Vitruvius (/vɪˈtruːviəs/; c. 80–70 BC – after c. 15BC) was a Roman architect and engineer during the 1st century BC, known for his multi-volume work titled De architectura.[1] He originated the idea that all buildings should have three attributes: firmitas, utilitas, and venustas ("strength", "utility", and "beauty").[2] These principles were later widely adopted in Roman architecture. His discussion of perfect proportion in architecture and the human body led to the famous Renaissance drawing of the Vitruvian Man by Leonardo da Vinci.
Little is known about Vitruvius' life, but by his own description[3] he served as an artilleryman, the third class of arms in the Roman military offices. He probably served as a senior officer of artillery in charge of doctores ballistarum (artillery experts) and libratores who actually operated the machines.[4] As an army engineer he specialized in the construction of ballista and scorpioartillerywar machines for sieges. It is possible that Vitruvius served with Julius Caesar's chief engineer Lucius Cornelius Balbus.
Vitruvius' De architectura was widely copied in the Middle Ages and survives in many dozens of manuscripts[5] though in 1414 it was "rediscovered" by the Florentine humanist Poggio Bracciolini in the library of Saint Gall Abbey. Leon Battista Alberti published it in his seminal treatise on architecture, De re aedificatoria (c.1450). The first known Latin printed edition was by Fra Giovanni Sulpitius in Rome in 1486. Translations followed in Italian, French, English, German, Spanish, and several other languages. Though the original illustrations have been lost, the first illustrated edition was published in Venice in 1511 by Fra Giovanni Giocondo, with woodcut illustrations based on descriptions in the text. Bramante,Michelangelo, Palladio, Vignola and earlier architects are known to have studied the work of Vitruvius, and consequently it has had a significant impact on the architecture of many European countries.[1]
Life and career
Little is known about Vitruvius' life. Most inferences about him are extracted from his only surviving work De Architectura. His full name is sometimes given as "Marcus Vitruvius Pollio", but both the first and last names are uncertain.[6]Marcus Cetius Faventinus writes of "Vitruvius Polio aliique auctores"; this can be read as "Vitruvius Polio, and others" or, less likely, as "Vitruvius, Polio, and others". An inscription in Verona, which names a Lucius Vitruvius Cordo, and an inscription from Thilbilis in North Africa, which names a Marcus Vitruvius Mamurra have been suggested as evidence that Vitruvius and Mamurra (who was a military praefectus fabrum under Julius Caesar) were from the same family;[7] or were even the same individual. Neither association, however, is borne out by De Architectura (which Vitruvius dedicated to Augustus), nor by the little that is known of Mamurra.
Likely born a free Roman citizen, by his own account Vitruvius served in the Roman army under Caesar with the otherwise poorly identified Marcus Aurelius, Publius Minidius and Gnaeus Cornelius. These names vary depending on the edition of De architectura. Publius Minidius is also written as Publius Numidicus and Publius Numidius, speculated as the same Publius Numisius inscribed on the Roman Theatre at Heraclea.[9]
The locations where he served can be reconstructed from, for example, descriptions of the building methods of various "foreign tribes". Although he describes places throughout De Architectura, he does not say he was present. His service likely included north Africa, Hispania, Gaul (including Aquitaine) and Pontus.
To place the role of Vitruvius the military engineer in context, a description of "The Prefect of the camp" or army engineer is quoted here as given by Flavius Vegetius Renatus in The Military Institutions of the Romans:
The Prefect of the camp, though inferior in rank to the [Prefect], had a post of no small importance. The position of the camp, the direction of the entrenchments, the inspection of the tents or huts of the soldiers and the baggage were comprehended in his province. His authority extended over the sick, and the physicians who had the care of them; and he regulated the expenses relative thereto. He had the charge of providing carriages, bathhouses and the proper tools for sawing and cutting wood, digging trenches, raising parapets, sinking wells and bringing water into the camp. He likewise had the care of furnishing the troops with wood and straw, as well as the rams, onagri,balistae and all the other engines of war under his direction. This post was always conferred on an officer of great skill, experience and long service, and who consequently was capable of instructing others in those branches of the profession in which he had distinguished himself.[11]
At various locations described by Vitruvius,[12] battles and sieges occurred. He is the only source for the siege of Larignum in 56 BC.[13] Of the battlegrounds of the Gallic War there are references to:
The siege and massacre of the 40,000 residents at Avaricum in 52 BC. Vercingetorix commented that "the Romans did not conquer by valour nor in the field, but by a kind of art and skill in assault, with which they [Gauls] themselves were unacquainted."[14]
The circumvallation and Battle of Alesia in 52 BC. The women and children of the encircled city were evicted to conserve food, and then starved to death between the opposing walls of the defenders and besiegers.
