Vitruvius, I Dieci Libri dell' Architettvra di M. Vitrvvio, 1556

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        <div xml:id="echoid-div49" type="section" level="1" n="5">
          <pb o="24" file="0028" n="30" rhead="LIBRO"/>
          <p>
            <s xml:id="echoid-s2016" xml:space="preserve">
              <emph style="sc">Le</emph>
            predette idee naſcono da penſamento, & </s>
            <s xml:id="echoid-s2017" xml:space="preserve">da inuentione. </s>
            <s xml:id="echoid-s2018" xml:space="preserve">Penſamento è cura piena di ſtudio, & </s>
            <s xml:id="echoid-s2019" xml:space="preserve">effetto d’indu-
              <lb/>
            ſtria, & </s>
            <s xml:id="echoid-s2020" xml:space="preserve">uigilanza circa l’opera propoſta con dilettatione. </s>
            <s xml:id="echoid-s2021" xml:space="preserve">Inuentione è dimoſtramento delle oſcure dimande, & </s>
            <s xml:id="echoid-s2022" xml:space="preserve">ra-
              <lb/>
            gione dalla coſa trouata con preſta, & </s>
            <s xml:id="echoid-s2023" xml:space="preserve">mobile uiuacità.</s>
            <s xml:id="echoid-s2024" xml:space="preserve"/>
          </p>
          <p style="it">
            <s xml:id="echoid-s2025" xml:space="preserve">Vitr. </s>
            <s xml:id="echoid-s2026" xml:space="preserve">in queſto luogo dimoſtra da che naſcono le maniere predette della Diſpoſitione, & </s>
            <s xml:id="echoid-s2027" xml:space="preserve">come huomo, che bene inteſo habbia, & </s>
            <s xml:id="echoid-s2028" xml:space="preserve">prouato quello, che
              <lb/>
            eglidice, uſa alcuni termini efficaci per eſprimere la ſua intentione. </s>
            <s xml:id="echoid-s2029" xml:space="preserve">Se adunque la natura ci apportaß le predette maniere, ſenza dub-
              <lb/>
            bio poco ci biſognerebbe uſare dell’artiſicio, ma perche la natura non ci mostra le dette coſe, neceſſario è ricorrere all’arte, & </s>
            <s xml:id="echoid-s2030" xml:space="preserve">perche
              <lb/>
            con l’arte ſi cerca rappreſentare gli effetti alla natura ſimiglianti, però ci uuole penſamento, & </s>
            <s xml:id="echoid-s2031" xml:space="preserve">per eßere difficile il conſeguir con drte l’in-
              <lb/>
            tento noſtro, però grande.</s>
            <s xml:id="echoid-s2032" xml:space="preserve"/>
          </p>
          <p>
            <s xml:id="echoid-s2033" xml:space="preserve">Studio, & </s>
            <s xml:id="echoid-s2034" xml:space="preserve">induſtria.</s>
            <s xml:id="echoid-s2035" xml:space="preserve"/>
          </p>
          <p style="it">
            <s xml:id="echoid-s2036" xml:space="preserve">Siricerca; </s>
            <s xml:id="echoid-s2037" xml:space="preserve">Ma poi, che dalla diligentia, & </s>
            <s xml:id="echoid-s2038" xml:space="preserve">ſolertia noſtra naſcono belle, & </s>
            <s xml:id="echoid-s2039" xml:space="preserve">leggiadre coſe, di ſubito s’accompagna il diletto, & </s>
            <s xml:id="echoid-s2040" xml:space="preserve">piacere, il qua
              <lb/>
              <note position="left" xlink:label="note-0028-01" xlink:href="note-0028-01a" xml:space="preserve">10</note>
            le non è altro, che riceuere impresſione, & </s>
            <s xml:id="echoid-s2041" xml:space="preserve">qualità conforme all’appetito, & </s>
            <s xml:id="echoid-s2042" xml:space="preserve">deſiderio, & </s>
            <s xml:id="echoid-s2043" xml:space="preserve">peròil piacere dell’intelletto e apprendere il ue-
              <lb/>
