Gorge, or the Gule or Neck, is the narrowest part of the Dorick Capital, which is between the Astragal, above the Shaft of the Pillar and the Annulets.

Gutte, or Drops, are little parts, which to the number of six are put below every Triglyph in the Architrave of the Dorick Order.

H

Hydraulick, from the Greek [Greek: hydor]; which signifies Water, is an Engine that plays by the help of Water, especially where there are Pipes and Flutes.

Hypethre, from [Greek: hyposuo], and [Greek: aither] aether; signifies a Building whose inside is exposed to the Rain and open Air. The Ancients called so all Temples that had no Roof.

Hyperthyron, for [Greek: hyper] super, and [Greek: thyra] Janua, a Gate or Door: It signifies that which is above the Gate; it's a large Table, which is upon the Dorick Gates in the manner of a Frise.

I

Ichnographie, from [Greek: iknos] vestigium, and [Greek: grapha] Scribo, or Insculpo; which properly signifies the Figure that the Plane of the Foot impresses upon the Earth. By it in Architecture is understood that which is commonly called the Plan of the Edifice.

L

Lacuner, or Platfond, is the Flooring or Planching above the Portico's.

Laconicum was a dry Stove to sweat in: It was so called, because it was much used by the Lacedemonians.

Larmier or Drip, vide Corona.

M

Metope, from [Greek: meti] and [Greek: hope], foramen, intervallum. Signifies the Front; it's the Name of the empty spaces in Freeze of the Dorick Order, between the Triglyphs.

Modillion signifies in Italian a little Model, a little Measure: It's that part which is so often repeated in the Corinthian and Compound Cornice, which supports the Projecture of the Larmier or Drip. This part is called the little Model in respect of the great Model, which is the Diameter of the Pillar; for as the Proportion of an Edifice depends on the Diameter of the Pillar, so the greatness of the Modellians, their number, and their space or distances, must have a just Proportion or true Relation to the whole Fabrick.

Module or Model is a measure that is made use of to regulate all the Proportion of the Fabrick: In the Dorick Order it's half the Diameter of the Pillar; in other Orders the Module is the whole Diameter.

Monoptere, from [Greek: monos] solus, and [Greek: pteron] ala; is that which has but one Wing or Isle; it was a sort of a round Temple, whose Roof was supported by Pillars only.

Mutuli, from [Greek: mytilos], which signifies defect, as being made thinner, and more abated above than below. It's a sort of a Modellion in the Cornice of the Dorick Order.

N

Noyan is the middle part of the Flooring of the Ancients. They made it with Ciment, which they put betwixt a Lay or Bed of Pibbles, cimented with Mortar made of Lime and Sand.

O

Orchestra, from [Greek: orcheomai] salto; signified the place where they danced; it was the lowest place in the Theatre, which was between the scene, viz. the place where the Players acted, and the Seats where the Spectators sate. It was in this place where the Greek Comedians were wont to dance.

Order, those Fabricks are said to be of different Orders, when the Proportion which is between the thickness of the Pillars and their height, with all other things which are required to this Proportion, are different.

Ornaments, Vitruvius so calls the Architrave, Frise, and Cornice.

Oval, vide Echinus.

P

Parascenium, from [Greek: para] and [Greek: skene] tentonum, is the back part of the Theatre or Scene.

Periptere, from [Greek: peri] circum, and [Greek: pteron] ala, which has a Wing round about. This was a sort of a Temple, which had Pillars on all the four Parts, which was different from the Prostyle, which had only Pillars before, or In the Front, and from the Amphiprostyle, which had only Pillars before and behind, and none on the sides.

Peristyle, from [Greek: peri] circum, and [Greek: stylos] columna; signifies that which has Pillars round about: It differs from the Periptere in this, that the Pillars of the Peristyle are within, as it were round about a Court, and those of the Periptere are without, as in the Temples of the Ancients.

Pedestal, is that part which supports the Pillar.

Pied-droit is a square Pillar, which is in part within the Wall.

Pillaster is the same, with this Difference; that the Pillaster has a Base and a Capital, as a Pillar hath, which the Pied-droit has not.

Platt-band is a square Member, which terminates the Architrave of the Dorick Order, and passes immediately under the Triglyphs.

Plinthus signifies a Brick or square Tile. It's in Architecture taken for that square Member which makes the Foundation of the Base of the Pillar.

Posticum is the back Gate of a Fabrick.

Portico is a long place covered with a Floor or Flatfond, supported by Pillars.

Proscenium, from [Greek: pro] and [Greek: skenine] tentorium; it signifies the forepart of the Scene; it was an Edifice as high as the last Portico of the Theatre, whose Face or Front was adorned with many Ranges of Pillars.

Prostyle from [Greek: pro] and [Greek: stylos], signifies that which has Pillars before only. This was one sort of the Temples of the Ancients.