In his work describing the construction of military installations, he also commented on the miasma theory – the idea that unhealthy air from wetlands was the cause of illness, saying:
For fortified towns the following general principles are to be observed. First comes the choice of a very healthy site. Such a site will be high, neither misty nor frosty, and in a climate neither hot nor cold, but temperate; further, without marshes in the neighbourhood. For when the morning breezes blow toward the town at sunrise, if they bring with them mists from marshes and, mingled with the mist, the poisonous breath of the creatures of the marshes to be wafted into the bodies of the inhabitants, they will make the site unhealthy. Again, if the town is on the coast with southern or western exposure, it will not be healthy, because in summer the southern sky grows hot at sunrise and is fiery at noon, while a western exposure grows warm after sunrise, is hot at noon, and at evening all aglow.[18]
Frontinus mentions Vitruvius in connection with the standard sizes of pipes:[19] the role he is most widely respected. He is often credited as father of architectural acoustics for describing the technique of echeas placement in theaters.[20] The only building, however, that we know Vitruvius to have worked on is one he tells us about,[21] a basilica completed in 19 BC.[22] It was built at Fanum Fortunae, now the modern town of Fano. The Basilica di Fano (to give the building its Italian name) has disappeared so completely that its very site is a matter of conjecture, although various attempts have been made to visualise it.[23] The early Christian practice of converting Roman basilicae (public buildings) into cathedrals implies the basilica may be incorporated into the cathedral in Fano.
In later years the emperor Augustus, through his sister Octavia Minor, sponsored Vitruvius, entitling him with what may have been a pension to guarantee financial independence.[3]
Whether De architectura was written by one author or is a compilation completed by subsequent librarians and copyists, remains an open question. The date of his death is unknown, which suggests that he had enjoyed only a little popularity during his lifetime.[citation needed]
Gerolamo Cardano, in his 1552 book De subtilitate rerum, ranks Vitruvius as one of the 12 persons whom he supposes to have excelled all men in the force of genius and invention; and would not have scrupled[clarification needed] to have given him the first place if it could be imagined that he had delivered nothing but his own discoveries.[24]
James Anderson's "The Constitutions of the Free-Masons" (1734), reprinted by Benjamin Franklin, describes Vitruvius as "the Father of all true Architects to this Day."[25]
Vitruvius is the author of De architectura, libri decem, known today as The Ten Books on Architecture,[26] a treatise written in Latin on architecture, dedicated to the emperor Augustus. In the preface of Book I, Vitruvius dedicates his writings to giving personal knowledge of the quality of buildings to the emperor. Likely Vitruvius is referring to Marcus Agrippa's campaign of public repairs and improvements. This work is the only surviving major book on architecture from classical antiquity. According to Petri Liukkonen, this text "influenced deeply from the Early Renaissance onwards artists, thinkers, and architects, among them Leon Battista Alberti (1404–1472), Leonardo da Vinci (1452–1519), and Michelangelo (1475–1564)."[16] The next major book on architecture, Alberti's reformulation of Ten Books, was not written until 1452.
