by the Continuation of the Walls of the _Temple_, half by 2 _Angular
Pillars_; and there were likewise 2 _Pillars_ in the middle of the
_Porch_: The _Temple_ had 2 _Chappels_ within on each Side.

We find that the Ancients had 14 Sorts of _Temples_, viz. 1. The Temple
without _Pillars_. 2. The Temple _ad antes_ Simply. 3. The Temple _ad
Antes_, with 2 _Pillars_ upon the same Line with the _Antes_. 4. The
Temple _ad antes_, with _Pillars_ of an unequal Magnitude. 5. The
_Prostyle_. 6. The _Amphiprostyle_. 7. The _Periptere_. 8. The
_Pseudo-diptere_. 9. The _Diptere_. 10. The _Hypethre_. 11. The
_Pseudo-Periptere_. 12. The _Monoptere_. 13. The _Round Periptere_. 14.
The _Tuscan_. See the Tab. 2, 3, 4.

ART. III.

  _Of Publick Places_, Basilica's, Theatres, Gates, Baths
    _and_ Academies.

[Sidenote: _Lib. 5. Chap. 1._]

The Third Sort of _Publick Fabricks_ are those which are Built for the
Convenience and Use of all People; and there are Six Sorts of them, viz.
_Market-Places_, _Basilica's_, _Theatres_, _Gates_, _Baths_ and
_Academies_.

The _Market-Places_ among the _Greeks_ were surrounded with Pillars
close one against another. Among the _Romans_, the Pillars which
environed the _Market-Places_, had larger Intercolumniations, for they
made _Peristyles_, under which were Shops.

The Proportion of the _Market-Places_ was so ordered, that having
divided the length into three parts, they allowed two for the breadth;
the _Basilica's_ had never less breadth than the third part of their
length, nor more than the half.

The Pillars were as high as the Isles or Wings were broad, and these
Isles or Wings had a third part of the great Vault in the middle.

There was likewise a Second rank of Pillars upon the Wings, which made
high Galleries, and these Second rank of Pillars were placed upon a
_Pedestal_ in the form of a Partition, high enough to hinder those that
were in the high Galleries from being seen by those that were below.

At the End of every _Basilica_, there was a high and great Hall called
_Chalcidiques_, which were joyned one to another by high Galleries:
they served the Spectators while Justice was distributed.

The _Theaters_ were composed of three parts, _viz._ The Steps or
Degrees, which were instead of Seats for the Spectators: they were
disposed in a Semi-circle, and they closed a void space in the middle
and at the bottom of the whole _Theater_, which was called the
_Orchestra_.

[Sidenote: _Lib. 5. Chap. 6._]

The _Orchestra_ was made in the _Græcian Theatre_, to Dance the Ballets.
The Senators were placed in that of the _Romans_, because the Ballets
were Danced upon the Scene.

[Sidenote: _Lib. 5. Chap. 6._]

[Sidenote: _Lib. 5. Chap. 6._]

Above and quite round the Steps or Degrees was a _Portico_ of Pillars,
the Steps being separated by divers _Palliers_ or Landing and Resting
places which went round, and by streight passages which went ascending
from one _Palliere_ or Landing place to another; so that the ways which
led from the second _Palliere_ to the third, parted betwixt those of the
first, and ended betwixt those of the third. The Steps or Degrees were
14 or 15 Inches high, and from 28 to 30 broad.

Under the Degrees, above every _Palliere_, there were in the great
_Theaters_ 13 _Chambers_, in which were Vessels of Brass, set to several
Tunes, or Tones; which by their Echo augmented the Voice of the Players.
The Scene or Stage, was composed of the _Pulpit_, the _Proscenium_ and
the _Parascenium_. The _Pulpit_ was the place where the Actors played:
it was raised not above five Foot at the most above the _Orchestra_, or
_Pit_.

The _Proscenium_ was the Front of the Stage, which was adorned with
Pillars of several sorts one above another. These Orders were so
proportioned, that the second was a fourth part lesser than the first.
The third diminishing according to the same Proportion.

The Front had three Gates, that in the middle which was the greatest was
called the _Royal Gate_, the two others were called the _Gates of
Strangers_.

[Sidenote: _Lib. 5._]

These three Gates were closed with Machines, made in a Triangle, and
composed of three Fronts or Faces well Painted, to represent Buildings
in Perspective; they served for the changing of the Scenes, when these
Machines were turned. And the Paintings represented three sorts of
Buildings, which made three sorts of Scenes, _viz._ The _Tragick_ by
_Magnificent Pallaces_, the _Comick_ by _Private Houses_, the
_Satyrical_ (_i. e._ the _Pastoral_) by _Fields_ and _Groves_.

The _Parascenium_ or _Postscenium_ was the hinder part of the _Theater_,
and the place whither the Actors retired and dressed themselves, and had
their Rehearsals, and where the Machines were kept. Near the _Theaters_,
were Publick Walks, in length a _Stadium_, which is about 90 _Perches_.
There were Trees planted, and round about it were double _Porticos_,
which were every one as broad as the Pillars on the out-side were high;
for those within were higher by a fifth part, than those without, and
they were likewise of a different _Order_; for those without were of the
_Dorick Order_, and those within of the _Ionick_ or _Corinthian_.

[Sidenote: _Lib. 5. Chap. 13._]

The Ancients built their _Ports_ in two manners; at those which were
_Natural_, they only made _Portico's_ round about with _Magazines_ and
_Towers_ at the Ends, for to shut the _Port_ with a Chain.

Those which were _Artificial_, were built three several ways: The first
was to make Partitions of Wood only, without emptying the Water which
was within the Partitions, and they cast into the Partitions, Stone and
Mortar made with _Pozzolana_, thrown in hand over head; for they were
certain that this Mortar wou'd grow dry in the bottom of the Water. The
second Way was by making Partitions with ordinary Clay, or fat Earth at
the bottom of the Sea, after the Water had been emptied out by Pumps.
The third Way was to build a Mole upon the Sea-Coast, and to cast it in
when the _Mason's_ Work was sufficiently dry, which only required two
Months time. That they might the better throw these Moles into the Sea,
they built them half upon the Sea-Coast, and half upon an heap of Sand
which they made close to the Sea-Coast; to the end, that this Sand which
was stopped by nothing but by the Walls, built only to support it during
the time that the Mole was a drying, might let it fall when the Sea came
to carry away the Sand after that the Walls were beaten down.

[Sidenote: _Lib. 5. Chap. 10._]

The _Bathes_ of the Ancients consisted of many Chambers; some for Men,
and some for Women.

Some of the Chambers had a moderate Heat, to warm their Bodies
insensibly, and prepare them for a stronger Heat to make them Sweat.

The Chamber they were to Sweat in, was called _Laconicum_, and was
round, and Vaulted like the ends of an Oven, pierced at the top with a
round Opening, which was opened and shut with a Buckler of Brass, which
hung at a Chain, by which means they augmented or diminished the Heat
according to the Proportion that they pull'd up, or let down the
Buckler.

One and the same Furnace heated both the Air and the Water, according to
the Disposition of the places which were nearer or further from the
Furnace, whose heat was communicated to the Chambers from under the
Flooring, which was made full of little holes.

The Water was likewise diversly tempered by the different situation of
three great Vessels of Brass, whose Water went from one into another,
and there were Pipes that conveyed these three sorts of Water into the
_Bath_.

The _Academies_ of the Ancients, which they called _Palæstra_, was a
place where the Youth learned Letters and their Exercises. They were
composed of three parts, _viz._ Of a _Peristyle_, a _Xyste_, and a
_Stadium_; the _Peristyle_ was a Court surrounded with _Portico's_,
which were of two sorts; three of them were Simple, and one Double.

The Simple stood in a row against three Bodies of Lodgings, composed of
many great Halls, where the Philosophers had their Disputes and
Conferences.

The Bodies of the Lodgings, which was the length of the double
_Portico_, and one part of the Bodies of Lodgings which turned in, were
distributed into several parts, for the Studies and Exercises of Youth;
for there they had their _Classes_, their _Baths_, their _Stoves_, and
their _Tenis-Court_.

The _Xyste_ was a place planted with Trees, and surrounded with
_Portico's_ on every side: These _Portico's_ were of two sorts.

There was one double which was set against the Bodies of the Lodgings,
to which the double _Portico_ of the _Peristyle_ was joyned.

The _Simple Portico's_ had two Wings, under these _Simple Portico's_
there were hollow Ways, where they performed their Exercises; the rest
of the _Portico_ was raised to the right and the left, for those that
had a mind to Walk while the rest performed their Exercises, in the
hollow ways.

The Place which was compassed with these three _Portico's_, was planted
with Trees, which made Allies, where the Wrestlers exercised in Winter,
when it was fair Weather.

The _Stadium_ was on the Side of the _Peristyle_ and the _Xyste_. It was
an Alley of 90 Perches; on each Side it had many Steps or Degrees, which
made a sort of a long _Theater_ bending in at both ends; these Steps or
Degrees were made for the convenience of seeing them that Run.

CHAP. II.

_Of Private Buildings._

ARTICLE I.

  _Of the Courts of Houses._

[Sidenote: _Lib. 6. Chap. 3._]

The Houses of the Ancients had five sorts of Courts, of which the
greatest part were covered round about by the Jettings which supported
the Water-Channel or Gutter, in which all the Water that fell from the
Roof met together.

