ASHER BENJAMIN 
 
Digitized by the Internet Archive 
 
 in 2013 
 
 http://archive.org/details/reprintofcountryOObenj 
 
ASHER BENJAMIN 
 
 A REPRINT OF 
 
 THE COUNTRY BUILDER'S ASSISTANT THE RUDIMENTS OF ARCHITECTURE 
 
 THE AMERICAN BUILDER'S COMPANION THE PRACTICAL HOUSE CARPENTER 
 
 PRACTICE OF ARCHITECTURE 
 
 By 
 
 ASHER BENJAMIN 
 
 Plates and Text Selected and Edited By 
 Aymar Embury II, Architect 
 
 NEW YORK 
 
 THE ARCHITECTURAL BOOK PUBLISHING COMPANY 
 Paul Wenzel and Maurice Krakow 
 
 MCMXVII 
 
Copyright 1917, by 
 Paul Wenzel and Maurice Krakow 
 New York 
 
 GETTV CENTER UBRAPV 
 
CONTENTS 
 
 PAGE 
 
 Introduction 1 
 
 (From "The Country Builder's Assistant" ') 
 
 Title Page 5 
 
 Editor's Note 6 
 
 Titles and Descriptions of Plates 7- 9 
 
 Plates 11-41 
 
 (From "The American Builder's Companion" ) 
 
 Title Page 43 
 
 Editor's Note 44 
 
 Recommendation 45 
 
 Preface 47- 48 
 
 Of Base and Sur-base Mouldings and Architraves 49 
 
 Remarks on Cornices 49 
 
 Remarks on Ceilings 51 
 
 Plates 53-95 
 
 (From "The Rudiments of Architecture" ) 
 
 Title Page 97 
 
 Editor's Note 98 
 
 Of the Orders of Architecture and Embellishments 99 
 
 Titles of Plates 101 
 
 Plates 103-113 
 
 (From "The Practical House Carpenter" ) 
 
 Title Page 115 
 
 Editor's Note 116 
 
 Preface 117 
 
 Plate Descriptions 118 
 
 Plates 119-135 
 
 (From "Practice of Architecture" ) 
 
 Title Page 137 
 
 Editor's Note 138 
 
 Preface 139 
 
 Plate Titles 140 
 
 Plates 141-169 
 
 VII 
 
LIST OF PLATES 
 
 (From "The Country Builder's Assistant") PAGE 
 
 Plate 1 — Architraves and Moldings 11 
 
 Plate 2 — Proportions of Orders 11 
 
 Plate 3 — Tuscan Order 13 
 
 Plate 4 — Doric Order 13 
 
 Plate 5 — Ionic Order 15 
 
 Plate 6 — Ionic Volute 15 
 
 Plate 7 — Corinthian Order 17 
 
 Plate 8 — Plane eres of Cornices 17 
 
 Plate 9 — Pedestals 19 
 
 Plate 10— Pedestals 19 
 
 Plate 12 — Fronts 21 
 
 Plate 13 — Fronts 21 
 
 Plate 14 — Door Details 23 
 
 Plate 15 — Sash Details 23 
 
 Plate 16 — Cornices 25 
 
 Plate 17 — Cornices 25 
 
 Plate 18 — Cornices 27 
 
 Plate 19 — Pedestal Moldings 27 
 
 Plate 20 — Imposts and Urns 29 
 
 Plate 21 — Chimney piece 31 
 
 Plate 22 — Chimneypiece 31 
 
 Plate 23 — Chimneypiece 33 
 
 Plate 24 — Chimneypiece 33 
 
 Plate 25 — Caged Newel 35 
 
 Plate 28 — Raking Cornice 29 
 
 Plate 31 — Plan of Countryhouse 37 
 
 Plate 32 — Elevation of Countryhouse 37 
 
 Plate 33 — Design for a Meetinghouse 39 
 
 Plate 34 — Fences 41 
 
 (From "The American Builder's Companion) 
 
 Plate 11 — Base Moldings 53 
 
 Plate 12 — Cornices 55 
 
 Plate 13 — Cornices 57 
 
 Plate 14 — Fancy Cornices 59 
 
 VIII 
 
4SHER BENJAMIN 
 
 PAGE 
 
 Plate 15 — Of Cornices 61 
 
 Plate 16 — Doors and Fan Lights 63 
 
 Plate 17 — Windows 65 
 
 Plate 18 — Windows 67 
 
 Plate 27 — Ceilings 69 
 
 Plate 28 — Fragments for Chimneypieces 71 
 
 Plate 29 — Doorways 73 
 
 Plate 30 — Doorways 75 
 
 Plate 31 — Key blocks 77 
 
 Plate 32 — Banisters and Urns t 79 
 
 Plate 33 — A Townhouse 81 
 
 Plate 35 — A Townhouse 83 
 
 Plate 36 — A Townhouse 85 
 
 Plate 38 — A Meetinghouse 87 
 
 Plate 39 — A Meetinghouse 89 
 
 Plate 40 — A Summerhouse 91 
 
 Plate 41—^ Pulpit 93 
 
 Plate 42 — A Courthouse 95 
 
 (From "The Rudiments of Architecture" ) 
 
 Plate 9 — Designs for Moldings 103 
 
 Plate 10 — Designs for Moldings 103 
 
 Plate 11 — Grecian Moldings 105 
 
 Plate 13 — Doric Order 105 
 
 Plate 14 — Ionic Order 107 
 
 Plate 15 — Corinthian Order 107 
 
 Plate 23 — Keyblocks, Urns and Balusters 109 
 
 Plate 25 — Imposts and Architraves 109 
 
 Plate 26 — A Tuscan Front Ill 
 
 Plate 21— A Doric Front Ill 
 
 Plate 28 — Cornices 113 
 
 Plate 29 — Designs for Base Moldings 113 
 
 (From "The Practical House Carpenter" ) 
 
 Plate 25 — Keystones and Balusters 119 
 
 Plate 26— Urns 121 
 
 Plate 30 — Ionic Portico 123 
 
 Plate 32 — A Dormer Window 125 
 
 Plate 34 — Eave Cornices 127 
 
 IX 
 
ASHER BENJAMIN 
 
 PAGE 
 
 Plate 45 — Designs for Architraves 129 
 
 Plate 46 — Architraves 131 
 
 Plate 47 — Architraves 133 
 
 Plate 49 — A Chimney piece 135 
 
 (From "The Practice of Architecture" ) 
 
 Plate 10— The Doric Order 141 
 
 Plate 11— The Doric Order 143 
 
 Plate 30 — A Portico 145 
 
 Plate 32 — A Portico 147 
 
 Plate 33 — Cornices 149 
 
 Plate 34 — Cornices 151 
 
 Plate 35 — Cornices 153 
 
 Plate 36 — Cornices 155 
 
 Plate 38 — Architraves 157 
 
 Plate 44 — Base Moldings 159 
 
 Plate 45 — Vases 161 
 
 Plate 46 — Ornamental Moldings 163 
 
 Plate 53 — Elevation for a Church 165 
 
 Plate 54 — Side Elevation for a Church 167 
 
 Plate S6—A Pulpit 169 
 
 X 
 
INTRODUCTION 
 
 NY art movement begins in an uncertain and hesitating way, by experimentation with more 
 
 tallize into definite proportions, and at the apogee of the period the principles which underlie it are clearly 
 understood and their expression firmly established. Following the apogee in most art movements is the 
 decline, when true proportions are forgotten in overdecoration of the motives and the principles are neg- 
 lected for scenic effect. The Colonial period was in every sense, a distinct art movement, yet one which 
 differed from most others in that at its very height it was cut short by a sudden influx of new motives 
 and theories which resulted in the very different type of architectural work now known as the Classic 
 
 It is true that the United States ceased to be "Colonial" about ten years before the beginning of 
 the nineteenth century, but the change of the style of its architecture was not coincidental with the 
 change of its political life and was only begun after the monumental work of Stuart and Revett had 
 become familiar to American architects and draftsmen. The work of the Colonial period was prob- 
 ably at no time so intelligently and so thoroughly understood as during the first few years of the 
 nineteenth century, and it was precisely during these first few years that Asher Benjamin produced the 
 first two of his books, and in no other way can the spirit of Colonial work be so completely compre- 
 hended as by an examination of his work. 
 