Vitruvius is famous for asserting in his book De architectura that a structure must exhibit the three qualities of firmitatis, utilitatis, venustatis – that is, stability, utility, and beauty. These are sometimes termed the Vitruvian virtues or the Vitruvian Triad. According to Vitruvius, architecture is an imitation of nature. As birds and bees built their nests, so humans constructed housing from natural materials, that gave them shelter against the elements. When perfecting this art of building, the Greeks invented the architectural orders: Doric, Ionic and Corinthian. It gave them a sense of proportion, culminating in understanding the proportions of the greatest work of art: the human body. This led Vitruvius in defining his Vitruvian Man, as drawn later by Leonardo da Vinci: the human body inscribed in the circle and the square (the fundamental geometric patterns of the cosmic order). In this book series, Vitruvius, also wrote about climate in relation to housing architecture and how to choose locations for cities.[27][28]
Scope
Vitruvius designed and supervised the construction of this basilica in Fano (reconstruction). However, many of the other things he did would not now be considered the realm of architecture
Vitruvius is the first Roman architect to have written surviving records of his field. He himself cites older but less complete works. He was less an original thinker or creative intellect than a codifier of existing architectural practice. Roman architects practised a wide variety of disciplines; in modern terms they would also be described as landscape architects, civil engineers, military engineers, structural engineers, surveyors, artists, and craftsmen combined. Etymologically the word architect derives from Greek words meaning 'master' and 'builder'. The first of the Ten Books deals with many subjects which are now within the scope of landscape architecture.
In Book I, Chapter 1, titled The Education of the Architect, Vitruvius instructs...
1. Architecture is a science arising out of many other sciences, and adorned with much and varied learning; by the help of which a judgment is formed of those works which are the result of other arts. Practice and theory are its parents. Practice is the frequent and continued contemplation of the mode of executing any given work, or of the mere operation of the hands, for the conversion of the material in the best and readiest way. Theory is the result of that reasoning which demonstrates and explains that the material wrought has been so converted as to answer the end proposed.
2. Wherefore the mere practical architect is not able to assign sufficient reasons for the forms he adopts; and the theoretic architect also fails, grasping the shadow instead of the substance. He who is theoretic as well as practical, is therefore doubly armed; able not only to prove the propriety of his design, but equally so to carry it into execution.[29]
He goes on to say that the architect should be versed in drawing, geometry, optics (lighting), history, philosophy, music, theatre, medicine, and law.
In Book I, Chapter 3 (The Departments of Architecture), Vitruvius divides architecture into three branches, namely; building; the construction of sundials and water clocks;[30] and the design and use of machines in construction and warfare.[31][32] He further divides building into public and private. Public building includes city planning, public security structures such as walls, gates and towers; the convenient placing of public facilities such as theatres, forums and markets, baths, roads and pavings; and the construction and position of shrines and temples for religious use.[29] Later books are devoted to the understanding, design and construction of each of these.
Proportions of man
"Vitruvian Man", illustration in the edition of De architectura by Vitruvius; illustrated edition by Cesare Cesariano (1521)Vitruvian Man by Leonardo da Vinci, an illustration of the human body inscribed in the circle and the square derived from a passage about geometry and human proportions in Vitruvius' writings
In Book III, Chapter 1, Paragraph 3, Vitruvius writes about the proportions of man:
3. Just so the parts of Temples should correspond with each other, and with the whole. The navel is naturally placed in the centre of the human body, and, if in a man lying with his face upward, and his hands and feet extended, from his navel as the centre, a circle be described, it will touch his fingers and toes. It is not alone by a circle, that the human body is thus circumscribed, as may be seen by placing it within a square. For measuring from the feet to the crown of the head, and then across the arms fully extended, we find the latter measure equal to the former; so that lines at right angles to each other, enclosing the figure, will form a square.[33]
Vitruvius described the human figure as being the principal source of proportion.