These Courts made with Jettings, were of four sorts; The first was
called the _Tuscan_, this Court was surrounded with a Jetting _en
auvent_, which was laid upon four Beams, supported by other standing
Beams placed in the Corners.

The second Sort was called _Corinthian_; it had likewise Beams, but they
were further from the Walls than in the _Tuscan_ Court, and they were
laid upon Pillars.

The third Sort was called _Tetrastyle_, because the Beams were supported
with four Pillars which were in the place of the standing Beams that
were made use of in the _Tuscan Court_.

The fourth Sort was called the _Vaulted_; because the Jetting that it
had round about, was supported by Vaults.

The fifth Sort of _Court_ that had no Jetting, and which was called the
_Uncovered_, had the _Water-Gutter_ directly upon the Wall, and was only
covered with the Entablature.

ART. II.

  _Of the_ Vestibulum _or_ Entry.

The Houses of the Ancients had _Great_ and _Magnificent Entries_, they
were sometimes 15 Perches long and 9 broad, and they were supported upon
two ranks of Pillars, which made a Wing on each Side, the Proportion of
their breadth and length was taken three Ways. The first was, when
having divided the length into 5, 3 were allowed for the breadth. The
second was, when having divided it into 3, 2 were allowed for the
breadth. The third was, when having made an Equilateral Square, the
Diagonal of this Square was taken for the length, and the Side for the
breadth.

The height was equal to the length, taken from the Pavement below, to
the bottom of the _Plat-Fonds_ or _Flat-Roof_, which was hollowed on
the other side the Beams, the seventh part of the whole height.

The Proportion that the _Alley_ which was in the middle between the
Pillars, had with the Wings, was different according to the Magnitude of
the _Vestibule_ or _Entry_, for the greater they were or the lesser, the
Wings had a proportionable breadth with the _Alley_ in the middle; So
that if the _Vestibule_ or _Entry_ was 100 Foot long, the Wings had only
for their breadth the 50th. part of the length; and when it was but 30
Foot long, they had only the 3d. part.

ART. III.

  _Of_ Halls.

The Ancients had three Sorts of _Halls_; _Viz._ The _Corinthian_, the
_Ægyptian_, and the _Cyzican_.

The _Corinthian_ had Pillars round about against the Wall, and these
Pillars supported the Floor made in form of a Vault. _Surbaissee_.

The _Ægyptian Halls_ had their Pillars distant from the Wall in the
manner of the _Peristyle_, and they supported only an _Architrave_
without a _Frise_ and without a _Cornice_; upon this _Architrave_ there
was another row of Pillars, between which were the Windows. The Floor
which reached from the Pillars to the Wall, served for a _Terrasse_
without.

[Sidenote: _Lib. 6. Chap. 6._]

The _Cyzican Halls_ had this in particular, that they were turned to the
North, and had a Prospect of the Gardens; they were principally made use
of by the _Greeks_; the Proportion of these _Halls_ was as follows,
Their length was double their breadth, and as to their height, this Rule
was observed to have the height of all Sorts of Apartments that are not
so broad as long, they added their length to their breadth, and took
half of the sum for their height. The Apartments which were no longer
than broad, had in height their breadth, and half their breadth.

ART. IV.

  _Of the Distribution of the Apartments among the Ancients._

[Sidenote: _Lib. 6. Chap. 10._]

[Sidenote: _Lib. 6. Chap. 3, 4._]

The _Romans_ and the _Greeks_ ordered and distributed differently their
_Apartments_; for the _Romans_ had their _Courts_ and _Entries_
magnificent: but the _Greeks_ had only a narrow Entrance, through which
they passed into a _Peristyle_; this _Entry_ had of one Side a Porter's
Lodge, on the other Side the Stables.

The _Apartments_ of these two Nations differed in this, the _Apartments_
of the Women were separate from the _Apartments_ of the Men among the
_Greeks_; insomuch that they Dined apart. They had likewise particular
_Rooms_ reserved for Strangers apart, where they only gave them Lodging,
and never treated them above one Day.

CHAP. III.

_Of things that equally appertain to Publick and Private Buildings._

ARTICLE I.

  _Of_ Aqueducts.

[Sidenote: _Lib. 8. Chap. 6._]

In Order to the bringing of Waters to Towns and Cities, the Level must
be exactly taken; to the end, it may be known whether the Waters can be
brought thither or no. The Ancients to this end made use of an
Instrument called _Corobates_, which was directed by a Lead, and by
Water, when the Wind hindered them from making use of the Lead.

They brought their Water three several ways; _viz._ by _Aqueducts_, by
Pipes of Lead, and Pipes baked in a _Potter's_ Furnace. They allowed for
the _Channels_ or _Sewers_ of the _Aqueducts_, for every 100 Foot, half
a Foot of Declination or Sloping; and if any Hills were in their way,
they dug through them, making Vents to give Air at convenient Distances.

The Pipes of Lead were at least 9 Foot long; they made them of bended
Sheets or Plates, and of different thicknesses, according to the
Proportion of the greatness of the Pipes; these Pipes had likewise their
necessary Declination or Sloping, and if any Valley was in the way, they
made it equal to the Level with a Wall; they likewise made many Vents,
to give the Water Air, and to know where to mend the Pipes.

The Pipes of _Potter's-Work_, were two Inches thick; they were joyned
together with Mortar mixed with Oil, and when they had _Conde_ or
_Joynt_ to make, they made use of a red Free Stone which they pierced
through, to receive the two Ends of the Pipes.

ART. II.

  _Of Wells and Cisterns._

It being remarkt oftentimes that the Water which is under the Earth hath
many bad Qualities, and exhales vapours, which often stifles those which
work in the _Wells_, after that they are dug, & the Water begins to
gather together. The Ancients had this Precaution, to let a Lamp gently
down into it, and if it extinguished it, they took it for an Infallible
sign that the Water was bad.

The _Cisterns_ were made to receive Rain Water in great Conservatories
under Ground, whose Walls on all Sides, and at the bottom were built
with Mortar of strong Lime, and Sand, and Pebbles, all well beaten
together. They made several Conservatories, and the Water passed from
one to another, to the end it might leave all the Dirt in the first and
second; They likewise put Salt in their _Cistern-Water_ to make it more
subtile.

ART. III.

_Of_ Machines _for carrying and lifting
up great Stones and Burthens._

[Sidenote: _Lib. 10. Chap. 6._]

_Ctesiphon_ and his Son _Metagenes_, Architects of the Temple of
_Ephesus_, invented _Machines_ to carry _great Stones_, out of which
_Pillars_ and _Architraves_ were to be made. That which was made to draw
the _Pillars_, was but a sort of a Frame as long as the _Pillars_, in
the end of which were fastned Pins of Iron, which entred into the ends
of the Frame, and served instead of an Axle-tree, the _Pillar_ it self
serving for a Wheel: And this had the desired Effect, because of the
disposition of the place through which these _Stones_ were to be drawn,
which was a flat and level Country.

The other _Machine_ for drawing of _Architraves_, was the same Frame
which had two Wheels at each end, which supported the _Architrave_;
which served instead of an Axle-tree.

[Sidenote: _Lib. 10. Chap. 2._]

For the raising of great Weights, they had three sorts of _Machines_.
The first was composed of three pieces of Wood, which were joyned
together at top by a Pin which went through them all; so that there were
two of these pieces which were on one side, a little distance one from
the other, and the third was opposite to them; The two which were
together on the one side, had a Hand-Mill which drew a Rope, which
passed within a Truckle with three Pullies, of which that part which had
the two Pullies was fastned to the top of the _Machine_, and that which
had but one, was fastned to the Weight to be drawn up.

[Sidenote: _Lib. 10. Chap. 2._]

The second _Machine_ was stronger than the first, because the _Moulin_
had more Pullies, and instead of a _Moulin_ or Hand-Mill, it had a great
Wheel, whose Axle-tree drew a Rope which passed through these Pullies,
and upon the Wheel there was another Rope twisted, which was drawn by a
Wind-glass; sometimes the great Wheel was hollow, so that Men could walk
within it, and so turn it.

The third had but one long and strong piece of Wood, which was kept up
and stayed by Shrowds, as the Mast of a Ship is. By the help of these
Shrowds, they bended and turned this piece of Wood where they pleased,
drawing the Shrowds fast on the one side, and loosening them on the
other. The _Moufl's_ Crane as well those which were fastned to this
piece of Wood, as those which were fastned to the VVeight which was to
be drawn up, had each of them three ranks of Pullies, which had three in
every rank, that three Ropes might go through them, which were not drawn
by Hand-Mills, nor by VVheels, but by Men who pulled several at one time
at the same Rope: And that this might be done with the more ease, the
three Ropes or Cables after having passed the last Pullies of that part
of the _Moufle_ which was at the top of the _Machine_; they descended
down below, each upon one Pully, which vvas but the height of the Men:
this _Machine_ quickly povverfully lifted up the greatest VVeights.

ART. IV.

  _Of_ Machines _for Elevating of Waters._

These _Machines_ were of four sorts.

