Vitruvius Pollio, I dieci libri dell?architettura, 1567

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    <archimedes>
      <text>
        <body>
          <chap>
            <subchap1>
              <subchap2>
                <pb pagenum="37" xlink:href="045/01/045.jpg"/>
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              <subchap2>
                <p type="head">
                  <s id="s.000797">
                    <emph type="italics"/>
                  Delle parti dell' Architettura. </s>
                  <s id="s.000798">Cap. III.
                    <emph.end type="italics"/>
                  </s>
                </p>
                <p type="main">
                  <s id="s.000799">LE parti dell' Architettura ſono tre Edificatione, Gnomonica, Machinatione.
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                    <emph type="italics"/>
                  Tempo è che io ſatisfaccia hormai alla promeſſa di eſponere le parti della Architet­
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                  tura: però con quella breuità, che mi ſarà conceſſa iſprimere intendo tutta la forma
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                  intiera, & unita dell' Architettura, & dimoſtrare ordinatamente le parti ſue, ac­
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                  cioche ſi rinchiuda ne i termini ſuoi tutto il corpo di quella. </s>
                  <s id="s.000800">Il ſapere non è altro che conoſcere
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                  gli effetti per le proprie cauſe. </s>
                  <s id="s.000801">ogni effetto è fatto da alcuna coſa, di qualche coſa, ad alcun fine,
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                  con alcun modo, & forma. </s>
                  <s id="s.000802">Quello, che fa è detto agente; la coſa di che ſi fa, è chiamata Mate­
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                  ria: quella à cui s'indrizza, è detta Fine; quella, che compie, & rende perfetta in eſſere è nomi­
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                  nata forma. </s>
                  <s id="s.000803">Le cauſe principali adunque ſono quattro. </s>
                  <s id="s.000804">Noi dello agente artificioſo, quale egli
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                  ſi ſia, & di che conditione eſſer debbia gia detto hauemo quando & l'ufficio, & le uirtù dello
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                  Architetto narrammo. </s>
                  <s id="s.000805">La forma ſimilmente in uniuarſale è ſtata eſpoſta. </s>
                  <s id="s.000806">Reſtaci a dire della
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                  materia, & del fine. </s>
                  <s id="s.000807">Et per piu chiara intelligenza in ſomma dicemo, che ad imitatione delle co­
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                  ſe naturali, conſideramo nelle artificiali due coſe. </s>
                  <s id="s.000808">L'una è lo eſſere, l'altra il bene eſſere. </s>
                  <s id="s.000809">cerca
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                  lo eſſere conſideramo la materia, la forma, & il compoſto dell' una & dell' altra. </s>
                  <s id="s.000810">circa il bene eſ­
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                  ſere conſideramo gli adornamenti, & gli acconciamenti delle coſe. </s>
                  <s id="s.000811">Et perche molti ſtrumenti ci
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                  biſognano per componere la materia con la forma, però è neceſſario trattare de gli inſtrumenti, &
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                  delle machine. </s>
                  <s id="s.000812">& la ragione delle ſopradette coſe in tal modo ſi eſpone. </s>
                  <s id="s.000813">L'arte quanto puo imita
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                  la natura: Et queſto adiuiene per che il principio dell' arte, che è lo intelletto humano, ha gran ſi­
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                  miglianza col principio, che muoue la natura, che è una intelligenza. </s>
                  <s id="s.000814">dalla ſimiglianza delle
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                  uirtù, & de i principij naſce la ſimiglianza dell' operare, che per hora chiameremo imitatione. </s>
                  <s id="s.000815">
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                  Queſta imitatione ſi uede in tutte le Arti, ma molto maggiormente in quella che è giudice di tutte. </s>
                  <s id="s.000816">
                    <lb/>
                  imitaremo adunque la natura nel
                    <expan abbr="trattamēto">trattamento</expan>
                  dell' Arte. </s>
                  <s id="s.000817">La doue l'Architettura cioè la ſcienza di
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                  chiara la materia, la forma, & la compoſitione delle opere, & imitando la natura per l'occulta
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                  uirtù del ſuo principio, procede dalle coſe meno perfette alle piu perfette: & prima pone le coſe in
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                  eſſere, & poi le adorna; percioche non ſi puo adornare quello, che non è. </s>
                  <s id="s.000818">Ma perche il princi­
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                  pio, che regge la natura, è d'infinita ſapienza, ottimo, & potentiſſimo, però fa le coſe ſue belle,
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                  utili, & durabili: conueneuolmente lo Architetto imitando il fattor della natura deue riguarda­
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                  re alta bellezza, utilità, & fermezza delle opere. </s>
                  <s id="s.000819">Trattando adunque della forma biſogna,
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                  che egli ſappia ordinare, diſponere, miſurare, diſtribuire, ornare, & ſatisfare al diletto de gli
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                  occhi con bella, & gratioſa maniera. </s>
                  <s id="s.000820">& per cio fare ſia egli inſtituito con quelle conditioni, che
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                  ſono contenute nel primo capo, & con quelle, che nel ſecondo ſi leggeno. </s>
                  <s id="s.000821">Sotto nome di forma
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                  compreſi ſono i lineamenti, & i ſiti delle coſe, la doue ſi conſidera la ragione con tutte le ſue quali­
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                  tà, occulte, & manifeſte, buone, & ree; il piano, il compartimento di quello, la eleuatione del
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                  la fronte, & de i lati, le apriture, i coperti, con ogni lor conditione, ammaeſtramento, & re­
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                  gola, come ſi dirà poi. </s>
                  <s id="s.000822">Seguita quella conſideratione, che appartiene alla materia. </s>
                  <s id="s.000823">ma prima, che
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                  la materia ſia diſpoſta, & apparecchiata, biſogna conſiderare, che lo ingegno dell' huomo è im­
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                  perfetto, & di gran lunga inferiore allo intelletto diuino. </s>
                  <s id="s.000824">& la materia (come ſi dice) è ſorda,
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                  & non riſponde alla intentione dell' arte; Et però prima, che lo Architetto ſi dia à cominciar le
                    <lb/>
                  opere deue imitare lo agente naturale, il quale non opera ſe non ſecondo il ſuo potere; coſi farà
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                  lo Architetto conſiderando l'opera, & la ſpeſa. </s>
                  <s id="s.000825">Et perche la natura nelle coſe piu perfette, &
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                  piu tempo, & piu diligenza ui mette però lo Architetto ha da penſar molto bene; & per fare piu
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                  certa la riuſcita delle opere, col diſegno, & col modello ſi mouerà, prima udendo anche i meno eſper
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                  ti, & laſciando raffreddare lo affetto, per dar luogo al giuditio, imiterà la natura, che contra il
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                  ſuo fattore non opera coſa alcuna; però egli non cercherà coſe impoſſibili, & quanto alla mate-
                    <emph.end type="italics"/>
                  </s>
                </p>
              </subchap2>
            </subchap1>
          </chap>
        </body>
      </text>
    </archimedes>
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