 He was a practicing architect as well as a writer on architectural subjects and his executed build- 
 ings are emphatic though mute testimony to the correctness of his theories, to the delicacy of his detail 
 and to the soundness of his design, while the fascinating series of drawings with which he illustrates 
 his books are of the utmost practical benefit to the architect or draftsman of to-day. He was not only 
 sound, technically, but, as will be seen from the extracts from his work which are interspersed among 
 the illustrations of this volume, a man of acute artistic perception and sound common sense, and 
 the principles which he expounds might well become maxims for the guidance of our architects at the 
 present time. 
 
 His books are five in number; four of them are referred to in the "Georgian Period" in the 
 list of books used by the early American architects, and half a dozen plates from the first of them 
 figure as one of the illustrations for that most admirable work. It was there that I first learned 
 of the existence of Asher Benjamin and when, by what still seems to me a phenomenal piece of 
 good fortune, I was able to secure a full set of his publications from the estate of Mr. Lowe, a long 
 deceased architect of Eastport, Maine, I purchased them more from curiosity than from any belief 
 that they would be of the enormous practical use that they have proven to me. 
 
 Believing that they will be of no less use to other men interested in the sources of Colonial 
 work, I very gladly accepted the offer of the Architectural Book Publishing Company to reprint 
 
 or less familiar forms and an attempt to revise and fit them to the needs of the time. 
 As the movement grows older it gains strength, becomes more systematic, the forms crys- 
 
 Revival. 
 
 1 
 
ASHER BENJAMIN 
 
 them in a form which would be not only interesting to lovers of the literature of Colonial archi- 
 tecture, but also suitable to the draftingroom, and I have chosen from the first three volumes all 
 plates which were not descriptions of the practical geometry necessary to the carpenter, or which 
 were not duplications in the other volumes. From the last two volumes, which were concerned with 
 the work of the Greek Revival, I have selected a few of the more interesting plates to show the 
 character of the books, and have omitted the many illustrations of the Greek orders, mainly copies 
 from Stuart and Revett, and much other material which seems at present to be chiefly of interest to 
 the connoisseur of the Greek Revival. Asher Benjamin was by no means as skilful in his adapta- 
 tions of the Greek motives to conditions of American life, as he was in his designs which followed 
 the Colonial precedent in which he was evidently trained, and it is probable too, that during the 
 thirty-seven years which elapsed between the publication of his first and last books, he had lost 
 something of his brilliant ability in design. Hence the later two of his books are far below the 
 extraordinarily high standard of the first three. 
 
 His books were apparently extensively distributed among the carpenter builders of the begin- 
 ning of the nineteenth century and a number of examples of work which was either designed by him 
 or copied from the designs in his books, are still remaining, notably the First Congregational 
 Church at Bennington, Vermont, built in 1806, which is evidently reproduced from Plate 33 of 
 the "Country Builder's Assistant," and the First Parish Church of Bedford, Massachusetts, which 
 is an almost exact copy of Plate 39 in the "American Builder's Companion." I have found several 
 other churches still extant and some which have been destroyed, which were copied from various 
 plates published in the Asher Benjamin books and while I have found fewer country houses which 
 were obviously taken from his illustrations, I am inclined to believe that much more work was 
 exactly executed after his designs than I know about, principally because country houses lack the 
 outstanding character of church buildings and are not so readily recognized. 
 
 It is even more difficult to determine the exact effect of his designs upon the detail of the late 
 Colonial work, and almost equally impossible to decide how much of the detail illustrated was of 
 his own design and how much of it was drawings of things which he had seen. I have found, for 
 example, that the upper left hand cornice of Plate 12 in the "American Builder's Companion" was in 
 common use at Litchfield, Connecticut, before the publication of this book, but until I saw it actually 
 built I had assumed that the design was original with Benjamin. The question is, however, of little 
 importance; the details are throughout of such charm and spirit and so far from most modern 
 attempts at Colonial that they are of the utmost value to all designers who do not wish to continue 
 to use the stereotyped successions of moldings which constitute the Classic cornices as illustrated in 
 Vignola. It is an education even to look over the varieties of architraves, base moldings, etc., and 
 to note how little they resemble the motives which we are accustomed to use for similar positions, 
 and yet how completely appropriate they are to them. 
 
 I believe that a book like this is of far greater value to the modern designer than it was to the 
 designer in the Colonial period. To him it was a collection or compendium of things with which he 
 was familiar. To us it is a presentation of motives almost as novel as the Chinese, although per- 
 
 2 
 
ASHER BENJAMIN 
 
 fectly adapted to modern usage, and whether or not we choose to follow Asher Benjamin's designs, 
 we cannot but realize that a greater freedom in the treatment of the parts of the Classic orders is 
 permissible and desirable. 
 
 AY MAR EMBURY II 
 
 3 
 
THE 
 
 Country Builder's Assistant : 
 
 FULLY EXPLAJNING, 
 thi BEST methods for STRIKING REGULAR and 
 
 QUIRKED MOULDINGS : 
 
 For Drawing and Working the Tus- § Plan, Elevation and Section of 
 can, Doric, Ionic, and Corinthian § a MEETING HOUSE, with a Pulpit 
 Orders, with their Pedestals, Bases, § at Large. 
 
 Capitals, and Entablatures, j Plans and Elevations of HOUSES, 
 Architraves for Doors, Windows § Fence Posts and Railings. 
 
 and Chimnies. § The Best method of Finding the 
 
 Cornices, Bases and SurSaae.Mouxx)-§,Lb-ngth and Backing of Hip Raft- 
 
 iNCS for Rooms. § ers. 
 
 Chimney-Pieces, Doors and SashesJ —also— 
 
 with their Mouldings. § The Tracing of Groins, Anglr 
 
 The Conjlruaion of Stairs, with their § Brackets, Circular Soffits in 
 
 Ramp and Twist Rails. § Circular Walls, &c. 
 
 CorreRly engraved on thirty-seven COPPERPLATES with a 
 Printed Explanation to each. 
 
 • <3SZ^3Z> ' 
 
 BvASHER BENJAMIN. 
 <225**ZZZ> ■ 
 
 Publijhcd According to AR of Congrefs. 
 
 — — 
 
 G REENFIEL D— NUSS. 
 
 PRINTED BY JOHN DENIO. 
 1805. 
 
Editor's Note on "The Country Builder's Assistant" 
 
 The contents of the first volume are better explained 
 on the title page than by any description which I can 
 give and the volume is produced practically in full. 
 All the plates in the original are accompanied by ex- 
 planations and are in general those which we use today. 
 
 The titles and plate descriptions which follow are 
 reprinted in Asher Benjamin's language and without 
 change from his spelling. 
 
