Vitruvius Pollio, I dieci libri dell?architettura, 1567

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                <p type="main">
                  <s id="s.005346">
                    <pb pagenum="277" xlink:href="045/01/291.jpg"/>
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                  tura del corpo. </s>
                  <s id="s.005347">Il tutto è facile. </s>
                  <s id="s.005348">ſolamente quella parte ha biſogno di eſpoſitione, che appartie­
                    <lb/>
                  ne alla differenza delle uoci, quando dice, che il ſuono della uoce tra le genti del mondo ha diuer
                    <lb/>
                  ſa qualità, & dalla uarietà de i climi, che egli chiama inclinationi, uariarſi la uoce de gli huomi
                    <lb/>
                  ni. </s>
                  <s id="s.005349">Dice adunque in ſomma, che quelli, a i quali ſi leua meno il Polo ſopra l' Orizonte, hanno la
                    <lb/>
                  uoce piu ſottile, & piu acuta, & quanto piu uno naſce in paeſe uicino al Polo, cioe che'l punto
                    <lb/>
                  che gli ſopraſta nel Cielo, è uicino al Polo, tanto ha uoce piu baſſa. </s>
                  <s id="s.005350">Queſta intentione è preſa
                    <lb/>
                  da una ſimiglianza di quello inſtrumento, che ſi chiama Sambuca; noi forſe Arpa nominiamo;
                    <lb/>
                  che è ſtrumento muſicale in forma di triangolo, come ancho quello, che di canne formato ſi uede
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                  in mano di Pane Dio de Paſtori; ma l' Arpa è di corde. </s>
                  <s id="s.005351">imaginamoſi per lo circolo Meridiano A B
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                  C D il centro del Mondo, E, l' Orizonte, che è quel circolo, che diuide gli hemiſperi cioè quello,
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                  che ſi uede, da quello che non ſi 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" number="93"/>
                    <lb/>
                    <emph type="italics"/>
                  linea nell' Orizonte a piombo nel punto, H, &
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                  ſimilmente un' altra che peruenga al centro, E,
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                  non è dubbio, che qui non ſi ueda rappreſentato
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                  un triangolo F H E. imaginamo ancho il Po
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                  lo eleuato ſopra il piano nel punto, G, & fac
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                  ciamo cadere dal detto punto una linea ſopra
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                  l' Orizonte nel punto, I, & un'altra dal detto
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                  punto G, al centro, E, & qui haueremo
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                  un'altro triangolo G E I, dico, che quelli,
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                  a i quali ſi leua il Polo nel punto, F, hanno uo­
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                  ce piu ſottile, che quelli, a i quali ſi leua il Polo
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                  nel punto, G. rapportamo adunque la linea, F
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                  H, dentro al triangolo maggiore, & iuiſia chia
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                  mata, M N, certo è che la linea G I, ſarà mag
                    <lb/>
                  giore di quella, & ſe ella fuſſe una corda di ſtru
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                  mento ſonarebbe piu baſſo, & piu graue, che la
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                  corda MN, come quella, che è piu uicina all'angulo, & piu picciola, & fa ſuono piu acuto,
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                  eſſendo di piu ueloce mouimento, & piu tirata. </s>
                  <s id="s.005352">ſimilmente dice Vitr.
                    <emph.end type="italics"/>
                  </s>
                </p>
                <p type="main">
                  <s id="s.005353">Adunque quello ſpatio, che è proſsimo al cardine inferiore nelle parti meridiane, quel
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                  le nationi, che ſono ſotto quel clima per la breuità dell'altezza al mondo fanno un ſuono
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                  di uoce acutiſsimo, & ſottiliſsimo, ſi come fa nello ſtrumento la corda, che è uicina
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                  all'angulo. </s>
                </p>
                <p type="main">
                  <s id="s.005354">
                    <emph type="italics"/>
                  Et coſi ua ſeguitando, & la noſtra figura dimoſtra chiaramente la ſua intentione, & quella
                    <lb/>
                  linea obliqua, che egli dice, che ſi debbia tirare, benche pare, che egli la tiri dall' eſtremo Ori­
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                  zonte, come dal punto C che egli chiama labro, pure deue eſſer tirata dal centro. </s>
                  <s id="s.005355">parte di
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                  queſto diſcorſo ſi legge in Tolomeo nel ſecondo della ſua compoſitione.
                    <emph.end type="italics"/>
                  </s>
                </p>
              </subchap2>
              <subchap2>
                <p type="head">
                  <s id="s.005356">
                    <emph type="italics"/>
                  'Delle miſure, & proportioni de i priuati edifi­
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                  cy. </s>
                  <s id="s.005357">Cap. I.
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                  </s>
                </p>
                <p type="main">
                  <s id="s.005358">Niuna cura maggiore hauer deue lo Architetto, che fare, che gli edificij hab­
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                  biano per la proportione della rata parte i compartimenti delle loro ragioni. </s>
                  <s id="s.005359">
                    <lb/>
                  Quando ſarà eſpedita la ragione delle Simmetrie, & con diſcorſo eſplicate le
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                  proportioni, allhora ancho è propio di acuto animo prouedere alla natura
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                  del luogo, all'uſo, alla bellezza, & aggiugnendo, o ſcemando fare conueneuoli tempe­
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                  ramenti, acciò quando farà tolto, ouero accreſciuto alla miſura, queſto paia eſſer drit­</s>
                </p>
              </subchap2>
            </subchap1>
          </chap>
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    </archimedes>
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