+ KIRKLEATHAM % •*■ + | LIBRARY. I •}- + ! No. , A. I 4- -h •4" '1* ++++ + * ++* + + **+*++* + **++* + ***-r 3 D Rules and Examples of PERSPECTIVE PROPER FOR Painters and./^. 1 cllltedSe, Jilt CtiglUl) anli Xante Lontai/uruj ainoft cafu and exp-editions , Uct/wa to DJB LINEATE ^PERSPECTIVE All DESIGNS relating; to ARCHITECTURE, AF l ER A NE W M ANNE R , Wholly free from the Confufion of Occult Lines: by that GREAT MAS TER thereof , ANDREA POZZ(W Engraven in 105 ampk folio Platep and adorn'd with a 00 Initial L. el tens to Hu E xp lana tan/ DifcoiojEWm 1 ed from Copper-Plates any hcftPaper Done into Englifh from the Original Printed at Rome 1693 tn Lat.and ltat. Bip IT John James of Greenwich . LONE) O N: PRINTED by Bcnj.Motte,MD CCTTI A old In/ John Atari in irirlotm-Lion-C oudl in PERSPECTIVA PICTO R UM ET ARCHITECTORUM, ANDREJP. PUTEI . E S 0 CIE TA TE J E S U. In cpia doeeturAIodus expediti limius Delineandi Optice omnia cpie pertinent ad Architedhiram. L O N D INI: Juxta Exemplar R O M Ai excufum, MD C XC HE fc.r Sculptura Joanms Sturl,cti uro. adornata: TYPIS Benj. Morte,MD CCVH. AV! 1 ’) I'! ?,H I' TO H er molt Sacred Majefty, OUEEN ANNE. « \Lu/ itpica fei/ourt: \lycjhj: HE Condefcenfion of the late Emperor of Germany to patronize this Work in the Original, could not have incited me to the Prefumption of laying the Tranflation at Your Royal Feet ; had not the Art oj Perspective, of which it treats, been fo nearly allyd A to DEDICATION. to the Nob/e Arts of Painting and Architecture. The Firll of thefe Your Majefly has been pleas d to honour, as well in exprejfing a Satisfaction with the Performances, as in extending Your Royal Munificence to that great Mailer thereof, Signor Verrio. And although Affairs of higher Confiequence have hitherto deferr d Your Majefly s Commands for Raifing WHITE-HALL from its Ruins ; yet has not Architecture been without Encouragement, under Your Majefty’s Moil Aufidam Reign: Witnefs the great Difpatch lately given to thofe Noble Fabricks of F PAUL s, Greenwich -Hojpital, and Blenheim. These feem to prefage, that a Time is coming, when, through the Bleffing of Peace, and the Happy Influence of Your Majefly s Government ; V/ HIT E-HALL fhall become a Structure worthy its Great Reftorer, and its Name as much Celebrated among Palaces, as Your Royal Vertucs are llluilriom among Princes: When Your Majeftys Subjects fhall exert t hemfeIves as much to their Country's Honour, in the Arts of Delign, and Civil Architecture ; as they have already done in the Art Military, and Perfonal Valour. P\el imina^t to fuch Happy Seafon, I prefume this Art of PerfpeCtive made Practicable, may not be improper ; being One of the moil Ufeful, though hitherto the moil Olfcure and Confus'd, of all the Lineary Arts. / there- I therefore, with all Submiffion, beg Leave to fupplicate Your Majefiys Pardon for this Addref, and Your Gracious Protection of this Specimen of Englifti Graving ; to which if Your Majefty vouchfafe Your Royal Patronage, it will effectually animate the future Endeavours of May it pleafe Your Majefty! Your Mofi Obedient Subject, *** * PREFACE TO THIS TRANSLATION. OTWITHSTANDING the Art of PERSPECTIVE mull be acknowledg’d fo highly and indifpenfably requifite in the Pra&ice of Painting, ArchiteBure , and Sculpture ; that in the Firft of thefe efpecially, nothing commendable can be perform’d without its Alfiftance : Yet fuch have been the Difficulties and Obfcurities met with in the firft Attempts, and fo great the Perplexity and Confufion of Lines in the Practice thereof; that the beft Inftrudtions, hitherto made Englijb, have invited very few to fuch a Profecution of this Study, as might render their Performances of this kind, truly valuable. “Tis fomething unaccountable, that, among fo many learned Perfons as have handled this Subject, Priefls , ArchiteBs, and Painters ; very few, if any of them, have given Diredtions proper for Ihunning that Diforder and Confufion of Lines, which, in moll Inftances, mull neceffarily attend the Execution of their Rules : In all or moft of which, the whole Space for the Performance is confin’d between the Lines of the Plan and Horizon ; which, where the Scale is finall, and the Height of the Eye not very much advanc’d, renders the Work exceedingly confus’d ; and where thofe Lines are coincident, (which frequently happens) the Method becomes utterly imprafticable. This Author’s great Experience in the Practice of PerJjoeBiye, having furnifh’d him with excellent RULES for Shortning the Work, and Obviating the foremention’d Difficulties; he has here very generoufly imparted them, and efpecially the latter, in the Tenth and Eleventh Figures. And tho’ on Perufal of the firft three or four Plates, this Method may poffibly feem the fame that fome others have before made ufe of; yet whoever fhall diligently obferve and copy the Rules and Examples of the fucceeding Figures, muft necelTarily acknowledge the great Advantage this has in a Perfpedtive-Plan and Upright, clear and diftindt ; whence the finifh’d Piece is deduc’d, without the leaft Incumbrance of the Work. The .Explanations of the Rules here given, are fhort and inftrudtive 5 and the Architedfonical Defigns produc’d to exemplify them, Noble and Magnificent. The Manner of Defigning, where the Perfpedtive is drawn on feveral Ranges of Frames one behind the other, and fuch Scenes of Theaters whofe Grooves lie oblique to the middle Line, is alfo here laid down : And by our Author’s Method, Horizontal PerfteBive, or that of Ceilings, is render’d lefs difficult than the Vertical, or that againft a an PREFACE. an upright Wall. Upon the whole, nothing feems wanting that may make a Work of this nature complete; unlefs what concerns Defigns which are either Circular, or abound with many Columns : For the Performance whereof, the Author, as he promifes in the Sixty-fifth Figure, has, in a SECOND Volume, given a Rule more proper for the purpofe ; which alfo may poffibly be made EngliJI) in due time, if this Part meet with Encouragement. What the Author once intended fhould make a Part of that Second Volume, he afterwards inferred in the Ninety-third and following Figures of this Book: In the lall of which, particular Notice fhould be taken of his Conclufion; That if Painters would not run into inextricable Errors , they ought as JlriSily to obferlsc the pities of Perfpettive, in defigning the Figures of Men and Animals ; as they do in painting; Columns , Cornices, or other 'Parts of Jr chi te Si ure. That none therefore be difcouragd in their firft Attempts, through the Brevity or Silence of our Author; fwho, writing in a Country where the Principles of this Art are more generally known than with Us, had no need to infift fo long on fome things, as mioht be thought ncceffary to 'Beginners) we (lull endeavour to fpeak as plainly as we can to a point or two, mod liable to be mifunderftood, or to prove a Stumbling-Block at the Entrance 5 and then add a Word of Advice to fuch as fliall attempt the putting thefe Rules in Execution. The Author, in both his Explanations of the firft Plate, has given fome Account of what he w-ould have his Reader underftand, by Defigning in 'PerjjieSli've ; and a right Conception of this point being of great Ufe to facilitate the Work, we thought it not improper, to defcribe fomething more particularly, what is meant by the Art BerJpeBive : but fhall at prefent (peak only of That, which, whether Vertical or Horizontal, is receiv’d on a Flat and Even Superficies ; This being of much the more general Ufe, and,- when rightly underftood, renders the Difficulties of the Circular or Irregular Surfaces, eafy and familiar. PERSPECTIVE is the Art of Delineating, on a flat Superficies, as a Wall, Ceiling, Canvas, Paper, or the like, the Appearances of Objedls, as feen from One determinate Point : For tho’ in Works of great Length, Two, Three, or more Points of Sight are fometimes made ufe of; yet fuch may more properly be faid to be Several Views conjoin’d, than One Piece of PerfpeCtive : Of which fee the Author’s Opinion, at the End of this Treatife. • In Perfpedtive, the Eye of the Beholder is efteem’d a Point, from whence Rays are fuppos’d to proceed to every Angle of the Objebt. The Wall or Canvas to be painted (which we fhall here call the SeStion) is imagin'd to intervene at right Angles to the Axis of the faid Rays, and, by diffedting them, to receive the Appearance of the Objebt, in greater or lefs Proportion, as the Sebtion is more or lefs remote from the Point of Sight. Our Author’s Rule is, That the Diftance of the Eye ought to be equal to the greateft Extent of the Object, whether in Length or Height: As, to view a Building that is a hundred PREFACE. hundred Foot long, and fifty high ; he would have the Diftance a hundred Foot : To view a Tower fixty Foot wide, and a hundred and fifty Foot high ; the Diftance fhould be a hundred and fifty Foot. This Diftance is not ftridly to be underftood of the Space between the Eye and the Objed, but of the Space between that and the Sedion, the Plan of which our Author calls the Line of the Plan, or Ground-line 5 for it’s often requifite, that the Sedion be plac’d at fome Diftance before the Object, on account of Projedures of Cornices, and other Parts