 6 
 
PLATE DESCRIPTIONS: 
 
 PLATE 1: Fig. M, is a Banister for Balustrades, or any other place required; the distance 
 between the Banisters may be one half, or the whole breadth of the Banister. 
 
 To proportion Architraves to Doors, Windows, etc., divide the width of your Door or Win- 
 dow, into seven or eight parts, and give one to the width of the Architrave; divide that into the same 
 number of parts, as are contained in the Architrave you make use of, if a Frieze and Cornice to the 
 Door, give the Frieze equal to the width of the Architrave; or it may be one fourth or one third 
 wider, the Cornice four fifths or five sixths of the Architrave. 
 
 PLATE 2 : To Proportion the Tuscan Order, to any given height, on a Sub-plinth. 
 
 PLATE 3 : The Tuscan Base, Capital, and Entablature, with all the Measures, 
 
 FIGURED FROM THE SCALE, a. b. 
 
 PLATE 4: The Doric Base, Capital, and Entablature, with all the Mouldings, fig- 
 ured for Practice. 
 
 In Intercolumniations, for Porticoes, Colonnades, Arcades, etc., due regard must be had to the 
 number of Triglyphs and Mutules between the central line of Columns in the Doric Order, 3 
 diameters 45 minutes, take 3 Triglyphs; 5 diameters take 4 Triglyphs; 6 diameters 15 minutes, 
 take 5 Triglyphs; 7 diameters 30 minutes, take 6 Triglyphs; 8 diameters 45 minutes, take 7 Tri- 
 glyphs, etc. 
 
 PLATE 5 : The Ionic Base, Capital, and Entablature, with all their Mouldings, 
 figured for practice, in height and projection. 
 
 PLATE 6: The Ionic Volute, with all the measures, figured for practice. 
 
 PLATE 7 : The Corinthian Base, Capital, and Entablature, with all the Mould- 
 ings, figured for practice. 
 
 PLATE 8: 
 
 Figure A. Plancere of the Corinthian Cornice 
 Fig. B. Plancere of the Ionic Cornice. 
 Fig. C. Plancere of the Doric Cornice 
 Fig. D. Neck of Column 
 
 PLATE 9: Tuscan and Doric Pedestals 
 
 PLATE 10: Ionic and Corinthian Pedestals 
 
 (Plate 11 Omitted: To Obtain Entasis) 
 
 7 
 
JSHER BENJAMIN 
 
 PLATE 12: A Tuscan and a Doric Front. 
 
 PLATE 13: Ionic and Corinthian Fronts, drawn one fourth of an inch to a foot, with all their 
 parts figured for practice, which is plain to inspection. 
 
 PLATE 14: On this plate is a four and six pannel Door, with all the measures exactly figured. 
 Divide the width of the Door into 9 parts, one of which is the width of the margin of the stile; i, h, 
 g, f, are mouldings for Doors, full size for practice. 
 
 PLATE 15: Sash Details 
 
 Figure A, is an end view of a bar for an Ovolo Sash, full size for practice. 
 
 Fig. B. Do. Astrigal 
 
 Fig. C. Do. Astrigal and Hollow 
 
 Fig. D. An end view of a Stile for Fig. C, full size for practice. 
 
 Fig. E. Shows the profile of the Stiles to the top and bottom Sash. The shaded part 
 shows the Dove tail for the Meeting Rails, which is plain to inspection. 
 
 PLATE 16: To proportion Cornices to Rooms or any other place required 
 Divide the whole height of the Room into 22, 24, or 25 parts, and give one of those parts to 
 the Cornice, which is to be divided into the same number of parts as are contained in the Cornice 
 you make use of, and those parts to be disposed to the Mouldings, in height and projection, as 
 figured on the Plate. If those cornices are used on the outside of buildings, divide the height into 
 19 or 20 parts, one of which will be the height of the Cornice. If the Cornices of any of the 
 Orders are used without the Architrave and Frieze, the height may be one nineteenth, or one twen- 
 tieth, as above, and divided into as many parts as there are minutes contained in the whole Cor- 
 nice, which are to be disposed according to the directions in each Order. 
 
 PLATE 17: Cornices 
 
 PLATE 18: Cornices 
 
 PLATE 19: On this Plate is the Tuscan, Doric and Ionic Pedestal Mouldings, 
 
 WHICH MAY BE DRAWN FROM THE SAME SCALE, THAT YOU DRAW THE ORDERS 
 FROM 
 
 PLATE 20: Imposts, Urns and Shelf Moulds 
 PLATE 21: A Plain Chimneypiece 
 PLATE 22: 
 
 B, Cornice, half size; C, Architrave, half size; A, Moulding round Tablet, full size for 
 
 practice. 
 
 8 
 
JSHER BENJAMIN 
 
 PLATE 23: 
 
 A, Cornice, half size, for practice 
 
 B, Band to Architrave, half size 
 B, Necking to Pelaster, half size 
 
 D, Base to Pelaster, half size 
 
 E, Surbase Moulding, half size 
 
 PLATE 24: 
 
 A, Cornice, half size 
 
 B, Necking to Pelaster, Do. 
 
 C, Base to Pelaster 
 
 D, The Moulding and Sinking of Pelaster, do. 
 PLATE 25: 
 
 Figure 1, is the Plan and Scrole of the Twist Rail for a Stair-case. 
 
 Figure 2, is the Raking Moulding for the Turn of the Twisted part of the Hand Rail 
 
 Figure 3, is a Moulding for the falling of the twisted part of the Hand Rail 
 
 (PLATES 26-27 omitted: Builders' diagrams for straight stair cases) 
 
 PLATE 28: Of Raking Cornice for Pediments 
 
 (PLATES 29-30 omitted: Elevations of small brick two and three stories houses respectively) 
 
 PLATE 31 : The Design for a Brick Countryhouse 
 
 PLATE 32: A Plan for a Brick Countryhouse 
 
 PLATE 33 : A Design for a Meetinghouse 
 
 PLATE 34: Two Designs for Railings and Posts for Fences 
 
 (PLATE 35 omitted: Framing for a pitched roof) 
 
 (PLATE 36 omitted: Method of laying out Trusses) 
 
 (PLATE 37 omitted: Stone cutters' diagram for windows in circular walls) 
 
 9 
 
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 37 
 
A S H E R BENJAMIN 
 
 39 
 
A S H ER BENJAMIN 
 
 41 
 
THE 
 
 American Builders Companion ; 
 
 OR, A 
 
 NEW SYSTEM OF ARCHITECTURE: 
 
 PARTICULARLY ADAPTED 
 
 TO 
 
 THE PRESENT STYLE OF BUILDING 
 
 IN 
 
 Cfje UntteU states of America* 
 
 CONTAINING, 
 
 FORTY FOUR ENGRAVINGS, 
 
 Geometrical Lines. 
 
 Twenty differenc Designs for Mouldings. 
 
 The five Orders of Architecture, with great alterations, both in 
 
 size and expense. 
 Glueing up and diminishing of Columns. 
 How to find the different Brackets of a Groind Ceiling. 
 Ease and Surbase Mouldings, Architraves, &c. 
 Twenty four different Designs for Cornices, both for external 
 
 and internal finishing. 
 Stone Window Caps and Sills, showing the manner of setting 
 
 them in a Bnck Wall. 
 Sash Frames, Sashes, and Shutters. 
 Straight and Circular Stairs. 
 
