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

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            <s xml:id="echoid-s15824" xml:space="preserve">
              <pb o="188" file="0198" n="207" rhead="LIBRO"/>
            & </s>
            <s xml:id="echoid-s15825" xml:space="preserve">che di già erano apparecchiati per approuar quell’opera. </s>
            <s xml:id="echoid-s15826" xml:space="preserve">All’hora ſalto ſuori Licinio Matematico, & </s>
            <s xml:id="echoid-s15827" xml:space="preserve">diſſe gli
              <lb/>
            Alabandei eſſere aſſai ſuegliati in tutte le coſe ciuili, ma per non molto gran peccato di ſeruar il Decoro eſſer giudi-
              <lb/>
            cati poco ſaui, perche tutte le Statue, che ſono nel lor Gitanaſio, poſte pareno trattar le cauſe, e quelle, che ſono nel
              <lb/>
            foro tener i deſchi, ò correre, ò giocar alla palla. </s>
            <s xml:id="echoid-s15828" xml:space="preserve">Et coſi lo ſtato delle figure ſenza Decoro tra le propieta de i luoghi
              <lb/>
            hauerli accreſciuto difetto della riputatione della città.</s>
            <s xml:id="echoid-s15829" xml:space="preserve"/>
          </p>
          <p>
            <s xml:id="echoid-s15830" xml:space="preserve">Ma uediamo ancho che à noſtri tempi la Scena di Apaturio non ci faccia Alabandei, ouero Abderiti: </s>
            <s xml:id="echoid-s15831" xml:space="preserve">perche chi di uoi
              <lb/>
            puo hauere le tegole de i tetti le Caſe? </s>
            <s xml:id="echoid-s15832" xml:space="preserve">ò le Colonne? </s>
            <s xml:id="echoid-s15833" xml:space="preserve">ò i Frontiſpici, perche queſte coſe ſi poneuano ſopra i taſſelli,
              <lb/>
            ma non ſopra le Tegole da i tetti. </s>
            <s xml:id="echoid-s15834" xml:space="preserve">Se adunque le coſe, che non poſſono hauere la uerità del fatto, ſeranno da noi ap-
              <lb/>
            prouate nelle pitture, uerremo anchora noi à conſentire, à quelle città, che per tali diffetti ſono ſtate giudicate di
              <lb/>
            poco ſapere. </s>
            <s xml:id="echoid-s15835" xml:space="preserve">Adunque Apaturio non hebbe ardimen to di riſpondere alcuna coſa contra, ma leuò la Scena, & </s>
            <s xml:id="echoid-s15836" xml:space="preserve">muta
              <lb/>
              <note position="left" xlink:label="note-0198-01" xlink:href="note-0198-01a" xml:space="preserve">10</note>
            tala alla ragione del uero, poi che fu acconcia, l’approuò. </s>
            <s xml:id="echoid-s15837" xml:space="preserve">O haueſſero uoluto i dei immortali, che Licinio fuſſe torna
              <lb/>
            to uiuo, & </s>
            <s xml:id="echoid-s15838" xml:space="preserve">correggeſe queſta pazzia, & </s>
            <s xml:id="echoid-s15839" xml:space="preserve">gli erranti ordini di queſte coperte. </s>
            <s xml:id="echoid-s15840" xml:space="preserve">Ma egli non ſerà fuor di propoſito eſpli
              <lb/>
            care, perche la ragion falſa uinca la uerità, perche quello, che affaticandoſi gli antichi, e ponendoui in duſtria tenta-
              <lb/>
            uano di approuare con le arti, à noſtri giorni ſi conſegue con i colori, & </s>
            <s xml:id="echoid-s15841" xml:space="preserve">con la uaghezza loro, & </s>
            <s xml:id="echoid-s15842" xml:space="preserve">quella authorità,
              <lb/>
            che la ſottilità dello artifice daua alle opere, hora la ſpeſa del patrone fa, che non ſia deſiderata, perche chi è colui
              <lb/>
            de gli antichi, che non habbia uſato parcamente come una medicina il Minio? </s>
            <s xml:id="echoid-s15843" xml:space="preserve">Ma à di noſtri per tutto il piu del-
              <lb/>
            le uolte ſono di Minio tutti i pareti coperti, & </s>
            <s xml:id="echoid-s15844" xml:space="preserve">ſe gli aggiugne ancho, e ſe gli da di Borace, d’Oſtro, d’Armenio, & </s>
            <s xml:id="echoid-s15845" xml:space="preserve">
              <lb/>
            queſte coſe quando ſi danno à i pareti, ſe ben non ſeranno poſte artificioſament, enientedimeno danno à gli occhi
              <lb/>
            non ſo che di ſplendore, & </s>