of the Work that advance, as in the Eighth Figure. The Place of the Eye, with refped to its Height above the Ground, ouHit to be fuch, as is moft natural and agreeable to the Objed. Thus in ArchiteBure , the Bafements and inferior Parts of a Building are improper to be fet above the Eye, and their Cornices and Entablatures have but an ill Effed when below it. General Perlpedives indeed require the Sight to be taken at a Birds View ; and on other Occafions the Place of the Eye may be vary’d : but the beft and moft general Rule is, not to exceed five or fix Foot Height above the Ground. The Height of the Eye above the Ground, thro’ which a Line is drawn, call’d the horizontal Line, is fet on by the fame Scale of Proportion, as the Defign bears to the real Work ; and the Point of Sight fo plac’d therein, as may render the Objed moft agreeable. From the Point of Sight, either on one or both fides in the horizontal Line, you are to fet, by the fame Scale, the Diftance you ftand from the Sedion. And by means of thefe Points of Sight and Diftance, and the Meafures of the Parts brought on the Lines of the Plan and Elevation of the Sedion, by the fame Scale; all the Examples of this Volume are reduc’d into Perfpedive; as is manifeft on Infpedion of the Figures. What we would add, by way of Advice, is, I. Th at you very carefully obferve, what the Author underftands by 'Breadth, Length, and Height, in his Explanation of the Fifth Plate, before you proceed to pradife on any Figure 5 otherwife you’ll certainly mifunderftand him ; efpecially in the Third Figure. II. That the Rules of the Tenth and Eleventh Figures be particularly regarded, for avoiding Confufion in the Plans and Uprights. III. That from the Difpofition of the Perfpedive-Plans and Uprights, with refped to the finifh’d Pieces in the Twelfth and many following Figures, you would obferve, with what Difpatch the faid Pieces may, without the Help of Compafles, be delineated by your Drawing-Square ; viz,- the Perpendiculars from the Perfpedive-Plan, and the level Lines from the Perfpedive-Upright, or Sedion. I\'. That you would accuftom yourfelf in Works that have many Lines, to make the Perfpedive-Plans and Uprights for each Part diftind, fo as to prevent all Danger of Confuiion. Thus you may have one Plan and Upright for the Balement of a Building j and when that is drawn on your finifh’d Piece, remove them, and place thofe of the Body of the Houfe ; and when that’s complete, do fo by the Attic)See. always obferving fo to place the Plan below, and the Upright on one fide of your neat Draught, that PREFACE. that your Drawing-Square may command each of them; which will mightily fhorten your Work. V. Thai the Author’s Advice of taking the Figures in Courfe, be (briefly follow’d in the Pradtice; which will be a great means to render the Whole eafy and pleafant. This is the Sum of what we thought mod proper to advertife yon ; and have only this farther to requeft, That if any Miftakes may have efcap d the Prefs undifeoverd, n> we well hope there are few or none, you will favourably corredf and pardon them. MONITA Subscribers. a , , T His Grace the DUKE of S. ALBANS. U/Hio .. teres. “‘.apt* Batthecv x. idains. Itcn.. ildriehf) 1'). 1) ( .( . II/ Jofiph. lllcindUritingx II! l\ r li : v \I lUitio/uim/Eachcr of x Ua- thetnat. Chanel-Rcni • -11 e/bn / /ames. Inder/cn/il niter to Her » lia' Signet , /? C/ent. 0ifI a /ne,Efor ~ B , It! R . RakcrTeacher egf. Plathemat. Ill'Henri/ Banket. HU llattfiew Banket. PE So/m Barnet Book/e/ler. HI'On: Bateman, Bookfeller. lllen Bat/uu/iEfo 3 . It! Ben/. BeardurelL,Printer. His Grace theDUKE ofBEAUFORT The Hon b,e die Lady Mary Bertie. Ill Philip Bi/hop t Bookfeller Exon. PE Sam ! du Bait. So/B/idgeman Effe ofBlodtotU Salop, imet Broughton of li efbn / Gent. H/S/Buckler for the x flathemat.Sac lionet Coffethcruft Finch-lane, tint l"Butcher; Carpenter, Richmond, x 11 //o'! Brou m,Cl.of the ‘ / I orkt at!Find/. Fcrh.Bu/J, Carp/ f ill'Chr. toft. fJcr/in Churchill,Ef cl. Ill Carpenter, to Her^ PlA T ? ‘ til Roll Churchill,x lla/on. IlS/ho. Churchill Briehlai/ei ' ‘PEc/kii E dev J ( oke, E// ■ HI Collint . I/a/on. rheR^Hon^The l?. CONINGSBY. tl Z Rich G(om/ert. Hit ExcellFr. C ornaro, 7 cnctian . link I I ill. Co toper, Su rgeon . Cohn C raufo/ f/E/li. I ho A (a 'Ho Cl > i// let \ D Hi,' R'.Hon^ 1 ' TheEAKL oFDENB IGH II '.Charlet Dclafai/e. Edmund JJummegF/y,. x II/ So/m Dottrlinp,Painter E III ‘Talbot Edttmrdt, Engineer to Her xJlA T Y H ZSohn Edit, Com. Bra%en-No/e - Coll. 0.VO71. x III Emmet. x 111 Robert Ingli/h, Conipt l C of Her x PI A T . IES Royal Ho/p I at Chel/ca The R l . Hon h S The EARL of E S SEX _ /7 IFoh n Ettic ; of I/ orh . ^ HZ Rich d Evans. F Jl/Sofm Farfotu, Painter, x UattAecu Eoxall, C/ent. G Cfoh/tx Gape,Efcfo,SS4llrans. Sam. Gee, Gent. His Excell.S 1 . 11 Jacob Giraldi K^Envoy from the Gr. D. ofTofoany. II /The. C/ittmt Bookfeller Shinv/bun/. ipt. fhofin Goodu n/71 . Pi l do/m Gough, x lgent. fr m /c Grand, E/f IV. Rich .Gregory, Carpenter. HI Sam. Grove, . PIT Carpenter. PliCfohn Grove,HerMA fPtai/iero Rich ? Graham E/g. II 11 1' Charles Hale,Plo/nbcr. S SI ho Hanmer, Bar/ John Hands, TAD ll/d h o. Hi 1 1 v 7 xf PL i tc Po lifh c i \ I EH. Haiok/nioo/; Cl. of Her . I1aP es B oris. II /Sacob He nek ell . 9ohn Hen leg, E/f IE Rob! He/fer! It if ho: Hill. PEG ho: High m ore, S e rjeant-Painter II r .Cha .Hopfoi\,x H/Soyiur. SHSanies How, K! x Hathcw l Turnin'if to 7i, h! jf S r (h'orge Hungcr/oi'd,K! Cadnit/iiH ilts am. Horn, Painter. J PE So fin xfames, ofGrecmoieh . IE R .J menu iy, Pi it i te / •. IE/John . Johnfon . It/Hen.Sones. K IP' Hold KnaplocfBoohpltcr. I. PEBcrnard Lens Painter; Drawing x 11/to C/iri/is-TIofptl; Ejg/ , Da vid Sh/etto . jEBTlS'udon. I lath Gil' to Chr. Ho/jJ. 1! in /Nicholas, Ej\ • . M/So/vn ///icholfon,Bookfeller. x. ll/So/in d\ix . 17 /Sohii SYoiris, of GEe/bn ! H/So/wi/A utt Printer. O D'x ida/n Oatlcy, of Pickforxl, x lrchJ) of Salop and Hereford. x 1CL luftin 0Idefivo/'th,Stationer. • PEDan!Ofburn B.D.Exeter Coll. His Grace the D 17 KE of O R MON D S/ Sanies (\irndcn /v. 'Bart. P Ralph, Palmer Efp x. PI /Bal'di. Piffle i/, L hr on . x II/Elias Pm/lf Citing-x 41. r x ii/Hho. Pr/b/,Scu’S/er. Clement Pc tit, E/g ,. Hadani Do/'cthca Petit. H '.Sanies PctivcgPhamiTc/id.FR x Hi Edmund Pavel, Printer. H/xlohn Paine. __ Fv TlieR 1 . Hon ble The LORD RABY. The lU. Hon b,e Richard EARL of RANELAGH. die. Richardx< Ef^E B. E.vctcr ('oil. Benj.Robin/bnSec.to the Dutche/G of Bucclough . 1)'.'Tailored Robinfon■ II /Rich ^Rogc/fon, l arpente r. Chr. Racolinfon, E/g v ofCarh-Hal/ , L an c. 'S The Right Hon bIe James EARL of SAL I SB UR'l' drift Church Oxon. ICSo/in Saouge, A.M . Edio. Soger, Efqfof Barkha/nfteed. II r Id ll. Seri infill re. The Right H*on ble The EARL of S E AFI E L D^ Chanc. of Scotland. D'i Hans Sioane^ S.R.S. H/So/ep/i Smart, fown-Clerkt-Office. IE Ralph SnoccfHriting-x IP. Sam. Stebbin E (g f Ho/'. Steel,Bookbinder, in little Britain. II/ Games Stone, Gent. IE J John Stuart, S t< itioner. HZSacoh Stwpt, of It ccdhoufe. Suffixv T ill So/m Tollman. IE So/ll i ‘lai/loi'• 14/Leahs ‘ Thomas ; Oxen . PE So /in ‘Thorpe, A.M. F R S. II/ Edio. T/uvaites A.M. Queens Coll. H / f b? hn l /ijou . iiulr. ‘leroke, AM.-Geo7ii.Prop G/efham Cot Beni. ‘loo he, Boohjeller. H / B i//Toum/end, Oxon. Lends ‘Ireniaipie, Ljg ’ Capt Edu'/Juffia/TS! x Haiv St e/bn'. x II /‘/elm TufuilT%i/ne/;S!x llanf Be/bn r . Gidtnendlei/ Tunic/; E/g. V J Hnlrnigh,Comp/d oh Her x M/STtorks Sx w Sam ’.TlCiters, Gent. H /Se / PHlbi'a/iam, Brazen r A ofc-t oil. x PI/Pol n l!ilkinfon,of the E.xchef Gent x II / Soli / 1 TP Tide. ' IE Sam Jll 'h it field. x It! The. 1 B 'hitmore, Painter. Pi/So/uiTIilliams, Printer. . II /Ualdii’eTPillinptcm . S f Francis 7/ ‘indhani K ! x PE Hen nfl li/e,, tl! Gardener. 1 icoT Bol/bmho/nie,E/g / SXhr.Wrcn K!Surv. r Gen.! of Her MA TIES Works. .