[Sidenote: _Lib. 10._]

The first was the _Tympan_, of which there were two sorts; The first
elevated a great deal of Water, but not very high, for it only mounted
to the Axle-tree of the _Tympan_, which was a great Wheel made of Planks
which made two bottoms divided into eight from the Center to the
Circumference, each Separation, having an opening half a Foot wide near
the Circumference to draw the Water, which being elevated upon the
Axle-tree, ran through the Cavities which were hollowed in each
Separation.

The Second _Machine_, was a Wheel which elevated the Water as high as
its Circumference, by the help of several Boxes which were fastned round
about, and which poured out the Water into a Reeve as the Wheel, having
mounted, began to descend.

[Sidenote: _Lib. 10. Chap. 2._]

The Third _Machine_ was a Chain with Buckets, as the one mounted, the
other descended, being drawn by the Axle-tree.

The Fourth _Machine_ was the Vice or _Skrew_, which is attributed to
_Archimedes_, though _Vitruvius_ makes no mention of the Inventor. This
Vice was made of a piece of VVood, long sixteen times its Diameter: about
this piece of Wood was put Obliquely a Hoop of Willow VVood besmeared
with Pitch, and it was Conducted by turning from one end of the piece of
the Wood to the other: Upon this Hoop others were put so that they were
like the Vaulting of a Stair-Case whose ascent goes turning. This being
done, this Vice was fastned and strengthned with Planks, which were
pitched within, and covered with Iron Rings and Plates without: At the
two ends of the piece of Wood, were Pins, which entring into the
Suckets, made the _Machine_ capable of Motion. This Vice or Skrew was
placed according to the bent or sloping of the Triangle Rectangle of
_Pythagoras_. This _Machine_ elevated easily a great quantity of Water,
but it could not carry it high.

[Sidenote: _Lib. 10. Chap. 2._]

The Fifth _Machine_, was the Pump of _Ctesibius_; it was composed of two
Bodies of Pumps, in which the Suckets having drawn the VVater when they
were pulled up, they both pressed it violently into a Pipe which was
fastned at the bottom of the Body of the Pump when they went down. For
the VVater by the Impulsion of the Sucket, was forced to enter into
these Pipes, because it could not go out by the Openings by which it
entred, because of the Suckets which stopped them, these two Pipes were
joyned together in a _Tambour_, which had likewise its Suckets, which
hindred the VVater from descending into the Bodies of the Pumps, after
it had been pressed into the _Tambour_, or _Vase_, which had another
Pipe, through which the VVater was forced as high as they pleased, by
Impulsion of the Suckets.

[Sidenote: _Lib. 10. Chap. 10._]

All these _Machines_ were either _moved_ by Strength of Men, or by
VVater-Mills, according to the convenience of the place.

ART. V.

  _Of Water-Mills for Grinding of Corn._

[Sidenote: _Lib. 10. Chap. 10._]

_Water-Mills_ were moved by the help of a great VVheel which had many
VVings, which were forced by the Current. The Axle-tree of this great
VVheel, traversed another VVheel which had Cogs, which made the
_Lanterne_ or _Trundle-head_ go, which was placed Horizontally, which
was traversed by a Beam of Iron, which entred through above, into an
Iron in form of a VVedge, which helped to fasten the Beam in the
Mill-stone, above which was the Mill-Hopper, in form of a Funnel.

ART. VI.

 _Of other Hydraulick Machines._

There were many other _Machines_ which moved by the help of the VVater,
as _Hour-Glasses_, _Organs_, _Machines_ for Measuring the VVays, and
knowing the swiftness or slowness of Sailing.

The _Hour-Glasses_ marked the Hours by the help of VVater, which passing
slowly, a little hole made at the bottom of a Vessel, and falling into
another, in elevating it self insensibly in the Vessel which it filled,
raised a piece of Cork, which hanging at one of the ends of a Chain
wrapped about an Axle-tree, and which had at the other end a little Bag
full of Sand, and a little lighter than the Cork: for this Chain
turning, the Axle-tree likewise turned a Pin or Hand, which marked the
Hours upon a Dial.

[Sidenote: _Lib. 10. Chap. 12._]

The _Organs_ played by help of two Suckets, which were pulled up or let
down in the Bodies of the Pump. The Suckets pushed the Air with violence
into a Funnel reversed in a Copper Coffer half full of VVater, and
pressed the Water, and constrained it to ascend round about within the
Coffer, which made that its weight in making it re-enter into the
Funnel, pushed the Air into the Pipes, and made them Play, producing the
same Effects that the Bellows did.

[Sidenote: _Lib. 10. Chap. 14._]

They measured the way that the Ships make by the help of a little Mill,
which was fastned to the Ship, and which turned by the resistance that
its VVings found in the VVater when the Ship went forward and the
Axle-tree of this Mill had a little Rong or Tooth, which every round
pushed forwards one of the Teeth of the great VVheel, which turned
another, and that another which turned a Pin or Handle, which marked the
number of turnings, that the Mill made, by which means it was easie to
take an account of the Perches, and Leagues that the Ship sailed.

They made use of the same _Machine_ on the Land, fixing to the Nave of
the VVheel of a Coach, a Tooth which made many VVheels be turned as in
the above-mentioned _Machine_, at the last of which, was fastned a Pin
or Handle, which marked the number of Perches and Leagues. This
_Machine_ had likewise a sort of a Counting VVheel, which at every Mile
that the Coach went, let a Pibble fall into a Vessel of Brass, to give
notice that they had gone a Mile.

ART. VII.

  _Of Machines of War_.

[Sidenote: _Lib. 10. Chap. 15._]

The _Machines_ of VVar of the Ancients were of three Sorts, for they
were made either to Lance, Arrows, such as were the _Scorpions_ or
_Javelins_, such as were the _Catapulta's_, or Stones, such as were
_Ballista's_ or fiery Darts, such as were the _Pyroboli_, or they were
made to beat down the VValls, such as were the battering Rams, and the
_Terebra_, or to come covered to the VValls, and so safely Mount the
Ramparts, such as were the _Tortoises_ or _Testudo's_, and the Towers of
VVood.

[Sidenote: _Lib. 10. Chap. 18._]

The _Scorpions_ were a sort of great Crossbows, which were made use of
to defend the VValls, and which likewise the Assailants made use of in
the wooden Towers, to annoy those that defended the VValls.

The _Catapulta_, lanced Javelins or Javelots, from 12 to 15 Foot in
length, they were made of two Trees, set one against another, like the
Masts of a Ship, which were bended in drawing them with a Hand-Mill.
These Trees being on a suddain unbent, furiously struck together, and
forced violently the Javelin. They were bent the one after the other by
the same Cord, which was made of Guts, to the end, that the Master who
managed the Engine, might be assured, that the two Trees or Beams were
equally bent. He knew it by sounding the Cord when both the Beams were
bent, and when the End above was drawn even to the Capital of the
_Machine_, where they were stayed by a Pin of Iron, which was driven out
by a quick stroke of a Hammer when they unbent it. There was a Cylinder
which traversed an excentrical piece, by the help of which they
heightned, or let down the End of one of the Beams below, according as
the Master of the _Machine_ judged it necessary, for the augmenting or
diminishing their bent, which was known by the sound of the Cord, which
was alike in both, when they were equally bent. See Table XI.

The _Ballista's_ were bended and strung as the _Catapulta's_, but
instead of Javelins, they cast great Stones.

[Sidenote: _Lib._ 10. _Chap._ 22.]

The _Pyroboli_ were _Machines_, which lanced or cast Darts, to vvhich
vvas fixed combustible Matter, vvhich vvas kindled vvhen they darted it
against _Machines_ of VVar or Shipping.

The Ram vvas to beat dovvn Walls and make breaches. It vvas a great Beam
headed with Iron; it vvas hung by the middle, and pushed by the
Soldiery vvith great violence against the Walls.

The _Terebra_ vvas something like the Ram, being a strong Beam pointed
vvith Iron, but it vvas sharp pointed, and it made vvay for the Ram,
splitting the Stones.

[Sidenote: _Lib. 10. Chap. 20._]

The _Testudo_ or _Tortoise_, vvere great large and low Towers of Wood,
which were rowled upon six or eight Wheels, they were covered with raw
Hides to defend them from fire. Their use was to cover them that
approached the Walls to undermine them, or beat them with the battering
Ram.

The Towers of Wood were made to raise the Assailants as high as the
Walls, to chace the Besieged away with Arrows and Scorpions, and to lay
Bridges from the Towers to the Wall; they were sometimes Thirty Fathoms
high, having Twenty Stages. They were covered, as the _Tortoises_ with
raw Hides; they had each of them a Hundred Men, which were employed as
well to move them, as to annoy the Besieged.

_FINIS._

ADVERTISEMENT.

_The Figures inserted here are those only which are chiefly necessary to
the understanding of_ Vitruvius, _that is to say, those which serve for
the comprehending the Rules that Architecture gives for Buildings, now
in use. The Figures of other things, of which_ Vitruvius _treats, are
omitted, it being enough to give One only, to serve as an Example of
each kind_, viz. _one for all Temples, one for all Theatres, and one for
all Machines._

THE EXPLICATION Of the FIRST TABLE.