            ro, perche niuna coſa è più conueniente all’intelletto, che lauerità, il diletto del ſenſo è riceuer qualità di qualche oggetto, che con-
              <lb/>
            uenga, & </s>
            <s xml:id="echoid-s2044" xml:space="preserve">corriſponda al ſenſo, come ſi proua nelle delicate uiuande, nella ſuauità de gli odori, nella dolcezza dell’armonie, nella uaghezza
              <lb/>
            delle pitture, & </s>
            <s xml:id="echoid-s2045" xml:space="preserve">però dice Vitr. </s>
            <s xml:id="echoid-s2046" xml:space="preserve">& </s>
            <s xml:id="echoid-s2047" xml:space="preserve">bene, che penſamento è cura piena di ſtudio, perciò che è circa le coſe difficili, & </s>
            <s xml:id="echoid-s2048" xml:space="preserve">non dimoſtrate dalla
              <lb/>
            natura, & </s>
            <s xml:id="echoid-s2049" xml:space="preserve">per piu eſprimere il ſuo concetto dice.</s>
            <s xml:id="echoid-s2050" xml:space="preserve"/>
          </p>
          <p>
            <s xml:id="echoid-s2051" xml:space="preserve">Effetto d’induſtria, & </s>
            <s xml:id="echoid-s2052" xml:space="preserve">uigilanza ſecondo il propoſto intendimento.</s>
            <s xml:id="echoid-s2053" xml:space="preserve"/>
          </p>
          <p style="it">
            <s xml:id="echoid-s2054" xml:space="preserve">Percioche non penſa bene, chi non è induſtrioſo, & </s>
            <s xml:id="echoid-s2055" xml:space="preserve">uigilante, uenendo dalla induſtria, & </s>
            <s xml:id="echoid-s2056" xml:space="preserve">uigilanza molte coſe nell’intelletto, che ci danno da
              <lb/>
            penſare, come fece Archimede, ilquale comparando gl’effetti naturali, & </s>
            <s xml:id="echoid-s2057" xml:space="preserve">cercandone le cagioni, hebbe cauſa di penſare, & </s>
            <s xml:id="echoid-s2058" xml:space="preserve">di trouare il ue
              <lb/>
            ro della propoſta dimanda; </s>
            <s xml:id="echoid-s2059" xml:space="preserve">come dice Vitr. </s>
            <s xml:id="echoid-s2060" xml:space="preserve">nel nono libro, al terzo, & </s>
            <s xml:id="echoid-s2061" xml:space="preserve">hauendolo trouato da nouo, da mirabil letitia ſoprapreſo, diße, rep-
              <lb/>
            plicando io l’ho trouato, io l’ho trouato, nelche apparue la pronta, & </s>
            <s xml:id="echoid-s2062" xml:space="preserve">mobil uiuacità della mente ſua, hauendo in breue ſpatio di tempo ap-
              <lb/>
              <note position="left" xlink:label="note-0028-02" xlink:href="note-0028-02a" xml:space="preserve">20</note>
            plicato il mezzo al debito fine, reſtandone ſommamente ſatisfatto per la inuentione, con laquale egli dimoſtrò l’oſcura dimanda circa il conoſce-
              <lb/>
            re, ſe l’oro lauorato era ſemplice, & </s>
            <s xml:id="echoid-s2063" xml:space="preserve">puro, ouero con qualche portione d’argento meſcolato, & </s>
            <s xml:id="echoid-s2064" xml:space="preserve">però dice Vitr. </s>
            <s xml:id="echoid-s2065" xml:space="preserve">l’inuentione eßer dimo-
              <lb/>
            stramento delle oſcure dimande.</s>
            <s xml:id="echoid-s2066" xml:space="preserve"/>
          </p>
          <p style="it">
            <s xml:id="echoid-s2067" xml:space="preserve">Dimanda è propoſta dubbioſa; </s>
            <s xml:id="echoid-s2068" xml:space="preserve">dubbio è poſto in mezzo dell’affermare, & </s>
            <s xml:id="echoid-s2069" xml:space="preserve">del negare; </s>
            <s xml:id="echoid-s2070" xml:space="preserve">quando adunque l’intelletto è trail ſi, & </s>