■*.v‘ " • . .. a k ■) " MONITA ad TYRONES. OKCINNlTJTEM ac fymmptriam cptic'ce delineationes xdificiorum habere nequeunt, nifi utramque mutuentur ab JrchiteElura. Proinde ncceffc ejl, ut in ijlius graphide ac intclligentia te aliquandiu exerceas, donec uniujcujujque ele¬ vationis Veftigium formare didiceris, ex eoque eruere fedionem totius longitu¬ dinis, ut in Opere toto videre efl, prafertim figuris fcxagefimaoclaVa & feptua- gefima. Siquidem ex Vefligio ex feclione derivatur in opticas imagines con¬ grua rerum fingularum profunditas. Subjiciam his conjilium fummi momenti ; videlicet, egregie intclligas oportet figurant 'fecundam, priufquam progrediaris ad tertiam, idemque de cectens difhim Velim ; nam fingulas eo difpo- fuirnus ordine, ut qux procedit, neceffaria fit ad percipiendas eas qtue Jequuntur. St aliqua fint in explicatione, quee initio non intelligas, ipfum fchema fxpius diligenter infpicies ; ac Vicijjlm fi aliqua dejint in fchematibus, ex declarationibus ea fupplebis. Lapftts vero quos deprehenderis, facilt pro tint benignitate, mihi, ut Spero, condonabis > ADVICE to BEGINNERS. HE PerlpeCtive of Structures here treated of, can have no Grace or Pro¬ portion, without the Help of Architecture. ’Tis therefore abfolutely ne- ceifary, that you employ yourfelf for fome time in Drawing, and the Study of that Art ; till you can readily deferibe the Plan of any Upright, and from thence project the Section or Profile, as is fhewn through the whole Courfe of this Work; and more particularly, in the Sixty-eighth and Seventieth Figures : Forafmuch as the proper Depth of each Part of the Perfpe&ive, is determin’d by the Plan and Profile thereof. I (hall add this one thing more, which is indeed of the laft Importance; to wit, that you endea¬ vour to underftand the Second Figure throughly, before you proceed to the Third ; and fo of the reft : they being difpos’d in filch Order, that the Knowledge of the preceding Figure is always ne- ceffary to a right Underftanding of that which follows. If you meet with any thing which at firft ieems difficult in the Defcription, a diligent InfpeCtion of the Figure may relieve you : And on the other hand, if you find not in the Figure every thing you defire, you may have Recourfe to the Explanation, What Errours you difeover in the Work, I hope you’ll generoufly overlook and B AD A D Le&orem Peifpedivas ftudiofum. fiS ’PerjfeRiva, oculum, licet fagacifflmum inter fenfus nojlros exteriores , mirabili cum Voluptate decipit ; eademque neceffaria efi iis, quibus in 'pingendo, tum ful¬ gidis figuris pofitionem ac deformationem fuam congrue tribuere , tum colores c sr umbras, magis "vel minus intendere aut remittere , prout oportet, cura efl. Aci id autem fenfim fine fenfu illi perveniunt, qui Jolo /ludio GraphiUis non contenti, fn- gulis Architectura Ordinibus exaRe deformandis aJfueVermt. Nihilominus, inter multos qui opus hujufmodi magno impetu aggreffi bucu/que fuerunt, paucos nume¬ ramus, qui animum ipfo fatim initio non dejpondennt, ob magifl rorum librorum¬ que penuriam, ordinati ac perficite docentium opticas projeRiones, d principiis hu¬ jus artis, ufque ad omnimodam perfeSlionis confummationem. Quum autem fentiam, longa multorum annorum exercitatione, me non minimam facilitatem in hac difciplina mihi parajfe : cenfco Studiojorum Voluntati me fa- tisfaSlurum, eorumque profeRui conjulturum, f methodos expeditiJfmas in lucem proferam, ad fngulorum Archi¬ tectura Ordinum opticas delineationes perfciendas, adhibita communi regula, ex qua omnia Irnearum occultarum offendicula ftftulimus. Deinde, fi tempus & vires ad aliud Opus confcribendum Sonitas Divina dederit, pro¬ jeRiones qua/cunque alfolvemits regula qua in prafentia uti fleo, ac multo facilior is- univerjalior efl regula communi is- Vulgata, quamvis hac fit fundamentum alterius. Itaque, LeRor ftudio/e, conflanti animo nego¬ tium tuum fujcipe ; ac lineas omnes tuarum operationum, ad Verum oculi punRum ducere, ad gloriam fcilicet DEI O.M. tecum omnino decerne. Sic Votis btmefltjjimts , ut auguror tibi ac ffondeo, feliciter potieris. T G Lovers of Perfpe&ive. HE Art of PERSPECTIVE does, with wonderful Pleafure, deceive the Eye, the mod fubtle of all our outward Senfes 5 and is very necef- fary to be known of all, who in Painting would give a due Place and Proportion to their Figures, and more or lefs Strength requifite to the Lights and Shades of the Picture. This might be infenfibly attain’d, if Perfons, not content with the Study of Drawing only, would accudom themfelves exactly to delineate the feveral Orders of Architecture. Ne- verthelefs, among many who have hitherto vigoroufly undertaken this work, there have been but very few, who have not been in a manner quite difeourag'd, through want of Mailers and Books to teach them clearly and methodically the Rules of PerfpeCtive-ProjeCtions, from the firft Principles of the Art, to the entire Perfection thereof. Wherefore, apprehending that by long and condant Practice in Works of this kind, I had acquird a Method to facilitate the fame ; I judg’d it might be for the Satisfaction and Advantage of tire Studious, to publifh the fhorteft way for deiigning in PerlpeCtive the feveral Orders of Archite¬ cture, by a common and eafy Rule, free from the Incumbrances of occult Lines. But if it pleale God to give me Life and Health to compofe another Book, 1 fhall therein fliew the Method of put¬ ting Works into PerlpeCtive by the Rule I make ufe of at prefent, which is more eafy and general than the common way, though this be the Foundation of the other. Therefore, Reader, my Ad¬ vice is, that you chearfully begin your Work, with a Refolution to draw all the Lines thereof to that true Point, the Glory of GOD ; and I durft predict, and promife you good Succefs in fo ho¬ nourable an Undertaking. The !THE Approbation of this Edition. T the Requeft of the Engraver, We have perus’d this Volume of Perspective ; and judge it a WORK that deferves Encou¬ ragement, and very proper for Xnftrudtion in that ART. Chr. Wren , J. Vanbrugh , N. Ilawkfinoor. P O Z Z Os ARCHITECTURE I N PERSPECTIVE ,.% >.4 ' V 1 it. mmmm i ii F I G U R A P R I M A. Explicatio linearum Plani & Horizontis, ac Pun&orum Oculi 8c DiftanticC. T principia Perfieltiv.e facilius intcUigas, pono tibi ob oculos Templum, in cujus interiori facie, prfiter cetera, pingendum fit aliquid ad Perfieltivam pertinens. Templi hujus ve t fligium geome¬ tricum efi A, elevatio geometrica in Ungunt e fi B, in latum e fi C. In A efl locus Hominis a fi i cient is lineam D E, cui paries pingendus incumbit. In B idem Homo ex eadem difiantia intuetur lineam F G, qu£ refert elevationem parietis. In figura C fupponimus Hominem con¬ frere e regione ipfius parietis: eafdemque proportiones menfurarum tranfiatas effe ex vero pa¬ riete in figuram C, qn& ipfum in parvo reprsfentat. Prima ergo linea H I dicitur linea tens vel plani, ex qua incipit, eidemque incumbit Hi- fi c i um. , Secunda linea NON priori parallela, dicitur horizontalis, in qua ponitur O punitum oculi, (fi N punctum di fi antis. Duo autem punita difiantia a nobis pofita funt, ut urum ad¬ hibeas ex qua parte volueris ; nam ad figuras optice contrahendas fufficit unum punitum di fi an¬ ti a : nec flerim pote fi ulla optica delineatio, quin primo loco defignentur dux parallela, una pla¬ ni feu terra, altera horizontis, notando in linea horizontis, punitum oculi, feu opticum, (fi punitum di fiant i.e. Porro unam e- andemque rem triplici Schemate rcprsfentare oportuit, ut videas, locum ex quo afpi cienda e fi figura C efie punitum N unius ex reltis N O, quam concipere debemus veluti normaliter infixam in O ; ac difiantiam inter O (fi N eandem effe debere cum difiantia inter A (fi D E, inter B (fi G F. In pilturis multum fiat ii occupantibus, punitum oculi poni filet in medio linea horizontalis : atque ubi altitudo piltura fit ma¬ jor latitudine, diftantia N O fiet aqualis altitudini. Si latitudo piltura fit major altitudine, difiantia N O fiet aqualis lati¬ tudini ; ita enim unico intuitu totum piltura fiatium comprehendi poterit. Porro quamvis eadem difiantia diverfi modo adhi¬ beatur in veftigio A, (fi in elevationibus B (fi C ; nihilominus filtiones vifualium cum pariete vefiigii A, (fi elevationis B om¬ nino confiirant cum [titionibus vifualium figura C. Jam fi velimus ut [pellat or i in A & B paries depilius videatur di fi are a lineis D E (fi G F, quanta cft longitudo quadrati P, cujus elevatio e fi Qj ex punitis A (fi B fiant vifuales ad punita extrema quadrati, notando filtiones vifualium cum pariete D E cr G F, qui ab aliis vocatur velum, vitrum diaphanum, feliio, tela, vel tabula. Invenies autem, lineas RS ac T V effe a- quales, ac fimiliter lineas X Z (fi Y K ; (fi fic de aliis. The Firft Figure. Explication of the Lines of the flan and Horizon, and of the foints of the £>t and of the Diftance. H AT you may the better underftand the Principles of Perfpedive, here is prefenred to your View a Temple, on the inner Wall of which, amongft other things, one would paint fomething in Perfpedive. The Geometrical Plan of this Church is A, the Geo¬ metrical Elevation, or Upright, lengthwife is B, breadthwife is C. In A is the Place from whence a Man beholds the Line DE, which is the Plan of the Wall that is to be painted: In B the fame Man, from the fame Diftance, looks upon the Line F G, that reprefents the Elevation of the Wall. In Fig. C, the Man is fuppofed to (land oppo¬ se to the faid Wall; and this Figure contains, in Little , the very fame Propor¬ tions of Meafures transferr’d from the real Wall ■ r The firft Line therefore H I is call’d the Ground-line, or Line of the Plan, ar which the Edifice begins, and on which it ftands. The i'econd Line NON, parallel to the former, is call’d the Horizontal Line, wherein is plac’d O the Point of the Eye, and N the Point of the Diftance. Two Points of Diftance are here laid down, that you may make ufc of which you pleafe ; for that on one Side only is fufficient for the fote-fhort’ning Figures in Perlpedive.