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“In the same manner the voice executes its movements in concentric circles; but while in the case of water the circles move horizontally on a plane surface, the voice not only proceeds horizontally, but also ascends vertically by regular stages. Therefore, as in the case of the waves formed in the water, so it is in the case of the voice: the first wave, when there is no obstruction to interrupt it, does not break up the second or the following waves, but they all reach the ears of the lowest and highest spectators without an echo.”

Vitruvius book De architectura

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book V, Chapter IV, Sec. 7

“To find the directions and quarters of the winds your method of procedure should be as follows. In the middle of the city place a marble amussium, laying it true by the level, or else let the spot be made so true by means of rule and level that no amussium is necessary. In the very center of that spot set up a bronze gnomon or "shadow tracker." At about the fifth hour in the morning, take the end of the shadow cast by this gnomon, and mark it with a point. Then, opening your compasses to this point which marks the length of the gnomon's shadow, describe a circle from the center. In the afternoon watch the shadow of your gnomon as it lengthens, and when it once more touches the circumference of this circle and the shadow in the afternoon is equal in length to that of the morning, mark it with a point. From these two points describe with your compasses intersecting arcs and through their intersection and the centre let a line be drawn to the circumference of the circle to give us the quarters of south and north…. and thus we have designed a figure equally apportioned among the eight winds.”

Vitruvius book De architectura

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book I, Chapter VI, Sec. 5-7

“Noting all these things with the great delight which learning gives, we cannot but be stirred by these discoveries when we reflect upon the influence of them one by one.”

Vitruvius book De architectura

Introduction, Sec. 14
De architectura (The Ten Books On Architecture) (~ 15BC), Book IX

“Music, also, the architect ought to understand so that he may have knowledge of the canonical and mathematical theory, and besides be able to tune ballistae, catapultae, and scorpiones to the proper key. For to the right and left in the beams are the holes in the frames through which the strings of twisted sinew are stretched by means of windlasses and bars, and these strings must not be clamped and made fast until they give the same correct note to the ear of the skilled workman.”

Vitruvius book De architectura

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book I, Chapter I, Sec. 8

“Geometry… is of much assistance in architecture, and in particular it teaches us the use of the rule and compasses, by which especially we acquire readiness in making plans for buildings in their grounds, and rightly apply the square, the level, and the plummet. By means of optics… the light in buildings can be drawn from fixed quarters of the sky. …Difficult questions involving symmetry are solved by means of geometrical theories and methods.”

Vitruvius book De architectura

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book I, Chapter I, Sec. 4

“Even peasants wholly without knowledge of the quarters of the sky believe that oxen ought to face only in the direction of the sunrise.”

Vitruvius book De architectura

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book VI, Chapter VI, Sec. 1

“Ceres also should be outside the city in a place to which people need never go except for the purpose of sacrifice.”

Vitruvius book De architectura

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book I, Chapter VII, Sec. 2

“These rules for symmetry were established by Hermogenes, who was also the first to devise the principal of the pseudodipteral octastyle.”

Vitruvius book De architectura

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book III, Chapter III, Sec. 8

“There are also in some places springs which have the peculiarity of giving fine singing voices to the natives, as at Tarsus in Magnesia and in other countries of that kind.”

Vitruvius book De architectura

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book VII, Chapter III, Sec. 24

“With regard to burnt brick… If not made of good clay or if not baked sufficiently, it shows itself defective… when exposed to frosts and rime. Brick that will not stand exposure on roofs can never be strong enough to carry its load in a wall. Hence the strongest burnt brick walls are those which are constructed out of old roofing tiles.”

Vitruvius book De architectura

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book II, Chapter VIII, Sec. 19

“Altars should face the east, and should always be placed on a lower level than are the statues in the temples, so that those who are praying and sacrificing may look upwards towards the divinity.”

Vitruvius book De architectura

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book IV, Chapter IX, Sec. 1

“While in Campania the burning of the earth makes ashes, in Tuscany the combustion of the stone makes carbuncular sand. Both are excellent in walls but one is better to use for buildings on land, the other for piers under salt water.”

Vitruvius book De architectura

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book II, Chapter VI, Sec. 6

“Some springs are acid, as at Lyncestus and in Italy in the Velian country, at Teano in Campania, and in many other places. These when used in drinks have the power of breaking up stones in the bladder, which form in the human body.”

Vitruvius book De architectura

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book VII, Chapter III, Sec. 17

“Next I must tell about the machine of Ctesibius, which raises water to a height.”

Vitruvius book De architectura

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book X, Chapter VII, Sec. 1

“Then again, in the human body the central point is naturally the navel. For if a man be placed flat on his back, with his hands and feet extended, and a pair of compasses centered at his navel, the fingers and toes of his two hands and feet will touch the circumference of a circle described therefrom.”

Vitruvius book De architectura

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book III, Chapter I, Sec. 3

“The Phrygians… select a natural hillock, run a trench through the middle of it, dig passages, and extend the interior space as widely as the site admits. Over it they build a pyramidal roof of logs fastened together, and this they cover with reeds and brushwood, heaping up very high mounds of earth above their dwellings. Thus their fashion in houses makes their winters very warm and their summers very cool.”

Vitruvius book De architectura

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book II, Chapter I, Sec. 5

“When it appears that a work has been carried out sumptuously, the owner will be the person to be praised for the great outlay which ha has authorized; when delicately, the master workmen will be approved for his execution; but when proportions and symmetry lend it an imposing effect, then the glory of it will belong to the architect.”

Vitruvius book De architectura

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book VI, Chapter VIII, Sec. 9

“In accordance with the foregoing investigations on mathematical principles, let bronze vessels be made, proportionate to the size of the theatre, and let them be so fashioned that, when touched, they may produce with one another the notes of the fourth, the fifth, and so on up the double octave.”

Vitruvius book De architectura

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book V, Chapter V, Sec. 1

“Hence the ancient architects, following in the footsteps of nature, perfected the ascending rows of seats in theatres from their investigations of the ascending voice, and by means of the canonical theory of the mathematicians and that of the musicians, endeavoured to make every voice uttered on the stage come with greater clearness and sweetness to the ears of the audience. For just as musical instruments are brought to perfection of clearness in the sound of their strings by means of bronze plates or horn, so the ancients devised methods of increasing the power of the voice in theatres through the application of harmonics.”

Vitruvius book De architectura

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book V, Chapter IV, Sec. 8

“The architect should also have a knowledge of the study of medicine on account of the questions of climates, air, the healthiness and unhealthiness of sites, and the use of different waters. For without these considerations the healthiness of a dwelling cannot be assured.”

Vitruvius book De architectura

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book I, Chapter I, Sec. 10