            <s xml:id="echoid-s2071" xml:space="preserve">ilnò, di alcu-
              <lb/>
            na coſa, egli forma una propoſta dubbioſa, che ſi chiama dimanda, ò uero queſtione, & </s>
            <s xml:id="echoid-s2072" xml:space="preserve">uſa alcune particelle, che dimoſtrano il mo-
              <lb/>
            do d’interrogare, & </s>
            <s xml:id="echoid-s2073" xml:space="preserve">dimandare la riſposta; </s>
            <s xml:id="echoid-s2074" xml:space="preserve">come è, ſei tu buono, ò nò? </s>
            <s xml:id="echoid-s2075" xml:space="preserve">che coſa è bontà?</s>
            <s xml:id="echoid-s2076" xml:space="preserve">
              <unsure/>
            donde uieni?</s>
            <s xml:id="echoid-s2077" xml:space="preserve">
              <unsure/>
            doue ſtai?</s>
            <s xml:id="echoid-s2078" xml:space="preserve">
              <unsure/>
            perche ſei moſſo?</s>
            <s xml:id="echoid-s2079" xml:space="preserve">
              <unsure/>
            à che
              <lb/>
            tanto affaticarſe?</s>
            <s xml:id="echoid-s2080" xml:space="preserve">
              <unsure/>
            & </s>
            <s xml:id="echoid-s2081" xml:space="preserve">altre coſe, & </s>
            <s xml:id="echoid-s2082" xml:space="preserve">modi ſimiglianti, iquali non piegando piu all’aſſirmatione, che alla negatione, richieggono certa, & </s>
            <s xml:id="echoid-s2083" xml:space="preserve">
              <lb/>
            indubbitata riſpoſta, laquale non può eſſer fatta, ſe non da quelli, che haranno l’inuentione per lo penſamento, & </s>
            <s xml:id="echoid-s2084" xml:space="preserve">per l’induſtria, & </s>
            <s xml:id="echoid-s2085" xml:space="preserve">uiua-
              <lb/>
            cità dell’ animo acquistata, & </s>
            <s xml:id="echoid-s2086" xml:space="preserve">queſti ſono i termini della Diſpoſitione, cioè la Diſpoſitione é rinchiuſa nelle tre ſopradette maniere, che ſon la
              <lb/>
              <note position="left" xlink:label="note-0028-03" xlink:href="note-0028-03a" xml:space="preserve">30</note>
            pianta, lo in piè, il profilo.</s>
            <s xml:id="echoid-s2087" xml:space="preserve"/>
          </p>
          <p>
            <s xml:id="echoid-s2088" xml:space="preserve">Il bel numero è maniera bella, & </s>
            <s xml:id="echoid-s2089" xml:space="preserve">aſpetto accommodato nelle compoſitioni de i membri.</s>
            <s xml:id="echoid-s2090" xml:space="preserve"/>
          </p>
          <p style="it">
            <s xml:id="echoid-s2091" xml:space="preserve">Deue eßere ogni artificioſo lauoro à guiſa d’un bellisſimo uerſo, ilquale ſene ſcorra ſecondo l’ottime conſonzane, ſuccedendo le parti l’una al-
              <lb/>
            l’altra ſino, che peruenghino all’ordinato fine, & </s>
            <s xml:id="echoid-s2092" xml:space="preserve">benche alcuna coſa in ſe ottima non ſia, nientedimeno può eßere ottimamente ordinata,
              <lb/>
            come egli è manifeſto nelle parti del corpo humano, & </s>
            <s xml:id="echoid-s2093" xml:space="preserve">nelle coſe artificiali, nellequali è la conſonanza, & </s>
            <s xml:id="echoid-s2094" xml:space="preserve">l’armonia, imperò che auuen-
              <lb/>
            ga dio, che l’occhio ſia piu del piede nobile, & </s>
            <s xml:id="echoid-s2095" xml:space="preserve">preſtante, pure ſe conſideriamo quello, & </s>
            <s xml:id="echoid-s2096" xml:space="preserve">queſto, ſecondo l’ufficio à ciaſcuno conue-
              <lb/>
