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Vitruvius, Book I, Chapter 1 On the training of architects 1. Architecti est scientia pluribus disciplinis et variis eruditionibus ornata, quae ab ceteris artibus perficiuntur. Opera ea nascitur et fabrica et ratiocinatione. Fabrica est continuata ac trita usus meditatio, quae manibus perficitur e materia cuiuscumque generis opus est ad propositum deformationis. Ratiocinatio autem est, quae res fabricatas sollertiae ac rationis proportione demonstrare atque explicare potest. Translation 1. The science of the architect depends upon many disciplines and various apprenticeships which are carried out in other arts. His personal service consists in crafsmanship and technology. Craftsmanship is continued and familiar practice, which is carried out by the hands in such material as is necessary for the purpose of a design. Technology sets forth and explains things wrought in accordance with technical skill and method. 2. Itaque architecti, qui sine litteris contenderant, ut manibus essent exercitati, non potuerunt efficere ut haberent pro laboribus auctoritatem; qui autem

Vitruvius De Architectura

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Vitruvius, Book I, Chapter 1 On the training of architects

1. Architecti est scientia pluribus disciplinis et variis eruditionibus ornata, quae ab ceteris artibus perficiuntur. Opera ea nascitur et fabrica et ratiocinatione. Fabrica est continuata ac trita usus meditatio, quae manibus perficitur e materia cuiuscumque generis opus est ad propositum deformationis. Ratiocinatio autem est, quae res fabricatas sollertiae ac rationis proportione demonstrare atque explicare potest. Translation 1. The science of the architect depends upon many disciplines and various apprenticeships which are carried out in other arts. His personal service consists in crafsmanship and technology. Craftsmanship is continued and familiar practice, which is carried out by the hands in such material as is necessary for the purpose of a design. Technology sets forth and explains things wrought in accordance with technical skill and method. 2. Itaque architecti, qui sine litteris contenderant, ut manibus essent exercitati, non potuerunt efficere ut haberent pro laboribus auctoritatem; qui autem ratiocinationibus et litteris solis confisi fuerunt, umbram non rem persecuti videntur. At qui utrumque perdidicerunt, uti omnibus armis ornati citius cum auctoritate, quod fuit propositum, sunt adsecuti. Translation 2. So architects who without culture aim at manual skill cannot gain a prestige corresponding to their labours, while those who trust to theory and literature obviously follow a shadow and not a reality. But those who have mastered both, like men equipped in full armour, soon acquire influence and attain their purpose.

3. Cum in omnibus enim rebus, tum maxime etiam in architectura haec duo insunt, quod significatur et quod significat. Significatur proposita res, de qua dicitur; hanc autem significat demonstratio rationibus doctrinam explicata. Quare videtur utraque parte exercitatus esse debere, qui se architectum profiteatur. Itaque cum etiam ingeniosum oportet esse et ad disciplinam docilem. Neque enim ingenium sine disciplina aut disciplina sine ingenio perfectum artificem potest efficere. Et ut litteratus sit, peritus graphidos, eruditus geometria, historias complures noverit, philosophos diligenter audierit, musicam scierit, medicinae non sit ignarus, responsa iurisconsultorum noverit, astrologiam caelique rationes cognitas habeat. Translation 3. Both in general and especially in architecture are these two things found; that which signifies and that which is signified. That which is signified is the thing proposed about which we speak; that which signifies is the demonstration unfolded in systems and precepts. Wherefore a man who is to follow the architectural profession manifestly needs to have experience of both kinds. He must have both a natural gift and also readiness to learn. (For neither talent without instruction nor instruction without talent can produce the perfect crafsman.) He should be a man of letters, a skilful draughtsman, a mathematiciam, familiar with historical studies, a diligent student of philosophy, acquainted with music; not ignorant of medicine, learned in the responses of jurisconsults, familiar with astronomy and astronomical calculations. 4. Quae cur ita sint, haec sunt causae. Litteras architectum scire oportet, uti commentariis memoriam firmiorem efficere possit. Deinde graphidis scientiam habere, quo facilius exemplaribus pictis quam velit operis speciem deformare valeat. Geometria autem plura praesidia praestat archtecturae; et primum ex euthygrammis circini tradit usum, e quo maxime facilius aedificiorum in arcis expediuntur descriptiones normarumque et librationum et linearum directiones. Item per opticen in aeficiis ab certis regionibus caeli lumina recte ducuntur. Per arithmeticen vero sumptus aedificiorum consummantur, mensurarum rationes explicantur, difficilesque symmetriam quaestiones geometricis rationibus et methodis inveniuntur. Translation 4. The reasons why this should be so are these. An architect must be a man of letters that he may keep a record of useful precedents. By his skill in draughtsmanship he will find it easy by coloured drawings to represent the

effect desired. Mathematics again furnishes many resources to architecture. It teaches the use of rule and compass and thus facilitates the laying out of buildings on their sites by the use of set-squares, levels and alignments. By optics, in buildings, lighting is duly drawn from certain aspects of the sky. By arithmetic, the cost of building is summed up; the methods of mensuration are indicated; while the difficult problems of symmetry are solved by geometrical rules and methods. 5. Historias autem plures novisse oportet, quod multa ornamenta saepe in operibus architecti designant, de quibus argumentis rationem, cur fecerint, quaerentibus reddere debent. Quemadmodum si quis statuas marmoreas muliebres stolatas, quae cariatidis dicuntur, pro columnis in opere statuerit et insuper mutulos et coronas conlocaverit, percontantibus ita reddet rationem. Caria, civitas Peloponnensis, cum Persis hostibus contra Graeciam consensit. Postea Graeci per victoriam gloriose bello liberati communi consilio Caratibus bellum indixerunt. Itaque oppido capto, viris interfectis, civitate declarata matrones eorum in servitutem abduxerunt, nec sunt passi stolas neque ornatus matronales deponere, uti non una triumpho ducerentur, sed aeterno, servitutis exemplo gravi contumelia pressae poenas pendere viderentur pro civitate. Ideo qui tunc architecti fuerunt aedificiis publicis designaverunt earum imagines oneri ferundo conlocatas, ut etiam posteris nota poena peccati Cariatium memoriae traderetur. Translation 5. Architects ought to be famliar with history because in their works often they design many ornaments about which they ought to render an account to inquirers. For example, if anyone in his work sets up, instead of colums, marble statues of long-robed women which are called caryatids, and places mutules and cornices above them, he will thus render an account to inquirers. Caria, a Peloponesian state, conspired with the Persian enemy against Greece. Afterwards the Greeks, gloriously freed from war by their victory, with common purpose went on to declare war on the inhabitants of Caria. The town was captured; the men were killed; the state was humiliated. Their matrons were led away into slavery and were not allowed to lay aside their draperies and ornaments. In this way, and not at one time alone, were they led in triumph. Their slavery was an eternal warning. Insult crushed them. They seemed to pay a penalty for their fellow-citizens. And so the architects of that time designed for public buildings figures of matrons placed to carry burdens; in order that the punishment of the sin of the Cariatid women might be known to posterity and historically recorded.

6. Non minus Lacones, Pausania Agesilae filio duce, Plataeeo proelio pauca manu infinitum numerum exercitus Persarum cum superavissent, acto cum gloria triumpho spoliorum et praedae, porticum Percisam ex manubiis, laudis et virtutis civium indicem, victoriae posteris pro tropaeo constituerunt. Ibique captivorum simulacra barbarico vestis ornatu, superbia meritis contumeliis punita, sustinentia tectum conlocaverunt, ut et hostes horrescerent timore eorum fortitudinis effectus, et cives id exemplum virtutis aspicientes gloria erecti ad defendendam libertatem essent parati. Itaque ex eo multi statuas Persicas sustinentes epistylia et ornamenta eorum conlocaverunt, et ita ex eo argumento varietates egregias auxerunt operibus. Item sunt aliae eiusdem generis historiae, quarum notitiam architectos tenere oporteat. Translation 6. Not less the Spartans under the command of Pausanias, son of Agesilas, having conquered with a small force an infinitely large army of Persians, gloriously celebrated a triumph with spoils and plunder, and, from the booty, built the Persian Colonnade to signify the merit and courage of the citizens and to be a trophy of victory to their descendants. There they placed statues of their captives in barbaric dress - punishing their pride with deserved insults - to support the roof, that their enemies might quake, fearing the workings of such bravery, and their fellow-citizens looking upon a pattern of manhood might by such glory be roused and prepared for the defence of freedom. Therefrom many have set up Persian statues to support architraves and their ornament. This motive has supplied for their works some striking variations. There are also other narratives of the same kind with which architect should possess acquaintance. 7. Philosophia vero perficit architectum animo magno et uti non sit adrogans, sed potius facilis, aequus et fidelis, sine avaritia, quod est maximum; nullum enim opus vere sine fide et castitate fieri potest; ne sit cupidus neque in muneribus accipiendis habeat animum occupatum, sed cum gravitate suam tueatur dignitatem bonam famam habendo; et haec enim philosophia praescribit. Praeterea de rerum natura, quae graece physiologia dicitur, philosophia explicat. Quam necesse est studiosius novisse, quod habet multas et varias naturales quaestiones. Ut etiam in aquarum ductionibus. Incursibus enim et circuitionibus et librata planitie expressionibus spiritus naturales aliter atque aliter fiunt, quorum offensionibus mederi nemo poterit, nisi qui ex philosophia principia rerum naturae noverit. Item qui Ctesibii aut Archimedis et ceterorum, qui eiusdem generis praecepta conscripserunt, leget, sentire non poterit, nisi his rebus a philosophis erit institutus.