The drawing itself is often used as an implied symbol of the essential symmetry of the human body, and by extension, of the universe as a whole.[35]
Lists of names given in Book VII Introduction
In the introduction to book seven, Vitruvius goes to great lengths to present why he is qualified to write De Architectura. This is the only location in the work where Vitruvius specifically addresses his personal breadth of knowledge. Similar to a modern reference section, the author's position as one who is knowledgeable and educated is established. The topics range across many fields of expertise reflecting that in Roman times as today construction is a diverse field. Vitruvius is clearly a well-read man.[citation needed]
In addition to providing his qualification, Vitruvius summarizes a recurring theme throughout the 10 books, a non-trivial and core contribution of his treatise beyond simply being a construction book. Vitruvius makes the point that the work of some of the most talented is unknown, while many of those of lesser talent but greater political position are famous.[26] This theme runs through Vitruvius's ten books repeatedly – echoing an implicit prediction that he and his works will also be forgotten.
Vitruvius illustrates this point by naming what he considers the most talented individuals in history.[26] Implicitly challenging the reader that they have never heard of some of these people, Vitruvius goes on and predicts that some of these individuals will be forgotten and their works lost, while other, less deserving political characters of history will be forever remembered with pageantry.
List of writers on architecture:Fuficius, Terentius Varro, Publius Septimius (writer)
List of architects:Antistates, Callaeschrus, Antimachides, Pormus, Cossutius
List of greatest temple architects:Chersiphron of Gnosus, Metagenes, Demetrius, Paeonius the Milesian, Ephesian Daphnis, Ictinus, Philo, Cossutius, Gaius Mucianus
Rediscovery
Battle of Thapsus as depicted in an engraving after Andrea PalladioThe interior of the Pantheon (from an 18th-century painting by Panini). Although built after Vitruvius' death, its excellent state of preservation makes it of great importance to those interested in Vitruvian architecture
Vitruvius' De architectura was "rediscovered" in 1414 by the Florentine humanist Poggio Bracciolini in the library of Saint Gall Abbey. Leon Battista Alberti (1404–1472) publicised it in his seminal treatise on architecture, De re aedificatoria (c.1450). The first known Latin printed edition was by Fra Giovanni Sulpitius in Rome, 1486.[36] Translations followed in Italian (Cesare Cesariano, 1521), French (Jean Martin, 1547[37]), English, German (Walther H. Ryff, 1543) and Spanish and several other languages. The original illustrations had been lost and the first illustrated edition was published in Venice in 1511 by Fra Giovanni Giocondo, with woodcut illustrations based on descriptions in the text.[38] Later in the 16th-century Andrea Palladio provided illustrations for Daniele Barbaro's commentary on Vitruvius, published in Italian and Latin versions. The most famous illustration is probably Da Vinci's Vitruvian Man.
The surviving ruins of Roman antiquity, the Roman Forum, temples, theatres, triumphal arches and their reliefs and statues offered visual examples of the descriptions in the Vitruvian text. Printed and illustrated editions of De Architectura inspired Renaissance, Baroque and Neoclassical architecture. Filippo Brunelleschi, for example, invented a new type of hoist to lift the large stones for the dome of the cathedral in Florence and was inspired by De Architectura as well as surviving Roman monuments such as the Pantheon and the Baths of Diocletian.
Notable editions
De architectura, 1543
Latin
1495–1496 De architectura (in Latin). Venezia: Cristoforo Pensi.
1543 De architectura (in Latin). Strasbourg: Georg Messerschmidt.
Books VIII, IX and X form the basis of much of what we know about Roman technology, now augmented by archaeological studies of extant remains, such as the water mills at Barbegal in France. The other major source of information is the Naturalis Historia compiled by Pliny the Elder much later in c.75AD.
Machines
The work is important for its descriptions of the many different machines used for engineering structures such as hoists, cranes and pulleys, as well as war machines such as catapults, ballistae, and siege engines. As a practising engineer, Vitruvius must be speaking from personal experience rather than simply describing the works of others. He also describes the construction of sundials and water clocks, and the use of an aeolipile (the first steam engine) as an experiment to demonstrate the nature of atmospheric air movements (wind).
