ABSTRACT
Now as almost all those which have delivered the elements of logic do usually conclude with a chapter touching method; so I am here seized with a kind of critical spirit and desirous need to shut up these building elements with some methodical direction how to censure fabrics already raised. For indeed without some way to contract our judgement, which among other so many particulars would be lost by diffusion; I should think it almost harder to be a good censurer than a good architect. Because the working part may be helped with deliberation but with the judging must flow from an extemporal habit. Therefore (not to leave this last Piece without some light) I could with him that cometh to examine any noble Work, first of all to examine himself, whether perchance the sight of any things before (which remain like impressed forms) have not made him apt to think nothing good, but that which is best; for his humour was too sore. Next, before he come to settle any imaginable opinion, let him by all means seek to inform himself precisely of the age of the work upon which he must pass his doom. And if he shall find the apparent decays to exceed the proportion of time then let him conclude without further inquisition, as an absolute decree, that either the materials were too slight, or the seat is nought. Now, after these premises, if the houses be found to bear his years well (which the method of censuring is contrary to the method of composing) from the ornaments (which first allure the eye) to the more essential members, till at last he be able to form this conclusion that the work is commodious, firm and delightful; which (as I said in the beginning) are the three capital conditions required in good buildings, by all authors both ancient and modern. And this is, as I may term it the most scientific way of censuring.