Translation 7. Philosophy, however, makes the architect high-minded, so that he should not be arrogant but rather urbane, fair-minded, loyal, and what is the most important, without avarice; for no work can be truly done without good faith and clear hands. Let him not be greedy nor have his mind busied with acquiring gifts; but let him with seriousness guard his dignity by keeping good name. And such are the injunctions of philosophy. Philosophy, moreover, explains the 'nature of things' (and this in Greek is physiologia), a subject which it is necessary to have studied carefully because it presents many different problems, as, for example, in the case of water-supply. For in the case of watercourses, where there are channels or bends or where water is forced along on a levelled plane, natural air-pockets are produced in different ways, and the difficulties which they cause cannot be remedied by anyone unless he has learnt from philosopy the principles of the nature. So also the man who read the works of Ctesibius or Archimedes and of others who have written manuals of the same kind will not be able to perceive their meaning, unless he has been instructed herein by philosophers. 8. Musicen autem sciat oportet, uti canonicam rationem et mathematicam notam habeat, praeterea balistarum, catapultarum, scorpionum temperaturas possit recte facere. In capitulis enim dextra ac sinistra sunt foramina hemitoniorum, per quae tenduntur suculis et vectibus e nervo torti funes, qui non praecluduntur nec praeligantur, nisi sonitus ad artificis aures certos et aequales fecerunt. Bracchia enim, quae in eas tentiones includuntur, cum extenduntur, aequaliter et pariter utraque plagam mittere debent; quodsi non homotona fuerint, inpendient directam telorum missionem. Translation 8. A man must know music that he may have acquired the acoustic and mathematical relations and be able to carry out rightly the adjustments of balistae, catapultae and scorpiones. For in the crossbeams on right and left are holes of 'half-tones' through wich ropes twisted out of thongs are stretched by windlasses and levers. And these ropes are not shut off nor tied up, unless they make clear and equal sounds in the ear of the craftsman. For the arms which are shut up under those strains, when they are stretched out, ought to furnish an impetus evenly and alike on either side. But if they do not give an equal note, they will hinder the straight direction of the missiles. 9. Item theatris vasa aerea, quae in cellis sub gradibus mathematica ratione conlocantur quae Graeci echeia appellant; sonitum et discrimina ad symphonias

musicas sive concentus componuntur divisa in circinatione diatessaron et diapente et disdiapason, uti vox scaenici sonitus conveniens in dispositionibus tactu cum offenderit, aucta cum incremento clarior et suavior ad spectarorem perveniat aures. Hydraulicas quoque machinas et cetera, quae sunt similia his organis, sine musicis rationibus efficere nemo poterit. Translation 9. In theatres, also, are copper vessels and these are placed in chambres under the rows of seats in accordance with mathematical reckoning. The Greeks call them echeia. The differences of the sounds which arise are combined into musical symphonies or concords: the circle of seats being divided into fourths and fifths and the octave. Hence, if the delivery of the actor from the stage is adapted to these contrivances, when it reaches them, it becomes fuller, and reaches the audience with a richer and sweeter note. Or again, no one who lacks knowledge of music can make water-engines or similar machines. 10. Disciplinam medicinae novisse oportet propter inclinationem caeli, quae Graeci climata dicunt, et aeris et locorum, qui sunt salubres aut pestilentes, aquarumque usus; sine his enim rationibus nulla salubris habitatio fieri potest. Iura quoque nota habeat oportet, ea quae necessaria sunt aedificiis communibus parietum ad ambitum stillicidiorum et cloacarum, luminum. Item, aquarum ductiones et cetera, quae eiusmod sunt, nota oportet sint architectis, uti ante caveant quam instituant aedificia, ne controversiae factis operibus patribus familiarum relinquantur, et ut legibus scribendis prudentia cavere possit et locatori et conductori; namque si lex perite fuit scripta, erit ut sine captione uterque ab utroque liberetur. Ex astrologia autem cognoscitur oriens, occidens, meridies, septentrio, etiam caeli ratio, aequinoctium, solstitium, astrorum cursus; quorum notitiam si quis non habuerit, horologiorum rationem omnino scire non poterit. Translation 10. Again, he must know the art of medicine in its relation to the regions of the earth (which the Greeks call climata); and to the characters of the atmosphere, of localities (wholesome or pestilential), of water-supply. For apart from these considerations, no dwelling can be regarded as healthy. He must be familiar with the rights or easements which necessarily belong to buildings with party walls, as regards the range of eaves-droppings, drains and lighting. The watersupply, also, and other related matters, ought to be familiar to architects; so that, before building is begun, precautions may be taken, lest on completion of the works the proprietors should be involved in disputes. Again, in writing the

specifications, careful regard is to be paid both to the employer and to the contractor. For if the specification is carefully written, either party may be released from his obligations to the other, without raising of captious objections. By astronomy we learn the east, the west, the south and the north; also the order of the heavens, the equinox, the solstice, the course of the planets. For if anyone is unfamiliar with these, he will fail to understand the construction of clocks. 11. Cum ergo tanta haec disciplina sit, condecorata et abundans eruditionibus variis ac pluribus, non puto posse iuste repente profiteri architectos, nisi qui ab aetate puerili his gradibus disciplinarum scandendo scientia plerarumque litterarum et artium nutriti pervenerint ad summum templum architecturae. Translation 11. Since, therefore, so great a profession as this is adorned by and abounds in, varied and numerous accomplishments, I think that only these persons can forthwith justly claim to be architects who from boyhood have mounted by the steps of these studies and, being trained generally in the knowledge of arts and the sciences, have reaches the temple of architecture at the top. 12. Ac fortasse mirum videbitur inperitis hominibus posse naturam tantum numerum doctrinarum perdiscere et memoria continere. Cum autem animadverterint omnes disciplinas inter se coniunctionem rerum et communicationem habere, fieri posse faciliter credent; encyclios enim disciplina uti corpus unum ex his membris est composita. Itaque qui a teneris aetatibus eruditionibus variis instruuntur, omnibus litteris agnoscunt easdem notas communicationemque omnium disciplinarum, et ea re facilius omnia cognoscunt. Ideoque de veteribus architectis Pythius, qui Prieni aedem Minervae nobiliter est architectatus, ait in suis commentariis architectum omnibus artibus et doctrinis plus oportere posse facere, quam qui singulas res suis industriis et exercitationibus ad summam claritatem perduxerunt. Translation 12. But perhaps it will seem wonderful to inexperienced persons that human nature can master and hold in recollection so large a number of subjects. When, however, it is perceived that all studies are related to one another and have points of contact, they will easily believe it can happen. For a general education is put together like one body from its members. So those who from tender years are trained in various studies recognise the same characters in all the arts and see the intercommunication of all disciplines, and by that circumstance more

easily acquire general information. And, therefore, one of the old architect Pythius, who was the designer of the noble temple of Minerva at Priene, says in his Commentaries that an architect ought to be able to do more in all arts and sciences than those who, by their industry and experience, have advanced individual arts to the highest renown. 13. Non enim debet nec potest esse architectus grammaticus, uti fuerit Aristarchus, sed non agrammatus,nec musicus ut Aristoxenus, sed non amusos, nec pictor ut Apelles, sed graphidos non inperitus, nec plastes quemadmodum Myron seu Polyclitus, sed rationis plasticae non ignarus, sed denuo medicus ut Hippocrates, sed non aniatrologicus, nec in ceteris doctrinis singulariter excellens, sed in is non inperitus. Non enim in tantis rerum varietatibus elegantias singulares quisquam consequi potest, quod earum ratiocinationes cognoscere et percipere vix cadit in potestatem. Translation 13. For an architect ought to be and can be no critic like Aristarchus, yet not without culture; no musician like Aristoxenus, yet not without knowledge of music; no painter like Apelles, yet not unskilled with his pencil; no sculptor like Myron or Polyclitus, yet not ignorant of the plastic art; nor in fine a physician like hippocrates, yet not unskilled in medicine; nor in other sciences excelling in a singular manner, yet in these not unskilled. For in so great a variety of things no one can in every case attain minute perfection, because it scarcely falls into his power to acquire and understand their methods. 14. Nec tamen non tantum architecti non possunt in omnibus rebus habere summum effectum, sed etiam ipsi qui privatim proprietates tenent artium, non efficiunt, ut habeant omnes summum laudis principatum. Ergo si in singulis doctrinis singuli artifices neque omnes sed pauci aevo perpetuo nobilitatem vix sunt consecuti, quemadmodum potest architectus, qui pluribus artibus debet esse peritus, non id ipsum mirum et magnum facere, ne quid ex his indigeat, sed etiam ut omnes artifices artifices qui singulis doctrinis adsiduitatem cum industria summa praestiterunt? Translation 14. Yet while architects are thus not able in every art to achieve the highest perfection, even those who severally possess the qualities of the craftsman do not all succeed in reaching supreme mastery. Therefore, since in each art, single craftsmen, not all, but few throughout the ages have scarcely attained renown, why should not an architect, who has to be skilled in several arts,