This Table contains the seven several sorts of Masonry; A is the first,
which was called _Reticulatum_, because it was like the Mashes of Nets;
BB is the second, it's called _Insertum_, that is to say, _bound
Masonry_, because the Stones are one bound within another, every one
being bound with four, two below, and two above: CC is the third sort,
which was particular to the _Greeks_; it may be called double binding,
for it's not only of Stones of the same course, but of two courses III.
D is the fourth, called _Isodomum_, because the Beds or Lays are equal
in height. E is the fifth, called _Pseudisodomum_, because they are of
an equal heighth. FF, GG, H is the sixth, called _Emplecton_, because it
was filled up any way in the middle. FF are the Stones which make the
Courses. K is the seventh, which may be called _Compound_, because its
Courses are of hewn Stone, and the middle filled up with Rubbish; and
these Courses are fasten'd together with Cramp-irons.

This Table refers to _pag._ 47.

[Illustration: _Plate I._]

THE EXPLICATION Of the SECOND TABLE.

This Table contains the five sorts of Edifices: AA is the _Pycnostyle_;
that is to say, where the Pillars are very close, the Intercolumniation
being but of one Diameter, and a half of the Column: BB is the
_Systyle_, _viz._ where the Pillars have two Diameters of
Intercolumniation: CC is the _Diastyle_, _viz._ where the Pillars are at
that distance, that they have for the Intercolumniation three Diameters:
DD is the _Areostyle_, where the Pillars are far asunder. There is no
certain Proportion; we have given in this Figure four Diameters of
Intercolumniation, it may have more: The fifth sort called _Eustyle_, is
in the third Table.

This Table refers to _pag._ 80.

[Illustration: _Plate. II._]

THE EXPLICATION Of the THIRD TABLE.

This Table contains the Plan and Elevation of the fifth sort of
Edifices, called _Eustyle_, _viz._ where the Pillars are distant one
from another by more convenient Proportion: Its Intercolumniations have
all two Diameters and a quarter, except the Intercolumniations in the
middle of the _Face_ before and behind, which have three Diameters.

This plan shews the different parts of the ancient Temples: AA, AA, are
the Isles or Wings which are _Portico's_, having a rang of Pillars on
the one side, and the Wall of the Temple on the other. B is the part
called the _Pronaos_ or Porch. C is the part called _Posticum_, _viz._
the hinder part of the Temple. D is that Part called _Cella_, or the
Nave or Body of the Temple.

This Table relates to _p._ 81, & 117.

[Illustration: _Plate III_]

THE EXPLICATION Of the FOURTH TABLE.

This Table contains the Plan and perspective Elevation of a Temple,
called _Hexastyle_ and _Pseudodyptere_, _viz._ Which has six Columns in
the _Faces_, before and behind, and which has simple _Portico's_, but
which are as large as the two _Portico's_ of the Temples which have them
double. This Plan and this Elevation may serve for other Temples, which
as to what concerns the essential parts explained in the precedent
Table, are like to this here, as are the _Periptere_, the _Diptere_, and
the _Hypethre_, which only differ in the number of Columns, or such-like
circumstances.

[Illustration: _Plate IV._]

THE EXPLICATION Of the FIFTH TABLE.

This contains the Proportions of the _Tuscan_ Order. AA is the Base of
the Column, which has for its height the first Semidiameter of the
Column: It's divided into two equal parts; that below is for the Plinth,
marked I; that above, marked K, is for the _Thorus_, and for the _Congè_
or _Apophygis_. BB is the Capital, which height is equal to its Base:
It's divided into three; the first marked L, is for the Gorge, with the
Congè and the Astragal; the second, marked M, is for the _Echinus_ or
_quarter-round_; the third, marked N, is for the _Plinthus_ or _Abacus_,
called by the French _Tallor_. C is one of the _Faces_ of the _Sabliers_
which serve instead of an Architrave. EE is the under part of the
_Sabliers_, which answers to the Diameter on the top of the Column,
marked D. F is a Tenon shaped like a Swallows Tayl, which joyns the two
_Sabliers_ together. G is the little Wall which serves for a Frize. H is
the Cornice.

This Table relates to _pag._ 93.

[Illustration: _Plate V._]

THE EXPLICATION Of the SIXTH TABLE.

This contains the Proportion of the _Dorick_ Order; AB is the top of the
Shaft of the Column; this top shews the Plan of the two sorts of
Channelling or Fluting, which are particular to the _Dorick_ Order. The
one half has Channelling or Fluting that is not hollowed, and make only
_Flat Faces_ or _Pans_. B is the other half, which has Channelings a
little hollowed, _viz._ one quarter of the Circle: They are formed by
the help of a Square C, whose sides are equal to every one of the Pans.
D E F is the Capital divided into three equal parts. D is for the Gorge;
E is for the Echinus, and for the Anulets or Rings; F is for the Abacus;
G is the Architrave; H is the Triglyph; I is the Metop; K is the
Demi-metop; L is the Cornice; M are the six pendant Drops which are
under the Triglyph; N, O are the Pendant Drops which are in the
Platfond of the Cornice.

This relates to _pag._ 96.

[Illustration: _Plate VI._]

THE EXPLICATION Of the SEVENTH TABLE.

This contains the Proportions of the _Jonick_ Order and the _Attick_
Base: A is the Plinth of the _Attick_ Base, which is the third part of
the whole Base, of which the upper part is the fourth part of what
remains after the Plinth is taken; the inferiour part is half of what
remains, and the other half is the _Scotia_. C D is the Plinth of the
Jonick Base, which is the third part of the height of the whole Base. E
is the Thorus which contains three parts of seven, into which is divided
what remains, the other four being for the two _Scotia's_, and the two
Astragals, which are betwixt the Thorns and the Plinth. F is the
Capital, whose Proportion is explained in the eighth Table. G, H, I, K
is the Architrave, which has four parts, _viz._ the Face marked G; the
second marked H; the third marked I, and the _Cymatium_ or _Simaise_,
marked K; L is the Frise. M, N, O, P, Q is the Cornice. M is the first
_Cymatium_; N is the Dentil; O is the second _Cymatium_; P is the Crown
with its little _Cymatium_ or _Simaise_.

This Table relates to _pag._ 101.

[Illustration: _Plate VII_]

The EXPLICATION Of the EIGHTH TABLE.

This contains the Proportions of the Ionick Capital, of which only half
is seen here: A B is the half of the breadth of the Abacus, which is
regulated according to the breadth of the bottom of the Column, of which
one half is marked B 18; for the bottom of the Column being divided into
18, 19 are allowed to the Abacus: A C is the _Retreat_ which must be
made of the Corner A, of the Abacus inwardly, to draw the Line C D,
which must regulate the _Eye_ of the _Volute_ over which it must cross
as it passes. To make this _Retreat_ we must take one part and a half of
twelve, into which is divided the height or thickness, E F, of the whole
Capital, which height is equal to half the breadth of the Abacus. This
height, marked C D, is divided into nine parts and a half, of which one
and a half is given to the _Abacus_, and four and a half from the Abacus
to the middle of the _Eye_, which is traversed by the line G H; the
Figures 1, 2, 3, 4, mark the four Centers of the first four quarters of
the Volute; the four second quarters, and the four third (for the
Volutte has twelve) are taken in the Diagonal 1, 3, and 2, 4. H, I, is
the Astragal at the top of the Pillar which answers the _Eye_ of the
Volute. K K is the Egg or _Echinus_; L is the Axis of the Volutes; M M
is the ceinture of the lateral part of the Volutes. This relates to
_pag._ 103.

[Illustration: _Plate VIII._]

THE EXPLICATION Of the NINTH TABLE.

This contains the Proportions of the _Corinthian_ Capital, which makes
all the distinction betwixt _Jonick_ and the _Corinthian Order_, all
other Members, according to _Vitruvius_, being the same. A is the
_Corinthian_ Capital, which has for its height only the Diameter of the
bottom of the Column; B is the Capital of the Pantheon, which is higher
by a seventh part, _viz._ the thickness of the Abacus; C D is the height
of the Capital divided into seven, of which the Abacus has one, the
Voluta's and Foliages and Stalks two, the Foliage in the Range above
two, and that in the Range below two. To have the breadth of the Abacus,
we must give to its Diagonal E F the double of its height C D. To have
the greatness and just Proportion of its bending H, we must divide the
breadth of the Abacus E G into nine parts, and give it one.

At the bottom of this Table is represented the Herb _Branbursine_, which
grows round about the Basket, which is covered with a Tile, from which
_Vitruvius_ says the Sculptor _Callimachus_ took the first Model of the
_Corinthian_ Capital.

This Table relates to _p._ 108.

[Illustration: _Plate IX._]

THE EXPLICATION OF THE TENTH TABLE.

This contains the Plan and Elevation of the Theatre of the _Romans_. AA
is the Portico which went round the Theatre below. BB are the Entries
through which they parted from the Portico's into the _Orchestra_ C.
KDEDK the Pulpitum or Stage; MM the landing-place which separated the
Degrees above from those below: LM the Stairs which are between the
degrees. NN the Portico above in the Theatre. PP the Passage under the
degrees. TT the Stairs by which they mount to the Portico's above. KIHIK
the Scene. H the royal Gate. II the Gates of Strangers. KK the Gates in
returning. OOO the Machines used in changing the Scenes. GG the part of
the Theatre behind.

This Table relates to _p._ 125.