            <s xml:id="echoid-s15846" xml:space="preserve">perche ſono precioſe coſe, & </s>
            <s xml:id="echoid-s15847" xml:space="preserve">uagliono aſlai, però ſono eccettuate dalle leggi, che dal pa
              <lb/>
            trone, & </s>
            <s xml:id="echoid-s15848" xml:space="preserve">non da colui che piglia l’opere ſono rappreſentate. </s>
            <s xml:id="echoid-s15849" xml:space="preserve">Io ho eſpoſto aſſai quelle coſe, nellequali ho potuto far
              <lb/>
              <note position="left" xlink:label="note-0198-02" xlink:href="note-0198-02a" xml:space="preserve">20</note>
            auuertito chi copre i pareti, accioche non cada in errore. </s>
            <s xml:id="echoid-s15850" xml:space="preserve">Hora dirò, come preparare ſi deono, come mi potrà uenir
              <lb/>
            in mente, & </s>
            <s xml:id="echoid-s15851" xml:space="preserve">perche da prima s’è detto della calce, hora ci reſta à parlare del marmo.</s>
            <s xml:id="echoid-s15852" xml:space="preserve"/>
          </p>
          <p style="it">
            <s xml:id="echoid-s15853" xml:space="preserve">Quello, che biſogni dipigner in diuerſe ſtanze, accioche ſia ſeruato il Decoro, Vitr, ce lo ha dimostrato in parte nel precedente cap. </s>
            <s xml:id="echoid-s15854" xml:space="preserve">& </s>
            <s xml:id="echoid-s15855" xml:space="preserve">in par
              <lb/>
            te hora ce lo inſegna. </s>
            <s xml:id="echoid-s15856" xml:space="preserve">Et dalla diſſinitione della pittura ua argomentando quello, che ſta bene, & </s>
            <s xml:id="echoid-s15857" xml:space="preserve">poiriprende liberamente le uſanze de i pit-
              <lb/>
            tori de i tempi ſuoi, come che habbiano deuiato molto dalla certa, & </s>
            <s xml:id="echoid-s15858" xml:space="preserve">giusta ragione de gli antichi. </s>
            <s xml:id="echoid-s15859" xml:space="preserve">Doue grandemente s’oppone à quella ma
              <lb/>
            mera di pitture, che noi chiamamo Grotteſche, come coſa che non poſſa stare in modo alcuno, perche ſe la pittura e una imitatione delle coſe,
              <lb/>
            che ſono, ò che poſſono eſſere come potremo dire, che ſtia bene quello, che nelle Grotteſche ſi uede? </s>
            <s xml:id="echoid-s15860" xml:space="preserve">come ſono animali, che portano Tempi,
              <lb/>
            colonne di cannuccie, artigli di moſtri, difformita di nature, miſti di ucrie ſpecie: </s>
            <s xml:id="echoid-s15861" xml:space="preserve">Certo ſi come la Fantaſia nel ſogno ci rappreſenta conſu-
              <lb/>
            ſamente le imagini delle eoſe, e ſpeſſo pone inſieme nature diuerſe, coſi potemo dire, che facciano le Grotteſche, lequali ſenza dubbio potemo
              <lb/>
            nominare ſogni della pittura. </s>
            <s xml:id="echoid-s15862" xml:space="preserve">Simil coſa uedemo noi nelp arti del parlare, imperoche il Dialetico ſi forza di ſatisfare alla ragione, l’Orato-
              <lb/>
              <note position="left" xlink:label="note-0198-03" xlink:href="note-0198-03a" xml:space="preserve">30</note>
            re al ſenſo, & </s>
            <s xml:id="echoid-s15863" xml:space="preserve">alla ragione, il Poeta alquanto piu al ſenſo, & </s>
            <s xml:id="echoid-s15864" xml:space="preserve">al diletto, che alla ragione, il Sofiſta fa coſe moſtruoſe, e tali, quali cirappreſen
              <lb/>
            ta la fantaſia, quando i noſtri ſentimenti ſono chiuſi dal ſonno. </s>
            <s xml:id="echoid-s15865" xml:space="preserve">Quanto mo che ſia da lodare un ſofiſta, io lo laſcio giudicare, à chi ſa fare
              <lb/>
            differenze tra il falſo, e’l uero, trailuero, e’lueroiſimile. </s>
            <s xml:id="echoid-s15866" xml:space="preserve">Et perche Vitr. </s>
            <s xml:id="echoid-s15867" xml:space="preserve">e ſacile, & </s>
            <s xml:id="echoid-s15868" xml:space="preserve">Plinio nel lib. </s>
            <s xml:id="echoid-s15869" xml:space="preserve">X X X V. </s>
            <s xml:id="echoid-s15870" xml:space="preserve">ci da molto lume in queſta ma
              <lb/>
            teria, io non faro altro à pompa, ma per quanto io dalle coſe uedute, & </s>