count it a fine achievement if he is not deficient in anything belonging to them? How can he hope for so great and remarkable a thing as to surpass craftsmen who have assidiously and with the greatest industry applied themselves to single employment? 15. Igitur in hac re Pythius errasse videtur, quod non animadvertit ex duabus rebus singulas artes esse compositas, ex opere et eius ratiocinatione, ex his autem unum proprium esse eorum qui singulis rebus sunt exercitati, id est operis effectus, alterum commune cum omnibus doctis, id est rationem, uti medicis et musicis et de venarum rythmo ad pedem motus, ut si vulnus mederi aut aegrum eripere de periculo oportuerit, non accedet musicus, sed id ipsos proprium erit medici; item in organo non medicus sed musicus modulabitur, ut aures suae cantionibus recipiant iucunditatem. Translation 15. Therefore in this matter Pythius seems to have erred because he failed to perceive that the several arts are composed of two things - craftsmanship and the theory of it. Of these the one, craftsmanship, is proper to those who are trained in the several arts, namely, the execution of the work; the other, namely theory, is shared with educated persons. Physician and musician alike deal with the rythm of the pulse and the movement of the feet. For example, if a man has to heal a wound or to rescue a sick man out of danger, it is not the musician who will come, but it will be the special work of a physician. So also in the case of a musical instrument, a musician and not a physician will be in control so that one's ears may receive the sweetness of a song. 16. Similiter cum astrologis et musicis est disputatio communis de sympathia stellarum et symphoniarum in quadratis et trigonis diatessaron et diapente, a geometris de visu qui graece logos opticos appellatur; ceterisque omnibus doctrinis multae res vel omnes communes sunt dumtaxat ad disputandum. Operum vero ingressus qui manu aut tractationibus ad elegantiam perducuntur, ipsorum sunt, qui proprie una arte ad faciendum sunt instituti. Ergo satis abunde videtur fecisse qui ex singulis doctrinis partes et rationes earum mediocriter habet notas, eas quae necessariae sunt ad architecturam, uti, si quid de his rebus et artibus iudicare et probare opus fuerit, ne deficiatur. Translation 16. Likewise there is a question common to astronomers and musicians about the sympathy of the stars and of the concords, fourths and fifths, in quadrants and triangles; and geometers treat about vision, which in Greek is called logos

opticos; thus throughout all the sciences many things, or indeed all, are in common so far as theory is concerned. But the taking up of work which is finely executed by hand, or technical methods, belongs to those who have been specially trained to work in a single trade. Therefore, he seems to have done quite enough who in the several arts is moderately familiar with the branches and methods which are necessary to architecture, so that he is not at a loss when it is necessary to judge and test any work done in these other departments and trades. 17. Quibus vere natura tantum tribuit sollertiae, acuminis, memoriae, ut possint geometriam, astrologiam, musicen ceterasque disciplinas penitus habere notas, praetereunt officia architectorum et efficiuntur mathematici. Itaque faciliter contra eas disciplinas disputare possunt, quod pluribus telis disciplinarum sunt armati. Hi autem inveniuntur raro, ut aliquando fuerunt Aristarchus Samius, Philolaus et Archytas Tarentini, Apollonius Pergaeus, Eratostenes Cyrenaeus, Archimedes et Scopinas ab Syracusis, qui multas res organicas, gnomonicas numero naturalibusque rationibus inventas atque explicatas posteris reliquerunt. Translation 17. But those individuals on whom nature has bestowed so much skill, acumen, retentiveness that they can be thoroughly familiar with geometry, astronomy, music and other studies, go beyond the duties of an architect and are to be regarded as mathematicians. And thus they can easily dispute about those subjects because they are armed with the weapons provided by their studies. Such men, however, are rarely met. We can point to Aristarchus of Samos; Philolaus and Archytas of Tarentum; Apollonius of Perga; Eratosthenes of Cyrene; Archimedes and Scopinas from Syracuse. They have left to after times many treatise on machinery and clocks, in which mathematics and natural laws are used to discover and explain. 18. Cum ergo talia ingenia ab naturali sollertia non passim cunctis gentibus sed paucis viris habere concedatur, officium vero architecti omnibus eruditionibus debeat esse exercitatum, et ratio propter amplitudinem rei permittat non iuxta necessitatem summas sed etiam mediocris scientias habere disciplinarum, peto, Caesar, et a te et ab is, qui ea volumina sunt lecturi, ut, si quid parum ad regulam artis grammaticae fuerit explicatum, ignoscatur. Namque non uti summus philosophus nec rhetor disertus nec grammaticus summis rationibus artis exercitatus, sed ut architectus his litteris inbutus haec nisus sum scribere. De artis vero potestate quaeque insunt in ea rationcinationes polliceor, uti spero, his voluminibus non modo aedificantibus sed etiam omnibus sapientibus cum maxima auctoritate me sine dubio praestaturum.

Translation 18. Yet it is not granted to nations as a whole, but only to few individuals, to have such genius owing to their natural endowment. At the same time te architect in his work ought to be practised in all accomplishments. Yet reason, in view of the scope of the matter, does not permit us, as need demands, to have a complete, but only a moderate, knowledge of the various subjects involved. Hence I beg your Highness and the other readers of these volumes to pardon any explanation that too little agrees with the rules of the literary art. For it is not as a lofty thinker, nor as an eloquent speaker, nor as a scholar practised in the best methods of literary criticism, but as an architect who has a mere tinge of these things, that I have striven to write the present treatise. But in respect to the meaning of my craft and the principles which it involves, I hope and undertake to expound them with assured authority, not only to persons engaged in building but also to the learned world. COMMENT In my opinion this is a very important chapter, because it gives an insight in things ancient architects should know. Throughout the text Vitruvius gives an impressive enumeration of the fields of knowledge which an architect should master. See sentence 3: 'He should be a man of letters, a skilful draughtsman, a mathematician, familiar with historical studies, a diligent student of philosophy, acquainted with music; not ignorant of medicine, learned in the responses of jurisconsults, familiar with astronomy and astronomical calculations. In the following sentences (4 - 10) the benefits of these knowledges for an architect are further elaborated: Man of letters (sentence 4): The architect must read what has been written before him and he must be able to keep records of his own work. Therefore he must have in mind the most important literature about architecture. Skilful draughtsman (sentence 4): The architect must be able to make the necessary designs to complete the work. Mathematician (sentence 4): here mathematics are seen from different points of view: The plans must be drawn in correct proportions and in the same time the architect must be a land surveyor. In the second place the architect must reckon the prize of a building. In the third place the architect must fix the different proportions of a building starting from, as we shall see later, a fixed modulus from which all the measures of the different parts can be deduced. Familiar with historical studies (sentences 5-6): to illustrate this Vitruvius gives immediatly an elaborate digression about the origin of the caryatids (see

below). I think that his reference to history is also a consequence of the final aim of the De Architectura: to give a compendium of the current architectural practice with his roots in the past and avoiding any innovation. Diligent student of philosophy (sentence 7): here philosophy is understood in two totally different ways. In the first Vitruvius refers to a way of living based on the Stoic principles, in the second he refers to the ancient physiology, clolesy linked to Stoicism, as described by Philo of Alexandria, Ctesibius, Archimedes and many others who were in the first place physicians and not philosophers. Acquainted with music (sentence 8-9): Here his career as war engineer comes to the foreground: the efficiency of balistae, catapultae and scorpiones is tested by the sound produced by the thigthened ropes. Further knowledge of music helps in defining the acoustics in theatres and is necessary for the construction of water organs (see book X). Not ignorant of medicine (sentence 10): This helps in fixing the location and orientation of a building. Learned in the responses of jurisconsults (sentence 10): The architect must know all about the legal prescriptions about building practice to defend his client against all possible objections from neighbours or possible creditors. Familiar with astronomy and astronomical calculation (sentence 10): this is a reference to book IX which is about clocks and dials. Reading this fragment I was thinking Vitruvius was telling us in the same time how he became an architect. Indeed; we find references to the period he was supervisor of the aquaducts in sentence 7, where he describes the profit of 'Physilogia' in the construction of aquaducts; to the time he was war engineer under Julius Caesar in sentence 8 where he describes the utility of music in architecture, especially in the construction of artillery, Meanwhile he already gives a lot of references to topics that he will elaborate during the Ten Books. For the different sciences an architect must know he gives examples which will be later worked out. So can we read in sentence 9 a rather puzzling, and strongly abbreviated description of acoustics in theatres. We will find a full description of this problem in book V. Vitruvius in history The work of Vitrivius is the only complete handbook about architecture that was written in antiquity. Before him there were a lot of monographies concerning one building or a specifical technique. In this chapter we can find already a reference to this series of publications in sentence 12 where he refers to the temple of Minerva (Athena) at Priene built by Pythius who subsequently

wrote a monography on this building. Unfortunately this text is lost. Only Vitruvius mentions it and so does also Pliny who gives a puzzling description of this temple. A full enumeration of the sources Vitruvius used in this work is given in the preface of book VII. There we can see how Vitruvius was a man of study and that he was able to obtain the literature produced before him. Although he knew what was written before and he himself was a practising architect, the work he wrote had not the intention to introduce novelties in this field. It was restricted to a description of architectural practises and techniques in his days without trying to innovate. The Ten Books of Vitruvius remained the standard until 1486 when Leon Battista Alberti wrote his 'De re aedicificatoria libri decem' which on his turn was the base for a lot of later theoretical works about architecture. The planning process in ancient architecture Through this whole chapter we can find out the way architects were working. Let's try to put these fragments together and understand them: Sentence 4: 'An architect must be a man of letters that he may keep record of useful precedents': Every planning process begins with a reflection on the history of building. Sentence 4: 'By his skill in draughtsmanship he will find it easy by coloured drawings to represent the effect desired': the first plans and drawings are made. These serve to make people understand how the future building will look. This is a kind of prefiguration which the employer can approve, disapprove or give some remarques on. Sentence 4: 'Mathematics again furnishes many resources to architecture. It teaches the use of rule and compass and thus facilitates the laying out of buildings on their sites by the use of set-squares, levels and alignments': after the approval of the coloured drawing the final plans are made. These are real plans as we understand it today, made with rule and compass. During this proces the architect must be fully aware of the exact location of his building. So this drawings are made after having taken the exact measurements of the building site. Sentence 4: 'By arithmetic, the cost of building is summed up': the architect must make an estimation of the costs of the building. It means probably that he had to sum up prizes of materials and labour to give the employer an exact idea of the final prize of the building he ordered. Sentence 10: 'Again, in writing the specifications, careful regard is to be paid both to the employer and to the contractor': apart from the estimation the architect had also to write an elaborate 'cahier de charge' in which the materials and their qualifications and the building techniques were carefully desribed.

