportioni che &longs;ono tra c, & d. <!-- REMOVE S-->trad. </s> <s id="s.002360">& e. <!-- REMOVE S-->et tra e. <!-- REMOVE S-->et <lb/>d. <!-- REMOVE S-->compongono quella, che è tra e. <!-- REMOVE S-->et d. <!-- REMOVE S-->per la terza propo&longs;itio­<lb/>ne. </s> <s id="s.002361">po&longs;ti d, et c. <!-- REMOVE S-->tra c. <!-- REMOVE S-->et d. <!-- REMOVE S-->adunque e. <!-- REMOVE S-->à d. <!-- REMOVE S-->et c. <!-- REMOVE S-->ad f. <!-- REMOVE S-->&longs;ono &longs;i come c. <lb/><!-- REMOVE S-->à d. <!-- REMOVE S-->et a. <!-- REMOVE S-->ad f. <!-- REMOVE S-->ma la proportione, che è tra a. <!-- REMOVE S-->et b. <!-- REMOVE S-->è compo&longs;ta delle <lb/>proportioni che &longs;ono tra e. <!-- REMOVE S-->et d. <!-- REMOVE S-->et tra e, et f. <!-- REMOVE S-->adunque la proportione <lb/>tra a, et b. <!-- REMOVE S-->&longs;arà composta delle proportioni, che &longs;ono tra c. <!-- REMOVE S-->& f. <!-- REMOVE S-->et <lb/>tra e. <!-- REMOVE S-->et d. <!-- REMOVE S-->che &longs;ono le po&longs;te nella conclu&longs;ione.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002362"><emph type="italics"/>Il terzo modo è, che anche la proportione tra a, et c. <!-- REMOVE S-->&longs;arà compo&longs;ta della proportione di b, à <lb/>d. <!-- REMOVE S-->et di c. <!-- REMOVE S-->ad f. <!-- REMOVE S-->ilche è manife&longs;to, perche po&longs;to b. <!-- REMOVE S-->tra a. <!-- REMOVE S-->et c. <!-- REMOVE S-->la proportione che è tra a. <!-- REMOVE S-->et c. <!-- REMOVE S-->&longs;arà <lb/>compo&longs;ta da quella, che è tra a. <!-- REMOVE S-->et b. <!-- REMOVE S-->tra b. <!-- REMOVE S-->et c. <!-- REMOVE S-->ma la proportione, che è tra a, et b. <!-- REMOVE S-->&longs;i compo­<lb/>ne di c. <!-- REMOVE S-->et d. <!-- REMOVE S-->et di e. <!-- REMOVE S-->et f. <!-- REMOVE S-->&longs;econdo il &longs;uppo&longs;to da noi. </s> <s id="s.002363">adunque a, à c. <!-- REMOVE S-->è fa ta di b. <!-- REMOVE S-->et c. <!-- REMOVE S-->et <lb/>et di c. <!-- REMOVE S-->et d. <!-- REMOVE S-->et die, et f. <!-- REMOVE S-->ma b, à c. <!-- REMOVE S-->et c. <!-- REMOVE S-->à d. <!-- REMOVE S-->compongono la b. <!-- REMOVE S-->à d. <!-- REMOVE S-->trapo&longs;to il c. <!-- REMOVE S-->tra b. <!-- REMOVE S-->et e. <!-- KEEP S--></s> <s id="s.002364"><lb/>Adunque la proportione, che è tra a, et c. <!-- REMOVE S-->è compo&longs;ta di b. <!-- REMOVE S-->et d. <!-- REMOVE S-->et di e. <!-- REMOVE S-->et f.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.002365"><emph type="italics"/>Il quarto modo procede dal terzo, &longs;i come il &longs;econdo dal primo. </s> <s id="s.002366">po&longs;ti tra b, & f. <!-- REMOVE S-->commune­<lb/>mente d. <!-- REMOVE S-->& e. <!-- REMOVE S-->& co&longs;i tutti i modi pari, con i loro di&longs;pari &longs;i collegano, per i&longs;chi&longs;are il repetere <lb/>la i&longs;te&longs;&longs;a uia.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002367"><emph type="italics"/>Il quinto modo è che la proportione di a, ad e. <!-- REMOVE S-->è compo&longs;ta di b, ad f. <!-- REMOVE S-->& di c. <!-- REMOVE S-->à d. <!-- REMOVE S-->perche po­<lb/>&longs;to b. <!-- REMOVE S-->tra a, & e. <!-- REMOVE S-->&longs;i fa l'argomento del terzo. </s> <s id="s.002368">perche lo a. <!-- REMOVE S-->ad e. <!-- REMOVE S-->è compo&longs;to dello a. <!-- REMOVE S-->al b. <!-- REMOVE S-->& del b. <!-- REMOVE S--><lb/>allo e. <!-- REMOVE S-->ma lo a. <!-- REMOVE S-->al b. <!-- REMOVE S-->è compo&longs;to dell' e. <!-- REMOVE S-->al f. <!-- REMOVE S-->& del c. <!-- REMOVE S-->al d. <!-- REMOVE S-->perche co&longs;i hauemo po&longs;to. </s> <s id="s.002369">adunque a, <lb/>ad e. <!-- REMOVE S-->&longs;i compone di b. <!-- REMOVE S-->à c. <!-- REMOVE S-->& die. </s> <s id="s.002370">ad f. <!-- REMOVE S-->& di c. </s> <s id="s.002371">à d. <!-- REMOVE S-->ma b. <!-- REMOVE S-->ad e. <!-- REMOVE S-->& e. <!-- REMOVE S-->ad f. <!-- REMOVE S-->compongono b. <!-- REMOVE S-->ad f. <!-- REMOVE S-->tra­<lb/>po&longs;to e. <!-- REMOVE S-->tra b, & f. <!-- REMOVE S-->adunque la proportione tra a. <!-- REMOVE S-->& e. <!-- REMOVE S-->è compo&longs;ta delle proportioni, che &longs;ono <lb/>tra b. <!-- REMOVE S-->& f. <!-- REMOVE S-->& tra c, & d.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.002372"><emph type="italics"/>Il &longs;e&longs;to modo &longs;i caua dal quinto, per lo argomento del &longs;econdo, trapo&longs;to f. <!-- REMOVE S-->& c. <!-- REMOVE S-->tra b. <!-- REMOVE S-->& d.<emph.end type="italics"/><!-- REMOVE S--><emph type="italics"/>Il &longs;ettimo compone la proportione di b, à d. <!-- REMOVE S-->delle proportioni di à. </s> </p> <p type="main"> <s id="s.002373">a c. <!-- REMOVE S-->& di f. <!-- REMOVE S-->ad e. <!-- REMOVE S-->perche <lb/>e&longs;&longs;endo compo&longs;to a. <!-- REMOVE S-->b. <!-- REMOVE S-->di c. <!-- REMOVE S-->à d. <!-- REMOVE S-->& die. </s> <s id="s.002374">ad f. <!-- REMOVE S-->ne &longs;egue per la quarta proportione, che la proportio­<lb/>ne tra b, & a. <!-- REMOVE S-->&longs;arà compo&longs;ta di d. <!-- REMOVE S-->& c. <!-- REMOVE S-->& di f. <!-- REMOVE S-->& e. <!-- REMOVE S-->po&longs;to adunque a. <!-- REMOVE S-->tra b. <!-- REMOVE S-->& d. <!-- REMOVE S-->la proportio­<lb/>ne, che è tra b, & d. <!-- REMOVE S-->&longs;arà fatta di b. <!-- REMOVE S-->& a. <!-- REMOVE S-->& di a, & d. <!-- REMOVE S-->ma b, & a. <!-- REMOVE S-->è compo&longs;to di d. <!-- REMOVE S-->& c. <!-- REMOVE S-->et di f. <lb/><!-- REMOVE S-->& e. <!-- REMOVE S-->adunque la proportione di b. <!-- REMOVE S-->à d. <!-- REMOVE S-->&longs;arà compo&longs;ta di tre proportioni. </s> <s id="s.002375">cioè di a, à d. <!-- REMOVE S-->di d, à <lb/>c. <!-- REMOVE S-->& di f. <!-- REMOVE S-->ad e. <!-- KEEP S--></s> <s id="s.002376">Ma la a, à d. <!-- REMOVE S-->& la d. <!-- REMOVE S-->à c. <!-- REMOVE S-->compongono quella, che è tra a. <!-- REMOVE S-->& c. <!-- REMOVE S-->trappo&longs;to <lb/>d. <!-- REMOVE S-->tra a, & c. <!-- REMOVE S-->adunque la proportione di b. <!-- REMOVE S-->à d. <!-- REMOVE S-->&longs;arà composta delle proportioni di a, à c. <!-- REMOVE S-->& <lb/>di f. <!-- REMOVE S-->ad e. <!-- REMOVE S-->ilche era il propo&longs;ito.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002377"><emph type="italics"/>L'ottauo modo. </s> <s id="s.002378">&longs;i come pre&longs;upo&longs;to il primo &longs;i caua il &longs;econdo, co&longs;i per lo i&longs;te&longs;&longs;o argomento <lb/>&longs;i caua l'ottauo i &longs;uppo&longs;ti, & prouati ne i precedenti, posto in mezo di a. <!-- REMOVE S-->& e. <!-- REMOVE S-->e. <!-- REMOVE S-->& f.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.002379"><emph type="italics"/>Il nono. </s> <s id="s.002380">&longs;imilmente la proportione di b, ad e. <!-- REMOVE S-->&longs;arà compo&longs;ta delle proportioni di a. <!-- REMOVE S-->ad e. <!-- REMOVE S-->& di <lb/>d. <!-- REMOVE S-->à c. <!-- REMOVE S-->perche b ad a, è compo&longs;to di d. <!-- REMOVE S-->à c. <!-- REMOVE S-->& di f. <!-- REMOVE S-->ad e. <!-- REMOVE S-->trapposto a. <!-- REMOVE S-->tra b. <!-- REMOVE S-->& f. <!-- REMOVE S-->&longs;arà la pro­<lb/>portione tra b, & f. <!-- REMOVE S-->compo&longs;ta di b. <!-- REMOVE S-->ad a. <!-- REMOVE S-->& di a. <!-- REMOVE S-->ad f. <!-- REMOVE S-->& però b, ad f. <!-- REMOVE S-->&longs;arà compo&longs;ta di a. <!-- REMOVE S-->ad f. <lb/><!-- REMOVE S-->& di f. <!-- REMOVE S-->ad e. <!-- REMOVE S-->& di d. <!-- REMOVE S-->à c. <!-- REMOVE S-->ma a. <!-- REMOVE S-->ad f. <!-- REMOVE S-->& f. <!-- REMOVE S-->ad e. <!-- REMOVE S-->compongono a. <!-- REMOVE S-->ad e. <!-- REMOVE S-->adunque b. <!-- REMOVE S-->& f. <!-- REMOVE S-->è com­<lb/>po&longs;ta di a. <!-- REMOVE S-->& e. <!-- REMOVE S-->& di d. <!-- REMOVE S-->& c.<emph.end type="italics"/><!-- REMOVE S--><emph type="italics"/>Il decimo. </s> </p> <pb pagenum="107" xlink:href="045/01/115.jpg"/> <p type="main"> <s id="s.002381">con l'argomento del &longs;econdo procede dalle co&longs;e prouate nel precedente, trappo&longs;to, <lb/>e, & d. <!-- REMOVE S-->tra a. <!-- REMOVE S-->& c.<emph.end type="italics"/><!-- REMOVE S--><emph type="italics"/>L'undecimo. <!-- KEEP S--></s> </p> <p type="main"> <s id="s.002382">egli &longs;i compone c. <!-- REMOVE S-->à d. <!-- REMOVE S-->di a. <!-- REMOVE S-->& b. <!-- REMOVE S-->& di f. <!-- REMOVE S-->& c. <!-- REMOVE S-->perche per la terza. </s> <s id="s.002383">a. <!-- REMOVE S-->& c. <!-- REMOVE S-->è <lb/>fatta di b. <!-- REMOVE S-->& d. <!-- REMOVE S-->& di e. <!-- REMOVE S-->& f. <!-- REMOVE S-->&longs;i componerà la c. <!-- REMOVE S-->ad a. <!-- REMOVE S-->di d. <!-- REMOVE S-->à b. <!-- REMOVE S-->& di f. <!-- REMOVE S-->ad e. <!-- REMOVE S-->po&longs;to adunque a tra <lb/>c. <!-- REMOVE S-->& d. <!-- REMOVE S-->&longs;arà la c. <!-- REMOVE S-->al d. <!-- REMOVE S-->compo&longs;ta dalla a. <!-- REMOVE S-->al d. <!-- REMOVE S-->dalla d. <!-- REMOVE S-->al b. <!-- REMOVE S-->& dalla f. <!-- REMOVE S-->al c. <!-- REMOVE S-->ma la a. <!-- REMOVE S-->al d. <!-- REMOVE S-->& la d. <!-- REMOVE S--><lb/>al b. <!-- REMOVE S-->compongono la a. <!-- REMOVE S-->al b. <!-- REMOVE S-->adunque la c. <!-- REMOVE S-->à d. <!-- REMOVE S-->è compo&longs;ta dal a, à b, & da f. <!-- REMOVE S-->ad e.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.002384"><emph type="italics"/>Il duodecimo modo &longs;i caua dall'argomento di &longs;opra trapo&longs;to b. <!-- REMOVE S-->& f. <!-- REMOVE S-->tra a. <!-- REMOVE S-->& e.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.002385"><emph type="italics"/>Il terzo decimo è &longs;imilmente, che la proportione tra c. <!-- REMOVE S-->& f. <!-- REMOVE S-->è compo&longs;ta dalle proportioni tra <lb/>a. <!-- REMOVE S-->& b. <!-- REMOVE S-->tra d. <!-- REMOVE S-->& c. <!-- REMOVE S-->posto d. <!-- REMOVE S-->& c. <!-- REMOVE S-->tra e. <!-- REMOVE S-->& f. <!-- REMOVE S-->&longs;arà composta la c. <!-- REMOVE S-->& la. </s> <s id="s.002386">f. <!-- REMOVE S-->dalla. </s> <s id="s.002387">c. <!-- REMOVE S-->al d. <!-- REMOVE S-->& <lb/>dalla d, al e. <!-- REMOVE S-->& dall' e. <!-- REMOVE S-->al f. <!-- REMOVE S-->ma. </s> <s id="s.002388">c. <!-- REMOVE S-->d. <!-- REMOVE S-->& e f. <!-- REMOVE S-->compongono a. <!-- REMOVE S-->b. <!-- REMOVE S-->adunque la c f. <!-- REMOVE S-->è compo&longs;ta da <lb/>a b. <!-- REMOVE S-->& da d e.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.002389"><emph type="italics"/>Il quartodecimo &longs;i caua dal precedente, come il &longs;econdo dal primo trapo&longs;to b. <!-- REMOVE S-->& d. <!-- REMOVE S--><lb/>tra a. <!-- REMOVE S-->& e.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.002390"><emph type="italics"/>Il quintodecimo è, che anche d e, è composta da b a, & da c. <!-- REMOVE S-->f. <!-- REMOVE S-->perche po&longs;to c. <!-- REMOVE S-->& f. <!-- REMOVE S-->tra d. <lb/><!-- REMOVE S-->& e. <!-- REMOVE S-->la d. <!-- REMOVE S-->e. <!-- REMOVE S-->&longs;arà composta da d. <!-- REMOVE S-->c. <!-- REMOVE S-->ad c. <!-- REMOVE S-->f. <!-- REMOVE S-->& da f. <!-- REMOVE S-->a. <!-- REMOVE S-->ma la d. <!-- REMOVE S-->al c. <!-- REMOVE S-->& la f. <!-- REMOVE S-->all'e. </s> <s id="s.002391">compongono <lb/>la b. <!-- REMOVE S-->a. <!-- REMOVE S-->perche le conuer&longs;e compongono la a. <!-- REMOVE S-->b. <!-- REMOVE S-->per la &longs;oppo&longs;itione adunque d. <!-- REMOVE S-->e. <!-- REMOVE S-->è compo&longs;ta di <lb/>b. <!-- REMOVE S-->ad a. <!-- REMOVE S-->& di c. <!-- REMOVE S-->ad f.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.002392"><emph type="italics"/>Il &longs;e&longs;todecimo con l'argomento del &longs;econdo è dedutto dal precedente. </s> <s id="s.002393">trapo&longs;to a. <!-- REMOVE S-->& c. <!-- REMOVE S--><lb/>tra b. <!-- REMOVE S-->& f.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.002394"><emph type="italics"/>Il decimo &longs;ettimo modo è, che e. <!-- REMOVE S-->f. <!-- REMOVE S-->&longs;i compone di a. <!-- REMOVE S-->b. <!-- REMOVE S-->& di d. <!-- REMOVE S-->c. <!-- REMOVE S-->percioche per la conuer&longs;a del <lb/>quinto modo c. <!-- REMOVE S-->a. <!-- REMOVE S-->&longs;i fa di f. <!-- REMOVE S-->b. <!-- REMOVE S-->& di d. <!-- REMOVE S-->c. <!-- REMOVE S-->il re&longs;to &longs;i ordina, come s'è fatto nella prima deduttione <lb/>dell'undecimo modo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002395"><emph type="italics"/>Il decimo ottauo con l'argomento del &longs;econdo &longs;i caua dal precedente b. <!-- REMOVE S-->et d. <!-- REMOVE S-->trapo&longs;ti tra e. <!-- REMOVE S-->et c.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.002396"><emph type="italics"/>Voglio, che fin qui &longs;ia detto a ba&longs;tanza per dare alquanto di luce alle co&longs;e di Alchindo: & <lb/>qui &longs;otto cauarne una belli&longs;&longs;ima propo&longs;itione, che ne contiene dice&longs;ette utili&longs;&longs;ime da e&longs;&longs;er da ogni <lb/>&longs;orte di per&longs;one studio&longs;e e&longs;&longs;ercitate, & &longs;ono que&longs;te, lequali &longs;i &longs;erueno a ritrouare qualunque nu­<lb/>mero di quelli &longs;ei, ci fu&longs;&longs;e ignoto.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002397"><emph type="italics"/>Se la proportione che è tra'l primo e'l &longs;econdo, è compo&longs;ta delle proportioni, che &longs;ono tra'l <lb/>terzo, e'l quarto, & tra'l quinto, e'l &longs;e&longs;to: la i&longs;te&longs;&longs;a &longs;arà compo&longs;ta dalle proportioni, che &longs;ono, <lb/>tra'l terzo, e'l &longs;e&longs;to, & tra'l quinto, e'l quarto. </s> <s id="s.002398">Ecco ne i numeri lo e&longs;&longs;empio. </s> <s id="s.002399">1. 2. 3. 4. <lb/>6. 9. dalla &longs;otto &longs;e&longs;quiterza, che è tra tre, & quattro, & dalla &longs;otto &longs;e&longs;quialtera, che è tra <lb/>&longs;ei, & noue, ne na&longs;ce la &longs;ottodoppia che è tra uno, & due. </s> <s id="s.002400">io dico che la i&longs;te&longs;&longs;a &longs;ottodoppia na­<lb/>&longs;cerà dalle proportioni, che &longs;ono tra il terzo, & il &longs;e&longs;to, cioè tra tre & noue, che &longs;ono in propor­<lb/>tione &longs;otto tripla. </s> <s id="s.002401">& dalla proportione, che è tra'l quinto e'l quarto, che &longs;ono &longs;ei, & quattro, do­<lb/>ue è la proportion &longs;e&longs;quialtera, perche da una &longs;ottotripla, & da una &longs;e&longs;quialtera, ne na&longs;ce una <lb/>&longs;ottodoppia, come è tra uno, & due.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002402"><emph type="italics"/>Similmente &longs;e la proportione del primo al terzo, &longs;arà compo&longs;ta delle proportioni del &longs;econdo <lb/>al quarto, et del quinto al &longs;e&longs;to. </s> <s id="s.002403">come la proportione dell'uno al tre, che è &longs;ottotrpla, è compo­<lb/>&longs;ta delle proportioni del due al quattro, che è &longs;ottodoppia, et del &longs;ei al noue, che è &longs;otto&longs;e&longs;quial­<lb/>tera, ne na&longs;ce una &longs;otto tripla.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002404"><emph type="italics"/>Parimente, &longs;e la proportione del primo al quinto, cioè dall'uno al &longs;ei che è &longs;otto &longs;e&longs;cupla, &longs;arà <lb/>fatta delle proportioni del &longs;econdo al &longs;e&longs;to, che è dal due, al noue, che è proportione &longs;ottoqua­<lb/>drupla &longs;e&longs;quialtera, et dal terzo, al quarto, che &longs;on tre, et quattro, doue cade proportione &longs;ot­<lb/>to&longs;e&longs;quiterza, la i&longs;te&longs;&longs;a uenirà, dal &longs;econdo al quarto, che è tra due, et quattro, doue è propor­<lb/>tione &longs;ottodoppia, et dal terzo al &longs;e&longs;to, come da tre a noue, doue cade proportione &longs;ottotripla; <lb/>perche ne na&longs;cerà una &longs;otto&longs;e&longs;cupla.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002405"><emph type="italics"/>Co&longs;i anche, &longs;e la proportione, che è del &longs;econdo al quarto, che è &longs;atto doppia, come è da uno <lb/>a quattro, na&longs;cerà dalla proportion del primo al terzo, che è &longs;otto tripla, come da uno a tre, & <emph.end type="italics"/><pb pagenum="108" xlink:href="045/01/116.jpg"/><emph type="italics"/>dalla proportione del &longs;e&longs;to al quinto, come è da noue a &longs;ei, doue cade proportion &longs;e&longs;quialtera, per <lb/>che da una &longs;ottotripla, & da una &longs;e&longs;quialtera ne na&longs;ce una &longs;ottodoppia, la i&longs;te&longs;&longs;a proportione na <lb/>&longs;cerà dal primo al quinto, che è da uno à &longs;ei, doue cade proportione &longs;otto&longs;e&longs;cupla, & dal &longs;e&longs;to al <lb/>terzo come da noue a tre, doue cade la tripla; perche da una &longs;otto&longs;e&longs;cupla, & da una tripla ne <lb/>na&longs;ce una &longs;ottodoppia, come è da due a quattro.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002406"><emph type="italics"/>Similmente &longs;e la proportione, che ha il &longs;econdo al &longs;e&longs;to, come tra due, & noue, doue cade <lb/>proportione &longs;ottoquadrupla &longs;e&longs;quialtera, na&longs;ce dalla proportione del primo al qinmto, come da <lb/>uno a &longs;ei, doue è proportione &longs;otto&longs;e&longs;cupla, & dal quarto al terzo, come è da quattro a tre, do­<lb/>ue è proportione &longs;e&longs;quiterza, la i&longs;te&longs;&longs;a proportione &longs;ottoquadrupla &longs;e&longs;quialtera na&longs;cerà dalla pro­<lb/>portione del primo al terzo, cioè da uno a tre, doue è proportione &longs;ottotripla, & dal quarto al <lb/>quinto, come da quattro a &longs;ei, doue è proportione &longs;otto&longs;e&longs;quialtera, perche da una &longs;ottotripla, <lb/>& da una &longs;otto&longs;e&longs;quialtera ne uiene una &longs;ottoquadrupla &longs;e&longs;quialtera.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002407"><emph type="italics"/>Similmente &longs;e la proportion del terzo al quarto come è da tre a quattro, doue cade proportione <lb/>&longs;otto&longs;e&longs;quiterza na&longs;cerà dalla proportione del primo al &longs;econdo, come da uno a due, doue cade <lb/>proportione &longs;ottodoppia, & dal &longs;e&longs;to al quinto come da noue a &longs;ei, doue cade proportione &longs;e&longs;qui­<lb/>altera, la i&longs;te&longs;&longs;a proportione na&longs;cerà dalla proportione, che è tra'l primo, e'l quinto, che è uno <lb/>& &longs;ei, doue cade proportione &longs;otto&longs;e&longs;cupla, & dal &longs;e&longs;to al &longs;econdo, come è da noue a due, doue ca <lb/>de proportione quadrupla &longs;e&longs;quialtera, perche da una &longs;otto&longs;e&longs;cupla, & da una quadrupla &longs;e&longs;­<lb/>quialtera, ne na&longs;ce una &longs;otto&longs;e&longs;quiterza.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002408"><emph type="italics"/>Oltra di que&longs;to &longs;e la proportione, che è tra'l terzo, & il &longs;e&longs;to, che è &longs;ottotripla, come da tre a <lb/>noue, na&longs;ce dalla proportione del primo al &longs;econdo, come da uno a due, che è &longs;ottodoppia, & <lb/>dal quarto al quinto, che è &longs;otto&longs;e&longs;quialtera, come tra quattro & &longs;ei, la i&longs;te&longs;&longs;a na&longs;cerà dal pri­<lb/>mo al quinto, come da uno a &longs;ei, doue cade la &longs;otto&longs;e&longs;cupla, & dal quarto al &longs;econdo, come da <lb/>quattro & due, doue cade la &longs;ottodoppia, perche da una &longs;ottodoppia, & da una &longs;otto&longs;e&longs;quiter­<lb/>zane uiene la &longs;ottotripla.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002409"><emph type="italics"/>Di nuouo &longs;e la proportione del quarto al quinto, cioè del quattro al &longs;ei, doue è la &longs;otto&longs;e&longs;qui­<lb/>altera, è compo&longs;ta del &longs;econdo al primo, cio del due all'uno, doue cade la doppia, & del terzo <lb/>al &longs;esto, come del tre al noue, doue cade la &longs;ottotripla, la i&longs;te&longs;&longs;a &longs;otto&longs;e&longs;quialtera na&longs;cerà dalla <lb/>proportione del &longs;econdo al &longs;e&longs;to, & del terzo al primo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002410"><emph type="italics"/>Finalmente &longs;e la proportione, che è del quinto al &longs;e&longs;to, come è tra &longs;ei, & noue, doue cade la <lb/>&longs;otto&longs;e&longs;quialtera, na&longs;cerà dalle proportioni, del primo al &longs;econdo, come da uno a due, doue ca­<lb/>de la &longs;ottodoppia, & dal quarto al terzo, doue cade la &longs;e&longs;quiterza, la i&longs;te&longs;&longs;a na&longs;cerà da quella, <lb/>che è dal primo al terzo, che è &longs;ottotripla, come da uno a tre, & da quella, che è dal quarto al <lb/>&longs;econdo, che è la doppia, come da quattro a due, & tanto &longs;ia detto delle proportioni, & delle lo <lb/>rogenerationi, & ri&longs;petti: le quali co&longs;e diligentemente e&longs;&longs;aminate, e&longs;&longs;ercitate, po&longs;te a memoria <lb/>applicate alle &longs;cienze, & alle pratiche, faranno pareregli huomini miracolo&longs;i. </s> <s id="s.002411">Ma tempo è, <lb/>che a&longs;coltiamo Vitruuio.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="head"> <s id="s.002412"><emph type="italics"/>Delle compo&longs;itioni, & compartimenti de i tempij.<emph.end type="italics"/></s> </p> <p type="head"> <s id="s.002413"><emph type="italics"/>Et della mi&longs;ura del corpo humano.<emph.end type="italics"/></s> </p> <subchap2> <p type="head"> <s id="s.002414"><emph type="italics"/>Cap. I.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.002415">LA compo&longs;itione delle &longs;acre ca&longs;e è fatta di compartimento, la cui ragione deue <lb/>e&longs;&longs;er con &longs;omma diligenza da gli Architetti cono&longs;ciuta. </s> <s id="s.002416">il compartimento &longs;i <lb/>piglia dalla proportione, che Grecamente è detta analogia. </s> <s id="s.002417">La proportio­<lb/>ne è conuenienza di moduli, & di mi&longs;ure in ogni opera sì della rata parte de <pb pagenum="109" xlink:href="045/01/117.jpg"/>i membri, come del tutto, dalla quale procede la ragione de i compartimenti. </s> </p> <p type="main"> <s id="s.002418"><emph type="italics"/>La &longs;omma di tutto quello, che dice Vitr. cerca le fabriche pertinenti alla religione è, che pri­<lb/>ma egli dimo&longs;tra la nece&longs;&longs;ità di cono&longs;cer la forza delle proportioni, & delle commen&longs;urationi, <lb/>che &longs;i chiamano &longs;immetrie da greci. </s> <s id="s.002419">dapoi dichiara donde è &longs;tata pre&longs;a la ragione delle mi&longs;ure, <lb/>& tratta della compo&longs;itione de i Tempij, & con&longs;idera prima tutto quello, che &longs;i rappre&longs;enta di <lb/>fuori, & da lunge allo a&longs;petto da diuer&longs;e figure, & forme di tempij, & in que&longs;ta parte tocca <lb/>cinque maniere di Tempij, con le ragioni di cia&longs;cuna, & dichiara il modo di fondare, l'ornamen<lb/>to delle colonne, de i capitelli, de gli architraui, de i coperti, & fronti&longs;picij, & altre co&longs;e perti­<lb/>nenti a quello, che &longs;i uede di fuori, come &longs;ono gradi, poggi, piedistali, &longs;porti, ra&longs;tremamenti, <lb/>gonfiature, aggiunte, canalature, & &longs;imili co&longs;e, &longs;econdo i generi delle fabriche. </s> <s id="s.002420">Viene poi al­<lb/>le parti di dentro, & di&longs;tintamente ragiona delle mi&longs;ure, lunghezze, larghezze, & altezze de <lb/>i Tempij, delle celle, de gli antitempij, de gli altari, delle porte, & di tutti gli ornamenti che <lb/>conuengono alle predette parti: la onde niente la&longs;cia al de&longs;iderio nostro, conchiudendo tutta la <lb/>pre&longs;ente materia, nel terzo, & nel quarto libro. </s> <s id="s.002421">Dice adunque, che per edificare i Tempij bi­<lb/>&longs;ogna cono&longs;cere la ragione del compartimento, & que&longs;to douer e&longs;&longs;ere con &longs;omma diligenza da gli <lb/>Architetti cono&longs;ciuto. </s> <s id="s.002422">Di questo la ragione è in pronto: perche, &longs;e bene ogni fabrica deue e&longs;&longs;er <lb/>con ragione compartita, & mi&longs;urata, nientedimeno con&longs;iderando noi quanto la diuinità eccede la <lb/>humanità, meritamente douemo, quanto &longs;i puo di bello, & di raro, &longs;empre mai operare, per ho <lb/>nore, & o&longs;&longs;eruanza delle co&longs;e diuine. </s> <s id="s.002423">& perche di diuina qualità participa in terra l'humana <lb/>mente, però douemo con ogni &longs;tudio e&longs;&longs;ercitarla, accioche honoriamo i Dei; che Dei &longs;i chiamano <lb/>i ueri amici di Dio. <!-- KEEP S--></s> <s id="s.002424">ottima co&longs;a è la ragione nella mente dell'huomo, & que&longs;ta eccellenti&longs;&longs;ima­<lb/>mente &longs;i dimo&longs;tra nelle proportioni. </s> <s id="s.002425">& però &longs;e Vitr. ha detto, che la ragione della &longs;immetria, <lb/>che è corri&longs;pondenza di mi&longs;ure, deue e&longs;&longs;er con grandi&longs;&longs;ima diligentia cono&longs;ciuta da gli Architet­<lb/>ti, egli ha detto co&longs;a ragioneuole, hone&longs;ta, & debita alla diuinità. </s> <s id="s.002426">Et &longs;e co&longs;a mortale puo a ba­<lb/>&longs;tanza honorare la immortalità, direi anch'io, che le piu pretio&longs;e, & care co&longs;e doueriano e&longs;&longs;er <lb/>&longs;oggetto & materia alle ben proportionate fabriche de i luoghi &longs;acri, accioche, & con la forma, <lb/>& con la materia &longs;i honora&longs;&longs;e quanto piu &longs;i puo, la diuinità. </s> <s id="s.002427">Nece&longs;&longs;aria co&longs;a è dunque la &longs;im­<lb/>metria alla compo&longs;itione de i Tempij. <!-- KEEP S--></s> <s id="s.002428">la &longs;immetria è diffinita da Vitr. in que&longs;to luogo &longs;econdo l'ap<lb/>plicatione all' Architettura; ma noi di &longs;opra l'hauemo diffinita &longs;econdo la raccommunanza, & <lb/>uniuer&longs;alità di quel nome. </s> <s id="s.002429">Dice adunque Vitr. che la proportione, la quale è detta analogia da <lb/>Greci, è una con&longs;onanza, & ri&longs;pondenza delle mi&longs;ure delle parti tra &longs;e &longs;te&longs;&longs;e, & col tutto <lb/>in ogni opera, che &longs;i fa, & que&longs;ta con&longs;onanza, egli chiama commodulatione, percio­<lb/>che modulo è detta quella mi&longs;ura, che &longs;i piglia prima, con la quale &longs;i mi&longs;urano le par­<lb/>ti, & il tutto; & però proportione nelle fabriche altro non è, che comparatione de' <lb/>moduli, & di mi&longs;ure in quello, in che conuengono, et le parti in&longs;ieme delle fabriche, o il tutto <lb/>unitamente con le parti. </s> <s id="s.002430">Questo già è &longs;tato da noi copio&longs;amente dimo&longs;trato nel primo libro. </s> <s id="s.002431">pe­<lb/>rò &longs;eguitando Vitruuio &longs;i dichiara da quale e&longs;&longs;empio di natura è stata pigliata la ragione <lb/>delle mi&longs;ure.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002432">Perche non puo fabrica alcuna &longs;enza mi&longs;ura, & proportione hauer ragione di compo<lb/>nimento, &longs;e prima non hauerà ri&longs;petto, & con&longs;ideratione, &longs;opra la uera, & certa ra­<lb/>gione de i membri dell'huomo ben proportionato, perche la natura in tal modo ha com <lb/>po&longs;to il corpo dell'huomo, che l'o&longs;&longs;o del capo dal mento alla &longs;ommità della fronte, & <lb/>le ba&longs;&longs;e radici de i capelli, fu&longs;&longs;e la decima parte, & tanto anche fu&longs;&longs;e la palma della mano <lb/>dalla giuntura del nodo, alla cima del dito di mezo, il capo dal mento alla &longs;ommità della <lb/>te&longs;ta la ottaua parte, & tanto dal ba&longs;&longs;o del collo. </s> <s id="s.002433">Dalla &longs;ommità del petto alle radici de <lb/>i capelli la &longs;e&longs;ta parte, alla &longs;ommità della te&longs;ta la quarta. </s> <s id="s.002434">dal fine del mento al fine delle <lb/>natici è la terza parte dell'altezza di tutta la faccia, & tanto è lungo il na&longs;o tutto in fino <lb/>al mezo del &longs;opraciglio: & tanto anche da quello fino alle radici de i capelli, doue &longs;i fa <pb pagenum="110" xlink:href="045/01/118.jpg"/>la fronte. </s> <s id="s.002435">Ma il piede, è la &longs;e&longs;ta parte dell'altezza del corpo, il cubito la quarta, il petto <lb/>anche la quarta. </s> <s id="s.002436">& in que&longs;to modo anche gli altri membri hanno le loro conuenienti, & <lb/>proportionate mi&longs;ure: le quali da gli antichi pittori, & Statuarij &longs;ono &longs;tate u&longs;ate, & pe <lb/>rò hanno riportato grandi & infinite lodi. </s> </p> <p type="main"> <s id="s.002437"><emph type="italics"/>La natura mae&longs;tra ci in&longs;egna come hauemo a reggercinel compartimento delle fabriche: impe <lb/>roche non da altro ella uuole, che impariamo le ragioni delle &longs;immetrie, che nelle fabri­<lb/>che de i tempij u&longs;ar douemo, che dal &longs;acro tempio fatto ad imagine, & &longs;imiglianza di Dio, <lb/>che è l'huomo, nella cui compo&longs;itione tutte le altre merauiglie di natura &longs;ono compre&longs;e. </s> <s id="s.002438">et pe­<lb/>rò con &longs;aggio auuedimento tol&longs;ero gli antichi ogni ragione del mi&longs;urare dalle parti del corpo hu <lb/>mano, doue molto a propo&longs;ito Vitruuio dice, che opera niuna può hauere ragione di componi <lb/>mento, &longs;e prima non hauerà riguardo alla &longs;immetria delle membra humane. </s> <s id="s.002439">Io proponerò al­<lb/>cune di&longs;tintioni, accioche meglio s'intenda quello, che dice Vitr. <!-- KEEP S--></s> <s id="s.002440">Di tre maniere s'intende mi­<lb/>&longs;ura. </s> <s id="s.002441">Primieramente quando una co&longs;a è piu per&longs;etta, chele altre &longs;otto un'i&longs;te&longs;&longs;o genere, quel <lb/>la &longs;i dice mi&longs;ura di perfettione. </s> <s id="s.002442">in que&longs;to modo l'huomo fra tutti gli animali e&longs;&longs;endo il piu perfet­<lb/>to, &longs;i puo dire, che egli &longs;ia mi&longs;ura di tutti gli animali. </s> <s id="s.002443">chiama&longs;i poi mi&longs;ura d'agguaglianza, <lb/>quando la mi&longs;ura contiene la co&longs;a mi&longs;urata a punto, come un'orna di uino, &longs;i chiama mi&longs;u­<lb/>ra, perche tiene a punto tanto uino, quanto cape. </s> <s id="s.002444">In &longs;omma poi chiamamo mi&longs;ura quella quan­<lb/>tità, che pre&longs;a piu fiate mi&longs;ura il tutto, come dicemo la canna mi&longs;urare il panno. </s> <s id="s.002445">Di que&longs;ta noi <lb/>parlamo, que&longs;ta è quella, che è &longs;tata pre&longs;a dalla mi&longs;ura della perfettione, che è l'huomo, tra gli ani <lb/>mali, da gli antichi. </s> <s id="s.002446">Onde mi&longs;urare non è altro, che far manife&longs;ta una quantità prima non cono&longs;ciu<lb/>ta, con una <expan abbr="quãtità">quantità</expan> certa, et cono&longs;ciuta: et però <expan abbr="cōragione">cor ragione</expan> dalle parti dell'huomo &longs;ono &longs;tate piglia­<lb/>te le mi&longs;ure delle co&longs;e, et le ragioni di quelle mi&longs;ure: et è ragioneuole, che dalla te&longs;ta &longs;i pigli la mi <lb/>&longs;ura del tutto, e&longs;&longs;endo po&longs;to nella te&longs;ta il ualore di tutti i &longs;entimenti humani, come co&longs;a piu nobi<lb/>le, et principale, et piu manife&longs;ta. </s> <s id="s.002447">Vitruuio uuole, che l'huomo &longs;ia di dieci teste, &longs;e per te&longs;ta <lb/>egli s'intende dal mento al na&longs;cimento de i capelli: et uuole anche, che &longs;ia di otto te&longs;te, &longs;e per <lb/>te&longs;ta egli s'intende lo &longs;pacio, che è dal mento al &longs;ommità del capo. </s> <s id="s.002448">Gli antichi oltra la propor<lb/>tione attendeuano alla gratia per &longs;atisfare allo a&longs;petto, et però faceuano i corpi alquanto gran <lb/>di, le te&longs;te picciole, la co&longs;cia lunga: nel che era po&longs;to la &longs;ueltezza: parlo hora de i corpi perfet<lb/>ti: perche altra mi&longs;ura conuiene ad un corpo puerile, altra ad un corpo a&longs;ciutto, o gra&longs;&longs;o, o te­<lb/>nue, che &longs;i uoglia &longs;ignere. </s> <s id="s.002449">Amauano gli antichi &longs;tando nelle mi&longs;ure conuenienti, la lunghezza, <lb/>et la &longs;ottigliezza di alcune parti: parendo loro di dare non &longs;o che piu di leggiadro alle opere. </s> <s id="s.002450">et <lb/>però &longs;e bene dalla ra&longs;cetta, che è la piegatura della mano, alla &longs;ommità del dito di mezo uole­<lb/>uano, che tanto fu&longs;&longs;e dal mento alla &longs;ommità della fronte, nientedimeno per la detta cagione <lb/>faceuano la mano, et le dita alquanto piu lunghe. </s> <s id="s.002451">il Filandro auuerti&longs;ce, et bene, che non <lb/>puo &longs;tare quello, che dice Vitruuio, che il petto &longs;ia la quarta parte; et uuole, che quando <lb/>Vitruuio d ce, che il cubito &longs;ia la quarta parte, egli intenda non dalla giuntura del comito alla <lb/>ra&longs;cetta, ma dalla giuntura del comito alla &longs;ommità del dito di mezo. </s> <s id="s.002452">Vuole Pomponio Gau<lb/>rico, che la giu&longs;ta altezza &longs;ia di noue teste. </s> <s id="s.002453">altri alquanto piu. </s> <s id="s.002454">Il Cardano nel libro della <lb/>&longs;ottilità dice. </s> <s id="s.002455">Que&longs;ta e&longs;&longs;er la forma del corpo humano perfetto. </s> <s id="s.002456">la faccia è la decima di tutta la <lb/>lunghezza dal na&longs;cimento de i capelli all e&longs;tremo del pollice del piede. </s> <s id="s.002457">la faccia &longs;i diuide in <lb/>tre parti eguagli, l'una &longs;i fa dalla radice de i capelli alla &longs;ommità del na&longs;o: l'altra è la lun­<lb/>ghezza del na&longs;o: la terza è dal fine del na&longs;o al mento. </s> <s id="s.002458">la lunghezza della bocca è eguale alla <lb/>lunghezza dell'occhio, et la lunghezza dell'occhio è quanto lo &longs;pacio da un'occhio all'altro: <lb/>di modo, che in tre parti &longs;i diuida lo &longs;pacio, che è dall'uno angulo dell'occhio allo angulo dell'al <lb/>tro, cioè due occhi, et lo &longs;pacio, che ui è di mezo: et tutto que&longs;to è doppio alla lunghezza del <lb/>na&longs;o. </s> <s id="s.002459">di modo che la lunghenza dell'occhio, et l'apritura della bocca &longs;ia doppia alla nona par <lb/>te della lunghezza della faccia, et per que&longs;to adimene, che la lunghezza del na&longs;o &longs;ia &longs;e&longs;quial­<lb/>tera all'apritura della bocca, et alla lunghezza dell'occhio. </s> <s id="s.002460">laqual lunghezza del na&longs;o e&longs;&longs;en<emph.end type="italics"/><pb pagenum="111" xlink:href="045/01/119.jpg"/><emph type="italics"/>do tripla allo &longs;pacio, che è dal na&longs;o alla bocca, ne &longs;egue che que&longs;to &longs;pacio &longs;arà la mi&longs;ura del­<lb/>l'apritura della bocca, et della lunghezza dell'occhio. </s> <s id="s.002461">il circuito della bocca è doppio alla <expan abbr="lūghez">lunghez</expan> <lb/>za del na&longs;o, et triplo all'apritura. </s> <s id="s.002462">Adunque tutta la lunghezza della faccia è &longs;e&longs;quialtera <lb/>al circuito della bocca, et allo &longs;pacio, che è dallo angulo e&longs;teriore d'un occhio, allo angulo <lb/>e&longs;ter iore dell'altro: percioche que&longs;to &longs;pacio è quanto il circuito della bocca. </s> <s id="s.002463">il circuito del na <lb/>&longs;o da ba&longs;&longs;o, è pare alla &longs;ua lunghezza. </s> <s id="s.002464">il circuito della orecchia, è eguale al circuito della <lb/>bocca. </s> <s id="s.002465">il foro della narice è la quarta parte della lunghezza dell'occhio. </s> <s id="s.002466">et in tal gui&longs;a è di­<lb/>&longs;po&longs;ta la mi&longs;ura del corpo humano, come qui &longs;otto &longs;i uede. </s> <s id="s.002467">La faccia parti diciotto: tra <lb/>due anguli e&longs;teriori de gli occhi parti dodici: la lunghezza del na&longs;o parti &longs;ei: il circuito da ba&longs;­<lb/>&longs;o del na&longs;o parti &longs;ei: la lunghezza dell'orecchia parti &longs;ei: dalle radici de' capelli al na&longs;o parti <lb/>&longs;ei: dal mento al &longs;ottona&longs;o parti &longs;ei: la lunghezza della bocca parti quattro: la rotondità del <lb/>la bocca parti dodici: dalla cima della te&longs;ta al fine di dietro parti uentiquattro: dalla &longs;ommi­<lb/>tà del petto alle &longs;omme radici de i capelli parti trenta: dalla forcella &longs;opra il petto alla cima <lb/>della te&longs;ta parti trenta &longs;ei: il circuito dell'orecchia parti dodici: la lunghezza dell'occhio parti <lb/>quattro: la di&longs;tanza tra l'uno occhio, et l'altro parti quattro: dal &longs;ottona&longs;o alla bocca parti due, <lb/>dalla bocca al mento parti quattro: il foro del na&longs;o parte una: l'ambito della fronte di &longs;opra <lb/>parti diciotto, dalla giontura della mano alla &longs;ommità del dito di mezo la palma parti diciotto: <lb/>dal mento alla &longs;ommità della te&longs;ta parti uentiquatro: il piede parti uenti: il cubito parti trenta: <lb/>il petto parti trenta: Tutlo il corpo parti cento et ottanta. </s> <s id="s.002468">Sono anche i ma&longs;chi delle tempie pro­<lb/>portionali alla lunghezza della faccia, et le orecchie al na&longs;o, come hauemo o&longs;&longs;ernato: &longs;imilmen <lb/>te dal nodo della mano alla &longs;ommità del dito mezano è la decima di tutto il corpo: dal mento al­<lb/>la &longs;ommità della te&longs;ta, o dalla &longs;ommità della te&longs;ta al collo è il doppio di quello &longs;pacio, che è dall'an<lb/>gulo, d'un occhio all'angulo d'un'altro, <expan abbr="intēdo">intendo</expan> de gli e&longs;teriori. </s> <s id="s.002469">Dalla forcella &longs;uperiore del petto alle <lb/>radici de i capelli, & al fine della fronte, quanto è il cubito, ouer la larghezza del petto, cioè la <lb/>&longs;esta parte della lunghezza di tutto il corpo: la lunghezza del piede è la nona parte della i&longs;te&longs;­<lb/>&longs;a lunghezza: dalla forcella di &longs;opra del petto alla cima della te&longs;ta, è la quinta parte di tutta la lun<lb/>ghezza. </s> <s id="s.002470">& il doppio della faccia; Et co&longs;i appre&longs;&longs;o Vitr. non puo &longs;tare la ragione; che la diffe<lb/>renza della ottaua, & della decima parte aggiunta alla &longs;e&longs;ta adempia la quarta del tutto: ma allar: <lb/>gate le mani &longs;i rende a punto l'altezza ditutto il corpo: & allargate le mani, & i piedi, il bilico &longs;i <lb/>farà nel mezo, di modo, che dalla prima figura il quadrato; & dalla &longs;econda &longs;i farà il circolo: <lb/>amendue figure nel &longs;uo genere perfetti&longs;&longs;ime, una di dritte, & l'altra di linea circolare compo&longs;ta. <lb/></s> <s id="s.002471">& que&longs;to è, che dice Vitr<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.002472">Simigliantemente le membra de i facri Tempij deono hauere in cia&longs;cuna parte alla &longs;om <lb/>ma uniuer&longs;ale di tutta la grandezza conuenienti&longs;sime ri&longs;pondenze di mi&longs;ure, Appre&longs;&longs;o di <lb/>que&longs;to naturalmente il mezo centro del corpo è il bilico. </s> <s id="s.002473">imperoche &longs;e l'huomo &longs;te&longs;o, & <lb/>&longs;upino allargherà le mani, & i piedi, & &longs;arà po&longs;ta una punta della &longs;e&longs;ta nel bilico di quel <lb/>lo, girando a torno le dita delle mani, & de i piedi, &longs;aranno toccate dalla linea, che &longs;i gi­<lb/>ra. </s> <s id="s.002474">Et &longs;i come la ritonda figura &longs;i forma nel corpo humano, co&longs;i anche &longs;i truoua la qua­<lb/>drata: imperoche &longs;e dalle ba&longs;&longs;e piante alla &longs;ommità del capo &longs;arà mi&longs;urato il corpo del­<lb/>l'huomo, & quella mi&longs;ura &longs;arà trasferita alle mani allargate, egli &longs;i trouerà la i&longs;te&longs;&longs;a lar­<lb/>ghezza, come l'altezza, a gui&longs;a de i piani riquadrati. </s> <s id="s.002475">Se adunque la natura ha compo&longs;to <lb/>in que&longs;to modo il corpo dell'huomo, che le membra ri&longs;pondino con proportione alla per <lb/>fetta loro figuratione; pare, che gli anti chi con cau&longs;a habbiano con&longs;tituito, che in tutte <lb/>le perfettioni delle opere ui habbia diligente mi&longs;ura, & proportione di cia&longs;cun membro a <lb/>tutta la figura. </s> <s id="s.002476">Et però in&longs;egnando gli ordini in tutte le opere, que&longs;to ne i facri luoghi, <lb/>doue le lodi, & i bia&longs;mi delle opere &longs;tanno eternamente, &longs;opra tutto o&longs;&longs;eruarono. </s> </p> <p type="main"> <s id="s.002477"><emph type="italics"/>Non &longs;olamente gli antichi tol&longs;ero le proportioni dal corpo humano, ma anche le mi&longs;ure i&longs;te&longs;­<lb/>&longs;e, & i nomi loro: & però hauendo Vitr. conclu&longs;o, che le &longs;immetrie & compartimenti delle ope<emph.end type="italics"/><pb pagenum="112" xlink:href="045/01/120.jpg"/><emph type="italics"/>re &longs;ono &longs;tati da i corpi humani, nelle compo&longs;itioni de i Tempij trans&longs;erite: dice anche le mi&longs;ure <lb/>i&longs;te&longs;&longs;e e&longs;&longs;ere &longs;tate pigliate.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002478">Similmente gli antichi raccol&longs;ero da i membri del corpo le ragioni delle mi&longs;ure, che in <lb/>tutte l'opere pareno e&longs;&longs;er nece&longs;&longs;arie, come il dito, il palmo, il piede, il cubito; & quelle <lb/>di&longs;tribuirono nel numero perfetto, che da i Greci Telion è detto. </s> </p> <p type="main"> <s id="s.002479"><emph type="italics"/>Co&longs;a perfetta è quella, a cui nulla manca, & niente &longs;e le puo aggiugnere, & che di tutte &longs;ue <lb/>parti è compo&longs;ta, nè altro le &longs;opr'auanza: per que&longs;ta ragione il mondo è perfetto a&longs;&longs;olutamente. <lb/></s> <s id="s.002480">& molte altre co&longs;e nel loro genere &longs;ono perfette. </s> <s id="s.002481">Ma uedianio noi con che ragione &longs;i chiamino i <lb/>numeri perfetti, & quali &longs;ieno.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002482">Perfetto numero da gli antichi fu po&longs;to il dieci, perche dalle mani &longs;i caua il numero de<lb/>nario delle dita; dalle dita il palmo; & dal palmo il piede, & &longs;i come nell'una, & l'altra <lb/>mano dalle dita naturalmente è proceduto il dieci, co&longs;i piacque a Platone, che quel nume <lb/>ro fu&longs;&longs;e perfetto, perche dalle unità, che monades Grecamente &longs;i chiamano, è fornito il <lb/>dieci, che è la prima croce:il quale poi, che è fatto undici, ouero dodici, non puo e&longs;&longs;er per <lb/>fetto, fin che non peruiene all'altro incrocciamento; perche le unità &longs;ono particelle di <lb/>quel numero. </s> </p> <p type="main"> <s id="s.002483"><emph type="italics"/>Detto hauemo di &longs;opra, che parte uer amente è quella, che pre&longs;a quante fiate &longs;i puo, compone <lb/>il tutto &longs;enza piu. </s> <s id="s.002484">dal che na&longs;ce la intelligenza di quello, che &longs;i dirà. </s> <s id="s.002485">Dico adunque, che alcu­<lb/>ni numeri ri&longs;petto alle parti loro, delle quali &longs;ono compo&longs;ti, &longs;i po&longs;&longs;ono chiamare poueri, & dimi­<lb/>nuti, altri &longs;uperflui, & ricchi, altri ueramente &longs;officienti, & perfetti. </s> <s id="s.002486">La onde poueri &longs;ono quel <lb/>li, le parti de i quali in&longs;ieme raccolte non fanno la &longs;omma del tutto. </s> <s id="s.002487">per e&longs;&longs;empio &longs;ia otto. </s> <s id="s.002488">le par <lb/>ti del quale &longs;ono, uno, due, & quattro, che raccolte in&longs;ieme non fanno otto. </s> <s id="s.002489">Ricchi &longs;ono quel <lb/>li, le parti de i quali &longs;ommate fanno &longs;omma maggiore, come dodici le cui parti &longs;ono, uno, due, <lb/>tre, quattro, & &longs;ei, lequali partiraccolte in uno pa&longs;&longs;ano la &longs;omma del tutto, & fanno &longs;edici. </s> <s id="s.002490"><lb/>Perfetti &longs;ono quelli, le parti intiere de quali con la &longs;omma loro rendeno preci&longs;amente il tutto, co­<lb/>me &longs;ei, & uentiotto. </s> <s id="s.002491">ecco uno, due, & tre, che &longs;ono parti del &longs;ei raccolte in&longs;ieme rendeno a pun <lb/>to &longs;ei. </s> <s id="s.002492">co&longs;i uno, due, quattro, &longs;ette, & quattordici &longs;ono parti di uentotto, & &longs;ommate in&longs;ieme <lb/>fanno uent'otto a punto. </s> <s id="s.002493">La generatione de i numeri perfetti s'intenderà, po&longs;te prima alcune dif<lb/>finitioni. </s> <s id="s.002494">Sono adunque alcuni numeri, che &longs;i chiamano parimenti pari, & &longs;on quelli, che e&longs;&longs;endo <lb/>pare la &longs;omma loro, &longs;i diuideno &longs;empre in numero pare fin'all'unità, come &longs;arebbe &longs;e&longs;&longs;anta quat­<lb/>tro, che è numero pare, & &longs;i diuide in trentadue, &longs;edici, otto, quattro, due, fin' all'unità, in <lb/>numeri pari. </s> <s id="s.002495">Sono anche altri numeri, che &longs;i chiamano primi, & incompo&longs;ti, i quali &longs;ono quel­<lb/>li, che &longs;olo dalla unità &longs;ono mi&longs;urati, & non hanno altro numero, che gli parti&longs;ca intieramen­<lb/>te, come tre, cinque, &longs;ette, undici, & altri &longs;imili. </s> <s id="s.002496">La generatione adunque de i numeri perfet­<lb/>ti &longs;i fa ponendo a fila per ordine i parimenti pari, & &longs;ommandogli in&longs;ieme: & quando s'incontra <lb/>in una &longs;omma, che multiplicata per quello, che è ultimo di quella &longs;omma, &longs;i fa il numero perfetto: <lb/>pur che il numero della &longs;omma &longs;ia primo, & incompo&longs;to, altrimenti non riu&longs;cirebbe il numero <lb/>perfetto. </s> <s id="s.002497">Ecco uno, & due fanno tre. </s> <s id="s.002498">E&longs;&longs;endo adunque tre numero primo, & incompo&longs;to egli &longs;i <lb/>moltiplica per due, che era l'ultimo nella &longs;omma, & nel raccoglimento, la doue due fiate tre fan <lb/>no &longs;ei, adunque nella decina &longs;ei è numero perfetto. </s> <s id="s.002499">Seguita la generatione dell'altro perfetto: <lb/>Ecco, uno, due, & quattro, fanno &longs;ette, che è numero primo, & incompo&longs;to, moltiplica &longs;ette <lb/>per quattro, &longs;e ne raccoglie uentotto, che è il &longs;econdo perfetto nel centinaio. </s> <s id="s.002500">Seguita uno, due, <lb/>quattro, otto, che fanno quindici, ma quindici non è numero primo, & incompo&longs;to, perche è mi&longs;u<lb/>rato oltra la unità, anche da altri numeri, come da tre, & cinque, però &longs;i pa&longs;&longs;a piu inanzi all'altro <lb/>parimente pare, che è &longs;edici, que&longs;ti aggiunto al quindici fa trent'uno, il quale e&longs;&longs;endo numero <lb/>primo, & incompo&longs;to, &longs;e &longs;arà moltiplicato per &longs;edici, che era l'ultimo della &longs;omma, farà quat <lb/>trocento & nonanta &longs;ei, che &longs;ara il numero perfetto nel millenario. </s> <s id="s.002501">con la i&longs;te&longs;&longs;a ragione &longs;i fan <lb/>no gli altri perfetti, i quali &longs;ono rari, perche rare &longs;ono le co&longs;e perfette. </s> <s id="s.002502">Hanno i numeri perfetti <emph.end type="italics"/><pb pagenum="113" xlink:href="045/01/121.jpg"/><emph type="italics"/>que&longs;ta proprieta, che le loro terminationi, &longs;ono denominate dal &longs;ei, & dall'otto: ma a uicenda. </s> <s id="s.002503"><lb/>come, &longs;ei, uent'otto, quattrocento nouanta &longs;ei, ottomila cento, & uent'otto. </s> <s id="s.002504">& que&longs;ta regola <lb/>è certa. </s> <s id="s.002505">Ma perche cagione il numero ternario, & il numero denario &longs;iano &longs;tati chiamati per­<lb/>fetti, io dirò. </s> <s id="s.002506">& prima il tre è &longs;tato detto perfetto, perche abbraccia prima il numero pare & <lb/>di&longs;pare, che &longs;ono le due principali differenze de i numeri. </s> <s id="s.002507">Il dieci è stato giudicato perfetto, per <lb/>che fini&longs;ce, & termina come forma tutti gli altri numeri: & però Vitruuio ha detto che come <lb/>&longs;i pa&longs;&longs;a il dieci, bi&longs;ogna ritornare alla unità, nè &longs;i troua il perfetto, fin' all'altro incrocciamen­<lb/>to, che egli chiama, decu&longs;im, che &longs;i fa in forma della lettera X. <!-- KEEP S--></s> <s id="s.002508">Ma il &longs;enario è ueramente per­<lb/>fetto per le dette ragioni. </s> <s id="s.002509">gli altri &longs;ono chiamati perfetti &longs;econdo alcune relationi, & ri&longs;petti.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002510">Ma i mathematici di&longs;putando contra la &longs;opra detta opinione, di&longs;&longs;ero che il &longs;ei era per­<lb/>fetto, per que&longs;ta cagione, percioche quel numero ha &longs;econdo le loro ragioni, le parti con <lb/>uenienti al numero di &longs;ei. <emph type="italics"/>Cioè &longs;econdo le ragioni de gli i&longs;te&longs;&longs;i Mathematici, i quali uoglio­<lb/>no, che quel numero &longs;ia perfetto, che na&longs;ce a punto dalla &longs;omma'delle &longs;ue parti. </s> <s id="s.002511">La onde Vitr. di­<lb/>ce; percioche per le loro ragioni quel numero ha le parti conuenienti al numero di &longs;ei, perche rac<lb/>colte in&longs;ieme fanno &longs;ei a punto.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002512">Et per que&longs;to chiamarono l'una parte del &longs;ei &longs;e&longs;tante, le', due triente, le tre' &longs;emi&longs;&longs;e, le <lb/>quattro be&longs;&longs;e, detto dimerone, le cinque quintario, che pendamerone &longs;i chiama, & il <lb/>&longs;ei perfetto. </s> </p> <p type="main"> <s id="s.002513"><emph type="italics"/>Soleuano gli antichi chiamare aße ogni co&longs;a intiera (come s'è detto nel primo libro) & parti­<lb/>re quella nelle &longs;ue parti, & come quegli, che felicemente interpret auano le co&longs;e de Greci, ragio <lb/>nauano molto propriamente. </s> <s id="s.002514">Volleno adunque gli antichi moßi dalla ragione, che &longs;ei fu&longs;&longs;e nume <lb/>ro perfetto, & lo chiamarono aße. </s> <s id="s.002515">Que&longs;ti hauendo le &longs;ue parti, ci dimo&longs;traua per lo nome loro, <lb/>quali fußero: & però uno &longs;i chiamaua Se&longs;tante, perche è la &longs;e&longs;ta parte di &longs;ei: le due triente, per <lb/>che due era la terza parte: le tre &longs;emiße, qua&longs;i uoglia dire, mezo a&longs;&longs;e: il quarto beße, perche <lb/>lieua due parti dal tutto; & in Greco &longs;i dice dimerone: il cinque quintario, che pentimerone &longs;i <lb/>chiama: & il &longs;ei perfetto. </s> <s id="s.002516">Ma poi che &longs;opra il numero perfetto &longs;i pone la unità, gia &longs;i comincia <lb/>a raddoppiare l'altro a&longs;&longs;e, per uenire al dodici; che Aße doppio &longs;i puo dire; poi che in greco di­<lb/>pla&longs;iona &longs;i chiama. </s> <s id="s.002517">le &longs;ette parti &longs;i dicono Ephecton qua&longs;i &longs;opra aggiunta del &longs;ei. </s> <s id="s.002518">le otto &longs;i chia­<lb/>mano tertiario, perche oltra &longs;ei ne dà due, che è la terza parte di &longs;ei: & però in Greco &longs;ono det­<lb/>te Epitritos, cioè, che &longs;oppraggiugne la terza parte al &longs;ei. </s> <s id="s.002519">noue è detto &longs;e&longs;quialtero, & homio­<lb/>lio, perche noue contiene &longs;ei una uolta & meza. </s> <s id="s.002520">ma fatto dieci, egli &longs;i chiama bes alterum, cioe <lb/>l'altro bes, perche il primo (come dicemmo) era quattro, & chiamaua&longs;i dimerone, qua&longs;i di due <lb/>parti; & però que&longs;ti &longs;i chiama Epidimerone come egli aggiugna al &longs;ei due parti. </s> <s id="s.002521">Similmente Epi<lb/>pentamerone &longs;i chiama l'undici, che è il &longs;opragionto quintario, & in que&longs;to modo &longs;i chiamano <lb/>le parti de i numeri &longs;econdo diuer&longs;i ri&longs;petti. </s> <s id="s.002522">& que&longs;to ha uoluto Vitr. doue pare, che egli habbia <lb/>uoluto, che &longs;ei &longs;ia numero perfetto, per la i&longs;te&longs;&longs;a ragione, che dieci è perfetto: cioè perche giun­<lb/>ti a dieci, tornamo da capo all' unità, fin che &longs;i torni all' altra decina: che &longs;i fa con due croci. </s> <s id="s.002523">co&longs;i <lb/>anche gionti al &longs;ei da i Mathematici &longs;i ritorna a gli i&longs;te&longs;&longs;i nomi, fin all' altro a&longs;&longs;e che è dodici. </s> <s id="s.002524">Ma <lb/>bene ha accennato Vitr. la ragione che hauemo detto, per la quale &longs;ei &longs;i chiama perfetto. </s> <s id="s.002525">quan­<lb/>do di&longs;&longs;e<emph.end type="italics"/> {<emph type="italics"/>per le ragioni loro, quel numero ha le parti conuenienti al numero di &longs;ei<emph.end type="italics"/>} <emph type="italics"/>perche po&longs;te in <lb/>&longs;ieme le parti numeranti, & moltiplicanti il &longs;ei, lo rendeno a punto. </s> <s id="s.002526">& quando Vitr. di&longs;&longs;e,<emph.end type="italics"/> {<emph type="italics"/>Et <lb/>per que&longs;to chiamarono l'una parte del &longs;ei &longs;e&longs;tante.<emph.end type="italics"/>} <emph type="italics"/>Non uuole rendere la ragione perche &longs;ei &longs;ia <lb/>perfetto, ma uuole dimo&longs;trare, che e&longs;&longs;endo perfetto; per la antedetta ragione i Mathematici han <lb/>no uoluto dare nome alle parti del &longs;ei, & dimo&longs;trare, che &longs;ei era un tutto, oltra'l quale &longs;e bi&longs;ogna <lb/>ua a&longs;cendere numerando, era nece&longs;&longs;ario tornar da capo all'unità, come &longs;i faceua nel dieci. </s> <s id="s.002527">Al­<lb/>trimenti era uana la oppo&longs;itione de i Mathematici contra quelli, che uoleuano, che dieci fu&longs;&longs;e nu­<lb/>mero perfetto, &longs;e i mede&longs;imi Mathematici haue&longs;&longs;ero uoluto il &longs;ei e&longs;&longs;er perfetto per la i&longs;te&longs;&longs;a ragio <lb/>ne, per la quale s'era detto, che il dieci fu&longs;&longs;e perfetto. </s> <s id="s.002528">Que&longs;to &longs;timo io, che &longs;ia degno di con-<emph.end type="italics"/><pb pagenum="114" xlink:href="045/01/122.jpg"/><emph type="italics"/>&longs;ideratione.<emph.end type="italics"/></s> <s id="s.002529"> Et quando al conto fatto per l'aggionta d'un'altro a&longs;&longs;e, &longs;i cre&longs;ca al &longs;ei, chia­<lb/>mano Ephecton: & quando &longs;ono fatti otto, perches'è aggiunta la terza parte; &longs;i dice Epi<lb/>triton. </s> <s id="s.002530">& aggiuntaui la metà, poi che s'è peruenuto al noue, chiama&longs;i &longs;e&longs;quialterum, che <lb/>da Greci è detto, hemiolios. </s> <s id="s.002531">aggiunteui poi due parti, & fatto lo incrocciamento, &longs;i dice <lb/>be&longs;alterum, il quale chiamano Epidimiron. </s> <s id="s.002532">& nel numero di undici, perche &longs;e gli è ag­<lb/>giunto cinque, che &longs;i chiama quintario, Epipentamiron &longs;i dice. </s> <s id="s.002533">Ma dodici, perche è fat <lb/>to di due &longs;implici numeri dipla&longs;iona è nominato. </s> </p> <p type="main"> <s id="s.002534"><emph type="italics"/>Et que&longs;to è &longs;tato a&longs;&longs;ai dichiarito. </s> <s id="s.002535">Vuole poi Vitruuio, che dal numero &longs;enario &longs;ia &longs;tata piglia <lb/>ta la ragione della mi&longs;ura del corpo humano, in quanto all'altezza &longs;ua.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002536">Similmente perche il piede è la &longs;e&longs;ta parte dell'altezza dell'huomo, però co&longs;i da quel nu<lb/>mero di piedi, dal quale è mi&longs;urato, & perfetto il corpo terminandolo in altezza con que <lb/>&longs;ti &longs;ei lo fecero perfetto. </s> <s id="s.002537">& auuertirono, che il cubito era di &longs;ei palmi, & di uentiquat­<lb/>tro dita. </s> </p> <p type="main"> <s id="s.002538"><emph type="italics"/>Si come dalle dita è uenuta la ragione del numerare, co&longs;i anche è uenuta la ragione del mi&longs;ura <lb/>re, & co&longs;i la ragione del numero &longs;enario entra nelle mi&longs;ure. </s> <s id="s.002539">Et qui Vitr. ragiona &longs;econdo la opi­<lb/>nione de Greci, i quali uoleuano, che &longs;ei fu&longs;&longs;e numero perfetto. </s> <s id="s.002540">La onde anche alle monete tra&longs;­<lb/>ferirono il numero predetto. </s> <s id="s.002541">Et però dice Vitr.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.002542">Et da quello pare, che le città de Greci habbiano fatto, che &longs;i come il cubito è di &longs;ei pal<lb/>mi, co&longs;i &longs;i u&longs;a&longs;&longs;e lo i&longs;te&longs;&longs;o numero nella dramma. </s> <s id="s.002543">perche quelle città fecero, che nella dram<lb/>ma fu&longs;&longs;e la ualuta di &longs;ei ramini &longs;egnati (come a&longs;&longs;e) che quelli chiamano Oboli, & con­<lb/>&longs;tituirono in uece di uentiquattro dita nella dramma i quadranti de gli oboli, detti da alcu<lb/>ni dichalchi, & da alcuni trichalchi. </s> </p> <p type="main"> <s id="s.002544"><emph type="italics"/>Voleuano i Greci che la loro dramma uale&longs;&longs;e &longs;ei oboli, & que&longs;to ri&longs;pondeua al cubito, che <lb/>contiene &longs;ei palmi; uoleuano, che cia&longs;cun' obolo haue&longs;&longs;e a ŭalere quattro monete, che &longs;i chia­<lb/>mauano dichalchi, la doue uentiquattro dichalchi faceuano una dramma, come uentiquattro <lb/>dita fanno un cubito. </s> <s id="s.002545">obolo era una moneta di rame di poca ualuta, &longs;egnata però, & coniata, <lb/>& era come un tutto, che a&longs;&longs;e &longs;i chiama, & la quarta parte detta quadrante &longs;i nominaua di­<lb/>chalco, ouerotrichalco &longs;econdo diuer&longs;i ri&longs;petti. </s> <s id="s.002546">Come adunque il numero de gli oboli nella dram<lb/>ma ri&longs;pondeua al numero de i palmi, che uanno a fare il cubito, che &longs;ono &longs;ei, co&longs;i il numero de i <lb/>dichalchi, o trichalchi nell'obolo ri&longs;pondeuano al numero delle dita, che erano nel cubito uenti­<lb/>quattro. </s> <s id="s.002547">la onde appare, che anche nelle monete i Greci habbiano pigliato la ragione de i nume­<lb/>ri: & in questo ca&longs;o crediamo a Vitr.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.002548">Ma i no&longs;tri prima fecero l'antico numero e&longs;&longs;er il dieci, & po&longs;ero nel denario dieci a&longs;si <lb/>di rame, & però fin al dì d'hoggi la compo&longs;itione della moneta ritiene il nome del dena­<lb/>rio, & la quarta parte di e&longs;&longs;o perche ualeua due a&longs;si, & mezo, la chiamarono &longs;e&longs;tertio, ma <lb/>poi hauendo auuertito, che l'uno, & l'altro numero era perfetto, cioe il &longs;ei, & il dieci, <lb/>raccol&longs;ero in&longs;ieme amendue que numeri, & fecero il &longs;edici perfetto. </s> <s id="s.002549">& di que&longs;to tro­<lb/>uarono il piede autore. </s> <s id="s.002550">perche leuando dal cubito palmi due, re&longs;ta il piede di quattro <lb/>palmi, ma il palmo ha quattro dita, & co&longs;i il piede uiene hauere &longs;edici dita', & tanti a&longs;si <lb/>il denario di rame. </s> </p> <p type="main"> <s id="s.002551"><emph type="italics"/>I palmi &longs;ono due, maggiore, & minore, il minore è di quattro dita: il maggiore di dodici, <lb/>quello &longs;i chiama palæ&longs;te, que&longs;to &longs;pithame: dito, o digito è lo &longs;pacio di quattro grani d'orzo po&longs;ti <lb/>in ordine &longs;econdo la larghezza. </s> <s id="s.002552">Dice adunque Vitr. che Romani pigliarono da prima il dieci co­<lb/>me numero perfetto, & però chiamarono la moneta dinario, (& que&longs;to pare ragioneuole) co­<lb/>me fin hora &longs;i u&longs;a. </s> <s id="s.002553">& nel denario po&longs;ero dieci a&longs;&longs;i di rame. </s> <s id="s.002554">& &longs;e bene dapoi congiun&longs;ero il dieci, et <lb/>il &longs;ei, uedendo, che anche il &longs;ei era perfetto, ritennero però il nome del denaio mettendo in un de­<lb/>naio &longs;edici a&longs;&longs;i, che ri&longs;pondino, a &longs;edici dita, che uanno nel piede. </s> <s id="s.002555">&longs;tando adunque le predette co­<lb/>&longs;e Vitru. conchiude, & dice.<emph.end type="italics"/></s> </p> <pb pagenum="115" xlink:href="045/01/123.jpg"/> <p type="main"> <s id="s.002556">Se adunque è ragioneuole, & conueniente co&longs;a, che il numero &longs;ia &longs;tato ritrouato dalle <lb/>dita dell'huomo, & che da i membri &longs;eparati &longs;i faccia la corri&longs;pondenza delle mi&longs;ure &longs;econ <lb/>do la rata parte a tutta la forma del corpo; re&longs;ta, che noi admettiamo quelli, i quali anche <lb/>fabricando le ca&longs;e de gli immortali Dei, co&longs;i ordinarono le parti delle opere loro, che le <lb/>di&longs;tributioni, & compartimenti di quelli &longs;eparati, & uniti col tutto conuenienti fu&longs;&longs;ero <lb/>alle proportioni, & &longs;immetric. </s> </p> <p type="main"> <s id="s.002557"><emph type="italics"/>Pone in que&longs;to luogo Vitru. la uniuer&longs;ale conclu&longs;ione di tutto quello, che egli ha detto: però <lb/>a me pare, che il primo capo di que&longs;to libro quiui habbia a finire, doue &longs;i conchiude chiaramen­<lb/>te quello, che Vitr. ci ha detto, che non puo fabrica alcuna hauer ragione di componimento, &longs;en­<lb/>za mi&longs;ura & proportione; &longs;e prima non hauerà ri&longs;petto, & con&longs;ideratione &longs;opra la uera, & cer­<lb/>ta ragione de i membri dell'huomo ben formato, & proportionato, come raro eßempio di pro­<lb/>portione., & giu&longs;to compartimento. </s> <s id="s.002558">Ma &longs;eguitiamo pure l'antica diui&longs;ione de i capi attendendo <lb/>alle co&longs;e, che ci uengono propo&longs;te da Vitr. ilquale come erudito nelle di&longs;cipline de' Greci u&longs;a una <lb/>uia, & un modo ragione uole nel trattar le co&longs;e. </s> <s id="s.002559">& però dice.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002560">I principij de i Tempij &longs;ono quelli, de i quali è formato lo a&longs;petto delle lor figure. </s> <s id="s.002561">& <lb/>prima è quello, che è detto faccia in pila&longs;tri, dapoi quello che è detto Pro&longs;tilo, & l'Amfi­<lb/>pro&longs;tilo, lo Alato, il Fal&longs;o alato di due ordini, lo Alato di due ordini, & lo &longs;coperto. </s> </p> <p type="main"> <s id="s.002562"><emph type="italics"/>Volendoci Vitr. in&longs;egnare la compo&longs;itione de i Tempij, con gran ragione comincia da quelle dif­<lb/>ferenze, che prima ci uengono dinanzi a gli occhi. </s> <s id="s.002563">perche l ordine della cognitione porta, che <lb/>cominciamo dalle co&longs;e uniuer&longs;ali, & confu&longs;e, & indi&longs;tinte, & poi che &longs;i uegna al particolare, <lb/>e&longs;plicato, & di&longs;tinto. </s> <s id="s.002564">oltra che nell' Architettura egli &longs;i deue auuertire, che l'occhio habbia la <lb/>parte &longs;ua, & con la uarietà de gli a&longs;petti &longs;econdo le figure, & forme diuer&longs;e de i Tempij &longs;i dia di­<lb/>letto, ueneratione, & autorità alle opere. </s> <s id="s.002565">& &longs;i come la oratione ha forme, & idee diuer&longs;e per &longs;a­<lb/>tisfare alle orecchie, co&longs;i habbia l' Architettura gli'a&longs;petti, & forme &longs;ue per &longs;atisfar a gli occhi, <lb/>& &longs;i come quello, che è nella mente, & nella uoglia no&longs;tra ripo&longs;to, con l'artificio di leuarlo fuo­<lb/>ri di noi, & portarlo altroue, le parole, le figure, la compo&longs;itione delle parole, i numeri, le <expan abbr="mē-bra">mem­<lb/>bra</expan>, & le chiu&longs;e fanno le Idee, & le forme del dire, co&longs;i le proportioni, i compartimenti le dif­<lb/>ferenze de gli a&longs;petti, i numeri, & la collocatione delle parti fanno le idee delle fabriche, che &longs;o­<lb/>no qualità conuenienti a quelle co&longs;e, per le quali &longs;i fanno. </s> <s id="s.002566">Altra ragione di &longs;entenze, di artificij, <lb/>di parole, di figure, di parti, di numeri, di compo&longs;itione, & di termini &longs;i u&longs;a uolendo e&longs;&longs;er chia­<lb/>ro, puro, & elegante nel dire. </s> <s id="s.002567">altra uolendo e&longs;&longs;er grande, uehemente, a&longs;pro, & &longs;euero: & altro <lb/>richiede la piaceuolezza, altro la bellezza, & ornamento del parlare. </s> <s id="s.002568">&longs;imilmente nelle Idee del­<lb/>le fabriche altre proportioni, altre di&longs;po&longs;itioni, altri ordini, & compartimenti ci uuole, quando <lb/>nella fabrica &longs;i richiede grandezza, & ueneratione, che quando &longs;i uuole bellezza, o dilicatez­<lb/>za, o &longs;implicità. </s> <s id="s.002569">& perche la natura delle co&longs;e, che uanno a formare un'idea dell' oratione fa, che <lb/>quelle po&longs;&longs;ono e&longs;&longs;er degnamente in&longs;ieme con quelle, che uanno a formarne un'altra. </s> <s id="s.002570">la onde nella <lb/>purità &longs;i puo hauer del grande, nella grandezza, del bello, nella bellezza del &longs;emplice, & nella <lb/>&longs;emplicità dello &longs;plendido; anzi que&longs;to è &longs;omma lode dell'oratore, et &longs;i fa me&longs;colando, le condi­<lb/>tioni d'una forma, con le conditioni d'unaltra. </s> <s id="s.002571">come è manife&longs;to a i ueri Architetti dell'oratione. </s> <s id="s.002572"><lb/>però dico io, che me&longs;colando con ragione nelle fabriche le proportioni d'una maniera, o compo­<lb/>nendole, o leuandole, nè puo ri&longs;ultare una bella forma di mezo. </s> <s id="s.002573">le co&longs;e da prima &longs;ono &longs;emplici, è <lb/>&longs;chiette, poi &longs;i fanno con diuer&longs;e aggiunte ogni fiata maggiori, et piu ornate come &longs;i uede chia­<lb/>ramente in tutte le opere, et inuentioni de mortali. </s> <s id="s.002574">Non deue però il &longs;auio, & prudente Ar­<lb/>chitetto pigliare tutto quello, che uien fatto da ognuno, ma &longs;olamente quelle co&longs;e, che comin­<lb/>ciano hauere non &longs;o che di occulta uirt ù, onde dilettino i &longs;en&longs;i no&longs;tri. </s> <s id="s.002575">come lo eccellente oratore <lb/>non piglia tutto quello, che'l &longs;ciocco uulgo, o la ba&longs;&longs;a plebe apprende, ma tutto quello, che puo <lb/>cadere &longs;otto la capacità di chi a&longs;colta con qualche piu eleuato &longs;entimento, che da &longs;e la ple­<lb/>be non trouaria, ma trouato da altri appiglia, & &longs;ene diletta. </s> <s id="s.002576">co&longs;i Vitruuio, non pren-<emph.end type="italics"/><pb pagenum="116" xlink:href="045/01/124.jpg"/><figure id="id.045.01.124.1.jpg" xlink:href="045/01/124/1.jpg"/><pb pagenum="117" xlink:href="045/01/125.jpg"/><emph type="italics"/>de tutte quelle forme, & figure di fabriche, & di Tempij, che &longs;ono fatte da que&longs;ti, & da <lb/>quelli, che nel fabricare &longs;ono in luogo di uulgo, & di plebe: perche questo &longs;arebbe in­<lb/>finito, ne caderebbe &longs;otto artificio. </s> <s id="s.002577">Ma ci propone quelle co&longs;e, che &longs;atisfanno a chi non <lb/>&longs;a piu oltre, poi che &longs;on fatte, ma non po&longs;&longs;ono e&longs;&longs;ere ritrouate da ognuno, & dice, che i <lb/>principij, cioè l'origine della no&longs;tra con&longs;ideratione è la figura, cioè quello, che prima &longs;i <lb/>rappre&longs;enta allo a&longs;petto. </s> <s id="s.002578">Que&longs;ta figura, & que&longs;to a&longs;petto, o nelle fronti, o nelle &longs;palle, o ne i lati <lb/>& fianchi de i Tempij: o partitamente in piu fabriche, ouero in una i&longs;te&longs;&longs;a: & però Vitr. cimette<emph.end type="italics"/><lb/><figure id="id.045.01.125.1.jpg" xlink:href="045/01/125/1.jpg"/><lb/><emph type="italics"/>inanzi &longs;etle figure, & a&longs;petti di Tempij: & dice, che il primo &longs;i chiama, In antis. </s> <s id="s.002579">cioèfaccia in pila­<lb/>&longs;tri, perche Ante &longs;i chiamano le pila&longs;trate, che &longs;ono nelle cantonate della facciata, che in <lb/>Greco &longs;ono dette Para&longs;tade. </s> <s id="s.002580">Il primo a&longs;petto adunque, è della facciata dinanzi, & della fronte <lb/>del Tempio: nella quale &longs;ono ne gli anguli le pila&longs;trate, & contraforti quadrati, & nel mezo <lb/>le colonne, che &longs;portano in fuori, &longs;opra le quali è il fronti&longs;picio fatto con quelle ragioni, che <lb/>&longs;i dirà poi. </s> <s id="s.002581">Il primo a&longs;petto adunque dice Vitruuio, che è in que&longs;to modo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002582">Il Tempio di faccie in pila&longs;tri, &longs;arà quando egli hauerà nella fronte i pila&longs;tri, de i pare­<lb/>ti, che rinchiudeno il Tempio, & tra i pila&longs;tri nel mezo due colonne, & &longs;opra quelle <pb pagenum="118" xlink:href="045/01/126.jpg"/><figure id="id.045.01.126.1.jpg" xlink:href="045/01/126/1.jpg"/><pb pagenum="119" xlink:href="045/01/127.jpg"/>il fronti&longs;picio fatto con quella conuenienza di mi&longs;ure, che &longs;i dirà in que&longs;to libro. </s> <s id="s.002583">Lo e&longs;­<lb/>&longs;empio di que&longs;to a&longs;petto &longs;i uede alle tre Fortune, & delle tre quello, che è uicino alla por­<lb/>ta collina. <emph type="italics"/>A no&longs;tri giorni non &longs;i ha reliquia di que&longs;to Tempio, però con le ragioni imparate <lb/>da Vitruuio figurando la pianta., & lo in piè, & alcuna fiata il profilo, & i fianchi, la&longs;cia­<lb/>remo le ombre, & lo empir i fogli di figure, & di co&longs;e minute, & facili, non affettando la quan <lb/>tità, & la &longs;ottilità delle figure adombrate in i&longs;corzo, & pro&longs;pettiua, perche la no&longs;tra intentio­<lb/>ne è di mo&longs;trare le co&longs;e, & non in&longs;egnare a dipingere. </s> <s id="s.002584">La pianta del Tenpio, detto faccia in pi-<emph.end type="italics"/><lb/><figure id="id.045.01.127.1.jpg" xlink:href="045/01/127/1.jpg"/><lb/><emph type="italics"/>la&longs;tri, è &longs;egnata A. doue &longs;ono le pila&longs;trate quadre in forma di colonne è &longs;egnato B. & le <lb/>colonne nel mezzo C. lo in piè è &longs;egnato D.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.002585">La faccia in colonne detta pro&longs;tilos, ha tutte le co&longs;e, che tiene la faccia in pila&longs;tri, má <lb/>ha due colonne &longs;opra le cantonate dirimpetto a i pila&longs;tri, & &longs;opra ha gli architraui, come <lb/>la faccia in pila&longs;tri, & dalla de&longs;tra, & dalla &longs;ini&longs;tra nel uoltare delle cantonate tiene una <lb/>colonna per banda. </s> <s id="s.002586">lo e&longs;&longs;empio è all'l&longs;ola Tiburtina al Tempio di Gioue, & di Fauno. </s> </p> <pb pagenum="120" xlink:href="045/01/128.jpg"/> <p type="main"> <s id="s.002587"><emph type="italics"/>Il &longs;econdo a&longs;petto accre&longs;ce al primo due colonne &longs;opra le cantonate all'incontro delle pila­<lb/>&longs;trate, & due nel uoltare, cioè una per banda. </s> <s id="s.002588">Stimo io, che la luce di que&longs;ti Tempij ue­<lb/>ni&longs;&longs;e &longs;olamente dalle porte; perche io non trouo fatta mentione altroue di fine&longs;tre. </s> <s id="s.002589">l'I&longs;ola Tibe­<lb/>rina fu con&longs;acrata ad E&longs;culapio, fatta prima a ca&longs;o, poi fortificata da Romani, & adornata <lb/>di molti belli, & grandi edificij. </s> <s id="s.002590">Appre&longs;&longs;o il Tempio di E&longs;culapio hebbe Gioue il &longs;uo edifica­<lb/>to da L. <!-- KEEP S--></s> <s id="s.002591">Furio Purpurione con&longs;ule; & dedicato da C. Seruilio, come dicono alcuni: & nella pun <lb/>ta dell'I&longs;ola hebbe anche Fauno il &longs;uo Tempio, del quale hoggi a pena &longs;i uedeno pochi ue&longs;tigi, & <lb/>meno &longs;e ne uederà per l'auuenire, perche il Teuere gli ua rodendo d'intorno, & leuando il <lb/>terreno. </s> <s id="s.002592">T.Liuio uuole, che di alcune condennagioni fu&longs;&longs;e edificato il detto Tempio da Gn.Do<lb/>mitio, & da C. <!-- KEEP S--></s> <s id="s.002593">Stribonio edili. </s> <s id="s.002594">La pianta di que&longs;to tempio è &longs;egnata F. & &longs;erue anche al ter <lb/>zo a&longs;petto, detto Amphipro&longs;tilos: perche leuandone le colonne dall'altra te&longs;ta, & continuan­<lb/>do il parete, re&longs;ta que&longs;to a&longs;petto &longs;econdo, detto Pro&longs;tilos. </s> <s id="s.002595">lo in piè è &longs;egnato E. & &longs;erue an­<lb/>che al terzo a&longs;petto, intendendo&longs;i la i&longs;te&longs;&longs;a fronte dall'altra te&longs;ta.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002596">Lo a&longs;petto detto Amphipro&longs;tilos, tiene quanto è nell'a&longs;petto detto Pro&longs;tilos, ma di <lb/>piu &longs;erua lo i&longs;te&longs;&longs;o modo, di colonne, & di fronti&longs;picio nella parte di dietro. </s> </p> <p type="main"> <s id="s.002597">Lo a&longs;petto detto Peripteros cioè alato intorno, è quello, che tiene d'amendue le fron<lb/>ti &longs;ei colonne: ma ne i lati undici con le angulari, &longs;i che que&longs;te colonne &longs;iano po&longs;te in mo <lb/>do che lo &longs;pacio, che è tra colonna, & colonna, &longs;ia d'intorno da i pareti a gli ultimi ordi <lb/>ni delle colonne, & &longs;i po&longs;&longs;a pa&longs;&longs;eggiare d'intorno la cella. </s> <s id="s.002598">come è' nel portico di Metel- <lb/>lo, di Gioue Statore, & alla Mariana dell'Honore, & della uirtu, fatto da Mutio &longs;en­<lb/>za la parte di dietro. </s> </p> <p type="main"> <s id="s.002599"><emph type="italics"/>Silegge, che fuori della porta &longs;alaria era un Tempio con&longs;acrato all'honore, perche in quel luo <lb/>go &longs;i trouò appre&longs;&longs;o l'altare una lama con que&longs;te parole. </s> <s id="s.002600">DOMINAE HONORIS. <lb/>M. </s> <s id="s.002601">Marcello dedicò un Tempio all'Honore, & alla Virtù, che fu poi re&longs;taurato da Ve&longs;pa&longs;iano pro <lb/>pinquo alla porta Capena (come &longs;i truoua nelle medaglie.) Fece Marcello que&longs;to per uno ricor­<lb/>do a quelli, che u&longs;ciuano all'impre&longs;e, che per la uirtu s'entra all'Honore. </s> <s id="s.002602">Mario &longs;imilmente edificò <lb/>un Tempio all'Honore, & dal Tempio della uirtu s'entraua. </s> <s id="s.002603">Gn. <!-- REMOVE S-->Domitio pretore drizò &longs;ul Qui­<lb/>rinale un Tempio alla Fortuna primigenia, & iui anche era un Tempio dell'Honore. </s> <s id="s.002604">Fu edifica­<lb/>to delle &longs;poglie Cimbriche, & Theutoniche, in quella parte del monte Elquilino, che Merulana in <lb/>luogo di Mariana, è detta. </s> <s id="s.002605">La pianta, & lo in piè di que&longs;to Tempio è &longs;oprapo&longs;to nel primo libro.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002606">Il fal&longs;o a&longs;petto di due ordini detto P&longs;eudodipteros, co&longs;i è po&longs;to, che nella fronte; & <lb/>di dietro &longs;ono otto colonne, & ne i lati quindici con le angulari: ma &longs;ono i pareti della <lb/>cella dalle te&longs;te dirimpetto a quattro colonne, & co&longs;i lo &longs;patio, che &longs;arà da i pareti d'in­<lb/>torno a gli e&longs;tremi ordini delle colonne &longs;arà di due intercolunnij, & d'una gro&longs;&longs;ezza da <lb/>piedi della colonna. </s> <s id="s.002607">Lo e&longs;&longs;empio di que&longs;ta forma non è in Roma: ben &longs;i troua in Ma­<lb/>gne&longs;ia il Tempio di Diana fatto da Hermogene Alabandeo; Et il Tempio d'Appolline <lb/>fatto da Mnette. </s> </p> <p type="main"> <s id="s.002608"><emph type="italics"/>Il quinto a&longs;petto è detto P&longs;eudodipteros, che &longs;ignifica, fal&longs;o alato doppio. </s> <s id="s.002609">P&longs;eudo uuol dire <lb/>fal&longs;o, Dipteros due ale: perche pteros &longs;ignifica ala, & pteromata &longs;ono dette le mura dall'una, <lb/>& l'altra parte dello Antitempio detto Pronao, & uolgarmente &longs;i dice un'ala di muro: & an <lb/>che detti &longs;ono pteromata i colonnati d'intorno al Tempio, perche a modo di ala &longs;tanno d'intor­<lb/>no: onde peripteron, è detto quello a&longs;petto di figura di Tempio, che ha d'intorno la cella, o na <lb/>ue del Tempio uno ordine &longs;olo di colonne, Dipteros due, P&longs;eudodipteros quello, che' ha leuato <lb/>l'ordine interiore delle colonne d'intorno, & la&longs;cia piu libero lo &longs;pacio da pa&longs;&longs;eggiare d'intor­<lb/>no il corpo del Tempio. <!-- KEEP S--></s> <s id="s.002610">la pianta è&longs;egnata O. nel primo libro, & quiui &longs;otto.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002611">L'a&longs;petto di due ordini, che Dipteros è detto, ha dinanzi, & di dietro otto colonne <lb/>& d'intorno la cella ha due ordini di colonne; come il Tempio Dorico di Quirino, & lo <lb/>Ionico di Diana Efe&longs;ia fatto da Cte&longs;ifonte. <!-- KEEP S--></s> </p> <pb pagenum="121" xlink:href="045/01/129.jpg"/> <p type="main"> <s id="s.002612"><emph type="italics"/>Del Dipteros, & del P&longs;eudodipteros ne fa mentione Vitr. nel proemio del &longs;ettimo libro. </s> <s id="s.002613">& <lb/>nel &longs;eguente Capo ragiona della inuentione di Hermogene.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002614"><emph type="italics"/>Pianta dello a&longs;petto detto Peripteros, cioè, alato d'intorno.<emph.end type="italics"/></s> </p> <figure id="id.045.01.129.1.jpg" xlink:href="045/01/129/1.jpg"/> <p type="main"> <s id="s.002615">Il &longs;otto aere, & &longs;coperto <lb/>a&longs;petto, detto hipethros, è di <lb/>dieci colonne per te&longs;ta, & nel <lb/>re&longs;to è &longs;imile al dipteros, & <lb/>nella parte di dentro tiene <lb/>doppio ordine di colonne in <lb/>altezza rimote da i pareti al <lb/>circuito, come il portico de i <lb/>peri&longs;tili, ma la parte di mezo <lb/>è &longs;coperto &longs;enza tetto, & ha <lb/>l'intrate delle porte dinanzi, <lb/>& di dietro. </s> <s id="s.002616">l'e&longs;&longs;empio non è <lb/>in Roma, ma in Athene è di <lb/>otto colonne, nel tempio di <lb/>Gioue Olimpio. </s> </p> <p type="main"> <s id="s.002617"><emph type="italics"/>Que&longs;to doueua e&longs;&longs;ere un bel­<lb/>li&longs;&longs;imo, & grandi&longs;&longs;imo Tem­<lb/>pio: haueua i portichi doppi d'in <lb/>torno, & di dentro haueua due <lb/>ordini di colonne uno &longs;opra l al­<lb/>tro. </s> <s id="s.002618">que&longs;te erano minori del­<lb/>le di fuori. </s> <s id="s.002619">Il coperto ueniua <lb/>dalle interiori alle e&longs;teriori, che <lb/>&longs;taua in piouere. </s> <s id="s.002620">Tutto lo &longs;patio <lb/>circondato dalle colonne di den­<lb/>tro era &longs;coperto; L'altare era <lb/>nel mezo. </s> <s id="s.002621">E&longs;&longs;er doueua, per <lb/>ogni intercolunnio, un nichio <expan abbr="cō">com</expan> <lb/>la &longs;ua figura; &longs;i di dentro, co­<lb/>me di fuori; et &longs;i doueua a&longs;cen­<lb/>dere per gradi. </s> <s id="s.002622">Ma noi hauemo <lb/>da dolerci, & del mancamento <lb/>de gli e&longs;&longs;empi, & della pouer­<lb/>tà della lingua: &longs;e pure non uo <lb/>gliamo <expan abbr="cõ">com</expan> l'u&longs;o ammollire la du <lb/>rezza delle parole fore&longs;tiere, & <lb/>che la lingua no&longs;tra &longs;ia corte&longs;e <lb/>a riceuerle, come ha fatto la Ro<lb/>mana L. e figure no&longs;tre dimo&longs;tra­<lb/>no la no&longs;tra intentione.<emph.end type="italics"/><pb pagenum="122" xlink:href="045/01/130.jpg"/><figure id="id.045.01.130.1.jpg" xlink:href="045/01/130/1.jpg"/></s> </p> <pb pagenum="123" xlink:href="045/01/131.jpg"/> <figure id="id.045.01.131.1.jpg" xlink:href="045/01/131/1.jpg"/> </subchap2><subchap2> <p type="head"> <s id="s.002623"><emph type="italics"/>Di cinque &longs;pecie di Tempij. <!-- KEEP S--></s> <s id="s.002624">Cap. II.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.002625">Inque &longs;ono le maniere de i Tempij, delle quali &longs;ono i nomi. </s> <s id="s.002626">Picno&longs;tilos, cioè <lb/>di &longs;pe&longs;&longs;e colonne; Si&longs;tilos, piu larghe; Dia&longs;tilos anchora piu di&longs;tanti; Areo<lb/>&longs;tilos, oltra quello, che &longs;i conuiene lontane; Eu&longs;tilos, che ha ragioneuoli, & <lb/>conuenienti interualli. </s> <s id="s.002627">Picno&longs;tilos adunque è quando tra l'una, & l'altra <lb/>colonna, ui &longs;i puo porre la gro&longs;&longs;ezza d'una colonna, & meza, come nel Tempio di Diuo <pb pagenum="124" xlink:href="045/01/132.jpg"/>Giulio, & nel Foro di Ce&longs;are il Tempio di Venere, & &longs;e altri Tempij &longs;ono di que&longs;ta ma­<lb/>niera compo&longs;ti. </s> <s id="s.002628">La maniera detta Si&longs;tilos, è quella, doue tra le colonne &longs;i puo ponere due <lb/>gro&longs;&longs;ezze di colonne, & i Zocchi delle &longs;pire a quello &longs;pacio &longs;ono tanto grandi, quanto &longs;a­<lb/>rà tra due zocchi, come è nel Tempio della Fortuna eque&longs;tre al Theatro di pietra, & ne <lb/>gli altri, che &longs;ono con le i&longs;te&longs;&longs;e ragioni fabricati. </s> </p> <p type="main"> <s id="s.002629"><emph type="italics"/>La humana cognitione, &longs;ia di che uirtù dell'anima e&longs;&longs;er &longs;i uoglia o del &longs;en&longs;o, o dello intelletto, <lb/>comincia prima dalle co&longs;e confu&longs;e, & indi&longs;tinte, ma poi appro&longs;&longs;imando&longs;i l'oggetto, &longs;i fa piu par­<lb/>ticolare, & piu certa. </s> <s id="s.002630">nè uoglio hora filo&longs;ofare &longs;opra que&longs;to; &longs;olamente ne darò un'e&longs;&longs;empio del­<lb/>la cognitione de i &longs;en&longs;i. </s> <s id="s.002631">Vedendo noi di lontano alcuna co&longs;a, ci formiamo prima una cognitione <lb/>confu&longs;a dello e&longs;&longs;ere, ma uedendo poi, che quella col mouimento &longs;i porta in alcuna parte, giudica­<lb/>mo, che &longs;ia animale; & piu auuicinando&longs;i cono&longs;cemo e&longs;&longs;er un'huomo; poi piu appre&longs;&longs;o cono&longs;ce­<lb/>mo, che è un'amico; & finalmente uedemo ogni parte di quello. </s> <s id="s.002632">co&longs;i dallo e&longs;&longs;ere, che è co&longs;a uni­<lb/>uer&longs;ali&longs;&longs;ima, uenimo al mouimento, & dal mouimento ci re&longs;trignemo all'animale, & peruenen-<emph.end type="italics"/><lb/><figure id="id.045.01.132.1.jpg" xlink:href="045/01/132/1.jpg"/><lb/><emph type="italics"/>do a piu distinto cono&longs;cimento, trouamo l'huomo, ricono&longs;cemo l'amico, & distinguemo ogni <lb/>parte del corpo &longs;uo. </s> <s id="s.002633">&longs;imilmente adiuiene nella cognitione dello intelletto. </s> <s id="s.002634">però Vitru. ci ha pro­<lb/>po&longs;to una indi&longs;tinta, & confu&longs;a cognitione de i Tempij, pre&longs;a dalla figura, & dallo a&longs;petto loro. </s> <s id="s.002635"><lb/>Perche tra le co&longs;e &longs;en&longs;ibili, la figura è oggetto commune, perche è &longs;ottopo&longs;ta alla cognitione di <lb/>piu &longs;en&longs;i. </s> <s id="s.002636">Di&longs;cende poi alla di&longs;tanza delle parti; & diuenirà finalmente alla particolare, & di­<lb/>&longs;tinta mi&longs;ura d'ogni particella. </s> <s id="s.002637">Sette adunque &longs;ono i regolati a&longs;petti delle figure de i Tempij. <!-- KEEP S--></s> <s id="s.002638">co­<lb/>me uniuer&longs;ali principij della cognitione di que&longs;ta materia, & gia &longs;ono &longs;tati e&longs;po&longs;ti quali &longs;iano. </s> <s id="s.002639"><lb/>Appro&longs;&longs;imando&longs;i poi allo edificio, uedemo le apriture, & &longs;pecialmente gli &longs;pacij tra le colonne, <lb/>i quali e&longs;&longs;endo in alcuni Tempij piu ri&longs;tretti, & in alcuni piu larghi, portano all'occhio diuer&longs;e <lb/>apparenze, & fanno diuer&longs;i effetti, o di dolcezza, & bellezza, o di grandezza, & &longs;euerità, &longs;i <lb/>come fanno gli &longs;pacij delle uoci nelle orecchie: però che quello, che è con&longs;onanza alle orecchie, è<emph.end type="italics"/></s> </p> <pb pagenum="125" xlink:href="045/01/133.jpg"/> <figure id="id.045.01.133.1.jpg" xlink:href="045/01/133/1.jpg"/> <pb pagenum="126" xlink:href="045/01/134.jpg"/> <p type="head"> <s id="s.002640"><emph type="italics"/>Lo in piedi dello a&longs;petto Hypethros, cioè&longs;coperto.<emph.end type="italics"/><lb/><figure id="id.045.01.134.1.jpg" xlink:href="045/01/134/1.jpg"/><pb pagenum="127" xlink:href="045/01/135.jpg"/><figure id="id.045.01.135.1.jpg" xlink:href="045/01/135/1.jpg"/><pb pagenum="128" xlink:href="045/01/136.jpg"/><emph type="italics"/>bellezza a gli occhi. </s> <s id="s.002641">però Vitr. di&longs;tingue le &longs;pecie de i Tempij &longs;econdo gli interualli, che &longs;ono tra <lb/>colonna, & colonna; non inquanto al numero, ma inquanto alla grandezza loro; & dice, che <lb/>la prima &longs;pecie, è detta Picno&longs;tilos, cioè di &longs;pe&longs;&longs;e, & ri&longs;trette colonne, quando una colonna è <lb/>molto appre&longs;&longs;o l'altra. </s> <s id="s.002642">La &longs;econda Si&longs;tilos, quando i uani &longs;ono piu larghi, perche allhora le co­<lb/>lonne &longs;ono piu di&longs;tanti. </s> <s id="s.002643">La terza è detta, Dia&longs;tilos, che anchora con piu larghi &longs;pacij &longs;i di&longs;egna. </s> <s id="s.002644"><lb/>La quarta Areo&longs;tilos, che è quando oltra quello, che bi&longs;ogna, di&longs;tanti &longs;i fanno gli inter colunnij, <lb/>cioè gli &longs;pacij, che &longs;ono tra colonna & colonna. </s> <s id="s.002645">La quinta Eustilos, che ragioneuolmente, & <lb/>con diletto comparte i uani. </s> <s id="s.002646">& &longs;e licito fu&longs;&longs;e darei a que&longs;te &longs;pecie gli infra &longs;critti nomi, Stretta, <lb/>Larga, Rila&longs;ciata, Spacio&longs;a, & Giu&longs;ta colonnatura. </s> <s id="s.002647">Diffini&longs;ce poi Vitru. cia&longs;cuna &longs;pecie, & <lb/>uuole, che la ristretta &longs;pecie detta Picno&longs;tilos, &longs;ia quella doue gli &longs;pacij tra le colonne &longs;i po&longs;&longs;ono <lb/>fare della gro&longs;&longs;ezza d'una colonna & meza. </s> <s id="s.002648">La &longs;pecie, & maniera larga detta Si&longs;tilos, è quando <lb/>&longs;i puo ponere tra due colonne la gro&longs;&longs;ezza, o diametro di due colonne; ma uuole Vitru. che i zoc­<lb/>chi detti Plinthides, che &longs;ono i zocchi, & le parti inferiori delle ba&longs;e, &longs;iano tanto di&longs;tanti, quan­<lb/>to lo &longs;pacio, & uano, che è po&longs;to tra due zocchi. </s> <s id="s.002649">Del Theatro di pietra intende il Filandro <lb/>il Theatro di Pompeio, i cui ue&longs;tigij &longs;ono in campo di Fiore. </s> <s id="s.002650">nè ual&longs;e al buon Pompeio, che egli <lb/>ui pone&longs;&longs;e ogni &longs;tudio per farlo eterno, facendolo di pietra, perche troppo grande è la forza del <lb/>tempo, & la ingiuria che egli fa alle co&longs;e. </s> <s id="s.002651">ma quali non gli &longs;ono &longs;oggette? </s> <s id="s.002652">il tempo i&longs;te&longs;&longs;o con il <lb/>tempo &longs;i con&longs;uma, & quello che con il tempo prende uita, & uigore, col tempo s'indeboli&longs;ce, & <lb/>ha fine. </s> <s id="s.002653">perche lo e&longs;&longs;er del tempo è &longs;empre na&longs;cere, & &longs;empre morire, & mentre &longs;i uiue, al­<lb/>tro non &longs;i fa, che riceuere le ingiurie del tempo. </s> <s id="s.002654">alle quali quanto &longs;i puo l'arte cerca di reme­<lb/>diare; ma infine il tempo auanza l'arte. </s> <s id="s.002655">Lo eßempio della &longs;pecie detta Picno&longs;tilos è notato nella <lb/>pianta; & il Si&longs;tilos è nella pianta detta Dipteros, po&longs;ta di &longs;opra.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002656">Le due antedette maniere hanno l'u&longs;o loro difetto&longs;o, perche le matrone a&longs;cendendo <lb/>per gradi alle &longs;upplicationi loro non po&longs;&longs;ono andare al pari tra gli intercolunij; ma bi&longs;o­<lb/>gna che pa&longs;sino a fila. </s> <s id="s.002657">L'altro difetto è che le porte, & gli ornamenti loro per la &longs;trettez­<lb/>za delle colonne non &longs;i uedeno. </s> <s id="s.002658">& finalmente per la &longs;trettezza de gli &longs;pacij, il caminar d'in­<lb/>torno al Tempio è impedito. </s> </p> <p type="main"> <s id="s.002659"><emph type="italics"/>Egli &longs;i potrebbe dire, &longs;e l'u&longs;o, l'a&longs;petto, & il pa&longs;&longs;eggiare è impedito dalle due predette ma­<lb/>niere, a che fine Vitr. ce le ha propo&longs;te? </s> <s id="s.002660">Dico io, che &longs;i come non &longs;i deue la&longs;ciare a dietro al­<lb/>cuna forma del dire per e&longs;&longs;er men bella, perche è tempo, che la o&longs;curità ci uiene a propo&longs;ito, & <lb/>la confu&longs;ione, che &longs;ono forme oppo&longs;te alla chiarezza, & eleganza del dire. </s> <s id="s.002661">co&longs;i non doueua <lb/>Vitru. la&longs;ciare forma alcuna, che &longs;ia men commoda, & meno gioconda all' a&longs;petto. </s> <s id="s.002662">perche hora <lb/>è che nell'animo de riguardanti per gli occhi &longs;i ha da poner diletto, & piacere, hora meraui­<lb/>glia, & horrore, &longs;econdo il bi&longs;ogno; & que&longs;tonon &longs;i puo fare commodamente da chi non &longs;a lo ef­<lb/>fetto, che fanno diuer&longs;e maniere di fabriche. </s> <s id="s.002663">& &longs;e egli &longs;i dice&longs;&longs;e, che &longs;i deue porre anche le ma­<lb/>niere difetto&longs;e, per darci ad intendere, come &longs;i deueno &longs;chifare, for&longs;e, che non &longs;arebbe fuori di <lb/>propo&longs;ito. </s> <s id="s.002664">ma chi uole&longs;&longs;e fare le colonne tanto gro&longs;&longs;e, che quando tra colonna, & colonna ui <lb/>anda&longs;&longs;e bene due gro&longs;&longs;ezze, ci &longs;arebbe &longs;pacio conueniente di poter andare di pari, que&longs;ti non ha­<lb/>ueria con&longs;ideratione, che l'altezza grande pa&longs;&longs;arebbe i termini, & che piu di due matrone doueua <lb/>no andar a pari. </s> <s id="s.002665">& che i zocchi nella maniera Si&longs;tilos occupariano lo &longs;pacio tra le colonne, & fa­<lb/>riano nè piu nè meno impedimento al caminare. </s> <s id="s.002666">& &longs;imilmente le porte, che deono ri&longs;pondere a <lb/>proportione, &longs;ariano impedite, come prima.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002667">La compo&longs;itione del Dia&longs;tilos, è quando noi potremo traporre nello intercolun­<lb/>nio la gro&longs;&longs;ezza di tre colonne, come nel Tempio di Apollo, & di Diana. </s> <s id="s.002668">ma que­<lb/>&longs;t a di&longs;po&longs;itione tiene que&longs;ta difficultà, che gli Architraui per la grandezza de gli &longs;pa­<lb/>cij, &longs;i &longs;pezzano. </s> </p> <p type="main"> <s id="s.002669"><emph type="italics"/>O quanto deue e&longs;&longs;ere auuertito lo Architetto non &longs;olamente ri&longs;petto alla forma, & ragione, <lb/>che nello animo, & mente &longs;ua con modi artificio&longs;i riuolge, ma quanto alla materia, i cu difetti i <emph.end type="italics"/><pb pagenum="129" xlink:href="045/01/137.jpg"/><emph type="italics"/>&longs;ono infiniti, i rimedij pochi, & difficili, & alcuna fiata niuno, o di niun ualore, però è bene, <lb/>(come s' è detto) che Vitr. ci propona le maniere difetto&longs;e, accioche per lo contrario ci potia­<lb/>mo guardare da gli errori. </s> <s id="s.002670">uero è che al &longs;opradetto difetto, &longs;i &longs;uol prouedere facendo &longs;opra gli <lb/>Architraui molti archi, & la&longs;ciandoli ben fermare, & a&longs;ciugare, la&longs;ciandoui anche di &longs;otto il <lb/>uano, perche quegli archi leuano il pe&longs;o a gli architraui. </s> <s id="s.002671">Leon Batti&longs;ta nel quinto libro al &longs;et­<lb/>timo capo a&longs;&longs;ai commodamente ha interpretato i nomi delle &longs;opradette &longs;pecie, &longs;e bene non &longs;i puo <lb/>con&longs;eguire la felicità de i Greci nella compo&longs;itione de i nomi. </s> <s id="s.002672">& le ha chiamate, conferta, &longs;ub­<lb/>conferta, &longs;ubdi&longs;pan&longs;a, di&longs;pan&longs;a, & elegante. </s> <s id="s.002673">Deue&longs;i bene auuertire, che Vitr. non ha uoluto <lb/>dar legge ferma de gli &longs;pacij delle &longs;opradette maniere, ma ha u&longs;ato parole indeterminate, dicen­<lb/>do, egli &longs;i puo porre, &longs;i potrebbe collocare, & &longs;imiglianti modi. </s> <s id="s.002674">que&longs;to auuertimento ci uenirà <lb/>a propo&longs;ito nelle opere Doriche, nel quarto libro.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002675">Nelle maniere Areo&longs;tili non ci è dato l'u&longs;o de gli Architrau i di pietra, nè di marmo, <lb/>ma &longs;opra le colonne &longs;i deono ponere le traui di legno continue, & le maniere di que Tem<lb/>pij, &longs;ono ba&longs;&longs;e, larghe, humili, & ornano i loro fronti&longs;picij di figure di terra cotta, o di ra­<lb/>me dorato all'u&longs;anza di To&longs;cana. <!-- KEEP S--></s> <s id="s.002676">Come &longs;i uede al Circo Ma&longs;simo il Tempio di Cerere, <lb/>& di Hercole, & del Pompeiano campidoglio. </s> </p> <p type="main"> <s id="s.002677"><emph type="italics"/>Nelle maniere Areo&longs;tili u&longs;ano liberi &longs;patij tra colonna, & colonna, & però Vitru. ha u&longs;ato <lb/>il numero del piu, & non ha detto, la maniera Areo&longs;tilos, ma le maniere; perche e&longs;&longs;endo in li­<lb/>bertà no&longs;tra di fare i uani maggiori, non ci è pre&longs;critta legge, nè regola. </s> <s id="s.002678">In que&longs;te maniere non <lb/>&longs;i u&longs;ano Architraui di pietra, o di marmo, perche &longs;i &longs;pezzarebbeno. </s> <s id="s.002679">il qual pericolo &longs;e era nel­<lb/>la &longs;pecie Dia&longs;tilos, doue il uano era di tre colonne, molto maggiormente &longs;arà nella &longs;pecie Areo&longs;ti­<lb/>los, doue &longs;ono &longs;pacij piu liberi. </s> <s id="s.002680">La doue, per obuiare a que&longs;to difetto, &longs;i faceuano gli Architra­<lb/>ui di legno, & &longs;i adornauano di auorio, & s'inue&longs;tiuano per coprire il legno. </s> <s id="s.002681">però Vitru. nel <lb/>quarto libro al &longs;ettimo capo dice il mede&longs;imo, ma con altre parole; & iui è la pianta & lo in piè <lb/>di que&longs;ta maniera To&longs;cana Areo&longs;tilos. <!-- KEEP S--></s> <s id="s.002682">Ma quelle parole, che Vitru. dice.<emph.end type="italics"/></s> <s id="s.002683"> Ma le maniere di <lb/>que Tempij &longs;ono ba&longs;&longs;e, larghe, humili, & nel latino barice, barricephalæ, hanno difficultà: <lb/><emph type="italics"/>benche quel barricephalæ &longs;i puo intendere l'auorio, che copriua le te&longs;te di que legni. </s> <s id="s.002684">perche gli <lb/>Elefanti &longs;ono detti barri. </s> <s id="s.002685">ma quel barice ha difficile interpretatione, &longs;e for&longs;e non è tolto dal <lb/>Greco, perche uaris, che &longs;i &longs;criue per uita in Greco, &longs;ignifica le chie&longs;e grandi, come dicono i dot­<lb/>tori Grechi &longs;opra i &longs;almi, & Athana&longs;io &longs;opra quelle parole del &longs;almo<emph.end type="italics"/> 44. <emph type="italics"/>a domibus eburneis, <lb/>che in Greco dicono Apò bareon elephantinon. </s> <s id="s.002686">dice, che le ca&longs;e ornate, & i Tempij &longs;ontuo&longs;i <lb/>&longs;ono detti Vareis, perche il &longs;almo dice eburneis, come che que Tempij, & quelle ca&longs;e &longs;iano <lb/>fatte con grande artificio, & magnificentia. </s> <s id="s.002687">Didimo, dice che uaris &longs;ignifica la torre, & che le <lb/>chie&longs;e &longs;ono torrite della potentia et gratia di Chri&longs;to, & che ha po&longs;to eburneis in luogo di &longs;plendide <lb/>& precio&longs;e. </s> <s id="s.002688">&longs;imil co&longs;a dice Theodoreto &longs;opra le i&longs;te&longs;&longs;e parole, & Ba&longs;ilio dice, che i grandi edifi­<lb/>cij &longs;ono da quel nome chiamati. </s> <s id="s.002689">Eu&longs;ebio intende lo i&longs;te&longs;&longs;o. </s> <s id="s.002690">L'arte di formar di creta prima uen­<lb/>ne in Ethruria, che in altro luogo d'Italia. <!-- KEEP S--></s> <s id="s.002691">In que&longs;ta furono eccellenti&longs;&longs;imi Dimofilo,, & Gor­<lb/>ga&longs;o, & gli i&longs;te&longs;&longs;i erano anche pittori, & con l'una, & l'altra loro arte adornarono il Tempio <lb/>di Cerere, nel Circo Ma&longs;&longs;imo, & con la Greca in&longs;crittione in uer&longs;i iui po&longs;ti dimo&longs;trarono, che le <lb/>opere dalla de&longs;tra erano di Demofilo, & dalla &longs;ini&longs;tra di Gorga&longs;o. </s> <s id="s.002692">Auanti que&longs;to Tempio tutte <lb/>le co&longs;e erano To&longs;cane, & i fronti&longs;picij erano di que&longs;te opere. </s> <s id="s.002693">Il luogo di Vitru. nel quarto, dou e <lb/>egli accenna, quello, che egli dice in que&longs;to luogo.<emph.end type="italics"/> {<emph type="italics"/>Siano le traui inca&longs;trate in modo con chia­<lb/>ui, & ritegni, che la commi&longs;&longs;ura habbia lo &longs;pacio largo due dita, imperoche toccando&longs;i le traui, <lb/>& non riceuendo &longs;piraculo di uento, &longs;e ri&longs;caldano in&longs;ieme, & pre&longs;to &longs;i gua&longs;tano. </s> <s id="s.002694">ma &longs;opra le <lb/>traui, & &longs;opra i pareti trapa&longs;&longs;ino le me&longs;ole per la quarta parte dell'altezza della colonna &longs;por­<lb/>tando in fuori, & nelle fronti loro dinanzi fitti &longs;iano gli adornamenti<emph.end type="italics"/>,} <emph type="italics"/>Ecco che Vitr. chiama <lb/>anlepagmenta quelli ornamenti, che &longs;ono appo&longs;ti, & fitti alle trauature per inue&longs;tirle, & co­<lb/>prirle. </s> <s id="s.002695">& Vitr. dice qui &longs;otto. </s> <s id="s.002696">che quanto gli &longs;patij tra le colonne &longs;ono maggiori, tanto piu gro&longs;-<emph.end type="italics"/><pb pagenum="130" xlink:href="045/01/138.jpg"/><emph type="italics"/>&longs;a e&longs;&longs;er deono le colonne, & con&longs;eguentemente minori, & piu ba&longs;&longs;e. </s> <s id="s.002697">& però i Tempij Areo&longs;tili <lb/>&longs;ono humili, depre&longs;&longs;i, & ba&longs;&longs;i.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002698">Hora egli &longs;i deue rendere la ragione della bella, & elegante maniera Eu&longs;tilos nomina­<lb/>ta, laquale, & all'u&longs;o & alla bellezza, & alla fermezza tiene e&longs;pedite le &longs;ue ragioni, per­<lb/>cioche &longs;i deono fare gli intercolunnii della gro&longs;&longs;ezza di due colonne, & un quarto, ma lo <lb/>&longs;pacio di mezo tanto a fronte, quanto di dietro, &longs;i deue fare di tre gro&longs;&longs;ezze, perche a que <lb/>&longs;to modo haucrà & lo a&longs;petto della figura gratio&longs;o, & l'u&longs;o della entrata &longs;enza impedimen<lb/>to; & il pa&longs;&longs;eggiar d'intorno la cella ampiezza. </s> </p> <p type="main"> <s id="s.002699"><emph type="italics"/>Il ri&longs;tretto intercolunnio impediua il caminare, l'entrare, & l'a&longs;petto: però le due maniere di <lb/>prima erano uitio&longs;e. </s> <s id="s.002700">Il piu largo, & libero portaua pericolo de gli Architraui. <!-- KEEP S--></s> <s id="s.002701">Adunque il <lb/>giu&longs;to, & &longs;cielto tra'l piu, & il meno, che &longs;ono e&longs;tremi uitio&longs;i, nel mezo come uirtuo&longs;o &longs;i deue <lb/>ridurre. </s> <s id="s.002702">Se adunque uno & mezo, & due è poco, & tre è di piu, re&longs;ta, che due & un quarto &longs;ia <lb/>conueniente. </s> <s id="s.002703">Ma perche non è co&longs;i due & mezo, come due & un quarto? </s> <s id="s.002704">Ri&longs;pondo, che que­<lb/>&longs;to farà la giu&longs;ta mi&longs;ura del compartimento, quando &longs;i uorrà fare lo &longs;pacio dello intercolunnio <lb/>di mezo, maggiore, che gli intercolunnij e&longs;tremi. </s> <s id="s.002705">oltra che &longs;e noi cauamo da una proportione <lb/>&longs;otto&longs;e&longs;quialtera una &longs;otto&longs;e&longs;quiquinta, ne na&longs;cerà una &longs;otto&longs;e&longs;quiottaua. </s> <s id="s.002706">ecco. </s> <s id="s.002707">uno & mezo <lb/>&longs;ono &longs;ei quarti, due &longs;ono otto quarti, due & mezo dieci quarti, tre dodici quarti. </s> <s id="s.002708">&longs;ei ad otto &longs;ono <lb/>in proportione &longs;otto&longs;e&longs;quialtera, dieci a dodici in proportione &longs;otto&longs;e&longs;quiquinta. </s> <s id="s.002709">dirai adunque, &longs;ei <lb/>uia dodici, fanno &longs;ettantadue: otto uia dieci ottanta. </s> <s id="s.002710">tra &longs;ettanta due, & ottanta cade proportio­<lb/>ne &longs;otto&longs;e&longs;quiottaua. </s> <s id="s.002711">il noue adunque è piu proportionato al &longs;ei, & al dodici, che al dieci, adun­<lb/>que noue quarti &longs;aranno i uani della bella maniera. </s> <s id="s.002712">Hor uediamone la proua.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002713">Se la facciata doue &longs;i deue fare il Tempio &longs;arà per farlo di quattro colonne, parti&longs;ca&longs;i <lb/>in parti undici, & meza, la&longs;ciando fuori da i lati i margini, & gli &longs;porti de i ba&longs;amenti. </s> <s id="s.002714"><lb/>Se deue e&longs;&longs;er di &longs;ei colonne, &longs;i partirà in diciotto: &longs;e di otto, in uentiquattro, & meza. </s> <s id="s.002715"><lb/>Di que&longs;te parti, &longs;ia il Tempio di quattro, o di &longs;ei, o di otto colonne in fronte, ne piglie­<lb/>rai una, & quella farà il modulo. </s> <s id="s.002716">La gro&longs;&longs;ezza delle colonne &longs;arà d'un modulo, & ogni <lb/>intercolunnio, eccetto quello di mezo, &longs;ia di due moduli, & d'un quarto. </s> <s id="s.002717">L'intercolun­<lb/>nio di mezo, sì dinanzi, come di dietro, &longs;ia di tre moduli: l'altezza delle colonne &longs;ia di <lb/>otto moduli, & mezo. </s> <s id="s.002718">& a que&longs;to modo per quella diui&longs;ione gli &longs;pacij, che &longs;ono tra le <lb/>colonne & le altezze delle colonne haueranno la giu&longs;ta ragione. </s> <s id="s.002719">Noi di que&longs;to non <lb/>hauemo e&longs;&longs;empio in Roma, ma nell'A&longs;ia in Theo è il Tempio del padre Baccho di ot­<lb/>to colonne in fronte. </s> </p> <p type="main"> <s id="s.002720"><emph type="italics"/>Vitruuio ci rende conto della bella maniera detta Eu&longs;tilos, la quale è quando i uani tra le co­<lb/>lonne &longs;ono di due te&longs;te, & un quarto, & il uano di mezo è di tre. </s> <s id="s.002721">Con que&longs;ta ragione egli rego­<lb/>la quelle &longs;ei forme d'a&longs;petto dette di &longs;opra, la&longs;ciando la faccia in pila&longs;tri, perche ella è rinchiu&longs;a, <lb/>& non ha portico dinanzi. </s> <s id="s.002722">Que&longs;to &longs;i comprende beni&longs;&longs;imo dalle parole di Vitru. perche egli di­<lb/>mo&longs;tra cia&longs;cuna di quelle figure dal numero delle colonne, & però in uece di dire pro&longs;tilos, & am<lb/>phiprostilos, cioè facciata in colonne, o ambe le te&longs;te in colonne, egli dice tetra&longs;tilos, cioè quat <lb/>tro colonne. </s> <s id="s.002723">& in uece di dire peripteros, egli dice e&longs;a&longs;tilos, cioè di &longs;ei colonne. </s> <s id="s.002724">& in uece di di­<lb/>re p&longs;eudodipteros, o dipteros, egli dice, e&longs;a&longs;tilo cioè di &longs;ei colonne in fronte. </s> <s id="s.002725">Hauendo adunque di­<lb/>me&longs;trato in confu&longs;o le maniere de gli a&longs;petti, hora egli uuole regolarle. </s> <s id="s.002726">Et prima &longs;econdo la bel­<lb/>la maniera dello &longs;patio giu&longs;to, & &longs;cielto, & poi &longs;econdo le altre, che hanno piu &longs;tretti, o piu li­<lb/>beri interualli. </s> <s id="s.002727">Regola adunque il pre&longs;tilos, & l'amphipro&longs;tilos con una &longs;ola regola, perche <lb/>l'uno a&longs;petto, & l'altro è di quattro colonne. </s> <s id="s.002728">Piglia lo &longs;patio della fronte del Tempio, & ne fa un­<lb/>dici parti & meza, una delle quali deue e&longs;&longs;er il modulo, cioè quella mi&longs;ura, che è regolatrice di <lb/>tutte le parti dell' opera. </s> <s id="s.002729">Ecco qui l'ordine, del quale detto hauemo nel primo libro, al terzo Ca­<lb/>po. <!-- KEEP S--></s> <s id="s.002730">La gro&longs;&longs;ezza adunque della colonna &longs;arà d'un modulo, & e&longs;&longs;endo quattro colonne u'ande­<lb/>ranno quattro moduli: la&longs;ciando però gli orli, & gli &longs;porti delle ba&longs;e, che &longs;ono &longs;opra le canto-<emph.end type="italics"/><pb pagenum="131" xlink:href="045/01/139.jpg"/><emph type="italics"/>nate, che Vitr. dice præter crepidines, & proiecturas: cioè oltra le margini, & gli &longs;porti. </s> <s id="s.002731">& <lb/>perche i uani &longs;ono un meno delle colonne, ui &longs;aranno tre uani, quello di mezo uuole tre moduli, <lb/>che con i primi quattro delle gro&longs;&longs;ezze, delle colonne fanno &longs;ette. </s> <s id="s.002732">I due uani haueranno quattro <lb/>moduli, & mezo; dando a cia&longs;cuno due moduli, & un quarto. </s> <s id="s.002733">& co&longs;i &longs;aranno regolati i uani <lb/>della facciata in colonne, & dello Amphipro&longs;tilos. <!-- KEEP S--></s> <s id="s.002734">Similmente &longs;i regola il peripteros, cioè ala­<lb/>to a torno, perche hausndo&longs;i a porre &longs;ei colonne per te&longs;ta, &longs;i ha da partire la facciata in parti di <lb/>ciotto: una delle quali &longs;arà il modulo: cinque &longs;aranno date a i uani: &longs;ei alle gro&longs;&longs;ezze delle colon <lb/>ne: il uano di mezo tre: i quattro due per banda: noue, a due moduli, & un quarto per interco­<lb/>lunnio, che po&longs;ti in&longs;ieme fanno diciotto. </s> <s id="s.002735">Similmente &longs;i regola il finto alato doppio, & il doppio <lb/>alato, perche e&longs;&longs;endo l'uno, & l'altro nelle te&longs;te di otto colonne, egli &longs;i partirà la fronte in parti <lb/>uentiquattro & meza, l'una delle quali &longs;arà il modulo. </s> <s id="s.002736">Otto moduli adunque andar anno alle <lb/>gro&longs;&longs;ezze delle colonne, tre nel uano di mezo, che &longs;ono undici. </s> <s id="s.002737">& perche re&longs;tano tre uani per <lb/>banda, che &longs;ono &longs;ei, andandoui due te&longs;te, & un quarto per uano, ui andranno tredici moduli, & <lb/>mezo, che aggiunti a gli undici, fanno uentiquattro & mezo. </s> <s id="s.002738">Et que&longs;to è quello, che Vitr. ci in <lb/>&longs;egna, & ci regola anche l'altezza delle colonne, & uuole, che in ogni maniera di a&longs;petto rego­<lb/>lato &longs;econdo la &longs;cielta diui&longs;ione de i uani, l'altezza delle colonne &longs;ia di otto moduli & mezo et qui­<lb/>ui accenna la maniera Ionica, della quale egli dice ragionar nel pre&longs;ente libro.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002739">Et quelle ri&longs;pondenze di mi&longs;ure ordinò Hermogene; il quale anche fu il primo nel trouar <lb/>la ragione del Tempio d'otto colonne, ouero finto a&longs;petto doppio. </s> <s id="s.002740">perche dalla &longs;imme­<lb/>tria del Dipteros, egli leuò gli ordini interiori di trenta colonne, & con quella ragione, & <lb/>della &longs;pe&longs;a, & della fatica fece guadagno. </s> <s id="s.002741">Que&longs;ti nel mezo d'intorno la cella fece un lar­<lb/>ghi&longs;simo &longs;pacio da pa&longs;&longs;eggiare, & non leuò alcuna co&longs;a dello a&longs;petto, ma &longs;enza di&longs;iderio <lb/>di co&longs;e &longs;uperflue con&longs;eruò l'autorità con la di&longs;tributione di tutta l'opera. </s> <s id="s.002742">Percioche la ra <lb/>gione delle ale, & delle colonne d'intorno al Tempio è &longs;tata ritrouata, accioche lo a&longs;pet <lb/>to per l'a&longs;prezza de gli intercolunnij haue&longs;&longs;e riputatione, & anche &longs;e per le pioggie la for­<lb/>za dell'acqua tene&longs;&longs;e occupata, & rinchiu&longs;a la moltitudine delle genti, pote&longs;&longs;ero hauer <lb/>nel Tempio, & d'intorno la cella con largo &longs;patio libera dimora. </s> <s id="s.002743">Et tutto que&longs;to &longs;i truo <lb/>ua e&longs;pedito nelle di&longs;po&longs;itioni del P&longs;eudodipteros. <!-- KEEP S--></s> <s id="s.002744">Il che pare, che Hermogene fatto hab <lb/>bia con acuta, & gran &longs;olertia gli effetti delle opere, & che habbia la&longs;ciato i fonti, d'onde <lb/>i po&longs;teri pote&longs;&longs;ero trarre le ragioni delle di&longs;cipline, & gli ammae&longs;tramenti dell'Arte. <!-- KEEP S--></s> </p> <p type="main"> <s id="s.002745"><emph type="italics"/>Leuando&longs;i dal Dipteros le colonne di dentro, ponendoui quelle delle te&longs;te, &longs;i leuano trenta co­<lb/>lonne, come per la pianta &longs;i puo uedere. </s> <s id="s.002746">Hermogene per i&longs;paragno di &longs;pe&longs;a, & di fatica leuò l'or <lb/>dine di dentro, la&longs;ciò i portichi piu &longs;pacio&longs;i, non tol&longs;e alcuna co&longs;a dallo a&longs;petto, perche nelle fron<lb/>ti re&longs;tarono le otto colonne, & dalli fianchi &longs;e ne uedeuano quindici. </s> <s id="s.002747">Et però que&longs;to a&longs;petto &longs;i chia <lb/>ma fal&longs;o dipteros, perche fa la mo&longs;tra del dipteros, ma non è. </s> <s id="s.002748">Da que&longs;to luogo &longs;i comprende, che <lb/>Vitru. ha regolati gli a&longs;petti, &longs;e bene egli non gli ha nominati, perche chiaramente egliper octa­<lb/>stilo ha inte&longs;o il Dipteros, & il P&longs;eudodipteros. <!-- KEEP S--></s> <s id="s.002749">dicendo di Hermogene que&longs;te parole.<emph.end type="italics"/></s> <s id="s.002750"> Il quale <lb/>anche fu il primo a ritrouar la ragione del Tempio di otto colonne, ouero P&longs;eudo­<lb/>dipteros. </s> </p> <p type="main"> <s id="s.002751"><emph type="italics"/>Dimo&longs;tra anche chiaramente la &longs;ua intentione nel proemio del quarto, nel quale egli di­<lb/>ce, quanto è &longs;tato e&longs;&longs;equito nel terzo, dicendo d'hauer detto delle di&longs;tributioni, che &longs;ono in <lb/>cia&longs;cuna maniera, cioè ne i principij della cognitione de i Tempij, quanto a gli a&longs;petti, & <lb/>delle cinque maniere, che trattano de gli &longs;patij, che &longs;ono tra le colonne. </s> <s id="s.002752">Ma qui potrebbe na&longs;ce­<lb/>re un dubbio, come &longs;ia, che Vitr. non habbia fatto mentione del Tempio ritondo, & come egli <lb/>non habbia regolata la maniera de i Tempij &longs;coperti, che hanno dalle te&longs;te dieci colonne? </s> <s id="s.002753">Al pri <lb/>mo dico, che Vitr. ragiona de i Tempij ritondi nel quarto, & for&longs;e gli mette nel numero de gli <lb/>a&longs;petti, che &longs;ono di liberi intercolunnij, come anche i To&longs;cani, & ha la&longs;ciato di trattarne, &longs;egui <lb/>tando in que&longs;to luogo quelli a&longs;petti, che per alcuna aggiunta uanno cre&longs;cendo. </s> <s id="s.002754">Al &longs;econdo &longs;i di-<emph.end type="italics"/><pb pagenum="132" xlink:href="045/01/140.jpg"/><emph type="italics"/>ce, che è co&longs;a facile dalle &longs;oprapo&longs;te regole compartire anche il Tempio &longs;coperto detto hipethros, <lb/>&longs;econdo la bella maniera: però &longs;e'l Tempio &longs;arà in fronte di dieci colonne; egli &longs;i partirà la fronte in <lb/>parti trent auna, una delle quali &longs;arà il modulo, la gro&longs;&longs;ezza delle colonne &longs;arà d'un modulo. </s> <s id="s.002755">& <lb/>però a dieci colonne &longs;i daranno dieci moduli. </s> <s id="s.002756">allo &longs;pacio di mezo tre, che &longs;ono tredici, a i uani da i <lb/>lati, che &longs;ono quattro per banda, che fanno otto uani, &longs;e ne daranno diciotto, che gionti alli tre <lb/>dici, &longs;ommano trentuno. </s> <s id="s.002757">La pianta, & lo in piè di que&longs;ta forma è &longs;egnata col nome &longs;uo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002758">Ne i Tempij Areo&longs;tili, doue &longs;ono gli &longs;pacij liberi tra le colonne, deon&longs;i fare le colonne <lb/>in que&longs;to modo, che la gro&longs;&longs;ezza di quelle &longs;ia l'ottaua parte dell'altezza. </s> <s id="s.002759">Et nella forma <lb/>Dia&longs;tilos, &longs;i deue mi&longs;urare l'altezza in que&longs;to modo, che &longs;ia diui&longs;a in parti otto, & meza <lb/>& di una parte &longs;ia fatta la gro&longs;&longs;ezza delle colonne. </s> <s id="s.002760">Nella maniera Si&longs;tilos egli &longs;i ha a diui <lb/>dere l'altezza in noue parti, & meza, & di quelle darne una alla gro&longs;&longs;ezza. </s> <s id="s.002761">Nella manie­<lb/>ra picno&longs;tilos, l'altezza è diui&longs;o in dieci parti, & d'una &longs;i fa la gro&longs;&longs;ezza della colonna. </s> <s id="s.002762"><lb/>Nella maniera Eu&longs;tilos, &longs;i &longs;erua la ragione della Dia&longs;tilos, cioè, che l'altezza della colon <lb/>na &longs;i diuide in otto parti & meza, & una &longs;i dona alla gro&longs;&longs;ezza. </s> <s id="s.002763">Et a que&longs;to modo &longs;i da <lb/>per la rata parte la ragione de gli &longs;pacij tra le colonne: perche, &longs;i come cre&longs;ceno gli &longs;patij <lb/>tra le colonne, co&longs;i &longs;i deono con proportioni accre&longs;cere le gro&longs;&longs;ezze de i loro fu&longs;ti, per­<lb/>che &longs;e nella maniera areo&longs;tilos la gro&longs;&longs;ezza della colonna &longs;arà la nona, ouero la decima <lb/>parte, ella ci parerà tenue, & &longs;ottile, perche per la larghezza de i uani l'aere con&longs;uma, & <lb/>&longs;minui&longs;ce la gro&longs;&longs;ezza dello a&longs;petto de i tronchi delle colonne. </s> <s id="s.002764">per lo contrario &longs;e nella <lb/>forma picno&longs;tilos &longs;arà la gro&longs;&longs;ezza l'ottaua parte dell'altezza, per l'angu&longs;tia, & &longs;trettezza <lb/>de gli &longs;patij, farà un'a&longs;petto gonfio, & &longs;enza garbo, & però bi&longs;ogna &longs;eguire la conuenien<lb/>za delle mi&longs;ure &longs;econdo la maniera dell'opera, & co&longs;i per que&longs;to &longs;i deono fare le colonne, <lb/>che &longs;tanno &longs;u le cantonate, piu gro&longs;&longs;e una cinquante&longs;ima parte del loro diametro, perche <lb/>&longs;ono dallo aere circon&longs;tante tagliate, & piu &longs;ottili paiono a i riguardanti: & però quello <lb/>che in ganna gli occhi deue con la ragione e&longs;&longs;ere e&longs;&longs;equito. </s> </p> <p type="main"> <s id="s.002765"><emph type="italics"/>Hauendo Vitru. regolati gli a&longs;petti con la piu &longs;cielta, & bella maniera de gli intercolunnij, <lb/>detta Eu&longs;tilos, hora egli ci in&longs;egna, come &longs;i hanno a regolare gli a&longs;petti delle alire maniere, che <lb/>&longs;ono le altre quattro, la &longs;tretta, detta picno&longs;tilos; la larga, detta &longs;i&longs;tilos; la rila&longs;ciata, detta dia <lb/>&longs;tilos; & la &longs;pacio&longs;a, & libera, detta areo&longs;tilos. </s> <s id="s.002766">La &longs;omma della &longs;ua intentione è que&longs;ta, che <lb/>noi douemo con&longs;iderare gli &longs;patij, che &longs;ono tra colonna, & colonna in cia&longs;cuna delle dette forme, <lb/>& doue trouaremo tra le colonne e&longs;&longs;ere &longs;pacio maggiore, douemo a proportione fare piugro&longs;&longs;a la <lb/>colonna: & la ragione è que&longs;ta, perche &longs;e fu&longs;&longs;ero le colonne &longs;ottili doue &longs;ono i uani maggiori, <lb/>molto &longs;i leuarebbe dello a&longs;petto, imperoche lo aere è quello, che toglie della gro&longs;&longs;ezza delle co­<lb/>lonne, & fa parere quelle piu &longs;ottili, come la i&longs;perianza ci dimo&longs;tra. </s> <s id="s.002767">Doue adunque è piu di ua­<lb/>no, & di &longs;pacio, iui entra piu l'aere, il quale e&longs;&longs;endo d'intorno taglia del uiuo; Et però con buo­<lb/>na ragione la distanza de gli intercolunnij regola la gro&longs;&longs;ezza delle colonne. </s> <s id="s.002768">La onde Vitr. uo­<lb/>lendoci confermare con altra i&longs;perienza, & ragione quello, che ci ha propo&longs;to, uuole, che le co<lb/>lonne, che stanno &longs;u gli anguli delle fabriche, che hanno portichi d'intorno, &longs;iano piu gro&longs;&longs;e al­<lb/>quanto delle altre, che &longs;ono tra quelle, perche d'intorno le colonne angulari &longs;i rauna maggior <lb/>quantità di aere, & di luce, che le uiene a mangiare della lor gro&longs;&longs;ezza, doue pareno piu &longs;ottili <lb/>delle altre, & però in rimedio di quello, che leua la luce, & lo aere, &longs;e le da la cinquante&longs;ima <lb/>parte del diametro di piu delle altre. </s> <s id="s.002769">il che &longs;erue a quella digni&longs;&longs;ima parte, che nel primo libro è <lb/>detta Eurithmia. <!-- KEEP S--></s> <s id="s.002770">Vitr. adunque ha detto del numero delle colonne de gli a&longs;petti, detto ha delle di <lb/>&longs;tanze loro nelle cinque maniere: & poi ha detto delle grandezze di quelle: & co&longs;i è di&longs;ce&longs;o a po­<lb/>co a poco dall'uniuer&longs;ale al particolare, & ha distinto le co&longs;e confu&longs;e &longs;econdo l'ordine della huma <lb/>na cognitione. </s> <s id="s.002771">& anchora diuiene a piu particolar notitia, & tratta delle contrattioni, & ra­<lb/>stremamenti, che &longs;i fanno nel &longs;ommo della colonna, & &longs;imilmente della gonfiatura, che &longs;i fa nel <lb/>mezo. </s> <s id="s.002772">& dice.<emph.end type="italics"/></s> </p> <pb pagenum="133" xlink:href="045/01/141.jpg"/> <p type="main"> <s id="s.002773">Le diminutioni, che &longs;i fanno nella parte di &longs;opra delle colonne &longs;otto i collarini detti hy <lb/>potrachelij, &longs;i deueno fare in que&longs;to modo, che &longs;e la colonna &longs;arà di quindici piedi almeno, <lb/>&longs;ia diui&longs;a la gro&longs;&longs;ezza del fu&longs;to da ba&longs;&longs;o in &longs;ei parti, & di cinque di quelle &longs;i faccia la gro&longs;­<lb/>&longs;ezza di &longs;opra, & di quella colonna, che &longs;arà alta da quindici a uenti piedi, il fu&longs;to da ba&longs;&longs;o <lb/>&longs;ia diui&longs;o in &longs;ei parti & meza, & di quelle &longs;iano date cinque & meza alla gro&longs;&longs;ezza di &longs;opra. <lb/></s> <s id="s.002774">&longs;imilmente di quelle, che &longs;aranno da uenti fin'a trenta piedi, la pianta &longs;i partirà in &longs;ette par <lb/>ti, & in &longs;ei di quelle &longs;i farà la diminutione di &longs;opra. </s> <s id="s.002775">ma quella, che &longs;arà da trenta fin qua­<lb/>ranta piedi, dal ba&longs;&longs;o piede hauerà &longs;ette & mezo, & dal di &longs;opra &longs;ei, & mezo la ragione <lb/>del &longs;uo ra&longs;tremamento: Et co&longs;i quella, che &longs;arà alta da quaranta &longs;in cinquanta piedi, e&longs;­<lb/>&longs;endo dal ba&longs;&longs;o diui&longs;a in otto parti, &longs;arà &longs;ette di &longs;opra nel Collarino: Et quelle, che &longs;aran­<lb/>no piu alte, con la i&longs;te&longs;&longs;a ragione per la rata parte &longs;i faranno piu &longs;ottili. </s> <s id="s.002776">Ma quelle per la <lb/>di&longs;tanza dell'altezza ingannano la ui&longs;ta, che a&longs;cende: Et però &longs;i aggiugne il temperamen­<lb/>to alle gro&longs;&longs;ezze, poi che la ui&longs;ta no&longs;tra &longs;eguita mirabilmente la gratia, & la bellezza. </s> <s id="s.002777">al <lb/>cui piacere, &longs;e noi non con&longs;entimo lu&longs;ingando con la proportione, & con la aggiunta de <lb/>i moduli, accioche quello, di che ella è ingannata, & defraudata, con bello temperamen­<lb/>to &longs;i accre&longs;ca, dalle opere &longs;arà rimandato adietro l'a&longs;petto di quelle, &longs;enza gratia, & &longs;en­<lb/>za proportione di bellezza. </s> </p> <p type="main"> <s id="s.002778"><emph type="italics"/>Faceuano gli antichi la &longs;ommità della colonna piu &longs;ottile, che la parte di &longs;otto; faceuano &longs;imil <lb/>mente nel mezo una gonfiezza, & tumidezza molto dolce, & tenera, che gentilmente &longs;i uolge <lb/>ua, che le daua molto del buono. </s> <s id="s.002779">La ragione, perche co&longs;i faceuano, era, perche le co&longs;e na&longs;cen<lb/>ti dalla terra, come &longs;ono gli alberi, piu che &longs;i leuano, piu s'a&longs;&longs;ottigliano, & gli huomini piu ag <lb/>grauati da i pe&longs;i, piu s'ingro&longs;&longs;ano nel mezo. </s> <s id="s.002780">però imitando gli alberi &longs;i ra&longs;tremano le colonne di <lb/>&longs;opra, & imitando lo effetto del carico, &longs;i gonfiano nel mezo. </s> <s id="s.002781">&longs;i come adunque cre&longs;cendo in lar <lb/>ghezza i uani, Vitr. ha uoluto, che a proportione cre&longs;ca la gro&longs;&longs;ezza delle colonne, co&longs;i uuole <lb/>hora per la i&longs;te&longs;&longs;a ragione, che quanto è piu alia la colonna, tanto meno &longs;ia ra&longs;tremata di &longs;opra, <lb/>perche cre&longs;cendo in altezza, fa lo e&longs;&longs;etto da &longs;e &longs;te&longs;&longs;a & di cio ne dà lo e&longs;&longs;empio, la regola, & la <lb/>ragione, il che è facile. </s> <s id="s.002782">Ma come &longs;i faccia, & doue comincia que&longs;ta diminutione, & con che <lb/>garbo &longs;i tiri la gonfiatura nel mezo, Vitr. non ci dimo&longs;tra, benche egli prometta in fine del libro <lb/>darci il di&longs;egno, & dice.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002783">Ma della aggiunta, che &longs;i fa nel mezo della colonna, che enta&longs;i &longs;i chiama, nel fine del <lb/>libro &longs;arà formata la &longs;ua ragione, come dolce, & conueniente &longs;i faccia. </s> </p> <p type="main"> <s id="s.002784"><emph type="italics"/>Credo io, che que&longs;to &longs;tia in di&longs;cretione, & de&longs;trezza, piu pre&longs;to, che in arte o regola: ben­<lb/>che il Serlio, & altri ne trouino alcuni modi, a i q uali mi riporto. </s> <s id="s.002785">Di&longs;idero bene, che &longs;i auuer<lb/>ti&longs;ca, che l'huomo non prenda ammiratione, &longs;e mi&longs;urando le antichità di Roma, non ritroua &longs;pe&longs; <lb/>&longs;o le mi&longs;ure delle colonne a punto, perche &longs;e egli &longs;i pote&longs;&longs;e uedere tutto il corpo della fabrica, l'huo <lb/>mo non &longs;i marauiglierebbe della grandezza, o picciolezza de i membri, ma ritrouando un piede, <lb/>ouero un braccio &longs;eparato, non puo dire, que&longs;to piede è grande, o picciolo; dico ri&longs;petto del cor­<lb/>po. </s> <s id="s.002786">&longs;e adunque cio uale nel corpo humano, perche non deue ualere nel corpo d'una fabrica, o d'al <lb/>tra co&longs;a artificio&longs;a? </s> <s id="s.002787">perche uolemo far giudicio d'una colonna, non &longs;apendo come ella era po&longs;ta <lb/>in opera, che &longs;pacio era tra una colonna, & l'altra, in che maniera era collocata, per quale acci<lb/>dente era co&longs;i compartita: che effetto, in che luogo faceua, & altri &longs;imili ri&longs;petti? </s> <s id="s.002788">che danno, <lb/>che dire a que&longs;ti di&longs;egnatori, che tutto di uanno mi&longs;urando le parti & le particelle, &longs;enza con&longs;ide<lb/>ratione del tutto, & &longs;e ne fanno regole, & precetti inuiolabili: & dicono, che non &longs;i troua in Ro<lb/>ma co&longs;a fatta &longs;econdo le regole di Vitr. al quale doueriano credere, poi che egli &longs;te&longs;&longs;o, ci leua la <lb/>&longs;oper&longs;titione, l'obligo, & la &longs;eruitù con le ragioni manife&longs;te: Sono bene i termini delle co&longs;e, &longs;econ­<lb/>do il piu, & il meno, ma tra que termini, oue &longs;ia, chi uoglia procedere con ragione, non ha per <lb/>duto il modo di fermar&longs;i piu in uno, che in altro luogo, quando la occa&longs;ione gli dà di farlo.<emph.end type="italics"/></s> </p> <pb pagenum="134" xlink:href="045/01/142.jpg"/> </subchap2><subchap2> <p type="head"> <s id="s.002789"><emph type="italics"/>Delle fondationi, & delle colonne, & loro ornamenti, & <lb/>di gli Architraui tanto ne i luoghi &longs;odi, quanto <lb/>ne i mo&longs;si, & aggrumati. </s> <s id="s.002790">Cap. III.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.002791">LE fondationi delle opere &longs;opradette di quanto &longs;ottera &longs;i ha da fare, &longs;i deo­<lb/>no cauare, &longs;e trouar &longs;i po&longs;&longs;ono, dal &longs;odo, & poi nel &longs;odo, quanto ci pare­<lb/>rà per la grandezza dell'opera, &longs;iano fatte, & quella fabrica, o &longs;truttura per <lb/>tutto il &longs;uolo quanto piu &longs;i faccia &longs;odi&longs;sima: & &longs;opra terra &longs;i facciano i muret­<lb/>ti &longs;otto le colonne per la metà piu gro&longs;si di quello, che &longs;aranno le colonne: accioche le <lb/>parti di &longs;otto &longs;iano piu ferme delle parti di &longs;opra (& que&longs;ti &longs;i po&longs;&longs;ono chiamare Stereo­<lb/>bata, qua&longs;i ferme piante, perche &longs;o&longs;tentano il pe&longs;o di tutto lo edificio) oltra di que&longs;to <lb/>gli &longs;porti delle &longs;pire, o delle ba&longs;e non deono u&longs;cire dal &longs;odo: & allo i&longs;te&longs;&longs;o modo deue <lb/>e&longs;&longs;ere &longs;eruata la gro&longs;&longs;ezza del muro, ma bene gli &longs;pacij deono e&longs;&longs;er fatti a uolte, ouero <lb/>&longs;ianolbene ra&longs;&longs;odati, & battuti, accioche &longs;iano bene rattenuti, & fermi. </s> </p> <p type="main"> <s id="s.002792"><emph type="italics"/>Hauendo Vitruuio trattato di quelle co&longs;e, che da lontano in confu&longs;o, & di quelle, che piu di <lb/>&longs;tintamente, & d'appre&longs;&longs;o uedemo, accioche non paia, che &longs;iano &longs;olamente nello aere, & <lb/>che non habbiano piede, egli uuole trattare delle fondamenta di quelle, & con bell'ordine dal <lb/>fondamento peruiene fino alla cima, facendo na&longs;cere, & cre&longs;cere la fabrica. </s> <s id="s.002793">Primieramente <lb/>adunque egli ci mostra quello, che deue &longs;tare &longs;otto le fabriche, & uucle, che imitiamo la na­<lb/>tura, che ne gli alberi fa le parti inferiori piu gro&longs;&longs;e, che le &longs;uperiori: percioche meglio &longs;i &longs;o­<lb/>&longs;tentano i pe&longs;i, & i carichi grandi. </s> <s id="s.002794">Il piano adunque, doue &longs;i deue fabricare, è ouero duro, &longs;o­<lb/>do, & naturale, ouero tenero, molle, & di terreno portato & mo&longs;&longs;o. </s> <s id="s.002795">diuer&longs;amente &longs;i deue <lb/>fondare nell'uno, & nell'altro: perche doue trouerai la terra &longs;oda, iui cauerai per fondare. <lb/></s> <s id="s.002796">& farai la fo&longs;&longs;a tanto larga, quanto porta la ragione dell'opera, che dei fare. </s> <s id="s.002797">&longs;e il ter­<lb/>reno &longs;arà molle, o &longs;arà tale nella &longs;operficie, ouero profonderà molto: &longs;e è nella &longs;operficie, ca­<lb/>ua in&longs;ino, che troui il &longs;odo, &longs;e profonderà, bi&longs;ognerà farle una palificata ben battuta, & <lb/>ra&longs;&longs;odata. </s> <s id="s.002798">Il fondamento è detto &longs;ubstructione, che altro non e, che la fabrica, che &longs;i fa &longs;ot­<lb/>terra, fin che &longs;i ueda. </s> <s id="s.002799">Hora que&longs;ta fondatione deue e&longs;&longs;er di &longs;otto larga, & piu che a&longs;cen­<lb/>de, piu &longs;i ua re&longs;tringendo. </s> <s id="s.002800">Deue&longs;i cauare il terreno della fo&longs;&longs;a egualmente, & il fondo deue e&longs;­<lb/>&longs;er piano, & eguale per tutto, accioche il pe&longs;o della fabrica lo prema egualmente, nè i pareti fac­<lb/>ciano danno, o &longs;egno alcuno. </s> <s id="s.002801">Le larghezze delle fo&longs;&longs;e per le fondamenta &longs;i deono fare dal giudi­<lb/>cio dell' Architetto, &longs;econdo le gro&longs;&longs;ezze delle mura, le grandezze delle fabriche, & le quali­<lb/>tà de i terreni: perche puo uenire occa&longs;ione o nel fare un gran palazzo, o un Tempio, ouero <lb/>un ponte, che &longs;i facciano le fondamenta intiere continuate per tutto il piano, di &longs;otto con per­<lb/>petua muratura. </s> <s id="s.002802">Quando al pari del piano hauerai leuato la &longs;ottomuratura, & il fondamento <lb/>dei leuare alcuni muretti, che &longs;i chiamano Stereobati, & altroue &longs;tilobati, qua&longs;i &longs;odi, & <lb/>fermi piedi delle colonne: benche altroue Stereobata uoglian dire il ba&longs;amento di tutta la fabri­<lb/>ca, che in alcuni edificij, è fatto a &longs;carpa. </s> <s id="s.002803">ma che quiui intenda il piede&longs;talo, &longs;i uede per quel­<lb/>le parole.<emph.end type="italics"/> {<emph type="italics"/>& &longs;otto terra &longs;i facciano i muretti &longs;otto le colonne.<emph.end type="italics"/>} <emph type="italics"/>cioè quando la fabrica co <lb/>mincia a &longs;coprir&longs;i, & ueder&longs;i. </s> <s id="s.002804">I muretti &longs;otto le colonne altro non &longs;ono, che i piede&longs;tali, <lb/>che &longs;i doueriano dire piede&longs;tili, cioè piedi delle colonne, che &longs;arebbe parola compo&longs;ta del Gre<lb/>co, & del uolgare. </s> <s id="s.002805">ma parliamo &longs;econdo l'u&longs;o. </s> <s id="s.002806">que&longs;ti adunque doueriano e&longs;&longs;er piu gro&longs;&longs;i per la <lb/>metà del fu&longs;to delle colonne da ba&longs;&longs;o. </s> <s id="s.002807">ecco la ragione. </s> <s id="s.002808">La &longs;pira, & ba&longs;a della colonna non i&longs;por<lb/>ta piu in fuori per lo piu, che la metà della gro&longs;&longs;ezza della colonna, cioè per un quarto da un <lb/>lato, & per un quar to dall'altro; & que&longs;to nella Dorica: perche lo &longs;porto della ba&longs;a Ionica &longs;i<emph.end type="italics"/><pb pagenum="135" xlink:href="045/01/143.jpg"/><emph type="italics"/>fa d'una quarta, & ottaua della gro&longs;&longs;ezza della colonna, come anche della Corinthia. <!-- KEEP S--></s> <s id="s.002809">Vuole <lb/>adunque Vitruuio che il piede&longs;talo, che è &longs;otto la colonna, &longs;ia per la metà piu gro&longs;&longs;o della colon­<lb/>na, che ui ua &longs;opra: & di piu uuole, che gli &longs;porti delle ba&longs;e, che &longs;ouo tanto, quanto la lar­<lb/>ghezza del zecco, non e&longs;chino del uiuo, cioè del quadrato del piede&longs;talo. </s> <s id="s.002810">Egli &longs;i deue auuertire, <lb/>che per que&longs;to nome Stilobata, &longs;e bene s'intende quel muretto, che è &longs;otto le colonne, come pie­<lb/>de, & po&longs;amento, però &longs;ono anche i Stilobati congiunti uno con l'altro mediante quella aggiun­<lb/>ta, della quale parlerà Vitruuio qui &longs;otto: & però tutto quel ligamento, è detto anche Stereo­<lb/>bata, &longs;econdo la e&longs;po&longs;itione del nome, che detto hauemo: & tutta que&longs;ta fabrica è imme<emph.end type="italics"/><lb/><figure id="id.045.01.143.1.jpg" xlink:href="045/01/143/1.jpg"/><lb/><emph type="italics"/>diate &longs;opra terra, & &longs;i puo anche poggio no <lb/>minare: ma del poggio ne dirò qui &longs;otto. </s> <s id="s.002811">Deue <lb/>&longs;i auertire, che i buoni antichi, &longs;e bene face­<lb/>uano il ba&longs;amento piu largo della fabrica di <lb/>&longs;opra, non però lo faceuano a &longs;carpa: ma in <lb/>modo di gradetti, come ci mo&longs;tra la figura qui <lb/>appre&longs;&longs;o. </s> <s id="s.002812">Dice poi Vitruuio.<emph.end type="italics"/> {<emph type="italics"/>Et allo i&longs;te&longs;&longs;o <lb/>modo deue e&longs;&longs;er &longs;eruata la gro&longs;&longs;ezza del mu­<lb/>ro<emph.end type="italics"/>} <emph type="italics"/>cioè che la parte inferiore &longs;ia piu gro&longs;&longs;a <lb/>di quella di &longs;opra. </s> <s id="s.002813">Ma gli &longs;pacij, che &longs;ono <lb/>tra un piede&longs;talo, & l'altro, cioè nelle fon­<lb/>damenta, &longs;i deono legare in que&longs;to modo, che <lb/>ouero &longs;i facciano a uolti, come è lo in piè d'un <lb/>Tempio di&longs;egnato nel primo libro, al cap. &longs;e­<lb/>condo: ouer &longs;iano ra&longs;&longs;odati con palificate <lb/>ben battute & ferme: & a que&longs;to modo i le­<lb/>gamenti della fabrica &longs;aranno fermißimi. </s> <s id="s.002814">Que <lb/>&longs;ti uolti &longs;ono stati ritrouati per &longs;cemar la &longs;pe­<lb/>&longs;a, & per aßicurar, che le colonne per lo pe&longs;o loro non fondino, & i uolti &longs;ono riuer&longs;ei: ma <lb/>che impedi&longs;ce, che non &longs;iano anche dritti, come è nell' e&longs;&longs;empio allegato? </s> <s id="s.002815">Ma come &longs;i battino le <lb/>palificate, con gli in&longs;trumenti detti Fi&longs;tuce da latini, & Becchi da noi, non è alcuno, che non <lb/>lo &longs;appia: & que&longs;ta è la regola di fondare ne i luoghi, che hanno buono, & &longs;odo terreno, co­<lb/>me &longs;ono quelli di Candia tenaci&longs;&longs;imi, & fermi&longs;&longs;imi, ne i quali è gran fatica fare le cauationi. </s> <s id="s.002816"><lb/>Ma &longs;e i luoghi &longs;aranno di terreno mo&longs;&longs;o, ouero paludo&longs;o, o tenero come a Venetia, Vitruuio <lb/>ce in&longs;egna quello &longs;i deue fare, & dice.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002817">Ma s'egli non &longs;i truoua il &longs;odo, & che il &longs;uolo &longs;ia mo&longs;&longs;o, ouero palu&longs;tre, allhora quel <lb/>luogho &longs;i deue cauare, & uotare, & con pali d'Alno, o di Oliuo, o di Rouere ar&longs;icciati <lb/>con&longs;iccare, & con le machine fatte a que&longs;to propo&longs;ito &longs;iano battute le palificate &longs;pe&longs;si&longs;si­<lb/>me, & gli &longs;pacij, che &longs;ono tra i pali &longs;iano empiti di carboni, & le fondamenta &longs;iano empite <lb/>di &longs;odi&longs;sime murature: ma poi che le fondamenta &longs;aranno ben battute, deon&longs;i porre a li­<lb/>uello i piede&longs;tali, &longs;opra de i quali di&longs;ponerai le colonne (come s'è detto di &longs;opra): ouero <lb/>nella maniera di &longs;trette colonne, come ella ricerca, ouero nelle altre, come cia&longs;cuna ri <lb/>chiede, &longs;ia o rila&longs;ciata, o &longs;pacio&longs;a, o gratio&longs;a maniera, come di &longs;opra &longs;ono &longs;tate ordina­<lb/>te, & de&longs;critte, perche nelle areo&longs;tile è grande libertà di fare gli &longs;pacij, come piace a cia­<lb/>&longs;c uno. </s> <s id="s.002818">bene egli &longs;i deue auuertire, che ne gli alati atorno, detti Peripteri, collocate &longs;iano <lb/>le colonne in modo, che quanti uani faranno nella fronte, tante due fiate &longs;iano ne i lati, <lb/>perche co&longs;i &longs;arà doppia la lunghezza dell'opera alla larghezza; però che quelli, i quali <expan abbr="hãno">hanno</expan> <lb/>uoluto raddoppiar le colonne, & non i uani, pare che habbiano errato, perche pare, che <lb/>uno intercolunnio oltra quello che bi&longs;ogna, &longs;i &longs;tenda per la lunghezza. </s> </p> <p type="main"> <s id="s.002819"><emph type="italics"/>Vitr. ha detto nel Capo antecedente, che lo alato a torno detto Peripteros, haueua&longs;ei colon-<emph.end type="italics"/><pb pagenum="136" xlink:href="045/01/144.jpg"/><emph type="italics"/>ne in fronte; adunque haueua cinque uani; perche &longs;empre i uani &longs;ono un meno delle colonne: & <lb/>da i lati haueua undici colonne computando le angulari; adunque hauer à dieci uani: & quelli, che <lb/>hanno raddoppiato il numero delle colonne da i fianchi, hanno errato, perche non hanno computa <lb/>to nel numero delle colonne da i lati quelle, che &longs;tanno &longs;opra gli anguli, le quali &longs;erueno alla fron­<lb/>te, & a i lati; &longs;i che bi&longs;ogna raddoppiare i uani, & non le colonne. </s> <s id="s.002820">& que&longs;ta regola è anche nel <lb/>le altre maniere, che hanno colonne a torno, che for&longs;e &longs;otto que&longs;to nome di periptere &longs;ono &longs;tate <lb/>tutte compre&longs;e, perche tutte hanno le ale a torno. </s> <s id="s.002821">Fin qui adunque hauemo le &longs;ondamenta, hauemo <lb/>i piede&longs;tali, & la fabrica alzata da terra: hora &longs;i ragioner à de i gradi, per li quali &longs;i a&longs;cendeua <lb/>al Tempio. <!-- KEEP S--></s> <s id="s.002822">que&longs;ti erano nelle fronti, come &longs;i uede in molte piante di &longs;opra, erano anche d'intorno, <lb/>come nella pianta del peripteros di &longs;ei colonne s' è po&longs;to: & con una i&longs;te&longs;&longs;a ragione &longs;i regola il nume <lb/>ro, l'altezza, & la larghezza de i gradi, & però dice Vitr.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.002823">I gradi nella fronte &longs;i deono formare in que&longs;to modo, che &longs;empre &longs;iano di&longs;pari, perche <lb/>&longs;alendo&longs;i al primo grado col piè de&longs;tro, lo i&longs;te&longs;&longs;o piede entrando&longs;i di &longs;opra nel Tempio &longs;a <lb/>rà po&longs;to: ma le gro&longs;&longs;ezze di quelli co&longs;i giudico io che debbiano e&longs;&longs;er terminate, che non <lb/>&longs;iano piu gro&longs;&longs;e di dieci dita, nè piu &longs;ottili di noue. </s> <s id="s.002824">perche a que&longs;to modo non &longs;arà diffi­<lb/>cile il &longs;alire. </s> <s id="s.002825">Le ritrattioni de i gradi, non &longs;iano meno d'un piede, & mezo, nè piu di <lb/>due: & &longs;e d'intorno al Tempio &longs;i deono fare i gradi, &longs;i faranno all'i&longs;te&longs;&longs;o modo. </s> </p> <p type="main"> <s id="s.002826"><emph type="italics"/>Il piede nel &longs;alire prima &longs;i alza, poi s'allarga: quella mi&longs;ura, che &longs;i fa alzando, è detta gro&longs;&longs;ez<lb/>za del grado: quella, che il piede calca, & s'allarga per &longs;alire allo altro grado, è detta da Vitr. ri <lb/>trattione del grado. </s> <s id="s.002827">io chiamerei quella, altezza, & que&longs;ta, larghezza del grado. </s> <s id="s.002828">Qui non di­<lb/>ce Vitr. che i gradi debbiano e&longs;&longs;ere piu tre, che cinque, piu cinque che &longs;ette. </s> <s id="s.002829">ben è uero, che egli è <lb/>&longs;tato auuertito nelle fabriche antiche, che <expan abbr="nō">non</expan> s' è pa&longs;&longs;ato il numero di noue. </s> <s id="s.002830">et &longs;e pure &longs;i pa&longs;&longs;aua, egli <lb/>&longs;i faceua un piano, & una ritrattione larga, che noi chiamamo requie, &longs;opra la quale &longs;i ripo&longs;a­<lb/>uano gli huomini, dapoi la &longs;alita. </s> <s id="s.002831">Deono e&longs;&longs;ere i gradi non piu alti di dieci parti d'un piede, nè <lb/>meno di noue, ma &longs;e fu&longs;&longs;ero noue parti a punto, o meno di dieci &longs;ariano piu commodi. </s> <s id="s.002832">Pone adun <lb/>que Vitr. itermini del piu, & del meno: ma a di no&longs;tri &longs;i fanno minori, il che non laudarei, per­<lb/>che poi non hanno grandezza, &longs;e bene fu&longs;&longs;ero piu commodi alla &longs;alita. </s> <s id="s.002833">Il piede è partito in dodici <lb/>oncie, come hauemo eletto. </s> <s id="s.002834">de&longs;tante &longs;ono dieci oncie, dodrante noue, & le oncie anche &longs;ono det <lb/>te dita. </s> <s id="s.002835">Ma &longs;e egli &longs;i uorrà fare il poggio da tre lati, Vitr. dice quello douemo o&longs;&longs;eruare.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002836">Ma s'egli &longs;i uorrà fare il poggio da tre lati, bi&longs;ognerà guardare, che i quadretti, le ba&longs;e <lb/>i tronchi, le cornici, & le gole conuenghino col piede&longs;talo, ch'è &longs;otto le &longs;pire delle co­<lb/>lonne. <emph type="italics"/>Cioè &longs;e'l piede&longs;talo hauerà quadretti, li&longs;telle, tronchi, gole, cornici, & ba&longs;e, ouero <lb/>altri membrelli, i mede&longs;imi &longs;iano anche nel poggio, come dimo&longs;tra lo in piè del tempio &longs;eguente, <lb/>che ha il poggio. </s> <s id="s.002837">Ma perche il piede&longs;tale, &longs;oprail quale era la colonna, u&longs;ciua del dritto, del <lb/>poggio, & per que&longs;to il poggio era ritratto in entro per lo &longs;pacio, che era tra un piede&longs;talo, & <lb/>l'altro, & faceua una certa concauità, che Vitr. chiama alueolato: però era nece&longs;&longs;ario, che <lb/>Vitr. ci de&longs;&longs;e la regola di agguagliare, & pareggiare i piede&longs;tali, accioche &longs;i &longs;ape&longs;&longs;e quanto ha­<lb/>ueuano adu&longs;cir fuori del dritto del poggio, & però dice.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002838">Et a que&longs;to modo bi&longs;ogna, che il piede&longs;talo &longs;ia pareggiato, che egli habbia per mezo <lb/>l'aggiunta per gli &longs;camilli impari; perche &longs;e egli fu&longs;&longs;e drizzato a linea, egli &longs;i uederebbe <lb/>con l'occhio il letto, & cauo. </s> <s id="s.002839">ma come a far que&longs;to &longs;i facciano gli &longs;camilli conuenienti, <lb/>come dell'altre co&longs;e, co&longs;i di que&longs;ta &longs;arà de&longs;critto nel fine del libro, la forma, & la di­<lb/>mo&longs;tratione. </s> </p> <p type="main"> <s id="s.002840"><emph type="italics"/>Deono i piede&longs;tali u&longs;cir del poggio, & que&longs;ta ri&longs;alita Vitr. chiama aggiunta, & la parte del <lb/>poggio, che &longs;i ritira a dietro, è detta alueolato. </s> <s id="s.002841">Il nome di &longs;camilli in uero non &longs;i troua, ( che io &longs;ap­<lb/>pia) nè latino, nè dedutto dal Greco. <!-- KEEP S--></s> <s id="s.002842">& quando bene uole&longs;&longs;e dire camillum, quando &longs;i dice&longs;&longs;e ca<lb/>millus nel genere del ma&longs;chio, io direi, che la intentione di Vitr. fu&longs;&longs;e, come io ho detto, perche <lb/>camillus, nel quarto libro, è una ca&longs;&longs;a, o forma, o telaro, che egli chiama loculamentum. </s> <s id="s.002843">Le<emph.end type="italics"/><pb pagenum="137" xlink:href="045/01/145.jpg"/><emph type="italics"/>ca&longs;elle, o celle delle api &longs;i chiamano camilli, & tutto quello, che &longs;epara una co&longs;a dall'altra, come<emph.end type="italics"/><lb/><figure id="id.045.01.145.1.jpg" xlink:href="045/01/145/1.jpg"/><lb/><emph type="italics"/>in ca&longs;&longs;a, è con questo nome chiamato. </s> <s id="s.002844">Quando adunque &longs;ia, che i piedi&longs;tali &longs;eparano una parte<emph.end type="italics"/><pb pagenum="138" xlink:href="045/01/146.jpg"/><emph type="italics"/>del poggio dall' altra, perche non &longs;i po&longs;&longs;ono dire camilli cia&longs;cuno di que &longs;pacij, &longs;eparato da i piede.<emph.end type="italics"/><lb/><figure id="id.045.01.146.1.jpg" xlink:href="045/01/146/1.jpg"/><pb pagenum="139" xlink:href="045/01/147.jpg"/><emph type="italics"/>&longs;tali? </s> <s id="s.002845">che uengono in fuori, & non uanno continuando, ma rompeno la drittura del poggio: &<emph.end type="italics"/><lb/><figure id="id.045.01.147.1.jpg" xlink:href="045/01/147/1.jpg"/><pb pagenum="140" xlink:href="045/01/148.jpg"/><emph type="italics"/>con licenza egli &longs;i u&longs;i que&longs;to nome del genere del ma&longs;chio, che è neutro.<emph.end type="italics"/> I<emph type="italics"/>l &longs;en&longs;o è dunque, co­<lb/>me ho detto, ilche proucrò anche di &longs;otto. </s> <s id="s.002846">Et &longs;e &longs;camillus uiene da &longs;camnum, per diminutione, <lb/>& che &longs;i traduca &longs;cabelli, perche i piedi&longs;tali &longs;ono come &longs;cabelli trauer&longs;i, non s'impedirebbe il no <lb/>&longs;tro &longs;entimento. </s> <s id="s.002847">il quale però è confirmato per alcune parole, che Vitr. dirà qui &longs;otto. </s> <s id="s.002848">Ma la pian <lb/>ta, & lo in piè del Tempio fatto col poggio &longs;ono fatte di &longs;opra. </s> <s id="s.002849">a carte<emph.end type="italics"/> 137. 138. <emph type="italics"/>&<emph.end type="italics"/> 139. </s> </p> <p type="main"> <s id="s.002850"><emph type="italics"/>Conuengono tutte le fabriche nelle fondamenta, o naturali, o artificiali, che &longs;iano. </s> <s id="s.002851">delle ar­<lb/>tificiali &longs;e ne è ragionato a ba&longs;tanza. </s> <s id="s.002852">&longs;opra le fondamente, o gradi, o poggi, che &longs;i facciano, &longs;ene <lb/>è dato la regola di &longs;opra. </s> <s id="s.002853">hora &longs;i dirà de i piedi&longs;tali, i quali &longs;ono di due modi. </s> <s id="s.002854">prima tutto il ba&longs;a­<lb/>mento d'una fabrica &longs;i puo chiamare piede&longs;tale; che in Greco &longs;tereobata, & anche &longs;tilobata &longs;i <lb/>chiamano le parti prime &longs;opra terra, piu gro&longs;&longs;e che i pareti; perche con perpetua, & continuata <lb/>&longs;odezza legano la fabrica d'intorno. </s> <s id="s.002855">l'e&longs;&longs;empio è nelle piante d'alcuni Tempij &longs;opra po&longs;ti, come <lb/>nella pianta del dipteros, doue &longs;i uede, che corre quel legamento intorno, &longs;opra il quale è po&longs;to il <lb/>colonnato. </s> <s id="s.002856">& nella parte dinanzi &longs;ono i gradi &longs;errati tra quel legamento, che è fatto per leuare <lb/>la fabrica da terra, & per darle &longs;odezza, & mae&longs;tà, & per ornamento. </s> <s id="s.002857">& &longs;pe&longs;&longs;o gli antichi ui <lb/>poneuano delle &longs;tatue nelle fronti, la doue da una parte, & l'altra erano del ba&longs;amento, che <lb/>u&longs;ciua dell' ordine delle colonne dinanziper legare i gradi, & que&longs;to poteua e&longs;&longs;er per la quarta <lb/>parte della colonna in altezza. </s> <s id="s.002858">i piede&longs;tali da &longs;e, & &longs;eparati dal ba&longs;ameno, non &longs;i danno per <lb/>quanto &longs;i legge, nè alle opere To&longs;cane, nè alle Doriche. <!-- KEEP S--></s> <s id="s.002859">però quelli, che danno mi&longs;ure de piede&longs;ta <lb/>li, pare, che s'habbiano formato di loro capo le mi&longs;ure di quelli, in que generi, doue non &longs;i tro­<lb/>uano. </s> <s id="s.002860">Ma nello Ionico, Corinthio, & composto, &longs;e ne truouano. </s> <s id="s.002861">come nel pre&longs;ente libro, & <lb/>nel quinto doue &longs;i ragiona del poggio della &longs;cena, &longs;i uede chiaramente. </s> <s id="s.002862">& molti e&longs;empi, ne &longs;ono <lb/>in Roma, ne gli archi, Tempij, & Theatri. <!-- KEEP S--></s> <s id="s.002863">Que&longs;ti hanno diuer&longs;e mi&longs;ure, & tutte però &longs;i ca­<lb/>uano dall'altezza della colonna con la &longs;ua ba&longs;a, & capitello, perche altri &longs;ono la terza parte, <lb/>come quelli dell'arco fatto al ca&longs;tel uecchio di Verona, d'opera Corinthia &longs;ommamente lodata. </s> <s id="s.002864"><lb/>Altri &longs;ono per la quarta parte, come &longs;ono quelli del Coli&longs;eo: altri &longs;ono d'una quarta & meza, <lb/>come nell'arco fatto da Traiano in memoria della uittoria di Dacia, &longs;ul porto d' Ancona: & è ope­<lb/>ra Corinthia bella & &longs;chietta. </s> <s id="s.002865">Altri della quinta, come &longs;i è oßeruato. </s> <s id="s.002866">& que&longs;ta diuer&longs;ità na­<lb/>&longs;ce, perche con diuer&longs;e intentioni l' Architetto &longs;opplire intende alla grandezza, o bellezza delle <lb/>fabriche, Vitruuio ragionando nel quinto, del poggio della &longs;cena, fa il piede&longs;talo d'uno terzo, <lb/>proportionando, & il poggio, & le colonne al diametro dell'Orche&longs;tra; & è belli&longs;&longs;ima forma. </s> <s id="s.002867">i <lb/>piedi&longs;tali ad unque, per le fatte o&longs;&longs;eruationi, &longs;i partirano in otto parti nella loro altezza. </s> <s id="s.002868">di que­<lb/>&longs;te una ua per gli ornamenti, o membrelli di &longs;opra, che &longs;ono come un capitello del piede&longs;talo: due &longs;i <lb/>danno alla ba&longs;a, il re&longs;to al dado, o tronco di mezo. </s> <s id="s.002869">La ba&longs;a &longs;i parte in tre parti, due &longs;i danno al <lb/>zocco, l'altra all'altre parti. </s> <s id="s.002870">&longs;i che gli ornamenti di &longs;otto, o membrelli che &longs;iano, &longs;ono doppij in <lb/>altezza a gli ornamenti, o membrelli di &longs;opra, che Vitru. chiama, quadre, corone, li&longs;is. </s> <s id="s.002871">Sole­<lb/>uano gli antichi &longs;otto la ba&longs;a del piede&longs;talo porre uno, o due zocchi, non meno alti di tutta la ba­<lb/>&longs;a del piede&longs;talo. </s> <s id="s.002872">& que&longs;to per dar fermezza, & grandezza alle opere. </s> <s id="s.002873">&longs;oleuano anche &longs;otto l'or­<lb/>lo della ba&longs;a della colonna porre un'altro zocco, ilche &longs;pecialmente u&longs;auano di fare ne gli archi. <lb/></s> <s id="s.002874">& tutta la ba&longs;a, col detto zocco era d'un pezzo, perche la fu&longs;&longs;e piu atta, a &longs;o&longs;tener i pe&longs;i, come <lb/>&longs;i uede nell'arco d' Ancona, ne gli archi di Settimio, & di Tito, & di Con&longs;tantino in Roma, & <lb/>in altri luoghi d'Italia. <!-- KEEP S--></s> <s id="s.002875">Ma prima, che io de&longs;criua co&longs;a alcuna, mi pare conueniente e&longs;ponere l'o­<lb/>rigine, & ragione de i uocaboli, & nomi po&longs;ti alle parti, & membri delle fabriche; accioche <lb/>&longs;empre non &longs;i habbia a tornar da capo. </s> <s id="s.002876">Fu la colonna (come s'è detto) ritrouata per &longs;o&longs;tenere <lb/>i pe&longs;i. </s> <s id="s.002877">& prima cra di legno, & ritonda. </s> <s id="s.002878">crebbe poi il di&longs;iderio della grandezza, & perpetui­<lb/>tà con la concorrenza de gli huomini, d'onde la terra fu &longs;ollecitata, & dalle ui&longs;cere di quella fu­<lb/>rono cauate le pietre, & i marmi. </s> <s id="s.002879">la onde hebbero luogo le colonne di marmo, ma in modo, che <lb/>tene&longs;&longs;ero qualche &longs;imiglianza con le colonne di legno, lequali, accioche per li pe&longs;i non &longs;i fende&longs;­<lb/>&longs;ero, haueuano dalle te&longs;te alcuni cerchi di ferro, & alcune anella, che re&longs;trigneuano i capi di <emph.end type="italics"/><pb pagenum="141" xlink:href="045/01/149.jpg"/><emph type="italics"/>que tronchi. </s> <s id="s.002880">doue gli Architetti ad imitatione di quelle, indu&longs;&longs;ero le fa&longs;cie di &longs;opra, & di &longs;otto <lb/>i fu&longs;ti delle colonne, & accrebbero poi quelle parti, di modo, che la parte di &longs;opra chiamarono <lb/>capitello, & quella di &longs;otto nominarono ba&longs;a. </s> <s id="s.002881">Nella ba&longs;a oßeruarono, che la larghezza &longs;ua <lb/>fu&longs;&longs;e maggiore dell'altezza, dapoi, che &longs;portaße alquanto piu del fusto della colonna, ad imita­<lb/>tione del piede humano: & co&longs;i anche l'infima parte della ba&longs;a fu&longs;&longs;e alquanto piu larga di quel­<lb/>la di &longs;opra; &longs;i come era il piede&longs;talo piu largo della ba&longs;a: & il fondamento piu largo del piede­<lb/>&longs;talo, ad imitatione della natura, come hauemo detto. </s> <s id="s.002882">Ba&longs;a è nome Greco, in latino &longs;i chiama <lb/>&longs;pira. </s> <s id="s.002883">perche &longs;pira &longs;ignifica giro, o uoluta: & le ba&longs;e erano ritonde, imitando i cerchi, & le anel­<lb/>la. </s> <s id="s.002884">ma i Greci chiamano ba&longs;e con miglior comparatione, perche ba&longs;is, uuol dire piede: & la ba­<lb/>&longs;a è piede della colonna. </s> <s id="s.002885">& però anche i nomi delle parti delle ba&longs;e, da Greci &longs;ono &longs;tati po&longs;ti <lb/>con que&longs;to ri&longs;petto del piede humano, & d'altre parti, & anche del &longs;uo calzare, perche fanno <lb/>le ba&longs;e di membri co&longs;i chiamat, come &longs;ono Plinthus, Torus, Scocia, Trochilus, Quadra, Su­<lb/>percilium, A&longs;tragali. <!-- KEEP S--></s> <s id="s.002886">Plinthus è nome Greco, &longs;ignifica mattone, laterculum, ouero cata&longs;trum: <lb/>& da uulgari è detto orlo: perche zocco è quello, che è &longs;otto la ba&longs;a; che io chiamerei piu pre­<lb/>&longs;to &longs;ottoba&longs;a, che zocco: & Plinthus chiamerei zocco, o quadrello. </s> <s id="s.002887">Torus è uno membrello <lb/>ritondo, che ua&longs;opra l'orlo, è detto in Greco &longs;tiuas: & &longs;i chiama Torus, perche è come una <lb/>gonfiezza carno&longs;a, ouero come uno piumazzetto. </s> <s id="s.002888">noi perche è ritondo lo chiamamo ba&longs;tone: & <lb/>France&longs;i, bozel, per la i&longs;te&longs;&longs;a ragione. </s> <s id="s.002889">Scocia è Greco, & &longs;ignifica ombro&longs;o, & o&longs;curo; per­<lb/>che è un membro cauo, che fa ombra; però i no&longs;tri lo chiamano cauetto. </s> <s id="s.002890">altri &longs;corza, perche è <lb/>come la &longs;corza di mezo ba&longs;tone: France&longs;i chiamano il cauetto contrabozel. </s> <s id="s.002891">Trochilus da Gre­<lb/>ci, orbiculus, da latini è detto, perche a&longs;&longs;imiglia una rotella, che &longs;opra il taglio habbia un cana­<lb/>le, come hanno i raggi delle taglie, &longs;opra liquali uanno le funi. </s> <s id="s.002892">Quadra, & li&longs;tella, & filette <lb/>in France&longs;e, che è la gro&longs;&longs;ezza d'alcuni membrelli, & è un pianuzzo & regola quadra di &longs;opra <lb/>il cauetto, come è il &longs;opraciglio a gli A&longs;tragali. <!-- KEEP S--></s> <s id="s.002893">A&longs;tragalus è co&longs;i detto dalla forma di quell'o&longs;­<lb/>&longs;o, che è nella giontura del collo del piede; latinamente è detto Talus; che uolgarmente &longs;i chia­<lb/>ma talone, ma gli Architetti pure dalla forma il chiamano tondino, et nelle ba&longs;e &longs;e ne fanno due. </s> <s id="s.002894"><lb/>I di&longs;egni di que&longs;ti membrelli, &longs;aranno qui &longs;otto, con le loro lettere, & nomi partitamente diße­<lb/>gnati. </s> <s id="s.002895">Noi po&longs;cia poneremo tutti gli ordini di&longs;tintamente prima, che &longs;i uenga al te&longs;to di Vitru. <!-- REMOVE S--><lb/>accioche, con la imitatione del Filandro facciamo chiara tutta la pre&longs;ente materia. </s> <s id="s.002896">laquale ha <lb/>bi&longs;ogno di que&longs;ta ordinatione. </s> <s id="s.002897">& &longs;atisfaremo anche a quelli, che non &longs;i curano di tanta Filo&longs;ofia, <lb/>& che ci fanno oppo&longs;itione di troppo alti concetti, & di&longs;cor&longs;i, con i quali io non uoglio &longs;cu&longs;ar­<lb/>mi, perche dubiterei di non gli credere, et non di dare ad intendere a me &longs;te&longs;&longs;o che fu&longs;&longs;e uero, che <lb/>o fu&longs;&longs;e piu Theorico, che pratico.<emph.end type="italics"/></s> </p> <figure id="id.045.01.149.1.jpg" xlink:href="045/01/149/1.jpg"/> <p type="main"> <s id="s.002898"><emph type="italics"/>A. Plinthus, Laterculus, uel lata&longs;trum. </s> <s id="s.002899">Orlo.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.002900"><emph type="italics"/>B. Thorus, &longs;tiuas. </s> <s id="s.002901">rondbozel. </s> <s id="s.002902">ba&longs;tone.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002903"><emph type="italics"/>C. Scotia, cauetto, &longs;corza. </s> <s id="s.002904">contrabozel. </s> <s id="s.002905">orbiculus. </s> <s id="s.002906">Trochilus.<emph.end type="italics"/></s> </p> <pb pagenum="142" xlink:href="045/01/150.jpg"/> <p type="main"> <s id="s.002907"><emph type="italics"/>D. <!-- KEEP S--></s> <s id="s.002908">A&longs;tragalus. </s> <s id="s.002909">Talus. </s> <s id="s.002910">tondino.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002911"><emph type="italics"/>E. Quadra. <!-- KEEP S--></s> <s id="s.002912">li&longs;tello. </s> <s id="s.002913">Filette.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002914"><emph type="italics"/>F. è quella parte doue termina il fu&longs;to della colonna, detta cimbia, ouero annulo, o le&longs;tello <lb/>dell'Apofige, della quale &longs;i dir à dapoi.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002915"><emph type="italics"/>La ba&longs;a To&longs;cana ha di que&longs;te parti, l'orlo, & il ba&longs;tone. </s> <s id="s.002916">la mi&longs;ura di que&longs;ta è, che e&longs;&longs;er deue <lb/>alta quanto è la metà del diametro della colonna. </s> <s id="s.002917">Que&longs;ta altezza &longs;i diuide in due parti, l'una &longs;i <lb/>da all' orlo, ilquale in que&longs;ta ba&longs;a è fatto a &longs;e&longs;ta. </s> <s id="s.002918">l'altra &longs;i dà al ba&longs;tone, con quella parte, che &longs;i <lb/>chiama apofige, & apothe&longs;i; che &longs;ono certe piegature dalle teste de i fu&longs;ti delle colonne, che dan­<lb/>no gratia mirabile, quando &longs;ono ben fatte. </s> <s id="s.002919">& pare, che fuggino, & &longs;iano ritratte. </s> <s id="s.002920">però hanno <lb/>in Greco que&longs;te nominanze, apothe&longs;i, & apofige. </s> <s id="s.002921">quella di &longs;opra è detta collarino, & quella di <lb/>&longs;otto, cimbia, & &longs;ono in modo, che &longs;e amendue fu&longs;&longs;ero congiunte in&longs;ieme farebbeno la forma del <lb/>cauetto. </s> <s id="s.002922">Lo &longs;porto dell' orlo è per la terza parte dell' altezza della ba&longs;a. </s> <s id="s.002923">il ba&longs;tone ha tanto di <lb/>&longs;porto, quanto l'orlo. </s> <s id="s.002924">et &longs;i fa con la &longs;e&longs;ta; benche qui pare quadro, però &longs;i cono&longs;ce dal &longs;uo fon­<lb/>damento. </s> <s id="s.002925">il &longs;emidiametro del ba&longs;tone, è termine della cimbia, perche ella non pa&longs;&longs;a piu oltre il <lb/>&longs;egno a. <!-- REMOVE S-->laqual cimbia, è l'ottaua parte alta dell' altezza di tutta la ba&longs;a. </s> <s id="s.002926">que&longs;ta nelli generi Do­<lb/>rico, Ionico, et Corinthio è parte della colonna, ma nel To&longs;cano è parte della ba&longs;a, et &longs;i fa a &longs;e&longs;ta <lb/>in que&longs;to modo. </s> <s id="s.002927">Cada una linea dal dritto della colonna a piombo &longs;opra l'orlo, et quella parte, <lb/>che &longs;porta oltra il dritto della colonna &longs;iapartita in tre parti eguali<emph.end type="italics"/> 1. 2. 3. <emph type="italics"/>et uiene portata <lb/>in fuori dallo e&longs;tremo della cimbia. </s> <s id="s.002928">dal punto a. <!-- REMOVE S-->al punto b. <!-- REMOVE S-->et allargata la &longs;esta dal punto a. <!-- REMOVE S-->al <lb/>punto e. <!-- REMOVE S-->&longs;opra'l quale cade il dritto della colonna, &longs;i ferma l'un piede in b. <!-- REMOVE S-->et con l'altro &longs;i fa il <lb/>punto d. <!-- REMOVE S-->ilquale deue e&longs;&longs;ere centro di quel giro, che regge la piega della cimbia. </s> <s id="s.002929">&longs;imilmente con <lb/>quella &longs;e&longs;ta co&longs;i allargata &longs;i piglia la di&longs;tanza da, e, à c. <!-- REMOVE S-->&longs;opra il fu&longs;to della colonna. </s> <s id="s.002930">et po&longs;ta <lb/>la &longs;e&longs;ta in c. <!-- REMOVE S-->&longs;i taglia il punto d. <!-- REMOVE S-->ilquale è centro dell' Apofige, o cimbia che &longs;i dica. </s> <s id="s.002931">la figura <lb/>è qui&longs;otto. </s> <s id="s.002932">A. B. C. nella pianta &longs;ono &longs;egni delle parti della ba&longs;a. </s> <s id="s.002933">A. ri&longs;ponde alla cimbia <lb/>detta Apofige. <!-- KEEP S--></s> <s id="s.002934">B. al ba&longs;tone detto Torus. <!-- KEEP S--></s> <s id="s.002935">C. all' orlo, detto Plinthus, che nella ba&longs;a To&longs;ca­<lb/>na, è fatto a &longs;esta, come s'è detto. </s> <s id="s.002936">La colonna deue e&longs;&longs;er alta&longs;ette teste con la ba&longs;a, & il capi­<lb/>tello. </s> <s id="s.002937">ma rastremata la quarta parte della' gro&longs;&longs;ezza da piedi, cioè uno ottauo per parte. </s> <s id="s.002938">Nel <lb/>capitello To&longs;cano ei &longs;ono queste parti, Abaco Echino, Hipotrachelio, & Apofige. <!-- KEEP S--></s> <s id="s.002939">Tutti i ca­<lb/>pitelli conuengono in que&longs;to membro, che &longs;i chiama Abaco. <!-- REMOVE S-->ilquale è una tauola quadra, detta <lb/>operculum da Leone, & Dado da no&longs;tri. </s> <s id="s.002940">perche è di forma quadrangulare, & nel To&longs;cano &longs;i <lb/>puo chiamar zocco, & Plinthus. </s> <s id="s.002941">Conuengono tutti i capitelli, che tutti &longs;i po&longs;ano, & s'incon­<lb/>trano con le linee cia&longs;cuno della colonna &longs;ua, nel fusto di &longs;opra, doue è fatta la contrattione, & <lb/>diminutione della colonna. </s> <s id="s.002942">Le mi&longs;ure del capitello To&longs;cano &longs;onoque&longs;te. </s> <s id="s.002943">Prima egli è alto quan­<lb/>to la ba&longs;a, cioè per la metà della gro&longs;&longs;ezza della colonna da piedi. </s> <s id="s.002944">Que&longs;ta altezza &longs;i diuide in <lb/>tre parti, l'una &longs;i dà all' Abaco, o zocco, o dado, che uogliamo chiamare. </s> <s id="s.002945">quella di mezo al­<lb/>l'Echino, cioè ouolo, del quale &longs;i dirà hora, che co&longs;a uuol dire. </s> <s id="s.002946">La terza &longs;i re&longs;trigne all' hypotra­<lb/>chelio, o collarino, & apofige. </s> <s id="s.002947">Echino &longs;ignifica il riccio di ca&longs;tagna, il riccio animale d'acqua, <lb/>& di terra. </s> <s id="s.002948">chiama&longs;i que&longs;ta parte Echino, perche in e&longs;&longs;a &longs;i &longs;colpiuano iricci di ca&longs;tagna. </s> <s id="s.002949">doue­<lb/>mo imaginarci molti ricci di castagna l'uno appre&longs;&longs;o dell' altro aperti, & che mo&longs;trino le ca&longs;ta­<lb/>gne quando &longs;ono mature. </s> <s id="s.002950">que&longs;ti fanno un bel uedere, & adornano mirabilmente. </s> <s id="s.002951">Que&longs;ta par­<lb/>te Vitru. chiama Encarpi, parlando del capitello Ionico: perche erano ornati di frutti, & di <lb/>foglie, come &longs;i uede in molti capitelli antichi. </s> <s id="s.002952">i moderni chiamano que&longs;ta parte Ouolo, non &longs;apen <lb/>do l'origine, & parendo loro, che &longs;iano oua &longs;colpite. </s> <s id="s.002953">Encarpi &longs;i po&longs;&longs;ono chiamare, fe&longs;toni. </s> <s id="s.002954"><lb/>Hipotrachelio, è una &longs;ottogola, alla &longs;imiglianza del collo dell' huomo. </s> <s id="s.002955">Faccia&longs;i adunque il da­<lb/>do, o Plinto, per uno &longs;e&longs;to della gro&longs;&longs;ezza della colonna, che uiene a e&longs;&longs;er un terzo della metà <lb/>del diametro. </s> <s id="s.002956">L'ouolo occupa la parte di mezo. </s> <s id="s.002957">Questi accioche &longs;ia tirato a &longs;e&longs;ta, bi&longs;ogna <lb/>tirar una linea dal dritto della colonna di&longs;opra, fin all' Abaco, & diuidere in due parti eguali <lb/>quello &longs;porto dell' Abaco che auanza, & di quelle riportarne una in dentro, & far punto. </s> <s id="s.002958">a.<emph.end type="italics"/><pb pagenum="143" xlink:href="045/01/151.jpg"/><figure id="id.045.01.151.1.jpg" xlink:href="045/01/151/1.jpg"/><pb pagenum="144" xlink:href="045/01/152.jpg"/><emph type="italics"/>& po&longs;ta la &longs;e&longs;ta &longs;opra l'e&longs;tremo li&longs;tello, che ua&longs;otto l'ouolo (che è alto la &longs;e&longs;ta parte di quella, <lb/>che ua all' hipotrachelio) allargata al punto, a. <!-- REMOVE S-->&longs;i &longs;a un poco di giro. </s> <s id="s.002959">& dall' c&longs;tremità dello aba­<lb/>co &longs;i &longs;a il mede&longs;imo, & nello incrocciamento &longs;i pone la &longs;esta, & &longs;i tira l'Ouolo leggiadramente, <lb/>la&longs;ciando all' Abaco alquanto di prominenza per garbo. </s> <s id="s.002960">lo Hipotrachelio, o &longs;ottogola, &longs;i fa <lb/>al modo che &longs;i fa l'Apofige: & è alto il doppio del li&longs;tello &longs;otto l'ouolo. </s> <s id="s.002961">la &longs;ua cimbia è alta la me­<lb/>tà, cioè tanto, quanto il listello &longs;otto l'ouolo. </s> <s id="s.002962">il tondo &longs;porta oltra lo &longs;porto del detto listello, per­<lb/>che la&longs;ciando cadere una linea a piombo dalla estremità del listello, doue è il punto. </s> <s id="s.002963">g. <!-- REMOVE S-->&longs;opra quella <lb/>&longs;arà il centro di fare il giro & tondo predetto, ma la piegatura &longs;otto la cimbia, &longs;i fa al &longs;opradetto <lb/>modo. </s> <s id="s.002964">facendo il centro, come &longs;i è detto la doue è h. <!-- REMOVE S-->& l.<emph.end type="italics"/><!-- REMOVE S--><emph type="italics"/>E. Abacus, Plinthuo, dado.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002965"><emph type="italics"/>F. Echinus, ouero Ouolo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002966"><emph type="italics"/>G. Annulus, Listello.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002967"><emph type="italics"/>H. I. K. L. <!-- KEEP S--></s> <s id="s.002968">Hypotrachelium con Apofigi. <!-- REMOVE S-->cioè parte contratta alla &longs;ottogola, con <lb/>la cimbia.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002969"><emph type="italics"/>Sopra'l capitello &longs;i pone l'architraue, con quelle ragioni, che porta la ragione dell' opera, &longs;e­<lb/>condo, che dirà Vitr. nel quarto. </s> <s id="s.002970">al qual luogo io mi riporto. </s> <s id="s.002971">Ma uenire è nece&longs;&longs;ario al genere <lb/>Dorico, &longs;e noi uogliamo &longs;eguitare l'ordine propo&longs;to. </s> <s id="s.002972">però diremo in&longs;ieme con Vitr. che il Dorico <lb/>non ha ba&longs;a propria, ma alcuna fiata &longs;e le dà la ba&longs;a Attica, la quale &longs;i forma di queste parti, <lb/>Plinthus, torus inferior, quadræ, torus, &longs;uperior, &longs;cotia. </s> <s id="s.002973">Que&longs;te parti gia &longs;ono dichiarite qua­<lb/>li &longs;iano. </s> <s id="s.002974">ha dunque la detta ba&longs;a, l'orlo, due ba&longs;toni, uno cauetto tra quelli, con i &longs;uoi quadret­<lb/>ti, li&longs;telli, o gradetti, che &longs;i dichino l'uno di &longs;opra il cauetto, & l'altro di &longs;otto. </s> <s id="s.002975">La mi&longs;ura di <lb/>que&longs;ta ba&longs;a è, che ella è alta la metà della gro&longs;&longs;ezza della colonna, la lungezza è per una gro&longs;­<lb/>&longs;ezza & meza. </s> <s id="s.002976">Si diuide poi la gro&longs;&longs;ezza della colonna in tre parti, l'una &longs;i dà all' altezza del­<lb/>l'orlo, il re&longs;tante &longs;i partirà in quattro parti, una delle quali &longs;i darà al ba&longs;tone di &longs;opra, le altre <lb/>tre &longs;i partiranno in due parti eguali, l'una &longs;i darà al ba&longs;tone di &longs;otto, l'altra al cauet­<lb/>to con li &longs;uoi gradetti. </s> <s id="s.002977">que&longs;ta parte del cauetto &longs;i diuide in &longs;ei parti, una delle quali &longs;i dà al <lb/>gradetto di &longs;opra, l'altra al gradetto di &longs;otto. </s> <s id="s.002978">Le quattro re&longs;tano al cauetto. </s> <s id="s.002979">lo &longs;porto del basto <lb/>ne di &longs;otto, ua di pari con l'orlo, & &longs;i fa il &longs;uo giro a &longs;e&longs;ta, come s'è detto. </s> <s id="s.002980">lo &longs;porto del gradetto <lb/>di &longs;otto ua di pari col &longs;emidiametro del ba&longs;tone di &longs;otto. </s> <s id="s.002981">lo &longs;porto del gradetto di &longs;opra, ua di pa­<lb/>ri della cimbia. </s> <s id="s.002982">La cimbia di pari del &longs;emidiametro del ba&longs;tone di &longs;opra. </s> <s id="s.002983">Il quale &longs;emidiametro, <lb/>è oltra il dritto della colonna, la terza parte dello &longs;porto dell' orlo oltra il dritto della colonna. </s> <s id="s.002984"><lb/>Lo &longs;mu&longs;&longs;o, o giro dell' Apophige, &longs;i fa a que&longs;to modo. </s> <s id="s.002985">La&longs;cia cadere dal dritto della colonna una <lb/>linea &longs;opra la cimbia, & partirai quello &longs;patio, che è rinchiu&longs;o tra la detta linea, & lo &longs;porto <lb/>della cimbia, in due parti, & una di quelle allungherai oltra lo &longs;porto della cimbia, & piglia con <lb/>la &longs;e&longs;ta tutta quella mi&longs;ura, che è contenuta &longs;otto le tre parti dallo dritto della colonna, & farai <lb/>lo incrocciamento, come s'è detto. </s> <s id="s.002986">Il cauetto &longs;i tira con giudicio, benche &longs;i puo fare tirando una <lb/>linea dallo e&longs;tremo del gradetto di&longs;opra allo e&longs;tremo del gradetto di &longs;otto, & facendo il centro <lb/>&longs;opra quella linea, & tirando il giro dall' uno, & l'altro e&longs;tremo de i gradetti, & rie&longs;ce bene.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002987"><emph type="italics"/>A. Abacus, orlo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002988"><emph type="italics"/>B. </s> <s id="s.002989">Torus inferior, bastone di &longs;otto.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002990">2. <emph type="italics"/>Quadre, li&longs;telle, o gradetti.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002991"><emph type="italics"/>C. Scotia.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002992"><emph type="italics"/>D. <!-- KEEP S--></s> <s id="s.002993">Torus &longs;uperior. </s> <s id="s.002994">ba&longs;tone di &longs;opra.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002995"><emph type="italics"/>E F. apophigis. </s> <s id="s.002996">cimbia. </s> <s id="s.002997">&longs;mu&longs;&longs;o.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.002998"><emph type="italics"/>La colonna Dorica è alta &longs;ette te&longs;te, & &longs;i contragge &longs;econdo la ragione dell' altezza &longs;ua, come <lb/>&longs;i dirà poi. </s> <s id="s.002999">Il capitello Dorico. <!-- KEEP S--></s> <s id="s.003000">ha queste parti, Plinthus, Cymatium, Echinus cum annulis, <lb/>pars, quæ hypotrachelio contrahitur columnæ, cioè zocco, o dado, cima&longs;a, ouer ouolo, annel­<lb/>la, collarino, delle quali s'è detto la origine, & deriuatione. </s> <s id="s.003001">Ma le mi&longs;ure &longs;ono queste.<emph.end type="italics"/></s> </p> <pb pagenum="145" xlink:href="045/01/153.jpg"/> <p type="main"> <s id="s.003002"><emph type="italics"/>La gro&longs;&longs;ezza del capitello è per la metà della gro&longs;&longs;ezza della colonna. </s> <s id="s.003003">La larghèzza è per <lb/>tutta la gro&longs;&longs;ezza della colonna, & di piu uno &longs;e&longs;to; &longs;econdo Vitruuio. <!-- KEEP S--></s> <s id="s.003004">Ma nell' antico &longs;i truoua, <lb/>& rie&longs;ce meglio un quinto per parte. </s> <s id="s.003005">Diuiderai la gro&longs;&longs;ezza del capitello in tre parti, delle quali <lb/>una &longs;i dà al zocco con la &longs;ua Cima&longs;a, l'altra all' ouolo con le anella, l'altra &longs;i contragge al collarino <lb/>della colonna. </s> <s id="s.003006">Di modo che la larghezza, o gro&longs;&longs;ezza del capitello è due quinti piu della gro&longs;&longs;ez<lb/>za della colonna. </s> <s id="s.003007">l'altezza del zocco, o dado, &longs;i diuide in cinque parti, tre delle quali &longs;i danno <lb/>al zocco, & due alla &longs;ua Cima&longs;a. <!-- KEEP S--></s> <s id="s.003008">& quelle due &longs;i diuideno in tre parti; due delle quali &longs;i danno al <lb/>la Cima&longs;a, & una al quadretto. </s> <s id="s.003009">Finito il zocco, & la cima&longs;a, &longs;eguita l'ouolo, & le anella &longs;ue. </s> <s id="s.003010"><lb/>l'altezza dell' ouolo &longs;i diuide in tre parti, due delle quali, &longs;i danno all' ouolo, una alle anella <lb/>Que&longs;ti &longs;ono tre, & &longs;ono alti tanto l'uno quanto l'altro. </s> <s id="s.003011">Sporta il primo oltra il dritto della colon <lb/>na di &longs;opra la metà dell' altezza &longs;ua: & il &longs;econdo &longs;porta oltra il primo, anch'egli la metà della <lb/>&longs;ua gro&longs;&longs;ezza; & il terzo, che è di &longs;opra, fa il &longs;imile oltra il &longs;econdo. </s> <s id="s.003012">ma non &longs;arebbe male, che <lb/>cia&longs;cuno &longs;porta&longs;&longs;e tanto, quanto è l'altezza &longs;ua. </s> <s id="s.003013">l'ouolo &longs;i fa a &longs;e&longs;ta, pigliando&longs;i con la &longs;e&longs;ta la <lb/>di&longs;tanza, che è dallo e&longs;tremo dell' ultimo anello, fin &longs;otto l'abaco, & facendo&longs;i lo incrocciamen­<lb/>to da quello e&longs;tremo, & anche &longs;otto l'abaco, & ponendo&longs;i la &longs;e&longs;ta nello taglio dello incrocciamen<lb/>to. </s> <s id="s.003014">Seguita la parte, che &longs;i contragge alla &longs;ottogola, che da alcuni &longs;i chiama fregio. </s> <s id="s.003015">que&longs;ta con <lb/>la &longs;ua bella piega peruiene fin' alla cimbia. </s> <s id="s.003016">& a&longs;tragalo, o tondino, che &longs;i dica, & &longs;i uiene ad <lb/>incontrare col dritto della colonna di &longs;opra. </s> <s id="s.003017">Il tondino è alte, quanto &longs;ono tutte tre le anella, & <lb/>la metà di uno, porge in fuori quanto l'ouolo. </s> <s id="s.003018">La cimbia è alta per la metà del tondino. </s> <s id="s.003019">porge a <lb/>piombo del &longs;emidiametro del tondino: il re&longs;to &longs;i fa al modo &longs;opra detto. </s> <s id="s.003020">Gli antichi &longs;oleuano pone <lb/>re &longs;opra il capitello una aggiunta non molto alta, che po&longs;aua &longs;u'l zocco, al dritto della colonna <lb/>di &longs;opra; & que&longs;to faceuano, perche lo architraue &longs;i po&longs;a&longs;&longs;e &longs;u'l uiuo del capitello, & della co­<lb/>lonna, & non rompe&longs;&longs;e gli &longs;porti. </s> <s id="s.003021">L'architraue detto trabs, conle parti di quello, che gli &longs;ta <lb/>&longs;opra, ha que&longs;te parti, che &longs;i dicono in latino, Epi&longs;tilium, Tenia, Guttæ, trigliphi, metopæ, re<lb/>gula, capitula, canales, femora, cimacium, corona, Timpanum, acroteria, &longs;ima. </s> <s id="s.003022">Le &longs;ignifi <lb/>cationi delle quali co&longs;e &longs;ono que&longs;te. </s> <s id="s.003023">Epi&longs;tilium è tutto quello, che ua &longs;opra le colonne; & capitel<lb/>li, per nome generale: ma propriamente è la traue mae&longs;tra, che architraue uolgarmente &longs;i chia <lb/>ma; Epi&longs;tilium uuol dire impo&longs;ta di colonne. </s> <s id="s.003024">que&longs;ti nel genere Dorico ha una fa&longs;cia, ouero ben­<lb/>da, che &longs;i chiama tenia, &longs;otto la quale con una regoletta &longs;ono intagliate le goccie, che fanno lo <lb/>effetto delle goccie dell' acqua, che cade, & &longs;ono &longs;ei di numero, per ogni testa di traue, che è <lb/>rappre&longs;entata per li trigliphi. </s> <s id="s.003025">la origine de i quali è que&longs;ta. </s> <s id="s.003026">Nelle fabriche di legno &longs;oleuano &longs;por <lb/>tare le te&longs;te delle traui, le quali &longs;i chiamauano, ope, & lo &longs;pacio, che era tra una te&longs;ta, & l'al­<lb/>tra, metopa, &longs;i diceua. </s> <s id="s.003027">perche poi non pareuano bene quelle te&longs;te co&longs;i nude, & &longs;coperte, gli an <lb/>tichi le copriuano con certe tauolette, & quelle con cera di diuer&longs;i colori dipigneuano. </s> <s id="s.003028">Ma quel <lb/>li, che non di legno, ma di pietra magnificamente lauorauano, imitando quelle te&longs;te, fecero quel <lb/>li membri, che Triglifi chiamarono, qua&longs;i Tri&longs;olci, perche &longs;ono tagliati in tre canali, due intie­<lb/>ri, & uno mezo per lato. </s> <s id="s.003029">da que&longs;ti canali pare, che cadino le goccie gia dette. </s> <s id="s.003030">Gli &longs;patij, che &longs;o <lb/>no tra i canali, &longs;i chiamano femora, noi per altri ri&longs;petti potemo nominarli piani. </s> <s id="s.003031">i Triglifi han­<lb/>no i loro capitelli &longs;opra i quali è la cornice, che &longs;i chiama corona, perche cigne lo ediftcio come <lb/>corona. </s> <s id="s.003032">Moderni la chiamano gocciolatoio, perche da quella gocciolano le acque cele&longs;ti, & <lb/>&longs;ono gettate lontane dallo edificio. </s> <s id="s.003033">Que&longs;ta cornice ha due cima&longs;e, o gole, una di&longs;otto, & l'altra <lb/>di &longs;opra; & &longs;ono adornamenti &longs;uoi. </s> <s id="s.003034">Sopra la cornice è il Fa&longs;tigio, che noi chiamamo Fronti&longs;pi­<lb/>cio, che ha un piano nel mezo, che &longs;i chiama Timpano, perche è cinto da i mede&longs;imi membri del <lb/>la corona, & da una gola &longs;chiacciata, che &longs;i chiama &longs;ima, a &longs;imiglianza del na&longs;o delle capre. </s> <s id="s.003035"><lb/>Oltra di que&longs;to il Fronti&longs;picio ha da i lati, & nel mezo di &longs;opra gli acroterij, che &longs;ono alcuni pi­<lb/>la&longs;trelli, &longs;opra i quali, &longs;i poneuano le &longs;tatue: & quelli da i lati moriuano nel tetto, & quello di <lb/>mezo era libero. </s> <s id="s.003036">Hora ueniamo alle mi&longs;ure. </s> <s id="s.003037">La grandezza dello architraue in altezza con la <lb/>benda, & goccie &longs;ue, è per la metà della gro&longs;&longs;ezza della colonna. </s> <s id="s.003038">que&longs;ta metà hora chiameremo<emph.end type="italics"/><pb pagenum="146" xlink:href="045/01/154.jpg"/><emph type="italics"/>modulo. </s> <s id="s.003039">La benda, fa&longs;cia, o Tenia, che &longs;i dica, è per la &longs;ettima parte del modulo. </s> <s id="s.003040">le goccie <lb/>con la regoletta la &longs;e&longs;ta. </s> <s id="s.003041">que&longs;ta regoletta ua &longs;opra le goccie, & di tre parti, ne occupa una, di <lb/>quella &longs;e&longs;ta parte. </s> <s id="s.003042">La larghezza dello Architraue, cioè il piano di &longs;otto, che &longs;i po&longs;a &longs;opra'l capi <lb/>tello, e&longs;&longs;er deue tanto, quanto il collarino della colonna di &longs;opra; perche co&longs;i uenirà a po&longs;ar&longs;i <lb/>&longs;u'l uiuo. </s> <s id="s.003043">L'altezza de i Triglifi è per un modulo & mezo, larghi nella fronte un modulo. </s> <s id="s.003044">que&longs;ta <lb/>fronte ha due canali nel mezo intieri, & due mezi dalle parti, & &longs;ono tagliati in modo, che lo <lb/>angulo della &longs;quadra u'entri nel mezo, & le braccia della &longs;quadra facciano le &longs;ponde. </s> <s id="s.003045">& accio­<lb/>che &longs;iano giu&longs;ti, &longs;i diuide la larghezza del Triglifo in &longs;ei parti, & &longs;ene la&longs;cia meza parte per ban<lb/>da per li mezi canali, dopo i quali, &longs;ene la&longs;cia una per parte, per li pianuzzi, che Vitr. chia­<lb/>ma femora. </s> <s id="s.003046">dopo i piani, &longs;ono i canaletti uno per banda, & &longs;ono intieri, occupando cia&longs;cuno <lb/>una parte delle &longs;ei, & nel mezo i due canali u'è il &longs;uo piano, che occupa la &longs;e&longs;ta parte. </s> <s id="s.003047">Bi&longs;ogna <lb/>auuertire, che'l mezo del Triglifo &longs;ia &longs;opra'l mezo del quadro della colonna. </s> <s id="s.003048">Le metope &longs;ono qua<lb/>dre perfette, cioè tanto alte, quanto larghe: & quelle metope, che &longs;ono &longs;opra gli anguli, &longs;ono <lb/>meze, ma non a punto, ma meno delle metà, perche co&longs;i rie&longs;ce il compartimento; come &longs;i uederà <lb/>nel quarto libro. </s> <s id="s.003049">Soprai<emph.end type="italics"/> T<emph type="italics"/>riglifi &longs;ono i capitelli loro, alti la &longs;e&longs;ta parte d'un modulo: & &longs;oprai <lb/>capitelli è la corona o gocciolatio, alta o gro&longs;&longs;a con le &longs;ue cima&longs;e mezo modulo. </s> <s id="s.003050">que&longs;ta altezza <lb/>&longs;i diuide in quattro parti, l'una &longs;i dà alla cima&longs;a di &longs;opra, la una alla cima&longs;a di &longs;otto, due allo <lb/>&longs;pacio, ch'è tra una cima&longs;a, & l'altra. </s> <s id="s.003051">la cima&longs;a ha il &longs;uo li&longs;tello, alto un terzo, & gli altri due <lb/>&longs;i danno alla piegatura della &longs;ua gola. </s> <s id="s.003052">La corona &longs;porta per la metà, & uno &longs;e&longs;to d'un modulo, <lb/>& ha alcuni tagli come dentelli di &longs;otto, accioche cadendo le goccie, non po&longs;&longs;ano uenire longo <lb/>il muro, ouero le colonne, & gua&longs;tarle; & per que&longs;ta parte for&longs;e è detta gocciolatio, & quella par <lb/>te è detta da Vitr. mento dalla corona, et que luoghi, &longs;cotia, ouero cauetti. </s> <s id="s.003053">le gole del gocciolatoio <lb/>&longs;ono una al contrario dell' altra, come &longs;i uede nella figura. </s> <s id="s.003054">Gli antichi ornauano gli &longs;patij delle me <lb/>tope <expan abbr="cō">com</expan> te&longs;te di bue ben date, con le patine de' &longs;acrificij, et altre co&longs;e, doue io laudo la <expan abbr="inuētione">inuentione</expan> del <lb/>San&longs;ouino, che nelle metope de i portichi &longs;otto la libreria publica ha collocato le in&longs;egne della Re <lb/>publica col farui la parte dinanzi del Leone alato. </s> <s id="s.003055">Similmente, &longs;otto il piano della cornice alla <lb/>parte, che guarda in giu, & &longs;porta in fuori, &longs;i &longs;colpiuano alcune goccie &longs;opra i Trigli­<lb/>fi, & alcune ro&longs;e &longs;opra le metope, le goccie ri&longs;pondeuano alle goccie, che &longs;ono &longs;otto i Triglifi, <lb/>& erano ritonde, & &longs;e ne poneuano &longs;ei per parte. </s> <s id="s.003056">& diciotto per largo, & la figura lo dimo­<lb/>&longs;tra. </s> <s id="s.003057">Del fronti&longs;picio diremo nel genere Ionico.<emph.end type="italics"/></s> </p> <figure id="id.045.01.154.1.jpg" xlink:href="045/01/154/1.jpg"/> <pb pagenum="147" xlink:href="045/01/155.jpg"/><figure id="id.045.01.155.1.jpg" xlink:href="045/01/155/1.jpg"/> <pb pagenum="148" xlink:href="045/01/156.jpg"/> <figure id="id.045.01.156.1.jpg" xlink:href="045/01/156/1.jpg"/> <pb pagenum="149" xlink:href="045/01/157.jpg"/> <p type="main"> <s id="s.003062"><emph type="italics"/>La ba&longs;a Ionica &longs;i forma a que&longs;to modo. </s> <s id="s.003063">&longs;ia la larghezza &longs;ua per ogni uer&longs;o tanto, quanto è la <lb/>gro&longs;&longs;ezza della colonna, & di piu tanto quanto è un quarto, & un'ottauo della detta gro&longs;&longs;ez­<lb/>za, cioè &longs;e diuiderai il diametro della colonna in &longs;edici parti, &longs;ia tanto allungato, che ne hab­<lb/>bia uentidue: et que&longs;ta &longs;ia la larghezza della ba&longs;a. </s> <s id="s.003064">l'altezza è per la metà della gro&longs;&longs;ezza della co<lb/>lonna. </s> <s id="s.003065">L'orlo è la terza parte dell' altezza. </s> <s id="s.003066">il re&longs;tante &longs;i diuide in &longs;ette parti, tre delle quali &longs;i danno <lb/>al ba&longs;tone di &longs;opra, due &longs;i danno al cauetto con il &longs;uo tondino, & &longs;opraciglio, & due al cauetto di <lb/>&longs;otto con il &longs;uo &longs;opraeiglio. </s> <s id="s.003067">i tondini &longs;i fanno per l'ottaua parte del cauetto. </s> <s id="s.003068">Ma ben parerà, che'l <lb/>cauetto di &longs;otto &longs;ia maggiore, percioche egli &longs;porterà fin allo e&longs;tremo dell'orlo. </s> <s id="s.003069">Lo &longs;porto di &longs;o­<lb/>pra, oltra la gro&longs;&longs;ezza della colonna &longs;i fa a que&longs;to modo. </s> <s id="s.003070">piglia tre parti della diui&longs;ione del dia­<lb/>metro, che &longs;ono la ottaua, & &longs;e&longs;ta decima parte, & quelle diuiderai per mezo, & tanto &longs;arà lo <lb/>&longs;porto, cioè d'una parte et meza, dalla de&longs;tra, & dalla &longs;ini&longs;tra; et tanto è lo &longs;porto della &longs;pira, <lb/>doue &longs;i fa la cimbia con le ragioni dette di &longs;opra. </s> <s id="s.003071">l'altezza della cimbia è per un terzo dell' al­<lb/>tezza del ba&longs;tone, il centro del quale è &longs;opra la linea, che di&longs;cende dallo &longs;porto della cimbia. </s> <s id="s.003072"><lb/>i tondini deono e&longs;&longs;er toccati da una linea, che &longs;i parte dallo e&longs;tremo &longs;opraciglio, allo e&longs;tremo <lb/>del li&longs;tello, che è &longs;opra l'orlo, et &longs;otto il cauetto inferiore. </s> <s id="s.003073">i cauetti &longs;i fanno al modo &longs;opra <lb/>detto. </s> <s id="s.003074">et que&longs;ta è la de&longs;crittione della ba&longs;a Ionica. <!-- KEEP S--></s> <s id="s.003075">l'altezza della colonna in diuer&longs;e maniere di <lb/>fabriche, è diuer&longs;a. </s> <s id="s.003076">I &longs;uoi ra&longs;trenamenti &longs;ono regolati da Vitr. &longs;econdo le altezze &longs;ue, però &longs;i di <lb/>ra del capitello.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003077"><emph type="italics"/>Tira una linea che &longs;ia tanto lunga quanto è gro&longs;&longs;a la colonna da piedi. </s> <s id="s.003078">Que&longs;ta diuiderai in <lb/>parti dieciotto, et ne aggiungnerai una di e&longs;&longs;e, &longs;i che &longs;arà in tutto parti diecinoue. </s> <s id="s.003079">hora tutta <lb/>que&longs;ta &longs;arà la lunghezza, et larghezza del capitello. </s> <s id="s.003080">Ma l'altezza con le uolute &longs;arà per la <lb/>metà, cioè parti noue, et mezo: dico con le uolute, perche la gro&longs;&longs;ezza del capitello, è un ter <lb/>zo della gro&longs;&longs;ezza delle colonne, et le uolute &longs;ono ornamenti, et non parti del capitello, & uan <lb/>no piu in giu del capitello. </s> <s id="s.003081">Manderai dunqne a ba&longs;&longs;o de gli e&longs;tremi di que&longs;ta linea i catheti. </s> <s id="s.003082"><lb/>cioè linee a piombo, tanto lunghe, quanto &longs;ono le noue parti et meza, cioè la metà della lun­<lb/>ghezza. </s> <s id="s.003083">que&longs;te linee ci &longs;eruiranno poi. </s> <s id="s.003084">re&longs;tino però &longs;egnate le noue parti et meza, ma &longs;cancel <lb/>lati i primi &longs;egni delle diui &longs;ioni della linea della lunghezza, et larghezza del capitello: perche <lb/>&longs;i deue diuiderla in uenti parti, et <gap/>retirar&longs;i in entro dalle e&longs;tremità della linea detta, una parte, <lb/>et un quarto delle uenti, et mandar giu de gli altri catheti di pani alli primi. </s> <s id="s.003085">con le i&longs;te&longs;&longs;e diui&longs;io <lb/>ni, in que&longs;te linee ritirate &longs;arà il centro dell' occhio, &longs;i fermeranno le uolute, et &longs;i regolerà tut <lb/>to il re&longs;tante del capitello. </s> <s id="s.003086">Leone chiama l'occhio della uoluta ciclo. </s> <s id="s.003087">la uoluta è uno inuoglio ad <lb/>imitatione delli cincinni de i capelli muliebri, i uolgari la chiamano cartoccio. </s> <s id="s.003088">Delle noue parti <lb/>di que&longs;te linee &longs;e ne danno all' orlo, o abaco una, & meza, l'una è per la gola dello abaco, <lb/>che è fatto in forma della lettera S. ma tirata con gratia, & la meza &longs;i da al &longs;uo li&longs;tello. </s> <s id="s.003089">le uo<lb/>lute &longs;i formano a que&longs;to modo. </s> <s id="s.003090">restando &longs;otto l'abaco parti otto, &longs;i fa un punto la doue termina­<lb/>no le quattro & meza, & &longs;opra quello po&longs;to un piede della &longs;esta, &longs;i fa un giro, il cui diametro <lb/>tiene una di quelle parti, & tre ne re&longs;tano di &longs;otto, & quattro di &longs;opra. </s> <s id="s.003091">que&longs;to cerchio o giro è <lb/>l'occhio delle uolute, nel quale hanno ad e&longs;&longs;ere dodici centri, che formano le uolute a &longs;e&longs;ta, nè <lb/>po&longs;&longs;ono e&longs;&longs;er meno, perche fariano la uoluta sgarbata, & con pochi giri, & non &longs;alua la lettera <lb/>di Vitruuio. <!-- KEEP S--></s> <s id="s.003092">Io non dirò de gli inuentori di questo modo per non metter molti huomini da bene al <lb/>le mani. </s> <s id="s.003093">io confe&longs;&longs;o d'hauerla imparata, & ne tengo obligo alli mae&longs;tri. </s> <s id="s.003094">I&longs;eppo Saluiati pitto­<lb/>re eccellente, me ne dedicò uno trattatello, & lo fece &longs;tampare. </s> <s id="s.003095">&longs;e quelli, i quali me l'hanno <lb/>dimo&longs;trata prima, l'habbiano pigliata dal Saluiati, io non lo sò. </s> <s id="s.003096">per formare adunque la uoluta <lb/>bi&longs;ogna mandare a ba&longs;&longs;o una linea per banda egualmente di&longs;tante alla linea, &longs;opra laquale è il <lb/>centro dell'occhio, di&longs;tante da quella, quel quarto, che nol dicemmo, che era d'una parte, & <lb/>un quarto, perche que&longs;ta linea poi che haueremo tirato il diametro dell' occhio caderà a punto &longs;o <lb/>pra il ditto diametro, & ci darà la regola di formare un quadro nell'occhio, &longs;opra le cui diagona­<lb/>li &longs;aranno i dodici centri predetti: per che quanto &longs;arà dal taglio, che fa que&longs;ta linea &longs;opra il<emph.end type="italics"/><pb pagenum="150" xlink:href="045/01/158.jpg"/><emph type="italics"/>diametro dell' occhio, al centro dell' occhio, tanto &longs;i riporterà, & di &longs;otto, et di &longs;opra la linea del det <lb/>to centro, dal centro i&longs;te&longs;&longs;o, & tanto anche dall' altra parte dell' occhio &longs;opra il diametro, & que <lb/>&longs;ti quattro punti &longs;aranno i mezi de i lati d'uno quadrato dentro l'occhio, da gli anguli del quale &longs;i <lb/>tireranno le diagonali, & &longs;opra quelle dal centro, a gli angoli &longs;i far anno tre parti eguali per o­<lb/>gni uer&longs;o, lequali &longs;aranno i dodici centri predetti, doue po&longs;ta la &longs;e&longs;ta &longs;opra l'angulo interiore <lb/>di &longs;opra nel quadrato, & allargata la &longs;e&longs;ta fin &longs;otto l'abaco, &longs;i tirerà un giro fin al diame­<lb/>tro nella parte e&longs;teriore. </s> <s id="s.003097">indi &longs;i uenirà all' altro angulo di &longs;opra, che è di fuori nel quadrato: & <lb/>po&longs;ta iui la &longs;e&longs;ta, & di&longs;te&longs;a al termine del primo giro, &longs;i continuerà il giro fin al catheto di &longs;ot­<lb/>to, & iui &longs;i farà punto. </s> <s id="s.003098">il &longs;imile &longs;i farà ponendo la &longs;e&longs;ta &longs;opra l'angulo e&longs;teriore di &longs;otto: & con <lb/>tinuando il &longs;econdo giro, &longs;i farà il terzo fin al diametro, dalquale poi &longs;i uenirà fin &longs;otto l'abaco <lb/>con un giro, il centro del quale &longs;arà il quarto angulo di dentro, & a que&longs;to modo &longs;i finirà il pri­<lb/>mo giro della uoluta col &longs;cemare per ogni quarta la metà dell' occhio, come uuole Vitr. &longs;imilmente <lb/>uolendo poi fare il &longs;econdo giro della uoluta, &longs;i ponerà per ordine la &longs;e&longs;ta &longs;opra gli altri punti delle <lb/>diagonali, cominciando da quello, che è uicino al primo, doue s'incominciò il primo giro: & &longs;e <lb/>guitando &longs;i farà di quadrante in quadrante tutto il &longs;econdo giro, il quale &longs;i come il primo per ogni <lb/>quadrante &longs;cemaua la metà dell' occhio: co&longs;i que&longs;to &longs;cemerà un terzo, & l'ultimo &longs;ceme­<lb/>rà un &longs;e&longs;to del diametro dell' occhio: & co&longs;i in tre giri la uoluta hauerà &longs;cemato quattro dia­<lb/>metri dell' occhio, & riu&longs;cirà bella, & è nece&longs;&longs;ario, che co&longs;i &longs;ia, perche &longs;e la uoluta deue dolce­<lb/>mente andar &longs;opra la cima&longs;a, che è uero membro del capitello, bi&longs;ogna, che le &longs;ue pieghe habbia­<lb/>no que&longs;ta proportione, che detto hauemo: & que&longs;to non &longs;i puo fare con quattro punti, o centri &longs;o <lb/>li, come uuole colui, che ha fatto i piede&longs;tali a botte, per uno e&longs;empio, che gli è stato detto di ri­<lb/>trouar&longs;i in luogo non celebre, & in opera non eccellente. </s> <s id="s.003099">Tirata la uoluta al modo &longs;opra detto, <lb/>con la i&longs;te&longs;&longs;a ragione di dodici c entri, che &longs;iano gli i&longs;te&longs;&longs;i: &longs;i tirerà la fa&longs;cia, o larghezza di e&longs;&longs;a uo­<lb/>luta &longs;tringendo la &longs;e&longs;ta per la metà dell' occhio dal primo giro: & a que&longs;to modo è fornita <lb/>la uoluta, laquale è piu pre&longs;to ornamento, che membro del capitello. </s> <s id="s.003100">Ha la uoluta il &longs;uo <lb/>canale, che è una cauatura di dentro delle fa&longs;cie della uoluta. </s> <s id="s.003101">que&longs;to canale occupa <lb/>uno diametro, & mezo dell' occhio, & è tanto profondo, quanto la duodecima parte <lb/>dell' altezza della uoluta, cioè una duodecima parte delle otto, che re&longs;tauano &longs;otto l'orlo, o abaco. </s> <s id="s.003102"><lb/>Tagliato adunque il canale resta la cima&longs;a, che uolgari chiamano ouolo, Greci cimatio, che pa­<lb/>re un'onda picciola, & latini Echinus, per le foglie, & frutti di castagne, che &longs;i &longs;colpiuano &longs;o­<lb/>pra. </s> <s id="s.003103">que&longs;ta è alta due parti, & un quarto delle otto gia dette, & lo &longs;uo &longs;porto oltra il dritto <lb/>dell' abaco, & della grandezza del diametro dell' occhio, & per que&longs;ta ragione noi facemmo ca­<lb/>dere le linee a piombo da gli e&longs;tremi dell' abaco. </s> <s id="s.003104">La uolta della cima&longs;a &longs;i fa a &longs;e&longs;ta. </s> <s id="s.003105">Tirato lo <lb/>&longs;porto &longs;uo &longs;otto il canale quanto è il diametro dell' occhio fuori dello &longs;porto dell' abaco, &longs;i piglia con <lb/>la &longs;e&longs;ta la &longs;ua altezza. </s> <s id="s.003106">la quale (come ho detto) è due parti, & un quarto delle otto, del cathe<lb/>to &longs;otto l'abaco, & la &longs;ua linea di &longs;otto termina nel catheto, doue comincia l'A&longs;tragalo, o ton­<lb/>dino. </s> <s id="s.003107">& po&longs;to un piede nella detta catheto, &longs;i tira una parte di circonferenza, poi &longs;i ferma la &longs;e­<lb/>sta nell' e&longs;tremo della cima&longs;a di &longs;opra, & &longs;i fa una incrocciatura &longs;opra la tirata circonferenza, <lb/>& nel taglio di quelle &longs;i ferma la &longs;e&longs;ta, & &longs;i tira la uolta della cima&longs;a, &longs;opra la quale s'inuolge <lb/>la uoluta dolcemente. </s> <s id="s.003108">La cima&longs;a s'intaglia con quelle ouola, o ricci a que&longs;to modo, che tra una <lb/>uoluta, & l'altra ne &longs;iano tre intieri, de quali uno ne &longs;ia nel mezo, & uno dalla de&longs;tra, & l'al­<lb/>tro dalla &longs;ini&longs;tra, & e&longs;chino alcune foglie dalla uoluta, che gli abbraccino, che uolgari chiama <lb/>no baccelli, &longs;otto la Cima&longs;a è lo A&longs;tragalo, il quale occupatre quarti d'una delle otto. </s> <s id="s.003109">il centro <lb/>di e&longs;&longs;o è nel catheto. </s> <s id="s.003110">co&longs;i finito il tondino, &longs;i fa il li&longs;tello dell' apophige, o collarino, che &longs;i dica, il <lb/>quale non i&longs;porta oltra il catheto, & è alto per la metà dell' altezza del tondino, & &longs;iriduce con <lb/>la &longs;ua piega al rastremamento della colonna di &longs;opra, col modo &longs;opra detto. </s> <s id="s.003111">Et perche imagina­<lb/>mo, che la uoluta &longs;ia un piumazzetto riuolto &longs;opra un bastone, & legato nel mezo, però Vitr. ci <lb/>da la gro&longs;&longs;ezza di quel ba&longs;tone, che egli chiama a&longs;&longs;e, & dice, che egli, è gro&longs;&longs;o tanto quanto il<emph.end type="italics"/><pb pagenum="151" xlink:href="045/01/159.jpg"/><emph type="italics"/>diametro dell' occhio, & che le cinte, che egli chiama baltei, che &longs;ono nel mezo da i lati tra le <lb/>uolute, non &longs;portino piu della cima&longs;a, di modo, che po&longs;to il piede della &longs;e&longs;ta nel mezo del quadro <lb/>del capitello, & allargato allo &longs;porto della cima&longs;a, raggirando&longs;i tocchi l'e&longs;tremità delle cinte, co <lb/>me &longs;i uede nella pianta tirando&longs;i un giro &longs;opra'l centro &longs;uo fin alla circonferenza dell'ouolo. </s> <s id="s.003112">Gli <lb/>architraui &longs;i fanno &longs;econdo l'altezza delle colonne, accioche per lo accre&longs;cimento, che &longs;i da a <lb/>quelli per l'altezza, ne &longs;egua piu certa all'occhio la mi&longs;ura loro. </s> <s id="s.003113">Quanto adunque debbiano cre­<lb/>&longs;cere lo ponerà Vitr. <!-- REMOVE S-->qui &longs;otto. </s> <s id="s.003114">Ma poniam ca&longs;o, che la colonna &longs;ia alta quindici piedi, dico, <lb/>che lo architraue &longs;arà alto per la metà del diametro della colonna da piedi. </s> <s id="s.003115">la larghezza di &longs;ot­<lb/>to, che &longs;i po&longs;a &longs;opra il capitello, &longs;arà tanto quanto la gro&longs;&longs;ezza della colonna di &longs;opra, accioche <lb/>&longs;tia &longs;ul uiuo: & que&longs;ta è regola generale. </s> <s id="s.003116">ma la &longs;ommità dello architraue, cioè il piano di&longs;opra <lb/>&longs;ia tanto quanto è la gro&longs;&longs;ezza da piedi della colonna. </s> <s id="s.003117">La cima&longs;a dello architraue &longs;i fa per la &longs;et <lb/>tima parte dell' altezza dell' architraue, & deue &longs;portare tanto, quanto è alta, & lo &longs;porto &longs;i <lb/>mi&longs;ura da quella linea, che uiene dal ra&longs;tremamento della colonna. </s> <s id="s.003118">il re&longs;tante &longs;otto la cima&longs;a, &longs;i <lb/>diuide in dodici parti, & tre &longs;e ne danno alla fa&longs;cia di &longs;otto, quattro alla di mezo, & cinque al­<lb/>la di &longs;opra. </s> <s id="s.003119">Oltra l'architraue ui ua il fregio, che Vitr. chiama zophoro, perche in quello s'in­<lb/>tagliauano alcune figurine d'animali. </s> <s id="s.003120">que&longs;ti è un quarto meno mi&longs;urando l'altezza dello archi­<lb/>traue con la &longs;ua cima&longs;a: & que&longs;ta altezza &longs;i &longs;erua, quando nel fregio non &longs;ono intagli, perche <lb/>quando ui &longs;ono, egli &longs;i fa un quarto piu alto dell' Architraue, accioche meglio &longs;i goda lo intaglio. </s> <s id="s.003121"><lb/>L'altezza del fregio &longs;i diuide in &longs;ette parti, & d'una di quelle &longs;i fa la cima&longs;a, che ui ua &longs;opra, & <lb/>&longs;opra la cima&longs;a ua il dentello, detto latinamente denticulus, dalla &longs;imiglianza, che ha con il den<lb/>te. </s> <s id="s.003122">l'origine del dentello è pre&longs;a dalle opere di legno, &longs;i come il triglifo nell' ordine Dorico era pre <lb/>&longs;o dalle teste delle traui, che &longs;portauano nella fronte, co&longs;i il dentello è pre&longs;o da gli a&longs;&longs;eri, (come <lb/>&longs;i dirà nel quarto libro.) Bi&longs;ogna adunque &longs;apere, che il fregio è il luogo, che tiene le te&longs;te del­<lb/>la trauatura. </s> <s id="s.003123">Il dentello, è alto quanto la fa&longs;cia di mezo dello architraue. </s> <s id="s.003124">lo &longs;porto del dentel­<lb/>lo è tanto, quanto l'altezza&longs;ua. </s> <s id="s.003125">la larghezza detta, metochi, da Greci, & inter&longs;ectio, da lati <lb/>ni, è per la metà dell' altezza del dentello. </s> <s id="s.003126">il cauo, cioè lo &longs;pacio da un dentello all' altro, che <lb/>anche meto pa &longs;i chiama, & cauo colombario (come dice Vitr. nel quarto) è per due terzi del­<lb/>la larghezza del dentello. </s> <s id="s.003127">La cima&longs;a del dentello è per la festa parte dell' altezza &longs;ua. </s> <s id="s.003128">La corni <lb/>ce con la cima&longs;a, è alta quanto la fa&longs;cia di mezo. </s> <s id="s.003129">lo &longs;porto della cornice col &longs;uo dentello o taglio <lb/>nel mento, dene e&longs;&longs;er tanto, quanto è alto lo &longs;patio dal fregio alla &longs;ommità della gola, o cima&longs;a <lb/>della cornice: & que&longs;to &longs;porto &longs;i piglia della linea, che uiene dalla e&longs;tremità della cima&longs;a del fre<lb/>gio. </s> <s id="s.003130">que&longs;to dentello della cornice &longs;i fa, accioche l'acque, che uengono giu, non gua&longs;tino le fabri­<lb/>che. </s> <s id="s.003131">In fino a que&longs;to luogo della cornice, o gocciolatoio, le fabriche uanno egualmente distanti <lb/>dal piano. </s> <s id="s.003132">Hora &longs;i leua il fronti&longs;picio, che Vitr. chiama fastigio. </s> <s id="s.003133">il quale ha le &longs;ue cornici corri­<lb/>&longs;pondenti alli membrelli della cornice, & di piu ha le &longs;ue gole, che &longs;i chiamano, &longs;ime, & da Greci, <lb/>Epitichide, dalla aggiunta impo&longs;ta &longs;opra le cornici del fronti&longs;picio. </s> <s id="s.003134">que&longs;te &longs;ono piu alte un'otta <lb/>ua parte dell' altezza delle cornici. </s> <s id="s.003135">&longs;otto delle quali è il timpano alto la nona parte della lunghez <lb/>za della cornice, mi&longs;urando dalla e&longs;tremità delle gole della cornice. </s> <s id="s.003136">il piano del timpano deue ri <lb/>po&longs;are &longs;ul uiuo, cioè chi la&longs;cia&longs;&longs;e andar giu una linea a piombo, ella batterebbe prima &longs;u l'archi­<lb/>traue, poi &longs;ul collarino delle colonne, & &longs;ul uiuo. </s> <s id="s.003137">i pila&longs;trelli detti acroterij, deono e&longs;&longs;er alti tan <lb/>to, che &longs;i po&longs;&longs;ino uedere le figure, che ui uanno &longs;opra. </s> <s id="s.003138">gli angulari deono morir nel tetto & co­<lb/>minciare al dritto delle colonne, & entrar tanto in entro, quanto porta la ragione della ueduta <lb/>perche in alcune fabriche uanno piu adentro perche &longs;ono ba&longs;&longs;e. </s> <s id="s.003139">& deono e&longs;&longs;er tanto alti quanto <lb/>la &longs;ommità del timpano, ma quello dimezo e&longs;&longs;er deue un'ottaua di piu de gli angulari.<emph.end type="italics"/></s> </p> <pb pagenum="152" xlink:href="045/01/160.jpg"/> <p type="main"> <s id="s.003140">Per la Ba&longs;a. <!-- REMOVE S--><emph type="italics"/>A. Pliathus. </s> </p> <p type="main"> <s id="s.003141">Orlo.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.003142"><emph type="italics"/>B. Scotiœ. </s> <s id="s.003143">Cauetti.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.003144">1. 1. <emph type="italics"/>A&longs;tragali, tondini.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003145"><emph type="italics"/>C. Torus. <!-- REMOVE S-->Ba&longs;tone.<emph.end type="italics"/><!-- REMOVE S--><emph type="italics"/> f<!-- KEEP S--></s> </p> <p type="main"> <s id="s.003146">Apophygis. <!-- REMOVE S-->Cimbie.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.003147"><emph type="italics"/>a b c o. <!-- KEEP S--></s> <s id="s.003148">Termini da fare la cimbia.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003149">Per lo Capitello. <!-- KEEP S--></s> </p> <p type="main"> <s id="s.003150"><emph type="italics"/>o. <!-- KEEP S--></s> <s id="s.003151">La pianta del Capitello.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.003152"><emph type="italics"/>e. <!-- KEEP S--></s> <s id="s.003153">Contractio columæ. </s> <s id="s.003154">Il ra&longs;tremamento della colonna, & la cimbia di &longs;opra.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003155"><emph type="italics"/>A h. <!-- KEEP S--></s> <s id="s.003156">Abacus, il dado.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003157"><emph type="italics"/>n. <!-- KEEP S--></s> <s id="s.003158">La larghezza della uoluta.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003159"><emph type="italics"/>m. <!-- KEEP S--></s> <s id="s.003160">Canalis. <!-- KEEP S--></s> <s id="s.003161">Il canale.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003162"><emph type="italics"/>l. <!-- REMOVE S-->Cymatium. <!-- KEEP S--></s> <s id="s.003163">La cima&longs;a.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003164"><emph type="italics"/>p. <!-- KEEP S--></s> <s id="s.003165">Oculus uolutœ. </s> <s id="s.003166">L'occhio della uoluta con i &longs;uoi centri.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003167"><emph type="italics"/>g d e. <!-- KEEP S--></s> <s id="s.003168">La cimbia di &longs;opra.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003169">Per l'Architraue, fregio, & cornice. </s> </p> <p type="main"> <s id="s.003170"><emph type="italics"/>A. <!-- KEEP S--></s> <s id="s.003171">Trabs Epi&longs;tylium. </s> <s id="s.003172">Architraue.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.003173">1. <emph type="italics"/>prima fa&longs;cia.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003174">2. <emph type="italics"/>Seconda fa&longs;cia.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003175">3. <emph type="italics"/>Terzafa&longs;cia.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003176"><emph type="italics"/>B. </s> <s id="s.003177">Cymatium Epi&longs;tylij. </s> <s id="s.003178">La cima&longs;a, o gola dell' Architraue.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.003179"><emph type="italics"/>C. Zophorus. </s> <s id="s.003180">Il fregio.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003181"><emph type="italics"/>D. <!-- KEEP S--></s> <s id="s.003182">Cymatium Zophori. </s> <s id="s.003183">La cima&longs;a, o gola del Fregio.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.003184"><emph type="italics"/>E. Denticulus. </s> <s id="s.003185">Il dentello.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003186"><emph type="italics"/>O. inter&longs;ectio, cioè lo &longs;patio, & il taglio, che è tra l'un dentello, & l'altro.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003187"><emph type="italics"/>F. <!-- KEEP S--></s> <s id="s.003188">Cymatium denticuli.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003189"><emph type="italics"/>G. Corona. <!-- KEEP S--></s> <s id="s.003190">Il gocciolatoio, con la &longs;ua gola.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003191"><emph type="italics"/>L. Fa&longs;tigium. </s> <s id="s.003192">Il fronti&longs;picio.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003193"><emph type="italics"/>K. Tympanum. <!-- KEEP S--></s> <s id="s.003194">Il Timpano.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.003195"><emph type="italics"/>I. Acroteria. <!-- KEEP S--></s> <s id="s.003196">I quadricelli, & piedistali, doue hanno a po&longs;are le figure.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003197"><emph type="italics"/>H. Simæ. <!-- KEEP S--></s> <s id="s.003198">Le gole.<emph.end type="italics"/><pb pagenum="153" xlink:href="045/01/161.jpg"/><figure id="id.045.01.161.1.jpg" xlink:href="045/01/161/1.jpg"/></s> </p> <pb pagenum="154" xlink:href="045/01/162.jpg"/> <figure id="id.045.01.162.1.jpg" xlink:href="045/01/162/1.jpg"/> <pb pagenum="155" xlink:href="045/01/163.jpg"/> <p type="main"> <s id="s.003199"><emph type="italics"/>Il capitello Corinthio, è alto quanto il diametro della colonna, & &longs;econdo Vitruuio in que­<lb/>&longs;ta altezza s'include l'Abaco; ma in molte opere l'abaco è di piu, & ha molto del buono. </s> <s id="s.003200">La <lb/>larghezza dell' Abaco, cioè il quadro deue e&longs;&longs;er tanto, che le linee, che pa&longs;&longs;ano da un' angulo al <lb/>l'altro, dette diagonali, &longs;iano doppie all' altezza del capitello. </s> <s id="s.003201">le fronti nel mezo deono piegar in <lb/>entro per la nona parte della loro larghezza. </s> <s id="s.003202">Il ba&longs;&longs;o del capitello deue ri&longs;pondere al uiuo della <lb/>colonna di &longs;opra. </s> <s id="s.003203">L'altezza dello abaco &longs;i fa della &longs;ettima parte dell' altezza del capitello, il re <lb/>&longs;tante &longs;i diuide in tre parti, una delle quali &longs;i da alla foglia da ba&longs;&longs;o, l'altra alla foglia di mezo, <lb/>l'ultima a i cauliculi, o fu&longs;ti, che mandano fuori le foglie, & riceueno l'abaco, & quelle uo<lb/>lute, che na&longs;ceno dalle foglie de i cauliculi, uengono a gli e&longs;tremi anguli dello abaco: ma le mi<lb/>nori uolute piegano in entro, & &longs;ono &longs;otto a i &longs;iori, che &longs;ono nel mezo dell' abaco, da tutte quat­<lb/>tro le parti, i quali fiori &longs;ono tanto gro&longs;&longs;i quanto l'abaco, ma alquanto piu lunghi, come &longs;i o&longs;­<lb/>&longs;erua nell' antico, per la quarta parte del diametro della colonna. </s> <s id="s.003204">Bi&longs;ogna adunque formar bene <lb/>la campana, che co&longs;i chiamano i no&longs;tri quella forma del capitello, che è ue&longs;tita delle foglie, &<emph.end type="italics"/><lb/><figure id="id.045.01.163.1.jpg" xlink:href="045/01/163/1.jpg"/><lb/><emph type="italics"/>quelle foglie &longs;ono foglie di Acantho, che Semplici <lb/>&longs;ti chiamano, branca ur&longs;ina. </s> <s id="s.003205">Sono anche altre fo <lb/>glie, come d'oliua, & altre figure, & intagli de <lb/>capitelli, che hanno molto del buono, &longs;e &longs;ono ben <lb/>lauorati: ma la&longs;ciamo que&longs;to a gli o&longs;&longs;eruatori <lb/>dell' antichità, & riportiamoci per hora a Vi­<lb/>truuio, che nel quarto libro tratta della origine <lb/>del capitello Corinthio, al primo capo. </s> <s id="s.003206">Ma il <lb/>modo di piegar le fronti la nona parte, è la uia <lb/>di ritrouar il centro di tre punti. </s> <s id="s.003207">Sia tutta la fron<lb/>te del capitello. </s> <s id="s.003208">a. <!-- REMOVE S-->b. <!-- REMOVE S-->diui&longs;a in noue parti, & <lb/>dal mezo di detta linea &longs;ia leuata una linea drit­<lb/>ta alta per una di quelle parti, la qual &longs;ia c d. <!-- REMOVE S-->et <lb/>&longs;ia c. <!-- REMOVE S-->il punto di &longs;opra, &longs;iano poi que&longs;ti tre pun <lb/>ti a. <!-- REMOVE S-->b. <!-- REMOVE S-->c. <!-- REMOVE S-->ridotti &longs;otto una circonferenza per uia <lb/>de gli incrocciamenti, il che &longs;i fa tirando le linee <lb/>da a, à c. <!-- REMOVE S-->& da c. <!-- REMOVE S-->à b. <!-- REMOVE S-->& tagliando quelle <lb/>per mezo ad anguli dritti con linee, che &longs;i uen­<lb/>ghino ad incontrare, come fanno le linee, e. <!-- REMOVE S-->f. <lb/><!-- REMOVE S-->& g. <!-- REMOVE S-->f. <!-- REMOVE S-->&longs;opra il punto h. <!-- KEEP S--></s> <s id="s.003209">L'Architraue, freg­<lb/>gio, & gocciolatoio &longs;i puo fare comel' Ionico, oue <lb/>ro in luogo del fregio gonfio dello Ionico, farlo <lb/>piano, et ne gli fronti&longs;picij &longs;eruare il modo iste&longs;&longs;o.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003210">Finite que&longs;te co&longs;e, &longs;i poneranno le ba&longs;e a i luoghi &longs;uoi, & que&longs;te in tal modo &longs;aranno <lb/>fatte a mi&longs;ura, che la gro&longs;&longs;ezza con l'orlo &longs;ia per la metà della gro&longs;&longs;ezza della colonna. </s> <s id="s.003211">lo <lb/>&longs;porto, Ecfora, detto da Greci, &longs;ia la quarta parte, & co&longs;i la ba&longs;a &longs;arà larga, & lunga per <lb/>una gro&longs;&longs;ezza, & meza della colonna. </s> <s id="s.003212">L'altezza della ba&longs;a, s'ella &longs;arà fatta al modo Attico, <lb/>&longs;i partirà in que&longs;to modo, che la parte di &longs;opra &longs;ia per la terza parte della gro&longs;&longs;ezza della <lb/>colonna, il re&longs;to &longs;ia dell' orlo: leuato uia l'orlo, il re&longs;tante &longs;ia diui&longs;o in quattro parti: il ba­<lb/>&longs;tone di &longs;opra. </s> <s id="s.003213">ne habbia una, le tre re&longs;tanti &longs;iano diui&longs;e in due parti eguali. </s> <s id="s.003214">Vna &longs;ia del <lb/>ba&longs;tone di &longs;otto, l'altra &longs;i dia con i &longs;uoi quadretti al cauetto, che da Greci Trochilo è no <lb/>minato. </s> <s id="s.003215">Ma s'egli &longs;i deue fare le ba&longs;e Ioniche, co&longs;i &longs;i deono compartire, che la larghez­<lb/>za della ba&longs;a &longs;ia per ogni uer&longs;o della gro&longs;&longs;ezza della colonna, aggiuntaui la quarta, & ot­<lb/>taua parte: Ma l'altezza è come le fatte al modo Attico, & co&longs;i l'orlo &longs;uo: ma il re&longs;tante <lb/>oltra l'orlo, che &longs;arà la terza parte della gro&longs;&longs;ezza della colonna, &longs;ia diui&longs;o in &longs;ette parti, & <pb pagenum="156" xlink:href="045/01/164.jpg"/>di tre di quelle &longs;ia il ba&longs;tone di &longs;opra, le altre &longs;iano egualmente diui&longs;e, & d'una &longs;i faccia il <lb/>quadretto di &longs;opra con i &longs;uoi tondini, & col &longs;uo pianuzzo, detto &longs;opraciglio. </s> <s id="s.003216">l'altra &longs;ia la­<lb/><figure id="id.045.01.164.1.jpg" xlink:href="045/01/164/1.jpg"/><lb/>&longs;ciata per lo cauetto di &longs;otto: ma il cauetto di &longs;otto parerà maggiore, perche hauerà lo &longs;por <pb pagenum="157" xlink:href="045/01/165.jpg"/>to &longs;uo &longs;in' all'e&longs;tremità dell'orlo. </s> <s id="s.003217">I tondini &longs;i deono fare per l'ottaua parte del cauetto. </s> <s id="s.003218">lo <lb/>&longs;porto della ba&longs;a, per la ottaua, & &longs;e&longs;tadecima parte della gro&longs;&longs;ezza della colonna. </s> <s id="s.003219"><lb/>Fatte compitamente, & po&longs;te le ba&longs;e a i luoghi &longs;uoi, egli &longs;i deue ponere a perpendicolo <lb/>del centro loro le colonne di mezo, nell'antitempio, & nel po&longs;tico. </s> <s id="s.003220">Male angulari, & quel <lb/>le, che dirimpetto alle angulari nelli lati del Tempio dalla de&longs;tra, & dalla &longs;ini&longs;tra deono e&longs;­<lb/>&longs;er po&longs;te, &longs;i fermeranno in modo, che le parti loro, che riguardano al di dentro uer&longs;o i pare <lb/>ti della cella, &longs;iano a perpendicolo, ma le e&longs;teriori &longs;tiano, come s'è detto della loro con­<lb/>trattura. </s> <s id="s.003221">perche a que&longs;to modo le figure della compo&longs;ition del tempio &longs;aranno giu&longs;tamen<lb/>te, & &longs;econdo la ragione del ra&longs;tremamento fornite. </s> </p> <p type="main"> <s id="s.003222"><emph type="italics"/>Quello che dice Vitru. <!-- REMOVE S-->è che po&longs;te le ba&longs;e a i luoghi &longs;uoi, &longs;i deono porre le colonne con giudi­<lb/>cio. </s> <s id="s.003223">Delle colonne altre &longs;tanno &longs;u gli anguli, altre &longs;tanno tra quelli. </s> <s id="s.003224">que&longs;te, &longs;i chiamano me­<lb/>diane, quelle angulari. </s> <s id="s.003225">Vuole Vitru. che le mediane &longs;iano drizzate a piombo nel mezo del cen­<lb/>tro loro: ma le angulari &longs;iano nella parte di dentro piane, & &longs;enza rastremamento: & questo &longs;i <lb/>fa perche incontrino bene con gli anguli del parete. </s> <s id="s.003226">& dicono que&longs;ti o&longs;&longs;eruatori, che rie&longs;cono be­<lb/>ne alla ui&longs;ta. </s> <s id="s.003227">Similmente ra&longs;tremate non uuole Vitr. che &longs;iano quelle, che &longs;ono pro&longs;&longs;ime al parete <lb/>dirimpetto alle angulari, dico da i lati del parete, perche tanto que&longs;te, quanto quelle, non hanno <lb/>contrattione di dentro uia, ma il loro lato interiore ua dritto a piombo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003228">Po&longs;ti & drizzati i fu&longs;ti delle colonne, &longs;eguita la ragione de i capitelli. </s> <s id="s.003229">que&longs;ti &longs;e &longs;aranno <lb/>a piumazzo, con tali &longs;immetrie &longs;i formeranno, che quanto farà gro&longs;&longs;a la colonna da piedi, <lb/>aggiuntaui la decima ottaua parte del fu&longs;to da ba&longs;&longs;o, tanto &longs;ia lungo, & largo l'Abaco: ma <lb/>la gro&longs;&longs;ezza con le uolute per la metà. </s> <s id="s.003230">douemo poi ritirar&longs;i in entro dall'e&longs;tremità dell'A­<lb/>baco parti due, & meza di uenti, per le fronti delle uolute, & lungo lo Abaco da tutte <lb/>quattro le parti delle uolute, appre&longs;&longs;o la quadra della e&longs;tremità del dado mandar in giu le <lb/>linee, che catheti &longs;i chiamano, & quella gro&longs;&longs;ezza gia pre&longs;a diuidere in noue parti è meza. </s> <s id="s.003231"><lb/>Vna parte & meza &longs;ia data alla gro&longs;&longs;ezza dell'Abaco, & delle altre otto &longs;i facciano le uolu­<lb/>te. </s> <s id="s.003232">Allhora dalla linea, che farà mandata giu &longs;econdo la e&longs;trema parte dell'Abaco, &longs;e ne <lb/>ritiri a dentro un'altra di larghezza d'una parte & meza. </s> <s id="s.003233">Dapoi &longs;iano diui&longs;e que&longs;te linee <lb/>di modo, che &longs;i la&longs;cino quattro parti, & meza &longs;otto l'Abaco. <!-- KEEP S--></s> <s id="s.003234">Oltra di que&longs;to da quel <lb/>luogo, ilquale diuide quattro & meza, & tre & meza, &longs;ia &longs;egnato il centro dell'occhio, & <lb/>da quel centro &longs;ia tirato un giro tanto grande in diametro, quanto è una parte delle otto: <lb/>& quella &longs;arà la grandezza dell'occhio. </s> <s id="s.003235">Et nella i&longs;te&longs;&longs;a linea, catheto detta, &longs;ia tirato il <lb/>&longs;uo diametro corre&longs;pondente. </s> <s id="s.003236">Poi dal di&longs;opra &longs;otto l'Abaco s'incominci, & per ogni <lb/>giro di quarta &longs;ia minuito lo &longs;pacio di mez'occhio, fin che peruenga allo i&longs;te&longs;&longs;a quarta, <lb/>che è &longs;otto l'Abaco. <!-- KEEP S--></s> </p> <p type="main"> <s id="s.003237"><emph type="italics"/>Fin qui Vitr. ha ragionato della uoluta, come di co&longs;a appo&longs;ta per ornamento del capitello, co­<lb/>me è ueramente, hora ragionerà del capitello. </s> <s id="s.003238">& que&longs;to &longs;i deue auuertire. </s> <s id="s.003239">dice adunque.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003240">La gro&longs;&longs;ezza del capitello &longs;i deue fare in que&longs;to modo: che di noue parti & meza tre <lb/>pendino dinanzi &longs;otto il tondino, del fu&longs;to di &longs;opra, & leuatane la cima&longs;a il re&longs;tante &longs;i <lb/>dia allo abaco & al canale. </s> <s id="s.003241">lo &longs;porto della cima&longs;a &longs;ia oltra il quadro dell'abaco per la gran­<lb/>dezza dell'occhio. </s> </p> <p type="main"> <s id="s.003242"><emph type="italics"/>Sotto il tondino, ouero a&longs;tragalo, tre parti &longs;ono, che re&longs;tauano delle noue & meza. </s> <s id="s.003243">queste <lb/>tre dice Vitru. che non &longs;i metteno a conto della gro&longs;&longs;ezza del capitello, perche &longs;ono occupato <lb/>dalla uoluta, che pende inanzi &longs;otto il tondino, ilquale è alla &longs;ommità della colonna. </s> <s id="s.003244">& &longs;i uede <lb/>per que&longs;te parole, che il tondino termina&longs;otto l'occhio, perche tre parti re&longs;tauano &longs;otto l'occhio. </s> <s id="s.003245"><lb/>dice poi, che leuato l'abaco, alquale hauemo detto, che &longs;i da una parte & meza, il re&longs;tante è <lb/>compartito tra'l canale, & la cima&longs;a. </s> <s id="s.003246">I termini del canale &longs;ono dimo&longs;trati dal primo giro della <lb/>uoluta, perche &longs;ono doue comincia il &longs;econdo giro.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003247">Le cinte de i piumazzi habbiano que&longs;to &longs;porto dallo abaco, che po&longs;to un piede della <pb pagenum="158" xlink:href="045/01/166.jpg"/>&longs;e&longs;ta nel tetrante del capitello, & allargato l'altro alla e&longs;tremità della cima&longs;a raggirando&longs;i <lb/>tocchi le e&longs;treme parti delle cinte. </s> <s id="s.003248">Gli a&longs;si delle uolute non deono e&longs;&longs;er piu gro&longs;si della <lb/>grandezza dell'occhio. </s> <s id="s.003249">Et le uolute &longs;iano tagliate in modo, che le altezze habbiano la duo­<lb/>decima parte della loro larghezza. </s> </p> <p type="main"> <s id="s.003250"><emph type="italics"/>Nel primo capo del quarto libro dice Vitr. comparando le colonne Ioniche alle Corinthie, che <lb/>il capitello Ionico è un terzo alto della gro&longs;&longs;ezza della colonna, & il Corinthio è alto quanto <lb/>tutta la gro&longs;&longs;ezza intiera, il che proua, che la uoluta è co&longs;a appo&longs;ta per ornamento, & non è <lb/>parte del capitello; & di &longs;opra ha detto,<emph.end type="italics"/> {<emph type="italics"/>mala gro&longs;&longs;ezza con le uolute per la metà<emph.end type="italics"/>} <emph type="italics"/>doue <lb/>egli include anche le uolute: & non ha detto ma la gro&longs;&longs;ezza per la metà perche la gro&longs;&longs;ez­<lb/>za è un terzo, & non la metà.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003251">Que&longs;ti &longs;aranno i compartimenti de i capitelli di quelle colonne, che per lo meno &longs;a­<lb/>ranno di piedi quindici. </s> <s id="s.003252">& quelle, che &longs;aranno di piu, teneranno allo i&longs;te&longs;&longs;o modo la <lb/>conuenienza delle mi&longs;ure loro. </s> <s id="s.003253">l'abaco &longs;arà lungo, & largo quanto è gro&longs;&longs;a la colonna da <lb/>piedi, aggiuntaui la nona parte, accioche quanto meno la colonna piu alta &longs;arà ra&longs;trema­<lb/>ta, non meno di quelle il capitello habbia lo &longs;porto della &longs;ua Simmetria, & nell'altezza l'ag <lb/>giunta della rata parte. </s> <s id="s.003254">Ma delle de&longs;crittioni delle uolute come drittamente a &longs;e&longs;ta s'in­<lb/>uogliano, come s'habbiano a di&longs;egnare, nel fine del libro la forma, & la ragione ci &longs;a­<lb/>rà dimo&longs;trata. </s> </p> <p type="main"> <s id="s.003255"><emph type="italics"/>Se le colonne fu&longs;&longs;ero piu alte di quindici piedi, &longs;aranno date le iste&longs;&longs;e mi&longs;ure alli loro capitelli; <lb/>uero è, che il dado, o abaco &longs;arà largo, & lungo di piu della gro&longs;&longs;ezza della colonna, per la no­<lb/>na parte, perche e&longs;&longs;endo la colonna piu alta meno &longs;i ra&longs;trema di &longs;opra; perche lo aere per la di­<lb/>&longs;tanza fa lo effetto della ra&longs;trematione.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003256">Forniti i capitelli, & po&longs;ti ne i &longs;ommi fu&longs;ti delle colonne non a dritto liuello, ma ad <lb/>egual modulo, (accioche l'aggiunta fatta ne i piede&longs;tali ri&longs;ponda ne i membri di &longs;opra <lb/>con il compartimento de gli architraui) egli &longs;i deue hauere la ragione de gli architraui <lb/>in que&longs;to modo. </s> </p> <p type="main"> <s id="s.003257"><emph type="italics"/>Voleua Vitru. (come hauemo ueduto di &longs;opra) che i piedi&longs;talli u&longs;ci&longs;cero oltra il poggio, ma <lb/>però, che di tutti i membrelli del piede&longs;tale; ri&longs;ponde&longs;&longs;ero i membrelli del poggio, che era ritira­<lb/>to piu adentro. </s> <s id="s.003258">ilche con&longs;iderando, egli ci fa auuertiti, che poniamo i capitelli di modo, che ri­<lb/>&longs;pondino con le ri&longs;alite loro a quelle aggiunte da ba&longs;&longs;o, accioche nello architraue corri&longs;pondino <lb/>i membri con la loro ragioneuole mi&longs;ura alle parti di &longs;otto. </s> <s id="s.003259">lo e&longs;&longs;empio è nello in piè del Tem­<lb/>pio P&longs;eudodipteros.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.003260">Che &longs;e le colonne &longs;aranno almeno da dodici fin quindici piedi, l'altezza dello archi= <lb/>traue &longs;ia per metà della gro&longs;&longs;ezza della colonna da piedi. </s> <s id="s.003261">&longs;e pa&longs;&longs;erà da quindici a uenti, &longs;ia <lb/>partita l'altezza della colonna in parti tredici, & l'altezza dello architraue, &longs;arà per una di <lb/>quelle. </s> <s id="s.003262">&longs;e da uenti, a uenticinque, parti&longs;ca&longs;i l'altezza in parti dodici, & meza, & di una <lb/>parte di quelle &longs;ia fatto lo architraue nell'altezza &longs;ua. </s> <s id="s.003263">Se &longs;arà da uenticinque a trenta: di do <lb/>dici parti della colonna, una &longs;ia per l'altezza dello architraue, & oltra di que&longs;to &longs;econdo <lb/>la rata parte allo i&longs;te&longs;&longs;o modo dall'altezza delle colonne deono e&longs;&longs;er e&longs;pedite le altezze de <lb/>gli architraui, perche quanto piu a&longs;cende l'acutezza della ui&longs;ta, non facilmente taglia, o <lb/>rompe la den&longs;ità dello aere, & però debilitata, & con&longs;umata per lo &longs;pacio dell'altezza, <lb/>riporta a &longs;en&longs;i no&longs;tri dubiamente la grandezza delle mi&longs;ure: perilche &longs;empre nei membri <lb/>delli compartimenti &longs;i deue aggiugnere il &longs;upplemento della ragione, accioche quando <lb/>l'opere &longs;aranno in luoghi alti, ouero haueranno i membri alti è grandi, tutte l'altre parti <lb/>habbiano la ragione delle grandezze. </s> <s id="s.003264">La larghezza dello architraue da ba&longs;&longs;o, in quella <lb/>parte, che egli &longs;i po&longs;a &longs;ul capitello, &longs;arà tanto, quanto la gro&longs;&longs;ezza di &longs;opra della colonna, <lb/>che &longs;ottogiace al capitello: Ma la parte di &longs;opra dello architraue &longs;ia quanto &longs;arà la gro&longs;&longs;ez­<lb/>za da piede della colonna. </s> <s id="s.003265">la gola, detta cima&longs;a dello architraue, &longs;ia per la &longs;ettima parte <pb pagenum="159" xlink:href="045/01/167.jpg"/>della &longs;ua altezza: & tanto habbia di &longs;porto. </s> <s id="s.003266">L'altra parte oltra la cima&longs;a diuidere &longs;i deue <lb/>in parti dodici, & di tre di quelle fare la prima fa&longs;cia, la &longs;econda di quattro, & la terza di <lb/>&longs;opra di cinque. </s> <s id="s.003267">Il fregio &longs;opra l'architraue la quarta parte meno dello architraue, ma <lb/>&longs;e hauerai a &longs;colpirgli figurette & &longs;egni, farai lo fregio un quarto piu dello architraue, ac­<lb/>cioche le &longs;colture habbiano del grande. </s> <s id="s.003268">La gola, o cima&longs;a del fregio &longs;ia per la &longs;ettima <lb/>dell'altezza &longs;ua. </s> <s id="s.003269">Lo &longs;porto quanto è la &longs;ua gro&longs;&longs;ezza &longs;opra il fregio &longs;i deue fare il dentello <lb/>tanto alto quanto è la fa&longs;cia di mezo dello architraue. </s> <s id="s.003270">Lo &longs;porto, quanto l'altezza. </s> <s id="s.003271">Lo ta­<lb/>glio che è da' Greci, metochi, nominato &longs;i deue fare in que&longs;to modo, che il dentello hab <lb/>bia nella fronte la metà dell'altezza &longs;ua, il cauo del taglio di quella fronte di tre parti, ne <lb/>habbia due della larghezza. </s> <s id="s.003272">La gola di que&longs;to habbia la &longs;e&longs;ta parte della &longs;ua altezza. </s> <s id="s.003273"><lb/>Il gocciolatoio detto corona con la &longs;ua gola, o cima&longs;a, oltra la gola dritta detta &longs;ima, <lb/>quanto è la fa&longs;cia di mezo dello architraue. </s> <s id="s.003274">lo &longs;porto del gocciolatoio 'con il dentello &longs;i <lb/>deue fare, quanto è l'altezza del fregio alla gola di &longs;opra del gocciolatoio. </s> <s id="s.003275">& in &longs;omma <lb/>tutti gli &longs;porti hanno piu del gratio&longs;o, & del bello, quando i membri hanno tanto di &longs;por <lb/>to, quanto di altezza. </s> <s id="s.003276">Il timpano, che è nel fronti&longs;picio deue e&longs;&longs;er alto in modo, che &longs;ia <lb/>mi&longs;urata tutta la fronte del gocciolatoio dalla e&longs;tremità della cima&longs;a, & diui&longs;a quella lun­<lb/>ghezza in noue parti, & di quelle una nel mezo nella &longs;ommità &longs;ia po&longs;ta, purche ri&longs;ponda <lb/>a perpendicolo de gli architraui, & de i collarini delle colonne. </s> <s id="s.003277">Le corone, che uanno <lb/>&longs;opra il timpano, &longs;i deono collocare egualmente a quelle di &longs;otto, oltra le &longs;ime, o gole <lb/>dritte. </s> <s id="s.003278">Di &longs;opra le corone del timpano uanno le gole dritte, chiamate Epitithide, piu <lb/>alte un'ottauo dell'altezza de i gocciolatoi. </s> <s id="s.003279">Le &longs;ommità, dette acroteri, quelle che <lb/>uanno &longs;opra gli anguli deono e&longs;&longs;er tanto alte, quanto il timpano nel mezo. </s> <s id="s.003280">& quelle di <lb/>mezo un'ottaua piu alte delle angulari. </s> <s id="s.003281">Tutti i membri, che uanno &longs;opra i capitelli del­<lb/>le colonne, cioe architraui, fregi, gocciolatoi, timpani, fronti&longs;picij, pila&longs;trelli, tutti di­<lb/>co deono piegare in fuori per la duodecima parte cia&longs;cuno della &longs;ua fronte: accioche &longs;tan <lb/>do noi a dirimpetto delle fronti, &longs;e &longs;i &longs;tenderanno all'occhio due linee, & una toccherà <lb/>la parte di&longs;otto, & l'altra la parte di &longs;opra d'alcuno di que membri, quella, che tocche­<lb/>rà la parte &longs;uperiore &longs;arà piu lunga; & co&longs;i quanto piu lungo il uedere della linea procede, <lb/>nella parte di &longs;opra, farà lo a&longs;petto piu lontano, & che pieghi in dentro uer&longs;o il muro, <lb/>ma &longs;e piegheranno, come è &longs;critto di &longs;opra, allhora ci pareranno alla ui&longs;ta dritte à <lb/>perpendicolo. </s> </p> <p type="main"> <s id="s.003282"><emph type="italics"/>Bella ragione di pro&longs;pettiua è que&longs;ta, che adduce Vitr. nel pre&longs;ente luogo. </s> <s id="s.003283">per la cui intelli­<lb/>genza bi&longs;ogna prima porre la &longs;ua intentione come una conclu&longs;ione, dapoi prouarla con le ragio­<lb/>ni della pro&longs;pettiua. </s> <s id="s.003284">Dice adunque, che ogni membro, che &longs;opra i capitelli &longs;i pone, deue nella &longs;ua <lb/>fronte e&longs;&longs;er partito in dodici parti, & cia&longs;cuno piegare uer&longs;o la fronte &longs;ua una parte delle dodici. <lb/></s> <s id="s.003285">& la ragione è fondata nella pro&longs;pettiua, che uuole, che iraggi del uedere e&longs;chino da gli occhi <lb/>per dritta linea, & che tra quelli ci &longs;ia una certa di&longs;tanza, & che la figura da quelli com­<lb/>pre&longs;a, con quelli &longs;ia come una piramide, & un conio, la cui punta &longs;ia nell'occhio, & la ba&longs;a <lb/>contegna i contorni, ouero i termini della co&longs;a ueduta. </s> <s id="s.003286">Hora &longs;tando que&longs;to ne &longs;egue, che gli <lb/>anguli, &longs;otto i quali &longs;i uede alcuna co&longs;a, &longs;aranno hora minori, hora maggiori, perche una <lb/>i&longs;te&longs;&longs;a co&longs;a auuicinando&longs;i all'occhio farà l'angulo maggiore, & allontanando&longs;i lo farà mi­<lb/>nore; il &longs;imile &longs;egue dell'altezza de gli anguli, del &longs;ito destro, & &longs;ini&longs;tro, & della egua­<lb/>lità, la doue quelle co&longs;e, che &longs;i uedeno &longs;otto anguli maggiori appareno minori, & quel­<lb/>le minori, che &longs;otto minori &longs;i uederanno, & &longs;otto gli alti alte, &longs;otto ba&longs;&longs;i baße, & &longs;otto de­<lb/>&longs;tri destre, &longs;otto &longs;ini&longs;tri &longs;ini&longs;tre, &longs;otto eguali eguale, & &longs;otto piu anguli uedute, &longs;i uedeno <lb/>meglio: però con&longs;iderando Vitr. che &longs;e i membri fu&longs;&longs;ero dritti a piombo, la parte di&longs;opra &longs;arebbe <lb/>piu lontana dalla ui&longs;ta, che quella di &longs;otto, & parrebbe, che l'opera de&longs;&longs;e in drieto. </s> <s id="s.003287">il che &longs;i ue­<lb/>de tirando dall'occhio due linee, perche la linea, che ua alla parte di &longs;opra, è piu lunga, che quella,<emph.end type="italics"/><pb pagenum="160" xlink:href="045/01/168.jpg"/><emph type="italics"/>che ua alla parte di &longs;otto. </s> <s id="s.003288">& però l'opera ci parrebbe piu &longs;ie&longs;a, & piu riuolta al di &longs;opra, per ue­<lb/>der&longs;i &longs;otto raggio piu lontano. </s> <s id="s.003289">però uuole egli, che piegamo in fuori la parte di &longs;opra, la duodeci<lb/>ma parte dell'altezza de i membri, che uanno &longs;opra i capitelli. </s> <s id="s.003290">perche la linea del uedere &longs;i farà <lb/>piu uicina all'occhio, l'angulo ci &longs;arà maggiore, & l'opera ci parerà piu dritta. </s> <s id="s.003291">il che &longs;i uede per <lb/>la figura qui &longs;otto. </s> <s id="s.003292">&longs;ia l'architraue nella fronte c. <!-- REMOVE S-->b. <!-- REMOVE S-->&longs;ia l'occhio a. <!-- REMOVE S-->& &longs;iano tirate dall'occhio due <lb/>linee, l'una alla parte di &longs;otto &longs;egnata c. <!-- REMOVE S-->l'altra alla parte di &longs;opra &longs;egnata b. <!-- REMOVE S-->egli&longs;i uede, che la <lb/>linea a b. <!-- REMOVE S-->è piu lunga, che la linea a c. <!-- REMOVE S-->ma &longs;e la parte di &longs;opra piegherà per la duodecima parte <lb/>della &longs;ua altezza, la linea, che andarà dall'occhio alla parte aggiunta &longs;i farà minore, & conue­<lb/>nirà piu con la linea di &longs;otto, & l'opera parerà poi dritta, & meno &longs;te&longs;a, & riuolta, come &longs;i ue­<lb/>de dalla linea. </s> <s id="s.003293">a d. <!-- REMOVE S-->& que&longs;to &longs;i deue &longs;pecialmente auuertire, doue le opere &longs;ono alte, & imem­<lb/>bri grandi. </s> <s id="s.003294">& u&longs;are il giudicio, & la di&longs;cretione.