 ENTINC, 
 
 Roofs and finding the Length and Backingof Hips, either square 
 or bevel. 
 
 Ornamental Capitals, Mouldings, Friezes, Leaves, and Ceilings. 
 
 Chimney Pieces. 
 
 Frontispieces. 
 
 Urns, Banisters, Key Stones, &c. 
 
 Plans and Elevations of three Mouses for Town, and two for 
 Country. 
 
 Plans and Elevations for two Meetinghouses. 
 Plan and Elevation for a Summcrhouse. 
 Plan and Elevation for a Courthouse. 
 
 Plan, Elevation, and Section of the Branch Bank of Boston. 
 With particular Directions for executing all the above Designs. 
 
 BY slS HER BENJAMIN, ARCHITECT AND CARPENTER, 
 
 AND 
 
 DANIEL RAYNERD, ARCHITECT AND STUCCO WORKER. 
 
 "Boston : 
 
 PUBLISHED BY ETHERIDGE AND BLISS, PROPRIETORS OF THE WORK. 
 
 5. ETHERIDGE, PRINTER, CHARLESTOWN. 
 1806 
 
 43 
 
* 
 
 Editor's Notes on "The American Builder's 
 Companion." 
 
 The second of Asher Benjamin's books, "The 
 American Builder's Companion," was written in asso- 
 ciation with an architect and stucco worker, and is in 
 many ways the most interesting of all the volumes. 
 
 44 
 
RECOMMENDATION 
 
 Boston, September 8th, 1806 
 
 Gentlemen: 
 
 Having been chosen a committee by the gov- 
 ernment of the Boston Housewright Society, to exam- 
 ine the proof sheets of a new book you were publishing , 
 entitled, "The American Builder's Companion; or, a 
 New System of Architecture" ; and being satisfied that 
 a work of this kind has been much wanted, and that 
 yours is better culculated to assist the American builder 
 than any that has come within our knowledge, we 
 therefore do not hesitate to say, we shall cordially 
 recommend it whenever we have it in our power. 
 
 That your exertions may meet with success, and your 
 book have an extensive circulation, is the wish 
 
 Gentlemen, 
 
 Of your very humble servants, 
 
 Thomas W. Sumner] 
 Jonathan Loring \ Committee 
 James BolterJ 
 
 Mess'rs Raynerd and Benjamin 
 
 45 
 
PREFACE 
 
 BOOKS on Architecture are already so numerous that adding to their number may be thought 
 to require some apology; but it is well known to any one in the least conversant with the 
 principles of Architecture, that not more than one third of the contents of the European 
 publications on this subject are of any use to the American artist in directing him in the practical part 
 of his business. 
 
 The style of building in this country differs very considerably from that of Great Britain, and 
 other countries, in Europe, which is partly in consequence of the more liberal appropriations made 
 for building in those countries, and of the difference of materials used, particularly in the external 
 decorations. The American Mechanic is, therefore, in purchasing European publications, under the 
 necessity of paying two thirds the value of his purchase for what is of no real use to him; and as 
 the principal part of our designs have been executed by our own hands, we feel confident that this 
 publication will be found to contain more useful information for the American workman than all 
 the European works which have appeared in this country, and which, for the most part, are mere 
 copies one from the other. 
 
 We are well aware that the magnificent temples of ancient times still retain a degree of roman- 
 tic grandeur, which would do honour to the present age. It will, at the same time, be readily ac- 
 knowledged, that an exact imitation of those noble productions of former times, on account of the 
 present expense of materials and labour, would require no common degree of opulence for their 
 completion: and, indeed, a strict conformity to the orders of Architecture seems to be demanded in 
 the construction of public buildings only, and others of immense magnitude; in such situations they 
 have a most noble and majestic appearance; but in private buildings, and others of less magnitude, 
 their massy size and the expense attending them, are little suited to our convenience and means of 
 appropriation. A principal part therefore of our design, in this work, is to lighten their heavy 
 parts, and thereby lessen the expense both of labour and materials. This we expect to accomplish 
 so as to effect a saving of one sixth, and, in many cases, one fourth part: the building shall occupy 
 less ground, and, at the same time, be more commodious. 
 
 We do not conceive it essentially necessary to adhere exactly to any particular order, provided 
 the proportion and harmony of the parts be carefully preserved. If, for instance, in any of the 
 cornices an ovolo should be changed for an ogee, or for a hollow, so trifling an alteration would 
 not destroy the effect of the whole, provided it were done with any degree of judgment. Attempts 
 which have sometimes been made to compose fancy orders, have only spoiled the work, and no 
 reduction of the expense has been effected. It is, therefore, as necessary that these modern fancies 
 should be reduced to a regular system, as it was in former ages, that the Grecian and Roman orders 
 should assume a fixed character. One important object of improvement, is a method of preserving 
 the apparent size of an object elevated above the eye, while, at the same time, the real size is 
 
 47 
 
ASHER BENJAMIN 
 
 considerably diminished. It is easy to conceive that the size and effect of a cornice for instance, does 
 not so much depend on its height as it does on its projection; because cornices are always elevated a 
 considerable distance above the eye, and, of course, the apparent size depends principally on the 
 projection. (See Plate No. 15.) It will at once be perceived, that the diminution in the height of 
 the cornice is not the most considerable advantage to be derived from this construction; but that the 
 same is gained in the height of the wall that is taken from the height of the cornice. 
 
 We have ventured to make some alteration in the proportions of the different orders, by 
 lengthening the shafts of the columns two diameters. Their entablatures and pedestals bear nearly 
 the same proportion as formerly, except that the architrave has less height, the frieze more height 
 (except in the Doric) and the cornice less height and more projection. 
 
 We have given a great variety of fancy cornices and capitals, both for external and internal 
 finishing; and calculated both for wood and stucco. 
 
 Being the first who have for a great length of time, published any New System of Architecture, 
 we do not expect to escape some degree of censure. Old fashioned workmen, who have for many years 
 followed the footsteps of Palladio and Langley, will, no doubt, leave their old path with great re- 
 luctance. But impressed as we are, with a conviction that a reform in some parts of the system of 
 Architecture is loudly demanded, and feeling a confidence from our knowledge of the theory, and 
 from having long been conversant in the practical part of that science, we have ventured, without 
 the aid of subscription, to exhibit our work to the public view. 
 
 Boston, 1806 
 
 48 
 
EXTRACTS FROM TEXT AND PLATE 
 DESCRIPTIONS 
 
 (PLATE 1 omitted: Geometrical descriptions for the carpenter) 
 (PLATE 2 omitted: Geometrical descriptions for the carpenter) 
 (PLATES 3-4-5-6-7-8-9 and 10 omitted: The five orders) 
 PLATE 1 1 : Of Base and Surbase Mouldings, and Architraves. 
 
 To proportion base and surbase mouldings to the pedestal part of rooms, divide from the floor 
 to the top of the surbase, into ten parts, give one to the height of the surbase. Suppose the height 
 from the floor to the top of the surbase to be two feet, eight inches, one tenth would be three inches 
 and one fifth of an inch, which divides into as many parts as are contained in the height of the sur- 
 base you make use of, and those parts given to the mouldings in height and projection as figured on 
 the plate. The same scale, or parts, will draw the base mouldings in proportion to the surbase; let 
 the plinth be from five to six inches wide. 
 