- Neither can any Optick Delineation, or Perfpedive, be deferibed, without firft making two Parallels; one of the Plan, or Ground-line, the other of the Horizon ; marking, in the Line of the Horizon, the Point of the Eye, or Sight, and the Point of Di¬ ftance. It was thought befidcs expedient to put one and the fame Thing into three Schemes or Defigns, to let you lee, that the Place, from which the Figure C is to be look'd upon, is the Point N, one of the right Lines NO, which muft be conceived as fixt at right Angles into O ; the Diftance O N being the fame as that between A and D E in the Plan, or between B and GF in the Upright. In Pidures taking up a great deal of Room, the Point of Sight ought to be made in the middle of the Horizontal Line ; and where the Height of the Pidure happens to be greater than the Breadth, the Diftance N O muft be made equal to the Height. If the Breadth of the Pidure exceed the Height, the Diftance N O muft be made equal to the Breadth : For fo will the Extent of the Pidure be the better comprehended, or receiv’d, at one View. And altho’ the fame Diftance may feem to be ufed in a different manner in the Plan A, and in the Elevation B, from what it is in C: neverthelefs the Sedions of the vii’ual Rays, with the Wall of the Plan A, and of the Elevation B, have a per¬ fect Correfpondence with the Sections of thole of the Figure C. ’ 1 Now, if to the Spectator in A and B, we would have the fartheft Part of the Work feem to recede from the Lines DE and G F, as much as the Square P does, whofe Elevation is Qj draw from the Points A and B, the vi- fual Rays to the extreme Points of the Square P and Qj noting the Sedions they make with the Walls D E and G F which by forne is call’d che Veil, Tranfparenc Medium, Sedion, Cloth, or Table : and you’ll find R S equal ro T V X Z equal to Y K; and fo of the reft. ’ FIGURA TERTIA The 3 «-> -M +-» eu c ^ .-r-. O .S3 U ^ "° -o CQ j* -5 °* *0 O s- rt-Q W O u ~ £* jt *-> PQ ^ ^ ^ 1 y £ 0 Qh ■5 g U c L-i cr*.S o «•=80 D-, tD r, u Stx!^ o^Qg >~> •-! " 3-5 p n u •— = — .c o g H s-j te G « rt c rt U . “ O -o cj A/ter a figura oflendit complicationem cruci- The other Figure thews the Folding of formem papyri, qua adhiberi pot eft in delinean - the Paper crofs-wife, which is of ready ufe dis reti angulis, feu latitudo eorum ft major Ion- in delineating Squares, whole Breadth ex- gitudine, aut vice versa ; feu latitudo & longitu- ceeds their Length, or vice versa ; or whofe do fnt aquales. Length and Breadth are equal. In medio quadrati B, aliud quadratum facile 6, 7 , O, draw Parallels to the Line of the defcribetur, ducendo diagonales feu diametros ab Plan ; and your Work is done. angulo ad angulum , ut in figura . Within the Square B, you may eafily infcribe another Square, by help of the Di¬ agonals ; as may be feen in the Figure. ?>■* 5 Si ■'T 5; 5s Si w. 151 53 53 =3 Selims* Si ^ "i « "*■ S Sj Si ^ >t i i i - s § § w ^ i 0 °° i—• • PPsO P » s o O o 3 rT £ 3 &£ p S'g* 5 '?* * rt. 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I o > “ “ : &.-d | -2 3 n "O u O ■£ -j S°-- *3 «J = «ts JS _^ «. i^*s« S y u o es -o o = u ^ = 2 ^ ^ &J= -S3 E S £* o .w><2 ^ -5 x: ^ ^ -f= -J e g, o 5 ‘“' O 000-03 >> o A o t -> cfl O ; 0 5sU Qfi‘ “ 3 u ^ “ o 3 O CU3-0 O E w. S3 3 S .5 £ z -° >a e C*3 ■g >?-- 5 -3 Si * |\|g» O .*5 S K CS fs a 1 » ^'•c*. O u CJ ■ ^ a ^ 3 2^9-2 . - s ^ = - s - § 5-s H'34^ .*5 r* ^ _3\;: Hs i » -S ^ ' . . ** a *< -2<^S S o 2 a s S S, 5 ^ S; . - g S ^ -s jxf -5 2 -S 's 5 ,'• a s? 'a- e» S* ■ •S ^ .*5 - n ^ S V 4 §, *: ^ .jsp ^ § s R S ? *J • § -C Ut Perjpeciiihf Tyro mbits coftfiller em, (fui fortajfe non adeo facile percipient duodecim primas figurarum explicationes, totidem novas explicationes hic addo. r For the greater Help to Beginners, and thofe who are lefs converfant in the Art of Perfpe&ive, I here fufroin a far¬ ther Explanation of the firft twelve Figures of this Book. FIGURA PRIMA. Explicatio linearum plani, & horizontis, pun&orum ocu¬ li, & diftantia? ; de hoc ultimo preflius. T I{ES linea diver fi inter fc nominis, & muneris, item, & duo punBa pracipue necejjaria funt, ut delineatio qualibet optice reddi queat prima vocatur linea plani, fecunda horizontalis ubi e fi punBum rculi ; de ter tia loquar in elevationibus: alterum de duobus punBis ajjignatur oculo, & vulgb dicitur punBum oculi; alterum vero ajjignatur diftantice, it qua nomen habet. PunBum oculi notijjimum eft, punBum verb diftantice non ita ; in hu¬ jus igitur explicatione morabor, ut clarius oftendam quid fit, & quomodo formandum fit, felegi defcriptionem Ecclejht geometrice habitam, quam in tres partes divifi, in vefligium, feBionem, & interiorem faciem, in qua facie ve¬ lit quis pingere, feu delineare aliquid optice, ut elongetur ad menfuram aper¬ tura quadrati P, ut habes in vefiigio, (fi ad menfuram profunditatis Q_, quam habes in JeBione. Super faciem C C C C quam puta effe delineamentum, hales rationem, qua debes difponere fupradiBa punBa, (fi lineas. HI erit linea plani: NON erit linea horizontalis, qua fieri folet difians d linea plani altitudine hominis, ut vides in B. runBum oculi erit in O ; punBum diftantia erit in N, ex qua parte malueris. Hoc punBum N debet tantum abejfe d punBo O, quantum tuo arbitratu tu vis procul ejfe ut videas profunditatem illius quadrati PQ., ficut vides in exemplo veftigii, (fi fcBionis ■ ubi rem velut in fuo flatu naturali exhibeo : in iis enim tam abeft N ab O, quam abefi homo ab A ad DE, G? homo B infeBione, ab F G, ubi efi murus in quo pingendum, vel de¬ lineandum eft. Si ulterius curiose defcriptionem hanc confideres, videbis quam bene refpon- deat quadratum P in plano, (fi elevatio Q_, ut naturalis flatus rei in feBione PerfpeBiva pofita in facie CCCC, qua: eft delineatio. Videbis enim vifiua- les, qua fccant in plano fpatium R S, ita pariter fecare fpatium T V in ele¬ vatione : (fi fegmentum vifualium X Z in feBione refpondere Y K. in eleva¬ tione, quod demonftratione non caret. FIGURA SECUNDA; Quadratum optice delineatum. P OSTQJL>AM deferipferis in papyrofeparata quadratum geometricum A, facies duas lineas parallelas inter fc diftantes altitudine, quam di¬ deris punBo oculi ; linea inferior erit linea plani, linea Juperior e- rit linea horizontalis, fuper quam ponuntur punBa oculi O, (fi diftantia E, quod fit ex parte quam mavis : linea diftanti.e non debet effe brevior magnitu¬ dine rerum deferibendarum. Transfer pofted circino latitudinem quadrati A in C B, una cum vifualibus ad punBum O ; (fi fimiliter transfer longitudi- dinem ipfius quadrati in D C, ducens lineam a punBo D ad punBum diftan- ti.t E, tranfeuntem per vifualem C O, G? ubi illa fecat, habebis terminum qua¬ drati optici GFCB, ducens parallelam ad lineam plani in F. Ut autem hoc idem citius abfolvertm, fepius chartam complicavi, ut habes in A. FIRST FIGURE. An Explanation of the Lines of the Plan and Horizon , and of the Points of Sight and Diflance; hut more efpcciallj of this la/t. F OR beginning any Defign in Perfpe&ive, there are principally re¬ quir'd three Lines, and two Points : One Line where the Feet ftand, which is call'd the Line of the Plan, or Ground-line : The fecond where the Eye is plac'd, call'd the horizontal Line : 1 fhall fpeak of the third in the Elevations. Of the Points, one is affign’d to the Eye, the other to the Diftance. The firft of thefe is generally known, the latter not fo well underftood, though of great Ufe for giving the Removal or Depth of every Object. 1 lhall therefore inGft a while on the Explanation of the Poinc of Diftance and that I may more clearly fhew what it is, I have cholen the Geometrical Delcription of a Church, which is divided into three Parts; viz. Pl an > Profile, and inner Face ; in the midft of which Face one would paint a Piece of Perfpe&ive, that Ihould seem to recede as much as the Square P in the Plan, and the Depth Q_in the Profile. On the Face CCCC, which luppofe that of the Delign, you fee the Manner of difpofing the two Lines and the two Points. HI is the Ground line. NON is the horizontal Line, which is ufually made a Man’s Height above the Ground line, as in B. The Point of Sight is O, the Poinc of Diftance N, on which fide you will. This Poinc N mult be as far from O, as the Diftance \ou determine to place yowfelf at for viewing the Depth of the Square PQ_. as is exemphtv'd in the Plan and Profile, where you fee the thing as in its narural Pofition : And in them N is diftant from O, as far as the Man in A is remov'd from D fc j or the Man B in the Profile from FG, which is the Wall to be drawn or paint¬ ed on. If you farther and more ftritftly examine this Defcription, you’ll dif- cern how well the Square of the Plan P. and the Elevation Q^, correfpond as if narurally put into Perfpedlive on the Face CCCC, which is the Draught. For you fee th ■ Vifuals which cut the Space R N in the Plan, cut the fame Space T V in the Upright; and the Segment of the Vifuals XZ in the Profile, anfwer thac of Y K in the Elevation - which needs do Demonftration. SECOND FIGURE. A Square in Perfpetfive. A FTER you have drawn, on a feparate Paper, the Geometrical Square A, make two parallel Lines as much diftant one from die other, as you Would have the Height of the Eye. The under Line is the Plan or Ground-line , the upper Line is that of :he !! rizon, on which are plac'd the Points of Sight O, and of Diftance E, on which fide you pleafe. The Line of Diftance fhould not be lhorter than the ex¬ tent of the thing to be deferib'd in Per'pedtivc. Then with your Com- palfes fet the Breadth of the Square A on C B, and draw Viluais to the Point O ; and from the Length of the Square transfeir'd into DC draw a Line from the Point D to the Diftance E ; and where that cuts the Vi¬ sual C O, by drawing a Line parallel to G F, you deferibe the Square in Perfpecftive GFCB. For the more quick Difpatch of this, I commonly fold