ICHITECTURA.L PROPORTION 
 
 ILLUSTRATED 
 
 , J.BRYAN 
 
ARCHITECTURAL 
 PROPORTION. 
 
 ILLUSTRATED. 
 
 NEW SYSTEM OF PROPORTION SHOWING THE RELA- 
 TION BETWEEN AN ORDER OF ARCHITECTURE 
 AND A BUILDING OF ANY KIND. 
 
 RULES FOR FINDING THE HEIGHT OF FOUNDATIONS, BASES, WATER-TABLES, WINDOW 
 SILLS, DOORS, WINDOWS, BALUSTRADES, AND SUPERIMPOSED STORIES; WIDTH 
 OF DOORS, WINDOWS, ARCHITRAVES, PILASTERS AND POSTS; HEIGHT AND 
 PROJECTION OF ENTABLATURES, CORNICES, AND ALL EXTERIOR 
 FINISH; ALSO HEIGHT OF BASES, WINDOW-STOOLS, 
 HEIGHT AND PROJECTION OF STUCCO CORNICES, 
 AND INTERIOR FINISH, WITH MANY 
 VALUABLE TABLES. 
 
 By A. J. BRYAN, Architect. 
 
 SAN FRANCISCO: 
 A. L. BANCROFT & CO., PRINTERS AND LITHOGRAPHERS, 
 721 Market Street, 
 1880. 
 
Copyright, 1880, 
 Y A. J. BRYAN. 
 
PREFACE. 
 
 Very few general rules in architectural proportion can be applied to every style of 
 architecture. Special cases can only be provided for by the ingenuity of the Architect. 
 Our aim has been to avoid extremes, and furnish only such practical rules as, in our judg- 
 ment, seem best adapted to the requirements of all classes of buildings in this country. 
 While the rules and plates are our own, it is but just to say that we have freely consulted 
 the works of many authors on the subject, and have carefully compared the practical 
 results from other and more complicated rules with the results obtained by the application 
 of the simple and comprehensive ones contained herein, which, added to our own experience, 
 enables us to offer this volume to the Building Fraternity with the assurance that the 
 measures given are in accord with the works of the best masters. The tables are introduced 
 in the belief that they will obviate the necessity of many calculations, acquaint the novice 
 with the relative proportions of the members of a column, and serve as a ready reference 
 for all persons who are interested in building. 
 
 A. J. BRYAN. 
 
 Chico, California, 1880. 
 
Digitized by the Internet Archive 
 
 in 2013 
 
 http://archive.org/details/architecturalproOObrya 
 
CONTENTS. 
 
 PLATE. 
 
 Standard of Proportion I 
 
 The Necessity for a Proportional Order Illustrated I 
 
 Application of the Proportions of the Standard to a Cottage I 
 
 Justification of the Rules I 
 
 Detail of Side Architrave and Window-stool II 
 
 Detail of Room Skirting or Base Ill 
 
 Detail of Shaft-base IV 
 
 Detail of Pedestal Cornice V 
 
 Detail of Capital VI 
 
 Detail of Entablature Cornice VII 
 
 Detail of Cornice without Frieze or Architrave VIII 
 
 Detail of Architrave. IX 
 
 Superimposed Stories X 
 
 PAGE. 
 
 Architectural Proportion, where it can exist .' 6 
 
 Origin of the Five Orders of Architecture 7 
 
 Gradual Development of the Orders of Architecture 7 
 
 Description of the Standard of Proportion 10 
 
 Equality of Ratios between Interior and Exterior Finish 12 
 
 Foundations, Architects should Visit the Building Site 12 
 
 Appearance of a Building Dependent on Height of Foundation 13 
 
 How to Find the Relative Sizes for the Interior Finish of a Story 15 
 
 How to Find the Relative Sizes for the Verandah Finish 15-17 
 
 When Minor Members should be Excluded from Entablatures 17 
 
 Where Entablatures may be Properly Used 19 
 
 Reducing the Height of Superimposed Stories 19-21 
 
 Comparative Table 23 
 
 Height of Entablatures Elevated Above Standard Example 23-25 
 
 Table showing Height of Entablatures 27 
 
 Rules 28-29 
 
 Tables Giving the Height of Members of the Interior Finish, for Stories of One Hundred Different 
 
 Heights 30-33 
 
ARCHITECTURAL PRORORTION. 
 
 That the ancient Orders of Architecture have received their full share of attention from 
 writers in all ages no one can doubt. Many excellent works contain elaborate descriptions 
 of the beautiful proportions of the Five Orders, and merited criticisms on the present styles, 
 while very few contain any practical system which can be used for the improvement of 
 the interior and exterior appearance of the thousands of buildings which are being erected 
 each year in this country. 
 
 Architecture, like any other invention of man, is susceptible of improvement. The 
 finished building is only the reflex of the designer's knowledge of the fitness of things. A 
 justly proportioned building is pleasing to the eye, while it has no part that will attract 
 particular attention — a finely formed body, with ornaments of natural form and members of 
 just magnitude. 
 
 Architectural proportion is the relation one part or member of a building bears to 
 others, and can exist only in the combination of a number of things of unequal size. A 
 square building has no proportion between length, width and height, and at best is a poor 
 example of architecture. 
 
 The student cannot devote too much time to the study of the best examples of classical 
 architecture, yet, after all his study and research, when he is called upon to design dwellings 
 and other buildings which are suited to the requirements of modern civilization, he may be 
 able to talk learnedly about architecture as an art, and still have no idea how his knowledge 
 of ancient architecture will enable him to give just proportions to the members of an 
 ordinary building. 
 
 High art is a popular text for much writing, but unfortunately those who discourse 
 most upon that worthy theme seem to practice it with the least degree of intelligence in 
 their designs. Unnatural forms in ornamentation and uniform widths for the members of 
 stories of different heights, which are so often found in the designs of impracticable theorists, 
 are, of themselves, a bar to pleasant variety in a design, and the essence of bad taste in 
 architecture. 
 
ARCHITECTURAL PROPORTION. 
 
 7 
 
 As the proportions of classic architecture are not applicable to modern buildings, or to 
 cheap buildings of any style, new ratios must be introduced, so as to modify the ancient 
 Orders, or produce new ones. The Five Orders of Architecture, known as the Doric, Ionic, 
 Corinthian, Tuscan and Composite, were each suited to a particular purpose and style of 
 building. 
 
 After the return of the Heracleida?, the Dorians, who afterwards founded Sparta, Argos 
 and Messenia, introduced the Doric Order into the Peloponesus, about 1104 B. C. That they 
 were the first inventors of that Order is very probable, because the massive proportions -of 
 the earliest examples were particularly suited to the purposes of architecture in the 
 Peloponesus during the reign of the Hellenic tribes. 
 
 The Ionic colonies of Asia Minor gratified their taste and supplied their wants, in an 
 architectural sense, by introducing the Order which bears their name. The Greek Archi- 
 tects, Callicrates, Ictinus, Pericles and Phidias, built the celebrated Parthenon at Athens, 
 in the Doric Order, about 440 B. C, and Callicrates is credited with inventing the Corinthian 
 Order, which was not in general use in Greece before the time of Alexander the Great; the 
 oldest example in Greece being the Choragic Monument of I^ysicrates, built 335 B. C. 
 
 The l\iscan Order is of doubtful origin, and was probably never extensivelv used, while 
 the Triumphal Arches erected by the" Romans to commemorate great victories, brought into 
 use the excessively ornamented column known as the Composite Order. 
 
 If we go further back into the history of architecture and take account of Assyrian 
 Architecture on the plains of Mesopotamia; Egyptian Architecture as applied to the temples of 
 the Theban kings, of whom, Osirtesen reigned 1640 B. C, we are led to believe that archi- 
 tecture was reduced to something like a science long before even the Doric Order was invented. 
 
 In ancient architecture, the column was the prominent feature, and in many excel- 
 lent examples, the column constituted the whole Order. First among the distinguishing 
 features was the ratio of the height of the shaft to its diameter, or vice versa. To find the 
 height of the shaft, or the size of any member, it was first necessary to know the 
 diameter, hence the practice of making the diameter of the shaft the basis of all calcula- 
 tions in architecture. And it seems that so long as this practice was strictly followed, 
 architecture improved, natural and beautiful forms were blended, so as to produce 
 capitals and ornaments in some of the Orders that challenge the admiration of all men. 
 while the proportions of some examples of the ancient Orders approximate perfection. 
 The perfection to which the ancient Orders attained was not due to the efforts or 
 inventions of any one man, but to the combined efforts of men of different genera- 
 tions, each striving to carry the Order to a higher degree of perfection. 
 
8 
 
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ARCHITECTURAL PROPORTION. 
 
