■ 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
turc; 
 
 The Magazine 
 
 JrlutecJim^P erspM 
 
 In FIVEEARTS 
 
 - _ • - --- v_.- -_ 
 
 E HIT Er FIRST. GEOMETRICAL,.. S^hA'/l PROBLEMS 
 
 Jvr t/IlTm/t/it/ e/’ttnh.i. (In/.), //n/r.i. ///vy/'M trt/ttlar rr fimnpan/jk/M/(pn.>\ 
 mate tur of ’in. ■ IR (HI TEC "Tl RE: tie JhinSra/f frJ'trurP, 
 
 Wren ti l Columns ;.‘fctuef Capital DntiaOMontes-, ZjE Rale Columns. tint . 
 
 PilafVers. f e ^ 
 
 JJ PLAIN kat.)!/ Pirecrions./Av/y Conltrucfion A 7 /EIVE 
 
 ORDERS Cj ARCHITECTURE . net tJtyT h/mR ,y . /rr/iM.httu/lt 
 
 vatirrui. fyhnti/ej.t IcatraOli/ heaen/tti/ZtelhiuI/eiy/nirS; /han/u'ely tie 
 (nt,/r//i<triy tnautt/r //'Modules k. ///tilth / Iron til pieces /AAlndows; Ornaments 
 fbl/lcuMnya. Gap Rah fc'lhheyeJ;'Tre/t) / If&mHftJ: 5/iricA I Pedeflals frt\Itatue.j. 
 jCompartiments y/'rlhn/te.j. .///j'lh //. /et/ie.i <y htii'e/ttenR: </ tn Pioportion ci'/it 
 / te/tay rj/Rooms;ant/JJe.>/t/t/-< <y Obelifks. 
 
 |PART tie THIRD, On. tieT/DptM/iyi k Mo/uf/inly c/i/aDF-I/IJ-CInht 
 Jei't'ra/ ‘//eee/h/y Improvements, nhierein t/ic Symetry reyturit teprf.tctr </in 
 y Sfeps^Raltpaces/r./zA 7 in y7/tatu/einy Rail die t's <y Ornaments . 
 
 PART tie FOURTH .. I meat Sayy I I.r/m/t/trti.) . ■//etlwS.tz’ O eunea/i tn 
 PER SI*EC T1 YE; rd/IF:)u/tu ee/almy tr AR CHTTECTURE.yfe/ 
 a, New Manner, nhiehy ‘/ree/y^ttbj/ lan^tt.i/cn e^ (/aiit^/me-t. 
 
 {DIRT Re FIFTH. -Tic ItirR cf Human-Body t/e.terhl; trthy t/ Nature^/ 
 Morion retiedtv Geometiical Rides ;I nltte/i tt attet.ei A I/erhrn <•/ // 
 a// Beautiful! Antique Statues, tilth that'lirth teJ-crhtl, a.' . Hea.mrl 
 
 Iron me OnytnatJ ■ 
 
 ; ///, .JeeanehShet era, t myri-rr/t eai yy // Vet/t: f. 
 
 To wlncli is .Annex'd, 
 
 .In d/yhta/'e&eth t.ry/atut/itii it1/ Icr/nJ nuile line cf t/i ARCHITECTLRE 
 
 '{to/ZlOhl/Ircm t/tr ttir.tk. tyy.irrrt Htil/n\t, Anrienr /Modern ■.Dcifttrti/n/hi/. 
 dPalladio, Scamozzi /Adgnola , <y /n/tr/r a I/ctA // f/ettera/ //te /A Gentlemen, 
 Architects, Sculptors,Painters .Workmen, ty it// De/isotui (rimcctn I in Utit/Itntj. 
 
 R/ ( YUID/v/ (^r//( 2 I ARCHITECT,^/ 
 
 173 f' 
 
 WESTMINSTER. $ 
 
 Z'nnfcdft??' Ohio Author ahh/ic. q Z)hlto ir Brewers Street hi/yzt T/r/fZ /?. Z-y/a <£' B .C re ake 
 at tAo /in/A jZ/uAc m Ave MaryEan ?;iimrMZ7'Ah/j MDC7 'XXXTZI. n.&u.fcMk. 
 
Ar/7/. (f>f 
 
 'f/U'/ff of Me OJ'C/UYj/ 
 
 VAXES TIES m&Jt .A7<>//^7' 
 
 ' tAx: /vox/ L I oTr/c (hr/x ' (f 
 
 1 humbly b eg leave to lay the following’ 
 Sheets under 1 our Protection, which 1 hat e 
 prefumed, without previoufly requeuing ol 
 You fire Pavour of permitting’ me fo to do, 
 
 and 
 
 Ht t’’/r fluff? 
 
 a 
 
_ D E D I CAT l 0 N. 
 
 and making known my utmoft Ambition of prefixing Your 
 Great Name to this my Performance, as fearing that Your 
 Modefty, and conftant DecJenfion of every "Thing that 
 looks like Panegerick, or Publication of Your Virtues 
 might deprive me of that Honour. 
 
 And I flatter myfelf, it will not be entirely unworthy 
 Your Acceptance, fince the Subjedt is Arch itecr ur e; 
 which as a Divine Science, has been in all Ages of the 
 World Favour’d, Cherilh’d, and Encouraged by Divine 
 Men, the Bell: of Princes, and the Wifeft, and molt Able 
 Patriots; and in a mod: Glorious and Particular Mannner 
 bv Yourfelf, Sir, in Your Magnificent Structure at 
 Houghton in Norfolk. 
 
 Be Pleafed then, Sir, to look upon it with a Favoura¬ 
 ble Eye; YOU, whofe Indefatigable Care to keep and 
 preferve, like a True Architect, the Great Fabrick 
 of our Admirable Government in Order, and give it by 
 Your Glorious Labours, uncommon Ornament and Deco¬ 
 ration, render You the Wonder and Admiration of our 
 Age. Notwithftanding the Impotent Invectives, and Fruit- 
 lefs Scribble of Malevolents, who have the Venom of Ad- 
 ders under their Lips; whofe Pens drop Poyfon : But 
 whofe Efiential Property, like that of Envy ("their Em- 
 prefs and infpiring Goddefs) is to Pine, Languilh mid 
 Confume, before the bright Rays, and fplendid" Emanua- 
 tions of exalted Merit; and who, like certain Dome- 
 Hick Animals, with whom indeed they bear but too RriH 
 Analogy, vainly Bark aloud at the fecond Luminary of 
 Heaven; which neverthelefs moves Serenely on and is 
 Beneficient to Mankind. 7 
 
DEDICATION. 
 
 That You may Long enjoy Perfect Health and Feli¬ 
 city, and fee all Your Endeavours for our Intereft and 
 Tranquility crown’d with Succefs, lliall ever be the Sincere 
 Wilhes of him who Humbly begs Leave to be, with the 
 Greatelt Submiflion and Refpecft, 
 
 S I R, 
 
 Your Moft Obedient, 
 Molt Dutiful, and 
 
 Moft Humble Servant, 
 
 Edward Oakley. 
 
 a 2 
 
 PREFACE 
 
E F A C E. 
 
 HE following Sheets are Collefted, and Defign’d, for the 
 Affiftance and Iriftruftion of i'uch Perfons who delight in, 
 or are willing to proceed after a regular Manner in the 
 Science of Architecture. 
 
 There is no Occafion to make any Oration in Praiie of this Noble A r t ; 
 the Eftimation it bears, with the mod judicious Part ot Mankind, being 
 fufficiently known; and that it has been, and is Encouraged, studied, 
 and Praclifed, by the mod Dignified and Renowned. 
 
 We ought in a particular Manner to Celebrate the Memory ofThat Great 
 ■no Ancient Architecture (in this our Ifley Inigo Junes, 
 
 ^Uhe moft worthy, valuable and indefatigable Genius of Sir Cbriflofhcr 
 Wren- thefe have embelliffi’d the Kingdom, which with the continued 
 'r , ’ . induftrv of the Noble and truly Worthy Profeffors of this 
 
 *.«*»»«-**.*... 
 
 Honourable Lords Hrrirrr, and Bh&y, Src. w.ll leave to Potent, moft 
 Glorious Examples of the Beauty and Harmony of Import™ and 
 Decoration. 
 
 Rllt as t hP ingenious Artift and Praftitioner was oblig’d to have 
 KeLrfe to man, Volume, to find out the different 
 Science • 1 have, for their Advantage, extracted the mod Material lrecepts 
 fiom our beft Authors, and reduced them to the Eafieft Pradt.ee. 
 
 T hone the Acknowledgment I make, by Naming the Authors, from 
 whom have Eledted, will fufficiently clear me of the Imputation of a 
 Plagiary ; feeing efpecially, that 1 return to the Publick what I borrowed 
 
 of them, viz. 
 
 r„. .Up f our firft P mts I am beholden to 1 Palladio, Sc amuzzi, Vignola, 
 F Z , TcZZ, Bolfc, Le Clerc, Tozzo, and Sir Henry Wotton ; and for the 
 , , P ’ T to Alberti, Da Find, Lemams, and Audran; And as my 
 CoHedting from thele Great Men, is no more than what themfelves have 
 done from each other, for the Benefit of the Publick; I wiffi the Piefent 
 and Future induftrious Pradfitioners, and the Curious and Impartial 
 Readers, may receive a general Satisfaftion and Benefit from thefe my 
 Endeavours for their Advantage. 
 
 Eftates furvey’d, Defigns made, and Eftimates 
 
 WoArinfpcaS n meafui-ed, and Bills adjufted : And all Affairs relating to Building 
 carefully managed. By Edward Oakley. 
 
■ • ^•^♦♦♦♦♦♦^♦♦♦#4<i«*******44*<M>****<*.*****4'*<********.s _ y 
 
 THE 
 
 CONTENTS. 
 
 PART I. 
 
 Practical Geometry. 
 
 Sect. I. 
 
 To defcribe Polygons, &c. 
 
 0 erefl or let fall Perpendiculars 
 To draw a Line parallel to a given Line 
 Todivideagiven right Line into any Number of equa 
 Parts 
 
 To draw a fpiral Line about a given Line 
 To make Triangles 
 
 To make a Square upon a given right Line 
 To make a regular Pentagon upon a given right Line 
 To make a regular Hexagon upon a given right Line 
 Upon a given right Line to defcnbe any Polygon from an Hexagon to 7 
 a Dodecagon f 
 
 To make a Polygon of any Number ofSides from 12 to 24 upon a 7 
 
 given right Line. r j 
 
 To find the Center of a given Circle 
 To defcribe an Oval upon a given Length 
 To find the Center and the two Diameters of an Oval 
 7 o defcribe an Eliptick Arch by the Tramel, 
 
 To find the different ComprelTure orThruft of Arches 
 
 Plate Fig. 
 
 Page 
 
 i : 
 
 h 2 , 3 A 
 
 : 1 
 
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 2 °, 2 L 7 
 22,25,5’ 
 
 Sect. 2 . 
 
 do defcribe Arches, Ovals, & c. by the Interfettion of right Lines. 
 
 Jj O defcribe Gothick Arches 
 
 To defcribe a Segment of a Circle 
 To defcribe Eliptick Arches 
 To defcribe Ovals 
 
 To defcribe an Arch ofequal 
 Dilfent 
 
 Height to a Semi-circle but of longer 
 
 } 
 
 1 27 6 
 
 b 
 
 Sect. 
 
The CONTENTS. 
 
 Sect. 3. 
 
 To deferibe Circles, Ovals, rampant Arches, & c. by the Interfeclion of parallel 
 
 Tines, &c. 
 
 Plate Fig. Page. 
 
 I -1 0 deferibe a Circle 217 
 
 To deferibe Ovals 2: 2,4,5,6,7 : 8 
 
 To deferibe rampant Arches 2, 3 ^ £ 7, 8 
 
 The Variations of Circles, Ovals, and Rampants, between the fame Par. 2 7 8 
 
 To deferibe Gothick Arches- 3: 17 to 21: 910 
 
 T 
 
 Sect. 4. 
 
 Of Groins, and the Formation of Niches, &.C. 
 
 O find the Angle or Miter Bracket of a Cove 4 
 
 The leffer Arch of an irregular Groin being a given Semi-circle, 7 
 to find the larger Arch J 4 
 
 One Center for a Rhombus Groin being given, to deferibe the other 4 
 The Arch-Line of a Cieling, or Vault, fuppofed to be Semi-circular -> 
 being given, to forme the Curve of a leffer Arch, that flia 11 inter- C 4 
 feft the Side thereof for the Reception of Doors or Windows ^ 
 
 The Arch of a circular Wall being given, wherein a femi-circular Win- 7 
 dow is to ftand, to form a Center to turn their Arches J 4 
 
 The Center whereon the Arch of a Bow-Window is turn’d being gi-7 
 ven, to find another Center that will be parallel to it j T 
 
 To form a femi-circular Nich with Ribs 4 
 
 To form a femi-circular Nich by the ThicknelTes of Boards, isc. 4 9 ij 
 
 To form an Eliptical Nich with Rihs 4; 10,11,121 : J 
 
 To form an Elliptical Nich by thickneiles of Boards, Cfc. 4^ ’ ^.14 
 
 To make a Nich or Globe with thin Boards, &c. 4 : 17, 18 : 14 
 
 Sect. 3. 
 
 Of the Formation of tvuified Rails, &c. 
 
 '"S' O find the raking Arch, or Mould, for the Hand-rail to a cir-' 
 t cular Pair of Stairs 
 
 To prepare the Stuff of which the Rail is to be made 7 .• 2, 4 .• 15 
 
 To deferibethe Arch, or Mould, for a Hand-rail to an Oval Stair-Cafe 5 : 5,6: 1 6 
 
 To form the Arch-Mould to the Hand-Rail that fweeps two Steps, 5 : 7 to 14: 16,17 
 
 12 
 
 ir-7 
 
 I 5 = 1,3 : 
 
 J S 
 
 Sect. 6. 
 
 To deferibe Cavettds, Cima, Scotia, Eggs, Anchors, &.C. 
 
 T O deferibe Cavetto’s 
 To deferibe Cima’s 
 To deferibeScotia’s 
 
 To deferibe an Ovolo in the Shape of an Egg, and its fide Ornaments 
 
 Sect. 7. 
 
 O deferibe circular and oval Volutes, for Ionic Capitals 
 
 6 : 1,2,3,4: 19 
 6 : 5,6,7,: 19 
 6 : 891011 :19,20 
 6 12,13,14 20 
 
 7 : I to 12 : 21,22 
 
 Sec 
 
The CONTENTS. 
 
 Sect. 8. 
 
 T O detcribe wreath’d Columns 
 
 To flute Columns and Pilafters 
 Sir Henry Wotton’s Elements of Architefture 
 A Judgment in General on all the Authors cited in the Parallel 
 
 Plate Fig. Page. 
 
 S ' i, 2 : 23 
 
 1 : 1,2, 3 : 24 
 o o 25 
 
 ° o 57 
 
 PART II 
 
 A Practical Treatife on the five Orders of Architefture 
 
 To find the Height requir’d of a Statue or Figure elevated 
 Arcades of the five Orders it 
 
 A Comparifon of the two Scales made ufe of, viz. Modules and Feet 
 The Proportions of the General Heights, and ProjeCtures of the Parts 7 
 belonging to the five Orders, the Entablatures of each being; of the E 
 height ot the Column 0 
 
 Two different Profiles of the Tcfcan Order 
 A Profile of the Doric Pedeftal and Column 
 Two Profiles of the Dori Entablatures and Capital 
 A Profile of the Ionic Pedeftal and Column 
 The Antique Ionic Capital 
 Modern Ionic Capital 
 Ionic Entablature 
 
 Corinthian Pedeftal, Bafe and Shaft of Column 
 Corinthian Capital 
 Corinthian Entablature 
 
 Compofite Pedeftal, Bafe and Shaft of Column 
 Compofite Capital 
 Compofite Entablature 
 
 Impofts and Arches to the Doric, Ionic, Corinthian, and Compofite Orders 
 
 In the Orders follovoing, the Entablatures to each are J of the El 
 
 Column. 
 
 The Tvfcan Order, with Import and Arch 
 Two different Profiles of the Doric Order 
 Ionic Order 
 Corinthian Order 
 Compofite Order 
 
 Frontifpiece of the Tufcan Order 
 Ditto of the Doric Order 
 Ditto, Ionic Order 
 Ditto, Corinthian 
 
 Ruftica'ed Frontifpieces, and Columns 
 Six different Defigns of Windows ornamented 
 Two Venetian (and one Semi-circular headed) Windows 
 Mouldings (enrich’d and Plain) made ufe of to conftrucf the Orders 
 Variety of Leaves, Rofes, He. made ufe of to conftruft Capitals 
 In tercolumnatjons, and of placeing Columns and Pilafters 
 Variety ot Ballulfers 
 To diminifh Columns 
 To pitch Pedements 
 Enrichments for Freezes 
 Ionic and Corinthian Pedeftals 
 * Pedeftals for Statues, He. 
 
 Ornaments of Fretts and Flowers 
 Compartiments for Domes, Soffites of Arches He. 
 
 Ot the Proportion and Cielingof Rooms ’ 
 
 Compartiments of Pavements 
 Obelisks 
 
 b n 
 
 Plate Fig. Page. 
 
 
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 P A 
 
 R T 
 
The CONTENTS. 
 
 PART III. 
 
 • Plate Fig. Page. 
 
 A Treatife on Stair-Cafes, with the different Forms 57 o 74 
 
 Of Irregularities, and the Method to reform them 58 o 75 
 
 Three grand Stair-Cafes 59 0 7 ^ 
 
 PART IV. 
 
 Practical Pcrjpcttive. 
 
 Plate 
 
 X P LIC A TIO N of the Lines of the Plan and Horizon, Lfr. 60 
 " To delineate a Square, Oblong, or double Square, in perfpeftive 6 
 c-- rheii- F.leirations. and of def — — " 
 
 k To delineate a Square, Ublong, or flouDie square, in peripe 
 Fians of Squares, with their Elevations, and of delineating in Per. 
 
 fpeflhve without Occult Lines 
 Ditto and to defcribe Circles in Peiffpeftive' 
 
 The Projeftion of a Pedeftal in PerfpeHive 
 Attick Bafe, Ditto 
 Shaft of a Column 
 Doric Capital 
 Corinthian Capital 
 
 Doric Entablature , „ , 
 
 Corinthian Entablature, Capital, and part of the Column 
 To defcribe the Tufcan Order compleat 
 The Compofite wreath’d Column compleat 
 
 l 6a: 
 
 Fig. 
 
 O 
 
 t.2,3 
 4 5 = 
 
 Page. 
 
 79 
 
 : 80, 
 
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 6 7 : 
 
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 To find on Geometrical Bodies, the Geometrical Places of their 7 74 o 87 
 Lights, Shades and Shadows S 
 
 PART V. 
 
 On the Proportion of Human Body, &c. 
 
 L 
 
 E 0 N, Baptifta Alherti of Statues 
 
 
 Plate. 
 
 Page. 
 
 
 75 
 
 88 
 
 CL. 
 
 00 
 
 98 
 
 00 
 
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 00 
 
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 00 
 
 106 
 
 A 
 
 79,80: 
 
 107 
 
 81 
 
 to 93 ; 
 
 81 
 
 : 10S 
 
 The Proportion of a Body of Seven Heads in Height 
 A Body of Eight Heads in Height 
 A Body of Nine Heads 
 A Child of Six Heads 
 
 A Child of Four Heads , . . „ , 
 
 The Rule of the Defign of Natural Motion, i 3 c. by Leo D vmci, &c. 76. 
 
 rtn/lran on the Proportion of Human Body . 
 
 The Earnefian Hercules, is 7 Heads, 3 Parts, and 7 Minutes in Height 
 
 Ditto, Side and Back , ... ’ 
 
 An Egyptian Term, 7 Heads, 1 Part, and 7 Minutes 
 Venus Aphrodites, 7 Heads, 3 Paits 
 
 Back, and other Side of Ditto ,. s pq o Q QO 
 
 Four Views of Apollo Pythius, 7 Heads, 3 Parts, and 6 Minutes 87, 88,89. 9 ° 
 
 The Parts of the Face, of an Antique Venus, meafured in the fame Bignefs 
 as the Originals 
 
 The Parts of the Face of an Apollo, Ditto 
 
 1 
 
 92 
 
 95 
 
 PART 
 
 ■■■ 
 
 
.£♦ .£* -ji. Ms* -ij* -i* -.ij* ->> -X-* M*: -X,* -a,* Mj* MS' . -xs* -xj* -5j» ‘V "V -t/ V -*j* •*,» •*? --S’ ‘‘S’ '■‘S’ ‘S’ ’>? -'S’ ^ 
 
 PART I. 
 
 A Treatife of Practical Geometry. 
 
 Sect. I. 
 
 To defcribe Polygons, Sac. 
 
 Problem i. Plate i. Figure i. 
 
 To ereft a ‘Perpendicular upon the middle of a given right LincC 
 
 DM IT C be the point propofed in the middle of the line AB. 
 Upon the given point C, defcribe at pleafure the femicircle DE, 
 upon the points D & E, make the feftion I, from the point C, draw 
 the line demanded C O, thro’ the Section I. this line C O will be 
 perpendicular to the line given AB, and ereded upon the point 
 propofed C. 
 
 Prob. d. Fig. i. 
 
 To erefl a Perpendicular, upon the Extremity of a given Line. 
 
 A DMIT a l, the line given, and l the point or end on which the perpendicular 
 is to be railed. 
 
 From, the point b, on the line a b, make five equal divifions towards a, upon the 
 point b, with four of thofe divifions as b d, defcribe the arc f, upon the point c with 
 five divifions as b e, defcribe the arc g, from the point b thro’ the interledion/ir, draw 
 the line b h, this line b h will be perpendicular to the line a b on the end l. 
 
 Prob. 3. Fig. 3. 
 
 Another Way to erccl a Perpendicular upon the Extremity of a given Line. 
 
 D M I T e. b the given Line, and a , the point propofed. 
 
 Upon the points, defcribe the arc c f, with the radius a c, from the point c to. 
 wards f on the arc cf, make the points dke, upon the points dice, defcribe the arcs 
 g & h, from the point a, thro’ the interfedion g h, draw the line a which is the perpen¬ 
 dicular propofed. 
 
 Prob. 4. F1 g. 4. 
 
 To let fall a Perpendicular upon a given Line, from a Point ■without the Line. 
 
 A D M I T C be the point from which a Line is to be let fall perpendicular to A B. 
 
 X Upon the given point C, defcribe at pleafure the arch D E, cutting the line A B, 
 in the points D & E, upon the points D & E, make the SeQion F, draw the line C F, and 
 the line C O will be the line required. 
 
 B 
 
 Prob. 
 
9 
 
 Practical Geometry. 
 
 Part I. 
 
 Pro b. 5- Fi g. 5. 
 
 Through a given Toint to draw a Line parallel to a given Line. 
 
 L E T A be the given point through which a line is to be drawn parallel to the 
 line BC, 
 
 Draw at plcafure the oblique line A D, upon the point A, dclciibe the arc D E, upon 
 the point D, dcfcribe the arc A F, makethearc D G, equal to the arc AF, Draw the 
 line required M N, thro 1 the points A G, which is the line lequired. 
 
 Pr O B. 6- F I G. 6. 
 
 To divide a given right Line into any Number of equal Tarts. 
 
 L E T AB be the line propofed to be divided into fix equal parts. 
 
 From the point A, draw at plcafure the line A C, thro 1 the extremity B, diaw the 
 line B D,parallel to the line A C, from the points A & B, and along the lines A C & B D, 
 Carry any fix equal Parts, viz. efghik, along the line AC, rqfonr, along t te ine 
 BD, draw the lines eu, fo, gp, bq, i r, then the line A B will be divided into fix 
 equal parts at the Sedions S, T, V, X, Y. 
 
 Prob. 7. Fig. 7. 
 
 To draw a fpiral Line about a given Line. 
 
 L ET I L be the line about which the fpiral line is to be deferibed. 
 
 Divide half the line I L, into as many equal parts as there are to be revolutions. 
 
 Example to make four Revolutions. 
 
 Divide the half B I, into four equal parts BC E G I, divide alfo BC into two equal 
 arts in A, uqon the point A, deferibe the femicirclcs BC, DE, EG, HI, upon the point 
 L, deferibe the feiiiicir'cles CD, EF, GH, IL, and you will have the fpiral required. 
 
 Prob. 8. Fig 8- 
 
 To make an equilateral Triangle upon a given Line. 
 
 I E T A B be the given line upon which the triangles is to be conftrufted. 
 
 _j Upon the extreme point A, with the radius A B, deferibe the arc B D, upon the 
 extremity B, with radius B A, deferibe the arcAE, from the intcrfeclion C, draw the 
 lines C A, C B ; ABC will be the triangle required. 
 
 Prob. 9. Fi g. 9. 
 
 To make a Triangle asohofe Sides arc equal to three Lines given. 
 
 I ET A B, C, be the three lines given. 
 
 j Draw the line D E, equal to the line A A, upon the point D, with the radius B B, 
 deferibe the arc G F, upon the point E, with the radius C C, deferibe the arc H I, from 
 the interfedion O, draw the lines OE, O D, the triangle D E O, will be compoled of 
 tliree Tides, equal to the three Tides given A A, B B, C C. 
 
 Prob. 10. Fig. 10. 
 
 To make a Square upon a given right Line. 
 
 L ET A B be the given line. 
 
 Ered the perpendicular A C, upon the point A, deferibe the arc B C, upon the 
 points B & C, with the radius A B, make the fedion D, from the point D, draw the lines 
 PC, DJ 3 ; ABCDis the fquare which was to be conftruded. 
 
 f ROD. 
 
Secft. I. 
 
 'Practical Geometry. 
 
 'f 
 
 Prob. ii- F I G. 11. 
 
 To make a regular Pentagon upon a given right Line. 
 
 I ET AB be the line given* 
 
 -J Upon the extremity A, and with the radius AB, Defcribe the arc BDF, Ere£l 
 the perpendicular A C, Divide the arc, into five equal Parts IDLMB, Draw the 
 line AD, divide the bafe AB, into two equal parts in O, Ere£t .the Perpendicular O E, 
 upon the Interfeftion E, with the radius E A, Defcribe the circle A B F G H, Carry round 
 five times, the line AB, in the circumference of the circle, and a regular equiangular 
 equilateral Pentagon, will be compleated. 
 
 Prob. 12. Fig. 12. 
 
 To make a regular Hexagon upon a given right Line. 
 E T A B be the line propoled. 
 
 JL. Upon the extremities A&B, and with the radius AB, Defcribe the arcs AC, BC, 
 upon the Seftioa C, Defcribe the circle ABEFG, Carry fix times the line given A B, in 
 the circumference, and you will have a regular Hexagon A B E G F D, upon the given 
 line AB. 
 
 Prob. 13. Fig. 13. 
 
 Upon a given right line to defcribe any Polygon f rom an Hexagon to a Dodecagon. 
 
 L ET AB be a line upon which an Hexagon, Heptagon, or OHagon, U?c. is to 
 be made. 
 
 Bifeft the line A B in the Point O, •ereft the. perpendicular O I, upon the Point B 
 defcribe the arc AC, divide AC into lix equal Parts M, N, P, Q_K. Ims is to be done 
 if an Heptagon be to be made. Upon the Point C witli the interval, of one Part C M, 
 defcribe the arc MD, D will be the center for deferibing a circle capable of containing 
 feven times the line given, roe an Octagon. Upon the center C, with the interval, of 
 two Parts CN, Defcribe the ate N E, E will be the center of a circle capable of con¬ 
 taining eight times the given line AB. For an Enneagon. Take three parts CP, andfo 
 fir the rejt adding one part. 
 
 Prob. 14. Fig. 14. 
 
 To make a Polygon of any Number o f Sides from Twelve to Twenty Four, upon a 
 
 given right Line. 
 
 O C5 
 
 ET A B be the line upon which the Polygon is to be made. 
 
 J_ j Divide the arc A C, into twelve equal Parts from the Point C, take as many of 
 
 the parts of C A, as the Number of the Tides of the Polygon is above twelve. Example 
 if you would defcribe a Polygon of fifteen Tides. Upon the point C, with the radius of 
 three of thefe Parts C E, defcribe the arc EO, AC of twelve, CO of three together 
 make fifteen. Upon the Point O with the radius OB, defcribe the arc B F, Upon the 
 point F with the the radius FA, defcribe a Circumference, and it will contain the line 
 given AB, fifteen Times. Jndjoalfo fir any other Polygon. 
 
 Prob. 15. Fig. 15. 
 
 To find the Center of a given Circle. 
 
 ET ABC be the Circle propofed, whofe Center is to be found. 
 
 .L. Draw at Pleafure the right Line AB, terminating in the circumference ABC, 
 BiteCt the right line A B, by the Line DC, Bifeft alfo the line CD in the Point F, the 
 Point F will be the center of the Circle required ABC. 
 
 B 2 
 
 Prob. 
 
Practical Geometry. 
 
 Parc I. 
 
 ■4 
 
 Pros. 16. Fig. 16. 
 
 To defcribe an Oval upon a given Length. 
 
 L ET AB be the given length upon which the Oval is to be made. 
 
 Divide the line A B, into three equal parts ACDB, upon the Points C&rD, 
 with the radius C A, Defcribe the circles AEF, B E F, upon the interfe&ions B & F, 
 and with the diameter El, as a radius, defcribe the arcs I H, OP; AIHBPO will be 
 the Oval requir’d. 
 
 Prob. 17. Fig. 17. 
 
 To find the Center and the two Diameters of an Oval. 
 
 L ET ABCD be the Oval propofed whole Center and Diameters are to be 
 found. 
 
 In the Oval propofed ABCD, draw at Pleafure the two parallel lines, AN, HI, Bi- 
 fe£t the lines AN, HI, in the points L&M, Draw the line PLMO, Bileft it in E, 
 and the Point E will be the center. Upon the point E, Defcribe at pleafure the circle 
 FGQ_, cutting the Oval in F&G, thro’ the interlections F & G, Draw the right line 
 FG, BifeQ: it in R, Draw the greateft diameter B D, thro’the Points ER, Thro’ the 
 center E, Draw the leaf!: diameter A E C, parallel to the line F G, and what was 
 propofed will be effefted. 
 
 Prob. i8- Fig- 18. 
 
 To defcribe an Elliftick Arch by the Tramel , the Length and Height being given. 
 
 L ET ABCi reprefent the Tramel, the leg Ci being at right angles with the 
 head A b, in each there is a groove (as reprefented in the midft of each by the 
 ftrong black lines) for the pins e, & f, which are fattened to the rule DM, of a length 
 greater than i K, the pins e&f, mutt be fixt at fuch Diftance, that when a pencil, isfe. 
 is put thro’a hole at g, the length eg is equal to i K, the half of the bafe line of 
 the arch, and the length fg equal to iH the height the arch is to rife. 
 
 Operation. 
 
 Fix the Head of the Tramel AB, on the length of the arch KL, and the pencil point 
 g, at the point K, and the pins f & e in the grooves AB & i C, with one hand move 
 the pencil g, and with the other guide the pins f, & e, in their refpe&ive grooves, till 
 the pencil g comes to L, which will defcribe the required arch K H L. 
 
 S E C T. 2 . P L A T £ I. 
 
 To defcribe Arches, O vals , &c. by the Interfettion of f ight Lines . 
 
 Prob. 19. Fig. 19. 
 
 To defcribe a Gothick Arch reverfe by Interfcclion of right Lines'. 
 
 E T a, J, be the bafe of the arch propofed, and e, d the height required. 
 
 Draw the line e, c, perpendicular to the Line ah. from the midft e, double 
 to the height propofed e d, front the extremities a & h, draw the lines a c & 
 h c, divide the lines a c & l c each into an equal Number of equal Parts at 
 pleafure (the greater the number is, the exafter will the work be) admit 18, then if 
 
 ftreighr 
 
Sect. 2. 
 
 Practical Geometry. 
 
 ilreight lines are drawn from the Points of divifion 1,2, 3, 4, of the line a c to the 
 correfpondent points of divifion 1, 2, 3, 4, idle. of the line c b, the points of inter- 
 fedtioi? will be in the arcli required. 
 
 Pros-' 20- Fig. 20. 
 
 To dcfcribe a Segment of a Circle by Interfettion, &.C. 
 
 P R O C E E D as in the Gothick arch reverled, and the fegment will be completed. 
 
 To find the different CompreiTure orThruft of Arches according to their Height, 
 whereby the thicknefs of walls or piefs are found capable to fupport the fubtending arch. 
 Divide the Segment a d b, into three equal parts, as a f, f g, & g l, Continue the occult 
 line g l, to h, lb that b h be equal to b g, upon the point b let fall the perpendicular b k, 
 which is the infide of the wall required, thro’ the point h draw the line i l parallel to b k, 
 and b i is the thicknefs of the waif or peer required. In the lame manner proceed for 
 any other arch, as Fig. 21, 22, & 25. or any other arch propofed. 
 