<emph.end type="italics"/></s> </p> <figure id="id.045.01.168.1.jpg" xlink:href="045/01/168/1.jpg"/> <p type="main"> <s id="s.003295">Le canalature delle colonne deono e&longs;&longs;er <lb/>uentiquattro, & &longs;i cauano in que&longs;to modo, <lb/>che po&longs;ta la &longs;quadra nel cauo della canalatu<lb/>ra, & girata tocchi in modo con le &longs;ue brac<lb/>cia dalla de&longs;tra, & dalla &longs;ini&longs;tra gli anguli <lb/>delle &longs;trie, che la punta, ouero angulo del <lb/>la &longs;quadra &longs;i moua facilmente, & &longs;enza im­<lb/>pedimento col &longs;uo giro toccando. </s> <s id="s.003296">Le gro&longs;<lb/>&longs;ezze delle &longs;trie, o pianuzzi, &longs;i deono fare, <lb/>quanto &longs;i trouerà la giunta nel mezo della <lb/>colonna dalla de&longs;crittione &longs;ua. </s> <s id="s.003297">Nelle gole <lb/>dritte, che &longs;ono &longs;opra i gocciolatoi de i <lb/>Tempij &longs;i deue &longs;colpire le te&longs;te di leoni, co <lb/>&longs;i po&longs;te, che contra cia&longs;cuna colonna &longs;iano forate al canale, che dalle tegole riceue l'ac­<lb/>qua piouana, ma le parti di mezo &longs;iano &longs;ode, accioche la forza dell'acqua, che per le tego <lb/>le di&longs;cende nel canale, non uenga <lb/>tra gli inter colunnij, & non ba­<lb/>gni quelli, che pa&longs;&longs;ano di &longs;ot­<lb/>to. </s> <s id="s.003298">ma quelle, che &longs;ono &longs;opra le <lb/>colonne apparino uomitando <lb/>mandar fuori gli e&longs;iti delle <lb/>acque. </s> </p> <figure id="id.045.01.168.2.jpg" xlink:href="045/01/168/2.jpg"/> <p type="main"> <s id="s.003299"><emph type="italics"/>La canalatura della colonna è fat <lb/>ta ad imitatione delle falde delle ue­<lb/>&longs;ti feminili. </s> <s id="s.003300">In que&longs;ta &longs;i deue inten­<lb/>dere la &longs;ignificatione d'alcuni uoca­<lb/>boli, & poi il modo di formarli giu­<lb/>&longs;tamente. </s> <s id="s.003301">il primo è quello, che <lb/>Vitr. chiama Strix: il &longs;econdo quel­<lb/>lo, che è detto &longs;tria: il terzo, Anco­<lb/>nes. <!-- KEEP S--></s> <s id="s.003302">Strix adunque è il cauo, & il <lb/>canale i&longs;te&longs;&longs;o. </s> <s id="s.003303">&longs;tria è lo &longs;pacio, che è <lb/>tra un cauo, & l'altro, detto pia­<lb/>nuzzo. </s> <s id="s.003304">Ancones &longs;ono le braccia <lb/>della &longs;quadra, la quale è fatta da <lb/>due regule, che da Vitr. &longs;ono dette <lb/>ancones, perche fanno come un gomito, che in greco anchon &longs;i chiama. </s> <s id="s.003305">Siano adunque <emph.end type="italics"/><pb pagenum="161" xlink:href="045/01/169.jpg"/><emph type="italics"/>i canali uentiquattro cauati in &longs;emicircolo, prouati con l'angulo della &longs;quadra, che toccbi il &longs;on <lb/>do del cauo nel mezo, & con le braccia, che tocchino gli anguli de i pianuzzi. </s> <s id="s.003306">la gro&longs;&longs;ezza de <lb/>iquali &longs;i &longs;aperebbe a punto, quando noi &longs;ape&longs;&longs;imo bene come ua la gonfiatura della colonna, per­<lb/>che &longs;econdo la &longs;ua de&longs;crittione &longs;i formano i pianuzzi &longs;econdo l'opinione di Vitr. & la figura &longs;econ­<lb/>do, che la intendemo è &longs;tata po&longs;ta.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003307">Io ho de&longs;critto, quanto io ho potuto diligentemente in que&longs;to libro le di&longs;po&longs;itioni <lb/>de i Tempij Ionici. </s> <s id="s.003308">nel &longs;eguente io e&longs;ponerò quali &longs;iano le proportioni de i Tem­<lb/>pij Dorichi, & Corinthij. <!-- KEEP S--></s> </p> <p type="main"> <s id="s.003309"><emph type="italics"/>Conclude Vitruuio, & dice quanto ha trattato fin hora, & dice hauere detto con ogni po&longs;&longs;i­<lb/>bile diligenza le ragioni de i Tempij, Ionici, & promette di uoler trattare nel &longs;eguente libro <lb/>delle mi&longs;ure de i Tempij Dorichi, & Corinthij. <!-- KEEP S--></s> <s id="s.003310">Però douemo auuertire alle co&longs;e dette come <lb/>a co&longs;e pertinenti alla ragione Ionica.<emph.end type="italics"/><!-- KEEP S--></s> </p> </subchap2></subchap1><subchap1> <p type="head"> <s id="s.003311">IL QVARTO LIBRO<!-- REMOVE S-->DELL'ARCHITETTVRA DI <lb/>M. VITRVVIO.<!-- KEEP S--></s> </p> <subchap2> <p type="head"> <s id="s.003312"><emph type="italics"/>Proemio.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.003313">HAVENDO io ó Imperatore auuertito, che molti hanno la&longs;ciato pre <lb/>cetti della Architettura, & uolumi di commentarij non ordinati, ma <lb/>cominciati come particelle &longs;membrate: degna, & utili&longs;sima co&longs;a ho <lb/>pen&longs;ato prima di ridurre tutto il corpo di que&longs;ta di&longs;ciplina a perfetto or <lb/>dine, & poi e&longs;plicare in cia&longs;cuno uolume le pre&longs;critte, & certe qualità <lb/>delle maniere partitamente. </s> <s id="s.003314">Et però ó Ce&longs;are io ti ho dichiarito nel pri <lb/>mo uolume l'ufficio dello Architetto, & dimo&longs;trato di che arti bi&longs;ogna, che egli &longs;ia am­<lb/>mae&longs;trato. </s> <s id="s.003315">Nel &longs;econdo io ho di&longs;putato della copia della materia, della quale &longs;i fanno <lb/>gli edificij. </s> <s id="s.003316">Nel terzo delle di&longs;po&longs;itioni de i &longs;acri Tempij, & della uarietà delle loro ma­<lb/>niere, quali, & quante forme s'habbiano, & delle di&longs;tributioni, che &longs;ono in cia&longs;cuna ma <lb/>niera, & de i tre generi, quelle, che haue&longs;&longs;ero &longs;ottili&longs;sime qualità de moduli nelle pro­<lb/>portioni ho dimo&longs;trato le u&longs;anze Ioniche. <!-- KEEP S--></s> <s id="s.003317">Hora in que&longs;to uolume io tratterò de gli in­<lb/>&longs;tituti Dorichi, & Corinthij. <!-- KEEP S--></s> <s id="s.003318">& di tutti farò manife&longs;te le differenze, & le proprietà. </s> </p> <p type="main"> <s id="s.003319">P<emph type="italics"/>E<emph.end type="italics"/>RCHE <emph type="italics"/>Vitr. non faccia nel proemio del quarto, come ne i proemi de gli altri li <lb/>bri, di&longs;correndo &longs;opra alcuna bella co&longs;a, la ragione (come io stimo) puo e&longs;&longs;er que <lb/>&longs;ta. </s> <s id="s.003320">La materia del pre&longs;ente libro, è continuata con la materia del precedente; pe <lb/>rò non bi&longs;ognaua fare altro proemio con digre&longs;&longs;ione, & hi&longs;toria, come ha fatto ne <lb/>gli altri. </s> <s id="s.003321">Ma perche ha fatto egli que&longs;to poco di proemio? </s> <s id="s.003322">prima per di&longs;tinguer un libro dall'al­<lb/>tro, dapoi per continuare la materia, dimo&longs;trando quello, che fin hora egli ci ha in&longs;egnato, & <lb/>quello, che egli ci è per in&longs;egnare: & &longs;e alcuno dice&longs;&longs;e, non doueua egli &longs;otto un uolume &longs;olamen­<lb/>te comprendere tutta la trattatione delle fabriche dedicate alla religione? </s> <s id="s.003323">Io direi, che per fug­<lb/>gire il tedio, che ci reca la lunghezza, egli ha uoluto dar modo al terzo libro, & ri&longs;eruar&longs;i<emph.end type="italics"/><pb pagenum="162" xlink:href="045/01/170.jpg"/><emph type="italics"/>nel quarto a dichiarir ci il re&longs;tante. </s> <s id="s.003324">Et per quella breuità, che egli lauda nel proemio del &longs;eguen­<lb/>te libro; che ci fa piu pronti alle co&longs;e, che presto fini&longs;cono: deue&longs;i auuertire, quello, che egli <lb/>dice.<emph.end type="italics"/> {<emph type="italics"/>Nel terzo delle di&longs;po&longs;itioni de i &longs;acri Tempi.<emph.end type="italics"/>} <emph type="italics"/>Perche intende quanto a gli a&longs;petti delle <lb/>&longs;i onti, & de i lati al primo Capo. <!-- KEEP S--></s> <s id="s.003325">Et quello, che egli dice.<emph.end type="italics"/> {<emph type="italics"/>Et delle proprietà delle loro manie <lb/>re,<emph.end type="italics"/>} <emph type="italics"/>intende quanto allo &longs;patio tra le colonne, del che ne &longs;ono cinque &longs;pecie, come &longs;i uede al &longs;econ <lb/>do Capo. <!-- REMOVE S-->nel quale è compre&longs;o, quello, che dice Vitru.<emph.end type="italics"/> {<emph type="italics"/>quali, & quante forme s'habbiano,<emph.end type="italics"/>} <lb/><emph type="italics"/>& il re&longs;to. </s> <s id="s.003326">Et quello, che egli dice,<emph.end type="italics"/> {<emph type="italics"/>& de i tre generi quelle, che haue&longs;&longs;ero &longs;ottili&longs;&longs;ime quali <lb/>tà<emph.end type="italics"/>} <emph type="italics"/>intende del genere Ionico, del quale ha ragionato nel terzo Capo. <!-- KEEP S--></s> <s id="s.003327">Et in uero dice bene &longs;otti­<lb/>li&longs;&longs;ime qualità, & co&longs;i ritrouo io, & è nece&longs;&longs;ario riuolgere nella mente le co&longs;e dette, &longs;opra le pro <lb/>portioni, & i compartimenti di quelle, & e&longs;&longs;ercitar&longs;i con quelle ne i precetti di Vitru. <!-- REMOVE S-->& bene <lb/>&longs;pe&longs;&longs;o ragionarui &longs;opra. </s> <s id="s.003328">ricordando&longs;i oltra di que&longs;to della Eurithmia, & della gratia, ch'è il tem<lb/>peramento delle proportioni applicate alla materia, come la equità alle co&longs;e di giu&longs;titia. </s> <s id="s.003329">Tratta <lb/>adunque in que&longs;to libro della origine, & inuentione delle colonne, de i loro ornamenti, della ra­<lb/>gion Dorica, & Corinthia, del compartimento, & di&longs;tributione del di dentro, & del di fuori de <lb/>i Tempij. <!-- KEEP S--></s> <s id="s.003330">& ci da alcuni precetti per &longs;iluare i Tempij &longs;econdo le regioni, & parti del cielo, ra­<lb/>giona delle porte, & del fabricar antico di To&longs;cana, & delle forme ritonde de i Tempij, & de <lb/>gli altari, & con que&longs;to pon fine alla fabrica con&longs;ecrata alla religione.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.003331"><emph type="italics"/>Di tre maniere di colonne, & delle origini, & inuentio­<lb/>ne di quelle. </s> <s id="s.003332">Cap. I.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.003333">LE colonne Corinthie hanno tutte le mi&longs;ure come le Ioniche, eccetto i capitel<lb/>li, ma le altezze de i capitelli fanno quelle per la rata parte piu alte, & &longs;ottili, <lb/>perche l'altezza del capitello Ionico è la terza parte della gro&longs;&longs;ezza della co­<lb/>lonna, ma del Corinthio, è di tutta la gro&longs;&longs;ezza intiera. </s> <s id="s.003334">perche adunque &longs;o­<lb/>no aggiunte a i capitelli Corinthij due parti della gro&longs;&longs;ezza della colonna, però fanno la <lb/>mo&longs;tra di quelle piu &longs;ottile. </s> <s id="s.003335">Tutti gli altri membri, che &longs;opra le colonne &longs;i po&longs;ano, nelle <lb/>Corinthie &longs;ono po&longs;ti o dalle mi&longs;ure, & compartimenti Dorichi, ouero dalle u&longs;anze Ioni­<lb/>che, perche la maniera Corinthia non ha propria in&longs;titutione di gocciolatoi, o d'altri or<lb/>namenti. </s> <s id="s.003336">ma ouero nelli gocciolatoi i mutoli dalle ragioni delli Triglifi &longs;ono di&longs;po&longs;te, <lb/>ouero ne gli architraui, le goccie all'u&longs;anza Dorica &longs;ono ordinate. </s> <s id="s.003337">Ouero &longs;econdo le leg­<lb/>gi Ioniche, i fregi ornati di &longs;colture con i dentelli, & con le corone &longs;i comparti&longs;cono, <lb/>& co&longs;i di due maniere trapo&longs;toui il capitello, è &longs;tata nelle opere la terza maniera prodot­<lb/>ta. </s> <s id="s.003338">perche le nominanze de i tre generi. </s> <s id="s.003339">cioè Dorica, Ionica, & Corinthia fatte &longs;ono dal­<lb/>le formationi delle colonne, delle quali, la prima, & antica nata è la Dorica. <!-- KEEP S--></s> </p> <p type="main"> <s id="s.003340"><emph type="italics"/>Nel pre&longs;ente luogo Vitr. tratta delle origini, & innentioni delle maniere delle colonne, & del <lb/>la colonna Corinthia, & del &longs;uo capitello. </s> <s id="s.003341">Le regole delle Corinthie &longs;ono breuemente raccolte. </s> <s id="s.003342"><lb/>La prima è, che le colonne Corinthie non &longs;ono punto dalle Ioniche differenti di mi&longs;ure, &longs;aluo, che <lb/>nel capitello, perche (come hauemo ueduto nel precedente libro) il capitello Ionico è alto per <lb/>un terzo della gro&longs;&longs;ezza della colonna, & (come qui &longs;i dice) il capitello Corinthio, è alto tan­<lb/>to, quanto tutta la gro&longs;&longs;ezza della colonna. </s> <s id="s.003343">dalche na&longs;ce, che la colonna Corinthia per la ag­<lb/>giunta di due parti è piu &longs;uelta, & pare piu &longs;ottile. </s> <s id="s.003344">Ma doue ha detto Vitr. che il capitello Ioni­<lb/>co è alto un terzo della gro&longs;&longs;ezza della colonna? </s> <s id="s.003345">Ri&longs;pondo, che egli lo ha detto di &longs;opra, nel ter <lb/>zo libro, quando egli di&longs;&longs;e.<emph.end type="italics"/></s> <s id="s.003346"> Ma la gro&longs;&longs;ezza del capitello, &longs;i deue fare in que&longs;to modo, <lb/>che di noue parti, & meza tre pendino inanzi &longs;otto il tondino. <emph type="italics"/>Perche &longs;e tre parti &longs;otto il <lb/>tondino &longs;ono la&longs;ciate alle uolute, ne re&longs;tano &longs;ei, & meza, & la gro&longs;&longs;ezza della colonna era par­<lb/>ti diciotto, & quella meza parte è di&longs;tribuita alla cimbia, & però la gro&longs;&longs;ezza del capitello Io-<emph.end type="italics"/><pb pagenum="163" xlink:href="045/01/171.jpg"/><emph type="italics"/>nico uiene ad e&longs;&longs;er qua&longs;i la terza parte della gro&longs;&longs;ezza della colonna. </s> <s id="s.003347">La &longs;econda regola è, che <lb/>le Corinthie non hanno membri proprij di &longs;opra, ma &longs;i pigliano, o dalle &longs;immetrie Doriche, o <lb/>dalle u&longs;anze Ioniche. <!-- KEEP S--></s> <s id="s.003348">dice Vitr.<emph.end type="italics"/> {<emph type="italics"/>o dalle ragioni de gli Triglifi<emph.end type="italics"/>} <emph type="italics"/>cioè dalla ragion Dorica, non <lb/>che &longs;iano Triglifi nel Corinthio, ma perche il compartimento Dorico, è regolato &longs;econdo gli Tri <lb/>glifi. </s> <s id="s.003349">Similmente per goccie intende, non quelle, che &longs;ono &longs;otto gli Triglifi, ma quelle, che &longs;ono <lb/>di&longs;poste &longs;otto'l gocciolatoio, nel piano di &longs;otto, come hauemo detto i moderni le chiamano fu&longs;aio <lb/>li, non &longs;apendo l'origine di quelle. </s> <s id="s.003350">Adunque nella maniera Corinthia, l'Architraue, il Freggio, <lb/>la Cornice, &longs;i puo pigliare dalla mi&longs;ura, & compartimento Dorico. <!-- KEEP S--></s> <s id="s.003351">Egli &longs;i puo anche pigliare <lb/>dalle u&longs;anze Ioniche tutto quello, che s'impone a capitelli delle colonne, & in que&longs;to ca&longs;o non è <lb/>differenza tra'l Ionico, & il Corinthio, & &longs;i puo dire che il genere Corinthio non habbia altro <lb/>del &longs;uo, che il capitello, & que&longs;to &longs;i deue auuertire. </s> <s id="s.003352">Seguita Vitr. a dire l'origine del genere <lb/>Dorico, & dice.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003353">Perche nell'Achaia, & nel Polopone&longs;&longs;o Doro figliuolo di Helleno, & della ninfa Optice <lb/>hebbe il principato, que&longs;ti in Argo antica città fece a ca&longs;o il Tempio di Giunone di quel­<lb/>la maniera. </s> <s id="s.003354">Dapoi delle i&longs;te&longs;&longs;e maniere non e&longs;&longs;endo anchor nata la ragione delle &longs;imme­<lb/>trie fece i Tempij nelle altre città dell'Achaia. </s> <s id="s.003355">Ma poi che gli Athenie&longs;i per le ri&longs;po&longs;te del <lb/>Delfico Apollo di commune con&longs;iglio di tutta la Grecia in uno i&longs;te&longs;&longs;o tempo condu&longs;&longs;e­<lb/>ro in A&longs;ia tredici colonie, & a cia&longs;cuna colonia diedero il &longs;uo capo, & condottiere, dan­<lb/>do la &longs;omma dello imperio ad Ione figliuolo di Xutho, & di Creu&longs;a, il quale per le ri&longs;po&longs;te <lb/>&longs;ue Apollo in Delfo uolle chiamare &longs;uo figliuolo; co&longs;tui condu&longs;&longs;e in A&longs;ia quelle colonie; <lb/>& iui fabricò grandi&longs;sime città hauendo occupati i confini della Caria, Ephe&longs;o, Mileto, <lb/>Miunta, che gia fu dalle acque &longs;orbita, i &longs;acrificij, & i &longs;uffragij della quale gli lonij, a Mi<lb/>le&longs;ij attribuirono, & Priene, Samo, Teon, Colofona, Chio, Erithras, Phocea, Elazo <lb/>mene, Lebedo, Melite. </s> <s id="s.003356">Que&longs;ta Melite, per l'arroganza de cittadini da que&longs;te città per <lb/>commune con&longs;iglio mo&longs;&longs;agli guerra, fu ruinata. </s> <s id="s.003357">in luogo della quale dapoi, per benefi­<lb/>cio del Re Attalo, & d'Ar&longs;imone la città de Smirnei è &longs;tata riceuuta nel numero delle cit­<lb/>tà Ioniche. <!-- KEEP S--></s> <s id="s.003358">Que&longs;te città hauendo &longs;cacciati i Carij, & i Lelegi, nominarono dal loro capo <lb/>Ione quella regione Ionia & ponendo iui i Tempij de i Dei immortali cominciorno a fa­<lb/>bricare alcuni Tempietti, & prima (come uiddero in Achaia) fecero il Tempio d'Apol<lb/>lo, detto Pannionio, & quello chiamarono Dorico, perche lo uiddero da prima co&longs;i fat <lb/>to nelle città de i Dorici. <!-- KEEP S--></s> <s id="s.003359">Ma uolendo ponere in quel Tempio le colonne, non hauendo <lb/>le &longs;immetrie di quelle, & cercando con che ragioni le pote&longs;&longs;ero fare, &longs;i che, & a &longs;opporta­<lb/>re i pe&longs;i fu&longs;&longs;ero ba&longs;tanti, & tenne&longs;&longs;ero approuata bellezza nello a&longs;petto, mi&longs;urarono la <lb/>pianta del piede uirile, & hauendo trouato, che il piede era la &longs;e&longs;ta parte dell'altezza del­<lb/>l'huomo, co&longs;i la traportarono nella colonna. </s> <s id="s.003360">Et di quella gro&longs;&longs;ezza, che fecero la ba&longs;a <lb/>del fu&longs;to della colonna, &longs;ei fiate tanto leuarono in altezza quella col capitello. </s> <s id="s.003361">Et a <lb/>que&longs;to modo la colonna Dorica cominciò dare ne gli edificij proportione, & fermezza, & <lb/>bellezza del corpo uirile. </s> <s id="s.003362">Appre&longs;&longs;o dapoi cercando di fabricare un Tempio a Diana, da <lb/>gli i&longs;te&longs;si ue&longs;tigij trasferirono nuoua forma di maniera alla &longs;ueltezza feminile. </s> <s id="s.003363">Et prima fe­<lb/>cero la gro&longs;&longs;ezza della colonna per la ottaua parte dell'altezza, & accioche tene&longs;&longs;ero lo <lb/>a&longs;petto piu alto &longs;ottopo&longs;ero alla ba&longs;a in luogo di calzare la &longs;pira, & al capitello impo&longs;ero <lb/>le uolute pendenti dalla de&longs;tra, & dalla &longs;ini&longs;tra, come cre&longs;pi cincinni della capillatura, & <lb/>ornarono le fronti di cima&longs;e, & con fe&longs;toni, (che encarpi &longs;i dicono) cioè frutti raccolti <lb/>in&longs;ieme, & foglie colligate in uece di capelli di&longs;po&longs;te, & per tutto'l tronco della colonna <lb/>la&longs;ciarono andar a ba&longs;&longs;o le canalature, come falde delle ue&longs;timenta all'u&longs;anza delle matro­<lb/>ne; & co&longs;i con due differenze imitarono la inuentione delle colonne, una &longs;chietta, & nu<lb/>da &longs;enza ornamento, che era di &longs;embiante uirile, l'altra di muliebre &longs;ottigliezza, & orna­<lb/>mento, & mi&longs;ura. </s> <s id="s.003364">Ma quelli che uennero dapoi con eleganza, & &longs;ottigliezza di giudi­<pb pagenum="164" xlink:href="045/01/172.jpg"/>cio andarono piu inanzi, & dilettando&longs;i di moduli piu &longs;ottili, fecero l'altezza della colon <lb/>na Dorica di &longs;ette diametri della gro&longs;&longs;ezza, & la Ionica di otto, & meza. </s> <s id="s.003365">Et quello, che <lb/>gli Ioni fecero da prima, Ionico è &longs;tato detto. </s> <s id="s.003366">Ma il terzo genere, che Corinthio &longs;i <lb/>chiama, è pre&longs;o dalla imitatione della &longs;ueltezza uirginale, imperoche le uergini per late­<lb/>nerezza della età, e&longs;&longs;endo di piu &longs;uelte membra formate, riceueno piu leggiadri, & gratio&longs;i <lb/>effetti. </s> <s id="s.003367">Ma la inuentione del capitello Corinthio &longs;i narra che in que&longs;to modo &longs;ia &longs;tata ritro <lb/>uata. </s> <s id="s.003368">Vna uergine cittadina di Corinto gia da marito, e&longs;&longs;endo inferma uenne a morte. </s> <s id="s.003369"><lb/>la notrice di quella hauendo raccolto tutti que ua&longs;i, de i quali la uergine uiuendo &longs;i dilet­<lb/>taua, & po&longs;ti quelli in un ce&longs;tello, dapoi, che fu &longs;epelita, gli fece portare al monumento, <lb/>& porli da capo, & accioche piu lungamente re&longs;ta&longs;&longs;ero allo &longs;coperto aere, ui po&longs;e &longs;opra <lb/>una tegola. </s> <s id="s.003370">Il ce&longs;tello per ca&longs;o era &longs;tato po&longs;to &longs;opra una radice di Acanto. <!-- KEEP S--></s> <s id="s.003371">in quel mezo <lb/>la radice nel mezo dal pe&longs;o oppre&longs;&longs;a, mandò fuori da primauera i ritorti cauli, & le foglie <lb/>cre&longs;cendo i cauli lungo i lati del ce&longs;tello, & da gli anguli della tegola per la nece&longs;sità &longs;pin <lb/>ti in fuori, furono con&longs;tretti nelle ultime parti delle uolute piegar&longs;i. </s> <s id="s.003372">Allhora Callima­<lb/>co, il quale per la eleganza, & &longs;ottigliezza dell'arte, fu da gli Athenie&longs;i cachizotecnos no <lb/>minato, pa&longs;&longs;ando appre&longs;&longs;o quel monumento, auuertendo uide quel ce&longs;tello, & d'intor­<lb/>no la tenerezza na&longs;cente delle foglie, & dilettato&longs;i della maniera, & della nouità della for­<lb/>ma fece a quella &longs;imiglianza appre&longs;&longs;o i Corinthij le colonne, & po&longs;e le conueneuoli ragio <lb/>ni di quelle, & dapoi nelle perfettioni delle opere, fece la di&longs;tributione della maniera <lb/>Corinthia. <!-- KEEP S--></s> </p> <p type="main"> <s id="s.003373"><emph type="italics"/>Richiederebbe un curio&longs;o, che io cita&longs;&longs;i in que&longs;to luogo l'auttorità di Plinio, di Pau&longs;ania, & <lb/>di Strabone, & d'altri autori per e&longs;ponere le hi&longs;torie, & le de&longs;crittioni de i luoghi po&longs;ti da Vitr. <lb/>ma io credo a Vitr. & maggior cura mi &longs;trigne, & d'importanza maggiore, che narrare le hi&longs;to <lb/>rie, de&longs;criuer luoghi, & dipigner herbe. </s> <s id="s.003374">Grande occa&longs;ione, & bella, ci ha dato la natura, per <lb/>fare, che l'arte perfetta fu&longs;&longs;e, quando ella ci propo&longs;e la forma del corpo humano. </s> <s id="s.003375">percioche con <lb/>il numero, con i termini, & contorni, con lo &longs;ito, & collocatione delle parti, in un &longs;oggetto no <lb/>bili&longs;&longs;imo ci diede e&longs;&longs;empio merauiglio&longs;o di &longs;ingular bellezza; fece, che i corpi quantunque di&longs;&longs;imi <lb/>glianti fu&longs;&longs;ero, nientedimeno belli, & ben formati, & uaghi ci pare&longs;&longs;ero. </s> <s id="s.003376">La onde molte bellezze <lb/>nate &longs;ono, percioche con lo certo, & determinato numero delle parti, la natura congiun&longs;e la cor <lb/>ri&longs;pondente grandezza con i termini &longs;uoi, & niente la&longs;ciò, che in luogo proprio, & accommo­<lb/>dato non fu&longs;&longs;e: perche &longs;i trouano de i corpi gentili, & &longs;uelti, che ci porgeno diletto, & &longs;e ne tro­<lb/>uano de gli altri, che &longs;ono piu &longs;odi, è maggiori, & però non ci di&longs;piaceno, & finalmente tra que­<lb/>&longs;ti, & quelli altri &longs;ono belli, & gratio&longs;i, come che in ogni co&longs;a &longs;i truoua il grande, il picciolo, <lb/>& il mediocre, cia&longs;cuno con le &longs;ue ragioni. </s> <s id="s.003377">il che con&longs;iderando l'huomo, & leggendo nel li­<lb/>bro della natura per imitarla nelle &longs;ue compo&longs;itioni, uolle, che tre maniere fu&longs;&longs;ero prin­<lb/>cipali del fabricare, con&longs;iderando molto bene l'officio, & il fine di cia&longs;cuna fabri­<lb/>ca: & però quella che piu pote&longs;&longs;e durare alla fatica, & piu fermezza, & piu di &longs;odo haue&longs;&longs;e, <lb/>Dorica uolle chiamare: perche fu prima da i Dorie&longs;i di que&longs;to modo pigliata: ma quella, che piu <lb/>&longs;ottile, & piu &longs;uelta fu&longs;&longs;e, Corinthia: la mezana, qua&longs;i tra amendue collocata, Ionica, da Ione, <lb/>come dice Vitr. <!-- KEEP S--></s> <s id="s.003378">Ma perche cia&longs;cuna haue&longs;&longs;e donde parere diletteuole, & bella, cominciò con <lb/>gran diligenza a con&longs;iderare, che numero, che termini, & come &longs;i haue&longs;&longs;ero a di&longs;porre le par­<lb/>ti. </s> <s id="s.003379">Vedendo&longs;i adunque (come ben di&longs;corre Lione) che il diametro del corpo humano dall' uno, <lb/>& l'altro lato, è per la &longs;esta parte, & dal bilico alle reni per la decima dell' altezza del corpo, <lb/>fu pre&longs;a l'occa&longs;ione delle mi&longs;ure: perche ritrouando, che &longs;e delle colonne altre fu&longs;&longs;ero piu alte <lb/>&longs;ei parti, altre dieci del piede loro, per lo innato &longs;entimento, col quale potemo giudicare, che tan <lb/>ta gro&longs;&longs;ezza, ouero tanta &longs;ottigliezza non ha del buono, cominciò a fare l'ufficio &longs;uo, & di&longs;cor­<lb/>rere, che co&longs;a fu&longs;&longs;e di mezo tra que&longs;ti ecce&longs;&longs;i, che pote&longs;&longs;e piacere, & di &longs;ubito &longs;i diede alla in­<lb/>uentione delle proportioni, & co&longs;i po&longs;ti in&longs;ieme quegli ecce&longs;&longs;i, cioè &longs;ei, & dieci, diui&longs;ero la &longs;om-<emph.end type="italics"/><pb pagenum="165" xlink:href="045/01/173.jpg"/><emph type="italics"/>ma in due parti, donde ritrouarono, che'l numero di otto era quello, che dal &longs;ei, & dal dieci con <lb/>eguali &longs;pacij era di&longs;tante. </s> <s id="s.003380">Piacque la inuentione, & ne riu&longs;cì la proua: & però diedero alla <lb/>lunghezza della colonna otto Diametri del piede, & quella (come io ho detto) da gli Ioni, Io­<lb/>nica naminarono. </s> <s id="s.003381">Dapoi giugnendo il minor termine, che era&longs;ei, con que&longs;to numero di nuouo <lb/>ritrouato, cioè con otto fecero una &longs;omma di quattordici, che partita egualmente rendeua &longs;ette, <lb/>&longs;econdo il qual numero da Dorie&longs;i &longs;u fatta la colonna Dorica di &longs;ette te&longs;te. </s> <s id="s.003382">ma aggiugnendo il ter­<lb/>mine maggiore, che era dieci con quello di mezo, che era otto raccol&longs;ero diciotto, che partito in <lb/>due faceua noue, perilche alla forma piu &longs;uelta, & piu &longs;ottile diedero noue diametri, & Corin­<lb/>thia la chiamarono, perche da Corinto (che hora Caranto &longs;i chiama) uenne la inuentione <lb/>per auuertimento di Callimacho Architetto: Dal numero adunque cominciarono a dare la bel­<lb/>lezza. </s> <s id="s.003383">Poi uennero al contorno, facendo le diminutioni, le gonfiezze, i collarini, & le cim­<lb/>bie con gratia, & ornamento, di&longs;ponendo le parti di cia&longs;cuna al luogo &longs;uo. </s> <s id="s.003384">ben è uero, che il &longs;ito, <lb/>& la di&longs;po&longs;itione delle parti piu pre&longs;to &longs;i la&longs;cia cono&longs;cere, & &longs;entire, quando &longs;ta male, che s'in­<lb/>tenda come far &longs;i deggia. </s> <s id="s.003385">percioche quella è gran parte del giudicio dell'huomo in&longs;ito da natura. </s> <s id="s.003386"><lb/>Ben è uero, che ci &longs;ono alcune auuertenze, nel mettere in opera le co&longs;e ben compartite, come fa­<lb/>re, che le co&longs;e uadino a piombo, che i membri ri&longs;pondino &longs;u'l uiuo, che il tutto na&longs;ca da terra, <lb/>che le colonne &longs;iano pari di numero, a &longs;imiglianza de i piedi de gli animali, che le apriture &longs;iano <lb/>di&longs;pari, che le parti inferiori &longs;iano piu gro&longs;&longs;e, che le &longs;uperiori: che le Doriche non &longs;iano troppo <lb/>lauorate, ornate &longs;iano le Ioniche, ornati&longs;&longs;ime le Corinthie. <!-- KEEP S--></s> <s id="s.003387">perilche non &longs;i puo &longs;e non bia&longs;mare, <lb/>chi nelle opere Doriche, ha po&longs;to tanta &longs;ottilità, & uarietà di lauori, che piu non potrebbe ha­<lb/>uer fatto nelle Corinthie, grande &longs;pe&longs;a, inutile, non goduta, & &longs;enza decoro fu fatta, &longs;e bene al­<lb/>cuno dice&longs;&longs;e e&longs;&longs;ere opera compo&longs;ta. </s> <s id="s.003388">A me la ragione da ardire, & la i&longs;perienza, & la cognitio­<lb/>ne d'alcune co&longs;e de gli antichi, lequali quando erano po&longs;te lontane dall'occhio erano &longs;olamente <lb/>&longs;gro&longs;&longs;ate, ma le piu uicine erano piu finite: &longs;e però l'ambitione, & l'auantaggio, & commodità <lb/>de lauoranti non gli moueua. </s> <s id="s.003389">egli &longs;i legge, che per lo pericolo, che era nel drizzar le colonne, che <lb/>non &longs;i rompe&longs;&longs;ero, &longs;i &longs;oleua prima drizzarle, & poi lauorarle. </s> <s id="s.003390">in &longs;omma ri&longs;pondino (come ho gia <lb/>detto) le co&longs;e de&longs;tre alle &longs;ini&longs;tre, le alte alle ba&longs;&longs;e, le dinanzi alle di dietro; in modo, che ogni <lb/>co&longs;a po&longs;ta &longs;ia al luogo &longs;uo, & ri&longs;pondendo &longs;i in&longs;ieme, & bellezza, & fermezza apportino a gli <lb/>edificij. </s> <s id="s.003391">Voglio far hora auuertiti alcuni, i quali &longs;i marauigliano, che Vitru. i&longs;te&longs;&longs;o non pur al­<lb/>tri, che hanno fabricato tra gli antichi Architetti, s'habbia alcuna fiata &longs;co&longs;tato dalle dette mi <lb/>&longs;ure. </s> <s id="s.003392">Io ho detto di &longs;opra con l'auttorità di Vitru. che la ragione delle co&longs;e è in &longs;e uera, & du­<lb/>rabile, onde con la proportione &longs;ene uiue, & &longs;ta &longs;enza oppo&longs;itione, ma non &longs;empre diletta quel <lb/>&longs;entimento dell'animo no&longs;tro, ilquale for&longs;e piu a dentro per a&longs;co&longs;a forza di natura penetrando non <lb/>con&longs;ente a gli occhi, che la pura è &longs;emplice proportione alcuna fiata diletti. </s> <s id="s.003393">ma dalla materia <lb/>delle co&longs;e, dalla grandezza, dalla di&longs;tanza (come ho detto) richiede alcuna maniera, & for­<lb/>ma, che acconci quello gratio&longs;amente, che troppo &longs;implicemente ci porge la mi&longs;ura, & propor­<lb/>tione, come nelle &longs;tatue antiche &longs;i uede, altre di noue, altre di dieci, altre tra noue & dieci te&longs;te <lb/>formate. </s> <s id="s.003394">Et nella Mu&longs;ica finalmente ci &longs;ono alcuni &longs;uoni, i quali uengono alle orecchie con dol­<lb/>cezza, che però non &longs;ono tra le con&longs;onanze collocati. </s> <s id="s.003395">però dico, che ognuno deue ce&longs;&longs;are dalla <lb/>merauiglia, quando ritroua in molte opere la mi&longs;ura alquanto uariata da i precetti, perche egli è <lb/>a ba&longs;tanza tra'l maggiore, & minore ecceßo contener&longs;i, uariando i mezi con giudicio, & &longs;otti­<lb/>gliezza d'auuertimento. </s> <s id="s.003396">& però da gli &longs;pacij, & uani tra le colonne Vitru. ha regolato l'altez­<lb/>za di quelle, nè mai è u&longs;cito de i termini. </s> <s id="s.003397">Plinio nel trente&longs;imo &longs;esto libro al trente&longs;imo terzo <lb/>capo ragiona delle colonne, & mi&longs;ure loro, & del Tempio di Diana Efe&longs;ia, & delle &longs;ue propor­<lb/>tioni. </s> <s id="s.003398">Oltra le predette maniere di colonne, ci &longs;ono le Attiche quadrangulari, & di lati egua­<lb/>li. </s> <s id="s.003399">Quello che dice Vitru. di Callimaccho Architetto, che per la eleganza dell'arte era detto <lb/>Cachizoternos, perche &longs;empre egli &longs;pezzaua le co&longs;e fatte, nè mai &longs;i contentaua, & &longs;empre po­<lb/>liua, altri leggono Lixitecnon, perche &longs;ottilmente poliua le co&longs;e dell'arte &longs;ua. </s> <s id="s.003400">& for&longs;e qua­<lb/>dra meglio a Vitr.<emph.end type="italics"/><!-- KEEP S--></s> </p> <pb pagenum="166" xlink:href="045/01/174.jpg"/> <p type="main"> <s id="s.003401">La &longs;immetria, ouero compartimento di quel capitello, in que&longs;to modo &longs;i deue fare: <lb/>che quanto farà la gro&longs;&longs;ezza della colonna da piedi, tanto &longs;ia l'altezza del capitello, con <lb/>il dado o Abaco. <!-- KEEP S--></s> <s id="s.003402">Ma la larghezza dell'Abaco co&longs;i habbia la &longs;ua ragione: che quanto &longs;a­<lb/>rà l'altezza, due tanti &longs;ia la diagonale, percioche gli &longs;pacij haueranno per ogni uer&longs;o le <lb/>fronti giu&longs;te. </s> <s id="s.003403">&longs;iano le fronti della larghezza piegate in entro da gli e&longs;tremi anguli dello <lb/>Abaco, per la nona parte della larghezza della &longs;ua fronte: habbia al ba&longs;&longs;o del capitello <lb/>tanta gro&longs;&longs;ezza, quanto à la colonna di &longs;opra, oltra l'Apothe&longs;i, & lo A&longs;tragalo, cioè cim­<lb/>bia, & tondino. </s> <s id="s.003404">La gro&longs;&longs;ezza dello Abaco per la &longs;ettima dell'altezza del capitello. </s> <s id="s.003405">& le <lb/>uata la gro&longs;&longs;ezza dell'Abaco, &longs;ia il re&longs;tante diui&longs;o in tre parti, delle quali una &longs;i dia alla fo­<lb/>gliatura di &longs;otto, l'altra habbia la fogliatura di mezo, & i cauliculi habbiano la i&longs;te&longs;&longs;a altez<lb/>za, & da quelli na&longs;chino le foglie, lequali gettate in fuori abbracciano lo Abaco. <!-- REMOVE S-->ma quel­<lb/>le uolute, & minuti inuogli, che na&longs;ciuti dalle foglie de i cauliculi uengono in fuori fin a <lb/>gli e&longs;tremi anguli, &longs;iano &longs;colpiti tra'l &longs;uo mezo &longs;ottopo&longs;ti a i fiori, che &longs;ono nello Abaco. <!-- REMOVE S-->i <lb/>quali fiori da tutte quattro le parti &longs;iano formati tanto grandi, quanto è la gro&longs;&longs;ez­<lb/>za dello Abaco. <!-- REMOVE S-->co&longs;i in que&longs;te &longs;immetrie, & compartimenti &longs;aranno formati i capitel­<lb/>li Corinthij. <!-- KEEP S--></s> </p> <p type="main"> <s id="s.003406"><emph type="italics"/>Io ho e&longs;po&longs;to di &longs;opra aßai chiaramente que&longs;ta compo&longs;itione, & dimo&longs;tratola in di&longs;egno. </s> <s id="s.003407">Ve­<lb/>ro è, che egli &longs;i ha auuertito appre&longs;&longs;o gli antichi, che l'altezza del capitello &longs;enza lo Abaco era <lb/>di uno diametro di colonna, il che gli daua maggior &longs;ottigliezza.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003408">Sono anche le maniere de i capitelli, che alle mede&longs;ime colonne s'impongono, con di­<lb/>uer&longs;i uocabuli nominate. </s> <s id="s.003409">de i quali nè le proprietà delle mi&longs;ure, nè la maniera delle <lb/>colonne potemo nominare. </s> <s id="s.003410">ma ben uedemo che i uocaboli di quelli &longs;ono &longs;tati transferi­<lb/>ti, & tramutati da i capitelli Corinthij, Ionichi, & Dorichi, le &longs;immetrie de i quali &longs;ono &longs;ta <lb/>te traportate in &longs;ottigliezza di noue &longs;colture. </s> </p> <p type="main"> <s id="s.003411"><emph type="italics"/>La maggior parte de i belli antichi edificij &longs;ono di maniera compo&longs;ta, & que&longs;ta maniera è ua­<lb/>ria &longs;econdo la diuer&longs;ità delle proportioni, che &longs;i compongono in&longs;ieme; però non hanno que&longs;te ma­<lb/>niere proprio nome, benche a dì no&longs;tri, &longs;e le dia'l nome d'Italiana. </s> <s id="s.003412">Veggon&longs;i capitelli con tanta <lb/>diuer&longs;ità di lauori, che non ci è numero, altri con fogliazze grandi, altri con minute, & &longs;ono <lb/>belli&longs;&longs;imi, altri hanno legature d'animali, come s' è detto, altri hanno & uolute tolte da gli Io­<lb/>nichi, & foglie tolte da i Corinthij: & tutti &longs;ono garbati, & gratio&longs;i: & indeterminatamente &longs;i <lb/>deono chiamare, capitelli, o maniere compo&longs;te.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.003413"><emph type="italics"/>De gli ornamenti delle colonne. </s> <s id="s.003414">Cap. II.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.003415">Perche di &longs;opra &longs;ono &longs;tate de&longs;critte le origini, & le inuentioni delle colonne &longs;e­<lb/>condo le maniere loro, egli non mi pare lontano dal propo&longs;ito no&longs;tro con le <lb/>i&longs;te&longs;&longs;e ragioni trattare de gli ornamenti di quelle, come nati &longs;ono, & da quai <lb/>principij, & da che origini ritrouati. </s> <s id="s.003416">In tutti gli edificij &longs;i pone di &longs;opra la <lb/>trauatura, & l'opera di legname con diuer&longs;i uocaboli nominata: & &longs;i come nelle nominan­<lb/>ze, co&longs;i nello effetto ritiene diuer&longs;e, & uarie utilità. </s> <s id="s.003417">imperoche &longs;opra le colonne pila&longs;tri, <lb/>& erte, o &longs;tanti, che &longs;i dica, &longs;i pongono le traui. </s> <s id="s.003418">ne i palchi & ta&longs;&longs;elli, i piccioli morelli, <lb/>& le a&longs;si. </s> <s id="s.003419">&longs;otto i tetti &longs;e gli &longs;pacij &longs;aranno maggiori, ui ua il colmello nel &longs;ommo del col­<lb/>mo. </s> <s id="s.003420">onde poi dette &longs;ono le colonne, & anche &longs;i pongono i trauicelli attrauer&longs;ati, & le chia <lb/>ui. </s> <s id="s.003421">Ma &longs;e gli &longs;pacij &longs;aranno commodi, il colmello, & i cantieri uenghino in fuori fin al­<lb/>lo e&longs;tremo del grondale. </s> <s id="s.003422">& &longs;opra i canthieri &longs;tiano i tempiali, o pianelle, dapoi di &longs;o= <lb/>pra &longs;otto le tegole gli a&longs;&longs;eri, che &longs;portino in modo, che dalle loro proietture, & &longs;porti, <lb/>&longs;iano coperti i pareti. </s> </p> <pb pagenum="167" xlink:href="045/01/175.jpg"/> <p type="main"> <s id="s.003423"><emph type="italics"/>Mirabile dottrina, & pratica d'Architettura c'in&longs;egna Vitruuio nel pre&longs;ente Cap. percio­<lb/>che egli ci rende conto di tutti gli adornamenti, & membri che &longs;i metteno &longs;opra le colonne, o pi <lb/>la&longs;tri, o muri, o stanti, che egli chiama, anntæ. </s> <s id="s.003424">dimo&longs;trando chiaramente la origine, & inuen­<lb/>tione di quelli. </s> <s id="s.003425">dal che nel pre&longs;ente luogo &longs;i caua la ragione dimolti uocaboli. </s> <s id="s.003426">Certo è (come <lb/>&longs;pe&longs;&longs;o ho detto) che dalla nece&longs;&longs;ità alla magnificenza del fabricare gli artifici &longs;ono peruenuti. </s> <s id="s.003427">la <lb/>natura c'impo&longs;e la nece&longs;&longs;ità: ma lo animo grande acce&longs;o dalla concorrenza cercò di auanzare <lb/>&longs;e &longs;te&longs;&longs;o. </s> <s id="s.003428">&longs;i che i primi fabricarono come lor fatto ueniua, & quanto il bi&longs;ogno richiedeua. </s> <s id="s.003429">&longs;uc <lb/>ce&longs;&longs;ero le conte&longs;e di &longs;uperar&longs;i l'un l'altro, ma però &longs;i fondauano le inuentioni, & gli accre&longs;ci­<lb/>menti &longs;opra la imitatione di quelle co&longs;e, che per loro natura doueuano e&longs;&longs;er tali. </s> <s id="s.003430">però non fecero <lb/>alcuna co&longs;a ne gli adornamenti, di che non ne pote&longs;&longs;ero pienamente rendere la ragione dalla imi <lb/>tatione delle co&longs;e &longs;atte per nece&longs;&longs;ità. </s> <s id="s.003431">Eleuato adunque lo edificio nella già dimo&longs;trata forma dal <lb/>fondameuto fin alla cima de i pareti, colonne, muri, pilastri, o &longs;tanti, bi&longs;ognaua coprirlo, ac­<lb/>cioche perfettamente &longs;i uede&longs;&longs;e il fine dell'opera: era nece&longs;&longs;ario nel coperto prouedere, che i pa­<lb/>reti&longs;te&longs;&longs;ero uniti, & legati in&longs;ieme, & che'l coperto acconciamente &longs;i ripo&longs;a&longs;&longs;e, non &longs;pignendo <lb/>i pareti: la onde per hauere quanto s'è detto, egli è da &longs;apere, che bi&longs;ogna fare tutto questo la­<lb/>uoro di legname: che da Vitruuio è detto materiatio. </s> <s id="s.003432">& cono&longs;cere di&longs;tintamente i nomi, gli ef­<lb/>fetti, & l'ufficio di cia&longs;cuna co&longs;a. </s> <s id="s.003433">Tre co&longs;e adunque douemo auuertire nell'opera di legname, <lb/>l'una è quella, che &longs;i impone prima &longs;opra le colonne, i muri, & pilastri: que&longs;ta &longs;i chiama tra­<lb/>uatura. </s> <s id="s.003434">la &longs;econda è detta contignatione: que&longs;ta &longs;i diuide in due parti, l'una è la legatura del tet­<lb/>to, l'altra è il tetto, & coperto. </s> <s id="s.003435">Della trauatura &longs;i caua questo utile, che i pareti &longs;i tengono in­<lb/>&longs;ieme, dalla legatura, che il tetto &longs;i uni&longs;ce, dal tetto, che l'edificio &longs;i copre, & &longs;i defende. </s> <s id="s.003436">& <lb/>da tutte queste co&longs;e hanno hauuto origine diuer&longs;i adornamenti nelle fabriche, come &longs;i dirà qui <lb/>&longs;otto. </s> <s id="s.003437">Sapremo adunque come alcuna fiata tra un parete, & l'altro &longs;i troua grande interuallo, <lb/>& alcuna fiata commodo, & non molto di&longs;tante. </s> <s id="s.003438">però nelle legature de i tetti ui uà piu, & me­<lb/>no artificio. </s> <s id="s.003439">però &longs;e'l tetto &longs;i &longs;panderà molto, & &longs;arà troppo largo, nella &longs;ommità del colmo ui <lb/>uà per lungo uno traue mae&longs;tro, che &longs;i chiama columen in latino. </s> <s id="s.003440">noi dicemo colmello. </s> <s id="s.003441">dal <lb/>quale na&longs;ceno come figliuoli tutti i legamenti del tetto: &longs;i come dalla &longs;pina mae&longs;tra del pe&longs;ce <lb/>na&longs;ceno tutte le altre: & for&longs;e di qua è cauato quello, che &longs;i &longs;uol dire, il tale è di tale columel­<lb/>lo. </s> <s id="s.003442">Ci &longs;ono i trauer&longs;i: ci &longs;ono anche le chiaui detti capreoli, dalla &longs;imiglianza de pampini, che <lb/>legano le uiti; perche co&longs;i quelli abbracciano i canteri: ma i trauicelli attrauer&longs;ati latinamen­<lb/>te &longs;i dicono tran&longs;tra, & uolgarmente catene, & &longs;ono quelli, &longs;opra i quali &longs;i ripo&longs;ano le chiaui. </s> <s id="s.003443"><lb/>Ma &longs;e'l tetto &longs;arà comodo, & non porterà pericolo di slegar&longs;i, & &longs;chiauar&longs;i li potrà ba&longs;tare <expan abbr="&longs;ola-m&etilde;te">&longs;ola­<lb/>mente</expan> il colmello <expan abbr="cõ">com</expan> i &longs;uoi canterij, i quali &longs;ono alcuni legni lunghi del tetto, i quali uengono dal col <lb/>mo, & di&longs;cendono da i lati in&longs;ino &longs;otto le grondi. </s> <s id="s.003444">&longs;opra que&longs;ti canteri, (i quali fanno parere il <lb/>tetto, come una galera riuer&longs;cia, & &longs;i u&longs;a di dire tra noi la galera è in cantieri, quando è fat­<lb/>to il &longs;uo corbame) ui uanno i tempiali, che &longs;ono trauetti, i quali uanno a trauer&longs;o i cantieri, in <lb/>contra le fronti del tetto. </s> <s id="s.003445">&longs;opra i tempiali, ui uanno gli a&longs;&longs;eri, che &longs;ono legni larghi quattro <lb/>oncie, che uanno &longs;opra i tempiali, come i canteri di &longs;otto. </s> <s id="s.003446">& quiui è po&longs;ta la ragione del coper­<lb/>to. </s> <s id="s.003447">perche &longs;opra gli a&longs;&longs;eri s'impongono le tegole, i capi delle quali s'incontrano ripo&longs;ando &longs;o­<lb/>pra'l mezo de gli a&longs;&longs;eri. </s> <s id="s.003448">Et que&longs;to è quanto la nece&longs;&longs;ità ci ha dimostrato, sì perche il tetto &longs;te&longs;&longs;e <lb/>in piouere, accioche le neui non lo carica&longs;&longs;ero, sì perche &longs;caccia&longs;&longs;i le acque, & le tempe&longs;te lon­<lb/>tane da i pareti, & fu&longs;&longs;e ben legato. </s> <s id="s.003449">& que&longs;to è quanto Vitruuio ha detto fin hora. </s> <s id="s.003450">come la figu­<lb/>ra ci dimo&longs;tra.<emph.end type="italics"/></s> </p> <pb pagenum="168" xlink:href="045/01/176.jpg"/> <figure id="id.045.01.176.1.jpg" xlink:href="045/01/176/1.jpg"/> <pb pagenum="169" xlink:href="045/01/177.jpg"/> <p type="main"> <s id="s.003451">Et co&longs;i egli &longs;i uederà, che ogni co&longs;a con&longs;eruerà, & il luogo, & la maniera & l'ordine <lb/>proprio. </s> <s id="s.003452">Dalle dette co&longs;e, & dall'opera di legname gli arte&longs;ici con le loro &longs;colture nelle <lb/>opere di pletra, & di marmo, nel fabricare de i Tempij hanno imitato le di&longs;po&longs;itioni, & <lb/>hanno giudicato, che egli &longs;ia da &longs;eguitare quelle inuentioni: percioche gli antichi fabri <lb/>edificando in un certo luogo, hauendo co&longs;i po&longs;te le traui dalle parti di dentro de i pare­<lb/>ti, che correuano fin alle e&longs;treme, & u&longs;ciuano, & &longs;portauano in fuori, compo&longs;ero anche <lb/>quello, che fra traue, & traue &longs;i poneua. </s> <s id="s.003453">& ornarono con opere di legname gratio&longs;a­<lb/>mente quello, che andaua &longs;opra le cornici, & le &longs;ommità, & poi tagliauano gli &longs;porti de <lb/>i traui a pari de pareti a perpendicolo. </s> <s id="s.003454">la qual forma parendo loro, che for&longs;e &longs;enza garbo, <lb/>& &longs;enza gratia, conficcarono &longs;opra le te&longs;te de i trauicelli tagliate nella fronte alcune tauo <lb/>lette nel modo, che hora &longs;ono i Triglifi: & quelle dipin&longs;ero con cera biaua, accioche le <lb/>tagliature de gli trauicelli non offende&longs;&longs;ero la ui&longs;ta. </s> <s id="s.003455">& co&longs;i nelle opere Doriche le diui­<lb/>&longs;ioni de i trauicelli coperti con la di&longs;po&longs;itione de gli Triglifi cominciarono hauere lo &longs;pa <lb/>cio po&longs;to tra gli trauicelli, & il letto delle trauature. </s> </p> <p type="main"> <s id="s.003456"><emph type="italics"/>Hora tenendo&longs;i a mente gli effetti di cia&longs;cuna delle predette co&longs;e, potremo beni&longs;&longs;imo &longs;apere la <lb/>origine de gli ornamenti, che nelle opere di pietra &longs;ono stati introdutti da i grandi Architetti, <lb/>& con che ragione s'habbiano a fare. </s> <s id="s.003457">Ha detto Vitruuio, che &longs;opra le colonne, & i pilastri, <lb/>& pareti s'impone la trauatura, & &longs;opra la trauatura il tetto, o colmo. </s> <s id="s.003458">ha e&longs;po&longs;to le parti, & <lb/>le ragioni de i coperti, & del colmo. </s> <s id="s.003459">Hora ci e&longs;pone come da quelle parti, & dalle opere di le­<lb/>gno &longs;ono &longs;tati transferiti gli ornamenti nelle opere di pietra, o di marmo: come nelle opere <lb/>Doriche i Triglifi, & i Modioni, & nelle Ioniche i dentelli: & dice, che i Triglifi &longs;ono stati <lb/>fatti ad imitatione delle te&longs;te delle traui, lequali prima &longs;portauano fuori de i pareti, & poi erano <lb/>tagliate a drittura de i pareti, & perche non faceuano bella ui&longs;ta, erano inue&longs;tite di tauolette <lb/>dipinte con cera, di quel modo, che hoggi dì pareno i Triglifi con que canali, & con que pianuz­<lb/>zi, che &longs;i uedeno, che pare, che que canali &longs;iano fatti per riceuere le acque cadenti dalla cor <lb/>nice. </s> <s id="s.003460">Gli Architetti adunque nelle opere di pietra hanno traportato quelle inuentioni, & han­<lb/>no fatto gli Triglifi, & le Metope, cioè gli &longs;pacij tra uno triglifo, & l'altro, che rappre&longs;enta­<lb/>uano le diui&longs;ioni d'un Triglifo all'altro, come da un traue all'altro. </s> <s id="s.003461">Similmente i mutuli, o mo­<lb/>dioni &longs;ono &longs;tati pre&longs;i nelle opere Doriche di pietra dalle opere di legname. </s> <s id="s.003462">que&longs;ti rappre&longs;entano <lb/>gli &longs;porti de i canterij &longs;otto le cornici, come gli Triglifi rappre&longs;entano gli &longs;porti delle traui &longs;opra <lb/>l'Architraue. </s> <s id="s.003463">Que&longs;ti modioni &longs;ono piegati, accioche aiutino il cader deue acque. </s> <s id="s.003464">&longs;ono piu lar <lb/>ghi, & di meno gro&longs;&longs;ezza de gli Triglifi. <!-- KEEP S--></s> <s id="s.003465">& il luogo loro è &longs;otto le cornici, & la figura qui <lb/>&longs;otto lo dimo&longs;tra: & pero dice Vitruuio.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.003466">Dapoi &longs;ono &longs;tati altri, che in altre opere a perpendicolo de gli Triglifi hanno fatto <lb/>&longs;portare i canterij, & hanno fatto piegare gli &longs;porti loro. </s> <s id="s.003467">& come dalla di&longs;po&longs;itione delle <lb/>traui uennero gli Triglifi, co&longs;i da gli &longs;porti de i canterij &longs;otto i gocciolatoi è &longs;tata ritro­<lb/>uata la ragione de i mutuli, o modioni: & co&longs;i nelle opere di pietra, & di marmo, &longs;i for <lb/>mano i modioni &longs;colpiti, che piegano. </s> <s id="s.003468">il che non è altro che la imitatione de i canterij: <lb/>perciohe di nece&longs;sita, per li cadimenti delle acque &longs;i fanno piegare in fuori. </s> <s id="s.003469">& però la ra­<lb/>gione sì de gli Triglifi, come de i modioni, nelle opere Doriche è &longs;tata da quella imita= <lb/>tione ritrouata. </s> <s id="s.003470">Percioche non come alcuni errando hanno detto, che gli Triglifi &longs;o­<lb/>no le imagini delle fine&longs;tre, co&longs;i puo e&longs;&longs;ere. </s> <s id="s.003471">perche gli Triglifi &longs;i pongono ne gli anguli, & <lb/>contra i quadri delle colonne, ne i quali luoghi niuna ragion uuole, che &longs;i facciano le fi= <lb/>ne&longs;tre, percioche le giunture delle cantonate &longs;i &longs;legano ne gli edificij, &longs;e &longs;i la&longs;cieranno in <lb/>quelle i lumi delle fine&longs;tre. </s> </p> <p type="main"> <s id="s.003472"><emph type="italics"/>Le cantonate de gli edificij deueno e&longs;&longs;er forti&longs;&longs;ime, perche &longs;ono come l'o&longs;&longs;a delle fabriche, la <lb/>doue non poco errore è di colui, & non picciol danno dello edificio, &longs;e il cantone &longs;i apre con qual­<lb/>che foro. </s> <s id="s.003473">non è aduuque buona la opinione di quelli, che uogliono, che gli Triglifi & le metope<emph.end type="italics"/><pb pagenum="170" xlink:href="045/01/178.jpg"/><figure id="id.045.01.178.1.jpg" xlink:href="045/01/178/1.jpg"/><lb/><emph type="italics"/>rappre&longs;entino le fine&longs;tre, perche oltra, che la ragione nol con&longs;ente, &longs;eguitarebbe, che nelle ope­<lb/>re Ioniche i dentelli pote&longs;&longs;ero &longs;imilmente rappre&longs;entare i fori delle finestre, il che non puo e&longs;&longs;ere, <lb/>come dice Vitr. & c'in&longs;egna ad un tratto l'origińe de i dentelli nelle opere Ioniche, & dice.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003474">Et di piu anche &longs;e doue hora &longs;i fanno gli Triglifi, iui &longs;arà giudicato, che &longs;iano &longs;tati gli <lb/>&longs;patij de i lumi, per la i&longs;te&longs;&longs;a ragione ci può parere, che nelle opere Ioniche i dentelli hab <lb/>biano occupato il luogo delle fine&longs;tre, percioche amendue gli &longs;patij, & quelli, che &longs;ono <lb/>tra i dentelli, & quelli, che &longs;ono tra gli Triglifi &longs;ono detti metope, perche Greci chiama­<lb/>no ope i letti delle traui, & de gli a&longs;&longs;eri, come i no&longs;tri chiamano caui colombari, & co&longs;i <lb/>lo &longs;patio delle traui po&longs;te tra due ope, appre&longs;&longs;o de Greci metopa è nominato. </s> <s id="s.003475">in modo, <pb pagenum="171" xlink:href="045/01/179.jpg"/>che &longs;i come per auanti nelle opere Doriche è &longs;tata ritrouata, la ragione de gli Triglifi, & <lb/>de i modioni, co&longs;i nelle Ioniche la ordinatione de i dentelli, nelle opere tiene la &longs;orza &longs;ua. </s> <s id="s.003476"><lb/>Et &longs;i come i modioni rappre&longs;entano la imagine de gli &longs;porti de i cantieri, co&longs;i nelle Ioni­<lb/>che i dentelli da gli &longs;porti de gli a&longs;&longs;eri hanno pre&longs;a la imitatione. </s> <s id="s.003477">Et però nelle opere de <lb/>Greci non è, chi &longs;otto il modione metta i dentelli, perche non po&longs;&longs;ono &longs;tare gli a&longs;&longs;eri <lb/>&longs;otto i cantieri. </s> <s id="s.003478">Quello adunque, che &longs;oprai cantieri, & i tempiali ueramente deue e&longs;&longs;er <lb/>collocato, &longs;e nella rappre&longs;entatione &longs;arà po&longs;to di &longs;otto, ci darà forme, & ragioni dell'ope <lb/>ra piene di menda. </s> </p> <p type="main"> <s id="s.003479"><emph type="italics"/>Adunque nelle opere Ioniche i dentelli rendeno la &longs;imiglianza de gli &longs;porti de gli a&longs;&longs;eri: & per­<lb/>che gli a&longs;&longs;eri &longs;ono &longs;opra i canterij: però i dentelli &longs;ono &longs;oprai modioni. </s> <s id="s.003480">que&longs;to è &longs;tato o&longs;&longs;eruato da <lb/>Greci. <!-- KEEP S--></s> <s id="s.003481">Similmente egli è un'altro auuertimento fondato &longs;opra la regola, che dalle uere u&longs;anze <lb/>della natura delle co&longs;e, egli &longs;i deue prendere gli adornamenti dell'arte. </s> <s id="s.003482">Et que&longs;to auuertimento è <lb/>po&longs;to qui &longs;otto da Vitr. il qual dice.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003483">Et anche gli antichi non laudarono mai, nè ordinarono, che ne gli Fronti&longs;picij &longs;i haue&longs;­<lb/>&longs;e a fare i modio ni, ouero i dentelli, ma &longs;olamente le cornici &longs;chiette. </s> <s id="s.003484">perche nè i cante­<lb/>rij, nè gli a&longs;&longs;eri uanno di&longs;tribuiti uer&longs;o le fronti de gli Fronti&longs;picij, nè po&longs;&longs;ono &longs;portare, <lb/>ma piegano uer&longs;o i grondali. </s> <s id="s.003485">Et però quello, che in uerità non &longs;i può fare, gli antichi <lb/>giudicarono non poter hauere determinata ragione, quando che egli fu&longs;&longs;e nelle imagini <lb/>rappre&longs;entato. </s> <s id="s.003486">percioche nelle perfettioni delle opere traportarono ogni co&longs;a con certa <lb/>proprietà delle uere u&longs;anze di natura, & non approuarono co&longs;a, che la e&longs;plicatione del <lb/>fatto nelle di&longs;putationi non pote&longs;&longs;e hauere la &longs;ua ragione tolta dal uero. </s> <s id="s.003487">Et però ci la&longs;cia <lb/>rono ordinate le conuenienze delle mi&longs;ure da quelle origini, & le proportioni di tutte le <lb/>maniere, i principij delle quali hauendo io &longs;eguitato, io ho detto di &longs;opra delle ordinatio<lb/>ni Ioniche, & Corinthie. <!-- KEEP S--></s> <s id="s.003488">Hora io e&longs;ponerò breuemente la ragion Dorica, & tutta la <lb/>forma &longs;ua. </s> </p> <p type="main"> <s id="s.003489"><emph type="italics"/>Ogni co&longs;a detta di &longs;opra è facile, & i&longs;pedita, ma poco da molti Architetti &longs;i è con&longs;iderato <lb/>quello, che Vitr. dice; cioè, che noi non douemo far co&longs;a, che non habbia del ueri&longs;imile, ne rap<lb/>pre&longs;entare imagine alcuna, che non habbia principio dal uero, & che cadendo in di&longs;putatione, <lb/>non &longs;i habbia a ricorrere in &longs;icuro luogo per &longs;o&longs;tentarla. </s> <s id="s.003490">Vitr. adunque bia&longs;ima per opinione de <lb/>gli antichi i dentelli, o modioni fatti per gli fronti&longs;picij: perche rappre&longs;entando quelli i cantieri <lb/>o gli a&longs;&longs;eri, & non uenendo i cantieri uer&longs;o le fronti, & non &longs;portando gli a&longs;&longs;eri, non è po&longs;&longs;ibile <lb/>fare in que luoghi i dentelli, o i modioni, doue non &longs;i ha ri&longs;pondenza con alcuna co&longs;a. </s> <s id="s.003491">Ma la u&longs;an <lb/>za ha uinto la ragione fin al tempo di Vitr. perche nelle opere antiche tutio'l giorno &longs;i uedeno, & <lb/>dentelli, & modioni nelle te&longs;te de i Fronti&longs;picij, & pare, che tale ornamento &longs;tia bene, tutto che <lb/>non ci &longs;ia ragione.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.003492"><emph type="italics"/>Della ragione Dorica. <!-- KEEP S--></s> <s id="s.003493">Cap. III.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.003494">ALCVNI de gli antichi Architetti hanno negato e&longs;&longs;er commoda, co&longs;a fabrica­<lb/>re i Tempij alla Dorica; allegando che in quella maniera &longs;iano i comparti­<lb/>menti di&longs;conueneuoli, & mendo&longs;i. </s> <s id="s.003495">Et però Tarte&longs;io, Pitheo, & Hermoge <lb/>ne &longs;imilmente lo negarono. </s> <s id="s.003496">perche hauendo Hermogene apparecchiata la <lb/>materia per fare l'opera di maniera Dorica mutò quella, & della i&longs;te&longs;&longs;a fece un Tempio al <lb/>la Ionica al padre Bacco. <!-- KEEP S--></s> <s id="s.003497">Et que&longs;to fece non perche l'a&longs;petto Dorico manca&longs;&longs;e di grat a, <lb/>nè perche la maniera, o la dignità della forma non ci fu&longs;&longs;e, ma perche il compartimento <lb/>è impedito, & incommodo nell'opera de gli Triglifi, & nella di&longs;tributione delle trauatu <lb/>re: percioche egli è nece&longs;&longs;ario porre gli Triglifi contra i tetranti delle colonne, & che le <pb pagenum="172" xlink:href="045/01/180.jpg"/>metope tra gli Trigli&longs;i &longs;iano tanto lunghe, quanto alte. </s> <s id="s.003498">& per lo contrario &longs;ono po&longs;ti gli <lb/>Triglifi nelle extreme parti nelle colonne, & non contra il mezo de i tetranti. </s> <s id="s.003499">dalche adi­<lb/>uiene, che le metope, che &longs;i fanno appre&longs;&longs;o gli Triglifi angulari non rie&longs;cono quadrate, <lb/>ma alquanto piu lunghe de gli Triglifi per metà dell'altezza. </s> <s id="s.003500">Ma quelli, che pur uoglio­<lb/>no fare le metope eguali, ri&longs;trigneno gli ultimi uani delle colonne per la metà dell'altezza <lb/>d'uno Triglifo. <!-- KEEP S--></s> <s id="s.003501">Ma facendo &longs;i que&longs;to o nelle lunghezze delle metope, o nello ri&longs;trigne. </s> <s id="s.003502"><lb/>re i uani, è diffetto&longs;o, & non &longs;ta bene. </s> <s id="s.003503">per ilche pare, che gli antichi habbiano noluto <lb/>&longs;chiuare nel fabricar i Tempij, la ragione del compartimento Dorico. <!-- KEEP S--></s> </p> <p type="main"> <s id="s.003504"><emph type="italics"/>Volendoci Vitr. dichiarire il compartimento Dorico, egli ci propone una difficultà de gli anti <lb/>chi Architetti, accioche &longs;tiamo noi piu auuertiti. </s> <s id="s.003505">Bia&longs;imauano alcuni la mi&longs;ura, & comparti­<lb/>mento Dorico nel fabricare i Tempij, non perche la forma non haue&longs;&longs;e del buono, o difpiace&longs;&longs;e la <lb/>maniera, ma perche non tornaua bene il compartimento de gli Triglifi, & delle metope. </s> <s id="s.003506">Noi ba <lb/>uemo ueduto di &longs;opra, che gli Triglifi ri&longs;pondeuano alle te&longs;te delle traui, perche erano le loro inue­<lb/>&longs;titure nelle opere di legno, & che le metope ri&longs;pondeuano a gli &longs;patij, che erano da una te&longs;ta <lb/>d'una traue all'altra, detti intertignia dalla parte di fuori, & Lacunaria dalla parte di dentro: <lb/>& le traui, & gli &longs;patij in&longs;ieme, noi chiamamo la trauatura. </s> <s id="s.003507">Se adunque gli Triglifi rappre&longs;en­<lb/>tano le testte delle traui; & le metope, gli &longs;pacij: ne &longs;egue, che e&longs;&longs;endo impedito il compartimen­<lb/>to de gli Triglifi, & delle Metope, &longs;ia anche impedita la ragione, & compartimento della traua <lb/>tura, & del loro ornamento. </s> <s id="s.003508">Ma come &longs;ia impedita la di&longs;tributione de gli Triglifi, egli &longs;i uede, <lb/>perche egli è nece&longs;&longs;ario, che lo Triglifo &longs;ia giu&longs;to per mezo la quadra della colonna, & che la <lb/>metopa &longs;ia tanto alta, quanto lunga: ma gli antichi non auuertendo a quello, che era rappre&longs;en­<lb/>tato per gli Triglifi, & per le metope poneuano &longs;opra l'esttreme parti delle colonne, & non &longs;u'l <lb/>uiuo gli Triglifi. <!-- REMOVE S-->dal che ne na&longs;ceua, che le metope, che erano appre&longs;&longs;o quegli Triglifi, non ueni­<lb/>uano quadre giustte, ma alquanto piu lunghe. </s> <s id="s.003509">& que&longs;to ueniua, perche uoleuano &longs;eruare la di&longs;tan<lb/>za tra colonna, & colonna. </s> <s id="s.003510">Ma quelli, che di cio non curauano, & uoleuano pure, che le me­<lb/>tope ueni&longs;&longs;ero giu&longs;te, re&longs;trigneuano gli &longs;patij tra le colonne, & obligauano quegli in modo, che <lb/>non poteuano cadere &longs;otto le ragioni de gli intercolunnij, & uani regolati. </s> <s id="s.003511">Re&longs;trigneuano adun­<lb/>que gli e&longs;tremi uani per la metà dell'altezza d'uno Triglifo; per giu&longs;tar la metopa; & que&longs;to era <lb/>difetto&longs;o. </s> <s id="s.003512">Et per que&longs;to fuggiuano il modo di fabricare alla Dorica, non bia&longs;imando l'a&longs;petto, <lb/>nè la maniera, ma il compartimento, & la &longs;immetria, come fecero, Tarte&longs;io, Pitheo, & Her­<lb/>mogene. </s> <s id="s.003513">A que&longs;to di&longs;ordine prouede Vitr. gentilmente dimo&longs;trandoci le ragioni, & le proportio<lb/>ni di que&longs;ti compartimenti, è dice.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003514">Ma noi, come richiede l'ordine e&longs;ponemo in quel modo, che da no&longs;tri precettori ha­<lb/>nemo pre&longs;o, accioche &longs;e alcuno ponendo mente a que&longs;te ragioni uorrà in que&longs;to modo <lb/>cominciare, egli habbia e&longs;plicate le proportioni, con le quali egli po&longs;&longs;a bene, & &longs;enza di­<lb/>fetto fabricare alla Dorica, è condurre a perfettione i &longs;acri Tempij. <!-- KEEP S--></s> </p> <p type="main"> <s id="s.003515"><emph type="italics"/>Vitr. ci promette di douer dare il modo, & le mi&longs;ure di fabricare alla Dorica &longs;enza difetto, <lb/>& &longs;i come nella maniera Ionica egli ci ba dato i precetti &longs;econdo le forme de i Tempij, & regola <lb/>ti quelli &longs;econdo i uani tra le colonne: co&longs;i nella Dorica egli regola &longs;econdo le i&longs;te&longs;&longs;e forme, gli &longs;pa <lb/>tij tra le colonne. </s> <s id="s.003516">Ben è uero, che la ragione di que&longs;ti &longs;patij, & di que&longs;ta maniera tutta dipende <lb/>dal compartimento de gli Triglifi. <!-- KEEP S--></s> <s id="s.003517">Et però nel di &longs;opra, & in altri luoghi quando Vitr. dice. </s> <s id="s.003518">Li <lb/>ragione de gli Triglifi: egli intende la manier a Dorica. <!-- KEEP S--></s> <s id="s.003519">Comincia adunque a regolare la maniera <lb/>Dia&longs;tilos, che ba il uano di tre colonne, &longs;econdo lo a&longs;petto di facciata in colonne detta pro&longs;tilos: <lb/>& &longs;econdo ambe le te&longs;te in colonne, detta amphipto&longs;tilos: & &longs;otto un nome &longs;olo comprende que­<lb/>&longs;ti due a&longs;petti, chiamandoli Tetra&longs;tilos, cioè di quattro colonne. </s> <s id="s.003520">Regola anche lo alato d'intor­<lb/>no detto peripteros, chiamandolo exa&longs;tilos, cioè di &longs;ei colonne. </s> <s id="s.003521">& ci la&longs;cia poi regolare a modo <lb/>no&longs;tro le altre maniere, con le ragioni di quelle.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003522">La fronte del Tempio Dorico, nel luogo doue s'hanno a porre le colonne, douendo <pb pagenum="173" xlink:href="045/01/181.jpg"/>e&longs;&longs;ere di quattro colonne, &longs;ia diui&longs;a in parti uenti&longs;ette. </s> <s id="s.003523">ma &longs;e &longs;arà di &longs;ei colonne, &longs;ia partita <lb/>in parti quarantadue. </s> <s id="s.003524">Di que&longs;te parti una &longs;arà il modulo, che Grecamente Embatis è det <lb/>to, & è quello, per la cui con&longs;titutione di&longs;correndo, & ragionando &longs;i fanno i comparti­<lb/>menti d'ogni opera. </s> <s id="s.003525">La gro&longs;&longs;ezza delle colonne farà di due moduli, l'altezza con il capi­<lb/>tello di quattordici. </s> </p> <p type="main"> <s id="s.003526"><emph type="italics"/>In que&longs;to luogo &longs;i deue por mente, che &longs;e bene Vitr. ha detto, che nella maniera Dia&longs;tilos i ua <lb/>ni &longs;ono di tre gro&longs;&longs;ezze di colonne; non però nella di&longs;tributione pre&longs;ente cadeno ne i uani tre gro&longs;­<lb/>&longs;ezze di colonne a punto, ma due, & tre quarti: però douemo auuertire, (&longs;i come di &longs;opra auuer <lb/>tito hauemo) che quando Vitr. nel terzo libro ragiona de gli &longs;patij tra colonna & colonna, in <lb/>tutte le forme, o di &longs;pe&longs;&longs;e, o di larghe, o di libere di&longs;tanze, egli u&longs;a que&longs;ti termini. </s> <s id="s.003527">puo e&longs;&longs;er. </s> <s id="s.003528">&longs;i <lb/>puo porre. </s> <s id="s.003529">potemo tramettere. </s> <s id="s.003530">& non dice &longs;i deue porre, douemo tramettere, o deue e&longs;&longs;ere <lb/>lo &longs;patio di tante colonne: perche non ci comanda, come egli fa nell'a&longs;petto &longs;cielto, & elegante, <lb/>dicendo<emph.end type="italics"/> {<emph type="italics"/>perche fare &longs;i deono gli &longs;patij de gli intercolunnij di due colonne, & un quarto.<emph.end type="italics"/>} <emph type="italics"/>par­<lb/>lando adunque indeterminatamente Vitr. non è nece&longs;&longs;ario, che apunto uenghino tre diametri tra <lb/>colonna, & colonna in que&longs;ta di&longs;tributione. </s> <s id="s.003531">Dapoi que&longs;to egli &longs;i deue auuertire, che &longs;opra gli <lb/>anguli uengono meze metope, ma non di fatto meze apunto, &longs;e bene Vitr. dice &longs;emimetopia; per <lb/>che egli anche dice, &longs;emimetopia, per la metà d'un modulo in larghezza, che è &longs;emitriglifo apun<lb/>to, come egli dirà di &longs;otto. </s> <s id="s.003532">Et però &longs;i dice meza metopa, al modo, che &longs;i dice &longs;emituono, o &longs;emi­<lb/>uocale, non che &longs;ia mezo tuono a punto, o meza uocale, ma perche è una co&longs;a tra gli e&longs;tremi. </s> <s id="s.003533"><lb/>Da que&longs;ta intelligenza ne na&longs;ee, che la fronte di quattro colonne ha da e&longs;&longs;er diui&longs;a in uenti&longs;ette <lb/>parti, & la fronte di &longs;ei colonne in quaranta due, & che con la ragione di que&longs;te &longs;i puo regolare <lb/>le fronti di otto, & di dieci colonne. </s> <s id="s.003534">Noi poneremo qui &longs;otto la di&longs;tributione, con gli Triglifi nu<lb/>di, & gli &longs;patij tra le colonne, perche poi con uno, o due e&longs;&longs;empi dello inpiè, &longs;i darà notitia di <lb/>que&longs;ta di&longs;tributione. </s> <s id="s.003535">A me piacerebbe, che la colonna fu&longs;&longs;e alta quattordici moduli, &longs;enza il <lb/>capitello per appro&longs;&longs;imar&longs;i piu a quello, che ha detto Vitr. nel terzo libro, che nell'a&longs;petto dia&longs;ti<lb/>los le altezze delle colonne &longs;ono di otto te&longs;te, & meza. </s> <s id="s.003536">ma &longs;eguitiamo il mae&longs;tro.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003537">La gro&longs;&longs;ezza del capitello d'un modulo. </s> <s id="s.003538">La larghezza di due moduli, & della &longs;e&longs;ta par­<lb/>te di uno </s> </p> <p type="main"> <s id="s.003539"><emph type="italics"/>Rie&longs;ce meglio, della quinta parte, come ho detto. </s> <s id="s.003540">il re&longs;tante è facile per la dichiaratione fat­<lb/>ta da noi nel terzo libro.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003541">Diuida&longs;i la gro&longs;&longs;ezza del Capitello in tre parti, d'una delle quali &longs;i faccia l'Abaco con <lb/>la Cima&longs;a. <!-- KEEP S--></s> <s id="s.003542">dell'altra l'Ouolo con le anella. </s> <s id="s.003543">della terza il fregio fin al collarino. </s> <s id="s.003544">Sia poi <lb/>contratta, & ra&longs;tremata la colonna, &longs;i come nel terzo libro è &longs;tato nelle Ioniche dimo&longs;tra <lb/>to. </s> <s id="s.003545">l'altezza dello Architraue &longs;ia d'un modulo, ponendoui la &longs;ua li&longs;ta, & le goccie: & la <lb/>li&longs;ta &longs;ia per la &longs;ettima parte del modulo. </s> <s id="s.003546">La lunghezza delle goccie &longs;otto la li&longs;ta per mezo <lb/>gli Triglifi, alta con la regoletta penda inanzi per la &longs;e&longs;ta parte d'uno modulo, & co&longs;i la <lb/>larghezza del piano inferiore dello architraue ri&longs;ponda al collarino della colonna di &longs;o­<lb/>pra. </s> <s id="s.003547">Sopra lo architraue &longs;i deono porre gli Triglifi con le metope &longs;ue, larghi nella fron­<lb/>te un modulo, co&longs;i diui&longs;i, che nelle colonne angulari, & nelle di mezo &longs;iano contra il me <lb/>zo delli quadri, & tra gli altri uani due: ma in quelli di mezo dinanzi, & di dietro il Tem<lb/>pio tre: & a que&longs;to modo allargati gli &longs;pacij di mezo &longs;enza impedimento &longs;arà commoda <lb/>l'entrata a i &longs;imulacri de gli Dei. <!-- KEEP S--></s> <s id="s.003548">Parti&longs;ca&longs;i poi la larghezza dello Triglifo in parti &longs;ei, del­<lb/>le quali ne &longs;iano cinque nel mezo, ma due meze &longs;iano di&longs;egnate dalla de&longs;tra, & dalla &longs;ini­<lb/>&longs;tra, & con una regola nelmezo &longs;ia formato il piano, che femur latinamente &, miros, è det­<lb/>to da Greci. <!-- KEEP S--></s> <s id="s.003549">lungo quella regola con la punta della &longs;quadra &longs;iano riuolti i mezi canaletti. </s> <s id="s.003550">po <lb/>&longs;ti gli Triglifi a que&longs;to modo, &longs;iano le metope, che uanno tra gli Triglifi <expan abbr="tãto">tanto</expan> alte, quanto <lb/>lunghe. </s> <s id="s.003551">Et appre&longs;&longs;o di &longs;opra le <expan abbr="cãtonate">cantonate</expan> &longs;iano le meze metope impre&longs;&longs;e per la metà d'un mo <lb/>dulo. </s> <s id="s.003552">perche facédo&longs;i a que&longs;to modo auuerrà, che tutti i difetti, & errori sì delle metope, co <pb pagenum="174" xlink:href="045/01/182.jpg"/>me de gli intercolunnij, & delle trauature, e&longs;&longs;endo fatti giu&longs;ti i cópartimenti, &longs;aranno emen <lb/>dati. </s> <s id="s.003553">I capitelli de gli Trigli&longs;i &longs;i hanno a fare per la &longs;e&longs;ta parte d'un modulo. </s> <s id="s.003554">Sopra i ca­<lb/>pitelli de gli Triglifi &longs;i deue ponere la corona, o gocciolatoio, che &longs;porti in fuori per la <lb/>metà, & un &longs;e&longs;to d'un modulo, hauendo di &longs;otto una cima&longs;a Dorica, & un'altra di &longs;opra: <lb/>Et &longs;arà il gocciolatoio có le &longs;ue gole, o cima&longs;e di gro&longs;&longs;ezza della metà d'un modulo. </s> <s id="s.003555">Deon­<lb/>&longs;i poi &longs;otto il gocciolatoio partire le dritture delle uie, & i compartimenti delle goccie in <lb/>modo, che le dritture &longs;iano a perpendicolo de gli Triglifi, & per mezo le metope, & i com <lb/>partimenti delle goccie in maniera, che &longs;ei goccie in lunghezza, & tre in larghezza &longs;i uedi <lb/>no. <!-- REMOVE S-->ma il re&longs;tante de gli &longs;patij &longs;ia la&longs;ciato &longs;chietto, ouero ui &longs;iano &longs;colpiti i fulmini; impe­<lb/>roche le metope &longs;ono piu large de gli Triglifi. <!-- KEEP S--></s> <s id="s.003556">Al mento del gocciolatoio, &longs;ia tagliata <lb/>una linea, che &longs;i chiama &longs;cotia, cioè cauetto. </s> <s id="s.003557">Tutto il re&longs;tante delle parti, come Timpa­<lb/>ni, Gole dette &longs;ime, & gocciolatoi &longs;i faranno, come hauemo &longs;critto nelle Ioniche. <!-- KEEP S--></s> <s id="s.003558">Et <lb/>que&longs;ta ragione &longs;i truoua nelle opere dia&longs;tile nominate. </s> </p> <p type="main"> <s id="s.003559">Ma &longs;e l'opera &longs;arà da far&longs;i della maniera Si&longs;tilos. </s> <s id="s.003560">& che habbia uno Triglifo &longs;olo nel ua <lb/>no, douendo e&longs;&longs;ere di quattro colonne, egli &longs;i partirà la fronte in parti dicenoue & meza, <lb/>&longs;e di &longs;ei, in parti uentinoue, & meza, delle quali una &longs;i piglia per modulo, alla cui mi&longs;ura <lb/>(come è &longs;critto di &longs;opra) &longs;ono compartite tutte le opere. </s> <s id="s.003561">co&longs;i &longs;opra in cia&longs;cuna parte del­<lb/>lo architraue &longs;i deono porre due metope, & uno Triglifo, ma nelle cantonate non piu di <lb/>mezo Triglifo. <!-- KEEP S--></s> <s id="s.003562">Appre&longs;&longs;o le dette co&longs;e s'aggiugne que&longs;ta, che lo &longs;patio di mezo &longs;otto'l <lb/>fronti&longs;picio &longs;arà da e&longs;&longs;er formato con due Triglifi, & tre metope, accioche lo intercolun<lb/>nio &longs;ia piu ampio, & piu &longs;patio&longs;o, & commodo a quelli, che uorranno entrare nel Tempio, <lb/>& lo a&longs;petto uer&longs;o le imagini de gli Dei ritegna piu dignità, & grandezza. </s> <s id="s.003563">Sopra i capitel<lb/>li de gli Triglifi &longs;i ha da ponere il gocciolatoio, che habbia (come s'è detto di &longs;opra) due <lb/>gole alla Dorica, una di &longs;opra, l'altra di &longs;otto, & co&longs;i anche il gocciolatoio &longs;ia per la me­<lb/>tà d'un modulo. </s> <s id="s.003564">Et (&longs;i come s'è detto nelle opere dia&longs;tile) &longs;i diuideranno le dritture del­<lb/>le uie, & &longs;i faranno le di&longs;tributioni delle goccie, & le altre co&longs;e dritto a perpendicolo de <lb/>gli Triglifi, & per mezo le metope nella parte di &longs;otto il gocciolatoio. <emph type="italics"/>Cioè nel piano del <lb/>lo Architraue, che guarda al ba&longs;&longs;o, il quale non &longs;ia piu largo di quella parte, che &longs;i contragge <lb/>al collarino della colonna, che tanto è quanto la colonna di &longs;opra.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003565">Egli bi&longs;ogna canalare le colonne con uenti canalature. </s> <s id="s.003566">quelle &longs;e &longs;aranno piane deono <lb/>hauere uenti anguli, ma &longs;e &longs;aranno cauate, &longs;i deono fare in que&longs;to modo: che quanto &longs;a­<lb/>rà lo &longs;pacio d'uno canale, tanto &longs;i habbia a formare uno quadrato di lati eguali, & nel me­<lb/>zo del quadrato &longs;i ha da porre il piede della &longs;e&longs;ta, & raggirare intorno la circonferenza, <lb/>che tocchi gli anguli della cauatura, & quanto di cauo &longs;arà tra la circonferenza, & la qua<lb/>drata de&longs;crittione, tanto &longs;ia cauato, a quella forma: & a que&longs;to modo la colonna Dorica <lb/>hauerà la perfettione della canalatura conueniente alla maniera &longs;ua. </s> <s id="s.003567">Ma della aggiunta, <lb/>che &longs;i fa nel mezo della colonna, co&longs;i in que&longs;ti &longs;ia traportata, come nel terzo libro è &longs;tato <lb/>nelle Ioniche di&longs;egnato. </s> <s id="s.003568">Ma poi che la forma e&longs;teriore de i compartimenti, & Corinthi, <lb/>e Dorichi, & Ionici è &longs;tata de&longs;critta, egli è nece&longs;&longs;ario, che &longs;i dichiari da noi la di&longs;tribu­<lb/>tione delle parti interior delle celle, & di quelle che &longs;ono inanzi a i Tempij. <!-- KEEP S--></s> </p> <p type="main"> <s id="s.003569"><emph type="italics"/>Vitruuio è facile da &longs;e, & hauendo dal fondamento fin alla cima alzato la &longs;ua fabrica, & <lb/>mi&longs;urato il tutto &longs;econdo le tre maniere, &longs;enza la&longs;ciar parte, nè membro, nè ornamento, che &longs;i <lb/>conuenga alle parti e&longs;teriori, egli uuole entrar in chie&longs;a, come &longs;i dice, & ricono&longs;cere i compar <lb/>timenti di dentro, fermando &longs;i alquanto nella entrata detta pronao, cioè antitempio, & dopo <lb/>que&longs;ta prome&longs;&longs;a, egli &longs;i da alla e&longs;ecutione. </s> <s id="s.003570">fin tanto qui &longs;otto &longs;aranno le figure delle co&longs;e dette.<emph.end type="italics"/></s> </p> <pb pagenum="175" xlink:href="045/01/183.jpg"/> <figure id="id.045.01.183.1.jpg" xlink:href="045/01/183/1.jpg"/> <pb pagenum="176" xlink:href="045/01/184.jpg"/> </subchap2><subchap2> <p type="head"> <s id="s.003571"><emph type="italics"/>Della di&longs;tributione di dentro delle Celle, & dello <lb/>antitempio. </s> <s id="s.003572">Cap. IIII.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.003573">LA lunghezza del Tempio &longs;i comparte in modo, che la larghezza &longs;ia la metà <lb/>della lunghezza: & la cella &longs;ia la quarta parte piu lunga di quello, che è la lar <lb/>ghezza col parete, nel quale &longs;aranno po&longs;te le porte. </s> <s id="s.003574">Le altre tre parti del pro <lb/>nao, o Antitempio corrino uer&longs;o le ante de i pareti, lequali deono e&longs;&longs;ere del <lb/>la gro&longs;&longs;ezza delle colonne. </s> <s id="s.003575">Ma &longs;e il Tempio &longs;arà di larghezza maggiore di uenti piedi, &longs;i <lb/>deono porre due colonne tra due ante, l'officio delle quali è &longs;eparare lo &longs;pacio delle ali & <lb/>del pronao. </s> </p> <p type="main"> <s id="s.003576"><emph type="italics"/>Io &longs;timo che il pre&longs;ente luogo fia difficile: & &longs;e non ci fu&longs;&longs;e qualche o&longs;&longs;eruatione de gli anti­<lb/>chi Tempij, for&longs;e bi&longs;ognarebbe indouinare. </s> <s id="s.003577">però hauendo io o&longs;&longs;eruato alcune co&longs;e, io uengo, in <lb/>opinione de interpretare il pre&longs;ente luogo al modo infra&longs;critto, riportandomi a migliore inuen­<lb/>tione. </s> <s id="s.003578">E&longs;&longs;endo tra le &longs;emplici proportioni la moltiplice maggiore di quelle, &longs;i come ho dimo&longs;trato <lb/>nel terzo libro, co&longs;a conueniente &longs;i giudica u&longs;are nella di&longs;tributione de i Tempij le &longs;pecie delle <lb/>moltiplici proportioni: imperoche i Tempij &longs;ono fatti per lo culto diuino, al quale &longs;i richiede ogni <lb/>magnificenza, & grandezza. </s> <s id="s.003579">Si che uolendo Vitruuio tr attare delle parti interiori de i Tempij, <lb/>comincia a proportionare le lunghezze, & larghezze loro. </s> <s id="s.003580">nel che è ripo&longs;ta quella gratio&longs;a ma<lb/>niera, che nel primo libro è &longs;tata nominata Eurithmia. <!-- KEEP S--></s> <s id="s.003581">Dell'altezza non è nece&longs;&longs;ario parlare <lb/>na&longs;cendo ella dalle mi&longs;ure dell'opera: Imperoche gli Architraui, le cornici, & i Fronti&longs;picij per <lb/>le co&longs;e dette di &longs;opra ci &longs;ono manife&longs;ti. </s> <s id="s.003582">Vuole adunque Vitr. che la lunghezza &longs;ia doppia alla lar <lb/>ghezza: & ragiona qui, de i Tempij Ionici, Dorici, & Corinthij: benche pare, che nelle piante <lb/>po&longs;te nel terzo libro le lunghezze &longs;iano meno del doppio alle larghezze, & in fatto è co&longs;i, per­<lb/>che lo intercolunnio di mezo nelle fronti è piu largo, ma ci è poca differenza dalla doppia. </s> <s id="s.003583">Ho­<lb/>ra quello che importa è, che la cella di quel Tempio di&longs;egnato nel primo libro pare troppo lunga. <lb/></s> <s id="s.003584">& for&longs;e la intentione di Vitruuio &longs;i manife&longs;ta in que&longs;to luogo. </s> <s id="s.003585">pero io uorrei, che quiui &longs;i con&longs;i­<lb/>dera&longs;&longs;e &longs;e la co&longs;a puo &longs;tare (come io dimo&longs;trerò) & &longs;e Vitruuio ce lo accenna, & &longs;e anche lo <lb/>antico l'o&longs;&longs;erua. </s> <s id="s.003586">Soleuano gli antichi di&longs;tinguere lo Antitempio detto pronao, con alcune ale <lb/>di muro, che &longs;econdo Strabone &longs;i chiamano pteromata. </s> <s id="s.003587">Que&longs;te ale uemuano uer&longs;o le fronti da <lb/>una parte, & dall'altra della cella: ma in al cuni Tempij non perueniuano alle fronti compitamen<lb/>te, ma terminauano in alcuni pila&longs;tri, o ante che &longs;i dica, gro&longs;&longs;e quanto le colonne: & &longs;e tra l'una <lb/>ala di mura, & l'altra era grande &longs;pacio, &longs;i poneuano a quel filo de i pila&longs;tri tra mezo due colon <lb/>ne per fermezza: & co&longs;i era &longs;eparato il pronao dal portico. </s> <s id="s.003588">Co&longs;i &longs;i ritrouano le piante de i tre <lb/>Tempij appre&longs;&longs;o il Theatro di Marcello. </s> <s id="s.003589">Co&longs;i accenna Vitruuio nel pre&longs;ente luogo, & co&longs;i pare, <lb/>che la ragione ce lo dimo&longs;tri. </s> <s id="s.003590">Pigliamo adunque la fronte del Tempio, & &longs;ia di quattro parti, <lb/>otto di quelle faremo la lunghezza, accioche &longs;ia in proportione doppia. </s> <s id="s.003591">di quelle otto cinque &longs;i <lb/>danno alla lunghezza della cella includendo la gro&longs;&longs;ezza del parete doue &longs;ono le porte, tre uen­<lb/>ghino dall'Antitempio alle ante, o pila&longs;tri de i pareti, le quali ante deono e&longs;&longs;er della gro&longs;&longs;ezza <lb/>delle colonne. </s> <s id="s.003592">Queste ante &longs;ono i termini delle ale del muro, che uengono inanzi dall'una parte, <lb/>& dall'altra, & perche puo e&longs;&longs;ere, che tra quelle ale ci &longs;ia, & poco, & molto &longs;pacio, &longs;econdo <lb/>le maniere de i Tempij di &longs;pe&longs;&longs;i, o di larghi intercolunnij, però &longs;econdo il bi&longs;ogno e nece&longs;&longs;ario tra <lb/>porui delle colonne. </s> <s id="s.003593">Io dico in &longs;omma, che la maniera di faccia in pila&longs;tri, & di faccia m colonne, <lb/>& la fal&longs;a, & la doppia, & la intorno alata, & la &longs;coperta, tanto Dorica, quanto Ioni­<lb/>ca, & Corinthia &longs;iano tutte o di &longs;trette, o di larghe, o di rila&longs;ciate, o di acconcie di&longs;tanze d'in <lb/>tercolunnij. </s> <s id="s.003594">tutte &longs;i regolano dal pre&longs;ente luogo nel compartimento delle celle: & &longs;i come tutto <lb/>il Tempio non uiene a punto doppio in lunghezza, perche la nece&longs;&longs;ità del compartimento delle<emph.end type="italics"/><pb pagenum="177" xlink:href="045/01/185.jpg"/><figure id="id.045.01.185.1.jpg" xlink:href="045/01/185/1.jpg"/><pb pagenum="178" xlink:href="045/01/186.jpg"/><figure id="id.045.01.186.1.jpg" xlink:href="045/01/186/1.jpg"/><lb/><emph type="italics"/>colonne, & de i uani, non ce lo la&longs;cia uenire, co&longs;i anche la cella &longs;e bene nella facciata in colo­<lb/>ro è detta, prostilos, & ambe le teste in colonne detta amphipro&longs;tilos, in ogni genere, & ma-<emph.end type="italics"/><pb pagenum="179" xlink:href="045/01/187.jpg"/><figure id="id.045.01.187.1.jpg" xlink:href="045/01/187/1.jpg"/><pb pagenum="180" xlink:href="045/01/188.jpg"/><emph type="italics"/>niera puo uenire la detta proportione &longs;econdo i precetti di Vitr. non però a punto uiene la predet­<lb/>ta proportione ne gli altri a&longs;petti, & maniere, per che bi&longs;ogna, che i pareti delle fronti della cel­<lb/>la &longs;contrino con le colonne di fuori, & &longs;iano ad una i&longs;te&longs;&longs;a fila: però le celle di que Tempij &longs;a­<lb/>ranno alquanto maggiori di quello, che dice Vitruuio, il quale in que&longs;to luogo ci comparte le cel<lb/>le, che &longs;ono parte de i Tempij, & ci comparte il pronao, cioè l'Antitempio, & il Po&longs;tico, cioè <lb/>il po&longs;t tempio, in ogni genere, & in ogni maniera. </s> <s id="s.003595">Adunque altro è cella, altro è Tempio, al­<lb/>tro è portico, altro è pronao. </s> <s id="s.003596">Il tempio è il tutto: la cella è la parte rinchiu&longs;a di parete, come <lb/>il portico è il colonnato, che ua a torno, che Vitr. chiama ale ne i Tempij, & portico drieto le <lb/>&longs;cene. </s> <s id="s.003597">Pronao è quella parte, che è dinanzi la cella, che da i lati ha due ale di pareti conti­<lb/>nuati alli pareti della cella, nel fine delle quali &longs;ono i pila&longs;tri della gro&longs;&longs;ezza delle colonne. </s> <s id="s.003598">La <lb/>lunghezza del Tempio è doppia alla larghezza. </s> <s id="s.003599">que&longs;to è uero a punto nelle fronti di quattro co­<lb/>lonne: ma doue ui uanno le ale a torno, non ri&longs;ponde a punto. </s> <s id="s.003600">& Vitr. nel terzo libro parlando <lb/>del fal&longs;o alato, dice, che egli ha nella fronte, & nel po&longs;tico otto colonne, ma dai lati, quin­<lb/>dici con le angulari. </s> <s id="s.003601">& poco dapoi dice, che nelle maniere, che hanno l'ale d'intorno le colonne, <lb/>&longs;i deono porre in modo, che quanti uani &longs;aranno nelle fronti, tanti due fiate &longs;iano i uani da i la­<lb/>ti; & co&longs;i la lunghezza dell'opera &longs;arà doppia alla largheza. </s> <s id="s.003602">dalle quali parole molto bene <lb/>potemo comprendere, che uero &longs;ia quanto s'è detto. </s> <s id="s.003603">Sia adunque la cella per la quarta parte <lb/>piu lunga di quello, che è la larghezza, cioè partirai la larghezza del Tempio in quattro par <lb/>ti, & fa la lunghezza della cella d'una parte piu, che &longs;aranno cinque. </s> <s id="s.003604">qui ci auanzano tre <lb/>parti, le quali ne i Tetrasttili d'ogni a&longs;petto in ogni genere, & in ognimaniera &longs;i danno al pro­<lb/>nao &longs;olo, quando non ui è postico, ouero &longs;i danno al pronao, & al po&longs;tico, quando ui &longs;ono.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003605">Et anche i tre intercolunnij, che &longs;aranno tra i pila&longs;tri, & le colonne &longs;iano trachiu&longs;i con <lb/>parapetti di marmo, ouero di opera di legname, in modo, però che habbiano le apritu­<lb/>re, per lequali &longs;i po&longs;&longs;a entrare nel pronao. <emph type="italics"/>Anche in que&longs;ta parte Vitruuio &longs;i la&longs;cia <lb/>intendere, però ueniremo alle de&longs;crittioni delle co&longs;e già dette.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003606"><emph type="italics"/>Non &longs;olamente po&longs;&longs;ono e&longs;&longs;er tre gli intercolunnij tra que pila&longs;tri, ma anche cinque, come ne <lb/>gli a&longs;petti di dieci colonne. </s> <s id="s.003607">Que&longs;ti intercolunnij tra i pila&longs;tri, in tutti gli altri a&longs;petti &longs;ono tre, <lb/>percioche non &longs;i mette a conto il portico &longs;emplice, o doppio che &longs;ia. </s> <s id="s.003608">Tra que&longs;ti adunque &longs;i pone­<lb/>uano alcuni parapetti che Vitr. chiama plutei, o di marmo, o di legno, non piu alti di quello, <lb/>che &longs;arebbe il poggio, s'egli ci anda&longs;&longs;e. </s> <s id="s.003609">La cella haueua le &longs;ue porte ordinarie, & il &longs;uo parete <lb/>alto, che la chiudeua d'intorno: ma lo Antitempio haueua le &longs;ue entrate per gli intercolunnij <lb/>tra i pilastri delle ale.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003610">Ma &longs;e la larghezza della fronte &longs;arà maggiore di piedi quaranta, bi&longs;ogna porre altre <lb/>colonne dalla parte di dentro all'incontro di quelle, che &longs;aranno trapo&longs;te tra i pila&longs;tri, & <lb/>&longs;iano di quella altezza, che &longs;ono le e&longs;teriori nella fronte. </s> <s id="s.003611">Ma le gro&longs;&longs;ezze di quelle &longs;iano <lb/>a&longs;&longs;ottigliate con que&longs;te ragioni, che &longs;e quelle delle fronti &longs;aranno d'otto parti, que&longs;te &longs;ia­<lb/>no di noue: ma &longs;e quelle di noue, o di dieci, que&longs;te &longs;iano per la rata parte. </s> </p> <p type="main"> <s id="s.003612"><emph type="italics"/>Grande autorità porgeua lo Antitempio, perche pareua, che con maggiore ueneratione s'en­<lb/>tra&longs;&longs;e nel Tempio, entrando prima in uno andito, & non uenendo co&longs;i presto al luogo dell'ado­<lb/>ratione. </s> <s id="s.003613">Se adunque era lo Antitempio molto largo nella fronte, come nelle opere di otto, & di <lb/>dieci colonne, bi&longs;ognaua traporui delle altre colonne all'incontro di quelle, che erano tra i pila­<lb/>stri, & quelle ri&longs;pondeuano alle colonne delle fronti, & erano di quella i&longs;te&longs;&longs;a altezza, & &longs;i pone­<lb/>uano per &longs;o&longs;tenimento: ma quando lo &longs;pacio non era molto grande, pareua molto buono la&longs;ciare <lb/>lo Antitempio libero &longs;enza colonne: & doue andauano colonne a torno, egli &longs;i poteua andare a <lb/>torno &longs;enza entrare nello Antitempio. <!-- KEEP S--></s> <s id="s.003614">La gro&longs;&longs;ezza delle colonne interiori era minore, che la <lb/>gro&longs;&longs;ezza delle colonne po&longs;te nella fronte. </s> <s id="s.003615">& Vitr. ne rende la ragione, & dice.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003616">Perche &longs;e nello aere rinchiu&longs;o alcune &longs;aranno a&longs;&longs;otti gliate, non &longs;i potranno di&longs;cerne­<lb/>re, ma &longs;e pareranno piu &longs;ottih, bi&longs;ogna, che &longs;e le colonne di fuori haueranno uentiquat-<pb pagenum="181" xlink:href="045/01/189.jpg"/>tro canalature, le di dentro ne habbiano uentiotto, ouero trenta due, co&longs;i quello, che &longs;i <lb/>leua dal corpo del &longs;u&longs;to con la aggiunta del numoro delle canalature, &longs;i accre&longs;ca con ra­<lb/>gione, quanto meno &longs;i uederà, & co&longs;i con di&longs;pari ragione &longs;arà agguagliata la gro&longs;&longs;ezza del­<lb/>le colonne. </s> <s id="s.003617">& que&longs;to adiuiene perche toccando l'occhio piu punti, & piu &longs;pe&longs;si, uiene a <lb/>uagare con maggior circoito della ui&longs;ta. </s> <s id="s.003618">perche &longs;e &longs;aranno due colonne di gro&longs;&longs;ezza egua <lb/>le mi&longs;urate con un filo a torno, & di quelle una non &longs;ia canalata, & l'altra sì: & quel filo <lb/>tocchi i caui d'intorno delle canalature, & gli anguli de i piani, benche le colonne &longs;iano <lb/>egualmente gro&longs;&longs;e non &longs;aranno però le linee circondate eguali, percioche il circuito de i <lb/>piani, & de i caui farà maggiore la lunghezza di quel filo. </s> <s id="s.003619">la doue, &longs;e que&longs;to parerà, come <lb/>hauemo detto, non &longs;arà fuori di propo&longs;ito ne i luoghi angu&longs;ti, & nello &longs;pacio rinchiu&longs;o <lb/>ordinare nelle opere piu &longs;ottili compartimenti delle colonne; hauendo noi in rimedio la <lb/>tempra delle canalature. </s> </p> <p type="main"> <s id="s.003620"><emph type="italics"/>Hauendo Vitr. dichiarito quanto alte deono eßer le colonne dello Antitempio, egli ci mostra <lb/>la ragione delle loro gro&longs;&longs;ezze, & uuole, che quelle &longs;iano piu &longs;ottili, che le e&longs;teriori. </s> <s id="s.003621">& la ra­<lb/>gione è in pronto: perche &longs;i come di &longs;opra nel terzo libro egli uuole, che le colonne angulari &longs;iano <lb/>piu gro&longs;&longs;e, che quelle di mezo, perche l'aere leua della ui&longs;ta di quelle, co&longs;i comanda in que&longs;to <lb/>luogo, che le colonne interiori &longs;iano piu &longs;ottili delle e&longs;teriori, percioche que&longs;te a quelle &longs;i pareg­<lb/>gier anno con ragioni, in quello, che l'aere leua dalle e&longs;teriori. </s> <s id="s.003622">nè &longs;olamente l'a&longs;&longs;ottigliare le co­<lb/>lonne di dentro un'ottauo, ouero un nono &longs;econdo la rata parte fa que&longs;to effetto di pareggiarle, <lb/>& farle parere pari alle colonne di fuori, ma anche il numero delle canalature puo far parere <lb/>una colonna pari ad un'altra, &longs;e bene la fu&longs;&longs;e di minore gro&longs;&longs;ezza, percioche quanto piu &longs;ono le <lb/>canalature, tanto piu gro&longs;&longs;a pare la colonna. </s> <s id="s.003623">perche l'occhio no&longs;tro ha piu da &longs;paciare allhora, <lb/>quando &longs;ono piu termini, & maggiori nella co&longs;a ueduta, che quando ne &longs;ono meno, & minori: & <lb/>hauendo piu da &longs;paciare la ui&longs;ta, ci appare la co&longs;a maggiore. </s> <s id="s.003624">però la colonna, che ha piu canala­<lb/>ture, ha piu termini, per li quali puo uagare la ui&longs;ta no&longs;tra. </s> <s id="s.003625">ilche &longs;i uede rauolgendo un filo in­<lb/>torno a due colonne di gro&longs;&longs;ezza eguale, ma una &longs;ia canalata, & l'altra nò. </s> <s id="s.003626">perche &longs;i con&longs;ume­<lb/>rà piu filo circondando i piani, & i caui della colonna canalata, che circondando quella, che non <lb/>hauerà canali. </s> <s id="s.003627">& co&longs;i col numero delle canalature &longs;i puo rimediare all'apparenza delle colonne, <lb/>quando ci pareranno piu &longs;ottili.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003628">Egli bi&longs;ogna fare la gro&longs;&longs;ezza de i pareti della cella per la rata parte della grandezza, pu<lb/>re, che i pila&longs;tri di quelli &longs;iano eguali alle gro&longs;&longs;ezze delle colonne. </s> <s id="s.003629">& &longs;e &longs;aranno fatti di <lb/>&longs;truttura, &longs;iano impa&longs;tati bene di minuti&longs;simi cementi. </s> <s id="s.003630">ma &longs;e &longs;i hanno a fare di &longs;a&longs;&longs;o qua­<lb/>drato, o di marmo, faccian&longs;i con pari, & molto piccioli quadretti, percioche le pietre di <lb/>mezo, che contengono i cor&longs;i, & rincalci di mezo hanno piu ferma la perfettione dell'o= <lb/>pera. </s> <s id="s.003631">& co&longs;i d'intorno i cor&longs;i, & i letti i rilieui faranno nel uedere piu diletteuole apparen­<lb/>za di componimento, come di pittura. </s> </p> <p type="main"> <s id="s.003632"><emph type="italics"/>I pila&longs;tri, ouero ante, &longs;aranno &longs;empre delle gro&longs;&longs;ezze delle colonne, ma i pareti alquanto mi­<lb/>nori, & &longs;econdo che porta la ragione dell'opera, & il ri&longs;petto del carico. </s> <s id="s.003633">Il muro puo e&longs;&longs;er di mi­<lb/>nuti&longs;&longs;imi cementi, & que&longs;to Vitru. chiama &longs;truttura, &longs;e bene noi altre fiate hauemo detto mura­<lb/>tura: ouero di &longs;aßo quadrato d'anguli pari, benche non di lati eguali, grande, & picciolo, ro­<lb/>zo, & polito; ma &longs;i loda per la dilettatione, che i quadri &longs;iano piccioli, perche la moltitudine <lb/>delle bugne, & delle prominenze & rilieui, dà piu diletto, & mo&longs;tra di pittura; dico pittura, <lb/>componimento piu bello.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <pb pagenum="182" xlink:href="045/01/190.jpg"/> <p type="head"> <s id="s.003634"><emph type="italics"/>Di fare i Tempij &longs;econdo le regioni. </s> <s id="s.003635"><lb/>Cap. V.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.003636">I Tempij de gli Dei immortali &longs;i deono fare in modo, che guardino uer&longs;o quel <lb/>le parti del cielo, che &longs;i conuiene, che (&longs;e ragione alcuna non impedirà, o li­<lb/>bero &longs;arà il potere) il &longs;imulacro, che &longs;arà po&longs;to dentro la cella guardi uer&longs;o <lb/>ponente, accioche, quelli, che entraranno allo altare per &longs;acri&longs;icare, & con­<lb/>&longs;acrare le uittime, &longs;i uolgano uer&longs;o l'Oriente, & uer&longs;o il &longs;imulacro po&longs;to nel Tempio, & <lb/>co&longs;i uotando&longs;i riguardino il Tempio, & l'Oriente: & i &longs;imulachri come na&longs;centi parino <lb/>riguardare i &longs;upplicanti, & quelli, che fanno &longs;acrificio: percioche pare, che egli &longs;ia ne­<lb/>ce&longs;&longs;ario, che tutti gli altari de i Dei &longs;iano uolti all'Oriente. </s> <s id="s.003637">Ma &longs;e la natura del luogo ci <lb/>&longs;arà d'impedimento, allhora &longs;i deono uoltare le fabriche de i Tempij in modo, che da quel <lb/>li &longs;i po&longs;&longs;a uedere la maggior parte della città. </s> <s id="s.003638">& anche &longs;e lungo i Fiumi &longs;i faranno i Tem­<lb/>pij, come nello Egitto &longs;opra il Nilo, pare che le fabriche debbiano guardare uer&longs;o le riue <lb/>de i fiumi. </s> <s id="s.003639">&longs;imigliantemente &longs;e &longs;i faranno longo le uie publiche, deon&longs;i porre in modo, che <lb/>i pa&longs;&longs;aggieri po&longs;sino riguardare, & fare le loro &longs;alutationi, & riuerenze dinanzi il con&longs;pet­<lb/>to della fabrica. </s> </p> <p type="main"> <s id="s.003640"><emph type="italics"/>Tratta del Decoro, che &longs;i o&longs;&longs;erua per i&longs;tanza, del quale &longs;e ne è ragionato nel primo libro. </s> <s id="s.003641">ha­<lb/>uendo trattato dell'ordine, del compartimento, della di&longs;po&longs;itione, della uenu&longs;tà, & della di&longs;tribu­<lb/>tione, che &longs;i richiede. </s> <s id="s.003642">Guardino adunque le fronti de i Tempij uer&longs;o ponente, perche gli altari, <lb/>& i &longs;imulacri come na&longs;centi Soli pareranno illuminare le menti de gli &longs;upplicanti. </s> <s id="s.003643">Hora &longs;e quel­<lb/>li, che ador auano i muti &longs;imulacri, & i Dei &longs;olo di nome, che haueuano lingua, & non par laua­<lb/>no, occhi, & non uedeuano, orecchie, & non udiuano, & che erano opere fatte di mano de gli <lb/>huomini, portati da un fal&longs;o errore, erano tanto ri&longs;petto&longs;i nelle loro cerimonie, & tanto diuoti; <lb/>che douemo far noi liberati da i maligni &longs;piriti, che adoramo Dio uero, & honoramo i &longs;anti ami­<lb/>ci &longs;uoi Deiformi, non doue mo noi per l'abondanza del core, fare ogni dimo&longs;tratione e&longs;teriore, ac­<lb/>cioche ognuno &longs;i &longs;uegli, o s'infiammi piu al uero, & mental culto diuino?<emph.end type="italics"/></s> </p> <p type="head"> <s id="s.003644"><emph type="italics"/>Delle ragioni delle porte. </s> <s id="s.003645">& delle impo&longs;i e de i Tem­<lb/>py. </s> <s id="s.003646">Cap. V l.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.003647">Qve&longs;te &longs;ono le ragioni delle porte, & delle loro impo&longs;te, & ornamenti, che &longs;i <lb/>fanno dinanzi, a quelle. </s> <s id="s.003648">Prima è nece&longs;&longs;ario &longs;apere di che maniera &longs;i hanno a <lb/>fare. </s> <s id="s.003649">Le maniere &longs;ono tre. </s> <s id="s.003650">Dorica, Ionica, Attica. <!-- KEEP S--></s> <s id="s.003651">I compartimenti di <lb/>que&longs;te, nella maniera Dorica &longs;i truouano con que&longs;te ragioni, che la Corni= <lb/>ce &longs;omma, che è &longs;opra l'impo&longs;ta &longs;uperiore, &longs;ia ad egual liuello con la &longs;ommità de i capi­<lb/>telli delle colonne, che &longs;ono nello Antitempio. <!-- KEEP S--></s> <s id="s.003652">Il lume del portarle deue e&longs;&longs;ere in mo­<lb/>do, che diui&longs;a l'altezza del Tempio, che è tral pauimento, & i lacunari in tre parti, & me­<lb/>za, due di quelle &longs;i diano all'altezza del lume delle porte. </s> <s id="s.003653">Que&longs;ta altezza &longs;ia partita in <lb/>dodici parti, & di quelle &longs;e ne diano cinque & meza per la larghezza del lume da ba&longs;&longs;o. </s> <s id="s.003654">ma <lb/>di &longs;opra &longs;ia ri&longs;tretto in modo, che &longs;e il lume da ba&longs;&longs;o è di piedi &longs;edici, &longs;ia ri&longs;tretto un ter­<lb/>zo della impo&longs;ta, o erta che &longs;i chiame: &longs;e di &longs;edici a uenticinque, &longs;ia la parte del lume ri­<lb/>&longs;tretta per un quarto della impo&longs;ta. </s> <s id="s.003655">&longs;e da uenticinque a trenta, per la ottaua parte: ma nel <lb/>re&longs;to quanto è l'altezza maggiore, tanto piu dritte, & a perpendicolo pare, che &longs;i debbia­<lb/>no porre le impo&longs;te. </s> <s id="s.003656">lequali &longs;i faranno gro&longs;&longs;e nella fronte per la duodecima parte del lu-<pb pagenum="183" xlink:href="045/01/191.jpg"/>me, & &longs;iano ra&longs;tremate di &longs;opra per la decima quarta parte della loro gro&longs;&longs;ezza. </s> <s id="s.003657">l'altezza <lb/>del &longs;opraciglio &longs;ia quanto la gro&longs;&longs;ezza di &longs;opra delle erte. </s> <s id="s.003658">La cima&longs;a &longs;i deue fare per la &longs;e <lb/>&longs;ta parte dell'erta; & lo &longs;porto &longs;uo quanto è la &longs;ua gro&longs;&longs;ezza. </s> <s id="s.003659">Deue&longs;i &longs;colpire la cima&longs;a Le&longs;<lb/>bia, col &longs;uo tondino. </s> <s id="s.003660">Sopra la Cima&longs;a, che &longs;arà nel &longs;opraciglio, &longs;i deue porre il &longs;opra­<lb/>frontale della gro&longs;&longs;ezza del &longs;opraciglio, & in quello &longs;colpirui la cima&longs;a Dorica, & il Ton­<lb/>dino Lesbio di ba&longs;&longs;o rilieuo. </s> <s id="s.003661">& dopo que&longs;to &longs;i faccia la cornice piana con la &longs;ua cima&longs;a, <lb/>& lo &longs;porto &longs;uo &longs;ia quanto l'altezza del &longs;opraciglio, che s'impone &longs;opra l'erte. </s> <s id="s.003662">Ma dalla <lb/>de&longs;tra, & dalla &longs;ini&longs;tra &longs;i deono fare gli &longs;porti, &longs;i che le margini uenghino in fuori, & nel­<lb/>la cima le cima&longs;e &longs;iano congiunte. </s> </p> <p type="main"> <s id="s.003663"><emph type="italics"/>Prima, che &longs;i uegni ad altro, egli mi pare nece&longs;&longs;ario dichiarare alcuni uocaboli o&longs;curi, che &longs;o <lb/>no po&longs;ti da Vitr. & &longs;ono que&longs;ti. </s> <s id="s.003664">Antepagmentum, Thyromata, Atticurges, Hypothiron, La­<lb/>cunare, Supercilium, Cymatium Lesbium, Cymatium Doricum, A&longs;tragalus Lesbius, Sima, <lb/>Sculptura, Crepidines, In ungue. </s> <s id="s.003665">Antepagmentum adunque da noi è detto l'erta, & lo &longs;tan <lb/>te delle porte, cioè quelle pietre, che &longs;tanno dritte da una banda, & dall'altra delle porte. </s> <s id="s.003666">ma io <lb/>non dubito, che non &longs;i dica antepagmentum quello, che &longs;ta per trauer&longs;o, perche Vitr. dice, che <lb/>la cornice, che &longs;ta &longs;opra l'antcpagmento di &longs;opra. </s> <s id="s.003667">& io ho interpretato imposta. </s> <s id="s.003668">& &longs;i potrebbe <lb/>dire, che antepagmento &longs;ia tutta la ca&longs;&longs;a, o il telaro (per modo di dire) della porta, & tutta la <lb/>compo&longs;itione delle erte, con il &longs;opralimitare. </s> <s id="s.003669">Thyromata &longs;ignifica le porte, ouero li portali. </s> <s id="s.003670"><lb/>Atticurges è parola u&longs;ata da Vitr. & pare, che intenda il Corinthio, per quanto &longs;i uede nel fine <lb/>del pre&longs;ente Capo. <!-- REMOVE S-->& fa differenza tra lo Attico, & il Dorico, perche dice, che le porte &longs;ono <lb/>di tre maniere, Dorica, Ionica, & Attica. <!-- KEEP S--></s> <s id="s.003671">Et di &longs;opra nel terzo libro egli ha fatto mentione <lb/>della ba&longs;a Attica. <!-- KEEP S--></s> <s id="s.003672">La quale dapoi Vitr. è sttata pre&longs;a per la Dorica; con che ragione io non lo <lb/>&longs;o. </s> <s id="s.003673">Ben dice Plinio, che &longs;ono quattro maniere di colonne, & numera tra quelle l'Attica, che è <lb/>quadrangulare, & ha quattro lati eguali, di modo, che que&longs;ta maniera pare &longs;eparata dalle altre. </s> <s id="s.003674"><lb/>Ma puo e&longs;&longs;ere, che la Corinthia, che non ha niente di proprio &longs;enon il capitello, &longs;i &longs;erua di que&longs;ta <lb/>maniera, come &longs;i &longs;erue anche della Dorica, & della Ionica. <!-- KEEP S--></s> <s id="s.003675">Quello, che è lacunar, io l'ho <lb/>e&longs;po&longs;to di &longs;opra. </s> <s id="s.003676">Lacus è lo &longs;patio tra l'uno traue, & l'altro, Lacunare è la trauatura, cioè gli <lb/>&longs;patij, con le traui in&longs;ieme. </s> <s id="s.003677">Supercilium, &longs;opralimitare è detto da Dante, il quale dice. </s> <s id="s.003678">&longs;opra'l <lb/>limitar dell'alta porta. </s> <s id="s.003679">& è quella pietra trauer&longs;a, che è &longs;opra l'erte della porta, che for&longs;e è <lb/>quella, che è fatta per le in&longs;crittioni. </s> <s id="s.003680">Cymatium. <!-- KEEP S--></s> <s id="s.003681">Io ho detto nel terzo libro, che Cymatium <lb/>è nome Greco, & uuole dire onda piccola: hoggi dì &longs;i chiama Cima&longs;a, altri la dicono gola. </s> <s id="s.003682">& <lb/>quella, che è Dorica, è chiara nelle opere Doriche. <!-- KEEP S--></s> <s id="s.003683">Ma quello, che &longs;ra la cima&longs;a Lesbia, non &longs;o <lb/>no anchora bene ri&longs;oluto. </s> <s id="s.003684">il Filandro uuole, che &longs;ia una gola lauorata, (benche ne parla per <lb/>conietture) & che non &longs;ia differente dalla Dorica, &longs;enon per li lauori: ma a me pare, che non il <lb/>lauoro, ma la forma è quella, che deue fare differente la gola o cima&longs;a Lesbia dalla Dorica. <!-- KEEP S--></s> <s id="s.003685">& <lb/>for&longs;e è quella, che è tra la gola dritta, & la gola riuer&longs;cia. </s> <s id="s.003686">A&longs;tragalus Lesbius, è come uno me <lb/>zo tondino, ouero ouoletto, &longs;i come pone il Filandro, lauorato di ba&longs;&longs;o rilieuo, che Vitr. dice &longs;i­<lb/>ma &longs;calptura, perche uolgarmente &longs;i dice &longs;imo il na&longs;o delle capre. </s> <s id="s.003687">Crepidines &longs;ono le margini, & <lb/>gli adornamenti, che uanno intorno le porte, cioè i membrelli, che a trauer&longs;o, & per dritto cor <lb/>reno d'intorno le erte. </s> <s id="s.003688">que&longs;ti deono &longs;u gli anguli, & nel uoltare congiugner&longs;i in&longs;ieme. </s> <s id="s.003689">In ungue <lb/>dice Vitr. che altrimenti &longs;i dice ad unguem, con diligenza, e&longs;attamente, & che &longs;contrino bene. </s> <s id="s.003690"><lb/>H ypothyron è lo &longs;patio, & il uano chiamato lumen. </s> <s id="s.003691">Hora e&longs;poneremo quanto dice Vitr. & con <lb/>lo di&longs;egno &longs;i dimo&longs;tra minutamente ogni parte. </s> <s id="s.003692">Dice Vitr. che prima è nece&longs;&longs;ario &longs;apere, di che <lb/>maniera &longs;ia la porta. </s> <s id="s.003693">Et dice, che &longs;ono tre maniere di porte. </s> <s id="s.003694">Dorica: Ionica: Attica. <!-- KEEP S--></s> <s id="s.003695">Truo­<lb/>ua poi le mi&longs;ure della Dorica, & dice prima quanto richiede al lume, a i &longs;uoi termini, & all'ulti­<lb/>mo &longs;patio della cornice, & di &longs;opra; & que&longs;to fa con molta chiarezza. </s> <s id="s.003696">Dapoi comparte lo &longs;pa­<lb/>tio, che è &longs;opra'l lume, & la cornice di &longs;opra & dice; che il &longs;opraciglio o &longs;opralimitare, è della <lb/>gr o&longs;&longs;ezza delle erte di &longs;opra, & &longs;i piglia poi la &longs;e&longs;ta parte della gro&longs;&longs;ezza dell'erta, & &longs;i fa una<emph.end type="italics"/><pb pagenum="184" xlink:href="045/01/192.jpg"/><emph type="italics"/>cima&longs;a, il cui &longs;porto è tanto, quanto la &longs;ua gro&longs;&longs;ezza: & &longs;i deue &longs;colpirui la cima&longs;a Lesbia, col <lb/>&longs;uo a&longs;tragalo, o tondino. </s> <s id="s.003697">& quiui &longs;i deue auuertire, che que&longs;ta cima&longs;a ua a torno le erte, perche <lb/>della cima&longs;a del &longs;opraciglio Vitr. ne parla &longs;ubito, & dicendo, che &longs;opra quella cima&longs;a, che è nel <lb/>&longs;opraciglio ua lo hiperthiro, egli dimo&longs;tra, che quiui s'intende d'un'altra cima&longs;a. </s> <s id="s.003698">&longs;imilmente di­<lb/>cendo, che &longs;opra quella cima&longs;a, che è nel &longs;opraciglio, egli dimo&longs;tra, che nella gro&longs;&longs;ezza o altez­<lb/>za del &longs;opraciglio egli s'include la cima&longs;a, & non è po&longs;ta &longs;opra il &longs;opraciglio. </s> <s id="s.003699">Similmente &longs;opra <lb/>la cima&longs;a, che è nel &longs;opraciglio ua lo hiperthiro, o &longs;opraporta, o fregio, che &longs;i dica. </s> <s id="s.003700">& que&longs;to <lb/>è della gro&longs;&longs;ezza del &longs;opraciglio, & in e&longs;&longs;o anche s'include la cima&longs;a Dorica, & il tondino, o <lb/>a&longs;tragalo Lesbio di ba&longs;&longs;o rilieuo. </s> <s id="s.003701">perche questi membri non deono hauere molto &longs;porto. </s> <s id="s.003702">Sopra <lb/>l'hiperthiro, o fregio ua la corona piana con la &longs;ua gola, ch'incontre con la gola dell'abaco dei <lb/>capitelli. </s> <s id="s.003703">Ma quello, che dice Vitr. che &longs;i deono fare dalla de&longs;tra, & dalla &longs;iai&longs;tra gli &longs;portiin <lb/>modo, che le margini uenghino in fuori, & &longs;u'l taglio di e&longs;&longs;e, che Vitr. dice in ungue, &longs;i congiu­<lb/>gneno in&longs;ieme, egli &longs;i deue intendere, che le cima&longs;e, che &longs;ono nel hiperthiro &longs;portino in fuori, & <lb/>&longs;i uni&longs;cano in&longs;ieme le cima&longs;e, che uoltano non a torno, (come dice il Filandro) ma dalla de&longs;tra, <lb/>& dalla &longs;ini&longs;tra uer&longs;o il parete da i lati, accioche quella parte dello &longs;porto dello hiporthiro non re <lb/>stti dalle bande &longs;enza ornamento. </s> <s id="s.003704">La corona benche &longs;ia alta, però stta come dice Vitr. & &longs;e ne <lb/>troua e&longs;empio. </s> <s id="s.003705">Lo e&longs;empio è la de&longs;crittione della porta Dorica è qui &longs;otto con il &longs;uo profilo accio <lb/>che s'intenda meglio.<emph.end type="italics"/></s> </p> <p type="head"> <s id="s.003706">Incontro della porta Dorica.<!-- KEEP S--></s> </p> <p type="main"> <s id="s.003707"><emph type="italics"/>A. B. L'altezza del pauimento a i lacunari.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003708"><emph type="italics"/>C. D. L'altezza del lume.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003709"><emph type="italics"/>C. E. <!-- KEEP S--></s> <s id="s.003710">La larghezza di &longs;otto del lume.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003711"><emph type="italics"/>D. F. <!-- KEEP S--></s> <s id="s.003712">La larghezza del lume di &longs;opra.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003713"><emph type="italics"/>C. G. <!-- KEEP S--></s> <s id="s.003714">La gro&longs;&longs;ezza dell'Erta da piedi.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003715"><emph type="italics"/>D. H. <!-- KEEP S--></s> <s id="s.003716">La gro&longs;&longs;ezza dell'erta di &longs;opra.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003717"><emph type="italics"/>I. <!-- KEEP S--></s> <s id="s.003718">Il &longs;opraciglio.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003719"><emph type="italics"/>K. <!-- KEEP S--></s> <s id="s.003720">La cima&longs;a & tondino, che ua a torno le erte, dette antepagmenta.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003721"><emph type="italics"/>N. <!-- KEEP S--></s> <s id="s.003722">Lo hiperthiro, o fregio.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003723"><emph type="italics"/>O. <!-- KEEP S--></s> <s id="s.003724">La cima&longs;a del tondino, o hiperthiro.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003725"><emph type="italics"/>P. <!-- KEEP S--></s> <s id="s.003726">La cornice piana con la &longs;ua gola, alta al pari della gola dell'abaco del capitello.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003727"><emph type="italics"/>M. Antepagmentum. <!-- REMOVE S-->cioè l'erta.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003728"><emph type="italics"/><expan abbr="q.">que</expan> R. <!-- KEEP S--></s> <s id="s.003729">Altezza dell'erta.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003730"><emph type="italics"/>S. Timpano.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.003731"><emph type="italics"/>T. Impagines.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.003732"><emph type="italics"/>V. <!-- KEEP S--></s> <s id="s.003733">Scapi cardinales.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003734"><emph type="italics"/>X. Impagines.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.003735"><emph type="italics"/>Y. Cymatia, gole.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003736"><emph type="italics"/>Z. Cymatia, gole.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003737"><emph type="italics"/>Il profilo è po&longs;to nelle &longs;eguenti carte con i profili delle altre porte.<emph.end type="italics"/></s> </p> <pb pagenum="185" xlink:href="045/01/193.jpg"/> <figure id="id.045.01.193.1.jpg" xlink:href="045/01/193/1.jpg"/> <pb pagenum="186" xlink:href="045/01/194.jpg"/> <p type="main"> <s id="s.003738">Ma &longs;e le porte &longs;i faranno alla Ionica, &longs;ia il lume alto come nella maniera Dorica; ma <lb/>non co&longs;i la larghezza; ma &longs;ia diui&longs;a l'altezza in parti due, & meza, & di quelle una, & meza &longs;i <lb/>darà al lume da ba&longs;&longs;o. </s> <s id="s.003739">la larghezza della contrattione come nelle Doriche. <!-- KEEP S--></s> <s id="s.003740">La gro&longs;&longs;ezza <lb/>delle erte per l'altezza del lume nella &longs;ronte la quarta decima parte, la cima&longs;a di que&longs;ta per <lb/>la &longs;e&longs;ta parte della gro&longs;&longs;ezza. </s> <s id="s.003741">il re&longs;tante oltra la cima&longs;a &longs;ia diui&longs;o in dodici parti: di tre <lb/>dellequali &longs;i fa la prima cor&longs;a, con lo &longs;uo Altragalo, o fu&longs;aiuolo. </s> <s id="s.003742">La &longs;econda di quattro; <lb/>la terza di cinque. </s> <s id="s.003743">& que&longs;te cor&longs;e con i loro a&longs;tragali uadino intorno. </s> <s id="s.003744">ll &longs;opra frontale o <lb/>hiperthiro deue e&longs;&longs;er compo&longs;to al modo Dorico. <!-- KEEP S--></s> <s id="s.003745">Le men&longs;ole,o cartelle dette prothiri­<lb/>des, &longs;colpite dalla de&longs;tra, & dalla &longs;ini&longs;tra pendino lontane a liuello del da ba&longs;&longs;o del &longs;opra­<lb/>ciglio oltra la foglia. </s> <s id="s.003746">Que&longs;ti habbiano nella fronte una delle tre parti dell'erte, & &longs;iano dal <lb/>ba&longs;&longs;o la quarta parte piu &longs;ottili che di &longs;opra. </s> </p> <p type="main"> <s id="s.003747"><emph type="italics"/>Ragiona Vitru. in que&longs;to luogo del compartimento della porta Ionica, & &longs;i la&longs;cia intendere. </s> <s id="s.003748"><lb/>Cor&longs;a è la faccia delle erte o antepagmenti. </s> <s id="s.003749">La prima è la piu uicina al lume. </s> <s id="s.003750">Ancones &longs;ono <lb/>certe me&longs;ole dalle bande delle porte a &longs;imiglianza della lettera. </s> <s id="s.003751">S. che con i loro capi ne i ritorti <lb/>delle uolute s'intricano, & &longs;ono dette Prothirides in Greco, qua&longs;i antiportali. </s> <s id="s.003752">altri le chiamano <lb/>cartelle. </s> <s id="s.003753">pendeno dal di &longs;otto della cornice lungo le erte a perpendicolo dal ba&longs;&longs;o del &longs;opraciglio, <lb/>oltra la foglia, come &longs;i uede nella figura. </s> <s id="s.003754">ne &longs;i deue credere, che la porta Ionica habbia la Cor­<lb/>nice come la Dorica a pari de i capitelli, perche Vitru.non lo dice. </s> <s id="s.003755">ben dice il Filandro, che'l lu­<lb/>me douerebbe e&longs;&longs;ere una parte delle due, & meza dell'altezza, & non una & meza, come dice <lb/>Vitru.per i&longs;chiuare un difetto, che'l lume da ba&longs;&longs;o &longs;ia piu largo del uano di mezo tra le colon­<lb/>le, ilche fa brutto uedere, & è difetto&longs;o. </s> <s id="s.003756">ma io trouo, che Vitr. la intende a que&longs;to modo: & &longs;e <lb/>egli &longs;i face&longs;&longs;e il lume d'una &longs;ola parte, &longs;i uederebbe la porta molto &longs;tretta di lume, & anche &longs;pro <lb/>portionata. </s> <s id="s.003757">& Vitr. dirà di &longs;otto poco dapoi, &longs;e le porte &longs;ono ualuate &longs;e le aggiugne la larghez­<lb/>za. </s> <s id="s.003758">& intende delle Ioniche, & quando dice nel terzo libro, che la &longs;pe&longs;&longs;ezza delle colonne o&longs;cu­<lb/>ra l'a&longs;petto delle porte, egli ragiona di quella maniera, che è di &longs;pe&longs;&longs;e colonne, nella quale ui è que <lb/>&longs;to difetto. </s> <s id="s.003759">& qui poco &longs;i a&longs;conde delle porte, cioè di quell'opera di legname, che &longs;i chiude: & s'a­<lb/>pre, & in quel luogo anche egli u&longs;a que&longs;ta parola, Valuæ, & non ragiona delle erte, & ante, & <lb/>de i loro ornamenti.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003760">Le porte &longs;ono da e&longs;&longs;er po&longs;te in&longs;ieme a que&longs;to modo, che i fu&longs;ti de i cardini &longs;iano lunghi <lb/>la duodecima parte dell'altezza del lume, i Timpani & quadri delle porte, che &longs;ono tra i <lb/>fu&longs;ti di dodici parti ne ritenghino tre. </s> <s id="s.003761">Le di&longs;tributioni de gli orli, che impagines &longs;ono <lb/>detti, co&longs;i &longs;i hanno a fare, che partite le altezze in cinque parti due &longs;i diano a quelli di &longs;o­<lb/>pra, & tre a quelli di &longs;otto. </s> <s id="s.003762">ma &longs;opra'l mezo &longs;iano po&longs;ti mezi orli, & de gli altri alcuni riguar <lb/>dino il di &longs;opra, altri il di &longs;otto. </s> <s id="s.003763">La larghezza dell'orlo &longs;ia per la terza parte del quadro. </s> <s id="s.003764">la <lb/>cima&longs;a per la &longs;e&longs;ta parte dell'orlo. </s> <s id="s.003765">le larghezze de i fu&longs;ti, per la metà de gli orli. </s> <s id="s.003766">& co&longs;i la <lb/>cornice che ripiglia l'orlo, detta replum, &longs;arà per la metà, & per la &longs;e&longs;ta parte dell'orlo. </s> <s id="s.003767">I fu­<lb/>&longs;ti, che &longs;ono dinanzi la &longs;econda impo&longs;ta &longs;iano per la me à dell'orlo. </s> </p> <p type="main"> <s id="s.003768"><emph type="italics"/>Detto ha Vitru. della porta Dorica, & della Ionica quello, che apparteneua alle parti da i lati <lb/>di &longs;opra, & di &longs;otto, nella fattura de pietre, & di marmi: hora tratta dell'opera, che ua di le­<lb/>gname, o di metallo: che anche di metallo ne faceuano gli antichi. </s> <s id="s.003769">Noi dichiareremo alcuni <lb/>uocabuli, per fare la intelligenza piu piana. </s> <s id="s.003770">Lanua non è altro, che il primo adito, & la pri­<lb/>ma entrata del Tempio, detta da Iano, a cui era con&longs;acrato ogni cominciamento. </s> <s id="s.003771">Ho&longs;tia in gene­<lb/>rale &longs;i chiamano le porte aprendo&longs;i, come &longs;i uoglia, o uer&longs;o la parte e&longs;teriore, o uer&longs;o la parte di <lb/>dentro, o rauolgendo&longs;i, & ripiegando&longs;i, Greci chiamano Thyras. </s> <s id="s.003772">La onde il uano &longs;i chia­<lb/>ma hypothyron. </s> <s id="s.003773">i lati delle porte &longs;i dicono Antæ, o para&longs;tadæ, & dalle Ante gli adornamen­<lb/>ti delle porte &longs;ono detti antepagmenta, noi chiamamo le ante, erte, &longs;tanti, pila&longs;tri, & piane. </s> <s id="s.003774"><lb/>Fanno differenza alcuni tra que&longs;ti nomi Ianua, & porta, perche uogliono, che porta &longs;ia pro­<lb/>priamente quella della città, & delle fortezze, ma Ianua d'altri edificij. </s> <s id="s.003775">confondeno poi i nomi,<emph.end type="italics"/><pb pagenum="187" xlink:href="045/01/195.jpg"/><emph type="italics"/>& banno per lo i&longs;te&longs;&longs;o Ianua, & ho&longs;tium. </s> <s id="s.003776">Po&longs;ticum, è detto da Greci p&longs;eudodethiron, qua&longs;i fal­<lb/>&longs;a porta, & è la porta di dietro, come Anticum, quella dinanzi. </s> <s id="s.003777">Fores &longs;ono le porte di legna­<lb/>me, o di metallo, quelle che apreno, & &longs;errano; gli ornamenti delle quali &longs;i fanno in que&longs;to modo. </s> <s id="s.003778"><lb/>i fu&longs;ti che entrano ne i cancani detti da Vitru. <!-- REMOVE S-->Scapi Cardinales, prendeno le loro mi&longs;ure dal­<lb/>l'altezza del lume, perche prima &longs;i diuide l'altezza del lume in dodici parti, poi facemo i detti <lb/>fu&longs;ti lunghi per la duodecima parte: come &longs;e il lume fu&longs;&longs;e alto dodici piedi, egli&longs;i darebbe un pie­<lb/>de alli fu&longs;ti, cioe mezo a quello di &longs;opra, & mezo a quello di &longs;ctto. </s> <s id="s.003779">Que&longs;ti fu&longs;ti con i capi, o te&longs;te <lb/>loro entrano come ma&longs;coli nelle femine, ne i cardini loro, cioè cancani, uno de quali è nel limi­<lb/>tar di &longs;opra, l'altro, nel limitar di &longs;otto, doue nella figura &longs;ono le lettere <expan abbr="q.">que</expan> & R. V&longs;auan&longs;i <lb/>anticamente que&longs;ti modi per tenere le porte &longs;o&longs;pe&longs;e, accioche i fu&longs;ti &longs;i riuolge&longs;&longs;ero in quelli can­<lb/>cani con gran de facilità all' aprire, & &longs;errare: poco carico a gli edificij, & piu sbrigata ma­<lb/>niera era l'antica di quella, che hoggi dì u&longs;amo. </s> <s id="s.003780">Tutto il legno piano della porta, che era trai <lb/>fu&longs;ti, &longs;i compartiua in quadri, che latinamente Timpani &longs;ono detti. </s> <s id="s.003781">questi erano circondati da <lb/>certe li&longs;te, regole, & gole, come cornici, delle quali Vitru. ci rende conto, dicendo, che i qua­<lb/>dri deono hauere tre parti di dodici dell' altezza del uano. </s> <s id="s.003782">come il quadro. </s> <s id="s.003783">S. & le regole deo­<lb/>no e&longs;&longs;ere compartite in que&longs;to modo, che diui&longs;a l'altezza del lume in cinque parti, due &longs;e ne dia­<lb/>no a gli orli, & impagini di &longs;opra, come è da T. ad V. tre alle impagini di &longs;otto come da T. <lb/>ad X. ma &longs;oprail mezo, cioè tra i quadri, o Timpani, nella diui&longs;ione d'un quadro, & l'altro <lb/>&longs;iano po&longs;te meze regole, & nelle altre parti re&longs;tanti &longs;iano affiße alcune regole o li&longs;te di &longs;opra, <lb/>alcune di &longs;otto. </s> <s id="s.003784">la larghezza dell' impagine &longs;ia per la terza parte del quadro, come è da <foreign lang="greek">*u. </foreign></s> <s id="s.003785">a <lb/>Z, la gola o cima&longs;a per la &longs;e&longs;ta parte dell' impagine. </s> <s id="s.003786">& la cornice, ouero l'ornamento della li&longs;ta, <lb/>&longs;ia di &longs;ei parti & meza della li&longs;ta, ċioè della metà & d'un &longs;e&longs;to. </s> <s id="s.003787">Qui è molto da con&longs;iderare <lb/>quello, che dice Vitru. perche molti s'hanno affaticato, & poi hanno detto a modo loro. </s> <s id="s.003788">io non <lb/>affermo d'hauer trouato la uerita, nè però niego d'e&longs;&longs;er lontano dalla ragione. </s> <s id="s.003789">però dico, che chi <lb/>uuole formare una porta al modo di Vitru, (per quanto io &longs;timo) bi&longs;ogna con&longs;iderare, che alcu­<lb/>ne porte erano piu adorne, alcune meno, però le meno adorne, & piu &longs;chiette &longs;i dauano alla <lb/>maniera Dorica. <!-- KEEP S--></s> <s id="s.003790">Le piu adorne alle altre maniere. </s> <s id="s.003791">Per gli adornamenti delle porte &longs;ono la&longs;ciati <lb/>alcuni &longs;pacij piani, & quelli circondati &longs;ono d'alcuni rilieui attaccati, o affi&longs;&longs;i a detti piani, <lb/>& intagliati di gole, li&longs;telli, & cornicette, & altri adornamenti. </s> <s id="s.003792">Oltra di que&longs;to i comparti­<lb/>menti diuer&longs;i di detti piani, & di dette liste, & il fare le porte intiere, o di piu pezzi apporta <lb/>minor, o maggior grandezza, & ornamento: però con&longs;iderando, quanto &longs;i conuiene alla manie­<lb/>ra Dorica, io direi, che la prima compo&longs;itione delle porte po&longs;ta da Vitru. conuiene alla manie­<lb/>ra Dorica, & le altre compo&longs;itioni alle altre maniere. </s> <s id="s.003793">ilche con ragione potemo giudicare, per­<lb/>che la prima compo&longs;itione è piu &longs;oda, l'altre &longs;ono piu ornate. </s> <s id="s.003794">Dapoi perche &longs;i uede, che'l primo <lb/>compartimento conuiene mirabilmente alla Dorica, & gli altri alle altre maniere. </s> <s id="s.003795">Ecco detto <lb/>ha Vitruuio di &longs;opra, che la porta Dorica è larga al ba&longs;&longs;o per cinque parti & meza delle dodi­<lb/>ci dell' altezza del lume, tutto questo uano, o lume nel chiuder la porta deue e&longs;&longs;ere occupato <lb/>dal legno, o dal metallo, che ua nella porta d'uno pezzo: perche la larghezza della porta lo <lb/>&longs;opporta. </s> <s id="s.003796">Que&longs;to legno, che empie il uano è adornato &longs;emplicemente, & ha due quadri uno di <lb/>&longs;opra, & l'altro di &longs;otto, che &longs;i chiamano (come ho detto) timpani. </s> <s id="s.003797">que&longs;ti &longs;ono circondati da <lb/>li&longs;te, & regole, & orli, & nella di&longs;tributione de gli orli, che impagini egli chiama, egli u&longs;a il <lb/>compartimento &longs;opra detto, & po&longs;to nella figura della porta Dorica: ma la doue egli dice.<emph.end type="italics"/><lb/>{<emph type="italics"/>i fu&longs;ti, che &longs;ono dinanzi alla &longs;econda impo&longs;ta,<emph.end type="italics"/>} <emph type="italics"/>egli &longs;i deue intendere a que&longs;to modo, che il <lb/>&longs;econdo pagmento, o impo&longs;ta &longs;ia un telaro dalla parte di dentro della porta, che uadi a torno, a <lb/>torno, & i&longs;contri con gli &longs;pacij, che &longs;ono tra i timpani. </s> <s id="s.003798">Replum è come un fregio, o piano tra una <lb/>cima&longs;a, & l'altra, come dimo&longs;tra la figura.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003799">Ma &longs;e le porte &longs;aranno in &longs;e ripiegate, & ualuate, come dicono, le loro altezze &longs;aranno <lb/>come le &longs;opra dette, ma nella larghezza &longs;i aggiugnerà di piu tanto, quanto è la larghezza <pb pagenum="188" xlink:href="045/01/196.jpg"/>della porta di due fori: ma &longs;e &longs;aranno di quattro fori, &longs;e le aggiugnerà anche l'altem. </s> </p> <p type="main"> <s id="s.003800"><emph type="italics"/>Que&longs;te &longs;ono le porte Ioniche, cioè quelle porte, che &longs;i apreno in piu pezzi, peroche &longs;e in due <lb/>parti s'apreno amphifores &longs;e chiamano, &longs;e in quattro quadrifores. </s> <s id="s.003801">& perche la porta Ionica, è piu <lb/>larga, che la Dorica, &longs;e bene è tanto alta, quanto la Dorica, però dice Vitruuio, che nella lar­<lb/>ghezza &longs;i aggiugnerà di piu tanto quanto è la largezza di due pezzi: & perche le porte Atti­<lb/>che erano di quattro pezzi, & con&longs;eguentemente piu larghe, &longs;e le aggiugnerà anche l'altezza, <lb/>le impagini, & le altre co&longs;e &longs;eruando la proportione &longs;i faranno allo i&longs;te&longs;&longs;o modo, cioè come le <lb/>Doriche.<emph.end type="italics"/><!-- KEEP S--></s> <s id="s.003802"> Le porte fatte al modo Attico &longs;i faranno con quelle ragioni, che &longs;i fan no <lb/>le Doriche. <!-- KEEP S--></s> <s id="s.003803">Oltra di que&longs;to le cor&longs;e, o fa&longs;cie &longs;otto le golette, uanno a torno le erte, le <lb/>quali &longs;i deono compartire in que&longs;to modo, che nelle erte, & antepagmenti oltra la ci­<lb/>ma&longs;a di &longs;ette parti ne habbian due. <emph type="italics"/>Ecco qui la mi&longs;ura delle porte, cioè di quelle parti, che <lb/>&longs;tanno ferme, & &longs;ono nel parete, & è la terza maniera di porte. </s> <s id="s.003804">&longs;eguitano gli ornamenti & dice.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003805">Et gli ornamenti di quelle porte non &longs;i fanno a gelo&longs;ie, nè di due pezzi, ma ualuate & <lb/>hanno le apriture nelle parti e&longs;teriori. </s> </p> <p type="main"> <s id="s.003806"><emph type="italics"/>Io ho l'autorità di due te&longs;ti, che dicono non cero&longs;tata, ma clatrata. </s> <s id="s.003807">clatra è lauoro fatte a <lb/>gelo&longs;ia, & &longs;i trouano porte fatte a que&longs;to modo, che &longs;i può per quelle uedere nella parte inte­<lb/>riore, &longs;ono come ferrate: ma non mi piace que&longs;ta lettione, perche &longs;e Vitr. dice&longs;&longs;e che le porte <lb/>Attiche non &longs;i fanno a gelo&longs;ie, parerebbe, che le altre porte &longs;i face&longs;&longs;ero a gelo&longs;ie, ma non &longs;i <lb/>uede per li &longs;uoi compartimenti, che &longs;i face&longs;&longs;ero a gelo&longs;ie. </s> <s id="s.003808">& &longs;e il te&longs;to dice, non cerostrata, <lb/>&longs;imilmente egli non ha detto, che le altre porte &longs;i fanno lauorate di Tar&longs;ia, che co&longs;i intenderei <lb/>quella parola cero&longs;trata, intar&longs;iati di corno di uarij colori, come hyalostrato il Mu&longs;aico di ue­<lb/>tri, litho&longs;troton, il Mu&longs;aico di pietruzze, Xilo&longs;troton, la tar&longs;ia di legni. </s> <s id="s.003809">ma for&longs;e &longs;arebbe man <lb/>co male intendere, che le altre porte già dette haue&longs;&longs;ero i loro ornamenti lauorati di Tar&longs;ia, che <lb/>dimo&longs;tra&longs;&longs;ero i Timpani, le regole, e le cima&longs;e, & gli al tri ornamenti, ma io la&longs;cio libero <lb/>ognuno in que&longs;to pa&longs;&longs;o.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003810">Io ho e&longs;po&longs;to, quanto ho potuto, come, & con quali ragioni &longs;i hanno a fare i Tempij, <lb/>nelle maniere Doriche, Ioniche, & Corinthie: & come da legitime u&longs;anze &longs;ono &longs;tate ca­<lb/>uate. </s> <s id="s.003811">Hora dirò delle di&longs;po&longs;itioni To&longs;cane, come &longs;i deueno ordinare. </s> </p> <p type="main"> <s id="s.003812"><emph type="italics"/>Raccoglie quanto s'è detto fin hora. </s> <s id="s.003813">& qui &longs;otto noi poneremo le figure delle due altre manie­<lb/>re di porte, & i profili de gli ornamenti di tutte tre le maniere, con i loro rincontri di lettere: <lb/>accioche s'intenda meglio, quello che hauemo cono&longs;ciuto della intentione di Vitr.<emph.end type="italics"/><!-- KEEP S--></s> </p> <figure id="id.045.01.196.1.jpg" xlink:href="045/01/196/1.jpg"/> <pb pagenum="189" xlink:href="045/01/197.jpg"/><figure id="id.045.01.197.1.jpg" xlink:href="045/01/197/1.jpg"/><pb pagenum="190" xlink:href="045/01/198.jpg"/><figure id="id.045.01.198.1.jpg" xlink:href="045/01/198/1.jpg"/><figure id="id.045.01.198.2.jpg" xlink:href="045/01/198/2.jpg"/><figure id="id.045.01.198.3.jpg" xlink:href="045/01/198/3.jpg"/><pb pagenum="191" xlink:href="045/01/199.jpg"/><figure id="id.045.01.199.1.jpg" xlink:href="045/01/199/1.jpg"/> <pb pagenum="192" xlink:href="045/01/200.jpg"/> <figure id="id.045.01.200.1.jpg" xlink:href="045/01/200/1.jpg"/> </subchap2><subchap2> <p type="head"> <s id="s.003816"><emph type="italics"/>Delle ragioni To&longs;cane de i &longs;acri Tempi.<emph.end type="italics"/></s> </p> <p type="head"> <s id="s.003817"><emph type="italics"/>Cap. VII.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.003818">IL luogo, nel quale &longs;i deue fabricare il Tempio, quando hauerà &longs;ei parti di <lb/>lunghezza, leuandone una, &longs;i dia il re&longs;tante alla larghezza: Ma la lunghezza &longs;ia <lb/>partita in due parti, & la parte di dentro &longs;ia di&longs;egnata per gli &longs;patij delle cel­<lb/>le: ma la uicina alla fronte &longs;ia la&longs;ciata per porui ordinatamente le colonne. </s> <s id="s.003819">Si<lb/>milmente diuiderai la larghezza in parti dieci. </s> <s id="s.003820">di que&longs;te ne darai tre allo &longs;patio delle celle <lb/>minori, che &longs;ono dalla de&longs;tra, & dalla &longs;ini&longs;tra, ouero le la&longs;cierai doue deono e&longs;&longs;er le ali. </s> <s id="s.003821">le <lb/>altre quattro &longs;i diano al mezo del tempio. </s> <s id="s.003822">Lo &longs;patio dinanzi le celle nello antitempio co&longs;i <lb/>&longs;ia di&longs;egnato per le colonne, che quelle delle cantonate &longs;iano a dirimpetto de i pila&longs;tri <lb/>nelle ultime parti de i pareti. </s> <s id="s.003823">Ma le due di mezo, che &longs;ono incontra a i pareti, che &longs;ono <lb/>tra i pila&longs;tri, & il mezo del Tempio, &longs;iano co&longs;i di&longs;tribuite, che tra i pila&longs;tri, & le prime co<lb/>lonne per mezo all' i&longs;te&longs;&longs;a fila ne &longs;iano di&longs;po&longs;te delle altre, & &longs;iano da piedi per la &longs;ettima <lb/>parte dell' altezza loro; ma l'altezza per la terza parte della larghezza del Tempio. <!-- KEEP S--></s> <s id="s.003824">& &longs;ia la <lb/>colonna ri&longs;tretta di &longs;opra, per un quarto della gro&longs;&longs;ezza da piedi. </s> <s id="s.003825">Le &longs;pire &longs;iano alte per <lb/>la metà della gro&longs;&longs;ezza, & habbiano l'orlo fatto a &longs;e&longs;ta alto per la metà della loro gro&longs;&longs;ez­<lb/>za. </s> <s id="s.003826">Ilba&longs;tone con l'apophigie, o cimbia gro&longs;&longs;o quanto l'orlo. </s> <s id="s.003827">l'altezza del capitello per <lb/>la metà della gro&longs;&longs;ezza, la larghezza dello Abaco quanto è la gro&longs;&longs;ezza da piedi della colon <lb/>na. <!-- REMOVE S-->parti&longs;ca&longs;i poi la gro&longs;&longs;ezza del capitello in tre parti. </s> <s id="s.003828">Vna &longs;i dia all' orlo, che è in luo­<lb/>go dello Abaco, l'altra all' ouolo, la terza al collarino, con il &longs;uo tondino, & cimbia. </s> <s id="s.003829">&longs;o <lb/>pra le colonne &longs;i deono imponere le traui congiunte, & concatenate al pari, che ri&longs;eruino <lb/>quelli moduli nelle loro altezze, che &longs;aranno richie&longs;te dalla grandezza dell' opera. </s> <s id="s.003830">Et que <lb/>&longs;te traui, che &longs;i hanno a legar in&longs;ieme &longs;iano di tanta gro&longs;&longs;ezza, quanto è il collarino della <lb/>colonna di &longs;opra. </s> <s id="s.003831">& &longs;iano collegate in modo con chiaui, & trauer&longs;i inca&longs;trati, che quel­<lb/>la inca&longs;tratura tegni di &longs;pacio due dita larghe le traui. </s> <s id="s.003832">Imperoche toccando&longs;i, & non ri­<lb/>ceuendo &longs;piracolo di uento, &longs;i ri&longs;caldano in&longs;ieme, & pre&longs;to &longs;i gua&longs;tano: Ma &longs;opra le traui <lb/>& &longs;opra i pareti &longs;ia il trapa&longs;&longs;o de i mutuli, che &longs;portino in fuori per uno quarto della gro&longs;<lb/>&longs;ezza della colonna, & nelle fronti loro dinanzi &longs;iano affi&longs;si gli ornamenti, che antepag­<lb/>menti &longs;i dicono. </s> <s id="s.003833">& &longs;opra quelli il Timpano del fronti&longs;picio che &longs;ia di &longs;truttura, o di le­<lb/>gno: Ma &longs;opra quello fronti&longs;picio &longs;i deue ponere il colmello, o i canterij, o co&longs;tali, & i <lb/>tempiali in modo, che il grondale ri&longs;ponda alla terzera del tetto perfetto. </s> </p> <p type="main"> <s id="s.003834"><emph type="italics"/>Vitrunio e&longs;pedito dalle fabriche, & maniere de' Greci, hora &longs;i uolge alle opere To&longs;cane. </s> <s id="s.003835">& qui <lb/>douemo ridurci a memoria le co&longs;e gia dette. </s> <s id="s.003836">Prima, che l'opera Dorica, è piu atta a &longs;o&longs;tenere <lb/>i pe&longs;i appre&longs;&longs;o la To&longs;cana. <!-- KEEP S--></s> <s id="s.003837">Sopra la Dorica, nel &longs;econdo ordine &longs;ta la Ionica, & nel terzo la <lb/>Corinthia, come piu ornata, & dilicata, ad imitatione de gli alberi fatti dalla natura nel piedi <emph.end type="italics"/><pb pagenum="193" xlink:href="045/01/201.jpg"/><emph type="italics"/>rozi, & gro&longs;&longs;i, nello a&longs;cender piu &longs;ottili, nella &longs;ommit à piu adorni. </s> <s id="s.003838">però &longs;i uede in molti edificii, <lb/>che &longs;ono alti, & eleuati, che l'ordine da ba&longs;&longs;o è Dorico, il di mezo Ionico, & il di &longs;opra Corin<lb/>thio. </s> <s id="s.003839">Oltra di que&longs;to non ci douemo marauigliar, &longs;e Vitr. tr attando di tutte le ragioni delle ma<lb/>niere del fabricare, ha trattato anche delle To&longs;cane: percioche l', Architettura come ho&longs;pite heb<lb/>be li &longs;uoi primi alberghi in Etruria, cioè in To&longs;cana, come anche &longs;i legge de gli antichi Re di quel <lb/>la e&longs;&longs;er stati molti monumenti, & molte fabriche genero&longs;e. </s> <s id="s.003840">Hora Var. <!-- REMOVE S-->dice, che la lunghezza <lb/>del Tempio deue e&longs;&longs;ere partita in &longs;ei parti, & cinque di quelle &longs;i deono dare alla larghezza in mo <lb/>do, che la detta proportione della larghezza all a lungezza del tempio &longs;arà, &longs;e&longs;quiquinta. </s> <s id="s.003841">Oltra <lb/>di que&longs;to uuole, che tutta la lunghezza &longs;ia partita per met à, & una &longs;i debbia dare per inchiude <lb/>re le celle, & l'altra la&longs;ciare allo antitempio. </s> <s id="s.003842">Fatto que&longs;to uuole, che &longs;i parti&longs;ca la larghezza <lb/>del Tempio in dieci parti, delle quali &longs;e ne habbia a la&longs;ciare tre dalla de&longs;tra, & tre dalla &longs;ini&longs;tra <lb/>per compartimento delle picciole celle, le quali o &longs;e &longs;aranno nella te&longs;ta, o pure da i lati, come Vitr. <lb/>acoenna, o rinchiu&longs;e con parapetti, o aperte, &longs;econdo l'u&longs;o de'&longs;acri&longs;icij, la&longs;ciaranno quattro par­<lb/>ti libere al mezo del tempio. </s> <s id="s.003843">La onde tale proportione dal mezo a cia&longs;euna delle bande &longs;arà pro­<lb/>portione &longs;e&longs;quiterza, & in que&longs;to modo &longs;i ha la di&longs;tributione della parte di dentro. </s> <s id="s.003844">hora quanto <lb/>appartiene al colonnato dinanzi, &longs;aperai, che per mezo gli anguli de ipareti del Tempio, &longs;opra <lb/>i quali &longs;tanno le ante, o pila&longs;tri, a dirimpetto &longs;i deono ponere le colonne, le quali &longs;ono termini del <lb/>la lunghezza del Tempio. <!-- KEEP S--></s> <s id="s.003845">& perche da una cantonata all' altra è molta di&longs;tanza, per e&longs;&longs;ere lo <lb/>a&longs;petto areo&longs;tilo, cioè di liberi intercolunnij; però uuole Vitr. che tra le colonne angulari, ne <lb/>&longs;iano altre due in modo, che la fronte &longs;arà di quattro colonne, & di tre &longs;patij. </s> <s id="s.003846">Et perche trail <lb/>pila&longs;tro, & la colonna angulare ui è molto &longs;patio, & co&longs;i tra il parete, & le colonne di mezo; <lb/>però comanda Vitr. che &longs;i faccia un'altro ordine di colonne nel mezo, & che quelle &longs;iano di&longs;po­<lb/>&longs;te allo incontro delle prime &longs;otto il portico dello antitempio. </s> <s id="s.003847">La lunghezza, o altezza di que&longs;te <lb/>colonne interiori &longs;arà maggiore dell' altezza di quelle della fronte quanto puo ricercare l'altezza <lb/>dello architraue dauanti: Et pare, che per que&longs;to Vitr. uoglia, che queste colonne &longs;iano alte &longs;et <lb/>te te&longs;te, & che l'altezza &longs;i pigli dalla larghezza del Tempio, la quale &longs;ia diui&longs;a in tre parli, & d'u­<lb/>na &longs;i faccia? </s> <s id="s.003848">l altezza delle colonne, & que&longs;ta altezza partita in &longs;ette parti ne darà una alla gro&longs; <lb/>&longs;ezza delle colonne da piedi: & que&longs;ta gro&longs;&longs;ezza poi diui&longs;a in quattro parti, dimoftrerà quanto <lb/>e&longs;&longs;er debbia ra&longs;tremata la colonna di &longs;opra. </s> <s id="s.003849">A me pare, che manchi alcuna co&longs;a nel te&longs;to di <lb/>Vitr. anzi dico, che non &longs;e gli di&longs;idera piu che una lettera. </s> <s id="s.003850">inmodo, che la doue dice. </s> <s id="s.003851">Qui in­<lb/>ter antas, & mediam ædem fuerint, dice&longs;&longs;e. </s> <s id="s.003852">quæ inter antas. </s> <s id="s.003853">& co&longs;i &longs;i puntarebbe la lettione. </s> <s id="s.003854"><lb/>Spatium, quod erit ante cellas in pronao, ita columnis de&longs;ignetur, ut angulares contra antas pa <lb/>rie tum catremo rum è regione collocentur. </s> <s id="s.003855">Et qui un punto. </s> <s id="s.003856">& poi legga&longs;i. </s> <s id="s.003857">Quæ inter antas, &<emph.end type="italics"/><lb/><figure id="id.045.01.201.1.jpg" xlink:href="045/01/201/1.jpg"/><lb/><emph type="italics"/><expan abbr="mediã">mediam</expan> ædem fuerint ita di&longs;tribuantur. </s> <s id="s.003858">Vitr. <lb/>dimo&longs;tra come &longs;i hanno a di&longs;ponere le colon <lb/>ne angulari, & le di mezo nella fronte, & <lb/>le di &longs;otto, o di dentro del pronao. </s> <s id="s.003859">ilche co&longs;i <lb/>e&longs;&longs;endo, cileua il dubbio del Filandro, & <lb/>del Serlio cerca l'altezza delle colonne. </s> <s id="s.003860">Si <lb/>mile intendimento anche di &longs;opra s'è uedu­<lb/>to. </s> <s id="s.003861">però non è da marauigliar&longs;i, che le co­<lb/>lonne To&longs;cane &longs;iano di &longs;ette te&longs;te, per la det <lb/>ta occa&longs;ione. </s> <s id="s.003862">Ma le mi&longs;ure delle &longs;pire, & <lb/>de i capitelli, & del re&longs;tante, &longs;ono state di <lb/>chiarite da noi nel terzo libro. </s> <s id="s.003863">Re&longs;taci a <lb/>dichiarire quello, che intende Vitr. quan­<lb/>do egli dice.<emph.end type="italics"/> { <emph type="italics"/>Ma &longs;opra le traui, & &longs;opra <lb/>i pareti &longs;ia lo trapa&longs;&longs;o de i mutuli, che &longs;por<emph.end type="italics"/><pb pagenum="194" xlink:href="045/01/202.jpg"/><figure id="id.045.01.202.1.jpg" xlink:href="045/01/202/1.jpg"/><pb pagenum="195" xlink:href="045/01/203.jpg"/><figure id="id.045.01.203.1.jpg" xlink:href="045/01/203/1.jpg"/><lb/><emph type="italics"/>ti in fuori per la quarta parte dell' altezza della colonna<emph.end type="italics"/> } <emph type="italics"/>cioè bi&longs;ogna, che le te&longs;te delle <lb/>traui trapa&longs;&longs;ino oltra il parete per un quarto dell' altezza della colonna. </s> <s id="s.003864">ilche fa un largo piouere <lb/>& è &longs;imile a quello, che egli dir à del cauedio To&longs;cano, nel &longs;e&longs;to libro: & è conforme a quello,<emph.end type="italics"/><pb pagenum="196" xlink:href="045/01/204.jpg"/><emph type="italics"/>che egli ha detto nel terzo libro, che que&longs;te maniere areo&longs;tili, & To&longs;cone &longs;ono humili, ba&longs;&longs;e, <lb/>& larghe. </s> <s id="s.003865">le te&longs;te di que&longs;ti trauicelli deono e&longs;&longs;er coperte con i &longs;uoi adornamenti affi&longs;&longs;i, che Vitr. <lb/>chiama, antepagmenti: o pure egli intende gli adornamenti de gli fronti&longs;pici de i Tempij: & que <lb/>sto è migliore intendimento: & però dice.<emph.end type="italics"/></s> <s id="s.003866"> Et nelle fronti di que Tempij dinanzi &longs;iano af­<lb/>fi&longs;si gli antepagmenti, & &longs;opra quelli il Timpano del Fronti&longs;picio, che &longs;ia di &longs;truttura, o <lb/>di legno, cioè o di muro, o di legname, & &longs;opra quello fronti&longs;picio, il colmo, o col­<lb/>mello, i cantieri, & i tempiali in modo che'l grondale ri&longs;ponda alla terzera del coper­<lb/>to finito. </s> </p> <p type="main"> <s id="s.003867"><emph type="italics"/>Per terzera, che tertiarium è detta, intende Vitr. tutta quella legatura, o incatenatura, <lb/>che partendo&longs;i dal colmo &longs;i allarga in forma triangolare, & è contenuta dalle chiaui, & trauer­<lb/>&longs;i, & rende la forma compita, & intiera del coperto. </s> <s id="s.003868">Et qui &longs;opra 193. ne è la figura. </s> <s id="s.003869">& anche <lb/>&longs;ono molte inchiauature di traui. </s> <s id="s.003870">& poi la pianta, & lo in più della maniera To&longs;cana.<emph.end type="italics"/><!-- KEEP S--></s> </p> <figure id="id.045.01.204.1.jpg" xlink:href="045/01/204/1.jpg"/> <p type="main"> <s id="s.003871">Egli &longs;ifa anche de i Tempij ritondi, de i quali altri &longs;ono d'una ala &longs;ola &longs;enza Cella, co <lb/>lonnati, altri &longs;ono detti peripteri. </s> <s id="s.003872">Quelli, che &longs;i fanno &longs;enza Cella, hanno il Tribuna= <lb/>le, & l'a&longs;ce&longs;a per la terza parte del &longs;uo diametro. </s> <s id="s.003873">&longs;opra i piedi&longs;tali uanno le colonne tan <lb/>to alte, quanto è il diametro da gli e&longs;tremi pareti de i piedi&longs;tali, ma &longs;iano gro&longs;&longs;e la de <lb/>cima parte dell' altezza loro con i capitelli, & le &longs;pire. </s> <s id="s.003874">lo architraue alto per la metà del <lb/>la gro&longs;&longs;ezza della colonna. </s> <s id="s.003875">il fregio, & l'altre parti, che ui uanno &longs;opra, &longs;iano come ha­<lb/>uemo nel terzo libro delle mi&longs;ure, & compartimenti. </s> </p> <pb pagenum="197" xlink:href="045/01/205.jpg"/> <p type="main"> <s id="s.003876"><emph type="italics"/>Ragiona Vitr. in que&longs;to luogo de i Tempij ritondi, & ne fu di due maniere, & dice che altri &longs;o <lb/>no d'un'ala &longs;ola, & gli chiama monopteros. </s> <s id="s.003877">altri &longs;ono alati a torno, & gli chiama peripte­<lb/>ros: & ci la&longs;cia conietturare come fu&longs;&longs;e la prima maniera d'un'ala &longs;ola, & &longs;enza cella. </s> <s id="s.003878">& <lb/>pare, che contradistingua il monopteros, dal peripteros. </s> <s id="s.003879">Io dirò per quella pratica, che ho di <lb/>Vitr. che con la breuità non la&longs;cia dormire, chi la legge, dirò dico come io la intendo. </s> <s id="s.003880">Faccio <lb/>adunque un giro quanto uoglio, che &longs;ia il Tempio, ritrouo il &longs;uo diametro a b. <!-- REMOVE S-->& quello par­<lb/>ti&longs;co in tre parti, a<emph.end type="italics"/> 1. 2. 3. <emph type="italics"/>& allargo la &longs;e&longs;ta quanto e una di quelle parti, & po&longs;to il piede nel <lb/>centro, faccio un giro dentro del primo, i cui termini &longs;ono c. <!-- REMOVE S-->c. <!-- REMOVE S-->& tutto lo &longs;patio che è da c. <!-- REMOVE S-->ad a. <!-- REMOVE S-->lo <lb/>la&longs;cio a i gradi, & alla &longs;alita &longs;ul piano del Tempio, che Vitruuio chiama Tribunale, &longs;e non m'in­<lb/>ganno. </s> <s id="s.003881">parti&longs;co poi la circonferenza del minor giro in dodici parti per porui dodici colonne per <lb/>li dodici &longs;egni del Zodiaco, perche io credo, che quel Tempio &longs;enza parete &longs;ignificaua alcune co-<emph.end type="italics"/><lb/><figure id="id.045.01.205.1.jpg" xlink:href="045/01/205/1.jpg"/><lb/><emph type="italics"/>&longs;e del cielo, gli effetti delle quali &longs;ono nello &longs;coperto. </s> <s id="s.003882">drizzo i piediftali a torno, per cia&longs;euna co­<lb/>lonna, & parti&longs;co tutto lo &longs;patio, che è tra'l diametro del minor giro in dieci parti, & d'una di quel <lb/>le faccio la gro&longs;&longs;ezza della colonna da piedi, & la colonna alta dieci te&longs;te, mettendoui i capitelli, <lb/>& le &longs;pire, lo architraue è alto per la metà della gro&longs;&longs;ezza della colonna. </s> <s id="s.003883">il resto uà alla mi&longs;ura <lb/>detta nel terzo libro. </s> <s id="s.003884">a que&longs;to modo mi pare, che &longs;ia bella proportione, & &longs;i &longs;alua tutto quello, <lb/>che ha detto Vitr. & la pianta, di que&longs;to Tempio è qui &longs;opra. </s> <s id="s.003885">& lo in piè &longs;i potrà accommodare <lb/>con la &longs;eguente maniera, della quale dice Vitr.<emph.end type="italics"/><!-- KEEP S--></s> </p> <pb pagenum="198" xlink:href="045/01/206.jpg"/> <figure id="id.045.01.206.1.jpg" xlink:href="045/01/206/1.jpg"/> <pb pagenum="199" xlink:href="045/01/207.jpg"/> <p type="main"> <s id="s.003886">Ma &longs;e il Tempio hauerà le ale a torno, &longs;iano fatti due gradi, & i piedi&longs;tali da ba&longs;&longs;o, <lb/>dapoi &longs;ia po&longs;to il parete della cella retirato dal piede&longs;tale cerca la quinta parte della lar­<lb/>ghezza, & nel mezo delle porte &longs;ia la&longs;ciato il luogo alli aditi. </s> <s id="s.003887">& la cella habbia tanto dia= <lb/>metro oltra i pareti, & il circuito, quanto è l'altezza della colonna &longs;opra il piede&longs;tale. </s> <s id="s.003888">le <lb/>colonne d'intorno la cella &longs;i di&longs;porranno con le i&longs;te&longs;&longs;e proportioni, & compartimenti. </s> <s id="s.003889"><lb/>nel mezo poi egli &longs;i hauerà la ragione del coperto in que&longs;to modo, che quanto &longs;arà il <lb/>diametro di tutta l'opera, la metà &longs;ia l'altezza del Tholo, oltra il fiore, ma il &longs;iore habbia <lb/>tanta grandezza quanta hauerà il capitello in cima della colonna, oltra la piramide. </s> <s id="s.003890">Il re­<lb/>&longs;to &longs;i farà con le i&longs;te&longs;&longs;e proportioni, & compartimenti come di &longs;opra s'è &longs;critto. </s> </p> <p type="main"> <s id="s.003891"><emph type="italics"/>L'altra maniera de i Tempij è detta peripteros, ha le ale di colonne a torno: ha i pareti, & <lb/>circuito della cella: ha la tribuna, & quello, che ua &longs;opra la Tribuna. </s> <s id="s.003892">& le &longs;ue ragioni &longs;ono <lb/>prima che a torno a torno ci &longs;ono due gradi, & &longs;opra ci &longs;ono i piedi&longs;tali particolari, &longs;opra i qua­<lb/>li &longs;ono le colonne. </s> <s id="s.003893">& la ragione co&longs;i richiede, prima perche ci &longs;ono due gradi &longs;oli, che non fanno <lb/>tanta altezza, quanta faceuano i gradi, & il tribunale della maniera precedente, dapoi per­<lb/>che d'intorno ui ua il colonnato coperto, & alle colonne col piede&longs;tale &longs;i dà grandezza. </s> <s id="s.003894">Fatta <lb/>adunque la di&longs;po&longs;itione di due gradi, & l'ordine de i piedi&longs;tali tanto larghi l'uno dall' altro, che <lb/>gli &longs;pacij delle colonne &longs;iano conuenienti, &longs;i piglia la quinta parte del diametro, & retirando&longs;i <lb/>in entro &longs;econdo quella mi&longs;ura &longs;i di&longs;egna il circuito della cella. </s> <s id="s.003895">laquale da una parte &longs;i la&longs;cia aper­<lb/>ta per dare luogo all' entrata. </s> <s id="s.003896">La cella ueramente deue e&longs;&longs;er tanto per diametro, quanto è l'al­<lb/>tezza di tutta la colonna, &longs;opra'l piede&longs;tale, la&longs;ciandoui fuori del circuito della cella, la gro&longs;&longs;ez­<lb/>za del parete, che la circonda. </s> <s id="s.003897">Le colonne delle ale &longs;iano formate alla mi&longs;ura &longs;opradetta, cioè <lb/>gro&longs;&longs;e la decima parte della loro altezza. </s> <s id="s.003898">Bi&longs;ogna auuertire al tetto, perche poi che hauere­<lb/>mo posto &longs;opra le colonne l'architraue, il Fregio, & la Cornice, douemo fare, che la lanterna <lb/>detta Tholo da Vitr. che è &longs;opra la cuba, o Tribuna, &longs;ia alta per la metà del diametro di tutta l'o­<lb/>pera. </s> <s id="s.003899">imperoche pigliando il diametro di tutto il giro del primo grado, & partendolo in due par <lb/>ti eguali, per una di quelle alzeremo la Tribuna &longs;opra l'architraue, freg o, & Cornice, & con <lb/>quella ragione uoltandola ui la&longs;ciaremo il luogo da fare il fiore. </s> <s id="s.003900">Que&longs;to fiore (&longs;timo io) che <lb/>fu&longs;&longs;e a modo di ro &longs;a riuer&longs;cia, & che abbraccia&longs;&longs;e la &longs;ommità nel mezo della Tribuna di dentro <lb/>uia, alquale &longs;i apprendeuano le co&longs;e che per uoto &longs;i portauano ne i Tempij, & fu&longs;&longs;e alto quanto il <lb/>capitello, & termina&longs;&longs;e in piramide come &longs;i uede in alcune medaglie di Nerone, che &longs;opra'l Tem<lb/>pio ritondo u'è una Piramide. </s> <s id="s.003901">& chi uuole &longs;apere i termini di quella piramide formi un triangolo <lb/>di lati eguali (come dimo&longs;tra la figura di &longs;opra. </s> <s id="s.003902">la cui ba&longs;a &longs;ia la larghezza della Tribuna di <lb/>dentro la gro&longs;&longs;ezza del muro, & cominci la Lanterna dal di &longs;opra della Tribuna per la gro&longs;&longs;ez­<lb/>za di e&longs;&longs;a.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003903">Egli &longs;i fa anche di altre maniere di Tempij ordinati da gli i&longs;te&longs;si compartimenti, ma in <lb/>altro modo di&longs;po&longs;te. </s> <s id="s.003904">Come è il Tempio di Ca&longs;tore nel Circo Flaminio, & tra i due bo&longs;­<lb/>chi &longs;acri il Tempio del gran Gioue. <!-- REMOVE S-->& piu argutamente nel bo&longs;co di Diana aggiuntoui <lb/>dalla de&longs;tra, & dalla &longs;ini&longs;tra alle &longs;palle dello antitempio le colonne. </s> <s id="s.003905">In que&longs;ta maniera pri­<lb/>ma fu fatto il Tempio, come è quello di Ca&longs;tore, nel Circo: di Minerua in Athene nella <lb/>rocca: & di Pallade nell' Attica Sunio. <!-- KEEP S--></s> <s id="s.003906">Di quelle non ci &longs;ono altre proportioni, ma le <lb/>i&longs;te&longs;&longs;e. </s> <s id="s.003907">Le lunghezze della cella &longs;ono doppie alla larghezza. </s> <s id="s.003908">& come le altre parti eguali, <lb/>che &longs;ogliono e&longs;&longs;ere nelle fronti &longs;ono a i lati traportate. </s> <s id="s.003909">Sono alcuni, che togliendo le <lb/>di&longs;po&longs;itioni delle colonne dalle maniere To&longs;cane, trasferi&longs;cono quelle ne gli ordini del­<lb/>le opere Corinthie, & Ioniche, perche doue uengono in fuori le ante dello antitempio, <lb/>iui all' incontro della cella de i pareti ponendoui due colonne fanno communi le ragioni <lb/>delle opere To&longs;cane, & delle Greche. <!-- KEEP S--></s> <s id="s.003910">Altri anche rimouendo i pareti del Tempio, & <lb/>applicando a gli intercolunnij dell' ala, fanno con lo &longs;pacio del parete Ieuato uia ampia Ia <lb/>larghezza della cella, & &longs;eruando le altre co&longs;e con le mede&longs;ime proportioni, & compar-<pb pagenum="200" xlink:href="045/01/208.jpg"/><figure id="id.045.01.208.1.jpg" xlink:href="045/01/208/1.jpg"/><lb/>timenti, pare che habbiano creato un'altra maniera di figura, & di nome d'un fal&longs;o a la­<lb/>to. </s> <s id="s.003911">Ma quelle maniere &longs;econdo l'u&longs;o de i &longs;acrificij &longs;i uanno mutando, perche non a tut­<lb/>ti i Dei con le i&longs;te&longs;&longs;e ragioni &longs;i fanno i Tempij, perche altri con altra uarietà di culto <lb/>hanno gli effetti &longs;uoi. </s> </p> <p type="main"> <s id="s.003912"><emph type="italics"/>E&longs;pedite le forme de i Tempij ritondi, accioche niente ci re&longs;ti. </s> <s id="s.003913">Vitr. ci propone anche altre ma­<lb/>niere di Tempij compo&longs;te, & me&longs;colate delle maniere Greche, & To&longs;cane; per leuare la &longs;oper­<lb/>&longs;titione d'alcuni, che uanno &longs;empre ad uno i&longs;te&longs;&longs;o modo. </s> <s id="s.003914">Altri aggiugneuano alle &longs;palle dello <lb/>Antitempio tre colonne per parte. </s> <s id="s.003915">altri anche ne i lati del Tempio &longs;eguiuano con lo i&longs;te&longs;&longs;o or dine <lb/>di colonne. </s> <s id="s.003916">Altri apriuano la cella, & la riduceuano a maggior larghezza facendo i par eti <lb/>appre&longs;&longs;o le colonne, & &longs;econdo il propo&longs;ito, & la commodità de i &longs;acri&longs;icij, che (come ho de t­<lb/>to) erano diuer&longs;i, accommodauano le di&longs;po&longs;itioni de i Tempij. <!-- KEEP S--></s> <s id="s.003917">ilche dà da intendere anche a noi, <lb/>che all' u&longs;o del no&longs;tro culto di religione accommodiamo le di&longs;po&longs;itioni delle Chie&longs;e, doue & &longs;i &longs;a il<emph.end type="italics"/><pb pagenum="201" xlink:href="045/01/209.jpg"/><emph type="italics"/>aero &longs;acrificio, & &longs;i predica, & &longs;i celebrano i &longs;acri officij, cantando le diuine laudi & &longs;i &longs;eruano le <lb/>&longs;acro&longs;ante reliquie de i &longs;oldati del no&longs;tro Signore.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.003918">Io ho e&longs;po&longs;to tutte le ragioni delle &longs;acre ca&longs;e de i Dei come mi &longs;ono &longs;tate la&longs;ciate. </s> <s id="s.003919">Ho <lb/>di&longs;tinto con i &longs;uoi compartimenti gli ordini, & le mi&longs;ure, & mi &longs;ono forzato di de&longs;criuere <lb/>quanto ho potuto, quelle che &longs;ono di figure di&longs;pari, & con che differenze tra &longs;e &longs;ono &longs;epa <lb/>rati. </s> <s id="s.003920">Hora dirò de gli altari de i Dei immortali, accioche attamente &longs;iano ordinati alla <lb/>di&longs;po&longs;itione de i &longs;acri&longs;icij. </s> </p> </subchap2><subchap2> <p type="head"> <s id="s.003921"><emph type="italics"/>Dell'ordinare gli Altari de i Dei. <!-- KEEP S--></s> <s id="s.003922">Cap. VIII.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.003923">Gli altari riguardino all' Oriente, & &longs;iano &longs;empre po&longs;ti piu ba&longs;si de i &longs;imulachri <lb/>che &longs;aranno nel Tempio, accioche i &longs;upplicanti, & &longs;acerdoti guardando in &longs;u <lb/>ammirando&longs;i della diuinità, con di&longs;eguali altezze al decoro di cia&longs;cuno de i <lb/>&longs;uoi Dei &longs;i componghino. </s> <s id="s.003924">Le altezze de gli altari co&longs;i deono e&longs;&longs;ere e&longs;plicate, <lb/>che a Gioue, & a tutti i Dei cele&longs;ti alti&longs;simi &longs;iano fabricati; Alla Dea Ve&longs;ta, al Mare, & <lb/>alla Terra &longs;i facciano ba&longs;si: & co&longs;i le forme de gli altari nel mezo de i Tempij conue­<lb/>nienti &longs;i di&longs;porrano. </s> <s id="s.003925">Poi che in que&longs;to libro hauemo trattato delle fabriche de i &longs;acri <lb/>luoghi, nel &longs;eguente &longs;i dirà da noi chiaramente delle di&longs;tributioni de i luoghi communi. </s> </p> <p type="main"> <s id="s.003926"><emph type="italics"/>La &longs;omma di que&longs;to ultimo capo è come s'habbiano a drizzare gli altari, per &longs;eruare il deco­<lb/>ro conueniente alla forza, & al potere di cia&longs;cuna Deità. </s> <s id="s.003927">Dio uole&longs;&longs;e che i no&longs;tri haue&longs;&longs;ero tanto <lb/>ri&longs;petto al uero &longs;acrificio, & tanta riuerenza alli &longs;anti, quanta haueuano gli ingannati gentili al­<lb/>la fal&longs;a loro &longs;oper&longs;titione. </s> <s id="s.003928">Conuengono tutti in que&longs;to, che deono riguardare all' Oriente, come <lb/>s'è detto di &longs;opra. </s> <s id="s.003929">Vuole Alberto che gli antichi face&longs;&longs;ero l'altare, alto &longs;ei piedi, largo dodici, <lb/>&longs;opra'l quale fu&longs;&longs;e posto il &longs;imulacro. </s> <s id="s.003930">Vitru. non ci pre&longs;criue altezza, nè meno credo io, che'l &longs;i­<lb/>mulacro ste&longs;&longs;e &longs;opra lo altare. </s> <s id="s.003931">perche Vitr. non haurebbe detto, che gli altari &longs;empre &longs;i ano po­<lb/>&longs;ti piu ba&longs;&longs;i de i &longs;imulacri. </s> <s id="s.003932">& di &longs;opra nel quinto capo di que&longs;to libro, ha detto. </s> <s id="s.003933">Il &longs;i nulacro, <lb/>che &longs;arà nella cella riguardi incontra &longs;era. </s> <s id="s.003934">& non ha detto il &longs;i nulacro, che &longs;arà &longs;opra l'altare. <lb/></s> <s id="s.003935">&longs;imilmente ha propo&longs;to di dire de gli altari de i Dei immortali, accioche attamente &longs;iano ordi­<lb/>nati alla di&longs;po&longs;itione de i &longs;acrificij. </s> <s id="s.003936">Era adunque il &longs;i nulacro in altro luogo, & piu eminente, che <lb/>l'altare. </s> <s id="s.003937">I &longs;anti decreti de' no&longs;tri Pontifici, non uogliono, che gli altari nelle chie&longs;e &longs;i facciano <lb/>d'altro, che di pietra, & &longs;opra quelli ui uogliono una pietra con&longs;ecrata. </s> <s id="s.003938">Noi &longs;opra gli altari <lb/>&longs;tendemo belli&longs;&longs;ime touaglie, & dinanzi ui ponemo ornati&longs;&longs;i ni panni, nè ci mancano i candellieri, <lb/>& le lampade dinanzi al &longs;acrati&longs;&longs;imo corpo del no&longs;tro Signore, a cui per ogni chie&longs;a deue e&longs;&longs;ere <lb/>con&longs;acrato un'altare, & quello riposto in uno tabernacolo d'eccellente lauoro. </s> <s id="s.003939">V&longs;amo anche <lb/>di porre &longs;opra gli altari le reliquie de i &longs;anti, in ornati depo&longs;iti, con grande ueneratione. </s> <s id="s.003940">oltra di <lb/>que&longs;to &longs;ogliono i no&longs;tri hauere un luogo &longs;eparato doue &longs;eruano le ue&longs;te &longs;acerdotali, i &longs;acri libri, <lb/>& le altre co&longs;e nece&longs;&longs;arie a i &longs;acrificij, & al diuino culto, & doue &longs;i apparano i &longs;acerdoti. </s> <s id="s.003941"><lb/>Que&longs;ti luoghi io gli farei doue gli antichi faceuano il po&longs;tico. </s> <s id="s.003942">Hanno anche il Choro doue canta­<lb/>no le diuine lodi con &longs;edi conuenienti, & pareti &longs;eparati dal re&longs;to della chie&longs;a. </s> <s id="s.003943">Hanno le torr i <lb/>doue appendeno le campane non u&longs;ate da altri, che da Chri&longs;tiani, per chiamare il populo alla <lb/>chie&longs;a alle hore debite. </s> <s id="s.003944">Que&longs;te torri deono e&longs;&longs;ere proportionate alla grandezza della chie&longs;a. </s> <s id="s.003945"><lb/>Vanno eguali, quadre, o di molti anguli, fin al luogo doue &longs;i legano le campane. </s> <s id="s.003946">iui &longs;i fanno d'in­<lb/>torno i cornicioni, & gli apreno con colonnati, accioche il &longs;uono po&longs;&longs;a u&longs;cire, & e&longs;&longs;ere &longs;entito da <lb/>lungi. </s> <s id="s.003947">A quelle &longs;i &longs;ale o con &longs;cale dritte, o con lumache, ouero con altre &longs;alite piu commode &longs;e­<lb/>condo la inuentione & &longs;ottilità dello Architetto. <!-- KEEP S--></s> <s id="s.003948">&longs;opra i Cornicioni, & le apriture ui ua la Pira­<lb/>mide, ouero la cuba. </s> <s id="s.003949">La Piramide è di altezza in proportione &longs;e&longs;quialtera alla &longs;ua ba&longs;a, oue­<lb/>ro è di lati eguali. </s> <s id="s.003950">La cuba, cuppola, & lanterna &longs;i fa con le ragioni dell' opera. </s> <s id="s.003951">In que&longs;te torri<emph.end type="italics"/><pb pagenum="202" xlink:href="045/01/210.jpg"/><emph type="italics"/>anche &longs;ono gli horologi da contrape&longs;i, non cono&longs;ciuti da gli antichi. </s> <s id="s.003952">que&longs;ti dimo&longs;trano di &longs;uor <lb/>con uno raggio uoltato dalle ruote di dentro, l'hore naturali, i &longs;egni & gradi, ne i quali &longs;ine ua <lb/>il Sole, i giorni, & gli a&longs;petti della Luna, la quantità de i giorni, & delle notti, & altre co&longs;e <lb/>&longs;econdo il giudicio, & la uoglia dell Architetto. <!-- KEEP S--></s> <s id="s.003953">Drieto la chie&longs;a ouero appre&longs;&longs;o in qualche la­<lb/>to u'è il cemitero, che &longs;ignifica dormitorio, perche in quello &longs;i &longs;epeli&longs;ceno i morti, che al tempo <lb/>della re&longs;urrettione s'hanno a &longs;uegliare, & per le &longs;acre lettere, chiama il morire dormire. </s> <s id="s.003954">in que <lb/>luoghi adunque &longs;i ripo&longs;ano l'o&longs;&longs;a, & le cenere de fideli, pero è luogo &longs;acro, doue & naturale, & <lb/>ordinata pietà dimo&longs;tra la madre no&longs;tra, che è la &longs;anta chie&longs;a nel &longs;epelirei morti. </s> <s id="s.003955">Ma Dio uo­<lb/>glia, che a' nostri tempi non &longs;i facciano &longs;imili officij piu presto a pompa de i uiui, che a con&longs;ola­<lb/>tione de i morti. </s> <s id="s.003956">Non è co&longs;a lodata, che le &longs;epulture stiano nelle chie&longs;e, pure egli &longs;i u&longs;a a gran­<lb/>dezza nelle capelle a que&longs;to con pregio appropriate. </s> <s id="s.003957">& in luogo piu eminente de i &longs;acri altari &longs;i <lb/>pongono i &longs;epulchri, & s'appongono le memorie, i titoli, gli Epigrammi, i Trofei, & le in&longs;egne de <lb/>gli antipa&longs;&longs;ati, doue le uere effigie di &longs;ini&longs;&longs;imi marmi &longs;i uedeno, & i glorio&longs;i ge&longs;ti in littere di <lb/>metallo &longs;i leggono: Co&longs;e da e&longs;&longs;er po&longs;te piu pre&longs;to nel foro, & nella piazza, che nella chie&longs;a, per­<lb/>che non ni è quel decoro, che è per stanza de&longs;critto nel primo libro, &longs;e ben ui è quello della con­<lb/>&longs;uetudine: ma non lodata con&longs;uetudine è quella. </s> <s id="s.003958">Ricordiamoci adunque di &longs;eruare il Decoro in <lb/>ogni co&longs;a, & &longs;pecialmente nell' honor di Dio, & de i&longs;anti amici &longs;uoi, & de i &longs;erui &longs;acro&longs;anti de­<lb/>&longs;tinati al culto di quelli, & rinchiu&longs;ine i mona&longs;terij, a i quali è conueniente co&longs;a che &longs;i proueda <lb/>di commode habit ationi, di &longs;pacie&longs;i chio&longs;tri, & di bei giardini, & &longs;pecialmente i luoghi delle &longs;a­<lb/>cre uergini &longs;iano &longs;icuri, alt, & rimoti dalli &longs;trepiti, & dalla ueduta delle genti. </s> <s id="s.003959">& per que&longs;to fare <lb/>lo Architetto con&longs;idererà il fine d'ogni fabrica, & co&longs;i prouederà al bi&longs;ogno. </s> <s id="s.003960">Et qui &longs;ia fine al <lb/>quarto libro, & alla materia pertinente alla Religione.<emph.end type="italics"/></s> </p> <p type="head"> <s id="s.003961"><emph type="italics"/>Il Fine del quarto libro.<emph.end type="italics"/></s> </p> </subchap2></subchap1><subchap1> <pb pagenum="203" xlink:href="045/01/211.jpg"/> <p type="head"> <s id="s.003962">IL QVINTO LIBRO<!-- REMOVE S-->DELL'AR CHITETTVRA DI <lb/>M. VITRVVIO.<!-- KEEP S--></s> </p> <p type="main"> <s id="s.003963">ESPEDITA <emph type="italics"/>la parte, che era ded cata alla religione, &longs;eguita quella, che &longs;i <lb/>da al commodo, & opportunit à de cittadini. </s> <s id="s.003964">in que&longs;ta &longs;i dimo&longs;tra la di&longs;po&longs;itio <lb/>ne del Foro, delle Ba&longs;iliche, dello Erario, della Curia, delle prigioni, del Thea<lb/>tro, & delle co&longs;e pertinenti al Theatro, come &longs;ono le &longs;cene, i portichi, la gra<lb/>duatione, de i bagni, delle pale&longs;tre, & de i luoghi da e&longs;&longs;ercitar&longs;i, & finalmen<lb/>te de i porti. </s> <s id="s.003965">Le quali tutte co&longs;e appartengono all' u&longs;o della piu parte, nè &longs;i po&longs;­<lb/>&longs;ono chiamare uer amente priuate, nè anche publiche: ma communi, perche le publiche io inten <lb/>derei e&longs;&longs;er le mura, & le dife&longs;e, che egualmente a tutti &longs;i riferi&longs;ceno: le communi, quelle, che <lb/>all' u&longs;o, & piacere di molti &longs;i de&longs;&longs;ero. </s> <s id="s.003966">Et le priuate, quelle che ad una &longs;orte &longs;ola di per&longs;one &longs;i fa­<lb/>brica&longs;&longs;ero. </s> <s id="s.003967">Prepone Vitr. a que&longs;to traltamento uno proemio degno di con&longs;ideratione. </s> <s id="s.003968">percio­<lb/>che &longs;i ri&longs;ponde in quello a molte dimande, che &longs;i &longs;ogliono fare da molti, che ogni giorno uanno ra­<lb/>gionando di Vitr. (per u&longs;are una parola mode&longs;ta, & non dire cicalando) nè hanno letto, nè <lb/>con&longs;iderato bene quello, che &longs;i tr oua in que&longs;to autore. </s> <s id="s.003969">Noi uedemo chiar amente che Vitr. non <lb/>&longs;olamente ha con&longs;iderato, & e&longs;&longs;aminato bene le co&longs;e, delle quali egli doueua dare molti ammae­<lb/>&longs;traimenti, ma anchora &longs;i ha proposto nell' animo di e&longs;plicare, & porgere la dottrina &longs;ua con bel­<lb/>la maniera, & uia ragioneuole, & con modo al trattamento d'un' arte conueniente. </s> <s id="s.003970">chi non ha <lb/>ueduto l'ordine merauiglio&longs;o de i &longs;uoi precetti? </s> <s id="s.003971">chi non ammira la &longs;cielta delle belle co&longs;e? </s> <s id="s.003972">quale di <lb/>ui&longs;ione, o parte ci manca, che al luogo &longs;uo non &longs;ia ottimamente collocata? </s> <s id="s.003973">chi leuerà, o aggiu­<lb/>gnerà, che bene &longs;tia alcun &longs;uo documento? </s> <s id="s.003974">Et &longs;e egli non ha parlato come Democrito, Ari&longs;toxeno, <lb/>Hippocrate, o come altro perfetto nella loro profeßione: Egli certamente ha parlato da Architet­<lb/>to, & ha u&longs;ato quelle uoci, che erano amme&longs;&longs;e, & accettate a i tempi &longs;uoi, & quella forma di dire, <lb/>che &longs;i richiede da chi uuole in&longs;egnare: Et perche que&longs;ta non è mia imaginatione, ho caro, che &longs;i <lb/>legga il proemio del pre&longs;ente libro, di che ne feci auuertito il lettore, nel mio primo di&longs;cor&longs;o. </s> <s id="s.003975">La <lb/>doue leg gendo noi Vitr. in que&longs;ta parte, trouaremo, quanto ho detto, e&longs;&longs;ere ueramente stato fat <lb/>to da Vitr. con deliberato, & ragioneuol con&longs;iglio: il quale dimo&longs;tra quanto differente &longs;ia lo &longs;cri <lb/>uere le hi&longs;torie, ouero i poemi, dal trattamento d'un' arte: & proua la difficultà dello in&longs;egna­<lb/>re, & non ci la&longs;cia anche di&longs;iderare il modo di &longs;criuere i precetti dell' arte; & però dice.<emph.end type="italics"/></s> </p> <subchap2> <p type="head"> <s id="s.003976"><emph type="italics"/>Proemio.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.003977">QVELLI, i quali con grandi uolumi hanno e &longs;po&longs;to i pen&longs;ieri del loro ingegno, <lb/>& i precetti delle co&longs;e, hanno certamente aggiunto grandi&longs;sima, & mirabile <lb/>riputatione a i loro &longs;critti. </s> <s id="s.003978">Il che uole&longs;&longs;e Iddio o Imperatore, che anche ne i <lb/>no&longs;tri &longs;tudij que&longs;to &longs;i comporta&longs;&longs;e; accioche con tale ampiezza di dire anche <lb/>nei no&longs;tri precetti l'autorità prende&longs;&longs;e augumento. </s> <s id="s.003979">ma que&longs;to non è, come altri pen&longs;a, <lb/>i&longs;pedito, percioche egli non &longs;i &longs;criue dell' Architettura, come &longs;i &longs;criueno le hi&longs;torie, oue­<lb/>roi Poem. </s> </p> <p type="main"> <s id="s.003980"><emph type="italics"/>Il &longs;en&longs;o di que&longs;te parole è, che il potere a &longs;uo agio &longs;criuere, & ampiamente e&longs;plicare quello, che <lb/>&longs;i uolge nello animo, &longs;enza e&longs;&longs;ere obligato a breuità di dire, &longs;uole dare autorità, & credito a gli <lb/>&longs;crittori, percioche a grado &longs;uo cia&longs;cuno ampiamente &longs;criuendo puo ampliare, adornare, & ac­<lb/>conciare gli &longs;critti &longs;uoi in modo, che po&longs;&longs;ino piacere, & dilettare, & &longs;pecialmente, quando le co-<emph.end type="italics"/><pb pagenum="204" xlink:href="045/01/212.jpg"/><emph type="italics"/>&longs;e &longs;ono tali, che tengono i lettori &longs;empre di&longs;idero&longs;i di &longs;apere piu oltra. </s> <s id="s.003981">ma &longs;imile ampiezza, & <lb/>libertà non è co&longs;i facile in ogni trattamento. </s> <s id="s.003982">perche &longs;e co&longs;i fu&longs;&longs;e, io non dubitarei di non potere <lb/>a miei &longs;critti dare con auantaggio autorità, & riputatione: però non potendo far que&longs;to, io re&longs;to <lb/>con gran di&longs;iderio di farlo. </s> <s id="s.003983">& perche non lo po&longs;&longs;a fare, dice.<emph.end type="italics"/> {<emph type="italics"/>Percioche egli non &longs;i &longs;criue come <lb/>le hi&longs;torie, ouero i poemi dell' Architettura.<emph.end type="italics"/>} <emph type="italics"/>I poemi &longs;ono pen&longs;amenti del no&longs;tro ingegno, & <lb/>le historie e&longs;&longs;empio delle attioni, però con detti poemi, & hi&longs;torie egli ri&longs;ponde a quello, che egli <lb/>ha detto di &longs;opra, pen&longs;ieri dello ingegno, & precetti delle co&longs;e. </s> <s id="s.003984">Dapoi &longs;eguitando dimo&longs;tra la <lb/>differenza, che è tra lo &longs;criuere l'hi&longs;torie, & i poemi, & il trattare dell' Architettura.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.003985">Le hi&longs;torie da &longs;e tengonoi lettori, perche hanno uarie e&longs;pettationi di co&longs;e nuoue. </s> <s id="s.003986">& le <lb/>mi&longs;ure, & i piedi de i uer&longs;i de i poemi, & la &longs;cielta di&longs;po&longs;itione delle parole, & delle &longs;en­<lb/>tenze tra le per&longs;one, & la di&longs;tinta pronuntiatione de i uer&longs;i con lu&longs;inghe conduceno i &longs;en­<lb/>timenti di chi legge, &longs;enza offe&longs;a in fino all' ultimo de gli &longs;critti. </s> <s id="s.003987">ma que&longs;to non &longs;i puo fa <lb/>re nello &longs;criuere dell' Architettura. <!-- KEEP S--></s> </p> <p type="main"> <s id="s.003988"><emph type="italics"/>La historia diletta, perche apporta &longs;empre co&longs;e nuoue, delle quali ne è l'animo no&longs;tro &longs;empre <lb/>de&longs;idero&longs;o. </s> <s id="s.003989">dilettando la uarietà, nece&longs;&longs;ario è, che il lettore &longs;i &longs;tia &longs;empre bramo&longs;o: però per &longs;ati&longs; <lb/>fare al &longs;uo di&longs;iderio legge continuamente, & con di&longs;piacere &longs;i ferma, nè &longs;i &longs;a dipartire, braman<lb/>do di uedere il fine delle attioni. </s> <s id="s.003990">& molto piu dilettano i poemi, sì perche hanno la nouità delle <lb/>co&longs;e, sì perche allettano le orecchie con la dolcezza, & &longs;oauità de i numeri, & delle parole, <lb/>doue l'huomo tratto da doppio piacere &longs;i la&longs;cia condurre, anzitirare fin' all' ultimo de gli &longs;critti. </s> <s id="s.003991"><lb/>Et qui &longs;i deue auuertire come Vitr. ragionando de i poemi in breui, & efficaci parole ha e&longs;plicato <lb/>quello, che è proprio del poema, & delle parole legate con dolcezza, & delle &longs;entenze dette con <lb/>decoro, & della pronunciatione fatta con gratia. </s> <s id="s.003992">Ma nel tratt amento d'un'arte, perche le pa­<lb/>role na&longs;ceno da nece&longs;&longs;ità, & le co&longs;e &longs;ono o&longs;cure, non &longs;i puo ade&longs;care l'animo di chi legge, e&longs;&longs;en­<lb/>do dalla stranezza delle parole, & dalla difficultà delle co&longs;e confu&longs;o; ilche maggiormente nel­<lb/>l'Architettura &longs;i cono&longs;ce, il cui trattamento di &longs;ua natura è piu difficile de gli altri. </s> <s id="s.003993">& però ben <lb/>dice Vitr. che que&longs;to non &longs;i puo fare nello &longs;criuere della Architettura: cioè con uarie e&longs;pettatio <lb/>ni di co&longs;e nuoue, & co dolcezza di parole tirare gli animi fin'al fine. </s> <s id="s.003994">Et ne rende la cau&longs;a dicendo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.003995">Perche i uocaboli nati dalla propria nece&longs;sità dell'arte coninu&longs;itato parlare o&longs;curano <lb/>la intelligenza. </s> <s id="s.003996">non e&longs;&longs;endo adunque quelli da &longs;e manife&longs;ti, & non e&longs;&longs;endo anche e&longs;po&longs;ti, <lb/>& chiari i nomi di quelli nella pratica, & nella con&longs;uetudine, & uagando molto le &longs;crittu <lb/>ne de i precetti, &longs;e non &longs;i ri&longs;tringeno, & con poche, & aperte &longs;entenze non &longs;i dichiarano <lb/><gap/>onendo ui impedimento la moltitudine, & la frequenza del parlare, rendeno dubbio&longs;e le <lb/>menti de i lettori: </s> </p> <p type="main"> <s id="s.003997"><emph type="italics"/>Ogni arte u&longs;a i proprij uocaboli, i quali na&longs;ceno dalla nece&longs;&longs;ità delle co&longs;e. </s> <s id="s.003998">però bi&longs;ogna prima <lb/>&longs;&longs;apere partitamente come &longs;i chiamano le co&longs;e, & come dicono i filo&longs;ofi. </s> <s id="s.003999">Il quid nominis. </s> <s id="s.004000">Que­<lb/>sa proprietà de'uocaboli rende o&longs;curo il &longs;entimento di chi legge. </s> <s id="s.004001">Euui anche un' altra difficul­<lb/>ta, che na&longs;ce nel modo del dire; perche non è lecito nello in&longs;egnare un' Arte, ampliar&longs;i, & u&longs;a­<lb/>re circuiti di parlare, perche non &longs;i finirebbe mai, & tirando&longs;ila co&longs;a in lungo non &longs;i &longs;eruirebbe <lb/>all'a memoria, alla quale &longs;i conuiene con la breuità, & con l'ordine porgere aiuto. </s> <s id="s.004002">Bi&longs;ogna adun <lb/>que in&longs;egnando e&longs;&longs;er breue. </s> <s id="s.004003">la doue ottimamente dice V tr. </s> <s id="s.004004">in que&longs;to luogo<emph.end type="italics"/> {<emph type="italics"/>che le &longs;critture de <lb/>iprecetti<emph.end type="italics"/>} <emph type="italics"/>Cioè il dare precetti, & ammae&longs;tramenti &longs;criuendo<emph.end type="italics"/> {<emph type="italics"/>&longs;e non &longs;i ri&longs;tringeno<emph.end type="italics"/>} <emph type="italics"/>cioè &longs;e <lb/>non &longs;i danno con breuità, & con poche, & aperte &longs;entenze,<emph.end type="italics"/> {<emph type="italics"/>non &longs;i dichiarano.<emph.end type="italics"/>} <emph type="italics"/>Ecco la chia <lb/>rezza<emph.end type="italics"/> {<emph type="italics"/>ponendui impedimento la frequenza<emph.end type="italics"/>} <emph type="italics"/>cioè la inculcatione, doue s'o&longs;eura lo intelletto,<emph.end type="italics"/><lb/>{<emph type="italics"/>& la moltitudine<emph.end type="italics"/>} <emph type="italics"/>cioè la lunghezza & ampiezza doue &longs;i offende la memoria, rendeno dubbio <lb/>&longs;e le cogitationi di chi legge. </s> <s id="s.004005">& per cogitatione pare, che Vitr. intenda le uirtu piu interiori del­<lb/>l'anima, che &longs;ono la memoria, & lo intelletto. </s> <s id="s.004006">E&longs;&longs;endo adunque ueri&longs;&longs;imo quanto s'è detto, con <lb/>elude dicendo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004007">Et però pronunciando io gli occulti nomi, & compartimenti delle membra delle ope-<pb pagenum="205" xlink:href="045/01/213.jpg"/>re, breuemente mi e&longs;pediro, accioche &longs;iano mandati a memoria, perche co&longs;i piu ageuol­<lb/>mente le menti le potranno riceuere. <emph type="italics"/>Cioè intendere, & capire perche il no&longs;tro intendere <lb/>non è altro, che uno certo riceuimento. </s> <s id="s.004008">Per le dette ragioni adunque Vitr. uuole e&longs;&longs;er breue, <lb/>quanto però puo portare il trattamento di co&longs;a difficile. </s> <s id="s.004009">Oltra, che ne adduce un'altra ragio­<lb/>ne dicendo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004010">Similmente hauendo io auuertito la città e&longs;&longs;ere occupata in publiche, & priuate facen<lb/>de, ho giudicato, che &longs;i debbia &longs;criuere con breuità, accioche nella &longs;trettezza dell'ocio, <lb/>quelli, che leggeranno po&longs;sino breuemente capire. </s> </p> <p type="main"> <s id="s.004011"><emph type="italics"/>Vuol dire Vitr. <!-- KEEP S--></s> <s id="s.004012">Quello, che ne gli &longs;critti miei non puo fare il numero, & la bellezza de i uer­<lb/>&longs;i, la commodit à di allargar&longs;i, & la nouit à de i &longs;ucce&longs;&longs;i delle co&longs;e, farà la breuità, & la chia­<lb/>rezza dello in&longs;egnare, che anche inuita a leggere gli occupati, & trauagliati in diuer&longs;e facende. </s> <s id="s.004013"><lb/>Hor che utilità ci porti la breuità nello in&longs;egnare &longs;i dimo&longs;trada una con&longs;uetudine di Pithagora fi­<lb/>lo&longs;ofo eccellenti&longs;&longs;imo, il quale di&longs;idero&longs;o, che i precetti &longs;uoi re&longs;ta&longs;&longs;ero nelle menti di chi gli a&longs;col­<lb/>ta&longs;&longs;e non &longs;olamente era breue in dare un precetto: ma anche tutta la &longs;omma de i &longs;uoi precettirin­<lb/>chiudeua in un certo, & determinato numero, il quale mi&longs;terio&longs;amente (diceua egli) a co&longs;a &longs;tabi­<lb/>le, & immobile aßimigliando&longs;i poteua nella mente con &longs;omma &longs;tabilità, & fermezza ripo&longs; ar&longs;i. </s> <s id="s.004014"><lb/>Et però dice Vitr<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.004015">Co&longs;i anche piacque a Pithagora, & a &longs;uoi &longs;eguaci ne i uolumi loro &longs;criuere i precetti, <lb/>che dauano, con ragioni cubiche, & fecero il cubo di ducento, & &longs;edici uer&longs;i, & quelli <lb/>giudicarono non douer e&longs;&longs;ere piu di tre in uno trattamento. </s> <s id="s.004016">ll cubo è corpo riquadrato di <lb/>&longs;ei lati, d'egual larghezza di piano, que&longs;ti po&longs;cia che è tratto, &longs;e non è tocco, tiene in quel <lb/>la parte, che egli &longs;i po&longs;a, una immobile &longs;tabilità come &longs;ono i dadi, che &longs;i tranno da i gio­<lb/>catori nel tauolieri. </s> </p> <p type="main"> <s id="s.004017"><emph type="italics"/>I precetti de i Pithagorici erano breui, & raccolti in uer&longs;etti, come que&longs;ti. </s> <s id="s.004018">Non percuoter <lb/>il fuoco col coltello. </s> <s id="s.004019">Laua il piè manco prima, & calcia il de&longs;tro. </s> <s id="s.004020">Senza mangiarla trapian­<lb/>ta la malua. </s> <s id="s.004021">Nella tua ca&longs;a non la&longs;ciar le Rondini. </s> <s id="s.004022">Nè core, nè ceruello mangierai. </s> <s id="s.004023">Non ori­<lb/>nar, nè parlar contra'l &longs;ole. </s> <s id="s.004024">Lo &longs;pecchio alla lucerna non guardare. </s> <s id="s.004025">Fuggi la uia regale, &longs;egui <lb/>il &longs;entiero. </s> <s id="s.004026">Sputa nel unghie tue, ne i tuoi capelli. </s> <s id="s.004027">Et &longs;imilmente formauano molti altri precetti <lb/>detti con &longs;omma breuità, a i quali dauano altro intendimento di quello, che &longs;onauano le parole: <lb/>& uolendo trattare d'una co&longs;a &longs;ola, &longs;tando fermi in una materia, raccoglieuano quelli uer&longs;etti <lb/>in una certa, & determinata &longs;omma pre&longs;a dal numero cubo. </s> <s id="s.004028">Si come cubo &longs;i chiama, & è quel <lb/>corpo, che è di &longs;ei lati, & di &longs;ei quadrati, & faccie eguali come un dado, co&longs;i cubo &longs;i chiama <lb/>quel numero, che di &longs;ei numeri piani contento per ogni uer&longs;o tiene eguali dimen&longs;ioni. </s> <s id="s.004029">Na&longs;ceno i <lb/>cubi dopo la unità di&longs;ponendo i numeri di&longs;pari, che naturalmente di&longs;po&longs;ti &longs;ono, ponendo prima i <lb/>due di&longs;pari, da poi i tre &longs;eguenti, da poi i quattro, che uengono, & co&longs;i di mano in mano. </s> <s id="s.004030">Ec­<lb/>co lo e&longs;&longs;empio. </s> <s id="s.004031">La&longs;cia l'unità, & piglia i due primi di&longs;pari che &longs;ono<emph.end type="italics"/> 3. <emph type="italics"/>&<emph.end type="italics"/> 5. <emph type="italics"/>que&longs;ti raccolti <lb/>fanno<emph.end type="italics"/> 8. <emph type="italics"/>che è il primo cubo. </s> <s id="s.004032">piglia i tre &longs;eguenti di&longs;pari<emph.end type="italics"/> 7. 9. 11. <emph type="italics"/>& &longs;ommagli, que&longs;ti fanno<emph.end type="italics"/> 27. <lb/><emph type="italics"/>che è il &longs;econdo cubo. </s> <s id="s.004033">& co&longs;i ua &longs;eguit ando ne i quattro &longs;eguenti di&longs;pari<emph.end type="italics"/> 13. 15. 17. 19. <emph type="italics"/>che po­<lb/>&longs;ti in&longs;ieme fanno<emph.end type="italics"/> 64. <emph type="italics"/>che è il terzo cubo. </s> <s id="s.004034">Quando adunque &longs;ia, che mo&longs;&longs;o il punto &longs;i faccia la li­<lb/>nea; & mo&longs;&longs;a la linea &longs;i generi la &longs;operficie; & mo&longs;&longs;a la &longs;operficie &longs;i faccia il corpo, non è <lb/>lontano dalla &longs;imiglianza, &longs;e pigliando la unità, & continuandola produrremo un numero linea­<lb/>re. </s> <s id="s.004035">il qual numero continuato per lo &longs;uo uer&longs;o faccia il numero &longs;operficiale, il quale mo&longs;&longs;o anch'e­<lb/>gli faccia il &longs;odo, come &longs;e uno &longs;i aggiugne&longs;&longs;e all' unità, il numero nato, che è due, dimostreria per <lb/>una certa &longs;imiglianza, la lunghezza, che è propria della linea: & mo&longs;&longs;o il due, come linea, &longs;i <lb/>aggiugne alla lunghezza, anche la larghezza, & &longs;i fa quattro, che è numero &longs;uperficiale, che <lb/>ri&longs;ponde al quadrato. </s> <s id="s.004036">quessti moltiplicato per due, che è uno de &longs;uoi lati, come &longs;e egli &longs;i moue&longs;&longs;e, <lb/>ne genera il &longs;odo, a &longs;imiglianza delle figure cubo nominato. </s> <s id="s.004037">Et però non uale a dire &longs;e &longs;ono &longs;ei <lb/>faccie, bi&longs;ogna, che ci &longs;iano &longs;ei unità. </s> <s id="s.004038">Dice adunque Vitruuio, che i Pithagorici con ragioni <emph.end type="italics"/><pb pagenum="206" xlink:href="045/01/214.jpg"/><emph type="italics"/>cubiche de i uer&longs;i dauano i precetti loro, & che poncuano non piu di tre cubi in uno trattamento <lb/>però formauano uno cubo grande di ducento & &longs;edici uer&longs;i in que&longs;to modo. </s> <s id="s.004039">moltiplicauane il tre <lb/>in &longs;e & faceuano il &longs;uo quadrato, che è noue. </s> <s id="s.004040">que&longs;to noue moltiplicato per tre, che è lato del qua­<lb/>drato, farà menti&longs;ette, che è il &longs;odo, & cubo di quel quadrato: &longs;imilmente l'altro cubo &longs;i fa d'un <lb/>numero lineare, di quattro unità continuate. </s> <s id="s.004041">le quali moltiplicate in &longs;e, come egli &longs;i moue&longs;&longs;e la li­<lb/>nea, farà una &longs;oper&longs;icie quadrata di &longs;edici. </s> <s id="s.004042">& moltiplicata quella &longs;oper&longs;icie per lo &longs;uo lato, the <lb/>era quattro, nè farà la &longs;omma di &longs;e&longs;&longs;anta quattro: ri&longs;pondente ad un &longs;odo cubico, che giunte al <lb/>primo cubo, che era uenti&longs;ette farà la &longs;omma di nouantauno. </s> <s id="s.004043">Co&longs;i il terzo cubo nato dal nume­<lb/>ro lineare di cinque unità, & &longs;oper&longs;iciali di uenticinque, è cento & uenticinque, che aggiunto <lb/>al nouanta uno, rende la &longs;omma di ducento & &longs;edici. </s> <s id="s.004044">A que&longs;to numero adunque aggiogneuano <lb/>i precetti Pithagorici, i quali hauendo &longs;imile quantità di uer&longs;i, cioè: e&longs;&longs;endo con la ragione del cu<lb/>bo raccolti, pen&longs;auano, che doue&longs;&longs;ero hauere quella fermezza nelle menti, che &longs;uole bauere il da <lb/>do, quando è gettato &longs;opra il tauolieri. </s> <s id="s.004045">Ma è mer auiglia, perche cagione i Pithagorici non pi­<lb/>glia&longs;&longs;ero il primo cubo, che è otto, & poi il &longs;econdo, che è uenti&longs;ette, & poi il terzo, che è &longs;e&longs;­<lb/>&longs;antaquattro: & non raccoglie&longs;&longs;ero alla &longs;omma di nouantanoue que&longs;ti tre cubi piu pre&longs;to, che co­<lb/>minciar dal noue: Ma for&longs;e diuideuano i trattamenti loro in cubi, & &longs;e il &longs;entimento de i loro pre­<lb/>cetti d'una materia non era compre&longs;o dal primo cubo, aggiugneuano al &longs;econdo, & &longs;e questo <lb/>non era ba&longs;teuole, aggiugneuano al terzo, il quale era capace d'ogni &longs;omma. </s> <s id="s.004046">& perche il pri­<lb/>mo cubo, che è otto, era poco per comprendere uno propo&longs;ito, però &longs;timo io, che andauano al <lb/>&longs;econdo cubo, che è uenti&longs;ette, cau&longs;ato dal tre, che è numero priuilegiato da pithagorici. </s> <s id="s.004047">& co­<lb/>&longs;i partitamente aggiugneuano i cubi &longs;e'l bi&longs;ogno lo richiedeua, & non &longs;i melteuano in neceßità <lb/>di &longs;errare tutti i lero trattamenti, in ducento è &longs;edici uer&longs;i. </s> <s id="s.004048">ma alcuni erano compre&longs;i nel uenti­<lb/>&longs;ette, altri nel &longs;e&longs;&longs;antaquattro, & altri nel ducento, & &longs;edici: nè uoleuano pa&longs;&longs;are piu oltra, &longs;li­<lb/>mando, che troppo lungo &longs;aria &longs;tato uno trattato di quattrocento, & trentadue uer&longs;i, che &longs;ouo <lb/>del cubo nato dal &longs;ei, & aggiunto alla &longs;omma predetta. </s> <s id="s.004049">A que&longs;to modo io e&longs;ponerei la mente <lb/>di Pithagora fin che &longs;i troua&longs;&longs;e di meglio.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004050">Et i Greci compo&longs;itori di Comedie interponendo dal choro le canzoni diui&longs;ero lo &longs;pa<lb/>tio delle fauole in modo, che facendo le parti con ragioni cubiche, con gli intermedij al­<lb/>leggieriuano il recitare de gli Attori. <!-- KEEP S--></s> </p> <p type="main"> <s id="s.004051"><emph type="italics"/>Io non ho trouato anchora come i Greci face&longs;&longs;ero le parti, che io Atti chiamerei, con ragio­<lb/>ni cubiche, non &longs;i ritrouando le fauole, che &longs;iano hoggi dì compartite a quel modo. </s> <s id="s.004052">Ma egli <lb/>bi&longs;ognaua, o che gli Atti fu&longs;&longs;ero otto, ouero otto &longs;cene. </s> <s id="s.004053">per Atto, ouero il numero de i uer&longs;i <lb/>d'una &longs;cena, o d'un' Atto fu&longs;&longs;e cubico. </s> <s id="s.004054">Ma pare che Vitr. intenda gli intermedij delle fauole fat <lb/>te di numero cubo per ripo&longs;o de i recitanti. </s> <s id="s.004055">&longs;e for&longs;e non uogliamo dire, che gli intermedij fu&longs;&longs;ero <lb/>per ripo&longs;o de gli attori, come il dado, o il cubo tratto ripo&longs;a: & non &longs;i baue&longs;&longs;e a comparare al nu<lb/>mero cubo, ma allo effetto del corpo cubo, che gettato &longs;i ferma, &longs;e altri non lo moue. </s> <s id="s.004056">& a me <lb/>pare buona e&longs;po&longs;itione que&longs;ta, non mi ricor dando d'hauere letto alcuno precetto de poeti, che co <lb/>mandi il numero cubo o de gli atti, o delle &longs;cene, o del numero de i uer&longs;i.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004057">E&longs;&longs;endo adunque tali co&longs;e con natural mi&longs;ura da i no&longs;tri maggiori o&longs;&longs;eruate, & ueden­<lb/>do io di douere &longs;criuere co&longs;e inu&longs;itate, & o&longs;cure a molti, io ho giudicato con breui uolu­<lb/>mi i&longs;pedirmi, accioche piu facilmente peruenghino a i &longs;en&longs;i de i lettori; perche a que&longs;to <lb/>modo s'intenderanno ageuolmente, & io le ho ordinate in modo, che le non &longs;aranno da <lb/>e&longs;&longs;ere &longs;eparatamente raccolte da chi le cercheranno: ma &longs;aranno tutto un corpo, & in cia­<lb/>&longs;cun uolume con i proprij generi &longs;aranno e&longs;plicate. </s> <s id="s.004058">Adunque o Ce&longs;are nel terzo, & nel <lb/>quarto libro io ho e&longs;po&longs;to le ragioni de i Tempij, in que&longs;to io e&longs;pedirò le di&longs;po&longs;itioni de i <lb/>luoghi publici: & primaio dirò come s'habbia a ponere il Foro, perche nel Foro &longs;i go­<lb/>uerna & regge da i magi&longs;trati, quanto ragioneuolmente appartiene al publico, & al <lb/>priuato. </s> </p> </subchap2><subchap2> <pb pagenum="207" xlink:href="045/01/215.jpg"/> <p type="head"> <s id="s.004059"><emph type="italics"/>Del Foro. <!-- KEEP S--></s> <s id="s.004060">Cap. I.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.004061">I greci fanno il Foro in luogo quadrato, con ampij&longs;simi, & doppi portichi, <lb/>& con &longs;pe&longs;&longs;e colonne, & con architraui di pietra, o di marmo gli adornano, <lb/>& di &longs;opra ne i palchi o ta&longs;&longs;elli fanno i luoghi da pa&longs;&longs;eggiare. </s> <s id="s.004062">Ma nelle cit­<lb/>tà d'Italia non &longs;i deue fare il Foro con la i&longs;te&longs;&longs;a ragione, peroche da i mag­<lb/>giori ci è &longs;tata la&longs;ciata la u&longs;anza di dare nel Foro i doni a i gladiatori: & però d'intorno a <lb/>gli &longs;pettacoli bi&longs;ogna di&longs;tribuire piu &longs;patio&longs;i, & larghi interualli tra le colonne. </s> <s id="s.004063">& d'in­<lb/>torno ne i portichi deueno e&longs;&longs;ere le botteghe de gli orefici, & ne'tauolati di &longs;opra &longs;i faran<lb/>no i poggiuoli. </s> <s id="s.004064">le quali co&longs;e, & all'u&longs;o, & alle publiche entrate &longs;aranno drittamente <lb/>di&longs;po&longs;te. </s> </p> <p type="main"> <s id="s.004065"><emph type="italics"/>Egli è nece&longs;&longs;ario, bello, & commodo nella città, che oltra le &longs;trade, & le uie ci &longs;iano delle <lb/>piazze, & de i campi; (come &longs;i dice a Vinetia) percioche oltra l'ornamento, che &longs;i uede ritrouan <lb/>do&longs;i a capo d'una &longs;trada un luogo bello, & ampio, dal quale &longs;i ueda lo a&longs;petto d'una bella fabrica <lb/>di Tempio, egli &longs;i ha que&longs;to commodo, che iui &longs;iraunano le genti a pa&longs;&longs;eggiare, &longs;i uendeno le co­<lb/>&longs;e nece&longs;&longs;arie, et utili a bi&longs;ogni della plebe, & &longs;i dà luogo a molti &longs;pettacoli. </s> <s id="s.004066">Et &longs;i come torna bene, <lb/>che ci &longs;iano molte piazze &longs;par&longs;e per la città: co&longs;i molto piu è nece&longs;&longs;ario, & ha del grande, & <lb/>dell'honoreuole, che cene &longs;ia una principalißima, & che ueramente publica &longs;i po&longs;&longs;a chiamare, <lb/>& doue &longs;iano i luoghi doue &longs;i trattano le cau&longs;e ciuili, & i tribunali de' giudici, & le corti, i &longs;ena <lb/>ti, doue &longs;i con&longs;ultano le co&longs;e di &longs;tato, oltra gli &longs;pettacoli, che &longs;i fanno o per diletto, o per diuo­<lb/>tione. </s> <s id="s.004067">Tratta adunque Vitr. della di&longs;po&longs;itione del Foro principale. </s> <s id="s.004068">Ma per i&longs;pedirmi di quelle <lb/>piazze, che &longs;ono &longs;par&longs;e per la città, dico, che gli antichi le chiamarono Triuij: & benche Tri­<lb/>uio, & Quadriuio &longs;iano luoghi, doue fanno capo tre o quattro uie: nondimeno chiamarono Tri­<lb/>uij anche quelli luoghi aperti, & &longs;patio&longs;i, doue &longs;i raunauano molte per&longs;one d'una contrata: do­<lb/>ue &longs;i puo dire, che Triuio &longs;ia una picciola piazza. </s> <s id="s.004069">la quale chi ornare uole&longs;&longs;e, prendendo la for­<lb/>ma dalla principale, &longs;i farebbeno due co&longs;e, prima i portichi d'intorno, &longs;emplici al meno, &longs;e non <lb/>duplicati: dapoi s'entrerebbe in quelle, per archi po&longs;ti a capo delle uie; perche il portico di &longs;ua na <lb/>tura ha del grande: Et uedere poi in te&longs;ta d'una bella &longs;trada uno arco Trionfale &longs;arebbe co&longs;a & <lb/>diletteuole, & honoreuole. </s> <s id="s.004070">come per uiuo e&longs;&longs;empio ci poteua dimo&longs;trare la città di Roma. <!-- KEEP S--></s> <s id="s.004071">per­<lb/>che la fronte d'un'arco a capo una &longs;trada, fa parere quella piu bella, & lo entrare nella piazza <lb/>per un'arco, fa parere la piazza maggiore. </s> <s id="s.004072">Tre uolte fanno un'arco per l'ordinario, & per <lb/>quello di mezo pa&longs;&longs;aua il Trionfante, & il &longs;oldato, & per gli altri pa&longs;&longs;auano quelli, che incon­<lb/>trauano, ouero accompagnauano con allegrezza il Trionfo. </s> <s id="s.004073">Le mi&longs;ure de gli archi dipendeno <lb/>dal &longs;apere dello Architetto. <!-- KEEP S--></s> <s id="s.004074">ouero &longs;i potranno cauare da gli archi antichi, & dal &longs;e&longs;to ca­<lb/>po dell'ottauo libro di Alberto. <!-- KEEP S--></s> <s id="s.004075">& molti e&longs;&longs;empi &longs;i po&longs;&longs;ono hauere da gli archi, che &longs;ono in Ro­<lb/>ma, dirimpetto alla chie&longs;a di &longs;anta Maria alle radici del campidoglio. </s> <s id="s.004076">E l'arco di Settimio <lb/>Seuero tra i belli, che &longs;iano &longs;tati fatti, doue &longs;ono &longs;tate &longs;colpite le uittorie alate con i Trofei, <lb/>& i &longs;imulacri delle battaglie terre&longs;tri, & nauali, con i glorio&longs;i titoli delle impre&longs;e. </s> <s id="s.004077"><lb/>Et &longs;e bene pare, che prima ci fu&longs;&longs;ero de gli archi, come egli &longs;i uede fra la uia lata, & <lb/>la minerua un'arco &longs;chietto detto Camillo, non dimeno quello, & altri archi &longs;i <lb/>&longs;tima, che non fu&longs;&longs;ero per Trionfi, ma per ponerui qualche &longs;tatua. </s> <s id="s.004078">ma io leggo <lb/>ne i &longs;acri libri, che Saul dopo una uittoria, &longs;i drizzò un'arco, per lo quale egli paßò. </s> <s id="s.004079">Dinanzi <lb/>allo arco di Settimio era una colonna, dallaquale come da capo cominciano tutte le uie d'Ita­<lb/>lia, chiamaua&longs;i l'aureo miliario. </s> <s id="s.004080">Euui l'arco di Con&longs;tantino con i &longs;uoi ornamenti men guasti, & <lb/>è nella punta del palatino, che riguarda il Coli&longs;eo. <!-- REMOVE S-->& dinanzi a que&longs;to &longs;i uede un' antica meta di <lb/>mattoni, chiamata da gli antichi meta &longs;udante, perche mandaua fuori grandi&longs;&longs;ima copia d'acque <emph.end type="italics"/><pb pagenum="208" xlink:href="045/01/216.jpg"/><emph type="italics"/>per e&longs;tinguere la &longs;ete di quelli, che entrauano nello an&longs;itheatro di Tito, che era uicino. </s> <s id="s.004081">L'arco De­<lb/>mitiano è &longs;u la &longs;trada Flamminia nel capo della ualle Martia, uer&longs;o il campidoglio. </s> <s id="s.004082">que&longs;to arco <lb/>hoggi, è detto di Tripoli. </s> <s id="s.004083">Fu drizzato a Domitiano, & iui è la &longs;ua uatural forma conforme a <lb/>quella, che &longs;i uede nelle medaglie. </s> <s id="s.004084">Ma quell' arco, che boggi &longs;i chiama l'arco di S. Vito, che è ri­<lb/>tornaudo &longs;u la uia Tiburtina, &longs;i dice che fu l'arco di Galieno Imperatore. </s> <s id="s.004085">ilquale &longs;i crede che gli <lb/>fu&longs;&longs;e drizzato piu pre&longs;to per qualche illu&longs;tre beneficio, che per Trion&longs;o. </s> <s id="s.004086">Ma di tutti gli archi <lb/>per eterna memoria della uendetta, che fece Iddio per mezo di Tilo contra i Giudei, è lo arco di <lb/>Tito, piu ornato di titoli, & di &longs;poglie, che &longs;ia. </s> <s id="s.004087">nel cui fronti&longs;picio &longs;i legge. </s> <s id="s.004088">Sen. <!-- REMOVE S-->pop. </s> <s id="s.004089">Rom. <!-- REMOVE S-->di­<lb/>uo Tito diui Ve&longs;pa&longs;iani F. <!-- KEEP S--></s> <s id="s.004090">Ve&longs;pa&longs;iano Augu&longs;to. <!-- KEEP S--></s> <s id="s.004091">Dall'una parte è &longs;colpito il carro del Trionfan­<lb/>te. </s> <s id="s.004092">ouero l'arca del patto con le dodici fa&longs;ci con&longs;ulari auanti. </s> <s id="s.004093">Dall' altra faccia &longs;i &longs;corge la <lb/>pompa del Trionfo con le &longs;poglie. </s> <s id="s.004094">Eraui il candelabro con &longs;ette rami. </s> <s id="s.004095">Eranui le due Tauole di <lb/>marmo nelle quali era &longs;critto la legge di Moi&longs;e. </s> <s id="s.004096">Eranui i ua&longs;i del Tempio, la men&longs;a d'oro, & al­<lb/>tre &longs;poglie. </s> <s id="s.004097">Ma hora io la&longs;cierò que&longs;ta digre&longs;&longs;ione de gli archi, che non è &longs;tata fuori di propo&longs;i­<lb/>to, perche da que&longs;ta narratione &longs;i da lume a quelli, che uole&longs;&longs;ero hoggi dì drizzare gli archi a i <lb/>Principi, Re, & Imperatori. </s> <s id="s.004098">Hora ritornando al Foro dico, che il Foro principale, &longs;econdo <lb/>Vitru. fatto da Greci era di forma quadrata. </s> <s id="s.004099">D'intorno eranui i porticali ampli&longs;&longs;imi, & doppij, <lb/>le colonne &longs;pe&longs;&longs;e, & gli architraui di pietre, o di marmo, & &longs;opra i colonnati faceuano luoghi da <lb/>caminare. </s> <s id="s.004100">Ma i Romani, & gli Italiani, perche nel Foro &longs;i dauano i doni a i gladiatori, non ri­<lb/>guardauano il Foro, ma lo faceuano piu lungo, che largo. </s> <s id="s.004101">in modo che partita la lunghezza in <lb/>tre parti, due ne dauano alla larghezza, doue cadeua proportione &longs;e&longs;quialtera. </s> <s id="s.004102">Erano gli &longs;pa­<lb/>cij tra le colonne piu larghi, & d'intorno i portichi, erano di&longs;po&longs;ti i luoghi de banchieri, & di <lb/>quelli, che cambiauano l'argento, &longs;e non uolemo dire le botteghe de gli orefici, & di &longs;opra i&longs;por­<lb/>tauano i poggiuoli, accioche da quelli commodamente &longs;i pote&longs;&longs;ero uedere gli &longs;pettacoli. </s> <s id="s.004103">& co&longs;i <lb/>riguardando al fine, & all' u&longs;o di&longs;poneuano il Foro. <!-- KEEP S--></s> <s id="s.004104">accioche &longs;e le genti fu&longs;&longs;ero molte la piazza <lb/>non fu&longs;&longs;e stretta, &longs;e poche non pare&longs;&longs;e uota Dice adunque Vitru.<emph.end type="italics"/> {<emph type="italics"/>i Greci fanno il Foro in luogo <lb/>quadrato con larghi&longs;&longs;imi, & doppi porticali<emph.end type="italics"/>} <emph type="italics"/>doppij, cioe di dentro, & di fuori il Foro. <!-- REMOVE S-->che ri­<lb/>guardino, & al Foro, & alla parte di dietro, ouer doppi di dentro &longs;olamente con due ordini di <lb/>colonne. </s> <s id="s.004105">& è meglio, perche Vitr. u&longs;a anche nel terzo libro, questa parola, Duplices, in questa <lb/>&longs;ignificatione.<emph.end type="italics"/> {<emph type="italics"/>Et di &longs;pe&longs;&longs;e colonne.<emph.end type="italics"/>} <emph type="italics"/>Io &longs;timo, che Vitr. intenda in que&longs;to luogo il Picno&longs;tilos, <lb/>come intendeua nel ter zo libro lo &longs;pacio di &longs;pe&longs;&longs;e colonne d'uno diametro & mezo. </s> <s id="s.004106">& che que&longs;to <lb/>&longs;ia il uero, lo dimo&longs;trano le parole di &longs;otto, quando dice, che nelle città d'Italia non &longs;i fa il Foro al <lb/>modo Greco. <!-- KEEP S--></s> <s id="s.004107">perche ad altro u&longs;o il Foro era in Italia, ad altro quello de Greci. <!-- KEEP S--></s> <s id="s.004108">però dando&longs;i in <lb/>Italia nel Foro i doni a i gliadiatori, & douendo il populo &longs;tare a uedere, era nece&longs;&longs;ario dare <lb/>d'intorno a gli &longs;pettacoli grandi intercolunnij. </s> <s id="s.004109">Ecco, che egli oppone que&longs;te parole a quelle, che <lb/>ha detto di &longs;opra.<emph.end type="italics"/> {<emph type="italics"/>con &longs;pe&longs;&longs;e colonne.<emph.end type="italics"/>} <emph type="italics"/>Dice anche,<emph.end type="italics"/> {<emph type="italics"/>meniana, che noi e&longs;ponemo poggiuoli. </s> <s id="s.004110">Si <lb/>legge, che Menio uendè la &longs;ua ca&longs;a a Catone, che era &longs;opra la piazza, & &longs;i ri&longs;eruò una &longs;ola co­<lb/>lonna, &longs;opra laquale ui fece un tauolato, o &longs;olaro per poterui &longs;tar &longs;opra a uedere i giochi, & le <lb/>fe&longs;te, & uolle, che i po&longs;teri pote&longs;&longs;ero godere que&longs;to priuilegio. </s> <s id="s.004111">& di qui è nato, che i poggiuoli, o <lb/>pergolate coperte, che &longs;portano in fuori &longs;i chiamauano, meniana; da quella colonna di Menio. </s> <s id="s.004112"><lb/>Que&longs;te meniane erano commode all'u&longs;o, perche iui &longs;i &longs;taua a uedcre i giuochi, & iui &longs;i &longs;eruaua­<lb/>no le co&longs;e, che &longs;i uendeuano, & comprauano, come &longs;ono i punti in Anuer&longs;a, le uolte in real­<lb/>to in Vinetia.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004113">Le grandezze del Foro &longs;i deono fare &longs;econdo la moltitudine de gli huomini, accioche <lb/>non &longs;ia lo &longs;pacio poco al commodo, & u&longs;o, ouero per lo poco numero delle per&longs;one il <lb/>Foro non paia dishabitato. </s> <s id="s.004114">la larghezza &longs;ia determinata in modo, che partita la lunghez­<lb/>za in tre parti, due di quelle &longs;e le diano; & co&longs;i la forma &longs;ua &longs;arà piu lunga che larga. </s> </p> <p type="main"> <s id="s.004115"><emph type="italics"/>Piace a Leon Batti&longs;ta, che la lunghezza &longs;ia di due quadri, & ui aggiugne anche una bella <expan abbr="cō-&longs;ider">con­<lb/>&longs;ider</expan> atione, che è que&longs;ta. </s> <s id="s.004116">cioè che gli edificij, che &longs;aranno a torno la piazza, &longs;iano in modo pro-<emph.end type="italics"/><pb pagenum="209" xlink:href="045/01/217.jpg"/><emph type="italics"/>portionate, che non facciano parere la piazza &longs;tretta, e&longs;&longs;endo molto alti, o non la facciano pa­<lb/>rere troppo ampia, e&longs;&longs;endo molto ba&longs;&longs;i, & depre&longs;si. </s> <s id="s.004117">però egli uuole, che gli edificij &longs;iano alti la <lb/>terza parte della larghezza del Foro. <!-- KEEP S--></s> <s id="s.004118">Egli &longs;i deue con&longs;iderare quello, che ba detto Vitru. <!-- KEEP S--></s> <s id="s.004119">& la <lb/>difpo&longs;itione &longs;arà utile a gli &longs;pettacoli, perohe cagione la forma piu lunga, che larga &longs;ia piu com­<lb/>moda, che la quadrata perfetta, attento che la forma ritouda &longs;ia piu capace, & piu commoda, <lb/>d'ogn'altra figura, & poi la quadrata. </s> <s id="s.004120">&longs;e noi guardemo alla capacità, non ba dubbio, che la qua­<lb/>drata non &longs;ia piu capace. </s> <s id="s.004121">&longs;e al commodo de gladiatori, certo hanno piu commodit à nella piu lun­<lb/>ga, come che per le gio&longs;tre, & per lo cor&longs;o de caualli &longs;ia piu commoda la lunghezza. </s> <s id="s.004122">&longs;e con&longs;ide­<lb/>ramo la ragione della pro&longs;pettiua, è piu al propo&longs;ito la quadrata, perche tutte le parti d'intorno <lb/>banno piu uicinanza al centro, et gli fpettatori uedeno piu egualmente il tutto. </s> <s id="s.004123">però io la&longs;cio que­<lb/>sta con&longs;ideratione a chi legge. </s> <s id="s.004124">E però nece&longs;&longs;ario fare il Foro &longs;econdo la molt itudine delle genti, <lb/>accioche non &longs;i conuenga fare quello, che fece Augu&longs;to. <!-- KEEP S--></s> <s id="s.004125">il quale fece fare un Foro appre&longs;&longs;o due, <lb/>che ui erano per la moltitudine de gli huomini, & de i litiganti, & lo fece picciolo, per non dar <lb/>noia a i patroni delle ca&longs;e uicine. </s> <s id="s.004126">Que&longs;to Foro era la doue &longs;ono hora gli horti dietro a Morforio, <lb/>& alla chie&longs;a di &longs;anta Martina. </s> <s id="s.004127">& fu fatto con molta fretta. </s> <s id="s.004128">&longs;i ordinò, che quiui &longs;i tratta&longs;&longs;ero i <lb/>giudicij publici, &longs;i a&longs;&longs;orti&longs;&longs;ero i giudici, & anche &longs;i rauna&longs;&longs;e il &longs;enato per con&longs;ultare delle guer­<lb/>re, & de i Trionfi. </s> <s id="s.004129">& che quiui i uincitori capitani pone&longs;&longs;ero le &longs;poglie de i loro trionfi. </s> <s id="s.004130">hebbe <lb/>que&longs;to Foro due bellißimi portichi, & fu adornato di co&longs;e rari&longs;&longs;ime. </s> <s id="s.004131">ma che non ruina il Tempo? </s> <s id="s.004132"><lb/>che non di&longs;trugge la guerra? </s> <s id="s.004133">che non muta la gente? </s> <s id="s.004134">Que&longs;to, & altri Fori, come che molti &longs;ia­<lb/>no &longs;tati belli&longs;&longs;imi, o &longs;ono caduti da &longs;e, o gettati a terra da nimici, o tr amutati in altre fabriche.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004135"><emph type="italics"/>Faceuano i portichi molto ricchi, & grandi, & con piu ordini di colonne, l'u&longs;o de i quali era <lb/>per fuggire le pioggie, & pa&longs;&longs;eggiare, & fuggire ogni noia della grauezza dello aere, & del So= <lb/>le. </s> <s id="s.004136">chiamauan&longs;i dalla loro grandezza miliarij, o &longs;tadiarij. </s> <s id="s.004137">& dalla lor maniera Dorici, Corin­<lb/>thij, Ionici, To&longs;cani, o Sotterranei, & altri erano con&longs;ecrati a i Dei. <!-- REMOVE S-->erano in &longs;omma ornamenti <lb/>delle piazze merauiglio&longs;i.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004138"><emph type="italics"/>B Curia.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.004139"><emph type="italics"/>C Piazza dinanzi alle carcere.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004140"><emph type="italics"/>D Piazza inanzi alla Cecca.<emph.end type="italics"/><!-- REMOVE S--><emph type="italics"/>G Ba&longs;ilica.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.004141"><emph type="italics"/>A Le ale del Pallazzo, nel mezo è il Foro, & d'intorne le botteghe.<emph.end type="italics"/><pb pagenum="210" xlink:href="045/01/218.jpg"/><figure id="id.045.01.218.1.jpg" xlink:href="045/01/218/1.jpg"/><pb pagenum="211" xlink:href="045/01/219.jpg"/><figure id="id.045.01.219.1.jpg" xlink:href="045/01/219/1.jpg"/><pb pagenum="212" xlink:href="045/01/220.jpg"/><figure id="id.045.01.220.1.jpg" xlink:href="045/01/220/1.jpg"/></s> </p> <pb pagenum="213" xlink:href="045/01/221.jpg"/> <figure id="id.045.01.221.1.jpg" xlink:href="045/01/221/1.jpg"/> <pb pagenum="214" xlink:href="045/01/222.jpg"/> <p type="main"> <s id="s.004142">Le colonne di &longs;opra fiano per la quarta parte meno delle colonne di &longs;otto. </s> <s id="s.004143">perche le <lb/>co&longs;e inferiori ri&longs;petto al pe&longs;o, che portano, deono e&longs;&longs;ere piu ferme, che le di &longs;opra. </s> <s id="s.004144">& <lb/>anche perche bi&longs;ogna imitare la natura delle na&longs;centi co&longs;e, come è ne gli Alberi ritondi, <lb/>come è lo Abete, il Cipre&longs;&longs;o, il Pino, delli quali non ne è alcuno, che non &longs;ia piu gro&longs;&longs;o <lb/>dalle radici, ma poi cre&longs;cendo con naturale re&longs;trignimento di &longs;opra a poco a poco per­<lb/>uiene alla &longs;ommità: &longs;e adunque la natura delle na&longs;centi co&longs;e co&longs;i richiede, drittamente &longs;i <lb/>ordina, che le parti di &longs;opra &longs;iano, in larghezza, & gro&longs;&longs;ezza piu ri&longs;trette delle inferiori. </s> </p> <p type="main"> <s id="s.004145"><emph type="italics"/>Bello auuertimento è que&longs;to di Vitr. nel pre&longs;ente luogo. </s> <s id="s.004146">uuole egli che &longs;e uorremo &longs;oprale co­<lb/>lonne del portico porre altre colonne, & leuare la fabrica con piu ordini di ta&longs;&longs;elli, o &longs;olari, che <lb/>&longs;i auuerti&longs;ca di fare le colonne di &longs;opra piu &longs;ottili la quarta parte delle colonne di &longs;otto. </s> <s id="s.004147">& piglia <lb/>lo e&longs;&longs;empio da gli alberi, che da piedi &longs;ono piu großi, & uanno egualmente a&longs;&longs;ottigliando&longs;i fin <lb/>alla cima. </s> <s id="s.004148">Ben douemo auuertire, che'l primo ordine era Dorico, il &longs;econdo Ionico, & il ter­<lb/>zo Corinthio, & che non &longs;eguita, che &longs;e le colonne di &longs;otto &longs;ono la quarta parte piu gro&longs;&longs;e delle <lb/>colonne di &longs;opra, che anche &longs;iano in altezza maggiori la quarta parte, perche &longs;e la colonna Do­<lb/>rica di &longs;otto, è di piedi quattro di diametro e&longs;&longs;endo Dorica, &longs;arà alta piedi uentiotto. </s> <s id="s.004149">la di &longs;opra, <lb/>che &longs;arà Ionica, &longs;e bene &longs;arà un quarto meno gro&longs;&longs;a della Dorica, cioè tre piedi, non &longs;arà però un <lb/>quarto minore, d'altezza della colonna di &longs;otto, perche &longs;arà di otto Diametri & mezo, che &longs;ono <lb/>piedi uentiquattro, & mezo. </s> <s id="s.004150">& &longs;e bene anche fu&longs;&longs;ero tutti gli ordini d'uno i&longs;teßo genere; bi&longs;ogne­<lb/>ria, che la colonna di &longs;otto non fu&longs;&longs;e piu gro&longs;&longs;a dal piedi, di quello, che è la colonna di &longs;otto nel­<lb/>la cima, doue &longs;i fa la contrattura, accioche la colonna di &longs;opra &longs;i po&longs;a&longs;&longs;e &longs;ul uiuo. </s> <s id="s.004151">ben uiene anche <lb/>l'altezza della colonna minore, ma non la quarta parte. </s> <s id="s.004152">però bi&longs;ogna auuertire a quello che dice <lb/>Vitr. <!-- KEEP S--></s> <s id="s.004153">Io ponerò qui&longs;otto la pianta del Foro latino, la&longs;ciando al giudicio, & piacere d'altri il con­<lb/>&longs;ider are, & dißegnare il Foro de' Greci.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.004154">Le Ba&longs;iliche &longs;iano congiunte al Foro nelle parti piu calde, che &longs;ia po&longs;sibile, acciochei <lb/>negociatori il uerno &longs;enza mole&longs;tia di cattiui tempi a quelle po&longs;sino transferir&longs;i. </s> <s id="s.004155">& le lar­<lb/>ghezze di quelle non &longs;iano minori, che per la terza parte, nè maggiori, che per la metà <lb/>della lunghezza, &longs;e la natura del luogo non impedirà, ouero non isforzerà a mutar mi&longs;ura <lb/>di compartimento. </s> <s id="s.004156">Ma &longs;e'l luogo &longs;arà piu ampio in lunghezza po&longs;te &longs;iano ne gli e&longs;tremi <lb/>le Chalcidiche, come nella Giulia Aquiliana. </s> </p> <p type="main"> <s id="s.004157"><emph type="italics"/>Douemo auuertire, che Vitr. col Foro abbraccia le Ba&longs;iliche, l'Erario, il Carcere, & la Cu­<lb/>ria. <!-- REMOVE S-->perche Vitr. hauendo trattato delle Ba&longs;iliche, dello Erario, del Carcere, & della Curia, dice <lb/>al terzo capo &longs;eguente.<emph.end type="italics"/> {<emph type="italics"/>Quando &longs;arà fornito il Foro, bi&longs;ogna eleggere il luogo molto &longs;ano per <lb/>gli &longs;pettacoli.<emph.end type="italics"/>} <emph type="italics"/>Ecco che il Foro abbracciaua le dette co&longs;e. </s> <s id="s.004158">però mi pare, che in una &longs;ola pian­<lb/>ta, &longs;i doueria rappre&longs;entare il Foro con la Ba&longs;ilica, lo Erario, la Curia, & la prigione. </s> <s id="s.004159">Ba&longs;ilica, <lb/>&longs;e uolemo interpretare il nome, &longs;uona ca&longs;a regale. </s> <s id="s.004160">& in quella &longs;i &longs;oleua tener ragione a coperto, <lb/>& trattar&longs;i anche digrandi, & importantinegotij. </s> <s id="s.004161">&longs;criue Plutarco che Paulo Emilio &longs;pe&longs;e da <lb/>nouantamila &longs;cudi, per quanto &longs;i fa conto, in una Ba&longs;ilica, laquale era nel mezo del Foro. <!-- KEEP S--></s> <s id="s.004162">cre­<lb/>deno alcuni, che quella Ba&longs;ilicafu&longs;&longs;e tra la chie&longs;a di &longs;anto Adriano, & il bel Tempio di Fau&longs;ti­<lb/>na. </s> <s id="s.004163">Vuole Vitr. che le Ba&longs;iliche &longs;iano po&longs;te in luoghi caldi&longs;&longs;imi, & intende per luoghi caldi&longs;&longs;i­<lb/>mi, quelli, che &longs;ono uolti dallo Aquilone, & dal Settentrione, come egli e&longs;pone nel decimo capo <lb/>del pre&longs;ente libro. </s> <s id="s.004164">& Vuole che la Ba&longs;ilica habbia non &longs;o che da fare col Tempio, ma non però <lb/>in modo che &longs;e le dia quella grandezza, perche molto piu degna co&longs;a è il Tempio della Ba&longs;ilica. <!-- KEEP S--></s> <s id="s.004165"><lb/>In quanto adunque la Ba&longs;ilica tiene una certa conuenienza col Tempio, ella &longs;i u&longs;urpa molte ra­<lb/>gioni del Tempio. <!-- KEEP S--></s> <s id="s.004166">& però Vitr. dirà qui appre&longs;&longs;o, che le ragioni de gli Architraui, fregi, & goc<lb/>ciolatoi &longs;i piglieranno dalla &longs;immetria delle colonne, come ha dichiarito nel terzo libro. </s> <s id="s.004167">La <lb/>Ba&longs;ilica adunque imita piu pre&longs;to, che pareggi il Tempio. <!-- KEEP S--></s> <s id="s.004168">Vuole l' Alberto, che per la molti­<lb/>tudine de i litiganti, per li notai, & &longs;crittorila Ba&longs;ilica &longs;ia molto piu libera, molto piu aperta, <lb/>& lumino&longs;a, accioche gli auocati, & i clienti cercando&longs;i l'un l'altro, &longs;i po&longs;&longs;ino in un giro d'oc-<emph.end type="italics"/><pb pagenum="215" xlink:href="045/01/223.jpg"/><emph type="italics"/>chio uedere. </s> <s id="s.004169">Gli antichi aggiun&longs;ero alle Ba&longs;iliche uno, & due Tribunali, uno, & due portichi. </s> <s id="s.004170"><lb/>Sia adunque la larghezza con la lunghezza in proportione &longs;otto&longs;e&longs;quialtera, ouero &longs;ottodoppia <lb/>& que&longs;to quando non ci &longs;arà impedimento dalla natura, & &longs;ito del luogo. </s> <s id="s.004171">perche in quel ca&longs;o, <lb/>e&longs;&longs;endo il luogo piu lungo, uuole Vitr. che ne gli e&longs;tremi &longs;i facciano le Chalcidiche: l' Alberto legge <lb/>Cau&longs;idica, et uuole che Cau&longs;idica &longs;ia una aggiunta alla lunghezza della Ba&longs;ilica in forma della let<lb/>tera. </s> <s id="s.004172">T. per trauer&longs;o delle te&longs;te doue &longs;tauano gli auuocati, & cau&longs;idici a di&longs;putare le cau&longs;e. </s> <s id="s.004173">Troua&longs;i <lb/>che <expan abbr="chalcidicū">chalcidicum</expan> è una &longs;orte di edificio detto dalla città Chalcidia, che lo u&longs;aua, & che era grande et <lb/>&longs;patio&longs;o; & for&longs;e Vitr. intende que&longs;to, che &longs;i aggiunga alla Ba&longs;ilica, quando il luogo &longs;arà piu lungo, <lb/>di quello, che porta la proportione della larghezza alla lunghezza. </s> <s id="s.004174">Altri intendeno la Cecca, del­<lb/>la quale Vitr. non ragiona altroue, che è luogo doue &longs;i batte la moneta, & for&longs;e mi piacerebbe <lb/>que&longs;ta e&longs;po&longs;itione, quando la Cecca non face&longs;&longs;e &longs;trepito, che impedi&longs;ce quelli, che difendeno, & <lb/>trattano le cau&longs;e nella Ba&longs;ilica. <!-- KEEP S--></s> <s id="s.004175">il Filandro adduce delle autorità, che confermano, che chalcidica <lb/>erano edificij grandi. </s> <s id="s.004176">però io mi acco&longs;to alla opinion &longs;ua. </s> <s id="s.004177">& quello e&longs;&longs;empio, che dice Vitr. co­<lb/>me nella Giulia Aquiliana, io credo, che Vitr. intenda d'una Ba&longs;ilica fatta nel Friuli, doue inuer­<lb/>naua Ce&longs;are; perche alcuni te&longs;ti hanno. </s> <s id="s.004178">Villa Aquiliana. <!-- KEEP S--></s> <s id="s.004179">& di Aquilio &longs;i troua una memoria <lb/>in marmo nel Friuli, che io ho ueduta, & &longs;i trouano i ue&longs;tigi d'alcune Therme.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004180">Le colonne della Ba&longs;ilica &longs;iano tanto alte, quanto &longs;ono larghii portichi; ma il portico <lb/>&longs;ia terminato per un terzo di quello, che deue e&longs;&longs;ere lo &longs;pacio di mezo. </s> </p> <p type="main"> <s id="s.004181"><emph type="italics"/>Se la larghezza del portico &longs;arà di dieci piedi, &longs;iano le colonne dieci piedi, dico per e&longs;&longs;empio, <lb/>& per la larghezza del portico s'intende lo &longs;patio, che è dalle colonne al parete. </s> <s id="s.004182">Et poi uuole, <lb/>che il portico &longs;ia tanto largo, che egli &longs;ia d'un ter zo della larghezza di mezo, cioè quanto &longs;arà <lb/>il corpo della Ba&longs;ilica ri&longs;tretto da i pareti prenda&longs;i un terzo, & di quello &longs;i faccia la larghezza <lb/>del portico.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004183">Le colonne di &longs;opra &longs;iano minori di quelle di &longs;otto, &longs;econdo, che detto hauemo di &longs;o­<lb/>pra. </s> <s id="s.004184">Il parapetto, che è tra le colonne &longs;uperiori, & inferiori &longs;imilmente pare, che &longs;ia di <lb/>douer e&longs;&longs;er per la quarta parte meno delle colonne di &longs;opra, accioche quelli, che camina­<lb/>no &longs;opra'l palco della ba&longs;ilica, non &longs;iano ueduti da i negociatori. </s> <s id="s.004185">Gli architraui, i fregi, i <lb/>gocciolatoi &longs;iano pre&longs;i dalla &longs;immetria delle colonne, come hauemo detto nel terzo libro. </s> </p> <pb pagenum="216" xlink:href="045/01/224.jpg"/> <p type="head"> <s id="s.004186"><emph type="italics"/>Lato della Ba&longs;ilica, & ua congiunta la lettera A. di que&longs;ta figura <lb/>con la lettera B. della Antecedente.<emph.end type="italics"/><!-- KEEP S--></s> </p> <figure id="id.045.01.224.1.jpg" xlink:href="045/01/224/1.jpg"/> <p type="main"> <s id="s.004187">Ne meno di dignità, & bellezza po&longs;&longs;ono hauere i compartimenti delle ba&longs;iliche di quel <lb/>la maniera come io ho po&longs;to, & hauuto cura che &longs;i faccia nella colonia Giulia di Fano: le <lb/>proportione, & mi&longs;ure della quale &longs;ono in que&longs;to modo. </s> <s id="s.004188">La te&longs;tuggine di mezo tra le co-<pb pagenum="217" xlink:href="045/01/225.jpg"/>lonne è lunga piedi cento & uenti, larga &longs;e&longs;&longs;anta, il portico &longs;uo d'intorno la te&longs;tuggine <lb/>tra i pareti, & le colonne, è largo piedi uenti. </s> </p> <p type="main"> <s id="s.004189"><emph type="italics"/>Le colonne erano dalla parte di dentro, & &longs;o&longs;teneuano la te&longs;tuggine, ma il portico era di fuori <lb/>a torno, & era &longs;errato di parete, come &longs;i uederà poi.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004190">Le colonne di altezza continuate con i capitelli piedi cinquanta alte, & gro&longs;&longs;e cinque <lb/>Hauendo di dietro le pila&longs;trate alte piedi uenti, larghe due, & mezo, gro&longs;&longs;e uno, & mezo, <lb/>le quali riceueno le traui, che &longs;o&longs;tentano i canterij, & i coperti de i portichi, i quali &longs;ono <lb/>&longs;ottopo&longs;ti piu ba&longs;si alla te&longs;tuggine. </s> <s id="s.004191">Gli altri &longs;patij tra le traui de i pila&longs;tri, & delle colon <lb/>ne per gli interualli delle colonne &longs;ono la&longs;ciati a i lumi: quattro colonne &longs;ono nella lar­<lb/>ghezza della te&longs;tuggine ponendoui con quelle le angulari dalla de&longs;tra, & dalla &longs;ini&longs;tra. </s> <s id="s.004192"><lb/>ma nella lunghezza pro&longs;sima al Foro, pur con le angulari ne &longs;ono otto, ma dall'altra parte <lb/>con le angulari, &longs;ei, perche le due di mezo in quella parte non &longs;ono po&longs;te accioche non im<lb/>pedi&longs;cano l'a&longs;petto dello antitempio, del Tempio d'Augu&longs;to, il quale è po&longs;to in mezo del <lb/>parete della Ba&longs;ilica, & guarda per mezo'l Foro, & il Tempio di Gioue. <!-- KEEP S--></s> </p> <p type="main"> <s id="s.004193"><emph type="italics"/>Quando Vitr. dice; & gli altri &longs;patij tra le traui de i pila&longs;tri, & delle colonne, per gli interco <lb/>lunnij, &longs;ono la&longs;ciati a i lumi. </s> <s id="s.004194">intende gli &longs;patij, che &longs;ono tra'l coperto del portico, & il tetto del­<lb/>la te&longs;tuggine. </s> <s id="s.004195">& le colonne alte cinquanta piedi erano Corinthie.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.004196">Euui anche il Tribunale in quel Tempio meno di figura &longs;emicircolare. </s> <s id="s.004197">& lo &longs;patio di <lb/>quello nella fronte di piedi quaranta&longs;ei, & la curuatura di dentro di piedi quindici, accio­<lb/>che quelli, che &longs;te&longs;&longs;ero dinanzi a i magi&longs;trati non impedi&longs;&longs;ero i negocianti nella Ba&longs;ilica. <lb/><!-- KEEP S--></s> <s id="s.004198">&longs;opra le colonne &longs;ono d'intorno gli architraui fatti di tre pezzi di due piedi l'uno incatena <lb/>ti, & quelli delle terze colonne, che &longs;ono nella parte d'intorno a i pila&longs;tri, che &longs;i &longs;ten­<lb/>deno dallo antitempio, & toccano dalla de&longs;tra, & dalla &longs;ini&longs;tra il &longs;emicircolo. </s> </p> <p type="main"> <s id="s.004199"><emph type="italics"/>Per le terze colonne egli intende quelle, tra le quali erano leuate li due di mezo, per dare ue­<lb/>duta allo antitempio di Augu&longs;to. <!-- REMOVE S-->perche &longs;ono le terze cominciando a contare dalle angulari.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004200">Sopra le traui d'intorno contra i capitelli &longs;ono alcuni pila&longs;trelli come piedi&longs;tali, di&longs;po<lb/>&longs;ti per &longs;o&longs;tenere i pe&longs;i, alti piedi tre, & larghi quattro per ogni uer&longs;o, &longs;opra &longs;ono le traui <lb/>ben compo&longs;te inchiauate di due pezzi, di due piedi l'uno. </s> </p> <p type="main"> <s id="s.004201"><emph type="italics"/>I Pila&longs;trelli &longs;ono in luogo di Fregio. <!-- KEEP S--></s> <s id="s.004202">Le traui Euerganee. </s> <s id="s.004203">& ben compo&longs;te erano in luogo di <lb/>cornici. </s> <s id="s.004204">noi &longs;olemo anche dire, quel traue lauora bene, quando egli è po&longs;to in opera, & fa il <lb/>&longs;uo officio.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004205">Sopra le traui &longs;tanno i trauer&longs;i con le chiaui, che contra i Fregi delle colonne, & le an <lb/>te, & i pareti dello antitempio &longs;o&longs;tentano uno continuato colmo della Ba&longs;ilica. <!-- KEEP S--></s> <s id="s.004206">& un'altro <lb/>dal mezo &longs;opra lo antitempio, & co&longs;i doppia di&longs;po&longs;itione di te&longs;tuggine una di fuori del <lb/>tetto, & l'altra della te&longs;tuggine interiore, porge una ueduta bella, & gratio&longs;a. </s> <s id="s.004207">Simil­<lb/>mente i leuati ornamenti de gli architraui, & la di&longs;tributione de i parapetti, & delle co­<lb/>lonne di &longs;opra, toglie una fatico&longs;a mole&longs;tia, & &longs;cema per una gran parte la &longs;omma della <lb/>&longs;pe&longs;a. </s> <s id="s.004208">Ma le colonne co&longs;i alte fin alla trauatura della te&longs;tuggine, pare che accre&longs;chino <lb/>et la magnificenza della &longs;pe&longs;a, et la dignità dell'opera. </s> </p> <p type="main"> <s id="s.004209"><emph type="italics"/>Erano leuate quelle parti, cioè Fregi, architraui, cornici, & gli adornamenti: & in luogo <lb/>loro erano le traui euerganee, i pila&longs;trelli, & le traui di legname, perche co&longs;i era nece&longs;&longs;ario e&longs;&longs;en<lb/>do molto &longs;patio tra colonna, & colonna. </s> <s id="s.004210">Era a mio giuditio una ben di&longs;po&longs;ta Ba&longs;ilica, & doueua <lb/>hauere del grande. </s> <s id="s.004211">hora non ci &longs;ono di quella ue&longs;tigij apparenti.<emph.end type="italics"/></s> </p> <pb pagenum="218" xlink:href="045/01/226.jpg"/> <p type="main"> <s id="s.004212"><emph type="italics"/>La pianta è &longs;egnata A.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.004213"><emph type="italics"/>La pianta del tempio d'Augu&longs;to B.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004214"><emph type="italics"/>Lo Antitempio C.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.004215"><emph type="italics"/>Il Tribunale D.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.004216"><emph type="italics"/>Il parete della Ba&longs;ilica, che rinchiudeua i portichi E. F. G. H.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.004217"><emph type="italics"/>Il parete del Tempio I. K. L. M. & uanno con le ale dello antitempio a ritrouare il parete della <lb/>Ba&longs;ilica.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.004218"><emph type="italics"/>I pila&longs;tri dietro le colonne. </s> <s id="s.004219">N.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.004220">Lo in piè della Ba&longs;ilica, & del Tempio dimo&longs;tra poi partitamente il tutto. </s> </p> <p type="main"> <s id="s.004221"><emph type="italics"/>Le colonne<emph.end type="italics"/> 1. <!-- KEEP S--></s> </p> <p type="main"> <s id="s.004222"><emph type="italics"/>I pila&longs;tri de uenti piedi<emph.end type="italics"/> 2. <!-- KEEP S--></s> </p> <p type="main"> <s id="s.004223"><emph type="italics"/>La prima trauatura del portico<emph.end type="italics"/> 3. <!-- KEEP S--></s> </p> <p type="main"> <s id="s.004224"><emph type="italics"/>I &longs;econdi pila&longs;tri di piedi diciotto.<emph.end type="italics"/> 4. <!-- KEEP S--></s> </p> <p type="main"> <s id="s.004225"><emph type="italics"/>Le traui, che &longs;o&longs;tentano i canterij del corpo del portico, che è inferiore al coperto della Ba&longs;i­<lb/>lica.<emph.end type="italics"/> 5. <!-- KEEP S--></s> </p> <p type="main"> <s id="s.004226"><emph type="italics"/>Le colonne erano Corinthie. <!-- KEEP S--></s> <s id="s.004227">Le traui di tre morelli di due piedi l'uno, in uece d'Architraue.<emph.end type="italics"/> 6. <!-- KEEP S--></s> </p> <p type="main"> <s id="s.004228"><emph type="italics"/>I pila&longs;trelli di tre piedi, che &longs;eruiuano per fregio.<emph.end type="italics"/> 7. </s> </p> <p type="main"> <s id="s.004229"><emph type="italics"/>Gli altri traui po&longs;ti in&longs;ieme, & inchiauati, che legauano la fabrica a torno, & &longs;eruiuano per <lb/>cornici, compo&longs;ti di morelli di due piedi l'uno.<emph.end type="italics"/> 8. </s> </p> <p type="main"> <s id="s.004230"><emph type="italics"/>Il tetto &longs;i uede col &longs;uo legamento &longs;opra il pronao del Tempio.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.004231"><emph type="italics"/>Il parete del portico a torno la Ba&longs;ilica.<emph.end type="italics"/> 9. </s> </p> <p type="main"> <s id="s.004232"><emph type="italics"/>Il parapetto alla prima trauatura del portico.<emph.end type="italics"/> 10. </s> </p> <p type="main"> <s id="s.004233"><emph type="italics"/>I lumi &longs;egnati. </s> <s id="s.004234">o.<emph.end type="italics"/><pb pagenum="219" xlink:href="045/01/227.jpg"/><figure id="id.045.01.227.1.jpg" xlink:href="045/01/227/1.jpg"/><!-- KEEP S--></s> </p> <pb pagenum="220" xlink:href="045/01/228.jpg"/> <figure id="id.045.01.228.1.jpg" xlink:href="045/01/228/1.jpg"/> </subchap2><subchap2> <p type="head"> <s id="s.004235"><emph type="italics"/>Dello Erario, Carcere, & della Curia come &longs;i deono <lb/>ordinare. </s> <s id="s.004236">Cap. II.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.004237">L'Erario, il Carcere, & la Curia deono e&longs;&longs;er congiunti al Foro, ma in modo, che <lb/>la grandezza del compartimento di quelle ri&longs;ponda al Foro, & &longs;pecialmente <lb/>la Curia &longs;i deue fare &longs;econdo la dignità de gli habitanti, ouero della città. </s> <s id="s.004238">&longs;e <lb/>ella &longs;arà quadrata, quanto hauerà di larghezza, aggiugnendoui la metà &longs;i fa­<lb/>rà l'altezza. </s> <s id="s.004239">ma &longs;e la forma &longs;arà piu lunga, che larga, egli &longs;i porrà in&longs;ieme la lunghezza & <lb/>la larghezza, & di tutta la &longs;omma &longs;i piglierà la metà, & &longs;i darà all'altezza &longs;otto la trauatu­<lb/>ra. </s> <s id="s.004240">Oltra di que&longs;to &longs;i deono circondare intorno i pareti nel mezo di cornicioni, o di legna­<lb/>me, o di &longs;tucco. </s> <s id="s.004241">ilche quando non fu&longs;&longs;e fatto, ne uenirebbe, che la uoce de di&longs;putanti trop <lb/>po alzata, non &longs;arebbe udita da quelli, che odeno le cau&longs;e. </s> <s id="s.004242">ma quando d'intorno i pareti <lb/>ci &longs;aranno i cornicioni, la uoce ritardata da quelli prima, che &longs;ia nello aere di&longs;sipata, per­<lb/>uenirà alle orecchie de gli auditori. </s> </p> <pb pagenum="221" xlink:href="045/01/229.jpg"/> <figure id="id.045.01.229.1.jpg" xlink:href="045/01/229/1.jpg"/> <p type="main"> <s id="s.004243"><emph type="italics"/>Erario è luogo doue &longs;i ripone il Te&longs;oro, & il dinaro publico. </s> <s id="s.004244">i Romani nello Erario con&longs;erua­<lb/>uano tutti gli atti publici, & decreti del Senato. </s> <s id="s.004245">i libri elefantini, ne i quali erano de&longs;critte le <lb/>trentacinque tribu di Iuda. <!