This document had effect to both parties involved: the employer and the contractor: the contractor could know how he had to work and the employer had a reference if the contractor was making faults. Linguistical problems In the matter of linguistics we notice that Vitruvius had clearly a profound knowlegde of Greek literature on architecture because he frequently uses words derived from Greek when he comes to technical terminology. This can cause some problems in the translation. The main problem I met in this fragment is in sentence 8: 'for in the crossbeams on right and left are holes 'of half-tones' (hemitonia) through wich ropes...'. The meaning of this hemitonia is not clear and through the ages there have been some discussion on it. The French translation by Claude Perrault, dating 1684, suggests to replace the word 'hemitoniorum' by 'homotoniorum'. Adopting this version the text becomes much more understandable. If, further, we relate 'homotoniorum' to the original Greek word 'tonos' which means 'spring' we can try another translation of this sentence, homotoniorum meaning 'springs with equal strength'. We must be aware of the fact that also the meaning of the word 'capitulis' can be discussed. In the English translation of Frank Granger we find 'crossbeams', Perrault makes it easy with a litteral French interpretation of the word, writing 'chapiteaux'. From this we can understand 'capitulis' as the main superstructure of balistic engines. I propose to translate as follows 'For in the head (of the engine) are holes on the right and the left for equal springs through which ropes...'. We can find this interpretation also in a recent Dutch translation by Ton Peters (1997). A further discussion on balistics is given by Vitruvius in his book X. Vitruvius and history Another interesting fragment in this chapter is the attempt of Vitruvius to relate the origin of the use of caryatids instead of columns to historic events. But here too the text seems to be corrupt. We do not know which town is meant with 'Caria'. The insertion 'civitas Peloponnensis' is possibly not of Vitruvius' hand but from a medieval copyist. Indeed, the history Vitruvius refers to, played in Asia Minor in the 6th century B.C. and had nothing to do with the Persian wars, as the text now would suggest. It is about a dispute between the inhabitants of Cnidos, a town in the province Caria (Ionian coast), and some surrounding municipalities. After the victory the Cnidians constructed a treasury at the famous oracle of Delphi around 565 - 555 B.C. There appear for the first time statues of women instead of columns. It is this building that Vitruvius had in mind when giving his history on the origin of Caryatids. From this building

only ruins remain. In the museum at Delphi fragments of the caryatids are conserved. The other building Vitruvius mentions has completely disappeared. We only know it from a description of Pausanias who wrote around 170 A.D. a guidebook for Greek tourists about towns and places in Greece, known as 'Periegesis Hellados'. In his book III, chapter XI we can read: 'The most striking feature in the market-place is the portico which they call Persian because is was made from spoils taken in the Persian wars. In course of time they have altered it until it is as large and as splendid as it is now. On the pillars are white-marble figures of Persians, including Mardonius, son of Gobryas. There is also a figure of Artemisia, daughter of Lygdamis and queen of Halicarnassos.'

VITRUVIUS, BOOK I, CHAPTER 2. On what things architecture consists

1. Architectura autem constat ex ordinatio, quae graece taxis dicitur, et ex dispositione, hanc autem Graeci diathesin vocitant, et eurythmia et symmetria et decore et distributione quae graeceoeconomia dicitur. Translation 1. Now architecture consists of order, which in Greek is called taxis, and of arrangement, which the Greeks name diathesis, and of proportion and symmetry and decor and distribution which is called oeconomia. 2. Ordinatio est modica membrorum operis commoditas separatim universique proportionis ad symmetriam comparatio. Haec conponitur ex quantitate, quae graece posotes dicitur. Quantitas autem est modulorum ex ipsius operis sumptio e singulisque membrorum partibus universi operis conveniens effectus. Dispositio autem est rerum apta conlocatio elegansque conpositionibus effectus cum qualitate. Species dispositionis, quae graece dicuntur ideae, sunt hae: ichnographia, orthografia, scaenographia. Ichnographia est circini regulaeque modice continens usus, e qua capiuntur formarum in solis arearum descriptiones. Orthographia autem est erecta frontis imago modiceque picta

rationibus operis futuri figura. Item scaenographia et frontis et laterum abscendentium adumbratio ad circinique centrum omnium linearum responsus. Hae nascuntur ex cogitatione et inventione. Cogitatio est cura studii plena et industriae vigilantiaeque effectus propositi cum voluptate. Inventio autem est quaestionum obscurarum explicatio ratioque novae rei vigore mobili reperta. Hae sunt terminationes dispositionum. Translation 2. Order is the balanced adjustment of the details of the work separately, and, as to the whole, the arrangement of the proportion with a view to a symmetrical result. This is made up of dimension wich in Greek is called posotes. Now dimension is the taking of modules from the parts of the work; and the suitable effect of the whole work arising from the several subdivisions of the parts. Arrangement, however, is the fit assemblage of details, and, arising from this assemblage, the elegant effect of the work and his dimensions, along with a certain quality of character. The kinds of the arrangement (which in Greek are called ideae) are these: ichnography (plan); orthography (elevation); scenography (perspective). Ichnography (plan) demands the competent use of compass and rule; by these plans are laid out upon the site provided. Orthography (elevation), however, is the vertical image of the front, and an figure slightly tinted to show the lines of the future work. Scenography (perspective) also is the shading of the front and the retreating sides, and the correspondence of all lines to the vanishing point, which is the centre of a circle.These three arise from imagination and invention. Imagination rests upon the attention directed with minute and observant fervour to the charming effect proposed. Invention, however, is the solution of obscure problems; the treatment of a new undertaking disclosed by an active intelligence. Such are the outlines of arrangement. 3. Eurythmia est venusta species commodusque in conpositionibus membrorum aspectus. Haec efficitur, cum membra operis convenientia sunt altitudinis ad lititudinem, latitudinis ad longitudinem, et ad summam omnia respondent suae symmetriae. Translation 3. Proportion implies a graceful semblance; the suitable display of details in their context. This is attained when the details of the work are of a height suitable to their breadth, of a breadth suitable to their length; in a word, when everything has a symmetrical correspondence.

4. Item symmetria est ex ipsius operis membris conveniens consensus ex partibusque separatis ad universae figurae speciem ratae partis responsus. Uti in hominis corpore e cubito, pede, palmo, digito ceterisque particulis symmetros est eurythmiae qualitas, sic est in operum perfectionibus. Et primum in aedibus sacris aut e columnarum crassitudinibus aut triglypho aut etiam embatere, ballistae foramine, quod Graeci peritretron vocitant, navibus interscalmio, quae dipechyaia dicitur, item ceterorum operum e membris invenitur symmetriarum ratiocinatio. Translation 4. Symmetry also is the appropriate harmony arising out of the details of the work itself; the correspondence of each given detail to the form of the design as a whole. As in the human body, from cubit, foot, palm, inch and other small parts comes the symmetric quality of eurhythmy; so is it in the completed building. First, in sacred buildings, either from the thickness of colums, or a triglypf, or the module; of a balista by the perforation which the Greeks call peritreton; by the space between the rowlocks in a ship which is called dipechyaia; so also the calculation of symmetries, in the case of other works, is found from the details. 5. Decor autem est emendatus operis aspectus probatis rebus conpositi cum auctoritate. Is perficitur statione, quod graece thematismo dicitur, seu consuetudine aut natura. Statione, cum Iovi Fulguri et Caelo et Soli et Lunae aedificia sub divo hypaethraque constituentur; horum enim deorum et species et effectus in aperto mundo atque lucenti praesentes vidimus. Minervae et Marti et Herculi aedes doricae fient; his enim diis propter virtutem sine deliciis aedificia constitui decet. Veneri, Florae, Proserpinae, Fonti Lumphis corinthio genere constitutae aptas videbantur habere proprietates, quod his diis propter teneritatem graciliora et florida foliisque et volutis ornata opera facta augere videbuntur iustum decorem. Iunoni, Dianae, Libero Patri ceterisque diis qui eadem sunt similitudine, si aedes ionicae construentur, habita erit ratio mediocritatis, quod et ab severo more doricorum et ab teneritate corinthiorum temperabitur eorum institutio proprietatis. Translation 5. Decor demands the faultless ensemble of a work composed, in accordance with precedent, of approved details. It obeys convention, which in Greek is called thematismos, or custom or nature. Convention is obeyed when buildings are put up in the open and hypethral to Jupiter of the Lightning, to Heaven, the Sun, the Moon; for of these gods, both te appearance and effect we see present