 Prob. 21. Fig. at. 
 
 To dcfcribe an Ell ft ick Arch to any Width or Height propofed. 
 
 I E T a b be the width, upon the points of extremity a and b, raife the perpendiculars 
 J ac and b d equal to the height propofed, draw the line c d parallel to a b, divide the 
 line c d in half at e, divide ac&c b d, c eked, each into the fame number of equal parts, 
 and draw the correfpondent interfering lines, according to the 19th Problem, and the arch 
 a e b will be deferibed. 
 
 Prob. aa. Fig. aa. 
 
 To dcfcribe the Gothick rlrch by Intcrfedion of right Lina. 
 
 T E T a l be the width, and f e the height propofed. 
 
 -Li Upon the extremities a k b, ereft the perpendiculars a c k b d, each equal to half 
 the height propofed, / e , draw the lines e c k e d, divide a c and b d, e ck e d\ each into 
 the fame number of equal parts, and draw the correfpondent interfering lines as before 
 direred, and the arch a e b will be delcribed. 
 
 N. B. If the Arch is required to be quicker or flatter on the Hanfe, it is but lengthening 
 or fbortening the perpendicular lines ac k b d. 
 
 Prob. 23. Fig. 23. 
 
 To dcfcribe the Gothick Arch rampant. 
 
 D RAW the occult line a g, the horizontal width of the arch required, on the middle 
 at f raife the perpendicular f e, upon the points a & g raife the perpendiculars a c 
 Sc g d, make g b equal to the height of the ramp, and draw the line * i, make h e equal 
 to the height of the arch required, and ackbd equal each to the half of h e, draw the 
 
 lines ce&ced, divide a c&cce, edkdb, each into the fame number of equal parts, draw 
 
 the correfpondent interfering lines as before direred, and the arch required will be deferi- 
 
 Pro b. 24.. Fig. 24. 
 
 To defcribe the Elliptical Arch rampant. 
 
 RAW the occult line a f, on the middle at.?, raife the perpendicular <r A , mn „ 
 
 *-Vl£UUWU W ill WC1UUUCU* 
 
 c 
 
 Prob. 
 
Practical Geometry. 
 
 Part I. 
 
 Prob. Fi g. 2 
 
 To defenbe the Gothick Arch reverfe another Way. 
 
 D R AW a b equal to the bafe intended, and c d parallel to a b, and of diflance equal 
 to the height of the arch required, and in length equal to the half of a, b, and pro¬ 
 ceed as for Fig. 21, and the arch will be completed. 
 
 P R. 0 B. l6. F I G. 26 & 30. 
 
 To deforibc an Oval. 
 
 T - 'FI E Tranfverfe and Conjugate Diameters being given, and bifected in the middle 
 at right angles, proceed as by Fig. 21. and the Ovals required will be deferibed. 
 
 Prob. 27. Fig. 27. 
 
 lo dcfcriie an Arch of equal Height to a Semi-circle, but of a longer ‘Dijlcnt. 
 
 A DMIT c g d to be a Semi-circle, and a l the length required for an arch to rife, e- 
 jlX qual to the fcmicircle- draw e f parallel to a l, make e f equal to c il, and proceed 
 as for Fig. 25, and the arch required will be completed. 
 
 Prob- 28- Fig. 28. 
 
 To defenbe an Oval Jninller at one End than the other. 
 
 T ET the Tranfvcrfc and Conjugate Diameters be given, as a b St h g, and bifefting 
 ■*-' each other in the middle, draw ec and f d parallel to h g, make f d, equal to three 
 fourths of h, g, thro’ the points fh&tdg draw the lines fehdc , and proceed as in Fig. 
 26 and 30, and the Oval will be deferibed which was required. 
 
 Prob. 29. F i o- 29. 
 
 7 0 defenbe an Oblique Oval. 
 
 \ DMIT at, tie, e f & fl to be the Tides Of a Rhomboid, within which Is to be 
 inferibed an Oval. 
 
 Draw tlie Tranfverfe Diameter c-d, parallel to a l & e f, and the Conjugate Diameter g h 
 parallel to a eSc bf, and proceed as in Fig. 26, 2S, or 30, and the Oval required will be 
 deferibed. 
 
Sed, 3. 
 
 Practical Geometry. 
 
 7 
 
 S E c T. 3 . Plate 2 , 
 
 To deferibe Circles , Ovals, Rampant Arches , &c. iry the Jnter- 
 feclion of parallel Lines , to defer ibe an EUipfis : To defer ibe 
 Ovals, Rampant and Gothick Arches, generated by Segments 
 of Circles. 
 
 Pros. i. Fig. i. 
 
 To deferibe a Circle by parallel Lines. 
 
 D ESCRIBE the fquare leg n, equal to the Diameter of the Circle propofed, 
 Draw the diagonals b og & e'o ?/, draw the diameters i, o, 3 & 4, 0,2, thro’ 
 the interfeftion o, and at right angles with n l &( ng, divide b 4 Sr 4 7/, n 1 8c 
 1, 9, each into two equal parts, by the lines dy, 1 0, f r, l q, at right’angles 
 with each other, upon each angle of the fquare, on the Tides fet 1-15 of the diameter, 3 as 
 la, be, life. thro’ which draw' the lines af c m , v vc, a gif, upon each angle on each dia¬ 
 gonal fet 1.7of their length keg, or e 0 ,,, as 5, 6, 7 , 3, thro’ the points 1 , l,\, 0 2 
 fy %■> 3 ) h 73 by 4> t, S, ky 1, Trace the Circle defired. 
 
 P R O B- 2. F I G. 2. 
 To deferibe an Oval. 
 
 D ESCRIBE the Oblong l e, & e g, equal to the Tranfverfe and Conjugate DiameJ 
 ters, and proceed as in the former, and the oval required may be traced. 
 
 P r o b. 3. Fig. 3. 
 
 To defenbe a Lamp ant Arch. 
 
 r HE Bafe .4, 0, 2, being given, raife the perpendiculars 4, l, & 2, e, equal to the 
 height of the intended arch, draw the line b e parallel to the bafe, and proceed as 
 in the former, and the arch will be deferibed. 
 
 Prob. 4. F I g. 4. 
 
 To dejenbe an Actual EUipfis. 
 
 T ET the Tranfverfe Diameter 4, 0, 2, and the Conjugate Diameter 3, 0, 1, be given 
 1 bifefting each other at right angles. J ’ 
 
 With the Interval 0, 4, upon the point 3, on the line 4, 0, 2, make the points d, b, in tha 
 points d 8 c b fix two pins or nails, C?c. then with a firing encompafs d b 3, and by turning 
 this firing ]d b, of equal force about the points d b, in fuch manner that its Tides remain 
 bent, will deferibe the EUipfis 3, 2, 1, 4, 3. 
 
 Prob. 3. F 1 g. 5. 
 
 To deferibe an Oval at opening of the Compafs. 
 
 A DMIT 4, 0, 2 to be the Tranfverfe,and 3, 0 ,2 the Conjugate Diameters given. 
 
 With the Interval 0 , 3 or 0, 1, on a, 4 and 0, 2, make the points 0 d and 0 b, draw 
 the line 3, 2, and from the point 3 raife the line 3, 5, perpendicu'ar to 3, 2, to interlefl: 0, 4, 
 and the interval 0, 5 will be the diameter 4 d and 2 b, to deferibe the fmall arches 6, 2, 7, 
 
 C 2 and 
 
Practical Geometry. 
 
 Purr I. 
 
 8 
 
 and S, 4, 9, make 3, c, equal to d 4, and draw the line c d, divide cd in the midft by 
 the perpendicular e a , and where it interfefts 3, <7, draw the line a d g, and with the inter¬ 
 val a 3, deferibe the arch 7, 3, 9, and do the like for that below, and the oval will be de- 
 feribed. 
 
 Pros. 6. Fig. 6. 
 
 To deferibe an Oval another tVay. 
 
 O N the line 0 3, make the point c at pleafurc, with the interval 3, r, from 4 to 0 make 
 the point d, and from 2 to 0 make the point l, which will deferibe the arches 6,2,7, 
 and 8,4, 9, draw the line c d, which interfeft at right angles by e, a , and from the inter- 
 (e£iion3,ff, thro’ the points d, b, draw the lines a, d, q, ahd ajh, 7, and with the interval 
 a, 3, ddcribe the arch 7, 3, 9, and do the like for that below, and the oval will be genera¬ 
 ted. 
 
 Frob. 7. Fig. 7. 
 
 To deferibe the Variations of Circles , Ovals and Rampants between the fame 
 
 Parallels. 
 
 V I Z. in, M, C, and H, b> V, are Parallels, r, o,t ; TOR; N, O, P, are the Tranf- 
 verfe diameters of the Oval and diameter of the Circle; X,O, V 5 the Conjugate 
 diameter of the fmall oval, and a, 0, x, and 1, 0, 2, the Conjugates of the two Ramps, Hi 
 K R M 0 H, and w, u, K, P, h, 0, m, are equal to one another on each fide K, k. 
 
 Pros. 8- Fig. 8- 
 
 To deferibe a Rampant Arch between the Parallels H, F, and M, C, and from 
 
 Three riven Points. 
 
 L E T the points given be H, K, M, Draw the line H, O, M, on the middle at O dtaW 
 the perpendicular 0 K, parallel to H F and M C, draw the line F K C, parallel to 
 H O M, draw the line F O, make the point F x equal to 2.7 of F O, draw a line from x 
 to H, bife£t x H at right angles by 5, A, raife a perpendicular from F H, on the point H 
 and the interfeftion on the line 5, A, will be the center to the arch H, x, 2. From the 
 point A, thro’ the point M, draw the line A, 2, on the line C M on the point M raife the 
 perpendicular M B, make M B equal to H A, and from the point A draw a line to the 
 point B, which will give a enjugate diameter t,r. Bifeft A, B, in the midft will give a 
 Tranfverfe diameter T, O, R. The Interfeftioo of T, R, and A, 2, will be the center of 
 the fmall circle to deferibe the arch 2 K R V, draw a line from B thro’ the interfeftion L, 
 which will determine the arch 2 K R V, and the center B with the interval B V or B M 
 complete the ramp at M. 
 
 Plate 3. Prob. 9. Fig. 9. 
 
 Another Way to deferibe a Rampant Arch between Parallels. 
 
 T HIS differs not fora the former, except in finding the conjugate diameter t,0, r, 
 which is found by bifefting at right angles HK, by the perpendicular SA, which 
 interfe&s K A and H A, at the point A, A K is equal to A H, with the interval A K or 
 A H deferibe the arch KtH, upon the interfeftion L with the interval L K, deferibe the 
 arch K R V, and with the interval B V, deferibe the arch V M, which compleats the 
 ramp intended. 
 
 P RCi: 
 
 mam—mm 
 
hect. 4. 
 
 Practical Geometry. 
 
 9 
 
 Prob. 10. Fig. io. 
 
 Another Way to deferibe a Rampant Arch. 
 
 r T~'H IS is performed by the fame method as Prob. 8. the difference is in Bifefting * K 
 X at right angles by S A, interiefting K A at A, the point 2 is on the contrary fide of 
 K to that of Fig. S. fo that the fmall arch 2 R M beginneth at the point 2, and terminates 
 at M, (the line S A does not interfeft the horizontal lines H r and M F at the centers A 
 and B) H 11 is made with the interval V M of the arch V M R 2. The Tranfverfe diame¬ 
 ter T O R, bifetfs the horizontal lines H r and M F. The centers for fmall circles are L /" 
 and the intervals to deferibe them are IHorLj. KAis perpendicular to the line F KC 
 K A is the interval to deferibe the arch FI u t K 2. 
 
 Prob. 11. F 1 g. 11, n, 13 & 14. 
 
 To deferibe Rampant Arches. 
 
 I H E S E Rampants ale generated on the foregoing principles, and therefore needs 
 not a repetition of defeription ; they are the more perceptible by bein<* all deferi- 
 bed by Letters, and with the fame Letters and Figures as the former; only obferve Fie 1 
 at plealure make t x equal to H L, and bileft L a by S A, and upon the center A deferibe 
 the great arc 11, t , V. 
 
 Prob. 12. Fig. 15. 
 
 To deferibe a Rampant Arch another Way. 
 
 T O find the Tranfverfe and Conjugate Diameters is as in the foregoing. To find how 
 to deferibe the circular part V K u to join the fmall circles FI u and M V in the 
 
 points 11 and on the Diagonal F O, make the point x equal to 2-7 of F O bileft the in 
 terval K .r by S A, and the interfeftion A on the line t A by the line S A, is the center to" 
 deferibe the arc x. K ,y, on the arc K, .v, at pleafure mark the point N, draw the line ’ T \ 
 
 *~\ 1 r-i »- XT mel-n XT „1 a . ~ TT T TV » 1" __ *1 
 
 ! '7 °f F O, bileft the in- 
 ine S A, is the center to 
 
 on the point N, make N, 2, equal to H L. Draw the line 2, L, bifeft 2 L 
 
 by S B, and B the Interfeftion of S B on N, A, will be the center to deferibe N ■ 
 L is the Center to deferibe n H, the fame is to be obferved on the other fide of thi 
 gate Diameter t, r, and the arch required will be completed. 
 
 Prob. 12. Fig. 16. 
 
 To find a Rampant Arch between Lines not Parallel. 
 
 R OC E E D to find the Tranfverfe and Conjugate Diameters as by the foregoing Pro¬ 
 blems, and the reft may be completed as by Infpedion, the fame Lines and Figures 
 
 p- made life nf as hercmfntvA ° 
 
 Prob. 14. Fig. 17. 
 
 7 0 deferibe a Gothick Arch on a Line 
 
 given. 
 
 D M I T AB, the given line, on A with the Interval A B, deferibe the 
 
 arc B, d. j up- 
 
 c 
 
 Prob. 14. Fig. 18. 
 
 To deferibe the Gothick Arch another Way, 
 
 DMITAB the line on which the arch is to be deferibed. 
 Divide A B into thtee eoual narts at the nnintQ C' ani 
 
 into three equal parts at the points C, and D, on the point C with 
 
 with 
 
I o Practical Geometry. _ l 3 art 1. 
 
 the Interval B, defcribe the arc B, f, upon the point D with the Interval A dcfcribe the 
 arc Ag, and the Interlcclion E will complete the arch lequited ABB. 
 
 Prob. 15. Fig. 19- 
 
 To dcfcribe the Gothick Arch another Way. 
 
 A DMIT A B the line on which the arch iB to be defcribed. 
 
 Divide A B into three equal parts at the points C and D, from the points A and 
 B let fall the perpendiculars A E and B F equal to A D and B C, Ihro’ the points F C 
 and F, D draw lines of length at pleafure, on the points C and D with the Interval A C 
 or D B defcribe the arcs A G and B H, Upon the points E and F with the Interval E II 
 or F G defcribe the arcs H K and G L, and the Interfeftion will complete the arch re¬ 
 quired, A, G, I, H, B. 
 
 Prob. 16. Fig. so. 
 
 To dcfcribe the Gothick Arch another Way. 
 
 D IVIDE A B ito three equal parts at C and D, upon the points ACDB, with 
 the Interval A D, defcribe four arcs, and thro’ the Interfeftion E and the point D 
 draw the line E D H, thro’ the nterfeftion F and the point C draw the line F C G, upon 
 the points C and D with the Interval CAorDB defcribe the arcs A G and B A, and up¬ 
 on the points of Interfeflions E and F defcribe the arcs H K and G L, and the Interfe&on 
 I will complete the arch required, A G I H B. 
 
 Prob. 17. Fig. 21. 
 
 Another Way to dcfcribe a Gothick Arch. 
 
 D IVIDE A B into five equal parts, upon the points A, C, D, B, with the Inter¬ 
 val A D defcribe the four arcs, and proceed as before, and the arch required will 
 be completed- 
 
 S E C T. 4. P L A T E 4 . 
 
 To defcribe the Angle or Miter Arch of regular or irregular 
 Groins. To defcribe a Center for a Semicircular Window 
 in a Circular Wall, of the Formation of Niches, &c. 
 
 P r o b. 1. Fig. i. 
 
 To find the Angle or Niter Bracket of a Cove. 
 
 D RAW the Bafe A B, upon A draw A D at right angles and equal to A B, draw 
 the line D B, continue the line D A to C, make AC equal to A B, upon the 
 point A with the Interval B defcribe the arc B C, upon the points B D draw 
 B E and D F at right angles with the line B D, and equal to A D or A C, draw 
 the line F E. Divide A B into any number of equal parts, (the greater the number is, 
 theexafter will the work be) and thro’ the divifions of them draw lines parallel to A C 
 and on the arc B C, continue them to the line B D, from the divifions on the line D B, 
 draw lines parallel to D F and B E, make the perpendiculars on D B equal to thofe 
 
 on 
 
Sett 4. 
 
 Practical Geometr 
 
 > 
 
 It 
 
 on A B terminating in the arc B C, thro’ the points on the perpendiculars from B D de- 
 fcribe the arc F B by a bended rule, gjfc. which will be the Miter required. 
 
 Prob. a. Fig. a. 
 
 If the leffcr Arch of an irregular Groin he a given Semi-circle, it is required, to 
 form a larger one, (not a Sejm) jo that the Interfedion of the tarn Arches 
 Jloall make the Groms from the Angle hang perpendicular over its Safe. 
 
 A DMITABCDtobe the fpringing Walls upon which the arches are to be raifed 
 and A E C the given femicircular Arch. * 
 
 Draw the line B C, continue the lines A C to I and B D to K, on B and C raife the Der 
 pendiculars B O and C N, make B K, A I, C N and B O each equal to the height of the 
 gtven Semicircle, as F E. Draw the lines K I and N O. Divide A C into any Number 
 of equal parts, thro’ the Divifions on A C draw lines parallel to A B and C D terminal' 
 in the femicircle A E C and on the Diagonal C B, from the points on C B raife pernendf 
 culars parallel to C N, and B O, and to B K and A I, and the lines L M and a H will he 
 equal to F E, make the lines on each fide of L on B C, and on each fide of x on A B mn .l 
 in height to the correfponding lines on each fide of F on A C, thro’ which'points Defi rfh 
 the arches A H B and B M C which are the Arch and Groin required. JV. B The Arrh 
 B, M, C, ferves like wife for the Diagonal D, A. IC1 
 
 Prob. 3. Fig. 3. 
 
 Having one Center given for an Rhombus Groin, to Befcribe the other that 
 the Interfedion fhall cdnftrud the Miter Arch, perpendicular over the Bafe * 
 
 yy AW the Diagonals A D and B C admit A F B to be the Center given, proceed as 
 
 tilSSr ■“ «* <&* iihd ts 
 
 P R O B. 4. F I G. 4; 
 
 The Arcbdine ofa Ctcling or Fault, fuppofed to he femicircular, being given . 
 l o firm the Curve of a leffer Arch, that JhaU mterfed the Side thereof for 
 the Reception of Boors or Windows, fo that their Interfidion Jhall pj uce 
 
 the Grom to hang perpendicularly over its Bafe, alfo to form the Cur 
 thereof. - 
 
 ve 
 
 A DM 1 TABCD to be the angles of the fpringing Walls. 
 
 1 ^ De(bribe the Semicircles A O B and C L D, on the fide B D let off r j 
 the interfering arch V t, upon the points V and t raife the perpendiculars V , an K ° f 
 qual to the intended height of the interfering Arch draw the line r „ 1 'A d ’ E ' 
 middle at z, draw z y parallel to r V and u t pro ! " r f'' U * ln the 
 
 on the fine A B at the' point g fet the he ^ t /y o he L 1 B O lat 7 * 
 
 duce h g till it intetfeft z y at the point x/from the point xdlS f he ,in ^ ^ 
 the points x and t, raife the perpendiculars x w and t fLual tog h draw heT X V ’ f ^ 
 B g into any number of equal parts. Thro’the divifions on B L draw n • w ^divide 
 arc B h and the line x v, from the divifionary points on the fine x v h i "r “ S J h ° n t!)e 
 on V y raife perpendiculars to z r and para.l/to yz Z t raife on V !S ’ 
 equal parts on ytandtx perpendiculars parallel to yz tu’andt Vu krl numb f °F 
 the lines from B g to the arc B h nnnn t-h- ,■ i ’ x w9 t ^ en gth of 
 
 D 2 
 
 Prob. 
 
IZ 
 
 Practical Geometry. 
 
 Part [. 
 
 P RO B. $• F I G. 5 . 
 
 The Arch of a Circular Wall being given, wherein a Semicircular Window is’ 
 to fund ; to form a Center to turn their Arches. 
 
 A D MIT A F B to be the given arch of the cirSular wall deferibed by the Center E. 
 
 From the Center E, raife the perpendicular E F, at right angles to A B, equally on 
 each fide E F on the arch A F B, fet the width of the window propofed C D, draw L M 
 parallel and equal to C D, divide L M at N, upon the point N with the tnterval L or M 
 deferibe the Semicircle L O M, divide L N into any number of equal parts produce E F 
 thro’ the point N to O, from the points of divifion on L N draw perpendiculars parallel to 
 E O, and bounding on the arcs L O and C F, from the point F draw F G parallel and e- 
 qual to H D, draw the line H G. Continue the line H E to I equal to H G, on the point 
 C let fall the perpendicular C K equal and parallel to H I, draw the line I K, divide H C 
 into an equal number of equal parts to the line L N, from the points of Divifion on H C. 
 draw lines to I K parallel to HI and C K, from the divihonary points on the arc C F as 
 continued from L N draw lines parallel to C D and equal to the correfponding lines on the 
 line L N to the arc L 0 , from the divifionary points on C H, draw right lines to the ex¬ 
 treme points of the lines from C F, fet the length of the lines from C H to the lines from 
 the arc C F, on the line H C to the line IK, as H I is equal to H G 2nd fo on towards C, 
 a nd thro’ the points fet off on the lines from H C towards I K deferibe the arc C I, which 
 when fet in its due pofition, will hang perpendicular over the arch C F. 
 
 Prob. 6. F 1 G. 6 & 7. 
 
 The Center whereon the Arch of a Bow-window is turned being given, to find 
 another Center that will be parallel to it, according to the upper Edge of the 
 Surface of the Arch. 
 
 TAESCRIBE B K C by the laft Problem, fet the width or flat furfece of the arch from 
 L J B jo A and from C to D, draw the lines A D and B C, divide them in the midft 
 at E F draw’the perpendicular of length at pleafure to H, in any convenient place (Fig. 
 x draw a line at pleafure, as AG, upon the point A raife the perpendicular AF, then 
 p T in (Fm 6.) and fee it from A to B (Fig. 7.) and E F from B to C, take the Semi- 
 diameter B E or E C (Fig. 6 ) and fet it from A to D (Fig. 7.) alfo take A B or C D (Fig. 
 6 V and fet it from D to E (Fig. 7.) and draw the line E C, upon the point F with the 
 length C E on the line I H make the point g. Take the width of the flat furface of the 
 rch A B or C D, and fet it on K to 7 on the line E H, and divide the remainder from 7 to 
 2 "to feven equal parts, divide the arch B K into feven equal parts take K 1, on the line 
 F H upon the point 1 on the arc B K with the interval K 1 deferibe the arc 1 at pleafure; 
 with the interval K 2 on E H, upon the point 2 on the arc B K deferibe the arc 2, alfb 
 take Kt K 4 K 5 and K 6, feverally, and deferibe the arcs 3, 4, ^ and 6 ; divide on 
 thofe arcs from A tog in feven equal Divifions, and thro’the points of thofe equal Di- 
 vifions, according to Prob. 1. deferibe the arc A g, and in like manner may be drawn the 
 arc D g, which completes the arch-line required. 
 
 Of the Formation of Niches. 
 
 Prob. 7- F 1 g. 8- 
 
 To form a Semi-circular Nich with Ribs, as is ufual when it is to be plaiftercd. 
 
 D ESCRIBE the Semicircular Plate ABC, and the femicircular front-rib A D B 
 equal to A B C, fix the plate A C B level in the place where it is to continue, up- 
 
irecL 4. Practical Geometry. 13 
 
 ton A B fet the front-rib A D B perpendicular, defcribethe Quandrantal Ribs, DC, DEj 
 D F, D G, and D H, each equal to A D, or B D, and at a convenient diftance on the Plate 
 A C B, and at C, E, F, G and II, fo as to meet in one point at D on the Crown of the 
 front-rib A D B, which linilTieth one half of the work ; and after the fame manner the 
 left may be completed. 
 
 Prob. 8- Ft g, 9. 
 
 To form a Semi-circular JSlich by the Tbickncffes of Boards, or Blanks, and to find 
 the Bevels to each Thichiefs. 
 
 D ESCRIBE the Semicircle on the front of the Nich A D B, divide the height e D 
 into equal parts, according to the thicknels of the board or plank of which you de- 
 fign to make the nich. Defcribe the thieknefs from whence the Bevels are taken, and draw 
 lines at the end of the prick’d lines in the example; take the prick’d line i, 2, in your 
 compalles, on the under fide Of the board or plank of which you defign to make the firffc 
 thieknefs, defcribe a Semicircle from 1 equal to A D B, the Semi-diameter being equal to 
 the prick’d line 1, 2. Strike a fquare ftroke on the edge from 1, to find the center for the 
 femicircle on the upper fide of the firft Thieknefs, as at 3, take the prick’d line 3, 4, upon 
 the point 3, defcribe the femicircle whofe femi-diameter is equal to the prick’d line 3,4, an 
 Arch being deferibed on each fide of the firft thieknefs, with a narrow turning faw cut di- 
 feftly thro’the arch line on each fide of the board, or plank, and fb you will have the 
 true Bevel and Curve thereof. To defcribe the bevel of the fecond thieknefs, defcribe the 
 femicircle laft drawn on the under fide theteof, as you did on the upper fide of the firft 
 thieknefs, 3, 4, being the femi-diameter. Strike a fquare ftroke from 3 on the edge of the 
 board, or plank, to find the Center for the femicircle on the upper fide of this fecond thick- 
 nefs, upon the point 5 with the Interval 5,6, on the upper fide of the fecond thieknefs de¬ 
 fcribe the circle, whofe femi-diameter is equal to 5 ,6, with a turning faw cut thro’ the 
 two arches in the firft thicknels, and the arch-line and bevel of the fecond thieknefs n be 
 given. To find the arch-line and bevel of the third thicknels, you are to procee' n 
 the firft and fecond thicknels, and fo of the others. Having your thieknefs all ready, ac - 
 ding to their true arches and bevels, fet them in good and well made glue, letting it ftand 
 till it be quite dry, and with a compafs fmoothing plane, a little quicker than the arch of 
 the work, plane the infide thereof till it be fit for the purpofe defign’d. 
 
 Prob. 9. Fig. to, 11, 12. 
 
 To form an Elliptical Nich by Ribs for glaificrbig, Sec. 
 
 D ESCRIBE Fig. It. the plate on which the ribs are to ftand, K, n, m, being a 
 Semi-ellipfis equal to A D B or A e B, the prick’d lines In, 1 o, 1 p, 1 q, 1 r and 1 m 
 feprefents the bale lines of the ribs De, D f, D g, D h, D i and D B. Defcribe Fig. 12, 
 the lines st, su, s v, s w, s x and s y, are bafe lines, and the perpendiculars a r, b u, c v, 
 d w, ex and fy, reprefent the rifing of the ribs e D, f D, g D, h D, i D and B D, which 
 is equal in length to C D; obferving, that within thofe lines the different arch of each rib 
 is to be deferibed, viz. the arch s a is a Quadrant of a Circle, having t for its center, and 
 is equal to the arch of the rib e D. The lines us, s z, equal to z b, b u, aretheSemi- 
 tranlvei fe and Conjugate Axes of a Semi-ellipfis, whofe arch sb is equal to the arch of the 
 rib f D, which may be deferibed either by the Tramel or Interfe&ion of lines. The lines 
 s z, s v, equal to v c, c z, are the Semi-tranverfe and Conjugate Axes of a Semi-ellipfis, 
 whofe Arch is equal to the Arch of the Kib g D, and fo proceed for the reft. 
 
 Having the Ribs all ready, fet the front-rib A D B perpendicular on the Plate A e B, as 
 at A B, and fix the feet of the fhort ribs on the plate A e B, as at e, f, g, h, i, which cor- 
 refpond with the points n, o, p, q, r, and their points a, b, c, d, e, to the crown of the 
 front-rib at D; and thus may the intended work be completed. 
 
14 
 
 practical Geometry. 
 
 Part I. 
 
 Pros. io. Fig. 15,14,15,16. 
 
 To form an Elliptical Nich lj/ the Tbickncjfcs of Boards , or Thinks. 
 ESCRIBE the Figures 15, 14, 15 and 16, according to foregoing Problems. 
 
 A. J The Arch ABC and f gh being Semi-ellipfcs equal to each other. The arch 
 1 n is a Quadrant of a Circle, and the arch O P is a Quadrant of an Ellipfis, being the two 
 mod different arches of the Nich. The arch f g h reprefents the firft Thicknefs, and is e- 
 qual to A C D. The perpendiculars m n and g p are equal to e B, and the Bafe-line 1 m 
 is equal to i g. The Bafe-line o g is equal to i k, whole arches, 1 n, o p, with their Be¬ 
 vels, do ftand perpendicularly over i g and i k. On the under fideof the board or plank of 
 which you deflgn to make the fir ft thicknefs, deferibe a Semi-Ellipfis equal to A D C, or 
 f g h, wliofe Semi-tranverfe Axis is equal to the pritk’d line 1, 2, and femi-coniugate to 
 1,5; then at 1, ftrike a fquare ftroke on the edge of the board or plank, to find the middle 
 of the bafe to the Elliptick-arch on the upper fideof the firft thicknefs at 4, wliofe Semi- 
 tranverfe is equal to the prick’d line 4, 5, and femi-conjugate equal to the prick’d line 4,6, 
 by means of which deferibe an Elliptick-arch on the upper fide of the firft thicknefs; then 
 by means of thefe two Elliptick arches, deferibed upon the upper and under fide of the 
 piece, with a turning law, faw out the curve and bevels of the firft thicknefs, to find the 
 arch and bevels of the fecond thicknefs on the under fide of the board, or plank, of which 
 you defign to make it, deferibe an Elliptick-arch equal to that on the tipper fide of the firft 
 thicknefs, wliofe femi-tranverfe and femi-conjugate Axes are alfo equal to the prick’d lines 
 4, 5, and 4, 6. Then from 4 ftrike a fquare ftroke on the edge, to find the middle of the 
 Bafe-line to the arch on the upper fideof the fecond thicknefs, wliofe femi-tranverfe is 
 qual to the prick’d line 7, 8, and femi-conjugate equal to the prick’d line 7, 9, and with a, 
 turning law as before, faw out the arch and bevels thereof; and fo of the reft. 
 
 Prob. ii. Fig. 17 & 18- 
 
 To make a Jshich or Globe with thin Boards , or to cover them with Taper of 
 
 Tttflebottrd. 
 
 , A DMIT a f 1 , Fig. 17. to be the Plan of a Semi-circular Nich, and c e f d, Fig. 1$, 
 -ZT\. to be the board, paper, or pafteboard of a given width c d or e f. 
 
 Divide the Semi-circle a f 1 , into equal divifions, according to the breadth of Fig. 18.' 
 as ab, be, cd, de, eg, g h, hi, i k, and k 1, draw the lines bu, cu, d u, gu, h u, 
 iu, ku, and let fall perpendiculars on the line a I, from the points b, e, d,- e, g, h i k. 
 Upon the Center u, with the Intervals m, o, r and t, deferibe Semicircles, let the Girt 
 of the arch a f, orfl, on the board, tfc. Fig. 18. as c a and d b, which divide into fo 
 many equal parts as there are Semicircles in Fig. 17. Divide Fig. 18. in the midft, as by 
 the line u w, take the arch a b, and fet it in equally on each fide the line u w, as at a b 
 fet the arch m n, in like manner on u w as at m n, and fo on to t s ; then by flicking in 
 fmall tacks at the points a, m, o, r, t and u, on the one fide of u w, and at the points b, 
 n, p, q rnd ;, on the other fide u w, by applying a thin ruler from a to u, and b to u, the 
 Curve-lines on each fide will be given, which may be deferibed by a Pencil, £sV. which i", 
 the true Mold for every piece in a Globe or Nich which was required. 
 
Sect:, ^ ^ _ Practical Geometry, 
 
 
 Sect.' Plate $*. 
 
 0/" /Zt Formation of Twifled Rails. 
 
 Prob. i. Plate 5. Fig. i Sc 3 . 
 