 9 
 
 Full credence must not be given to stories claiming that the best specimens of 
 the old Orders were the first given, since this is not the truth. Nor do we give 
 more credence to what is related concerning the accomplishments of the ancient 
 architects, for it seems unreasonable to say that an architect could learn more of 
 each art and science, than a man who gave his whole time to the study of any 
 one in particular, yet we know some of the ancient architects wrote on all the 
 sciences. Pythius, Architect of the Temple of Minerva, at Priene, says: "An 
 architect should have that perfect knowledge of each art and science, which is 
 not even acquired by the professors in any one in particular, who have had every 
 opportunity of improving themselves in it." It should be the pride of every honest 
 and unselfish architect to so construct his buildings that others who follow the 
 profession after his time, may copy or improve upon his inventions. 
 
 Architects who expect to succeed in their profession, must work from a principle 
 when working out their designs. Buildings designed so that the size of each 
 member is governed by the number of minutes contained in the corresponding 
 member on the standard of proportion used, will always be worth something as a 
 work of art, for they are the embodiment of a principle which is manifest in every 
 detail, and like an imperfect machine, the standard may be improved until it ap- 
 proximates perfection. Should an architect wish to introduce new ratios between 
 the members of his work, he must first apply them to an Order, or a Standard of 
 Proportion, then if they are found to produce well balanced and suitable members 
 for a column, and are applicable to the interior and exterior finish of a building 
 designed to fulfill the present purposes of architecture, his system will be com- 
 pleted. But to give heights to the members of the finish for the interior of the 
 building, which could not with propriety be given to the members of a column 
 equal in height to the clear height of the room or story, is wrong, because the 
 purposes of architecture at the present time require an equality of ratios between 
 the members of the interior and exterior work. 
 
 A standard of proportion is as essential to a building of any kind, as it is to 
 know the diameter of the shaft before computing the size of the members of a 
 column. Architects who use their eye for their standard of proportion are never 
 able to defend their work in a contest, for they have no principle or system in their 
 designs. 
 
 Many writers attempt to convey the idea that all examples of any of the Five Orders 
 were alike, but such teachings are not founded upon truth. It is right and proper for 
 
ARCHITECTURAL PROPORTION. 
 
 10 
 
 any man to select what lie thinks is the best example of any given Order, and praise it 
 as much as he chooses, but it is not right for him to give his example to the public as 
 the Order, when he knows that nearly all other examples of the Order differ from the one 
 which he has selected. 
 
 We are willing to accord to the architects of ancient times the very highest 
 degree of intelligence, but are not prepared to believe one-half of the bosh that has been 
 Avritten about every crooked wall, deformed arch, or other imperfection found in any ancient 
 temple, being put in for effect, and due to the superior intelligence of the architect, for 
 if it is, or ever was, necessary to deform an object or body in order to make it look well, 
 few sensible men will follow the example. 
 
 As the temples of the ancients cannot be copied for present use, we shall now direct 
 our attention to a standard of proportion which is intended to apply to a cheaper class 
 of buildings, better suited to the wants of the American people, and the purposes of 
 architecture in this country. 
 
 To clearly show the necessity for a standard of proportion we have introduced the 
 column shown in Plate I. As a standard of proportion it is applicable to all classes 
 of buildings. The diameter of the shaft above the base is divided into 60 minutes or 
 units of measure. The taper of the shaft is one-sixth of one diameter, or 50 minutes 
 in diameter at the neck below the fillet and astragal. The height of the principal 
 members are: Pedestal base, 50 minutes; die, 85 minutes; cornice, 50 minutes; shaft base, 
 36 minutes; shaft, including base and capital, 10 diameters; capital, above the fillet and 
 astragal, 1 diameter and 10 minutes; architrave, 45 minutes; frieze, 40 minutes; cornice, 80 
 minutes — whole height of the column or ' Order, 15^ diameters. Referring to Plate l it will 
 be seen that the three major divisions of the column are so arranged that, for vertical pro- 
 portion, they are applicable to the three major divisions of the elevation of an interior wall, 
 and vice versa. First: The height of the pedestal is equal to the distance from the floor 
 line to the top of the window-stool; Second: The whole height of the shaft equals the 
 height of the perpendicular architrave for the window, or the distance from the top of 
 the window-stool to the soffit or lowest edge of the horizontal architrave; Third: The 
 height of the entablature is equal to the distance from the sollit to the ceiling line. 
 
 Of the minor divisions of the column, the pedestal base gives the proper height for 
 the room base, the height of the window-stool or sill equals the height of the pedestal 
 cornice, and the height of the architrave or lowest division of the entablature governs 
 the width of the window architrave. 
 
 Each member or part of the interior finish contains the same number of minutes or units 
 
II 
 
ARCHITECTURAL PROPORTION. 
 
 12 
 
 of measure as is given to the corresponding member on the column. This system of 
 proportion gives perfect harmony between the interior and exterior finish, is easity 
 understood and applied, and has but one basis from which the size of any part or 
 member of the building is computed. No amount of decoration can hide the vulgar 
 appearance of a room if the window openings show a greater or less height than the 
 corresponding part of the column from which the height of all members of the interior 
 finish is computed. The room base, die and window-stool of any room represent the 
 three divisions of the pedestal of a column as clearly on the elevation of the interior 
 wall as the same members do on a pedestal surmounted hy a shaft and entablature. 
 The height of the window architrave must represent the height of the shaft of the Order, 
 because it rests upon the pedestal and supports the horizontal architrave or lowest 
 division of the entablature. To complete the Order on the interior wall elevation, 
 the stucco cornice must contain as many minutes in height and projection as given to 
 the height and projection of the cornice or upper division of the entablature on the 
 standard of proportion. 
 
 We dismiss, for the present, Architectural Proportion, and take up a subject equally 
 important and often criminally neglected: 
 
 FOUNDATIONS. 
 
 A good foundation is the key to success in everything, and without it a fine 
 house is only a costly sham. When the walls and plaster of a new building begin to 
 crack, it. is usually charged to climatic influences, }^et, in nearly every case, the cause 
 can be traced directly to a faulty foundation. Good walls, with broad footings of stone 
 or hard-burned brick, will always give the owner of a building better satisfaction than 
 he can receive from a hundred theories that work well only on paper. 
 
 To insure a good foundation all walls should start from a common level, either at 
 the bottom of the basement, or, if no basement is required, then in trenches excavated 
 to a sufficient depth to insure equal resistance from the ground. A good foundation at 
 one place is often an insufficient one for the same building even on an adjoining lot. 
 Therefore, it is always advisable for the architect to visit the building site after the 
 excavating is done, when he will readily detect any great inequality in the density of 
 the earth along the line of the walls, and will then be competent to make a suitable 
 foundation for that particular place. The width of foundation and basement walls 
 should always be liberal and rather more than appears, after examination of the under- 
 
ARCHITECTURAL PROPORTION. 
 
 13 
 
 lying earth, to be necessary. If extravagance can be justified at all in the erection of 
 a building, the foundation should have the lion's share; and he who cannot afford to 
 build upon a good foundation will soon regret having built at all, for upon the solidity 
 of the foundation depends the lasting beauty, usefulness, and safety of the whole 
 superstructure. 
 
 As the safety of the whole superstructure depends upon the solidity, so also does the 
 exterior appearance of an isolated building depend, in a large degree, upon the height 
 of the foundation. 
 
 A two or three story dwelling with the first-floor line only one and a half or two 
 feet above the level of the ground, presents the appearance of having settled after com- 
 pletion ; and a low building with a very high foundation has the appearance of having 
 been raised above high water mark. In either case the architect who designs such 
 buildings usually makes them bear false witness against the locality wherein they are 
 erected. 
 
 As an illustration of Rule I, we will refer the reader to the section of the eleva- 
 tion of a cottage and foundation shown in Plate I. The clear height of the story in 
 the cottage is 10 feet, or equal to the height of the column shaft shown in the same 
 Plate, and as the diameter of the shaft is the basis from which the height and projec- 
 tion of the members of the column is computed, we take the height of the story as the 
 representative of the shaft; and divide this height into 10 diameters and then divide one 
 diameter into 60 parts for the unit of measure which, in this case, equals y" u or \ of 
 an inch. Proceeding then as with a column, the height of the foundation to the floor 
 line is made to equal 2 diameters and 45 minutes, or 2 feet 9 inches. The height of the 
 stone base to the foundation is made to equal 50 minutes or 10 inches, and the height of 
 the water-table equals 30 minutes or 6 inches. 
 
 Then beginning at the ceiling line 2 diameters and 45 minutes, or 2 feet 9 inches 
 is laid up for the height of the entablature, or the distance from the ceiling line to 
 the eaves. 
 
 As the cornice on the standard is 80 minutes in height and projection, the height 
 of the cottage cornice measured at right angles from the slant of the roof, and the 
 inclined and end projection is made to equal 80 minutes, or 1 foot 4 inches. 
 