Aqueducts
His description of aqueduct construction includes the way they are surveyed, and the careful choice of materials needed, although Frontinus (a general who was appointed in the late 1st century AD to administer the many aqueducts of Rome), writing a century later, gives much more detail of the practical problems involved in their construction and maintenance. Surely Vitruvius' book would have been of great assistance in this. Vitruvius was writing in the 1st century BC when many of the finest Roman aqueducts were built, and survive to this day, such as those at Segovia and the Pont du Gard. The use of the inverted siphon is described in detail, together with the problems of high pressures developed in the pipe at the base of the siphon, a practical problem with which he seems to be acquainted.
Materials
He describes many different construction materials used for a wide variety of different structures, as well as such details as stucco painting. Concrete and lime receive in-depth descriptions.
Vitruvius is cited as one of the earliest sources to connect lead mining and manufacture, its use in drinking water pipes, and its adverse effects on health. For this reason, he recommended the use of clay pipes and masonry channels in the provision of piped drinking-water.[48]
Vitruvius is the source for the anecdote that credits Archimedes with the discovery of the mass-to-volume ratio while relaxing in his bath. Having been asked to investigate the suspected adulteration of the gold used to make a crown, Archimedes realised that the crown's volume could be measured exactly by its displacement of water, and ran into the street with the cry ofEureka!
Dewatering machines
Design for an Archimedean water-screw
He describes the construction of Archimedes' screw in Chapter X (without mentioning Archimedes by name). It was a device widely used for raising water to irrigate fields and drain mines. Other lifting machines he mentions include the endless chain of buckets and the reverse overshot water-wheel. Remains of the water wheels used for lifting water were discovered when old mines were re-opened at Rio Tinto in Spain, Rosia Montana in Romania and Dolaucothi in west Wales.[citation needed] The Rio Tinto wheel is now shown in the British Museum, and the Dolaucothi specimen in the National Museum of Wales.
Surveying instruments
That he must have been well practised in surveying is shown by his descriptions of surveying instruments, especially the water level or chorobates, which he compares favourably with the groma, a device using plumb lines. They were essential in all building operations, but especially in aqueduct construction, where a uniform gradient was important to the provision of a regular supply of water without damage to the walls of the channel. He also developed one of the first odometers, consisting of a wheel of known circumference that dropped a pebble into a container on every rotation.
Central heating
Ruins of the hypocaust under the floor of a Roman villa. The part under the exedra is covered.
He describes the many innovations made in building design to improve the living conditions of the inhabitants. Foremost among them is the development of the hypocaust, a type of central heating where hot air developed by a fire was channelled under the floor and inside the walls of public baths and villas. He gives explicit instructions how to design such buildings so that fuel efficiency is maximised, so that for example, the caldarium is next to the tepidarium followed by the frigidarium. He also advises on using a type of regulator to control the heat in the hot rooms, a bronze disc set into the roof under a circular aperture which could be raised or lowered by a pulley to adjust the ventilation. Although he does not suggest it himself, it is likely that his dewatering devices such as the reverse overshot water-wheel were used in the larger baths to lift water to header tanks at the top of the larger thermae, such as the Baths of Diocletian. The one which was used in Bath of Caracalla for grinding flour.
Year 23 BC was either a common year starting on Saturday or Sunday or a leap year starting on Friday, Saturday or Sunday of the Julian calendar and a common year starting on Friday of the Proleptic Julian calendar. At the time, it was known as the Year of the Consulship of Augustus and Varro. The denomination 23 BC for this year has been used since the early medieval period, when the Anno Domini calendar era became the prevalent method in Europe for naming years.
The Doric order was one of the three orders of ancient Greek and later Roman architecture; the other two canonical orders were the Ionic and the Corinthian. The Doric is most easily recognized by the simple circular capitals at the top of columns. Originating in the western Doric region of Greece, it is the earliest and, in its essence, the simplest of the orders, though still with complex details in the entablature above.
Honos or Honor was the Roman god personifying honor. He was closely associated with Virtus, the goddess of manliness, or bravery, and the two are frequently depicted together. Honos is typically shown wearing a chaplet of bay leaves, while Virtus is identified by her helmet.