 To find the „hi, g Arch, „ Mold, for tbo Hood-RoU „ . Oradar T.ir of 
 
 Z’/.&ZI. m " M - «• a* / 
 
 • numbcr of ec i ual p«» as you would have Heps once found SecTl 
 
 example, divide the Semi-circle into fix, as A, B, C D E F r ^ ^ ^ 
 
 Take the back or rake of the Bracket C F Fig. ?. and nnnn’.l ’ ’ G - 
 
 terval C F defcrifae the arch h. Take the height of one fef A ^ ^ ^ 
 
 the interval A C defcribe the arch i; with the interval A h ,mn u F ’ S '. 3 ' Up0n B with 
 arch k, with the Interval equal to the height of two Heps won th!* dercHbe the 
 
 arch 1 , to interred the arch k, and fo on. ’ P 16 point C defcribe the 
 
 Hanc 
 
 Theinterfeaing points of thearcheshi, k 1, „ o, p q , ts, andtu, are all 
 
 at equal df- 
 and 
 
 ce to each other, and each equal to the back or rake of’thfh t 3t EtJUa 
 
 the lines Bh, Ck, On, E p, Fr! and G t, equalto theS e4dl ^ ~~ 
 
 Fig. 3. B h being the height of one ftep, Ck of two Dn oftbT e 'S hts of the Heps, 
 five, and G t of fix ; raife thefe lijnes perpendicular on the circle n r : P .° f four > F >' ° f 
 the point of interfedion of the arches h and i, will Hand perpend; , , ' S eVldent tha t 
 B; of the arches k 1 , overC; of the arches n o, over D ■ oftllf the P oin£ 
 
 archesrs, over F; and of the afches t and u, over G if nails hT ? ?’ 0Vei ' E i°f the 
 feding points of the laid arches, and a thin rule be bent round them ! ^ ^ f 
 
 required.^ ^ ^ ” * * % ^eing tCZTfol 
 
 mter- 
 a Pencil, Cf f . 
 atch of die Rail 
 
 ROB. 2. 
 
 Fi, 
 
 & 4. 
 
 To prepare the. Stuff of which the Rail is to be made, and ^ t h cT , m fltl ■■ C 
 •without fetting it up m his due Pojition, the Arch or Aili 
 give* by the laft Problem. MM °f the Rad ^ 
 
 lemv 
 o 
 
 D ESCRIBE two circles of equal Diameter, to U W and A r ; n , n „ 
 
 . next confider into how many Pieces you give the Rail' whid ' ^ ,aftPr ° b,em > 
 let Dc fix, as in the Example. ’ Ic 1 ln nhe Semicircle 
 
 Divide the femicircle into fix equal Parts ce n us a,,-, 
 fiom each of thefe Points of Divifbn draw lines M S ’ S L ’ L D . and DR, 
 
 A S, A L, A D and A R. Unon Dp ■ 7tT Cetlter A - as A E, A F, A M 
 
 FG equal to the Height of one Hep : Upon thT pointM AF ’ T’r ^ pcr P endicuk r 
 
 perpendicular MN, equal to the hLht of two Hens ^ ^ A M ’ raife t,le 
 
 S,L, D, and R, raife the Perpendiculars S T 7 y P Ar d manner at the Poin ts 
 
 Length to the height of three, four five and fix l’ R L ’ ref P efti ^y equal in 
 
 AF; draw N Y, parallel and equal to A M , S pS ’ d ‘ aw G R ’ P al ' all el and equal to 
 draw Y B parallel and equal to LA- draw f’h ], 7 ' P&rallel and ei 3 ual to J A - 
 parallel and equal to R A. Upo ,7 die point A ’ ^ C ° ° A ; dl ' aw L P ’ 
 
 A B. <*»! .0 **, of J c £ “ ; \t W A , B %£ P T?‘ C "" ; 
 
 ^ 2 > > > 11 anc « raife the per- 
 
 pendicular 
 
16 
 
 Practical Geometry. 
 
 Part 1. 
 
 pendiculars RL, YZ, \VX, B C, HI, and P O, each equal to the height of one ftep, 
 draw the Hypothenufes EB, LG, ZN, XT, C If, IE, and 0 L. 
 
 Set off the width of the tail, front E to d, G to I, N to o, T to U, Y to a, E to f 
 and L to m ; fet the ftem of a a fquare on the line E B, fo that the blade be perpendicular 
 from the point d, draw the line d c, fet the fquare on the line G L, atid where it cuts the 
 line RG in the point I, draw the line hi; and in like manner draw the lines P o, 
 N u, z a, G f, and n m. The angles E d c, G Ill, Nop, ifc. and the reft of the little 
 black fpaces, as deferibed in the figure, doreprefent the twilling of each piece, and what 
 muft be taken off from the Back at the lower end, to make the twift of the Rails. The lines 
 being drawn, you are next to confider after what manner they are to be applied in the 
 working of the Rail. 
 
 Take the Piece of Timber, of which you defign to make the firft length, which is re- 
 prefented by Fig.'4. plane one fiide ftreight, and cut it to its bevels a c, b d anfwering to 
 DR A and R D A, Fig. 2. and both ends thereof being alfo cut to the rakeing joint of 
 Rail, proceed thus : Take that part of the rakeing arch in Fig. 1. which anfwers to the 
 firft length of the rail, as A h in the arch A U, and lay it on the upper fide of Fig. 4 - 
 from 1 to h, and ftrike the arch 1 h, then take E c, equal to G h, or N P, in Fig. 2. 
 and fet it on the line b d from h to m, Fig. 4. and ftrike a fquare ftroke at pleafure from 
 mtog; take cd equal to hi, or op ifc. and fet it on the line from m to g, and draw 
 the line h g, which reprefents the back of the rail when it is work’d, and is equal to E d, 
 Gi, or No fife, this being done, reprefent the lower end of the rail h,g,k,i, at right 
 angles to h, g; alfo the upper end c, 1, o, n, at right angles to 1 c, and bofte out the 
 inward arch c m fquare from the upper fide abed, asmg; and take a thin Lath, and 
 bend it clofe to the fide thereof from c to g, whereon ftrike a Line along the edge of the 
 Lath, and fo the lines 1 h and c g are your guides in backing the rails : which, when done, 
 turn the piece upfide down, and with the mold ftrike an arch equal to 1 h, from o to k, 
 and bofte out the fide to the lines 1 h, and ok: then you have one fide, and the back 
 fquared, which is the greateft difficulty in the Formation of a twilled rail, becaufe the 
 other two fides are found by gauging from them. 
 
 Note, If the Triangles in Fig. 2- and lines whereon they /land he fupoofed to beraifedup 
 perpendicularly, then will the lines A B, R L, Y Z, W X, B C, H I, ajid P O, ]oyn to 
 each other, and produce one line perpendicularly over A, equal to [even rifngs or 
 hieghts of the Jleps, But in working a rail of this kind, yon have need hut of one Tri¬ 
 angle ABcF.d, becaufe they are all equal, and of one effett in working, they being 
 here only repeated for the more clear demonftration of the Nature of the rail propofed. 
 
 Prob. 3. Fig. ^6. 
 
 To deferibe the Arch, or Mold for a Hand Rail to an oval Stair Cafe. 
 
 T HE Arch A,k, m, o, q, f, v,w, y, is to be deferibed as the arch Ahkoqfu in 
 Fig. 1. 8f Fig. 6 . bears the fame relation to Fig. 5. as Fig. 2. does to Fig. 1. and is 
 made thus: a, b, c, C, are the centers, upon which the oval is deferibed, upon the 
 center a is deferibed the arch G o, from whence the lines a G, ah, a o is drawn ; upon the 
 b is deferibed the arch z n, from whence are drawn the lines b z, b m, and bn; upon 
 the center c is deferibed the arch n, g, A,u and o, from whence the lines eg, c A, and 
 c u are drawn, which lines fiiew where the Rail muft anfwer fquare. 
 
 Upon the point h on the line ah, raife the perpendicular h I, equal to the rifing of one 
 ftep; upon the point o, on the line a o, raife a perpendicular op; upon the point u on 
 the line c u, raife the perpendicular U V, upon the point A, on c A raife the perpendicu¬ 
 lar A B ; upon the point G, on c G raife the perpendicular G H; upon the point n, on 
 cn raife the perpendicular no; upon the point m, on the line bra, raife the perpendicu¬ 
 lar mu, upon the point z, on the line b z, raife the perpendicular z 1, horn I draw Ira, 
 equal and parallel to a h ; from P the line P S, parallellel to a o, and equal to z o, fiom V 
 
 draw 
 
Se«5t. 9 . 
 
 Practical Geometry, 
 
 17 
 
 draw the line V z, equal and parallel to c u, from B the line B F, equal and parallel to 
 C A ; from H the line H L equal and parallel to c G; from o the line o z, equal and paral¬ 
 lel to G n ; from u the line u x equal and parallel to G m ; from 1 the line 1, 4 equal and 
 
 parallel to z G. At the points a, m, S, F, L, z, x, 4, to the lines a b, I m, P S, V Z, B F, 
 
 HL, oz, ux, and 1,4, raife the perpendiculars aD, mn, ST, Z Y, FE,LM, z f, x y 
 and 4, 5, each equal in height to one ftep, draw the hypothenufal lines D G, 11 I TP, 
 
 Y V, EB, MM, fo, yu, and 5, 1, fetoff the width of the rail from Gtoe, I to I, P to z> 
 
 V to x, B to D, HtoK, o to p, u to v, and 1 to 3, fet 'a Idem of a fquare on the line G D 
 that the blade cuts the point c, and draw the line e f, in the fame manner let the ftern of a 
 fquare on the line I n, till the blade cuts 1, and draw the line k 1, fo draw the other lines 
 q z, W X, C D, I K, q p, W V, and 2, 5, as in the laft Problem. 
 
 Note, IF the Triangles in this Figure were raifed up perpendicularly, then would a D, m n, 
 S T (l and perpendicularly over a, and Z Y F E, L M, perpendicularly over the point c- 
 and Z S, X Y, and 4, 5, perpendicularly over the point b ; fo that in this Figure you will 
 have occapon for two-different Triangles, hecaufe there are two different [weeps that 
 are thecemfe of two different Twi/ls inthe Rail; and fo aGD, V ZY, are enough fey 
 [paring this rail ; and always obferve, that as many different f weeps as there are in 
 the Plan of the-Rail, there are fo many different Twifis, and confequentiy fo many dif¬ 
 ferent triangles, hy reef on the twijl is found by them. 
 
 Prob. 4. Fig. 7, 8, 9, io. 
 
 To form the Arch or Mold to the Hand Rad that fzvc.ff two Stefs. 
 
 ESCRIBE Fig. 7. being the Plan of the Rail, whole arch GC confifts of two 
 different arches, the one being a quarter of a circle, the other the quarter of 
 
 an oval. 
 
 A B (equal to A C, equal to C D, equal to B D) is equal to one third of a ftep 
 upon the point D deferibe the arch C B, BF is equal to two thirds of a Step, and F G is 
 equal to one Step and two thirds, by the lines FG and FB according to the rules laid 
 down in Seftion 2. the arch G B is deferibed. GK reprefents the (freight part of: is 
 rail to one ftep, and the arch H D is drawn by gauging from the arch G C, that is, it is 
 drawn parallel to it ; and the (freight part I H is found by gauging from K G, or is drawn 
 parallel to it. 
 
 Fig. S. (hews the manner to deferibe the rake cr arch of the rail, which is done thus • 
 draw K L equal to G K ofFig. 7. reprefent the tread of the fteps as before by prick’d lines. 
 Divide that part of the plan of the rail which belongs to each ftep into any number of 
 equal parts, as, A F into 5, and F K into 4. Draw A B, BC, and CD, in Fig, 9. to 
 reprefent the rifing and tread of the fteps; continue out the line CB, at pleafure towards 
 T, in which fet the five divifions on the Plan of the rail to the firft ftep, FE of Fin- g. 
 being equal to C I, of Fig. 9. alfo E D equal to I K, DC to K I, CB to I u, and B A 
 to u T. Then will C T in Fig. 9. be equal to the arch A F in Fig. S. draw the line D T 
 then is the Triangle CDT the bracket to the firft ftep, according to the fweep of the 
 fail; as T C is the length of the ground to the firft ftep, fo is TD the length of the rail 
 anfwerihg to it. Upon the points I, K, 1 , u, raife the perpendiculars IP, K Q, 1 Z, and 
 us, to C T, fet the four divifions of the fecond ftep on the line C T, from CtoB, and 
 draw the line D B ; then is the line C B the ground line of the fecond ftep, and D B the 
 length of the rail anfwering to it. Draw lines through the divifions, as from Ftom, 
 G to n, and H too, perpendicular to CB; and fo are the perpendiculars to the Compals 
 brackets of each ftep found, and may be pieced thus. 
 
 In Fig. 9. with the interval T S, upon A, in Fig. S. deferibe the arch m, with the interval 
 S u, upon B, intellect m, then with the interval S Z or S T, upon the InterfeSion m, 
 deferibe the arch n; with the Interval 1 z, upon c, interfed the arch n ; in the like man¬ 
 
 ner 
 
Practical Geometry. 
 
 Part i. 
 
 lS 
 
 ner proceed on, fo that Z a, be equal to n o, QP, to oP, P D to p q, q z to B o, z f 
 toon, fttonm, and tutomD; aUbkQ.t°Do, iP to E P, C DtoqF, Ho to 
 a , r, n tn H f Pm to I t. E d to K u, and L W to three times A Bi The points m. 
 
 II, i L lu it in, 7 "*■ 
 
 G z, G n to H f, Fm to I t, Ed to K u, and L W to three times A B. The points m, 
 I), o', p, q,z,l, t,u, W, being found by the Interfe&ion of arches, as before, flick a nail, 
 £*.’into each point, and bend a thin rule about the nails Sir. till it touches them all, then 
 with a pencil, Sir. defcribe an arch round the edge thereof, which will be the arch 
 being: that of the rail to work by. 
 
 A'Wj 
 
 Fig. io. fliews the manner of fquaring the rail, which is thus: Defcribe A F, the 
 fquare or plan of the rail, being the fame as Fig. 7* and find centeis to anfwer the dif. 
 fercnt arches of the plan ; from whence draw prick’d lines to the places where you delign 
 to join the rail, as from G to B, from G to C, fiom H to E, and fiom H to b ; becaufe 
 the firft ftep is to be joyn’d in three equal pieces, you mtlft take one third of the rifing or 
 height of the ftep, and<fet it from B to I, perpendicular to B G, and draw the line MI 
 parallel and equal to GB. Draw M n perpendicular to M I; to rife fo much as the rait 
 rakes over, which is one third of the rifing or height of the Step, becaufc that part of the 
 rail is one third of the length on the firft ftep, and draw the line I n, which will be the 
 firft triangle I M n. From the point C draw C q, perpendicular to G C, and equal to 
 two thirds of the height of one ftep, draw the line q z equal and parallel to C G, upon 
 the point z, on the line z q, raife the perpendicular z f, equal to the height of one third 
 of one ftep, draw the line q f, and the fecond triangle is given. Upon the point b, raife 
 the perpendicular b T, to b H, equal to the height of one ftep, draw T W equal and 
 parallel to b H ; upon \V, to W T, raife the perpendicular W X, equal to the height of 
 one ftep, draw the line X T, and the thitd triangle Will be given W X T. From I in the line 
 M fet off IK, equal to the width of the rail, fet off the fame from q to o, and T to u, 
 and fefting the ftein of a fquare on the hypothemifal line, fo that the blade touches the 
 point k, draw the line It t ; and in like manner draw the lines p o, and u V ; the fmall 
 triangles I k t, q p o, T u V, do rcprefent what mull be taken off from the lower-end of 
 each piece, to bring the rail to its true twifh 
 
 Pro B- 5 * F i G. II, I4j I?, 14. 
 
 I'n form the Arch or Mold to a Hand-rail that [weeps two Step quicker then 
 in the foregoing Examples. 
 
 D ESCRIBE Fig. II. reprefenting the plan of the rail, AEis equal in length 
 to the height of one ftep, and AC and A B, are each equal to the half thereof, 
 upon the center D defcribe the arch B C F. B G is equal to fix fevenths of the width or 
 tread of one ftep, GH is one ftep and two thirds, by Interfeftiona from thefe lines the 
 fweep H B is defer ibed* 
 
 Fig. 12. reprefents the plan and raking arches of the fail, the arch A M is equal to the 
 arch F HI, of Fig. 11. and the raking arch thereof is found by the fame method, and 
 bears thefame proportion to Fig. 14- as the arch A u W in Fig. 8 . does to Fig. 9, and the 
 feveral lines are equal to one another, viz. A B in Fig. 12. is equal to QP in Fig. 14. P O 
 is equal to B C, OBtoCD, BktoDE, k i to E F, i c to F G, A H to G H, H G to 
 HI, GF to IK, andFEtoKL. In Fig. 12. A nis equal to Q.V, Fig 14. n o to V U, 
 o p’to U T, p q to T S, q r to S Z rstoZD, ft to B n, tutonm, U V to m L, and 
 V W to L D. The perpendiculars are alio equal to one another, v:z. B n, in Fig. 12. is 
 equal to P V, Fig. 14. CotooU, DPfoBT, E q to kS, F r to' i Z, GftoCD, Ht 
 to H n, I u to G m, K V to F L, L \V to E D, and m x to three fifing? of a ftep. As in 
 the foregoing Examples, the arch G A, which is the ground for the rail of the lirft ftep m 
 Fig. 12, is equal to C Q. in Fig. 14- the line Q.D is equal to the arch A 1 . BC is e- 
 qualto GL, BD is equal to f\V, and W X is equal to the rake of that part of the rail 
 that hangs over LM; and the Triangles Clk, E S t, and G u V, do repretent the: taper* 
 fluous Huff that mull: be taken from the lower end of each piece to make the true twift. 
 
:xnn 
 
-.------ 
 
Sed:. 6 . 
 
 Practical Geometry. 
 
 — ___ sj 
 
 19 
 
 Sect. 6 . Plate 6 . 
 
 To describe Cavern’s, Cima’s, Scotia’s, Eggs, Anchors, &c. 
 
 Plate 6. Prob. x. Fig-' i. 
 
 To defcribe a Cavctto. 
 
 D IVIDE A B in four equal parts, and with the Interval of three of thofo parts 
 upon the points A and B, defcnbe the Center C, upon the Center C, with thd 
 Interval C A, or C B, defcribe the Cavetto A D B which was required. 
 
 Prob. 2. Fi g. 2. 
 Another JVaj to defcnbe a Cavetto. 
 
 Prob. 3. F1 g- 3 & 4: 
 Another Method, 
 
 HP ! bemS & ‘ Ven ’ kt fa ” the P ei 'P cri( liculaf L M to the iine 0 , draw t 
 
 3 . r ne r °n L ’ u P° nthe point L, draw a perpendicular to HI, as L \ on the mi. 
 Of the line L 0 , at the point P, raife a perpendicular to L O, and the Inter edion at t 
 
 T n n N n L ’ i W1 !' b£ theCenter > u P° n the Point N; with the interval N 
 " , defcnbe L Q.O which was required j the lame method is made ufe of for Fig. 4 
 
 or 
 
 Pro b. 4. Fig. 5, 6, 7. 
 
 To defcnbe a Cim'a Inverta, Recta, or Revcrfa. 
 
 Admit Fig. 5. to be a Cima Inv'erta, the points R and S being given, draw the 
 
 the Interval of fix of thofe parts, upon the points T and S, defcribe the triangle S V T and 
 •pon ths points T and R defcribe the triangle T X R, with the Interval V for VT upon 
 the; points V and X, defcribe the arcs T YS andRZT, which generates the r; n J 
 pofed ; by the fame method is deferibed Fig. 6 and 7. * ^ 10 “ 
 
 P R 0 B. 5. F I G. & & 9. 
 
 To defcnbe a Scotia. 
 
 Admit the points D, a and B to be given. 
 
 A C R thC -Ha r *?’ f nd A WitH the Iine A B > ^ribe the equilateral triamde' 
 the inter f V p 1 ] c ' mc A D > ra ‘fe a perpendicular upon F to the line A C upon 
 
 the inteileft,ng point E, with the Interval E A or E D defcribe the arch DC A n 
 
 ■ «poi„C, will, the I„„„ C A or C B, doferito fi,« “a S B tfehtj ” 
 the Scotia required, by the fame method is performed Fig. 9. completes 
 
 Pros. 
 
Practical Gewietry. 
 
 Part L 
 
 20 
 
 P R 0 ft. 6. F I G. TO & I I. 
 
 To deferibe a Scotia. 
 
 r ”| -'H V S is performed by the fame method as the former, only the tides C A and CB, 
 X are each equal to three fourths of the fide A B. Fig. 11. is generated in the fame 
 manner, but has two more given points, as at 2 and 4, and the tides 0, and 6, 2, aic 
 each longer than the fide, 2 ; 3. The reft may be ditcovered by inl'peftion, and therefore 
 needs no repetition* 
 
 P R O B- 7- F I G. 12. 
 
 To defenbe an Ovola, which refemblcs the Shape of an Egg- 
 
 A D M IT C D be the given height, divide it into three equal parts at E and G. Bifech 
 C D in the point E at right angles,. and of length at pleafure, (but not lefs than 5-6 
 of C D.) Upor. E with the radius E C, deferibe the Semi-circle A C B. Divide E A in 
 the midft at F, make A H and B X, each equal to B F, upon E, with the radius E A or E 
 G complete the Circle as by A G B, from the points H and I, thro’ the point G, draw 
 the lines IG L and H G K, upon H and I, with the radius H B or I A, defenbe the arches 
 B K and A L. Divide G D in the midft at M, from the points N and O, where the lines 
 (1 L and H K interfeft the Semi-circle A G B) draw the right lines O Q_and N P, thro the 
 point M. Upon the points O and N deferibe the arches L Q_andIvP. Upon the point 
 M, with the radius M CL deferibe the arch Q.D P, and the Ovolo is completed. 
 
 Prob. 8- Fig- 15. 
 
 To deferibe the Side-Ornaments of the laft Troblem, 
 
 D RAW the Horizontal line A B, equal and at right angles to A C, make 0 H equal to 
 one Sixteenth of A H, divide A B in the midft at L, divide L B into four equal parts, 
 make S H equal to 0 C, make 0 r, equal to one fifth of A H, upon the point S, defenbe 
 the arch H <?, upon the point/, deferibe the arch 0d, draw the lines E r, and D d, with 
 each deferibe an equilateral Triangle,' as E m e, and D * d, upon the points m and n, de- 
 fci ibe the arches E F e and D G d, and the fide will be completed. Proceed in like manner 
 for the other fide, and the whole will be completed. 
 
 Fig. 14. 
 
 This Figure reprefents the foregoing Ornaments completed, on the one Side is finifhed 
 with a Dart or Anchor, as D, and the other Side is a leaf, as E. The Curve-line A C B, 
 reprefents the Cavity or finking in between the Egg and other Ornaments. 
 

Sect. 7 . 
 
 Practical Geometry. 
 
 21 
 
 Sec t. 7. 
 
 To deferibe Circular and Oval Volutes. 
 
 ... - • \ 
 
 Prob. 15. Plate 7: Fig. 3. 
 
 To deferibe the Volute according to Vignola. 
 
 D RAW the Cathetus P, 4, (Fig. 3.) divide it into eight equal parts, on the under 
 fide of the fourth divifion, as at H, make the Eye of the Volute equal to one 
 divifion, fo that there will befonr Divifions above the Eye, and three Divifions 
 below the Eye of the Volute, biitft the divifion on which the Eye is placed, by 
 the line D G, at right angles with P, 4. Upon the point of Interfe&ion of the lines P 4 
 and D G, deferibe a Circle, equal in Diameter to the Eye of the Volute, in the Circle in. 
 feribe a Square Lozenge ways, whofe Diagonals are on the lines P 4 Snd D G. Divide the 
 fquare into four equal parts by the lines, 1, 3, and 2, 4, divide the lines 1, 3, and 2 4, in¬ 
 to fi* equal parts, note the divifions by the additional Figures, 5, 6, 7, S, 9, 10 11 and 
 
 12, and the points 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, it and 12, are the Centers to deferibe 
 the Volute required. To deferibe the Volute, upon the point 1 raife the occult perpendi¬ 
 cular i,Q., parallel to P4; thro’ the points 1 and 2 draw a horizontal line to K, thro’ 
 the points 5 and 6 draw a line to R, thro’ the points 9 and 10 draw a line to X, each line 
 occult and parallel to G D. Thro’ the points 2 and 3 let fall a perpendicular to C, thro’ 
 the points 6 and 7 let fall a perpendicular to S, thro’ the points xo and 11, let fall a per¬ 
 pendicular to I, each line occult and parallel to P 4, thro’ the points 3 and 4 draw a hori¬ 
 zontal line to L, thro’ the points 7 and 8 draw a line to a, thro’ the points 1 1 and 12 draw 
 a line to 8t, each line Occult and parallel to D G. Thro’ the points 4 and 5 draw the oblique 
 line to U; thro’ the points 8 and 9 draw the oblique line to W, each occult. Upon the 
 Center 1 with the Interval 1 Q. deferibe the Quadrant of Circle Q K, upon die Center 2 
 with the Interval 2 K, deferibe the Quadrant K C. Upon the Center 3 with the Interval 
 3 C, deferibe the Quadrant CL. Upon the Center 4 with the Interval 4 L deferibe the 
 arc L U ; in like manner proceed till the Volute is completed, as Fig. 3. 
 
 Fig. 1. 
 
 This is the Eye of the foregoing Volute to a larger Scale, and noted by the fame Lines, 
 Letters and Figures, to render it the more perceptible. 
 
 Fig. 2. 
 
 This is the Eye of the fame Volute, and only differs in the lines that circiimfcribe the 
 Centers, which forms a Square, the Sides bife&ing the lines P 4 and D G at right angles, 
 fo that the Centers are on the Diagonals, all the reft exactly agreeing, as by the Lines, Let¬ 
 ters, Figures and Centers. 
 
 Prob. a. Fi g. 4. 
 
 To deferibe tbeTLye of the Volute according to Mr. Nicholas Goldman’r Invention. 
 
 D ESCRIBE the Circle to contain the Eye of the Volute as in the former. 
 
 Upon the middle of the Diameter on the line P 4, deferibe a fquare Side equal to 
 half the Diameter, as 1, 2; 2,3; 3,4; and 4, 1 ; divide the fide 4, x, into fix equal parts 
 from the angles 2 and 3 draw diagonals to the middle of the line 4,1, which is the Center 
 of the Eye from the divifionary points, 5, 9, 12 and 8, draw lines to the Diagonals paral- 
 
 G )el 
 
Pradical Geometry. 
 
 Part I, 
 
 tel to D G. Occult lines mult be continued in three Tides as in the former, the upper line 
 P 4, terminates the Quadrants, inftead of the lines Q., U and W in Fig. 3- proceed on tits 
 Center as in Fig. 3. and the Volute will be defcribedv 
 
 Fig. 5. 
 
 This Figure reprefents the Volute (Fig. 3.) contra&ed in breadth, by (quarts unequal, 
 proportionally to fquares equal, as it is fufficiently noted by Letters and Figures, according 
 to Fig. 3- it needs no further Detnonfoation; 
 
 Fig. 6 & 7. 
 
 This denotes the Eye of the Volute, Compofcd of two Iquares touching at the angles, 
 and with the fame Centers as (Fig. 1.) equally placed on each Iquare, fix Centers on the 
 upper part of the front Iquare, and the other fix Centers placed on the lower part of the 
 inner iquare. Upon theft; Centers are deferibed the Volute Fig. 7. as to the front and back 
 parts, which may be completed Ovals, as by the foregoing Problems, Se&ion 1. 
 
 . . Fig- 8 & 9. 
 
 This denotes the Eye of the Volute compofed of two Squares, interfering and touching 
 
 each other in the Centers by the angular points; by this method the Volute Fig. 9. is dc- 
 fcribed on the Centers by the foregoing Rules. 
 
 Prob. 3. Fig. 10* 
 
 To dcjcrllc the Points another Way. 
 
 PON the point B deferihe the Eye of the Volute, upon the point B raife the per- 
 
 u pcndicular A B, equal to four Diameters above the Eye of the Volute, draw the 
 Line B C horizontal and at right angles with A B, and equal to three Diameters beyond 
 the Eye of the Volute, draw the line A C. Upon the point C deferibe the arc B D, draw 
 the line C E to the line A B, divide the arc E D into fix equal parts, from the point C thro’ 
 the divilions on the arc DE draw the lines C 5, C 9, C 13, C 17, C 21, fub-divide 
 each divifion on the arc D E into four equal parts, from the point C thro’ the divifionary 
 points on the arc D E, draw lines to the line A B, then number the divifions on the line 
 A B, as 1, 2, 3, 4, and fo to 25. 
 
 F 1 G. II. 
 
 Draw the Cathetus 1, 3, btfecl it at right angles by the line 7, 3. Upon the point of in; 
 ttrfeclion deferibe the Eye of the Volute, the Eye being divided already into four equal 
 parts, fub-divide the Eye into four other equal parts, by the lines 2, 6 , and 4, S ; then bet¬ 
 ting one foot of the Compaffes on B in Fig. 10. extend the other foot to A, in that pofition 
 remove the Compaffes to the Center of the Eye on Fig. 11. and with the Interval A B 
 mark the perpendicular Fig. 1. then remove the Compaffes again to B Fig. 10. and take 
 the Interval B 2 on the line A B. Upon Fig. 1 1. front the Center, mark the Interval B 2 
 on the oblique line 2, with the Interval B 3 on Fig. to. from the Center on the horizontal 
 line in Fig-11. mark the point 3.; in like manner proceed till all the points are given, thro’ 
 which the fpiral Volute is to pafs. To find the Center to deferibe the Volute Fig. 11. fet 
 one foot of the Compaffes in Fig. t. and extend the other foot to the Center of the Eye of 
 tlte Volute, and deferibe an arc at pleafure; with the fame Interval upon Fig. 2. deferibe 
 another arch to interfeft the former, and the point of Interfeflion will be the Center to de¬ 
 feribe the arc 1, 2. then let one footof the Compaffes on the point 2, and extend the other 
 to the Eye of the Volute, and deferibe an arc ; with the fame Interval upon the 3d point 
 or line, deferibe another arc to interfed the former, and the point of Interfedion will 
 

be the Center to defcnbe the arc 2,3; in like manner proceed till the Volute required is 
 
 completed. * a 
 
 I G. 17 . 
 
 This Figure of an oval Volute is only varied by the Center’s being extended in the fame 
 proportion as Fig. 7. is to Fig. 3. therefore needs not further Explanation. 
 
 N. B. The nearer the Centers are together the *,ore round the Volutes, and the more difiant 
 the flatter, as Jufficiently appears by Fig. 3, 7, arid 9. J 
 
 Sect. 8. Plate 8 , % 
 
 To describe the Wreathed Columns and to Flute Columns and 
 
 Pillaflers. 
 
 Plate 8 . Pkob. i. Fig- i. 
 
 To ‘Describe the Wreathed Column. 
 
 D RAW the horizontal line from the lower part of the Afcagal as A O in 
 length equal to the height of the Column A B, draw the line O B unnn \h 
 Center Odefcribe at pleafure the arch A P, Uich divide into twelve" ? 
 Parts, and by thedivilions draw (freight lines from the center O to rJ r ^r 
 the Column ; continue the fame parallels to the Bafe. The (paces between theO 7 , 
 will be the fides of equiliteral Triangles, wherewith is to be deferibed the wreath 5 fi* 
 Column, as is feen in Fig. i. 1 or tne 
 
 Prob. 2 . Fig* 2 . 
 
 ■Another Way to deferibe a Wreath'd Column. 
 
 H AVING fet the the third Part of the Columns Heights,from the Bottom of the fliafr 
 to the point C; with the Interval C D, from the centers D and C t f 
 parts of arches interfeHing at E. on the center E, With the fame interval’ d Tr ‘t ^ 
 Arch D C, which divide into twelve equal parts ; and from the points of thofeDh/T ^ 
 draw Parallels to the bafe. Then dividing each ('pace between the parallel! into all 
 
 *** 'T " f '“I*"'? « ■'« «*.of f |,, ,f„c* S Triangle X 
 
 center whereon to delcnbeeach Wreath of Column Fig. 2. C C 
 
 Pkob. 3. Fig. 3. 
 
 Another Way to defcnbe a Wreath'd Column. 
 
 H AVING drawn from the midft of the Columns iop G, the IM GF make HI 
 r H F ’„ and draW 1 L P ara,lel the ^fe H F: make t N equal to IL and 
 
 tons “J? W f P ^ b^T^S 
 
 lumns, either of the two other Methods is rather to be chofen. 
 
 G 2 
 
 Pros. 
 
2-4 
 
 Practical Geometry. 
 
 Part I. 
 
 Plate 9. Prob. 4. Fig. i. 
 
 To Deferibe the Flutes of the ‘Derick Column. 
 