 The members of the cornice on the dwelling contain the same number of minutes, 
 or units of measure, as is given to the corresponding member of the cornice on the 
 standard, with this exception: one member is left out of the corona in the cottage 
 cornice, and its height is added to the height of the bed mould in order to give that 
 
BASE or SHAFT. 
 
ARCHITECTURAL PROPORTION. 
 
 15 
 
 member more prominence in its retired position in the raking cornice, and the' height 
 of the dental course and spiral mould next below are both given to the lowest division 
 of the plain cornice. 
 
 Plate I also represents the standard of proportion as standing in a room, the clear 
 height of which equals 15 feet 6 inches. Then in order to keep the same ratios between 
 the members of the interior story finish of the cottage and the members of the column, 
 it becomes necessary to reduce the standard of proportion, until it will stand in a 
 room or story which is only LO feet in height. This we do by reducing 10 feet to 
 hundredths or thousandths of inches and dividing by 15§. The quotient resulting there- 
 from will be the diameter of the shaft of the reduced column. 
 
 The sum obtained for the diameter is then subdivided into 60 minutes, and one 
 minute, or the unit of measure thus found for the 10-foot story, is increased as many 
 times for the height of each member of the story finish as there are minutes in the 
 height of the corresponding member on the standard example. 120.000 inches 15^ = 
 7tVo inches for the diameter of the shaft of the reduced column. 7.740 -s- GO = iW'o 
 inches for the unit of measure for the 10-foot story. .129X50— 6rVo inches for the 
 height of the room base for the cottage. .129X30=3tV(7 inches for the height of the 
 window-stool and sill. 7.74X 10 -llxsn inches, or G feet 5,W inches for the height of 
 the window architrave, or the distance from the top of the window-stool to the soffit 
 above the window. .I29X45X5^nj inches for the width of the window arhictraves. 
 .129X80=10i :! </i7 inches for the height and projection of the stucco cornice in the cottage 
 or any story which has a, height of just 10 feet. 
 
 It will be seen that the members on the interior elevation of the room contain 
 exactly as many parts or minutes in height as is given to the corresponding members 
 on the standard, and that there is a perfect equality of ratios between the members of 
 the exterior and interior work. 
 
 In Plata, I is also shown the elevation of the veranda post, balustrade, and part 
 elevation of the cornice. As the whole height from tin.' floor line to the top of the 
 cornice is 10 feet, the denomination of the unit of measure for the verandah finish is 
 iWo inches, or the same as for the interior story. Commencing at the floor line of 
 the verandah, the plinth, or plain part of the pedestal base is 33 minutes in height, 
 as on the standard, and the moulded part 17 minutes in height, making the whole 
 height of the base equal 50 minutes. .1 20X33 -=4, %* a inches. .129X1 7=2 iW inches. 
 .129X85=1 OA 6 * inches for the height of the pedestal die. .129X30=3i < & inches for 
 the height of the pedestal cornice. 7.74X10=6 feet 5iV» inches for the height of the 
 
1G 
 
 PLATE V. 
 
ARCHITECTURAL PROPORTION. 
 
 17 
 
 post above the pedestal. . 129X45=5 nor inches for the diameter of the post. Eighty- 
 five minutes — the height of the architrave and frieze on the standard — multiplied by 
 .129=10.965 inches for the height of the bracket, spandrel, or other finish, between the 
 top of the post and the lowest line of the cornice. .129X80=10iVV inches for the 
 height and projection of the verandah cornice. 
 
 Inasmuch as the diameter of the post equals I of the diameter of a round shaft of 
 the same length, to find the projection of the die and other members from the center 
 of the post, the unit of measure is multiplied by \ of the number of parts given for the 
 projection of the members of the pedestal of the standard. 
 
 Plate II shows a section of the window-stool and architrave for the window shown 
 in Plate I. for a story 15 feet 6 inches clear. The length of the architrave or casing 
 is 10 feet and its width 9 inches, or 45 parts of one diameter. The principal members 
 of the side architraves for the openings contain the same number of parts as is given 
 to the members of the entablature architrave shown in Plate IX. Two members are 
 added to the lowest part, or inner edge of the architraves for the windows and doors, in 
 order to break up the plain surface of that part of the architrave which is covered by 
 a wreath in the entablature. 
 
 Plate III shows a section of the room base with the height of each member given. 
 The drawings are merely intended to illustrate the rules and show the number of parts 
 that are given to each member. The form of the members for the story finish can 
 be varied to suit the fancy of the designer. 
 
 Plate IV shows the shaft base and the height and projection of each member from 
 the center of the shaft. 
 
 Plate V shows the height and projection of the members of the pedestal cornice 
 and the projection of the die from the central line. The height and projection of the 
 members of the capital are shown in Plate VI, and require no explanation. 
 
 The cornice or upper division of the entablature, is shown on a large scale in Plate VII. 
 The modillions may be carved and ornamented, or left plain, as the style of the work requires. 
 
 From the entablatures of street fronts, which are elevated above the standard of 
 proportion, it is not necessary to exclude any of the minor members, for the denomina- 
 tion of the unit of measure will be increased as the entablature is elevated, consequently 
 the size of each member will be increased in its proper ratio; but from entablatures 
 for any part of a building where the denomination of the unit of measure is decreased, 
 as the elevation is increased above the first floor line, the minor members should be 
 excluded, and the principal ones enlarged. 
 
CAPITAL 
 
ARCHITECTURAL PROPORTION. 19 
 
 A facade with portico, and window and door entablatures in any Order, and having a sim- 
 ple cornice at the greatest elevation, is the reverse of good taste, or any rule in archi- 
 tecture; but entablatures for the building and portico may be used with good effect, when 
 there are no entablatures, or even projecting architraves on the window and door openings. 
 
 It is hardly proper to support a portico entablature with square posts, or to place 
 a cornice without frieze or architrave, above the round' shafts of any Order; but pilasters 
 projected one-half the width of their face from the wall, and having capitals, may be 
 properly set under the entablatures of street fronts or other facades. 
 
 The proper divisions of a simple cornice are represented in Plate Till, also the pro- 
 jection of the members from the face of the wall. In all Plates showing parts of the 
 finish or members of the column, the figures give the projection of the members from 
 the center of the shaft, or what is usually called the axis of the column. 
 
 The principal members of the cornices shown in Plates VII and VIII, contain the 
 same number of minutes in height; and the projection of the square of the cymatium 
 in Plate VII from the face of the frieze, is equal to the projection of the corresponding 
 member in Plate VIII from the wall line, which would be the face of the frieze in an 
 entablature. 
 
 Plate IX represents a large scale drawing of the architrave, or lowest division of the 
 entablature of the standard of proportion shown in Plate I. The form of the lowest 
 member is well adapted to the proper shading of vine or wreath ornaments, projected 
 sufficiently from the retired face of the member to give the leaves a natural and varied 
 appearance, but for ordinary work this member may be left without ornamentation. 
 
 Plate X with the explanations, fully illustrates our system of reducing superimposed 
 stories. We are aware that this is a grave departure from the rules and usages of many 
 architects, and that it does not at all conform to the Alisma Plantayo example, if the 
 eminent art critic who made use of that illustration intended it to apply to super- 
 imposed stories, for the system which Plate X illustrates, does not reduce the superim- 
 posed stories so much, and particularly the third and fourth ones shown in the section. 
 
 Examples of lateral or vertical proportion taken from old palaces or churches, built 
 hundreds of years ago, may be interesting as a study, but they have no practical value 
 in the architecture of this country. 
 
 From an author and architect of the present day, we have an example now before 
 us in which each superimposed story is just two feet less in height than the one next 
 below. This system reduces the superimposed stories so fast that the fourth- story 
 windows appear to be almost square. 
 
20 
 
ARCHITECTURAL PROPORTION. 
 
 21 
 
 It must be remembered that feet and inches are not the units of measure in archi- 
 tecture, and that all heights and widths should first be found in diameters and minutes, 
 and the height of superimposed stories by the multiplication or division of the unit of 
 measure used for the first story. After a measure has been determined in the proper way, 
 it may be reduced to feet or inches, and used as such, but not before, without confusion. 
 
 The system which we here introduce for finding the height of superimposed stories 
 is to make the unit of measure used for the second story equal seven-eighths of the unit used 
 for the first story; and the unit for the third story to equal seven-eighths of the unit of the 
 second; the unit for the fourth story seven-eighths of the unit of the third; and so on 
 through all of the stories. Then the proportion is: As the height of the first is to the 
 height of the second, so is the height of the third to the height of the fourth. Each hori- 
 zontal space of dead wall between the openings is diminished in the same ratio; also the 
 height of each superimposed opening and the finish thereof, and the height of all 
 interior story finish. 
 