in the open, the world of light. To Minerva, Mars and Hercules, Doric temples will be built; for to these gods, because of their might, buildings ought to be erected without embellishments. Temples designed in the Corinthian style will seem to have details suited to Venus, Flora, Proserpina, Fountains, Nymphs; for to these goddesses, on account of their gentleness, works constructed with slighter proportions and adorned with flowers, foliage, spirals and volutes will seem to gain a just decor. To Juno, Diana and Father Bacchus, and the other gods who are of the same likeness, if Ionic temples are erected, account will be taken of their middle quality; because the determinate character of their temples will avoid the severe manner of the Doric and the softer manner of the Corinthian. 6. Ad consuetudinem autem decor sic exprimitur, cum aedificiis interioribus magnificis item vestibula convenientia et elegantia erunt facta. Si enim interiora prospectus habuerint elegantes, aditus autem humiles et inhonestos, non erunt cum decore. Item si doricis epistyliis in coronis denticuli sculpentur aut in pulvinatis columnis et ionicis epistyliis (capitulis) exprimentur triglyphi, translatis ex alia ratione proprietatibus in aliud genus operis offendetur aspectus aliis ante ordinis consuetudinibus institutis. Translation 6. With reference to fashion, decor is thus expressed; when to magnificent interiors vestibules also are made harmonious and elegant. For if the interior apartments present an elegant appearance, while the approaches are low and uncomely, they will not be accompanied by fitness. Again, if, in Doric entablatures, dentils are carved on the cornices, or if with voluted capitals and Ionic entablatures, triglyphs are applied, characteristics are transferred from one style to another: the work as a whole will jar upon us, since it includes details foreign to the order. 7. Naturalis autem decor sic erit, si primum omnibus templis saluberrimae regiones aquarumque fontes in his locis idonei eligentur, in quibus fana constituantur, deinde maxime Aesculapio, Saluti, et eorum deorum quorum plurimi medicinis aegri curari videntur. Cum enim ex pestilenti in salubrem locum corpora aegra translata fuerint et e fontibus salubribus aquarum usus subministrabuntur, celerius convalescent. Ita efficietur, uti ex natura loci maiores auctasque cum dignitate divinitas excipiat opiniones. Item naturae decor erit, si cubiculis et bybliothecis ab oriente lumina capiuntur, balneis et hibernaculis ab occidente hiberno, pinacothecis et quibus certis luminibus opus est partibus, a septentrione, quod ea caeli regio neque exclaratur neque obscuratur solis cursu sed est certa inmutabilis die perpetuo.

Translation 7. There will be a natural decor: first, if for all temples there shall be chosen the most healthy sites with suitable springs in those places in which shrines are to be set up; secondly and especially for Aesculapius and Salus; and generally for those gods by whose medical power sick persons are manifestely healed. For when sick persons are moved from a pestilent to a healthy place and the water supply is from wholesome fountains, they will more quickly recover. So will it happen that the divinity (from the nature of the site) will gain a greater and higher reputation and authority. Also there will be natural seemliness if light is taken from the east for bedrooms and libraries; for baths and winter apartments, from the wintry sunset; for picture galleries and the apartments which need a steady light, from the north, because that quarter of the heaven is neither illumined nor darkened by the sun's course but is fixed unchangeable throughout the day. 8. Distributio autem est copiarum locique commoda dispensatio parcaque in operibus sumptus ratione temperatio. Haec ita observabitur, si primum architectus ea non quaeret, quae non potuerunt inveniri aut parari nisi magno. Namque non omnibus locis harenae fossicae nec caementorum nec abietis nec sappinorum nec marmoris copia est, sed aliud alio loco nascitur, quorum conportationes difficiles sunt et sumptuosae. Utendum autem est, ubi non est harena fosica, fluviatica aut marina lota; inopiae quoque abietis aut sappinorum vitabuntur utendo cupresso, populo, ulmo, pinu; reliquaque his similiter erunt explicanda. Translation 8. Distribution or economy, however, is the suitable disposal of supplies and the site, and the thrifty and the wise control of expense in the works. This will be guarded if, in the first place, the architect does not require what can only be supplied and prepared at great cost. For it is not everywhere that there is a supply of quarry sand or hewn stone, or fir or deal or marble. Different things are found in different places, the transport of them may be difficult and costly. Now where there is no quarry sand we must use washed river or sea sand; the need for fir or deal will be met by using cypress, poplar, elm, pine; other difficulties will be solved in alike fashion. 9. Alter gradus erit distributionis, cum ad usum patrum familiarum et ad pecuniae copiam aut ad eloquentiae dignitatem aedificia alte disponentur. Namque aliter urbanas domos oportere constitui videtur, aliter quibus ex possessiones rusticis influunt fructus; non idem feneratoribus, aliter beatis et

delicatis, potentibus vero, quorum cogitationibus respublica gubernaretur, ad usum conlocabuntur; et omnino faciendae sunt aptae omnibus personis aedificiorum distributiones. Translation 9. The second stage in Economy comes, when buildings are variously disposed for the use of owners or with a view to the display of wealth or lofty enough to suit the most dignified eloquence. For manifestly houses should be arranged in one way in towns; in another way for persons whose income arises from country estates; not the same for financiers; in another way for the wealthy men of taste; for the powerful, however, by whose ideas the state is governed, there must be special adjustment to their habits. And generally the distribution of buildings is to be adapted to the vocations of their owners. COMMENT The concerns of architecture This is a very rich chapter about the quintessens of architecture as seen in antiquity. The definition of architecture is given in the first sentence. It comes immediately after the training of the architect and is prominently present at the beginning of the second chapter. It deals with aesthetics of architecture. This is the only place in the whole ten books where Vitruvius is concerned with aesthetics. In the rest of the work architecture is reduced to a play of proportions based on fixed moduli. In the first sentence Vitruvius immediately defines six aestehetic categories in architecture: ordinatio, dispositio, eurythmia, symmetria, decor, distributio. In the rest of the text these categories are further explained. In this text we meet for the first time one of the major difficulties of Vitruvius: he, as a native Latin speaker, had only Greek sources at his disposal. Before him nothing of the kind was written in Latin. For that reason he had to translate Greek terminology and even to create new Latin words of which the meaning stays, until now, unclear. To make his point clear he gives, after his Latin 'invention' the Greek word in a Latin transcription. It is remarkable that the first four categories of his definition of architecture (ordinatio - dispositio eurythmia - symmetria) are derived directly from Greek sources: Vitruvius

gives for the first two after his Latin interpretation the Greek equivalent; for the latter two he made no Latin equivalent and gives only the Greek version. Ordinatio, dispositio, symmetria and eurythmia are in these categories an interdepent quattour: symmetria results from ordinatio, the activity of ordering the parts of the whole quantitatively. In turn symmetria itself is the necessary condition for eurythmia, for the commensurate parts thus obtained are subsequentely arranged qualitatively (through the activity of dispositio, concerned with compositio) so as to produce a state of harmonious wholesome. Thus eurythmia is a state of syntactic harmony and has to do with measurable (right) placement and form. 'Symmetria' which is translated as 'Symmetry' has not the meaning of our modern geometrical concept of symmetry. Vitruvius means that the measurements of the different parts of a building should be in proportion to each other. In a certain sense the symmetria is a further explanation of the Eurythmia. It is regrettable that he gives us no indication how to obtain this symmetry. Here Vitruvius is very superficial and he leaves everything to the fantasy of the reader. These four categories can be seen as the canon of Vitruvius; a system of preordained forms which left no place to novelties. The whole of these four categories comes directly from hellenistic literature about architecture. This becomes particulary clear from his definition of decor as given in sentence 5: Decor demands the faultless ensemble of a work composed, in accordance with precedent, of approved details. In Vitruvius' opinion architecture was about the correct application of already approved forms and compositions. Novelties were not allowed in this philosophy. The two last categories: decor and distributio stand alone. They have no equivalent in Hellenistic literature. In my opinion the concept of decor (for which no Greek equivalent is given) is a Vitruvian invention. This might be proved by the great effort he makes to explain this category: where in the former four he had clearly a ready made definition at his disposal in his Greek sources, he had to explain his concept of decor with a lot of examples from which no proper definition is deduced. The purpose of decor is to produce a composition where everything (form and content) is on the 'right place'. The rules to achieve this purpose are governed by three subcategories: statio, consuetudo and natura. For these categories Vitruvius did give neither a proper definition. Instead of a definition we find for each of these categories two sets of examples; Vitruvius leaves thus the understanding of the contents of these subcategories, and of the whole decor, to the reader.

The first part of 'Decor' is Statio.Vitruvius uses this word with a proper (Vitruvian) meaning. The first meaning of the Latin word 'Statio' is permanent condition, immobility. In the Vitruvian vocabulary it means fixed convention. To explain his concept of statio he refers to the Greek word thematismos which means 'convention' and has nothing to do whith the normal meaning of statio. Also this shift of meaning might prove the Vitruvian invention of decor. Statio is about the choice of a plan type for a temple (hypethral versus roofed) and the choice of an order (Doric, Ionic, Corinthian). These choices must reflect the nature of the gods. He explains that the various kinds of divinities have their own type of temple architecture. Consuetudo: this category is about coherence. In dwelling houses the exterior must reflect something of the interior; in the composition of the orders (Doric Ionic - Corinthian) details cannot migrate from one order to another. This was not a noncommittal attitude of Vitruvius: during his lifetime Roman builders started effectively to mix elements of the different orders or styles in order to make new forms. His disapproval of these 'post modern' tendencies comes to the foreground in his treatment of consuetudo: 'Again, if, in Doric entablatures, dentils are carved on the cornices, or if with voluted capitals and Ionic entablatures, tryglyphs are applied, characteristics are transferred from one style to another: the work as a whole will jar upon us, since it includes details foreign to the order.' But there is more than disapproval in these lines and it is even possible that he included a personal settlement with Augustus: Vitruvius clearly alluded to the theater of Marcellus. The construction of this theater was ordered by Augustus after the premature death of is nephew and heir Marcellus. Works were finished in the year 19 B.C. Although Vitruvius was on this moment one of the more influential architects in Rome (due to the protection of Octavia, Augustus' sister (see preface)) probably his opinion was not asked for this building. It is obvious that he was disturbed by this situation. He conceals his feelings by giving a general opinion about the mixing of details: indeed, in the theater of Marcellus we can see (Ionic) dentils on the cornice of a Doric entablature. 'License', seen as a 'post-modern' mixture of forms and details from the different orders to produce something new, something out of the fixed categories and therefore not included in the general canon, was for Vitruvius an unspeakable thing. We find the same criticism in the preface of book VI. In this preface Vitruvius is very sharp, even to the emperor:

But, your Highness, I have not studied with the view of making money by my profession; rather have I held that a slight fortune with good repute is to be pursued more than abounding wealth accompanied by disgrace. Thus little celebrity has come my way. Yet by publishing these volumes, my name will reach, I hope, to after times. Nor is there cause for wonder why I am unknown to the general. Other architects beg and wrangle to obtain commissions; but I follow a rule laid down by my masters: not to seek employment but to be sought out; since an open countenance changes for shame when a request is made of a doubtful character. For the giver of a favour is courted, not the receiver. For what do we thinh will be suspected by a man who is asked to entrust expenditure at his own cost to the pleasure of the petitioner? Will he not judge that it is to be done for the profit and advantage of the other man? Therefore our forefathers used to entrust commissions to architects of approved descent in the first place; in the second place they inquired if they were well brought up, considering that they should employ men with a sense of honour, rather than persons of a bold and insolent turn. For the craftsmen themselves trained only their own children and kindred, and those apprentices who were so worthy, that large sums could be entrusted without hesitation to their loyalty. But while I observe that an art of such magnificence is professed by persons without training and experience, by those who are ignorant not only of architecture but even of construction, I cannot refrain from praising those owners of estates who, fortified by confidence in their own erudition, build for themselves, judging that if inexperienced persons are to be employed, they themselves are entitled to spend their own capital to their own liking rather than to that of anyone else. For no one attempts to practise any other calling at home, such as shoemaking or fulling or any other easy occupation, with the one exception of architecture, because persons who profess it are falsely called architects in the absence of a genuine training. The third part of Decor is Natura: this category is about the relation between the building and the building site. In the first place this site must be healthy to enhance the dignity of the god, in the second place should the building be thus orientated that it takes advantage from the direction of the light. Architects must consider the natural environment of their buildings and adapt their work to natural circonstances The last aesthetic category of architecture is distributio. This is about the relationship between owners and their buildings: a building must be apt with respect to his owner.

The working method of the architect In this chapter Vitruvius gives us an idea of the abilities of the Roman architect. We look at the way of planning a building in sentence 2 where Vitruvius speaks about ichnographia, orthographia, scaenograhia. These three words give us an idea about the way of working of architects, which in a certain sense is very similar to the modern modus operandi. 'Ichnographia' is once again a term derived from Greek. The Greek word 'ichnos' means vestige. Vitruvius uses the word here to define the ground plan of the building. Since Vitruvius makes also allusion to the situation of the building on the site it seems certain to me that these plans contained indications of measurements and also (what moderns call) a situation plan in which the building is situated in his environment and on the plot. The method of designing is given in the words 'circini regulaeque ... usus': by using the compass and the rule. 'Orthographia' is also derived from Greek. We see the Greek word 'orthos' which means 'upright'. Vitruvius uses the word to define the design of the elevation of the building, the facades. 'Scaenographia', a third word derived from Greek indicates the design of perspective. This is explained in the definition by the words adumbratio which is translated in our edition as shading and ad circini centrum omnium linearum responsus which is translated as the correspondence of all lines to the vanishing point, which is the centre of a circle. It is clear that Vitruvius is talking about the ancient technique to produce a perspective drawing of a building. The compass was used to draw a circle, from the circumference of this circle all the lines must converge in the centre i.e the spot where the point of the compass was placed. During the history of Vitruvian study the translation of this fragment posed some problems. First we have the word adumbratio, one of the key words of this fragment. In Granger we read shading; in Perrault's translation we read parties enfonces (deeper lying parts); the recent Dutch translation by Ton Peeters gives the more correct version drawing. Indeed: adumbratio is usually translated as draft, drawing ans has nothing to do withshading. Further we have the word circinus which is translated here as circle but which means usually compass. Thus, a better translation of this fragment could be: 'Scaenographia is the drawing of the front and the retreating sides with the correspondence of all the lines to the point where the point of the compass was placed (litterally: correspondence of all the lines to the centre of the compass).

We can conclude that the planning process of a building contained three stages: - Ichnograpia: ground plan - Orthographia: elevation - Scaenographia: perspective. These tasks are comparable to the activity of modern architects.

VITRUVIUS, BOOK III, CHAPTER 3 On the kinds of temples

CONTENTS OF THIS CHAPTER1. Text and translation 2. Comment 1. Temple of Divus Julius 2. Temple of Venus Genetrix 3. Temple of Fortuna Equestris 4. Temple of Apollo and Diana 5. Araeostyle temples 1. Temple of Ceres 2. Temple of Hercules 3. Capitoline temple of Jupiter 6. Eustyle temples 1. Temple of Dionysos at Teos 2. Hermogenes 7. Architectural system 8. Entasis 3. Bibliography 4. Illustrations of the Cesariano edition, 1521

Text and translation 1. Species autem aedium sunt quinque, quarum ea sunt vocabula: pycnostylos, id est crebris columnis; systylos paulo remissioribus; diastylos amplius

patentibus; rare quam oportet inter se diductis araeostylos; eustylos intervallorum iusta distributione. Translation 1. There are five elevations of temples, of which the names are as follows: pycnostyle, that is with close columns; systyle, with the spaces of the intercolumniations a little more open; diastyle, wider still; with intercolumniations more open than they should be, araeostyle; eustyle, with the just distribution of the intervals. 2. Ergo pycnostylos est, cuius intercolumnio unius et dimidiatae columnae crassitudo interponi potest, quemadmodum est Divi Iulii et in Caesaris foro Veneris et si quae aliae sic sunt compositae. Item systylos est, in quo duarum columnarum crassitudo in intercolumnio poterit conlocari, et spirarum plitnhides aeque magnae sint et spatio, quod fuerit inter duas plinthides, quemadmodum est Fortunae Equestris ad theatrum lapideum reliquaeque, quae eisdem rationus sunt conpositae. Translation 2.So then pycnostyle is that in the intercolumniations of which the thickness of a column and a half can be interposed, as in the temple of Deified Julius and of Venus in the Forum of Caesar, and any others which are so arranged. The systyle also is that in which the thickness of two columns can be placed in the intercolumniations, and the plinths of the bases are equally great with the sapce between two plinths, as in the temple of Fortuna Equestris against the Stone Theatre, and the others which are arranged in the same proportions. 3. Haec utraque genera vitiosum habent usum. Matres enim familiarum cum ad supplicationem gradibus ascendunt, non possunt per intercolumnia amplexae adire, nisi ordines fecerint; item valvarum adspectus abstruditur columnarum crebritate ipsaque signa obscurantur; item circa aedem propter angustias inpendiuntur ambulationes.

Translation 3. These two kinds are objectionable in use. For when matrons come up by the steps to give thanks, they cannot approach between the columns arm in arm but in single file; further, the view of the doors is taken away by the numerous columns, and the statues themselves are obscured; walking round the temple is hindered on account of the narrow intervals. 4. Diastyli autem haec erit conpositio, cum trium columnarum crassitudinem intercolumnio interponere possumus, tamquam est Apollinis et Dianae aedis. Haec dispositio hanc habet difficultatem, quod epistylia propter intervallorum magnitudinem franguntur. Translation 4. Of the diastyle, the arrangement is as follows: when we can interpose the thickness of three columns in the intercolumniation, as in the case of the Temple of Apollo and Diana. Such a disposition presents this difficulty, that the architraves break because of the wide openings. 5. In araeostylis autem nec lapideis nec marmoreis epistyliis uti datur, sed inponendae de materia trabes perpetuae. Et ipsarum aedium species sunt varicae, barycephalae, humiles, latae, ornanturque signis fictilibus aut aereis inauratis earum fastigia tuscanico more, uti est ad Circum Maximum Cereris et Herculis Pompeiani, item Capitoli. Translation 5. In araeostyle buildings it is not given to use stone or marble architraves, but continuous wooden beams are to be emplyed. And the design of the buildings themselves are straddling, top-heavy, low, broad. The pediments are ornamented with statues of terra-cotta or gilt bronze in the Etruscan fashion, as is the Temple of Ceres at the Circus Maximus, Pompey's Temple of Hercules, and the Capitoline Temple.

6. Reddenda nunc est eustyli ratio, quae maxime probabilis et ad usum et ad speciem et ad firmitatem rationes habet explicatas. Namque facienda sunt in intervallis spatia duarum columnarum et quartae partis columnae crassitudinis, mediumque intercolumnium unum, quod erit in fronte, alterum, quod in postico, trium columnarum crassitudine. Sic enim habebit et figurationis aspectum venustum et aditus usum sine inpeditionibus et circa cellam ambulatio auctoritatem. Translation 6. We must now render an account of the eustyle, which is specially to be approved, and has proportions set out for convenience, beauty and strength. For in the intervals the width of two and a quarter columns is to be made, and in the middle intercolumniation, one in the front and one in the back, is to be three columns wide. For so the building will have both a graceful appearance in its configuration, and a convenient approach; and the walk round the sanctuary will have dignity. 7. Huius autem rei ratio explicabitur sic. Frons loci quae in aede constituta fuerit, si tetrastylos facienda fuerit, dividatur in partes XI S praeter crepidines et proiecturas spirarum; si sex erit columnarum, in partes XVIII; si octostylos constituetur, dividatur in XXIV et semissem. Item ex his partibus sive tetrastyli sive hexastyli sive octostyli una pars sumatur, eaque erit modulus. Cuius meduli unius erit crassitudinis columnarum. Intercolumnia singula, praeter media, modulorum duorum et moduli quartae partis; mediana in fronte et postico singula ternum modulorum. Ipsarum columnarum altitudo modulorum habebunt iustam rationem. Translation 7. The method of this arrangement is to be explained as follows. The front of the site which has been set out in the building is to be divided, if it is to be tetrastyle, into 11 1/2 parts, excluding the plinths and the projections of the bases; if the building is hexastyle, into 18 parts; if it shall be octastyle, into 24 1/2 parts. Further, of these parts, whether for tetrastyle, hexastyle, or octastyle, let one be taken, and that will be the thickness of the column. The several intercolumniations except those in the middle intercolumniations at the front and at the back will be severally of three modules. The height of the columns will have a just proportion of modules.