 A DMIT EFGH to be lower part ofthe fhaft of the Column, which is to be flut¬ 
 ed, draw AB equal to the diameter F G, bife£I AB inthemidft at D, by the 
 line DC, upon the center D with the Interval DAorDB, deferibe the arch ACB; 
 Divide CA and CB each into 5 equal parts, as del a and fghi, the half circumfe¬ 
 rence being divided into ten equal Parts, and ftreight lines drawn to the center D, bifecl 
 each divifion in the points 1,2, 5,4, 5, 6 , ifc. which are the extreams of each flute, rhen 
 take the Interval 1, 2, or 9, 10, and carry it round the other half of the Circumference its 
 from 1 toor 10 to k, and fo on till the whole 20 flutes is completed, to find the centers 
 to deferibe the depth of the flutes, if to be lhallow in depth, deferibe them upon the Ver¬ 
 tex of an equilateral Triangle as 0, on the Triangle ion; If defired deeper deferibe them 
 on the center of a fquare whole fides are equal to the breadth of the flute as 10, k, /, m: 
 The fame method muft be made ule of for the upper part of the Column, by reafbn of the 
 diminifhing. 
 
 Prob. 5. Fig.' 2. 
 
 To deferibe the Flutes to a TiUaflcr. 
 
 A DMIT A B equal to the Diameter of the Pillafter propofed to be fluted ; Divide 
 AB into 51 equal parts, with the Interval of two of thofe parts as on the fcale 
 C D, on each angle ofthe Pillafter E and F, fet out a Bead and a fillet each equal to one 
 part, the bead being a part of a circle on the angular point and rangeing with the face ami 
 return, ofthe Pillaftet: Divide the reft of the face of the Pillafter into feven flutes and fix 
 fillets, each flute containing three parts, and each fillet one part, and the flutes are femi- 
 circles whole centers are on the face line of the Pillafter, four of the flutes are reprefented 
 cabled as from I to N on the plan, this Pillafters fluting is fufficiently demonftrated by 
 the line A B, the fcale C D, the plan E F and the part of the upright of the fhaft 
 OPQK. 
 
 Prob. 6. Fig. 5. 
 
 To Flute the Ionick, Corinthian or Composite Column, 
 
 D IVIDE the half of the Circumference of the Plan ACB into twelve equal parts, 
 and draw lines to the center D, upon the interfeftions on the circumference, de¬ 
 feribe the Flutes, each equal to three fourths of the Interval of one of the twelve divifions, 
 in like manner the whole circumference is to be completed with twenty four flutes and 
 and twenty four fillets, the fillets being each equal to one third of each flute, from the plan 
 ACB is drawn the Geometrical Elevation EFGH, the half of which is Cabled as by 
 the Plan C B, the lines from the half plan to the Elevation fufficiently demonftrates whas 
 farther is required to be mentioned. 
 
 End of the Fir ft Part, 
 
PUfTK . 
 
 T^eXXIlII 
 
 EX 
 
 V, 
 
 C_ H 
 
 
 v_f . XOLiOUOuOL> 
 3 ? : : ;: :K I 
 
 M 
 
 ? 3 'As '*}'-£j'A} 
 
 ft 
 
 •JU' 
 
 A 1 I M I I I H II I I I I H t+H + 
 
 ji JHtjuac park 
 
 ~E Oakley Deltn 
 
 B && iJcukjj 
 

 ELEMENTS 
 
 O F 
 
 ARCHITECTURE? 
 
 Collected by Sir Henry WottoN, Kn u from the bcjl 
 Authors and Examples. 
 
 H 
 

 
 
 
 
 . 
 
 
 
 - - • i 
 
 
 
 
 
A a A A A A A A A A A A A A A* A A : A A A A A A A A A A A A A A A A A A A A A 
 
 THE 
 
 PREFACE. 
 
 Shall not need (like the moft Part of Writers) to celebrate the 
 Subjed which I deliver; in that Point I am at eale ; lor Ar - 
 chitetture can want no Commendation, where there are Noble- 
 Men, or Noble Minds ; I will therefore lpend this ‘Preface, 
 rather about thole from whom I have gathered my Knowledge, 
 for I am but a Gatherer and Dilpofer of other Mens Stuff, at my bell: Va¬ 
 lue. 
 
 Our principal Mafler is Vitruvius, and fo I fhall often call him, who 
 had this Felicity, that he wrote when the Roman Empire was near the 
 Pitch • or at lead, when Augujlus (who favoured his Endeavours) had feme 
 Meaning (if he were not milfaken) * to bound the Monarchy. This I fay 
 was his good hap; for in growing and enlarging Times, Arts are common¬ 
 ly drowned in Action : But on the other Side, it was in truth an Unhappi- 
 tiefs to exprefs himfelf fo ill, elpecially writing (as he did) in a Seafon of the 
 abled Pens ■ and his Obfcurity had this drange Fortune, that tho’ he were 
 bed praftifed and bed followed by his own Country-men, yet after the revi¬ 
 ving and repolilliing of good Literature, (which the combudions and Tu¬ 
 mults of the Middle-Age had uncivilized) he was bed, or at lead fird under- 
 ftood by Strangers: For of the Italians that took him in hand, thole that were 
 Grammarians feem to have wanted Mathematical Knowledge, and the Ma¬ 
 thematicians perhaps wanted Gramnicr, till both were lufficiently conjoined, 
 in Leo-Batifta Alberti the Florentine, whom 1 repute the fird learned Architect 
 beyond the Alps ; but he dudied more indeed to make himlelf an Author j 
 than to illudrate his Maflcr : Therefore amengd his Commenters, I mud 
 (for my private Conceit) yield the chief Praiie unto the French in Philander, 
 and to the Higb-Gcrmans in Gualterus Rwius, who, belides his Notes, hath 
 likewiie publilhed the mod elaborate Tranflation that 1 think is extant in any 
 Vulgar Speech of the World, tho’ not without bewailing, now and then, 
 1’ome Deleft of Artificial Terms in his own, as I mud likewiie ; lor if the 
 Saxon (our Mother-Tongue) did complain, as judly (I doubt) in this Point 
 may the ‘Daughter■, Languages, for the mod Part, in Terms oh Art zvA Eru¬ 
 dition, retaining their Original Poverty, and rather growing rich and abun¬ 
 dant in complemental Phrales and fuch Froth. Touching divers modern 
 
 H 3 • Men 
 
 * Tacit, lib. I. Ami A. 
 
28 - The P R E F A C E. _ 
 
 Men that have written out of meer Practice, 1 (hall give them their h)ue up¬ 
 on Occafion. 
 
 And now, after this fhort Cenfure of others, I would fain fatisfy an Objec¬ 
 tion or two, which teem to ly l'omewhat heavily upon my felf: It will he laid. 
 That 1 handle an Art noway iuteable either to my Employments, or to my For- 
 tunc. And fo I (hall (land charged both with Intrufion and with Impertinency. 
 
 To the Firfi, I anfwer. That tho’ by the ever acknowledged Goodnefs of 
 my mod ‘Dear and Gracious S 0 V E REIGN, and by his indulgent To¬ 
 leration of my Defedts, I have born Abroad Tome Part of his Civil Service, 
 yet when I came Home, and was again refolved into mine own Simplicity 
 I found it fitter for my Ten (at leaft in this firft publick Adventure ) to deal 
 with thefe plain Complements and tradable Materials, than with the Laberynths 
 and Myfleries of Courts and States, and lei’s Prefumption for me, who have 
 long contemplated a famous Republick, to write now of Architecture, than it 
 was anciently for f Hippodamus the MilcJian to write of Repub licks, who was 
 himfelf but an Architect. 
 
 To tile Second, I mud: fhrink up my Shoulders, as I have learn’d Abroad, 
 and confefs indeed, that my Fortune is very unable to exemplifie and actuate 
 my Speculations in this Art, which yet in truth made me the rather, even from 
 my very Difability, take Encouragement to hope, that my prefent Labour 
 would find the moreFavour with others, finceit was undertaken for no Mans 
 Sake lei’s than my own ; and with that Confidence I fell into thefe Thoughts, 
 of which there were two Ways to be delivered ; the one Hiftoriral, by De- 
 l’cription of the principal Works, performed already in good Part by Giorgio 
 Vajfari in the Lives of Architects; the other Logical, by calling the Rules 
 and Cautions of this Art into fome comportable Method; whereof I have 
 made Choice, not only as the fhorteft and moll Elemental, but indeed as the 
 Soundest For, tho’in practical Knowledges, every complete Example may 
 bear the Credit of a Rule, yet peradventure Rules fhould precede, that we 
 may by them be made fit to judge of Examples : Therefore to the Turpofe, 
 for I will preface no longer. 
 
 '{- Arijlot. 2 . lib. Polit. cap. 6. 
 
of the 
 
 ELEMENTS 
 
 O F 
 
 ARCHITECTURE. 
 
 The Firft Fart. 
 
 N Architecture, as in all other Operative Arts, the End mull dire£t the 
 Operation. 
 
 The End is, to Build well. 
 
 ^eti-Bui/ding hath three Conditions, Commodity, Finnnefs, and 
 
 A common Divifion among the Deliverers of Art, tho’ I know not how fomewhat 
 mifplaced by Vitruvius himiclf, lib. i. cap. j. whom I fhall be willinger to follo’w as a Ma¬ 
 iler of Proportion than of Method. 
 
 Now, for the attaining of thefe Intentions, we may confider the whole Subject under two 
 general Heads; 
 
 The SEAT, and the W 0 R /(. 
 
 Therefore fit'll touching Situation, 
 
 The Precepts thereunto belonging do either concern the Total Po(lure (as I may term 
 it) or the placing of the Parts ; whereof the firil Sort, howfoever ufually fet down by 
 Architects, as a Piece of their ProfelTion, yet are in truth borrowed from other Learning 
 therebeing between Arts and Sciences as well as between Men, a kind of good Fellowfilin 
 and Communication of their Principles. " 
 
 For you fhall find fome of them to be meerly Phyfical, touching the Quality and Tem 
 Per °f the 4 ir, which being a perpetual Ambient and Ingredient, and the Defefts thereof 
 incorrigible, in (ingle Habitations (which I mofl intend) doth in thofe Refpecls require the 
 more exquifite Caution: That it be not too grofs, nor too penetrations-, not fubjefl to 
 any foggy Noifomnefs, from Fens or Marfl/es near adjoining ; nor to Mineral Exhalations 
 fiom the Soil itfelf Not undigelled for want of Sun ; not unexerciled for want of Wind ■ 
 which were to live (as it were) in a Lake or Standing-Pool of Air, as Alberti the Florentine 
 Architect doth ingenioufiy compare it. 
 
 I 
 
 Some 
 
?o 
 
 The Elements of Architecture. 
 
 Parr I 
 
 Some do rather feem a little Afirological, as when they warn us from Places of malign 
 influence, where Earth-quakes, Contagions, prodigious Births, or the like, are frequent 
 without any evident Caufe; whereof the Confideratian is peradventure not altogether 
 vain ; fome are plainly Oeconomical, as, that t\vi Seat be well watered and well fuelled; that 
 it be not of too fteepy and incommodious Accefs, to the Trouble both of Friends and Fa¬ 
 mily ■ that it lie not too far from fome Navigable River or Arm of the Sea, for more eafe 
 of Provifion and fuch other Qmeftick Notes. 
 
 Some again may be faid to be Optical ; fuch, I mean, as concern the Properties of a well 
 chofen Pro/pett, which I will call the Royalty of Sight: For as there is a Lordjhip (as it were) 
 of the Feet, wherein the Mafter doth much joy when he walketh about the Line of his 
 own Potfeffions : So there is a Lordjhip likewife of the Eye, which being a ranging, and Im. 
 perions, and (I might fay) an ufurping Senfe, can induce no narrow Circumfcription, but 
 mult be fed with Extent and Variety. Yet on the other Side, I find vait and indefinite 
 Views' which drown all Apprehenfions of the uttermoft Objects, condemned by good Au¬ 
 thors, as if thereby fome Part of the Pleafure (whereof we fpeik) did perifh. Laftly, I re- 
 member a private Caution, which I know not well how to fort, unlefs I fhould call it 
 Political. By no means to build too near a great Neighbour which were, in truth, to be as 
 unfortunately feated on the Earth, as Mercury is in the Heavens, for the moft Part, ever in 
 Combujiion or Obfcurity under brighter Beams than his own. 
 
 From thefe fevera! Knowledges, as I have faid, and perhaps from fome other, do Archi¬ 
 tects derive their DoCtrine about Eleftion of Seats, wherein I have not been fo fevere as 
 a * great Scholar of out Time, who precifely reftraineth a perfeft Situation, at leaft for the 
 main point of Health, Ad locum contra quern Sol radios Juos fundit cum fub Ariete oritur ; 
 that is, in a Word, he would have the firft Salutation of the Spring : But fuch A T otes as 
 thefe, wherefoever we find them, in Grave or flight Authors, ate, to my Conceit, rather 
 IViJIses than Precepts ; and in that Quality I fliall pafs them over : Yet I muft withal fay, 
 that in the [eating of our felves (which is a kind of Marriage to a Place) Builders fhould 
 be as circumfpeCt as Wooers, left, when all is done, that Doom befall us which our Mafter 
 doth lay upon Mitylene ; A Town, in truth (laith he) finely built, but foolijlsly planted \. 
 And fomuch touching that which I termed the Total Pojlure. 
 
 The next in order is the placing of the Parts ; about which (to leave as little as I may 
 in my prelent Labour upon Fancy which is wild and irregular) I will propound a Rule 
 of mine own Collection, upon which I fell in this Manner. I had noted, that all Art 
 was then in trueft Perfeftion, when it might be reduced to fome natural Principle ; for 
 what are the moft judicious Artifans but the Mimicks of Nature ? This led me to con¬ 
 template the Fabrick of our own Bodies, wherein the High Architect of the World had 
 difplayfed fuch Skill as did ftupifie all humane Reafon : There I found the Heart , as the 
 Fountain of Life, placed about the Middle, for the more equal Communication of the vi¬ 
 tal Spirits. The Eyes feated aloft, that they might deferibe the greater Circle within their 
 View. The Arms projected on each Side, for eafe of reaching. Briefly, (not to lofe our 
 felves in this fweet Speculation) it plainly appeareth, as a Maxim drawn from the Divine 
 Light, that the Place of every Part is to be determined by the Ufe. 
 
 So then from Natural Structure, to proceed to Artificial, and in the rudeft Things, to 
 preferve fome Image of the excellenteft. Let all the principal Chambers of Delight, all 
 Studies and Libraries be towards the Eaft ; for the Morning is a Friend to the Mufes. All 
 Offices that require Heat, as Kjtchins, Stillatories, Stoves, Rooms for Baking, Brewing, 
 Wajbing, or the like, would he Meridional. All that need a cool and frefh Temper, as 
 Cellars, Pantries, Butteries, and Granaries, to the A/istfi. To the fame Side likewife, all 
 that are appointed for gentle Motion, as Galleries, efpecially in warm Climes, or that 
 
 * Joannes Heurnius Infiit. Medicin. lib. 7. cap. 2. 
 jOpu’um cjuidem cdificatum tlegunter, [:d imprudencer pofuv.m. 
 
 otherwife 
 
Parc 1. 
 
 The Elements of Architecture. 
 
 
 ot!jei-wife require a fteady and unvariable Light, as Pinacothecia (faith Vitruvius') by 
 which he intended], (if I may guefs at his Greek, as we mult do often even at his Latin) 
 certain Repofitories for Works of Rarity in Pidure or other Arts, by the Italians called 
 Studioli- which at any other Quarter, where the Courfe of the Sun doth diverfify the 
 Shadows, would lofe much of their Grace : And by this Rule having always regard to the 
 Ufe, any other Part may be fitly accomodated. 
 
 I mud here not omit to note, that the ancient Grecians, and the Romans by their Ex¬ 
 ample, in their Buildings abroad, where the Seat was free, did almod religioufiy fituate 
 the Front of their Houfes towards the South ; perhaps that the Mailer’s Eye, when he 
 came home, might not be dazled, or that being illuilrated by the Sun, it might yield the 
 more graceful Afreet ; or fome fuch Reafon. But from this the modern Italians do vary ■ 
 whereof I fhall fpeak more in another Place. Let thus much fuffice at the prefent for the 
 Pofition of the feveral Members, wherein mull be had, as our Author doth often infinuate 
 and efpecially lib. 6. cap. io. a Angular Regard to the Nature of the Region : Every Na¬ 
 tion being tyed above all Rules whatfoever, to a Difcretion of providingagainft their own 
 Inconveniencies : And therefore a good Parlour in Egyp’, would perchance make a good 
 Cellar in England. 
 
 There now followeth the fecond Branch of the general Section touching the Work. 
 
 In the Work, I will firil confider the principal parts, and afterwards the AcceiTory," or 
 Ornaments; and in the Principal, firil the Preparation of the Materials ; and then ’the 
 Difpofition, which is the Form. 
 
 Now concerning the Material Part; although Purely, It cannot difgrace an Architect- 
 which doth fo well become a Philofophcr, to look into the Properties of Stone and 1 Vo d • 
 asthat Fir-trees, Cypreifes, Cedars, and fuch other AereaH afpiring Plants, bein^ by a 
 kind of natural Rigour (which in a Man I would call Pride) inflexible downwards are 
 thereby fitted for Pop or Pillars, or fuch upright ufe; that on the other Side, Oak ’ and 
 the like true hearty Timber, being ftrong in all Pofititons, may be better trufted in’erofs 
 and traverfe Work; for Summers, or girding, and binding Reams, as they term them. And 
 folikewife to obferve of Stone, that fome are better within, and other to bear Weather ■ 
 Nay, to defeend lower, even to examine Sand, and L:me, an delay (of allwhich Tiling’ 
 Vitruvius bath difeourfed, without any daintinefs, and the molt of new Writers) I f a “ S 
 though the fpeculative Part of fuch Knowledge be liberal, yet to redeem this Proletffon 
 and my prefent Pains from Indignity, I mud here remember, that to choofe and fort the 
 Materials for every part of the FabricIt, is a Duty more proper to a fecond Superintendent 
 over all the XSnderArtifans, called (as I take it) by our Author, Ofccinatar, lib. 6 Cat 
 u. in that Place exprefly diftinguifhed from the Architect, whofe Glory doth more con" 
 fid in the Dedgnment, and Idea of the whole Work ; and his trued Ambition ihould be 
 to make the Form, which is the nobler Part (as it were) triumph OVer the Matter ■ 
 whereof I cannot but mention by the Way, a foreign Pattern ; namely the Church of 
 SantaGiuftina in Padua : In truth, a found Piece of good Art, where the Materials be¬ 
 ing but ordinary Stone, without any Garnifhment of Sculpture, do yet ravifh the Beholder 
 (and he knows not how) by a fecret Harmony in the Proportions. And this indeed is that 
 End, at which in fome Degree, we fhould aim even in the privated Works ■ whereunto 
 tho’ I make hade, yet let me firil colled a few of the lead trivial Cautions belonging to 
 the Material Provifwn. ° b 
 
 Leon Bapti/ta Alberti is fo curious, as to wiflt all the Timber cut out of the fame Ferrell 
 and all the Stone out of the fame Q parry. ’ 
 
 Philibert de l’Orme the French Architect goes yet fomewhat further, and would have 
 the Lyme made of the very fame Stone, which we intend to imploy in the Work ■ as be'ike 
 imagining that they will fympathize and join the better by a kind of Original Kindred 
 
 1 2 But 
 
Part I. 
 
 3 7 - 
 
 Thc Elements rf Architecture. 
 
 But fuch Conceipts as thefe feem fomewhat too fine among this Rubiflj, though I do not 
 produce them in Sport. For Purely, the like Agreements of Nature may have oftentimes 
 a difcreet Application to Art. Always it muft be confeiTed, that to make Lyme without 
 any great Choice, of refufe Stuff, as we commonly do, is an Englifb Error of no froall 
 Moment in our Buildings. Whereas the Italians at this Day, and much more the Ancients 
 did burn their firmed: Stone, and even Fragments af Marble where it was copious, which 
 in Time became almoft Marble again, or at lead of indiffoluble Durity, as appeareth in the 
 handing Theatres. I muft here not omit, while I am fpeakihg of this Fart, a certain Form 
 of Brick defcribed by Daniel Barbara Patri arch of Aptileia, in the largeft Edition of his 
 Commentary upon Vitruvius. The Figure triangular, eveiy Side a Foot long, and fome 
 Inch and a Half thick, which he doth commend unto us for many good Conditions: As 
 that they are more commodious in the Management, oflefs Expence, of fairer Show, 
 adding much Beauty and Strength to the Mur all Angles, where they fall gracefully into an 
 indented Work : So as I fhould wonder that we have not taken them into Ufe, being 
 propounded by a Man of good Authority in this Knowledge ; but that all Nations do ftart 
 at Novelties, and are indeed married to their own Moulds. Into this Place might aptly 
 fall a Doubt, which fome have well moved; whether the ancient Italians did burn their 
 Uriel or no; which a Paflage or Two in Vitruvius hath left ambiguous. Surely, where 
 the Natural Heat is ftrong enough to lupply the Artificial, it were but a curious Folly to 
 multiply both Labour and Expence. And it is befides very probable, that thofe Materials 
 with a kindly and temperate Heat would prove fairer, fmoother, and lefs 'diftort- 
 ed, than with a violent: Only, they fuffer two Exceptions. Firft, that they are 
 likely to be the more ponderous, by fuch a gentle drying, and much Time will 
 be loft, which might otherwife be employed in compiling. Next, That they will 
 want a certain fucking and foaking Thirftinefs, or a fiery Appetite to drink in 
 the Lime, which muft knit the Fabrick. But this Qaeffion is to be confined to the South, 
 where there is more Sun and Patience. I will therefore not hinder my Courfe, with tbi s 
 incident Scruple, but clofe that Part which I have now in Hand, about the Materials 
 with this principal Caution, that fufficient Stuff ,and Money be ever ready before we be<dn '• 
 For when we fhould build now a Piece, and then another by Fits, the Work dries and 
 finks unequally, whereby the Walls grow full of Chinks and Crevices ; therefore fuch Paw- 
 fingsare well reproved by Palladio, lil. i. cap. i. and by all other. And fo having glean 
 ed thefe few Remembrances touching the Preparation of the Matter, I may now proceed 
 to the Difpofition thereof, which muft form the Work. In the Form, as I did in the Seat 
 I will firft confider the general Figuration, and then the feveral Members. 
 
 Figures are either f.mple or mixed. The fimple be either Circular or Angular. And of 
 Circular, either Compleat or Deficient, as Ovals ; with which Kinds I will be contented 
 though the Diftribudon might be more curious. 
 
 Now theexaQ: Circle is in Truth a Figure, which for ourPurpofe hath many fit and 
 eminent Properties ; as Fitnefs for Commodity and Receipt, being the moft capable, fitnefs 
 for Strength and Duration, being the moft united in his Parts; Fitnefs for Beauty and De¬ 
 light, as imitating the celtftial Orbs, and the univerfal Form. And it feems befides to 
 have the Approbation of Nature, when fhe worketh by Inftinft, which is her fecret 
 School: For Birds do build their Nefts fpherically : But notwitbftanding thefe Attributes 
 it is in Truth a very unprofitable Figure in private Falricks, as being of all other the moft 
 chargeable, and much Room loft in the bending of the I Calls, when it comes to be divided : 
 Befides an ill Diftribudon of Light, except from the Center of the Roof. So as anciently it 
 was not ufual, five in their Temples and Amphi-Theatres, which needed no Compatitions. 
 The Orals and other imperfefl: circular Forms, have the fame Exceptions, and lcls Benefit 
 of Capacity: So as there remains to beconfidered in this general Survey of 'Figures, the 
 Angular, and the Mixed of both. Touching the Angular, it may perchance (bund fome- 
 what ftrangely, but it is a true Obfervation, that this Art doth neither love many Angles, 
 r.or few. For firft, the Triangle, which hath the feweft Sides and Corners, is of all other 
 the moft condemned, as being indeed both incapable and infirm (whereof the Realon fliall 
 
 be 
 
Parti The E ! ements vf Architecture. 
 
 be afterwards rendred) and likewife unrefolveable into any other regular Form than it felt' 
 in the inward Partitions. 
 
 As for Figures of five, fix, feven, or mate Angles : They are furely fitter for Military 
 Architecture fwhere the Bulworks may be laid out at the Corners, and the Sides ferve for 
 Curtains) than for civil Ule ; though I am not ignorant of that famous Piece at Capra,-ole, 
 belonging to the Houfe of Farnefe, call by Baroccio into the Form of a Pentagons, with a 
 Circle inferibed, where the Architect Aid ingenioufiy wreftle with divers Inconveniencies 
 in difpofing of the Lights, and in faving the Vacuities. But as Defigns of fitch Nature do 
 more aim at Rarity, than Commodity, lb, for my Part, I had rather admire them, than 
 Commend them. 
 
 Thefe Things confidered, we are both by the Precepts and by the Praftlce of the beft 
 Builders, to refolve upon Rectangular Squares, as a Mean between too few, and too ma¬ 
 ny Angles ; and through the equal Inclination of tlie Sides, which make the right Angle 
 ftronger than the Rhombe, or Lpfenge ; or any other irregular Square. But whether the 
 exafl: Qttadrat, or the long Square be the better, I find not well determined, tho’ in mine 
 own Conceit, I muft prefer the latter ; provided that the Length do not exceed the Lati¬ 
 tude above one third Part, which would diminifh the Beauty of the Afpeft, as fliall appear 
 when I come to Ipeak of Symmetry and Proportion. 
 
 Of mixed Figures, partly Circular and partly Angular, I fha.Il need to fay nothing ; be. 
 Saule having handled the fttiiple already, the mixed, according to their Compoiition, do 
 participate of tlie fame Refpefits, Only againft thefe there is a proper Objection, that they 
 offend Uniformity : Whereof I am therefore opportunely induced to lay lomewhat, as far 
 as fliall concern the outward Afpeff, which is now in Difcourfe. 
 
 In Architecture, there may leem to be two oppofite AffeSrations, Uniformity and Variety 
 which yet will very well differ a good Reconcilement, as we may fee in the great Pattern 
 of Nature* to which I muft oft. n refort: For furely, there can be no Structure more 
 uniform than our own Bodies in the whole Figuration: Each Side agreeing with the 
 other, both in the Number, in the Quality, and in the Meafure of the Parts: And vet 
 fome are round, as the Arms; lomeflat, is the Hands, fome prominent, and forme more 
 retired : So as upon the Matter, we fee that Diverfity doth not deftroy Uniformity, and 
 that the Limbs of a noble Fahrkh, may be correfpondent enough, though they be various; 
 provided always, that we do net run into certain extravagant Inventions, whereof I fhall 
 fpeak more largely when I come to the parting and calling of the whole Work. We ought 
 likewife to avoid enormous Heights of fix or feven Stories, as well as irregular forms-, and 
 the contrary FsMflt of Icrw-diftended Fronts, is as unfeemly : Or again, when the Face of 
 the Building is narrow’, and the Flank deep : To all which Extreams fome particular 
 Nations or Towns are fubjeef, whofe Names may be civily fpared : And fo much for 
 the general Figuration, or Afpect of the IVork. 
 
 Now concerning the Parts in Severalty. All the Parts of every Tahiti : may be com- 
 jirifed under five Heads, which Divifion I receive from B.itifla Alberti, to do him Right, 
 and they be thefe. 
 
 The Foundation. 
 
 The Walls. 
 
 The Apportions or Overtures, 
 
 The Compartition. 
 
 And the Cover- 
 
 About all which I purpofeto gather the principal Cautions, and as I pafs along, I will 
 touch alfo the natural Reafons of Art, that my Difcourfe may be the lei’s Mechanical. * 
 
 K Firft ' 
 
The Elements of Architecture. Part I. 
 
 Firft then concerning the Foundation^ which requireth tire exafteft Care; for if that hap¬ 
 pen to dance, it will mart all the Mirth in the Houfe : Therefore that we may found out 
 Habitation firmly, we mull: firft examine the Bed of Earth (as I may term it) upon which 
 we will Build ; and then the Underfillings, or SubJIrutlion, as the Ancients did call it: 
 For the former, we have a general Precept in Vitruvius twice precifely repeated by him, 
 as a Paint indeed of main Confequence; firft, l. i. c. And again more fitly, t, 3. c. 
 
 in thefe Words, as Philander doth well correft the vulgar Copies: Subjlruttionis Fundati- 
 oitis fodiantitr (faith he) fiqueant inveniri adfolidum, ty infolido ; By which Words I con¬ 
 ceive him to commend unto us, not only a diligent, but even a jealous Examination what 
 the Soil will bear; advifing us ,• not to reft upon any appearing Solidity, unlels the whole 
 Mold through which we cut, have likewife been folid ; but how deep we fhould go in 
 this Search, he hath no Where to my Remembrance determined, as perhaps depending 
 more upon Discretion than Regularity, according to the Weight of the Work ; yet Andrea 
 Palladio hath fairly adventured to reduce it into Rule: Allowing for that * Cavafione (aS 
 he calleth it) a fixth Part of the Height of the whole Fabrick, unlefs the Cellars be under¬ 
 ground, in which Cale he would have us (as it fhould feem) to found ibme- 
 what lower. 
 
 ' Some Italians do preferibe, that when they have chofen the Flqor, or Plot, and laid out 
 the Limits of the Work, wc (hould firft ol all dig 1 Pells and Citterns, and other Under- 
 cond lifts and Conveyances, for the Suillage of the Houle, whence may arife a double Be¬ 
 nefit; for both the Nature of the Mold or Soil, would thereby be fafely fearched, and 
 moreover thofe open Vents will ferve to difeharge fuch Vapours, as having otherwife no 
 Ififue, might peradventure fhake the Building. This is enough for the natural Grounding, 
 which tho’ it be not a part of the folid Fabrick, yet here was the fitteft Place to 
 handle ir. 
 
 There followeth the Sub/lruElion or Ground-Work of the whole Edifice, which muft fuf- 
 tain the Walls ; and this is a kind of artificial Foundation, as the other was natural. A- 
 bout which thefe are the chief Remembrances : Firft, that tho Bottom be precifely le¬ 
 vel, where the Italians therefore commonly lay a Platform of good Board ; then that the 
 loweft Ledge or Row, be meerly of Stone, and the broader the better, clofely laid without 
 Mortar, which is a general Caution for all Parts in Building, that are contiguous to 
 Board or Timber, becaufe Lime and Wood, are infociable; and if any where unfit Con- 
 finers, then moll efpecially in the Foundation. Thirdly, that the Breadth of the Sul- 
 flruCtion be at leaft double to the infijletit Wall, and more or lefs, as the Weight of the Fa¬ 
 lrick fhall require ; for as I muft again repeat, Difcretion may be freer than Art. Laftly, 
 I find in fome a curious Precept, that the Materials below, be laid as they grow in the 
 Quarry, fuppofing them belike to have moft Strength in their natural and habitual Poflure. 
 For as Philippe del'Orme obferveth, the breaking or yielding of a Stone in this Part, but 
 the Breadth of the Back of a Knife, will make a Clefc of more than half a Foot in the Fa¬ 
 lrick aloft : So important tree, fundamental Errors. Among which Notes I have laid no¬ 
 thing of Pallifcation, or Pyling of the Ground-plot, commanded by Vitruvius, when we 
 build upon a moift or marfhy Soil, becaufe that were an Error in the firft Choice, and 
 therefore all Seats that muft ufe fuch Prcrvifion below (as Venice for au eminent Example) 
 would perhaps upon good Enquiry, be found to have been at firft chofen by the Counfel 
 of Neceflity. 
 
 Now the Foundation being fearched, and the Subjlruttion laid, we muft next fpeak 
 of the Walls. 
 
 Walls are either intire and continual, or intermitted ; and the Intermifions be either 
 Pillars or Pilaflers; for here I had rather handle them, than, as fome others do, a- 
 mong Ornaments. 
 
 The 
 
 * Under-digging, or hollowing of the Forth. 
 
Part I. 
 
 The Kliments of Arch it eel m 
 
 e. 
 
 33 
 
 The entire Muring is by Writers diverfly diftinguifhed : By fome, according to the 
 Quality of the Materials, as either Stone or Brick, &c. where, by the Way, let me note, 
 that to build Walls and greater Works of Flint, whereof we want not Example in out 
 Jfland, and particularly in the Province of Kjnt, was (as I conceive) meerly unknown to 
 the Ancients, who obferving in that Material, a kind of Metallical Mature, or at leaft a 
 ~Bu■fiiility, feem to have refolved it into nobler Ufe, an Art now Utterly loft, or perchance 
 kept up by a few Chymicks. Some again do not fo much confider the Quality as the Pofi- 
 tion of the faid Materials ; as when Brick or fquared Stones are laid in their Lengths with 
 Sides and Heads together, or their Points enjoined like a Net-work (for fo Vitruvius doth 
 call it reticulatum opus') of familiar ufe (as it fhould feem) in his Age, tho 1 afterwards grown 
 out of Requeft, even perhaps for that fubtil Speculation which he himfelf toucheth • be- 
 caufe fo laid, they are more apt, in fwagging down, to pierce with their points, than in 
 the adjacent Pofture, and fo to crevice the Wall: But to leave fucll Cares to the meaner Ar¬ 
 tificers, the more effentiel are thefe. 
 