 In Plate X an outline sketch of the standard of proportion is shown in each story. 
 As the first story is 15 feet G inches clear — the whole height" of the standard of 
 proportion — the diameter for that story is one foot, and the unit of measure is nra inches. 
 We will give one series of explanations, and show the application of the rules to each 
 story and the finish thereof. (See Rules VI, VII, VIII.) For the base of the first story, 
 we multiply the unit of the measure by the number of minutes contained in the height 
 of the pedestal base of the standard of proportion (see Rule IX), .20X50 = 10 inches for 
 the height of the room b ase, including the mould. Rule X — .20X33 — Gi'i/V inches for 
 the base plinth, leaving 3i 4 A inches for the height of the moulded part. Rule XI — 
 .20X30=6 inches for the height of the window-stool and sill. Rule XII— 12X10=120 
 inches, or 10 feet, for the height of the interior window architrave, or the distance 
 from the top of the window-stool to the soffit above the window. Rule XIII — .20X45= 
 9 inches, for the width of the window architrave. Rule XIV — .20X80=10 inches, for 
 the height and projection of the stucco cornice in the first story. Rule XV gives iVW 
 inches for the unit of measure for the second story. Rule XVI — .175X60=10iV°<r inches 
 for the diameter. Rule XVII— 10.50X"! 5| = 13 feet CW inches for the clear height of 
 the second story. Again applying the rules for finding the height and width of the 
 story finish, we get 8i 7 „V inches for the height of the room-base in the second story, for 
 the window-stool and sill, orA inches, window architrave, 8 feet 9 inches in height, and 
 7iVo inches in width, and 1 foot 2 inches for the height and projection of the stucco 
 cornice. After reducing iVu'V inches in accordance with Rule XV, we get iWu inches for 
 
zz 
 
ARCHITECTURAL PROPORTION. 
 
 23 
 
 the unit of measure. inches for the diameter, and 1 I feet lOiav inches for the clear 
 
 height of the third story. Applying the rules as before, the height of the room base 
 is 7/W inches, window-stool and sill, 4i'V l o inches, window architrave, 7 feet 7i 8 o°o inches in 
 height, and 6itot inches in width, and the height and projection of the stucco cornice for 
 the third story 12 nfo inches. For the fourth story the unit is nn/u inches, diameter Svh 
 inches, and the clear height 10 feet 4r,A inches. Height of base, 61V0 inches, window- 
 stool and sill, 4i°o 2 o inches, length or height of window architrave, G feet 8iW inches, and 
 width Gi'o'V inches, height and projection of the stucco cornice in the fourth story, 
 IOiVtt inches. 
 
 The depth of the beams including floor and plaster, is equal to 80 units of the story 
 below them, but their depth will, of course, always depend upon the width of the span, 
 and the safe load they are intended to carry. The interior elevation of each story 
 presents the outline of a complete Order, as shown in the following comparative table: 
 
 COLUMX. Parts. STORY. Fasts. 
 
 Height of Pedestal Base 50 Height of Room Base 50 
 
 " " . " Die 85 " " " Die 85 
 
 " " " Cornice 30 " " Window-Stool, 30 
 
 " " Shaft, 10 dia. " » Window Casing, 10 dia. 
 
 " " Architrave, 45 " " Window Architrave, 45 
 
 : ' " Frieze 40 " " Frieze 40 
 
 " " Cornice 80 " " Stucco Cornice 80 
 
 Whole height, 15^ dia. Whole height, 15^ dia. 
 
 Many devices have been resorted to by authors for finding the height of entablatures 
 or cornices which are elevated above their standard of proportion, but all are more or less 
 complicated; and a great many of them amount to nothing more than an intelligent 
 guess. The system which we will now introduce is very simple and probably has as 
 many claims to excellence as the best that are in use. 
 
 The lowest line of the entablatur e on the standard of proportion which we have 
 introduced for this work is 12 feet 9 inches above the floor line. Up to that eleva- 
 tion the height of portico or wall entablatures is found by dividing the distance they 
 are elevated above the floor line by 12£— the number of diameters contained in the com- 
 bined height of the pedestal and shaft; and then by multiplying the quotient by 2| — the 
 number of diameters contained in the height of the entablature. 
 
 By referring to the tables where ,'„"„ inches is the unit of measure, it will be seen 
 
24 
 
ARCHITECTURAL PROPORTION. 
 
 25 
 
 that the distance from the floor line to the entablature is 12 feet li'Vo inches, or 7 1 (j I o 
 inches less than the height just given from the standard of proportion. Then, as the 
 addition of tso inches to the unit of measure increases the combined height of the 
 pedestal and shaft, Ti'oV inches, it seems that the most reasonable way to reduce entab- 
 latures below what an Order would make them, if continued to an indefinite height, 
 would be to increase the distance between the minutes, that is, make the distance 
 between tVo inches and xW inches a little more than Tt'o'u inches — the distance between 
 tuts inches and j °u inches; and continue that increase in regular ratios indefinitely. 
 
 The following table gives the proper elevation at which the different units from tsjs 
 inches to toV inches are used; also the height of the entablature at each point or eleva- 
 tion, and the projection from the face of the frieze. This table was calculated in the 
 manner above explained, and we leave it to others in practice to make the distance 
 between the points where the different units are used greater or less, as the style of 
 their work requires. 
 
ARCHITECTURAL PROPORTION. 
 
 27 
 
 TABLE SHOWING THE HEIGHT AND PROJECTION OF ENTABLATURES WHICH ARE 
 ELEVATED ABOVE THE STANDARD OF PROPORTION. 
 
 CD 
 > 
 
 
 
 a © 
 
 > 
 
 h 
 
 
 
 tion abo 
 or Line. 
 
 DO 
 
 se 
 l3 
 M 
 
 o g 
 
 .SP ^ 
 5 j* 
 
 ction fro 
 of Friez 
 
 tion abo 
 or Line. 
 
 BD 
 
 <« £ 
 
 O g 
 "to ^~ 
 
 p S 
 
 £i .« 
 o ^ 
 
 a o 
 
 o 
 
 W s 
 
 
 03 jo 
 
 "o 
 
 W a 
 
 
 w 
 
 'c 
 P 
 
 w 
 
 Ph £ 
 
 3 
 
 
 
 
 13:4.70 
 
 
 o- 1 n ak 
 
 1:4.80 
 
 27:7.50 
 
 .Of 
 
 K. 1 A£ 
 
 o: 1.U5 
 
 O. rt cm 
 
 z: o.bU 
 
 14:0.50 
 
 oo 
 .22 
 
 o. U.oU 
 
 1:5.60 
 
 28:11.70 
 
 QQ 
 .OO 
 
 5: Z. /U 
 
 I. U.4U 
 
 14:8.45 
 
 
 o. i.yo 
 
 1:6.40 
 
 30:4.85 
 
 QQ 
 
 .oU 
 
 y: 4.oo 
 
 O. 7 OA 
 
 z: / .ZU 
 
 ±o.t .UU 
 
 O f 
 
 o. O.UU 
 
 1 . 1 OA 
 
 01.11 flA 
 
 61: 11. UO 
 
 /i a 
 .4U 
 
 k. f 1 aa 
 o: U.UU 
 
 0. Q AA 
 
 1. O.UU 
 
 16:1.00 
 
 
 <J. O. ZO 
 
 1:8.00 
 
 33:6.20 
 
 .41 
 
 o: <.65 
 
 O. Q QA 
 
 /: o.oU 
 
 16:9.70 
 
 .26 
 
 3:6.90 
 
 1:8.80 
 
 35:2.50 
 
 .42 
 
 5:9.30 
 
 2:9.60 
 
 17:6.75 
 
 .27 
 
 3:8.55 
 
 1:9.60 
 
 36:11.95 
 
 .43 
 
 5:10.95 
 
 2:10.40 
 
 18:4.20 
 
 .28 
 
 3:10.20 
 
 1:10.40 
 
 38:10.60 
 
 .44 
 
 6:0.60 
 
 2:11.20 
 
 19:2.10 
 
 .29 
 
 3:11:85 
 
 1:11.20 
 
 40:10.50 
 
 .45 
 
 6:2.25 
 
 3:0.00 
 
 20:0.50 
 
 .30 
 
 4:1.50 
 
 2:0.00 
 
 42 :11.70 
 
 .46 
 
 6:3.90 
 
 3:0.80 
 
 20:1.1.45 
 
 .31 
 
 4:3.15 
 
 • 2:0.80 
 
 45:2.25 
 
 .47 
 
 6:5.55 
 
 3:1.60 
 
 21:11.00 
 
 .32 
 
 4:4-80 
 
 2:1.60 
 
 47:6.20 
 
 .48 
 
 6:7.20 
 
 3:2.40 
 
 22:11.20 
 
 .33 
 
 4:6.45 
 
 2:2.40 
 
 49:11.60 
 
 .49 
 
 6:8.85 
 
 3:3.20 
 
 24:0.10 
 
 .34 
 
 4:8.10 
 
 2:3.20 
 
 52:6.50 
 
 .50 
 
 6:10.50 
 
 3:4.00 
 
 25:1.75 
 
 .35 
 
 4:9.75 
 
 2: 4 .00 
 
 55:2.95 
 
 .51 
 
 7:0.15 
 
 3:4.80 
 
 26:4.20 
 
 .36 
 
 4:11.40 
 
 2:4.80 
 
 58:1.00 
 
 .52 
 
 7:1.80 
 
 3:5.60 
 
ARCHITECTURAL PROPORTION. 
 
