The same story is told of him, with some little alteration, by Vitruvius.

Müller's De Phidias Vita, Vitruvius, Aristotle.

Vitruvius, the greatest authority among the ancients in architecture, says that "the Greeks, in inventing these two kinds of columns, imitated in the one the naked simplicity and dignity of man, and in the other the delicacy and ornaments of woman; the base of the Ionic was the imitation of sandals, and the volutes of ringlets."

We have found out no new principles which were not known to Vitruvius.

Among the Romans portrait, decorative, and scene painting engrossed the art, much to the regret of such critics as Pliny and Vitruvius.

Winckelmann's History of Ancient Art; Müller's Ancient Art and its Remains; A.J. Guattani, Antiquités de la Grande Grèce; Mazois, Antiquités de Pompeii; Sir W. Gill, Pompeiana; Donaldson's Antiquities of Athens; Vitruvius, Stuart, Chandler, Clarke, Dodwell, Cleghorn, De Quincey, Fergusson, Schliemann,these are some of the innumerable authorities on Architecture among the ancients.

Vitruvius (on Architecture, translated by Gwilt) writes at some length on ancient wall-paintings.

translated into Latin, and printed with the great Vitruvius, and an eulogium on Wotton put before it.

Cardan, in his Sixteenth Book of Subtleties, reckons up twelve supereminent, acute philosophers, for worth, subtlety, and wisdom: Archimedes, Galen, Vitruvius, Architas Tarentinus, Euclid, Geber, that first inventor of Algebra, Alkindus the Mathematician, both Arabians, with others.

medicinal, lib. 4. &c., which are as forcible and of as much virtue as that fountain Salmacis in Vitruvius, Ovid, Strabo, that made all such mad for love that drank of it, or that hot bath at Aix in Germany, wherein Cupid once dipped his arrows, which ever since hath a peculiar virtue to make them lovers all that wash in it.

11. et Vitruvius l. 1. c. ult.

Verona can boast among its antiquities of three triumphal arches, the first, Porta de' Bursari, erected in the year 252 in the reign of the Emperor Gallienus; the second, called Porta del Foro; and the third, built by Vitruvius himself, in honour of the family Gavia.

Meanwhile, humanists and scholars worked slowly but steadily upon the text of Vitruvius, impressing the paramount importance of his theoretical writings upon practical builders.

Neither students nor architects reflected that they could not understand Vitruvius; that, if they could understand him, it was by no means certain he was right; and that, if he was right for his own age, he would not be right for the sixteenth century after Christ.

It was just at this moment, when Vitruvius began to dominate the Italian imagination, that Michelangelo was called upon to build.

Led by the spirit of scholarship, they thought it their duty to master the text of Vitruvius, to verify his principles by the analysis of surviving antique edifices, and, having formed their own conception of his theory, to apply this, as well as they were able, to the requirements of contemporary life.

The novelty of his style consisted in those lovely cornices, capitals, basements, doors, niches, and sepulchres which transcended all that earlier builders, working by measurements, distribution of parts, and rule, had previously effected, following Vitruvius and the ancient relics.

Meanwhile the study of Vitruvius advanced, and that pedantry which infected all the learned movements of the Renaissance struck deep and venomous roots into the art of building.

The details employed to compose this curious illusion are painfully dry and sterile; partly owing to the scholastic enthusiasm for Vitruvius, partly to the decline of mediaeval delight in naturalistic decoration, but, what seems to me still more apparent, through Michelangelo's own passionate preoccupation with the human figure.

Wherefore, when we gaze on you, we regret no longer that we may not meet with Pheidias, Apelles, or Vitruvius, whose spirits were the shadow of your spirit."

The result was a report, which we still possess, in which Buonarroti, basing his opinion on principles derived from Vitruvius, severely blames Sangallo's plan under six separate heads.

Larger parties were not unheard of, even under the Republic, and Vitruvius tells us that some dining-rooms were fitted with three or more triclinia; but to put more than three guests on a single couch, and so increase the number, was not thought courteous or well-bred.

" Again, "You too proceed, make falling arts your care, Erect new wonders, and the old repair; Jones and Palladio to themselves restore, And be whate'er Vitruvius was before.

Vitruvius says: "When the idea occurred to the philosopher, he jumped out of his bath, and without waiting to put on his clothes, he ran home, exclaiming, 'Heureka!

This instrument was known to the ancients, and is mentioned by Vitruvius.