            niente, tanto l’occhio quanto il piede ſaranno nel corpo ottimamente ſituati; </s>
            <s xml:id="echoid-s2097" xml:space="preserve">in modo, che ne l’occhio ſarà miglior del piede, ne il piede
              <lb/>
            miglior dell’occbio; </s>
            <s xml:id="echoid-s2098" xml:space="preserve">ſimilmente nella cithara, perciò che tutte le corde poßono eßere in modo proportionate, che ſe alcuna ſar à teſa, acciò che
              <lb/>
            ſe li dia ſuono migliore, non reſterà la conſonanza; </s>
            <s xml:id="echoid-s2099" xml:space="preserve">il ſimile auuiene nell’opere, nellequali è neceßario, che ci ſia queſto riſpetto di-
              <lb/>
            formare con perfetta ragione tutte le parti, che ſono per natura distinte in modo, che tutte alla bellezza concorrino, & </s>
            <s xml:id="echoid-s2100" xml:space="preserve">la uiſta dilet-
              <lb/>
            tino de riguardanti, come nella Muſica ſi richiede il conſerto delle uoci, nel quale oltra, che le uoci ſon giuste, oltra che conuengono nella
              <lb/>
              <note position="left" xlink:label="note-0028-04" xlink:href="note-0028-04a" xml:space="preserve">40</note>
            conſonanza, biſogna anche un certo temperamento, che faccia dolce, & </s>
            <s xml:id="echoid-s2101" xml:space="preserve">ſuaue tutta l’barmonia, come auuiene à quei muſici, che ſon
              <lb/>
            ſoliti di cantare in ſieme con la ſolita compagnia. </s>
            <s xml:id="echoid-s2102" xml:space="preserve">Questa bella maniera ſi nella Muſica, come nell’Architettura è detta Eurithmia, ma-
              <lb/>
            dre della gratia, & </s>
            <s xml:id="echoid-s2103" xml:space="preserve">del diletto.</s>
            <s xml:id="echoid-s2104" xml:space="preserve"/>
          </p>
          <p>
            <s xml:id="echoid-s2105" xml:space="preserve">Queſta ſi fa quando imembri dell’opera ſono conuenienti l’altezza alla larghezza, la larghezza alla lunghezza, & </s>
            <s xml:id="echoid-s2106" xml:space="preserve">
              <lb/>
            in ſomma quando tutte le coſe riſpondono alla ſua commenſuratione propia.</s>
            <s xml:id="echoid-s2107" xml:space="preserve"/>
          </p>
          <p style="it">
            <s xml:id="echoid-s2108" xml:space="preserve">Sua propia, percioche ſe riſpondeßero ad altre ſimmetrie conuenienti ad altre parti, non ſarebbe la gratioſa maniera conoſciuta, & </s>
            <s xml:id="echoid-s2109" xml:space="preserve">qui ſi deue
              <lb/>
            riſerire la detta maniera alla dilettatione dell’afpetto, (come chiaramente Vitr. </s>
            <s xml:id="echoid-s2110" xml:space="preserve">dichiara in molti luoghi,) nel terzo al ſecondo, & </s>
            <s xml:id="echoid-s2111" xml:space="preserve">all’ultimo, nel
              <lb/>
            ſeſto al ſecondo, & </s>
            <s xml:id="echoid-s2112" xml:space="preserve">in piu luoghi; </s>
            <s xml:id="echoid-s2113" xml:space="preserve">& </s>
            <s xml:id="echoid-s2114" xml:space="preserve">perche ogni proportione è nata, da i numeri, però ſi ha ſeruato il nome predetto in ogni coſa, oue ſia pro
              <lb/>
            portione, & </s>
            <s xml:id="echoid-s2115" xml:space="preserve">perche la larghezza, lunghezza, & </s>
            <s xml:id="echoid-s2116" xml:space="preserve">altezza dell’opere deue eßer proportionata, & </s>
            <s xml:id="echoid-s2117" xml:space="preserve">doue è proportione ſi troua numero, però
              <lb/>
            il nome d’Eurithmia è stato pigliato da Vitr. </s>