-- KEEP S--></s> <s id="s.004246">Dice Suetonio, che Ce&longs;are abbruciò tutti i libri delle obliganze, che <lb/>egli ritrouò nello Erario, per leuare ogni occa&longs;ione di odio. </s> <s id="s.004247">Come e&longs;&longs;er debbia lo Erario, & il <lb/>carcere non dice Vitru. perche &longs;ono parte del Foro, che hanno &longs;eco le loro nece&longs;&longs;ità, che &longs;i rimet <lb/>teno al giudicio dello. </s> <s id="s.004248">Architetto, & però de i Granai publici, dello Erario, delle armerie, del naua­<lb/>le, del Fondaco, & della Cecca, non dice altro. </s> <s id="s.004249">Deono que&longs;te co&longs;e e&longs;&longs;er collocate in luoghi &longs;icu­<lb/>rißimi, & pronti&longs;&longs;imi, circondate d'alte mura, & guardate dalle forze, & dall'in&longs;idie de i &longs;edi­<lb/>tio&longs;i cittadini. </s> <s id="s.004250">Noi hauemo in Venetia i Granari, & la Cecca congiunte alla piazza. </s> <s id="s.004251">le arme­<lb/>rie nel palazzo i&longs;te&longs;&longs;o, l'Arzana &longs;icuraguardata, & fornita, &longs;e altra ue n'è o &longs;ia &longs;tata al mondo. </s> <s id="s.004252"><lb/>La Cecca &longs;opra la piazza, opera del San&longs;ouino. </s> <s id="s.004253">iui &longs;i batte, & cimenta l'oro, & l'argento: & &longs;i <lb/>con&longs;eruano i depo&longs;iti, & &longs;i riduceno alcuni magi&longs;trati deputati alla Cecca, sì per l'a cura delle mo­<lb/>nete, come per li depo&longs;iti, & per l'uno, & l'altro conto c'è una marauiglio&longs;a &longs;omma di &longs;cudi. </s> <s id="s.004254"><lb/>Le prigioni &longs;imilmente &longs;ono &longs;otto il pallazzo, alquale è congiunta la piu ricca che bene inte&longs;a <lb/>chie&longs;a nella te&longs;ta della &longs;pacio&longs;a piazza. </s> <s id="s.004255">Anticamente erano tre &longs;orti di prigioni, l'una di quelli, <lb/>che erano &longs;uiati, & immode&longs;ti, che &longs;i teneuano, accioche fu&longs;&longs;ero ammae&longs;trati. </s> <s id="s.004256">hora que&longs;ta &longs;i dà<emph.end type="italics"/><pb pagenum="222" xlink:href="045/01/230.jpg"/><emph type="italics"/>a i pazzi. </s> <s id="s.004257">L'altra era de'debitori, & que&longs;ta anche &longs;i u&longs;a fra noi. </s> <s id="s.004258">La terza è doue &longs;tanno i per­<lb/>fidi, & rei huomini, o gia condennati, o per e&longs;&longs;ere condennati. </s> <s id="s.004259">Que&longs;te &longs;orti &longs;ono &longs;officienti, per­<lb/>che i delit ti, & falli de gli huomini, na&longs;ceno ouero da immode&longs;tia, ouero da contumacia, ouero <lb/>da peruer&longs;ità. </s> <s id="s.004260">alla immode&longs;tia &longs;i dà la prima. </s> <s id="s.004261">alla contumacia la &longs;econda. </s> <s id="s.004262">alla peruer&longs;ità la ter­<lb/>za. </s> <s id="s.004263">Non uoglio qui addurre le prigioni doue erano po&longs;ti i martiri, o quelle, che ordinarono i <lb/>crudelißimi Tiranni, come Ezzellino da Romano, & altri, che uoleuano tormentare i mi&longs;eri cit­<lb/>tadini, ma &longs;olo dirò che le altezze, le gro&longs;&longs;ezze delle mura, le fortezze, & ba&longs;&longs;ezze delle perte <lb/>&longs;i richiedeno alle prigioni, accioche per niuna uia &longs;i po&longs;&longs;a fuggire. </s> <s id="s.004264">Altri adunque fanno le per­<lb/>te doppie, & di ferro, le uolte altißime, le mura di dure, & gro&longs;&longs;e pietre. </s> <s id="s.004265">& quello, che piu im­<lb/>porta le danno uigilantißimi, & fidelißimi cu&longs;todi, oltra che tenghino le prigioni, (dirò co&longs;i) <lb/>nel core della città. </s> <s id="s.004266">Vuole Alberto, che le prime prigioni &longs;iano piu &longs;pacio&longs;e, le &longs;econde piu ri&longs;tret <lb/>te, & le ultime de malfattori ri&longs;tretti&longs;&longs;ime, &longs;econdo i gradi de i delitti. </s> <s id="s.004267">Hauemo noi nella città <lb/>no&longs;tra, in molti lnoghi le prigioni, che &longs;i chiamano ca&longs;&longs;oni, doue &longs;i pongono quelli, che &longs;ono pre&longs;i <lb/>la notte per armi, o per qualche occa&longs;ione meno hone&longs;ta. </s> <s id="s.004268">Hanno anche diuer&longs;i magi&longs;trati le loro <lb/>prigioni. </s> <s id="s.004269">Anco Martio edificò nel mezo del foro il carcere, alquale Tullio aggiun&longs;e una caua <lb/>profonda detta poi Tulliana, che era come le Latomie di Siracu&longs;a, & &longs;i &longs;cendeua da mano manca <lb/>per lo &longs;pacio di uenti piedi. </s> <s id="s.004270">era cinta da ogni lato di alti&longs;sime, & forti mura, o&longs;cura, horribile, <lb/>& puzzolente. </s> <s id="s.004271">Era anche in Roma doue è il Theatro di Marcello, il carcere della plebe fatto da <lb/>App. <!-- REMOVE S-->Claud. <!-- REMOVE S-->X. Vir. <!-- REMOVE S-->nel quale &longs;tando egli per la uita ucci&longs;e &longs;e &longs;te&longs;&longs;o. </s> <s id="s.004272">Sono i Ve&longs;tigij di quello <lb/>carcere appre&longs;&longs;o la chie&longs;a di S. <!-- REMOVE S-->Nicolao in carcere. </s> <s id="s.004273">il Foro era de' litiganti, la Curia de Senato­<lb/>ri, il Comitio doue &longs;i creauano i magi&longs;trati, onde i giorni a que&longs;to deputati &longs;i chiamauano i giorni <lb/>Comitiali. <!-- KEEP S--></s> <s id="s.004274">Era prima &longs;coperto il Comitio, fu poi coperto l'anno che Annibale paßò in Italia. <!-- KEEP S--></s> <s id="s.004275">& <lb/>poi rifatto da C. Ce&longs;are. <!-- KEEP S--></s> <s id="s.004276">Era iui il fico ruminale appre&longs;&longs;o le radici del Palatino. </s> <s id="s.004277">& il Comitio era <lb/>una gran parte del Foro. <!-- KEEP S--></s> <s id="s.004278">Noi nella città no&longs;tra chiamamo il gran con&longs;iglio, quel luogo doue la <lb/>numero&longs;a nobiltà &longs;i rauna per creare i magi&longs;trati. </s> <s id="s.004279">Ma uegnamo alla Curia, che noi chiamamo <lb/>il Senato, ouero il Pregadi, perche anticamente &longs;i mandauano a pregare a ca&longs;a i nobili, che ue­<lb/>ni&longs;&longs;ero a con&longs;ultare delle co&longs;e dello &longs;tato. </s> <s id="s.004280">Soleuano gli antichi raunar&longs;i per deliberare ne i Tem­<lb/>pij, & però il Tempio di Giunone Moneta, & Senatulo, & Curia fu detto. </s> <s id="s.004281">Chiamauano anche <lb/>Curia doue i &longs;acerdoti trattauano, & procurauano le co&longs;e della religione, come fu la Curia uec­<lb/>chia; ma altro era la Curia doue &longs;i raunaua il Senato, come era la Ho&longs;tilia edificata da Tullo <lb/>Ho&longs;tilio &longs;opra la Curia uecchia fatta da Romulo. </s> <s id="s.004282">Et la curia di Pomp. <!-- REMOVE S-->era dinanzi al &longs;uo Theatro <lb/>doue C. <!-- KEEP S--></s> <s id="s.004283">Ce&longs;are fu ucci&longs;o da i congiurati. </s> <s id="s.004284">Ma uegnamo a Vitru. ilquale ha piu cuore alla &longs;imme­<lb/>tria della curia che del re&longs;to. </s> <s id="s.004285">Vuole, che &longs;e la Curia &longs;arà riquadrata, che l'altezza &longs;ia uno qua­<lb/>dro & mezo alla larghezza. </s> <s id="s.004286">que&longs;ta proportione &longs;e&longs;quialtera è molto commendata da Vitr. <!-- KEEP S--></s> <s id="s.004287">Ma <lb/>piu comparando la larghezza alla lunghezza, che comparando l'altezza alla lunghezza. </s> <s id="s.004288">& &longs;e <lb/>la forma &longs;arà piu lunga, che larga uuole, che raccogliamo la &longs;omma della larghezza, & della <lb/>lunghezza in&longs;ieme, & della metà facciamo l'altezza. </s> <s id="s.004289">Ma non dice quanto e&longs;&longs;er debbia la lar­<lb/>ghezza, & la lunghezza, perche ha detto, che &longs;i habbia riguardo alla dignità della città, & <lb/>de gli habitanti; che per hora co&longs;i uoglio interpretare quella parola, Municipij; della quale io <lb/>ho parlato nel primo libro a ba&longs;tanza. </s> <s id="s.004290">però &longs;e molti doueranno entrare nella Curia per e&longs;&longs;ere la <lb/>cittàgrande, et populo&longs;a, &longs;i farà la curia grande, & capace. </s> <s id="s.004291">& perche nel con&longs;ultare na&longs;ceno <lb/>delle controuer&longs;ie, & è nece&longs;&longs;ario che gli huomini &longs;i leuino a dire le loro oppinioni, & a di&longs;putare <lb/>le materie, però Vitr. ci dà un bello auuertimento, accioche la uoce &longs;ia udita. </s> <s id="s.004292">& uuole che al <lb/>mezo dell'altezza &longs;iano fatti d'intorno i Cornicioni che &longs;portino in fuori, accioche la uoce non <lb/>&longs;i perda nell'altezza della curia. </s> <s id="s.004293">Ma quello, che &longs;ia opera inte&longs;tina, ouero albaria, diremo nel <lb/>&longs;ettimo. </s> <s id="s.004294">& qui &longs;ia fine al Foro con tutti que corpi di fabriche, che gli &longs;ono proßimi, & congiunti. </s> <s id="s.004295"><lb/>leggi l'Alberto nell'ottauo libro al nono capo, che trouerai que&longs;ta materia piu di&longs;te&longs;a.<emph.end type="italics"/></s> </p> <pb pagenum="223" xlink:href="045/01/231.jpg"/> </subchap2><subchap2> <p type="head"> <s id="s.004296"><emph type="italics"/>Del Thearro. </s> <s id="s.004297">Cap. III.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.004298">Fornito il Foro bi&longs;ogna eleggere il luogo molto &longs;ano per lo Theatro, doue ne <lb/>i giorni &longs;olenni a i Dei &longs;i facciano i Giuochi. </s> <s id="s.004299">la ragione de i luoghi &longs;ani &longs;i è <lb/>dimo&longs;trata nel primo libro, quando trattammo di fare le mura d'intorno la <lb/>città. </s> <s id="s.004300">percioche quelli, i quali per uedere i giuochi, con le moglie, & &longs;igliuo­<lb/>li &longs;i tengono &longs;tando i corpi per lo piacere, & diletto, &longs;enza mouer&longs;i, hanno le uene aper­<lb/>te, nellequali entrano i uenti, che uenendo da luoghi palu&longs;tri, o d'altre parti infettate, con <lb/>gli &longs;piriti loro danno gran nocumento. </s> <s id="s.004301">& però &longs;e con diligenza &longs;i trouerà luogo per lo <lb/>Theatro ageuolmente &longs;i &longs;chiuerà ogni difetto. </s> <s id="s.004302">Bi&longs;ogna oltra di que&longs;to prouedere, che'l <lb/>Theatro non habbia l'impeto dal meriggie, percioche empiendo il Sole la ritondezza del <lb/>Theatro, l'aere rinchiu&longs;o nella curuatura non potendo u&longs;cire, raggirando &longs;i &longs;calda, & af­<lb/>focato cuoce & &longs;cema l'humore de i corpi, & però grandemente &longs;i deono fuggire le parti <lb/>nociue, & eleggere le &longs;ane, & buone. </s> </p> <p type="main"> <s id="s.004303"><emph type="italics"/>Si come il Trattamento del Foro abbracciaua la Ba&longs;ilica, l'Erario, il carcere, & la Curia, <lb/>co&longs;i il trattamento del Theatro abbraccia molte co&longs;e, dellequali Vitruuio ragiona in que&longs;to, & <lb/>altri capi, & è co&longs;a degna di auuertimento, perche ui &longs;ono molte belle, & difficili pratiche, & <lb/>&longs;ottili con&longs;iderationi, come di&longs;tintamente &longs;i uedrà al &longs;uo luogo. </s> <s id="s.004304">Seguitando adunque le &longs;olite di­<lb/>ui&longs;ioni diremo, che de gli &longs;pettacoli alcuni &longs;ono per diletto della pace, & dell' ocio, altri &longs;ono driz­<lb/>zati allo &longs;tudio della guerra, & del negocio; & &longs;i come ne i primi &longs;i ri&longs;ueglia il uigore dello in­<lb/>gegno, & della mente, co&longs;i ne i &longs;econdi &longs;i eccita la gagliardezza delle forze, & dell'animo: ma <lb/>d'amendue una e&longs;&longs;er deue la intentione, cioè indrizzare il tutto all'ornamento, & alla &longs;alute <lb/>della patria, però &longs;ommamente &longs;i deue auuertire, che ne i giuochi, & ne gli &longs;pettacoli, non &longs;iano <lb/>introdotte co&longs;e dishone&longs;te, & la&longs;ciue. </s> <s id="s.004305">Hora diremo dell'un', & l'altra maniera di &longs;pettacoli. </s> <s id="s.004306"><lb/>Nella prima adunque, doue è il diletto della pace, introdutti &longs;ono i Poeti, i Mu&longs;ici, gli I&longs;trioni; <lb/>nella &longs;econda, che riguarda a gli &longs;tudi della guerra &longs;i fanno diuer&longs;i certami, & contentioni &longs;pet­<lb/>tanti alla forza, & de&longs;trezza de i corpi. </s> <s id="s.004307">A i primi &longs;i dà il Theatro, che altro non uuol dire, che <lb/>&longs;pettacolo, o luogo da guardare. </s> <s id="s.004308">a i &longs;econdi, &longs;e &longs;ono &longs;pettacoli d'agilità & de&longs;trezza, come cor­<lb/>rere o &longs;altare, &longs;i dà il Circo. <!-- KEEP S--></s> <s id="s.004309">&longs;e &longs;ono di forze, come di a&longs;&longs;altare, & combattere con le fiere, & con <lb/>gli huomini, &longs;i da lo Anfitheatro. <!-- KEEP S--></s> <s id="s.004310">Conuengono prima tutti gli &longs;pettacoli in que&longs;te co&longs;e prima, <lb/>che &longs;ono cornuti, o curui, dapoi hanno lo &longs;pacio di mezo, & finalmente d'intorno tengono i gradi, <lb/>& i luoghi eminenti doue &longs;tanno le per&longs;one a &longs;edere, & a uedere. </s> <s id="s.004311">&longs;ono differentinel di&longs;egno, per­<lb/>cioche il Theatro, è come una Luna che inuecchia. </s> <s id="s.004312">Il Circo è piegato con le corna in lungo, & <lb/>&longs;i &longs;tende molto, perche &longs;ia commodo alle carrette, & caualli, che correno. </s> <s id="s.004313">&longs;i &longs;oleua anche met­<lb/>terui l'acqua, & farui dentro le pugne nauali. </s> <s id="s.004314">Vero è che il circo di &longs;ua natura non ha portichi, <lb/>& dicono, che il circo fu fatto ad imitatione delle co&longs;e cele&longs;ti, però haueua dodici entrate per li <lb/>dodici &longs;egni; &longs;ette mete, & termini per li &longs;ette pianeti. </s> <s id="s.004315">& erano le mete di&longs;tribuite nel mezo della <lb/>lunghezza del piano da Leuante a Ponente, di&longs;tanti una dall'altra, doue le carrette da due, & <lb/>da quattro ruote correndo andauano per mezo gli &longs;pacij del Circo, come di&longs;corre il Sole, & la Lu <lb/>na, &longs;otto il Zodiaco. <!-- KEEP S--></s> <s id="s.004316">& non u&longs;auano piu di uentiquattro dardi, per le uentiquattro hore, che è <lb/>una riuolutione del Cielo. <!-- KEEP S--></s> <s id="s.004317">Erano quelli, che correuano diui&longs;i in quattro liuree, una era di color <lb/>uerde, che rappre&longs;entaua la prima uera. </s> <s id="s.004318">l'altra di ro&longs;ato, che &longs;ignificaua la &longs;tate. </s> <s id="s.004319">la terza, di <lb/>bianco po&longs;ta per lo autunno. </s> <s id="s.004320">l'ultima fo&longs;ca, che dinotaua il uerno. </s> <s id="s.004321">Il luogo doue s'incominciaua <lb/>il cor&longs;o era detto carcere: noi chiamamo le mo&longs;&longs;e. </s> <s id="s.004322">Alcuni non fanno differenza tra circo, & hip­<lb/>podromo, & catodromo. </s> <s id="s.004323">L'Amfiteatro era di due Theatri congiunti in&longs;ieme con le fronti loro. <lb/></s> <s id="s.004324">& que&longs;te forme erano pre&longs;e dall'u&longs;o delle co&longs;e, che &longs;i faceuano in que luoghi. </s> <s id="s.004325">Per trattare adun-<emph.end type="italics"/><pb pagenum="224" xlink:href="045/01/232.jpg"/><emph type="italics"/>que del Theatro partitamente, & chiaramente Io dirò che dal fine &longs;i potrà ogni &longs;ua di&longs;tributio­<lb/>ne con&longs;iderare. </s> <s id="s.004326">& però la&longs;ciando da parte le co&longs;e communi ad ogni &longs;abrica, che è il luogo &longs;ano, il <lb/>fondamento, & la piazza, & altre co&longs;e, in che conuengono tutti gli edificij per guardare. </s> <s id="s.004327">Doue­<lb/>mo con&longs;iderare le per&longs;one, che ui uanno, & i giuochi, che &longs;i fanno. </s> <s id="s.004328">Riguardando adunque le per­<lb/>&longs;one, trouamo prima una gran moltitudine di nobili, & di plebei che ad un tempo ui uanno, in&longs;ie­<lb/>me &longs;tanno, & for&longs;e ad un tempo &longs;i partono. </s> <s id="s.004329">però &longs;i ricercano molte entrate, molte &longs;alite, & mol <lb/>te u&longs;cite. </s> <s id="s.004330">oltra di que&longs;to perche il tempo, che &longs;i sta a uedere, è lungo, è nece&longs;&longs;ario, che ci &longs;ia la <lb/>commodità del &longs;edere, & che in un luogo &longs;eggano i nobili, in altro i plebei. </s> <s id="s.004331">i nobili haueranno i <lb/>loro &longs;eggi da ba&longs;&longs;o, accioche il fetore, che &longs;ale con lo aere cau&longs;ato dalla moltitudine, non gli of­<lb/>fenda. </s> <s id="s.004332">La plebe &longs;ederà in alto, & tutti &longs;aranno in modo collocati, che potranno uedere, & udi­<lb/>re commodamente. </s> <s id="s.004333">le per&longs;one, che recitano deono hauere i luoghi doue &longs;i ue&longs;tino, & s'apparec <lb/>chiano per recitare, & i luoghi doue hanno da &longs;tare per recitare; però ne i Theatri &longs;arà nece&longs;&longs;a­<lb/>rio fare &longs;imili partimenti. </s> <s id="s.004334">Riguardando poi a i giuochi uenimo in con&longs;ideratione di tutta la for­<lb/>ma, imperoche ne i Theatri &longs;i recitano poemi, & &longs;i fanno Mu&longs;iche, però è nece&longs;&longs;ario di dare tal <lb/>forma al Theatro, che ognuno po&longs;&longs;a udire chiaramente i &longs;uoni, & le fauole. </s> <s id="s.004335">alche fare è utile &longs;a <lb/>pere il mouimento della uoce, come &longs;ale, come è ritardata, come è la&longs;ciata libera, che po&longs;&longs;a per­<lb/>uenire alle orecchie de gli a&longs;coltanti egualmente: & di qui è nata la con&longs;ideratione dell'armonia, <lb/>della quale &longs;i dirà al &longs;uo luogo. </s> <s id="s.004336">Da que&longs;ta con&longs;ideratione condotto Vitr. con &longs;omma diligenza ha <lb/>e&longs;&longs;eguito la di&longs;tributione del Theatro cominciando dalle fondamenta, & peruenendo fin'alla ci­<lb/>ma. </s> <s id="s.004337">Elegga&longs;i adunque prima il luogo &longs;ano, & faccia&longs;i il Theatro nella città, & il Circo di fuori. </s> <s id="s.004338"><lb/>eletto il luogo &longs;ano uolto dal feruor del Sole, & da i uenti nociui per la ragione detta da Vitr. bi­<lb/>&longs;ogna fare buone fondamenta. </s> <s id="s.004339">& però dice Vitr.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.004340">Piu ageuole &longs;arà fondare ne i monti; ma &longs;e in piano, o in luogo palu&longs;tre per nece&longs;sità <lb/>&longs;i faranno le fondamenta, bi&longs;ognerà, che quello, che &longs;i fa &longs;otterra, & i ra&longs;&longs;odamenti, & i <lb/>battuti &longs;i facciano co&longs;i, come di &longs;opra nel terzo libro, s'è detto delle fondationi de i <expan abbr="Tēpij">Tempij</expan>. <!-- KEEP S--></s> </p> <p type="main"> <s id="s.004341"><emph type="italics"/>Ben ha detto in luogo palu&longs;tre per nece&longs;&longs;ità, perche non ci ha con&longs;igliati di&longs;opra, che in luoghi <lb/>mal &longs;ani dobbiamo fabricare i Theatri, ma la nece&longs;&longs;ità non ha legge. </s> <s id="s.004342">& perche non puo e&longs;&longs;ere in <lb/>luogo palu&longs;tre, & &longs;ano? </s> <s id="s.004343">di quella maniera, che egli ha detto e&longs;&longs;er &longs;ane le paludi d'Altino, & <lb/>d'Aquileia, come &longs;ono hoggi quelle di Viuetia, doue con mirabil arte &longs;i fonda nelle paludi ogni <lb/>grande edificio?<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004344">Sopra le fondamenta &longs;i deono fare da terra i gradi di pietre, o di marmi. </s> </p> <p type="main"> <s id="s.004345">{<emph type="italics"/>Da terra<emph.end type="italics"/>} <emph type="italics"/>cioè &longs;ubito &longs;opra le fondamenta.<emph.end type="italics"/> {<emph type="italics"/>i Gradi.<emph.end type="italics"/>} <emph type="italics"/>Ecco che la prima con&longs;ideratione <lb/>dopo la &longs;anità del luogo, è di accommodar le per&longs;one. </s> <s id="s.004346">Far &longs;i deono adunque le graduationi &longs;ubito <lb/>&longs;opra terra, di pietre, o di marmi, & que&longs;ta pompa di fabricare era molto lontana dalla roza an­<lb/>tichità, come dice Ouidio.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.004347"><emph type="italics"/>Tu prima i giuochi o Romolo face&longs;ti <lb/>Quando per aiutar i tuo donzelli, <lb/>De i Sabini le Vergini prende&longs;ti. </s> <s id="s.004348"><lb/>Allhor non eran drizzati i penelli, <lb/>Per &longs;o&longs;tener le uele, nè toglie&longs;ti <lb/>Per far Theatro da que&longs;ti, & da quelli <lb/>Monti li marmi, nè fu&longs;ti &longs;i uano, <lb/>Che dipigne&longs;ti i pulpiti col grano.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004349"><emph type="italics"/>Sedean &longs;opra i ce&longs;pugli le brigate, <lb/>Semplicemente era la &longs;cena ordita.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004350"><emph type="italics"/>Ne i folti bo&longs;chi con le frondi ornate, <lb/>L'hir&longs;ute chiome della gente unita<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004351"><emph type="italics"/>Dall'ardore del &longs;ol eran guardate.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004352"><emph type="italics"/>Soleuano raunar&longs;i ne i dì &longs;olenni per le uille i contadini, & fare diuer&longs;i &longs;acrificij, & giuochi <lb/>ru&longs;ticali; Et que&longs;ta u&longs;anza piacque tanto a gli Athenie&longs;i, che furono i primi, che la introduce&longs;­<lb/>&longs;ero nella città. </s> <s id="s.004353">Et chiamarono Theatro quel luogo, doue &longs;i faceuano que giuochi. </s> <s id="s.004354">I Romani da <lb/>poi dilettando&longs;i di &longs;imili u&longs;anze, uolleno anche e&longs;&longs;i i Theatri nella città, ma non gli fecero da pri­<lb/>ma &longs;operbi, & alti, & di pietre, ma di legno, & con qualche occa&longs;ione, &longs;pe&longs;ero poi molto, &<emph.end type="italics"/><pb pagenum="225" xlink:href="045/01/233.jpg"/><emph type="italics"/>tutta uia gli faceuano di legname, & a tempo, come &longs;i legge che M. </s> <s id="s.004355">Scauro Edile per un &longs;olo me <lb/>&longs;efece un Theatro di legno capace di ottant amila per&longs;one; che haueua la &longs;cena alt a in tre ordini, <lb/>con trecento & &longs;e&longs;&longs;anta colonne di marmo, & quelle del primo ordine inferiore erano alte <lb/>trent'otto piedi. </s> <s id="s.004356">La parte di &longs;otto della &longs;cena era di marmo, la di mezo di uetro, la di &longs;opra dorata, <lb/>& tra le colonne per adornamento ci erano da tre mila figure di metallo. </s> <s id="s.004357">Que&longs;to Theatro fu il <lb/>piu grande, che gia mai &longs;ia &longs;tato fabricato. </s> <s id="s.004358">per il che non potendo Curione, che per le e&longs;&longs;equie <lb/>del padre ne uolle far uno, aggiugnere a quella grandezza, ricor&longs;e per aiuto alla indu&longs;tria, do­<lb/>ue fece due Theatri amendue &longs;opra perni in modo bilicati, & &longs;o&longs;pe&longs;i, che &longs;i poteuano facilmente <lb/>girare. </s> <s id="s.004359">Sotto quelli Theatri erano le ca&longs;e, & i coperti doue &longs;tauano quelli, che con argane, & <lb/>ruotoli uolgeuano quelle gran machine de i Theatri. <!-- KEEP S--></s> <s id="s.004360">Fu co&longs;a marauiglio&longs;a (come dice Plinio) <lb/>& quel populo, che era uincitor del mondo, applaudeua in un tanto &longs;uo pericolo: perche una tra <lb/>ue di quella machina, che &longs;i fu&longs;&longs;e rotta, tutta la fabrica poteua ruinare, & rinouellare la &longs;trage <lb/>di Canne. <!-- KEEP S--></s> <s id="s.004361">Que&longs;ti Theatri uoltauano le curuature una in contra l'altra, perche le uoci de reci­<lb/>tanti non &longs;i confonde&longs;&longs;ero in&longs;ieme; poi &longs;i congiugneuano in&longs;ieme con le corna, & raggirati con <lb/>le genti &longs;opra faceuano uno amfitheatro, dapoi il mezo giorno per li giuochi de i gladiatori. </s> <s id="s.004362"><lb/>Con&longs;iderando io, che Plinio uuole, che cia&longs;cuno di quelli Theatri &longs;i moue&longs;&longs;e &longs;opra un perno, <lb/>& che di due Theatri &longs;i faceua uno amfitheatro, & uedendo non meno audacia, che ingegno in <lb/>tanta fattura: communicando le difficultà, che io haueua con me&longs;&longs;er France&longs;co Marcolini inge­<lb/>nio&longs;o inue&longs;tigatore di belle machine, hebbi di lui con mirabile &longs;olertia la inuentione di due punti, <lb/>ne i quali &longs;i poteuano porre i perni, & fare, che i Theatri nel uoltare non &longs;i tocca&longs;&longs;ero l'uno, & <lb/>l'altro. </s> <s id="s.004363">que&longs;ti punti per dirla breuemente erano gli e&longs;tremi del diametro dell'orche&longs;tra. </s> <s id="s.004364">Vero è, <lb/>che in piu luoghi &longs;i doueuano ponere de i ruotoli di bronzo di buona gro&longs;&longs;ezzà, accioche i Thea­<lb/>tri fu&longs;&longs;ero da quelli portati, & &longs;o&longs;tentati, Il Cardano nel libro della &longs;ottilità pone un'altro modo <lb/>di girare quelli Theatri, al quale io rimetto i lettori. </s> <s id="s.004365">Venne poi uoglia a Pompeio di farne uno, che <lb/>haue&longs;&longs;e a durare piu lungamente, & però lo fece di pietra, & lo ornò magnificamente, et fu mol­<lb/>to celebre. </s> <s id="s.004366">Oltra il quale ne fu uno in Leone di Marcello figliuolo di Ottauia &longs;orella di Augu&longs;to, <lb/>capace di ottantamila per&longs;one. </s> <s id="s.004367">Et un'altro che Cornelio Balbo fece pure arichie&longs;ta di Augu&longs;to, <lb/>che era di&longs;idero&longs;o di uedere la città molto adornata di fabriche, & edificij, come dice Vitr. nella <lb/>epi&longs;tola: ma tornamo a Vitr<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.004368">Sopra le fondamenta &longs;i deono leuar da terra i gradi di pietra, o di marmi. </s> <s id="s.004369">Le cinte &longs;e­<lb/>condo l'altezza del Theatro per la rata parte, nè piu alte di quello, che &longs;arà la larghezza <lb/>della cinta per doue &longs;i ua a torno. </s> <s id="s.004370">Perche &longs;e &longs;aranno piu alte &longs;cacciaranno la uoce <lb/>alla parte di &longs;opra, nè la&longs;ciaranno, che le parole &longs;iano pre&longs;e intieramente, & ter­<lb/>minate con il loro &longs;ignificato da quelli, che &longs;ederanno ne i &longs;eggi, che &longs;ono &longs;opra le cin­<lb/>te. </s> <s id="s.004371">Et in &longs;omma co&longs;i è nece&longs;&longs;ario, che ci gouernamo, che tirando una linea dal piu ba&longs;&longs;o, <lb/>al piu alto grado, tutte le e&longs;tremità de i gradi, & tutti gli anguli &longs;iano toccati da quella, <lb/>& co&longs;i la uoce non &longs;arà impedita. </s> </p> <p type="main"> <s id="s.004372"><emph type="italics"/>Deue&longs;i auuertire in que&longs;to luogo molto bene quello, che dice Vitr. che parla della graduatione, <lb/>doue &longs;tanno a &longs;e dere gli &longs;pettatori. </s> <s id="s.004373">& &longs;e bene io ho detto gradi, intendo però quello, che intende <lb/>& uuole Vitr. per quel nome che egli u&longs;a, di gradatione, cioè tutta l'opera, & fabrica della &longs;a­<lb/>lita; & dico, che le precintioni, che io ho detto cinte, altro non &longs;ono, che diui&longs;ioni d'intorno i <lb/>gradi, per lo piano delle quali &longs;i caminaua a torno. </s> <s id="s.004374">& uuole Vitr. che &longs;iano tanto alte, quanto <lb/>è la larghezza del piano per doue &longs;i camina. </s> <s id="s.004375">que&longs;ti piani &longs;ono detti da Vitr. itinera. </s> <s id="s.004376">& rende la <lb/>ragione, perche que&longs;te precintioni deono e&longs;&longs;ere co&longs;i alte.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004377"><emph type="italics"/>Se la cinta &longs;arà piu alta, che il &longs;uo piano largo, certo è che la uoce batterà in quella, perche <lb/>non potrà terminare per dritta linea alla parte di &longs;opra, e&longs;&longs;endo ribattuta, & rotta dall'altezza <lb/>della cinta. </s> <s id="s.004378">& però Vitr. ci da un rimedio, il quale è, che &longs;i tiri una linea, cioè o corda, o &longs;aco­<lb/>ma, o filo di ferro, che dal ba&longs;&longs;o cominci, & fin alla cima tocchitutti gli anguli de i gradi. </s> <s id="s.004379">per-<emph.end type="italics"/><pb pagenum="226" xlink:href="045/01/234.jpg"/><emph type="italics"/>che &longs;i come la corda non &longs;arà impedita da uno grado piu alto dell'altro, co&longs;i anche non <lb/>&longs;arà impedita la uoce ma &longs;alirà egualmente dal ba&longs;&longs;o fin alla cima, & &longs;arà inte&longs;a col &longs;uo­<lb/>no, anche la &longs;ignificatione delle parole. </s> <s id="s.004380">Vitruuio non ci dà regola qui dell'altezza de i <lb/>Theatri &longs;econdo la rata parte: però douemo auuertire, che i Theatri &longs;ono &longs;tati fatti ranto al <lb/>ti da alcuni, quanto era il piano di mezo, perche uiddero, che la uoce &longs;i perdeua ne i Theatri piu <lb/>ba&longs;&longs;i, & piu duramente &longs;i udiua ne i piu alti. </s> <s id="s.004381">Ma que&longs;to &longs;i potrà e&longs;pedire, dal luogo, dal di&longs;e­<lb/>gno, & dalle regole, che &longs;i daranno. </s> <s id="s.004382">Ecci un'altra regola, che riguarda alle per&longs;one, che ui <lb/>uanno, però dice.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004383">Bi&longs;ogna di&longs;ponere molti, & &longs;patio&longs;i aditi, & fargli in modo, che quelli di &longs;opra non <expan abbr="s'incō">s'incom</expan> <lb/>trino con quelli di &longs;otto, ma da ogni parte drizzati, & continui &longs;enza pieghe, o riuolgimen <lb/>ti, accioche le per&longs;one licentiate da gli &longs;pettacoli, non &longs;iano calcate, & oppre&longs;&longs;e, ma po&longs;­<lb/>&longs;ino u&longs;cire da ogni parte &longs;enza impedimento. </s> </p> <p type="main"> <s id="s.004384"><emph type="italics"/>Quella ragione, che è dell'u&longs;cire, è anche dello entrare. </s> <s id="s.004385">a&longs;cendeua il populo per gradi coperti, <lb/>& riu&longs;ciua &longs;opra i piani delle cinte gia dette. </s> <s id="s.004386">erano di qua, & di la le &longs;cale, altre commode, <lb/>& aperte, altre piu dritte, & coperte, per quelle a&longs;cendeuano i piu ripo&longs;ati, è maturi, per que­<lb/>&longs;te i piu curio&longs;i, & pre&longs;ti in modo, che era proui&longs;to alla età, & allo appetito d'ognuno.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004387">Egli &longs;i deue diligentemente auuertire, che il luogo non &longs;ia &longs;ordo, ma che la uoce po&longs;­<lb/>&longs;a liberamente chiara, & i&longs;pedita uagare, & que&longs;to &longs;i potra fare, &longs;e egli &longs;i eleggerà luogo, <lb/>doue non &longs;ia impedita la ri&longs;onanza. </s> <s id="s.004388">La uoce è &longs;pirito, che corre, & perco&longs;&longs;a dello aere <lb/>&longs;en&longs;ibile all'udito. </s> <s id="s.004389">Que&longs;ta &longs;i muoue con infiniti giramenti, non altrimenti, che &longs;e nel­<lb/>l'acqua ripo&longs;ata gettando&longs;i una pietra na&longs;ce&longs;&longs;ero innumerabili cerchi dell'onda, cre&longs;cen­<lb/>do a poco a poco dal centro, & allargando&longs;i, quanto piu pote&longs;&longs;ero, &longs;e non fu&longs;&longs;ero interrot <lb/>ti, dalla &longs;trettezza del luo go, o da qualche offe&longs;a, che non permette&longs;&longs;e que giri dell'onde <lb/>terminare fin doue &longs;i pote&longs;&longs;ero &longs;tendere. </s> </p> <p type="main"> <s id="s.004390"><emph type="italics"/>La uoce è &longs;uono cau&longs;ato dalla perco&longs;&longs;a dello aere, che diuer&longs;amente da natur ali &longs;trumenti del­<lb/>l'huomo è lo &longs;pirito fuori mandato. </s> <s id="s.004391">Il mouimento dello aere, perco&longs;&longs;o dallo &longs;pirito, è circolare, <lb/>come quello dell'acqua, doue &longs;ia gettata una pietra, ma &longs;i troua differente in que&longs;to, che i giri <lb/>fatti nell'acqua, po&longs;&longs;ono e&longs;&longs;er nomin ati piu pre&longs;to circoli nel piano dell'acqua: & quelli dello ae­<lb/>re, perche per ogni uer&longs;o &longs;i girano po&longs;&longs;ono e&longs;&longs;er chiamati sfere: conuengono però con quelli dell'ac <lb/>qua, perche &longs;e & que&longs;ti, & quelli non &longs;ono impediti, il &longs;econdo na&longs;ce dal primo, il terzo dal &longs;e­<lb/>condo, il quarto dal terzo fin che tanto s'allargano, & a&longs;&longs;ottigliano, che peruengono al fine, <lb/>& co&longs;i uanno dal primo fino all'ultimo &longs;empre cre&longs;cendo, perche la parte perco&longs;&longs;a moue la pro&longs;&longs;i<lb/>ma, & &longs;i allarga, & que&longs;to intende Vitr. quando dice.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004392">A dunque quando &longs;ono rattenute da alcuno o&longs;taculo le prime, che ridondano turbano <lb/>le de&longs;ignationi delle &longs;eguenti. </s> <s id="s.004393">con la i&longs;te&longs;&longs;a ragione & giramento &longs;i moue la uoce; ma <lb/>nell'acquai giri &longs;i moueno in larghezza con piano eguale, & la uoce nello aere, & per lar­<lb/>ghezza, & per altezza &longs;i &longs;pande, & a&longs;cende a poco a poco. </s> <s id="s.004394">Come adunque nell'acqua <lb/>con le de&longs;ignationi delle onde, co&longs;i nella uoce, quando non ui è o&longs;tacolo, nè la prima di <lb/>&longs;turba la &longs;econda, nè le &longs;eguenti, ma tutte con la loro ri&longs;onanza peruengono alle orec­<lb/>chie, &longs;i di quelli, che &longs;ono a ba&longs;&longs;o, come di quelli, che &longs;ono in alto: però gli antichi Ar­<lb/>chitetti &longs;eguitando i ue&longs;tigi della natura, nel cercare la ragione della uoce, fecero i gradi <lb/>de i Theatri in modo, che ordinatamente a&longs;cende&longs;&longs;ero, & cercarono per la regulare Ma­<lb/>thematica, & Mu&longs;ica ragione, che ogni uoce, che u&longs;ciua dalla &longs;cena, perueni&longs;&longs;e chiara, & <lb/>&longs;oaue alle orecchie de gli &longs;pettatori. </s> </p> <p type="main"> <s id="s.004395"><emph type="italics"/>Se adunque la uoce per lo aere &longs;i moue circolarmente, chi dubita, che la forma ritonda, & <lb/>circolare non conuegna al Theatro? </s> <s id="s.004396">perche quando il Theatro fu&longs;&longs;e di forme angulari, non per­<lb/>uenirebbe la uoce egualmente alle orecchie, & alcuni udirebbono bene come piu uicini, alcuni <lb/>male come piu lontani. </s> <s id="s.004397">Ecco adunque come lo Architetto deue e&longs;&longs;ere & Mu&longs;ico, & naturale.<emph.end type="italics"/><pb pagenum="227" xlink:href="045/01/235.jpg"/><emph type="italics"/>ma molto piu per quello, che &longs;egue, come &longs;i uedrà qui &longs;otto. </s> <s id="s.004398">Dice adunque Vitruuio <lb/>che gli antichi Architetti hanno u&longs;ato la regolata ragione de i Mathematici, intendendo per <lb/>canonica, & regolata la ragione de i numeri, della quale i Mu&longs;ici e&longs;perti &longs;i &longs;ogliono &longs;eruire: & <lb/>comprende la &longs;peculatione, & la pratica, dicendo la regulare Mathematica, & Mu&longs;ica ragio­<lb/>ne. </s> <s id="s.004399">Et perche il luogo &longs;ia piu ri&longs;uonante, oltra la circolar figura de i Theatri, oltra il giu&longs;to &longs;a­<lb/>limento de i gradi toccati tutti da un'i&longs;te&longs;&longs;a linea ne gli anguli loro, fecero &longs;opra gli ultimi, & &longs;o <lb/>premi gradi di &longs;opra un portico a torno il Theatro con ampie aperture dauanti, ma chiu&longs;o di die­<lb/>tro, accioche &longs;ottentrando la uoce in quelle ampiezze, ri&longs;uona&longs;&longs;e &longs;otto que uolti, come ri&longs;uona <lb/>nelle cauerne, & ne gli in&longs;trumenti, che hanno gran corpo. <!-- KEEP S--></s> <s id="s.004400">Di que&longs;ti portichi ne dirà Vitr. al <lb/>luogo &longs;uo, fin tanto auuertiremo a quello, che egli dice.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004401">Perche &longs;i come gli organi nelle lame d'ottone, o di corno &longs;i fanno perfetti con la die&longs;i <lb/>alla chiarezza de i &longs;uoni delle corde: co&longs;i le ragioni de i Theatri &longs;ono &longs;tate con ragione <lb/>Armonica ordinate da gli antichi allo accre&longs;cimento della uoce. <emph type="italics"/>Cioè, &longs;i come alla ragione <lb/>delle corde, & del loro &longs;uono s'accordano gli in&longs;trumenti di canne, & gli organi, co&longs;i con Ar­<lb/>monica ragione allo augumento della uoce da gli antichi &longs;ono &longs;tate ordinate le ragioni de i Theatri <lb/>come che uoglia dire, che la die&longs;i, che è la minima uoce, & principio di accordar gli instrumen<lb/>ti, habbia dato la regola di accordare gli in&longs;trumenti da canne. </s> <s id="s.004402">Entra adunque Vitr. con que­<lb/>&longs;to propo&longs;ito a ragionare dell'Armonia. </s> <s id="s.004403">Et dice, che co&longs;a è, & ne fa le figure, & de&longs;crittioni <lb/>interpretando la mente di Ari&longs;toxeno, del quale non douemo noi però troppo a&longs;&longs;icurarci: impero­<lb/>che egli attribuiua il tutto alle orecchie; niente concedeua alla ragione; diuideua il tuono in due <lb/>parti eguali, co&longs;a non approuata da i buoni Armonici, & finalmente è licentio&longs;o, & dubbio&longs;o au­<lb/>tore. </s> <s id="s.004404">dice adunque Vitr.<emph.end type="italics"/><!-- KEEP S--></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.004405"><emph type="italics"/>Dell' Armonia. <!-- KEEP S--></s> <s id="s.004406">Cap. IIII.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.004407">L'Armonia è mu&longs;ica litteratura, o&longs;cura, & difficile, & &longs;pecialmente a quelli, <lb/>che non hanno cono&longs;cenza di lettere Greche. <!-- KEEP S--></s> <s id="s.004408">la quale &longs;e noi uolemo e&longs;plica­<lb/>re, egli è anche nece&longs;&longs;ario di u&longs;are le parole Greche, perche alcuna co&longs;a di <lb/>quelle non ha i nomi latini. </s> <s id="s.004409">Et però quanto io potrò, aperti&longs;simamente in­<lb/>terpreterò da gli &longs;critti di Ari&longs;toxeno, & &longs;otto&longs;criuerò la &longs;ua de&longs;crittione, & di&longs;egnerò i <lb/>termini de i tuoni, accioche chi con piu diligenza ui attenderà, po&longs;&longs;a piu facilmente <lb/>intendere. </s> </p> <p type="main"> <s id="s.004410"><emph type="italics"/>Alla Mu&longs;ica appartiene, & con&longs;iderare, & operare d'intorno a que numeri, che ad altri &longs;i <lb/>riferi&longs;ceno, aggiuntoui il &longs;uono. </s> <s id="s.004411">per il che diuideremo la Mu&longs;ica principalmente in due parti, <lb/>delle quali una &longs;arà tutta po&longs;ta nel giuditio della ragione, & di quella poco ne dice Ari&longs;toxeno, <lb/>come di quella, che con&longs;ider a la natura, la differenza, & la proprietà d'ogni proportione, & <lb/>d'ogni con&longs;onanza, & pone di&longs;tintioni tra quelle co&longs;e, le quali per la loro &longs;ottigliezza non po&longs;&longs;o <lb/>no e&longs;&longs;ere giudicate dal &longs;en&longs;o. </s> <s id="s.004412">L'altra con&longs;umando&longs;i nelle operationi, & praticando in diuer&longs;e <lb/>maniere &longs;i con la uoce, come con gli instrumenti, & componimenti diletterà il &longs;en&longs;o de mortali <lb/>affaticato, & porgerà gentile ammae&longs;tramento della uita (come &longs;i uede nella poe&longs;ia) la quale <lb/>è una parte di que&longs;ta Mu&longs;ica delle principali. </s> <s id="s.004413">Mu&longs;ica adunque è ragione, & e&longs;&longs;ercitio della na­<lb/>tura Armonica. <!-- KEEP S--></s> <s id="s.004414">Armonica natura, è quella, che &longs;i puo con &longs;uoni adattare in&longs;ieme. </s> <s id="s.004415">La ragio­<lb/>ne non opera, cioènon di&longs;corre &longs;enza l'occa&longs;ione del &longs;en&longs;o, perche non fa giudicio di co&longs;e non pri­<lb/>ma cono&longs;ciute. </s> <s id="s.004416">Egli è adunque nece&longs;&longs;ario di congiugnere una parte, & l'altra in modo, che il <lb/>&longs;en&longs;o prima &longs;i adoperi, & poi &longs;egua la ragione. </s> <s id="s.004417">Onde ben dice Boetio, che bella co&longs;a è di cono­<lb/>&longs;cere con modo, & uia, che co&longs;a è, & che co&longs;a apporta quello, che è commune a tutti i uiuenti. </s> <s id="s.004418"><lb/>Di que&longs;te co&longs;e il uulgo non ha dubitatione, i dotti &longs;i torceno, i cono&longs;centi&longs;i dilettano. </s> <s id="s.004419">Et però la <emph.end type="italics"/><pb pagenum="228" xlink:href="045/01/236.jpg"/><emph type="italics"/>Mu&longs;ica, che diletta la mente, & le orecchie, è congiunta con la moralità, & con la &longs;peculatio <lb/>ne. </s> <s id="s.004420">Accioche adunque il &longs;uono accompagnato dolcemente peruenga alle orecchie, & che que <lb/>giri, che &longs;a la uoce nello aere, non &longs;iano impediti, l'uno dall'altro con &longs;proportionati mouimenti, <lb/>ma &longs;oauemente s'accompagnino, & s'aiutino in&longs;ieme, & accioche la mente &longs;i riuolga alla cagio­<lb/>ne della dolcezza della &longs;oauità de i &longs;uoni, bi&longs;ogna prima con&longs;iderare il principio, da cui la uoce <lb/>prende attitudine di potere e&longs;&longs;ere regolata, & di cadere &longs;otto l'Armonia, & con quale moui­<lb/>mento ella &longs;i moua, & come peruenga alla perfetta compo&longs;itione. </s> <s id="s.004421">alche fare era nece&longs;&longs;ario di di <lb/>re prima, che co&longs;a fu&longs;&longs;e uoce, & come nello aere &longs;i moueua. </s> <s id="s.004422">però Vitr. ce lo ha dimo&longs;trato di &longs;o­<lb/>pra, & il re&longs;tante è qui &longs;otto.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004423">La uoce quando con mutationi &longs;i piega, alcuna fiata &longs;i fa graue, alcuna &longs;iata &longs;i rende <lb/>acuta, & a due modi &longs;i moue, de i quali uno ha gli effetti continuati, l'altro di&longs;tinti. </s> <s id="s.004424">La <lb/>continuata non &longs;i ferma ne in termini, nè in alcun luogo, ma &longs;uol fare le &longs;ue terminatio. </s> <s id="s.004425"><lb/>ni non apparenti, & gli interualli di mezo manife&longs;ti, come quando parlando dicemo. </s> <s id="s.004426"><lb/>Sol. <!-- REMOVE S-->Fior. <!-- REMOVE S-->Mar. <!-- REMOVE S-->Ben. <!-- REMOVE S-->perche co&longs;i nè doue comincia, nè doue termina &longs;i cono&longs;ce, ma ne <lb/>di acuta s'è fatta graue, nè di graue acuta appare alle orecchie. </s> <s id="s.004427">per lo contrario adiuiene <lb/>quando la uoce &longs;i moue con di&longs;tanza, perche quando la uoce nel mutar&longs;i &longs;i piega uiene a <lb/>fermar&longs;i nella terminatione d'alcun &longs;uono, da poi &longs;i muta in un'altro, & facendo que&longs;to <lb/>&longs;pe&longs;&longs;e uolte di qua, & di la, appare incon&longs;tante a i &longs;en&longs;i, come adiuiene nelle canzoni, <lb/>nelle quali piegando le uoci facemo uatiare il canto: & però quando la uoce con interual­<lb/>li è riuolta, egli appare in manife&longs;te terminationi di &longs;uoni, doue comincia, & doue <lb/>fini&longs;ce. </s> </p> <p type="main"> <s id="s.004428"><emph type="italics"/>Que&longs;ta diui&longs;ione è fatta (come dice Ari&longs;toxeno) per &longs;eparar la uoce, che è atta ad entrare <lb/>nell' Armonia, da quella, che non è atta. </s> <s id="s.004429">La uoce adunque &longs;i moue in due modi: prima che pare <lb/>all'orecchia (come è) continuata, nè che mai &longs;i fermi in alcun modo di terminatione. </s> <s id="s.004430">que&longs;ta dal <lb/>lo effetto &longs;uo &longs;i chiama ragioneuole, perche con quello mouimento di uoce &longs;iamo &longs;oliti di parlare, <lb/>& ragionare non alterando la uoce. </s> <s id="s.004431">Dapoi &longs;i moue la uoce in modo, che pare di&longs;tinta, & che &longs;i <lb/>parta da uno grado d'altezza, & peruenga ad un'altro, & che &longs;i muti in diuer&longs;e terminationi <lb/>di &longs;uoni; onde da que&longs;to effetto &longs;i chiama di&longs;tinta; ma dall'u&longs;o melodica, cioè u&longs;ata da chi canta, <lb/>o recita uer&longs;i. </s> <s id="s.004432">perche quando noi cantamo, o recitamo uer&longs;i, alzamo, & abba&longs;&longs;amo di&longs;tinta­<lb/>mente la uoce fermandola, & ripigliandola &longs;i, che il &longs;en&longs;o la cono&longs;ce di&longs;tinta. </s> <s id="s.004433">Benche Boetio uo <lb/>glia, che nello recitar uer&longs;i &longs;i u&longs;i una uoce mezana, & mista tra la continua, & la di&longs;tinta. </s> <s id="s.004434">La <lb/>uoce continua, & d'uno i&longs;te&longs;&longs;o tenore non è &longs;ottoposta alla con&longs;ideratione della Mu&longs;ica, perche <lb/>doue non è graue, & acuto non è con&longs;onanza; ma &longs;i bene la di&longs;tinta. </s> <s id="s.004435">nè questa anchora &longs;arà at <lb/>ta alle con&longs;onanze, prima, che peruenga ad un certo luogo, &longs;i come adiuiene a molti corpi, i qua­<lb/>li non &longs;ono atti a cadere &longs;otto la ragione del pe&longs;o, &longs;e non hanno una certa quantità, & grandezza, <lb/>nè po&longs;&longs;ono uenire &longs;otto la pro&longs;pettiua, &longs;e non hanno quel tanto, che è fine del non poter e&longs;&longs;er uedu <lb/>li, & principio dello e&longs;&longs;er ueduti: perche la natura non comporta, che le minime differenze &longs;ia­<lb/>no a i &longs;en&longs;i de gli huomini &longs;ottopo&longs;te. </s> <s id="s.004436">Il &longs;uono adunque di&longs;tinto, & ridotto ad una certa, & &longs;en­<lb/>&longs;ibile quantità, è principio dell'Armonia, come la unità è principio del numero; il punto della li <lb/>nea; lo in&longs;tante del tempo. </s> <s id="s.004437">La natura ha circon&longs;critto la uoce di cia&longs;cuno in modo, che il pri­<lb/>mo luogo di quella, è il piu ba&longs;&longs;o, & il piu graue, che po&longs;&longs;a e&longs;&longs;er in alcuno. </s> <s id="s.004438">ma perche facendo <lb/>&longs;empre un &longs;uono, & in quello fermando&longs;i la uoce, non ne riu&longs;cirebbe alcuna Armonia: però deono <lb/>le uoci mutar&longs;i, & &longs;alire, & piegar&longs;i in diuer&longs;e terminationi, accioche la piu ba&longs;&longs;a con la piu al­<lb/>ta con proportione ri&longs;ponda. </s> <s id="s.004439">La uia adunque della &longs;alita, anzi la &longs;alita &longs;i chiama &longs;patio, & di­<lb/>&longs;tintione, & interuallo. </s> <s id="s.004440">ma la comparatione ri&longs;petto a i termini, è diuer&longs;a, però &longs;tando lo &longs;pa­<lb/>tio, quando la uoce dal ba&longs;&longs;o a&longs;cende allo alto, dicemu, che ella &longs;i fa piu intenta, piu acuta, o <lb/>piu alta: ma quando dallo alto &longs;i parte, & uiene al ba&longs;&longs;o, dicemo, che la &longs;i rimette, & s'abba&longs;­<lb/>a, & che diu enta graue. </s> <s id="s.004441">Et &longs;i come la natura ha dato il principio della uoce alla parte piu ba&longs;-<emph.end type="italics"/><pb pagenum="229" xlink:href="045/01/237.jpg"/><emph type="italics"/>&longs;a, di cui la Mu&longs;ica &longs;ene &longs;erue, co&longs;i &longs;alendo qua&longs;i per gradi &longs;i troua il maggior grado, al quale po&longs;&longs;a <lb/>la uoce naturalmente, & commodamente &longs;alire: non in modo, che quello, che la natura ha dato per <lb/>piu alto &longs;i prenda dall'arte, ma in modo, che &longs;otto quello &longs;i truoui quel &longs;uono della uoce, che &longs;ia <lb/>il piu alto, & ri&longs;ponder po&longs;&longs;a al primo in perfetti&longs;&longs;ima con&longs;onanza, di maniera, che &longs;e piu oltre <lb/>&longs;i pa&longs;&longs;a&longs;&longs;e con la uoce &longs;alendo, o &longs;i face&longs;&longs;e &longs;trepito, ouero ad altra con&longs;onanza non &longs;i perueni&longs;&longs;e. </s> <s id="s.004442"><lb/>Ma perche non &longs;i peruiene dal primo all'ultimo, cioè, dal piu ba&longs;&longs;o al piu alto &longs;uono &longs;enza mezi: <lb/>però &longs;alendo la uoce dal primo, & piu ba&longs;&longs;o luogo al &longs;ommo, & piu alto, che regolar &longs;i po&longs;&longs;a, è <lb/>nece&longs;&longs;ario, che ella tocchi diuer&longs;i gradi, & quelli &longs;iano con proportionati &longs;patij di&longs;tinti. </s> <s id="s.004443">l'ordi­<lb/>nanza della &longs;alita delle uoci dalla piu ba&longs;&longs;a alla piu alta è detta da Greci &longs;i&longs;tema, & da nostri Sca <lb/>la: & perche praticandola, la riducono &longs;opra la mano, però la chiamano Mano, i Greci uoglio­<lb/>no dire, ordinata compo&longs;itione, i no&longs;tri commoda & ben compo&longs;ta &longs;alita. </s> <s id="s.004444">Quella &longs;alita &longs;i dà ad <lb/>intendere con linee, & interualli, che chiamamo riga, è &longs;patio. </s> <s id="s.004445">La &longs;cala adunque è una com­<lb/>po&longs;itione di righe, & di &longs;patij dritte & egualmente prodotti, nella quale &longs;i uedeno &longs;critte le note <lb/>d'ogni canto. </s> <s id="s.004446">L'u&longs;o delle rige, & de gli &longs;patij è, accioche &longs;i cono&longs;ca di&longs;tintamente la di&longs;tanza <lb/>della &longs;alita & della di&longs;ce&longs;a delle note, le quali non &longs;ono altro, che &longs;egni di mandar fuori la uoce, <lb/>& del tempo, che ella &longs;i deue tenere. </s> <s id="s.004447">Hauemo adunque fin hora, come deue e&longs;&longs;er quella uoce, <lb/>che è atta alla melodia: Et Vitr. la&longs;ciando a drieto molte co&longs;e, che dice Ari&longs;toxeno fra mezo, <lb/>uiene alla diui&longs;ione delle melodie. </s> <s id="s.004448">& dice.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004449">Le maniere de i canti &longs;ono tre, l'una e detta da Greci armonia, l'altra chroma. </s> <s id="s.004450">la terza <lb/>diatonon. </s> <s id="s.004451">Il canto armonico è concetto dall'arte, & per quella cagione il &longs;uo cantare ri <lb/>tiene grauità, & autorità non poca. </s> <s id="s.004452">Ma il chroma ornato di &longs;ottile &longs;olertia, & frequenza <lb/>de moduli porge piu &longs;oaue dilettatione. </s> <s id="s.004453">Ma il Diatono per e&longs;&longs;er naturale è piu facile per <lb/>la di&longs;tanza de gli interualli. </s> </p> <p type="main"> <s id="s.004454"><emph type="italics"/>Se io haue&longs;&longs;i a trattare della Mu&longs;ica, io la ordinarei altramente; Ma io intendo di &longs;eguitare <lb/>il modo propo&longs;to da Vitr. <!-- KEEP S--></s> <s id="s.004455">Maniera, o Genere è un certo compartimento de gli &longs;patij nelle &longs;cale, <lb/>& nelle ordinanze, che rappre&longs;enta diuer&longs;e Idee d'Armonia: & di que&longs;ti diremo partitamente <lb/>qui &longs;otto, facendo chiaro, quello che pare a molti o&longs;curo, & di&longs;&longs;icile. </s> <s id="s.004456">Tre&longs;ono adunqae i gene <lb/>ri della melodia. </s> <s id="s.004457">Chromatico, Diatonico, Armonico. <!-- KEEP S--></s> <s id="s.004458">Que&longs;ti prendeno i nomi loro dalla uici­<lb/>nanza, ouero dalla lontananza de gli &longs;patij, nelle &longs;cale, & ordinanze. </s> <s id="s.004459">Armonico è quello, che <lb/>nella &longs;ua ordinanza, abonda di pro&longs;&longs;imi, & piccioli&longs;&longs;imi interualli, & breui&longs;&longs;ime &longs;alite della <lb/>uoce, & è co&longs;i chiamato, qua&longs;i adattato, & con&longs;ertato. </s> <s id="s.004460">Diatonico è co&longs;i detto, perche <lb/>abonda di &longs;patij distanti per tuoni, qua&longs;i andante per tuoni. </s> <s id="s.004461">& in quello la uoce mol­<lb/>to &longs;i stende. </s> <s id="s.004462">Chromatico è quello, che piu abonda di &longs;emituoni nel &longs;uo compartimento. </s> <s id="s.004463"><lb/>Chroma &longs;ignifica colore: & perche que&longs;to genere come colore &longs;i muta dalla prima in­<lb/>tentione, però è co&longs;i nominato. </s> <s id="s.004464">Di que&longs;ti tre generi piu uicino alla natura è il Diato­<lb/>nico, perche egli &longs;uccede qua&longs;i da &longs;e ad ognuno, che canta &longs;enza ammae&longs;tramento. </s> <s id="s.004465"><lb/>Piu artificio&longs;o è il chromatico, come quello, che &longs;i e&longs;&longs;ercita &longs;olamente da gli ammae­<lb/>&longs;trati: Et però la maggior parte de i Mu&longs;ici s'affatticaua in que&longs;to genere: per­<lb/>che &longs;empre uoleuano raddolcire, & ammollire gli animi. </s> <s id="s.004466">Lo Armonico è piu effi— <lb/>cace, & è &longs;olo de gli eccellenti nella Mu&longs;ica, & è pre&longs;tanti&longs;&longs;imo tra ogni com <lb/>ponimento. </s> <s id="s.004467">& molti per la debolezza loro non lo ammetteno, perche egli non &longs;i <lb/>puo co&longs;i facilmente mettere in u&longs;o. </s> <s id="s.004468">Seuero, & fermo, & con&longs;tante è il Diatonico, <lb/>& dimo&longs;tra co&longs;tumi, & habiti uirili. </s> <s id="s.004469">Molle, & lamenteuole è il Chromati— <lb/>co. </s> <s id="s.004470">Quando adunque &longs;ia, che noi uogliamo fare un'ordinanza, ouero una &longs;cala, <lb/>che tanto è, quanto accordare uno &longs;trumento, nece&longs;&longs;ario è, che &longs;appiamo &longs;econdo <lb/>quale de i tre generi lo uogliamo compartire; perche a materie dolci, & lagrimeuoli, ci <lb/>uuole il Chromatico: & alle grandi, & heroiche il Diatonico, come altre ad altri generi, o ad <lb/>altre me&longs;colanze di quelli; perche ognuno de i predetti generi a piu modi &longs;peciali &longs;i puo partire; & <emph.end type="italics"/><pb pagenum="230" xlink:href="045/01/238.jpg"/><emph type="italics"/>quelli particolari compartimenti di cia&longs;cun genere gli danno un certo a&longs;petto, & forma diuer&longs;a, <lb/>qua&longs;i a gui&longs;a di pittori colorandogli, accioche &longs;i facciano udire &longs;econdo le Idee, che &longs;i uuole, & <lb/>non &longs;i faccia a ca&longs;o la imit atione delle co&longs;e, che &longs;ono grandi, con&longs;tanti, molli, mutabili, tempera­<lb/>te, e mediocri, come comporta la loro natura; nel che con&longs;i&longs;te ogni bello effetto dell' Armonia. <!-- KEEP S--></s> <s id="s.004471"><lb/>però &longs;i come è co&longs;a degna di con&longs;ideratione, co&longs;i a giorni no&longs;tri è poco con&longs;iderata; & molti pen­<lb/>&longs;ano col genere Diatonico di &longs;atisfare ad ogni qualità di co&longs;e, & &longs;tanno o&longs;tinati, nè uogliono udi­<lb/>re alcuna ragione, o perche pare loro di perdere quanto hanno imparato, o che impo&longs;&longs;ibil &longs;ia o&longs;­<lb/>&longs;eruar que&longs;te regole, o perche ueramente &longs;ono ignoranti, & &longs;prezzatori di quello, che non &longs;an­<lb/>no. </s> <s id="s.004472">Io uorrei, che qui fu&longs;&longs;e luogo di e&longs;ponere le idee, & i colori conuenienti ad ogni qualità di co­<lb/>&longs;e, &longs;econdo i loro generi, perche con uiua i&longs;perienza delle orecchie confermata da inuincibili ra­<lb/>gioni, gli farei confe&longs;&longs;ar lo error loro; ma troppo tempo, & maggior occa&longs;ione &longs;i richiede. </s> <s id="s.004473">ben <lb/>affermo &longs;e pen&longs;ano col genere Diatonico &longs;olo rappre&longs;entare tutti gli affetti humani, che s'ingan <lb/>nano grandemente. </s> <s id="s.004474">perche come dice Vitru.<emph.end type="italics"/><!-- REMOVE S-->In que&longs;te tre maniere di&longs;simiglianti &longs;ono le di&longs;po&longs;itioni de i Tetracordi, perche i tera­<lb/>cordi del genere Armonico hanno due tuoni, & due die&longs;i. </s> </p> <p type="main"> <s id="s.004475">Die&longs;i è la quarta parte del tuo­<lb/>no, & co&longs;i in uno &longs;emituono &longs;ono due die&longs;i. </s> <s id="s.004476">Nel chromatico &longs;ono po&longs;ti in ordine due <lb/>mezi tuoni, ma il terzo &longs;pacio è di tre &longs;emituoni. </s> <s id="s.004477">Il Diatonico ua per due continuati tuo <lb/>ni, & con lo terzo &longs;pacio d'un &longs;emituono compie la grandezza del &longs;uo Tetracordo. <!-- KEEP S--></s> <s id="s.004478">& <lb/>a que&longs;to modo i Tetracordi, ne i tre generi agguagliati &longs;ono, & pareggiati di due tuoni, <lb/>& d'un &longs;emituono. </s> </p> <figure id="id.045.01.238.1.jpg" xlink:href="045/01/238/1.jpg"/> <p type="main"> <s id="s.004479"><emph type="italics"/>In tutti i Tetracordi d'ogni genere &longs;ono quattro termini, o &longs;uoni, o gradi, che uoglian dire. </s> <s id="s.004480">tut­<lb/>ti &longs;altano ad una &longs;omma in tre &longs;alti, ma diuer&longs;amente. </s> <s id="s.004481">perche l'Armonico &longs;ale dalla metà d'un <lb/>&longs;emituono, che die&longs;i &longs;i chiama, & que&longs;to è il primo pa&longs;&longs;o, o interuallo. </s> <s id="s.004482">il &longs;econdo pa&longs;&longs;o è di &longs;a­<lb/>lita ad un'altra metà di &longs;emituono, & d'indi allo &longs;pacio d'un ditono. </s> <s id="s.004483">Il chromatico ha lo primo <lb/>&longs;patio d'un &longs;emituono, & &longs;imilmente il &longs;econdo, ma &longs;ale poi al Trihemituono. </s> <s id="s.004484">Finalmente il dia­<lb/>tonico, ha lo primo &longs;pacio d'un tuono, lo &longs;econdo d'un tuono, il terzo di mezo tuono. </s> <s id="s.004485">&longs;i che in <lb/>ogni genere il Tetracordo è compo&longs;to di due tuoni, & un &longs;emituono. </s> <s id="s.004486">& que&longs;to è che dice <lb/>Vitru. che i Tetracordi &longs;ono ne i tre generi agguagliati, & pareggiati di due tuoni, & d'un &longs;e­<lb/>mituono. </s> <s id="s.004487">& perche s'intenda meglio quanto dice Vitru. dirò che co&longs;a è Tetracordo, che co&longs;a è <lb/>&longs;pacio, & interuallo, & dichiarirò gli altri termini po&longs;ti da lui, quanto io pen&longs;erò, che &longs;ia per <lb/>&longs;atisfare al pre&longs;ente bi&longs;ogno, con quella breuità, & chiarezza, che &longs;i puo in &longs;imile materia diffi­<lb/>cile, a&longs;co&longs;a, & alla lingua no&longs;tra &longs;traniera. </s> <s id="s.004488">Delle &longs;cale, & ordinanze perfetta è quella, che con <lb/>i gradi della piu ba&longs;&longs;a, & della piu alta uoce contiene quella con&longs;onanza, che le abbraccia tut-<emph.end type="italics"/><pb pagenum="231" xlink:href="045/01/239.jpg"/><emph type="italics"/>te, & que&longs;to non &longs;i puo &longs;are &longs;e la ordinanza della &longs;cala non tiene quindici gradi di uoce, & quat­<lb/>tordici &longs;pacij. </s> <s id="s.004489">Grado io intendo il luogo della uoce o alta, o ba&longs;&longs;a, che &longs;ia: ma perche da prima <lb/>l'huomo nel mondo non ha fatto perfette le co&longs;e delle arti, ma le &longs;cienze, & le dottrine a poco a <lb/>poco con l'aggiunta de i &longs;ucce&longs;&longs;ori &longs;ono cre&longs;ciute; però non fu ritrouato da principio tutta la <lb/>&longs;cala, & ordinanza delle uoci, ma bene dapoi &longs;i &longs;ono formati tutti i gradi. </s> <s id="s.004490">la onde nel formare <lb/>gli instrumenti mu&longs;icali &longs;i u&longs;auano le corde & i nerui de gli animali, i quali rendeuano i &longs;uoni pro <lb/>portionati, & anche &longs;i e&longs;&longs;ercitaua &longs;enza alcuna Mu&longs;ica la ragione &longs;opra una &longs;ola corda, parten <lb/>dola numero&longs;amente in modo, che toccando quella uota, & poi &longs;opra uno &longs;pacio determinato, ren­<lb/>deua quella con&longs;onanza, che &longs;i cercaua. </s> <s id="s.004491">Questa forma &longs;i chiamaua monocordo, di modo, che <lb/>u'era una corda &longs;ola. </s> <s id="s.004492">Ma gli antichi uolendo e&longs;&longs;ercitare la Mu&longs;ica, faceuano gli in&longs;trumenti di <lb/>piu corde, dal numero delle quali dauano il nome a gli in&longs;trumenti. </s> <s id="s.004493">Però chiamauano tetracor­<lb/>do lo instrumento di quattro corde, pentacordo quello di cinque, & co&longs;i nel resto fino allo instru<lb/>mento pentecacordo, cioè di quindici corde corri&longs;pondenti a quindici gradi della uoce, che faceua <lb/>no quattordici &longs;pacij, & interualli. </s> <s id="s.004494">&longs;pacio, & interuallo non è altro (come ho detto) che quan <lb/>tità della uoce tra due &longs;uoni. </s> <s id="s.004495">& qui è ripre&longs;o Ari&longs;toxeno, che pone la grauità, & l'acutezza del <lb/>la uoce in qualità, & non in quantità. </s> <s id="s.004496">Dalle dette co&longs;e &longs;i ha che alcune ordinanze &longs;aranno mag­<lb/>giori, alcune minori. </s> <s id="s.004497">Maggiori &longs;ono quelle, che hanno piu gradi, & minori quelle, che ne hanno <lb/>meno. </s> <s id="s.004498">La doue grandi&longs;&longs;ima &longs;arà quella appre&longs;&longs;o gli antichi, che hauerà quindici gradi. </s> <s id="s.004499">Dico <lb/>appre&longs;&longs;o gli antichi, perche dapoi ne &longs;ono stati aggiunti de gli altri, perche niente ci uieta, che con <lb/>ragione non andiamo piu oltre, & &longs;pecialmente nel fare gli instrumenti mu&longs;icali, che po&longs;&longs;ono &longs;a­<lb/>lire piu alto della uoce humana, laquale temperatamente tra quelli quindici &longs;i contiene. </s> <s id="s.004500">& &longs;e piu <lb/>oltra pa&longs;&longs;a&longs;&longs;e potrebbe e&longs;&longs;ere strepito&longs;a, & inetta all'ordinanza: ilche non adiuiene in molti &longs;tru­<lb/>menti. </s> <s id="s.004501">Noi hauemo dichiarito, che co&longs;a è &longs;pacio, & che co&longs;a è Tetracordo. <!-- KEEP S--></s> <s id="s.004502">ci re&longs;tano alcuni al <lb/>tri nomi, per fare la intelligenza di Vitr. piu piana, & &longs;ono que&longs;ti. </s> <s id="s.004503">Die&longs;i, Tuono, &longs;emituono, tri­<lb/>hemituono, Ditono. <!-- REMOVE S-->che &longs;ono i nomi de gli interualli. </s> <s id="s.004504">Il tuono adunque è il principio della con&longs;o­<lb/>nanza, cioè il primo termine, & fondamento della con&longs;onanza, nato da proportione &longs;e&longs;quiotta­<lb/>ua. </s> <s id="s.004505">Con&longs;onanza è uno me&longs;colamento di &longs;uoni graui, & acuti proportionati, che con diletto per­<lb/>uiene alle orecchie. </s> <s id="s.004506">io ho detto nel terzo libro, che co&longs;a è proportione &longs;e&longs;quiottaua cioè quando il <lb/>piu contiene il meno una fiata, & la &longs;ua ottaua parte; come noue contiene otto. </s> <s id="s.004507">chi uuole adun­<lb/>que proportionare i &longs;uoni, è nece&longs;&longs;ario proportionare gli &longs;pacij, & chi uuole proportionare gli &longs;pa­<lb/>cij, bi&longs;ogna che u&longs;i i numeri, & le loro ragioni, & quella proportione, che è tra &longs;pacio è &longs;pacio, <lb/>&longs;arà anche da &longs;uono a &longs;uono: però doue lo &longs;pacio &longs;arà compartito in &longs;e&longs;quiottaua, ouero in altra <lb/>proportione di numeri, iui il &longs;uono hauerà la i&longs;te&longs;&longs;a comparatione. </s> <s id="s.004508">Volendo adunque fare che una <lb/>corda ri&longs;ponda un tuono, partirai la &longs;ua lunghezza in noue parti, & ponerai lo &longs;cabello &longs;otto le <lb/>otto la&longs;ciandoue una fuori, & co&longs;i hauendo toccato prima la corda uota, intiera, & &longs;enza &longs;ca <lb/>bello, poi toccando quello &longs;pacio dallo &longs;cabello in poi, che è lungo otto parti, trouerai che ella <lb/>ti renderà un tuono. </s> <s id="s.004509">&longs;ia la corda tirata &longs;opra un piano, a b, & &longs;ia diui&longs;o &longs;otto di quella il pia­<lb/>no &longs;econdo la lunghezza della corda in noue parti, dico che la parte. </s> <s id="s.004510">c. <!-- REMOVE S-->b. <!-- REMOVE S-->che la&longs;cia fuori una <lb/>delle noue parti, & ne abbraccia otto, &longs;onerà un tuono, con tutta la corda. </s> <s id="s.004511">Ma prima del tuo­<lb/>no ponemo l'uni&longs;ono, che è lo i&longs;te&longs;&longs;o, & perpetuo tenore della uoce &longs;enza a&longs;ce&longs;a, & di&longs;ce&longs;a, come <lb/>hanno tutte le note, che &longs;ono &longs;opra la i&longs;te&longs;&longs;a riga, o tra lo i&longs;te&longs;&longs;o &longs;pacio. </s> <s id="s.004512">la doue l'uni&longs;ono non è <lb/>&longs;pacio, ma fondamento de gli &longs;pacij: come ut ut. </s> <s id="s.004513">re re. </s> <s id="s.004514">&longs;opra una i&longs;te&longs;&longs;a riga, ouero tra uno i&longs;te&longs;&longs;o <lb/>&longs;pacio. </s> <s id="s.004515">Ma il tuono è notato con la di&longs;tanza, che è da una riga al &longs;eguente &longs;pacio, o per lo con­<lb/>trario, come dall'ut, al re, a&longs;cendendo, ouero dal re, all'ut, de&longs;cendendo: & qui anche è ripre&longs;o <lb/>Ari&longs;toxeno, ilquale non u&longs;a numeri nel notare le uoci per raccorre le proportioni, ma piglia la <lb/>loro differenza nel mezo, di modo, che egli pone la &longs;peculatione non nelle uoci, ma in quello, in <lb/>che elle &longs;ono differenti, co&longs;a non bene con&longs;iderata, credendo&longs;i egli &longs;apere la differenza di quelle <lb/>uoci, dellequali egli nè mi&longs;ura, nè grandezza ritruoua, dando il tutto al giudicio delle orecchie.<emph.end type="italics"/><pb pagenum="232" xlink:href="045/01/240.jpg"/><emph type="italics"/>Diuide egli il tuono in due parti eguali, & que&longs;te chiama &longs;emituoni, & non uede, che niuna pro­<lb/>portione &longs;oprapartiente, come è quella, in che con&longs;i&longs;te il tuono, &longs;i puo diuidere in due parti eguali. </s> <s id="s.004516"><lb/>poi che adunque il tuono non &longs;i puo egualmente diuidere, egli &longs;i partirà in due parti di&longs;eguali, <lb/>una dellequali &longs;i chiama &longs;emituono minore, & die&longs;i: l'altra &longs;emituono maggiore, & Apotome. <!-- KEEP S--></s> <s id="s.004517"><lb/>Il &longs;emituono minore, è quella parte del tuono, per laquale, la proportione &longs;e&longs;quiterza, è mag gio­<lb/>re di due tuoni, cioè di due &longs;e&longs;quiottaue. </s> <s id="s.004518">Ecco lo e&longs;&longs;empio. </s> <s id="s.004519">Partirai lo &longs;pacio della lunghezza <lb/>della corda, in quattro parti, & al fine della prima &longs;ottoponi lo &longs;cabello, la corda intiera, con <lb/>le tre parti &longs;uonera una &longs;e&longs;quiterza, perche co&longs;i è diui&longs;o lo &longs;pacio, dalla cui proportione (come <lb/>ho detto) deriua la proportione del &longs;uono. </s> <s id="s.004520">&longs;e adunque ponerai &longs;opra la detta corda duè continua <lb/>ti tuoni, partendola come s'è detto di &longs;opra, dico che lo &longs;pacio, che &longs;arà dallo &longs;cabello, doue è <lb/>&longs;egnato il &longs;econdo tuono, allo &longs;cabello, doue è &longs;egnata la &longs;e&longs;quiterza, ti &longs;uonerà il &longs;emituono, <lb/>che è &longs;pacio come dal mi, al fa, & co&longs;i hauerai quattro termini. </s> <s id="s.004521">ut. </s> <s id="s.004522">re. </s> <s id="s.004523">mi. </s> <s id="s.004524">fa. </s> <s id="s.004525">è tre &longs;pacij. </s> <s id="s.004526">l'uno <lb/>da ut. </s> <s id="s.004527">are. </s> <s id="s.004528">che è un tuono, l'altro da re, a mi, che è il &longs;econdo tuono, & il terzo, che è da mi. </s> <s id="s.004529">a <lb/>fa. </s> <s id="s.004530">che è un &longs;emituono minore, o die&longs;i, & que&longs;to è il Tetracordo del genere diatonico, che chiude <lb/>la con&longs;onanza nata da proportione &longs;e&longs;quiterza, che i no&longs;tri chiamano quarta, che &longs;ale da ut. </s> <s id="s.004531">a fa. </s> <s id="s.004532"><lb/>per due tuoni, & un &longs;emituono minore. </s> <s id="s.004533">Ma il &longs;emituono maggiore è lo re&longs;tante del tuono, cioè <lb/>quello, che è piu della &longs;e&longs;quiterza al terzo tuono. </s> <s id="s.004534">però ponerai &longs;opra la corda tre continuati tuo­<lb/>ni, la&longs;ciando la &longs;e&longs;quiterza al &longs;uo luogo, & hauerai dalla &longs;e&longs;quiterza al re&longs;to del tuono il &longs;emi­<lb/>tuono maggiore. </s> <s id="s.004535">Que&longs;to nome adunque di &longs;emituono non importa mezo tuono a punto, &longs;i come <lb/>&longs;emiuocale, non &longs;i piglia per meza uocale a punto; ma perche è meno, & non arriua allo e&longs;&longs;er <lb/>uocale, & far uoce da &longs;e, come fanno le uocali. </s> <s id="s.004536">Et que&longs;to detto hauemo nel quarto libro, par­<lb/>lando delle &longs;emimetope, & de gli hemitrigli&longs;i. </s> <s id="s.004537">Dico poi, che il tuono & &longs;emituono, benche non <lb/>fanno Armonia, & con&longs;onanza, nientedimeno egli &longs;i deue con&longs;ider are l'uno, & l'altro, sì perche <lb/>di&longs;tingueno gli &longs;pacij delle con&longs;onanze, & mi&longs;urano i mezi Mu&longs;icali, sì perche le &longs;ode con&longs;onanze <lb/>per l'uno, & l'altro &longs;i legano in&longs;ieme, & finalmente all'uno, & all'altro &longs;i attribui&longs;ce la forza di <lb/>commouere gli affetti. </s> <s id="s.004538">I numeri d'un tuono &longs;ono otto, & noue. </s> <s id="s.004539">di due ottantauno. </s> <s id="s.004540">&longs;ettanta due, <lb/>&longs;e&longs;&longs;antaquattro. </s> <s id="s.004541">& &longs;i fanno moltiplicando otto in &longs;e, noue in &longs;e, & otto in noue. </s> <s id="s.004542">I numeri di tre <lb/>tuoni &longs;ono,<emph.end type="italics"/> 729. 648. 576. 512. <emph type="italics"/>moltiplicando<emph.end type="italics"/> 81. 72. 64. <emph type="italics"/>per noue. </s> <s id="s.004543">&<emph.end type="italics"/> 64. <emph type="italics"/>per ot­<lb/>to. </s> <s id="s.004544">& a que&longs;to modo uanno i tuoni continuando con i numeri, ne i quali la proportione del mag­<lb/>giore al minore è &longs;empre &longs;e&longs;quiottaua. </s> <s id="s.004545">tuono adunque è come da ut, are, da riga a &longs;pacio, Ditono <lb/>come da ut. </s> <s id="s.004546">a mi. </s> <s id="s.004547">&longs;alendo, & da mi ad ut. </s> <s id="s.004548">di&longs;cendendo da riga al &longs;econdo &longs;pacio; pure che non <lb/>ui &longs;ia &longs;emituono di mezo. </s> <s id="s.004549">que&longs;io diletta alle orecchie, ma non è con&longs;onanza; & &longs;i chiama terza <lb/>maggiore. </s> <s id="s.004550">Triemitonio come dare. </s> <s id="s.004551">a fa &longs;alendo, & chiama&longs;i anche &longs;e&longs;quituono, & è &longs;pacio, che <lb/>abbraccia un tuono, & un &longs;emituono minore, non è con&longs;onanza, perche le con&longs;onanze, non &longs;ono <lb/>in proportione &longs;oprapartiente. </s> <s id="s.004552">& il &longs;e&longs;quituono, (come &longs;i dirà poi) è in tale proportione. </s> <s id="s.004553">Chia­<lb/>ma&longs;i da no&longs;tri terza minore. </s> <s id="s.004554">& è lo &longs;pacio da una riga all'altra, pur che tra mezo ui &longs;ia un &longs;emi­<lb/>tuono. </s> <s id="s.004555">Il &longs;emituono maggiore (come ho detto,) è lo auanzo di tre &longs;e&longs;quiottaue leuatane la &longs;e&longs;­<lb/>quiterza, & perciò è detto Apotome da Greci. <!-- KEEP S--></s> <s id="s.004556">& è alieno dalgenere diatonico, perche non &longs;i <lb/>admette nel componere, non hauendo luogo tra le corde. </s> <s id="s.004557">perche non puo ri&longs;pondere ad alcuna <lb/>corda per fare alcuna con&longs;onanza. </s> <s id="s.004558">Conuengono tutti i detti &longs;pacij in que&longs;to, che tutti &longs;erueno <lb/>alla Mu&longs;ica. <!-- KEEP S--></s> <s id="s.004559">il tuono, & il &longs;emituono &longs;erueno per fondamenti alle legature de i Tetracordi. <!-- KEEP S--></s> <s id="s.004560">il Trie­<lb/>mitonio, & il ditono, perche uanno ne i compartimenti de igeneri, & perche dilettano l'udiio. </s> <s id="s.004561"><lb/>Dilettano molti &longs;uoni, che non &longs;ono con&longs;onanze, come è la ter za maggiore, & la terza minore, <lb/>& la &longs;e&longs;ta minore fatta dal &longs;emituono con la diapente. </s> <s id="s.004562">cioè con l'aggiunta d'un &longs;emituono alla &longs;e&longs;­<lb/>quialtera, & &longs;i fa quando &longs;i pa&longs;&longs;a da cia&longs;cuna linea allo terzo &longs;pacio, che contiene due &longs;emituoni <lb/>minori, & tre tuoni, come da mi, a fa cantati per la &longs;e&longs;ta. </s> <s id="s.004563">euui anche il tuono col diapente, che <lb/>pa&longs;&longs;a da cia&longs;cuna linea, allo terzo &longs;pacio, ma ui è &longs;olo un &longs;emituono, & quattro tuoni, come da <lb/>ut, a la, cantati per la &longs;e&longs;ta. </s> <s id="s.004564">& &longs;i chiama &longs;e&longs;ta maggiore. </s> <s id="s.004565">euui anche la &longs;ettima minore, che ab-<emph.end type="italics"/><pb pagenum="233" xlink:href="045/01/241.jpg"/><emph type="italics"/>braccia due &longs;emituoni minori, & quattro tuoni, come da ut a mi, da uno &longs;pacio al quarto &longs;pa­<lb/>cio, ouero da una linea, alla quarta linea, ci &longs;ono anche molti altri &longs;pacij, piu pre&longs;to collocati nel <lb/>lo e&longs;&longs;ercitio, che nelle regole. </s> <s id="s.004566">come è la nona, la decima, la undecima, & la duodecima: ma di <lb/>que&longs;ti ne la&longs;ciamo la cura ad altri. </s> <s id="s.004567">Delle con&longs;onanze diremo poi.<emph.end type="italics"/></s> </p> <figure id="id.045.01.241.1.jpg" xlink:href="045/01/241/1.jpg"/> <p type="main"> <s id="s.004568"><emph type="italics"/>Hauendo noi gettato i buoni fondamenti, e&longs;poneremo Vitr. <!-- KEEP S--></s> <s id="s.004569">Dice egli, che diuer&longs;e &longs;ono le di&longs;po­<lb/>tioni de i Tetracordi, & i compartimenti loro ne i tre generi, & la ragione è que&longs;ta, perche &longs;ono <lb/>applicati à diuer&longs;e intentioni, & idee &longs;econdo, le co&longs;e, che &longs;ono o ba&longs;&longs;e, o grandi, o mediocri. </s> <s id="s.004570"><lb/>Dichiara poi la di&longs;po&longs;itione di cia&longs;cuno, & dice, che la di&longs;po&longs;itione del Tetracordo, nel genere <lb/>Armonico, che egli armonia dimanda, contiene due die&longs;i, & due tuoni, & s'intende a questo <lb/>modo, che la &longs;alita dalla parte graue et ba&longs;&longs;a all'acuta, & alta &longs;i fa &longs;alendo dalla metà d'un &longs;e­<lb/>mituono, che fa lo primo &longs;pacio, all'altra metà, che fa lo &longs;econdo, & da que&longs;to &longs;i &longs;ale allo &longs;pacio <lb/>d'un Dituono; & co&longs;i que&longs;to Tetracordo rinchiudeua la con&longs;onanza diate&longs;&longs;a ron, che noi chiamia <lb/>mo quarta. </s> <s id="s.004571">La ordinatione adunque del Tetracordo Armonico, fondata la prima uoce dalla par <lb/>te graue ua dalla proportione &longs;e&longs;quiquadrage&longs;ima quinta, alla &longs;e&longs;quiuige&longs;imaterza, & indi alla <lb/>&longs;e&longs;quiquarta, & ritorna per gli i&longs;te&longs;&longs;i gradi, abbracciando il primo Tetracordo, & que&longs;to pro­<lb/>cedere è &longs;alendo dalla die&longs;i, alla die&longs;i, & d'indi al ditono ne gli &longs;pacij &longs;uoi. </s> <s id="s.004572">& quiui die&longs;i è la me­<lb/>tà del &longs;emituono minore, che procede dal partire la differenza de gli e&longs;tremi della &longs;ua habitudine <lb/>in modo, che la maggiore &longs;ia alla parte piu alta, & la minore alla piu graue. </s> <s id="s.004573">La die&longs;i in Greco <lb/>è detta anche Tetartemoria, & però Vitr. dice che la Die&longs;i è la quarta parte del tuono, & che<emph.end type="italics"/><lb/><figure id="id.045.01.241.2.jpg" xlink:href="045/01/241/2.jpg"/><lb/><emph type="italics"/>nel &longs;emituono &longs;ono due die&longs;i. </s> <s id="s.004574">Ecco l'habitudine de gli estremi del &longs;emituono minore, <lb/>è tredici, perche il &longs;emituono minore con&longs;i&longs;te nella proportione, che hanno questi <lb/>numeri<emph.end type="italics"/> 256. 243. <emph type="italics"/>la differenza de i quali è tredeci. </s> <s id="s.004575">que&longs;ta &longs;i parte in due parti, <lb/>una maggiore che è di &longs;ette, l'altra minore, che è di &longs;ei, la maggiore &longs;i pone alla <lb/>parte piu acuta, la minore alla piu graue. </s> <s id="s.004576">Vedi adunque quanto breui &longs;ono gli &longs;pa <lb/>cij dell'armonica melodia, che a pena &longs;i po&longs;&longs;ono regolare dalla ragione, non che e&longs;­<lb/>&longs;er compre&longs;i dal &longs;en&longs;o; & però egli non &longs;i troua altro colore, o compartimento di <lb/>que&longs;to genere, che'il predetto; per le ragioni de i minimi interualli. </s> <s id="s.004577">Ma &longs;i puo di­<lb/>mandare, perche uogliamo, che die&longs;i s'intenda per la metà del &longs;emituono minore, & non per la <lb/>metà del maggiore? </s> <s id="s.004578">io dico, che la con&longs;onanza, che rende il Tetracordo, è la diate&longs;&longs;aron, cioe <lb/>la quarta, che è compre&longs;a da due tuoni, & da un &longs;emituono minore. </s> <s id="s.004579">Il Tetracordo chromatico<emph.end type="italics"/><pb pagenum="234" xlink:href="045/01/242.jpg"/><emph type="italics"/>è compo&longs;to di &longs;pacij, che contengono il &longs;em tuono minore, il maggiore, & un &longs;e&longs;quituono, o Tri­<lb/>hemituono. </s> <s id="s.004580">que&longs;to perche ha le distanze, & gli interualli maggiori, & piu accommodati del <lb/>genere armonico, però &longs;opporta di hauere due colori. </s> <s id="s.004581">Nel primo, che &longs;i da al chromatico pe­<lb/>rò ne ha due. </s> <s id="s.004582">Nel primo, che &longs;i da al chromatico piu molle, s'a&longs;cende dalla &longs;e&longs;quiuige&longs;ima &longs;et­<lb/>tima, per la &longs;e&longs;quiquarta decima alla &longs;e&longs;quiquinta, & &longs;i di&longs;cende al contrario, & tutta uia gli <lb/>e&longs;lremi del Tetracordo rendeno la quarta, ne puo rendere altra con&longs;onanza pa&longs;&longs;ando per que­<lb/>&longs;ti interualli, come &longs;i puo uedere dalle regole, che noi bauemo dato nel terzo libro, trattando <lb/>delle proportioni. </s> <s id="s.004583">Que&longs;to tetracordo co&longs;i compo&longs;to, &longs;i chiama mobile, imperoche è mutabile, <lb/>lamenteuole, & affettuo&longs;o. </s> <s id="s.004584">Nel &longs;ccondo colore del detto genere chromatico, il partimento <lb/>piu acuto è quello, che dalla &longs;e&longs;quiuente&longs;ima una, pa&longs;&longs;a per la &longs;e&longs;quiundecima, alla &longs;e&longs;qui&longs;esta, <lb/>& con que&longs;to colore, che &longs;i chiama, &longs;intono, &longs;i rinchiude mede&longs;imamente la con&longs;onanza predet­<lb/>ta; & &longs;i chiama &longs;intono, ri&longs;petto al molle, percioche è meno mutabile del molle, & meno la­<lb/>menteucle, & affettuo&longs;o. </s> <s id="s.004585">& qui &longs;i deue con&longs;ider are, come è nece&longs;&longs;ario &longs;econdo le intentioni con­<lb/>&longs;ertare le ordinanze, & le &longs;cale, accioche egli &longs;i riporti quel uanto della Mu&longs;ica, che diede tan­<lb/>to nome a gli antichi. </s> <s id="s.004586">&longs;eguita il Tetracordo del genere diatonico; que&longs;to perche ha gli &longs;pacij mag <lb/>giori, &longs;i puo in piu modi colorare: cinque adunque &longs;ono i &longs;uoi colori. </s> <s id="s.004587">il Molle, il piu tirato, l'egua­<lb/>le, il &longs;intono, & il diatonico. </s> <s id="s.004588">Nel primo, che e piu molle, & rime&longs;&longs;o &longs;i &longs;ale dalla parte piu ba&longs;<lb/>&longs;a da una &longs;e&longs;qui&longs;ettima, per una &longs;e&longs;qumona, ad una &longs;e&longs;quiuente&longs;ima. </s> <s id="s.004589">& &longs;i chiama, molle, è rime&longs;­<lb/>&longs;o, perche tra i colori di que&longs;to genere, rende un'habito, & tiene una Idea piu temperata de gli <lb/>altri. </s> <s id="s.004590">Nel &longs;econdo colore, che è piu tirato, ma non però anchora ben gagliardo, s'incomincia <lb/>dalla &longs;e&longs;quiuige&longs;ima &longs;ettima, &longs;i pa&longs;&longs;a per la &longs;e&longs;qui&longs;ettima, nè puo far'altro, che &longs;ia con&longs;onante, che <lb/>una &longs;e&longs;quiottaua, & &longs;i chiama molle intento, perche tiene una uia di mezo tra'l molle preceden­<lb/>te, & il &longs;eguente, che è il terzo. </s> <s id="s.004591">Ilquale è quando la uoce hauendo gia il &longs;uo primo luogo col <lb/>piu ba&longs;&longs;o &longs;uono determinato &longs;ale al &longs;econdo con proportione &longs;e&longs;quiundecima, & partendo s'inal­<lb/>za una &longs;e&longs;quidecima, & ferma il &longs;uono in una &longs;e&longs;quinona, nè puo fare altrimenti, s'egli deue ha­<lb/>uere con&longs;onanza. </s> <s id="s.004592">& chi non uede quanto &longs;ia regolato il pa&longs;&longs;o, & la &longs;alita di que&longs;ta &longs;cala, &longs;alen­<lb/>do per tre continuate proportioni? </s> <s id="s.004593">però regolato, o per dir meglio eguale diatonico &longs;i chiamà. </s> <s id="s.004594"><lb/>Il quarto colore di&longs;egna, & colori&longs;ce que&longs;to genere cominciando da una &longs;e&longs;quidecima quinta, & <lb/>nella di&longs;tanza di mezo forma una &longs;e&longs;quiottaua, terminando in una &longs;e&longs;quinona. </s> <s id="s.004595">Que&longs;ti è &longs;icuro, & <lb/>forte, & dinota habito ma&longs;chio, & molto inten&longs;o, & però &longs;i chiama &longs;intonon. </s> <s id="s.004596">Il quinto final­<lb/>mente, perche abonda dituoni, &longs;i chiama diatono, & è di due tuoni, cio di due &longs;e&longs;quiottaue, & <lb/>d'una die&longs;i: & que&longs;to anche, è piu robu&longs;to & gagliardo di tutti gli altri. </s> <s id="s.004597">& con que&longs;te diui&longs;ioni &longs;i <lb/>conchiude il colore d'ogni genere uariato &longs;econdo la intentione de i compo&longs;itori. </s> <s id="s.004598">alche con gran­<lb/>de attentione bi&longs;ogna auuertire, & in ogni colore la ordinanza del Tetracordo &longs;erra la diate&longs;&longs;a­<lb/>ron, cioè la quarta, con due tuoni, & una Die&longs;i. </s> <s id="s.004599">& que&longs;to è quello, che dice Vitru. che in tutti i <lb/>tre generi i Tetracordi &longs;ono pareggiati di due tuoni, & un &longs;emituono; & le figure di quanto s'è <lb/>detto, con i loro numeri, &longs;ono de&longs;critte.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004600">Ma quando i Tetracordi &longs;ono con i termini di cia&longs;cun genere &longs;eparatamente con&longs;ide­<lb/>rati, hanno di&longs;simiglianti di&longs;egnationi delle di&longs;tanze. </s> </p> <p type="main"> <s id="s.004601"><emph type="italics"/>Cioè la &longs;omma de i Tetracordi è pareggiata: perche in ogni genere è compre&longs;a la con&longs;onanza <lb/>diate&longs;&longs;aron nel Tetracordo, ma differentemente &longs;i &longs;ale in cia&longs;cuna alla diate&longs;&longs;aron, come &longs;i è det­<lb/>to di &longs;opra. </s> <s id="s.004602">conclude adunque dicendo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004603">La natura adunque ha diui&longs;o nella uoce le di&longs;tanze de i tuoni, & de i &longs;emituoni, & dei <lb/>Tetracordi, & ha finito le terminationi di quelli con mi&longs;ure, con la quantità de gli &longs;pa­<lb/>cij; & con modi certi di&longs;tanti ha or dinato le qualità, le quali u&longs;ando anche gli artefici de <lb/>gli in&longs;trumenti &longs;econdo le co&longs;e con&longs;tituite dalla natura, apparecchiano le loro per&longs;ettio­<lb/>ni a' conuenienti con&longs;erti di armonia. </s> </p> <p type="main"> <s id="s.004604"><emph type="italics"/>L'arte o&longs;&longs;eruando la natura ha ritrouato le con&longs;onanze: & gli artefici &longs;econde quella fanno i <emph.end type="italics"/><pb pagenum="235" xlink:href="045/01/243.jpg"/><figure id="id.045.01.243.1.jpg" xlink:href="045/01/243/1.jpg"/><lb/><emph type="italics"/>loro in&longs;trumenti. </s> <s id="s.004605">La natura ha dato il potere di fare un tuono, & un &longs;emituono, ma l'arte ha <lb/>ritrouato in che proportione &longs;ia l'uno, & l'altro. </s> <s id="s.004606">La natura &longs;econdo gli affetti &longs;pontanamente <lb/>moue gli huomini, & le uoci, ma l'arte ha compre&longs;o con uie ragioneuoli, & le quantità & le qua <lb/>lità de i &longs;uoni, & ha me&longs;colato i generi, ritrouato le idee, applicate le forme alla natura delle co <lb/>&longs;e: & que&longs;to è quello, che Vitr. ha uoluto dire. </s> <s id="s.004607">&longs;eguita poi & dichiara i &longs;uoni, & i uocaboli loro, <lb/>& altre co&longs;e pertinenti al propo&longs;ito no&longs;tro.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004608">I &longs;uoni, che Phtongi da Greci &longs;i chiamano, &longs;ono diciotto, de i quali otto &longs;tanno &longs;em­<lb/>pre fermi i tutti i tre generi: ma gli altri dieci quando communemente &longs;i cantano &longs;ono <lb/>in&longs;tabili, & uaganti. </s> <s id="s.004609">&longs;tanti, & fermi &longs;ono quelli, che po&longs;ti tra i mobili contengono la con <lb/>giuntione del Tetracordo, & per le differenze de i generi &longs;tanno ne iloro termini perma­<lb/>nenti. </s> <s id="s.004610">& &longs;i chiamano in que&longs;to modo A&longs;&longs;onto, primo de i primi, primo de i mezi, me­<lb/>zano, ultimo de i congiunti. </s> <s id="s.004611">pre&longs;&longs;o al mezano, ultimo de i di&longs;giunti, ultimo de gli eccel­<lb/>lenti. </s> <s id="s.004612">Mobili &longs;ono quelli, che nel tetracordo tra gli &longs;tabili &longs;ono ne i generi di&longs;po&longs;ti, & ne <lb/>i luoghi fanno mutatione, & &longs;i chiamano in que&longs;to modo, vicino al primo de' primi, indi­<lb/>ce de i primi, uicino al primo de i mezi, indice de i mezi, terzo de i congiunti, pre&longs;&longs;o al­<lb/>l'ultimo de i congiunti, terzo de i di&longs;giunti, pre&longs;&longs;o all'ultimo de i di&longs;giunti, terzo delle <lb/>eccellenti, pre&longs;&longs;o all'ultimo delle eccellenti. </s> </p> <p type="main"> <s id="s.004613"><emph type="italics"/>A me pare che Vitr. poteua meglio ordinare questo &longs;uo di&longs;cor&longs;o, perche adduce molte co&longs;e, <lb/>prima che hanno bi&longs;ogno dello intendimento di altro, che egli pone dapoi: però noi procedere­<lb/>mo ordinatamente. </s> <s id="s.004614">Certo è che ogni ordinanza o &longs;cala, o Si&longs;tema, che &longs;i dica, in mu&longs;ica, è com­<lb/>po&longs;ta di &longs;uoni. </s> <s id="s.004615">&longs;uono è cadimento, o qualità indiui&longs;ibile della uoce, la cui quantità o grandezza <lb/>è certa, & determinata, & principio della melodia, & in quello come nel proprio elemento ogni <emph.end type="italics"/><pb pagenum="236" xlink:href="045/01/244.jpg"/><emph type="italics"/>concento &longs;iri&longs;olue. </s> <s id="s.004616">De i &longs;uoni altri &longs;ono e&longs;tremi, altr di mezo nelle ordinanze. </s> <s id="s.004617">De gli e&longs;tremi altri <lb/>&longs;ono graui&longs;&longs;imi, &longs;otto i quali non &longs;i ua piu ba&longs;&longs;o; altri acuti&longs;&longs;imi, &longs;opra i quali piu alto non &longs;i &longs;ale <lb/>nelle per&longs;ette ordinanze. </s> <s id="s.004618">Di quelli di mezo &longs;i puo dire, che &longs;iano graui, & acuti; graui ri&longs;petto <lb/>i piu alti, acuti ri&longs;petto i piu baßi. </s> <s id="s.004619">&longs;ono adunque chiamati alti, & baßi in comparatione, come <lb/>tra gli elementi l'acqua ri&longs;peito alla terra, è lieue, ri&longs;petto all'aere è graue, & co&longs;i l'aere com­<lb/>parato all'acqua è liggieri, comparato al fuoco è graue. </s> <s id="s.004620">ma la terra è grauißima, & il &longs;uoco è <lb/>leggieri&longs;imo, perche a quella niente &longs;ottogiace, a que&longs;to niente &longs;opra&longs;tà. </s> <s id="s.004621">& for&longs;e da que&longs;ta &longs;imi­<lb/>glianz a è &longs;tata tratta la con&longs;ideratione delle prime quattro uoci, o tuoni che fanno il Teira­<lb/>cordo. </s> <s id="s.004622">I &longs;uoni acuti na&longs;ceno da ueloci & &longs;peßi, i graui da, tardi et rari mouimenti: come per i&longs;pe <lb/>rienza &longs;i proua, che una corda piu tirat a è piu ueloce, & una piu rime&longs;&longs;a è piu tarda: &longs;imilmen­<lb/>te una corda tirata &longs;i moue con piu &longs;pe&longs;&longs;i mouimenti, che una rila&longs;ciata. </s> <s id="s.004623">Et &longs;e bene il mouimento <lb/>pare un &longs;olo, non è però da credere, che egli &longs;ia uno, ma molti, che per la grande pre&longs;tezza del moui<lb/>mento pareno uno: come che una continua ritondità di fuoco, ci appare, quando una uerga acce&longs;a <lb/>da un capo è girata con gran celerità. </s> <s id="s.004624">Hora dico, che i &longs;uoni &longs;ono quindici, noi chiamamo uoci, <lb/>come è quando dicemo quattro uoci piu in &longs;u, &longs;ei uoci piu in giu, prender la uoce, dar la uoce, & <lb/>&longs;imiglianti modi. </s> <s id="s.004625">Greci chiamano Phtongi, latini &longs;uoni, dico adunque, che &longs;ono quindici nella <lb/>perfetta ordinanza, benche piu ne &longs;iano, come &longs;i uede nella mano, che pa&longs;&longs;a le uenti uoci, & anche <lb/>Vitr. ne pone diciotto; ma in che gui&longs;a, io dirò poi. </s> <s id="s.004626">Cominciarono a quattro uoci o &longs;uoni, & fe <lb/>cero (dirò co&longs;i) un Tetracordo, la prima uoce, che è la piu ba&longs;&longs;a chiamarono &longs;econdo che porta­<lb/>ua la natura della co&longs;a, Hipate, cioè prima, la &longs;econda parhipate, cioè uicina alla prima, la <lb/>terza, paranete, cioè penultima, & la quarta, nete cioè ultima. </s> <s id="s.004627">ecco con quanta facilità &longs;en­<lb/>za u&longs;are i nomi delle lingue &longs;trane, la ragione, anzi la natura c'in&longs;egna a trouare i uocaboli del­<lb/>le co&longs;e. </s> <s id="s.004628">ma per che pure &longs;iamo obligati a gli antichi per la fatica, che banno fatto per noi nel tro­<lb/>uare & aumentare le arti, & le &longs;cienze, però dichiarando i loro o&longs;curi uocaboli potremo ue­<lb/>dere la inuention loro, & quella de i &longs;ucce&longs;&longs;ori fin al tempo no&longs;tro. </s> <s id="s.004629">Le quattro uoci adunque del <lb/>Tetracordo po&longs;&longs;ono e&longs;&longs;ere chiamate uolgarmente in que&longs;to modo, prima, pre&longs;&longs;o prima, penulti­<lb/>ma, & ultima. </s> <s id="s.004630">Ma perche poi gli antichi non &longs;i &longs;ono fermati in un tetracordo, ma hanno ag­<lb/>giunto piu &longs;uoni, portando co&longs;i la natura delle co&longs;e: però per la diuer&longs;a comparatione di quelli, <lb/>hanno formato diuer&longs;i nomi di &longs;uoni, finche dapoi l'hauer trouato, & po&longs;to in&longs;ieme due, tre, & <lb/>quattro tetracordi, hanno fatto una &longs;cala, & una ordinanza perfetta. </s> <s id="s.004631">chiamarono adunque <lb/>nella perfetta ordinanza il primo &longs;uono, & la prima uoce piu ba&longs;&longs;a, proslamuanomenos, cioè <lb/>a&longs;&longs;onto, accettato ouero aggiunto appre&longs;&longs;o gli altri, perche non ha raccomunanza con alcuno de <lb/>i Tetracordi, ma è accettato di fuori accioche egli corri&longs;ponda con la mezzana uoce dell'ordi­<lb/>nanza. </s> <s id="s.004632">Que&longs;ta uoce è po&longs;ta da i no&longs;tri, in a. <!-- REMOVE S-->re. </s> <s id="s.004633">ma perche anche quelli ne hanno a&longs;&longs;onto un'al­<lb/>tra dalla parte piu ba&longs;&longs;a, l'hanno chiamata Gamma ut. </s> <s id="s.004634">&longs;ignificandola con una lettera Greca, <lb/>accioche &longs;i dinota&longs;&longs;e, che ancho da loro fo&longs;&longs;e &longs;tata aggionta quella uoce, & quel &longs;uono alla Ma­<lb/>no, non u&longs;ando quella lettera nelle altre uoci della loro ordinanza. </s> <s id="s.004635">& &longs;e Greci la haue&longs;&longs;ero a <lb/>chiamare per lo &longs;uo nome potriano chiamarla epiproslamuanomenos: ouero hypoprolamuanome <lb/>nos, qua&longs;i &longs;otto l'a&longs;&longs;enta. </s> <s id="s.004636">Il &longs;econdo &longs;uono è detto hipaton. </s> <s id="s.004637">però douemo &longs;apere, che &longs;e noi con <lb/>&longs;ideramo & ordinamo i Tetracordi &longs;eparatamente, cia&longs;cuno per &longs;e & non nella perfetta ordi­<lb/>nanza, & compita &longs;cala: &longs;empre la prima corda, & piu graue è chiamata hipate (come ho <lb/>detto) cioè principali, o prima: ma come &longs;i mettono piu tetracordi in&longs;ieme, la prima cor­<lb/>da ritiene il nome de hipate, ma &longs;e le aggiugne un altro nome, cioè hipaton, a differenza <lb/>delle prime de i &longs;eguenti tetracordi, & &longs;i chiama hipate hipaton, cioè prima delle prime, <lb/>& co&longs;i la &longs;eguente &longs;i chiama parhipate hipaton, cioè pre&longs;&longs;o prima delle prime, a differen­<lb/>za delle &longs;econde de gli altri tetracordi. </s> <s id="s.004638">La terza è detta hiperparhipate, cioè &longs;opra la uicina <lb/>all'bipate, percioche il &longs;uono di que&longs;ta, è piu alto della parhipate. </s> <s id="s.004639">chiama&longs;i anche lichanos, cioè <lb/>indice: perche &longs;i come il dito indice, ha di&longs;tanza maggiore dal dito gro&longs;&longs;o, & alcuna fiata mino-<emph.end type="italics"/><pb pagenum="237" xlink:href="045/01/245.jpg"/><emph type="italics"/>re, che da gli altri, per que&longs;ta &longs;imiglianza la quarta corda, che è laterza de i tetracordi, po­<lb/>nendo la proslam anomenos per prima, hauendo hora maggiore &longs;pacio, hora minore, &longs;econd o <lb/>la diuer&longs;ità delle armonie (come &longs;i uederà poi) &longs;i chiama lichanos. </s> <s id="s.004640">Que&longs;ta ne i Tetracordi &longs;e­<lb/>parati &longs;i chiamarebbe penultima, ma in que&longs;ta ordinanza di piu tetracordi, è co&longs;i chiamata dal <lb/>luogo, che ella tiene. </s> <s id="s.004641">La quinta &longs;i chiama hipate me&longs;on, cioè prima delle mezane. </s> <s id="s.004642">&longs;i chi ma <lb/>prima, perche è la prima del &longs;econdo Tetracordo. <!-- KEEP S--></s> <s id="s.004643">chiama&longs;i delle mezane, perche il &longs;econdo Te­<lb/>tracordo &longs;i chiama mezano, perche è tra due Tetracordi; l'un è detto delle principali, & pri­<lb/>me, ilquale &longs;ta alla parte piu ba&longs;&longs;a, & è quello alquale fin hora hauemo po&longs;to le corde. </s> <s id="s.004644">L'altro <lb/>è delle congiunte (come diremo) che &longs;ta alla parte piu alta. </s> <s id="s.004645">Ma perche non &longs;i chiama questa <lb/>corda, nete, cioè ultima per e&longs;&longs;er l'ultima del primo Tetracordo, & hipate cioè prima per e&longs;&longs;er <lb/>prima del &longs;econdo Tetracordo? </s> <s id="s.004646">dico che &longs;e que&longs;to Tetracordo &longs;i con&longs;idera&longs;&longs;e da &longs;e, & non nella <lb/>perfetta ordinanza, co&longs;i bi&longs;ognerebbe chiamar l'ultima corda: ma con&longs;iderando&longs;i unitamente <lb/>con le altre, la non uiene ad e&longs;&longs;er la ultima, anzi la prima ri&longs;petto al Tetracordo delle mezane: <lb/>era adunque nece&longs;&longs;ario per la aggiunta di altri Tetracordi, mutando&longs;inouo ri&longs;petto, & noua con <lb/>&longs;ideratione, mutare anche il nome alle prime: che in uero pare, che la natura habbia formato <lb/>que&longs;ti nomi, nè altri nomi &longs;i darebbono alle dette corde da gli piu ine&longs;perti della Mu&longs;ica, che dal <lb/>&longs;ito loro, & dall'ordine, che hanno: & que&longs;to dico, per che altri non &longs;i merauiglino & reputino <lb/>difficile la impo&longs;itione de i nomi antichi. </s> <s id="s.004647">perche adunque i detti Tetracordi &longs;ono uniti, in una or­<lb/>dinanza, & le compar ationi de i &longs;uoni & delle corde &longs;ono diuer&longs;e, però &longs;i danno, (come ho det­<lb/>to) altri nomi a quelli Tetr acordi uniti, che &longs;i darebbero &longs;e fu&longs;&longs;ero po&longs;ti da &longs;e &longs;te&longs;&longs;i. </s> <s id="s.004648">E&longs;&longs;endo <lb/>adunque nella perfetta ordinanza due ottocordi, l'uno alla parte piu ba&longs;&longs;a, & l'altro alla parte <lb/>piu alta; & e&longs;&longs;endo l'uno, & l'altro di due Tetracordi compo&longs;to: poi che il nome hipate è di&longs;tri­<lb/>buito a i compartimenti piu ba&longs;&longs;i, &longs;i come il nome di nete è dato a i termini piu alti; però ad amen­<lb/>due i primi tetr acordi dalla parte piu ba&longs;&longs;a, &longs;i danno i nomi pre&longs;i dall'hipate; doue il primo Te­<lb/>tracordo piu graue è detto, il Tetracordo delle hipate, cioè delle principali. </s> <s id="s.004649">Et il &longs;econ­<lb/>do è chiamato il Tetracordo delle mezane, & la &longs;ua prima corda, è detta hipate me­<lb/>&longs;on, cioè prima delle mezane. </s> <s id="s.004650">Et con que&longs;ti auuertimenti &longs;i rende facile il restante. </s> <s id="s.004651">Però la <lb/>&longs;e&longs;ta corda è detta Parhipate me&longs;on, cioè uicina alla prima delle mezane, che è la &longs;econda del &longs;e <lb/>condo Tetracordo. <!-- KEEP S--></s> <s id="s.004652">La &longs;ettima è detta hiperparhipate, qua&longs;i &longs;opra alla pro&longs;&longs;ima delle prime. </s> <s id="s.004653"><lb/>La ottaua è detta Me&longs;e, cioè mezana, perche ueramente è nel mezo de i Tetracordi. <!-- KEEP S--></s> <s id="s.004654">Ma &longs;e <lb/>egli non &longs;i anda&longs;&longs;e piu oltre, & che &longs;i rinchiude&longs;&longs;e, le uoci in uno ottocordo, ella &longs;i chiamerebbe <lb/>nete, cioè ultima. </s> <s id="s.004655">ma perche è fine del piu ba&longs;&longs;o, & principio del piu alto ottocordo, & è la piu <lb/>ba&longs;&longs;a di quello legando l'uno, & l'altro in&longs;ieme; però è detta mezana, come termine commune a <lb/>due ottocordi, & come legamento, & come quella, che tiene eguali proportioni con gli e&longs;tremi. </s> <s id="s.004656"><lb/>La nona è detta parame&longs;on, dal &longs;ito &longs;uo, perche è uicina alla mezana, che è la &longs;econda del Ter­<lb/>zo tetracordo. </s> <s id="s.004657">La decima è detta Trite diezeugmenon, cioè terza delle di&longs;giunte, perche nello <lb/>in&longs;trumento antico di &longs;ette corde, ella era la terza in ordine all'ultima, & era chiamata para­<lb/>me&longs;e, cioè uicina alla mezana nel terzo Tetracordo, o nel &longs;econdo ottocordo. </s> <s id="s.004658">Ma perche que­<lb/>&longs;ta corda ri&longs;petto all'ottocordo della parte piu alla è congiunta, & ri&longs;petto all'ottocordo della <lb/>piu ba&longs;&longs;a è di&longs;giunta, cioè ha collegatione con quella, & con que&longs;ta, però &longs;i chiama delle di&longs;giun <lb/>te, come &longs;i dirà poi. </s> <s id="s.004659">L'undecima è detta paranete diezeugmenon, cioè uicina all'ultima delle di&longs;­<lb/>giunte, & è l'ultima del terzo tetracordo detto delle di&longs;giunte, & prima del quarto Tetracordo <lb/>detto delle alti&longs;&longs;ime, o &longs;oprane, & eccellenti, perche appartiene alla parte piu alta. </s> <s id="s.004660">La duodeci­<lb/>ma è detta nete diezeugmenon, cioè ultima delle di&longs;giuntte, perche è la quarta del terzo tetracor­<lb/>do. </s> <s id="s.004661">la terza decima è detta Trite hiperbolcon, cioè terza delle eccellenti, perche è la terza in or <lb/>dine dall'ultima posta nella parte piu acuta, & è detta terza, per lo &longs;ito. </s> <s id="s.004662">& è detta delle eccel­<lb/>lenti, perche è del quarto Tetracordo, che &longs;i chiama delle eccellenti, & alti&longs;&longs;ime uoci, che è <lb/>l'ultimo nella perfetta ordinanza. </s> <s id="s.004663">La quarta decima, è detta paranete hiperboleon, cioè penul<emph.end type="italics"/><pb pagenum="238" xlink:href="045/01/246.jpg"/><emph type="italics"/>tima delle eccellenti, perche iui è collocata. </s> <s id="s.004664">La quinta decima è detta nete hiperboleon, cioè ul <lb/>tima delle eccellenti, oltra la quale non &longs;i a&longs;cende nella &longs;alita delle uoci, nella perfetta ordinan­<lb/>za. </s> <s id="s.004665">Ma i moderni (come ho detto) chiamano &longs;cala que&longs;ta ordinanza, & uanno ordinando le <lb/>uoci per gradi con alcune &longs;yllabe, & alcune lettere, & dicono<emph.end type="italics"/> <foreign lang="greek">*g</foreign>. <emph type="italics"/>ut. </s> <s id="s.004666">A. re B. mi. </s> <s id="s.004667">& co&longs;i uan­<lb/>no &longs;eguitando. </s> <s id="s.004668">diuideno in quattro parti la loro &longs;cala dando la prima al ba&longs;&longs;o, la &longs;econda al teno­<lb/>re, la terza al contra alto, l'ultima al &longs;oprano. </s> <s id="s.004669">& co&longs;i non pareno differenti da gli antichi. </s> <s id="s.004670">co­<lb/>me &longs;e chiama&longs;&longs;ero il Ba&longs;&longs;o, Tetracordo delle prime; il tenore, Tetracordo della mezane; il <lb/>contraalto Tetracordo delle di&longs;giunte; il &longs;oprano, Tetracordo delle eccellenti. </s> <s id="s.004671">Ben è ue­<lb/>ro, che co&longs;i chiaramente non e&longs;primeno que&longs;ta intentione, perche diuideno la &longs;cala in tre <lb/>ordinanze, & gli danno piu gradi, & chiamano chiaui i principij di quelle, a &longs;imiglianza del­<lb/>le chiaui materiali, come quelle che apreno certe, & determinate melodie, & co&longs;i manife&longs;tano <lb/>tutta la ordinanza della &longs;cala, come le chiaui nelle toppe riuoltate aprendo gli &longs;crigni fanno ma­<lb/>nife&longs;to quello, che è nafe o&longs;o di dentro. </s> <s id="s.004672">La onde anche nominarono le note col nome di chiaui, <lb/>con que&longs;te lettere a. <!-- REMOVE S-->b. <!-- REMOVE S-->c. <!-- REMOVE S-->d. <!-- REMOVE S-->e. <!-- REMOVE S-->f. <!-- REMOVE S-->g. <!-- REMOVE S-->dicono, che delle chiaui altre &longs;ono graui, altre mezane, altre <lb/>acute: le graui &longs;ono quelle, che &longs;i cantano con uoce graue, & rime&longs;&longs;a, & &longs;i chiamano per que­<lb/>&longs;to le chiaui del ba&longs;&longs;o. </s> <s id="s.004673">Et il canto cantato per quelle, &longs;i chiama il ba&longs;&longs;o. </s> <s id="s.004674">&longs;ono otto, & &longs;i &longs;egna­<lb/>no con lettere maggiori. </s> <s id="s.004675">A. B. C. D. E. F. G. & il G. del gamma ut. </s> <s id="s.004676">Le mezane &longs;ono co&longs;i dette, <lb/>perche hanno la uoce tra la ba&longs;&longs;a, & la acuta, che &longs;i danno al tenore, & al contra alto, & &longs;o­<lb/>no &longs;ette notate con lettere minori a. <!-- REMOVE S-->b. <!-- REMOVE S-->c. <!-- REMOVE S-->d. <!-- REMOVE S-->e. <!-- REMOVE S-->f. <!-- REMOVE S-->g. <!-- KEEP S--></s> <s id="s.004677">Le acute &longs;ono quelle, per le quali &longs;i canta con <lb/>acuta, & alta uoce, & &longs;ono cinque, de&longs;critte con lettere minori, ma doppie aa. </s> <s id="s.004678">bb. </s> <s id="s.004679">cc. </s> <s id="s.004680">dd. </s> <s id="s.004681">ee. <lb/></s> <s id="s.004682">& que&longs;to s'è detto affine, che &longs;i &longs;appia, che &longs;econdo diuer&longs;a intentione &longs;i uanno formando i nomi, <lb/>& le ordinanze: però gli antichi andorono fin a<emph.end type="italics"/> 15. <emph type="italics"/>uoci, perche quindi a punto chiudeno la con <lb/>&longs;onanza detta diapa&longs;on. </s> <s id="s.004683">i moderni &longs;ono andati a uenti due ri&longs;petto a gli in&longs;trumenti, che po&longs;&longs;ono <lb/>&longs;alire piu, che la uoce humana. </s> <s id="s.004684">Vitr. ne pone diciotto ri&longs;petto alla compo&longs;itione de i Tetracor­<lb/>di, de i quali dirà da poi: & ha diui&longs;o i &longs;uoni in &longs;uoni stabili, & in &longs;uoni mobili, & ha dichiari­<lb/>to, quali &longs;iano, & come &longs;i chiamano questi, & quelli. </s> <s id="s.004685">In ogni genere &longs;i può fare l'ordinanza <lb/>di que&longs;ti &longs;uoni. </s> <s id="s.004686">Stabili &longs;ono quelli, che tra i quindici in ogni ordinanza di Mu&longs;ica, &longs;ia di qualun­<lb/>que genere o colore &longs;i uoglia, fermi &longs;tanno nel &longs;uo tenore, & grado, come termini delle con&longs;o­<lb/>nanze: perche le con&longs;onanze &longs;ono le i&longs;te&longs;&longs;e in ogni genere: però doueua Vitr trattare prima de i <lb/>&longs;uoni, de gli &longs;patij, de i generi, delle con&longs;onanze, che toccare que&longs;te co&longs;e. </s> <s id="s.004687">Mobili & mutabili <lb/>&longs;ono quelli, che &longs;econdo diuer&longs;i generi, & diuer&longs;i colori &longs;i mutano ne gli &longs;patij loro, facendogli <lb/>maggiori, o minori, &longs;econdo il genere, o il colore. </s> <s id="s.004688">Ecco tanto nel Tetracordo del genere chro­<lb/>matico, quanto de gli altri, gli e&longs;tremi &longs;ono stabili, perche &longs;i ri&longs;pondeno in con&longs;onanza diate&longs;&longs;a­<lb/>ron; ma le uoci, & i &longs;uoni di mezo &longs;i mutano &longs;econdo i generi, perche l'Armonico ua da die&longs;i a <lb/>die&longs;i, il chromatico da &longs;emituono a &longs;emiluono, il diatonico da tuono a tuono.<emph.end type="italics"/></s> </p> <pb pagenum="239" xlink:href="045/01/247.jpg"/> <p type="head"> <s id="s.004689"><emph type="italics"/>ARMONICVM. CHROMATICVM. DIATONICVM.<emph.end type="italics"/><!-- KEEP S--></s> <figure id="id.045.01.247.1.jpg" xlink:href="045/01/247/1.jpg"/> </p> <p type="main"> <s id="s.004691">Ma i &longs;uoni mobili &longs;ogliono riceuere altre uirtù, perche hanno gli &longs;patij, & le di&longs;tanze <lb/>cre&longs;centi. </s> <s id="s.004692">La pro&longs;sima alla prima adunque, detta parhypate, che nello armonico è di­<lb/>&longs;tante dalla prima una die&longs;i, nel chromatico è di&longs;tante per un &longs;emituono, & nel diatonico <lb/>dalla prima per tre &longs;emituoni, & con le dieci uoci, per li traportamenti loro ne i generi <lb/>fanno una uarietà di canto di tre maniere. </s> </p> <p type="main"> <s id="s.004693"><emph type="italics"/>Lo e&longs;&longs;empio è chiaro, & la figura di &longs;opra lo fa piu chiaro. </s> <s id="s.004694">Seguita adunque.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004695">Cinque &longs;ono i tetracordi, il primo graui&longs;simo detto Hypaton da Greci. <!-- KEEP S--></s> <s id="s.004696">il &longs;econdo <lb/>mezano, che &longs;i chiama me&longs;on. </s> <s id="s.004697">Il terzo congiunto, chiamato &longs;ynemmenon. </s> <s id="s.004698">Il quarto <lb/>di&longs;giunto nominato diezeugmenon, il quinto, che è a cuti&longs;simo &longs;i dice hyperboleon </s> </p> <pb pagenum="240" xlink:href="045/01/248.jpg"/> <p type="main"> <s id="s.004699"><emph type="italics"/>Il Tetracordo delle prime detto<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004700"><emph type="italics"/>Hypaton, che è alla parte piu graue è<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004701"><emph type="italics"/>Hypate hypaton.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004702"><emph type="italics"/>Parhypate hypaton.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004703"><emph type="italics"/>Lichanos hypaton.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004704"><emph type="italics"/>Hypate me&longs;on.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004705"><emph type="italics"/>Il Tetracordo delle mazan detto Me&longs;on è <lb/>que&longs;to.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004706"><emph type="italics"/>Hypate me&longs;on.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004707"><emph type="italics"/>Parhypate me&longs;on.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004708"><emph type="italics"/>Lychanos me&longs;on.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004709"><emph type="italics"/>Me&longs;e.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.004710"><emph type="italics"/>Il Tetracordo delle congiunte, detto &longs;ynem­<lb/>nunon è que&longs;to.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004711"><emph type="italics"/>Trite &longs;ynezeugmenon.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004712"><emph type="italics"/>Paranete &longs;ynezeugmenon.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004713"><emph type="italics"/>Nete &longs;ynezeugmenon.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004714"><emph type="italics"/>Il Tetracordo delle di&longs;giunte detto diezeugme­<lb/>non è que&longs;to.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004715"><emph type="italics"/>Parame&longs;e.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.004716"><emph type="italics"/>Trite diezeugmenon.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004717"><emph type="italics"/>Paranete diezeugmenon.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004718"><emph type="italics"/>Nete diezeugmenon.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004719"><emph type="italics"/>Il Tetracordo delle eccellenti, & &longs;opra acute det <lb/>to hyperboleon, è que&longs;to.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004720"><emph type="italics"/>Nete diezeugmenon.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004721"><emph type="italics"/>Trite hyperboleon.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004722"><emph type="italics"/>Paranete hyperboleon.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004723"><emph type="italics"/>Nete hyperboleon.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004724"><emph type="italics"/>Congiuntione è quando &longs;i truoua un &longs;uono commune a due Tetracordi, continuati, & &longs;rmili &longs;e <lb/>condo la figura. </s> <s id="s.004725">Di&longs;giuntione, è quando tra due. </s> <s id="s.004726">continuati Tetracordi, & &longs;imili in figura, è <lb/>trapo&longs;to un tuono. </s> <s id="s.004727">non niego però, che egli non &longs;i po&longs;&longs;a truouare alcune ordinanze communi, <lb/>che alcuna fiata &longs;econdo la congiuntione, alcuna fiata &longs;econdo la di&longs;giuntione non &longs;i facciano. </s> <s id="s.004728"><lb/>Tutte le congiuntioni nella immutabile ordinanza &longs;ono due, la graue, & l'acuta. </s> <s id="s.004729">La graue, è del <lb/>Tetracordo delle prime, & delle mezanc; l'acuta è del Tetracordo delle di&longs;giunte, & delle eccel <lb/>lenti. </s> <s id="s.004730">Nella graue l'hypate prima delle mezane, è il tenore, o &longs;uono commune della congiuntio <lb/>ne come quì.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004731"><emph type="italics"/>Hypate hypaton.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004732"><emph type="italics"/>Parhypate hypaton.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004733"><emph type="italics"/>Lychanos hypaton.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004734"><emph type="italics"/>tetracordo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004735"><emph type="italics"/>Hypate me&longs;on. </s> <s id="s.004736">Congiuntione.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.004737"><emph type="italics"/>Parhypate me&longs;on.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004738"><emph type="italics"/>Lychanos me&longs;on.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004739"><emph type="italics"/>Me&longs;e.<emph.end type="italics"/><!-- REMOVE S--><emph type="italics"/>tetracordo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004740"><emph type="italics"/>Ma la di&longs;giuntione è una fatta da un tuono<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004741"><emph type="italics"/>Compre&longs;o dalla mezana, & dalla uicina al­<lb/>la mezana.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004742"><emph type="italics"/>Hypate me&longs;on.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004743"><emph type="italics"/>Parhypate me&longs;on.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004744"><emph type="italics"/>Lychanos me&longs;on.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004745"><emph type="italics"/>Me&longs;e.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.004746"><emph type="italics"/>Parame&longs;e.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.004747"><emph type="italics"/>di&longs;giuntione.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004748"><emph type="italics"/>Trite diezeugmenon.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004749"><emph type="italics"/>Paranete die zeug.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004750"><emph type="italics"/>Nete diezeugm.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004751"><emph type="italics"/>Ma nella acuta è la nete delle di&longs;giunte, la quale in quel ca&longs;o muta il nome. </s> <s id="s.004752">& per que&longs;to &longs;o­<lb/>no oltra i quindici, quelli tre &longs;uoni, che fanno diciotto, che &longs;ono trite, paranete, & nete &longs;ine­<lb/>zeugmenon.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004753">Le con&longs;onanze, che l'huomo può naturalmente cantare, & che in Greco &longs;i chiamano <lb/>&longs;imfonie &longs;ono &longs;ei. </s> <s id="s.004754">Diate&longs;&longs;aron, diapente, diapa&longs;on, diapa&longs;on con diate&longs;&longs;aron, diapa­<lb/>&longs;on con diapente, di&longs;diapa&longs;on. </s> </p> <p type="main"> <s id="s.004755"><emph type="italics"/>Con&longs;onanza, è temperato me&longs;colamento di &longs;uoni acuti, & graui, che dolcemente uiene alle <lb/>orecchie, nata da proportione o moltiplice, o &longs;opraparticolare. </s> <s id="s.004756">La con&longs;onanza a due modi s'in­<lb/>tende, ouero in ri&longs;petto di que &longs;uoni, che dilettano &longs;olamente, & non peruengono alla perfettione <lb/>delle con&longs;onanze, come i gia detti, che &longs;i chiamano Emmeli in Greco, cioè atti alla melodia, i <lb/>contrari de i quali &longs;ono detti Ecmeli, cioè fuori di melodia, che non &longs;i portano dolcemente alle <lb/>orecchie; Ouero ri&longs;petto alla con&longs;onanza maggiore, che contiene tutte le altre. </s> <s id="s.004757">Le uere con&longs;o­<lb/>nanze, o &longs;ono &longs;implici, ouero compo&longs;te. </s> <s id="s.004758">le &longs;implici &longs;ono tre, la diate&longs;&longs;aron po&longs;ta in proportione <lb/>&longs;e&longs;quiterza: la diapente po&longs;ta in proportione &longs;e&longs;quialtera, la diapa&longs;on po&longs;ta in proportione dop <lb/>pia. </s> <s id="s.004759">non è però nece&longs;&longs;ario, che da tutte le &longs;emplici proportioni uenghino le &longs;emplici con&longs;onanze, <lb/>imperoche dalle &longs;oprapartienti no i uengono con&longs;onanze. </s> <s id="s.004760">Le compo&longs;te &longs;ano diapa&longs;on con diapen­<lb/>te, diapa&longs;on con diate&longs;&longs;aron, di&longs;diapa&longs;on. </s> <s id="s.004761">Hora e&longs;poneremo cia&longs;cuna d'e&longs;&longs;e. </s> <s id="s.004762">la diate&longs;&longs;aron da noi<emph.end type="italics"/><pb pagenum="241" xlink:href="045/01/249.jpg"/><emph type="italics"/>&longs;i chiama quarta, abbraccia (come detto hauemo) due tuoni, & un &longs;emituon minore, &longs;alta da <lb/>qual riga &longs;i uuole al &longs;econdo &longs;patio, ouero da qualunque &longs;patio alla &longs;econda riga abbracciando <lb/>quattro gradi di uoce, & è po&longs;ta in proportione &longs;e&longs;quiterza, come ho detto. </s> <s id="s.004763">La diapente è det­<lb/>ta quinta: & &longs;ale da cia&longs;cuna riga alla terza, & da cia&longs;cuno &longs;patio al ter zo per cinque gradi di <lb/>uoce: & è po&longs;ta in proportione &longs;e&longs;quialtera. </s> <s id="s.004764">Et però &longs;i come la quarta &longs;i pone &longs;opra la corda par <lb/>tendola in quattro &longs;patij, & la&longs;ciandone uno fuori, co&longs;i la quinta &longs;i pone partendo la corda in tre <lb/>&longs;patij, & la&longs;ciandone uno fuori: Et finalmente ogni co&longs;a, che puo far &longs;uono, neruo, o canna, o <lb/>&longs;ia qual &longs;i uoglia materia, quando &longs;ia, che uogliamo farla rendere qualche con&longs;onanza. </s> <s id="s.004765">bi&longs;o­<lb/>gna proportionare la grandezza, o gli &longs;patij &longs;uoi con quella ri&longs;pondenza, che ricerca quella con­<lb/>&longs;onanza, che uolemo. </s> <s id="s.004766">Et con quelle regole gli artefici de gli organi reggendo&longs;i, non anderebbeno <lb/>a ca&longs;o, come uanno la piu parte di loro a fure gli in&longs;trumenti: ma &longs;apendo ritrouare le linee propor<lb/>tionali ritrouarebbeno al primo tratto le grandezze delle lor canne, o non anderebbeno ad orec­<lb/>chie come uanno, o con le mi&longs;ure, & &longs;acome ritrouate da altri. </s> <s id="s.004767">Hor al propo&longs;ito; &longs;i come la quar <lb/>ta non arriua a tre tuoni, & è piu d'un ditono, per lo &longs;patio d'un &longs;emituono minore, & piu d'un <lb/>&longs;e&longs;quituono, per lo &longs;patio d'un tuono intiero, & occupa &longs;ei die&longs;i, & due comme: co&longs;i la quinta è <lb/>di tre tuoni, & d'un &longs;emituon minore, & &longs;e egli &longs;e le leua un tuono, re&longs;ta la quarta; & leuatole <lb/>la quarta, re&longs;ta un tuono. </s> <s id="s.004768">Et &longs;tando que&longs;te co&longs;e &longs;i puo di&longs;correre, & trouare, che la diapente o <lb/>quinta, è meno di otto &longs;emituoni minori, & che &longs;i fa d'un ditono, & d'un &longs;e&longs;quituono: & che <lb/>la differenza, che è tra la diapente, & la diate&longs;&longs;aron non è altro, che un tuono. </s> <s id="s.004769">Le predette <lb/>due con&longs;onanze po&longs;te &longs;ono nelle maggiori &longs;opraparticolari, che &longs;iano, che &longs;ono la &longs;e&longs;quialtera, <lb/>& la &longs;e&longs;quiterza. </s> <s id="s.004770">Oltra di que&longs;to nè due diate&longs;&longs;aron, nè due diapente po&longs;&longs;ono far con&longs;onanza, <lb/>perche non &longs;ono in proportione moltiplice o &longs;opraparticolare, nelle quali hauemo detto e&longs;&longs;er po&longs;te <lb/>le con&longs;onanze. </s> <s id="s.004771">ma &longs;ono in proportione &longs;oprapartiente, dalla quale non puo uenire alcuna con&longs;onan<lb/>za: & la ragione è que&longs;ta. </s> <s id="s.004772">Le con&longs;onanze &longs;i truouano in quelle comparationi d'altezza, & di <lb/>ba&longs;&longs;ezza di uoci, che hanno manife&longs;ta la loro commune mi&longs;ura, come nelle moltiplici la doppia, <lb/>quella parte è mi&longs;ura, che tra due termini è po&longs;ta per differenza, &longs;i come tra due, & quattro il <lb/>due mi&longs;ura l'uno, & l'altro, tra'l noue, & l'otto; l'unità è mi&longs;ura, come nelle &longs;opraparticolari <lb/>&longs;i truoua nella &longs;e&longs;quialtera tra quattro, & &longs;ei, il due è commune, & manife&longs;ta mi&longs;ura dell'uno, <lb/>& dell'altro: come del &longs;ei, & dell'otto, che &longs;ono in proportione &longs;e&longs;quiterza. </s> <s id="s.004773">& que&longs;to non adi­<lb/>uiene nelle &longs;oprapartienti, come tra cinque e tre, il due, che è la loro differenza, non mi&longs;ura <lb/>nè l'uno nè l'altro: perche &longs;e egli &longs;i piglia una fiata due, non arriua al tre, &longs;e due fiate lo pa&longs;&longs;a, <lb/>ma non arriua al cinque, &longs;e tre fiate pa&longs;&longs;a il cinque. </s> <s id="s.004774">Il &longs;imigliante &longs;i uede nel re&longs;tante delle &longs;opra <lb/>partienti. </s> <s id="s.004775">La diapa&longs;on da moderni è detta ottaua, & è po&longs;ta in proportione doppia, &longs;i che tut­<lb/>ta la corda alla metà &longs;uona la ottaua. </s> <s id="s.004776">&longs;ale da una riga, al quarto &longs;patio, o da uno &longs;patio alla quar <lb/>ta riga. </s> <s id="s.004777">è detta diapa&longs;on, cioè per tutte, imperoche ella abbraceia tutti gli &longs;patij &longs;oprapo&longs;ti delle <lb/>con&longs;onanze: & è termine delle &longs;emplici. </s> <s id="s.004778">Se noi continuaremo cinque tuoni &longs;opra la corda, non <lb/>aggiugneremo alla meià; &longs;e ne poneremo &longs;ei, pa&longs;&longs;aremo la metà: però la diapa&longs;on, è piu di cin­<lb/>que, & meno di &longs;ei tuoni. </s> <s id="s.004779">na&longs;ce dalla &longs;e&longs;quialtera, & dalla &longs;e&longs;quiterza, come hauemo detto nel <lb/>terzo libro. </s> <s id="s.004780">La ottaua adunque è di cinque tuoni, & due &longs;emituoni minori: cade da &longs;ei tuonì <lb/>per un Comma, che è quello di piu, che un &longs;emituono maggiore eccede il minore; & leuando dal­<lb/>la detta la diate&longs;&longs;aron resta la diapente: come leuandone la diapente re&longs;ta la diate&longs;&longs;aron: & le­<lb/>uandone un tuono, & la diapente ne re&longs;ta un &longs;e&longs;quituono. </s> <s id="s.004781">Douemo &longs;apere, che niuna &longs;emplice <lb/>con&longs;onanza &longs;i puo partire in due parti eguali, con certo, & determinato numero, ilche è chiaro <lb/>nella diapente, & nella diate&longs;&longs;aron, perche &longs;ono in proportione &longs;opraparticolare, la quale non &longs;i <lb/>puo egualmente partire. </s> <s id="s.004782">Simile giuditio &longs;i farà della diapa&longs;on, perche e&longs;&longs;endo i due minimi nu­<lb/>meri di quella con&longs;onanza uno, & due, & non e&longs;&longs;endo il due numero quadrato; &longs;eguita, che la <lb/>diapa&longs;on, che con&longs;i&longs;te nella proportione di due ad uno, non &longs;i po&longs;&longs;a egualmente diuidere, nè me­<lb/>no in piu di due, perche egli è &longs;tato prouato nell' Arithmetica, che tra due quadrati numeri pro-<emph.end type="italics"/><pb pagenum="242" xlink:href="045/01/250.jpg"/><emph type="italics"/>portionalmenteui cade un mezo, & altroue è &longs;tato detto, che ignote, & irrationali &longs;ono quelle ra<lb/>gioni, che non &longs;i po&longs;&longs;ono con certo, et determinato numero di&longs;egnare. </s> <s id="s.004783">Quando adunque noto &longs;ia nel <lb/>l'Arithmetica, che dal moltiplicare d'un numero non quadrato in uno, che è quadrato, il prodotto <lb/>non &longs;ia quadrato, & doue que&longs;to <expan abbr="nō">non</expan> è, non &longs;i po&longs;&longs;a truouare un mezo proportionato, tra que due nu<lb/>meri: &longs;eguita, che niuna proportione &longs;i truoui di mezo tra le moltiplici: hauendo chiaro nella <lb/>Arithmetica, che la mediet à non è altro che uno legamento de gli e&longs;tremi per la comparatione, <lb/>che ha l'uno, & l'altro al mezo. </s> <s id="s.004784">La diate&longs;&longs;aron, & diapente, è con&longs;onanza compo&longs;ta, & è <lb/>una, & non due con&longs;onanze; & &longs;i chiama undecima. </s> <s id="s.004785">Altri uogliono, che non &longs;ia con&longs;onanza, <lb/>&longs;e ben uiene &longs;oaui&longs;&longs;imamente alle orecchie. </s> <s id="s.004786">Et &longs;tando que&longs;to, che ogni con&longs;onanza &longs;ia in propor­<lb/>tione moltiplice, o &longs;opraparticolare, & non trouando&longs;i que&longs;ta in alcuna &longs;pecie di quelle, ella non <lb/>&longs;arà con&longs;onanza ecco &longs;ia a per<emph.end type="italics"/> 1 <emph type="italics"/>& b per<emph.end type="italics"/> 2 <emph type="italics"/>minimi numeri della diapa&longs;on. </s> <s id="s.004787">Sia c per<emph.end type="italics"/><lb/>4. <emph type="italics"/>& d. <!-- REMOVE S-->per tre minimi numeri della diate&longs;&longs;aron. </s> <s id="s.004788">moltiplico c. <!-- REMOVE S-->in e. <!-- REMOVE S-->cioè quattro in due ne <lb/>uiene<emph.end type="italics"/> 8. <emph type="italics"/>& &longs;ia que&longs;to e. <!-- REMOVE S-->moltiplico b in d cioè tre in uno, il prodotto è<emph.end type="italics"/> 3. <emph type="italics"/>&longs;ia que&longs;to f. <!-- REMOVE S--><lb/>certo è, che e ad f contiene una doppia, & una &longs;e&longs;quiterza: perche &longs;e una proportione aggiu <lb/>gnerà tanto &longs;opra un'altra, quanto la terza &longs;opra la quarta, ne na&longs;cerà, che la compo&longs;ta della <lb/>prima, & della quarta &longs;arà eguale alle compo&longs;te delle altre. </s> <s id="s.004789">Sia adunque, che quanto la pro­<lb/>portione tra<emph.end type="italics"/> 1 <emph type="italics"/>&<emph.end type="italics"/> 2 <emph type="italics"/>aggiugne &longs;opra la proportione tra<emph.end type="italics"/> 3 <emph type="italics"/>&<emph.end type="italics"/> 4 <emph type="italics"/>tanto aggiunga la propor­<lb/>tione, che è tra<emph.end type="italics"/> 2 <emph type="italics"/>&<emph.end type="italics"/> 4 <emph type="italics"/>alla proportione, cho è tra<emph.end type="italics"/> 8 <emph type="italics"/>&<emph.end type="italics"/> 6 <emph type="italics"/>dico, che la proportione com­<lb/>po&longs;ta delle proportioni di<emph.end type="italics"/> 1 <emph type="italics"/>à<emph.end type="italics"/> 2 <emph type="italics"/>& di<emph.end type="italics"/> 6 <emph type="italics"/>ad otto, &longs;arà eguale alla proportione delle altre com <lb/>po&longs;te, cioè del<emph.end type="italics"/> 3 <emph type="italics"/>&<emph.end type="italics"/> 4 <emph type="italics"/>& del<emph.end type="italics"/> 2 <emph type="italics"/>&<emph.end type="italics"/> 4 <emph type="italics"/>come &longs;i proua nell' Arithmetica. <!-- KEEP S--></s> <s id="s.004790">Hora dico per <lb/>que&longs;to, che lo e. <!-- REMOVE S-->che è<emph.end type="italics"/> 8 <emph type="italics"/>non è moltiplice allo f. <!-- REMOVE S-->che è<emph.end type="italics"/> 3 <emph type="italics"/>nè meno &longs;opraparticolare, come <lb/>&longs;i uede. </s> <s id="s.004791">non è adunque il diapa&longs;on con diate&longs;&longs;aron con&longs;onanza. </s> <s id="s.004792">Seguita la diate&longs;&longs;aron con dia­<lb/>pente chiamata duodecima, & è una &longs;ola con&longs;onanza po&longs;ta in proportione tripla, perche na&longs;ce <lb/>da una doppia, & da una &longs;e&longs;quialtera. </s> <s id="s.004793">Sopra la predetta con&longs;onanza è la diapa&longs;on diapente, con <lb/>un tuono, che per non e&longs;&longs;ere tra quelle proportioni, che fanno le con&longs;onanze non &longs;i puo chiamare <lb/>con&longs;onanza, ma però il &longs;en&longs;o &longs;e ne diletta, perche peruiene alle orecchie con &longs;oauità. </s> <s id="s.004794">Finalmen<lb/>te la di&longs;diapa&longs;on è la quintadecima, po&longs;ta in proportione quadrupla fatta di due doppie: nella <lb/>quale da gli antichi, è po&longs;to il termine della perfetta ordinanza, & l'ultimo grado della uoce. </s> <s id="s.004795"><lb/>Ma poi che hauemo truouato tutte le con&longs;onanze, uediamo come &longs;i po&longs;&longs;ono ordinatamente ponere <lb/>&longs;opra la data corda. </s> <s id="s.004796">Sia partita la corda a b in quattro &longs;patij eguali, &longs;egna lo &longs;patio quarto, <lb/>c & da quello partendoti uer&longs;o b tanto, che truoui lo terzo &longs;patio della corda, & &longs;ia iui d. <!-- REMOVE S--><lb/>d'indi partendoti pur uer&longs;o b. <!-- REMOVE S-->troua la metà della corda, & &longs;egna e. <!-- REMOVE S-->d'indi poi alli due terzi <lb/>&longs;egna f. <!-- REMOVE S-->& in &longs;omma alli tre quarti &longs;egna g. <!-- REMOVE S-->dico, che hauerai partita la corda &longs;econdo le det­<lb/>te con&longs;onanze perche a b & c b &longs;uonerà la diate&longs;&longs;aron a b & d b la diapente a b & <lb/>e b la diapa&longs;on a b & f b la diapa&longs;on diapente a b & g b la di&longs;diapa&longs;on. </s> <s id="s.004797">Et &longs;e uuoi <lb/>dimo&longs;trare con numeri que&longs;to compartimento, diuiderai la corda in uentiquattro &longs;patij ponendo <lb/>que&longs;ti numeri al luogo &longs;uo<emph.end type="italics"/> 6 8 12 16 18 <emph type="italics"/>& trouerai que&longs;te con&longs;onanze come ti mo&longs;tra la &longs;i <lb/>gura, la&longs;ciando le lettere in luogo delle quali &longs;ono i numeri<emph.end type="italics"/> 6 <emph type="italics"/>in luogo di c.<emph.end type="italics"/> 8 <emph type="italics"/>in luogo di d.<emph.end type="italics"/><lb/>12 <emph type="italics"/>in luogo di c.<emph.end type="italics"/> 16 <emph type="italics"/>in luogo di f.<emph.end type="italics"/> 18 <emph type="italics"/>in luogo di g. <!-- REMOVE S-->& gli e&longs;tremi in luogo di a & di b.<emph.end type="italics"/><lb/><figure id="id.045.01.250.1.jpg" xlink:href="045/01/250/1.jpg"/><!-- KEEP S--></s> </p> <pb pagenum="243" xlink:href="045/01/251.jpg"/> <figure id="id.045.01.251.1.jpg" xlink:href="045/01/251/1.jpg"/> <p type="main"> <s id="s.004798">Et però dal numero hanno pre&longs;o i nomi di quelle: percioche quando la uoce &longs;i ferma <lb/>in una terminatione di &longs;uoni, piegandoli da quella &longs;i muta, & peruiene alla quarta &longs;ua ter­<lb/>minatione. </s> <s id="s.004799">La con&longs;onanza è chiamata diate&longs;&longs;aron. </s> <s id="s.004800">& terminando nella quinta Diapen­<lb/>te, nella ottaua diapa&longs;on, nelle otto & meza diapa&longs;on, & diate&longs;&longs;aron. </s> <s id="s.004801">nelle noue & meza <lb/>diapa&longs;on, & diapente, nella quinta decima, di&longs;diapa&longs;on, perche egli non &longs;i puo fa­<lb/>re con&longs;onanze quando tra due &longs;pacij, o nella terza, o nella &longs;e&longs;ta, o nella &longs;ettima, il &longs;uo­<lb/>no delle corde, ouero il canto della uoce &longs;arà formato. </s> <s id="s.004802">Ma come di &longs;opra hauemo &longs;crit­<lb/>to, la diate&longs;&longs;aron, & la diapente hanno i loro termini conuenienti, dalla natura della uo­<lb/>ce conforme nell'ordine alla di&longs;diapa&longs;on, & i concenti na&longs;ceno dalla congiuntione de i <lb/>&longs;uoni phthongi da Greci nominati­</s> </p> <p type="main"> <s id="s.004803"><emph type="italics"/>L'ordine della di&longs;diapa&longs;on, che è la quintadecima, & è la perfetta con&longs;onanza, come quella, <lb/>che abbraccia ne gli &longs;uoi &longs;pacij, & contiene &longs;otto di &longs;e tutte le altre, fa che i termini della diate&longs;­<lb/>&longs;aron, & della diapente &longs;iano po&longs;ti, la doue &longs;ono: & finalmente tutti i gradi &longs;i riferi&longs;ceno a quel <lb/>la intentione di peruenire alla quintadecima. </s> <s id="s.004804">Et qui &longs;ia fine del trattamento Mu&longs;icale, quanto <lb/>puo ba&longs;tare allo intendimento di Vitru. nè in altro uolemo riprendere Ari&longs;toxeno, che for&longs;e ha <lb/>hauuto altre intentioni, che non &longs;ono co&longs;i compre&longs;e, & per que&longs;to pareno ad alcuni imperfette.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.004805"><emph type="italics"/>De i ua&longs;i del Theatro. <!-- KEEP S--></s> <s id="s.004806">Cap. V.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.004807">ET co&longs;i da &longs;imiglianti inue&longs;tigationi con Mathematici di&longs;cor&longs;i &longs;i fanno i ua&longs;i <lb/>di rame &longs;econdo la grandezza del Theatro, & quelli &longs;i fanno in modo, che <lb/>quando &longs;ono toccati po&longs;&longs;ono fra &longs;e rendere la diate&longs;&longs;aron, & la diapeute in <lb/>ordine alla di&longs;diapa&longs;on. </s> <s id="s.004808">Dapoi tra le &longs;edi del Theatro con ragione di Mu&longs;i­<lb/>ca &longs;i deono collocare nelle celle a que&longs;to fine apparecchiate, ma di modo, che non toc­<lb/>chino alcun parete, & habbiano d'intorno il luogo uuoto. </s> <s id="s.004809">& dalla &longs;ommità del capo loro <lb/>habbiano &longs;pacio, & &longs;iano riuolti in giu, & habbiano da quella parte, che riguarda i Thea­<lb/>tri, i cunei &longs;ottopo&longs;ti. </s> <s id="s.004810">&longs;iano di ferro quelli cunei, nè meno alti di mezo piede. </s> <s id="s.004811">& all'in­<lb/>contro di quelle celle la&longs;ciate &longs;iano le apriture a i letti de i gradi inferiori lunghe due pie­<lb/>di, alte mezo. </s> </p> <p type="main"> <s id="s.004812"><emph type="italics"/>Poi che &longs;apemo in che proportione con&longs;i&longs;ta ogni con&longs;onanza, uolendo noi preparare que ua&longs;i <lb/>di rame, che u&longs;auano gli antichi di di&longs;porre ne i Theatri, accioche la uoce piu chiaramente, &<emph.end type="italics"/><pb pagenum="244" xlink:href="045/01/252.jpg"/><emph type="italics"/>con &longs;oauit à fu&longs;&longs;e udita. </s> <s id="s.004813">Vitr. prima dice come &longs;i hanno a ri&longs;pondere in con&longs;onanza l'uno, all'altro, <lb/>poi come &longs;i hanno a porre, & che effetto facciano. </s> <s id="s.004814">Quanto adunque allo accordargli, dice che <lb/>bi&longs;ogna fargli in modo, che quando &longs;ono tocchi o dalla uoce, o da altra co&longs;a, rendino fra &longs;e le <lb/>dette con&longs;onanze, diate&longs;&longs;aron, & diapente, con que&longs;ta conditione, che l'una, & l'altra &longs;iano or­<lb/>dinate alla di&longs;diapa&longs;on; ma egli non dice il modo di proportionare que ua&longs;i, &longs;i che rendino que&longs;te <lb/>con&longs;onanze: però bi&longs;ogna quiui porui del buono, & &longs;apere le proportioni de i corpi, cioe come <lb/>uno corpo &longs;ia ri&longs;petto ad un' altro, o in doppia, o in &longs;e&longs;quialtera, ouero in &longs;e&longs;quiter za proportio­<lb/>ne. </s> <s id="s.004815">perche come ho detto piu uolte, quella proportione, che è tra &longs;pacio, e &longs;pacio, & tra corpo, e <lb/>corpo, è anche tra &longs;uono, & &longs;uono, quando &longs;ia che quelli &longs;pacij, o que corpi poßino render &longs;uo­<lb/>no. </s> <s id="s.004816">Que&longs;ta pratica dipende dal &longs;apere truouare tra due linee due altre di mezo proportionali, <lb/>ilche come &longs;i faccia, &longs;i dimo&longs;tra da noi diffu&longs;amente nel nono libro. </s> <s id="s.004817">Proportionati, che &longs;aranno <lb/>que corpi de i ua&longs;i; bi&longs;ogna preparare il luogo doue hanno a &longs;tare. </s> <s id="s.004818">que&longs;ti luoghi &longs;ono da Vitru. <!-- REMOVE S--><lb/>celle nominati, & que ua&longs;i deono e&longs;&longs;er dirame, perche è materia, che ha piu dello aere, & ri­<lb/>&longs;uona bene, & perche il &longs;uono ci uenghi piu chiaro bi&longs;ogna, che non tocchino da alcuna parte <lb/>o muro, o altro, che impedi&longs;ca il &longs;uono, & che &longs;iano uacui, & che dalla &longs;ommità del capo loro <lb/>habbiano &longs;pacio, perche meglio u'entri la uoce, & &longs;iano riuolti in giu con le bocche loro, perche <lb/>la uoce &longs;ottentri, dico riuolti &longs;i, che &longs;tiano come di&longs;te&longs;i. </s> <s id="s.004819">& perche quelli deono e&longs;&longs;ere &longs;o&longs;tentati <lb/>in qualche modo, non potendo &longs;tare in aere come la arca di Maumeth: però da quella parte, che <lb/>rig uarda i Theatri habbiano i cunei &longs;ottopo&longs;ti, &longs;i che non &longs;iano &longs;o&longs;pe&longs;i come le campane, ma &longs;ia­<lb/>no &longs;opra cunei di ferro non meno alti dimezo piede, per dare &longs;pacio &longs;otto i ua&longs;i, accioche non toc <lb/>chino da alcuna parte. </s> <s id="s.004820">& all'incontro di quelle celle dentro lequali deono &longs;tare que ua&longs;i, &longs;iano la­<lb/>&longs;ciate le apriture a i letti de i gradi inferiori, lunghe due piedi, alte mezo. </s> <s id="s.004821">co&longs;i credo io per dar <lb/>luogo alle bocche di que ua&longs;i riuolte uer&longs;o il Theatro. <!-- KEEP S--></s> <s id="s.004822">& che que cunei &longs;iano uicini alla bocca, <lb/>per che non tocchino il corpo del ua&longs;o.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004823">Ma in che luogo egli &longs;i habbia a di&longs;egnar le celle, co&longs;i è nece&longs;&longs;ario di dichiarire. </s> <s id="s.004824">Se <lb/>il Theatro non &longs;arà molto ampio, & grande, &longs;ia di&longs;egnata l'altezza di mezo per trauer&longs;o, <lb/>& in quella &longs;iano a uolti fatte tredici celle, di&longs;tanti per li do dici &longs;pacij eguali, in modo, che <lb/>que &longs;uoni, che &longs;ono &longs;tati de&longs;critti di &longs;opra, &longs;onando all'ultima delle eccellenti detta ne­<lb/>te hyperboleon, &longs;iano po&longs;ti prima nelle celle, che &longs;ono nelle e&longs;treme corna dall'una, & <lb/>l'altra parte. </s> </p> <p type="main"> <s id="s.004825"><emph type="italics"/>Cioe parti&longs;ca&longs;i la parte di mezo dell'altezza a torno il Theatro in dodici &longs;pacij eguali con tre­<lb/>dici celle, & quelle celle, che &longs;aranno &longs;opra le corna della cinta una per te&longs;ta, che Vitru. chiama <lb/>prime, haueranno i ua&longs;i proportionati al piu alto &longs;uono, & piu acuta uoce, che &longs;ia, detta nete hy­<lb/>perboleon, & tra loro &longs;aranno uni&longs;oni, & di grandezza minore a tutti gli altri. </s> <s id="s.004826">la cella di me­<lb/>zo contenirà quel ua&longs;o, che tenir à il luogo, & il &longs;uono della mezana i &longs;econdi ua&longs;i pre&longs;&longs;o a quel­<lb/>li, che &longs;ono &longs;u gli e&longs;tremi, &longs;uoner anno, la diate&longs;&longs;aron alla ultima delle di&longs;giunte, & &longs;aranno tra <lb/>&longs;e uni&longs;oni. </s> <s id="s.004827">& però dice Vitru.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.004828">I &longs;econdi da gli e&longs;tremi &longs;uonino la diate&longs;&longs;aron all'ultima delle di&longs;giunte. </s> <s id="s.004829">I terzi ua&longs;i di <lb/>qua, & di la &longs;uonino la diate&longs;&longs;aron alla uicina alla mezana. </s> </p> <p type="main"> <s id="s.004830"><emph type="italics"/>Ecco che Vitr. ua di Tetracordo in Tetracordo pigliando &longs;olamente gli estremi termini, cioè <lb/>quelli, che fanno la con&longs;onanza, & la&longs;ciando i &longs;uoni di mezo &longs;uonano all'ultima delle congiunte. </s> <s id="s.004831"><lb/>que&longs;ta è per un tuono di&longs;tante alla di &longs;opra, detta par ame&longs;e, o uicina alla mezana, per rinchiu­<lb/>dere l'ottocordo con l'ultima delle eccellenti, & è da &longs;apere, che i ua&longs;i, che &longs;i danno a i &longs;uoni piu <lb/>baßi, &longs;iano maggiori di corpo, & che uadino con proportione &longs;cemando.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004832">I quarti &longs;uonino la diate&longs;&longs;aron alla ultima delle congiunte. </s> <s id="s.004833">I quinti &longs;uonino la dia­<lb/>te&longs;&longs;aron alla mezzana. </s> <s id="s.004834">I &longs;e&longs;ti &longs;uonino la quarta alla prima delle mezane, & nel mezo è un <lb/>ua&longs;o &longs;olo, che &longs;uona la diate&longs;&longs;aron alla prima delle prime. </s> <s id="s.004835">Et co&longs;i con que&longs;to di&longs;cor&longs;o par <lb/>tendo&longs;i la uoce dalla &longs;cena, come da uno centro raggirando&longs;i a torno, & toccando le con-<pb pagenum="245" xlink:href="045/01/253.jpg"/>cauità di cia&longs;cuno di quelli ua&longs;i, ri&longs;ueglierà una chiarezza di &longs;uono aumentata, & farà ri&longs;­<lb/>&longs;uonare una conueniente con&longs;onanza. </s> </p> <p type="main"> <s id="s.004836"><emph type="italics"/>Quelli ua&longs;i adunque non &longs;olo faceuano la uoce piu chiara, ma rendeuano anche con&longs;onanza, <lb/>& melodia. </s> <s id="s.004837">ma bi&longs;ogna bene con&longs;iderare come er ano tocche accioche &longs;uona&longs;&longs;ero. </s> <s id="s.004838">io non &longs;o come <lb/>la uoce de recitanti pote&longs;&longs;e fare quello effetto: & &longs;e pure ella lo face&longs;&longs;e, come que ua&longs;i ri&longs;ponde&longs;­<lb/>&longs;ero, &longs;e for&longs;e finche la uoce fu&longs;&longs;e in con&longs;onanza con que ua&longs;i, come &longs;uole una corda di uno liuto me <lb/>uer&longs;i quando un'altra corda d'un' altro liuto è tocca, & è della mede&longs;ma con&longs;onanza. </s> <s id="s.004839">Ne i Thea­<lb/>tri minori &longs;i poneua un'ordine di que&longs;tiua&longs;i, nel mezo dell'altezza del Theatro di&longs;po&longs;ti d'intorno <lb/>la cinta de i gradi nelle lor celle, & accordati &longs;econdo quel genere, che fu&longs;&longs;e piacciuto a chi gli <lb/>ordinaua. </s> <s id="s.004840">ma io credo, che fu&longs;&longs;ero &longs;econdo il genere Armonico, perche Vitru. lo dice.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004841">Ma &longs;e la grandezza del Theatro &longs;arà piu ampia, allhora &longs;i partirà l'altezza in quattro <lb/>parti, perche &longs;i facciano tre &longs;pacij, per le celle trauer&longs;e. </s> <s id="s.004842">di que&longs;te parti una &longs;i darà al gene­<lb/>re Armonico, l'altra al chromatico, la terza al diatonico; & dal ba&longs;&longs;o la prima regione &longs;i <lb/>darà all'ordinanza dell'Armonia, &longs;i come hauemo detto di &longs;opra nel Theatro minore. </s> <s id="s.004843"><lb/>Ma nella prima parte dell'ordine di mezo &longs;i hanno a porre nelle e&longs;treme corna quelli ua&longs;i, <lb/>che ri&longs;pondino alle eccellenti del genere chromatico: ne i &longs;econdi da que&longs;ti la diate&longs;&longs;aron <lb/>alla chromatica delle di&longs;giunte, ne i terzi la diapente alla chromatica delle congiunte: ne <lb/>i quarti la diate&longs;&longs;aron alla chromatica delle mezane; ne i quinti la diate&longs;&longs;aron alla chro­<lb/>matica delle prime: ne i &longs;efti alla uicina alla mezana. </s> <s id="s.004844">perche que&longs;ti &longs;uoni hanno corri­<lb/>&longs;pondenza di con&longs;onanza, & della diapente con la chromatica delle eccellenti, & della <lb/>diate&longs;&longs;aron con la chromatica delle congiunte. </s> <s id="s.004845">ma nel mezo non &longs;i deue ponere alcun <lb/>ua&longs;o, perche nel genere chromatico niun'altra qualità di &longs;uoni puo hauere con&longs;onanza <lb/>di &longs;infonia. </s> </p> <p type="main"> <s id="s.004846"><emph type="italics"/>Egli &longs;i deue auuertire, che quando Vitr. dice, che nella prima parte dell'ordine di mezo &longs;i han <lb/>no a porre nelle e&longs;treme corna quelli ua&longs;i, che ri&longs;pondino alle eccellenti del genere chromatico, <lb/>non piglia la nete hyperboleon, ma una di quelle hyperbolee, cioè la Trite hyperboleon: & co&longs;i <lb/>di &longs;otto nel genere diatonico egli piglia la nete hyperboleon per prima &longs;u la estreme corna. </s> <s id="s.004847">Al­<lb/>trimenti &longs;e egli piglia&longs;&longs;e in tutti tre i generi per prime la nete hyperboleon, non ci &longs;arebbe differen <lb/>za tra un genere, & l'altro, perche tutti i termini de i Tetracordi &longs;arebbeno gli i&longs;teßi, perche <lb/>quelli &longs;uoni &longs;ono &longs;tabili, come termini delle con&longs;onanze. </s> <s id="s.004848">da que&longs;ti principij &longs;i hanno gli altri &longs;uoni, <lb/>come dimo&longs;tra la figura.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004849">Ma nella diui&longs;ione di &longs;opra, & regione delle celle, &longs;i hanno a porre i ua&longs;i nelle prime <lb/>corna &longs;uonanti alla diatonica delle eccellenti, ne i &longs;econdi la diate&longs;&longs;aron alla diatonica del <lb/>le di&longs;giunte; ne i terzi la diapente alla diatonica delle congiunte, ne i quarti la diate&longs;&longs;aron <lb/>alla diatonica delle mezane, ne i quinti la diate&longs;&longs;aron alla diatonica delle prime, ne i &longs;e&longs;ti <lb/>la diate&longs;&longs;aron, alla proslamuanomenon. </s> <s id="s.004850">nel mezo alla mezana, perche quella ri&longs;ponde la <lb/>diapa&longs;on alla proslamuanomenon, & la diapente alla diatonica delle prime. </s> </p> <p type="main"> <s id="s.004851"><emph type="italics"/>Quello che Vitru. ha detto fin qui, ci &longs;arà manife&longs;to per la figura qui &longs;otto. </s> <s id="s.004852">dice egli.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004853">Ma chi uorrà ridurre facilmente a perfettione que&longs;te di&longs;egnationi, auuerti&longs;ca alla fi­<lb/>gura di&longs;egnata nel fine del libro, con ragione di Mu&longs;ica, laquale Ari&longs;toxeno con gran ui­<lb/>gore, & indu&longs;tria partendo i canti per generi la&longs;ciò formata, & da quella di&longs;egnatione <lb/>(&longs;e alcuno ui porrà mente) potrà ordinare con que&longs;ti di&longs;cor&longs;i, & ridurre a perfettione i <lb/>Theatri, & alla natura delle uoci, & al diletto de gli a&longs;coltanti. </s> </p> <p type="main"> <s id="s.004854"><emph type="italics"/>Perche noi non hauemo nè e&longs;&longs;empio, nè altra memoria altroue, è nece&longs;&longs;ario che crediamo a <lb/>Vitru. però di que&longs;to non ne diremo piu oltre, perche (come dice Leon Bati&longs;ta) que&longs;ta co&longs;a è faci­<lb/>le da dire, ma quanto facilmente ella &longs;i po&longs;&longs;a e&longs;&longs;eguire con l'opra, lo &longs;anno gli e&longs;perti. </s> <s id="s.004855">&longs;i uede, che <lb/>i Romani non u&longs;auano que&longs;ti ua&longs;i.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004856">Potrebbe for&longs;e dire alcuno, che per molti anni &longs;tati &longs;ono molti Theatri a Roma, nè <pb pagenum="246" xlink:href="045/01/254.jpg"/><figure id="id.045.01.254.1.jpg" xlink:href="045/01/254/1.jpg"/><pb pagenum="247" xlink:href="045/01/255.jpg"/>però in alcuno di quelli, &longs;i ha hauuto alcuna con&longs;ideratione di que&longs;te co&longs;e. </s> <s id="s.004857">Ma, chi dubi­<lb/>ta, erra in que&longs;to, imperoche tutti i publici Theatri, che &longs;ono fatti di legno, hanno mol­<lb/>ti tauolati, i quali nece&longs;&longs;ario è, che rendino &longs;uono. </s> <s id="s.004858">Et que&longs;to &longs;i puo auuertire da i Ci­<lb/>tharedi, i quali quando uogliono cantare col tuono di &longs;opra, &longs;i riuoltano alle porte della <lb/>&longs;cena, & co&longs;i dallo aiuto di quelle riceueno la con&longs;onanza della uoce. </s> <s id="s.004859">Ma quando di &longs;oda <lb/>materia, cioè di pietra, di cementi, o di marmo &longs;i fanno, che &longs;ono co&longs;e che non po&longs;&longs;ono <lb/>ri&longs;uonare, allhora &longs;i deono e&longs;plicare con que&longs;ta ragione da quello, che detto hauemo. </s> <s id="s.004860"><lb/>Ma s'egli &longs;i cerca&longs;&longs;e in qual Theatro di Roma que ua&longs;i &longs;i trouino, certamente non lo po­<lb/>temo dimo&longs;trare. </s> <s id="s.004861">sì bene nelle parti d'ltalia, & in molte città de Greci, Oltra, che haue­<lb/>mo per capo, & autore L. Mummio, ilquale ruinato il Theatro de' Corinthi, portò a Ro­<lb/>ma i ua&longs;i di rame di quel Theatro, & delle &longs;poglie dedicogli al Tempio della Luna: & an­<lb/>che molti &longs;uegliati Architetti, che in picciole città hanno fatto farei Theatri, per la ca­<lb/>re&longs;tia eletti i dogli di creta co&longs;i ri&longs;uonanti, & con que&longs;ta ragione compo&longs;ti hanno fatto <lb/>effetti di grandi&longs;sima utilità. </s> </p> </subchap2><subchap2> <p type="head"> <s id="s.004862"><emph type="italics"/>Della conformatione del Theatro.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="head"> <s id="s.004863"><emph type="italics"/>Cap. VI.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.004864">MA la conformatione del Theatro &longs;i deue fare in que&longs;to modo. </s> <s id="s.004865">che prima &longs;i <lb/>ueda quanto grande e&longs;&longs;er deue la circonferenza della pianta, & po&longs;to nel me <lb/>zo il centro &longs;ia tirato un circolo, nel quale &longs;i fanno quattro triangoli eguali, <lb/>& di &longs;patij, & di lati, che tocchino la e&longs;trema linea della circonferenza. </s> <s id="s.004866">& &longs;o <lb/>no que&longs;ti a &longs;imiglianza di quelli, che gli A&longs;trologi nella de&longs;crittione de i dodici &longs;egni ce­<lb/>le&longs;ti da una conuenienza mu&longs;icale, che hanno le &longs;telle tra &longs;e &longs;ogliono di&longs;correndo cauare, <lb/>Di que&longs;ti rrianguli, quello il cui lato &longs;arà pro&longs;simo alla &longs;cena da quella parte, che egli ta­<lb/>glia la curuatura del cerchio, iui &longs;ia fatta la fronte della &longs;cena, & da quel luogo per lo cen­<lb/>tro &longs;ia tirata una linea egualmente di&longs;tante, la quale &longs;epari il pulpito del pro&longs;cenio, & ol <lb/>&longs;patio dell'orche&longs;tra. </s> <s id="s.004867">& con que&longs;ta ragione il pulpito &longs;arà piu largo, che quello de Greci. <!-- KEEP S--></s> <s id="s.004868"><lb/>perche tutti gli artefici pre&longs;tano l'opera loro nella &longs;cena. </s> <s id="s.004869">Ma nella orche&longs;tra &longs;ono di&longs;e­<lb/>gnati i luoghi alle &longs;edi de i &longs;enatori. </s> </p> <p type="main"> <s id="s.004870"><emph type="italics"/>La &longs;cena è la fronte del Theatro, alla quale &longs;ia tirato una linea egualmente di&longs;tante, che pa&longs;&longs;i <lb/>per lo centro, la qual &longs;epari il pulpito (cioè, il luogo piu alto, che è auanti la &longs;cena, &longs;opra la <lb/>quale &longs;i recitauano le fauole) dalla parte dell'orche&longs;tra. </s> <s id="s.004871">Orche&longs;tra era luogo nel mezo del Thea<lb/>tro nel piano, doue &longs;tauano i &longs;eggi de i &longs;enatori, appre&longs;&longs;o Romani. <!-- KEEP S--></s> <s id="s.004872">Altrimenti la Orche&longs;tra era <lb/>del choro, & de i mu&longs;ici: La &longs;cena de gli attori. </s> <s id="s.004873">Quando adunque in uno circolo hauerai forma <lb/>to quattro triangoli di lati eguali, che tocchino con le punte loro la circonferenza, prenderai <lb/>uno di quelli lati per la fronte della &longs;cena, & poi a quello tirerai una linea egualmente di&longs;tante, <lb/>che pa&longs;&longs;i per lo centro, che &longs;ia come un diametro, equidi&longs;tante alla fronte della &longs;cena, che &longs;epari <lb/>il pulpito del pro&longs;cenio dall'orche&longs;tra. </s> <s id="s.004874">I Theatri de i Greci &longs;ono differenti da i Theatri de i Latini, <lb/>perche i Greci nel mezo del piano induceuano i &longs;altatori, & i chori, & haueuano minor pulpito, <lb/>& quel piano delli &longs;altatori, &longs;i chiamaua orche&longs;tra. </s> <s id="s.004875">Ma Romani, perche nel pulpito rappre&longs;en <lb/>tauano ogni co&longs;a, però era nece&longs;&longs;ario, che'l pulpito loro fu&longs;&longs;e maggiore, accioche con quello ue­<lb/>ni&longs;&longs;ero piu auanti, & meglio s'accommoda&longs;&longs;ero irecitanti, & imu&longs;ici.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004876">L'altezza del pulpito non &longs;ia piu di cinque piedi, accioche quelli, che &longs;ederanno nell'or­<lb/>che&longs;tra po&longs;sino uedere i ge&longs;ti di tutti i recitanti. </s> <s id="s.004877">Siano partiti i cunei de gli &longs;pettacoli nel <lb/>Theatro in modo, che gli anguli de i trianguli, che uanno a torno la circonferenza del cer <lb/>chio de&longs;critto drizzino le a&longs;ce&longs;e, & le &longs;cale tra i cunei fino alla prima cinta. </s> </p> <pb pagenum="248" xlink:href="045/01/256.jpg"/> <p type="main"> <s id="s.004878"><emph type="italics"/>Data l altezza del pulpito di piedi cinque, Vitr. c'in&longs;egna doue, & in che modo douemo driz­<lb/>zar le &longs;cale, & le a&longs;ce&longs;e. </s> <s id="s.004879">Haueuano i Theatri d'intorno i &longs;uoi gradi, & ogni tanti gradi era <lb/>una cinta, cioè un piano, &longs;opra'l quale &longs;i caminaua. </s> <s id="s.004880">Tre erano le cinte, che Vitr. chiama precin­<lb/>ctioni, la prima alla parte piu ba&longs;&longs;a, la &longs;econda nel mezo, & l'altra di &longs;opra, & quella &longs;cala, <lb/>che conduceua fino alla prima cinta non &longs;eguitaua fino alla &longs;econda, ma tra mezo nella &longs;econda <lb/>cinta era un'altra &longs;cala, che ci conduceua alla terza; & co&longs;ile &longs;cale non erano dritte, & d'una <lb/>&longs;alita. </s> <s id="s.004881">Imaginiamoci adunque, che gli anguli di quelli dodici trianguli, che hauemo formati, <lb/>indrizzino le apriture alle &longs;alite, & formino qua&longs;i un cuneo. </s> <s id="s.004882">Voglio adunque, che que cunei, <lb/>che ci conduceno alla prima cinta, in quella &longs;iano terminati, & quelli, che uanno dalla prima al <lb/>la &longs;econda cinta, rincontrino con gli anguli tramezati: & co&longs;i quelli, che uanno alla terza cin­<lb/>ta, non ri&longs;pondino a quelli, che ci hanno condotti alla &longs;econda, ma a gli altri di mezo, alternan­<lb/>do i tagli, & le apriture; &longs;iano &longs;ette le apriture, & al centro drizzate egualmente di&longs;tanti l'una <lb/>dall'altra, una delle quali nel mezo del &longs;emicircolo, &longs;ia piu ampia, & piu aperta, due ne &longs;iano <lb/>una dalla de&longs;tra, l'altra dalla &longs;ini&longs;tra del diametro, o due per parte tra quella di mezo, & que&longs;te <lb/>e&longs;treme all'incontro una dell'altra. </s> <s id="s.004883">& co&longs;i le a&longs;ce&longs;e &longs;aranno compartite giu&longs;tamente. </s> <s id="s.004884">&longs;i puo anche <lb/>fare altre a&longs;ce&longs;e, & u&longs;cite &longs;econdo la capacità del Theatro, ilche &longs;i rimette alla nece&longs;&longs;ità del luo <lb/>go. </s> <s id="s.004885">ma nelle predette &longs;cale mae&longs;tre, faceuano capo altre &longs;alite coperte (come ho detto di &longs;opra) <lb/>per la commodità delle per&longs;one. </s> <s id="s.004886">Que&longs;ti cunei adunque erano co&longs;i compartiti, & andauano alle <lb/>prime cinte.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004887">Ma di &longs;opra con alternati &longs;entieri &longs;iano drizzati i cunei di mezo: Et quelli cunei, che <lb/>&longs;ono da ba&longs;&longs;o, & drizzano le &longs;alite &longs;aranno &longs;ette; ma gli altri cinque di&longs;egneranno la com <lb/>po&longs;itione della &longs;cena; tra quali, quello, che &longs;arà nel mezo all'incontro deue hauere le por <lb/>te mae&longs;tre. </s> <s id="s.004888">i due, che &longs;aranno alla de&longs;tra, & alla &longs;ini&longs;tra di&longs;egneranno le compo&longs;itioni <lb/>delle fore&longs;tarie, che ho&longs;pitali chiamano. </s> <s id="s.004889">gli ultimi due riguarderanno le uie nel uoltar del­<lb/>le cantonate. </s> </p> <p type="main"> <s id="s.004890"><emph type="italics"/>Le porte regie nel mezo della &longs;cena, gli ho&longs;pitali dalle bande, & doue &longs;i uoltaua per u&longs;cir fuo­<lb/>ri, ri&longs;pondeua al re&longs;tante de i dodici cunei, cioè a cinque. </s> <s id="s.004891">Dalla &longs;cena alle corna del Theatro era­<lb/>no portichi, non continui in modo, che tocca&longs;&longs;ero le corna, (benche que&longs;to &longs;i comprenda in al cu­<lb/>ne piante) ma erano que&longs;ti portichi come ale della &longs;cena. </s> <s id="s.004892">ma che importa &longs;e Vitru. intende&longs;&longs;e per <lb/>quel nome di uer&longs;ura, quello, che ueramente &longs;i deue intendere, quando finito un lato, &longs;i uolta al­<lb/>l'altro &longs;opra una cantonata? </s> <s id="s.004893">come anche nel terzo libro &longs;i uede, che egli ha u&longs;ato quel nome in <lb/>que&longs;ta &longs;ignificatione? </s> <s id="s.004894">& anche nel fine del &longs;eguente capo piu chiaramente lo dimo&longs;tra. </s> <s id="s.004895">Dice poi.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004896">I gradi de gli &longs;pettacoli doue s'hanno a porre i &longs;eggi non &longs;iano meno alti d'un palmo, <lb/>& d'un piede, nè piu d'un piede, & &longs;ei dita, ma le larghezze loro non piu di due piedi, & <lb/>mezo, nè meno di due piedi. </s> </p> <p type="main"> <s id="s.004897"><emph type="italics"/>I gradi de gli &longs;pettacoli, cioè l'opera di pietra, doue &longs;i &longs;taua &longs;edendo a uedere d'intorno il Theatro <lb/>non &longs;iano meno alti di cinque palmi, cioè uenti dita, nè piu d'un piede & &longs;ei dita. </s> <s id="s.004898">Erano anche nel <lb/>l'Orche&longs;tra preparati i luoghi da &longs;edere per li grand'huomini, & Senatori, compo&longs;ti in luoghi piu <lb/>alti. </s> <s id="s.004899">iui &longs;i portauano le &longs;edi honorate, a tempo; & però &longs;i legge, che per le parole di Na&longs;ica mo&longs;<lb/>&longs;a la prudenza de &longs;enatori, uietò che i &longs;ub&longs;ellij, che &longs;i portauano a tempo nel Theatro & s'erano <lb/>anche cominciati a porre in u&longs;o dalla città, portati fu&longs;&longs;ero, & po&longs;ti ne i luoghi loro. </s> <s id="s.004900">Ecco che pa­<lb/>re che i &longs;ub&longs;ellij, o &longs;eggi doue &longs;tauano i nobili, erano portati, & po&longs;ti, & &longs;i leuauano, & il luogo <lb/>loro era &longs;opra alcuni gradi leuati dal piano dell'Orchestra. </s> <s id="s.004901">Per cinquecento, & cinquanta ot­<lb/>to anni il &longs;enato me&longs;colato col popolo era pre&longs;ente a gli &longs;pettacoli; ma questa u&longs;anza Attilio Se­<lb/>rano, & L. <!-- KEEP S--></s> <s id="s.004902">Scribonio edili, &longs;eguitando la &longs;entenza del maggior' Affricano leuarono, &longs;eparan­<lb/>do i luoghi del Senato da i luoghi del popolo: per ilche l'animo del uulgo &longs;i riuol&longs;e da Scipio­<lb/>ne, & il &longs;uo fauore fu grandemente conqua&longs;&longs;ato. </s> <s id="s.004903">&longs;eguita la pianta, il Perfilo, & lo impiè del <lb/>Theatro.<emph.end type="italics"/><pb xlink:href="045/01/257.jpg"/><pb xlink:href="045/01/258.jpg"/><pb pagenum="249" xlink:href="045/01/259.jpg"/><figure id="id.045.01.259.1.jpg" xlink:href="045/01/259/1.jpg"/><pb xlink:href="045/01/260.jpg"/><pb pagenum="250" xlink:href="045/01/261.jpg"/><figure id="id.045.01.261.1.jpg" xlink:href="045/01/261/1.jpg"/><!-- KEEP S--></s> </p> <pb pagenum="251" xlink:href="045/01/262.jpg"/> <figure id="id.045.01.262.1.jpg" xlink:href="045/01/262/1.jpg"/> </subchap2><subchap2> <pb pagenum="252" xlink:href="045/01/263.jpg"/> <p type="head"> <s id="s.004904"><emph type="italics"/>Del tetto del portico del Theatro.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="head"> <s id="s.004905"><emph type="italics"/>Cap. VII.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.004906">IL tetto di quel portico del Theatro, che &longs;ta &longs;opra l'ultimo ordine de i gradi &longs;u<lb/>periori &longs;i fa ad egual liuello dell'altezza della &longs;cena: & la ragione è, perche la <lb/>uoce cre&longs;cendo egualmente peruenirà, & al &longs;ommo ordine de i gradi, & al <lb/>tetto; perche &longs;el portico non &longs;arà eguale all'altezza della &longs;cena, quanto meno <lb/>egli &longs;arà alto, la uoce &longs;arà portata inanzi a quella altezza, alla quale prima peruenirà. </s> </p> <p type="main"> <s id="s.004907"><emph type="italics"/>Io ho detto, che que&longs;to portico era &longs;opra i gradi, & come un corridore aperto uer&longs;o il piano <lb/>del Theatro, ma &longs;errato di dietro faceua ri&longs;uonare la uote mirabilmente. </s> <s id="s.004908">Leon Batti&longs;ta lo chia <lb/>ma circonuallatione, & dice, che era fatto per re&longs;trignere, & unire la uoce, & che &longs;opra, co­<lb/>me per cielo del Theatro, & per la uoce, & per l'ombra &longs;i tiraua una uela ornata di &longs;telle. </s> <s id="s.004909">Que <lb/>&longs;to portico era fatto molto mae&longs;treuolmente, perche haueua &longs;otto altri colonnati, & altri porti­<lb/>chi per &longs;o&longs;tenimento di quelli di &longs;opra, ma aperti nella parte e&longs;teriore; & que&longs;to &longs;i faceua ne i <lb/>Theatri di molta grandezza: & &longs;i faceuano doppi, perche al tempo delle pioggie, le genti &longs;i po­<lb/>te&longs;&longs;ero meglio riparare. </s> <s id="s.004910">I colonnati loro erano di opra &longs;oda, & ferma, & i loro lineamenti era <lb/>no cauati dalla ragione de gli archi, de i quali il &longs;opradetto ne ragiona copio&longs;amente.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004911">La Orche&longs;tra tra i gradi inferiori quanto grande hauerà il &longs;uo diametro, prendi&longs;i la &longs;e­<lb/>&longs;ta parte di quello, & nelle corna, & d'intorno a gli aditi a liuello di quella mi&longs;ura &longs;iano <lb/>tagliati i &longs;eggi inferiori; & la doue &longs;arà fatto il taglio, iui &longs;iano po&longs;ti i &longs;opracigli delle <lb/>uie, perche a que&longs;to modo le loro conformationi haueranno ba&longs;teuole altezza. </s> </p> <p type="main"> <s id="s.004912"><emph type="italics"/>Il primo ordine de i gradi non era &longs;ubito alzato da terra, percioche &longs;arebbe &longs;tato troppo ba&longs;&longs;o, <lb/>e&longs;&longs;endo i gradi ba&longs;&longs;i, & e&longs;&longs;endo i &longs;edili nell'orche&longs;tra piu alti: però uuole Vitr. che &longs;i pigli la &longs;e&longs;ta <lb/>parte del diametro dell'orche&longs;tra, & che quella &longs;ia l'altezza di quel muretto, che circonda l'or <lb/>che&longs;tra, & &longs;econdo quell'altezza dinanzi &longs;i deono tagliare i primi gradi da ba&longs;&longs;o nelle corna, & <lb/>d'intorno gli aditi, & doue &longs;aranno quelli tagli &longs;iano po&longs;ti i &longs;opracigli delle uie. </s> <s id="s.004913">& per &longs;opracigli <lb/>intende &longs;opra limitari, &longs;econdo, che egli ha inte&longs;o nel quarto libro trattando de i compartimenti <lb/>delle porte. </s> <s id="s.004914">Erano alcune apriture, che andauano alle &longs;alite, & alle &longs;cale drizzate &longs;econdo iou <lb/>nei, che pone Vitr. di &longs;opra.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004915">La lunghezza della &longs;cena &longs;ia doppia al diametro dell'orche&longs;tra. </s> <s id="s.004916">L'altezza del poggio <lb/>dal liuello del pulpito con la &longs;ua cornice, & gola &longs;ia per la duodecima parte del diametro <lb/>dell'orche&longs;tra. </s> <s id="s.004917">&longs;opra il poggio &longs;iano le colonne, con i capitelli, & ba&longs;amenti la quarta <lb/>parte dello i&longs;te&longs;&longs;o diametro. </s> <s id="s.004918">Gli architraui, & adornamenti di quelle colonne per la quin <lb/>ta parte. </s> <s id="s.004919">il parapetto di &longs;opra con la onda, & con la cornice &longs;ia pur la metà del parapetto, <lb/>o poggio di &longs;otto, & &longs;opra quel parapetto &longs;iano le colonne alte per un quarto meno, che <lb/>le colonne di &longs;otto. </s> <s id="s.004920">Gli architraui, & gli ornamenti di quelle colonne, per la quinta. </s> <s id="s.004921"><lb/>Ma &longs;e egli &longs;arà anche il terzo componimento &longs;opra la &longs;cena, &longs;ia il parapetto di &longs;opra, per <lb/>la metà del parapetto di mezo, & le colonne di &longs;opra &longs;iano meno alte la quarta parte del­<lb/>le colonne di mezo. </s> <s id="s.004922">gli architraui, & le cornici di quelle colonne habbiano &longs;imilmente <lb/>la quinta parte dell'altezza. </s> </p> <p type="main"> <s id="s.004923"><emph type="italics"/>Dice Leon Batti&longs;ta, che le fondamenta di quelli pareti, che a&longs;cendeno a gli ultimi gradi, & <lb/>piu lontani dal centro, cioè dall'ultima, & piu larga cinta &longs;i deono gettare tanto lontani dal cen<lb/>tro, quanto è il &longs;emidiametro del piano di mezo con un terzo di piu, ma i primi gradi, cioè quelli <lb/>che &longs;ono di dentro, & piu ba&longs;&longs;i, cioè doue &longs;i comincia la graduatione, non deono &longs;ubito comin­<lb/>ciare dal piano, ma ne i gran Theatri &longs;i deue leuare un muro dal piano, o parete alto per la nona <lb/>parte del &longs;emidiametro del piano di mezo; ma ne i Theatri minori, non &longs;i leuerà quel parete piu<emph.end type="italics"/><pb pagenum="253" xlink:href="045/01/264.jpg"/><figure id="id.045.01.264.1.jpg" xlink:href="045/01/264/1.jpg"/><pb pagenum="254" xlink:href="045/01/265.jpg"/><figure id="id.045.01.265.1.jpg" xlink:href="045/01/265/1.jpg"/><pb pagenum="255" xlink:href="045/01/266.jpg"/><emph type="italics"/>di &longs;ette piedi; &longs;opra quelli muri &longs;i deono cominciare i gradi di quella mi&longs;ura, che Vitr. ci ha dimo<lb/>&longs;trato. </s> <s id="s.004924">Que&longs;ta intentione pare, che Vitr. accenni di &longs;opra nel terzo capo, & qui anche ragio­<lb/>nando di quel taglio, che &longs;i fa per li &longs;eggi nella circonferenza interiore, & per li &longs;opracigli delle <lb/>uie. </s> <s id="s.004925">Et per &longs;eggi egli intende i primi gradi. </s> <s id="s.004926">Ragiona poi della lunghezza della &longs;cena, che deue <lb/>e&longs;&longs;er doppia al diametro dell'orchestra. </s> <s id="s.004927">La doue &longs;e il diametro &longs;arà di piedi &longs;e&longs;&longs;anta, la lunghez <lb/>za della &longs;cena &longs;arà di piedi cento, & uenti. </s> <s id="s.004928">perche &longs;e&longs;&longs;anta piedi della &longs;cena anderanno per mezo <lb/>il diametro, dell'orchestra, & trenta per parte per mezo le corna del Theatro. <!-- KEEP S--></s> <s id="s.004929">Egli ci da poi <lb/>l'altezza del poggio. </s> <s id="s.004930">Poggio è come un parapetto nella fronte della &longs;cena. </s> <s id="s.004931">la cui parte di &longs;otto, <lb/>che uiene uer&longs;o l'orche&longs;tra è il pulpito. </s> <s id="s.004932">&longs;opra il pulpito adunque, & dal liuello di quello a faccia <lb/>de gli &longs;pettatori, alzar &longs;i deue il primo parapetto per la duodecima parte dell'orche&longs;tra. </s> <s id="s.004933">cinque <lb/>piedi è alto il pulpito, cinque il parapetto. </s> <s id="s.004934">Et qui è da con&longs;iderare, che il diametro della orche­<lb/>&longs;tra, ci da la mi&longs;ura, & il fondamento del tutto. </s> <s id="s.004935">per la duodecima parte adunque, del diametro <lb/>dell'orche&longs;tra, è alto il poggio abbracciando la cornice, & la li&longs;i, che onda, cima&longs;a, o gola&longs;i <lb/>puo chiamare: ma doue &longs;ia tratto que&longs;to uocabolo di li&longs;i, io non ho truouato fin hora. </s> <s id="s.004936">Lix in <lb/>Greco è una pietra larga, & obliqua; & &longs;e Vitr. dice&longs;&longs;e Lixis potrebbe intendere quella pietra <lb/>del poggio piana, &longs;opra la quale l'huomo &longs;i appoggia. </s> <s id="s.004937">Le colonne con i capitelli, & ba&longs;e &longs;iano al <lb/>te per la quarta parte del diametro dell'orche&longs;tra, & co&longs;i &longs;arebbeno di quindici piedi e&longs;&longs;endo il <lb/>diametro della orche&longs;tra &longs;e&longs;&longs;ana. </s> <s id="s.004938">Sopra quelle colonne, & &longs;opra i loro ornamenti ui andaua il <lb/>&longs;econdo ordine; & quell'ordine di &longs;opra era detto Epi&longs;cenos, qua&longs;i &longs;opra &longs;cena, ouero aggiunta <lb/>della &longs;cena: & ne i gran Theatri &longs;i andaua anche al terzo ordine, & tanto a&longs;cendeua, che ag­<lb/>guagliaua il tetto del portico di &longs;opra: anzi egli &longs;i continuaua a torno con quelle i&longs;te&longs;&longs;e mi&longs;ure: & <lb/>però Vitr. non ragiona di quelle mi&longs;ure, perche &longs;ono le i&longs;te&longs;&longs;e della terza epi&longs;cenos. </s> <s id="s.004939">Dal profilo <lb/>del Theatro po&longs;to in forma grande, &longs;i comprenderanno molte co&longs;e da noi dichiarite &longs;econdo la in­<lb/>tentione di Vitr. benche nelle altezze delle colonne hauemo, alquanto uariato, per la ragione, <lb/>che dice qui &longs;otto.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004940">Nè in ogni Theatro a tutte le ragioni, & effetti po&longs;&longs;ono corri&longs;pondere le mi&longs;ure, & i <lb/>compartimenti. </s> <s id="s.004941">Ma e nece&longs;&longs;ario che lo architetto auuerti&longs;ca con che proportioni bi&longs;o­<lb/>gna &longs;eguire i compartimenti, & con che ragione egli debbia alla natura, o alla grandez­<lb/>za del luogo reggere l'opera & &longs;eruirle. </s> <s id="s.004942">Imperoche ci &longs;ono delle co&longs;e & nel picciolo, & <lb/>nel gran Theatro, che di nece&longs;sità deono tenere, la i&longs;te&longs;&longs;a grandezza. </s> <s id="s.004943">perche co&longs;i l'u&longs;o ri­<lb/>chiede: come &longs;ono i gradi, le cinte, i parapetti, le uie, le &longs;alite, i pulpiti, i tribunali, <lb/>& &longs;e altre co&longs;e tra mezo correno, delle quali la nece&longs;sità ci sforza partir&longs;i dalla &longs;imme­<lb/>tria, accioche l'u&longs;o non &longs;ia impedito. </s> <s id="s.004944">Similmente &longs;e egli ci mancherà la copia come del <lb/>marmo, del legname, & delle altre co&longs;e, che &longs;i apparecchiano per la fabrica, non &longs;arà fuo <lb/>ri di propo&longs;ito di leuare, o di aggiugnere alquanto, pure che que&longs;to troppo &longs;cioccamen­<lb/>te non &longs;i faccia, ma con giudicio, & &longs;entimento; & que&longs;to auuerrà &longs;e lo Architetto &longs;arà <lb/>pratico, & oltra di que&longs;to &longs;e egli non &longs;arà &longs;enza pre&longs;tezza, & &longs;olertia d'ingegno. </s> </p> <p type="main"> <s id="s.004945"><emph type="italics"/>Et però chi uede le membra delle opere antiche, & truoua co&longs;a, che paia fuori de gli ammae­<lb/>&longs;tramenti di Vitr. (come s'è detto altroue) non deue di primo tratto bia&longs;imare o Vitr. o le opere, <lb/>perche non puo &longs;apere quello, che portaua la nece&longs;&longs;ità, & quanto in tutto'l corpo quel membro <lb/>teneua la &longs;ua ragione. </s> <s id="s.004946">Vitr. &longs;e ne auuidde di que&longs;ta &longs;orte d'huomini, & in ogni luogo dapoi, che <lb/>egli ci ha dato le &longs;immetrie, & le proportioni delle co&longs;e, egli ci fa auuertiti come douemo u&longs;are <lb/>quella moderatione, che richiede il pre&longs;ente bi&longs;ogno. </s> <s id="s.004947">Noi hauemo interpretato cinte, quella pa <lb/>rola, che egli ha u&longs;ato dal Greco, diazonata, & altroue ha detto præcinctiones. </s> <s id="s.004948">Et co&longs;i bi&longs;ogna <lb/>auuertire, che bene &longs;pe&longs;&longs;o Vitr. u&longs;a piu uocaboli d'una i&longs;te&longs;&longs;a co&longs;a, come di &longs;opra ha detto onda, <lb/>quello, che altroue ha chiamato <expan abbr="cymatiū">cymatium</expan>. </s> <s id="s.004949">Tribunale egli chiama tutte quelle parti, alle quali <expan abbr="s'a&longs;cē">s'a&longs;cem</expan> <lb/>de per gradi; & nel quarto libro noi ne hauemo detto a ba&longs;tanza. </s> <s id="s.004950">Le co&longs;e adunque nominate da <lb/>Vitr. deono in ogni Theatro hauere i compartimenti mede&longs;imi, perche &longs;ono parti nece&longs;&longs;arie, & <lb/>accommodate all'u&longs;o.<emph.end type="italics"/></s> </p> <pb pagenum="256" xlink:href="045/01/267.jpg"/> <p type="main"> <s id="s.004951">Ma le &longs;cene habbiano le loro ragioni e&longs;plicate in modo, che le porte di mezo habbia­<lb/>no gli ornamenti d'una &longs;ala regale, & dalla de&longs;tra, & dalla &longs;ini&longs;tra &longs;iano gli ho&longs;pitali; ma <lb/>longo quelli &longs;pacij, che &longs;i fanno per ornamento. </s> <s id="s.004952">i quali da i Greci &longs;ono detti periachi, per­<lb/>che in que luoghi &longs;i girauano le machine, che hanno i triangoli, che &longs;i riuolgeno. </s> <s id="s.004953">In cia­<lb/>&longs;cuno tre &longs;ono le &longs;pecie de gli ornati, & apparati. </s> <s id="s.004954">que&longs;te machine &longs;i hanno a uoltare, & a <lb/>mutare l'a&longs;petto de gli ornamenti loro nelle fronti; ouero quando &longs;i deono mutare le fa­<lb/>uole, ouero quando uenir deono i Dei con tuoni repentini. </s> <s id="s.004955">Lungo quelli luoghi &longs;ono le <lb/>cantonate, & uolte, che &longs;i porgeno auanti, lequali fanno l'entrate & gli aditi nella &longs;cena, <lb/>l'una dal foro, l'altra da qualche altra parte, donde &longs;i uegna. </s> </p> <p type="main"> <s id="s.004956"><emph type="italics"/>La porta di mezo, che ri&longs;ponde al cuneo di mezo de i cinque, che &longs;i danno alla &longs;cena, era det­<lb/>ta Regia da gli ornamenti &longs;uoi. </s> <s id="s.004957">Eranui altre porte una dalla de&longs;tra, & l'altra dalla &longs;ini&longs;tra di <lb/>modo, che la fronte della &longs;cena haueua tre gran nicchi, come &longs;i uede nella pianta, in quelli erano <lb/>drizzate le machine triangulari, che &longs;i uoltauano &longs;opra perni, & in cia&longs;cuna facciata era di­<lb/>pinto l'ornamento &longs;econdo la fauola, che &longs;i deueua rappre&longs;entare. </s> <s id="s.004958">perche in una facciata era la <lb/>pro&longs;pettiua d'una &longs;cena Comica, nell'altra la Tragica, nell'altra la Satirica, & &longs;econdo la occa­<lb/>&longs;ione uoltauano quelle fronti. </s> <s id="s.004959">Da que&longs;te machine parlauano i Dei dal di &longs;opra, s'udiuano i tuoni <lb/>nella lor uenuta, fatti con utri di corami gonfi, o di pelli tirate, come ne i Tamburri, che u&longs;amo, & <lb/>con &longs;aßi dentro, che faceuano un ribombo grandi&longs;&longs;imo. </s> <s id="s.004960">& per que&longs;to modo &longs;eruauano il decoro, <lb/>non la&longs;ciando che i Dei &longs;i uede&longs;&longs;ero in &longs;cena. </s> <s id="s.004961">Co&longs;i appre&longs;&longs;o di Sofocle nello Aiace flagellifero Pal<lb/>lade parla con Vli&longs;&longs;e, & non &longs;i uede. </s> <s id="s.004962">& egli dice, che la uoce di quella Dea non ueduta, a&longs;&longs;imi­<lb/>glia al &longs;uono d'una tromba da guerra, che commoue tutto l'huomo, quando ella &longs;i &longs;ente &longs;uonare <lb/>all'arme. </s> <s id="s.004963">Que&longs;te machine adunque &longs;i riuolgeuano &longs;econdo il bi&longs;ogno & dauano luogo all'entra <lb/>te, rappre&longs;entando le uie l'una, che ueni&longs;&longs;e dalla piazza, & l'altra, d'altronde. </s> <s id="s.004964">& la figura ci <lb/>dimo&longs;tra il tutto.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.004965"><emph type="italics"/>Di tre &longs;orti di Scene. </s> <s id="s.004966">Cap. VIII.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.004967">Tre &longs;ono le &longs;orti delle Scene, una è detta Scena Tragica, l'altra Comica, la ter­<lb/>za Satirica. </s> <s id="s.004968">Gli ornamenti di que&longs;te &longs;ono tra &longs;e diuer&longs;i, & con di&longs;eguale com <lb/>partimento &longs;i fanno. </s> <s id="s.004969">imperoche le &longs;cene Tragiche &longs;i formano con colonne, <lb/>Fronti&longs;picij, figure, & altri ornamenti regali. </s> <s id="s.004970">le Comiche hanno forma di <lb/>priuati edi&longs;icij, di pergolati, o corritori, & pro&longs;pettiue di fine&longs;tre di&longs;po&longs;te ad imitatione <lb/>de i communi e dificij, ma le Scene Satiriche &longs;ono ornate di alberi, & di &longs;pilonche, & di <lb/>monti, & d'altre co&longs;e ru&longs;ticali, & agre&longs;ti in forma di giardini. </s> </p> <p type="main"> <s id="s.004971"><emph type="italics"/>I Tragici recitauano i ca&longs;i de i Tiranni, & de i Re. <!-- KEEP S--></s> <s id="s.004972">a que&longs;ti conueniuano ornamenti regali, pa­<lb/>lagi, loggie, colonnati: però la facciata del triangolo, che era per la Tragedia haueua que&longs;ti edi­<lb/>ficij, che haueuano del grande, ornati & dipinti. </s> <s id="s.004973">I Comici rappre&longs;entanano co&longs;e quottidiane, & <lb/>attioni di gente ba&longs;&longs;a, però la &longs;cena loro dimo&longs;traua forme di priuati edificij. </s> <s id="s.004974">i Satirici portauano <lb/>co&longs;e &longs;ilue&longs;tri, & bo&longs;carecci conuenienti a pa&longs;tori aninfe & &longs;imili co&longs;e; però la &longs;cena era di uer­<lb/>dure, d'acque, di pae&longs;i di lontani colorita. </s> <s id="s.004975">& era mirabile inuentione quella delle dette machine <lb/>triangolari, & uer&longs;atili, perche drieto una fauola Tragica era pronto l'apparato d'una comedia; <lb/>& drieto la comedia &longs;i poteua &longs;enza porui tempo di mezo fare la rappre&longs;entatione d'alcuna <lb/>Egloga, o d'altro, &longs;olamente col dare una uolta a quelle machine, che greci dallo effetto chia­<lb/>mano periachi, perche &longs;i riuolgeno. </s> <s id="s.004976">& qui è nece&longs;&longs;aria la intelligenza, & la pratica della pro­<lb/>&longs;pettiua, perche tutte quelle co&longs;e ricercano il punto della ui&longs;ta no&longs;tra regolatore di quanto &longs;i <lb/>uede in quelle facciate. </s> <s id="s.004977">dalche ne na&longs;ceno gli &longs;porti, i ra&longs;tremamenti, i battimenti de i lumi, & <lb/>delle ombre, l'entrate, l'u&longs;cite delle parti de i membri, il uicino, il lontano, & lo incrocciamento<emph.end type="italics"/><pb pagenum="257" xlink:href="045/01/268.jpg"/><emph type="italics"/>de i raggi, & la ragione de gli angoli, &longs;otto liquali &longs;i uede tutto quello, che &longs;i uede. </s> <s id="s.004978">&longs;econdo la <lb/>conueneuole uarietà de gli a&longs;petti. </s> <s id="s.004979">nelche è opra di bel giudicio di &longs;aper ponere il punto co&longs;iac­<lb/>commodatamente, che tutto quello, che &longs;i uede dipinto rappre&longs;enti un &longs;ito, & un'e&longs;&longs;er naturale <lb/>delle co&longs;e, & niente &longs;ia di sforzato, di precipito&longs;o, di difforme, di &longs;garbato, come &longs;i uede nelle <lb/>&longs;cene di molti le co&longs;e oltra modo picciole, gli edificij, che traboccano, i fuggimenti tanto al ba&longs;­<lb/>&longs;o punto &longs;enza dolcezza tirati, che nè dappre&longs;&longs;o, nè da lontano po&longs;&longs;ono e&longs;&longs;ere con diletto ueduti. </s> <s id="s.004980"><lb/>Que&longs;ta nece&longs;&longs;ità mi ha mo&longs;&longs;o a uoler giouare, quanto per me &longs;i puo, anche in que&longs;ta parte a gli &longs;tu <lb/>dio&longs;i. </s> <s id="s.004981">& però io ho &longs;critto di pro&longs;pettiua con uie, & modi ragioneuoli drizzati alla pratica che <lb/>è detta &longs;cenografia. </s> <s id="s.004982">& ho gettato i fondamenti di que&longs;ta cognitione, & le regole di que&longs;ta pra­<lb/>tica, con diffinire, diuidere, & dimo&longs;trare, quanto alla detta ragione è nece&longs;&longs;ario, accioche &longs;enza <lb/>dubitatione l'huomo po&longs;&longs;a porre la ueduta in proprio, & accommodato luogo, accioche non &longs;i ca&longs; <lb/>chi in quelli errori, che di &longs;opra ho detto. </s> <s id="s.004983">iui &longs;i ueder à la di&longs;po&longs;itione de i piani regolati, & in re­<lb/>golati, in &longs;quadra, & fuori di &longs;quadra, & iperfetti di qualunque corpo &longs;i &longs;ia. </s> <s id="s.004984">il modo di leuare i <lb/>corpi &longs;econdo le altezze loro, & la ragione delle parti delle colonne, & delle tre &longs;orti di &longs;cene, con <lb/>quanto appartiene all'ombreggiare, a i lumi, ad alcuni modi facili per uia d'in&longs;trumenti, & d'al­<lb/>cune altre maniere di que&longs;ta pratica diletteuole, & nece&longs;&longs;aria. </s> <s id="s.004985">ma tornamo a Vitru. che tratta <lb/>de i Theatri de i Greci. <!-- KEEP S--></s> <s id="s.004986">& dice.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004987">Ma ne i Theatri de i Greci non &longs;i deono fare tutte le co&longs;e con le i&longs;te&longs;&longs;e ragioni, perche <lb/>nella circonferenza del piano inferiore, &longs;i come nel Theatro latino gli anguli di quattro <lb/>Triangoli toccauano il giro, & circuito d'intorno, co&longs;i nel Greco gli anguli di tre qua­<lb/>drati deono toccare la detta circonferenza, & il lato di quel quadrato, che è pro&longs;simo alla <lb/>Scena, & che taglia la curuatura della circonferenza in quella parte di&longs;egna il termine del <lb/>pro&longs;cenio, & d'indi allo e&longs;tremo giro della curuatura &longs;e le tira una linea egualmente di­<lb/>&longs;tante, nellaquale &longs;i di&longs;egna la fronte della &longs;cena. </s> <s id="s.004988">& per lo centro dell'orche&longs;tra a can­<lb/>to il pro&longs;cenio, &longs;i de&longs;criue una linea equidi&longs;tante, & da quella parte doue ella taglia le li­<lb/>nee della circonferenza dalla de&longs;tra, & dalla &longs;ini&longs;tra nelle corna del &longs;emicircolo, &longs;i hanno a <lb/>ponere i centri: & po&longs;ta la &longs;e&longs;ta nella de&longs;tra dallo &longs;pacio &longs;ini&longs;tro &longs;i tira un giro alla de&longs;tra <lb/>parte del pro&longs;cenio, & co&longs;i po&longs;to il centro nel &longs;ini&longs;tro corno dallo &longs;pacio de&longs;tro &longs;i gira al­<lb/>la &longs;ini&longs;tra parte del pro&longs;cenio, & co&longs;i per tre centri con que&longs;ta de&longs;crittione i Greci hanno <lb/>l'orche&longs;tra maggiore, & la &longs;cena piu a dentro, & il pulpito, che chiamano logion, men lar <lb/>go; perche appre&longs;&longs;o de Greci la &longs;cena era data a i recitatori di Tragedie, & di Comedie. <!-- KEEP S--></s> <s id="s.004989"><lb/>ma gli altri artefici faceuano i loro ufficij per l'orche&longs;tra. </s> <s id="s.004990">& di qui na&longs;ce, che &longs;eparatamen­<lb/>te da Greci nominati &longs;ono i &longs;cenici, & i Thimelici. </s> </p> <p type="main"> <s id="s.004991"><emph type="italics"/>Era appre&longs;&longs;o de Greci l'orchestra maggiore, & per que&longs;to nella di&longs;egnatione de i loro Theatri <lb/>faceuano tre quadrati in un circolo, &longs;i come i Latini faceuano quattro trianguli, e tutto che tan­<lb/>to gli anguli de i triangoli, quanto gli anguli de i quadrati parti&longs;&longs;ero in dodici parti eguali la cir­<lb/>conferenza, era però maggiore &longs;pacio nel mezo la doue erano tre quadrati, che la doue erano <lb/>quattro triangoli, perche i lati de i quadrati &longs;ono piu uicini alla circonferenza. </s> <s id="s.004992">& &longs;i come nel <lb/>Theatro de i Latini, un lato d'un triangolo faceua la fronte della &longs;cena, co&longs;i faceua un lato del qua<lb/>drato nel Theatro de Greci, & terminaua il pro&longs;cenio: ma la fronte della &longs;cena era &longs;opra una li­<lb/>nea tirata fuori della circonferenza del circolo, che toccaua pure la circonferenza, & era egual <lb/>mente di&longs;tante a quel lato del quadrato, che terminaua il pro&longs;cenio, di modo che la &longs;cena de i <lb/>Greci era piu rimota, che la &longs;cena de i Latini. <!-- KEEP S--></s> <s id="s.004993">Oltra di que&longs;to egli &longs;i tiraua anche una linea, che <lb/>pa&longs;&longs;aua per lo centro, & era come diametro egualmente di&longs;tante al detto lato, & alla fronte del <lb/>la &longs;cena. </s> <s id="s.004994">&longs;opra gli e&longs;tremi di que&longs;ta linea la doue tocca la circonferenza, &longs;i faceua centro, & po&longs;to <lb/>prima l'un piede della &longs;e&longs;ta in uno, l'altro &longs;i allargaua al centro, & uolgendo&longs;i intorno ci daua <lb/>i termini della maggior circonferenza: perche iui era il termine della circonferenza, & ultima <lb/>precintione del Theatro, la doue toccaua la linea del pro&longs;cenio. </s> <s id="s.004995">come è nel punto B. & C. <lb/>nellalinea. <!-- REMOVE S-->C. B. & i centri &longs;ono. </s> <s id="s.004996">D. E.<emph.end type="italics"/><pb xlink:href="045/01/269.jpg"/><pb xlink:href="045/01/270.jpg"/><pb pagenum="258" xlink:href="045/01/271.jpg"/><figure id="id.045.01.271.1.jpg" xlink:href="045/01/271/1.jpg"/><pb xlink:href="045/01/272.jpg"/><!-- KEEP S--></s> </p> <pb pagenum="259" xlink:href="045/01/273.jpg"/> <p type="main"> <s id="s.004997"><emph type="italics"/>La machina triangulare. </s> <s id="s.004998">O. doue e anche la porta regia.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.004999"><emph type="italics"/>La fronte della &longs;cena F. G. L'Orche&longs;tra P.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.005000"><emph type="italics"/>Il re&longs;tante è facile, & gli ho&longs;pitali, & altre &longs;tanze come nel Theatro de Latini. </s> <s id="s.005001">ucro è, che <lb/>nella pianta del Latino, nella &longs;cena hauemo fatto tre porte, & in cia&longs;cuna uno triangolo uer&longs;ati­<lb/>le, per accompagnare di pro&longs;pettiua la facciata di mezo, & hauemo congiunto a diuer&longs;o modo <lb/>la &longs;cena del Theatro latino; come che que&longs;to &longs;i po&longs;&longs;a fare in piu modi. </s> <s id="s.005002">ilche ci ha piaciu­<lb/>to come conuenienti&longs;&longs;ima forma, e&longs;&longs;endo &longs;tati auuertiti dalle ruine d'uno antico Theatro, che <lb/>&longs;i troua in Vicenza tra gli horti, & le ca&longs;e d'alcuni cittadini, doue &longs;i &longs;corgeno tre gran nicchi del <lb/>la &longs;cena, la doue noi hauemo po&longs;to le tre porte, & il nicchio di mezo è bello, & grande.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005003">L'altezza di quel luogo non deue e&longs;&longs;er meno di dieci, nè piu di dodici piedi. </s> <s id="s.005004">I gradi del <lb/>le &longs;cale tra i cunei, & le &longs;edi all'incontro de gli anguli de i quadrati &longs;iano drizzati alla pri­<lb/>ma cinta, & da quella cinta tra mezo di quelli, &longs;iano drizzate anche l'altre gradationi & alla <lb/>&longs;omma quanti &longs;aranno altrettanto &longs;iano ampliate. </s> </p> <p type="main"> <s id="s.005005"><emph type="italics"/>L'altezza di quel luogo, cioè del logeo, & pulpito, non deue e&longs;&longs;er meno di dieci, & piu di dodi­<lb/>ci piedi. </s> <s id="s.005006">Vitr. alza il pulpito de i Greci &longs;ette piedi piu del pulpito de i latini, perche e&longs;&longs;endo il pul­<lb/>pito de Latini piu uicino all' orche&longs;tra, non bi&longs;ognaua che egli fu&longs;&longs;e piu alto, ma i Greci che haue­<lb/>uano la loro orche&longs;tra piu rimota dalla &longs;cena poteuano alzar alquanto piu il pulpito loro, &longs;enza <lb/>impedimento della ui&longs;ta, come &longs;i uede che la di&longs;tanza fa parere ba&longs;&longs;e le co&longs;e alte, perche &longs;i uede &longs;e <lb/>uno ua appre&longs;&longs;o una ca&longs;a, non uede il colmo, ma piu che egli s'allontana piu lo di&longs;cuopre, come <lb/>la ragione della pro&longs;pettiua ci fa manifesto. </s> <s id="s.005007">Alzato adunque il pulpito, Vitru. drizza le &longs;cale <lb/>uer&longs;o i cunei, & uuole il mede&longs;imo, cioè che le &longs;cale, che uanno alla prima cinta non incontrino <lb/>con quelle che uanno alla &longs;econda, & uuole di piu che le &longs;cale, & le &longs;alite &longs;iano raddoppiate quan <lb/>to piu cinte &longs;aranno, come &longs;i uede nella figura.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005008">Poi che que&longs;te co&longs;e con &longs;omma cura, & &longs;olertia &longs;aranno e&longs;plicate, bi&longs;ogna allhora piu <lb/>diligentemente auuertire, che egli elegga un luogo doue la uoce dolcemente applicata &longs;ia, <lb/>& che &longs;cacciata, ritornando a dietro, non riporti all' orecchie una incerta &longs;igni&longs;icatione <lb/>de lle co&longs;e. </s> </p> <p type="main"> <s id="s.005009"><emph type="italics"/>A Vitr. molto preme l'accommodar il luogo alla uoce; però oltra le gia dette co&longs;e, egli tutta <lb/>uia ci da precetti di que&longs;to, & ammae&longs;tramenti belli&longs;&longs;imi; & in uero non &longs;enza grande ragione, <lb/>perche il fine di tutta questa materia di &longs;pettacoli, è che &longs;i ueda, & che &longs;i oda commodamente. </s> <s id="s.005010"><lb/>Di&longs;tingue adunque i luoghi quanto alla natura del &longs;uono, & dice.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005011">Sono alcuni luoghi, i quali naturalmente impedi&longs;ceno il mouimento della uoce, come <lb/>&longs;ono i di&longs;&longs;onanti, i circon&longs;onanti, i ri&longs;onanti, & i con&longs;onanti, detti da Greci, catihcon­<lb/>tes, perijchontes, antijchontes, &longs;inichontes. </s> <s id="s.005012">Di&longs;&longs;onanti &longs;ono quelli, ne i quali, poiche &longs;i <lb/>leua la prima uoce offe&longs;a da i corpi &longs;odi di &longs;opra, è &longs;cacciata al ba&longs;&longs;o, & opprime la &longs;alita <lb/>della &longs;econda uoce. </s> </p> <p type="main"> <s id="s.005013"><emph type="italics"/>Come &longs;e egli dice&longs;&longs;e, che il primo giro della uoce intoppando&longs;i in co&longs;a dura, & &longs;oda fu&longs;&longs;e in giu <lb/>rincalzato, & rompe&longs;&longs;e il &longs;econdo giro, doue ne na&longs;ce&longs;&longs;e la di&longs;&longs;onanza, che per uirtu della parola <lb/>Greca &longs;ignifica &longs;uono al ba&longs;&longs;o cacciato, rotto, & franto, perche catichontes, è qua&longs;i deor&longs;um &longs;o­<lb/>num mittentes. </s> <s id="s.005014">& io ho interpretato di&longs;&longs;onanti a quel modo, che nel Latino &longs;i dice de&longs;picere, <lb/>qua&longs;i deor&longs;um a&longs;picere.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005015">Circon&longs;onanti luoghi &longs;ono quelli, ne i quali la uoce ri&longs;tretta girando intorno ri&longs;ol­<lb/>uendo&longs;i nel mezo, &longs;uonando &longs;enza gli e&longs;tremi &longs;uoi cadimenti, &longs;i e&longs;tingue la&longs;ciando incer­<lb/>ta la &longs;ignificatione delle parole. </s> </p> <p type="main"> <s id="s.005016"><emph type="italics"/>Que&longs;ti luoghi fanno rimbombo, perche in quelli ritorna lo i&longs;te&longs;&longs;o bombo o &longs;uono, come d'intor­<lb/>no, & dentro le campane &longs;i perde il &longs;uono, poi che re&longs;ta la perco&longs;&longs;a.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005017">Ri&longs;onanti &longs;ono quei luoghi, doue e&longs;&longs;endo la uoce in &longs;odo luogo perco&longs;&longs;a, ritornando a <lb/>dietro le imagini, che la e&longs;primeno, fanno doppi all'udito i cadimenti. </s> </p> <pb pagenum="260" xlink:href="045/01/274.jpg"/> <p type="main"> <s id="s.005018"><emph type="italics"/>Ri&longs;uona la uoce percuotendo, & ritoruando a dietro qua&longs;i di rinuerbero, & come iraggi del <lb/>Sole rifle&longs;&longs;i, co&longs;i la uoce riperco&longs;&longs;a ri&longs;uona, cioè di nuouo &longs;uona, & raddoppia la &longs;ua &longs;imiglianza, <lb/>& fa Echo. </s> <s id="s.005019">La cui e&longs;preßione per piacer no&longs;tro facemmo, come qui &longs;otto. </s> <s id="s.005020">& ne i librino&longs;tri dell'a­<lb/>nima in uer&longs;i latini ne adducemmo la ragione, parlando del mouimento della uoce, & del &longs;en­<lb/>&longs;o dell' udita.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005021"><emph type="italics"/>Echo figlia de i bo&longs;chi, & delle ualli, <lb/>Ignudo &longs;pirto, & uoce errante e&longs;ciolta,<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005022"><emph type="italics"/>Ererno e&longs;&longs;empio d'amoro&longs;i falli <lb/>Che tanto altrui ridice, quanto a&longs;colta,<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005023"><emph type="italics"/>S'amor ti torne ne &longs;uoi allegri balli <lb/>Et che ti rendi la tua forrna tolta,<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005024"><emph type="italics"/>Fuor d'este ualli abandonate e &longs;ole, <lb/>Sciogli i miei dubbi in &longs;emplici parole.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005025"><emph type="italics"/>Echo che co&longs;a è'l fin d'amore? </s> <s id="s.005026">Amore. <!-- KEEP S--></s> <s id="s.005027"><lb/>Chi fa &longs;ua &longs;trada men &longs;icura? </s> <s id="s.005028">Cura.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.005029"><emph type="italics"/>Viue ella &longs;empre, o pur &longs;en more? </s> <s id="s.005030">More. </s> <s id="s.005031"><lb/>Debbio fuggir la &longs;orte dura? </s> <s id="s.005032">Dura.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005033"><emph type="italics"/>Chi darà fin al gran dolore? </s> <s id="s.005034">L'hore. </s> <s id="s.005035"><lb/>Com'ho da uincer chi è pergiura? </s> <s id="s.005036">Giura.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005037"><emph type="italics"/>Dunque l'inganno ad amor piace? </s> <s id="s.005038">Piace. </s> <s id="s.005039"><lb/>Che fin è e&longs;&longs;o guerra o pace? </s> <s id="s.005040">Pace.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005041">Con&longs;onanti &longs;ono que luoghi ne i quali dal piano la uoce aiutata con augumento cre­<lb/>&longs;cendo entra nelle orecchie con chiara determinatione delle parole. </s> </p> <p type="main"> <s id="s.005042"><emph type="italics"/>I luoghi con&longs;onanti &longs;ono affatto contrarij a i di&longs;&longs;onanti, perche in quelle la uoce uiene dal cen­<lb/>tro alla circonferenza aiutata, & unita, & cre&longs;ce egualmente. </s> <s id="s.005043">in que&longs;ti la uoce dalla circonfe­<lb/>renza al centro è ribattuta, & rotta. </s> <s id="s.005044">Questa differenza de i luoghi è molto bella, & ben di­<lb/>chiarita da Vitr. però dice.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005045">Et co&longs;i &longs;e nella elettione de i luoghi &longs;i auuertirà con diligenza, &longs;enza dubbio lo effetto <lb/>della uoce ne i Theatri &longs;arà con prudenza all'utilità moderato, & temperato. </s> <s id="s.005046">Ma la de­<lb/>&longs;crittione, & i di&longs;egni tra &longs;e con que&longs;te differenze &longs;aranno notati, che quelli di&longs;egni, che <lb/>&longs;i fanno de i quadrati &longs;iano de Greci, & quelli de i trianguli equilateri habbiano l'u&longs;o de' <lb/>latini. </s> <s id="s.005047">& co&longs;i chi uorrà u&longs;are que&longs;te pre&longs;crittioni, condurrà beni&longs;simo i Theatri. <!-- KEEP S--></s> <s id="s.005048">Plinio di­<lb/>ce, che l'arena &longs;par&longs;a nell' Orche&longs;tra diuora la uoce. </s> </p> </subchap2><subchap2> <p type="head"> <s id="s.005049"><emph type="italics"/>'De i portichi drieto la Scena, & delle ambulatio­<lb/>ni. </s> <s id="s.005050">Cap. IX.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.005051">Deon&longs;i fare i portichi drieto la &longs;cena a que&longs;to fine, accioche quando le pioggie <lb/>repentine &longs;turberanno i giuochi, il popolo habbia doue egli &longs;i ricoueri dal <lb/>Theatro, & accioche que luoghi, ne i quali &longs;i danno gli in&longs;trumenti per lo <lb/>choro, & lo apparato del choro habbia campo &longs;paciolo. </s> <s id="s.005052">come &longs;ono i porti­<lb/>chi Pompeiani, & in A thene i portichi Eumenici, & il Tempio del padre Bacco, & l'Odeo <lb/>a quelli, che e&longs;ceno dalla parte &longs;ini&longs;tra del Theatro, ilquale Pericle di&longs;po&longs;e in A thene con <lb/>colonne di pietra, & con gli alberi, & con le antenne delle naui delle &longs;poglie de' Per&longs;iani ri <lb/>coper&longs;e. </s> <s id="s.005053">& lo i&longs;te&longs;&longs;o anche bru&longs;ciato alla guerra Mithridatica il Re Ariobarzane rifece. </s> <s id="s.005054">& <lb/>come a Smirne lo Stratageo. </s> </p> <p type="main"> <s id="s.005055"><emph type="italics"/>Choragia &longs;ignifica due co&longs;e, & quelli, che danno lo in&longs;trumento, & l'apparato per li giuo­<lb/>chi, & il luogo di doue &longs;i caua lo in&longs;trumento. </s> <s id="s.005056">Odeum era qua&longs;i uno picciolo Theatro, doue s'u­<lb/>diuano le proue, & le concorrenze de i Mu&longs;ici. <!-- KEEP S--></s> <s id="s.005057">Io &longs;timo, che iui s'a&longs;&longs;etta&longs;&longs;ero i Mu&longs;ici, come nel <lb/>Choragio &longs;i a&longs;&longs;ettauano gli hi&longs;trioni, che di quel luogo poi entrauano nella &longs;cena. </s> <s id="s.005058">Stratageo <lb/>chiamerei lo armamento. </s> <s id="s.005059">Fin qui Vitr. ha di&longs;&longs;egnato il Theatro, & dimo&longs;trato &longs;econdo l'u&longs;o <lb/>de Greci, & de Latini, che differenza &longs;ia nelle loro de &longs;ignationi. </s> <s id="s.005060">Hora parla di quelli portichi, <lb/>che erano dietro la &longs;cena, & de i luoghi da pa&longs;&longs;eggiare, perche co&longs;i era ordinato da i buoni Ar­<lb/>chitetti, che a Tempij, & alle ca&longs;e de i grandi, & alle fabriche publiche &longs;i de&longs;&longs;ero i portichi: & que <lb/>&longs;to, come dice Vitru. <!-- REMOVE S-->& per neceßità, & per diletto, & per ornamento &longs;i faceua.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005061">Et a Tralli il portico, come d'una &longs;cena; &longs;opra lo &longs;tadio dall'una parte, & l'altra. </s> <s id="s.005062">Et <pb pagenum="261" xlink:href="045/01/275.jpg"/>come nelle altre città, che hanno hauuto gli Architetti piu diligenti. </s> <s id="s.005063">D'intorno a i Thea<lb/>tri &longs;ono i portichi, & gli &longs;patij da pa&longs;&longs;eggiare: che co&longs;i pare, che &longs;i habbiano a ponere. </s> <s id="s.005064"><lb/>prima che &longs;iano doppi. <emph type="italics"/>Cioè non in altezza, & di due ordini di colonne, ma doppi di &longs;otto. <lb/></s> <s id="s.005065">& come portichi de i Tempij: & le &longs;eguenti parole lo dimo&longs;trano.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005066">Et habbiano le colonne e&longs;teriori Doriche, & gli Architraui con gli ornamenti &longs;econ­<lb/>do la ragione della mi&longs;ura Dorica fabricate. </s> <s id="s.005067">Dapoi, che le larghezze loro &longs;iano in mo­<lb/>do, che quanto alte &longs;aranno le colonne di fuori, tanto &longs;iano gli &longs;patij da pa&longs;&longs;eggiare dal­<lb/>la parte di dentro tra le e&longs;treme colonne, & tra le mezane a i pareti, che rinchiudeno il <lb/>portico d'intorno. </s> <s id="s.005068">ma le colonne di mezo &longs;iano per la quinta parte piu alte delle e&longs;teriori. </s> </p> <p type="main"> <s id="s.005069"><emph type="italics"/>La ragione è, perche deono occupare quello &longs;patio, che occupa lo architraue &longs;opra le colonne <lb/>e&longs;teriori; & perche &longs;opra quello di mezo non &longs;i pone architraue, però deono e&longs;&longs;er piu alte.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005070">Et fatte &longs;iano alla lonica, ouero alla Corinthia. <!-- KEEP S--></s> <s id="s.005071">Le mi&longs;ure delle colonne, & i com <lb/>partimenti non &longs;aranno fatte con le i&longs;te&longs;&longs;e ragioni, come ho &longs;critto de i Tempij. <!-- REMOVE S-->perche <lb/>conuengono hauere altra grauitá ne i Tempij de i Dei, & altra &longs;ottilità ne i portichi, oue­<lb/>ro nelle altre opere, & però &longs;e le colonne &longs;aranno di maniera Dorica, &longs;iano partite le loro <lb/>altezze con i capitelli in parti quindici, & di quelle una &longs;ia il modulo, alla cui ragione &longs;i e&longs;pe <lb/>dirà tutta l'opera: & da piedi la gro&longs;&longs;ezza della colonna, &longs;i faccia di due moduli: lo &longs;patio <lb/>tra le colonne di cinque & meza: l'altezza delle colonne eccetto il capitello di quattordici <lb/>moduli: l'altezza del capitello d'uno modulo: la larghezza di due, & d'un &longs;e&longs;to: le altre <lb/>mi&longs;ure del re&longs;tante dell'opera, &longs;i faranno, come s'è detto de i Tempij nel quarto libro. </s> <s id="s.005072"><lb/>Ma s'egli &longs;i faranno le colonne Ioniche, il fu&longs;to della colonna oltra la ba&longs;a, & il capitello <lb/>&longs;ia diui&longs;o in otto parti & meza, & di que&longs;te una &longs;ia data alla gro&longs;&longs;ezza della colonna: la ba­<lb/>&longs;a con l'orlo &longs;ia fatta per la metà della gro&longs;&longs;ezza. </s> <s id="s.005073">Il capitello &longs;i farà con la ragion detta <lb/>nel terzo libro. </s> <s id="s.005074">Se la colonna &longs;arà di maniera Corinthia, il fu&longs;to, & la ba&longs;a &longs;ia come la Io <lb/>nica, ma il capitello &longs;econdo che è &longs;critto nel quarto libro. </s> <s id="s.005075">La aggiunta del piede&longs;talo, <lb/>che &longs;i fa per gli &longs;cabelli di&longs;pari, &longs;ia pre&longs;a dal di&longs;egno &longs;opra &longs;critto nel terzo libro. </s> <s id="s.005076">Gli Ar­<lb/>chitraui, goeciolatoi, & tutto il re&longs;to de membri, &longs;econdo la ragione delle colonne &longs;i <lb/>piglieranno da gli &longs;critti, de i uolumi &longs;uperiori. </s> <s id="s.005077">Ma gli &longs;patij di mezo, che &longs;aranno alla <lb/>&longs;coperta tra i portichi, &longs;i deono ornare di uerdure, perche il pa&longs;&longs;eggiare alla &longs;coperta ritie­<lb/>ne gran &longs;alubrità: & prima da gli occhi, perche lo aere a&longs;&longs;otigliato dalle uerdure, entran <lb/>do per cagione del mouimento del corpo, a&longs;&longs;ottiglia la &longs;pecie del uedere, & co&longs;i leuan­<lb/>do il gro&longs;&longs;o humore da gli occhi la&longs;cia la ui&longs;ta &longs;ottile, & la &longs;pecie acuta. </s> <s id="s.005078">Oltra di que&longs;to <lb/>&longs;caldando&longs;i il corpo per lo mouimento del caminare, a&longs;ciugando lo aere gli humori dalle <lb/>membra, &longs;cema la pienezza loro, & di&longs;sipando gli a&longs;&longs;ottiglia, perche ne &longs;ono molto piu di <lb/>quello, che il corpo puo &longs;o&longs;tenere. </s> <s id="s.005079">Et che que&longs;to co&longs;i &longs;ia, egli &longs;i puo auuertire, che e&longs;­<lb/>&longs;endo le fonti dell'acque al coperto, ouero e&longs;&longs;endo &longs;otterra la copia palu&longs;tre, non &longs;i leua <lb/>da quelli alcuno humore nebulo&longs;o, ma &longs;i bene ne i luoghi aperti, & liberi, quando il na­<lb/>&longs;cente &longs;ole col &longs;uo caldo uapore ri&longs;calda il mondo, eccita da i luoghi humidi, & abondanti <lb/>d'acqua gli humori, & quelli in&longs;ieme raunati &longs;ollieua. </s> <s id="s.005080">Se adunque co&longs;i pare, che ne i luo <lb/>ghi aperti i piu graui humori &longs;iano per lo aere &longs;ucchiati da i corpi, come dalla terra per le <lb/>nebbie &longs;i uede, io non pen&longs;o, che dubbio &longs;ia, che non &longs;i debbia porre nelle città gli &longs;patij <lb/>da caminare &longs;coperti &longs;otto il puro cielo. </s> <s id="s.005081">Ma perche que&longs;te uie non &longs;iano fango&longs;e, ma <lb/>&longs;empre a&longs;ciutte, in que&longs;to modo &longs;i deue fare. </s> <s id="s.005082">Siano cauate, & profondi&longs;simamente uuo <lb/>tate, & dalla de&longs;tra, & dalla &longs;ini&longs;tra &longs;i facciano le chiauiche murate, & ne i pareti di quel­<lb/>le, che riguardano al luogo doue &longs;i pa&longs;&longs;eggia &longs;iano fatte le canne piegate con la cima loro <lb/>nelle chiauiche, & dapoi che quelle co&longs;e &longs;aranno fatte compiutamente, bi&longs;ogna empire <lb/>quelli luoghi di carboni, & le uie di &longs;opra &longs;iano coperte di &longs;abbione, & i&longs;pianate, co&longs;i per <lb/>la naturale rarità de i carboni, & per le canne ri&longs;pondenti alle chiauiche &longs;i riceuerà l'acqua <pb pagenum="262" xlink:href="045/01/276.jpg"/>doue &longs;enza humore, & a&longs;ciutte &longs;aranno le uie da pa&longs;&longs;eggiare. </s> <s id="s.005083">Appre&longs;&longs;o in que&longs;te opere &longs;o <lb/>no le monitioni fatte da i maggiori nelle città delle co&longs;e nece&longs;&longs;arie. </s> <s id="s.005084">perche ne gli a&longs;&longs;edi <lb/>ogni co&longs;a &longs;i puo hauere piu facilmente, che le legna. </s> <s id="s.005085">perche prima il &longs;ale piu facilmente &longs;i <lb/>puo portare, i grani nel publico, & nel priuato piu e&longs;peditamente &longs;i a&longs;&longs;unano: & &longs;e per ca <lb/>&longs;o uengono al manco, con l'herbe, & con la carne, & con i legumi &longs;i riparano: le acque <lb/>col cauare de i pozzi, & con le gran pioggie dalle tegole &longs;i raccoglieno. </s> <s id="s.005086">ma la monitione <lb/>& proui&longs;ione delle legna tanto nece&longs;&longs;aria a cuocere il cibo, è difficile, & noio&longs;a: perche <lb/>tardo &longs;i conduce, & piu &longs;i con&longs;uma in que&longs;ti tempi del bi&longs;ogno delle legna, & de gli a&longs;&longs;e <lb/>dij. </s> <s id="s.005087">S'apreno que&longs;ti cortili, o &longs;patij &longs;coperti, & &longs;i diuideno le mi&longs;ure partitamente a cia­<lb/>&longs;cuna te&longs;ta, & co&longs;i que&longs;ti luoghi &longs;coperti fatti per pa&longs;&longs;eggiare danno due belle, & buone co <lb/>&longs;e: una nella pace, che è la &longs;anità, l'altra nella guerra, che è la &longs;alute. </s> <s id="s.005088">Per quelle ragioni adun <lb/>que gli &longs;patij da pa&longs;&longs;eggiare non &longs;olo dopo la &longs;cena del Theatro, ma anche po&longs;ti appre&longs;&longs;o <lb/>i Tempij di tutti i Dei potranno e&longs;&longs;er nelle città di grandi&longs;simo giouamento. </s> <s id="s.005089">Et per­<lb/>che molto chiaramentemi pare hauer detto di tali co&longs;e, hora pa&longs;&longs;erò a dimo&longs;trare la ragio <lb/>ne de i bagni. </s> </p> <p type="main"> <s id="s.005090"><emph type="italics"/>Io non &longs;aprei che aggiugnere a Vitr. &longs;enon a pompa, però &longs;eguitando la di&longs;po&longs;itione de i bagni, <lb/>di quelli ne ragioneremo.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.005091"><emph type="italics"/>Della di&longs;po&longs;itione, & delle parti de i bagni. </s> <s id="s.005092"><lb/>Cap. X.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.005093">Primamente egli &longs;i deue eleggere un luogo, che &longs;ia caldi&longs;simo, cioè riuolto dal <lb/>&longs;ettentrione, & dallo Aquilone, & quelli luoghi, che &longs;i faranno per ri&longs;caldare <lb/>ouero intepidire, habbiano i lumi da quella parte, doue tramonta il &longs;ole la in­<lb/>uernata. </s> <s id="s.005094">Ma &longs;e la natura del luogo ci &longs;arà d'impedimento, egli &longs;i piglierà il lu <lb/>me dal meriggie; pche il <expan abbr="t&etilde;po">tempo</expan> di lauar&longs;i &longs;pecialmente è &longs;tato po&longs;to dal meriggie al ue&longs;pero. </s> </p> <p type="main"> <s id="s.005095"><emph type="italics"/>Vitr. ci accommoda gentilmente ne i bagni, & dice quello, che è n<17>ce&longs;&longs;ario all'u&longs;o, hauendo <lb/>&longs;olamente ri&longs;petto al bi&longs;ogno. </s> <s id="s.005096">Imperoche prima le Therme non er ano in quel pregio, che uenne­<lb/>no poi, anzi ui era &longs;olamente il bagno de&longs;tinato alla &longs;anità del corpo. <!-- KEEP S--></s> <s id="s.005097">indi poi cre&longs;cendo la lu&longs;&longs;u­<lb/>ria con le ricchezze &longs;otto il nome di Therme edificauano co&longs;e magnifiche & grandi, con portichi, <lb/>bo&longs;chetti, natatoi, pi&longs;cine, & altre co&longs;e, &longs;econdo le uoglie & appetiti de gli, Imperatori, & de <lb/>gran per&longs;onaggi. </s> <s id="s.005098">lo e&longs;ponerò prima quello, che dice Vitr. & poi ui di&longs;correrò &longs;opra &longs;econdo il bi­<lb/>&longs;ogno. </s> <s id="s.005099">Vuole adunque, che i bagni &longs;iano in luoghi caldi&longs;&longs;imi, & dichiara quali &longs;iano, & dice <lb/>e&longs;&longs;er quelli, che non riguardano a Tramontana: & perche erano luoghi ne i bagni, ne i quali <lb/>prima s'intepidiuano i corpi, & poi &longs;i ri&longs;caldauano, per non entrare dal freddo &longs;ubito <lb/>al caldo, però uuole, che &longs;i prenda il lume per questi luoghi da quella parte, doue il &longs;ole tramon <lb/>ta la inuernata, che è da Garbino. <!-- KEEP S--></s> <s id="s.005100">& quando il luogo non pati&longs;ca que&longs;ta commodità, uuole, che <lb/>&longs;i pigli dal mezo giorno. </s> <s id="s.005101">Le ragioni di que&longs;ti precetti &longs;ono facili.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005102">Anchora &longs;i deue auuertire, che i luoghi, doue gli huomini & le donne &longs;i hanno a ri&longs;cal <lb/>dare, &longs;iano congiunti, & po&longs;ti a quelle i&longs;te&longs;&longs;e parti. </s> <s id="s.005103">perche co&longs;i auenirà, che ad amendue <lb/>que luoghi dal forno ne i ua&longs;i &longs;eruirà l'u&longs;o commune. </s> <s id="s.005104">Sopra il fornello douemo porre tre <lb/>ua&longs;i di rame, uno che &longs;i chiama il caldario, l'altro il tepidario, il terzo rinfre&longs;catoio. <lb/></s> <s id="s.005105">& &longs;i deono collocare in que&longs;to ordine, che quanta acqua u&longs;cirà dal caldario, tanta in quel­<lb/>lo ui uegna dal tepidario, & co&longs;i allo i&longs;te&longs;&longs;o modo, dal rin&longs;re&longs;catoio nel tepidiario di&longs;cen<lb/>da. </s> <s id="s.005106">& dal uapore della fornace commune a tutti &longs;caldati &longs;iano i uolti de i letti, &longs;opra i quall <lb/>&longs;ono que ua&longs;i. </s> </p> <p type="main"> <s id="s.005107"><emph type="italics"/>Siano congiunti i luoghi doue gli huomini, & le donne &longs;i hanno a &longs;caldare, perche uno i&longs;te&longs;&longs;o <emph.end type="italics"/><pb pagenum="263" xlink:href="045/01/277.jpg"/><emph type="italics"/>forno ri&longs;calder à amendue gli &longs;caldatoi, & anche i tepidarij: & &longs;iano anche uolti alle i&longs;te&longs;&longs;e parti <lb/>del cielo. </s> <s id="s.005108">Il rinfre&longs;catoio, cioè il ua&longs;o dell'acqua fredda, &longs;arà nel luogo di &longs;opra. </s> <s id="s.005109">que&longs;ti infonderà <lb/>l'acqua nel ua&longs;o tepidario, & que&longs;to nel caldario. </s> <s id="s.005110">Et il caldo uapore della fornace darà &longs;otto al <lb/>fondo di que ua&longs;i, ma al caldario ne darà poco, al tepidario meno, a quel di &longs;opra niente: & c'in­<lb/>&longs;egna il modo di &longs;o&longs;pendere quelli ua&longs;i, & dice.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005111">Il &longs;o&longs;pendere de i caldai &longs;i fa prima in modo, che il &longs;uolo &longs;ia &longs;alicato di tegole d'un pie­<lb/>de, & mezo; ma &longs;ia quel &longs;alicato pendente uer&longs;o la bocca del fornello, come &longs;e &longs;i getta&longs;&longs;e <lb/>dentro una palla, ella non pote&longs;&longs;e &longs;tarui dentro, & fermar&longs;i, ma di nuouo ritorna&longs;&longs;e alla <lb/>bocca della fornace, percioche a que&longs;to modo la fiamma da &longs;e piu facilmente andrà ua­<lb/>gando &longs;otto il luogo doue &longs;tanno que ua&longs;i &longs;o&longs;pe&longs;i. </s> <s id="s.005112">Ma di &longs;opra &longs;i deono fare i pila&longs;trelli <lb/>con mattoni di otto once, co&longs;i di&longs;po&longs;ti, che &longs;opra quelli &longs;i po&longs;sino fermare le tegole di <lb/>due piedi; ma i pila&longs;trelli &longs;iano alti due piedi, impa&longs;tati di argilla, o creta, & peli ben bat <lb/>tuti, & &longs;opra quelli &longs;i pongano tegole di due piedi, le quali &longs;o&longs;tentino il pauimento. </s> <s id="s.005113">le <lb/>concamerationi, o uolti &longs;aranno piu utili, &longs;e &longs;i faranno di &longs;truttura. </s> <s id="s.005114">ma &longs;e &longs;aranno ta&longs;&longs;el­<lb/>li, o di legname bi&longs;ogna porui &longs;otto l'opera di terra cotta, & farle con que&longs;ta maniera. </s> <s id="s.005115"><lb/>Faccian&longs;i le tegole, o lame, o gli archi di ferro, & que&longs;ti con i&longs;pe&longs;si&longs;simi oncini di ferro <lb/>&longs;iano &longs;o&longs;pe&longs;i al ta&longs;&longs;ello, & quelle re gole, o archi &longs;iano in tal modo di&longs;po&longs;ti, che &longs;i po&longs;&longs;a <lb/>&longs;opra due di quelli po&longs;are le tegole &longs;enza i loro margini, & co&longs;i tutte le uolte po&longs;ando&longs;i, <lb/>& ferma ndo&longs;i &longs;opra il ferro &longs;iano condotte, & perfette. </s> <s id="s.005116">Et i con&longs;trignimenti, & lega­<lb/>menti di quelle uolte dalla parte di &longs;opra &longs;iano coperti leggiermente di argilla battuta in­<lb/>&longs;ieme con peli. </s> <s id="s.005117">ma la parte di &longs;otto, che riguarda al pauimento &longs;ia rimboccata con te&longs;to­<lb/>le rotte, & con calce, dapoi con belle coperte polita, intonicata, & biancheggiata. </s> <s id="s.005118">Et <lb/>que&longs;te uolte &longs;e &longs;aranno doppie ne i luoghi, & alli detti &longs;caldatoi, &longs;aranno di piu utilità, <lb/>perche l'humore non potrà far danno al palco, o ta&longs;&longs;ello, ma potrà fra due uolte libera­<lb/>mente uagare. </s> </p> <p type="main"> <s id="s.005119"><emph type="italics"/>Vitr. c'in&longs;egna come douemo fare i uolti, & il cielo de i bagni, & quanto alla materia, & <lb/>quanto alle parti: ma prima egli ci dimo&longs;tra come bi&longs;ogna fare il pauimento del bagno per alzar­<lb/>lo da terra, & dall'humore dicendo, che bi&longs;ogna la&longs;tricare con tegole d'un piede, & mezo il pia <lb/>no, il quale penda uer&longs;o la bocca del forno; &longs;opra il la&longs;tricato uuole, che &longs;i drizzino alcuni pila­<lb/>&longs;trelli alti due piedi fatti di quadrelli di due terzi di piede, & impa&longs;tati con creta ben battuta con <lb/>piedi, il che &longs;i fa perche stia &longs;alda al fuoco, &longs;opra i pilastrelli egli s'impone le tegole di due piedi <lb/>che &longs;o&longs;tentano il pauimento, &longs;otto il quale &longs;i poneua il fuoco, che per certe trombe, o canali nel­<lb/>le gro&longs;&longs;ezze de i pareti uaporaua, come s' è auuertito in alcuni luoghi ritrouati nuouamente, do­<lb/>ue gli antichi faceuano calde le &longs;tanze loro. </s> <s id="s.005120">ilche per le figure ho dimo&longs;trato nel &longs;eguente libro al <lb/>decimo Capo. <!-- KEEP S--></s> <s id="s.005121">Quanto ueramente appartiene alle concamerationi, o cielo de i bagni, Vitr. ci <lb/>dà le regole, & dice, che in due mod &longs;i po&longs;&longs;ono fare, l'uno di muratura, l'altro di opera di legna <lb/>me. </s> <s id="s.005122">Bi&longs;ogna adunque con&longs;iderare, & di&longs;correre &longs;opra le parti di &longs;otto, di mezo, & di &longs;opra, <lb/>& il modo di farle. </s> <s id="s.005123">Le dette parti &longs;ono tutto un corpo, ilquale ha bi&longs;ogno d'e&longs;&longs;ere &longs;o&longs;tentato, <lb/>perche &longs;enza legamento, & &longs;o&longs;tentamonto ruinarebbe: & però il legamento &longs;i farà in que&longs;to mo <lb/>do. </s> <s id="s.005124">Egli &longs;i farà gli archi di ferro con li&longs;te, & lame di ferro attrauer&longs;ate, & incrocciate, & <lb/>que&longs;ti archi, & lame con &longs;pe&longs;&longs;i oncini a gui&longs;a di anchore &longs;iano attaccate al tauolato, ma tanto <lb/>larghe una dall' altra, che &longs;opra quelle &longs;i po&longs;&longs;ino po&longs;are le te&longs;te di due tegole: & questa &longs;arà la <lb/>parte di mezo. </s> <s id="s.005125">ma di &longs;opra egli &longs;i fara come uno terrazzo di creta con peli impa&longs;tata, & molto <lb/>bene battuta, & domata: & il cielo di &longs;otto, che &longs;opra&longs;ta al pauimento &longs;arà &longs;maltato, & rim­<lb/>boccato con te&longs;tole pe&longs;te, & calce, dapoi intonicato, & coperto gentilmente & biancheggiato. </s> <s id="s.005126"><lb/>Et &longs;e que&longs;te uolte &longs;aranno doppie, cioè una &longs;opra l'altra con debito &longs;patio, daranno maggiore uti <lb/>lità, & difenderanno i ta&longs;&longs;elli da i uapori. </s> <s id="s.005127">Hora hauendo trattato del piano, & del uolto de i <lb/>bagni, & di quello, che ui ua &longs;opra, & come, & di che materia &longs;i hanno a fare, &longs;eguita Vitr. & <lb/>ci dà le mi&longs;ure dicendo.<emph.end type="italics"/></s> </p> <pb pagenum="264" xlink:href="045/01/278.jpg"/> <p type="main"> <s id="s.005128">Le grandezze de i bagni &longs;i hanno a fare &longs;econdo la moltitudine de gli huomini. </s> <s id="s.005129">ma &longs;ia­<lb/>no però in que&longs;to modo compartite, che quanto ha da e&longs;&longs;er la lunghezza leuandone un ter <lb/>zo fatta &longs;ia la larghezza, oltra il luogo doue &longs;i &longs;ta ad a&longs;pettare d'intornó al labro, & la fo&longs;<lb/>&longs;a. </s> <s id="s.005130">Bi&longs;ogna fare il labro &longs;otto il lume, accioche quelli, che ui &longs;tanno d'intorno non togli <lb/>no il lume con l'ombre loro. </s> <s id="s.005131">Gli &longs;patij de i labri detti &longs;chole deueno e&longs;&longs;ere co&longs;i &longs;patio&longs;i, <lb/>che quando i primi haueranno occupato i luoghi, gli altri, che &longs;tanno a torno guardan­<lb/>do po&longs;sino &longs;tare dritti in piedi. </s> <s id="s.005132">La larghezza dello aluco tra'l parete, & il parapetto non <lb/>&longs;ia meno di &longs;ei piedi, accioche il grado inferiore, & il puluino da quella larghezza ne leui <lb/>due piedi. </s> <s id="s.005133">Il Laconico, & le altre parti per li &longs;udatoi &longs;iano congiunte al tepidario, & <lb/>quanto &longs;aranno larghi tanto &longs;iano alti alla curuatura inferiore dello hemi&longs;però. </s> <s id="s.005134">Et &longs;ia la­<lb/>&longs;ciato il lume di mezo nello hemi&longs;pero. </s> <s id="s.005135">Et da quello penda il coperchio di rame con ca­<lb/>tene &longs;o&longs;pe&longs;o, il quale alzando&longs;i, & abba&longs;&longs;ando&longs;i dia la tempra del &longs;udore, & però pa­<lb/>re, che egli &longs;i debbia fare a &longs;e&longs;ta, accioche la forza del uapore, & della fiamma per le uol <lb/>te della curuatura egualmente dal mezo partendo&longs;i po&longs;&longs;a uagare. </s> </p> <p type="main"> <s id="s.005136"><emph type="italics"/>La dichiaratione di alcuni uocaboli ci darà ad intendere quanto dice Vitr. <!-- KEEP S--></s> <s id="s.005137">Deon&longs;i fare i bagni <lb/>&longs;econdo la moltitudine delle per&longs;one. </s> <s id="s.005138">Egli &longs;i legge che Agrippa ne fece cento & &longs;ettanta a bene­<lb/>ficio del populo. </s> <s id="s.005139">crebbero poi qua&longs;i in infinito, & col numero &longs;i &longs;atisfaceua a quello, che la gran<lb/>dezza non poteua pre&longs;tare. </s> <s id="s.005140">La mi&longs;ura era, che la lunghezza fu&longs;&longs;e tre parti, & la larghezza <lb/>due. </s> <s id="s.005141">Ecco la proportione &longs;e&longs;quialtera. </s> <s id="s.005142">ma in que&longs;ta larghezza non &longs;i comprendeua il labro, & <lb/>il luogo, doue a&longs;pettauano quelli, che doueuano e&longs;&longs;ere lauati. </s> <s id="s.005143">L'altro era una fo&longs;&longs;a, o ua&longs;o capa <lb/>cißimo, dentro il quale era l'acqua da lauare, d'intorno il quale erano alcuni parapetti, doue le <lb/>per&longs;one s'appoggiauano a&longs;pettando, che i primi u&longs;ci&longs;&longs;ero del labro, que&longs;ti &longs;ono detti&longs;chole, ouero, <lb/>(il che mi piace piu) erano alcune banche d'intorno i labri, doue &longs;i a&longs;pettaua, & la larghezza <lb/>del labro, che egli chiama alueo tra il parete & il parapetto, era di piedi &longs;ei, due de i quali era­<lb/>no occupati dal grado inferiore, & dal puluino, il quale &longs;timo io, che fu&longs;&longs;e una parte, doue s'ap­<lb/>poggiauano &longs;tando nel bagno. </s> <s id="s.005144">il labro era &longs;otto il lume. </s> <s id="s.005145">Il Laconico era quello, che anche &longs;uda­<lb/>toio &longs;i chiama, detto co&longs;i da i Lacedemonij, perche in luoghi &longs;imili &longs;i &longs;oleuano e&longs;&longs;ercitare. </s> <s id="s.005146">Clipeo <lb/>io ho interpretato coperchio, & è co&longs;i detto dalla forma d'uno &longs;cudo, che era rotonda. </s> <s id="s.005147">que&longs;to era <lb/>di rame, & &longs;i alzaua, & abba&longs;&longs;aua per temperare il caldo del bagno. </s> <s id="s.005148">Leggi Palladio al Capo <lb/>quadrage&longs;imo del primo libro.<emph.end type="italics"/><lb/><figure id="id.045.01.278.1.jpg" xlink:href="045/01/278/1.jpg"/></s> </p> <pb pagenum="265" xlink:href="045/01/279.jpg"/> <figure id="id.045.01.279.1.jpg" xlink:href="045/01/279/1.jpg"/> </subchap2><subchap2> <p type="head"> <s id="s.005149"><emph type="italics"/>Della edificatione delle pale&longs;tre, & de Xisti. </s> <s id="s.005150"><lb/>Cap. XI.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.005151">Hora a me pare (tutto che que&longs;to non s'u&longs;i in Italia, di dichiarire il modo di <lb/>fare le pale&longs;tre, & di dimo&longs;trare come &longs;iano fabricate appre&longs;&longs;o de i Greci. <!-- KEEP S--></s> <s id="s.005152"><lb/>Fanno&longs;i adunque in tre portichi le exedre &longs;pacio&longs;e, che hanno i luoghi da &longs;e­<lb/>dere, nellequali i Filo&longs;ofi, i Rhetori, & gli altri, che &longs;i dilettano de gli &longs;tudij, <lb/>po&longs;&longs;ono &longs;edendo di&longs;putare. </s> <s id="s.005153">Nelle pale&longs;tre i colonnati, & porticali d'intorno &longs;i hanno a <lb/>fare quadrati, ouero alquanto lunghi in modo, che habbiano gli &longs;pacij da caminare intor­<lb/>no due &longs;ta di, de i quali di&longs;po&longs;ti &longs;iano tre porticali &longs;emplici: ma il quarto, che &longs;arà uer&longs;o <lb/>il meriggie bi&longs;ogna, che &longs;ia doppio, accioche e&longs;&longs;endo il tempo uento&longs;o, non po&longs;si l'acqua <lb/>per li &longs;trauenti entrarui &longs;otto. </s> <s id="s.005154">Nel portico, che &longs;arà doppio &longs;iano po&longs;te que&longs;te membra. </s> <s id="s.005155"><lb/>il luogo da ammae&longs;trare i Garzoni, detto ephebeo &longs;ia nel mezo. (& que&longs;to è una e&longs;edra <lb/>ampli&longs;sima con le &longs;ue &longs;edi lunga uno terzo piu, che larga) &longs;otto il de&longs;tro, il luogo da am­<lb/>mae&longs;trar le Garzone, & appre&longs;&longs;o u'è il luogo doue s'impoluerauano gli Athleti, detto co­<lb/>ni&longs;terio, dalqual luogo nel uoltare del portico &longs;ta il bagno freddo chiamato. </s> <s id="s.005156">lutron. </s> <s id="s.005157">ma <lb/>dalla &longs;ini&longs;tra del luogo de i Garzoni, è il luogo da ugner&longs;i, detto Eleothe&longs;io, appre&longs;&longs;o il­<lb/>quale è il luogo da rinfre&longs;car&longs;i, dalquale &longs;i ua al luogo della fornace detto propigneo, nel <lb/>uoltar del portico. </s> <s id="s.005158">ma appre&longs;lo poi nella parte di dentro dirimpetto al frigidario, &longs;ono i <lb/>&longs;udatoi di <expan abbr="lũghezza">lunghezza</expan> il doppio alla larghezza, che nel uoltare habbiano da una parte il Laco <lb/>nico, compo&longs;te come è &longs;o pra&longs;critto. </s> <s id="s.005159">a dirimpetto del Laconico il bagno caldo. </s> <s id="s.005160">nella pa­<lb/>le&longs;tra &longs;iano i peri&longs;tili compartiti, come s'è detto di &longs;opra. </s> <s id="s.005161">Ma dalla parte di fuori deono <lb/>e&longs;&longs;ere di&longs;po&longs;ti tre portichi, uno la doue &longs;i e&longs;ce dal peri&longs;tilio, due dalla de&longs;tra, & dalla &longs;ini­<lb/>&longs;tra chiamati &longs;tadiati. </s> <s id="s.005162">di que&longs;ti portichi quello, che riguarda al Settentrione &longs;i fa doppio, <lb/>& di ampli&longs;sima larghezza, l'altro è &longs;emplice, & fatto in modo, che nelle parti, che &longs;ono <lb/>d'intorno i pareti, & in quelle, che &longs;ono uer&longs;o le colonne habbia i margini come &longs;entieri <lb/>non meno di dieci piedi, & il mezo cauato di modo, che due gradi &longs;iano della di&longs;ce&longs;a d'un <pb pagenum="266" xlink:href="045/01/280.jpg"/>piede è mezo da i margini al piano, ilqual piano non &longs;ia meno largo di piedi dodici; & co&longs;i <lb/>quelli, che ue&longs;titi camineranno ne i margini, non &longs;aranno impediti da quelli, che unti &longs;i <lb/>e&longs;&longs;ercitano. </s> <s id="s.005163">Que&longs;to portico da Greci è chiamato Xi&longs;to, perche gli Athleti, al tempo del <lb/>uerno &longs;otto il coperto ne gli &longs;tadij &longs;i e&longs;&longs;ercitauano. </s> <s id="s.005164">i Xi&longs;ti &longs;i deono fare &longs;i che tra due por­<lb/>tichi, ui &longs;iano &longs;elue, & le piantationi, & in que&longs;ti &longs;i facciano tra gli alberi, le &longs;trade, & <lb/>iui d'A&longs;tracco &longs;iano collocate le &longs;tanze. </s> <s id="s.005165">Appre&longs;&longs;o il Xi&longs;to, & il portico doppio &longs;i hanno a <lb/>di&longs;egnare i luoghi &longs;coperti da caminare detti Peridromide da Greci. <!-- KEEP S--></s> <s id="s.005166">ne i quali il uerno <lb/>quando è &longs;ereno il tempo u&longs;cendo gli Athleti, &longs;i po&longs;sino e&longs;&longs;ercitare. </s> <s id="s.005167">Dapoi lo Xi&longs;to &longs;arà <lb/>formato lo &longs;tadio cioè il luogo da e&longs;&longs;ercitar&longs;i in modo, che la moltitudine delle genti po&longs;­<lb/>&longs;a commodamente guardare gli Athleti, che combatteno. </s> <s id="s.005168">Io ho de&longs;critto diligentemen­<lb/>te quelle co&longs;e che erano nece&longs;&longs;arie dentro le mura ad e&longs;&longs;ere acconciamente di&longs;po&longs;te. </s> </p> <p type="main"> <s id="s.005169"><emph type="italics"/>Quanto dice Vitr. è chiaro a ba&longs;tanza con la no&longs;tra interpretatione. </s> <s id="s.005170">la doue egli &longs;i deue au­<lb/>uertire quanto &longs;tudio pone&longs;&longs;ero gli antichi nello e&longs;&longs;ercitio, & come acconciamente prouede&longs;&longs;ero <lb/>a i bi&longs;ogni. </s> <s id="s.005171">& a i piaceri de gli huomini. </s> <s id="s.005172">Le figure anche delle &longs;opradette co&longs;e faranno manife­<lb/>&longs;te le parole di Vitru.<emph.end type="italics"/><!-- REMOVE S--><emph type="italics"/>A. Ephebeo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005173"><emph type="italics"/>B. Coriceo.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.005174"><emph type="italics"/>C. Coni&longs;terio.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.005175"><emph type="italics"/>D. <!-- KEEP S--></s> <s id="s.005176">Lauatione fredda.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005177"><emph type="italics"/>E. Eleothe&longs;io.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005178"><emph type="italics"/>F. <!-- KEEP S--></s> <s id="s.005179">Luogo freddo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005180"><emph type="italics"/>G. Propigneo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005181"><emph type="italics"/>H. <!-- KEEP S--></s> <s id="s.005182">Sudatione concamerata.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005183"><emph type="italics"/>I. Laconico.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005184"><emph type="italics"/>K. <!-- KEEP S--></s> <s id="s.005185">Calda lauatione.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005186"><emph type="italics"/>L. <!-- KEEP S--></s> <s id="s.005187">Portico di fuori.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005188"><emph type="italics"/>M. portico doppio, che guarda al Settentrione.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.005189"><emph type="italics"/>N. <!-- KEEP S--></s> <s id="s.005190">Portico doue &longs;i e&longs;&longs;ercitauano gli Athleti detto Xi&longs;tos.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005191"><emph type="italics"/>O. Platanones, & le &longs;elue tra due portici.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005192"><emph type="italics"/>P. <!-- KEEP S--></s> <s id="s.005193">Doue erano le ambulationi &longs;coperte, & gli athleti &longs;i e&longs;&longs;ercitauano al tempo della <lb/>&longs;tate. </s> <s id="s.005194">& appre&longs;&longs;o lacine &longs;ono dette Xi&longs;ta.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005195"><emph type="italics"/><expan abbr="q.">que</expan> Lo &longs;tadio doue &longs;i &longs;taua a uedere gli Athleti.<emph.end type="italics"/><!-- REMOVE S--><emph type="italics"/><19>. </s> </p> <p type="main"> <s id="s.005196">Leuante.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.005197"><emph type="italics"/>O. O&longs;tro.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005198"><emph type="italics"/>P. Ponente.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.005199"><emph type="italics"/><19>. </s> <s id="s.005200">Tramontana.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.005201">I I I I. <emph type="italics"/>Stacione & ripo&longs;i.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005202"><emph type="italics"/>Il re&longs;tante &longs;ono e&longs;&longs;edre, & &longs;cole.<emph.end type="italics"/></s> </p> <pb pagenum="267" xlink:href="045/01/281.jpg"/> <figure id="id.045.01.281.1.jpg" xlink:href="045/01/281/1.jpg"/> </subchap2><subchap2> <pb pagenum="268" xlink:href="045/01/282.jpg"/> <p type="head"> <s id="s.005203"><emph type="italics"/>De i Porti, & del Fabricare nelle Acque: <lb/>Cap. XII.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.005204">Egli non &longs;i deuc la&longs;ciar di dire, delle commodità de i porti. </s> <s id="s.005205">ma bi&longs;ogna dichia</s> <s id="s.005206"><lb/>rire con che ragioni &longs;iano in quelli &longs;ecure le naui dalle fortune. </s> <s id="s.005207">Que&longs;ti adun­<lb/>que &longs;e &longs;ono naturalmente po&longs;ti, & che habbiano le promontore, o capi &longs;o­<lb/>pra l'acqua, &longs;i che per la natura del luogo s'ingolfino, hanno grandi&longs;sime <lb/>utilità, perche d'intorno s'hanno a fare i portichi, & i nauali, ouero da i portichi l'entrate <lb/>a i fondachi, o dogane, & dall'una, & l'altra parte &longs;i deono fare le torri, dalle quali con <lb/>machine &longs;i po&longs;sino tirare dall'una all'altra banda le catene. </s> <s id="s.005208">Ma &longs;e egli non &longs;i hauerà luo­<lb/>go idoneo per natura d'a&longs;sicurare le naui dalle fortune, &longs;i farà in que&longs;to modo, che &longs;e egli <lb/>non ci &longs;arà fiume, che impedi&longs;ca, ma da una parte &longs;arà la &longs;tatione, cioè il luogo doue &longs;i­<lb/>curamente &longs;tanno le naui, (che noi dicemo buon &longs;orgitore) allhora dall'altra con gli ar­<lb/>gini, & con le fabriche &longs;i uenirà in fuori, & &longs;i farà progre&longs;&longs;o, & a que&longs;to modo &longs;i deono <lb/>formare le chiu&longs;e de i porti. </s> </p> <p type="main"> <s id="s.005209"><emph type="italics"/>Il fine del porto è d'a&longs;&longs;icurar le naui da i uenti, & dalle fortune di mare, & però deue e&longs;&longs;ere <lb/>&longs;icuro, & capace. </s> <s id="s.005210">La &longs;icurtà ouero è naturale, ouero aiutata dall'arte. </s> <s id="s.005211">la naturale dipende dal <lb/>&longs;ito del luogo, quando il luogo è ingolfato, & inarcato, & fa le corna come la Luna, & quando <lb/>i capi alti come promontori uengono in fuori, & i lati difendeno il golfo da i uenti. </s> <s id="s.005212">ne &longs;i puo dire <lb/>quanto gioua un tal &longs;ito. </s> <s id="s.005213">perche prima è &longs;icuro, dapoi è commodo; perche nella curuatura &longs;i fan­<lb/>no i luoghi da &longs;aluare le mercantie, ci &longs;ono i Fondachi, le dogane, i bazzari, & altri luoghi op­<lb/>portuni. </s> <s id="s.005214">Io ho ueduto molti luoghi nella Scotia che per natura &longs;ono porti &longs;icuri&longs;&longs;imi, & fra <lb/>gli altri ue n' è uno, che &longs;i chiama nella lingua Scoce&longs;e &longs;icher &longs;and, cioè arena di &longs;alute, & porto <lb/>tranquillo. </s> <s id="s.005215">Que&longs;to non ha Vinetia, ma la poca &longs;icurtà del porto, è la molta &longs;icurtà della città: <lb/>uengono però le naui nella Laguna, & iui &longs;i &longs;aluano. </s> <s id="s.005216">Quando adunque egli &longs;i hauerà &longs;ito dalla <lb/>natura poca fatica ci uuole. </s> <s id="s.005217">il porto è &longs;icuro & per la bocca, & per le rocche, & per li fian­<lb/>chi: nece&longs;&longs;ario è adunque di fare con arte, quello che la natura non ci concede. </s> <s id="s.005218">però Vitru. ricor­<lb/>rendo all'arte dice.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005219">Ma le fabriche, che &longs;i hanno a fare nell'acqua co&longs;i pare, che &longs;i habbiano a fare: che egli <lb/>&longs;i porti la polue da quelle parti, che &longs;ono dalle Cumi fin al promontoro di Minerua, & me <lb/>&longs;colarla nel mortaio in modo che due ad una ri&longs;pondino. </s> <s id="s.005220">poi la doue &longs;i hauerà deliberato <lb/>di fabricare bi&longs;ogna poner nell'acqua le ca&longs;&longs;e di roucre, & rinchiu&longs;e con catene mandarle <lb/>giu nell'acqua, et tenerle fermamente a fondo. </s> <s id="s.005221">Dapoi quella parte, che &longs;arà tra le ca&longs;&longs;e al <lb/>ba&longs;&longs;o &longs;ott'acqua, &longs;i deue i&longs;pianare, & purgare, & iui gettarui di quella materia impa&longs;tata, <lb/>& me&longs;colata nel mortaio, con la mi&longs;ura data di &longs;opra, & con cementi, fin che &longs;i empia lo <lb/>&longs;pacio, che &longs;i deue murare, quello dico, che è tra le ca&longs;&longs;e; & que&longs;to dono di natura hanno <lb/>que luoghi, che hauemo detto di &longs;opra. </s> </p> <p type="main"> <s id="s.005222"><emph type="italics"/>Qui l'u&longs;o della pozzolana è mirabile come ci ha detto Vitr. nel &longs;econdo libro al &longs;e&longs;to capo. </s> <s id="s.005223">Do­<lb/>ue adunque &longs;ia, che potiamo hauere copia di pozzolana, poneremo due parti di quella, & una <lb/>di calce, & faremo nella foßa, che Vitr. chiama mortario una buona pa&longs;ta, & ben uoltata, & <lb/>battuta, poi faremo delle cataratte, & ca&longs;&longs;oni di legname di rouere, dette arche da Vitru. <!-- REMOVE S-->& &longs;i <lb/>faranno a que&longs;to modo. </s> <s id="s.005224">Piglia le traui di rouere molto bene i&longs;pianate, & per la loro lunghezza <lb/>da una te&longs;ta all'altra farai de i &longs;olchi, o canaletti, larghi fecondo la larghezza del taglio delle <lb/>tauole, che ui hanno d'andar dentro. </s> <s id="s.005225">queste tauole deono e&longs;&longs;ere di eguale grandezza, & gro&longs;&longs;ez <lb/>za, & con le te&longs;te loro inca&longs;trate ne i canaletti gia fatti. </s> <s id="s.005226">& a que&longs;to modo &longs;tando le traui dritte, <lb/>& con giu&longs;ti &longs;pacij lontane una dall'altra, perche &longs;i drizzano piu di due traui per lato, & inca-<emph.end type="italics"/><pb pagenum="269" xlink:href="045/01/283.jpg"/><emph type="italics"/>tenate le tauole &longs;ermamente, & otturate le commi&longs;&longs;ure a forza &longs;i manderanno i fondo, & ìui &longs;i <lb/>teniranno ferme, & immobili. </s> <s id="s.005227">oltra di que&longs;to lo &longs;pacio rinchiu&longs;o tra li ca&longs;&longs;oni, &longs;i uuotera con ruo­<lb/>te, & altre machine da leuar l'acque, delle quali Vitr. ne ragiona nel decimo libro, & &longs;i &longs;arà il <lb/>luogo piano egualmente, & netto. </s> <s id="s.005228">& &longs;tando &longs;opra trauicelli, o palate, o zatte commodamente, or­<lb/>dinate que&longs;te co&longs;e me&longs;colate, & impa&longs;tate nella fo&longs;&longs;a, doue hauerai preparata la &longs;opra detta ma­<lb/>teria de cementi, & delle pietre, & di tutto quel corpo cauato dalla fo&longs;&longs;a empirai tutto quello &longs;pa­<lb/>cio purgato, che è tra i ca&longs;&longs;oni, & in que&longs;to modo farà una pre&longs;a mirabile, & riu&longs;cià l'opera <lb/>fatta nell'acqua, & que&longs;to farai quando niuna forza di acqua t'impedirà. </s> <s id="s.005229">ma quandolo impeto <lb/>del mare ti &longs;turba&longs;&longs;e, odi quello che dice Vitr.