Ten Books on Architecture | Page 7

work and the
theory of it. One of these, the doing of the work, is proper to men
trained in the individual subject, while the other, the theory, is common
to all scholars: for example, to physicians and musicians the rhythmical
beat of the pulse and its metrical movement. But if there is a wound to
be healed or a sick man to be saved from danger, the musician will not
call, for the business will be appropriate to the physician. So in the case
of a musical instrument, not the physician but the musician will be the
man to tune it so that the ears may find their due pleasure in its strains.
16. Astronomers likewise have a common ground for discussion with
musicians in the harmony of the stars and musical concords in tetrads
and triads of the fourth and the fifth, and with geometricians in the
subject of vision (in Greek [Greek: logos optikos]); and in all other
sciences many points, perhaps all, are common so far as the discussion
of them is concerned. But the actual undertaking of works which are
brought to perfection by the hand and its manipulation is the function
of those who have been specially trained to deal with a single art. It
appears, therefore, that he has done enough and to spare who in each
subject possesses a fairly good knowledge of those parts, with their
principles, which are indispensable for architecture, so that if he is
required to pass judgement and to express approval in the case of those
things or arts, he may not be found wanting. As for men upon whom
nature has bestowed so much ingenuity, acuteness, and memory that

they are able to have a thorough knowledge of geometry, astronomy,
music, and the other arts, they go beyond the functions of architects and
become pure mathematicians. Hence they can readily take up positions
against those arts because many are the artistic weapons with which
they are armed. Such men, however, are rarely found, but there have
been such at times; for example, Aristarchus of Samos, Philolaus and
Archytas of Tarentum, Apollonius of Perga, Eratosthenes of Cyrene,
and among Syracusans Archimedes and Scopinas, who through
mathematics and natural philosophy discovered, expounded, and left to
posterity many things in connexion with mechanics and with sundials.
17. Since, therefore, the possession of such talents due to natural
capacity is not vouchsafed at random to entire nations, but only to a
few great men; since, moreover, the function of the architect requires a
training in all the departments of learning; and finally, since reason, on
account of the wide extent of the subject, concedes that he may possess
not the highest but not even necessarily a moderate knowledge of the
subjects of study, I request, Caesar, both of you and of those who may
read the said books, that if anything is set forth with too little regard for
grammatical rule, it may be pardoned. For it is not as a very great
philosopher, nor as an eloquent rhetorician, nor as a grammarian
trained in the highest principles of his art, that I have striven to write
this work, but as an architect who has had only a dip into those studies.
Still, as regards the efficacy of the art and the theories of it, I promise
and expect that in these volumes I shall undoubtedly show myself of
very considerable importance not only to builders but also to all
scholars.
CHAPTER II
THE FUNDAMENTAL PRINCIPLES OF ARCHITECTURE
1. Architecture depends on Order (in Greek [Greek: taxis]),
Arrangement (in Greek [Greek: diathesis]), Eurythmy, Symmetry,
Propriety, and Economy (in Greek [Greek: oikonomia]).
2. Order gives due measure to the members of a work considered

separately, and symmetrical agreement to the proportions of the whole.
It is an adjustment according to quantity (in Greek [Greek: posotês]).
By this I mean the selection of modules from the members of the work
itself and, starting from these individual parts of members, constructing
the whole work to correspond. Arrangement includes the putting of
things in their proper places and the elegance of effect which is due to
adjustments appropriate to the character of the work. Its forms of
expression (Greek [Greek: ideai]) are these: groundplan, elevation, and
perspective. A groundplan is made by the proper successive use of
compasses and rule, through which we get outlines for the plane
surfaces of buildings. An elevation is a picture of the front of a building,
set upright and properly drawn in the proportions of the contemplated
work. Perspective is the method of sketching a front with the sides
withdrawing into the background, the lines all meeting in the centre of
a circle. All three come of reflexion and invention. Reflexion is careful
and laborious thought, and watchful attention directed