The Vitruvian Man is a drawing by the Italian Renaissance artist and scientist Leonardo da Vinci, dated to c. 1490. Inspired by the writings of the ancient Roman architect Vitruvius, the drawing depicts a nude man in two superimposed positions with his arms and legs apart and inscribed in both a circle and square. Described by the art historian Carmen C. Bambach as "justly ranked among the all-time iconic images of Western civilization". Although not the only known drawing of a man inspired by the writings of Vitruvius, the work is a unique synthesis of artistic and scientific ideals and often considered an archetypal representation of the High Renaissance.
The following outline is provided as an overview of and topical guide to classical architecture:
The Tuscan order is one of the two classical orders developed by the Romans, the other being the composite order. It is influenced by the Doric order, but with un-fluted columns and a simpler entablature with no triglyphs or guttae. While relatively simple columns with round capitals had been part of the vernacular architecture of Italy and much of Europe since at least Etruscan architecture, the Romans did not consider this style to be a distinct architectural order. Its classification as a separate formal order is first mentioned in Isidore of Seville's Etymologies and refined during the Italian Renaissance.
I quattro libri dell'architettura is a treatise on architecture by the architect Andrea Palladio (1508–1580), written in Italian. It was first published in four volumes in 1570 in Venice, illustrated with woodcuts after the author's own drawings. It has been reprinted and translated many times, often in single-volume format.
Proportion is a central principle of architectural theory and an important connection between mathematics and art. It is the visual effect of the relationship of the various objects and spaces that make up a structure to one another and to the whole. These relationships are often governed by multiples of a standard unit of length known as a "module".
De architectura is a treatise on architecture written by the Roman architect and military engineer Marcus Vitruvius Pollio and dedicated to his patron, the emperor Caesar Augustus, as a guide for building projects. As the only treatise on architecture to survive from antiquity, it has been regarded since the Renaissance as the first book on architectural theory, as well as a major source on the canon of classical architecture. It contains a variety of information on Greek and Roman buildings, as well as prescriptions for the planning and design of military camps, cities, and structures both large and small. Since Vitruvius published before the development of cross vaulting, domes, concrete, and other innovations associated with Imperial Roman architecture, his ten books give no information on these hallmarks of Roman building design and technology.
Callimachus was an architect and sculptor working in the second half of the 5th century BC in the manner established by Polyclitus. He was credited with work in both Athens and Corinth and was probably from one of the two cities. According to Vitruvius (iv.1), for his great ingenuity and taste the Athenians dubbed Callimachus katatêxitechnos. His reputation in the 2nd century AD was reported in an aside by Pausanias as one "although not of the first rank of artists, was yet of unparalleled cleverness, so that he was the first to drill holes through stones"—that is, in order to enhance surface effects of light and shade in locks of hair, foliage and other details. Thus it is reported that Callimachus was known for his penchant for elaborately detailed sculptures or drapery, though few securely attributed works by him survive.
Cesare di Lorenzo Cesariano was an Italian painter, architect and architectural theorist. He authored the first Italian-language version of Vitruvius' De architectura.
Daniele Matteo Alvise Barbaro was an Italian cleric and diplomat. He was also an architect, writer on architecture, and translator of, and commentator on, Vitruvius.
Roland Fréart, sieur de Chambray was a French writer, collector, and a theorist of architecture and the arts. Though not a practitioner himself, his two major publications, Parallèle de l'architecture antique avec la moderne (1650) and Idée de la perfection de la peinture (1662), appeared at a time when French architects were struggling to apply a new sense of discipline and order to the practice of building.
The Portrait of Daniele Barbaro is a painting by the Italian Renaissance master Paolo Veronese in the Rijksmuseum Amsterdam. Daniele Barbaro was a member of the Venetian aristocracy. He was an important prelate, humanist and architectural theorist, who commissioned a number of works from Veronese. Veronese had been involved directly with Barbaro and his brother Marcantonio Barbaro, decorating the Villa Barbaro, Maser, which Palladio designed.