the Paper, as you fee in A, TERTIA. THIRD FIGURE. FIGURA Re&angulus altera parte oblongior optice. Q VIDQJJID in proximo quadrato vidifii, facies in prxfenti. transferres latitudinem B C in EC, (fi longitudinem in C D, ducens latitudinem B C ad putuium oculi O, (fi longitudinem - C D ad punflum difiantix E. ubi nero h.tc linea fecat vifua- lem CO, erit terminus reti anguli fupradicli FG, BC, ducens parallelam, vt fupra. FIGURA QUARTA. Quadratum duplex optice. E ODEM medo confirues quadratum duplex A, transferens cii ‘no, aut duplicando chartulam, latitudinem cujufcumque line.t, ut vides in punftis 1,2,3, 4, 5, 6 , fuper lineam plani in iijdcrn numens, ii ab i fi is transferes vijua.es ad punclum O. P.jtea transfer longitudi¬ nem 7,8,9, 10, fuper lineam plani in iijdem pariter numens, ii ab illis duc Uncas ad punctum difiantix B. Ubi hx line.t fecant lineam " > fiunt linex parallelx ad lineam plani, ii quadratum conficitur ; parem con- ftruttionem facies de quadrato Jecundo, ii tertio , facile ex didis. FIGURA QUINTA. Quadratorum veftigia cum elevationibus. F IGU RA M hanc in duas partes divi fi ; in fuperoiri parte vides tria quadrata optica aliquantulum adumbrata , caque tam inter /e di- fiantia, quanta efi difiributio fuper lineam plani. BC erit quadra¬ tum primum. Secundum erit in B F. Si ergo pofucris longitudinem quadrati in B C, eamque duxeris ad difiantiam, fiecabit in DD vifualem AO. Si pariter pnfuens alterum fpatium longitudinis ejufdcm quadrati in EF, C du¬ xeris ad lineam difianti.c, habebis Jecundum quadratum optice. Idem facies de tertio, (fi de aliis, qu.e diftribuenda fiunt. In fecunda parte. Si defideres fupra totidem vefiigia formare elevationes ’ cuborum, (fi fijlobatarum, ut in inferiori figur.c parte vides, fatis erit ex omni vefiigiorum angulo elevare lineat occultas, (fi apparentes, determinando alti¬ tudinem faciei L primo cubo, (fi anguli ejufdcm faciei dabunt altitudinem omnium aliorum. Jmmo etiam totidem cubos formare potes fine lineis occultis, ducendo folttm apparentes, ut vides in tribus expefitis adumbratis, (fi nitidis, quorum per¬ pendiculares fumuntur ab angulis vefiigiorum, ut in Juperiori figura habes in H, (fi linea: plani tranfiatx fiunt ab angulis elevationis, ut videtur in F. FIGURA SEXTA. Modus delineandi optice fine lineis occultis. D ESIDERANS facili methodo figuram hanc exponere, dabo ra¬ tionem elevandi corpora fine lineis occultis, ut in fuperiori tetigi ; cfiendam igitur hic, quomodo quinque cubi adumbrati defumantur ab eorum vefiigiis, (fi elevationibus. Duas debes facere prxparationes, fi libeat, in chartis etiam feparatis. Prima erit formare geometrici vefiigium, (fi elevationem, ut vides in B (fi A. Secunda erit diflribucrc fuper lineam plani latitudinem v.-fiigii B, puta in N M, (fi in duabus proximis : Illius longitudo MX ducla ad di¬ fiantiam D, fecat vifualem MO in R. Spatium autem obliquatum E utile etiam efi aliis duolus quadratis pofitis fuper eamdem lineam plani ; anguli quorum tranflati ad difiantiam B, totidem angulos dabunt inter vifualcs NO, MO. Hcc pofito, duces perpendicularem ad angulum N, qux in elevationibus geometricis femper neceffaria efi, eaque tertia line.t efi, quam fupra dixi. Transfer pefiea altitudinem A in NF, cum vifualibus F O, NO, (fi inve¬ nies altitudinem S T. Hoc pariter de exteris eveniet. Sciendum fuperefi quonam modo fupradicla prxparatione uti poffis ad con¬ fit uendos fijlobatat adumbratos, (fi inornatos. Super aliam igitur chartam difpone )itum cum duabus lineis, plani fcilicet, (fi horizontis, una cum punclo oculi O, (fi perpendiculari V, ejufdcm met:- furx cum fupra di 8 a prxparatione, (fi faciens uti me fcciffe vides. Experire ptflea circino NF xquilia ejfe 1, 5, (fi 2, 6 . Metire pariter ST, (fi inve¬ nies xqualia 7 (fi 3 ; facies pofiea lineas planas, (fi vifualcs ad punftum oculi, (fi habebis planum Juperius cubi in 1,2,3, 4- doc idem faciendum efi de a- lus. Uno verbo : anguli vefiigiorum dabunt tibi lineas perpendiculares, (fi anguli e.dationis dabunt Uncas planas ; atque hcc femper erit. An Oblong Square in Perfpettivc. W HAT was done in the preceding, repeat in this Third Fi« gure. Transfer the Breadth BC into BC, and the Length, into CD, drawing the Breadth B C to the Point of S:ghr O, and the Length CD to the Point of Diftance E_. Where this cuts the Vifual CO, you terminate the Square F G, BC, by drawing the Parallel, as before. FOURTH FIGURE. A double Square in Pcrfpeclive. T H E double Square A is made after the fame manner as the for¬ mer, by tranfporting, either with the Compaffes, or folded Pa¬ per, the Breadth of every Line, as you fee the Points 1,2, 3, 4, 5, 6, on the Ground-line mark’d with the fame Numbers ; and trom thele draw Vifuals to the Point of Sight. Then transfer the Points of Length 7,8, 9, ic, into the Ground-line, as you fee alfo in the lame Numbers ; and dirccft their Lines to the Point of Diftance E. Where thele interlevi the Vifual 6 , 7,0, make Parallels to the Ground-line, and the Square is complete. The lame is done in deferibing the middle Square, and that on the other Side. FIFTH FIGURE. Several Plans of Squares, with their Elevations. I HAVE divided this Figure inco two Parts; In the uppermofi: you have three Squares in Perfpetiivc a little fhadow'd, diftant one from another, according to their Diftribution on the Ground-line. BC is the firft Square ; EF the fecond. If you then let the Length ot a Square on B C, and draw Lines to the Point of Diftance, they will in- terfedt the Vifual AO in D D. In like manner, if you fet another Length of the faid Square on E F, and draw ro the Point of Diftance, you'll have the fecond Square in Perfpe&ive. The fame you may do in the third, and as many as you have occafion for. In the fecond Part you fee, that if upon the fore-mencion’d Plans theE- levationsof Cubes or Pedeftals were requir'd, it would luffice to elevate the occult and vilible Lines from every Angle of the Plan ; and determin¬ ing the Height of the Face L of the firft Cube, the Angles of that Face drawn to the Point of Sight, give the Height of all the others. You may form the fame Cubes without occult Lines, drawing only thofe that are apparent, as you fee in the three Cubes that ate fimlh’d and fhadow'd ; the Perpendiculars of which arc taken with the Compaffes trom the Angles of the Plan, as is (hewn in HI of the upper Figure ; and the_ level Lines arc transferr d from the Angles of the Elev ation, as in F G of the fame Figure. SIXTH F I C 11 R E. The Manner of defining in Ferfpeclive irithout occult Lines. B EING defirous to make this Rule as eafy as poflible, I fhall give a farther Account of railing Solids withour the. Help of occulc Lines, which 1 only touch'd upon in the foregoing Figure. I therefore here Ihew you, how the five fhadow d Cubes of this Figure are taken from their Plans and Elevations. Two things preparatory are to be done, and, if you pleafe, on feparatc Papers. The firft is, to deferibe the Geometrical Plan and Elevation, as you fee in B and A. The lecond is, to difpnfc on the Ground-line the Breadth of the Plan B ; as, for Example, in N M, and the two next to ic The Length thereof M X, drawn to the Point of Diftance D, cuts the Vifual MO in R ; and the Forelhortning E feryes alfo for the other two Squares plac'd upon the fame Ground-line, whole Angles being directed to the Di¬ ftance D, give as many Angles on the V i Inals NO, MO. 1 his done, c- redt a Perpendicular on the Angle N, which in Geometrical Elevations is always nccelfary, and is the third Line mention'd in the firft Figure, fhen carry the Height A on N F, drawing the Vifuals F O, N O, which determine the Height ST, and that of rhe other Squares. It remains ro be known, how to make ule ot the forefaid Preparation for the Conftriuftion of the Ihadow’d Pedeftals. On another Paper therefore difpofc the Horizontal and Ground-lines, together with the Point of Sight O, and the Perpendicular V, keeping the fame Meafures as in the aforefaid Preparation, and doing as 1 have done. You may prove by theCompafles, that NF is equal to 1, 5, and 2, 6 . and meafuring ST, you’ll find ic equal to 7, 3. then drawing the level Lines, and the Vituals to the Point ot Sight, you have the upper Face of the Cube C in 1, 2, 3,4. The fame mult be done in the others. In a word, the Angles of the Plan give you the perpendicular Lines, and the Angles of the Elevation give the level Lines, or thole parallel to the Ground-line; and this you are always to underftand for the future. FI- FIGURA SEPTIMA, Aliud exemplum conftrucndi vefligium geometricum, cum elevatione longitudinis. V IDES hic Jlylobatam P in quatuor partes divifum, £3 adumbratum. Si illum optice delineare velis, conjlruere debes [upradiBas prepara¬ tories, geometricam nempe, £3 opticam. Nomine geometrice intelligo ' "flifrnm A, £ 3 elevationem B : nomine vero optic.e, totum id quod includitur in GCDEO, Transfer igitur latitudinem geometricam C D vefligii A fup:r lineam pla¬ ni pariter C D, £3 transfer longitudinem D E fuper Uveam plani pariter D E, operans more [olito ; £3 habebis vefligium optice. Transfer pofled elevationem H X in C G perpendicularis ; ducens vijualem G O, eleva ad lineam G O omnem angulum, quem planum facit in linea CO ,(3 habebis altitudinem