 That the Walls be moft exaftly perpendicular to the Ground-work] for the fight Anfte 
 (thereon depending) is the true Caufe of all Stability, both in artificial and natural Pofi- 
 tions: A Man likewife Handing firmed when he Hands uprighteft. That the maffieft and 
 lieavieft Materials be the loweft, as fitter to bear than to be born. That the Work, as it 
 rifeth, diminifh in Thicknefs proportionally, for eafe both of Weight and of Expence. 
 That certain Conrfes Or Ledges of more Strength than the reft, be interlayed like Bones to 
 fuftain the Patrick from total Ruin, if the under Parts fhould decay’. Laftly, that the An¬ 
 gles be firmly bound, which are the Nerves of the whole Edifice, and therefore are com- 
 mdfily fortified by the Italians, even in their Brick Buildings, on each Side of the Coi¬ 
 ners, with well fquared Stone; yielding both Strength and Grace : And fo much touching 
 file entire or folid Wall. ° 
 
 The Inttrmiffions (as hath been faid) are either by Pillars dr Viliajiers. 
 
 Pillars, which we may likewife call Columns, (for the Word among Artificers is almoft 
 naturalized) I could diftinguilh into Simple and Compounded: But (to tread the beaten and 
 plainelt Way) there are five Orders of Pillars, according to their Dignity and Perfection 
 thus marlhalled. 
 
 The Tufcani 
 
 The Doriqlie. 
 
 The lonirpue . 
 
 The Corinthian. And 
 
 The Compound Order ; or, as fome call it, the Roman ; others more generally the Italian. 
 
 In which five Orders, I will firft confider their Communities, and then their Prope; ties. 
 
 Their Communities (as far as . I can obferve) are principally three. Firft, they are all 
 Round-, for tho’ fome conceive ColumnaAticurges, mentioned by Vitruvius, lit. ]. cap. j 
 to have been a fquared Pillar, yet we muft pafs it over as irregular, nfever received among 
 thefe Orders ; no more than certain other licentious Inventions, of wreathed, and. vined, 
 and figured Columns, which our Author himfelf condemneth, being in his whole Book a 
 profeffed Enemy to Fancies- 
 
 Secondly, they are alt diminished or contracted infenfibly, more or Iels, according to the 
 Proportion of their Heights, from one third Part of the whole Shaft upwards, which Phi¬ 
 lander doth deferibe by his own precife meafuting of the Ancient Remainders, as the moll 
 graceful. Diminution. And here I beg Leave to blame a Praflice grown (I know not how) 
 in certain Places too familiar, of making Pillars fwell in the middle, as if they were Tick 
 of fome Tympany or Dropfie, without any authentick pattern or Rule, to my Knowledge; 
 and unfeemly to the very Judgment of Sight. True it is, that in Vitruidus, lit. j. cap. 2! 
 
Part I. 
 
 36 The Elements of Air chit ecture. 
 
 we find thefe Words, De adjeltione, qua adjicitur in mediis Columnis, qua apud Grecos 
 : lidictats appellator, in extremo lilro erit formatio ejits ; which Paflage feemeth to have gi¬ 
 ven fome Countenance to tin's Error: But of the Promiie there made, as of diverfe other 
 eliewhere, our Mafter hath failed us, either by flip of Memory, or Injury of Time, and fo 
 we are left in the Dark. Always fare I am, that befides theAuthority of Example which ic 
 wanteth, it is likewife contrary to the Original and Natural Type in Trees, which at firft 
 was imitated in Pillars, as Vitruvius himfelf obferveth, lit. 5. cap- 1. for who ever few a.- 
 ny Cyprefs, or Pine (which are there alledged) fmall below and above, and tumerous in 
 the middle, unlefs it were fome difeafed Plant, as Nature (tho’otherwife the comlieft 
 Mi/lrefs) hath now and then her Deformities and Irregularities ? 
 
 Thirdly, they have all their TJnderfettiffgs or Pedifals, in Height a third Part of the 
 whole Colu-i.n, comprehending the Safe and Capital-, and their upper Adjunfts, as Archi¬ 
 trave, Prize, and Cornice, a fourth Part of the faid Pillar; which Rule, of Angular Ule 
 and Facility, I find fettled by Jacolo Baroccio, and hold him a more credible Author, as a 
 Man that mod: intended this Piece, than any that vary from him in thofe Dimentions. 
 
 Thefe are their molt confiderable Communities and Agreements. 
 
 Their Properties or Diflinciions will heft appear by fome reaforiable Defcription of them| 
 all, together with their Architraves, Freezes, and Cornices, as they are ufually handled. 
 
 Firft therefore, the Tttfian is a plain,mafly,rural Pillar, refembling fome fturdywell-limb’d 
 Labourer, homely cled, in which Kind of Comparifons Vitruvius himfelf feemeth to false Plea- 
 fure,1/7.4. cap. 1. The Length thereof fhall be RxDiameters, of the groffeft of the Pillar below 
 of all Proportions, in truth, themoft natural; for our Author tells us, lib.3. cap. 1. that the 
 Foot of a Man is the fixtli Part of his Body in ordinary Meafure, and Man himfelf, accor¬ 
 ding to the Saying of Protagoras, (which Ari/lotle doth fomewhere vouchfafe to celebrate) 
 is to Ton 1 cc'uto.vtosv ^piuTTO):' fjclrpov, as it were, the Prototype of all exact Symmetric, which we 
 have had other Occalions to touch before : This Column I have, by good Warrant, called 
 Rural, Vitruv. cap. 2. lil. 4. and therefore we need not confider this Rank among the reft. 
 The Diftance or lntercolumniation, which Word Artificers do ufually borrow, may be near 
 four of his own Diameters, becaufe the Materials commonly laid over this Pillar, were ra¬ 
 ther of Wood than Stone, thro’ the Lightnefs whereof the Architrave could not fuffer, 
 tho’ thinly fupported, nor the Column itfelf being fo fubftantial. The Contraction aloft fhall 
 be (according to the moft received Praftice) one Fourth of his Thicknefs below. To con¬ 
 clude, (for I intend only as much as fhall ferve for a due Diftinguifhment, and not to de¬ 
 lineate every petty Member) the Tujcan is, of all, the rudeft Pillar, and his principal 
 Charafter Simplicity . 
 
 The Dorique Order is the graved: that hath been received into civil Uie, preferving, in 
 Comparifon of thofe that follow, a more Mafculine Afpetf, and little trimmer than the 
 Tufcan that -went before, fave a fober Gamifhment now and then of Lions Heads in the 
 Cornice, and of Triglyphs and Metopes always in the Frize. Sometimes likewife, butrare- 
 ly, channelled, and a little flight Sculpture about the Hypotrachelion or Neck, under the 
 Capital. The Length, feven Diameters. His Rank or Degree is the loweft by all Con- 
 gruity, as being more maflfy than the other Three, and confequently abler to fupport. The 
 lntercolumniation thrice as much a9 bis Thicknefs below. The Contraction aloft, one Fifth 
 of the fame Meafure. To difeern him will be a Piece rather of Heraldry than Architecture-, 
 for he is beffc known by his Place when he is in Company, and by the peculiar Ornament 
 of his Frize (before mentioned) when he is alone. 
 
 The lonick Order doth reprefent a kind of Feminine Slendernefi, yet, faith Vitruvius, 
 not like a light Houfe wife, but in a decent Dreffing, hath much of the Matron. The 
 Length, eight Diameters• In Degree as in Subftantialnefs, next above the Doric, fu- 
 ftaining the Third, and adorning the fecond Story. The lntercolumniation two of 
 
Part I. 
 
 The Element's of Architecture. 
 
 his own Diameters. The Contraption one lixth Part, beft known by bis Trim mints 
 for the Body of this Column is perpetually channelled, like a thick pleated Gown. The 
 Capital drelfed on each Side, not much unlike Womens Wires, in a fpirai Wreathing which 
 they call the Ionian Voluta. The Comice indented. The Freeze fweliing like a Pillow - 
 and therefore by Vitruvius, not unelegantly. termed Pulvinata. Thefe are his beft Cha 
 rasters. 
 
 The Corinthian is a Column Iacivioufly decked like a Curtezan, and therein much parti- 
 cipating fas all Inventions do; of the Place where they were Era born, Corinth having 
 been, without Controverfie, one of the wantoneft Towns in the World. This Order is of 
 nine Diameters. His Degree one Stage above the Ionick, and always the higheft of the 
 fimple Orders. The Intercolumniation two of his Diameters , and a fourth Part more which 
 is, of ail other, the comlieft Diftance. The Contraction one feventh Part. In th e Cornice 
 both Dentelli and Modigliani f. The Freeze, adorned with all Kinds of Figures, and va¬ 
 rious Compartments, at Pleafure. The Capitals, cut into the beautifulieft Leafthat Na¬ 
 ture doth yield ; which furely, next the Aconitum Pardalianches (rejefted perchance as an 
 ominous Plantj is the Acanthus, or Brancha Urftnsr, tho’ Vitruvius do impute the Choice 
 thereof unto Chance, and we muft be contented to believe him ; in flrort, as Plainnefs 
 did chara&erzie the Tufcan, fo muft Delicacy and Variety the Corinthian Pillar befides the 
 Height of his Rank. 
 
 The laft is the compounded Order ; his Name being a Brief of his Nature. For this 
 Pillar is nothing in efTeft, butaMedly, or an Amafs of all the precedent Ornaments ma¬ 
 king a new kind, by Stealth; and tho’ the moft richly tricked, yet the pooreft in this 
 that he is a Borrower of all his Beauty. His Length fthat he may have fomewhat of his 
 own; fhall be of ten Diameters. His Degree fhould no doubt be the higheft by Reafons 
 before yielded. But few Palaces, Ancient or Modern, exceed the Third of the Civil Or¬ 
 ders. The Inter calumniation but a Diameter and an Half, or always fomewhat left than 
 Two. The Contraction of this Pillar muft be one eighth Part lefts above than below To 
 know him will be eafie by the very Mixture of his Ornaments and Clothing. 
 
 And fo much touching the five Orders of Columns, which I will conclude with twoo- 
 thfee not impertinent Cautions. 
 
 Firft, that where more of thefe Orders than one fhall be fet in feveral Stories of C 
 nations, there muft be an exquifite Care to place the Columns precifely one over another- 
 that fo the folidm ay anfwer to the [olid, and the vacuities to the vacuities as Well for 
 Beauty as Strength of the Fairicl ; and by this Caution the Confequence is plain that 
 when we fpeak of the Intercolumiliation or Diftance which is due to each Order we mi an 
 in a Dorick, lonical, Corinthian Porch or Cloifier, or the like of one Contignation ’ and no t in 
 Storied Buildings. 
 
 Secondly, Let the Co’umns above be a fourth Part lefts than thofe below, faith Vitruvius 
 lih. t cap. i t A ftrange Precept in my Opinion; and fo ftrange, that peradventure it were’ 
 more fuitable, even to his own Principles, to make them rather a fourth Part greater • for 
 Itl. 3. cap * 2. where our Mafter handleth the Contractions of Pillars, we have an Optick 
 Rde, that the higher they are, the lefts fliould be always their Diminution aloft, becaufe 
 the Eye itfelf doth naturally contraft all Objelts, more or lefts, according to the Diftance- 
 which Confideration may, at firft Sight, feem to have been forgotten in the Caution we 
 have now given ; but Vitruvius, the beft Interpreter of himfelf, "'hath, in the fame Place of 
 h.s fifth Book well acquitted his Memory by thefe Words, Column* fuperiores quanta par * 
 te minores, qukmmfertores, font conflituenda-, proptered quod, operi ferendo q,u Tunt infe¬ 
 riors, frmiora ejje delent ; preferring, like a wife Mechanic!,',- the Natural Reafon before 
 
 *{- Our Artifcms call them Teeth and Cartonxes. 
 
 h 
 
 the 
 
The Elements of Architecture. Part I. 
 
 Mathematical, and fenfible Conceits before abAraded. And yet, lit. 4. cap. 4. he feem- 
 eth a°-ain to affeft Subtilty, allowing Pillars, the more they are channelled, to be the 
 more fle.nder ; becaufe while our £'.ye (faith he) doth as it were diftinftly meafure the emi¬ 
 nent and the hollowed Parts, the total Objeft appeareth the bigger, and fo as much as thofe 
 Excavations do fubftraa, is (upplied by a Fallacy of the Sigfct : But here, methinks, our 
 Matter fhould likewife have rather confidered the natural Inconvenience •, for tho’ Pillars 
 by channelling, be feemingly ingrafted to our Sight, yet they are truly weakened in them- 
 felves, and therefore ought perchance, in found Reafon, not to be the more (lender, but 
 the more corpulent, unlefs Appearences preponder Truths, but, Contra Magiftrum non eft 
 Difputandum. 
 
 A third Caution fliall be, that all the projectedor jutting Parts (as they are termed) be 
 very moderate, efpecially the Cornices of the lower Orders', for, whilft fome think to give 
 them a beautiful and royal Afpeft by their Largenefs, they fometimes hinder both the 
 Light within, (whereof I fliall (peak more in due Place,) and likewife detraft much from 
 the View of the Front without, as well appeareth in one of the principal Fabricks at Vt- 
 iiice, namely, the Palace of the Duke G rimani on the Canal Grande, which, by this mag¬ 
 nificent Error, is fomewhat difgraced. I need now fay no more concerning Columns and 
 their Adjuncts, about which Architefts make fuch aNoife in their Books, as if the very 
 Terms of Architraves, and Freezes, and Cornices, and the like, wete enough to graduate a 
 Matter of this Art: Yet let me, before I pafs to other Matter, prevent a familiar Objec¬ 
 tion ■ it will perchance be faid, that all this Doftrine touching the five Orders, were fitter 
 for the Quarries of AJia, which yielded 127 Columns of 60 Foot high, to the Epheftan Tern- 
 vie • or for Numidia, where Marbles abound ; than for the Spirits of England, who mutt 
 be contented with more ignoble Materials : To which I anfwer, that this need not difcou- 
 1S . f or i have often at Venice viewed, with much Pleafure, an Atrium Grtcmn (we 
 mav mandate it in Anti-porch, after the Greek Manner) railed by AndraaF.alladio, upon 
 efoht Columns of the compounded Order-, the Bafes of Stone, without Pedeflals ; the Shafts 
 6,° Bodies of meet Brick, three Foot and an half thick in the Diameter below, and confe- 
 cmently th ; rty five Foot High, as himfelf hath defcribed them in Ins fccond Book, than 
 which mine Eye hath never yet-beheld any Columns more ftately, of Stone or Marble; 
 for the Bricks having firft been formed in a circular Mould, and then cut, before their bur- 
 nin°‘ into four Quarters or more, the Sides afterwards join fo clofely, and the Points con¬ 
 center fo exactly, that the Pillars appear one entire Piece ; which (holt D efeription I could 
 not omit, that thereby may appear, how in truth we want r ather Art than Stuff, to fatif- 
 fie our greateft Fancies. 
 
 After Pillars, the next in my Diftribution are Pilajlers, mentioned by Vitruvius, lit. 5. 
 cap 1 and fcant any where elfe under the Name of Parajlates, as Philander conceiveth, 
 whlAGrammatkal Point (tho’ perchance not very clear) I am contented to examine no 
 further. Always, what we mean by the Thing itfclf is plain enough in our own Vulgar 
 touching which, I will briefly colled the moft confiderable Notes. 
 
 pilajlers mutt not be too tall and (lender, left they refemble Pillars, nor too dwarfijh and 
 grofs, left they imitate the Piles or Peers of Bridges; Smoothnefs doth not fo naturally be¬ 
 come them as a Ru flick Superficies , for they aim more at State and Strength than Elegancy* 
 In private Buildings they ought not to be narrower than one Third, nor broader than 
 two Parts of the whole Vacuity between Pilafler and Pilajler ; but to thofe that (land at 
 the Corners, may be allowed a little more Latitude by Dilctetion, for Strength of the 
 Angles : In Theatres and Amphi-theatres, and fuch weighty Works. Palladio obferveth 
 them to have been as broad as the Half, and, now and then, as the whole J acuity. He 
 noteth likewife (and others confent with him) that their true Proportion fhould be an exaft 
 Square ; but, for leffening of Expence and inlarging of Room, they are commonly nar¬ 
 rower in Flank than in Front. Their principal Grace doth confift in half or whole Pillars 
 applied unto them, in which Cafe it is well noted by Authors, that the Columns may be 
 allowed fomewhat above their ordinary Length, becaufe they lean unto fo good Supporters. 
 
Part i 
 
 The Elements of Architecture. 
 
 And thus much fliall fuffice touching PilaJTers, which is a cheap, and 
 noble Kind of Structure* 
 
 _ 39 
 
 a ftrong, and a 
 
 Xow becaufe they are oftner, both for Beauty and Majefty, found arched, than other, 
 wife ; I am here orderly led to fpeak of Arches, and under the fame Head of Vaults • For 
 an Arch is nothing indeed but a contrafted Vault, and a Vault is but a dilated Arch: 
 Therefore to handle this Piece both compendioufly, and fundamentally, I w ju refolve 
 the whole Bufmefi into a few Theorems 
 
 Theorem i. 
 
 All folid Materials free from Impediment,do defeend perpendicularly downwards, becaufe 
 Ponder ofity is a natural Inclination to the Center of the World, and Nature performed her 
 Motions by the iliorteft Lines. 
 
 Theorem j. 
 
 Bricks moulded in their Ordinary Rectangular Form, if they fliall belaid one by ano. 
 ther in a level Ro .v, between any Supporters fuftaining the two Ends, then all the Pieces 
 between will neceffarily fink, even by their own natural Gravity ; and much more if they 
 fuffer any Depreffion by other Weight above them, becaufe their Sides being parallel, they 
 have Room to deteend pei pendicularly, without Impeachment, according to the former 
 Theorem-, therefore to make them if and,_ we muff either change their Pofiure, or their 
 figure, or both. 
 
 Theorems T. 
 
 If Bricks moulded, or Stones fquared Cuneathn (that is, Wedgewife , broader above 
 than below) (hall be laid in a Rozv-level, with their Ends fupported, as in the precee 
 dent Theorem, pointing all to one Center ; then none of the Pieces between can fink till 
 the Supporters give way, becaufe they want Room in that Figuration, to defeend per¬ 
 pendicularly. But this is yet a weak Piece of Structure, becaufe the Supporters are fubjeft 
 to much Impulfion, efpecially if the Line be long ; for which Reafon this Form is ieldom 
 tifed, but over Windows, or narrow Doors : Therefore to fortifie the Work as in this third 
 Theoreme, we have fuppofed the Figure of all the Materials different from thofe in the Se¬ 
 cond : So likewife we muff now change the Pofture, as will appear in the Theoreme 
 following. 
 
 Theoreme 4 . 
 
 If the Materials figured as before Wedge-wife, fliall not be difpofed levelly, but in form 
 offome Arch, or Portion of a Circle pointing all to the fame Center, in this Cafe neither 
 the Pieces of the faid Arch can fink down downwards, through Want of Room to defeend 
 * perpendicularly ; nor the Supporters or Hutments (as they are termed) of the laid Arch 
 can fuffer fo much Violence, as in the precedent flat Pofture ; for the Roundnefs wifi al¬ 
 ways make the incumbent Weight father to reft upon the Supporters, than to fliove them • 
 whence may be drawn an evident Corolary : That the fafeft of all Arches is the Semis 
 circular, and of all Vaults the Hemifphere, though not ablblutely exempted from feme na¬ 
 tural Weaknefs, -f- as Bernardino Baldi Abbot ot Guaflalla, in his Commentary upon 
 Ariftotl f’s Mec hamcks, doth very well prove •, Where let me note by the \Va.y, that when 
 any Thing xs Mathematically demonftrated weak, it is much more Mechanically weak : 
 Errors ever occuring more eafily in the Management of Grofs Materials than Lineal 
 Defigns. 
 
 * By the firft Theor. 
 
 ■{ \\ nick is the fie Prerogative of perpendicular Lines^ and right Angles, 
 
40 
 
 The Elements of Architecture. 
 
 Part I. 
 
 Theorems 5 . 
 
 As Semicircular Arches, or Hemifpherical Vaults, being raifed upon the total Diameter ) 
 be of all other the roundeft, and confequently the fecureft by the precedent Theorem-. 
 So thofe are the gracefulleft, which beeping preeifely the fame Height, (hall yet be diC 
 tended one fourteenth Part longer than the faid intire Diameter ; which Addition of di, 
 ftent will confer much to their Beauty, and detrad but little from their Strength. 
 
 This Obfervation I find in Leon-Batifta Alleni ; but the Pradice how to preserve thd 
 fame Height and yet diftend the Arms or Ends of the Arch, is in Albert Ditrer s Geome¬ 
 try, who taught the Italians many an excellent Line, of great Ufe in this Art. 
 
 Upon thefe five Theoremes, all the Skill of Arching and Vaulting is grounded : As for 
 tliole Arches, which our Artizans call of the third and fourth Point; And the Tufcav 
 Writers di terzo, and dt quarto acuto, becaufe they always concur in an acute Angle, and 
 do fpring from Divifion of the Diameter into three, four, or more Parts at Pleafure , l 
 fay fuchas thefe, both for the natural Imbecility of the (harp Angle it felf, and hkewife 
 for their very Uncomlinefs, ought to be exiled from judicious Eyes and left to their firft 
 Inventors, the Goths or Lombards, amongft other Reliques of that barbarous Age. 
 
 Thus of mv firft Partiton of the Parts of every Falrtck, into five Heads, having gone 
 through the two"former, and been incidently carried into this laft Dodrine touching 
 Arches and Vaults. The next now in Order are the Aferttons, under which Term I do 
 comprehend Doors, Windows, Stair-Cafes, Chimmes, or other Conducts: In fliort, all 
 In-lets, or Out-lets ; to which belong two general Cautions. 
 
 Pirft That they be as few in Number, and as moderate in Dimenfion, as maypofiibly 
 
 conf.fr with other due Refpeds: for in a Word, all Openings are Weakenings. 
 
 Secondly, That they do not approach too near the Angles of the Walls ; for it were 
 •ndeedTmoft elTential Solictfme to weaken that Part which muft ftrengthen all the reft: 
 A Precept well recorded, but ill pradifed by the Italians themfelves particularly a t Fernet, 
 wh re I have obferved divers, Pergoli, or Meniana (as Vitruvius ^ feemeth to call them, 
 which are certain ballifed Outftandings to fatisfie Cur.ofity of Sight) very dangeroufly 
 fet forth, upon the very Point it felf of the Mural Angle. 
 
 Now Albeit I make hafte to the calling and comparting of the whole Work, (being 
 indeed the very Definitive Sum of this Art, to diftribute ufetully and gracefully a well 
 chofen Plot) yet I will firft under their feveral Heads, colled briefly fomc of the choiceft 
 notes belonging to thefe particular Overtures. 
 
 Of floors and Windows: 
 
 ’HESE In-lets of Men and of Light, I couple together, becaufe I find their Dimen, 
 t X dons brought under one Rule by Leon Alberti (a learned Searcher) whoTiom the 
 S Tool of PAhagoras (where it was a fundamental Maxim, that the Images of all Thing, 
 Zmmleri) doth determine the comlieft Proportion between Breadths and 
 
 Place conlidered) namely, in fome Windows and Doors, the Symmetry of Tj*i to J 
 
Part I. 
 
 The Elintents of Architecture. 
 
 41 
 
 their Breadth and Length ■ in others, the Double asaforefaid; There will indubitably 
 refult from either a graceful and harmonious Contentment to the Eye: Which Speculati 
 on, though it may appear unto vulgar Artisans, perhaps too fubtiie, and too fublime, yet 
 we mult remember, that Vitruvius himfelf doth determine many Things in his Profeffion 
 by Mufcal Grounds, and much commendeth in an Architect, a Philofophical Spirit; that 
 is, he would have him (as I conceive it) to be no fuperficial, and floating Artificer, but'a 
 Diver into Caufes, and into the My/teries of Proportion. Of the Ornaments belonging both 
 to Doors and Windows, I fhall fpeak in another Place ; but let me here add one Obfervati- 
 on; That our Mafier (asappeareth by divers Paffages, and particularly 1 . 6 . c. 9.) feems 
 to have been an extieam Lover of Luminous Rooms j an d indeed, I mult confefs, that a 
 Frank Light can mif-become no r£iifice whatfoever, Temples only excepted ; which were 
 anciently dark, as they are Iikewife at this Day in fome Proportion. Devotion more re¬ 
 quiring collected than diffufed Spirits. * Yet on the other Side, we mull take heed to make a 
 Houfe (tho but for civil Ule) all Eyes, like Argus ', which in Northern Climes would be 
 too cold, in Southern too hot: And therefore the Matter indeed importeth more than 
 a merry Comparifon. Befides, There is no Part of Structure either more expenceful than 
 Windows, or more ruinous ; not only for that vulgar Reafon, as being expofed to all Vio. 
 lence of Weather ; but becaufe confiding of fo different and unfociable Pieces, as Wood 
 Iron, Lead, and Glafs, and thofe fmall and weak, they are eafily flraken; I mud like* 
 wife remember one Thing, (though it be but a Grammatical' Note) touching Doors. 
 Some were Fores and fome were Valva. Thofe (as the very Word may feem to import) 
 did open outwards, tbefe inwards, and were commonly of two Leaves or Panes (as 
 we call them) thereby requiring indeed a leffer Circuit in their Unfoldings, and therefore 
 much in Ufe among Italians at this Day : But I mud charge them with an Imperfection 
 for though they let in as well as the former, yet they keep out worfe. 
 
 Of Stair-Cafes. 
 
 T O make a compleat Stair-Cafe is a curious Piece of Architecture ; The vutgal' 
 Cautions ate thefe. 
 
 That it have a very liberal Light againft all Cafualty of Slips, and Falls. 
 
 That the Space above the Head, be large and airy, which the Italians ufe to call 
 Un bel-sfogolo, as it were good Ventilation, becaufe a Man doth fpend much Breath 
 in mounting. 
 
 That the Half-Paces be well didributed at competent Didances, for repofing on 
 the Way. 
 
 That to avoid Encounters, and befides to gratifie the Beholder, the whole Stair-Cafe 
 have no nigard Latitude, that is, for the principal Afcent, at lead ten Foot in Royal 
 Buildingst 
 
 That the Breadth of every fingle Step or Stair be never lefs than one Foot, nor more 
 than eighteen Inches. 
 
 That they exceed by no Means half a Foot in their Height or Thicknefs, for our Legs 
 do labour more in Elevation, than in Diflention : Thefe I fay are familiar Remembrances, 
 to which let me add. 
 
 That the Steps may be laid where they join Con un tantino di[carpa ; we may tanflate 
 it fomewhat Jloaping, that fo the Foot may in a Sort both afcend and defcend together, 
 
 * Lumen ejt dijfufium fui & ttliem. 
 
 M 
 
 which 
 
Ml 
 
 
 Laftly, to reduce this Doarine to fome natural, or at lead mathematical Ground ("our 
 Mafier, as we fee, /. 9. c. 2. borroweth) thofe Proportions that makes the Sides of a Rectan¬ 
 gular Triangle, which the ancient School did exprefs in loweft Terms, by the Numbers of 
 1.4, an d 5. That is, Three fox the Perpendicular, from the Stair-head to the Ground; 
 Four for the Ground-line it felf, or Receffion from the Wall ; and Five for the whole iBcft'- 
 nation orSloapnelsin the Afcent; which Proportion, faith he,, will make Temperatas 
 praduum liberationes. Hitherto of Stair-cafes which are direa : T here are likewife 
 ‘Spiral, or Cockle fairs, either Circular or Oval, and fometimes running about a Pillar, 
 fometimes vacant, wherein Palladio, (a Man in this Point offingular Felicity) was wont 
 to divide the Diameter of the firft Sort into three Parts, yielding one to the Pillar, and two 
 to the Steps of the fecond into four, whereof he gave two to the Stairs, and two to the 
 Vacuity, which had all their Light from above, and this in exaa Ovals is a Mafter-piece. 
 
 I 
 
 Of Chimnies. 
 
 I N the prefent Bufmefs, Italians (who make very frugal Fires, are perchance not the 
 bed Counfellors.) Therefore from them we may better learn, both how to raife fair 
 Mantelswithm the Rooms, and how to difguife gracefully the Shafts of Chimnies abroad, 
 (as they ufe) in {undry Forms, which I fhall handle in the latter Part of my Labour, and 
 the reft I will extrafl from Philippe de /’ Orme: In this Part ol his Work more diligent, than 
 in any other; or, to do him Right, than any Man elfe. 
 
 Firft he obferveth very foberly, that who in the Difpofition of any Building will confi- 
 der the Nature of the Region, and the Winds that ordinarily blow from this, or that Quar¬ 
 ter, might fo calf the Rooms which fhall moft need Fire, that he fhould little feat the In¬ 
 commodity of Smoak : And therefore he thinks that Inconvenience, for the molt Part, to 
 proceed from fome inconfiderate Beginning. Or it the Error lay not in the Difpofition, but 
 in the Structure it felf; then he makes a Logical Enquiry, that either t he Wind is too much 
 let in above, at the Mouth of the Shaft, or the Smoak ftifled below : It none ot thefe, 
 then there is a Repulfion of the Fume, by fome higher Hill or Fabrich, that fhall overtop 
 the Chimney, and works the former EfFeft : If likewife not this, then he concludes, that 
 the Room which is infelfed, muff be necelTarily both little and clofe, fo as the Smoak 
 cannot ifiue by a natural Principle, wanting a Succelfion and Supply of new Air. 
 
 Now, In tllefe Cafes he fuggeftetk divers artificial Remedies, of which I will allow one 
 a little Defcription, becaufe it favoureth of Philofophy, and was touched by I itruvius him- 
 felf /.i. c. 6 . but by this Man ingenioufty applied to to the prefent Ufe : He will have 
 us provide two hollow Profs Ralls of reafonable Capacity, with little Holes open in both, 
 for Reception of Water, when the Air fhall be firft fucked out ; One of thefe we muft place 
 with the Hole upwards, upon an Iron Wire, that (hall traverfe the Chimney, a little above 
 the Mantel at the ordinary Height of the iharpeft Heat or Flames, whereof the Water 
 within being ratified, and by Ratification refolved into Wind, will break out, and fo force 
 up the Smoak, which other wife might linger in the Tunnel by the Way, and oftentimes 
 revert: With the other, (faith he) we may fupply the Place of the former,, when it is 
 exlmifted ■ or, for a Need blow the Fire in the mean while: Which Invention I have 
 interpofedVor fome little Entertainment of the Reader; I will conclude with a Note front 
 Palladio, who obferveth that the Ancients did warm their Rooms with certain fecret Pipes 
 that came through the Walls, tranfporting Heat (as I conceive it) to fundry Parts of the 
 Houfefrom one common Furnace-, I am ready to baptize them CahduCts, as well as 
 they are termed Venti-tucls and Aqua-ducts that convey Wind and Water ; which whether 
 it were a Cuftom or Delicacy, was furely both for Thrift, and for Ufe, far beyond the 
 German Stoves; and I fhould prefer it likewife before our own Faftuon, if the very Sight 
 
Part I. 
 
 The Elements of Architecture. 43 
 
 of a Fire did not add to the Room a Kind of Reputation, * as old Homer doth teach 
 us in a Verfe, fuflkient to prove that himlelf was not blind, as fome would lay to 
 his Charge. 
 
 Touching Conducts foi the Suillage, and other Neceffities of the Iloufe, (which how 
 bafefoever in Ufe, yet for Health of the Inhabitants, are as confiderable, and perhaps 
 more than the reft) I find in our Authors, this Counfel; that Art fliould imitate Nature, 
 in thofe ignoble Conveyances ; and feparate them from Sight, (where there wants a run¬ 
 ning Water) into the moft remote, and loweft, and thickeft Part of the Foundation ; 
 with fecret Vents palling up thro’ the Walls like a Tunnel to the wild Air aloft, which all 
 the Italian Artizans commend for the Difcharge of noifome Vapours, though elfe-where to 
 my Knowledge little pra&iled. 
 
 Thus having confidered the Precedent, Apertions or Overtures , in feveralty, according 
 to their particular Requifites, I am now come to the calling and Contexture of the whole 
 Work, comprehended under the Term of Compartition : Into which (being the maineft 
 Piece) I cannot enter without a few general Precautions, as I have done in other 
 Parts. 
 