 28 
 
 RULES. 
 
 Rule I. — To find the height of foundation for a one-story isolated building: divide 
 the clear height of the story into 10 diameters, and make the height of the foundation to 
 the floor line equal 2f diameters. 
 
 Rule II. — To find the distance from the ceiling line of a one-stoiw building to the 
 lowest line of the eaves: divide the clear height of the story into 10 diameters, and 
 make the distance from the ceiling line to the eaves equal 2f diameters. 
 
 Rule III. — To find the height and projection of the cornice for a one-story building: 
 divide the clear height of the story into 10 diameters, and make the height and pro- 
 jection of the cornice equal 1^ diameters, or 80 minutes. 
 
 Rule IV.— To find the height of the stone base for a foundation: divide one 
 diameter into GO minutes, and make the height of the base equal 50 minutes. 
 
 Rule Y. — To find the height of the water-table: divide one diameter into CO minutes, 
 and make the height of the water table equal 30 minutes. 
 
 Rule VI. — To find the diameter of the shaft when the whole height of the column 
 (pedestal, shaft and entablature) is given: divide the height by 15^. 
 
 Rule VII. — To find the proper diameter of any story: divide the clear height of the 
 story by 1 5^. 
 
 Rule VIII. — To find the unit of measure for any story: divide the diameter by 60. 
 
 Rule IX. — To find the whole height of t lie room-base for any story: multiply the 
 unit of measure by 50. 
 
 Rule X. — To find the height of the plinth, or plain part of the room-base: multiply 
 the unit of measure by 33. 
 
 Rule XI. — To find the height of the window-stool, or sill, for an)' story: multiply 
 the unit of measure by 30. 
 
 Rule XII. — To find the height of the interior window casing or architrave for any 
 story: multipl} 7 the diameter of the story by 10. 
 
 Rule XIII.— To find the width of the window-architrave for any story: multiply 
 the unit of measure by 45. 
 
 4 
 
ARCHITECTURAL PROPORTION. 
 
 29 
 
 Rule XIV. — To find the height and projection of the stucco cornice for any story: 
 multiply the unit of measure by .80. 
 
 Rule XV. — To find the unit of measure for any superimposed story: take ^ of the 
 unit used for the story next below. 
 
 Rule XVI. — To find the diameter of any superimposed story: multiply the unit of 
 measure by 60. 
 
 Rule XVII. — To find the clear height of any superimposed story: multiply the 
 diameter by 15^. 
 
 Rule XVIII. — To find the width of any door or window architrave, or the diameter 
 of a post: divide the height into 10 diameters and make the width equal 45 minutes, 
 or | of one diameter. 
 
 Rule XIX. — To find the width of a pilaster: divide the height into 10 diameters, 
 and make the width equal 50 minutes, or £ of one diameter. 
 
 Rule XX. — To find the width of an}' single door or window: divide the height into 
 10 diameters, and make the width equal \\ diameters. 
 
ARCHITECTURAL PROPORTION. 
 
 30 
 
 TABLE OF COLUMN FINISH. 
 
 i 
 
 o 
 
 oc 
 3 
 hI 
 
 H 
 
 8 1 
 °» 
 
 * ~ 
 
 £ -5 
 
 5 
 
 55 
 =»- 
 c 
 
 <L 
 
 5 
 
 
 S. 
 
 C 
 
 c 
 'a 
 
 c 
 
 a 
 tr 
 
 X 
 
 n 
 
 
 
 QC 
 
 
 & 
 
 "tc 
 
 V 
 
 $ 
 
 k 
 
 o 
 m 
 
 Si 
 "t 
 
 K 
 
 Peclestiil Cornice. 
 
 S o*S • 
 
 £ « »2 
 <C ® a 3 
 
 83f! 
 5 ■- ~~. 
 
 J.-2 || 
 
 K a 
 W 
 
 
 
 Tc 
 
 a 
 "c 
 
 9 
 
 5: 00 
 
 G. 
 
 00 
 
 5. 
 
 00 
 
 7. 
 
 00 
 
 3. 
 
 60 
 
 1:4. 
 
 50 
 
 5 
 
 00 
 
 3 
 
 00 
 
 6:4.50 
 
 1:4 
 
 50 
 
 7:9.00 
 
 .100 
 
 5: . GO 
 
 6. 
 
 0G 
 
 5. 
 
 05 
 
 7. 
 
 07 
 
 3. 
 
 636 
 
 1:4.665 
 
 5. 
 
 05 
 
 3. 
 
 03 
 
 6: 5 . 265 
 
 1:4 
 
 665 
 
 7:9. 
 
 93 
 
 .101 
 
 5: 1 . 20 
 
 6. 
 
 12 
 
 5 
 
 10 
 
 7. 
 
 14 
 
 3. 
 
 672 
 
 1:4.83 
 
 5. 
 
 10 
 
 3. 
 
 06 
 
 6:6.03 
 
 1:4 
 
 83 
 
 7:10 86 
 
 102 
 
 5: 1 .80 
 
 6 
 
 18 
 
 5. 
 
 15 
 
 7. 
 
 21 
 
 3. 
 
 708 
 
 1:4.995 
 
 5. 
 
 15 
 
 3. 
 
 09 
 
 6:6.795 
 
 1:4 
 
 995 
 
 7:11 
 
 .79 
 
 .103 
 
 5: 2 . 40 
 
 6 
 
 24 
 
 5. 
 
 20 
 
 7. 
 
 28 
 
 3. 
 
 744 
 
 1: 5 . 
 
 16 
 
 5. 
 
 20 
 
 3 
 
 12 
 
 6: 7 56 
 
 1:5 
 
 16 
 
 8:0.72 
 
 .104 
 
 5: 3 . 00 
 
 6 
 
 30 
 
 5 . 
 
 25 
 
 7. 
 
 35 
 
 3. 
 
 78 
 
 1:5. 
 
 325 
 
 5. 
 
 25 
 
 3. 
 
 15 
 
 6:8.325 
 
 1:5 
 
 325 
 
 8:1. 
 
 65 
 
 .105 
 
 5: 3 . 00 
 
 6 
 
 36 
 
 5 
 
 30 
 
 7. 
 
 42 
 
 3. 
 
 816 
 
 1:5. 
 
 49 
 
 5. 
 
 30 
 
 3. 
 
 18 
 
 6:9.09 
 
 1:5 
 
 49 
 
 8:2. 
 
 58 
 
 .106 
 
 5: 4 . 20 
 
 6.42 
 
 5. 
 
 35 
 
 7. 
 
 49 
 
 3. 
 
 852 
 
 1:5 
 
 655 
 
 5 
 
 35 
 
 3. 
 
 21 
 
 6:9.855 
 
 1:5 
 
 655 
 
 8:3. 
 
 51 
 
 107 
 
 5: 4 . 80 
 
 6 
 
 48 
 
 5.40 
 
 7. 
 
 56 
 
 3. 
 
 888 
 
 1:5 
 
 82 
 
 5 
 
 40 
 
 Q 
 U . 
 
 24 
 
 6: 10.62 
 
 1:5 
 
 82 
 
 8:4 
 
 44 
 
 .108 
 
 5: 5 . 40 
 
 6 
 
 54 
 
 5 
 
 45 
 
 7. 
 
 63 
 
 3. 
 
 924 
 
 1:5.985 
 
 5.45 
 
 3. 
 
 27 
 
 6:11.385 
 
 1:5 
 
 985 
 
 8:5. 
 
 37 
 
 .109 
 
 5: (i . 00 
 
 6 
 
 GO 
 
 5 
 
 50 
 
 7 
 
 70 
 
 3 
 
 96 
 
 1:6 
 
 15 
 
 5. 
 