ne- ccjfariam etiam /cBionis. Transferes denique circino in aliam chartam angulos vefligii, qui dabunt tibi lineas perpendiculares, £3 anguli Jcilionis dabunt lineas planas : Vifuales vero duces ad punclum oculi. J F you would delineate in Perfpcdive dic Pedeftal P, which you here «fee divided into four Parts, and lliadow'd ; you mun: make the two foregoing Preparations ; namely, the Geometrical and the Perfpe- dtivc. By the Geometrical, I mean the Plan A, and the Elevation B By the Perfpcdive, all that's contain’d within G, C, D,E.O. Then transfer the Geometrical Breadth C D of the Plan A, into CD of the Ground-line; and the Length DE of the faid Plan into DE of the Ground-line working afeer the ufual manner ; and you will have the Plan in Perlpe&ive. Again, let the Elevation HX on CG of the Per¬ pendicular, ami drawing the Vilual GO, elevate thereto every Angle made by the Plan on the Line CO, and you have all the Heights neccflary for the Profile. Laftly, by the CompafTes you tranfport on a clean Paper the Angles of the Plan, which give the perpendicular Lines ; and thole of the Profile, which give the level Lines. The Vifuals you draw to the Point of Sight. FIGURA OCTAVA, Stylobata optice. H IC etiam poflquam feceris fupradiBas prr ce parationes, geometricam fcilicet, £3 opticam ; facies precfentem ftylobatam adumbratum, transferens circino angulos vefligii, ut ccnflruas perpendiculares ; £3 angulos [eBionis, ut formes lineas planas, ut fupra. Nam fle duo anguli vefli¬ gii MO dabunt Uncas perpendiculares EF; angulus vefligii R dabit per pen • dicularem P, £3 fic reliqui anguli dabunt reliquas Uncas perpendiculares. Si¬ militer a fcclionc angulus I dabit lineam planam H N. Breviter, primus ter¬ minus [eBionis I D dabit altitudinem linearum planarum in facie Jlylobatx adumbrati E F HN. Secundus terminus Q_ dabit altitudinem faciei oppofitx, £3 occulta P. Duo tamen moneo ; primum, ut faciens vefligia geometrica, ducas ab eleva¬ tione A totidem lineas ad latera vefligii B, quot angulos invenies in prominen¬ tiis fupradielx elevationis A, ut manifefle vides in tineis quas ex punBis com - fofui, illa enim a flylobata A cadunt fuper vefligium B ; quare prominentia major in elevatione L facie lineam majorem L in vejligio. Secundum quod moneo fit , ut volens elongare vefligium optice delineatum WOR a linea plani K, quantum erit fpatium C in eadem linea plani, tan- tumdem elongabitur fpatium G .1 linea ejufdem plani. EIGHTH FIGURE. A Pedeftal in Perfpeflive. H ERE alfo, after you have made the two foregoing Preparations, the Geometrical and the Perfpedivc ; this lhadow'd Pedeftal is made by taking with the CompafTes the Angles of the Plan, for drawing the Perpendiculars, and the Angles of the Profile for the level Lines, as before. Thus the two Angles of the Plan MO. give the perpen¬ dicular Lines E F. The Angle of the Plan R, gives the Perpendicular P ; and the other Angles give their refpedive Perpendiculars. So likewife in the Profile, the Angle I gives the level Line H N. In fiiort, the firft Out¬ line of the Profile 1 D gives the Height of the level Lines on the Front of the (hadow’d Pedeftal. The other Out-line Q_ gives the Height of the oc¬ cult and back part thereof. Neverthelefs, two things are to be obferv’d ; firft, that in making the Geometrical Plan, you draw from the Elevation A, as many Lines to the Side of the Plan B, as you have Angles in the Projedurcs of the laid Ele¬ vation ; as is manifeft in the pointed Lines, which fall, from the Upright A, on the Plan B, where that of the greateft Projedurc L in the Elevation makes the outer Lioe L of the Plan. The fecond thing to be obferv'd, is, That if you would have the Per- fpedive-Plan MOR as far within the Ground-line K, as the Breadth of the Space C on the fame Line, the Space G will then be the Diltance there¬ of from the faid Ground-line, FIGURA KONA. Optica delineatio Architcfturo: Jacobi Barozzii : & pri¬ mum, de Itylobata Ordinis hcrulci. Q UA NDO QV IDEM omnibus not a efl ArchitcRura Barotfii, earn hic penitus immutatam cum fuis regulis particularibus, £3 genera¬ libus expono ; Metieris autem illam modulis ut fieri folet j qui igi- tur illam defiderat, m fequentibus figuris inveniet totam, fimulque difeet optice reddere. Cum autem non minus Optica fludiofo quam ArchitcBu- ra neceffe fit, efficere delineamenta rei cmflruendx, ab hoc vere, ab illo fill c, id efl, cum uterque facere debeat vefligium, elevationem, [eBioncm, 13 faciem, ob id delineavi hic Jlylobatam Ordinis Etrufci cum fuovcfllgio, quem vides in A B, ut facilius percipias quod in proxima figura dixi, d totidem fcilicet an¬ gulis prominentiarum elevationis, totidem ducendas effe lineas fuper lineam vc- fligii cum hoc neceffe fit ad inveniendum illorum angulorum cum iflis lineis concurfum in fuis degradationibus. Nota, longitudinem, quam voco F duBam in G effe illam, d qua non folitm nafeitur vefligii obliquitas, verum etiam ab illa nafeitur obliquitas illius quam voco feBionem E. Ob id in altero hujus e- jufdem figurx fylobata totum id c contrario videbis. Non amplius repetam quonam modo eruatur nitida delineatio, de qua fupe- riits pluries ; dicam tamen angulos primi termini fcRionis E daturos lineas pla¬ nas faciei D, (3 angulos vefligii daturos omnes perpendiculares. NINTH FIGURE. The Architecture of Vignola put in Perfpeftive ; and firft, the Pedeftal of the Tufcan Order. S INC E every one is acquainted with Vignolas Architecture, I deter¬ mine not to alter ir, but to explain it, wirh its general and particu¬ lar Rules; meafuring the fame with Modules, after the ufual man¬ ner. He therefore that has it nor, may find it in the following Figures, and at the fame time learn the Method of putting it in Perfpedivc. And whereas the Drawing the Plan, Elevation and Profile of what's to be built, is no lefs necclfiry for him that ftudies Perfpedhc, than for the Ar¬ chitect, the firft performing in Appearance, what the latter does in Reali¬ ty ; I have therefore here delineated the Tufcan Pedeftal, with its Plan, as you fee in A B, that you may the better apprehend what I laid in the fore¬ going Figure, That from all the Angles of Procedure in the Elevation, Lines muft be let fall on the Plan ; this being of abfolute neceflity for finding the Correfpondence of the Angies with the Lines in the Perlpedive Projcdion. Obferve, that what I always call Length, as from F to G, is that from which proceeds not only the Forelhoitning of the Plan ; bur alfo that which I call the Profile E. Wherefore, in the oppofue Pedeftal of the fame Figure, you '11 fee a contrary Difpoficion of the Whole. 1 (hall not here repeat, how the finilh’d Pedeftal is taken from thefe; having fo largely fpoken of that before ; but briefly tell you, that the An¬ gles of the firft Out line of the Profile E give the level Lines of the Face D, and the Angles of the Plan give all the Perpendiculars. FIGURA DECIMA. Stylobata Doricus, & ratio vitandi difficultatem quam¬ dam, qua: occurrit inter illum optice delineandum. H IC oritur difficultas hac. Vefligium A optici trauflalumin C adeb contrahitur, ut diftinRe videri nequeat ubi collocetur circini pes, ut transferri poffint perpendiculares [fylobata; adumbrati - totaque hsc difficultas oritur d propinquitate quam habet linea horizontalis, feu pun - Bum oculi cum linea plani. Vt igitur illam vincas: Duces lineam plani in - TENTH FIGURE. A Dorick Pedeftal, with the Manner of fhunning a Difficulty, which occurs in putting the fame in Perfpeflive. I N this Figure a Difficulty arifes, which is this; That the Plan A put in Pertpedive in C, is fo forelhorten’d, that one can’c fee diltindly, where to place the Compalfes, for transferring the Perpendiculars on the (hadow’d Pedeftal j which is caus’d by the too near Approach of the horizontal Line to the Ground-line. For avoiding this Difficulty, feriiis - libuerit, (3 fuper illam feres 'demo latitudine»:, £3 longi tudi- >.