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.005230">Ma &longs;e per lo cor&longs;o, & per la forza dello aperto mare, non &longs;i potranno tenere a fondo i <lb/>ca&longs;&longs;oni giu mandati, allhora &longs;ubito &longs;opra l'orlo, & gengiua del mate doue termina il ter­<lb/>reno, egli &longs;i deue fare un letto fermi&longs;simo, ilquale &longs;ia piano meno della metà, ma il re&longs;tan <lb/>te che è pro&longs;simo al lito &longs;ia pendte, et chino, dapoi uer&longs;o l'acqua, & da i lati intorno al det <lb/>to letto &longs;i facciano i margini, & le &longs;ponde a liuello di quel piano, & quello, che è la&longs;ciato <lb/>pendente oltra la metà &longs;ia empito di arena tanto, che egli &longs;ia pare al margine & al piano del <lb/>letto. </s> <s id="s.005231">& &longs;opra quel piano &longs;ia fabricato uno pila&longs;tro grande, & fatto, che egli &longs;ia, accioche <lb/>&longs;i po&longs;&longs;a &longs;eccarlo, & far pre&longs;a bi&longs;ogna la&longs;ciarlo per due me&longs;i, dapoi &longs;ia tagliato di &longs;otto <lb/>quel margine, che &longs;o&longs;tenta l'arena, & co&longs;i l'arena &longs;ommer&longs;a dall'acqua farà cadere quel <lb/>pila&longs;tro nel mare, & con que&longs;ta ragione richiedendo il bi&longs;ogno &longs;i potrà andare inanzi fa­<lb/>bricando nell'acque. </s> </p> <p type="main"> <s id="s.005232"><emph type="italics"/>Per fare un braccio &longs;ul mare comincia a poco a poco da terra, & farai un &longs;cagno parte a li­<lb/>uello, parte che habbia caduta: & &longs;ia la parte, che pende uer&longs;o il lito. </s> <s id="s.005233">allo &longs;cagno farai i &longs;uoi mar <lb/>gini ouero &longs;ponde nella te&longs;ta uer&longs;o il mare, & da i lati a liuello di quello, & la parte, che pende <lb/>empirai d'arena pareggiandola alla parte piana. </s> <s id="s.005234">&longs;opra lo &longs;cagno farai uno gro&longs;&longs;o pila&longs;tro della <lb/>detta materia, & lo la&longs;ciarai far pre&longs;a et &longs;eccare almeno per due me&longs;i. </s> <s id="s.005235">Taglierai po&longs;cia il mar­<lb/>gine di &longs;otto, & &longs;ubito uederai u&longs;eire l'arena per la rottura, & mancare di &longs;otto al pila&longs;tro, il­<lb/>quale non potendo &longs;tare, di nece&longs;&longs;ità caderà nell'acqua, & empira la prima parte pro&longs;&longs;ima al li­<lb/>to. </s> <s id="s.005236">& co&longs;i uolendo andar piu in fuori, andarai di mano in mano, & que&longs;to &longs;i farà, non man­<lb/>cando la pozzolana, o &longs;imil co&longs;a, che fa pre&longs;a nel mare. </s> <s id="s.005237">Ma quando ti manca&longs;&longs;e que&longs;ta ma­<lb/>teria dice Vitru.<emph.end type="italics"/><!-- REMOVE S-->. Ma in quei luoghi doue non na&longs;ce la polue, con que&longs;ta ragione dei fabricare</s> </p> <p type="main"> <s id="s.005238">poner &longs;i<lb/>deono la doue ha deliberato di fondare i ca&longs;&longs;oni do ppij intauolati, & concatenati, & tra <lb/>l'uno, & l'altro &longs;ia calcata la creta in&longs;ieme con i &longs;acconi fatti d'alica palu&longs;tre, & poi che <lb/>co&longs;i &longs;arà molto bene calcato, & &longs;odi&longs;simamente ripieno quel luogo di mezo tra il doppio <lb/>tauolato, allhora il luogo di mezo tra quel &longs;erraglio deue e&longs;&longs;er uuotato con ruote, con <lb/>timpani, & con altri &longs;trumenti da cauar'acqua, & iui poi tra quella chiu&longs;a &longs;iano cauate <lb/>le fondamenta. </s> <s id="s.005239">& &longs;e iui &longs;arà il terreno buono &longs;iano cauate piu gro&longs;&longs;e del muro, che ui an­<lb/>derà &longs;opra fino al uiuo, & empite di cementi, calce, & arena. </s> <s id="s.005240">Ma &longs;e'l luogo &longs;arà molle, &longs;ia <lb/>battuta la palificata di pali d'alno, di oliuo &longs;ilue&longs;tre, ouero di rouere bru&longs;tolati, & em­<lb/>pito di carboni, &longs;econdo, che detto hauemo, nel fondare de i Theatri, & delle mura. </s> <s id="s.005241">Indi <lb/>poi &longs;ia tirata la cortina del muro di &longs;a&longs;&longs;o quadrato con lunghi&longs;sima legatura, accioche &longs;pe<lb/>cialmente le pietre di mezo &longs;iano beni&longs;simo contenute. </s> <s id="s.005242">& allhora quel luogo, che &longs;arà tra'l <lb/>muro, &longs;ia riempito di roinazzo, ouero di muratura, perche a que&longs;to modo egli &longs;tarà &longs;i for­<lb/>te, che &longs;i potrà fabricarui &longs;opra una torre. </s> </p> <p type="main"> <s id="s.005243"><emph type="italics"/>A me pare, che Vitr. &longs;i la&longs;cia intendere, & Leone nel decimo parla diffu&longs;amente del modo di <lb/>fare le cataratte, gli argini, le palificate, i &longs;o&longs;tegni, le ro&longs;te, le botte per tenere, chiudere, con­<lb/>durre, & di&longs;tornar le acque, perche &longs;i po&longs;&longs;a fabricare, o &longs;i rimedi al danno, o &longs;i prouedi al commo­<lb/>do. </s> <s id="s.005244">pero ci rimettemo alla diligenza &longs;ua.<emph.end type="italics"/></s> </p> <pb pagenum="270" xlink:href="045/01/284.jpg"/> <p type="main"> <s id="s.005245">Finite que&longs;te co&longs;e &longs;i hauerà ri&longs;petto, che i luoghi doue hanno a &longs;tare le naui riguardino <lb/>al Settentrione, perche il meriggie per lo caldo genera uermi, & bi&longs;ce, & tarli, & altri ani­<lb/>mali, che fanno gran danno, & notrendoli gli con&longs;erua, & quelli edificij non deono e&longs;&longs;er <lb/>fatti di legnami ri&longs;petto a gli incendij. </s> <s id="s.005246">Ma della grandezza de i nauali non deue e&longs;&longs;ere al­<lb/>cuna determinatione, ma fatti &longs;iano alla mi&longs;ura, & capacità delle naui, accioche &longs;e le naui <lb/>di maggior portata &longs;aranno tirate in terra, habbiano il luogo loro con &longs;pacio accommoda<lb/>to. </s> <s id="s.005247">lo ho &longs;critto in que&longs;to luogo quelle co&longs;e che mi &longs;ono potute uenire a mente, che &longs;i <lb/>po&longs;&longs;ono fare nelle città all'u&longs;o de i publichi luoghi, come deono &longs;tare, & come &longs;i deono <lb/>condurre a perfettione. </s> <s id="s.005248">Ma le utilità de i priuati edificij, & i loro compartimenti nel &longs;e­<lb/>guente di&longs;correndo e&longs;poneremo. </s> </p> <p type="main"> <s id="s.005249"><emph type="italics"/>Poi che a no&longs;tri giorni non hauemo co&longs;a perfetta delle antiche, nè alcuno &longs;tudia con nuoui edi­<lb/>ficij imitare quelle fabriche merauiglio&longs;e, & che pochi &longs;ono tali, che per arte, & per pratica <lb/>po&longs;&longs;ono animo&longs;amente, & con giudicio abbracciare sì alte impre&longs;e, che facciano Theatri, am&longs;i­<lb/>theatri, circi, pale&longs;tre, portichi, Ba&longs;iliche, & Tempij degni della grandezza dello imperio, non <lb/>&longs;aperei, che mi dire, &longs;e non uoltarmi a quelle fabriche, che &longs;econdo la qualità de i tempi no&longs;tri <lb/>&longs;ono riputate maggiori; & la prima grandezza, che mi uiene dinanzi, è la fortezza della città, <lb/>che con gro&longs;&longs;e, & alte mura &longs;opra larghißimi, & profondißimi fondamenti, ci rappre&longs;enta una <lb/>Idea magnifica, & eccellente delle fabriche moderne. </s> <s id="s.005250">quiui oltra la &longs;uperba muraglia otiimamen <lb/>te fiancheggiata, oltra i Baloardi, piate forme, caualieri, &longs;aracine&longs;che; a me pare, che la gran­<lb/>dezza delle porte tenga honorato luogo. </s> <s id="s.005251">ma ricercando le altre co&longs;e grandi, mi &longs;i fa incontro il na­<lb/>uale de' Vinitiani, & la fabrica delle galere, & naui, che hoggi dì &longs;i u&longs;ano: non d rò, che'l det­<lb/>to luogo habbia grandezza per la copia di marmi, & per la magnificenza et &longs;uperbia della ma­<lb/>teria, che u&longs;auano gli antichi ne gli edificij loro, perche que&longs;ta eccellenza hanno in altre fabriche <lb/>publiche: ma ben dirò del loro nauale, che tutto quello, che appartiene all'u&longs;o di tutte le co&longs;e, & <lb/>alla copia di tutto quello, che bi&longs;ogna al fatto della marinarezza, egli auanza di gran lunga, tut­<lb/>to quello, che a nostri giorni altroue &longs;i puo uedere. </s> <s id="s.005252">i legni ueramente, & le galere, & i ua&longs;elli & <lb/>corpi di barze, & Galeoni &longs;ono ridotti a quella perfettione d capacità, di &longs;icurezza, & di com­<lb/>modo, che &longs;i puo di&longs;iderare. </s> <s id="s.005253">Nè uoglio che prendiamo meraniglia del detto luogo, come co&longs;a <lb/>che &longs;atisfaccia, & pari merauiglio&longs;a ad ogni huomo di giudicio, perche que&longs;ta na&longs;ce da un'altra <lb/>co&longs;a piu ammiranda, & degna di e&longs;&longs;er de&longs;iderata non hauuta, & di grande &longs;tudio accioche &longs;ia <lb/>con&longs;eruata hauendo&longs;i. </s> <s id="s.005254">la lunga & inuiolat a libertà di quella città ha partorito que&longs;ta grandez­<lb/>za, l'u&longs;o delle co&longs;e maritime, le belle, & molte occa&longs;ioni &longs;ono &longs;tate tali, che non è potenza &longs;i <lb/>grande, che in poco tempo far po&longs;&longs;a quello, che hanno fatto Vinitiani. </s> <s id="s.005255">Que&longs;ta copia, & que&longs;ta <lb/>pratica è cre&longs;ciuta a poco a poco, naturalmente (dirò co&longs;i) & col genio di quella città. </s> <s id="s.005256">la doue <lb/>non &longs;i puo con uiolenza generare co&longs;a, nella quale il tempo ci habbia prerogatiua. </s> <s id="s.005257">però non temo <lb/>io, che &longs;i faccia pregiudicio alla mia patria narrandola, perche chi uorrà drittamente giudicare <lb/>truouerà, che piu pre&longs;to metterei in di&longs;peratione ogni altro dominio, che uole&longs;&longs;e imitare que&longs;to gran <lb/>de apparato, che dargli animo di cominciare. </s> <s id="s.005258">Io concedo i larghi pae&longs;i di bo&longs;chi, la moltitudine <lb/>delle genti, & la grandezza dell imperio, & la uoglia & molte altre commodità a gli altri Prin<lb/>cipi, ma come potrò dar loro un lungo &longs;tudio, un'e&longs;&longs;ercitio di moli'anni, una proui&longs;ione naia dalla <lb/>prerogatiua del tempo, come hanno que&longs;ti Signori? </s> <s id="s.005259">Certamente non è opera tanto di grand'im­<lb/>perij, quanto di continuati, & liberi reggimenti lo artificio inuiato, & ordinato; & &longs;e bene non <lb/>s'introduce i gladiatori nelle arene, & nelle &longs;cene gli histrion, & ne gli hippodromi le carette, <lb/>s'introduce però nello Ar&longs;enale de' Vinitiani uno apparato di acquistare le prouincie, & i regni, <lb/>& di leuare anche le uoglie a chi uole&longs;&longs;e in alcun modo turbare la libertà di quello &longs;tato. </s> <s id="s.005260">& &longs;i co­<lb/>me la fortezza di quella città ha hauuto per Architetto, la prouidenza diuina, & il beneficio del <lb/>la natura, doue nè muraglie, nè fo&longs;&longs;e, nè fianchi ui hanno luogo: co&longs;i quello, che hanno fatto gli <lb/>buomini, è nato dallo i&longs;te&longs;&longs;o prouedimento diuino, & dal grande amore, che hanno hauuto. </s> <s id="s.005261">&<emph.end type="italics"/><pb pagenum="271" xlink:href="045/01/285.jpg"/><emph type="italics"/>banno i cittadini uer&longs;o la patria, che per ornarla, & ampliarla non hanno &longs;paragnato ad alcuna <lb/>fatica. </s> <s id="s.005262">Perilche &longs;i uede l'ordine meraulglio&longs;o delle co&longs;e, che ad un mouer d'occhio &longs;i troua, & &longs;i <lb/>caua tutti gli armeggi d'una galera, tutti gli instrumenti. </s> <s id="s.005263">tutto lo apparato non &longs;olamente &longs;i <lb/>uede al &longs;uo luogo con ordine mirabile, ma &longs;i puo pre&longs;tißimamente porre in opera, & oltra l'or­<lb/>dinario, che per custodia del mare è &longs;empre fuori, l'apparecchio di cento, & piu galere con tanta <lb/>facilità, & felicità dirò co&longs;i, &longs;i moue dal &longs;uo luogo, che non &longs;i puo credere. </s> <s id="s.005264">Le taglie, le argane, <lb/>le ruote, i na&longs;pi &longs;ono co&longs;i ingenio&longs;amente fatti, po&longs;ti, & orditi, che non è pe&longs;o &longs;i grande, che non <lb/>&longs;i moua con gran prestezza. </s> <s id="s.005265">Altre fiate non pareuano le co&longs;e, &longs;e bene erano infinite, per che non <lb/>erano co&longs;i bene ordinate et pronte; ma hora dal giudicio del Magnifico me&longs;&longs;er Nicolo Zeno il tut­<lb/>to è &longs;tato ridotto in uno ordine &longs;i bello, & commodo, che non meno ci dà da mer auigliare il nume­<lb/>ro, & la grandezza delle co&longs;e, che l'ordine antedetto; co&longs;a nata da uno amoreuole &longs;tudio, & in­<lb/>du&longs;trio&longs;o giudicio di quel gentilbuomo, col quale io era &longs;olito di andare molto &longs;pe&longs;&longs;o nell' Ar&longs;enale <lb/>a far proue di leuar pe&longs;i &longs;mi&longs;urati con poca fatica. </s> <s id="s.005266">Altra occa&longs;ione anchora di grandezza d'ope­<lb/>ra, di &longs;pe&longs;a, & d'ingegno ci porge la diuina prouidenza, & la natura delle co&longs;e, la quale farebbe <lb/>sbigottire ogni gran cuore, che non porta&longs;&longs;e amore alla patria &longs;ua. </s> <s id="s.005267">& que&longs;to è, che il tempo, che <lb/>apporta &longs;eco ogni commodo, & ogni incommodo accordato con due elementi ci uorrebbe mouer <lb/>guerra, & farci notabili ingiurie, dico il mare, & la terra, de i quali l'uno pare, che uoglia cede­<lb/>re, & l'altra occupare il luogo di queste lagume. </s> <s id="s.005268">Que&longs;ta occa&longs;ione, che ci dà da pen&longs;are, & pa­<lb/>re che ci dia trauaglio, è però da e&longs;&longs;er riceuuta, & pre&longs;a allegramente, & con grande animo, <lb/>& amore, perche donandociil Signor Dio un giocondißimo frutto della pace, ci uuole fare ricono <lb/>&longs;cere il beneficio riceuuto dalla prouidenza &longs;ua del &longs;ito, che egli ha dato a i primi fondatori di que <lb/>&longs;ta città. </s> <s id="s.005269">& però con lo e&longs;&longs;ercitare de gli ingegni, & de gli animi de i Senatori, in una grandi&longs;­<lb/>&longs;ima impre&longs;a uuole, che'l mondo ueda la grandezza dello &longs;tato loro, la prudenza de gli huomini, <lb/>& l'amore di giouare alla patria. </s> <s id="s.005270">doue &longs;arà opera di &longs;peculatori della natura, & de i pratichi, <lb/>inue&longs;tigare le cau&longs;e della atterratione di queste lagune, come &longs;ogliono fare i medici, che prima <lb/>con&longs;iderano le cau&longs;e delle infermità, & poi danno i rimedij opportuni: troueranno, che la terra <lb/>u&longs;ai fiumi in que&longs;ta u&longs;urpatione, che ella uuol fare, & da quelli &longs;i fa portare nelle acque &longs;al&longs;e: <lb/>troueranno, che le acque &longs;al&longs;e di loro natura rodeno, è con&longs;umano le immonditie: troueranno, <lb/>che piu acqua, &longs;al&longs;a, che entra in que&longs;ta laguna è meglio, perche u&longs;cendo con maggiore empito <lb/>porta uia poco terreno: troueranno, che &longs;i deue leuare gli impedimenti alla natura, accioche el­<lb/>la operi da &longs;e, & faccia quello, che non &longs;i puo fare con ingegno, forza, & &longs;pe&longs;a alcuna. </s> <s id="s.005271">però mo­<lb/>ueranno quelli terreni, che gia &longs;ono alquanto induriti, & daranno facilità alle acque di portarli <lb/>uia, drizzeranno i canali, & i cor&longs;i delle acque, impediranno la me&longs;colanza delle dolci con le &longs;a­<lb/>late, faranno de gli argini, & non la&longs;cieranno molto &longs;pacio. </s> <s id="s.005272">oltra quelli arare, & mouere i terre­<lb/>ni. </s> <s id="s.005273">& finalmente condurranno quanto piu da lontano &longs;i puo i fiumi grandi, & piccioli, & que&longs;te <lb/>co&longs;e &longs;ono molto bene con&longs;iderate dai Senatori, che di gia &longs;i hanno a mettere all'impre&longs;a. </s> <s id="s.005274">& pre­<lb/>parare machine, & in&longs;trumenti utili, & ingenio&longs;i a tanta opera pre&longs;a, & deputare per&longs;one in­<lb/>telligenti, & diligenti, & che &longs;iano amoreuoli, & &longs;appiano ben &longs;pendere il dinaro, delquale ne <lb/>hanno fatto grande proui&longs;ione per que&longs;to effetto. </s> <s id="s.005275">doue tra le parti dell' Architettura, la piu ne­<lb/>ce&longs;&longs;aria al pre&longs;ente bi&longs;ogno è la di&longs;tributione, con le parti &longs;ue, dellaquale s' è detto nel primo lib.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="head"> <s id="s.005276"><emph type="italics"/>Il Fine del quinto libro.<emph.end type="italics"/></s> </p> </subchap2></subchap1><subchap1> <pb pagenum="172" xlink:href="045/01/286.jpg"/> <p type="head"> <s id="s.005277">IL SESTO LIBRO<!-- REMOVE S-->DELL'ARCHITETTVRA DI <lb/>M. VITRVVIO.<!-- KEEP S--></s> </p> <subchap2> <p type="head"> <s id="s.005278"><emph type="italics"/>Proemio.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.005279">ARISTIPPO Filo&longs;ofo Socratico gettato dal naufragio al lito de Ro­<lb/>diani, hauendo auuertito nell'arena alcune figure di Geometria, in que <lb/>&longs;to modo &longs;i dice hauer e&longs;clamato. </s> <s id="s.005280">Speriamo bene o compagni, poi, <lb/>che qui ueggio l'orme de gli huomini. </s> <s id="s.005281">Detto que&longs;to incontanente <lb/>s'auuiò alla terra di Rodi, & dritto nel Gimna&longs;io &longs;i condu&longs;&longs;e; doue di­<lb/>&longs;putando della Filo&longs;ofia fu largamente donato, che non &longs;olo ornò &longs;e <lb/>&longs;te&longs;&longs;o, ma anche a quelli, che con e&longs;&longs;o lui erano &longs;tati, donò ampiamente il ue&longs;tire, & le al <lb/>tre co&longs;e al uiuere nece&longs;&longs;arie: ma uolendo i &longs;uoi compagni ritornar nella patria, & addi­<lb/>mandandogli, che co&longs;a egli uole&longs;&longs;e, che in nome &longs;uo dice&longs;&longs;ero a ca&longs;a: Egli co&longs;i comandò <lb/>allhora, che dice&longs;&longs;ero; e&longs;&longs;er bi&longs;ogno a i figliuoli apparecchiare po&longs;&longs;e&longs;sioni, & uiatichi di <lb/>tal &longs;orte, che pote&longs;&longs;ero in&longs;ieme con loro nuotando u&longs;cire del naufragio: perche quelli &longs;o <lb/>no i ueri pre&longs;idij della uita, a i quali ne la iniqua forza della fortuna, nè la mutatione del­<lb/>lo &longs;tato, nè la ruina della guerra puo alcun danno recare. </s> <s id="s.005282">Nè meno Theophra&longs;to ac­<lb/>crebbe la predetta &longs;entenza, il quale e&longs;&longs;ortando gli huomini piu pre&longs;to ad e&longs;&longs;er uirtuo&longs;i, <lb/>che fidar&longs;i nelle ricchezze, co&longs;i dice, &longs;olo il uirtuo&longs;o e&longs;&longs;er quello tra tutti gli huomini, il <lb/>quale nè fore&longs;tieri ne i luoghi altrui, nè pouero d'amici, quando perde i familiari, ouero <lb/>i propinqui, &longs;i puo chiamare: ma in ogni città è cittadino, & &longs;olo puo &longs;enza timore &longs;prez <lb/>zare gli &longs;trani auuenimenti della fortuna. </s> <s id="s.005283">ma chi pen&longs;a e&longs;&longs;er munito non da gli aiuti della <lb/>dottrina, ma della buona &longs;orte andando per uie &longs;drucciolo&longs;e pericola in uita non &longs;tabile, <lb/>ma inferma. </s> <s id="s.005284">Lo Epicuro &longs;imigliantemente afferma la fortuna dar poche co&longs;e a i &longs;aui huo <lb/>mini, ma quelle, che &longs;ono grandi&longs;sime, & nece&longs;&longs;arie con i pen&longs;ieri dell'animo, & della <lb/>mente e&longs;&longs;er gouernate. </s> <s id="s.005285">Que&longs;te co&longs;e co&longs;i e&longs;&longs;ere molti Filo&longs;ofi hanno detto, & ancho i <lb/>poeti, i quali hanno &longs;critto le antiche Comedie pronunciarono le mede&longs;ime &longs;entenze nel­<lb/>la Scena, come Eucrate, Chionide, Ari&longs;tofane, & con que&longs;te &longs;pecialmente Alexi: il qua <lb/>le dice per ciò deuer&longs;i laudare gli Athenie&longs;i: perche le leggi di tutti i Greci sforzano, che i <lb/>padri &longs;ieno da i figliuoli &longs;o&longs;tentati, ma quelle de gli Athenie&longs;i non tutti, ma quelli, che <lb/>haue&longs;&longs;ero nelle arti i loro figliuoli ammae&longs;trati. </s> <s id="s.005286">Percioche tutti i doni della fortuna quan <lb/>do &longs;i danno da quella, facilmente &longs;i toglieno: ma le di&longs;cipline congiunte con gli animi no <lb/>&longs;tri non mancano per alcun tempo, ma durano &longs;tabilmente con noi fino all'ultimo della <lb/>uita. </s> <s id="s.005287">Et però io grandi&longs;sime gratie renderò a mei progenitori, i quali approuando la leg<lb/>ge de gli A thenie&longs;i, mi hanno ammae&longs;trato nelle arti, & in quella &longs;pecialmente, che &longs;en­<lb/>za lettere, & &longs;enza quella raccomunanza di tutte le dottrine, che in giro &longs;i uolge, non <lb/>puo per alcun modo e&longs;&longs;er commendata. </s> <s id="s.005288">hauendo adunque, & per la cura de i miei pro­<lb/>genitori, & per la dottrina de i miei precettori accre&longs;ciute in me quelle copie di di&longs;cipli­<lb/>ne, & dilettandomi di co&longs;e pertinenti alla uarietà delle cognitioni, & artificij, & delle <lb/>&longs;critture de commentari, io ho acqui&longs;tato con l'animo quelle po&longs;&longs;e&longs;sioni, delle quali ne <lb/>uien que&longs;ta &longs;omma di tutti i frutti, che io non ho piu nece&longs;sità alcuna, & che io &longs;timo <lb/>quella e&longs;&longs;er la proprietà delle ricchezze di de&longs;iderare niente piu. </s> <s id="s.005289">Ma for&longs;e alcuni pen&longs;an­<lb/>do que&longs;te co&longs;e e&longs;&longs;er leggieri, & di poco momento, hanno &longs;olamente quelli per &longs;aui, i qua <pb pagenum="173" xlink:href="045/01/287.jpg"/>li abondano di ricchezze; & però molti attendendo a que&longs;to, aggiunta l'audacia con le <lb/>ricchezze ancho hanno con&longs;eguito d'e&longs;&longs;er cono&longs;ciuti. </s> <s id="s.005290">Io ucramente o Ce&longs;are non per di <lb/>nari con deliberato con&longs;iglio ho &longs;tudiato, ma piu pre&longs;to ho lodato la pouertà col buon <lb/>nome, che la copia con la mala fama: & però egli &longs;i ha poca notitia del fatto mio: ma pur <lb/>pen&longs;o, che mandando in luce que&longs;ti uolumi, io &longs;arò ancho a i po&longs;teri cono&longs;ciuto. </s> <s id="s.005291">nè &longs;i de­<lb/>ue alcuno merauigliare, perche io &longs;ia ignoto a molti; perche gli Architetti pregano, & <lb/>ambi&longs;cono per hauer a far molte opere: ma a me da i miei precettori è &longs;tato in&longs;egnato, <lb/>che l'huomo pregato non pregante deue pigliare i carichi: perche lo ingenuo colore &longs;i <lb/>moue dalla uergogna addimandando una co&longs;a &longs;o&longs;petto&longs;a, perche &longs;ono ricercati non quei, <lb/>che riceuono, ma quei che danno il beneficio. </s> <s id="s.005292">percioche qual co&longs;a pen&longs;aremo, che pen&longs;i, <lb/>o &longs;o&longs;petti colui, che &longs;ia richie&longs;to di commettere alla gratia di colui, che dimanda il douer <lb/>fare le &longs;pe&longs;e del patrimonio, &longs;e non che egli giudica deuer&longs;i ciò fare per cagione della pre <lb/>da, & del guadagno? </s> <s id="s.005293">& però i maggiori primamente dauano le opere a coloro, che erano <lb/>di buon &longs;angue. </s> <s id="s.005294">Dapoi cercauano &longs;e erano hone&longs;tamente alleuati, &longs;timando di douer <lb/>commetterle allo ingenuo pudore, non all'audacia della proteruità: & e&longs;si artefici non am<lb/>mae&longs;trauano &longs;e non i &longs;uoi figliuoli, & i parenti, & gli faceuano huomini da bene, alla fe­<lb/>de de i quali in &longs;i gran co&longs;a &longs;enza dubbio &longs;i commette&longs;&longs;ero i dinari: Ma quando io uedo <lb/>gli indotti, & imperiti, che della grandezza di &longs;i fatta di&longs;ciplina &longs;i uanno uantando, & <lb/>quelli, che non &longs;olo di Architettura, ma in tutto di fabrica alcuna non hanno cognitio­<lb/>ne, non po&longs;&longs;o &longs;enon lodare que padri di famiglia, che confirmati con la fiducia delle let­<lb/>tere, che hanno da &longs;e fabricando, co&longs;i &longs;timano, che &longs;e egli &longs;i deue commettere a gli imperi <lb/>ti, &longs;e piu pre&longs;to e&longs;&longs;er piu degni a fare la loro uolontà, che a quella d'altri con&longs;umare il di­<lb/>naro; & però niuno &longs;i forza far alcuna altra arte in ca&longs;a, come l'arte del calzolaio, o del <lb/>&longs;arto, ouero alcuna dell'altre, che &longs;ono piu facili, &longs;enon l' Architettura, perche quei, che <lb/>ne fanno profe&longs;sione, non perche habbiano l'arte uera, ma fal&longs;amente &longs;on detti Archi­<lb/>tetti. <!-- KEEP S--></s> <s id="s.005295">Per le quali co&longs;e io ho pen&longs;ato, che &longs;ia da &longs;criuere tutto il corpo dell' Architettura, <lb/>& le &longs;ue ragioni diligenti&longs;simamente, pen&longs;ando che que&longs;to dono non &longs;arà in grato a tutte <lb/>le genti. </s> <s id="s.005296">& però perche nel Quinto io ho &longs;critto della opportunità delle opere commu­<lb/>ni, in que&longs;to e&longs;plicherò le ragioni, & le mi&longs;ure proportionate di particolari edificij. </s> </p> <p type="main"> <s id="s.005297"><emph type="italics"/>Tratta Vitr. nel &longs;e&longs;to libro de gli edificij priuati, poi che ha fornito quella parte, che <lb/>apparteneua alle opere publiche, & communi. </s> <s id="s.005298">Propone al pre&longs;ente libro un bel­<lb/>li&longs;&longs;imo proemio, il quale tanto piacque a Galeno, che una gran parte ne pre&longs;e in <lb/>quel libro doue egli e&longs;&longs;orta i giouani alle lettere. </s> <s id="s.005299">Fornito il Proemio ci da alcuni <lb/>precetti generali di auuertimenti, & con&longs;iderationi parlando nel primo capitolo di diuer&longs;e qua­<lb/>lità de pae&longs;i, & uarij a&longs;petti del cielo, &longs;econdo i quali &longs;i deono di&longs;porre gli edificij. </s> <s id="s.005300">Et nel &longs;econo <lb/>do facendo auuertito l' Architetto, & ricordandogli dell'officio &longs;uo: Tratta nel re&longs;tante del libro <lb/>de gli edificij priuati, cominciando da quelle parti delle ca&longs;e, che prima ci uengono in contra, e pe­<lb/>netrando poi a poco a poco nelle piu rimote, et &longs;ecrete, qua&longs;i ci mena per mano, & ci conduce a <lb/>ueder di luogo in luogo le &longs;tanze cittadine&longs;che, non la&longs;ciando parte, che alla utilità, al commo­<lb/>do, & alla bellezza conuegna. </s> <s id="s.005301">Nè &longs;i contenta di que&longs;to, che gentilmente ci conduce a piacere <lb/>in uilla, & ci fabrica belli&longs;&longs;imi alloggiamenti con un riguardo mirabile al decoro, & all'u&longs;o, & <lb/>alla nece&longs;&longs;ità de gli huomini, concludendo in alcune regole di fondare gli edifici, degne da e&longs;&longs;er <lb/>con&longs;iderate. </s> <s id="s.005302">Il Proemio è facile, & contiene una e&longs;&longs;ortatione alla uirtù mirabile con e&longs;&longs;empi ef<lb/>ficaci, & autorità, & comparationi diuine delle uirtù alla fortuna, delle doti dell'animo a i be­<lb/>ni e&longs;teriori; in fine ammae&longs;tra lo Architetto, & lo fa auuertito di quelle co&longs;e, che al pre&longs;ente li­<lb/>bro &longs;ono conuenienti.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005303">Io uedo i ue&longs;tigi de gli huomini. </s> </p> <pb pagenum="274" xlink:href="045/01/288.jpg"/> <p type="main"> <s id="s.005304"><emph type="italics"/>Non intendeua Ari&longs;tippo l'orme del corpo humano, ma i ue&longs;tigi della mente, perche le Mathe<lb/>matiche figure erano &longs;tate prima nella mente di que ualent' huomini con ragioni uere con&longs;iderate, <lb/>& poi po&longs;te in opera, & di&longs;egnate nell' arena; & &longs;i come la &longs;crittura è &longs;egno del parlare, & il <lb/>parlare della mente, co&longs;i le di&longs;egnationi Mathematiche, & le figure Geometriche erano come <lb/>&longs;egni de concetti di coloro. </s> <s id="s.005305">Di&longs;&longs;e adunque Ari&longs;tippo io uedo i ue&longs;tigi de gli huominl, cioè non <lb/>d' animali bruti, perche non hanno di&longs;cor&longs;o, nè delle parti del corpo humano, ma della mente, <lb/>per la quale, & dalla quale l'huomo è huomo. </s> <s id="s.005306">Po&longs;to lo e&longs;&longs;empio di Ari&longs;tippo approua la inten­<lb/>tione con te&longs;timoni, & autorità di Filo&longs;ofi, & di Poeti, adducendo una legge de gli Athenie&longs;i, <lb/>&longs;econdo la quale egli di&longs;e, & de i &longs;uoi genitori mode&longs;tamente parlando, dimo&longs;tra quanta cura <lb/>hauer deono i padri, accioche i loro figliuoli &longs;iano piu pre&longs;to buoni, che ricchi; uirtuo&longs;i, che fa­<lb/>mo&longs;i; degni, che &longs;timati.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005307">Concio&longs;ia co&longs;a adunque che io sì per la cura de i genitori, sì per le dottrine de i mei pre <lb/>cettori habbia accumulato gran copia di di&longs;cipline con le co&longs;e pertinenti allo &longs;tudio delle <lb/>lettere, & al de&longs;iderio dell'arti. </s> </p> <p type="main"> <s id="s.005308"><emph type="italics"/>Io ho interpretato qui piu al propo&longs;ito, che di &longs;opra que&longs;te parole, ma il &longs;en&longs;o è lo i&longs;te&longs;&longs;o a chi <lb/>ben con&longs;idera. </s> <s id="s.005309">Non &longs;olo adunque deue lo Architetto dar&longs;i con ardente di&longs;iderio alla cognitione <lb/>delle lettere, ma diletrar&longs;i di &longs;apere come uanno le co&longs;e artificio&longs;e, inue&longs;tigarle, & farle affine, <lb/>che la &longs;ua cognitione non re&longs;ti morta, & inutile: & bene egli &longs;i ricorda di quello, che egli ha det <lb/>to nel primo libro della fabrica, & del di&longs;cor&longs;o, & delle conditioni dello Architetto, però a <lb/>me pare di auuertire, che Vitr. douendo parlare delle fabriche de i priuati, qua&longs;i che egli di nouo <lb/>comincia&longs;&longs;e, ha uoluto ridurci a memoria le co&longs;e dette nel primo libro, & però tocca nel proe­<lb/>mio del pre&longs;ente libro parte di quelle co&longs;e, che ha toccate nel primo cap. <!-- KEEP S--></s> <s id="s.005310">Et nel primo, &longs;econdo, <lb/>& ultimo capo di que&longs;to accenna a quello, che egli ha detto nel &longs;econdo, nel quarto, & nel quin<lb/>to di &longs;opra; & que&longs;to egli ha fatto, accio non ci pare&longs;&longs;e, che alle priuate ragioni delle fabriche, <lb/>non &longs;te&longs;&longs;e bene porre quella cura, & hauere quegli auuertimenti, & quella cognitione, che &longs;i de <lb/>ue hauere alle fabriche communi: però io prego ogniuno, che non creda co&longs;i facilmente a molti <lb/>che &longs;i fanno Architetti, che non &longs;anno leggere, nè di&longs;egnare, i quali non &longs;olamente non hanno <lb/>cognitione dell' Architettura, ma ancho &longs;ono ine&longs;perti della fabrica (come dice Vitr.) Ma la <lb/>di&longs;gratia uuole, che gli imperiti per la loro audacia &longs;iano piu cono&longs;ciuti, che quelli che for&longs;e riu­<lb/>&longs;cirebbeno piu nelle opere, che nelle parole; & pur bi&longs;ognarebbe che fu&longs;&longs;e al contrario. </s> <s id="s.005311">Euui <lb/>aggiunta un' altra difficultà, che cia&longs;cuno altro artefice puo a &longs;ua uoglia dimo&longs;trar l'arte &longs;ua, ma <lb/>lo Architetto non puo da &longs;e co&longs;a alcuna: percioche bi&longs;ogna, che egli troui per&longs;one, che uoglino <lb/>&longs;pendere, & far opere, doue ci uanno molti denari. </s> <s id="s.005312">Ma tornamo a Vitr. & uediamo un &longs;uo lun <lb/>go, & bello di&longs;cor&longs;o &longs;opra diuer&longs;e qualita de pae&longs;i.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.005313"><emph type="italics"/>Di diuer&longs;e qualità de pae&longs;i, & uarij a&longs;petti del cielo; &longs;e­<lb/>condo i quali &longs;i deono di&longs;porre gli edificij.<emph.end type="italics"/></s> </p> <p type="head"> <s id="s.005314"><emph type="italics"/>Cap. I.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.005315">Qve&longs;te co&longs;e co&longs;i drittamente di&longs;po&longs;te &longs;aranno, &longs;e prima egli &longs;i auuertirà da che <lb/>parte, o da che inclinatione del Cielo &longs;ieno ordinate; perche altramente in <lb/>Egitto, altramente nella Spagna, non co&longs;i nel Ponto, o a Roma, & co&longs;i in <lb/>altre proprietà de pae&longs;i par, che &longs;i debbiano con&longs;tituire le maniere de gli edi<lb/>ficij; perche da una parte la terra è oppre&longs;&longs;a dal cor&longs;o del Sole, & da altra è <lb/>lontani&longs;sima da quello; ma poi ci &longs;ono di quelle parti, che nel mezo &longs;ono temperate. </s> <s id="s.005316">Et <lb/>però come la con&longs;titutione del mondo allo &longs;patio della terra per la inclinatione del Zo-<pb pagenum="275" xlink:href="045/01/289.jpg"/>diaco, & per lo cor&longs;o del Sole è naturalmente con qualità di&longs;eguali collocata, co&longs;i pare, <lb/>che &longs;econdo le ragioni de i pae&longs;i, & le uarietà del Cielo e&longs;&longs;er debbiano gli edificij re driz­<lb/>zati. </s> <s id="s.005317">Sotto il Settentrione &longs;i faranno le fabriche a uolte, molto rinchiu&longs;e, non aperte, <lb/>ma riuolte alle parti calide. </s> <s id="s.005318">Ma &longs;otto il grande impeto del Sole alle parti del Meriggie <lb/>(perche quelle parti &longs;ono dal calore oppre&longs;&longs;e) pare, che &longs;i debbiano collocare le fabriche <lb/>aperte, & riuolte al Settentrione, & Aquilone. </s> <s id="s.005319">Co&longs;i quello che da &longs;e per natura offen­<lb/>de, con l'arte &longs;i deue emendare: & co&longs;i nelle altre regioni allo i&longs;te&longs;&longs;o modo, &longs;econdo che'l <lb/>Cielo alla inclinatione del Mondo è collocato, &longs;i deono temperare. </s> <s id="s.005320">Et que&longs;te co&longs;e &longs;ono <lb/>da e&longs;&longs;er auuertite & con&longs;iderate per quello, che fa la natura, & &longs;pecialmente dalle membra, <lb/>& da i corpi delle genti: perche in que luoghi, che'l Sole moderatamente ri&longs;calda, egli <lb/>con&longs;erua i corpi temperati, ma quelli, che per la uicinanza correndo abbrucia &longs;uccian­<lb/>doli leua loro la tempra dell'humore. </s> <s id="s.005321">Per lo contrario nelle parti fredde, perche &longs;ono <lb/>molto dal Meriggie lontane, non &longs;i caua l'humore dal caldo, ma &longs;pargendo il rugiado&longs;o <lb/>aere dal Cielo ne i corpi l'humore, fa quelli piu grandi, & i &longs;uoni della uoce piu graui. </s> <s id="s.005322"><lb/>Et per quello &longs;otto il Settentrione &longs;i nutri&longs;cono genti di grande &longs;tatura, di bianco colore, <lb/>di dritta, & ro&longs;&longs;a capillatura, d'occhi ce&longs;ij, di molto &longs;angue, perche dalla pienezza del­<lb/>l'humore, & refrigerij del Cielo &longs;ono in&longs;ieme formati. </s> <s id="s.005323">Ma quei, che uicini &longs;tanno all'a&longs;­<lb/>&longs;e del Meriggie, &longs;ottopo&longs;ti al cor&longs;o del Sole, &longs;ono piccioli di &longs;tatura, di color fo&longs;co, di <lb/>capello cre&longs;po, d'occhineri, di debil gamba, di poco &longs;angue, per la gran forza del Sole, <lb/>& ancho per lo poco &longs;angue &longs;ono piu timidi a re&longs;i&longs;ter all'armi, ma &longs;opportano gli ardori <lb/>delle febri &longs;enza timore, perche i loro membri &longs;ono con il feruore nodriti; & però i cor­<lb/>pi, che na&longs;ceno &longs;otto il Settentrione piu pauro&longs;i, & deboli &longs;ono per le febri, ma per l'ab­<lb/>bondanza del &longs;angue re&longs;i&longs;teno al ferro &longs;enza paura. </s> <s id="s.005324">Similmente i &longs;uoni della uoce &longs;ono <lb/>di&longs;eguali, & di uarie qualità nella diuer&longs;ità delle genti, perche il termine dell' Oriente, & <lb/>dell' Occidente intorno al liuello della terra, la doue &longs;i diuide la parte di &longs;opra della parte <lb/>di &longs;otto del mondo, pare, che habbia il &longs;uo giro per modo naturale librato, & pondera­<lb/>to, il qual termine ancho da i Mathematici è chiamato. </s> <s id="s.005325">Orizonte, cioè terminatore. </s> <s id="s.005326">Et <lb/>però, perche que&longs;to habbiamo, tenendo nella mente no&longs;tra il centro tiramo una linea <lb/>dal labro, che è nella parte Settentrionale a quello, che è &longs;opra l'a&longs;&longs;e Meridiano, & da <lb/>quello ancho tirandone un'altra trauer&longs;a in&longs;ino alla &longs;ommità, che è dopo le Stelle Setten­<lb/>trionali auuertiremo da quello, che nel mondo &longs;arà una figura triangolare, come quegli <lb/>Organi, che da Greci nominati &longs;ono Sambuche. </s> <s id="s.005327">Et però lo &longs;patio, che è uicino al Polo <lb/>inferiore dalla linea dello a&longs;&longs;e ne i termini meridiani, quelle nationi che &longs;ono &longs;otto quel <lb/>luogo, per la poca eleuatione de i Poli fanno il &longs;uono della uoce &longs;ottile, & acuti&longs;simo, <lb/>come fa nell' Organo quella corda, che è uicina allo angulo. </s> <s id="s.005328">Dapoi quella le altre a me­<lb/>zo la Grecia, nelle nationi fanno le a&longs;ce&longs;e de i &longs;uoni piu rime&longs;&longs;e, & ancho dal mezo in ordi <lb/>ne cre&longs;cendo in&longs;ino a gli ultimi Settentrioni &longs;otto l'altezza del Cielo gli &longs;piriti delle natio<lb/>ni con piu graui &longs;uoni dalla natura delle co&longs;e e&longs;pre&longs;si &longs;ono. </s> <s id="s.005329">Co&longs;i pare, che tutta la con­<lb/>cettione del mondo per la inclinatione ri&longs;petto alla temperatura del Sole con grandi&longs;si­<lb/>ma con&longs;onanza fatta &longs;ia. </s> <s id="s.005330">Et però le nationi, che &longs;ono tra il Cardine dello a&longs;&longs;e meridiano <lb/>& nel mezo del Settentrione, come è de&longs;critto nella figura Mu&longs;ica hanno nel parlare il <lb/>&longs;uono della uoce della mezana. </s> <s id="s.005331">Et quelle genti, che uanno uer&longs;o il Settentrione, perche <lb/>hanno piu alte di&longs;tanze ri&longs;petto al Mondo, hauendo gli &longs;piriti della uoce ripieni d humo­<lb/>re, sforzati &longs;ono dalla natura delle co&longs;e con piu graue &longs;uono alla prima, & all'aggiunta <lb/>uoce, detta Hypate, & Pro&longs;lamuanomenos, come per la i&longs;te&longs;&longs;a ragione nel mezo (ca­<lb/>dendo le genti uer&longs;o il Meriggie) fanno l'acuti&longs;sima &longs;ottigliezza del &longs;uono della uoce a <lb/>quelle, che &longs;on pre&longs;&longs;o l'ultime corde, che Paranete &longs;i chiamano. </s> <s id="s.005332">Ma che uero &longs;ia, che <lb/>per gli humidi luoghi di natura le co&longs;e piu graui, & per gli caldi piu acute diuentino, in <pb pagenum="276" xlink:href="045/01/290.jpg"/>que&longs;to modo e&longs;perimentando &longs;i puo auuertire. </s> <s id="s.005333">Siano due calici in una fornace egualmen <lb/>te cotti, & di egual pe&longs;o, & ad un &longs;uono quando &longs;on tocchi &longs;iano pre&longs;i, & uno di que&longs;ti <lb/>&longs;ia po&longs;to nell'acqua, & poi tratto fuori, &longs;ia tocco l'uno & l'altro, quando que&longs;to &longs;arà fat­<lb/>to, egli &longs;i trouerà gran differenza tra que &longs;uoni, & non potranno e&longs;&longs;er di pe&longs;oeguale: co&longs;i <lb/>auuiene a i corpi de gli huomini, i quali concetti d'una maniera di figuratione, & in una <lb/>congiuntione del mondo, altri per lo ardore del pae&longs;e col toccamento dell'aere, manda­<lb/>no fuori lo &longs;pirito acuto, altri per l'abondanza dell'humore &longs;pargono graui&longs;sime qualità <lb/>di &longs;uoni, & co&longs;i per la &longs;ottigliezza dello aere le nationi meridiane per lo acuto feruore &longs;i <lb/>mouono piu pre&longs;to, & piu e&longs;peditamente con l'animo a prender con&longs;iglio. </s> <s id="s.005334">Ma le genti <lb/>Settentrionali infu&longs;e della gro&longs;&longs;ezza dello acre, perche lo aere le o&longs;ta, raffreddate dall hu­<lb/>more hanno le menti &longs;tupide. </s> <s id="s.005335">Et che que&longs;to co&longs;i &longs;ia, da i &longs;erpenti &longs;i comprende, i quali <lb/>per lo caldo hauendo a&longs;ciugato il refrigerio dell'humore con gran uehemenza &longs;i mouo­<lb/>no, ma nel tempo de i ghiacci il uerno raffreddati per la mutatione del Cielo per lo &longs;tu­<lb/>pore &longs;i fanno immobili. </s> <s id="s.005336">Co&longs;i non è merauiglia &longs;e il caldo aere fa le menti de gli huomi­<lb/>ni piu acute, & il freddo per lo contrario piu tarde. </s> <s id="s.005337">E&longs;&longs;endo adunque le nationi &longs;otto il <lb/>meriggie d'animo acuti&longs;simo, & d'infinita prontezza a prendere partito, &longs;ubito, ch'en­<lb/>trano ne i fatti d'arme, iui mancano, perche hanno &longs;ucchiate le forze de gli animi dal So­<lb/>le: ma quelli, che na&longs;cono in parti fredde, &longs;ono piu pronti alle armi, & con grande im­<lb/>peto &longs;enza timore entrano nelle battaglie, ma con tardezza d'animo, & &longs;enza con&longs;idera­<lb/>tione facendo impeto &longs;enza &longs;olertia con i loro con&longs;igli &longs;i rompeno. </s> <s id="s.005338">E&longs;&longs;endo adunque tali <lb/>co&longs;e dalla natura nel mondo co&longs;i &longs;tatuite, che tutte le nationi con immoderate me&longs;colan­<lb/>ze fu&longs;&longs;ero di&longs;tinte, piacque alla natura, che tra gli &longs;patij di tutto il mondo, & nel mezo <lb/>dell'uniuer&longs;o il populo Romano fu&longs;&longs;e po&longs;&longs;editore di tutti i termini: perche nella Italia &longs;o­<lb/>no le genti temperati&longs;sime ad amendue le parti, & con i membri del corpo, & col ualore <lb/>dell'animo alla fortezza di&longs;po&longs;te. </s> <s id="s.005339">Perche come la Stella di Gioue di mezo tra la feruen­<lb/>ti&longs;sima di Marte, & la freddi&longs;sima di Saturno correndo, è temperata, co&longs;i per la i&longs;te&longs;&longs;a ra <lb/>gione la Italia po&longs;ta tra la parte Settentrionale, & del mezodì dall'una, & l'altra parte <lb/>temperata riporta inuitte lodi, & però con i con&longs;igli rompe le forze de Barbari, & con la <lb/>forte mano i pen&longs;ieri de i Meridiani. <!-- KEEP S--></s> <s id="s.005340">Et co&longs;i la prouidentia Diuina ha po&longs;to la Città del <lb/>populo Romano in ottima è temperata regione, accioche ella fu&longs;&longs;e patrona del mondo. </s> <s id="s.005341"><lb/>Se adunque co&longs;i &longs;i uede, che per le inclinationi del Cielo le di&longs;simili regioni con uarie ma<lb/>niere &longs;iano comparate, & che la natura delle genti con animi di&longs;pari, & con figure de i <lb/>corpi, & con qualità differenti na&longs;ce&longs;&longs;ero: non dubitiamo anche non douer&longs;i di&longs;tribuire <lb/>le ragioni del fabricare fecondo le proprietà delle genti, & delle nationi. </s> <s id="s.005342">Hauendo di <lb/>cio pronta, & chiara dimo&longs;tratione dalla natura. </s> <s id="s.005343">Io ho e&longs;po&longs;to (come io ho potuto con <lb/>gran ragione auuertire) le propietà de i luoghi dalla uatura di&longs;po&longs;ti, & in che modo bi&longs;o­<lb/>gna al cor&longs;o del Sole, & alle inclinationi del Cielo con&longs;tituire le qualità de gli edificij al­<lb/>e figure delle genti. </s> <s id="s.005344">Et però ade&longs;&longs;o breuemente dichiarirò in uniuer&longs;ale, & in particola <lb/>re le proportioni, & mi&longs;ure delle maniere di cia&longs;cuno edificio. </s> </p> <p type="main"> <s id="s.005345"><emph type="italics"/>Le qualità de i pae&longs;i deono e&longs;&longs;er con&longs;iderate da chi fabrica, imperoche in un luogo &longs;i fabrica <lb/>ad un modo, in altro ad altro modo, ri&longs;petto a gli ardenti Soli, a i freddi uenti, alle neuo&longs;e &longs;tagio­<lb/>ni, & all'inondationi del mare, o de'fiumi: la doue altri nelle cauerne della terra, altri <lb/>fopra i monti, altri ne i bo&longs;chi, altri ancho &longs;opra gli alti&longs;&longs;imi alberi hanno fatto le loro ha­<lb/>bitationi; però Vitruuio ha riguardo in generale a quello, che in ogni luogo deue con&longs;idera <lb/>re l' Architetto, & proua la &longs;ua intentione a molti modi, & con belli e&longs;&longs;empi: cioè, che le qua <lb/>lità del Cielo, & gli a&longs;petti in diuer&longs;e regioni fanno diuer&longs;i effetti, & che a quelli &longs;i deue por men­<lb/>te, accioche &longs;i po&longs;&longs;a goder le &longs;tanze, & le habitationi &longs;enza di&longs;etto. </s> <s id="s.005346">Prende argomento dalla <lb/>&longs;tatura, & dai membri dell'huomo, & dalla di&longs;po&longs;itione de gli animi, che &longs;eguitano la tempera<emph.end type="italics"/><pb pagenum="277" xlink:href="045/01/291.jpg"/><emph type="italics"/>tura del corpo. <!-- KEEP S--></s> <s id="s.005347">Il tutto è facile. </s> <s id="s.005348">&longs;olamente quella parte ha bi&longs;ogno di e&longs;po&longs;itione, che appartie­<lb/>ne alla differenza delle uoci, quando dice, che il &longs;uono della uoce tra le genti del mondo ha diuer<lb/>&longs;a qualità, & dalla uarietà de i climi, che egli chiama inclinationi, uariar&longs;i la uoce de gli huomi <lb/>ni. </s> <s id="s.005349">Dice adunque in &longs;omma, che quelli, a i quali &longs;i leua meno il Polo &longs;opra l' Orizonte, hanno la <lb/>uoce piu &longs;ottile, & piu acuta, & quanto piu uno na&longs;ce in pae&longs;e uicino al Polo, cioe che'l punto <lb/>che gli &longs;opra&longs;ta nel Cielo, è uicino al Polo, tanto ha uoce piu ba&longs;&longs;a. </s> <s id="s.005350">Que&longs;ta intentione è pre&longs;a <lb/>da una &longs;imiglianza di quello in&longs;trumento, che &longs;i chiama Sambuca; noi for&longs;e Arpa nominiamo; <lb/>che è &longs;trumento mu&longs;icale in forma di triangolo, come ancho quello, che di canne formato &longs;i uede <lb/>in mano di Pane Dio de Pa&longs;tori; ma l' Arpa è di corde. </s> <s id="s.005351">imaginamo&longs;i per lo circolo Meridiano A B <lb/>C D il centro del Mondo, E, l' Orizonte, che è quel circolo, che diuide gli hemi&longs;peri cioè quello, <lb/>che &longs;i uede, da quello che non &longs;i uede A E C. imaginamo il Polo nel punto F dal quale cada una<emph.end type="italics"/><lb/><figure id="id.045.01.291.1.jpg" xlink:href="045/01/291/1.jpg"/><lb/><emph type="italics"/>linea nell' Orizonte a piombo nel punto, H, & <lb/>&longs;imilmente un' altra che peruenga al centro, E, <lb/>non è dubbio, che qui non &longs;i ueda rappre&longs;entato <lb/>un triangolo F H E. imaginamo ancho il Po<lb/>lo eleuato &longs;opra il piano nel punto, G, & fac<lb/>ciamo cadere dal detto punto una linea &longs;opra <lb/>l' Orizonte nel punto, I, & un'altra dal detto <lb/>punto G, al centro, E, & qui haueremo <lb/>un'altro triangolo G E I, dico, che quelli, <lb/>a i quali &longs;i leua il Polo nel punto, F, hanno uo­<lb/>ce piu &longs;ottile, che quelli, a i quali &longs;i leua il Polo <lb/>nel punto, G. rapportamo adunque la linea, F <lb/>H, dentro al triangolo maggiore, & iui&longs;ia chia<lb/>mata, M N, certo è che la linea G I, &longs;arà mag <lb/>giore di quella, & &longs;e ella fu&longs;&longs;e una corda di &longs;tru <lb/>mento &longs;onarebbe piu ba&longs;&longs;o, & piu graue, che la <lb/>corda MN, come quella, che è piu uicina all'angulo, & piu picciola, & fa &longs;uono piu acuto, <lb/>e&longs;&longs;endo di piu ueloce mouimento, & piu tirata. </s> <s id="s.005352">&longs;imilmente dice Vitr.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.005353">Adunque quello &longs;patio, che è pro&longs;simo al cardine inferiore nelle parti meridiane, quel <lb/>le nationi, che &longs;ono &longs;otto quel clima per la breuità dell'altezza al mondo fanno un &longs;uono <lb/>di uoce acuti&longs;simo, & &longs;ottili&longs;simo, &longs;i come fa nello &longs;trumento la corda, che è uicina <lb/>all'angulo. </s> </p> <p type="main"> <s id="s.005354"><emph type="italics"/>Et co&longs;i ua &longs;eguitando, & la no&longs;tra figura dimo&longs;tra chiaramente la &longs;ua intentione, & quella <lb/>linea obliqua, che egli dice, che &longs;i debbia tirare, benche pare, che egli la tiri dall' e&longs;tremo Ori­<lb/>zonte, come dal punto C che egli chiama labro, pure deue e&longs;&longs;er tirata dal centro. </s> <s id="s.005355">parte di <lb/>que&longs;to di&longs;cor&longs;o &longs;i legge in Tolomeo nel &longs;econdo della &longs;ua compo&longs;itione.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.005356"><emph type="italics"/>'Delle mi&longs;ure, & proportioni de i priuati edifi­<lb/>cy. </s> <s id="s.005357">Cap. I.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005358">Niuna cura maggiore hauer deue lo Architetto, che fare, che gli edificij hab­<lb/>biano per la proportione della rata parte i compartimenti delle loro ragioni. </s> <s id="s.005359"><lb/>Quando &longs;arà e&longs;pedita la ragione delle Simmetrie, & con di&longs;cor&longs;o e&longs;plicate le <lb/>proportioni, allhora ancho è propio di acuto animo prouedere alla natura <lb/>del luogo, all'u&longs;o, alla bellezza, & aggiugnendo, o &longs;cemando fare conueneuoli tempe­<lb/>ramenti, acciò quando farà tolto, ouero accre&longs;ciuto alla mi&longs;ura, que&longs;to paia e&longs;&longs;er drit­<pb pagenum="278" xlink:href="045/01/292.jpg"/><figure id="id.045.01.292.1.jpg" xlink:href="045/01/292/1.jpg"/><lb/>tamente formato in modo, che niente piu ci &longs;i de&longs;ideri per lo a&longs;petto: perche altra for­<lb/>ma pare, che &longs;ia d'appre&longs;&longs;o, & al ba&longs;&longs;o, altra da lontano, & in alto, nè quella &longs;te&longs;&longs;a pare <lb/>in luogo rinchiu&longs;o, che pare in luogo aperto: nelle quali co&longs;e è opera di gran giu­<lb/>dicio &longs;apere prender partito, perche non pare, che il uedere habbia i ueri effetti <lb/>ma bene &longs;pe&longs;&longs;o la mente dal &longs;uo giudicio è ingannata. </s> <s id="s.005360">Come ancho appare nelle Scene di <lb/>pinte, gli &longs;porti delle colonne, & de i mutuli, & le figure de i &longs;egni, che uengono in fuo­<lb/>ri di rilieuo, e&longs;&longs;endo &longs;enza dubio la tauola piana, & eguale. </s> <s id="s.005361">Similmente i remi delle na­<lb/>ui, e&longs;&longs;endo &longs;ott'acqua dritti, pareno a gli occhi rotti, & &longs;pezzati, & fin che le parti <lb/>loro toccano il piano dell'acqua, appareno dritti come &longs;ono. </s> <s id="s.005362">Quando poi &longs;ott'acqua man­<lb/>dati &longs;ono per la rarità traparente della natura rimandano le imagini fuori dell'acqua alla <lb/>&longs;uperficie, & iui quelle imagini agitate, & commo&longs;&longs;e pareno fare à gli occhi lo a&longs;petto del <lb/>remi &longs;pezzato, & que&longs;to o perche quei &longs;imulachri &longs;ono &longs;pinti, o perche da gli occhi uen­<lb/>gono i raggi del uedere (come piace a Phi&longs;ici) o per l'una, & per l'altra ragione qual &longs;i uo-<pb pagenum="279" xlink:href="045/01/293.jpg"/><figure id="id.045.01.293.1.jpg" xlink:href="045/01/293/1.jpg"/><lb/>glia: co&longs;i pare, che lo a&longs;petto habbia fallace il giudicio de gli occhi. </s> <s id="s.005363">E&longs;&longs;endo adunque che <lb/>le co&longs;e uere pareno fal&longs;e, & prouando &longs;i da gli occhi alcune co&longs;e altramente di quello, che <lb/>&longs;ono, io non pen&longs;o, che bi&longs;ogni dubitare, che alle nature, o necefsità de i luoghi, non &longs;i <lb/>debbia fare gli accre&longs;cimenti, ouero le diminutioni, ma in modo, che in &longs;imil opere niente <lb/>&longs;i de&longs;ideri. </s> <s id="s.005364">Et que&longs;to non &longs;olo per dottrina, ma per acutezza d'ingegno &longs;i puo fare: & pe <lb/>rò prima &longs;i deue ordinare la ragione delle mi&longs;ure, dallaquale &longs;i po&longs;&longs;a &longs;enza dubitatione pi­<lb/>gliare il mutamento delle co&longs;e. </s> <s id="s.005365">Dapoi &longs;ra e&longs;plicato lo &longs;pacio da ba&longs;&longs;o dell'opra, che &longs;i de­<lb/>ue fare per larghezza, & per lunghezza, dellaqual opera quando una fiata &longs;arà la grandez­<lb/>za con&longs;tituita lo apparato della proportione alla bellezza ne &longs;egua, accioche dubbio non <lb/>fia l'a&longs;petto della Eurithmia, a chi uorrà &longs;opra con&longs;iderare: della quale con che ragioni &longs;i <lb/>faccia ne dirò; ma prima ragionerò come &longs;i debbiano fare i Cortili &longs;coperti, delle ca&longs;e, <lb/>Cauedij nominati. </s> </p> <p type="main"> <s id="s.005366"><emph type="italics"/>Io ho detto, che molto ragioneuolmente Vitr. ha uoluto replicare nel &longs;e&longs;to libro quellè co&longs;e,<emph.end type="italics"/><pb pagenum="280" xlink:href="045/01/294.jpg"/><figure id="id.045.01.294.1.jpg" xlink:href="045/01/294/1.jpg"/><pb pagenum="281" xlink:href="045/01/295.jpg"/><figure id="id.045.01.295.1.jpg" xlink:href="045/01/295/1.jpg"/><pb pagenum="282" xlink:href="045/01/296.jpg"/><emph type="italics"/>che nel primo ha uoluto per introduatione dell' Archittetura proporre; porche l' Architetto ha­<lb/>uer deue le i&longs;te&longs;&longs;e idee nell'ordinare gli edificij priuati, che egli ha nelle co&longs;e publiche, & molto <lb/>bene auuertire alla Di&longs;po&longs;itione al Decoro, alla Bellezza, alla Di&longs;tributione, al Compartimento, <lb/>& altre co&longs;e toccate nel primo libro, &longs;econdo che nel detto luogo molto bene hauemo e&longs;po&longs;to, & <lb/>di piu ancho &longs;i deprime l'arroganza di molti, che mi&longs;urano molte membra, & molte parti nelle <lb/>ruine di Roma, & non trouando quelle ri&longs;pondere alle mi&longs;ure di Vitr. &longs;ubito le bia&longs;imano dicendo, <lb/>che Vitr. non la intendeua: la doue imitando nelle fabriche le co&longs;e, che hanno mi&longs;urato fuori dei <lb/>luoghi loro, come ferma regola &longs;empre allo i&longs;te&longs;&longs;o modo &longs;i gouernano, & non hanno con&longs;idera­<lb/>tione a quello, che Vitr. ha detto di &longs;opra, & molto piu chiaramente dice nel pre&longs;ente luogo, cioe, <lb/>che non &longs;empre &longs;i deue &longs;eruare le i&longs;te&longs;&longs;e regole, & &longs;immetrie, perche la natura del luogo richiede <lb/>&longs;pe&longs;&longs;o altra ragione di mi&longs;ure, & la nece&longs;&longs;ità ci a&longs;trigne a dare, o leuare di quelle, che propo&longs;te ha­<lb/>ueuamo. </s> <s id="s.005367">Però in quel ca&longs;o dice Vitr. che &longs;i uede molto la &longs;ottigliezza, & giudicio dello Ar­<lb/>chitetto, ilquale togliendo, o dando di piu alle mi&longs;ure, lo fa in modo, che l'occhio ha la parte &longs;ua, <lb/>& regge la nece&longs;&longs;ità con bella & &longs;ottile ragione. </s> <s id="s.005368">Et &longs;enoi trouamo la cornice del Theatro di <lb/>Marcello alquanto diuer&longs;a dalle regole di Vitr. & il re&longs;tante e&longs;&longs;er beni&longs;&longs;imo inte&longs;o, non douemo <lb/>bia&longs;mare quel grande Architetto, che fece il detto Theatro. <!-- KEEP S--></s> <s id="s.005369">Imperoche chi haue&longs;&longs;e ueduto tut­<lb/>ta l'opera in&longs;ieme for&longs;e haurebbe fatto miglior giudicio. </s> <s id="s.005370">& però ben dice Vitr. che &longs;e bene la mag <lb/>gior cura, che ba l' Architetto, &longs;ia d'intorno le mi&longs;ure, & proportioni, però grande acqui&longs;to fa di <lb/>ualore, quando egli è forzato partir&longs;i dalle propo&longs;te &longs;immetrie, & niente lieua alla bellezza dello <lb/>a&longs;petto; nè puo e&longs;&longs;ere incolpato, perche con la ragione habbia medicato il male della nece&longs;&longs;ità. </s> <s id="s.005371">Et <lb/>qui &longs;i uede quanto &longs;ia nece&longs;&longs;aria la pro&longs;pettiua allo Architetto, & dimo&longs;tra la forza &longs;ua, quando <lb/>&longs;ia, che la ui&longs;ta no&longs;tra merauiglio&longs;amente ingannata &longs;ia dalle pitture fatte ne i piani, che per ra­<lb/>gione di Pro&longs;pettiua regolata da un &longs;ol punto fa parere le co&longs;e di rilieuo, & non &longs;i puo certificar­<lb/>&longs;i, che non &longs;iano di rilieuo &longs;e l'huomo non le tocca, o non &longs;e le auuicina. </s> <s id="s.005372">Et gli inganni della uistta <lb/>&longs;ono, o per la diuer&longs;ità de i mezi, per liquali &longs;i uedono le co&longs;e, che e&longs;&longs;endo intiere paiono &longs;pezza­<lb/>te, e&longs;&longs;endo picciole paiono grandi, e&longs;&longs;endo lontane paiono uicine. </s> <s id="s.005373">La molta luce impedi&longs;ce, la po­<lb/>ca non è ba&longs;teuole alle co&longs;e minute. </s> <s id="s.005374">Le di&longs;tanze mutano le figure, però le co&longs;e quadrate da lon­<lb/>tano pareno tonde, & Vitr. di tal co&longs;a in molti l uoghi ci ha &longs;atti auuèrtiti. </s> <s id="s.005375">Gli &longs;corzi de i corpi <lb/>non la&longs;ciano uedere tutte le parti loro, il ueloce mouimento fa parere una fiamma continua, quan <lb/>do uelocemente &longs;i moue una uerga affocata. </s> <s id="s.005376">La infermità dell'occhio partori&longs;ce anche diuer&longs;i <lb/>errori; però a molte co&longs;e delle &longs;opra dette il ualente Architetto puo rimediare. </s> <s id="s.005377">Dapoi che adun­<lb/>que l' Architetto hauerà molto ben con&longs;iderato la ragion delle mi&longs;ure, & a quel tutto, cha fa la <lb/>co&longs;a bella, &longs;ia di che genere e&longs;&longs;er &longs;i uoglia, o &longs;odo per &longs;o&longs;tener i pe&longs;i, o &longs;uelto per dilettare, come il <lb/>Corinthio, o tramezo per l'uno, & l'altro come lo Ionico, & egli hauerà auuertito al numero, <lb/>del quale la natura &longs;i compiace nelle colonne, & nelle apriture, & che le co&longs;e alte na&longs;ceno dal­<lb/>le ba&longs;&longs;e, & che quelle proportioni, che danno diletto alle orecchie nelle uoci, le i&longs;te&longs;&longs;e applicate a <lb/>i corpi dilettano a gli occhi.dapoi dico, che tutte que&longs;te co&longs;e &longs;aranno preui&longs;te, bi&longs;ognerà, che egli <lb/>&longs;ottili&longs;&longs;imamente proueda a quello, che &longs;arà nece&longs;&longs;ario a quella parte, che Eurithmia è chiamata <lb/>nel primo libro.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.005378"><emph type="italics"/>Dei Cauedi delle ca&longs;e. </s> <s id="s.005379">Cap. III.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.005380">I Cauedi, di&longs;tinti &longs;ono in cinque maniere, le figure, de i quali co&longs;i &longs;ono nomina­<lb/>te. </s> <s id="s.005381">To&longs;cana, Corinthia, Tetra&longs;tila', Di&longs;pluuiata, Te&longs;tugginata. </s> <s id="s.005382">I To&longs;cani <lb/>&longs;on quelli, ne i quali le traui, che pa&longs;&longs;ano per la larghezza dell' Atrio hanno al­<lb/>cuni trauicelli pendenti, & i canali, o collature dell'acque, che corrono di <lb/>mezo da gli anguli de i pareti, a gli anguli delle traui, & anche da gli a&longs;&longs;eri nel mezo del <pb pagenum="283" xlink:href="045/01/297.jpg"/>Cauedio detto compluuio &longs;ono i cadimenti dell'acque. </s> <s id="s.005383">Ne i Corinthij con le i&longs;te&longs;&longs;e ra­<lb/>gioni &longs;i pongono le traui, & i compluuij, ma ci è que&longs;to di piu, che le traui &longs;i parteno da i <lb/>pareti, & &longs;i &longs;oprapongono alle colonne d'intorno. </s> <s id="s.005384">I Tetra&longs;tili &longs;on quelli, che hauendo <lb/>&longs;otto le traui le colonne angulari le pre&longs;tano utilità, & fermezza, perche nè e&longs;&longs;e &longs;ono con­<lb/>&longs;trette hauer gran pe&longs;o, nè &longs;ono caricate dalle traui trapendenti. </s> <s id="s.005385">I Di&longs;pluuiati &longs;on quelli, <lb/>ne i quali le pendenti traui, che &longs;o&longs;tengono l'arca, &longs;cacciano l'acque cadenti. </s> <s id="s.005386">Que&longs;ti &longs;ono <lb/>di grandi&longs;sima utilità alle &longs;tanze del uerno, perche i loro compluuij dritti, non togliono <lb/>il lume a i Triclini. <!-- KEEP S--></s> <s id="s.005387">Ma hanno que&longs;to incommodo ne gli acconciamenti, che d'intorno i <lb/>pareti le canne contengono i cadimenti dell'acque, lequali canne non co&longs;i pre&longs;to riceuono <lb/>l'acque cadenti ne i canali, & co&longs;i redondanti ri&longs;tagnano, & s'ingorgano, & gua&longs;tano in <lb/>quelle maniere di fabriche le fine&longs;tre. </s> <s id="s.005388">Ma i Te&longs;tugginati &longs;i fanno la doue non &longs;ono gran <lb/>forze, & di &longs;opra ne i palchi &longs;i fanno &longs;pacio&longs;i per le habitationi. </s> </p> <p type="main"> <s id="s.005389"><emph type="italics"/>Hauendoei Vitr. e&longs;po&longs;to quello, che douemo con&longs;iderare prima, che mettiamo le mani a fabri­<lb/>care le ca&longs;e priuate, sì per ri&longs;petto delle parti del Cielo, & gli a&longs;petti del mondo, &longs;econdo i quali <lb/>douemo di&longs;ponere gli Edificij, sì per ri&longs;petto delle mi&longs;ure, & proportioni, alle quali douemo auuer <lb/>tire tanto nella libera, quanto nella nece&longs;&longs;itata di&longs;po&longs;itione de gli edificij; comincia a darci i pre­<lb/>cetti, & i compartimenti delle ca&longs;e priuate, hauendo con&longs;ideratione delle piu belle parti di e&longs;&longs;e, ac <lb/>commodandole alle qualità delle per&longs;one, con&longs;iderando le parti communi, & le propie, & non <lb/>la&longs;ciando co&longs;a che degna &longs;ia del &longs;uo auuertimento. </s> <s id="s.005390">Cominciando adunque a trattar delle ca&longs;e, <lb/>egli principia da quelle parti, che prima uengono all' a&longs;petto no&longs;tro, come ha fatto nel trattamen <lb/>to de i Tempi nel terzo libro. </s> <s id="s.005391">Quello adunque, che prima ne uiene allo a&longs;petto, è il piouere de i <lb/>colmi, o tetti, cioè quella parte di doue pioue; & quella doue pioue Impluuio, & Compluuio no­<lb/>minata; & è ragioneuole dichiarire que&longs;ta forma, sì perche ella è la prima, che ci uiene inanzi, sì <lb/>perche hauendoci Vitr. dato i precetti della contignatione, & del legamento del tetto di dentro, <lb/>& di &longs;otto (come s'ha ueduto nel quarto libro:) Egli ci uuole mo&longs;trare di quanti a&longs;petti &longs;iano, <lb/>&longs;econdo diuer&longs;e maniere i pioueri, & i colmi di fuori, & di &longs;opra. </s> <s id="s.005392">Cauedia chiama egli que&longs;ti luo­<lb/>ghi, perche ueramente &longs;ono come caui delle ca&longs;e. </s> <s id="s.005393">Aulas i Greci &longs;ogliono nominare que&longs;ti luoghi <lb/>circondati da muri & &longs;coperti nel mezo, noi Cortili, o Corti chiamamo, entrate, & cortili, quel <lb/>li, che &longs;ono &longs;coperti, entrate quelli, che &longs;ono coperti. </s> <s id="s.005394">Il cortile adunque è una parte delle prin­<lb/>cipali, nella quale (come dice l'Alberto) come in un Foro commune concorrono tutti gli altri <lb/>membri minori, & come nella città il Foro, & le parti congiunte al Foro: &longs;ono quelle, che prima <lb/>&longs;i riguardano, co&longs;i nella ca&longs;a, che è come una picciola città, &longs;i dà prima d'occhio al cortile, al <lb/>quale &longs;i dà luogo ampio, & aperto, & pronto ad ogni co&longs;a. </s> <s id="s.005395">I nomi de i Cauedi &longs;i pigliano, o dal­<lb/>l'u&longs;anza di diuer&longs;e città, o dalla forma loro. </s> <s id="s.005396">&longs;ono detti ancho Atria, ma per un'altro ri&longs;petto, per­<lb/>che Cauedium è detto ri&longs;petto a quella parte che è &longs;coperta, & che pioue nel mezo, Atrium ri­<lb/>&longs;petto a quella parte che è coperta. </s> <s id="s.005397">Cinque &longs;ono le maniere de i Cauedi; altre &longs;i pigliano dalla for­<lb/>ma, altre dall'u&longs;anza d'alcune città. </s> <s id="s.005398">Prima è la To&longs;cana, che è la piu &longs;emplice delle altre, dal­<lb/>laquale for&longs;e &longs;ono gli Atrij nominati, perche er ano in To&longs;cana i popoli Atrien&longs;i, per ilche non <lb/>piace, che Atrium &longs;ia detto dal color Atro, che procede dal fumo, come che in quelli &longs;i face&longs;&longs;e <lb/>la cucina. </s> <s id="s.005399">I Cauedi To&longs;cani erano quelli, ne i quali le traui, che pa&longs;&longs;ano per la larghezza dello <lb/>Atrio haueuano altritrauicelli pendenti tra quelli, & però interpen&longs;iua &longs;i chiamano, & il loro <lb/>pendere era in piouere, & haueuano i canali, che Colliquie detti &longs;ono, i quali tracorreuano, & <lb/>erano trapo&longs;ti in modo di piouere, & ueniuano da gli anguli de i pareti a gli anguli délle traui. </s> <s id="s.005400"><lb/>Erano quattro traui principali &longs;opra quali &longs;i po&longs;auano alcuni altri trauicelli, che &longs;tauano in pio­<lb/>uere, detti da Vitr. <!-- KEEP S--></s> <s id="s.005401">Interpen&longs;iui, perche trapendono, que&longs;ti ueniuano da gli angoli de i pareti a <lb/>gli angoli delle traui minori. </s> <s id="s.005402">Erano con una delle loro te&longs;te fermate &longs;opra que trauicelli, & con <lb/>l'altra come appoggiate ne gli angoli de i pareti. </s> <s id="s.005403">eranui poi i lor morelli detti A&longs;&longs;eri (de quali <lb/>hauemo detto nel quarto libro.) &longs;opra e&longs;&longs;i erano gl'Imbrici, & le Tauelle; & mandauano giu<emph.end type="italics"/><pb pagenum="284" xlink:href="045/01/298.jpg"/><figure id="id.045.01.298.1.jpg" xlink:href="045/01/298/1.jpg"/><pb pagenum="285" xlink:href="045/01/299.jpg"/><figure id="id.045.01.299.1.jpg" xlink:href="045/01/299/1.jpg"/><pb pagenum="286" xlink:href="045/01/300.jpg"/><figure id="id.045.01.300.1.jpg" xlink:href="045/01/300/1.jpg"/></s> </p> <pb pagenum="287" xlink:href="045/01/301.jpg"/> <figure id="id.045.01.301.1.jpg" xlink:href="045/01/301/1.jpg"/> <pb pagenum="288" xlink:href="045/01/302.jpg"/> <p type="main"> <s id="s.005404"><emph type="italics"/>l'acqua allargo nel cortile. </s> <s id="s.005405">Ma che Vitr. intenda per que&longs;to nome de Interpen&longs;iui, i trauicelli ap­<lb/>poggiati di &longs;opra, & non po&longs;ti di &longs;otto per &longs;o&longs;tenimento delle traui, che trapa&longs;&longs;ano per la larghez­<lb/>za dello Atrio (come uogliono alcuni) egli &longs;i uede per le parole, che egli dice di &longs;otto parlando <lb/>de i Cauedi Tetra&longs;tili: dicendo, che le traui non &longs;ono caricate da gli Interpen&longs;iui. <!-- KEEP S--></s> <s id="s.005406">Segno adun­<lb/>que è che gl' Interpen&longs;iui caricano, & &longs;tanno di &longs;opra: & &longs;e &longs;o&longs;tene&longs;&longs;ero, non &longs;i chiamerebbeno <lb/>Interpen&longs;iui. <!-- KEEP S--></s> <s id="s.005407">Que&longs;ti Cauedi non haueuano portico a torno, & il loro piouere era &longs;emplicißimo, <lb/>& ueniua molto inanzi gettando l'acque molto lontane da i pareti. </s> <s id="s.005408">La &longs;econda maniera è det­<lb/>ta Corinthia, & non è differente quanto al uenir in fuori delle traui, & del piouere dalla To&longs;ca­<lb/>na: Ma è ben differente, perche le traui, che uengono da i pareti dalla larghezza dell' Atrio &longs;o­<lb/>no &longs;opra colonne, che uanno d'intorno al Cauedio. <!-- KEEP S--></s> <s id="s.005409">Come dimo&longs;tra la pianta, & la figura, O, <lb/>laqual ancho ci &longs;erue al primo Cauedio, per la &longs;imiglianza che ha il Cauedio Corinthio con lo <lb/>To&longs;cano; intendendo però che nel To&longs;cano non ci &longs;iano colonne. </s> <s id="s.005410">La terza maniera è detta <lb/>Tetra&longs;tilos, cioè di quattro colonne, & è molto forte, nè ha molto carico, perche non ci &longs;ono gli <lb/>Interpen&longs;iui. <!-- KEEP S--></s> <s id="s.005411">Que&longs;to Cortile non doueua e&longs;&longs;er molto grande, imperoche hauendo &longs;olo quattro co­<lb/>lonne, & quelle &longs;opra le cantonate, &longs;e fu&longs;&longs;e &longs;tato molto lungo, o largo, gli &longs;pacij trale colonne &longs;a­<lb/>rebbeno &longs;tati fuori di modo, & la opera non &longs;arebbe &longs;tata ferma (come dice Vitru.) La quarta <lb/>maniera è detta Di&longs;pluuiata, cioè quella, che &longs;ta in due pioueri fatta di traui po&longs;ti come una &longs;e&longs;ta <lb/>aperta in piedi, che Deliquiæ &longs;i chiamano. </s> <s id="s.005412">Que&longs;ti hanno due cadimenti dell' acque, però che una <lb/>parte pioue uer&longs;o i cortili, l'altra dall' altra parte difuori: & qui ci na&longs;ce un difetto, perche l'ac­<lb/>qua, che cade per li canali, non puo co&longs;i pre&longs;to entrare nelle canne, che Fi&longs;tule &longs;i chiamano, & <lb/>&longs;u le bocche s'ingorgano, & &longs;oprabondando &longs;i &longs;parge, & uien giu per li pareti, & col tempo gua­<lb/>&longs;ta i &longs;ottogrondali, & le fine&longs;tre, & i legnami, che poi difficilmente s'acconciano; banno però que­<lb/>&longs;to commodo, che non impedi&longs;ceno i lumi alle &longs;tanze doue &longs;i mangia; & la ragione è perche il <lb/>loro tetto non uiene troppo in fuori col piouere, ma pende dolcemente, & il lume non è impedito. </s> <s id="s.005413"><lb/>però ancho &longs;e io uole&longs;&longs;e dire che gli Atrij fu&longs;&longs;ero detti dal color Atro, io direi, che il piouere, che <lb/>&longs;porta molto in fuori, fa quegli ombro&longs;i, & o&longs;curi. </s> <s id="s.005414">ma for&longs;e Atrium puo uenir dal Greco, & &longs;i­<lb/>gnificare un luogo, che non ha uia che uolga. </s> <s id="s.005415">La quinta maniera &longs;i chiama Te&longs;tudinata fatta in <lb/>quattro pioueri. </s> <s id="s.005416">pen&longs;o io, che que&longs;ti fu&longs;&longs;ero coperti, & che di &longs;opra haue&longs;&longs;ero le &longs;ale, & le &longs;tan­<lb/>ze &longs;pacio&longs;e, & i palchi &longs;o&longs;tentati da belli&longs;&longs;imi colonnati, che dinanzi alle porte face&longs;&longs;ero mo&longs;tra <lb/>di belle loggie, che per ue&longs;tibuli &longs;erui&longs;&longs;ero, o che nell' entrate haue&longs;&longs;ero colonne compartite a mo­<lb/>do, che de&longs;&longs;ero grandezza & bellezza. </s> <s id="s.005417">puo ancho e&longs;&longs;er, che que&longs;ti cauedi fu&longs;&longs;ero di ca&longs;e ordina­<lb/>rie, & di per&longs;one di mediocre conditione, nellequali non erano Atrij, ne colonnati; &longs;e for&longs;e non <lb/>uogliamo dire, che Atrij &longs;i chiama&longs;&longs;ero quelle entrate; ilche niuno uieta, che co&longs;i egli non s'in­<lb/>tenda.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.005418"><emph type="italics"/>Degli Atrij, alle Tablini. </s> <s id="s.005419">Cap. IIII.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.005420">LE lunghezze ueramente, & le larghezze de gli Atrij, a tre modi &longs;i formano. </s> <s id="s.005421">Pri<lb/>ma partendo la lunghezza loro in cinque parti, & dandone tre alla larghezza. </s> <s id="s.005422"><lb/>Poi partendo in tre, & dandone due: finalmente ponendo la larghezza in un <lb/>quadro perfetto, & tirando la diagonale, la lunghezza, della quale darà la <lb/>lunghezza dello Atrio. <!-- KEEP S--></s> </p> <p type="main"> <s id="s.005423"><emph type="italics"/>Io non diuiderei con nuouo capo questa parte de gli Atrij dal capitoloprecedente, perche l'A­<lb/>trio ua col Cauedio, & ancho il modo del parlare, che u&longs;a Vitru. lo dimo&longs;tra, dicendo, Atriorum <lb/>uero longitudines. </s> <s id="s.005424">L'Atrio è quella parte prima a chi entra dentro in ca&longs;a, & è luogo coperto, <lb/>ha la porta principale nel mezo, a dirimpetto della quale in fronte &longs;ono le porte, che uanno ne i <lb/>Peri&longs;tili pa&longs;&longs;ando prima per alcuni altri luoghi, che Tablini &longs;i chiamano: ha dalla de&longs;tra, & dal­<lb/>la &longs;ini&longs;tra le ale, che Pteromata in Greco &longs;i chiamano. </s> <s id="s.005425">Che lo Atrio &longs;ia la prima parte lo dimo-<emph.end type="italics"/><pb pagenum="289" xlink:href="045/01/303.jpg"/><emph type="italics"/>&longs;tra Vitr. nel ottauo Capo del pre&longs;ente libro dicendo, che nella città gli Atrij e&longs;&longs;er deono appre&longs;­<lb/>&longs;o la porta. </s> <s id="s.005426">che lo Atrio fu&longs;&longs;e coperto Vitr. &longs;imilmente l'ha dimo&longs;trato di &longs;opra parlando del Ca­<lb/>uedio, doue dice le traui, che &longs;ono nella larghezza dello Atrio, & il re&longs;to. </s> <s id="s.005427">Le mi&longs;ure, & &longs;imme­<lb/>tria de gli Atrij &longs;i fanno in tre modi, cioè gli Atrij &longs;ono in tre proportioni, il primo è quando la <lb/>lunghezza dello Atrio è partita in cinque parti, & tre &longs;e ne danno alla larghezza. </s> <s id="s.005428">Il &longs;econdo è <lb/>quando la lunghezza è diui&longs;a in tre parti, & due &longs;i danno alla larghezza. </s> <s id="s.005429">La terza è quando <lb/>&longs;i dà alla lunghezza la diagonale del quadrato della larghezza. </s> <s id="s.005430">La prima è in proportione &longs;opra­<lb/>bipartiente le terze, cioè d'un quadro & due terzi. </s> <s id="s.005431">La &longs;econda è in proportione &longs;e&longs;quialtera, <lb/>cioè d'un quadro & mezo. </s> <s id="s.005432">La terza è diagonale. </s> <s id="s.005433">Prima che io uegna alla dichiaratione, & al <lb/>compartimento di que&longs;te parti, uoglio porre il &longs;econdo capo del Trente&longs;imoquinto libro di Plinio, <lb/>perche à me pare, che egli faccia al propo&longs;ito, si per l'u&longs;o de gli Atrij, & de i Tablini, sì per l'an­<lb/>tichità memorabile, che in e&longs;&longs;o argutamente &longs;i racconta. </s> <s id="s.005434">Per la pittura delle imagini molto <lb/>grandemente &longs;imiglianti di tempo in tempo &longs;i con&longs;eruauano le figure, ilche del tuito è mancato. </s> <s id="s.005435"><lb/>Hora &longs;i pongono gli &longs;cudi di rame coperti d'argento, & con non inte&longs;a differenza delle figure, &longs;i <lb/>cambiano le te&longs;te delle &longs;tatue, diuulgati ancho i moti de i uer&longs;i: co&longs;i piu pre&longs;to uogliono, che la <lb/>materia &longs;ia riguardata, che eßi e&longs;&longs;er cono&longs;ciuti; & tra que&longs;te co&longs;e con le uecchie tauole accon­<lb/>ciano gli armari, doue &longs;aluano le tauole, detti Pinacothece, & fanno honore alla effigie altrui, <expan abbr="nō">non</expan> <lb/>i&longs;timando l'honore &longs;e non nel precio, che lo herede le rompi, & il laccio del ladro le leui, & co&longs;i <lb/>non uiuendo l'effigie d'alcuno, la&longs;ciano non le loro imagini, ma quelle della pecunia. </s> <s id="s.005436">Gli i&longs;te&longs;&longs;i <lb/>adornano le pale&longs;tre de gli Athleti con imagini, & i luoghi loro doue &longs;i hanno ad ugnere, & per <lb/>li cubiculi portano le faccie dello Epicuro, & li portano &longs;eco a torno. </s> <s id="s.005437">Nel loro Natale fan &longs;a­<lb/>crificio al uige&longs;imo della Luna, & &longs;eruano le fe&longs;te ogni me&longs;e, che Icade &longs;ono dette. </s> <s id="s.005438">Et &longs;pecialmen <lb/>te quelli, che ancho in uita non uogliono e&longs;&longs;er cono&longs;ciuti. </s> <s id="s.005439">Et co&longs;i è uer amente, che la pigritia ha <lb/>rouinato l'arti. </s> <s id="s.005440">Et perche non ci &longs;ono le imagini de gli animi, ancho quelle de i corpi &longs;ono &longs;prez­<lb/>zate. </s> <s id="s.005441">Altramente appre&longs;&longs;o i maggiori erano quelle ne gli Atrij, perche guardati fu&longs;&longs;ero non i <lb/>&longs;egni de gli artefici fore&longs;tieri, non i metalli, non i marmi, ma i uolti e&longs;pre&longs;&longs;i nella cera per cia­<lb/>&longs;cun armario eran di&longs;po&longs;ti, accioche iui fu&longs;&longs;ero le imagini, che nelle e&longs;&longs;equie accompagna&longs;&longs;ero i <lb/>funerali delle ca&longs;ate, & &longs;empre che uno era morto, &longs;i trouaua pre&longs;ente per ordine tutta la mol­<lb/>titudine, che era &longs;tata di quella famiglia, & gli ordini, & gradi con li&longs;te di rame erano trapo&longs;te <lb/>alle imagini dipinte. </s> <s id="s.005442">Erano ancho tra le porte, & &longs;ogli delle porte le imagini de i grandi&longs;&longs;imi am­<lb/>mi, & attaccate le &longs;poglie de i nemici, lequali nè da chi compraua la ca&longs;a era lecito, che rotte <lb/>fu&longs;&longs;ero, & mutati i patroni re&longs;tauano gli ornamenti delle ca&longs;e, & que&longs;to era un grande &longs;timolo, <lb/>che le ca&longs;e, & i tetti ogni giorno rinfacciauano, che un dapoco patrone entra&longs;&longs;e nel trionfo d'al­<lb/>tri. </s> <s id="s.005443">Ecco che da que&longs;to luogo &longs;i puo hauer il &longs;entimento di Vitr. & come nello Atrio era il Ta­<lb/>blino, le imagini, & le statue. </s> <s id="s.005444">Similmente Ouidio nella ottaua Elegia del primo de gli Amori di­<lb/>ce. </s> <s id="s.005445">Nec te dicipiant ueteris quinque Atria ceræ; Volendo dimo&longs;trare una grande, & antica no­<lb/>biltà, a cui non ba&longs;ta&longs;&longs;ero cinque Atrij per porre le imagini di cera de i maggiori. </s> <s id="s.005446">L'u&longs;o adunque <lb/>di que&longs;ti Atrij, & delle parti loro come Ale & Tablini, è di gia manife&longs;to per le parole di que&longs;ti <lb/>buoni autori. </s> <s id="s.005447">Per procedere adunque ordinatamente nel di&longs;egno de gli Atrij, & nel comparti­<lb/>mento delle ca&longs;e, accioche egli s'intenda que&longs;ta materia riputata (come inuero è) da tutti diffi­<lb/>cillima: Io dico, che bi&longs;ogna prima uenire alla pianta, & con linee di&longs;egnare l'Atrio in lunghez <lb/>za, & larghezza &longs;econdo una di quelle proportioni, che ha po&longs;to Vitr. o di un quadro & mezo, <lb/>o diagonale, o d'un quadro & due terzi; & qui noi l'hauemo fatto d'un quadro & mezo inclu&longs;o <lb/>nelle lettere A B C D. <!-- KEEP S--></s> <s id="s.005448">Venimo poi al di&longs;egno delle Ale, che &longs;ono dalla de&longs;tra, & dalla &longs;ini­<lb/>&longs;tra &longs;olamente, & &longs;ono portichi, & colonnati: & perche dipendono dalla proportione della lun­<lb/>ghezza dell' Atrio, accioche con e&longs;&longs;o &longs;iano proportionate, è nece&longs;&longs;ario &longs;apere di quanti piedi &longs;ia <lb/>la lunghezza dello Atrio. <!-- KEEP S--></s> <s id="s.005449">Qui adunque fatto hauemo l'Atrio lungo 80 piedi, la doue caderà &longs;otto <lb/>la regola, che dice Vitr. che &longs;e lo Atrio &longs;arà lungo da 80 in 100 piedi, tutta la &longs;ua lunghezza &longs;i<emph.end type="italics"/><pb pagenum="290" xlink:href="045/01/304.jpg"/><emph type="italics"/>partirà in 5 parti, & una di e&longs;&longs;e &longs;i darà alle Ale a que&longs;to modo, che la quinta parte di 80 &longs;i diui­<lb/>de in due parti eguali, & una &longs;i dà alla de&longs;tra Ala, l'altra alla &longs;ini&longs;tra, non ponendo però a que <lb/>&longs;to conto la gro&longs;&longs;ezza delle colonne, percioche le Ale uenirebbero molto &longs;trette. </s> <s id="s.005450">La larghezza <lb/>adunque delle Ale &longs;arà 8 piedi, perche 16 è un quinto di 80. Que&longs;to Atrio adunque &longs;arà 80 pie <lb/>di lungo & piedi 53 & mezo largo, & hauerà l'Ale di 8 piedi &longs;enza la gro&longs;&longs;ezza delle colon­<lb/>ne. </s> <s id="s.005451">L'altezza ueramente de gli Atrij è la i&longs;te&longs;&longs;a in tutti, cioè &longs;i &longs;a ad uno i&longs;te&longs;&longs;o modo, che le­<lb/>uando un quarto della lunghezza il re&longs;to &longs;i da all'altezza, cioè dal piano alla traue, che è la ca <lb/>tena del tetto, che &longs;o&longs;tenta l'arca, o la ca&longs;&longs;a di tutto il colmo. </s> <s id="s.005452">leuando adunque 20 di 80 dare­<lb/>mo 60 piedi all' altezza, di que&longs;ti 60 piedi faremo l'altezza delle colonne gli Architraui, Freg­<lb/>gi e Cornici 53 piedi & oncie 16 &longs;aranno alte le Colonne con le Ba&longs;e, & capitelli loro, il resto <lb/>&longs;i darà alli membri di &longs;opra, nè ci douemo merauigliare, &longs;e le colonne uengono co&longs;i alte, percio­<lb/>che la magnificenza di quelle ca&longs;e co&longs;i ricercaua, & è propio loro l'altezza, & lunghezza, per <lb/>che & Vitr. dice di &longs;otto<emph.end type="italics"/> {<emph type="italics"/>alta Atria<emph.end type="italics"/>,} <emph type="italics"/>& Virg. <!-- REMOVE S-->dice longa Atria. <!-- KEEP S--></s> <s id="s.005453">nè uoglio ricapitulare quello, <lb/>che dice Plin. della grandezza, anzi lu&longs;&longs;uria delle ca&longs;e de Romani nel trente&longs;imo&longs;e&longs;to, & nelde­<lb/>cimo&longs;ettimo, & molto copio&longs;amente ne parla il Budeo nel terzo, & quarto de A&longs;&longs;e: ben dirò <lb/>per far fede di quello, che io ho detto dell' altezza delle colonne, cioè che le ueniuano a pigliar &longs;u <lb/>le cornici all' altezza del tetto, che Plin. dice. </s> <s id="s.005454">Verum e&longs;to, indul&longs;erint publicis uoluntatibus, <lb/>etiam ne tacuerint maximas earum, atque adeo duo de quadragenum pedum lucullei marmoris <lb/>in Atrio Scauri collocari, nec clam illud, occulte<13>; factum e&longs;t, &longs;ati&longs;dari &longs;ibi damni infecti egit <lb/>redemptor cloacarum, cum in palatium extraherentur. </s> <s id="s.005455">Da que&longs;te parole dice il Budeo potemo <lb/>intendere, che disfatto il Theatro che per un me&longs;e &longs;olo era &longs;tato fabricato, fo&longs;&longs;ero state traportate <lb/>le colonne grandi&longs;&longs;ime nell' Atrio della ca&longs;a di Scauro, la qual' era nel palazzo: le altezze delle <lb/>colonne adunque erano grandi, & però dice Vitr. che le traui liminari di quelle Ale &longs;ono alte di <lb/>modo, che le altezze &longs;ieno eguali alle larghezze, cioè alle larghezze de gli Atrij, & però e&longs;­<lb/>&longs;endo largo l'Atrio piedi 53 & oncie 16. Similmente dall' Architraue in terra &longs;aranno piedi 53 <lb/>& oncie 16. Vitr. chiama que&longs;te traui Liminari, prima per dimo&longs;trare, che non erano uolti &longs;o­<lb/>pra quelle colonne dell' Atrio, dapoi perche hanno certa &longs;imiglianza con i Liminari. </s> <s id="s.005456">di&longs;egnato <lb/>l'Atrio in altezza, lunghezza, & larghezza con la proportione delle Ale, egli uiene al Tabli­<lb/>no. </s> <s id="s.005457">Ma prima io ponerò il te&longs;to di quanto fin hora s'è detto, la&longs;ciando il compartimento del­<lb/>l'Architraue, Fregio, & Cornice, alle regole, poste nel Terzo Libro.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.005458">L'altezza de gli Atrij &longs;i deue alzare &longs;otto le traui tanto quanto tiene la lunghezza leuan­<lb/>done uia la quarta parte. </s> <s id="s.005459">Del re&longs;tante &longs;i deue hauer ri&longs;petto a i Lacunari, & all' Arca, che <lb/>è &longs;opra le traui. </s> <s id="s.005460">Alle Ale che &longs;ono dalla de&longs;tra, & dalla &longs;ini&longs;tra la larghezza &longs;i dia in que­<lb/>&longs;to modo, che &longs;e la lunghezza dell' Atrio &longs;arà da 30 a 40 piedi, ella &longs;ia della terza parte, &longs;e <lb/>da 40 a 50 partita &longs;ia in tre parti, & meza, delle quali una &longs;i dia alle Ale, &longs;e da 50 a 60 la <lb/>quarta parte della lunghezza &longs;i conceda alle Ale, da piedi 60 ad 80 parti&longs;ca&longs;i la lunghezza <lb/>in quattro parti & meza, & di que&longs;te una parte &longs;ia la larghezza delle Ale, da 80 fin 100 pie­<lb/>di partita la lunghezza in cinque parti darà la iu&longs;ta larghezza delle Ale. <!-- KEEP S--></s> <s id="s.005461">Le traui Limina­<lb/>ri di quelle tanto altamente porre &longs;i deono, che le altezze &longs;iano equali alle larghezze. </s> </p> <p type="main"> <s id="s.005462"><emph type="italics"/>Qui &longs;i uede un cre&longs;cere, & un &longs;cemare di proportioni mirabile, & chi uorrà bene con&longs;iderare <lb/>&longs;econdo le regole date da noi nel Terzo Libro, potrà cono&longs;cere il mirabile artificio di que&longs;te pro­<lb/>portioni, & l'effetto diletteuole, che fanno. </s> <s id="s.005463">quanto meno &longs;on lunghi gli Atrij, tanto maggior <lb/>proportione è della larghezza dell' Ale: perche &longs;e le proportioni delle ale de gli Atrij minori fu&longs;&longs;e <lb/>ro minori, molto &longs;trette &longs;arebbono l'ale, & non hauriano del buono. </s> <s id="s.005464">Io l'ho riuoltata in tutti i <lb/>modi, nè mi pare di ma&longs;ticare il pane ad altri, & que&longs;to per dar cagione, che &longs;i fermino meglio i <lb/>denti rompendo ancho e&longs;&longs;i le cro&longs;te. </s> <s id="s.005465">Veramente con buona intentione l'ho fatto, perche &longs;e l'huo­<lb/>moda &longs;e non ua di&longs;correndo, & riuolgendo le co&longs;e belle non fa frutto alcuno. </s> <s id="s.005466">Hora uegniamo al <lb/>Tablino, la cui mi&longs;ura dipende dalla larghezza dello Atrio, &longs;i come la m fura delle ale dipende<emph.end type="italics"/><pb pagenum="291" xlink:href="045/01/305.jpg"/><emph type="italics"/>dalla lunghezza: & que&longs;to meritamente, & con ragione, perche, &longs;i come le ale uanno per la <lb/>lunghezza dell' Atrio, co&longs;i il Tablino ua per la larghezza, & è in fronte dirimpetto alla porta. </s> <s id="s.005467"><lb/>Doue è la lettera g. <!-- KEEP S--></s> <s id="s.005468">Dice adunque Vitr.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.005469">Il Tablino, &longs;e la larghezza dello Atrio &longs;arà di piedi 20. leuandone la terza parte allo <lb/>&longs;patio &longs;uo &longs;i dia il re&longs;tante; &longs;e da 30 a 40 &longs;i dia la metà della larghezza dello Atrio al Tabli<lb/>no. <!-- KEEP S--></s> <s id="s.005470">Ma quando da 40 a 60, parti&longs;ca&longs;i la larghezza dello Attio in 5. parti, & di que&longs;te &longs;e ne <lb/>diano due al Tablino, percioche gli Atrij minori non po&longs;&longs;ono hauere le i&longs;te&longs;&longs;e ragioni di <lb/>Simmetrie con i maggiori, percioche &longs;e u&longs;aremo le Simmetrie de i maggiori Atrij ne i mi<lb/>nori, nè i Tablini nelle ale potranno hauer utile alcuno. <emph type="italics"/>Perche &longs;aranno troppo &longs;trette, <lb/>& non &longs;eruiranno al bi&longs;ogno.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005471">Et &longs;e ancho prenderemo le proportioni de i minori ne i maggiori, quelli membri &longs;aran <lb/>no in que&longs;te fabriche gua&longs;ti, & &longs;mi&longs;urati. </s> </p> <p type="main"> <s id="s.005472"><emph type="italics"/>L'e&longs;&longs;empio è que&longs;to. </s> <s id="s.005473">Se la proportione delle ale de gli Atrij lunghi 80 piedi (che è un quinto <lb/>della lunghezza) &longs;arà pigliata nel mi&longs;urar le ale de gli Atrij di 30 piedi, le ale &longs;aranno troppo <lb/>&longs;trette, perche un quinto di 30 è &longs;ei piedi, i quali partiti in due parti, faranno la larghezza delle <lb/>ale di 3 piedi. </s> <s id="s.005474">Similmente &longs;e la proportione delle ale de gli Atrij di 30 piedi &longs;arà pre&longs;a per for­<lb/>mar le ale de gli Atrij di 80 piedi, che è un terzo della lunghezza, le ale ueniranno larghi&longs;&longs;ime, <lb/>& &longs;proportionate. </s> <s id="s.005475">Similmente ne i Tablini &longs;i deue &longs;eruare la proportione conueniente alla lar­<lb/>ghezza de gli Atrij. <!-- KEEP S--></s> <s id="s.005476">Vero è, che &longs;i come nell' Atrio piu lungo &longs;i pigliaua minore proportione <lb/>per formar le ale, co&longs;i nell' Atrio piu largo &longs;i piglia minor proportione per formar il Tablino &longs;uo. </s> <s id="s.005477"><lb/>Ecco nell' Atrio largo 20 piedi &longs;i pigliano due terzi per la larghezza del Tablino, nell' Atrio lar­<lb/>go da 30 fin 40 &longs;i piglia la metà, nell' Atrio largo da 40 fin 60 &longs;i piglia due quinti, & chinon ue <lb/>de, che &longs;ono piu due terzi, che la metà, & piu la metà, che due quinti.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005478">Et però io ho pen&longs;ato di douer &longs;criuere partitamente le ragioni e&longs;qui&longs;ite delle grandez<lb/>ze per &longs;eruire all' utilità, & all' a&longs;petto. </s> </p> <p type="main"> <s id="s.005479"><emph type="italics"/>All' utilità ci &longs;erue le ale larghe, perche quando fu&longs;&longs;ero &longs;trette, non &longs;i potrebbe pa&longs;&longs;eggiare. </s> <s id="s.005480"><lb/>Similmente il Tablino doue &longs;i pongono le &longs;tatue, & gli armari, e&longs;&longs;endo troppo &longs;tretto non hau­<lb/>rebbe u&longs;o alcuno. </s> <s id="s.005481">All' a&longs;petto &longs;imilmente, perche una co&longs;a gua&longs;ta, & &longs;mi&longs;urata fa perdere la <lb/>ui&longs;ta, & una ri&longs;tretta troppo l'occupa, & ri&longs;trigne. </s> <s id="s.005482">Se il Tablino pre&longs;o dall' Atrio largo 20 <lb/>piedi hau erà la proportione dell' Atrio di &longs;e&longs;&longs;anta niuno u&longs;o hauerà il Tablino, perche &longs;arà largo <lb/>due quinti, cioè 8 piedi, & &longs;e il Tablino pre&longs;o dall' Atrio di 60 piedi largo hauerà la proportio­<lb/>ne dell' Atrio di 20 piedi, che &longs;on un terzo, egli &longs;arà troppo largo, perche &longs;arà di 4 piedi, & co&longs;i <lb/>ancho &longs;i offenderà l'a&longs;petto tornando d'un' Atrio in un Tablino poco minore dello Atrio. <!-- KEEP S--></s> <s id="s.005483">Vitr. <lb/>non ci dà lunghezza del Tablino, perche io pen&longs;o, che quella &longs;i deue fare, o &longs;econdo la quanti­<lb/>tà delle &longs;tatue, o &longs;econdo la qualità delle per&longs;one, o pure come ricerca la proportione de gli Atrij, <lb/>ilche è meglio.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005484">L'altezza del Tablino alla traue e&longs;&longs;er deue con l'aggiunta dell' ottaua parte della lar­<lb/>ghezza. </s> <s id="s.005485">I Lacunari &longs;iano inalzati con l'aggiunta della terza parte della larghezza al­<lb/>l'altezza. </s> </p> <p type="main"> <s id="s.005486"><emph type="italics"/>Il Tablino <expan abbr="adunq;">adunque</expan> della no&longs;tra pianta &longs;arà largo due quinti della larghezza dello Atrio, che &longs;o <lb/>no piedi 22 poco piu, perche l'Atrio è largo piedi 53 & oncie 6. &longs;arà alto oltra i 22 piedi ancho <lb/>un' ottauo di 22 fin all' Architraue: alla qual altezza &longs;i darà anche un terzo della larghezza del <lb/>Tablino fin a i Lacunari; & co&longs;i &longs;arà e&longs;pedito l'Atrio, l'ale, & il Tablino quanto alle proportio­<lb/>ni, & commen&longs;urationi loro. </s> <s id="s.005487">& perche gli antichi haueuano piu Atrij, Cauedi, Peri&longs;tili, Log­<lb/>gie, & altri &longs;imiglianti membri, però ui erano le bocche, & gli anditi d'andar d'uno nell' al­<lb/>tro, & però dice Vitr.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.005488">Le bocche a gli Atrij minori &longs;ono per la larghezza del Tablino leuandone un terzo, ma <lb/>ai maggiori per la metà. </s> </p> <pb pagenum="292" xlink:href="045/01/306.jpg"/> <p type="main"> <s id="s.005489"><emph type="italics"/>Que&longs;te bocche, che Vitr. <!-- KEEP S--></s> <s id="s.005490">Fauce, dimanda, erano anditi, & luoghi da pa&longs;&longs;are da un luogo <lb/>all' altro, nè (come &longs;timo) mancaua loro i proprij adornamenti. </s> <s id="s.005491">& perche ne i Tablini &longs;i pone­<lb/>uano le &longs;tatue, però Vitr. ordina quanto alte &longs;i deono collocare con i loro ornamenti, e dice.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005492">Le imagini &longs;imilmente e&longs;&longs;er deono po&longs;te in quella altezza, che &longs;arà la larghezza del­<lb/>le Ale. <!-- KEEP S--></s> </p> <p type="main"> <s id="s.005493"><emph type="italics"/>Et qui nel no&longs;tro Inpiede del Tablino le &longs;tatue &longs;ono alte piedi otto, perche tanto è la larghez­<lb/>za delle ale. </s> <s id="s.005494">Il re&longs;to è facile in Vitr. & compre&longs;o &longs;otto le regole date nel Terzo, & nel Quar­<lb/>to Libro.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.005495">Le larghezze delle porte deono e&longs;&longs;er proportionate all' altezza &longs;econdo che ricerca le <lb/>maniere loro. </s> <s id="s.005496">Le Doriche, come le Doriche, le Ioniche, come le Ioniche, &longs;ian fatte, <lb/>come nel quarto libro, parlando delle porte e&longs;po&longs;te &longs;ono le ragioni delle Simmetrie, Il <lb/>lume dello impluuio largo per la larghezza dallo Atrio non meno d'un quarto, nè piu <lb/>d'un terzo &longs;ia la&longs;ciato. </s> <s id="s.005497">Ma la lunghezza come dell' Atrio &longs;ia fatta per la rata parte. </s> <s id="s.005498">I Pe­<lb/>ri&longs;tilij per trauer&longs;o la terza parte piu lunghi che di dentro. </s> <s id="s.005499">le colonne tanto alte, quanto <lb/>&longs;aranno larghi i portichi. </s> <s id="s.005500">Gli intercolunni e &longs;patij tra le colonne non &longs;iano di&longs;tanti, me­<lb/>no di tre, nè piu di quattro gro&longs;&longs;ezze di colonne. </s> <s id="s.005501">Ma &longs;e nel Peri&longs;tilio all' u&longs;anza Dorica &longs;i <lb/>faranno le colonne, co&longs;i &longs;i hanno a fare i moduli, come nel quarto libro io ho &longs;critto del­<lb/>l'ordine Dorico, accioche a que moduli, & alle ragioni de i Triglifi &longs;iano di&longs;po&longs;ti. </s> </p> <p type="main"> <s id="s.005502"><emph type="italics"/>Que&longs;ti compartimenti, Moduli, & Simmetrie di traui, di porte, di colonne, & di maniere <lb/>&longs;ono &longs;tati nel terzo, & nel quarto libro a&longs;&longs;ai chiar amente dimo&longs;trati, & con parole, & con di­<lb/>&longs;egni, però &longs;i la&longs;cia la lunghezza del dire, per fuggir il tedio, & per dare, che di&longs;correre a gli <lb/>&longs;tudio&longs;i. </s> <s id="s.005503">Io ho po&longs;to la Pianta, & lo Impiè della ca&longs;a priuata, & &longs;i cono&longs;cerà dal incontro del­<lb/>le lettere.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.005504"><emph type="italics"/>Dei Triclini, Stanze, E&longs;&longs;edre, & delle Libre­<lb/>rie, & delle loro mi&longs;ure. </s> <s id="s.005505">Cap. V.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.005506">Qvanto &longs;arà la larghezza de i Triclini due uolte tanto e&longs;&longs;er deue la lunghezza. </s> <s id="s.005507"><lb/>Le altezze di tutti i conclaui, che &longs;aranno piu lunghi, che larghi, deono e&longs;­<lb/>&longs;er compartite in que&longs;to modo, che po&longs;ta in&longs;ieme la lunghezza, & la larghez <lb/>za, &longs;i pigli di quella &longs;omma la metà, & tanto &longs;i dia per l'altezza; ma &longs;e le <lb/>&longs;tanze, & le E&longs;&longs;edre &longs;aranno quadrate, aggiunta la metà alla larghezza, &longs;i farà l'altezza. </s> <s id="s.005508"><lb/>Le &longs;tanze dette Pinacotheche, deono e&longs;&longs;er fatte come le E&longs;&longs;edre con ampie grandezze. </s> <s id="s.005509">Le <lb/>&longs;tanze Corinthie, & di quattro colonne, & quelle che Egittie &longs;ono chiamate habbiano la <lb/>ragione delle mi&longs;ure loro al &longs;opradetto modo de i Triclini. <!-- KEEP S--></s> <s id="s.005510">Ma &longs;iano per la interpo&longs;itione <lb/>delle colonne piu &longs;patio&longs;e. </s> </p> <p type="main"> <s id="s.005511"><emph type="italics"/>Hauendo trattato Vitr. fin qui delle parti communi de gli edifici, tratta hora delle propie, co­<lb/>me &longs;ono i cenaculi, le camere, i camerini, le &longs;ale, & le &longs;tanze appartate. </s> <s id="s.005512">Que&longs;te hanno di­<lb/>uer&longs;i nomi pre&longs;i &longs;econdo la &longs;ignificatione de i nomi Greci: & prima è il nome del Triclinio, che <lb/>era luogo doue &longs;i cenaua, detto da tre letti, &longs;opra i quali &longs;te&longs;i col comito ripo&longs;ando&longs;i mangiauano, <lb/>non però ui dormiuano, & for&longs;e eran &longs;imili a Ma&longs;tabe Turche&longs;chi. </s> <s id="s.005513">da que&longs;ti letti le &longs;tanze erano <lb/>chiamate Triclini, che in una &longs;tanza per l'ordinario erano apparecchiati, & &longs;i puo formare Di=<lb/>clinio, Tetraclinio, & Decaclinio, doue &longs;ono due, quattro, & dieci letti, & piu, o meno &longs;econ­<lb/>do la di&longs;po&longs;itione di quelli. </s> <s id="s.005514">Il Filandro parla molto bene diffu&longs;amente &longs;opra que&longs;to luogo. </s> <s id="s.005515">Sta­<lb/>uano da un lato &longs;olo della men&longs;a, che era appre&longs;&longs;o il letto &longs;opra tre piedi, & anche &longs;opra uno, <lb/>& mutauano la tauola mutando l'imbandigioni, di modo, che leuata la prima uiuanda, era <lb/>portata di pe&longs;o la &longs;econda &longs;opra un' altra men&longs;a. </s> <s id="s.005516">Le donne per antico in&longs;tituto &longs;edeuano a tauola,<emph.end type="italics"/><pb pagenum="293" xlink:href="045/01/307.jpg"/><emph type="italics"/>gli huomini, come ho detto, &longs;tauano &longs;te&longs;i appoggiati&longs;ul comito. </s> <s id="s.005517">Quando uoleuano mangiare i <lb/>&longs;erui correuano, & gli leuauano le &longs;carpe. </s> <s id="s.005518">Per l'ordinario non piu di due &longs;tauano &longs;opra un let­<lb/>to, ma &longs;econ do il numero de conuiuanti erano i letti. </s> <s id="s.005519">La forma de quali pre&longs;a dallo antico è po­<lb/>&longs;ta dal Filandro, & ne &longs;ono le carte &longs;tampate. </s> <s id="s.005520">Conclaue &longs;i chiama ogni &longs;tanza &longs;errata &longs;otto una <lb/>chiaue, come &longs;ono le camere, i triclini, & ogni habitatione. </s> <s id="s.005521">Oeci &longs;ono le &longs;tanze, doue &longs;i &longs;ace­<lb/>uano i conuiti, & le fe&longs;te, & doue le donne lauorauano, & noi le potemo nominare Sale, o Sa­<lb/>lotti. </s> <s id="s.005522">E&longs;&longs;edra io chiamerei la Sala, o il luogo della audienza, & doue &longs;u'l mezo giorno &longs;i dor­<lb/>miua la &longs;tate, & era luogo &longs;opra i giardini grande, & &longs;patio&longs;o detto co&longs;i dalle &longs;edi, che iui erano. </s> <s id="s.005523"><lb/>Pinacothecha era luogo, doue eran le tauole dipinte, ouero le &longs;critture, & que&longs;ti luoghi cioè le <lb/>E&longs;&longs;edre, le Pinacotheche, & i Triclini erano fatti magnificamente, ornati di pitture, di <lb/>colonne, di &longs;tucchi, & d'altre magnificenze. </s> <s id="s.005524">Hora Vitruuio ci da la mi&longs;ura, & la di­<lb/>&longs;po&longs;itione di tutte, parte con regole generali, parte con regole particolari, & prima dice <lb/>de i Triclini, i quali dice douer e&longs;&longs;er di due quadri, cioè la lunghezza, il doppio della <lb/>larghezza, & in generale dice, che ogni conclaue deue e&longs;&longs;er alto la metà di quel tutto, che fa la <lb/>lungheza, & la larghezza po&longs;ta in&longs;ieme, di modo che &longs;e la larghezza &longs;arà di &longs;ei, la lunghezza <lb/>di 12. po&longs;ti in&longs;ieme 6. & 12. faran 18. la cui metà è 9. l'altezza adunque &longs;arà di noue: ma &longs;e le <lb/>E&longs;&longs;edre, o Sale &longs;aranno di forma quadrata, le altezze &longs;i deono fare d'un quadro, & mezo. </s> <s id="s.005525">Le <lb/>Pinacotheche, &longs;i deono fare di ampli&longs;&longs;ime proportioni come di doppie, & di triple. </s> <s id="s.005526">Le Sale al <lb/>modo Corinthio nominate Tetra&longs;tile, & ancho quelle, che &longs;ono fatte al modo d'Egitto, &longs;eruano <lb/>le proportioni de i Triclini, ma perche in e&longs;&longs;e ui &longs;ono trapo&longs;te delle colonne, però hanno &longs;patij <lb/>maggiori. </s> <s id="s.005527">Ma che differenza &longs;ia trale Corinthie, & le Egittie, Vitr. lo dichiara molto bene, <lb/>& dice.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005528">Tra le Corinthie, & le Egittie &longs;i troua que&longs;ta differenza: le Corinthie hanno le colon­<lb/>ne &longs;emplici, ouero po&longs;te &longs;opra il poggio, ouero a ba&longs;&longs;o, & hanno gli Architraui, e le co­<lb/>rone di &longs;tucco, o d'opera di legno, & ancho &longs;opra le colonne il cielo, o uolta è curuo, a <lb/>&longs;e&longs;ta &longs;chiacciato; Ma nelle Egittie &longs;ono gli Architraui po&longs;ti &longs;opra le colonne, & da gli Ar <lb/>chitraui a i pareti, che uanno a torno, è po&longs;to il palco, & &longs;opra e&longs;&longs;o il tauolato, & paui­<lb/>mento allo &longs;coperto, &longs;i che &longs;i uada a torno; dapoi &longs;opra l'Architraue a piombo delle co­<lb/>lonne di &longs;otto &longs;i pongono le colonne minori per la quarta parte, &longs;opra gli Architraui, & <lb/>ornamenti delle quali uanno i &longs;offittati adorni, & tra le colonne di &longs;opra &longs;i pongono le &longs;i­<lb/>ne&longs;tre, & co&longs;i pare quella &longs;imiglianza delle Ba&longs;iliche, & non de i Triclini Corinthij. <!-- KEEP S--></s> </p> <p type="main"> <s id="s.005529"><emph type="italics"/>Le Sale Corinthie haueuano le colonne appre&longs;&longs;o il parete, & erano le colonne &longs;emplici, cioè <lb/>d'un ordine, & &longs;opra e&longs;&longs;e non u'erano altre colonne, ma gli Architraui, & Cornici, come nella <lb/>Curia di &longs;tucchi, & d'opere di biancheggiamento, ouero di legno. </s> <s id="s.005530">Ma le Sale Egittie haueuano <lb/>il parete a torno, & le colonne di dentro uia lontane dal muro, come le Ba&longs;iliche, & &longs;opra le <lb/>colonne eran gli Architraui, & Corone, & gli &longs;patij tra le colonne, & il parete era coperto di <lb/>pauimento, il qual pauimento era &longs;coperto di modo, che &longs;i poteua andare intorno la Sala allo <lb/>&longs;coperto, & &longs;opra l'Architraue erano delle altre colonne per un quarto minore di quelle, di &longs;otto, <lb/>che tra que&longs;te erano le fine&longs;tre, che dauano lume alla parte di dentro, la quale parte haueua il &longs;of <lb/>fitto alto, perche era &longs;opra gli Architraui, & le cornici delle &longs;econde colonne, & in uero doue­<lb/>ua e&longs;&longs;er co&longs;a grandi&longs;&longs;ima, e degna da uedere, & poteua &longs;eruire mirabilmente alla ui&longs;ta delle fe&longs;te, <lb/>& de i conuiti, che &longs;i faceuano in quelle Sale. </s> <s id="s.005531">Somigliauano que&longs;te Sale Egittie alle Ba&longs;iliche piu <lb/>pre&longs;to, che à i Triclinij. </s> <s id="s.005532">da que&longs;te poi s'entraua in altre Sale, & in altre &longs;tanze, o fu&longs;&longs;ero Triclini, <lb/>& conclaui, o altro, che fu&longs;&longs;e nece&longs;&longs;ario alla commodità della ca&longs;a. </s> <s id="s.005533">Vitr. &longs;eguita a darci altre <lb/>maniere di &longs;tanze, & di alloggiamenti fatti alla Greca, che ancho quelli doueuano hauer del gran <lb/>de; & il prudente Architetto potrà pigliare quanto gli parerà &longs;econdo l'u&longs;o de no&longs;tri tempi.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <pb pagenum="294" xlink:href="045/01/308.jpg"/> <p type="head"> <s id="s.005534"><emph type="italics"/>Delle Sale al modo de' Greci. <!-- KEEP S--></s> <s id="s.005535"><lb/>Cap. VI.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.005536">Fanno&longs;i ancho le Sale non al modo d'Italia, dette Cizicene da Greci. <!-- KEEP S--></s> <s id="s.005537">Que­<lb/>&longs;te guardano uer&longs;o Tramontana, & &longs;pecialmente a i prati, & uerdure, & han <lb/>no le porte nel mezo, & &longs;ono co&longs;i lunghe, & larghe, che due Triclini con <lb/>quello, che ui ua d'intorno, riguardando&longs;i all' incontro ui po&longs;&longs;ono capire, <lb/>& hanno dalla de&longs;tra, & dalla &longs;ini&longs;tra i lumi delle fine&longs;tre, che &longs;i aprono, & &longs;errano, accio <lb/>che egli &longs;i po&longs;&longs;a per gli &longs;patij delle fine&longs;tre dal tetto uedere i prati da lungi. </s> <s id="s.005538">Le loro altez­<lb/>ze &longs;iano aggiuntaui la metà delle larghezza. </s> <s id="s.005539">In que&longs;te maniere di edifici &longs;i deono fare tut <lb/>te le ragioni delle mi&longs;ure, che &longs;enza impedimento del luogo &longs;i potranno, & i lumi &longs;e non <lb/>&longs;aranno o&longs;curati dalle altezze de i pareti &longs;acilmente &longs;aranno e&longs;plicati, & sbrigati. </s> <s id="s.005540">Ma &longs;e <lb/>dalla &longs;trettezza, ouero da altra nece&longs;sità impediti &longs;aranno, allhora bi&longs;ognerà con inge­<lb/>gno, & prontezza torre, o aggiugnere delle mi&longs;ure in modo, che le bellezze dell' opera <lb/>dalle uere mi&longs;ure non &longs;iano di&longs;simiglianti. </s> </p> <p type="main"> <s id="s.005541"><emph type="italics"/>E que&longs;ta differenza tra le Sale Corinthie, & Egittie, che le Corinthie haueuano le colonne &longs;em <lb/>plici, cioe d'un ordine, po&longs;te, ouero &longs;opra il poggio a modo d'alcuni Tempy, &longs;econdo che egli ha <lb/>detto nel terzo, ouero &longs;enza il poggio erano da terra leuate, & &longs;i ripo&longs;auano in terra, & &longs;opra <lb/>le colonne gli Architraui, & le cornici, o di legno, o &longs;tucco al modo, che egli ha detto al &longs;econdo <lb/>capo del quinto parlando della Curia: &longs;opra u'erano i &longs;offittatinon di tutto tondo, ma &longs;chiaccia­<lb/>ti, erano però fatti a &longs;e&longs;ta, & que uolti erano portioni de circoli, noi chiamamo rimenati. </s> <s id="s.005542">Ma <lb/>gli Egittij u&longs;auan ancho e&longs;&longs;i &longs;opra le colonne gli Architraui, ma &longs;opra quelle, che erano di&longs;co&longs;te <lb/>dal parete uer&longs;o la parte di dentro poneuano la trauatura, che pa&longs;&longs;aua da gli Architraui a i muri <lb/>d'intorno: &longs;opra la trauatura il ta&longs;&longs;ello piano, & tauellato col pauimento &longs;coperto, il qual pa <lb/>uimento era dallo &longs;patio delle colonne al muro d'intorno intorno, & &longs;i poteua caminarui &longs;opra al <lb/>lo &longs;coperto. </s> <s id="s.005543">Ma &longs;opra l'Architraue a piombo delle colonne di &longs;otto, &longs;i poneua un'altro ordinè <lb/>di colonne &longs;econdo la regola detta piu uolte, cioè, che le colonne di &longs;opra eran la quarta parte <lb/>delle colonne di &longs;otto minori, & queste colonne haueuano ancho e&longs;&longs;e i loro Architraui, cornici, <lb/>e i Lacunari &longs;econdo i Corinthij, & tra le colonne di &longs;opra erano le fine&longs;tre di modo, che una Sa <lb/>la Egittia haueua piu pre&longs;to della Ba&longs;ilica, che del Triclinio. </s> <s id="s.005544">Et qui due co&longs;e douemo auuertire, <lb/>l'luna come erano le Ba&longs;iliche, & come haueuano le fine&longs;tre. </s> <s id="s.005545">L'altra che que&longs;to nome di Tricli­<lb/>nio è u&longs;ato da Vitr. parlando delle Sale, & non fa differenza tra quelle &longs;tanze, che egli chiama=<lb/>Oeci, & quelle che &longs;ono Triclini nominate: però io direi, che Oeci &longs;ono Triclini grandi, & Tri­<lb/>clini oeci piccioli: quelli a publichi, que&longs;ti a priuati edifici, & ordinarij dedicati. </s> <s id="s.005546">Hauendoci <expan abbr="adunq;">adunque</expan> <lb/>Vitr. e&longs;plicato que&longs;ta differenza, egli pone una u&longs;anza di que&longs;te &longs;ale fatte alla Greca, & benche pa <lb/>re, che le Corinthie &longs;iano Greche, et che le Egittie ancho &longs;iano &longs;tate u&longs;ate da Greci, & l'una, & l'al <lb/>tra maniera fia &longs;tata pre&longs;a da Italiani. </s> <s id="s.005547">nientedimeno io &longs;timo, che que&longs;te &longs;ale, che egli nel pre&longs;en­<lb/>te capo dice e&longs;&longs;er alla Greca, non fu&longs;&longs;ero &longs;tate pre&longs;e da Italiani, ma che &longs;olo in Grecia s'u&longs;a&longs;&longs;ero. </s> <s id="s.005548"><lb/>Que&longs;te dice egli, che &longs;i chiamauano Cizicene, co&longs;i dette da una terra de' Milesij nella Proponti­<lb/>de. </s> <s id="s.005549">Erano po&longs;te al Settentrione, riguardauano i campi, & le uerdure, haueuano le porte nel <lb/>mezo, capiuano due Triclinij con quello, che gli &longs;ta intorno oppo&longs;ti l'uno all' altro, da i letti de <lb/>i quali &longs;i poteuano uedere le uerdure per le fine&longs;tre. </s> <s id="s.005550">Le mi&longs;ure di que&longs;te &longs;ale &longs;ono bene da Vitr. <lb/>dichiarite, nè ci accade figura, perche dalle figure &longs;oprapo&longs;te, & dalle regole tante fiate dichia <lb/>rite uno &longs;tudio&longs;o, & diligente ne puo cauare la forma.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <pb pagenum="295" xlink:href="045/01/309.jpg"/> <p type="head"> <s id="s.005551"><emph type="italics"/>Ache parte del cielo ogni maniera di edificio deue guardare <lb/>accio &longs;ia utile, & &longs;ana. </s> <s id="s.005552">Cap. VII.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.005553">Hor noi dichiararemo con che proprictà le maniere de gli edifici all'u&longs;o, & al­<lb/>le parti del cielo commodamente po&longs;sino riguardare. </s> <s id="s.005554">I Triclini del uerno, <lb/>& i luoghi de i bagni riguardino quella parte, doue il Sole trammonta il uer­<lb/>no, perche bi&longs;ogna u&longs;are il lume della &longs;era, & anche per que&longs;to, perche il So <lb/>le cadendo ha lo &longs;plendore oppo&longs;to, & rimettendo il calore nel tempo ue&longs;pertino intepe di <lb/>&longs;ce piu la regione d'intorno. </s> <s id="s.005555">I Cubiculi, & le Librerie deono e&longs;&longs;er po&longs;te all' Oriente, <lb/>perche l'u&longs;o uuole il lume mattutino, & ancho i libri non &longs;i gua&longs;tano nelle librerie, perche <lb/>in quelle, che &longs;ono uer&longs;o il Meriggie, ouero a Ponente le carte &longs;ono gua&longs;te da i Tarli, & <lb/>dall' humore, perche i uenti humidi &longs;oprauegnenti li fanno generare, & gli notri&longs;cono; <lb/>& &longs;pargendo gli &longs;piriti humidi per la muffa corrompeno i uolumi. </s> <s id="s.005556">I Triclinij di primaue <lb/>ra, & d'Autunno &longs;i drizzano all' Oriente, perche l'impeto del Sole oppo&longs;to andando di <lb/>lungo uer&longs;o l'Occidente fa quelle &longs;tanze di lumi circondate piu temperate in quel tempo, <lb/>che &longs;i &longs;ogliono adoperare. </s> <s id="s.005557">Ma quelli della &longs;tate deono riguardare al Settentrione, perche <lb/>quella parte, non come le altre, che nel &longs;ol&longs;titio &longs;i fanno per lo calore ardenti, per e&longs;­<lb/>&longs;er riuolta dal cor&longs;o del Sole, &longs;empre è fre&longs;ca, & nell' u&longs;o porge &longs;anità, & piacere. </s> <s id="s.005558">Et co­<lb/>&longs;i que luoghi, doue &longs;i hanno a &longs;aluare &longs;critture, & tauole, o pitture, detti Pinacothechi, <lb/>oue &longs;i fanno le coltre, o piumacci cuciti con diuer&longs;i colori, & imbottiti, o doue &longs;i dipi­<lb/>gne, bi&longs;ogna che riguardino al Settentrione, accioche i colori di quelli per la fermezza, <lb/>& egualità de lumi &longs;iano nelle opere impermutabili. </s> </p> <p type="main"> <s id="s.005559"><emph type="italics"/>Haueuano gli antichi molta auuertenza al Decoro, del quale parlato hauemo nel primo li­<lb/>bro. </s> <s id="s.005560">Similmente alla di&longs;tributione, che &longs;erue all' u&longs;o, perche Vitr. parla in que&longs;to luogo di quel­<lb/>lo, che ci accommoda, & parlerà di quello che &longs;ta bene, & che conuiene a diuer&longs;i gradi di per­<lb/>&longs;one; Et inuero, (come io bo detto nel principio di que&longs;to libro) Vitr. ha uoluto, che noi con&longs;i­<lb/>deriamo egualmente le co&longs;e dette nel primo nelle opere publiche, & nelle priuate: perche quelle <lb/>erano indifferenti, communi, & applicabili come i numeri, & le figure a diuer&longs;e materie. </s> <s id="s.005561"><lb/>Quanto <expan abbr="adūque">adunque</expan> appartiene alla di&longs;tributione, &longs;i uede nel pre&longs;ente capo, che egli tratta a che parti <lb/>del cielo, quali &longs;tanze douemo fabricare: sì perche ne habbiamo commodo, & utilità: sì per­<lb/>che &longs;iano &longs;ane. </s> <s id="s.005562">Gli antichi mangiauano &longs;econdo le &longs;tagioni in diuer&longs;e &longs;tanze, nella &longs;tate in luo­<lb/>ghi uolti al Settentrione, & che haueuano acque, & uerdure: Il uerno haueuano il fuoco, la <lb/>facciata piu calda, imparando da gli uccelli, che &longs;econdo le &longs;tagioni uanno mutando il luogo. </s> <s id="s.005563">& <lb/>perche non &longs;olamente douemo hauer cura della commodità delle per&longs;one, ma anche della con&longs;erua<lb/>tione delle robbe, però molto bene douemo con&longs;iderare di far le &longs;tanze per &longs;aluar le robbe, ilche in <lb/>que&longs;to capo di Vitr. è molto bene con&longs;iderato, & ci la&longs;cia da pen&longs;are piu oltra &longs;econdo l'occa&longs;io­<lb/>ne, imperoche egli non abbraccia ogni co&longs;a, ma ci da tanto lume, che ci ba&longs;ta, oltra che ne dirà <lb/>ancho dapoi. </s> <s id="s.005564">ci &longs;ono anche le ca&longs;e de gli artefici, & de mercanti, che uendeno co&longs;e, che hanno <lb/>b &longs;ogno d'e&longs;&longs;er con&longs;eruate in propij luoghi, &longs;econdo le qualità delle merci. </s> <s id="s.005565">Similmente le muni­<lb/>tioni, i uiueri, le armi, & luoghi dall' oglio, dalle lane, delle &longs;pecierie, & de i frutti hanno le <lb/>loro proprietà da e&longs;&longs;er con&longs;iderate, perche poi niente &longs;ia, che gua&longs;ti le robbe: ma que&longs;te co&longs;e non <lb/>cadono in con&longs;ideratione nelle ca&longs;e de i grandi. </s> <s id="s.005566">Seguita ancho un'altra di&longs;tributione, che parti­<lb/>cipa del Decoro, & dice.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <pb pagenum="296" xlink:href="045/01/310.jpg"/> <p type="head"> <s id="s.005567"><emph type="italics"/>De i propi luoghi de gli edifici, & priuati, & communi, & <lb/>delle maniere conuenienti ad ogni qualità di per&longs;one.</s> </p> <p type="head"> <s id="s.005568">Cap. VIII.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.005569">Es&longs;endo le &longs;tanze alle parti del cielo a que&longs;to modo di&longs;po&longs;te, allhora bi&longs;ogna <lb/>auuertire, con che ragione a i padri di famiglia i propij luoghi, & in che mo <lb/>do i communi con gli &longs;trani &longs;i deono fabricare: perche in que&longs;ti che propi &longs;o <lb/>no, non è lecito, nè puo ognuno in es&longs;i entrare &longs;e non è inuitato come &longs;o­<lb/>no i Cubiculi, i Triclini, i Bagni, & le altre &longs;tanze, che hanno l'i&longs;te&longs;&longs;e ragioni dell' u&longs;o lo­<lb/>ro. </s> <s id="s.005570">Communi &longs;ono quelli, ne i quali ancho chi non è chiamato del popolo, ui puo en­<lb/>trare. </s> <s id="s.005571">Que&longs;ti &longs;ono l'entrate, i Cortili, i Peri&longs;tili, & quelle parti, che po&longs;&longs;ono hauere l'u&longs;o <lb/>i&longs;te&longs;&longs;o. </s> <s id="s.005572">A quelli adunque, i quali &longs;ono di &longs;orte commune, non &longs;ono nece&longs;&longs;arie l'entrate ma­<lb/>gnifiche, nè i Tablini, ne gli Atrij, perche que&longs;ti pre&longs;tano a gli altri quegli officij cercando, <lb/>che da gli altri &longs;ono cercati. </s> <s id="s.005573">Ma quelli, che &longs;eruono alla utilità, & frutti della uilla, nelle en­<lb/>trate delle loro ca&longs;e, deono hauere gli &longs;tabuli, & tauerne, & nelle ca&longs;e l'arche, e i granai, le <lb/>&longs;aluarobbe, & le di&longs;pen&longs;e, che po&longs;&longs;ono piu pre&longs;to e&longs;&longs;er per &longs;eruare i frutti, che a bellezza <lb/>& ornamento. </s> <s id="s.005574">Co&longs;i a publicani, a banchieri, ouero cambiatori &longs;i fanno le ca&longs;e piu commo­<lb/>de, & piu belle, & piu &longs;icure dalle in&longs;idie. </s> <s id="s.005575">A gli huomini di palazzo, & a gli auuocati piu ele­<lb/>ganti, & piu &longs;patio&longs;e, per poter riceuere, & admettere la moltitudine delle genti. </s> <s id="s.005576">A nobili, <lb/>che ne i magi&longs;trati, & ne gli honori deono a cittadini non mancare d'officio, &longs;i deue fare le <lb/>entrate regali, e gli Atrij alti, & i portichi, o loggie amplis&longs;ime, & gli &longs;patij da caminare <lb/>piu larghi perfetti all' ornamento, e decoro. </s> <s id="s.005577">Oltra di cio le Librerie, le Cancellarie, le <lb/>Ba&longs;iliche non dis&longs;imiglianti da quello, che ricerca la magnificenza delle opere publiche: <lb/>perche nelle lor ca&longs;e &longs;pe&longs;&longs;o &longs;i fanno, & i con&longs;igli publici, & i priuati, & i giudici arbitri, & <lb/>comprome&longs;si. </s> <s id="s.005578">Se adunque con que&longs;te ragioni ad ogni &longs;orte di per&longs;one co&longs;i &longs;aranno gli <lb/>edificij di&longs;po&longs;ti, come del Decoro è &longs;tato &longs;critto nel primo uolume, non &longs;arà co&longs;a degna <lb/>di ripren&longs;ione, perche haueranno ad ogni co&longs;a commode, & &longs;enza menda le loro e&longs;plica<lb/>tioni. </s> <s id="s.005579">Et di quelle co&longs;e non &longs;olo ci &longs;aranno, nella citta le ragioni, ma ancho nella uilla. </s> <s id="s.005580"><lb/>Eccetto, che nella Città gli Atrij &longs;ono uicini alle porte, ma nella uilla, che qua&longs;i imitano <lb/>le cittadine&longs;che, &longs;ubito appre&longs;&longs;o le porte &longs;ono i Peri&longs;tili, dapoi gli Atrij, che hanno i por <lb/>tichi d'intorno con pauimenti, che riguardano uer&longs;o le pale&longs;tre, & i luoghi da pa&longs;teg­<lb/>giare. </s> <s id="s.005581">lo ho de&longs;critto diligentemente (come ho propo&longs;to) in &longs;omma le ragioni di fare le <lb/>fabriche cittadine&longs;che nella Città. <!-- KEEP S--></s> </p> <p type="main"> <s id="s.005582"><emph type="italics"/>E&longs;pedita la parte, che apparteneua alla Di&longs;tributione, Vitruuio nel pre&longs;ente capo ci dimo&longs;tra <lb/>quanto conuiene al Decoro, che altro non è, che un ri&longs;petto alla dignità, & allo &longs;tato delle per <lb/>&longs;one. </s> <s id="s.005583">Fatta adunque la di&longs;tintione delle per&longs;one bi&longs;ogna a cia&longs;una &longs;econdo il grado &longs;uo fabricare, <lb/>& però altro compartimento hauera la ca&longs;a d'un Signore, altro quella del nobile, altro quella <lb/>del populo. </s> <s id="s.005584">Le parti delle ca&longs;e &longs;imilmente, &longs;iano ò communi, ò propie, deono riguardare alla <lb/>qualità delle per&longs;one. </s> <s id="s.005585">V&longs;auano anticamente quelli, che con maggiore &longs;plendidezza uoleuano fabri <lb/>care la&longs;ciar dinanzi alle porte un luogo uacuo, che non era parte della ca&longs;a, ma bene conduceua <lb/>alla ca&longs;a, doue &longs;tauano i Clienti, & quelli, che ueniuano per &longs;alutar i grandi, fin che erano ad­<lb/>mes&longs;i, & &longs;i poteua dire, che nè erano in ca&longs;a, nè fuori di ca&longs;a. </s> <s id="s.005586">Que&longs;to luogo era detto Ve&longs;tibulo, <lb/>& era di gran dignità & adornato di loggie, & di &longs;patij. </s> <s id="s.005587">La &longs;ua hone&longs;tà era la uia, l'u&longs;o, il poter <lb/>commodamente a&longs;pettare, il piacere, perche iui i giouani a&longs;pettando i principali s'e&longs;&longs;ercitauano <lb/>alla palla, alle lotti, a &longs;altare, & in altri e&longs;&longs;ercitij giouanili. </s> <s id="s.005588">Eranui le porte, prima le communi, <lb/>& que&longs;ta di ragione era una &longs;ola &longs;plendida, e ricca, & adorna mir abilmente, & poi altre parti-<emph.end type="italics"/><pb pagenum="297" xlink:href="045/01/311.jpg"/><emph type="italics"/>colari, come quella, che &longs;eruiua al condurre le robbe in ca&longs;a, & quella del patrone &longs;ecreta, per <lb/>la quale egli &longs;enza e&longs;&longs;er ueduto poteua u&longs;cire. </s> <s id="s.005589">Et però dice Horatio. </s> <s id="s.005590">Atria &longs;eruantem po&longs;tico <lb/>falle clientem. </s> <s id="s.005591">eraui l'entrata, l'Atrio, il Tablino, il Peri&longs;tilio per ordine. </s> <s id="s.005592">Le &longs;cale &longs;econdo la <lb/>dignità & forma loro belli&longs;&longs;ime, commodi&longs;&longs;ime, e lucide, metteuano capo in ampie, & &longs;pacio&longs;e <lb/>&longs;ale, che &longs;copriuano il mare, i giardini, & le uerdure, & &longs;otto e&longs;&longs;e a piè piano erano molte log <lb/>gie, & luoghi da audienze di modo, che niente &longs;i poteua de&longs;iderare. </s> <s id="s.005593">La&longs;cio &longs;tare la magnificen­<lb/>za, che u&longs;auano in ogni altra &longs;tanza, ne i dormitori, ne i cenacoli &longs;econdo le &longs;tagioni, nelle came <lb/>re, ne i bagni, che &longs;arebbe co&longs;a lunga a narrare. </s> <s id="s.005594">Haueuano riguardo ad accommodar i fore&longs;tie <lb/>ri. </s> <s id="s.005595">I grandi adunque haueuano &longs;econdo le lor qualità gli edificij, i mediocri, i mercanti, gli ar­<lb/>tefici erano accommodati. </s> <s id="s.005596">Le bottghe e&longs;&longs;er doueuano &longs;opra &longs;trade correnti in belle ui&longs;te, le mer­<lb/>ci in mo&longs;tra, & inuitauano gli huomini a comprare. </s> <s id="s.005597">Ecco adunque quanto chiaramente Vitr. &longs;i <lb/>la&longs;cia intendere per quello, che egli ha detto nel primo libro al &longs;econdo capo, quando egli dice, <lb/>parlando del Decoro, beatis, & delicatis. </s> <s id="s.005598">qui dice foren&longs;ibus autem, & di&longs;ertis. </s> <s id="s.005599">& la doue <lb/>egli dice potentes, qui dice nobilibus, qui honores, magi&longs;tratusque gerendo. </s> <s id="s.005600">& c. </s> <s id="s.005601">Gli Atrij <lb/>in Villa non erano alla prima entrata, ma dopo i peri&longs;tili, & haueuano i portichi d'intorno con <lb/>bei pauimenti, & co&longs;i &longs;i uede, che ancho d'intorno gli Atrij erano i portichi. </s> <s id="s.005602">Et qui &longs;ia fine del­<lb/>le ca&longs;e priuate fatte nella Città.<emph.end type="italics"/><!-- KEEP S--></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.005603"><emph type="italics"/>Delle ragioni de i ru&longs;ticali edifici, & di&longs;tintioni di molte par­<lb/>ti di quelle. </s> <s id="s.005604">Cap. IX.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.005605">Hora dirò de ru&longs;ticali edifici, come po&longs;&longs;ono e&longs;&longs;er commodi all' u&longs;o, & con <lb/>che ragioni &longs;i deono fare. </s> <s id="s.005606">prima &longs;i deue guardare alla &longs;alubrità dello aere, co <lb/>me s'è detto nel primo libro di porre le Città. <!-- KEEP S--></s> <s id="s.005607">Le grandezze loro &longs;econdo <lb/>la mi&longs;ura delle po&longs;&longs;e&longs;sioni, & le copie de i frutti &longs;ieno comparate; I cortili, <lb/>& le grandezze loro al numero delle pecore, & co&longs;i quanti parà di buoi &longs;arà nece&longs;&longs;ario <lb/>che ui &longs;tiano bi&longs;ognerà determinare. </s> <s id="s.005608">Nel cortile la cucina in luogo caldi&longs;simo &longs;ia po­<lb/>&longs;ta, & habbia congiunte le &longs;talle de i buoi, le pre&longs;epi de i quali riguardino uer&longs;o il fuoco, <lb/>& l'Oriente, perche i buoi guardando il fuoco, & il lume non &longs;i fanno ombro&longs;i, & timidi, <lb/>& co&longs;i gli agricoltori periti delle regioni, non pen&longs;ano che bi&longs;ogni, che i buoi riguardi­<lb/>no altra parte del cielo, &longs;e non il na&longs;cimento del Sole. <!-- KEEP S--></s> <s id="s.005609">Le larghezze de i bouili non deo­<lb/>no e&longs;&longs;er meno di piedi dieci, nè piu di quindici. </s> <s id="s.005610">La lunghezza in modo, che cia&longs;cuno <lb/>par di buoi non occupi piu di &longs;ette piedi. </s> <s id="s.005611">I Lauatoi &longs;iano congiunti alla cucina, perche <lb/>a que&longs;to modo non &longs;arà lontana la ammini&longs;tratione della ru&longs;tica lauatione. </s> <s id="s.005612">Il Torchio <lb/>dell' oglio &longs;ia pro&longs;simo alla cucina, perche co&longs;i a frutti oleari &longs;arà commodo, Et habbia <lb/>congiunta la cantina, i lumi della quale &longs;i torranno dal Settentrione, percioche hauendo <lb/>gli da altra parte, doue il Sole po&longs;&longs;a &longs;caldare, il uino, che ui &longs;arà dentro, confu&longs;o, & me&longs;<lb/>colato dal calore &longs;i farà debile, & men gagliardo, I luoghi dall' oglio &longs;i deono porre in <lb/>modo, che habbiano il lume dal mezodì, & dalle parti calde, percioche l'oglio non &longs;i de <lb/>ue aggiacciare: ma per la tepidità del calore a&longs;&longs;ottigliar&longs;i. </s> <s id="s.005613">Le grandezze di que luoghi <lb/>deono e&longs;&longs;er fatte &longs;econdo la ragione de i frutti: & il numero de i ua&longs;i, i quali e&longs;&longs;endo di <lb/>mi&longs;ura di uenti anfore, deono per mezo occupare quattro piedi. </s> <s id="s.005614">Ma il torchio &longs;e non è <lb/>&longs;tretto con le uiti, ma con le &longs;tanghe, & col prelo, e le traui, che premeno, non &longs;ia men <lb/>lungo di quaranta piedi, & co&longs;i &longs;arà a quelli, che lo uoltano lo &longs;patio e&longs;pedito, la larghez <lb/>za &longs;ua non &longs;ia meno di piedi &longs;edici, perche co&longs;i compiutamente &longs;i potrà da quelli, che fan­<lb/>no l'oglio uoltare. </s> <s id="s.005615">Ma &longs;e egli &longs;arà luogo per due preli, o calcatoi &longs;i diano uentiquattro <lb/>piedi per la lunghezza. </s> <s id="s.005616">Gli ouili, & le &longs;talle per le capre &longs;i deono fare co&longs;i grandi, che <pb pagenum="298" xlink:href="045/01/312.jpg"/>cia&longs;cuna pecora non meno di quattro piedie mezo, non piu di &longs;ei po&longs;&longs;a occupare di lun­<lb/>ghezza. </s> <s id="s.005617">I Granai alzati al Settentrione, & all' Aquilone: perche a que&longs;to modo i grani <lb/>non potranno co&longs;i pre&longs;to ri&longs;caldar&longs;i, ma dal uento raffreddati lungamente &longs;i con&longs;eruaran­<lb/>no, perche l'altre parti generano le pauigliole, & altre be&longs;tiuolette, che &longs;ono di nocu­<lb/>mento a i grani. </s> <s id="s.005618">Le &longs;talle de caualli &longs;i porranno in luoghi caldi&longs;simi, pur che non guardi­<lb/>no al foco, perche quando i giumenti &longs;ono appre&longs;&longs;o al foco, &longs;i fanno horridi. </s> <s id="s.005619">Et ancho <lb/>non &longs;ono inutili le tezze di buoi, o pre&longs;epi, che &longs;i dichino, che &longs;i mettono oltra la cucina <lb/>alla &longs;coperta uer&longs;o Leuante, perche quando la inuernata al Cielo &longs;ereno &longs;ono in quelle con <lb/>dotti, la mattina i buoi pa&longs;cendo&longs;i diuentano piu gra&longs;si. </s> <s id="s.005620">I Granari, i Fenili, i luoghi da <lb/>riporre i farri, i pi&longs;trini; &longs;i deono fare oltra la ca&longs;a di uilla, accioche le ca&longs;e &longs;iano piu &longs;icu­<lb/>re dal foco. </s> <s id="s.005621">Ma &longs;e nelle fabriche di uilla &longs;i uorrà fare alcuna co&longs;a piu delicata, dalle mi&longs;u­<lb/>re delle ca&longs;e della Città &longs;opra&longs;critte &longs;i fabricherà in modo, che &longs;enza impedimento della <lb/>utilità ru&longs;ticale &longs;ia edificata. </s> <s id="s.005622">Bi&longs;ogna hauer cura, che tutti gli edifici &longs;iano lumino&longs;i. </s> <s id="s.005623">A <lb/>quelli di uilla, perche non hanno pareti de i uicini, che gli impedi&longs;ca, facilmente &longs;i proue <lb/>de. </s> <s id="s.005624">Ma nelle Città, o le altezze de i pareti publichi, o le &longs;trettezze del luogo con i loro <lb/>impedimenti fanno le &longs;tanze o&longs;cure. </s> <s id="s.005625">Et però di que&longs;to co&longs;i &longs;i deue far e&longs;perienza. </s> <s id="s.005626">Da <lb/>quella parte, che &longs;i prende il lume, &longs;ia tirata una linea, o &longs;ilo dall' altezza del parete, che <lb/>par' o&longs;tare a quel luogo, dentro il quale bi&longs;ogna poner il lume, & &longs;e da e&longs;&longs;a linea, quando <lb/>&longs;i guarderà in alto &longs;i potrà uedere lo ampio &longs;patio del puto cielo, in quel luogo &longs;arà il lu­<lb/>me &longs;enza impedimento, ma &longs;e egli impediranno, o traui, o &longs;ogliari, o palchi, apri&longs;i dalla <lb/>parte di &longs;opra, & co&longs;i ui &longs;i metta il lume. </s> <s id="s.005627">Et in &longs;omma noi douemo gouernarci in que&longs;to <lb/>modo, che da qualunque parte &longs;i puo uedere il lume del cielo, per quelle &longs;i deono la&longs;cia­<lb/>re i luoghi alle &longs;ine&longs;tre. </s> <s id="s.005628">Et co&longs;i gli edifici &longs;aranno lucidi. </s> <s id="s.005629">Ma l'u&longs;o de i lumi grandi&longs;si­<lb/>mo ne i Triclimi, & ne gli altri conclaui, come ne gli anditi, nelle di&longs;ce&longs;e, nelle &longs;cale, <lb/>perche in que&longs;ti luoghi &longs;pe&longs;&longs;o s'incontrano le per&longs;one, che portano pe&longs;i addo&longs;&longs;o. </s> <s id="s.005630">Io ho <lb/>e&longs;plicato quanto ho potuto le di&longs;tributioni delle opere fatte al no&longs;tro modo, accioche <lb/>o&longs;cure non &longs;iano a chi fabrica. </s> </p> <p type="main"> <s id="s.005631"><emph type="italics"/>Non ha uoluto Vitr. la&longs;ciar a dietro la con&longs;ideratione della uilla, & delle fabriche fatte fuo­<lb/>ri della Città, imperoche non meno era nece&longs;&longs;ario que&longs;to trattamento, che quello delle altre fa­<lb/>briche. </s> <s id="s.005632">Da Columella, Varrone, Catone, & Palladio &longs;i puo trarre copio&longs;amente quello, che <lb/>appartiene alla uilla, & perche quelli autori a&longs;&longs;ai di&longs;tinti, et copio&longs;i &longs;ono: io non uoglio a pompa <lb/>citare i luoghi loro: a&longs;&longs;ai mi &longs;arà dimo&longs;trare in Vitr. i precetti del quale &longs;ono &longs;tati da alcuni di <lb/>quelli beni&longs;&longs;imo o&longs;&longs;eruati. </s> <s id="s.005633">Le fabriche di Villa e&longs;&longs;er deono in luoghi &longs;ani, &longs;ono piu libere, che <lb/>quelle della Città, & molte commodità &longs;i deue hauere in quelle, & molte dalla natura cercar­<lb/>ne. </s> <s id="s.005634">Hanno piu, & meno stanze, &longs;econdo il grado de gli huomini tanto per gli familiari, quan­<lb/>to per li fore&longs;tieri. </s> <s id="s.005635">Il mediocre, & ba&longs;&longs;o &longs;i deue sforzare d'hauer in uilla buona &longs;tanza, accio la <lb/>moglie &longs;tia piu uolentieri a gouernar le robbe, & attenda piu all' utile, che al piacere. </s> <s id="s.005636">Al con­<lb/>trario i ricchi, et grandi huomini habbiano dinanzi le &longs;tanze loro gli &longs;patij da correre, & tornea­<lb/>re le belle uerdure, &longs;iano dife&longs;e da uapori, da uenti, da monti, che impedi&longs;ceno non habbian le <lb/>&longs;talle, nè i letami ui cini, & &longs;ia il tutto fabricato con dignità. </s> <s id="s.005637">Le &longs;tanze del lauoratore, o del <lb/>Ga&longs;taldo &longs;iano partite per le co&longs;e, per gli huomini, per gli animali, per gli &longs;trumenti. </s> <s id="s.005638">L'Ara <lb/>&longs;ia al Sole, aperta, larga, battuta alquanto colma nel mezo, & uicina al coperto. </s> <s id="s.005639">Il ga&longs;taldo <lb/>dorma appre&longs;&longs;o la porta mae&longs;tra, i lauoratori ne i luoghi, che &longs;iano pronti a gli ufficij loro. </s> <s id="s.005640">La <lb/>cucina &longs;i i ampia, chiara, &longs;icura dal fuoco: le &longs;aluarobbe commode: gli animali da lauoro, co­<lb/>me &longs;ono buoi, & caualli, &longs;iano in luoghi accommodati con le ragioni, che dice Vitr. <!-- KEEP S--></s> <s id="s.005641">Similmente <lb/>gli animali, che fruttano come &longs;ono armenti di Porci, Pecore, Pollami, Vccelli, Pe&longs;ci, Colombi, Le­<lb/>pri, & altri &longs;imili animali, tutti deono &longs;econdo le qualità, e nature loro e&longs;&longs;er accomodati, & l'o&longs;&longs;er<lb/>uanze di que&longs;teco&longs;e molto bene &longs;i fanno auuertendo à quello, che &longs;i fa in diuer&longs;i pae&longs;i; & <expan abbr="ponēdoui">ponendoui</expan><emph.end type="italics"/><pb pagenum="299" xlink:href="045/01/313.jpg"/><emph type="italics"/>eura, & indu&longs;tria. </s> <s id="s.005642">Il grano, & ogni &longs;eme marci&longs;ce per l'humido, impallidi&longs;ce perlo caldo, amma&longs;<lb/>&longs;ato &longs;i ri&longs;tringe, & &longs;obboglie, e per toccar la calce &longs;i guasta, & pero &longs;ia &longs;opra tauolato, ò in caua &longs;o <lb/>pra la nuda terra, uer&longs;o Borea, e Tramontana. <!-- KEEP S--></s> <s id="s.005643">Le poma &longs;i con&longs;eruano in luogo &longs;reddo, in ca&longs;­<lb/>&longs;e di legno rinchiu&longs;e. </s> <s id="s.005644">La Cantina &longs;ott erra, rinchiu&longs;a, lontana dal mezo dì, & da i uenti Meri <lb/>dionali, & dallo &longs;trepito, habbia il lume da leuante, ouero da Borea: ogni humore, uapore, & <lb/>fetore e&longs;&longs;er le deue lontano: &longs;ia pendente, & la&longs;tricata in modo, che &longs;el uino &longs;i &longs;pande, po&longs;&longs;a e&longs;­<lb/>&longs;er raccolto. </s> <s id="s.005645">I ua&longs;i del Vino &longs;iano capaci&longs;&longs;imi, & fermi. </s> <s id="s.005646">Gli in&longs;trumenti, che bi&longs;ognano a gli <lb/>Agricoltori &longs;iano in luoghi accommodati: il carro, i gioghi, l'aratro, le corbe dal fieno &longs;iano &longs;ot­<lb/>to il coperto al mezodi uer&longs;o la cucina. </s> <s id="s.005647">Al Torchio dia&longs;i &longs;tanza capace, & conueniente, oue <lb/>&longs;i ripongono i ua&longs;i, le funi, i ce&longs;ti. </s> <s id="s.005648">Sopra le traui del coperto &longs;i pongono i cratici, le pertiche, lo <lb/>&longs;trame, il canapo. </s> <s id="s.005649">I buoi mangino al ba&longs;&longs;o, a Caualli prendano lo &longs;trame di &longs;opra, perche alzan­<lb/>do la te&longs;ta l'a&longs;ciugano, perche hanno la te&longs;ta humida, però dinanzi la mangiatora non &longs;ia il pare­<lb/>te humido. </s> <s id="s.005650">La Luna gli gua&longs;ta gli occhi. </s> <s id="s.005651">La Mula impazza in luogo caldo, ba&longs;&longs;o, & o&longs;uro. </s> <s id="s.005652"><lb/>Le mi&longs;ure delle &longs;talle da buoi, & da pecore &longs;ono po&longs;te da Vitr. <!-- KEEP S--></s> <s id="s.005653">Il Torchio antico for&longs;e haueua <lb/>altra maniera di quello, che u&longs;amo noi a que&longs;ti tempi. </s> <s id="s.005654">Po&longs;ti i precetti di tutte quelle co&longs;e, che <lb/>alla uilla &longs;ono piu nece&longs;&longs;arie parla Vitr. de i lumi, & delle fine&longs;tre. </s> <s id="s.005655">Le quali in uilla &longs;ono men impe <lb/>dite, ma nella Città po&longs;&longs;ono hauere motti contrari, a i quali &longs;i troua rimedio ogni uolta, che &longs;i con <lb/>&longs;idera l'effetto del lume, & il cadimento, & doue uegna, perche è chiaro, che doue non puo ca <lb/>dere il lume, egli non &longs;i puo hauere. </s> <s id="s.005656">Le gro&longs;&longs;ezze de i pareti &longs;pe&longs;&longs;o l'impedi&longs;cono, però alcuni <lb/>hanno tagliato il muro doue hanno a &longs;tare le fine&longs;tre, cominciando dalla &longs;uperficie di fuori, & <lb/>üenendo per la gro&longs;&longs;ezza del muro alla &longs;uperficie di dentro con un taglio pendente: & for&longs;e Vitr. <lb/>non è lontano da que&longs;ta opinione. </s> <s id="s.005657">La doue adunque per dritta linea &longs;i puo tirare un filo allo &longs;co­<lb/>perto, &longs;enza dubbio &longs;i puo hauere il lume: & quando que&longs;to da i lati de i pareti non &longs;i po&longs;&longs;a fa­<lb/>re, bi&longs;ogna aprir di &longs;opra. </s> <s id="s.005658">Auuertiamo adunque in que&longs;ta materia a i precetti di Vitr. eleg­<lb/>gendo prima il luogo &longs;ano, perche la doue &longs;i uuol far conto con l'inferno, non &longs;olamente l'en <lb/>trata, ma la uita è dubbio&longs;a, anzila morte è piu certa, che'l guadagno: dapoi con buon con&longs;iglio <lb/>douemo far le fabriche tanto grandi, quanto ricerca la po&longs;&longs;e&longs;&longs;iione, l'entrata, & la copia de i <lb/>frutti. </s> <s id="s.005659">Quanto alla po&longs;&longs;e&longs;&longs;ione e&longs;&longs;er deue il modo, & la mi&longs;ura, che è ottima in tutte le co&longs;e, & <lb/>&longs;i deue &longs;eruar quel precetto che dice, il campo douer e&longs;&longs;er piu debile, che l'Agricoltore: perche <lb/>&longs;e bi&longs;ogna &longs;o&longs;tenerlo, & curarlo, quando l'Agricoltore non puo tanto, è nece&longs;&longs;ario, che' l cam­<lb/>po pati&longs;ca, & però men rende &longs;pe&longs;&longs;o una gran po&longs;&longs;e&longs;&longs;ione poco, che una picciola molto coltiuata. </s> <s id="s.005660"><lb/>Si che douemo tanto tenere, quanto potemo mantenere, accioche compramo i campi per goderli <lb/>noi, & non per torgli ad altri, o per aggrauarci troppo, perche niente gioua il uoler po&longs;&longs;edere, <lb/>& non poter lauorare. </s> <s id="s.005661">Quanto alle fabriche &longs;imilmente douemo &longs;chiuare di non incorrere nel <lb/>uitio di Lucullo, & di Sceuola, de quali uno edificò in uilla molto piu riccamente di quello, che <lb/>richedeuano le po&longs;&longs;e&longs;&longs;ioni. </s> <s id="s.005662">L'altro mancò de gran longa. </s> <s id="s.005663">All' uno di troppo &longs;pe&longs;a, all' alltro di <lb/>non poco danno fu cagione. </s> <s id="s.005664">Que&longs;to errore comincia a moltiplicare a i dì no&longs;tri per la &longs;uperbia <lb/>de gli huomini. </s> <s id="s.005665">Le fabriche che non &longs;ono ba&longs;tanti, fanno, che i frutti &longs;igua&longs;tino per la &longs;tret­<lb/>tezza del luogo. </s> <s id="s.005666">Deue&longs;i adunque fabricare in modo, che nè la fabrica de&longs;ideri il fondo, non il <lb/>fondo ricerchi la fabrica. </s> <s id="s.005667">Il &longs;e&longs;to capo di Columella, è al propo&longs;ito di que&longs;to capo: il torchio, <lb/>l'ara c'in&longs;egna Catone & Palladio.<emph.end type="italics"/><!-- KEEP S--></s> </p> </subchap2><subchap2> <pb pagenum="300" xlink:href="045/01/314.jpg"/> <p type="head"> <s id="s.005668"><emph type="italics"/>Delle di&longs;po&longs;itioni de gli edificij, & delle parti loro &longs;econ­<lb/>do i Greci, & de i nomi differenti, & molto da i co­<lb/>&longs;tumi d'Italia lontani. </s> <s id="s.005669">Cap. X.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.005670">Perche i Greci non u&longs;ano gli Atrij nelle entrate, però a no&longs;tro modo non &longs;on <lb/>&longs;oliti di fabricare, ma entrando dalla porta fanno gli anditi non molto larghi, <lb/>& dall' una parte le &longs;talle de i caualli, & dall' altra le &longs;tanze de i portinari, & <lb/>&longs;abito &longs;on finite l'entrate interiori: & que&longs;to luogo tra due porte è detto, <lb/>Thirorio, cioè Portorio, o Portale: dapoi è lo ingre&longs;&longs;o nel Peri&longs;tilio, ilquale ha il por­<lb/>tico da tre parti, & in quella parte, che riguarda al Meriggie, hanno due pila&longs;trate, o an­<lb/>te tra &longs;e per molto &longs;pacio di&longs;co&longs;te, &longs;opra lequali s'impongono le traui; & quanta di&longs;tanza <lb/>è tra le dette ante, tanto di quella toltane uia la terza parte, &longs;i dà allo &longs;pacio interiore. </s> <s id="s.005671"><lb/>Que&longs;to luogo da alcuni pro&longs;tàs, da altri para&longs;tas è nominato. </s> <s id="s.005672">In que luoghi di dentro &longs;i <lb/>fanno le &longs;tanze grandi, nelle quali le madri di famiglia con i lanifici &longs;iedono. </s> <s id="s.005673">In quelli <lb/>anditi dalla de&longs;tra, & dalla &longs;ini&longs;tra ui &longs;ono i cubiculi, de i quali uno è detto Thalamo, l'al­<lb/>tro Antithalamo: ma d'intorno a i portichi &longs;ono i triclini ordinari, & i cubiculi anchora, <lb/>& le &longs;tanze per la famiglia, & que&longs;ta parte è detta Gineconiti, cioè Stanza delle donne. </s> <s id="s.005674"><lb/>A que&longs;te &longs;i congiugnono le ca&longs;e piu ampie, che hanno i Peri&longs;ti i, ò colonnati piu ampi, <lb/>ne i quali &longs;on quattro portichi di pari altezza, ouero quello, che riguarda al meriggie, è <lb/>fatto di piu alte colonne, & quel colonnato d'intorno, che ha le colonne, & il portico <lb/>piu alto &longs;i chiama Rhodiaco. </s> <s id="s.005675">Quelle ca&longs;e hanno i ue&longs;tibuli magnifichi, & le porte pro­<lb/>pie con grandezza, & i portichi de i peri&longs;tili ornati&longs;simamente &longs;offittati, intonicati, & la­<lb/>uorati di &longs;tucchi; & ne i portichi, che riguardano al &longs;ettentrione hanno i Triclini, i Cizi­<lb/>ceni, le cancellarie, ma uer&longs;o il Leuante hanno le Librerie, uer&longs;o Ponente le E&longs;&longs;edre, & uer­<lb/>&longs;o il mezo dì le Sale co&longs;i grandi, che facilmente po&longs;ti in quelli, & acconci, quattro Triclini, <lb/>il luogo è &longs;pacio&longs;o ancho per uedere far le fe&longs;te, & per lo &longs;eruitio, & ammini&longs;tratione. </s> <s id="s.005676">In <lb/>que&longs;te Sale &longs;i &longs;anno i conuiti de gli huomini. </s> <s id="s.005677">Perche &longs;econdo i co&longs;tumi de Greci le matro­<lb/>ne non &longs;edeuano a men&longs;a. </s> <s id="s.005678">Que&longs;ti Peri&longs;tili, ò Colonnati &longs;i chiamauano Andronitide. <!-- KEEP S--></s> <s id="s.005679">Perche <lb/>in quelli &longs;tauano gli huomini &longs;enza e&longs;&longs;er di&longs;turbati dalle donne. </s> <s id="s.005680">Oltra di que&longs;to dalla de­<lb/>&longs;tra, & dalla &longs;ini&longs;tra erano alcune ca&longs;ette, che haueuano porte propie, Triclini, & cubi­<lb/>biculi commodi, accioche i fore&longs;tieri non ne i Peri&longs;tili, ma in quelle fore&longs;terie allog­<lb/>gia&longs;&longs;ero. </s> <s id="s.005681">Perche e&longs;&longs;endo &longs;tati i Greci piu dilicati, & de i beni di Fortuna piu accommo­<lb/>dati, a fore&longs;tieri, che ueniuano apparechiauano i Triclini, i Cubiculi, & le &longs;aluarobbe & <lb/>di&longs;pen&longs;e, & il primo giorno gli inuitauano a cena; Il &longs;econdo gli mandauano pollame, <lb/>uuoua, herbe, poma, & altre co&longs;e di uilla, & però i Pittori imitando con le Pitture le co­<lb/>&longs;e mandate a gli ho&longs;piti chiamauano quelle Xenia. </s> <s id="s.005682">Co&longs;i non pareua, che i padri di fami­<lb/>glia nell' albergo fu&longs;&longs;ero fore&longs;tieri, hauendo in tali alloggiamenti una libertà &longs;ecreta. </s> <s id="s.005683">Tra <lb/>que&longs;ti Peri&longs;tili, & alberghi erano gli anditi detti, me&longs;aule, perche erano di mezo tra due <lb/>aule, ma i no&longs;tri chiamano quelle Androne. <!-- KEEP S--></s> <s id="s.005684">Ma que&longs;to è mirabile, perche que&longs;to nè a <lb/>Greci, nè a no&longs;tri puo conuenire: perche i Greci chiamano Androne le &longs;tanze, doue man­<lb/>giano gli huomini: perche iui non &longs;tanno le donne. </s> <s id="s.005685">Et co&longs;i anchora &longs;ono altre co&longs;e &longs;i­<lb/>miglianti, come il Xi&longs;to, il Prothiro, i Telamoni, & altre parti di que&longs;ta maniera. </s> <s id="s.005686">Xi­<lb/>fto &longs;econdo Greci, è un portico di ampia larghezza, doue il uerno s'effercitauano gli A­<lb/>thleti. <!-- KEEP S--></s> <s id="s.005687">Ma i no&longs;tri chiamano Xi&longs;ti i luoghi &longs;coperti da caminare, che i Greci chiamano <lb/>Peridromide. </s> <s id="s.005688">Appre&longs;&longs;o Greci Prothiri &longs;ono i ue&longs;tibuli inanzi le porte, ma noi chiamamo <lb/>Prothiri quelli, che i Greci chiamano Diathiri. </s> <s id="s.005689">Anchora &longs;e alcune figure uirili &longs;o&longs;ten-<pb pagenum="301" xlink:href="045/01/315.jpg"/>tano i mutuli, o le corone, i no&longs;tri chiamano Telamoni, ma perche co&longs;i le chiamino, <lb/>egli non &longs;i troua &longs;critto nelle hi&longs;torie: i Greci le chiamano Atlanti, perche nella hi&longs;toria <lb/>Atlante è formato a &longs;o&longs;tenere il mondo: perche co&longs;tui primo fa, che con prontezza d'a­<lb/>nimo hebbe cura di la&longs;ciare a gli huomini il cor&longs;o del Sole, & della Luna, i na&longs;cimenti, <lb/>& gli occa&longs;i di tutte le &longs;telle, & le ragioni del girar del mondo, & per que&longs;to da Pittori, <lb/>& &longs;tatuari è formato per quello beneficio &longs;o&longs;tenere il mondo, & le &longs;ue figliuole A tlanti­<lb/>de, che noi chiamiamo Virgilie, & i Greci Pleiade con le &longs;telle nel Cielo &longs;ono con&longs;ecra­<lb/>te. </s> <s id="s.005690">Nè io ho propo&longs;te tali co&longs;e, perche &longs;i muti la u&longs;anza de i uocaboli, & del parlare; ma <lb/>perche non &longs;iano a&longs;co&longs;e, a chi ne uuole &longs;aper la ragione. </s> <s id="s.005691">Io ho e&longs;po&longs;to con che ragione &longs;i <lb/>fanno le fabriche d'Italia, & di Grecia; & ho &longs;critto delle mi&longs;ure, & delle proportioni di <lb/>cia&longs;cuna maniera. </s> <s id="s.005692">Adunque perche della Bellezza, & del Decoro, è &longs;tato &longs;critto di &longs;opra, <lb/>hora &longs;i dirà della fermezza, in che modo po&longs;&longs;a durare &longs;enza difetto alla uecchiaia. </s> </p> <p type="main"> <s id="s.005693"><emph type="italics"/>Pareua a Vitr, che l'huomo faclimente &longs;i pote&longs;&longs;e ingannare leggendo, o udendo i nomi Greci, <lb/>& i nomi Latini delle parti delle fabriche: perche tra quelli ui è non poca differenza: però per ri­<lb/>mediare a que&longs;to di&longs;ordine, egli ha uoluto in que&longs;to luogo ragionare delle parti de gli edifici de i <lb/>Greci, & e&longs;ponere i loro uocaboli molto differenti dalle u&longs;anze Italiane. </s> <s id="s.005694">Et però dice, che i Greci <lb/>non u&longs;ano gli Atrij. <!-- KEEP S--></s> <s id="s.005695">Credo io perche non haueuano quella occa&longs;ione, che haueuano Romani del­<lb/>la grandezza: Benche ancho quelli non erano &longs;enza, perche faceuano le &longs;tanze delle donne belle, <lb/>& &longs;eparate da quelle de gli huomini. </s> <s id="s.005696">Non u&longs;ando adunque gli Atrij, che appre&longs;&longs;o Rom. <!-- REMOVE S-->erano ap <lb/>pre&longs;&longs;o le porte: Subito che egli s'entraua in ca&longs;a era una entrata coperta non molto larga, che <lb/>da una parte haueua i luoghi de i caualli, & dall'altra le &longs;tanze de portinari, & in fronte u'era <lb/>un altra porta, & quel luogo che era tra una porta, & l'altra &longs;i chiamaua Thirorio, co&longs;i detto <lb/>qua&longs;i &longs;pacio trale porte, & que&longs;to era in luogo di Atrio, o di Ve&longs;tibulo: per la porta di dentro <lb/>entrauano in un bel Peri&longs;tilio, o colonnato, ilquale haueua le colonne da tre lati, cioè dal lato del­<lb/>la porta, & dalla de&longs;tra, & dalla &longs;ini&longs;tra, ma nella fronte a dirimpetto della porta, che guar­<lb/>daua al meriggie era una apritura ampli&longs;&longs;ima, &longs;opra gli anguli della quale erano drizzate due <lb/>gran pila&longs;trate, che &longs;o&longs;tentauano un traue maestro: &longs;otto que&longs;ta apritura, era uno &longs;pacio co­<lb/>perto lungo un terzo meno dell'apritura, ma nel parete oppo&longs;to, & da i lati erano le porte delle &longs;a­<lb/>le grandi, doue &longs;tauano le matrone a lauorare, & dalla de&longs;tra, & dalla &longs;ini&longs;tra di que&longs;te apri­<lb/>ture eran po&longs;ti i cubiculi, cioè camere, & anticamere, o camini, che &longs;i chiamino al modo no­<lb/>&longs;tro, ma d'intorno i portichi era quello, che dice Vit. <!-- REMOVE S-->chiaramente, i cubiculi, i tinelli, le &longs;tan­<lb/>ze de famigliari. </s> <s id="s.005697">Et que&longs;ta parte è quella, che appartiene alle donne. </s> <s id="s.005698">il re&longs;to è de i comparti­<lb/>menti delle &longs;tanze de gli huomini: il che è ancho manife&longs;to in Vit. <!-- KEEP S--></s> <s id="s.005699">Seguita poi a dichiarire le dif­<lb/>ferenze d'alcuni uocaboli u&longs;ati da Greci, & pre&longs;i in altra &longs;ignificatione da Latini, & dona la <lb/>&longs;ua parte all'u&longs;o, appre&longs;&longs;o il quale è la forza, & la norma del parlare: nè conuiene ad huomo <lb/>&longs;aldo contender de nomi la, doue s'intende la co&longs;a. </s> <s id="s.005700">Noi ne no&longs;tri commentari Latini piu ampia <lb/>mente ragionamo di que&longs;ti nomi, conuenienti a Latini: perche hora ci puo ba&longs;tare hauerli nel tra­<lb/>&longs;cor&longs;o della interpretatione accennati. </s> <s id="s.005701">Re&longs;ta qui, che io dica alcuna co&longs;a del modo, che u&longs;auano <lb/>gli antichi per i&longs;caldar&longs;i. </s> <s id="s.005702">Io ho hauuto in que&longs;ta materia due co&longs;e, prima l'Architetto, che fece <lb/>il Palazzo d'Vrbino la&longs;cia &longs;critto, che la ragione, perche non hauemo gli e&longs;&longs;empi de i camini de <lb/>gli antichi, è perche i camini &longs;tauano nella &longs;uprema parte della ca&longs;a, la qual era la prima a ro­<lb/>uinare, però non &longs;i ha ue&longs;tigio de camini, &longs;e non in pochi luoghi a pena cono&longs;ciuti: poi, ne dà <lb/>la forma doue &longs;i trouano. </s> <s id="s.005703">Ne è uno appre&longs;&longs;o Perugia &longs;opra il pianello in uno antico edificio, <lb/>che haueua certi mezi circoli, &longs;opra i quali &longs;i &longs;edeua, & nel mezo una bocca tonda d'onde u&longs;ciua <lb/>il fumo, era in uolto circondato da muri, largo &longs;ei piedi, lungo otto come la figura, A. l'ultimo <lb/>è a Baie appre&longs;&longs;o la pi&longs;cina di Nerone, che era in quadro di larghezza di piedi 19. per ogni faccia, <lb/>nel cui mezo erano quattro colonne con lo Architraue, &longs;opra il quale erano le uolte d'altezza di <lb/>piedi. </s> <s id="s.005704">Io. <!-- KEEP S--></s> <s id="s.005705">ornate di belle figure di &longs;tucco, nel mezo era come una cuppoletta piramidale con un<emph.end type="italics"/><pb pagenum="302" xlink:href="045/01/316.jpg"/><figure id="id.045.01.316.1.jpg" xlink:href="045/01/316/1.jpg"/><lb/><emph type="italics"/>buco in cima, di doue u&longs;ciua il fu <lb/>mo. </s> <s id="s.005706">Similmente non molto lon­<lb/>tano da Ciuita uecchia ne è uno <lb/>qua&longs;i della i&longs;te&longs;&longs;a grandezza, che <lb/>da gli anguli u&longs;ciuano quatro <lb/>unodioni, &longs;opra i quali &longs;i po&longs;a­<lb/>uano quattro Architraui, &longs;o­<lb/>pra i quali era la Piramide del <lb/>camino, d'onde u&longs;ciua il fumo, <lb/>& nel parete per ogni faccia <lb/>eran due picciole fine&longs;tre, con un <lb/>hemiciclo in mezo doue poteua <lb/>&longs;tare qualche figura: erano que­<lb/>gli hemicicli alti dal pauimento <lb/>piedi quattro.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005707"><emph type="italics"/>L'altra co&longs;a è, chi mi pare <lb/>ancho, che &longs;ia &longs;tato ritrouato <lb/>un'altro modo, con il quale gli <lb/>antichiri&longs;caldauano le loro &longs;tan <lb/>ze, & è que&longs;to. </s> <s id="s.005708">Faceuano nel­<lb/>la gro&longs;&longs;ezza del muro alcune <lb/>canne, o trombe, per le quali il <lb/>calore del foco, che era &longs;otto <lb/>quelle &longs;tanze &longs;aliua, & u&longs;ciua <lb/>fuori per certi &longs;piragli, o bocche <lb/>fatte nelle &longs;ommità di quelle can<lb/>ne, & quelle bocche &longs;i poteua­<lb/>no otturare, accioche &longs;i pote&longs;&longs;e <lb/>piu, & meno &longs;caldare le &longs;tanze, <lb/>& darle piu, & meno del uapo­<lb/>re. </s> <s id="s.005709">con que&longs;ta ragione uogliono <lb/>alcuni, che &longs;i po&longs;&longs;a dalle parti <lb/>inferiori delle ca&longs;e raccogliere il <lb/>uento, & farlo &longs;alire da luoghi <lb/>&longs;otterranei per le canne alle habi<lb/>tationi della &longs;tate: & nelle no­<lb/>&longs;tre parti &longs;i trouano alcune fa­<lb/>briche appre&longs;&longs;omonti, da i qua­<lb/>li per luoghi rinchiu&longs;i uenendo <lb/>gli &longs;piriti de i uenti, & aprendo­<lb/>&longs;ipiu, & meno alcune portelle, <lb/>egli &longs;i fa le &longs;tanze fre&longs;ce di modo, <lb/>che la &longs;tate ci &longs;i fa un fre&longs;co mira <lb/>bile. </s> <s id="s.005710">Ma io non con&longs;iglierei un <lb/>mio amico, che e&longs;&longs;endo caldo <lb/>egli entra&longs;&longs;e in lüoghi &longs;imili. </s> <s id="s.005711"><lb/>Mi pare hauer letto, che gli <lb/>antichi &longs;pende&longs;&longs;ero a&longs;&longs;ai in cer­<lb/>te conche di metallo lauorate, <lb/>nelle quali &longs;i faceuano portare<emph.end type="italics"/><pb pagenum="303" xlink:href="045/01/317.jpg"/><emph type="italics"/>il foco uolendò&longs;i &longs;caldare: & io non dubito, che non ui accende&longs;&longs;ero delle co&longs;e odorate, & che <lb/>non u&longs;a&longs;&longs;ero de carboni, che non nuoce&longs;&longs;ero. </s> <s id="s.005712">A no&longs;tri giorni è manife&longs;to quello &longs;i u&longs;a, & come <lb/>nella gro&longs;&longs;ezza de i muri &longs;i fanno i camini, i quali u&longs;cendo con le lor canne fuori del tet­<lb/>to portano il fumo nello &longs;patio dall'aere. </s> <s id="s.005713">doue egli &longs;i deue auuertire, che'l fumo po&longs;&longs;a &longs;eu­<lb/>za impedimento de i contrari uenti u&longs;cir fuori liberamente, & non tornare a dietro al­<lb/>l'ingiu, perche le &longs;tanze &longs;i empirebbeno di fumo, delche niuna co&longs;a è piu nociua a gli oc­<lb/>chi: doue è andato in prouerbio. </s> <s id="s.005714">Il fumo, & la mala donna caccia l'huo no di ca&longs;a. </s> <s id="s.005715">Io mi e&longs;ten<lb/>derei in di&longs;criuere particolarmente molte co&longs;e, le mi&longs;ure, & i modi delle quali non &longs;ono po&longs;ti da <lb/>Vitr. ma &longs;apendo che presto uenirà in luce un libro delle ca&longs;e priuate, compo&longs;io, & d &longs;egnato <lb/>dal Palladio, & hauendo ueduto, che in quello non &longs;i puo de&longs;iderare alcuna co&longs;a, non ho uolu­<lb/>to pigliare la fatica d'altri per mia. </s> <s id="s.005716">Vero è, che &longs;tampato il &longs;uo libro, & douendo io ri&longs;tampare <lb/>di nuouo il Vitruuio, mi sforzerò raccogliere breuemente i precetti di quello, accioche piu util­<lb/>mente po&longs;ti nel mio Libro, l'huomo non habbia fatica di cercarli altroue, & &longs;appia da cui io gli <lb/>hauerò pigliati. </s> <s id="s.005717">Lui &longs;i ueder à una pratica mirabile del fabricare, gli &longs;paragni, & gli auantag­<lb/>gi, & &longs;i comincierà dal principio de i fondamenti in&longs;ino al tetto, quanti, & quali deono e&longs;&longs;ere i <lb/>pezzi delle pietre, che uanno in opera, sì nelle Ba&longs;e, come ne i Capitelli, & altri membri, che <lb/>ui uanno &longs;opra: ci &longs;aranno le mi&longs;ure delle fine&longs;tre, i di&longs;egni de i camini, i modi di adornar le ca&longs;e <lb/>di dentro, i legamenti de i legnami, i compartimenti delle &longs;cale d'ogni maniera, il cauamento de <lb/>i pozzi, & delle chiauiche, & d'altri luoghi per le immonditie, le commodità, che uogliono <lb/>hauer le ca&longs;e, le qualità di tutte le parti, come &longs;ono Cantine, Magazini, Di&longs;pen&longs;e, Cucine, & fi <lb/>nalmente tutto quello, che alla fabrica de priuati edifici puo appartenere, con le piante, gli inpiè, <lb/>profili di tutte le ca&longs;e, & palazzi, che egli ha ordinati a diuer&longs;i nobili, con l'aggiunta di alcu­<lb/>ni belli edifici antichi ottimamente di&longs;egnati. </s> <s id="s.005718">Per il che io stimo, che a poco a poco l'Architet­<lb/>tura aggrandita, & abbellita &longs;i la&longs;cierà uedere nell'antica forma, & bellezza &longs;ua, doue inna­<lb/>morati gli-huomini della uenu&longs;tà &longs;ua, pen&longs;eranno molto bene prima, che comincino a fabricare, <lb/>& quello, che par loro bello, non cono&longs;cendo piu oltre, col tempo gli uenirà in odio, & cono­<lb/>&longs;cendo gli errori pa&longs;&longs;ati, bia&longs;imeranno il non uoler hauer creduto a chi gli diceua il uero. </s> <s id="s.005719">Et &longs;e <lb/>io po&longs;&longs;o pregare, prego, & riprego &longs;pecialmente quelli della patria mia, che &longs;i ricordino, che non <lb/>mancando loro le ricchezze, & il poter fare co&longs;e honorate, uoglino ancho prouedere, che non <lb/>&longs;i de&longs;ideri in e&longs;&longs;i l'ingegno, & il &longs;apere. </s> <s id="s.005720">il che faranno, quando &longs;i per&longs;uaderanno di non &longs;apere <lb/>quello, che ueramente non &longs;anno, nè po&longs;&longs;ono &longs;apere &longs;enza pratica, & fatica, & &longs;cienza. </s> <s id="s.005721">Et &longs;e <lb/>gli pare che l'u&longs;anza delle loro fabriche gli debbia e&longs;&longs;er mae&longs;tra, s'ingannano grandemente, per­<lb/>che in fatti, è troppo uitio&longs;a, & mala li&longs;anza: & &longs;e pure uogliono conceder all'u&longs;o alcuna co­<lb/>&longs;a, il che anch'io concedo, di gratia &longs;iano contenti di la&longs;ciar moderare quell'u&longs;o, da chi &longs;e ne in­<lb/>tende, perche molto bene con pratica, & ragione &longs;i può acconciare una co&longs;a, e temperarla in <lb/>modo, che leuatole il male, ella &longs;i riduca ad una forma ragioneuole, e tolerabile, con auantag­<lb/>gio dell'u&longs;o, della commodità & della bellezza: & &longs;e una co&longs;a bislonga è capace di dugento per­<lb/>&longs;one &longs;garbatamente, uoglino la&longs;ciar, che &longs;otto miglior figura &longs;i faccia lo i&longs;te&longs;&longs;o effetto: & &longs;e uo­<lb/>gliono un determinato numero di fine&longs;tre in una &longs;tanza, &longs;iano contenti di la&longs;ciarle porre al &longs;uo luo <lb/>go, con gli ordini dell'arte, perche importa molto alla bellezza, & non uiene impedito l'u&longs;o di <lb/>quelle. </s> <s id="s.005722">Et &longs;e io potro porle lontane da gli angoli, non &longs;arà egli meglio, che porle &longs;opra gli angoli, <lb/>& indebolire la ca&longs;a? </s> <s id="s.005723">Deue il padre di famiglia, cono&longs;cendo quello gli fa bi&longs;ogno, dire io uoglio <lb/>tante &longs;tanze, e tante habitationi, que&longs;te per me, & per la moglie, quelle per li figliuoli, que&longs;te <lb/>altre per li &longs;erui, quell'altre per la commodità: & poi la&longs;ciar allo Architetto, che egli lè compar­<lb/>ti&longs;ca, & ponga al luogo &longs;uo, &longs;econdo l'ordine, di&longs;po&longs;itione, & mi&longs;ura, che &longs;i conuiene: &longs;ar anno le <lb/>i&longs;te&longs;&longs;e, &longs;econdo il uoler del padrone, ma di&longs;po&longs;te ordinatamente &longs;econdo i precetti dell'arte, & <lb/>quando egli &longs;i uederà, che rie&longs;cino, uenirà una certa concorrenza tra gli huomini di far bene, <lb/>con bia&longs;mo delle loro male, & inuecchiate u&longs;anze, & cono&longs;ceranno, che non &longs;i na&longs;ce Architet-<emph.end type="italics"/><pb pagenum="304" xlink:href="045/01/318.jpg"/><emph type="italics"/>to, ma, che bi&longs;ogna imparare, & cono&longs;cere, & regger&longs;i con ragione, dalla quale chiunque fi­<lb/>dando&longs;i dello ingegno &longs;uo, &longs;i parte, non cono&longs;ce mai il bello delle co&longs;e, anzi &longs;tima il brutto bello, <lb/>i cattiuo buono, & il mal fatto ordinato, & regolato. </s> <s id="s.005724">Voglio ancho e&longs;ortare gli Architetti, <lb/>& Proti, che non uoglino applaudere, & a&longs;&longs;entire a padroni; Anzi, che gli dichino il uero, <lb/>& gli con&longs;iglio bene, & amoreuolmente, & che pen&longs;ino bene prima, che gli facciano &longs;pcndere i <lb/>dinari, come altroue s'è detto, perche co&longs;i facendo, ueramente meriteranno laude, & nome <lb/>conueniente alla loro profe&longs;&longs;ione.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.005725"><emph type="italics"/>Della fermezza & delle fondamenta delle fabri­<lb/>che. </s> <s id="s.005726">Cap. XI.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.005727">LE fabriche, che &longs;ono a piè piano, &longs;e &longs;aranno fatte al modo e&longs;po&longs;to da noi ne <lb/>gli antedetti libri, quando ragionato hauemo delle mura della città, & del <lb/>Theatro, &longs;enza dubbio dureranno eternamente: ma &longs;e uorremo &longs;otterra, & <lb/>in uolti fabricare, douemo fare le fondamenta di quelle fabriche piu gro&longs;&longs;e <lb/>di quello, che è &longs;opra terra, & i pareti di quelli edificij, che ui &longs;tan &longs;opra, i pila&longs;tri, & le <lb/>colonne &longs;iano collocate al mezo a piombo di quelle di &longs;otto, perche ripo&longs;ino &longs;ul uiuo, & <lb/>ri&longs;pondino al &longs;odo; perche &longs;ei carichi de i pareti, & delle colonne &longs;aranno po&longs;ti in pen­<lb/>dente, non potranno hauer continua fermezza. </s> </p> <p type="main"> <s id="s.005728"><emph type="italics"/>Egli &longs;i troua tra le ruine de gli antichi edificij molti luoghi &longs;otterranei fatti a uolti con mara­<lb/>uiglio&longs;o lauoro, & di ine&longs;timabile grandezza, pero &longs;i puo de&longs;iderare di &longs;apere il modo di fonda <lb/>re que luoghi, & di uoltarli, & di farli in modo, che &longs;o&longs;tentino i carichi grandi delle fabriche <lb/>grandi, che gli &longs;tanno &longs;opra. </s> <s id="s.005729">Pero Vitr. accioche anche in que&longs;ta parte noi non de&longs;ideriamo al­<lb/>cuna co&longs;a, tratta delle fondationi delle fabriche. </s> <s id="s.005730">& perche ha trattato nel primo, & nel ter­<lb/>zo, & nel quinto libro del fondare in que luoghi, doue le fabriche uanno a piè piano, egli &longs;i pa&longs;­<lb/>&longs;a leggiermente in que&longs;to luogo la ragione di que fondamenti, <expan abbr="riportãdo&longs;i">riportando&longs;i</expan> a gli allegati luoghi. </s> <s id="s.005731"><lb/>Hora piu copio&longs;amente egli c'in&longs;egna il modo di fondare per le fabriche &longs;otterra, & ci dà molti <lb/>precetti. </s> <s id="s.005732">l'uno è che le fondamenta di que&longs;ti edifici e&longs;&longs;er deono piu gro&longs;&longs;e di quel, che &longs;ono le fabri <lb/>che di &longs;opra; l'altro che non douemo &longs;opraporre nè pila&longs;tro, nè colonna, che non cada a piombo <lb/>&longs;opra muri, pila&longs;tri, o colonne di &longs;otto, sì perche egli è errore a non fare, che le co&longs;e di &longs;opra na&longs; <lb/>chino dal di&longs;otto, sì perche porta pericolo di pre&longs;ta ruina, quando un muro di &longs;opra attrauer&longs;a una <lb/>&longs;tanza, & non habbia il piede di &longs;otto, che na&longs;ca dal piano. </s> <s id="s.005733">Di que&longs;ti errori & danni molti ne <lb/>&longs;ono nella città no&longs;tra, nella quale a me pare che gli huomini per hora deono piu pre&longs;to e&longs;&longs;er au­<lb/>uertiti, che non incorrino ne gli errori, che ammae&longs;trati, che facciano belli, & ragioneuoli edi<lb/>fici: benche e&longs;&longs;er non puo, che non fabrichino &longs;enza errore, quando non fabricheranno <expan abbr="cō">com</expan> ragio <lb/>ne. </s> <s id="s.005734">ma &longs;eguitiamo gli altri precetti di Vitr. il qual dice, che &longs;e uorremo aßicurarci, la doue &longs;ono <lb/>&longs;ogli, limitari, & che da i lati habbiano erte, pila&longs;tri, & &longs;imil co&longs;e, bi&longs;ognerà, che ui &longs;ottome <lb/>tiamo alcuni rila&longs;ci, &longs;opra iquali da i capi &longs;i po&longs;ano i limitari, et lo &longs;pacio di &longs;otto i limitari è uoto, <lb/>& non tocca da alcuna parte, cioè il limitare non po&longs;a &longs;opra alcuna co&longs;a, perche &longs;i &longs;pezzerebbe, <lb/>& percio dice che abbracciano tutto lo &longs;pacio.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005735">Oltra di que&longs;to &longs;e tra i &longs;ogliari lungo i pila&longs;tri, e le ante &longs;aranno &longs;ottopo&longs;ti i rila&longs;ci, che <lb/>po&longs;tes detti &longs;ono, non haueranno difetto: perche i limitari, & le traui e&longs;&longs;endo dalle fabri­<lb/>che caricate nel mezo &longs;paccate rompeno &longs;otto le piane le &longs;trutture, o congiunture. </s> <s id="s.005736">Ma <lb/>quando ci &longs;aranno &longs;ottopo&longs;ti, & come cunei &longs;oggetti i rila&longs;ci, non la&longs;cieranno le traui &longs;o­<lb/>pra&longs;edendo a quelli, offenderla. </s> <s id="s.005737">Deue&longs;i anche procurare, che gli archi leuino i pe&longs;i con <lb/>le diui&longs;ioni de i cunei, di legamenti, che ri&longs;pondino al centro, perche quando gli archi &longs;a-<pb pagenum="305" xlink:href="045/01/319.jpg"/>ranno &longs;errati da i cunei oltra le traui, & i capi de i &longs;opralimitari, prima la materia &longs;olleua­<lb/>ta dal carico non &longs;i aprirà. </s> <s id="s.005738">Dapoi &longs;e per la uecchiezza faranno alcun danno facilmente <lb/>&longs;enza puntelli &longs;i potrà mutare. <emph type="italics"/>Que&longs;to &longs;i uede in alcuni edifici in Roma, che ne i pareti &longs;ono <lb/>gli archi con i cunei ri&longs;pondenti al centro, & &longs;opra i limitari delle porte, & &longs;opra i &longs;ogli delle fi­<lb/>ne&longs;tre, i quali alleggeri&longs;ceno il pe&longs;o grandemente de i pareti, quando &longs;one ben fatti, & danno <lb/>commodità di acconciare, & rimediare a i danni &longs;enza appuntellare, & &longs;enza far armature.<emph.end type="italics"/><lb/>Similmente quelli edifici, che &longs;i fanno a pila&longs;trate, & con le diui&longs;ioni de i cunei ri&longs;pon­<lb/>dendo le congiunture al centro, &longs;i rinchiudo in arco. </s> </p> <p type="main"> <s id="s.005739"><emph type="italics"/>Qui pare che Vitr. tocchi l'opera ru&longs;tica, doue &longs;opra le porte i cunei di gro&longs;&longs;e pietre in arco &longs;i <lb/>&longs;errano, & le bugne, che co&longs;i chiamo le diui&longs;ioni de i cunei, ri&longs;pondeno al centro, & accenna, <lb/>che que&longs;ti lauori &longs;i fanno a pila&longs;trate, cioè a colonne quadre, & hanno di &longs;opra gli archi, & le <lb/>fornici, & non gli architraui, & ci dà un precetto degno da e&longs;&longs;er o&longs;&longs;eruato: imperoche dice, <lb/>che le ultime pila&longs;trate &longs;i deono fare di &longs;patio piu larghe, che le mezane, & ne rende la ragio­<lb/>ne. </s> <s id="s.005740">Dice adunque.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005741">In que&longs;te fabriche fatte a pila&longs;tri, le ultime pila&longs;trate &longs;i deono fare di &longs;patio piu largo, <lb/>accioche habbian forza di re&longs;i&longs;tere quando i pareti oppre&longs;si da i carichi per le congiuntu­<lb/>re, che &longs;i &longs;tringono al centro, &longs;i allargheranno le impo&longs;te, o quelle pietre, che &longs;tanno di <lb/>&longs;opra oltra il cuneo di mezo. </s> <s id="s.005742">Et però &longs;e le pila&longs;trate angulari &longs;aranno di grandezza mag­<lb/>giore, contenendo i cunei faranno l'opere piu ferme. </s> <s id="s.005743">Dapoi che in tal co&longs;e &longs;i hauerà <lb/>auuertito di porui diligenza, allhora niente dimeno &longs;i deue o&longs;&longs;eruare, che tutto il re&longs;to <lb/>della muratura ri&longs;ponda a piombo, nè pieghi in alcuna parte. </s> <s id="s.005744">Ma grandi&longs;sima deue e&longs;­<lb/>&longs;er la cura delle fabriche, che &longs;i fanno al ba&longs;&longs;o, & nelle fondamenta, percioche in quelle <lb/>l'a&longs;&longs;unanza della terra &longs;uol partorire infiniti difetti, perche la terra non puo e&longs;&longs;er &longs;empre <lb/>dello i&longs;te&longs;&longs;o pe&longs;o, che &longs;uol e&longs;&longs;er nella &longs;tate, ma nel uerno riceuendo dalle pioggie la co­<lb/>pia dell'acqua, cre&longs;ce, & col pe&longs;o, & con la grandezza di&longs;rompe, & &longs;caccia &longs;pe&longs;&longs;o le &longs;epi <lb/>della muratura: però accioche &longs;i dia rimedio a que&longs;to mancamento, egli &longs;i ha da fare in <lb/>que&longs;to modo, che prima per la grandezza dell a&longs;&longs;unanza della terra, &longs;i faccia la gro&longs;&longs;ezza <lb/>della muratura, dapoi nelle fronti &longs;iano po&longs;ti i contraforti o &longs;peroni, tanto di&longs;tanti uno <lb/>dell'altro, quanto e&longs;&longs;er deue l'altezza del fondamento; ma &longs;ian della i&longs;te&longs;&longs;a gro&longs;&longs;ezza del <lb/>fondamento; ma dal ba&longs;&longs;o tanto habbiano di piede, quanto e&longs;&longs;er deue gro&longs;&longs;o il fondamen<lb/>to, ma poi a poco a poco inalzando&longs;i &longs;i ra&longs;tremino tanto, che di &longs;opra &longs;iano co&longs;i gro&longs;&longs;e, <lb/>quanto è gro&longs;&longs;o il muro dell'opera che &longs;i fa. </s> <s id="s.005745">Oltra di que&longs;to dalla parte di dentro uer&longs;o il <lb/>terreno come denti congiunti al muro a gui&longs;a di &longs;ega &longs;ian fatti, di modo, che ogni dente <lb/>tanto &longs;ia di&longs;tante dal muro, quanto e&longs;&longs;er deue l'altezza del fondamento, & le murature di <lb/>que&longs;ti denti &longs;iano della gro&longs;&longs;ezza del muro. </s> <s id="s.005746">Similmente &longs;u le cantonate, quando &longs;i haue­<lb/>ranno tirato dallo angulo di dentro, quanto occupa lo &longs;patio dell'altezza del fondamento, <lb/>&longs;ia &longs;egnato da una parte, & l'altra, & da que&longs;ti &longs;egni &longs;ia fatta una muratura Diagonale, <lb/>& del mezo di quella un'altra &longs;ia congiunta con l'angulo del muro, co&longs;i i denti, & le mu­<lb/>rature Diagonale, che non la&longs;cieranno che il muro calchi di tutta forza, ma partitanno <lb/>ritenendo l'impeto dell'a&longs;&longs;unanza del terreno. <emph type="italics"/>Il pre&longs;ente luogo dichiara, quello che nel <lb/>primo libro s'è detto al quinto capo, & è facilmente e&longs;pre&longs;&longs;o da Vitr. però non ci accade altra fi­<lb/>gura. </s> <s id="s.005747">Ma s'intende anche de gli &longs;peroni, che &longs;i metteno di fuori alle muraglie.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005748">In che maniera le opere deono e&longs;&longs;er fatte &longs;enza difetto, & come deono e&longs;&longs;er auuertiti <lb/>quelli, che cominciano, io ho e&longs;po&longs;to. </s> <s id="s.005749">Ma del modo di mutare le tegole, gli a&longs;&longs;eri, <lb/>i tigni, non &longs;i deue hauer quel pen&longs;iero, che &longs;i ha delle &longs;opradette co&longs;e; perche ageuol­<lb/>mente &longs;i mutano, & però nè anche &longs;ono &longs;timate co&longs;e &longs;ode. </s> <s id="s.005750">Io ho e&longs;po&longs;to con che ragio­<lb/>ni, & in che modo que&longs;te co&longs;e potranno e&longs;&longs;er ferme, & ordinate. </s> <s id="s.005751">Ma non è in potere del <lb/>lo Architetto di u&longs;are, che materia li piace, perche non na&longs;ce in tutti i luoghi la copia <pb pagenum="306" xlink:href="045/01/320.jpg"/>d'ogni materia (come e&longs;po&longs;to hauemo nel pro&longs;simo libro.) Oltra che egli è in potere <lb/>del patrone di edificare, o di quadrelli, o di cementi, o di quadrato &longs;a&longs;&longs;o. </s> <s id="s.005752">L'approuare <lb/>adunque di tutte le opere, è in tre parti con&longs;iderato, imperoche egli &longs;i proua un'opera, <lb/>o per la &longs;ottigliezza dello artefice, o per la magnificenza, o per la di&longs;po&longs;itione. </s> <s id="s.005753">Quan­<lb/>do &longs;i uedrà l'opera perfetta magnificamente con ogni potere, egli &longs;i lauderà la &longs;pe&longs;a. </s> <s id="s.005754"><lb/>Ma quando &longs;i uederà fatta &longs;ottilmente &longs;i trouerà la manifattura del fabro: ma quando &longs;a­<lb/>rà bella, & hauerà autorità per le proportioni, & Simmetrie, il tutto tornerà a gloria del <lb/>lo Architetto: & que&longs;te co&longs;e torneran bene quando l'Architetto & da gli arte&longs;ici, & da <lb/>gli idioti &longs;opporterà e&longs;&longs;er con&longs;igliato. </s> <s id="s.005755">Percioche tutti gli huomini non &longs;olo gli Architet<lb/>ti po&longs;&longs;ono prouare quel, che è buono: ma ci è que&longs;ta differenza tra gli idioti, & gli Archi <lb/>tetti, che lo idiota, &longs;e egli non uede la co&longs;a fatta, non puo &longs;apere quello, che deue riu&longs;ci­<lb/>re, ma lo Architetto, poi che in&longs;ieme hauerà nell'animo ordinato prima, che egli dia prin<lb/>cipio, ha per certo quello, che e&longs;&longs;er deue, & di bellezza, & di u&longs;o, & di decoro. </s> <s id="s.005756">Io ho <lb/>&longs;critto diligentemente quanto ho potuto chiari&longs;simamente quelle co&longs;e che io ho <lb/>pen&longs;ato e&longs;&longs;er utili a gli edi&longs;icij, & come &longs;i deono fare. </s> <s id="s.005757">Ma nel &longs;eguente uolume io e&longs;po­<lb/>nerò delle politure di quelli, accioche &longs;iano eleganti, & &longs;enza uitio durino lungamente. </s> </p> <p type="main"> <s id="s.005758"><emph type="italics"/>Qui altro non dico, &longs;e non, che con diligente cura &longs;i pen&longs;i a quello che Vitr. ha detto in fine <lb/>del pre&longs;ente libro.<emph.end type="italics"/></s> </p> <p type="head"> <s id="s.005759"><emph type="italics"/>Il fine del Se&longs;to Libro.<emph.end type="italics"/><!-- KEEP S--></s> </p> </subchap2></subchap1><subchap1> <pb pagenum="307" xlink:href="045/01/321.jpg"/> <p type="head"> <s id="s.005760">IL SETTIMO LIBRO<!-- REMOVE S--> DELL' ARCHITETTVRA DI <lb/>M. VITRVVIO.<!-- KEEP S--></s> </p> <subchap2> <p type="head"> <s id="s.005761"><emph type="italics"/>Proemio.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.005762">ET prudentemente, & utilmente deliberarono ino&longs;tri maggiori di la&longs;ciar <lb/>a i po&longs;teri per relatione de Commentari i pen&longs;ieri de gli animi loro, ac­<lb/>cioche non peri&longs;&longs;ero: ma in ogni eta cre&longs;cendo, & in luce mandati con <lb/>i uolumi a poco a poco con la uecchiezza perueni&longs;&longs;ero alla &longs;omma &longs;otti­<lb/>gliezza delle dotrine. </s> <s id="s.005763">Et però non di poche, ma d'infinite gratie a quel­<lb/>li tenuti &longs;iamo, che non hanno con inuidia uoluto tacere, ma hanno pro­<lb/>curato con &longs;critti mandar a memoria ogni maniera di &longs;entimento: perche &longs;e co&longs;i fatto <lb/>non haue&longs;&longs;ero; noi non haueremmo potuto &longs;apere, che co&longs;e &longs;tate fu&longs;&longs;ero fatte nella città <lb/>di Troia; nè quale opinione Thalete, Democrito, Anaxagora, Xenofonte, & gli altri <lb/>Filo&longs;ofi naturali haue&longs;&longs;ero hauuto della natura delle co&longs;e; & qual deliberatione della uita <lb/>haue&longs;&longs;ero a gli huomini la&longs;ciato Socrate, Platone, Ari&longs;totile, Zenone, Epicuro, & gli <lb/>altri Filo&longs;ofanti: ouero qual co&longs;a, & con che ragione Cre&longs;o, Ale&longs;&longs;andro, Dario, & gli <lb/>altri Re fatto haue&longs;&longs;ero, &longs;ei maggiori no&longs;tri, con gli amae&longs;tramenti alla memoria di tutti, <lb/>per la po&longs;terità non l'haue&longs;&longs;ero &longs;criuendo inalzate. </s> <s id="s.005764">Et però &longs;i come a que&longs;ti &longs;i deue hauer <lb/>gratie, co&longs;i per lo contrario deono e&longs;&longs;er bia&longs;imati coloro, i quali furando gli altrui &longs;crit­<lb/>ti, per &longs;uoi gli uanno publicando, & non &longs;i sforzano con i propi loro pen&longs;amenti di &longs;criue­<lb/>re, ma con inuidio&longs;i co&longs;tumi l'altrui opere uiolando &longs;i uantano, & però non &longs;olamente <lb/>&longs;ono degni di ripren&longs;ione, ma (perche hanno menato la lor uita con empi co&longs;tumi) e&longs;&longs;er <lb/>deono ca&longs;tigati. </s> <s id="s.005765">Et però que&longs;te co&longs;e e&longs;&longs;ere &longs;tate uendicate <expan abbr="curiō&longs;amente">curion&longs;amente</expan> da gli antichi &longs;i <lb/>dice: gli e&longs;iti de i quali ne i giudicij come fu&longs;&longs;ero, non pen&longs;o che &longs;ia fuori di propo&longs;ito e&longs;­<lb/>plicare, come a noi &longs;ono &longs;tati la&longs;ciati. </s> <s id="s.005766">I Re Attalici indotti dalla dolcezza di &longs;apere le <lb/>ragioni delle co&longs;e, hauendo a commun diletto fatto una bella, & egregia libraria nella <lb/>Città di Pergamo, Prolomeo d'ardente zelo di de&longs;iderio incitato a quel tempo con non <lb/>minore indu&longs;tria &longs;i forzò di farne una in Ale&longs;&longs;andria mede&longs;imamente: & hauendo ciò <lb/>fatto con &longs;omma dilgenza, non pensó che que&longs;to fu&longs;&longs;e a&longs;&longs;ai, &longs;e egli non haue&longs;&longs;e cercato di <lb/>accre&longs;cerla con nuoue &longs;emenze, & però con&longs;acrò i giuochi alle Mu&longs;e, & ad Apollo, & <lb/>come de gli Athleti, co&longs;i a i uincitori de i communi &longs;crittori ordinò premij, & ampi modi <lb/>di e&longs;&longs;er honorati. </s> <s id="s.005767">Poi che que&longs;te co&longs;e furono ordinate, & e&longs;&longs;endo il tempo da fare i giuo­<lb/>chi, &longs;i doueua eleggere i giudici litterati, che quelli doue&longs;&longs;ero approuare. </s> </p> <p type="main"> <s id="s.005768">Il Re hauendone gia fatto, & eletto &longs;ei, & non potendo co&longs;i pre&longs;to ritrouare il &longs;etimo: <lb/>&longs;i con&longs;igliò con quelli, che erano &longs;opra&longs;tanti alla libraria, & dimando loro &longs;e haue&longs;&longs;ero <lb/>cono&longs;ciuto alcuno, che fu&longs;&longs;e atto a que&longs;to giudicio. </s> </p> <p type="main"> <s id="s.005769">Ri&longs;po&longs;ero, che era un certo detto Ari&longs;tofane, ilquale con grande &longs;tudio, & con &longs;omma <lb/>diligenza ogni giorno per ordine compiutamente tutti que libri leggeua. </s> <s id="s.005770">E&longs;&longs;endo adun­<lb/>que nel ridotto de i giuochi partite le &longs;edi &longs;ecretamente di coloro, che haueuano a giu­<lb/>dicare, chiamato Ari&longs;tofane con gli altri, in quel luogo, che gli fu con&longs;egnato &longs;i po&longs;e. </s> <s id="s.005771"><lb/>Introdutto fu prima l'ordine de poeti al contra&longs;to, e recitando&longs;i gli &longs;critti loro tutto il <lb/>populo con cenni addimandaua quello, che que giudici approua&longs;&longs;ero. </s> <s id="s.005772">E&longs;&longs;endo adunque <lb/>dimandate da ogn'uno le oppinioni, &longs;ei concor&longs;ero in una &longs;entenza i&longs;te&longs;&longs;a, & quello, che <pb pagenum="308" xlink:href="045/01/322.jpg"/>haueuano auuertito e&longs;&longs;er &longs;ommamente alla moltitudine piaciuto, a quello dauano il pri­<lb/>mo premio, & a quello, che era dapoi, il &longs;econdo. </s> </p> <p type="main"> <s id="s.005773">Ari&longs;tofane e&longs;&longs;endogli richie&longs;to il &longs;uo parere, uolle, che prima fu&longs;&longs;e pronunciato quello, <lb/>che men diletto haue&longs;&longs;e dato al popolo. </s> <s id="s.005774">Ma sdegnando&longs;i il Re, in&longs;ieme con gli altri, egli <lb/>&longs;i leuò in piedi, & pregando impetrò, che gli fu&longs;&longs;e la&longs;ciato dire. </s> <s id="s.005775">Et co&longs;i fatto &longs;ilentio di­<lb/>mo&longs;trò quel &longs;olo tra quelli e&longs;&longs;er poeta, & gli altri recitare le co&longs;e aliene, & che bi&longs;ognaua <lb/>che i giudici approua&longs;&longs;ero gli &longs;critti, & non i furti. </s> </p> <p type="main"> <s id="s.005776">Merauigliando&longs;i il populo, & dubitando il Re, egli con&longs;idato&longs;i nella memoria tra&longs;&longs;e di <lb/>certi armari infiniti uolumi, & comparandogli con le co&longs;e recitate, isforzò quelli a confe&longs;­<lb/>&longs;are d'hauerle rubbate, & però il Re uolle, che contra que&longs;ti &longs;i procede&longs;&longs;e come di ladro­<lb/>nezzo, & condannati con uergogna gli diede licenza, & adornò con grandi&longs;simi doni <lb/>Ari&longs;tofane dandogli il carico &longs;opra la &longs;ua libreria. </s> <s id="s.005777">Ne gli anni &longs;eguenti Zoilo uenne di <lb/>Macedonia in Ale&longs;&longs;andria, dico quello, che hebbe il cognome di Flagellatore di Home­<lb/>ro, e recitò i &longs;uoi uolumi al Re fatti contra la Iliade, & l'Odi&longs;&longs;ea. </s> <s id="s.005778">Perche uedendo Pto­<lb/>lemeo il padre de i Poeti, & la guida della dolcezza del dire e&longs;&longs;er in a&longs;&longs;enza accu&longs;ato, & e&longs;­<lb/>&longs;er da colui uituperato quello, che da tutte le genti era pregiato, sdegnato&longs;i non gli die­<lb/>de alcuna rifpo&longs;ta. </s> <s id="s.005779">Zoilo poi dimorando lungamente nel regno oppre&longs;&longs;o dal bi&longs;ogno <lb/>mandò &longs;ottomano dimandando al Re, che gli fu&longs;&longs;e dato qualche co&longs;a. </s> <s id="s.005780">Dice&longs;i che il <lb/>Re ri&longs;po&longs;e. </s> <s id="s.005781">Homero il quale è mancato mille anni auanti pa&longs;cere molti migliaia di per&longs;o­<lb/>ne, & però e&longs;&longs;er conueniente, che colui, che faceua profe&longs;sione d'e&longs;&longs;er di miglior inge<lb/>gno, pote&longs;&longs;e non &longs;olamente &longs;e &longs;te&longs;&longs;o, ma anchora piu gente nutrire. </s> <s id="s.005782">& in &longs;omma &longs;i narra <lb/>la morte di Zoilo, come di Parricidio condennato. </s> <s id="s.005783">Altri dicono quello da Philadelfo <lb/>e&longs;&longs;er &longs;tato in croce con&longs;iccato, altri lapidato, altri a Smirna uiuo po&longs;to in una pira: Del <lb/>le quai co&longs;e qualunque auuenuta gli &longs;ia, degna certamente a i meriti fuoi è &longs;tata la pena, <lb/>perche altro non merita colui, che in giudicio chiama quelli, de quali la ri&longs;po&longs;ta non &longs;i <lb/>puo nella lor pre&longs;enza dimo&longs;trare, che opinione habbiano hauuto &longs;criuendo. </s> <s id="s.005784">Maio ò <lb/>Ce&longs;are, nè mutati gli altrui indici trapo&longs;to il nome mio ti mo&longs;tro que&longs;to corpo, nè bia­<lb/>&longs;imando gli altrui pen&longs;ieri, per quello uoglio approuare, & lodare me &longs;te&longs;&longs;o, nè de&longs;ide­<lb/>ro, che &longs;imile opinione &longs;ia hauuta di me, perche niuna co&longs;a ho detto, che da altri io non <lb/>habbia cercato, & inte&longs;o, & &longs;e co&longs;a è, che dir &longs;i po&longs;&longs;a e&longs;&longs;er mia, la fatica, & lo &longs;tudio cer­<lb/>tamente &longs;i puo dire. </s> <s id="s.005785">Maio rendo infinite gratie a tutti gli &longs;erittori, che con l'acutezze <lb/>de gli ingegni loro con l'età conferite, hanno in diuer&longs;e maniere abondanti&longs;sima copia <lb/>di co&longs;e preparato, dalle quali, come da fonti; cauando noi l'acqua, & traducendola al <lb/>propo&longs;ito no&longs;tro, piu feconde, & piu &longs;pedite forze hauendo nello &longs;criuere, & in tali au­<lb/>tori con&longs;idati&longs;i, prendemo ardimento di far co&longs;e nuoue. </s> <s id="s.005786">Et però hauendo io da loro tal <lb/>principio, pigliando quelle ragioni, che io ho ueduto e&longs;&longs;er al ca&longs;o mio apparecchiate, ho co<lb/>minciato andar inante, perche prima Agatharco, mentre E&longs;chilo in Athene in&longs;egnaua <lb/>la Tragedia, fece la Scena dipinta, & di quella ne la&longs;ciò il Commentario. <!-- KEEP S--></s> <s id="s.005787">Da que&longs;to <lb/>ammonito Democrito, & Anaxagora &longs;cri&longs;&longs;ero della i&longs;te&longs;&longs;a co&longs;a, in che maniera bi&longs;ogna <lb/>con ragione naturale dal centro po&longs;to in luogo certo corri&longs;ponder all'occhio, & alla drit<lb/>tura de i raggi con le linee, accioche d'una co&longs;a incerta le certe imagini delle fabriche nel <lb/>le pitture delle Scene rende&longs;&longs;ero l'a&longs;petto loro, & quelle, che nelle fronti dritte, & ne i <lb/>piani fu&longs;&longs;ero figurate, &longs;corza&longs;&longs;ero fuggendo, & pare&longs;&longs;ero hauer rilieuo. </s> <s id="s.005788">Dapoi Sileno fece <lb/>un uolume delle mi&longs;ure Doriche. <!-- KEEP S--></s> <s id="s.005789">del Tempio Dorico di Giunone, che è in Samo &longs;cri&longs;&longs;e <lb/>Theodoro. </s> <s id="s.005790">Dello Ionico a Diana con&longs;ecrato in Efe&longs;o, Cte&longs;ifonte, & Metagene. </s> <s id="s.005791">Di <lb/>quello di Minerua in Priene, che è di lauoro lonico, ne parlò Phileo. <!-- KEEP S--></s> <s id="s.005792">Di quello, che è <lb/>Dorico in Athene pur di Minerua nella Rocca, lctimo, & Carpione. <!-- REMOVE S-->Theodoro Pho­<lb/>cefe della Cuba, che è in Delfo. </s> <s id="s.005793">Phileno delle mi&longs;ure de i Sacri Tempij, & dello Arma-<pb pagenum="309" xlink:href="045/01/323.jpg"/>mento, che era al porto Pireo. </s> <s id="s.005794">Hermogene del Tempio Ionico di Diana, che è in Ma<lb/>gne&longs;ia P&longs;eudodipteros, & di quello, che è a Teo di Bacco Monopteros. </s> <s id="s.005795">Argelio del­<lb/>le mi&longs;ure Corinthie, & delle Ioniche ad E&longs;culapio in Tralli, il quale &longs;i dice e&longs;&longs;er di &longs;ua <lb/>mano. </s> <s id="s.005796">Del Mau&longs;oleo Satiro, & Pitheo, a i quali ueramente la felicità fece un grandi&longs;­<lb/>&longs;imo dono, perche le arti loro &longs;timate &longs;ono hauer &longs;empre grandi&longs;sime lodi, & fiorite con <lb/>tinuamente, & hanno anchora dato mirabil opere &longs;econdo le co&longs;e pen&longs;ate da loro, perche <lb/>in cia&longs;cuno lato del Mau&longs;oleo a concorrenza cia&longs;cuno artefice &longs;i tol&longs;e di ornare, & pro­<lb/>uare la parte &longs;ua, Leochare, Bria&longs;&longs;e, Scopa, & Praxitele, & altri ui mettono Timotheo, <lb/>la eccellenza grande dell'arte de i quali con&longs;trin&longs;e il nome di quella opera peruenire alla &longs;a <lb/>ma de i &longs;ette miracoli del mondo. </s> <s id="s.005797">Molti ancho men nominati hanno &longs;critto le regole <lb/>delle proportionate mi&longs;ure come Nexare, Theocide, Demofilo, Pollis, Leonida, Sila­<lb/>nio, Melampo, Sarnaco, Eufranore. </s> <s id="s.005798">Similmente delle machine, come Cliade, Archi­<lb/>ta, Archimede, Cte&longs;ibio, Nimfodoro, Philo Bizantino, Diphilo, Charida, Polijdo, <lb/>Phitone, Age&longs;i&longs;trato. <!-- KEEP S--></s> <s id="s.005799">De i commentari de i quali quello, che io ho auuertito e&longs;&longs;er uti­<lb/>le a que&longs;te co&longs;e raccolte ho ridutto in un corpo, & que&longs;to &longs;pecialmente, perche io ho ue­<lb/>duto molti uolumi &longs;opra que&longs;ta co&longs;a da Greci, & pochi da no&longs;tri e&longs;&longs;er dati in luce; perche <lb/>Fu&longs;sitio primo di tal co&longs;e deliberò di dar in luce un mirabile uolume. </s> <s id="s.005800">Et appre&longs;&longs;o Te­<lb/>rentio Varrone &longs;cri&longs;&longs;e delle nuoue di&longs;cipline, & un libro di Architettura. <!-- KEEP S--></s> <s id="s.005801">Publio Set­<lb/>timio ne fece due. </s> <s id="s.005802">Et piu non è &longs;tato chi habbia dato opera a &longs;imile maniera di &longs;critture, <lb/>e&longs;&longs;endo &longs;tati i cittadini grandi Architetti, i quali hanno potuto &longs;criuere non meno elegan<lb/>temente de i &longs;opradetti, perche in Athene Anti&longs;thene, & Calle&longs;chro, & Antimachide, & <lb/>Dorino Architetti po&longs;ero le fondamenta del Tempio, che faceua far Pi&longs;i&longs;trato di Gioue <lb/>Olimpio: ma dapoi la morte di quello, per lo impedimento delle co&longs;e publiche, lo la&longs;cia <lb/>rono imperfetto, & però da dugento anni dapoi Antiocho Re hauendo prome&longs;&longs;o la &longs;pe­<lb/>&longs;a per quell'opera Co&longs;&longs;utio Cittadin Romano con gran prontezza, & &longs;omma cognitione <lb/>nobilmente fece la Cella, & la collocatione delle colonne intorno il Dipteros, & la di­<lb/>&longs;tributione de gli Architraui, & de gli altri ornamenti con proportionata mi&longs;ura. </s> </p> <p type="main"> <s id="s.005803">Que&longs;ta opera non &longs;olamente tra le uulgari, ma tra le poche è dalla magnificenza nomi­<lb/>nata, perche in quattro parti &longs;ono le di&longs;po&longs;itioni de i luoghi &longs;acri ornate di marmo delle <lb/>quali que&longs;te con chiari&longs;sima fama nominate &longs;ono; le eccellenze delle quali, & i prudenti <lb/>apparati de i loro pen&longs;ieri hanno ne i &longs;eggi de i Dei gran merauiglia, & &longs;i fanno guardare. </s> <s id="s.005804"><lb/>Prima il Tempio di Diana in Efe&longs;o alla lonica fu fatto da Cte&longs;ifonte Gno&longs;io, & da Meta <lb/>gene &longs;uo figliuolo, & poi Demetrio &longs;eruo di Diana, & Dafni Mile&longs;io a Mileto fecero il <lb/>Tempio d'Apollo con le mi&longs;ure Ioniche, Ictimo alla Dorica a Cerere Eleu&longs;ina, & a Pro <lb/>&longs;erpina fabricarono una cella di &longs;mi&longs;urata grandezza, &longs;enza le colonne di fuori allo &longs;patio <lb/>dell'u&longs;o de i &longs;acrificij, & quella dominando in Athene Demetrio Falereo, dapoi fu fatta <lb/>da Philone d'a&longs;petto Pro&longs;tilos, & co&longs;i accre&longs;ciuto il ue&longs;tibulo la&longs;ciò lo &longs;patio a quelli, <lb/>che con&longs;acrauano, & diede grande autorità all'opera. </s> <s id="s.005805">In A&longs;ti &longs;i dice ancho, che Co&longs;&longs;u­<lb/>tio &longs;i pigliò la impre&longs;a di far Gioue Olimpio con ampli&longs;simi moduli, & di mi&longs;ure, & <lb/>proportioni Corinthie, come s'è detto di &longs;opra, del qual niuno commentario è &longs;tato ri­<lb/>trouato. </s> <s id="s.005806">Nè &longs;olamente da Co&longs;&longs;utio tal &longs;orte di &longs;critti &longs;ono da de&longs;iderare, ma ancho da <lb/>Caio Mutio, il quale confidato&longs;i nella &longs;ua grande &longs;cienza, con legitime ordinationi del­<lb/>l'arte condu&longs;&longs;e a fine il Tempio dell'honore, & della uirtù della cella Mariana, & le pro­<lb/>portioni delle mi&longs;ure, & de gli Architraui. <!-- KEEP S--></s> </p> <p type="main"> <s id="s.005807">Quel Tempio &longs;e egli fu&longs;&longs;e &longs;tato fatto di marmo, accioche egli haue&longs;&longs;e hauuto come dal­<lb/>l'arte la &longs;ottigliezza, co&longs;i dalla magnificenza, & dalle &longs;pe&longs;e l'autorità, certamente tra le <lb/>prime, & grandi opere &longs;arebbe nominato. </s> <s id="s.005808">Ritrouando&longs;i adunque, & de gli antichi no <lb/>&longs;tri non meno de i Greci e&longs;&longs;ere &longs;tati grandi Architetti, & molti ancho di no&longs;tra memoria <pb pagenum="310" xlink:href="045/01/324.jpg"/>& non hauendo quelli, &longs;e non poco &longs;critto de i precetti dell'Architettura: io non ho pen­<lb/>&longs;ato di uoler con &longs;ilentio pa&longs;&longs;armi, ma per ordine in cia&longs;cun libro trattar di cia&longs;cuna co&longs;a, <lb/>& però hauendo io nel &longs;e&longs;to con diligenza &longs;critto le ragioni de i priuati edificij: in que&longs;to <lb/>che è &longs;ettimo in ordine uoglio trattar de gli ornamenti, & e&longs;primere con che ragione hab­<lb/>biano, & bellezza & &longs;tabilità. </s> </p> <p type="main"> <s id="s.005809">N<emph type="italics"/>el &longs;ettimo Vitr. ci dà i precetti delle politure, & de gli adornamenti delle fabriche, <lb/>& non &longs;enza ragione ha po&longs;to in que&longs;to luogo la detta materia &longs;eguitando egli l'or­<lb/>dine di natura, che prima pone le co&longs;e in e&longs;&longs;ere, & poi le adorna. </s> <s id="s.005810">Hanno adun­<lb/>que le parti de gli edifici i loro adornamenti, & prima i piani, dapoi i pareti, & fi­<lb/>nalmente i tetti. </s> <s id="s.005811">A i piani è nece&longs;&longs;ario il pauimento, & &longs;uolo: a i muri l'intonicature, & i bian­<lb/>chimenti, & le pitture: a i tetti & &longs;olari i &longs;offittati, & ancho le pitture. </s> <s id="s.005812">& perche le co&longs;e e&longs;&longs;er <lb/>deono non men belle, che durabili, però Vitr. abbraccia in que&longs;to libro, & la fermezza, & lo <lb/>adornamento, & adorna anche il pre&longs;ente libro d'un belli&longs;&longs;imo proemio, il qual commenda la <lb/>uirtù de pa&longs;&longs;ati, accu&longs;a l'arroganza de gli imperiti, & rende gratitudine a i precettori. </s> <s id="s.005813">Il proe­<lb/>mio è facile, & pieno d'hi&longs;torie, & narrationi, & e&longs;&longs;empi, i quali io non uoglio confirmare con <lb/>altri detti, che con quelli di Vitr. il re&longs;to ancho del libro è facile per la maggior parte, però ci le <lb/>uerà la fatica di lunga commentatione. </s> <s id="s.005814">Tratta ne i primi quattro capi de gli adornamenti de i <lb/>pauimenti, & dal quinto fin al &longs;ettimo parla della ragione del dipignere, & del incro&longs;tare de <lb/>marmi, dal &longs;ettimo fin al fine del libro parla de i colori naturali, & artificiali. </s> <s id="s.005815">Noi ci fermaremo <lb/>doue &longs;arà bi&longs;ogno.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.005816"><emph type="italics"/>De i terrazzi. </s> <s id="s.005817">Cap. I.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.005818">Et prima comincierò a dire de gli &longs;gro&longs;&longs;amenti de i terrazzi, che &longs;ono i princi­<lb/>pij delle politure, & de gli ornamenti delle fabriche, accioche con maggior <lb/>cura & prouedimento &longs;i guardi alla fermezza. </s> <s id="s.005819">Se adunque egli &longs;i deue sgro&longs;­<lb/>&longs;are, e terrazzare a piè piano cerchi&longs;i il &longs;uolo &longs;e gli è tutto &longs;odo, & poi &longs;ia i­<lb/>&longs;pianato bene, & pareggiato, & &longs;e gli dia il terrazzo con la prima cro&longs;ta. </s> <s id="s.005820">Ma &longs;e tutto <lb/>il luogo, o parte &longs;arà di terreno commo&longs;&longs;o, egli bi&longs;ogna con gran cura, e diligenza ra&longs;&longs;o­<lb/>darlo, &longs;i che &longs;ia ben battuto, & palificato. </s> <s id="s.005821">Ma s'egli &longs;i uuole terrazzare &longs;opra i palchi, o <lb/>&longs;olari, bi&longs;ogna bene auuertire &longs;e ci è qualche parete, che non uenghi in &longs;u, che &longs;ia fatto <lb/>&longs;otto il pauimento, ma piu pre&longs;to rila&longs;ciato habbia &longs;opra &longs;e il tauolato pendente, perche <lb/>u&longs;cendo il parete &longs;odo, &longs;eccando&longs;i le trauature, ouer dando in &longs;e per lo torcer&longs;i, che fan­<lb/>no, &longs;tando per &longs;odezza della fabrica, fa di nece&longs;sità dalla de&longs;tra, & dalla &longs;ini&longs;tra lungo di &longs;e <lb/>le fi&longs;&longs;ure ne i pauimenti. </s> <s id="s.005822">Ancho bi&longs;ogna dar opera, che non &longs;iano me&longs;colate le tauole <lb/>di E&longs;culo con quelle di Quercia, perche quelle di Quercia &longs;ubito, che hanno riceuuto <lb/>l'humore torcendo&longs;i fanno le fi&longs;&longs;ure ne i pauimenti. </s> <s id="s.005823">Ma s'egli non &longs;i potrà hauere de <lb/>gli E&longs;culi, & la nece&longs;sità per bi&longs;ogno ci co&longs;trignerà u&longs;are la Quercia, co&longs;i pare, che bi­<lb/>&longs;ogni operare, che quanto &longs;i puo &longs;i &longs;eghino &longs;ottili; perche quanto meno haueranno di <lb/>forza tanto piu facilmente conficcate con chiodi &longs;i teneranno in&longs;ieme? </s> <s id="s.005824">Dapoi per cia&longs;cun <lb/>traue nelle e&longs;treme parti dell'a&longs;&longs;e &longs;iano confitti due chiodi, accioche torcendo&longs;i dall'una <lb/>parte non po&longs;sino gli anguli &longs;olleuare: perche del Cerro del Faggio, & del Farno niuno <lb/>puo alla uecchiezza durare. </s> <s id="s.005825">Fatti i tauolati &longs;e egli ci &longs;arà del Felice, &longs;e non della paglia &longs;ia <lb/>&longs;otto di&longs;te&longs;a, accioche il legname &longs;ia dife&longs;o da i danni della calce, allhora poi ui &longs;ia me&longs;&longs;o <lb/>il &longs;a&longs;&longs;o pe&longs;to non minore di quello, che puo empir la mano, & indottoui quello &longs;ia sgro&longs;­<lb/>&longs;ato, & i mpo&longs;toui il terrazzo, ilquale &longs;e &longs;arà fatto di nuouo in tre parti di e&longs;&longs;o ne &longs;ia una <pb pagenum="311" xlink:href="045/01/325.jpg"/>di calce, ma &longs;e di uecchio &longs;arà rifatto, ri&longs;ponda la me&longs;colanza di cinque a due, dapoi &longs;i­<lb/>dato il terrazzo, & pe&longs;tato con i ba&longs;toni di legno da molti huomini, & beni&longs;simo ra&longs;&longs;oe <lb/>dato, & tutta que&longs;ta pa&longs;ta non &longs;ia meno alta, & gro&longs;&longs;a di onze noue, ma poi di &longs;opra ui &longs;i <lb/>metta l'anima di te&longs;tole, cioè la cro&longs;ta, o coperta piu re&longs;i&longs;tente, <emph type="italics"/>detta Nucleus<emph.end type="italics"/>, hauendo <lb/>la me&longs;colanza a tre parti di quella d'una di calce, &longs;i che il pauimento non &longs;ia di minor gro&longs;­<lb/>&longs;ezza di &longs;ei dita. </s> <s id="s.005826">Sopra que&longs;t'anima a &longs;quadra, & a liuello &longs;ia &longs;te&longs;o il pauimento o di ta­<lb/>glietti di pietruccie, o di quadri grandi. </s> <s id="s.005827">Quando quelli &longs;aranno po&longs;ti in&longs;ieme, & la &longs;o­<lb/>perficie eminente u&longs;cirà fuori, bi&longs;ogna fregarli in modo, che e&longs;&longs;endo il pauimento di pie­<lb/>truccie non ci &longs;iano alcuni rilieui, o gradi &longs;econdo quelle forme, che haueranno i pezzi, <lb/>o tonde come &longs;cudi, o triangolari, o quadrate, o di &longs;ei anguli, come i faui delle api, ma <lb/>&longs;ian po&longs;ti in&longs;ieme d rittamente, & il tutto &longs;ia piano, & agguagliato. </s> <s id="s.005828">Ma &longs;e'l pauimento &longs;a­<lb/>rà di quadri grandi bi&longs;ogna, che habbian gli anguli eguali, & che niente e&longs;ca fuori della <lb/>&longs;pianatura, perche quando gli anguli non &longs;aranno tutti egualmente piani, quella frega­<lb/>tura non &longs;arà compitamente perfetta. </s> <s id="s.005829">Et co&longs;i &longs;e'l pauimento &longs;arà fatto a &longs;piche di te&longs;to­<lb/>le, o di Teuertino deue&longs;i fare con diligenza, &longs;i che non habbia canali, o rilieui, ma &longs;ian di­<lb/>&longs;te&longs;i, & a rego la &longs;pianati. </s> <s id="s.005830">Ma poi &longs;opra la fregatura quando &longs;aranno fatte li&longs;cie, o polite, <lb/>ui &longs;ia criuellato il marmo, & di &longs;opra ui &longs;ian indotte le cinte di calce, & di arena. </s> <s id="s.005831"><lb/>Ma ne i pauimenti fatti alla &longs;coperta bi&longs;ogna u&longs;ar diligenza, che &longs;iano utili & buoni, per­<lb/>che le trauature per l'humore cre&longs;cendo, ouero per lo &longs;ecco &longs;cemando, o u&longs;cendo di luo­<lb/>go, col far panza mouendo &longs;i fanno i terrazzi difetto&longs;i. </s> <s id="s.005832">Oltra di que&longs;to i freddi, i ghiac­<lb/>ci, & l'acque non gli la&longs;ciano &longs;tar intieri: & però &longs;e la nece&longs;sità uorrà, che &longs;i facciano, ac­<lb/>cio non &longs;iano difetto&longs;i bi&longs;ogna operare in que&longs;to modo. </s> <s id="s.005833">Quando egli &longs;arà fatto il tauo­<lb/>lato, bi&longs;ogna &longs;opra farne un'altro attrauer&longs;o, ilquale con chiodi conficcato faccia una ar­<lb/>matura doppia alla trauamenta, dapoi &longs;ia data la terza parte di te&longs;tole pi&longs;te al terrazzo nuo <lb/>uo, & due parti di calce a cinque di e&longs;&longs;o ri&longs;pondino nel mortaio. </s> <s id="s.005834">Fatto il riempimento <lb/>po&longs;to ui &longs;ia il terrazzo, & quello ben pi&longs;to non &longs;ia men gro&longs;&longs;o d'un piede, ma poi indot­<lb/>taui l'anima, (come s'è detto di &longs;opra) &longs;ia fatto il &longs;uolo, o pauimento di quadro grande, ha­<lb/>uendo in dieci piedi due dita di colmo. </s> <s id="s.005835">que&longs;to pauimento &longs;e &longs;arà ben impa&longs;tato, & i&longs;pia­<lb/>nato, &longs;arà da tutti i difetti &longs;icuro. </s> <s id="s.005836">ma perche tra le commi&longs;&longs;ure la materia non pati&longs;ca da i <lb/>ghiacci, bi&longs;ogna ogni anno auanti il uerno &longs;atiarlo di feccia d'oglio, perche a que&longs;to mo <lb/>do non la&longs;cierà riceuere la brina del gelo, che cade. <emph type="italics"/>Qui Vitr. parla delli Terrazzi che &longs;i <lb/>fanno allo &longs;coperto &longs;opra le ca&longs;e.<emph.end type="italics"/></s> <s id="s.005837"> Ma &longs;e egli ci parerà di uoler far que&longs;to con piu diligenza, <lb/>&longs;iano po&longs;te le tegole di due piedi tra &longs;e comme&longs;&longs;e, &longs;opra il terrazzo &longs;ottopo&longs;toui la ma­<lb/>teria, hauendo in ogni lato delle loro commi&longs;&longs;ure i canaletti larghi un dito, lequali poi <lb/>che &longs;aranno congiunte, &longs;iano empite di calce, con oglio battuta, & &longs;iano fregate in&longs;ie­<lb/>me le congiunture, & ben comme&longs;&longs;e, co&longs;i la calce, che &longs;i attacherá ne i canali, indurando&longs;i, <lb/>non la&longs;cierà, ne acqua, ne altro trapa&longs;&longs;are tra quelle commi&longs;&longs;ure: dapoi che co&longs;i &longs;arà get­<lb/>tato que&longs;to terrazzo, egli iui &longs;i deue &longs;opra indure l'anima, & con ba&longs;toni <expan abbr="rãmazzarla">rammazzarla</expan> bene: <lb/>ma di &longs;opra &longs;i deue <expan abbr="pauimētare">pauimentare</expan> o di quadri, o a &longs;piche di te&longs;tole <expan abbr="&longs;ecōdo">&longs;econdo</expan>, che è &longs;opra&longs;critto, <lb/>dandoli il colmo. </s> <s id="s.005838">Que&longs;te co&longs;e quando &longs;aranno fatte in que&longs;to modo, non &longs;i gua&longs;teranno. </s> </p> <p type="main"> <s id="s.005839"><emph type="italics"/>Il primo luogo tra le politure tengono gli &longs;gro&longs;&longs;amenti, o Terrazzi, che &longs;i chiamino. </s> <s id="s.005840">Que&longs;te <lb/>&longs;ono o a piè piano, o in &longs;olaro, & que&longs;te, o coperte, o &longs;coperte. </s> <s id="s.005841">&longs;e &longs;ono a piè piano, ouero il ter <lb/>reno è mo&longs;&longs;o, ouero è &longs;odo. </s> <s id="s.005842">Di tutte que&longs;te maniere Vitru. ci da i precetti. </s> <s id="s.005843">il terren &longs;odo deue <lb/>e&longs;&longs;er i&longs;pianato, & liuellato, & poi indurui &longs;opra il terrazzo con la prima co perta. </s> <s id="s.005844">& qui do­<lb/>uemo &longs;apere che gli antichi u&longs;auano molta diligenza nel fare i pauimenti, perche poneuano mol­<lb/>te mani di co&longs;e per fare il &longs;uolo, cioè molte coperte una &longs;opra l'altra, comiciando dalla piu ba&longs;&longs;a <lb/>cro&longs;ta con materia piu gro&longs;&longs;a, & uenendo alla &longs;uperficie di &longs;opra &longs;empre con materia piu minuta, <lb/>auuertendo ancho molto bene al tempo di fare i pauimenti, come io dirò dapoi. </s> <s id="s.005845">Per fonda-<emph.end type="italics"/><pb pagenum="312" xlink:href="045/01/326.jpg"/><emph type="italics"/>mento adunque porre &longs;i deue (come dice Vitru.) di &longs;otto il &longs;a&longs;&longs;o non piu grande del pugno, oue­<lb/>ro il quadrello; & que&longs;to fondamento Vitru. chiama Statumen; & que&longs;to in&longs;ieme con la mate­<lb/>ria piu gro&longs;&longs;a. </s> <s id="s.005846">Ma &longs;e il terreno &longs;arà commo&longs;&longs;o, è nece&longs;&longs;ario batterlo, & ra&longs;&longs;odarlo molto <lb/>bene, & con pali unirlo, accioche non s'allarghi, & faccia rompere, & crepare il pauimento, <lb/>nel che bi&longs;ogna u&longs;are grandis&longs;ima diligenza, indi poi &longs;pianarlo, & far come di &longs;opra inducendoui <lb/>il primo &longs;gro&longs;&longs;amento. </s> <s id="s.005847">Ma &longs;e ne i palchi &longs;opra le trauature uorremo gettare i pauimenti, bi&longs;o­<lb/>gna &longs;opra le traui porre un'ordine di tauole attrauer&longs;ate, & auuertire che la trauatura, & il <lb/>parete, che &longs;o&longs;tenta quel tauolato, &longs;ia d'una &longs;orte di legname, o di pietra egualmente gagliarda, <lb/>& forte, accioche una parte &longs;o&longs;tenendo il pe&longs;o, & l' altra cedendo, non faccia di&longs;egualttà dal <lb/>che ne na&longs;ca, che'l pauimento crepi, come &longs;i uede &longs;pe&longs;&longs;o, che da i capi delle trauature uicine al <lb/>parete, perche in que luoghi il capo del traue è forte per e&longs;&longs;er uicino al centro, doue egli s'appog­<lb/>gia, & nel mezo è debile, perilche la materia del mezo dando luogo &longs;i rila&longs;cia da i capi, & fa le <lb/>crepature ne i pauimenti. </s> <s id="s.005848">Nelle trauature, & tauolati bi&longs;ogna auuertire di non me&longs;colare le­<lb/>gname di piu &longs;orte, perche in diuer&longs;i legni, è diuer&longs;a natura, nè uno è co&longs;i &longs;aldo, come l'altro, dal <lb/>che ne na&longs;ceno i difetti de i Pauimenti.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.005849"><emph type="italics"/>Per la i&longs;te&longs;&longs;a ragione &longs;opra la trauatura, o tauolato bi&longs;ogna porui della paglia, o del Felice, <lb/>perche la calce, che entra nel terrazzo non gua&longs;ti il legname, & co&longs;i gettar bi&longs;ogna il primo fon­<lb/>damento di pietra non meno di quanto cape la mano, & &longs;gro&longs;&longs;are col Terrazzo. </s> <s id="s.005850">V&longs;auano due &longs;or­<lb/>ti di Terrazzo, il nuouo, che &longs;i fa di pietra allhora pesta, o di te&longs;tole aggiugnendoui una parte di <lb/>calcina, a due di quelle, & il uecchio rinouato fatto di pauimenti gia ruinati, nella cui me&longs;colan­<lb/>za ui ua a cinque di Terrazzo due di calcina. </s> <s id="s.005851">Gettato il terrazzo, è nece&longs;&longs;ario batterlo bene, <lb/>però a que&longs;to officio gli antichi eleggeuano un numero di huomini fin a dieci, perche &longs;i poteuano <lb/>accommodare in una &longs;tanza, che uno non impediua l'altro, & &longs;i faceuano tante decurie, cioè tan­<lb/>ti dieci huomini, quanti era nece&longs;&longs;ario, di modo, che uno commandaua, & &longs;opra&longs;taua a dieci.<emph.end type="italics"/><lb/><figure id="id.045.01.326.1.jpg" xlink:href="045/01/326/1.jpg"/><lb/><emph type="italics"/>Que&longs;to modo di battere, ra&longs;&longs;odare, & &longs;pianare <lb/>il terrazzo noi chiamamo, Or&longs;are. </s> <s id="s.005852">L'altez­<lb/>za, o gro&longs;&longs;ezza di quella materia co&longs;i pe&longs;ta, & <lb/>battuta e&longs;&longs;er deue non meno di once noue, che <lb/>Vitr. dice Dodrante, & que&longs;to è il primo &longs;gro&longs;­<lb/>&longs;amento, & la prima cro&longs;ta, o letto del paui­<lb/>mento. </s> <s id="s.005853">Sopra il quale di piu &longs;ottile, & minuta <lb/>materia &longs;i deue iudurre un altra mano, che co­<lb/>me anima, & &longs;odezza e&longs;&longs;er s'intende, & è di <lb/>te&longs;tola ben pi&longs;tata, che di due parti, nè habbia <lb/>una di calce. </s> <s id="s.005854">Sopra que&longs;ta cro&longs;ta s'induce il <lb/>pauimento, o di pietra cotta, o d'altra pietra, <lb/>& que&longs;ta, o &longs;arà minuta come mu&longs;aico, o di qua<lb/>dri grandi, &longs;econdo la grandezza, o bellezza, <lb/>che &longs;i de&longs;idera: ben &longs;i de&longs;idera opera, che le pie­<lb/>tre di che forma &longs;iano, o quadretti, o ritondi <lb/>come &longs;cudi, che Vitr. dice Scutulis, o Triangu­<lb/>lari, o di &longs;ei anguli, che Vitr. chiama Faui, per­<lb/>che i Faui, & le ca&longs;elle delle api &longs;ono in &longs;ei an­<lb/>guli, o di che figura &longs;i &longs;ieno, &longs;ian tutte eguali <lb/>in un piano unite, & &longs;i &longs;contrino a punto, che <lb/>una non &longs;ia piu alta dell'altra, che i lati, & gli <lb/>anguli &longs;ieno uniti, ilche &longs;i fa con il fregarli mol <lb/>to bene, & li&longs;ciarli con diligenza. </s> <s id="s.005855">V&longs;auano<emph.end type="italics"/><pb pagenum="313" xlink:href="045/01/327.jpg"/><figure id="id.045.01.327.1.jpg" xlink:href="045/01/327/1.jpg"/><lb/><emph type="italics"/>gli antichi alcune cro&longs;te fatte di arena, & di <lb/>calce, & minute te&longs;tole, nellequali ui andaua <lb/>la quarta parte di Teuertino pi&longs;to: u&longs;auano an­<lb/>che alcuni quadrelli gro&longs;&longs;i un dito, larghi due, <lb/>lunghi altrettanto, che &longs;tauano in taglio, a&longs;&longs;i­<lb/>migliando le &longs;piche. </s> <s id="s.005856">que&longs;te polite figure, & lu­<lb/>&longs;ire erano &longs;i, che non &longs;i uedeuano le commi&longs;&longs;u­<lb/>re, nè una minima pietra, che u&longs;ci&longs;&longs;e de i termi­<lb/>ni: però erano mirabilmente piane, & di&longs;te&longs;e, <lb/>& &longs;pecialmente uaghe. </s> <s id="s.005857">co&longs;i e&longs;pongono gli altri: <lb/>ma io dico che uanno altramente. </s> <s id="s.005858">que&longs;ie erano <lb/>nel pauimento po&longs;te, accioche l'acqua, & l'hu­<lb/>midità non pa&longs;&longs;a&longs;&longs;e alla trauatura, erano piane, <lb/>& &longs;opra que&longs;te era una mirabil cro&longs;ta di mar­<lb/>mo pe&longs;to d'arena, & di calce, che Vitr. chiama Lorica a&longs;&longs;ai ben gro&longs;&longs;a, laquale copriua quel la­<lb/>uoro fatto a &longs;piche, come &longs;i uede nelle ruine antiche, & quel lauoro a &longs;piche non è come pone il <lb/>Filandro, ma come è per la pro&longs;&longs;ima figura dimo&longs;trato, &longs;econdo l'e&longs;&longs;empio tolto dallo antico, & <lb/>erano della grandezza di que&longs;to quadro che contiene la figura, & gro&longs;&longs;e un'oncia: & que&longs;te co&longs;e <lb/>&longs;i u&longs;auano al coperto. </s> <s id="s.005859">Ma&longs;otto l'aere ui bi&longs;ognaua altra manifattura, e&longs;&longs;endoui maggior pe­<lb/>ricolo per li ghiacci, per la humidità, & per l'ardore: però bi&longs;ogna fare due mani di tauolati <lb/>uno attrauer&longs;o dell'altro, che &longs;iano ben inchiodati in&longs;ieme, dipoi col terrazzo nuouo bi&longs;ogna me­<lb/>&longs;colar due parti di te&longs;tola pi&longs;ta, & due parti di calce a cinque ri&longs;pondino nella me&longs;colanza, che &longs;i <lb/>fa col detto terrazzo. </s> <s id="s.005860">Fatto il letto di &longs;otto indur ui bi&longs;ogna la &longs;econda cro&longs;ta alta un piede, &longs;o­<lb/>pra laquale ui ua l'anima, &longs;opra l'anima il pauimento come è &longs;tato detto, che nel mezo &longs;ia gonfio, <lb/>& colmo &longs;i, che in dieci piedi habbia due dita di colmo: ilqual pauimento &longs;ia fatto, di quadri gro&longs;­<lb/>&longs;i due dita, con que&longs;ta manifattura noi potemo a&longs;&longs;icurarci dal danno delle pioggie, & de i ghiacci. </s> <s id="s.005861"><lb/>Ma per le politure, & &longs;pianamenti egli &longs;i piglia un pezzo di piombo, o di &longs;elice, di molto pe&longs;o <lb/>&longs;pianato, & quello con funi tirato &longs;u, & giu, di qua, & di la &longs;opra il pauimento &longs;pargendoui &longs;em <lb/>pre della arena a&longs;pera, & dell'acqua i&longs;piana il tutto: & &longs;e gli anguli, & le linee del &longs;elicato non <lb/>&longs;ono conformi, que&longs;to non &longs;i puo far commodamente: & &longs;e'l pauimento, è con oglio di lino frega­<lb/>to rende un lu&longs;tro, come &longs;e fu&longs;&longs;e di uetro. </s> <s id="s.005862">Similmente &longs;arà buono &longs;pargerui della Amurca, o <lb/>gettarui piu uolte &longs;opra dell'acqua, nellaquale &longs;ia &longs;tata e&longs;tinta la calce: & &longs;e uuoi acconciare un <lb/>terrazzo rotto prendi una parte di tegole pi&longs;te, & due di bolo armeno, & incorpora con ra&longs;a <lb/>pre&longs;&longs;o al fuoco, & &longs;caldato che harai il terrazzo, gettaui &longs;opra que&longs;ta materia, & poi con un <lb/>ferro caldo &longs;tendila gentilmente. </s> <s id="s.005863">Et co&longs;i farai ancho &longs;e col marmo poluerizato me&longs;colerai cal­<lb/>cina bianca cruda in acqua bogliente, & la&longs;ciata &longs;eccare. </s> <s id="s.005864">Fatto que&longs;to tre, o quattro fiate impa­<lb/>&longs;terai con latte, & con quel colore, che ti piacerà di dare. </s> <s id="s.005865">& &longs;e uole&longs;&longs;i far parere l'opera di mu­<lb/>&longs;aico, poni la detta materia nelle forme, dandoli quel color che ti piace, ma poi dalli l'oglio cal­<lb/>do, ouero impa&longs;ta con colla di cacio il marmo tamigiato, pur che la colla &longs;ia &longs;temprata con chia­<lb/>ra d'uuoua ben battuta, poi ui metti la calce, & impa&longs;ta.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.005866"><emph type="italics"/>Di macer ar la calce per biancheggiare, & coprirei <lb/>pareti. </s> <s id="s.005867">Cap. II.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.005868">Qvando dal pen&longs;iero di far i pauimenti ci &longs;aremo partiti, allhora bi&longs;ogna dichia <lb/>rire il modo di biancheggiare, & polire le opere; & que&longs;to è per &longs;ucceder be­<lb/>ne, quando molto tempo inanzi il bi&longs;ogno i pezzi di buoni&longs;sima calce, & le <lb/>&longs;cheggie &longs;aranno nell'acqua mollificate, & macerate, accioche &longs;e alcuna &longs;cheg <pb pagenum="314" xlink:href="045/01/328.jpg"/>gia &longs;arà poco cotta nella fornace per la lunga maceratione co&longs;tretta dal liquore a sbogli­<lb/>re, &longs;ia con una egualità dige&longs;ta. </s> <s id="s.005869">Perche quando &longs;i piglia la calce non macerata, ma nuoua, <lb/>& &longs;re&longs;ca, dapoi che è data a i pareti hauendo ciotole o pietruccie crude a&longs;co&longs;e manda fuori <lb/>alcune pu&longs;tule, & que&longs;te ciotole quando nell'opera poi &longs;ono rotte egualmente, & mace­<lb/>rate di&longs;cioglieno, & disfanno le politezze delle coperte. </s> <s id="s.005870">Ma poi che &longs;i hauerà ben pro­<lb/>ui&longs;to alla maceratione della calce, & ciò con diligenza &longs;arà nell'opera preparato, pigli&longs;i <lb/>una A&longs;cia, {<emph type="italics"/>Che noi cazzuola, altri zapetta chiamano<emph.end type="italics"/>,} & &longs;i come &longs;i &longs;piana, & poli&longs;ce il <lb/>legname, con la &longs;piana, co&longs;i la calce macerata nella fo&longs;&longs;a &longs;ia a&longs;ciata, & riuoltata con la ca­<lb/>zuola, &longs;e le pietruccie &longs;i &longs;entiranno dare in quello &longs;trumento, &longs;egno &longs;arà che la calce non <lb/>è ben temperata, ma quando il ferro &longs;i trarrà fuori &longs;ecco, & netto, &longs;i mo&longs;trerà quella ua­<lb/>nida, & &longs;itibonda, ma quando &longs;arà gra&longs;&longs;a, & ben macerata attaccata come colla a quel fer­<lb/>ro, darà ottimo inditio di e&longs;&longs;ere ottimamente temperata. </s> <s id="s.005871">Fatte, & preparate que&longs;te co&longs;e <lb/>trouati gli &longs;trumenti, et l'armatura, &longs;iano e &longs;pedite le di&longs;po&longs;itioni de i uolti nelle &longs;tanze, <lb/>quando &longs;ia, che non uogliamo fare i &longs;offitti. </s> </p> <p type="main"> <s id="s.005872"><emph type="italics"/>Nel &longs;econdo capo Vitr. c'in&longs;egna a preparare la calce, accioche commodamente la potiamo <lb/>u&longs;are alle coperte, & biancheggiamenti de i pareti, & co&longs;i e&longs;pediti i pauimenti, & loro bellezze <lb/>uiene ad ornar i muri. </s> <s id="s.005873">Io nel &longs;econdo libro ho detto a ba&longs;tanza della calce, & quello, che ini se<lb/>detto, rende piu facile il pre&longs;ente luogo, che da &longs;e ancho è piano, però e&longs;poneremo il &longs;eguente, che <lb/>adorna i uolti, & i pareti.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.005874"><emph type="italics"/>Della di&longs;po&longs;itione de i uolti. </s> <s id="s.005875">del modo di coprire, & d'in­<lb/>cro&longs;tar i muri. </s> <s id="s.005876">Cap. III.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.005877">Qvando adunque &longs;arà bi&longs;ogno fabricar'a uolti, co&longs;i fare &longs;i deue. </s> <s id="s.005878">Siano di&longs;po­<lb/>&longs;ti gli A&longs;&longs;eri, o trauicelli dritti di&longs;tanti non piu di due piedi l'uno dall'altro, & <lb/>que&longs;ti &longs;iano di Cipre&longs;&longs;o, perche quelli di Abete pre&longs;to &longs;ono da i tarli, & dal­<lb/>la uecchiez za con&longs;umati: quelli A&longs;&longs;eri quando &longs;aranno a torno di&longs;po&longs;ti in for <lb/>ma ritonda &longs;iano congiunti alle traui, o coperti, & conficcati con chiodi di ferro di&longs;po­<lb/>&longs;te per ordine le catene, le quali &longs;iano fatte di quella materia, alla quale nè tarli, nè uec­<lb/>chiezza, nè humore po&longs;&longs;a far danno, come il Bo&longs;&longs;o, il Ginepro, l'Oliuo, il Roucre, il <lb/>Cipre&longs;&longs;o, & altri &longs;imiglianti, eccetto, che di Quercia. </s> <s id="s.005879">Perche la Quercia torcendo&longs;i nel­<lb/>le opere, doue è po&longs;ta, &longs;i fende. </s> <s id="s.005880">Di&longs;po&longs;ti che &longs;aranno ordinatamente quei trauicelli, a <lb/>quelli &longs;i deue legare le canne Greche pe&longs;te, come richiede la forma del uolto, con alcune <lb/>re&longs;te fatte di Sparto Hi&longs;panico. </s> <s id="s.005881">Similmente &longs;opra la curuatura ui &longs;ia indotta la materia <lb/>di calce, & d'arena me&longs;colata, accioche &longs;e qualche gocciola caderà dal tauolato, o da i <lb/>tetti, facilmente &longs;i po&longs;&longs;a &longs;o&longs;tenere. </s> <s id="s.005882">Ma &longs;e non ui &longs;arà copia di canne Greche, bi&longs;ognerà <lb/>pigliare delle cannuccie &longs;ottili de paludi, & legarle in&longs;ieme, & di quelle far le mata&longs;&longs;e, & <lb/>le re&longs;ti quanto lunghe &longs;i conuiene, ma di continuata gro&longs;&longs;ezza, pure che tra due nodi non <lb/>&longs;ia di&longs;tanza de i legamenti piu di due piedi, & que&longs;te mata&longs;&longs;e (come s'è &longs;critto di &longs;opra) <lb/>&longs;iano a gli A&longs;&longs;eri, e trauicelli legate, & in e&longs;&longs;e conficcate &longs;iano le Spatelle di legno; & <lb/>l'altre co&longs;e tutte &longs;iano e&longs;pedite (come s'è detto di &longs;opra.) Di&longs;po&longs;te poi le curuature, & <lb/>conte&longs;te, &longs;ia il loro cielo &longs;maltato & coperto politamente, & con l'arena &longs;gro&longs;&longs;ato, da­<lb/>poi con creta, o marmo polito. </s> <s id="s.005883">Poi che i uolti &longs;aranno politi, &longs;i deono porre le cornici, <lb/>lequali &longs;i deono fare quanto piu &longs;i puo &longs;ottili, & leggieri, perche e&longs;&longs;endo grandi per lo <lb/>pe&longs;o &longs;i &longs;taccano, nè &longs;i po&longs;&longs;ono &longs;o&longs;tenere. </s> <s id="s.005884">In que&longs;te per modo alcuno non &longs;i deue me&longs;co­<lb/>lare il ge&longs;&longs;o, ma con criuellato marmo deono e&longs;&longs;er ad un modo egualmente tirate, accio­<lb/>che facendo pre&longs;a, la&longs;cino l'opera ad un tempo &longs;eccar&longs;i. </s> <s id="s.005885">Egli &longs;i deue ancho nel far i uol-<pb pagenum="315" xlink:href="045/01/329.jpg"/>ti &longs;chiuare la di&longs;po&longs;itione de gli antichi, perche i piani delle loro cornici, per lo gran pe&longs;o <lb/>minacciando erano pericolo&longs;i. </s> <s id="s.005886">Delle cornici altre &longs;ono &longs;chiette, altre ornate. </s> <s id="s.005887">Nei <lb/>conclaui doue &longs;ono a&longs;&longs;ai lucerne; ouero il fuoco &longs;tanno meglio le &longs;chiette, accioche piu <lb/>facilmente &longs;i po&longs;sino nettare, ma ne i luoghi della &longs;tate, & nelle e&longs;&longs;edre, doue non è fu­<lb/>mo, nè caligine puo far danno, &longs;tan bene le ornate, perche &longs;empre le co&longs;e bianche, per <lb/>la &longs;operbia, & grandezza del candore, non &longs;olamente da i propi luoghi doue &longs;ono, ma da <lb/>gli altri edifici uicini pigliano il fumo. </s> <s id="s.005888">Fatte, & e&longs;pedite le cornici bi&longs;ogna imboccare <lb/>molto bene i pareti, & lgro&longs;&longs;arli, & &longs;eccando&longs;i quella &longs;gro&longs;&longs;atura &longs;ian indotte le dritture <lb/>dello arenato, di modo, che le lunghezze &longs;iano a linea, le altezze a piombo, gli anguli a <lb/>&longs;quadra, perche la maniera delle coperte a que&longs;to modo &longs;arà preparata per le pitture. </s> <s id="s.005889"><lb/>Cominciando&longs;i a &longs;eccare la detta cro&longs;ta, di nuouo &longs;e le dia un'altra di &longs;opra, & co&longs;i quanto <lb/>piu fondata &longs;arà la drittura dello arenato, tanto piu ferma &longs;arà la &longs;odezza della intonicatu­<lb/>ra. </s> <s id="s.005890">Quando poi il parete dopo la prima &longs;gro&longs;&longs;atura con tre cro&longs;te almeno di arena &longs;arà <lb/>formato, allhora &longs;i faranno le &longs;pianature con grano di marmo, pur che la materia &longs;ia tem­<lb/>perata in modo, che quando &longs;arà impa&longs;tata non &longs;i attacchi al badile, ma il ferro netto dal <lb/>mortaio tratto ne &longs;ia. </s> <s id="s.005891">Indottoui il grano, & &longs;eccando&longs;i, &longs;ia data un'altra intonicatura <lb/>leggiermente, la quale ben battuta, & fregata &longs;ottilmente &longs;i dia. </s> <s id="s.005892">Quando adunque i pa­<lb/>reti con tre coperte di arena, & di marmo a&longs;&longs;odati &longs;aranno, nè fi&longs;&longs;ure, nè altro difetto po<lb/>tranno riceuere. </s> <s id="s.005893">Ma le &longs;odezze fondate, & fermate con le battiture di ba&longs;toni, & con la <lb/>ferma bianchezza del marmo li&longs;ciate, po&longs;toui &longs;opra i colori con le politure, manderanno <lb/>fuori eccellenti bellezze. </s> <s id="s.005894">Quando i colori con diligenza &longs;ono indotti &longs;opra le coperte non <lb/>bene a&longs;ciutte, per que&longs;to non &longs;putano, ma &longs;tanno fermi, perche la calce nelle fornaci <lb/>a&longs;ciugato l'humore, & per le &longs;ue rarità diuenuta uota, a&longs;tretta dalla &longs;iccità, tira l'humo­<lb/>re a &longs;e delle co&longs;e, che per &longs;orte la toccano, & in&longs;ieme a&longs;&longs;odando&longs;i per le me&longs;colanze fatte <lb/>di co&longs;e d'altra uirtù, concorrendoui i &longs;emi, & i principij in cia&longs;cuno membro, che ella &longs;ia <lb/>formata &longs;eccando&longs;i, tale diuiene, che pare, che habbia le propie qualità della &longs;ua maniera, <lb/>& però le coperte, che &longs;on ben fatte, nè per la uecchiezza diuentano a&longs;pre, nè lauate rila­<lb/>&longs;ciano i colori, &longs;e for&longs;e non &longs;aranno con diligenza date nel &longs;ecco. </s> <s id="s.005895">Quando adunque in <lb/>que&longs;to modo, come è &longs;opradetto, i pareti &longs;aranno coperti potranno hauere, & fermezza, <lb/>& &longs;plendore, & forza di durare eternamente; ma quando &longs;arà data una coperta di arena, <lb/>& una di minuto marmo &longs;olamente, potendo poco quella &longs;ottigliezza &longs;i rompe, nè puo <lb/>per la debolezza della gro&longs;&longs;ezza &longs;ua con&longs;eruare nelle politure il propio &longs;plendore: Perche <lb/>come lo &longs;pecchio d'argento tirato di &longs;ottil lametta ritiene incerta, & debil lu&longs;trezza, & <lb/>quello, che è di piu &longs;oda temperatura formato, riceuendo in &longs;e con fermo potere la poli­<lb/>tezza, rende lu&longs;tre nello a&longs;petto, & certe le imagini a i riguardanti: co&longs;i le coperte fatte <lb/>di materia &longs;ottile, non &longs;olamente fanno le &longs;i&longs;&longs;ure, ma &longs;i gua&longs;tano pre&longs;tamente, ma quelle <lb/>che &longs;on fondate con piu cro&longs;te di arena, & con &longs;odezza di marmo, fatte piu &longs;ode, & con <lb/>frequente politezze battute, & li&longs;ciate, non &longs;olamente lu&longs;tre &longs;i fanno, ma anchora riman­<lb/>dano fuori le imagini a i riguardanti, I copritori de i Greci u&longs;ando que&longs;te ragioni non <lb/>tanto fanno le loro opere ferme, ma ancho nel mortaio con calce, & arena me&longs;colata con <lb/>molti huomini pe&longs;tano la materia con pezzi di legno, & co&longs;i ben battuta a concorrenza <lb/>la mettono in opera. </s> <s id="s.005896">Dal che è nato, che molti u&longs;ano in luogo di tauole da dipignere <lb/>quelle cro&longs;te, che &longs;i leuano da i pareti, & quelli coperti con le diui&longs;ioni delle tauole, & <lb/>de gli &longs;pecchi hanno d'intorno a &longs;e gli &longs;porti e&longs;pre&longs;si dalle co&longs;e. </s> <s id="s.005897">Ma &longs;e ne i graticci &longs;i haue­<lb/>ranno a fare le coperte, nelle quali è nece&longs;&longs;ario, che &longs;i facciano le fi&longs;&longs;ure, ne i dritti, & tra <lb/>uer&longs;i trauicelli, (perche quando s'impa&longs;tano di loto riceuono l'humore, & quando &longs;i &longs;ec <lb/>cano a&longs;&longs;ottigliati fanno le fi&longs;&longs;ure nelle cro&longs;te) accioche que&longs;to difetto non auuegna, co­<lb/>&longs;i ragioneuolmente &longs;i deue prouedere. </s> <s id="s.005898">Quando tutto il parete &longs;arà impa&longs;tato di loto, <pb pagenum="316" xlink:href="045/01/330.jpg"/>allhora in quell'opera &longs;iano le canne continue con chiodi mu&longs;carij confitte, dapoi di nuo­<lb/>uo indottoui il loto, &longs;e le prime canne &longs;aranno fitte per trauer&longs;o, le &longs;econde &longs;iano fitte per <lb/>dritto, & co&longs;i (come s'è di &longs;opra determinato) data ui &longs;ia la cro&longs;ta di arena, & di marmo <lb/>& d'ogni maniera di coperta, & co&longs;i doppiamente e&longs;&longs;endo fitta la continuità delle canne <lb/>ne i pareti con ordini trauer&longs;i, nè peli, nè fi&longs;&longs;ure è per fare in modo alcuno. </s> </p> <p type="main"> <s id="s.005899"><emph type="italics"/>Tratta della di&longs;po&longs;itione de i uolti, & que&longs;to è nece&longs;&longs;ario: imperoche male &longs;i potranno coprire, <lb/>& intonicare i uolti, &longs;e non &longs;aranno &longs;ermi, & ben fatti; & atti a riceuere gli abbellimenti, & <lb/>le intonicature, & però prima egli c'in&longs;egna, come douemo far i uolti, perche &longs;cstentino gli or­<lb/>namenti; come &longs;i deue, & di &longs;opra, & di &longs;otto di quelli &longs;maltarli, & darli di bianco; & come <lb/>&longs;otto quelli &longs;i hanno à fare le cornici, & &longs;otto le cornici, come &longs;i hanno ad intonicare, & bian­<lb/>cheggiare i pareti: & finalmente ci mo&longs;tra come &longs;i habbiano a fare, & a coprire i pareti di cra­<lb/>ticij. </s> <s id="s.005900">Noi in uniuer&longs;ale parleremo de i uolti, accioche tutta la pre&longs;ente materia ci &longs;ia dinan­<lb/>zi a gli occhi, & addurremo parte di quello, che dice l'Alberto nel terzo al<emph.end type="italics"/> 14. <emph type="italics"/>Capo. <!-- KEEP S--></s> <s id="s.005901">Va­<lb/>rie &longs;ono le maniere de i uolti, & delle camere: noi douemo cercare, che differenza &longs;ia tra quel­<lb/>le, & quali &longs;iano le linee de i contorni loro. </s> <s id="s.005902">Le &longs;orti loro &longs;ono la Fornice, la camera, l'hemi&longs;pe­<lb/>ro, & quelle uolte, che &longs;ono parti di queste. </s> <s id="s.005903">L'hemi&longs;pero, o meza palla non uiene per &longs;ua natu­<lb/>ra &longs;e non dalle piante circolari. </s> <s id="s.005904">La camera &longs;i deue alle piante quadrate. </s> <s id="s.005905">Le fornici conuengono <lb/>a quegli edifici, che &longs;on quadrangolari, ma quel uolto, che è fatto a &longs;imiglianza d'un monte ca­<lb/>uato, è detto fornice, che è un uolto lungo, & piegato in arco. </s> <s id="s.005906">Imiginiamoci un parete larghi&longs;­<lb/>&longs;imo, che dalla cima &longs;i uolti, & &longs;i pieghi, attrauer&longs;o d'un portico. </s> <s id="s.005907">Camera è come un'arco, che da <lb/>Mezo dì a Tramontana &longs;i pieghi, & che ne habbia &longs;imilmente attrauer&longs;ato un'altro da <lb/>Leuante a Ponente, & è a &longs;imiglianza delle corna piegate. </s> <s id="s.005908">Hemi&longs;pero è il concor&longs;o di molti ar <lb/>chi eguali in un centro del colmo di mezo. </s> <s id="s.005909">Ci &longs;ono ancho molte altre maniere di uolti, & di <lb/>archi, che fanno mostra di figure di molti anguli, delle quali è una iste&longs;&longs;a ragione del uoltarli, <lb/>& tutte le predette maniere &longs;i fanno con la ragione, che &longs;i fa il parete, imperoche i &longs;ostegni, & <lb/>l'o&longs;&longs;a, che uengono &longs;ino alla &longs;ommità, deono leuar&longs;i dall'o&longs;&longs;a del parete, ma &longs;econdo il modo loro <lb/>deono nel parete e&longs;&longs;er'impo&longs;ti, cioè in quella forma, che uolemo dar al uolto, & que&longs;te o&longs;&longs;a deo­<lb/>no e&longs;&longs;er drizzate di&longs;tanti una dall'altra, per un certo &longs;patio. </s> <s id="s.005910">Vitr. dice A&longs;&longs;eri drizzati non <lb/>lontani uno dall'altro piu di due piedi, & &longs;ono trauicelli alti, & stretti, & dice que&longs;ti A&longs;&longs;eri, <lb/>quando &longs;ar anno di&longs;tribuiti &longs;econdo la forma del giro, cioè &longs;econdo quella maniera di uolto, che <lb/>uolemo fare; deono con catene e&longs;&longs;er legati, queste catene &longs;ono legature di legni po&longs;te nelle &longs;om­<lb/>mità di detti trauicelli, accioche &longs;i tenghino in&longs;ieme. </s> <s id="s.005911">Siano questi inchiodati al tetto, & tauola­<lb/>to di &longs;opra. </s> <s id="s.005912">Et quegli &longs;patij tra l'o&longs;&longs;a uuole l'Alberto, che &longs;iano riempiti: ma ui è differenza tra <lb/>gli empimenti, che &longs;i fanno ne i pareti, o muri, da quelli, che &longs;i fanno tra que&longs;te o&longs;&longs;a, impero­<lb/>che nel muro uanno dritti a piombo, qui piegati, & torti, &longs;econdo la forma de i uolti. </s> <s id="s.005913">uuole an­<lb/>che, che l'o&longs;&longs;a &longs;ian di pietra cotta di due piedi, & i riempimenti di leggieri&longs;&longs;ima pietra, per non <lb/>caricare il muro. </s> <s id="s.005914">Dice poi, che per fare gli archi, & i uolti, è nece&longs;&longs;ario l'armatura, che è <lb/>fatta di legname &longs;econdo la forma, che &longs;i uuole. </s> <s id="s.005915">&longs;opra questa &longs;i pongono le craticole di canne, <lb/>per &longs;ostenere quella materia di che &longs;i fa il uolto, fin che s'induri&longs;ca, uuole che la meza palla non <lb/>habbia bi&longs;ogno d'armatura, nè quelle forme, che uanno imitando quelle che &longs;on di molti anguli; <lb/>ma bene fa bi&longs;ogno d'una legatura, o te&longs;&longs;itura, che leghi stretti&longs;&longs;imamente le parti debili, con le <lb/>ferme, & gagliarde, & iui commenda la forma dell' Hemi&longs;pero. </s> <s id="s.005916">dice poi, che la te&longs;tuggine, la <lb/>camera, la fornice hanno bi&longs;ogno d'armature, raccomandando i primi ordini, & i capi de <lb/>gli archi a fermi&longs;&longs;ime imposte: & dà alcuni precetti d'intorno a questa materia, & di leuar l'ar­<lb/>mature, & di riempir i uani, & di fortificar gli archi, i quali precetti &longs;ono chiari a praticanti. </s> <s id="s.005917"><lb/>noi u&longs;iamo gli archi, & i uolti, le crocciere, le cube, i rimenati, le uolte a lunette &longs;econdo le na <lb/>ture de gli edifici, come è noto. </s> <s id="s.005918">Formata la camera, cioè quella curuatura di uolto, come ci <lb/>piace, &longs;i copre il cielo di &longs;otto, & &longs;i dà di &longs;opra quello, che dice Vitr. dapoi &longs;i fanno le corni ci a <emph.end type="italics"/><pb pagenum="317" xlink:href="045/01/331.jpg"/><emph type="italics"/>rorno di stucco, & non ui entra ge&longs;&longs;o di &longs;orte alcuna, &longs;otto le cornici, le quali deono e&longs;&longs;er leggie­<lb/>ri, & di &longs;ottil materia, & non hauer molto &longs;porto, perche non &longs;i rompino caricate dal pe&longs;o. </s> <s id="s.005919">Si <lb/>deue hauer cura d'intonic ar i pareti, & in questa parte è molto diffu&longs;o il detto Alberto: ma noi <lb/>staremo con Vitr. & diremo la &longs;ua intentione da capo, la qual è di apparecchiare i uolti, & le <lb/>camere, & dice, che egli &longs;i deue drizzare alcuni trauicelli distanti due piedi uno dall'altro, & <lb/>&longs;iano di Cipre&longs;&longs;o per e&longs;&longs;er legno, che non &longs;i tarla, nè &longs;i gua&longs;ta, questi trauicelli deono e&longs;&longs;er com­<lb/>partiti a torno la stanza con catene di legno fin al tauolato, o tetto con &longs;pe&longs;&longs;i chiodi di ferro con­<lb/>fitti: uuole che que&longs;te catene &longs;ieno, o di Bo&longs;&longs;o, o di Oliua, o di Cipre&longs;&longs;o, o di Rouere, ma non di <lb/>Quercia, perche &longs;i fende, nè d'altro legname, che pati&longs;ca. </s> <s id="s.005920">Fornite le legature, & di&longs;posti i <lb/>trauicelli, & confitti fin &longs;otto il tauolato, bi&longs;ogna con ftore di &longs;parto Hi&longs;pano, che è una &longs;orte di <lb/>giunco, o con canne Greche, pistate; & &longs;ono (pen&longs;o io) di quelle, che noi chiamiamo canne uere. <lb/></s> <s id="s.005921">&longs;i adoperano &longs;imili uolti in Romagna, & &longs;i dà loro quella forma, che &longs;i uuole, perche que&longs;ta è <lb/>materia, che &longs;i piega, & che &longs;i maneggia come &longs;i uuole, & co&longs;i formato il cielo, &longs;i hanno due &longs;u <lb/>perficie una di &longs;opra conue&longs;&longs;a, che guarda al tetto, l'altra di &longs;otto concaua, che guarda il paui­<lb/>mento. </s> <s id="s.005922">quella di &longs;opra è coperta con calce, & arena, & &longs;maltata, accioche difenda la parte di <lb/>&longs;opra delle goccie, che cade&longs;&longs;ero dal colmo, o dalle trauature. </s> <s id="s.005923">Et co&longs;i&longs;arà e&longs;pedita la parte di <lb/>&longs;opra; & quando non ci fu&longs;&longs;ino canne Greche, u&longs;eremo le cannuccie delle paludi, delle quali &longs;i <lb/>faranno come craticule in&longs;ieme legate, & annodate con cordicelle, o giunchi ritorti, pur che i <lb/>nodi non &longs;ieno distanti l'uno dall'altro piu di due piedi. </s> <s id="s.005924">queste mata&longs;&longs;e, o craticule &longs;iano fitte <lb/>a gli a&longs;&longs;eri, con pironi di legno, che Spathelle, o Cortelli &longs;i chiamano. </s> <s id="s.005925">Quanto ueramente alla <lb/>parte di &longs;otto &longs;i richiede, cioè &longs;otto il cielo, è darui la &longs;maltatura di calce, & d'arena, & co&longs;i <lb/>di mano in mano coprire, & d'arena, & di marmo pi&longs;to. </s> <s id="s.005926">Finalmente polito, & biancheggiato <lb/>il uolto, &longs;i deono far le cornici d'intorno &longs;ottili&longs;&longs;ime, & quanto &longs;i puo leggieri, & picciole, impe <lb/>roche, &longs;e fu&longs;&longs;ero grandi porterebbe pericolo, che per lo pe&longs;o non &longs;i &longs;tacca&longs;&longs;ero, & però bi&longs;ogna <lb/>auuertire di non farle di ge&longs;&longs;o, ma di marmo criuellato, & dato egualmente di un tenore, & <lb/>d'una gro&longs;&longs;ezza, & accioche ancho egualmente &longs;i&longs;ecchi, perche quando una parte preueni&longs;&longs;e <lb/>l'altra, non egualmente &longs;i &longs;eccherebbeno. </s> <s id="s.005927">La leggierezza loro difende anche gli habitanti dal <lb/>pericolo, perche le cornici grandi, & larghe &longs;i po&longs;&longs;ono per qualche accidente staccare, & ca­<lb/>der ado&longs;&longs;o, a chi sta nelle camere. </s> <s id="s.005928">Delle cornici altre &longs;i faceuano &longs;chiette, altre lauorate: le <lb/>&longs;chiette &longs;tan bene in luoghi doue è fumo, lumi, & polue, accioche meglio &longs;i po&longs;&longs;ino far nette, <lb/>Le lauorate a fogliami, o a figure stan bene nelle sttanze della state, perche iui non ui è fumo, nè <lb/>lume, & è co&longs;a incredibile quanto il fumo delle alte stanze nuoca, benche lontane, tanta è la <lb/>&longs;operbia della bianchezza. </s> <s id="s.005929">Fatte le cornici, & adornato il cielo, è nece&longs;&longs;ario ancho adornare <lb/>& biancheggiar il muro della stanza, & apparecchiarlo alle pitture, però al parete &longs;i darà pri <lb/>ma una gro&longs;&longs;a &longs;maltatura, &longs;opra la quale poi, che comincierà a &longs;eccare bi&longs;ogna darle una &longs;mal­<lb/>tatura di calce, & di arena fatta &longs;econdo quel compartimento, che &longs;i uorrà per dipignere, & &longs;ian <lb/>l'altezze del parete a piombo, le lunghezze a linea, gli anguli a &longs;quadra, come ueramente &longs;i troua <lb/>muri di mille anni et piu fatti tanto eguali, che una riga tocca per tutto: <expan abbr="tãto">tanto</expan> &longs;odi, che per tauole &longs;i <lb/>po&longs;&longs;ono u&longs;are quelle intonicature, & &longs;corze: tanto fini, che polite con un panno ri&longs;plendono come <lb/>&longs;pecchi; & que&longs;to na&longs;ceua, per che dauano piu cro&longs;te a i pareti, & u&longs;auano infinita diligenza, dando <lb/>la &longs;eguente &longs;corza prima, che la precedente fu&longs;&longs;e a fatto &longs;ecca: era la materia ben macerata, et pre <lb/>parata molto tempo prima, che &longs;i mette&longs;&longs;e in opera; di qui na&longs;ceua, che i colori delle pitture non &longs;o <lb/>lo ri&longs;plendeuano, & erano uaghi, ma ancho durauano eternamente, & s'incorporauano con quel <lb/>la intonicatura, il che non auuenirebbe quando &longs;i de&longs;&longs;e una &longs;ola mano di arenato, et una di granito. </s> <s id="s.005930"><lb/>Ma perche &longs;pe&longs;&longs;o, o per nece&longs;&longs;ità, o per non caricare tanto le fabriche, &longs;i &longs;ogliono fare i pareti di <lb/>Craticci, i quali per molti ri&longs;petti po&longs;&longs;ono e&longs;&longs;er difetto&longs;i, però Vitr. ci dà i precetti ancho di farli <lb/>meglio, che &longs;i puo, accioche durino, & non facciano fi&longs;&longs;ure. </s> <s id="s.005931">Il tutto è facile, però pa&longs;&longs;aremo <lb/>ad altro.