[Illustration: _Plate X._]

THE EXPLICATION Of the ELEVENTH TABLE.

This contains the Explication of the Catapulta, which was a Machine of
War used by the Ancients to dart Javelins of an extraordinary bigness. A
are the two Beams one against the other, and joyn'd, which after having
been drawn, pushed the Javelin with great force when they were unbent.
There is one of these Beams, which is represented as being joyned to the
Capital of the Machine by an Iron Pin, the other ready to be joyned when
the Master of the Machine sounds the Cord with his right Hand, shall
have it heightned or let down, the end marked C, as much as is
necessary, to give it an equal Bent to the other. This is done by the
help of an excentrical piece, which is traversed by a Cylinder, which
the Master turns with a Laver, which he holds in his left Hand. D, E E
is the Capital of the Catapulta. EE are the holes through which the Rope
passeth to draw the Beams. F is the end of one of the Beams represented
in great. G is one of the Pins which travers'd a round Eye, by the help
of which the Beam is joyned to the Capital. H is the Cylinder which
traverses the excentrical piece I. This Plate relates to _pag._ 155.

[Illustration: Plate XI.]

_Explication of the Hardest Terms in_ Architecture.

  A

  _Abacus_, from [Greek: abax]; which signifies a square
     Trencher: In French it's called _Talloir_; it's that
     quadrangular Piece commonly accompanied with a
     _Cymatium_, and serves instead of a _Drip_ or _Corona_ to
     the Capital. It supports the nether _Face_ of the
     _Architrave_ and whole _Trabeation_. In the _Corinthian_
     and the _Compound_ Orders, its Corners are called the
     _Horns_, the intermediate _Sweep_ and _Curvature_; the
     Arch, which has commonly a _Rose_ carved in the middle.

  _Acroteria_ or _Acroter's_ from [Greek: akron], _Summa
     pars_; they may be properly called _Pinnacles_, for
     _Pins_ and _Battlements_ were made sometimes more
     towring; but when they stood in _Ranges_ with _Rails_ and
     _Balisters_: Upon flat Building they still retained their
     Name, with this only difference, that such as were placed
     between the _Angular_ Points, were stiled the _Median_,
     or middle _Acroteria_.

  _Annulets_, are little square Parts turned round in the
     _Corinthian Capital_, under the _Quarter-Round_, called
     _Echinus_.

  _Ante_, is a square Pillaster, which the Ancients placed at
     the corners of the Walls of the Temples.

  _Amphiprostyle_ from [Greek: amphi], _Circa_, and [Greek:
     stylos]; _Columna_ was a sort of a Temple which had four
     Columns in the Front of the Temple, and four in the Face
     behind.

  _Architrave_, from a Mungril Compound of two Languages,
     [Greek: archê] _Principalis_, and _Trabs_; it's the first
     Member of that which we call _Entablature_; in Chimnies
     the _Architrave_ is the _mantle_; over the _Jambs_ of the
     Doors and Lintels of Windows, it's called the
     _Hyperthron_, from the Greek [Greek: hyper], _super_ and
     [Greek: thyra], _Janua_ or _Ostium_.

  _Astragal_, from the Greek word [Greek: astragalos] which
     signifies the _Vertebræ_, or little Joints in the Neck or
     Heel; hence the French call it _Talon_, or the Heel
     itself: It's a Member of _Architecture_ joyned to
     _Bases_, _Cornices_, _Architraves_, _&c._ it's round like
     a Ring, and therefore it's called by the Italians
     _Tondino_.

  _Attiq;_ signifies after the manner of the City of _Athens_.
     In _Vitruvius_ it's the Name of the _Basis_ which the
     Moderns have given to the _Dorick_ Pillar. We call
     _Attiq;_ in our Buildings, a little Order placed upon
     another much greater; for instead of Pillars, this little
     Order has commonly nothing but Pillasters of a particular
     Fashion and Order, which we call _Attiq;_

  _Apophyges_, vide _Congé_.

  B

  _Basilica_, from the Greek word [Greek: Basileus] _Rex_ or
     King among the Ancients. It was a great Hall which had
     two Ranges of Pillars, and had two Isles or Wings, upon
     which were Galleries: These Halls, which at first were
     made for the Palaces of Kings, were afterwards turned
     into Courts of Justice, and after that into Churches;
     which Form has always been observed.

  _Ballustre_ is the lateral part of the _Jonick_ Capital. Our
     Workmen have given it that name, because it somewhat
     resembles a _Balluster_.

  C

  _Chanel_, in the _Ionick_ Capital, is that part which is
     under the _Abacus_, and lies upon _Echinus_ or Egg, and
     which has its _Contours_ or Turnings on every side to
     make the Voluta's.

  _Cariatides_ are Statues of Women, which serve instead of
     Pillars.

  _Cincture_ is that part which makes the middle of the
     _Ballustre_ of the _Ionick Voluta_.

  _Congé_ in French, in Latin _Apophyges_, from the Greek word
     [Greek: apophygê] because that part of the Pillar taking
     as it were a rise, seems to emerge and fly from the
     _Basis_ like the _Proceltus_ of a Bone in a mans Leg, In
     short, it's no more than the _Rings_ or _Ferils_
     heretofore used at the Extremities of wooden Pillars, to
     preserve them from splitting, afterwards imitated in
     Stone-work.

  _Corona_ is properly that part of the Cornice which the
     French call _Larmer_ or _Drip_, because it defends the
     rest of the Work from Wind and Weather: It is often taken
     by _Vitruvius_ for all the Cornice.

  _Corona_, called the _Plat_ or _flat Crown_, is a particular
     Member in the _Dorick_ Gate; it's made by so
     extraordinary enlargement of the _Face_ of the _Corona_
     or _Drip_, that it has six times more Breadth than
     Projecture. This sort of _Corona_ is no where found among
     the Ancients, but only in the Writings of _Vitruvius_.

  _Cymatium_, from [Greek: kymaton], which signifies a rouling
     _Wave_; is a Member of Architecture, of which the one
     half is _Convex_ and the other _Concave_, the one being
     hollow above, and the other below. There are two sorts of
     them, the one called the _Gola_ or _Throats_, or the
     _Doucine_, whose advanced part is _Concave_; and the
     other is called by the French the _Talon_ or Heel, whose
     advanced part is hollow below, as the first is above.

  D

  _Die_ is the middle of the Pedestals, _viz._ that which is
     between their _Basis_ and their _Cornice_. It's so
     called, because it's for the most part of a Cubit form,
     as _Die's_ are that are used in play.

  _Dentils_, or Teeth, is a Member of the _Jonick_ Cornice,
     which is square, and cut out at convenient distances,
     which gives it the form of a Set or Gang of Teeth.

  _Diastyle_, from [Greek: dia] and [Greek: stylos]: _Columna_
     is a sort of Edifice where the Pillars are distanced one
     from another the breadth of 3 Diameters of the Pillar.

  _Diptere_, from [Greek: dis] and [Greek: pteron]: _Ala_
     signifies that which has a double Isle or Wing; the
     Ancients called so the Temples, which were surrounded
     with two Ranges of Pillars, for there two _Ranges_ made
     two _Portico's_, which they called _Wings_, we _Isles_,
     from the French word _Ailes_, which signifies _Wings_,
     because as Wings are on the sides of Birds, so these of
     Edifices.

  E

  _Echinus_, from [Greek: apo tou echinou] a _Hedg-hog_; it is
     a Member of Architecture, which we call a
     _Quarter-round_; it has its name from the roughness of
     its Carving, resembling the prickly Rhind of the Chesnut,
     and not unlike the Hedg-hog; it's commonly next to the
     _Abacus_, and carved with Ovals and Darts, sometimes
     called Eggs and Anchors, because these pretended Chesnuts
     are cut in an Oval form.

  _Entablature_ signifies properly the Flooring or Lofting
     with Boards; it comes from the Latin word _Tabulatum_. In
     Architecture it's that part which is composed of the
     _Architrave_, _Frise_, and _Cornice_, for in effect this
     part is the extream part of the Flooring, which is
     supported by Pillars, or by a Wall if it have no Pillars.

  _Eye_ is the middle of the _Jonick_ Volute, which is cut in
     the form of a little Rose.

  _Eurythmie_, from [Greek: eu] _bene_, and [Greek: arithmos]
     _numera_: it signifies Proportion; it's taken in its
     general signification in _Architecture_; for in its
     particular signification it signifies the true measure
     that is observed in Dancing after Musick.

  _Eustyle_, from [Greek: _eu_] _bene_, and [Greek: stylos] a
     _Pillar_; its the Order where Pillars are rightly
     placed, the Intercolumniations being two Diameters and a
     quarter.

  F

  _Face_ is a Member of Architecture, which has a great
     Breadth and a small Projecture; it's in _Architraves_.

  _Filet_ is a little square streight Member.

  _Fresco_, and to paint in _Fresco_ or _Freth_, is an Italian
     Phrase, and it signifies the Painting which is made upon
     the Plaistering before it be dry.

  _Frise_ is that part which is between the _Architrave_ and
     the _Cornice_.

  G

  _Gnomonick_ is the Art of making Sun-dials; it's derived
     from the Greek [Greek: gnômôn], which signifies that
     which shews a thing, as the Cock or Pin of the Dyal shews
     what a clock it is.

