VITRUVIUS ON ARCHITECTURE EDITED FROM THE HARLEIAN MANUSCRIPT 2767 AI TRANSLATED INTO ENGLISH BY FRANK GRANGER, D. Lrr., AJLLB. A. PROFESSOR IN UNIVERSITY COLLEGE, NOTTINGHAM IN TWO VOLUMES I CAMBRIDGE, MASSACHUSETTS HARVARD UNIVERSITY PRESS LONDON WILLIAM HEINEMANN LTD MCMLV CONTENTS PAQK PREFACE vii INTRODUCTION VITRUVIUS AND THE ARCHITECTURE OF THE WEST ...... ix HISTORY OF THE MSS. OF VITRUVIUS . X i THE EARLIEST EDITIONS OF VITRUVIUS . XXi THE SCHOLIA OF THE MSS. . . . XXV - THE ILLUSTRATIONS OF THE MSS. . . XXVli THE LANGUAGE OF VITRUVIUS . . . XXViii BIBLIOGRAPHY THE MSS. . . . . . . XXXli EDITIONS ...... xxxiii TRANSLATIONS XXXiii THE CHIEF CONTRIBUTIONS TO THE STUDY OF VITRUVIUS ..... xxxiv BOOKS OF GENERAL REFERENCE . . XXXVi TEXT AND ENGLISH TRANSLATION BOOK I. ARCHITECTURAL PRINCIPLES . 1 BOOK II. EVOLUTION OF BUILDING USE OF MATERIALS . . . . 71 BOOK III. IONIC TEMPLES . . . 151 BOOK IV. DORIC AND CORINTHIAN TEMPLES 199 BOOK V. PUBLIC BUILDINGS I THEATRES AND MUSIC, BATHS, HARBOURS . 249 INDEX OF ARCHITECTURAL TERMS 319 CONTENTS ILLUSTRATIONS THE CAPITOL DOUGGA . Frontispiece PLATE A. WINDS AND DIRECTION OF STREETS at end PLATE B. PLANS OF TEMPLES . . . PLATE C. IONIC ORDER . . . . PLATE 0. CORINTHIAN ORDER see Frontispiece PLATE E. DORIC ORDER . . . at end PLATE F. MUSICAL SCALES ., ., PLATE O. THEATRE . . . . . PLATE H. PLAN OF STABIAN BATHS, POMPEII . vi PREFACE THIS edition has been based upon the oldest MS. of Vitruvius, the Harleian 2767 of the British Museum, probably of the eighth century, and from the Saxon scriptorium of Northumbria in which the Codex Amiatinus was written. The Latin closely resembles that of the workshop and the street. In my translation I havesought to retain the vividness and accuracy of the original, and have not sought a smoothness of rendering which would become a more polished style. The reader, it is possible, may discern the genial figure of Vitruvius through his utterances. In a technical treatise the risks of the translator are many. The help of Dr. House has rendered them less formidable, but he is not responsible for the errors which have survived revision. The introduction has been limited to such con siderations as may enable the layman to enter into the mysteries of the craft, and the general reader to follow the stages by which the successive accretions to the text have been removed. The section upon language indicates some of the relations of Vitruvius to Old Latin generally. My examination of fourteen MSS. has been rendered possible by the courtesy of the Directors of the MSS. Libraries at the British Museum, the Vatican, the Escorial, the Bibliotheque Nationale vii PREFACE at Paris, the Bodleian, St. Johns College, Oxford, and Eton College. A word of special thanks is due to his Excellency the Spanish Ambassador to London, his Eminence the Cardinal Merry del Val and the Secretary of the British Embassy at Paris, for their assistance. Mr. Paul Gray, M. A., of this College, has given me valuable help in preparing the MS. for the press. FRANK GRANGER. UNIVERSITY COLLEGE, NOTTINGHAM, September, 1929. viii INTRODUCTION VlTRUVIUS AND THE ARCHITECTURE OP THE WEST THE history of architectural literature is taken by Vitruvius to begin with the theatre of Dionysus at Athens. 1 In earlier times the spectators were accommodated upon wooden benches. According to one account, 2 in the year 500 B. C. or thereabouts, thescaffolding collapsed, and in consequence a beginning was made towards a permanent stone structure. The elaborate stage settings of Aeschylus reached their culmination at the performance of the Agamemnon and its associated plays in 458. According to Suidas, 3 the collapse of the scaffolding, which occurred at a performance of one of Aeschylus dramas, led to the exile of the poet in Sicily, where he died in 456. In that case the permanent con struction of the theatre would begin in the Periclean age some time between 458 and 456...

This book examines the formative relationship between nineteenth century American school architecture and curriculum. While other studies have queried the intersections of school architecture and curriculum, they approach them without consideration for the ways in which their relationships are culturally formative-or how they reproduce or resist extant inequities in the United States. Da Silva addresses this gap in the school design archive with a cross-disciplinary approach, taking to task the cultural consequences of the relationship between these two primary elements of teaching and learning in a 'hotspot' of American education-the nineteenth century. Providing a historical and theoretical framework for practitioners and scholars in evaluating the politics of modern American school design, the book holds a mirror to the oft-criticized state of American education today.

