Ten Books on Architecture

In the same place, they lay down a platform of planks: then let the lowest course or row consist of bare stones (the wider, the better), placed together without mortar; which is a general precaution in all parts of a structure that are contiguous to planks or timber, because lime and wood do not wish to be associated, least of all in the foundation. Thirdly, that the width of the substructure be at the very least double that of the wall resting upon it, more or less, as the weight of the fabric may require: for it is necessary, and I must repeat this, that judgment be freer than art. Finally, I find among some a curious precept, that stones should be placed as they were born in the quarry; for they suppose that they possess more strength in their natural position. For, as Philibert de l’Orme observes, a rupture or inclination of the stone in this part of the width by only the back of a knife-blade causes a fissure in the upper part of the structure of more than half a foot. Such are the dangers of fundamental errors. I have said nothing in these observations regarding the piling of the foundation, which was prescribed by Vitruvius when we build upon a damp and marshy site; for this error lies in the initial selection. Thus, such sites where it is necessary to use these under-pilings (as in Venice, a noble example) will appear to have been chosen at the start by the counsel of Necessity.

Furthermore, the foundation having been explored and the substructure placed, we must speak of the walls. Walls are either integral and continuous, or interrupted: and the interruptions are either columns or antae; for I prefer to treat of these here, rather than as others have done, among the ornaments. Integral walls are distinguished differently by writers—by some according to the quality of the material, such as stone or brick, etc.; where it should be noted in passing that walls and greater works are built of flint; of which matter there are no lack of examples in our Island, and particularly in Kent. I believe it was entirely unknown to the ancients, who, observing in flint something metallic or at least of fusibility, destined it for a more noble use. The art is now entirely lost, or perhaps known to few chemists. Others, again, consider not so much the quality as the position of these materials: as when bricks or squared stones are placed according to their length, with sides and fronts joined; or with their wedges joined, like a net (for so Vitruvius calls reticulated work), in common use, as it seems, in his own age; although it was later repudiated, perhaps on account of that subtle speculation which he himself touches upon: because when placed in that manner, they are more apt, in settling, to break through at their wedges than in a lying position, and thus to split the wall: but let us leave these matters to lesser artificers; those which follow are more essential.

That walls should be exactly perpendicular to the foundation: for the right angle (depending therefrom) is the true cause of stability, as much in natural as in artificial positions; for man, indeed, stands most firmly upright. That the most solid and heaviest materials be the lowest, as they are more apt to bear than to be borne. That the structure, as it rises, be proportionally diminished in width, for the relief of the burden and expenses. That certain courses, stronger than the rest, be interposed like bones, to prevent the ruin of the whole work if the lower parts should fail. Finally, that the angles be firmly bound, which are the nerves of the whole building; wherefore they are commonly reinforced by the Italians, even in brick structures, on either side of the angles, with well-squared stone; which adds both firmness and grace. And so much for the integral and solid wall.

Interruptions, as I have said, are made either by Columns or by Antae. I could divide columns into simple and composite; but to keep to a clearer and more common path, there are five orders of columns, arranged according to dignity and perfection thus: Tuscan, Doric, Ionic, Corinthian, Composite or (as some call it) Roman, by others more generally Italic. Concerning these five orders, I shall first say what they have in common, then what is proper to them. As far as I have observed, they have mainly three things in common: first, they are all round; for although some...