The Odeon of Athens or Odeon of Pericles in Athens was a 4,000 m2 (43,000 sq ft) odeon, built at the southeastern foot of the Acropolis in Athens, next to the entrance to the Theatre of Dionysus.
The Vitruvian scroll is a scroll pattern used in architectural moldings and borders in other media. It is also known as the Vitruvian wave, wave scroll, or running dog pattern. The pattern resembles waves in water or a series of parchment scrolls viewed on end.
Den Danske Vitruvius is a richly illustrated 18th-century architectural work on Danish monumental buildings of the period, written by the Danish Baroque architect Lauritz de Thurah. It was commissioned by Christian VI in 1735 and published in two volumes between 1746 and 1749. The title refers to the Roman architect and engineer Vitruvius, who published De architectura in the 1st century AD, an authoritative treatise on the architecture of the time. The direct inspiration for de Thurah's Den Danske Vitruvius was Colen Campbell's Vitruvius Britannicus.
Augustan literature refers to the pieces of Latin literature that were written during the reign of Caesar Augustus, the first Roman emperor. In literary histories of the first part of the 20th century and earlier, Augustan literature was regarded along with that of the Late Republic as constituting the Golden Age of Latin literature, a period of stylistic classicism.
An acoustic jar, also known by the Greek name echea, or sounding vases, are ceramic vessels found set into the walls, ceilings, and sometimes floors, of medieval churches. They are believed to have been intended to improve the sound of singing, and to have been inspired by the theories of Vitruvius. They were supposedly used in ancient Greek theaters to enhance the voices of performers, though no archaeological evidence has been found.
Giovan Antonio Rusconi was a Venetian architect, hydraulic engineer, translator and illustrator of Vitruvius.
↑ The Oxford handbook of Greek and Roman art and architecture. Marconi, Clemente, 1966–. New York. 2015. ISBN978-0-19-978330-4. OCLC881386276.{{cite book}}: CS1 maint: location missing publisher (link) CS1 maint: others (link)
↑ Krinsky, Carol Herselle (1967). "Seventy-Eight Vitruvius Manuscripts". Journal of the Warburg and Courtauld Institutes. 30: 36–70. doi:10.2307/750736. JSTOR750736. S2CID195019013.
↑ John Oksanish, Vitruvian Man: Rome under Construction, Oxford UP (2019), p. 33
↑ Moore, Richard E. M. (January 1968). "A Newly Observed Stratum in Roman Floor Mosaics". American Journal of Archaeology. Archaeological Institute of America. 72 (1): 57–68. doi:10.2307/501823. JSTOR501823. S2CID191364921.
↑ Niccolò Marcello Venuti Description of the First Discoveries of the Ancient City of Heraclea, Found Near Portici A Country Palace Belonging to the King of the Two Sicilies published by R. Baldwin, translated by Wickes Skurray, 1750. p62
↑ Vitruvius mentions Massilia several times, and the siege itself in Book X.
1 2 Liukkonen, Petri. "Vitruvius". Books and Writers (kirjasto.sci.fi). Finland: Kuusankoski Public Library. Archived from the original on 13 January 2015.
↑ Vitruvius (1914). The Ten Books on Architecture. Translated by Morgan, Morris Hicky. Cambridge, Massachusetts: Harvard University Press. ISBN978-0-486-20645-5. Retrieved 26 February 2021– via Project Gutenberg.
↑ Reed Business Information (21 November 1974). "New Scientist". New Scientist Careers Guide: The Employer Contacts Book for Scientists. Reed Business Information: 552–. ISSN0262-4079. Retrieved 6 May 2013.{{cite journal}}: |author= has generic name (help)
↑ De Arch., Book V.i.6) (in Latin) but with link to English translation, accessed August 2008
↑ Turner, A. J., in Folkrets, M., and Lorch, R., (Editors), "Sic itur ad astra", Studien zur Geschichte der Mathematik und Naturwissenschaften – Festschrift für den Arabisten Paul Kunitzsch zum 70, Harrassowitz Verlag, 2000, p.563 ff.