 50 
 
 3 
 
 30 
 
 7:0.15 
 
 1:6 
 
 15 
 
 8:6 
 
 30 
 
 .110 
 
 5: 6 . 60 
 
 G 
 
 66 
 
 5 
 
 55 
 
 7 
 
 77 
 
 3.996 
 
 1:6 
 
 315 
 
 5 55 
 
 3 
 
 33 
 
 7: . 915 
 
 1:6 
 
 315 
 
 8:7 
 
 23 
 
 111 
 
 5: 7 . 20 
 
 6 
 
 72 
 
 5 
 
 60 
 
 7 
 
 84 
 
 4.032 
 
 1:6.48 
 
 5 
 
 60 
 
 3 
 
 36 
 
 7.T.68 
 
 1:6 
 
 48 
 
 8:8 
 
 16 
 
 .112 
 
 5: 7 . 80 
 
 6 
 
 78 
 
 5 
 
 65 
 
 7 
 
 91 
 
 4.068 
 
 1:6 
 
 645 
 
 5 
 
 65 
 
 3 
 
 39 
 
 7:2.445 
 
 1:6 
 
 645 
 
 8:9 
 
 09 
 
 .113 
 
 5: 8 . 40 
 
 6 
 
 84 
 
 5 
 
 70 
 
 7 
 
 98 
 
 4 
 
 104 
 
 1:6 
 
 81 
 
 6 
 
 70 
 
 3.42 
 
 7:3.21 
 
 1:6 
 
 81 
 
 8:10.02 
 
 114 
 
 o» V . \J\J 
 
 G 
 
 .90 
 
 5 
 
 75 
 
 8.05 
 
 4 
 
 14 
 
 1:6 
 
 975 
 
 5 
 
 75 
 
 3 
 
 45 
 
 7-3 07 R 
 
 1:6 
 
 .975 
 
 8:10.95 
 
 11 R 
 
 5:9. GO 
 
 G 
 
 .96 
 
 5 
 
 80 
 
 8 
 
 12 
 
 4 
 
 176 
 
 1:7 
 
 14 
 
 5 
 
 80 
 
 3 
 
 48 
 
 7:4.74 
 
 1:7 
 
 14 
 
 8:11.88 
 
 .116 
 
 5:10.20 
 
 7 
 
 02 
 
 5 
 
 85 
 
 8 
 
 19 
 
 4.212 
 
 1:7 
 
 305 
 
 5 
 
 85 
 
 3 
 
 51 
 
 7: 5 . 505 
 
 1:7 
 
 .305 
 
 9:0 
 
 81 
 
 .117 
 
 5:10.80 
 
 7 
 
 .08 
 
 5 
 
 90 
 
 8 
 
 26 
 
 4.248 
 
 1:7 
 
 .47 
 
 5 
 
 90 
 
 3 
 
 54 
 
 7:6.27 
 
 1:7 
 
 .47 
 
 9:1 
 
 74 
 
 .118 
 
 5:11.40 
 
 7 
 
 14 
 
 5 
 
 95 
 
 8 
 
 33 
 
 4.284 
 
 1:7 
 
 .625 
 
 5 
 
 .95 
 
 o 
 o 
 
 57 
 
 7:7 025 
 
 1:7 
 
 .625 
 
 9:2 
 
 67 
 
 .119 
 
 G:0.00 
 
 7 
 
 .20 
 
 6 
 
 00 
 
 8 
 
 40 
 
 4.32 
 
 1:7 
 
 .80 
 
 6 
 
 .00 
 
 3 
 
 GO 
 
 7:7.80 
 
 1:7 
 
 .80 jj 
 
 9:3 
 
 60 
 
 120 
 
 G:0.00 
 
 7 
 
 .26 
 
 6 
 
 05 
 
 8 
 
 47 
 
 4 356 
 
 1:7 
 
 .965 
 
 6 
 
 .05 
 
 3 
 
 .63 
 
 7:8.565 
 
 1:7 
 
 965 
 
 9:4.53 
 
 .121 
 
 6:1 20 
 
 7 
 
 .32 
 
 6 
 
 .10 
 
 8 
 
 .54 
 
 4.392 
 
 1:8 
 
 .13 
 
 6 
 
 10 
 
 3 
 
 .06 
 
 7:9.33 
 
 1:8 
 
 .13 
 
 9:5.46 
 
 . 122 
 
 6:1.80 
 
 7 
 
 .38 
 
 6 
 
 .15 
 
 8 
 
 .61 
 
 4.428 
 
 1:8 
 
 .295 
 
 6 
 
 15 
 
 o 
 o 
 
 .69 
 
 7:10.095 
 
 1:8 
 
 .295 
 
 9:6 
 
 .39 
 
 .123 
 
 6: 2 . 40 
 
 7 
 
 .44 
 
 6 
 
 .20 
 
 8 
 
 .68 
 
 4.4G4 
 
 1:8 
 
 .46 
 
 6 
 
 20 
 
 3 
 
 .72 
 
 7:10.86 
 
 1:8 
 
 .46 
 
 9:7 
 
 32- 
 
 124 
 
ARCHITECTURAL PROPORTION. 
 
 31 
 
 TABLE OF COLUMX FINISH.— Continued. 
 
 ^3 ■ 
 
 si 
 
 02 . 
 
 C O 
 
 3 
 
 7.50 
 7.56 
 7.62 
 7.68 
 7.74 
 7.80 
 7.86 
 
 7 92 
 7.98 
 8.04 
 8.10 
 8.16 
 8.22 
 8.28 
 8.34 
 8.40 
 8.4(5 
 8.52 
 8.58 
 8.64 
 8.70 
 8.76 
 8.82 
 8.88 
 
 8 94 
 9.00 
 9.06 
 9.12 
 !). 18 
 
 6.25 
 6.30 
 6.35 
 6 40 
 6.45 
 6.50 
 6.55 
 6.60 
 6.65 
 . 70 
 75 
 6 80 
 
 6 85 
 6.90 
 6 . 95 
 7.00 
 
 7 05 
 7.10 
 7 15 
 7 20 
 7 25 
 7 . 30 
 7 . 35 
 7.40 
 7 45 
 7.50 
 7.55 
 7.60 
 7.65 
 
 8.75 
 8.82 
 8.89 
 8.06 
 9.03 
 9.10 
 9.17 
 9 24 
 9.31 
 9.38 
 9.45 
 9.52 
 9 . 59 
 9.61) 
 9 . 73 
 9.80 
 9.87 
 9 94 
 10 . 01 
 10 08 
 10 15 
 10.22 
 10 29 
 10 36 
 10.43 
 10.50 
 10 . 57 
 10 04 
 10 71 
 
 4.50 
 
 4 536 
 4.576 
 4.608 
 4.644 
 4.68 
 4.710 
 4.752 
 4.788 
 4.824 
 4.86 
 4.896 
 4.932 
 4.968 
 5.001 
 5.04 
 
 5 076 
 5.112 
 5 . 148 
 5 ISt 
 5 22 
 5 256 
 5 292 
 5 . 328 
 5.364 
 5.40 
 5.436 
 5.472 
 5 508 
 
 a. 'ji 
 
 x4 
 
 1:8 625 
 
 1:8 79 
 
 1: 8 . 955 
 
 1:9.12 
 
 1:9.285 
 
 1:9.45 
 
 1:9.615 
 
 1:9.78 
 
 1:9.945 
 
 1:10.11 
 
 1:10 275 
 
 1:10 44 
 
 1:10 605 
 
 1:10.77 
 
 1:10.935 
 
 1: 11 10 
 
 1:11.265 
 
 1:11.43 
 
 1:11.595 
 
 1:11.76 
 
 1:11.925 
 
 2:0.00 
 
 2:0.255 
 
 2:0.42 
 
 2:0 585 
 
 2:0.75 
 
 2: 0.915 
 
 2:1 08 
 
 2:1 215 
 
 6.25 
 6.30 
 6.35 
 6.40 
 6 45 
 6.50 
 6.55 
 6.60 
 6.65 
 6.70 
 6.75 
 6.80 
 6.85 
 6 90 
 
 6 95 
 
 7 00 
 7.05 
 7 10 
 7.15 
 7 20 
 7.25 
 7 30 
 7.35 
 7 40 
 7 45 
 7 50 
 7 55 
 7.60 
 7 05 
 
 3.75 
 3.78 
 3.81 
 3.84 
 3.87 
 3.90 
 3.93 
 3.96 
 
 3 99 
 
 4 02 
 4.05 
 4.08 
 4. 11 
 4 14 
 4.17 
 4.20 
 4 23 
 4.26 
 4 20 
 4 32 
 4.35 
 4 38 
 4.41 
 4 44 
 4 47 
 4.50 
 4.53 
 4.56 
 4.59 
 
 c o o • 
 c - . 
 
 o ^ 
 
 2 a ? 
 