<emph.end type="italics"/></s> </p> <pb pagenum="318" xlink:href="045/01/332.jpg"/> </subchap2><subchap2> <p type="head"> <s id="s.005932"><emph type="italics"/>Delle politure, ne i luoghi humidi. </s> <s id="s.005933">Cap. IIII.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.005934">IO ho detto, con che ragioni &longs;i fanno le coperte ne i luoghi a&longs;ciutti, hora io <lb/>e&longs;ponerò in che modo, accioche durino, far &longs;i conuegna le politezze, ne i <lb/>luoghi humidi: & prima ne i conclaui, che &longs;aranno a piè piano cerca tre pie­<lb/>di alto dal pauimento in luogo di arenato &longs;i dia la te&longs;tola, & &longs;gro&longs;&longs;ato, accio <lb/>che le parti di quelle co perte non &longs;ian gua&longs;te dall'humore. </s> <s id="s.005935">Ma &longs;e egli &longs;i trouerà alcuno <lb/>parete, che per tutto &longs;ia offe&longs;o dall'humore, bi&longs;ogna allontanar&longs;i alquanto da quello, & <lb/>farne un'altro tanto di&longs;tante, quanto parerà conuenire alla co&longs;a, & tra due pareti &longs;ia tira­<lb/>to un canale piu ba&longs;&longs;o del piano del conclaue, & que&longs;to canale sbocchi in qualche luogo: <lb/>& poi che egli &longs;arà fatto alquanto alto la&longs;ciati ui &longs;iano gli &longs;piracoli, per che &longs;e l'humore <lb/>non u&longs;cirà per la bocca, ma u&longs;cirà, o di &longs;otto, o di &longs;opra, &longs;i &longs;pargerà nella muratura nuo <lb/>ua. </s> <s id="s.005936">Fatte que&longs;te co&longs;e &longs;i dia lo primo &longs;gro&longs;&longs;amento al parete di te&longs;tola, & poi drizzato, & <lb/>&longs;pianato, & polito &longs;ia. </s> <s id="s.005937">Ma &longs;e'l luogo non patirà, che &longs;i faccia l'altra muratura, faccian&longs;i <lb/>pure i canali, & le bocche loro e&longs;chino in luogo aperto, dapoi da una parte &longs;opra il margi <lb/>ne del canale impongan&longs;i tegole di due piedi, & dall'altra &longs;i drizzino i pila&longs;trelli di quadrel <lb/>letti di ott'oncie, ne i quali po&longs;&longs;an &longs;edere gli anguli di due tegole, & co&longs;i quelli pila&longs;tri <lb/>&longs;iano tanto di&longs;tanti dal parete, che non pa&longs;sino un palmo, dapoi dal ba&longs;&longs;o del parete in fino <lb/>alla cima &longs;ian fitte dritte le tegole oncinate, alle parti di dentro delle quali con diligenza &longs;ia <lb/>data la pece, accioche &longs;caccino da &longs;e il liquore, & co&longs;i di &longs;otto, & &longs;opra il uolto habbiano i <lb/>loro &longs;piracoli. </s> <s id="s.005938">Allhora poi &longs;ian biancheggiate con calce liquida in acqua, accio non rifiuti­<lb/>no la &longs;maltatura, & cro&longs;ta di te&longs;tola, perche per l'aridità pre&longs;a nelle fornaci, non po&longs;&longs;ono <lb/>riceuere la &longs;maltatura, nè mantenerla, &longs;e la calce &longs;otto po&longs;ta, non incolla, & non attacca <lb/>l'una, & l'altra co&longs;a. </s> <s id="s.005939">Indottoui quel primo &longs;gro&longs;&longs;amento, &longs;e le dia in luogo d'arenato la <lb/>te&longs;tola, & tutte le altre co&longs;e, come s'è &longs;critto di &longs;opra nelle ragioni delle intonicature: ma <lb/>gli ornamenti della politura deono hauere propie, & particolari ragioni del Decoro, ac­<lb/>cioche habbiano dignità conuenienti sì &longs;econdo la natura de i luoghi, come per le diffe­<lb/>renze delle maniere. </s> <s id="s.005940">Nelle &longs;tanze del uerno non è utile que&longs;ta compo&longs;itione, nè la pittu­<lb/>ra di grande &longs;pe&longs;a, nè il &longs;ottile ornamento de i uolti, di cornici, perche quelle co&longs;e & dal fu <lb/>mo, & dalla fuligine di molti lumi &longs;i gua&longs;tano: ma in que&longs;ti &longs;opra i poggi deono le tauole <lb/>con inchio&longs;tro e&longs;&longs;er impennate, & polite trapo&longs;toui i cunei di &longs;ilice, o di terra ro&longs;&longs;a. </s> <s id="s.005941"><lb/>Quando &longs;aranno e&longs;plicate le camere pure, & polite ancho non &longs;arà di&longs;piaceuole l'u&longs;o del­<lb/>le &longs;tanze del uerno de i Greci; &longs;e alcuno ui uorrà por mente; & que&longs;to u&longs;o non è &longs;ontuo­<lb/>&longs;o, ma utile, perche egli &longs;i caua tra'l piano liuello del triclinio qua&longs;i due piedi, & battuto <lb/>bene il &longs;uolo, &longs;i ui dà, o'l terrazzo, o il pauimento di te&longs;tole co&longs;i colmato, che habbia le <lb/>bocche nel canale. </s> <s id="s.005942">Dapoi po&longs;toui &longs;opra i carboni, & calcati &longs;odamente, ui &longs;i da una ma­<lb/>teria me&longs;colata di &longs;abbione, di calce, & di fauilla gro&longs;&longs;a mezo piede po&longs;ta a regola, & a li­<lb/>uello, & polito il piano con la cote, &longs;i fa la forma del pauimento nero, & co&longs;i nè i conui­<lb/>ui loro, quello, che da i ua&longs;i, & da gli &longs;puti loro &longs;i manda a terra, &longs;ubito caduto &longs;i &longs;ecca, <lb/>& i &longs;erui, che gli mini&longs;trano, &longs;e bene &longs;aranno &longs;calzi, non piglieranno freddo da tai pa­<lb/>uimenti. </s> </p> <p type="main"> <s id="s.005943"><emph type="italics"/>Qui &longs;i uede la mirabile indu&longs;tria, che u&longs;auano gli anticht, accioche le loro fabriche dura&longs;&longs;ero, <lb/>& &longs;i mant ene&longs;&longs;ero belle, & ornate, imperoche anche la doue la natura del luogo poteua impedi­<lb/>ne, o non patiua gli abbellimenti, con arte &longs;i sforzauano di rimediare: & per che non è co&longs;a niu­<lb/>na, che gua&longs;ti piu gli edifici, & le politure, che la humidità; non ha dubbio, che quando a quella <lb/>&longs;arà ingeni o &longs;amen e proui&longs;to, che la bellezza non con&longs;egua l'effetto &longs;uo: però hauendo Vitr. for­<lb/>uito di darci i precetti di ab bellire, & biancheggiare le opere fatte in luoghi a&longs;ciutti, nel pre&longs;en-<emph.end type="italics"/><pb pagenum="319" xlink:href="045/01/333.jpg"/><emph type="italics"/>te capo c'in&longs;egna a rimediare a i difetti de i luoghi humidi. </s> <s id="s.005944">Il difetto dell'humido uiene, o dal <lb/>ba&longs;&longs;o per lo terreno, o dall'alto per li muri, che &longs;iano appoggiati a monti, o a terreni piu alti. </s> <s id="s.005945">Se <lb/>uiene dal ba&longs;&longs;o, bi&longs;ognerà per le &longs;tanze a piè piano dal luogo, doue uorremo fare il pauimento ca­<lb/>uar &longs;otto tre piedi, & riempire tutto il cauo di te&longs;tole, & poi &longs;pianarlo bene. </s> <s id="s.005946">que&longs;ta materia te­<lb/>nerà il luogo &longs;empre a&longs;ciutto. </s> <s id="s.005947">Ma &longs;e per &longs;orte alcun muro &longs;arà continuamente tocco dall'humo­<lb/>re, allhora faremo un'altro muro &longs;ottile di&longs;co&longs;to da quello quanto ci parerà conueniente, & tra <lb/>que muri &longs;i farà un canale piu ba&longs;&longs;o alquanto del piano dalla &longs;tanza, ilquale sboccherà in luogo <lb/>aperto, la&longs;ciandoui i &longs;uoi &longs;piragli di &longs;opra, perche quando il canale fu&longs;&longs;e molto alto, & che non <lb/>&longs;e gli face&longs;&longs;e que&longs;to rimedio, non ha dubbio, che'l tutto ammarcirebbe, & &longs;i di&longs;cioglierebbe: bi­<lb/>&longs;ogna adunque dargli le &longs;ue bocche di &longs;otto, & i &longs;uoi &longs;piragli di &longs;opra. </s> <s id="s.005948">Drizzato adunque il mu­<lb/>ro al predetto modo, allhora potremo &longs;maltarlo, intonicarlo, & polirlo. </s> <s id="s.005949">Il mede&longs;imo rimedio <lb/>c'in&longs;egna Plinio, & Palladio. <!-- KEEP S--></s> <s id="s.005950">Ma &longs;e per &longs;orte il luogo non puo patire, che &longs;i faccia il muretto, ci <lb/>ba&longs;terà farui i canali, che sbocchino in luogo aperto, & nelle margini di que canali da una par­<lb/>te &longs;opraporui tegole alte due piedi, dall'altra farui alcuni muretti, o pila&longs;trelli di mattoni di due <lb/>terzi di piede, &longs;opra i quali &longs;i po&longs;&longs;an &longs;opraporre gli anguli di due tegole, & que&longs;te tegole non &longs;ian <lb/>di&longs;tanti dal parete principale piu d'un palmo, & co&longs;i &longs;arà fornita la fabrica del canale, & la &longs;ua <lb/>copritura: & perche la humidità del muro principale po&longs;&longs;a entrare nel detto canale, bi&longs;ogna lun<lb/>go il muro dal piede alla &longs;ommità conficcare delle tegole oncinate di modo, che come hamo una <lb/>entri nell'altra, & &longs;iano que&longs;te di dentrouia con &longs;omma diligenza impegolate, perche non rice­<lb/>uino l'humidità, & co&longs;i que&longs;te tegole &longs;oppliranno al mancamento del muretto, & faranno lo i&longs;te&longs;<lb/>&longs;o effetto, perche tra quelle, & il muro principale ci è &longs;patio conueniente, & la humidità del <lb/>muro ua tra quelle tegole, & il muro, pure che di &longs;otto &longs;ian le sboccature, & di &longs;opra gli &longs;pira­<lb/>gli. </s> <s id="s.005951">Fornita que&longs;ta intauellatura (dirò co&longs;i) accioche riceua le imprimiture di te&longs;tole, bi&longs;ogna <lb/>&longs;maltarla di calce liquida, imperoche quella calce rimedia alla &longs;iccità delle tegole, lequali non <lb/>riceuerebbeno le intonnicature, &longs;enza quella prima &longs;maltatura. </s> <s id="s.005952">Quello poi, che &longs;i debbia dipi­<lb/>gnere in &longs;imili, & altri luoghi Vitr. con gran facilità, & con belli auuertimenti ci dimo&longs;tra, però <lb/>mi riporto alla interpretatione, nel che &longs;i con&longs;idera quello, che appartiene al Decoro: parla poi <lb/>di una u&longs;anza Greca di fare i pauimenti, co&longs;a bella, utile, & di poca &longs;pe&longs;a, & nel te&longs;to è mani­<lb/>fe&longs;ta.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.005953"><emph type="italics"/>Della ragione del dipignere ne gli edifi­<lb/>cy. </s> <s id="s.005954">Cap. V.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.005955">Agli altri conclaui, cioè di primauera, d'autunno, della &longs;tate, & gli atrij, & pe­<lb/>ri&longs;tili da gli antichi &longs;tate &longs;ono determinate alcune maniere di pitture, per cer­<lb/>ti ri&longs;petti; perche la pittura &longs;i fa imagine di quello, che è, & puo e&longs;&longs;er, come <lb/>dell'huomo, dello edificio, della naue, & delle altre co&longs;e, dalle forme dellequa <lb/>li, & da i contorni de i corpi con figurata &longs;imiglianza &longs;i pigliano gli e&longs;&longs;empi. </s> <s id="s.005956">Da que&longs;to <lb/>gli antichi, che ordinarono i principi delle politezze prima imitarono la diuer&longs;ità delle <lb/>cro&longs;te di marmo, & le loro collocationi, & dipoi delle cornici, & de i uarij compartimenti <lb/>di colore ceruleo, & di Minio. <!-- KEEP S--></s> <s id="s.005957">Dopo intrarono a fare le figure de gli edificij, & delle co­<lb/>lonne, & imitare gli &longs;porti, & i rilieui, de i fronti&longs;picij, & ne i luoghi aperti, come nelle e&longs;­<lb/>&longs;edre per l'ampiezza de i pareti di&longs;egnarono le fronti delle Scene all'u&longs;anza Tragica ouero <lb/>Comica, ouero Satirica: ma ne i luoghi da pa&longs;&longs;eggiare per e&longs;&longs;ere gli &longs;pacij lunghi &longs;i die­<lb/>dero ad ornarli di uarietà di giardini e&longs;primendo le imagini di certe proprietà di pae&longs;i: <lb/>perche dipingono i porti, le Promontore, i Liti, i fiumi, le fonti, gli tratti delle acque, <lb/>i tempij, i bo&longs;chi &longs;acri, i monti, le pecore, i pa&longs;tori, & in alcuni luoghi anche &longs;i fanno <lb/>pitture piu degne, & che hanno piu fattura, che dimo&longs;trano anche co&longs;e maggiori, come <pb pagenum="320" xlink:href="045/01/334.jpg"/>&longs;ono i Simulacri de i Dei, le ordinate dichiarationi delle &longs;auole, le guerre Troiane, gli <lb/>errori d'Vli&longs;&longs;e per li luoghi, & altre co&longs;e, che &longs;ono con &longs;imiglianti ragioni a quelli fatte <lb/>dalla natura. </s> <s id="s.005958">Ma quegli e&longs;&longs;empi, che erano tolti da gli antichi da co&longs;e uere, hora &longs;ono <lb/>con maluaggie u&longs;anze corrotti, & gua&longs;ti. </s> <s id="s.005959">Perche nelle coperte de i muri &longs;i dipingono <lb/>piu pre&longs;to i mo&longs;tri, che le certe imagini pre&longs;e da determinate co&longs;e. </s> <s id="s.005960">Perche in uece di co­<lb/>lonne ui &longs;i pongono canne, & in luogo de fa&longs;tigi fanno gli arpagineti canalati con le fo­<lb/>glie cre&longs;pe: Similmente i candellieri de i Tempietti, che &longs;o&longs;tengono le figure, & &longs;opra <lb/>le cime di quelli fan na&longs;cere dalle radici i ritorti teneri con le uolute, che hanno &longs;enza ra­<lb/>gioni le figurine, che &longs;opra ui &longs;iedono. </s> <s id="s.005961">Similmente i &longs;ioretti da i loro &longs;teli, che hanno me­<lb/>ze figure, che e&longs;cono da quelli, altre &longs;imiglianti a i capi humani, altre a i capi delle be­<lb/>&longs;tie. </s> <s id="s.005962">Ma tali co&longs;e, nè &longs;ono, nè po&longs;&longs;on e&longs;&longs;er, nè &longs;aranno giamai. </s> <s id="s.005963">Co&longs;i adunque i cattiui <lb/>co&longs;tumi hanno con&longs;tretto, che per inertia i mali giudici chiudino gli occhi alle uirtù del­<lb/>l'arti: perche come puo e&longs;&longs;er che una canna &longs;o&longs;tenti un coperto, ouero un candellieri, un <lb/>Tempietto, & gli ornamenti d'un fronti&longs;picio, ouero un fa&longs;cetto di herba co&longs;i &longs;ottile, & <lb/>molle &longs;o&longs;tegna una figuretta, che ui &longs;tia &longs;opra &longs;edendo? </s> <s id="s.005964">ouero che dalle radici, & fu&longs;ti <lb/>piccioli, da una parte &longs;iano generati i fiori, & meze figure? </s> <s id="s.005965">Ma benche gli huomini ue­<lb/>dino tai co&longs;e e&longs;&longs;er fal&longs;e, pure &longs;i dilettano, nè fanno conto &longs;e elle po&longs;&longs;ono e&longs;&longs;er, ò nò: ma <lb/>le menti offu&longs;cate da i giudicij infermi non po&longs;&longs;ono approuare, quello, che & con digni­<lb/>tà, & con riputatione del Decoro puo e&longs;&longs;er prouato: perche quelle pitture non deono <lb/>e&longs;&longs;er approuate, che non &longs;aranno &longs;imili alla uerità, nè anche &longs;e bene &longs;aranno fatte belle <lb/>dall'arte, però nó &longs;i deue far buon giudicio co&longs;i pre&longs;to di quelle, &longs;e non haueranno certe ra <lb/>gioni di argomento &longs;enza offe&longs;a dichiarite. </s> <s id="s.005966">Perche ancho a Tralli hauendo Apaturio A­<lb/>labandeo con &longs;cielta, & buona mano finto una &longs;cena in un picciolo Theatro, che appre&longs;&longs;o <lb/>quelli, &longs;i chiama Eccle&longs;ia&longs;tirio, & hauendo in quella fatto in luogo di colonne le figure, <lb/>& i Centauri, che &longs;o&longs;tentauano gli Architraui, & i rotondi coperti, & le uolte prominenti <lb/>de i fronti&longs;pici, & le cornici ornate con capi Leonini: lequai co&longs;e tutte hanno la ragione <lb/>de i &longs;tillicidi, che uengono da i coperti. </s> <s id="s.005967">Oltra di que&longs;to nientedimeno &longs;opra quella &longs;cena <lb/>era l'Epi&longs;cenio, nelquale era l'ornato uario di tutto il tetto, i tholi, i pronai, di mezi fron= <lb/>ti&longs;pici. </s> <s id="s.005968">Quando adunque l'a&longs;petto di quella &longs;cena compiaceua al uedere di tutti per l'a­<lb/>&longs;prezza, & che di gia erano apparecchiati per approuar quell'opera. </s> <s id="s.005969">Allhora &longs;alto fuori <lb/>Licinio Matematico, & di&longs;le gli Alabandei e&longs;&longs;ere a&longs;&longs;ai &longs;uegliati in tutte le co&longs;e ciuili, ma <lb/>per non molto gran peccato di non &longs;eruar il Decoro, e&longs;&longs;er giudicati poco &longs;aui, perche <lb/>tutte le &longs;tatue, che &longs;ono nel lor Gimna&longs;io, pareno trattar le cau&longs;e: & quelle, che &longs;ono nel <lb/>Foro tener i di&longs;chi, o correre, o giocar alla palla. </s> <s id="s.005970">Et co&longs;i lo &longs;tato delle figure &longs;enza De­<lb/>coro tra le proprietà de i luoghi hauerli accre&longs;ciuto difetto della riputatione della città. </s> <s id="s.005971"><lb/>Ma uediamo anche, che a no&longs;tri tempi la &longs;cena di Apaturio non ci faccia Alabandei, oue­<lb/>ro Abderiti: perche chi di uoi puo hauere le ca&longs;e &longs;opra le tegole de i tetti, ouero le colon­<lb/>ne, ouero i fronti&longs;pici: perche que&longs;te co&longs;e &longs;i pongono &longs;opra i ta&longs;&longs;elli, & non &longs;opra le tego­<lb/>le de i tetti. </s> <s id="s.005972">Se adunque le co&longs;e, che non po&longs;&longs;ono hauere la uerità del fatto, &longs;aranno da <lb/>noi approuate nelle pitture, uerremo anchora noi a con&longs;entire, a quelle città, che per tali <lb/>difetti &longs;ono &longs;tate giudicate di poco &longs;apere. </s> <s id="s.005973">Adunque Apaturio non hebbe ardimento <lb/>di ri&longs;pondere alcuna co&longs;a contra, ma leuò la &longs;cena, & mutatala alla ragione del uero, poi <lb/>che fu acconcia, l'approuò. </s> <s id="s.005974">O haue&longs;&longs;ero uoluto i dei immortali, che Licinio fu&longs;&longs;e torna <lb/>to uiuo, & corregge&longs;&longs;e que&longs;ta pazzia, & gli erranti ordini di que&longs;te coperte. </s> <s id="s.005975">Ma egli non <lb/>&longs;arà fuor di propo&longs;ito e&longs;plicare, perche la ragion fal&longs;a uinca la uerità: perche quello, che <lb/>affaticando&longs;i gli antichi, & ponendoui indu&longs;tria tentauano di approuare con le arti, a no­<lb/>&longs;tri giorni &longs;i con&longs;egue con i colori, & con la uaghezza loro; & quella autorità, che la &longs;ot­<lb/>tilita dello artefice daua alle opere, hora la &longs;pe&longs;a del patrone fa, che non &longs;ia de&longs;iderata: per-<pb pagenum="321" xlink:href="045/01/335.jpg"/>che chi è colui de gli antichi, che non habbia u&longs;ato parcamente come una medicina il Mi­<lb/>nio? </s> <s id="s.005976">Ma a i dì no&longs;tri per tutto il piu delle uolte &longs;ono di Minio tutti i pareti coperti, & &longs;e <lb/>gli aggiugne anche, & &longs;e gli dà di Borace, d'O&longs;tro, d'Armenio, & que&longs;te co&longs;e quando &longs;i <lb/>danno a i pareti, &longs;e ben non &longs;aranno po&longs;te artificio&longs;amente, & nientedimeno danno a gli <lb/>occhi non &longs;o che di &longs;plendore, & perche &longs;ono precio&longs;e co&longs;e, & uagliono a&longs;&longs;ai, però &longs;ono <lb/>eccettuate dalle leggi, che dal patrone, & non da colui, che piglia l'opere &longs;ono rappre&longs;en<lb/>tate. </s> <s id="s.005977">Io ho e&longs;po&longs;to a&longs;&longs;ai quelle co&longs;e, nellequali ho potuto far auuertito chi copre i pareti, <lb/>accioche non cada in errore. </s> <s id="s.005978">Hora dirò, come preparare &longs;i deono, come mi potrà uenir <lb/>in mente, & perche da prima s'è detto della calce, hora ci re&longs;ta a parlare del marmo. </s> </p> <p type="main"> <s id="s.005979"><emph type="italics"/>Quello, che bi&longs;ogni dipigner in diuer&longs;e &longs;tanze, accioche &longs;ia &longs;eruato il Decoro, Vitr. ce lo ha di­<lb/>mo&longs;trato in parte nel precedente cap. & in parte hora ce lo in&longs;egna. </s> <s id="s.005980">Et dalla diffinitione della <lb/>pittura, ua argomentando quello, che &longs;ta bene: & poi riprende liberamente le u&longs;anze de i pittori <lb/>de i tempi &longs;uoi, come che habbiano deuiato molto dalla certa, & giu&longs;ta ragione de gli antichi. </s> <s id="s.005981"><lb/>Doue grandemente s'oppone a quella maniera di pitture, che noi chiamamo Grotte&longs;che, come co­<lb/>&longs;a che non po&longs;&longs;a &longs;tare in modo alcuno. </s> <s id="s.005982">perche &longs;e la pittura è una imitatione delle co&longs;e, che &longs;ono, o <lb/>che po&longs;&longs;ono e&longs;&longs;ere, come potremo dire, che &longs;tia bene quello, che nelle Grotte&longs;che &longs;i uede? </s> <s id="s.005983">come &longs;o­<lb/>no animali, che portano Tempij, colonne di cannuccie, a rtigli di mo&longs;tri, difformità di nature, mi&longs;ti <lb/>di uarie &longs;pecie: Certo &longs;i come la fanta&longs;ia nel &longs;ogno ci rappre&longs;enta confu&longs;amente le imagini delle <lb/>co&longs;e, & &longs;pe&longs;&longs;o pone in&longs;ieme nature diuer&longs;e: co&longs;i potemo dire, che facciano le Grotte&longs;che, lequali <lb/>&longs;enza dubbio potemo nominare &longs;ogni della pittura. </s> <s id="s.005984">Simil co&longs;a uedemo noi nell'arti del parlare, <lb/>imperoche il Dialetico &longs;i forza di &longs;atisfare alla ragione, l'Oratore al &longs;en&longs;o, & alla ragione, il Poe­<lb/>ta alquanto piu al &longs;en&longs;o, & al diletto, che alla ragione, il Sofi&longs;ta fa co&longs;e mo&longs;truo&longs;e, & tali, quali <lb/>ci rappre&longs;enta la fanta&longs;ia, quando i no&longs;tri &longs;entimenti &longs;ono chiu&longs;i dal &longs;onno. </s> <s id="s.005985">Quanto mò, che &longs;ia <lb/>da lodare un &longs;ofi&longs;ta, io lo la&longs;cio giudicare, a chi &longs;a fare differenza tra il fal&longs;o, e'l uero, tra il ue­<lb/>ro, e'l ueri&longs;imile. </s> <s id="s.005986">Et perche Vitr. è facile, & Plinio nel lib. <!-- REMOVE S-->XXXV. ci dà molto lume in que­<lb/>&longs;ta materia, io non farò altro a pompa, ma per quanto io dalle co&longs;e uedute, & lette po&longs;&longs;o compren­<lb/>dere trouo, che la pittura &longs;i come ogn' altra co&longs;a, che &longs;i fa da gli huomini, prima deue hauere inten <lb/>tioni, & rappre&longs;entar qualche effetto, alquale effetto &longs;ia indrizzata tutta la compo&longs;itione, & <lb/>&longs;i come le fauole denno e&longs;&longs;ere utili alla uita de gli huomini, & la Mu&longs;ica hauer deue la &longs;ua inten­<lb/>tione, co&longs;i ancho la pittura. </s> <s id="s.005987">Dapoi &longs;i uuol ben &longs;apere contornar le co&longs;e, & hauere le Simmetrie <lb/>di tutte le parti, & le ri&longs;pondenze di quelle tra&longs;e. </s> <s id="s.005988">Et con il tutto indi le mouenze, & gli atti <lb/>tali, che parino di co&longs;e uiue, & non dipinte, & dimo&longs;trino gli affetti, & i co&longs;tumi, ilche è di po­<lb/>chi: in &longs;omma poi (che è co&longs;a di pochi&longs;&longs;imi, & a no&longs;tri dì non è a pena con&longs;iderata, & è la per­<lb/>fettione dell'arte) fare i contorni di modo dolci, & sfumati, che ancho s'intenda, quel che non &longs;i <lb/>uede, anzi che l'occhio pen&longs;i di uedere, quello ch'egli non uede, che è un fuggir dolci&longs;&longs;imo una te­<lb/>nerezza nell'Orizonte della ui&longs;ta no&longs;tra, che è, & non è & che &longs;olo &longs;i fa con infinita pratica, & <lb/>che diletta a chi non &longs;a piu oltra, & fa &longs;tupire, chi bene la intende. </s> <s id="s.005989">La&longs;cio &longs;tare i colori conue­<lb/>nienti, la me&longs;colanza di quelli, & la uaghezza, la morbidezza delle carni nelle imagini muliebri, <lb/>che &longs;cuoprono i mu&longs;culi, ma in modo, che &longs;i intendino i panni, che fanno fede del nudo, le pieghe <lb/>dolci, la &longs;ueltezza, i lontani, gli &longs;corzi, l'altezza della ui&longs;ta, & altre co&longs;e, che &longs;ono nel dipignere <lb/>&longs;ommamente accommodate: & uano &longs;aria, & fuori dell'in&longs;tituto no&longs;tro a uoler parlare piu diffu­<lb/>&longs;amente: & chi ha con&longs;iderato molte pitture di diuer&longs;i ualenti huomini, & che ha &longs;entito ragiona <lb/>re, & con diletto, & attentione ha a&longs;coltato gli altri, puo molto ben &longs;apere di quanta importan­<lb/>za &longs;ia, & quanto abbraccia quello, che io ho accennato. </s> <s id="s.005990">il re&longs;to di Vitr. è manife&longs;to &longs;ino alla fine <lb/>del libro, che io non ho uoluto aggiugnerui altro, parendomi, che Vitru. habbi a&longs;&longs;ai chiaramente <lb/>parlato. </s> <s id="s.005991">Ci re&longs;ta hora a dire di molti ornamenti, che &longs;i fanno nella Città, come Piramidi, Obeli­<lb/>&longs;ci, Sepulcri, Titoli, Colonne, & altre co&longs;e &longs;imili: ma hoggimai le co&longs;e antiche di Roma &longs;ono &longs;ta­<lb/>te mi&longs;urate piu uolte, & poste in luce da molti ualenti huomini, di modo che &longs;arà di minor fatica <emph.end type="italics"/><pb pagenum="322" xlink:href="045/01/336.jpg"/><emph type="italics"/>ueder a un tratto le pitture, & mi&longs;urarle, che leggere molte carte, che io potes&longs;ifare: E&longs;orto be­<lb/>ne ogn'uno, che &longs;ia &longs;tudio&longs;o dell'antichità, & imitator de i buoni, & che &longs;i sforzi render ragione di <lb/>quello, che egli fa, e&longs;&longs;ercitando&longs;i nelle arti liberali & &longs;pecialmente nelle quattro di&longs;cipline, che &longs;o­<lb/>no quattro porte principali di tutti gli edifici, &longs;trumenti, muentioni, che &longs;ono &longs;tati, &longs;ono, & che &longs;a­<lb/>ranno; & chi anche uuole hauere qualche ammae&longs;tramento delle &longs;opradette co&longs;e, legga nel nono <lb/>libro di Leonbati&longs;ta, & o&longs;&longs;erui i precetti &longs;uoi?<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.005992"><emph type="italics"/>In che modo s'apparecchi il marmo per gli copri­<lb/>menti. </s> <s id="s.005993">Cap. VI.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.005994">Non di una &longs;te&longs;&longs;a maniera in ogni pae&longs;e &longs;i genera il marmo, ma in alcuni luoghi <lb/>na&longs;cono le glebe come di &longs;ale, che hanno le miche lucide, & ri&longs;plendenti, le <lb/>quali pi&longs;te, & ammollite danno grande utilità nelle coperte, & nelle cornici: <lb/>ma in quei luoghi, ne i quai non &longs;i trouano tai co&longs;e; pi&longs;tan&longs;i con i pi&longs;telli di <lb/>ferro, & &longs;i criuellano i cementi di marmo, o uero le &longs;caglie, che cadeno dalle pietre taglia <lb/>te da i marmorari, & que&longs;te, cernite &longs;i parteno in tre maniere, & quella parte, che &longs;arà piu <lb/>grande, (come &longs;i è detto di &longs;opra) con la calce &longs;i dia con l'arenato, dapoi la &longs;eguente, & <lb/>la terza, che &longs;arà piu &longs;ottile. </s> <s id="s.005995">date que&longs;te co&longs;e, & con diligenza pareggiate, & li&longs;ciate, hab­<lb/>bia&longs;i ragione a dare i colori in gui&longs;a, che mandino fuori lucenti raggi, & &longs;plendori, de i qua <lb/>li que&longs;ta &longs;arà la prima differenza, & apparato. </s> </p> </subchap2><subchap2> <p type="head"> <s id="s.005996"><emph type="italics"/>De i colori, & prima dell'Ochrea. </s> <s id="s.005997">Cap. VII.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.005998">DE i colori alcuni &longs;ono, che da lor &longs;te&longs;si na&longs;cono in certi luoghi, & indi &longs;i caua <lb/>no, altri da altre co&longs;e in&longs;ieme po&longs;te, & me&longs;colate, o temperate &longs;i compongo <lb/>no, accioche dieno nelle opere utilità allo i&longs;te&longs;&longs;o modo. </s> <s id="s.005999">Ma e&longs;poneremo <lb/>quelli, che da &longs;e na&longs;centi &longs;i cauano, come è l'Ochrea. </s> <s id="s.006000">Que&longs;ta in molti luo­<lb/>ghi, come anche in Italia, &longs;i troua, Ma l'Attica è ottima, & que&longs;ta non &longs;i ha al tempo <lb/>no&longs;tro, perche in A thene le minere, doue &longs;i caua l'argento, quando haueuano le fami­<lb/>glie; allhora &longs;i cauaua &longs;otterra per trouare lo argento: quando iui &longs;i trouaua la uena la &longs;e­<lb/>guitauano come fu&longs;&longs;e &longs;tata d'Argento. <!-- KEEP S--></s> <s id="s.006001">Et però gli antichi alle politezze dell'opere u&longs;aro <lb/>no una gran copia di Sile, & anche in molti luoghi &longs;i caua copio&longs;amente la terra ro&longs;&longs;a, ma <lb/>perfertamente in pochi, come nel Ponto la Sinope, & in Egitto, & nell'i&longs;ole Baleari in <lb/>Hi&longs;pagna, nè meno in Lemno, l'entrate della qual i&longs;ola il Senato, & popolo Romano <lb/>conce&longs;&longs;e a gli Athenie&longs;i da e&longs;&longs;er godute. </s> <s id="s.006002">Il Paretonio prende il nome da quei luoghi, do <lb/>ue egli &longs;i caua, & con la i&longs;te&longs;&longs;a ragione il Melino, perche la forza di quel metallo, &longs;i dice <lb/>e&longs;&longs;er in Melo l'I&longs;ola Ciclada. <!-- KEEP S--></s> <s id="s.006003">La terra uerde na&longs;ce in molti luoghi, ma la perfetta nel­<lb/>l'I&longs;ola di Smirna. </s> <s id="s.006004">Que&longs;ta i Greci Theodotia &longs;ogliono chiamare, perche Theodoto &longs;i <lb/>chiamaua colui, nel fondo del quale prima fu ritrouata quella &longs;orte di creta. </s> <s id="s.006005">L'oropig­<lb/>mento da Greci Ar&longs;enico nominato, &longs;i caua nel Ponto, & co&longs;i in piu luoghi la Sandaraca, <lb/>ma l'ottima in Ponto appre&longs;&longs;o il fiume Hipani, ha la &longs;ua uena; ma in altre parti, come tra <lb/>i confini di Magne&longs;ia, & di Efe&longs;o &longs;ono luoghi, d'onde ella &longs;i caua apparecchiata, &longs;i che <lb/>non è bi&longs;ogno macinarla, ma è co&longs;i &longs;ottile, come fu&longs;&longs;e con la mano trita, & criuellata. </s> </p> <p type="main"> <s id="s.006006"><emph type="italics"/>L'Ochrea &longs;i chiama terra gialla, & ancho Ochrea uolgarmente; que&longs;ta &longs;i abbru&longs;cia, perche <lb/>faccia il fondo all'Ochrea non abbru&longs;ciata, però che &longs;i fa piu &longs;cura, & ruggia, ne uiene dalle par­<lb/>ti di Leuante, & io ne ho trouato ancho nelle mie po&longs;&longs;e&longs;&longs;ioni ne i monti di Triuigiana buoni&longs;&longs;ima,<emph.end type="italics"/><pb pagenum="323" xlink:href="045/01/337.jpg"/><emph type="italics"/>& in gran copia. </s> <s id="s.006007">Sil attico, era un minerale di colore come alcuni uogliono dell'Ochrea, & non <lb/>fanno anche differenza tra Ochrea & Sile, ma io &longs;timo, che Ochrea &longs;i a nome generale, & Sile <lb/>&longs;peciale, però puo e&longs;&longs;er, che'l Sile fu&longs;&longs;e di una &longs;pecie di Ochrea; ma di colore alquanto diuer&longs;o, ò <lb/>che pende&longs;&longs;e all'azurro, o al purpureo, & uiolino. </s> <s id="s.006008">Rubrica, & Sinope &longs;ono terre ro&longs;&longs;e, noi <lb/>chiamiamo la rubrica imbuoro, & in altri luoghi buoro, & que&longs;te terre ro&longs;&longs;e erano in que luo­<lb/>ghi doue dice Vitr. buone, & perfette. </s> <s id="s.006009">Il paretonio, & melino eran colori, quello bianco, & <lb/>que&longs;to giallo, la cagione perche co&longs;i &longs;ono chiamati è po&longs;ta da Vit. <!-- KEEP S--></s> <s id="s.006010">La creta uerde, noi chiamia­<lb/>mo terra uerde. </s> <s id="s.006011">La &longs;andaraca è di colore di aranzo, noi chiamiamo minio fatto di biacca abbru<lb/>&longs;ciata, ma la &longs;andaraca era na&longs;cente, & anche fatta ad arte come dirà Vitr. qui &longs;otto.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.006012"><emph type="italics"/>Delle ragioni del minio. </s> <s id="s.006013">Cap. VIII.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.006014">Hora io entrerò ad e&longs;plicare le ragioni del Minio. <!-- KEEP S--></s> <s id="s.006015">Que&longs;to prima &longs;i dice e&longs;&longs;ere <lb/>&longs;tato ritrouato ne i campi Cilbiani de gli Efe&longs;ij: il cui effetto, & la cui ragio­<lb/>ne ne dà cau&longs;a di gran merauiglia. </s> <s id="s.006016">Caua&longs;i una Zoppa, detta Antrax, prima che <lb/>per lo maneggiar ella diuenti Minio: la uena è di colore come ferro alquanto <lb/>piu ro&longs;&longs;o, hauendo intorno a &longs;e una poluere ro&longs;&longs;a. </s> <s id="s.006017">Quando &longs;i caua, per le perco&longs;&longs;e dei <lb/>ferri manda fuori le lagrime d'argento uiuo, le quali &longs;ubito da quelli, che cauano &longs;ono <lb/>raccolte. </s> <s id="s.006018">Que&longs;te zoppe a&longs;&longs;unate per la pienezza dell'humore, che hanno dentro &longs;i pon­<lb/>gono nelle fornaci delle officine, accioche &longs;i &longs;ecchino, & quel fumo, che dal uapore del <lb/>fuoco &longs;i leua da quelle zoppe, quando ricade nel &longs;uolo del forno, è trouato e&longs;&longs;er argento <lb/>uiuo. </s> <s id="s.006019">Leuate uia le zoppe, quelle gocciole, che re&longs;tano per la picciolezza loro non &longs;i <lb/>po&longs;&longs;ono raccorre, ma in un ua&longs;o di acqua &longs;i fan correre, & iui &longs;i raunano, & &longs;i confonde­<lb/>no in&longs;ieme; & que&longs;te e&longs;&longs;endo di mi&longs;ura di quattro &longs;e&longs;tari, quando &longs;i pe&longs;ano, &longs;i trouano e&longs; <lb/>&longs;er cento libre: ma quando è in&longs;ieme tutto quello argento in un ua&longs;o, &longs;e &longs;opra ui &longs;i po= <lb/>nerà un pe&longs;o di cento, egli &longs;tarà di &longs;opra, nè potrà col &longs;uo pe&longs;o premere quel liquore, nè <lb/>&longs;cacciarlo, nè di&longs;siparlo. </s> <s id="s.006020">leuato il centenàio; &longs;e iui &longs;i ponerà uno &longs;crupulo d'oro, non &longs;o <lb/>pranuoterà, ma &longs;e ne anderà al fondo da &longs;e &longs;te&longs;&longs;o. </s> <s id="s.006021">co&longs;i non per la grandezza del pe&longs;o, ma <lb/>per la qualità &longs;ua cia&longs;cuna co&longs;a e&longs;&longs;er co&longs;i graue non &longs;i deue negare. </s> <s id="s.006022">Et que&longs;to è utile a mol <lb/>te co&longs;e, perche nè lo argento, nè il rame &longs;enza quello &longs;i puo dorare, che bene &longs;tia, & <lb/>quando l'oro è conte&longs;to in qualche ue&longs;te, che con&longs;umata per la uecchiezza, non &longs;i po&longs;&longs;a <lb/>piu portare con hone&longs;tà, ponga&longs;i quel panno d'oro in ua&longs;i di terra, & &longs;ia nel foco abbru­<lb/>&longs;ciato. </s> <s id="s.006023">La cenere &longs;i getta nell'acqua, alla quale &longs;i aggiugne l'argento uiuo, il quale a &longs;e <lb/>tira tutte le miche dell'oro, & le sforza ad unir&longs;i &longs;eco: uotata poi l'acqua, que&longs;to s'in­<lb/>fonde, & riuer&longs;cia in un panno, & in quello è con le mani &longs;truccato, l'argento e&longs;ce per <lb/>le rarità del panno con il liquore, & l'oro per la &longs;trettezza, & compre&longs;sione raunato di <lb/>dentro puro &longs;i ritroua. </s> </p> </subchap2><subchap2> <p type="head"> <s id="s.006024"><emph type="italics"/>Della temperatura del Minio. <!-- KEEP S--></s> <s id="s.006025">Cap. IX.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.006026">IO ritornerò hora alla temperatura del Minio, perche quelle zoppe e&longs;&longs;endo <lb/>aride &longs;i pi&longs;tano con pi&longs;telli di ferro, & &longs;i macinano, & con &longs;pe&longs;&longs;e lauature, & <lb/>cotture &longs;i le fanno uenir i colori. </s> <s id="s.006027">Quando adunque &longs;aranno mandate fuori <lb/>le goccie dello argento uiuo, allhora &longs;i fa il Minio di natura tenera, & di for <lb/>za debile, & per hauer la&longs;ciato l'argento uiuo, la&longs;cia anche le uirtù naturali, che egli in &longs;e <lb/>teneua. </s> <s id="s.006028">Et però quando è dato nelle politure de i conclaui re&longs;ta nel &longs;uo colore &longs;enza di­<pb pagenum="324" xlink:href="045/01/338.jpg"/>fetti: ma in luoghi aperti come in peri&longs;tili, & e&longs;&longs;edre, & in altri &longs;imiglianti luoghi douell <lb/>Sole, & la Luna po&longs;&longs;ono mandare i raggi, & i lumi loro, quando da que&longs;ti il luogo è toc­<lb/>cato, &longs;i gua&longs;ta, & perduta la uirtù del colore, &longs;i denigra. </s> <s id="s.006029">Et però & molti altri, & Fabe­<lb/>rio &longs;criba hauendo uoluto hauere nel monte Auentino una bella, & ornata ca&longs;a, ne i peri­<lb/>&longs;tili fece a tutti i pareti dar di Minio, i quali dopo trenta giorni diuentorno di brutto, & <lb/>diuer&longs;o colore, & però di &longs;ubito condu&longs;&longs;e chi gli de&longs;&longs;e di altri colori. </s> <s id="s.006030">Ma &longs;e alcuno farà <lb/>piu &longs;ottile, & uorrà, che la politezza del Minio ritegna il &longs;uo colore, quando il parete &longs;a­<lb/>rà polito, & &longs;ecco, allhora dia col penello di cera punica liquefatta al fuoco temperata <lb/>con alquanto oglio, dapoi po&longs;ti i carboni in un ua&longs;e di ferro farà &longs;udare quella cera &longs;caldan <lb/>dola col parete, & farà &longs;i che la &longs;i &longs;tenda egualmente, dapoi con una candela, & con un <lb/>lenzuolo netto la freghi, al modo che &longs;i nettano le nude &longs;tatue di marmo, & que&longs;ta opera­<lb/>tione Grecamente &longs;i chiama Cau&longs;is: co&longs;i la coperta della cera punica non permette, che <lb/>lo &longs;plendore della Luna, nè i raggi del Sole toccaudo leuino uia il colore da quelle politu­<lb/>re. </s> <s id="s.006031">Da quelle officine, che &longs;on alle caue de i metalli de gli Efe&longs;ij, per que&longs;ta cagione &longs;o­<lb/>no &longs;tate traportate a Roma, perche que&longs;ta &longs;orte di uena è &longs;tata dapoi ritrouata ne i pae&longs;i di <lb/>Spagna, da i metalli delle quali &longs;i portano le zoppe, che per li Daciari a Roma &longs;i curano. </s> <s id="s.006032"><lb/>Et que&longs;te officine &longs;ono tra il Tempio di Flora, & di Quirino. </s> <s id="s.006033">Vitia&longs;i il Minio me&longs;colan­<lb/>doui la calce, & &longs;e alcuno uorrà fare e&longs;perienza, &longs;e egli &longs;arà uitiato, co&longs;i bi&longs;ogna prouare: <lb/>Pigli&longs;i una lama di ferro, o paletta che &longs;i dichi, &longs;opra e&longs;&longs;a &longs;i pona il Minio, & po&longs;ta al fo <lb/>co, fin che la lama &longs;ia affocata, quando di bianco &longs;i muta in nero, leui&longs;i la lama dal fuoco, <lb/>& &longs;e raffredato il Minio, ritornerà nel &longs;uo primo colore, &longs;enza dubbio &longs;i prouerà e&longs;&longs;er <lb/>&longs;enza difetto, ma &longs;e egli re&longs;terà nero dimo&longs;trerà e&longs;&longs;ere uitiato. </s> <s id="s.006034">Io ho detto quelle co&longs;e, <lb/>che mi &longs;ono uenute in mente del Minio. <!-- KEEP S--></s> <s id="s.006035">La Chri&longs;ocolla &longs;i porta da Macedonia, & &longs;i caua <lb/>da que luoghi, che &longs;ono pro&longs;simi a i metalli di Rame. <!-- KEEP S--></s> <s id="s.006036">Il Minio, & l'Endico, con e&longs;&longs;o i <lb/>uocaboli &longs;i dimo&longs;tra in che luoghi &longs;i generino. </s> </p> <p type="main"> <s id="s.006037"><emph type="italics"/>Il Minio come dice Plin. è una &longs;orte di arena di colore del zafferano: la cera Punica dicono e&longs;­<lb/>&longs;er cera bianca. </s> <s id="s.006038">il modo di farla bianca è in Plin. <!-- REMOVE S-->al<emph.end type="italics"/> 21. <emph type="italics"/>libro, nel cap.<emph.end type="italics"/> 14. <emph type="italics"/>Chri&longs;ocolla è colla <lb/>da oro, la dicono Eora&longs;o. </s> <s id="s.006039">Il Minio è detto da un Fiume della Spagna co&longs;i nominato. </s> <s id="s.006040">Indicum <lb/>da noi è detto Endego, è di color Biauo &longs;curo, &longs;i tingono i panni con quello, & &longs;i u&longs;a anche nel­<lb/>le pitture.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.006041"><emph type="italics"/>De i colori artificio&longs;i. </s> <s id="s.006042">Cap. X.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.006043">Hora io entrerò a quelle co&longs;e, che mutate con le tempre delle me&longs;colanze d'al­<lb/>tre maniere riceueno le proprietà de i colori. </s> <s id="s.006044">Et prima io dirò dello inchio <lb/>&longs;tro, l'u&longs;o del quale nelle opere ha grande nece&longs;sità, accio manife&longs;te &longs;iano le <lb/>tempre, in che modo con certe ragioni di artefici &longs;iano preparate. </s> <s id="s.006045">Il luogo <lb/>edificato, come il Laconico, & di marmo &longs;i poli&longs;ce, & &longs;i li&longs;cia &longs;ottilmente, dinanzi a <lb/>que&longs;to &longs;i fa una picciola fornace, che ha le apriture di dentro uer&longs;o il Laconico, & la boc <lb/>ca &longs;ua di fuori &longs;i chiude, & abba&longs;&longs;a con gran diligenza, accioche la fiamma di&longs;sipata non <lb/>&longs;ia di fuori, nella fornace &longs;i pone della re&longs;ina, o ra&longs;a, & que&longs;ta bruciandola la forza del <lb/>fuoco con&longs;trigne mandar fuori per le apriture tra il Laconico il fumo, il quale d'intorno <lb/>i pareti, & la curuatura della camera &longs;i attacca: dapoi raccolto parte &longs;i compone battuto <lb/>co la gomma all'u&longs;o dello inchio&longs;tro librario parte i copritori me&longs;colandoui della colla <lb/>u&longs;ano ne i pareti. </s> <s id="s.006046">Ma &longs;e non &longs;aranno que&longs;te copie apparecchiate, co&longs;i alla nece&longs;sità &longs;i de­<lb/>ue prouedere, ac cioche per lo a&longs;pettare, & indugiare l'opera non &longs;ia trattenuta. </s> <s id="s.006047">Sian <lb/>abbruciate le taglie, o &longs;cheggie della Tiglia, & fatti di e&longs;&longs;e i carboni &longs;iano e&longs;tinti, & poi <pb pagenum="325" xlink:href="045/01/339.jpg"/>nel mortaio con la colla pi&longs;tati, & co&longs;i &longs;i farà una tinta per coprire, che hauerà del buono. </s> <s id="s.006048"><lb/>Similmente auuerrà &longs;e la feccia del uino &longs;eccata, & cotta &longs;arà nella fornace, & poi pi&longs;tata <lb/>con la colla farà a&longs;&longs;ai grato il colore dell'inchio&longs;tro, & quanto piu &longs;i farà di miglior uino <lb/>non &longs;olo farà imitare il colore dell'inchio&longs;tro, ma anche dello Endego. </s> </p> </subchap2><subchap2> <p type="head"> <s id="s.006049"><emph type="italics"/>Delle tempre del color ceruleo. </s> <s id="s.006050">Cap. XI.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.006051">LE tempre dello Azurro prima &longs;ono &longs;tate ritrouate in Ale&longs;&longs;andria. <!-- KEEP S--></s> <s id="s.006052">Dapoi Ve­<lb/>&longs;torio a pozzuolo ordinò che &longs;i face&longs;&longs;e. </s> <s id="s.006053">La ragione di quel colore, di che co­<lb/>&longs;a &longs;ia &longs;tata ritrouata, dà da merauigliare a&longs;&longs;ai: perche egli &longs;i pi&longs;ta l'arena col <lb/>fiore del Nitro, co&longs;i &longs;ottilmente, che diuenta come farina, & me&longs;colata col <lb/>rame di Cipro limato &longs;i bagna, accioche &longs;i tenga in&longs;ieme, dapoi riuoltandola con le mani <lb/>&longs;i fanno palle, & &longs;i mettono in&longs;ieme di modo, che &longs;i &longs;ecchino. </s> <s id="s.006054">Que&longs;te &longs;ecche &longs;i compon <lb/>gono in un ua&longs;o di terra, che poi &longs;i mette in fornace, co&longs;i il rame, & quell'arena quando <lb/>dalla forza del fuoco bogliendo in&longs;ieme, &longs;i haueranno &longs;eccato dando a uicenda, & rice= <lb/>uendo i &longs;udori, dalle loro propietà &longs;i parteno, & compo&longs;ti delle loro co&longs;e per la gran for <lb/>za del calore diuentano di color azurro. </s> <s id="s.006055">Ma l'arena abbruciata, che nel coprire i pareti, <lb/>ha non poca utilità, &longs;i tempra in que&longs;to modo. </s> <s id="s.006056">Cuoce&longs;i una zoppa di pietra azurra buo­<lb/>na &longs;i, che &longs;ia dal fuoco, come il ferro affocata, quella con aceto &longs;i e&longs;tingue, & diuenta di <lb/>color purpureo. </s> </p> </subchap2><subchap2> <p type="head"> <s id="s.006057"><emph type="italics"/>Come &longs;i facciala ceru&longs;a, il uerderame, & la San­<lb/>daraca. </s> <s id="s.006058">Cap. XII.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.006059">Della Ceru&longs;a, & del Verderame, & che da no&longs;tri Eruca &longs;i chiama, non è fuori <lb/>di propo&longs;ito a dire in che modo &longs;i faccia. </s> <s id="s.006060">I Rhodiotti mettendo ne i dogli le <lb/>limature di piombo, &longs;pargono quelle di aceto, & &longs;opra quelle limature ui <lb/>mettono le ma&longs;&longs;e di piombo, & otturano con i coperchi &longs;i fattamente que <lb/>dogli, che non po&longs;&longs;ono re&longs;pirare, dopo un certo tempo aprendogli ritrouano la Ceru&longs;a, <lb/>o Biacca, che &longs;i dichi dalle ma&longs;&longs;e di piombo. </s> <s id="s.006061">Et con la i&longs;te&longs;&longs;a ragione ponendoui le la­<lb/>melle di rame, fanno il Verderame, nominato Eruca. </s> <s id="s.006062">Ma la Ceru&longs;a cuocendo&longs;i nella for <lb/>nace, cangiato il &longs;uo colore allo incendio del fuoco diuenta Sandaraca. <emph type="italics"/>(Che noi minio <lb/>ch amiamo.)<emph.end type="italics"/> Et gli huomini hanno imparato que&longs;to dallo incendio fatto a ca&longs;o, & quel­<lb/>la è di minor utilità, che quella, che nata da metalli &longs;i caua. </s> </p> </subchap2><subchap2> <p type="head"> <s id="s.006063"><emph type="italics"/>In che modo &longs;i faccia l'O&longs;tro eccellentißimo di tuttii <lb/>colori artificiali. </s> <s id="s.006064">Cap. XIII.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.006065">IO incomincierò hor'à dire dell'O&longs;tro, il quale ritiene & cari&longs;sima, & eccel­<lb/>lenti&longs;sima &longs;uauità dell'a&longs;petto oltra i predetti colori. </s> <s id="s.006066">Que&longs;to &longs;i coglie dalle <lb/>marine conchiglie, del quale &longs;i tigne la purpura, & di quello non &longs;on minori <lb/>le merauiglie a chi con&longs;idera, che delle altre nature delle co&longs;e. </s> <s id="s.006067">Percioche <lb/>non ha il colore d'una maniera in tutti que luoghi, che na&longs;ce, ma dal cor&longs;o del Sole natu­<lb/>ralmente &longs;i tempra. </s> <s id="s.006068">Et però quello, che &longs;i raccoglie nel Ponto, & nella Gallia, per che <lb/>quelle parti &longs;o no uicine al Settentrione, è nero. </s> <s id="s.006069">A chi ua inanzi &longs;otto al Settentrione è li <pb pagenum="326" xlink:href="045/01/340.jpg"/>uido, quello, che &longs;i ha dall'Oriente, & occidente equinottiale è di colore uiolino; quel­<lb/>lo, che &longs;i caua nelle parti di mezo dì è ro&longs;&longs;o, & però que&longs;to ro&longs;&longs;o, ancho &longs;i genera nell'i&longs;o <lb/>la di Rhodi, & in altre parti, che &longs;ono uicine al cor&longs;o del Sole. <!-- KEEP S--></s> <s id="s.006070">Quelle conchiglie quan­<lb/>do &longs;ono raccolte, con ferri &longs;i fendono d'intorno, dalle quali perco&longs;&longs;e ne uiene la &longs;anie <lb/>purpurea, come una lagrima, che goccia. </s> <s id="s.006071">Cauata ne i mortai pi&longs;tando&longs;i &longs;i apparecchia, <lb/>& quello, che dalle te&longs;te marine &longs;i caua per que&longs;to è &longs;tato O&longs;tro nominato, & que&longs;to per <lb/>la &longs;al&longs;ugine pre&longs;to &longs;i fa &longs;itibondo, &longs;e egli d'intorno non ha il mele &longs;par&longs;o. <emph type="italics"/>Hercole Ti­<lb/>rio &longs;otto Minos ritrouò la tintura della porpora, che &longs;i chiama conchilium, e&longs;&longs;endo&longs;i il &longs;uo ca­<lb/>ne imbrattato di quella &longs;aeie le ma&longs;celle, & la portò al Re di Phenicia il quale fu il primo che <lb/>porta&longs;&longs;e la porpora.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.006072"><emph type="italics"/>De i colori purpurei. </s> <s id="s.006073">Cap. XIIII.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.006074">Fanno&longs;i ancho i colori purpurei tinta la creta con la radice di Rubbia, & Hi&longs;­<lb/>gino. </s> <s id="s.006075">Et &longs;imilmente da i fiori &longs;i fanno altri colori, & però quando i tintori <lb/>uogliono imitare il Sil Attico, gettando la uiola &longs;ecca in un ua&longs;o la fanno <lb/>bollire con l'acqua, dapoi quando è temperata la gettano in una pezza, & con <lb/>le mani &longs;truccandola riceueno l'acqua di uiole colorita in un mortaio, & di quella infon­<lb/>dendoli la creta ro&longs;&longs;a, & pi&longs;tand ola fanno il colore del Sile Attico, con quella i&longs;te&longs;&longs;a ra­<lb/>gione temprando il uacinio, & con quella me&longs;colando fanno la purpura bella. </s> <s id="s.006076">Et anche <lb/>chi non puo per la care&longs;tia u&longs;are la chri&longs;ocolla tingono l'herba, che &longs;i chiama luteo di azur<lb/>ro, & u&longs;ano un colore uerdi&longs;simo, & que&longs;ta &longs;i chiama infectiua, cioè tintura. </s> <s id="s.006077">Appre&longs;&longs;o <lb/>per la inopia del Endego tignendo la creta Selinu&longs;ia, ouer l'Annularia, & il uetro detto Hia <lb/>lo imitano il colore dell'Endego. </s> <s id="s.006078">Io ho &longs;critto in que&longs;to libro quanto mi è potuto uenir <lb/>in mente con quali co&longs;e, & con che ragione alla di&longs;po&longs;itione della fermezza, & bellezza bi&longs;o<lb/>gna far le pitture, & che forze habbiano in &longs;e tutti i colori. </s> <s id="s.006079">In &longs;ette uolumi adunque, termi <lb/>nate &longs;ono tutte le perfettioni delle fabriche, & dimo&longs;trato, che opportunità, & commo­<lb/>do hauer debbiano. </s> <s id="s.006080">Nel &longs;eguente io tratterò dell'acqua, in che modo &longs;i troui, doue non <lb/>è, & con che ragione &longs;i conduca, & con che co&longs;e &longs;i prouerà &longs;e ella è &longs;ana, & idonea all'u&longs;o. </s> </p> <p type="main"> <s id="s.006081"><emph type="italics"/>La Rubia, è detta Ruggia, & &longs;i u&longs;a uolgarmente da i tintori de panni. </s> <s id="s.006082">Hi&longs;gino, & Vaci­<lb/>nio, & Hiacintho, è una i&longs;te&longs;&longs;a co&longs;a. </s> <s id="s.006083">La creta Selinu&longs;ia di color di latte, & l'Annularia è bian­<lb/>ca. </s> <s id="s.006084">nel re&longs;to io non ho prouato que &longs;te co&longs;e, nè uoglio empir il libro di ricette.<emph.end type="italics"/></s> </p> <p type="head"> <s id="s.006085"><emph type="italics"/>Il Fine del Settimo Libro.<emph.end type="italics"/><!-- KEEP S--></s> </p> </subchap2></subchap1><subchap1> <pb pagenum="327" xlink:href="045/01/341.jpg"/> <p type="head"> <s id="s.006086">LIBRO OTTAVO</s> </p> <p type="head"> <s id="s.006087">DELL'ARCHITETTVRA DI <lb/>M. VITRVVIO.<!-- KEEP S--></s> </p> <subchap2> <p type="head"> <s id="s.006088"><emph type="italics"/>Proemio.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.006089">THALETE Mile&longs;io, uno di &longs;ette Sapienti di&longs;&longs;e, l'acqua e&longs;&longs;er principio di <lb/>tutte le co&longs;e. </s> <s id="s.006090">Heraclito il fuoco; i Sacerdoti de i Magi l'acqua, & il <lb/>fuoco. </s> <s id="s.006091">Euripide auditore di Anaxagora, ilquale Filo&longs;ofo gli Athenie&longs;i <lb/>Scenico nominarono, lo aere, & la terra, & quella dalle pioggie cele&longs;ti <lb/>ingrauidata hauere generato nel mondo i parti delle genti, & di tutti <lb/>gli animali, & quelle co&longs;e, che da quella fo&longs;&longs;ero prodotte, quando co­<lb/>&longs;trette dalla forza del tempo &longs;i di&longs;cioglie&longs;&longs;ero, in quella di nuouo ritornare, & quelle, che <lb/>di aere na&longs;ce&longs;&longs;ero, anche nelle parti del cielo cangiar&longs;i nel riceuere alcuno difetto, ma mu­<lb/>tata la loro di&longs;&longs;olutione ricadere nella i&longs;te&longs;&longs;a proprietà, nellaquale erano per innanzi: Ma <lb/>Pithagora, Empedocle, Epicarmo, & gli altri Fi&longs;ici, & Filo&longs;ofi que&longs;ti e&longs;&longs;er quattro prin­<lb/>cipij ci propo&longs;ero, aere, fuoco, acqua, & terra, & le qualità di que&longs;ti tra &longs;e con naturale <lb/>forma congiunte per le differenze delle co&longs;e operare; & noi auuertimo non &longs;olamente le <lb/>co&longs;e, che na&longs;ceno da que&longs;ti principij, hauere il na&longs;cimento loro, ma tutte le co&longs;e non no­<lb/>trir&longs;i, nè cre&longs;cere, nè con&longs;eruar&longs;i &longs;enza la forza loro; percioche i corpi &longs;enza &longs;pirito ridon­<lb/>danti non po&longs;&longs;ono hauere la uita, &longs;e lo aere, che ui entra, non hauerà fatto del continuo <lb/>cre&longs;cendo gli accre&longs;cimenti, & le diminutioni. <emph type="italics"/>Cioèil re&longs;pirare, che &longs;i fa col tirare il fiato <lb/>a &longs;e, & mandarlo fuori.<emph.end type="italics"/></s> <s id="s.006092"> Ma &longs;e egli non &longs;arà nel corpo anchora una giu&longs;ta mi&longs;ura di ca­<lb/>lore non ui &longs;arà lo &longs;pirito uitale, nè il poter&longs;i fermamente drizzare in piedi; & le forze del <lb/>cibo non potranno hauere la tempra della dige&longs;tione: & però non notricando&longs;i i corpi di <lb/>terre&longs;tre cibo, mancherebbeno, & co&longs;i dalla me&longs;colanza del principio terreno faranno <lb/>abbandonati: & gli animali &longs;e &longs;aranno &longs;enza la pote&longs;tà dell humore exhau&longs;ti, & a&longs;ciutti dal <lb/>liquore de i &longs;uoi principij &longs;i &longs;eccheranno. <emph type="italics"/>Dice Ari&longs;totile, che noi ci notrimo di quelle co­<lb/>&longs;e, delle quali &longs;iamo compo&longs;ti, & però i quattro elementi &longs;ono nece&longs;&longs;ari alla uita dell'huomo, per <lb/>che di quelli il corpo è compo&longs;to.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006093">Et però la diuina Prouidenza non fece difficili, & care quelle co&longs;e, che propiamente <lb/>erano nece&longs;&longs;arie alle genti, come &longs;ono le pretio&longs;e pietre, l'oro, & l'argento, & le altre co­<lb/>&longs;e, le quali nè il corpo, nè la natura de&longs;idera: ma quelle co&longs;e, &longs;enza le quali la uita de i mor<lb/>tali non puo e&longs;&longs;er &longs;icura largamente alle mani pronte ci diede in ogni parte del mondo; & <lb/>però di que&longs;ti principij &longs;e per ca&longs;o alcuna co&longs;a ui manca di &longs;pirito, lo aere a&longs;signato per <lb/>re&longs;tituirlo, ciò pre&longs;ta copio&longs;amente. </s> <s id="s.006094">Ma lo impeto del Sole apparecchiato, ad aiutarci <lb/>col calore, & il fuoco ritrouato la uita piu &longs;icura ci rende, & co&longs;i il frutto della terra pre­<lb/>&longs;tandoci la copia del uiuere per gli &longs;oprabondanti de&longs;iderij alleua, & nutri&longs;ce gli animali <lb/>pa&longs;cendoli continuamente, & l'acqua non &longs;olameute per lo beuere, ma per l'u&longs;o dandoci <lb/>infinite nece&longs;sita per e&longs;&longs;erci data per grande utilità ci rende: & da cio quelli, che all'u&longs;an­<lb/>za de gli Egittij trattano le co&longs;e &longs;acre dimo&longs;trano tutte le co&longs;e con&longs;i&longs;tere dalla forza del <lb/>liquore, & però quando ricoprono i ua&longs;i dell'acqua, i quali al &longs;acro Tempio con ca&longs;ta re­<lb/>ligione &longs;i portano, allhora inginocchiati con le mani al cielo ringratiano per tali ritroua­<lb/>menti; la bontà diuina. </s> </p> <pb pagenum="328" xlink:href="045/01/342.jpg"/> <p type="main"> <s id="s.006095"><emph type="italics"/>Replica Vitr. lc co&longs;e dette nel &longs;econdo libro, al primo cap. circa i principij materiali <lb/>delle co&longs;e, ma con diuer&longs;a intentione; perche nel &longs;econdo egli hauea animo di dimo­<lb/>&longs;trare gli effetti, che uengono dalla me&longs;colanza de i principij nelle co&longs;e, come nella <lb/>calce, ne i mattoni, nell' arena, nelle pietre, & ne gli alberi: ma quiui ha intentione <lb/>trattare della natura, & dell'u&longs;o dell'acque: & in uero ha ben ragione di adornare que&longs;ta &longs;ua fati <lb/>ca con il trattamento dell'acque: perche &longs;i come l'oro, & le gemme, & le pietre &longs;ono pretio&longs;e <lb/>per la rarità loro, tutto che la natura humana habbia poco bi&longs;ogno di quelle, co&longs;i l'acqua è pre= <lb/>cio&longs;a per la nece&longs;&longs;ità, & per l'u&longs;o della uita: doue non immeritamente, & i &longs;aui, & i poeti, & i <lb/>&longs;acerdoti hanno celebrato l'u&longs;o dell'acqua. </s> <s id="s.006096">& perche la città di Roma ha di gran lunga &longs;upera­<lb/>to con l'opere, & con le condotte dell'acque tutto quello, che è &longs;tato altroue, però Vitru. oltra <lb/>l'u&longs;o uniuer&longs;ale dell'acque, per &longs;atisfare anche in que&longs;ta parte a i Romani, ha particolarmente <lb/>un libro a que&longs;ta materia con&longs;ecrato, doue parla, & della natura dell'acqua, & dell'u&longs;o. </s> <s id="s.006097"><lb/>Della natura ne parla, nel &longs;econdo, terzo, & quarto cap. dell'u&longs;o, nel primo, & ne gli altri. </s> <s id="s.006098">quan <lb/>to alla natura ci narra le proprietà dell'acque, le forze, & qualità &longs;eguendo una diletteuole hi­<lb/>&longs;toria naturale. </s> <s id="s.006099">Quanto all'u&longs;o, tralta della inuentione dell'acque, della elettione, del condurle, <lb/>& del con&longs;eruarle. </s> <s id="s.006100">Alla inuentione dona il primo capo. </s> <s id="s.006101">Alla elettione il quinto, perche non è <lb/>a&longs;&longs;ai trouare le acque, ma è nece&longs;&longs;ario lo eleggere le buone, & &longs;alutifere. </s> <s id="s.006102">al condurle, & con&longs;er­<lb/>uarle dà il &longs;e&longs;to, & il &longs;ettimo capo, in&longs;egnandoci a liuellarle, & dimo&longs;trandoci gli &longs;trumenti atti, et <lb/>i modi di condurle, & co&longs;i con grande utilità dà perfettione all'ottauo lib. ilquale io e&longs;porrò ne: <lb/>luoghi la&longs;ciando le digre&longs;&longs;ioni, & la pompa ad altro tempo.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.006103"><emph type="italics"/>Della inuentione dell'acqua. </s> <s id="s.006104">Cap. I.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.006105">Es&longs;endo adunque, & da i Fi&longs;ici, & da i Filo&longs;ofi, & da i Sacerdoti giudicato, tutte <lb/>le co&longs;e &longs;tare in&longs;ieme per la forza dell'acqua, io ho pen&longs;ito (poi, che ne i primi <lb/>&longs;ette uolumi e&longs;po&longs;te &longs;ono le ragioni de gli edificij) in que&longs;to douer&longs;i delle in <lb/>uentioni dell'acque trattare, & che forze habbino nelle propietà de luoghi, & <lb/>con che ragioni &longs;i conduchino, & come anchora quella &longs;i proui. <emph type="italics"/>Conclude per dimo&longs;trare <lb/>la &longs;ua intentione, & in tre parole abbraccia un bel di&longs;cor&longs;o &longs;opra l'acque dicendo.<emph.end type="italics"/></s> <s id="s.006106"> Perciò che <lb/>ella è molto nece&longs;&longs;aria, & alla uita, & a i piaceri, & all'u&longs;o quotidiano. </s> </p> <p type="main"> <s id="s.006107"><emph type="italics"/>Alla uita egli l'ha dimo&longs;trato di &longs;opra: perche &longs;enza l'humore èimpe&longs;&longs;ibile mantener&longs;i in ui­<lb/>ta: al piacere; qui la&longs;cio di&longs;correre a chi ha ueduto bell ßimi &longs;iti, acque, ru&longs;celli, & fonti, di quan­<lb/>to contento, & diletto &longs;ia la ui&longs;ta di quelli: all'u&longs;o, gli e&longs;&longs;erciti, gli a&longs;&longs;ediati, gli artefici, le cam<lb/>pagne, il mare, & la terra finalmente dimo&longs;tra l'u&longs;o dell'acque, però uerremo all'u&longs;o &longs;eguitando la <lb/>intentione, & l'ordine di Vit.<emph.end type="italics"/><!-- KEEP S--></s> <s id="s.006108"> Ma quella &longs;arà piu facile &longs;e le fonti aperte, & correnti &longs;eranno. </s> </p> <p type="main"> <s id="s.006109"><emph type="italics"/>Tratta della inuentione dell'acque, & rinchiude il &longs;uo di&longs;cor&longs;o in questa &longs;omma, che l'acque, <lb/>o uero &longs;i trouano aperte, & dalla natura dimostrate, come &longs;ono i Fonti, i Fiumi, & altre uene <lb/>aperte, & manifeste, & però dice Vitru.<emph.end type="italics"/><!-- REMOVE S--> Ma quella & c. <emph type="italics"/>o uero &longs;i trouano a&longs;co&longs;e, & &longs;ot­<lb/>terra, & queste, o dalla forma, & faccia del luogo &longs;i trouano, & gli inditij &longs;ono prima e&longs;posti <lb/>da Vitru. dicendo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006110">Ma &longs;e non correranno deue&longs;i &longs;otterra cercare i capi, & raccoglierla. </s> <s id="s.006111">le quai co&longs;e in <lb/>que&longs;to modo deono e&longs;&longs;ere e&longs;perimentate; che &longs;te&longs;o in terra alcuno con i denti appoggia­<lb/>ti prima, che il Sol na&longs;ca doue l'acqua &longs;i deue trouare, & po&longs;to in terra il mento, & fermato <lb/>&longs;opra un zocco piccolo &longs;i riguardi il pae&longs;e d'intorno: perche in que&longs;to modo fermato il <lb/>mento la ui&longs;ta non anderà piu alto eleuata del bi&longs;ogno, ma con certo fine i pae&longs;i a liuella­<lb/>ta altezza equale all'orizonte di&longs;egnerà. </s> <s id="s.006112">Allhora doue &longs;i &longs;corgeranno gli humori in &longs;pe&longs;­<lb/>&longs;ir&longs;i, & incre&longs;par&longs;i in&longs;ieme, & in aere &longs;olleuar&longs;i iui bi&longs;ogna cauare, perche que&longs;to &longs;egno <lb/>non &longs;i puo fare in luogo &longs;ecco. </s> </p> <pb pagenum="329" xlink:href="045/01/343.jpg"/> <p type="main"> <s id="s.006113"><emph type="italics"/>Et pone il modo dicendo, che &longs;e alcuno la mattina a buona hora &longs;i &longs;tenderà in terra, & guar­<lb/>derà per lo piano dell'orizonte, & uedrà alcuni fumi leuar&longs;i dal terreno, & incre&longs;par&longs;i come fa il <lb/>fumo, che e&longs;ce dalle legna uerdi, quando hanno il fuoco di &longs;otto, prenderà inditio di acque, perche <lb/>doue e&longs;alano que&longs;ti uapori è &longs;egno, che abbonda l'humore, ilquale è tirato dal Sole, & que&longs;to in­<lb/>ditio prendono anche quelli, che cauano le minere, perciò che, & dalla quantità del uapore, & <lb/>dal colore prendono argomento della qualità della minera; & uuole Palladio, che que&longs;ta proua &longs;i <lb/>faccia nel me&longs;e d'Ago&longs;to. </s> <s id="s.006114">leggi tutta que&longs;ta materia al &longs;ettimo, & ottauo capo della &longs;ua agricol­<lb/>tura. </s> <s id="s.006115">Posto questo naturale inditio uiene Vitr. ad e&longs;ponere quelli argomenti, che &longs;i cauano dalla <lb/>qualità della terra, & dice.<emph.end type="italics"/></s> <s id="s.006116"> Anche auuertir deue chi cerca l'acque, di che natura &longs;ia il luo­<lb/>go. <emph type="italics"/>Et ne rende la ragione dicendo.<emph.end type="italics"/></s> <s id="s.006117"> Perche certi, & determinati &longs;ono i luoghi doue na­<lb/>&longs;cono l'acque. <emph type="italics"/>Et ci e&longs;pone la natura de i luoghi, il che è facile nell'autore, & non ha bi&longs;ogno <lb/>di no&longs;tra dichiaratione.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006118">Nella creta è &longs;ottile, & poca, & non alta copia, & quella non di ottimo &longs;apore, & co&longs;i <lb/>è &longs;ottile nel &longs;abbione di&longs;ciolto. </s> <s id="s.006119">ma &longs;e ella &longs;i trouerà in luoghi piu ba&longs;si &longs;arà fango&longs;a, & in­<lb/>&longs;uaue. </s> <s id="s.006120">Nella terra negra &longs;i trouano &longs;udori, & &longs;tille non gro&longs;&longs;e, lequali raccolte per le <lb/>pioggie del uerno ne gli &longs;pe&longs;si, & &longs;odi luoghi danno giu. </s> <s id="s.006121">que&longs;ti &longs;ono di ottimo &longs;apore. </s> <s id="s.006122"><lb/>Dalla ghiara ueramente mediocri, & non certe uene &longs;i trouano, & que&longs;te &longs;ono di mirabil <lb/>&longs;oauità, & co&longs;i ancora dal &longs;abbione ma&longs;chio, dall'arena, & dal carbonchio piu certe, & piu <lb/>&longs;tabili &longs;ono le copie dell'acque, & que&longs;te &longs;ono di buon &longs;apore. </s> <s id="s.006123">Dal &longs;a&longs;&longs;o ro&longs;&longs;o, & abbon­<lb/>danti, & buone uengono, &longs;e tra le uene non &longs;correranno, & non &longs;coleranno, ma &longs;otto le <lb/>radici de i monti, & ne i &longs;elici piu copio&longs;i, & piu abbondanti, & que&longs;te piu fredde, & piu <lb/>&longs;ane: ma ne i fonti campe&longs;tri &longs;al&longs;e &longs;ono, graui, tepide & in&longs;oaui, &longs;e non romperanno ue­<lb/>nendo da i monti &longs;otterra nel mezo de i campi: & quelle hanno la &longs;oauità dell'acque mon <lb/>tane, che &longs;ono coperte d'intorno da gli alberi. </s> <s id="s.006124">Ma i &longs;egnia che maniere di terre &longs;otto &longs;tan­<lb/>no le acque, oltra i &longs;opra&longs;critti, que&longs;ti &longs;aranno: &longs;e egli &longs;i trouerà che ci na&longs;ca il &longs;ottil Giun­<lb/>co, la Salice erratica, l'Alno, il Vitice, l'Arundine, l'Hedere, & altre co&longs;e &longs;imiglianti, che <lb/>non po&longs;&longs;ono uenire in luce, nè nutrir&longs;i da &longs;e &longs;enza l'humore. </s> <s id="s.006125">Sogliono le &longs;te&longs;&longs;e co&longs;e e&longs;&longs;er <lb/>nate nelle Lacune, le qua li &longs;tando anche oltra il re&longs;to del campo riceuono l'acque delle <lb/>pioggie, & per lo uerno ne i campi, & lungamente per la capacità con&longs;eruano l'humore: al­<lb/>le quai co&longs;e non &longs;i deue dare fede, ma in quei pae&longs;i, & in quelle terre, doue non &longs;ono lagu­<lb/>ne, & che na&longs;cono per natura, & non per &longs;emente, iui &longs;i deue l'acqua cercare. <emph type="italics"/>Ma quello, <lb/>che appartiene alla industria dell'huomo per trouar l'acque è toccato da Vitr. dicendo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006126">Ma in quei luoghi, ne i quali &longs;imili inuentioni non &longs;aranno &longs;ignificate, in que&longs;to modo <lb/>&longs;i deono e&longs;perimentare. </s> <s id="s.006127">Caui&longs;i per ogni uer&longs;o il luogo alto piedi tre, largo non meno di <lb/>piedi cinque, & in e&longs;&longs;o po&longs;to &longs;ia uer&longs;o il tramontar del Sole uno bacile di Rame, o di Piom <lb/>bo, o uero una conca. </s> <s id="s.006128">di que&longs;ti quello, che &longs;arà pronto uoglio, che &longs;i unga dentro di oglio, <lb/>& riuer&longs;o &longs;i metta, & la bocca della caua &longs;ia di canne, o di frondi coperta, & di &longs;opra ui &longs;i <lb/>metta della terra, dipoi il giorno &longs;eguente &longs;ia &longs;coperta, & &longs;e nel ua&longs;o &longs;aranno goccie, & &longs;u­<lb/>dori que&longs;to luogo hauerà dell'acqua. </s> <s id="s.006129">Appre&longs;&longs;o &longs;e uno ua&longs;o fatto di creta non cotta in <lb/>quella caua con quella ragione &longs;arà coperto, & &longs;e quel luogo hauerà dell'acqua e&longs;&longs;endo <lb/>poi &longs;coperto, il ua&longs;o &longs;arà humido, & anche &longs;i di&longs;cioglierà dall'humore. </s> <s id="s.006130">& &longs;e in quella caua <lb/>&longs;i mettera una ciocca di lana, & nel dì &longs;eguente &longs;arà &longs;truccata l'acqua di quella, dimo&longs;tre­<lb/>rà quel luogo hauer copia di acqua. </s> <s id="s.006131">Ne meno auuerrà &longs;e ui &longs;arà acconcia una lucerna, & <lb/>piena d'oglio, & acce&longs;a, & in quel luogo coperta, & nel di &longs;eguente non &longs;arà a&longs;ciugata, ma <lb/>hauerà li auanzi dell'oglio, & del papero, & e&longs;&longs;a &longs;i trouerà humida, darà &longs;egno d'abbonda­<lb/>za d'acqua. </s> <s id="s.006132">per che ogni tepore a &longs;e tira gli humori: Anche, &longs;e in quel luogo &longs;arà fatto fuo­<lb/>co, & molto ri&longs;caldata la terra, & adu&longs;ta, & da &longs;e &longs;u&longs;citerà un uapore nebulo&longs;o, que&longs;to <lb/>luogo hauerà dell'acqua. </s> <s id="s.006133">Poi che tai co&longs;e in que&longs;to modo tentate &longs;aranno, & ritrouati i <pb pagenum="330" xlink:href="045/01/344.jpg"/>&longs;egni &longs;opra&longs;critti, allhora in quel luogo &longs;i deue cauare il pozzo: & &longs;e egli &longs;i trouerà il capo <lb/>dell'acqua, anche piu pozzi d'intorno &longs;i deono cauare, & tutti per una caua in un luogo <lb/>&longs;te&longs;&longs;o &longs;i deono condurre. <emph type="italics"/>Argomenti del &longs;ito, & forma del luogo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006134">Et que&longs;te co&longs;e ne i monti, nelle regioni Settentrionali &longs;pecialmente &longs;i deono cercare, <lb/>perciò che in quelli, & piu dolci, & piu &longs;ane, & piu copio&longs;e &longs;ono le acque: imperoche &longs;o­<lb/>no riuolte dal cor&longs;o del Sole; & però in tai luoghi gli alberi &longs;ono &longs;pe&longs;si, & le &longs;elue, & i <lb/>monti hanno l'ombre loro o&longs;tanti, che i raggi del Sole a terra diritti, non uenghino, nè <lb/>po&longs;sino a&longs;ciugare gli humori. </s> <s id="s.006135">Gli &longs;patij an che de i monti riceuono le pioggie, & per la <lb/>&longs;pe&longs;&longs;ezza delle &longs;elue iui le neui dall'ombre de gli alberi, & de i monti lungamente &longs;i con&longs;er­<lb/>uano, dapoi liquefatte colano per le uene della terra, & co&longs;i peruengono alle intime ra­<lb/>dici de i monti, da i quali erompeno gli &longs;correnti cor&longs;i de i fonti. </s> <s id="s.006136">Al contrario ne i luo­<lb/>ghi campe&longs;tri, & piani, hauer non &longs;i po&longs;&longs;ono le copie dell'acque, & &longs;e pure &longs;ono, al meno <lb/>mal &longs;ane &longs;i trouano, per lo uehemente impeto del Sole, perche niuna ombra gli o&longs;ta, bo­<lb/>gliendo a&longs;ciuga l'humore de i campi, & &longs;e iui &longs;ono acque apparenti, di quelle la &longs;ottili&longs;­<lb/>&longs;ima parte dalla &longs;ottile &longs;alubrità l'aere rimouendo, & leuando porta nello impeto del <lb/>cielo, & quelle, che dure &longs;ono, & graui&longs;sime, & in&longs;uaui, quelle (dico) la&longs;ciate &longs;ono ne i <lb/>fonti campe&longs;tri. </s> </p> <p type="main"> <s id="s.006137"><emph type="italics"/>Non &longs;empre la natura con larghi fiumi, con &longs;pe&longs;&longs;e fonti, o con aperti inditij ci dimo&longs;tra l'ab­<lb/>bondanza dell'acque, ma &longs;pe&longs;&longs;o tra le ui&longs;cere della terra, come &longs;angue nelle uene, raccoglie l'ac­<lb/>que, & per luoghi a&longs;co&longs;i, le conduce: però uolendo noi con indu&longs;tria ritrouare quello, che la na­<lb/>tura ci tiene a&longs;co&longs; o, à quello prouede Vitr. nel pre&longs;ente luogo, & ci in&longs;egna di ritrouare gli indi­<lb/>tij, quando la natura non ce li mo&longs;tra&longs;&longs;e, & a cauare i pozzi, ne i quali è d'auuertire, che non &longs;i <lb/>troua l'acqua, &longs;e prima non &longs;i ua tanto &longs;otto, che ci &longs;tia il letto del fiume &longs;opra, & oltra di que&longs;to <lb/>ci uuole indu&longs;tria per fuggir il pericolo, che il terreno non cada, o che la e&longs;alatione non ci offenda, <lb/>perche bene &longs;pe&longs;&longs;o dal terreno cauato e&longs;cono alcuni ueneno&longs;i, & pe&longs;tiferi uapori, come ben &longs;anno <lb/>quelli, che cauano le minere, a i quali in que&longs;to ca&longs;o &longs;i deue dimandar con&longs;iglio, & Vitru. con que­<lb/>&longs;to ci conchiude il trattamento dell'inuentione dell'acque, & Plinio, & Palladio, & molti altri <lb/>&longs;e ne hanno &longs;eruito à punto di questo libro.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.006138"><emph type="italics"/>Dell'acque delle pioggie. </s> <s id="s.006139">Cap. II.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="head"> <s id="s.006140"><emph type="italics"/>Qui tratta della natura dell'acque, & prima delle piouane, & poi dell'altre.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006141">Adunque l'acqua dalle pioggie raccolta è migliore, & piu &longs;ana: imperoche pri­<lb/>ma da uapori piu &longs;ottili, & leggieri da tutte le fonti &longs;i &longs;ceglie, dapoi per la com <lb/>motione dello aere colando&longs;i, & disfacendo&longs;i per le tempe&longs;tati uer&longs;o la terra <lb/>di&longs;cende. </s> <s id="s.006142">Oltra che non co&longs;i &longs;pe&longs;&longs;o ne i piani pioue, come ne i monti, & al­<lb/>le &longs;ommità, perche gli humori la mattina dal na&longs;cimento del Sole commo&longs;si, u&longs;citi dalla <lb/>terra, in qualunque parte del cielo, che piegano, &longs;o&longs;pingono lo aere, dapoi quando agita­<lb/>ti &longs;ono, accioche non &longs;i dia luogo, che uoto &longs;ia, tirano dopo &longs;e l'onde dello aere, lequali <lb/>con pre&longs;tezza, & forza gli uanno dietro. </s> <s id="s.006143">In quel mezo lo aere precipito&longs;o &longs;cacciando <lb/>l'humore, che gli &longs;ta dinanzi in ogni luogo, fa che i &longs;offi, gli impeti, & l'onde anche de i <lb/>uenti cre&longs;chino grandemente; per il che poi gli humori da i uenti &longs;o&longs;pinti, & in&longs;ieme ri­<lb/>&longs;tretti per tutto portati &longs;ono, & dalle fonti de i fiumi, dalle paludi, & dal mare, quando <lb/>&longs;ono dal caldo del Sole toccati, &longs;i cauano, & a que&longs;to modo le nubi da terra &longs;i leuano, que­<lb/>&longs;te rinforzate con lo aere, che &longs;i muoue, & ondeggia, quando peruengono a i luoghi alti, & <pb pagenum="331" xlink:href="045/01/345.jpg"/>rileuati, come &longs;ono i monti, percioche in quelli impedimenti &longs;ieramente s'incontrano, <lb/>per e&longs;&longs;ere dalle procelle cacciati, liquefacendo&longs;i &longs;i dileguano, come graui, & pieni, che <lb/>&longs;ono, & a que&longs;to modo &longs;opra la terra &longs;i diffondeno. </s> <s id="s.006144">Ma che i uapori, le nebbie, & gli <lb/>humori e&longs;cano dalla terra: que&longs;ta ragione ci appare, perche la terra dentro di &longs;e raccoglie, <lb/>& calori feruenti, & &longs;piriti uehementi, & anche freddi, & grande moltitudine di acque: <lb/>dapoi quando per la notte &longs;i raffredda per le norturne tenebre na&longs;ceno i &longs;iati de i uenti, & <lb/>da i luoghi humidi na&longs;ceno le nebbie, & &longs;i leuano in alto, onde poi na&longs;cendo il &longs;ole col <lb/>&longs;uo calore tocca la terra, indi lo aere fortemente dal Sole ri&longs;caldato con l'acque a&longs;&longs;otti­<lb/>gliate leua gli humori dalla terra. </s> <s id="s.006145">Appre&longs;&longs;o la ragione anche prenderemo l'e&longs;&longs;empio da i <lb/>bagni, percioche niuna uolta, oue &longs;ono i caldai, puo hauere i fonti di &longs;opra, ma il cielo, <lb/>che è iui fabricato, per la bocca dal uapore del fuoco ri&longs;caldato, leua l'acque da i pauimen<lb/>ti, & quella &longs;eco porta nelle curuature delle uolte, & iui &longs;o&longs;pe&longs;a, & in pendente tiene: per <lb/>che il caldo uapore di &longs;ua natura &longs;empre in alto &longs;i caccia; & da prima perche è &longs;ottile, & <lb/>lieue non &longs;i rila&longs;cia, ma poi, che piu d'humore &longs;e li aggiunge, & piu den&longs;o diuiene, come <lb/>da maggior pe&longs;o grauato, non &longs;i puo piu &longs;o&longs;tenere, ma gocciola &longs;opra le te&longs;te di chi &longs;i la­<lb/>ua; co&longs;i dalla &longs;te&longs;&longs;a cagione l aere del cielo dal Sole ri&longs;caldato, da tutti i luoghi a &longs;e tira gli <lb/>humori, & quelli alle nubi raccoglie. </s> <s id="s.006146">Imperoche co&longs;i la terra toccata dal feruore, man­<lb/>da fuori i uapori, come il corpo humano per lo caldo rila&longs;cia il &longs;udore: & di cio fede ci <lb/>fanno i uenti, de i quali quelli, che &longs;ono da freddi&longs;sime parti generati, come è Borea, & <lb/>Tramontana &longs;pirano nello aere &longs;piriti attenuati per lo &longs;ecco, ma l'O&longs;tro, & gli altri, che <lb/>dal cor&longs;o del Sole prendeno le forze loro, humidi&longs;simi &longs;ono, & &longs;empre &longs;eco portano le <lb/>pioue, perche ri&longs;caldati &longs;i parteno da regioni feruenti, & per tutto qua&longs;i leuando furano <lb/>gli humori, & co&longs;i poi li di&longs;pergeno alle parti &longs;ettentrionali. </s> <s id="s.006147">Ma che le predette co&longs;e a <lb/>tal modo &longs;i facciano, prende&longs;i argomento, & fede da i capi de fiumi, i quali nelle partico <lb/>lari de&longs;crittioni de i luoghi dipinti, & da molti &longs;critti nel giro della terra la piu parte, & í <lb/>piu grandi &longs;i trouano u&longs;cire dalle parti del &longs;etttentrione. </s> <s id="s.006148">Prima nella India il Gange, & <lb/>lo Indo na&longs;ceno dal monte Cauca&longs;o; nella Siria il Tigre, & lo Eufrate; nell'A&longs;ia, & nel <lb/>Ponto, il Bori&longs;tene, l'Hipani, la Tana, il Colchi, & il Pha&longs;i; nella Gallia il Rodano; <lb/>nella Borgogna il Reno; di qua dall'Alpi di Timauo, il Pò; nella Italia il <foreign lang="greek">*g</foreign>euere; nella <lb/>Mauru&longs;ia, che da i no&longs;tri è Mauritania nominata, dal monte Atlante il fiume Diri, il qua <lb/>le nato dalla parte &longs;ettentrionale &longs;corre di lungo per l'occidente al lago Eptabolo, & mu­<lb/>tando il nome Nigir &longs;i dimanda: dapoi dal lago Eptabolo &longs;otto di&longs;erti monti pa&longs;&longs;ando per <lb/>i luoghi meridionali &longs;orge, & entra nella palude Coloe, la quale circonda Meroe d'intor­<lb/>no, che è il regno de gli Ethiopi meridiani; & da quelle paludi raggirando&longs;i per li fiumi <lb/>A&longs;ta&longs;oba, & A&longs;tabora, & molti altri per li monti peruiene alla cataratta, & da quella <lb/>precipitando &longs;i giugne tra la Elephantida, & Siene, & in Egitto tra i campi di Thebe, & <lb/>iui Nilo &longs;i chiama. </s> <s id="s.006149">Ma che dalla Mauritania uenga il capo del Nilo da quello &longs;omamen­<lb/>te &longs;i cono&longs;ce, che dall'altra parte del monte Atlante ci &longs;ono altri capi, che &longs;imigliantemen <lb/>te &longs;correndo uanno all'Oceano occidentale, & iui na&longs;ceno gl'Ichneumoni, & i Cocodril <lb/>li, & altre &longs;imili nature di be&longs;tie, & di pe&longs;ci oltra gli Hippopotami. </s> <s id="s.006150">Quando adunque &longs;ia, <lb/>che tutti i grandi&longs;simi fiumi nelle de&longs;crittioni del mondo ci pareno hauere origine dalle <lb/>parti &longs;ettentrionali, & i campi Africani, i quali dalle parti meridiane &longs;ottopo&longs;ti &longs;ono al <lb/>cor&longs;o del Sole habbino in fatto na&longs;co&longs;i gli humori, rari fiumi, & non molte fonti: re&longs;ta, <lb/>che molto migliori &longs;i trouino i capi delle fonti, che alla Tramontana, & a Borea riguarda <lb/>no; &longs;e però in luogo pieno di &longs;olfo non &longs;i incontrano, & che ci &longs;ia dell'allume, o del bitu­<lb/>me: imperoche &longs;i mutano allhora, & fuori mandano o acque calde, o fredde di cattiuo <lb/>odore, & di tri&longs;to &longs;apore, perche dell'acqua calda non è alcuna proprietà, ma quando la <lb/>fredda incorre in luogo ardente, bolle, et ri&longs;caldata molto fuori per le uene e&longs;ce &longs;opra la <pb pagenum="332" xlink:href="045/01/346.jpg"/>terra, & però lungamente &longs;tar non puo, ma in poco tempo diuenta fredda, imperoche &longs;e <lb/>di natura &longs;ua calda fu&longs;&longs;e, il &longs;uo calore non &longs;i raffredderebbe; ma con tutto non &longs;e le rende <lb/>però, nè il colore, nè il &longs;apore, nè l'odore di prima, perche egli è gia per la &longs;ua rarità in­<lb/>tento, & me&longs;colato. </s> </p> <p type="main"> <s id="s.006151"><emph type="italics"/>Vitr. in que&longs;to luogo è chiaro, & dice molte belle co&longs;e, & &longs;pecialmente parlando del fiume <lb/>detto Nigir, che hoggi &longs;i chiama il fiume di Senega, che per A&longs;rica ua uer&longs;o ponente nell'Ocea­<lb/>no, il quale fa gli &longs;te&longs;&longs;i effetti, che fa il Nilo, cre&longs;ce, & produce gli animali, che &longs;opra il Nilo <lb/>&longs;i uedono. </s> <s id="s.006152">Narra la generatione delle pioggie, & con e&longs;&longs;empi lo dimostra, & parla della gene <lb/>ratione delle fonti, et de i fiumi. </s> <s id="s.006153">noi per diletto porremo qui &longs;otto i uer&longs;i tratti delle no&longs;tre meteore.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006154"><emph type="italics"/>Chiunque niega che'l ualor cele&longs;te <lb/>Formar non po&longs;&longs;a la mondana cera, <lb/>Certo &longs;ua mente d'ignoranza ue&longs;te.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006155"><emph type="italics"/>Et &longs;e'l mio dir &longs;alda ragion'auera <lb/>Spero mo&longs;trar, ch'il lume, & l'influenza, <lb/>E'l mouimento han qui lor forza uera.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006156"><emph type="italics"/>Quando che'l Sol da noi fa &longs;ua partenza. </s> <s id="s.006157"><lb/>Ouer ritorna ad albergar col &longs;egno, <lb/>In cui comincia a mostrar &longs;ua potenza:<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006158"><emph type="italics"/>Chi non cono&longs;ce al uariar del &longs;egno <lb/>Delle co&longs;e uolubili, & non uede <lb/>Come faccia il terren'hor uoto, hor pregno?<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006159"><emph type="italics"/>Quand'a mostrar &longs;ua bella faccia riede <lb/>Non è &longs;i ar&longs;iccio, & arido ce&longs;puglio <lb/>Che non rinuerdi, & non ne faccia fede.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006160"><emph type="italics"/>Ma quando poi piu bolle il caldo Giuglio, <lb/>Ogni &longs;ement'al maturar s'appresta <lb/>Per far maggior ognino&longs;tro pecuglio.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006161"><emph type="italics"/>D'indi trahendo la dorata cre&longs;ta, <lb/>La&longs;ciand'i no&longs;tri per contrari alberghi, <lb/>Gia la morte dell'anno è manife&longs;ta.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006162"><emph type="italics"/>Nè&longs;olpar, ch'alla uita in alto s'erghi, <lb/>O per morir &longs;i pieghi ogni germoglio <lb/>S'auien che'l Sol'o quiui, o altrou' alberghi;<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006163"><emph type="italics"/>Ma quand' anchor &longs;opr'il cele&longs;te &longs;oglio <lb/>Alcun pianeta i dritti raggi uibra, <lb/>Chabbia uirtù contraria a fredddo &longs;coglio:<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006164"><emph type="italics"/>Non equalmente i primi corpi libra, <lb/>Ma i due piu lieui raddoppiando moue <lb/>Con di&longs;eguale, & &longs;temperata libra.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006165"><emph type="italics"/>Ma Saturno, & Mercurio fan lor proue <lb/>Contrarie a quelle, & &longs;tando &longs;opra noi <lb/>Fan che laterra, & l'acqua &longs;i rinoue.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006166"><emph type="italics"/>Perche fredd'è lor forza, & fredde poi <lb/>Sono le qualitati indi cadute <lb/>Per gli humidi, & gelati influ&longs;&longs;i &longs;uoi.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006167"><emph type="italics"/>Non che nel ciel, ch'è padre di &longs;alute, <lb/>Ardor', o gelo &longs;ia, come qui ba&longs;&longs;o, <lb/>Ma perche tal è &longs;ua forza, & uirtute.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006168"><emph type="italics"/>Nè dietro però dei uolger'il pa&longs;&longs;o, <lb/>Se dico gli elementi e&longs;&longs;er maggiori, <lb/>Perche nè in que&longs;to uerità trapa&longs;&longs;o.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006169"><emph type="italics"/>Che &longs;e del fuoco accre&longs;ceno gli ardori <lb/>In una parte, poi nell'altra &longs;ono <lb/>Proportionatament'ancho minori.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006170"><emph type="italics"/>Et que&longs;t'è di natura un largo dono, <lb/>Che quant'iui ripiglia, qui ripone, <lb/>E in cio concorda quell'eterno &longs;uono.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006171"><emph type="italics"/>Ma noi &longs;eguend'il uer della ragione <lb/>Gia cominciata, altronde piglieremo <lb/>Da far piu forte no&longs;tra oppenione.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006172"><emph type="italics"/>Vede&longs;i adunque dal ualor &longs;upremo <lb/>Del Ciel tirar&longs;i in giro il fuoco, & l'onda <lb/>E'l corpo, ch'ètra que&longs;to, & quell'e&longs;tremo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006173"><emph type="italics"/>Il calor grand' allhor molto piu abbonda, <lb/>Quando la Luna nella parte oppo&longs;ta <lb/>Al Sol dimo&longs;tra la &longs;ua faccia tonda.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006174"><emph type="italics"/>L'antichi&longs;&longs;imo &longs;pirto, che s'acco&longs;ta <lb/>Alla ruota maggior, ferma laterra, <lb/>Che non riuolge nè lato, nè co&longs;ta,<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006175"><emph type="italics"/>Et quel pianeta, ch'è &longs;opra la guerra, <lb/>(Odi cagion di nuoua merauiglia,) <lb/>Tra i primi corpi l'agguaglianza &longs;erra.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006176"><emph type="italics"/>Appre&longs;&longs;o anchor la nobile famiglia, <lb/>I metalli, le pietre, & l'altre co&longs;e <lb/>Come propie ricchezze in guarda piglia.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006177"><emph type="italics"/>Nè &longs;i puon dire le uirtuti a&longs;co&longs;e <lb/>Ne gli animai, nell'acque, & nelle piante, <lb/>Ch'a merauiglia &longs;on merauiglio&longs;e.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006178"><emph type="italics"/>La&longs;ciamo dunque a dietro il mondo errante, <lb/>Et &longs;eguitiam'a dir, cio che da humore <lb/>Si fa qua giu con apparenze tante.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006179"><emph type="italics"/>Surge da terra l humido uapore <lb/>Tratto dal Sol'alla men calda &longs;tanza, <lb/>Ea poco a poco prende piu uigore.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006180"><emph type="italics"/>E in que&longs;to &longs;patio fa gran rauranza <pb xlink:href="045/01/347.jpg"/>Tanto, che &longs;i conden&longs;a, & &longs;i ri&longs;trigne <lb/>In folta nebbia, & di nera &longs;embianza,<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006181"><emph type="italics"/>Il freddo è la cagion, che la co&longs;trigne <lb/>Come &longs;ponga, che d'acqua piena &longs;ia <lb/>Spreme l'humor, che la terra dipigne.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006182"><emph type="italics"/>Tal'hor minute &longs;on le goccie in uia, <lb/>Tal'hor piu gro&longs;&longs;e, come che'l &longs;oggetto <lb/>Piu copio&longs;o, o meno &longs;i di&longs;uia.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006183"><emph type="italics"/>Et &longs;pe&longs;&longs;o l'aer puro in &longs;e ri&longs;tretto, <lb/>Da potenza &longs;upern'in pioggia uolto, <lb/>Acqua giu manda piena di diletto.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006184"><emph type="italics"/>Que&longs;ta nel grembo della terr'accolto, <lb/>Pregna la rende, ond'ella poi s'infiora, <lb/>E in uerdeggiante gonna ha il &longs;en'in uolto.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006185"><emph type="italics"/>Po&longs;cia Vertunno, con Pomona, & Flora <lb/>E'l padre Bacco, & mill'antichi numi, <lb/>Lodan'il Sol, che &longs;i bell'anno honora.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006186"><emph type="italics"/>Ma quando l' aer riuers'i &longs;uoi fiumi, <lb/>Come da i monti delle nubi aperte, <lb/>Con &longs;pauento&longs;i, e horribili co&longs;tumi.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006187"><emph type="italics"/>Et &longs;on le uoci &longs;trepito&longs;e in&longs;erte <lb/>Del mormorar', e in ogni parte rugge <lb/>Con fiamme &longs;par&longs;e, mobili, & incerte:<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006188"><emph type="italics"/>Cio na&longs;ce dal &longs;offiar, ch'intorno mugge, <lb/>Et con gran forza indura il fo&longs;co nembo, <lb/>Ch'impatiente del legame fugge.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006189"><emph type="italics"/>Però &longs;i uede hor angulo&longs;o, hor gembo <lb/>L'a&longs;petto della nube intorno cinta <lb/>Da &longs;i feroc', e impetuo&longs;o lembo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006190"><emph type="italics"/>Ma perche &longs;ia la mia ragion di&longs;tinta, <lb/>Dirò de &longs;egni della pioggia, & quali <lb/>Et quanti &longs;on con mae&longs;treuol tinta.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006191"><emph type="italics"/>Chi ued'il fumo con &longs;ue turbid'ali <lb/>Salir'al Cielo, & apparir in forma <lb/>Di nebbia, o di uapori, o fumi tali',<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006192"><emph type="italics"/>Puo giudicar &longs;enz'hauer altra norma <lb/>Che l'aer pregno a piouer s'apparecchi, <lb/>Che raro in altra co&longs;a &longs;i trasforma.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006193"><emph type="italics"/>Quand'anche dietro a gli humidi, & rubecchi <lb/>Vapor'il Sol ro&longs;&longs;eggia in oriente, <lb/>Segn'è di pioggia, & di &longs;uoi molli &longs;pecchi.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006194"><emph type="italics"/>Il gracidar della fango&longs;a gente, <lb/>Et d'alcun'uccelletti il canto mo&longs;tra <lb/>La piu gro&longs;&longs;a rugiada e&longs;&longs;er pre&longs;ente.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006195"><emph type="italics"/>L'auida pecorell'anche il dimo&longs;tra <lb/>Col &longs;uo mor&longs;o bramo&longs;o, & l'arrogante <lb/>Mo&longs;ca, che &longs;empre uuol uincer la gio&longs;tra,<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006196"><emph type="italics"/>Lo &longs;cintillar delle lucerne innante, <lb/>Inditio d'acqua copio&longs;a porge, <lb/>Et l'humido del muro circo&longs;tante.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006197"><emph type="italics"/>Quando con men liquor'il fonte &longs;orge, <lb/>Et con cor&longs;o men fort'il fium'è mo&longs;&longs;o, <lb/>Vn buon giuditio del piouer s'accorge.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006198"><emph type="italics"/>Mill'altri &longs;egni&longs;on, che dir non po&longs;&longs;o, <lb/>In breue &longs;patio, & da quei &longs;aui inte&longs;i, <lb/>Ch'affatican del mar l'humido do&longs;&longs;o.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006199"><emph type="italics"/>Molti ne &longs;on da agricoltori appre&longs;i, <lb/>Et molti ancor dalle genti, che &longs;anno <lb/>L'u&longs;anza, & i costumi de pae&longs;i,<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006200"><emph type="italics"/>Ch'è inanzi il ca&longs;o il &longs;ucce&longs;&longs;o diranno.<emph.end type="italics"/></s> </p> <p type="head"> <s id="s.006201"><emph type="italics"/>CAPITOLO.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.006202"><emph type="italics"/>L'anima &longs;emplicetta, che di&longs;cende <lb/>Dalla cele&longs;t'alla terrena &longs;tanza, <lb/>A&longs;&longs;ai meno, che prim'il uero apprende,<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006203"><emph type="italics"/>Perche di&longs;tolta dalla prim'u&longs;anza, <lb/>Rinchiu&longs;a come Danae nel fondo, <lb/>Viue della mi&longs;errima ignoranza.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006204"><emph type="italics"/>Il benigno &longs;uo padre, che nel mondo <lb/>Volle mandarla del &longs;uo amore acce&longs;o <lb/>Si cangia in Oro lucid', & fecondo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006205"><emph type="italics"/>L'oro e'l &longs;aper', & il bel uero inte&longs;o, <lb/>Che da benigno influ&longs;&longs;o nella mente <lb/>Fa ricco l'huomo &longs;oura Mida, o Cre&longs;o.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.006206"><emph type="italics"/>Cos'il perduto bene tra la gente <lb/>Del &longs;ecolo &longs;i trou', & &longs;iracqui&longs;ta, <lb/>Ma non &longs;enza fatica, o &longs;tudio ardente.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006207"><emph type="italics"/>Ben'è la cono&longs;cenza alquanto mi&longs;ta <lb/>Da fanta&longs;ime, & forme, che dal &longs;en&longs;o <lb/>Na&longs;cono in noi dall'udit', & la ui&longs;ta.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006208"><emph type="italics"/>Trouas'infine dallo &longs;tudio immen&longs;o <lb/>Co&longs;i puro & purgato l'intelletto, <lb/>Che rend'a Gioue l'honorato cen&longs;o.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006209"><emph type="italics"/>Que&longs;to &longs;i uede chiar da quel, che ho detto, <lb/>Ch'oltr' il bel uer delle notitie prime <lb/>Da gli accidenti na&longs;ce il uer concetto.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006210"><emph type="italics"/>Que&longs;ti n'han fatto con &longs;cienze opime <lb/>Tornar delle materie, nelle quali <lb/>La forza del calor uero s'imprime.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006211"><emph type="italics"/>I lampi, le comete, i fuochi tali <lb/>Per le co&longs;e ui&longs;ibili&longs;on fatti <lb/>A gl'intelletti de gli huomini eguali.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006212"><emph type="italics"/>Et gli humidi uapor' anche &longs;on tratti <lb/>Per l'accidente alla notitia no&longs;tra, <lb/>Come &longs;i fanno, & come &longs;on disfatti.<emph.end type="italics"/></s> </p> <pb pagenum="334" xlink:href="045/01/348.jpg"/> <p type="main"> <s id="s.006213"><emph type="italics"/>Hor &longs;egue quello, che mia mu&longs;a mo&longs;tra, <lb/>Della rugiada dir', & della brina <lb/>Et del re&longs;to con&longs;orm'a &longs;imil mo&longs;tra.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006214"><emph type="italics"/>Dolce calor dalla luce diuina <lb/>Dolcemente un uapor lieua dal piano, <lb/>Nella parte dell'aer piu uicina.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006215"><emph type="italics"/>La notte col &longs;uo freddo uelo, & piano <lb/>Re&longs;tringe quel uapor', & quell'inuoglie <lb/>In gocciole conner&longs;o a man'a mano.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006216"><emph type="italics"/>Quest' all'herbette, a i fior', & alle foglie <lb/>Tremolando s'acco&longs;ta, & nel mattino, <lb/>I bei raggi del Sol, qual &longs;pecchio accoglie.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006217"><emph type="italics"/>Simil uapor'fa il gelo mattutino; <lb/>Ma perch'il gelo è piu potente, & forte, <lb/>Però &longs;i strigne & diuenta piu fino.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006218"><emph type="italics"/>Spe&longs;&longs;o &longs;i &longs;ono le per&longs;one accorte <lb/>Ch'al ba&longs;&longs;o la rugiada &longs;i conden&longs;a <lb/>Per non e&longs;&longs;er calor, ch'alto la porte.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006219"><emph type="italics"/>Perche &longs;edend'a diletteuol men&longs;a <lb/>Ne bei prati la &longs;era, hanno &longs;entito, <lb/>Che tal uapor di &longs;otto &longs;i di&longs;pen&longs;a.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006220"><emph type="italics"/>Il luogo, & la &longs;tagion fanno l'inuito <lb/>A que&longs;t'impre&longs;&longs;ion, che &longs;pe&longs;s' amaro <lb/>Et &longs;peß'ha dolc'il gu&longs;to, & &longs;aporito.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006221"><emph type="italics"/>S'hebbe gia un cibo precio&longs;o & caro, <lb/>Simil alla rugiada, far per fede, <lb/>Quanto puo il aielo con inditio chiaro.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006222"><emph type="italics"/>Nella di&longs;erta piaggia oue non uede <lb/>Na&longs;cer herbette il Sol', o &longs;orger fonte, <lb/>Fa fatt'un popol d'ogni cibo herede.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006223"><emph type="italics"/>Col gu&longs;to lor', & con le uoglie pronte <lb/>Vn'e&longs;ca &longs;ol'haueua ogni &longs;apore, <lb/>Odi co&longs;e incredibili, ma conte.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006224"><emph type="italics"/>Er'un pae&longs;e, ou'il diuin fauore <lb/>Conduceua la gent'a Dio diletta, <lb/>Sott'il ue&longs;&longs;illo d'un gran conduttore.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006225"><emph type="italics"/>In quello in uece d'acqua pura, & neta, <lb/>Candido latte, & dolce mel correa, <lb/>Ogni co&longs;a in &longs;uo grado era perfetta:<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006226"><emph type="italics"/>Ma giugner prima, ou'andar &longs;i douea <lb/>Senza fatica, & camin a&longs;pro, & pieno <lb/>D'ogni di&longs;agio, & mal non &longs;i potea.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006227"><emph type="italics"/>Il popol &longs;i &longs;entiua uenir meno, <lb/>Et della uita & delle &longs;ue &longs;peranze, <lb/>Et al mal dire non haueua freno.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006228"><emph type="italics"/>Il capitano alle cele&longs;ti &longs;tanze <lb/>Gli occhi, & le palme humilmente uolgendo, <lb/>Pregò, &longs;econdo le &longs;ue antiche u&longs;anze.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006229"><emph type="italics"/>Padre (dicea) del ciel &longs;e ben comprendo <lb/>Hauer condotta la tua gente in loco, <lb/>Oue la morte &longs;enza te n'attendo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006230"><emph type="italics"/>Tu, che parti&longs;ti gli elementi, e al fuoco <lb/>Seggio &longs;ublime, & piu capace de&longs;ti <lb/>E'l troppo al mezo riduce&longs;ti, e'l poco:<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006231"><emph type="italics"/>Pur'io confido ne i miei uoti hone&longs;ti, <lb/>Che &longs;on fondati nelle tue prome&longs;&longs;e, <lb/>Che grat'il no&longs;tro male non haure&longs;ti.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006232"><emph type="italics"/>Meco &longs;on que&longs;te genti, & io con e&longs;&longs;e, <lb/>E&longs;&longs;e alla mia, & io &longs;to alla tua uoce, <lb/>Voce, che &longs;ta nelle tue uoglie &longs;te&longs;&longs;e.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006233"><emph type="italics"/>Ecco l'a&longs;pro &longs;entier quanto lenoce, <lb/>Quant'è l'error fallace delle &longs;trade, <lb/>Quat'è la fame indomita, & atroce.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006234"><emph type="italics"/>Tu &longs;ei la uia, tu &longs;ei la ueritade, <lb/>Tu &longs;ei la uita, però dolce padre <lb/>Mo&longs;traci il uer camino per pietade.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006235"><emph type="italics"/>Porg'il cibo bramato alle tue &longs;quadre, <lb/>Et fa, che &longs;i comprenda, che ne &longs;ei <lb/>Pre&longs;ente, con que&longs;t'opere leggiadre.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006236"><emph type="italics"/>Vdì la uoce il padre de gli Dei <lb/>Del Capitan fedele, & &longs;uo gran duolo, <lb/>Mo&longs;trò quant'ama i buoni, & odia i rei.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006237"><emph type="italics"/>Però chiamand'il &longs;uo beato &longs;tuolo <lb/>Quello, ch'il &longs;uo uoler'in terra &longs;piega, <lb/>Einnant'ogn'hor li &longs;tà con dolce uolo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006238"><emph type="italics"/>Di&longs;&longs;egli, poi ch'al giu&longs;to non &longs;i niega <lb/>Giu&longs;ta dimanda, hor gite oue &longs;i &longs;erua <lb/>L'ambro&longs;ia no&longs;tra, e'l nettare &longs;i lega<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006239"><emph type="italics"/>Ne i ua&longs;i eterni, in eterna con&longs;erua: <lb/>Di que&longs;ta &longs;opra la di&longs;erta piaggia, <lb/>Oue il popolo mio la fame &longs;nerua,<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006240"><emph type="italics"/>Tanta dal Ciel per ogni uer&longs;o caggia, <lb/>Ch'ogn'un'il &longs;eno &longs;i riempi, & goda <lb/>Nè ui &longs;ia tribu, ch'in copia non n'haggia.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006241"><emph type="italics"/>Ecco una &longs;chiera di quei &longs;pirti &longs;noda <lb/>Le cele&longs;ti uiuande giu dal cielo, <lb/>Piouen quell'e&longs;ca, per ch'ognun la roda.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006242"><emph type="italics"/>L'afflitta turba, che dal chiaro uelo <lb/>Del bel &longs;eren'intorno, uede & mira <lb/>Scender'il dolce, & tra&longs;parente gelo,<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006243"><emph type="italics"/>De&longs;io&longs;a la coglie, & pon giu l'ira, <lb/>Che la fame nodri&longs;ce, & &longs;ene &longs;atia <lb/>Con merauiglia, & quanto puo re&longs;pira.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006244"><emph type="italics"/>L'alto &longs;tupor di co&longs;i rara gratia <lb/>Conduce a dir'ogn'un, che cos'è que&longs;ta? </s> <s id="s.006245"><lb/>Qual boccanon fia &longs;tanca pria, che &longs;atia?<emph.end type="italics"/></s> </p> <pb pagenum="335" xlink:href="045/01/349.jpg"/> <p type="main"> <s id="s.006246"><emph type="italics"/>La uoglia ogni &longs;apor'in quella de&longs;ta, <lb/>Però &longs;ene contenta ogni palato, <lb/>Ogni gu&longs;to s'aqueta, & &longs;ene re&longs;ta.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006247"><emph type="italics"/>Benedetto &longs;ia'l Ciel, che ciò n'ha dato, <lb/>Et &longs;e ben quella uolta fu corte&longs;e, <lb/>Qualche parte però n'ha anchor la&longs;ciato.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006248"><emph type="italics"/>Ma ben benign'è l'aria in quel pae&longs;e, <lb/>Che cio ne manda per &longs;anar gl'infermi <lb/>Di uari mali lor', & uarie offe&longs;e:<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006249"><emph type="italics"/>Ma qui conuien che'l mio cantar &longs;i fermi.<emph.end type="italics"/></s> </p> <p type="head"> <s id="s.006250"><emph type="italics"/>CAPITOLO.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.006251"><emph type="italics"/>Com'il calor delle &longs;operne &longs;pere <lb/>Leua il uapor dalla terrena &longs;corza, <lb/>Detto s'è prima con &longs;entenze uere.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006252"><emph type="italics"/>La bianca neue il uerno &longs;i rinforza <lb/>Come &longs;uol far la &longs;tate la tempe&longs;ta, <lb/>In cui uirtu maggior &longs;i mo&longs;tra, & forza.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006253"><emph type="italics"/>Humido, & caldo fumo al Ciel &longs;i de&longs;ta <lb/>Et nella meza region s'inalza <lb/>Ri&longs;trett'in nube chiara, & manife&longs;ta.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006254"><emph type="italics"/>Quella il uapor debilemente inalza, <lb/>Che per e&longs;&longs;er &longs;ottile, & gia di&longs;per&longs;o <lb/>Come candida lana &longs;i di&longs;calza.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006255"><emph type="italics"/>Onde s'imbianca tutto l'uniuer&longs;o, <lb/>L'aere pregno d'ogni intorno fiocca, <lb/>Le bianche falde dell'humor con&longs;per&longs;o.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006256"><emph type="italics"/>Ma con piu furia, & piu durezza tocca <lb/>La grandine gelata i tetti, e i colmi, <lb/>Et con horror, & &longs;trepito trabocca.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006257"><emph type="italics"/>Onde &longs;i &longs;pezzan con le uiti gli olmi, <lb/>Le biade a terra uanno con durezza, <lb/>Del gelido cri&longs;tal, ch'a dirlo duolmi.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006258"><emph type="italics"/>Muor'ogni pianta alla temperie auuezza, <lb/>E'l contadin di &longs;ue &longs;peranze cade, <lb/>Nè piu &longs;e &longs;te&longs;&longs;o o &longs;ua famiglia apprezza.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006259"><emph type="italics"/>Que&longs;to &longs;trano accidente allhor accade, <lb/>Quand'ha piu forz'il Sol, però ch'ei lieua <lb/>L'humor in altre piu fredde contrade.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006260"><emph type="italics"/>Che non &longs;on quelle, oue &longs;i fa laneua, <lb/>La brina, & la rugiada forza piglia <lb/>Per que&longs;to, & quel contrario, che l'aggreua.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006261"><emph type="italics"/>Nè di ciò prender dei piu merauiglia, <lb/>Perche l'e&longs;tate, piu che'l uerno gela, <lb/>La regione ou'il uapor s'appiglia.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006262"><emph type="italics"/>Ardon gli e&longs;tremi, e'l mezo &longs;i congela, <lb/>Nè potendo fuggir'i &longs;uoi nemici, <lb/>Ri&longs;trett'in &longs;e mede&longs;imo &longs;i cela.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.006263"><emph type="italics"/>Dell'acque calde, et che forze hanno da diuer&longs;i metalli don­<lb/>de e&longs;ceno, & della natura di uary fonti, laghi, & <lb/>fiumare. </s> <s id="s.006264">Cap. III.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.006265">Sono alcune fonti ancora calde, dalle quali n'e&longs;ce acqua di ottimo &longs;apore, laqua <lb/>le nel bere è co&longs;i &longs;oaue, che non &longs;i di&longs;idera quella delle fonti Camene, nè la <lb/>&longs;urgente Martia. </s> <s id="s.006266">Ma que&longs;te da e&longs;&longs;a natura a que&longs;ta gui&longs;a &longs;i fanno. </s> <s id="s.006267">Quan­<lb/>do per lo allume, o per lo bitume, o &longs;olfo nel fondo &longs;i accende il fuoco me­<lb/>diante l'ardore, la terra, che è d'intorno a quello bianca, & rouente diuiene, ma &longs;opra alla <lb/>&longs;uperficie della terra manda fuori il feruido uapore, & co&longs;i &longs;e alcune fonti in quei luoghi, <lb/>che &longs;ono di &longs;opra, na&longs;ceno di acque dolci offe&longs;e, & rincontrate da quel uapore, boglio­<lb/>no tra le uene, & in que&longs;to modo e&longs;ceno fuori, &longs;enza che il loro uapore &longs;i gua&longs;ti. </s> <s id="s.006268">Sono <lb/>ancho di non buono &longs;apore, & odore alcune fonti fredde, lequali da luoghi inferiori dren<lb/>to la terra na&longs;cendo, pa&longs;&longs;ano per luoghi ardenti, & da que&longs;ti partendo&longs;i, & tracorrendo <lb/>per lungo &longs;patio della terra raffreddati uengono di &longs;opra con l'odore, &longs;apore, & colore gua<lb/>&longs;to, & corrotto, come &longs;i uede nella uia Tiburtina il fiume Albula, & nel piano Ardeatino <lb/>le fonti fredde, che &longs;olforate &longs;i chiamano, dello &longs;te&longs;&longs;o odore: & co&longs;i &longs;i uede in altri luoghi <lb/>&longs;imiglianti: ma que&longs;te tutto che fredde &longs;iano, pareno però bollire, percioche auuiene, <lb/>che incontrando&longs;i di &longs;otto profondamente in luoghi alti, offe&longs;i dall'humore, & dal fuoco, <lb/>che tra &longs;e conuengono, con grande, & uehemente &longs;trepito in &longs;e forti, & gagliardi &longs;piriti <pb pagenum="336" xlink:href="045/01/350.jpg"/>uanno riceuendo, & co&longs;i gonfi per la forza del uento, & sforzati bogliendo &longs;pe&longs;&longs;o fuori <lb/>e&longs;ceno delle fonti loro; Ma di quelle fonti, che aperte non &longs;ono; ma ouero da &longs;a&longs;si, ouero <lb/>da qualche altra uiolenza ritenute &longs;ono, per i&longs;trette uene &longs;ono dalla forza dello &longs;pirito <lb/>mandate fuori a i grandi, & rileuati grumi di terra, & però grandemente &longs;i inganna, chiun­<lb/>que pen&longs;a di hauere i capi delle fonti, quando apreno loro le grandi fo&longs;&longs;e in quella altezza, <lb/>che &longs;ono i grumi: imperò &longs;i come un ua&longs;o di rame non ripieno &longs;ino all'orlo &longs;uo, ma che <lb/>habbia la mi&longs;ura dell'acqua &longs;econdo la &longs;ua capacità, di due delle tre parti quando il &longs;uo co <lb/>perchio dal gran feruore del fuoco toccato uiene sforza l'acqua a ri&longs;caldar&longs;i bene, & quel­<lb/>la per la &longs;ua naturale rarità riceuendo in &longs;e la gagliarda enfiagione del caldo, non &longs;olo ri­<lb/>empie il ua&longs;o, ma con gli &longs;piriti &longs;uoi alzando il coperchio, & u&longs;cendo trabocca: ma leuato <lb/>il coperchio, & e&longs;&longs;alati i &longs;uoi bogl<14>menti nello aperto aere, torna di nuouo al luogo &longs;uo: <lb/>al &longs;imigliante modo quei capi delle fonti, quando &longs;ono per le &longs;trettezze compre&longs;si, & ri­<lb/>&longs;tretti, con grande impeto uengono di &longs;opra gli &longs;piriti dell'acqua, ma tanto&longs;to, che riaper <lb/>ti, & rillargati &longs;ono uotati per la rarità, che nel liquore preuale, ri&longs;eggono, & tornano nella <lb/>proprietà del &longs;uo giu&longs;to pe&longs;o. </s> <s id="s.006269">Ma ogni acqua calda per que&longs;to è atta alle medicine, per­<lb/>ciò che ricotta nelle co&longs;e precedenti, riceue altra uirtute all'u&longs;o humano; percioche le fon<lb/>ti &longs;ulfuree ri&longs;torano le fatiche de nerui, ri&longs;caldando, & &longs;ucchiando con il loro calore i tri= <lb/>&longs;ti humori da i corpi. </s> <s id="s.006270">Ma le fonti, che hanno dell'allume, quando riceueno alcuni corpi <lb/>dalla parali&longs;i di&longs;ciolti, ouero da qualche sforzeuole infermità mantenendo il refrigerio <lb/>per le aperte uene, ri&longs;torano con forza contraria del caldo, & co&longs;i continuando per que­<lb/>&longs;to i corpi &longs;ono rime&longs;si nell'antica cura delle loro membra: Finalmente oue &longs;ono le ac­<lb/>que, che tengono del bitume, gli huomini po&longs;&longs;ono purgare i difetti, che hanno dentro i <lb/>corpi loro beuendone, & a que&longs;to modo medicar&longs;i. </s> <s id="s.006271">Euui anche una &longs;orte di acqua fred­<lb/>da nitro&longs;a come a Penna, a Ve&longs;tina, a Cotilio, & in altri luoghi &longs;imili, che beuendone al­<lb/>cuno &longs;i purga, & per lo uentre pa&longs;&longs;ando minui&longs;ce, & &longs;cema la gonfiezza delle &longs;trume. </s> <s id="s.006272">Ma <lb/>doue &longs;i caua l'oro, & l'argento, il ferro, il rame, il piombo, & altre &longs;imiglianti co&longs;e alle det <lb/>te, iui &longs;i trouano molte fonti, ma &longs;ono &longs;ommamente difetto&longs;e, percioche hanno i uitij <lb/>contrari a quell'acque calde, che uengono dal &longs;olfo, dallo allume, o dal bitume, & fanno <lb/>que&longs;to, che beuute quando entrano nel corpo, & uanno per le uene toccano i nerui, & le <lb/>giunture, & quelli infiando gl'indurano i nerui. </s> <s id="s.006273">A dunque per la enfiagione gonfiati per <lb/>lungo &longs;i ritirano, & co&longs;i fanno gli huomini doglio&longs;i o per male di nerui, o per le podagre, <lb/>perche hanno le &longs;ottigliezze delle uene loro me&longs;colate di co&longs;e duri&longs;sime, &longs;pe&longs;&longs;e, & fred­<lb/>di&longs;sime. </s> <s id="s.006274">Vn'altra &longs;orte di acqua &longs;i troua, laquale non hauendo a ba&longs;tanza le &longs;ue uene chia­<lb/>re, con la &longs;puma &longs;ua nuota come fiore nella &longs;ommità &longs;imile al colore d'un uetro purpu­<lb/>reo. </s> <s id="s.006275">Que&longs;te co&longs;e mirabilmente auuertite &longs;ono, & con&longs;iderate in Athene, perche iui da &longs;i­<lb/>mili luoghi, & fonti, & in A&longs;ti, & al porto Pireo &longs;ono condotte le &longs;urgenti canne, & di <lb/>quelle niuno ne beue per quella cau&longs;a, ma bene &longs;e ne &longs;erueno per lauare, & per altre bi&longs;o­<lb/>gna, & beueno de i pozzi, & co&longs;i &longs;chiuano i difetti di quelle fonti. </s> </p> <p type="main"> <s id="s.006276"><emph type="italics"/>Hermolao nelle ca&longs;tigationi di Pli. <!-- REMOVE S-->aliij. </s> <s id="s.006277">del xxxi. </s> <s id="s.006278">legge non, & in A&longs;ti ad portum Pireæum, <lb/>ma Ma&longs;ti u&longs;que ad portum Pireæum, & dice, che Ma&longs;ti &longs;ono dette altramente, mammæ, & pa­<lb/>pillæ, & ubera, qua&longs;i mammelle, per lequali uengano l'acque, benche anche &longs;alua la prima let­<lb/>tione, & per A&longs;ti intende Athene.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.006279">Ma a<foreign lang="greek"> *g</foreign>roezzeno ciò non &longs;i puo fuggire, perche iui altra &longs;orte di acque non &longs;i troua, &longs;e <lb/>non quella, che hanno i Cibdeli, & però in quella città o tutti, o la maggior parte &longs;ono de <lb/>i piedi cagioneuoli. </s> <s id="s.006280">Ma in Tar&longs;o città di Cilicia troua&longs;i un fiume nominato Cidnos, nel­<lb/>quale i podagro&longs;i tenendo le gambe a molle &longs;ono &longs;olieuati dal dolore. </s> <s id="s.006281">Oltra le dette co­<lb/>&longs;e molte altre generationi di acque &longs;i trouano, che hanno le &longs;ue proprietà, come in Sicilia, <lb/>il &longs;iume Himera, ilquale u&longs;cito dalla fonte in due rami &longs;i parte, & quel ramo, che &longs;i &longs;tende <pb pagenum="337" xlink:href="045/01/351.jpg"/>correndo uer&longs;o il monte Ethna, perciò ch'egli pa&longs;&longs;a per terreno di &longs;ucco dolce, egli è d' <lb/>grandi&longs;sima dolcezza, l'altro ramo, che corre per quel piano, doue &longs;i caua il &longs;ale, è di &longs;a­<lb/>por &longs;al&longs;o. </s> <s id="s.006282">Similmente a Paretonio, & la doue è il uiaggio ad Hamone, & al Ca&longs;sio all'Egit <lb/>to &longs;ono laghi palu&longs;tri di maniera &longs;al&longs;i, che di &longs;opra hanno il &longs;ale congelato. </s> <s id="s.006283">Sono appre&longs;­<lb/>&longs;o in molti altri luoghi, & fonti, & fiumi, & laghi, iquali pa&longs;&longs;ando oltra le caue del &longs;ale, ne­<lb/>ce&longs;&longs;ariamente diuentano &longs;alati, altri penetrando per le uene gra&longs;&longs;e della terra come unti <lb/>d'oglio e&longs;ceno fuori come è a Soli ca&longs;tello della Cilicia il &longs;iume Lipari nominato, nel­<lb/>quale chiunque &longs;i laua, o nuota &longs;i ungne dall'acqua, & co&longs;i nella Ethiopia &longs;i troua un lago, <lb/>che ugne gli huomini, che in e&longs;&longs;o nuotano; & in India ce n'è uno, che quando il cielo è &longs;e­<lb/>reno manda una gran quantità di oglio. </s> <s id="s.006284">Anchora a Cartagine è una fonte, &longs;opra la quale <lb/>nuota l'oglio di odore come una &longs;corza di cedro, del qual'oglio è u&longs;anza di ugnere le pe­<lb/>core: al Zante, & intorno a Durazzo, & Apollonia &longs;ono fonti, che in&longs;ieme con l'acqua uo­<lb/>mitano gran moltitudine di pece; a Babilonia è un grandi&longs;simo lago, che &longs;i chiama la pa­<lb/>lude A&longs;phaltite, ha di &longs;opra il liquido bitume, che nuota, delqual bitume, & di pietra cot­<lb/>ta fabricatone il muro Semiramis cin&longs;e la gran Babilonia; co&longs;i in Ioppe nella Siria, & nel­<lb/>l'Arabia de Numidi &longs;i trouano laghi di &longs;mi&longs;urata grandezza, i quali mandano fuori gran <lb/>ma&longs;&longs;e di bitume, che &longs;ono poi tolte dalli habitatori di quei luoghi. </s> <s id="s.006285">Ma ciò non è mara­<lb/>uiglio&longs;o, percioche in quei &longs;ono molte piotraie di duro bitume. </s> <s id="s.006286">Quando adunque l'ac­<lb/>qua rompe fuori per la terra bitumino&longs;a &longs;eco ne porta, & quando, che ella è u&longs;cita fuori <lb/>della terra, &longs;i &longs;ceglie, & co&longs;i da &longs;e &longs;caccia il bitume: & co&longs;i anche nella Cappadocia nella <lb/>uia, che è tra Mazzaca, & Tuana, &longs;i troua un gran lago, nelquale &longs;e una paite di canne, o <lb/>d'altra co&longs;a è po&longs;ta dentro, & il &longs;eguente giorno cauata, quella parte, che &longs;arà &longs;tata cauata <lb/>&longs;i trouerà di pietra, re&longs;tando l'altra parte, che non hauerà toccato l'acqua nella &longs;ua pro­<lb/>pria natura. </s> <s id="s.006287">Allo &longs;to&longs;&longs;o modo a Hieropoli della Frigia bolle una moltitudine d'acqua <lb/>calda, dellaquale &longs;e ne manda per le fo&longs;&longs;e d'intorno a gli horti, & alle uigne. </s> <s id="s.006288">Que&longs;ta a ca­<lb/>po d'anno diuenta una cro&longs;ta di pietra, & co&longs;i ogni tanti anni gli habitatori di quei pae&longs;i <lb/>facendo i margini di terra dalla de&longs;tra, & dalla &longs;ini&longs;tra, ui la &longs;ciano andare quelle acque, & <lb/>con quelle cro&longs;te fanno le &longs;iepi de i campi loto; & que&longs;to pare, che naturalmente fatto &longs;ia, <lb/>percioche in quei luoghi, & in quella terra, doue na&longs;ce quel &longs;ucco, ci &longs;ta &longs;otto una quali­<lb/>tà &longs;imile alla natura del coagolo. </s> <s id="s.006289">Dipoi quando la forza me&longs;colata e&longs;ce di &longs;opra per le <lb/>fonti &longs;ue, è sforzata ri&longs;trigner&longs;i, & appigliar&longs;i dal Sole, & dalla calidità dell'aere, come &longs;i <lb/>uede ne i piani delle &longs;aline. </s> <s id="s.006290">Sono appre&longs;&longs;o fonti molto amare na&longs;centi da amaro &longs;ucco <lb/>della terra, come nel Ponto è il fiume Hipanis, ilquale dal &longs;uo capo per quaranta miglia <lb/>&longs;corre con acqua di dolci&longs;simo &longs;apore, dapoi quando giugne al luogo, che dalla foce &longs;ua <lb/>è lontano cento, & &longs;e&longs;&longs;anta miglia, con quello &longs;i me&longs;cola un fonticello ben piccolo: Que­<lb/>&longs;to fonticello, quando entra nel detto fiume, allhora fa, che tanta quantità di acque diuen <lb/>ta amara, percioche per quella &longs;orte di terra, & per quelle uene, dallequali &longs;i caua la Sanda <lb/>raca u&longs;cendo quell'acqua amara diuiene, & tutte que&longs;te co&longs;e da di&longs;simiglianti &longs;apori pre&longs;i <lb/>dalla proprietà del terreno per doue pa&longs;&longs;ano, chiaramente &longs;i fanno, come appare ne i frut­<lb/>ti. </s> <s id="s.006291">imperoche &longs;e le radici de gli alberi, o delle uiti, o dell'altre &longs;emenze manda&longs;&longs;ero i frutti <lb/>prendendo il &longs;ucco non dalle proprietà del terreno, &longs;enza dubbio il &longs;apor di tutti in ogni <lb/>luogo, & in ogni parte &longs;arebbe d'una i&longs;te&longs;&longs;a natura; ma uedemo pure, che l'l&longs;ola di Lesbo <lb/>fa il uino Protropo; Meonia il uino detto Catacecaumenite, & Lidia il Melito, & Sicilia <lb/>il Mamertino; Campagna il Falerno; Terracina, & Fondi i Cecubi; & in molti altri luo-­<lb/>ghi di innumerabil moltitudine, & uarietà generar&longs;i le &longs;orti, & le forze de i uini: lequali <lb/>non altrimenti po&longs;&longs;ano e&longs;&longs;er prodotte, &longs;e non quando l'humore terreno con le &longs;ue pro­<lb/>prietà de i &longs;apori infu&longs;o nelle radici, nutre, & pa&longs;ce la materia, per laquale u&longs;cendo alla ci­<lb/>ma diffonde il &longs;apore del frutto propio del luogo, & della &longs;orte &longs;ua: che &longs;e la terra non fu&longs;-<pb pagenum="338" xlink:href="045/01/352.jpg"/>&longs;e di&longs;simile, & diftinta di uarietà d'humori, non &longs;arebbeno in Siria, & in Arabia nelle can­<lb/>ne, & ne i giunchi, & nelle herbegli odori &longs;olamente: nè ancho gli alberi, che ci danno <lb/>l'incen&longs;o, nè quelle terre ci dariano i grani del pcpe, nè le glebe della mirra, nè a Cirene <lb/>nelle bacchette na&longs;cerebbe illa&longs;&longs;ere: ma in tutte le regioni della terra, & in tutti i luoghi <lb/>tutte le co&longs;e d'una &longs;te&longs;&longs;a natura &longs;i produrrebbeno: ma &longs;econdo que&longs;te diuer&longs;ità in uarij <lb/>luoghi, & pae&longs;i la inclinatione del mondo, & lo impeto del Sole o piu pre&longs;&longs;o, o piu lonta­<lb/>no facendo il cor&longs;o &longs;uo, genera tali humori di que&longs;ta natura, & quelle qualità non &longs;ola­<lb/>mente in quelle co&longs;e &longs;i uedeno, ma nelle pecore, & negli armenti, & tai co&longs;e non ci fareb­<lb/>beno di&longs;simiglianza, &longs;e le proprietà di cia&longs;cun terrenno in pae&longs;i diuer&longs;i alla uirtu del Sole <lb/>non fu&longs;&longs;ero temperate. </s> <s id="s.006292">Perche nella Beotia è il fiume Cephi&longs;o, & il fiume detto Melas; <lb/>& tra i Lucani il Crate, a Troia il Xanto, & ne i campi de i Clazomeni, & di Erithrei, & di <lb/>Laodice&longs;i &longs;ono fonti, & fiumi, alliquali quando le pecore a i &longs;uoi tempi dell'anno s'appa­<lb/>recchiano a concepere il parto, ogni giorno a bere a quei luoghi &longs;on cacciate, & da quello <lb/>è, che auegna, che &longs;ieno bianche, nientedimeno parturi&longs;ceno in alcuni luoghi gli animali <lb/>grigi, in alcuni neri, in alcuni del colore del coruo. </s> <s id="s.006293">& co&longs;i quando la proprietà del liquore <lb/>entra nel corpo, dentro ui &longs;emina la qualità me&longs;colata &longs;econdo la natura &longs;ua, perche adun <lb/>que ne i campi Troiani na&longs;ceno pre&longs;&longs;o al fiume gli armenti ruffi, & le pecore grigie, però <lb/>&longs;i dice che gli Ilie&longs;i hanno chiamato quel fiume Xanto. </s> <s id="s.006294">Trouan&longs;i ancho alcune acque <lb/>mortifere, lequali pa&longs;&longs;ando per un &longs;ucco malefico della terra, riceueno in &longs;e la forza del <lb/>ueleno: &longs;i come &longs;i dice d'una fonte di Terracina, laquale Nettuno &longs;i nominaua, dellaquale <lb/>chiunque per inauertenza ne beueua, era della uita priuato: per laqual co&longs;a dice&longs;i, che gli <lb/>antichi la otturorno: & appre&longs;&longs;o de i Greci in Thracia è un lago, che non &longs;olamente fa <lb/>morire chi di quello ne beue, ma anche cia&longs;cuno, che iui &longs;i bagna. </s> <s id="s.006295">Similmente in Te&longs;&longs;alia <lb/>è una fonte, che &longs;corre, della quale non ne gu&longs;ta alcuno animale, nè altra &longs;orte di be&longs;tia &longs;e <lb/>le auicina. </s> <s id="s.006296">appre&longs;&longs;o quella fonte è un'arbore di color purpureo; & co&longs;inella Macedonia <lb/>la doue è &longs;epulto Euripide dalla de&longs;tra, & dalla &longs;ini&longs;tra del monumento due riui concor­<lb/>reno in uno, iui dall'una parte &longs;edendo i pa&longs;&longs;aggieri per la bontà dell'acque &longs;ogliono man <lb/>giare; ma al riuo, che è dall'altra parte del monumento, niuno s'appro&longs;sima, perche egli <lb/>&longs;i dice, ch'egli ha l'acqua &longs;ua mortifera, & pe&longs;tilente. </s> <s id="s.006297">Appre&longs;&longs;o &longs;i troua anche in Arcadia <lb/>Nonacri nominato pae&longs;e, che ne i monti ha freddi&longs;sime acque da i &longs;a&longs;si &longs;tillanti, & quel­<lb/>l'acqua co&longs;i fredda è detta Stygos, & que&longs;ta nè in argento, nè in rame, nè in ferro puo e&longs;&longs;er <lb/>tenuta, perche ogni ua&longs;o di tali materie compo&longs;to per quell'acqua &longs;i di&longs;sipa, & di&longs;cioglie; <lb/>ma per con&longs;eruare, & tenere quell'acqua non è co&longs;a, che &longs;ia buona, &longs;e non un'ugna di mu­<lb/>lo. </s> <s id="s.006298">que&longs;t'acqua &longs;i dice e&longs;&longs;ere &longs;tata mandata da Antipatro nella prouincia, doue Ale&longs;&longs;andro <lb/>&longs;i trouaua, per Iolla &longs;uo figliuolo, & da lui con quell'acqne &longs;i&longs;criue e&longs;&longs;er &longs;tato ammazza­<lb/>to il Re. <!-- KEEP S--></s> <s id="s.006299">A que&longs;to modo nelle Alpi, doue è il Regno di Cotto, è un'acqua, che chi la <lb/>gu&longs;ta di fatto cade. </s> <s id="s.006300">Ma nel campo Fali&longs;co alla uia Campana nel piano di Corneto è un <lb/>bo&longs;co, nel quale na&longs;ce una fonte, doue appareno gli o&longs;si di bi&longs;cie, & di lacerte, & di al­<lb/>tri &longs;erpenti giacere. </s> <s id="s.006301">Ancora &longs;ono alcune uene acide di fonti, come a Lince&longs;te, & in Italia <lb/>a Virena, in Campagna a Theano, & in molti altri luoghi, che hanno tal uirtù che beuute­<lb/>rompeno le pietre nelle ue&longs;iche, che na&longs;ceno ne i corpi humani; & cio far&longs;i naturalmen­<lb/>te appare per que&longs;ta cau&longs;a, che il &longs;ucco acre, & acido &longs;ta &longs;otto que&longs;ta terra, per la quale <lb/>u&longs;cendo le uene s'intingono di quella acrezza, & co&longs;i quando &longs;ono entrate nel corpo di&longs;­<lb/>&longs;ipano quelle co&longs;e, che trouano e&longs;&longs;er &longs;tate generate, & accre&longs;ciute dalla &longs;u&longs;sidentia del­<lb/>l'acqua. </s> <s id="s.006302">Ma perche cau&longs;a dalle co&longs;e acide di&longs;ciolte, & partite &longs;ieno tali pietre, noi pote­<lb/>mo auuertir da que&longs;to, che &longs;e alcuno porrà un'ouo nell'aceto, & ue lo la&longs;cierà lungamen <lb/>te, la &longs;corza &longs;ua diuenterà molle, & &longs;i di&longs;cioglierà. </s> <s id="s.006303">Similmente &longs;e il piombo, che è len­<lb/>ti&longs;simo, & di gran pe&longs;o, &longs;arà po&longs;to &longs;opra un ua&longs;o, che dentro habbia dello aceto, & che <pb pagenum="339" xlink:href="045/01/353.jpg"/>il ua&longs;o &longs;ia ben coperto, & otturato, o illotato auuerrà, che il piombo &longs;i disfarà, & &longs;i farà la <lb/>biacca. </s> <s id="s.006304">Con le i&longs;te&longs;&longs;e ragioni &longs;e del rame, che pure è di piu &longs;oda natura, che il piombo, &longs;i <lb/>farà la mede&longs;ima proua, egli certamente &longs;i disfarà, & il uerde rame, o la &longs;ua ruggine ne ca­<lb/>ueremo. </s> <s id="s.006305">Co&longs;i la Perla, & i &longs;a&longs;si di &longs;elice, che per ferro, o per fuoco &longs;olo non &longs;i po&longs;&longs;ono <lb/>disfare, quando dal fuoco &longs;aranno ri&longs;caldati, & &longs;par&longs;oui &longs;opra dell'aceto, &longs;i di&longs;cioglieran­<lb/>no, & romperanno pre&longs;tamente. </s> <s id="s.006306">Quando adunque uediamo tai co&longs;e e&longs;&longs;er fatte dinanzi <lb/>a gli occhi no&longs;tri, potemo di&longs;correre, per la fortezza del &longs;ucco con le co&longs;e acide poter&longs;i <lb/>curare quelli, che &longs;entono del mal di pietra. </s> <s id="s.006307">Sonoui oltra di que&longs;to anche delle fonti me­<lb/>&longs;colate come col uino, &longs;i come n'è una nella Paphlagonia, della quale chiunque ne beue, <lb/>ebro &longs;enza uino diuenta. </s> <s id="s.006308">Ma appre&longs;&longs;o gli Equicoli in Italia & nelle Alpi, nella natione <lb/>de Medulli, &longs;i troua una &longs;orte di acqua, di cui, chi ne beue, diuiene gozzuto: & in Arca­<lb/>dia è una città non ignobile di Clitoro, ne i cui campi è una Spilonca, dallaquale e&longs;ce un' <lb/>acqua, che rende i beuitori ab&longs;temij. </s> <s id="s.006309">a quella fonte è uno Epigramma &longs;colpito in pietra <lb/>di que&longs;to &longs;entimento in uer&longs;i Greci, che quell'acqua non è buona per lauar&longs;i dentro, & e <lb/>anche nemica alle uite, concio &longs;ia, che appre&longs;&longs;o quella fonte Melampo con &longs;acrifici pur­<lb/>gato haue&longs;&longs;e la rabbia delle figlie di Preto, & ritornato haue&longs;&longs;e le menti di quelle uergini <lb/>nella pri&longs;tina &longs;anità: lo Epigramma è qui &longs;otto &longs;critto. </s> </p> <p type="main"> <s id="s.006310">Se te Pa&longs;tor' al fonte di Clitoro <lb/>Et la tua greggia ardente &longs;ete &longs;prona, </s> </p> <p type="main"> <s id="s.006311">Su'l mezo giorno porgine ri&longs;toro <lb/>Col ber'a quella, & alla tua per&longs;ona: </s> </p> <p type="main"> <s id="s.006312">Anco la ferm'al diletteuol Choro <lb/>Delle Naiade, & a quella piacer dona. </s> </p> <p type="main"> <s id="s.006313">Ma per lauarti non entrar nell'acque <lb/>S'il ber del uino giamai non ti &longs;piacque </s> </p> <p type="main"> <s id="s.006314"><emph type="italics"/>Fuggi la fonte mia ch'odia le uite, <lb/>Per ciò ch'in quell'ogni bruttezza &longs;ciol&longs;e<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006315"><emph type="italics"/>Melampo delle figlie inacerbite <lb/>Di Preto quando d' Argo &longs;i riuol&longs;e<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006316"><emph type="italics"/>Ver&longs;o d' Arcadia le dure &longs;alite, <lb/>Ogni &longs;ordida co&longs;a qui rauol&longs;e,<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006317"><emph type="italics"/>Et l'attuffò con l'altre cos'immonde <lb/>Nel mezo delle mie gia limpid'onde.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006318">Troua&longs;i nell'I&longs;ola Chios una fonte di natura, che fa pazzi, chi ne beue per inauuertenza, <lb/>& iui è &longs;colpito un'epigramma di que&longs;to tenore, che l'acqua di quella fonte è dolce, ma <lb/>chi ne beucrà è per hauere i &longs;entimenti di pietra, & i uer&longs;i &longs;ono que&longs;ti. </s> </p> <p type="main"> <s id="s.006319">Fre&longs;che &longs;on le mie acque, & dolci a bere, <lb/>Ma &longs;e per ca&longs;o quelle beuerai <lb/>Di pietra ti conuien la mente hauere. </s> </p> <p type="main"> <s id="s.006320">A Su&longs;e, nel qual pae&longs;e è il regno de i Per&longs;i, troua&longs;i uno fonticello, di cui chi ne bee, <lb/>perde i denti, & in quello è &longs;critto uno Epigramma, che &longs;ignifica que&longs;ta &longs;entenza: buona <lb/>e&longs;&longs;er l'acqua per bagnar&longs;i, ma &longs;e alcuno di e&longs;&longs;a ne beuerà caderangli li denti dalle radici. </s> <s id="s.006321"><lb/>di que&longs;to Epigramma i uer&longs;i &longs;on greci. </s> </p> <p type="main"> <s id="s.006322">O pa&longs;&longs;eggier uedi que&longs;t'acque horrende, <lb/>Licito è hauerne &longs;olo per lauarti: </s> </p> <p type="main"> <s id="s.006323">Ma s'il freddo liquor nel uentre &longs;cende <lb/>Se ben le &longs;omme labra uuoi toccarti </s> </p> <p type="main"> <s id="s.006324">Pre&longs;to uedrai re&longs;tar orfane, & priue <lb/>Di denti, che n'andran, le tue gingiue </s> </p> <pb pagenum="340" xlink:href="045/01/354.jpg"/> <p type="head"> <s id="s.006325"><emph type="italics"/>Della proprietà d'alcuni luoghi, & &longs;onti.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.006326"><emph type="italics"/>Cap. IIII.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.006327">Sono ancho in alcuni luoghi proprietà di &longs;onti, che fanno, che chi na&longs;ce in <lb/>que luoghi &longs;iano di uoci mirabili a cantare; come in Thar&longs;o, & a Magne&longs;ia, & <lb/>in altre &longs;imili regioni, & è anche Zama città di Affrica, il cui circuito il Re <lb/>Iubacin e di doppio muro, & iui &longs;i fabricò la ca&longs;a regale: da quella miglia <lb/>uenti è il ca&longs;tello I&longs;mue, di cui le parti del territorio &longs;ono chiu&longs;e da incredibili proprie­<lb/>tà di natura: peroche e&longs;&longs;endo l'Affrica madre, & nutrice di fiere be&longs;tie, & &longs;pecialmente di <lb/>&longs;erpenti, ne i campi di quel ca&longs;tello niuna ne na&longs;ce, & &longs;e alcuna uolta per ca&longs;o iui è porta­<lb/>ta, di &longs;ubito &longs;e ne muore: nè &longs;olamente que&longs;to iui &longs;i uede, ma anche &longs;e da quei luoghi, altro­<lb/>ue la terra &longs;arà portata, farà il &longs;imile. </s> <s id="s.006328">Que&longs;ta &longs;orte di terreno dice&longs;i e&longs;&longs;ere alle I&longs;ole Ba­<lb/>leari: ma quella terra ha un'altra uirtù piu marauiglio&longs;a, la quale co&longs;i e&longs;&longs;ere ho inte&longs;o. </s> <s id="s.006329">C. <!-- KEEP S--></s> <s id="s.006330"><lb/>Giulio &longs;igliuolo di Ma&longs;sini&longs;&longs;a militò col padre Ce&longs;. <!-- KEEP S--></s> <s id="s.006331">que&longs;ti meco alloggiò, per ilche mi era <lb/>nece&longs;&longs;ario nello &longs;tare, & uiuere in&longs;ieme ragionar'alcuna co&longs;a, in que&longs;to mezo e&longs;&longs;endo tra <lb/>noi caduto ragionamento della forza dell'acqua, & delle &longs;ue uirtuti, egli mi di&longs;&longs;e e&longs;&longs;er in <lb/>quella terra fonti di natura tale, che quelli, che iui na&longs;ceuano, haueuano ottime uoci per <lb/>cantare, & per que&longs;ta ragione &longs;empre mai comprauano i &longs;erui oltramarini belli, & le garzo <lb/>ne da marito, & quelle in&longs;ieme poneuano, accioche quelli, che da loro na&longs;ce&longs;&longs;ero non &longs;olo <lb/>haue&longs;&longs;ero bona uoce, ma fu&longs;&longs;ero di bellezza non inuenu&longs;ta. </s> <s id="s.006332">Quando adunque per natu­<lb/>ra tanta uarietà a diuer&longs;i luoghi di&longs;tribuita &longs;ia, che il corpo humano è in qualche parte <lb/>terreno, & in e&longs;&longs;o molte &longs;orti d'humore &longs;i trouino, come del &longs;angue, del latte, del &longs;udore, <lb/>dell'orina, delle lagrime, &longs;e in &longs;i poca particella di terreno &longs;i troua tante diuer&longs;ità di &longs;apo­<lb/>ri, non è da marauigliar&longs;i &longs;e in tanta grandezza di terra &longs;i trouano innumerabili uarietà di <lb/>&longs;ughi, per le uene delli quali la forza dell'acqua penetrando me&longs;colata uegna all'u&longs;cire del­<lb/>le fonti, & co&longs;i da quello &longs;i faccia diuer&longs;i, & di&longs;eguali fonti nelle propie &longs;orti per la diffe­<lb/>renza de i luoghi, & per la di&longs;aguaglianza de i pae&longs;i, & per le di&longs;simiglianti proprietà di <lb/>terreni. </s> <s id="s.006333">Delle co&longs;e &longs;opradette &longs;ono alcune, che io da me ho uedute, & con&longs;iderate: ma le <lb/>altre ne i libri Greci ho ritrouate &longs;critte, de i quali &longs;critti gli autori &longs;ono Theophra&longs;to, <lb/>Timeo, Po&longs;sidonio, Hege&longs;ia, Herodoto, Ari&longs;tide, Methodoro: i quali con grande uigilan <lb/>za, & infinito &longs;tudio dichiarato hanno le proprietà de i luoghi, le uirtù dell'acque, le quali­<lb/>tà de i pae&longs;i e&longs;&longs;er a que&longs;to modo partite dalla inclinatione del cielo. </s> <s id="s.006334">Di que&longs;ti autori &longs;e­<lb/>guendo io i cominciamenti, o trattamenti, ho &longs;critto in que&longs;to libro quello, che ho pen­<lb/>&longs;ato e&longs;&longs;ere a &longs;ufficienza con la proprietà dell'acque, accio che piu facilmente da tai pre&longs;crit<lb/>ti gli huomini eleggino le fonti, con le quali po&longs;sino all'u&longs;o humano condurre le &longs;urgenti <lb/>acque alle città, & alli tenitori. </s> <s id="s.006335">Perche tra tutte le co&longs;e pare, che niuna habbia tante nece&longs;­<lb/>&longs;itati all'u&longs;o, quanto ha l'acqua: imperoche &longs;e la natura di tutti gli animali &longs;arà priuata del <lb/>grano, delle piante, della carne, della pe&longs;caggione, ouero u&longs;ando cia&longs;cuna dell'altre co&longs;e, <lb/>per e&longs;&longs;a potrà difendere la uita &longs;ua; ma &longs;enza l'acque, nè il corpo de gli animali, nè alcuna <lb/>uirtù di cibo puo na&longs;cere, nè &longs;o&longs;tentar&longs;i, nè e&longs;&longs;ere apparecchiata; per ilche egli &longs;i deue con <lb/>gran diligenza, & indu&longs;tria cercare, & eleggere le fonti alla &longs;alubrità dell'humana uita. </s> </p> <p type="main"> <s id="s.006336"><emph type="italics"/>Dapoi, che &longs;i &longs;ono l'acque ritrouate, era nece&longs;&longs;ario prouarle, & eleggerle, ma perche la <lb/>elettione pre&longs;uppone piu co&longs;e propo&longs;te, accioche di tutte la meglio &longs;i caui, però Vitru. dopo la in­<lb/>uentione, ci ha propo&longs;to innanzi diuer&longs;e qualità, & nature di acque, accioche poi di quelle &longs;i eleg­<lb/>ga il meglio, la onde hora uiene alle e&longs;perienze, & proue dell'acque.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <pb pagenum="341" xlink:href="045/01/355.jpg"/> <p type="head"> <s id="s.006337"><emph type="italics"/>Degli e&longs;perimenti dell'acqua. </s> <s id="s.006338">Cap. V.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.006339">LE e&longs;perienze, & proue delle fonti in que&longs;to modo &longs;i procacciano. </s> <s id="s.006340">Se &longs;aranno <lb/>correnti, & aperte, prima, che &longs;i dia principio a códurle, deono e&longs;&longs;er guardati, & <lb/>molto bene con&longs;iderati i circon&longs;tanti a quelle fonti, di che corporatura &longs;ieno, <lb/>& &longs;e eglino &longs;i troueranno e&longs;&longs;er gagliardi di corpo, & chiari di colore, nè haue­<lb/>ranno le gambe cagioneuoli, nè gli occhi lippi, certamente le fonti &longs;aranno approuate <lb/>molto. </s> <s id="s.006341">Similmente &longs;e di nuouo &longs;arà una fonte cauata, & po&longs;to dell'acqua &longs;ua in un ua&longs;o <lb/>di rame corinthio, o d'altra &longs;orte, che &longs;ia di buon rame, & quell'acqua &longs;par&longs;a non macchie­<lb/>rà, &longs;enza dubbio ella &longs;arà ottima: & co&longs;i &longs;e in un bronzino &longs;arà po&longs;ta a bollire, & poi la­<lb/>&longs;ciata ripo&longs;are, & dar giu, & nel fondo non la&longs;cierà l'arena, o fondacchio, certamente <lb/>quell'acqua &longs;arà prouata. </s> <s id="s.006342">Allo i&longs;te&longs;&longs;o modo &longs;e i legumi in un ua&longs;o con quell'acqua &longs;i <lb/>porranno al fuoco, & pre&longs;to &longs;i cuoceranno, &longs;i prenderà argomento, che quell'acqua &longs;arà <lb/>buona, & &longs;ana: & co&longs;i niente manco di argomento &longs;i prenderà, &longs;e l'acqua della fonte &longs;arà <lb/>limpida, & molto lucida: & &longs;e douunque ella andrà, nó &longs;i uedrà il mu&longs;co, nè ui na&longs;cerà il <lb/>giunco, nè ad alcuno modo quel luogo &longs;arà macchiato, o &longs;porcato, ma &longs;e &longs;arà chiaro, pu­<lb/>ro, & bello alla ui&longs;ta, dimo&longs;trerà con que&longs;ti &longs;egni, che l'acqua &longs;arà &longs;ottile, & di &longs;om­<lb/>ma bontà. </s> </p> <p type="main"> <s id="s.006343"><emph type="italics"/>Ritrouata, & eletta l'acqua è nece&longs;&longs;ario condurla: ma perche nel condurla è nece&longs;&longs;ario, che <lb/>l'acqua di&longs;cenda, & uenga &longs;econdo il &longs;uo cor&longs;o naturale al determinato luogo, però accioche que­<lb/>&longs;to &longs;i e&longs;pedi&longs;ca bene Vitr. ci dà la forma di molti &longs;trumenti da liuellare le acque, & fra molti ne <lb/>elegge uno, come piu &longs;icuro, & di que&longs;to la forma intera &longs;i uedrà chiara nella figura. </s> <s id="s.006344">Liuel­<lb/>lare adunque altro non è, che prendere l'altezza del luogo, doue l'acqua &longs;i troua, & compararla <lb/>con l'altezza del luogo, doue ella &longs;i ha da condurre.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.006345"><emph type="italics"/>Del condurre, &' liuellare l'acque & de gli &longs;trumenti buo­<lb/>ni a tali effetti. </s> <s id="s.006346">Cap. VI.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.006347">Hora del condurre le acque alle habitationi, & alla città, come fare acconcia­<lb/>mente &longs;i deono, dimo&longs;trerò chiaramente. </s> <s id="s.006348">Di que&longs;to la prima ragione è il li­<lb/>uello. </s> <s id="s.006349">Que&longs;ti &longs;i &longs;uol fare con tali &longs;trumenti, con lo traguardo, con i liuelli <lb/>da acqua, & con quello &longs;trumento, che &longs;i chiama Cherobate, & con que&longs;to <lb/>piu diligentemente, & &longs;icuramente &longs;i liuella, perche il traguardo, & il liuello acquario fal­<lb/>la. </s> <s id="s.006350">Il Chorobate è una riga lunga piedi uenti, La quale ha le braccia piegate da i capi <lb/>egualmente fatte, & appo&longs;te alle te&longs;te della riga a &longs;quadra, & tra la regola, & le dette <lb/>braccia da i cardini attaccati &longs;ono alcuni trauer&longs;i, che hanno i fili dritti a piombo, & da <lb/>cia&longs;cuna parte i piombi pendenti dalla riga, i quali quando la riga &longs;arà fitta, & drizzata, & <lb/>con quella toccheranno egualmente le linee della de&longs;crittione, dimo&longs;treranno e&longs;&longs;ere po­<lb/>&longs;te giu&longs;tamente a liuello. </s> <s id="s.006351">Ma &longs;e il uento l'impedirà, & per lo mouimento non potran­<lb/>no e&longs;&longs;e linee dimo&longs;trare il uero, allhora &longs;arà bi&longs;ogno, che habbino di &longs;o pra un canale lun­<lb/>go piedi cinque, largo uno dito, alto un dito, & mezo, & in e&longs;&longs;o &longs;ia l'acqua infu&longs;a: & &longs;e <lb/>l'acqua del canale egualmente toccherà di &longs;opra la libra, allhora &longs;aprai e&longs;&longs;ere bene liuella­<lb/>ta; & co&longs;i quando con quello Chorobate &longs;arà liuellato, &longs;i &longs;aprà quanto hauerà di altezza. </s> <s id="s.006352"><lb/>Ma chi leggerà i libri di Archimede for&longs;e dirà, che non &longs;i puo drittamente liuellare l'ac­<lb/>qua, percioche a lui piace, che l'acqua non &longs;ia piana, ma di figura sferica, & iui hauere il <pb pagenum="342" xlink:href="045/01/356.jpg"/>centro &longs;uo, doue il mondo ha il &longs;uo: ma que&longs;to è uero &longs;ia l'acqua piana, o &longs;pherica, ne­<lb/>ce&longs;&longs;ariamente i capi del canale della riga egualmente &longs;o&longs;terranno l'acqua, che &longs;e'l canale <lb/>&longs;arà piegato in una parte, non ha dubio, che la parte piu alta non &longs;ia, per hauer l'acqua <lb/>della riga del canale alla bocca. </s> <s id="s.006353">Percioche egli è nece&longs;&longs;ario che doue l'acqua &longs;ia infu&longs;a, <lb/>habbia nel mezo la gonfiezza, & la curuatura, ma i capi dalla de&longs;tra, & dalla &longs;ini&longs;tra &longs;aran­<lb/>no egualmente librati. </s> <s id="s.006354">La figura del Chorobate &longs;arà de&longs;critta nel fine del libro, & &longs;e <lb/>egli &longs;arà la cima, o l'altezza grande piu facile &longs;arà il decor&longs;o dell'acqua, ma &longs;e gli &longs;patij &longs;a­<lb/>ranno lacuno&longs;i, bi&longs;ogna prouederli co i muretti di&longs;otto. </s> </p> <p type="main"> <s id="s.006355"><emph type="italics"/>Se uuoi condur l'acqua auuertirai, che il luogo, alquale tu la uuoi condurre, &longs;ia &longs;empre piu <lb/>ba&longs;&longs;o, che il luogo dal quale tu la conduci. </s> <s id="s.006356">Metteti adunque a piè del fonte, & guarda per li <lb/>traguardi del tuo quadrante al luogo de&longs;tinato, in modo però, che il piombo cada giu dritto alla <lb/>linea dell'Orizonte. <!-- KEEP S--></s> <s id="s.006357">&longs;e la ui&longs;ta ti condurrà &longs;opra il luogo de&longs;tinato &longs;appi, che l'acqua &longs;i potrà con­<lb/>durre, altrimenti non &longs;i puo: ma &longs;e da rupi, o monti fu&longs;&longs;e impedita la tua ui&longs;ta farai molti &longs;egni, & <lb/>dall'uno all'altro mirando &longs;empre al &longs;opra detto modo, tanto anderai inanzi, che da uno de i detti <lb/>luoghi potrai uedere il luogo, del quale prima non haueui ueduta, come la pre&longs;ente figura qui <lb/>dimo&longs;tra: nel re&longs;to il liuellare dell'acque è a nostri Tempi ben cono&longs;ciuto, & lo e&longs;&longs;empio del Cho­<lb/>robate è qui dipinto, & in &longs;omma oltra il capo, & l'origine &longs;ua tu non puoi sforzare le acque, <lb/>cioè da &longs;e non anderanno mai &longs;opra la fonte loro, & quando uuoi condurle per canali auertirai <lb/>di fare i canali proportionatamente profondi, perche l'acqua non &longs;i inalzerà nè per la poca, nè <lb/>per la molta profondità. </s> <s id="s.006358">la figura è qui &longs;otto, & de gli &longs;trumenti, & di quello modo di liuel­<lb/>lar l'acqua.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006359"><emph type="italics"/>B il Capo della Fonte<emph.end type="italics"/><!-- REMOVE S--><emph type="italics"/>B c la prima mira<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006360"><emph type="italics"/>C d la &longs;econda mira drieto al monte<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006361"><emph type="italics"/>D e la terza doue non &longs;i puo condur re<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006362"><emph type="italics"/>D f la quarta doue &longs;i puo condurre<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006363"><emph type="italics"/>H g f la condutta dell'acqua.<emph.end type="italics"/></s> </p> <figure id="id.045.01.356.1.jpg" xlink:href="045/01/356/1.jpg"/> <p type="head"> <s id="s.006364">CHOROBATE DA LIVELLAR LE ACQVE ET I PIANI.<!-- KEEP S--></s> </p> <p type="table"> <s id="s.006365">1 Regola di piedi 20.</s> <s id="s.106365">2 gli Anconi o Braccia.</s> <s id="s.206365">3 Trauver&longs;arij.</s> </p> </subchap2><subchap2> <pb pagenum="343" xlink:href="045/01/357.jpg"/> <p type="head"> <s id="s.006366"><emph type="italics"/>A quanti modi &longs;i conduchino le acque. </s> <s id="s.006367">Cap. VII.<emph.end type="italics"/><!-- KEEP S--></s> </p> <figure id="id.045.01.357.1.jpg" xlink:href="045/01/357/1.jpg"/> <p type="main"> <s id="s.006368">Atre modi &longs;i conduce l'acqua, prima con <lb/>riui per canali fatti, dipoi con trombe di <lb/>piombo, ouero con canne di terra, o cre­<lb/>ta. </s> <s id="s.006369">Se noi u&longs;eremo i canali, nece&longs;&longs;ario è fa <lb/>re la muratura &longs;odi&longs;sima, & il letto del riuo habbia il <lb/>&longs;uo liuello alto niente manco di mezo piede in cento, <lb/>& que&longs;te murature &longs;iano fatte a uolte, accioche il Sole <lb/>non tocchi l'acqua, la quale poi che &longs;arà condotta alla <lb/>città, faccia&longs;i un ca&longs;tello, o con&longs;erua dell'acque, al <lb/>quale congiunte &longs;iano per trarne l'acque tre bocche, <lb/>& nel ca&longs;tello &longs;iano tre canne equalmente partite con­<lb/>giunte a quelle pile, o gorne, accioche quando l'ac­<lb/>que traboccheranno da gli e&longs;tremi ricettaculi ridondi­<lb/>no in quello di mezo, & co&longs;i nel mezo &longs;i poneranno le <lb/>canne in tutte le pile con le loro bocche, dall'altra &longs;i <lb/>manderanno alli bagni, accioche diano la entrata &longs;ua <lb/>al popolo ogni tanti anni, & finalmente dalla terra nel <lb/>le ca&longs;e de priuati co&longs;i, che non manchi nel publico, <lb/>percioche non potranno riuoltarle altroue, quando da <lb/>i loro capi haueranno i proprij condutti, & que&longs;te &longs;on <lb/>le cau&longs;e, per le quali io ho fatto que&longs;ta diui&longs;ione, cioè <lb/>perche quelli, che priuatamente tireranno le acque <lb/>nelle &longs;ue ca&longs;e difendano i condotti dell'acque per mezo <lb/>de i publicani col pagarli le rendite. </s> <s id="s.006370">Ma &longs;e tra la città, <lb/>& il capo della fonte &longs;aranno di mezo le montagne a <lb/>que&longs;to modo &longs;i deue liuellare: Cauin&longs;i &longs;otto terra i luo <lb/>ghi doue hanno a pa&longs;&longs;are le acque, & &longs;iano liuellate alla <lb/>cima, &longs;econdo che di &longs;opra s'è &longs;critto: & &longs;e iui &longs;arà to­<lb/>fo, o &longs;a&longs;&longs;o, tagli&longs;i nel &longs;uo propio canale, ma &longs;e il &longs;uolo <lb/>&longs;arà di terra, ouero areno&longs;o, faccian&longs;i le bande con i <lb/>&longs;uoi uolti ne i luoghi cauati: & co&longs;i &longs;ia l'acqua condot­<lb/>ta, & i pozzi &longs;iano talmente fatti, che &longs;tiano tra due <lb/>Atti. <!-- KEEP S--></s> <s id="s.006371">Ma &longs;e con le canne di piombo l'acqua &longs;arà con­<lb/>dotta, prima farai al capo di e&longs;&longs;a un ca&longs;tello, o con&longs;er­<lb/>ua d'acqua, dapoi &longs;econdo la quantità dell'acqua farai <lb/>le lame delle canne, & que&longs;te &longs;iano po&longs;te dal primo ca­<lb/>&longs;tello a quello, che è pre&longs;&longs;o la città, nè &longs;iano le canne <lb/>fu&longs;e piu lunghe di x. <!-- REMOVE S-->piedi. </s> <s id="s.006372">que&longs;te lamette &longs;e &longs;aranno di <lb/>cento dita per larghezza prima, che &longs;iano ritondate &longs;ia <lb/>cia&longs;cuna di pe&longs;o di libre mille dugento: & &longs;e &longs;aranno di <lb/>ottanta dita, di nouecento &longs;e&longs;&longs;anta: &longs;e di cinquanta, &longs;ia <lb/>no di &longs;eicento libre; &longs;e di quaranta, &longs;iano di quattro­<lb/>cento ottanta; &longs;e di trenta, &longs;iano di trecento &longs;e&longs;&longs;anta: <lb/>&longs;e di uenti, &longs;iano di dugento quaranta; &longs;e di quindici, &longs;iano di cento &longs;e&longs;&longs;anta; &longs;e di dieci <lb/>&longs;iano di cento uenti: &longs;e di otto, &longs;iano di nouanta&longs;ei; &longs;e di cinque &longs;iano di &longs;e&longs;&longs;anta, perche <pb pagenum="344" xlink:href="045/01/358.jpg"/>dal numero delle dita, che uanno nella larghezza delle pia&longs;tre, prima, che &longs;iano piegate in <lb/>tondo le canne prendono il nome delle loro grandezze, imperoche quella pia&longs;tra, che &longs;a­<lb/>rà di cinquanta dita, quando &longs;i farà la canna di e&longs;&longs;a, chiamera&longs;si quinquagenaria, & allo <lb/>&longs;tef&longs;o modo le altre. </s> <s id="s.006373">Et quella condotta di acque, che e&longs;&longs;er deue per canne di piombo <lb/>ha que&longs;ta commodità, che &longs;e il capo &longs;arà liuellato al piano della città, & che i monti di <lb/>mezo non &longs;aranno piu alti, che po&longs;sino impedire il cor&longs;o, co&longs;i &longs;arà nece&longs;&longs;ario apparec­<lb/>chiare di &longs;otto quelli &longs;patij altre liuellationi, &longs;i come è &longs;tato dimo&longs;trato di &longs;opra ne i riui, <lb/>& ne i canali; ma &longs;e non &longs;arà lungo il circuito, u&longs;eremo le uolte, & circondottioni: & &longs;e <lb/>le ualli &longs;aranno continuate deue&longs;i drizzare i cor&longs;i in luogo chino, & quando l'acqua &longs;arà <lb/>giunta al ba&longs;&longs;o non &longs;e le apparecchia di &longs;otto luogo troppo profondo, accioche il liuello <lb/>quanto &longs;i puo uadi di lungo; & que&longs;to è il uentre, che i Greci chiamano chilia; ma quan <lb/>do uenirà alla contraria &longs;ce&longs;a per lo &longs;patio lungo del uentre dolcemente &longs;i rileua, allhora <lb/>&longs;ia cacciata all'altezza della &longs;ce&longs;a: ma &longs;e nelle ualli non &longs;arà fatto il uentre, nè lo apparec= <lb/>chio di &longs;otto &longs;arà a liuello, ma &longs;e &longs;arà torto, & piegato u&longs;cirà fuori con impeto, & di&longs;cior <lb/>rà le commi&longs;&longs;ure delle canne: deon&longs;i far'anche nel uentre &longs;piramenti, per li quali la forza <lb/>dello &longs;pirito &longs;ia rila&longs;ciata. </s> <s id="s.006374">Quelli adunque, i quali condurranno le acque per le canne di <lb/>piombo al detto modo con tai ragioni gentili&longs;simamente potranno dare le &longs;cadute alle ac­<lb/>que, & farle uoltare doue uorranno, & &longs;imilmente farne le con&longs;erue, & cacciarle in alto <lb/>quanto uorranno, & co&longs;i con la &longs;te&longs;&longs;a uia quando dal capo delle fonti alle &longs;te&longs;&longs;e mura del­<lb/>la città haueranno ben tolto il liuello dell'altezza tra dugento atti non &longs;arà inutile farui <lb/>un'altra mano di ca&longs;tella, accioche &longs;e in qualche luogo le canne face&longs;&longs;ero danno non &longs;i hab <lb/>bia a rompere o maccare tutta l'opera, & piu facilmente &longs;i cono&longs;ca doue è fatto il danno. </s> <s id="s.006375"><lb/>Deue&longs;i però auuertire, che quelle ca&longs;tella non &longs;i faccino nè nelle cadute, nè anche nel pia­<lb/>no del uentre, nè la doue &longs;i hanno a cacciare le acque in &longs;u, nè in tutto nelle ualli, ma in <lb/>una continuata aguaglianza. </s> <s id="s.006376">Ma &longs;e con &longs;pe&longs;a minore uorremo condurre l'acque a que&longs;to <lb/>modo faremo. </s> <s id="s.006377">Faccian&longs;i le trombe di te&longs;tole niente meno gro&longs;&longs;e di due dita, ma in mo­<lb/>do, che da una parte &longs;ieno &longs;mu&longs;&longs;ate, accioche, una a&longs;&longs;aggiatamente entri nell'altra. </s> <s id="s.006378">Da­<lb/>poila doue &longs;ono le commi&longs;&longs;ure, & imboccature di quelle trombe deue&longs;i otturare con cal­<lb/>ce uiua battuta con l'oglio, & nel piegare del liuello del uentre nel nodo &longs;i deue porre una <lb/>pietra di &longs;a&longs;&longs;o ro&longs;&longs;o, & que&longs;ta forata, accioche l'ultima tromba, oue cade l'acqua &longs;ia at­<lb/>taccata con quella pietra, il &longs;imile &longs;i farà alla prima tromba uicina al liuellato uentre, & <lb/>nello &longs;te&longs;&longs;o modo nell'oppo&longs;ta a&longs;ce&longs;a l'ultima tromba del giu&longs;tato uentre &longs;ia &longs;maltata nel <lb/>concauo del &longs;a&longs;&longs;o ro&longs;&longs;o, & la prima per doue &longs;i deue cacciare l'acqua, con &longs;imile ragione <lb/>&longs;ia appigliata, & co&longs;i il liuellato piano delle trombe, & della caduta, & del &longs;alimento non <lb/>&longs;arà inalzato, percioche &longs;uole alcuna fiata nella condotta dell'acque na&longs;cere un gagliardo <lb/>&longs;pirito, & tale, che anche rompa i &longs;a&longs;si, &longs;e da capo prima dolcemente, & con mi&longs;ura non <lb/>ui &longs;i darà l'acqua, & ne i nodi, & nelle pieghe non &longs;arà contenuta con buone legature, & <lb/>con pe&longs;i, & &longs;aorne: il re&longs;to poi &longs;i deue fare come detto hauemo delle canne di piombo. </s> <s id="s.006379"><lb/>Ancora quando da prima l'acqua &longs;i dà, dal capo deue&longs;i in quelle trombe porre della cene­<lb/>re, accioche le commi&longs;&longs;ure &longs;e alcune &longs;ono male &longs;tuccate, &longs;iano con quella cenere ottura­<lb/>te, & imboccate. </s> <s id="s.006380">Hanno le condotte dell'acqua, che con trombe &longs;i fanno que&longs;to com­<lb/>modo, prima nell'opera &longs;e ci &longs;arà alcuno danno, cia&longs;cuno lo puo rifare, & l'acqua è mol <lb/>to piu &longs;ana, che pa&longs;&longs;a per le canne di terra, che per le canne di piombo, perche dal piom­<lb/>bo, come da quello da cui na&longs;ce la biacca pare, che prenda difetto, & &longs;i dice, che la biac­<lb/>ca è nociua a i corpi humani, & co&longs;i &longs;e dal piombo na&longs;ce alcuna co&longs;a danno&longs;a, non è dub­<lb/>bio, che ancho egli non &longs;arà &longs;ano. </s> <s id="s.006381">Lo e&longs;&longs;empio prender potemo da i ma&longs;tri del piombo, <lb/>che &longs;empre &longs;ono pallidi di colore, percioche quando nel fondere &longs;i fa il piombo, il ua­<lb/>pore, che è in quello, entrando nelle membra, & ogni giorno abruciando &longs;ucchia dalle <pb pagenum="345" xlink:href="045/01/359.jpg"/>membra loro la uirtù del &longs;angue; però non pare, che douemo condurre l'acqua con canne <lb/>di piombo, &longs;e noi la uogliamo &longs;ana, & buona. </s> <s id="s.006382">Vede&longs;i ancho per lo u&longs;o quotidiano, che <lb/>l'acqua condotta per trombe è di piu dolce &longs;apore, percioche auuegna che &longs;i habbia un <lb/>grande apparecchio di ua&longs;i d'argento niente di meno ogn'uno u&longs;a ua&longs;i di terra cotta per <lb/>porui l'acqua per la bontà del &longs;apore. </s> <s id="s.006383">Ma &longs;e i fonti non &longs;ono, da i quali &longs;i po&longs;&longs;a condurre <lb/>l'acqua, nece&longs;&longs;ario è cauare i pozzi, & nel cauarli non &longs;i debbe &longs;prezzare la ragione, ma <lb/>molto bene con acutezza, & &longs;olertia d'ingegno deon&longs;i con&longs;iderare le ragioni naturali del­<lb/>le co&longs;e, imperoche la terra contiene in &longs;e molte, & diuer&longs;e qualità, percioche ella è come <lb/>tutte altre co&longs;e di quattro principij compo&longs;ta, & prima è terrena, dapoi ha le fonti del­<lb/>l'humore dell'acqua, nè è &longs;enza calore, d'onde il &longs;olfo, il bitume, & l'allume na&longs;ce, & in <lb/>fine ha gli &longs;piriti grandi&longs;simi dello aere, i quali uenendo pe&longs;anti per le uene della cauerno­<lb/>&longs;a terra al cauamento de i pozzi, iui trouano gli huomini, che cauano, con naturale uapore <lb/>nelle narici loro otturano gli &longs;piriti animali, & co&longs;i chi pre&longs;tamente da quei luoghi non &longs;i <lb/>toglie, iui muore. </s> <s id="s.006384">Ma con che ragione &longs;i po&longs;&longs;a que&longs;to danno fuggire, co&longs;i &longs;i dee fare. </s> <s id="s.006385"><lb/>Mandi&longs;i allo ingiu una lucerna acce&longs;a, quella &longs;e &longs;tarà acce&longs;a, &longs;enza pericolo &longs;i puo andare <lb/>al ba&longs;&longs;o; ma &longs;e per la forza del uapore ella &longs;arà e&longs;tinta, allhora lungo il pozzo dalla de&longs;tra, <lb/>& dalla &longs;ini&longs;tra caueranno&longs;i gli &longs;piraculi, da i quali come dalle narici gli &longs;piriti u&longs;cendo &longs;i <lb/>dilegueranno, & quando in que&longs;to modo haueremo operato, & &longs;aremo peruenuti all'ac­<lb/>qua, allhora con la muratura deue e&longs;&longs;ere il pozzo in tal modo circondato, che le uene <lb/>non re&longs;tino otturate. </s> <s id="s.006386">Ma &longs;e i luoghi &longs;aranno duri, o che nel fondo di fatto non &longs;aranno <lb/>le uene, allhora da i tetti, o da i luoghi di &longs;opra douemo raccogliere l'acqua copio&longs;amen­<lb/>te nelle opere di te&longs;tole; & per fare que&longs;te te&longs;tole douemo prouedere prima di arena pu­<lb/>ri&longs;sima, & a&longs;pri&longs;sima, il cemento &longs;ia netto di &longs;elice non piu graue d'una libra, & &longs;ia nel <lb/>mortaio la calce forti&longs;sima me&longs;colata in modo, che a cinque parti d'arena due di calce ri­<lb/>&longs;pondino; al mortaio &longs;ia aggiunto poi il cemento di quello nella fo&longs;&longs;a a liuello dell'altez­<lb/>za, che &longs;i uuole hauere, con mazze di legno ferrate &longs;iano i pareti calcati, & battuti i pare­<lb/>ti, il terreno di mezo &longs;ia uotato al ba&longs;&longs;o liuello de i pareti, & pareggiato il &longs;uolo dallo &longs;te&longs; <lb/>&longs;o mortaio &longs;ia battuto, & calcato il pauimento alla gro&longs;&longs;ezza, che &longs;i uuole, & quei luoghi <lb/>&longs;e &longs;aranno doppi, o tripli, accioche colando l'acque &longs;i po&longs;sino mutare, molto piu &longs;ano ci <lb/>&longs;arà l'u&longs;o di e&longs;&longs;e, percioche il fango quando ha doue dar giu, l'acqua &longs;i fa piu chiara, & &longs;en <lb/>za cattiui odori con&longs;eruarà il &longs;apore, & &longs;e cio non fia deue&longs;i aggiugnere il &longs;ale, & a&longs;&longs;otti­<lb/>gliar&longs;i. </s> <s id="s.006387">Io ho po&longs;to in que&longs;to libro quanto ho potuto raccorre delle uirtù, & uarietà del­<lb/>l'acqua dimo&longs;trando le &longs;ue utilità, & con che ragione la &longs;i po&longs;&longs;a condurre, & prouare. </s> <s id="s.006388"><lb/>Nel &longs;eguente io &longs;criuerò de i regolati &longs;tili da ombre, & delle ragioni de gli horologi. </s> </p> <p type="main"> <s id="s.006389"><emph type="italics"/>Il Filandro in que&longs;to libro dichiara molte belle co&longs;e degne da e&longs;&longs;er lette per la dottrina, & co­<lb/>gnitione che in e&longs;&longs;e &longs;i troua, però e&longs;orto gli &longs;tudio&longs;i a uederle, & a leuarmi la fatica di &longs;eruirmi <lb/>delle co&longs;e d'altri. </s> <s id="s.006390">Ben dirò alcune co&longs;e per dichiaratione dell'ultimo capo, la cui &longs;omma è que­<lb/>sta. </s> <s id="s.006391">Tratta in e&longs;&longs;o Vitr. di condur l'acque: & dice e&longs;&longs;er tre modi di condurle, per riui, o cana­<lb/>li aperti, per canne di piombo, & per trombe di terra cotta: & dichiara come &longs;i habbia a fare <lb/>in cia&longs;cun modo, & prima de i canali, & c'in&longs;egna a dare la &longs;caduta dell'acqua, & farli le &longs;ue <lb/>con&longs;erue, & di&longs;tribuirle all'u&longs;o della città, & come &longs;i deono leuare gli impedimenti de i monti, <lb/>cauar le &longs;pilonche, i tofi, i &longs;a&longs;&longs;i, & far i canali. </s> <s id="s.006392">Nel condur l'acque per le canne di piombo, egli <lb/>c'in&longs;egna far le ba&longs;che, o ca&longs;telli, che egli dica: ci dà la mi&longs;ura delle canne, & quanto alla lun­<lb/>ghezza, & quanto alla gro&longs;&longs;ezza: & ci mo&longs;tra come &longs;i habbia a condur l'acqua per monti, per <lb/>ualli, & per pianure, & come &longs;i habbia a prouedere, che facilmente &longs;i acconci, doue le canne <lb/>far an danno. </s> <s id="s.006393">Di&longs;corre poi come, &longs;i habbia a reggere nel condur l'acque per trombe di te&longs;tole, <lb/>& dimo&longs;tra come quelle &longs;i hanno a porre & &longs;tagnar in&longs;ieme, & compara que&longs;to modo di condur <lb/>l'acqua al modo delle canne di piombo, dimo&longs;trando ch'è migliore & piu &longs;ano, & di manco &longs;pe-<emph.end type="italics"/><pb pagenum="346" xlink:href="045/01/360.jpg"/><emph type="italics"/>&longs;a. </s> <s id="s.006394">Egli poi c'in&longs;egna a cauare i pozzi, a tentar i uapori cattiui, che e&longs;alano, a proueder, chel <lb/>terreno non ci ca&longs;chi addo&longs;&longs;o, a raccore l'acqua di&longs;per&longs;a, a non la&longs;ciar perdere la raccolta, a for <lb/>tificare i lati del pozzo, a far le banche, & a proueder, che l'acqua &longs;ia buona. </s> <s id="s.006395">& que&longs;ta è la <lb/>&longs;omma della intentione di Vitr. & la mterpretatione è chiara: & Palladio, & Plinio pigliano <lb/>tutte que&longs;te co&longs;e da Vitr. <!-- KEEP S--></s> <s id="s.006396">Actus chiama Vitr. lo &longs;patio di cento & uenti piedi. </s> <s id="s.006397">que&longs;to raddoppià­<lb/>to per lungo faceua un iugero. </s> <s id="s.006398">Saburra è da noi detta la Saorna, che &longs;i da alle naui. </s> <s id="s.006399">Fauilla è <lb/>la reliquia de gli e&longs;tinti carboni. </s> <s id="s.006400">E&longs;tuaria &longs;ignificagli &longs;piragli: il nome delle lame, è pre&longs;o dal <lb/>numero delle dita, perche &longs;e prima, che &longs;i pieghino in tondo &longs;ono larghe cento dita &longs;i chiamano <lb/>centenarie. </s> <s id="s.006401">&longs;e cinquanta quinquagenarie, & co&longs;i nel resto. </s> <s id="s.006402">Ma de gli acquedutti copio&longs;amen­<lb/>te ne parla Frontino: Et da i libri di Herone &longs;i puo cauare molti belli modi & diletteuoli di &longs;eruir <lb/>&longs;i delle acque: il qual libro for&longs;e un giorno u&longs;cirà emendato, et figurato come &longs;i deue.<emph.end type="italics"/></s> </p> <p type="head"> <s id="s.006403"><emph type="italics"/>Il Fine dell'Ottauo Libro.<emph.end type="italics"/><!-- KEEP S--></s> </p> </subchap2></subchap1><subchap1> <pb pagenum="347" xlink:href="045/01/361.jpg"/> <p type="head"> <s id="s.006404">LIBRO NONO</s> </p> <p type="head"> <s id="s.006405">DELL' ARCHITETTVRA DI <lb/>M. VITRVVIO.<!-- KEEP S--></s> </p> <subchap2> <p type="head"> <s id="s.006406"><emph type="italics"/>Proemio.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.006407">I Maggiori de i Greci con&longs;tituirono co&longs;i grandi honori a quelli nobili <lb/>A thleti, che uinto haue&longs;&longs;ero i giuochi Olimpij, Pithij, I&longs;tmici, & Ne­<lb/>mei, che non &longs;olamente &longs;tando quelli tra la moltitudine de gli huomi­<lb/>ni ragunata, con la palma, & con la corona riportano lode, ma anche <lb/>ritornati nelle patrie loro con uittoria trionfando nelle carrette &longs;ono <lb/>dentro delle mura, & delle loro patrie portati, & in uita loro per publi­<lb/>ca deliberatione uiueno d'entrata. </s> <s id="s.006408">Que&longs;to adunque auuertendo io, prendo merauiglia, <lb/>perche cagione non &longs;ono attribuiti gli i&longs;te&longs;si, & ancho piu grandi honori a gli &longs;crittori, i <lb/>quali del continuo a tutte le genti pre&longs;tano infinite utilità: imperoche piu degna co&longs;a, & <lb/>piu ragioneuole era, che que&longs;to fu&longs;&longs;e ordinato, perche gli Athleti con lo e&longs;&longs;ercitio fan­<lb/>no i corpi loro piu robu&longs;ti: ma gli &longs;crittori non &longs;olamente fanno perfetti i loro proprij <lb/>&longs;entimenti, ma anchora di tutti apparecchiandogli ne i libri precetti, d'onde habbiano <lb/>ad imparare, & rendere i loro animi piu acuti, & ri&longs;uegliati: perche di gratia mi &longs;i dica, di <lb/>che giouamento è &longs;tato a gli huomini Milone Crotoniate, perche egli &longs;ia &longs;tato in&longs;upera­<lb/>bile, & gli altri, che in quella maniera &longs;ono &longs;tati uincitori? </s> <s id="s.006409">&longs;e non che e&longs;si mentre ui&longs;&longs;ero <lb/>hanno tra &longs;uoi cittadini hauuto la nobilta. </s> <s id="s.006410">Ma i precetti di Pithagora, di Democrito, di <lb/>Platone, & di Ari&longs;totile, & di tutti gli altri &longs;aui tutto il giorno di perpetua indu&longs;tria orna <lb/>ti, non &longs;olo a i loro cittadini, ma a tutte le genti fre&longs;chi, & fioriti frutti mandano in luce, <lb/>de i quali coloro, che da i teneri anni con abondanza di dottrine &longs;i &longs;ono &longs;atiati, hanno ot­<lb/>timi &longs;entimenti della &longs;apienza, & danno alle città co&longs;tumi della humanità, ragioni eguali, <lb/>& leggi. </s> <s id="s.006411">Lequali co&longs;e quando &longs;ono lontane, niuna città puo &longs;tare, & con&longs;eruar&longs;i intiera. </s> <s id="s.006412"><lb/>E&longs;&longs;endo adunque dalla prudenza de gli &longs;crittori co&longs;i gran doni in priuato, & in publico <lb/>a gli huomini apparecchiati, io pen&longs;o, che non pure &longs;i debbiano dare a quelli corone, & <lb/>palme, ma anche per decreto deliberare di dargli trionfi, & di con&longs;ecrargli tra le &longs;edi de <lb/>gli Dei. <!-- KEEP S--></s> <s id="s.006413">Io narrerò alcuni e&longs;&longs;empi di molti loro pen&longs;ieri, che &longs;ono &longs;tati di gran gioua­<lb/>mento a gli huomini per pa&longs;&longs;are commodamente la uita loro, i quali chi uorrà ricono&longs;ce­<lb/>re conuerrà confe&longs;&longs;are que&longs;ti e&longs;&longs;er degni di grandi honori, & prima io ponerò una ragio­<lb/>ne di Platone tra molti utili&longs;simi di&longs;cor&longs;i, in che maniera ella &longs;ia &longs;tata da lui e&longs;plicata. </s> </p> <p type="main"> <s id="s.006414"><emph type="italics"/>Ispedite le ragioni che appartengono alle fabriche sì publiche, come priuate, hora &longs;i <lb/>uiene alla &longs;econda parte principale della Architettura detta Gnomonica: per la­<lb/>quale &longs;i uedeno gli effetti, che fanno i lucenti corpi del cielo con i raggi loro nel <lb/>mondo. </s> <s id="s.006415">& perche la ragione della parte pre&longs;ente ci leua da terra mentre contem­<lb/>pla la diuinità del cielo con la grandezza, bellezza, & &longs;uo ueloci&longs;&longs;imo mouimento, però Vitru. <!-- REMOVE S--><lb/>pone un proemio a &longs;imile trattamento conuenienti&longs;&longs;imo: parendogli, che quelli huomini, i quali <lb/>hanno trouato le &longs;ottili&longs;&longs;ime ragioni delle alte co&longs;e digni&longs;&longs;imi &longs;ieno de gli honori cele&longs;ti, perche <lb/>non tanto alle dignità loro, quanto al beneficio commune hanno riguardato, & non in un tem­<lb/>po, in una età, in un &longs;ecolo &longs;olo, ma del continuo &longs;ono, & &longs;aranno &longs;empre di perpetuo giouamen-<emph.end type="italics"/><pb pagenum="348" xlink:href="045/01/362.jpg"/><emph type="italics"/>to, & quanto è piu nobile, & piu pre&longs;tante l'animo del corpo, tanto è piu degna la uirtu d'ogni <lb/>altro bene. </s> <s id="s.006416">Felici adunque chiamar &longs;i po&longs;&longs;ono quelli &longs;aui, che con belle, & &longs;ottili inuentioni s'han <lb/>no procacciato quella lode, & quella gloria, il frutto dellaquale, è pa&longs;&longs;ato in eterno beneficio del <lb/>mondo, & tanto piu, quanto ci hanno mo&longs;trato le co&longs;e nobili, & precio&longs;e: che &longs;i come è piu grato <lb/>all'huomo, & piu giocondo uedere una minima parte delle loro amate co&longs;e, che trattare le mem­<lb/>bra di tutti gli altri corpi, co&longs;i è piu degno &longs;apere una minima ragione delle alte, & rimote co&longs;e, <lb/>che entrare nella cognitione di molte, che ci &longs;ono famigliari. </s> <s id="s.006417">& però ben dice un poeta.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006418"><emph type="italics"/>Veramente felici, & fortunate <lb/>Furon quell'alme, a quai prima fu dato <lb/>Cono&longs;cer co&longs;e sì belle, e pregiate:<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006419"><emph type="italics"/>Ben lor &longs;ucce&longs;&longs;e quel pen&longs;ier beato, <lb/>Che fu di a&longs;cender a i stellati chiostri, <lb/>Et pareggiar con la uirtute il &longs;ato.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006420"><emph type="italics"/>Questo è credibil, che gli horrendi mo stri <lb/>Viince&longs;&longs;er de gli errori, & ch'ogni gioco, <lb/>La&longs;cia&longs;&longs;er, che ammolli&longs;ce i petti nostri.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006421"><emph type="italics"/>Non &longs;caldò i cuori lor l'ardente foco <lb/>Di Venere crudel, nè uino, o co&longs;a <lb/>Che impedi&longs;&longs;e il lor cor&longs;o, o molto o poco.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006422"><emph type="italics"/>Non la turba del foro litigio&longs;a, <lb/>Non la dura militia, non la uana <lb/>Ambitione di gloria pompo&longs;a.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006423"><emph type="italics"/>L'ingordigia dell'oro empia e inhumana <lb/>Non piegò punto gli animi di quelli, <lb/>Ch'eran riuolti alla parte &longs;oprana.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006424"><emph type="italics"/>Chiuorrà adunque comparare &longs;imili huomini a gli Athleti? <!-- REMOVE S-->chi a gladiatori od'altri, che per <lb/>uittorie, o beneficij pre&longs;enti s'hanno obligati alcuni pochi? </s> <s id="s.006425">Meritamente adunque douemo con <lb/>Vitr. giudicare, che gli inuentori delle utili, & belle co&longs;e meritino piu presto gli honori celesti, <lb/>che quelli, i quali a tempo de Greci fiorirono di gloria per le forze del corpo dimostrate in que <lb/>giuochi, che ad honore di diuer&longs;i Dei, & heroi co&longs;i pompo&longs;amente, & con tanto concor&longs;o di <lb/>popoli &longs;i celebrauano, come erano i giuochi Olimpij in honore di Gioue, i Pithij in honore di A­<lb/>polline, i Nemei in honore di Archimoro, gli Isthmici in honore di Palemone. </s> <s id="s.006426">Ma la&longs;ciamo <lb/>quello, che in Vitr. è manifesto, & uegnamo ad alcune belle inuentioni di alcuni antichi &longs;aui, & <lb/>prima di Platone nel primo capo, poi di Pithagora nel &longs;econdo, & in fine di Archimede, di Era­<lb/>tosthene, & di Archita nel ter zo: auuertendo che questo nome di Gnomonica &longs;i estende molto <lb/>piu di quello, che Vitr. pote&longs;&longs;e intendere nel pre&longs;ente luogo.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.006427"><emph type="italics"/>Il modo ritrouato da Platone per mi&longs;urare un campo <lb/>di terra. </s> <s id="s.006428">Cap. I.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.006429">SE il luogo ouero il campo di lati eguali &longs;arà quadrato, & bi&longs;ogno fia di nuo­<lb/>uo con lati eguali raddoppiarlo, perche que&longs;to per numeri, o per moltipli­<lb/>catione non &longs;i ritroua, però &longs;i puo fare con emendate de&longs;crittioni di linee. </s> <s id="s.006430"><lb/>Et que&longs;ta è la dimo&longs;tratione. </s> <s id="s.006431">Certo è che uno quadro di dieci piedi per ogni <lb/>lato, è piedi cento per quadro. </s> <s id="s.006432">Se adunque è bi&longs;ogno di raddoppiarlo, & fare uno &longs;patio <lb/>di ducento piedi, & che &longs;ia di lati eguali; egli &longs;i deue cercare quanto &longs;i deue fare un lato <lb/>di quello quadrato, accioche da quello alli raddoppiamenti dello &longs;pacio ri&longs;pondino du­<lb/>cento piedi. </s> <s id="s.006433">Que&longs;to per uia di numeri niuno puo ritrouare: perche &longs;e egli &longs;i fa uno lato <lb/>di quattordici piedi moltiplicando uerrà alla &longs;omma di cento nouanta &longs;ei, &longs;e di quindici <lb/>farà ducento, & uenticinque: & però, perche que&longs;to per uia di numeri non &longs;i fa manife­<lb/>&longs;to, egli &longs;i deue nel quadrato, che è di dieci piedi per ogni lato tirare una linea da uno an<lb/>gulo all'altro in modo, che il quadrato &longs;ia partito in due triangoli eguali, & cia&longs;cuno de <lb/>i detti triangoli &longs;ia di piedi cinquanta di piano. </s> <s id="s.006434">Adunque &longs;econdo la lunghezza della de­<lb/>&longs;critta linea egli &longs;i deue fare uno piano quadrato di lati eguali: & co&longs;i quanto grandi &longs;aran <lb/>no i due trianguli nel quadrato minore di piedi cinquanta, con la linea diagonale di&longs;e­<lb/>gnati, tanto con quello i&longs;te&longs;&longs;o numero di piedi, nel quadrato maggiore &longs;aranno de&longs;critti <pb pagenum="349" xlink:href="045/01/363.jpg"/>quatrro ttiangoli. </s> <s id="s.006435">Con quella ragione (come appare per la &longs;ottopo&longs;ta figura) per uia <lb/>di linee da Platone &longs;u fatto il raddoppiamento del campo quadrato. </s> </p> <p type="main"> <s id="s.006436"><emph type="italics"/>Qui non ci è altro che dichiarire per hora, e&longs;&longs;endo Vitr. da &longs;e manifesto, & chiaro: impero­<lb/>che il quadrato &longs;i raddoppia tirando la diagonale, & di quella &longs;acendo un lato del quadrato, che <lb/>deue e&longs;&longs;er doppio al primo. </s> <s id="s.006437">Ecco il quadrato a b c d. <!-- REMOVE S-->da e&longs;&longs;ere raddoppiato, è di dieci piedi <lb/>per lato. </s> <s id="s.006438">La diagonale è, a b. <!-- REMOVE S-->che lo parte m due trianguli a d b. <!-- REMOVE S-->& a c b. <!-- REMOVE S-->di piedi <lb/>cinquanta l'uno di piano. </s> <s id="s.006439">Della diagonale a b. <!-- REMOVE S-->&longs;i fa un lato a b dfe. </s> <s id="s.006440">che è doppio al qua­<lb/>drato a b c d. <!-- KEEP S--></s> <s id="s.006441">Puo ben e&longs;&longs;ere che la diagonale &longs;i troui per uia di numeri, ma ci potranno an­<lb/>che entrare de i rotti, ilche non è al propo&longs;ito nostro. </s> <s id="s.006442">Egli &longs;i ritruoua la diagonale a questo mo­<lb/>do. </s> <s id="s.006443">Moltiplica due lati del quadrato in &longs;e cia&longs;cuno &longs;eparatamente, & raccogli in&longs;ieme tutta <lb/>la &longs;omma di quella moltiplicatione, & cauane di quella la radice quadrata, tanto &longs;arà la diago­<lb/>nale. </s> <s id="s.006444">Ecco &longs;ia il quadrato a b c d. <!-- REMOVE S-->di piedi cinque per lato, moltiplica a b. <!-- REMOVE S-->in &longs;e, cioè cin­<lb/>que uia cinque fa uenticinque, & co&longs;i farai del lato b c. <!-- REMOVE S-->che farà &longs;imilmente uenticinque, <lb/>che posti in&longs;ieme col primo uenticinque produce cinquanta. </s> <s id="s.006445">la cui radice quadrata è<emph.end type="italics"/> 7 1/14 <emph type="italics"/>& <lb/>di tanti piedi &longs;arà la diagonale. </s> <s id="s.006446">&longs;imilmente farai nelle altre figure quadre di anguli dritti, co <lb/>me nella figura e f g h.<emph.end type="italics"/><!-- KEEP S--></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.006447"><emph type="italics"/>Della &longs;quadra inuentione di Pitagor a per formare l'an­<lb/>gulo giusto. </s> <s id="s.006448">Cap. II.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.006449">Pitagora &longs;imilmente' dimo&longs;trò la &longs;quadra ritrouata &longs;enza opera di artefice alcu­<lb/>no, & fece chiaro con quanto grande fatica i fabri facendola, a pena la po&longs;&longs;o­<lb/>no al giu&longs;to ridurre. </s> <s id="s.006450">Que&longs;ta co&longs;a con ragioni, & uie emendata, da &longs;uoi pre­<lb/>cetti &longs;i manife&longs;ta: perche &longs;e egli &longs;i prenderà tre regole, una di piedi tre, l'altra <lb/>di quattro, la terza di cinque, & que&longs;te regole compo&longs;te &longs;iano, che con i capi &longs;i tocchino <lb/>in&longs;ieme facendo una figura triangulare, condurranno la &longs;quadra giu&longs;ta; & alle lunghezze <lb/>di cia&longs;cuna regola, &longs;i farà uno quadrato di lati eguali, dico, che del lato di tre piedi &longs;i fa­<lb/>rà un quadrato di noue piedi, & di quello, che &longs;arà di quattro piedi &longs;i farà uno quadrato <lb/>di &longs;edici piedi, & di quello, che &longs;arà di cinque, &longs;e ne farà uno di uenticinque, & co&longs;i quan­<lb/>to di &longs;pacio &longs;arà occupato da due quadri, l'uno di tre, l'altro di quattro piedi per lato, tan <lb/>to numero di piedi quadri uenirà dal quadrato tirato &longs;econdo il lato di cinque piedi. </s> <s id="s.006451">Ha­<lb/>uendo Pitagora ritrouato que&longs;to, nè dubitando di non e&longs;&longs;ere &longs;tato in quella inuentione <lb/>dalle Mu&longs;e ammae&longs;trato, riferendole grandi&longs;sime gratie, &longs;i dice, che a quelle &longs;acrificio <lb/>fece delle uittime: & quella ragione come in molte co&longs;e, & in molte mi&longs;ure è utile, co&longs;i <lb/>negli edificij per fare le &longs;cale, acciochei gradi &longs;ieno di proportionata mi&longs;ura, è molto e&longs;pe<lb/>dita: perche &longs;e l'altezza del palco da i capi della trauatura al liuello, & piano da ba&longs;&longs;o &longs;arà <lb/>in tre parti diui&longs;a, la a&longs;ce&longs;a delle &longs;cale &longs;arà in cinque parti di quelle con giu&longs;ta lunghezza <lb/>de i fu&longs;ti: perche quanto grandi &longs;aranno le tre parti dalla &longs;omma trauatura al liuello di &longs;ot <lb/>to, quattro di quelle &longs;i hanno a tirare in fuori, & &longs;co&longs;tar&longs;i dal dritto: perche a que&longs;to mo­<lb/>do &longs;aranno moderate le collocationi de i gradi, & delle &longs;cale: & co&longs;i anche di tal co&longs;a &longs;a­<lb/>rà di&longs;egnata la forma. </s> </p> <p type="main"> <s id="s.006452"><emph type="italics"/>Pone Vitr. la inuentione della &longs;quadra, & l'utile, che &longs;i caua da quella. </s> <s id="s.006453">Pitagora huomo <lb/>diuino in molte co&longs;e fu lo inuentore della ragione della &longs;quadra, nel che egli trapaßò digran lun­<lb/>ga la inuentione di molti artefici eccellenti, & però merita grandi&longs;&longs;ima commendatione. </s> <s id="s.006454">La &longs;qua<lb/>dra &longs;i fa di tre righe po&longs;te in triangolo, &longs;i che la lunghezza di una &longs;ia di tre, dell'altra di quat­<lb/>tro, della terza di cinque parti. </s> <s id="s.006455">da que&longs;ta inuentione &longs;i comprende, che facendo&longs;i tre quadri per <lb/>fetti, &longs;econdo la lunghezza di cia&longs;cuna rigail quadro fatto dalla riga di cinque parti, &longs;arà tan-<emph.end type="italics"/><pb pagenum="350" xlink:href="045/01/364.jpg"/><emph type="italics"/>to grande, & capirà tanto, quanto i due quadri &longs;atti dalle due altre righe, come &longs;i uede per la fi­<lb/>gura &longs;otto&longs;critta. </s> <s id="s.006456">L'u&longs;o della &longs;quadra in tutte &longs;orti di fabriche, & di edificij è molto utile, & <lb/>nece&longs;&longs;ario, & troppo &longs;arebbe lunga co&longs;a il ragionarne partitamente: ma in &longs;omma que&longs;to è, che <lb/>lo angulo giu&longs;to è mi&longs;ura di tutte le co&longs;e, la doue i Quadranti, i Raggi, i Triangoli, & ogni al­<lb/>tro &longs;trumento, col quale &longs;i mi&longs;ura l'altezze, le lunghezze, & larghezze, tutti hanno la lor uir <lb/>tù nello angulo giu&longs;to, che nella &longs;quadra, che norma &longs;i chiama è collocato: però Vitr. fuggendo <lb/>la noia, ci porta &longs;olamente un mir abile u&longs;o di quella, che è po&longs;to nel proportionare le &longs;cale, & <lb/>le &longs;alite di modo, che &longs;iano commode, & atte per montarui. </s> <s id="s.006457">Noi, perche delle &longs;cale non haue­<lb/>mo fatto mentione fin hora, ne ragionaremo al pre&longs;ente. </s> <s id="s.006458">Il porre le &longs;cale ricerca giudicio, & <lb/>i&longs;perienza piu che mediocre, perche è molto difficile di trouarle luogo, che non impedi&longs;ca, o rub <lb/>bi il compartimento delle &longs;tanze, però chi non uuole e&longs;&longs;ere impedito dalle &longs;cale, non impedi&longs;ca <lb/>egli le &longs;cale, & proueda di darle un certo, & determinato &longs;patio, accioche &longs;iano libere, & di&longs;­<lb/>obbligate. </s> <s id="s.006459">perche a&longs;&longs;ai commode &longs;aranno, la doue daranno meno incommodo. </s> <s id="s.006460">Qui &longs;i ragiona <lb/>delle &longs;cale, & &longs;alite de gli edificij, & non delle &longs;cale, che &longs;erueno all'u&longs;o della guerra. </s> <s id="s.006461">Delle &longs;ca <lb/>le adunque &longs;i hanno a con&longs;iderare le maniere, il luogo, l'apriture, la figura, il numero de gradi, <lb/>& la requie. </s> <s id="s.006462">Egli &longs;i a&longs;cende al di&longs;opra o per gradi, o per &longs;alite, & montate pendenti. </s> <s id="s.006463">Le montate &longs;i <lb/>u&longs;ano ne i gran palagi, & ca&longs;e regali, & &longs;ono molto commode, perche la &longs;alita &longs;i fa a poco a <lb/>poco, &longs;enza grande mouimento, &longs;pecialmente quando &longs;i ha que&longs;ta uia di farle piu piane, che &longs;i <lb/>puo, & a que&longs;to modo &longs;i fanno anche le &longs;alite de i monti per opera de gli huomini. </s> <s id="s.006464">Ma quelle <lb/>&longs;cale, che hanno gradi deono e&longs;&longs;er &longs;imilmente commode, & lumino&longs;e. </s> <s id="s.006465">commode &longs;aranno quan­<lb/>do &longs;i &longs;eruerà la proportione della qual diremo, & &longs;e daranno meno incommodo (come ho det­<lb/>to) proportionate deono e&longs;&longs;er, & quanto a tutta la &longs;cala, & quanto a i gradi; alche fare ci gio <lb/>ua la ragione, & la figura po&longs;ta da Vitr. <!-- KEEP S--></s> <s id="s.006466">Lumino&longs;e &longs;aranno, per la ragione detta altroue di pi­<lb/>gliar i lumi, & per lo giudicio dello Architetto. <!-- KEEP S--></s> <s id="s.006467">Il numero de i gradi, & de i ripo&longs;i (perche <lb/>egli &longs;i deue auuertire di non fare molti gradi &longs;enza requie di mezo) è &longs;econdo gli antichi, che non <lb/>&longs;i facciano piu di &longs;ette, o noue gradi &longs;enza un piano: sì per dar ripo&longs;o a chi nel &longs;alire &longs;i &longs;tancaua, <lb/>sì perche cadendo alcuno, non cade&longs;&longs;e da luogo molto alto, ma haue&longs;&longs;e doue fermar&longs;i. </s> <s id="s.006468">L'altez­<lb/>za de i gradi, & i piani, &longs;i deono fare in modo, che quanto meno &longs;i puo il piede &longs;i affatichi alzan<lb/>do&longs;i: Non bi&longs;ogna pa&longs;&longs;are le mi&longs;ure di Vitr. date nel terzo libro, cioè farli maggiori, ma bene <lb/>ci tornerà a propo&longs;ito ne i priuati edificij accommodarli piu che &longs;i puo. </s> <s id="s.006469">Le &longs;cale a lumaca &longs;pe&longs;&longs;o <lb/>danno gran commodità a gli edi&longs;icij perche non occupano molto luogo, ma &longs;ono piu difficili, &longs;e &longs;i <lb/>fanno per nece&longs;&longs;ità. </s> <s id="s.006470">Nella Lamagna per l'ordinario le &longs;cale &longs;ono ne gli anguli de gli edificij, il <lb/>che è difetto&longs;o: perche nè fine&longs;tra, nè nicchio, nè &longs;cala, nè apritura alcuna deue e&longs;&longs;er po&longs;ta ne <lb/>gli anguli delle ca&longs;e, i quali anguli douendo e&longs;&longs;ere &longs;odi&longs;&longs;imi, quando &longs;ono aperti, s'indeboli&longs;ceuo. </s> <s id="s.006471"><lb/>In &longs;omma il numero delle &longs;cale non è lodato, perche è di molto impedimento a tutta la fabrica, <lb/>& la moltitudine de i gradi aggraua lo edificio. </s> <s id="s.006472">Hanno le &longs;cale tre apriture, una all'intratæ <lb/>dal piedi, l'altra doue &longs;ono i lumi, la terza è la riu&longs;cita di &longs;opra. </s> <s id="s.006473">Tutte deono e&longs;&longs;ere ampie, & <lb/>magnifiche, (intendo delle &longs;cale principali &longs;pecialmente) & qua&longs;i deono inuitare le genti alla <lb/>&longs;alita. </s> <s id="s.006474">Però la prima entrata, & la bocca della &longs;cala deue e&longs;&longs;ere in luogo, che &longs;ubito &longs;i ueda <lb/>dentro della entrata. </s> <s id="s.006475">Il lume deue e&longs;&longs;er alto, perohe dia lume egualmente a tutti i gradi. </s> <s id="s.006476">Qui <lb/>ci &longs;erue la ragione dell'ombra, & &longs;i troua che quella proportione, che hauerà l'ombra con tutta <lb/>l'altezza della &longs;cala, la mede&longs;ma hauerà l'altezza d'un grado col piano d'un'altro. </s> <s id="s.006477">La riu&longs;cita <lb/>deue riporci in luogo, che la &longs;ala &longs;i ueda tutta egualmente, & i lumi delle fine&longs;tre ci uenghino <lb/>nel mezo, & di numero di&longs;pari, & &longs;i cono&longs;ch i lo incontro delle porte delle &longs;tanze da una parte, <lb/>& dall'altra della &longs;ala: & tanto &longs;ia detto delle regole delle &longs;cale. </s> <s id="s.006478">Ma mirabilmente s'impara <lb/>uedendo&longs;i le co&longs;e fatte da gli antichi, & i belli auuertiment i, che hanno hauuto: come &longs;arebbe <lb/>nel belli&longs;&longs;imo edificio della ritonda, doue le &longs;cale, che uanno di dentro uia &longs;e bene &longs;ono a lumaca, <lb/>però non uanno circolarmente, ma in triangolo, il che prouede a quelli, che gir ando pati&longs;ceno<emph.end type="italics"/><pb pagenum="351" xlink:href="045/01/365.jpg"/><figure id="id.045.01.365.1.jpg" xlink:href="045/01/365/1.jpg"/><pb pagenum="352" xlink:href="045/01/366.jpg"/><emph type="italics"/>per la debolezza del capo, la uertigine. </s> <s id="s.006479">Similmente i gradi, che uanno &longs;u la tribuna di detto <lb/>Tempio hanno i loro piani piegati in entro, perche &longs;e uno di&longs;cendendo cade&longs;&longs;e, hauendo il calca­<lb/>gno piu ba&longs;&longs;o, che la punta del piede, fu&longs;&longs;e forzato a dare in dietro, & non cadere inanzi. </s> <s id="s.006480">Bel­<lb/>le &longs;ono anche le &longs;cale di alcuni moderni. </s> <s id="s.006481">come &longs;i uede nel mirabile palazzo d'Vrbino, & anche <lb/>in Roma le &longs;cale del palazzo. </s> <s id="s.006482">& altroue, che ci portano molto lume, & ci fanno molto auuer­<lb/>titi. </s> <s id="s.006483">Hora quanto appartiene a Vitr. dico, che egli uuole, che dalla &longs;quadra &longs;i prenda la mi&longs;u­<lb/>ra della &longs;cala. </s> <s id="s.006484">Imperoche dal &longs;olaro al piano, per linea perpendicolare uuole, che lo &longs;patio &longs;ia <lb/>diui&longs;o in tre parti, & di doue cade il piombo &longs;i tiri una linea in fuori, che &longs;ia diui&longs;a m quattro <lb/>parti eguali cia&longs;cuna a cia&longs;cuna delle tre. </s> <s id="s.006485">Se adunque dall'altro capo del piano, &longs;arà tirata una <lb/>Linea alta &longs;ommit à della perpendicolare, che &longs;ia di cinque parti, allhora compartendo&longs;i i gradi &longs;o <lb/>pra quella, &longs;arà la &longs;cala commoda, & proportionata, come ci mo&longs;tra la figura. </s> <s id="s.006486">Delle &longs;cale a <lb/>lumaca doueria &longs;imilmente Vitr. hauerne ragionato, &longs;e qui fu&longs;&longs;e &longs;tato il luogo &longs;uo. </s> <s id="s.006487">Ma quello, <lb/>che egli ha detto delle &longs;cale è &longs;tato per occa&longs;ione, & per dimo&longs;trare, l'u&longs;o della &longs;quadra; & &longs;e be <lb/>ne altroue non ne ha detto, non però ci ha la&longs;ciato &longs;enza occa&longs;ione di potere da noi trouare il mo <lb/>do di farle. </s> <s id="s.006488">Conuengono le &longs;cale dritte con le torte nella mi&longs;ura, & commodità de i gradi: con­<lb/>uengono nelle apriture, & in altre co&longs;e, ma que&longs;ta è la differenza, che il fu&longs;to delle &longs;cale dritte, <lb/>che è detto, Scapo, da Vitr. è una linea dritta, che dalla &longs;ommità al piano di&longs;cende, come hipo­<lb/>tenu&longs;a, o diagonale: ma il fu&longs;to delle &longs;cale a lumaca è dritto a piombo, & d'intorno a quello, co­<lb/>me ad un perno &longs;ono i gradi, benche anche &longs;ifacciano le lumache &longs;enza fu&longs;to. </s> <s id="s.006489">Que&longs;te &longs;cale erano <lb/>fatte da gli antichi per &longs;alire a luoghi altißimi, come &longs;ono colonne, piramidi, & altri grandi&longs;&longs;i­<lb/>mi ed ficij. </s> <s id="s.006490">Lapianta delle lumache è come una uoluta, la eleuatione &longs;i fa da certi punti della <lb/>uoluta. </s> <s id="s.006491">però Alberto Durero ce la in&longs;egna nel primo libro della &longs;ua Geometria. <!-- KEEP S--></s> <s id="s.006492">Noi hauemo me&longs;­<lb/>&longs;o la figura, & la pro&longs;pettiua, in&longs;ieme con le &longs;opradette dimo&longs;trationi.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.006493"><emph type="italics"/>Come &longs;i po&longs;&longs;a cono&longs;cer una portione d'argento me&longs;­<lb/>colata con l'oro finita l'opera. </s> <s id="s.006494">Cap. III.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.006495">Es&longs;endo &longs;tate molte, & merauiglio&longs;e inuentioni quelle di Archimede, di tutte <lb/>con infinita &longs;olertia, quella, che io e&longs;ponciò, pare, che troppo &longs;ia &longs;tata <lb/>e&longs;pre&longs;&longs;a. </s> <s id="s.006496">Imperoche Ierone nobilitato della regia pote&longs;tà nella città di Sira­<lb/>cu&longs;a, e&longs;&longs;endogli le co&longs;e pro&longs;peramente &longs;ucce&longs;&longs;e, & hauendo deliberato di por <lb/>re al Tempio una corona d'oro uotiua, & di con&longs;ecrarla a i Dei immortali, per grandi&longs;­<lb/>&longs;imo pretio la diede a fare, dando a colui, che &longs;i pre&longs;e il carico di farla, a pe&longs;o la quantità <lb/>dell'oro. </s> <s id="s.006497">Que&longs;ti al tempo debito approuò al Re l'opera &longs;ottilmente fatta con le mani, <lb/>& parue che al giu&longs;to pe&longs;o dell'oro re&longs;titui&longs;&longs;e la corona. </s> <s id="s.006498">Ma poi, che fu inditiato, che <lb/>leuatone una quantità di oro, altrettanto di argento in quella po&longs;to haue&longs;&longs;e, Ierone &longs;de­<lb/>gnato di e&longs;&longs;ere &longs;tato sbeffato, nè potendo hauere la ragione, con che egli &longs;copri&longs;&longs;e il fur­<lb/>to, pregò Archimede, che prender uole&longs;&longs;e la cura di ricono&longs;cere il fatto, pen&longs;andoui <lb/>molto ben &longs;opra. </s> <s id="s.006499">Hauendo&longs;i Archimede allhora pre&longs;o il pen&longs;iero di que&longs;to, per ca&longs;o en <lb/>trò in un bagno. </s> <s id="s.006500">Et iui nel &longs;oglio di&longs;ce&longs;o gli uenne ueduto, che quanto del corpo &longs;uo <lb/>ci entraua dentro, tanto di acqua fuori del &longs;oglio ne u&longs;ciua. </s> <s id="s.006501">per il che hauendo ritrouato <lb/>la ragione di potere dimo&longs;trare la propo&longs;ta, non dimorò punto, ma uicito con grande al <lb/>legrezza del &longs;oglio, & andando ignudo uer&longs;o ca&longs;a, dimo&longs;traua ad alta uoce d'hauere ritro <lb/>uato quello, che egli cercaua, perche correndo tutta uia gridaua in Greco. <!-- KEEP S--></s> <s id="s.006502">Eurica, Eu­<lb/>rica, cioè io ho trouato, io ho trouato. </s> <s id="s.006503">Dapoi che egli hebbe l'ingre&longs;&longs;o di quella inuentio <lb/>ne, fece due ma&longs;&longs;e di pe&longs;o eguale cia&longs;cuna alla corona, delle quali una era d'oro, l'altra <lb/>di argento, & hauendo que&longs;to fatto, empì fin all'orlo d'acqua un ampio ua&longs;o, & prima ui <pb pagenum="353" xlink:href="045/01/367.jpg"/>po&longs;e dentro la ma&longs;&longs;a dello argento, della quale, quanto entrò di grandezza tanto ne u&longs;cl <lb/>di humore, co&longs;i trattone la ma&longs;&longs;a rifu&longs;e tanta acqua, che riempi&longs;ce il ua&longs;o, hauendola col <lb/>&longs;e&longs;tario mi&longs;urata, &longs;i che all'i&longs;te&longs;&longs;o modo di prima s'agguaglia&longs;&longs;e col labro. </s> <s id="s.006504">Et da quello <lb/>egli ritronò quanto ad un terminato pe&longs;o d'argento certa, & determinata mi&longs;ura d'acqua <lb/>ri&longs;ponde&longs;&longs;e. </s> <s id="s.006505">Et hauendo que&longs;to prouato depo&longs;e la ma&longs;&longs;a dell'oro nel ua&longs;o &longs;imilmente <lb/>pieno, & trattala fuori, con la i&longs;te&longs;&longs;a ragione aggiuntaui la mi&longs;ura, trouò, che non ci era <lb/>u&longs;cita tanta acqua, ma tanto meno, quanto in grandezza del corpo con lo i&longs;te&longs;&longs;o pe&longs;o era la <lb/>ma&longs;&longs;a dell'oro minore della ma&longs;&longs;a di argento in fine riempito il ua&longs;o, & po&longs;ta nella i&longs;te&longs;&longs;a <lb/>acqua la corona, trouò, che piu di acqua era u&longs;cita fuori per la corona, che per la ma&longs;&longs;a <lb/>dell'oro dello i&longs;te&longs;&longs;o pe&longs;o. </s> <s id="s.006506">& co&longs;i facendo la ragione da quello, che era piu dalla corona, <lb/>che dalla ma&longs;&longs;a u&longs;cito cópre&longs;e, che iui era me&longs;colato l'oro con l'argento, & fece manife&longs;to <lb/>il furto di colui, che s'haueua pre&longs;o il carico di far la corona. </s> </p> <p type="main"> <s id="s.006507"><emph type="italics"/>Il fuoco tra tutti gli elementi è leggierißimo, perche (come s'è detto nel &longs;econdo libro) a tutti <lb/>gli altri &longs;opra stà. </s> <s id="s.006508">Graui&longs;&longs;ima è la terra, perche a tutti gli altri &longs;ottogiace. </s> <s id="s.006509">L'aere, & l'ac­<lb/>qua non &longs;ono a&longs;&longs;olutamente graui, nè lieui, ma in ri&longs;petto. </s> <s id="s.006510">Perche l'aere all'acqua &longs;opra&longs;cende. </s> <s id="s.006511"><lb/>alfuoco di&longs;cende; l'acqua &longs;ale &longs;opra la terra, & cala nello aere. </s> <s id="s.006512">Similmente le co&longs;e compo&longs;te <lb/>de gli elementi hanno quel mouimento, che loro dà quello elemento, che preuale nella compo&longs;i­<lb/>tione. </s> <s id="s.006513">La doue le co&longs;e, che nell a mistura loro hanno piu dell'aere, o del fuoco, a&longs;cendeno, co­<lb/>me &longs;ono i fumi, i uapori, le &longs;cintille, il fuoco materiale qua giu, & altre exhalationi, & &longs;piriti. </s> <s id="s.006514"><lb/>Male co&longs;e, che hanno in &longs;e piu di acqua, o di terra, &longs;imuoueno a quella parte doue l'acqua, o <lb/>laterra le inclina. </s> <s id="s.006515">Oltra di que&longs;to ogni elemento nel &longs;uo luogo naturale ripo&longs;a, come l'acqua nel <lb/>luogo dell'acqua, la terra nel luogo della terra, & &longs;imilmente gli altri. </s> <s id="s.006516">Que&longs;ta compara­<lb/>tione non riguarda alla quantità del pe&longs;o, ma alle &longs;pecie della grauità. </s> <s id="s.006517">Perche altro è a dire, che <lb/>una gran traue pe&longs;a piu, che una lametta di piombo, altro, che il piombo &longs;ia piu graue del legno. </s> <s id="s.006518"><lb/>Perche &longs;e bene la traue è maggiore in quantità di pe&longs;o, è però in quanto alla &longs;pecie di graui­<lb/>tà piu leggieri, percioche uedemo il piombo nell'a equa di&longs;cendere, & il legno &longs;opranotare. </s> <s id="s.006519">Ac­<lb/>cioche adunque egli &longs;i po&longs;&longs;a &longs;apere le &longs;pecie della grauità, è nece&longs;&longs;ario pigliare grandezze eguali <lb/>di corpi perfetti, & &longs;e egli &longs;i trouerà, che &longs;iano dipe&longs;o eguale, egli &longs;i potrà dire, che &longs;iano m <lb/>&longs;pecie egualmente graui. </s> <s id="s.006520">Ma &longs;e una qual &longs;i uoglia di quelle grandezze eguali &longs;arà di pe&longs;o maggio <lb/>re, &longs;enza dubbio &longs;i potrà affermare, che il corpo di e&longs;&longs;a &longs;arà di &longs;pecie piu graue. </s> <s id="s.006521">Ecco lo e&longs;&longs;em­<lb/>pio. </s> <s id="s.006522">Prendi tanto di marmo quanto di legno o di acqua: Io dico, che quanto alla grandezza, ue <lb/>derai, che il marmo pe&longs;a piu che il legno, o l'acqua, & il legno leggieri&longs;&longs;imo, perche stà &longs;opra <lb/>l'acqua, il marmo grauißimo, perche di&longs;cende nell'acqua. </s> <s id="s.006523">Però &longs;i puo concludere, che l'acqua <lb/>&longs;ia piu lieue del marmo, ma del legno in &longs;pecie piu graue. </s> <s id="s.006524">La onde di due corpi diuer&longs;i, & d'uno <lb/>iste&longs;&longs;o pe&longs;o, quello &longs;arà maggiore di grandezza, che di &longs;pecie &longs;arà piu lieue di pe&longs;o. </s> <s id="s.006525">Et però di <lb/>due ma&longs;&longs;e una d'oro, l'altra d'argento, che &longs;iano di pe&longs;o eguale, la ma&longs;&longs;a di argento &longs;arà di mag­<lb/>gior grandezza. </s> <s id="s.006526">Da questa ragione aiutato Archimede &longs;coprì il furto dell'orefice. </s> <s id="s.006527">Percioche <lb/>po&longs;e cia&longs;cuna ma&longs;&longs;a &longs;eparatamente in un ua&longs;o pieno d'acqua, & mi&longs;urò quanto d'acqua era u&longs;ci­<lb/>ta del ua&longs;o per l'una, & per l'altra ma&longs;&longs;a, & uedendo, che per la ma&longs;&longs;a d'argento era u&longs;cita <lb/>piu acqua, che per la ma&longs;&longs;a d'oro, imperoche era di grandezza maggiore, pre&longs;e la corona lauo­<lb/>rata, della quale egli a richie&longs;ta di Ierone faceua la proua. </s> <s id="s.006528">La quale era pari di pe&longs;o a cia&longs;cu­<lb/>na delle due ma&longs;&longs;e, & la po&longs;e nel ua&longs;o, del quale u&longs;cì piu acqua per la corona, che per la ma&longs;&longs;a <lb/>d'oro, & meno, che per la ma&longs;&longs;a d'argento. </s> <s id="s.006529">& regolato per la regola delle proportionali, co­<lb/>gnobbe non &longs;olamente la corona e&longs;&longs;ere stata fal&longs;ificata, ma anche di quanto era ingannato Iero­<lb/>ne. </s> <s id="s.006530">La occa&longs;ione, che egli hebbe di &longs;i bella inuentione fu l'acqua, che u&longs;ci del ua&longs;o, che Vitr. <lb/>chiama, Solium, quando egli entrò nel ua&longs;o per lauar&longs;i. </s> <s id="s.006531">& però mo&longs;&longs;o da quel piacere, che <lb/>&longs;uol partorire la inuentione, (come dice Vitr. nel primo libro al terzo capo) nudo correndo <lb/>gridaua in Greco. <!-- KEEP S--></s> <s id="s.006532">Eurica, Eurica, cioè ho trouato, ho trouato.<emph.end type="italics"/></s> </p> <pb pagenum="354" xlink:href="045/01/368.jpg"/> <p type="main"> <s id="s.006533">Hora transfcriamo la mente a i pen&longs;ieri di Archita Tarentino, & di Eratho&longs;tene Cire­<lb/>neo, perche que&longs;ti huomini hanno ritrouato molte co&longs;e dalle mathematice grate a gli huo <lb/>mini. </s> <s id="s.006534">Et benche habbian piacciuto nelle altre inuentioni, niente di manco nel conten­<lb/>dere di una &longs;ono &longs;tati &longs;o&longs;petti. </s> <s id="s.006535">Percioche cia&longs;cuno con diuer&longs;a ragione &longs;i è forzato di e&longs;pli<lb/>care quello che Apollo nelle ri&longs;po&longs;te in Delo haueua comandato: cioè, che raddoppiato <lb/>fu&longs;&longs;e il numero de i piedi quadri, che haueua il &longs;uo altare, donde ne &longs;arebbe auuenuto, <lb/>che chiunque &longs;i haue&longs;&longs;e in quella i&longs;ola ritrouato, fu&longs;&longs;e allhora dalla religione liberato. </s> <s id="s.006536">Et <lb/>però Archita con le de&longs;crittioni de i cilindri, Erato&longs;thene con la ragione in&longs;trumentale <lb/>del me&longs;olabio e&longs;plicorno la i&longs;te&longs;&longs;a co&longs;a. </s> </p> <p type="main"> <s id="s.006537"><emph type="italics"/>Dice Vitru. che lc inuentioni di Archita, & di Erato&longs;thene &longs;ono &longs;tate grate a gli huomini, ma <lb/>trattando amendue una que&longs;tione i&longs;te&longs;&longs;a, & forzando&longs;i cia&longs;cuno per diuer&longs;e uie ri&longs;oluerl a, hanno <lb/>dato &longs;o&longs;petto: non perche una qui&longs;tione non &longs;i po&longs;&longs;a &longs;ciogliere a diuer&longs;i modi: ma perche le genti <lb/>che non &longs;anno, uedendo, che Archita u&longs;aua una uia, & Erato&longs;thene un'altra, &longs;o&longs;pettauano per la <lb/>loro concorrenza, pen&longs;ando che guerreggia&longs;&longs;ero a proua. </s> <s id="s.006538">come &longs;e uno pigliaße l'altezza d'una <lb/>torre col quadrante, l'altro con lo &longs;pecchio, il terzo con due dardi, & l'altro in &longs;omma con l'A­<lb/>&longs;trolabio, o con il raggio mathematico, non &longs;apendo il uulgo, che di tutti que&longs;ti, & altri in&longs;tru­<lb/>menti fu&longs;&longs;e una ragione i&longs;te&longs;&longs;a, pre&longs;a dalla proprietà, & forza de gli anguli, &longs;o&longs;picherebbe, che <lb/>quella concorrenza de i mi&longs;uratori non intrica&longs;&longs;e il uero, con la diuer&longs;ità de gli in&longs;trumenti. </s> <s id="s.006539">Il <lb/>medefimo auuenne dalla concorrenza di Archita, & d Erato&longs;thene. <!-- KEEP S--></s> <s id="s.006540">La proposta era come &longs;i <lb/>doue&longs;&longs;e raddoppiare un cubo. </s> <s id="s.006541">Cubo è corpo (come ho detto nel proemio del quinto libro) di &longs;ei <lb/>faccie, & di &longs;ei lati eguali, come un dado; & &longs;i mi&longs;ura, moltiplicando uno de' &longs;uoi lati in &longs;e &longs;te&longs;&longs;o, <lb/>& di nuouo moltiplicando il prodotto per lo iste&longs;&longs;o lato. </s> <s id="s.006542">come per e&longs;&longs;empio &longs;i uede. </s> <s id="s.006543">Dato ci <lb/>&longs;ia il cubo di cui cia&longs;cuno de i lati &longs;ia otto: moltiplica otto in &longs;e, ne uiene &longs;e&longs;&longs;anta quattro, molti­<lb/>plica poi &longs;e&longs;&longs;antaquattro per otto, ne uiene cinquecento & dodici, & tanti piedi cubi &longs;aranno <lb/>nel detto cubo. </s> <s id="s.006544">Hauendo&longs;i adunque formato il cubo di cinquecento & dodici piedi, bi&longs;ogna &longs;e­<lb/>condo la dimanda raddoppiarlo. </s> <s id="s.006545">Alche fare cio &longs;erue il &longs;apere come tra due linee dritte, & di­<lb/>&longs;eguali, che ci &longs;aranno propo&longs;te, ne po&longs;&longs;iamo trouare due altre di mezo, che habbiano continua­<lb/>ta proportione tra &longs;e, & con le prime.<emph.end type="italics"/> P<emph type="italics"/>er uolere adunque trouare queste linee proportionate, <lb/>undici modi ci &longs;ono &longs;tati propo&longs;ti da gli antichi. </s> <s id="s.006546">Altri hanno u&longs;ato le dimostrationi mathemati­<lb/>che &longs;olamente, altri anche hanno alle dimostratio ni aggiunti gli in&longs;trumenti. </s> <s id="s.006547">Que&longs;ti in&longs;trumenti <lb/>conueniuano nel nome, perche me&longs;olabio era nome commune, che &longs;ignifica instrumento da pi­<lb/>gliare il mezo, imperoche con quello instrumento &longs;i trouano le linee proportionali di mezo alle <lb/>proposte. </s> <s id="s.006548">Archimede adunque usò lo me&longs;olabio, & Platone &longs;imilmente. </s> <s id="s.006549">Archita fece alcune <lb/>dimo&longs;trationi per uia di &longs;emicilindri, che fu giudicato eßer impo&longs;&longs;ibile a farne in&longs;trumento, ben­<lb/>che io ne ho ueduto, &longs;econdo la dimo&longs;tratione di Archita molto ben fatti, & commodi all'u&longs;o. </s> <s id="s.006550"><lb/>Io e&longs;ponerò & le dimo&longs;trationi, & gli in&longs;trumenti, & mo&longs;trerò come nel raddoppiamento del cu <lb/>bo, ci &longs;erue la inuentione delle due proportionali proponendo prima la occa&longs;ione di &longs;i bella diman<lb/>da: nellaquale &longs;i comprenderà l'utile grande, che &longs;ono per prendere gli Architetti dalla inuentio­<lb/>ne, & dal &longs;apere le dimo&longs;trationi, & dall'u&longs;o di &longs;i belli &longs;trumenti. </s> <s id="s.006551">Egli &longs;i legge una Epi&longs;tola di <lb/>Erato&longs;thene al Re Ptolomeo &longs;critta in que&longs;to modo.<emph.end type="italics"/></s> </p> <p type="head"> <s id="s.006552">AL RE PTOLOMEO ERATOSTHENE SALVTE.</s> </p> <p type="main"> <s id="s.006553"><emph type="italics"/>Egli &longs;i dice, che uno de gli antichi compo&longs;itori di Tragedie introduce Minos a fabricare il &longs;e­<lb/>pulcro a Glauco: & hauendo&longs;i detto, che quello era di cento piedi per ogni lato, ri&longs;po&longs;e, que&longs;ta <lb/>è picciola arca per un &longs;epulcro regale. </s> <s id="s.006554">&longs;ia dunque doppia, & non &longs;i muti il cubo. </s> <s id="s.006555">ueramente chi <lb/>uorrà raddoppiare ogni lato in larghezza del &longs;epulcro, non parerà e&longs;&longs;er fuori di errore; perche &longs;e <lb/>&longs;i raddoppieranno i lati, ogni piano riu&longs;cirà quattro piu, & il &longs;odo otto piu. </s> <s id="s.006556">Fu adunque diman-<emph.end type="italics"/><pb pagenum="355" xlink:href="045/01/369.jpg"/><emph type="italics"/>dato a i Geometri, in che modo stando quel &longs;odo nella i&longs;te&longs;&longs;a figura, &longs;i pote&longs;&longs;e raddoppiarlo. </s> <s id="s.006557">& <lb/>que&longs;ta dimanda fu detta. </s> <s id="s.006558">il raddoppiamento del cubo. </s> <s id="s.006559">imperoche propo&longs;togli un cubo, cercaua <lb/>in che modo pote&longs;&longs;ero farne un doppio a quello. </s> <s id="s.006560">Stando adunque molti lungamente in dabbio, pri­<lb/>mo fu Hippocrate Chio, ilquale pensò, che &longs;e egli &longs;i trouaua, come propo&longs;te due linee dritte, delle <lb/>quali la maggiore fu&longs;&longs;e doppia alla minore, &longs;i piglia&longs;&longs;e due altre di mezo proportionate in conti­<lb/>nua proportione, che ageuolmente &longs;i raddoppiarebbe il cubo. </s> <s id="s.006561">per ilche la difficultà di doppiare <lb/>il cubo, & il dubbio propo&longs;to addu&longs;&longs;e i mathematici, & gli auuol&longs;e in una maggiore. </s> <s id="s.006562">Non mol­<lb/>to dapoi, &longs;i dice, che e&longs;&longs;endo a gli habitatori di Delo, che erano appe&longs;tati, dall'oracolo impo&longs;to, <lb/>che raddoppia&longs;&longs;ero un certo altare, &longs;i uenne nella i&longs;te&longs;&longs;a dubit atione & e&longs;&longs;endo ripre&longs;i i geometri <lb/>da Platone nell' Academia, che &longs;i pen&longs;a&longs;&longs;ero di ritrouare quello, che era propo&longs;to, quelli molto <lb/>piu uolentieri &longs;i diedero alla fatica, & ritrouorno, che propo&longs;te due linee bi&longs;ognaua ritrouarne <lb/>due altre di mezo. </s> <s id="s.006563">&longs;i dice, che Archita Tarentino ritrouò la propo&longs;ta per uia di &longs;emicilindri, Eu <lb/>doxo per linee piegate; Auuenne inuero, che que&longs;ti tutti con dimo&longs;trata ragione de&longs;criue&longs;&longs;ero la <lb/>&longs;cientia del ritrouare come tra due date linee dritte &longs;ene pote&longs;&longs;ero dare due in continua proportio <lb/>ne. </s> <s id="s.006564">ma non ritrouarono però come que&longs;to &longs;i pote&longs;&longs;e ageuolmente operare con mani, & u&longs;are con <lb/>in&longs;trumenti: eccetto Menechmo, ilquale breuemente, & con o&longs;curità ritrouò non sò che. </s> <s id="s.006565">Ma <lb/>noi ci hauemo imaginato una facile inuentione, per uia d'in&longs;trumenti, con laquale non &longs;olamente <lb/>&longs;i potranno ritrouare due linee di mezo a due propo&longs;te & dritte in continua proportione, ma <lb/>quante ci &longs;ara in piacere di ritrouare. </s> <s id="s.006566">con que&longs;ta inuentione, adunque potremo ridurre in cubo <lb/>ogni corpo &longs;odo propo&longs;to, che &longs;ia &longs;otto linee parallele contenute, & &longs;imilmente transferite da <lb/>corpo in corpo, & farne un &longs;imile, & accre&longs;cerlo quanto ci piacerà, o&longs;&longs;eruando &longs;empre la i&longs;te&longs;­<lb/>&longs;a &longs;imiglianza: per ilche & i Tempij, & gli altari. </s> <s id="s.006567">potremo anche & a mi&longs;ura ridurre le mi&longs;ure <lb/>delle co&longs;e liquide, & aride, come le metrete, i moggi, & al cubo transferirle con i lati de i qua­<lb/>li &longs;i mi&longs;urano i ua&longs;i capaci delle co&longs;e liquide, & delle &longs;ecche, accioche &longs;i &longs;appia quanto tengono. </s> <s id="s.006568"><lb/>In &longs;omma la cognitione di que&longs;ta dimanda, è utile, & commoda a quelli, che uogliono raddop­<lb/>piare o far maggiore tutti quelli &longs;trumenti, che &longs;ono per trarre dardi, pietre, o pali di ferro: per­<lb/>cioche egli è nece&longs;&longs;ario che ogni co&longs;a cre&longs;ca in larghezza, & grandezza con proportioni, o &longs;ia­<lb/>no fori, ò nerui, che ci entrano, o quello che occorre. </s> <s id="s.006569">&longs;e pur uolemo, che il tutto cre&longs;ca con pro­<lb/>portione. </s> <s id="s.006570">Ilche non &longs;i puo fare &longs;enza la inuentione del mezo. </s> <s id="s.006571">la dimo&longs;tratione adunque & l'appa­<lb/>rato del detto in&longs;trumento ti hò qui &longs;otto de&longs;critto, & prima la dimo&longs;tratione.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006572"><emph type="italics"/>Siano propo&longs;te due linee dritte, & di&longs;eguali, a b. <!-- REMOVE S-->& c d. <!-- REMOVE S-->cerchiamo tra que&longs;te due ha­<lb/>uerne due di mezo, che &longs;iano in continua proportione, cioè che &longs;i come &longs;i ha la prima alla &longs;econ­<lb/>da, co&longs;i egli &longs;i habbia la &longs;econda alla terza, & la terza alla quarta. </s> <s id="s.006573">faccian&longs;i cadere le due li­<lb/>nee dritte a b. <!-- REMOVE S-->& c d. <!-- REMOVE S-->ad anguli giusti &longs;opra la linea b d. <!-- REMOVE S-->& delle propo&longs;te &longs;ia maggiore <lb/>la linea a b. <!-- REMOVE S-->& minore la c d. <!-- REMOVE S-->& dallo a al c uenga una linea, che tirata piu oltre ca­<lb/>da &longs;opra la linea b d. <!-- REMOVE S-->nel punto e. <!-- REMOVE S-->uenghi anche dal punto. </s> <s id="s.006574">a. <!-- REMOVE S-->&longs;opra la linea b d. <!-- REMOVE S-->una li­<lb/>nea & &longs;ia quella a f. <!-- REMOVE S-->& dal punto f. <!-- REMOVE S-->&longs;ia tirata una linea parallela alla linea a b, & &longs;ia <lb/>quella, f g. <!-- REMOVE S-->che tagli la linea a c. <!-- REMOVE S-->nel punto g. <!-- REMOVE S-->&longs;ia poi dal punto g tirata una linea al <lb/>punto h. <!-- REMOVE S-->parallela alla linea a f. <!-- REMOVE S-->& &longs;ia quella g h. <!-- REMOVE S-->che tagli la linea b d nel punto h. <lb/><!-- REMOVE S-->&longs;opra ilqual punto &longs;i drizzi una linea parallela alla linea a b, & &longs;ia qnella h i. <!-- REMOVE S-->che tagli la <lb/>linea a c. <!-- REMOVE S-->nel punto i. <!-- REMOVE S-->dal qual punto di&longs;cenda una linea egualmente di&longs;tante alla linea a f. <lb/><!-- REMOVE S-->& termini nel punto d. <!-- KEEP S--></s> <s id="s.006575">Fatto que&longs;to per maggiore e&longs;pre&longs;&longs;ione chiameremo le linee a b. <!-- REMOVE S-->f g. <!-- REMOVE S--><lb/>h i. <!-- REMOVE S-->c d. <!-- REMOVE S-->le prime parallele, & le linee a f. <!-- REMOVE S-->g h. <!-- REMOVE S-->d i. <!-- REMOVE S-->le &longs;econde parallele. </s> <s id="s.006576">&longs;imilmente, ci <lb/>&longs;ono due gran triangoli l'uno è lo a b c. <!-- REMOVE S-->che ha lo angulo b. <!-- REMOVE S-->giu&longs;to. </s> <s id="s.006577">l'altro è lo a f e. <!-- REMOVE S-->quel­<lb/>lo &longs;i chiamerà primo triangulo, que&longs;to &longs;econdo triangolo. </s> <s id="s.006578">nel primo adunque ci &longs;ono quelli trian­<lb/>goli fatti dalle prime parallele, & &longs;ono, g f e. <!-- REMOVE S-->i h e. <!-- REMOVE S-->c d e. <!-- REMOVE S-->que&longs;ti, perche &longs;ono di anguli <lb/>eguali, come &longs;i ha per la uige&longs;ima nona del primo di Euclide, ha mo i lati proportionali come &longs;i <lb/>ha per la quarta del &longs;e&longs;to. </s> <s id="s.006579">&longs;imilmente perche i &longs;econdi triangoli fatti dalle &longs;econde parallele &longs;o-<emph.end type="italics"/><pb pagenum="356" xlink:href="045/01/370.jpg"/><emph type="italics"/>no di lati eguali, &longs;cnza dubbio haueranno i lati proportionali. </s> <s id="s.006580">Adunque, &longs;i come nelle prime <lb/>parallele hanno proportione tra &longs;e a e. <!-- REMOVE S-->ad a g. <!-- REMOVE S-->co&longs;i hanno b e. <!-- REMOVE S-->ad e f. <!-- REMOVE S-->& &longs;i come a c. <!-- REMOVE S--><lb/>ad e g. <!-- REMOVE S-->&longs;i hanno nelle &longs;econde parallele, co&longs;i f e. <!-- REMOVE S-->ad e h. <!-- REMOVE S-->& di nuouo come nelle prime f <lb/>e. <!-- REMOVE S-->ad e h. <!-- REMOVE S-->co&longs;i g e. <!-- REMOVE S-->ad c i. <!-- REMOVE S-->ma nelle &longs;econde parallele come g e. <!-- REMOVE S-->ad e i. <!-- REMOVE S-->co&longs;i b c. <!-- REMOVE S-->ad <lb/>e d. <!-- REMOVE S-->&longs;ono adunque continue proportionali b c. <!-- REMOVE S-->e f. <!-- REMOVE S-->h e. <!-- REMOVE S-->e d. <!-- REMOVE S-->per la i&longs;te&longs;&longs;a ragione &longs;i di­<lb/>mo&longs;tra, che &longs;ono continue proportionali, anche a b. <!-- REMOVE S-->f g. <!-- REMOVE S-->h i. <!-- REMOVE S-->d c. <!-- REMOVE S-->perche &longs;i come &longs;i ha b <lb/>e. <!-- REMOVE S-->b f. <!-- REMOVE S-->co&longs;i &longs;i ha a b. <!-- REMOVE S-->ad f g. <!-- REMOVE S-->& come f e. <!-- REMOVE S-->ad e h. <!-- REMOVE S-->co&longs;i f g. <!-- REMOVE S-->ad h i. <!-- REMOVE S-->& come h <lb/>e ad e d. <!-- REMOVE S-->co&longs;i h i. <!-- REMOVE S-->à c d. <!-- KEEP S--></s> <s id="s.006581">Date adunque due dritte linee a b. <!-- REMOVE S-->& c d. <!-- REMOVE S-->ritrouato baue­<lb/>mo due di me zo continue proportionali, che &longs;ono, f g. <!-- REMOVE S-->& h i. <!-- REMOVE S-->ilche era nostra intentione di <lb/>fare. </s> <s id="s.006582">Que&longs;ta è la opinione di Erato&longs;thene cerca la dimo&longs;tratione: & &longs;e bene egli uuole, che la li­<lb/>nea a b. <!-- REMOVE S-->& la c d. <!-- REMOVE S-->&longs;iano ad angoli dritti &longs;opra la linea b d. <!-- REMOVE S-->non è però, che non &longs;egua la <lb/>i&longs;te&longs;&longs;a conclu&longs;ione in qualunque modo l'una, & l'altra linea cada &longs;opra la linea b d. <!-- REMOVE S-->pure che <lb/>amendue facciano angoli &longs;imiglianti, & &longs;iano per &longs;imili cadimenti egualmente di&longs;tanti: perche <lb/>tutto è fondato &longs;opra que&longs;ta ragione, che, di quelli triangoli, che hanno gli angoli eguali, i lati &longs;o <lb/>no proportionali. </s> <s id="s.006583">In &longs;omma &longs;e noi uorremo trouare piu di due linee proportionali tra le due da­<lb/>te a b. <!-- REMOVE S-->& c d. <!-- REMOVE S-->bi&longs;ognerà &longs;econdo il &longs;opradetto modo formare piu linee parallele, sì delle <lb/>prime come delle &longs;econde. </s> <s id="s.006584">Ma lo in&longs;trumento col quale &longs;i po&longs;&longs;a formare co&longs;i bella proua &longs;econ­<lb/>do Erato&longs;thene è que&longs;to. </s> <s id="s.006585">Piglia una piana di legno, o di rame piu lunga, che larga di figura qua­<lb/>drangulare, & d'angoli dritti. </s> <s id="s.006586">& &longs;ia per e&longs;&longs;empio la tauola a b d c. <!-- REMOVE S-->aeconeia poi tre lamet­<lb/>te &longs;opra di quella di q ualche materia &longs;oda &longs;ottile, & polita, che &longs;iano quadrangolari, & di an­<lb/>guli dritti, di modo, che una di quelle &longs;ia ferma nel mezo della piana, &longs;i che non &longs;i po&longs;&longs;a mouere <lb/>nè alla de&longs;tra, nè alla &longs;ini&longs;tra, & &longs;ia quella. </s> <s id="s.006587">e f g h. <!-- REMOVE S-->habbia poi que&longs;ta lamett a ne gli angoli <lb/>&longs;uoi, ne i punti e. <!-- REMOVE S-->& f. <!-- REMOVE S-->fitte due regole con i &longs;uoi pironi in modo, che cia&longs;cuna &longs;i po&longs;&longs;a uolge­<lb/>re in ogni uer&longs;o, & &longs;ia una regola e m. <!-- REMOVE S-->& l'altra f n. <!-- REMOVE S-->ma l'altra lametta &longs;ia K d e. <!-- REMOVE S-->che <lb/>&longs;ia con le te&longs;te &longs;ue in un canale nella piana &longs;i che po&longs;&longs;a &longs;correre uer&longs;o la lametta e f g h. <!-- REMOVE S-->& <lb/>anche a rimouer da quella, &longs;i che habbia i lati &longs;uoi paralleli al lato f h. <!-- REMOVE S-->della lametta ferma; <lb/>tenga que&longs;ta lametta K d c. <!-- REMOVE S-->&longs;opra il punto<emph.end type="italics"/> K. <emph type="italics"/>una regola, che &longs;i po&longs;&longs;a uolgere & alzare, <lb/>& abba&longs;&longs;are, come le altre & &longs;ia quella K o. <!-- REMOVE S-->& po&longs;&longs;a e&longs;&longs;er parallela con le altre re­<lb/>gole. </s> <s id="s.006588">& i loro communi tagli, che fanno con la a g. <!-- REMOVE S-->f h. <!-- REMOVE S-->& l. <!-- KEEP S--></s> <s id="s.006589">&longs;iano nella i&longs;te&longs;&longs;a dritta li­<lb/>nea, m n o l. <!-- REMOVE S-->&longs;imilmente la a m. <!-- REMOVE S-->&longs;ia eguale alla d K. perche la a m. <!-- REMOVE S-->in&longs;en&longs;ibilmente <lb/>auanza la d K. <!-- KEEP S--></s> <s id="s.006590">E&longs;&longs;endo que&longs;te co&longs;i ordinate tra due linee a b. <!-- REMOVE S-->& c d. <!-- REMOVE S-->&longs;i danno due di me­<lb/>zo in continua proportione, che &longs;ono e n, & f o. <!-- REMOVE S-->per le &longs;opradette ragioni. </s> <s id="s.006591">Ma &longs;e per &longs;orte <lb/>le due propo&longs;te linee, come &longs;arebbe la s. <!-- KEEP S--></s> <s id="s.006592">& la t. <!-- REMOVE S-->allequali bi&longs;ogno &longs;ia ritrouarne due di mezo <lb/>in continua proportione, non &longs;aranno eguali a quelle linee, che &longs;ono nello instrumento, a b & <lb/>r d. <!-- REMOVE S-->faccia&longs;i col mouere &longs;econdo il bi&longs;ogno la lametta h d c. <!-- REMOVE S-->tirandola uer&longs;o la lametta fer­<lb/>ma, o allargandola, & ponendola &longs;empre egualmente distante: faccia&longs;i dico, che &longs;i come &longs;i ha la <lb/>s, alla t. <!-- REMOVE S-->co&longs;i &longs;i habbia la a b alla r d. <!-- REMOVE S-->cioè &longs;e &longs;aranno la s, & la t tra &longs;e in proportio­<lb/>ne doppia, o tripla, o &longs;e&longs;quialtera, co&longs;i &longs;iano tra &longs;ela a b & la r d. <!-- REMOVE S-->perche alla a b. <!-- REMOVE S-->& <lb/>r d. <!-- REMOVE S-->che &longs;ono nello instrumento ritrouate, ritrouate &longs;i &longs;ono due di mezo proportionate, &longs;eguita, <lb/>che alla s & alla t. <!-- REMOVE S-->proposte trouate &longs;aranno due di mezo in continua proportione. </s> <s id="s.006593">Quanto <lb/>piu adunque artificio&longs;o &longs;arà lo in&longs;trumento, & ben fatto, tanto piu facilmente ci&longs;eruirà a ritro­<lb/>uare le due proportionali; però le teste delle lamette, che &longs;i moueno entreranno ne i loro canali <lb/>a&longs;&longs;ettate, & &longs;i moueranno dolcemente. </s> <s id="s.006594">Et &longs;e alcuno uorrà trouare piu di due linee proportio­<lb/>nali, egli potrà con la aggiunta di piu regole, & lamette farlo commodamente. </s> <s id="s.006595">& questa è &longs;ta­<lb/>ta la inuentione di Eratosthene. <!-- KEEP S--></s> <s id="s.006596">Bi&longs;ogna però auuertire, che le regole &longs;iano lunghe, perche quan <lb/>do bi&longs;ogna allargare le lamette po&longs;&longs;ino aggiugnere a i tagli delle linee, che &longs;i uorranno proportio­<lb/>nare, & tocchino il lato &longs;uperiore dello instrumento, come e m, f x, K u. <!-- REMOVE S-->anzi per dir me­<lb/>glio &longs;iano tanto grandi quanto &longs;arebbe la diagonale della lametta e f g h, ouero poco piu.<emph.end type="italics"/><pb pagenum="357" xlink:href="045/01/371.jpg"/><emph type="italics"/>Re&longs;ta di dire con piu chiarezza, & facilità, come &longs;i debbia u&longs;are que&longs;to instrumento, cioè come <lb/>con e&longs;&longs;o &longs;i po&longs;&longs;a tra due linee dritte ritrouarne due altre o piu proportionate, &longs;econdo la mente di <lb/>Erato&longs;thene, & prima tra due due, & poi tra due piu proportionali. </s> <s id="s.006597">Siano due linee dritte, a b. <!-- REMOVE S--><lb/>c d. <!-- REMOVE S-->cadino amendue &longs;opra una dritta in modo, che &longs;iano parallele. </s> <s id="s.006598">& tanto &longs;i aggiugna alla <lb/>linea c d, che ella &longs;ia pari alla linea a b, il cui capo &longs;ia e, & dallo a &longs;ia tirata una linea <lb/>fin allo e. <!-- REMOVE S-->&longs;iche &longs;i faccia una &longs;uperficie quadrangulare. </s> <s id="s.006599">a b c. <!-- REMOVE S-->parti&longs;ca&longs;i poi la linea b c. <!-- REMOVE S--><lb/>in tre parti, una dellequali &longs;ia la doue è la f. <!-- REMOVE S-->& alquanto piu inanzi dal punto f &longs;ia &longs;egna­<lb/>to il punto. </s> <s id="s.006600">g. <!-- REMOVE S-->di modo, che dal b al g. <!-- REMOVE S-->&longs;ia alquanto piu d'un terzo della linea b c. <!-- REMOVE S-->&longs;imil­<lb/>mente nella linea a c. <!-- REMOVE S-->&longs;ia &longs;egnato un punto tanto distante dallo a, quanto è il g. <!-- REMOVE S-->dal b. <!-- REMOVE S-->& <lb/>&longs;ia quello h. <!-- REMOVE S-->& &longs;i leghi poi il g. <!-- REMOVE S-->con lo a. <!-- REMOVE S-->& con lo h. <!-- REMOVE S-->& lo a. <!-- REMOVE S-->con il d. <!-- REMOVE S-->& la g h, <lb/>tagli la a d nel punto. </s> <s id="s.006601">i. <!-- REMOVE S-->&longs;imilmente &longs;i tagli tanto della linea a b. <!-- REMOVE S-->quanto è dal g. <!-- REMOVE S-->allo <lb/>i. <!-- REMOVE S-->& &longs;ia quello &longs;pacio b K, & dallo i al K. &longs;i tiri una linea fin'al toccamento della linea <lb/>g a. <!-- REMOVE S-->& &longs;ia iui &longs;egnato l. <!-- REMOVE S-->& perche per la trente&longs;ima terza del primo d'Euclide la linea a b. <lb/><!-- REMOVE S-->è parallela alla linea g i h. <!-- REMOVE S-->& per lo pre&longs;upposto nostro le linee g i. <!-- REMOVE S-->& b h &longs;ono eguali, <lb/>ne &longs;egue, che la linea b g, &longs;ia parallela alla linea i l. <!-- KEEP S--></s> <s id="s.006602">Oltra di questo delle linee g c. <!-- REMOVE S-->& <lb/>h e. <!-- REMOVE S-->&longs;i leuino due parti eguali alla parte i l. <!-- REMOVE S-->& &longs;iano quelle g m. <!-- REMOVE S-->& h n. <!-- REMOVE S-->& &longs;iano con­<lb/>giunte i m. <!-- REMOVE S-->& m n. <!-- REMOVE S-->per la allegata propo&longs;itione g l, & m i &longs;aranno parallele. </s> <s id="s.006603">& &longs;imil <lb/>mente g h. <!-- REMOVE S-->& m n. <!-- KEEP S--></s> <s id="s.006604">Tagli anche la linea m n, la a d nel punto o. <!-- REMOVE S-->& &longs;ia pre&longs;o tanto <lb/>della linea b K, quanto è m o. <!-- REMOVE S-->& &longs;ia quella parte b p. <!-- REMOVE S-->& dal punto o. <!-- REMOVE S-->uer&longs;o il punto <lb/>p. <!-- REMOVE S-->&longs;ia tirata una linea, finche ella tocchi la linea. </s> <s id="s.006605">i m. <!-- REMOVE S-->nel punto. </s> <s id="s.006606"><expan abbr="q.">que</expan> &longs;e adunque la linea <lb/>m e &longs;arà eguale alla o <expan abbr="q.">que</expan> egli &longs;tarà bene. </s> <s id="s.006607">ma &longs;e la m c. <!-- REMOVE S-->&longs;arà minore, adunque la b g &longs;a­<lb/>rà &longs;tata pre&longs;a maggiore del giusto. </s> <s id="s.006608">però bi&longs;ognerà pigliare la b g alquanto minore; & &longs;arà <lb/>da ripigliare la i&longs;te&longs;&longs;a de&longs;crittione, & tanto e&longs;perimentare, che la parte o q &longs;ia eguale alla <lb/>m c. <!-- REMOVE S-->&longs;ia adunque la m c. <!-- REMOVE S-->eguale alla o <expan abbr="q.">que</expan> adunque &longs;aranno parallele c o. <!-- REMOVE S-->& m <expan abbr="q.">que</expan> <lb/>per lo pre&longs;uppo&longs;to & per la trente&longs;ima del primo de gli elementi. </s> <s id="s.006609">finalmente le a b. <!-- REMOVE S-->g i. <!-- REMOVE S-->mo. </s> <s id="s.006610"><lb/>c d. <!-- REMOVE S-->&longs;aranno le prime parallele. </s> <s id="s.006611">ma l' a g. <!-- REMOVE S-->m i. <!-- REMOVE S-->c o. <!-- REMOVE S-->le &longs;econde. </s> <s id="s.006612">Dico che alle linee a b. <!-- REMOVE S--><lb/>c d le di mezo proportionali &longs;aranno g i. <!-- REMOVE S-->& m o. <!-- REMOVE S-->&longs;iano adunque la a d & b c. <!-- REMOVE S-->tira­<lb/>te in lungo, & cadino in&longs;ieme nel punto r. <!-- REMOVE S-->& perche per la &longs;imiglianza de i triangoli &longs;i como <lb/>è la a r. <!-- REMOVE S-->alla r i. <!-- REMOVE S-->nelle prime parallele co&longs;i è b r ad r g. <!-- REMOVE S-->oltra di questo alle &longs;econde pa­<lb/>rallele, &longs;i come è la a r. <!-- REMOVE S-->alla r i. <!-- REMOVE S-->co&longs;i la g r. <!-- REMOVE S-->alla r m. <!-- REMOVE S-->& nelle prime parallele &longs;i come è <lb/>la g r. <!-- REMOVE S-->alla r m. <!-- REMOVE S-->co&longs;i la i r alla r o, & nelle &longs;econde parallele come la i r alla r o. <!-- REMOVE S--><lb/>co&longs;i la m r. <!-- REMOVE S-->alla r c. <!-- REMOVE S-->&longs;ono adunque continue proportionali b r. <!-- REMOVE S-->r g. <!-- REMOVE S-->m r. <!-- REMOVE S-->r o. <!-- KEEP S--></s> <s id="s.006613">Ma &longs;ot­<lb/>to la i&longs;te&longs;&longs;a proportione anche è per la quarta del &longs;e&longs;to de gli elementi, che &longs;i come è la a b <lb/>alla g i co&longs;i la g i alla m o. <!-- REMOVE S-->& la m o alla c d. <!-- KEEP S--></s> <s id="s.006614">Tra due dunque dritte linee da to <lb/>a b. <!-- REMOVE S-->& c d. <!-- REMOVE S-->&longs;i &longs;ono trouate due continue proportionali di mezo, come bi&longs;ognaua di &longs;are. </s> <s id="s.006615">& <lb/>con &longs;imili ragioni potremo ritrouarne quante uorremo. </s> <s id="s.006616">& però per trouarne qui due di mezo pro­<lb/>portionali la b f. <!-- REMOVE S-->&longs;arà un terzo della b c, per che la b g, è alquanto piu del terzo della <lb/>b c. <!-- REMOVE S-->& non mai minore, nè eguale alla b f. <!-- REMOVE S-->& per trouarne tre di mezo proportionali, la <lb/>b f &longs;arà un quarto della b c. <!-- REMOVE S-->& la b g alquanto maggiore della b f. <!-- REMOVE S-->& per trouarne <lb/>quattro la b f &longs;arà un quinto della b c, & la b g &longs;arà alquanto maggiore della b f. <!-- REMOVE S-->cioè <lb/>un quinto di e&longs;&longs;a b c, & co&longs;i &longs;empre la b c. <!-- REMOVE S-->&longs;arà partita in una parte piu di quello, che &longs;ono <lb/>le linee mezane, che trouar uorremo, & &longs;empre la b f &longs;arà una di quelle parti, & la b g. <!-- REMOVE S-->al­<lb/>quanto maggiore che la b f. <!-- REMOVE S-->& però &longs;i piglia la parte b f. <!-- REMOVE S-->che &longs;ia a punto tante fiate della <lb/>b c, accioche piu pre&longs;to &longs;i po&longs;&longs;a conietturare la grandezza della b c.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.006617"><emph type="italics"/>Quanto appartiene ad Archita dico, che la inuentione è difficile, & la dimostratione molto <lb/>&longs;ottile, di modo che molti hanno negato poter&longs;i ritrouare in&longs;trumento conforme a quella dimo&longs;tra<lb/>tione. </s> <s id="s.006618">N oi con quella facilità, che potremo dimo&longs;treremo la propo&longs;ta, i fondamenti dellaquale <lb/>&longs;ono &longs;par&longs;i in molte propo&longs;itioni, & Theoremi di Euclide, lequali propo&longs;itioni è nece&longs;&longs;ario ha-<emph.end type="italics"/><pb pagenum="358" xlink:href="045/01/372.jpg"/><emph type="italics"/>uerle per certe, perche troppo &longs;arebbe il &longs;ciogliere ogni anello di &longs;i gran catena. </s> <s id="s.006619">Date ci &longs;iano <lb/>due linee dritte, & &longs;ia la a d maggiore, & la c. <!-- REMOVE S-->minore. </s> <s id="s.006620">Tra lequali bi&longs;ogna ritrouarne due <lb/>di mezo proportionali. </s> <s id="s.006621">Prendiamo adunque la maggiore, d'intorno laquale &longs;i faccia un circo­<lb/>lo a b d f, nel qual circolo per la prima del terzo d'Euclide, &longs;i accommoderà una linea egua­<lb/>le alla linea c. <!-- REMOVE S-->che &longs;ia a b. <!-- REMOVE S-->laquale &longs;i &longs;tenda tanto oltre il circolo, che peruenga al punto p. <!-- REMOVE S--><lb/>il qual punto &longs;ia lo estremo d'una linea, che de&longs;cendendo tocchi il circolo nel punto d. <!-- REMOVE S-->& per­<lb/>uenga al punto o. <!-- REMOVE S-->& &longs;ia quella linea p d o. <!-- REMOVE S-->& a questa ne &longs;ia tratta una egualmente di&longs;tan<lb/>te, che tagli la linea a d nel punto c. <!