Roman architect and engineer
Marcus Vitruvius Pollio (born ca. 80/70 BC?; died ca. 25 BC) was a Roman writer, architect and engineer, active in the 1st century BC.
From: Wikiquote (CC BY-SA 4.0)
Native Name:
Marcus Vitruvius Pollio
Alternative Names:
Vitruvius Pollio
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Pollio Vitruvius
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Marcus Vitruvius
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Lucius Vitruvius Cordo
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Marcus Vitruvius Mamurra
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At Halicarnassus, the house of that most potent king Mausolus, though decorated throughout with Proconnesian marble, has walls built of brick which are to this day of extraordinary strength, and are covered with stucco so highly polished that they seem to be as glistening as glass. That king did not use brick from poverty; for he was choke-full of revenues, being ruler of all Caria.
The diseases which are hard to cure in neighborhoods... are catarrh, hoarseness, coughs, pleurisy, consumption, spitting of blood, and all others that are cured not by lowering the system but by building it up. They are hard to cure, first, because they are originally due to chills; secondly, because the patient's system being already exhausted by disease, the air there, which is in constant agitation owing to winds and therefore deteriorated, takes all the sap of life out of their diseased bodies and leaves them more meager every day. On the other hand, a mild, thick air, without drafts and not constantly blowing back and forth, builds up their frames by its unwavering steadiness, and so strengthens and restores people who are afflicted with these diseases.
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As for "wattle and daub" I could wish that it had never been invented. The more it saves in time and gains in space, the greater and the more general is the disaster that it may cause; for it is made to catch fire, like torches. It seems better, therefore, to spend on walls of burnt brick, and be at expense, than to save with "wattle and daub," and be in danger. And, in the stucco covering, too, it makes cracks from the inside by the arrangement of its studs and girts. For these swell with moisture as they are daubed, and then contract as they dry, and by their shrinking cause the solid stucco to split. But since some are obliged to use it either to save time or money, or for partitions on an unsupported span, the proper method of construction is as follows. Give it a high foundation so that it may nowhere come in contact with the broken stone-work composing the floor...
Voice is a flowing breath of air, perceptible to the hearing by contact. It moves in an endless number of circular rounds, like the innumerably increasing circular waves which appear when a stone is thrown into smooth water, and which keep on spreading indefinitely from the centre unless interrupted by narrow limits, or by some obstruction which prevents such waves from reaching their end in due formation. When they are interrupted by obstructions, the first waves, flowing back, break up the formation of those which follow.
The winter oak... is very useful in buildings but when in a moist place it takes in water to its centre... and so it rots. The Turkey oak and the beech both... take in moisture to their centre and soon decay. White and black poplar, as well as willow, linden, and the agnus castus... are of great service from their stiffness. ...they are a convenient material to use in carving.
The elm and the ash... when put in shape for use in buildings... are tough and having no stiffness... soon bend. But when they become dry with age, or are allowed to lose their sap... they get harder, and from their toughness supply a strong material for dowels to be used in joints and other articulations.
All these soft kinds [of stone] have the advantage that they can be easily worked as soon as they have been taken from the quarries. Under cover, they play their part well; but in open and exposed situations the frost and rime make them crumble, and they go to pieces. On the seacoast, too, the salt eats away and dissolves them, nor can they stand great heat either.
It was left by Aristoxenus, who with great ability and labour classified and arranged in it the different modes. In accordance with it, and by giving heed to these theories, one can easily bring a theatre to perfection, from the point of view of the nature of the voice, so as to give pleasure to the audience.