-m more pH to, retinendo puncta oculi, (3 diflantix OF, (3 fic videlns vefli- pi.i magis minufve dlfthiBa ; Vefligium enim E diflinBius cjl vefligio D, i3 D diflinBius cjl vefligio C. FIGURA UNDECIMA. Stylobata Ionicus, & ratio vitandi aliam difficultatem in elevationibus. I iV elevationibus etiam feBionis optice potejl accidere, ut fi vifualis L K nimis reBa fit, feBio B refringatur. Elongando lineam plani ab L ad M, vifualis M N erit inclinatior, [3 conjequenter feBio C erit latior, (3 dif inBior, Nota, difficultatem hanc fepe flxpius te habiturum in figuris prxeipue, qua multas /ineas habent, ut i» figura quadragcfimafccunda, ubi pariter ratio¬ nem vitandi confufionem reddam. Neque tibi molefllx fm , quod in hac figura lineam horizontalem infra li¬ neam plani collocaverim, id enim feci, ut illarum diverfos effeBus videas, ut- cue tu in tuis fiudiis mutes, (3 difeas. FIGURA DUODECIMA. Stylobata Corinthius cum fuis pilis. F ECISSE feptimam figuram magno tibi documento erit ad confruerf dum, (3 dividendum fylobatam A, <3 vefligium B ; cum nihil addere debeas prater pilas C cum coronice, qux duo latera ambit. Optice hoc vefligium delineabis in D, qux delineatio diflinBior efl, quia inferius du¬ xi lineam plani ; (3 diflinBior etiam efl feBio E, cum elongaverim vifitalem FG. Sic femper agam, ut detur locus figurte adumbrata, (3 ut etiam videas ■perpendiculares flylcbatx adumbrati cadere fuper angulos veftigii, (3 lineas pla¬ nas incidere e diametro fuper angulos feBionis E. Iterum libenter moneo, ut facias fupradiBas prxparationes in chartulis feparatis, ut initio affuefcdi transferendis figuris nitidis circino ; facile enim tibi poflea erit integras ma¬ chinas PerfpcBivx jucundioris delineare, ut videbis : in hoc enim tota regu- l.e kvjufcc, (3 totius operis facilitas fita efl. draw another Ground-line as much below the firft as you pleafe, and car¬ ry the Breadth and Length thereon, after the ufual manner, ftill keeping the lame Points of Sight and Diftance O and F : And.according to the Removal of the Ground-line, the Plans will be more or lefs diitiruit; as you fee the Plan E is more diftintfl than D, and D is more fo than C. ELEVENTH FIGURE. The Ionick Pedeftal, and the Way to jhun Another Difficulty in the Elevations. I N Elevations of the Profile in Perfpedtive, it may fometimes happen, that the Vifual LK may be fo direift, as to render the Profile B too clofe and narrow - wherefore prolonging the Ground-line from L to M, make the Vifual M N. which being miuh more oblique, does con- fcquently render the Profile C more broad and diftindt. And obferve, that this Difficulty will very often occur ; efpecially in Fi¬ gures that have many Lines, as the Forty-fecond Figure has, where I fpcak alfo of the manner of avoiding the fame. Nor let it trouble you, thac in this Figure I have plac’d the horizontal Line below the Ground-line; which I have done, that you might fee their different Effedts, and by changing the Difpofition ot your Deligns, improve and learn. TWELFTH FIGURE. A Corinthian Pedeftal, irsth its Pilafters. T HE Performance of the Seventh Figure will be a great Affiftance to you, in the Conftrudtion and Divifion of this Pedeftal A, and the Plan B , fince you have nothing more to add here, but the Pilafters C, and the Mouldings which furround the two Sides. This Plan is put in Pcrfpedtive in D, and becomes more diftinct by my finking the Ground-line lower; and the Profile E is alfo more diffindi by the Remo¬ val of the Vifual F G, as mention'd in the foregoing Chapter. This I Jhall always do, that there may remain Room for the lhadow'd Figure, and that you may alfo fee that che Perpendiculars of the ffiaded Pedeftal fall diredtly upon the Angles of the Plan, and that the level Lines dircdtly anfwer the Angles of the Profile E. I repeat my Advice, chat you would make the forefaid Preparations on feveral Papers, and accuftom yourfelf at the beginning to cake off the finifh’d Figures with the Compafies; for it will become very eafy to you afterward, to defign entire Machines of delightful Perfpedtives, as you’ll fee hereafter. And indeed in this Practice, the Facility of this Rule, and of all thac follows in this Work, does chiefly confift. Rejpondetur objectioni facta circa puntium oculi opticum . * JL V v- M Non omnium fenfus eft, uni optico operi unicum tantum pundhitn aflignare, e.g. toti fpatio forni¬ cis, tholi, & tribunx, quam vocant, expreffie in figura nonagefimatertia, nolunt concedi unicum punctum, volurtt^ftSHcedi plura. • < ■»!»; ■ i£,j A • Jrj.• :.. ■'..Xu. ' f J;'. r ESPONDEO, cljeflionim hanc dupliciter intelligipojft : vel enim intelligi pojfet, non ejfc affignandum unicum punflum toti ilii Jjtatio ; atque in hoc fenftt vera e[t ; cum enim jpatiuni illud valde oblongum fit, dividi debuit in paries, atque ajjignanda Iriltin.c, quam dicunt, tho- io 1°, y fornici, propria punfl .1 - cum hoc communiter doceant, ubi fitus nimium cfi lonqus, cr parum altus. Vel potejf inttUigi de qualibet ex diflts partibus, fi fic imdlefla penitus fal ft cfi. Primo, quia prajlantiores fornices aularum, fi templorum, qui optico artificio ornati M p un *cum opus reddunt, a fuifmet authorities determinatum i dem tj ite unicum punctum D Mcepifc compertum e ft. Secundo, quia cum ars optica fit mera veri fimo, non id pictor fa- fert; .potcfl, ut a qualibet parte fimulet veritatem, verum ab uno determinato puncto id often- > Tertia, quia fi, e. g. fornici , qui uno integro que optico opere ornetur, plura puntia a(~ Jignaveris, nullum reperies locum, unde integrum opus ficti are pofiis, & ad fummum ex quoli¬ bet puntio tantum partem illius fictiabis, nufquam vero totum opus. Ex ditiis igitur rationibus concludo ab inducentibus plu¬ ra puntia in eodem opere induci malum majus eo, quod unicum puntium inducit ; quare hoc omnino neceffarium efl fit ui in quo unicum opus formandum fit, ad quod colliniare debeant ex omni operis parte figura fimul & architetiura. ®uo pofito, negari rationabiliter nequit, d me etiam concedi unicum puntium fietiando fornici amplo, aptoque ad repr a feritandum unicum opusj qualis cfi fornix in DJgnatii templo. Si vero propter fitum irregularem, ut dicimus, architetiura extra puntium aliquantulum deformetur, & figura pariter operi optico intermixta extra commune puntium aliqualem patientur deformitatem , praterqnam quod a (upraditiis rationibus excufatur, nequaquam id vitio arti efi, fed laudi ; quandoquidem ars d fio puntio exhibet, propor¬ tione pofita, ut retium, ut planum, ut concavum, id quod tale non efi. An Anfwer to the Objection made about the Point of Sight in Perfpe&ive. Eye> y ° ne J oe * m a PP r me > thM in * ^rfpeBive of great Extent one Toint of Sight only limit be affinPZ the Me Wor(- as for Example In the whole Length of the Nave, Cupola, ami Tribune, exprefs'd in the Ninety-third Figure, they will by no means allow of one Jingle Toint, but infift upon JeVeral. ANSWER, This Objedtion may be underftood two ways ; cither that one Point alone is not fufheient for that whole Length, and in this fenfe ’tis true ; for that Space being very long, it ought to be divided into Parts, and proper Points ailign’d to the tribune. Cupola, and Vault of the Nave; as is commonly taught, where the Sicua- U ? n u S f ?£ IC3t Lcn ,g' h - and not ver y high. Or it may be underftood of anv One of the fatd Parts, and fo is altogether falfe. Firfl, Bccaufe in the Vaults of Halls or Churches painted by the greateft Mailers, if they confift of one Piece only, we find but one Point of Sight afiign d. Secondly, Since Perfpec2ive is but a Counterfeiting of the Truth, the Painter is not oblig’d to make it appear real when feen from Any parr, but from One determinate Point only. Thirdly, Becaufe, if in a Vault, for Example, „„ in- - , ... * h f re y°“ would paint one entire Defign of Architecture and Figures, vou allien le- vctal Points of Sight, you will find no place whence you may take a perfedt View of the Whole, and at bcft S you can only view each Part from its proper Point. From all Which Reafons I conclude, that the Intmduffion of many Points into the fame Piece, is mote injurious to the Work, than making ufe of one only : Wherefore ’tis abfolucely ncccllary in a tegular Situation, and where the Work is all of a piece, fo to place the (Le, as that the Figures and Arch,tedlurc may From every part oi the Defign have refpedl thereto. This fuppos’d, 1 confefs that I my Id f make ufe of one Point of Sight only, in very large Vaults that confift of one Defign, filch as that of the Nave of in- - f there , f ° re through the Irregularity of the Place, the Architecture appear with Ionic Dctor- ity, and the Figures intermix d therewith Teem any thing lame and imperfedt when view’d out of the proper Point befides the Reafons ,uft now given, it’s fo fat from being a Fault, that I look upon it a; an Excellency m the Work alftyTusnm fo. ° mth °‘ n eKtmi " ’ “ appCar ’ W ' th due Pro P“tion, (freight, flat, or concave; when in re- INDEX INSTRUMENTA paranda, •* Explicatio linearum plani & horizontis , ac puncto• rum oculi er difiantia. Medus delineandi optice quadratum, Optica delineatio redi anguli, altera parte longioris, Optica deferiptio quadrati duplicis, De fligi a quadratorum cum elevationibus, Medus optica delineationis abfque lineis occultis, Aliud exemplum vejligii geometrici, cum elevatione lon¬ gitudinis , Optica projctfio /lylobata. Optica delineatio Architectum Jacobi Barozzii, & pri¬ mum de {lylobata Ordinis Etrufci, Optica deformatio fiylobata Dorici ; ubi de modo vitandi confuftonem in vefligiis delineandis, Stylobat.c Ionici deformatio ; ubi de vitanda confuftone in elevationibus. Deformatio fiylobata Corinthii , cum duabus pilis 3 Projetfio (lylobat.e Ordines Compofiti , Deformatio circulorum, Optica delineatio columns, Optica projeclio baf.s Ei rufe a. Deformatio bafis Dorics, Optica delineatio bafis Ionics , Optica imminutio bafis Cerinthis, Bafis Atticurga optice imminuta. Optica imminutio capitelli Etrufci, Optica projetfio capitelli Dorici, Deformatio capitelli Ionici, Optica projeclio capitelli Corinthii, Optica deferiptio capitelli Compofiti, Deformatio coronicis Et rufe a, Optica delineatio cor cnicis Dotis.e, Frxparatio figura fequentis. Optica projeclio adificii Dorici, Optica projctfio adificii Ionici ; ubi di medo jungendi fi¬ ctum cum v:ro. Optica projctfio coronicis Corinthia, cum capitello & (un.mitate columna. Delineatio geometrica coronicis Ordinis Compofiti , Deformatio coronicis Compofitx, Frxparatio ad figuram trigefimamquint am , Deformatio coronicis Compofitx ad latus injpetfa , l'rxparatio ad figuram