8. Huius exemplar Romae nullum habemus, sed in Asia Teo hexastylon Liberi Patris. Eas autem symmetrias constituit Hermogenes, qui etiam primus exo stylon pseudodipterive rationem. Ex dipteri enim aedis symmetriae distulit interiores ordines columnarum XXXIV eaque ratione sumptus operasque compendii fecit. Is in medio ambulationi laxamentum egregie circa cellam fecit de aspectuque nihil inminuit, sed sine desiderio supervacuorum conservavit auctoritatem totius operis distributione. Translation 8. Of this we have no instance at Rome; but in Asia there is the hexastyle temple of Father Bacchus in Teos. These proportions Hermogenes determined, and he also was the first to use the exostyle or pseudodipteral arrangement. For from the plan of the dipteral temple he removed the interior rows of the thirty-four columns, and in that manner abridged the expense and teh work. He made an opening for the ambulatory round the cella in a striking fashion, and in no respect detracted from the appearance. Thus without letting us miss the superfluous parts, he preserved the impressiveness of the whole work by his arrangement. 9. Pteromatos enim ratio et columnarum circum aedem dispositio ideo est inventa, ut aspectus propter asperitatem intercolumniorum habeat auctoritatem, praeterea, si ex imbrium aquae vis occupaverit et intercluserit hominum multitudinem, ut habeat in aede circaque cellam cum laxamento liberam moram. Haec autem ut explicantur in pseudodipteris aedium dispositionibus. Quare videtur acuta magnaque sollertia effectus operum Hermogenis fecisse reliquisseque fontes, unde posteri possent haurire disciplinarum rationes. Translation 9. For the columns round the temple were so divised that the view of them was impressive, because of the high relief given to the intercolumniations; moreove, if a number of people have been unexpectedly cut off by showers of rain, they have plenty of room to linger in the building space. Thus far as is explained in the pseudodipteral plans of temples. Hence there must have been great and subtle skill to produce the works of Hermogenes, and it has left sources from which posterity could draw their methods of study.

10. Aedibus araeostylis columnae sic sunt faciendae, uti crassitudines earum sint partis octavae ad altitudines. Item in diastylo dimetienda est altitudo columnae in partes octo et dimidium, et unius partis columnae crassitudo conlocetur. In systylo altitudo dividatur in novem et dimidiam partem, et ex eis una ad crassitudinem columnae detur. Item in pycnostylo dividenda est altitudo in decem, et eius una pars facienda est columnae crassitudo. Eustyli autem aedis columnae, uti systyli, in novem partibus altitudo dividatur in crassitudine imi scapi. Ita habebitur pro rata parte intercolumniorum ratio. Translation 10. For araeostyle temples, the columns are to be so made that their diameters are one-eighth to height. Also in the diastyle, the height of the column is to be so measured out into eight and a half parts, and let the diameter of the column be on one part. In the systyle let the height be divided into nine and a half parts, let one of these be given for the diameter of the column. Also in the pycnostyle, the height is to be divided into ten, and of that one part is to be made the diameter of the column. Now of the eustyle temple, as of the systyle, let the height be divided into nine and a half parts, and of that let one part be set up for the diameter of the bottom of the shaft. In this way the relation of the intercolumniations will be observed proportionately. 11. Quemadmodum enim crescunt spatia inter columnas, proportionibus adaugendae sunt crassitudinis scaporum. Namque si in araeostylo nona aut decima pars crassitudinis fuerit, tenuis et exilis apparebit, ideo quod per latitudinem intercolumniorum aer consumit et inminuit aspectu scaporum crassitudinem. Contra vero pycnostylis si octava pars crassitudinis fuerit, propter crebritatem et angustias intercolumniorum tumidam et invenustam efficiet speciem. Itaque generis operis oportet persequi symmetrias. Etiamque angulares columnae crassiores faciendae sunt ex suo diamtero quinquagesima parte, quod eae ad aere circumciduntur et graciliores videntur esse aspicientibus. Ergo quod oculus fallit, ratiocinatione est exequendum. Translation

11. For in the measure by which the spaces between the columns grow, the diameters of the shafts are to be increased. For if in the araeostyle there shall be the ninth or tenth part of a diameter, it will appear thin and scanty; because through the width of the intercolumniations the air consumes and lessens in appearance the diameter of the shafts. On the other hand, in pycnostyle temples if there shall be the eighth part of a diameter, because of the frequency and narrowness of the intercolumniations, it will produce a swollen and displeasing appearance. Therefore we must follow the symmetries required by the style of the work. The angle columns also must be made thicker by the fiftieth part of their diameter, because they are cut into by the air and appear more slender to the spectators. Therefore what the eye cheats us of, must be made up by calculation. 12. Contracturae autem in summis columnarum hypotracheliis ita faciendae videntur, uti, si columna sit ab minimo ad pedes quinos denos, ima crassitudo dividatur in partes sex et earum partium quinque summa constituatur. Item quae erit ab quindecim pedibus ad pedes viginti, scapus imus in partes sex et semissem dividatur, earumque partium quinque et semisse superior crassitudo columnae fiat. Item quae erunt a pedibus viginti ad pedes triginta, scapus imus dividatur in partes septem, earumque sex summa contractura perficiatur. Quae autem ab triginta pedibus ad quadraginta alta erit, ima dividatur in partes septem et dimidiam; ex his sex et dimidiam in summo habeat contracturae rationem. Quae erunt ab quadraginta pedibus ad quinquaginta, item dividendae sunt in octo partes, et earum septem in summo scapo sub capitulo contrahuntur. Item si quae altiores erunt, eadem ratione pro rata constituantur contracturae. Translation 12. The contractions, however, in the topmost necking of the columns, it seems, should be so made that from the smallest dimension up to fifteen feet, the lowest diameter should be divided into six parts and the top should be of five of these parts. Also in those which shall be from fifteen to twenty feet, the lowest part of the shaft is to be divided into six and a half parts; and of those parts five and a half are to be the upper diameter of the column. Also in those which shall be from twenty feet to thirty feet, let the lowest part of the shaft be divided into seven parts, and let the top contraction be made six of them. In the column which shall be from thirty to forty feet, let the lowest diameter be divided into seven and a half parts; of these let the column have six and a half at the top as the amount of contraction. Those which shall be from forty to fifty feet are also to be divided into eight parts, and these are to be contracted to seven at the top

of the shaft under the capital. Further, if any are higher, let the contractions be determined proportionately in the same way. 13. Haec autem propter altitudinis intervallum scandentis oculi species adiciuntur crassitudinibus temperaturae. Venustates enim persequitur visus, cuius si non blandimur voluptati proportione et modulorum adiectionibus, uti quod fallitur temperatione adaugeatur, vastus et invenustus conspicientibus remittetur aspectus. De adiectione, quae adicitur in mediis columnis, quae apud Graecos entasis appellatur, in extremo libro erit formata ratio eius, quemadmodum mollis et conveniens efficiatur, subscripta. Translation 13. It is on account of the variation in height that these adjustments are added to the diameters to meet the glace of the eye as it rises. For the sight follows gracious contours; and unless we flatter its pleasure, by proportionate alterations of the modules (so that by adjustment there is added the amount to which it suffers illusion), an uncouth and ungracious aspect will be presented to the spectators. As to the welling which is made in the middle of the columns (this among the Greeks is called entasis), an illustrated formula will be furnished at the end of the book to show how the entasis may be done in a graceful and appropriate manner. 2. COMMENT Vitruvius is working systematically. In the former chapter he gave us a description of the different types of groundplan appropriate for a temple. Now he gives an account of the different elevations and their proportions. Here too he goes back to the theories of the hellenistic architect Hermogenes who clearly codified the rules and proportions of Ionic temple architecture. Vitruvius seems to have admired Hermogenes for he refers many times to him in his work and in this chapter he dedicates two complete sentences (8 - 9), as a parenthesis, to the methods of Hermogenes. Like in the preceding chapter Vitruvius illustrates his statements with a lot of examples in Rome and elsewhere. Back to contents 2.1. The temple of Divus Julius on the Forum Romanum (sentence 2)

This is the temple of the deified Julius Caesar, authorised by the triumvirs in 42 B.C. but apparently built by Augustus alone and dedicated 18th August 29 B.C. as we can read in hisRes gestae divi Augusti: Aedem divi Iuli ... feci. The temple consisted of two parts, a rectangular platform 3,5 metres high, 26 wide and about 30 long; and on this the stylobate proper which rose 2,36 metres above the platform, making the cella floor very high. This stylobate was 17 metres wide. The predilection for high podia was an Etruscan heritage which we meet very often in the two last centuries B.C. The next chapter of this book is devoted to foundations (and podia of temples) and we shall review this later. A reconstructional drawing has been made by Richter in 1888. Starting from the measurements of some architectural fragments he made calculations for the different elements but these calculations are based on the description by Vitruvius. For this reason I think that this reconstruction is purely hypothetical; not enough is left to confirm the deductions of Richter on the site. The illustrations show Richter's designs. The temple itself was Ionic, hexastyle and probably with antae. The columns were 1,18 metres in diameter at the base (4 Roman feet) and their height was nine times the diameter or 10,62 metres. The cella occupied the whole width of the temple. In this temple Augustus placed treasures from the spoils that he had taken and different paintings. Today only the concrete core of the high podium remains. It is completely stripped of his original architectural decoration. Back to contents Back to text