 To proportion architraves to doors and windows, divide the door into eight parts, give one to 
 the width of the architrave. If a door is three feet six inches wide, one eighth would be five and a 
 quarter inches. Divide five and a quarter inches, into as many parts as are contained in the archi- 
 trave you make use of, and those parts given to the moulding as figured on the plate. It is very 
 often necessary to vary this proportion, and oftener for inside of windows than for doors. For 
 example, if a door is three feet six inches wide, the opening between the architraves to the windows 
 of the same room, would probably be as much as four feet, four inches; one eighth of which would 
 be six and a half inches, which would be very improper, as you would have two widths of archi- 
 traves in the same room. We therefore should advise to make the architrave to the window five 
 and a quarter inches. Again, if a door should be six feet wide, one eighth of it would be nine inches, 
 which would be too large, and may be reduced to six and a half or seven inches. Some judgment 
 should be exercised respecting the situation in which architraves are to be used. If they are on exter- 
 nal parts of buildings, and at a considerable distance from the eye, it will be proper to make them 
 larger than if used on internal finishing and near to the eye. 
 
 PLATE 12: Of Cornices 
 REMARKS ON CORNICES: 
 
 As cornices make a very considerable part of Architecture, there cannot be too much care taken 
 to make them appear to as much advantage as possible, and to manage their mouldings so as to take 
 up no more room than is sufficient to answer the purpose; for it ought to be remembered, that every 
 
 49 
 
ASHER BENJAMIN 
 
 inch that is added to the height of the cornice on the wall line, beside increasing size and expense, 
 is robbing so much from the height of the wall, which is increasing another expense, therefore a 
 large projection ought to be recommended. It has always been remarked, that the Doric cornice has 
 a more noble appearance than the cornice of any other order; and, by examination, we find that its 
 parts are few in number, but bare a just proportion to each other, and are of simple construction; and 
 that it projects one fourth more than it rises on the wall line, which is one fourth more than any 
 of the other orders. Now, if this is all the Doric order has to give it a preference, for it really has 
 nothing else, we can easily imitate it; at the same time, make a saving of nearly one fourth part of 
 the expense. As we have had a good deal of practice in this part of our business, we have paid par- 
 ticular attention to it. We have appropriated plate 15 to prove geometrically, that the size and 
 beauty of cornices do not so much depend on their height, as on their projections; but as that, and 
 the size, are treated in their places, we shall here only make a few remarks on their constructions. 
 
 The projection of a cornice ought to be, at least, one fourth more than its rise; the parts 
 should be as few as possible, and those well proportioned; not crowd in any mouldings that cannot 
 be seen. About one half the projections ought to be given to the plancere, which will prevent its 
 looking bulky, and give it a light appearance. Their fillets ought not to be too small, and to have a 
 good projection before each moulding; at least as much as they rise. Their quirks ought to be large, 
 and as many as the cornice will admit of, as the principal beauty of plain cornices depends on the 
 shadows of their quirks. When mouldings are ornamented, they may be larger than when plain, as 
 carving lightens them. They ought never to be too much crowded with ornaments, but always 
 leave a sufficiency of plain space to form a contrast. Three embellishments are generally sufficient for 
 any cornice, and one ought always to be in the plancere. Stucco cornices admit of much greater 
 variety than wooden ones, but nearly the same rules apply to both. 
 
 Observe that the ornaments be bold, and proportioned to the height of the room; not to make 
 the same mouldings serve for a room of twenty feet high that was modelled for one of ten; and 
 that they always be such as will appear natural and open. In some cases where the room is low, 
 the plancere may be laid flat on the ceiling, or even sunk level with it. Their projection may in some 
 cases, be double their height, and their height, when enriched with three ornaments, about a thirtieth 
 part of the height of the room. Their projection ought in some measure, to be conformable to the 
 size, as well as their height, to that of the room. This will admit of no exact rule; therefore must, 
 in a great measure, depend on the fancy of the designer. 
 
 PLATE 13: Of Cornices 
 PLATE 14: Of Cornices 
 
 PLATE 15: Of Cornices 
 Fig. 1 
 
 A is a Tuscan cornice copied from Langley, and seen at an angle of forty five degrees from the 
 horizon (fig. 2), which is the angle cornices are commonly seen at. B is a modern cornice, which 
 
 50 
 
ASHER BENJAMIN 
 
 is only two thirds of the height. This experiment proves, that a cornice, when seen at the angle of 
 forty five degrees, may be diminished one third of its height, and appear to the spectator to be dimin- 
 ished only two elevenths; and when seen at an angle of fifty degrees (fig. 3), which is a little nearer 
 to the building, it may be diminished one third, and only appear to be diminished one sixth. Now, 
 by this as it appears, that if cornices are in the original orders one sixth too large, which they really 
 are, that they may be diminished one third, and have the appearance of being diminished only one 
 sixth, which will make a saving of at least one fourth of the expense, beside saving so much of the 
 height of the wall of the whole building, and at the same time have a lighter and better appearance. 
 
 Fig. 4 
 
 A is an ovolo, or quarter round, which is commonly used in the orders. 
 
 This figure shows the advantage of quirked mouldings. Beside looking better, their size may 
 be increased one third without increasing their height, as seen by B; or their height may be dimin- 
 ished one third, without appearing much less, as seen by C. 
 
 PLATE 16: Of Doors and Sashes. 
 
 PLATE 17: Of Windows, etc. 
 
 PLATE 18: Details of Windows. 
 
 (PLATES 19-20-21-22 omitted: Descriptions of stairs similar to those in First Volume). 
 
 (PLATE 23: omitted: Of Capitals). 
 
 (PLATE 24: omitted: Ornamental Mouldings). 
 
 (PLATE 25: omitted: Three Designs for Friezes). 
 
 (PLATE 26: omitted: Centerpieces for Ceilings). 
 
 PLATE 27 : Designs for Ornamental. Stucco Ceilings, with some of their Parts 
 
 ENLARGED. 
 
 In ornamenting ceilings, the figure should be of a proper boldness and strength of shadow to 
 the height of the room, and be significant of its use. They ought to be such as will appear orna- 
 mental, or they had better be left out, and those parts which are case with grounds be sunk level with 
 the line of the ceiling, or they will have a heavy appearance. When a room is low, all the parts of 
 the ornaments should be correctly finished, with very delicate strokes, and light in proportion to 
 the height; yet to preserve a proper boldness of tint. When a room is very high, there maybe bold 
 and well placed strokes, without regard to a great deal of delicacy. Regard ought to be paid to the 
 use of a room, as it is as easy to introduce emblematical subjects as those void of meaning. An 
 ornament, however well executed, is not fit to be put in every room. Those that would be exceedingly 
 well adapted for dancing room, for instance, would be ridiculous if put in a church or a courthouse, 
 
 51 
 
ASHER BENJAMIN 
 
 or even those modelled for a drawingroom or bedroom, would not be fit for a dining room or a hall. 
 
 Every subject that is introduced, ought to approach as near to nature as art will admit of. A 
 hall, saloon, or staircase, ought to exhibit something of more solidity and strength. We would not 
 recommend the last mentioned apartments to be finished higher than the Doric order, if regard is paid 
 to any. It is to be remembered, that objects are not to be dispersed about a room without order, but 
 should be grouped into trophies with a great deal of judgment, and care taken to give them as easy 
 and natural an appearance as possible, and introduce nothing that will look stiff or mechanical. 
 
 PLATE 28: Contains Eleven Designs for Chimneypieces. 
 
 PLATE 29 : 
 
 Fig. 1 is Door intended for inside finishing. 
 