-- REMOVE S-->intendi&longs;i poi uno &longs;emicilindro po&longs;to dritto &longs;opra il &longs;e­<lb/>micircolo a b d. <!-- REMOVE S-->intendiamo poi &longs;opra il parallelogrammo del &longs;emicilindro &longs;opra a d. <!-- REMOVE S-->che <lb/>&longs;ia de&longs;critto uno &longs;emicircolo, ilquale come uno parallelogrammo del &longs;emicilindro detto &longs;ia ad an <lb/>goli dritti &longs;opra il piano del circolo a b d f. <!-- REMOVE S-->que&longs;to &longs;emicircolo girato dal punto, d al pun­<lb/>to b. <!-- REMOVE S-->&longs;tando fermo nel punto. </s> <s id="s.006622">a. <!-- REMOVE S-->che è termine del diametro a d, nel &longs;uo girare taglierà quel <lb/>la &longs;operficie cilindrica, & de&longs;criuerà una certa linea. </s> <s id="s.006623">Oltra di que&longs;to &longs;e &longs;tando ferma la linea <lb/>a d il triangolo a p d. <!-- REMOVE S-->mo&longs;&longs;o farà un moto contrario al &longs;emicircolo, &longs;enza dubbio egli de&longs;cri<lb/>uer à una &longs;operficie conica della linea dritta a p. <!-- REMOVE S-->laquale nel girar&longs;i &longs;i congiugne in qualche pun <lb/>to di quella linea, che poco auanti fu de&longs;critta mediante il mouimento del &longs;emicircolo nella &longs;oper­<lb/>ficie del &longs;emicilindro. </s> <s id="s.006624">&longs;imilmente anche il b. <!-- REMOVE S-->circon&longs;criuerà un &longs;emicircolo nella &longs;operficie del <lb/>cono. </s> <s id="s.006625">& finalmente il &longs;emicir colo a d e habbia il &longs;uo &longs;ito dapoi, che egli &longs;arà mo&longs;&longs;o la doue <lb/>cadendo concorreno le linee. </s> <s id="s.006626">& il triangolo, che &longs;i moue al contrario habbia il &longs;ito d l a. <lb/><!-- REMOVE S-->&longs;ia il punto del detto concadimeuto<emph.end type="italics"/> k. <emph type="italics"/>&longs;ia anche per b de&longs;critto un &longs;emicircolo b m f. <!-- REMOVE S-->& <lb/>la doue &longs;i taglia col &longs;emicircolo b d f a, &longs;ia b f. <!-- REMOVE S-->indi dal punto<emph.end type="italics"/> k. <emph type="italics"/>a quel piano, che è del <lb/>&longs;emicircolo b d a, cada una perpendicolare: certoè, che caderà nella circonferenza del cir­<lb/>colo, perche il cilindro fu drizzato nel piano dello i&longs;te&longs;&longs;o circolo. </s> <s id="s.006627">Cada adunque, & &longs;ia<emph.end type="italics"/><lb/>k <emph type="italics"/>i. <!-- REMOVE S-->& quella linea, che uiene dallo i. <!-- REMOVE S-->nello a. <!-- REMOVE S-->&longs;ia congiunta con b f, nel punto. </s> <s id="s.006628">h. <lb/><!-- REMOVE S-->Ma perche l'uno & l'altro &longs;emicircolo d<emph.end type="italics"/> k <emph type="italics"/>a, & il b m f. <!-- REMOVE S-->è drizzato &longs;opra il piano del <lb/>circolo a b d f. <!-- REMOVE S-->però il loro taglio commune m h. <!-- REMOVE S-->&longs;tà ad angoli giu&longs;ti &longs;opra il piano del <lb/>circolo a b d f. <!-- REMOVE S-->adunque quello, che è &longs;otto b h f. <!-- REMOVE S-->cioè &longs;otto a h i. <!-- REMOVE S-->è eguale a quello, <lb/>che uiene da h m, adunque per la conuer&longs;ione del corolario della ottaua del &longs;e&longs;to de gli ele­<lb/>menti, l'angulo a m i. <!-- REMOVE S-->è dritto. </s> <s id="s.006629">& il triangolo a m i. <!-- REMOVE S-->è &longs;imile all'uno, & all'altro de i <lb/>triangoli m a h. <!-- REMOVE S-->& a K d. <!-- REMOVE S-->& perche lo angulo d K a. <!-- REMOVE S-->è giusto per la trige&longs;ima prima <lb/>del terzo de gli elementi, perche per lo pre&longs;uppo&longs;to egli è dentro nel &longs;emicirculo<emph.end type="italics"/>; <emph type="italics"/>& (&longs;i come è <lb/>stato fatto manifesto) lo angulo a m i. <!-- REMOVE S-->è giusto. </s> <s id="s.006630">adunque per la uige&longs;imanona del primo de <lb/>gli elementi d K. & m i. <!-- REMOVE S-->&longs;ono parallele. </s> <s id="s.006631">& per la i&longs;te&longs;&longs;a propo&longs;itione<emph.end type="italics"/> k <emph type="italics"/>i, m h. <!-- REMOVE S-->&longs;ono pa­<lb/>rallele, percioche per lo pre&longs;upposto, & per quelle co&longs;e, che &longs;ono &longs;tate dimo&longs;trate K i. <!-- REMOVE S-->& m <lb/>b. <!-- REMOVE S-->&longs;ono perpendiculari, & ad angoli giusti al piano del circolo a b d f. <!-- REMOVE S-->adunque egli è pro­<lb/>portionale, che &longs;i come è d a. <!-- REMOVE S-->ad a K. co&longs;i &longs;ia K a. <!-- REMOVE S-->ad a i. <!-- REMOVE S-->& i a ad a m. <!-- REMOVE S-->perche <lb/>i triangoli da<emph.end type="italics"/> K. <!-- KEEP S--></s> <s id="s.006632">K <emph type="italics"/>a i. <!-- REMOVE S-->i m a. <!-- REMOVE S-->&longs;ono &longs;imili per la quarta del &longs;esto de gli elementi. </s> <s id="s.006633">con&longs;e­<lb/>guentemente adunque le quattro linee d a. <!-- REMOVE S-->a K. a i. <!-- REMOVE S-->& a m. <!-- REMOVE S-->&longs;ono in continua proportio<lb/>ne, & perche la a m. <!-- REMOVE S-->è eguale alla a h. <!-- REMOVE S-->la a m. <!-- REMOVE S-->&longs;arà eguale alla c. </s> <s id="s.006634">per la commune &longs;en­<lb/>tentia, che dice, che le co&longs;e, che &longs;ono eguali ad una co&longs;a, &longs;ono eguali tra &longs;e. </s> <s id="s.006635">Date adunque <lb/>due dritte linee a d. <!-- REMOVE S-->& c. <!-- REMOVE S-->&longs;ono state ritrouate due di mezo proportionali, che &longs;ono a<emph.end type="italics"/> K. <lb/><emph type="italics"/>& a i. <!-- REMOVE S-->il che bi&longs;ognaua fare. </s> <s id="s.006636">Ma pare a me, che piu pre&longs;to ci &longs;erua lo in&longs;trumento, che la dimo&longs;tra<lb/>tione, però imaginamo un circolo fatto nel piano come a b d f. <!-- REMOVE S-->& che&longs;opra ad anguli drit <lb/>ti ui cada uno &longs;emicilindro, il quale &longs;i po&longs;i &longs;opra il diametro a c d. del detto circolo, & che <lb/>nel punto a. <!-- REMOVE S-->&longs;ia dritto uno &longs;cmicircolo, che fermato nel detto punto a. <!-- REMOVE S-->&longs;i giri, & &longs;i entri & <lb/>e&longs;ca nel &longs;emicilindro &longs;econdo il taglio, che egli farebbe, & che di &longs;opr a ui &longs;ia un triangolo, oue­<lb/>ro una quarta di circolo, dalla quale cadano le linee &longs;econdo il bi&longs;ogno, & co&longs;i &longs;i farà lo instru­<lb/>mento, come ho ueduto da quelli ualent'buomini da Roma. <!-- KEEP S--></s> <s id="s.006637">& perche quelli &longs;econdo le loro bel-<emph.end type="italics"/><pb pagenum="359" xlink:href="045/01/373.jpg"/><emph type="italics"/>le inuentioni daranno in luce, & questa, & altre belle co&longs;e, io la&longs;cierò il carieo a loro di publi­<lb/>carle, hauendone molte gratie. </s> <s id="s.006638">Hora uenirò alla dimo&longs;tratione, & allo in&longs;trumento di Platone. <!-- KEEP S--></s> <s id="s.006639"><lb/>Lega adunque le due dritte, tra le quali uuoi trouare le due di mezo proportionali ad angolo drit­<lb/>to nel punto b. <!-- REMOVE S-->&longs;ia la maggiore b g. <!-- REMOVE S-->& la minore e b. <!-- KEEP S--></s> <s id="s.006640">Allunga poi l'una, & l'altra fuor <lb/>dello angolo b. <!-- REMOVE S-->la maggiore uer&longs;o il d. <!-- REMOVE S-->& la minore uer&longs;o il c. <!-- KEEP S--></s> <s id="s.006641">Et fa due anguli dritti trouan <lb/>do il punto c. <!-- REMOVE S-->& il punto d. <!-- REMOVE S-->nelle loro linee conuenienti, & &longs;ia uno angulo g c d. <!-- REMOVE S-->& l'al­<lb/>tro c d e. <!-- REMOVE S-->dico, che tra le due dritte e b. <!-- REMOVE S-->& b g. <!-- REMOVE S-->hauerai proportionate due altre linee, <lb/>che &longs;ono b d. <!-- REMOVE S-->& b c. <!-- REMOVE S-->perche hauemo pre&longs;uppo&longs;to, che lo angolo e d c. <!-- REMOVE S-->è dritto, & la <lb/>e a. <!-- REMOVE S-->e&longs;&longs;er parallela alla c g. <!-- REMOVE S-->però ne &longs;egue per la uente&longs;ima nona del primo, che lo angolo g <lb/>c d. <!-- REMOVE S-->&longs;ia giusto, & eguale allo angolo c d e. <!-- REMOVE S-->il quale &longs;imilmente pre&longs;upponemo e&longs;&longs;er giusto. </s> <s id="s.006642"><lb/>ma la d b. <!-- REMOVE S-->per lo nostro componimento cade perpendicolare &longs;opra la c b e. <!-- REMOVE S-->&longs;imilmente la <lb/>c b. <!-- REMOVE S-->è perpendicolare alla d b g. <!-- REMOVE S-->adunque per lo corolario della ottaua del &longs;esto, la b d. <!-- REMOVE S-->è <lb/>quella linea proportionata, che cade nella e b. <!-- REMOVE S-->& la b c. <!-- REMOVE S-->& &longs;imilmente la linea b c. <!-- REMOVE S-->è la <lb/>mezana proportionale tra la b d. <!-- REMOVE S-->& la b g. <!-- REMOVE S-->po&longs;ta adunque la ragione, & la proportione <lb/>commune della linea b d. <!-- REMOVE S-->& della linea b c. <!-- REMOVE S-->ne &longs;eguita, che la g b. <!-- REMOVE S-->hauerà quello ri&longs;pet­<lb/>to di comparatione alla linea b d. <!-- REMOVE S-->che hauerà la c b. <!-- REMOVE S-->alla e b. <!-- REMOVE S-->perche l'una, & l'altra ra­<lb/>gione, come è &longs;tato manifesto, è come b d. <!-- REMOVE S-->à b c. <!-- REMOVE S-->per la undecima del quinto. </s> <s id="s.006643">adunque &longs;i <lb/>me g b. <!-- REMOVE S-->à b d. <!-- REMOVE S-->co&longs;i b d. <!-- REMOVE S-->à b c. <!-- REMOVE S-->co&longs;i la c d. <!-- REMOVE S-->alla b e. <!-- KEEP S--></s> <s id="s.006644">Date adunque due linee, b g. <lb/><!-- REMOVE S-->& c b. <!-- REMOVE S-->&longs;ono state ritrouate due di mezo proportionali b d. <!-- REMOVE S-->& b c. <!-- KEEP S--></s> <s id="s.006645">Et questa è la ragio­<lb/>ne di Platone. <!-- KEEP S--></s> <s id="s.006646">Ma lo in&longs;trumento è questo. </s> <s id="s.006647">Sia una &longs;quadra K m l. <!-- REMOVE S-->& in uno braccio di <lb/>quella &longs;ia accommodata una riga, che &longs;ia n o. <!-- REMOVE S-->& che faccia con detto braccio gli angoli drit­<lb/>ti, & &longs;i po&longs;&longs;a mouere hora uer&longs;o il punto m. <!-- REMOVE S-->hora uer&longs;o il punto e. <!-- REMOVE S-->fatto questo &longs;implici&longs;&longs;imo <lb/>instrumento, & uolendo trouare le due proportionali di mezo alle due date, farai, che le due da <lb/>te &longs;iano per e&longs;&longs;empio la e b. <!-- REMOVE S-->& la b g. <!-- REMOVE S-->come hauemo po&longs;to nella dimo&longs;tratione, congiunte <lb/>nel punto b. <!-- REMOVE S-->ad angulo giusto & &longs;iano prolungate come di &longs;opra. </s> <s id="s.006648">Allhora &longs;i piglia lo instru­<lb/>mento, & co&longs;i egli s'accommoda alle linee c b. <!-- REMOVE S-->& b g. <!-- REMOVE S-->che il lato K m. <!-- REMOVE S-->della &longs;quadra ca <lb/>da &longs;opra il g. <!-- REMOVE S-->& lo angulo m. <!-- REMOVE S-->&longs;i uni&longs;ca alla linea b c. <!-- REMOVE S-->lo angulo o. <!-- REMOVE S-->&longs;ia &longs;opra la linea b d. <lb/><!-- REMOVE S-->& la regola mobile uenga per lo punto e. <!-- REMOVE S-->di modo, che il punto m. <!-- REMOVE S-->&longs;ia &longs;oprapo&longs;to al punto <lb/>c. <!-- REMOVE S-->& il punto o. <!-- REMOVE S-->cada &longs;opra d. <!-- REMOVE S-->& co&longs;i ordinato che hauerai, & acconcio lo instrumento, <lb/>hauerai trouato tra le linee e b. <!-- REMOVE S-->& b g. <!-- REMOVE S-->due proportionate di mezo, cioè la b d. <!-- REMOVE S-->& la b <lb/>c. <!-- REMOVE S-->del che la dimo&longs;tratione è la iste&longs;&longs;a con quella di &longs;opra. </s> <s id="s.006649">Nicomede u&longs;aua un'altra dimostra<lb/>tione, & formau a un'altro instrumento &longs;econdo quella dimo&longs;tratione, & con grande &longs;ottigliez­<lb/>za d'inuentione &longs;uperando Erato&longs;thene è stato di gran giouamento alli &longs;tudio&longs;i della Geometria. <!-- KEEP S--></s> <s id="s.006650"><lb/>Per fare lo instrumento, piglia due righe, & ponle una &longs;opra l'altra ad angoli giusti di modo, <lb/>che d'amendue &longs;ia uno i&longs;te&longs;&longs;o piano nè una &longs;ia piu alta dell'altra, ma rappre&longs;entino la lettera T. & <lb/>&longs;ia una di e&longs;&longs;e a b. <!-- REMOVE S-->dritta & l'altra c d. <!-- REMOVE S-->trauer&longs;a. </s> <s id="s.006651">faccia&longs;i nella a b. <!-- REMOVE S-->un canale nel mezo, nel <lb/>quale u'entri a coda di rondine, & &longs;otto &longs;quadra uno cuneo, che &longs;i po&longs;&longs;a &longs;pignere in &longs;u, & in giu <lb/>per quel canale &longs;enza u&longs;cir fuori: &longs;ia poi nel mezo della riga c d. <!-- REMOVE S-->trauer&longs;a per lnngo di e&longs;&longs;a una <lb/>linea, & nella te&longs;ta di e&longs;&longs;a, doue è la lettera d. <!-- REMOVE S-->&longs;ia posto un pirone, & &longs;ia quello g h. <!-- REMOVE S-->ad an­<lb/>goli dritti, il quale e&longs;ca alquanto fuori del piano della riga c d. <!-- REMOVE S-->&longs;ia nel detto pirone un foro nel <lb/>quale entri una regoletta, che &longs;ia e f. <!-- REMOVE S-->la quale &longs;ia congiunta nel cuneo, che era posto &longs;otto <lb/>&longs;quadra nel canale della regola a b. <!-- REMOVE S-->& &longs;ia il capo della detta regoletta K. <!-- KEEP S--></s> <s id="s.006652">Se adunque moue­<lb/>rai il cuneo per lo canale ouero uer&longs;o il punto a. <!-- REMOVE S-->ouero uer&longs;o il punto b. <!-- REMOVE S-->in&longs;ieme con la con­<lb/>giunta regoletta, &longs;empre il punto e. <!-- REMOVE S-->&longs;imouerà per dritta linea, & la regoletta e f. <!-- REMOVE S-->penetran<lb/>do per lo foro del pirone g h. <!-- REMOVE S-->entrerà, & u&longs;cirà, & la dritta linea di mezo della regoletta e <lb/>f. <!-- REMOVE S-->&longs;i mouerà col &longs;uo predetto mouimento per lo perno del &longs;uo pirone. </s> <s id="s.006653">Egli &longs;i o&longs;&longs;erua finalmente, <lb/>che lo ecce&longs;&longs;o e<emph.end type="italics"/> k. <emph type="italics"/>della regoletta e f. <!-- REMOVE S-->&longs;ia &longs;empre lo i&longs;te&longs;&longs;o, & della i&longs;te&longs;&longs;a lunghezza. </s> <s id="s.006654">per <lb/>il che &longs;e noi poneremo nel punto<emph.end type="italics"/> k. <emph type="italics"/>alcuna co&longs;a, che po&longs;&longs;a &longs;egnare un piano &longs;ottoposto mouen-<emph.end type="italics"/><pb pagenum="360" xlink:href="045/01/374.jpg"/><figure id="id.045.01.374.1.jpg" xlink:href="045/01/374/1.jpg"/><pb pagenum="361" xlink:href="045/01/375.jpg"/><figure id="id.045.01.375.1.jpg" xlink:href="045/01/375/1.jpg"/><pb pagenum="362" xlink:href="045/01/376.jpg"/><figure id="id.045.01.376.1.jpg" xlink:href="045/01/376/1.jpg"/><lb/><emph type="italics"/>do&longs;i la regoletta, egli &longs;i &longs;egnerà nel piano una linea piegata, come la l m n. <!-- REMOVE S-->la quale Nicome <lb/>de chiama prima Conchoide. <!-- REMOVE S-->& lo &longs;patio, che è tra e. <!-- REMOVE S-->&<emph.end type="italics"/> k. <emph type="italics"/>egli chiama grandezza della re <lb/>gola. </s> <s id="s.006655">& il punto d. <!-- REMOVE S-->polo. </s> <s id="s.006656">In que&longs;ta linea piegata dimostra Nicomede ritrouar&longs;i tre proprietà <lb/>principali. </s> <s id="s.006657">L'una è che quanto piu la linea piegata l m n. <!-- REMOVE S-->&longs;i tira a lungo, tanto meno è di&longs;tan<lb/>te dalla dritta a b. <!-- REMOVE S-->come &longs;i uede, che il punto c. <!-- REMOVE S-->è piu lontano dalla linea a b. <!-- REMOVE S-->che il pun­<lb/>to n. <!-- REMOVE S-->& il punto n. <!-- REMOVE S-->piu lontano, che il punto m. <!-- REMOVE S-->& finalmente il punto m. <!-- REMOVE S-->piu lontano, <lb/>che il punto l. <!-- REMOVE S-->il che &longs;i uede chiar amente facendo&longs;i cadere da i detti punti c n m l. <!-- REMOVE S-->le per­<lb/>pendicolari &longs;opra la linea a b. <!-- KEEP S--></s> <s id="s.006658">La &longs;econda proprietà è que&longs;ta. </s> <s id="s.006659">che &longs;e tra la regola a b. <!-- REMOVE S-->& <lb/>la linea piegata &longs;i tirerà una linea, quella finalmente taglierà la piegata. </s> <s id="s.006660">Sia adunque la regola <lb/>a b. <!-- REMOVE S-->il polo c. <!-- REMOVE S-->& nello interuallo d e. <!-- REMOVE S-->de&longs;critta la piegata detta conchoide, & tra quella, <lb/>& la regola a b. <!-- REMOVE S-->&longs;ia tirata una linea dritta, che &longs;ia f g h. <!-- REMOVE S-->dico, che la linea f g h. <!-- REMOVE S-->tira­<lb/>tataglierà la piegata gia de&longs;critta. </s> <s id="s.006661">Sia la detta linea f g h. <!-- REMOVE S-->parallela alla a b. <!-- REMOVE S-->o non &longs;ia. </s> <s id="s.006662"><lb/>po&longs;to adunque prima, che ella &longs;ia parallela, & faccia&longs;i, che &longs;i come &longs;i ha la d g. <!-- REMOVE S-->alla g c. <!-- REMOVE S--><lb/>co&longs;i &longs;i habbia la d e. <!-- REMOVE S-->ad un'altra come K. & po&longs;to il centro c. <!-- REMOVE S-->& lo &longs;patio K. tagli la cir­<lb/>conferenza de&longs;critta nel punto f. <!-- REMOVE S-->la linea f g. <!-- REMOVE S-->& &longs;ia congiunto c f. <!-- REMOVE S-->che tagli la a b. <!-- REMOVE S-->in <lb/>l. <!-- REMOVE S-->egli è adunque &longs;i come la d g. <!-- REMOVE S-->&longs;i ha alla g c. <!-- REMOVE S-->co&longs;i la l f. <!-- REMOVE S-->alla f c. <!-- REMOVE S-->ma &longs;i come è la d g. <!-- REMOVE S--><lb/>alla g c. <!-- REMOVE S-->co&longs;i &longs;i haueua la d e. <!-- REMOVE S-->alla K. cioè alla c f. <!-- REMOVE S-->adunque d e. <!-- REMOVE S-->&longs;i trouerà eguale <lb/>alla l f. <!-- REMOVE S-->il che non puo &longs;tare, perche a que&longs;to modo la parte &longs;arebbe eguale al &longs;uo tutto. </s> <s id="s.006663">Il che <lb/>&longs;i fa manife&longs;to tirando&longs;i la c f. <!-- REMOVE S-->fin che la tagli la piegata de&longs;critta per e. <!-- REMOVE S-->nel punto o. <!-- REMOVE S-->per­<lb/>che la l f o. <!-- REMOVE S-->dritta è eguale alla d e. <!-- REMOVE S-->per la diffinitione della conchoide. </s> <s id="s.006664">adunque re&longs;ta, che <lb/>la dritta f g h. <!-- REMOVE S-->tagli la piegata, &longs;e ella &longs;i tirerà uer&longs;o le i&longs;te&longs;&longs;e parti. </s> <s id="s.006665">Ma non &longs;ia parallela <lb/>quella linea, che &longs;i tirerà tra laregola a b. <!-- REMOVE S-->& la piegata, & &longs;ia quella m g n. <!-- REMOVE S-->& &longs;ia tira­<lb/>taper g. <!-- REMOVE S-->la parallela f g. <!-- REMOVE S-->alla regola a b. <!-- REMOVE S-->adunque la f g. <!-- REMOVE S-->concorrerà con la linea piega <lb/>ta, & però molto piu ui concorrerà la m n. <!-- KEEP S--></s> <s id="s.006666">Raccogliendo &longs;i adunque con lo in&longs;trumento, que­<lb/>&longs;te proprietati, egli &longs;i ha da dimo&longs;trare l'utilità &longs;ua al propo&longs;ito no&longs;tro: &longs;e prima &longs;i addurra la ter­<lb/>zaproprietà, che è que&longs;ta. </s> <s id="s.006667">La dritta linea a b. <!-- REMOVE S-->& la prima piegata, o conchoide a quella de <lb/>&longs;critta non concorreranno mai, &longs;e bene fu&longs;&longs;ero tirate in infinito. </s> <s id="s.006668">Que&longs;to facilmente &longs;i fa manife­<lb/>&longs;to, &longs;e egli &longs;i auuertirà diligentemente alla forma dello in&longs;trumento col quale &longs;i fa la linea piegata. </s> <s id="s.006669"><lb/>Percioche nella i&longs;te&longs;&longs;a forma la linea di mezo della regola e f. <!-- REMOVE S-->nel de&longs;criuere la piegata &longs;em­<lb/>pre taglia la dritta a b. <!-- REMOVE S-->nel punto e. <!-- REMOVE S-->per la qual co&longs;a il punto<emph.end type="italics"/> k. <emph type="italics"/>non peruenirà mai alla li-<emph.end type="italics"/><pb pagenum="363" xlink:href="045/01/377.jpg"/><emph type="italics"/>nea a b. <!-- REMOVE S-->tutto che del continuo egli &longs;i faccia uicino alla a b. <!-- REMOVE S-->por la prima proprietà &longs;opra­<lb/>detta. </s> <s id="s.006670">Adunque la prima piegata, o conchoide, & la dritta linea, alla quale ella è de&longs;critta, <lb/>non concorreranno mai, in tutto che &longs;iano tirate infinito, & del continuo &longs;i &longs;acciano piu uicine, <lb/>il che bi&longs;ognaua dimo&longs;trare. </s> <s id="s.006671">Que&longs;to a&longs;&longs;onto di Nicomede è utile alla &longs;eguente dimo&longs;tratione. </s> <s id="s.006672"><lb/>Se egli &longs;arà fatto uno angolo ad una dritta linea, che da una parte &longs;ia infinita, & &longs;i uorrà tirare <lb/>da un punto dato di fuori una linea dritta, la quale tagli due dritte cerca lo i&longs;te&longs;&longs;o angolo, della <lb/>qual dritta linea una particella compre&longs;a tra due, che comprendeno l'angolo dato, &longs;ia eguale alla <lb/>data linea, egli &longs;i farà in que&longs;to modo. </s> <s id="s.006673">Sia la data linea a b. <!-- REMOVE S-->che dalla parte di b. <!-- REMOVE S-->uadi m <lb/>finito, & &longs;opra quella &longs;ia fatto il dato angolo b a g. <!-- REMOVE S-->& il punto fuori di a b. <!-- REMOVE S-->&longs;ia c. <!-- REMOVE S-->& la <lb/>data dritta &longs;ia d. <!-- REMOVE S-->& da c. <!-- REMOVE S-->alla a b. <!-- REMOVE S-->&longs;ia tirata la perpendicolare, che &longs;ia c<emph.end type="italics"/> K. <emph type="italics"/>alla quale <lb/>&longs;ia aggiunto e f. <!-- REMOVE S-->eguale alla d. <!-- REMOVE S-->& mediante lo in&longs;trumento de&longs;critto di &longs;opra dal polo c. <!-- REMOVE S-->& <lb/>lo &longs;patio e f. <!-- REMOVE S-->alla regola a b. <!-- REMOVE S-->&longs;ia de&longs;critta la linea piegata, o conchoide prima. </s> <s id="s.006674">Adunque <lb/>per la &longs;econda proprietà, la linea a g. <!-- REMOVE S-->della prima conchoide tirata piu oltre concaderà con la <lb/>conchoide f g. <!-- REMOVE S-->concaderà adunque in g. <!-- REMOVE S-->& la linea tirata c g. <!-- REMOVE S-->taglierà la a b. <!-- REMOVE S-->in h. <!-- REMOVE S-->di­<lb/>co, che la g h. <!-- REMOVE S-->&longs;arà eguale alla d. <!-- REMOVE S-->il che &longs;i fa chiaro da quello, perche per la diffinitione della <lb/>conchoide prima la linea g h è eguale alla linea e f. <!-- REMOVE S-->ma per quello, che hauemo pre&longs;uppo&longs;to <lb/>la e f. <!-- REMOVE S-->è eguale alla d. <!-- REMOVE S-->adunque per la commune &longs;entenza, che dice le co&longs;e e&longs;&longs;er eguali tra &longs;e, <lb/>che ad una i&longs;te&longs;&longs;a &longs;ono eguali. </s> <s id="s.006675">La dritta g h. <!-- REMOVE S-->è eguale alla d. <!-- REMOVE S-->adunque &longs;i ha il propo&longs;ito &longs;o­<lb/>pra detto. </s> <s id="s.006676">Secondo Nicomede &longs;i troueranno le due proportionali di mezo tra due dritte a que­<lb/>&longs;to modo. </s> <s id="s.006677">Siano date due dritte a b. <!-- REMOVE S-->b c. <!-- REMOVE S-->appo&longs;te ad angolo dritto, tra le quali bi&longs;ogni tro­<lb/>uarne due di mezo in continua proportione. </s> <s id="s.006678">Sia compito il parallelogrammo a h c d. <!-- KEEP S--></s> <s id="s.006679">Sia <lb/>cia&longs;cuna di quelle linee tagliata in due parti c d. <!-- REMOVE S-->in e. <!-- REMOVE S-->d a. <!-- REMOVE S-->in f. <!-- REMOVE S-->& &longs;ia congiunta h e. <lb/><!-- REMOVE S-->è pa&longs;&longs;i oltre fin che la cada in a d. <!-- REMOVE S-->prolongata, nel punto g. <!-- REMOVE S-->ma alla linea a d. <!-- REMOVE S-->cada f h. <!-- REMOVE S--><lb/>ad angoli dritti, & &longs;ia prolongata a h. <!-- REMOVE S-->che &longs;ia eguale alla c e. <!-- REMOVE S-->& &longs;ia congiunta g h. <!-- REMOVE S-->alla <lb/>quale &longs;ia parallela a i. <!-- REMOVE S-->&longs;i che lo angolo<emph.end type="italics"/> k <emph type="italics"/>a i. <!-- REMOVE S-->&longs;ia eguale allo angolo f g h. <!-- REMOVE S-->per lo prece­<lb/>dente a&longs;&longs;onto. </s> <s id="s.006680">Sia tirata una linea dritta g i<emph.end type="italics"/> k. <emph type="italics"/>che tagli a i. <!-- REMOVE S-->in i. <!-- REMOVE S-->& d a. <!-- REMOVE S-->nella parte <lb/>a. <!-- REMOVE S-->prolongata &longs;opra k. <!-- REMOVE S-->di modo, che i<emph.end type="italics"/> k. <emph type="italics"/>&longs;ia eguale ad a h. <!-- REMOVE S-->& congiunta k b. <!-- REMOVE S-->&longs;ia tira­<lb/>ta fin che cada &longs;opra la d c. <!-- REMOVE S-->prolongata in l. <!-- KEEP S--></s> <s id="s.006681">dico, che &longs;i come &longs;i ha a b. <!-- REMOVE S-->ad a<emph.end type="italics"/> k. <emph type="italics"/>co&longs;i <lb/>a<emph.end type="italics"/> k. <emph type="italics"/>ad l c. <!-- REMOVE S-->& l c. <!-- REMOVE S-->à c b. <!-- REMOVE S-->perche c d. <!-- REMOVE S-->è tagliata in due parti in e. <!-- REMOVE S-->& a que&longs;ta &longs;i ap­<lb/>pone<emph.end type="italics"/> k <emph type="italics"/>a. <!-- REMOVE S-->adunque per la &longs;e&longs;ta del &longs;econdo de gli elementi quello, che è &longs;otto d<emph.end type="italics"/> k <emph type="italics"/>a. <!-- REMOVE S-->con <lb/>quello, che &longs;i fa della a f. <!-- REMOVE S-->è eguale a quello, che &longs;i fa della f<emph.end type="italics"/> k. <emph type="italics"/>Apponga&longs;i il commune, <lb/>che è tra f h. <!-- REMOVE S-->adunque quello, che è &longs;otto d K a. <!-- REMOVE S-->con quello che &longs;i fa di a f. <!-- REMOVE S-->& di f h. <!-- REMOVE S--><lb/>cioè con quello, che &longs;i fa di a g. <!-- REMOVE S-->è eguale a quello, che &longs;i fa di K f. <!-- REMOVE S-->& di f h. <!-- REMOVE S-->cioè a quello <lb/>che è di<emph.end type="italics"/> k <emph type="italics"/>h. <!-- KEEP S--></s> <s id="s.006682">Et perche &longs;i come &longs;i ha l c. <!-- REMOVE S-->à c d. <!-- REMOVE S-->co&longs;i &longs;ia l b. <!-- REMOVE S-->à b K. & come l b. <!-- REMOVE S-->à <lb/>b<emph.end type="italics"/> k. <emph type="italics"/>co&longs;i &longs;i ha d a. <!-- REMOVE S-->ad a<emph.end type="italics"/> k. <emph type="italics"/><expan abbr="adunq;">adunque</expan> &longs;i come &longs;i ha l c. <!-- REMOVE S-->à c d. <!-- REMOVE S-->co&longs;i &longs;i ha d a. <!-- REMOVE S-->ad a<emph.end type="italics"/> k. <lb/><emph type="italics"/>Ma della c d. <!-- REMOVE S-->è la metà la c e. <!-- REMOVE S-->& la a g. <!-- REMOVE S-->è doppia alla d a. <!-- REMOVE S-->perche per la quarta del &longs;e­<lb/>&longs;to, &longs;i come &longs;i ha a b. <!-- REMOVE S-->à d e. <!-- REMOVE S-->co&longs;i &longs;i ha g a. <!-- REMOVE S-->ad a d. <!-- REMOVE S-->per quello che &longs;i è &longs;uppo&longs;to la b a. <lb/><!-- REMOVE S-->è doppia à d e. <!-- REMOVE S-->adunque la g a. <!-- REMOVE S-->è doppia alla a d. <!-- REMOVE S-->&longs;arà adunque, che &longs;i come l c. <!-- REMOVE S-->&longs;i ha <lb/>alla c e. <!-- REMOVE S-->co&longs;i g a. <!-- REMOVE S-->alla a<emph.end type="italics"/> k. <emph type="italics"/>per la eguale, & permutata proportione, per la uente&longs;ima <lb/>terza del quinto de gli elementi. </s> <s id="s.006683">Ma come g a. <!-- REMOVE S-->ad a<emph.end type="italics"/> k. <emph type="italics"/>co&longs;i & h i. <!-- REMOVE S-->ad i<emph.end type="italics"/> k. <emph type="italics"/>per la &longs;e <lb/>conda del &longs;e&longs;to de gli elementi. </s> <s id="s.006684">Perche per la &longs;uppo&longs;itione g h. <!-- REMOVE S-->& a i. <!-- REMOVE S-->&longs;ono parallele. </s> <s id="s.006685">Et <lb/>componendo per la decima ottaua del quinto, &longs;egue, che &longs;i come &longs;i ha. </s> <s id="s.006686">La l e. <!-- REMOVE S-->alla c e. <!-- REMOVE S-->co&longs;i <lb/>la h<emph.end type="italics"/> k. <emph type="italics"/>alla<emph.end type="italics"/> k <emph type="italics"/>i. <!-- REMOVE S-->ma egli è &longs;tata po&longs;ta eguale la i<emph.end type="italics"/> k. <emph type="italics"/>alla c e. <!-- REMOVE S-->perche la i<emph.end type="italics"/> k. <emph type="italics"/>è egua­<lb/>le alla a h. <!-- REMOVE S-->& la a h. <!-- REMOVE S-->alla c e. <!-- REMOVE S-->adunque la e l. <!-- REMOVE S-->è eguale alla h K. con&longs;eguentemente <lb/>è eguale quello, che na&longs;ce da l e. <!-- REMOVE S-->con quello che &longs;i fa di h K. & quello che &longs;i fa di l e. <!-- REMOVE S-->è <lb/>eguale a quello, che &longs;i fa &longs;otto d l c. <!-- REMOVE S-->con quello, che &longs;i fa di c e. <!-- REMOVE S-->per la &longs;e&longs;ta del &longs;econdo de <lb/>gli elementi. </s> <s id="s.006687">Ma a quello, che &longs;i fa di h K. egli è &longs;tato dimostrato e&longs;&longs;er eguale, quello, che &longs;i <lb/>fa &longs;otto d<emph.end type="italics"/> k <emph type="italics"/>a. <!-- REMOVE S-->con quello, che &longs;i fa di a h. <!-- REMOVE S-->delle quali quello, che è di c e. <!-- REMOVE S-->è eguale a<emph.end type="italics"/><pb pagenum="364" xlink:href="045/01/378.jpg"/><emph type="italics"/>quello, che uiene da a h. <!-- REMOVE S-->perche egli è &longs;tato po&longs;to, che la a h. <!-- REMOVE S-->&longs;ia eguale alla c e. <!-- REMOVE S-->ma per <lb/>la &longs;ententia commune, &longs;e dalle co&longs;e eguali, &longs;i leueranno le eguali, il rimanente &longs;arà eguale. </s> <s id="s.006688"><lb/>Adunque quello, che &longs;i fa &longs;otto d l c. <!-- REMOVE S-->è eguale a quello, che &longs;i fa &longs;otto d K a. <!-- REMOVE S-->ma per la <lb/>quartadecima del &longs;e&longs;to de gli elementi. </s> <s id="s.006689">I lati de i parallelogrammi, che &longs;ono eguali, & hanno <lb/>anche gli anguli eguali, &longs;ono reciprocamente proportionali. </s> <s id="s.006690">adunque &longs;i come &longs;i hala l d. <!-- REMOVE S-->alla <lb/>d<emph.end type="italics"/> k. <emph type="italics"/>co&longs;i &longs;i ha la<emph.end type="italics"/> k <emph type="italics"/>a. <!-- REMOVE S-->alla c l. <!-- REMOVE S-->ma come d l. <!-- REMOVE S-->à d K. anche la a b. <!-- REMOVE S-->alla a K. & <lb/>la l c. <!-- REMOVE S-->alla c b. <!-- REMOVE S-->& adunque &longs;i come a b. <!-- REMOVE S-->ad a<emph.end type="italics"/> k. <emph type="italics"/>co&longs;i a K. ad l c. <!-- REMOVE S-->& e&longs;&longs;a l c. <!-- REMOVE S--><lb/>alla c b. <!-- REMOVE S-->Date adunque due dritte linee a b. <!-- REMOVE S-->& b c. <!-- REMOVE S-->&longs;ono &longs;tate ritrouate due dimezo in <lb/>continua proportione, che &longs;ono a<emph.end type="italics"/> k. <emph type="italics"/>& l c. <!-- REMOVE S-->come era l'intento di fare. </s> <s id="s.006691">Altri modi &longs;ono de <lb/>gli antichi di ritrouare le due proportionali, come di Philopono, di Dione Bizantio, di Diocle, <lb/>di Pappo nelle mecaniche, di Poro, di Menechmo, i quali modi, ne i commentari di Archime <lb/>de &longs;i trouano, & il Vernero dottamente gli e&longs;pone, i quali noi la&longs;ciamo per fuggir il tedio. </s> <s id="s.006692">Venl <lb/>remo adunque al modo di raddoppiare, & di moltiplicare i corpi, accioche l'u&longs;o di co&longs;i belle di­<lb/>mo&longs;trationi, & di tanti &longs;trumenti ci &longs;ia manife&longs;to.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006693"><emph type="italics"/>Io uoglio adunque ad un proposto &longs;odo &longs;otto una data proportione farne un'altro &longs;imile. </s> <s id="s.006694">&longs;ia <lb/><expan abbr="dunq;">dunque</expan> il proposto &longs;odo a. <!-- REMOVE S-->Io uoglio farne uno, che habbia quella proportione con e&longs;&longs;o, che ha la li <lb/>nea b. <!-- REMOVE S-->alla linea c. <!-- REMOVE S-->prenda&longs;i una linea eguale ad uno lato del propo&longs;to &longs;odo, & &longs;ia quella d. <lb/><!-- REMOVE S-->& come &longs;i ha la b. <!-- REMOVE S-->alla c. <!-- REMOVE S-->con la i&longs;te&longs;&longs;a ragione &longs;i riferi&longs;ca la d. <!-- REMOVE S-->alla e. <!-- REMOVE S-->&longs;ia doppia, o tripla <lb/>come &longs;i uoglia. </s> <s id="s.006695">& &longs;econdo alcuna delle &longs;oprapo&longs;te dimo&longs;trationi, trouin&longs;i due di mezo in <lb/>continua proportione, & &longs;iano quelle f. <!-- REMOVE S-->& g. <!-- REMOVE S-->dapoi da alcuna dritta linea eguale alla f. <!-- REMOVE S--><lb/>per la uente&longs;ima &longs;ettima dell'undecimo de gli elementi &longs;i faccia un &longs;odo, & quello &longs;ia h. <!-- REMOVE S-->&longs;imile, <lb/>& &longs;imilmente po&longs;to, al propo&longs;to &longs;odo a. <!-- REMOVE S-->& perche per la trente&longs;ima terza dello i&longs;te&longs;&longs;o libro, <lb/>ouero per lo corollario della i&longs;te&longs;&longs;a propo&longs;itione, Se &longs;aranno quattro dritte linee proportionali, <lb/>&longs;i come &longs;i ha la prima alla quarta, co&longs;i egli &longs;i ha il &longs;odo, che uiene dalla prima, al &longs;odo, che i &longs;i <lb/>fa della &longs;econda &longs;imile, & &longs;imilmente de&longs;critto. </s> <s id="s.006696">La ragione adunque del &longs;odo a. <!-- REMOVE S-->al &longs;imigliante <lb/>&longs;odo h. <!-- REMOVE S-->è come d. <!-- REMOVE S-->ad e. <!-- REMOVE S-->ma per la &longs;uppo&longs;itione la d. <!-- REMOVE S-->alla e. <!-- REMOVE S-->ha la ragione, che ha la b. <!-- REMOVE S--><lb/>alla c. <!-- REMOVE S-->dato adunque il &longs;odo a. <!-- REMOVE S-->&longs;otto la data ragione della b. <!-- REMOVE S-->alla c. <!-- REMOVE S-->è &longs;tato formato con &longs;i­<lb/>migliante &longs;odo h. <!-- REMOVE S-->come era l'intento. </s> <s id="s.006697">Ma perche alcuna fiata egli bi&longs;ogna mutare, & ridurre <lb/>un &longs;odo in un'altro, & proportionare piu corpi, però &longs;e uorremo fare un cubo eguale ad un dato <lb/>parallelipedo &longs;i farà in que&longs;to modo. </s> <s id="s.006698">Sia dato un &longs;odo parallelipedo a b c d. <!-- REMOVE S-->la cui larghez <lb/>za &longs;ia a b. <!-- REMOVE S-->l'altezza b c. <!-- REMOVE S-->la lunghezza c d. <!-- REMOVE S-->gia bi&longs;ogna al &longs;odo a b c d. <!-- REMOVE S-->ponere un cu <lb/>bo eguale. </s> <s id="s.006699">Troui&longs;i adunque per l'ultima del &longs;econdo de gli elementi il lato quadrato del piano <lb/>a b c. <!-- REMOVE S-->cioè una linea dritta, il cui quadrato &longs;ia eguale al piano a b c. <!-- REMOVE S-->la qual linea dritta <lb/>&longs;ia e. <!-- REMOVE S-->dapoi col mezo d'alcuna delle precedenti dimo&longs;trationi tra la e. <!-- REMOVE S-->& la c d. <!-- REMOVE S-->trouin&longs;i due <lb/>proportionali, che &longs;iano f. <!-- REMOVE S-->& g. <!-- REMOVE S-->dico che'l cubo della dritta linea f. <!-- REMOVE S-->&longs;arà eguale al dato pa­<lb/>rallelipedo a b c d. <!-- REMOVE S-->imperoche per lo corolario della decima nona del &longs;e&longs;to de gli elementi, il <lb/>quadrato fatto dalla f. <!-- REMOVE S-->al quadrato fatto dalla e. <!-- REMOVE S-->è come il quadrato fatto dalla c d. <!-- REMOVE S-->al qua <lb/>drato fatto dalla f. <!-- REMOVE S-->& perche per la trente&longs;ima quarta dello undecimo de gli elementi, i &longs;odi <lb/>parallelipedi, delle quali le ba&longs;e &longs;ono reciproche di altezze &longs;ono eguali, il cubo adunque fatto <lb/>dalla f. <!-- REMOVE S-->è eguale al dato &longs;odo parallelipedo a b c d. <!-- KEEP S--></s> <s id="s.006700">Da que&longs;to ne na&longs;ce, che nelle colonne, <lb/>che hanno lati, delle quali gli oppo&longs;ti piani &longs;ono paralleli, & altri piani parallelogrammi per la <lb/>&longs;opradetta ragione facilmente &longs;i po&longs;&longs;ono conuertire in cubi. </s> <s id="s.006701">perche uno parallelipedo, che ha per <lb/>ba&longs;a uno quadrato eguale ad una ba&longs;a laterata, & è di eguale altezza alla colonna, è eguale al <lb/>la i&longs;te&longs;&longs;a colonna. </s> <s id="s.006702">Egli &longs;i dimo&longs;tra anche, come &longs;i po&longs;&longs;a fare eguale ad un dato cubo &longs;otto una da <lb/>ta altezza, un &longs;odo parallelipedo. </s> <s id="s.006703">Sia la data altezza la dritta linea a. <!-- REMOVE S-->& il dato cubo b. <!-- REMOVE S--><lb/>gia bi&longs;ogna &longs;otto l'altezza a. <!-- REMOVE S-->alzare un parallelipedo, che &longs;ia eguale al dato cubo b. <!-- REMOVE S-->&longs;ia la <lb/>c. <!-- REMOVE S-->eguale ad un lato del cubo b. <!-- REMOVE S-->& per la undecima del &longs;e&longs;to de gli elementi &longs;ia la meza propor<lb/>tionale e. <!-- KEEP S--></s> <s id="s.006704">Dico adunque, che il parallelipedo la cui ba&longs;e &longs;ia eguale al quadrato fatto dalla e.<emph.end type="italics"/><pb pagenum="365" xlink:href="045/01/379.jpg"/><emph type="italics"/>& l'altezza eguale alla a. <!-- REMOVE S-->&longs;arà eguale al dato cubo b. <!-- REMOVE S-->& perche per la con&longs;truttione, le tre <lb/>linee &longs;ono in continua proportione, cioè la e. <!-- REMOVE S-->la c. <!-- REMOVE S-->& la d. <!-- REMOVE S-->adunque per lo corolario del­<lb/>la decima nona del &longs;e&longs;to, il quadrato, che uiene dalla c. <!-- REMOVE S-->al quadrato, che uiene dalla e. <!-- REMOVE S-->è co <lb/>me la c. <!-- REMOVE S-->alla d. <!-- REMOVE S-->cioè come la a. <!-- REMOVE S-->alla c. <!-- REMOVE S-->perche per la &longs;uppo&longs;itione, &longs;i come &longs;i ha la a. <!-- REMOVE S-->al­<lb/>la c. <!-- REMOVE S-->co&longs;i &longs;i ha la c. <!-- REMOVE S-->alla d. <!-- REMOVE S-->ma il quadrato, che uiene dalla c. <!-- REMOVE S-->è la ba&longs;a del cubo b. <!-- REMOVE S-->& il <lb/>quadrato, che uiene dalla e. <!-- REMOVE S-->è la ba&longs;a del parallelipedo, che &longs;i deue fare: adunque per la tren <lb/>te&longs;ima quarta dell'undecimo de gli elementi, il parallelipedo &longs;odo, che ha la ba&longs;a eguale al qua<lb/>drato e. <!-- REMOVE S-->& l'altezza eguale alla data a. <!-- REMOVE S-->è eguale al dato cubo b. <!-- REMOVE S-->il che bi&longs;ognaua dimo&longs;tra <lb/>re. </s> <s id="s.006705">Qui bi&longs;ognerebbe anchora andar uagando, & dimo&longs;trare, come diuer&longs;e figure, & corpi &longs;i <lb/>mutano in altre forme, & come non &longs;olo &longs;i raddoppiano, ma &longs;i uanno triplicando, & multipli­<lb/>cando, &longs;e i principij dati fin qui non ci &longs;eriu&longs;&longs;ero, però torneremo a Vitr. il qual dice.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006706">Concio&longs;ia co&longs;a <expan abbr="adunq;">adunque</expan>, che con &longs;i gran piaceri delle dottrine tali co&longs;e &longs;iano &longs;tate auuer <lb/>tite, & naturalmente &longs;iano forzati di mouer&longs;i per le inuentioni di cia&longs;cuna co&longs;a, con&longs;ide­<lb/>randone gli effetti, mentre che io con attentione riguardo a molte co&longs;e, io prendo non <lb/>poca ammiratione de i uolumi compo&longs;ti da Democrito d'intorno alla natura delle co&longs;e, <lb/>& di quel &longs;uo commentario intitolato chirotonito. </s> <s id="s.006707">nel quale anche egli u&longs;aua lo anello, &longs;i <lb/>gillando con cera fatta di Minio quelle co&longs;e, che egli haueua &longs;perimentate. </s> </p> <p type="main"> <s id="s.006708"><emph type="italics"/>Io qui leggerei cirocinnauos, perche ciros &longs;ignificaua la cera, & cinnauos le imagini, che ten <lb/>gono gli &longs;tatuarij dinanzi a gli occhi, co&longs;i Democrito nella cera imprimendo le &longs;ue i&longs;perienze, per <lb/>ricordar&longs;ene, &longs;e le teneua dinanzi a gli occhi. </s> <s id="s.006709">Et quelle note erano come commentarij, perche <lb/>commetteuano alla mente le i&longs;perienze. </s> <s id="s.006710">Plinio legge Cirocineta. <!-- KEEP S--></s> <s id="s.006711">Filandro interpreta, commen<lb/>tario di co&longs;e &longs;cielte: a me pare miglior lettione quella, che io dico, perche Vitruuio mede&longs;mo qua <lb/>&longs;i lo dichiara dicendo.<emph.end type="italics"/> {<emph type="italics"/>Nel quale egli u&longs;aua lo anello &longs;igillando con cera tinta di minio, quelle co <lb/>&longs;e, le quali egli haueua &longs;perimentate.<emph.end type="italics"/>} <emph type="italics"/>Certo è che Democrito &longs;egnaua in cera ro&longs;&longs;a le co&longs;e pro­<lb/>uate, per tener&longs;ele a memoria, co&longs;i &longs;olemo noi nelle margini de libri &longs;egnare con qualche colore <lb/>le co&longs;e &longs;cielte, per hauerle pronte. </s> <s id="s.006712">Segue Vitr.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.006713">Le inuentioni adunque di quegli huomini non &longs;olamente &longs;ono &longs;tate apparecchiate a <lb/>corregere i co&longs;tumi, ma ancho alla perpetua utilità di cia&longs;cuno. </s> <s id="s.006714">Ma il grido, & la gran­<lb/>dezza de gli Athleti in breue tempo con corpi loro inuecchia in modo, che nè quando <lb/>grandemente fiori&longs;ceno, nè dapoi nella po&longs;terità po&longs;&longs;ono que&longs;ti, come fanno le co&longs;e pen<lb/>&longs;ate da gli huomini &longs;aui con belli ammae&longs;tramenti giouare alla uita humana. </s> <s id="s.006715">Ma non &longs;i <lb/>dando i debiti honori nè a i co&longs;tumi, nè a i precetti de i ualenti &longs;crittori, & guardando le <lb/>menti piu alto, che l'aere con i gradi delle memorie al cielo &longs;olleuate a forza fanno, che <lb/>eternamente non &longs;olo le &longs;ententie, ma le imagini loro a po&longs;teri &longs;iano cono&longs;ciute. </s> <s id="s.006716">Et pe­<lb/>rò chi ha la mente adorna de i piaceri delle lettere, non puo non hauere nel petto &longs;uo con­<lb/>&longs;ecrato, come di Dei, il &longs;imulacro di Ennio poeta: Et quelli che a&longs;siduamente prende­<lb/>no piacere de i uer&longs;i di Accio, non tanto la uirtù delle parole, ma anche la figura &longs;ua pare, <lb/>che &longs;eco habbiano pre&longs;ente; & co&longs;i molti, che dopo la memoria no&longs;tra na&longs;ceranno, pare <lb/>ranno di&longs;putare con Lucretio della natura delle co&longs;e, come &longs;e egli fu&longs;&longs;e pre&longs;ente: Et &longs;i­<lb/>milmente dell'arte del dire con Cicerone. <!-- KEEP S--></s> <s id="s.006717">& molti de i po&longs;teri ragioneranno con Varro­<lb/>ne della lingua latina. </s> <s id="s.006718">Et molti amatori della cognitione diliberando con i &longs;aui de i Gre­<lb/>ci molte co&longs;e, pareranno e&longs;&longs;er con quelli in &longs;ecreti ragionamenti. </s> <s id="s.006719">Et in &longs;omma le &longs;enten <lb/>ze de i buoni &longs;crittori e&longs;&longs;endo in fiore &longs;tando i corpi lontani, quando &longs;ono addotte ne i <lb/>con&longs;igli, & nelle di&longs;putationi hanno maggiore autorità, che quelle de i pre&longs;enti. </s> <s id="s.006720">Per <lb/>il che io o Ce&longs;are confidatomi in que&longs;ti autori, & pre&longs;i i loro &longs;entimenti, & con&longs;igli ho <lb/>&longs;critto que&longs;ti uolumi, & ne i primi &longs;ette ho trattato de gli edificij, nell'ottauo delle acque <lb/>& in que&longs;to delle ragioni de i Gnomoni, come &longs;tate &longs;ono da i raggi del Sole nel mondo <lb/>per le ombre de i Gnomoni ritrouate, & con che ragioni &longs;i allungano, & accorciano dirò <lb/>chiaramente. </s> </p> <pb pagenum="366" xlink:href="045/01/380.jpg"/> <p type="main"> <s id="s.006721"><emph type="italics"/>Conclude Vitr. la &longs;ua lunga digre&longs;&longs;ione, & pare, che fin qui &longs;ia &longs;tato il proemio del pre&longs;en­<lb/>te libro, il quale per la diuer&longs;ità delle co&longs;e for&longs;e è &longs;tato in molte parti diui&longs;o; il tutto è non meno <lb/>facile, che degno da e&longs;&longs;er posto in opera, come co&longs;a piena di utili&longs;&longs;imi precetti a chi &longs;i diletta di <lb/>&longs;apere, & di con&longs;eruare nella memoria le co&longs;e imparate.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.006722"><emph type="italics"/>Della ragione de i Gnomoni ritrouati per l'ombra <lb/>da i raggi del Sole. <!-- KEEP S--></s> <s id="s.006723">Et del mondo. </s> <s id="s.006724">Et de i <lb/>pianeti. </s> <s id="s.006725">Cap. IIII.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.006726">Qvelle co&longs;e adunque con diuina mente &longs;ono &longs;tate acqui&longs;tate, & &longs;eco hanno a <lb/>chi le con&longs;idera grande ammiratione, che l'ombra nello equinottio fatta dal <lb/>Gnomone è di altra grandezza in Athene, di altra in Ale&longs;&longs;andria, di altra in <lb/>Roma: nè quella i&longs;te&longs;&longs;a è in Piacenza, che è in altri luoghi della terra. </s> <s id="s.006727">Et pe­<lb/>rò &longs;ono molto differenti le de&longs;crittioni de gli horologi per la mutatione de i pae&longs;i, perche <lb/>dalle grandezze dell'ombre equinottiali &longs;i di&longs;egnano le forme de gli analemmi, de i qua­<lb/>li &longs;i fanno le de&longs;crittioni delle hore, &longs;econdo la ragione de i luoghi, & delle ombre de <lb/>i Gnomoni. </s> </p> <p type="main"> <s id="s.006728"><emph type="italics"/>Mirabile dottrina è quella, che ci da Vitr. nel pre&longs;ente libro delle co&longs;e della A&longs;tronomia: & <lb/>piu mirabile è la breuità &longs;ua: però il pre&longs;ente trattato &longs;i deue pa&longs;&longs;are con diligenza, & auuerti­<lb/>mento non mediocre: imperoche in quello &longs;i tocca breui&longs;&longs;imamente quello, che in molti uolumi <lb/>da molti è &longs;tato raccolto. </s> <s id="s.006729">Et perche non ci &longs;ia confu&longs;ione, diremo ordinatamente ogni co&longs;a po­<lb/>nendo le parole di Vitr. le quali non parole, ma &longs;entenze, & conclu&longs;ioni &longs;i po&longs;&longs;ono meritamente <lb/>nominare. </s> <s id="s.006730">Tratta adunque nel pre&longs;ente libro della ragione de gli horologi da Sole, & delle om­<lb/>bre: & perche ombra non è &longs;enon doue è il corpo lumino&longs;o, i cui raggi &longs;ono impediti dal corpo <lb/>opaco, però tratta de i corpi cele&longs;ti, che fanno lume, & per que&longs;ta occa&longs;ione abbraccia il moui­<lb/>mento del cielo, la figura, & la mi&longs;ura del tutto. </s> <s id="s.006731">Introduce il &longs;uo trattamento in questo modo: <lb/>che uedendo noi, quando il giorno, & la notte &longs;on eguali, il qual tempo &longs;i chiama equinottio, <lb/>che uiene due fiate l'anno di Marzo, & di Settembre, non intendendo di quelli, che &longs;tanno &longs;otto <lb/>l'equinottiale, perche l'hanno &longs;empre: nè di quelli, che &longs;tanno &longs;otto i poli, perche non l'hanno <lb/>mai, inquanto, che &longs;iano dodici hore il dì, & dodici la notte: uedendo dico, che al tempo de gli <lb/>equinottij &longs;ul mezo dì, in diuer&longs;i luoghi l'ombra è diuer&longs;amente proportionata a gli edificij, albe <lb/>ri, &longs;tili, & a tutte le co&longs;e leuate da terra, & dritte, imperoche da que tempi in alcuni luoghi <lb/>l'ombra è pari alle co&longs;e, che la fanno, in altri è maggiore, in altri è minore, grande occa&longs;ione <lb/>hauemo da merauigliarci, & però per naturale in&longs;tinto ci diamo a cercar d'onde uegna la diuer&longs;i­<lb/>tà dell'ombre; & uedendo che que&longs;ta mutatione non puo uenire &longs;e non dalla diuer&longs;ità dell'altezza <lb/>del Sole, che a quelli tempi ad alcuni è piu alto, ad alcuni è piu ba&longs;&longs;o, cominciamo ad inuestiga­<lb/>re il cor&longs;o del Sole, & co&longs;i quello, che non potemo fare nel cielo, de&longs;criuemo in terra con linee, <lb/>& con figure, &longs;eruando intiera la ragione del tutto. </s> <s id="s.006732">Et chi è tanto &longs;ottile, & ingenio&longs;o, che tro <lb/>ui &longs;imili de&longs;crittioni &longs;i puo uer amente dire, che egli &longs;ia d'intelletto diuino, & che le &longs;ue inuentio­<lb/>ni &longs;iano piu pre&longs;to diuine, che humane, & que&longs;to ha detto Vitr. fin qui. </s> <s id="s.006733">Dichiara poi come &longs;i <lb/>chiama quella de&longs;crittione di linee, che &longs;i fa per dimo&longs;trare il cor&longs;o del Sole, & dice, che &longs;i chia <lb/>ma Analemma, & diffini&longs;ce, che co&longs;a è Analemma, dicendo.<emph.end type="italics"/></s> <s id="s.006734"> Analemma è ragione cerca­<lb/>ta dal cor&longs;o del Sole, & dall'ombra cre&longs;cente, trouata dalla o&longs;&longs;eruatione del &longs;ole&longs;titio del <lb/>uerno, dalla quale per ragioni d'Architettura, & per de&longs;crittioni del compa&longs;&longs;o è &longs;tato ritro <lb/>uato lo effetto nel mondo. </s> </p> <pb pagenum="367" xlink:href="045/01/381.jpg"/> <p type="main"> <s id="s.006735"><emph type="italics"/>Cominciauano gli antichi l'anno dal &longs;ole&longs;titio del uerno, che uiene di Decembre; que&longs;to chia­<lb/>mauano bruma. </s> <s id="s.006736">auuertirono a quel tempo che &longs;ul mezo dì l'ombra del Gnomone era piu lunga, <lb/>che ne gli altri tempi nel mezo dì; però concludeuano, che a quel tempo il Sole fu&longs;&longs;e piu ba&longs;&longs;o. </s> <s id="s.006737"><lb/>De&longs;criuendo adunque nel piano de i circoli & drizzando i Gnomoni, cioè &longs;tili da ombre &longs;opra il <lb/>piano tirauano linee da i de&longs;critti circoli alla punta dello &longs;tile, & continuando quelle linee rap­<lb/>pre&longs;entauano l'ombre fin &longs;ul piano proportionando l'ombre con lo &longs;tile, il quale perche &longs;taua ad an <lb/>goli dritti &longs;opra il piano. </s> <s id="s.006738">però &longs;i chiama Gnomone, & co&longs;i di giorno in giorno &longs;ul mezo dì pren­<lb/>deuano la altezza del Sole, che dal tempo della bruma al tempo della &longs;tate ogni giorno piu s'in­<lb/>nalzaua, & co&longs;i concludendo l'altezza del Sole meridiana, ne faceuano nel piano la de&longs;crittio­<lb/>ne, & il di&longs;egno mo&longs;trando in terra gli effetti del Cielo; que&longs;ta de&longs;crittione era detta Analem­<lb/>ma, che è come uno ripigliamento del cor&longs;o del Sole, per formarne gli horologi, &longs;econdo la diuer<lb/>&longs;ità de i pae&longs;i. </s> <s id="s.006739">Prendeuano le altezze del Sole, & le ombre meridiane, perche il circolo meri­<lb/>diano è piu certo, & piu o&longs;&longs;eruabile, che gli altri. </s> <s id="s.006740">Ma perche nella diffinitione dello Analem­<lb/>ma Vitr. ha detto,<emph.end type="italics"/> {<emph type="italics"/>è &longs;tato ritrouato lo effetto nel mondo.<emph.end type="italics"/>} <emph type="italics"/>però per que&longs;ta occa&longs;ione egli di­<lb/>chiara, che co&longs;a è Mondo.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.006741">Mondo è un grandi&longs;simo concetto della natura di tutte le co&longs;e, & il Cielo figura­<lb/>to di &longs;telle. </s> </p> <p type="main"> <s id="s.006742"><emph type="italics"/>Due co&longs;e abbraccia il mondo, la prima è il Cielo, la &longs;econda è tutto quello, che dal Cielo è <lb/>compre&longs;o, la doue i moderni nella diui&longs;ione della sfera hanno detto la regione elementare, & la <lb/>cele&longs;te. </s> <s id="s.006743">Era nece&longs;&longs;ario porui il cielo, perche nel cielo &longs;ono posti i corpi lumino&longs;i, i raggi de i qua <lb/>li fanno gli effetti nel Mondo: il Mondo adunque è un grandi&longs;&longs;imo, & &longs;ommo concetto di tutte le <lb/>co&longs;e, perche è perfetto, & quella co&longs;a è perfetta a cui niente manca, & niente &longs;e le puo aggiu­<lb/>gnere. </s> <s id="s.006744">Al Mondo adunque perche è fatto di tulta la materia, perche abbraccia ogni co&longs;a, per­<lb/>che ha principio, mezo, & fine, perche contiene, & non è contenuto, &longs;i conuiene il nome di per­<lb/>fetto: il che Vitr. gli attribui&longs;ce, dicendo, conceptio &longs;umma, perche &longs;e è &longs;omma oltra di quello <lb/>non &longs;i troua co&longs;a, & in quello il tutto è compre&longs;o. </s> <s id="s.006745">Il Mondo adunque è ungrandi&longs;&longs;imo abbrac­<lb/>ciamento di tutte le nature, sì di quelle, che &longs;ono atte a patire, & ariceuere qualche impre&longs;&longs;ione <lb/>come &longs;ono gli elementi, & i mi&longs;ti perfetti, & imperfetti, sì di quelle, che hanno uirtù di fare, & <lb/>d'influire, come &longs;ono i corpi cele&longs;ti. </s> <s id="s.006746">Et que&longs;te nature &longs;ono una dentro l'altra, accioche que&longs;ta ce <lb/>ra mondana po&longs;&longs;a e&longs;&longs;er formata dalle forme cele&longs;ti, che Vitr. dice. </s> <s id="s.006747">Cielo di &longs;telle figurato, del <lb/>quale egli ragionando dice.<emph.end type="italics"/></s> <s id="s.006748"> Que&longs;to cielo continuamente &longs;i uolge d'intorno la terra, & il <lb/>mare, per gli ultimi cardini del &longs;uo perno, che a&longs;&longs;e è nominato. </s> </p> <p type="main"> <s id="s.006749"><emph type="italics"/>La&longs;cia Vitr. la prima parte della diffinitione del mondo, perche non fa per hora al propo&longs;ito: <lb/>Et tratta della &longs;econda, che è il Cielo. <!-- KEEP S--></s> <s id="s.006750">Et in poche parole dice molte co&longs;e, che &longs;i dichiareranno <lb/>di&longs;tintamente. </s> <s id="s.006751">Che il cielo &longs;i muoua egli è manife&longs;to al &longs;en&longs;o, per la mutatione del luogo, che fan­<lb/>no i corpi cele&longs;ti, che mai non &longs;i fermano. </s> <s id="s.006752">E anche noti&longs;&longs;imo, che il mouimento &longs;ia circolare d'in <lb/>torno il mare, & la terra, & che &longs;i uolga &longs;opra un perno imaginato ne i cardini &longs;uoi. </s> <s id="s.006753">Perche <lb/>&longs;e il cielo abbraccia ogni co&longs;a, ogni luogo, ogni &longs;patio, &longs;e altrimenti &longs;i moue&longs;&longs;e, che in giro, o <lb/>non fu&longs;&longs;e di forma circolare, certamente la&longs;ciarebbe fuori di &longs;e o &longs;patio, o uoto; il che non è ra­<lb/>gioneuole. </s> <s id="s.006754">Oltra di que&longs;to molti altri accidenti &longs;ono, per li quali noi uenimo in cognitione, che <lb/>il cielo &longs;i giri a tondo, & che &longs;ia di figura &longs;imile al &longs;uo mouimento, de i quali ne &longs;ono pieni uolu­<lb/>mi, & &longs;e ne &longs;anno e&longs;perienze con gli in&longs;trumenti. </s> <s id="s.006755">Et perche noi uedemo un continuo mouimento <lb/>per un uer&longs;o, però c'imaginamo due &longs;tabili&longs;&longs;imi punti oppo&longs;ti per diametro, da i quali imaginamo, <lb/>che pa&longs;&longs;i per lo centro una linea, & quelli punti &longs;ono detti cardini, perche qua&longs;i come &longs;opra i <lb/>&longs;uoi cardini il cielo &longs;opra quelli &longs;i uolge. </s> <s id="s.006756">Que&longs;ti cardini &longs;i chiamano poli da'Greci. </s> <s id="s.006757">ma la linea <lb/>imaginata, che dall'uno all'altro cardine pa&longs;&longs;a per lo centro del Mondo, è detta a&longs;&longs;e o perno. </s> <s id="s.006758">I <lb/>cui e&longs;tremi &longs;ono i cardini, o poli del Mondo. <!-- KEEP S--></s> <s id="s.006759">Ma cio che di punti, di linee, & di circoli nel cielo &longs;i <lb/>dice, tutto è detto per maggior dichiaratione, & non perche ueramente &longs;i trouino nel cielo come<emph.end type="italics"/><pb pagenum="368" xlink:href="045/01/382.jpg"/><emph type="italics"/>uogliono alcuni, che ne i poli &longs;ia la uirtu di muouere, il che rifiuta Ari&longs;tot. nel libro del mouimen<lb/>to de gli animali, argoment ando, che que&longs;to non puo e&longs;&longs;ere e&longs;&longs;endo i poli &longs;enza grandezza aleu­<lb/>na, anzi punti indiui&longs;ibili: & for&longs;e dal detto di Ari&longs;tot. <!-- KEEP S--></s> <s id="s.006760">potemo correggere quello, che dice Vit. <!-- KEEP S--></s> <s id="s.006761"><lb/>il quale però come Architetto &longs;i deue &longs;cu&longs;are, quando dice.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006762">Perche in tali luoghi la uirtù della natura co&longs;i ha come Architetto fabricato, & ha fitto <lb/>i cardini, come centri uno in que&longs;to mondo di &longs;opra del mare, & della terra, & l'altro di <lb/>la al contrario &longs;otterra nelle parti meridiane, & iui d'intorno a que cardini come d'intor­<lb/>no a centri ha fatto le rotelle come a torno perfette, lequali &longs;ono da i Greci nominati po­<lb/>li: per lequali eternamente con ueloci&longs;simo cor&longs;o il cielo &longs;i gira: & co&longs;i la terra col mare <lb/>in luogo di centro è &longs;tata collocata nel mezo. </s> </p> <p type="main"> <s id="s.006763"><emph type="italics"/>Due &longs;ono i Poli, & cardini, i quali per diametro nel mondo opposti &longs;ono, ma che uno &longs;ia di &longs;o­<lb/>pra, & l'altro di &longs;otto non è, &longs;e non per ri&longs;petto a gli habitanti della terra, però bi&longs;ogna inten­<lb/>dere, che Vitr. doueua dire a que&longs;to modo; & ca&longs;o che egli non lo dica, come &longs;i puo uedere dicen­<lb/>do egli, che la natura co&longs;i gli ha po&longs;ti, che uno &longs;ia di &longs;opra & l'altro di &longs;otto, è nece&longs;&longs;ario, che noi <lb/>intendiamo drittamente. </s> <s id="s.006764">perche quelli, che &longs;tanno &longs;otto l'equinottiale, non hanno un polo piu ele­<lb/>uato dell'altro; &longs;imilmente quelli, che &longs;tanno di la dal mezo hanno il loro polo eleuato &longs;opra l'O­<lb/>rizonte, che a noi habitanti di qua dal mezo è depre&longs;&longs;o. </s> <s id="s.006765">& il nostro a loro è meridiano come il <lb/>loro a noi; però que&longs;to &longs;ito, di che parla Vitr. &longs;i deue intendere in ri&longs;petto, & non a&longs;&longs;olutamente, <lb/>però (&longs;i come dice Vitr.) la terra col mare nel mezo in luogo di centro è &longs;tata naturalmente <lb/>collocata: certo è, che in alcune parti un polo &longs;arà eleuato, & l'altro depre&longs;&longs;o: & in alcuni l'uno, <lb/>& l'altro &longs;arà egualmente nel piano dell'Orizonte: la doue e&longs;&longs;endo conclu&longs;o da tutti gli a&longs;trono­<lb/>mi, che &longs;tando l'huomo in qual &longs;ito &longs;i uoglia &longs;opra la terra, &longs;empre il piano del &longs;uo Orizonte diui­<lb/>de il cielo in due parti eguali, et tutti qua&longs;i gli in&longs;trumenti, che &longs;i u&longs;ano, u&longs;an&longs;i in modo, come &longs;e <lb/>l'hnomo fu&longs;&longs;e nel centro della terra; è nece&longs;&longs;ario di concludere, & che la terra &longs;ia a gui&longs;a di <lb/>centro nel mezo del mondo, & che egualmente partito &longs;ia quello, che &longs;i uede da quello, che non <lb/>&longs;i uede con la &longs;operficie dell'Orizonte. <!-- KEEP S--></s> <s id="s.006766">Hauendo adunque noi due punti come termini fi&longs;&longs;i, &longs;opra i <lb/>quali il cielo &longs;i gira, &longs;eguita Vitr. a de&longs;criuere il cielo con altri &longs;egni. </s> <s id="s.006767">& dice<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006768">E&longs;&longs;endo que&longs;te co&longs;e dalla natura di&longs;po&longs;te in modo, che dalla parte &longs;ettentrionale hab­<lb/>bia il centro piu eleuato da terra con l'altezza &longs;ua, & nella parte del mezo dì &longs;ottopo&longs;to a <lb/>i luoghi inferiori &longs;ia dalla terra o&longs;curato, indi a trauer&longs;o per mezo il mondo ui è formata <lb/>una zona a gui&longs;a di circolo cinta con do dici &longs;egni piegata alla parte del mezo dì, laqual <lb/>forma di&longs;egni con certa di&longs;po&longs;itione di &longs;telle agguagliandone dodici parti, ci dà e&longs;pre&longs;&longs;a <lb/>iui la figuratione, che ui dipin&longs;e la natura. </s> </p> <p type="main"> <s id="s.006769"><emph type="italics"/>Volendo Vitr. e&longs;primere molte co&longs;e diuenta alquanto o&longs;curo per la durezza del dire. </s> <s id="s.006770">Veden­<lb/>do noi il certo, & continuato uolgimento del cielo da Leuante a Ponente, trouato hauemo i due <lb/>poli, & l'a&longs;&longs;e in certi, & determinati luoghi. </s> <s id="s.006771">Con&longs;iderando poi il mouimento, che fa il Sole in <lb/>uno anno, & che hora na&longs;ce in una parte dell'Orizonte, & da un uento, hora in un'altra, & <lb/>che &longs;ul mezo dì hora s'auuicina piu al punto che ci &longs;opra&longs;tà, hora è piu ba&longs;&longs;o, & che uaria i gior <lb/>ni, & le notti egualmente, &longs;apemo, che per que&longs;te co&longs;e auuertite bene, & oßeruate, gli antichi <lb/>hanno trouato la obliqua uia del Sole, per laquale andando egli con moto contrario al primo di <lb/>giorno in giorno faccia tutta quella &longs;en&longs;ibile mutatione. </s> <s id="s.006772">&longs;imilmente auuertendo il cor&longs;o de gli al­<lb/>tri pianeti &longs;eguitare la uia del Sole, ma non co&longs;i egualmente &longs;targli appre&longs;&longs;o, diedero nome a <lb/>quella uia, per laquale il Sole, & gli altri pianeti pa&longs;&longs;auano, & la chiamarono cinta, o zona, <lb/>perche &longs;i come una cinta cignendo non &longs;olo s'aggira con una &longs;emplice linea, ma tiene larghezza, <lb/>co&longs;i la uia de i pianeti è &longs;tata imaginata & circolare, & larga, & è stata cono&longs;ciuta piegar da <lb/>una parte all'uno de i Poli, & dall'altra, all'altro, & abbracciare tutto il cielo; cioè, e&longs;&longs;ere uno <lb/>de i circoli maggiori. </s> <s id="s.006773">& in quella anche &longs;ono &longs;tate cono&longs;ciute alcune compagnie di stelle, alle­<lb/>quali è &longs;tato imposto nome di &longs;egni; & perche &longs;ono dodici. </s> <s id="s.006774">Vitr. le chiama dodici parti pareggia<emph.end type="italics"/><pb pagenum="369" xlink:href="045/01/383.jpg"/><emph type="italics"/>te, perche &longs;ono di trenta gradi per &longs;egno, di trecento & &longs;e&longs;&longs;anta, ne i quali per piu commodità <lb/>hanno partito i circoli. </s> <s id="s.006775">La uia de i pianeti è &longs;tata da' Greci detta Zodiaco, & da i Latini &longs;igni­<lb/>fero, perche in e&longs;&longs;a &longs;ono i &longs;egni. </s> <s id="s.006776">La uia del Sole è stata nominata Eclittica, perche &longs;opra e&longs;&longs;a <lb/>&longs;tando il Sole, & la Luna in certe di&longs;tanze, &longs;i fanno gli Eclißi, cioè i mancamenti, & le o&longs;cura­<lb/>tioni loro. </s> <s id="s.006777">Il Zodiaco ha larghezza, perche il cor&longs;o de pianeti la richiede. </s> <s id="s.006778">& nella &longs;ua circon­<lb/>ferenza è diui&longs;o anche egli in<emph.end type="italics"/> 360 <emph type="italics"/>parti. </s> <s id="s.006779">la uia del Sole detta Eclittica, è nel mezo della lar­<lb/>ghezza del Zodiaco. <!-- KEEP S--></s> <s id="s.006780">& le linee, che &longs;ono gli e&longs;tremi della larghezza del Zodiaco &longs;ono distanti <lb/>&longs;ei gradi cia&longs;cuna dalla Eclittica, in modo, che &longs;ei gradi di quà, & &longs;ei di là fanno dodici gradi del <lb/>Zodiaco in larghezza, oltra la quale non caminano i pianeti: Benche Venere, & Marte per la <lb/>grandezza de i loro Epicicli (come dicono alcuni contemplatiui) e&longs;chino poi fuori; ma questo <lb/>auuiene di raro. </s> <s id="s.006781">Ilche for&longs;e ha dato luogo alla fauola di Venere, & di Marte. </s> <s id="s.006782">Chiama&longs;i il Zo­<lb/>diaco circolo obliquo, perche non a&longs;cende, nè di&longs;cende regolarmente &longs;econdo le &longs;ue parti, & per­<lb/>che con tutte le parti &longs;ue non è egualmente distante da i poli del Mondo; oltra che non taglia <lb/>con giusti angoli gli altri circoli cele&longs;ti. </s> <s id="s.006783">Ma quello, che dice Vitr.<emph.end type="italics"/> {<emph type="italics"/>E&longs;&longs;endo queste co&longs;e co&longs;i dal­<lb/>la natura di&longs;po&longs;te.<emph.end type="italics"/>} <emph type="italics"/>Que&longs;to non è per natura: ma per ri&longs;petto de gli Orizonti, che &longs;i mutano &longs;e­<lb/>condo i &longs;iti, benche per natura &longs;ia il Cielo, in que due punti, che Vitru. chiama centri, fermato. </s> <s id="s.006784"><lb/>Le conditioni della zona, che dice Vitr. &longs;ono prima che è larga, dapoi è piegata uer&longs;o i poli, oltra <lb/>di que&longs;to è formata di deci &longs;egni, & benche la natura habbia fatto quelle &longs;telle, però gli o&longs;&longs;erua­<lb/>tori le hanno co&longs;i compartite, & gli A&longs;tronomi ne danno le lor cau&longs;e. </s> <s id="s.006785">I &longs;egni &longs;ono dodici, cia&longs;cu­<lb/>no de' quali è dato al &longs;uo me&longs;e. </s> <s id="s.006786">però i me&longs;i &longs;ono dodici. </s> <s id="s.006787">tengono i &longs;egni trenta gradi per uno &longs;e­<lb/>condo una con&longs;ideratione, però l'anno è denominato da trecento et &longs;e&longs;&longs;anta giorni, & di quel piu, <lb/>che il Sole ananza ogni giorno col &longs;uo mouimento contrario al mouimento del primo cielo. </s> <s id="s.006788">on­<lb/>de Vitru. dice.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006789">Et però quelli &longs;egni lucenti col mondo, & con il re&longs;tante ornamento delle &longs;telle giran­<lb/>do&longs;i d'intorno la terra, & il mare fanno il cor&longs;o loro &longs;econdo la ritondezza del cielo. </s> <s id="s.006790">Ma <lb/>tutte le co&longs;e che &longs;i uedeno, & che non &longs;i uedeno &longs;ono formate con la nece&longs;sità de i tempi, <lb/>& delle &longs;tagioni, delliquali tempi &longs;ei &longs;egni &longs;opra la terra col Cielo uanno uagando, & gli <lb/>altri &longs;otto la terra dall'ombra di quella &longs;ono o&longs;curati. </s> <s id="s.006791">ma &longs;ei di que&longs;ti &longs;empre &longs;opra la ter­<lb/>ra &longs;i muoueno; perche quanto una parte dell'ultimo &longs;egno forzata dalla depre&longs;sione col <lb/>&longs;uo girare andando &longs;otto &longs;i occulta, tanto dalla contraria parte dalla nece&longs;sità del girar&longs;i <lb/>&longs;opra leuata col mouimento circolare u&longs;cendo da luoghi non manife&longs;ti, & o&longs;curi &longs;e ne <lb/>uiene in luce; perche una forza, & una i&longs;te&longs;&longs;a nece&longs;sità fa l'Oriente, & l'Occidente. </s> </p> <p type="main"> <s id="s.006792"><emph type="italics"/>Cioè perche una forza, & una i&longs;te&longs;&longs;a nece&longs;&longs;ità fa, che l'una parte a&longs;cenda, & che l'altra di&longs;cen<lb/>da. </s> <s id="s.006793">Imouimenti de i Cieli &longs;ono due per molti accidenti cono&longs;ciuti, l'uno è da Leuante, a Po­<lb/>nente, come &longs;i uede ogni giorno leuare, è tramontare il Sole, & l'altre &longs;telle. </s> <s id="s.006794">Que&longs;to mouimento <lb/>è detto primo, & diurno, &longs;opra del quale non è co&longs;a &longs;en&longs;ibile, & in termine di hore uentiquattro <lb/>&longs;i gira perfettamente facendo lo &longs;pacio d'un giorno naturalé. </s> <s id="s.006795">&longs;i che il Sole fa lo anno; la Luna <lb/>il me&longs;e; il primo mouimento i giorni. </s> <s id="s.006796">Di que&longs;to primo mouimento, delquale niuno altro è piu ue <lb/>loce, ha parlato Vitr. fin qui: & ha detto, che per quel mouimento &longs;ei &longs;egni del Zodiaco &longs;empre <lb/>&longs;tanno &longs;opra l'Orizonte, & &longs;ei &longs;empre di &longs;otto. </s> <s id="s.006797">Que&longs;to è uero, perche in ogni Orizonte tanto di <lb/>giorno, quanto di notte na&longs;ce uno &longs;emicircolo del Zodiaco, nelquale &longs;ono &longs;ei &longs;egni: & ne muore, <lb/>o cade l'altro, nelquale &longs;ono &longs;ei altri &longs;egni: & e&longs;&longs;endo il Zodiaco uno de i circoli maggiori della <lb/>Sfera, &longs;empre in ogni Orizonte una metà è &longs;opra, & l'altra &longs;otto, & quanto cade di una, tanto <lb/>&longs;i leua dell'altra.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006798">Ma quelli &longs;egni e&longs;&longs;endo in numero dodici, & tenendo cia&longs;cuno la duodecima parte <lb/>del mondo, & andando egli continuamente dal Leuante al Ponente; Allhora per quelli &longs;e­<lb/>gni con mouimento contrario, la Luna, la &longs;tella di Mercurio, & di Venere, il Sole, & co&longs;i <lb/>la &longs;tella di Marte, di Gioue, & di Saturno come per &longs;alita de gradi, montando cia&longs;cuno</s> <pb pagenum="370" xlink:href="045/01/384.jpg"/> <s id="s.006799">not transcribed</s> <pb pagenum="371" xlink:href="045/01/385.jpg"/> <s id="s.006800"><emph type="italics"/>cuno &longs;patio di tempo s'allont anauano dalla iste&longs;&longs;a stella, & di nuouo dopo alcun tempo riterna­<lb/>uano alla iste&longs;&longs;a; ilche dalla Luna, il cui cor&longs;o è piu ueloce, &longs;i puo piu pre&longs;to cono&longs;cere o&longs;&longs;eruando <lb/>la congiuntione, ouero lo &longs;patio, nel quale e&longs;&longs;a a qualche stella cono &longs;ciuta ritorna: e&longs;&longs;aminando <lb/>tante fiate, quante uer&longs;o Leuante s'allontana, finche &longs;i ueda di &longs;uo proprio mouimento ritornata <lb/>alla iste&longs;&longs;a stella. </s> <s id="s.006801">in questa maniera adunque è stato ritrouato il &longs;econdo mouimento contrario <lb/>al primo. </s> <s id="s.006802">La quinta conclu&longs;ione era, che con diuer&longs;a grandezza di giri cia&longs;cuno de i pianeti &longs;a­<lb/>ceua il cor&longs;o &longs;uo. </s> <s id="s.006803">Hauendo Vitr. numerato di &longs;opra i &longs;ette pianeti, Saturno, Gioue, Marte, il So­<lb/>le, Venere, Mercurio, & la Luna: i caratteri de i quali &longs;ono questi per ordine.<emph.end type="italics"/> <01>. </s> <s id="s.006804"><04>. </s> <s id="s.006805"><05>. <lb/></s> <s id="s.006806"><06>. </s> <s id="s.006807"><07>. </s> <s id="s.006808"><09>. </s> <s id="s.006809"><08>. <emph type="italics"/>&longs;i dichiara la detta conclu&longs;ione, con lunga indottione da Vitruuio in <lb/>questo modo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006810">La Luna in giorni uentiotto, & qua&longs;i un'hora girando&longs;ia torno il Cielo, & ritornando <lb/>a quel &longs;egno, d'onde prima &longs;i mo&longs;&longs;e, compie il me&longs;e Lunare: ma il Sole pa&longs;&longs;a per lo &longs;pacio <lb/>d'un &longs;egno, che è la duodecima parte del Cielo in un me&longs;e, la doue in dodici me&longs;i, andan <lb/>do per lo &longs;pacio di dodici &longs;egni, quando ritorna al &longs;egno, donde prima &longs;i partì, compie <lb/>lo &longs;pacio d'un'anno; & quel giro, che fa la Luna tredicí fiate in dodici me&longs;i, il Sole mi&longs;ura <lb/>ne i mede&longs;imi &longs;egni una fiata. </s> </p> <p type="main"> <s id="s.006811"><emph type="italics"/>Poi che Vitr. ci ha dimostrato, che &longs;i truoua diuer&longs;ità ne i mouimenti de i cieli quanto a i ter­<lb/>mini del mouimento, hora egli ci dimostra e&longs;&longs;ere diuer&longs;ità nella tardezza, & nella uelocità, & <lb/>determina gli &longs;pacij del tempo, ne i quali cia&longs;cuno fa il &longs;uo mouimento. </s> <s id="s.006812">Noi per maggior chia­<lb/>rezza proponeremo alcune co&longs;e dell'ordine, del numero, della po&longs;itione, del &longs;ito, & del mouimen<lb/>to delle sfere cele&longs;ti. </s> <s id="s.006813">Otto &longs;ono i cieli, o per dir meglio tutta la machina cele&longs;te contiene otto gi­<lb/>ri di cieli &longs;eparati, contigui, & concentrici, oltra i quali non è mouimento alcuno, &longs;e non imagi­<lb/>nato per &longs;aluar le apparenze. </s> <s id="s.006814">&longs;ette cieli &longs;i danno a i &longs;ette pianeti gia numerati: il piu pro&longs;&longs;imo <lb/>alla terra è la Luna, il piu lontano, Saturno. <!-- KEEP S--></s> <s id="s.006815">l'ottauo cielo è delle &longs;telle fi&longs;&longs;e, detto firmamento, <lb/>ilquale è grandi&longs;&longs;imo, & capace di tutti i predetti cieli. </s> <s id="s.006816">Que&longs;to numero è &longs;tato compre&longs;o dalla <lb/>uelocità delle &longs;telle inferiori, & dalla tardezza delle &longs;uperiori. </s> <s id="s.006817">perche le &longs;telle de i cieli di &longs;opra <lb/>(intendo delle erranti) uanno piu tarde, che quelle di &longs;otto, cioè uogliono piu tempo a raggirar&longs;i, <lb/>perche fanno maggior uiaggio, conformando&longs;i al primo mouimento. </s> <s id="s.006818">Euui un'altro argomento, <lb/>che &longs;i piglia dalla occultatione de i corpi piu alti, percioche e&longs;&longs;endo noi nel piu ba&longs;&longs;o luogo, non è <lb/>dubbio, che quello, che ci è piu uicino a gli occhi non cuopra, o non occulti quello, che &longs;ta di &longs;o­<lb/>pra, quando &longs;i trapone tra la no&longs;tra ui&longs;ta, & il corpo &longs;uperiore: Aggiugnendoui quella differen <lb/>za, che è tra il luogo, a cui peruiene la no&longs;tra ui&longs;ta, da quello, doue è ueramente la &longs;tella, o il pia­<lb/>neta. </s> <s id="s.006819">laqual differenza &longs;i &longs;uol chiamare, diuer&longs;ità dell'a&longs;petto, laquale non è altro, che un'arco <lb/>d'un circolo grande, che ci pa&longs;&longs;a &longs;opra la te&longs;ta, compre&longs;o da due linee, dellequali una imaginiamo, <lb/>che &longs;i parta dal centro del mondo: l'altra dall'occhio no&longs;tro, che è nella &longs;uperficie della terra, & <lb/>pa&longs;&longs;i per lo centro della &longs;tella ueduta, & termini nello arco predetto. </s> <s id="s.006820">Quella linea, che &longs;i parte <lb/>dal centro della terra, & pa&longs;&longs;ando per lo centro della &longs;tella termina nell'arco imaginato del Zo­<lb/>diaco, è detta linea del uero luogo, perche è dimo&longs;tratrice, & indice del uero luogo della &longs;tella <lb/>Ma quella linea, che ua dall'occhio per lo centro della &longs;tella al Zodiaco è detta, linea dell'apparen<lb/>za, come quella, che dimo&longs;tra il luogo apparente. </s> <s id="s.006821">perilche lo angulo compre&longs;o &longs;otto quelle dritte <lb/>linee &longs;arà la quantità della diuer&longs;ità, laquale &longs;arà tanto maggiore, quanto la &longs;tella &longs;arà piu ba&longs;­<lb/>&longs;a, & piu uicina all'Orizonte. <!-- KEEP S--></s> <s id="s.006822">imperoche &longs;tandoci la &longs;tella &longs;opra il capo, non &longs;i uede alcuna diuer<lb/>&longs;ità, perche amendue le linee, & quella del uero luogo, & quella dell'apparenza diuentano una <lb/>&longs;ola. </s> <s id="s.006823">però &longs;imil diuer&longs;ità nella Luna, è grandißima: picciola nel Sole: in Marte apena &longs;i uede; & <lb/>ne i pianeti di &longs;opra non &longs;i comprende, perche &longs;ono lontanißimi: & la figura delle dette co&longs;e, è <lb/>qui appre&longs;&longs;o. </s> <s id="s.006824">La Luna adunque & c.<emph.end type="italics"/><!-- REMOVE S--><emph type="italics"/>a. <!-- REMOVE S-->il centro del mondo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006825"><emph type="italics"/>b. <!-- REMOVE S-->l'occhio nella &longs;uperficie della terra.<emph.end type="italics"/></s> <pb pagenum="372" xlink:href="045/01/386.jpg"/> <s id="s.006826">not transcribed</s><figure id="id.045.01.386.1.jpg" xlink:href="045/01/386/1.jpg"/> <pb pagenum="373" xlink:href="045/01/387.jpg"/> <s id="s.006827"><emph type="italics"/>&longs;pacio, che il Sole dimora &longs;otto uno de i dodici &longs;egni, & co&longs;i uno me&longs;i &longs;arà la duodecima parte <lb/>dell'anno. </s> <s id="s.006828">Egli &longs;i chiama me&longs;e lo &longs;pacio, che è da una congiuntione all'altra, che è di giorni uen­<lb/>tinoue è mezo, poco piu. </s> <s id="s.006829">Finalmente me&longs;e &longs;i chiama quel tempo, che pone la Luna in girar tutto <lb/>il Zodiaco andando di &longs;egno in &longs;egno, ilche dice Vitru. che &longs;i fa in giorni uentiotto, & qua&longs;i un'ho <lb/>ra. </s> <s id="s.006830">& questo &longs;i puo chiamare anno Lunare, benche Vitr. lo chiami me&longs;e Lunare. <!-- KEEP S--></s> <s id="s.006831">io ponerò qui <lb/>&longs;otto una tauola distinta di tutti i mouimenti de i cieli &longs;econdo la o&longs;&longs;eruatione de i moderni, i quali <lb/>per &longs;eruare alcune apparenze hanno aggiunto all'ottauo altri cieli.<emph.end type="italics"/></s> </p> <p type="head"> <s id="s.006832"><emph type="italics"/>TAVOLA DEL MOVIMENTO DE I CIELI.<emph.end type="italics"/><!-- KEEP S--></s> </p> <figure id="id.045.01.387.1.jpg" xlink:href="045/01/387/1.jpg"/> <p type="main"> <s id="s.006834">Ma la &longs;tella di Mercurio & la &longs;tella di Venere girando&longs;i d'intorno i raggi del Sole, & <lb/>coronando con i uiaggi loro il Sole, a gui&longs;a di centro fanno i ritorni, & le dimore, & an­<lb/>che con le &longs;tationi loro per quella giratione dimorano ne gli &longs;pacij de i &longs;egni. </s> <s id="s.006835">& che que­<lb/>&longs;to &longs;ia uero, &longs;i fa chiaro dalla &longs;tella di Venere, percioche &longs;eguitando ella il Sole, & appa­<lb/>rendoci dopo il tramontar di quello, & rilucendo chiari&longs;simamente, &longs;i chiama per que&longs;to <lb/>Ve&longs;perugine: ma in altri tempi andandogli inanzi, & leuando&longs;i inanzi il giorno, &longs;i chia­<lb/>ma Lucifer. </s> <s id="s.006836">& per quello alcune fiate piu giorni dimorano in un &longs;egno, alcune fiate piu <lb/>pre&longs;to entrano in un'altro, & però perche non compieno egualmente il numero de i gior­<pb pagenum="374" xlink:href="045/01/388.jpg"/>ni in cia&longs;cuno de i &longs;egni, quanto prima hanno ritardato, tanto con piu ueloce cor&longs;o pa&longs;­<lb/>&longs;ando agguagliano il camino, & lo pareggiano perfettamente. </s> <s id="s.006837">& co&longs;i na&longs;ce, che auegna <lb/>che dimorino in alcuni &longs;egni, niente di meno poi che &longs;i tolgono dalla nece&longs;sità della tar­<lb/>danza, pre&longs;tamente con&longs;egui&longs;ceno il giu&longs;to circoito. </s> <s id="s.006838">Ma la &longs;tella di Mercurio co&longs;i pa&longs;­<lb/>&longs;a il cor&longs;o &longs;uo nel cielo, che correndo per gli &longs;pacij de i &longs;egni in giorni trecento&longs;e&longs;&longs;anta <lb/>ritorna a quel &longs;egno d'onde prima &longs;i mo&longs;&longs;e. </s> <s id="s.006839">& il &longs;uo uiaggio co&longs;i &longs;i agguaglia, che cerca <lb/>trenta giorni in ogni &longs;egno ha la ragione del numero &longs;uo. </s> <s id="s.006840">Ma Venere quando è libera <lb/>dall'i npedimento de i raggi del Sole, in trenta giorni trapa&longs;&longs;a lo &longs;pacio d'un &longs;egno. </s> <s id="s.006841">quan­<lb/>to meno in giorni quaranta in cia&longs;cun &longs;egno pati&longs;ce; poi che hauerà fatto la &longs;ua &longs;tatione <lb/>re&longs;titui&longs;ce quella &longs;omma di numero dimorando in un &longs;egno. </s> <s id="s.006842">& però hauendo Venere mi­<lb/>&longs;urato lo intiero circuito del cielo in quattrocento & ottantacinque giorni, torna di nuo­<lb/>uo allo i&longs;te&longs;&longs;o &longs;egno, di doue cominciò il &longs;uo uiaggio. </s> </p> <p type="main"> <s id="s.006843"><emph type="italics"/>In que&longs;ta parte Vitr. è difficile, non concorda con gli altri, & for&longs;e è &longs;corretto il testo. </s> <s id="s.006844">Pli­<lb/>nio che &longs;uole pigliare le facciate intiere da Vitr. in que&longs;ta parte è tutto diuer&longs;o. </s> <s id="s.006845">Vitr. pone i pia­<lb/>neti nece&longs;&longs;itati tardare, gli &longs;cioglie dalla nece&longs;&longs;ità, & qua&longs;i slegandoli uuole, che pareggino con <lb/>la uelocità del cor&longs;o quel uiaggio, che haurebbeno fatto, &longs;e &longs;empre fu&longs;&longs;e stato loro conce&longs;&longs;a la <lb/>libertà di caminare. </s> <s id="s.006846">nè ci dichiara (come &longs;i conuiene) con approuate dimostrationi, donde na­<lb/>&longs;ce questa neceßità, & donde uegna la loro libertà: però nece&longs;&longs;ario ci pare di darne alquanto di <lb/>lume con quelle co&longs;e, che dopo Vitr. con belli fondamenti &longs;ono &longs;tate da gli &longs;tudio&longs;i delle co&longs;e ritro­<lb/>uate. </s> <s id="s.006847">& però la neceßità ci conduce a fare quello, che uoleuamo fuggire. </s> <s id="s.006848">Dichiareremo adunque <lb/>alcuni termini, che fanno al propo&longs;ito nostro. </s> <s id="s.006849">& &longs;ono que&longs;ti. </s> <s id="s.006850">Epiciclo, Deferente, Eccentrico, Con­<lb/>centrico, Giogo, opposto al Giogo, lunghezza media dello Eccentrico, lunghezza media dello <lb/>Epiciclo, Stato, Ritorno, Progre&longs;&longs;o, Argomento, Agguagliamento. <!-- KEEP S--></s> <s id="s.006851">Epiciclo adunque è quello, <lb/>che da Tolomeo &longs;i chiama circolo della diuer&longs;ità, che è una picciola &longs;pera imaginata come aggiun <lb/>ta alla &longs;pera maggiore, che co&longs;i uuole dire la parola Greca; d'intorno la cui circonferenza uoglio <lb/>no gli Astronomi, che &longs;i uolga il corpo del pianeta, il cui centro è nella circconferenza della &longs;pe­<lb/>ra che porta il pianeta, ouero lo Epiciclo uer&longs;o Oriente, detto Deferente, il qual deferente, non <lb/>ha lo iste&longs;&longs;o centro, col centro del mondo, & però egli &longs;i chiama Eccentrico, cioè fuori del centro. <lb/></s> <s id="s.006852">&longs;i come &longs;i chiama concentrico quel circolo, che ha lo iste&longs;&longs;o centro con quello del mondo. </s> <s id="s.006853">però uo­<lb/>lendo noi nel piano formare lo Epiciclo, & il Deferente: imaginiamo il centro. </s> <s id="s.006854">c. <!-- REMOVE S-->dal quale na­<lb/>&longs;ce una linea, l'altro capo dellaquale &longs;ia a, & &longs;ia lo a. <!-- REMOVE S-->centro dello Epiciclo. <!-- KEEP S--></s> <s id="s.006855">Faccia que­<lb/>&longs;to capo. </s> <s id="s.006856">a. <!-- REMOVE S-->un giro perfetto, &longs;tando fermo l'altro nel punto. </s> <s id="s.006857">c. <!-- REMOVE S-->dico che formerà nel piano <lb/>una &longs;uperficie, laquale &longs;i fa per la circonferenza del Deferente. <!-- KEEP S--></s> <s id="s.006858">co&longs;i forma il Sole la Eclittica, <lb/>che è come Deferente del Sole, dallaquale &longs;ono di&longs;tanti i Deferenti de gli altri pianeti, & piega­<lb/>no da i lati. </s> <s id="s.006859">& la iste&longs;&longs;a linea prolungata fin alla concaua &longs;operficie del primo cielo, di&longs;egna in <lb/>quella una circonferenza dello iste&longs;&longs;o nome. </s> <s id="s.006860">il centro dello Epiciclo è &longs;empre nella circonferenza <lb/>del Deferente posto adunque un piede del compa&longs;&longs;o nel punto a. <!-- REMOVE S-->& allargato l'altro fin che <lb/>tocchi il centro del pianeta. </s> <s id="s.006861">d. <!-- REMOVE S-->girando &longs;i a torno &longs;i farà lo Epiciclo. <!-- KEEP S--></s> <s id="s.006862">Stando adunque le gia <lb/>dette co&longs;e, non è alcuno, che non ueda, che la circonferenza del Deferente, & la circonferenza <lb/>dello Epiciclo non &longs;iano d &longs;egualmente distanti dal centro del mondo. </s> <s id="s.006863">f. <!-- KEEP S--></s> <s id="s.006864">Dapoi gli Astronomi <lb/>hanno trouato diuer&longs;i uocaboli alle parti dello Epiciclo, &longs;econdo le distanze loro dal centro del <lb/>mondo. </s> <s id="s.006865">uolendo con quelle dimo&longs;trarci, come &longs;i &longs;alua la diuer&longs;ità delle apparenze, la doue quel <lb/>punto, che è nella circonferenza del Deferente, o dello Epiciclo piu rimoto dal centro del mon­<lb/>do, chiamano auge, che uuol dire &longs;ommità; & però Cicerone lo chiama Iugum. </s> <s id="s.006866">& quel punto, che <lb/>per diametro s'oppone al giogo, nominarono, l'oppo&longs;to del giogo. </s> <s id="s.006867">Et perche al Sole non danno Epi<lb/>ciclo, ma Deferente, però quel punto, che nel Deferente &longs;arà oppo&longs;to al giogo, &longs;imilmente &longs;i chia­<lb/>merà, l'oppo&longs;ito del giogo. </s> <s id="s.006868">Giogo, cima, auge, ab&longs;ides &longs;ono parole d'una i&longs;te&longs;&longs;a co&longs;a. </s> <s id="s.006869">Lunghezza <lb/>media dello Eccentrico è la metà del Diametro. </s> <s id="s.006870">Lunghezza media dello Epiciclo è lo &longs;pacio,<emph.end type="italics"/><pb pagenum="375" xlink:href="045/01/389.jpg"/><emph type="italics"/>che è da un centro all'altro. </s> <s id="s.006871">&longs;i chiamano lunghezze medie ri&longs;petto, che quel punto, che è rimo­<lb/>tißimo dal centro del mondo, che &longs;i chiama giogo, è detto anche lunghezza piu lontana, & quel <lb/>lo, che è uicinißimo al detto centro, che chiamano opposto al giogo, è detto lunghezza piu ui­<lb/>cina dello Eccentrico, ouero dello Epiciclo. <!-- KEEP S--></s> <s id="s.006872">Que&longs;ti due punti &longs;ono termini d'una linea dritta, <lb/>che pa&longs;&longs;a per amendue i centri, laquale &longs;i chiama linea del giogo: percioche è dimostratrice del <lb/>giogo. </s> <s id="s.006873">la onde &longs;i come nello Eccentrico la maggior lontananza è tanto piu del &longs;emidiametro del <lb/>lo Eccentrico, quanto è lo &longs;pacio, che è tra uno centro & l'altro: co&longs;i la minore è tanto meno del <lb/>&longs;emidiametro, quanto quella è di piu: & il &longs;emidiametro è la lunghezza media. </s> <s id="s.006874">Similmente nello <lb/>Epiciclo la lunghezza maggiore &longs;arà tanto piu d'uno &longs;pacio, che è tra uno centro, & l'altro, quan <lb/>to è il &longs;emidiametro dello Epiciclo: & tanto dallo i&longs;te&longs;&longs;o &longs;pacio &longs;arà &longs;uperata la minore. </s> <s id="s.006875">la onde <lb/>lo &longs;pacio che &longs;arà tra l'uno centro, & l'altro &longs;arà la di&longs;tanza di mezo, che media lunghezza &longs;i <lb/>chiama. </s> <s id="s.006876">percioche è molto ragioneuole, che la lunghezza media &longs;ia tanto meno della maggiore, <lb/>quanto e&longs;&longs;a è di piu della minore. </s> <s id="s.006877">Chi bene con&longs;idera quello, che fin hora s'è detto, comprenderà, <lb/>che tanto nello Eccentrico, quanto nello Epiciclo qualunque punto, quanto &longs;i trouerà nella cir­<lb/>conferenza piu rimoto & di&longs;costo dalla lunghezza maggiore, tanto &longs;arà piu uicino al centro del <lb/>mondo: & quelli punti, che &longs;aranno egualmente di&longs;tanti dal punto del giogo, &longs;aranno anche egual <lb/>mente di&longs;tanti dal centro del mondo. </s> <s id="s.006878">Da queste co&longs;e &longs;i ha tutta la diuer&longs;ità del mouimento, che <lb/>ci appare, cioè con que&longs;te de&longs;crittioni &longs;i &longs;alua la diuer&longs;ità di tutte le apparenze, & però molto <lb/>cautamente &longs;i deono intendere questi uocaboli, perche &longs;ono &longs;tati ritrouati per dare ad intendere <lb/>le co&longs;e del cielo a quel modo, che &longs;i puo: perche non &longs;i troua, nè Epiciclo, ne Giogo, nè Deferen­<lb/>te, nè altra co&longs;a &longs;imigliante nel mondo. </s> <s id="s.006879">Vediamo adunque come &longs;i troua la diuer&longs;ità de i mo­<lb/>uimenti. </s> <s id="s.006880">Ma prima poniamo la figura delle co&longs;e dette.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006881"><emph type="italics"/>a b. <!-- REMOVE S-->è il deferente.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006882"><emph type="italics"/>c. <!-- REMOVE S-->il centro del deferente.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006883"><emph type="italics"/>d e. <!-- REMOVE S-->lo epiciclo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006884"><emph type="italics"/>a. <!-- REMOVE S-->il centro dello epiciclo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006885"><emph type="italics"/>f. <!-- REMOVE S-->il centro del mondo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006886"><emph type="italics"/>a. <!-- REMOVE S-->il giogo del deferente.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006887"><emph type="italics"/>b. <!-- REMOVE S-->l'oppo&longs;to al giogo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006888"><emph type="italics"/>d. <!-- REMOVE S-->il giogo dell'epiciclo.<emph.end type="italics"/></s> </p> <figure id="id.045.01.389.1.jpg" xlink:href="045/01/389/1.jpg"/> <p type="main"> <s id="s.006889"><emph type="italics"/>Poniamo ca&longs;o, che'l pianeta &longs;i moua portato immediate dal <lb/>&longs;uo Epiciclo, benche egli &longs;i moua egualmente &longs;opra il &longs;uo cen­<lb/>tro, non dimeno pare, che egli muti il &longs;uo tenore &longs;opra qualun­<lb/>que altro punto, che &longs;ia nel cerchio, & &longs;imilmente &longs;opra il cen<lb/>tro del mondo. </s> <s id="s.006890">Que&longs;ta mutatione &longs;i &longs;alua per ragione di pro&longs;pettiua, imperoche posto, che mol­<lb/>te co&longs;e &longs;i mouino con eguale uelocità, pure quelle che &longs;ono piu lontane da noi pareno men ueloci, <lb/>che le piu uiciue. </s> <s id="s.006891">Et però hauendo compre&longs;o gli A&longs;tronomi, che il Sole in diuer&longs;i luoghi del Zo­<lb/>diaco, diuer&longs;amente &longs;i muoue, & uolendo &longs;aluare tanta diuer&longs;ità, & non uolendo attribuire ad <lb/>un corpo &longs;i nobile tanta di&longs;agguaglianza, &longs;i hanno imaginato diuer&longs;i cerchi, i centri de i quali <lb/>non fu&longs;&longs;ero gli i&longs;te&longs;&longs;i, col centro del Mondo. <!-- KEEP S--></s> <s id="s.006892">Egli adunque adiuiene, che piu lenta ci appare una <lb/>&longs;tella, e&longs;&longs;endo nel giogo, che lontana dal giogo, perche nel giogo è piu rimota. </s> <s id="s.006893">Ecci un'altro <lb/>modo di diuer&longs;ità nel mouimento, perche &longs;e il pianeta dallo epiciclo, & lo epiciclo dal concentri <lb/>co portato fu&longs;&longs;e, non però &longs;arebbe meno la diuer&longs;ità, imperoche il pianeta portato dall'uno, & <lb/>l' altro uer&longs;o leuante, &longs;enza dubbio andrebbe piu ueloce, che &longs;e fu&longs;&longs;e portato dal concentrico &longs;o­<lb/>lo, & per lo epiciclo &longs;e ne ste&longs;&longs;e, o &longs;e ne torna&longs;&longs;e a dietro, percioche nel toccamento di quelle li­<lb/>nee, che &longs;i parteno dal centro, & uanno all'epiciclo, pare che la &longs;tella, quanto al mouimento del <lb/>lo epiciclo, &longs;i &longs;tia, ma in una metà della circonferenza pare, che uada inanzi, & nell'altra,<emph.end type="italics"/><pb pagenum="376" xlink:href="045/01/390.jpg"/><emph type="italics"/>che torni in dietro. </s> <s id="s.006894">Ecco lo e&longs;&longs;empio. </s> <s id="s.006895">Imaginiamo, che uno cauallo corra intorno un cerchio. </s> <s id="s.006896"><lb/>grandi&longs;&longs;imo, & l'huomo fuori, & lontano dal cerchio ftia a guardare, certo è che quel cauallo <lb/>gli parer à hora tardo, hora ueloce, hora fermo, hora andar inanzi, hora tornar a dietro ben­<lb/>che egualmente egli &longs;i muoua. </s> <s id="s.006897">Et que&longs;to adiuiene per la natura del circolo, che è fatto di contra­<lb/>rij. </s> <s id="s.006898">Come dice Ari&longs;totile nelle Mechaniche. </s> <s id="s.006899">Co&longs;i il pianeta nell'arco di &longs;opra il contatto di que­<lb/>&longs;te linee, parerà fermo a noi, che &longs;tiamo al ba&longs;&longs;o, ma nel re&longs;to della circonferenza nel luogo op­<lb/>po&longs;to al giogo ci parerà ueloci&longs;&longs;imo, & &longs;imilmente nel giogo al piu lento. </s> <s id="s.006900">Ma nello arco di &longs;o­<lb/>pra dello epiciclo dapoi il contatto delle linee, i luminari &longs;ono portati da leuante a ponente, ma <lb/>nell'arco inferiore &longs;ono portati col deferente: Ma gli altri pianeti &longs;ono portati con mouimento con <lb/>trario, dalche adiuiene, che il mouimento del pianeta è composto di due mouimenti, l'uno è del <lb/>lo epiciclo, l'altro del diferente, come &longs;e uno fu&longs;&longs;e da una galera portato inanzi, & egli in quel <lb/>mezo anda&longs;&longs;e a torno i fori, la doue &longs;e l'uno, & l'altro mouimento &longs;arà uer&longs;o leuante allhora e&longs;­<lb/>&longs;endo il pianeta da due mouimenti portato, piu uelocemente &longs;i mouerà, come &longs;e uno da una gale­<lb/>ra portato inanzi, egli &longs;imilmente anda&longs;&longs;e da poppa a prora. </s> <s id="s.006901">Ma &longs;e'l pianeta anderà con moui­<lb/>menti contrarij, &longs;e quelli &longs;aranno eguali, cioè che tanto per uno anda&longs;&longs;e inanzi, quanto per l'al­<lb/>tro anda&longs;&longs;e in dietro, parerà, che egli &longs;tia: come &longs;e uno camina&longs;&longs;e tanto uer&longs;o la poppa, quanto <lb/>dalla galera fu&longs;&longs;e inanzi portato. </s> <s id="s.006902">Ma &longs;e &longs;aranno di&longs;eguali uincerà il piu ueloce: però &longs;e il moui­<lb/>mento del deferente &longs;arà piu gagliardo, che il mouimento dello epiciclo, il pianeta anderà uer&longs;o <lb/>Leuante: ma &longs;e &longs;arà il contrario, il pianeta anderà uer&longs;o ponente, & a questo modo &longs;arà retro­<lb/>grado: come &longs;e uno torna&longs;&longs;e in dietro meno di quello, che è portato inanzi dalla galera, parerà <lb/>pure, che egli uadi inanzi, ma &longs;e piu &longs;i contraporrà, parerà, che ritorni, & però lo &longs;tare, & il <lb/>regre&longs;&longs;o, auuiene alli cinque pianetinello arco inferiore dello epiciclo, percioche in que luoghi &longs;o­<lb/>no dallo epiciclo portati contra il mouimento del deferente. </s> <s id="s.006903">Et auuiene, che in alcuni luoghi il <lb/>mouimento dello epiciclo &longs;ia pari, & in alcuni piu ueloce del mouimento del deferente. </s> <s id="s.006904">Ma al <lb/>Sole, & alla Luna, lo &longs;tato auuenirebbe nello arco di &longs;opra dello epiciclo, perche in quel luo­<lb/>go lo epiciclo ua contra il deferente, ma perche non lo uince, nè gli è pare, però al Sole, & alla <lb/>Luna non &longs;ida &longs;tato nèregre&longs;&longs;o, come accenna Vitr. <!-- KEEP S--></s> <s id="s.006905">Daremo adunque al Sole ouero il deferente <lb/>eccentrico &longs;olamente, ouero lo epiciclo col concentrico: imperoche &longs;e il Sole nella circonferenza <lb/>di &longs;opra dello epiciclo è portato da leuante a ponente, & che il mouimento dello epiciclo &longs;ia tan­<lb/>to &longs;imile al mouimento dello eccentrico, quanto del concentrico, come è dallo &longs;patio de i centri, <lb/>al &longs;emidiametro dello epiciclo, in qual &longs;i uoglia modi di due, ne ha da &longs;eguire la i&longs;te&longs;&longs;a apparenza <lb/>del mouimento. </s> <s id="s.006906">Ma perche il modo dello eccentrico &longs;i contenta di un &longs;olo mouimento, però èsta­<lb/>to preferito, & eletto piu presto, che il modo dello epiciclo. </s> <s id="s.006907">Ma come &longs;ia &longs;tata cono&longs;ciuta la di <lb/>stanza de i centri, & il luogo del giogo dirò breuemente. </s> <s id="s.006908">Quattro punti principali &longs;ono con&longs;ide<lb/>rati nel zodiaco, due &longs;ono stati attribuiti a gli equinottij, due a i &longs;olstitij, che &longs;ono di mezo tra <lb/>gli equinottij. </s> <s id="s.006909">dalla con&longs;ideratione de gli &longs;patij, & de i mouimenti come de i tempi, è stata cono­<lb/>&longs;ciuta la distanza de i centri, & il luogo del giogo. </s> <s id="s.006910">Ecco imaginiamoci due linee una, che &longs;i par <lb/>ga dal centro del deferente del Sole, che peruenga al centro del Sole, l'altra egualmente distante, <lb/>dal centro del mondo fin al zodiaco, che è la linea del mezano mouimento, certo è che mentre <lb/>queste linee &longs;aranno intorno girate, &longs;erueranno uno iste&longs;&longs;o tenore, perche la linea del uero moui <lb/>mento è quella, che trapa&longs;&longs;a dal centro del mondo, per lo centro del Sole, & peruiene fin al zo­<lb/>diaco. </s> <s id="s.006911">& quell'arco, che è tra la linea del uero, & la linea del mezano mouimento, è detto <lb/>l'agguaglianza del Sole. <!-- KEEP S--></s> <s id="s.006912">& nel giogo, & nello opposto al giogo è nullo perche le due linee concor <figure id="id.045.01.390.1.jpg" xlink:href="045/01/390/1.jpg"/> <pb pagenum="377" xlink:href="045/01/391.jpg"/> <figure id="id.045.01.391.1.jpg" xlink:href="045/01/391/1.jpg"/> reno in una. </s> <figure id="id.045.01.391.2.jpg" xlink:href="045/01/391/2.jpg"/> <s id="s.006931">Ma nelle lunghezze mezane proportionalmen­<lb/>te è grandi&longs;&longs;imo, & ne i punti dal giogo egualmente distanti <lb/>&longs;ono gli agguagliamenti eguali, & tanto maggiori, quanto <lb/>&longs;ono piu uicini alla lunghezza piu lunga. </s> <s id="s.006932">Il mezano moui­<lb/>mento adunque dal principio dello Ariete, &longs;econdo l'ordine <lb/>de i &longs;egni, &longs;e ne ua fin alla linea del mezano mouimento, &longs;i <lb/>come il uero mouimento è fin alla linea del uero mouimen­<lb/>to: d'indi cominciando &longs;i conduce: la doue lo argomento del Sole, o quello arco del zo­<lb/>diaco, che è intercetto dalla linea del giogo dello eccentrico &longs;econdo l'ordine de i &longs;egni, & la li­<lb/>nea del mezano mouimento; & è co&longs;i chiamato, perche da quello &longs;i argomenta l'angulo dello ag <lb/>guagliamento, il che quando è nel &longs;emicircolo inferiore, la linea del mezano mouimento, ua <lb/>inanzi la linea del uero: ma quando pa&longs;&longs;a il &longs;emicircolo, allhora precede la linea del mezano mo<lb/>uimento. </s> <s id="s.006933">& però di &longs;opra &longs;i &longs;ottragge, & qui &longs;i aggiugne al mezano mouimento, accioche &longs;i <lb/>po&longs;&longs;a cauare il uero mouimento. </s> <s id="s.006934">ma per hora la&longs;cierò, che il lettore ricorra al Maurolico, che <lb/>pur troppo mi pare hauere l'altrui opra operato, bi&longs;ogna bene auuertire di porre in qualche prin<lb/>cipio la radice del mezano mouimento, &longs;opra la quale egli &longs;i po&longs;&longs;a in quello in&longs;tante, che uole-<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006935"><emph type="italics"/>a b g. <!-- REMOVE S-->lo eccentrico d. <!-- REMOVE S-->il &longs;uo centro.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006936"><emph type="italics"/>e. <!-- REMOVE S-->il centro del mondo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006937"><emph type="italics"/>a d g. <!-- REMOVE S-->la linea del giogo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006938"><emph type="italics"/>b. <!-- REMOVE S-->il centro del &longs;ole.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006939"><emph type="italics"/>e z. <!-- KEEP S--></s> <s id="s.006940">la linea del mezano mouimento parallela alla li­<lb/>nea b d.<emph.end type="italics"/><!-- REMOVE S--><emph type="italics"/>e h. <!-- REMOVE S-->la linea del uero mouimento.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006941"><emph type="italics"/>b e z. <!-- KEEP S--></s> <s id="s.006942">angolo è l'equatione.<emph.end type="italics"/></s> </p> <figure id="id.045.01.391.3.jpg" xlink:href="045/01/391/3.jpg"/> <p type="main"> <s id="s.006943"><emph type="italics"/>mo calculare il mezano mouimento del &longs;ole. </s> <s id="s.006944">Da que&longs;ta <lb/>radice &longs;i ua o&longs;&longs;eruando il uero mouimento, &longs;econdo la &longs;cien <lb/>za de i triangoli piani. </s> <s id="s.006945">Imperoche da tre linee, che lega <lb/>no tre centri cioè quello del mondo, quello del deferente, <lb/>& quello del &longs;ole tre angoli &longs;i uedeno nel triangolo da e&longs;&longs;er<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006946"><emph type="italics"/>a b g. <!-- REMOVE S-->il concentrico d. <!-- REMOVE S-->il &longs;uo centro.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006947"><emph type="italics"/>t z. <!-- KEEP S--></s> <s id="s.006948">lo eccentrico h. <!-- REMOVE S-->il &longs;uo centro.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006949"><emph type="italics"/>e z. <!-- KEEP S--></s> <s id="s.006950">lo epiciclo g. <!-- REMOVE S-->il &longs;uo centro.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006951"><emph type="italics"/>d h. <!-- REMOVE S-->& g z. <!-- KEEP S--></s> <s id="s.006952">eguali.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006953"><emph type="italics"/>d z. <!-- KEEP S--></s> <s id="s.006954">parallelogrammo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006955"><emph type="italics"/>Il mouimento.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006956"><emph type="italics"/>del concentrico a d g.<emph.end type="italics"/><!-- REMOVE S--><emph type="italics"/>del epiciclo. </s> </p> <p type="main"> <s id="s.006957">e g z.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.006958"><emph type="italics"/>dello eccentrico t h z. <!-- KEEP S--></s> <s id="s.006959">ouero t d g.<emph.end type="italics"/><!-- REMOVE S--><emph type="italics"/>del giogo dello eccentrico a d z.<emph.end type="italics"/><!-- REMOVE S--><emph type="italics"/>Gli angoli t h z. <!-- KEEP S--></s> </p> <p type="main"> <s id="s.006960">& e g z. <!-- KEEP S--></s> <s id="s.006961">&longs;ono eguali.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006962"><emph type="italics"/>L'angolo a d g. <!-- REMOVE S-->eguale a gli angoli.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.006963"><emph type="italics"/>a d t.<emph.end type="italics"/><!-- REMOVE S--><emph type="italics"/>t d g.<emph.end type="italics"/><!-- REMOVE S--><emph type="italics"/>formato, l'uno è l'angolo dello agguagliamento, gli altri due &longs;ono quelli, che formano le due li-<emph.end type="italics"/><pb pagenum="378" xlink:href="045/01/392.jpg"/><emph type="italics"/>nee, l'una del uero, l'altra del mezano mouimento con la line a del giogo: & e&longs;&longs;endocl manife&longs;ta <lb/>quella proportione, che hanno tra &longs;e due lati di que&longs;to triangolo, l'uno de quali è il &longs;emidiametro <lb/>dello eccentrico, & l'altro quello &longs;patio, che e&longs;ce dal centro, egli adiuiene, che propo&longs;toci uno <lb/>qual &longs;i uoglia de i triangoli &longs;ar anno manife&longs;ti anche gli altri. </s> <s id="s.006964">Per il che concludemo, che o datoci <lb/>il mezano mouimento, o il uero, o l'agguagliamento cia&longs;cuno da &longs;e, quanto prima uno di quelli <lb/>ci &longs;arà manife&longs;to, egli &longs;i potrà cono&longs;cere anche i due. </s> <s id="s.006965">Tutte que&longs;te co&longs;e &longs;ono co&longs;i de&longs;critte per &longs;al <lb/>uar le apparenze, la irregolarità del mouimento del Sole d'intorno al centro del mondo, & per <lb/>istabilire un certo, & determinato conto dello iste&longs;&longs;o mouimento, come per la figura &longs;i dimostra <lb/>&longs;egnata O. <!-- KEEP S--></s> <s id="s.006966">Poi che hauemo detto del Sole; &longs;eguita, che &longs;i con&longs;ideri il mouimento della Luna, & <lb/>&longs;ua diuer&longs;ità, & uero luogo. </s> <s id="s.006967">Dico adunque, che il uero luogo della Luna &longs;i fa manife&longs;to per lo <lb/>ecli&longs;&longs;e di quella. </s> <s id="s.006968">Imperoche chi bene auuerti&longs;ce al principio, & al fine dello ecli&longs;&longs;e, egli &longs;iha <lb/>lo in&longs;tante del mezo, nel quale la Luna è giu&longs;tamente per diametro oppo&longs;ta al Sole. <!-- KEEP S--></s> <s id="s.006969">La doue e&longs;&longs;en<lb/>doci noto per le co&longs;e gia dimo&longs;trate il luogo del Sole, non ha dubbio, che non &longs;iamo per &longs;apere il <lb/>luogo della Luna: & que&longs;ta è la piu &longs;icura uia, che &longs;ia. </s> <s id="s.006970">Ma la diuer&longs;ità del &longs;uo mouimento è &longs;ta­<lb/>ta o&longs;&longs;eruata, poi che s'hebbe ueduto, che nello i&longs;te&longs;&longs;o luogo del zodiaco la Luna non era &longs;empre <lb/>ueloce ad un modo, & che in diuer&longs;i modi era riferita al Sole: & però diedero la prima diuer&longs;i­<lb/>tà allo epiciclo, & l'altra allo eccentrico. </s> <s id="s.006971">Quattro punti &longs;ono nello epiciclo, in uno la Luna è ue<lb/>loci&longs;&longs;ima; percioche il deferente concorre con lo epiciclo ad una i&longs;te&longs;&longs;a parte: ma nello oppo&longs;to è <lb/>tardi&longs;&longs;ima, percioche lo epiciclo molto repugna al deferente. </s> <s id="s.006972">Ma ne i due punti di mezo la Lu­<lb/>na &longs;i moue temperatamente. </s> <s id="s.006973">Que&longs;ti quattro punti co&longs;i parti&longs;ceno lo epiciclo, che nella prima par <lb/>te il mouimento è ueloci&longs;&longs;imo, nell'altramediocremente &longs;i rallenta, nella terza è tardi&longs;&longs;imo, nel­<lb/>la quarta mediocremente &longs;i appre&longs;ta. </s> <s id="s.006974">Da que&longs;ta diuer&longs;ità &longs;i ha compre&longs;o da quali parti dello epi<lb/>ciclo la Luna &longs;i muoua, & in quanto &longs;patio di tempo &longs;i raggira d'intorno lo epiciclo. </s> <s id="s.006975">& per haue­<lb/>re piu preci&longs;amente que&longs;to tempo, gli &longs;peculatori ele&longs;&longs;ero due eccli&longs;&longs;i della Luna, ne i quali la Lu­<lb/>na &longs;imilmente, & con egualità &longs;i moue&longs;&longs;e, &longs;eruando nell'uno, & nell'altro ecli&longs;&longs;e la mede&longs;ima <lb/>diuer&longs;ità del mouimento, di modo, che fu&longs;&longs;ero certi, che la Luna fu&longs;&longs;e nello i&longs;te&longs;&longs;o luogo dello epi<lb/>ciclo. </s> <s id="s.006976">Da que&longs;ta o&longs;&longs;eruanza &longs;ono &longs;tati certificati, che nello &longs;patio di due ecli&longs;&longs;i la Luna haueua <lb/>fornito il numero delle &longs;ue intiere riuolutioni: percioche era ritornata a quello i&longs;te&longs;&longs;o luogo del­<lb/>lo epiciclo, & finalmente haueua perfetto il numero de i me&longs;i Lunari, e&longs;&longs;endo tornata al luogo <lb/>oppo&longs;to del Sole. <!-- KEEP S--></s> <s id="s.006977">Allhora adunque haueremo cono&longs;ciuto il numero delle riuolutioni dello epici­<lb/>clo, quando ci &longs;arà manife&longs;to lo &longs;patio di una riuolutione: auenga che non co&longs;i preci&longs;amente. </s> <s id="s.006978">nè <lb/>per que&longs;to anche ci puo e&longs;&longs;ere a&longs;co&longs;o il numero de i me&longs;i Lunari, ogni fiata, che potre­<lb/>mo hauere il numero della uolta, & della piena della Luna. <!-- KEEP S--></s> <s id="s.006979">& per lo &longs;patio del tem­<lb/>po tra un'ecli&longs;&longs;e, & l'altro partito nel numero de i me&longs;i Lunari haueremo la quanti­<lb/>tà del me&longs;e Lunare. <!-- KEEP S--></s> <s id="s.006980">& perche nel detto me&longs;e la Luna compie una riuolutione della lunghezza <lb/>& ui aggiugne tanto di&longs;patio, quanto in quello i&longs;te&longs;&longs;o me&longs;e il Sole &longs;i moue: però tutto quel circo <lb/>lo intiero con il detto mouimento del Sole partito nel numero de i giorni del me&longs;e lunare con' i &longs;uoi <lb/>minuti, ci darà ad intendere quanto &longs;ia il diurno mouimento della Luna. <!-- KEEP S--></s> <s id="s.006981">Ouero per &longs;apere lo <lb/>iste&longs;&longs;o mouimento diurno della Luna &longs;i puo al numero delle riuolutioni fatte nel detto &longs;patio di due <lb/>ecli&longs;&longs;i aggiugnere il mouimento del Sole fatto nel detto &longs;patio, & raccogliere tutto il mouimento <lb/>della Luna fatto in quello &longs;patio, & partirlo nel numero de i giorni di quello &longs;patio. </s> <s id="s.006982">Et di piu lo <lb/>intiero circolo partito nel numero de i giorni Lunari, & de i minuti &longs;imilmente il numero de i gra­<lb/>di delle riuolutioni del predetto &longs;patio partito nel numero de i giorni dello i&longs;te&longs;&longs;o &longs;patio, ci fa ma­<lb/>nife&longs;to quanto per ogni giorno la Luna &longs;i diparta dal Sole, che tanto uuol dire, quanto il moui <lb/>mento d'un giorno della Luna, è di piu del mouimento del Sole. <!-- KEEP S--></s> <s id="s.006983">Nè altrimenti il numero delle <lb/>riuolutioni della Luna nello epiciclo conuertito in gradi, & partito nel numero de i gradi dello in <lb/>teruallo, ci farà cono&longs;cer, quanto &longs;i muoue nello epiciclo ogni dì la Luna. <!-- KEEP S--></s> <s id="s.006984">In que&longs;to mo­<lb/>do &longs;i comprende il mouimento della lunghezza e&longs;&longs;er'ogni giorno di gradi 15. minuti 10. &longs;e-<emph.end type="italics"/><pb pagenum="379" xlink:href="045/01/393.jpg"/><emph type="italics"/>onde 15. Et il mouimento dello epiciclo e&longs;&longs;ere gradi 3. minuti 3. &longs;econde 54. Lungo &longs;areb­<lb/>be a ricapitular tutto quello, che nella &longs;peculatione della Luna &longs;i puo dire. </s> <s id="s.006985">Però riportando&longs;i a gli <lb/>&longs;crittori, pa&longs;&longs;aremo a gli altri pianeti, & prima a i due &longs;ottopo&longs;ti al Sole, cioè a Mercurio, & a Ve <lb/>nere. </s> <s id="s.006986">Dico adunque, che gli A&longs;tronomi hanno auuertito questi due pianeti partir&longs;i dal Sole, & <lb/>allontanar&longs;i fino a certi termini dall'una parte, & dall'altra, & nel mezo del loro andare, <lb/>& del loro ritorno congiugner&longs;i con il Sole, ma quando erano da i lati del Sole, nelle loro &longs;tationi <lb/>ritrouar&longs;i di&longs;co&longs;ti&longs;&longs;imi dal Sole, & però conclu&longs;ero, che &longs;imil progre&longs;&longs;o, & regre&longs;&longs;o, &longs;i doueua <lb/>&longs;aluare con lo epiciclo dimodo, che lo centro dello epiciclo col Sole a torno &longs;i moue&longs;&longs;e, & che <lb/>l'uno, & l'altro pianeta dal Sole &longs;i allontana&longs;&longs;e tanto, quanto daua loro la lunghezza dello epi­<lb/>ciclo: ma perche raccogliendo in&longs;ieme, due contrarie, & grandi&longs;&longs;ime di&longs;tanze de i detti pianeti <lb/>dal Sole, trouarono come non in ogni luogo &longs;i &longs;eruaua la i&longs;te&longs;&longs;a quantità, & che quella &longs;omma non <lb/>poteua cre&longs;cere, &longs;e non per lo acco&longs;tar&longs;i dello epiciclo, nè &longs;cemare, &longs;e non per appartamento del <lb/>lo epiciclo, per lo quale lo epiciclo hora &longs;i acco&longs;ta&longs;&longs;e, hora &longs;i allontana&longs;&longs;e dal centro del Mondo. <!-- KEEP S--></s> <s id="s.006987"><lb/>Però conce&longs;&longs;ero a i due pianeti inferiori, & lo eccentrico, & lo epiciclo. </s> <s id="s.006988">con que&longs;ta conditione, <lb/>che lo eccentrico &longs;empre porta&longs;&longs;e lo epiciclo a torno col Sole, & quello, i&longs;te&longs;&longs;o fu&longs;&longs;e mezano moui <lb/>mento del Sole; & del pianeta, & lo epiciclo porta&longs;&longs;e il pianeta di qua, & di la rimouendo dal <lb/>Sole, & molto bene quadra&longs;&longs;e, per &longs;aluare i regre&longs;&longs;i, & i mouimenti delle larghezze. </s> <s id="s.006989">Hora per <lb/>&longs;apere, in che modo &longs;i habbia la quantità del mouimento io dico, che bi&longs;ogna o&longs;&longs;eruare il luogo <lb/>del pianeta nel punto del zodiaco, & a&longs;pettare tanto, che di nuouo il pianeta ritorni allo i&longs;te&longs;&longs;o <lb/>luogo, con que&longs;ta conditione, che egli &longs;ia in di&longs;tanza eguale dal luogo di mezo del Sole nell'uno, <lb/>& l'altro luogo. </s> <s id="s.006990">Percioche allhora il pianeta hauerà fornito le intiere riuolutioni dell'uno, & <lb/>l'altro mouimento prima nello eccentrico, perche il punto dello epiciclo &longs;arà ritornato allo i&longs;te&longs;&longs;o <lb/>punto, poi nello epiciclo, perche tornato il pianeta alla di&longs;tanza i&longs;te&longs;&longs;a del Sole, hauerà anche ri­<lb/>trouato lo i&longs;te&longs;&longs;o punto dello epiciclo. </s> <s id="s.006991">Per que&longs;te o&longs;&longs;eruationi &longs;i hauerà il tempo tra&longs;cor&longs;o, & il <lb/>numero delle riuolutioni: imperochene i tre pianeti di &longs;opra, quante &longs;aranno &longs;tate le riuolutioni <lb/>dello epiciclo, & le riuolutioni dello eccentrico, ponendo in&longs;ieme il numero di que&longs;te, & di quel­<lb/>le, tanto nello &longs;te&longs;&longs;o tempo &longs;aranno &longs;tate le riuolutioni del Sole. <!-- KEEP S--></s> <s id="s.006992">ma ne i due inferiori il numero <lb/>delle riuolutioni dello eccentrico, è lo i&longs;te&longs;&longs;o, col numero delle riuolutioni del Sole. <!-- KEEP S--></s> <s id="s.006993">nello i&longs;te&longs;&longs;o <lb/>tempo &longs;imilmente il numero delle riuolutioni &longs;arà dello epiciclo, cono&longs;ciuto, &longs;ubito che &longs;arà da <lb/>noi appre&longs;&longs;o il uero cono&longs;ciuto il tempo d'una riuolutione. </s> <s id="s.006994">La onde il numero delle riuolutioni <lb/>moltiplicato per trecento, & &longs;e&longs;&longs;anta produrrà gradi, & il numero de i gradi partito per <lb/>lo numero de i giorni dello &longs;patio delle fatte o&longs;&longs;eruationi, ci darà quantità del mouimen­<lb/>to diurno. </s> <s id="s.006995">Ma che ordine ne i progre&longs;&longs;i, & ne i ritorni, & quale nece&longs;&longs;ità loro &longs;ia, di­<lb/>rò breuemente, auuertendo prima, che la diuer&longs;ità, o contrarietà di que&longs;ta apparenza <lb/>con uno di due modi &longs;i puo &longs;aluare: o che &longs;i dia al pianeta &longs;olo il deferente eccentrico, ouero lo <lb/>epiciclo col deferente concentrico: cioè che a quel modo, che in cia&longs;cuno de i tre pianeti &longs;uperio­<lb/>ri, raccolti in&longs;ieme i mouimenti dello epiciclo del concentrico, & del pianeta nello epiciclo, &longs;ie­<lb/>no eguali al mezano mouimento del Sole, ma il centro dello ecceatrico &longs;i muoua in&longs;ieme col Sole <lb/>&longs;econdo l'ordine de i &longs;egni, & il pianeta &longs;i muoua con quella uelocità con la quale &longs;i muoue lo epi­<lb/>ciclo nel concentrico, in modo, che quella linea, che uiene dal centro, che è parallela a quella li <lb/>nea, che è tirata dal centro dello eccentrico al centro del pianeta, termini il mezano mouimento <lb/>del pianeta, & que&longs;to &longs;i o&longs;&longs;erua ne i tre &longs;uperiori. </s> <s id="s.006996">Ma ne i due inferiori ponga&longs;i il mouimen­<lb/>to dello epiciclo nel concentrico eguale al mezano mouimento del Sole: ma il mouimento del pia­<lb/>neta nello epiciclo, & il mouimento del centro dello eccentrico &longs;ia eguale alla &longs;omma raccolta dal <lb/>mezo mouimento del Sole, & da quel mouimento, che fa il pianeta nello epiciclo: & il pianeta <lb/>&longs;imilmente &longs;i muoua con la i&longs;te&longs;&longs;a uelocità, con la quale &longs;i muoue lo epiciclo nel concentrico, con <lb/>la i&longs;te&longs;&longs;a conditione &longs;opradetta, cioè in modo, che quella linea, che uiene dal centro, che è paral<lb/>lela alla linea tirata dal centro dello eccentrico al centro del pianeta, termini il mezano moui-<emph.end type="italics"/><pb pagenum="380" xlink:href="045/01/394.jpg"/><emph type="italics"/>mento del pianeta. </s> <s id="s.006997">Et anche aggiuntaui que&longs;ta conditione in quanto a tutti, che i diametri dello <lb/>eccentrico, & del conceutrico, &longs;iano proportionati al &longs;emidiametro dello epiciclo. </s> <s id="s.006998">& alla u&longs;cita <lb/>del centro, & co&longs;i all'uno, & all'altro modo nelle &longs;telle erranti &longs;i potria difendere la ragione del <lb/>progre&longs;&longs;o, & del regre&longs;&longs;o quanto alla diuer&longs;ità, & uarietà. </s> <s id="s.006999">Ma come per lunga i&longs;perienza gli <lb/>o&longs;&longs;eruatori delle &longs;telle hanno compre&longs;o questa prima diuer&longs;irà uariar&longs;i da una &longs;econda diuer&longs;ità, <lb/>però fu nece&longs;&longs;ario dare la prima diuer&longs;ità allo epiciclo, & difendere la &longs;econda col Deferente. <!-- KEEP S--></s> <s id="s.007000"><lb/>Ma quella &longs;ola co&longs;a era a&longs;&longs;ai ba&longs;teuole a fare, che i Deferenti di tutti i pianeti non face&longs;&longs;ero uno <lb/>i&longs;te&longs;&longs;o centro, cioè la &longs;ingularità del mouimento, perche i concentrici communicano il mouimen­<lb/>to il &longs;uperiore allo inferiore. </s> <s id="s.007001">Ma questa communicatione non è &longs;tata auuertita ne i proprij mo­<lb/>uimenti de i pianeti, però non è &longs;tato po&longs;&longs;ibile di dare loro i concentrici.<emph.end type="italics"/></s> </p> <figure id="id.045.01.394.1.jpg" xlink:href="045/01/394/1.jpg"/> <p type="main"> <s id="s.007002"><emph type="italics"/>h K. lo epiciclo b. <!-- REMOVE S-->il &longs;uo centro.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007003"><emph type="italics"/>h. <!-- REMOVE S-->il &longs;uo giogo. </s> <s id="s.007004">n. <!-- REMOVE S-->l'oppo&longs;to.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007005"><emph type="italics"/>K. il punto della prima dimora.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007006"><emph type="italics"/>c. <!-- REMOVE S-->il centro del Mondo.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.007007"><emph type="italics"/>o. <!-- REMOVE S-->il punto della &longs;econda dimora.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007008"><emph type="italics"/>h l K. l'arco della prima dimora.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007009"><emph type="italics"/>h K o. <!-- REMOVE S-->l'arco della &longs;econda dimora.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007010"><emph type="italics"/>K n o. <!-- REMOVE S-->l'arco del regre&longs;&longs;o.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007011"><emph type="italics"/>o h K. l'arco della direttione.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007012"><emph type="italics"/>Ma accioche egli s'intenda a quali pianeti &longs;i dia il progre&longs;&longs;o, dirò, che <lb/>douemo imaginare due linee dritte tirate dal centro, l'una, che termini nelle <lb/>parti orientali dello epiciclo, l'altra nelle occidentali. </s> <s id="s.007013">A que&longs;to modo quan <lb/>to al mouimento del pianeta nello epiciclo &longs;olamente, la &longs;tella, che anderà <lb/>per l'arco di &longs;opra i due punti del toccamento delle dette linee, &longs;i dirà andar <lb/>inanzi, & far progre&longs;&longs;o. </s> <s id="s.007014">Perche ella in quel luogo &longs;arà portata uer&longs;o l'orien <lb/>te? </s> <s id="s.007015">ma nello arco inferiore &longs;i dirà retrograda, o far regre&longs;&longs;o, perche ritorne <lb/>rà mouendo&longs;i alla contraria parte: ma &longs;tando ne i predetti punti, &longs;i dirà, che <lb/>dimori, & stia: perche nel punto orientale di dritta &longs;i farà retrograda, & <lb/>nello occidentale di retrograda &longs;i farà dritta. </s> <s id="s.007016">Benche que&longs;te co&longs;e per lo contrario &longs;ono con&longs;idera <lb/>te nel Sole, & nella Luna. <!-- KEEP S--></s> <s id="s.007017">La qual ragione &longs;arebbe a ba&longs;tanza cerca il regre&longs;&longs;o, & progre&longs;&longs;o, <lb/>&longs;e il pianeta non &longs;i troua&longs;&longs;e con altro mouimento, che col mouimento dello epiciclo. </s> <s id="s.007018">Ma perche <lb/>mentre il pianeta &longs;i riuolge nello epiciclo, anche lo epiciclo dallo eccentrico è portato, però che <lb/>appre&longs;&longs;o i detti punti del toccamento il pianeta, benche quanto al riuolgimento dello epiciclo &longs;ia <lb/>in dimora, niente di meno è portato dallo eccentrico uer&longs;o oriente, & co&longs;i anchora è diretto: & <lb/>però è nece&longs;&longs;ario, che i punti delle dimore &longs;iano alquanto inferiori a quelli punti, che le predette <lb/>linee fanno nel toccamento, le quali noi dicemmo partir&longs;i dal centro: & co&longs;i quelle linee non toc <lb/>cando, ma tagliando, & partendo lo epiciclo ne i loro tagli fanno i punti della dimora. </s> <s id="s.007019">Et però <lb/>egli è nece&longs;&longs;ario, che quelli punti &longs;iano in quella parte della circonferenza dello epiciclo, done il <lb/>mouimento retrogrado al pianeta nello epiciclo co&longs;i contra&longs;ta col mouimento del Deferente, che <lb/>quanto il pianeta è portato all'occidente dallo epiciclo tanto lo epiciclo &longs;ia ritornato dal Deferen<lb/>te uer&longs;o l'Oriente. </s> <s id="s.007020">Et a que&longs;to modo il pianeta portato da eguali ma contrarij mouimenti, pare, <lb/>che egli &longs;accia dimora: Et però il pianeta nel punto dello stato orientale, che è detto prima dimo<lb/>ra, comincia a ritornare; imperoche in quel luogo il mouimento del pianeta nello epiciclo comin­<lb/>cia auanzare il mouimento dello epiciclo nel Deferente. <!-- KEEP S--></s> <s id="s.007021">ma nel punto della dimora occidentale, <lb/>che &longs;i chiama &longs;econda dimora il pianeta ritorna allo andar auanti, & al progre&longs;&longs;o, percioche il <lb/>mouimento del pianeta, nello epiciclo &longs;i rallenta. </s> <s id="s.007022">Et queste co&longs;e dalla figura &longs;ono manifeste.<emph.end type="italics"/></s> </p> <pb pagenum="381" xlink:href="045/01/395.jpg"/> <p type="main"> <s id="s.007023">Ma la &longs;tella di Marte uagando &longs;eicento, & ottanta tre giorni per gli &longs;patij de i &longs;egni per <lb/>uiene la doue cominciando da prima haueua fatto il &longs;uo cor&longs;o. </s> <s id="s.007024">Et in que &longs;egni, che piu <lb/>uclocemente tra&longs;corre, poi che hauerà fatto la &longs;ua dimora, riempie la ragione del nume­<lb/>ro de i giorni. </s> <s id="s.007025">Ma la &longs;tella di Gioue a&longs;cendendo con piu moderati gradi contra il cor&longs;o <lb/>del Mondo, mi&longs;ura ogni &longs;egno qua&longs;i in trecento, & &longs;e&longs;&longs;anta cinque giorni, & &longs;ta per an­<lb/>ni undici, & giorni trecento, & &longs;e&longs;&longs;anta tre, & ritorna in quel &longs;egno, nel quale dodici an <lb/>ni prima &longs;i trouaua. </s> <s id="s.007026">Saturno ueramente per me&longs;i uentinoue, & alquanti giorni di piu pa&longs;<lb/>&longs;ando per un &longs;egno in uentinoue anni, & qua&longs;i cento & &longs;e&longs;&longs;anta giorni uiene re&longs;tituito in <lb/>quel &longs;egno, di doue trent'anni prima &longs;i mo&longs;&longs;e: & d'indi na&longs;ce, che quanto egli è men lon­<lb/>tano dall'ultimo cielo, tanto piu &longs;patio di circoito &longs;acendo, appare piu lento de gli altri. </s> </p> <p type="main"> <s id="s.007027"><emph type="italics"/>Quanto dice Vitr. è manifesto, dalle &longs;ue i&longs;te&longs;&longs;e parole: ma come s'intenda da noi quello, che <lb/>egli ha detto, per le &longs;oprapo&longs;te &longs;peculationi &longs;i cono&longs;ce.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007028">Ma quelli pianeti, iquali &longs;opra il cor&longs;o del Sole fanno i giri loro &longs;pecialmente quando <lb/>&longs;aranno in quel triangolo, nel quale &longs;arà il Sole, allhora non uanno inanzi, ma douendo <lb/>ritornare dimorano &longs;in tanto, che il Sole partendo da quello pa&longs;&longs;erà in altro &longs;egno. </s> </p> <p type="main"> <s id="s.007029"><emph type="italics"/>Pare che Vitr. tratti in que&longs;to luogo de gli a&longs;petti, & delle occultationi delle &longs;telle, ragionan<lb/>do de i progre&longs;&longs;i, & delle dimore, & ne rende le cau&longs;e a modo &longs;uo; & rifiuta le altrui opinioni. </s> <s id="s.007030"><lb/>Ma noi &longs;econdo la propo&longs;ta intentione diremo delle apparenze, & de gli a&longs;petti, orti, & occa&longs;i, <lb/>acco&longs;tandoci al dotto Maurolico. </s> <s id="s.007031">Con&longs;ideramo adunque il Sole in quattro luoghi principali ter­<lb/>minati dall'Orizonte, & dal meridiano, il primo in Oriente, il &longs;econdo nel mezo del cielo di &longs;o­<lb/>pra, il terzo in Occidente, l'ultimo nel mezo del cielo di &longs;otto. </s> <s id="s.007032">stando adunque il Sole in uno di <lb/>questi quattro punti, &longs;e egli starà in Oriente, & anche la &longs;tella &longs;arà in Oriente, chiameremo quel­<lb/>lo &longs;tato mattutino; &longs;e al mezo dì, Meridiano; &longs;e all'occidente, Ve&longs;pertino; &longs;e alla meza notte, in­<lb/>tempe&longs;to, per u&longs;are il nome de i Latini. <!-- KEEP S--></s> <s id="s.007033">A que&longs;to modo cia&longs;cuno &longs;ito de i quattro della &longs;tella in <lb/>quattro modi &longs;i riferirà al Sole. <!-- KEEP S--></s> <s id="s.007034">La doue &longs;edici &longs;aranno le habitudini delle stelle al Sole. <!-- KEEP S--></s> <s id="s.007035">Di quel­<lb/>le habitudini la meridiana è, ma non &longs;i uede: imperoche la pre&longs;entia del Sole debilita lo a&longs;petto, <lb/>& però uera non apparente &longs;i chiama. </s> <s id="s.007036">ma il ri&longs;petto della meza notte è, & &longs;i uede &longs;empre ec­<lb/>cetto quando &longs;otterra la &longs;tella è nel mezo del cielo. </s> <s id="s.007037">E dico, & &longs;i uede, perche di notte ogni &longs;tel­<lb/>la &longs;i puo uedere nell'Orizonte, ouero &longs;opra la terra. </s> <s id="s.007038">& però & uera, & apparente la chiamere­<lb/>mo. </s> <s id="s.007039">Finalmente l'habitudine mattutina, o Ve&longs;pertina della &longs;tella &longs;opra la terra, o nell'Orizon­<lb/>te è, ma non &longs;i uede, perche il raggio del Sole, che sta nell'Orizonte, ce la toglie. </s> <s id="s.007040">potrà ben e&longs;&longs;ere, <lb/>che la &longs;i ueda, &longs;e il Sole &longs;arà tanto &longs;otto l'Orizonte, che la &longs;ua luce indebolita, o non tanto ga­<lb/>gliarda, ceda, ouero allhora cominci, o ce&longs;&longs;i di cedere al raggio delle &longs;telle. </s> <s id="s.007041">in quel ca&longs;o l'habitu­<lb/>dine delle &longs;telle è chiamata apparente o prima, o poi del na&longs;cimento mattutino. </s> <s id="s.007042">l'orto adunque <lb/>mattutino della &longs;tella, che prima appare, è delto apparenza, ui&longs;ta, o irradiatione prima mattuti <lb/>na. <!-- REMOVE S-->& l'ultimo, pur mattutino, è chiamato apparenza, ui&longs;ta, o irradiatione ultima mattuti­<lb/>na. </s> <s id="s.007043">&longs;imilmente l'occa&longs;o ue&longs;pertino, che prima ci appare, &longs;arà detto apparenza, ui&longs;ta, o irra­<lb/>diatione prima ue&longs;pertina, & l'ultimo, ultima apparenza, ui&longs;ta, o irradiatione ue&longs;perti <lb/>na. <!-- KEEP S--></s> <s id="s.007044">Chiaman&longs;i orti, & occa&longs;i delle &longs;telle ri&longs;petto, che &longs;i cominciano a uedere, o non ue­<lb/>dere, apparere, & occultar&longs;i u&longs;cendo ouero entrando ne i raggi del Sole. <!-- KEEP S--></s> <s id="s.007045">Hora dirò a qua­<lb/>li &longs;telle occorreno &longs;imili effetti di apparenze: imperoche altrimenti auuengono a quelle, che <lb/>&longs;ono piu tarde, altrimenti a quelle, che &longs;ono piu ueloci del Sole. <!-- KEEP S--></s> <s id="s.007046">Le &longs;telle fi&longs;&longs;e adunque, & i tre <lb/>&longs;uperiori, perche &longs;ono &longs;opra del Sole, poco prima dell'occa&longs;o uero ue&longs;pertino mancano dopo il <lb/>Sole, & &longs;i po&longs;&longs;ono uedere. </s> <s id="s.007047">ma dapoi auicinando&longs;i il Sole, a quelle uer&longs;o l'Oriente, perche il Sole <lb/>è piu ueloce, fanno nell'Orizonte occidentale l'ultima apparenza ue&longs;pertina. </s> <s id="s.007048">ouero &longs;i a&longs;condeno, <lb/>fin che dopo l'orto uero mattutino, partendo&longs;i il Sole uer&longs;o l'Oriente facciano nell'Orizonte a Le­<lb/>uante la prima apparenza mattutina. </s> <s id="s.007049">Ma la Luna, per qualche &longs;pacio auanti il na&longs;cimento mat­<lb/>tutino, &longs;i puo uedere prima, che leui il Sole, ma auuicinando&longs;i al Sole uer&longs;o Leuante e&longs;&longs;endo ella<emph.end type="italics"/><pb pagenum="382" xlink:href="045/01/396.jpg"/><emph type="italics"/>piu ueloce fa l'ultima apparenza mattutina a Leuante, & &longs;i leua dallo a&longs;petto no&longs;tro, finche do­<lb/>po il uero occa&longs;o ue&longs;pertino, la&longs;ciando il Sole, faccia a Ponente la prima apparenza ue&longs;pertina. </s> <s id="s.007050"><lb/>Ma Venere, & Mercurio, che &longs;ono hora piu tardi, hora piu ueloci del Sole, fanno il mede&longs;imo, <lb/>che fanno i tre di &longs;opra, & anche quello, che fa la Luna. <!-- KEEP S--></s> <s id="s.007051">imperoche fanno, & la prima, & l'ul­<lb/>tima apparenza, tanto ue&longs;pertina, quanto mattutina; ma i tre &longs;uperiori fanno l'ultima apparen­<lb/>za ue&longs;pertina, & poi &longs;ubito la prima mattutina uer&longs;o la &longs;ommità dello epiciclo. </s> <s id="s.007052">Ma Venere, & <lb/>Mercurio fanno le i&longs;te&longs;&longs;e e&longs;&longs;endo retrogradi, & nella parte oppo&longs;ta al giogo: perche que&longs;ti due <lb/>fanno l'ultima apparenza mattutina, & poco dapoi la prima ue&longs;pertina appre&longs;&longs;o il giogo dello <lb/>epiciclo. </s> <s id="s.007053">ilche fa anche la Luna, ma nel giogo del &longs;uo Deferente.<emph.end type="italics"/><!-- KEEP S--></s> <s id="s.007054"> Et que&longs;to piace ad alcu­<lb/>ni che co&longs;i &longs;ia. </s> </p> <p type="main"> <s id="s.007055"><emph type="italics"/>Cioè i progre&longs;&longs;i, et le dimore, le <expan abbr="apparēze">apparenze</expan>, et le occultationi hanno que&longs;ta cagione <expan abbr="&longs;ecōdo">&longs;econdo</expan> alcuni.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007056">Perche dicono che il Sole, quando è per una certa di&longs;tanza piu lontano, fa che con non <lb/>chiari &longs;entieri errando le &longs;telle con o&longs;cure dimore &longs;iano impedite. </s> </p> <p type="main"> <s id="s.007057"><emph type="italics"/>Vogliono che la lontananza del Sole impedi&longs;ca, & ritegna le &longs;telle, & auuicinando&longs;i il Sole &longs;ia <lb/>no liberate, & &longs;ciolte. </s> <s id="s.007058">que&longs;ta ragione da &longs;e ua giu, & Vitr. la impugna, dicendo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007059">Ma a noi non pare, che co&longs;i &longs;ia, perche lo &longs;plendore del Sole &longs;i la&longs;cia molto ben uedere, <lb/>& è manife&longs;to &longs;enza alcuna o&longs;curatione per tutto il mondo. </s> <s id="s.007060">in modo, che egli ci appare <lb/>anche quando quelle &longs;telle fanno i ritorni, & le dimore loro. </s> <s id="s.007061">&longs;e adunque per tanti &longs;pacij la <lb/>no&longs;tra ui&longs;ta puo que&longs;to auuertire, perche cagione giudicamo noi, che a quelli diuini &longs;plen <lb/>dori delle &longs;telle &longs;i po&longs;&longs;a opponere alcuna o&longs;curità. </s> </p> <p type="main"> <s id="s.007062"><emph type="italics"/>Questa è buona ragione cerca l'apparenza delle &longs;telle, ma non &longs;atisfa alle dimore, & ritorni <lb/>come s'è detto.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007063">Anzi piu pre&longs;to quella ragione farà chiaro a noi, che &longs;i come il feruore a &longs;e tira tutte le <lb/>co&longs;e, come uedemo i frutti per lo calore leuar&longs;i da terra, & cre&longs;cere; & i uapori delle acque, <lb/>delle fonti, per l'arco cele&longs;te e&longs;&longs;er attratti, co&longs;i per la i&longs;te&longs;&longs;a ragione lo impeto, & la forza <lb/>del Sole mandando fuori i raggi, & &longs;tendendoli in forma triangolare, a &longs;e tira le &longs;telle, <lb/>che gli uanno drieto, & qua&longs;i raffrenando quelle, che gli correno inante, & ritenendole <lb/>non le la&longs;cia pa&longs;&longs;ar piu oltra, ma le forza di ritornare a &longs;e, & fermar&longs;i nel &longs;egno d'un'al­<lb/>tro triangolo. </s> </p> <p type="main"> <s id="s.007064"><emph type="italics"/>Que&longs;ta ragione di Vitru. <!-- REMOVE S-->è piu pre&longs;to da Architetto, che da Filo&longs;ofo. </s> <s id="s.007065">imperoche, chi direbbe, <lb/>che'l Sole raffrena&longs;&longs;e, o rila&longs;cia&longs;&longs;e i mouimenti del Cielo, come con un freno? </s> <s id="s.007066">che nece&longs;&longs;ità &longs;cio­<lb/>glierebbe i pianeti da quella forzac perche, (&longs;e que&longs;to fu&longs;&longs;e) non potremmo noi uedere tutti i <lb/>pianeti, & tutte le stelle raccolte in una ma&longs;&longs;a? </s> <s id="s.007067">Non è ragioneuole che i corpi cele&longs;ti &longs;iano &longs;ot­<lb/>topo&longs;ti a que&longs;ti accidenti, anzi è meno conueniente, che questo auuenga, che la predetta ragio­<lb/>ne di quelli, che danno alcuni &longs;ecreti, & o&longs;curi &longs;entieri alle &longs;telle. </s> <s id="s.007068">Ma la&longs;ciamo andare que&longs;te co­<lb/>&longs;e, & torniamo a Vitr. ilquale dalla ri&longs;po&longs;ta, & &longs;olutione della dimanda fatta di &longs;opra, toglie oc­<lb/>ca&longs;ione, di leuare una dubitatione, laquale egli pone, & è que&longs;ta.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007069">For&longs;e alcuno puo di&longs;iderare di &longs;apere, perche cagione il Sole dal quinto &longs;egno lontano <lb/>da &longs;e piu pre&longs;to che dal &longs;econdo, ouero dal terzo, che gli &longs;ono piu uicini ritenga i piane­<lb/>ti in que&longs;ti feruori. </s> <s id="s.007070">io come pare, che que&longs;to auegna, e&longs;ponerò. </s> <s id="s.007071">I raggi del Sole &longs;i &longs;ten­<lb/>deno con linee, come è la forma d'un triangolo, che habbia i lati eguali. </s> <s id="s.007072">& ciò non è piu <lb/>nè meno, che al quinto &longs;egno lontano da &longs;e. </s> <s id="s.007073">&longs;e adunque &longs;par&longs;i anda&longs;&longs;ero in giro uagando <lb/>per tutto il mondo, nè &longs;i &longs;tende&longs;&longs;ero dritti, a gui&longs;a di triangoli, le co&longs;e che piu uicine gli <lb/>fu&longs;&longs;ero, abbruciarebbeno, & que&longs;to pare, che Euripide poeta Greco habbia molto bene <lb/>con&longs;iderato dicendo, che quelle co&longs;e, che &longs;ono piu rimote dal Sole ardeno molto piu ga­<lb/>gliardamente. </s> <s id="s.007074">& però &longs;criue nella Fauola intitolata Fetonte, in que&longs;to modo. </s> </p> <p type="main"> <s id="s.007075">Arde le co&longs;e, che &longs;on piu rimote. </s> </p> <p type="main"> <s id="s.007076">Et le uicine piu temprate la&longs;cia. </s> </p> <pb pagenum="383" xlink:href="045/01/397.jpg"/> <p type="main"> <s id="s.007077">Se adunque, & lo effetto, & la ragione, & la te&longs;timonianza dello antico poeta dimo&longs;tra <lb/>que&longs;to e&longs;&longs;er uero, io non pen&longs;o, che bi&longs;ogni fare altro giudicio di quello, che di &longs;opra <lb/>detto hauemo di que&longs;ta co&longs;a. </s> </p> <p type="main"> <s id="s.007078"><emph type="italics"/>Se il Sole ritiene piu feruore quando manda i raggi triangolari, ragione è (dice Vitr.) che a &longs;e <lb/>tiri piu gagliardamente le &longs;telle, & quelle raffreni dal cor&longs;o loro. </s> <s id="s.007079">Ma perche ragione que&longs;to auen <lb/>ga, cioè che piu presto il Sole faccta que&longs;to effetto nello &longs;pacio di cinque &longs;egni, ch'è lo &longs;pacio d'uno <lb/>lato del triangolo (e&longs;cludendo però il quinto &longs;egno) che dal &longs;econdo, ouer dal terzo, che &longs;ono piu <lb/>uicini, egli dimanda, & ri&longs;ponde a &longs;e &longs;te&longs;&longs;o. </s> <s id="s.007080">Et la proua è pre&longs;a dello effetto, dalla ragione, & dal <lb/>testimonio di Euripide antico poeta. </s> <s id="s.007081">Ma perche tutta que&longs;ta materia compre&longs;a dalla ragione di <lb/>Vitr. ci pare, che bi&longs;ogno habbia di maggior chiarezza, però diremo quanto &longs;i ha da Plinio nel <lb/>&longs;econdo libro, doue egli parla di que&longs;ta mutatione, della quale Vitr. in que&longs;to luogo ne cerca la ra <lb/>gione, & dice in que&longs;to modo. </s> <s id="s.007082">Del che &longs;eparatamente &longs;i deue renderne conto. </s> <s id="s.007083">Le &longs;telle perco&longs;­<lb/>&longs;e nella parte, che detto hauemo, & dal raggio del Sole triangolare, &longs;ono ritenute, che non po&longs;&longs;ono <lb/>tener dritto il cor&longs;o loro, & dalla forza del catore &longs;ono &longs;olleuate, ma questo non co&longs;i pre&longs;to &longs;i <lb/>puo comprendere dalla ui&longs;ta nostra, & però pare, che &longs;tiano, donde poi è &longs;tato pre&longs;o il nome di Sta<lb/>tione. </s> <s id="s.007084">Dapoi la forza dello i&longs;te&longs;&longs;o raggio ua inanzi, & il uapore le forza tornare adietro, come <lb/>riperco&longs;&longs;e da quello. </s> <s id="s.007085">E&longs;pone uno de moderni questo luogo, & dice. </s> <s id="s.007086">Dichiamo auanti, che altro <lb/>&longs;i dica, la intentione di Plinio, In &longs;omma pigliando lo e&longs;&longs;empio dal monte Etna, iui &longs;i pone il uapo <lb/>re del fuoco concetto nel fondo della terra, manda fuori le pietre affocate, co&longs;i il Sole &longs;caccia le <lb/>&longs;telle, che &longs;e gli trouano appre&longs;&longs;o i luoghi ba&longs;&longs;i, & uicini alla terra: ma in que&longs;ta parte, que&longs;to man <lb/>ca allo e&longs;&longs;empio predetto, percioche alle pietre non &longs;oprauiene da luogo alto altro uapore, che le <lb/>faccia ritornare al fondo, perche di natura loro di&longs;cendeno: ma il Sole di nuouo &longs;oprauiene col &longs;uo <lb/>uapore, & rincalza le &longs;telle uer&longs;o la terra. </s> <s id="s.007087">Que&longs;ta ragione dice Plinio, e&longs;&longs;er &longs;ua priuata, & non <lb/>di altri, &longs;econdo che dice il predetto autore. </s> <s id="s.007088">Ma poi pare, che egli &longs;i mar auigli di Plinio, perche <lb/>la predetta opinione molto prima da Vitruuio nel pre&longs;ente luogo è &longs;tata dichiarita. </s> <s id="s.007089">Tanta diuer­<lb/>&longs;itàuiene alle &longs;telle, percioche i raggi del Sole in altro <expan abbr="tēpo">tempo</expan> &longs;ottentrano, et &longs;cacciano quelle in alto, <lb/>& in altro tempo &longs;ormontano, & quelle deprimeno a terra. </s> <s id="s.007090">Que&longs;ta opinione dice il predetto, &longs;i <lb/>puo con molte, & euidenti co&longs;e rifiutare. </s> <s id="s.007091">Tra le quali que&longs;ta ne è una, in che modo puo &longs;tare, che <lb/>il Sole, che è piu ba&longs;&longs;o alle &longs;pere delle &longs;telle, &longs;oprauenga alle &longs;telle, & le &longs;cacci, & le forzi a tornare; <lb/>che &longs;e fu&longs;&longs;ero tutte le &longs;telle in una &longs;uperficie d'una &longs;pera, il Sole però &longs;tando pre&longs;&longs;o terra nel na&longs;ce­<lb/>re, o nel cadere, potrebbe tirare la &longs;tella, che fu&longs;&longs;e in alto, ouero nella &longs;ua &longs;tatione. </s> <s id="s.007092">Oltra di que­<lb/>&longs;to, come &longs;i puo imaginare, che i corpi cele&longs;ti, che per natura hanno i mouimenti loro, &longs;iano all'im <lb/>perio &longs;olo del Sole &longs;cacciati, & quello imperio non &longs;ia moderato, ma uiolento? </s> <s id="s.007093">co&longs;a che eternamen <lb/>te non potrebbe durare. </s> <s id="s.007094">Appre&longs;&longs;o &longs;i aggiugne, che non &longs;i conuiene transferire a &longs;cacciamenti <lb/>fortuiti, quelle co&longs;e, che indubitatamente &longs;ono riferite a que' giri, come a &longs;e&longs;ta ordinati. </s> <s id="s.007095">Et però <lb/>molto bene conuengono Plinio, & Vitruuio in que&longs;to pa&longs;&longs;o, & ua giu anche la dubitatione, & <lb/>la &longs;olutione di Vitr. &longs;econdo i modi da noi e&longs;po&longs;ti di &longs;opra.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007096">Ma la &longs;tella di Gioue, correndo tra la &longs;tella di Saturno, & di Marte, fa maggior uiag­<lb/>gio, che Marte, & minor, che Saturno. <!-- KEEP S--></s> <s id="s.007097">Et &longs;imilmente le altre &longs;telle, quanto piu &longs;ono lon­<lb/>tane dall'ultimo cielo, & piu uicine alla terra &longs;i uolgeno, tanto piu pre&longs;to pare che &longs;ini­<lb/>&longs;chino i cor&longs;i loro. </s> <s id="s.007098">perche cia&longs;cuna di quelle facendo minor giro, piu &longs;pe&longs;&longs;o &longs;ottentrando <lb/>pa&longs;&longs;a quella, che è di &longs;opra; a &longs;imiglianza di quello che auuenirebbe &longs;e in una ruota di boc <lb/>calaio, po&longs;te fu&longs;&longs;ero &longs;ette formiche, & fu&longs;&longs;ero fatti tanti canali nel piano della ruota, prima <lb/>d'intorno al centro, dapoi a poco a poco cre&longs;ce&longs;&longs;ero & maggiori fu&longs;&longs;ero appre&longs;&longs;o la e&longs;tre­<lb/>mità, che ne i detti canali fu&longs;&longs;ero con&longs;trette le formiche a raggirar&longs;i, caminando tutta uia <lb/>la ruota nella parte contraria, egli è nece&longs;&longs;ario che quelle formiche per tanto di meno ua­<lb/>dino contra la uolta della ruota; & quella, che &longs;arà piu uicina al centro nel &longs;uo canale &longs;a­<lb/>rà piu pre&longs;ta a dar la uolta &longs;ua: & quella, che farà l'ultima, & maggior circonferenza del-<pb pagenum="384" xlink:href="045/01/398.jpg"/>la ruota, benche &longs;ia egualmente ueloce, nientedimeno per la grandezza del giro, che ella <lb/>ha da fare, ponerà molto piu tempo in fornire il cor&longs;o &longs;uo. </s> <s id="s.007099">Simigliantemente le &longs;telle, <lb/>che uanno contra il cor&longs;o del Mondo, di loro proprio mouimento fanno i proprij giri, <lb/>ma uolgendo&longs;i il cielo con &longs;oprauanzi &longs;ono riportate in dietro per la quottidiana circu­<lb/>latione del tempo. </s> </p> <p type="main"> <s id="s.007100"><emph type="italics"/>Quello che dice Vitr. in que&longs;to luogo è facile, & bello, & è &longs;tato u&longs;urpato da i po&longs;teriori per da <lb/>re ad intendere il contrario mouimento delle &longs;pere de i pianeti.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007101">Ma che &longs;iano delle &longs;telle altre temperate, altre feruenti, altre fredde; que&longs;ta pare, che <lb/>&longs;ia la ragione, che ogni fuoco ha la &longs;iamma &longs;ua che a&longs;cende il Sole adunque abbrucian­<lb/>do con i raggi &longs;uoi la parte etherea, che ha di &longs;opra, la fa rouente. <emph type="italics"/>Rouente, cioè come <lb/>ferro, che bogliente e&longs;ce dal fuoco.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007102">In que luoghi ha la &longs;tella di Marte il &longs;uo cor&longs;o: & però quella &longs;tella &longs;i fa feruente dal <lb/>cor&longs;o del Sole. <!-- KEEP S--></s> <s id="s.007103">Ma la &longs;tella di Saturno, perche è pro&longs;sima alla e&longs;tremità del mondo, & <lb/>tocca le congelate parti del cielo, è grandemente fredda: & da que&longs;to procede, che do­<lb/>uendo Gioue tra&longs;correre tra que&longs;ta, & quella, dal freddo, & dal calore di quelli, come nel <lb/>mezo, tiene effetti conuenienti, & &longs;ommamente temperati. </s> </p> <p type="main"> <s id="s.007104"><emph type="italics"/>Tutta uia Vitr. ua ragionando da Architetto, però non è, che ci affatichiamo in contradirgli, <lb/>hauendo per certo, che nè freddo, nè caldo, nè qualità &longs;imile, nè paßione, &longs;ia in que' cele&longs;ti, & lumi­<lb/>no&longs;i corpi, i quali &longs;ono &longs;timati di fuoco, perche ri&longs;plendeno; ma in uero &longs;ono inalterabili, & impati­<lb/>bili, nè, perche ri&longs;plendono, &longs;i deue &longs;timare, che &longs;iano di fuoco. </s> <s id="s.007105">Imperoche molti animali, & molte <lb/>&longs;corze d'alberi, & molte squame di pe&longs;ci riluceno a merauiglia, nè però hanno in &longs;e fuoco alcuno. </s> <s id="s.007106"><lb/>Et &longs;e quella &longs;tella è detta feruente, & que&longs;ta fredda, non è &longs;e non, perche <expan abbr="hãno">hanno</expan> uirtù di produrre qua <lb/>giu &longs;imili effetti. </s> <s id="s.007107">La doue lo influ&longs;&longs;o non è altro, che occulta qualità de i corpi cele&longs;ti, che non puo <lb/>e&longs;&longs;er impedita da alcuno corpo trapo&longs;to.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007108">Io ho e&longs;po&longs;to, come ho da mici precettori hauuto, della zona ornata de i dodici &longs;egni, <lb/>& delle &longs;ette &longs;telle, & della loro contraria fatica, con che ragione, & con che numeri pa&longs;<lb/>&longs;ano di &longs;egno in &longs;egno, & fini&longs;ceno il cor&longs;o loro. </s> <s id="s.007109">Hora io dirò, come cre&longs;ca, & &longs;cemi <lb/>la Luna, in quel modo, che da i maggiori ci è &longs;tato la&longs;ciato. </s> <s id="s.007110">Bero&longs;o, che dalla citta, ouero <lb/>dalla natione de i Caldei uenne in A&longs;ia, & fece pale&longs;e la di&longs;ciplina de Caldei, co&longs;i ha con­<lb/>fermato. </s> <s id="s.007111">che la Luna è da una metà come una palla lucente & acce&longs;a, & dall'altra è di co­<lb/>lore cele&longs;te, & quando ella facendo il &longs;uo giro, &longs;ottentra al cerchio del Sole allhora è da <lb/>i raggi & dallo impeto del calore attratta, & fatta rouente: perche il &longs;uo lume ha pro­<lb/>prietà col lume del Sole: & come richiamata, & riuolta riguarda le parti di &longs;opra al­<lb/>lhora la parte della Luna ci appare o&longs;cura, imperoche per la a&longs;simiglianza dello aere, non <lb/>è rouente: & quando &longs;ta a perpendicolo de i raggi del Sole diceua Bero&longs;o, che tutta la <lb/>parte lumino&longs;a era ritenuta uer&longs;o la parte di &longs;opra, & allhora &longs;i chiamaua prima Luna. <!-- KEEP S--></s> <s id="s.007112">ma <lb/>poi che pa&longs;&longs;ando piu oltre ella andaua alle parti Orientali del cielo abandonata dalla for­<lb/>za del Sole. <!-- KEEP S--></s> <s id="s.007113">La e&longs;trema parte della &longs;ua chiarezza con molto &longs;ottil filo mandaua a terra il <lb/>&longs;uo &longs;plendore: & co&longs;i per quella cagione era detta &longs;econda Luna. <!-- KEEP S--></s> <s id="s.007114">& continuando ogni <lb/>giorno a rimettere, & rila&longs;ciare il &longs;uo giramento, era detta Terza, & Quarta Luna. <!-- KEEP S--></s> <s id="s.007115">Ma <lb/>nel &longs;ettimo giorno &longs;tando il Sole a Leuante, & tenendo la Luna le parti di mezo tra Le­<lb/>uante, & Ponente, perche con la metà per lo &longs;pacio del Cielo è di&longs;tante dal Sole, &longs;imilmen <lb/>te hauerà la metà della &longs;ua chiarezza riuolta alla terra. </s> <s id="s.007116">Ma quando tra'l Sole, & la Luna <lb/>&longs;arà la di&longs;tanza di tutto lo &longs;pa cio del cielo, & che il Sole tramontando riguarderà il cer­<lb/>chio della na&longs;cente Luna, perche &longs;arà molto di&longs;tante da iraggi del Sole, rila&longs;ciata nel <lb/>quarto decimo giorno, manderà lo &longs;plendore da tutta la ruota della faccia &longs;ua. </s> <s id="s.007117">& ne i &longs;e­<lb/>guenti giorni continuamente &longs;cemando alla perfettione, & compimento del me&longs;e Luna <lb/>re, con i &longs;uoi giri, & con e&longs;&longs;er riuocata dal Sole, &longs;ottentrerà col cor&longs;o &longs;uo la ruota, & i <pb pagenum="385" xlink:href="045/01/399.jpg"/>raggi &longs;uoi faranno le ragioni del me&longs;e. </s> <s id="s.007118">Ma io e&longs;ponerò in che modo Ari&longs;tarco Samio <lb/>Mathematico ci ha la&longs;ciato gli ammae&longs;tramenti della uarietà della i&longs;te&longs;&longs;a Luna con gran­<lb/>de prontezza d'ingegno. </s> <s id="s.007119">Non ci è a&longs;co&longs;o la Luna non hauere da &longs;e lume alcuno, ma e&longs;&longs;e­<lb/>re come uno &longs;pecchio, & riceuere il &longs;uo &longs;plendore dallo impeto del Sole. <!-- KEEP S--></s> <s id="s.007120">imperoche tra <lb/>le &longs;ette &longs;telle la Luna fa il cor&longs;o &longs;uo breui&longs;simo, piu uicino alla terra. </s> <s id="s.007121">Adunque ogni me­<lb/>&longs;e ella &longs;i o&longs;cura &longs;otto la ruota, & i raggi del Sole il primo giorno prima che ella gli pa&longs;si <lb/>& quando è col Sole, &longs;i chiama nuoua Luna. <!-- KEEP S--></s> <s id="s.007122">Ma il di &longs;eguente dal quale è nominata &longs;e­<lb/>conda, trapa&longs;&longs;ando il Sole porge una &longs;ottile apparenza della &longs;ua rotondità: quando poi <lb/>per tre giorni s'allontana dal Sole cre&longs;ce, & piu è illuminata. </s> <s id="s.007123">Ma partendo ogni giorno, <lb/>giunta al &longs;ettimo dì e&longs;&longs;endo lontana dal cadente Sole d'intorno a mezo il Cielo luce per la <lb/>metà, & è illuminata quella parte, che riguarda al Sole. <!-- KEEP S--></s> <s id="s.007124">ma nel decimo quarto giorno e&longs;­<lb/>&longs;endo per diametro nello &longs;pacio del mondo dal Sole di&longs;co&longs;ta, &longs;i fa piena, & na&longs;ce, quan­<lb/>do tramonta il Sole, imperoche di&longs;tante per tutto lo &longs;pacio del mondo è contrapo&longs;ta, & <lb/>dallo impeto del Sole riceue il lume di tutto il &longs;uo cerchio. </s> <s id="s.007125">Ma na&longs;cendo il Sole alli 17 <lb/>giorni, la Luna è abba&longs;&longs;ata all'occidente, & nel uente&longs;imo primo, quando è leuato il So­<lb/>le, la Luna tiene qua&longs;i le parti di mezo il Cielo, & ha lucida quella parte, che riguarda il <lb/>Sole, & nelle altre è o&longs;cura, & co&longs;i caminando ogni giorno qua&longs;i al uente&longs;imo ottauo &longs;ot <lb/>tentra a raggi del Sole, & compie le ragioni de i me&longs;i. </s> <s id="s.007126">Hora io dirò come il Sole en­<lb/>trando ne i &longs;egni in cia&longs;cun me&longs;e fa cre&longs;cere, & &longs;cemare gli &longs;patij de i giorni, & del­<lb/>le hore. </s> </p> <p type="main"> <s id="s.007127"><emph type="italics"/>A me pare che la opinione di Bero&longs;o concorra in una con quella di Ari&longs;tarco. <!-- KEEP S--></s> <s id="s.007128">Ben è uero, che <lb/>c'è differenza, perche Pero&longs;o uuole, che la metà della Luna &longs;ia lucida, & che quella &longs;ia &longs;empre ri­<lb/>uolta al Sole, & que&longs;to puo &longs;tare, &longs;e egli intende, che la metà &longs;ia lucida, o uedendola, o non ueden­<lb/>dola noi. </s> <s id="s.007129">Et Ari&longs;tarco uuole, che tutto il lume, che ha la Luna uenghi dal Sole, la qual opinione è <lb/>migliore, & è stata adme&longs;&longs;a. </s> <s id="s.007130">Dico adunque in &longs;omma, che la Luna congiunta col Sole non &longs;i ue­<lb/>de, perche ha la faccia illuminata riuolta al Sole, & la o&longs;cura a noi. </s> <s id="s.007131">ma di&longs;co&longs;tando&longs;i ogni giorno <lb/>dal Sole, il Sole percuote una parte della Luna con i raggi &longs;uoi, & perche noi &longs;iamo di mezo, comin <lb/>ciamo a uedere la parte illuminata, & ne' primi giorni poco ne uedemo, però quello a&longs;petto &longs;i chia <lb/>ma Lunato, & in Greco Monoidis. </s> <s id="s.007132">Ma nel &longs;ettimo quando ella è per una quarta del cielo lonta­<lb/>na dal Sole, quella faccia &longs;i uede meza, & però in Greco è detta Dicotomos, cioè bipartita: allonta <lb/>nando&longs;i poi piu dal Sole, & riuoltando a noi piu della metà della faccia illuminata, è detta Amphi<lb/>cirtos, cioè curua d'amendue le parti. </s> <s id="s.007133">finalmente nella oppo&longs;itione dimo&longs;trando tutta intiera la &longs;ua <lb/>ritondezza illuminata, è detta Pan&longs;elinos, cioè tutta Luna, o piena Luna, et noi dicemo la Luna ha <lb/>fatto il tondo. </s> <s id="s.007134">ritornando poi al Sole, di giorno, in giorno &longs;i ua na&longs;condendo, finche di nuouo &longs;ia &longs;ot­<lb/>topo&longs;ta al Sole, doue &longs;i dice, che la Luna fà, ouero &longs;i chiama la congiuntione: & que&longs;to ci puo ba&longs;ta­<lb/>re per lo intendimento della pre&longs;ente materia. </s> <s id="s.007135">La quale fornita Vitr. ci propone di dire come i <lb/>giorni s'accortano, & s'allungano, & le hore, mentre il Sole ua di &longs;egno in &longs;egno, & dicendo, che <lb/>gli &longs;pacij delle hore &longs;i fanno maggiori, & minori, ci dinota, che gli antichi partiuano cia&longs;cun gior­<lb/>no in dodici parti eguali, però ne &longs;eguitaua, che le hore del giorno della &longs;tate, erano maggiori, che <lb/>le hore diurne del uerno, & quella proportione, che &longs;i &longs;eruaua nel partire i giorni, la mede&longs;ima &longs;i <lb/>&longs;eruaua in partire le notti, & quelle hore conueniuano con le hore ordinarie, & con tutte altre &longs;or <lb/>ti di hore, &longs;olamente al tempo de gli Equinottij. </s> <s id="s.007136">&longs;cemauano le hore dal tempo che il Sole entraua <lb/>in Cancro, fin che entraua in Capricorno: ma cre&longs;ceuano dal Capricorno al Cancro. <!-- KEEP S--></s> <s id="s.007137">Con que­<lb/>&longs;to auuertimento s'intenderà piu facilmente, quanto dice Vitr.<emph.end type="italics"/><!-- KEEP S--></s> </p> </subchap2><subchap2> <pb pagenum="386" xlink:href="045/01/400.jpg"/> <p type="head"> <s id="s.007138"><emph type="italics"/>Del cor&longs;o del Sole per li dodici &longs;egni. </s> <s id="s.007139">Cap. V.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.007140">IL Sole adunque quando entra nel &longs;egno del Montone, & tra&longs;corre la ottaua <lb/>parte di quello, fa lo equinottio di primauera. </s> <s id="s.007141">ma andando piu oltra alla co <lb/>da del Toro, & alle Stelle Vergilie, dalle quali auanza la prima metà del To<lb/>ro, corre in maggiore, & piu ampio &longs;patio del Cielo, della metà uer&longs;o la par <lb/>te Settentrionale. <!-- KEEP S--></s> <s id="s.007142">Partendo&longs;i poi dal Toro quando entra ne i Gemelli, na&longs;cendo le Ver­<lb/>gilie, cre&longs;ce anchora piu &longs;opra la terra, & fa maggiori gli &longs;patij de i giorni. </s> <s id="s.007143">indi da i Gemel<lb/>li, quando entra nel Cancro, il quale occupa lunghi&longs;simo &longs;patio del Cielo, giunto all'ot­<lb/>taua parte fa il tempo del Sol&longs;titio, & caminando peruiene al capo, & al petto del Leo­<lb/>ne. </s> <s id="s.007144">Perche quelle parti&longs;ono attribuite al Cancro. <!-- KEEP S--></s> <s id="s.007145">Ma dal petto del Leone, & da i termi <lb/>ni del Cancro l'u&longs;cita del Sole correndo alle altre parti del Leone, &longs;cema la grandezza de i <lb/>giorni, & de i giri, & ritorna in cor&longs;o eguale a quello, che egli faceua, quando cra ne i <lb/>Gemelli. <!-- KEEP S--></s> <s id="s.007146">indi poi pa&longs;&longs;ando dal Leone alla Vergine, & andando piu oltre al &longs;eno della ue­<lb/>&longs;te di quella in quello re&longs;trigne i giri &longs;uoi, & gli pareggia con quelli, che egli faceua e&longs;­<lb/>&longs;endo nel Toro. <!-- KEEP S--></s> <s id="s.007147">V&longs;cito di Vergine per lo &longs;eno della ue&longs;te di quella che occupa le prime <lb/>parti della Bilancia, nella ottaua parte della Bilancia fa lo equinottio dello Autunno. <!-- KEEP S--></s> <s id="s.007148"><lb/>Et quel cor&longs;o è pari al cor&longs;o gia fatto nel Montone. <!-- KEEP S--></s> <s id="s.007149">Ma entrando poi il Sole nello Scor­<lb/>pione cadendo le Vergilie, andando piu inanzi uer&longs;o le parti meridiane &longs;cema la lunghez­<lb/>za de i giorni. </s> <s id="s.007150">Venendo po&longs;cia dallo Scorpione al Sagittario, quando egli entra nelle par <lb/>ti anteriori di quello pa&longs;&longs;a piu &longs;tretto cor&longs;o del giorno. </s> <s id="s.007151">Ma cominciando dalle co&longs;cie di <lb/>dentro del Sagittario, le quali parti &longs;ono attribuite al Capricorno, giunto alla ottaua par <lb/>te fa un breui&longs;simo &longs;patio del Cielo, & d'indi dalla breuità de i giorni quel tempo è detto <lb/>Bruma, & i giorni brumali. </s> <s id="s.007152">Ma pa&longs;&longs;ando dal Capricorno all'Acquario cre&longs;ce, & aggua <lb/>glia con la lunghezza del dì lo &longs;patio del Sagittario. <!-- KEEP S--></s> <s id="s.007153">Dallo Acquario, quando è entrato <lb/>ne Pe&longs;ci &longs;pirando il uento Fauonio acqui&longs;ta cor&longs;o eguale allo Scorpione. <!-- KEEP S--></s> <s id="s.007154">& co&longs;i il Sole an <lb/>dando per que &longs;egni a certi, & determinati tempi fa cre&longs;cere, & &longs;cemate gli &longs;patij de i gior <lb/>ni, & delle hore. </s> <s id="s.007155">Ma io dirò delle altre con&longs;tellationi, che &longs;ono ornate di &longs;telle dalla &longs;ini <lb/>&longs;tra, & dalla de&longs;tra della zona de i &longs;egni, della parte meridiana, & &longs;ettentrionale del <lb/>Mondo. <!-- KEEP S--></s> </p> <p type="main"> <s id="s.007156"><emph type="italics"/>Quiui ci rende Vitr. la ragione del cre&longs;cere, & del calare de i giorni, ma breuemente, & <lb/>piu presto ci e&longs;pone lo effetto, che fa il Sole nel Mondo entrando di &longs;egno in &longs;egno cercando la quan <lb/>tità de i giorni: benche la ragione &longs;ia que&longs;ta, che il Sole &longs;opra terra di &longs;egno in &longs;egno faccia mag­<lb/>giori, & minori archi del Cielo. <!-- KEEP S--></s> <s id="s.007157">Però noi &longs;aldaremo anche que&longs;ta partita, dicendone la cagio­<lb/>ne intieramente. </s> <s id="s.007158">percioche quando a noi cre&longs;ceno i giorni, ad altri uanno &longs;cemando, però doue­<lb/>mo abbraciare tutta la cau&longs;a di tale effetto, & non quella, che a noi habitanti di qua dallo equi <lb/>nottiale &longs;erue &longs;olamente. </s> <s id="s.007159">In due modi adunque s'intende giorno. </s> <s id="s.007160">prima lo &longs;patio, che fa il Sole <lb/>col Mondo girando una fiata nel termine di hore uentiquattro; & que&longs;ta è l'ordinaria &longs;ignificatio <lb/>ne di que&longs;to nome pre&longs;o uulgarmente. </s> <s id="s.007161">Imperoche gli e&longs;perti A&longs;tronomi, al giro di hore uenti­<lb/>quattro, danno quello di piu, che il Sole ha fatto in quel tempo col &longs;uo mouimento contrario a <lb/>quello del Mondo. <!-- KEEP S--></s> <s id="s.007162">nè è merauiglia &longs;e in questo &longs;patio è compre&longs;a anche la notte; perche ri&longs;petto <lb/>a tutto il Mondo &longs;empre luce il Sole, & fa giorno in qualche luogo. </s> <s id="s.007163">L'altra &longs;ignificatione è, <lb/>che per giorno s'intende quello &longs;patio, che in alcun luogo il Sole &longs;ta &longs;opra l'orizonte. </s> <s id="s.007164">nel primo mo <lb/>do comincia il giorno al mezo dì, & termina al mezo dì &longs;eguente. </s> <s id="s.007165">Percioche a qualunque habi<lb/>tanti della terra stando fermo, doue egli &longs;i troua ogni giorno dell'anno il Sole peruiene al mezo <lb/>dì &longs;opra uno iste&longs;&longs;o circolo, che pa&longs;&longs;a da un polo all'altro, per lo punto, che gli sta &longs;opra il capo,<emph.end type="italics"/><pb pagenum="387" xlink:href="045/01/401.jpg"/><emph type="italics"/>il qual punto è detto Zenith. </s> <s id="s.007166">& il circolo è chiamato Meridiano. <!-- KEEP S--></s> <s id="s.007167">Imperoche quando il Sole &longs;i <lb/>troua in alcun punto di quello, quando è &longs;opra terra, &longs;empre è mezo dì: & benche diuer&longs;i habbia <lb/>no diuer&longs;i Meridiani, a cia&longs;cuno però il &longs;uo è uniforme. </s> <s id="s.007168">Ma i punti del leuare, & del trammon <lb/>tar del Sole, &longs;i uanno &longs;empre uariando. </s> <s id="s.007169">Perche &longs;i uede, che il Sole hora na&longs;ce al uero leuante; <lb/>hora di qua, hora di la. </s> <s id="s.007170">Et co&longs;i tramonta in diuer&longs;i punti dell'orizonte. </s> <s id="s.007171">Per &longs;apere adunque <lb/>la diuer&longs;ità de i giorni, egli bi&longs;ogna auuertire, che il Sole non &longs;ale ogni giorno egualmente &longs;opra <lb/>terra, dal che uiene, che un giorno non è eguale allo altro. </s> <s id="s.007172">Ben è uero, che ne gli iste&longs;&longs;i graai di <lb/>appartamento dallo equinottiale, ne i quali il Sole ogni dì a&longs;cende, in quelli &longs;i pone alla parte op­<lb/>posta, & per breue, o lungo, che &longs;ia il giorno &longs;tando l'huomo in un luogo, il Sole gli uiene ogni <lb/>dì (come ho detto) ad uno iste&longs;&longs;o meridiano, &longs;enza che egli pieghi mai in parte alcuna. </s> <s id="s.007173">Nè per <lb/>questo affermo, che ad uno iste&longs;&longs;o tempo &longs;ia il mezo dì a tutti gli habitatori della terra, ma dico <lb/>bene, che quanto uno è piu leuantino, tanto piu presto gli na&longs;ce il Sole, & tanto piu presto gli <lb/>uiene al &longs;uo meridiano. </s> <s id="s.007174">La doue egli &longs;i puo hauere per que&longs;ta ragione, che quando ad al um è <lb/>mezo dì, ad altri è il principio, ad altri il fine del giorno, & ad altri la notte, & e&longs;&longs;endo la terra, <lb/>come alcuni uogliono di leghe &longs;eimila di circuito, il corpo del Sole per ogni hora del dì naturale <lb/>fa per la ritondezza dell'acqua, & della terra leghe ducento & &longs;e&longs;&longs;antadue. </s> <s id="s.007175">La onde per que&longs;to <lb/>conto guardando noi, che hora è di giorno in un pae&longs;e &longs;aperemo, che hora &longs;ia in ogni altra parte; <lb/>&longs;apendo la distanza delle leghe, che è da un luogo all'altro da leuante a ponente. </s> <s id="s.007176">Hora ponia­<lb/>mo il Sole nel principio del Montone, che è punto equinottiale: benche Vitr. lo mette nella otta­<lb/>ua parte, (il che come s'intenda dirò poi) & che cominci a montare: & imaginiamo, che il <lb/>principio, & il fine del giorno &longs;ia, quando &longs;u'l Labro, o &longs;u l'orlo dell'orizonte da leuante, & da <lb/>Ponente &longs;i troui il centro del corpo &longs;olare: Io dico il giorno e&longs;&longs;er pari alla notte: perche il Sole <lb/>di&longs;egna una metà del &longs;uo giro &longs;opra l'orizonte, & l'altra metà di &longs;otto, & dimora tanto di &longs;opra <lb/>quanto di &longs;otto. </s> <s id="s.007177">Facciamo poi, che il Sole &longs;i muoua di &longs;uo mouimento uer&longs;o i &longs;egni, che &longs;ono di <lb/>qua dalla linea equinottiale ri&longs;petto a noi, che &longs;ono il Montone, il Toro, i Gemelli, il Cancro, il <lb/>Leone, & la Vergine, detti da Vitr. <!-- KEEP S--></s> <s id="s.007178">Settentrionali; Io dico che i giorni &longs;i faranno a poco a poco <lb/>maggiori, fin che il Sole peruenga al &longs;egno del Cancro, di doue egli comincia ad abba&longs;&longs;ar&longs;i, & <lb/>ritorna in dietro: però è detto Tropico: cioè circolo di ritorno: che è quello, che noi imaginiamo, <lb/>che farebbe il Sole, &longs;e egli quando entra nel Cancro girando per un giorno intiero, la&longs;cia&longs;&longs;e un &longs;e <lb/>gno manife&longs;to nel Cielo: &longs;i come chiamano equinottiale, quel circolo, che &longs;egnandolo il Sole in <lb/>un dì entrando nel Montone, o nella Bilancia, egli mo&longs;tra&longs;&longs;e i &longs;uoi ue&longs;tigi. </s> <s id="s.007179">il Sole adunque comin <lb/>cia a di&longs;cendere dal Tropico, & non fa l'arco diurno co&longs;i grande. </s> <s id="s.007180">Et perche pare, che a quel <lb/>tempo il Sole faccia poco mouimento, il che ci appare, per la poca mutatione delle ombre, però <lb/>quel tempo è delto Sol&longs;titio. </s> <s id="s.007181">Quiui adunque il giorno è lunghi&longs;&longs;imo a quelli, che &longs;tanno di qua <lb/>dallo equinottiale, & la notte è breui&longs;&longs;ima; & tanto è piu lungo il dì & piu breue la notte, <lb/>quanto è piu torto, & obliquo l'orizonte, perche il Sole fa maggior &longs;alita a quelli, che hanno <lb/>l'orizonte piu obliquo, & dimora piu &longs;opra la terra, & però lo &longs;patio della luce è maggiore. </s> <s id="s.007182"><lb/>La onde facilmente &longs;i corregge il te&longs;to di Vitr. la doue egli dice. {Ad Cancrum, qui breui&longs;&longs;i­<lb/>mum tenet cœli &longs;patium.} percioche uuol dire, longi&longs;&longs;imum, ri&longs;petto al Sole, che nel principio <lb/>del Cancro fa maggior uiaggio &longs;opra l'Orizonte ri&longs;petto a noi, & l'arco diurno è piu grande, <lb/>che &longs;ia in tutto l'anno. </s> <s id="s.007183">Di&longs;cendendo poi dal Sol&longs;titio ne i &longs;eguenti &longs;egni, i giorni uanno &longs;ceman­<lb/>do. </s> <s id="s.007184">perche gli archi diurni &longs;ono piu baßi, & minori, fin che egli peruiene alla Bilancia, nel cui <lb/>principio di nuouo il giorno &longs;i fa eguale alla notte: Et &longs;i fa il &longs;econdo equinottio, detto equinottio <lb/>dell'Autunno, &longs;i come il primo &longs;i diceua equinottio della prima uera. </s> <s id="s.007185">Et di&longs;cendendo tutta uia <lb/>ne i &longs;eguenti &longs;egni i giorni &longs;i &longs;cortano, per le &longs;opradette cagioni, fin che entri nel Capricorno, do­<lb/>ue &longs;i fa l'altro Sol&longs;titio, che da i buoni antichi è detto Bruma, dalla breuità de i giorni. </s> <s id="s.007186">Stando <lb/>adunque il Sole nel &longs;egno brumale, le notti &longs;ono piu lunghe, che &longs;iano in tutto l'anno a quelli, <lb/>che &longs;tanno di qua dallo equinottiale, & i giorni con&longs;eguentemente &longs;ono piu breui. </s> <s id="s.007187">Ma a quelli,<emph.end type="italics"/><pb pagenum="388" xlink:href="045/01/402.jpg"/><emph type="italics"/>che &longs;ono di la dallo equinottiale auuiene al contrario, percioche gli archi diurni &longs;i fanno mag­<lb/>giori, & il Sole girando per quelli, &longs;ta piu &longs;opra l'Orizonte, & i notturni &longs;i fanno mino­<lb/>ri. </s> <s id="s.007188">Ritornando poi dal Capricorno, (perche iui anche è l'altro circolo del ritorno,) per­<lb/>che il Sole comincia a prendere maggior &longs;alita, i giorni &longs;i fanno maggiori, &longs;in che un'altra <lb/>fiata &longs;i pareggino con la notte rientrando nel Montone. <!-- KEEP S--></s> <s id="s.007189">Et que&longs;to è quanto ha uolu­<lb/>to dire Vitruuio accennando nel tra&longs;cor&longs;o molte belle co&longs;e. </s> <s id="s.007190">Tra le quali una è l'ordine <lb/>de i &longs;egni, & il modo delle figure loro; & que&longs;to dico accioche gli artefici, che fanno <lb/>le &longs;pere, imparino a poner bene i &longs;egni cele&longs;ti, perche il Sole entra nel Montone per la te&longs;ta <lb/>&longs;ua. </s> <s id="s.007191">dietro il Montone è la coda del Toro, & co&longs;i ua &longs;eguitando, come dice Vitruuio. <!-- KEEP S--></s> <s id="s.007192">L'altra <lb/>co&longs;a è che dal Montone per ordine fin alla Bilancia i &longs;egni, che iui &longs;ono &longs;i chiamano Settentrio­<lb/>nali. </s> <s id="s.007193">& quelli, che &longs;ono dalla Bilancia al Montone &longs;i chiamano Meridionali. </s> <s id="s.007194">perche quelli &longs;ono <lb/>di qua dallo equinottiale uer&longs;o il Settentrione, doue &longs;iamo noi: quelli di la uer&longs;o le parti Meridia­<lb/>ne; dico ri&longs;petto a noi. </s> <s id="s.007195">Imperoche i &longs;egni Meridiani a noi, che &longs;tiamo di qua dalla linea, &longs;ono <lb/>&longs;egni del Sole di la, & i &longs;egni, che a noi &longs;ono Settentrionali, a quelli &longs;ono Meridiani. <!-- KEEP S--></s> <s id="s.007196">Dice an­<lb/>che di piu, che l'uno, & l'altro equinottio, & l'uno, & l'altro Sol&longs;titio &longs;i fanno nelle parti ot­<lb/>taue de i loro &longs;egni, il che come s'intenda il moderno autore &longs;opracitato, nel predetto luogo di <lb/>Plinio dice. </s> <s id="s.007197">Gli antichi per cono&longs;cere il circolo obliquo riguardarono, quando in due tempi di­<lb/>uer&longs;i i giorni fu&longs;&longs;ero eguali alla notte. </s> <s id="s.007198">Et con&longs;iderando anche due grandi&longs;&longs;ime di&longs;aguaglianze de <lb/>i giorni, l'una nel uerno, l'altra nella &longs;tate, quando il Sole &longs;i ritroua, ne i punti del ritorno. </s> <s id="s.007199">Et <lb/>cio fecero con giudicio, & bene, pen&longs;ando, che tra que&longs;ti termini il Sole anda&longs;&longs;e &longs;eruando uno <lb/>i&longs;te&longs;&longs;o tenore di uiaggio, non interrompendolo piu in un luogo, che in un'altro, & co&longs;i parue lo­<lb/>ro, che bene fu&longs;&longs;ero, che quelli &longs;patij fu&longs;&longs;ero congiunti &longs;otto la circonferenza d'un continuate <lb/>cerchio. </s> <s id="s.007200">Et co&longs;i haueuano quattro principij di quattro quarte del circolo obliquo, che in que­<lb/>sto modo fu prima detto. </s> <s id="s.007201">da que&longs;to prendendo altri argomenti partirono quel cerchio in dodici par <lb/>ti eguali, immutabili m ogni &longs;ecolo: ma poi per fare la loro inuentione memorabile a &longs;e &longs;te&longs;&longs;i, & <lb/>a i po&longs;teri di&longs;egnarono quel circolo, con alcune copie di &longs;telle, che iui e&longs;&longs;er compre&longs;ero non in mo­<lb/>do, che ogni imagine, co&longs;i da loro figurata occupa&longs;&longs;e a punto la duodecima parte, ma in quanto <lb/>fu&longs;&longs;ero uicine al detto cerchio. </s> <s id="s.007202">Et co&longs;i chiamarono Montone, Toro, & gli altri &longs;egni. </s> <s id="s.007203">Et da <lb/>que&longs;to l'obliquo cerchio ha pre&longs;o il nome di zodiaco, ouero di &longs;ignifero. </s> <s id="s.007204">Et che le imagini non oc <lb/>cupa&longs;&longs;ero la terza parte del zodiaco a punto, ce lo da ad intendere Vitr. dicendo, che il capo, <lb/>& il petto del Leone è attribuito al Cancro: & che il &longs;eno della ue&longs;te della Vergine ba le prime <lb/>parti della Bilancia, & altre &longs;imili co&longs;e. </s> <s id="s.007205">Hora e&longs;ponendo Vitruuio dicemo, che le prime <lb/>parti del Montone, che fin alle corna &longs;i e&longs;tendeno a gradi &longs;ei, & minuti trenta, cioè &longs;ei parti, <lb/>& meza delle dodici, nelle quali è partito egualmente il zodiaco, & le ultime fin alla coda di e&longs;­<lb/>&longs;o Montone hanno gradi uenti&longs;ette, ci &longs;ono uenti, & mezo, che tanto &longs;i e&longs;tende que&longs;ta imagine <lb/>per lungo di que&longs;to numero la ottaua parte è 2. & mezo con le quali il Montone auanza la <lb/>egualità de i giorni. </s> <s id="s.007206">Il &longs;imile s'intende de gli altri &longs;egni. </s> <s id="s.007207">& benche que&longs;to co&longs;i a pun <lb/>to non &longs;ia, niente dimeno ci puo ba&longs;tare la uicinanza. </s> <s id="s.007208">Columella nel nono benche approui <lb/>la opinione de Hipparco dicendo, che gli equinottij, & Sol&longs;titij &longs;i fanno nelle prime parti de i &longs;e­<lb/>gni, però egli &longs;egue Eudo xo, & Mirone antichi a&longs;tronomi, che diceuano, che gli equinottij, & <lb/>i Sol&longs;titij &longs;i faceuano nelle ottaue parti de i &longs;egni: come dice Vitru. po&longs;ero questo gli antichi, <lb/>&longs;eguitando la con&longs;uetudine: imperoche que giorni erano dedicati a certi &longs;acrificij, & nominati <lb/>per &longs;acre ceremonie, & quella opinione era &longs;tata accettata da gli huomini uolgari. </s> <s id="s.007209">Eanche da <lb/>o&longs;&longs;eruare in Vitr. & la ri&longs;pondenza de i giorni, quando il Sole è in un &longs;egno, con quelli quando <lb/>egli è in un'altro. </s> <s id="s.007210">Et pero dice, che il Leone ri&longs;ponde a Gemelli, la Virgine al Toro; la Bilancia <lb/>al Montone: & co&longs;i gli altri, perche egli è una i&longs;te&longs;&longs;a ragione dello andare, & del ritorno: & <lb/>conclude, che co&longs;i come i giorni uanno cre&longs;cendo, & &longs;cemando, co&longs;i cre&longs;ceno, & &longs;cemano gli <lb/>&longs;patij delle hore e&longs;&longs;endo quella proportione della parte alla parte, che è del tutto al tutto. </s> <s id="s.007211">Ma<emph.end type="italics"/><pb pagenum="389" xlink:href="045/01/403.jpg"/><emph type="italics"/>accioche &longs;i dia chiara, & uniuer&longs;al dimo&longs;tratione, diremo, che in ogni Orizonte tanto di giorno, <lb/>quanto di notte, &longs;ia que&longs;to, & quella langhi, o breui quanto &longs;i uoglia. </s> <s id="s.007212">La metà del Zodiaco &longs;a <lb/>le &longs;opra, & l'altra &longs;cende, come detto hauemo. </s> <s id="s.007213">di giorno, quando monta quella, che comincian<lb/>do dal luogo oue &longs;i truoua il Sole, &longs;econdo l'ordine de i &longs;egni &longs;i &longs;a innanzi, & l'altra tramon­<lb/>ta: cioè quella, che, comincia dal luogo oppo&longs;to, doue &longs;i truoua il Sole: & per lo contrario di <lb/>notte quella a&longs;cende, & que&longs;ta di&longs;cende. </s> <s id="s.007214">Et que&longs;to è ragioneuole, perche e&longs;&longs;endo (come detto <lb/>hauemo) l'Orizonte, & il Zodiaco due cerchi de i maggiori, nece&longs;&longs;ario è, che l'uno, & l'altro &longs;i <lb/>taglino in due parti eguali; Adunque tanto di giorno, quanto di notte &longs;ei &longs;egni na&longs;ceno, & &longs;ei ca<lb/>deno. </s> <s id="s.007215">Però nello obliquo Orizonte, a quelli, che &longs;ono di qua dalla linea nel giorno dello equinot<lb/>tio di Primauera monta la metà del Zodiaco, che declina uer&longs;o il Polo manife&longs;to, che contiene i <lb/>&longs;egni dal Montone alla Pilancia; & per lo contrario nel dì dello equinottio dell'Autunno mon­<lb/>tando l'altra metà, quella di&longs;cende. </s> <s id="s.007216">Ma quella metà del Zodiaco, che comincia col punto del <lb/>Sol&longs;titio della &longs;tate in grandi&longs;&longs;imo &longs;patio monta, & in breuißimo di&longs;cende. </s> <s id="s.007217">& nel punto della Bru<lb/>ma, quella metà, che in breuißimo &longs;patio a&longs;cende in lunghißimo di&longs;cende, perche na&longs;ce tanto <lb/>nella notte della &longs;tate, quanto nel dì del uerno breuißimo: & di&longs;cende tanto nel dì dell'e&longs;tate, <lb/>quanto nella notte del uerno lunghißima. </s> <s id="s.007218">La onde gli habitanti &longs;otto i circoli polari, la metà <lb/>del Zodiaco, che comincia col punto del Sol&longs;titio co&longs;i come nello &longs;patio di hore uentiquattro &longs;i le­<lb/>ua, co&longs;i in uno in&longs;tante &longs;i pone: & per lo contrario l'altra, come in uno in&longs;tante &longs;i leua, co&longs;i in <lb/>hore uentiqnattro &longs;i pone. </s> <s id="s.007219">La doue quanto una metà del Zodiaco prende il principio &longs;uo piu uici <lb/>no al piu alto Sol&longs;titio, tanto &longs;ale in maggiore &longs;patio di tempo, & in minore &longs;i pone: Et co&longs;i due <lb/>metà, che cominciano con un punto da un Sol&longs;titio egualmente rimote, con eguali &longs;patij di tempo <lb/>montano, & &longs;i corcano, perche na&longs;ceno, & cadeno con giorni, & notti eguali. </s> <s id="s.007220">Et &longs;e due me­<lb/>tà del Zodiaco cominciano da due punti oppo&longs;ti, in quel tempo, che una &longs;ale, l'altra &longs;i po­<lb/>ne, perche lo i&longs;te&longs;&longs;o dì, che una leua, l'altra cade: & nella i&longs;te&longs;&longs;a notte, che <lb/>una monta, l'altra trammonta: per il che, quelle metà, che na&longs;ceno con punti da uno equinottio <lb/>egualmente distanti, in quanto tempo, che una &longs;i leua l'altra cade. </s> <s id="s.007221">Et que&longs;to è quello, che dice <lb/>Vitr. che a i giorni de i Gemelli, &longs;ono pari i giorni del Leone. </s> <s id="s.007222">Qui &longs;otto ci&longs;arà una tauola, che <lb/>ci dimo&longs;tra di grado in grado la lunghezza de i giorni cominciando &longs;otto l'equinottiale, fin &longs;otto <lb/>il Polo.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.007223"><emph type="italics"/>Et co&longs;i quanto &longs;ono i giorni lunghi al tempo del Sol&longs;titio, tanto &longs;ono le notti al tempo della <lb/>bruma: di modo che in tutto l'anno, tanto è lo &longs;pacio del giorno, quanto è lo &longs;pacio della notte. </s> <s id="s.007224"><lb/>Volendo adunque noi &longs;apere quanto &longs;ia il dì maggiore in cia&longs;cun pae&longs;e, &longs;i ricorrerà alla predetta <lb/>tauola, doue nel primo ordine &longs;i ritrouerà l'altezza del Polo: nel &longs;econdo all'incontro la grandez<lb/>za del giorno &longs;econdo le hore: & nel terzo i minuti; & nel quarto le &longs;econde. </s> <s id="s.007225">Ma che il mondo <lb/>&longs;ia habitato, fin la doue &longs;ono &longs;ei me&longs;i di giorno, & &longs;ei di notte: que&longs;to è gia manife&longs;to per la pra­<lb/>tica de gli huomini, & per gli &longs;critti di molti. </s> <s id="s.007226">La natura ha proui&longs;to a quelli. </s> <s id="s.007227">La Luna con lo <lb/>&longs;uo &longs;plendore &longs;pe&longs;&longs;o gli ui&longs;ita: i crepu&longs;culi gli &longs;ono lunghi tanto la &longs;era, quanto la mattina: il So­<lb/>le dimorandogli molto &longs;opra la terra gli la&longs;cia la &longs;ua impreßione: il pae&longs;e è coperto da i uenti con <lb/>la grandezza de i monti: il &longs;ito è incuruato, che riceue meglio il calore: iui è il mare, che pure <lb/>per la &longs;al&longs;uggine &longs;ua dà inditio di qualche adu&longs;tione: iui &longs;i trouano le pelli fini&longs;&longs;ime, gli huomini <lb/>grandi &longs;ono gagliardi, & robu&longs;ti; & &longs;i come il mare gli &longs;ommini&longs;tra gran quantità di pe&longs;ce, co&longs;i <lb/>la terra non &longs;i &longs;degna di produrre herbe, & metalli in gran quantità, di modo che gli antichi i <lb/>quali non haueuano ueduto piu inanzi &longs;ono stati dapoi &longs;enza lor frutto dalla e&longs;perienza conuin­<lb/>ti. </s> <s id="s.007228">Ma torniamo al propo&longs;ito. </s> <s id="s.007229">& dichiamo breuemente quello, che è &longs;tato o&longs;&longs;eruato del moui­<lb/>mento del Sole, nelle quarte del Zodiaco. <!-- KEEP S--></s> <s id="s.007230">Il Sole adunque ua per la prima quarta del Zodiaco in <lb/>giorni nouantaquattro, hore dodici: & del &longs;uo Eccentrico gradi nouanta tre, minuti noue. </s> <s id="s.007231">Va per <lb/>la &longs;econda, che è la quarta e&longs;tiua in giorni nouanta due, & hore dodici: & del &longs;uo Eccentrico <lb/>gradi nouanta uno, minuti undici. </s> <s id="s.007232">ua per la terza in giorni ottantaotto, & del &longs;uo Eccentrico <pb xlink:href="045/01/404.jpg"/> <figure id="id.045.01.404.1.jpg" xlink:href="045/01/404/1.jpg"/> <pb pagenum="391" xlink:href="045/01/405.jpg"/>gradi ottanta &longs;ei, minuti quarantauno. </s> <s id="s.007237">uà per la quarta del uerno in giorni nouanta, hore due, <lb/>minuti cinquanta cinque, &longs;econde due, & del &longs;uo Eccentrico gradi ottanta otto, minuti nouanta­<lb/>noue. </s> <s id="s.007238">fa la metà &longs;ettentrionale del Zodiaco in giorni centoottanta &longs;ette, l'altra in giorni cento &longs;et­<lb/>tanta otto, hore cinquanta cinque, minuti cinquantacinque, &longs;econde dodici. </s> <s id="s.007239">La doue andando <lb/>per la metà Settentrionale pone giorni otto, hore dieciotto, minuti quattro, &longs;econde quaranta otto <lb/>di piu, che andando per la metà meridiana.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007240">Hora io dirò delle altre con&longs;tellationi, che &longs;ono dalla de&longs;tra, & dalla &longs;ini&longs;tra della zona <lb/>dei &longs;egni di&longs;po&longs;te, & figurate di &longs;telle dal Settentrione, & dal Meriggie. </s> </p> <p type="main"> <s id="s.007241"><emph type="italics"/>Propone Vitr. quello, che egli fare intende, dapoi che egli ci ha e&longs;plicato il cor&longs;o del Sole, il <lb/>cre&longs;cere, il &longs;cemare de gli &longs;pacij diurni, & delle hore: & dice uolerci dimo&longs;trare il &longs;ito delle stel­<lb/>le po&longs;te di qua, & di la dal Zodiaco, percioche e&longs;&longs;endo alcune imagini nella larghezza del Zodia­<lb/>co, alcune fuori, & hauendo detto di quelle, che &longs;ono nella larghezza del Zodiaco, quali, quan­<lb/>te, & come &longs;tiano: uuole trattare di quelle, che &longs;ono di quà, & di là del Zodiaco: & prima tratta <lb/>di quelle, che &longs;ono dalla parte Settentrionale, chiamando &longs;ydera le con&longs;tellationi, cioè le imagini <lb/>intiere compo&longs;te di piu &longs;telle: & &longs;tella una &longs;ola &longs;tella.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.007242"><emph type="italics"/>Delle constellationi, che &longs;ono dalla parte Settentrio­<lb/>nale. </s> <s id="s.007243">Cap. VI.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.007244">IL Settentrione, ilquale i Greci chiamano Arcton, ouero Helicen, ha dietro di <lb/>&longs;e po&longs;to il Guardiano: da quello non molto lontana è la Vergine, &longs;opra il <lb/>cui homero de&longs;tro è po&longs;ta una lucidi&longs;sima &longs;tella, che i Latini chiamano Pro­<lb/>uindemiam: i Greci Protrygetum; & la &longs;ua apparenza è piu pre&longs;to &longs;plendida, <lb/>che colorita: euui un'altra &longs;tella a dirimpetto tra le ginocchia del Guardiano dell'Or&longs;a, <lb/>che è dettà Arcturo, & iui è dedicato all'incontro del capo del Settentrione attrauer&longs;ato <lb/>ai piedi de i Gemelli il Carrettieri, & &longs;ta &longs;opra la &longs;ommità del corno del Toro. <!-- KEEP S--></s> <s id="s.007245">parimen­<lb/>te nella &longs;ommità del Corno &longs;ini&longs;tro del Toro alli piedi del Carrettieri tiene una &longs;tella da <lb/>una parte, che &longs;i chiama la mano del Carrettieri, doue &longs;ono i Capretti, & la Capra. <!-- KEEP S--></s> </p> <p type="main"> <s id="s.007246"><emph type="italics"/>Vitr. non &longs;olamente pone le imagini cele&longs;ti, che &longs;ono raunanze di molte &longs;telle dette da lui con­<lb/>&longs;tellationi, ma ancho qualche stella &longs;egnalata da &longs;e: nè meno le pone tutte, ma &longs;olamente quelle, <lb/>che per gli orti, & occa&longs;i loro &longs;ono uedute, & cono&longs;ciute. </s> <s id="s.007247">però &longs;i uede che Vitr. ha hauuto inten <lb/>tione di e&longs;ponere quello, che appare &longs;opra il nostro hemi&longs;pero, & però ha ragionato prima de i poli <lb/>del mondo in quel modo, come per legge perpetua il &longs;ettentrione &longs;te&longs;&longs;e di&longs;opra, & l'antarctico di <lb/>&longs;otto. </s> <s id="s.007248">In que&longs;to trattamento ci &longs;ono molte &longs;correttioni del testo. </s> <s id="s.007249">Va a torno una carta fatta con <lb/>il con&longs;iglio, & con l'opera di tre ualent'huomini, Giouanni Stabio, Alberto Durero, & il Volpaia <lb/>Fiorentino, nella quale &longs;ono tutte le imagini celesti, fatte con estrema diligenza, &longs;econdo il &longs;ito lo <lb/>ro, col numero delle stelle, che le adornano, & la quantità, & grandezza loro, & anche ci &longs;ono le <lb/>&longs;telle &longs;eparate dalle imagini, & molte ui &longs;ono aggiunte per relatione di nauiganti, che appartengo <lb/>no all'altro polo. </s> <s id="s.007250">ma noi in uece di quella tauola, ne poneremo un'altra non di pittura, ma di nume­<lb/>ri, dimo&longs;trando per quella, quali imagini &longs;iano &longs;ettentrionali, & quali dalla parte del mezo dì, <lb/>& che latitudine s'habbiano, cioè quanto &longs;iano dalla eclittica di&longs;coste uer&longs;o i poli del mondo, & <lb/>che longitudine, cioè quanto &longs;iano lontane dal principio del Montone, per la lunghezza del Zo­<lb/>diaco, & &longs;i dimo&longs;trerà le loro quantità, & qualità; perche altre &longs;ono piu lucenti, altre meno, & <lb/>altre maggiori, & altre minori, altre uanno al mezo del Cielo con un &longs;egno, altre con un'altro. </s> <s id="s.007251"><lb/>Questa tauola è &longs;tata calculata del 1520. con &longs;omma diligentia dallo Eccellente Me&longs;&longs;er Federi­<lb/>co Delfino mio precettore. </s> <s id="s.007252">Io, & per l'obligo, & per l'affettione, che gli ho portato, & per la ra <lb/>gione, & per l'autorità &longs;ua ho uoluto riportarmi alla &longs;ua calculatione, & dare in luce, quella ho-<emph.end type="italics"/><pb pagenum="392" xlink:href="045/01/406.jpg"/><emph type="italics"/>norata fatica. </s> <s id="s.007253">però nel fine del libro è po&longs;ta la detta tauola, alla quale rimetto i lettori. </s> <s id="s.007254">Gli an­<lb/>tichi po&longs;ero quar antaotto imagini, & cognobbero mille, & uintidue &longs;telle. </s> <s id="s.007255">Vero è che alcuni han <lb/>no uoluto fare d'una imagine piu parti, & però hanno pa&longs;&longs;ato il numero predetto. </s> <s id="s.007256">Tolomeo ne <lb/>mette quarantaotto. </s> <s id="s.007257">Queste &longs;ono chiamate tanto dalle co&longs;e animate, quanto dalle co&longs;e inanima <lb/>te; & tanto dalle ragioneuoli, quanto da quelle, che mancano di ragione; & tanto dalle fiere, quan <lb/>to dalle domestiche, sì di terra, come di mare, & questo dico con grande merauiglia, come i Gre­<lb/>ci (&longs;e i Greci &longs;ono &longs;tati, et non altri piu antichi) habbiano hauuto tanta autorità, che con tanto con <lb/>&longs;en&longs;o di ognuno habbiano empito il cielo delle lor fauole, che confirmate dapoi per niun modo &longs;o­<lb/>no &longs;tate mutate. </s> <s id="s.007258">Ma in fine l'aduiatione de i cortegiani, & la uoglia de i primi ordinatori, come <lb/>Poeti, & A&longs;tronomi, per fare eterna memoria d'alcune co&longs;e notabili, o per adulare a i loro &longs;igno­<lb/>ri, hanno ritrouato luoghi nel cielo da collocarui le co&longs;e amate da quelli, la doue non poterono e­<lb/>glino mai &longs;alire. </s> <s id="s.007259">Come Virgilio po&longs;e tra gli artigli dello Scorpione la &longs;tella di Ce&longs;are. <!-- KEEP S--></s> <s id="s.007260">Ma è co­<lb/>&longs;a mirabile, che i Greci, od'altri habbiano hauuto tanto priuilegio di empire il cielo de i nomi delle <lb/>loro &longs;celer atezze, & che le fauole loro &longs;iano &longs;tate accettate ne i canoni, & nelle regole di de&longs;cri<lb/>uere il cielo. </s> <s id="s.007261">Fanno mentione di que' nomi anche le &longs;acre lettere, come Iob parlando della poten<lb/>tia di Dio dice. </s> <s id="s.007262">Il quale fa l'Arcturo, & l'Orione, & le Hiade, & le parti interiori dell'O&longs;tro. </s> <s id="s.007263">Et <lb/>in un'altro luogo Dio dice di &longs;e &longs;te&longs;&longs;o a Iob. <!-- KEEP S--></s> <s id="s.007264">Potrai tu riunire le ri&longs;plendide stelle Pleiade? </s> <s id="s.007265">ouero <lb/>di&longs;&longs;ipare il giro d'Arcturo? </s> <s id="s.007266">Produci tu Lucifero nel tempo &longs;uo, o fai tu na&longs;cere &longs;opra l'Orizonte <lb/>la &longs;tella detta Ve&longs;pero? </s> <s id="s.007267">Ma i Greci od'altri, che &longs;iano &longs;tati primi inuentori, temendo che la leggie­<lb/>rezza delle loro ribalderie, non &longs;i dilegua&longs;&longs;e, le uollero inchiodare nel cielo. </s> <s id="s.007268">però cantano alcuni.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007269"><emph type="italics"/>Gioue infiammato d'amoro&longs;o ardore <lb/>Delle figlie de gli huomini s'acce&longs;e <lb/>Hauendo a noia l'immortal conte&longs;e <lb/>Dell'orgoglio&longs;a moglie, e &longs;uo furore.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007270"><emph type="italics"/>Vide Cali&longs;to, che era &longs;ul fiore <lb/>Di &longs;ua bellezza, onde tra noi di&longs;ce&longs;e, <lb/>Et dopo i dolci baci, e le conte&longs;e <lb/>Dolci di lei, ne re&longs;to uincitore.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007271"><emph type="italics"/>Giunon gelo&longs;a piena di disdegno <lb/>Piglia la bella giouane, e &longs;tratiata <lb/>Che l'hebbe, in Or&longs;a horribil la conuer&longs;e.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007272"><emph type="italics"/>L'infelice ne diè co'l ruggir &longs;egno <lb/>Per le &longs;elue d'Arcadia, ma leuata <lb/>Per la pietà di Gioue al Cielo s'er&longs;e.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007273"><emph type="italics"/>Le imagini, che &longs;ono uer&longs;o il Settentrione &longs;ono prima po&longs;te da Vitruuio, & dice, che quel Setten <lb/>trione, che da Greci è detto Arctos, ouero Helice, che altro non è, che l'Or&longs;a maggiore, che altri <lb/>dalla figura hanno chiamato il Carro: ha dietro di &longs;e il custode, o Guardiano, o Bootes, che &longs;e gli di <lb/>ca, &longs;otto il quale non molto lontano è il &longs;egno della Vergine, che per A&longs;trea, o per la Giu&longs;titia &longs;i <lb/>pone, &longs;opra la cui de&longs;tra &longs;palla &longs;i uede una lucidi&longs;&longs;ima &longs;tella, che &longs;i chiama Antiuindemia, per­<lb/>che quando na&longs;ce, cioè quando e&longs;ce da i raggi del Sole, promette la maturità della uindemia. </s> <s id="s.007274">della <lb/>cui materia &longs;egni manife&longs;ti &longs;ono gli acini dell'uua mutati di colore. </s> <s id="s.007275">Que&longs;ta &longs;tella è &longs;imile al ferro af <lb/>focato, però Vitruuio dice, che è piu pre&longs;to candens, cioè rouente, che colorata. </s> <s id="s.007276">perche gli &longs;crittori <lb/>gli danno uno mir abile &longs;plendore. </s> <s id="s.007277">I Greci la chiamano Protrygetum, che in latino prouindemia, <lb/>&longs;i dice. </s> <s id="s.007278">Oltra di que&longs;to tra le ginocchia del Guardiano è la stella nominata Arcturo, dalla quale <lb/>alcuni hanno chiamato Arcturo tutta la imagine del Guardiano. </s> <s id="s.007279">Ecco che Vitru. non &longs;olo tocca <lb/>le imagini, constellationi, asteri&longs;mi, &longs;egni, & figure, che tutto è uno, ma anche le stelle &longs;ole & <lb/>&longs;eparate, (come detto hauemo.) &longs;eguita poi l'Auriga, carrettieri, Ericthonio, & Or&longs;ilocho det­<lb/>to, il &longs;ito delquale è dinanzi al capo dell'or&longs;a maggiore, & le sta attrauer&longs;ato in modo, che &longs;e<emph.end type="italics"/><pb pagenum="393" xlink:href="045/01/407.jpg"/><emph type="italics"/>l'Or&longs;a &longs;corre&longs;&longs;e, gli urterebbe nel capo. </s> <s id="s.007280">sta egli &longs;opra il destro corno del Toro, per mezo i piedi <lb/>de i Gemelli, &longs;opra la cui &longs;palla &longs;ini&longs;tra è una &longs;tella, che &longs;i chiama la Capra. <!-- KEEP S--></s> <s id="s.007281">que&longs;ta pare che ri­<lb/>guardi due picciole stelle, che &longs;ono nella &longs;ini&longs;tra del carrettieri, & &longs;i chiamano i Capretti. <!-- KEEP S--></s> <s id="s.007282">però <lb/>to leggerei Vitr. in questo modo.<emph.end type="italics"/> { <emph type="italics"/>Itemque in &longs;ummo cornu læuo ad Aurigæ pedes una tenet <lb/>parte stellam, quæ appellatur Aurigæ manus, in qua hædi. </s> <s id="s.007283">capra uero læuo humero.<emph.end type="italics"/> } <emph type="italics"/>& poi <lb/>comincia.<emph.end type="italics"/> { <emph type="italics"/>Tauri quidem, & Arietis in&longs;uper.<emph.end type="italics"/>} <emph type="italics"/>Adunque &longs;opra la cima del &longs;inistro corno <lb/>del Toro l'Auriga &longs;tende una mano, nellaquale &longs;ono due &longs;telle nominate i Capretti, & tiene &longs;opra <lb/>il &longs;inistro humero una stella detta la Capra. <!-- KEEP S--></s> <s id="s.007284">& poi &longs;eguita.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007285">Sopra le parti del Toro, & del Montone con le &longs;ue de&longs;tre parti Per&longs;eo &longs;i ritroua, &longs;ot­<lb/>tentrando alla ba&longs;e delle &longs;telle nominate Vergilie. </s> <s id="s.007286">& con le piu &longs;ini&longs;tre il capo del Monto <lb/>ne appoggiando la de&longs;tra mano al &longs;imulacro di Ca&longs;siopea, & tiene &longs;opra l'Auriga per la <lb/>cima il capo gorgoneo ponendolo &longs;otto a i piedi di Andromeda. <!-- KEEP S--></s> <s id="s.007287">& &longs;opra Andromeda, & <lb/>&longs;opra il &longs;uo uentre &longs;ono i caualli. </s> </p> <p type="main"> <s id="s.007288"><emph type="italics"/>Et qui ancho è il te&longs;to &longs;corretto, perche le parole di Vitr. non hanno relatione nè construt­<lb/>tione, & la uerità è, che &longs;opra di Andromeda ci &longs;ono due caualli, uno alato, che &longs;i pone per lo <lb/>cauallo Pega&longs;eo: & l'altro è la parte dinanzi d'uno cauallo, cioè il capo, & il petto, & il uentre <lb/>dello alato è &longs;opra il capo d'Andromeda. </s> <s id="s.007289">Tiene anche il detto cauallo una stella &longs;opua la &longs;pina <lb/>a&longs;&longs;ai notabile, & però Vitr. potrebbe dire.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007290">Ci &longs;ono anche i Pe&longs;ci &longs;opra Andromeda, & il uentre di quel cauallo, che è &longs;opra la &longs;pi­<lb/>na dell'altro cauallo, ma nel uentre del primo è una lucidi&longs;sima &longs;tella, che termina il detto <lb/>uentre, & la te&longs;ta di Andromeda. <!-- KEEP S--></s> <s id="s.007291">Ma la mano de&longs;tra di Andromeda è po&longs;ta &longs;opra il &longs;imu­<lb/>lacro di Ca&longs;siopea, & la &longs;ini&longs;tra &longs;opra il pe&longs;ce Aquilonare. <!-- KEEP S--></s> <s id="s.007292">&longs;imilmente l'Aquario &longs;opra il <lb/>capo del cauallo, & le unghie del cauallo toccano le ginochia d'Aquario. <emph type="italics"/>Però nella fi­<lb/>guratione di quelli ualent'huomini il Cauallo deue hauere i piedi riuolti all'altra parte.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007293">Sopra Ca&longs;siopea per mezo il Capricorno in alto è po&longs;ta l'Aquila, & il Del&longs;ino, dopo i <lb/>quali è la Saetta, & alquanto dietro alla &longs;aetta è l'uccello. </s> <s id="s.007294">la cui de&longs;tra penna tocca la ma­<lb/>no di Cepheo, & il &longs;cettro: ma la &longs;ini&longs;tra di Cepheo &longs;ta &longs;opra la imagine di Ca&longs;siopea fer­<lb/>mata. </s> <s id="s.007295">&longs;otto la coda dell'uccello &longs;ono coperti i piedi del cauallo. <emph type="italics"/>Qui s'intende del mezo <lb/>cauallo.<emph.end type="italics"/> D'indi &longs;ono le imagini del Sagittario, dello Scorpione, & della Bilancia. <!-- KEEP S--></s> </p> <p type="main"> <s id="s.007296"><emph type="italics"/>Se Vitru. haue&longs;&longs;e con nomi &longs;eparati distinto i due caualli, chiamando l'uno Equus, l'altro E­<lb/>quiculus, ouero protome hippus, come dicono i Greci, non ci haurebbe la&longs;ciato difficultà: oltra <lb/>che dicendo di &longs;opra, che l'Aquila è molto lontana dal &longs;imul acro di Ca&longs;&longs;iopea, & che le unghie <lb/>del cauallo toccano le ginocchia dello Aquario, & poi dicendo, che &longs;otto la coda dell'uccello <lb/>&longs;ono coperti i piedi del cauallo, egli ci da ad intender, che non &longs;i ragiona d'un &longs;olo cauallo: ma <lb/>il tutto s'acconcia per la lettione, & la de&longs;crittione de i buoni autori.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007297">Di &longs;opra poi il &longs;erpente tocca con la cima del ro&longs;tro la corona, nel mezo del quale è <lb/>l'Ophiuco, o Serpentario, che tiene il Serpente in mano, calcando col piè &longs;ini&longs;tro la fron <lb/>te dello Scorpione. <!-- KEEP S--></s> <s id="s.007298">ma alla metà del capo dell Ophiuco, non molto lontano è il capo del <lb/>lo Ingenocchiato. </s> <s id="s.007299">detto Ae&longs;&longs;o. <emph type="italics"/>Che Hercole, The&longs;eo, Tamiri, Orpheo, Prometheo, Ixione, <lb/>Cetheo, Lycata &longs;i chiama.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007300">Ma le cime delle lor te&longs;te, &longs;ono piu facili ad e&longs;&longs;er cono&longs;ciute, imperoche &longs;ono formate <lb/>di &longs;telle a&longs;&longs;ai lucenti. </s> <s id="s.007301">Ma il piede dello Ingenocchiato &longs;i ferma a quella tempia del capo <lb/>di quel Serpente, che è tra l'Or&longs;e, che Settentrioni &longs;i chiamano. </s> </p> <p type="main"> <s id="s.007302"><emph type="italics"/>Ma quello, che dice Vitr.<emph.end type="italics"/> { <emph type="italics"/>Parue per eos flectitur Delphinus<emph.end type="italics"/>, } <emph type="italics"/>non accorda col detto de <lb/>gli altri, perche il Delfino è lontano dallo ingenocchiato; &longs;e for&longs;e non &longs;i legge.<emph.end type="italics"/> {<emph type="italics"/>Vbi parue per os <lb/>fl tur Delphinus contra uolucris rostrum est. </s> <s id="s.007303">propo&longs;ita lyra.<emph.end type="italics"/> } </s> </p> <p type="main"> <s id="s.007304">Ma doue per la bocca breuemente &longs;i piega il Delphino contra il'ro&longs;tro dell'uccello è <lb/>propo&longs;ta la Lyra. </s> <s id="s.007305">tra gli homeri dello ingenocchiato, & del Guardiano è adorna la co-<pb pagenum="394" xlink:href="045/01/408.jpg"/>rona. </s> <s id="s.007306">ma nel cerchio Settentrionale po&longs;te &longs;ono le due Or&longs;e. </s> </p> <p type="main"> <s id="s.007307"><emph type="italics"/>Dapoi che Vitr. ci ha ragionato di quelle stelle, & di quelle imagini, che &longs;ono tra il Tropico, <lb/>& il circolo Settentrionale, egli entra a quelle, che &longs;ono dentro del circolo Settentrionale, & <lb/>questo fa &longs;eparatamente perche quelle parti &longs;ono piu nece&longs;&longs;arie da e&longs;&longs;er cono&longs;ciute, perche a com <lb/>modi humani piu opportune &longs;i ueggono. </s> <s id="s.007308">De&longs;criue adunque partitamente il circolo Settentriona­<lb/>le, la figura, & la collocatione dell'Or&longs;a, & del Dracone, che la cigne, & dice.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007309">Nel circolo Settentrionale &longs;ono po&longs;te le due Or&longs;e, che &longs;i uoltano le &longs;palle, & hanno i <lb/>petti riuolti in altra parte. </s> <s id="s.007310">la minore Cino&longs;ura, la maggiore Helice è detta dai Greci; <lb/>Guardano amendue allo in giu, & la coda dell'una, è uolta uer&longs;o il capo dell'altra; per­<lb/>cioche i capi dell'una, & dell'altra dalla cima loro u&longs;cendo per le code &longs;oprauanzando&longs;i <lb/>tra quelli, è &longs;te&longs;o il Serpente, o Dracone, che &longs;i dichi. </s> <s id="s.007311">Dal fine del quale è la &longs;tella lumino­<lb/>&longs;a, quella, che &longs;i chiama il polo, che è d'intorno al capo dell'Or&longs;a maggiore. </s> <s id="s.007312">perche quel­<lb/>la, che è uicina al Dracone &longs;i uolge d'intorno al &longs;uo capo. </s> </p> <p type="main"> <s id="s.007313"><emph type="italics"/>Qui &longs;i uede lo errore di molti, che hanno dipinto l'Or&longs;e, & il Dracone, perche la figura del <lb/>Dracone, non è di quella maniera contorta, come &longs;i dipigne. </s> <s id="s.007314">& quelli, che l'hanno o&longs;&longs;eruato con <lb/>diligenza, non hanno trouato, che le stelle apparino nel cielo, nel modo, che &longs;ono dipinte, nè l'or <lb/>&longs;a maggiore appre&longs;&longs;o la testa del Dracone, nè la minore appre&longs;&longs;o la coda. </s> <s id="s.007315">ma per lo contrario la <lb/>maggiore è appre&longs;&longs;o la coda, & la minore è appre&longs;&longs;o le &longs;pire, come Arato ci dimostra, dicendo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007316"><emph type="italics"/>Qui fan di Gioue le notrici chiaro <lb/>Helice & Cino&longs;ura, quella Greci <lb/>Guida per l'alto mar, que&longs;ta Fenici. </s> <s id="s.007317"><lb/>Helice è tutta chiara, & ha&longs;ue &longs;telle <lb/>Di maggior lume, & digrandezza adorna. </s> <s id="s.007318"><lb/>Et quando il Sol nell'ocean' s'a&longs;conde <lb/>Quella di &longs;ette fiamme adorna &longs;plende, <lb/>Ma a marinari è piu fedel quell'altra, <lb/>Percioche tutta in breue giro accolta <lb/>Al fido polo &longs;i riuolge, & mai <lb/>(Purche ueduta &longs;ia) non &longs;i ritroua <lb/>Alle naui de' Sidoni fallace.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007319"><emph type="italics"/>Tra que&longs;te a gui&longs;a di &longs;pezzato lume <lb/>Il fiero Drago &longs;i tramette, e uolge <lb/>Et quinci, & quindi l'un & l'altra auanza <lb/>Helice con la coda, & poi torcendo. </s> <s id="s.007320"><lb/>A Cino&longs;ura piega, & doue punta <lb/>Con la &longs;ua coda iui la testa pone <lb/>Helice, & oltra Cino&longs;ura &longs;tende <lb/>Le Sue ritorte pieghe, e alzato a drieto <lb/>Guarda l'Or&longs;a maggior col capo ardito. </s> <s id="s.007321"><lb/>Ardeno gli occhi, & l'affocate tempie <lb/>Di fiamme acce&longs;e &longs;ono, e'l mento &longs;olo <lb/>Arde d'un fiero lume.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007322"><emph type="italics"/>La tramontana, della quale &longs;i &longs;erueno i no&longs;tri marinari, è quella &longs;tella, che è l'ultima nella co­<lb/>da dell'Or&longs;a minore. </s> <s id="s.007323">imaginiamo una linea dritta dalle ultime due &longs;telle dell'Or&longs;a maggiore, cioè <lb/>dalle ruote di dietro del carro, che uedi fin alla proßima &longs;tella che &longs;e le fa incontra, iui è la &longs;tella <lb/>uicina al polo del mondo, che &longs;i chiama &longs;tella del mare. </s> <s id="s.007324">la Tramontana adunque è la prima del­<lb/>le &longs;telle, che fanno l'Or&longs;a minore. </s> <s id="s.007325">Que&longs;te &longs;ono &longs;ette stelle a&longs;&longs;ai chiare, tre di e&longs;&longs;e fanno un corno, <lb/>che &longs;i piglia per lo temone dal carro, quattro poi fanno il quadrato &longs;econdo il &longs;ito di quattro <lb/>ruote, &longs;i muoueno d'intorno il polo con egual di&longs;tanza in termine di hore uentiquattro da Leuan­<lb/>ite a Ponente. <!-- KEEP S--></s> <s id="s.007326">& la Tramontana per e&longs;&longs;er piu uicina al polo fa minor giro. </s> <s id="s.007327">& per quella, e&longs;&longs;endo <lb/>l polo inui&longs;ibile &longs;i cono&longs;ce l'altezza del polo &longs;opra l'Orizonte, & il luogo del polo &longs;i cono&longs;ce per <lb/>un'altra &longs;tella delle stelle, che è la piu lucida delle due guardie nominate: & quella stella è det­<lb/>ta horologiale, perche girando come ruota di horologio, dà a cono&longs;cere in ogni tempo dell'an­<lb/>no, che hora &longs;ia della notte. </s> <s id="s.007328">come dimostrano gli horologi fatti per la notte. </s> <s id="s.007329">le tre stelle, che &longs;o­<lb/>no con le mani &longs;egnate nella &longs;eguente figura uengono nello horologio notturno a dritto d'una re­<lb/>gula, che &longs;i applica al centro dello horologio.<emph.end type="italics"/></s> </p> <pb pagenum="395" xlink:href="045/01/409.jpg"/> <figure id="id.045.01.409.1.jpg" xlink:href="045/01/409/1.jpg"/> <p type="main"> <s id="s.007330">Et il &longs;erpente d'intorno la te&longs;ta della Cino&longs;ura di&longs;te&longs;o è po&longs;to, & ua di lungo per dritto <lb/>&longs;ino a i &longs;uoi piedi, & quiui intorto, & ripiegato alzando&longs;i &longs;i riuolta dal capo dell'Or&longs;a mi­<lb/>nore alla maggiore contra il ro&longs;tro di quella, & la tempia della &longs;ua te&longs;ta. </s> </p> <p type="main"> <s id="s.007331"><emph type="italics"/>Cioè il Serpente &longs;i &longs;tende d'intorno alla testa dell'Or&longs;a minore, & iui alquanto &longs;i piega, dapoi <lb/>&longs;i raddrizza fin a i piedi dell'Or&longs;a predetta, & iui di nuouo &longs;i ritorce, & riuolge il capo uer&longs;o <lb/>la te&longs;ta dell'Or&longs;a minore: &longs;i come dalle bocche, & foci de i fiumi alle fonti loro Tolomeo c'in­<lb/>&longs;egna, le uolte, & i giri de i fiumi, co&longs;i Vitr. ci de&longs;criue, quelle parti del Dracone, che &longs;ono dritte, <lb/>& quelle che danno uolta, però io leggerei Vitru. questo modo.<emph.end type="italics"/> {<emph type="italics"/>Vnà uero (cioe in&longs;ieme) <lb/>circum Cyno&longs;uræ caput, iniesta e&longs;t flexu (cioe la il &longs;erpente piegato) porrestaque proxime eius <lb/>pedes (cioe dell'Or&longs;a minore) hæc autem (cioe alli piedi dell'Or&longs;a minore) intorta <expan abbr="replicataq;">replicataque</expan> <lb/>e st (cioe il &longs;erpente) &longs;e attollens reflectitur.<emph.end type="italics"/> } <emph type="italics"/>& il re&longs;tante.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007332">Anche &longs;opra la coda dell'Or&longs;a minore &longs;ono i piedi di Cepheo, & iui alla &longs;ommità del <lb/>Montone, &longs;ono le &longs;telle che fanno il triangulo di lati eguali. </s> </p> <p type="main"> <s id="s.007333"><emph type="italics"/>Co&longs;i intendo.<emph.end type="italics"/> { <emph type="italics"/>ibique ad &longs;ummum cacumen in &longs;uper Arietis &longs;ignum &longs;unt stellæ, quæ faciunt <lb/>triangulum paribus lateribus.<emph.end type="italics"/> } <emph type="italics"/>Lequali parole &longs;ono poste da Vitr. molto intricatamente, per <lb/>de&longs;criuere con breuità come &longs;tiano quelle stelle. </s> <s id="s.007334">il Triangolo dalla &longs;imiglianza della lettera gre­<lb/>ca <foreign lang="greek">*d</foreign> è detto delta.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007335">Ma molte &longs;ono le &longs;telle confu&longs;e del Settentrione minore, & del &longs;imulacro di Ca&longs;siopea. <!-- KEEP S--></s> </p> <p type="main"> <s id="s.007336"><emph type="italics"/>Confu&longs;e egli intende, che non fanno alcuna figuratione, come d'intorno al Montone cinque: <lb/>d'intorno al Toro undici: d'intorno a Gemelli &longs;ette. </s> <s id="s.007337">ouero confu&longs;e non co&longs;i lucenti, ouero dell'ul­<lb/>tima grandezza. </s> <s id="s.007338">ma a me piace pin la prima intelligenza. </s> <s id="s.007339">Conclude poi Vitru. quello, che ha <lb/>detto, & propone quello, che deue dire.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007340">Io ho e&longs;po&longs;to fin qui quelle &longs;telle, che &longs;ono nel cielo di&longs;po&longs;te alla de&longs;tra dell'Oriente <lb/>tra la zona de i &longs;egni, & le con&longs;tellationi de i Settentrioni; hora io e&longs;plicherò quelle che &longs;o <lb/>no alla &longs;ini&longs;tra dell'Oriente, & delle parti del mezo dì dalla natura di&longs;tribuite. </s> </p> </subchap2><subchap2> <pb pagenum="396" xlink:href="045/01/410.jpg"/> <p type="head"> <s id="s.007341"><emph type="italics"/>Delle. <!-- REMOVE S-->stelle che &longs;ono dal Zodiaco al mezo dì.<emph.end type="italics"/></s> </p> <p type="head"> <s id="s.007342"><emph type="italics"/>Cap. VII.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.007343">Primieramente &longs;otto il Capricorno è il Pe&longs;ce Au&longs;trale, che da lungi riguarda <lb/>Cepheo con la coda, & da quello al Sagittario il luogo è uoto. </s> <s id="s.007344">il Thuribolo <lb/>è &longs;otto l'artiglio di Scorpione. <!-- KEEP S--></s> <s id="s.007345">ma le prime parti del Centauro &longs;ono uicine <lb/>alla Bilancia, & allo Scorpione. <!-- KEEP S--></s> <s id="s.007346">Tengono in mano quel &longs;imulacro, che i peri <lb/>ti chiamano la be&longs;tia delle &longs;telle. </s> <s id="s.007347">Lungo la Vergine, il Leone, & il Cancro, &longs;ta il Serpente, <lb/>ilquale porgendo una &longs;quadra di &longs;telle intorto &longs;otto cigne lo &longs;pacio del Cancro, alzando <lb/>il ro&longs;tro uer&longs;o il Leone, & nel mezo del corpo &longs;o&longs;tiene la Tazza &longs;ottoponendo la coda alla <lb/>mano della Vergine, nellaquale è il Coruo. <!-- KEEP S--></s> <s id="s.007348">Ma quelle &longs;telle, che &longs;ono &longs;opra le &longs;palle egual <lb/>mente riluceno. </s> <s id="s.007349">ma alla parte di dentro al uentre del Serpente &longs;otto la coda è &longs;ottopo&longs;to <lb/>il Centauro. <!-- KEEP S--></s> <s id="s.007350">Appre&longs;&longs;o la Tazza, & il Leone è la naue d'Argo, la cui prora è o&longs;curata, ma l'al<lb/>bero, & quelle parti, che &longs;ono intorno il temone appareno eminenti. </s> <s id="s.007351">& e&longs;&longs;a nauicella, & <lb/>la poppa, è congiunta per la &longs;ommità della coda del cane. <emph type="italics"/>Et qui s'intende del Cane <lb/>maggiore.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007352">Ma il Cane minore &longs;eguita i Gemelli, & all'incontro è il capo del Serpente, & il mag­<lb/>gior Cane &longs;eguita il minore. </s> </p> <p type="main"> <s id="s.007353"><emph type="italics"/>Douemo auuertire, che quando Vitr. dice, che il minor Cane &longs;eguita i Gemelli, intende, che il <lb/>minor cane è a dirimpetto &longs;opra i Gemelli, perche l'ordine di Vitr. è di porre le imagini di quà, et <lb/>di là dal Zodiaco, accompagnandole con i &longs;egni del Zodiaco, accioche &longs;i &longs;appia il &longs;ito loro nel cie­<lb/>lo. </s> <s id="s.007354">& però douemo auuertire a que&longs;to in tutto il trattamento di&longs;opra, & di &longs;otto, ilche bene <expan abbr="cō-&longs;iderato">con­<lb/>&longs;iderato</expan> ci leuerà la fatica d'intendere molte co&longs;e.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007355">Ma Orione è attrauer&longs;ato, &longs;ottopo&longs;to, è fiaccato &longs;otto l'unghia del Toro, & tiene con la <lb/>&longs;ini&longs;tra la claua, alzando l'altra mano &longs;opra i Gemelli. <!-- KEEP S--></s> <s id="s.007356">Ma appre&longs;&longs;o la &longs;ua pianta è il Cane, <lb/>poco lontano che per&longs;eguita il Lepore. </s> <s id="s.007357">Ma al Montone, & a i Pe&longs;ci, è &longs;ottopo&longs;ta la Ba­<lb/>lena, dalla cui te&longs;ta ordinatamente è di&longs;po&longs;to un &longs;ottile &longs;pargimento di &longs;telle, ad amendue <lb/>i pe&longs;ci, che Grecamente Hermidone è detto. </s> </p> <p type="main"> <s id="s.007358"><emph type="italics"/>Plinio chiama commi&longs;&longs;ura de i pe&longs;ci quella, che i Greci chiamano Hermidone, altri l'hanno <lb/>chiamata cinta, o legame. </s> <s id="s.007359">altri lino, o filo. </s> <s id="s.007360">percioche pare, che annodi la parte Settentriona­<lb/>le, con la parte meridiana. </s> <s id="s.007361">Hermidone uuol dire, piacere, o diletto di Mercurio, ma con difficul­<lb/>tà &longs;i tragge dal commento di Arato questa co&longs;a.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007362">Et per grande &longs;pacio uer&longs;o la parte di dentro &longs;chiacciato il nodo de i Pe&longs;ci tocca la &longs;om <lb/>ma cre&longs;ta della Balena. <!-- KEEP S--></s> </p> <p type="main"> <s id="s.007363"><emph type="italics"/>Cioè il detto nodo entra molto dentro nella parte au&longs;trale, & come i giri de i &longs;erpenti per­<lb/>uiene fino alla &longs;ommit à della cresta della Balena. <!-- KEEP S--></s> <s id="s.007364">puo anche &longs;tare, che nel latino non ci uoglia e&longs;­<lb/>&longs;ere quella parola, Serpentium, ouero, che in luogo di Serpentium, dica pi&longs;cium.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007365">Ma il fiume Eridano con una apparenza di &longs;telle piglia il capo della &longs;ua fonte dal &longs;ini­<lb/>&longs;tro piede d'Orione. </s> <s id="s.007366">Ma quella acqua, che &longs;i dice e&longs;&longs;ere &longs;parta dallo Aquario &longs;corre tra <lb/>la te&longs;ta del Pe&longs;ce Au&longs;trale, & la coda della Balena. <!-- KEEP S--></s> <s id="s.007367">Io ho e&longs;po&longs;to quelli &longs;imulacri di &longs;tel­<lb/>le, che dalla natura, & dalla mente diuina di&longs;egnate come piacque a Democrito inue&longs;tiga­<lb/>tore della natura, &longs;ono &longs;tate figurate, & formate nel mondo. </s> <s id="s.007368">Ma non tutti però da me &longs;o­<lb/>no &longs;tati po&longs;ti, ma &longs;olamente quelli, de i quali potemo auuertire gli orti, & gli occa&longs;i, & <lb/>quelli con gli occhi uedere. </s> <s id="s.007369">imperoche, &longs;i come i Settentrioni girando&longs;i d'intorno al car­<lb/>dine dello a&longs;&longs;e non tramontano, nè uanno &longs;otto l'Orizonte, co&longs;i d'intorno al cardine <lb/>meridiano, che per la inclinatione del mondo è &longs;otto la terra, girando&longs;i, & na&longs;conden-<pb pagenum="397" xlink:href="045/01/411.jpg"/>do&longs;i, le &longs;telle non hanno le &longs;alite &longs;opra terra: & però le loro figurationi per lo impedimen <lb/>to della terra non ci &longs;ono manife&longs;te. </s> <s id="s.007370">Di que&longs;to ci dà inditio la &longs;tella di Canopo, che a <lb/>que&longs;te parti non è cono&longs;ciuta, come &longs;i ha per relatione di mercanti, che alle e&longs;treme par­<lb/>ti dello Egitto, & a quelle, che &longs;ono ui cine a gli ultimi termini della terra &longs;tati &longs;ono. </s> </p> <p type="main"> <s id="s.007371"><emph type="italics"/>Si e&longs;cu&longs;a Vitr. perche non ha posto tutte le constellationi, & figure, douendo parlarne come <lb/>&longs;i deue, &longs;enza hauere alcun ri&longs;petto al &longs;uo Orizonte, & alla inclinatione del cielo, che è nelle re<lb/>gioni di qua dallo Equinottiale: & dice hauer uoluto trattare di quelle imagini, & d quelle <lb/>stelle, che ci &longs;ono note per gli orti, & occa&longs;i loro, dicendo che ne &longs;ono alcune, che mai non &longs;i le= <lb/>uano, & alcune che mai non tramontano. </s> <s id="s.007372">& prende l'argomento dalla stella detta Canopo. <!-- REMOVE S-->la­<lb/>quale è una stella posta nel &longs;eguente remo della naue, co&longs;i nominata dall'I&longs;ola Canopo, doue pri­<lb/>ma fu cono&longs;ciuta. </s> <s id="s.007373">Quelli che &longs;i parteno dalla Arabia Petrea uer&longs;o l'Azania per dritto naui­<lb/>gando al meriggie uanno contra la stella Canopo, che in que luoghi è nominata ca allo. </s> <s id="s.007374">& &longs;i <lb/>chiama in quella lingua &longs;uhel. </s> <s id="s.007375">cioè incendio, & que&longs;to per la moltitudine, & grandezza del &longs;uo <lb/>&longs;plendore, & de i &longs;uoi raggi. </s> <s id="s.007376">Questa ri&longs;plende (come dice Plinio) alla I&longs;ola Traprobana. </s> <s id="s.007377">Era <lb/>questa stella al tempo di Tolomeo in gradi dieci&longs;ette, min. <!-- REMOVE S-->dieci di Gemini. </s> <s id="s.007378">ha di latitudine Meri­<lb/>diana gradi &longs;ettantacinque, & di declinatione gradi cinquantauno, min. <!-- REMOVE S-->trentaquattro. </s> <s id="s.007379">Questa <lb/>stella non &longs;i uede in Italia. <!-- KEEP S--></s> <s id="s.007380">a Rhodi è uicini&longs;&longs;ima all'Orizonte un quarto di &longs;egno, pare alzata <lb/>in Ale&longs;&longs;andria, & co&longs;i piu s'inalza a gli habitanti uer&longs;o le parti meridiane. </s> <s id="s.007381">Ma chi uole&longs;&longs;e &longs;a­<lb/>pere quali &longs;iano quelle stelle, che &longs;i poßino uedere &longs;ott o la inclination del cielo, doue &longs;ono, fac­<lb/>cia una tauola dello A&longs;trolabio, alla &longs;ua eleuatione di polo, & nel centro di e&longs;&longs;a ponga uno pie­<lb/>de della &longs;esta & l'altro allarghi fino all'Orizonte, & faccia uno circolo, quel circolo &longs;arà il mi­<lb/>nore, che &longs;i po&longs;&longs;a uedere &longs;opra l'Orizonte, & quello che è fuori forza è che &longs;ia &longs;otto l'O­<lb/>rizonte. </s> <s id="s.007382">Quattro &longs;telle po&longs;te in croce &longs;ono &longs;egni dell'altro polo. </s> <s id="s.007383">delle quali ne fa mentio­<lb/>ne Dante nel primo capo del purgatorio. </s> <s id="s.007384">doue chiama il &longs;ito &longs;ettentrionale uedouo, perche è <lb/>priuo di mirarle. </s> <s id="s.007385">Que&longs;te quattro &longs;telle &longs;ono in una macchia come è la uia galatea, non &longs;ono po&longs;te <lb/>nelle imagini predette, nè meno nel zodiaco; i nauiganti le chiamano crociere, & quella del pie­<lb/>de è maggiore & piu ri&longs;plendente delle altre. </s> <s id="s.007386">per quella &longs;i cono&longs;ce quale è la te&longs;ta, & quali &longs;o­<lb/>no le braccia della croce, & quando il piede è &longs;u l'orlo dell'orizonte, & che il capo è drit­<lb/>to, il piede &longs;ta appartato dal polo gradi trenta, da que&longs;ta &longs;i prende l'altezza dell'altro polo, & <lb/>&longs;i piglia in modo che &longs;e l'altezza, che di e&longs;&longs;a &longs;i piglia &longs;arà di quella trenta, colui che la piglia &longs;arà <lb/>nello equiuottiale: &longs;e piu di trenta, quel di piu &longs;ta appartato dalla equinottiale, alla parte di Ostro: <lb/>&longs;e meno, quel tanto &longs;ta appartato dalla linea alla parte di Tramontana, come è &longs;tato da i nauigan­<lb/>ti di que mari o&longs;&longs;eruato, conclude poi Vitr.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.007387">Del giramento del mondo intorno la terra, & della di&longs;po&longs;itione de i dodici &longs;egni, & <lb/>della parte Settentrionale, & meridiana, delle &longs;telle, come egli &longs;ia perfetto, ne ho dato <lb/>ammae&longs;tramento. </s> <s id="s.007388">imperoche dal girare del mondo, & dal contrario mouimento del So <lb/>le ne i &longs;egni, & dalle ombre fatte da Gnomoni, al tempo de gli equinottij, &longs;i trouano le <lb/>ragioni de gli analemmi. </s> <s id="s.007389">Ma le altre co&longs;e, cioè, che effetti habbiano i dodici &longs;egni, & <lb/>le cinque &longs;telle, & il Sole, & la Luna, quanto appartiene alla ragione della A&longs;trologia, &longs;i <lb/>deono concedere a i di&longs;cor&longs;i de i Caldei. <!-- KEEP S--></s> <s id="s.007390">imperoche è proprio loro il di&longs;cor&longs;o de i na&longs;ci­<lb/>menti, perche po&longs;&longs;ono & le antipa&longs;&longs;ate, & le future co&longs;e dalle ragioni delle &longs;telle far ma­<lb/>nife&longs;te. </s> <s id="s.007391">& le loro inuentioni, che hanno la&longs;ciate in i&longs;critto, dimo&longs;trano con che &longs;olertia, <lb/>& con che acutezza d'ingegno, habbiano ragionato, & quanto grandi &longs;iano &longs;tati quelli, <lb/>che dalla natione Caldea &longs;ono uenuti. </s> <s id="s.007392">il primo fu Bero&longs;o, che nell'I&longs;ola, & nella città di <lb/>Coo &longs;ede&longs;&longs;e, & iui apri&longs;&longs;e le &longs;cole, in&longs;egnando la loro di&longs;ciplina. </s> <s id="s.007393">Dapoi fu lo &longs;tudente <lb/>Antipatro, & Archinapolo, ilquale non dal punto del na&longs;cimento, ma dalla concettione <lb/>la&longs;ciò manife&longs;te le ragioni delle natiuità. </s> <s id="s.007394">Ma delle co&longs;e naturali Thalete Mile&longs;io, Anaxa­<lb/>gora Clazomenio, Pithagora Samio, Xenofane Colophonio, Democrito Abderita, con <pb pagenum="398" xlink:href="045/01/412.jpg"/>che ragioni la natura &longs;i reggeua, & in che modo & che effetti habbiano, la&longs;ciarono mol­<lb/>to bene con&longs;iderato. </s> <s id="s.007395">Le inuentioni de i quali hauendo &longs;eguitato Eudoio, Eude­<lb/>mo, Calli&longs;to, Melo, Philippo, Hipparcho, Arato, & gli altri, trouarono per A&longs;trologia, <lb/>gli orti, & gli occa&longs;i delle &longs;telle, & le &longs;ignificationi delle tempe&longs;te, & le di&longs;cipline de gli <lb/>in&longs;trumenti detti parapegmi, & a i po&longs;teri le la&longs;ciarono. </s> <s id="s.007396">Le &longs;cienze de i quali deono e&longs;&longs;ere <lb/>ammirate da gli huomini, perche &longs;ono &longs;tati di tanta cura, & diligenza, che pareno mol­<lb/>to prima con diuina mente annunciare le &longs;igni&longs;icationi delle tempe&longs;te che hanno a <lb/>uenire. </s> <s id="s.007397">per le quali co&longs;e a i pen&longs;ieri & &longs;tudi di quelle &longs;i deono attribuire tali ìnuentioni. </s> </p> <p type="main"> <s id="s.007398"><emph type="italics"/>Conclude Vitr. quanto egli ha detto fin qui. </s> <s id="s.007399">nè ui è da affaticar&longs;i altrimenti, perche nel &longs;eguen <lb/>te capo, &longs;i dichiarerà minutamente ogni co&longs;a al propo&longs;ito. </s> <s id="s.007400">Parapegmi erano in&longs;trumenti artifi­<lb/>cio&longs;i, con i quali &longs;i trouaua il &longs;ito delle &longs;telle, per fare le natiuità de gli huomini. </s> <s id="s.007401">come tauole d'A­<lb/>&longs;trolabio, horo&longs;copi, & altre &longs;imili co&longs;e.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.007402"><emph type="italics"/>Delle ragioni de gli Horologi, & delle ombre de Gno­<lb/>moni al tempo equinottiale a Roma, & in alcu<lb/>ni altri luoghi. </s> <s id="s.007403">Cap. VIII.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.007404">MA noi da quelli &longs;tudi co&longs;i douemo &longs;eparare la ragione de gli Horologi, & <lb/>e&longs;plicare la breuità, & lunghezza de i giorni di me&longs;e in me&longs;e. </s> </p> <p type="main"> <s id="s.007405"><emph type="italics"/>Vitruuio comincia dopo una lunga digre&longs;&longs;ione, benche nece&longs;&longs;aria, a trattare del­<lb/>lo Analemma, che è fondamento della Gnomonica, & non c'in&longs;egna in que&longs;to trat <lb/>tamento di fare alcuno horologio, ma bene ci &longs;euopre la uia, come &longs;i po&longs;&longs;ono formare. </s> <s id="s.007406">Tolo­<lb/>meo fa un trattato dello Analemma: & Federico Commandino molto dottamente lo e&longs;pone, & <lb/>per que&longs;ta, & per altra cagione &longs;e gli deue hauere molte gratie; poi che per utilità commune egli <lb/>&longs;i affatica. </s> <s id="s.007407">Io in questo propo&longs;ito ricono&longs;cendo le honoreuolifatiche &longs;ue, la&longs;ciandogli però le di<lb/>mo&longs;trationi mathematiche, mi sforzerò quanto per me &longs;i potrà facilmente dichiarire lo Analem­<lb/>ma, & l'u&longs;o di quello. </s> <s id="s.007408">Ripigliamo adunque da capo la uniuer&longs;ale intentione di Vitr. accioche <lb/>piu facilmente s'intenda quanto &longs;i conuiene di que&longs;ta utile, commoda, & hone&longs;ta operatione. </s> <s id="s.007409">In­<lb/>tende adunque Vitr. trattare della &longs;econda parte principale dell'Architettura, che da i Greci <lb/>Gnomonica è chiamata. </s> <s id="s.007410">La ragione di que&longs;to nome è tratta dal Gnomone: & Gnomone uuol di­<lb/>re &longs;quadra, o co&longs;a drizzata a &longs;quadra. </s> <s id="s.007411">Soleuano gli antichi cono&longs;cere le parti del giorno, & le <lb/>hore dalle lunghezze delle ombre gettate nel piano da gli &longs;tili in quello drizzati, & quella cogni­<lb/>tione Gnomonica dal Gnomone denominarono. </s> <s id="s.007412">Perche il Gnomone dimo&longs;tratore delle ombre <lb/>drizzato a &longs;quadra, cioè ad anguli giu&longs;ti &longs;opra alcun piano daua inditio per uia di ombre delle ho­<lb/>re, perche d'intorno al Gnomone erano di&longs;egnate diuer&longs;e ombre in diuer&longs;i tempi dall'anno, & in <lb/>diuer&longs;e hore del giorno. </s> <s id="s.007413">Que&longs;ta di&longs;egnatione era chiamata da gli antichi, Analemma, qua&longs;i ri­<lb/>pigliamento, perche prima, che &longs;i uenga a fare alcuuo horologio, bi&longs;ogna pigliare in di&longs;egno gli <lb/>effetti, che fa il Sole, & il Gnomone con l'ombra, ne i piani opposti. </s> <s id="s.007414">i quali piani &longs;ono i luo­<lb/>ghi doue &longs;i hanno a fare gli horologi. </s> <s id="s.007415">Que&longs;ta cognitione adunque del cor&longs;o del Sole, & de gli <lb/>effetti nel mondo fatti per li &longs;uoiraggi, per mezo delle ombre gettate dal Gnomone ne i piani de <lb/>gli horologi, &longs;i chiama Gnomonica: & la de&longs;crittione, o di&longs;egno di quelle linee fatte dalla e&longs;tremità <lb/>de gli &longs;tili, &longs;i chiama Analemma, & lo &longs;tile drizzato a &longs;quadra &longs;opra i piani, &longs;i chiama Gnomone, <lb/>ouero Schiotir, che uuol dire indagator dell'ombra. </s> <s id="s.007416">come dice Vit. <!-- REMOVE S-->nel primo lib. al Cap. 6. Et &longs;i co <lb/>me nelle maniere di fabricare i <expan abbr="Tēpij">Tempij</expan> &longs;i piglia prima il modulo col quale &longs;i mi&longs;ura il tutlo, co&longs;i nel <lb/>formare de gli horologi bi&longs;ogna fare lo Analemma, il quale è come modulo de gli horologi. </s> <s id="s.007417">Hora <lb/>per piu facile intelligenza dirò co&longs;a, che bene con&longs;iderata, & appre&longs;a darà un lume mirabile al<emph.end type="italics"/><pb pagenum="399" xlink:href="045/01/413.jpg"/><emph type="italics"/>pre&longs;ente di&longs;cor&longs;o, & giouerà in molte altre co&longs;e degne; & &longs;pecialmente nella pro&longs;pettiua, &longs;i co­<lb/>me nel no&longs;tro trattato della &longs;cenographia hauemo chiaramente e&longs;plicato. </s> <s id="s.007418">Appre&longs;&longs;o le figure, <lb/>che &longs;erueno a i matematici, ne ha una, che da quelli è detta Cono. <!-- KEEP S--></s> <s id="s.007419">& perche &longs;appiamo, che figu­<lb/>ra &longs;ia, & come &longs;i faccia, imaginamo un punto, &longs;otto del quale &longs;ia un circolo, & da quel punto <lb/>cada una linea alla circonferenza del circolo, & &longs;tando fermo il punto, la linea &longs;i muoua d'intor<lb/>no alla circonferenza, fin che ritorni al punto di doue &longs;i mo&longs;&longs;e: dicono, che il Cono &longs;i forma a <lb/>quel modo: & quella figura altri hanno chiamata piramide, benche impropriamente. </s> <s id="s.007420">Sia adun <lb/>que il punto a. <!-- REMOVE S-->& il circolo b c d. <!-- REMOVE S-->& dal punto a. <!-- REMOVE S-->fermo, &longs;i parta la linea a b. <!-- REMOVE S-->& &longs;i giri <lb/>per la circonferenza del circolo b c d. <!-- REMOVE S-->fin che ritorni al punto b. <!-- REMOVE S-->dico, che ella &longs;ormerà la <lb/>figura predetta, che Cono è chiamata. </s> <s id="s.007421">Cada poi dal punto a. <!-- REMOVE S-->al punto e. <!-- REMOVE S-->che è il centro del <lb/>circolo, una linea dritta; que&longs;ta &longs;i chiama a&longs;&longs;e, o perno del Cono. <!-- KEEP S--></s> <s id="s.007422">& il punto a. <!-- REMOVE S-->cima, & il <lb/>circolo b c d. <!-- REMOVE S-->ba&longs;a del Cono. <!-- KEEP S--></s> <s id="s.007423">da que&longs;to anche &longs;i forma una &longs;uperficie detta Conica: & que&longs;ta <lb/>non è altro, che una figura fatta di due &longs;operficie oppo&longs;te per la cima del Cono, l'una, & l'altra <emph.end type="italics"/><lb/><figure id="id.045.01.413.1.jpg" xlink:href="045/01/413/1.jpg"/><lb/><emph type="italics"/>delle quali cre&longs;ce in infinito per la <lb/>de&longs;crittione fatta da una dritta li­<lb/>nea tirata uer&longs;o l'una, & l'altra <lb/>parte. </s> <s id="s.007424">come &longs;i uede nella figura, <lb/>doue la prima &longs;operficie a b c d. <!-- REMOVE S--><lb/>la oppo&longs;ta per la cima e. <!-- REMOVE S-->e f g. <!-- REMOVE S--><lb/>le due linee tirate uer&longs;o l'una, & <lb/>l'altra parte &longs;ono c e. <!-- REMOVE S-->f b. <!-- REMOVE S-->che <lb/>imaginiamo andare in infinito, & <lb/>tutta que&longs;ta figuratione è detta Co­<lb/>nica &longs;operficie. </s> <s id="s.007425">Que&longs;te co&longs;e &longs;iano <lb/>bene mandate a memoria & po&longs;te <lb/>nella imaginatione, perche ci &longs;erui <lb/>ranno mirabilmente al formare lo <lb/>Analemma. <!-- KEEP S--></s> <s id="s.007426">La &longs;operficie conica <lb/>adunque puo riceuere diuer&longs;i tagli <lb/>o &longs;ettioni (come &longs;i dica) perche <lb/>puo e&longs;&longs;er tagliata in due parti, per <lb/>dritto lungo l'a&longs;&longs;e, dalla cima al <lb/>ba&longs;&longs;o, & puo anche e&longs;&longs;er tagliata <lb/>altra mente, &longs;e è tagliata dalla cima al ba&longs;&longs;o lungo l'a&longs;&longs;e, l'apritura di quel taglio &longs;arà uno trian­<lb/>golo di dritte linee. </s> <s id="s.007427">Ma &longs;e è tagliato altrimenti, ouero è tagliato a trauer&longs;o con uno taglio egual <lb/>mente di&longs;tante alla ba&longs;a. </s> <s id="s.007428">ouero in altro modo &longs;e è tagliato con un taglio trauer&longs;o egualmente di­<lb/>&longs;tante alla ba&longs;a, l'apritura di quel taglio dimo&longs;trer à un circolo, &longs;e uer amente il taglio non &longs;i farà <lb/>per la cima lungo l'a&longs;&longs;e, nè meno atrauer&longs;o, allhora l'apritura di quel taglio dimo&longs;trerà una linea <lb/>piegata e torta, la quale da Mathematici è detta &longs;estione, o taglio conico. </s> <s id="s.007429">Questa &longs;i fa diuer&longs;a­<lb/>mente, & ha diuer&longs;i nomi, come particolarmente ne diremo qui &longs;otto. </s> <s id="s.007430">Et ci &longs;eruiremo della fa­<lb/>cilità di Alberto Durero, benche ci &longs;iano, de gli altri modi. </s> <s id="s.007431">Dico adunque, che appre&longs;&longs;o le pre <lb/>dette &longs;estioni, o tagli, ue n'è uno, che taglia il cono egualmente distante all'a&longs;&longs;e del cono. </s> <s id="s.007432">ne è <lb/>anche uno, che taglia il cono con un taglio egualmente distante al lato del cono. </s> <s id="s.007433">& finalmente <lb/>un'altro, che taglia il cono a trauer&longs;o, che non toglie co&longs;a alcuna della ba&longs;a del cono, ma bene <lb/>le è piu uicino in una parte, che nell'altra, le apriture di questi tre tagli dimostrano alcune linee <lb/>piegate, che non &longs;ono circoli, nè portioni di circoli, & &longs;i chiamano diuer&longs;amente, perche quel <lb/>taglio, che è egualmente distante all'a&longs;&longs;e fa nell'apritura &longs;ua la linea detta hiperbole, quello, che <lb/>t aglia il cono con un taglio egualmente distante ad un lato del cono, fa nell'apritura &longs;ua una li-<emph.end type="italics"/><pb pagenum="400" xlink:href="045/01/414.jpg"/><emph type="italics"/>nea piegata, che è detta parabole. </s> <s id="s.007434">& in fine il terzo taglio trauer&longs;o fa la linea detta ellip&longs;e. </s> <s id="s.007435">Sia <lb/>adunque il cono a b c d e. <!-- REMOVE S-->Il taglio del quale &longs;ia f g h. <!-- REMOVE S-->egualmente distante al lato del <lb/>cono, dico che'l fondamento, & la pianta del detto cono &longs;arà il circolo b c d e. <!-- REMOVE S-->nel centro <lb/>a. <!-- REMOVE S-->& la apritura del taglio &longs;arà la linea g f h. <!-- REMOVE S-->detta parabole. </s> <s id="s.007436">il che come &longs;i faccia, il Dure <lb/>ro c'in&longs;egna, & dice. </s> <s id="s.007437">Sia diui&longs;o il taglio f g h. <!-- REMOVE S-->in dodici parti eguali, dal punto f. <!-- REMOVE S-->al punto <lb/>h. <!-- REMOVE S-->& &longs;iano apposti i numeri ne i punti delle diui&longs;ioni<emph.end type="italics"/> 1. 2. 3. 4. <emph type="italics"/>fin<emph.end type="italics"/> 11. <emph type="italics"/>& pa&longs;&longs;ino per li <lb/>punti delle diui&longs;ioni linee dritte egualmente di&longs;tanti alla ba&longs;e del cono, & da gli iste&longs;&longs;i punti cadi <lb/>no linee dritte ad anguli dritti &longs;opra la ba&longs;a del cono, & &longs;arà formato il cono con le &longs;ue diui&longs;ioni, <lb/>le quali tutte &longs;i riporteranno nel fondamento, o pianta, che dire uogliamo in questo modo. </s> <s id="s.007438">Fac­<lb/>cia&longs;i un circolo il diametro, del quale &longs;ia la linea b c d e. <!-- REMOVE S-->del cono. </s> <s id="s.007439">& &longs;ia il circolo b c d <lb/>e. <!-- REMOVE S-->il centro del quale &longs;ia a. <!-- REMOVE S-->&longs;ia il circolo b c d e. <!-- REMOVE S-->posto &longs;otto il cono, &longs;i che l'a&longs;&longs;e gli cada <lb/>nel centro a. <!-- REMOVE S-->fin al punto e. <!-- REMOVE S-->di &longs;otto. </s> <s id="s.007440">& &longs;imilmente cadino &longs;opra quel circolo tutte le linee <lb/>egualmente di&longs;tanti all'a&longs;&longs;e i punti delle diui&longs;ioni fatte nel taglio del cono, & &longs;iano &longs;egnate nel fon <lb/>damento le dette linee con le lettere, & con i numeri corri&longs;pondenti alle lettere, & a i numeri &longs;e­<lb/>gnati nel cono g h f.<emph.end type="italics"/> 1 2 3 4. <emph type="italics"/>fin<emph.end type="italics"/> 11. <emph type="italics"/>Fatto que&longs;to per incontro, bi&longs;ogna tagliare le det <lb/>te linee con proportione, accioche egli &longs;i po&longs;&longs;a formare la linea parabole. </s> <s id="s.007441">il che farai a que&longs;to mo <lb/>do. </s> <s id="s.007442">Piglia dal cono la lunghezza della linea del taglio &longs;egnato<emph.end type="italics"/> 11. <emph type="italics"/>dico della linea egualmente di <lb/>&longs;tante alla ba&longs;a del cono, & po&longs;to un piede del compa&longs;&longs;o nel centro a. <!-- REMOVE S-->del fondamento, farai tan <lb/>to di circolo, che tagli la linea &longs;egnata<emph.end type="italics"/> 11. <emph type="italics"/>nel fondamento. </s> <s id="s.007443">Il &longs;imile farai riportando dal cono <lb/>nel fondamento tutte le altre linee &longs;egnate con gli altri numeri, fin al punto<emph.end type="italics"/> 1. <emph type="italics"/>& a que&longs;to mo­<lb/>do hauerai formato la pianta della parabole. </s> <s id="s.007444">L'apritura della quale &longs;i caua dalla pianta in que­<lb/>&longs;to modo. </s> <s id="s.007445">Piglia dalla pianta la lunghezza della linea g h. <!-- REMOVE S-->& riportala in un piano; & ca­<lb/>da ad anguli giu&longs;ti &longs;opra quella una linea tanto lunga, quanto è il taglio f g. <!-- REMOVE S-->nel cono. </s> <s id="s.007446">& la ci <lb/>ma &longs;ua &longs;ia f. <!-- KEEP S--></s> <s id="s.007447">Parti&longs;ca&longs;i poi la detta linea in tante parti in quante è diui&longs;a la linea del taglio f g. <!-- REMOVE S--><lb/>nel cono, & &longs;iano &longs;egnate quelle diui&longs;ioni con i numeri corri&longs;pondenti, & per quelli pa&longs;&longs;ino linee <lb/>egualmente distanti alla linea g h. <!-- REMOVE S-->come uedi. </s> <s id="s.007448">&longs;opra que&longs;te linee egualmente di&longs;tanti &longs;i hanno a <lb/>riportare i tagli proportionati dal fondamento. </s> <s id="s.007449">Et però &longs;opra la linea &longs;egnata<emph.end type="italics"/> 11. <emph type="italics"/>&longs;i riporta <lb/>dal fondamento la lunghezza &longs;egnata nella linea<emph.end type="italics"/> 11. <emph type="italics"/>dalla circonferenza corri&longs;pondente, & il <lb/>&longs;imile &longs;i &longs;a delle altre linee. </s> <s id="s.007450">& finito, che hauerai di &longs;egnare quelle linee proportionate della pa­<lb/>rabola, legherai con una linea tutti quelli punti, & a que&longs;to modo &longs;arà formata la parabole, <lb/>come dimo&longs;tra la figura. </s> <s id="s.007451">con quella intelligentia da i tagli, & da i fondamenti delle altre linee po<lb/>trai &longs;olo guardando nella figura cono&longs;cere quanto &longs;i deue fare, per tirare proportionatamente, & <lb/>la hiperbole, & la elli&longs;&longs;e.