trigcfimamfcptimam, Dformatio columna Etrufca, Frxparatio ad figuram trigefimamnonam. Deformatio adificii Dorici, l’ frigium geometricum adificii Ordinis Dorici, Elevatio geometrica adificii Dorici, Modus vitandi corfufioncm in contraction e ve fligi orum elevationum. Contractio vefligii figura quadragefimx, Contract io elevationis figura qtudrage/imaprimx , Dimidium adificii Dorici optice deformati, Alterum dimidium ejujdem adificii. Ne fligi a adificii Ionici, F-Lvatio geometrica adificii Ionici, Deformatio cl v.ttioms adificii Ionici, Architetfura Ionica, Ordo Corinthius, Delineatio columna fpiralis Ordinis Compofiti, Ord.nes Architetf ura d fmpti ex Fd'adio c~ Scm- mozzio. Fig. TT T E N S IL S for Drawing. I. Explication of the Lines of the Plan and Ho- rizon, and of the Points of the Eye and ot the Diflancc. II. The Manner of delineating a Square in Perfpcctivc. III. The Delineation of an oblong Square in Perfpcctivc. IV. The Optical Delineation of a double Square. V. Plans of Squares with their Elevations. VI. The Manner of dcfigning in Perfpcctivc without oc¬ cult Lines. VII. Another Example of a Geometrical Plan and Upright put into Perfpective. VIII. The Projection of a Pedeftal in Perfpective. IX. The Architecture o {Vignola in Perfpcctivc, and fir ft of his Fedcftal of the Tufcan Order. X. A Dorick Pcdefial in Perfpective, with the Mannec of avoiding Confufion in defigning the Plans. XI* The Ionick Pedeftal in Perfpcctivc, with the Manner of avoiding Confufion in Elevations. XII. The Corinthian Pedeftal, with its Pilafters, in Per¬ fpective. XIIf. The Projection of a Pedeftal of the Compofite Order. XIV. Circles in Perfpective. XV. A Column in Perfpective. XVI. The Tufcan Bafe in Perfpective. XVII. The Dorick Bafe in Perfpective. XVIII. The Ionick Bafe in Perfpective. XIX. The Corinthian Bafe in Perfpective. XX. The Attick Bafe in Perfpective. XXI. The Tufcan Capital in Perfpective. XXII. The Projection'of a Dorick Capital in Perfpcctivc. XXIII. The Ionick Capital in Perfpcctivc. XXIV The Corinthian Capital in Perfpective. XXV. The Compofite Capital in Perfpective. XXVI. The Tujcan Entablature in Perfpective. XXVII. The Dorick Entablature in Perfpective, XXVIII- Preparatory to the following Figure. XXIX. A Projection of the Dorick Order in Perfpective. XXX. An Ionick Work in Perfpective, with the Manner of reconciling the ficticious to the folid Architecture. XXXI. The Optick Projection of a Corinthian Cornice, with the Capital and part of the Column. XXXII. The Geometrical Defign of a Cornice of the Compo¬ fite Order. XXXIII. A Compofite Cornice in Perfpective. XXXIV. Preparatory to the Thirty-fifth. XXXV. A Side-View of the Compofite Cornice in Perfpcctivc. XXXVI. Preparatory to the Thirty-feventh. XXXVII. A Tufcan Column in Perfpective. XXXVIII. Preparatory to the Thirty-ninth. XXXIX. A Piece of Dorick Architecture in Perfpective. XL. The Geometrical Plan of a Defign of the Doric Order. XLI. The Geometrical Elevation of the foregoing Defign. XLIJ. The Manner of avoiding Confufion in reducing Plans and Elevations into Perfpective. XLIIT. The Plan cf the Fortieth Figure in Perfpective. XL1V. The Elevation of the Forty-firft Figure in Perfpective. XLV. One half of the Doric Defign in Perfpcctivc. XLYI. The other half of the fame Defign. XLVII. The Plan of an Ionick Building. XLVIH. Geometrical Upright of the foregoing Ionick Defign. XLIX. The Elevation of the Ionick Defign in Perfpective. L. A Defign of Ionick Architecture. LI. A Corinthian Defign in Perfpective. LI1. The Dcfcripcion of a wreath’d Column of the Com- pofite Order. LIII. A. The Orders of Architecture taken from f slladio and Scamczzi. Modus INDEX. FI G. Modus triplex delimandi columnas [pirales, LIII. B. Teftigia xd'ficii Ordinis Corinthii, LIV. Elevatio xd’ficii Ordinis Corinthii , LV. Deformatio vefiigiorum & elevationis xd'ficii Cor in• LVI. thii. Adumbratio figura fequentis, LVII. sEdificium Ordinis Corinthii off angui are, LVI 1 1 . Tejiigia Tabernaculi off angularis, LIX. Tabernaculum off angular e, LX. Modus erigendi machinas qua conjlant pluribus ordinibus LXI. tclariorum, De rcticnlandis telariis, qux reprxfcntcnt aedificia [o - LXII. lida, Teftigia aedificii quadrati, LXII I. AEdficium quadratum, LXIV. Teftigium xdificii rotundi optice imminutum, LXV. Trojeffio xdficii rotundi, LXVI. Teftigium geometricum, ac prima prxp aratio ad figuram LXVII. feptuagejmamprimam, Elevatio geometrica vejligii prxeedentis, & fecunda prx- LXV 1 II. paratio ad figuram feptuagefimamprimam, Deformatio vejligii figurae fexagcfimxfeptimx, & prapa» LXIX. ratio tertia ad figuram feptuagefimamprimam, Deformatio elevationis figurx fcxagefimxoffavx, & prx - LXX. paratio quarta ad figuram feptuagefimamprimam. Theatrum reprxfentans nuptias Cana Galilxx, conjlrt+ffum LXXI. Roma anno 1685-, in expofitionc Ten. Sacrament}, in templo Farnefiano Societatis Jeftt, De theatris fcenicis , LXXIL Aliud veftigium theatri ; ubi de modo inveniendi ejus LXXIII. punffum, Scffio fcenarum theatri, LXXIV. Elevatio fcenarum coram infpeffarum ; ubi docetur arti • LXXV. ficium, ut fcenx obliqux apparent reff.e, Modus delineandi exemplar fcenarum, LXX VI. Modus reti culandi & pingendi [cenas theatri, LXX VII. De projeffionibus horizontalibus, LXXVIII. Trojeffiones vejligii & elevationis mutuli, LXXIX. Horizontalis projeffio mutuli inumbrati, LXXX. Stylobatx Corinthi1 horizontaliter contraffi , LXXXI. Columna Corinthi a horizontaliter deformata, LXXXII Capitella Corinthia horizontaliter contracta, LXXXIII. Coronix Corinthia, LXXXI V. Coronix Corinthia horizontaliter contraffa, LXXXV Horizontalis projeffio columnx, LXXXVI. Frxparatio neceffaria ad fequentem figuram, & ad proje- LXXXV 1 I. ffiones horizontales in laquearibus vel tejludinlbus. Horizontalis projeffio balujlicrum figurx offogefimxfept, mx, cum brevi diftantia. Horizontalis projeffio Architeffurx in laqueari quadrato Horizontalis projeffio tholi, Tholus figurx nonage ftmx, cum luminibus & umbris , Tholus off angularis, Tejligium templi Ludovifiani S Ignat ii almx urbi ’4, Orthographia templi Ludovifiani, A lix prxp.irationes ad f guras 98 & 99, Alix prxparationes ad figuras 98 & 99, Alia prxp arat io ad figuras 98 & 99, fhiadrans Architeffurx horizontalis in fornice, cum ht' minibus O ' 1 umbris. Alter quadrans totius operis. Modus reticuLtionis jacienda in tejhidinibus, LXXXVIII. LXXXIX. XC. XC!. XCII. XCIII. XCIV. xcv. XCVI. XCVII. XCVI II. XCIX. c. Three different ways of delineating wreath’d Columns. The Elan of a Defign of the Corinthian Order. The Geometrical Elevation of a Corinthian Work. The Perfpccftivc-Plans and Upright of the Corinthian Defign foregoing The rough Draught of the following Figure. Part of an Octangular Work of the Corinthian Order. The Plans of an Octangular Tabernacle. An Octangular Tabernacle in Perfpectivc. The Manner of erecting Machines that confift of fe- veral Ranges of Frames. Of making the Net-work on Frames, for reprelcnt- ing the Architecture as folid. The Plan of a fquare Defign. A fquare Defign in Perfpective. The Plan of a Circular Work in Perfpective, A Circular Defign in Perfpective. The Geometrical Plan, and firft Preparation to the Seventy-firft Figure. The Geometrical Elevation of the foregoing Plan, and fccond Preparation to the Seventy-firft Figure. The Plan of the Sixty-fevcnth Figure in Perfpective, and third Preparation to the Seventy-firft Figure. The Perfpective of the Elevation of the Sixty-eighth Figure, and fourth Preparation to the Seventy-firft. A Theater reprefenting the Marriage of Cana in Ga¬ lilee, erected in the Jeluits Church at Rome, i68>, for the Solemnity of expofing the Holy Sacrament. Of Scenes for the Stage. Another Plan of a Theater, with the Method of find¬ ing the Point of Sight therein. The Section or Profile of Scenes for Theaters. The Elevation of Scenes in Front, and how the ob¬ lique Scenes are made to appear direct. The Manner of delineating the Defigns of Scenes. The Manner of making the Net-work or Squares, and painting the Scenes of Theaters. Of horizontal Projections, The Plan and Elevation of a Corbel in Perfpective. The horizontal Projection of a fliaded Corbel. Corinthian Pedeftals in an horizontal Perfpective. A Corinthian Column in horizontal Perfpective. A Corinthian Capital in horizontal Perfpective. A Corinthian Cornice- A Corinthian Cornice in horizontal Perfpective. A Column in horizontal Perfpectivc. The Preparation neceffary to the following Figure, and to all other horizontal Perfpe&ives, whether on flat or vaulted Ceilings. The horizontal Projection of the Baluftrade of the Eighty-feventh Figure, view’d at a fmall Diftance. A horizontal Piece of Architecture in a fquare Ceiling. A Cupola in horizontal Perfpective. The Cupola of Fig. 90, with its Lights and Shades. An Octangular Cupola. The Geometrical Plan of S. Ignatius 's Church at Rome. The Orthography of S Ignatius's Church. Other Preparations to the 98th and 99th Figures. Other Preparations to the 98th and 99th Figures. Another Preparation to the 98th and 99th Figures. Fourth-part of the Architectonical Defign on the Vault of S. Ignatius's Church, with its Lights and Shades. Another Quarter of the whole Defign. The Method of drawing the Net-work on Vaults, / INIS, ; ..... .