 Fitft therefore, Let no Man that intendeth to build, fettle his Fancy upon a Draught 
 of the Work in Paper, how exaftly foever meafured, or neatly fet off in Perfpeclive ; 
 and much lefs upon a bare Riant thereof, as they call the Sciographia or Ground Lines ; 
 without a Model or Type of the whole Structure, and of every Parcel and Partition in 
 Paftboard or Wood. 
 
 Next, that the faid Model be as plain as may be, without Colours or other beautifying, 
 left the Pleafure of the Eye preoccupate the 'Judgment ; which Advice, omitted by the 
 Italian Architects, I find in Philippe de V Orme\ and therefore, tho’ France be not the 
 Theater of beft Building, it did merit,fome Mention of his Name. 
 
 Laftiy, the bigger that this Type be it is Hill the better, not #hat I will perfwade a 
 Man to fuch an Enormity, as that Model made by Antonio Lobaco, of St. Peter's Church 
 at Rome containing Twenty two Foot in Lentil, Sixteen in Breadth, and Thirteen in 
 Height, and coafting of 4184 Crowns: The Price, in Truth, of a reafonable Chapel : 
 Yet in a Fabrick of fome 40 or 50 Thoufand Pounds Charge, I with 30 Pounds at leaf): 
 laid out beforehand in an exaft Model ; For a little Mifery in the Pr emifes, may eafily 
 breed fome Ablurdity of greater Charge, in the Conclnfion. 
 
 Now after thefe Premonifhments, I will come to the Compartition itfelf, by which, the 
 Authors of this Art (as hath been touched before) do underhand a graceful and nfeful 
 Diftribution of the whole Ground-plot, both for Rooms of Office, and of Reception or En¬ 
 tertainment, as far as the Capacity thereof, and the Nature of the Country will comport; 
 which Circumftances in the prefent Subjeft, are all of main Confideration, and might 
 yield more Difcourfe than on Elemental Rhapfody will permit (therefore, to anatomize 
 briefly this Definition) the Gracefulnefs (whereof we fpeak) will confift in double Ana- 
 logy, or Correfpondency ; firft between the Parts and the Whole, whereby a great Fabrick 
 fhould have great Partitions, great Lights, great Entrances, great Pillars or Pilaflers-, in 
 Sum, all the Members great . The next between the Parts themfelves, not only confider- 
 ; ng their Breadths and Lengths, ae before, when we fpeak of Doors and Windows; but 
 here likewife enters a third Refped of Height, a Point (I muft confefs) hardly rcduceable 
 to any general Precept. 
 
 True it is, that the Ancients did determine the Longitude of all Rooms, which were 
 longer than broad, by the Double of their Latitude, Vitruv. lib■ 6. cap. 5. And the 
 
 r< Ai3'o/zeVe Si orvoff yepetpeortg®* ir/JOp. iSealrc/s, Horn. Epzgr. 
 
 M 2 vuc 
 
Part I. 
 
 44 
 
 The Elements of Architecture. 
 
 Heigbth by the Half of the Breadth and Length fummed. together: But when the Room 
 was precisely Square, they made the Heigth half as much more as the Latitude ; which 
 Dimenfions the modern Architects have taken Leave to vary upon Difcretion ; fometimes 
 fquaring the Latitude, and then making the Diagonal or overthwart Line, from Angle to 
 Angle, of the faid Square ; the Mcafure of the Heighth fometimes more, but feldom lower 
 than the full Breadth itfelf; which Boldnefs of quitting the old Proportions, fome attri¬ 
 bute firft to Michael Angelo da Buonaroti, perchance upon the Credit lie had before got¬ 
 ten in two other Arts. 
 
 The fecond Point is Ufefulnefs , which will confift in a fufficient Number of Rooms, of 
 all Sorts, and in their apt Coherence, without Diffraction, without Cojtfufion, fo as the Be¬ 
 holder may not only call it, Una Falrica len reccolta, as Italians ufe to fpeak of well 
 united Works; but likewife, that it may appear airy and fpiritous, and fit for the Welcome 
 of chearful Guefts ; about which, the principal Difficulty will be in contriving the Lights, 
 and Stair-cafes, whereof I will touch a Note or two : For the firft, I obferve, that the 
 ancient Architefts were at much Eafe ; for both the Greeks and Romans (of whofe private 
 Dwellings Vitruvius hath left us fome Defcription) had commonly two cloiftered open 
 Courts, one ferving for the Womens Side, and the other for the Men ; who yet perchance 
 now a-days would take fo much Separation unkindly. Howfoever, by this Means, the 
 Reception of Lvsht into the Body of the Building was very prompt, both from without 
 and from within ; which we muft now fupply, either by fome open Dorm of the Fabrick , 
 or among graceful Refuges, by tarrafing any Story which is in danger of Darknefs : Or, 
 Lilly, by perpendicular Lights from the Roof, of all other the moft natural, as fiiall be 
 fhewed anon." For the fecond Difficulty, which is calling of the Stair-cafes, that being 
 in itfelf no hard Point, but only as they are Incumbrances of Room for other Ufe, (which 
 Lights were not) I am therefore aptly moved here to fpeak of them. And firft, of Of¬ 
 fices. 
 
 I have marked a Willlngnefs in the Italian Artizans, to cKftribute the Kjtchin, Pantry, 
 Bake-houfe, W-ajbing-Rooms, and even the Buttery likewife, under Ground, next above the 
 Foundation, and fometimes level with the Plain or Floor of the Cellar, railing the firft A- 
 feent into the Houfe fifteen Foot, or more for that End, which, befides the Benefit of re¬ 
 moving fuch Annoys out of Sight, and the gaining of fo much mote Room above, doth 
 alfo, by Elevation of the Front, add Majefy to the whole AfpeSt. And with fuch a Dif- 
 pofition of the principal Stair-cafe, which commonly doth deliver us into the Plain of the 
 Second Story, there may be Wonders done with a little Room, whereof I could alledge 
 brave Examples Abroad, and none more artificial and delicious, than a Houfe built by, 
 Dauiele Barbaro, Patriarch of Aquileia, before mentioned among the memorable Commen- 
 ters upon Vitruvius. But th t Definition (above determined; doth call us to fome Confi- 
 deration of our own Country, where, tho’ all the other petty Offices (before rehearfed) 
 may well enough be fo remote, yet, by the natural Hojpitality of England, the Buttery 
 muft be more vlfible, and we need perchance, for our Ranges, a more fpacious and lu. 
 minous Kjtchin than the forefaid Compartition will bear, with a more competent Near- 
 nefs likewife to the Dining-Room, or elfe, befides other Inconveniences, perhaps fome of 
 the Difhes may ftraggle by the Way: Here let me note a common Defeft that we have 
 of a very ufeful Roof called by the Italians, l! Tinello, and familiar, nay, almoft effential 
 in all their great Families. It is a Place properly appointed to conferve the Meat that is 
 taken from the Table, till the Waiters eat, which with us, by an old Falhion, is more 
 unfeemly fet by in the mean While. 
 
 Now touching the Diftribution of Lodging Chambers; I muft here take Leave to reprove 
 a Fafhion, which I know not how, hath prevailed thro’ Italy, tho 7 without ancient Ex¬ 
 amples, as far as I can perceive by Vitruvius. The Thing I mean is, that they lo call their 
 Partitions, as when .all Doors are open, a Man may fee thro’ the whole Houfe, which 
 doth neceffarily put an intolerable Servitude upon all the Chambers fave the Inmoft, where 
 
 none 
 
Part I. The Elements of firchiteclure. ^ 
 
 none can arrive but thro’ the reft; or elfe the Walls muft be extreme thick for fecret Paf- 
 fages. And yet this alfo will not ferve the Turn, without at lead three Doors to every 
 Room ; a 1 hing moft infufferable in cold and windy Regions, and every Where no (mail 
 weakening to the whole Work. Therefore, with us that want no Cooling, I cannot 
 commend the direft Oppofition of thefe Overtures, being indeed meerly grounded upon 
 the fond Ambition of difplaying to a Stranger all our Furniture at one Sight, which there¬ 
 fore is moft maintained by them that mean to harbour but a few; whereby they make on¬ 
 ly Advantage of the Vanity, and ftldom prove the Inconveniency. There is likewife ano¬ 
 ther Defe£t (as Abfurdities are feldom folitary) which will neceffarily follow upon fuch a 
 fervile Difpofing of inward Chambers; that they muft be forced to make as many com¬ 
 mon great Rooms as there fhall be feveral Stories, which (befides that they are ufually 
 dark, a Point hardly avoided, running, as they do, thro’the Middle of the whole Houfe) 
 do likewife devour fo much Place, that thereby they want other Galleries and Rooms of 
 Retreat, which I have often conlidered among them (1 muft confels) with no fmall Won¬ 
 der; for I obferve no Nation in the World, by Nature, more private and referved than 
 the Italian ; and on the other Side, in no Habitations lefs Privacy; fo there is no kind of 
 Conflia between their Duelling and their Being, It might here perchance be expected 
 that I fhould at leaft defcribe (which others have done in Draughts and DefignsJ divers 
 Forms of Plants and Partitions, and Varieties of Inventions, but fpeculative Writers (as 
 I am; are not bound to comprife all particular Cafes within the Latitude of the Subjeft 
 which they handle: General Lights and Directions, and Pointings at feme Faults, isfuffi- 
 cient. The reft muft be committed to the Sagacity of the Architect, who will be often 
 put to divers ingeniotis Shifts, when he is to wreftle with Scarcity of Ground ; as feme- 
 times f to damn one Room (tho’of fpecial ufe) for the Benefit and Beauty of all the reft; 
 another While, to make thofe faireft which are moft in Sight, and to leave the other, (like' 
 a cunning Painter) in fhadow, cum mult is aliis, which it were infinite to purfue • I will 
 therefore clofe this Part touching Compartition, as chearfully as I can, whith a fhort De- 
 feription of a Feajfing or Entertaining Roam, after the /Egyptian Manner, who feem (at 
 leaft till the Time of Vitruvius) from the ancient Hebrews and Pheniciaus (whence all 
 Knowledge did flow; to have retained, with other Sciences; in a high Degree alfo the 
 Principles and Praftice of this magnificent Art. For as far as I may conjefture by our 
 Matter's Text, lib. 6 . cap . y. (where, as in many other Places, he had tortured his Inter¬ 
 preters; there could no Form for fuch a Royal Ufe be comparably imagined like that of the 
 lorefaid Nation, which I fhall adventure to explain. 
 
 Let us conceive a Floor or Area of goodly length, (for Example at leaft of 120 Foot) 
 with the Breadth fomewhat more than the Half of the Longitude, whereof the Reafon 
 fhall be afterwards rendred. About the two longeft Sides and Head of the faid Room 
 lhall run an Order of Pillars, which Palladio doth fuppofe Corinthian (as I fee by his De 
 fign; fupplying that Point out of Greece, becaufe we know no Order proper to ft,., The 
 Fourth Side I will leave free for the Entrance. On the forefaid Pillars was laid an Archi 
 trave, which Vitruvius mentioned alone; Palladio adds thereunto (and with Reafon; 
 both Freez and Cornice, over Which went up a continued Wall, and therein Half or 
 Three-quarter Pillars, anfwering direftly to the Order below, bvt a fourth Part lefs • and 
 between thefe half Columns above, the whole Room was Windowed round about ’ 
 
 Now, from the lowed Pillars there was laid over a Contignation or Floor born upon 
 the outward Wall, and the Head of the Columns with Terrace and Pavement Sub dio 
 (faith our Matter) and fo indeed he might fafely determine the Matter in Egypt where 
 they fear no Clouds: Therefore Palladio (who leaveth this Terrace uncovered in the 
 Middle, and ballifed about) did perchance conftrue him rightly, tho’ therein difeordine 
 from others: Always we muft underftand a fuflicient Breadth of Pavement left between the 
 open Part and the Windows, for feme Delight of Speftators that might look down into 
 the Room. The Latitude I have fuppofed, contrary to feme former Pofitions a little 
 more than the Half of the Length, becaufe the Pillars ftanding at a competent Diftance 
 from the outmo &Wall, will, by Interception of the Sight, fomewhat in Appearance di- 
 
 ® minilh 
 
 -[■ Toe Italians call it Una Stanza donata. 
 
 N 
 
The Elements of Architecture. 
 
 Part I. 
 
 minifh the Breadth ; in which Cafes (as I have touched once or twice before) Difcretion 
 ma y be more licentious than Art. This is the Deicription of an Egyptian Room for Feafts 
 and other Jollities. About the Walls whereof we mull imagine intire Statues placed be¬ 
 low and illuminated by the defending Light from the Tarrace, as likewife from the 
 Windows between the half Pillars above, fo as the Room had abundant and advantageous 
 L ;„ht ■ and befides other Garnilhing, mud needs receive much State by the very Heighth 
 of the Roof that lay over two Orders of Columns. And fo having 1 un thro the four 
 Parts’ of my firft general Divifion ; namely, foundations, Walls, Apert itions and Compart i- 
 iions theHoufemay now have Leave to put on his Hat, having hitherto been uncovered 
 jtfelf’ a nd confequently unfit to cover others. Which Point, tho’ it be the laft of this Art 
 in Execution, yet it is always in Intention the firft ; for who would build but for Shelter ? 
 Therefore, obtaining both the Place and the Dignity of a final Caufe, it hath been dili¬ 
 gently handled by divers, but by none more learnedly than Bernardino Baldi Abbot oF 
 Guajlalta (before cited upon other Occafion) who doth Fundamentally and Mathematically 
 demonftrate the firmed Knittings of the upper Timbers, which make the Roof: But it 
 hath been rather my Scope, in thefe Elements, to fetch the Ground of all from Nature 
 htffelf, which indeed is the fimpleft Mother of Art: Therefore I will now only deliver 
 aVcw of the propereft, and (as I may fay) of the naturaleft Confiderations that belong to 
 this remaining Piece. 
 
 There are two Extremeties to be avoided in the Cover or Roof; that it be not too hea¬ 
 vy nor too light. The firft will fuffer a vulgar Objc-aion, of prefling too much the Un- 
 /. wor i ( The other contained a more fecret Inconveniency ; for the Cover is not only 
 "bare Defence, but likewife a kind of Band or Ligature to the whole Fabrick, and there¬ 
 fore would require fome reafonable Weight': But of two Extremes, a Houfe Top-heavy 
 .. th „ wor( r Next, there mud be a Care of Equality, that the Edifice be not preffed on 
 the one Side more than the other : And here Palladio doth wilh (like a cautelous Artizan) 
 tint the inward Walls might bear fome Share in the Burthen, and the outward be the lefs 
 
 charged. 
 
 Thirdly the Italians are very precife in giving the Cover a graceful Pendence of Sloap- 
 nefs dividing the whole Breadth into nine Parts; whereof Two lhall ferve for the Eleva¬ 
 tion of the higheft Top or Ridge from the loweft. But in this Point the Quality of the 
 Reuion is confiderable: For (as our Vitruvius infinuateth) thofe Climes that fear the fal¬ 
 ling and lying of much Snow, ought to provide more inclining Pentices; and Comlinefs 
 muft yield to Necefllty. 
 
 Thefe are the ufefulleft Cautions which 1 find in Authors, touching the laft Head of our 
 Divifion wherewith I will conclude the firft Part of my prefent Travel. The Second re. 
 maineth’concerning Ornaments within or without the Fabrick ; a Piece not fo dry as the 
 meet Contemplation of Proportions: And therefore, I hope therein fomewhat to refrelh 
 both the Reader and my felf. 
 
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 the 
 
 ELEMENTS 
 
 O F 
 
 ARCHITECTURE. 
 
 The Second Tart, 
 
 VERY Man’s proper Manfion-Houfe and Home, being the Theater of 
 his Hofpitality , the Seat of Self-Fruition , the comfbrtableft Part of his 
 own Life, the nobleft of his Son s Inheritance, a Kind of private Prince¬ 
 dom-, nay, to the Profejfors thereof, an Epitomy of the whole World-, may 
 well dcferve by thefe Attributes, according to the Degree of the Maft&r, 
 to be decently and delightfully adorned. For which End, there are two’ 
 'Arts attending on Architelhtre, like two of her principal Gentlewomen, to drefs and trim 
 their Miftrefs; Pi&ure and Sculpture: Between whom, before I proceed any further 
 I will venture to determine an ancient Quarrel about their Prcedeucy, with this DiftinQL 
 on; that in the garnifhing of Fabriclis, Sculpture no doubt mu ft have the Preheminence" 
 as being indeed of nearer Affinity to Architecture it felf, and confequently the more natur¬ 
 al, and more fuitablle Ornament. But on the other Side, (to confider thefe two Arts as I 
 fliall do Philofophicallj , and not Mechanic ally') An excellent Piece of Painting, is, to my 
 Judgment, the more admirable Objeft, becaufe it comes near an Artificial Miracle to 
 make divers diftinft Eminences appear upon a Flat by Force of Shadows, and yet the Sha- 
 dows themfelves not to appear; which I conceive to be the uttermoft Value and Virtue of 
 a Painter, and to which very few are arrived in all Ages. 
 
 In thefe two Arts (as they are applicable to the Subjeft which I handle) it (hall be fit 
 firft to confider how to choofe them; and next how to difpofe them, To guide us in the 
 Choice, wc have a Rule fomewhere (I will remember) in Pliny, and it is a pretty Obfer 
 vation ; that they do mutually help to cenfure one another. For Picture is beft when it 
 ftandeth off, as if it were carved ; and Sculpture is beft when it appeareth fo tender, as if 
 it were painted : I mean, when there is fuch a feeming Softnefs in the Limbs, as if not a 
 Chije! had hewed them out of Stow, or other Material, but a Pencil had drawn and 
 ftroaked them in Oil, which the judicious Poet, took well to his Fancy. 
 
 Excudent alii fpirantia mollius xra. 
 
 But this Generality is not fufficient to make a good Choofer, without a more particular 
 Contraftion of his Judgment. Therefore when a Piece of Art is fet before us, let the firft 
 Caution be, not to ask who made it, left the Fame of the Author do captivate the Fancy of 
 the Buyer. For, that excellent Men do always excellently, is a falfe;Conclufion ; where- 
 
 ^ 2 upon 
 
4* 
 
 The Elements cf Architecture. Part I. 
 
 upon I obferve among Italian Artizans three notable Phrafes, which well decipher the 
 Degrees of their Work- 
 
 They will tell you, that a Thing was done Con diligenza, Con jludio, and Con aniore ; 
 The firft is but a bare and ordinary Diligence, the fecond is a learned Diligence, and the 
 third is much more, even a loving Diligence: They mean not with Love to the Befpeak- 
 er of the Work, but with a Love and Delight to the Work it felf, upon fome fpecial Fancy 
 to this, or that Story : And when all thefe concur (particularly the laft) in an eminent 
 Author, then perchance Titianus fecit , or o' Curias Wola will ferve the Turn, without far¬ 
 ther Inquifition ; otherwife Artizans have not only their Growths and Perfeftions, but 
 likewtfe their Vains and Times . 
 
 The nexLCaution mtift be (to proceed logically) that in judging of the Work it felf, 
 we be not diftra&ed with too many Things at once ; therefore firft (to begin with Picture') 
 we are to obferve whether it be well drawn, (or as more elegant Artizans term it) well 
 defign’d : Then, whether it be well coloured, which be the two general Heads ; and 
 each of them hath two principal Requiftes : For in well defigning, there muft be Tenth 
 and Grace ; in well colouring, Force and AJfeClion ; all other Praifes are but Confequences 
 of thele. 
 
 Truth (as we metaphorically take it in this Art) is a juft and natural Proportion in eve¬ 
 ry Part of the determined Figure. Grace is a certain free Difpofition in the whole Draught, 
 anfwerable to that unaffected Franknefs of Fafhion in a living Body, Man or Woman, 
 which doth animate Beauty where it is, and fupply it, where it is not. 
 
 Force confifteth in the Roundings and Raifings of the Work, according as the Limbs do 
 more or lefs require it ; fo as the Beholder fhall fpie no Sharpnefs in the bordering Lines, 
 as when Taylors cut out a Suit, which Italians do aptly term according to that Compari- 
 fon, Contorni taglienti ; nor any Flatnefs within the Body of the Figure, which how it is 
 done we muft fetch from a higher Difcipline, for the Opticks teach us. That a Plan will 
 appear prominent, and, as it were, emboffed, if the Parts fartheft from the Axeltree, or 
 middle Beam of the Eye, fhall be the moft lhadowed, becaufe in all Darknefs, there is a 
 Kind of Deepnefs. But as in the ArtofPerfwafion,one of the moft fundamental Precepts is 
 the Concealment of Art ; fo here likewife, the Sight muft be fweetly deceived by an infen- 
 fible Paffaue, from brighter Colours to dimmer, which Italian Artizans call the middle 
 Tinctures, that is, not as the Whites and Yolks of Eggs iy in the Shell, with vifible Diftin- 
 aion • but as when they are beaten, and blended in a Dilh, which is the neareft Compa- 
 rifon that I can fuddenly conceive, 
 
 Laftly, AfeCtion is the lively Reprefeutmext of any Paflion whatfoever, as if the Figures 
 flood not upon a Cloath or Board, but as if they were a&ing upon a Stage .■ And here I 
 muft remember, in Truth with much Marvel, a Note which I have received from excel¬ 
 lent Artizans, that though Gladnefs and Grief be Oppofiites in Nature, yet they are fuch 
 Neighbours and Confiners in Art, that the leaft Touch of a Pencil will tranftate a Crying 
 into a Laughing Face, as it is reprefented by Homer in the Perfon of Hector's Wife, as 
 Painters and Poets have always had a Kind of Congeniality. 
 
 1 A I A A. £. 
 
 €i 7T(t)V CtX 0^016 4>/At)S \v X*£ alv ___ 
 
 ricZS' loV, rjcf'’ [x'iv y.DuS'ti jcoAtw. 
 
 ycXcLGaLaa., - Xhat is, 
 
 She took her Son into her Arms, weepixgly laughing. 
 
 Which Inftance, befides divers other, doth often reduce unto my Memory that in¬ 
 genious Speculation of the Cardinal Cufanus, extant in his Works, touching the 
 
 Coin- 
 
The Elements of Architecture. 
 
 49 
 
 Part 11 
 
 Coincidence of Extreams. And thus much of the Four Requites, and Perfections 
 in Picture • 
 
 In Sculpture iikewife, the two firft are abfolutcly heceffar.y ; the Third impertinent; for 
 folid Figures need no Elevation, by Force of Lights, or Shadows ; therefore in the Room 
 ot this, we may put fas hath been before touched) a Kind of Tendeunefs, by the Italians 
 termed Morbidezza, wherein the Cliizel, I muft confefs, hath more Glory than the Peufil; 
 that being fo hard an Inltrumenr, and working upon fo unpliant Stud, can yet leave 
 Stroaks of fo gentle Appearance. 
 
 The Fourth which is the exprefTmg of AffeCtion (as far as it doth depend upon the Aclh 
 vity and Gefiure of the Figure) is as proper to the Carver, as to the Painter ; though Co¬ 
 lours, no doubt, have therein the greateft Power ; whereupon, perchance, did firft grow 
 with us the Fafbion of colouring, even Regal Statues, which I muft take Leave to call an 
 Englifh Barbariftm 
 
 Now in thefe four Requires already rehearfed, it is ftrange to note, that no Artizan 
 having ever been blamed for Excels in any of the three laft only Truth (which fhould 
 feem the moft innocent) hath buffered fome Objection ; and all Ages have yielded fome 
 one or two Artificers fo prodigioufty exquifite, that they have been reputed too natural in 
 their Draughts, which will well appear by a famous Paffage in Quintillian, touching the 
 Characters of the ancient Artizans, falling now fo aptly into my Memory, that I muft 
 needs tranflate it, as in Truth it may well deferve. 
 
 The Place which t intend, is extant in the laft Chapter five one of his whole Il'ork, 
 beginning thus in Latin ; 
 
 Primi, quorum quidetn opera non vetuftatis mo.lo gratia vifenda fnnt clari PiAores, fuijfe 
 dicuntur, Polygnotus atque Aglaophon, L$c. 
 
 The 'whole TaJJage in Englifh flandeth thus. 
 
 r | 1 H E firft Painters of Name, whofe Works be confiderable for any Thing more than 
 
 1 only Antiquity, are faid to have been Polygnotus and Aglaophon ; whofe bare Co¬ 
 lourings (he means I think in white and black) hath even yet fo many Followers, that 
 thofe rude and firft Elements, as it were of that, which within a While, became an Art, 
 are preferred before tile greateft Painters that have been extant after them, out ofa certain 
 Competition fas I conceive it) in Point of Judgment. After thefe, Zettxes and Parafius 
 not far diftant in Age, both about the Time of tire Pelopenejian War (for in Xenophon we 
 have a Dialogue between Parafius and Socrates) did add much to this Art. Of which the 
 firft is faid to have invented the due Difpofition o'f Lights and Sh adows: The fecond, to 
 have more Subtilly examined, the Truth of Lines in the Draught ; for Zeuxes did make 
 Limbs bigger than the Life, deeming his Figures, thereby the more ftately and Majefti- 
 cal; and therein (as fome think) imitating Homer, whom the ftouteft Form doth pleafe, 
 even in Women. On the other Side, Parafius did exaCtly limit all the Proportions fo, as 
 they call him the the Law-giver, becaufe in the Images of the Gods, and of Heroicnl Pers 
 fonages, others have followed his Patterns like a Decree ; but Picture did moftflourifh a- 
 bout the Days of Philip, and even to the Succeffors of Alexander, yet by fundry liabilities; 
 for Protogenes did excel in Diligence, Pamphilus and Melanthius in due Proportion, Anti- 
 philus in a frank Facility ; Theon of Samos, in Strength of Fantafie and conceiving of Paf- 
 fions ; Appelies, in Invention and Grace, whereof he doth himfelfmoft vaunt; Enpbranor 
 deferves Admiration, that being in other excellent Studies a principal Man, he was like¬ 
 wife a wondrous Artizan, both in Painting and Sculpture. The like Difference we may 
 obferve among tit & Statuaries •, for the Works of Caion ami Egefias were fome what ft iff, 
 like the Tufcan Manner : Thote of Calamis not done with fo cold Stroaks; and Myron 
 more tender than the former; a diligent Decency in Polycletus above others, to wiiom 
 
 O though 
 
Co The Elements of Architecture. Part II. 
 
 though the higheft Praife be attributed by the moil, yet left he fhould go free from Excep¬ 
 tion, fome think he wanted Solemnefs; for as he may perchance be faid to have added a 
 comely Dimeniion to humane Shape, lomewhat above the Truth ; fo on the other Side 
 he ftemed not to have fully expreffed the Majefty of the Gods : Moreover, he is faid not 
 to have meddled willingly with the graher Age, as not adventuring beyond fmooth Cheeks: 
 Bu: thefe Vertues that were wanting in Polycletus, were fupplied by Phidias and Alcmenes ; 
 yet Phidias was a better Artizan in the reprefenting of Gods, than of Men ; and in his 
 Works of Ivory, beyond all Emulation,, even tho 5 he had left nothing behind him but his 
 Minerva at Athens, or the Olympian Jupiter in Elis, whofe Beauty l'eems to have added 
 fomewhat, even to the received Religion ; the Majefty of the Work, as it were equalling 
 the Deity. To Truth, they affirm Lyfippins and Praxiteles, to have made the neareft Ap¬ 
 proach: Vos Demetrius is therein reprehended, as rather exceeding than deficient; hav¬ 
 ing been a greater Aimer at Likenefs, than at Lovelinefs. 
 
 This is that witty Cenfure of the ancient Artizans which jQnintillian hath left us 
 where the laft Charafter of Demetrius doth require a little Philofophical Examination * 
 How an Artificer, whofe End is the Imitation of Nature, can be too natural, which like- 
 wife in our Days was either the Fault, or (to fpeak more gently) the too much Perfection 
 dt Albert Durer, and perhaps alfo Of Michael Angelo da Buonaroti, between whom I have 
 heard noted by an ingenious Artizan a pretty nice Difference, that the German did tod 
 much exprefs that which was; and tine Italian, that which would be : Which fevere Ob- 
 fervation of Nature, by the one in her commoneft, and by the Other in her abfoluteft 
 Forms, muff needs produce in both a Kin d of Rigidity, and confequently more Natural- 
 nefs than Gracefulnels: This is the cleared Realon, why fome exaft Symmetri/ls have 
 been blamed for being too true, as near as I can deliver my Conceit. And fo much touch¬ 
 ing the Choice of Picture and Sculpture . The next is, the Application of both to the 
 beautifying of Fal/richs, 
 
 Firft therefore, touching Picture, there doth occur a very per tinent Doubt, which hath 
 been paTed over too (lightly, not only by fome Men, but by fome Nations; namely whe¬ 
 ther this Ornament can well become the Outfide of Houfes, wherein the Germans have 
 made fo little Scruple, that their belt Towns are themoft painted, as Augitjla and Norem- 
 herg. To determine this Qucftiort in a Word : It is true, that a Story well fet out with 
 a good Hand, will every Where take a judicious Eye .• But yet withal it is as true, that 
 various Colours on the Out-walls of Buildings have always in them more Delight than 
 Dignity : Therefore I woul.l there admit no Paintings but in Black and White, nor even 
 in that Kind any Figures (if the Room be capable) under nine or ten Foot high, which 
 will require no ordinary Artizan ; becaufe the Faults are more vifible than in fmall Dee 
 figns. In unfigured Paintings the nobleft is the Imitation of Marbles, and of Architecture 
 it felf, as Arches, Freezes, Columns, and the like. 
 
 Now for the Infide, here grows another Doubt, wherein Grotefca (as the Italians) or 
 Antique Work (as we call ic)fhould be received, againft the exprefs Authority of Vitruvius 
 himfelf, /. 7. c. 5. where Pictura (faith he) fit ejns, quod eft, feu proteft effe ; excluding 
 by this fevere Definition, all Figures compofed of different Natures or Sexes ; fo as a Syrene 
 or a Centaur had been intollerable in his Eye • But in this we mull take Leave to depart 
 from our Mafter, and the rather becaule lie fpakeout of his own Profeffion, allowing 
 Painters f who have ever been as little limited as Poets) a lefs Scope in their Imaginations, 
 even than the graved Philofophers, who fometimes do ferve themfelves of Inftances that 
 have no Extftence in Nature, as wefee in Plato's Amphishena, and Ariftotle's Hirco-Cervus m 
 And (to fettle this Point) what was indeed mote common and familiar among the Romans 
 themfelves, than the Picture and Statue of Terminus, even one of their Deities? which 
 yet if we well confider, is but a Piece of Grotefca; I am for thele Reafons unwilling to 
 impoverifh that Art, though I could with fuch medly and motly Defigns confined only to 
 the Ornament of Freezes, and Borders, their propereft Place. As for other ftoried Works 
 *!pon Walls, I doubt our Clime be too yielding and moift lor fuch Garnifliment; therefore 
 
Part II. 
 
 The Elements of Architecture. 
 
 ____S i 
 
 leaving it to the Dwellers Difcretion, according to the Quality of In's t mi . ,, 
 
 a Caution or two about the difpofing oiWuteswitL^ ** ° f ^ 1 WiI ‘ ^ 
 
 Fiyd, That no Room be furnifhed with too manv • • „ , 
 
 0 ,.M they be G.lletiee * fo« P =ceIi„ Ke^oO.JklSS* 
 
 Next, 1 hat the beft Pieces be placed not where there are the Loft r t \ 
 
 thefeweft Lights: Therefore not only Rooms window^ ^ 
 
 thorough-lighted; but witli two or more Windows on the fame Side & ^ m 
 
 «-- - m ^ ;i 
 
 is L rSr | h p d l ey be aS P c r ° P " rly bci ] owcd fof their Quality, as fitly for their Grace, that 
 t! h ?■ *“ . " " SS m Feaft,n S and Banqueting Rooms, Graver Stories in Galleries- 
 
 “Eo sfaar “ wi,d *-*■» - ^ *»>»< »* ^susz; 
 
 _And thus much of Pifture, which let me clofe with this Note, That tho’mv former 
 
 vet L i°r lfe M 7 T' V£ pea ' C, ’ anCe for fome teafonable leading in the Choice of fuch Delights ■ 
 
 io T ° f Sn T u 7 fUCh 2 fpeCU ' atiVe E ™ dition > io difcern the mafterly and nf ft e ’ 
 nous Touches of Art but an Art.zan himfelf, to whom therefore we muft leafe the Prero” 
 
 f “? ce " fure the Manner and Handling, as he himfelf muft likewife leave fome Points 
 
 fenr H H m n ° ^ “ ‘“o! 1 ’ 1 * aS for E ^mple, whether the Story be rightly reprel 
 
 ented the Figures in true Aft,op, the Perfons fuited to their fcveral Qualities^ the AffZ 
 tions proper and ftrong, and fuch like Obfervations. 
 