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007452"><emph type="italics"/>Hora perche &longs;i &longs;appia a che fine &longs;iano &longs;tate propo&longs;te que&longs;te figure, io dico, che il Sole girando <lb/>di giorno in giorno manda i raggi &longs;uoi nel Gnomone, la cima del quale imaginaremo, che &longs;ia la ci <lb/>ma del cono, & il circolo, che fa il Sole &longs;ia la ba&longs;a del cono, & i raggi che &longs;i parteno dal corpo <lb/>del Sole &longs;ia quella linea, che girando&longs;i a torno de&longs;criua il cono. </s> <s id="s.007453">&longs;e uorremo ben con&longs;iderare que­<lb/>sto effetto, che fa il Sole con i ragginel Gnomone, uederemo, che egli fa una &longs;uperficie conica, <lb/>perche è una &longs;uperficie fatta di due &longs;uperficie opposte per la cima del cono, l'una è dal circolo, <lb/>che fa il Sole fin alla punta del Gnomone, l'altra è dalla punta del Gnomone in giu nella parte op­<lb/>po&longs;ta, la quale anderebbe in infinito, &longs;e non gli &longs;i oppone&longs;&longs;e un piano. </s> <s id="s.007454">Et perche que&longs;to piano &longs;e <lb/>gli oppone diuer&longs;amente, & taglia quei raggi della &longs;uperficie conica inferiore, però bi&longs;ogna con&longs;i <lb/>derare la proprietà di que tagli; perche fanno diuer&longs;e linee. </s> <s id="s.007455">Piano intendo il piano &longs;opra il <lb/>qual &longs;i fa l'horologio, il qual piano, hora è egualmente di&longs;tante dall'Orizonte: come &longs;e uoglia­<lb/>mo fare un horologio in terra piana, hora è drizzato &longs;opra l'Orizonte, ouero ad anguli dritti, co <lb/>me &longs;ono i muri de gli edificij. </s> <s id="s.007456">Ouero è piegato come i tetti delle ca&longs;e. </s> <s id="s.007457">& perche questi piani &longs;e­<lb/>guitano la diuer&longs;ità de gli Orizonti, però tagliano diuer&longs;amente la &longs;uper&longs;icie conica. </s> <s id="s.007458">Dal che <lb/>ne na&longs;ce, che l'ombra della cima del Gnomone in detti piani, hora de&longs;criue una linea dritta, hora <emph.end type="italics"/><pb pagenum="401" xlink:href="045/01/415.jpg"/><figure id="id.045.01.415.1.jpg" xlink:href="045/01/415/1.jpg"/><pb pagenum="402" xlink:href="045/01/416.jpg"/><emph type="italics"/>un circolo, hora la parabole, hora la hiperbole, hora la ellip&longs;e. </s> <s id="s.007459">il che come &longs;ia dirò breuemen­<lb/>te. </s> <s id="s.007460">Il Sole ouero &longs;i truoua nello equinottiale, ouero fuori dello equinottionale. </s> <s id="s.007461">Se egli &longs;i truoua <lb/>nello equinottiale, egli caminando d'intorno a quel circolo, & gettando i raggi &longs;uoi nel Gnomo­<lb/>ne, farà in ogni piano di horologio, che la cima del Gnomone con l'ombra de&longs;criuerà una linea <lb/>dritta in quel giorno, che egli è nello equinottiale: & però in tutti gli horologi de piani eguali, lo <lb/>equinottiale è &longs;egnato con una linea dritta. </s> <s id="s.007462">& la ragione è, perche la cima del Gnomone è nel pia <lb/>no dello equinottiale, & però l'ombre mandate dal Gnomone, non &longs;i partiranno da quello nel tem <lb/>po dello equinottio. </s> <s id="s.007463">Et però &longs;aranno terminate dal taglio commune di quel piano dell'horologio, <lb/>& dello equinottiale, come praticando &longs;i cono&longs;cerà chiaramente. </s> <s id="s.007464">Girando adunque il Sole nello <lb/>equinottiale, & mandando i raggi &longs;uoi alla cima del Gnomone, l'ombra, che uiene dalla detta <lb/>cima de&longs;criuerà in ogni piano eguale una linea dritta, la quale &longs;arà egualmente di&longs;tante al taglio <lb/>commune dello equinottiale, & di quel piano doue &longs;i &longs;tende l'ombra, che è il piano dell'horolo­<lb/>gio. </s> <s id="s.007465">Ma perche il Sole per lo mouimento del primo cielo fa ogni giorno un circolo egualmente di <lb/>&longs;tante dallo equinottiale, & per lo obliquo &longs;uo mouimento s'allentana dallo equinottiale: però <lb/>non e&longs;&longs;endo egli nell'equinoltiale puo auuenire, che il piano, &longs;opra il quale è mandata l'ombra dal­<lb/>la cima del Gnomone &longs;i tagli con quel circolo, per lo quale il Sole &longs;i gira. </s> <s id="s.007466">& puo anche e&longs;&longs;ere, <lb/>che non &longs;i tagli. </s> <s id="s.007467">Imaginiamo, che il Sole ogni giorno &longs;alendo, & girando la&longs;ci nel cielo i ue&longs;ti­<lb/>gij del &longs;uo camino come di fuoco, & de&longs;criua un circolo. </s> <s id="s.007468">que&longs;to circolo ouero &longs;arà tutto &longs;opra <lb/>terra, ouero parte &longs;otto, & parte di &longs;opra. </s> <s id="s.007469">Se &longs;arà parte di &longs;otto, & parte di &longs;opra, il che non <lb/>è altro, che tagliare il piano dell'horologio, allhora la e&longs;tremità dell'ombra del Gnomone de&longs;cri­<lb/>uerà nel piano la hiperbole. </s> <s id="s.007470">ma &longs;e quel circolo &longs;arà tutto di &longs;opra, ouero toccherà il piano, oue­<lb/>ro non lo toccherà. </s> <s id="s.007471">Se lo toccherà l'ombra del Gnomone, de&longs;criuerà nel piano la linea detta pa <lb/>rabole. </s> <s id="s.007472">Se non lo toccherà ouero al piano dello horologio &longs;arà egualmente di&longs;tante, ouero nò. </s> <s id="s.007473"><lb/>Se &longs;arà egualmente di&longs;tante, l'ombra de&longs;criuerà nel piano un circolo. </s> <s id="s.007474">&longs;e non &longs;arà egualmente di­<lb/>&longs;tante, ma piu uicino in una parte, che nell'altra, l'ombra della cima del Gnomone de&longs;criuerà <lb/>nel piano la linea ellip&longs;e. </s> <s id="s.007475">nè ci deue sbigottire la nouità di que&longs;ti uocaboli, quando &longs;ia in poter no <lb/>&longs;tro intendere molto bene le co&longs;e con e&longs;&longs;empi materiali, però e&longs;&longs;orto, che con i circoli della &longs;pera <lb/>&longs;i proui quanto ho detto, ponendogli &longs;opra qualche piano con quelle portioni, che &longs;tanno &longs;opra di­<lb/>uer&longs;i Orizonti, & drizzando il Gnomone, che nella cima habbia una orecchia mobile, per la qua <lb/>le po&longs;&longs;i pa&longs;&longs;are un filo di ferro &longs;ottile, il quale po&longs;&longs;i peruenire alle circonferenze de i circoli della <lb/>&longs;pera, & girar&longs;i &longs;tando il ferro nella cima del Gnomone dentro l'orecchia. </s> <s id="s.007476">come uedi nella &longs;otto­<lb/>po&longs;ta figura. </s> <s id="s.007477">doue a. <!-- REMOVE S-->è la cima del Gnomone, con la &longs;ua orecchia b c d. <!-- REMOVE S-->il circolo &longs;opra la <emph.end type="italics"/><lb/><figure id="id.045.01.416.1.jpg" xlink:href="045/01/416/1.jpg"/><lb/><emph type="italics"/>terra, per il quale c'imaginiamo, che il Sole ca <lb/>mini è f. <!-- REMOVE S-->il filo di ferro, che pa&longs;&longs;a per l'orec­<lb/>chia del Gnomone, che imaginiamo, che &longs;ia il <lb/>raggio del Sole. <!-- KEEP S--></s> <s id="s.007478">& &longs;ia il Sole nel punto e. <!-- REMOVE S-->cer <lb/>to è, che l'ombra del Gnomone peruenirà al <lb/>punto f. <!-- REMOVE S-->&longs;ia adunque fatto iui un punto. </s> <s id="s.007479">& <lb/>moua&longs;i il Sole, & peruenga al punto h. <!-- REMOVE S-->& &longs;i<lb/>milmente &longs;ia po&longs;to al punto e. <!-- REMOVE S-->del fil di ferro <lb/>in h. <!-- REMOVE S-->certo è che la punta f. <!-- REMOVE S-->toccherà un'al <lb/>tro punto nel piano, & &longs;ia quello<emph.end type="italics"/> 1. <emph type="italics"/>&longs;eguitan <lb/>do poi nel punto<emph.end type="italics"/> K. <emph type="italics"/>del circolo, & ponendo <lb/>iui il Sole, & la punta del ferro e. <!-- REMOVE S-->&longs;i toccherà <lb/>il piano dall'altra punta in l. <!-- KEEP S--></s> <s id="s.007480">& accortando&longs;i <lb/>l'ombra piu, che il Sole s'innalza, & &longs;eguitan <lb/>do lo i&longs;te&longs;&longs;o ordine ponendo il Sole in diuer&longs;e par <lb/>ti di quel circolo come in m o <expan abbr="q.">que</expan> &longs;i di&longs;egne-<emph.end type="italics"/><pb pagenum="403" xlink:href="045/01/417.jpg"/><emph type="italics"/>ranno diuer&longs;i punti nel piano i quali legati in&longs;ieme faranno le antedette linee, &longs;econdo il &longs;ito di <lb/>que circoli, & la diuer&longs;ità de i tagli del piano. </s> <s id="s.007481">Gettati que&longs;ti fondamenti, & bene con&longs;iderati <lb/>potremo &longs;icuramente andare alla de&longs;crittione dello Analemma, & perche nella de&longs;crittione de <lb/>gli Analemmi ci &longs;ono alcuni circoli, che &longs;ono communi, alcuni proprij: dirò quali &longs;iano, & co­<lb/>me s'intendino, & che o&longs;ficij habbino. </s> <s id="s.007482">Però per ragionarne con quella facilità, che &longs;i puo mag <lb/>giore: dico, che ognuno da &longs;e s'imagini di &longs;tare in piedi nel mezo d'una campagna larghi&longs;&longs;ima ha <lb/>uendo gli occhi uolti drittamente al mezo dì, & &longs;tia con le mani in croce: certo è che la &longs;ini&longs;tra <lb/>dimo&longs;trerà il Leuante, la de&longs;tra il Ponente, et dietro alle &longs;palle hauerà la Tramontana: imaginia­<lb/>mo, che quel piano doue egli &longs;ta dritto nel mezo, &longs;i e&longs;tenda d'intorno tanto, che peruenghi alla <lb/>circon&longs;erenza del cielo, certo è, che egli diuiderà il mondo in due parti eguali, & l'una parte &longs;a <lb/>rà di &longs;opra quel piano, & l'altra &longs;otto. </s> <s id="s.007483">Que&longs;to piano adunque &longs;i chiama Orizonte, cioè termi­<lb/>natore, perche termina gli hemi&longs;peri, & diuide quello, che è &longs;opra da quello, che è &longs;otto. </s> <s id="s.007484">Ima­<lb/>ginian o poi un'altro piano circolare, che la &longs;ua circonferenza cominci dalla &longs;ini&longs;tra al punto di <lb/>Leuante, & ci uenga al punto, che ci &longs;ta &longs;opra la te&longs;ta, peruenga alla de&longs;tra al punto di Ponente, <lb/>& pa&longs;&longs;ando di &longs;otto per lo punto, che &longs;ta oppo&longs;to al punto, che ci &longs;ta &longs;opra la te&longs;ta, fin che giu­<lb/>gna al punto di Leuante, doue cominciò: que&longs;to piano &longs;i chiama uerticale, la cui proprietà è di &longs;e <lb/>parare la parte Settentrionale dalla parte del mezo dì, come l'Orizonte partiua la parte di &longs;otto <lb/>da quella di &longs;opra. </s> <s id="s.007485">Imaginiamo finalmente, che dalla parte doue &longs;ono uolti gli occhi, dal punto <lb/>dell'Orizonte &longs;i leui la circonferenza d'un'altro piano, & pa&longs;&longs;i per lo punto, che ci &longs;ta&longs;opra il ca <lb/>po, & cada a Tramontana al piano dell'Orizonte dietro le no&longs;tre &longs;palle, & giri&longs;otto la terra fin <lb/>che ritorni al luogo doue &longs;i mo&longs;&longs;e, que&longs;to circolo &longs;i chiama Meridiano, la cui proprietà è di &longs;epa­<lb/>rare la parte di Leuante, da quella di Ponente. <!-- KEEP S--></s> <s id="s.007486">Que&longs;ti tre piani circolari Orizonte, Verticale, <lb/>& Meridiano &longs;i tagliano in&longs;ieme con anguli giusti; l'Orizonte col Meridiano &longs;i taglia ne i punti <lb/>e&longs;tremi dell'Orizonte dinanzi, & di dietro a noi: l'Orizonte col uerticale &longs;i taglia ne i punti di Le <lb/>uante, & di Ponente dalla de&longs;tra, & dalla &longs;ini&longs;tra: il Verticale col Meridiano &longs;i taglia ne i puu­<lb/>ti oppo&longs;ti, de i quali uno ci &longs;ta &longs;opra la te&longs;ta, l'altro nella parte di &longs;otto all'hemi&longs;pero. </s> <s id="s.007487">Que&longs;te <lb/>imaginationi &longs;ono facili, & qua&longs;i &longs;en&longs;ibili, & &longs;i fanno per ponere certi termini, da i quali par­<lb/>tendo&longs;i, ouero a i quali uicinando&longs;i il Sole &longs;appiamo dargli il &longs;uo &longs;ito per uedere, che effetti egli <lb/>faccia con i raggi&longs;uoi dando ne i Gnomoni, & mutando l'ombre di tempo in tempo, & d'hora in <lb/>hora. </s> <s id="s.007488">Hanno i marinari le i&longs;te&longs;&longs;e, o &longs;imili imaginationi nelle diui&longs;ioni de i uenti, & nel drizza­<lb/>re de i lor uiaggi. </s> <s id="s.007489">Hauendo noi adunque inte&longs;o gli officij, & le propriet à di que&longs;ti tre piani circo <lb/>lari, & &longs;apendo&longs;i a che fine &longs;ono imaginati, cono&longs;ceremo, che tuttitre &longs;ono nece&longs;&longs;arij, & com­<lb/>muni nelle de&longs;crittioni di tutti gli Analemmi per la fermezza, & &longs;tabilità de i termini, che <lb/>hanno. </s> <s id="s.007490">Oltra di que&longs;to è da &longs;apere, che &longs;i come que&longs;ti tre piani &longs;i tagliano ad anguli dritti, <lb/>co&longs;i i loro diametri imaginati &longs;i tagliano ad anguli dritti, nel centro del mondo. </s> <s id="s.007491">Et <lb/>qui due co&longs;e &longs;ono da e&longs;&longs;er con&longs;iderate con merauiglia. </s> <s id="s.007492">L'una è che non &longs;i puo ritrouare <lb/>piu di tre linee, o diametri, che cadino a &longs;quadra in un punto l'una &longs;opra l'altra: & <lb/>per que&longs;ta ragione, &longs;i pigliano i tre predetti piani con i loro diametri nelle de&longs;crittioni de gli Ana­<lb/>lemmi, come co&longs;e determinate: l'altra co&longs;a è, che la diuina prouidentia con diuina proportione <lb/>ha po&longs;to il Sole in &longs;ito, & di&longs;tanzatanto conueniente, che gli in&longs;trumenti, de i quali l'huomo &longs;i <lb/>&longs;erue per mi&longs;urare le co&longs;e del cielo, &longs;enza notabile diuer&longs;ità ci pre&longs;tano quell'u&longs;o come l'huomo fu&longs; <lb/>&longs;e nel centro del mondo: co&longs;i imaginiamo, che la punta del Gnomone &longs;ia nel centro del mondo. </s> <s id="s.007493"><lb/>Ma torniamo al propo&longs;ito. </s> <s id="s.007494">Di que&longs;ti diametri adunque il taglio, che fa l'Orizonte col Meridiano, &longs;i <lb/>chiama &longs;estione o taglio Meridiano. <!-- KEEP S--></s> <s id="s.007495">& quello, che fa il Meridiano col Verticale, &longs;i chiama Gno­<lb/>mone per la detta ragione: ma quel taglio, che fa l'Orizonte col Verticale, &longs;i chiama &longs;estione equi <lb/>nottiale, perche iui &longs;i tagliano l'Orizonte, il Verticale, & l'Equinottiale, che &longs;ono tutti tre de i <lb/>circoli maggiori della &longs;pera. </s> <s id="s.007496">Que&longs;te con&longs;iderationi adunque, con quelle de i tagli del cono ci da­<lb/>ranno le regole di fare gli horologi in qualunque piano, con qual &longs;i uoglia &longs;orte di hore, uolti in <emph.end type="italics"/><pb pagenum="404" xlink:href="045/01/418.jpg"/><emph type="italics"/>che parte ci piaccia, perche de i piani, &longs;opra i quali &longs;i de&longs;criueno gli horologi, altri &longs;ono egual­<lb/>mente di&longs;tanti all'Orizonte, altri dritti a &longs;quadra &longs;opra l'Orizonte, altri piegati, & pen­<lb/>denti. </s> <s id="s.007497">Similmente alcuni &longs;ono uolti alli quattro uenti principali, altri declinano dalle <lb/>facciate, alcuni anchora &longs;ono ueramente piani, & eguali, alcuni torti, concaui, conue&longs;&longs;i, <lb/>o in altro modo formati. </s> <s id="s.007498">Parimente ad alcuni piace di &longs;egnare le hore de gli antichi, che erano <lb/>in ogni giorno dodici. </s> <s id="s.007499">ad altri dilettano le hore dette A&longs;tronomiche, che cominciano dal mezo dì. </s> <s id="s.007500"><lb/>Sono altre genti, che uogliono l'hore dal tramontar, altri dal leuar del Sole. <!-- KEEP S--></s> <s id="s.007501">& è in poter di <lb/>ognuno, che &longs;appia le ragioni, cominciare doue gli piace, o da terza, o da ue&longs;pro il &longs;uo giorno. </s> <s id="s.007502">lo <lb/>la&longs;cio ad altri la cura di fare gli in&longs;trumenti da pigliare le faccìate, le declinationi, & le inclina­<lb/>tioni de i piani, perche que&longs;to hoggi mai è manife&longs;to ad ognuno mediocremente ammae&longs;trato per <lb/>la commodità del bo&longs;&longs;olo. </s> <s id="s.007503">Veniamo adunque a Vitruuio, & ricordandoci delle co&longs;e dette, for­<lb/>miamo lo Analemma. <!-- KEEP S--></s> <s id="s.007504">Dice adunque Vitruuio; che egli uuole &longs;eparare dalla ragione di quegli <lb/>&longs;tudi, che abbracciano le natiuità de gli huomini, & che predicono le &longs;orti humane, la ragione de <lb/>gli horologi, & e&longs;plicare le breuità, & le lunghezze de i giorni di me&longs;e in me&longs;e. </s> <s id="s.007505">Per intelligen­<lb/>za delle quali co&longs;e, &longs;i deue imaginare, che quando il Sole è nel principio del Montone, o della Bi­<lb/>lancia, egli &longs;i lieua al uero punto di Leuante, & &longs;i corca al uero punto di Ponente, & in quel <lb/>mezo, che egli ua da Leuante a Ponente, egli s'inalza a poco a poco fin al mezo dì. </s> <s id="s.007506">& dal me­<lb/>zo dì uer&longs;o Ponente egualmente &longs;i abba&longs;&longs;a, & &longs;e egli la&longs;cia&longs;&longs;e in quel dì nel cielo un'orma ui&longs;ibi­<lb/>le del &longs;uo cor&longs;o come l'arco cele&longs;te, egli &longs;i uederebbe &longs;opra l'Orizonte un mezo circolo, il quale &longs;i <lb/>chiama equinottiale, & l'altro mezo circolo &longs;ta &longs;otto l'Orizonte. <!-- KEEP S--></s> <s id="s.007507">hora perche nel tempo del me <lb/>zo dì, &longs;econdo la diuer&longs;ità de gli Orizonti il Sole ad altri è piu alto, ad altri è piu ba&longs;&longs;o, però <lb/>l'ombra de i Gnomoni &longs;arà diuer&longs;amente proportionata a i Gnomoni &longs;econdo l'altezza, o ba&longs;&longs;ezza <lb/>del Sole nel mezo dì al tempo dello equinottio; perche quanto il Sole è piu alto, tanto minore è <lb/>l'ombra del Gnomone drizzato &longs;opra il piano dell'Orizonte, & quanto è piu ba&longs;&longs;o tanto &longs;i fa piu <lb/>lunga l'ombra nel detto piano. </s> <s id="s.007508">Ma quando è giu&longs;to tra'l punto dell'Orizonte nel taglio Meridia­<lb/>no, & il punto, che ci sta &longs;opra la te&longs;ta, le lunghezze dell'ombre &longs;ono pari al Gnomone. <!-- KEEP S--></s> <s id="s.007509">però <lb/>chi pote&longs;&longs;e mi&longs;urare l'ombra in quel tempo, che'l Sole è alto gradi quar antacinque, che è la metà <lb/>della quarta tra'l punto, che ci &longs;oprasta, & l'Orizonte, egli trouarebbe, che le co&longs;e, che fanno <lb/>l'ombra &longs;arebbeno pari all'ombra. </s> <s id="s.007510">di que&longs;ti auuertimenti hoggi mai ne &longs;ono piene le carte, però <lb/>torniamo a Vitruuio il qual dice.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007511">Ma noi da quelli &longs;tudi co&longs;i deuemo &longs;eparare la ragione de gli horologi, & e&longs;plicare le <lb/>breuità, & le lunghezze de i giorni di me&longs;e in me&longs;e, imperoche il Sole al tempo dello equi <lb/>nottio raggirando&longs;i nel Montone, o nella Bilancia di noue parti del Gnomone otto ne <lb/>fa di ombra, in quella inclinatione, che è a Roma. <!-- KEEP S--></s> <s id="s.007512">Et in Athene tre parti &longs;ono dell'om­<lb/>bra di quattro del Gnomone, ma a Rhodi a &longs;ette cinque ri&longs;pondeno: a Taranto noue ad <lb/>undici, <emph type="italics"/>i<emph.end type="italics"/>n Ale&longs;&longs;andria tre a einque, & co&longs;i in tutti gli altri luoghi altre ombre equinottia­<lb/>li ad altro modo per natura &longs;i truouano &longs;eparate. </s> </p> <p type="main"> <s id="s.007513"><emph type="italics"/>Diuer&longs;e &longs;ono le lunghezze delle ombre al tempo dell'equinottio nel mezo dì &longs;econdo la diuer&longs;a <lb/>inclinatione del cielo. </s> <s id="s.007514">per inclinatione Vitru. intende il ri&longs;petto, che ha il polo &longs;opra l'Orizonte <lb/>ouero la eleuatione dello equmottiale o latitudine, che &longs;i dica, & di&longs;tanza dal punto, che ci &longs;ta <lb/>&longs;opra la te&longs;ta, perche quanto piu l'huomo &longs;i parte dalla linea equinottiale, tanto piu &longs;e gli leua il <lb/>polo, & abba&longs;&longs;a la linea. </s> <s id="s.007515">come &longs;i uede nella &longs;otto&longs;critta figura doue &longs;e poneremo la linea <19><lb/>&longs;otto il punto <expan abbr="q.">que</expan> che è il punto che &longs;ta &longs;opra la te&longs;ta, i poli c. <!-- REMOVE S-->& f. <!-- REMOVE S-->&longs;aranno nel labro dell'Ori <lb/>zonte. </s> <s id="s.007516">&longs;egnato g h. <!-- REMOVE S-->ma &longs;e poneremo il punto <19> &longs;otto il numero<emph.end type="italics"/> 10. <emph type="italics"/>uederemo, che il polo c. <lb/><!-- REMOVE S-->&longs;arà &longs;opra l'Orizonte leuato al numero<emph.end type="italics"/> 10. <emph type="italics"/>che uuole dire dieci gradi, che tanti &longs;ono apunto, <lb/>quanti il punto, che &longs;opra&longs;ta, è di&longs;co&longs;to dall'equinottiale. </s> <s id="s.007517">diuer&longs;e adunque &longs;ono le inclinationi del <lb/>cielo, &longs;econdo la diuer&longs;ità de gli Orizonti. </s> <s id="s.007518">A Roma adunque, &longs;e il Gnomone &longs;arà di noue parti, <lb/>o palmi, o d'altra mi&longs;ura, l'ombra, che egli farà nel mezo dì al tempo dello equinottio &longs;arà lunga<emph.end type="italics"/><pb pagenum="405" xlink:href="045/01/419.jpg"/><figure id="id.045.01.419.1.jpg" xlink:href="045/01/419/1.jpg"/><lb/><emph type="italics"/>otto parti, o palmi, &longs;e uuoi che &longs;iano palmi. </s> <s id="s.007519">Ma in <lb/>Athene, perche Athene sta in altra inclinatione, &longs;e'l <lb/>Gnomone &longs;arà di quattro parti, l'ombra &longs;arà di tre. </s> <s id="s.007520">con <lb/>la i&longs;te&longs;&longs;a ragione in Ale&longs;&longs;andria, & a Rodi, & in al­<lb/>tri luoghi uanno uariando le ombre Meridiane al tem­<lb/>po de gli equinottij. </s> <s id="s.007521">dal che anche &longs;i puo &longs;apere a chi <lb/>&longs;i leua il Sole piu alto &longs;ul mezo dì, perche proportio­<lb/>nando&longs;i le ombre al Gnomone, dalla proportione del­<lb/>l'ombra al Gnomone &longs;i fa l'altezza. </s> <s id="s.007522">Ecco l'ombra del <lb/>Gnomoue in Athene è minore un terzo del Gnomone, <lb/>& in Roma un'ottauo, & perche quanto il Sole è piu <lb/>alto, tanto l'ombra dritta è minore, però &longs;i conclude, <lb/>che il Sole &longs;ia piu alto in Athene &longs;ul mezo dì al tempo <lb/>dello eqninottio, che a Roma; & tanto piu alto quan­<lb/>to è l'ombra minore d'una &longs;ub&longs;e&longs;quiterza dell'ombra <lb/>d'una &longs;ub&longs;b&longs;quiottaua.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007523">Et però in ogni luogo, che noi uorremo fare <lb/>gli horologi, douemo pigliare l'ombra equi— <lb/>nottiale. </s> </p> <p type="main"> <s id="s.007524"><emph type="italics"/>Comincia Vitr. ad in&longs;egnarci, come &longs;i habbia a fare lo Analemma; & perche un &longs;olo Ana­<lb/>lemma non ci puo &longs;eruire per tutto, &longs;e non quanto apartiene a quelli circoli, che &longs;ono communi a <lb/>tutti gli Analemmi (come io ho detto di &longs;opra) perche &longs;ono differenti le ombre equinottiali; pe­<lb/>rò ne piglia uno, che c'in&longs;egna di &longs;are quello, che &longs;erue a Roma. <!-- KEEP S--></s> <s id="s.007525">dando prima una regola genera <lb/>le, che in qualunque luogo uolemo fare gli horologi, bi&longs;ogna auuertire all'ombra equinottiale, <lb/>& intende di quell'ombra, che &longs;i fa &longs;ul mezo dì dal Gnomone al tempo dell'equinottio, perche <lb/>dalla detta ombra &longs;i piglia anche la ragione dell'ombra Meridiana fatta, quando il Sole entra in al <lb/>tri &longs;egni, come ci &longs;arà manife&longs;to qui &longs;otto.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007526">Et &longs;e &longs;aranno, come è a Roma, noue le parti del Gnomone, & otto le parti dell'om­<lb/>bra, egli &longs;i farà nel piano una linea dritta, &longs;opra la quale ne cadera un'altra a &longs;quadra, che &longs;i <lb/>chiama Gnomone, & dalla linea del piano da piedi del Gnomone &longs;i mi&longs;urano noue &longs;patij <lb/>fin alla cima, & doue termina la nona parte in &longs;u quel punto &longs;i faccia il centro con la lette­<lb/>ra. </s> <s id="s.007527">a. <!-- REMOVE S-->& aperta la &longs;e&longs;ta da quel centro alla linea del piano a piedi del Gnomone doue &longs;arà <lb/>la lettera. </s> <s id="s.007528">b. <!-- REMOVE S-->&longs;i faccia un circolo, che &longs;i chiama il Meridiano. <!-- KEEP S--></s> <s id="s.007529">Dapoi delle noue parti, <lb/>che &longs;ono dal piano alla cima del Gnomone, la doue è il centro &longs;e ne pigliano otto, le qua <lb/>li &longs;i &longs;egnano dal piede del Gnomone &longs;opra la linea del piano, doue è la lettera. </s> <s id="s.007530">o. <!-- REMOVE S-->que&longs;to <lb/>termine &longs;arà dell'ombra Meridiana equinottiale del Gnomone, & da quel &longs;egno doue <lb/>è la lettera. </s> <s id="s.007531">c. <!-- REMOVE S-->per lo centro. </s> <s id="s.007532">a. <!-- REMOVE S-->&longs;ia tirata una linea doue &longs;erà il raggio equinottia— <lb/>le del Sole. <!-- KEEP S--></s> </p> <p type="main"> <s id="s.007533"><emph type="italics"/>Lo Analemma per Roma &longs;i fa in que&longs;to modo. </s> <s id="s.007534">prima egli &longs;i tira una linea in un piano, la qua­<lb/>le non è Orizonte, ma è quel piano &longs;opra lo quale è drizzato il Gnomone, & è il piano dell'horo­<lb/>logio egualmente di&longs;tante all'Orizonte: &longs;opra quella linea del piano &longs;i drizza il Gnomone di quel­<lb/>la grandezza, che l'huomo uuole, poi &longs;i fa centro la cima del Gnomone, & allargata la &longs;e&longs;ta <lb/>quanto è lungo il Gnomone, &longs;i fa un circolo, che rappre&longs;enta il Meridiano, &longs;opra il quale <lb/>s'imagina, che &longs;ia il Sole nel mezo dì al tempo dello equinottio. </s> <s id="s.007535">Hauemo dunque fin hora il <lb/>piano, doue batte l'ombra, il Gnomone, che fa l'ombra, & il Meridiano, nel quale &longs;i ha da ritro­<lb/>uare il Sole. <!-- KEEP S--></s> <s id="s.007536">Bi&longs;ogna poi pigliare la lunghezza dell'ombra, il che &longs;i fa in que&longs;to modo (parlando <lb/>della inclinatione di Roma) &longs;apendo&longs;i, che di noue parti, nelle quali è diui&longs;o il Gnomone, otto &longs;i <lb/>danno all'ombra, &longs;i partirà il Gnomone in noue parti, & dal piede &longs;uo lungo la linea del piano<emph.end type="italics"/><pb pagenum="406" xlink:href="045/01/420.jpg"/><emph type="italics"/>&longs;e ne poneranno otto, & tanto &longs;arà la lunghezza dell'ombra meridiana al tempo dello equinot­<lb/>tio nella inclinatione di Roma. <!-- KEEP S--></s> <s id="s.007537">dapoi dal termine dell'ombra nel piano &longs;i tirerà una linea alla ci­<lb/>ma del Gnomone, la quale peruenghi al Meridiano, & la doue quella linea toccherà la cinconfe <lb/>renza del Meridiano, c'imaginaremo, che &longs;ia il Sole al tempo dello equinottio nel mezo di quella <lb/>linea, per que&longs;ta cagione &longs;i chiama raggio equinottiale, perche rappre&longs;enta il raggio equinottia <lb/>le Meridiano, & termina la lunghezza dell'ombra.<emph.end type="italics"/></s> </p> <figure id="id.045.01.420.1.jpg" xlink:href="045/01/420/1.jpg"/> <p type="main"> <s id="s.007538">Allhora allargando la &longs;e&longs;ta dal centro alla linea del piano &longs;ia &longs;egnato con egual di&longs;tan­<lb/>tia dalla &longs;ini&longs;tra doue è la lettera. </s> <s id="s.007539">e. <!-- REMOVE S-->& dalla de&longs;tra doue è ia lettera i. <!-- REMOVE S-->nell'ultimo giro <lb/>del circolo, & per lo centro &longs;ia tirata una linea in modo, che &longs;i facciano due eguali &longs;emi­<lb/>circoli; que&longs;ta linea da i Mathematici è detta Orizonte. <!-- KEEP S--></s> </p> <p type="main"> <s id="s.007540"><emph type="italics"/>Poteua dire in due parole quello, che ha detto in molte, cioè uolendo formare l'Orizonte tira <lb/>uno diametro, che pa&longs;&longs;i per la cima del Gnomone, & &longs;ia egualmente di&longs;tante alla linea del piano. </s> <s id="s.007541"><lb/>auuertirai nella figura, che la lettera e. <!-- REMOVE S-->& i. <!-- REMOVE S-->per inauuertenza della &longs;tampa deueno e&longs;&longs;er mu<lb/>tate. </s> <s id="s.007542">imperoche la e. <!-- REMOVE S-->deue e&longs;&longs;ere doue è la i. <!-- REMOVE S-->& la i. <!-- REMOVE S-->doue è la e.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.007543">Dapoi egli &longs;i deue pigliare la quintadecima parte di tutta la circonferenza, & la doue il <lb/>raggio equinottiale taglia il Meridiano, doue &longs;ara la lettera f. <!-- REMOVE S-->iui &longs;i ha da ponere la &longs;e&longs;ta, <lb/>& &longs;egnare dalla de&longs;tra, & dalla &longs;ini&longs;tra, doue &longs;ono le lettere g. <!-- REMOVE S-->& h. <!-- REMOVE S-->& poi da que&longs;ti <lb/>punti, & per lo centro &longs;i hanno a tirare le linee fino alla linea del piano, doue &longs;ono le let­<lb/>tere r. <!-- REMOVE S-->& t. <!-- REMOVE S-->& a que&longs;to modo &longs;arà il raggio del Sole uno della &longs;tate; & l'altro del <lb/>uerno. </s> </p> <pb pagenum="407" xlink:href="045/01/421.jpg"/> <p type="main"> <s id="s.007544"><emph type="italics"/>Vitruuio uuole porre nel &longs;uo analemma il raggio del Sol&longs;titio, & della bruma, che &longs;ono gli <lb/>e&longs;tremi del cor&longs;o del Sole, & troua que&longs;ti per la maggior declinatione del Sole, laquale egli fa di <lb/>parti uentiquattro, che è la quintadecima di tutto il meridiano, che s'intende e&longs;&longs;er diui&longs;o in <lb/>parti trecento & &longs;e&longs;&longs;anta. </s> <s id="s.007545">la cui quintadecima è uentiquattro; ma i po&longs;teriori hanno trouato il <lb/>maggior appartamento del Sole, che chiamano declinatione, e&longs;&longs;ere di gradi uentitre & mezo. </s> <s id="s.007546"><lb/>quello, che Tolomeo trouò di parti uentitre, minuti cinquanta uno, & &longs;econde uenti. </s> <s id="s.007547">po&longs;to adun <lb/>que il piede della &longs;esta la doue il raggio equinottiale taglia il meridiano doue è la lettera f. <!-- REMOVE S-->con <lb/>la larghezza della quintadecima parte &longs;i fanno i punti de i tropici di quà, & di là della lettera <lb/>f. <!-- REMOVE S-->nel meridiauo, & &longs;i &longs;egna da una parte g. <!-- REMOVE S-->& dall'altra h. <!-- REMOVE S-->& poi &longs;i tirano da i detti punti <lb/>le lince, che pa&longs;&longs;ano per lo centro, che è la cima del gnomone, lequali deono peruenire alla linea <lb/>del piano da una parte, & alla circonferenza del meridiano dall'altra. </s> <s id="s.007548">di que&longs;te linee una rappre <lb/>&longs;enta il raggio meridiano, quando il Sole entra nel Cancro, & l'altra il raggio meridiano, quando <lb/>il Sole entra nel Capricorno. <!-- KEEP S--></s> <s id="s.007549">& però una è detta raggio della &longs;tate, & l'altra raggio del uerno. </s> <s id="s.007550"><lb/>del raggio della &longs;tate l'ombra &longs;arà b r. <!-- REMOVE S-->& del raggio del uerno l'ombra &longs;arà b t. <!-- REMOVE S-->tra questi <lb/>termini è rinchiu&longs;a la declinatione del Sole. <!-- KEEP S--></s> <s id="s.007551">Hora ueniremo a ritrouare i raggi, & le ombre <lb/>fatte &longs;ul mezo dì, quando il Sole entra ne gli altri &longs;egni: ma prima pone nello Analemma l'a&longs;­<lb/>&longs;e del mondo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007552">Incontra la lettera e. <!-- REMOVE S-->&longs;arà la lettera i. <!-- REMOVE S-->doue la linea, che pa&longs;&longs;a per lo centro tocca la <lb/>circonferenza. </s> <s id="s.007553">& contra g & h. <!-- REMOVE S-->&longs;aranno le lettere k. <!-- REMOVE S-->& l. <!-- KEEP S--></s> <s id="s.007554">& contra c. <!-- REMOVE S-->& f. <!-- REMOVE S-->& a. <lb/><!-- REMOVE S-->&longs;arà la lettera n. <!-- REMOVE S-->allhora poi &longs;i deono tirare i diametri da g. <!-- REMOVE S-->ad l. <!-- REMOVE S-->& da h. <!-- REMOVE S-->a k. <!-- REMOVE S-->& quel <lb/>diametro che &longs;arà di &longs;otto &longs;arà della parte e&longs;tiua, & quello, che &longs;arà di &longs;opra &longs;arà della <lb/>parte del uerno. </s> </p> <p type="main"> <s id="s.007555"><emph type="italics"/>I termini dell'Orizonte &longs;ono e & i. <!-- REMOVE S-->i termini de i tropici g & h. <!-- REMOVE S-->che deono e&longs;&longs;er con­<lb/>giunti con linee alla parte opposta ne i punti K & l. <!-- REMOVE S-->& quelle linee Vitru. chiama diametri, <lb/>perche hanno ad e&longs;&longs;ere diametri de i loro circoli, come &longs;i uederà. </s> <s id="s.007556">però dice.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007557">Que&longs;ti diametri &longs;i deono partire egualmente nel mezo doue &longs;aranno le lettere m. <!-- REMOVE S-->& <lb/>o. <!-- REMOVE S-->& iui &longs;i deono notare i centri, & per quelli, & per lo centro &longs;i deue tirare una linea <lb/>alla e&longs;trema circonferenza, doue &longs;aranno le lettere p & <expan abbr="q.">que</expan> que&longs;ta linea caderà dritta­<lb/>mente &longs;opra il raggio equinottiale, & per ragioni Matematiche que&longs;ta linea &longs;arà chiama­<lb/>to A&longs;&longs;e. <!-- KEEP S--></s> <s id="s.007558">& da gli i&longs;te&longs;si centri allargata la &longs;e&longs;ta alle e&longs;tremità de i diametri, &longs;i de&longs;criuino <lb/>due &longs;emicircoli, de i quali uno &longs;arà per la parte della &longs;tate, l'altro per la parte del uerno. </s> </p> <p type="main"> <s id="s.007559"><emph type="italics"/>Ecco che a poco a poco Vitruuio ci rappre&longs;enta la &longs;phera con tutti i circoli nece&longs;&longs;arij allo <lb/>Analemma. <!-- KEEP S--></s> <s id="s.007560">E adunque l'a&longs;&longs;e, & il perno del mondo q m a o p. <!-- REMOVE S-->il tropico del Cancro &longs;o­<lb/>pra il diametro r o K. il tropico del Capricorno &longs;opra il diametro g m l. <!-- REMOVE S-->il raggio dello <lb/>equinottiale c f a n. <!-- REMOVE S-->l'Orizonte e a i. <!-- REMOVE S-->il meridiano f q n p.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.007561">Dapoi in quelle punti, doue le linee egualmente di&longs;tanti tagliano quella linea, che è <lb/>chiamata Orizonte, nella piu de&longs;tra parte &longs;arà la lettera s. <!-- KEEP S--></s> <s id="s.007562">nella piu &longs;ini&longs;tra la lettera u. <!-- KEEP S--></s> </p> <p type="main"> <s id="s.007563"><emph type="italics"/>Cioe doue i diametri de i tropici tagliano l'Orizonte &longs;ia &longs;egnato s. <!-- KEEP S--></s> <s id="s.007564">da una parte, & u dal <lb/>l'altra, & quiui &longs;i deue auuertire, che quelli tagli dimostrano <expan abbr="quãta">quanta</expan> <expan abbr="circonferēza">circonferenza</expan> di quelli circoli <lb/>sta &longs;opra l'Orizonte, & quanta &longs;ta di &longs;otto, dalche &longs;i comprende la lunghezza del giorno mag­<lb/>giore, & del minore, che &longs;ia in quella inclinatione, per laquale &longs;i farà l'horologio.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007565">Et dalla de&longs;tra parte di uno &longs;emicircolo, doue è la lettera g. <!-- REMOVE S-->bi&longs;ogna tirare una linea <lb/>egualmente di&longs;tante allo a&longs;&longs;e, fin al &longs;ini&longs;tro &longs;emicircolo, doue è la lettera. </s> <s id="s.007566">h. <!-- REMOVE S-->& que&longs;ta <lb/>linea &longs;i chiama lacotomus. </s> </p> <p type="main"> <s id="s.007567"><emph type="italics"/>Cioè linea, che parti&longs;ce o taglia la larghezza, ouero la profondità, imperoche ella ua da uno <lb/>tropico all'altro, et abbraccia tutto lo &longs;pacio della declinatione, ouero apartamento del Sole dallo <lb/>equinottiale, nel quale &longs;patio hanno a stare i raggi del Sole di me&longs;e in me&longs;e.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007568">Et allhora &longs;i deue ponere il centro del compa&longs;&longs;o, doue quella linea egualmente di&longs;tan-<pb pagenum="408" xlink:href="045/01/422.jpg"/>te allo a&longs;&longs;e è tagliata dal raggio equinottiale, doue è la lettera x. <!-- REMOVE S-->& &longs;i deue allargare &longs;in <lb/>doue il raggio e&longs;tiuo taglia la circonferenza, doue è la lettera h. <!-- REMOVE S-->& dal centro equinot­<lb/>tiale allo &longs;pacio e&longs;tiuo &longs;i faccia la circonferenza del circolo men&longs;ale, ilquale è detto Mo­<lb/>nacho. </s> <s id="s.007569">& a que&longs;to modo &longs;arà formato lo Analemma. <!-- KEEP S--></s> </p> <p type="main"> <s id="s.007570"><emph type="italics"/>La linea della larghezza detta lacotomus, è diametro di quel circolo, dalquale &longs;i trouano i <lb/>raggi meridiani di me&longs;e in me&longs;e, ilquale è detto monachus. </s> <s id="s.007571">& io pen&longs;o che uoglia dire Minachos, <lb/>come quello, che contenga i raggi meridiani di me&longs;e in me&longs;e. </s> <s id="s.007572">altri lo hanno chiamato miniæus, <lb/>che Vitr. dice men&longs;truo, & io ho detto men&longs;ale. </s> <s id="s.007573">que&longs;to circolo adunque &longs;i fa mettendo il piedi <lb/>del compa&longs;&longs;o doue la linea della larghezza detta lacotomus taglia il raggio meridiano equinot­<lb/>tiale, & allargandolo ad uno de i punti della maggior declinatione, ouero appartamento del So­<lb/>le dallo equinottiale. </s> <s id="s.007574">Que&longs;to circolo &longs;i diuide in dodici parti eguali, &longs;e uogliamo &longs;olamente i <lb/>raggi meridiani di &longs;egno in &longs;egno, perche uolendo i raggi meridiani del mezo de i &longs;egni, o di dieci <lb/>in dieci gradi, o piu o meno, bi&longs;ognerà partire il detto circolo in piu parti &longs;econdo il propo&longs;ito <lb/>no&longs;tro. </s> <s id="s.007575">Diui&longs;o adunque il detto circolo in dodici parti, &longs;i deue tirare per cia&longs;cuna diui&longs;ione corri­<lb/>&longs;pondente a i diametri de gli altri &longs;egni, alla circonferenza del meridiano, egualmente di&longs;tanti al­<lb/>li diametri de i tropici, & doue quelli diametri toccheranno il meridiano, iui &longs;aranno i punti, da <lb/>i quali per la cima del Gnomone &longs;i tireranno le linee, & i raggi fin alla linea del piano, & in que­<lb/>sto modo &longs;arà formato lo Analemma.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.007576">Dapoi che haueremo de&longs;critto lo Analemma con la &longs;ua dichiaratione, o per le linee del <lb/>uerno, o per le linee e&longs;tiue, o per le equinottiali, o per le di me&longs;e in me&longs;e: Allhora &longs;i deo­<lb/>no di&longs;egnare le ragioni delle hore da gli Analemmi. <!-- KEEP S--></s> <s id="s.007577">& in quel ca&longs;o ci &longs;aranno molte ua­<lb/>rietà, & maniere di horologi, & con que&longs;te artificio&longs;e ragioni &longs;aranno de&longs;critte. </s> </p> <p type="main"> <s id="s.007578"><emph type="italics"/>Non &longs;olamente da i raggi equinottiali egli &longs;i puo cominciare a fare gli analemmi, ma da qua­<lb/>lunque altro raggio di &longs;egno. </s> <s id="s.007579">perche &longs;e egli &longs;i piglia il raggio e&longs;tiuo, o quello del uerno, nella &longs;ua <lb/>altezza meridiana, egli &longs;i &longs;a, che il raggio equinottiale è lontano da quelli gradi uenti tre, & <lb/>mezo, & &longs;apendo&longs;i la declinatione d'ogni raggio dallo equinottiale, &longs;i puo facilmente da un <lb/>raggio ponere gli altri.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007580">Ma di tutte le figure, & de&longs;crittioni di tutte quelle uarietà, è un &longs;olo effetto, cioè che <lb/>il giorno equinottiale, il brumale, & il Sol&longs;titio &longs;ia partito in dodici parti. </s> </p> <p type="main"> <s id="s.007581"><emph type="italics"/>Vitruuio chiaramente dimo&longs;tra in questo luogo, che gli antichi u&longs;auano di partire il giorno o <lb/>lungo, o breue che egli fu&longs;&longs;e, in dodici parti: però faceuano gli horologi con questa intentione, <lb/>di dimo&longs;trare le dodici parti del giorno. </s> <s id="s.007582">ilche anche &longs;i caua dalle &longs;acre lettere, doue &longs;i dice, in­<lb/>terrogando: non &longs;ono dodici le hore del giorno? </s> <s id="s.007583">queste hore &longs;i chiamauano chicrichè, & mira­<lb/>uano al dominio de i pianeti in quelle hore: & altri le hanno dette hore planetarie, altri hore in <lb/>eguali. </s> <s id="s.007584">ma la&longs;ciamo i nomi, & uegnamo alle co&longs;e. </s> <s id="s.007585">Di tutte adunque le figure, & de&longs;crittioni di <lb/>tutte quelle uarietà è un &longs;olo effetto. </s> <s id="s.007586">ma di quali uarietà intende Vitru. <!-- REMOVE S-->&longs;e una &longs;ola &longs;orte di hore &longs;i <lb/>pone? </s> <s id="s.007587">Ri&longs;pondo, che &longs;e bene u&longs;auano una &longs;orte di hore la uarietà na&longs;ceua da i piani, ne i quali &longs;i <lb/>formauano gli horologi, & dalle figure, che piaceuano ad alcuni inuentori; come dirà Vitr. nel <lb/>&longs;eguente capo. </s> <s id="s.007588">ma come dallo Analemma &longs;i caui que&longs;to &longs;olo effetto, che egli dice, cioè, che il gior­<lb/>no equinottiale, quello del uerno, che egli dice brumale, & quello della &longs;tate, che egli chiama <lb/>Sol&longs;titio, &longs;ia partito in dodici parti dirò distintamente, poi che hauerò udito la e&longs;cu&longs;atione di Vit.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.007589">Lequali co&longs;e non impaurito dalla pigritia ho la&longs;ciato a dietro, ma perche &longs;criuendo io <lb/>molte co&longs;e non offende&longs;&longs;e. </s> <s id="s.007590">Ma &longs;olamente e&longs;ponerò, da chi &longs;ono &longs;tate ritrouate molte &longs;or­<lb/>ti, & molte de&longs;crittioni di horologi: nè hora io po&longs;&longs;o ritrouarne altre da me, nè mi pare <lb/>conueniente, che io debbia u&longs;urpare quelle de gli altri, & attribuirle a me: & però io dirò <lb/>que&longs;te co&longs;e, che ci &longs;ono &longs;tate la&longs;ciate, & da chi &longs;ono &longs;tate ritrouate. </s> </p> <p type="main"> <s id="s.007591"><emph type="italics"/>Ecco la modestia grande di Vitr. & la candidezza dell'animo &longs;uo, dallaquale &longs;ono molti mol <lb/>to lontani a i dì nostri: ne i quali uedemo tanti quadranti, raggi, anella, regole, cilindri, horo&longs;co-<emph.end type="italics"/><pb pagenum="409" xlink:href="045/01/423.jpg"/><emph type="italics"/>pi, planisferi, torqueti, hemicicli, balle, horologi, & in&longs;trumenti, che gia tante centinaia d'anni <lb/>&longs;ouo &longs;tate ritrouate, & pure con nuoui argomenti, & titoli, & aggiunte di poca importanza &longs;i <lb/>danno in luce, come proprie, & non piu imaginate da altri: & tant'oltre è andata la inuidia, <lb/>ouero la &longs;uperbia di alcuni, che &longs;e bene hanno inte&longs;o mirabilmente le ragioni delle co&longs;e, però <lb/>&longs;tudio&longs;amente hanno uoluto con o&longs;curi modi, & uie intricate dimo&longs;trare ouero adombrare per dir <lb/>meglio, la cognitione Gnomonica. </s> <s id="s.007592">& hanno leuato il diletto, che &longs;i ha nello imparare, & nella <lb/>facilità, anzi hanno con le loro difficultà &longs;cacciato i lettori delle opere loro: & quello, che han­<lb/>no de&longs;iderato &longs;ommamente, che cra di acqui&longs;tar credito di &longs;apere con la o&longs;curità dello in&longs;egnar, <lb/>non hanno con&longs;eguito: non è per que&longs;to, che non douemo hauere molte gratie a quelli, che hanno <lb/>dato molti auuertimenti, & che hanno u&longs;ato modi facili, accioche gli huomini, che non hanno <lb/>tempo di &longs;tudiare, & che non &longs;ono &longs;peculatiui po&longs;&longs;ino e&longs;&longs;ercitare, & u&longs;are nelle occorrenze loro <lb/>que&longs;te inuentioni. </s> <s id="s.007593">Ripigliando adunque il mio di&longs;cor&longs;o, & stando fermo nelle uie di Tolomeo, <lb/>& del predetto Commandino, quanto piu facilmente potrò, farò manife&longs;to tutto quello, che apar­<lb/>tiene alla de&longs;crittione, & all'u&longs;o dello Analemma. <!-- KEEP S--></s> <s id="s.007594">la&longs;ciando (come ho detto) le dimostrationi <lb/>mathematice ad altri. </s> <s id="s.007595">Non ha dubbio, che il Sole in tempi, & hore diuer&longs;e, &longs;i ritroua in &longs;iti <lb/>& altezze diuer&longs;e. </s> <s id="s.007596">non uedemo noi la estate, che per due, o tre hore egli &longs;ta tra Leuante & Tra <lb/>montana, la mattina, & per tanto &longs;pacio &longs;ta tra Ponente, & Tramontana le ultime hore del gior <lb/>no? </s> <s id="s.007597">non uedemo ancho il Sole in alcune hore e&longs;&longs;ere tra Leuante, & mezo dì, & alcune tra'l me­<lb/>zo dì & il Ponente: hora piu alto, hora piu ba&longs;&longs;o? </s> <s id="s.007598">però &longs;e uogliamo far cono&longs;cere il &longs;uo uero &longs;ito, <lb/>(ilche è nece&longs;&longs;ario per &longs;apere gli effetti, che egli fa mandando iraggi &longs;uoi per la cima del Gnomo­<lb/>ne fin a i piani oppo&longs;ti,) bi&longs;ogna imaginar&longs;i molte linee, diuer&longs;i circoli, &longs;i fermi come mobili, <lb/>& diuer&longs;i anguli, accioche per quelli, come per craticole de pittori, &longs;i dia ad intendere la po&longs;itio­<lb/>ne, & il &longs;ito del raggio &longs;olare: & perche a uoglia no&longs;tra potemo fare gli horologi in diuer&longs;i <lb/>piani po&longs;ti diuer&longs;amente, come in terra, in muro, & dritti, & piegati, cioè ne i piani Orizontali, uer <lb/>ticali, meridiani detti di &longs;opra: però è nece&longs;&longs;ario &longs;apere quali circoli, quali linee, & quali angu­<lb/>li ci &longs;erueno ad un piano, & quali ad un'altro. </s> <s id="s.007599">la doue po&longs;ti quelli tre piani imaginati, che &longs;ono <lb/>termini fermi, bi&longs;ogna che ne imaginamo tre altri, che &longs;i muouino cia&longs;cuno &longs;opr a il &longs;uo diametro, <lb/>di modo che &longs;ia un'Orizonte fermo, & un Orizonte mobile, & un uerticale &longs;imilmente, & un <lb/>meridiano fermi, & un'uerticale, & un meridiano mobile, & che l'Orizonte mobile &longs;i uolga &longs;opra <lb/>il diametro del Orizonte fermo come &longs;opra un perno, & co&longs;i il uerticale, & il meridiano mobili &longs;i <lb/>girino d'intorno i diametri de i loro fermi. </s> <s id="s.007600">gia &longs;apemo quali &longs;iano i diametri di que piani, perche il <lb/>diametro dell'Orizonte ua da Leuante a Ponente, il diametro del uerticale ua dal punto, che ci <lb/>&longs;ta &longs;opra, a quello, che ci &longs;ta &longs;otto, & il diametro del meridiano è la linea meridiana i&longs;te&longs;&longs;a. </s> <s id="s.007601">&longs;e <lb/>adunque l'Orizonte &longs;i ha da girare bi&longs;ogna, che una met à di e&longs;&longs;o &longs;i alzi &longs;opra terra, & l'altra &longs;i <lb/>abba&longs;&longs;i. </s> <s id="s.007602">&longs;e il uerticale &longs;i ha da mouere, bi&longs;ogna che una metà di e&longs;&longs;o uadi inanzi, & l'altra in die­<lb/>tro. </s> <s id="s.007603">&longs;e'l meridiano &longs;i ha da mouere, bi&longs;ogna che una metà &longs;i pieghi uer&longs;o l'Orizonte, & l'altra me <lb/>tà a&longs;cenda. </s> <s id="s.007604">Fatto que&longs;to fondamento, poniamo il Sole in &longs;irocco alto da terra gradi quaranta, <lb/>facciamo, che l'Orizonte mobile la&longs;ci il fermo, & &longs;i alzi tanto, che egli tocchi il centro del corpo <lb/>del Sole. <!-- KEEP S--></s> <s id="s.007605">facciamo anche che il uerticale mobile &longs;i faccia tanto inanzi la&longs;ciando il fermo, che an­<lb/>cho egli tocchi il Sole; & finalmente facciamo, che il meridiano mobile &longs;i abba&longs;&longs;i fin tanto, che <lb/>ancho egli tocchi il Sole con la &longs;ua circonferenza al modo de gli altri: certo è, che tutti que <lb/>piani mobili &longs;i taglieranno in quel punto, doue e&longs;&longs;i tagliano il Sole, cioè in quel punto, dalquale il <lb/>Sole manda il &longs;uo raggio. </s> <s id="s.007606">hora uediamo, che effetti facciano que circoli, che &longs;imuoueno, & a che <lb/>fine &longs;i &longs;ono imaginati: & prima &longs;i dica in che conuengono tutti: dico che conuengono in que&longs;to, <lb/>che partendo cia&longs;cuno dal &longs;uo fermo piano corri&longs;pondente in&longs;ieme col Sole fanno due anguli <lb/>l'uno di linee dritte, l'altro de i piani di que circoli, cioè cia&longs;cuno mobile col &longs;uo fermo fa un'an­<lb/>gulo. </s> <s id="s.007607">& perche gli anguli &longs;i mi&longs;urano dalla circonferenza, però altra circonferenza &longs;arà com­<lb/>pre&longs;a &longs;otto gli anguli fatti dalle linee dritte, altra da gli anguli fatti da i piani di que circoli,<emph.end type="italics"/><pb pagenum="410" xlink:href="045/01/424.jpg"/><emph type="italics"/>cioè de i mobili, & de i fermi: & l'uno, & l'altro di quelli anguli ènece&longs;&longs;ario per dimostrare il <lb/>uero &longs;ito del Sole, cioè l'altezza del Sole, & la parte di doue egli manda il &longs;uo raggio. </s> <s id="s.007608">Hora <lb/>pigliamo &longs;eparatamente cia&longs;cuno et &longs;tiamo nel &longs;opraposto e&longs;&longs;empio. </s> <s id="s.007609">&longs;ia dunque il Sole a &longs;irocco, <lb/>& facciamo, che il uerticale mobile &longs;i faccia inanzi, & ritroui il Sole: dico che per que&longs;to <expan abbr="moui-mēto">moui­<lb/>mento</expan> &longs;i fanno due anguli, uno di linee dritte, l'altro del piano del uerticale fermo, et del piano del <lb/>uerticale mobile. </s> <s id="s.007610">l'angulo di linee dritte è fatto dal raggio del Sole, & dal diametro del uertica­<lb/>le, cioè dal Gnomone. <!-- KEEP S--></s> <s id="s.007611">& la circonferenza, che comprende que&longs;to angulo, è quell'arco del uerti­<lb/>cale mobile tra il punto, che ci &longs;ta &longs;opra la te&longs;ta, & il Sole. <!-- KEEP S--></s> <s id="s.007612">& e&longs;&longs;endo una quarta di circolo dal­<lb/>l'Orizonte al punto che ci &longs;ta &longs;opra la te&longs;ta, &longs;eguita, che il re&longs;tante dell'arco predetto dal punto, <lb/>che ci &longs;ta &longs;opra, al punto doue &longs;ta il Sole, &longs;ia l'altezza del Sole &longs;opra l'orizonte: però &longs;e quello ar­<lb/>co'&longs;arà di gradi cinquanta, il Sole &longs;arà alto gradi quaranta, che è il compimento della quarta, <lb/>che è dal punto, che ci &longs;opra&longs;tà, fin all'orizonte: & però la cognitione di que&longs;to angulo ci con­<lb/>duce a &longs;apere l'altezza del Sole, dalla quale &longs;i caua la lunghezza dell'ombre, come s'è detto. </s> <s id="s.007613"><lb/>Ma l'angulo fatto da i piani di quelli circoli, cioè del uerticale mobile, & del fermo, è compre&longs;o <lb/>dalla circonferenza dell'orizonte, che è dal punto del uero Leuante al punto, che fa il uertica­<lb/>le mobile doue egli taglia l'orizonte, & que sto arco &longs;i chiama latitudine del Sole, ouero arco <lb/>orizontale. </s> <s id="s.007614">la cognitione di que&longs;to angulo ci &longs;erue a cono&longs;cere in qual parte pieghi l'ombra del <lb/>Gnomone, perche l'ombra ua &longs;empre alla parte opposta del raggio del Sole, per ilche &longs;e il Sole <lb/>è a &longs;irocco, l'ombra ua a Mae&longs;tro, &longs;e è a Garbino, l'ombra ua a Greco. <!-- KEEP S--></s> <s id="s.007615">Ecco adunque gli effetti, <lb/>che fa il uerticale mobile, & a che fine egli &longs;ia imaginato. </s> <s id="s.007616">questi due anguli &longs;ono nece&longs;&longs;arij al <lb/>fare de gli horologi ne i piani orizontali, perche a que&longs;ti piani ci &longs;erue la lunghezza dell'ombra, <lb/>& la latitudine. </s> <s id="s.007617">Hora uegnamo al meridiano mobile, & facciamo che ancho egli ritroui il So­<lb/>le a &longs;irocco, partendo&longs;i dal meridiano fermo. </s> <s id="s.007618">Que&longs;to anche fara due anguli, de i quali, quello <lb/>di linee dritte è fatto dal raggio del Sole, & dal diametro del meridiano, la cui circonferenza è <lb/>compre&longs;a dal punto del meridiano fermo al punto, doue &longs;i troua il Sole. <!-- KEEP S--></s> <s id="s.007619">ilche determina l'altez­<lb/>za del Sole &longs;opra il piano uerticale. </s> <s id="s.007620">Ma l'angulo fatto da i piani di que circoli è compre­<lb/>&longs;o dalla declinatione del meridiano mobile dal meridiano fermo nel circolo uerticale, & l'una <lb/>& l'altra di que&longs;te circonferenze è nece&longs;&longs;aria per determinare il &longs;ito del raggio, come nel piano <lb/>uerticale, alquale & il meridiano fermo, & il mobile &longs;ono dritti, perche dal restante della cir­<lb/>conferenza compre&longs;a o che comprende l'angulo tutto di linee dritte, &longs;i &longs;a l'altezza del Sole &longs;o­<lb/>pra il piano dell'horologio uerticale. </s> <s id="s.007621">& dalla circonferenza, che comprende l'angulo fatto da <lb/>quelli piani meridiani, cioè del mobile & del fermo, nel uerticale &longs;i &longs;a in qual parte pieghi l'om­<lb/>bra fatta dal Gnomone nel piano uerticale. </s> <s id="s.007622">Finalmente uenendo all'orizonte mobile, & faccia­<lb/>mo, che egli &longs;i leui a &longs;irocco fin doue è il Sole; io dico che ancho egli farà due anguli. </s> <s id="s.007623">quello di <lb/>linee dritte &longs;arà fatto dal raggio del Sole, & dal diametro dello equinottiale, che è lo i&longs;te&longs;&longs;o col <lb/>diametro dell'orizonte, & ci darà l'altezza del Sole & è compre&longs;o dalla circonferenza, doue <lb/>&longs;i troua il Sole, fin al punto del diametro dell'orizonte. </s> <s id="s.007624">& quello fatto da que due piani, cioè del­<lb/>l'orizonte mobile, & del fermo, è compre&longs;o nella circonferenza del meridiano tra'l punto doue <lb/>è il Sole, & il punto doue il meridiano taglia l'orizonte ci darà la parte doue piega l'ombra, nel <lb/>horologio fatto nel piano del meridiano. </s> <s id="s.007625">& tanto &longs;ia detto d'intorno a gli effetti, & alla nece&longs;­<lb/>&longs;ità di que tre piani &longs;i fermi come mobili, & de i loro anguli sì di linee dritte, come di quelli pia <lb/>ni, & dell'u&longs;o loro a diuer&longs;i piani di horologi. </s> <s id="s.007626">Hora uenirò alla de&longs;crittione dello Analemma, <lb/>& dimo&longs;trerò il modo di fare lo Analemma, & l'u&longs;o di quello, &longs;econdo il mio primo propo&longs;ito, <lb/>e&longs;ortando quanto piu po&longs;&longs;o cia&longs;cuno alla con&longs;ideratione, & alla pratica delle &longs;opradette co&longs;e, <lb/>perche l'huomo po&longs;&longs;a &longs;icuramente por&longs;i alla operatione &longs;apendo i principij delle co&longs;e. </s> <s id="s.007627">Sia fatto <lb/>un circolo, ilquale ci &longs;erua per meridiano, & &longs;ia a b c d. <!-- REMOVE S-->nel centro e partito in quattro <lb/>parti eguali per due diametri, a d. <!-- REMOVE S-->& b c. <!-- REMOVE S-->& &longs;ia a d per lo diametro dello equinottiale, <lb/>& b c per l'a&longs;&longs;e del mondo, &longs;i che b. <!-- REMOVE S-->&longs;ia per lo polo di &longs;opra, & c per lo polo di &longs;otto. </s> <s id="s.007628">&longs;ia<emph.end type="italics"/><pb pagenum="411" xlink:href="045/01/425.jpg"/><emph type="italics"/>diui&longs;a la quarta a b in parti nouanta, & &longs;iano dal punto a numerate parti uentitre & me­<lb/>za, & doue terminano &longs;ia posto f. <!-- REMOVE S-->&longs;iano anche numerate dal punto a parti<emph.end type="italics"/> 20, <emph type="italics"/>& minu­<lb/>ti<emph.end type="italics"/> 12, <emph type="italics"/>& iui &longs;ia fatto il punto o. <!-- REMOVE S-->& finalmente dal punto a &longs;iano numerate parti undici, <lb/>& meza & &longs;ia nel termine po&longs;to<emph.end type="italics"/> k. <emph type="italics"/>&longs;iano poi riportate quelle di&longs;tanze f. <!-- REMOVE S-->o.<emph.end type="italics"/> k. <emph type="italics"/>&longs;otto il pun-<emph.end type="italics"/><lb/><figure id="id.045.01.425.1.jpg" xlink:href="045/01/425/1.jpg"/><lb/><emph type="italics"/>to a, &longs;i che a f. <!-- REMOVE S-->&longs;ia a <lb/>h. <!-- REMOVE S-->& a o &longs;ia a <expan abbr="q.">que</expan> et <lb/>a<emph.end type="italics"/> k. <emph type="italics"/>&longs;ia a m. <!-- REMOVE S-->il mede­<lb/>&longs;imo &longs;i faccia nella parte <lb/>oppo&longs;ta dal punto d tan­<lb/>to di &longs;opra quanto di &longs;ot­<lb/>to, &longs;i che g ri&longs;ponda ad <lb/>f. <!-- REMOVE S-->p ad o. <!-- REMOVE S-->l. <!-- REMOVE S-->à K. n <lb/>ad m. <!-- REMOVE S-->r. <!-- REMOVE S-->à <expan abbr="q.">que</expan> & i ad <lb/>h. <!-- REMOVE S-->&longs;iano poi tirate le linee <lb/>f g. <!-- REMOVE S-->o p. <!-- REMOVE S-->K l. <!-- REMOVE S-->m n. <!-- REMOVE S-->q <lb/>r. <!-- REMOVE S-->h s. <!-- KEEP S--></s> <s id="s.007629">que&longs;te linee ci &longs;er <lb/>ueno per diametri di que <lb/>circoli o giri, che fa il So­<lb/>le quando egli &longs;i troua ne i <lb/>principij de i &longs;egni del Zo­<lb/>diaco, di modo, che il dia­<lb/>metro f g. <!-- REMOVE S-->è il diametro <lb/>di quel circolo, che fa il So <lb/>le quando egli entrà nel <lb/>Cancro, & h i. <!-- REMOVE S-->è il dia­<lb/>metro del circolo del Ca­<lb/>pricorno. <!-- REMOVE S-->&longs;i come o p. <!-- REMOVE S-->di <lb/>Gemini, & di Leone.<emph.end type="italics"/> k <emph type="italics"/>l <lb/>del Toro, & della Vergi­<lb/>ne. </s> <s id="s.007630">m n. <!-- REMOVE S-->di Pe&longs;ci & di <lb/>Scorpione, q r di Aqua<lb/>rio, & Sagittario, & que­<lb/>&longs;te di&longs;tanze &longs;ono pre&longs;e dal <lb/>la declinatione del Sole, che per la tauola di detta declinatione ci &longs;ono manife&longs;te. </s> <s id="s.007631">ouero per la li­<lb/>nea lacotomus, & per lo circolo Monachus detti da Vitr. & per le i&longs;te&longs;&longs;e uie, cioe della tauola <lb/>della declinatione del Sole, o della diui&longs;ione del circolo detto monachus, &longs;i po&longs;&longs;ono fare tutti i dia­<lb/>metri di grado in grado, o di cinque in cinque, o di dieci in dieci, come piu ci piacerà, di tutti i cir­<lb/>coli & giri del Sole quando egli è nelle parti de i &longs;egni. </s> <s id="s.007632">uero è, che per non fare confu&longs;ione di mol <lb/>te linee ci &longs;eruiremo di quattro diametri, cioè dell'equinottiale, del tropico uer&longs;o il polo di &longs;opra, <lb/>& del diametro del Toro pure uer&longs;o il polo, & del diametro del Saggittario di &longs;otto; perche la <lb/>ragione di uno &longs;arà la i&longs;te&longs;&longs;a con la ragione dell'altro, come dirò di &longs;otto. </s> <s id="s.007633">&longs;iano adunque &longs;opra i <lb/>predetti diametri tirati i &longs;emicircoli, &longs;i che i centri loro &longs;iano la doue detti diametri tagliano l'a&longs;­<lb/>&longs;e del mondo, la doue e s. <!-- KEEP S--></s> <s id="s.007634">&longs;arà il centro del &longs;emicircolo fatto &longs;opra f g. <!-- REMOVE S-->& t. <!-- REMOVE S-->&longs;arà il cen­<lb/>tro del &longs;emicircolo fatto &longs;opra il diametro q r. <!-- REMOVE S-->& que&longs;ti &longs;ono i circoli, & i diametri communi <lb/>ad ogni Analemma. <!-- KEEP S--></s> <s id="s.007635">ma perche &longs;ono diuer&longs;e inclinationi del cielo, però uolendo fare lo Analem­<lb/>ma per una inclinatione del cielo. </s> <s id="s.007636">bi&longs;ogna porui de gli altri circoli, come è il uerticale, & l'orizon­<lb/>te. </s> <s id="s.007637">ilche come &longs;i habbia a fare dirò qui &longs;otto. </s> <s id="s.007638">Egli bi&longs;ogna adunque &longs;apere la altezza del polo a <lb/>quel luogo, per loquale &longs;i ha da fare l'horologio, come &longs;e noi uogliamo fare un'horologio per &longs;er-<emph.end type="italics"/><pb pagenum="412" xlink:href="045/01/426.jpg"/><emph type="italics"/>uirci alla inclinatione di Vinetia, bi&longs;ogna &longs;apere quanto &longs;e le leua il polo, & numerare la detta <lb/>altezza dal punto b. <!-- REMOVE S-->che è il polo di &longs;opra uer&longs;o il punto d. <!-- REMOVE S-->& far punto nel meridiano, doue <lb/>è la lettera x. <!-- REMOVE S-->che tanti gradi a punto &longs;i leua il polo alla detta inclinatione, che &longs;ouo gradi qua<lb/>ranta cinque. </s> <s id="s.007639">tira poi dal punto x per lo centro e, alla parte oppo&longs;ta doue è la lettera y. <!-- REMOVE S-->il <lb/>diametro dell'orizonte, ilquale &longs;arà x & y. <!-- KEEP S--></s> <s id="s.007640">Sia poi tirato il diametro del uerticale, che tagli <lb/>il diametro dell'orizonte ad anguli dritti, & &longs;ia quello z e &. </s> <s id="s.007641">finito que&longs;to bi&longs;ogna tirare &longs;o­<lb/>pra i diametri de i detti circoli o &longs;emicircoli linee dritte ad anguli giu&longs;ti, la doue i detti diametri <lb/>tagliano l'orizonte, perche iui &longs;ono i tagli communi dell'orizonte, & di quelle portioni di circoli, <lb/>& dimo&longs;trano quanta parte di quelli circoli &longs;tia &longs;opra l'orizonte & quanta di &longs;otto. </s> <s id="s.007642">&longs;ia adunque <lb/>&longs;egnato<emph.end type="italics"/> 2. <emph type="italics"/>la doue il diametro f g. <!-- REMOVE S-->taglia l'orizonte. </s> <s id="s.007643">&<emph.end type="italics"/> 4 <emph type="italics"/>la doue il diametro K l taglia<emph.end type="italics"/><lb/><figure id="id.045.01.426.1.jpg" xlink:href="045/01/426/1.jpg"/><lb/><emph type="italics"/>l'orizonte, &<emph.end type="italics"/> 6 <emph type="italics"/>finalmente la doue <lb/>il diametro q r taglia l'orizonte, <lb/>et da i detti punti<emph.end type="italics"/> 2. 4. 6. <emph type="italics"/>&longs;iano ti­<lb/>rate le linee ad anguli giu&longs;ti &longs;opra i <lb/>loro diametri, fin che peruenghino al <lb/>le circonferenze cia&longs;cuna del &longs;uo cir<lb/>colo corri&longs;pondente. </s> <s id="s.007644">però<emph.end type="italics"/> 1. 2. <emph type="italics"/>ca­<lb/>derà &longs;opra il diametro f s g. <!-- REMOVE S-->&<emph.end type="italics"/> 4. <lb/>3 <emph type="italics"/>caderà &longs;opra il diametro K t l. <lb/><!-- REMOVE S-->& finalmente<emph.end type="italics"/> 5. 6. <emph type="italics"/>caderà &longs;opra <lb/>il diametro q u r. <!-- REMOVE S-->que&longs;ti adunque <lb/>&longs;ono i communi tagli di quelli circo­<lb/>li, & dell'orizonte. </s> <s id="s.007645">Et &longs;e imaginere­<lb/>mo il &longs;emicircolo g i f intiero cir­<lb/>colo, egli ci rappre&longs;enterà tutto il <lb/>circolo del tropico del cancro. </s> <s id="s.007646">& la <lb/>linea<emph.end type="italics"/> 1. 2. <emph type="italics"/>diuenteràparte dell'o­<lb/>rizonte, & l'altra parte anderà a <lb/>trouar la circonferenza del detto <lb/>circolo, &longs;i che tutta quella portione <lb/>di quel circolo, che &longs;arà &longs;opra la det <lb/>ta linea s'intenderà e&longs;&longs;er &longs;opra l'ori­<lb/>zonte come dall'i. </s> <s id="s.007647">ad f. <!-- REMOVE S-->& dall' <lb/>f all'altro capo della linea<emph.end type="italics"/> 1. 2. <lb/><emph type="italics"/>la doue ella è tagliata dal detto cir­<lb/>colo del Cancro, & quella parte, che <lb/>farà di &longs;otto s'intenderà e&longs;&longs;er &longs;otto l'orizonte, come è dalla i al g. <!-- REMOVE S-->di modo che i. <!-- REMOVE S-->&longs;arà il ter­<lb/>mine della parte di &longs;opra, & della parte di &longs;otto l'orizonte, di quel &longs;emicircolo. </s> <s id="s.007648">& &longs;e la linea<emph.end type="italics"/> 1. <lb/>2. <emph type="italics"/>&longs;arà prolungata alla circonferenza intiera del detto circolo, la parte da g al taglio della det­<lb/>ta linea con la circonferenza dimo&longs;trerà il re&longs;tante di quello, che è &longs;otto l'orizonte, come poco da <lb/>poì ci &longs;arà manife&longs;to. </s> <s id="s.007649">&longs;inule con&longs;ideratione &longs;i fa &longs;opra il diametro K t l. <!-- REMOVE S-->& &longs;opra il diametro <lb/>q u r. <!-- REMOVE S-->perche le portioni di quelli &longs;emicircoli ci &longs;ono manife&longs;te dal taglio di quelle linee dritte, <lb/>che cadeno &longs;opra i detti diametri. </s> <s id="s.007650">Pigliamo adunque in altro luogo il circolo fatto &longs;opra il dia­<lb/>metro f s g. <!-- REMOVE S-->& &longs;ia i f<emph.end type="italics"/> 7 <emph type="italics"/>g. <!-- REMOVE S-->& &longs;ia i dalla de&longs;tra, f di &longs;opra.<emph.end type="italics"/> 7. <emph type="italics"/>dalla &longs;ini&longs;tra, & g. <!-- REMOVE S--><lb/>di &longs;otto. </s> <s id="s.007651">& ri&longs;pondi la i. <!-- REMOVE S-->al Leuante, &<emph.end type="italics"/> 7. <emph type="italics"/>a Ponente. <!-- KEEP S--></s> <s id="s.007652">hora è nece&longs;&longs;ario &longs;apere che hore tu <lb/>uuoi &longs;egnare nello horologio, o le antiche, o le a&longs;tronomiche, od altre, perche diuer&longs;amente par­<lb/>tirai il detto circolo, &longs;econdo la diuer&longs;ità della &longs;orte delle hore, che uuoi fare. </s> <s id="s.007653">Io darò l'e&longs;&longs;empio <lb/>ordinatamente di tutte le &longs;orti di hore, & prima delle antiche, lequali erano dodici in ogni gior-<emph.end type="italics"/><pb pagenum="413" xlink:href="045/01/427.jpg"/><emph type="italics"/>no. </s> <s id="s.007654">Diuiderai adunque la portione del circolo del tropico compre&longs;a da i f<emph.end type="italics"/> 7 <emph type="italics"/>&longs;opra l'orizonte <lb/>in dodici parti eguali, & &longs;imilmente la portione i g<emph.end type="italics"/> 7 <emph type="italics"/>in dodici parti eguali & nel punto.<emph.end type="italics"/> 1. <lb/><emph type="italics"/>&longs;egna<emph.end type="italics"/> 12. <emph type="italics"/>& tanto di &longs;opra i quanto di &longs;otto nella prima diui&longs;ione &longs;egna<emph.end type="italics"/> 11. <emph type="italics"/>nella &longs;econda<emph.end type="italics"/><lb/>10, <emph type="italics"/>nella terza<emph.end type="italics"/> 9. <emph type="italics"/>nella quarta.<emph.end type="italics"/> 8. <emph type="italics"/>nella quinta.<emph.end type="italics"/> 7. <emph type="italics"/>nella &longs;esta, la doue &longs;ono le lettere. </s> <s id="s.007655">f. <lb/><!-- REMOVE S-->& g.<emph.end type="italics"/> 6. <emph type="italics"/>nella &longs;ettima<emph.end type="italics"/> 5. <emph type="italics"/>nella ottaua<emph.end type="italics"/> 4. <emph type="italics"/>nella nona<emph.end type="italics"/> 3. <emph type="italics"/>nella decima<emph.end type="italics"/> 2. <emph type="italics"/>nella undecima.<emph.end type="italics"/> 1. <lb/><emph type="italics"/>& a que&longs;to modo hauerai partito le portioni del circolo del tropico. </s> <s id="s.007656">nè ti deue mouere, che la <lb/>portione<emph.end type="italics"/> 1 <emph type="italics"/>g<emph.end type="italics"/> 7 <emph type="italics"/>che è &longs;otto l'orizonte, ci &longs;erua per la diui&longs;ione del minor giorno, perche &longs;e la <lb/>con&longs;idererai come portione del tropico del Capricorno, uederai la diui&longs;ione e&longs;&longs;er giu&longs;ta, perche la <lb/>portione della notte della e&longs;tate è &longs;imile alla portione del giorno del uerno, con &longs;imile ragione po­<lb/>trai trarre dallo Analemma i cicorli intieri de i &longs;egni, & diuiderli come hai fatto il circolo del <lb/>Tropico, & uederai in ogni &longs;egno quanto &longs;ia lungo il giorno, &longs;e uorrai &longs;egnare altra &longs;orte di hore, <lb/>che le antiche, come &longs;i uederà di &longs;otto. </s> <s id="s.007657">Diui&longs;o adunque il circolo del tropico al modo &longs;opradet­<lb/>to, bi&longs;ogna da cia&longs;cuna diui&longs;ione fatta nella circonferenza far cadere linee ad anguli dritti &longs;opra <lb/>il diametro f g. <!-- REMOVE S-->per dimostrare anche i tagli delle portioni delle hore nel piano. </s> <s id="s.007658">però da<emph.end type="italics"/> 11. <lb/><emph type="italics"/>&<emph.end type="italics"/> 1. <emph type="italics"/>caderà una linea al diametro f g. <!-- REMOVE S-->ne i punti<emph.end type="italics"/> 11. <emph type="italics"/>&<emph.end type="italics"/> 1. <emph type="italics"/>& da<emph.end type="italics"/> 10 <emph type="italics"/>&<emph.end type="italics"/> 2. <emph type="italics"/>ne cade­<lb/>rà un'altra ne i punti<emph.end type="italics"/> 10 <emph type="italics"/>&<emph.end type="italics"/> 2. <emph type="italics"/>corri&longs;pondenti. </s> <s id="s.007659">& co&longs;i di mano in mano fin che &longs;arà partito<emph.end type="italics"/><lb/><figure id="id.045.01.427.1.jpg" xlink:href="045/01/427/1.jpg"/><pb pagenum="414" xlink:href="045/01/428.jpg"/><emph type="italics"/>il diametro f g. <!-- REMOVE S-->nelle &longs;ue portioni. </s> <s id="s.007660">& que&longs;to non hauemo uoluto fare nello Analemma per non <lb/>confondere con la moltitudine delle linee. </s> <s id="s.007661">Hora bi&longs;ogna cauare dallo Analemma le altezze del <lb/>Sole in ogni hora per &longs;apere le lunghezze delle ombre. </s> <s id="s.007662">Piglia dallo Analemma il meridiano a <lb/>b c d. <!-- REMOVE S-->& il diametro del tropico f g. <!-- REMOVE S-->partito &longs;econdo le diui&longs;ioni della figura precedente &longs;e­<lb/>gnata O. & l'orizonte x e y. <!-- REMOVE S-->nel modo, che egli &longs;ta nello Analemma. <!-- KEEP S--></s> <s id="s.007663">& fa pa&longs;&longs;are per le <lb/>diui&longs;ioni del diametro del tropico del Cancro linee egualmente distanti all'orizonte x e y. <!-- REMOVE S-->che <lb/>da una parte tocchino la circonferenza del meridiano, & dall'altra il diametro del tropico f g. <lb/><!-- REMOVE S-->&longs;egna poi nel meridiano a b c d. <!-- REMOVE S-->i numeri riportati dal diametro del tropico<emph.end type="italics"/>, 11. 10. 9. <lb/>8. 7. 6. 5. 4. 3. 2. 1. <emph type="italics"/>tanto di &longs;opra quanto di &longs;otto l'orizonte. </s> <s id="s.007664">e&longs;pedita questa diui&longs;ione <lb/>determinerai la lunghezza del Gnomone, & quella ponerai di &longs;otto dal centro e. <!-- REMOVE S-->doue s'inten<lb/>de e&longs;&longs;er la punta del Gnomone, al punto z. <!-- KEEP S--></s> <s id="s.007665">doue s'intende, che &longs;ia il piede del Gnomone, nel dia­<lb/>metro z &. </s> <s id="s.007666">che è il diametro del uerticale. </s> <s id="s.007667">di modo che la lunghezza dello stile &longs;ia e z & <lb/>per lo punto z farai pa&longs;&longs;are la línea del piano &longs;opra la quale &longs;ta il Gnomone, & &longs;i a quella T. <lb/>Z. V. per tirare adunque la lunghezza delle ombre bi&longs;ogna tirare le linee dalle hore &longs;egnate <lb/>nel meridiano, che pa&longs;&longs;ino per la, cima del Gnomone, doue è la lettera e. <!-- REMOVE S-->& peruenghino alla <lb/>linea del piano T. Z. V. & le lunghezze delle ombre &longs;i mi&longs;urano dal punto z. <!-- KEEP S--></s> <s id="s.007668">che è il pie­<lb/>di del Gnomone &longs;opra la linea del piano. </s> <s id="s.007669">come uedi qui appre&longs;&longs;o &longs;egnato. </s> <s id="s.007670">& il diametro del uer­<lb/>ticale &longs;egna nella linea del piano l'ombra della &longs;esta hora, che è l'hora del mezo dì. </s> <s id="s.007671">poi, che egli &longs;i <lb/>ba ritrouato le lunghezze delle ombre del tropico del cancro. </s> <s id="s.007672">con la iste&longs;&longs;a ragione &longs;i piglieran­<lb/>no le lunghezze delle ombre fatte quando il Sole è nel tropico del Capricorno. <!-- KEEP S--></s> <s id="s.007673">perche egli &longs;i tra­<lb/>&longs;porta la lunghezza del Gnomone dalla lettera e &longs;opra il uerticale, & anche &longs;i tra&longs;porta la li­<lb/>ne a del piano &longs;opra laquale &longs;i fanno cadere le linee delle hore &longs;egnate &longs;opra il meridiano nella par­<lb/>te di &longs;otto l'orizonte. </s> <s id="s.007674">&longs;ia adunqua e R la lunghezza del Gnomone e z po&longs;ta nel diametro del <lb/>uerticale z &. </s> <s id="s.007675">& &longs;ia tirata la linea del piano S R <expan abbr="q.">que</expan> & dalli punti delle hore &longs;egnate nel <lb/>meridiano &longs;otto l'orizonte x e r. <!-- REMOVE S-->&longs;iano tirate linee, che paßino per lo centro e. <!-- REMOVE S-->& peruen­<lb/>ghino nella linea del piano S R <expan abbr="q.">que</expan> & &longs;iano &longs;egnati i numeri corri&longs;pondenti alle hore &longs;egnate <lb/>nel meridiano, & a questo modo &longs;i haueranno le lunghezze delle ombre fatte nelle hore del uer­<lb/>no. </s> <s id="s.007676">& questi &longs;ono gli anguli fatti di linee dritte dal uerticale, che &longs;i muoue, come hauemo detto: <lb/>perche il raggio del Sole dà nel diametro del uerticale, che è il Gnomone, & fa che il Gnomone <lb/>getta l'ombre &longs;opra il piano dell'horologio. </s> <s id="s.007677">Cire&longs;ta hora a determinare l'arco orizontale, cioè <lb/>la latitudine dell'ombra, ilche &longs;i fa a questo modo. </s> <s id="s.007678">Prima per fuggire la confu&longs;ione delle linee. </s> <s id="s.007679"><lb/>farai il circolo a b c d. <!-- REMOVE S-->come di &longs;opra, nelquale ui ponerai il diametro del uerticale, z e <lb/>& l'orizonte x e y. <!-- REMOVE S-->il diametro del tropico f g. <!-- REMOVE S-->con le &longs;ue diui&longs;ioni pre&longs;e dalla figura &longs;egna <lb/>ta. </s> <s id="s.007680">O. & poi farai cadere dalle diui&longs;ioni del detto diametro del tropico f g. <!-- REMOVE S-->linee egualmente <lb/>di&longs;tanti al diametro del uerticale z e &. </s> <s id="s.007681">fin &longs;opra l'orizonte x e y. <!-- REMOVE S-->doue noterai i nume­<lb/>ri corri&longs;pondenti a i numeri delle hore &longs;egnate nel diametro del tropico; & que&longs;te linee peruenghi­<lb/>no alla circonferenza del Meridiano fornito que&longs;to anderai alla figura &longs;egnata O. doue &longs;ono le <lb/>diui&longs;ioni di tutto il tropico, & comincia dalle undici &longs;egnate nella circonferenza, & po&longs;to un pie <lb/>di del compa&longs;&longs;e nelle undici &longs;egnate nella circonferenza del tropico allargato fin alle undici &longs;egna <lb/>to &longs;opra il diametro di detto tropico riporterai que&longs;ta lunghezza nella figura &longs;eguente &longs;opra la li­<lb/>nea delle undici hore ponendo un piede del compa&longs;&longs;o &longs;opra il punto &longs;egnato<emph.end type="italics"/> 11. <emph type="italics"/>&<emph.end type="italics"/> 1. <emph type="italics"/>nell'Ori­<lb/>zonte x e y. <!-- REMOVE S-->& l'altro &longs;opra la detta linea delle undici, & nel termine farai punto<emph.end type="italics"/> 11. <emph type="italics"/>Si­<lb/>milmente piglia dalla figura O. la lunghezza della linea delle<emph.end type="italics"/> 10. <emph type="italics"/>& riportala in que&longs;ta figu­<lb/>ra &longs;opra la linea &longs;egnata<emph.end type="italics"/> 10. <emph type="italics"/>& doue termina, &longs;egna<emph.end type="italics"/> 10. <emph type="italics"/>& parimente riporterai tutte le li­<lb/>nee delle hore fatte nella figura O. in que&longs;ta, &longs;egnando come hai fatto delle<emph.end type="italics"/> 11. <emph type="italics"/>&<emph.end type="italics"/> 1. <emph type="italics"/>& <lb/>delle<emph.end type="italics"/> 10. <emph type="italics"/>&<emph.end type="italics"/> 2. <emph type="italics"/>& que&longs;to farai tanto di &longs;opra quanto di &longs;otto l'Orizonte, perche ci &longs;eruirà a <lb/>gli archi Orizontali delle hore del uerno. </s> <s id="s.007682">Hora bi&longs;ogna ritrouare gli archi Orizontali, il che fa­<lb/>rai a que&longs;to modo. </s> <s id="s.007683">Poni la riga nel centro e. <!-- REMOVE S-->& nel punto<emph.end type="italics"/> 11. <emph type="italics"/>&<emph.end type="italics"/> 1. <emph type="italics"/>&longs;opra la linea delle<emph.end type="italics"/><pb pagenum="415" xlink:href="045/01/429.jpg"/><emph type="italics"/>undici, & una, & doue ella taglia il Meridiano fa punto<emph.end type="italics"/> 11. <emph type="italics"/>&<emph.end type="italics"/> 1. <emph type="italics"/>que&longs;to &longs;arà l'arco Orizon<lb/>tale compre&longs;o dalla circonferenza z.<emph.end type="italics"/> 11. <emph type="italics"/>Similmente piglia l'arco Orizontale delle dieci. </s> <s id="s.007684">& <lb/>delle due ponendo la riga &longs;opra il centro e. <!-- REMOVE S-->& &longs;opra i punti<emph.end type="italics"/> 10. <emph type="italics"/>&<emph.end type="italics"/> 2. <emph type="italics"/>della linea<emph.end type="italics"/> 10. <emph type="italics"/>&<emph.end type="italics"/><lb/>2. <emph type="italics"/>& doue la riga taglia il Meridiano &longs;egna<emph.end type="italics"/> 10. <emph type="italics"/>&<emph.end type="italics"/> 2. <emph type="italics"/>perche l'arco compre&longs;o tra z. <!-- KEEP S--></s> <s id="s.007685">&<emph.end type="italics"/><lb/>10. <emph type="italics"/>&<emph.end type="italics"/> 2. <emph type="italics"/>è l'arco Orizontale delle<emph.end type="italics"/> 10. <emph type="italics"/>& delle<emph.end type="italics"/> 2. <emph type="italics"/>con &longs;imile ordine piglierai gli archi Ori <lb/>zontali delle altre hore, & gli noterai &longs;opra il Meridiano come hai fatto delle<emph.end type="italics"/> 11. <emph type="italics"/>&<emph.end type="italics"/> 1. <emph type="italics"/>& del <lb/>le<emph.end type="italics"/> 10. <emph type="italics"/>&<emph.end type="italics"/> 2. <emph type="italics"/>que&longs;ti archi &longs;ono compre&longs;i tra l'Orizonte fermo, & il Verticale mobile, come ho <lb/>detto, & &longs;ono le circonferenze, che comprendeno gli anguli fatti da due piani, cioè dal Ver­<lb/>ticale mobile, & dal fermo, come ci è manife&longs;to per le co&longs;e dette di &longs;opra. </s> <s id="s.007686">E&longs;pedite <lb/>tutte que&longs;te co&longs;e, egli &longs;i uenirà alla fabrica dell'horologio in que&longs;to modo. </s> <s id="s.007687">Farai un <lb/>circolo della grandezza del Meridiano gia po&longs;to nello Analemma, & &longs;ia quello a b c <lb/>d. <!-- REMOVE S-->in que&longs;to circolo il diametro b c. <!-- REMOVE S-->ci &longs;erue per la linea Meridiana. </s> <s id="s.007688">& il diametro a d. <!-- REMOVE S--><lb/>ci &longs;erue per la linea del piano. </s> <s id="s.007689">ma bi&longs;ogna tirare que&longs;ta linea del piano occulta. </s> <s id="s.007690">Sia il centro e. <!-- REMOVE S--><lb/>doue la linea del piano taglia la Meridiana, & doue s'imagina, che &longs;ia il Gnomone. <!-- KEEP S--></s> <s id="s.007691">piglia poi <lb/>la di&longs;tanza, che è dal punto z. <!-- KEEP S--></s> <s id="s.007692">alle undici nel Meridiano nella figura antecedente &longs;egnata I. & <lb/>riportala dal punto d. <!-- REMOVE S-->uer&longs;o il punto c. <!-- REMOVE S-->nel punto H. & tira poi dal centro a. <!-- REMOVE S-->al punto H. <lb/>una linea occulta. </s> <s id="s.007693">Similmente riporterai la detta di&longs;tanza dal punto a. <!-- REMOVE S-->uer&longs;o il punto c. <!-- REMOVE S-->nel <lb/>punto M. </s> <s id="s.007694">Que&longs;te di&longs;tanze d H. & a M. &longs;ono gli archi Orizontali della undecima, et della prima <lb/>hora; &longs;i che d H. è della undecima, & a M. della prima. </s> <s id="s.007695">Piglia poi la lunghezza dell'ombra <lb/>della undecima hora dalla figura doue &longs;egna&longs;ti le lunghezze delle hore dal punto z. <!-- KEEP S--></s> <s id="s.007696">&longs;opra la li­<lb/>nea del piano uer&longs;o il punto T. al punto<emph.end type="italics"/> 11. <emph type="italics"/>& riportala nell'horologio dal centro e. <!-- REMOVE S-->&longs;opra <lb/>le linee e H. & e M. & &longs;egna<emph.end type="italics"/> 11. <emph type="italics"/>&<emph.end type="italics"/> 1. <emph type="italics"/>Piglia poi lo arco Orizontale delle<emph.end type="italics"/> 10. <emph type="italics"/>& del <lb/>le<emph.end type="italics"/> 2. <emph type="italics"/>dalla figura precedente dal punto<emph.end type="italics"/> 2. <emph type="italics"/>al punto<emph.end type="italics"/> 10. <emph type="italics"/>& riportala nell'horologio &longs;otto il <lb/>punto d. <!-- REMOVE S-->dall'una parte, & &longs;otto il punto a. <!-- REMOVE S-->dall'altra ne i punti N O. a i quali dal centro <lb/>e. <!-- REMOVE S-->tirerai le linee e N. & e O. <!-- KEEP S--></s> <s id="s.007697">Quiui gli &longs;patij, che &longs;ono da N d. <!-- REMOVE S-->& da o. <!-- REMOVE S-->ad a. <!-- REMOVE S-->&longs;ono gli <lb/>archi Orizontali di quelle hore cioè delle<emph.end type="italics"/> 10. <emph type="italics"/>& delle<emph.end type="italics"/> 2. <emph type="italics"/>Piglia poi la lunghezza dell'ombra <lb/>delle<emph.end type="italics"/> 10. <emph type="italics"/>& delle<emph.end type="italics"/> 2. <emph type="italics"/>dalla &longs;opra po&longs;ta figura O. & riportala dal centro e. <!-- REMOVE S-->&longs;opra le dette li­<lb/>nee e N. & e o. <!-- REMOVE S-->& ne i punti doue termina la lunghezza dell'ombre &longs;egna &longs;opra la e N.<emph.end type="italics"/><lb/>10. <emph type="italics"/>& &longs;oprala e o.<emph.end type="italics"/> 2. <emph type="italics"/>con &longs;imile ragione procederai nel ponere le altre hore, & di altri ar­<lb/>chi Orizontali, & le altre lunghezze delle hore, & uederai riu&longs;cire la linea della hiperbole &longs;e le<lb/>gherai tutti que punti con una linea. </s> <s id="s.007698">Il &longs;imile &longs;i fa a ponere gli archi Orizontali delle hore del­<lb/>l'altro tropico, cioè del Capricorno. <!-- KEEP S--></s> <s id="s.007699">perche anche quelli &longs;i pigliano dalla antecedente figura I. <lb/>con le di&longs;tanze dal punto<emph.end type="italics"/> 2. <emph type="italics"/>alle hore &longs;egnate dalla de&longs;tra del taglio commune dell'Orizonte, <lb/>& del piano come uedi. </s> <s id="s.007700">& a que&longs;to modo nella parte contraria ti riu&longs;cirà la linea hiperbole <lb/>oppo&longs;ta a quella, che face&longs;ti nelle hore del Cancro. <!-- KEEP S--></s> <s id="s.007701">& &longs;egnata che l hauerai con i &longs;uoi punti, o <lb/>numeri tirerai le linee da una hiperbole all'altra, & a que&longs;to modo hauerai &longs;egnato l'horologio <lb/>con le hore de gli antichi. </s> <s id="s.007702">come nella figura V. uederai. </s> <s id="s.007703">& &longs;e uorrai porui le hiperbole fatte <lb/>da gli altri &longs;egni, & hore, lo farai con la i&longs;te&longs;&longs;a ragione. </s> <s id="s.007704">& &longs;empre l'equinottiale ti porgerà una <lb/>linea dritta, la quale &longs;arà tanto di&longs;tante dal Gnomone, quanto &longs;arà longa l'ombra equinottiale <lb/>&longs;u'l mezo dì &longs;opra la linea del piano. </s> <s id="s.007705">ma in que&longs;ta eleuatione di polo alla inclinatione di Vinetia <lb/>la linea equinottiale &longs;arà tanto di&longs;tante dal Gnomone, quanto è alto il Gnomone. <!-- KEEP S--></s> <s id="s.007706">Io ho uoluto <lb/>ponere tanti circoli &longs;eparatamente per dimo&longs;trare &longs;enza confu&longs;ione come &longs;i fa lo Analemma fini­<lb/>to, dal quale &longs;i caua la ragione, & la pratica di fare l'horologio. </s> <s id="s.007707">Però &longs;e uuoi fare lo Analem<lb/>ma intiero, di&longs;egnerai &longs;elamente in qualche materia &longs;oda o pietra, o legno, o rame quelli circo­<lb/>li, che &longs;i richiedeno in ogni Analemma, come è il Meridiano, i diametri di tutti i paralleli, cioè <lb/>de i tropici, & de gli altri &longs;egni, col diametro dello equinottiale, & poi uolendo fare l'horologio <lb/>a quella inclinatione di cielo, che ti piace, farai l'Orizonte, & il Verticale, & le diui&longs;ioni &longs;i del <lb/>le altezze del Sole, come de gli archi Orizontali di modo, che &longs;i po&longs;&longs;ino leuar uia, poi che ti ha-<emph.end type="italics"/><pb pagenum="416" xlink:href="045/01/430.jpg"/><figure id="id.045.01.430.1.jpg" xlink:href="045/01/430/1.jpg"/><pb pagenum="417" xlink:href="045/01/431.jpg"/><emph type="italics"/>uerai &longs;eruito, & u&longs;erai ogni diligenza di riportare le linee dallo Analemma all'horologio che fai. </s> <s id="s.007708"><lb/>ma piu imparerai praticando, & con&longs;iderando le co&longs;e dette, che altri po&longs;&longs;ino con parole de&longs;criue <lb/>re. </s> <s id="s.007709">Con &longs;imiglianti ragioni de&longs;criuerai gli horologi con le altre maniere di hore. </s> <s id="s.007710">come uedi nelle <lb/>&longs;otto&longs;critte figure. </s> <s id="s.007711">& que&longs;to &longs;ia detto a ba&longs;tanza de gli horologi fatti nel piano egualmente di&longs;tan<lb/>te all Orizonte. <!-- KEEP S--></s> <s id="s.007712">La figura V. è per l'horologio dalle hore de gli antichi T. E. F. per le ho­<lb/>re dal mezo dì. </s> <s id="s.007713">G. l'horologio con le hore dal mezo dì. </s> <s id="s.007714">H. L. K. per lo horologio con le ho­<lb/>re dall'occa&longs;o. </s> <s id="s.007715">M. l'horologio dall'occa&longs;o.<emph.end type="italics"/></s> </p> <figure id="id.045.01.431.1.jpg" xlink:href="045/01/431/1.jpg"/> <p type="main"> <s id="s.007716"><emph type="italics"/>Hora &longs;i dimo&longs;trerà come dallo Analemma &longs;i caua il modo di fare gli horologi ne i piani Verti­<lb/>cali. </s> <s id="s.007717">Gia detto hauemo, che il piano Verticale è quello, che &longs;epara la parte Meridiana, dalla <lb/>ettentrio nale, & però gli horologi fatti in quel piano, che rappre&longs;enta il Verticale, riguarde­<lb/>anno al mezo dì, & al Settentrione. <!-- KEEP S--></s> <s id="s.007718">Si come adunque nel de&longs;criuere gli horologi ne i piani<emph.end type="italics"/><pb pagenum="418" xlink:href="045/01/432.jpg"/><emph type="italics"/>egualmente di&longs;tanti ci &longs;iamo &longs;ernito di due circonferenze, per &longs;apere, & la lunghezza delle om­<lb/>bre, & la larghezza Orizontale; co&longs;i nella de&longs;crittione de gli horologi fatti nel piano Verticale <lb/>ci &longs;eruiremo di due altre circonferenze, l'una delle quali ci dimo&longs;trerà l'altezza del Sole in ogni <lb/>hora &longs;opra il detto piano, dalla quale &longs;i cono&longs;cerà la lunghezza delle ombre fatte dal Gnomone; <lb/>& però è detta circonferenza horaria. </s> <s id="s.007719">L'altra ci &longs;eruirà per la larghezza dell'ombra, cioè per <lb/>la di&longs;tanza del Verticale. <!-- KEEP S--></s> <s id="s.007720">da que&longs;te circonferenze adunque &longs;i tragge il modo di tirare le linee ne i <lb/>piani de gli horologi, che altro non è, che de&longs;criuere l'horologio. </s> <s id="s.007721">le circonferenze adunque det­<lb/>te horarie, &longs;i cauano dal Meridiano mobile a questo modo. </s> <s id="s.007722">& prima nello equinottiale. </s> <s id="s.007723">Sia adun <lb/>que a b g d. <!-- REMOVE S-->&longs;opra'l centro e. <!-- REMOVE S-->&longs;i che a b. <!-- REMOVE S-->&longs;ia il taglio commune del Meridiano, & dell'Orizon<lb/>te, & g d. <!-- REMOVE S-->&longs;ia il diametro del Verticale & zeh. </s> <s id="s.007724">il diametro dello equinottiale, & &longs;ia t z. <!-- KEEP S--></s> <s id="s.007725"><lb/>una delle quarte dello equinottiale, che è &longs;opra l'Orizonte. <!-- KEEP S--></s> <s id="s.007726">Sia poi partita la detta quarta t <lb/>z. <!-- KEEP S--></s> <s id="s.007727">in &longs;ei parti eguali, che &longs;ono le diui&longs;ioni delle hore equinottiali, perche una &longs;ola quarta ci puo <lb/>ba&longs;tare. </s> <s id="s.007728">cadino poi &longs;opra il diametro dello equinottiale da cia&longs;cuna diui&longs;ione della quarta t z. <!-- KEEP S--></s> <s id="s.007729"><lb/>le linee, che diuideranno il &longs;emidiametro ze. </s> <s id="s.007730">& &longs;iano tutte quelle linee notate K l. <!-- KEEP S--></s> <s id="s.007731">hora per <lb/>&longs;apere le circonferenze, o gli archi delle hore, per cono&longs;cere quanto &longs;ia alto il Sole ogni hora &longs;o­<lb/>pra il piano Verticale, accioche egli &longs;i po&longs;&longs;a cono&longs;cere la lunghezza delle ombre, bi&longs;ogna de i <lb/>punti &longs;egnati L. tirare linee egualmente di&longs;tanti al diametro del uerticale g e d. <!-- REMOVE S-->fin'alla circon<lb/>ferenza del Meridiano compre&longs;a dalle lettere g<emph.end type="italics"/> 2. <emph type="italics"/>& doue termineranno quelle linee, &longs;i deue po <lb/>nere i numeri delle hore, che per e&longs;&longs;empio qui notate &longs;ono &longs;econdo le hore de gli antichi<emph.end type="italics"/> 11. 10. <lb/>9. 8. 7. 6. <emph type="italics"/>alle quali ri&longs;pondeno<emph.end type="italics"/> 1. 2. 3. 4. 5. <emph type="italics"/>&<emph.end type="italics"/> 12. <emph type="italics"/>poi è po&longs;to al punto g. <!-- REMOVE S-->del <lb/>Verticale. <!-- KEEP S--></s> <s id="s.007732">hora l'arco, che è dal punto g. <!-- REMOVE S-->alla undecima, & alla prima hora dimo&longs;tra l'altez<lb/>za del Sole &longs;opra il piano g e d. <!-- REMOVE S-->del Verticale, alla undecima, & alla prima hora. </s> <s id="s.007733">Similmen­<lb/>te l'arco da g. <!-- REMOVE S-->alla decima, & alla &longs;econda hora dimo&longs;tra l'altezza del Sole, a quella hora &longs;o­<lb/>pra il Verticale. <!-- KEEP S--></s> <s id="s.007734">& &longs;imil modo intenderai del re&longs;tante. </s> <s id="s.007735">& hauerai gli archi ouero le circonferen<lb/>ze horarie, che ti dimo&longs;treranno l'altezza del Sole d'hora in hora &longs;opra il piano del Verticale, <lb/>quando il Sole è nello equinottiale. </s> <s id="s.007736">& &longs;e uorrai &longs;egnare altre &longs;orti d'hore ti potrai &longs;eruire ponen­<lb/>do in luogo delle hore de gli antichi, quelle, che ti piaceranno. </s> <s id="s.007737">Perche ti&longs;eruirà la i&longs;te&longs;&longs;a diui&longs;io­<lb/>ne, e&longs;&longs;endo, che tutte le &longs;orti d'hore s'incontrano &longs;u l'equinottiale. </s> <s id="s.007738">Si che &longs;e ti piaceranno l ho­<lb/>re dal mezo dì nota &longs;opra g.<emph.end type="italics"/> 6. <emph type="italics"/>&longs;opra<emph.end type="italics"/> 11. <emph type="italics"/>&<emph.end type="italics"/> 1. 5. <emph type="italics"/>&<emph.end type="italics"/> 7. <emph type="italics"/>&longs;opra<emph.end type="italics"/> 10. <emph type="italics"/>&<emph.end type="italics"/> 2. 4. <emph type="italics"/>&<emph.end type="italics"/> 8. <lb/><emph type="italics"/>&longs;opra<emph.end type="italics"/> 9. <emph type="italics"/>&<emph.end type="italics"/> 3. 3. <emph type="italics"/>&<emph.end type="italics"/> 9. <emph type="italics"/>&longs;opra<emph.end type="italics"/> 4 <emph type="italics"/>et<emph.end type="italics"/> 8. 2. <emph type="italics"/>&<emph.end type="italics"/> 10. <emph type="italics"/>&longs;opra<emph.end type="italics"/> 5. <emph type="italics"/>&<emph.end type="italics"/> 7. 1. <emph type="italics"/>&<emph.end type="italics"/> 11. <emph type="italics"/>& &longs;opra<emph.end type="italics"/><lb/>2. 12. <emph type="italics"/>che è il mezo dì. </s> <s id="s.007739">Se uorrai le Italiane, &longs;opra g. <!-- REMOVE S-->nota<emph.end type="italics"/> 24. <emph type="italics"/>& ua &longs;eguendo<emph.end type="italics"/> 23. 22. <lb/>21. 20. 19. <emph type="italics"/>&<emph.end type="italics"/> 10. <emph type="italics"/>&longs;opra z. <!-- KEEP S--></s> <s id="s.007740">& ritornando &longs;egnerai<emph.end type="italics"/> 17. 16. 15. 14. 13. 12. <emph type="italics"/>& <lb/>&longs;e uorrai le hore dal na&longs;cer del Sole. <!-- KEEP S--></s> <s id="s.007741">Segnerai &longs;opra g.<emph.end type="italics"/> 12. <emph type="italics"/>& &longs;eguitando<emph.end type="italics"/> 1. 2. 3. 4. 5. <lb/>6. <emph type="italics"/>ritornerai a dietro<emph.end type="italics"/> 7. 8. 9. 10. 11. 12. <emph type="italics"/>fatto que&longs;to, tirerai la linea del piano Verti­<lb/>cale, che &longs;ia n m. <!-- REMOVE S-->che tagli la linea a b. <!-- REMOVE S-->in o. <!-- REMOVE S-->tanto lontana dal punto o. <!-- REMOVE S-->quanto porta la <lb/>lunghezza del Gnomone, & dalle hore &longs;egnate nel Meridiano tirerai le linee delle hore, che pa&longs;­<lb/>&longs;ino per lo centro, & che è la ponta del Gnomone, & peruengono fin al piano n m. <!-- REMOVE S-->con quella <lb/>ragione, che face&longs;ti ne gli horologi fatti nel piano dell'Orizonte, quelle linee ti mo&longs;treranno le lun <lb/>ghezze delle ombre.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007742"><emph type="italics"/>Hora per ritrouare gli archi Verticali cioè le circonferenze, che dimo&longs;trano le larghezze del <lb/>le ombre &longs;opra il piano Verticale, bi&longs;ogna tirare da i punti L. linee egualmente di&longs;tanti al dia­<lb/>metro a e b. <!-- REMOVE S-->che ca&longs;chino ad anguli dritti &longs;opra il diametro del Verticale g e d. <!-- REMOVE S-->ne i punti p h. <lb/><!-- REMOVE S-->& peruenghino alla circonferenza del Meridiano. <!-- KEEP S--></s> <s id="s.007743">Et poi ponere un piede del compa&longs;&longs;o ne i pun­<lb/>ti L. & l'altro nelli punti K. & riportare quelle lunghezze ad una ad una &longs;opra le linee tra­<lb/>uer&longs;e &longs;egnate p. <!-- REMOVE S-->ponendo l'un piede nelli punti p. <!-- REMOVE S-->& l'altro &longs;opra le dette linee: & doue termi <lb/>nano &longs;egnare <expan abbr="q.">que</expan> hora &longs;i deue ponere la riga &longs;opra il centro e. <!-- REMOVE S-->& &longs;opra i punti <expan abbr="q.">que</expan> ad uno ad <lb/>uno, & doue le linee, che pa&longs;&longs;ano per li punti <expan abbr="q.">que</expan> tagliano la circonferenza a g. <!-- REMOVE S-->iui far punto r. <!-- REMOVE S--><lb/>le circonferenze adunque & gli archi tra'l Verticale doue è g. <!-- REMOVE S-->& i punti r. <!-- REMOVE S-->&longs;ono le circonfe-<emph.end type="italics"/><pb pagenum="419" xlink:href="045/01/433.jpg"/><emph type="italics"/>renze Verticali, dalle quali &longs;i mi&longs;urano le larghezze delle'ombre. </s> <s id="s.007744">& cia&longs;cuna ri&longs;ponde alla <lb/>&longs;ua hora propria. </s> <s id="s.007745">Et que&longs;ti partimenti ci &longs;eruiranno dapoi. </s> <s id="s.007746">Ma per &longs;apere le dette circonfe­<lb/>renze, cioè l'horaria, & la uerticale, che ci &longs;erueno quando il Sole è ne i tropici, o in qualche <lb/>altro &longs;egno: farai in un'altro luogo il circolo a g b d. <!-- REMOVE S-->nel centro e. <!-- REMOVE S-->doue i diametri mede&longs;imi ci <lb/>&longs;erueno come nella precedente figura. </s> <s id="s.007747">Siano poi tirati i diametri de i tropici t u. <!-- REMOVE S-->x y. <!-- REMOVE S-->&longs;opra <lb/>i quali &longs;iano tirati i &longs;emicircoli come nello Analemma. <!-- KEEP S--></s> <s id="s.007748">& fatte le diui&longs;ioni &longs;econdo le &longs;orti delle <lb/>hore, come di &longs;opra s' è detto, sì nelle circonferenze, come ne i diametri: Sia &longs;imilmente, come <lb/>poco auanti tirata la linea del piano uerticale m o n. <!-- REMOVE S-->& cominciamo dal &longs;emicircolo del tro­<lb/>pico del Capricorno x y. <!-- REMOVE S-->doue le linee delle hore antiche &longs;ono &longs;egnate con i numeri loro<emph.end type="italics"/> 1. 2. <lb/>3. 4. 5. 6. <emph type="italics"/>& di ritorno<emph.end type="italics"/> 7. 8. 9. 10. 11. 12. <emph type="italics"/>& il taglio dell'Orizonte, & del detto <lb/>tropico è &longs;egnato t<emph.end type="italics"/> K. <emph type="italics"/>&longs;ia po&longs;to adunque l'un piede del compa&longs;&longs;o &longs;opra il punto<emph.end type="italics"/> k. <emph type="italics"/>& allarga­<lb/>to l'altro al punto t. <!-- REMOVE S-->& la larghezza &longs;ia riportata dal punto K. &longs;opra il Meridiano al punto <lb/>t. <!-- REMOVE S-->&longs;ia poi fatto centro K. & &longs;patio<emph.end type="italics"/> k. <!-- REMOVE S-->11. <emph type="italics"/>&<emph.end type="italics"/> 1. <emph type="italics"/>riportato quello &longs;opra il Meridiano, &longs;tando <lb/>fermo il compa&longs;&longs;o nel punto K. & &longs;ia &longs;egnato<emph.end type="italics"/> 11. <emph type="italics"/>&<emph.end type="italics"/> 1. <emph type="italics"/>perche que&longs;to è l'arco horario della <lb/>undecima, & della prima hora. </s> <s id="s.007749">& tanto è il Sole alto &longs;opra il Verticale g d. <!-- REMOVE S-->quanto è l'arco <lb/>g<emph.end type="italics"/> 11. <emph type="italics"/>& &longs;imilmente po&longs;to l'un piede nel punto<emph.end type="italics"/> k. <emph type="italics"/>& l'altro nella hora<emph.end type="italics"/> 10. <emph type="italics"/>&<emph.end type="italics"/> 2. <emph type="italics"/>& ripor <lb/>tata quella larghezza nel Meridiano, come s'è fatto, &longs;i &longs;egnerà<emph.end type="italics"/> 10. <emph type="italics"/>&<emph.end type="italics"/> 2. <emph type="italics"/>& tanto &longs;arà la <lb/>circonferenza horaria, &longs;opra il detto piano, quanto è da g. <!-- REMOVE S-->a<emph.end type="italics"/> 10. <emph type="italics"/>&<emph.end type="italics"/> 2. <emph type="italics"/>con que&longs;to modo pi­<lb/>glierai le circonferenze horarie delle altre hore, & le riporterai nel Meridiano. <!-- KEEP S--></s> <s id="s.007750">& dalle dette hore <lb/>&longs;egnate nel Meridiano farai pa&longs;&longs;are le linee per lo centro e. <!-- REMOVE S-->& quelle ti daranno le larghezze, <lb/>delle ombre di quelle hore &longs;opra il piano del uerticale m o n. <!-- KEEP S--></s> <s id="s.007751">Hora i&longs;pedite le circonferenze ho<lb/>rarie &longs;eguitano le uerticali, le quali &longs;i pigliano in que&longs;to modo. </s> <s id="s.007752">Pa&longs;&longs;ino per li punti &longs;egnati con la <lb/>lettera i. <!-- REMOVE S-->linee egualmente di&longs;tanti al diametro a e b. <!-- REMOVE S-->che cadino ad anguli giu&longs;ti &longs;opra il dia <lb/>metro g e d. <!-- REMOVE S-->ne i punti p. <!-- REMOVE S-->& peruenghino alla circonferenza del Meridiano. <!-- KEEP S--></s> <s id="s.007753">& &longs;iano ripor <lb/>tate le lunghezze<emph.end type="italics"/> 1. 11. <emph type="italics"/>&<emph.end type="italics"/> 1. 1. 10. <emph type="italics"/>&<emph.end type="italics"/> 2. 1. 9. <emph type="italics"/>&<emph.end type="italics"/> 3. 1. 8. <emph type="italics"/>&<emph.end type="italics"/> 4. 1. 7. <emph type="italics"/>&<emph.end type="italics"/> 5. <lb/><emph type="italics"/>&longs;opra le dette linee dalli punti &longs;egnati p. <!-- REMOVE S-->corri&longs;pondenti, & &longs;egnati con la lettera &longs;. <!-- KEEP S--></s> <s id="s.007754">da i quali <lb/>& dal centro e. <!-- REMOVE S-->&longs;i tireranno le linee alla circonferenza, doue &longs;i &longs;egnerà con la lettera t. <!-- REMOVE S-->& <lb/>quelli archi, che&longs;aranno compre&longs;i tra la lettera g. <!-- REMOVE S-->& la lettera t. <!-- REMOVE S-->&longs;aranno le circonferenze <lb/>uerticali, che dimo&longs;treranno le larghezze dell'ombre ogni hora &longs;opra il piano uerticale. </s> <s id="s.007755">con &longs;imi <lb/>le modo, & uia riporterai dal &longs;emicircolo r u. <!-- REMOVE S-->del tropico del Cancro le circonferenze horarie, <lb/>& uerticali pigliando le lunghezze, & le larghezze delle ombre, & poi di&longs;cenderai al di&longs;egna­<lb/>re dell'horologio nel piano del uerticale con le hore antiche. </s> <s id="s.007756">il che farai in que&longs;to modo. </s> <s id="s.007757">farai il <lb/>circolo a b c d. <!-- REMOVE S-->che rappre&longs;enti il piano uerticale a b. <!-- REMOVE S-->& il centro &longs;ia e. <!-- REMOVE S-->& i dametri <lb/>a c b d. <!-- REMOVE S-->di modo, che a. <!-- REMOVE S-->&longs;ia all'occidente, b. <!-- REMOVE S-->& c. <!-- REMOVE S-->all'oriente. </s> <s id="s.007758">Sia poi pre&longs;a dalla figura <lb/>I. la di&longs;tanza o i. <!-- REMOVE S-->& riportata in quella figura dal punto e. <!-- REMOVE S-->uer&longs;o il b. <!-- REMOVE S-->&longs;opra la linea e b. <!-- REMOVE S--><lb/>nel punto f. <!-- REMOVE S-->per lo quale &longs;ia tirata una linea egualmente di&longs;tante al diametro a e c. <!-- REMOVE S-->& &longs;ia <lb/>quella linea g f h. <!-- REMOVE S-->la quale ci &longs;erue per lo diametro dello equinottiale. </s> <s id="s.007759">Piglia poi dalla detta <lb/>figura I. gli archi ouero le ba&longs;&longs;ezze delle ombre, & riportale dal centro e. <!-- REMOVE S-->alla detta linea <lb/>g f h. <!-- REMOVE S-->ouero le circonferenze uerticali di qua & di la dal punto d. <!-- REMOVE S-->& quelle linee, che ueni <lb/>ranno dal punto o. <!-- REMOVE S-->alla circonferenza pre&longs;a di qua, & di la dal punto d. <!-- REMOVE S-->taglieranno l'equi <lb/>nottiale ne i punti conuenienti alle hore &longs;ue: auuertendo, che bi&longs;ogna tirare le dette linee occulte <lb/>& &longs;olo &longs;ignare i punti manife&longs;ti nello equinottiale. </s> <s id="s.007760">Hora per &longs;egnare le hore ne gli altri circoli <lb/>equidi&longs;tanti, piglierai prima le circonferenze uerticali dalla figura precedente II. del tropico del <lb/>Capricorno al punto g. <!-- REMOVE S-->& le riporteraì da que&longs;ta nella circonferenza di qua & di la dal punto d. <lb/><!-- REMOVE S-->& tirerai le linee occulte dal punto e. <!-- REMOVE S-->alla circonferenza detta ne i punti di qua, & di la, dal <lb/>punto d. <!-- REMOVE S-->& &longs;opra quelle dal punto e. <!-- REMOVE S-->riporterai le lunghezze delle ombre in cia&longs;cun'hora cor <lb/>ri&longs;pondente. </s> <s id="s.007761">& farai i &longs;uoi punti. </s> <s id="s.007762">dalli quali, per li punti &longs;egnati nello equinottiale tirerai le linee <lb/>delle hore nel &longs;uo horologio fin'alla circonferenza, eccetto quelle, che &longs;aranno terminate dalla li<emph.end type="italics"/><pb pagenum="420" xlink:href="045/01/434.jpg"/><emph type="italics"/>uea del Cancro. <!-- KEEP S--></s> <s id="s.007763">la quale &longs;i fa con la lunghezza delle ombre tratta dalla figura<emph.end type="italics"/> 11. <emph type="italics"/>&longs;econdo che <lb/>&longs;i è detto. </s> <s id="s.007764">& a que&longs;to modo &longs;opra la linea del mezo dì &longs;egnerai<emph.end type="italics"/> 6. <emph type="italics"/>dalla &longs;ini&longs;tra<emph.end type="italics"/> 5. 4. 3. 2. <lb/><emph type="italics"/>&<emph.end type="italics"/> 1. <emph type="italics"/>& dalla de&longs;tra<emph.end type="italics"/> 7. 8. 9. 10. 11. 12. <emph type="italics"/>& que&longs;to horologio &longs;arà nel piano del uerti­<lb/>cale, che guarda al mezo dì. </s> <s id="s.007765">Et perche la &longs;tate il Sole pa&longs;&longs;a i termini di Leuante et Ponente, & ua <lb/>uer&longs;o tramontana. </s> <s id="s.007766">però bi&longs;ognerà nel piano del uerticale, che guarda tramontana &longs;egnare quelle <lb/>hore, che ui uanno, che &longs;aranno la prima, & la &longs;econda, la mattina, & la undecima, & la decima <lb/>la &longs;era. </s> <s id="s.007767">il che farai con lo aiuto del Meridiano. <!-- KEEP S--></s> <s id="s.007768">Percioche &longs;e tirerai a lungo la linea della hiperbo<lb/>le, che lega in&longs;ieme i termini delle hore del Capricorno, & &longs;imilmente tirerai in lungo le linee della <lb/>undecima, & della prima della decima, & della &longs;econda, hora tu hauerai de&longs;critto le hore, che <lb/>uanno alla parte Settentrionale nell'horologio fatto nel piano del uerticale. </s> <s id="s.007769">& con lo i&longs;te&longs;&longs;o ordi­<lb/>ne farai gli altri horologi uerticali con le hore a tuo piacere, come praticando auuertirai meglio <lb/>di quello, che &longs;i puo in&longs;egnar con parole, tirando le linee delle hore, che &longs;ono uer&longs;o il Settentrione, <lb/>nell'horologio Settentrionale. <!-- KEEP S--></s> <s id="s.007770">& le Meridiane nel Meridiano. <!-- KEEP S--></s> <s id="s.007771">le figure delle quali &longs;ono qui &longs;otto <lb/>po&longs;te. </s> <s id="s.007772">Seruendoci in tutti la figura I. perche in tutte le &longs;orti di hore ci &longs;erue la i&longs;te&longs;&longs;a diui&longs;ione <lb/>dello equinottiale.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007773"><emph type="italics"/>Gli horologi fatti nel piano del Meridiano &longs;i pigliano dallo Analemma come gli altri; & per­<lb/>che l'officio del Meridiano è di &longs;eparare la parte di Leuante, dalla parte di Ponente, però anche <lb/>di que&longs;ti horelogi l'uno riguarderà a Leuante, & l'altro a Ponente. <!-- KEEP S--></s> <s id="s.007774">Et per fargli ci &longs;eruiranno <lb/>due circonferenze, delle quali l'una (come hauemo detto) cimo&longs;trerà l'altezza del Sole &longs;opra il <lb/>piano del Meridiano, dal che &longs;i caueranno le lunghezze delle ombre. </s> <s id="s.007775">L'altra ci mo&longs;trerà le lar <lb/>ghezze delle ombre, &longs;econdo le di&longs;tanze del Sole, dal detto piano. </s> <s id="s.007776">& questa circonferenza &longs;i <lb/>chiamerà Meridiana, & quella &longs;econdo gli antichi &longs;epartita in no&longs;tra lingua, & ectemoria in <lb/>Greco, qua&longs;i di &longs;ei parti, &longs;econdo &longs;ei &longs;iti, che ha l'Orizonte mobile ri&longs;petto alle hore de gli antichi. </s> <s id="s.007777"><lb/>Sia adunque fatta la diui&longs;ione de i tropici, come nello Analemma sì de i &longs;emicircoli, come de i dia <lb/>metri: & le portioni delle hore ne i &longs;emicircoli &longs;iano con i numeri delle hore de gli antichi nota­<lb/>te. </s> <s id="s.007778">Sia il &longs;emicircolo del Capricorno di &longs;otto &longs;egnato x y. <!-- REMOVE S-->& il &longs;emicircolo del Cancro di &longs;opra, <lb/>&longs;egnato z. <!-- KEEP S--></s> <s id="s.007779">&. </s> <s id="s.007780">et la doue &longs;opra i diametri de i &longs;emicircoli terminano le linee delle hore &longs;ia po&longs;to n. <!-- KEEP S--></s> <s id="s.007781"><lb/>Per &longs;apere adunque le circonferenze Meridiane per la larghezza delle ombre, bi&longs;ogna tirare linee <lb/>dal centro e. <!-- REMOVE S-->che pa&longs;&longs;ino per li punti n. <!-- REMOVE S-->& peruenghino alla circonferenza del Meridiano a <lb/>b c d. <!-- REMOVE S-->come per e&longs;&longs;empio tirerai una linea occulta dal centro e. <!-- REMOVE S-->che pa&longs;&longs;i per lo primo punto <lb/>n. <!-- REMOVE S-->della linea delle hore prima, & undecima, & che peruenghi alla circonferenza al punto o. <!-- REMOVE S--><lb/>l'arco adunque, & la circonferenza a o. <!-- REMOVE S-->è l'arco, & la circonferenza Meridiana della pri­<lb/>ma, & della undecima hora. </s> <s id="s.007782">Similmente &longs;e dal centro e. <!-- REMOVE S-->per lo punto del &longs;econdo n. <!-- REMOVE S-->che è <lb/>dell'hora decima, & &longs;econda, pa&longs;&longs;erà una linea fin alla' circonferenza al punto i. <!-- REMOVE S-->la circonfe­<lb/>renza a i. <!-- REMOVE S-->ci &longs;eruirà per la di&longs;tanza, & per la latitudine dell'ombra della decima, & della <lb/>&longs;econda hora. </s> <s id="s.007783">A que&longs;to modo &longs;i caueranno le circonferenze d'hora in hora, & a u. <!-- REMOVE S-->&longs;arà la <lb/>circonferenza Meridiana delle hore terza, & nona. </s> <s id="s.007784">a l. <!-- KEEP S--></s> <s id="s.007785">delle hore quarta, & ottaua. </s> <s id="s.007786">a r. <!-- REMOVE S--><lb/>delle hore quinta & &longs;ettima. </s> <s id="s.007787">Ma la &longs;e&longs;ta hora, che è l'hora Meridiana, non cade &longs;opra quel pia­<lb/>no, perche è il piano i&longs;te&longs;&longs;o. </s> <s id="s.007788">Ma gli archi, & le circonferenze &longs;epartite, per la altezza del So <lb/>le, & lunghezza delle ombre &longs;i pigliano in que&longs;to modo. </s> <s id="s.007789">Sia centro il primo n. <!-- REMOVE S-->& &longs;patio n.<emph.end type="italics"/><lb/>11. 1. <emph type="italics"/>& &longs;tando fermo il piede del compa&longs;&longs;o nel centro n. <!-- REMOVE S-->&longs;ia uoltato l'altro piede &longs;opra il <lb/>Meridiano, & fatto punto<emph.end type="italics"/> 11. 1. <emph type="italics"/>la circonferenza, che &longs;arà tra<emph.end type="italics"/> 11. 1. <emph type="italics"/>& lo punto o. <lb/><!-- REMOVE S-->&longs;arà la circonferenza &longs;epartita delle hore prima, & undecima. </s> <s id="s.007790">po&longs;to poi il centro nel &longs;econdo n. <lb/><!-- REMOVE S-->& i&longs;patio n.<emph.end type="italics"/> 10. 2. <emph type="italics"/>&longs;tando fermo il piede nel punto n. <!-- REMOVE S-->& uoltato l'altro, &longs;ia &longs;egnato &longs;opra'l <lb/>Meridiano<emph.end type="italics"/> 10. 2. <emph type="italics"/>& la circonferenza compre&longs;a tra<emph.end type="italics"/> 10. 2. <emph type="italics"/>& il punto e. <!-- REMOVE S-->&longs;arà l'arco del­<lb/>l'altezza del Sole &longs;opra detto piano. </s> <s id="s.007791">con &longs;imile uia &longs;i piglieranno le circonferenze &longs;epartite delle <lb/>altre hore, sì nel tropico del Capricorno di &longs;otto, come nel tropico del Cancro di&longs;opra, come uedi <lb/>nella figura &longs;egnata A. & per accommodare nell'horologio le dette circonferenze, & per fug-<emph.end type="italics"/><pb pagenum="421" xlink:href="045/01/435.jpg"/><figure id="id.045.01.435.1.jpg" xlink:href="045/01/435/1.jpg"/><pb pagenum="422" xlink:href="045/01/436.jpg"/><emph type="italics"/>gire la confu&longs;ione, egli &longs;i farà la figura &longs;egnata B. </s> <s id="s.007792">Sia adunque fatio il circolo o p q n. <!-- REMOVE S-->che <lb/>rappre&longs;enti il Meridiano, & &longs;ia partito in quattro quarte per due diametri o n. <!-- REMOVE S-->& p <expan abbr="q.">que</expan> &longs;ia <lb/>pre&longs;o nel diametro p <expan abbr="q.">que</expan> la lunghezza del Gnomone, che uuoi dal punto e. <!-- REMOVE S-->al punto t. <!-- REMOVE S-->sì di <lb/>&longs;otto come di &longs;opra. </s> <s id="s.007793">& paßino per li punti t. <!-- REMOVE S-->linee egualmente di&longs;tanti al diametro o n. <!-- REMOVE S-->che <lb/>&longs;iano r t &longs;. <!-- KEEP S--></s> <s id="s.007794">que&longs;te &longs;erueno per li piani, &longs;opra li quali &longs;i &longs;tendeno le ombre. </s> <s id="s.007795">per ponere adunque le <lb/>lunghezze delle ombre d'hora in hora &longs;opra i detti piani, piglierai dalla figura A. le circonfe­<lb/>renze &longs;epartite delle hore, & le riporterai nella figura B. quelle del tropico del Cancro nella <lb/>quarta n p. <!-- REMOVE S-->dal punto n. <!-- REMOVE S-->& quelle del tropico del Capricorno nella quarta n <expan abbr="q.">que</expan> dal punto <lb/>n. <!-- REMOVE S-->& noterai i numeri delle hore ri&longs;pondenti, da i quali tirerai le linee per lo centro e. <!-- REMOVE S-->fin al pia <lb/>no oppo&longs;to r t &longs;. <!-- KEEP S--></s> <s id="s.007796">doue quelle del Cancro &longs;aranno &longs;egnate &longs;opra la linea r &longs; t. <!-- REMOVE S-->di &longs;otto, & <lb/>quelle del Capricorno nella linea r &longs; t. <!-- REMOVE S-->di &longs;opra il diametro o e n. <!-- KEEP S--></s> <s id="s.007797">Volendo poi fare l'horolo <lb/>gio, che guarda a Leuante, farai il circolo &longs;egnato C. che &longs;ia a b c d. <!-- REMOVE S-->nel centro e. <!-- REMOVE S-->& i dia <lb/>metri &longs;iano a c. <!-- REMOVE S-->commune taglio di e&longs;&longs;o Meridiano, & dell'Orizonte, & b d. <!-- REMOVE S-->commune ta<lb/>glio di e&longs;&longs;o Meridiano, & del uerticale, &longs;i che il punto a. <!-- REMOVE S-->&longs;ia uolto al mezo dì, & il punto c. <!-- REMOVE S--><lb/>at Settentrione. <!-- KEEP S--></s> <s id="s.007798">dapoi &longs;ia tirato un'altro diametro tra la quarta a d. <!-- REMOVE S-->che &longs;ia f g. <!-- REMOVE S-->commune <lb/>taglio dello equinottiale, & del Meridiano. <!-- KEEP S--></s> <s id="s.007799">il qual diametro &longs;ia tanto alto &longs;opra il punto a. <!-- REMOVE S--><lb/>quanto l'equinottiale po&longs;to nello Analemma &longs;opra l'Orizonte. <!-- KEEP S--></s> <s id="s.007800">In que&longs;ta figura &longs;egnata C. tu <lb/>dei riportare gli archi ouero le circonferenze Meridiane, & prima quelle del tropico del Capri­<lb/>corno a o. <!-- REMOVE S-->a i. <!-- REMOVE S-->a l. <!-- REMOVE S-->a u. <!-- REMOVE S-->a r. <!-- REMOVE S-->dal punto a. <!-- REMOVE S-->della figura C. nella circonferenza a f. <lb/><!-- REMOVE S-->& notare o i l u n. <!-- REMOVE S-->& poi quelle del tropico del Cancro c o. <!-- REMOVE S-->c i. <!-- REMOVE S-->c l. <!-- REMOVE S-->c u. <!-- REMOVE S-->c r. <!-- REMOVE S-->dal <lb/>punto c. <!-- REMOVE S-->uer&longs;o il punto d. <!-- REMOVE S-->& notare i numeri delle hore corri&longs;pondenti, & tutto que&longs;to farai <lb/>con lettere, & linee, che &longs;i po&longs;&longs;ino leuare. </s> <s id="s.007801">I&longs;pedite que&longs;te diui&longs;ioni nella figura C. tirerai le li­<lb/>nee dalli punti o. <!-- REMOVE S-->i. <!-- REMOVE S-->l. <!-- REMOVE S-->u. <!-- REMOVE S-->r. <!-- REMOVE S-->che pa&longs;&longs;ino per lo centro e. <!-- REMOVE S-->nella parte oppo&longs;ta, sì quelle del Can <lb/>cro, come quelle del Capricorno. <!-- KEEP S--></s> <s id="s.007802">& piglierai le lunghezze delle ombre dalla figura B. & le ri­<lb/>porterai n ella figura C. dal centro e. <!-- REMOVE S-->nelle linee corri&longs;pondenti alle hore, che uuoi traportare: <lb/>a que&longs;to modo farai l'horologio tirando da i punti del tropico del Cancro a i punti del tropico del <lb/>Capricorno le linee delle hore, che taglieranno il diametro f g. <!-- REMOVE S-->ne i luoghi &longs;uoi come uedi nella <lb/>figura C. <!-- KEEP S--></s> <s id="s.007803">Con la i&longs;te&longs;&longs;a ragione &longs;i fanno gli horologi nel piano Meridiano uolto a Ponente, ma <lb/>traportando il tutto nella quarta a b. <!-- REMOVE S-->& &longs;egnando le hore dopo il mezo dì, che &longs;ono<emph.end type="italics"/> 11. 10. <lb/>9. 8. 7. <emph type="italics"/>come nella figura D. &longs;i puo uedere.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007804"><emph type="italics"/>A. <!-- KEEP S--></s> <s id="s.007805">Analemma per gli horologij che riguardano a Leuante, ouero a Ponente, donde &longs;i caua <lb/>la latitudine.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007806"><emph type="italics"/>B. come &longs;i cauano le altezze del Sole per cauare le lunghezze dell'ombre.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007807"><emph type="italics"/>C. horologio da leuante con le hore de gli antichi.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007808"><emph type="italics"/>D. horologio occidentale con le hore de gli antichi.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007809"><emph type="italics"/>E. horologio dall'Oriente con le hore dal mezo dì.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007810"><emph type="italics"/>F. horologio occidentale, con le hore dal mezo dì.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007811"><emph type="italics"/>G. horologio occidentale con le hore dopo'l mezo dì.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007812"><emph type="italics"/>H. horologio Orientale dalle hore dell'occa&longs;o inanzi mezo dì.<emph.end type="italics"/></s> </p> <pb pagenum="423" xlink:href="045/01/437.jpg"/> <figure id="id.045.01.437.1.jpg" xlink:href="045/01/437/1.jpg"/> <pb pagenum="424" xlink:href="045/01/438.jpg"/> <p type="main"> <s id="s.007813"><emph type="italics"/>Cia &longs;i &longs;ono i&longs;pediti gli horologi faiti nelli piani dell'Orizonte, del uerticale, & del Meridiano <lb/>con l'aiuto delle circonferenze, & de gli anguli dimo&longs;tratori delle lunghezze, & delle larghez­<lb/>ze delle ombre: hora &longs;i dimo&longs;trerà il modo di fare gli horologi nel piano dello equinottiale, il che <lb/>&longs;arà facile, & diletteuole. </s> <s id="s.007814">Sia il Meridiano a b c d. <!-- REMOVE S-->con i diametri a c. <!-- REMOVE S-->b d. <!-- REMOVE S-->che &longs;ita­<lb/>glino ad anguli dritti, & &longs;ia ac. <!-- REMOVE S-->per lo diametro dello equinottiale, &longs;opra il quale &longs;iano i diametri: <lb/>de gli altri circoli egualmente di&longs;tanti, come è nello Analemma. <!-- KEEP S--></s> <s id="s.007815">f K. il diametro del Cancro, & del <lb/>Capricorno. <!-- KEEP S--></s> <s id="s.007816">h m. <!-- REMOVE S-->de Gemelli, & del Sagittario. <!-- KEEP S--></s> <s id="s.007817">g i. <!-- REMOVE S-->del Toro, & della Vergine. <!-- KEEP S--></s> <s id="s.007818">Sia &longs;opra la <lb/>linea e b. <!-- REMOVE S-->pre&longs;a la lunghezza del Gnomone e z. <!-- KEEP S--></s> <s id="s.007819">& per lo punto z. <!-- KEEP S--></s> <s id="s.007820">pa&longs;&longs;i la linea l o. <!-- REMOVE S-->&longs;o­<lb/>pra la quale per lo centro e. <!-- REMOVE S-->dalli punti f h g. <!-- REMOVE S-->cadino le linee g e t. <!-- REMOVE S-->h e &longs;. <!-- KEEP S--></s> <s id="s.007821">f e r. <!-- REMOVE S-->&longs;i che <lb/>z r. <!-- REMOVE S-->&longs;arà la lunghezza dell'ombra, quando il Sole &longs;arà nel tropico del Cancro, ouero del Capri <lb/>corno. </s> <s id="s.007822">z &longs;. <!-- KEEP S--></s> <s id="s.007823">ne i Gemelli, & nel Sagittario. <!-- KEEP S--></s> <s id="s.007824">z t. <!-- REMOVE S-->nel Toro, & nella Vergine. <!-- KEEP S--></s> <s id="s.007825">Piglia poi dalla <lb/>figura A. lo &longs;patio z t. <!-- REMOVE S-->& fa il ctrcolo a b c d. <!-- REMOVE S-->&longs;opra il centro e. <!-- REMOVE S-->dentro del quale ne <lb/>farai un'altro pre&longs;a la di&longs;tanza z &longs;. <!-- KEEP S--></s> <s id="s.007826">dalla figura A. & quello &longs;arà f g h i. <!-- REMOVE S-->dentro del <lb/>quale ne far ai un'altro pre&longs;a la di&longs;tanza z r. <!-- REMOVE S-->dalla fignra A. & &longs;ia quello k l m n. <!-- REMOVE S-->que­<lb/>&longs;ti tre circoli rappre&longs;entano nel piano equinottiale i circoli de i &longs;egni pre&longs;i nella figura A. per le <lb/>lunghezze delle ombre fatte nella linea del piano l z o. <!-- KEEP S--></s> <s id="s.007827">Sia poi diui&longs;o il minor circolo in due <lb/>parti di&longs;eguali, &longs;i che la maggiore &longs;ia<emph.end type="italics"/> k <emph type="italics"/>l m. <!-- REMOVE S-->per la portione del Cancro, che &longs;ta &longs;opra l'Ori­<lb/>zonte. </s> <s id="s.007828">& la minore K n m. <!-- REMOVE S-->per la portione del Cancro, che &longs;ta &longs;opra l'Orizonte, & la <lb/>minore<emph.end type="italics"/> k <emph type="italics"/>n m. <!-- REMOVE S-->per la portione del Capricorno, & tirata la linea<emph.end type="italics"/> k <emph type="italics"/>m. <!-- REMOVE S-->&longs;i che gli <lb/>e&longs;tremi &longs;uoi tocchino la e&longs;trema circonferenza del circolo maggiore ne i punti a c. <!-- REMOVE S-->que&longs;ta li­<lb/>nea a f<emph.end type="italics"/> k <emph type="italics"/>m h c. <!-- REMOVE S-->&longs;arà il taglio commune di quel piano, & dell'Orizonte. <!-- KEEP S--></s> <s id="s.007829">Per &longs;egnare adun­<lb/>que l'horologio, &longs;e uuoi le hore antiche, partirai cia&longs;cuna portione in dodici parti cominciando <lb/>dal taglio di quel piano con l'Orizonte nel minor circolo da m. <!-- REMOVE S-->& nel maggiore dal c. <!-- REMOVE S-->& le­<lb/>gherai i punti <expan abbr="dēl">dell</expan> circolo maggiore con quelli del minore. </s> <s id="s.007830">Ma &longs;e uorrai le hore dal mezo dì co­<lb/>mincia la tua diui&longs;ione dal Meridiano nel b. <!-- REMOVE S-->del circolo maggiore, & nello l. <!-- REMOVE S-->del minore. </s> <s id="s.007831"><lb/>Et &longs;e uuoi le hore dall'occa&longs;o comincia a partire dal punto. </s> <s id="s.007832">c. <!-- REMOVE S-->del circolo maggiore, & dal <lb/>punto m. <!-- REMOVE S-->del minore &longs;i di &longs;otto come di &longs;opra. </s> <s id="s.007833">come &longs;i è fatto ne gli horologi fatti nel piano <lb/>egualmente di&longs;tante all'orizonte. </s> <s id="s.007834">il riuer&longs;o di que&longs;to horologio ti dimo&longs;trerà le hore pre&longs;e dal na­<lb/>&longs;cer del Sole. <!-- KEEP S--></s> <s id="s.007835">& &longs;e uole&longs;&longs;i le hore del circolo egualmente di&longs;tante allo Equinottiale ne i quindici <lb/>gradi di Ariete o di Vergine, bi&longs;ognerebbe ponere nella figura. </s> <s id="s.007836">A. il diametro di quel circolo, <lb/>doue è la lettera. </s> <s id="s.007837"><expan abbr="q.">que</expan> & dal punto. </s> <s id="s.007838"><expan abbr="q.">que</expan> far pa&longs;&longs;are una linea per lo centro. </s> <s id="s.007839">e. <!-- REMOVE S-->fin alla linea <lb/>del piano l z o. <!-- REMOVE S-->& pigliare la lunghezza dell'ombra, & farne un circolo d'intorno a gli altri, <lb/>& partirlo allo i&longs;te&longs;&longs;o modo, & prolungare le linee delle hore alla &longs;ua circonferenza. </s> <s id="s.007840">& in que­<lb/>&longs;ti &longs;opra detti horologi, ne &longs;aranno due, uno che riguarderà al polo di &longs;opra, il quale è po&longs;to nel­<lb/>la portione a b c. <!-- REMOVE S-->& l'altro, che riguarda al polo di &longs;otto che è posto nella portione a d c. <lb/><!-- REMOVE S-->& nell'uno & nell'altro &longs;i pone il Gnomone ad anguli dritti nel centro e.<emph.end type="italics"/><!-- REMOVE S--><emph type="italics"/>Fin hora hauemo e&longs;po&longs;to come dallo Analemma &longs;i cauano gli horologi, che &longs;i fanno ne i pia­<lb/>ni egualmente di&longs;tanti a i circoli fermi, cioè orizonte, uerticale, & meridiano: &longs;eguita, che &longs;i di­<lb/>mo&longs;tri, come ne gli i&longs;teßi piani de i circoli gia detti, che &longs;i muoueno, &longs;i fanno gli horologi, che pie­<lb/>gati, ouero inclinati &longs;i chiamano; perche ri&longs;petto ad alcun piano de i circoli fermi non gli &longs;ono ad <lb/>anguli dritti. </s> </p> <p type="main"> <s id="s.007841">Ecco lo e&longs;&longs;empio. </s> <s id="s.007842">L'horologio fatto &longs;opra il piano uerticale mobile, ri&longs;petto al­<lb/>l'orizonte fermo gli è ad anguli giu&longs;ti, ma ri&longs;petto al meridiano fermo & al uerticale fermo, non <lb/>gli è ad anguli giu&longs;ti: &longs;imilmente l'horologio fatto &longs;opra il piano dell'Orizonte mobile ri&longs;petto al <lb/>meridiano fermo gli è ad anguli giu&longs;ti, ma ri&longs;petto all'Orizonte fermo non gli cade &longs;opra ad an­<lb/>guli giu&longs;ti. </s> <s id="s.007843">Finalmente l'horologio fatto &longs;opra il piano del meridiano mobile, non cade ad anguli <lb/>dritti, nè &longs;opra l'orizonte fermo, nè &longs;opra il meridiano fermo. </s> <s id="s.007844">Conuengono tutti gli horologi <lb/>piegati in que&longs;to, che &longs;ono doppi, cioè &longs;i po&longs;&longs;ono fare ne i piani oppo&longs;ti, cioè di &longs;otto & di &longs;opra, <lb/>di quà, & di là, & come dal dritto, & dal rouer&longs;cio. </s> <s id="s.007845">prima gli horologi piegati all'orizonte, &<emph.end type="italics"/><pb pagenum="425" xlink:href="045/01/439.jpg"/><figure id="id.045.01.439.1.jpg" xlink:href="045/01/439/1.jpg"/><pb pagenum="426" xlink:href="045/01/440.jpg"/><emph type="italics"/>dritti al meridiano, hanno una faccia che riguarda al di &longs;opra, & l' altra al di &longs;otto, gli horolo­<lb/>gi fatti nel piano del uerticale mobile hanno una facciata che declina d al meridiano da una par­<lb/>te, & l'altra, che declina dall'altra. </s> <s id="s.007846">& finalmente gli horologi fatti nel piano del meridiano mo­<lb/>bile hanno ancho il dritto, & riuer&longs;cio. </s> <s id="s.007847">Conuengono ancho tutti in que&longs;to, che cia&longs;cuno &longs;i caua <lb/>dallo Analemma. <!-- KEEP S--></s> <s id="s.007848">Gli orizontali piegati &longs;i &longs;erueno delle circonferenze, che dimo&longs;trano le lun­<lb/>ghezze, & le larghezze delle ombre, &longs;i come &longs;i &longs;erueno gli horologi fatti nel piano egualmente <lb/>di&longs;tante all'orizonte. </s> <s id="s.007849">il mede&longs;mo fanno gli horologi piegati all'orizonte, & al meridiano. </s> <s id="s.007850">& il <lb/>mede&longs;imo fanno gli horologi uerticali piegati. </s> <s id="s.007851">Egli &longs;arà adunque nece&longs;&longs;ario con gli in&longs;trumenti <lb/>pigliare le piegature, ouero le inclinationi, & declinationi de i piani, &longs;opra i quali &longs;i haueran­<lb/>no a formare gli horologi, de i quali in&longs;trumenti ne &longs;ono molti, che hanno &longs;eritto: ma io per non <lb/>e&longs;&longs;er piu lungo, & per dare occa&longs;ione a gli &longs;tudio&longs;i di affaticar&longs;i, & per la&longs;ciare ad altri le dimo­<lb/>&longs;trationi matematiche, rimando i lettori allo Analemma di Tolomeo dottamente e&longs;plicato dal &longs;o­<lb/>pradetto Commandino.<emph.end type="italics"/><!-- KEEP S--></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.007852"><emph type="italics"/>Della ragione de gli borologi, & dell'u&longs;o, & della in­<lb/>uentione loro, & quali &longs;ieno stati gli in­<lb/>uentori. </s> <s id="s.007853">Cap. IX.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.007854">Egli &longs;i dice, che Bero&longs;o Caldeo ritrouò l'horologio, che &longs;i caua da un quadra­<lb/>to, & &longs;erue ad una inclinatione di cielo. </s> <s id="s.007855">La &longs;cafa, ouero lo hemi&longs;pero Ari­<lb/>&longs;tarco Samio. </s> <s id="s.007856">il mede&longs;imo ritrouò il Di&longs;co nel piano. </s> <s id="s.007857">la Ragna fu inuentio­<lb/>ne di Eudoxo A&longs;tronomo, altri dicono d'Apollonio: il Plintho, ouero il La­<lb/>cunare, che è ancho nel circo Flamminio, di Scopa Siracu&longs;ano: Parmenione fece gli ho­<lb/>rologi &longs;econdo le relationi delle i&longs;torie: Ad ogni Clima Thcodo&longs;io, & Andrea fecero gli <lb/>horologi. </s> <s id="s.007858">Patrocle ritrouò il Pelecino; Dioni&longs;oporo il Cono: Apollonio la Faretra: & al­<lb/>tre maniere trouarono i &longs;opra&longs;critti, & altri, come è il Gonarche, l'Engonato, & l'Antibo <lb/>reo. </s> <s id="s.007859">& co&longs;i dalle maniere predette molti la&longs;ciarono come &longs;i haue&longs;&longs;ero a formare gli horo­<lb/>logi da uiaggio, & che &longs;tanno appe&longs;i. </s> <s id="s.007860">da i libri de i quali, &longs;e alcuno uorrà, (pure, che &longs;i <lb/>&longs;appia la de&longs;crittione de gli Analemmi) potrà ritrouarne le de&longs;crittioni. </s> </p> <p type="main"> <s id="s.007861"><emph type="italics"/>Gli horologi ritrouati da gli antichi, & po&longs;ti quiui da Vitruuio, &longs;i po&longs;&longs;ono imaginare da quelli, <lb/>che intendeno bene i circoli della &longs;pera, & che &longs;anno la ragione de gli Analemmi, perche poi puo <lb/>cia&longs;cuno accommodargli qualunque forma gli piace. </s> <s id="s.007862">Bero&longs;o ( come io &longs;timo ) trouò l'horologio <lb/>cauato in un quadrato con i circoli paralleli, & le hore ad una eleuatione. </s> <s id="s.007863">&longs;i come Ari&longs;tarco <lb/>lo fece in una meza &longs;pera; che noi per fare gli horologi u&longs;iamo come in&longs;trumento, uolendo fare <lb/>gli horologi in piani diuer&longs;i. </s> <s id="s.007864">il di&longs;co era un ua&longs;o cauato, ritondo, ma non di fatto ritondo come è <lb/>lo hemi&longs;pero. </s> <s id="s.007865">la Aragna, il tronco, & gli altri horologi che &longs;i chiamano con que&longs;ti nomi, che rap <lb/>pre&longs;entano forme naturali, ouero artificiali, de i quali altri a i di no&longs;tri ne hanno fatto &longs;otto for <lb/>me di foglie d'alberi, di croci, di &longs;telle, di naui, & noi di animali quadrupedi, & di uccelli, &longs;i fan­<lb/>no con le ragioni della eleuatione del Sole, delle proportioni dell'ombre, & de gli archi orizonta­<lb/>li. </s> <s id="s.007866">di que&longs;ti gli Analemmi &longs;ono al uolgo a&longs;co&longs;i, &longs;i come &longs;ono a&longs;co&longs;e le uirtù delle ruote, & i con­<lb/>trape&longs;ine gli instrumenti: ma &longs;olo &longs;i uede di fuori lo effetto loro merauiglio&longs;o. </s> <s id="s.007867">però l' Aragna po­<lb/>teua e&longs;&longs;ere uno horologio, che haueße le linee delle hore attrauer&longs;ate da i circoli, che dimo&longs;tra&longs;­<lb/>&longs;ero le altezze del Sole, &longs;econdo la lunghezza dell'ombre, & la altezza del Gnomone. <!-- KEEP S--></s> <s id="s.007868">come &longs;o­<lb/>no gli horologi fatti nel piano dello Equinottiale po&longs;ti di &longs;opra &longs;egnati B. C. D. E. <!-- KEEP S--></s> <s id="s.007869">Il Plintho <lb/>era un zocco, ouero un tronco nel quale &longs;i poteua fare in diuer&longs;e faccie gli horologi dritti, & <lb/>piegati. </s> <s id="s.007870">alla Faretra &longs;imigliauano gli horologi orientali, & occidentali fatti nel piano del meri-<emph.end type="italics"/><pb pagenum="427" xlink:href="045/01/441.jpg"/><emph type="italics"/>diano, come hauemo detto di &longs;opra. </s> <s id="s.007871">Parmenione &longs;econdo le eleuationi del polo in diuer&longs;i pae&longs;i <lb/>bauute per relatione di per&longs;one, ouero di &longs;crittori accommodaua gli horologi, la doue ancho Theo<lb/>do&longs;io, & Andrea fecero gli horologi uniuer&longs;ali, che &longs;eruiuano ad ogni inclinatione, o clima, <lb/>che &longs;i dica. </s> <s id="s.007872">perche ogni horologio fermo, che &longs;ia fatto nel piano dello Equinottiale, o nel piano <lb/>dell'a&longs;&longs;e del monde alzato, ouero abba&longs;&longs;ato &longs;opra la quarta del circolo alla eleuatione del polo, <lb/>ouero dello equinottiale, & che &longs;ia diui&longs;o in parti uentiquattro, ci &longs;eruirà in ogni pae&longs;e. </s> <s id="s.007873">Fanno&longs;i <lb/>anche horologi per ogni clima, che &longs;i uoltano al cor&longs;o del Sole, come è quello di Ciouanni Sta­<lb/>bio, & quello di Pietro Appiano. <!-- KEEP S--></s> <s id="s.007874">lo Analemma di quelli è lo i&longs;te&longs;&longs;o con lo Analemma di Vitr. <lb/>con alcune aggiunte del Mun&longs;thero & di Orontio. </s> <s id="s.007875">ma è co&longs;a trouata da gli antichi. </s> <s id="s.007876">come è il pla­<lb/>nisferio del Roias, & le co&longs;e del Sconero. </s> <s id="s.007877">Pelecino è detto dalla forma di &longs;ecure, che io crederei, <lb/>che fu&longs;&longs;ero gli horologi, che hanno le hiperbole, cioè i paralleli de i &longs;egni, come &longs;ono gli horologi <lb/>fatti nel piano orizontale, & nel piano uerticale po&longs;ti di &longs;opra. </s> <s id="s.007878">Il Cono è formato da una rego­<lb/>la, che &longs;i parte dal centro, & &longs;i &longs;tende nello hemi&longs;pero di &longs;otto, fin all'e&longs;treme declinationi de i <lb/>tropici. </s> <s id="s.007879">& le estremità di quello non terminano in alcuna oppo&longs;ta &longs;uperficie. </s> <s id="s.007880">Puo anche e&longs;&longs;er il <lb/>Trigono Zodiaco de&longs;critto dal Mun&longs;tero. </s> <s id="s.007881">Ma quello, che dice Vitr. <!-- KEEP S--></s> <s id="s.007882">Gonarche, Engonaton, & <lb/>Antiboreo, pen&longs;o io, che fu&longs;&longs;ero horologi, che haue&longs;&longs;ero ri&longs;petto à qualche imagine cele&longs;te, oue­<lb/>ro alle parti del cielo, ouero alla notte, che tutti però &longs;i pigliauano da i proprij Analemmi. <!-- KEEP S--></s> <s id="s.007883"><lb/>L'horologio, che Compa&longs;&longs;o è detto, è di quelli, che &longs;ogliono portare &longs;eco i uiandanti. </s> <s id="s.007884">le anella, i <lb/>Cilindri, i quadranti, i circoli piani, &longs;ono di quelli, che &longs;tanno appe&longs;i, de i quali ne &longs;ono pieni i <lb/>libri de gli horologiografi. </s> <s id="s.007885">& co&longs;i fa fine Vitru. alla materia de gli horologi da Sole detta Gno­<lb/>monica. </s> <s id="s.007886">Noi di piu de gli antichi hauemo gli horologi da ruote, o da &longs;pennole & quelli d'a­<lb/>rena, che &longs;ono mirabili, quelli per lo ingegno dello artefice, que&longs;ti per la commodità, & facilità <lb/>loro. </s> <s id="s.007887">Ci&longs;ono anche horologi da fuoco fatti in lucerne, de i quali ne parla Herone, che mo&longs;trano <lb/>le hore al con&longs;umare dell'oglio. </s> <s id="s.007888">ci &longs;ono ancho horologi da acqua, de i quali ragiona Vit. <!-- REMOVE S-->dicendo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007889">Oltra di que&longs;to da gli i&longs;te&longs;si &longs;crittori &longs;i &longs;ono cercate le ragioni de gli horologi da ac­<lb/>qua: & primamente da Cte&longs;ibio Ale&longs;&longs;andrino, ilquale trouò gli &longs;piriti naturali, & le co&longs;e <lb/>da uento. </s> <s id="s.007890">Ma è co&longs;a degna, che gli &longs;tudio&longs;i cono&longs;chino come &longs;iano &longs;tate que&longs;te co&longs;e inue­<lb/>&longs;tigate, & cercate. </s> <s id="s.007891">Cte&longs;ibio nacque in Ale&longs;&longs;andria, & fu figliuolo d'un barbieri: e&longs;&longs;endo <lb/>co&longs;tui eccellente oltra gli altri d'indu&longs;tria, & d'ingegno, dice&longs;i, che &longs;i dilettaua grandemen<lb/>te di co&longs;e artificio&longs;e: imperoche uolendo, che nella bottega di &longs;uo padre uno &longs;pecchio <lb/>pende&longs;&longs;e in modo, che quando egli fu&longs;&longs;e tratto fuori, & ritorna&longs;&longs;e in &longs;u, fu&longs;&longs;e una cordi­<lb/>cella &longs;ottile a&longs;co&longs;a, che tira&longs;&longs;e il pe&longs;o a ba&longs;&longs;o, co&longs;i fece l'ordigno. </s> <s id="s.007892">Egli conficcò &longs;otto uno <lb/>traue un canale di legno, & iui po&longs;e le taglie, o girelle che &longs;i dichino, & per lo canale con <lb/>du&longs;&longs;e la cordicella picciola in uno angulo. </s> <s id="s.007893">iui fece le canne, per lequali dalla cordicella man <lb/>dò giu una palla di piombo, dalche nacque, che il pe&longs;o andando allo in giu, per le &longs;tret­<lb/>tezze delle canne premeua con la uelocità del calare la den&longs;ità dello aere. </s> <s id="s.007894">& &longs;cacciando <lb/>per la bocca delle canne la frequentia dello aere ra&longs;&longs;odata per quella compre&longs;sione nello <lb/>aperto aere, & col toccamento, o perco&longs;&longs;a e&longs;primeua chiaramente il &longs;uono. </s> </p> <p type="main"> <s id="s.007895"><emph type="italics"/>Era uno ruotolo, nel quale erano inuolte due cordicelle per uno uer&longs;o, i capi dellequali pen­<lb/>deuano da una parte, & all'uno de capi era appe&longs;o uno &longs;pecchio, all'altro non u'era attacato al­<lb/>cuna co&longs;a, ma egli &longs;i la&longs;ciaua per tirare, & uoltare il ruotolo. </s> <s id="s.007896">tirando adunque, & &longs;uogliendo&longs;i <lb/>il ruotolo, ancho lo &longs;pecchio tirando pe&longs;aua, & &longs;uolgeua l'altro capo, co&longs;i ueniua giu, ma la­<lb/>&longs;ciando il capo, il ruotolo &longs;i riuolgeua, & inuoltaua le cordicelle, & co&longs;i il pe&longs;o andaua allo in <lb/>&longs;u. </s> <s id="s.007897">Ma come que&longs;to &longs;i pote&longs;&longs;e fare, io dico, che nel mezo del ruotolo era un'altra cordicella auol­<lb/>ta al contrario delle due, allaquale era attac ato un pe&longs;o, il quale pe&longs;ando piu dello &longs;pecchio, quan <lb/>do &longs;i rila&longs;ciaua il capo della cordicella, il pe&longs;o, che era prima &longs;alito calaua al ba&longs;&longs;o, perche la &longs;ua <lb/>cordicella &longs;i &longs;uolgeua, & lo &longs;pecch o &longs;aliua, perche la &longs;ua cordicella, s'inuolgeua. </s> <s id="s.007898">la cordicella <lb/>adunque, che teneua il pe&longs;o, era condotta na&longs;co&longs;amente per un canale di legno ad un angulo<emph.end type="italics"/><pb pagenum="428" xlink:href="045/01/442.jpg"/><emph type="italics"/>della bottega, che il pe&longs;o era in una tromba a&longs;&longs;ettato di modo, che calando giu premeua lo acre <lb/>nella tromba, & lo aere oppre&longs;&longs;o u&longs;ciua con impeto, & faceua &longs;onare la tromba.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007899">Hauendo adunque Cte&longs;ibio auuertito, che dallo tirare, & dallo &longs;cacciare dello aere, <lb/>na&longs;ceuano gli &longs;piriti, & le uoci, u&longs;ando que&longs;ti auuertimenti come principij, fu il primo, <lb/>che ordina&longs;&longs;e le machine Hidrauliche, & le e&longs;pre&longs;sioni delle acque da &longs;e mouenti&longs;i, & le <lb/>machine tratte dalla ragione del dritto, & del circolar mouimento, & molte altre manie­<lb/>re di gentilezze, tra le quali egli e&longs;plicò gli apparecchi de gli horologi da acqua. </s> </p> <p type="main"> <s id="s.007900"><emph type="italics"/>Faceua Cte&longs;ibio molte belle co&longs;e mo&longs;&longs;o da que principij, che gli mo&longs;trò for&longs;e il ca&longs;o, perche ue­<lb/>dendo, che lo aere &longs;cacciato, & depre&longs;&longs;o con &longs;uono, & rumore u&longs;ciua dalle trombe in luogo aper <lb/>to, egli con l'acque rinchiu&longs;e, & che non poteuano re&longs;pirare, faceua le machine, & le co&longs;e, che <lb/>da &longs;e &longs;i moueuano, che automata &longs;i chian</s> <s id="s.007901">ano, & gli horologi d'acqua, & rappre&longs;entaua le uoci <lb/>de gli uccelli, inalzaua l'acque, &longs;premeua diuer&longs;i liquori da una bocca &longs;ola di ua&longs;o, & in propor­<lb/>tione mandaua fuori i liquori, faceua anche de gli Organi.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.007902">Primieramente Cte&longs;ibio fece uno cauo d'oro, o d'una gemma forata, perche quelle co <lb/>&longs;e nè &longs;i con&longs;umano per la perco&longs;&longs;a dell'acqua, ne riceuono bruttezze, che le otturino. </s> <s id="s.007903">Et <lb/>per quel cauo influendo l'acqua egualmente &longs;ollieua un &longs;ecchiello riuer&longs;cio, Phello, o <lb/>Timpano nominato, nelqual è po&longs;ta una regola, & un Timpano, che &longs;i uolta con denti <lb/>eguali. </s> <s id="s.007904">que&longs;ti dentelli &longs;pignendo l'uno l'altro fanno fare certi piccioli mouimenti, & ri­<lb/>uolgimenti. </s> <s id="s.007905">&longs;imilmente ci &longs;ono ancho altre regole, & altri Timpani dentati allo i&longs;te&longs;&longs;o <lb/>modo, che da un mouimento forzati uoltando&longs;i fanno effetti, & diuer&longs;ità di mouimenti, <lb/>ne i quali &longs;i muouono le figurine, &longs;i uoltano le mete, &longs;i tirano pietruccie, ouero oua, &longs;uo­<lb/>nano le trombe, & &longs;i fanno altre co&longs;e per bellezza oltra il propo&longs;ito. </s> <s id="s.007906">In que&longs;te machine <lb/>ancho ouero in una colonna, ouero in un pila&longs;tro &longs;i de&longs;criuono le hore, lequali una figu­<lb/>rina u&longs;cendo dal ba&longs;&longs;o di una uerga dimo&longs;tra per tutto il giorno, & l'aggiunta, o la leua­<lb/>ta de i cunei ogni dì, & ogni me&longs;e forza a far le breuità, & le lunghezze delle hore. </s> <s id="s.007907">Ma il rin <lb/>chiuder dell'acque, accioche &longs;i temprino que&longs;ti &longs;trumenti &longs;i fa in que&longs;to modo. </s> <s id="s.007908">Si fanno <lb/>due mete, una &longs;oda, & una concaua fatte al torno di modo, che una po&longs;&longs;a entrar nell'al­<lb/>tra, & con la i&longs;te&longs;&longs;a regola lo allargar&longs;i, & lo &longs;trigner&longs;i di quelle mete faccia il cor&longs;o del­<lb/>l'acqua, che uiene in que ua&longs;i o gagliardo, o debile. </s> <s id="s.007909">Co&longs;i con que&longs;te ragioni, & machi­<lb/>nationi &longs;i compongono gli horologi all'u&longs;o del uerno. </s> <s id="s.007910">Ma &longs;e per l'aggiunta, per lo leua­<lb/>re de i cunei, non &longs;aranno approuate le breuità, o gli accre&longs;cimenti de i giorni, perche <lb/>&longs;pe&longs;&longs;o i cunei &longs;ono difetto&longs;i, egli bi&longs;ogncrà sbrigar&longs;i in que&longs;to modo. </s> <s id="s.007911">Egli &longs;i de&longs;criuerà <lb/>attrauer&longs;o d'una colonnella le hore pre&longs;e dallo Analemma, & fondamento loro, & &longs;i con <lb/>ficcheranno nella <expan abbr="colōnella">colonnella</expan> le linee de i me&longs;i, facendo&longs;i quella <expan abbr="colōnella">colonnella</expan> in modo, che ella <lb/>&longs;i po&longs;&longs;a girare, accioche uolgendo&longs;i la colonna continuamente alla figurina, & alla uerga, <lb/>dellaqual uerga la figurina u&longs;cendo dimo&longs;tra l'hore, faccia le breuità, & gli accre&longs;cimenti <lb/>delle hore &longs;econdo cia&longs;cun me&longs;e. </s> <s id="s.007912">Fanno&longs;i ancho gli horologi del uerno, che detti &longs;ono <lb/>Anaporici, d'un'altra &longs;orte: & &longs;i fanno con que&longs;te ragioni. </s> <s id="s.007913">Si di&longs;pongono le hore di uer­<lb/>ghe di rame dal centro nella fronte di&longs;po&longs;te dalla de&longs;crittione dello Analemma, in quella <lb/>de&longs;crittione &longs;ono circondati i circoli, che terminano gli &longs;pacij de i me&longs;i. </s> <s id="s.007914">Drieto que&longs;te <lb/>uirgule, &longs;ia po&longs;to un Timpano, nelquale &longs;ia de&longs;critto, & dipinto il cielo, & il circolo dei <lb/>&longs;egni, & la de&longs;crittione di quel circolo &longs;ia figurata da i dodici &longs;egni cele&longs;ti, dal cui centro <lb/>è formato lo &longs;patio di cia&longs;cun &longs;egno, uno magggiore, l'altro minore, Ma dalla parte di <lb/>dietro a mezo il Timpano è incluio, & &longs;errato un perno, che &longs;i gira, & in quell'a&longs;&longs;e è una <lb/>catena molle di rame in uolta, dallaqual pende da una parte un &longs;ecchiello, Phellos, o Tim<lb/>pano, che &longs;i dica, ilquale è alzato dall'acqua, dall'altra di egual pe&longs;o del &longs;ecchiello è una <lb/>&longs;accoma di &longs;aorna. </s> <s id="s.007915">Co&longs;i quanto il &longs;ecchielo &longs;arà &longs;olleuato dall'acqua, tanto abba&longs;&longs;an­<lb/>do&longs;i il contrape&longs;o uolgerà il perno, & il perno uolterà il Timpano, il cui giro fa alcuna <pb pagenum="429" xlink:href="045/01/443.jpg"/>uolta maggior parte del circolo de i &longs;egni, alcuna uolta minore: nelle riuolutioni &longs;ue &longs;ian <lb/>a &longs;uoi tempi di&longs;egnate le proprietà delle hore, perche in ogni &longs;egno &longs;ono i caui perfetti del <lb/>numero de i giorni di cia&longs;cun me&longs;e, la cui bolla, che ne gli horologi pare che tenga la ima <lb/>gine del Sole, dimo&longs;tra gli &longs;pacii delle hore. </s> <s id="s.007916">quella bolla traportata di foro in foro fa il <lb/>cor&longs;o &longs;uo del me&longs;e compiuto. </s> <s id="s.007917">Adunque &longs;i come il Sole andando per lo &longs;pacio de i &longs;egni <lb/>allarga, & ri&longs;trigne i giorni, & l'hore: co&longs;i la bolla ne gli horologi per li punti contra il gi­<lb/>ro del centro del Timpano ogni giorno quando è traportata in alcuni tempi in piu lar­<lb/>ghi, in alcuni in piu &longs;tretti &longs;pacij con i termini de i me&longs;i fa le imagini delle hore, & de i <lb/>giorni. </s> <s id="s.007918">Ma per la admini&longs;tratione dell'acqua, in che modo ella &longs;i tempri alla ragione, <lb/>co&longs;i bi&longs;ogna fare. </s> <s id="s.007919">Drieto alla fronte dell horologio &longs;ia po&longs;to di dentro un ca&longs;tello, o <lb/>con&longs;erua d'acqua, nelquale per una canna uadi l'acqua: que&longs;ti nel fondo habbia un cauo, <lb/>& a quello &longs;ia affitto un Timpano di rame, che habbia un foro, per loquale u'entri l'ac­<lb/>qua, che uiene dal ca&longs;tello, & in quello &longs;ia un timpano minore fatto con i cardini al tor­<lb/>no con ma&longs;chio, & femina tra &longs;e con&longs;tretti di modo, che il timpano minere come un ma <lb/>nico girando&longs;i nel maggiore uada a&longs;&longs;ettato, & dolcemente. </s> <s id="s.007920">Ma il labro del timpano <lb/>maggiore &longs;ia &longs;egnato con trecento&longs;e&longs;&longs;antacinque punti egualmente di&longs;tanti uno dall'al­<lb/>tro: ma il minor cerchiello nell'ultima &longs;ua circonferenza habbia fitto una lenguella, la <lb/>cui cima &longs;i drizzi uer&longs;o la parte de i punti, & in quel cerchiello &longs;ia temprato un foro da <lb/>quella parte doue l'acqua influi&longs;ce nel timpano, & con&longs;erua l'admini&longs;tratione. </s> <s id="s.007921">quando <lb/>adunque nel labro del timpano maggiore &longs;aranno le forme de i &longs;egni cele&longs;ti, &longs;ia quello im<lb/>mobile, & nella &longs;ommità habbia formato il &longs;egno del Cancro. <!-- KEEP S--></s> <s id="s.007922">al perpendicolo delquale, <lb/>da ba&longs;&longs;o &longs;ia il Capricorno, dalla de&longs;tra di chi guarda la Bilancia, dalla &longs;ini&longs;tra il &longs;egno del <lb/>Montone, & co&longs;i gli altri &longs;egni tra gli &longs;pacij loro &longs;iano di&longs;egnati al modo, che &longs;i uedono <lb/>in cielo. </s> <s id="s.007923">Adunque quando il Sole farà nel cerchiello del Capricorno, la lenguella nella <lb/>parte del maggior timpano toccando ogni dì cia&longs;cuno punto del Capricorno hauendo il <lb/>gran pe&longs;o dell'acqua corrente a piombo uelocemente per lo foro del cerchiello lo &longs;caccie <lb/>rà al ua&longs;o, allhora quello riceuendo quell'acqua (perche pre&longs;to &longs;i empie) abbreuia, & con­<lb/>tragge gli &longs;patij minori de i giorni & delle hore. </s> <s id="s.007924">Ma quando col quottidiano girare la <lb/>lenguella nel timpano maggiore entra nello Acquario, il foro uiene a perpendicolo, & per <lb/>lo cor&longs;o gagliardo dell'acqua è forzata piu tardamente mandarla fuori: co&longs;i con quanto <lb/>men ueloce cor&longs;o il ua&longs;o riceue l'acqua egli dilata gli &longs;pacij delle hore. </s> <s id="s.007925">ma &longs;alendo per li <lb/>punti d'Aquario, & di Pe&longs;ci come per gradi, il foro del cerchiello toccando l'ottaua par <lb/>te del Montone pre&longs;ta l'hore equinottiali all'acqua temprata, che &longs;ale. </s> <s id="s.007926">Ma dal Montone <lb/>per gli &longs;pacij del Toro, & de Gemelli &longs;alendo a gli altri punti del Cancro andando per lo <lb/>foro o timpano della ottaua parte, & da quello tornando in altezza, &longs;i debilita di forze, & <lb/>co&longs;i piu tardamente u&longs;cendo l'acqua allunga gli &longs;pacij con la dimora, & fale hore &longs;ol&longs;ti­<lb/>tiali nel &longs;egno del Cancro. <!-- KEEP S--></s> </p> <p type="main"> <s id="s.007927"><emph type="italics"/>Vuole Vitr. che gli Equinottij, & i Sol&longs;titij &longs;i facciano in otto gradi de i lor &longs;egni, & comincia <lb/>l' anno quando il Sol entra in Capricorno.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.007928">Ma quando egli inclina dal Cancro, & ua per Leone, & Vergine, ritornando a i punti <lb/>della ottaua parte della Bilancia, & di grado in grado abbreuiando gli &longs;pacij, egli accor­<lb/>cia le hore, & co&longs;i peruenendo a i punti della Bilancia, di nuouo rende l hore equinottia­<lb/>li. </s> <s id="s.007929">Ma per gli &longs;pacij dello Scorpione, & del Sagittario piu procliuemente deprimendo&longs;i <lb/>il foro ritornando col girar&longs;i alla ottaua parte del Capricorno con la celerità dell'acqua, <lb/>che &longs;ale è re&longs;tituito alle breuità delle hore brumali. </s> <s id="s.007930">Quanto piu commodamente ho po­<lb/>tuto, io ho con diligenza &longs;critto, che ragioni &longs;iano nelle de&longs;crittioni de gli horologi, & <lb/>de gli apparati loro, accioche ageuolmente &longs;i po&longs;sino u&longs;are. </s> <s id="s.007931">Re&longs;ta che io di&longs;corra &longs;o­<lb/>pra le machine, & principij loro, & però io comincierò a &longs;criuere di que&longs;te co&longs;e nel &longs;e­<pb pagenum="430" xlink:href="045/01/444.jpg"/>guente uolume, accioche &longs;ia perfetto, & finito il corpo emendato dell'Archittetura. </s> </p> <p type="main"> <s id="s.007932"><emph type="italics"/>Molte belle inuentioni &longs;ono &longs;tate quelle di Cte&longs;ibio, et uole&longs;&longs;e Iddio, che il tempo non ce le haue&longs;&longs;e <lb/>rubbate. </s> <s id="s.007933">Noi e&longs;poneremo la mente di Vitru. con quella facilità, & breuità, che &longs;i puo in co&longs;e <lb/>tanto difficili. </s> <s id="s.007934">Lo Analemma de&longs;critto di &longs;opra &longs;ar à il modulo del nostro horologio. </s> <s id="s.007935">piglia adun <lb/>que la linea lacotomus h g. <!-- REMOVE S-->& quella &longs;ia il diametro d'una colonella fatta giu&longs;tamente al tor­<lb/>no. </s> <s id="s.007936">il circolo de i me&longs;i r. <!-- REMOVE S-->c. <!-- REMOVE S-->g. <!-- REMOVE S-->&longs;arà la circonferenza della colonnella. </s> <s id="s.007937">questo diuiderai in 12 <lb/>parti eguali nell'ultima &longs;ua circonferenza &longs;opra la te&longs;ta della colonella: & da cia&longs;cun punto del­<lb/>la diui&longs;ione la&longs;cierai cader a piombo lungo la colonnella le lince fin'all'altra te&longs;ta. </s> <s id="s.007938">que&longs;te diuideran<lb/>no lo &longs;tipite della colonella in dodici parti eguali deputate a gli &longs;patij de i dodici &longs;egni. </s> <s id="s.007939">una di quel <lb/>le linee, che caderà dalla te&longs;ta della line a lacotomus &longs;eruirà al principio del Cancro, l'altra, che <lb/>caderà dall'altra parte &longs;eruirà al principio del Capricorno. <!-- KEEP S--></s> <s id="s.007940">tirata poi una linea &longs;opra la te&longs;ta del­<lb/>la colonnella in croce, alla linea lacotomus, una di quelle linee, che caderà dall'una delle te&longs;te ci <lb/>&longs;eruirà al principio del Montone, l'altra al principio della Bilancia. <!-- KEEP S--></s> <s id="s.007941">ma le altre linee, che cade­<lb/>ranno da gli altri punti, ci &longs;eruiranno a i principij de gli altrime&longs;i, come fanno le linee tirate nei <lb/>cilindri. </s> <s id="s.007942">Di&longs;egnerai anche uolendo di grado in grado le linee per ogni &longs;egno al modo &longs;opra po&longs;to, <lb/>piglia poi dallo Analemma lo &longs;patio che è dallo a. <!-- REMOVE S-->all' n. <!-- REMOVE S-->&longs;opra l'equinottiale, & quello diuide <lb/>rai in dodici parti eguali.<emph.end type="italics"/> I<emph type="italics"/>l &longs;imile farai dello &longs;patio dallo a all'x. </s> <s id="s.007943">& quelle parti &longs;iano trapor­<lb/>tate nella colonnella &longs;opra le linee del Montone, & della Bilancia. <!-- KEEP S--></s> <s id="s.007944">&longs;imilmente piglia dallo Ana­<lb/>lemma lo &longs;patio, che è da y al K. & dallò &longs; al g. <!-- REMOVE S-->che è quello i&longs;te&longs;&longs;o, & partirailo in 12 <lb/>parti eguali, & quelle traporterai dallo Analemma alle linee del Cancro, & del Capricorno nel <lb/>la colonnella: ma quelle del Cancro comincierai a &longs;egnar dal ba&longs;&longs;o, & anderai all'in&longs;u: & quel­<lb/>le del Capricorno &longs;egnerai al contrario dal di&longs;opra al ba&longs;&longs;o. </s> <s id="s.007945">Il &longs;imile farai tirando nello Analem <lb/>ma iraggi de gli altri &longs;egni, & quella parte de i diametri, che &longs;arà &longs;opra l'Orizonte e a i. <!-- REMOVE S-->par <lb/>tir ai in dodici parti, & quelle traporterai nella colonnella alle &longs;ue propie linee. </s> <s id="s.007946">&longs;imilmente il re­<lb/>&longs;tante de i diametri &longs;otto l'Orizonte partir ai in dodici parti, & quelli traporterai, come le altre <lb/>nella colonnella, & tutti quelli punti delle diui&longs;ioni fatte legherai con linee. </s> <s id="s.007947">que&longs;te linee &longs;aranno <lb/>le linee delle hore cre&longs;centi per ordine, & &longs;cemanti &longs;econdo il cor&longs;o del Sole. <!-- KEEP S--></s> <s id="s.007948">però le aggiugnerai <lb/>i loro numeri di &longs;otto, & i caratteri, o le figure de i &longs;egni cele&longs;ti, al &longs;uo luogo, come &longs;ifa ne i ci­<lb/>lindri. </s> <s id="s.007949">Drizzerai que&longs;ta colonnella &longs;opra un piano, & con un perno nel mezo centro dal ba&longs;&longs;o <lb/>la poner ai in un foro di modo, che la &longs;i po&longs;&longs;a girare, ma prima circonderai il piede della colonna <lb/>con un cerchiello dentato a torno di 360 denti, accioche &longs;tando la colonna dritta una ruota posta <lb/>in piano dentata &longs;imilmente ogni giorno faccia, che la colonnella &longs;i muoua un grado: ma la ruota <lb/>piana &longs;arà mo&longs;&longs;a da un'altra ruota pur in piano da un dentello, che nell'uno de capi del &longs;uo perno <lb/>&longs;i pone: & que&longs;ta ruota è girata da un'altra con pari denti, ma po&longs;ta in coltello, & è dentata in <lb/>fronte, tal che ognuna di loro girerà una uolta il giorno, &longs;econdo che &longs;i mouerà il &longs;uo perno, il <lb/>qual perno hauendo inuolta una fune dall'uno de i &longs;uoi capi hauerà un &longs;ecchiello riuer&longs;cio, & dal­<lb/>l'altra un contrape&longs;o dipe&longs;o eguale. </s> <s id="s.007950">Ma il &longs;ecchiello &longs;arà in un ua&longs;o, nel quale u'entrerà l'acqua <lb/>che caderà giu da un'altro ua&longs;o, & co&longs;i montando l'acqua, &longs;i &longs;olleuerà il &longs;eccbiello, & il contra <lb/>pe&longs;o farà girar il perno, il perno girerà il Timpano, o la ruota in coltello, & quella in coltello <lb/>mouerà la ruota po&longs;ta in piano, la quale con lo dentello, che hauerà in capo del &longs;uo perno, darà il <lb/>mouimento a quella, che ogni giorno mouerà la colonnella un grado; & co&longs;i in capo l'anno la co <lb/>lonnella hauerà fatto un giro. </s> <s id="s.007951">Ma per dimo&longs;trar le bore, egli bi&longs;ogna temperar l'acqua in que­<lb/>&longs;to modo. </s> <s id="s.007952">Fa tornire due Mete, o coni di rame con diligenza, una delle quali &longs;i farà uota, & <lb/>&longs;arà come femina, la quale nella &longs;ua punta hauerà un foro &longs;ottile fatto in un cauetto d'oro, o <lb/>d'una Gemma: l'altra Meta &longs;arà &longs;oda, & come ma&longs;chio entrerà nella femina, & hauerà attac­<lb/>cata una regola dritta nel mezo dalla parte piu gro&longs;&longs;a, la quale hauerà nel mezo per lungo una <lb/>apritura, nella qual apritura hanno ad entrar alcuni cunei maggiori, o minori &longs;econdo il bi&longs;ogno <lb/>della carcatura, o tempra dell'acqua. </s> <s id="s.007953">Et la femina &longs;ia accommodata in un ordimento, o telaro<emph.end type="italics"/><pb pagenum="431" xlink:href="045/01/445.jpg"/><emph type="italics"/>di legname, come nella figura &longs;i uede; & la regola, o manico del ma&longs;colo &longs;ia retto, & gouerna­<lb/>to da due regi&longs;tri, & cunei come il di&longs;egno dimo&longs;tra. </s> <s id="s.007954">Siano po&longs;te que&longs;te Mete in modo, che dal <lb/>di &longs;opra da un ua&longs;o, che Vitr. chiama ca&longs;tello, ui cada l'acqua dentro: io dico, che &longs;el ma&longs;chi, <lb/>col ponerui de i cunei &longs;arà alzato fuori della femina, quanto piu d'acqua entrerà nella femina o <lb/>entrando l'acqua con maggior impeto, tanto piu ne u&longs;cirà di &longs;otto dal Cauetto in un ua&longs;o per que­<lb/>&longs;to apparcchiato. </s> <s id="s.007955">Si che uolendo noi, che e&longs;ca piu acqua bi&longs;ognerà &longs;egnar il cunco, o porui <lb/>uno maggiore, o aggiugnerui de gli altri di modo, che la i&longs;te&longs;&longs;a regola attaccata al ma&longs;chio lo le <lb/>ui piu, o meno &longs;econdo il bi&longs;ogno. </s> <s id="s.007956">l'acqua adunque di&longs;cendendo in un ua&longs;o alzerà uno &longs;ecchiello <lb/>r. <!-- REMOVE S-->uer&longs;o, &longs;u il quale po&longs;erà una regola o uerg a mobile, dalla quale u&longs;cira una figurina, che uolta <lb/>ta uer&longs;o le hore di&longs;egnate nella colonnella alzando&longs;i, & abba&longs;&longs;ando&longs;i &longs;econdo la tempra dell'ac­<lb/>qua, dimo&longs;trer à ogni giorno le hore, mentre la colonnella dar à uolta un grado ogni dì. </s> <s id="s.007957">Et quan­<lb/>do i giorni comincieranno a declinare, non &longs;i piglierà piu l'acqua dal ca&longs;tello, ma &longs;i apriranno le <lb/>Mete che &longs;aranno in fondo del ua&longs;o, per le quali con i loro cunei accommodati al di&longs;cre&longs;cere de i <lb/>giorni u&longs;cirà l'acqua del ua&longs;o, & attaccando il &longs;ecchiello al capo del contrape&longs;o, & il contrape­<lb/>&longs;o a quello, che era attaccato il &longs;ecchiello, per lo calar dell'acqua nel ua&longs;o il &longs;ecchiello &longs;i abba&longs;­<lb/>&longs;erà, & la figurina ancor lei &longs;iuenirà abba&longs;&longs;ando, & mo&longs;trerà l'hore, & i gradi da i &longs;egni di gior <lb/>no, in giorno, come è detto di &longs;opra. </s> <s id="s.007958">L'altra forma di horologio è belli&longs;&longs;ima, & molto artifi­<lb/>cio&longs;a, & utile alla dimo&longs;tratione delle co&longs;e cele&longs;ti, & &longs;ifa in que&longs;to modo, & è diui&longs;o que&longs;to trat <lb/>tamento da Vitr. in due parti, l'una è la compo&longs;itione dello horologio, l'altra è la tempra del­<lb/>l'acqua: &longs;imilmente la compo&longs;itione dello horologio è diui&longs;a in due parti, l'una è la de&longs;crittione <lb/>delle hore, l'altra è la de&longs;crittione del Cielo, & del Zodiaco: la de&longs;crittione delle hore è pre&longs;a <lb/>dallo Analemma, ma Vitr. non in&longs;egna a che modo: &longs;imilmente ancho egli non c'in&longs;egna il modo <lb/>di de&longs;criuere il cielo, & il Zodiaco, però partitamente io e&longs;ponerò &longs;econdo, che io la intendo. </s> <s id="s.007959"><lb/>Lo Analemma adunque &longs;i piglia dalla sfera po&longs;ta in piano con ragione di pro&longs;pettiua, &longs;econdo, <lb/>che &longs;i de&longs;criue una tauola dello A&longs;trolabio. <!-- KEEP S--></s> <s id="s.007960">Il modo è que&longs;to. </s> <s id="s.007961">Sia fatto un circolo a b c d. <!-- REMOVE S--><lb/>in quattro parti da due diametri diui&longs;o. </s> <s id="s.007962">Que&longs;to circolo rappre&longs;enta il tropico del Capricorno, <lb/>dentro del quale &longs;i ha a formare, & lo equinottiale, & il tropico del Cancro, i quali circoli &longs;o­<lb/>no minori per ragione di pro&longs;pettiua, perche noi &longs;e imaginamo di tener l'occhio no&longs;tro nel polo op<lb/>po&longs;to al no&longs;tro, & guardar uer&longs;o il no&longs;tro polo: certo è che il circolo del Capricorno ci uerrà pri­<lb/>ma incontro, dapoi uerrà l'equinottiale, & in fin il tropico del Cancro, & ancho il tropico del <lb/>Capricorno ci parer à maggiore, perche &longs;i uederà&longs;otto maggior angulo, & per e&longs;&longs;er piu uicino <lb/>all'occhio, & il tropico del Cancro ci parerà minore, & per e&longs;&longs;er piu lontano &longs;i uederà &longs;otto an­<lb/>gulo piu &longs;tretto, & co&longs;i l'equinottiale &longs;arà maggiore del tropico del Cancro, & minore del tropi <lb/>co del Capricorno per le i&longs;te&longs;&longs;e ragioni, & que&longs;to &longs;i deue auuertire, perche è co&longs;a bella, & &longs;ecre­<lb/>ta. </s> <s id="s.007963">Il re&longs;to &longs;i fanel modo, che &longs;i de&longs;criueno le tauole de gli A&longs;trolabi, ouero le reti; al che fare <lb/>io mi riporto a chi ne ha &longs;critto con diligenza. </s> <s id="s.007964">Dapoi per &longs;egnar le hore &longs;i diuideno tutti gli ar­<lb/>chi de i circoli fatti di &longs;opra l'orizonte cia&longs;cuno in dodici parti eguali, & co&longs;i gli archi di &longs;otto in <lb/>dodici parti, & per la regola di trouar il centro de i tre punti &longs;i legano in&longs;ieme i punti de i tropici <lb/>con i punti equinottiali, i primi con i primi, i &longs;econdi con i &longs;econdi, & co&longs;i per ordine. </s> <s id="s.007965">& a que­<lb/>&longs;to modo &longs;aranno &longs;egnate le hore: le quali Vitr. uuole che &longs;iano fatte di uerghe di rame, perche <lb/>&longs;otto di e&longs;&longs;e ui ha da andare un Timpano, che ha il Zodiaco, & il Cielo di&longs;egnato, però accioche <lb/>&longs;i ueda di &longs;otto, è nece&longs;&longs;ario far que&longs;te uirgule, i cui quadretti io ho adombrati, perche s'inten­<lb/>da, che &longs;ono tagliati, & forati. </s> <s id="s.007966">Dapoi que&longs;to egli &longs;i fa un Timpano, & &longs;e gli dipigne &longs;opra le <lb/>Stelle & il Zodiaco. <!-- KEEP S--></s> <s id="s.007967">questi &longs;imilmente è pre&longs;o dalla rete dello A&longs;trolabio. <!-- KEEP S--></s> <s id="s.007968">Nè &longs;olamente &longs;egnerai <lb/>i principij de i &longs;egni, ma ancho i gradi, & in ogni grado farai un foro nella circonferenza della <lb/>Eclittica, nel qual foro di giorno in giorno tra&longs;porterai la bolla, che Vitr. intende per lo Sole, <lb/>che mo&longs;tra le hore ne gli horologi: il Timpano co&longs;i di&longs;egnato &longs;arà po&longs;to drieto le linee delle hore, <lb/>& ogni dì &longs;i uolta compiutamente una uolta, ma la bolla &longs;tando ferma per un dì nel grado, &<emph.end type="italics"/><pb pagenum="432" xlink:href="045/01/446.jpg"/><emph type="italics"/>nel foro di quel Segno doue &longs;i troua il Sole mo&longs;trerà l'arco diurno, & le hore, &longs;econdo il cre&longs;ce­<lb/>re, & il calar da i giorni, & delle hore: il Timpano &longs;i uolge (come s'è detto) di &longs;opra, hauen­<lb/>do nel mezo fitto un fu&longs;o, d'intorno il quale è una catena molle come dice Vitr. cioè di anelli ritor <lb/>ti, & corti come la lettera S. di modo, che la &longs;i uolga facilmente, et da uno capo ha uno &longs;ecchiello <lb/>& dall'altro un contrape&longs;o di pe&longs;o eguale al &longs;ecchiello, il qual &longs;ecchiello e&longs;&longs;endo dall'acqua &longs;olle­<lb/>nato fa che la catena &longs;i &longs;uolge, & il fu&longs;o &longs;i muoue, & il fu&longs;o mo&longs;&longs;o uolta il Timpano. <!-- KEEP S--></s> <s id="s.007969">Ma come <lb/>egli &longs;i habbia a temprar l'acqua, accioche ogni giorno &longs;i ueda que&longs;ta differenza delle hore Vitr. <lb/>ce lo in&longs;egna.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.007970"><emph type="italics"/>La tempra dell'acqua &longs;i fa in que&longs;to modo. </s> <s id="s.007971">Egli &longs;i fa drieto la fronte dell'horologio una con­<lb/>&longs;erua dell'acqua, laquale Vitru. qui & altroue chiama ca&longs;tellum. </s> <s id="s.007972">a questo ca&longs;tello &longs;i fa un foro <lb/>di &longs;otto, accio l'acqua po&longs;&longs;a u&longs;cire. </s> <s id="s.007973">a quel foro è congiunto un Timpano, & ancho egli ha un fo­<lb/>ro, per lo quale entra l'acqua in e&longs;&longs;o dal ca&longs;tello, que&longs;ti &longs;arà di quella grandezza &longs;econdo che <lb/>ricerca la grandezza dello horologio, la materia delquale è di rame ri&longs;petto all'acqua, che egli <lb/>tiene del continuo. </s> <s id="s.007974">que&longs;ti è immobile, & ha &longs;egnato nella &longs;ua circonferenza di tanti punti, quanti <lb/>&longs;ono giorni all'anno: & ancho egli &longs;i puo fare un Zodiaco, i gradi de i &longs;egni delquale ri&longs;pondino a <lb/>i giorni de i me&longs;i, &longs;econdo che egli &longs;i puo trarre dalle tauole del mouimento del Sole. <!-- KEEP S--></s> <s id="s.007975">di&longs;egnato &longs;ia <lb/>nella &longs;ommità il Cancro, dalla de&longs;tra di colui, che guarda, la Libra, dalla &longs;ini&longs;tra il Montone, di <lb/>&longs;otto il Capricorno, & tra questi &longs;iano al luogo &longs;uo de&longs;critti gli altri &longs;egni, & i gradi loro a iqua <lb/>li di&longs;otto &longs;iano i giorni, i numeri, & i me&longs;i ri&longs;pondenti a i loro propi &longs;egni. </s> <s id="s.007976">Tira poi una linea a <lb/>perpendicolo dal Cancro al Capricorno, laquale è come diametro del Timpano. <!-- KEEP S--></s> <s id="s.007977">partirai poi la <lb/>circonferenza del detto Timpano in parti noue eguali, & &longs;econdo la larghezza di una &longs;i fa il &longs;e­<lb/>midiametro d'un'altro Timpano picciolo, della circonferenza delquale &longs;i fanno otto parti, & &longs;e­<lb/>condo la distanza d'una di quelle &longs;i allarga la &longs;e&longs;ta, & &longs;i pone un piede di e&longs;&longs;a nel mezo del Tim­<lb/>pano grande, & &longs;i fa un circolo di quella grandezza, & il &longs;imile &longs;i fa nel Timpano picciolo. </s> <s id="s.007978">que­<lb/>&longs;to circolo &longs;i parte in parti &longs;ette eguali, una dellequali &longs;i parte in quattordici, una dellequali &longs;i <lb/>riporta dal centro del Timpano picciolo &longs;opra il diametro, & iui &longs;i fa punto uer&longs;o la parte inferio<lb/>re, & &longs;i tira da quel centro una circonferenza tanto quanto è una delle &longs;ette parti, & questo &longs;i <lb/>fa ancho nel Timpano grande, & è que&longs;to circolo come uno eccentrico, & tra que&longs;to circolo ec­<lb/>centrico & l'altro concentrico dalla parte di &longs;opra, &longs;i fa un foro nel Timpano grande ritondo, dal <lb/>quale e&longs;ce l'acqua, che ua poi nel Timpano picciolo, nelquale Timpano picciolo &longs;ono di&longs;egnati i <lb/>mede&longs;imi circoli cioè lo eccentrico, & concentrico, & quelli partiti con certe linee, accioche per <lb/>quelle pa&longs;&longs;i l'acqua dal Timpano maggiore piu & meno &longs;econdo il bi&longs;ogno. </s> <s id="s.007979">le altezze o uacui de <lb/>i Timpani &longs;i far anno &longs;econdo la capacità dell'acqua, che richiede l'horologio. </s> <s id="s.007980">nel coltello, & ta<lb/>glio, o fronte, che &longs;i dica, del Timpano minore &longs;i fa un foro, che Vitr. chiama Orbiculo, alquale è <lb/>attaccata una lenguella. </s> <s id="s.007981">da que&longs;to foro e&longs;ce l'acqua in un ua&longs;o &longs;ottopo&longs;to. </s> <s id="s.007982">Questi timpani &longs;ono <lb/>po&longs;ti in&longs;ieme con i cardini loro fatti a torno di modo, che uno entri nell'altro, come ma&longs;chio, & <lb/>femina, & il Timpano picciolo &longs;ia col piano &longs;uo forato co&longs;i congiunto, & a&longs;&longs;ettato col piano del <lb/>Timpano maggiore, che niuna co&longs;a di mezo ui po&longs;&longs;a entrare: & a questa &longs;imiglianza Vitru. dice <lb/>che &longs;ono i galletti: o i bocchini a&longs;&longs;aggiati alle co&longs;e. </s> <s id="s.007983">Egli accaderà adunque, che uolendo noi tem­<lb/>prar l'acqua, la lenguella, che è congiunta al foro del Timpano minore, drizzata da &longs;e con l'arti­<lb/>ficio dell'acqua di giorno in giorno al &longs;egno, & al giorno corrente de&longs;critto nel Timpano maggio <lb/>re, hauendo in quella parte il foro del Timpano minore hora dritto, hora piegato, hora a perpen­<lb/>dicolo, &longs;econdo, che ricercherà il &longs;ito di quel giorno, manderà fuori piu, & meno acqua in un <lb/>ua&longs;o di &longs;otto, nelquale &longs;arà il &longs;ecchiello attaccato alla catena, come di &longs;opra s'è detto, & riuol­<lb/>gerà ogni giorno il perno, & il perno il Timpano dello horologio, & quello &longs;econdo il bi&longs;ogno: <lb/>& benche pare che Vitr. uoglia, che la bolla, che tiene la imagine del Sole, &longs;ia à mano tra&longs;por­<lb/>tata di foro in foro contra il giro del Timpano, nientedimeno l'ingenio&longs;o M. </s> <s id="s.007984">France&longs;co Marcoli­<lb/>no ha tronato il modo di fare, che la lenguella, che nella parte dinanzi dimo&longs;tra l'hore (che noi <emph.end type="italics"/><pb pagenum="433" xlink:href="045/01/447.jpg"/><emph type="italics"/>chiamiamo raggio) ritorni a drieto ogni dì un grado; & perche Vitru. uuole, che nel Timpano, <lb/>che dimo&longs;tra l'a&longs;cendere, & di&longs;cendere de i &longs;egni &longs;opra la terra, &longs;iano &longs;egnati i giorni de i me&longs;i, li­<lb/>quali per e&longs;&longs;ere trecento&longs;e&longs;&longs;ant acinque, ha fatto nella circonferenza del detto Timpano, o Ruo­<lb/>ta, che chiamiamo noi trecento&longs;e&longs;&longs;antacinque denti partiti egualmente, come dice Vitru. <!-- KEEP S--></s> <s id="s.007985">& co­<lb/>me uuole e&longs;&longs;o Autore, gli ha po&longs;to nel mezo il &longs;uo cardine, che &longs;erue per ma&longs;chio, & femina; & <lb/>di poi ha formato un'altro Timpano, o pur ruota (come dicemo noi) della grandezza della &longs;o­<lb/>pradetta, & nel coltello, o circonferenza &longs;ua, che uolemo dire, ha fatto denti trecento&longs;e&longs;&longs;anta&longs;ei, <lb/>de&longs;tinti di egual portione; & que&longs;ta ruot a ha anchor lei il &longs;uo cardine ma&longs;chio, & femina, il­<lb/>quale non è co&longs;i detto da Vitr. &longs;enza gran con&longs;ideratione: & nel foro di que&longs;to perno entra il per­<lb/>no principale confitto, & &longs;tretto di modo che girando ditto perno per uirtù della tempra dell'ac­<lb/>qua &longs;i giri que&longs;ta ruota con e&longs;&longs;o lui come &longs;e fu&longs;&longs;ero una co&longs;a mede&longs;ima; & dipoi nel perno di que­<lb/>&longs;ta ruota, &longs;i pone la ruota, nella qual &longs;on &longs;egnati i giorni di cia&longs;cun me&longs;e, & i &longs;egni cele&longs;ti; le­<lb/>quali ruote, girando il perno, girano in&longs;ieme in un rocchello mo&longs;&longs;o da dette ruote, & gir ando <lb/>continuamente di compagnia, quella che ha un dente di piu re&longs;ta ogni dì un grado in drieto, il<emph.end type="italics"/></s> </p> <figure id="id.045.01.447.1.jpg" xlink:href="045/01/447/1.jpg"/> <pb pagenum="434" xlink:href="045/01/448.jpg"/> <p type="main"> <s id="s.007986"><emph type="italics"/>I Timpani po&longs;ti all incontro &longs;erueno alla facciata dello borologio &longs;eguente; Quello di &longs;otto è immobile & l'altro gira mo&longs;&longs;o dall'artificio de l'acqua.<emph.end type="italics"/><lb/><figure id="id.045.01.448.1.jpg" xlink:href="045/01/448/1.jpg"/><pb pagenum="435" xlink:href="045/01/449.jpg"/><figure id="id.045.01.449.1.jpg" xlink:href="045/01/449/1.jpg"/><pb pagenum="436" xlink:href="045/01/450.jpg"/><emph type="italics"/>perno dellaquale uuole auanzare fuori della faccia dello horologio e&longs;&longs;endo grande per il manco <lb/>mezo piede, & nella &longs;ua &longs;ommit à fi a accommadata la lenguella della lunghezza quanto farà di <lb/>bi&longs;ogno, nella qual &longs;aranno &longs;egnati i gradi de i &longs;egni da un tropico all'altro, laquale &longs;eruirà a mo­<lb/>&longs;trare l'hore, & il cor&longs;o de i &longs;egni & i gradi il uerno, come dice Vitru. <!-- KEEP S--></s> <s id="s.007987">Et mettendo&longs;i la lenguella <lb/>al perno dell'altra ruota, ilquale &longs;arà piu corto quattro dita, mo&longs;trerà il cre&longs;cere de i giorni. </s> <s id="s.007988">& <lb/>i cor&longs;i de i &longs;egni, & i gradi, & l'hore di tutta la &longs;tate: perche &longs;i come l'altra ruota per lo dente <lb/>di piu, mo&longs;tra il calar de i giorni, que&longs;ta per lo dente di manco con la lenguella mo&longs;trerà il cre­<lb/>&longs;cere de i giorni, & il calar delle notti: Auuertendo che nella lenguella ua accommodato un Sole, o <lb/>bolla come dice Vitr. mobile da poter&longs;i traportare ogni giorno in detta lenguella nel grado del <lb/>&longs;egno del giorno corrente, come fa la lenguella della tempra dell'acqua da &longs;e. </s> <s id="s.007989">Io uedo quanta <lb/>difficultà &longs;i troua in uoler de&longs;criuere que&longs;te co&longs;e, ma poi che con&longs;idero, come quando la co&longs;a &longs;a­<lb/>rà inte&longs;a, &longs;i prenderà gu&longs;to mirabile, uoglio creder, che ogni fatica ci parer à dolse, & &longs;oaue, ri­<lb/>mettendomi &longs;empre al miglior giudicio.<emph.end type="italics"/><lb/><figure id="id.045.01.450.1.jpg" xlink:href="045/01/450/1.jpg"/></s> </p> <pb pagenum="437" xlink:href="045/01/451.jpg"/> <figure id="id.045.01.451.1.jpg" xlink:href="045/01/451/1.jpg"/> <p type="main"> <s id="s.007990"><emph type="italics"/>Que&longs;te due figure &longs;ono po&longs;te per mo&longs;trare le parti occulte de i Timpani, che &longs;erueno per la <lb/>tempera dell'acqua; & uanno congiunte in&longs;ieme, come nella pa&longs;&longs;ata figura &longs;i uede.<emph.end type="italics"/></s> </p> <p type="head"> <s id="s.007991"><emph type="italics"/>Il Fine del libro Nono.<emph.end type="italics"/></s> </p> </subchap2></subchap1><subchap1> <pb pagenum="438" xlink:href="045/01/452.jpg"/> <p type="head"> <s id="s.007992">LIBRO DECIMO<!-- REMOVE S--> DELL' ARCHITETTVRA DI <lb/>M. VITRVVIO.<!-- KEEP S--></s> </p> <p type="head"> <s id="s.007993"><emph type="italics"/>PROEMIO.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.007994">DICESI che in Efe&longs;o nobile, & ampia città di Greci è &longs;tata da i loro <lb/>maggiori con dura conditione, ma con ragione non iniqua un'antica leg<lb/>ge ordinata: percioche l'Architetto quando piglia a fare un'opera publi<lb/>ca, promette prima quanta &longs;pe&longs;a ui ha d'andare. </s> <s id="s.007995">fatta la &longs;tima al magi­<lb/>&longs;trato &longs;i obligano i &longs;uoi beni, fin che l'opera &longs;ia finita, la quale fornita, <lb/>quando la &longs;pe&longs;a ri&longs;ponde a punto a quanto s'è detto, con decreti, & ho­<lb/>nori l'Architetto uiene ornato; & &longs;imilmente &longs;e non piu del quarto &longs;i &longs;pende, quello ag­<lb/>giugner &longs;i deue alla &longs;tima, & &longs;i ri&longs;tora del publico, & egli à niuna pena è tenuto: ma quan <lb/>do piu della quarta parte &longs;i &longs;pende, egli &longs;i piglia il dinaro de i &longs;uoi beni al fornimento del­<lb/>l'opera. </s> <s id="s.007996">Dio uole&longs;&longs;e, che i dei immortali fatto haue&longs;&longs;ero, che non &longs;olamente alle publi­<lb/>che, ma alle priuate fabriche quella legge fu&longs;&longs;e &longs;tata al popolo Romano ordinata, perche <lb/>non &longs;enza ca&longs;tigo gli ignoranti ci a&longs;&longs;a&longs;sinerebbeno, ma &longs;olamente quegli, che con &longs;otti­<lb/>gliezza delle dottrine prudenti &longs;ono, &longs;enza dubbio farebbeno profe&longs;sione d'Architettura, <lb/>nè i padri di famiglia indotti &longs;arebbeno a gettar infinite &longs;pe&longs;e, perche poi da i loro beni <lb/>&longs;cacciati fo&longs;&longs;ero, & gli Architetti con&longs;tretti dal timor della pena piu diligentemente il con <lb/>to della &longs;pe&longs;a face&longs;&longs;ero, accioche i padri di famiglia, a quello, che proui&longs;to haue&longs;&longs;ero, o <lb/>poco piu aggiugnendo, drizza&longs;&longs;ero la forma delle fabriche loro: percioche colui, che puo <lb/>prouedere di quattrocento, &longs;e accre&longs;cierà cento piu, hauendo &longs;peranza di condur l'ope­<lb/>ra a compimento, con diletto, & piacere, è trattenuto: ma chi aggrauato dalla metà <lb/>della &longs;pe&longs;a, o di piu, perduta la &longs;peranza, & gettata la &longs;pe&longs;a rotto il tutto con animo di­<lb/>&longs;perato, è con&longs;tretto a la&longs;ciar ogni co&longs;a. </s> <s id="s.007997">Nè pur que&longs;to difetto è ne gli edifici, ma ancho <lb/>ne i doni, che dal magi&longs;trato &longs;i danno al foro de i gladiatori, & alle &longs;cene de i giuochi, a <lb/>i quali nè dimora, nè indugio &longs;i concede, ma la nece&longs;sità con prefi&longs;&longs;o tempo di fornirgli <lb/>con&longs;trigne, come &longs;ono le &longs;edi de gli &longs;pettacoli, & il porui delle tende, & tutte quelle co­<lb/>&longs;e, che all'u&longs;anze della &longs;cena, al ueder del popolo con fattura, & apparato &longs;i fanno. </s> <s id="s.007998">In <lb/>que&longs;te co&longs;e ueramente bi&longs;ogna hauer del buono, & pen&longs;arui ben &longs;opra, perche niuna di <lb/>que&longs;te co&longs;e &longs;i puo fare &longs;enza indu&longs;tria, & manifattura, & &longs;enza uaria, & ri&longs;uegliata uiuaci <lb/>tà di &longs;tudi. </s> <s id="s.007999">Perche adunque tai co&longs;e ordinate &longs;ono a que&longs;to modo non pare, che &longs;ia fuori <lb/>di propo&longs;ito, prima che &longs;i dia principio alle opere, che cautamente, & con diligenza &longs;i <lb/>e&longs;pedi&longs;chino le ragioni loro. </s> <s id="s.008000">Quando adunque nè la legge, nè la con&longs;uetudine ci puo for <lb/>zare a que&longs;to, & ogni anno i Pretori, & gli Edili per li giuochi apparecchiar deono le ma <lb/>chine, ho giudicato non alieno, poi che ne i libri pa&longs;&longs;ati s'è detto de gli edifici, in que­<lb/>&longs;to, che ha la &longs;omma terminatione del corpo dell' Architettura, e&longs;poner con precetti, <lb/>quali &longs;iano i principij ordinati delle machine a que&longs;to conuenienti. </s> </p> <pb pagenum="439" xlink:href="045/01/453.jpg"/> <p type="main"> <s id="s.008001">H<emph type="italics"/>ora condotti &longs;iamo all'ultimo lauoro, come dice Dante, & cire&longs;ta la terza parte <lb/>principale dell' Architettura po&longs;ta nella cognitione, & nella di&longs;po&longs;itione delle ma <lb/>chine, & de gli &longs;trumenti; bella utile, & merauiglio&longs;a pratica; imperoche chi è <lb/>quello, che non guardi con &longs;tupore un huomo &longs;opra le forze &longs;ue aiutato da un piccio <lb/>lo &longs;trumento leuare con grandi&longs;&longs;ima ageuolezza un pe&longs;o &longs;mi&longs;urato? </s> <s id="s.008002">con debil fune artificio&longs;amen­<lb/>te riuolta &longs;olleuare un &longs;a&longs;&longs;o appari d'un monte pondero&longs;o? </s> <s id="s.008003">chi non legge con merauiglia le co&longs;e fat <lb/>te da Archimede? <!-- KEEP S--></s> <s id="s.008004">chi non pauenta all'horribile inuentione dell'Artiglierie, le quali & col &longs;uo­<lb/>no, & con l'empito, & con gli effetti imitando i tuoni, i baleni, & i fulmini, con infernal tor­<lb/>mento &longs;ono la&longs;trage del genere humano? </s> <s id="s.008005">Ma la&longs;ciamo i terrori da parte: quanta utilità di gra­<lb/>tia, quanto piacere ci pre&longs;ta la inuentione delle ruote, il modo di alzar l'acque, gli &longs;trumenti <lb/>da fiato, le co&longs;e che da &longs;e &longs;i muoueno? </s> <s id="s.008006">& quello che fa la natura, perche niente &longs;ia di uoto? </s> <s id="s.008007">Non <lb/>è dunque che noi merauiglia prendiamo, &longs;e que&longs;ta è una parte delle principali dell'Architettura. <!-- KEEP S--></s> <s id="s.008008"><lb/>Di que&longs;ta adun que tratta Vitr. nel decimo, & ultimo libro &longs;econdo la prome&longs;&longs;a fattaci per inan­<lb/>zi. </s> <s id="s.008009">Di que&longs;ta ancho ne ragioneremo noi quanto al pre&longs;ente negotio &longs;timeremo bi&longs;ognare: Auuer <lb/>tendo prima (&longs;econdo che ne gli altri libri fatto hauemo) a gli utili precetti dati da Vitr. nel proe <lb/>mio di que&longs;to libro: nel quale, Dio uole&longs;&longs;e, che &longs;i come &longs;i truoua un mirabile prouedimento, co&longs;i <lb/>eglifo&longs;&longs;e o&longs;&longs;eruato &longs;empre, & &longs;i o&longs;&longs;erua&longs;&longs;e tuttauia: perche e&longs;&longs;endo &longs;tata una legge in Efe&longs;o, che <lb/>gli Architetti laude, & honore merita&longs;&longs;ero, quando la &longs;pe&longs;a delle fabriche non fu&longs;&longs;e maggiore, <lb/>di quello, che predetto haue&longs;&longs;ero, & di danno, et bia&longs;imo fu&longs;&longs;ero debitori, quando oltra la quar <lb/>ta parte eccede&longs;&longs;e il primo computo: &longs;apendo gli huomini, che fabricar uole&longs;&longs;ero di che morte ha <lb/>ue&longs;&longs;ero a morire, o non &longs;i la&longs;cierebbero imbarcare, e&longs;&longs;endo la &longs;pe&longs;a maggiore delle forze loro, o a <lb/>tempo prouederebbono al bi&longs;ogno, & <expan abbr="nō">non</expan> &longs;i farebbe quello, che a i dì no&longs;tri molti fanno, che per una <lb/>certa uanità (credo io) con priuate forze cominciano ca&longs;e regali, & &longs;e ne re&longs;tano &longs;ul bello, ha <lb/>uendo però fornilo, & adornato con quella &longs;pe&longs;a, che &longs;i puo maggiore le parti fatte con i &longs;tucchi, <lb/>oro, pitture, è guarnimenti tali, che &longs;e il tutto a que principii ri&longs;ponde&longs;&longs;e, non ba&longs;terebbe un re­<lb/>gno a dargli compimento, di modo, che quello, che è fatto, &longs;i getta, & quello, che &longs;i deue fare, <lb/>s'abandona. </s> <s id="s.008010">Ma la&longs;ciamo quelli parere, o e&longs;&longs;er quello, che parer, o e&longs;&longs;er uogliono, confidando­<lb/>ci noi ne i precetti, & ne i pareri de i buoni, crediamo (come altre fiate s'è detto) che i meglio <lb/>&longs;pe&longs;i dinari &longs;ono que primi, che &longs;i danno a un buon' Architetto, perche da quella prima &longs;pe&longs;a ogni <lb/>co&longs;a prende un buono inuiamento, & douendo&longs;i &longs;pendere di molte migliaia di &longs;cudi, e&longs;&longs;er non &longs;i <lb/>deue parco, a chi ben con&longs;iglia, per a&longs;&longs;icurar&longs;i quanto piu &longs;i puo, & per l'utile, & per l'hono­<lb/>re. </s> <s id="s.008011">Quella legge adunque, che dice Vitr. e&longs;&longs;er &longs;tata in Efe&longs;o con dura conditione, ma con giu&longs;ta <lb/>ragione ordinata, &longs;taria bene a i no&longs;tri giorni, & in quelle co&longs;e ancho, doue è piu &longs;ubita occa&longs;io­<lb/>ne di &longs;pendere, piu pericolo di deliberare, & men commodità di uederne il conto, come è ne gli <lb/>apparati delle fe&longs;te, & de i giuochi publici, nelle &longs;cene, & ne i concieri, che &longs;i fanno a tempo, <lb/>ne iquali i Romani del publico &longs;pendeuano gran quantità di dinari, doue è nece&longs;&longs;ario hauere fede­<lb/>li, & ingenio&longs;i mini&longs;tri, &longs;uegliati inuentori, & e&longs;&longs;ercitati Architetti delle co&longs;e: che trouino la fa <lb/>cilità, & non uadino per la lunga. </s> <s id="s.008012">Hora per fuggire que&longs;ta ignoranza, o uanità, è nece&longs;&longs;ario <lb/>&longs;apere come ua tutta la materia pre&longs;ente, doue dopo il proemio &longs;i ragiona delle machine, & de <lb/>gli in&longs;trumenti; &longs;i di quelli, che hanno riguardo a gli &longs;tudi della pace, de i quali alcuni &longs;ono per <lb/>commodo, alcuni per diletto, come di quelli, che hanno ri&longs;petto alle co&longs;e della guerra: la doue <lb/>nel primo Cupo Vitr. diffini&longs;ce che co&longs;a è machina: quale differenza è tra machina, & instru­<lb/>mento: di&longs;tingue le &longs;orti delle machine: & tratta dell'origine di quelle. </s> <s id="s.008013">Et dal &longs;econdo fin al no­<lb/>no parla delle machine da leuar, & tirar i pe&longs;i, & ci e&longs;plica la ragione di diuer&longs;i modi apparte­<lb/>nenti a pe&longs;i: dal nono fin al terzodecimo ci da gli ammae&longs;tramenti di far molte ruote, & artificii<lb/>da alzar, & uotar l'acque, da macinare, & da far'altre &longs;imiglianti co&longs;e utili; dalle quali par­<lb/>tendo&longs;i dal terzodecimo fin al quintodecimo ci dimo&longs;tra la ragione difar le machine hidraulice, <lb/>che &longs;ono organi con ragioni mu&longs;icali compo&longs;ti, che piaceuolmente per uia d'acqua, & di &longs;pirito<emph.end type="italics"/><pb pagenum="440" xlink:href="045/01/454.jpg"/><emph type="italics"/>mandano fuori dolci concenti: & ci dichiara poi il modo di mi&longs;urare il uiaggio fatto o in carret­<lb/>ta, o in naue. </s> <s id="s.008014">& po&longs;to fine a que&longs;ti ragionamenti pa&longs;&longs;a a quelle machine, che ci &longs;erueno a i bi&longs;o­<lb/>gni della guerra, & a i &longs;oprastanti pericoli, trattando dal quintodecimo fin all'ultimo di' quelle <lb/>machine, che tirano &longs;aette, dardi, & pietre, & di quelle, che &longs;cuoteno, & rompeno le mura­<lb/>glie &longs;econdo l'u&longs;anza de &longs;uoi tempi, & co&longs;i conchiude, & dà fine all'opera hauendo pienamente <lb/>atte&longs;o a quello, che egli ci ha prome&longs;&longs;o: di modo che non &longs;arebbe condennato dalla legge nelle &longs;pe <lb/>&longs;e, anzi lodato, & honorato ne re&longs;terebbe. </s> <s id="s.008015">Noi &longs;econdo l'u&longs;anza no&longs;tra ridurremo tutta la pre <lb/>&longs;ente materia &longs;otto un'a&longs;petto, & di&longs;tinguendo partitamente il tutto aiutaremo con l'ordine la in <lb/>telligenza, & la memoria di chi legge. </s> <s id="s.008016">Facendo adunque la natura alcune co&longs;e contra la utili <lb/>tà de gli huomini, & operando &longs;empre ad uno iste&longs;&longs;o modo, è nece&longs;&longs;ario che a questa contrarietà <lb/>&longs;i troui un modo, che pieghi la natura al bi&longs;ogno, & all'u&longs;o humano. </s> <s id="s.008017">Questo modo è riposto <lb/>nell'aiuto dell' Arte, con la quale &longs;i uince la natura in quelle co&longs;e, nelle quali e&longs;&longs;a natura uince <lb/>noi. </s> <s id="s.008018">Ecco quanto ci contra&longs;ta la natura ne i pe&longs;i, & nelle grandezze delle co&longs;e, & &longs;e non fu&longs;&longs;e <lb/>l'ingegno dall'arte guidato, chi potrebbe alzare, tirare, & condurre le moli grandi&longs;&longs;ime degli <lb/>&longs;mi&longs;urati marmi, drizzar le colonne, le mete, & gli obeli&longs;ci? </s> <s id="s.008019">chi uarar le naui, chi tirarle in <lb/>terra? </s> <s id="s.008020">chi pa&longs;&longs;ar le portate di gro&longs;&longs;e barche con i tragetti? </s> <s id="s.008021">certamente non ba&longs;terebbeno le for­<lb/>ze humane. </s> <s id="s.008022">però bello è il &longs;apere la cagione, da che opera &longs;i po&longs;&longs;a, & fabricare tanta uarietà <lb/>di machine, & de &longs;trumenti. </s> <s id="s.008023">Que&longs;ta con&longs;ideratione è posta & alternata &longs;otto due &longs;cienze, per <lb/>cioche tiene ri&longs;petto con la &longs;cienza naturale, riceuendo da quella il &longs;uo &longs;oggetto, perche l'arte <lb/>non opera &longs;e non in qualche co&longs;a materiale, come è il legno, il ferro, la pietra, & altre co&longs;e: & <lb/>è po&longs;ta &longs;otto la mathematica, perche le belle, & &longs;ottili ragioni, & dimostrationi da quella rice­<lb/>ue. </s> <s id="s.008024">& &longs;i come il &longs;oggetto è mutabile, & uariabile come co&longs;a di natura, co&longs;i la ragione è ferma, <lb/>& immutabile, come co&longs;a d'intelletto, nè &longs;i cangia al uariar della materia, imperoche la ragio­<lb/>ne del circolo (come altroue s'è detto) è quella i&longs;te&longs;&longs;a in qualunque materia ella &longs;i troui, il difet<lb/>to uiene dal &longs;oggetto, come dalla forma il perfetto. </s> <s id="s.008025">Però con&longs;iderar douemo con gran diligenza <lb/>donde uegna il mancamento, & la perfettione. </s> <s id="s.008026">Le qualità della materia &longs;ono diuer&longs;e, nate dalla <lb/>me&longs;colanza de i principii, perche da quelli uiene il raro, il den&longs;o, il graue, il lieue, il gro&longs;&longs;o, il <lb/>&longs;ottile, l'a&longs;pro, il molle, illiquido, il duro, il tenace, & altre qualità principali, & meno prin <lb/>cipali, che aiutano, o impedi&longs;ceno la materia a riceuere la intentione dell'arte, come per euiden <lb/>te proua tutto dì &longs;i cono&longs;ce: & &longs;i uede ancho una figura e&longs;&longs;er piu atta al mouimento, che l'altra: <lb/>la grandezza ancho & il pe&longs;o portano &longs;eco molti commodi, & incommodi, perche tutte le co&longs;e &longs;o <lb/>no ne i propi termini rinchiu&longs;e, & da e&longs;&longs;a natura con eterna legge co&longs;trette. </s> <s id="s.008027">Dalla &longs;cienzanatu­<lb/>rale adunque &longs;i hauerà il &longs;oggetto, & le qualità &longs;ue. </s> <s id="s.008028">Ma ragionando della forma io dico, che i <lb/>merauiglio&longs;i effetti uengono da merauiglio&longs;e cagioni. </s> <s id="s.008029">Non è egli mir abile leuare un grandißimo <lb/>pe&longs;o con aggiugnerli ancho altro pe&longs;o? </s> <s id="s.008030">che una ruota per mezo d'un'altra, che al contrario di <lb/>quella &longs;i muoue, dia il&longs;uo mouimento ad una terza ruota? </s> <s id="s.008031">che in certe di&longs;tanze, & grandezze <lb/>una co&longs;a rie&longs;ca, che oltra que termini non puo riu&longs;cire? </s> <s id="s.008032">&longs;ono in uero tai co&longs;e merauiglio&longs;e, però <lb/>non è fuori di ragione, &longs;e egli &longs;i troua qualche proprieta di natura mirabile, che di cio &longs;ia cagio­<lb/>ne, però &longs;aper potremo, che tutto na&longs;ce dalla leua, & la leua dalla &longs;tadera, & la &longs;tadera <lb/>dalla bilancia, & la bilancia finalmente dalla proprietà del circolo: imperoche il circo­<lb/>lo ha in &longs;e co&longs;e, che la natura altroue non &longs;uole porre in&longs;ieme, & que&longs;te &longs;ono molte contrarietà, <lb/>dalle quali uengono que grandi effetti, che &longs;iuedeno. </s> <s id="s.008033">Ecco &longs;e il circolo &longs;i muoue, non i&longs;ta fermo <lb/>il centro? </s> <s id="s.008034">mobile, & fermo non &longs;ono contrari? </s> <s id="s.008035">della i&longs;te&longs;&longs;a circonferenza non a&longs;cende egli una <lb/>parte, & l'altra di&longs;cende? </s> <s id="s.008036">&longs;u & giu non &longs;ono contrari? </s> <s id="s.008037">la linea circolare, non è ella & curua <lb/>& conue&longs;&longs;a &longs;enza latitudine? </s> <s id="s.008038">que&longs;ti non &longs;ono contrari, e&longs;&longs;endo tra quelli il dritto di mezo? </s> <s id="s.008039">& <lb/>le parti di quella linea, che uien dal centro non &longs;ono in una i&longs;te&longs;&longs;a linea & ueloci, & tarde? </s> <s id="s.008040">quan <lb/>to &longs;ono, o uicine, o lontane dal centro, che è immobile. </s> <s id="s.008041">hora ueloce & tardo non &longs;ono contra­<lb/>ri? </s> <s id="s.008042">&longs;i ueramente. </s> <s id="s.008043">Quando adunque &longs;ia, che il circolo habbia in &longs;e tante contrarietà, & tali,<emph.end type="italics"/><pb pagenum="441" xlink:href="045/01/455.jpg"/><emph type="italics"/>quali la natura delle co&longs;e altroue non pati&longs;ce, non è egli mirabil que&longs;to? </s> <s id="s.008044">ma que&longs;to non è dal uul­<lb/>go cono&longs;ciuto, però molto piu egli &longs;tupi&longs;ce uedendo alcuni effetti, & non &longs;apendo da che procedi­<lb/>no, e&longs;&longs;endo que mouimenti artificio&longs;amente na&longs;co&longs;i. </s> <s id="s.008045">Ma perche noi non andiamo col uulgo, in­<lb/>tender douemo, che tutti que&longs;ti effetti finalmente &longs;i riduceno alla ragione del circolo. </s> <s id="s.008046">Abbrac­<lb/>ciando adunque noi il diletteuole, & il merauiglio&longs;o, che uiene dalla natura, & dall'arte, dice­<lb/>mo che &longs;opra tutte le machine o &longs;trumenti hauemo a con&longs;iderare la origine, la diui&longs;ione, le rego<lb/>le. </s> <s id="s.008047">L'origine è dalla nece&longs;&longs;ità, che muoue gli huomini per accommodar&longs;i a i lor bi&longs;ogni, la natu­<lb/>ra gli in&longs;egna o proponendogli gli e&longs;&longs;empi de gli animali, da i quali pare, che molti artifici po&longs;&longs;o­<lb/>no hauer principio, o la continua giratione del mondo, che Vitr. dice e&longs;&longs;er come una machinatio­<lb/>ne; & però ancho &longs;i chiama la machina del mondo: il ca&longs;o ancho ne apporta, & l'ingegno del­<lb/>l'huomo, che dal ca&longs;o prende argomento, come &longs;i puo di&longs;correre: & que&longs;to ci puo ba&longs;tare all'ori <lb/>gine. </s> <s id="s.008048">Ma quanto alla diui&longs;ione dico, che delle machine altre da &longs;e &longs;i muoueno; que&longs;te automata <lb/>da Greci dette &longs;ono; altre da &longs;e non &longs;i muouono, di quelle altre dette &longs;ono &longs;tatà da Greci, cioè fer <lb/>me, altre hypagonta, cioè &longs;otto condotte, perche hanno &longs;otto di &longs;e alcune co&longs;e, che le danno il <lb/>mouimento. </s> <s id="s.008049">Dell'una, & dell'altra maniera ne tratta Herone, & c'in&longs;egna prima a fare un tem <lb/>pio ritondo, nel quale &longs;ia un Bacco, che con una mano tenga una tazza, & con l'altra il Tir&longs;o, <lb/>appre&longs;&longs;o ui &longs;ia una Panthera, & un'altare, & d'intorno le Bacche con Timpani, & con Cem­<lb/>bali, & &longs;opra la te&longs;tudine del Tempio una uittoria alata, & coronata, doue ad un tempo &longs;i ac­<lb/>cenda il fuoco &longs;opra l'altare, Bacco uer&longs;i dalla tazzail latte, dal Tir&longs;o il uino &longs;opra la Panthera, <lb/>le Bacche d'intorno danzando facciano rumori con que cembali, & la Vittoria &longs;uoni una tromba, <lb/>& &longs;i giri battendo l'ali. </s> <s id="s.008050">In un' altra di&longs;po&longs;itione in&longs;egna a far caminar le figurine, & andar, & tor <lb/>nare, & girar&longs;i, & fermar&longs;i &longs;econdo il bi&longs;ogno, Ma di quelle machine, che da &longs;e non &longs;i muoue­<lb/>no, cioè che non hanno dentro di &longs;e il principio del loro mouimento, altre &longs;i muoueno da co&longs;e ina­<lb/>nimate, altre da co&longs;e animate. </s> <s id="s.008051">le prime dal uento, o dall'acqua mo&longs;&longs;e &longs;ono, come battiferri, &longs;e­<lb/>ghe, molini, mantici, & altri edifici, che dell'acqua &longs;i &longs;erueno: le &longs;econde dallo aere hanno il <lb/>pincipio loro. </s> <s id="s.008052">que&longs;t'aere, o è rinchiu&longs;o, o libero: &longs;e rinchiu&longs;o, dimo&longs;tra molti mir abili effetti ne i <lb/>ua&longs;i &longs;pirabili, de i quali ne tratta il mede&longs;imo Herone: &longs;e l'aere è libero, i molini da uento, alcu <lb/>ne machine hidraulice, gli &longs;piedi, & altre co&longs;e di piacere &longs;i fanno con l'aiuto di quello. </s> <s id="s.008053">Ma &longs;e le <lb/>machine &longs;ono mo&longs;&longs;e da animali, que&longs;ti &longs;ono o &longs;enza ragione come buoi, caualli; che tirano carri, <lb/>uolgono ruote: o &longs;ono con ragione come gli huomini, i quali muoueno molte machine, & molti <lb/>&longs;tromenti, &longs;i per le occorrenze della pace, come per li bi&longs;ogni della guerra, come ne tratta Vitr. <lb/><!-- REMOVE S-->& altroue quelli, che &longs;critto hanno dell'arte militare. </s> <s id="s.008054">la onde per tirare, condurre, & alzare i <lb/>pe&longs;i, le taglie, le manouelle, le &longs;tadere, le bilancie, le ruote, gli argani, & per a&longs;cendere in <lb/>luoghi alti &longs;ono le &longs;cale di molte maniere armate, & di&longs;armate, & per battere, roinare, et tirar <lb/>da lunge erano anticamente le bale&longs;tre maggiori, & minori, gli arieti, le te&longs;tuggini, le torri, <lb/>che &longs;opra ruote andauano, & a i no&longs;tri tempi le artiglierie: & in &longs;omma molte altre machine tro <lb/>uate &longs;i &longs;ono, molte andate in di&longs;u&longs;o, & molte &longs;i troueranno per l'auuenire: le ragioni delle quali <lb/>compre&longs;e &longs;aranno &longs;otto le regole, & o&longs;&longs;eruationi, che qui &longs;otto &longs;i poneranno. </s> <s id="s.008055">Et que&longs;ta è l'uni­<lb/>uer&longs;ale diui&longs;ione delle machine; benche Vitr. habbia hauuto riguardo alle piu importanti, come <lb/>nel &longs;eguente primo capo uederemo.<emph.end type="italics"/></s> </p> <subchap2> <pb pagenum="442" xlink:href="045/01/456.jpg"/> <p type="head"> <s id="s.008056"><emph type="italics"/>Che co&longs;a è machina, in che è differente dall'i&longs;tru­<lb/>mento, & della origine, & neceßità di <lb/>quella. </s> <s id="s.008057">Cap. I.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.008058">LA machina è una perpetua & continuata congiuntione di materia, che ha <lb/>grandi&longs;sima forza a i mouimenti de i pe&longs;i. </s> </p> <p type="main"> <s id="s.008059"><emph type="italics"/>Diffini&longs;ce in que&longs;to Capo Vitr. & dichiara che co&longs;a è machina, come ella &longs;i muo­<lb/>ue, quante & quali maniere di machine &longs;i trouano: che differenza è tra machina, <lb/>& i&longs;trumento: che origine, & donde gli huomini hanno tolto le machine, & gli &longs;trumenti. </s> <s id="s.008060"><lb/>Quanto adunque appartiene alla diffinitione egli dice, che Machina è una continente, o continua <lb/>ta congiuntione di materia, cioè di legno, che ha grandi&longs;&longs;ime forze a i mouimenti de i pe&longs;i. </s> <s id="s.008061">Et la <lb/>ragione dimo&longs;tratrice del modo di fare le machine, è detta &longs;cienza, o arte mecanica, non però è <lb/>&longs;otto quello intendimento, che'l uulgo abbraccia, chiamando mecanica ogni arte uile, che &longs;ia, <lb/>perche que&longs;ta è detta dalla machinatione, & di&longs;cor&longs;o che &longs;i fa prima nella mente, & che poi re­<lb/>gola le opere artificio&longs;e per leuar i pe&longs;i, &longs;alir a i luoghi alti, &longs;cuoter le mura, & far quelle co&longs;e <lb/>all'humana commodità, che la natura operando ad uno i&longs;te&longs;&longs;o modo, come fa, non ci puo pre&longs;ta­<lb/>re. </s> <s id="s.008062">Que&longs;ta cognitione <expan abbr="adunq;">adunque</expan> ci da la regola di legare in&longs;ieme, o congiugnere molti legni per leua­<lb/>re i grandi&longs;&longs;imi pe&longs;i; & &longs;e bene in que&longs;te machine ui ua del ferro, non è però po&longs;to come principal <lb/>materia delle machine. </s> <s id="s.008063">Bi&longs;ogna adunque, che la machina &longs;ia di legno, o di qualche materia, che &longs;ite <lb/>gna in&longs;ieme in qualche modo, altrimenti non &longs;i farebbe effetto, perche le co&longs;e &longs;eparate non po&longs;&longs;o­<lb/>no tender ad alcun fine unitamente. </s> <s id="s.008064">La &longs;ollecitudine adunque, & il pen&longs;iero, che &longs;i ha di piegar la <lb/>natura a no&longs;tra utilità, ci fa machinare: però uolendo noi tirar le pietre &longs;opra fabriche et alzar <lb/>l'acque, che tutte &longs;ono co&longs;e, che di natura loro re&longs;i&longs;teno all'u&longs;o no&longs;tro, è forza, che con la fanta­<lb/>&longs;ia, che è principio delle arti, dal fine inue&longs;tigamo la compo&longs;itione dello in&longs;trumento, la doue la <lb/>fanta&longs;ia prendendo alcun lume dallo intelletto habituato nelle mathematice, ua ritrouando <lb/>una co&longs;a dopo l'altra, & legando in&longs;ieme per communicari mouimenti, fa quello, che pare am­<lb/>mirabile al uulgo, & però dice Vitr. dopo la diffinitione materiale della machina.<emph.end type="italics"/></s> <s id="s.008065"> Quella &longs;i <lb/>muoue per arte con molti circuiti de giri. <emph type="italics"/>Cioè la forma, & il principio delle machine è il <lb/>moto circolare. </s> <s id="s.008066">Io ci uedo in questo luogo da dire, come in tutte le machine ci &longs;ia il moto circo­<lb/>lare, perche Vitru. dice qui &longs;otto, che la machina da &longs;alir in alto non di arte, ma di ardimento &longs;i <lb/>gloria: & &longs;imilmente &longs;i uede in quella &longs;orte di machine, che egli chiama &longs;piritali, che non ci &longs;ono <lb/>giri, nè mouimenti circolari &longs;e non in alcune &longs;pecie, come &longs;i uede in IIerone; oltra che la diffinitio­<lb/>ne della machina non par conuenire a tutte que&longs;te &longs;pecie: imperoche non pare, che ogni machina <lb/>&longs;ia per muouer i pe&longs;i, nè meno &longs;i faccia di legno, come appare nella diui&longs;ione delle machine posta <lb/>di &longs;opra: & &longs;e uolemo dire, che Vitr. ha diffinito quelle machine, lequali &longs;ono di mouimenti cir­<lb/>colari composte, come uorremo noi intender, che egli habbia diui&longs;o le machine, & fattoci tre <lb/>maniere, una trattoria, come egli chiama, una &longs;pirabile, una da &longs;alire: Io uorrei pure &longs;aluar que <lb/>sto modo. </s> <s id="s.008067">Però &longs;e noi intendemo che la machina è una continuata congiuntione di materia, & <lb/>per materia non &longs;olo s'intende legno, ma qualunque altra co&longs;a, di che &longs;i fa la machina, que&longs;to po­<lb/>trà for&longs;e pa&longs;&longs;are. </s> <s id="s.008068">ma come può conuenire, che tutte le machine habbiano grandi&longs;&longs;ime forze a i <lb/>mouimenti de i pe&longs;i, &longs;e machine ancho chiamati &longs;ono que ua&longs;i &longs;pirabili? </s> <s id="s.008069">che pe&longs;o è in quelle? </s> <s id="s.008070">che <lb/>mouimento? </s> <s id="s.008071">Io dico che per pe&longs;o non &longs;olo s'intende quella grauità, che hanno le co&longs;e pondero­<lb/>&longs;e, & grandi, ma ancho quel momento, & quella inclinatione naturale di andar cia&longs;cuna al &longs;uo <lb/>proprio luogo: & quando artificio&longs;amente &longs;i costrigne una co&longs;a graue a &longs;alire, & che la natura <lb/>piu pre&longs;to, che dar il uacuo con&longs;ente, che gli elementi oltra la loro inclinatione, o a&longs;cendino, o di-<emph.end type="italics"/><pb pagenum="443" xlink:href="045/01/457.jpg"/><emph type="italics"/>&longs;cendino, certamente que&longs;ta è una gran uirtù, & &longs;orza: & questo con&longs;trignere gli elementi è con <lb/>&longs;omma &longs;olertia dall'arte &longs;tato ritrouato: la doue ancho nelle machine &longs;pirabili &longs;i uede questo, & <lb/>&longs;imilmente nelle machine fatte per a&longs;cendere, imperoche egli è contra la inclinatione naturale, <lb/>che un corpo terrestre, o di acqua &longs;alga in alto, & che uno con funi, & ruote &longs;i leui alle cime de <lb/>gli alti&longs;simi palazzi: & &longs;e bene que&longs;to artificio &longs;i puo gloriare piu di ardire, che di arte, non è egli <lb/>però un mirabile artificio? </s> <s id="s.008072">poi che &longs;i uede la diuer&longs;ità delle &longs;cale da montar &longs;opra le muraglie <lb/>con tanti artificii fabricate, che & difendeno i &longs;alitori, & offendeno chi contrasta, & portano <lb/>incredibili pe&longs;i, mouendo&longs;i con ruote, & hauendo quello, che dice Vitr. <!-- KEEP S--></s> <s id="s.008073">Alle artigliarie &longs;imilmen­<lb/>te conuiene la diffinitione della machina, come chiaramente &longs;i uede, &longs;i perche è una congiuntione <lb/>di materia, &longs;i perche ne i pe&longs;i fa effetti stupendi &longs;econdo l'ordine dell'uniuer&longs;o: & in &longs;omma non è <lb/>&longs;trumento, nè machina, che in qualche modo non partecipi de i mouimenti dritti, o circolari; il­<lb/>che ancho qui &longs;otto &longs;arà da Vitr. con bella indottione confirmato, però con diligenza auuertir <lb/>douemo alle co&longs;e dette da Vitr. & non ci &longs;marrire al primo tratto, &longs;e egli non &longs;i fa incontra ogni <lb/>co&longs;a. </s> <s id="s.008074">Diuidon&longs;i &longs;econdo Vitr. le machine a que&longs;to modo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.008075">Vna &longs;orte di machine è per a&longs;cendere; que&longs;ta è detta in Greco acrouaticon, qua&longs;i an­<lb/>damento all'in&longs;u: l'altra &longs;piritale, che da i mede&longs;imi, è detta pneumaticon: la terza è da tì­<lb/>rare, detta uanau&longs;on. <emph type="italics"/>A que&longs;ti tre membri &longs;i riduceno tutte le altre machine, & tutti gli <lb/>altri &longs;trumenti. </s> <s id="s.008076">uediamo noi che co&longs;a è cia&longs;cuna di que&longs;te &longs;econdo Vitr.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.008077">Quella &longs;orte, che è per a&longs;cendere, è quando le machine &longs;aranno po&longs;te in modo, che <lb/>drizzati in piede i trauicelli, & in&longs;ieme ordinatamente colligati i trauer&longs;i, &longs;i a&longs;cenda &longs;enza <lb/>pericolo a guardare l'apparato. <emph type="italics"/>Quiui pone quelle &longs;cale, che s'appoggiano alle muraglie, <lb/>dellequali ne i libri della militia &longs;i tratta, & tutto il dì da gli ingenio&longs;i &longs;oldati &longs;i trouano a uari mo <lb/>di fabricate, perche ancho in queste non è meno l'audacia, che l'arte; et di e&longs;&longs;e ne tratta V alturio. <lb/></s> <s id="s.008078">& &longs;ono per guardare che co&longs;a fanno gli a&longs;&longs;ediati.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.008079">Ma la maniera &longs;piritale è quando lo &longs;prito &longs;cacciato con l'e&longs;pre&longs;sioni, & le perco&longs;&longs;e, & <lb/>le uoci &longs;ono coni&longs;trumenti epre&longs;&longs;e. <emph type="italics"/>Molto piu abbraccia que&longs;t' arte, che le machine hidrau­<lb/>lice, come &longs;i uede in Herone, doue oltra gli organi, oltra le uoci, & i canti de gli uccelletti, oltra i <lb/>fi&longs;chi de i &longs;erpenti, & i &longs;uoni delle trombe, che egli a fare con instrumenti ci dimostra, ci &longs;ono an­<lb/>cho altri artificii, doue nè uoce, nè &longs;uono &longs;i &longs;ente, come è il uotar diuer&longs;i liquori per una iste&longs;&longs;a <lb/>canna, & quelli hora in una proportione, hora in un'altra: il far &longs;alir l'acqua, lo &longs;pruzzare di <lb/>odoriferi liquori le genti, & altre co&longs;e, che &longs;enza &longs;uono &longs;i fanno, che però tutte conuengono in <lb/>que&longs;to, che in e&longs;&longs;e è lo &longs;pirito, cioè l'aere &longs;cacciato con l'e&longs;pre&longs;&longs;ioni.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.008080">Finalmente la maniera da tirare, è quella, quando con le machine &longs;i tirano i pe&longs;i, oue­<lb/>ro alzati &longs;i ripongono. <emph type="italics"/>Et questo è facile. </s> <s id="s.008081">dapoi Vitr. compara in&longs;ieme que&longs;te machine & dice.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.008082">La ragione di a&longs;cendere &longs;i gloria non di arte, ma di audacia, & quella con catene, tra­<lb/>uer&longs;i, & legature annodate, & con appoggi è contenuta: ma quella che entra con la po­<lb/>te&longs;tà dello &longs;pirito con le &longs;ottilità dell'arte con&longs;egue belli, & &longs;cielti effetti: Ma quella, che <lb/>al tirar de i pe&longs;i ci &longs;erue, ha in &longs;e commodi maggiori, & occa&longs;ioni piene di magnificenza <lb/>all'u&longs;o de gli huomini, & nell'operare con prudenza ritiene grandi&longs;sime uirtù. </s> </p> <p type="main"> <s id="s.008083"><emph type="italics"/>Adunque di que&longs;te tre maniere una &longs;i uanta di audacia, l'altra di &longs;ottigliezza, la terza di uti­<lb/>lità. </s> <s id="s.008084">Della prima non ne parla Vitr. la&longs;ciandola (come egli dice nel fine di questo libro) a i &longs;ol­<lb/>dati e&longs;perti, che fanno le &longs;cale &longs;econdo il bi&longs;ogno. </s> <s id="s.008085">Di quella di mezo ne parla; & ne parla, quan­<lb/>do c'in&longs;egna la machina di Cte&longs;ibio, & la machina hidraulica. </s> <s id="s.008086">& della terza ne parla nel re&longs;to. </s> <s id="s.008087"><lb/>Que&longs;ta terza adunque che trattoria è da Vitr. nominata, nell'operare puo hauer bi&longs;ogno di mol­<lb/>to apparecchio, & per cio fa effetti maggiori, & per questo dice, che &longs;i dimanda machina. </s> <s id="s.008088">puo <lb/>ancho e&longs;&longs;er che &longs;i contenti d'un'opera &longs;ola, & bi&longs;ogno non habbia di tanta fattura, nè faccia &longs;i <lb/>grandi effetti; & que&longs;ta dice Vitr. che opera con instrumenti, però ci fa differenza dicendo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.008089">Di que&longs;te trattorie altre &longs;i muoueno con machine, altre con in&longs;trumenti, & pare, che <pb pagenum="444" xlink:href="045/01/458.jpg"/>tra machina & &longs;trumento ci &longs;ia que&longs;ta differenza, che bi&longs;ogna che le machine con piu <lb/>opere, ouero con forza maggiore con&longs;eguano gli effetti loro, come le bali&longs;te, & i preli <lb/>de i torcolari: ma gli &longs;trumenti col prudente toccamento d'un'opera fanno quello, che <lb/>s'hanno propo&longs;to di &longs;are, come &longs;ono gli inuolgimenti de gli &longs;corpioni, & de i circo­<lb/>li di&longs;eguali. </s> </p> <p type="main"> <s id="s.008090"><emph type="italics"/>Tutta la machina &longs;i chiama balista, o torculare. </s> <s id="s.008091">all'una & all'altra è nece&longs;&longs;ario, che ci &longs;ia <lb/>altra fattura, come il torchio è quella traue, che preme l'una, detta prelo, & Vitru. ci ha in&longs;e­<lb/>gnato di fare il torculare nel &longs;e&longs;to libro al nono capo: &longs;imigliante co&longs;a e&longs;&longs;er douea nello &longs;carica­<lb/>re della bali&longs;ta, come &longs;ono le &longs;tanghe, & i molinelli: però que&longs;te &longs;ono dette machine, perche hanno <lb/>bi&longs;ogno di piu opere, come strumenti &longs;i chiamano gli &longs;corpioni, & le catapulte, che con un'opera <lb/>fanno gli effetti loro. </s> <s id="s.008092">Ani&longs;ocicli &longs;ono circoli della uite, o coclea che &longs;i dica. </s> <s id="s.008093">& perche ne gli &longs;cor­<lb/>pioni erano alcuni fili ritorti, prima raccolti & poi rila&longs;ciati che &longs;pingeuano le &longs;aette, quando &longs;i <lb/>&longs;caricauano, però Vitr. dice Ani&longs;ocicli. <!-- KEEP S--></s> <s id="s.008094">i capelli delle donne &longs;o&longs;pe&longs;i fanno certe anella, che &longs;i po&longs;­<lb/>&longs;ono chiamare Ani&longs;ocicli. <!-- REMOVE S-->ma io chiamerei con que&longs;to nome le uide.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.008095">A dunque et gli &longs;trumenti, & la ragione delle machine &longs;ono nece&longs;&longs;ari all'u&longs;o, &longs;enza iqua­<lb/>li niuna co&longs;a puo e&longs;&longs;er e&longs;pedita. <emph type="italics"/>Dell'u&longs;o delle machine, & de gli &longs;trumenti è co&longs;a manife&longs;ta, <lb/>però ueniremo all'origine. </s> <s id="s.008096">dice adunque Vitr.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.008097">Ogni machinatione è prima nata dalla natura delle co&longs;e, & ordinata dalla mae&longs;tra uer­<lb/>&longs;atione del mondo. </s> <s id="s.008098">Con&longs;ideriamo prima la continuata natura del Sole, della Luna, & del­<lb/>le altre cinque &longs;telle: lequali &longs;e &longs;enza machinatione &longs;i gira&longs;&longs;ero, noi non haueremo hauuto <lb/>in terra la luce, nè la maturità de i frutti: & però hauendo i maggiori no&longs;tri bene po&longs;to <lb/>mente a que&longs;to, dalla natura delle co&longs;e pre&longs;o hanno gli e&longs;&longs;empi, & quelli imitando indot­<lb/>ti dalle diuine co&longs;e hanno perfettamente e&longs;plicato molti commodi alla uita. </s> <s id="s.008099">Et però ac­<lb/>cioche fu&longs;&longs;ero piu &longs;pediti, altre co&longs;e con machine, & co i loro uolgimenti, altre con i&longs;tru<lb/>menti &longs;i apparecchiarono. </s> <s id="s.008100">Et co&longs;i quelle co&longs;e, che auuertirono e&longs;&longs;er utili all'u&longs;o de mor­<lb/>tali, con i&longs;tudi, arti, & in&longs;tituti a poco a poco cercarono per uia di dottrine aumentare. </s> <s id="s.008101"><lb/>Attendiamo di gratia alla prima inuentione di nece&longs;sità che è il ue&longs;tire, con l'ammini&longs;tra<lb/>tione de uari &longs;trumenti, i congiugnimenti delle tele con la trama, & l'ordimento non &longs;ola­<lb/>mente coprendo i corpi no&longs;tri ci difendeno, ma ancho ci accre&longs;ceno l'hone&longs;tà dell'orna­<lb/>mento. </s> <s id="s.008102">Copia del cibo non <expan abbr="hauerēmo">haueremmo</expan> hauuta, &longs;e &longs;tati ritrouati non fu&longs;&longs;ero i gioghi, & gli <lb/>aratri per li buoi, & per tutti i giumenti: nè la nettezza dell'oglio, nè'l frutto delle uiti al <lb/>piacer no&longs;tro <expan abbr="hauerēmo">haueremmo</expan> potuto hauere, &longs;e non fu&longs;&longs;e &longs;tato l'apparecchio de i molinelli, de i <lb/>preli, & delle &longs;tanghe del torchio. </s> <s id="s.008103">Et le condotte di quelle non &longs;ariano, &longs;e non fu&longs;&longs;ero <lb/>&longs;tate ritrouate le machinationi de i carri, & delle carrette per terra, & delle naui per ac­<lb/>qua. </s> <s id="s.008104">Similmente l'e&longs;&longs;amine delle &longs;tadere, & bilancie con i pe&longs;i ritrouato caua la uita con <lb/>giu&longs;ti co&longs;tumi dalla iniquità de gli huomini. </s> <s id="s.008105">Et co&longs;i &longs;ono inumerabili tempre di machi­<lb/>ne, dellequali non ci pare nece&longs;&longs;ario il di&longs;putarne, perche ci uanno ogni dì per le mani, co­<lb/>me &longs;ono le ruote, i mantici de fabri, le carrette, i cocchi, i torni, & tutte l'altre co&longs;e, che <lb/>per u&longs;anza hanno all'utilità communi occa&longs;ioni: però cominciaremo ad e&longs;plicar quelle <lb/>co&longs;e, che di raro ci uengono per le mani, accioche &longs;iano manife&longs;te. </s> </p> <p type="main"> <s id="s.008106"><emph type="italics"/>A me pare, che chiaramente interpretato io habbia, ciò che da Vitru. <!-- REMOVE S-->è &longs;tato detto d'intorno <lb/>all'origine, & u&longs;o delle machine, pero &longs;i uenirà alla e&longs;po&longs;itione del &longs;econdo cap.<emph.end type="italics"/><!-- KEEP S--></s> </p> <pb pagenum="445" xlink:href="045/01/459.jpg"/> </subchap2><subchap2> <p type="head"> <s id="s.008107"><emph type="italics"/>Delle machinationi trattorie de i &longs;acrï tempÿ, & delle <lb/>opere publiche. </s> <s id="s.008108">Cap. II.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.008109">Primamente ordineremo quelle co&longs;e, che ne i &longs;acri Tempij, & alla perfettione <lb/>delle opere publiche &longs;i apparecchiano: lequali a que&longs;to modo &longs;i fanno. </s> <s id="s.008110">D riz <lb/>zan&longs;i tre trauicelli &longs;econdo la grandezza de i pe&longs;i. </s> <s id="s.008111">que&longs;ti dalle te&longs;te di &longs;opra <lb/>congiunti da un pirone, & da ba&longs;&longs;o allargati &longs;i drizzano po&longs;te le funi dalle te­<lb/>&longs;te, & con quelle atorno di&longs;po&longs;te &longs;i tengono dritti. </s> <s id="s.008112">lega&longs;i nella &longs;ommicà una taglia det­<lb/>ta da alcuni recamo. </s> <s id="s.008113">nella taglia &longs;ono due rotelle, che ne i loro pernuzzi &longs;i uolgono: per <lb/>la rotella di &longs;opra &longs;i fa pa&longs;&longs;ar il menale, que&longs;ta fune dapoi &longs;i manda a ba&longs;&longs;o, & &longs;i fa andar a <lb/>torno la rotella della taglia inferiore, & &longs;i riporta alla rotella di &longs;otto della taglia &longs;uperio­<lb/>re, & co&longs;i di&longs;cende alla inferiore, & nel &longs;uo buco &longs;i lega il capo della fune, l'altro capo <lb/>dellaquale è riportato tra i piedi della machina: & ne i pianuzzi quadrati delle traui di die­<lb/>tro, la doue &longs;on allargati, &longs;i ficcano l'orecchie, o manichi detti chelonia, ne i quali &longs;i met­<lb/>teno i capi de i molinelli, accioche con facilità que perni &longs;i uoltino. </s> <s id="s.008114">Ma que molinelli <lb/>hanno pre&longs;&longs;o i capi loro i buchi temprati in modo, che in e&longs;si po&longs;&longs;ono accommodar&longs;i le <lb/>&longs;tanghe: ma alla taglia di &longs;otto &longs;i legano gli uncini di ferro, i denti de i quali s'accom­<lb/>modano ne i &longs;a&longs;si forati. </s> <s id="s.008115">quando adunque la fune ha il capo legato al molinello, & che le <lb/>&longs;tanghe menando quello lo uoltano, que&longs;to effetto ne na&longs;ce, che la fune uolgendo&longs;i a <lb/>torno il molinello &longs;i &longs;tende, & co&longs;i inalza i pe&longs;i all'altezza, che &longs;i uuole, & a que luoghi, do­<lb/>ue &longs;i hanno a collocare. </s> </p> <p type="main"> <s id="s.008116"><emph type="italics"/>Qui Vitru. ci dimo&longs;tra come &longs;i fanno gli &longs;trumenti da leuar i pe&longs;i, & porli doue fa bi&longs;o­<lb/>gno nelle fabriche de i Tempii, & delle opere publiche. </s> <s id="s.008117">& prima ci parla della taglia, che <lb/>egli troclea, o ricamo dimanda: il piu &longs;emplice modo è drizzare una caualletta, o gauerna che <lb/>&longs;i dica, di traui, o antennelle, per u&longs;are i nomi del no&longs;tro Ar&longs;enale, accio meglio &longs;i pigli la <lb/>pratica di tai co&longs;e. </s> <s id="s.008118">Que&longs;ta gauerna &longs;i fa pigliando&longs;i tre traui della gro&longs;&longs;ezza, che puo ba­<lb/>&longs;tare a &longs;o&longs;tener i pe&longs;i. </s> <s id="s.008119">que&longs;ti &longs;i drizzano, & di&longs;opra &longs;i legano in&longs;ieme con pironi, che fibu­<lb/>le da Vitru. detti &longs;ono, & i piedi di &longs;otto s'allargano: Piglian&longs;i poi due taglie, che cu&longs;elle <lb/>altroue &longs;i chiamano, la forma delle quali per la figura &longs;i manife&longs;ta, che &longs;ono alcune girelle, <lb/>che orbiculi da Vitru. raggi da noi dette &longs;ono, che nel taglio dritto la loro circonferenza <lb/>hanno un canale, nelquale s'inue&longs;te il menale, da Vitru. ductario fune chiamato. </s> <s id="s.008120">Le girelle, o <lb/>raggi hanno nel mezo un buco, doue ui entra un pernuzzo, che a&longs;&longs;iculo da Vitru. mar&longs;ione &longs;i <lb/>chiama da noi: que&longs;ti trapa&longs;&longs;a per lo raggio, che è po&longs;to fra un legno tagliato, & cauato, & <lb/>&longs;opra quello &longs;i uolge. </s> <s id="s.008121">Attaca&longs;i adunque una taglia alla parte di &longs;opra, & l'altra &longs;i &longs;erua per <lb/>porla di &longs;otto, & l'ordimento è tale. </s> <s id="s.008122">Egli&longs;i piglia la fune, & un capo di e&longs;&longs;a &longs;i tramette nel <lb/>canale del raggio di &longs;opra, dapoi &longs;i cala al piu ba&longs;&longs;o raggio della taglia di &longs;otto, & trapa&longs;&longs;a­<lb/>to per lo &longs;uo canale, &longs;i riporta al raggio di &longs;otto della taglia &longs;uperiore, & fattolo pa&longs;&longs;are, &longs;i ca­<lb/>la nel raggio di &longs;opra della taglia inferiore, & iui &longs;i lega l altro capo della fune, che in abando­<lb/>no &longs;i la&longs;cia; o perche con le mani a forza tirato &longs;ia, o &longs;i raccommanda ad un molinello, ilqua­<lb/>le tra i piedi della gauerna, nelle orecchie, che Vitru. <!-- REMOVE S-->Chelonia, noi ca&longs;tignole, o gattelli <lb/>chiamamo &longs;i uolge, con alcune &longs;tanghe, o manouelle, o pironi, che &longs;i dichino, che uectes da <lb/>Vitru. dette &longs;ono, che entrano nelle te&longs;te del molinello. </s> <s id="s.008123">i pe&longs;i &longs;i attaccano ad alcuni uncini, che <lb/>noi ganzi chiamamo, & Vitru. forcipi li dimanda. </s> <s id="s.008124">Que&longs;ti &longs;ono alla taglia di &longs;otto attacca­<lb/>ti, congiunti, come dimo&longs;tra la figura A. & il re&longs;to è chiaro per la figura B. doue è la taglia <lb/>di &longs;opra, & per la figura C. doue è la caualletta, che ancho ponte da alcuni è detta, & alla <lb/>figura. </s> <s id="s.008125">D. doue è il molinello, & le &longs;orti de molinelli, argani, o na&longs;pi, che &longs;uccule, & erga-<emph.end type="italics"/><pb pagenum="446" xlink:href="045/01/460.jpg"/><figure id="id.045.01.460.1.jpg" xlink:href="045/01/460/1.jpg"/><lb/><emph type="italics"/>ta da latini, o greci &longs;i chiamano, &longs;ono alle fi­<lb/>gure E. F. &longs;i come le &longs;orti de i ganzi, uncini <lb/>o forcipi &longs;ono alle figure. </s> <s id="s.008126">I. K. L. <!-- KEEP S--></s> <s id="s.008127">Po&longs;to a­<lb/>dunque la pratica delle taglie uenirò alla ra­<lb/>gione di e&longs;&longs;e, accioche ci &longs;ia noto la co&longs;a &longs;ignifi­<lb/>cata, & quella che &longs;ignifica: La fabrica è il <lb/>di&longs;cor&longs;o, l'effetto, & la cagione delle co&longs;e. </s> <s id="s.008128">Non <lb/>è dubbio che &longs;e ad una &longs;emplice fune &longs;i attacca <lb/>un pe&longs;o, poniam ca&longs;o di mille libre, che tutta la <lb/>fatica & &longs;orza non &longs;ia unit amente da quella <lb/>fune &longs;o&longs;tenuta, che poi &longs;e la delta fune &longs;arà rad­<lb/>doppiata & a quella una taglia d'un raggio ap­<lb/>po&longs;ta doue penda quel pe&longs;o, che la fune non <lb/>&longs;ia per hauer il doppio meno di fatica, & il <lb/>doppio meno di forza non ba&longs;ti ad alzar quel <lb/>pe&longs;o: hor che &longs;arà poi, &longs;e ci &longs;aranno due taglie, <lb/>o piu? </s> <s id="s.008129">o &longs;e &longs;i moltiplicheranno i raggi? </s> <s id="s.008130">non &longs;i <lb/>partirà quel pe&longs;o in piu parti? </s> <s id="s.008131">non &longs;i maneg­<lb/>giarà piu ageuolmente? </s> <s id="s.008132">non ci uorrà molto <lb/>menor forze a tirarlo? </s> <s id="s.008133">certo &longs;i, & di modo, che <lb/>&longs;e'l primo raddoppiamento leua la metà del pe­<lb/>&longs;o, il &longs;econdo alquale re&longs;ta una metà, leuerà uia <lb/>la metà di quella metà che &longs;arà la quarta parte <lb/>ditutto'l pe&longs;o, & dalla quarta parte della forza <lb/>di prima &longs;arà il detto pe&longs;o leuato: la doue &longs;e non <lb/>fu&longs;&longs;e la grauità delle funi, l'a&longs;prezza de i rag­<lb/>gi, & la tardezza del moto per li molti ra­<lb/>uolgimenti della fune, che &longs;ono i difetti non del­<lb/>la forma, ma della materia, un fanciullo pre­<lb/>ftamente alzarebbe un &longs;mi&longs;urato pe&longs;o: ma dar <lb/>il &longs;apone alle funi, l'ugnere i raggi, il far be­<lb/>ne le taglie con i raggi dritti, l'acconciar i me­<lb/>nali, che non s'intrichino, o rodino in&longs;ieme, e&longs;­<lb/>&longs;endo i pernuzzi a mi&longs;ura, & proportionati, <lb/>fanno ageuoli que&longs;te fatiche, & tanto piu &longs;e <lb/>gli aggiugnemo i molinelli, che leuano la lor par <lb/>te del pe&longs;o, & della fatica, come il moltiplicar <lb/>delle taglie, & de i raggi, & que&longs;ti ancho piu <lb/>ageuolmente &longs;i muoueno, quanto le loro &longs;tan­<lb/>ghe &longs;ono maggiori, perche la lunghezza &longs;i al­<lb/>lontana dal centro, che è immobile, & impe­<lb/>di&longs;ce il mouimento: & tanto &longs;ia detto della ra­<lb/>gione delle taglie.<emph.end type="italics"/></s> </p> <pb pagenum="447" xlink:href="045/01/461.jpg"/> </subchap2><subchap2> <p type="head"> <s id="s.008134"><emph type="italics"/>De diuer&longs;i uocaboli delle machine, & come &longs;i <lb/>drizzano. </s> <s id="s.008135">Cap. III.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.008136">Ove&longs;ta ragione di machinatione, che &longs;i riuolge con tre raggi, &longs;i chiama tri&longs;pa­<lb/>&longs;tos: ma quando nella taglia di &longs;otto due raggi, & nella di&longs;opra tre &longs;i ruota­<lb/>no, penta&longs;pa&longs;ton. </s> <s id="s.008137">Ma &longs;e per pe&longs;i maggiori &longs;i apparecchieranno le machine, <lb/>allhora &longs;arà nece&longs;&longs;ario u&longs;are le traui, & piu lunghe, & piu gro&longs;&longs;e, & con la <lb/>mede&longs;ma antedetta ragione da i capi di &longs;opra legarle, & congiungerle con le loro fibbie, & <lb/>pironi, & di &longs;otto con molinello accommodarle. </s> </p> <p type="main"> <s id="s.008138"><emph type="italics"/>Perche (come ho detto) la moltitudine delle taglie, & de i raggi in piu parti diuide il pe&longs;o: <lb/>però la doue &longs;i ha a leuar pe&longs;o maggiore, è nece&longs;&longs;ario l'opera di piu taglie, & de piu raggi, & <lb/>dal numero de i raggi &longs;ar anno le machine nominate. </s> <s id="s.008139">Però &longs;e per tre raggi &longs;arà ordita la fune, <lb/>quella machina &longs;arà detta tri&longs;pa&longs;ton, qua&longs;i da tre raggi tirato: &longs;e la taglia di &longs;otto hauerà due rag<lb/>gi, & la di &longs;opra tre, da i cinque raggi penta&longs;paston &longs;arà detta, nè i latini nè i uolgari hanno la <lb/>felicità de Greci nel compor questi nomi. </s> <s id="s.008140">Fanno&longs;i le taglie con piu raggi, altre ne hanno un <lb/>ordine, altre due, & altre piu, come &longs;i uede nelle figure. </s> <s id="s.008141">Ma bella co&longs;a è l'ordimento delle fu­<lb/>ni, come bene è da i praticanti cono&longs;ciuto, & le figure lo dimostrano. </s> <s id="s.008142">Hora uediamo come &longs;i <lb/>drizzano in piedi que&longs;te gauerne, ò ponti, ò cauallette, che &longs;i dichino.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.008143">E&longs;plicate le predette co&longs;e &longs;iano dinanzi alle machine ammollate quelle funi, che antarie <lb/>dette &longs;ono, & &longs;opra le &longs;pale della machina di&longs;po&longs;ti &longs;iano per <expan abbr="lūgo">lungo</expan> i ritegni, & &longs;e non &longs;arà do <lb/>ue legarli, & raccommandarli, &longs;iano conficcati i pali dritti, & fermati col batterli bene a tor <lb/>no, & iui &longs;iano le funi legate. </s> <s id="s.008144">Dapoi &longs;ia una taglia al capo di &longs;opra della machina con <lb/>una corda legata, & da quello &longs;ian riportate le corde al palo, & d'intorno a quella taglia; <lb/>che è al palo alligata, &longs;i meni la fune cerca il &longs;uo raggio, & poi riportata &longs;ia alla taglia, <lb/>che al capo della machina, & d'intorno il raggio dalla &longs;ommità trapa&longs;&longs;ata la fune di&longs;cenda <lb/>& ritorni al molinello, che è nella machina da ba&longs;&longs;o, & iui &longs;ia legato: co&longs;i forzato il mo­<lb/>linello dalle &longs;tange &longs;i uolgerà, & da &longs;e &longs;enza pericolo drizzerà la machina: co&longs;i di&longs;po&longs;te le <lb/>funi d'intorno, & i ritegni attaccati a i pali con piu ampio mo do &longs;arà la machina colloca­<lb/>ta: ma le taglie, & i menali al &longs;opradetto modo &longs;aranno ordite. </s> </p> <p type="head"> <s id="s.008145"><emph type="italics"/>Modi di annodare le funi.<emph.end type="italics"/></s> </p> <figure id="id.045.01.461.1.jpg" xlink:href="045/01/461/1.jpg"/> <p type="main"> <s id="s.008146"><emph type="italics"/>Vitr. c'in&longs;egna a drizzar le machine, & chi haueduto come s'inalbora le naui, puo inten-<emph.end type="italics"/><pb pagenum="448" xlink:href="045/01/462.jpg"/><emph type="italics"/>der quello, che egli dice. </s> <s id="s.008147">io e&longs;ponerò la mente &longs;ua piu facilmente, che &longs;i puo. </s> <s id="s.008148">Per drizzare adun <lb/>que la machina &longs;i ferma il piede di e&longs;&longs;a ad un palo, ouero ad altra co&longs;a &longs;tabile, accioche la machi<lb/>na ui punti dentro. </s> <s id="s.008149">Alla testa &longs;i legan non meno di due funi, accioche una uada dalla de&longs;tra, l'al <lb/>tra dalla &longs;ini&longs;tra & que&longs;te credo io che da Vitr. antarie, & da Creci protoni, & da i marinari <lb/>&longs;artie dette &longs;ono: &longs;tende&longs;i poi per la lunghezza della machina un'altra fune, la quale s'inuefte in <lb/>una taglia di &longs;opra, & un'altra di &longs;otto: dapoi questo è alquanto di&longs;co&longs;to l'argana, o il molinel­<lb/>lo, al quale &longs;i riporta la fune predetta, che da noi codetta &longs;i chiama, &longs;i come la taglia da piedi, <lb/>è nominata pa&longs;tecca. </s> <s id="s.008150">tirando&longs;i adunque &longs;opra il molinello, & uolgendo&longs;i quella fune, &longs;i drizzerà <lb/>la machina apuntando&longs;i al palo, & drizzata, che &longs;arà, &longs;i reggerà poi al piacer no&longs;tro con le fu­<lb/>ni, che &longs;aranno dalla de&longs;tra, & dalla &longs;ini&longs;tra, perche ammollando l'una, è tirando l'altra, &longs;i pie <lb/>gherà doue &longs;arà bi&longs;ogno. </s> <s id="s.008151">Ma perche le dette funi bi&longs;ogno hanno di e&longs;&longs;ere raccommandate ad al <lb/>cuna co&longs;a, però douemo cauare una fo&longs;&longs;a quadrata molto a fondo: iui &longs;i &longs;tende uno traue, al qua­<lb/>le &longs;i annoda la fune, che e&longs;ce dal &longs;uolo, &longs;opra que&longs;to tronco attrauer&longs;ati &longs;ono de gli altri pezzi <lb/>&longs;opra i quali &longs;i calca la terra, & co&longs;i teniranno bene: uero è che pare, che Vitr. uoglia, che a <lb/>que pali, che e&longs;ceno della terra, &longs;i attacchi una taglia, credo que&longs;to per ammollare piu commoda <lb/>mente le funi. </s> <s id="s.008152">Ma l'ordimento de i menali, & delle taglie &longs;i &longs;arà al modo &longs;opradetto.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.008153"><emph type="italics"/>Diuna machina &longs;imile alla &longs;opr apo&longs;ta a cui &longs;i com <lb/>metteno co&longs;e maggiori mutato &longs;olo il moli­<lb/>nello in un Timpano. <!-- KEEP S--></s> <s id="s.008154">Cap. IIII.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.008155">MA &longs;e porre in opera uorremo co&longs;e di maggior pe&longs;o, o grandezza, non douemo <lb/>fidarci de molinelli: ma &longs;i come il mol nello nelle orecchie è contenuto, co­<lb/>&longs;i in que&longs;to ca&longs;o bi&longs;ogna, che nelle orecchie u'entri un perno, nel mezo del <lb/>quale ci &longs;ia un Timpano, che alcuni ruota, i Greci Ampheure&longs;in, altri Peri­<lb/>trochio detto hanno, & in que&longs;te machine le taglie uanno ad un'altro modo: perche & di <lb/>&longs;otto, & di &longs;opra hanno due ordini de raggi, & in tal modo il menale &longs;i fa trapa&longs;&longs;are nel <lb/>foro della taglia di &longs;otto, che i due capi &longs;ieno eguali quando la fune &longs;arà &longs;te&longs;a, & iui lungo <lb/>la taglia inferiore attorchiata una cordicella, et legate <expan abbr="amēdue">amendue</expan> le parti della fune &longs;ieno con <lb/>tenute in modo, che non po&longs;sino u&longs;cire nè dalla de&longs;tra, nè dalla &longs;ini&longs;tra: fatto que&longs;to i <lb/>capi della fune &longs;i riportano alla taglia di &longs;opra nella parte e&longs;teriore, & &longs;ono mandati giu <lb/>dal d'intorno de'raggi inferiori di quella & ritornano di nuouo a ba&longs;&longs;o, & s'inue&longs;teno nel <lb/>la taglia di&longs;otto a raggi dalla parte interiore, & &longs;i riportano dalla de&longs;tra, & dalla &longs;ini&longs;tra <lb/>al Timpano che è nel perno, & iui &longs;i annodano: dipoi d'intorno al Timpano un'altra fune <lb/>&longs;i riporta all'argana. </s> <s id="s.008156">que&longs;ta uoltata a torno riuolgendo il Timpano, & il perno, fa che le <lb/>funi legate al perno &longs;i &longs;tendino parimente, & co&longs;i dolcemente &longs;enza pericolo leuano i pe­<lb/>&longs;i. </s> <s id="s.008157">Ma &longs;e la machina hauerà un Timpano maggiore, o nel mezo, o in una e&longs;tremità cal­<lb/>candoui in e&longs;&longs;o gli huomini, &longs;enza la manifattura dell'argana potrà hauer. </s> <s id="s.008158">effetti piu <lb/>e&longs;pediti. </s> </p> <p type="main"> <s id="s.008159"><emph type="italics"/>Tutta la difficultà d'intender bene l'artificio della &longs;opra&longs;critta machina, è po&longs;ta nell'ordimento <lb/>delle funi. </s> <s id="s.008160">Vitr. dice prima l'effetto &longs;uo, che è di leuar pe&longs;i di maggior importanza, che la ma­<lb/>china po&longs;ta al &longs;econdo Cap. <!-- KEEP S--></s> <s id="s.008161">Poi dimo&longs;tra il modo di fabricarla: chiama egli collo&longs;&longs;icotera quelle <lb/>co&longs;e che & di pe&longs;o, & di grandezza eccedono l'ordinario: &longs;i come colo&longs;&longs;i dette &longs;ono le grandi&longs;&longs;i­<lb/>me &longs;tatue, & che &longs;ono di molto maggior mi&longs;ura della con&longs;ueta. </s> <s id="s.008162">Drizza&longs;i la caualletta di gro&longs;&longs;i, <lb/>& alti traui al modo &longs;opradetto: poi &longs;i fanno due taglie di quattro raggi per una, due di&longs;otto & <lb/>due di &longs;opra al pari, una di quelle, alla qual &longs;i attacca l'uncino hauer deue un buco da ba&longs;&longs;o<emph.end type="italics"/>, <pb pagenum="449" xlink:href="045/01/463.jpg"/><emph type="italics"/>che pa&longs;&longs;i al contrario de i pernuzzi de i &longs;uoi raggi, l'altra legar &longs;i deue al capo di &longs;opra della ma­<lb/>china. </s> <s id="s.008163">L'ordimento è que&longs;to. </s> <s id="s.008164">&longs;i fa pa&longs;&longs;are il menale per lo foro della taglia di &longs;otto, di modo che <lb/>i capi di e&longs;&longs;o &longs;iano eguali da una parte, & dall'altra. </s> <s id="s.008165">que&longs;ti e&longs;&longs;er deono riportati alla taglia di &longs;o­<lb/>pra, & inue&longs;titi dalla parte di fuori ne i raggi di &longs;otto: ma perche &longs;tian fermi, & tenghino drit­<lb/>te le taglie, prima che s'inue&longs;tino, è nece&longs;&longs;ario legarli con una cordicella attorchiata, & anno­<lb/>data, che gli tenga dritti lungo la taglia. </s> <s id="s.008166">Pa&longs;&longs;ati adunque i due capi per liraggi di &longs;otto della ta <lb/>glia &longs;uperiore dal di fuori, &longs;i mandano a ba&longs;&longs;o, & &longs;i fan pa&longs;&longs;are dalla parte di dentro della taglia <lb/>per li raggi di &longs;otto, & di nuouo &longs;i riportano alla taglia di &longs;opra, & &longs;i fan pa&longs;&longs;are dal di fuori per <lb/>li raggi di &longs;opra, & mandati giu &longs;i fan pa&longs;&longs;are dal di dentro per li raggi di &longs;opra della taglia infe­<lb/>riore, dalla de&longs;tra, & dalla &longs;ini&longs;tra, & d'indi al perno del Timpano &longs;trettamente &longs;i legano: per­<lb/>che e&longs;&longs;endo a torno del Timpano inuolta un'altra fune, & riportata all'organa, ne &longs;egue, che ri <lb/>uolta a torno riuolgendo&longs;i il Timpano, & il perno, le funi legate a torno il perno parimente &longs;i &longs;ten <lb/>dino, & co&longs;i dolcemente leuano i grandi&longs;&longs;imi pe&longs;i. </s> <s id="s.008167">Et &longs;e il Timpano fu&longs;&longs;e maggiore &longs;i potrebhe le <lb/>uar la manifattura dell'argana, perche gli huomini col calcarui dentro lo farebbeno girare ageuol<lb/>mente, perche nelle grandi&longs;&longs;ime ruote calcando gli huomini &longs;i mouono grandi&longs;&longs;imi pe&longs;icon una fune <lb/>riuolta, perche è quella proportione del diametro della ruota al diametro del perno, che è del pe­<lb/>&longs;o alzato, al pe&longs;o, & alla forza de gli buomini, che &longs;ono dentro la ruota, & però le &longs;tange del­<lb/>l'argane e&longs;&longs;er deono lunghe, accioche &longs;econdo la proportione della lunghezza cia&longs;cuno de i capi lo <lb/>ro &longs;cemi il pe&longs;o, la doue &longs;e raddoppiate &longs;aranno, riduranno il pe&longs;o alla metà, & quattro alla <lb/>quarta parte: di modo, che &longs;e con una &longs;tanga d'un braccio quattr' buomini moueranno cento li­<lb/>bre di pe&longs;o, egli auerrà, che con quattro &longs;tanghe di &longs;ei braccia, i mede&longs;mi ne leueranno due mila <lb/>& quattrocento, &longs;ottratta però la giunta del pe&longs;o delle &longs;tanghe, il che importa poco. </s> <s id="s.008168">La figura <lb/>della machina, è al &longs;uo luogo.