General Rules of Architecture

THE AUTHOR TO THE READERS.

Kind reader, having prepared several rules on Architecture, I presuppose that not only elevated geniuses will understand them, but that every person of average ability may also be capable of doing so, according to whether they are more or less inclined toward such an art. These rules are divided into seven books, as will be noted below. Since the subject allows for it, I have chosen to begin by publishing this Fourth Book, as it is more relevant and more necessary than the others for the knowledge of the different styles of buildings and their ornaments. For everything you find in this book that pleases you, do not give praise to me, but rather to my teacher Baldassarre Peruzzi of Siena Baldassarre Peruzzi (1481–1536) was a leading Sienese architect and painter who influenced the High Renaissance style; Serlio was his pupil and inherited many of his drawings.. He was not only most learned in this art through both theory and practice, but he was also quite courteous and generous, teaching it to anyone who took delight in it—and especially to me. Whatever I know, I acknowledge it all to his kindness, and following his example, I intend to use it as well with those who do not disdain to learn it from me. I do this so that everyone may have some knowledge of this art, which is no less delightful to the soul when planning what is to be done than it is to the eyes when it is finished. This art, through the virtue of the famous and excellent minds I have mentioned, flourishes in this century of ours just as the Latin language did in the time of Julius Caesar and Cicero. Take up then, with a cheerful and noble spirit, if not the finished effect, then at least the will—which I have certainly had in great measure—to satisfy you in this labor. And where you recognize that my weak strength could not support such a weight, pray that those more robust than I may sustain it for me and supply that which I have lacked.

In the First Book, I will treat the principles of Geometry and the various intersections of lines, so that the Architect may give a good account of everything he does.

In the Second, I will demonstrate in drawings and in words so much of Perspective that, should he wish, he may reveal his concept in a visible drawing.

In the Third, one will see Ichnography Ichnography: from the Greek ichnos (track/footprint), meaning a ground plan., which is the plan; Orthography Orthography: from the Greek orthos (straight), meaning a vertical elevation or upright drawing., which is the upright; and Sciography Sciography: technically the study of shadows, but here Serlio defines it as "lo Scórcio" or foreshortening/perspective views., which means the foreshortening of the majority of the buildings that are in Rome, in Italy, and abroad, diligently measured, with their locations and names written down.

In the Fourth, which is this one, we will treat the five manners of building and their ornaments: Tuscan, Doric, Ionic, Corinthian, and Composite; and with these, almost the entire art is embraced through the knowledge of these diverse things.

In the Fifth, I will speak of the many ways of Temples In the Renaissance, "temples" (tempij) frequently referred to churches or sacred buildings modeled on classical forms. designed in various forms: round, square, six-sided, eight-sided, oval, and in the shape of a cross, with their plans, elevations, and foreshortened views diligently measured.

In the Sixth, we will speak of all the Habitations that can be used today: beginning from the humblest little hut or cabin, and following by degrees up to the most decorated princely palace, for the countryside as well as for the city.

In the Seventh and last, we will finish with the many accidents that can occur to the Architect in different places and strange shapes of sites; and in the restorations or restitutions of houses; and how we must act to make use of other buildings and similar things that are, or have been in use at another time.

Now, to better proceed in a reasonable manner, I will begin with the most solid and least ornamented order: that is, the Tuscan, which is the most rustic and the strongest, and of the least subtlety and slenderness.

The ancients dedicated buildings to the Gods, adapting them according to their nature, whether robust or delicate: such as the Doric work to Jove Jupiter/Zeus, to Mars, and to Hercules—taking these Doric forms from the male figure. They dedicated the Ionic to Diana, to Apollo, and to Bacchus, taking the work from the matronly form, which shares in both the robust and the delicate. Diana, by her feminine nature, is tender; but through the exercise of the hunt, she is robust. Likewise, Apollo for his beauty is soft, yet he is robust because he is a man; I say the same of Bacchus. But the Corinthian manner, taken from the virginal form, they wished to be dedicated to the Goddess Vesta, the patroness of Virgins. But in these modern times, it seems to me we should proceed in another way, without deviating from the ancients: I mean that, following our Christian customs, I will dedicate (as far as I am able) sacred buildings according to their species to God and his Saints; and profane buildings, both public and private, I will give to men according to their state and their professions. They say, then, that the work...