 Fig. 2 is a Front door with only two columns or pilasters. 
 
 PLATE 30: 
 
 Fig. 1 is a Venetian door, calculated for a brick house. 
 Fig. 2 is a Front door, calculated for a low story. 
 
 PLATE 31: Contains two designs for trusses; four for key stones; with a profile plan, and 
 front of a modillion. 
 
 PLATE 32: Seven Designs for Banisters, and Five Designs for Urns. 
 
 PLATE 33 : Plan and Elevation for a small Townhouse. 
 
 (PLATE 34: Omitted: Plan for Townhouse). 
 
 PLATE 35 : Plan and Elevation for Townhouse. 
 
 PLATE 36: Plan and Elevation for a House which is intended for a country sit- 
 uation. 
 
 (PLATE 37: omitted: Countryhouse) . 
 
 PLATE 38: Plan and Elevation for a Meetinghouse. 
 
 PLATE 39: Plan and Elevation for a Meetinghouse. 
 
 PLATE 40: Design for a Summerhouse. 
 
 PLATE 41 : Designs for Pulpits. 
 
 PLATE 42: Plan and Elevation for a Courthouse. 
 
 (PLATE 43: omitted: Drawing of Bulfinch's United States Bank in Boston). 
 
 52 
 
ASHER BENJAMIN 
 
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 91 
 
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 Plate 4*2. 
 
 95 
 
THE 
 
 RUDIMENTS 
 
 OP 
 
 ARCHITECTURE x 
 
 BEING A. 
 
 TREATISE ON PRACTICAL GEOMETRY, 
 
 ON 
 
 GRECIAN AND ROMAN MOULDINGS ; 
 
 SHEWING 
 
 THE BEST METHOD OF DRAWING THEIR CURVES, WITH 
 REMARKS ON THE EFFECT OF BOTH. 
 
 AISO, 
 
 ON THE ORIGIN OF BUILDING, 
 
 ON 
 
 THE FIVE ORDERS OF ARCHITECTURE, 
 
 ON 
 
 THEIR GENERAL AND PARTICULAR FARTS AND EMBELLISHMENTS, 
 WITH EXAMPLES FOR 
 
 CORNICES, BASE AND SURBASE MOULDINGS, 
 ARCHITRAVES, AND STAIRS, 
 
 CORRECTLY ENGRAVED ON THIRTY-TWO COPPERPLATES. 
 
 BY ASHER BENJAMIN. 
 
 BOSTON, 
 
 PRINTED FOR THE AUTHOR, BY MUNROE AND FRANCIS, 
 No. 4, CornhilL 
 
 1814. 
 
Editor's Notes on "The Rudiments of 
 Architecture" 
 
 This volume is interesting chiefly for the excellent 
 plates of the orders which it contains and for certain 
 geometrical methods of setting out mouldings. In the 
 orders, the influence of the Classic Revival is plainly 
 to be observed and for the most part the motives of 
 the cornices, etc., do not possess the grace and delicacy 
 which characterize the earlier work. The majority 
 of the plates have been omitted. Plates 1, 2, 3, 4, 5, 
 6, 7 and 8 because th'ey are practically geometry; plate 
 12, The Tuscan order, because it is absolutely like that 
 in the first volume although better drawn; plate 16 of 
 the Composite Order, for the same reason; plates 
 17, 18, and 19, because they are instructions to the 
 wood carver as to laying out capitals; plates 20, 21, 
 and 22, because they are duplicates of the orders; 
 plate 24 is another drawing of pedestals; plates 30, 
 31 and 32, because they are instructions to stair mak- 
 ers regarding cage newels that have already been 
 illustrated. 
 
 98 
 
OF THE PARTS WHICH COMPOSE THE ORDERS OF ARCHI- 
 TECTURE AND OF THEIR PROPERTIES, APPLICATION AND 
 EMBELLISHMENTS. 
 
 As, in many other arts, so in architecture, there are certain elementary forms, which, though sim- 
 ple in their nature, and few in number, are the principal constituent objects of every composition, 
 however complicated or extensive it may be. 
 
 The names of these are allusive to their forms; and their forms are adapted to the use which 
 they are intended to serve. The ovolo and ogee, being strong at their extremities, are fit for sup- 
 ports; the cimarecta and cavetto, though improper for that purpose, as they are weak in the extreme 
 parts, and terminate in a point, are well contrived for coverings to shelter other members; the tend- 
 ency of their outline being very opposite to the direction of falling water, which, for that reason, can- 
 not glide along their surface, but must necessarily drop. The torns and astragal, shaped like ropes, 
 are intended to bind and strengthen the parts on which they are employed; and the use of the fillet 
 and scotia, is only to separate, contrast, and strengthen the effect of the other mouldings; to give a 
 graceful turn to the profile; and to prevent that confusion, which would be occasioned by joining sev- 
 eral convex members together. 
 
 When friezes, or other large members, are to be enriched, the ornaments may be significant, and 
 serve to indicate the destination, or use of the building; the rank, qualities, profession, and achieve- 
 ments of the owner. 
 
 In sacred places, all obscene, grotesque, and heathenish representations ought to be avoided; for 
 indecent fables, extravagant conceits, or instruments and symbols of pagan worship, are very improper 
 ornaments in structures consecrated to Christian devotion. 
 
 In architecture, the most exquisite ornaments lose all their value, if they load, alter, or confuse 
 the form they are designed to enrich and adorn. 
 
 In the application of their ornaments, the ancient sculptors observed to use such as required a 
 considerable relief, on mouldings, that in themselves are clumsy, as the ovolo and astragal; which, by 
 means of the deep incisions made in them to form these enrichments, acquired an extraordinary light- 
 ness; but in both which cases, their figures should be simple, distinct, and unembarrassed. The 
 dentil band should remain uncut, where the ovolo and ogee immediately above and below it are en- 
 riched; for when the dentils are marked, the three members are confounded together, and being cov- 
 ered with ornaments, become far too rich for the remainder of the composition, which are defects, at 
 all times, studiously to be avoided; as a distinct outline, and an equal distribution of enrichments, must 
 on every occasion, be strictly attended to. 
 
 Ornaments should neither be too frugally employed, nor distributed with too much profusion; 
 their value will increase, in proportion to the judgment and discretion shown in their application. 
 
 Variety in ornaments should not be carried to an excess. In architecture they are only accesso- 
 
 99 
 
ASHER BENJAMIN 
 
 ries; and therefore they should not be too striking, nor capable of long detaining the attention from 
 the main object. Those of the mouldings in particular, should be simple, uniform, , and never com- 
 posed of more than two different representations upon each moulding; which ought to be cut equally 
 deep; be formed of the same number of parts; all nearly of the same dimensions, in order to pro- 
 duce one even uninterrupted hue throughout; that so the eye may not be more strongly attracted by 
 any part in particular, than by the whole composition. 
 
 The most perfect profiles, are such as consist of few mouldings, varied both in form and size, 
 fitly applied, with regard to their uses, and so distributed, that the straight and curved ones, suc- 
 ceed each other alternately. In every profile, there should be a predominant member, to which all 
 the others ought to seem subservient; and made, either to support, to fortify, or to shelter it from 
 injuries of weather; and whenever the profile is considerable; or much complicated, the predominant 
 should always be accompanied with one, or more, other principal members; in form and dimension, 
 calculated to attract the eye; create momentary pauses; and assist the perception of the beholder. 
 These predominant and principal members, ought always to be of the essential class, and generally 
 rectangular. Thus, in a cornice, the corona predominates; the modillions and dentils are principals 
 in the compositions; the cimarecta and cavetto, cover them; the ovolo and ogee, support them. 
 