            <s xml:id="echoid-s15871" xml:space="preserve">lette poſſo comprendere trouo, che la pittura ſi come ogn’altra coſa,
              <lb/>
            che ſi fa da gli huomini, prima deue hauere intentioni, & </s>
            <s xml:id="echoid-s15872" xml:space="preserve">rappreſentar qualche effetto, alquale effetto ſia indrizzata tutta la compoſitione,
              <lb/>
            & </s>
            <s xml:id="echoid-s15873" xml:space="preserve">ſi come le ſauole denno eſſere utili alla uita de gli huomini, & </s>
            <s xml:id="echoid-s15874" xml:space="preserve">la Muſica hauer deue la ſua intentione, coſi ancbo la pittura. </s>
            <s xml:id="echoid-s15875" xml:space="preserve">Dapoi ſi uuol
              <lb/>
            ben ſapere contornar le coſe, & </s>
            <s xml:id="echoid-s15876" xml:space="preserve">hauere le Simmetrie di tutte le parti, & </s>
            <s xml:id="echoid-s15877" xml:space="preserve">la riſpondenze di quelle tra ſe. </s>
            <s xml:id="echoid-s15878" xml:space="preserve">Et con il tutto indile mouenze, e gii
              <lb/>
            atti tah, che parino di coſe uiue, & </s>
            <s xml:id="echoid-s15879" xml:space="preserve">non dipinte, & </s>
            <s xml:id="echoid-s15880" xml:space="preserve">dimoſtrino gli affetti, e, i, costumi, ilche e di pochi, in ſomma poi (che e coſa di pochisſimi)
              <lb/>
            & </s>
            <s xml:id="echoid-s15881" xml:space="preserve">à noſtri di non e à pena conſiderata, & </s>
            <s xml:id="echoid-s15882" xml:space="preserve">è la perfettione áll’ arte, fare i contorni di modo dolci, & </s>
            <s xml:id="echoid-s15883" xml:space="preserve">sfumati, che ancho s’intenda, quel che
              <lb/>
            non ſi uede, anzi che l’occhio penſi di uedere, quello ch’egli uede, che è un fuggir dolcisſimo una tenerezza nell’ orizonte della uiſta noſtra,
              <lb/>
              <note position="left" xlink:label="note-0198-04" xlink:href="note-0198-04a" xml:space="preserve">40</note>
            che e, & </s>
            <s xml:id="echoid-s15884" xml:space="preserve">non e, & </s>
            <s xml:id="echoid-s15885" xml:space="preserve">che ſolo ſi fa con infinita pratica, & </s>
            <s xml:id="echoid-s15886" xml:space="preserve">che diletta à chi non ſa piu oltra, & </s>
            <s xml:id="echoid-s15887" xml:space="preserve">fa ſtupire, chi bene la intende. </s>
            <s xml:id="echoid-s15888" xml:space="preserve">Laſcio ſtare i
              <lb/>
            colori conuenienti la meſcolanza di quelli, & </s>
            <s xml:id="echoid-s15889" xml:space="preserve">la uaghezza, la morbidezza delle carni nelle imagini muliebri, che ſcuoprono i muſculi, ma in
              <lb/>
            modo, che ſi intendino i panni, che fanno fede del nudo, le pieghe dolci, la ſueltezza, i lontani, gli ſcorzi, l’altezza della uiſta, & </s>
            <s xml:id="echoid-s15890" xml:space="preserve">altre coſe,
              <lb/>
            che ſono nel dipignere ſommamente commodate, & </s>
            <s xml:id="echoid-s15891" xml:space="preserve">uago ſaria, & </s>
            <s xml:id="echoid-s15892" xml:space="preserve">fuori dell’ instituto nostro à uoler parlare piu diffuſamente, & </s>
            <s xml:id="echoid-s15893" xml:space="preserve">chi ha con-
              <lb/>
            ſiderato molte pitture di diuerſi ualenti buomini, & </s>
            <s xml:id="echoid-s15894" xml:space="preserve">che ha ſentito ragionare, & </s>
            <s xml:id="echoid-s15895" xml:space="preserve">con diletto, & </s>
            <s xml:id="echoid-s15896" xml:space="preserve">attentioue ha aſcoltato gli altri, puo molto
              <lb/>
            ben ſapere di quanta importanza ſia, & </s>
            <s xml:id="echoid-s15897" xml:space="preserve">quãto abbraccia quello, che io ho accennato; </s>
            <s xml:id="echoid-s15898" xml:space="preserve">il reſto di Vitr. </s>
            <s xml:id="echoid-s15899" xml:space="preserve">è maniſeſto ſino alla fine del libro, che
              <lb/>
            io non ho uoluto aggiugnerui altro, parendomi, che Vitr. </s>
            <s xml:id="echoid-s15900" xml:space="preserve">habbi aſſai chiaramente parlato, ci reſta hora à dire di molti ornamenti, che ſi fan-