  _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: hydôr]; 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: aithêr]
     æther; 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_.

  _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: hopê], _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: skenê]
     _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: skeninê]
     _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: pseudês] _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: pseudês] _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: skenê]. 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] _tenebræ_, _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 _Guttæ_, 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.


There had been a plot among the convicts to batter down the shaky old
stockade, and break for freedom. They had secured a gun and some
ammunition, where, no one could tell, and the plot had well-nigh
succeeded. The guard on the wall had been killed, three men had
escaped, and the prison bloodhounds were lying in the kennel with
their throats cut.

Already the governor of the State had telegraphed freedom to the
convicts not in the scheme who would give the names of those engaged
in it. Even the leader's name; for _that_ freedom was offered, pardon
unconditional.

Something let fall discovered to the warden that Jim, while not in,
was familiar with the whole history of the insurrection. The offer of
freedom had no further effect upon him than a careless refusal to
comply with the terms set forth. But when force was suggested, he set
his lips in that old way that belonged to his mother, and said
nothing. Three days they gave him to "knock under." But the only
change noticeable during that time was a more decided sullenness, a
look in the cold, gray eyes that meant death rather than yielding.

Once the soft-voiced young man who had put out his hand in his defence
the day of his arrival at the stockade, and had afterward called him
"friend," the only time he had ever heard the word addressed to
himself, once he came over where Jim sat cleaning the warden's boots,
and motioned him.

Jim shook his head, and went on blacking the big boots. But when the
young convict drew nearer, and tried to take his hand, he drew back,
and struck at him viciously with the blacking brush.

"Git out, will you! And don't come a-fooling with this brush, lest you
want your d--n head broke."

He had seen a guard spying upon them at a half open door in the rear
of the young convict. At Jim's outburst of temper the guard entered.

"Come away from him, Solly," he said, "the surly beast is as like as
not to knock your brains out."

The convict turned to obey, but the glance he got of Jim's face
carried a full explanation. The temper was affected to keep down
suspicion. After that came the punishment at the pump, the merciless
beating, and then, all things proving unavailing, he was put in the
dungeon to have the "truth starved out of him."

After three days he was brought out, faint, pale, ready to die at
every step, but with that same immovable _something_ shining in his
eyes, and his lips still set in the old way that he had of his mother.

His hands were manacled, and an iron chain clanked about his feet as
he dragged them wearily one after the other. For three days he had
tasted no food, except a rat that he had caught in the dungeon. He ate
it raw, like a dog, and searched eagerly for another. Just as he had
found it, and skinned it with the help of his teeth, the guard peered
through the grating, and seeing what he was doing, entered, and put
handcuffs upon him, after first removing the raw flesh to a point
where he could see, but not touch it. And there it lay, torturing him
while he starved. And there it lay until it became carrion, and
tortured him again. And then they had dragged him out again, out under
the blue sky, where the trees--the old sweet-smelling pines--were
waving their purple plumes upon the distant mountains, and the wild
grape filled the air with perfume, and the wild roses were pink as
childhood's sweet, young dreams, and over all was bended the blue
heaven. And heaven spread before him, heaven; behind him lay hell,
fifteen years of it less one. And they gave him choice again betwixt
the two. They even crammed a bit of moral in the offer. "It was
right," they said, "to tell on those who had broken the prison
regulations, mere justice to the lessees." Right! too late to talk to
him of right. He glanced once at the pines, going farther away,
whiffed at the pleasant odor of the grape blooms, waved his hand to
the roses, in farewell, perhaps, lifted his face to the blue
heaven--he had never looked heavenward before in all his wretched
years,--then, wearing that same old look of his mother's, he turned,
without a word, and re-entered the prison.

Back to the pump, the lash, and at last to the dungeon.

But he no longer dreaded it. It was the Sabbath, and the shackles had
been removed, but he was too weary to notice the rat that came out and
sat peering at him, nibbling at his wet prison clothes, and his feet
and hands. Even the carrion did not disturb any more. The scent of the
wild grape blooms was still in his nostrils. And when the day wore on,
and the two o'clock bell sounded, calling the men to Sunday school, he
started up with a cry of "Here." He had thought the bell a voice at
the dungeon door, and fancied that it said, "friend!"

He dropped back, with a smile on his lips. Could old Nance have peeped
in at that moment she would have pronounced him very like his mother
with that smile, and that stanch old heroism shining in his wide, dead
eyes.

Down in the office the registrar entered upon the death list:

"James Royal--Natural death."

Natural? then God help the unnatural.

"The worst one ever fell into our hands," the warden told the minster
as he came out of the chapel with the soft-voiced friend of the dead
man's. "Not a spark of good in _him_, parson. Jim Royal knocks your
theory all to pieces."

But the friend had been telling the minister a story. And as he passed
out at the rattling stockade gate, he, too, glanced up at the blue
sky. His doubts were gone, if there had been any, his faith was
planted in God's eternal goodness.

"Can such die?" he mused, "such faithfulness, such magnificent
courage, such glorious fidelity? Is it possible that such can pass
away into eternal torment?"

The soft wind touched his cheek and bore heavenward the prayer he
breathed:--

"Forbid it, Almighty God."

EDITORIAL NOTES.

RELIGIOUS INTOLERANCE TO-DAY. PERSECUTED FOR CONSCIENCE SAKE.

The decision recently handed down by Judge Hammond, of the United
States District Court, in the celebrated case of R. M. King, is rich
in lessons of vital importance to thoughtful minds at the present time
of unrest, when conservatism is seeking on every hand, even under the
cloak of radical movements, to secure statutes and legal constructions
of laws which may at an early day be used to fetter thought, crush
liberty, and throttle the vanguard of progress. Briefly stated, the
important facts in the case in question are as follows: Mr. King is an
honest, hard-working farmer. He is charged with no breach of morals;
in fact, it appears that he is a remarkably upright man. But he is a
Seventh Day Adventist; that is, he does not hold the same religious
views as the majority in his State. He stands in the same relation to
his countrymen as that occupied by the early disciples of Christ to
Roman society when Nero undertook to punish Christians by kindling
nightly human fires for the delectation of conservative or majority
thought. He is of the minority, even as the Huguenots were in the
minority when the Church tortured, racked, and burned them for the
glory of God and the good of humanity. He is of the minority, as was
Roger Williams when, in 1635, the popular and conventional thought of
Salem banished him. Mr. King is not an infidel or even a doubter. On
the contrary he is ardently religious, being a zealous and
conscientious member of a sect of Christians noted for their piety and
faith. The Adventists, of whom he is an honored member, it must be
remembered, hold somewhat peculiar views about the second advent of
Christ. They believe they find in the Bible commands making it
obligatory upon them to keep holy the seventh day of the week, or the
Hebrew Sabbath, instead of Sunday, the holiday and rest day observed
by most Christian denominations. Now it was shown in the trial that,
conforming to his belief, Mr. King strictly observed the Sabbath on
Saturday, but being a poor farmer he could not afford to rest two days
each week, or over one hundred days in the year, and, therefore, after
having kept the Sabbath he plowed in his field on Sunday. This aroused
the pious indignation of the narrow-minded and bigoted members of the
community who profess to follow that great Leader who taught us to
judge not, to resist not evil, and to do unto others as we would have
others do unto us. These Christians (?) who, unfortunately for the
cause of justice and religious liberty, are in the majority in
Tennessee, had this conscientious, God-fearing man arrested as a
common felon, and convicted of the heinous crime (?) of
Sabbath-breaking by plowing on Sunday. He appealed to the Supreme
Court, and the sentence was affirmed. Then the Adventists and the
National Secular Association took up the case. Hon. Don M. Dickinson
was engaged as counsel, and the case was taken to the Federal Court
last November on a writ of habeas corpus, the contention being that
the conviction was contrary to the bill of rights of Tennessee and the
Constitution of the United States, and that the defendant was held
prisoner by the sheriff without due process of law. The application
was argued several months ago, and Judge Hammond has had it under
advisement until recently, when his decision was given in which the
defendant was remanded back to the custody of the sheriff to pay the
fine or serve the time according to the sentence. This decision holds
that malice, religious or otherwise, may dictate a prosecution, but if
the law has been violated this fact does not shield the law-breaker.
Neither do the courts require that there shall be some moral obloquy
to support a given law before enforcing it, and it is not necessary to
maintain that to violate the Sunday observance customs shall be of
itself immoral to make it criminal in the eyes of the law.