 When ornaments are employed to decorate a profile, some of the moulding should always be 
 left plain, in order to form a proper repost; for when all are enriched, the figure of the profile is lost 
 in confusion. In an entablature, the corona should not be ornamented; nor the modillion band; 
 neither should the plinths of columns, fillets, nor scarcely any square members be carved; for, gener- 
 ally speaking, they are either principal in the composition, or used as boundaries to other parts; but 
 on more elegant parts, as the cavetto, and cima, they employed thin bodies, which could be repre- 
 sented without entering too far into the solid. 
 
 When objects are near, and liable to close inspection, every part of the ornament should be ex- 
 pressed, and well finished; but when they are much exalted, the detail may be slightly touched, or en- 
 tirely neglected; for it is sufficient if the general form be distinct, and the principal masses strongly 
 marked. A few rough strokes from the hand of a skilful master, are much more effectual than the 
 most elaborate finishings of an artless imitator; which, seldom consisting in more than smoothing and 
 neatly rounding off the parts, are calculated to destroy, rather than to produce effect. 
 
 100 
 
TITLES OF PLATES 
 
 PLATES 9-10: Designs for Mouldings. 
 PLATE 1 1 : Grecian Mouldings. 
 PLATE 13: Doric Order. 
 PLATE 14: Ionic Order. 
 PLATE 15: Corinthian Order. 
 
 PLATE 23 : Designs for Banisters, Urns, and Key Stones. 
 PLATE 25 : Four Designs for Impost Mouldings. 
 PLATE 26 : Design for Frontispiece the Tuscan Order. 
 
 PLATE 27: Design for Venetian Entrance, Embellished with a Doric Portico. 
 PLATE 28 : Designs for Cornices. 
 
 PLATE 29 : Designs for Architrave, Base and Surbase Mouldings. 
 
 101 
 
ASHER BENJAMIN 
 
ASHER BENJAMIN 
 
ASHER BENJAMIN 
 
ASHER BENJAMIN 
 
ASHER BENJAMIN 
 
THE 
 
 PRACTICAL HOUSE CARPENTER: 
 
 BEING 
 
 A COMPLETE DEVELOPMENT OF THE 
 
 GRECIAN ORDERS OF ARCHITECTURE, 
 
 METHODISED AND ARRANGED IN SUCH A SIMPLE, PLAIN, AND COMPREHENSIVE MANNER, 
 
 AS TO BE EASILY UNDERSTOOD ; 
 EACH EXAMPLE BEING FASHIONED ACCORDING TO THE 
 
 STYLE AND PRACTICE OF THE PRESENT DAY: 
 
 CONTAINING 
 
 ONE EXAMPLE OF THE TUSCAN ORDER, THREE EXAMPLES OF THE DORIC ORDER, THREE EXAMPLES 
 OF THE IONIC ORDER, ONE EXAMPLE OF THE CORINTHIAN ORDER, AND 
 ONE EXAMPLE OF THE COMPOSITE ORDER, 
 
 WITH ALL THEIR DETAILS DRAWN TO A LARGE SCALE . 
 
 TO WHICH ARE ADDED, 
 
 A series of designs for porticos, frontispieces, doors, windows, caps and sills, sash-frames, sa$he3 and 
 shutters, base and sur-base mouldings, architraves, chimney-pieces, trusses 
 for roofs and partitions, stairs, SfC, 
 
 ENGRAVED OK 
 
 SIXTY-FOUR LARGE QUARTO COPPER-PLATES. 
 
 THIRD EDITION 
 
 BY ASHER BENJAMIN, 
 
 ARCHITECT, 
 
 AUTHOR OF "THE AMERICAN BUILDER'S COMPANION," AND "THE. RUDIMENTS OF ARCHITECTURE." 
 
 BOSTON: 
 PUBLISHED BY THE PROPRIETORS : 
 
 FOR SALE BY 
 
 R. P. & C. WILLIAMS, 18 & 20, CORNHILL, AND RICHARDSON, LORD & HOLBROOK. 
 
 NEW YORK, 
 ELAM BLISS, NO. Ill, BROADWAY. 
 
 1332. 
 
Editor's Note on "The Practical House Carpenter" 
 
 This, the fourth of Asher Benjamin's books, was published 
 sixteen years after the third, at a time when architecture had 
 been completely revolutionized and to the earlier Colonial 
 work had succeeded the work of the Greek Revival. 
 
 To us of the present day who are not particularly inter- 
 ested in the work of the Greek Revival and to whom the ma- 
 terial is much more available in its orginal form than it was 
 to the contemporaries of Asher Benjamin, his illustrations of 
 the Orders are not specially interesting and have therefore 
 been omitted. Many of his original designs in which Grecian 
 forms were used have also been omitted. Of course, the old 
 gentleman (he must at that time have been an old gentleman), 
 despite his professed sympathy with the Greek work, fumbled 
 its motives most unskilfully and perhaps little of the work of 
 the Greek Revival which we see in the old houses of the period 
 from 1820 to 1840 had architectural motives such as doors, 
 chimneypieces, etc., as bad as those which he recommends for 
 use. I have chosen to illustrate from this volume therefore, a 
 few illustrations only, those which would serve to display his 
 work in the most favorable light and which might perhaps be 
 of some practical benefit. 
 
 116 
 
PREFACE 
 
 THE favorable manner in which my former publications on Architecture have been received, 
 and the want of a practical treatise on that subject, adapted to the present style of building 
 in our own country, are the principal motives which induce me to place this work before the 
 
 public. 
 
 Since my last publication, the Roman school of architecture has been entirely changed for the 
 Grecian. Very few things of the same nature differ more than the Greek and Roman creeds of the 
 orders. The Roman orders are chiefly composed of small and ungraceful parts, and the mouldings 
 are made up of parts of a circle, which do not produce that beautiful light and shade, so happily ef- 
 fected by the Grecian mouldings. These latter are composed of parts of ellipses, parabolas, hyper- 
 bolas and other conic sections, and consist, mostly of large, bold parts, which are so strongly marked, 
 that each member of the profile is plainly seen at a very considerable distance; and can likewise be 
 executed with less expense than the former. I confess myself to be an admirer of Grecian archi- 
 tecture, yet I am not disposed to condemn the general proportions of the Roman orders, none of 
 which, except the Doric, differ essentially from those of the Grecian. The column of that order was 
 generally made, by the Greeks, about five diameters in height; but the same order was generally 
 made, by the Romans, from seven and a half to eight diameters in height. It is therefore evident 
 that the latter proportions come nearer to our practice than the former one, especially when the 
 orders are used in private houses. The members of the Grecian columns and entablatures, how- 
 ever, are certainly better proportioned to each other than those of the Roman. 
 
 With a strong desire to make this work useful to the practical builder, I have endeavored to 
 divest myself of any prejudice I might have for or against any school of architecture, and to select, 
 from all the books on that subject, those parts which I thought would best promote my object. 
 
 I consider it necessary that all practical house carpenters should be fully acquainted with the 
 orders of architecture, particularly those who reside in the country, where they have no opportunity 
 of consulting an architect. I have therefore been very particular in the descriptive part of the 
 orders; which care, together with that I have taken in drawing and representing the most difficult 
 parts on a large scale, will, I am persuaded, make them so plain and easy, that a workman of ordi- 
 nary capacity can make himself perfect master of the orders, without the aid of an instructor; and 
 when he fully comprehends them, he will be able to understand the whole subject of this book. 
 
