The Ten Books on Architecture

PREFACE.

...undertakes to make the Arts flourish, will not fail to show that in this they are in no way inferior to other nations, and to make known through their beautiful Works that the genius of the French can make them succeed in everything they undertake, when they are inspired by the glory of working for that of so great a Monarch. The "Monarch" is Louis XIV, known as the "Sun King," whose reign (1643–1715) was defined by massive architectural projects like Versailles intended to showcase French power.

And certainly His Majesty could not give greater proof of his esteem for all fine things than by turning his attention toward this Art, which encompasses both the knowledge and the direction of all others, and by honoring Architecture to the point of not judging it unworthy of having a place among the various cares to which a great King applies himself to make his reign marvelous—not only through the great things he undertakes for the good and the glory of his State, but also through the ornaments that can heighten the brilliance of the happy successes following his noble enterprises.

Now, to restore Architecture to its ancient splendor, it was necessary to remove the obstacles that could oppose its advancement. The principal obstacles were that those who until now have embraced this profession could not be instructed in the precepts of their Art, for want of being able to draw them from their true source, because of the obscurity of Vitruvius, who is the only ancient Writer we have on this matter; Marcus Vitruvius Pollio was a 1st-century BC Roman architect. His "Ten Books on Architecture" is the only major treatise on the subject to survive from antiquity, but his Latin is notoriously difficult and technical. and also because they lacked the means and the convenience to practice upon the examples and models found in the remains of the most renowned works, which provided the foundation and authority for the precepts themselves—most of these examples and models being seen only in foreign lands. Finally, the Craftsmen found nothing that could give them the courage to undertake this difficult study, given the lack of taste and esteem they saw in the minds of the Great The "Great" (les Grands) refers to the high nobility and wealthy patrons of the 17th century. for the magnificence of Buildings.

These considerations led His Majesty to ensure that those who are curious about Architecture should not lack the necessary aid for their studies. He did this by establishing Academies, not only in Paris, where the majority of the Kingdom’s scholars gather, but also in Rome, where ancient Buildings preserve the most significant characters and are most capable of teaching the precepts of this Art. The Royal Academy of Architecture was founded in Paris in 1671. The French Academy in Rome was founded in 1666 to allow French artists to study classical antiquity firsthand. Besides this, while waiting for the sumptuous Buildings he is having constructed in France to be in a state to serve as models themselves for posterity, He has sent several learned persons, well-instructed in the observations that can be made there, to Italy, Egypt, Greece, Syria, Persia, and finally to all places where marks remain of the capacity and boldness of ancient Architects. Furthermore, He has offered rewards to all those who can produce something excellent and rare. Finally, to stir the courage of those who lacked only this motivation to rise to the highest degree that the Arts can reach, He wished to give striking marks of the esteem He holds for the fine Arts by honoring those persons whom an extraordinary genius, joined with a successful application, has made illustrious.

But among the different efforts employed in favor of Architecture, the translation of Vitruvius did not seem of little importance: It was judged