              <lb/>
            no nella Città come Piramidi, Obeliſci, Sepulchri, Titoli, Colonne, & </s>
            <s xml:id="echoid-s15901" xml:space="preserve">altre coſe ſimili, ma hoggimai le coſe antiche di Roma ſono ſtate mi-
              <lb/>
            ſurate piu uolte, & </s>
            <s xml:id="echoid-s15902" xml:space="preserve">poste in luce da molti ualenti buomini, di modo che ſarà di minor fatica ueder à un tratto le pitture, & </s>
            <s xml:id="echoid-s15903" xml:space="preserve">miſurarle, che
              <lb/>
            leggere molte carte, che io potesſi fare; </s>
            <s xml:id="echoid-s15904" xml:space="preserve">Eſorto bene ogn’uno, che ſia studioſo dell’antichità, & </s>
            <s xml:id="echoid-s15905" xml:space="preserve">imitator de buom, & </s>
            <s xml:id="echoid-s15906" xml:space="preserve">che ſi forzi render ra-
              <lb/>
              <note position="left" xlink:label="note-0198-05" xlink:href="note-0198-05a" xml:space="preserve">50</note>
            gione di quello, che egli fa, eſercitandoſi nelle arti liberali & </s>
            <s xml:id="echoid-s15907" xml:space="preserve">ſpecialmente nelle. </s>
            <s xml:id="echoid-s15908" xml:space="preserve">I I I I. </s>
            <s xml:id="echoid-s15909" xml:space="preserve">diſcipline, che ſono quattro porte principali di tutti
              <lb/>
            gli edifici, ſtrumenti, inuentioni, che ſono ſtati, ſono, & </s>
            <s xml:id="echoid-s15910" xml:space="preserve">che ſaranno, & </s>
            <s xml:id="echoid-s15911" xml:space="preserve">chi ancho uuole hauere qualche ammaestramento delle ſopradette
              <lb/>
            coſe, legga nel nono libro di Leonbatiſta, & </s>
            <s xml:id="echoid-s15912" xml:space="preserve">oſſerui i precetti ſuoi</s>
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        <div xml:id="echoid-div531" type="section" level="1" n="84">
          <note position="left" xml:space="preserve">60</note>
          <head xml:id="echoid-head84" xml:space="preserve">CAP. VI. IN CHE MODO S’APPARECCHI
            <lb/>
          IL MARMO PER GLI
            <lb/>
          COPRIMENTI.</head>
          <p>
            <s xml:id="echoid-s15913" xml:space="preserve">NON di una ſteſſa maniera in ogni paeſe ſi genera il Marmo, ma in alcuni luoghi naſcono le Glebe
              <lb/>
            come di ſale, che hanno le miche lucide, & </s>
            <s xml:id="echoid-s15914" xml:space="preserve">riſplendẽti, le quali peſte, & </s>
            <s xml:id="echoid-s15915" xml:space="preserve">ammollite danno grande uti
              <lb/>
            lità nelle coperte, & </s>
            <s xml:id="echoid-s15916" xml:space="preserve">nelle cornici, ma in quei luoghi ne i quai non ſi trouano tai coſe. </s>
            <s xml:id="echoid-s15917" xml:space="preserve">Peſtanſi con
              <lb/>
            i piſtelli di ferro, & </s>
            <s xml:id="echoid-s15918" xml:space="preserve">ſi criuellano i cementi di Marmo, ò uero le ſcaglie, che cadono dalle pietre ta-
              <lb/>
            gliate da i marmorari, & </s>
            <s xml:id="echoid-s15919" xml:space="preserve">queſte cernite ſi parteno in tre maniere, & </s>
            <s xml:id="echoid-s15920" xml:space="preserve">quella parte, che ſarà piu gran
              <lb/>
            de, (come ſi è detto di ſopra) con la calce ſi dia con l’arenato, dapoi la ſeguente, & </s>
            <s xml:id="echoid-s15921" xml:space="preserve">la terza, che ſarà
              <lb/>
              <note position="left" xlink:label="note-0198-07" xlink:href="note-0198-07a" xml:space="preserve">70</note>
            piu ſottile, date queſte coſe, & </s>
            <s xml:id="echoid-s15922" xml:space="preserve">con diligenza pareggiate, & </s>
            <s xml:id="echoid-s15923" xml:space="preserve">liſciate, habbiaſi ragione à dare i colori in guiſa, che man
              <lb/>
            dino fuori lucenti raggi, & </s>
            <s xml:id="echoid-s15924" xml:space="preserve">ſplendori, de i quali queſta ſarà la prima differenza, & </s>
            <s xml:id="echoid-s15925" xml:space="preserve">apparato.</s>
            <s xml:id="echoid-s15926" xml:space="preserve"/>
          </p>
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