 With a view to render this work completely a practical one, and to facilitate and assist the ef- 
 forts of master carpenters, I have drawn all the architraves, base and sur-base mouldings, and all 
 other examples where it was possible so to do, at full size for practice, and I trust they will be found 
 particularly useful to those carpenters who have not had an opportunity of learning to draw architec- 
 tural subjects. 
 
 117 
 
EXTRACTS FROM TEXT AND 
 
 DESCRIPTIONS 
 
 PLATE 
 
 PLATE 25 : Keystones and Balusters. 
 PLATE 26: Vases. 
 
 On this plate are a series of designs for vases. When vases are used on pedestals, posts to 
 fences, and for such like purposes, their largest diameter may be made equal to the diameter of the 
 pedestal, or post, on which they are to be placed, or from that size to one fourth part less, as judg- 
 ment may dictate. As the heights and projections of all the members to each vase are figured on the 
 plate, I trust that, by an examination, they will be clearly understood. 
 
 PLATE 30: Design for Ionic Portico. 
 
 PLATE 32: Design for a Dormer Window. 
 
 On this plate is shown a design for a dormer window, suitably constructed for being placed on 
 the roof of a building. It is drawn on a scale large enough to make it plain, without further ex- 
 planation. Fig. 1 shows a front, and Fig. 2 a side elevation. 
 
 Figs. 3 and 4, on the same plate, show designs of a species of the guiloche, which may some- 
 times be used with good effect on fences, railings, etc. 
 
 PLATE 34: Four Designs for Eve Cornices. 
 
 PLATES 45, 46, 47 : Designs for Architraves, Drawn at full size for Practice. 
 PLATE 49: Design for a Chimneypiece formed suitably for Marble. 
 
 118 
 
ASHER BENJAMIN 
 
 PL. 25 
 
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 119 
 
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 121 
 
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 123 
 
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 PL. 45 
 
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 129 
 
ASHER BENJAMIN 
 
 131 
 
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 AKCH1T IEL.WIE § . 
 
 P1..47 
 
 133 
 
ASHER BENJAMIN 
 
 135 
 
PRACTICE OF ARCHITECTURE. 
 
 CONTAINING 
 
 THE FIVE ORDERS OF ARCHITECTURE, 
 
 AND 
 
 AN ADDITIONAL COLUMN AND ENTABLATURE, 
 
 WITH ALL THEIR 
 
 ELEMENTS AND DETAILS EXPLAINED AND ILLUSTRATED, 
 
 FOR THE USE OP 
 
 CARPENTERS AND PRACTICAL MEN. 
 mm Sftffi JPlatts. 
 
 Bt ASHER BENJAMIN, Architect, 
 
 ' Author of " The American Builder's Companion," " The Rudiments of Architecture," and 
 
 "The Practical House Carpenter." 
 
 BOSTON: 
 
 PUBLISHED BY THE AUTHOR, AND CARTER, HENDEE & CO. 
 NEW YORK— COLLINS & CO. 
 
 1833. 
 
Editor's Note on "Practice of Architecture" 
 
 This is the fifth and last of the books written by 
 Asher Benjamin and is in some respects better than 
 the fourth, although it is for the most part a re-writ- 
 ing of "The Practical House Carpenter." The illus- 
 trations are of slightly greater interest and I have 
 included a plate of the Doric order because of the 
 very great difference between his proportion and that 
 of the Greek order. The plates illustrated are again 
 few and were selected for the same reasons which 
 obtained in the selections of the fourth volume; there 
 seemed to be no particular reason to include a number 
 of illustrations of work with which we are all famil- 
 iar in the original, simply because they were redrawn 
 a century ago. I have included also fragments of the 
 text because of the light they show on the practices 
 and principles of architects during the early part of 
 the nineteenth century. 
 
 138 
 
PREFACE 
 
 I HAVE endeavored, in this Treatise, to avoid a defect which is very generally complained of in 
 books of this kind; that is, a want of particularity in the details, and of a clear, simple explan- 
 ation of them. In cities, where Architects are always at hand, this deficiency is not so much 
 felt; since the Carpenters there stand in need of no further knowledge upon the subject, than such as 
 may enable them to put into practice the drawings furnished by the Architect. But in villages, the 
 case is different. Those Carpenters in country villages who aspire to eminence in their business, 
 having no Architect to consult, are under the necessity of studying the science thoroughly and without 
 a master. To them, therefore, is this book peculiarly adapted; for it contains the principles of many 
 expensive folios, condensed into a narrow space and applied to modern practice. 
 
 The time has been, within my own recollection, when New England did not contain a single 
 professed Architect. The first individual who laid claim to that character, was Charles Bulfinch, Esq., 
 of this city; to whose classical taste we are indebted for many fine buildings. The construction of 
 the Franklin Street houses, of which that gentleman was the Architect, gave the first impulse to good 
 taste; and Architecture in this part of the country has advanced with an accelerated progress ever 
 since. But though Architecture has certainly improved, and rapidly, too, within late years, a large 
 proportion of the vast number of buildings which meet the eye, of all classes and sizes, and con- 
 structed for all purposes, are totally destitute of architectural taste. This defect does not arise from 
 parsimony; for it is not uncommon to see buildings of large dimensions burdened with a profusion 
 of expensive and misplaced finery, which forms anything but ornament. Buildings of this class, which 
 under skilful hands might have become proud monuments of public taste, are mortifying and repulsive 
 objects to those who take an interest in the science of Architecture. 
 
 It has been too prevalent a habit, among those who would not think themselves capable of in- 
 structing a Carpenter in the art of planing or sawing boards, or a bricklayer in laying bricks, to 
 undertake the much more difficult task of becoming their own Architects. The consequence is, that 
 such persons proceed to build without any fixed system; unlooked for difficulties are soon encountered, 
 which lead to expensive alterations, and the harmony of the buildings is destroyed. Nor is this evil 
 confined to private buildings. The committees selected to superintend our public edifices are apt to 
 cramp the invention of the Architect by their economy, or pervert it by their fancies; so that speci- 
 mens of the taste of some member of the committee can usually be discerned by a skilful eye, among 
 our most scientific compositions. But the evil is certainly decreasing. Knowledge of the science is 
 rapidly gaining ground, and the increased attention attracted towards the subject disposes those who 
 have not the necessary information to confide in those who have. 
 
 139 
 
PLATE TITLES 
 
 1 PLATE 10 : Doric Order with the Shaft Diminished in the Roman Style. 
 PLATE 1 1 : Details of Doric Entablature. 
 PLATE 30: An Example of an Ionic Portico. 
 PLATE 32: An Example of a Composite Portico. 
 PLATES 33-34-35-36: Examples of Cornices. 
 
 PLATE 38: Twelve Examples of Architraves, drawn one half full size. 
 
 '* 4 PLATE 44: Six Examples of Base Mouldings, drawn one half full size. 
 
 PLATE 45: Two Designs for Surbase Mouldings, drawn one half full size; An Ex- 
 ample for a Baluster and Three Examples for Vases of Different Forms and 
 Proportions. 
 
 PLATE 46: Ornamental Mouldings. 
 
 PLATES 53-54: Elevations for a Church. 
 
 PLATE 56: An Example of a Pulpit. 
 
 140 
 
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GETTY CENTER LIBRARY 
 
 3 3125 00720 1904