Pseudodiptere, [Greek: pseudes] mendax, [Greek: dis] bis, and [Greek: pteron] ala; signifies a false Diptere. This was a kind of a Temple among the Ancients, which had Porticoes round about, which were every one as large as the double Portico of the Diptere.

Pseudoperiptere, from [Greek: pseudes] mendax, and [Greek: peri], and [Greek: pteron] ala, was a sort of a Temple, where the Side-Pillars were part in the Wall of the inner side of the Temple, which was enlarged sufficiently to enclose within the space which was allowed the Porticoes of the Periptere.

Pulpit was the place upon which the Comedians acted, which we now call the Stage.

Picnostyle, from [Greek: pyknos] dentus, and [Greek: stylos] columna; signifies a Building where the Pillars were very close one to another; so that the Intercolumniation had but a Diameter and a half of the Pillar.

R

Rudus was a sort of gross Mortar, which was made use of for smoothing, and equally filling and levelling the Superfices of the Walls, before the fine Plaister was laid on: It was likewise made use of for the second Bed or Lay of the Flooring.

S

Scene signifies a Tabernacle, Tent, or Pavillion, from the Greek [Greek: skene]. It was in the Theatre of the Ancients a great Face or Front of Building, adjoyned with Pillars and Statues, which had three great Openings, in which were Pictures in Perspective, which represented the Lodgings where the Tragedians and Comedians dwelt.

Sabliere is a piece of Wood as long as a Beam, but not so thick.

Scotia, from [Greek: skotos] tenebrae, Darkness, is a Member of Architecture, hollowed as a Demi-channel: It's particularly affected in the Bases where it's placed, between the Torus and the Astragals; it's sometimes put under the Drip, in the Cornice of the Dorick Order.

Statumen signifies generally whatsoever is made use of to support any thing in Architecture; it is Mortar mixt with Pibbles, which served for the first Lay or Bed in Flooring.

Systyle, from [Greek: syn] con, and [Greek: stylos] columna; signifies building where the Pillars seem to be joyned together, for the Intercolumniation is but of two Diameters of the Pillars.

T

Torus is a Member in the Base which is round, in the form of a great Ring; it comes from the Latin word Torus, which signifies a Bed.

Tringle is a little square Member, which is directly upon every Triglyph, under the Platt-band of the Architrave, from whence hang down the Guttae, or pendant Drops in the Dorick Order.

Triglyph, from [Greek: tris] ter, and [Greek: glyphos] sculptura; because it's divided into three parts, and engraved, it is a Member in the Freeze of the Dorick Order, directly upon every Pillar, and in certain spaces in the Intercolumniations.

Tympan signifies a Drum; it's that part of the bottom of the Frontons which answers the naked of the Freeze; it is triangular, and placed upon the Cornice of the Entablature, and covered over again with two other Cornices which slope a little.

V

Volute signifies wreathed, and turned about from Volvendo; it's a part of the Capitals of the Ionick, Corinthian, and Compound Orders, which represents the bark of a Tree twisted and turned into a Spiral line.

X

Xyste, from the Greek [Greek: zytos], which signifies scraped; it was the place where the Wrestlers exercised; it was so called because they made their skins be scraped and rubbed smooth, to make the Sweat fall, and to make their Bodies more slippery, that their Adversaries might have the less hold of them when they closed.

To the Reader.

Abridgments of Vitruvius have been formerly printed, but none of them have followed the design which Philebert de l'Orme has given in his Third Book: He desires that in abridging Vitruvius the matters which this Author treats of confusedly should be put into order, and that the things belonging to the same Subject, which are found dispersed in divers places, should be collected together into one Chapter. This Method, which the most part of the eminent Writers have neglected, has been carefully observed in this Treatise, it serving very much to the better apprehending and retaining the things treated of. We have been exact to put in nothing that is not taken out of Vitruvius, to which end the Book and Chapter of his Works are all along quoted in the Margin; nothing being added, but some few lines here and there, to continue the Discourse, and render it more clear: Notwithstanding which precautions, some things may possibly still remain obscure, in which case the Reader must have Recourse to the whole Works of Vitruvius, where he will find all necessary Explanation.

This little Treatise is not only necessary for those who begin the study of Architecture, but will be also of great use to even Masters themselves; for it is not to be doubted, that Vitruvius being so great a Master in this Art, his Authority, together with that of all the Ancients, which is included in his Works, must be capable of instructing the Apprentices, and confirming the Masters, and thereby establish the good Maxims and certain Rules of Architecture.

Advertisement concerning this Translation.

This Abridgment having been very well received in French, we have ventured to put it in English, and doubt not but it will be as acceptable to our Nation, who are allowed to be as competent Judges of this Art as any. The Translation is very exact; the Cutts altogether as well, if not better, than in the French; and in the Table of the Explication of the Terms used in Architecture, we have added the Etymology and Derivation of them, which is not in the French.

THE END