We come at last to another sort of work called German, which both in ornament and in proportion is very different from the ancient and the modern. Nor is it adopted now by the best architects but is avoided by them as monstrous and barbarous, and lacking everything that can be called order. Nay it should rather be called confusion and disorder. In their buildings, which are so numerous that they sickened the world, doorways are ornamented with columns which are slender and twisted like a screw, and cannot have the strength to sustain a weight, however light it may be. Also on all the façades, and wherever else there is enrichment, they built a malediction of little niches one above the other, with no end of pinnacles and points and leaves, so that, not to speak of the whole erection seeming insecure, it appears impossible that the parts should not topple over at any moment. Indeed they have more the appearance of being made of paper than of stone or marble. In these works they made endless projections and breaks and corbellings and flourishes that throw their works all out of proportion; and often, with one thing being put above another, they reach such a height that the top of a door touches the roof. This manner was the invention of the Goths, for, after they had ruined the ancient buildings, and killed the architects in the wars, those who were left constructed the buildings in this style.[[131]] They turned the arches with pointed segments, and filled all Italy with these abominations of buildings, so in order not to have any more of them their style has been totally abandoned.
May God protect every country from such ideas and style of buildings! They are such deformities in comparison with the beauty of our buildings that they are not worthy that I should talk more about them, and therefore let us pass on to speak of the vaults.
CHAPTER IV.
On forming Vaults in Concrete, to be impressed with Enrichment: when the Centerings are to be removed, and how to mix the Plaster.
§ 29. The Construction of enriched Stucco Vaults.
When walls have reached the point where the arches of brick or light stone or tufa have to spring, it is necessary to turn a centering with planks in a close circle, over the framework of struts or boarding. The planks are fitted together according to the form of the vault, or in the shape of a boat, and this centering for the vaults must be fixed with strong props in whatever mode you wish, so that the material above does not strain it by its weight; and afterwards every crevice, in the middle, in the corners, and everywhere, must be firmly stopped up with clay so that when the concrete is spread the mixture shall not filter through. This finished, above that surface of boards they make caissons of wood, which are to be worked contrariwise, with projections where a hollow is wanted; in the same way let the mouldings and details that we wish to make be worked by opposites, so that when the material is cast, it may come, where (the mould is) hollow, in relief; where in relief, hollow, and thus similarly must all the members of the mouldings be arranged. Whether the vault is to be smooth or enriched, it is equally necessary to have shapes of wood, which mould the desired forms in clay; with this clay also are made the square panels for such decoration, and these are joined the one to the other on the flat or by mouldings or enriched bands, which can be made to follow the line of this centering. Having finished covering it all with enrichments of clay, formed in intaglio and fitted together, as was said above, one must then take lime, with pozzolana earth or sand riddled finely, mixed liquid and mostly lime, and of that lay evenly a coating over all, till every mould is full. Afterwards, above this coating make the vault with bricks, raising or lowering them according as the vault turns, and continually adding till the arch be closed. This done, it must all be left to set and get firm, till the work be dry and solid.[[132]] Then when the props are removed and the vault is left free, the clay is easily taken away and all the work remains modelled and worked as if done in stucco, and those parts that have not come out well are gone over with stucco till they are complete. In this manner have been executed all the works in the ancient edifices, which had afterwards stucco enrichment upon them. This the moderns have done to-day in the vaults of St. Peter’s, and many other masters throughout Italy have done the same.
§ 30. Stucco made with Marble Dust.
Now let us show how the stucco is mixed.[[133]] Chips of marble are pounded in a stone mortar; no other lime is used for this stucco save white lime made either of marble chips or of travertine; instead of sand the pounded marble is taken and is sifted finely and kneaded with the lime, in the proportion of two thirds lime to one third pounded marble. The stucco is made coarser or finer, according as one wishes to work coarsely or finely. Enough now of stuccoes because the rest will be said later, when I shall treat of them in connection with Sculpture. Before passing to this subject, we shall speak briefly of fountains which are made for walls and of their various ornaments.
CHAPTER V.
How Rustic Fountains are made with Stalactites and Incrustations from water, and how Cockle shells and Conglomerations of vitrified stone are built into the Stucco.