 Now for Sculpture, I muft likewife begin with a Controverfie, as before, ('falling into 
 t ns Placed or let me rather call it a meet Fancy ftrangely taken by Palladio, who having 
 noted in an old Arch or two at Verona, fome Part, of the Materials already rut /„ fi n! 
 Forms, and fome unpohfhed, doth conclude (according to his Logick) upon this Parties 
 lar, that the Ancients did leave the outward Face of their Marbles or Free-ftone without 
 any Sculpture, til! they were laid and cemented in the Body of the Buildino • P 
 
 likewile he findeth a Reafon (as many do now and then very wittily even before th^r^ 
 
 Hand, than ,f they had been fmooth, and that fo the Sides might belaid together! 
 more exaftly, which Conceit once taken, he feems to have further imprinted, by 
 m certain ftoned Sculptures of old Time, how preeiftly the Parts and Lines K«L" S 
 that pafs from one Stone to another, do meet; which he thinks could hardly fall ouMo 
 tight, (forgetting, while he fpeaks of ancient Things, the ancient Diligence) unlefs thev 
 had been cut alter the joining of the Materials: But all thefe Inducements canfiot m, I 
 
 Strokes rf tte cS’tefid “ * ^ disiointioB the Comm ' ff ^es with fo many 
 
 Strokes ot the Chizel, befides an incommodious Working on Scaffolds ; efpeciallv bavin 7 
 
 po Teftnnony to confirm it, that I have yet feen among the Records of ArmNay i c I 
 indeed lather, true, that they did fquare and carve, and polifli their Stone and Marble 
 Works, even in the very Cave of the Quarry, before it was hardened by open Air S? 
 
 (to leave Deputation) I will fet down a few pofitive Notes for the placing of Sculpture 
 becaufe the chufing hath been handled before. b “ 1 
 
 0 
 
 Tha 
 

 Jhe Elements of Architecture. 
 
 Part II. 
 
 Tint firft of all it be not too general and abundant, which would make a Houle look- 
 like a'Cabinet; and in this Point, moral Philofophy, which tempereth Fancies, is the 
 Superintendent of Art. 
 
 That efpecially there be a due Moderation of this Ornament in the firft Approach, 
 where our Authors do more commend (I mean about the principle Entrance) a Derick, 
 than a Crtfa Garniflrment; fo as if the great Door be arched with lome biave Head, 
 
 llt S„„e 0, N, 10. tl; = n'ounfuVS 
 
 leaning upon it towards oneanothei, as it they mea ’ T ,, -ru 
 
 ficient Entertainment for the firft Reception of any judicious S.ght, whrch 1 covdd w ft 
 fecondcd with two great (landing Statues on each Side of a paved Way hat fhal! lead up 
 into the Fabrick, fo as the Beholder, at firft Entrance, may pafs Ins Eye between 
 them. 
 
 That the Niches, if they contain Figures of white Stone or Marble be not covered m 
 their Concavity too black: For the’ Contrary juxta fe pofita maps ,//*«/«*# (by' “ 
 
 Rule,) yet it hath been fubtily and indeed truly noted, that our Sight is not well contente 
 with thofe fudden Departments from one Extreme to another : Therefore let them have 
 rather a duskifh Tin&ure than an abfolute black. 
 
 That fine and delicate Sculptures be helped with Nearnefs, and grofs with Diftance; 
 which was well feen in the old Controverfie between Phidias and Alcmenes about the Sta¬ 
 tue oiremis, wherein the firft did fhew Difcretion and fave Labour, b ecaufe the Work 
 was to be viewed at good Height, which did drown the fweet and diligent Strokes of 
 his Adverfary: A famous Emulation of two principal Artizans, celebrated even by the 
 
 Greek Poets. 
 
 That in the placing of (landing Figures aloft, wemuftfet them in a Pofture fotnewhat 
 bowing forward, becaufe (faith our Matter, lib. 3 - cap. j. out of a better Art than his 
 own) the vifual Beam of our Eye, extended to the Head of the faid Figures, being long, 
 er than to the Foot, muft necflarily make that Part appear farther, fo as to reduce it to an 
 ereft or uprmht Pofition, there muft be allowed a due Advantage of (looping towards us, 
 which Albert Diner hath exaftly taught in his forementioned Geometry. Our Vjmvtus 
 calleth this Affeftion in the Eye, a Reftifinatton of the Figure t For which Woid (being 
 in truth his own for ought I know) we are almoft as much beholding to him, as for the 
 Obfervation itfelf: And let thus much fummanly fuffice touching the Choice and Ufe of 
 thefe adorning Arts. For to fpeak of garnilhing the Fabrick with a Row of ereHed Sta¬ 
 tues about the Cornice of every Contignation or Story , were Difcourfe more proper tor Athens 
 or Rome in the Time of their true Greatnefs, when (as Phny recordeth of his own Age) 
 there were near as many carved Images as living Men; like a noble Contention, even m 
 Point of Fertility between Art and Nature: Which Paffage doth not only argue an in¬ 
 finite Abundance both of Artizans and Materials, but likewife of Magnificent and Maje- 
 (lical Deferes in every common Perfon of thofe Times, more or left, according to their 
 Fortunes. And true it is indeed, that the Marble Monuments and Memories of well-defer. 
 v ! n a Men; wherewith the very High. Ways were ft rewed an each Side, was not a bare 
 and° tranfitory Entertainment of the Eye, or only a gentle Deception of Time to the 
 Traveller, but had alfo a fecret and ftrong Influence, even into the Advancement of the 
 Monarchy, by continual Reprefentation of virtuous Examples, fo as in that Point, Art 
 became a Piece of State. 
 
 Now, as I have before fubordinated Picture and Sculpture to Architecture , as their Mi- 
 ftrefs; fo there are certain inferior Arts likewife fubordinate to them : As Under-picture, 
 Mofaick ; Under-fculpture, Plajlick ; which Two I only nominate as the fitted to 
 garnifli Fabricks. 
 
 Mofaick 
 
Part ll. The Elements of Architecture. 
 
 Mofaic is a kind df Painting in fmall Fellies, Cockles and Shells of fundry Colours; and 
 of late Days likewife with Pieces of Glafs figured at Pleafure; an Ornament in truth of 
 much Beauty and long Life ; but of moll Ufe in Pavements and Floorings'. 
 
 Plaflich is not only under Sculpture, but indeed very Sculpture itfelf; but with this Dif. 
 ference, that the Plaflerer doth make his Figures by Addition, and the Carver by Subftra- 
 ftion, whereupon Michael Atigelo was pleafed to fay fomewhat pleafantly, That Sculpture 
 ■was nothing hit a Purgation of Superfluities. For, take away from a Piece of Wood or 
 Stone all that is fuperfluous, and the Remainder is the intended Figure. Of this Plaflich 
 Art, the chief Ufe with us is in the graceful fretting of Roofs : But the Italians apply it 
 to the mantling of Chimneys with great Figures. A cheap Piece of Magnificence, and as 
 durable almoft within Doors, as harder Forms in the Weather. And here, tho’ it be a 
 jittle Excurfion, I cannot pafs unremembred again their Manner of difguifing the Shafts of 
 Chimneys in various Fafhions, whereof the noblell is the Pyramidal, being, in truth, a 
 Piece of polite and civil Difcretion, to convert even the Conduits of Soot and Smoak in¬ 
 to Ornaments, whereof I have hitherto fpoken, as far as may concern the Body of the 
 jBuilding. 
 
 Now there are Ornaments alfo without, as Gardens, Fountains, Groves, Confervatories 
 of rare Beafs, Birds and Fifties : Of which ignoble kind of Creatures, We ought not 
 (faith our greateft * Mailer among the Sons of Nature) childifhly to defpife the Contemplc- 
 tioe ; for in all Things that are natural, there is ever f ymething that is admirable. Of 
 thefe external Delights a Word or two. 
 
 Firfl, I mud note a certain Contrariety between Building and Gardening ; for as Fabricks 
 fhould be regular, fo Gardens fhould be irregular, or at leaft caft into a very wild Regula¬ 
 rity. To exemplify my Conceit, I have leen a Garden (for the Manner perchance in¬ 
 comparable) into which the firfl Accefs was a high Walk like a Terrace, from whence 
 might be taken a general View of the whole Plot from below, but rather in a delightful 
 Confufion, than with any plain Diilinflion of the Pieces. From this the Beholder de- 
 feending many Steps, was afterwards conveyed again by feveral Mountings and Veilings 
 to various Entertainments of his Cent and Sight, which I fhall not need to deferibe (for 
 that were Poetical) let me only note this, that every one of thefe Diverfities was as if lie 
 had been Magically tranfported into a new Garden. 
 
 But. tho’ other Countrys have more Benefit of Sun than we, and thereby more properly 
 tied to contemplate this Delight, yet have I feen in our own a delicate and diligent Cu- 
 rifioty, furely without parallel among Foreign Nations, namely in the Garden of Sir Henry 
 Fanfbaw, at his Seat in Ware Park, where, I well remember, he did fo precifely examine 
 the Tinftures and Seafons of his Flowers, that in their Settings, the tnwardefl of tliofe 
 which were to come up at the fame Time, fhould be always a little darker than the out- 
 mod, and fo ferve them for a kind of gentle Shadow, like a Piece, not of Nature, but of 
 Art : Which mention (incident to this Place) I have willingly made of his Name, for 
 the dear Friendfbip that was long between us, tho’I muft confefs, with much Wrong to 
 his other Virtues, which deferve a more folid Memorial, than among thefe vacant Obfer- 
 vations. So much of Gardens. 
 
 Fountains are figured, or only plain Water’d-works; of either of which I will deferibe 
 a matchlefs Pattern. 
 
 The fil'd, done by the famous Hand of Michael Angelo da Bnonnroti, in the Figure of a 
 durdy Woman wafhing and winding of Linrten Clothes; in which Aft, fhe wrings out 
 
 P the 
 
 * Arif. lib. i. cap. 5. de part. Anim. <f@. jj.n peuyetv Trctif tpv Tipi tu>v ccTiy.yy.epwv 
 {^ooov €7 rzVy.g-J-Tj'. 'Ey (pxcri yxo to?s (pua-ixsTs svecy! ti 
 
The Elements rf Architecture. 
 
 Part II. 
 
 the Water that made the Fountain, which was a graceful and natural Conceit in the Arti¬ 
 ficer, implying the Rule, that all Defigns of this Kind fhould be proper. 
 
 The 'other doth merit fome larger Expreffion, there went a long, (freight, moflieWalk 
 of competent Breadth, Green, and foft underfoot, lifted on both Sides with an Aqtudud 
 of white Stone, Breaft-high, which had a hollow Channel on the Top, where ran a pretty 
 tricklin' 7 Stream, on the Edge whereof were couched very thick all along, certain fmall 
 Pipes of Lead, in little Holes, fo fleatly that they could not be well perceived, till, by 
 the turning of a Cock, they did fprout over interchangably from Side to Side, above 
 Mans Height, in form of Arches, without any InterfeQion or Meeting aloft, becaufe the 
 Pipes were not exactly oppofite, fo as the Beholder, befides that which was fluent in the 
 J'ju-tdcetts on both Hands in his View, did walk as it were under a continual Bower and 
 Hemfphere of Water, without any Drop falling on him. An Invention for Refrefhment 
 furely far excelling all the Alexandrian Delicacies, and Pneumaticls of Hero. 
 
 Groves and artificial Devices under Ground are of great Expence and little Dignity, 
 which for my Part, I could wifli here converted into thofe Criteria, whereof Mention 
 is made among the curious Provifions of Ticho Braghe tbs Danifs Ptolomy, as I may well 
 call him, which were deep Concaves in Gardens, where the Stars might be obferved even 
 at Noon. For (by the Way) to think that the Brightnefs of the Suns Body above, doth 
 drown our difeerning of the letter Lights, is a Popular Error, the foie Impediment being 
 that Luftre which, by Refleftion- doth fpread about us from the Face of the Earth ; fo 
 as the Caves bcfoie touched, may well conduce, not to a delicious, but to a learned 
 Pleafure. 
 
 In Aviaries of H r ire, to keep Birds of all Sorts, the Italians (tho’ no wafteful Nation) 
 do in fome Places beftow vaft Expence, including great Scope of Ground, Variety ofBufhes, 
 Trees of good Height, running Waters, and fometime a Stove annexed, to ccmtemper the 
 Air in Winter : So as thofe Chanterejfes, unlefs they be fuch as perhaps delight as much in 
 their Wing as in their Voice, may live long among fuch good Provifions and Room, before 
 they know that they are Prfoners, reducing often to my Memory that Conceit of the 
 Roman Stoick, who, in Comparifon of his own free Contemplations, did think divers 
 great and fple’ndcnt Fortunes of his Time, little more than commodious Captivities. 
 
 Concerning Ponds of Pleafure near the Habitation, I will refer my felf to a grave 
 Author of our own (tho’ more illuftrious by his other -(-Work) namely, Sarishrrienfis 
 de Pif cini. 
 
 And here I will end the fcconcl Part, touching Ornaments, both within and without 
 the Fabrick. 
 
 Now, as almoft all thofe which have delivered the Elements of Logich, do ufually con¬ 
 clude with a Chapter touching Method-, fo I am here feized with a Kind of critical Spirit, 
 and defirous to (hut up thefe Building Elements with fome methodical Direftion how to 
 cenfure Fabricks already raifed: For indeed, without fome Way to contraft our Judg¬ 
 ment, which among fo many Particulars would be loft by Diffufion; I fhould think it al¬ 
 moft harder to be a good Cenfurer, than a good Architea ; becaufe the working Part 
 may be helped with Deliberation, but the judging mull flow from an extemporal Habit. 
 Therefore (not to leave thislaft Piece without fome Light) I could wifh him that com- 
 eth'to examine any nobler Work, firft of all to examine, himfelf, whether perchance the 
 LHht of many brave Things before (which remain like impreffed Forms) have not made 
 him apt to think nothing good but that which is the heft, for this Humour were too fowre. 
 Next, before he come to fettle any imaginagle Opinion, let him by all Means feck to in- 
 7 rorin 
 
 -{- De nugis Cur ini , &c. 
 
Part Ii. 
 
 The Elements of Architecture. 
 
 form himfelf precifcly, of the Age of the Work, upon which he mud pafs his Doom. And 
 if he fhall find find the apparent Decays to exceed the Proportion of Time, then let him 
 conclude without farther Inquifition, as an abfolute Decree, that either’the Materials 
 were too flight, or the Seat is nought. N ow, after thefe Premiffes, if the Houfe be found 
 to bear his Years well, (which is always a Token of found Confthiition) Then let him fud, 
 tlenly run backwards, for the Method of centring is contrary to tile Method of compof- 
 ing, from the Ornaments (which firft allure the Eye) to the more effential Members till 
 at laft he be able to form this Conclvfion, that the Work is commodious, firm and de 
 lightful; which (as Ifaid in the Beginning) are the three capital Conditions required in 
 good Buildings, by all Authors, both Ancient and Modern. And this is, as I may term 
 it, the molt fciential Way of Centring. There are two other which I muff not forget • 
 The firft in Georgia Fatfari, before his laborious Work of the Lives of Architects which is 
 to pafs a running Examination over the whole Edifice, according' to the Properties of a 
 well fbapen Man. As whether the Walls ftand upright upon clean Footing and Founda¬ 
 tion ; whether the Fabrick be of a beautiful Stature ; whether for the Breadth it appear 
 well burnifhed ; whether the principal Entrance be on the middle Line of the Front or 
 Face, like our Mouths; whether the Windows, as our Eyes, be fet in equal Number and 
 Diftanceon both Sides; whether the Offices, like the Veins in our Bodies, be ufefully 
 diftributed, and fo forth. For this allegorical Review may be driven as far’ as"any Wit 
 will, that is at Leifure. ' 
 
 The fecond Way is in Vitruvius himfelf, /. i. c. 2. where he fummariJy determined! fl* 
 Conflderations, which accomplifh this whole Ait. 
 
 Ordindtioi. 
 
 Difpofitio. 
 
 Enrythmia. 
 
 Symmetric 
 
 Decor, and 
 
 Dijlributio. 
 
 Whereof (in my Conceit) we may fpare him the firft two ; for as far as I call perceive 
 either by his Interpreters or by his own Text (which in that very Place, where perchance’ 
 he fhould be cleareft, is of til other the cloudieft) he meaneth nothing by Ordination "but 
 a well fettling ofthe Model or Scale of the whole Work. Nor by Difpofitlon more’than 
 a neat and MExpreffion of the firft Idea or Defignment thereof; which perchance do 
 more belong to the Artificer, than to the Cenfuter. The other four are enou-h to con¬ 
 demn, or abfolve any Fabrick whatsoever. Whereof Eurythewa is that agreeable Har¬ 
 mony between the Breadth, Length, and Height ofall the Rooms of the Fabrick which 
 fuddenly, where it is, taketh every Beholder by the fecret Power of Proportion • wherein 
 let me only note this, that though the feaft.Error of Offence that can be comitted againft 
 Sight, is Excefs of Height, yet that Fault is no Where of final! Importance beranfo ir H 
 the greateft Offence againft the Purfe. ’ 
 
 Symmetria is the Convenience that runneth between the Parts and the Whole whereof 
 I have formerly fpbken. ’ 
 
 Decor is the keeping of a due Refpeft between the Inhabitant and the Habitation 
 Whence Palladtus did conclude, that the principal Entrance was never to be regulated by 
 any certain Dimenfions, but by the Dignity of the Mafter ; yet to exceed rather in the 
 more, than in the lefs, is a Mark of Generality, and may always be excufed with fome 
 noble Emblem, or Infcription, as that of the Conte di Bevitacqua, over his l ar g e Gate at 
 Verona, where perchance had been committed a little Difpropmion. 
 
 P 2 
 
 Patet 
 
Part II. 
 
 
 The Elements of Architecture. 
 
 Patet Janua : Cor magts: 
 
 And here likewife I miift remember our ever memorable Sir Philip Sidney, (whofe Wit 
 was in Truth the very Rule of Cougruity) who well knowing that Rafilius (as he had 
 painted the State of his Mind) did rather want fome extraordinary Forms to entertain his 
 Fancy, than Room for Courtiers; was contented to place him in a Stay-like Lodge-, which 
 other wife in feverc Judgment, had been an incommodious Figure. 
 
 Diflrubutio is that ufeful Calling of all Rooms for Office, Entertainment, or Pleafttre , 
 which I have handled before at more Length than any other Piece. 
 
 Thefe are the four Heads which every Man lhould run over, before he pafs any deter¬ 
 minate Cenfure upon the Works that he fliall view, wherewith I will clofe this laid Parr, 
 touching Ornaments. Againft which (me thinks) I hear an Objeftion, even from ibme 
 well-meaning Man ; that thefe delightful Crafts, may be divers Ways ill applied in a 
 Land. I mud confets indeed, there may be a lafcivious, and there may be likewife a iu- 
 perftitious Ufe, both of Picture and of Sculpture : To which PolTibility of Mifapplication, 
 not only thefe Semi-literal Arts are fubjeft, but even the higheft Perfections and Endow¬ 
 ments of Nature. As Beauty in a light Woman, Eloquence in a mutinous Man, Refolutiot; 
 in an Affafinate, prudent Oljervation of Hours and Humours in a corrupt Courtier, Sharp- 
 nefs of Wit in a deducing Scholar, and the like. Nay, finally let me ask, What Art cm 
 be more pernicious, than even Religion itfelf. ifitfelfbe converted into an Inftrument of 
 Art: Therefore, at abuti adnonuti, negatur confequentia. 
 
 FINIS. 
 
 A 
 
JUDGMENT m General. 
 
 UPON 
 
 All the Authors (cited in the Parallel.) 
 
 By ROLAND FREART, Sr. De Chambry. 
 
 H TaIe°n"sTn n d AhT^ “ t0 BiVe a § eneral Hint of ** Several 
 
 Mafterl '' W 1 haV6 rCmark ’ d in eve T °*W of thofe 
 
 whom we are oblig’d for a very rare Collection of antique Plans and Profile Mi's *“ 
 of Buildings, defign’d after a moft excellent Manner,’andmeafured ’a n* ' °" S 
 fo exact that there is no.hing more in that Particular left us to defire ■ Befides 2”“ 
 
 advantageous Opportunities which he has had at Venice and in all rh. T ■ J 
 
 nattve Country, do leave us fuch Marks as cletrlv M t • , Uncent!ne , his 
 
 a SpeCfator of theft great mT a / ^ d huB > not °nly to have been 
 and emulous of their Glory Ant.qu.ty, but even a Competitor with them, 
 
 The Man who neareft approaches to him, is alfo another Native of Vinces v 
 Scamozzi by Name, a far greater Talker r,. • , ince ”Z(i, Vincent 
 
 inferior Workman, and lei ddTcateh, Pointof ^ ^ but a 
 
 the Profiles he has left us of the five Orders them S " ’ u Ma "y a y ea % perceive it by 
 that he is very poor and trit/iS^^^d^^l ^ S 
 
 -**** £■ as 
 
 the Idea of the Things in Crnfc \u u • r Ma ^ eis who needed only to be fhew’d 
 Proportion,- ,„ d tl», .I, othi,"“”1 fcl Te'"' “f“ ° f 
 
 gtnners, and to deliver to them the Rules of Arr , mldf dl ® Iaftrua ‘°n young Be¬ 
 ef excellent Advantage for us a fi that e A p f od •' But it had been 
 
 of Vignola, or that ^wJ’s St 'dv and n $ ^ defi S n ’ d ^ that 
 
 that of Scrlic & ^ a " d Du, S ence ln Aching, had been equal to 
 
 The 
 
Part II. 
 
 A Judgment in General, &c. 
 
 The famous Commentator of Vitruvius, Daniel Barbara, Patriarch of Aquilea, with 
 very great (uftice we may fitly ftile the Vitruvius of our Times, fhall in this Place be 
 fcated in the Middle of all the Mailers to be their Prefident, as being indeed the Inter¬ 
 preter and Oracle of the very Father of Architects, and his Companion Pietro Cateneo 
 (whom I affign only to preferve an equal Conformity in my Defigns of comparing 
 modern Authors) fhall ferve only as a petty Chaplain in the Retinue of this great Prelate, 
 though he might well claim Peerage even with the moll Part ot the reft. 
 
 Among the other latter four, I have a particular Efteem for one above the reft, and 
 that is Leon Baptijla Alberti, the mod ancient of all the Moderns, and haply too, the 
 mod knowing in the Art of Building, as may be eafily collected by a large and excellent 
 Volume which he has publifh’d, wherein he fundamentally fhews whatever is neceffary 
 for an Architect to know. But as to the Profiles of the Orders themfelves and his Re¬ 
 gulation of them, I cannot but llrangely admire at his Negligence in drawing them no 
 more correCtly, and with fo little Art, himfelf being a Painter; fince it had fo notably 
 contributed to its Recommendation, and to the Merit of his Works. But this I have 
 reform’d in my Collection, and believe in fo doing to have perform’d him no 
 little Service, as haply in Danger to have otherwife never been follow’d, there being 
 hardly any Appearance, that whilft the Defigns of his Book were fo pitifully drawn, 
 being made Ufe of in Work, they Ihould ever produce fo good Effed. 
 
 To the molt ancient I would aflign for Co-rival, the molt modern, that by confront¬ 
 ing them to each other, we might the better come to difcover whether the Art it felf 
 improve and proceeds to any farther Perfection, or does not already begin to impair and 
 decline. This laft Author, namely Viola, is of the Category of thofe which the Italians 
 call Cicaloni, eternal Talkers to no Purpofe. He, whilft he propofes to himfelf to write 
 ofthe Orders and Proportions of Architecture, of the Rules of PetfpeCtive, of fome Ele¬ 
 ments of Geometry, and other the like Dependencies on his principal SubjeCt, amufes 
 himfelf poor Man in telling Stories ; fo that inftead of a Book of Architecture, he has 
 made fe’re he was aware) a Book of Metamorphofes. Befides, he has this in common 
 with Leon Baptifta Alberti, that his Defigns are both very ill contrived and executed, not- 
 withftanding he follows a more elegant Manner, and conformable enough to that of 
 Palladio-, but the Method which he ufes in his Partitions, is lo grofs and mechanick, 
 that he reckons all upon his Fingers, and feems to have never fo much as heard fpeak 
 either of Arithmetick or Cyphers. 
 
 Concerningthe two which remain, a Man cannot well affirm them to have been in¬ 
 ferior to thofe who proceeded them, nor yet to have been of the fame Force with the 
 firft, though I conceive they may well compare with three or four of them at leaft. And, 
 Thefearctwo French Mailers efficiently renown’d both by their Works and Writings, 
 Philibert de Lorme and John Bullant, whom yet I do not here place in the laft Range, 
 as being at all their Inferiours; butonly that I may feparate them from the Italians who 
 are in far greater Numbers. 
 
 A 
 
A 
 
 Pradical Treatije 
 
 ON THE 
 
 Five ORDERS of Architecture. 
 
 On the Five Orders in General. 
 
 N the following Difcourfe, I intend a brief Explanation of the general 
 principalTerms made Ufe of; viz. Ordonance, and Order; the Ety¬ 
 mology of the Terms are needlefs here, I think it fufficient to explain, 
 what is meant when either of the Terms is ufed : By Ordonance is to 
 be underftood that which regulates the Size of all the Parts of a Build¬ 
 ing, with refpeft to their Ufe. Now, by the Parts of a Building are 
 underftood, not only the Pieces of which it is compofed, fuch as a Court, Veftibule, or 
 a Hall, but alfo thofe which go to the Conftru&ion of each of them, fuch as Pedeftals, 
 Columns, Entablatures, gjfc. and of which, Ordonance direfts the Proportions, giving 
 eacli Dimenfions proper to the Ufes for which they are defign’d ; as that of being more 
 or lefs ftrong, and fit to fuftain a great Weight, or more or lefs capable of receiving thofe 
 delicate Ornaments, either of Sculpture or Moldings, wherewith they may be enrich’d; 
 For the Ornaments and Embelifhments belong alfo to the Ordonance, and give even 
 more vifible Chara&ers, to deiign and regulate the Orders, than the Proportions do, 
 in which the moft effential Differences of the Order confift. 
 
 An Order of Architecture , then, is that which is regulated by the Ordonance : An 
 Order confifts of two Parts at lea ft, as the Column and Entablature, and of four Parts 
 at moft, as when a Pedeftal is placed under the Column, and Pedeftal or Acrotere above 
 the Entablature; exclufive of Impofts and Arches which may be added to the Order 
 with two Parts, or to that of four Parts. 
 
 The Orders in Number are five, three Greek Orders, viz. Doric, Ionic, and Corinthian ; 
 and two Italian Orders, as Tufcan, and Compofita ; The three Greek Orders reprefent the 
 three Sorts of Building, viz. the Solid, the Fine, and a Medium between both, and are 
 therefore efteem’d the moft effential to be put in Execution ; the other two being deem’d 
 fuperfluous, the Tufcan being abldi-afted from the Doric, and the Compofita a Compoft- 
 tian from the Corinthian and Ionic. 
 
 Q.* 
 
 The 
 
6o 
 
 A Treatije on the Part 1[ 
 
 The Pedeftal to each Order confifts of three Parts, viz. Safe, Dye, and Cornice 
 or Cymatium * 
 
 The Column confifts of three Parts, viz. Bafe, Shaft, and Capital: And the Entabla¬ 
 ture confifts of three Parts, viz. Architrave, Freeze, and Cornice. 
 
 The Column is proportion’d according to the Order it repreients, viz. the Doric is 
 eight Diameters high, the Ionic nine Diameters, and. the Corinthian ten Diameters, the 
 Tufcan is feven Diameters, and the Compofita is ten Diameters. 
 
 The Pedeftal to each Order, is equal in Height to one Third ot the Column which 
 it fupports. 
 
 The Entablature is likewife regulated by the Column, and is allowed not to be lefts 
 than one Fifth, nor more than one Fourth of the Height of the Column ; as when the 
 Order is erefted without Pedeftals, then the Entablature of one Fifth is to be ufed : But 
 when the Columns ftand on Pedeftals or a high Baftement equal thereto, and not con. 
 fin’d to a View of a Ihort Diftance, then it will be proper to introduce the Entablature 
 of one Fourth of the Height of the Column. 
 
 On the foregoing Principles, the ingenious Mr. Abraham Bojje (of the Royal Acca- 
 demy of Paris') has made an accurate Calculation and Difpofition of all the Parts of 
 the five Orders which are not only collefled from the moll approved Proportions of 
 Palladio, Scamozzi, and Vignola, but alfto from the moft valuable Remains of antique 
 Buildings, the Delicacy of which will appear in the following Plates. 
 
 There are different Sentiments or Opinions on the Practice, of placing the Oiders 
 above or upon one another, by fome the Practice is totally condemned, by others juft 
 favourably countenanced, but by no one applauded: Neverthelefsasfome times the 
 Scituation of a Fabrick may not admit of a favourable Profpca for large Columns, 
 or Pillafters ife. it is then at the DifcreHion of the Archlteft to introduce two or 
 three Orders at moft, one upon the other, provided he place the ftrongeft and moft 
 fubftantial, to fupport the weakeft, as the Doric under the Ionic, and the Ionic under the 
 
 Corinthian. 
 
 And altho’ a long Ufe has prevailed, to place the Compofita upon the Corinthian, yet 
 the Compofita being partly made of the Ionic, it ought to be accounted moll material and 
 placed under the Corinthian. It is the Opinion of many that the Corinthian and Compofita 
 ought not to be introduced to appear together in the fame Front. 
 
 The Columns ought to ftand exaftly over each other, fo that their two Axes may be 
 both found in the lame Perpendicular. 
 
 The Diameter of the Columns of the upper Order, at the Bafe, rnuft be equal to that 
 of the Top of the under Columns. 
 
 When two Arcades are placed over each other, the higher ought to be regulated by 
 the lower, that is, the Width of the upper Arch ihould be made , equal to that of the 
 Under; it being juft that the two Arches fhould have the fame Width. 
 
 Onfuch an Occafion, one may make the lower Arch ten or twelve Minutes narrower 
 than ufual, that the Width of the upper Arch may be the better proportion’d. 
 
 As 
 
Part II. 
 
 Fi ve Orders of Architecture. 
 
 61 
 
 As Pilafters are the fame Bignels from Top to Bottom, one would imagine at firft 
 Sight, that to preferve a Regularity, the Pilafters placed one over another ihould like- 
 wile be of the fame Bignefs; but there are two Reafons to the contrary. 
 
 The firft is, that as Orders increafe in Delicacy, they likewife increafe in Height with 
 Regard to their Diameter ; (o that were the Module to continue the fame in the upper 
 and the under Pilafters, the Confequence would be, that the Orders and Storys would 
 increafe in Height and Proportion as they rile over one another, which would be 
 prepofterous. 
 
 The fecond Reafon is, that if there fhould be Columns along with the Pilafters of the 
 lower Order, the Diameter of the upper Pilafters would be bigger than that of the Top 
 of the Columns underneath, which would be another Fault. 
 
 Tho’ Columns be conjugate or coupled, and for that Reafon can have but one common 
 Pedeftal ; yet ’twould not be amifs, if on this Occafion they appeared to have each its 
 feveral one, which may be done by making a fmall Indenture or Retreat in the Dye, not 
 exceeding a Minute in Depth. 
 
 Pilafters fplit or cloven from Top to Bottom in an inner Angle, never have a good 
 Efteft; for befides that their Halves have no Symetry with the intire Pilafters that 
 anfwer to them, their Capitals do likewife become very defective. 
 
 When Columns and Pilafters are placed under the fame Entablature, they fhould never, 
 if poffible, ftand in the Front Line, by reafon of the manifeft Irregularities that would 
 follow thereupon, they muft therefore be feperated by a Refaut or Difference in 
 the Range. 
 
 When Pillafters accompany Infulate Columns, and ftrve them as a Ground or Arriere 
 Corps, they ought to be at a competent Diftance from each other, to prevent their Ca" 
 pitals irom interfereing, which is a confiderable Fault that we find frequently committed, 
 but which, however, ought to be carefully avoided. And the Breadth of the upper 
 Part ot the Capital o( the Pilafter, fhould be reduced to that of the upper Part of the 
 Capital of the Column ; to the End, that their Safes being of the fame Breadth, their 
 Abacus and Volutes may be fo too. 
 
 Rather place a Pilafter in an Angle than a Column; Columns (landing alone, and 
 diftributed one by one, ought to have no Pedeftals, for thefo would make them appear 
 too (lender and weak. 
 
 In a Periftyle confiding of Columns placed one by one, with Pedeftals underneath, a 
 Poggio or one (ingle Pedeftal fhould forve for all the Columns, that is, the fame Pedeftal 
 muft be continued throughout: But then, the Pedeftal ought to be diftinguifhed by 
 Bieaks into two Parts, a fore and a hind Part; fo that each Column may feem to have 
 its feveral Pedeftal. 
 