2.2. The temple of Venus Genetrix on the Forum Caesaris (sentence 2) The works on the Forum Caesaris started in 51 B.C., during Caesar's absence in Gaul. At the battle of Pharsalos, in which Caesar defeated Pompey in 48 B.C., he vowed a temple to Venus Genetrix, the mythical ancestress of the Julian gens, and proceeded to build it at the rear wall, in the axis of his forum. Like the temple of Divus Julius also this temple was built on a high podium, in the Tuscan manner. The temple was hexastyle with nine columns on the sides. The rear side was closed forming a type which Vitruvius doesn't describe: peripteros sine postico which goes back to Etruscan traditions. This temple presents a typological innovation: the rear wall ends in an apse. This is the first Roman temple of this type. Also of this temple not very much is left. The three columns on the illustration are the result of a modern rebuilding. Archaeological evidence has shown that this two temples were really pycnostyle as Vitruvius quoted. Back to contents Back to text 2.3. The temple of Fortuna Equestris (sentence 2) Apart from a few mentions in Latin literature nothing is known of this temple. We know that it was dedicated in 173 B.C. and that it probably disappeared in 22 A.D. Alone from Vitruvius we know that it was systyle but we don't know wether it was hexastyle or octostyle. Interesting is the mention of the 'Theatrum lapideum'. It is the first stone-built theatre in Rome, built by Pompey in 55 B.C. Fragments of this theatre on the Campus Martius are preserved in the foundations of renaissance and baroque buildings.

Back to contents Back totext 2.4. The temple of Apollo and Diana (sentence 4) This temple was vowed by Augustus in 36 B.C. and dedicated in 28 B.C. It was the most magnificent of Augustus' buildings but apart from mentions in literature nothing is known about this temple. Even the exact location is under discussion. Only from Vitruvius we know something of its groundplan. Vergilius VI,69 (Tum Phoebo et Triviae solido de marmore templum) learns us that the building was constructed of solid blocks of marble. In the literary sources the temple is connected with a porticus. Vitruvius notes an interesting detail of this type of temple with three thicknesses in the intercolumniation: the span beween the columns is too wide for the material which breaks under his own weigth. Indeed stones like marble and sandstone have a great resistance to compression but cannot support any pull or load; when the span is too wide they may break and cause damage to the building. Back to contents Back to text 2.5. Araeostyle temples (sentence 5)

This type of temple refers to the Etruscan manner. Typical of all Etruscan temples are roomy colonnaded pronaoi in front of the cella and entrances only on the front. Common to all the temples with this arrangement are wide spaces

between the columns. These large intercolumniations made it impossible to employ stone or marble for the architraves. Indeed where in diastyle temples there was only the danger that architraves could break under their own load, this was surely the case in araeostyle temples where intercolumniations were even wider. So wooden beams were laid upon the columns and the whole entablature was of wood with an external terracotta decoration in the Greek style. The illustration shows an exemple of this type of decoration from the Etruscan temple of Talamone in the archaeological museum of Firenze. Vitruvius himself refers to three temples of this type in Rome: the temple of Ceres near the Circus Maximus, the temple of Hercules built by Pompey and the Capitoline temple of Jupiter. 2.5.1 The temple of Ceres This was one of the very old and archaic temples of Rome. It was dedicated in 493 B.C. and situated near the west end of the Circus Maximus on the slope of the Aventine. Because of his magnificence it is often mentioned in Latin literature. It was burned down in 31 B.C., restored by Augustus and dedicated by Tiberius in 17 A.D. Except these literary mentions nothing is known about this temple. No traces have been found. 2.5.2 The temple of Hercules Nothing is known about this temple. In literary sources it is only mentioned twice: Vitruvius and Plinius, Naturalis historia, XXXIV, 57 who refers to a statue of Hercules qui est apud circum maximum in aede Pompei Magni. It is not known whether this refers to a temple built by Pompey or restored by Pompey. Because of the archaic style described by Vitruvius I think that we must understand it as a temple restored by Pompey. 2.5.3 The Capitoline temple of Jupiter This was the most venerable temple of ancient Rome. Situated on the Capitoline hill this temple was dedicated to Jupiter Optimus Maximus and his two companion deities: Juno and Minerva. According to the legends the temple was vowed by Tarquinius Priscus in his battle against the Sabines. Works were started by Tarquinius

Priscus but it was completed under his successor Tarquinius Superbus and dedicated after the expulsion of the Tarquinii in 509 B.C. Through the ages it was restuccoed and embellished until a fire destroyed it in 83 B.C. It was restored in 69 B.C. in the Greek hellenistic manner but the general layout of the plan was kept. Indeed this plan was seen as sacrosanct to Roman authors (Tacitus, Historiae, IV, 53: nolle deos mutari veterem formam). It was struck frequently by lightning. Augustus restored it probably about 26 B.C. In 80 A.D. it was again burned down and restored by Domitianus in 82 A.D. His destruction started in the sixth century and finished in the sixteenth when the Caffarelli built their palace on his ruins. The Capitoline temple is the largest Etruscan temple known to us. It measured 49,73 metres between the corner columns and vies with the largest Greek temples. Excavations and borings, with the information given by Vitruvius in this sentence and Dionysius have established the plan of the temple which remained unchanged throughout the centuries. The temple stood on a rectangular podium which measured 55 x 60 metres. The temple was hexastyle with three rows of columns across the front. The intercolumniations corresponded with the different widths of the three adjacent cellae. The columns had at the base a diameter of 2,23 metres; the wider central intercolumniations measured 11,12 metres (i.e. nearly 5 times the diameter of the columns), the narrower 8,9 metres (i.e. nearly 4 times the diameter of the columns). This proportions exceeded far the proportions given in the diastyle temple where the intercolumniations were three times the diameter. If there were already difficulties with the intercolumnar span in the diastyle temple it is easily understandable that this occured also in these huge araeostyle temples and that it was nessecary to replace the stone architraves by wooden beams. Vitruvius is the only literary source which gives us a hint to the way of constructing these temples, other literary sources speak only about the magnificence of the ornaments. There are no archaeological remains of this superstructure, so we must assume that Vitruvius is right with his mention

of trabes perpetuae also for the greatest and most expensively constructed temple of ancient Rome, the Capitoline temple of Jupiter Optimus Maximus. Back to contents Back to text 2.6. Eustyle temples (sentences 6 - 8a) The proportions of this type of temple were codified by Hermogenes. Vitruvius seems to have admired this Hermogenes as his great predecessor who wrote a treatise about hellenistic Greek Ionic temple architecture in Asia Minor. I refer to my comments on the former chapter. The eustyle temple had the ideal ratio between the column diameter and the intercolumniation. Therefore it was called 'eu'style, eu being the Greek word which means good, correct. By restricting the span of the intercolumniation to two and a quarter columns the architraves could still be made out of stone; the wider central intercolumniation of three columns was in accordance with the diastyle temple but problems which could eventually occur with the stability were here a calculated risk. Back to contents Back to text 2.6.1. The temple of Dionysos at Teos (sentence 8) The identification if this temple has been discussed. The fact that Vitruvius mentions this temple as an important building in Asia Minor has incited scientists to look for it.They found in 1925 traces of a temple that could possibly be identified with the one Vitruvius describes. It is a hexastyle peripteros with eleven columns at the side which, according to a great number of architectural ornamentation comparable to other temples of the same periode, could have been built by Hermogenes. The lower diameter of the columns is 1,03 meter, the intercolumniation is 2,23 meter. This is not in accordance with the principles of Vitruvius, for if the intercolumniation would have been 2 1/4

thicknesses the lower diameter should have been 1,01 meter instead of 1,03. If we accept the temple of Teos as prototype of the eustyle proportion the relation becomes 1:2 1/6 or the intercolumniation is 2 1/6 thicknesses. Further there is the problem with the central intercolumniation which Vitruvius describes explicitely as being of three thicknesses. The excavated temple of Teos does not present this central intercolumniations: they have the same width as the others. This led some scholars to reject this identification, others accept a total rebuilding of the hellenistic temple in Roman imperial times. Back to contents Back to text 2.6.2. Hermogenes (sentences 8 - 9) Vitruvius is the only ancient writer who mentions Hermogenes. Since he don't give any chronological indication it is not known when he lived exactly. There are two tendencies, the first dating Hermogenes at the end of the third century B.C., the other around the years 150 - 130 B.C. Vitruvius sees him as his great predecessor and ascribes him a lot of innovations in Ionic architecture of which, in the eyes of Vitruvius, the pseudodipteral plan is the most important. Two remarks can be made 1. The pseudodipteral plan existed long before Hermogenes; 2. Vitruvius is simplifying things when he writes that the pseudodipteral is the same as a dipteral but without the inner rows of columns. The pseudodipteral existed before Hermogenes. Pseudodipteral temples are known from the sixth century B.C. We mention (without description because this should lead us too far) the Greek temples of Corcyra (Artemis), Silaris (Hera), Selinus ('GT'), Acragas (Olympieum), Sardis (Artemis), Messa on the isle of Lesbos (Aphrodite), Paestum (Basilica). Vitruvius is simplifying things Temples with a real dipteral plan are usually very great buildings where a double collonade is needed to carry the large roof structure. If one should take away the inner columns, as is suggested by Vitruvius, the whole building could collapse. Pseudodipterals are usually smaller and it is more likely that they are derived from a monop