Suggestive, indeed, are the lessons of this great judicial crime
against liberty, justice, and God. In the first place it illustrates
the fact which must long since have become apparent to thinking men
that the guarantee of the Constitution of the United States, which,
more than aught else, has made this Republic the flower of all
preceding nations, is yearly becoming less and less regarded by the
small men and narrow minds who interpret law and who, instead of
showing how unconstitutional any law is which violates the great
charter of right, yield to the present craze for Governmental
Paternalism, paying no more heed to our Constitution than if it was
the ukase of a Czar. In numerous instances during the past decade has
this solemn fact been emphasized, until it is evident that with the
reaction toward Paternalism and centralization has come the old time
spirit of intolerance and moral obloquy on the part of the governing
powers which has been one of the chief curses of the ages, entailing
indescribable misery on the noblest and best, and holding in
subjection the vanguard of progress, which always has been and always
will be the minority, regarded by the majority as dangerous innovators
or disseminators of false theories and doctrines. In my article on
Socialism I noted the case of Mr. King, observing that:--

     He in no way deserves the shameful imprisonment he is suffering;
     yet the prejudice of the majority sustains the infamous law that
     makes criminals of the innocent and takes not into consideration
     the rights of the minority. _And what is more, the religious
     press is so dominated by bigotry and ancient prejudice that it is
     blind alike to the Golden Rule and the inexorable demands of
     justice._ If in any State the Adventists, the Hebrews, or any
     other people who believed in observing Saturday instead of Sunday
     should happen to predominate, and they undertook to throw
     Christians into dungeons, and after branding them criminals
     should send them to the penitentiary for working on Saturday,
     indignation would blaze forth throughout Christendom against the
     great injustice, the wrong against the liberty of the rights of
     the citizen. The only difference is that poor Mr. King is in the
     minority; he is the type of those who always have been and always
     will be made to suffer when the government is strong enough to
     persecute all who do not accept what is considered truth and
     right by the majority.

In replying to my paper Mr. Bellamy thus flippantly dismissed this
case: "Of this it may be remarked that had it happened two centuries
ago it would have been symptomatic; to-day it is a curiosity." It will
be observed that in order to minify the dangers of Paternalism, Mr.
Bellamy entirely ignored the point I had italicized, viz.: the
Christian sentiment of society was not outraged and what was more,
"_the religious press was so dominated by bigotry and ancient
prejudice that it was blind alike to the Golden Rule and the
inexorable demands of justice_." To-day we are told that this great
judicial crime is a curiosity, although the religious bigotry of the
majority has been upheld by the lower, the federal, and supreme
courts, while the religious press has, with rare exceptions,
sanctioned the persecution or ignored the case.

In vain the long-cherished idea that this country was to pass down the
cycle of time known as the land of freedom; that it was to be forever
the asylum for religious liberty and the cradle of progress, unless
the sober thought of our people be at once aroused to stem the rising
tide of Governmentalism and the steady encroachment of religious
organizations and despotic foreign thought.

Comparatively few of the leading secular journals[6] have deemed this
outrage sufficiently important to call for editorial comment,
notwithstanding it marks the establishing of a precedent which must
inevitably work great misery to innocent people at the hands of
religious fanatics, unless there is a sufficient agitation to cause
the repeal of many iniquitous laws which are a menace to the rightful
freedom of citizens as long as they remain on the statute books.

      [6] Among the few papers which have denounced this judicial
          crime are the New York _Commercial Advertiser_ and the St.
          Louis _Republic_. The former journal observes: "It seems
          that the glorious clause of the Constitution can give no
          protection to men who conscientiously believe they should
          literally observe the Fourth Commandment.... It seems that
          when a State seeks to enforce religious duty all consciences
          must bow before it. That is to say, if, for example, the
          Catholics of Louisiana were to pass a law that no man should
          taste meat on Friday, the act would be no infringement of
          religious liberty.

          There can be but one opinion upon this decision among all
          liberal-minded men. It is odious sophistry, unworthy of the
          age in which we live. And under it an American citizen has
          been condemned to spend the rest of his days in a dungeon
          unless he shall stoop to deny the dictates of his own
          conscience and dishonor his own manhood.

          The _Republic_ in an editorial of August second says: "Not
          being able to leave his crops unworked for two days in the
          week, Mr. King ploughed them on Sunday, after having kept
          the Sabbath the day before. He was arrested under the Sunday
          law, and in order to make it effective against him it was
          alleged that his work on his own farm on Sunday created a
          public nuisance. On this entirely untenable ground he has
          been harassed from court to court. He was a poor man, but he
          has been supported by the friends of religious liberty. Mr.
          King has been greatly wronged, but his only remedy at law is
          under the law and Constitution of Tennessee. It appears that
          for the present his remedy is denied him, and this being the
          case he has no better recourse than to submit to the
          oppression and go to prison--to the convict camp, if it
          suits the convenience of his persecutors to send him there."

SOCIAL CONDITIONS UNDER LOUIS XV. A LESSON FOR THE PRESENT DAY.

To the superficial observer who, as guests of royalty, loitered
through the sunny days which marked the closing years of Louis XV.,
France presented the aspect of a gay, thoughtless, happy, butterfly
nation, whose government on the whole satisfied the requirements of
the rich and powerful, and was sustained by the strong arm of the
army on the one hand and the impregnable influence of the Church on
the other. Small heed was to be given to the pamphleteers, whose
brilliant satire, biting sarcasm, and pointed logic afforded amusement
at the Louvre, rather than struck dismay to the hearts of those who
fondly believed that the Church still held in thrall the brain of the
masses, and that as for centuries the people had been content with
slavery and vassalage, it was absurd to imagine they had now come to
man's estate, had, Phoenix-like, arisen from the ashes of old-time
sullen obedience or ignorant content, into the tumultuous atmosphere
of intellectual activity. It is true, some far-seeing brains beheld
the coming storm and warned the king, urging him to either suppress
the philosophers, or concede to the masses a greater meed of justice,
but their views were scouted by the ruling or conventional thought of
the court, and life at the Louvre continued a merry whirl of carnal
and selfish delight. The morning brought the chases, and evening the
banquet, the theatre, or the ball; while at intervals grand
polytechnic exhibitions delighted the populace, being given, probably,
in the vain hope that they would satisfy the rising discontent, much
as the gladiatorial shows satisfied, while they still further
brutalized, the degraded populace of ancient Rome, making possible the
toleration of such colossal iniquity as marked the decline of the
Empire. Such, then, was the aspect of court life, while above the
social and political horizon were gathering clouds which prophesied
the greatest cataclysm civilization had witnessed. The wilful
short-sightedness, the supreme indifference to the principles of
justice, liberty, and fraternity; the conspicuous absence of the
spirit of humanity, which characterized those who might have averted
the coming baptism of blood, was the legitimate result of the
anæsthetizing of the soul of the Court and aristocracy with the lust
of the eye, the lust of the flesh, and the pride of life. The divine
spark had disappeared. The spiritual nature had given way to the
sensual. Ambition and pleasure were enthroned in the seats of justice
and humanity. Selfishness was the keynote of aristocratic life. And
with this fact kept in view, the short-sightedness of royalty in the
presence of the rising tide of intelligent discontent is by no means
strange. Indifferent to the fate of the masses in any struggle that
might be precipitated, guided by none of the higher impulses of life,
and possessing implicit confidence in the impregnability of that
triple bulwark of conservatism, the army, the police, and the Church,
the ruling party of French aristocracy drifted down the stream
garlanded with roses, revelling in wine and music, abandoning itself
to pleasure on life's lowest plane.

To the student of social conditions, who might have been a guest of
the philosopher Rousseau, the picture photographed on the mental
retina would have been far different. Above he would have beheld the
round of selfish, thoughtless gaiety, in which the images and
intrigues of Madame Dubarry and Marie Antoinette, of Choiseul and
Rohan, of Louis and Richelieu, were strangely mingled and distorted by
exaggeration, as they sifted down from the Court through several
layers of brains until they reached the world of the newly awakened
laborer. Below him would have yawned, in all its hideousness, the
blackness of the pit, the social cellar into which he would have seen
thousands and scores of thousands of his fellow-men crowded or driven
by want, misfortune, or the avarice of the more powerful, and from
which so few who once fall ever rose to the noble estate of true
manhood and womanhood. Around him he would have noted still another
world, more interesting and yet more terrible in its ferocity and
power than those above and below--the realm of the common people--the
sphere of the masses--the _current_ which passed over the darkest
dregs and bore on its surface the scum. In this world the strange and
interesting phenomenon would have met his eye of a newly awakened
brain, an intellect which after ages of semi-unconsciousness, had, in
a surprisingly short time, been aroused by the intellectual brilliancy
of thinkers who had flooded a nation with new ideas, who had kindled
the fires of justice, who had spoken in the _ear of all the people_
the doctrine of the essential brotherhood of man, the kinship of the
throne and the shop, the idler in the palace and the idler in the
cellar; the cormorant who dined off the labor of others at Lucerne,
and the low-browed outcasts occupied in the same way but pursuing
different methods, in the social sewer. And he would have noticed an
unusual activity in this working world; secret meetings were being
held on every hand. The great philosophical works of Rousseau
breathing a new hope and a larger life into the soul of every reader,
and the withering satire of Voltaire falling against the battlements
of the church and the throne--these were the text-books and watchword
of the new revolution. Tens of thousands of men who a few years before
had accepted unquestioningly the assurance of the priests and obeyed
as children the decrees of Royalty, were now thinking as never before
on justice and equity, were students and intelligent expounders of the
master brains which blossomed forth on every hand, in spite of priest
and police. Heresy and liberty, justice and freedom, progress and
equity had joined hands; conventionalism was doomed. The cry for
justice went up from every hand to the crown and the aristocracy, only
to come back with a mocking laugh or a royal restrictive decree. Thus
the flame was fanned. The noble teaching of the great apostles of
light and justice which illuminated the brains of the people and at
first filled their hearts with holy love and wonderful tenderness,
making them ready to accept and only desirous of receiving that
measure of justice and consideration to which they knew they were
entitled, later changed to feelings of hate and desire for revenge
which ever grows as mushrooms in the average mind when justice is
denied and oppression bears down more relentlessly at each complaint
that comes from the oppressed. It is a law of life on the lower plane
that selfishness, indifference, and heartlessness coming from above
are photographed upon the sensitive intellect of the struggling minds
below, which vainly ask for justice, only to return in time
intensified a hundred-fold--selfishness becomes active and is
complemented by an insane desire to destroy. Indifference calls forth
unbridled ferocity. Heartlessness awakens sentiments of cruelty and
brutality as relentless and destructive as the cyclone.