            <s xml:id="echoid-s2118" xml:space="preserve">Delle proportioni ueramente, quante, & </s>
            <s xml:id="echoid-s2119" xml:space="preserve">quali ſieno ſi dir à chiaramente al primo capitolo
              <lb/>
              <note position="left" xlink:label="note-0028-05" xlink:href="note-0028-05a" xml:space="preserve">50</note>
            del terzo.</s>
            <s xml:id="echoid-s2120" xml:space="preserve"/>
          </p>
          <p>
            <s xml:id="echoid-s2121" xml:space="preserve">Il Compartimento, & </s>
            <s xml:id="echoid-s2122" xml:space="preserve">la riſpondenza delle mifure detta Simmetria è conueneuole conſentimento nato da i membri del-
              <lb/>
            l’opera, & </s>
            <s xml:id="echoid-s2123" xml:space="preserve">riſpondenza delle parti ſeparate alla forma di tutta le figura, ſecondo la rata portione.</s>
            <s xml:id="echoid-s2124" xml:space="preserve"/>
          </p>
          <p style="it">
            <s xml:id="echoid-s2125" xml:space="preserve">La Simmetria è la bellezza dell’Ordine, come la Eurithmia della Diſpoſitione, non è aßai ordinare le miſure una dopo l’altra, ma neceßario è, che
              <lb/>
            quelle miſure habbiano conuenienza tra loro, cioé ſieno in qualche proportione, & </s>
            <s xml:id="echoid-s2126" xml:space="preserve">però doue ſarà proportione, quiui non può eßer coſa
              <lb/>
            ſuperflua; </s>
            <s xml:id="echoid-s2127" xml:space="preserve">& </s>
            <s xml:id="echoid-s2128" xml:space="preserve">ſi come il maeſtro della natural proportione e lo inſtinto della natura, coſi il maeſtro dell’artiſiciale è l’habito dell’arte; </s>
            <s xml:id="echoid-s2129" xml:space="preserve">di qui
              <lb/>
            naſce, che la proportione piu presto dalla forma, che dalla materia procede, & </s>
            <s xml:id="echoid-s2130" xml:space="preserve">doue non ſono parti non può eſſer proportione, perche eßa
              <lb/>
            naſce dalle parti compoſte, & </s>
            <s xml:id="echoid-s2131" xml:space="preserve">dalla relatione di eſſe, & </s>
            <s xml:id="echoid-s2132" xml:space="preserve">in ogni relatione è forza, che ci ſieno almeno due termini (come s’è detto) ne ſi puo
              <lb/>
            lodare à bastanza l’effetto della proportione, nellaquale è poſta la gloria dell’Architetto, la ſermezza dell’opera, & </s>
            <s xml:id="echoid-s2133" xml:space="preserve">la marauiglia del-
              <lb/>
            l’artificio, come ſi uedrà chiaramente, quando ragioneremo delle proportioni, & </s>
            <s xml:id="echoid-s2134" xml:space="preserve">apriremo i ſecreti di questa Arte, dimoſtrando qual riſpetto
              <lb/>
              <note position="left" xlink:label="note-0028-06" xlink:href="note-0028-06a" xml:space="preserve">60</note>
            s’intende eßere nella proportione, quai termini ſiano i ſuoi; </s>
            <s xml:id="echoid-s2135" xml:space="preserve">qual’uſo, & </s>
            <s xml:id="echoid-s2136" xml:space="preserve">quanti effetti, & </s>
            <s xml:id="echoid-s2137" xml:space="preserve">di che forza eſſa faccia le coſe parere, però mi ri-
              <lb/>
            porto à quella parte. </s>
            <s xml:id="echoid-s2138" xml:space="preserve">Vitr. </s>
            <s xml:id="echoid-s2139" xml:space="preserve">da l’eßempio di quello, che egli ha detto ſecondo la rata portione, dicendo.</s>
            <s xml:id="echoid-s2140" xml:space="preserve"/>
          </p>
          <p>
            <s xml:id="echoid-s2141" xml:space="preserve">Come ſi uede nel corpo humano, che del cubito, del piede, del palmo, è commiſurato, & </s>
