Vitruvius Pollio, I dieci libri dell?architettura, 1567

Page concordance

< >
Scan Original
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
< >
page |< < of 520 > >|
    <archimedes>
      <text>
        <body>
          <chap>
            <subchap1>
              <subchap2>
                <p type="main">
                  <s id="s.000226">
                    <pb pagenum="9" xlink:href="045/01/017.jpg"/>
                    <emph type="italics"/>
                  chieſa. </s>
                  <s id="s.000227">& non uogliono conſiderare, che non hanno, Geometria, nè Arithmetica, nè intende
                    <lb/>
                  no la for za delle proportioni, & la natura delle coſe. </s>
                  <s id="s.000228">Egli biſogna adunque hauere eſſercitio, &
                    <lb/>
                  fabrica; biſogna diſcorſo. </s>
                  <s id="s.000229">Il diſcorſo come padre; la Fabrica è come madre dell'Architettu­
                    <lb/>
                  ra.
                    <emph.end type="italics"/>
                  {
                    <emph type="italics"/>
                  La fabrica è continuato penſiero dell'uſo.
                    <emph.end type="italics"/>
                  }
                    <emph type="italics"/>
                  Ogni artificioſo componimento ha lo eſſer
                    <lb/>
                  ſuo dalla notitia del fine come dice Galeno. </s>
                  <s id="s.000230">Volendo adunque fabricare, fa di meſtieri hauerc co
                    <lb/>
                  noſcimento del fine. </s>
                  <s id="s.000231">Fine intendo io quello, a cui s'indrizza la operatione: Et in queſto lo intel­
                    <lb/>
                  letto conſidera, che coſa è principio, & che coſa è mezo. </s>
                  <s id="s.000232">& truoua che il principio ſi conſide­
                    <lb/>
                  ra in modo di preſidenza, & 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 moſſa, ſe la forma non è prima nel­
                    <lb/>
                  la mente di colui che opera. </s>
                  <s id="s.000233">Il mezo ueramente è il ſoggetto nel quale il fine manda la ſua ſimi­
                    <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 queſto egli ſi comprende che chiunque impediſce il
                    <lb/>
                  mezo, leua il principio dal fine: & che il mezo per cagione del principio s'affatica, & riſpetto
                    <lb/>
                  al fine ſiripoſa. </s>
                  <s id="s.000235">Volendo adunque fabricare, biſogna conoſcere il fine, come quello, ch'al me­
                    <lb/>
                  zo impone forza, & neceſſità. </s>
                  <s id="s.000236">Ma per la cognitione del fine è neceſſario lo ſtudio, & il penſa­
                    <lb/>
                  mento: Et ſi come il ſaettatore non indrizzarebbe la ſaetta alla brocca, ſe egli non teneſſe fer­
                    <lb/>
                  ma la mira, coſi l'Artefice non toccarebbe il fine, ſe con la mente altroue egli ſi riuolgeſſe. </s>
                  <s id="s.000237">
                    <lb/>
                  L'uſo adunque è (come s' è detto) drizzare le coſe al debito fine: come abuſo è torcerle da quel­
                    <lb/>
                  lo. </s>
                  <s id="s.000238">Ma per hauere queſto indrizzamento delle coſe al fine, fa biſogno d'hauere un'altro uſo, ilqua
                    <lb/>
                  le uuol dire Aſſuefattione, laquale non è altro, che ſpeſſa, & frequentata operatione d'alcuna
                    <lb/>
                  uirtù, & potenza dell'anima, o del corpo. </s>
                  <s id="s.000239">onde egli ſi dice eſſer uſato alle fatiche, eſſer uſato, po­
                    <lb/>
                  ſto in uſo, uſanza, & conſuetudine. </s>
                  <s id="s.000240">Biſogna adunque eſſer uſo di continuamente penſare al fi­
                    <lb/>
                  ne. </s>
                  <s id="s.000241">Et però dice Vitr.
                    <emph.end type="italics"/>
                  </s>
                  <s id="s.000242"> Fabrica eſſer continuo, & eſſercitato, & come uia trita, & battu­
                    <lb/>
                  ta da paſſaggieri frequentato penſiero d'indrizzare le coſe a fine conueniente. </s>
                </p>
                <p type="main">
                  <s id="s.000243">
                    <emph type="italics"/>
                  Et da queſte parole ſi dimoſtra la utilità che era conditione dell'Arte. </s>
                  <s id="s.000244">Ma perche con tanta
                    <lb/>
                  ſollecitudine di penſiero affaticarſi, a che ſenza intermiſſione penſare? </s>
                  <s id="s.000245">certo non per altro, che
                    <lb/>
                  per manifeſtare in qualche materia eſteriore la forma, che prima era nel penſiero, & nella men­
                    <lb/>
                  te; & però dice Vitr. dando fine alla diffinitione della Fabrica, quella eſſere operatione manife­
                    <lb/>
                  ſta in qualche materia fuori di noi, ſecondo il penſiero, 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 ſi ſtima, come ſi dirà poi.
                    <emph.end type="italics"/>
                  </s>
                  <s id="s.000247"> Diſcorſo è quello che le coſe fabricate prontamente,
                    <lb/>
                  & con ragione di proportione puo dimoſtrando manifeſtare. </s>
                </p>
                <p type="main">
                  <s id="s.000248">
                    <emph type="italics"/>
                  Il diſcorſo è proprio dell'huomo, & la uirtu, che diſcorre, è quella che conſidera quanto ſi puo
                    <lb/>
                  fare con tutte le ragioni all'opere pertinenti; & però erra il diſcorſo, quando lo intelletto non
                    <lb/>
                  concorda le proprietà delle coſe atte a fare, con quelle che ſono atte a riceuere. </s>
                  <s id="s.000249">Diſcorre 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 ſpecie. </s>
                  <s id="s.000250">Auenga che gli antichi habbiano à gli altri animali conceſſo una parte di
                    <lb/>
                  ragione, & chiamati gli habbiano maeſtri dell'huomo, dicendo, che l'Arte del teſſere è ſtata
                    <lb/>
                  preſa dalla Ragna, la diſpoſitione della caſa, dalla Formica, il gouerno ciuile dalle Api; ma noi
                    <lb/>
                  trouamo, che quelli ſono inſtinti di natura, & non diſcorſi dell'Arte: & ſe Arte ſi deue chia­
                    <lb/>
                  mare la loro naturale, & non auueduta prudenza, perche non ſi potrebbe ſimilmente Arte chia­
                    <lb/>
                  mare la uirtù che nelle piante, & nelle pietre ſi 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, rilaſciare i parti? </s>
                  <s id="s.000252">Perche anche
                    <lb/>
                  non ſi potrebbe dire eſſere un'Arte diuina che regge, & conſerua il mondo? </s>
                  <s id="s.000253">una Celeſte 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 laſciamo la tralatione
                    <lb/>
                  de i nomi, fatta per la ſimiglianza, & pigliamo la uerità, & la proprietà delle coſe. </s>
                  <s id="s.000256">Diſcorſo
                    <lb/>
                  adunque è come padre, ſecondo che detto hauemo di ſopra, dell'Architettura: nel quale ui biſo-
                    <emph.end type="italics"/>
                  </s>
                </p>
              </subchap2>
            </subchap1>
          </chap>
        </body>
      </text>
    </archimedes>
Impressum