The social sewer or cellar of Paris at this time presented as
interesting and suggestive a study as the toiling world above. Here
were thousands of human beings dwelling in the atmosphere of crime and
brutality, hungry, cold, and well-nigh hopelessly vicious by virtue of
want, association, and environment, and ready for, if not eagerly
anticipating any social upheaval which would afford them an
opportunity to plunder and pillage. This world presented then, as it
ever must, the saddest and most hopeless spectacle in the kaleidoscope
of life. There were scores of thousands in this social sewer and new
recruits coming daily. The avarice and extravagance of the Court
pressed upon the great stratum of middle life, which in time bore down
upon the lower sphere with crushing weight, while many of its numbers,
weary of the eternal struggle, relaxed their hold on respectability
and fell into the pit of crime and moral death. The inhabitants of
this realm presented a picture of ferocity and despair, which must
necessarily prove a frightful element in a revolution. The social
cellar was only waiting for the signal when its hideous throat would
belch forth death as surely as cannon or mortar ever hurled the
life-destroying bomb. Such was life in France in the world of the
wealthy and the world of want; while Louis drank Dubarry's health;
while Marie Antoinette longed for her childhood home, and the Dauphin
busied himself with geography, lock-making, and clock-repairing.

When Louis XV. died the scum had so thoroughly poisoned the great
current of life in France that it is probable that even had there been
far wiser heads at the helm of State than Louis XVI. and his
councillor they would have found it difficult, if not impossible, to
prevent a bloody reckoning, for the love of peace and reverence for
justice, the cool judgment and mature wisdom which swayed the popular
mind at an early day was well-nigh drowned in the rising tide of angry
discontent and intense hate. A settled conviction pervaded the soul of
the masses that the hour had come when might should make right the
age-long wrongs of the people; and when an idea of this character
possesses the rank and file of a nation it is almost impossible even
by a liberal policy to avert a bloody issue.

I have dwelt upon this striking passage of history because it bristles
with suggestive lessons and warning notes to the great Republic at
the present time, and because the grave evils, which are as
symptomatic to-day as were the signs of the times portentous in the
reign of the easy-going, sensual Louis, are being met by those who
have it in their power to avert a social catastrophe in precisely the
same short-sighted spirit as characterized the conservative
aristocracy when it denied the existence of the universal discontent
among the masses and flippantly dismissed the angry muttering of the
coming storm as merely the expression of a few shallow-brained
malcontents. To-day we find the same brutal indifference and
selfishness as was so conspicuous at the Louvre in 1770, exhibited by
our mushroom aristocracy of the dollar, composed of those who form and
control the great monopolies, syndicates, trusts, and combines, which
are so cruelly oppressing the many that the few may grow many times
millionnaires; together with the great railway magnates, who have
through watering stock on the one hand, and plundering the
commonwealth of farmers by exorbitant freights on the other,
dishonestly amassed colossal fortunes. And that still more baleful
communion which forms such an important part of America's shoddy
aristocracy, the Wall Street gamblers, they who rule "the street,"
paralyzing healthy business, causing panics at will, and annually
sweeping to the wall, to ruin and to death numbers of victims who have
been lured into their snares by deceptive reports industriously
circulated and extensively published by paid agents of these same
brigands of the commercial world.

This mushroom plutocracy, whose representatives hold colossal fortunes
acquired rather than earned, practically rule our business interests
by virtue of the enormous opportunities afforded by their great
wealth. And year by year are they increasing the rising tide of
indignation in the hearts of millions of hard-working men and women,
by grinding down more and still more hopelessly the multitude
dependent on them, whom they can reduce to starvation if they rebel.
Another element, which, viewed from the plane of justice and equity
may be rightly termed _criminal_, is the popular and conservative
economist who caters to the plutocracy and with brazen effrontery
denies facts susceptible of proof, while he denounces every reformer
who seeks to expose the iniquities of the present. This course is
precisely a repetition of the policy of those who minified the real
danger and misrepresented the grave facts to the Court of France, at a
time when an honest, truthful representation might have averted the
most terrible revolution in the annals of civilization. Only a short
time since a popular economic writer denounced a Boston clergyman for
unveiling the horrors of the sweating system in the modern Athens. He
could not deny the truth of the sickening facts described, but termed
the minister a member of one of the "_most dangerous class_" of
citizens, merely because he spoke the truth with a view to bettering
the condition of society's exiles.

At a recent meeting of the Rhode Island weavers, a distinguished and
popular conservative economic writer addressed the hard struggling
workingmen. During his remarks he sought to make them blindly and
contentedly accept their lot by saying in honeyed tones: "_Why, my
dear friends, the production of the country only furnishes $200 a head
annually, and it is hard to make it go around. It is only by hard
pinching and careful economy that we can make it do so;_" while almost
within gunshot of the speaker rose the palaces of America's
millionnaires, at Newport, where gigantic fortunes are annually
squandered with lavish hands; where Mr. McAllister and his butterfly
coterie of wealthy gourmands eat, drink, and dance away the summer,
and illustrate how _these_ children of idleness and wealth have to
"_pinch and plan_" _to make their share_ "_of the $200 go around_," of
which the distinguished conservative economist spoke. If the masses of
our people were unable to read or write, if they had been accustomed
to centuries of oppression, a policy so glaringly unjust and
disingenuous might succeed for a time. But with conditions as they
are, the persistent crying of peace when there is no peace, and
attempting to juggle with facts is more than foolish, it is
_criminal_. One who does not regularly read the labor and agricultural
press of this country is incapable of forming an intelligent idea of
the nature or extent of the discontent at the present time. Then
again, beyond this commonwealth of struggling toilers rises another
commonwealth, the frightful condition of which no careful student can
ignore. I refer to society's exiles, or the contingent of the social
cellar. This element grows more powerful with each year. It is not
securing justice at the hands of civilization and must some day be
reckoned with.

In every agitation, every crusade against wrong, every battle for
humanity, every contest for a broader sweep of justice, conventional
critics have arrayed themselves on the side of the evil conditions,
and denounced as dangerous agitators those who have sought to arouse
the higher impulses of the people to right the crying wrongs of the
hour. The treatment of Garrison and Phillips by this class in Boston,
even in the shadow of the Cradle of Liberty, during the anti-slavery
agitation, is of sufficiently recent date to emphasize this point,
which has been paralleled in every important agitation for a higher
civilization and a more just condition. To ignore the serious social
unrest of the present, and the bitter cry of the weak for justice, is
to follow the fatal precedent set by the French government. To deny
the reality of the wrongs complained of, or lightly dismiss them as
our popular economists are doing, is to pursue the ostrich policy with
the certainty of being overtaken by the results of the evil which
might have been averted. It matters not whether our "eminent"
authorities are ignorant of the true social condition in city and
country life to-day, or are wickedly juggling with truth in order to
curry favor with plutocracy and conservatism, the fact remains that
they are deceiving their masters as courtiers have often deceived
thrones at moments when deception meant ruin. The duty of the hour is
to _turn on the light_, to compel the thoughtful among our wealthy and
powerful people to know the truth as it is, and to seek such a just
and equitable revolution as will save a baptism of blood. The day for
prophesying smooth things is past; we are face to face with problems
and conditions which will not brook dishonest treatment. The
exigencies of the present hour demand that we frankly face the social
problems as they are and honestly discuss them in all their bearings.
That we call to witness the impressive lessons of history and if
possible, avert the repetition of the cataclysms of the past by prompt
measures, marked by wisdom and justice. It is not too late to prevent
a revolution of force if _wealth and power_ will heed the cry of _want
and weakness_; if justice, courage, and duty supplant self-interest
and indifference in the hearts of those who see and feel the rising
tide of angry discontent. To-day if we would demonstrate that a
century of civilization and free government has lifted us to a higher
ethical level than humanity had attained a hundred years ago, we must
face conditions as they are and promptly adopt measures that will
secure such a meed of justice for the weak as shall take from his
heart the bitterness of injustice and establish a feeling of common
brotherhood and good-will.

[Transcriber's Notes:

Every effort has been made to replicate this text as faithfully as
possible, including obsolete and variant spellings and other
inconsistencies. The transcriber made the following changes to the
text to correct obvious errors by the publisher:

1. p. 589, "Samangala" changed to "Sumangala"
2. p. 603, "Lassez-faire" changed to "Laissez-faire"
3. p. 607, Both "J. S. Moffitt, Jr." and "J. S. Moffit, Jr." appear
           on page 607.
4. p. 622, "nothng" changed to "nothing"
5. p. 632, "Even he carrion" changed to "Even the carrion"
6. p. 633, "Sabbath or" changed to "Sabbath on"

Also, several occurrences of mismatched quotes remain as published.

End of Transcriber's Notes]