            <s xml:id="echoid-s2142" xml:space="preserve">queſto chiaramente ſi uedrà
              <lb/>
            nel primo cap. </s>
            <s xml:id="echoid-s2143" xml:space="preserve">dal terzo lib. </s>
            <s xml:id="echoid-s2144" xml:space="preserve">coſi auuiene nelle perfettioni dell’opere.</s>
            <s xml:id="echoid-s2145" xml:space="preserve"/>
          </p>
          <p style="it">
            <s xml:id="echoid-s2146" xml:space="preserve">Hauendo Hercole miſurato il corſo, & </s>
            <s xml:id="echoid-s2147" xml:space="preserve">lo ſpatio di Piſe, & </s>
            <s xml:id="echoid-s2148" xml:space="preserve">trouatolo di piedi ſecento de i ſuoi, & </s>
            <s xml:id="echoid-s2149" xml:space="preserve">eßendoſi poi nell’altre parti della Grecia fat
              <lb/>
            ti quegli ſpatij da correre di piedi ſecento, ma piu breui, il buon Pythagora comparando quei corſi trouò il piede di Hercole eßere ſtato mag-
              <lb/>
            giore de i piedi, con i quali i Greci haueano miſurato gli altri ſpatij, & </s>
            <s xml:id="echoid-s2150" xml:space="preserve">ſapendo che, & </s>
            <s xml:id="echoid-s2151" xml:space="preserve">quale la proportione della giuſta grandezza dell’huo-
              <lb/>
            mo eßer douea, compreſe la ſtatura d’Hercole eſſer ſtata tanto maggiore della ſtatura de gli altri huomini, quanto il corſo da Hercole nuſu-
              <lb/>
            rato eccedeua gli altri corſi della Grecia. </s>
            <s xml:id="echoid-s2152" xml:space="preserve">Quando adunque le miſure ſaranno alle maniere accommodate, non è dubbio, che dalla miſura d’una
              <lb/>
            parte non ſi conoſca la grandezza dell’altra; </s>
            <s xml:id="echoid-s2153" xml:space="preserve">& </s>
            <s xml:id="echoid-s2154" xml:space="preserve">conſeguentemente la grandezza del tutto.</s>
            <s xml:id="echoid-s2155" xml:space="preserve"/>
          </p>
          <note position="left" xml:space="preserve">70</note>
          <p>
            <s xml:id="echoid-s2156" xml:space="preserve">Et prima ne i ſacri Tempi come dalle groſſezze delle colonne.</s>
            <s xml:id="echoid-s2157" xml:space="preserve"/>
          </p>
          <p style="it">
            <s xml:id="echoid-s2158" xml:space="preserve">Queſto è dichiarato di ſopra, che dalla großezza della colonna, che era d’un modulo ſi pigliauano gli ſpatijtra le colonne, & </s>
            <s xml:id="echoid-s2159" xml:space="preserve">le altezze di eſſe,
              <lb/>
            & </s>
            <s xml:id="echoid-s2160" xml:space="preserve">piu chiaramente ſi uedrà nel terzo. </s>
            <s xml:id="echoid-s2161" xml:space="preserve">O uero del Triglifo</s>
          </p>
          <p style="it">
            <s xml:id="echoid-s2162" xml:space="preserve">Triglifo è membrello ſcannellato, che ſi mette nella cornice, ò nel ſregio, quaſi triſolco nominato, perche tre ſolchi ò canaletti contiene; </s>
            <s xml:id="echoid-s2163" xml:space="preserve">con
              <lb/>
            questo Vitr. </s>
            <s xml:id="echoid-s2164" xml:space="preserve">miſura gran parte dell’opera Dorica, come al terzo cap. </s>
            <s xml:id="echoid-s2165" xml:space="preserve">del quarto lib. </s>
            <s xml:id="echoid-s2166" xml:space="preserve">ſarà dichiarato. </s>
            <s xml:id="echoid-s2167" xml:space="preserve">Ouero dal Trigliſo, questo </s>
          </p>
        </div>
      </text>
    </echo>
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