 C 3 
 
 z IC 
 
 1 'f- z~ 
 
 7:11 625 
 8:0.39 
 8:1.155 
 8:1.92 
 8:2 685 
 8:3.45 
 8:4.215 
 8:4 98 
 8:5.745 
 8:6 51 
 8:7.275 
 8: 8 . 04 
 8:8 805 
 8:9 57 
 8:10 335 
 S: 11 . 10 
 S: 11 865 
 9:0 63 
 9:1.395 
 9:2 16 
 9:2.925 
 9: 3 . 69 
 9:4 455 
 9:5.22 
 9:5.985 
 9:6 75 
 9:7.515 
 9:8 28 
 9:9.045 
 
 5£ 
 
 W 3 
 
 1:8.625 
 1:8.79 
 1:8.955 
 1:9.12 
 1:9 285 
 1:9 45 
 1:9.615 
 1:9.78 
 1:9.945 
 1:10 11 
 1:10 27 5 
 1: 10.44 
 1:10. ()i)5 
 1:10.7/ 
 1:10 935 
 1:11.10 
 1:11.265 
 1:11 43 
 1:11.595 
 1:11 70 
 1:11.925 
 2:0 09 
 2:0 255 
 2:0 42 
 2:0 585 
 2:0 75 
 2:0 015 
 2:1.08 
 2:1.245 
 
 &% be 
 
 g %z 
 
 9:8 25 
 
 9:9.18 
 
 9:10.11 
 
 9:11.04 
 
 9:11 97 
 
 10:0.90 
 
 10:1.83 
 
 10:2.76 
 
 10:3.69 
 
 10: 1.62 
 
 10: 5 55 
 
 10:6 48 
 
 10:7.41 
 
 10:8 34 
 
 10:9.27 
 
 10:10.20 
 
 10:11 13 
 
 11:0.06 
 
 11:0.99 
 
 11:1. 92 
 
 11:2.85 
 
 11:3 78 
 
 11:4 71 
 
 11:5.64 
 
 11:6.57 
 
 11:7.50 
 
 11:8.43 
 
 11:9.36 
 
 11:10.29 
 
 7. 
 
ARCHITECTURAL PROPORTION. 
 
 32 
 
 TABLE OF COLUMN FINISH. — Continued. 
 
 Length of Shaft. 
 
 Diameter of Shaft 
 above Base 
 
 Diameter of Shaft 
 at Neck 
 
 Height of Capital 
 
 Height of Shaft 
 Base 
 
 Whole height of 
 Pedestal. 
 
 Height of 
 Pedestal Base. 
 
 Height of 
 Pedestal Cornice. 
 
 Distance from 
 Floor Line to 
 
 Lowrst Line (it 
 
 Entablature. 
 
 Height of 
 Entablature. 
 
 Whole height of 
 Column. 
 
 One Minute. 
 
 7:8.40 
 
 9.24 
 
 7.70 
 
 10.78 
 
 5.541 
 
 2:1.41 
 
 7.70 
 
 4.62 
 
 9:9.81 
 
 2:1.41 
 
 11: 11 . 22 
 
 .154 
 
 7:9.00 
 
 9 30 
 
 7.75 
 
 10.85 
 
 5.58 
 
 2: 1 . 575 
 
 7.75 
 
 4.65 
 
 9: 10.575 
 
 2: 1 . 575 
 
 12:0.15 
 
 . 155 
 
 7: 9 . 60 
 
 9.36 
 
 7.80 
 
 10.92 
 
 5.616 
 
 2:1.740 
 
 7.80 
 
 4 68 
 
 9: 11 . 34 
 
 2: 1 . 740 
 
 12:1 08 
 
 .156 
 
 7: 10 . 20 
 
 9.42 
 
 7.85 
 
 10 99 
 
 5.652 
 
 2: 1 . 905 
 
 7.85 
 
 4.71 
 
 10:0.105 
 
 2:1.905 
 
 12:2.01 
 
 157 
 
 7: 10.80 
 
 9.48 
 
 7.90 
 
 11.06 
 
 5.688 
 
 •2:2.07 
 
 7.90 
 
 4.74 
 
 10:0.87 
 
 2:2.07 
 
 12:2.94 
 
 .158 
 
 7:11 .40 
 
 9.54 
 
 7.95 
 
 11 . 13 
 
 5.724 
 
 2: 2 . 235 
 
 7.95 
 
 4.77 
 
 10:1.635 
 
 2:2.235 
 
 12:3.87 
 
 .159 
 
 8: . 00 
 
 9.60 
 
 8 00 
 
 11.20 
 
 5.76 
 
 2: 2 . 40 
 
 8.00 
 
 4.80 
 
 10:2.40 
 
 2:2.40 
 
 12:4.80 
 
 .100 
 
 8: . 60 
 
 9.66 
 
 8 05 
 
 11.27 
 
 5.796 
 
 2:2.565 
 
 8.50 
 
 4.83 
 
 10:3.165 
 
 2:2.565 
 
 12:5.73 
 
 161 
 
 8: 1 . 20 
 
 9 72 
 
 8.10 
 
 11.34 
 
 5.832 
 
 2:2.73 
 
 8.10 
 
 4.86 
 
 10:3.93 
 
 2:2.73 
 
 12:6.66 
 
 .162 
 
 8: 1 . 80 
 
 9.78 
 
 8.15 
 
 11.41 
 
 5.868 
 
 2:2.895 
 
 8.15 
 
 4.89 
 
 10:4.695 
 
 2:2.895 
 
 12:7.59 
 
 .163 
 
 8: 2 . 40 
 
 9.84 
 
 8.20 
 
 11.48 
 
 5.904 
 
 2:3.06 
 
 8.20 
 
 4 92 
 
 10:5.46 
 
 2:3.06 
 
 12:8.52 
 
 .164 
 
 8: 3 . 00 
 
 9.90 
 
 8.25 
 
 11.55 
 
 5.94 
 
 23.225 
 
 8.25 
 
 4.95 
 
 10:6.225 
 
 2:3.225 
 
 12:9.45 
 
 .165 
 
 8: 3 . 60 
 
 9.96 
 
 8.30 
 
 11.62 
 
 5.976 
 
 2: 3 . 39 
 
 8.30 
 
 4.98 
 
 10:0.99 
 
 2:3.39 
 
 12: 10.38 
 
 .166 
 
 8:4.20 
 
 10.02 
 
 8.35 
 
 11.69 
 
 6.012 
 
 2:3.555 
 
 8.35 
 
 5.01 
 
 10:7.755 
 
 2:3.555 
 
 12:11.31 
 
 .167 
 
 8: 4 . 80 
 
 10.08 
 
 8.40 
 
 11.76 
 
 6 048 
 
 2:3.72 
 
 8 40 
 
 5 04 
 
 10:8.52 
 
 2:3.72 
 
 13:0.24 
 
 .168 
 
 8: 5 . 40 
 
 10.14 
 
 8 . 45 
 
 11.83 
 
 6.084 
 
 2:3.885 
 
 8.45 
 
 5.07 
 
 10:9 285 
 
 2:3.885 
 
 13: 1 . 17 
 
 .169 
 
 8: 6 . 00 
 
 10.20 
 
 8.50 
 
 11.9(1 
 
 6.12 
 
 2:4 05 
 
 8.50 
 
 5 10 
 
 10:10.05 
 
 2:4.05 
 
 13:2.10 
 
 .170 
 
 8: 6 . 60 
 
 10.26 
 
 8.55 
 
 11 . 97 
 
 6.156 
 
 2:4.215 
 
 8.55 
 
 5.13 
 
 10:10.815 
 
 2:4.215 
 
 13:3.03 
 
 .171 
 
 8: 7 . 20 
 
 10 . 32 
 
 8.60 
 
 12.04 
 
 6 192 
 
 2:4.38 
 
 8.60 
 
 5.16 
 
 10:11.58 
 
 2:4.38 
 
 13:3.98 
 
 .172 
 
 8:7.80 
 
 10.38 
 
 8 65 
 
 12.11 
 
 6.228 
 
 2:4.545 
 
 8.65 
 
 5.19 
 
 11:0.345 
 
 2:4.545 
 
 13:4.89 
 
 .173 
 
 8:8.40 
 
 10.44 
 
 8.70 
 
 12.18 
 
 6 . 264 
 
 2:4.71 
 
 8.70 
 
 5.22 
 
 11:1 11 
 
 2:4 71 
 
 13:5.82 
 
 .174 
 
 8:9.00 
 
 10.50 
 
 8.75 
 
 12.25 
 
 6.30 
 
 2:4.875 
 
 8 75 
 
 5.25 
 
 11:1.875 
 
 2:4.875 
 
 13:6.75 
 
 .175 
 
 8:9.60 
 
 10.56 
 
 8.80 
 
 12.32 
 
 6.336 
 
 2:5.04 
 
 8.80 
 
 5 28 
 
 11:2.64 
 
 2:5.04 
 
 13:7.68 
 
 .176 
 
 8:10.20 
 
 10.62 
 
 8 85 
 
 12.39 
 
 6 372 
 
 2:5.205 
 
 8.85 
 
 5.31 
 
 11:3.405 
 
 2:5.205 
 
 13:8.61 
 
 .177 
 
 8:10.80 
 
 10.68 
 
 8.90 
 
 12.46 
 
 6.408 
 
 2:5.37' 
 
 8.90 
 
 5 34 
 
 11:4 17 
 
 2:5.37 
 
 13:9.54 
 
 .178 
 
 8:11.40 
 
 10.74 
 
 8.95 
 
 12.53 
 
 0.444 
 
 2:5.535 
 
 8.95 
 
 5.37 
 
 11:4.935 
 
 2:5.535 
 
 13:10.47 
 
 .179 
 
 9:0.00 
 
 10 80 
 
 9.00 
 
 12.60 
 
 6.48 
 
 2:5.70 
 
 9 00 
 
 5.40 
 
 11:5.70 
 
 2:5.70 
 
 13:11.40 
 
 .180 
 
 9:0.60 
 
 10.86 
 
 9.05 
 
 12.67 
 
 6.516 
 
 2:5.865 
 
 9.05 
 
 5.43 
 
 11:6.465 
 
 2:5.865 
 
 14:0.33 
 
 181 
 
 9: 1 . 20 
 
 10.92 
 
 9.10 
 
 12.74 
 
 6.552 
 
 2:6.03 
 
 9.10 
 
 5.46 
 
 11:7 23 
 
 2: 6.0:; 
 
 14:1.26 
 
 .182 
 
 Length of Interior 
 Window Casing. 
 