↑ Long, Pamela O., in Galison, Peter, and Thompson, Emily (Editors), The Architecture of Science, The MIT Press, 1999, p. 81
↑ Borys, Ann Marie, Vincenzo Scamozzi and the Chorography of Early Modern Architecture, Routledge, 2014, pp. 85, 179
↑ Vitruvius, Pollio (1914). The Ten Books on Architecture. Translated by Morgan, Morris Hicky. Illustrations prepared by Herbert Langford Warren. Cambridge: Harvard University Press.
↑ Granger, Frank (1931). Vitruvius: On Architecture. Harvard University Press. p.368. ISBN0674992776.
↑ Rowland, Ingrid (2001). Vitruvius: 'Ten Books on Architecture'. Cambridge University Press. p.352. ISBN0521002923.
↑ Smith, Thoma Granger (2004). Vitruvius on Architecture. The Monacelli Press. p.224. ISBN1885254989.
↑ Hodge, Trevor, A. (October 1981). "Vitruvius, Lead Pipes and Lead Poisoning". American Journal of Archaeology. Archaeological Institute of America. 85 (4): 486–491. doi:10.2307/504874. JSTOR504874. S2CID193094209.{{cite journal}}: CS1 maint: multiple names: authors list (link)
Indra Kagis McEwen, Vitruvius: Writing the Body of Architecture. Cambridge, MA: MIT Press, 2004. ISBN0-262-63306-X
B. Baldwin, "The Date, Identity, and Career of Vitruvius". In Latomus 49 (1990), 425–34.
Kai Brodersen & Christiane Brodersen: Cetius Faventinus. Das römische Eigenheim / De architectura privata, Latin and German. Wiesbaden: Marix 2015, ISBN978-3-7374-0998-8
Clarke, Georgia. 2002. "Vitruvian Paradigms". Papers of the British School at Rome 70:319–346.
De Angelis, Francesco. 2015. "Greek and Roman Specialized Writing on Art and Architecture". In The Oxford Handbook of Greek and Roman Art and Architecture. Edited by Clemente Marconi, 41–69. Oxford: Oxford Univ. Press.
König, Alice. 2009. "From Architect to Imperator: Vitruvius and his Addressee in the De Architectura". In Authorial Voices in Greco-Roman Technical Writing. Edited by Liba Chaia Taub and Aude Doody, 31–52. Trier, Germany: WVT Wissenschaftlicher Verlag Trier.
Milnor, Kristina L. 2005. "Other Men's Wives". In Gender, Domesticity and the Age of Augustus: Inventing Private Life. By Kristina Milnor, 94–139. Oxford: Oxford Univ. Press.
Nichols, Marden Fitzpatrick. 2017".Author and Audience in Vitruvius’ De Architectura". Cambridge, UK: Cambridge Univ. Press.
Rowland, Ingrid D. 2014. "Vitruvius and His Influence". In A Companion to Roman Architecture. Edited by Roger B. Ulrich and Caroline K. Quenemoen, 412–425. Malden, MA, and Oxford: Blackwell.
Sear, Frank B. 1990. "Vitruvius and Roman Theater Design". American Journal of Archaeology 94.2: 249–258.
Smith, Thomas Gordon. 2004. Vitruvius on Architecture. New York: Monacelli Press.
Wallace-Hadrill, Andrew. 1994. "The Articulation of the House". In Houses and Society in Pompeii and Herculaneum. By Andrew Wallace-Hadrill, 38–61. Princeton, NJ: Princeton Univ. Press.
Wallace-Hadrill, Andrew. 2008. "Vitruvius: Building Roman Identity". In Rome's Cultural Revolution. By Andrew Wallace-Hadrill, 144–210. Cambridge, UK: Cambridge Univ. Press.
External links
Wikimedia Commons has media related to Vitruvius .
This page is based on this Wikipedia article Text is available under the CC BY-SA 4.0 license; additional terms may apply. Images, videos and audio are available under their respective licenses.
