The Textbook of Architecture

Andrea Palladio · The Fourth Book

Chapter IX. Of the temple of Antoninus and of Faustina

NEAR to the abovementioned temple of Peace, is to be seen the temple of toNinus, and of Faustina. hence it is the opinion of some, that ANTONINUS Was by the antients placed in the number of their gods, since he had a temple, and had Salian priests, and Antonine priests.

The front of this temple is made with columns. Its manner is the picnostilos. The floor or pavement of the temple is raised from the ground the third part of the height of the columns of the portico; and to that one ascends by steps, to which the two basements that continue with their order round the whole temple, make the sides. The base of these basements is thicker than half of the cimacia, and is made more plain, and thus I have observed the antients made all such basements, and also in the pedestals that are placed under the columns, with much reason, since, all the parts of fabricks the nearer they are to the ground, so much the more solid they ought to be. In the extream part of theft, directly over the angular columns of the portico, there were two statues, that is, upon each head of the basement one. The base of the columns is Attick. The capital is carved in the manner of olive leaves. The architrave, the frize, and the cornice, are the fourth and one third of the said fourth part of the Light of the columns.

In the architrave are also read these words:

DIVO ANTONINO ET

DIVAE FAUSTINA ES. C

In the frize there are grisons carved, which face each other, and put their fore-feet upon candlesticks, after the same form, as to made use of in sacrifices. The cornice has not a hollow dentello, and is without modiglions; but it has between the dentello, and the goceeiolatio a very large ovolo.

One cannot discover that, in the inside of the temple, there were any ornaments; but sam apt to believe, the magnificence of those emperors being considered, that there must have been some, and therefore I have put statues.

This temple had a court before it, which was made of peperino. In its entrance Op-site to the portico of the temple, there were very beautiful arches, and every where round it there were columns, and a great many ornaments, of which the least vestigium is not at present to be seen. Being in Rome, I saw a part of it demolished, that was then standing.

On the sides of the temple there are two other open entrances, which were without arches. In the middle of this court there was the statue of ANTONINUS OR hotfeback, of bronze, which is now in the piazza of Campidoglio.

I have made five plates of this temple.

In the first is the elevation of the flank of the outside. By the intercolumniations of the portico may be seen the order of the columns, and the ornaments that were round the court.

In the second is the upright of half the front of the temple, and of the return of Plate court. In third is the elevation of the portico, and of the inward part of the cell. Plate ON one side of it is designed the plan of the temple, and of the court. Plate In the fourth is the elevation of half the entrance that was in the front of the temple. Plate Iv the fifth are the ornaments of the portico of the temple.

tion is.

Public-domain text (London, published by Isaac Ware, 1738). Read from the Internet Archive’s scan (gri_33125011569684) of the copy in the Getty Research Institute, by way of Wikimedia Commons, where it is marked public domain. That scan’s text layer had lost the ends of the lines on every left-hand page, so the pages were read again from the scan’s images, the two readings compared word by word, and the text cleaned: the long s (ſ) is printed s and the ct and st ligatures as plain letters, words broken at the ends of lines are joined, and running heads, page numbers, signatures and catchwords are removed. Ware’s spelling, capitals and punctuation are otherwise kept (shew, publick, antient, compleat). Chapter titles and words the OCR misread were corrected against the page images. Some misreadings will remain, most of them in the italic prefaces and the Latin of Book III. Ware’s dedication, the list of subscribers, his table of terms, the errata and the bookseller’s advertisement are not reproduced. Nor are the 212 engraved plates, their inscriptions, or the keys to the letters on them that Ware prints in the text: where Palladio writes “as in the design” the figure is in the printed book.