 
 
 
 
 Distance from 
 Floor Line to 
 Top of Window- 
 Stool. 
 
 Height of Room 
 Base or Skirting. 
 
 Height of 
 Window- Stool 
 or Sill. 
 
 Height of 
 Exterior Doors. 
 
 Distance from 
 Window Si >ftit to 
 Ceiling. 
 
 Clear height of 
 Story. 
 
 
ARCHITECTURAL PROPORTION. 
 
 33 
 
 TABLE OF COLUMN PIXISH.— Continued. 
 
 .3 
 
 til 
 
 M 
 
 h) 
 
 J5 ■ 
 
 i % 
 
 i ° 
 
 i. 
 
 a 
 
 5 d 
 
 5 
 
 c o 
 3 >5 
 
 5 
 
 Tr. 
 
 w 
 
 02 . 
 
 c 30 
 
 33 
 
 ■JL. 
 
 W 
 
 3 
 A r-J 
 
 T i 
 ^ u 
 
 <u 
 
 li 
 
 o 
 
 ° 3 
 
 'a) .5 
 — /. 
 
 HH 
 
 0) 
 
 p-l 
 
 5 o °3 ■ 
 3 — . ? 
 
 8333 
 
 tc 5 2 = 
 
 o 
 
 o 
 
 oc a 
 - — 
 
 s 
 
 a 
 
 O 
 Q 
 
 9:1 80 
 
 10 
 
 98 
 
 9 
 
 15 
 
 12 
 
 81 
 
 6 
 
 .588 
 
 2: 6 . 195 
 
 9.15 
 
 5.49 
 
 11:7.995 
 
 2: 6 . 195 
 
 14:2 19 
 
 .183 
 
 9: '2 40 
 
 11 
 
 04 
 
 9 
 
 20 
 
 12 
 
 88 
 
 6 
 
 624 
 
 2:6 .36 . 
 
 9 20 
 
 5.52 
 
 11:8.76 
 
 2:6.36 
 
 14:3.12 
 
 .184 
 
 9:3 00 
 
 11 
 
 10 
 
 9 
 
 25 
 
 12 
 
 95 
 
 6 
 
 .66 
 
 2: 6 . 525 
 
 9.25 
 
 5 55 
 
 11:9.525 
 
 2:6.525 
 
 14:4.05 
 
 .185 
 
 9: 3 . GO 
 
 11 
 
 16 
 
 9 
 
 30 
 
 13 
 
 02 
 
 6 
 
 .696 
 
 2:6 69 
 
 9.30 
 
 5.58 
 
 11:10.29 
 
 2:6.69 
 
 14:4.98 
 
 .186 
 
 9:4.20 
 
 11 
 
 22 
 
 9 
 
 35 
 
 13 
 
 09 
 
 6 
 
 .732 
 
 2:6.855 
 
 9.35 
 
 5.61 
 
 11:11.0.55 
 
 2:6.855 
 
 14:5.91 
 
 .187 
 
 9:4.80 
 
 11 
 
 28 
 
 9. 
 
 40 
 
 13 
 
 10 
 
 6 
 
 .768 
 
 2:7.02 
 
 9.40 
 
 5.64 
 
 11:11.82 
 
 2:7.02 
 
 14:6.84 
 
 .188 
 
 9:5.40 
 
 11 
 
 34 
 
 9 
 
 45 
 
 13 
 
 23 
 
 6 
 
 .804 
 
 2:7.185 
 
 9.45 
 
 5.67 
 
 12:0.585 
 
 2:7.185 
 
 14:7.77 
 
 .189 
 
 . 9:6.00 
 
 li 
 
 40 
 
 9. 
 
 50 
 
 13 
 
 30 
 
 6 
 
 .84 
 
 2: 7 . 35 
 
 9.50 
 
 5.70 
 
 12:1.35 
 
 2: 7 . 35 
 
 14:8.70 
 
 .190 
 
 9: G . 60 
 
 11 
 
 A IX 
 
 41 ) 
 
 
 
 Id 
 
 '-!7 
 
 /? 
 u 
 
 .0(0 
 
 2:7.515 
 
 9.55 
 
 5.73 
 
 12:2 115 
 
 2:7.515 
 
 14:9.63 
 
 .191 
 
 9: 7 . 20 
 
 11 
 
 52 
 
 9 
 
 60 
 
 13 
 
 44 
 
 6 
 
 .912 
 
 2:7.68 
 
 9.60 
 
 5.76 
 
 12:2.88 
 
 2:7.68 
 
 14:10 56 
 
 .192 
 
 9:7.80 
 
 11 
 
 58 
 
 9. 
 
 65 
 
 13 
 
 51 
 
 G 
 
 .948 
 
 2:7.845 
 
 9.65 
 
 5.79 
 
 12:3.645 
 
 2:7.845 
 
 14:11 49 
 
 .193 
 
 9:8 40 
 
 11 
 
 04 
 
 9. 
 
 70 
 
 13 
 
 58 
 
 6 
 
 .984 
 
 2: 8 . 01 
 
 9.70 
 
 5 82 
 
 12:4.41 
 
 2:8.01 
 
 15:0 42 
 
 .194 
 
 9:9 00 
 
 11 
 
 70 
 
 9. 
 
 75 
 
 13 
 
 65 
 
 7 
 
 02 
 
 2:8.175 
 
 9.75 
 
 5.85 
 
 12:5.175 
 
 2:8.175 
 
 15:1.35 
 
 .195 
 
 9: 9.60 
 
 11 
 
 76 
 
 9. 
 
 80 
 
 13 
 
 72 
 
 7 
 
 .056 
 
 2:8.34 
 
 9.80 
 
 5.88 
 
 12:5.94 
 
 2:8.34 
 
 15:2.28 
 
 .196 
 
 9:10.20 
 
 11 
 
 82 
 
 9 
 
 85 
 
 13 
 
 79 
 
 7 
 
 .092 
 
 2: 8 . 505 
 
 9.85 
 
 5.91 
 
 12:6 705 
 
 2:8.505 
 
 15:3.21 
 
 197 
 
 9:10.80 
 
 11 
 
 88 
 
 9. 
 
 90 
 
 13 
 
 86 
 
 7 
 
 .128 
 
 2:8.67 
 
 9 90 
 
 5.94 
 
 12:7.47 
 
 2:8 67 
 
 15:4 14 
 
 .198 
 
 9:11.40 
 
 11 
 
 94 
 
 9 
 
 95 
 
 13 
 
 93 
 
 7 
 
 1(14 
 
 2:8 835 
 
 9 95 
 
 5.97 
 
 12:8.235 
 
 2:8.835 
 
 15:5.07 
 
 .199 
 
 10:0.00 
 
 12 
 
 00 
 
 10 
 
 00 
 
 14 
 
 00 
 
 7 
 
 20 
 
 2*9 00 
 
 Zj. */ . \J\J 
 
 in oo 
 
 ±yj . yjKJ 
 
 
 1 9: <) 00 
 
 •>■') 00 
 
 1 (! 00 
 
 900 
 
 Length of Interior 
 Window Casing. 
 
 
 
 
 
 If J 
 £3? § 
 
 ~* c ^ 
 5So 
 
 3 so 
 o B 
 
 o X 
 
 3 3 
 
 'I £ 
 
 o 
 
 •H ~ 
 
 s i \ 
 
 w a : 
 
 DO 
 
 3 
 
 to s 
 
 o 
 
 O 60 
 
 s> r. a 
 *> . — 
 
 j{ 3 
 
 «*« 
 
 o 
 
 s . 
 
 - 7. 
 
 to 
 
 3 
 
 
 By a careful examination of the foregoing tables, any one at all familiar with design- 
 ing or building houses can correctly determine the proper height for the window and 
 exterior door openings, the height of the room base, window-stool, stucco cornices, etc. 
 for almost every height of story that could lie wanted. When the height of the story has 
 been determined, the exact size of the members of mouldings, etc., can be found by 
 simply multiplying the number of minutes contained in any given member by the unit of 
 measure, or minute given in the last column of figures opposite the clear height of the 
 story.