Well Worth a Shindy tells the story of the Old Well, beloved symbol of the University of North Carolina at Chapel Hill, the United States' first public university. The Old Well is a Greco-Roman garden temple built in 1897 over an old water well on the campus. The facts concerning the Old Well's beginnings serve to introduce an historical study of the round temple from Mycenaean tholos tombs and treasuries to eighteenth-century English garden follies. The reasons that the Old Well was built, according to its commissioner, Edwin Alderman, the sixth president of the University of North Carolina, are repetitious of those that directed such as Alexander the Great, Augustus Caesar, and Ferdinand and Isabella of Spain to build round temples to be symbols of their territorial and dynastic desires. the designer of the Old Well, Eugene Lewis Harris, used to construct the temple were not new but were ancient guides filtered through Medieval and Renaissance prisms. A catalog of over 100 round structures in 14 countries is provided.

Cities are home to over fifty percent of the world's population, a figure which is expected to increase enormously by 2050. Despite the growing demand on urban resources and infrastructure, food is still often overlooked as a key factor in planning and designing cities. Without incorporating food into the design process - how it is grown, transported, and bought, cooked, eaten and disposed of - it is impossible to create truly resilient and convivial urbanism. Moving from the table and home garden to the town, city, and suburbs, Food and Urbanism explores the connections between food and place in past and present design practices. The book also looks to future methods for extending the 'gastronomic' possibilities of urban space. Supported by examples from places across the world, including the UK, Norway, Germany, France, Spain, Portugal, Greece, Romania, Australia and the USA, the book offers insights into how the interplay of physical design and socio-spatial practices centred around food can help to maintain socially rich, productive and sustainable urban space. Susan Parham brings together the latest research from a number of disciplines - urban planning, food studies, sociology, geography, and design - with her own fieldwork on a range of foodscapes to highlight the fundamental role food has to play in shaping the urban future.

Buildings Across Time brilliantly explores the essential attributes of architecture by uniquely combining both a detailed survey of Western architecture, including Pre-Columbian America, and an introduction to architecture from the Middle East, India, Russia, China, and Japan. Authors have searched out the stories these buildings have to tell, considered the intentions of the people who built them, and examined the lives of those who used them. The text contains extensive descriptive narrative leavened with focused critical analysis, which both allows the book to stand alone and invites lecturers to impose their studied interpretations on the material without the danger of undue ambiguity or conflict. In a world that grows smaller by the day, it presents a global perspective, and in a discipline that concerns built objects that are often beautiful as well as functional, it is copiously illustrated, intelligently designed, and consistently usable.

Drawing upon a lifetime's knowledge, Patterns of Stylistic Change in Islamic Architecture presents Michael Meinecke's unique view of the evolution and development of Islamic architecture.

Departing from conventional method which groups buildings and monuments according to dynasties and defines national characteristics based on the ethnic origins of Arabic, Persian, or Turkish patrons, Meinecke emphasizes the similarities which resulted from interrelations among neighboring or far-away areas. He argues that transformations in the development of Islamic architecture can be explained by the movements of skilled craftsmen who traveled extensively in their search for challenging work, allowing for their influence to be felt across a broad region.

Meinecke's unique approach to Islamic architecture will no doubt inspire others to emulate his approach in studying other regions or areas. Few, however, will be able to attain the consummate mastery of the subject which enlivens these essays.

Accompanying an exhibition at the Frist Art Museum, this lavishly illustrated catalogue is the first major study in English about manuscript illumination, painting, and sculpture in the northern Italian city of Bologna between the years 1200 and 1400. By focusing on Bologna, Europe's first university city, this publication aims to expand our understanding of art and its purposes in the medieval world. Universities are a medieval invention, and Bologna has the distinction of having the oldest one in Europe. Its origins have been traced to the late 11th century, when masters and students started gathering in the city to study Roman law. The academic setting gave rise to Bologna's unique artistic culture. Professors enjoyed high social status and were buried in impressive tombs carved with classroom scenes. Most importantly, teachers and students created a tremendous demand for books. By the mid-13th century, the city had become the preeminent center for manuscript production in Italy. Most books were made outside traditional monastic scriptoria, within a revolutionary commercial system involving stationers, parchment makers, scribes, illuminators, and clients. A new style of script, called the littera Bononiensis, distinguished Bolognese books, and the city's illuminators were celebrated in Dante's Divine Comedy. The legal textbooks produced in great numbers in the city are remarkable for their heft and size. In addition to illuminations, which include colorful narrative scenes, these manuscripts often contain in their margins the notes, corrections, and doodles of their original owners. The seven essays in this publication - by academics, a conservator, curators, and a museum educator - create a rich context for the nearly seventy works of art in the exhibition, which are drawn primarily from American libraries, museums, and private collections. Many of these works have never been studied in depth or published before. The authors explore medieval Bologna - its porticoed streets, towers, communal buildings, main piazza, and mendicant churches - and how the city became a center for higher learning at the end of the Middle Ages. They describe the way books were made there, including identifying the pigments used by illuminators. The authors also discuss the illustrious foreign artists called to work in the city, most notably Cimabue and Giotto; the devastating impact of the Black Death; and the political resurgence of Bologna at the end of the 14th century that led to the construction of the Basilica of San Petronio, one of the largest churches in the world, in honor of the city's patron saint.

Two of the most ambitious religious edifices of the 20th century are the Our Lady of Peace Basilica in the West African country of the Ivory Coast and the Hassan II Mosque in Morocco. Nnamdi Elleh not only provides a substantial architectural and pictorial analysis of the buildings themselves. Using these two buildings as case studies, he also investigates questions of national memory, urban form, architectural styles, concepts of democracy, social hierarchies as well as the elites who make the decisions to build Africa's post-independence monuments and capital cities. His book is an exciting synthesis of theoretical and empirical analysis that is bound to stimulate debate about the form and content of post-colonial identities in Africa.