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.008169"><emph type="italics"/>D'un'altra &longs;orte di machina da tirare. </s> <s id="s.008170">Cap. V.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.008171">Evui un'altra &longs;orte di machina a&longs;&longs;ai artificio&longs;a, & accommodata alla pre&longs;tezza <lb/>ma il por&longs;i a farla, è opera di periti; imperoche egli è un traue, che &longs;i drizza <lb/>in piedi, & da quattro parti con ritegni tenuto, &longs;otto i ritegni &longs;i conficcano <lb/>due manichi, a i quali con funi &longs;i lega una taglia, &longs;otto la quale è po&longs;to un re <lb/>golo due piedi lungo, largo &longs;ei dita, gro&longs;&longs;o quattro. </s> <s id="s.008172">le taglie hanno per larghezza tre or­<lb/>dini di raggi, & co&longs;i tre menali nella &longs;ommità della machina &longs;i legano, & dipoi &longs;e riporta­<lb/>no alla taglia da ba&longs;&longs;o, & &longs;i fan pa&longs;&longs;are dalla parte di dentro per li &longs;uoi raggi di &longs;opra, d'in­<lb/>di &longs;i riportano alla taglia di &longs;opra, & s'inue&longs;teno per la parte di fuori nelia di dentro ne i <lb/>raggi di &longs;otto, quando &longs;aranno per la parte di dentro &longs;ce&longs;i, & per li &longs;econdi raggi &longs;i trapor <lb/>tano nella parte di fuori, & &longs;i riportano di &longs;opra a i &longs;econdi raggi trapa&longs;&longs;ati tornano al <lb/>ba&longs;&longs;o, & dal ba&longs;&longs;o &longs;i riportano al capo, & inue&longs;titi ne i primi raggi di &longs;opra, ritornano a i <lb/>piedi della machina. </s> <s id="s.008173">Ma nella radice di quella &longs;i pone la terza taglia da Greci Epagon da <lb/>no&longs;tri Artemon nominata. </s> <s id="s.008174">lega&longs;i que&longs;ta alla radice della machina, & ha tre raggi, per li <lb/>quali trapo&longs;te le funi &longs;i danno a gli huomini, che le tirino, & có&longs;i tirandole tre ordini <lb/>d'huomini &longs;enz'argana pre&longs;tamente alzano il pe&longs;o. </s> <s id="s.008175">Que&longs;ta &longs;orte di machina &longs;i chiama <lb/>poli&longs;pa&longs;ton, imperoche per molti circuiti de raggi ci da & pre&longs;tezza, & facilità grande, <lb/>& il drizzare d'un traue &longs;olo porta &longs;eco que&longs;ta utilità, che prima quanto &longs;i uuole, & in <lb/>che parte &longs;i uuole, & dalla de&longs;tra, & dalla &longs;ini&longs;tra puo deponere il pe&longs;o. </s> <s id="s.008176">Le ragioni del­<lb/>le &longs;opra&longs;critte machine non &longs;olo alle dette co&longs;e, ma a caricare, & &longs;carirar le naui fono ap <lb/>parecchiate; &longs;tando altre di quelle dritte, altre piane po&longs;te ne parettoli, che &longs;i uoltano, & <lb/>ancho &longs;enza drizzar le traui nel piano con la i&longs;te&longs;&longs;a ragione temprate le funi, & le taglie &longs;i <lb/>tirano le naui in terra. </s> </p> <pb pagenum="450" xlink:href="045/01/464.jpg"/> <p type="main"> <s id="s.008177"><emph type="italics"/>Bella, & &longs;ottile ragione & inuentione di machina ci propone Vitr. & c'in&longs;egna il modo di &longs;ar <lb/>la, l'ordimento delle funi, l'accommodarla per tir ar i pe&longs;i, il uocabolo, & l'u&longs;o d'e&longs;&longs;a. </s> <s id="s.008178">Dapoi <lb/>ci fa auuertiti, come a molti modi, & per molti effetti ci potemo &longs;eruire delle ragioni delle machi <lb/>ne &longs;opradette. </s> <s id="s.008179">Pre&longs;uppone egli che drizziamo la machina, come s'è detto, & dice, che l'u&longs;o è <lb/>per far pre&longs;to, & che è artificio&longs;a, & opera di per&longs;one pratiche. </s> <s id="s.008180">Drizza&longs;i un traue, da capo <lb/>del quale &longs;i legano quattro funi, che egli chiama retinacoli, noi &longs;artie, queste &longs;i la&longs;ciano andar <lb/>in terra, & &longs;i raccommandano a pali, come di &longs;opra. </s> <s id="s.008181">l'ufficio di que&longs;te funi è tenir dritta la ma­<lb/>china, che non pieghi piu in una parte, che in un'altra. </s> <s id="s.008182">&longs;otto que&longs;te funi, o &longs;artie, o ritegni, <lb/>che &longs;ieno, la doue di &longs;opra legate &longs;ono, &longs;i conficcano nelli lati del traue due manichi, tra quali è po <lb/>&longs;ta una taglia, & a quelli ben legata, ma &longs;otto la taglia, come per letto, è una piana di lunghez <lb/>za di due piedi, larga &longs;ei dita, gro&longs;&longs;a quattro. </s> <s id="s.008183">l'effetto di que&longs;ta, è tener dritta la taglia, & lon <lb/>tana dal traue, accioche &longs;i po&longs;&longs;a far commodamente l'ordimento delle funi. </s> <s id="s.008184">Tre taglie ui uanno, <lb/>due delle quali hanno nella larghezza loro tre ordini di raggi, come ti mo&longs;tra la figura. </s> <s id="s.008185">l'ordi­<lb/>mento delle funi è que&longs;to. </s> <s id="s.008186">piglian&longs;i tre menali, & &longs;i legano bene alla &longs;ommità della machina al <lb/>traue, i capi di quelli &longs;i la&longs;ciano andar giu, & per la parte di dentro della taglia di &longs;otto &longs;i fanno <lb/>pa&longs;&longs;are tutti tre ordinatamente ne i raggi di &longs;opra, cioè del primo ordine, pa&longs;&longs;ati che &longs;ono tutti <lb/>tre &longs;e riportano alla taglia di &longs;opra, & &longs;i fan pa&longs;&longs;are dalla parte di fuori nella parte di dentro per <lb/>li raggi di &longs;otto, & co&longs;i di&longs;cendeno per la parte di dentro, & s'inue&longs;teno nel &longs;econdo ordine de i <lb/>raggi, & pa&longs;&longs;ano alla parte difuori, que&longs;ti di nouo &longs;i riportano alla taglia di &longs;opra al &longs;econdo or­<lb/>dine de i raggi & trapa&longs;&longs;ati che &longs;ono calano giu, & dal terzo ordine de raggi, &longs;i riportano al ca­<lb/>po della machina, & inue&longs;titi, che &longs;ono nell'ordine de i raggi di &longs;opra tutti tre i detti menali, ca <lb/>lano al piè della machina, doue è legata la terza taglia, che da Greci è detta Epagon da latini <lb/>Artemon, da noi Pa&longs;tecca: que&longs;ta hatre &longs;oli raggi al pari, ne i quali uanno i tre menali, o co­<lb/>dette che &longs;i dicano, que&longs;ti &longs;i danno a per&longs;one, che li tirano a tre per capo, doue con facilità &longs;i le­<lb/>uano i pe&longs;i, & la figura lo dimo&longs;tra in una mano de i raggi nudi, perche meglio s'intenda, & da i <lb/>praticanti &longs;arà bene inte&longs;a: Et que&longs;ta &longs;orte di machina dalla moltitudine de i raggi è detta poli&longs;pa<lb/>&longs;ton. </s> <s id="s.008187">L'effetto è tale, che ammollando destramente quelli ritegni, & &longs;artie, &longs;i puo far piegare in <lb/>che parte &longs;i uuole, & deporre i pe&longs;i, doue torna bene. </s> <s id="s.008188">Ma l'u&longs;o di tutte le predette machine, <lb/>quando per li loro uer&longs;i accommodate &longs;aranno, &longs;i estende in piu fattioni: imperoche & per carica <lb/>re, & per &longs;caricare le naui &longs;on buone. </s> <s id="s.008189">l'arbore della naue ci &longs;erue & le funi &longs;ue, & quando il <lb/>pe&longs;o è alzato al pari della costa del nauilio, &longs;i fa andar il nauilio alla parte, & in banda, & co&longs;i <lb/>il pe&longs;o &longs;i &longs;carica, o in terra, o in altro nauilio minore. </s> <s id="s.008190">le mede&longs;ime machine ste&longs;e in terra, & or­<lb/>dinate uarano le naui, & le t<14>rano in acqua. </s> <s id="s.008191">il tutto è posto in bene accommodarle, & a&longs;&longs;icu­<lb/>rarle ne i manichi, & in quelli strumenti che Vitr. chiama Carche&longs;i, che &longs;ono, per quanto sti­<lb/>mo io, certi strumenti, doue entrano le stanghe, che uoltano i perni delle ruote, ode i Timpani, <lb/>o de na&longs;pi. </s> <s id="s.008192">altri dicono, che hanno la figura della lettera <foreign lang="greek">*d</foreign>, ma for&longs;e &longs;ono &longs;imili a quelli, che noi <lb/>chiamamo parettoli, &longs;opra i quali &longs;i uolta una bocca di fuoco per tirar in ogni uer&longs;o, come &longs;i ue­<lb/>de nelle naui, & nelle galere, & nella figura.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.008193"><emph type="italics"/>D'una ingenio&longs;a ragione di Cte&longs;ifonte, per con­<lb/>durre i pe&longs;i. </s> <s id="s.008194">Cap. VI.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.008195">Non è alieno dall'in&longs;tituto no&longs;tro e&longs;ponere una ingenio&longs;a inuentione di Cte&longs;i­<lb/>fonte: percioche uolendo co&longs;tui condurre dalle botteghe de i tagliapietra in <lb/>Efe&longs;o al Tempio di Diana i fu&longs;ti delle colonne, non fidando&longs;i ne i carri per la <lb/>grandezza de i pe&longs;i, & per le uie de i campi molli temendo, che le ruote non <pb pagenum="451" xlink:href="045/01/465.jpg"/>fonda&longs;&longs;ero troppo, in que&longs;to modo tentò di fare. </s> <s id="s.008196">Egli po&longs;e in&longs;ieme quattro pezzi di le­<lb/>gno molto bene comme&longs;si gro&longs;si quattro dita, due trauer&longs;i trapo&longs;ti tra due lunghi quan­<lb/>to erano i fu&longs;ti delle colonne, & nelle te&longs;te de i fu&longs;ti impiombò molto bene i pironi di fer­<lb/>ro, che Cnodaces detti &longs;ono a gui&longs;a di pernuzzi, & in que legni po&longs;e gli anelli, ne i quali <lb/>haue&longs;&longs;ero ad entrar i detti pironi, & con ba&longs;toni di elce legò le te&longs;te. </s> <s id="s.008197">I pironi adunque <lb/>rinchiu&longs;i ne i cerchielli liberamente &longs;i poteano tanto riuoltare, che mentre i buoi &longs;ottopo­<lb/>&longs;ti tirauano i fu&longs;ti delle colonne uolgendo&longs;i ne i pironi, & ne i cerchielli &longs;enza fine &longs;i gua­<lb/>uano. </s> <s id="s.008198">Hauendo poi a que&longs;to modo condotto tutti i fu&longs;ti, & e&longs;&longs;endo nece&longs;&longs;ario tirar an­<lb/>cho gli architraui, il figliuolo di Cte&longs;ifonte Metagene nominato, traportò quella ragio­<lb/>ne della condotta de i fu&longs;ti alla condotta de gli architraui: imperoche egli fece ruote gran <lb/>di da dodici piedi, & con la i&longs;te&longs;&longs;a ragione con pironi è cerchielli &longs;errò nel mezo di quelle <lb/>ruote i capi de gli architraui, & co&longs;i e&longs;&longs;endo tirati que legni da buoi rinchiu&longs;i ne i cerchiel <lb/>li, i pironi uolgeuano le ruote, & gli architraui &longs;errati come perni nelle ruote, con la i&longs;te&longs;<lb/>&longs;a ragione, che condotti furono i fu&longs;ti delle colonne, peruennero al luogo doue &longs;i fabr­<lb/>caua. </s> <s id="s.008199">l'e&longs;&longs;empio di tal co&longs;a è come quando nelle pale&longs;tre &longs;i &longs;pianano con i cilindri i luoghi <lb/>doue &longs;i camina: nè però que&longs;to haurebbe potuto fare &longs;e il luogo non fu&longs;&longs;e &longs;tato uicino, <lb/>perche da i tagliapietra al Tempio non ui ha piu d'otto miglia, nè ui è alcuna di&longs;ce&longs;a, ma <lb/>il tutto è piano campe&longs;tre. </s> </p> <p type="main"> <s id="s.008200"><emph type="italics"/>La interpretatione, & la pratica fa manifesto quello, che dice Vitr. & cilindro era una pietra <lb/>di forma di colonna per i&longs;pianare, & or&longs;are, come dicemo noi i terrazzi. </s> <s id="s.008201">Ma quanto bi&longs;ogni <lb/>prima pen&longs;arci &longs;opra, auanti che &longs;i dia principio a tali impre&longs;e di condurre le co&longs;e grandi Vitr. ci <lb/>dimo&longs;tra in un bello e&longs;&longs;empio dicendo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.008202">Ma a no&longs;tri giorni e&longs;&longs;endo nel Tempio, doue era il colo&longs;&longs;o d'Apollo per uecchiezza rot <lb/>ta la ba&longs;a, & temendo&longs;i, che la &longs;tatua non ruina&longs;&longs;e, & &longs;i rompe&longs;&longs;e, condu&longs;&longs;ero chi dalle <lb/>i&longs;te&longs;&longs;e petraie taglia&longs;&longs;ero la ba&longs;a. </s> <s id="s.008203">Paconio &longs;i pre&longs;e il carico. </s> <s id="s.008204">Era que&longs;ta ba&longs;a lunga dodici <lb/>piedi, larga otto, alta &longs;ei, que&longs;ta Paconio gonfio di uanagloria non come Metagene ten <lb/>tò di condurre, ma con la i&longs;te&longs;&longs;a ragione ad un'altro modo ordinò di fare una machina: <lb/>imperoche egli fece le ruote alte 15 piedi, nelle quali rinchiu&longs;ei capi della pietra, dapoi a <lb/>torno la pietra da ruota a ruota ui acconciò fu&longs;i gro&longs;si due dita in modo, che tra fu&longs;o è fi­<lb/>&longs;o non era la di&longs;tanza d'un piede: oltra di que&longs;to d'intorno a i fu&longs;i circondò una fune, & <lb/>po&longs;toui &longs;otto i buoi tiraua la fune, & co&longs;i &longs;ciogliendo&longs;i la fune uoltaua le ruote; ma non <lb/>poteua per dritto tirarle, perche la machina u&longs;ciua hora in una parte, hora in un'altra, dal <lb/>che egli era forzato di nuouo tirarla indietro, & co&longs;i Paconio tirando, è ritirando con­<lb/>&longs;umò il dinaio, &longs;i che egli non hebbe poi da pagare. </s> </p> <p type="main"> <s id="s.008205"><emph type="italics"/>Et que&longs;to luogo è ancho facile, perche Paconio fece un rocchello, come dicemo noi, nel quale <lb/>&longs;errò la pietra, & la corda, che era d'intorno al detto rocchello &longs;i uolgeua hora in un luogo ho­<lb/>rain un'altro, & però non poteua tirar dritto, ma quanto tiraua inanzi, tanto la machina &longs;i tor<lb/>ceua, & per drizzarla, tanto era nece&longs;&longs;ario tirarla in dietro, & co&longs;i la fatica era uana, come <lb/>quella di Si&longs;ifo, per la colpa della uanità &longs;ua, leggi Leone al &longs;e&longs;to del&longs;e&longs;to.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.008206"><emph type="italics"/>Come trouato s'habbia la petraia, della quale fu fatto il <lb/>Tempio di Diana Efe&longs;ia. </s> <s id="s.008207">Cap. VII.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.008208">IO u&longs;cirò alquanto di propo&longs;ito, & dirò come trouate furono que&longs;te petraie. </s> <s id="s.008209"><lb/>Pi&longs;&longs;odoro &longs;u pa&longs;tore, & praticaua in que&longs;ti luoghi, Pen&longs;ando gli Efe&longs;i di far <lb/>un Tempio a Diana, & deliberando di &longs;eruir&longs;i del marmo di Paro, Precone&longs;­<lb/>&longs;o, Heraclea, & di Tha&longs;o, auuenne, che in quel tempo Pi&longs;&longs;odoro cacciate a <pb pagenum="452" xlink:href="045/01/466.jpg"/>i pa&longs;coli le pecore in que luoghi, & iui concorrendo due montoni per urtar&longs;i l'un l'altro <lb/>&longs;enza incontro &longs;i trapa&longs;&longs;arono, & con empito l'uno perco&longs;&longs;e il &longs;a&longs;&longs;o con le corna, dal qua­<lb/>le &longs;eagliò una pietra di bianchi&longs;simo colore. </s> <s id="s.008210">Dal che &longs;i dice, che Pi&longs;&longs;odoro la&longs;cia&longs;&longs;e le pe <lb/>core ne i monti, & porta&longs;&longs;e correndo quella cro&longs;ta in Efe&longs;o allhora quando di cio &longs;pecial <lb/>mente con&longs;ultauano. </s> <s id="s.008211">co&longs;i deliberaron di honorarlo grandemente, & gli mutarono il no­<lb/>me, che in uece di Pi&longs;&longs;odoro fu&longs;&longs;e Euangelo <emph type="italics"/>(cioe buon nuncio)<emph.end type="italics"/> nominato, & fin'al di <lb/>d'hoggi ogni canti me&longs;i il magi&longs;trato di Efe&longs;o &longs;i conduce in quel luogo, & gli fa &longs;acrificio: <lb/>& ca&longs;o che cio fu&longs;&longs;e da quello preterme&longs;&longs;o, è tenuto alla pena. </s> </p> <p type="main"> <s id="s.008212"><emph type="italics"/>La uanagloria ingannò Paconio, l arte aiutò Cte&longs;ifonte, & Metagene, il ca&longs;o fece fauore a <lb/>Pi&longs;&longs;odoro. </s> <s id="s.008213">Et Vitr. ci ha recreati con que&longs;ta digre&longs;&longs;ione uedendoci hauere &longs;tanca, & intricata <lb/>la &longs;anta&longs;ia con ruote, corde, timpani, argani, et girelle. </s> <s id="s.008214">Hora egli pa&longs;&longs;a dopo la fabrica al di­<lb/>&longs;cor&longs;o, & fa &longs;opra le dette co&longs;e una belli&longs;&longs;ima con&longs;ideratione dicendo.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.008215"><emph type="italics"/>Del mouimento dritto, & circolare che &longs;i richiede a le­<lb/>uar i pe&longs;i. </s> <s id="s.008216">Cap. VIII.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.008217">Delle ragioni, con le quali &longs;i tirano i pe&longs;i breuemente io ho e&longs;po&longs;to quelle co&longs;e, <lb/>che io ho giudicate nece&longs;&longs;arie. </s> </p> <p type="main"> <s id="s.008218"><emph type="italics"/>Vitr. nel primo Cap. di que&longs;to libro ha detto, che machina era una continua colli<lb/>gatione di legname, che hauea uirtù grande a muouere i pe&longs;i. </s> <s id="s.008219">Que&longs;to fin hora egli <lb/>ci ha dimo&longs;trato. </s> <s id="s.008220">Ha detto ancho, che la machina &longs;i muoue con artificio di molti giri: questa <lb/>parte hora egli ci e&longs;pone, alche douemo por mente, per e&longs;&longs;er il fondamento di tutti gli artificij, <lb/>oltra che ci farà intender molte belle co&longs;e delle Mecaniche di Ari&longs;totile. <!-- KEEP S--></s> <s id="s.008221">Dice adunque.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.008222">Delle ragioni da tirar i pe&longs;i, quelle co&longs;e io ho breuemente e&longs;po&longs;to, che io ho giudica­<lb/>te nece&longs;&longs;arie, i mouimenti, & le uirtù delle quali due co&longs;e diuer&longs;e, & tra &longs;e di&longs;simili come <lb/>conuengono, co&longs;i &longs;ono principij a due operationi, uno di que principij, è il mouimento <lb/>dritto, Euthia da Greci nominato: l'altro è il mouimento circolare chiamato Cyclotis, <lb/>ma inuero nè il dritto &longs;enza il circolare, nè il circolare &longs;enza il dritto puo fare, che i pe&longs;i <lb/>&longs;i leuino. </s> </p> <p type="main"> <s id="s.008223"><emph type="italics"/>La propo&longs;itione di Vitr. è que&longs;ta, che il mouimento dritto, & il circolare, benche &longs;iano due co <lb/>&longs;e diuer&longs;e, & che &longs;imiglianza tra &longs;e non habbiano, pure concorreno a fare i merauiglio&longs;i effet­<lb/>ti, che tutto dì uedemo nell'alzar i pe&longs;i, nè uno può &longs;tar &longs;enza l'altro: ma come cio adiuegna <lb/>Vitr. da&longs;e &longs;te&longs;&longs;o l'e&longs;pone, dicendo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.008224">Ma come quello, che io ho detto, s'intenda, e&longs;ponerò. </s> <s id="s.008225">Entrano i pernuzzi ne i raggi <lb/>come centri, & nelle taglie &longs;i pongono, per que&longs;ti raggi la fune &longs;i uolge con dritti tiri, & <lb/>po&longs;ta nel molinello per lo riuolgimento delle &longs;tanghe fa, che i pe&longs;i &longs;i leuino in alto, & i <lb/>cardini del molinello come centri del dritto ne i gattelli collocati & ne i &longs;uoi buchi po­<lb/>&longs;te le &longs;tanghe uoltando&longs;i in giro le te&longs;te a ragione di torno alzano i pe&longs;i. </s> </p> <p type="main"> <s id="s.008226"><emph type="italics"/>Per indottione proua Vitr. che il dritto, & il circolare entrano a i mouimenti delle co&longs;e, & <lb/>prima ne gli &longs;trumenti delle taglie, &longs;tanghe, et molinelli, perche i giri, i raggi gli auolgimenti ri­<lb/>&longs;pondeno al circolare, le funi, le stanghe i perni ri&longs;pondeno al dritto nelle &longs;opraposte machine, <lb/>dapoi ne gli altri &longs;trumenti, come qui &longs;otto dimo&longs;tra dicendo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.008227">Similmente come la &longs;tanga, o leua di ferro quando è appo&longs;ta al pe&longs;o, quello, che <lb/>non puo da molte mani e&longs;&longs;er leuato, &longs;ottopo&longs;to a gui&longs;a di centro, per dritto quello, &longs;o­<lb/>pra che &longs;i ferma la manouella, che hypomochlion da Greci è detta, qua&longs;i &longs;otto &longs;tanga, <lb/>& po&longs;ta &longs;otto il pe&longs;o, la manouella, o lenguella della &longs;tanga, & calcato il capo di quella <lb/>dalle forze d'un huomo &longs;olo, quel pe&longs;o &longs;i leua. </s> </p> <pb pagenum="453" xlink:href="045/01/467.jpg"/> <p type="main"> <s id="s.008228"><emph type="italics"/>Molte questioni pertinenti alle Mecaniche di Arist. in poche parole po&longs;te, & ri&longs;olute &longs;ono da <lb/>Vitr. in questo luogo. </s> <s id="s.008229">Però con&longs;ider ar bi&longs;ogna le regole generali, & i principij di tutte. </s> <s id="s.008230">In <lb/>ogni artificio&longs;o mouimento &longs;ono quattro co&longs;e il pe&longs;o, la forza, che lo muoue, lo strumento, con <lb/>che &longs;i muoue, detto Vectis Latinamente, Mochlion in Greco, Leua in Volgare, & quello &longs;opra <lb/>che &longs;i ferma la Leua Hypomochlion in Greco, Pre&longs;&longs;io in Latino, & Sottoleua direi in Volgare. </s> <s id="s.008231"><lb/>tutte queste co&longs;e dalla stadera alla bilancia, & dalla bilancia alla ragione del circolo &longs;i uanno ri <lb/>ducendo. </s> <s id="s.008232">O&longs;&longs;erua&longs;i adunque, che le parti piu lontane dal centro fanno maggiore, piu presto, <lb/>& piu euidente effetto, che le uicine, perche &longs;ono piu lontane dallo immobile, & meno parteci­<lb/>pano della natura del centro, doue &longs;ono meno impedite e&longs;&longs;endo lontane dal centro, & quelli pe&longs;i, <lb/>che &longs;ono da i capi piu lontani dal centro, per le loro naturali inclinalioni, tendendo al ba&longs;&longs;o &longs;ono <lb/>meno impediti, & piu presto drizzano al perpendicolo, che li piu uicini, & però in ogni stru­<lb/>mento con&longs;iderar &longs;i deue, o il centro, o quello, che come centro &longs;i piglia. </s> <s id="s.008233">Nella bilancia adun­<lb/>que, & nella stadera il centro è quel punto del pirone, che trapa&longs;&longs;a l'orecchia, che an&longs;a, & la <lb/>lenguella, che E&longs;&longs;ame è nominata. </s> <s id="s.008234">Questo luogo del centro, è come la &longs;ottoleua, perche &longs;opra <lb/>quello &longs;i ferma la leua, & nella bilancia le braccia, o raggi, che Scapi da i Latini &longs;i dicono, <lb/>rappre&longs;entano la leua, che &longs;ono come linee, che &longs;i parteno dal centro. </s> <s id="s.008235">Quando adunque questi <lb/>raggi &longs;ono eguali di grandezza, & di pe&longs;o le teste loro, e&longs;&longs;endo la bilancia &longs;o&longs;pe&longs;a, non piegano <lb/>una piu dell'altra, ma &longs;ono egualmente distanti dal piano: ma quando &longs;e le dà pe&longs;o da uno de capi <lb/>forza è, che trabocchi la bilancia: & piu presto traboccherà, & con minor pe&longs;o quando il rag<lb/>gio &longs;arà maggiore, & il pe&longs;o piu lontano dal centro per la &longs;opradetta ragione: però dice&longs;i nelle <lb/>Mecaniche, che le bilancie, che hanno i fusti maggiori &longs;ono piu certe, cioè piu presto. </s> <s id="s.008236">& con <lb/>minor pe&longs;o bilanciano, & piu certo dimo&longs;trano il pe&longs;o, percioche per ogni lieue aggiunta &longs;i muo­<lb/>ueno, & in egual, o minore &longs;patio di tempo, fanno maggiore &longs;patio di luogo. </s> <s id="s.008237">Ma bi&longs;ogna inten <lb/>dere, che tutte le co&longs;e &longs;ian pari, & che la materia &longs;ia uniforme, & eguale per tutto di pe&longs;o, & <lb/>di lunghezza. </s> <s id="s.008238">Prende&longs;i la lunghezza de i raggi dal punto di mezo, che per centro, o &longs;ottoleua <lb/>&longs;i pone. </s> <s id="s.008239">&longs;tender ai due raggi eguali mouendo&longs;i i capi di quelli uno all'ingiu, & l'altro all'in&longs;u co­<lb/>mincieranno a di&longs;egnare un circolo ad uno i&longs;te&longs;&longs;o tempo, & cia&longs;cuno parimente finir à la &longs;ua metà <lb/>del circolo quando &longs;aranno peruenuti l'uno al luogo dell'altro, ma &longs;e i raggi della bilancia non &longs;a­<lb/>ranno di pari lunghezza, mouendo&longs;i al &longs;opradetto modo, &longs;egneranno circoli di&longs;eguali, &longs;i che il rag<lb/>gio maggiore farebbe circonferenza maggiore, quando gli la&longs;cia&longs;&longs;e un &longs;egno, & però mouendo&longs;i <lb/>l'uno, & l'altro capo ad un i&longs;te&longs;&longs;o tempo, piu ueloce mouimento farebbe il capo maggiore. </s> <s id="s.008240">Que­<lb/>&longs;to s'intende della bilancia, o &longs;ia ella &longs;o&longs;pe&longs;a dal di&longs;opra, come &longs;i u&longs;a per la piu parte, o &longs;ia &longs;o&longs;te­<lb/>nuto con un piè di &longs;otto come la figura lo dimo&longs;tra. </s> <s id="s.008241">Euui un'altra maniera di bilancia, che piu <lb/>pre&longs;to meza bilancia &longs;i puo chiamare, & è detta &longs;tadera. </s> <s id="s.008242">Que&longs;ta ba i raggi &longs;uoi di&longs;eguali, & do <lb/>ue è il minore, iui &longs;i attacano i pe&longs;i. </s> <s id="s.008243">In que&longs;ta è il centro, o la &longs;ottoleua, come nella bilancia, <lb/>doue è la lenguella. </s> <s id="s.008244">l'altro raggio è maggiore, & &longs;i &longs;egna con d uer&longs;i punti, &longs;opra i quali ua <lb/>giocando un pe&longs;o mobile detto il marco, ma da latini equipondio, & da Greci sferoma, affine, <lb/>che hora piu uicino, hora piu lontano al punto di mezo, leui i maggiori, & i minori pe&longs;i. </s> <s id="s.008245">que&longs;ti <lb/>ri&longs;ponde alla forza, che muoue, che come forte mano calca il raggio maggiore nella &longs;tadera, il &longs;i <lb/>mile fa il &longs;econdo pe&longs;o del braccio minore, & &longs;e egli &longs;i muta&longs;&longs;e l'orecchie & la lenguella alla &longs;ta­<lb/>dera, &longs;i puo dire, che ella fu&longs;&longs;e piu bilancie, & per molte bilancie &longs;i puo u&longs;are uariando&longs;i i luo­<lb/>ghi delle orecchie, & delle lenguelle per lo leuare di diuer&longs;i pe&longs;i. </s> <s id="s.008246">Quanto adunque è piu uicina <lb/>la orecchia, & la lenguella alla lance, che è quella catena, doue &longs;i attacca il pe&longs;o, tanto piu <lb/>&longs;i leua il pe&longs;o, che è in e&longs;&longs;a lance, percioche la linea, che è dall'orecchia al marco è maggio­<lb/>re. </s> <s id="s.008247">Ecco adunque come la stadera, & la bilancia &longs;iriduceno alla ragione del circolo. </s> <s id="s.008248">&longs;imil­<lb/>mente la leua &longs;i riduce alla iste&longs;&longs;a ragione, perche la leua è come il raggio della b lancia, la &longs;ot­<lb/>toleua come il centro, il pe&longs;o ri&longs;ponde alla co&longs;a mo&longs;&longs;a, & la mano di chi calca, a colui, che muo­<lb/>ue, & quanto è maggiore la stanga dal punto, oue ella &longs;i ferma, tanto piu facilmente &longs;i muoue il<emph.end type="italics"/><pb pagenum="454" xlink:href="045/01/468.jpg"/><emph type="italics"/>pe&longs;o per le dette ragioni; di qui na&longs;ce, che apunt ando un legno a mezo nelle ginocchia, & tenen­<lb/>do&longs;i i capi di quello con le mani, quanto piu lontane &longs;i teniranno le mani dal ginocchio, che è co­<lb/>me centro, tanto piu facilmente &longs;i romperà il legno. </s> <s id="s.008249">&longs;imil effetto ne na&longs;cerebbe, &longs;e egli &longs;i calca&longs;&longs;e <lb/>un capo del legno col piede, & di&longs;tante da quello &longs;i tene&longs;&longs;ero le mani. </s> <s id="s.008250">Et ancho entrando un po­<lb/>co di cugno in un gro&longs;&longs;o, & duro zocco, & percotendo&longs;i con un maglio quel cugno, facilmente <lb/>&longs;i &longs;pczzail legno, perche il cugno è come la leua, anzi come due, una di &longs;otto l'altra di &longs;opra, <lb/>& quelle parti del zocco, che &longs;ono tocche da quelle &longs;ono come centri, & &longs;ottoleue: & la forza di <lb/>chi percote è il mouente, & quella parte del legno, che tocca dalla punta del cugno, ri&longs;ponde al pe <lb/>&longs;o da e&longs;&longs;er leuato. </s> <s id="s.008251">Similmente quelle forbici, che hanno imanichi maggiori tagliano, o rompe­<lb/>no piu presto le co&longs;e dure, che le minori, & finalmente tutte le que&longs;tioni mecaniche d'intorno a <lb/>pe&longs;i &longs;i riduceno a que&longs;te ragioni, come a chi con&longs;idera puo e&longs;&longs;er manife&longs;to: però hauendo noia ba­<lb/>stanza di&longs;cor&longs;o &longs;opra il pre&longs;ente capo, &longs;eguiteremo Vitruuio, il quale hauendo prouato nella leua <lb/>il mouimento dritto, & detto l'effetto di e&longs;&longs;a, &longs;eguita a dirne la ragione.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.008252">Et que&longs;to na&longs;ce perche la parte dinanzi piu corta della leua entra &longs;otto il pe&longs;o da quella <lb/>parte della &longs;ottoleua, che è come centro, & il capo della leua, che è piu lontano dal centro <lb/>mentre che è calcato facendo il mouimento circolare co&longs;trigne col calcare con poca for­<lb/>za porre in bilico un grandi&longs;simo pe&longs;o. </s> </p> <p type="main"> <s id="s.008253"><emph type="italics"/>Il mouimento dritto prouato di &longs;opra ha bi&longs;ogno del mouimento circolare. </s> <s id="s.008254">questo proua Vi­<lb/>tru. <!-- REMOVE S-->nella leua, ilche &longs;i uede chiaro, percioche tanto il capo del raggio minore, quanto del mag­<lb/>giore di&longs;egna i circoli, come nella bilancia s' è dimostrato.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.008255">Simigliantemente &longs;e la lenguella della leua di ferro &longs;arà po&longs;ta &longs;otto il pe&longs;o, & che il ca­<lb/>po col calcare non a ba&longs;&longs;o, ma per lo contrario in alto &longs;arà leuato, la lenguella apuntan­<lb/>do&longs;i nel piano della terra hauerà quello in luogo di pe&longs;o, & l'angulo del pe&longs;o in luogo di <lb/>&longs;ottoleua, & co&longs;i non tanto facilmente, quanto per la &longs;ottoleua alzerà, nientedimeno all'op <lb/>po&longs;to del pe&longs;o nel carico &longs;arà commo&longs;&longs;o. </s> </p> <p type="main"> <s id="s.008256"><emph type="italics"/>Quello, che dice Vitr. benche con modo difficile detto &longs;ia, però &longs;i puo intendere a que&longs;to modo, <lb/>che non &longs;olamente la leua &longs;i adopera calcando uno de capi &longs;tandoui &longs;otto e&longs;&longs;a leua, & alzando il <lb/>pe&longs;o, come egli ha detto di &longs;opra: ma alcuna fiata per &longs;pigner un pe&longs;o, &longs;i punta la lenguella del­<lb/>la leua &longs;otto e&longs;&longs;o nella terra, laqual lenguella è ferrata, & propiamente è la leua della &longs;tanga, & <lb/>l'altro capo &longs;i alza con le mani, di modo che quel punto del pe&longs;o, che ha da e&longs;&longs;er &longs;pìnto, è come <lb/>centro, & &longs;ottoleua, & la terra è come il pe&longs;o, & il carico, & &longs;e bene a que&longs;to modo &longs;i &longs;pigne <lb/>un pe&longs;o, non però co&longs;i facilmente è mo&longs;&longs;o, come quando l'uno de capi s'inalza: & la figura di <lb/>quanto s' è detto è al fine del pre&longs;ente capo. </s> <s id="s.008257">Dalle &longs;opradette co&longs;e Vitr. conclude.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.008258">Adunque &longs;e la lenguella della leua è po&longs;ta &longs;opra la &longs;ottoleua, &longs;ottentrerà al pe&longs;o con la <lb/>parte maggiore della &longs;tanga, & il capo di quella &longs;arà calcato piu uicino al centro non <lb/>potrà alzar'il pe&longs;o, &longs;e non (&longs;i come è &longs;tato &longs;opra&longs;critto) il bilico, & l'e&longs;&longs;ame della leua &longs;arà <lb/>piu lungo dalla parte della te&longs;ta, & non &longs;arà fatto appre&longs;&longs;o il pe&longs;o. </s> </p> <p type="main"> <s id="s.008259"><emph type="italics"/>Nella leua, come ho detto è il capo, & è quella parte che &longs;i calca con le mani, & la leng uella, <lb/>che è quella parte, che &longs;ott' entra al pe&longs;o ferrata da capo, tutta la leua è in due raggi partita, da <lb/>quel punto, che tocca la &longs;ottoleua. </s> <s id="s.008260">&longs;e adunque da quel punto alla lenguella &longs;arà il raggio piu lun­<lb/>go, che dallo i&longs;te&longs;&longs;o punto al capo, non &longs;i potrà leuar il pe&longs;o, & la ragione è in pronto, perche il <lb/>raggio maggiore rappre&longs;enta la linea maggiore, che &longs;i parte dal centro, & però fa piu mouimen­<lb/>io: & que&longs;to &longs;i proua da Vitr. in questo modo, quando egli dice.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.008261">Et que&longs;to &longs;i puo con&longs;iderare dalle &longs;tadere, perche quando la orecchia è uicinal al capo, <lb/>doue pende la lance, nelqual luogo ella è come centro, & che il marco, o romano, detto <lb/>equipondio, nell'altra parte del fu&longs;to uagando per li &longs;egni, quanto è piu lontano con­<lb/>dotto, &longs;e ben fu&longs;&longs;e pre&longs;&longs;o all'e&longs;tremo del fufto, ancho con men pari pe&longs;o agguaglia il pe­<lb/>&longs;o, che è dall'altra parte, &longs;e bene è grandi&longs;simo, & que&longs;to adiuiene per lo bilanciar del fu-<pb pagenum="455" xlink:href="045/01/469.jpg"/>&longs;to, & perche la leua è lontana dal centro. </s> <s id="s.008262">Et con la picciolezza del marco piu debile <lb/>leuando in un momento maggior forza di pe&longs;o &longs;enza uehemenza dolcemente con&longs;trigne <lb/>dal ba&longs;&longs;o al di&longs;opra leuar&longs;i. </s> </p> <p type="main"> <s id="s.008263"><emph type="italics"/>Que&longs;to ancho s'intende, per le co&longs;e dette di&longs;opra da nol, quando dimostrato hauemo, che co­<lb/>&longs;a è stadera, che parti habbia, & che effetti faccia. </s> <s id="s.008264">Ari&longs;t. nella uige&longs;ima quinta questione diman <lb/>da. </s> <s id="s.008265">Perche cagione la &longs;tadera con un picciol marco pe&longs;a grandißimi pe&longs;i, concio&longs;ia che tutta la <lb/>&longs;tadera altro non &longs;ia, che meza bilancia, perche da una parte &longs;ola pende la lance, allaquale &longs;i <lb/>appende il pe&longs;o, dall' altra &longs;enza lance, è la &longs;tadera. </s> <s id="s.008266">Scioglie&longs;i la dimanda, che la stadera ci rap­<lb/>pre&longs;ent a & la bilancia, & la leua, imperoche è &longs;imile alla bilancia, quando cia&longs;cuna orecchia, <lb/>& lenguella puo mutar luogo &longs;econdo la quantità de i pe&longs;i, che uolemo leuare, & mutando il <lb/>luogo, & facendo diner&longs;i centri, da una parte è la lance, ouer uncino doue s'appende il pe&longs;o, dal­<lb/>l'altra è il marco, in luogo dell'altra lance, ilquale tira il pe&longs;o, che è nella lance, & a que&longs;to mo­<lb/>do la &longs;tadera è come la bilancia, & però fa gli effetti i&longs;teßi per leiste&longs;&longs;e ragioni, & accioche una <lb/>stadera e&longs;&longs;er po&longs;&longs;a diuer&longs;e bilancie, &longs;e le pone diuer&longs;e orecchie, & lenguelle, cioè &longs;i mutano i <lb/>centri, doue la &longs;i tiene: uero è che quando pe&longs;amo una co&longs;a, ella è come una &longs;ola bilancia, per­<lb/>che ha un centro &longs;olo, & due raggi, ma noi mutando il pe&longs;o mutiamo il centro, perche il marco <lb/>non calca egualmente e&longs;&longs;endo piu uicino, o piu lontano al centro, imperoche quando pe&longs;amo al­<lb/>cuna co&longs;a, quanto piu il centro, doue è l'orecchia, è uicino al pe&longs;o, tanto piu &longs;i leua, perche la li­<lb/>nea, cioè il fusto, che è dal centro al marco &longs;i fa maggiore. </s> <s id="s.008267">Ecco adunque le ragioni della bilan­<lb/>cia ritrouate nella stadera, che da Arist. <!-- REMOVE S-->è Phalange nominata. </s> <s id="s.008268">S'aßimiglia anche alla leua, & <lb/>è come una leua riuer&longs;cia, perche ha dal di &longs;opra la &longs;ottoleua, o preßione che &longs;i dica, che è la do­<lb/>ue è il centro, ha la forza, che muoue, che è il marco, che calca il fusto, & calcando è nece&longs;&longs;a­<lb/>rio, che il pe&longs;o, che è dall'altra parte faccia mutatione, & puo e&longs;&longs;er, che mutando&longs;i i centri &longs;i fac­<lb/>ciano piu leue, come &longs;i faceuano piu bilancie. </s> <s id="s.008269">Vero è che per l'ordinario alle stadere non &longs;i fan­<lb/>no piu, che due trutine, cioè non &longs;i muta il centro &longs;e non in due luoghi, & quando &longs;i u a quella <lb/>trutina, o quelle orecchie, che &longs;ono uicine alla lance dicemo pe&longs;ar alla gro&longs;&longs;a, perche i &longs;egni, & le <lb/>croci nel fusto &longs;egnati &longs;ono piu larghi, ma quando u&longs;amo il centro piu rimoto dicemo pe&longs;are alla <lb/>&longs;ottile, & i &longs;egni &longs;ono piu uicini. </s> <s id="s.008270">chiama&longs;i stadera, perche in luogo dell'altra lance sta il marco. </s> <s id="s.008271"><lb/>Et tanto detto &longs;ia della stadera.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.008272">Ancho &longs;i come il nocchiero d'una gran naue da carico tenendo l'an&longs;a del temone, oiax <lb/>detta da greci, in un momento con una mano per la ragione del centro calcando artificio <lb/>&longs;amente uolge la naue carica di pe&longs;i grandi&longs;simi, di merci, & d'altre co&longs;e nece&longs;&longs;arie. </s> </p> <p type="main"> <s id="s.008273"><emph type="italics"/>Ari&longs;totile nella quinta que&longs;tione dimanda, perche cagione e&longs;&longs;endo il gouerno picciolo & po&longs;to <lb/>nella e&longs;tremità della naue, ha però tanta forza, che tenendo un'huomo l'an&longs;a di quello nelle mani, <lb/>& uolgendola de&longs;tramente, faccia tanto mouimento nelle naui di grandißimo carico. </s> <s id="s.008274">Ri&longs;ponde <lb/>dicendo, che cio aduiene, perche il timone, & gouerno è come la leua, il mare come il pe&longs;o, il Noc <lb/>chiero come la forza mouente, la &longs;ottoleua &longs;ono que cardini ne i quali è posto il temone, & il car<lb/>dine è come centro di quel giro, che dall'e&longs;tremità del temone dall'una, & l'altra parte è di&longs;egna­<lb/>to. </s> <s id="s.008275">il temone adunque taglia il mare per dritto, & &longs;cacciandolo da un lato muoue la naue per tor <lb/>to, & per questo e&longs;&longs;endo l'acqua come il pe&longs;o, il temone che per lo contrario &longs;i punta piega la <lb/>naue, perche il centro, & l'appoggio era riuolto al contrario, alquale e&longs;&longs;endo la naue congiun­<lb/>ta, di neceßità la naue lo &longs;eguita, di modo che &longs;e'l mare è &longs;cacciato dalla de&longs;tra, il cardine ua alla <lb/>&longs;ini&longs;tra, & la naue &longs;eguita il cardine. </s> <s id="s.008276">Mail temone &longs;i pone da poppa nella e&longs;tremità della naue, <lb/>& non altroue, percioche ogni picciolo mouimento, che &longs;i fa da un'e&longs;tremo, quanto maggior è <lb/>lo &longs;pacio all'altro e&longs;tremo, fa tanto maggior mouimento in quello, percioche le ba&longs;e, che rinchiu­<lb/>dono quelle linee, che da uno angulo uengono, quanto piu lunghe &longs;ono le linee tanto &longs;ono maggio­<lb/>ri. </s> <s id="s.008277">Sia lo angulo A. le linee, che uengono da quell'angulo &longs;iano A C. & A D. la ba&longs;a. </s> <s id="s.008278"><lb/>C D. non ha dubbio, che &longs;e le linee &longs;aranno allungate come dallo A. all' F. & dallo A.<emph.end type="italics"/><pb pagenum="456" xlink:href="045/01/470.jpg"/><emph type="italics"/>all' H. la ba&longs;a F H. non habbia ad e&longs;&longs;er maggiore, che la ba&longs;a. </s> <s id="s.008279">C D. quando adunque <lb/>&longs;i far à un breue mouimento dalla poppa, per la lunghezza della naue da poppa à prora, la e­<lb/>&longs;iremita della prora hauerà &longs;egnato gran parte di circonferenza, & maggiore di quella, che bau­<lb/>rebbe &longs;egnato la lunghezza della poppa dell'albero, & però &longs;ta bene, che il teinone, che è prin­<lb/>cipio nel mouimento, & come angulo &longs;ia &longs;u l'estremo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.008280">Et ancho le uele alzate a mezo l'albero non danno tanta celerità alla naue, quanto &longs;e &longs;o <lb/>no alzate le antenne alla &longs;ommità: & la ragione è que&longs;ta, perche &longs;tando nella &longs;ommità non<lb/>fono uicine al piede dell'albero, che in quel luogo è in uece di centro, ma nella &longs;ommità <lb/>piu lontane, & da quello piu rimote pigliano le uele il uento. </s> <s id="s.008281">Adunque &longs;i come la leua <lb/>&longs;ottopo&longs;ta al pe&longs;o, &longs;e per la metà è calcata, è piu dura nell'opera: ma quando il &longs;uo capo <lb/>e&longs;tremo è calcato, & menato alza facilmente il pe&longs;o, co&longs;i e&longs;&longs;endo le uele a mezo albero <lb/>hanno minor uirtù, ma quelle, che alla cima po&longs;te &longs;ono allontanando&longs;i dal centro, benche <lb/>il uento non &longs;ia piu gagliardo, ma lo i&longs;te&longs;&longs;o calcando, o &longs;pignendo la cima sforza la na­<lb/>ue andar piu innanzi. </s> </p> <p type="main"> <s id="s.008282"><emph type="italics"/>Con lo i&longs;te&longs;&longs;o uento, & con la mede&longs;ima uela anderà la naue piu forte e&longs;&longs;endo ghindata l'an­<lb/>tenna alla &longs;ommità dell'albero, che al mezo, la ragione è come nella &longs;esta que&longs;tione &longs;i uede, per­<lb/>che l'albero è come la leua; il piede, la doue &longs;i ferma, è come il centro, & &longs;ottoleua; il pe&longs;o è la <lb/>naue; il mouimento è il uento: &longs;e adunque il mouente calca, ò &longs;pigne le parti lontane dal centro <lb/>piu facilmente muoue, che uicino al centro.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.008283">Ancho i remi con le &longs;trope legati alli &longs;chermi &longs;pinti, & ritirati con le mani, allontanan­<lb/>do&longs;i dal centro le pale di e&longs;si nell'onde del mare con grande forza &longs;pingono la naue innan­<lb/>zi, che è di &longs;opra mentre che la prora taglia la rarità del liquore. </s> </p> <p type="main"> <s id="s.008284"><emph type="italics"/>Il remo è come leua, lo &longs;chermo come &longs;ottoleua, il mare come pe&longs;o, &longs;econdo che &longs;i uede nella <lb/>quarta dimanda: le braccia della leua &longs;ono l'uno dallo &longs;chermo all'acqua, l'altro dallo &longs;chermo <lb/>alle mani del galeotto: l'effetto è lo iste&longs;&longs;o della leua, & della bilancia, cerca le braccia maggio­<lb/>ri, & minori, come è gia manife&longs;to.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.008285">I grandi pe&longs;i parimente quando portati &longs;ono da quattro o &longs;ei, che portano le lettiche, <lb/>&longs;ono po&longs;ti in bilico per li centri di mezo delle &longs;tanghe, accioche con una certa propor­<lb/>tione partito il carico cia&longs;cuno de i ba&longs;taggi porti col collo egual parte del pe&longs;o indiui&longs;o, <lb/>perche le parti di mezo delle &longs;tanghe, nellequali s'inue&longs;teno le cigne, a i collari de porta­<lb/>tori &longs;ono fitte, & terminate con chiodi, accioche non &longs;corrino di quà, & di là: perche <lb/>quando oltra i con&longs;ini del centro &longs;i muoueno, premeno il collo di colui, che gli è piu ui­<lb/>cino, &longs;i come nella &longs;tadera il marco, quando con l'e&longs;&longs;ame ha i termini del pe&longs;are. </s> </p> <p type="main"> <s id="s.008286"><emph type="italics"/>Dimanda Ari&longs;t. nella uige&longs;imanona que&longs;tione, donde na&longs;ce, che &longs;e due portano uno i&longs;te&longs;&longs;o ca­<lb/>rico &longs;opra una &longs;tanga, non egualmente &longs;ono oppre&longs;&longs;i, &longs;e il pe&longs;o non è nel mezo, ma piu s'affatica <lb/>colui, che è piu uicino al pe&longs;o ? ri&longs;ponde che la &longs;tanga è in uece di due leue, la cui &longs;ottoleua riuer­<lb/>&longs;cia è il pe&longs;o, l'e&longs;tremità della leua &longs;ono le parti della &longs;tanga, che &longs;i uoltano uer&longs;o i portatori, de <lb/>i quali uno è in luogo del pe&longs;o, che nella leua &longs;i deue muouere, & l'altro è in uece della forza, che <lb/>muoue, & però il braccio piu lungo della leua è quello che è calcato, & l'altro è come quello, <lb/>che è &longs;otto il pe&longs;o, & &longs;e bene l'uno, & l'altro è oppre&longs;&longs;o, nientedimeno è piu oppre&longs;&longs;o quello, <lb/>che è piu uicino al pe&longs;o, perche quello, che è piu lontano alza piu la parte &longs;ua, come che gli &longs;ia <lb/>piu facile l'alzarla e&longs;&longs;endo piu lunga, & dal centro piu rimota; ma &longs;e il pe&longs;o ste&longs;&longs;e nel mezo, la <lb/>fatica con egual portione diui&longs;a &longs;arebbe, & tanto leuarebbe l'uno, quanto l'altro e&longs;&longs;endo egual­<lb/>mente dal centro lontani.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.008287">Per la i&longs;te&longs;&longs;a ragione i giumenti, che &longs;ono &longs;otto il giogo, con egual fatica tirano i pe&longs;i, <lb/>quando legati &longs;ono in modo, che i loro colli &longs;iano egualmente di&longs;tanti dal mezo, la doue <lb/>&longs;i lega il giogo: ma quando di quelli &longs;ono le forze di&longs;eguali, & uno e&longs;&longs;endo piu gagliardo <lb/>preme l'altro, allhora facendo&longs;i trapa&longs;&longs;are la corregia, &longs;i fa una parte del giogo piu lunga, <pb pagenum="457" xlink:href="045/01/471.jpg"/>laqualc aiuta il giumento piu debile: co&longs;i nelle &longs;tanghe, come ne i gioghi, quando le cigne <lb/>non &longs;ono nel mezo, ma fanno quella parte, dallaquale pa&longs;&longs;a la cigna piu corta, & l'altra <lb/>piu lunga: Con la i&longs;te&longs;&longs;a ragione, &longs;e per quel centro doue è la cigna trappa&longs;&longs;ata, l'uno & <lb/>l'altro capo del giogo &longs;arà uoltato a torno, la parte piu luuga &longs;arà maggiore, & la piu cor­<lb/>ta minore il &longs;uo giro. </s> </p> <p type="main"> <s id="s.008288"><emph type="italics"/>Que&longs;to è facile per le co&longs;e dette di &longs;opra, però uolendo Vitru. dare una uniuer&longs;ale conclu&longs;ione <lb/>prouata da i primi principij, dice &longs;eguitando la &longs;ua indottione.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.008289">Et &longs;i come le ruote minori hanno i mouimenti loro piu duri, & piu difficili, co&longs;i le &longs;tan <lb/>ghe, & i gioghi in quelle parti doue hanno minor di&longs;tanza dal centro alle te&longs;te loro pre­<lb/>meno con difficultà i colli, & quelle, che hanno dallo i&longs;te&longs;&longs;o centro &longs;patij piu lontani, al­<lb/>legeri&longs;ceno di pe&longs;o i portatori, & in &longs;omma & que&longs;te co&longs;e gia dette al predetto modo ri­<lb/>ceueno i loro mouimenti col dritto, & col circolare, & ancho i carri, le carrette, i timpa­<lb/>ni, le ruote, le uide, gli &longs;corpioni, le bali&longs;te, i calcatoi de i torchi & le altre machine con <lb/>le i&longs;te&longs;&longs;e ragioni per lo dritto centro, & per lo circolare riuoltate fanno gli effetti &longs;econ­<lb/>do la no&longs;tra intentione. </s> </p> <p type="main"> <s id="s.008290"><emph type="italics"/>A me pare che Vitru. de i principij posti da lui, 'egli habbia proposto la ragione di tutte le ma­<lb/>chine trouate, & che &longs;i po&longs;&longs;ono trouare cerca l'alzare, il tirare, & lo &longs;pignere de i pe&longs;i, che <lb/>&longs;otto un'i&longs;te&longs;&longs;o nome di machina trattoria è contenuto: La&longs;cia questa bella con&longs;ideratione a gli <lb/>ingenio&longs;i, che il dritto, & il circolare mouimento, è principio di tutte le co&longs;e dette, & che chi <lb/>&longs;aperà in e&longs;&longs;e cono&longs;cere il pe&longs;o, la leua, la &longs;ottoleua, & la uirtù mouente, comparando que&longs;te co­<lb/>&longs;e in&longs;ieme, potrà render conto, & &longs;atisfare a tutte le dimande fatte nella pre&longs;ente materia. </s> <s id="s.008291">A <lb/>noi re&longs;ta dire alcuna co&longs;a d'intorno le ruote de carri, & cerca le uide, che hanno grandi&longs;sime for­<lb/>ze, & qua&longs;i incredibili, & dirò quello che dice il Cardano nel libro decimo &longs;ettimo della &longs;ottili­<lb/>tà delle co&longs;e. </s> <s id="s.008292">Dice egli adunque con &longs;imiglianti ragioni &longs;i fanno le uide. </s> <s id="s.008293">Sia la uida a b. <!-- REMOVE S--><lb/>cioè quella che egli Coclea dimanda, & il ma&longs;chio cioè la uida c d, laquale &longs;i gira a'torno co­<lb/>me &longs;i &longs;uole: &longs;ia il manico giunto al ma&longs;chio e f. <!-- REMOVE S-->ilqual &longs;i uolge col perno g h. <!-- REMOVE S-->facilmente <lb/>per la detta ragione delle &longs;tanghe, giunto &longs;ia dal ba&longs;&longs;o del ma&longs;chio a piombo un pe&longs;o di cento li­<lb/>bre, & &longs;ia m. <!-- REMOVE S-->uoltando &longs;i adunque il perno g h. <!-- REMOVE S-->egli &longs;i tirerà<emph.end type="italics"/> k <emph type="italics"/>l in &longs;u, & il pe&longs;o m. <!-- REMOVE S-->ande­<lb/>rà all'in&longs;u, & per lo contrario uoltato il perno. </s> <s id="s.008294">g h. <!-- REMOVE S-->& con la ragione i&longs;te&longs;&longs;a &longs;i &longs;pignerà K l. <lb/><!-- KEEP S--></s> <s id="s.008295">& piegherà il ferro opposto di una gro&longs;&longs;ezza incredibile, Ci re&longs;ta a dimostrare, che il pe&longs;o. </s> <s id="s.008296">m. <lb/><!-- REMOVE S-->&longs;i po&longs;&longs;a muouere, & con che ragione, perche eßendo centomila libre di pe&longs;o, & &longs;o&longs;tenendo cia­<lb/>&longs;cuna &longs;pira, o anello della uida il &longs;uo pe&longs;o, &longs;e &longs;aranno dieci uolte, o &longs;pire in cia&longs;cuna &longs;aranno dieci­<lb/>mila libre, tanto rittengono di pe&longs;o in cia&longs;cuna &longs;pira, quanta è la proportione della ritondità alla <lb/>fune, a cui è &longs;o&longs;pe&longs;o m. <!-- REMOVE S-->quanto adunque piu &longs;pire &longs;aranno, & piu &longs;trette, & maggiori, tanto piu <lb/>lieue &longs;i farà il pe&longs;o m. <!-- REMOVE S-->& il mouimento piu facile, benche piu tardo. </s> <s id="s.008297">Adunque nello &longs;pacio di <lb/>due braccia &longs;i puo fare una uida, con le &longs;pire tanto larghe, & co&longs;i ba&longs;&longs;e, che il pe&longs;o. </s> <s id="s.008298">m. <!-- REMOVE S-->puo da <lb/>un fanciullo di dieci anni e&longs;&longs;er alzato, ma come ho detto, quanto piu facilmete tanto piu lentamen <lb/>te &longs;i mouerà. </s> <s id="s.008299">Quando adunque &longs;arà tirato appre&longs;&longs;o la lunghezza l k. <!-- REMOVE S-->bi&longs;ognerà &longs;o&longs;pender il <lb/>pe&longs;o a quelle co&longs;e, che &longs;o&longs;tentano la machina a i punti. </s> <s id="s.008300">n. <!-- REMOVE S-->& o. <!-- REMOVE S-->& co&longs;i cauata con il contra­<lb/>rio mouimento.<emph.end type="italics"/> k <emph type="italics"/>l. <!-- REMOVE S-->appenderemo il pe&longs;o, & di nuouo tiraremo, & l'alzaremo tanto quanto è <lb/>lo &longs;pacio<emph.end type="italics"/> k <emph type="italics"/>l. <!-- REMOVE S-->finche &longs;pe&longs;&longs;o legando il pe&longs;o, o &longs;ia naue la trarremo del mare, o del fiume: & &longs;i­<lb/>mile, o tale pen&longs;ar douemo, che fu&longs;&longs;e lo strumento, con che Archimede tirò in merauiglia di &longs;e <lb/>la leggierezza de Greci, perche a que&longs;to modo un fanciullo potrà tirare una naue carica, che <lb/>uinti gioghi di buoi non la potrian muouere. </s> <s id="s.008301">ella è di acciaio duri&longs;&longs;imo, perche non &longs;i torca, leg­<lb/>geri&longs;&longs;imo accio non &longs;ia impedita, &longs;oda, & unta di oglio, perche l'oglio fa &longs;correre, & non la&longs;cia <lb/>irruginire: & quanto lo &longs;trumento è minore, tanto piu ci dà da merauigliare. </s> <s id="s.008302">Ma paßiamo a i <lb/>carri. </s> <s id="s.008303">quelli, che hanno ruote maggiori in terra molle con facilità, & pre&longs;to &longs;i muoueno, perche <lb/>il fango, che s'acco&longs;ta, tocca minima parte delle ruote, & meno impedi&longs;ce, & &longs;empre la ruota<emph.end type="italics"/><pb pagenum="458" xlink:href="045/01/472.jpg"/><emph type="italics"/>maggiore fa piu &longs;pacio la, doue ella &longs;ia &longs;officiente al pe&longs;o, & quanto le ruote &longs;aranne di numero <lb/>minore, il uiaggio &longs;i fa piu pre&longs;to. </s> <s id="s.008304">perche le molte &longs;e &longs;ono picciole, con minor circuito fanno mi­<lb/>nor &longs;pacio. </s> <s id="s.008305">Se grandi, alla forza aggiungono ancho il pe&longs;o, nè però abbracciano piu &longs;pacio, & <lb/>perciò &longs;ono piu tarde al mouimento. </s> <s id="s.008306">Però gl Imperatori Romani &longs;i faceuano portare ne i carri <lb/>di due ruote, perche la doue il pe&longs;o non è molto graue, o con piu caualli &longs;i tira, o il uiaggio &longs;i fa <lb/>piu pre&longs;to, & per que&longs;to le artiglierie &longs;i tirano &longs;opra due ruote. </s> <s id="s.008307">Di nuouo la ragione della facilità <lb/>a que&longs;to è del tutto contraria, perche nel &longs;odo piu ruote, & picciole fanno alla facilità, perche <lb/>il pe&longs;o &longs;i comparte per le ruote, dalche &longs;i fa l'aggiunta, & non la moltiplicatione di quelle pro­<lb/>portioni. </s> <s id="s.008308">Ecco l'e&longs;&longs;empio. </s> <s id="s.008309">moltiplicate tra &longs;e &longs;ei doppie, rendeno la ragione di &longs;e&longs;&longs;antaquattro ad <lb/>uno, ma le i&longs;te&longs;&longs;e giunte in&longs;ieme fanno duodecupla, perche è gran differenza tra il moltiplicar, <lb/>& il &longs;ommare delle proportioni. </s> <s id="s.008310">Se una ruota adunque porta il pe&longs;o di &longs;e&longs;&longs;antaquattro libre, tan­<lb/>to uale in &longs;ei ruote dodici. </s> <s id="s.008311">&longs;imilmente non &longs;olo dal numero, ma ancho dalla picciolezza &longs;i prende <lb/>aiuto, perche quanto piu tarde, tanto piu facilmente &longs;i muoueno. </s> <s id="s.008312">Si dà ancho la terza ragione <lb/>della facilità, quando il perno non è tanto oppre&longs;&longs;o, piu facilmente e&longs;&longs;endo libero &longs;i riuolge, & <lb/>co&longs;i ua &longs;eguitando. </s> <s id="s.008313">ma noi poneremo qui &longs;otto la figura di tutte le &longs;oprapo&longs;te co&longs;e, & del pre&longs;en­<lb/>te, & de i pa&longs;&longs;ati capitoli.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.008314"><emph type="italics"/>F la Taglia di &longs;opra, & il luogo doue ella &longs;i lega.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.008315"><emph type="italics"/>L la Taglia di &longs;otto detta Artemone, et Pa&longs;tecca, & in Creco Epagon.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.008316"><19> <emph type="italics"/>il Pe&longs;o.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.008317"><emph type="italics"/>A la Leua, che s'appunta in terra, & lenguella è detto il &longs;uo capo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.008318"><emph type="italics"/>3 il Pe&longs;o.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.008319"><emph type="italics"/>1 la &longs;ottoleua detta Hypomochlium, & Pre&longs;&longs;io in latino.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.008320"><emph type="italics"/>2 la leua, o manouella detta Vectis in latino, Mochlion in Greco.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.008321"><emph type="italics"/>V il Marco, in latino detto Equipondium, in Greco Sferoma.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.008322"><emph type="italics"/>Q S Lances.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.008323"><emph type="italics"/>X Lances.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.008324"><emph type="italics"/>R An&longs;a, Examen, Lenguella.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.008325"><emph type="italics"/>8 Cuneus, Cugno.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.008326"><emph type="italics"/>7 9 Stanga. </s> <s id="s.008327">10 Pe&longs;o.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.008328"><emph type="italics"/>H G Manico o &longs;tanga.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.008329"><emph type="italics"/>M Pe&longs;o.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.008330"><emph type="italics"/>O N Coclea la Vida.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.008331"><emph type="italics"/>D i Pali.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.008332"><emph type="italics"/>L doue &longs;i attacca la Pa&longs;tecca detta Artemo.<emph.end type="italics"/><!-- REMOVE S--><emph type="italics"/>C Chelonia le orecchie.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.008333"><emph type="italics"/>F la Regola.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.008334"><emph type="italics"/>B Antarij funes le Sartie.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.008335"><emph type="italics"/>E il luogo de i Menali.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.008336"><emph type="italics"/>X la Bilancia appoggiata.<emph.end type="italics"/></s> </p> <pb pagenum="459" xlink:href="045/01/473.jpg"/> <figure id="id.045.01.473.1.jpg" xlink:href="045/01/473/1.jpg"/> </subchap2><subchap2> <pb pagenum="460" xlink:href="045/01/474.jpg"/> <p type="head"> <s id="s.008337"><emph type="italics"/>Delle &longs;orti de gli strumenti da cauar l'acque, & prima <lb/>del Timpano. <!-- KEEP S--></s> <s id="s.008338">Cap. IX.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.008339">Hora de gli &longs;trumenti dirò, iquali &longs;tati &longs;ono ritrouati per cauar l'acqua, e&longs;po­<lb/>nendo la uarietà loro, & prima io ragioncrò del timpano. </s> <s id="s.008340">Que&longs;ti non mol­<lb/>to alto leua l'acqua, ma molto e&longs;peditamente ne caua una gran quantità. </s> <s id="s.008341">gli <lb/>&longs;i fa un perno a torno, o a &longs;e&longs;ta, con le te&longs;te ferrate, que&longs;ti nel mezo ha un tim­<lb/>pano di tauole fermate & po&longs;te in&longs;ieme, & &longs;i pone &longs;opra alcuni legni dritti, che dalle te&longs;te <lb/>hanno certi cerchielli di lame di ferro, doue &longs;i po&longs;a il perno, ma nel cauo di quel timpa­<lb/>no po&longs;te &longs;ono dentro per trauer&longs;o otto tauole, che con uno de capi loro toccano il per­<lb/>no, & con l'altro l'e&longs;trema circonferenza del timpano. </s> <s id="s.008342">que&longs;te tauole comparteno la parte <lb/>di dentro del timpano con &longs;pacij eguali. </s> <s id="s.008343">D'intorno alla fronte, cioè per taglio, o colello <lb/>del timpano, &longs;i con&longs;iccano certe tauole la&longs;ciandoui l'aperture di mezo piede, accioche l'ac­<lb/>qua po&longs;si entrar nel timpano: &longs;imilmente lungo il perno &longs;i la&longs;ciano i buchi, che colomba­<lb/>ri detti &longs;ono, cauati come'canali nello &longs;pacio di cia&longs;cuno di que compartimenti, & que­<lb/>&longs;to timpano quando è bene impegolato, & &longs;toppato, come &longs;i fan le naui, è uoltato da gli <lb/>huomini, che lo calcano, & riceuendo l'acqua per le apriture, che &longs;ono nella fronte del <lb/>timpano manda quella per li buchi, o colombari del perno, & co&longs;i &longs;ottopo&longs;toui un labro, <lb/>dalqual e&longs;ce un canale, o gorna che dir uogliamo, &longs;i dà una gran copia d'acqua, & &longs;i &longs;um­<lb/>mini&longs;tra, & per adacquar gli horti, & per le &longs;aline. </s> <s id="s.008344">Ma quando &longs;arà bi&longs;ogno alzar l'acqua <lb/>piu alto, la i&longs;te&longs;&longs;a ragione &longs;i permuterà in que&longs;to modo. </s> <s id="s.008345">Faremo una ruota d'intorno al <lb/>perno della grandezza, che all'altezza, doue farà bi&longs;ogno po&longs;&longs;a conuenire. </s> <s id="s.008346">D'intorno al­<lb/>l'e&longs;tremo lato della ruota &longs;i con&longs;iccheranno i &longs;ecchielli, modioli nominati; que&longs;ti e&longs;&longs;er <lb/>deono quadrati, & con cera, & pece ra&longs;&longs;odati: & co&longs;i uoltando&longs;i la ruota da quelli, che <lb/>la calcheranno, i &longs;ecchielli, che &longs;aranno pieni portati alla &longs;ommità di nuouo ritornando a <lb/>ba&longs;&longs;o uoteranno da &longs;e nella con&longs;erua per que&longs;to apparecchiata, che ca&longs;tello &longs;i chiama, uo <lb/>teranno dico quell'acqua, che haueranno &longs;eco in alto portata. </s> <s id="s.008347">Ma &longs;e a piu alti luoghi &longs;i <lb/>douerà dar l'acqua, nel perno della &longs;te&longs;&longs;a ruota &longs;i porrà una catena di ferro raddoppiata, <lb/>& riuolta, & &longs;i calerà al ba&longs;&longs;o liuello dell'acqua. </s> <s id="s.008348">a que&longs;ta catena &longs;aranno appo&longs;ti i &longs;ecchiel­<lb/>li pendenti di rame di tenuta d'un congio: & co&longs;i il uoltar della ruota inuolgendo la cate­<lb/>na nel perno, alzerà alla &longs;ommità, que' &longs;ecchielli, i quali alzati &longs;opra il perno &longs;aranno con­<lb/>&longs;tretti a riuer&longs;ciar&longs;i, & uotare nella con&longs;erua, quell'acqua, che haueranno portata. </s> </p> <p type="main"> <s id="s.008349"><emph type="italics"/>Et la interpretatione, & le figure, & l'hauer inte&longs;o le co&longs;e piu difficili, & il uederne ordina­<lb/>riamente gli e&longs;&longs;empi mi leuan la fatica di commentare que&longs;to, & altri capi di Vitr. ben dirò che <lb/>in que&longs;ta ultima ruota la catena con i &longs;ecchielli puo e&longs;&longs;er po&longs;ta &longs;ul taglio della ruota, perche an­<lb/>cho piu alto leuerà l'acqua, come io ho ueduto a Bruggie terra della Fiandra. </s> <s id="s.008350">ma quella è uolta­<lb/>ta da un cauallo, con altre ruote.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.008351"><emph type="italics"/>Delle Ruote, & Timpani per macinar la fari­<lb/>na. </s> <s id="s.008352">Cap. X.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.008353">Fanno&longs;i ancho ne i &longs;iumi le ruote con le i&longs;te&longs;&longs;e ragioni, che di &longs;opra &longs;critto ha­<lb/>uemo. </s> <s id="s.008354">D'intorno alle fronti loro s'affigeno le pinne: lequali quando toc­<lb/>che &longs;ono dall'impeto dell'acqua fanno a forza andando inanzi, che la ruota &longs;i <lb/>uolga, & co&longs;i con i &longs;ecchielli riceuendo l'acqua, & riportandola di &longs;opra &longs;en-<pb pagenum="461" xlink:href="045/01/475.jpg"/>za opera di huomini, che la calchino, dallo &longs;pigner del &longs;iume danno quello, che è nece&longs;&longs;a­<lb/>rio all'u&longs;o. </s> <s id="s.008355">Con la i&longs;te&longs;&longs;a ragione ancho le machine dette Hidraule &longs;i uolgeno, nellequali <lb/>&longs;ono tutte quelle co&longs;e, che nell'altre machine &longs;i trouano, eccetto che dall'una delle te&longs;te <lb/>del perno hanno un timpano dentato, & rinchiu&longs;o, che a piombo è drizzato in colello <lb/>con la ruota parimente &longs;i uolge. </s> <s id="s.008356">lungo quel timpano ce n'è un'altro maggiore, anch'egli <lb/>dentato, & po&longs;to in piano, dalquale è contenuto il perno, che da capo ha il ferro, che con <lb/>tiene la mola detto &longs;ub&longs;cude, & co&longs;i i denti di quel timpano, che è rinchiu&longs;o nel perno &longs;pi­<lb/>gnendo i denti del timpano, che è po&longs;to in piano fanno andar a torno la mola. </s> <s id="s.008357">nellaqual <lb/>machina &longs;tando appe&longs;o il tramoggio, che infundibulo è detto, &longs;ummini&longs;tra il formento <lb/>alle mole, & con l'i&longs;te&longs;&longs;a giratione frange il grano, & &longs;i fa la farina. </s> </p> <p type="main"> <s id="s.008358"><emph type="italics"/>L'u&longs;o &longs;imilmente, & la figura, con la chiarezza della interpretatione ci dimo&longs;tra quanto è <lb/>&longs;opradetto. </s> <s id="s.008359">hora ueniremo a piu ingenio&longs;e inuentioni.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.008360"><emph type="italics"/>Della uida, che alza gran copia d'acqua, ma non <lb/>&longs;i alto. </s> <s id="s.008361">Cap. XI.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.008362">Evui ancho la ragione della Vida, che caua molt'acqua, ma non l'alza tanto, <lb/>quanto la ruota, & la forma di quella in que&longs;to modo &longs;i ordina. </s> <s id="s.008363">Piglia&longs;i un <lb/>traue, che &longs;ia tante dita gro&longs;&longs;o, quanti piedi ha da e&longs;&longs;er lungo, & &longs;i fa tondo a <lb/>&longs;e&longs;ta; i &longs;uoi capi per lo circuito loro &longs;i parteno in quarti, o uero in ottaui, &longs;e <lb/>&longs;i uuole, tirando le linee da un capo all'altro, & que&longs;te linee co&longs;i po&longs;te &longs;ono, che drizzato <lb/>il traue in piedi a piombo ri&longs;pondino le linee de i capi drittamente l'una con l'altra, & da­<lb/>poi da que&longs;te, che fatte &longs;ono &longs;u le te&longs;te, da una te&longs;ta all'altra per la lunghezza del traue &longs;ia­<lb/>no tirate le linee conuenienti in modo, che quanto grande &longs;arà l'ottaua parte nel circuito <lb/>delle te&longs;te del traue, tanto &longs;iano di&longs;tanti le linee tirate per la lunghezza del traue, & co&longs;i <lb/>& nella circonferenza delle te&longs;te, & nella lunghezza &longs;aranno gli &longs;pacij eguali. </s> <s id="s.008364">dapoi nelle <lb/>linee de&longs;critte per lungo &longs;egnar &longs;i deono quegli &longs;pacij, & terminarli con incrocciamenti & <lb/>&longs;egni manife&longs;ti. </s> <s id="s.008365">Fatto que&longs;to con diligenza, &longs;i piglia una piana di &longs;elice, o di uitice {<emph type="italics"/>che <lb/>Agnoca&longs;to è detto<emph.end type="italics"/>} que&longs;ta piana, è come una &longs;corza fle&longs;sibile, unta poi di liquida pece &longs;i <lb/>conficca nel primo punto d'una di quelle linee tirate per lungo, dapoi &longs;i riporta al &longs;econ­<lb/>do punto della &longs;eguente linea, & co&longs;i di mano in mano &longs;i ua riuolgendo per ordine toccan <lb/>do tutti i punti, & finalmente partendo&longs;i dal primo punto, & uenendo all'ottauo di quella <lb/>linea, nellaquale la &longs;ua prima parte era con&longs;iccata, peruiene a quel modo: quanto obliqua <lb/>mente ella procede per lo &longs;pacio, & per gli otto punti, tanto nella lunghezza uiene uer&longs;o <lb/>l'ottauo punto, & con quella i&longs;te&longs;&longs;a ragione per ogni &longs;pacio della lunghezza, & per cia&longs;cun <lb/>&longs;egno della ritondità per torto conficcate le regole per le otto diui&longs;ioni fatte nella gro&longs;&longs;ez<lb/>za del traue, fanno i canali obliqui, & una giu&longs;ta, & naturale imitatione della uida. </s> <s id="s.008366">Dapoi <lb/>per lo i&longs;te&longs;&longs;o ue&longs;tigio altre piane &longs;i conficcano una &longs;opra l'altra unte di liquida pece, & <lb/>s'inalzano fin'a tanto, che la gro&longs;&longs;ezza di quel colmo &longs;ia per l'ottaua parte della lunghez­<lb/>za: &longs;opra quelle d'intorno &longs;i conficcano alcune tauole, che copreno quello inuoglio, & <lb/>&longs;e le dà la pece copio&longs;amente, & con cerchi di ferro &longs;i legano, accioche per la forza dell'ac <lb/>qua non &longs;i &longs;ciolgano. </s> <s id="s.008367">Ma i capi del traue circondati &longs;ono, & contenuti da lame, & chiodi <lb/>di ferro, & in quelli &longs;ono ficcati i pironi, o gli &longs;tili di ferro, & dalla de&longs;tra, & dalla &longs;ini&longs;tra <lb/>della uida &longs;ono drizzati i pali, che da i capi dall'una, & l'altra parte hanno fitti i loro trauer­<lb/>&longs;i, ne i quali &longs;ono i buchi circondati, & inue&longs;titi di ferro, ne i quali entrano gli &longs;tili, & coli <lb/>la uida calcando gli huomini &longs;i uolge. </s> <s id="s.008368">Ma il drizzarla, & il farla piegare quanto &longs;i deue, &longs;i <lb/>fa nel modo, che &longs;ta il triangolo Pitagorico che ha lo angulo dritto, cioe &longs;econdo la ragio <pb pagenum="462" xlink:href="045/01/476.jpg"/>ne della &longs;quadra ella ri&longs;ponda in modo, che la lunghezza della uida &longs;ia partita in cinque <lb/>parti, & per tre di quelle s'inalzi il capo della uida, & co&longs;i ne &longs;eguirà, che dal punto a piom <lb/>bo di quel capo alle nari da ba&longs;&longs;o della uida lo &longs;pacio &longs;arà di quattro parti. </s> <s id="s.008369">Ma con che ra­<lb/>gione cio e&longs;&longs;er fatto bi&longs;ogni nel fine del libro ci &longs;arà con la &longs;ua figura dimo&longs;trato. </s> </p> <p type="main"> <s id="s.008370"><emph type="italics"/>Io ho ueduto que&longs;to &longs;trumento fare una mirabilißima proua nelle no&longs;tre paludi per &longs;eccar l'ac <lb/>que, che in e&longs;&longs;e colano, & di piu io ho ueduto, che e&longs;&longs;endo le paludi pre&longs;&longs;o il &longs;iume di Erenta la <lb/>ruota, che uolgeua la uida era posta &longs;opra il fiume di modo, che l'acqua uolgendo la ruota, faceua, <lb/>che altre ruote, & rocchelli, che dal perno di quella alquanto di&longs;costi erano, &longs;i moue&longs;&longs;ero, & de&longs;­<lb/>&longs;ero uolta alla uida, che dalla palude cauando l'acqua la faceua cader in un ua&longs;o &longs;ottoposto da <lb/>cui n'u&longs;ciua un canale di legno, per loquale l'acqua cauata, &longs;e ne andaua nel fiume. </s> <s id="s.008371">Altri uoglio­<lb/>no, che &longs;i po&longs;&longs;a con la iste&longs;&longs;a acqua dar mouimento ad una ruota, che uolga la uida continuamen­<lb/>te dopo il primo mouimento, co&longs;i &longs;arebbe un moto qua&longs;i perpetuo. </s> <s id="s.008372">Ma io &longs;timo che ci uogliano <lb/>altre con&longs;iderationi, però &longs;eruiamoci per adacquare i campi come faceuano gli Egittij, &longs;econdo <lb/>che riferi&longs;ce Diodoro nel primo libro. </s> <s id="s.008373">& dice, che fu inuentione di Archimede. <!-- KEEP S--></s> <s id="s.008374">La fabrica di <lb/>que&longs;ta machina posta da Vitr. è non men bella, che facile, non men facile, che utile, & s'intende <lb/>per la nostra interpretatione, & per la figura de&longs;critta da noi.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.008375">Io ho &longs;critto quanto piu chiaramente ho potuto, accioche tai co&longs;e manife&longs;te &longs;iano di <lb/>che materia &longs;i facciano gli &longs;trumenti da cauar l'acqua, & con che ragioni &longs;i facciano, & <lb/>con quai co&longs;e riceuendo il mouimento con i lor giri pre&longs;tino infiniti commodi. </s> </p> </subchap2><subchap2> <p type="head"> <s id="s.008376"><emph type="italics"/>Della machina fatta da Cte&longs;ibio, che alza l'acqua <lb/>molto in alto. </s> <s id="s.008377">Cap. XII.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.008378">Seguita, che faccia la dimo&longs;tratione della machina di Cte&longs;ibio, laquale alza <lb/>molto l'acqua. </s> <s id="s.008379">Quella &longs;i fa di rame, a piè dellaquale &longs;ono due moggetti al­<lb/>quanto di&longs;tanti, liquali hanno le lor canne, o trombe (& &longs;ono in modo di <lb/>forchelle) ad uno i&longs;te&longs;&longs;o modo attaccate, & concorrenti amendue in un ca­<lb/>tino tra quelle po&longs;to nel mezo. </s> <s id="s.008380">in que&longs;to catino por &longs;i deono le animelle di legno, o di <lb/>quoio po&longs;te alle bocche di &longs;opra delle canne &longs;ottilmente congiunte, accioche turando i <lb/>fori delle dette bocche, non la&longs;cino u&longs;cire quello, che con il &longs;offiare &longs;arà nel catino man <lb/>dato. </s> <s id="s.008381">&longs;opra'l catino c'è una penola come un tramoggio riuer&longs;o, che con una fibbia col <lb/>catino trapa&longs;&longs;atoui un cugno, è &longs;aldata, accioche la forza del gonfiamento dell'acqua, non <lb/>la co&longs;tringa alzar&longs;i: di &longs;opra c'è una fi&longs;tola (che tromba &longs;i chiama) &longs;aldata, & dritta. </s> <s id="s.008382">i mog­<lb/>getti ueramente da ba&longs;&longs;o tra le narici trapo&longs;ti hanno i perni, o animelle &longs;opra i buchi di <lb/>quelle, che &longs;ono ne i fondi loro, & co&longs;i dal di&longs;opra ne i moggetti entrando i ma&longs;chi fatti <lb/>al torno, & unti d'oglio, rinchiu&longs;i & bene a&longs;&longs;aggiati con &longs;tanghe &longs;i uolgeno: que&longs;ti di quà, <lb/>& di là con frequenti mouimenti premendo, mentre che i perni otturano l'aere, & l'acqua, <lb/>che iui &longs;i troua fanno forza a i buchi, & &longs;cacciano l'acqua per le narici delle canne nel ca­<lb/>tino &longs;offiando per le pre&longs;sioni, che &longs;i fanno, dal catino la penola riceuendo l'acqua lo &longs;pi­<lb/>rito, manda fuori per la tromba &longs;operiore l'acqua, & co&longs;i da ba&longs;&longs;o po&longs;ta la con&longs;erua, & il <lb/>luogo capace per riceuer l'acqua, ella &longs;i &longs;ummini&longs;tra alle &longs;aline. </s> <s id="s.008383">Nè que&longs;ta &longs;ola ragione <lb/>di Cre&longs;ibio &longs;i dice e&longs;&longs;er &longs;tata prontamente ritrouata, & fabricata, ma ancho di piu, & al­<lb/>tre di uarie maniere, che &longs;i mo&longs;trano forzate dall'humore con le pre&longs;sioni dallo &longs;pirito <lb/>mandar in luce gli effetti pre&longs;tati dalla natura, come &longs;ono delle merle, che col mouimen­<lb/>to mandano fuori i &longs;uoni, & le co&longs;e che &longs;i auicinano, che finalmente muoueno le figurine <lb/>che beueno, & altre co&longs;e, che con diletto lu&longs;ingano gli occhi, & le orecchie: dellequali io <lb/>ho &longs;celto quelle, che io ho giudicato grandemente utili, & nece&longs;&longs;arie, & quelle, che non <pb pagenum="463" xlink:href="045/01/477.jpg"/><figure id="id.045.01.477.1.jpg" xlink:href="045/01/477/1.jpg"/><pb pagenum="464" xlink:href="045/01/478.jpg"/>&longs;ono utili, & commode al bi&longs;ogno della uita, ma al piacere delle delicie, &longs;i potranno tro­<lb/>uare da quelli, che di e&longs;&longs;e de&longs;idero&longs;i &longs;aranno, dai commentari di Cte&longs;ibio. <!-- KEEP S--></s> </p> <figure id="id.045.01.478.1.jpg" xlink:href="045/01/478/1.jpg"/> <p type="main"> <s id="s.008384"><emph type="italics"/>Cte&longs;ibio molto commendato in diuer&longs;i luoghi trouò una machina mirabile da alzar l'acqua, <lb/>& questa è tra le machine &longs;piritali collocata. </s> <s id="s.008385">Vitruuio prima ne fa la dimostratione della pra­<lb/>tica, dipoi commenda Cte&longs;ibio di diuer&longs;e inuentioni. </s> <s id="s.008386">Quanto adunque a&longs;petta alla fabrica, io di­<lb/>co, che &longs;i apparecchia un catino, o uero una conca di rame, laquale ha un coperchio di rame det­<lb/>to Penula da Vitr. che è come un tramoggio riuer&longs;o, dalla cui &longs;ommità e&longs;ce una tromba, & il tut­<lb/>to è bene &longs;tagnato, & &longs;aldato in&longs;ieme, accioche la uiolenza dell'acqua non l'apra, o rompa. </s> <s id="s.008387">nel <lb/>fondo del catino &longs;ono due bocche da Vitr. <!-- KEEP S--></s> <s id="s.008388">Narici nominate coperte di quoio, o di legno in modo, <lb/>che quel quoio, o legno &longs;i puo alzare, & abba&longs;&longs;are, &longs;i come &longs;i uede ne i folli, o mantici; Que&longs;ti le­<lb/>gni Vitr. a&longs;&longs;i, noi animelle chiamamo, & &longs;i leuano uer&longs;o il coperchio, ma quando &longs;ono calcati dal­<lb/>l'acqua, che è dentro il catino, otturano le bocche, allequali &longs;ono &longs;aldate due canne dette da Vitr. <lb/>fi&longs;tule, che partitamente &longs;tendendo&longs;i una dalla de&longs;tra, l'altra dalla &longs;ini&longs;tra, &longs;ono in&longs;erte, & &longs;tagna <lb/>te pre&longs;&longs;o i fondi d'alcuni &longs;ecchi, che Vitr. <!-- KEEP S--></s> <s id="s.008389">Modioli &longs;uol nominare, ne i fondi de i quali &longs;ono le ani­<lb/>melle come nel catino. </s> <s id="s.008390">Entra poi dal di&longs;opra de i detti &longs;ecchielli un ma&longs;colo per cia&longs;cuno tornito, <lb/>& unto bene, & a&longs;&longs;aggiato a punto, come &longs;i uede nel gonfietto della palla da uento. </s> <s id="s.008391">que&longs;ti ma­<lb/>&longs;coli da i manichi loro di &longs;opra hanno, o &longs;tanghe, o leue, o altra co&longs;a che gli alzano, & abba&longs;&longs;ano <lb/>come dimostra la figura, & Vitr. lo la&longs;cia alla uoglia di chi fa que&longs;ta machina. </s> <s id="s.008392">Quando adunque <lb/>&longs;i leua un ma&longs;colo &longs;tando l'altro a ba&longs;&longs;o, l'acqua per una bocca del &longs;ecchio la doue è l'animella <lb/>nel fondo &longs;ott'entra &longs;eguitando l'aere, accio non &longs;i, dia uoto, & qua&longs;i a&longs;&longs;orbita empie il &longs;ecchiel­<lb/>lo, mentre l'aere e&longs;ce per la canna. </s> <s id="s.008393">quando poi &longs;i abba&longs;&longs;a il detto ma&longs;colo, egli calca l'acqua, & <lb/>quella non potendo u&longs;cire per la bocca di &longs;otto e&longs;&longs;endo quella dall'animella otturata, quanto piu <lb/>&longs;i calca, tanto a&longs;cende per la canna, & entra nel catino. </s> <s id="s.008394">in que&longs;to mezo dall'altro &longs;ecchiello alzan<lb/>do&longs;i il ma&longs;colo, l'acqua entra per la &longs;ua bocca, & lo riempie, & di nuouo abba&longs;&longs;ando&longs;i calca l'ac-<emph.end type="italics"/><pb pagenum="465" xlink:href="045/01/479.jpg"/><emph type="italics"/>qua, & la fa &longs;alire per la &longs;ua canna nel catino, & iui trouando l'altr' acqua, & non potendo quel­<lb/>la tornar a ba&longs;&longs;o, e&longs;&longs;endo le bocche dal quoio otturate, &longs;ale, & boglie mirabilmente, & e&longs;ce per <lb/>la tromba di &longs;opra, & &longs;i fa andare doue l'h uom uuole: & questa è la fabrica della machina ri­<lb/>trouata da Cte&longs;ibio, alla cui &longs;imiglianza fatte &longs;ono le trombe, che &longs;eccano, & uotano le naui, <lb/>quando fanno acqua: bella, & utile inuentione, &longs;i come diletteuoli &longs;on quelle, che dice Vitru. e&longs;­<lb/>&longs;er state per diletto da Cte&longs;ibio ritrouate, doue &longs;i fanno &longs;altare, & cantar gli uccelletti, & con <lb/>l'approßimar&longs;i d'alcune co&longs;e, &longs;i fanno, che gli animali beuino, & le figure &longs;i muouino come ne di­<lb/>mo&longs;tra Herone. </s> <s id="s.008395">Eenche quella parola Engibbata, ouero è &longs;corretta, o uuole dir altro.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.008396"><emph type="italics"/>Delle machine Hidraulice con le quali &longs;i fanno gli <lb/>Organi. <!-- KEEP S--></s> <s id="s.008397">Cap. XIII.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.008398">IO non la&longs;cierò a dietro di toccare quanto piu breuemente potrò, & con &longs;crit <lb/>tura con&longs;eguire a punto, cio che a&longs;petta alla ragione delle machine Hidrauli <lb/>ce. </s> <s id="s.008399">Egli &longs;i fa una ba&longs;a di legno ben collegata, & congiunta in&longs;ieme, in quel <lb/>la &longs;i pone un'arca di rame, &longs;opra la ba&longs;a dalla de&longs;tra, & dalla fini&longs;tra &longs;i drizza­<lb/>no alcune regole po&longs;te in&longs;ieme a modo di &longs;cala, in que&longs;te &longs;i includeno alcuni moggetti di <lb/>rame con i loro cerchielli mobili fatti &longs;ottilmente al torno, que&longs;ti nel mezo hanno le lor <lb/>braccia di ferro conficcate, & lor fu&longs;aioli con i manichi, congiunte & riuolte in pelli di la <lb/>na. <!-- KEEP S--></s> <s id="s.008400">Dipoi nel piano di &longs;opra ci &longs;ono i fori circa tre dita grandi uicino a quali, ne i lor fu­<lb/>&longs;aioli po&longs;ti &longs;ono i Delfini di rame, che dalla bocca loro pendenti hanno dalle catene i cem<lb/>bali, che calano di &longs;otto i fori de i moggetti nell'arca doue è ripo&longs;ta l'acqua, iui è come <lb/>un tramoggio riuer&longs;o, &longs;otto il quale &longs;ono certi ta&longs;&longs;elli alti cerca tre dita, i quali liuellano <lb/>lo &longs;patio da ba&longs;&longs;o po&longs;to, tra i labri inferiori del forno, & il fondo dell'arca. </s> </p> <p type="main"> <s id="s.008401"><emph type="italics"/>Que&longs;ta fabrica di machina è difficile, & o&longs;cura, il che Vitr. afferma nel fine del pre&longs;ente Ca­<lb/>po, benche egli dica hauerla chiaramente e&longs;po&longs;ta, & nel principio del mede&longs;imo capo ci promet­<lb/>ta di uoler ciò fare, & toccar la co&longs;a, quanto piu uicino &longs;i puo: ma con &longs;omma breuità, & io &longs;timo <lb/>che egli cio fatto habbia, & e&longs;&longs;eguito, auenga che altri dica, che que&longs;ta forma di Vitr. &longs;ia piu <lb/>presto per un modello, che per una e&longs;qui&longs;ita dimo&longs;tratione, affermando che Nerone tanto &longs;i di­<lb/>lettaua di que&longs;te machine Hidraulice, che conteneuano l'acqua, & per piu canne mandando <lb/>fuori l'aere con l'acqua in&longs;ieme faccuano un tremante &longs;uono, che tra i pericoli della uita, & del­<lb/>lo imperio, tra gli abbuttinamenti de i &longs;oldati, & de i capitani, nel &longs;opra&longs;tante, & manife&longs;to <lb/>pericolo, non la&longs;ciaua il pen&longs;iero, & la cura di quelle: & che poi e&longs;&longs;endo diuulgati i libri di Vi <lb/>truuio, Nerone non l'haue&longs;&longs;e co&longs;i care, poi che con uulgata ragione fu&longs;&longs;ero fabricate. </s> <s id="s.008402">Et a <lb/>me pare, che &longs;e bene minutamente Vitr. non ci e&longs;pone tutte le co&longs;e, che entrano nella detta ma­<lb/>china, come egli ancho non ha fatto nelle altre, pre&longs;upponendole a&longs;&longs;ai manife&longs;te, pure ci dia tan <lb/>to lume, che con la indu&longs;tria, & con la diligenza &longs;i puo fare quello, che egli c'in&longs;egna: perche <lb/>ancho &longs;e uogliamo de&longs;criuere la fattura de gli Organi no&longs;tri, che u&longs;iamo, cono&longs;ceremo chiaramen<lb/>te, che non potremo co&longs;i minutamente dimo&longs;trare l'artificio loro, che non ci re&longs;ti difficultà ap­<lb/>pre&longs;&longs;o quelli, che di que&longs;ti &longs;imili &longs;trumenti non fanno profe&longs;&longs;ione, & non ne hanno pratica: tan­<lb/>to piu ci deue parere &longs;trano l'antichità, sì per la proprietà de uocaboli, sì per la nouità delle co&longs;e, <lb/>che &longs;ono di&longs;u&longs;ate; benche l'organo di Vitr. conuegna in molte co&longs;e con l'organo, che u&longs;iamo, per­<lb/>che nell'uno, & nell'altro, è una i&longs;te&longs;&longs;a intentione di &longs;onare mediante l'aere, di dar le uie allo &longs;pi­<lb/>rito per certi canali, che entri nelle canne, che quelle &longs;i otturino, & aprino al piacer no&longs;tro, che <lb/>s'accordino in proportione di mu&longs;ica, che &longs;iano diuer&longs;e, & facciano diuer&longs;i &longs;uoni, & &longs;imili co&longs;e, <lb/>che di nece&longs;&longs;ità &longs;ono in que&longs;ti organi, & in quelli, benche altrimenti &longs;i facciano. </s> <s id="s.008403">Percioche io <lb/>non trouo, che gli antichi u&longs;a&longs;&longs;ero i mantici, benche &longs;i &longs;erui&longs;&longs;ero di co&longs;e, che faceuano lo i&longs;te&longs;&longs;o<emph.end type="italics"/><pb pagenum="466" xlink:href="045/01/480.jpg"/><emph type="italics"/>effetto riceuendo l'aere, & lo &longs;pirito, & &longs;cacciandolo &longs;econdo il bi&longs;ogno, come nella machina di <lb/>Cte&longs;ibio dimo&longs;trato hauemo. </s> <s id="s.008404">Herone &longs;imilmente de&longs;criue una machina Hidraulica, la quale in­<lb/>&longs;ieme con altre co&longs;e, è qua&longs;i in mano d'ogni &longs;tudio&longs;o, & noi per diletto po&longs;to hauemo nella lingua <lb/>no&longs;tra i libri di quello autore. </s> <s id="s.008405">Per e&longs;ponere adunque quanto s'intende dalle parole di Vitr. & <lb/>quello, che con la indu&longs;tria, & lume dello ingenio&longs;o Marcolino hauemo: Io dico, che per fare <lb/>la machina Hidraulica bi&longs;ogna prima fare un ba&longs;amento di legname, affine che &longs;opra e&longs;&longs;o tutto <lb/>l'apparecchio dell'Organo &longs;i fermi, & &longs;pecialmente un' arca, o ua&longs;o di rame, nel quale &longs;i ha da <lb/>por l'acqua, dapoi &longs;opra la ba&longs;a dalla de&longs;tra, & dalla &longs;ini&longs;tra dalle te&longs;te &longs;i drizzano alcune rego<lb/>le contenute in&longs;ieme da altre attrauer&longs;ate a modo di &longs;cala, & &longs;ono come un telaro della machina. </s> <s id="s.008406"><lb/>in que&longs;te regole &longs;i &longs;errano alcuni moggetti di Rame, come quelli della machina Cte&longs;ibica &longs;oprapo <lb/>&longs;ta. </s> <s id="s.008407">que&longs;ti hanno i lor fondelli, o cerchielli mobili fatti a torno con diligenza, & &longs;ono come ma­<lb/>&longs;coli, che entrano ne i moggetti, anzi come que legni, che entrano ne i gonfietti delle palle da <lb/>uento, & &longs;ono inue&longs;titi di lana, o di feltro, & di pezze come i gonfietti. </s> <s id="s.008408">que&longs;ti moggetti &longs;on drit<lb/>tì, & uengono a riferire nell'arca di rame, hanno di &longs;opra i manichi, & le catene, che calano in <lb/>e&longs;&longs;i a modo delle trombe di naue. </s> <s id="s.008409">que&longs;te catene e&longs;ceno dalla bocca di alcuni Delfini co&longs;i formati <lb/>per adornamento, & &longs;ono co&longs;i chiamati dal mouimento loro, che &longs;i ra&longs;&longs;omiglia allo effetto, che <lb/>fanno i Delfini nel &longs;uo apparire fuori & rituffar&longs;i nell'acqua; & è uero, & co&longs;i come noi chia­<lb/>miamo gallo quello &longs;trumento, che &longs;i uolge in una canna, & apre la uia all'acqua, che e&longs;ce di <lb/>qualche ua&longs;o, co&longs;i quel delfino cra uno strumento, dalla bocca del quale pendeuano le catene, le <lb/>quali catene erano attaccate ad una &longs;tanga, la qual era bilicata, & &longs;taua in uccello, come dice­<lb/>mo noi, nel mezo &longs;opra una regola dritta. </s> <s id="s.008410">Nell'arca di rame era come un tramoggio riuer&longs;o <lb/>alzato dal fondo dell'arca tre dita con certi ta&longs;&longs;elli, & que&longs;to &longs;i faceua per tenir il tramoggio <lb/>alzato dal fondo dell'arca, accioche l'acqua ui pote&longs;&longs;e entrare di &longs;otto uia. </s> <s id="s.008411">que&longs;to tramogio non <lb/>haueua fondo, & l'acqua, che er a nell'arca, era po&longs;ta per premer l'aere, che entraua per alcu<lb/>ne canne nel tramogio, &longs;i come nelle piue pa&longs;torali &longs;i preme il quoio, che ritiene il fiato, & co&longs;i <lb/>que&longs;t' acqua oppre&longs;&longs;a dallo aere lo &longs;cacciaua con forza all'in&longs;u per una tromba, che era in capo <lb/>del tramoggio, la qual tromba portaua lo fiato, & lo &longs;pirito in una ca&longs;&longs;etta, della quale Vitru. <!-- REMOVE S--><lb/>parla in que&longs;to modo.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.008412">Sopra la te&longs;ta gli è una ca&longs;&longs;etta ben &longs;errata, & congiunta che &longs;o&longs;tenta il capo della ma­<lb/>china detta il Canone mu&longs;icale, nella cui lunghezza &longs;i fanno quattro canali &longs;e lo &longs;trumen <lb/>to e&longs;&longs;er deue di quattro corde, &longs;ei &longs;e di &longs;ei, otto, &longs;e di otto. </s> <s id="s.008413">in cia&longs;cun canale po&longs;ti &longs;ono i <lb/>&longs;uoi bocchini rinchiu&longs;i con manichi di ferro. </s> <s id="s.008414">que&longs;ti manichi quando &longs;i torceno, o dan <lb/>uolta, apreno le nari dall'arca ne i canali, & da i canali il canone per trauer&longs;o ha di&longs;po&longs;ti <lb/>i &longs;uoi fori, o buchi, che ri&longs;pondeno, & s'incontrano nelle nari, che &longs;ono nella tauola di <lb/>&longs;opra, la qual tauola in Greco Pinax, da noi &longs;ommiero è detta. </s> <s id="s.008415">Tra la tauola, & il regi­<lb/>&longs;tro trapo&longs;te &longs;ono alcune regole forate allo i&longs;te&longs;&longs;o modo, & unte di oglio, accioche facil­<lb/>mente &longs;i &longs;pignino, & di nuouo &longs;iano tirate dentro. </s> <s id="s.008416">l'effetto di que&longs;ti è otturare i buchi, <lb/>& perche &longs;ono da i lati, però da Greci pleuritide &longs;ono detti. </s> <s id="s.008417">di que&longs;te lo andare, & il ritor <lb/>no ottura altri di que fori, & altri apre. </s> <s id="s.008418">Similmente que&longs;te regole hanno attaccati, & fit <lb/>ti i loro cerchielli di ferro congiunti con le pinne ( che ta&longs;ti chiamamo, ) le quali quando <lb/>toccati &longs;ono muoueno le regole. </s> <s id="s.008419">Sopra la tauola contenuti &longs;ono i buchi, per li quali da i <lb/>canali e&longs;ce il fiato, & lo &longs;pirito. </s> <s id="s.008420">Alle regole incollati &longs;ono gli anelli, ne i quali rinchiu&longs;e <lb/>&longs;ono le lenguelle di tutti gli organi. </s> </p> <p type="main"> <s id="s.008421"><emph type="italics"/>Bello Artificio è que&longs;to, & degno di con&longs;ider atione. </s> <s id="s.008422">&longs;opra la canna del tramoggio nella te­<lb/>&longs;ta è congiunta una ca&longs;&longs;etta di legno, que&longs;ta riceue il fiato, che uiene dalla tromba, o canna del tra­<lb/>moggio, & lo ri&longs;erua per mandarlo in alcuni canali fatti &longs;opra una regola larga al numero de i re <lb/>gistri. </s> <s id="s.008423">Que&longs;ti canali, che &longs;ono per la lunghezza del canone, hanno per trauer&longs;o alcuni fori, <lb/>&longs;opra il componimento di que&longs;ta regola con i canali & fori &longs;uoi ui è una tauola, che copre ogni co-<emph.end type="italics"/><pb pagenum="467" xlink:href="045/01/481.jpg"/><emph type="italics"/>&longs;a & &longs;erra (dirò co&longs;i) per tutto, & copre il canone; que&longs;ta è detta il &longs;ommiero, & ba tanti <lb/>fori nella &longs;operficie &longs;ua di &longs;opra, quanti &longs;ono i fori fatti ne i canali, & &longs;i &longs;contrano beni&longs;&longs;imo; que <lb/>&longs;ti fori &longs;ono fatti &longs;econdo il numero delle canne, che &longs;uonano, le quali canne &longs;tanno dritte ne i buchi <lb/>del &longs;ommiero; <expan abbr="hauēdo">hauendo</expan> noi adunque i canali &longs;orati, & la tauola forata <expan abbr="cō">com</expan> <expan abbr="ri&longs;pondēti">ri&longs;pondenti</expan> fori: Interpone <lb/>mo alcune regole tra la tauola, & i canali, le quali pa&longs;&longs;ano da un lato all'altro, & &longs;ono &longs;imilmente <lb/>forate con fori ri&longs;pondenti alli fori del canale, & del &longs;ommiero; ma &longs;ono fatte in modo, che <expan abbr="calcãdo">calcando</expan> i <lb/>loro man chi, che uenghino in fuori &longs;i po&longs;&longs;ino riuolgere, & col &longs;uo <expan abbr="uolgimēto">uolgimento</expan> facciano rincontrare <lb/>i loro buchi <expan abbr="cō">com</expan> i buchi de i canali, & del &longs;ommiero, accioche il fiato po&longs;&longs;a u&longs;cir alle <expan abbr="cãne">canne</expan> dell'orga <lb/>no. <!-- REMOVE S-->i manichi uer <expan abbr="amēte">amente</expan> &longs;ono come catenazzi in forma di tre membri. </s> <s id="s.008424"><expan abbr="Hãno">Hanno</expan> que&longs;ti manichi attacca <lb/>ti alcune anella, nelle quali &longs;i &longs;errano le lenguelle di tutti i detti <expan abbr="strumēti">strumenti</expan>, cioè di tutti i ta&longs;ti; queste <lb/>lenguelle erano come pendole, o di duro corno, o di lamette, & erano per ordine lungo lo strumen­<lb/>to di&longs;poste, & collocate obliquamente, fatte in forma di foglia di porro, i Greci le chiamano Spa <lb/>telle, Vitr. dalla forma loro le chiama lenguelle. </s> <s id="s.008425">A i capi loro erano attaccate alcune funi pic­<lb/>ciole, o catenelle, le quali &longs;i legauano a i manichi delle regole, le quali e&longs;&longs;endo toccate & depre&longs;<lb/>sè tirauano per le funi i capi delle lenguelle, & contra la piega loro le uolgeuano, che poi la&longs;ciati <lb/>i manichi ritornauano al &longs;uo luogo, & uolgendo le regole faceuano, che i lor buchi uon &longs;i incon­<lb/>trauano piu con i buchi del canale, & del &longs;ommiero, &longs;i come toccando&longs;i, que manichi le regole &longs;i <lb/>uolgeuano, & riportauano i buchi all'incontro uno dell'altro, & quelle regole al modo, che &longs;i <lb/>u&longs;a &longs;i chiamano ta&longs;ti.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.008426">Ma a i moggetti &longs;ono le canne continuamente congiunte con i capi di legno, che per­<lb/>uengono alle nari, che &longs;on nella ca&longs;&longs;etta, nelle quali &longs;ono le animelle tornite, & iui po&longs;te <lb/>affine, che riceuendo la ca&longs;&longs;etta il fiato, otturando i fori non lo la&longs;cino piu tornare: co&longs;i <lb/>quando &longs;i alzano le &longs;tanghe, i manichi tirano a ba&longs;&longs;o i fondi de i moggetti, & i delfini, che <lb/>&longs;ono ne i fu&longs;aioli calando nella boccai cembali riempieno gli &longs;patij de i moggetti, & i ma <lb/>nichi alzando i fondi dentro i moggetti per la gran forza, & per lo &longs;pe&longs;&longs;o battere, otturan <lb/>do i fori, che &longs;ono &longs;opra i cembali, fanno andar per forza lo aere, che iui è per lo calcare <lb/>co&longs;tretto, nelle canne, per le quali egli ua ne i capi di legno, & per le &longs;ue ceruici nell'ar­<lb/>ca, ma per lo forte mouimento delle &longs;tanghe il fiato &longs;pe&longs;&longs;o compre&longs;&longs;o entra per le apertu­<lb/>re de i bocchini, & empie i canali di uento. </s> <s id="s.008427">Di qui na&longs;ce, che quando i ta&longs;ti toccati con <lb/>le mani &longs;cacciano, & ritirano continuamente le regole otturando i fori di una, & apren­<lb/>do a uicenda i fori dell'altra, fanno u&longs;cire i &longs;uoni &longs;econdo le regole mu&longs;icali con molte ua­<lb/>rietà di moduli, & d'harmonie. </s> <s id="s.008428">Io mi ho forzato quanto ho potuto, che una co&longs;a o&longs;cu­<lb/>ra chiaramente &longs;ia &longs;critta. </s> <s id="s.008429">Ma que&longs;ta non è ragion facile, nè e&longs;pedita da e&longs;&longs;er capita &longs;e non <lb/>da quelli, che in tali co&longs;e &longs;ono e&longs;&longs;ercitati. </s> <s id="s.008430">Ma &longs;e alcuno per gli &longs;critti hauerà poco inte­<lb/>&longs;o, quando cono&longs;ceranno la co&longs;a come ella &longs;ta ueramente, ritroueranno il tutto e&longs;&longs;er &longs;ta­<lb/>to &longs;ottilmente, & curio&longs;amente ordinato. </s> </p> <p type="main"> <s id="s.008431"><emph type="italics"/>I moggetti hanno le lor canne congiunte dalle bande, le quali canne &longs;i riferi&longs;ceno nel tramog <lb/>gio, perche in e&longs;&longs;o portano il fiato: hanno que&longs;ti moggetti le lor animelle prima nel fondo po&longs;te di <lb/>dentro uia, per le quali &longs;i tira lo aere, come per buchi de i mantici, dapoi dal piede doue &longs;ono at­<lb/>taccate le canne nella bocca loro hanno ancho le altre animelle, che s'apreno, accioche quando <lb/>l'aere è tirato ne i moggetti, & poi calcato con i fondelli le animelle del fondo &longs;i chiudino, & <lb/>quelle delle canne &longs;i aprino, & lo aere entri nelle fi&longs;tule, che uanno al tramoggio, le quali deo­<lb/>no e&longs;&longs;er con i capi loro &longs;tagnate nel tramoggio, come &longs;i è detto della machma di Cte&longs;ibio. <!-- KEEP S--></s> <s id="s.008432">Al­<lb/>zando adunque le &longs;tanghe, che hanno le catene, che &longs;o&longs;tentano i cembali entranti ne i moggetti, <lb/>&longs;i a&longs;&longs;orbe l'aere per le animelle di &longs;otto, & calcando poi l'aere è &longs;pinto per le canne nel tramog­<lb/>gio, & a&longs;cende per la canna del tramoggio alla ca&longs;&longs;etta, & ui entra dentro. </s> <s id="s.008433">apron&longs;i i bocchi­<lb/>ni, che Epi&longs;temi &longs;ono detti da Vitr. dalla ca&longs;&longs;etta a i canali, ne i quali entra lo aere, ma non pri­<lb/>ma egli ua a far &longs;uonare le canne, che non &longs;i tocchi con le dita i ta&longs;ti, cioè i manichi delle regole,<emph.end type="italics"/><pb pagenum="468" xlink:href="045/01/482.jpg"/><emph type="italics"/>perche bi&longs;ogna col toccar di que manichi uolger le regole, che entrano tra il canone, & il &longs;om­<lb/>miero, accioche tutti i buchi s'incontrino, & &longs;ia libera pa&longs;&longs;ata dello aere alle canne. </s> <s id="s.008434">Io dirò che <lb/>Vitr. non ha la&longs;ciato co&longs;a pertinente a que&longs;ta de&longs;crittione &longs;aluo che la de&longs;crittione delle lenguelle' <lb/>ma era co&longs;a nota come erano, & come &longs;i faceuano, però egli la pre&longs;uppone, & dicendo lenguel <lb/>la parla di una co&longs;a allhora cono&longs;ciuta. </s> <s id="s.008435">l'acqua &longs;caccia lo aere, & fa quello effetto, che fa il <lb/>piombo &longs;opra i mantici de gli organi no&longs;tri.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.008436"><emph type="italics"/>Con che ragione &longs;i mi&longs;ur a il uiaggio fatto, o in <lb/>carretta, o in naue. </s> <s id="s.008437">Cap. XIIII.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.008438">Traportiamo hora il pen&longs;ier no&longs;tro di &longs;criuere ad una non inutile ragione, ma <lb/>con grande ptontezza dataci da no&longs;tri maggiori, con che uia quelli, che &longs;ic­<lb/>deno in carretta, o nauigando &longs;aper po&longs;sino quanti miglia di camino habbia­<lb/>no fatto. </s> <s id="s.008439">Et que&longs;to &longs;i fa co&longs;i. </s> <s id="s.008440">Sieno le ruote della carretta larghe lungo il <lb/>diametro quattro piedi, & due dita. </s> <s id="s.008441">Et que&longs;to &longs;i fa accioche hauendo la ruota in &longs;e un <lb/>certo, & determinato luogo, & da quello cominci andando inanzia girar&longs;i, & peruenen­<lb/>do a quel &longs;egno certo & determinato, doue ella cominciò girar&longs;i, habbia finito ancho un <lb/>certo, & determinato &longs;patio di piedi dodici, & mezo. </s> <s id="s.008442">Poi che que&longs;te co&longs;e co&longs;i apparec­<lb/>chiate &longs;aranno allhora nel moggetto della ruota alla parte di dentro &longs;ia fermamente rin­<lb/>chiu&longs;o un Timpano, il quale fuori della fronte della &longs;ua ritondezza porgi un eminente <lb/>dentello. </s> <s id="s.008443">Dapoi dal di&longs;opra del ca&longs;&longs;ero della carretta confitta &longs;ia una ca&longs;&longs;a, che habbia un <lb/>timpano, che &longs;i muoua po&longs;to in coltello, & &longs;ia nel &longs;uo pernuzzo rinchiu&longs;o. </s> <s id="s.008444">Nella fronte <lb/>del detto Timpano &longs;iano i denti egualmente compartiti di numero di quattrocento, & <lb/>conuenghino que&longs;ti incontrando&longs;i nel dentello del Timpano inferiore. </s> <s id="s.008445">Dapoi al Timpa<lb/>no di &longs;opra da un lato confitto &longs;ia un'altro dentello, che uenghi fuori oltra gli altri denti. </s> <s id="s.008446"><lb/>Egli &longs;i fa ancho il terzo Timpano dentato con la i&longs;te&longs;&longs;a ragione, & è po&longs;to piano in un'al­<lb/>tra ca&longs;&longs;a, che habbia i denti, che ri&longs;pondino a quel dentello, il quale è confitto nel lato <lb/>del &longs;econdo Timpano, dapoi nel Timpano, che è po&longs;to in piano faccian&longs;i buchi per poco <lb/>piu, o poco meno delle miglia di quello, che per lo uiaggio d'un giorno &longs;i puo pa&longs;&longs;are, <lb/>perche non ci darà impedimento. </s> <s id="s.008447">In cia&longs;cuno di que&longs;ti buchi po&longs;ti &longs;iano alcuni &longs;a&longs;&longs;olini <lb/>ritondi, & nella ca&longs;&longs;a di quel Timpano faccia&longs;i un foro, che habbia un canale, per lo qua­<lb/>le que &longs;a&longs;&longs;olini cader po&longs;sino nel ca&longs;&longs;ero della carretta, que &longs;a&longs;&longs;olini dico, che &longs;aranno po­<lb/>&longs;ti in quel Timpano, quando uenuti &longs;aranno dritto &longs;opra quel luogo, caderà cia&longs;cuno <lb/>in un ua&longs;o di rame, &longs;ottopo&longs;to, & co&longs;i, quando &longs;ia che la ruota andando inanzi muoua <lb/>in&longs;ieme il Timpano di &longs;otto, & il &longs;uo dentello in ogni giro con&longs;tringa pa&longs;&longs;are i dentelli <lb/>del Timpano di &longs;opra, ella farà, che e&longs;&longs;endo uoltato il Timpano di &longs;otto quattrocento <lb/>fiate, quel di &longs;opra &longs;arà uoltato una &longs;ola; & il dentello, che gli è dal lato confitto, farà an <lb/>dare inanzi un dentello del Timpano, che &longs;ta nel piano. </s> <s id="s.008448">Quando adunque per quattro­<lb/>cento giri del Timpano inferiori, &longs;i uolterà una fiata quel di &longs;opra, lo andare inanzi &longs;arà di <lb/>cinquemila piedi, & di mille pa&longs;si, & da quello quante palle cadute &longs;aranno &longs;onando, tan <lb/>ti miglia ci daranno ad intendere, che haueremo fatti. </s> <s id="s.008449">Ma il numero delle palle dal ba&longs;&longs;o <lb/>raccolto ci dimo&longs;trerà la &longs;omma de i miglia fatti dal uiaggio d'un giorno. </s> </p> <p type="main"> <s id="s.008450"><emph type="italics"/>A&longs;&longs;ai facile è la &longs;opra&longs;critta dimo&longs;tratione, pure che con ragione Arithmetica inte&longs;a &longs;ia, pe­<lb/>rò per maggiore dichiaratione &longs;i dirà, che que&longs;to artificio di mi&longs;urare il uiaggio andando in car­<lb/>retta con&longs;i&longs;te nella grandezza delle ruote, la qual grandezza e&longs;&longs;er deue certa di mi&longs;ura cono&longs;ciu­<lb/>ta. </s> <s id="s.008451">Quando adunque &longs;ia, che dal diametro &longs;i cono&longs;ca la circonferenza del circolo, egli è nece&longs;­<lb/>&longs;ario far le ruote d'un diametro certo, & mi&longs;urato, però Vitr. fa i diametri delle ruote di quat-<emph.end type="italics"/><pb pagenum="469" xlink:href="045/01/483.jpg"/><emph type="italics"/>tro piedi, & due dita, di dodeci che uanno a far un piede, però &longs;ono la &longs;e&longs;ta d'un piede, accioche <lb/>la circonferenza della ruota &longs;ia manife&longs;ta, & intende per que&longs;to, che la circonferenza uolga do­<lb/>dici piedi & mezo, entrando il diametro tre fiate nella circonferenza del circolo. </s> <s id="s.008452">e&longs;&longs;endo adun­<lb/>que la ruota di dodici piedi & mezo di circonferenza, & po&longs;to un &longs;egno in e&longs;&longs;a doue ella tocca la <lb/>terra, & facendola girare &longs;opra la terra, fin che il mede&longs;imo &longs;egno ritornial luogo di prima, ha­<lb/>uerà &longs;cor&longs;o lo &longs;patio di dodici piedi & mezo. </s> <s id="s.008453">Se adunque ogni compito giro di ruota, mi da dodi­<lb/>ci piedi, & mezo di terreno, uolgendo&longs;i la ruota quattrocento fiate, mi darà cinque mila piedi; <lb/>&se uanno viuticinque piedi per pa&longs;&longs;o, mi darà mille pa&longs;&longs;i, & mille pa&longs;&longs;i mi danno un miglio. </s> <s id="s.008454"><lb/>Ma accioche &longs;i cono&longs;ca quante fiate la ruota &longs;i uolga, non &longs;olamente con gli occhi, ma con l'orec <lb/>chie, Vitruuio ce lo in&longs;egna facilmente, come &longs;i uede nel te&longs;to, & la figura piu chiaramente <lb/>lo dimo&longs;tra.<emph.end type="italics"/></s> </p> <p type="main"> <s id="s.008455">Similmente nel nauigare mutando alcune co&longs;e &longs;i fanno que&longs;ti artificij, perche &longs;i fa pa&longs;­<lb/>&longs;are per li lati delle bande della naue un perno, il qual con le &longs;ue te&longs;te e&longs;ce per le parti e&longs;te­<lb/>riori della naue, nelle quali s'impongono le ruote di quattro piedi, & un &longs;e&longs;to di diametro. </s> <s id="s.008456"><lb/>que&longs;te ruote nelle fronti loro hanno le lor pinne, che toccano l'acqua, nella metà del per <lb/>no: Dentro della naue al mezo c'è un Timpano, con undentello, che e&longs;ce dalla &longs;ua cir­<lb/>conferenza, iui appre&longs;&longs;o euui una ca&longs;&longs;a col &longs;uo Timpano dentato di quattrocento dentelli <lb/>egualmente di&longs;tanti, & conuenienti al dentello di quel Timpano, che è po&longs;to nel perno; <lb/>ha di piu un dentello nel &longs;uo lato, che &longs;porta in fuori oltra la ritondità &longs;ua, & c'è un'altro <lb/>Timpano piano, confitto in un'altra ca&longs;&longs;a dentato allo i&longs;te&longs;&longs;o modo: co&longs;i il dentello con­<lb/>fitto al lato di quel Timpano, che &longs;ta in coltello urtando in que dentelli di quel timpano, <lb/>che &longs;ta in piano, per ogni uolta che egli da a torno, facendo andar uno di que dentelli uol <lb/>ge il Timpano, che è po&longs;to in piano, nel quale &longs;ono i fori, doue &longs;i ripongono i &longs;a&longs;&longs;olin <lb/>ritondi: & nella ca&longs;&longs;a del detto Timpano &longs;i caua un foro, che ha un canale, per lo quale il <lb/>&longs;a&longs;&longs;olino liberato dall'o&longs;taculo, cadendo in un ua&longs;o di rame, ne farà &longs;egno col &longs;uono, & <lb/>co&longs;i la naue &longs;pinta, o da remi, o da uento toccando le pinne delle ruote l'acqua contraria <lb/>forzate da grandi &longs;pinte a drieto uolteranno le ruote, le quali uolgendo&longs;i danno di uolta <lb/>al perno, il perno uolgerà il Timpano, del quale e&longs;&longs;endo il dentello raggirato, per ogni <lb/>giro, che egli dia a torno urtando in un dentello del Timpano &longs;econdo lo farà fare mode <lb/>rati giri, & co&longs;i poi che le ruote uoltate &longs;aranno dalle pinne quattrocento fiate, faranno <lb/>dar'una uolta &longs;ola al Timpano po&longs;to in plano per lo incontro del dentello po&longs;to nel lato <lb/>di quel Timpano, che è in coltello. </s> <s id="s.008457">Il giro adunque del Timpano piano quante fiate ue <lb/>nirà per mezo il foro manderà fuori i &longs;a&longs;&longs;o lini per lo canale, & co&longs;i & col &longs;uono, & col nu<lb/>mero dimo&longs;trerà gli &longs;patij delle miglia della nauigatione. </s> </p> <p type="main"> <s id="s.008458"><emph type="italics"/>Que&longs;to artificio è &longs;imile a quello della carretta, ma io uedo, che puo e&longs;&longs;er impedito il gir ar del­<lb/>le ruote, o per l'acqua, o per altri accidenti, però io la&longs;cio che la pruoua &longs;ia quella, che lo con­<lb/>fermi. </s> <s id="s.008459">La figura ci dimo&longs;trerà quanto è &longs;critto, & dell'organo, & della mi&longs;ura del uiaggio, per <lb/>che que&longs;te &longs;ono co&longs;e, che la &longs;crittura non puo a pieno dimo&longs;trare, però bi&longs;ogna che la pittura le <lb/>ponga dinanzi a gli occhi, & molto piu puo un buon ingegno capire di quello, che dimo&longs;tra la pit<lb/>tura, & &longs;e al buon ingegno fu&longs;&longs;e aggiunta la pratica di fare altre &longs;imili machinationi, non ha dub<lb/>bio, che la &longs;crittura &longs;ola gli ba&longs;terebbe, ma inuero bi&longs;ogna na&longs;cerci, & hauere inclinatione na­<lb/>turale, & diletto di operare. </s> <s id="s.008460">Et qui fa fine Vitr. di trattare di quelle co&longs;e, che appartengono <lb/>all'utile, & al diletto de gli huomini al tempo, che &longs;ono &longs;enza &longs;o&longs;petto, & in pace. </s> <s id="s.008461">alle quali co <lb/>&longs;e io potrei a pompa molte co&longs;e aggiugnere di quelle, che mette Herone, ma egli mi pare, che &longs;i­<lb/>mili artificij deono e&longs;&longs;er tenuti in reputatione, perche da molti, che non intendeno &longs;ono tenuti ui­<lb/>li, & hauuti in poco pregio. </s> <s id="s.008462">Ma non &longs;anno di quanto grande utilità puo e&longs;&longs;er il &longs;aperne render <lb/>conto, & quante co&longs;e, che non &longs;ono po&longs;te da gli autori, &longs;i po&longs;&longs;ono ritrouare a beneficio del mor­<lb/>do per gli &longs;critti di quelli, e&longs;&longs;endo (come io ho detto nel primo libro) gran uirtù, & gran forza <emph.end type="italics"/><pb pagenum="470" xlink:href="045/01/484.jpg"/><emph type="italics"/>po&longs;ta ne i principij, come ancho chiaramente &longs;i ha potuto comprendere dal di&longs;cor&longs;o fatto di &longs;opra <lb/>nel pre&longs;ente libro circa le machine, come in tutte la ragione del mouimento dritto è cirolare, & <lb/>come la merauiglio &longs;a natura del circolo &longs;eruando in &longs;e molte contrarietà, ci dà cau&longs;a di fare quel <lb/>le marauiglio&longs;e opere, che fanno con&longs;entire la natura repugnante delle co&longs;e alle uoglie de gli buo <lb/>mini: per il che io non potrei a ba&longs;tanza fare auuertiti gli Architetti, & quelli, che uogliono <lb/>fare molte belle, & utili machinationi a commodo delle genti, che debbiano continuamente pen­<lb/>&longs;are, & ripen&longs;are & machinare (dirò co&longs;i) &longs;opra i principij po&longs;ti da Vitr. & da noi, & molto <lb/>prima da Ari&longs;totile nelle &longs;ue mecaniche, le quali pare che &longs;iano &longs;tate leuate di pe&longs;o, & traporta <lb/>te da Vitr. in un &longs;olo capitolo, benche con &longs;omma breuità, &longs;econdo il co&longs;tume di que&longs;to autore, <lb/>come ancho s' è ueduto nel nono libro, nel di&longs;cor&longs;o de i mouimenti de i Cieli', & del trattamento <lb/>de gli horologi, & poco di &longs;opra nella de&longs;crittione della machina Hidraulica. </s> <s id="s.008463">nel che &longs;i uede il <lb/>&longs;uo mirabile giudicio (come io ho detto piu uolte) nella &longs;cielta delle co&longs;e, perche le minute, le or <lb/>dinarie, le u&longs;itate & facili &longs;ono &longs;tate la&longs;ciate; le belle, le importanti, le difficili, & le &longs;cielte &longs;o­<lb/>no &longs;tate elette, & propo&longs;te, & e&longs;poste alla intelligenza delle genti. </s> <s id="s.008464">Ma tempo è che &longs;eguitamo <lb/>l'in&longs;tituto no&longs;tro, & e&longs;&longs;eguiamo l'ultima parte, che ci re&longs;ta a fornire tutto il corpo della Archi­<lb/>tettura, che è quella parte, delle machine, che ci &longs;erue all'u&longs;o della guerra.<emph.end type="italics"/></s> </p> <figure id="id.045.01.484.1.jpg" xlink:href="045/01/484/1.jpg"/> <p type="main"> <s id="s.008465"><emph type="italics"/>A. <!-- KEEP S--></s> <s id="s.008466">Aqua in arca ærea depre&longs;&longs;a. </s> <s id="s.008467">B. </s> <s id="s.008468">Delfini ærei. </s> <s id="s.008469">C. <!-- KEEP S--></s> <s id="s.008470">Modioli ærei. </s> <s id="s.008471">i Moggetti di Rame. <!-- KEEP S--></s> <s id="s.008472"><lb/>D. <!-- KEEP S--></s> <s id="s.008473">Le Regole in forma di &longs;cala. </s> <s id="s.008474">E. Taxilli, ta&longs;&longs;elli di tre dita alti. </s> <s id="s.008475">F. <!-- KEEP S--></s> <s id="s.008476">Cathenæ Cymbala te­<lb/>nentes. </s> <s id="s.008477">G. <!-- KEEP S--></s> <s id="s.008478">Infundibulum inuer&longs;um. </s> <s id="s.008479">Tramoggio detto Phigeus. </s> <s id="s.008480">H. Fi&longs;tulæ, le Canne pea<emph.end type="italics"/> <pb pagenum="471" xlink:href="045/01/485.jpg"/><figure id="id.045.01.485.1.jpg" xlink:href="045/01/485/1.jpg"/><pb pagenum="472" xlink:href="045/01/486.jpg"/><emph type="italics"/>le quali, lo aere delli Moggetti entra nel Tramoggio. </s> <s id="s.008481">I. Veltes, Stanghe. </s> <s id="s.008482">K. Manubria, <lb/>Manichi, che ogni uolta che &longs;i preme li Ta&longs;ti &longs;i uoltano, & apreno le Nari, che mandano il uen­<lb/>to alle canne de l'Organo, che &longs;uonano. </s> <s id="s.008483">L. <!-- KEEP S--></s> <s id="s.008484">Pinnæ &longs;ub quibus &longs;ub lingulæ omnium organorum. </s> <s id="s.008485">i. <lb/><!-- REMOVE S-->i ta&longs;ti e lenguelle. </s> <s id="s.008486">O. <!-- KEEP S--></s> <s id="s.008487">Le Regole tra'l Sommiero detto Pinax, & i regi&longs;tri. </s> <s id="s.008488">P. <!-- KEEP S--></s> <s id="s.008489">Pinna depre&longs;­<lb/>&longs;a, un ta&longs;to calcato. </s> <s id="s.008490"><expan abbr="q.">que</expan> Tabula, il Sommiero. </s> <s id="s.008491">R. <!-- KEEP S--></s> <s id="s.008492">La Figura de i ta&longs;ti &longs;eparata perche me­<lb/>glio s'intenda. </s> <s id="s.008493">S. Lingulæ, lenguelle. </s> <s id="s.008494">T. Ceruicula, il collo, o la canna. </s> <s id="s.008495">V. L'acqua <lb/>cacciata in &longs;u tra L'arca il Tramoggio dal uento delli Moggetti. </s> <s id="s.008496">X. <!-- KEEP S--></s> <s id="s.008497">Pars arcæ, parti dell' arca. </s> <s id="s.008498"><lb/>Quelli punti nella forma de i Tasti &longs;eparate, &longs;ono fori del Sommier, che danno il uento alle canne.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.008499"><emph type="italics"/>Delle ragioni delle Catapulte, & de gli &longs;corpio­<lb/>ni. </s> <s id="s.008500">Cap. XV.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.008501">Hora io e&longs;ponerò con che mi&longs;ure apparecchiar &longs;i po&longs;sino quelle co&longs;e, che &longs;tate <lb/>&longs;ono ritrouate a i pre&longs;idi della guerra, & alla nece&longs;sità della con&longs;eruatione, <lb/>& &longs;alute de mortali, che &longs;ono le ragioni de gli &longs;corpioni, Catapulte, & Ba­<lb/>li&longs;te, & prima dirò delle Catapulte, & de gli Scorpioni. <!-- KEEP S--></s> <s id="s.008502">Dalla propo&longs;ta <lb/>lunghezza della &longs;aetta, che in que&longs;ti &longs;trumenti &longs;i tira, tutta la loro proportione &longs;i ragio­<lb/>na: & prima la grandezza de i fori, che &longs;ono ne i loro capitelli, è per la nona parte di e&longs;&longs;a, <lb/>& que&longs;ti fori &longs;ono quelli, per li quali &longs;i &longs;tendeno i nerui torti, i quali deono legare le brac­<lb/>cia delle Catapulte. <!-- KEEP S--></s> <s id="s.008503">Ma i capitelli di que fori e&longs;&longs;er deono della &longs;otto&longs;critta altezza, & lar­<lb/>ghezza, le tauole che &longs;ono di &longs;opra, & di &longs;otto dal capitello, che Paralelle dette &longs;ono <lb/>tanto &longs;ono gro&longs;&longs;e, quanto è uno di que fori, larghe per uno & noue parti, ma ne gli e&longs;tre­<lb/>mi per un foro & mezo. </s> <s id="s.008504">Ma le erte dalla de&longs;tra, & dalla &longs;ini&longs;tra, quelle, che Para&longs;tate &longs;i <lb/>chiamano, oltra i cardini alte &longs;ono quattro fori, gro&longs;&longs;e cinque, i cardini per mezo foro, & <lb/>un quarto, dal foro all'erta di mezo &longs;imilmente &longs;ia lo &longs;pacio di mezo foro, & un quarto, la <lb/>larghezza dell'erta di mezo per un foro e—la gro&longs;&longs;ezza d'un foro, & lo &longs;pacio doue &longs;i po­<lb/>ne la &longs;aetta nel mezo dell'erta per la quarta parte d'un foro. </s> <s id="s.008505">Ma le cantonate, che &longs;ono a <lb/>torno de i lati, & nelle fronti, conficcate e&longs;&longs;er deono con lame di ferro, o pironi di rame, <lb/>o chiodi, la lunghezza del canale, che in Greco è detta Strix, e&longs;&longs;er deue di fori diecenoue, <lb/>la lunghezza de i regoli, che alcuni buccule appellano, che &longs;i con&longs;iccano dalla de&longs;tra, & <lb/>dalla &longs;ini&longs;tra del canale e&longs;&longs;er deue di fori diciotto, & l'altezza d'un foro, & co&longs;i la gro&longs;&longs;ezza, <lb/>& &longs;i affiggeno due regole, nellequali entra un molinello, ilquale è lungo tre fori, largo <lb/>mezo, & la gro&longs;&longs;ezza della bocchetta, che &longs;i affige, &longs;i chiama Camillum, o &longs;econdo alcuni <lb/>Locullamento con i cardini &longs;otto&longs;quadra, & d'un foro, l'altezza &longs;ua di mezo foro, la lun­<lb/>gheza del molinello è di noue fori, la gro&longs;&longs;ezza della Scutula di noue fori. </s> <s id="s.008506">Et la lunghez­<lb/>za di quella parte che è detta, Epitoxis, è di mezo foro & d'un ottauo della metà, la gro&longs;­<lb/>&longs;ezza d'un'ottauo. </s> <s id="s.008507">Similmente l'orecchia, o il manochio, è lungo tre fori, largo & gro&longs;­<lb/>&longs;o mezo foro, & un quarto, la lunghezzi del fondo del canale è di &longs;edici fori, la gro&longs;&longs;ez­<lb/>za di noue parti, & la larghezza della metà, & d'un quarto, la colonnella, & la ba&longs;a nel pia­<lb/>no di otto fori, la larghezza del zocco doue &longs;i pone la colonnella, è di mezo foro, & d'un <lb/>ottauo della metà, la gro&longs;&longs;ezza è della duodecima, & della ottaua parte d'un foro, la lun­<lb/>ghezza della colonnella al cardine è di dodici fori, & noue parti, la larghezza di mezo fo­<lb/>ro, & d'un quarto della metà, la gro&longs;&longs;ezza è d'un terzo, & d'un quarto d'un foro. </s> <s id="s.008508">Di quel­<lb/>la &longs;ono tre capreoli, o chiauette, la lunghezza de' quali è per noue fori, la larghezza per <lb/>mezo, & noue parti, la gro&longs;&longs;ezza per un'ottauo, la lunghezza del cardine di noue parti d'un <lb/>foro, la lunghezza del capo della colonna d'un foro & mezo &.—————— <lb/>————la gro&longs;&longs;ezza d'un foro, la colonna minore di dietro, che da Greci è detta <pb pagenum="473" xlink:href="045/01/487.jpg"/>Antiba&longs;i è di fori otto, la larghezza di.——la gro&longs;&longs;ezza di.—la &longs;ottopo&longs;ta de forl <lb/>dodici, & &longs;ia della i&longs;te&longs;&longs;a gro&longs;&longs;ezza, & larghezza. </s> <s id="s.008509">&longs;opra la minor colonna c' è una orrec­<lb/>chia, o letto che &longs;i dica, o &longs;cagnello, di fori——l'altezza di fori——la larghezza di fo­<lb/>ri, i——de i na&longs;pi &longs;ono di fori, la gro&longs;&longs;ezza d'un foro. </s> <s id="s.008510">— -la larghezza di——& la <lb/>gro&longs;&longs;ezza di——ma alli trauer&longs;i con i cardini, &longs;i da la lunghezza di fori dieci, la larghez <lb/>za di quindeci <15> <14> & la gro&longs;&longs;ezza di dieci—la lunghezza del braccio di fori——la <lb/>gro&longs;&longs;ezza delle radice————————————Que&longs;te co&longs;e con <lb/>tali proportioni, o aggiugnendo, o &longs;cemando &longs;i fanno, perche &longs;e i capitelli, che Anatoni <lb/>&longs;i dicono, &longs;aranno piu alti della larghezza, allhora &longs;i deue leuare delle braccia, accioche <lb/>quanto piu rime&longs;&longs;o &longs;arà il tuono per l'altezza del capitello, la cortezza del braccio faccia <lb/>il colpo maggiore, &longs;e'l capitello &longs;arà men alto, che Catatono &longs;i dice, perche è piu forte, <lb/>deono le braccia e&longs;&longs;er piu lunghe, accioche piu facilmente &longs;i reggano. </s> <s id="s.008511">imperoche &longs;i co­<lb/>me la leua, quando è lunga quattro piedi, quello che &longs;i alza da cinque huomini, fatta poi <lb/>di otto piedi, da due &longs;olamente &longs;i leua: co&longs;i le braccia quanto piu lunghe &longs;ono tanto piu <lb/>molli, & quanto piu corte, tanto piu duramente &longs;i maneggiano. </s> </p> <p type="main"> <s id="s.008512"><emph type="italics"/>Qui bi&longs;ogno è bene che Iddio ci aiuti, percioche nè la &longs;crittura di Vitr. nè di&longs;egno d'alcuno, nè <lb/>forma antica &longs;i troua di queste machine; io dico al modo da Vitr. de&longs;eritto; & lo ing egnar&longs;i è <lb/>pericolo&longs;o, imperoche molto bene di&longs;correndo &longs;i potrebbe fare alcuno di quelli &longs;trumenti, per ti­<lb/>rar &longs;aßi, o &longs;aette, ma che fu&longs;&longs;ero a punto come Vitru. ci de&longs;criue, &longs;arebbe co&longs;a grande, oltra che <lb/>le ragioni de i mede&longs;imi &longs;trumenti col tempo dopo Vitr. &longs;i &longs;ono mutati, perche la proua, & l'u&longs;o <lb/>nelle co&longs;e della guerra, come in molte altre fa mutar le forme de gli &longs;trumenti, & a nostri giorni <lb/>quelle machine &longs;ono del tutto po&longs;te in di&longs;u&longs;o, però io credo che io &longs;arò degno di e&longs;cu&longs;atione, &longs;e io <lb/>non entrerò in fanta&longs;ia di e&longs;poner quelle co&longs;e, che per la difficultà loro, anzi per la impoßibilità <lb/>&longs;ono tali, che hanno fatto leuare da que&longs;ta impre&longs;a huomini di piu alto ingegno, & di maggiore <lb/>e&longs;perienza che non ho io. </s> <s id="s.008513">Dirò bene che dal fine cioè dallo effetto, che &longs;i uuol fare, &longs;i puo troua­<lb/>re ogni &longs;trumento, come nella pre&longs;ente occa&longs;ione. </s> <s id="s.008514">Bali&longs;ta, Catapulte, & Scorpione &longs;ono &longs;iru­<lb/>menti da tirar pietre grandi, & &longs;aette: certo è che dalla intentione, & dal fine potemo prepa­<lb/>rare &longs;imili strumenti, con&longs;iderando, che per far colpo gagliardo & lontano, & per tirar gran <lb/>pe&longs;o, ci bi&longs;ogna grandi for ze, & tali for ze, che &longs;ian dall'arte ordinate, percioche nel muouere i <lb/>gran pe&longs;i la natura è contraria a gli huomini, come detto bauemo. </s> <s id="s.008515">all' arte dunque appartiene or­<lb/>dinare tali &longs;trumenti, che tirati a forza, & rila&longs;ciati con uiolenza mandino i pe&longs;i lontani, & ciò <lb/>non &longs;i puo fare &longs;enza chiaui, carcature, o leue, lequali habbiano doue appuntar&longs;i, & fatte &longs;ieno <lb/>con proportione ri&longs;pondente al pe&longs;o, che &longs;i deue trarre, & però dalla natura del pe&longs;o &longs;i dà la pro­<lb/>portione della grandezza a tutte le parti dello in&longs;trumento: adunque il modulo, che nelle fabri­<lb/>che &longs;i piglia &longs;arà con&longs;iderato ancho nella parte delle machine, & pero la &longs;immetria, & l'ordine <lb/>&longs;i richiede ancho in que&longs;ta parte, & &longs;imilmente la di&longs;po&longs;itione, il decoro, & la bellezza dello <lb/>a&longs;petto, & l'altre co&longs;e po&longs;te da Vitr. nel Primo libro. </s> <s id="s.008516">Dalla lunghezza adunque della &longs;aetta, o <lb/>dal pe&longs;o della pietra con ragione &longs;i deue pigliar la mi&longs;ura di que&longs;te machine, come ancho dal pe&longs;o <lb/>della palla &longs;i forma il pezzo, &longs;i dà la carcatura, & &longs;i tempra l'artigliaria de no&longs;tri tempi, perche <lb/>è nece&longs;&longs;ario, che ci &longs;ia proportione tra quello, che muoue, & la co&longs;a, che è mo&longs;&longs;a, la doue chiara­<lb/>mente &longs;i proua, che nè una pagliuzza, nè uno &longs;mi&longs;urato pe&longs;o puo e&longs;&longs;er da un'huomo &longs;enz'altro in­<lb/>&longs;trumento tirato, perche in quello c' è il meno, in que&longs;to il piu &longs;enza proportione tra il mouente, et <lb/>la co&longs;a, che è mo&longs;&longs;a: & perche la &longs;aeita, & la pietra deue e&longs;&longs;er accommodata ad alcuna parte, <lb/>però &longs;e gli fa il &longs;uo letto, & il &longs;uo canale: & perche la fune, il neruo, ò altro, che &longs;pigne la &longs;aet­<lb/>ta deue e&longs;&longs;er con ragione &longs;te&longs;o & tirato, & annodato a qualche co&longs;a, & quella &longs;imilmente ad <lb/>altra parte, che la co&longs;tringa, & quella ferma e&longs;&longs;er deue, & unita con altre parti ad un' effetto, ac­<lb/>ciò &longs;e le conuegna la diffinitione della machina, però ci na&longs;ce la neceßità di tutte le parti de tali <lb/>&longs;trumenti come &longs;ono i trauer&longs;i, le erte, le chiauette, le tauole, i perni, i cardini, i canali, i regoli, o<emph.end type="italics"/><pb pagenum="474" xlink:href="045/01/488.jpg"/><emph type="italics"/>na&longs;pi, le leue, le orecchie, le braccia, i capitelli, le colonnelle, i fori, le bocchette, & altre co&longs;e <lb/>che Vitru. dice, le mi&longs;ure dellequali in e&longs;&longs;o per il tempo, & per la negligentia di molti &longs;ono an­<lb/>date, benche la ragione, & il perche di e&longs;&longs;e cire&longs;ti pigliando&longs;i il tutto dalla ragione della Leua, <lb/>& della Bilancia. <!-- KEEP S--></s> <s id="s.008517">I nomi uer amente, & i uocaboli di que&longs;ti &longs;trumenti, o machine &longs;ono tolte da <lb/>qualche &longs;imiglianza delle co&longs;e, o da qualche effetto, o uero fanta&longs;ia, come appre&longs;&longs;o di noi Schiop­<lb/>po, & Bombarda, dal &longs;uono, Arcobu&longs;o dalla forma, Pa&longs;&longs;auolante, Ba&longs;ili&longs;co, & Falconetto da <lb/>gli effetti: co&longs;i Bali&longs;ta dal tirare, Scorpione, perche con &longs;ottil punta di &longs;aetta daua la morte, & <lb/>for&longs;e quella era auelenata, & Catapulta &longs;imilmente dalla celerità del colpo, & Arcubalista, & <lb/>altre co&longs;e &longs;rmili, & dalla forma, & da gli effetti er ano nominate. </s> <s id="s.008518">& a imitatione di uno di tali <lb/>&longs;trumenti gia molti anni ne fu formato uno tutto di ferro (in picciola forma con le corde di ner­<lb/>uo) che in molte parti &longs;i conforma con la narratione di Vitru. il quale è in una delle &longs;ale dello ar­<lb/>mamento dello Eccellenti&longs;&longs;imo Con&longs;ilio di X. <!-- KEEP S--></s> <s id="s.008519">La&longs;cierò adunque che il tempo ci porti qualche lu­<lb/>me, perche ancho da gli autori Greci non &longs;i puo cauare co&longs;a, che buona &longs;ia, &longs;e bene &longs;ono gli i&longs;teßi <lb/>che cita Vitru.<emph.end type="italics"/><!-- KEEP S--></s> </p> </subchap2><subchap2> <p type="head"> <s id="s.008520"><emph type="italics"/>Delle ragioni delle Bali&longs;te. <!-- KEEP S--></s> <s id="s.008521">Cap. XVI.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.008522">IO ho detto delle ragioni delle Catapulte, & di che membri, & con che pro­<lb/>portioni &longs;i facciano. </s> <s id="s.008523">Ma la ragione delle Bali&longs;te &longs;ono uarie, & differenti, <lb/>però tutte &longs;ono ad uno effetto drizzate, perche altre con &longs;tanghe, altre con <lb/>molinelli, alcune con molte taglie, & con molti raggi, alcune con argane, <lb/>& altre con ruote & Timpani &longs;ono tirate. </s> <s id="s.008524">Ma con tutto que&longs;to niuna Bali&longs;ta &longs;i fa &longs;e non <lb/>&longs;econdo la propo&longs;ta grandezza del &longs;a&longs;&longs;o, che da tale &longs;trumento &longs;i manda: però della ragio <lb/>ne di quelle non è ageuole a tutti, & e&longs;pedita co&longs;a trattarne, &longs;e non a qulli, che hanno <lb/>l'arte di numerare, & moltiplicare, perche &longs;i fanno ne i capi alcun fori, per gli &longs;patij de i <lb/>quali tirate &longs;ono & caricate, con capello di donna &longs;pecialmente, o con neruo le funi, le <lb/>quali &longs;i pigliano dalla proportione della grandezza del pe&longs;o di quel &longs;a&longs;&longs;o, che ha da e&longs;&longs;er <lb/>tirato dalla Bali&longs;ta. <!-- KEEP S--></s> <s id="s.008525">Si come dalla lunghezza della &longs;aetta detto hauemo pigliar&longs;i la mi&longs;ura <lb/>delle Catapulte. <!-- KEEP S--></s> <s id="s.008526">Ma accioche ancho quelli, che non hanno le ragioni della Geometria, <lb/>& della Arithmetica po&longs;sino e&longs;peditamente operare, perche nel pericolo della guerra non <lb/>&longs;iano occupati nel pen&longs;arui &longs;opra, io farò manife&longs;to riducendo la co&longs;a alla ragione de i no <lb/>&longs;tri pe&longs;i quelle co&longs;e, che io ho hauute per certe, & quelle, che in parte io ho appre&longs;e da <lb/>mei precettori, & con quali co&longs;e i pe&longs;i de i Greci habbian ri&longs;petto a i moduli &longs;ommaria­<lb/>mente io &longs;on per e&longs;ponere. </s> </p> <p type="main"> <s id="s.008527"><emph type="italics"/>Si puo creder molto a Vitr. in que&longs;ta materia, percioche egli era prepo&longs;to all' artigliarie, & <lb/>all' apparato delle Bali&longs;te, Scorpioni, & delle Catapulte, &longs;econdo che egli afferma nella dedica­<lb/>tione del libro. </s> <s id="s.008528">Potemo ancho uedere quanto nece&longs;&longs;ario &longs;ia all' Architetto la cognitione del­<lb/>l' Arithmetica, & della Geometria, come egli ha detto nel primo libro, perche le proportioni de <lb/>numeri, & le &longs;olutioni delle co&longs;e, che con numeri non &longs;i po&longs;&longs;ono fare, ma &longs;i bene per uia di linee, <lb/>come prouato hauemo nel nono libro, uengono dall' arte del numerare, & dall' arte del mi&longs;urare: <lb/>& qui ci &longs;erue quella dimanda di trouare le linee di mezo proportionali a dua date, &longs;econdo che <lb/>dice Archimede, & Vitr. delle ragioni loro.<emph.end type="italics"/></s> </p> </subchap2><subchap2> <pb pagenum="475" xlink:href="045/01/489.jpg"/> <p type="head"> <s id="s.008529"><emph type="italics"/>Della proportione delle pietre, che &longs;i deono trarre al foro <lb/>della balista. </s> <s id="s.008530">Cap. XVII.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.008531">Qvella Bali&longs;ta, che deue mandar fuori una pietra di due libre hauerà il foro del <lb/>&longs;uo capitello di cinque dita, &longs;e di quattro libre, dita &longs;ei, &longs;edi otto, dita &longs;ette, <lb/>& noue parti, &longs;e di dieci, dita otto, & noue parti, &longs;e di uenti, dita dieci, & no <lb/>ue parti, &longs;e di quaranta, dita dodici & mezo & K. &longs;e di &longs;e&longs;&longs;anta dita tredici, <lb/>& l'ottaua parte d'un dito, &longs;e di ottanta dita quindeci, & noue parti d'un dito. </s> <s id="s.008532">Se di cen<lb/>to & uenti, piedi uno & mezo, & d'un dito & mezo <15> <14> &longs;e di cento & ottanta, piedi due <lb/>& dita cinque, &longs;e di ducento libre piedi due, & dita &longs;ei, &longs;e di ducento & dieci, piedi <lb/>due, & dita &longs;ette <15> <14> &longs;e di ducento & cinquanta, piedi due dita undeci & mezo. </s> <s id="s.008533">Determi<lb/>nata la grandezza del foro faccia&longs;i una Scutula detta da Greci Peritritos, che per lunghez­<lb/>za &longs;ia due fori, & della duodecima, & ottaua parte d'un foro, la larghezza due fori, & <lb/>della &longs;e&longs;ta parte d'un foro. </s> <s id="s.008534">Parti&longs;ca&longs;i la metà della di&longs;egnata linea, & poiche &longs;arà partito <lb/>&longs;iano ritirate, & ra&longs;tremate le ultime parti di quella forma di modo, che quella linea hab <lb/>bia la &longs;ua torta di&longs;egnatione per la &longs;e&longs;ta parte della lunghezza, ma di larghezza la doue è la <lb/>&longs;ua piega habbia la quarta parte. </s> <s id="s.008535">Ma la doue è la curuatura, la doue gli anguli con i capi <lb/>loro &longs;portano in fuori, & i fori &longs;i deono uoltare, & il ra&longs;tremamento deue tornar in die­<lb/>tro per la &longs;e&longs;ta parte della larghezza. </s> <s id="s.008536">Il foro &longs;i fa di forma alquanto lunghetta tanto, quan <lb/>to è gro&longs;&longs;o l'Epizige. </s> <s id="s.008537">poi che co&longs;i &longs;arà formato parti&longs;ca&longs;i a torno di modo, che ell'habbia <lb/>la e&longs;trema curuatura dolcemente uoltata <15> <14> la gro&longs;&longs;ezza &longs;ia d'un foro. </s> <s id="s.008538">Facian&longs;i i mog <lb/>getti di fori 11 & mezo, la larghezza 59 <15> <14> la gro&longs;&longs;ezza oltra quello, che entra nel foro <lb/>&longs;ia di fori 51, all'ultimo della larghezza &longs;ia di fori 15. la. </s> <s id="s.008539">lunghezza delle erte &longs;ia di fori <lb/>V S 5. la curuatura per la metà d'un foro, la gro&longs;&longs;ezza. </s> <s id="s.008540">u. <!-- REMOVE S-->d'un foro & LX. parte egli &longs;i da <lb/>di piu alla larghezza quanto s'è fatto appre&longs;&longs;o il foro nella de&longs;crittione in larghezza, & <lb/>gro&longs;&longs;ezza la. </s> <s id="s.008541">V. parte di un foro. </s> <s id="s.008542">L'altezza la quarta parte, la lunghezza della regola che <lb/>è nella men&longs;a è di fori otto, la larghezza, & la gro&longs;&longs;ezza, per la metà del foro. </s> <s id="s.008543">la gro&longs;&longs;ez­<lb/>za del Cardine 112 <15> <14>. </s> <s id="s.008544">gro&longs;&longs;ezza del foro 199 <15> <14> la curuatura della regola 15 K la <lb/>larghezza, & gro&longs;&longs;ezza della regola e&longs;teriore tanto, la lunghezza, che ci darà la uer&longs;ura <lb/>della formatione, & la larghezza dell'erta, & la &longs;ua curuatura K. <!-- KEEP S--></s> <s id="s.008545">Ma le regole di &longs;e pra &longs;a­<lb/>ranno eguali alle regole di &longs;otto. </s> <s id="s.008546">K. le men&longs;e del trauer&longs;o di fori uuK la lunghezza del Fu­<lb/>&longs;todel Climaciclo di fori tredici <15> <14> la gro&longs;&longs;ezza di tre K lo &longs;patio di mezo largo una <lb/>quarta d'un foro. </s> <s id="s.008547"><15> la gro&longs;&longs;ezza un'ottaua <15> <14> K. la parte di &longs;opra del Climaciclo che <lb/>è uicina congiunta alla men&longs;a per tutta la &longs;ua lunghezza &longs;i parte in cinque parti, delle qua­<lb/>li due &longs;i danno a quel membro, che i Greci chiamano Chilon <15> la larghezza 5. la gro&longs;&longs;ezza <lb/>9 <15>. </s> <s id="s.008548">la lunghezza di tre fori & mezo K. le parti prominenti del chilo di mezo foro, quel <lb/>la del Plenthigomato di 3. d'un foro, & d'un Sicilico. </s> <s id="s.008549">Et quello, che è a i perni, che &longs;i <lb/>chiama la Fronte trauer&longs;a è di tre fori, la larghezza delle regole di dentro 5. d'un foro, la <lb/>gro&longs;&longs;ezza 3 K. il riempimento dell'orecchia che è per coprire la Securina s'intende K. la <lb/>larghezzza, del fu&longs;to del Climaciclo 25. la gro&longs;&longs;ezza di fori dodici K. la gro&longs;&longs;ezza del qua <lb/>drato, che è pre&longs;&longs;o al Climaciclo F S d'un foro, ne gli e&longs;tremi K. ma il diametro dell'a&longs;&longs;e <lb/>ritondo &longs;arà eguale al chilo, alle chiauette. </s> <s id="s.008550">5. manco una &longs;e&longs;tadecima K. la lunghezza del <lb/>l'anteridio di fori F 1119, la larghezza 5 <15>: d'un foro, la gro&longs;&longs;ezza di &longs;opra 2 K. la ba&longs;a, <lb/>&longs;i chiama e&longs;cara per lunghezza è di fori <15> la contraba&longs;a di fori quattro <15> <14> la larghezza, <lb/>& gro&longs;&longs;ezza dell'una, & dell'altra <15> <14> d'un foro, &longs;i caccia a mezo una colonna di altez­<pb pagenum="476" xlink:href="045/01/490.jpg"/>za K. la cui larghezza, & gro&longs;&longs;ezza è d'un foro, & mezo, ma l'altezza non ha proportio­<lb/>ne di foro, ma &longs;arà ba&longs;tante quello, che &longs;arà nece&longs;&longs;ario all'u&longs;o <15> <14> d'un braccio, la lun­<lb/>ghezza di fori VI <15> <14> la gro&longs;&longs;ezza nella radice ne gli e&longs;tremi F. <!-- KEEP S--></s> <s id="s.008551">Io ho e&longs;po&longs;to quelle &longs;im­<lb/>metrie trattando delle Bali&longs;te, & delle Catapulte, che io ho giudicato &longs;ommamente c&longs;pe <lb/>dite, ma come &longs;i carchino, & tirino con funi torte di neruo, & di capelli, quanto potrò <lb/>con i &longs;critti abbracciare non la&longs;cierò. </s> </p> <p type="main"> <s id="s.008552"><emph type="italics"/>Et qui che potemo noi dire in tanta &longs;correttione di te&longs;to? </s> <s id="s.008553">in tanta confu&longs;ione di mi&longs;ure, & in <lb/>tanta o&longs;curità di uocaboli? </s> <s id="s.008554">Mirabile era certo que&longs;ta machina tirando fin ducento è cinquanta li<lb/>bre di pe&longs;o, & ci uoleua una grandi&longs;&longs;ima manifattura, di parti & membri di e&longs;&longs;a.<emph.end type="italics"/></s> </p> <p type="head"> <s id="s.008555"><emph type="italics"/>Delle tempre, et carcature delle Baliste, et delle Ca­<lb/>tapulte. <!-- KEEP S--></s> <s id="s.008556">Cap. VXIII.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.008557">Piglian&longs;i traui lunghi&longs;simi &longs;opra i quali &longs;i conficcano i gattelli, dentro de quali <lb/>uanno i na&longs;pi, ma per mezo gli &longs;patij di quelle traui &longs;i ta gliano dentro le for­<lb/>me, nelle quali s'inue&longs;tono i capitelli delle Catapulte, & con cugni &longs;ono fer <lb/>mati, & tenuti accioche nel caricarle, & tirarle non &longs;i muouino. </s> <s id="s.008558">Piglian&longs;i <lb/>poi i moggetti di rame, & quelli &longs;i metteno dentro ne i capitelli, dentro i quali uanno i <lb/>cugnetti di ferro detti da Greci Epi&longs;chidi: oltra di que&longs;to ui &longs;i pongono le an&longs;e delle cor­<lb/>de, & &longs;i fanno pa&longs;&longs;are dall'altra parte, & d'indi &longs;i riportano a i na&longs;pi, inuolgendo&longs;i nelle <lb/>&longs;tanghe, accioche per quelle &longs;te&longs;e, & tirate le corde quando con le mani &longs;aranno toc­<lb/>che, habbian eguale ri&longs;pondenza di &longs;uono nell'una, & l'altra parte, & quando hauere­<lb/>mo fatto que&longs;to, allhora con cugni a i fori, &longs;i &longs;errano di modo, che non po&longs;&longs;ono piu am­<lb/>mollar&longs;i, & co&longs;i fatti pa&longs;&longs;are dall'altra parte con la i&longs;te&longs;&longs;a ragione con le &longs;tanghe &longs;i &longs;tende­<lb/>no per li na&longs;pi, fin che &longs;uonino egualmente, & co&longs;i con i ferramenti de i cugni &longs;i tempra­<lb/>no le Catapulte al &longs;uono con udito, & orecchia mu&longs;icale. </s> </p> <p type="main"> <s id="s.008559"><emph type="italics"/>Que&longs;to accennò Vitr. nel primo libro uolendo, che lo Architetto haue&longs;&longs;e qualche ragione di <lb/>Mu&longs;ica: perche &longs;e è quella proportione da &longs;uono, a &longs;uono, che è da &longs;patio a &longs;patio, non prima <lb/>&longs;errar &longs;i deono i fori po&longs;ti ne i capi, per li quali &longs;i tirano le funi torte, che rendino &longs;uoni eguali, <lb/>& allhora renderanno &longs;uoni eguali, che ci &longs;arà parità di &longs;patij, & eguale tiramento dalla de­<lb/>&longs;tra, & dalla &longs;inistra delle funi: & quando que&longs;to dall'orecchia &longs;arà udito, allhora &longs;arà molto <lb/>bene temperata la carcatura, & il colpo &longs;arà dritto & giu&longs;to, come la ragione ci dimo&longs;tra.<emph.end type="italics"/></s> </p> <p type="head"> <s id="s.008560"><emph type="italics"/>Delle co&longs;e da oppugnare, et da difendere, et pri­<lb/>ma della inuentione dello Ariete et della <lb/>&longs;ua machina. </s> <s id="s.008561">Cap. XIX.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.008562">IO ho detto quello, che io ho potuto di que&longs;te co&longs;e. </s> <s id="s.008563">Re&longs;tami dire delle ma­<lb/>chine da battere, & da oppugnare in che modo con machinationi i uittorio&longs;i <lb/>capitani, & le città e&longs;&longs;er po&longs;sino dife&longs;e. </s> <s id="s.008564">Prima quanto appartiene alla oppu­<lb/>gnatione, co&longs;i &longs;i dice e&longs;&longs;er'&longs;tato ritrouato l'Ariete. </s> <s id="s.008565">I Carthagine&longs;i per oppu­<lb/>gnar Gade s'accamparono, & hauendo prima pre&longs;o il ca&longs;tello &longs;i sforzarono di gettarlo a <lb/>terra, ma poi che non haueuano ferramenti per roinarlo pre&longs;ero una traue, & que&longs;ta con <pb pagenum="477" xlink:href="045/01/491.jpg"/>le mani &longs;o&longs;tenendo, & urtando con uno de capi continuamente andauano &longs;calcinando la <lb/>&longs;ommità del muro, & &longs;mantellando i primi cor&longs;i delle pietre a poco a poco leuarono tut­<lb/>ta la dife&longs;a. </s> <s id="s.008566">Dapoi accadè, che un certo fabro di Tiria detto Pefa&longs;meno indutto da que <lb/>&longs;ta ragione, & inuentione, drizzata un'antenna da quella ne &longs;o&longs;pe&longs;e un'altra per trauer&longs;o <lb/>in bilancia, & co&longs;i tirando indietro, & &longs;pignendo inanzi con gran colpi roinò il muro de <lb/>i Gaditani. </s> <s id="s.008567">Ma Cetra Calcedonio fece prima un ba&longs;amento di legno po&longs;to &longs;opra ruote, <lb/>& poi &longs;opra ui fabricò con traui dritti, & con chiaui, & trauer&longs;i uno &longs;teccato, & in que&longs;ti <lb/>&longs;o&longs;pe&longs;e, & appiccò l'Ariete, & di corami di buoi fece la coperta, accioche piu &longs;icuri fo&longs;&longs;e­<lb/>ro quelli, che nella machina po&longs;ti fu&longs;&longs;ero a batter la muraglia, & que&longs;ta &longs;orte di machina <lb/>per e&longs;&longs;er alquanto tarda ne i forzi &longs;uoi, fu dal detto Te&longs;tudine Arietaria nominata. </s> <s id="s.008568">Po&longs;ti <lb/>adunque da prima que&longs;ti gradi, a tal &longs;orte di machina, auuenne dapoi che quando Philip­<lb/>po figliuolo d'Aminta &longs;i po&longs;e all'a&longs;&longs;edio, & a batter Bizantio, che Polindo The&longs;&longs;alo ui ag­<lb/>giun&longs;e molte &longs;orti, & molte facilità, dalqual poi impararono Diade, & Cherea, che anda­<lb/>rono al &longs;oldo con Ale&longs;&longs;andro. <!-- KEEP S--></s> <s id="s.008569">Perche Diade ne i &longs;uoi &longs;critti dimo&longs;tra hauer trouato le <lb/>torri, che andauano, lequali ancho disfatte &longs;olea portar nello e&longs;&longs;ercito. </s> <s id="s.008570">Oltra di que­<lb/>&longs;to egli trouò la Triuella, la machina a&longs;cendente, per laquale a piè piano &longs;i poteua pa&longs;&longs;a­<lb/>re alla muraglia. </s> <s id="s.008571">Et ancho trouò il Coruo, che roinaua le mura, detto Grue da alcuni. </s> <s id="s.008572"><lb/>Similmente u&longs;aua lo Ariete con le ruote di &longs;otto, le ragioni delquale egli ci la&longs;ciò &longs;critte, <lb/>& dice, che la piu picciola torre non deue e&longs;&longs;er men alta di cubiti &longs;e&longs;&longs;anta, larga 17, ra&longs;tre­<lb/>mata di &longs;opra la quinta parte del &longs;uo di&longs;otto, & che le erte da ba&longs;&longs;o di dieci parti d'un pie­<lb/>de, & di &longs;opra di mezo piede &longs;i douean fare, & che bi&longs;ogna fare quella torre di dieci ta­<lb/>uolati, & che per ogni lato hauer deue le &longs;ue fine&longs;tre. </s> <s id="s.008573">Ma la torre piu grande doueua e&longs;­<lb/>&longs;er alta 120 cubiti, larga 22 & mezo <15> <23> & rà&longs;tremata di &longs;opra &longs;imilmente la quinta <lb/>parte <15>: i &longs;uoi dritti o erte dal fondo d'un piede, dal di &longs;opra di mezo piede, & que&longs;ta <lb/>altezza egli faceua di uenti tauolati, & cia&longs;cuno tauolato haueua il circuito di tre cubiti, <lb/>& la copriua di corami crudi, accioche fu&longs;&longs;ero da ogni colpo &longs;icure. </s> <s id="s.008574">L'apparecchio del­<lb/>la Te&longs;tuggine Arietaria &longs;i faceua con la i&longs;te&longs;&longs;a ragione. </s> <s id="s.008575">Perche haueua lo &longs;pacio di trenta <lb/>cubiti, l'altezza oltra la &longs;ommità di 16. ma l'altezza della &longs;ommità del &longs;uo piano di &longs;ette cu <lb/>biti. </s> <s id="s.008576">V&longs;ciua in alto, & &longs;opra il mezo fa&longs;tigio del tetto una torricella non meno larga di <lb/>12 cubiti, & di &longs;opra s'alzaua in altezza di quattro tauolati, nellaquale dal tauolato di &longs;o­<lb/>pra &longs;i poneuano gli Scorpioni, & le Catapulte, & dalla parte di &longs;otto &longs;i raccoglieua una <lb/>grande quantità di acqua per e&longs;tinguer il fuoco, ca&longs;o che egli ui fu&longs;&longs;e gettato. </s> <s id="s.008577">Poneua&longs;i <lb/>ancho in e&longs;&longs;a la machina Arietaria, detta da Greci Chriodochi, nella quale &longs;i poneua un <lb/>ba&longs;tone, o morello fatto al torno &longs;opra ilquale era po&longs;to l'Ariete, che a forza di funi ti­<lb/>rato inanzi, & indietro faceua co&longs;e merauiglio&longs;e, & que&longs;to ancho come la torre era di co <lb/>rami crudi coperto. </s> <s id="s.008578">Quanto alla triuella egli ci la&longs;ciò &longs;critto que&longs;te ragioni. </s> <s id="s.008579">Egli face­<lb/>ua quella machina, come una te&longs;tuggine, che nel mezo nelle &longs;ue erte haueua un canale, co­<lb/>me &longs;i &longs;uol far nelle Bali&longs;te, & nelle Catapulte. <!-- KEEP S--></s> <s id="s.008580">Que&longs;to canale era lungo <expan abbr="cinquãta">cinquanta</expan> cubiti, alto <lb/>uno, & in e&longs;&longs;o &longs;i poneua per trauer&longs;o un na&longs;po, & dal capo dalla de&longs;tra, & dalla &longs;ini&longs;tra <lb/>due taglie, per lequali &longs;i moueua quel traue col capo ferrato, che uiera dentro, &longs;otto lo <lb/>i&longs;te&longs;&longs;o canale quelli, che erano rinchiu&longs;i &longs;icuri, faceuano piu pre&longs;ti, & piu gagliardi i mo­<lb/>uimenti di quella. </s> <s id="s.008581">Sopra quel traue, che iui era &longs;i gettauano gli archi, & i uolti per copri­<lb/>re il canale, accioche &longs;o&longs;tene&longs;&longs;ero il corame crudo, colquale era quella machina in uol­<lb/>ta. </s> <s id="s.008582">Del Coruo egli non pensò che fu&longs;&longs;e da &longs;criuere alcuna co&longs;a, hauendo auuertito, che <lb/>quella machina non era di alcun ualore. </s> <s id="s.008583">Ma della machina che s'acco&longs;taua grecamente <lb/>Epiuatra nominata, & delle machinationi da mare, che po&longs;&longs;ono entrar nelle naui, egli &longs;o­<lb/>lamente ha prome&longs;&longs;o di &longs;criuere. </s> <s id="s.008584">io ho bene auuertito, che egli non ci ha le &longs;ue ragioni <lb/>e&longs;plicate. </s> <s id="s.008585">Io ho &longs;critto quelle co&longs;e, che appartengono allo apparecchio delle machine <pb pagenum="478" xlink:href="045/01/492.jpg"/>&longs;critte da Diade. </s> <s id="s.008586">Hora io dirò quelle co&longs;e, che io ho hauuto da miei precettori, & che a <lb/>me pareno di utilità. </s> </p> <p type="main"> <s id="s.008587"><emph type="italics"/>Le co&longs;e trattate nel pre&longs;ente cap. della inuentione dello Ariete, & della fabrica &longs;ua, & delle <lb/>Torri, & Te&longs;tuggini, & della triuella, & delle altre machine &longs;ono a&longs;&longs;ai bene inte&longs;e, però non mi <lb/>par' che &longs;ia nece&longs;&longs;ario tentar di e&longs;plicarle meglio, & di queste &longs;e ne fa mentione appre&longs;&longs;o gli Hi­<lb/>&longs;torici, & de gli effetti loro &longs;e ne parla copio&longs;amente, & i nomi di queste machine, come gli <lb/>altri &longs;ono pre&longs;i dalle forme, & da gli effetti loro, come facilmente &longs;i puo intender, &longs;enza no­<lb/>&longs;tra fatica.<emph.end type="italics"/></s> </p> <p type="head"> <s id="s.008588"><emph type="italics"/>Dell'apparecchio della te&longs;tuggine per le fo&longs;­<lb/>&longs;e. </s> <s id="s.008589">Cap. XX.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.008590">LA Te&longs;tuggine, che &longs;i apparecchia alla conge&longs;tione delle fo&longs;&longs;e, & che ancho &longs;i <lb/>puo acco&longs;tare alle mura, in que&longs;to modo &longs;i deue fare. </s> <s id="s.008591">Faccia&longs;i una ba&longs;a det­<lb/>ta E&longs;chara da Greci, & &longs;ia que&longs;ta quadrata per ogni lato piedi uenticinque, i <lb/>&longs;uoi trauer&longs;i quattro, & que&longs;ti contenuti &longs;iano da altri due trauer&longs;i gro&longs;si <lb/>f. <!-- REMOVE S-->5. larghi. </s> <s id="s.008592">5. & &longs;ian que&longs;ti trauer&longs;i di&longs;tanti tra &longs;e da un piede & mezo, & per ogni &longs;pacio <lb/>di quelli &longs;iano &longs;otto po&longs;ti alcuni arbo&longs;celli Amaxopodes detti da Greci, ne i quali &longs;i uolta­<lb/>no i perni delle ruote cerchiati di lame di ferro, & quegli arbor&longs;celli &longs;iano co&longs;i tempera­<lb/>ti, che habbian i cardini, & i fori loro per doue le &longs;tanghe pa&longs;&longs;ando po&longs;&longs;ano quelli a torno <lb/>uoltare, accioche inanzi, & indietro dalla de&longs;tra, & dalla &longs;ini&longs;tra, & per torto in angu­<lb/>lo, doue ricercherà il bi&longs;ogno per gli arbor&longs;celli inanzi muouer &longs;i po&longs;sino. </s> <s id="s.008593">&longs;opra la ba&longs;a <lb/>po&longs;ti &longs;iano due trauicelli, che &longs;portino in una, & nell'altra parte &longs;ei piedi, d'intorno a <lb/>quegli &longs;porti conficcati ne &longs;ian due altri, che &longs;portino inanzi le fronti piedi &longs;ette gro&longs;­<lb/>&longs;i, & larghi come &longs;ono quelli, che nella ba&longs;a de&longs;critti &longs;ono. </s> <s id="s.008594">&longs;opra que&longs;ta collegatu­<lb/>ra drizzar &longs;i deono le portelle congiunte, oltra i cardini di piedi noue, gro&longs;&longs;e per ogni <lb/>uer&longs;o un piede, & un palmo, lontane una dall'altra un piede & mezo. </s> <s id="s.008595">Siano que— <lb/>&longs;te dal di&longs;opra rinchiu&longs;e tra le traui cardinate, &longs;opra le traui po&longs;ti &longs;iano i capreoli, o <lb/>chiaui, che co i cardini l'uno entri dentro l'altro & &longs;iano leuati piedi noue, &longs;opra i <lb/>capreoli &longs;i pone un traue quadrato, che lega, & congiugne i traui, & que&longs;ti da i lo­<lb/>ro laterali d'intorno conficcati &longs;ian contenuti, & coperti bene con tauole &longs;pecialmente di <lb/>palme, ilche &longs;e non &longs;i puo, pigli&longs;i altra &longs;orte di legno, oltra il pino, & l'alno, che po&longs;&longs;a <lb/>e&longs;&longs;er buono per que&longs;to effetto, percioche il pino, & l'alno &longs;ono fragili & facilmente rice­<lb/>ueno il fuoco. </s> <s id="s.008596">D'intorno i tauolati po&longs;ti &longs;iano i craticci di &longs;ottili&longs;sime uerghe molto den <lb/>&longs;amente conte&longs;te, & &longs;pecialmente uerdi, & fre&longs;che, cucitoui i crudi corami doppij, & <lb/>riempiti di alica, o di paglie in aceto macerate &longs;ia d'intorno tutta la machina inue&longs;tita, & <lb/>co&longs;i da que&longs;te co&longs;e &longs;aranno ribattuti i colpi delle Bali&longs;te, & &longs;cacciati gl'impeti de gli <lb/>incendij. </s> </p> <p type="head"> <s id="s.008597"><emph type="italics"/>Delle altre te&longs;tuggini. </s> <s id="s.008598">Cap. XXI.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.008599">Evui un'altra &longs;orte di Teftuggine, che ha tutte le altre co&longs;e al modo, che han­<lb/>no le te&longs;tuggini &longs;opra&longs;critte, eccetto che i capreoli: ma hanno d'intorno il <lb/>parapetto, & i merli fatti di tauole, & dal di&longs;opra, i &longs;ottogrondali che &longs;tan­<lb/>no in pioucre, che &longs;i contengono &longs;opra le tauole, & i corami fermamente <lb/>con&longs;iccati, & di &longs;opra ci è po&longs;ta dell'argilla con capello battuta tanto gro&longs;&longs;a, che il fuoco <pb pagenum="479" xlink:href="045/01/493.jpg"/>per modo alcuno non po&longs;&longs;a far danno alla detta machina. </s> <s id="s.008600">Egli &longs;i puo ancho, quando bi­<lb/>&longs;ogno &longs;ia, far que&longs;te machine di otto ruote comportando co&longs;i la natura del luogo. </s> <s id="s.008601">Ma <lb/>quelle te&longs;tuggini, che &longs;i fanno per cauar &longs;otto, che da Greci &longs;ono Origes nominate, han­<lb/>no tutte le altre co&longs;e (come è &longs;opra&longs;critto) & le fronti di quelle &longs;i fanno come gli angoli <lb/>de i triangoli, accioche quando il &longs;acttume dalle mura mandato in quelle percuoterà, non <lb/>riceuino i colpi con le fronti piane, ma &longs;correndo da i lati &longs;enza pericolo, quelli che dentro <lb/>&longs;ono, & che cauano &longs;iano dife&longs;i. </s> <s id="s.008602">Non mi par alieno dal propo&longs;ito no&longs;tro e&longs;poner, le ra­<lb/>gioni di quella Te&longs;tuggine, che fece Agetore Bizantino. <!-- KEEP S--></s> <s id="s.008603">Era la ba&longs;a piedi 60 per lunghez <lb/>za, 18 per larghezza, drizzate erano 4 erte &longs;opra la &longs;ua colligatione di due traui compo­<lb/>&longs;te, cia&longs;cuna d'altezza di piedi 36, gro&longs;&longs;e un piede, & un palmo, larghe un piede, & me­<lb/>zo. </s> <s id="s.008604">Haueua la ba&longs;a otto ruote, & con quelle era condotta. </s> <s id="s.008605">L'altezza delle ruote era di pie­<lb/>di u 15 <25> la gro&longs;&longs;ezza di piedi tre, & co&longs;i fatte di tre doppie di materia & &longs;otto&longs;qua <lb/>dra alternamente po&longs;te in&longs;ieme, & con lame di ferro legati. </s> <s id="s.008606">Que&longs;te ne gli arbor&longs;cel­<lb/>li, o amaxotopodes che &longs;i dichino, &longs;i uolgeno, & poi &longs;opra il piano de i tran&longs;tri che erano <lb/>&longs;opra la ba&longs;a erano drizzate le porte di piedi 18 <25> di larghezza 5 <25> & di gro&longs;&longs;ezza <lb/>p. <!-- REMOVE S-->2. di&longs;tanti tra &longs;e 15 <25> &longs;opra quelle i traui &longs;errate a torno conteneuano tutta quella le <lb/>gatura, & compactione. </s> <s id="s.008607"><14> <15> larghe piedi 1 <25> gro&longs;&longs;e 5 <25> &longs;opra quella erano alzati i <lb/>capreoli piedi 12, &longs;opra i capreoli era un traue po&longs;to, che congiugneua gl'inca&longs;tri delle <lb/>chiaui. </s> <s id="s.008608">Et di piu haueua di &longs;opra i laterali fitti per trauer&longs;o, &longs;opra i quali era il tauolato a <lb/>torno, che copriua le co&longs;e di &longs;otto, & nel mezo del tauolato erano alcuni trauicelli doue <lb/>eran po&longs;ti gli Scorpioni, & le Catapulte. <!-- KEEP S--></s> <s id="s.008609">Drizzauan&longs;i, ancho due erte po&longs;te in&longs;ieme, & <lb/>di &longs;opra inca&longs;trate di piedi 36: <15>: gro&longs;&longs;e un piede & mezo <15> <14> larghe due, congiunte <lb/>con i capi ad un traue trauer&longs;o con i cardini, o inca&longs;tri, che &longs;i dica, & un'altro trauer&longs;o <lb/>tuttauia tra due fu&longs;ti anch' egli con &longs;uoi inca&longs;tri, & legato con lame di ferro, &longs;opra il quale <lb/>alternamente era po&longs;to il legname tra i fu&longs;ti, & il trauer&longs;o rinchiu&longs;o tra le orecchie, & i <lb/>manichi fermamente, in quella materia erano due pernuzzi fatti al torno, a i quali e&longs;&longs;endo <lb/>le funi legate &longs;o&longs;teneuano l'Ariete, & &longs;opra il capo di quelli, che conteneuano l'Ariete era <lb/>un parapetto ornato a &longs;imiglianza d'una Torricella di modo, che &longs;tando due Soldati &longs;en­<lb/>za pericolo pote&longs;&longs;ero riguardar da lunge, & riportar quello, che tenta&longs;&longs;ero i nemici. </s> <s id="s.008610"><lb/>l'Ariete di quello haueua di lunghezza piedi ciy <14> <15> di larghezza al ba&longs;&longs;o un piede, & <lb/>un palmo <14> <15> di gro&longs;&longs;ezza un piede <14> <15> ra&longs;tremato dal capo in larghezza 1 <14> <15><lb/>in gro&longs;&longs;ezza 5 <25> Que&longs;to Ariete haueua il ro&longs;tro, & la punta di duro ferro, al modo, <lb/>che &longs;ogliono hauere le naui lunghe, & dal ro&longs;tro quattro lame di ferro cerca 15 piedi era­<lb/>no fitte lungo il legno. </s> <s id="s.008611">Et dal capo al piede del traue eran tirate quattro funi gro&longs;&longs;e otto <lb/>dita, al modo che l'albero della naue da poppa a prora è ritenuto, & a quel traue erano <lb/>con trauer&longs;i attorchiate le funi raccommandate, che tra &longs;e erano di&longs;tanti un piede, & un <lb/>palmo; & di &longs;opra tutto l'Ariete era coperto di corami crudi, & da quelle funi, delle qua­<lb/>li pendeuano i loro capi eran fatte quattro catene di ferro inuolte ancho e&longs;&longs;e in corami cru <lb/>di. </s> <s id="s.008612">Similmente il &longs;uo &longs;porto haueua un'arca fatta di tauole, & confitta con gro&longs;&longs;e corde <lb/>&longs;tirate, per l'a&longs;prezza delle quali non &longs;correndo i piedi facilmente &longs;i perueniua all'altezza del <lb/>la muraglia, & quella machina nello andar a &longs;ei modi &longs;i moueua, inanzi, per lato dalla de <lb/>&longs;tra, & dalla &longs;ini&longs;tra, s'alzaua, & s'abba&longs;&longs;aua. </s> <s id="s.008613">Drizzaua&longs;i in altezza per roinare il muro da <lb/>cento piedi, & per lato dalla de&longs;tra, & dalla &longs;ini&longs;tra correndo abbracciaua non meno di <lb/>cento piedi, & cento huomini la gouernaua, & pe&longs;aua quattro mila talenti, cioè libre <lb/>quattrocento & ottanta mila. </s> </p> <pb pagenum="480" xlink:href="045/01/494.jpg"/> <p type="head"> <s id="s.008614"><emph type="italics"/>La peror atione di tutta l'opera. </s> <s id="s.008615">Cap. XXII.<emph.end type="italics"/><!-- KEEP S--></s> </p> <p type="main"> <s id="s.008616">IO ho e&longs;plicato quanto mi pareua conueniente de gli Scorpioni, & delle Cata<lb/>pulte, & delle Balli&longs;te, & parimente delle Te&longs;tuggini, & delle Torri, & da <lb/>chi &longs;ono &longs;tate ritrouate, & in che modo far &longs;i doue&longs;tero. </s> <s id="s.008617">Ma niuna nece&longs;sità <lb/>mi ha con&longs;tretto a &longs;criuere delle &longs;cale, & de i Carche&longs;i, & di quelle co&longs;e, le ra­<lb/>gioni delle quali debili &longs;ono, & di poca fattura: perche i &longs;oldati fanno da &longs;e que&longs;te co&longs;e: <lb/>nè le i&longs;te&longs;&longs;e in ogni luogo, nè con le mede&longs;ime ragioni ci &longs;erueno, perche è differente una <lb/>dife&longs;a dall'altra, & ancho la gagliardezza delle nationi: perche con altra ragione &longs;i deono <lb/>apparecchiare le machinationi contra gli audaci, & temerari, con altra contra i diligenti, & <lb/>&longs;pauentati, però &longs;e alcuno uorrà attendere alle pre&longs;critte co&longs;e, &longs;ciegliendo dalla uarietà <lb/>di quelle, & riducendole in una preparatione conferendole in&longs;ieme, non hauerà bi&longs;ogno <lb/>d'aiuti, ma potrà sbrigar&longs;i in ogni occorrenza con quelle ragioni, & in que luoghi, che <lb/>&longs;arà bono &longs;enza hauerne dubitatione alcuna. </s> <s id="s.008618">Ma delle machine da dife&longs;a' non &longs;e ne de­<lb/>ue parlare, perche i nemici non apparechiano l'offe&longs;e &longs;econdo i no&longs;tri &longs;critti, ma &longs;pe&longs;&longs;o <lb/>le loro machinationi alla &longs;proui&longs;ta &longs;enza machina con pre&longs;ti con&longs;igli &longs;ono &longs;otto&longs;opra get­<lb/>tati: il che e&longs;&longs;er auuenuto a i Rhodiani &longs;i dice. </s> <s id="s.008619">Diogeneto fu Architetto Rhodiano, al <lb/>quale ogni anno del publico &longs;i daua una certa proui&longs;ione per l'arte &longs;ua. </s> <s id="s.008620">al co&longs;tui tempo e&longs;­<lb/>&longs;endo di Arado uenuto a Rhodi un certo Architetto detto Callia, fece un'alta torre, & <lb/>ci dette una mo&longs;tra di muraglia, & &longs;opra quella fece una machina in un Carche&longs;io, che &longs;i <lb/>uolgeua, con la quale egli pre&longs;e una machina detta Helepoli dal prender delle città, che <lb/>&longs;i auuicinaua alla muraglia, & la traportò dentro le mura. </s> <s id="s.008621">Mo&longs;si i Rhodiani da tale e&longs;&longs;em<lb/>pio merauiglio&longs;i leuarono la proui&longs;ione annale a Diogeneto, & la diedero a Callia. <!-- REMOVE S-->fra <lb/>que&longs;to mezo Demetrio Rè, che per la o&longs;tinatione dell'animo era detto de&longs;truttore delle <lb/>città, apparecchiando la guerra contra Rhodi menò &longs;eco Epimacho Athenie&longs;e nobile Ar­<lb/>chitetto. <!-- KEEP S--></s> <s id="s.008622">co&longs;tui fece fare una torre di grandi&longs;sima &longs;pe&longs;a con indu&longs;tria & fatica alta piedi <lb/>cento & uenticinque, larga &longs;e&longs;&longs;anta & poi quella confermò con &longs;ilicij, & corami crudi di <lb/>modo, che reggeua ad un colpo di pietra di trecento & &longs;e&longs;&longs;anta libre tratta da una Bali­<lb/>&longs;ta, & quella machina era di pe&longs;o, di libre trecento & &longs;e&longs;&longs;anta mila. </s> <s id="s.008623">Ma e&longs;&longs;endo pregato <lb/>Callia da Rhodiani, che egli contra quella torre apparecchia&longs;&longs;e una machina, & quella ti­<lb/>ra&longs;&longs;e dentro le mura, come prome&longs;&longs;o haueua, egli negò di poter cio fare, perche non &longs;i <lb/>puo fare ogni co&longs;a con l'i&longs;te&longs;&longs;e ragioni. </s> <s id="s.008624">percioche &longs;ono alcune co&longs;e, che rie&longs;ceno tanto in <lb/>modelli piccioli, quanto in forme grandi, altre non po&longs;&longs;ono hauer modelli, ma da &longs;e &longs;i <lb/>fanno, altre ancho a i modelli s'a&longs;simigliano, ma quando &longs;i fanno maggiori non rie&longs;ceno, <lb/>come da quello, che io dirò, &longs;i puo bene auuertire. </s> <s id="s.008625">Egli &longs;i fora con una triuella, & &longs;i fa <lb/>un foro di mezo dito, d'un dito, & d'un dito & mezo, il che &longs;e con la i&longs;te&longs;&longs;a ragione far <lb/>uorremo d'un palmo, non &longs;i puo, ma di mezo piede del tutto non &longs;i deue pen&longs;are: co&longs;i a <lb/>que&longs;ta &longs;imiglianza &longs;i puo far alcuna co&longs;a in una forma non molto grande, pre&longs;a da un pic­<lb/>ciolo modello, il che all'i&longs;te&longs;&longs;o modo in molto maggior grandezza non &longs;i puo con&longs;egui­<lb/>re. </s> <s id="s.008626">Que&longs;te co&longs;e e&longs;&longs;endo &longs;tate auuertite da Rhodiani, quelli che con la ingiuria hauean <lb/>ancho fatto oltraggio a Diogeneto, poi che uidero il nemico &longs;degnato & o&longs;tinato, & che <lb/>la machina era per e&longs;pugnar la città, temendo il pericolo della &longs;eruitu, & uedendo, che <lb/>non &longs;i attendeua altro &longs;e non che la città fu&longs;&longs;e roinata, &longs;i humiliarono pregando Diogene <lb/>to che in quel ca&longs;o aiuta&longs;&longs;e la patria. </s> <s id="s.008627">Co&longs;tui da prima negò di uolerlo fare, ma poi che le <lb/>Vergini ingenue, & nobili, & i giouanetti con i Sacerdoti uennero a pregare, allhora <lb/>egli promi&longs;e con que&longs;te conditioni, che &longs;e egli prende&longs;&longs;e quella machina, fu&longs;&longs;e &longs;ua. </s> <s id="s.008628">Con-<pb pagenum="481" xlink:href="045/01/495.jpg"/>certate que&longs;te co&longs;e egli fece rompere il muro da quella parte doue la machina doueua auui <lb/>cinar&longs;i, & comandò in publico & in priuato, che quanto cia&longs;cuno haue&longs;&longs;e di acqua, di <lb/>&longs;terco, & di fango, per quella apertura fu&longs;&longs;e per li canali mandata dinanzi il muro. </s> <s id="s.008629">poi <lb/>che adunque per lo &longs;patio d'una notte gran copia d'acqua, di luto, & di &longs;terco fu in quel <lb/>luogo largamente inuiata, il giorno &longs;eguente acco&longs;tando&longs;i la Torte, prima che al muro <lb/>auuicina&longs;&longs;e nell'humida, & fango&longs;a uoragine di fermai&longs;i fu con&longs;tretta, doue che nè andar <lb/>inanzi, nè tornar a dietro piu puote giamai. </s> <s id="s.008630">Perche uedendo Demetrio e&longs;&longs;er &longs;tato dalla <lb/>&longs;apienza di Diogeneto ingannato, &longs;e ne tornò a dietro con l'armata &longs;ua. </s> <s id="s.008631">Allhora i Rho­<lb/>diani liberati dalla guerra per la &longs;olertia di Diogeneto publicamente lo ringratiarono,s&s<lb/>l'honorarono di tutti gli honori, & ornamenti. </s> <s id="s.008632">Diogeneto poi condu&longs;&longs;e quella machina <lb/>dentro la terra, & la po&longs;e in publico con tale in&longs;crittione. </s> <s id="s.008633">DIOGENETO DEL­<lb/>LE SPOGLIE AL POPVLO HA FATTO QVESTO DONO. <!-- KEEP S--></s> <s id="s.008634"><lb/>Et co&longs;i nelle dife&longs;e non tanto le machine, ma &longs;pecialmente i con&longs;igli preparar &longs;i deono. </s> <s id="s.008635"><lb/>Co&longs;i a Chio hauendo i nemici &longs;opra le naui po&longs;te le machine delle Sanbuche di notte tem <lb/>po quei da Chio gettarono nel mare dinanzi la muraglia terra, arena & pietre, & uolen­<lb/>do il dì &longs;eguente i nemici acco&longs;tar&longs;i con l'armata diedero nelli &longs;cagni, ch'eran &longs;ott'acqua <lb/>nè puotero auuicinar&longs;i al muro, nè tornar in dietro, ma iui con martelletti forate le naui <lb/>furono abbruciate. </s> <s id="s.008636">Co&longs;i Appolonia e&longs;&longs;endo a&longs;&longs;ediata, & pen&longs;ando i nemici d'entrar per <lb/>le caue nella terra &longs;enza &longs;o&longs;petto, e&longs;&longs;endo que&longs;to &longs;tato auuertito dalle &longs;pie, & fattone <lb/>auuertiti gli Appolinati, turbati dalla tri&longs;ta nouella per la paura hauendo bi&longs;ogno di confi <lb/>glio non poteuano &longs;aper del certo da che parte i nemici haue&longs;&longs;ero a sboccare: allhora Tri <lb/>fone Ale&longs;&longs;andrino, che iui era Architetto fece fare dentro le mura molte caue, & cauan­<lb/>do la terra u&longs;ciua fuori della muraglia meno d'un tiro d'arco, & in tutti que uacui attacca <lb/>ua &longs;o&longs;pe&longs;i molti ua&longs;i di rame, di que&longs;ti in una di quelle fo&longs;&longs;e, che era dirimpetto alla caua <lb/>fatta da nemici per le perco&longs;&longs;e de ferramenti i ua&longs;i appiccati cominciarono a &longs;onare, dal <lb/>che fu poi compre&longs;o, che da quella parte i nemici cauando penetrar uoleuano dentro le <lb/>mura, co&longs;i cono&longs;ciuti i termini, fece apparecchiar ua&longs;i d'acqua bogliente, & di pece &longs;o­<lb/>pra'l capo de nemici, & di &longs;terco humano, & di arena cotta rouente, & la notte poi fece <lb/>dal di&longs;opra moltí fori, & da quelli di &longs;ubito mandando in giu ammazzò tutti i nemici, che <lb/>erano in quella caua. </s> <s id="s.008637">Simile auuertimento fu quando &longs;i combatteua Mar&longs;iglia; & piu di <lb/>trenta caue &longs;i faceuano, delche &longs;o&longs;pettando quei di Mar&longs;iglia tutta la fo&longs;&longs;a ch'era inanzi la <lb/>muraglia cauarono con piu alta cauatione di modo, che tutte le caue de nemici sboccaro <lb/>no nella detta fo&longs;&longs;a, ma la doue non &longs;i poteua far la fo&longs;&longs;a, dentro le mura fecero un bara­<lb/>tro profondi&longs;simo, & fecero come una pi&longs;cina dincontra a quella parte, doue &longs;i faceuano <lb/>le caue, & quella di acque de pozzi, & del porto empirono, & co&longs;i sboccando la caua di <lb/>&longs;ubito aperte le Nari una gran forza d'acqua mandata, leuò di &longs;otto i &longs;o&longs;tegni, & i ripari, <lb/>per il che tutti quelli, che ui erano dentro dalla ruina della caua furono oppre&longs;si. </s> <s id="s.008638">Simil­<lb/>mente quando contra gli i&longs;te&longs;si &longs;i faceua un'argine dirimpetto al muro, & di alberi taglia­<lb/>ti iui po&longs;ti s'inalzaua l'opera da i gua&longs;tatori, mandando dalle Bali&longs;te &longs;tanghe di ferro in&longs;uo <lb/>cate fecero abbruciare tutta la munitione, & quando la te&longs;tuggine Arietaria s'acco&longs;tò al­<lb/>la muraglia per batterla, calarono un laccio, col quale &longs;trignendo l'Ariete, & uoltando <lb/>un'argana col timpano &longs;o&longs;pe&longs;o tenendo il capo di quello non la&longs;ciarono che l'Ariete toc­<lb/>ca&longs;&longs;e il muro; & finalmente con martelli boglienti a colpi di Bali&longs;ta tutta quella machina <lb/>ruinarono. </s> <s id="s.008639">Et co&longs;i que&longs;te città con la uittoria, non con machine, ma contra la ragione <lb/>delle machine per &longs;olertia de gli Architetti furono liberate. </s> <s id="s.008640">Io ho ridotto a &longs;ine in que­<lb/>&longs;to uolume quelle ragioni, che io ho potuto e&longs;pedire delle machine &longs;i al tempo di guerra <lb/>come al tempo di pace, & che io ho &longs;timato e&longs;&longs;er'utili&longs;sime. </s> <s id="s.008641">Ma ne i primi noue io ho <lb/>preparato quanto apparteneua a cia&longs;cuna maniera, & ad ogni parte, accioche tutto il cor-<pb pagenum="482" xlink:href="045/01/496.jpg"/>po haue&longs;&longs;e e&longs;plicati tutti i membri dell'Architettura, & dichiariti nel numero di die­<lb/>ci uolumi. </s> </p> <p type="main"> <s id="s.008642"><emph type="italics"/>Le co&longs;e dette in que&longs;t'ultimo Cap. del decimo, & ultimo libro dell' Architettura di Vitr. ben­<lb/>che &longs;ieno facili, deono però e&longs;&longs;er diligentemente con&longs;iderate da cia&longs;cuno ingegniero, perche &longs;i ue­<lb/>de &longs;pe&longs;&longs;o e&longs;&longs;er uero quel prouerbio, che dice, che l'ingegno &longs;upera le forze, come quel uillano con <lb/>&longs;igliò, che &longs;opra il Ponte di Verona fo&longs;&longs;ero portati molti carri di terreno, accioche calcando col <lb/>pe&longs;o, l'acqua dell' Adice, che mirabilmente cre&longs;ceua, nol porta&longs;&longs;e uia, hauendo &longs;iprima con&longs;ulta­<lb/>to la co&longs;a con molti ingegnieri, che con la loro arte non &longs;apeuano prouederle. </s> <s id="s.008643">& co&longs;i &longs;ia fine a lau<lb/>de di Dio della fatica no&longs;tra, la qual uolentieri ho impieg at a per beneficio di molti dando occa&longs;io <lb/>ne ad altri di far meglio, con l'opera mia di noue anni apunto.<emph.end type="italics"/></s> </p> <p type="head"> <s id="s.008644"><emph type="italics"/>IL FINE.<emph.end type="italics"/> <pb pagenum="483" xlink:href="045/01/497.jpg"/><pb pagenum="484" xlink:href="045/01/498.jpg"/><pb pagenum="485" xlink:href="045/01/499.jpg"/><pb pagenum="486" xlink:href="045/01/500.jpg"/><pb pagenum="487" xlink:href="045/01/501.jpg"/><pb pagenum="488" xlink:href="045/01/502.jpg"/><pb pagenum="489" xlink:href="045/01/503.jpg"/><pb pagenum="490" xlink:href="045/01/504.jpg"/><pb pagenum="491" xlink:href="045/01/505.jpg"/><pb pagenum="492" xlink:href="045/01/506.jpg"/><pb pagenum="493" xlink:href="045/01/507.jpg"/><pb pagenum="494" xlink:href="045/01/508.jpg"/><pb pagenum="495" xlink:href="045/01/509.jpg"/><pb pagenum="496" xlink:href="045/01/510.jpg"/></s></p> </subchap2></subchap1></chap><chap> <pb pagenum="497" xlink:href="045/01/511.jpg"/> <p type="head"> <s id="s.008645">TAVOLA DIQVELLO<!-- REMOVE S--> CHE SI CONTIENE IN <lb/>TVTTA LOPERA PER <lb/>ORDINE DE I CAPI.<!-- KEEP S--></s> </p> <p type="head"> <s id="s.008646">Capi del primo libro.<lb/><emph type="italics"/>Vita di M. Vitruuio. fac.<emph.end type="italics"/> 1 <lb/><emph type="italics"/>Proemio. fac.<emph.end type="italics"/> 2 <lb/><emph type="italics"/>La dedicatione dell'opera.<emph.end type="italics"/> 5 <lb/><emph type="italics"/>Di quali co&longs;e è compo&longs;ta l'archi­<lb/> tettura.<emph.end type="italics"/> 26 <lb/><emph type="italics"/>Delle parti della Architettura.<emph.end type="italics"/> 37 <lb/><emph type="italics"/>Dell'elettione de' luoghi&longs;ani, & quali co&longs;e nuo­<lb/> ceno alla &longs;anità.<emph.end type="italics"/> 41 <lb/><emph type="italics"/>Delle fondamenta delle muraglie & delle torri.<emph.end type="italics"/><lb/> 44 <lb/><emph type="italics"/>Della elettione de i luoghi all'u&longs;o commune del­<lb/> la Città.<emph.end type="italics"/> 64 </s> </p> <p type="head"> <s id="s.008647">Capi del &longs;econdo Libro.<lb/><emph type="italics"/>I L proemio.<emph.end type="italics"/> 66 <lb/><emph type="italics"/>Della uita de gli antichi huomini, & de i prin­<lb/> cipij del uiuere humano, & delle ca&longs;e, & <lb/> accre&longs;cimenti di quelle.<emph.end type="italics"/> 68 <lb/><emph type="italics"/>De i principij delle co&longs;e &longs;econdo i filo&longs;o&longs;i.<emph.end type="italics"/> 72 <lb/><emph type="italics"/>De i mattoni.<emph.end type="italics"/> 74 <lb/><emph type="italics"/>Dell' Arena.<emph.end type="italics"/> 78 <lb/><emph type="italics"/>Della polue pozzolana.<emph.end type="italics"/> 80 <lb/><emph type="italics"/>De i luoghi, doue &longs;i tagliano le pietre.<emph.end type="italics"/> 81 <lb/><emph type="italics"/>Delle maniere di murare, qualità, modi, & luo­<lb/> ghi di quelle.<emph.end type="italics"/> 83 <lb/><emph type="italics"/>Del tagliare i legnami.<emph.end type="italics"/> 89 </s> </p> <p type="head"> <s id="s.008648">Capi del terzo Libro.<lb/><emph type="italics"/>IL proemio.<emph.end type="italics"/> 95 <lb/><emph type="italics"/>Delle compo&longs;itioni, & compartimenti de i Tem <lb/> pij, & della mi&longs;ura del corpo humano.<emph.end type="italics"/> 108 <lb/><emph type="italics"/>Di cinque &longs;pecie di Tempij.<emph.end type="italics"/> 123 <lb/><emph type="italics"/>Delle fondationi, & delle colonne & loro or­<lb/> namenti, & de gli architraui tanto ne i luo­<lb/> ghi &longs;odi quanto ne i mo&longs;&longs;i.<emph.end type="italics"/> 134 </s> </p> <p type="head"> <s id="s.008649">Capi del quarto Libro.<lb/><emph type="italics"/>IL proemio.<emph.end type="italics"/> 161 <lb/><emph type="italics"/>Di tre maniere di colonne & delle origini & in <lb/> uentione di quelle.<emph.end type="italics"/> 162 <lb/><emph type="italics"/>De gli ornamenti delle colonne.<emph.end type="italics"/> 166 <lb/><emph type="italics"/>Della ragione Dorica.<emph.end type="italics"/> 171 <lb/><emph type="italics"/>Della di&longs;tributione di dentro delle celle, & del­<lb/> lo antitempio.<emph.end type="italics"/> 176 <lb/><emph type="italics"/>Di fare i tempij &longs;econdo le regioni.<emph.end type="italics"/> 182 <lb/><emph type="italics"/>Delle ragioni delle porte, & delle impo&longs;te de i <lb/> Tempij.<emph.end type="italics"/> 182 <lb/><emph type="italics"/>Delle ragioni To&longs;cane de i &longs;acri Tempij.<emph.end type="italics"/> 192 <lb/><emph type="italics"/>Dell' ordinare gli altari da i Dei.<emph.end type="italics"/> 201 </s> </p> <p type="head"> <s id="s.008650">Capi del quinto Libro.<lb/><emph type="italics"/>IL proemio.<emph.end type="italics"/> 203 <lb/><emph type="italics"/>Del Foro.<emph.end type="italics"/> 207 <lb/><emph type="italics"/>Dello Erario, del carcere, & della curia, <lb/> come &longs;i deono ordinare.<emph.end type="italics"/> 220 <lb/><emph type="italics"/>Del Theatro.<emph.end type="italics"/> 223 <pb pagenum="498" xlink:href="045/01/512.jpg"/><emph type="italics"/>Dell' Armonia.<emph.end type="italics"/> 227 <lb/><emph type="italics"/>De i ua&longs;i del Theatro.<emph.end type="italics"/> 243 <lb/><emph type="italics"/>Della conformatione del Theatro.<emph.end type="italics"/> 247 <lb/><emph type="italics"/>Del tetto del portico del Theatro.<emph.end type="italics"/> 352 <lb/><emph type="italics"/>Ditre &longs;orti di &longs;cene.<emph.end type="italics"/> 256 <lb/><emph type="italics"/>De i portichi dietro la &longs;cena, & delle ambula­<lb/> lationi.<emph.end type="italics"/> 260 <lb/><emph type="italics"/>Della di&longs;po&longs;itione & delle parti de i bagni.<emph.end type="italics"/> 260 <lb/><emph type="italics"/>Della edificatione delle pale&longs;tre & de i Xi&longs;ti.<emph.end type="italics"/><lb/> 265 <lb/><emph type="italics"/>De i porti & delle fabriche nelle acque.<emph.end type="italics"/> 268 </s> </p> <p type="head"> <s id="s.008651">Capi del &longs;e&longs;to Libro.<lb/><emph type="italics"/>IL proemio.<emph.end type="italics"/> 272 <lb/><emph type="italics"/>Di diuer&longs;e qualità de pae&longs;i, & uarij a&longs;petti del <lb/> cielo, &longs;econdo i quali &longs;i deono di&longs;porre gli edi <lb/> ficij.<emph.end type="italics"/> 274 <lb/><emph type="italics"/>Delle mi&longs;ure & proportioni de i priuati edificij,<emph.end type="italics"/><lb/> 277 <lb/><emph type="italics"/>De i cauedi, & delle ca&longs;e.<emph.end type="italics"/> 252 <lb/><emph type="italics"/>Te gli atrij, ale, Tablini.<emph.end type="italics"/> 288 <lb/><emph type="italics"/>De i Triclini, &longs;tanze, e&longs;&longs;edre, & delle librerie & <lb/> delle loro mi&longs;ure.<emph.end type="italics"/> 292 <lb/><emph type="italics"/>Delle &longs;ale almodo de Greci.<emph.end type="italics"/> 294 <lb/><emph type="italics"/>A che parte del cielo ogni maniera di edificio <lb/> deue guardare accio &longs;ia utile & &longs;ana.<emph.end type="italics"/> 295 <lb/><emph type="italics"/>De i proprij luoghi de gli edificij & priuati & <lb/> communi, & delle maniere conuenienti a <lb/> ogni qualità di per&longs;one.<emph.end type="italics"/> 296 <lb/><emph type="italics"/>Delle ragioni de iru&longs;ticali edificij, & di&longs;tintioni <lb/> di molte parti di quelli.<emph.end type="italics"/> 297 <lb/><emph type="italics"/>Delle di&longs;po&longs;itioni de gli edificij, & delle partilo <lb/> ro &longs;econdo i Greci, & de i nomi differenti, & <lb/> molto dai co&longs;tumi d'Italia lontani.<emph.end type="italics"/> 300 <lb/><emph type="italics"/>Della fermezza, & delle fondamenta delle fa­<lb/> briche.<emph.end type="italics"/> 304 </s> </p> <p type="head"> <s id="s.008652">Capi del &longs;ettimo Libro.<lb/><emph type="italics"/>IL Proemio.<emph.end type="italics"/> 307 <lb/><emph type="italics"/>De i terrazz.<emph.end type="italics"/> 310 <lb/><emph type="italics"/>Dimacerar la calce per biancheggiare & co­<lb/> prire & d'incro&longs;tare i muri.<emph.end type="italics"/> 314 <lb/><emph type="italics"/>Delle politure ne i luoghi humidi.<emph.end type="italics"/> 318 <lb/><emph type="italics"/>Della ragione del dipignere ne gli edificij.<emph.end type="italics"/> 319 <lb/><emph type="italics"/>In che modo &longs;i apparecchi il marmo per gli co­<lb/> primenti.<emph.end type="italics"/> 322 <lb/><emph type="italics"/>De i colori, & prima dell'ocrea.<emph.end type="italics"/> 322 <lb/><emph type="italics"/>Delle ragioni del minio.<emph.end type="italics"/> 323 <lb/><emph type="italics"/>De i colori artificio&longs;i.<emph.end type="italics"/> 324 <lb/><emph type="italics"/>Delle tempre del color ceruleo.<emph.end type="italics"/> 325 <lb/><emph type="italics"/>Come &longs;i faccia la ceru&longs;a, il uerderame, & la&longs;an <lb/> daraca.<emph.end type="italics"/> 325 <lb/><emph type="italics"/>In che modo &longs;i faccia l'o&longs;tro eccellenti&longs;&longs;imo di <lb/> tutti i colori artificiali.<emph.end type="italics"/> 325 <lb/><emph type="italics"/>Ditutti i colori purpurei.<emph.end type="italics"/> 329 </s> </p> <p type="head"> <s id="s.008653">Capi dell'ottauo Libro.<lb/><emph type="italics"/>IL proemio.<emph.end type="italics"/> 327 <lb/><emph type="italics"/>Della inuentione dell'acqua.<emph.end type="italics"/> 328 <lb/><emph type="italics"/>Dell'acque.<emph.end type="italics"/> 330 <lb/><emph type="italics"/>Dell'acque calde, & che forze hanno da diuer&longs;i <lb/> metalli, & della natura di uarij fonti, laghi, <lb/> & fiumare.<emph.end type="italics"/> 335 <lb/><emph type="italics"/>Della proprietà d'alcuni luoghi & fonti.<emph.end type="italics"/> 340 <lb/><emph type="italics"/>De gli e&longs;perimenti dell'acqua.<emph.end type="italics"/> 341 <lb/><emph type="italics"/>Del condurre, & liuellar' l'acque, & de gli &longs;tru <lb/> menti buoni a tali effetti.<emph.end type="italics"/> 341 <lb/><emph type="italics"/>A quanti modi &longs;i conduchino le acque.<emph.end type="italics"/> 343 </s> </p> <p type="head"> <s id="s.008654">Capi del nono Libro.<lb/><emph type="italics"/>IL Proemio.<emph.end type="italics"/> 347 <lb/><emph type="italics"/>Il modo ritrouato da Platone per mi&longs;urare un <lb/> campo di terra.<emph.end type="italics"/> 348 <lb/><emph type="italics"/>Della &longs;quadra inuentione di Pitagora, per for <lb/> mare l'angulo giu&longs;to.<emph.end type="italics"/> 349 <lb/><emph type="italics"/>Come &longs;i po&longs;&longs;a cono&longs;cer una portione di argento <lb/> me&longs;colata con l'oro finita l'opera.<emph.end type="italics"/> 352 <lb/><emph type="italics"/>Della ragione de i Gnomoni ritrouati per l'om­<lb/> bra de i raggi del Sole. <!-- KEEP S--></s> <s id="s.008655">Et del mondo. </s> <s id="s.008656">& <lb/> de i pianeti.<emph.end type="italics"/> 366 <lb/><emph type="italics"/>Del cor&longs;o del Sole per li dodici &longs;egni.<emph.end type="italics"/> 386 <lb/><emph type="italics"/>Delle con&longs;tellationi che &longs;ono dalla parte Setten­<lb/> trionale.<emph.end type="italics"/> 391 <lb/><emph type="italics"/>Delle &longs;telle che &longs;ono dal zodiaco al mezo dì.<emph.end type="italics"/><lb/> 396 <lb/><emph type="italics"/>Delle ragioni de gli horologi, & delle ombre <lb/> de i Gnomoni al tempo equinottiale a Roma, <lb/> & in alcuni altri luoghi.<emph.end type="italics"/> 398 <lb/><emph type="italics"/>Della ragione de gli horologi, & dell'u&longs;o & del <lb/> la inuentione loro, & quali &longs;ieno &longs;tati gli in­<lb/> uentori.<emph.end type="italics"/> 426 </s> </p> <pb pagenum="499" xlink:href="045/01/513.jpg"/> <p type="head"> <s id="s.008657">Capi del decimo Libro.<lb/><emph type="italics"/>IL Proemio.<emph.end type="italics"/> 438 <lb/><emph type="italics"/>Che co&longs;a è machina, in che è differente dallo in­<lb/> &longs;trumento, & della origine & nece&longs;&longs;ità di <lb/> quella.<emph.end type="italics"/> 442 <lb/><emph type="italics"/>Delle machinationi trattorie de i &longs;acri Tempij, <lb/> & delle opere publiche.<emph.end type="italics"/> 445 <lb/><emph type="italics"/>De diuer&longs;i uocaboli delle machine & come &longs;i <lb/> drizzano.<emph.end type="italics"/> 447 <lb/><emph type="italics"/>Di una machina da leuar grandi&longs;&longs;imi pe&longs;i.<emph.end type="italics"/> 448 <lb/><emph type="italics"/>Di una altra &longs;orte di machina da tirare.<emph.end type="italics"/> 449 <lb/><emph type="italics"/>Di una ingenio&longs;a ragione di Cte&longs;ifonte per con­<lb/> durre i pe&longs;i.<emph.end type="italics"/> 450 <lb/><emph type="italics"/>Come trouato s'habbia la petraia, della quale <lb/> fu &longs;atto il Tempio di Diana Efe&longs;ia.<emph.end type="italics"/> 451 <lb/><emph type="italics"/>Del mouimento dritto, & circolare che &longs;i ri­<lb/> chiede a leuar i pe&longs;i.<emph.end type="italics"/> 452 <lb/><emph type="italics"/>Delle &longs;orti de gli &longs;trumenti da cauar l'acque, & <lb/> prima del Timpano.<emph.end type="italics"/> 460 <lb/><emph type="italics"/>Delle ruote, & Timpani per macinar la farina.<emph.end type="italics"/><lb/> 460 <lb/><emph type="italics"/>Della uida che alza gran copia d'acqua.<emph.end type="italics"/> 461 <lb/><emph type="italics"/>Della machina fatta da Cte&longs;ibio che alza l'ac­<lb/> qua molto alto.<emph.end type="italics"/> 462 <lb/><emph type="italics"/>Delle machine hidraulice con lequali &longs;i fanno <lb/> gli organi.<emph.end type="italics"/> 465 <lb/><emph type="italics"/>Con che ragione &longs;i mi&longs;ura il uiaggio fatto o in <lb/> carretta, o in naue.<emph.end type="italics"/> 468 <lb/><emph type="italics"/>Delle ragioni delle Catapulte, & de gli Scorpi­<lb/> pioni.<emph.end type="italics"/> 472 <lb/><emph type="italics"/>Delle ragioni delle bali&longs;te.<emph.end type="italics"/> 474 <lb/><emph type="italics"/>Della proportione delle pietre che &longs;i deono trar­<lb/> re al foro della bali&longs;ta.<emph.end type="italics"/> 475 <lb/><emph type="italics"/>Dell' apparechio della te&longs;tugine per le fo&longs;&longs;e.<emph.end type="italics"/> 478 <lb/><emph type="italics"/>Delle tempre & carcature delle bali&longs;te, & del <lb/> le catapulte.<emph.end type="italics"/> 476 <lb/><emph type="italics"/>Delle co&longs;e da oppugnare, & da difendere, & <lb/> della inuentione dello Ariete.<emph.end type="italics"/> 476 <lb/><emph type="italics"/>La tauola delle lunghezze, larghezze, parti & <lb/> grandezze delle &longs;telle.<emph.end type="italics"/> 483 <lb/><emph type="italics"/>La tauola della declinatione del Sole.<emph.end type="italics"/> 496 </s> </p> <p type="head"> <s id="s.008658"><emph type="italics"/>IL FINE.<emph.end type="italics"/><!-- KEEP S--></s> </p> </chap><chap> <pb pagenum="500" xlink:href="045/01/514.jpg"/> <p type="head"> <s id="s.008659">TAVOLA DE I DIECI LIBRI DELLA<!-- REMOVE S-->ARCHITETTVRA DIM. VITRVVIO.<!-- KEEP S--></s> </p> <p type="head"> <s id="s.008660"><emph type="italics"/>A.<emph.end type="italics"/><lb/><emph type="italics"/>Abete.<emph.end type="italics"/> 90 <lb/><emph type="italics"/>Abete &longs;opernate, & inferna­<lb/> te.<emph.end type="italics"/> 94 <lb/><emph type="italics"/>Acqua, & &longs;ua inuentione, pro­<lb/> ua, liuello, & condotta da<emph.end type="italics"/> 327 <emph type="italics"/>per tutto <lb/> l'ottauo libro.<emph.end type="italics"/><lb/><emph type="italics"/>Acque piouane.<emph.end type="italics"/> 330 <lb/><emph type="italics"/>Acque calde, & metalliche.<emph.end type="italics"/> 335 <lb/><emph type="italics"/>Agente.<emph.end type="italics"/> 9 <lb/><emph type="italics"/>Agente diuino, naturale, & artificiale.<emph.end type="italics"/> 11 <lb/><emph type="italics"/>Ale&longs;fandro il magno, & &longs;uo auuertimento.<emph.end type="italics"/> 66 <lb/><emph type="italics"/>Alberi, nature, & proprietàloro.<emph.end type="italics"/> 89. 90. 91 <lb/><emph type="italics"/>Alato Tempio.<emph.end type="italics"/> 115 <lb/><emph type="italics"/>Altari, & loro ordinatione.<emph.end type="italics"/> 201 <lb/><emph type="italics"/>Amphipro&longs;tylos.<emph.end type="italics"/> 113 <lb/><emph type="italics"/>Angoli, & loro dichiaratione.<emph.end type="italics"/> 23 <lb/><emph type="italics"/>Andrea Palladio Architetto.<emph.end type="italics"/> 64 <lb/><emph type="italics"/>Ante.<emph.end type="italics"/> 115 <lb/><emph type="italics"/>Analemma, & di&longs;cor&longs;i &longs;opra da<emph.end type="italics"/> 366 <emph type="italics"/>fin<emph.end type="italics"/> 403. <lb/><emph type="italics"/>Anguli, & circonferenze fatte da i circoli, <lb/> & diametri, che entrano nello Analem­<lb/> ma.<emph.end type="italics"/> 420 <lb/><emph type="italics"/>Apennino, & &longs;ua de&longs;crittione.<emph.end type="italics"/> 94 <lb/><emph type="italics"/>Apparenze, & orti & occa&longs;i delle &longs;telle.<emph.end type="italics"/> 381 <lb/><emph type="italics"/>Arte, diffinitione, na&longs;cimento, cre&longs;cimento, <lb/> diui&longs;ione, & di&longs;cor&longs;o &longs;opra l'arti.<emph.end type="italics"/> 3.4.5 <lb/><emph type="italics"/>Arte, & i&longs;perienza &longs;ono differenti.<emph.end type="italics"/> 4 <lb/><emph type="italics"/>Architettura, & &longs;ua dignità.<emph.end type="italics"/> 5 <lb/><emph type="italics"/>Architettura, & &longs;ua diffinitione, deriuatione, <lb/> & laude.<emph.end type="italics"/> 6 <lb/><emph type="italics"/>Architetto.<emph.end type="italics"/> 6 <lb/><emph type="italics"/>Arti attribuite a gli animali.<emph.end type="italics"/> 9 <lb/><emph type="italics"/>Arte diuina, humana, & mondana.<emph.end type="italics"/> 9 <lb/><emph type="italics"/>Artefice tiene doppia con&longs;ideratione, & dop­<lb/> pia affettione ri&longs;petto all'opera.<emph.end type="italics"/> 10 <lb/><emph type="italics"/>Architetto richiede fabrica, & di&longs;cor&longs;o alla <lb/> &longs;ua perfettione<emph.end type="italics"/> 10 <lb/><emph type="italics"/>Arti di&longs;tinte.<emph.end type="italics"/> 11 <lb/><emph type="italics"/>Architetto, & &longs;ue conditioni.<emph.end type="italics"/> 12 <lb/><emph type="italics"/>Arithmetica.<emph.end type="italics"/> 14 <lb/><emph type="italics"/>Architettura, & &longs;ua laude.<emph.end type="italics"/> 21 <lb/><emph type="italics"/>Architett ura di che è compo&longs;ta.<emph.end type="italics"/> 26 <lb/><emph type="italics"/>Architettura, & &longs;ue parti.<emph.end type="italics"/> 37 <lb/><emph type="italics"/>Arte imita la natura, & perche cau&longs;a.<emph.end type="italics"/> 37 <lb/><emph type="italics"/>Archuettura, & &longs;ua diui&longs;ione.<emph.end type="italics"/> 37. <emph type="italics"/>fin<emph.end type="italics"/> 40 <lb/><emph type="italics"/>Arthritis.<emph.end type="italics"/> 57 <lb/><emph type="italics"/>Arena.<emph.end type="italics"/> 78 <lb/><emph type="italics"/>Architraui, & u&longs;o loro nelle maniere areo&longs;ti­<lb/> le.<emph.end type="italics"/> 129 <lb/><emph type="italics"/>Areo&longs;tylos.<emph.end type="italics"/> 123 <lb/><emph type="italics"/>Architraui, fregi, & cornici in diuer&longs;i gene­<lb/> ri.<emph.end type="italics"/> 146. <emph type="italics"/>& piu oltra.<emph.end type="italics"/><lb/><emph type="italics"/>Archi.<emph.end type="italics"/> 207 <lb/><emph type="italics"/>Armonia, & di&longs;cor&longs;o &longs;opra<emph.end type="italics"/> 227 <emph type="italics"/>& piu oltre.<emph.end type="italics"/><lb/><emph type="italics"/>Armonico genere.<emph.end type="italics"/> 229 <lb/><emph type="italics"/>Ari&longs;to&longs;&longs;eno ripre&longs;o.<emph.end type="italics"/> 231 <lb/><emph type="italics"/>Ari&longs;tippo filo&longs;ofo, & &longs;ua laude.<emph.end type="italics"/> 272 <lb/><emph type="italics"/>Ari&longs;tofane, & &longs;uo giudicio.<emph.end type="italics"/> 307 <lb/><emph type="italics"/>Argento, & oro me&longs;colato come &longs;i proua.<emph.end type="italics"/><lb/> 352. <lb/><emph type="italics"/>Archimede, & &longs;ua inuentione.<emph.end type="italics"/> 352 <lb/><emph type="italics"/>Archita, & &longs;ua inuentione.<emph.end type="italics"/> 355 <lb/><emph type="italics"/>A&longs;trologia nece&longs;&longs;aria all' Architetto.<emph.end type="italics"/> 20 <lb/><emph type="italics"/>A&longs;petti cele&longs;ti, & di&longs;cor&longs;o &longs;opra.<emph.end type="italics"/> 23 <lb/><emph type="italics"/>A&longs;&longs;e, & &longs;ua diui&longs;ione.<emph.end type="italics"/> 23 <lb/><emph type="italics"/>A&longs;plenon herba.<emph.end type="italics"/> 43 <lb/><emph type="italics"/>A&longs;petti cele&longs;ti.<emph.end type="italics"/> 383 <lb/><emph type="italics"/>Atrij.<emph.end type="italics"/> 283. <emph type="italics"/>fin<emph.end type="italics"/> 291 <lb/><emph type="italics"/>Augu&longs;to.<emph.end type="italics"/> 6 <lb/><emph type="italics"/>Auertimenti.<emph.end type="italics"/> 8. 21. 66. 97. 128. 132. 160 <lb/> 179. 256. 257. <emph type="italics"/>& nel proemio del &longs;e&longs;to <lb/> libro.<emph.end type="italics"/><lb/><emph type="italics"/>Aule.<emph.end type="italics"/> 283 </s> </p> <p type="head"> <s id="s.008661"><emph type="italics"/>B.<emph.end type="italics"/><lb/><emph type="italics"/>Bali&longs;te.<emph.end type="italics"/> 474 <lb/><emph type="italics"/>Ba&longs;e, & &longs;ue forme.<emph.end type="italics"/> 142. 143. 144 <lb/><emph type="italics"/>Ba&longs;ilica.<emph.end type="italics"/> 208 <lb/><emph type="italics"/>Ba&longs;iliche, & &longs;uoi compartimenti.<emph.end type="italics"/> 214 <lb/><emph type="italics"/>Ba&longs;ilica fatta da Vitruuio a Fano.<emph.end type="italics"/> 216 <lb/><emph type="italics"/>Biancheggiamenti, & intonicature, & modo <lb/> di farle.<emph.end type="italics"/> 313.314 <lb/><emph type="italics"/>Bori&longs;thene fiume.<emph.end type="italics"/> 331 </s> </p> <pb pagenum="501" xlink:href="045/01/515.jpg"/> <p type="head"> <s id="s.008662"><emph type="italics"/>C.<emph.end type="italics"/><lb/><emph type="italics"/>Cariacide.<emph.end type="italics"/> 15 <lb/><emph type="italics"/>Calce.<emph.end type="italics"/> 79 <lb/><emph type="italics"/>Camillo.<emph.end type="italics"/> 136 <lb/><emph type="italics"/>Capitelli di diuer&longs;i generi.<emph.end type="italics"/> 141.153.156. <lb/><emph type="italics"/>Canalatura.<emph.end type="italics"/> 160 <lb/><emph type="italics"/>Capitello Corinthio.<emph.end type="italics"/> 162 <lb/><emph type="italics"/>Carcere.<emph.end type="italics"/> 221.222 <lb/><emph type="italics"/>Cauedi & &longs;ue maniere.<emph.end type="italics"/> 282.283 <lb/><emph type="italics"/>Catapulte.<emph.end type="italics"/> 472 <lb/><emph type="italics"/>Ceru&longs;a.<emph.end type="italics"/> 325 <lb/><emph type="italics"/>Ceruleo colore.<emph.end type="italics"/> 325 <lb/><emph type="italics"/>Chri&longs;ocolla.<emph.end type="italics"/> 324 <lb/><emph type="italics"/>Città, & forma &longs;ua &longs;econdo Vitr.<emph.end type="italics"/> 52 <lb/><emph type="italics"/>Circoli cele&longs;ti, & loro inteligenza.<emph.end type="italics"/> 367 <lb/><emph type="italics"/>Circoli nece&longs;&longs;arij performare lo Analemma.<emph.end type="italics"/><lb/> 403. <emph type="italics"/>& piu oltra.<emph.end type="italics"/><lb/><emph type="italics"/>Colliquie.<emph.end type="italics"/> 283 <lb/><emph type="italics"/>Corinthie &longs;ale.<emph.end type="italics"/> 293 <lb/><emph type="italics"/>Color ceruleo.<emph.end type="italics"/> 325 <lb/><emph type="italics"/>Colchi fiume.<emph.end type="italics"/> 331 <lb/><emph type="italics"/>Cor&longs;o del Sole per li<emph.end type="italics"/> 12 <emph type="italics"/>&longs;egni.<emph.end type="italics"/> 386 <lb/><emph type="italics"/>Comparatione dell'arte, & della i&longs;perienza.<emph.end type="italics"/><lb/> 45. <lb/><emph type="italics"/>Conditioni dello. </s> <s id="s.008663">Architetto.<emph.end type="italics"/> 12.13 <lb/><emph type="italics"/>Commentarij che co&longs;a &longs;ono.<emph.end type="italics"/> 13 <lb/><emph type="italics"/>Conuenienza tra molte &longs;cienze.<emph.end type="italics"/> 22 <lb/><emph type="italics"/>Compartimento.<emph.end type="italics"/> 29.34 <lb/><emph type="italics"/>Concorrenze di auanzar&longs;inel fabricare.<emph.end type="italics"/> 69 <lb/><emph type="italics"/>Compo&longs;itione di uarie maniere di Tempi.<emph.end type="italics"/> 125. <lb/> <emph type="italics"/>fin<emph.end type="italics"/> 129 <lb/><emph type="italics"/>Colonne, & &longs;uoi ra&longs;tremamenti, & gonfiez­<lb/> za.<emph.end type="italics"/> 133 <lb/><emph type="italics"/>Colonne &longs;opra le cantonate piu gro&longs;&longs;e.<emph.end type="italics"/> 132 <lb/><emph type="italics"/>Colonne, & loro maniere, origini, & inuentio <lb/> ni.<emph.end type="italics"/> 162 <lb/><emph type="italics"/>Colonne, & loro ornamenti.<emph.end type="italics"/> 166 <lb/><emph type="italics"/>Con&longs;onanze.<emph.end type="italics"/> 231.240 <lb/><emph type="italics"/>Conformatione del Theatro.<emph.end type="italics"/> 247 <lb/><emph type="italics"/>Colori naturali & artificiali<emph.end type="italics"/> 324 <lb/><emph type="italics"/>Colori fatti per arte.<emph.end type="italics"/> 324 <lb/><emph type="italics"/>Con&longs;tellationi dalla parte &longs;ettentrionale<emph.end type="italics"/> 391. <emph type="italics"/>et <lb/> meridiana<emph.end type="italics"/> 396 <lb/><emph type="italics"/>Cono & conica &longs;uperficie.<emph.end type="italics"/> 399 <lb/><emph type="italics"/>Credulità.<emph.end type="italics"/> 3 <lb/><emph type="italics"/>Cre&longs;cimento delle arti.<emph.end type="italics"/> 4.5 <lb/><emph type="italics"/>Chromatico genere.<emph.end type="italics"/> 229 <lb/><emph type="italics"/>Creta &longs;elinu&longs;ia, & annularia.<emph.end type="italics"/> 326 <lb/><emph type="italics"/>Cre&longs;cerc, & calare de i giorni & &longs;ua ragione.<emph.end type="italics"/><lb/> 386.387 <lb/><emph type="italics"/>Cte&longs;ibio, & &longs;ue inuentioni.<emph.end type="italics"/> 427 <lb/><emph type="italics"/>Curia.<emph.end type="italics"/> 227 <lb/><emph type="italics"/>Cubo, & &longs;ua duplicatione.<emph.end type="italics"/> 360 <lb/><emph type="italics"/>De&longs;crittione dello Apeunino.<emph.end type="italics"/> 97.98 <lb/><emph type="italics"/>Democrito, & &longs;ua opinione cerca gli <lb/> atomi.<emph.end type="italics"/> 73 <lb/><emph type="italics"/>Denario perfetto.<emph.end type="italics"/> 102 <lb/><emph type="italics"/>Dedicatione dell'opera.<emph.end type="italics"/> 5 <lb/><emph type="italics"/>Decoro.<emph.end type="italics"/> 34.182 <lb/><emph type="italics"/>Diffinitione dell'arte.<emph.end type="italics"/> 3 <lb/><emph type="italics"/>Di&longs;cor&longs;o, che cofa è.<emph.end type="italics"/> 8 <lb/><emph type="italics"/>Di&longs;cor&longs;o &longs;opra l'arte.<emph.end type="italics"/> 4 <lb/><emph type="italics"/>Diui&longs;ione de gli habiti.<emph.end type="italics"/> 4 <lb/><emph type="italics"/>Di&longs;tintione delle arti.<emph.end type="italics"/> 5 <lb/><emph type="italics"/>Diffinitione dell' Architettura.<emph.end type="italics"/> 7 <lb/><emph type="italics"/>Diffinitione del &longs;oggetto, & che importi.<emph.end type="italics"/> 8 <lb/><emph type="italics"/>Di&longs;cor&longs;o è proprio dell'huomo.<emph.end type="italics"/> 9 <lb/><emph type="italics"/>Di&longs;cor&longs;o quando erra.<emph.end type="italics"/> 9 <lb/><emph type="italics"/>Diui&longs;ione delle arti.<emph.end type="italics"/> 11 <lb/><emph type="italics"/>Di&longs;egno.<emph.end type="italics"/> 13 <lb/><emph type="italics"/>Diui&longs;ione della pro&longs;pettiua.<emph.end type="italics"/> 14 <lb/><emph type="italics"/>Diui&longs;ione della filo&longs;ofia.<emph.end type="italics"/> 18 <lb/><emph type="italics"/>Diui&longs;ione della Mu&longs;ica.<emph.end type="italics"/> 18 <lb/><emph type="italics"/>Di&longs;cor&longs;o &longs;opra gli a&longs;petti cele&longs;ti.<emph.end type="italics"/> 23 <lb/><emph type="italics"/>Di&longs;putatione de i principij delle &longs;cienze a chi <lb/> conuenga.<emph.end type="italics"/> 25 <lb/><emph type="italics"/>Diui&longs;ione di tutta la forma dell' Architettura.<emph.end type="italics"/><lb/> 27. <lb/><emph type="italics"/>Di&longs;cor&longs;o &longs;opra l'ordine.<emph.end type="italics"/> 28 <lb/><emph type="italics"/>Di&longs;po&longs;itione.<emph.end type="italics"/> 29. <emph type="italics"/>idee, &longs;orti<emph.end type="italics"/> 29 <lb/><emph type="italics"/>Diletto che co&longs;a è.<emph.end type="italics"/> 32 <lb/><emph type="italics"/>Di&longs;cor&longs;o &longs;opra la eurithmia.<emph.end type="italics"/> 33 <lb/><emph type="italics"/>Di&longs;tributione, & &longs;uoi gradi.<emph.end type="italics"/> 36 <lb/><emph type="italics"/>Di&longs;cor&longs;o lungo &longs;opra la diui&longs;ione dell' Architet <lb/> tura.<emph.end type="italics"/> 37.38.39.40 <lb/><emph type="italics"/>Di&longs;tributione delle opere publiche.<emph.end type="italics"/> 40 <lb/><emph type="italics"/>Di&longs;cor&longs;o &longs;opra le co&longs;e da e&longs;&longs;er con&longs;iderate da <lb/> chi uuole fabricare una città.<emph.end type="italics"/> 41.42 <lb/><emph type="italics"/>Diui&longs;ione dentro la città.<emph.end type="italics"/> 54 <lb/><emph type="italics"/>Di&longs;cor&longs;o &longs;opra i uenti.<emph.end type="italics"/> 54.55.56 <lb/><emph type="italics"/>Di&longs;cor&longs;o &longs;opra le colonne, & altezze loro.<emph.end type="italics"/> 140 <pb pagenum="502" xlink:href="045/01/516.jpg"/><emph type="italics"/>Digre&longs;&longs;ione contra i mal dicenti.<emph.end type="italics"/> 63 <lb/><emph type="italics"/>Dinocrate Architetto, & &longs;ua inuentione.<emph.end type="italics"/> 66 <lb/><emph type="italics"/>Di&longs;cor&longs;o &longs;opra i principij del uiuer humano, & <lb/> del &longs;abricare.<emph.end type="italics"/> 69 <lb/><emph type="italics"/>Di&longs;cor&longs;o &longs;opra i principij delle co&longs;e.<emph.end type="italics"/> 73 <lb/><emph type="italics"/>Di&longs;cor&longs;o &longs;opra i mationi.<emph.end type="italics"/> 74 <lb/><emph type="italics"/>Di&longs;cor&longs;o &longs;opra l'arena, & la calce.<emph.end type="italics"/> 78. <lb/> 79.80 <lb/><emph type="italics"/>Di&longs;cor&longs;o &longs;opra le pietre.<emph.end type="italics"/> 81.82 <lb/><emph type="italics"/>Di&longs;cor&longs;o &longs;opra il murare.<emph.end type="italics"/> 83. <emph type="italics"/>fin<emph.end type="italics"/> 86 <lb/><emph type="italics"/>Di&longs;cor&longs;o &longs;opra le proprietà de gli alberi.<emph.end type="italics"/> 89. <lb/> 90 <lb/><emph type="italics"/>Di&longs;cor&longs;o &longs;opra le proportioni.<emph.end type="italics"/> 97. <emph type="italics"/>fin<emph.end type="italics"/> 108 <lb/><emph type="italics"/>Di&longs;cor&longs;o &longs;opra le mi&longs;ure<emph.end type="italics"/> 108. <emph type="italics"/>& mi&longs;ura del cor <lb/> po humano.<emph.end type="italics"/> 109.110 <lb/><emph type="italics"/>Dia&longs;tylos.<emph.end type="italics"/> 123 <lb/><emph type="italics"/>Di&longs;cor&longs;o &longs;opra'l fondare.<emph.end type="italics"/> 134 <lb/><emph type="italics"/>Diui&longs;ione di quello &longs;i contiene nel decimo libro<emph.end type="italics"/><lb/> 439. <emph type="italics"/>& di&longs;cor&longs;o &longs;opra la machinatione.<emph.end type="italics"/><lb/><emph type="italics"/>Diui&longs;ione delle machine.<emph.end type="italics"/> 443 <lb/><emph type="italics"/>Di&longs;cor&longs;o &longs;opra le fabriche con tutti gli ordini, <lb/> & generi, &longs;i de ba&longs;amenti, ba&longs;e, come di <lb/> colonne, capitelli, architraui, fregi, corni­<lb/> ci, & fronti&longs;pici da<emph.end type="italics"/> 143. <emph type="italics"/>fin<emph.end type="italics"/> 157. <lb/><emph type="italics"/>Di&longs;cor&longs;o &longs;opra i generi delle colonne.<emph.end type="italics"/> 164.165 <lb/><emph type="italics"/>Di&longs;cor&longs;o &longs;opra'l tetto.<emph.end type="italics"/> 167 <lb/><emph type="italics"/>Di&longs;tributione delle parti di dentro del Tempio.<emph.end type="italics"/><lb/> 176. <emph type="italics"/>fin<emph.end type="italics"/> 182 <lb/><emph type="italics"/>Di&longs;cor&longs;o &longs;opra il foro.<emph.end type="italics"/> 207 <lb/><emph type="italics"/>Di&longs;cor&longs;o &longs;opra'l Theatro.<emph.end type="italics"/> 223. <emph type="italics"/>fin<emph.end type="italics"/> 226 <lb/><emph type="italics"/>Di&longs;cor&longs;o di Mu&longs;ica.<emph.end type="italics"/> 227. <emph type="italics"/>fin<emph.end type="italics"/> 243 <lb/><emph type="italics"/>Diatonico genere.<emph.end type="italics"/> 229 <lb/><emph type="italics"/>Ditono.<emph.end type="italics"/> 232 <lb/><emph type="italics"/>Die&longs;i.<emph.end type="italics"/> 232.233 <lb/><emph type="italics"/>Di&longs;cor&longs;o &longs;opra'l fabricare in acqua, & de i por <lb/> ti.<emph.end type="italics"/> 268.269 <lb/><emph type="italics"/>Di&longs;cor&longs;o &longs;opra l' Ar&longs;enale de'Venetiani.<emph.end type="italics"/> 270. <lb/> 271. <lb/><emph type="italics"/>Di&longs;cor&longs;o &longs;opra l'acque.<emph.end type="italics"/> 271 <lb/><emph type="italics"/>Di&longs;cor&longs;o &longs;opra le qualità de i pae&longs;i.<emph.end type="italics"/> 274 <lb/><emph type="italics"/>Di&longs;cor&longs;o &longs;opra le fabriche di uilla.<emph.end type="italics"/> 298.299 <lb/><emph type="italics"/>Di&longs;cor&longs;o &longs;opra le uolte delle camere, & incro&longs;ta <lb/> ture de i muri.<emph.end type="italics"/> 317.318 <lb/><emph type="italics"/>Di&longs;cor&longs;o &longs;opra la pittura.<emph.end type="italics"/> 321 <lb/><emph type="italics"/>Di&longs;cor&longs;o &longs;opra la natura delle acque, inuentio­<lb/> ne, proua, liuello, condotta per tutto l'otta­<lb/> uo libro.<emph.end type="italics"/><lb/><emph type="italics"/>Di&longs;cor&longs;o &longs;opra le &longs;cale.<emph.end type="italics"/> 350 <lb/><emph type="italics"/>Di&longs;cor&longs;o &longs;opra le due medie proportionali.<emph.end type="italics"/> 355. <lb/> <emph type="italics"/>& piu oltre.<emph.end type="italics"/><lb/><emph type="italics"/>Di&longs;cor&longs;o &longs;opra'l cielo, & &longs;uoi mouimenti.<emph.end type="italics"/> 367 <lb/> <emph type="italics"/>fin<emph.end type="italics"/> 385 <lb/><emph type="italics"/>Di&longs;cor&longs;o &longs;opra i &longs;egni cele&longs;ti.<emph.end type="italics"/> 388 <lb/><emph type="italics"/>Di&longs;cor&longs;o &longs;opra i tagli delle &longs;operficie coniche.<emph.end type="italics"/><lb/> 399 <lb/><emph type="italics"/>Di&longs;cor&longs;i &longs;opra gli Analemmi.<emph.end type="italics"/> 403 <lb/><emph type="italics"/>Dorico genere & &longs;ua ragione.<emph.end type="italics"/> 171. <emph type="italics"/>fin<emph.end type="italics"/> 175 <lb/><emph type="italics"/>Due &longs;orti di i&longs;perienza.<emph.end type="italics"/> 4 <lb/><emph type="italics"/>Dubio, & &longs;olutione.<emph.end type="italics"/> 10 <lb/><emph type="italics"/>Dubio, & &longs;olutione.<emph.end type="italics"/> 21 <lb/><emph type="italics"/>Duplicatione del cubo.<emph.end type="italics"/> 360 <lb/><emph type="italics"/>Di&longs;cor&longs;i &longs;opra la Gnomonica.<emph.end type="italics"/> 366 </s> </p> <p type="head"> <s id="s.008664"><emph type="italics"/>E.<emph.end type="italics"/><lb/><emph type="italics"/>Edifitatione che co&longs;a è.<emph.end type="italics"/> 33 <lb/><emph type="italics"/>Edificij ru&longs;ticali.<emph.end type="italics"/> 297 <lb/><emph type="italics"/>Edificij priuati alla Creca<emph.end type="italics"/> 300 <lb/><emph type="italics"/>Egittie &longs;ale.<emph.end type="italics"/> 293 <lb/><emph type="italics"/>Elettione de i luoghi &longs;ani.<emph.end type="italics"/> 41 <lb/><emph type="italics"/>Elettione de i luoghi all'u&longs;o della città.<emph.end type="italics"/> 64 <lb/><emph type="italics"/>Eli&longs;&longs;e linea.<emph.end type="italics"/> 399 <lb/><emph type="italics"/>Endego.<emph.end type="italics"/> 326 <lb/><emph type="italics"/>Epigrammi &longs;opra fonti.<emph.end type="italics"/> 339 <lb/><emph type="italics"/>Erato&longs;tene<emph.end type="italics"/> 61. <emph type="italics"/>& &longs;ua inuentione.<emph.end type="italics"/> 354 <lb/><emph type="italics"/>Erario.<emph.end type="italics"/> 220 <lb/><emph type="italics"/>E&longs;ortatione all'Architettura.<emph.end type="italics"/> 303 <lb/><emph type="italics"/>E&longs;&longs;edre.<emph.end type="italics"/> 292 <lb/><emph type="italics"/>E&longs;ortatione alla uirtu nel proemio del &longs;e&longs;to.<emph.end type="italics"/><lb/><emph type="italics"/>Eurithmia che co&longs;a è.<emph.end type="italics"/> 33 <lb/><emph type="italics"/>Eusttylos<emph.end type="italics"/> 123 <lb/><emph type="italics"/>Eufrate fiume.<emph.end type="italics"/> 331 </s> </p> <p type="head"> <s id="s.008665"><emph type="italics"/>F.<emph.end type="italics"/><lb/><emph type="italics"/>Fabrica che co&longs;a è.<emph.end type="italics"/> 8 <lb/><emph type="italics"/>Fabro nome generale.<emph.end type="italics"/> 40.70 <lb/><emph type="italics"/>Fabricare, principij, & cre&longs;cimenti delle <lb/> fabriche.<emph.end type="italics"/> 68 <lb/><emph type="italics"/>Fabriche di uilla.<emph.end type="italics"/> 297 <lb/><emph type="italics"/>Fabriche priuate.<emph.end type="italics"/> 277. <emph type="italics"/>fin<emph.end type="italics"/> 294 <lb/><emph type="italics"/>Fabriche alla Greca.<emph.end type="italics"/> 300 <lb/><emph type="italics"/>Fermezza, & fondameuto delle fabriche.<emph.end type="italics"/> 304 <lb/><emph type="italics"/>Fine & &longs;ua notitia, & diffinitione, & di&longs;cor&longs;o.<emph.end type="italics"/> 9 <lb/><emph type="italics"/>Filo&longs;ofia nece&longs;&longs;aria allo Architetto, & diui&longs;io <lb/> ne.<emph.end type="italics"/> 18 <pb pagenum="503" xlink:href="045/01/517.jpg"/><emph type="italics"/>Fini delle opere di due maniere.<emph.end type="italics"/> 27 <lb/><emph type="italics"/>Fondationi.<emph.end type="italics"/> 134 <lb/><emph type="italics"/>Forma prima che la materia<emph.end type="italics"/> 9 <lb/><emph type="italics"/>Fortificatione.<emph.end type="italics"/> 44. <emph type="italics"/>fin<emph.end type="italics"/> 46 <lb/><emph type="italics"/>Fo&longs;&longs;a della città.<emph.end type="italics"/> 47 <lb/><emph type="italics"/>Foro & &longs;uo compartimento.<emph.end type="italics"/> 207. <emph type="italics"/>fin<emph.end type="italics"/> 209 <lb/><emph type="italics"/>Fonti di diuer&longs;e nature.<emph.end type="italics"/> 339 </s> </p> <p type="head"> <s id="s.008666"><emph type="italics"/>G.<emph.end type="italics"/><lb/><emph type="italics"/>Cange fiume.<emph.end type="italics"/> 331 <lb/><emph type="italics"/>Geometria.<emph.end type="italics"/> 13 <lb/><emph type="italics"/>Generi mu&longs;icali.<emph.end type="italics"/> 229 <lb/><emph type="italics"/>Generi di mu&longs;ica.<emph.end type="italics"/> 239.240 <lb/><emph type="italics"/>Giudicio de i poeti d' Ari&longs;tofane.<emph.end type="italics"/> 307 <lb/><emph type="italics"/>Gioue, & &longs;uo mouimento.<emph.end type="italics"/> 383 <lb/><emph type="italics"/>Gnomonica che co&longs;a è.<emph.end type="italics"/> 37.398 <lb/><emph type="italics"/>Gnomone, & &longs;ua ragione.<emph.end type="italics"/> 366 <lb/><emph type="italics"/>Gradi, & lor mi&longs;ure.<emph.end type="italics"/> 136 <lb/><emph type="italics"/>Gradi del Theatro.<emph.end type="italics"/> 225 <lb/><emph type="italics"/>Graduatione del Theatro.<emph.end type="italics"/> 252 <lb/><emph type="italics"/>Grotte&longs;che ripre&longs;e da Vitr.<emph.end type="italics"/> 320 </s> </p> <p type="head"> <s id="s.008667"><emph type="italics"/>H.<emph.end type="italics"/><lb/><emph type="italics"/>Habito che co&longs;a è, & come s'acqui&longs;ti, & <lb/> come &longs;i diuida.<emph.end type="italics"/> 2.3 <lb/><emph type="italics"/>Habiti dello intelleto, & della uolon­<lb/> tà.<emph.end type="italics"/> 3 <lb/><emph type="italics"/>Hercole, & lo &longs;tadio, & la &longs;tatura &longs;ua.<emph.end type="italics"/> 34 <lb/><emph type="italics"/>Hi&longs;gino.<emph.end type="italics"/> 326 <lb/><emph type="italics"/>Horologi, & loro ragioni.<emph.end type="italics"/> 398. <emph type="italics"/>fin<emph.end type="italics"/> 434 <lb/><emph type="italics"/>Hyperbole, & &longs;uo taglio.<emph.end type="italics"/> 400 <lb/><emph type="italics"/>Horologi da acqua.<emph.end type="italics"/> 427. <emph type="italics"/>fin<emph.end type="italics"/> 434 </s> </p> <p type="head"> <s id="s.008668"><emph type="italics"/>I.<emph.end type="italics"/><lb/><emph type="italics"/>Ichnografia.<emph.end type="italics"/> 30 <lb/><emph type="italics"/>Idee della di&longs;po&longs;itione.<emph.end type="italics"/> 29. <emph type="italics"/>fin<emph.end type="italics"/> 32 <lb/><emph type="italics"/>Ignoranza di mala di&longs;po&longs;itione.<emph.end type="italics"/> 3 <lb/><emph type="italics"/>Impiè.<emph.end type="italics"/> 30 <lb/><emph type="italics"/>Impluuio.<emph.end type="italics"/> 283 <lb/><emph type="italics"/>Intelletto.<emph.end type="italics"/> 3 <lb/><emph type="italics"/>Intendimento.<emph.end type="italics"/> 3 <lb/><emph type="italics"/>Infirmità cau&longs;ate da uenti.<emph.end type="italics"/> 56 <lb/><emph type="italics"/>Inuentione, che co&longs;a è.<emph.end type="italics"/> 32 <lb/><emph type="italics"/>Inuentione de Cte&longs;ifonte per condurre pe&longs;i.<emph.end type="italics"/> 450 <lb/><emph type="italics"/>Interpen&longs;iua.<emph.end type="italics"/> 283 <lb/><emph type="italics"/>In&longs;trumento & Machina differente.<emph.end type="italics"/> 442 <lb/><emph type="italics"/>In&longs;trumenti da liuellar acque.<emph.end type="italics"/> 342.343 <lb/><emph type="italics"/>In&longs;trumenti di ritrouare le linee proportionali.<emph.end type="italics"/><lb/> 356 <lb/><emph type="italics"/>I&longs;perienza, che co&longs;a è, onde na&longs;ce, & a che <lb/> &longs;erue, & di quante maniere &longs;ia, & come &longs;ia <lb/> differente dall'arte.<emph.end type="italics"/> 4 <lb/><emph type="italics"/>I&longs;toria nece&longs;&longs;aria all' Architetto.<emph.end type="italics"/><lb/><emph type="italics"/>I&longs;cu&longs;atione di Vitr.<emph.end type="italics"/> 25 <lb/><emph type="italics"/>I&longs;toria delle origini delle colonne.<emph.end type="italics"/> 163 <lb/><emph type="italics"/>I&longs;toria delle cariacide, & per&longs;iani.<emph.end type="italics"/> 15 </s> </p> <p type="head"> <s id="s.008669"><emph type="italics"/>L.<emph.end type="italics"/><lb/><emph type="italics"/>Legge po&longs;ta in Ephe&longs;o a gli Architetti.<emph.end type="italics"/><lb/> 438 <lb/><emph type="italics"/>Legnami & di&longs;cor&longs;o &longs;opra.<emph.end type="italics"/> 89 <lb/><emph type="italics"/>Librerie.<emph.end type="italics"/> 292 <lb/><emph type="italics"/>Liuelle d'acqua.<emph.end type="italics"/> 342 <lb/><emph type="italics"/>Linee proportionali, & loro inuentioni.<emph.end type="italics"/> 355 <lb/><emph type="italics"/>Linee piegate dette concoide, & loro proprie­<lb/> tà.<emph.end type="italics"/> 362 <lb/><emph type="italics"/>Linea del uero luogo, & dell'apparenza.<emph.end type="italics"/> 271 <lb/><emph type="italics"/>Luoghi priuati, & communi ne gli edificij.<emph.end type="italics"/><lb/> 296 </s> </p> <p type="head"> <s id="s.008670"><emph type="italics"/>M.<emph.end type="italics"/><lb/><emph type="italics"/>Marmi del Tempio di Diana come&longs;ono <lb/> &longs;tati ritrouati.<emph.end type="italics"/> 451 <lb/><emph type="italics"/>Machina<emph.end type="italics"/> 442. <emph type="italics"/>& diui&longs;ione delle ma <lb/> chine<emph.end type="italics"/> 443. <emph type="italics"/>& di&longs;cor&longs;i.<emph.end type="italics"/><lb/><emph type="italics"/>Machinatione<emph.end type="italics"/> 37. <emph type="italics"/>& di&longs;cor&longs;o &longs;opra.<emph.end type="italics"/> 441. <lb/> 442 <lb/><emph type="italics"/>Ma&longs;&longs;ime.<emph.end type="italics"/> 3 <lb/><emph type="italics"/>Materia.<emph.end type="italics"/> 9 <lb/><emph type="italics"/>Maniere di Tempij.<emph.end type="italics"/> 115 <lb/><emph type="italics"/>Mathematice principali, & &longs;otto principali & <lb/> &longs;oggetto loro.<emph.end type="italics"/> 13 <lb/><emph type="italics"/>Mattoni, & di&longs;cor&longs;i &longs;opra.<emph.end type="italics"/> 74.75 <lb/><emph type="italics"/>Marmo, & &longs;uo apparecchio per incro&longs;tare i <lb/> muri.<emph.end type="italics"/> 322 <lb/><emph type="italics"/>Marte & &longs;uo cor&longs;o.<emph.end type="italics"/> 385 <lb/><emph type="italics"/>Mezo & &longs;ue proprietà, & officio.<emph.end type="italics"/> 9.10 <lb/><emph type="italics"/>Medicina nece&longs;&longs;aria allo Architetto.<emph.end type="italics"/> 19 <lb/><emph type="italics"/>Meridiana linea, & &longs;ua inuentione.<emph.end type="italics"/> 58 <lb/><emph type="italics"/>Me&longs;olabio.<emph.end type="italics"/> 354 <lb/><emph type="italics"/>Mi&longs;ura della terra &longs;econdo Eratho&longs;tene.<emph.end type="italics"/> 61 <pb pagenum="504" xlink:href="045/01/518.jpg"/><emph type="italics"/>Mi&longs;ura del corpo bumauo.<emph.end type="italics"/> 109 <lb/><emph type="italics"/>Mi&longs;ure del Theatro.<emph.end type="italics"/> 222. <emph type="italics"/>& piu oltre<emph.end type="italics"/><lb/><emph type="italics"/>Mi&longs;ure de gli edifici priuati.<emph.end type="italics"/> 277 <lb/><emph type="italics"/>Minio, & &longs;ua muentione, u&longs;o, & tempra.<emph.end type="italics"/> 323 <lb/><emph type="italics"/>Monocordo.<emph.end type="italics"/> 231 <lb/><emph type="italics"/>Modi di condurre acque.<emph.end type="italics"/> 343 <lb/><emph type="italics"/>Modo di mi&longs;urar terreno trouato da Platone.<emph.end type="italics"/><lb/> 348 <lb/><emph type="italics"/>Modo di cono&longs;cer l'oro me&longs;colato con l'argen­<lb/> to.<emph.end type="italics"/> 352 <lb/><emph type="italics"/>Mondo che co&longs;aè.<emph.end type="italics"/> 367 <lb/><emph type="italics"/>Mouimento dritto, & circolare.<emph.end type="italics"/> 452 <lb/><emph type="italics"/>Muraglia della città, & forma.<emph.end type="italics"/> 47. <emph type="italics"/>fin<emph.end type="italics"/> 53 <lb/><emph type="italics"/>Murare modi. </s> <s id="s.008671">& qualità di murare.<emph.end type="italics"/> 83. <lb/> <emph type="italics"/>fin<emph.end type="italics"/> 88 <lb/><emph type="italics"/>Mu&longs;ica nece&longs;&longs;aria all' Architetto.<emph.end type="italics"/> 18 </s> </p> <p type="head"> <s id="s.008672"><emph type="italics"/>N.<emph.end type="italics"/><lb/><emph type="italics"/>Na&longs;cimento delle Arti.<emph.end type="italics"/> 4.5 <lb/><emph type="italics"/>Natura diuina di chi troua da &longs;e.<emph.end type="italics"/> 11 <lb/><emph type="italics"/>Nicolo zeno.<emph.end type="italics"/> 271 <lb/><emph type="italics"/>Nilo.<emph.end type="italics"/> 331 <lb/><emph type="italics"/>Numero, & numero perfetto.<emph.end type="italics"/> 112 <lb/><emph type="italics"/>Numero cubo, & di&longs;cor&longs;o &longs;opra.<emph.end type="italics"/> 205 </s> </p> <p type="head"> <s id="s.008673"><emph type="italics"/>O.<emph.end type="italics"/><lb/><emph type="italics"/>Ocrea.<emph.end type="italics"/> 322 <lb/><emph type="italics"/>Opinione.<emph.end type="italics"/> 3 <lb/><emph type="italics"/>Opera, & operatione &longs;ono differenti.<emph.end type="italics"/><lb/> 7.8 <lb/><emph type="italics"/>Oppidum.<emph.end type="italics"/> 65 <lb/><emph type="italics"/>Opinione de i filo&longs;o&longs;i cerca i principij delle co­<lb/> &longs;e.<emph.end type="italics"/> 327 <lb/><emph type="italics"/>Ordine che co&longs;a è. </s> <s id="s.008674">& di&longs;cor&longs;o &longs;opra.<emph.end type="italics"/> 26 <lb/> <emph type="italics"/>fin<emph.end type="italics"/> 28 <lb/><emph type="italics"/>Orthographia.<emph.end type="italics"/> 30 <lb/><emph type="italics"/>Ordine del &longs;econdo libro di Vitruuio.<emph.end type="italics"/> 71 <lb/><emph type="italics"/>Ordinatione de i tetracordi.<emph.end type="italics"/> 233 <lb/><emph type="italics"/>Orche&longs;tra.<emph.end type="italics"/> 247.252 <lb/><emph type="italics"/>Orti & occa&longs;i, & apparenze delle &longs;telle.<emph.end type="italics"/> 381 <lb/><emph type="italics"/>Or&longs;a maggiore & minore.<emph.end type="italics"/> 394 <lb/><emph type="italics"/>O&longs;tro.<emph.end type="italics"/> 325 </s> </p> <p type="head"> <s id="s.008675"><emph type="italics"/>P.<emph.end type="italics"/><lb/><emph type="italics"/>Paconio ripre&longs;o di temerità.<emph.end type="italics"/> 451 <lb/><emph type="italics"/>Pau&longs;ania.<emph.end type="italics"/> 16 <lb/><emph type="italics"/>Parti del cielo doue deono guardare gli <lb/> cdificij.<emph.end type="italics"/> 295 <lb/><emph type="italics"/>Pauimenti, & modi di farli.<emph.end type="italics"/> 310.311 <lb/><emph type="italics"/>Paretonio.<emph.end type="italics"/> 322 <lb/><emph type="italics"/>Parabole & &longs;uo taglio.<emph.end type="italics"/> 400 <lb/><emph type="italics"/>Petraie & di&longs;cor&longs;o &longs;opra le pietre.<emph.end type="italics"/><lb/><emph type="italics"/>Pen&longs;amento che co&longs;a è.<emph.end type="italics"/> 32 <lb/><emph type="italics"/>Petraia de i marmi del Tempio di Diana.<emph.end type="italics"/> 451 <lb/><emph type="italics"/>Per&longs;iani prigioni & i&longs;toria loro.<emph.end type="italics"/> 15 <lb/><emph type="italics"/>Peripteros.<emph.end type="italics"/> 115 <lb/><emph type="italics"/>Pha&longs;i fiume.<emph.end type="italics"/> 331 <lb/><emph type="italics"/>Pittura & &longs;coltura.<emph.end type="italics"/> 11 <lb/><emph type="italics"/>Pithio Architetto, ripre&longs;o da Vitr.<emph.end type="italics"/> 22 <lb/><emph type="italics"/>Pianta che co&longs;a è.<emph.end type="italics"/> 30 <lb/><emph type="italics"/>Picao&longs;tylos.<emph.end type="italics"/> 123 <lb/><emph type="italics"/>Piedistali.<emph.end type="italics"/> 136 <lb/><emph type="italics"/>Pithagora, & &longs;uoi precetti in numero cubo.<emph.end type="italics"/><lb/> 205.206 <lb/><emph type="italics"/>Pittura ne gli edificij. </s> <s id="s.008676">& pittori.<emph.end type="italics"/> 319.320 <lb/><emph type="italics"/>Pianeti, & loro caratteri, & mouimenti.<emph.end type="italics"/><lb/> 371 <lb/><emph type="italics"/>Pleuritide.<emph.end type="italics"/> 57 <lb/><emph type="italics"/>Pò fiume.<emph.end type="italics"/> 331 <lb/><emph type="italics"/>Poli, & cardini del mondo.<emph.end type="italics"/> 367 <lb/><emph type="italics"/>Politure ne i luoghi humidi.<emph.end type="italics"/> 318 <lb/><emph type="italics"/>Porti, & fabriche in acqua.<emph.end type="italics"/> 268 <lb/><emph type="italics"/>Po&longs;&longs;ibilità di po&longs;&longs;edere molte &longs;cienze.<emph.end type="italics"/> 22 <lb/><emph type="italics"/>Porte della città.<emph.end type="italics"/> 47 <lb/><emph type="italics"/>Pozzolana.<emph.end type="italics"/> 80 <lb/><emph type="italics"/>Poggio.<emph.end type="italics"/> 136 <lb/><emph type="italics"/>Porte, & &longs;ue ragioni.<emph.end type="italics"/> 182. <emph type="italics"/>fin<emph.end type="italics"/> 191 <lb/><emph type="italics"/>Portico del Theatro.<emph.end type="italics"/> 252 <lb/><emph type="italics"/>Poggio del Theatro.<emph.end type="italics"/> 255 <lb/><emph type="italics"/>Proemio in Vitr.<emph.end type="italics"/> 2 <lb/><emph type="italics"/>Precetto dell'arte, & &longs;ue conditioni.<emph.end type="italics"/> 8 <lb/><emph type="italics"/>Prime notitie.<emph.end type="italics"/> 3 <lb/><emph type="italics"/>Principio.<emph.end type="italics"/> 9 <lb/><emph type="italics"/>Pro&longs;pettiua.<emph.end type="italics"/> 14 <lb/><emph type="italics"/>Principij delle &longs;cienze.<emph.end type="italics"/> 25 <lb/><emph type="italics"/>Proportione.<emph.end type="italics"/> 28 <lb/><emph type="italics"/>Profilo quanto importi all'Architetto.<emph.end type="italics"/> 30 <lb/><emph type="italics"/>Principij del uiuer humano, & del fabricare.<emph.end type="italics"/><lb/> 68 <pb pagenum="505" xlink:href="045/01/519.jpg"/><emph type="italics"/>Principij delle co&longs;e &longs;econdo ifilo&longs;ofi.<emph.end type="italics"/> 72 <lb/><emph type="italics"/>Proportione & di&longs;cor&longs;o &longs;opra.<emph.end type="italics"/> 97 <emph type="italics"/>fin<emph.end type="italics"/> 108 <lb/><emph type="italics"/>Pro&longs;tylos.<emph.end type="italics"/> 115 <lb/><emph type="italics"/>Proportione delle con&longs;onanze.<emph.end type="italics"/> 241 <lb/><emph type="italics"/>Priuati edificij & lor mi&longs;ure.<emph.end type="italics"/> 277 <lb/><emph type="italics"/>Proprij, & communi luoghi ne gli edificij.<emph.end type="italics"/><lb/> 296 <lb/><emph type="italics"/>Proemio del nono libro da e&longs;&longs;er letto.<emph.end type="italics"/><lb/><emph type="italics"/>Prudenza.<emph.end type="italics"/> 3 <lb/><emph type="italics"/>P&longs;eudodipteros.<emph.end type="italics"/> 120 <lb/><emph type="italics"/>Ptolomeo, &longs;ua libraria, & giudicio.<emph.end type="italics"/> 307 <lb/><emph type="italics"/>Purpura, & u&longs;o &longs;uo.<emph.end type="italics"/></s> </p> <p type="head"> <s id="s.008677"><emph type="italics"/><expan abbr="q.">que</expan><emph.end type="italics"/><lb/><emph type="italics"/>Qvalità & temperamento della regione.<emph.end type="italics"/><lb/> 41 <lb/><emph type="italics"/>Que&longs;tioni delle mecaniche.<emph.end type="italics"/> 453. <lb/> <emph type="italics"/>fin<emph.end type="italics"/> 456 </s> </p> <p type="head"> <s id="s.008678"><emph type="italics"/>R.<emph.end type="italics"/><lb/><emph type="italics"/>Ragione che co&longs;a è.<emph.end type="italics"/> 13 <lb/><emph type="italics"/>Ragione ciuile nece&longs;&longs;aria all' Architet <lb/> to.<emph.end type="italics"/> 19 <lb/><emph type="italics"/>Raccommunanza delle &longs;cienze.<emph.end type="italics"/> 22 <lb/><emph type="italics"/>Reno fiume.<emph.end type="italics"/> 331 <lb/><emph type="italics"/>Regione, & qualità &longs;ue.<emph.end type="italics"/> 41 <lb/><emph type="italics"/>Relatione.<emph.end type="italics"/> 26 <lb/><emph type="italics"/>Roma, & laude &longs;ua ri&longs;petto al clima.<emph.end type="italics"/> 276 <lb/><emph type="italics"/>Rodano fiume.<emph.end type="italics"/> 331 </s> </p> <p type="head"> <s id="s.008679"><emph type="italics"/>S.<emph.end type="italics"/><lb/><emph type="italics"/>Sapienza.<emph.end type="italics"/> 3 <lb/><emph type="italics"/>Sale Corinthie, & Egittie.<emph.end type="italics"/> 293 <lb/><emph type="italics"/>Sale all'u&longs;anza Greca.<emph.end type="italics"/> 294 <lb/><emph type="italics"/>Scienza.<emph.end type="italics"/> 3 <lb/><emph type="italics"/>Scoltura, & pittura.<emph.end type="italics"/> 11 <lb/><emph type="italics"/>Scienze, & raccommunanza loro.<emph.end type="italics"/> 22 <lb/><emph type="italics"/>Sciographia.<emph.end type="italics"/> 31 <lb/><emph type="italics"/>Scamillo.<emph.end type="italics"/> 136 <lb/><emph type="italics"/>Scale del Theatro.<emph.end type="italics"/> 228 <lb/><emph type="italics"/>Scala nel canto.<emph.end type="italics"/> 229 <lb/><emph type="italics"/>Scrittori d' Architettura, & di pro&longs;pettiua.<emph.end type="italics"/><lb/> 308.309 <lb/><emph type="italics"/>Scale.<emph.end type="italics"/> 350 <lb/><emph type="italics"/>Scorpioni.<emph.end type="italics"/> 472 <lb/><emph type="italics"/>Seguo del &longs;apere.<emph.end type="italics"/> 4 <lb/><emph type="italics"/>Seguo.<emph.end type="italics"/> 11 <lb/><emph type="italics"/>Senario numero perfetto, & perche.<emph.end type="italics"/> 112 <lb/><emph type="italics"/>Semituono maggiore, & minore.<emph.end type="italics"/> 232 <lb/><emph type="italics"/>Se&longs;ta maggiore, & minore.<emph.end type="italics"/> 232 <lb/><emph type="italics"/>Segni cele&longs;ti, nomi, & figure loro.<emph.end type="italics"/> 386 <lb/><emph type="italics"/>Sectioni, & tagli delle &longs;operficie coniche.<emph.end type="italics"/><lb/> 399.400 <lb/><emph type="italics"/>Significare, & e&longs;&longs;er &longs;ignificato.<emph.end type="italics"/> 11 <lb/><emph type="italics"/>Simmetria.<emph.end type="italics"/> 29 <lb/><emph type="italics"/>Si&longs;tilos.<emph.end type="italics"/> 123 <lb/><emph type="italics"/>Sinape.<emph.end type="italics"/> 322 <lb/><emph type="italics"/>Sil Attico.<emph.end type="italics"/> 326 <lb/><emph type="italics"/>So&longs;petto, o &longs;o&longs;pittione.<emph.end type="italics"/> 3 <lb/><emph type="italics"/>Soggetto delle &longs;cienze <expan abbr="quãto">quanto</expan> importa che &longs;ia be <lb/> ne diffinito.<emph.end type="italics"/> 8 <lb/><emph type="italics"/>Solertia che co&longs;a è.<emph.end type="italics"/> 10 <lb/><emph type="italics"/>Soggetto delle mathematiche.<emph.end type="italics"/> 13 <lb/><emph type="italics"/>Socrate giudicato &longs;apienti&longs;&longs;imo dall'oraculo.<emph.end type="italics"/><lb/> 95 <lb/><emph type="italics"/>Sole, & &longs;uo cor&longs;o per i &longs;egni.<emph.end type="italics"/><lb/><emph type="italics"/>Squadra inuentione di Pithagora.<emph.end type="italics"/> 340 <lb/><emph type="italics"/>Stereobati.<emph.end type="italics"/> 134 <lb/><emph type="italics"/>Stilobati.<emph.end type="italics"/> 134 <lb/><emph type="italics"/>Strix &longs;trie.<emph.end type="italics"/> 160 <lb/><emph type="italics"/>Stanze.<emph.end type="italics"/> 292 <lb/><emph type="italics"/>Stratagemi.<emph.end type="italics"/> 480.481 <lb/><emph type="italics"/>Suoni che dilettano, & non &longs;ono con&longs;onanze.<emph.end type="italics"/><lb/> 232 </s> </p> <p type="head"> <s id="s.008680"><emph type="italics"/>T.<emph.end type="italics"/><lb/><emph type="italics"/>Tablino.<emph.end type="italics"/> 288. <emph type="italics"/>fin<emph.end type="italics"/> 291 <lb/><emph type="italics"/>Tanai fiume.<emph.end type="italics"/> 331 <lb/><emph type="italics"/>Tauola de i mouimenti de i cieli.<emph.end type="italics"/> 373 <lb/><emph type="italics"/>Tauola delle longhezze de i giorni.<emph.end type="italics"/> 390 <lb/><emph type="italics"/>Tempi, & &longs;uoi principij, & maniere.<emph.end type="italics"/> 114 <lb/> <emph type="italics"/>fin<emph.end type="italics"/> 130 <lb/><emph type="italics"/>Tempio &longs;coperto detto hypethros.<emph.end type="italics"/> 115 <lb/><emph type="italics"/>Tetto, & &longs;ua ragione.<emph.end type="italics"/> 167 <lb/><emph type="italics"/>Tempij To&longs;cani, & loro ragione.<emph.end type="italics"/> 192 <lb/><emph type="italics"/>Tertiarium o terzera.<emph.end type="italics"/> 193 <lb/><emph type="italics"/>Tempij ritondi.<emph.end type="italics"/> 197 <lb/><emph type="italics"/>Tetracordi.<emph.end type="italics"/> 230 <lb/><emph type="italics"/>Terza maggiore, & minorè.<emph.end type="italics"/> 232 <lb/><emph type="italics"/>Terrazzi.<emph.end type="italics"/> 310 <lb/><emph type="italics"/>Theatro.<emph.end type="italics"/> 223. <emph type="italics"/>fin<emph.end type="italics"/> 257 <lb/><emph type="italics"/>Theatri di Scauro, & di Curione.<emph.end type="italics"/> 225 <pb pagenum="506" xlink:href="045/01/520.jpg"/><emph type="italics"/>Theatro de i Greci.<emph.end type="italics"/> 257 <lb/><emph type="italics"/>Theophra&longs;to.<emph.end type="italics"/> 272 <lb/><emph type="italics"/>Te&longs;tuggine per le fo&longs;&longs;e.<emph.end type="italics"/> 478 <lb/><emph type="italics"/>Tigri fiume.<emph.end type="italics"/> 331 <lb/><emph type="italics"/>Timauo fiume.<emph.end type="italics"/> 331 <lb/><emph type="italics"/>Torri, & forme loro.<emph.end type="italics"/> 46. <emph type="italics"/>fin<emph.end type="italics"/> 49 <lb/><emph type="italics"/>Tramontana.<emph.end type="italics"/> 394 <lb/><emph type="italics"/>Triglifo, & &longs;uaragione.<emph.end type="italics"/> 169 <lb/><emph type="italics"/>Traui, & &longs;uoi ligamenti.<emph.end type="italics"/> 194 <lb/><emph type="italics"/>Triemitonio.<emph.end type="italics"/> 232 <lb/><emph type="italics"/>Triclinij.<emph.end type="italics"/> 292 <lb/><emph type="italics"/>Tuono.<emph.end type="italics"/> 231 </s> </p> <p type="head"> <s id="s.008681"><emph type="italics"/>V.<emph.end type="italics"/><lb/><emph type="italics"/>Va&longs;i&longs;onori del Theatro.<emph.end type="italics"/> 243 <lb/><emph type="italics"/>Vero nece&longs;&longs;ario contingente.<emph.end type="italics"/> 3 <lb/><emph type="italics"/>Venti & di&longs;cor&longs;o &longs;opra.<emph.end type="italics"/> 52. <emph type="italics"/>fin<emph.end type="italics"/> 65 <lb/><emph type="italics"/>Ve&longs;tigi de gli hnomi ni quali &longs;ono.<emph.end type="italics"/> 274 <lb/><emph type="italics"/>Verde rame.<emph.end type="italics"/> 325 <lb/><emph type="italics"/>Ver&longs;i delle meteore.<emph.end type="italics"/> 333 <lb/><emph type="italics"/>Vita di Vitruuio.<emph.end type="italics"/> 1 <lb/><emph type="italics"/>Vitruuio & &longs;ua lode.<emph.end type="italics"/> 12 <lb/><emph type="italics"/>Virtu che di&longs;corre.<emph.end type="italics"/> 9 <lb/><emph type="italics"/>Virtu delle pietre.<emph.end type="italics"/> 9 <lb/><emph type="italics"/>Volte, & incro&longs;tature de muri, & modi di uolta <lb/> re.<emph.end type="italics"/> 314.315 <lb/><emph type="italics"/>V&longs;o di due maniere.<emph.end type="italics"/> 9 <lb/><emph type="italics"/>Vtilità.<emph.end type="italics"/> 9 </s> </p> <p type="head"> <s id="s.008682"><emph type="italics"/>Z.<emph.end type="italics"/><lb/><emph type="italics"/>ZOILO, & &longs;ua pena.<emph.end type="italics"/> 308 </s> </p> <p type="head"> <s id="s.008683"><emph type="italics"/>A carte 271. linee 30. oue dice, porta uia poco terreno, uuol dire, porta uia pin terrene.<emph.end type="italics"/></s> </p> <p type="head"> <s id="s.008684"><emph type="italics"/>IL FINE.<emph.end type="italics"/><!-- KEEP S--></s> </p> </chap> </body> <back/> </text> </archimedes>