 When the Columns (land two by two, they may be placed pretty near each other; 
 but it is to be obferved, that their Bates ought never to touch ; the Reafon of this Rule 
 is, that when the two Plinths come to be joyn’d into one, they form a new Body 
 which feems to have no Relation to the Columns themfelves. This Failing becomes 
 very vifible when the Columns have but a Angle Pedeftal ; for in that Cafe, this conti- 
 nued Plinth appears rather as a Part of the Pedeftal, than of the Column. 
 
 Columns inferred or let into the Wall behind them, ought never tolofe above one. 
 Third, nor lefs than one Fourth of their Diameter. 
 
 R 
 
 The 
 
A Treatije on the 
 
 Part II. 
 
 The ProjeQmre of flat Pilafters beyond the Wall is ten or twelve Minutes, the Number 
 of Flutes in the Face of a Pilafter are feven, the firft and lath whereof may be twice 
 the Diftance from the Angle than the reT are from each other, that the Extremity of the 
 Pilafters may not be too much weakned. The Angles may be work’d with a Staff or 
 Bead, fee Plate 9. Fig. 2. One may add a fingle Fluting in the Proiefture or Thicknefs 
 of the Pilafter, or leave it quite plain, provided it don’t exceed ten Minutes in Breadth. 
 The Tufcan Pilafter is never fluted. 
 
 When fluted Columns or Pilafters without Pedeftals, are placed level on the Ground; 
 or at leaft fo little rais’d as to be within the Reach of the Hand ; their Flutings mult be 
 rudented, or cabled as far as one Third of their Height ; that is, they muft be filled up 
 in Part to that Height, with thefe Rudentures, in order to ftrengthen the Sides which 
 might otherwife be foon defaced. See Plate 9. Fig. 2. and 3. 
 
 Columns ftanding expofed to the open Air, I mean thofe on the Outfide of a Build¬ 
 ing, ought not to have any Flutings ; for befides, that fuch Kind of Ornaments can’s 
 fubfift any long Time intire, plain uniform Columns carry always; in that Cafe, abetter 
 Appearance, and fuftain the Magnificence of the Building much better to the Eye : And 
 the Reafon is obvious, for the Light diffufed on fluted Columns being divided, and as it 
 were cut by the Streaks of Shadow from the Channels, the Eye, when at a little Diftance, 
 receives a faint confufed Impreflion : To this it may be added, that the hollow Flutings 
 found towards the Extremities, make the Columns appear more flender than they really 
 are ; infomuch, that, when view’d from any confiderable Diftance, they fhew mean 
 and pitiful. 
 
 The Flutings of the Doric Column ought not to exceed twenty, of the Ionic, Corin¬ 
 thian and Compofita are to be twenty four. See Plate 9. Fig. 1. and 3. Thefe Flutes 
 ought always to be fo difpofed, as that there may be one to ftand full in the Middle of 
 the Column. 
 
 To raife an Order of Column ; a Module muft be taken of fuch a Bignefs, as that when 
 the Pedeftal is defcribed in its proper Meafures, the Cornice may not be found on a Level 
 with the Eyes of thofe who pafs, or who are to be Spectators of it; it being a Pain to the 
 Sight to bear proiefting Bodies, juft at its own Height, inafmuch as they feem to me¬ 
 nace the Eye with a Rencounter. 
 
 When Tables or Pannels are made in the Die of a Pedeftal, they ought to be equal 
 to the Width of the Column, and the remaining Space is to be continued round for 
 a Border, the Tables or Pannels ought to lye flufh or even with the Dye, if they are re¬ 
 quired to be funk, the Inequality ought not to be above one Minute and a Half: In thefe 
 Tables are fometimes added Bajfo Relievo's, and then Care muft be taken that the Relievo 
 never projeft beyond the Dye. 
 
 When one Order is rais’d over another, and the upper Column has its due Bignefs, its 
 Pedeftal neceffarily goes beyond the Naked of the under Column, which to fome Perfons 
 has a difagreeable Effeft: On this Account ’tis neceffary to introduce the Convex Freeze 
 to the under Order; for by this Swelling, the Pedeftal of the upper Order appears left to 
 exceed the Naked of the under Order: On this Occafion the Convex Freeze may be intro¬ 
 duced to any Order but the Doric, which will not admit of a Convex Freeze on Account 
 of the Triglyphs. 
 
 Two Ordonances of Architecture fhould never be plac’d within one another, a little 
 one within a great one, with Dcfign only to compofe a fingle one. 
 
 Columns 
 
Part II. Five Orders of Architecture. 
 
 
 Columns of different BignefTes and different Orders, fliould never be placed by the Side 
 of one another, for they can’t chufe but make a very unpleafing Difcord. 
 
 Entablatures is fometimes made to give back or retreat a little between the Columns; 
 but fuch Breaks fhould never be ufed but on extraordinary Occafions and for fpecial Rea- 
 fons, as where they are not large Stones fuflicient to carry out the whole Entablature to 
 its due Pitch ; or where a great Projefture between the Columns might intercept the Light 
 neceflary underneath, or prevent the View of any Thing above. The principal End of 
 the Entablature is to fhelter what is underneath, which where there are Breaks ’tis only 
 done by Halves, as having nothing betides the barS Projeaure of the Cornice for that 
 Purpofe. 
 
 Entablatures are fometimes crown’d or finilhed on the Top with a Blocking Courfe, 
 a Ballujirade or Attick Order, on which are placed Statues or Vafes, Hfr. 
 
 A blocking Courfe is a plain Plinth or Zocle, and muft be in Height equal to the Pro- 
 je&ure ot the Cornice it Hands on. A Balluftrade muft be in-Height equal to four Mo¬ 
 dules or two Diameters of the Column. 
 
 The Attic Order, which is a kind of Pedeftal or Mock-Pilafters, are of the fame Breadth 
 with the Column or Pilafter underneath, and of Height equal to one Third of the fame 
 Column or Pilafter, whofe Moldings are to be adorned more or lefs according to the Re¬ 
 lation they bear to thofe in the ArchiteUure underneath. Alfo the Name Attick is given to 
 the whole Story, wherein this Order re'igns. ° 
 
 A Figure or Statue .raifed over an Order or Building, may have its Height equal to one 
 Third of that of the Column : If a Figure be too large it will make the other Parts 
 fmall; and if it be too fmall it will caufe the Building to appear much larger. 
 
 Thar in Proportion, as a Statue is raifed above the E yj e, it appears to diminifh in Bulk 
 till fuch Time as being elevated to a very great Pitch it becomes almoft imperceptible- 
 Figures muft always be proportioned to the Orders, and the Storys where they are placed 
 
 however it is better they fliould appear too little than too big. * ’ 
 
 Plate 6o. 
 
 To find the Height required of a Statue or Figure elevated. 
 
 A DM IT from the Point of Sight B at the Diftance L you view the Figure LM 
 L X and you are defirous to place another Figure Handing on the Line W, that fbal! 
 B d?faTe a the n A S “° f LM: D ^raw the Lines B M, B L and Bff; upon the Point 
 ter forPoin of- any Radius, and make 5 6, equal to 54, and from the Cen- 
 
 WL T. *"■< K Height 
 
 equd Angles appear equal-, and as the Angle e, 6 , is 
 i L4, e Height W, 7 , muft appear in the Eye equal to the Height LM. 
 
 tmlif'a'nproceed to explain the following Plates, on which there is no Occafion ta 
 
 tn-ife anv r " 0 ^ Flgures wIlic!l I add will explain themfelves ; norflialll 
 
 .make any Remarks but fuch as are abfolutely neceflary. 
 
 R a 
 
 The 
 
64 
 
 A Treatife on the 
 
 Part II. 
 
 The Module made Ufe of is equal to the Semidiameter of the Bafe of the Shaft ol the 
 Column, which is fuppofed to be divided into thirty equal Parts or Minutes. The Foot 
 (is equal to the Module,) which is fuppofed to be divided in twelve equal Parts call’d 
 Inches, each Part or Inch is divided into twelve equal Parts call’d Lines, and each Part 
 c alled Lines is divided into ten equal Parts called Points; fo that two Modules is equal 
 to two Feet, and two Foot or two Modules is equal to the whole Diameter, or twenty 
 four Inches, or fixty Minutes, (Jc. 
 
 For the Eafe ofthofe who may be willing to reduce (into Feet, Inches, ifc.) the Pro¬ 
 portions of any other Authors, the following Table is calculated, as the Module is divided 
 into fixty Parts or Minutes, and one of them into one Half, one 1 hird, one Fourth, (hfc. 
 
 In. Lin. Pts.' Minutes or Parts, 
 
 One Part or Minute of 
 the 30 of the Module > 
 
 0 
 
 4 
 
 8 
 
 2 
 
 j is equal to 
 
 1 
 
 0 
 
 is equal to — — 
 
 
 
 
 7 
 
 £ is equal to 
 
 3 
 
 0 
 
 2 is equal to 
 
 0 
 
 9 
 
 6 
 
 12 
 
 i is equal to 
 
 5 
 
 0 
 
 3 is equal to 
 
 1 
 
 2 
 
 4 
 
 17 
 
 ± is equal to 
 
 7 
 
 O 
 
 4 is equal to 
 
 1 
 
 7 
 
 2 
 
 22 
 
 a is equal to 
 
 9 
 
 O 
 
 5 is equal to 
 
 2 
 
 0 
 
 O 
 
 27 
 
 a is equal to 
 
 11 
 
 O 
 
 Min. or Pts. 
 
 * is equal to 
 £ equal to 
 >- equal to 
 f equal to 
 } equal to 
 % \ equal to 
 tg equal to 
 ^ equal to 
 
 L. Pts. 
 2 4 
 I 2 
 O 6 
 I 6 
 
 o 8 
 o 4 
 
 3 o 
 
 4 ° 
 
 Of Arcades, Plate 10, 11, 12, 13, 
 
 T IS the ordinary Proportion of Arches, that the Height be made double the Width. 
 But this may be varied ; made a little more or lefs as Occafion flrall require. 
 
 See Vlflte 10 and u» 
 
 The mod perfeft Arches are thofe which confift of a Semicircle; and the Impofts are 
 ufually placed on a Level with their Center. There are fome however who from an 
 Optical Confutation, place them a few Minutes lower, and it is with Judgment they 
 doit- for as the ProjeHure of the Impoft hides a little Part of the Arch _ from the Eye, 
 his but reafonable it flrould be lower’d a little, to leave the inure Sem,circle in View, 
 which otherwife would appear defeftive. 
 
 In Arcades, where the Columns have Pedeftals, the Pillars or Piedroits ought to be not 
 lefs than three Modules and an Half in Breadth, nor more than four Modules. See 
 Plates 13 and 14. 
 
 Palladio terminates thefe Piedroits with the Mouldings of the Bafe of the Pedeftal, 
 which he continues quite round, asatPtoeij, which by fome are condemn d as that 
 they are incommodious by advancing a good Way in the Paffage, and are foon broken 
 
 and defaced. 
 
 Vignola terminates thefe Pillars or Piedroits with a plain Zocle, which fuits very 
 well. See Plate 12 . 
 
 Impofts are little Cornices which terminate the Piedroits, and are peculiarly appointed 
 to receive the Extreams of their Arches, with their Archivolts or Head-bands. Care 
 
JcaU Mat. 
 
 IE. ildfilsi/. Di'lai . 
 
 II n 
 
 
 
 1 
 
 /,/}: \ \ \\ 
 
 
PLale^l. 
 
■H 
 
1) oric. 
 
 PZ^XV 
 
 Tufc an. 
 
 Ionic 
 
 73.7s/,- /:•(,//>. 
 
 JE. /TaJctei/ 7),7//i. 
 
Part II. 
 
 Uve Orders of Architecture. 
 
 
 muft be taken, that the Projedure of the Impoft never exceed the Semidiameter of the 
 Column, behind ; nor intercept any Thing of its roundnefs, before. See Plate 33. 
 
 The Simplicity or RichneTs of the Architrave, ought to determine the Simplicity 
 orRichncfs of the Archivolte, which ought not to exceed one Module in Breadth. See 
 
 ^T th A th r aP n° ie ^ e ’ and ^ madein Manner of Con(bIes . placed in the 
 Middle of Arches or Portico’s, are particularly deftin’d to fuftain the Weight and PrefT 
 
 of the Entablature, where it happens to be very great between the Columns • For rfo 
 Reafon they ought to be made in fuch Manner as that they may prove a real Sunno r 
 and not placed for mere Ornaments as they frequently are .■ Without this Precaution' T 
 think they had better be intirely omitted. See Plate 11 and 15. 
 
 Plate 10. is Part of a Arcade of the Tufcax Order finifting with a plain Pcdeftal. 
 
 Plate ii is Part of a Arcade of the Doric Order, terminating with a Balluftrade 
 of (quare Ballafters, as moft fuitable to the Order. 
 
 Plate 12. is Part of a Arcade of the Ionic Order, with a circular Pedement. 
 
 Plate 13. is Fart of a Arcade of the Corinthian Order, with a pitch’d Pedement. 
 
 offoundlalimers Part ** ° f '^ °‘' der > termina& S Wi* a Balluftrade 
 
 .rft, LA R TE M 15 ' ’ s th ® Seftioh'of the Td/can Doric and Ionic Arcades, as high as the Top 
 
 wIu e inth?pr“ t HiT iV ‘ : h Ia ' the . 5ea,on 0f the Ion K Depth or Thicknefs of the 
 Wall in the Plan and Upright, are intended the fame as the two former, as appears by 
 
 II ^Sngf Plani bUttlleWidth ° fthe Plate ™ t lowing Room’ 
 
 Thelntercoluminations, £*. of the foregoing, are defcribed by the common Meafure 
 of Feet, Inches and Parts, and by the ancient and liroft approved Cuftom of Modules and 
 
 bytirPlate " g ““ by the fame Meafui ' es ’ as spears 
 
 N. B. On theRight Hand of the Doric Ionic and Compofite Arcades , the Joints of the 
 Stones I have altered, to mcfye them more agree able to the prefer 'Practice. 
 
 xunulo'J h 
 
 Plate 16. and i 7 . By thefe two Plates is defcribed the Proportions of the tw, 1 
 Heights and Projeftures of the Pedeftal, Column and Entablature to each oj S 
 
 Swice! 6 ’ a CymatWm ° r C0l ' n,Ce ’ Bafe Shaft and Capital • Architrave, FreS and 
 
 PclftaL A Slnm Ce, ^ r f I i? Lin ir f ^ Co, r i! '’ is tI,at Paffes thro’ the Midft Of the 
 tis from, thence that all their Projedures are determined, in this and the" following Pte”, 
 
 ■ „ . . u uu.eui equal farts is the Semidiameter of the Column- which 
 
 heie is called the Module, which is fuppofed to be divided into thirty equal Parts 
 
 s 
 
66 
 
 Part II. 
 
 A Treatife on the 
 
 or Minutes; or the Foot divided into twelve Inches, life. If for the Doric Order, di¬ 
 vide the fifteen equal Parts, as B C into fixteen equal Parts ; if for the Ionic, into eigh¬ 
 teen equal Parts ; if for the Corinthian ov Compofte, into twenty equal Parts, and one of 
 thofe Parts will be the Module or Foot Meafure to each Order, whofe Entablature is equal 
 to one Fifth, and Pedeftal equal to one Third of the Column- 
 
 Make a Scale ofModules and Minutes, or Parts; or ofFeet, Inches, Lines and Points, 
 according to the preceeding Rules, to which apply for the Intervals of the Meafures here¬ 
 after deferibed by Figures, denoting the feveral Parts. 
 
 I fhall here deferibe the Tufc an Order, as explain’d by its out Lines and Boundaries for 
 the general Heights and Proje£Iures; Draw the Line Ab for the Bafe Line, ereift the 
 Perpendicular G H as the Central Line, on G II with the Interval A B, deferibe G E 
 the Height of the Pedeftal, which draw Parallel to the Bafe. With the interval BC 
 deferibe E F, the Height of the Column ; with the Interval C D, deferibe the Height 
 of the Entablature F FI; fo that the Interval A B or G E is found to be equal to four 
 Modules two Thirds : B C or E F equal to fourteen Modules, CD or F II equal 
 to two Modules twenty four Minutes or Parts ; as appears on the Right Hand 
 mark’d by Figures : In the Column E F is deferibed the Heights of the Parts of the 
 Pedellal Column and Entablature, in Modules and Minutes or Parts ; and in the Co¬ 
 lumn IK the fame Parts are deferibed, in Feet, Inches, Lines and Points : In the Co¬ 
 lumn G H is deferibed the Proieflures of the Parts from the Central Line in Modules and 
 Minutes or Parts: And the Central Line N O is deferibed the fame Projections in 
 Feet, Inches, Lines and Points* 
 
 As for Example, take the Interval thirty feven and one Half Minutes or Parts, as ill 
 the Bottom of the Column £ F, or fifteen Inches as in the Bottom of the Column IK, 
 and fet it from G towards E, on the Line G H, or N c, on the Line N O, which gives 
 the Height of the Bafe of the Pedeftal; take the Interval twenty four Minutes or Parts 
 as in the Column ed, —.a p<,;.us as in the Culumn IK, 
 
 and fet it from E towards G on the Line G H or 1 i in the Line N O, which gives 
 the Height of the Cornice or Cimatium of the PedeftalThen for the Projefture take 
 the Interval forty feven Minutes and one Half, as at G in the Column G H, or nineteen 
 Inches as Ni from the Line N O, and fet either of the Meafures or the Bafe Line to 
 G H, or on N i which is the ProjeCIure of the Bafe of the Pedeftal; then with the Inter¬ 
 val of feven Minutes or fixteen Inches, on each Side of the Central Lines G H as on 
 NO deferibe the Width of the Pedeftal as i k, c d ; make the Projefture of the Cor¬ 
 nice equal to the Bafe, as 1 m from N O, and the Heights of the ProjeClure of the Pe¬ 
 deftal is compleated. In the fame Manner proceed in the Column and Entablature and 
 the four following Orders, and they will be compleated. 
 
 Plate i8. 
 
 I N this Plate is deferibed the particular Members that conftruCl each Part of the Tufc an 
 Order, and in the Front of the Profile it is mark’d with, a, b, c, fb?r. to deferibe 
 each Member fo mark’d refer to the Letters A B C, lift-, on the Side of the Profile, the 
 the Platfond M M is the Larmier, Guttce, Ovolo, and Cavetto, as feen from below ; the 
 Figures as 1,2, 3, 4, life. On the Members is to denote the Names of the Members, 
 as 1. is Liftello, 2. Cima refla, 3. Liftello, 4. Corona, 5. Ovolo, 6.Liftello, 7. Cavetto, 
 8. Freeze, 9. Liftello, 10. is firft Facia, 11. fecond Facia, 12. Abacus, 13. Ovolo, 14. 
 Tenia, 15: Neck of Capital, 16. Aftragal, 17. Upper Cin&ure, 18. Shaft, 19. Lower 
 Cinfture, 20. Torus, 21. Orlo, 22. Abacus, 23. Liftello, 24. Cavetto, 25. Die, 26. Ca¬ 
 vetto inverta, 27. Liftello, 28. Plinth. The reft is fufficiently explained by Letters and 
 Figures, by being perfect in this the reft: will eafily be underftood. 
 
 J 
 
 Plate 
 
Part II. 
 
 Five Orders of Architecture. 
 
 61 
 
 PtAtE 19. 
 
 NOT HER Defign of the Tufcan Order, according to the Manner of P alia dial 
 
 Plate 20. 
 
 T HE Doric Column and Pedefta!, with the Moldings defcribed as Plate 
 
 Plate 21. 
 
 T HE Doric Entablature to one Fifth of the Height of the Column ; to which is 
 added the Platfond of the Cornice, D, D, Drops or Guttce in Platfond E, E, 
 
 T H E Doric Entablature and Capital, the Entablature being eighteen Minutes high¬ 
 er than the former, which adds a better Proportion to the Triglyphs, which in 
 the former was fquare, this being in the Manner of Palladio . 
 
 Plate 23. 
 
 HE Ionic Pedeftal, with the Column and ancient Capital. 
 
 Plate 24. 
 
 H E Ionic (Ancient) Capital, Plan, Elevation and Profiles,' 
 
 Plate 25, 
 
 T H E Modern Ionic Capital, differently praftifed, as by the Plan A and Elevation 
 B; and tlieri an q and Elevation D, 
 
 Plate 26. 
 
 T HE Ionic Entablature, with Platfond of Cornice, and the ProjeHion and half Me- 
 dilion at large. 
 
 Plate 27. 
 
 H E Pedeftal and Column (without Capital,) of the Corinthian Order! 
 
 Plate 2S. 
 
 T PIE Corinthian Capital, the Leaves of this Capital are in Number 16, eight in 
 each Row. 
 
 Each Leaf is divided into feven Or nine Plumes; two whereof, or to fpeak more pro¬ 
 perly, one Whole and an Half on each Side go to form the Return or Defcent. Sometimes 
 the Return confifts of three Plumes almoft intire; each Plume being divided according 
 to the Nature of the Leaf. 
 
 The Leaves of this Capital are either Olive, Acanthus, or Smallage, But the firft ought 
 rather to have the Preference. For its Leaves being fiat and plain, refleft more Light than 
 the others, which are more wrought and uneven.; for which Reafon, the firft have a bet¬ 
 ter Efieft when feen at a Diftance, than the laft; which are fitter to be view’d nearer 
 Hand. 
 
 ,In making the Leaves of this or the Roman Capital, great Care mull be taken that they 
 be well ddign’d ; particularly, that in dividing them into Plumes, thofe Plumes don’t 
 
A Treatije on the Part II. 
 
 run too far from one another, but that all together appear to form one Angle Leaf; which 
 muft not be too narrow towards the Top: That each Plume direCt to its Oiigin, f jfc. with¬ 
 out which Precaution the Leaves will lofe all their Grace. 
 
 Pilate 29. 
 
 enpHE Entablature of the Corinthian Order, the Platfond of the eniiched Part of the 
 X Cornice, and at the Bottom is the Modilions explained, and adjoining to the 
 fame, is defcribed the Procedure of the Facias of Architrave by Beads or Pearls. 
 
 Plate 30, 31, 31. 
 
 f~|— i h E Compofite Pedeftal, Bafe and Shaft. The Compofite Capital and Plan. And 
 X the Compofite Entablature and Platfond of the enrich’d Part of the Cornice. 
 
 Plate 3}. 
 
 T H E Imports and Arches to the Doric, Ionic, Corinthian, and Compofite Orders. 
 N. B . The Import and Arch to the Tufcan Order, is on Plate 34. 
 
 In the Orders following, the Entablatures are all calculated to 
 one Fourth of the Column. 
 
 Plate 34. 
 
 T HE Tufcan OtL. unt-h the nf rhe Column, Fig. j. on the 
 
 Left Hand Ff- i. is the general Heights and Proje&ures on the Pedeftal ; to find 
 the Height of the Parts to this Proportion, divide the whole Height A, L, B, I, C, in¬ 
 to twenty two equal Parts and one Sixth, as the Line A, x, D, E, give four Parts and 
 two Thirds to the Pedeftal; fourteen to the Column, and the remaining three and one 
 half to the Entablature : If for the Tufcan Order, then one of thofe equal Parts is the 
 Module or Foot Meafure: If for the Doric, divide the Interval of fourteen equal Parts 
 into fixteen equal Parts, and one of thofe are the Module or Foot Meafure : If for the 
 Dnic, into eighteen : If for the Corinthian or Compofite, into twenty equal Parts, and one 
 of thofe Parts is the Module or Foot Meafure; otherwife, divide the whole Height into 
 one hundred and thirty three equal Parts, and twenty eight will be the Height of the 
 Pedeftal, eighty four the Height of the Column, and the remaining twenty one equal 
 Parts will be the Height of the Entablature. On the fame Plate is the Impoft and Arch 
 to the fame Order. 
 
 Plate 35, 36, 37> and 39 . 
 
 T H E two firft are different Profiles of the Doric Order: And the three following 
 are the Ionic, Corinthian and Compofite Orders; the Entablatures to one Fourth 
 of tile Column. 
 
 Plate 40, 41, 40, 43 - 
 
 I N thefe four Plates, are Frontifpieces of the Tufcan, Doric, Ionic, and Corinthian 
 Orders. 
 
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Part II. 
 
 69 
 
 Five Orders of Architecture. 
 
 Plate 44. 
 
 I N this Plate are three Rufticated Frontifpieces, and three Rufticated Columns- 
 The Height of Doors ought not to be lefs than two Diameters, nor more than two 
 Diameters and one Sixth. 
 
 Plate 45. 
 
 F IGURE i. is a Doric Window, 2. a Ionic Window, and 5. a Corinthian Win¬ 
 dow, each on a Pedeftal; 4. a Window drelfed with an Architrave kneel’d at 
 Top, with a fwelling Freeze and circular Pediment, with a Recefs or Break on each Side 
 the Window (landing on a Pedeftal; 5 and 6 are two Windows with Confoles or TrulTes 
 to fupport the Cornice: In principal Storys the Windows ought to be two Diameters or 
 two and one fixth in Height, in other Storys fquare, or a Diagonal Proportion ; the Archi¬ 
 trave of Windows ought not to be lefs than one Sixth, nor more than one Fifth • the plain 
 Face on'each Side the Architrave or Window Jamb, ought to be nearly the fame Width 
 as the Jamb, unlels there is to be no Confoles, or the fame then one half the Breadth of 
 Jamb is fufficient; Confoles to bear Cornice, in Length ought not to be lefs than one third 
 nor more than one half of the opening of Window ; the Window-Stool or Reft is equal 
 to two thirds of the Jamb : The Truffes under the fame, is equal to the bearin- over 
 the fame, and to be not lefs than the Breadth in Height, nor to exceed half as much 
 more. 1 
 
 Plate 46. 
 
 I N this Plate is. contained a Ionic Venetian Window, the Side Openings are each 
 equal to one third of the Middle Opening or Diameter: A femicircular Window 
 and a Rufiick Venetian Window, the Side Openings being each equal to one half the 
 Diameter of the Middle Opening. 
 
 rLATE 47 * 
 
 T FUS Plate contains the different Moldings made Ufe of, the Cima re£la is the 
 uppermoft Member of the Cornice excepting the Fillet that crowns it, altho’ inftcad 
 or tins Member fometimes the Ovolo or Quarter round is introduced in the Tafcan W 
 a Cavetto m the Daw Order ; the Corona is that large fquare Molding immediatel’y un 
 dei the Cima re£ta ; it pro,efts very much,both for the greater Beauty ofthe EntabW 
 and for the better Altering the whole Order, this Member is ufuall/deeper or ilro ’ 
 than the Cima refta, as being the ruling Member ofthe Entablature, and even of the 0/ 
 der. Underneath this we ufually make a Channel, for three Reafons: The firft to J 
 it more Grace and Ornament; the fecond to render it lefs heavy ; and the thi-d to 
 vent the Ram oi-otherMtnfture from trickling down along the Order. For the Water 
 fall, g from the Top ofthe Cornice, not being able to afeend into the Channel ZZd 
 tofall Drop by Drop on the Ground ; and ’tis on this Account, that the Bottom’of the Co 
 rona is call d Laimier or Drip, the Larmier is ufually full of rich Compartments 1 r 1 
 the Modillions which make one ofthe moll confiderable OrnamenS • theOvotoorO* 
 ter Round under the Larmier, is fometimes plain (fee Plate 7. The nln f ^i"' 
 large fquare Molding under the Ovolo, in which is frequently cut a Kind of Teetk Call’d 
 alfo Denticies or Dentiles, ffee Plate ?7 .) The Ovolo is fcn itin» calFd £££ when 
 
 fv S to eSrh th freqU h nt ? Carm! 10 U: 0raaments are not always ufed on Moldings bare 
 y to enrich them, but fometimes alfo to diftinguilh them the better from one another. 
 
 edtr ofMMin Ss, and in particular thofe of Cornices, are only illuminat 
 
 > RefleTion they would be frequently confounded and loft, if they were all finole 
 
 fr n o d m U eac f hTtl’er bUt 3 - on fome one, diftinguilh tl/m 
 
 Among 
 
70 
 
 A Treatife on the 
 
 Parr IL 
 
 Among Ornaments, fome ftand prominent from the Moldings, and others are cut with¬ 
 in them, as may be feen Plate 47* 
 
 Ornaments are not to be bellow’d every where indifferently ; fome Members or 
 Mouldings muff be referved plain to fet off the reft ; and without the Simplicity and 
 Plainnefs of thefe, the Richnefs of Ornaments wou’d only make a Confufion in Architecture. 
 
 It is commendable to leave the Corona plain, as being followed by a Larmier, which 
 is ufually full of rich Compartments : The Faces of Architraves ought always to be left 
 plain, and particularly when the Freeze is enrich’d. 
 
 All Fillets, ($c. ought to be without Ornaments, thofe being peculiarly deftin’d to fix 
 and inclofe the Parts in the Mouldings wherewith they are encompaffed. 
 
 A true Obfervance on the Orders and Members that compofe the fame, will fbon form 
 a juft Idea in the Mind of the regular Conftruftions of various Profiles. 
 
 Plate 48. 
 
 I N this is contain’d the various Leaves, Rofes, ifc. which are made Ufe of to con- 
 ftruct the Compojite and Corinthian Capitals. 
 
 Plate 49. 
 
 rnpi H E upper Part of this Plate is furniChed with the different Manners of difpofing of 
 JL Columns and Pilafters, C?c- As Fig. 1. is the Plan of a Coloffal Column Infulate, 
 in which Stairs may be conduced either with a folid, or open Newel, or without a 
 Newel (as at the Monument in Grace-Church-Street.') Fig• 2 is a Column it gaged to the 
 Wall- 3. Is a Column flank’d with two Pilafters : 4. A Pilafter with a detatch’d Co¬ 
 lumn’ and a Column on the Angle : 5. Pilafter and Column tied together (as may be 
 
 feen in the Portico in St. George's, Hanover Square?) 6 . A Couplet of Columns: 7,8 
 
 and 9 Groups of Columns : 10. A Pilafter flank’d with two Pilafters, and a detatch’d Pi¬ 
 lafter ■ 11. Pilafters on the prominent Angles flank’d : 12. Two Pilafters meeting in an 
 
 Angle": 13. A Pilafter folded in the Angle : 14. An Angle Pilafter called Ante or Ijole. 
 
 Fig 3 and 10. On Account of the Capitals being mix’d, broken and confounded, ought 
 to be avoided ; when Pilafters are placed as Fig. 11. Care muft be taken not to confufe 
 the Helix and Rofes; therefore the Flank Pilafters muft be made more than the Half; 
 the Fig. 14, is preferable to 12 and 13. for an inward Angle. 
 
 Under the foregoing Columns and Pilafters, are deferred the Intercoluminations of 
 Columns, according to Vitruvius. 
 
 The Ancients never placed their Columns nearer than one Diameter and a half afunder, 
 nor make their Intercoluminations more than three Diameters; but they chiefly approved 
 of two Diameters, and one Fourth; and look’d on them as the mod Beautiful and Elegant. 
 However, we ought very carefully to obferve, and keep due Proportion and Harmony 
 between the Intercolluminations or Spaces and the Columns; becaufe, if fmall Columns 
 are made with large Intercoluminations, it will very much leffen the Gracefulnefs of the 
 former - For the too great Quantity of Air in the void Spaces, will diminifli their Thick- 
 nefs confiderably. And on the contrary, if we make large Columns and fmall Intercolu¬ 
 minations, the too little Vacuity will make them look thick and heavy, and without the 
 lead Grace’: Due Regard muft be had to the Ornaments of the Entablatures, as the Tri¬ 
 glyphs, Modilions, and Dentils; fo that the Intercoluminations may not caufe any Ir¬ 
 regularities in the Soffite or Front. 
 
 Under 
 
FtateYL LYCH 
 
 (Macau 
 
 I 
 
 iyLXX 
 
 D 0 
 
 Compcsed Capital 
 
 A Lif'J ofu l 'a life ^ p 
 
 B VcCvtej 
 
 Stem or JtaCh to HcUl 
 
 tB CeCe Sculp . 
 
 Stem cn' Stali 
 It OaCtei/ Dea n 
 
 ta He fix 
 
 OCiitjue Clcanliu.' 
 
Five Orders of Architecture. 
 
 Part II. 
 
 7* 
 
 Under the Intercoluminations are Defigns of Ballifters adapted to the Five Orders, and 
 Ballifters extraordinary. 
 
 On the Left Hand is the Method to diminifh a Column.- Admit A B C to be the 
 Axis or Cathetus of the Column, feven is the natural Diameter, eight is the natural Dia¬ 
 meter at one third of the Height, from which the Operation of Diminifhing begins; 
 nine is the Diameter at the diminiflling under the Aftragal. Upon B with the Interval 
 B D or B F, equal to half Diameter, defcribe the Semicircle D E F ; from the Extream 
 Diminiflling under the Aftragal, let fall a Perpendicular on the laid Arc at 6 ■ Divide the 
 Arc 6 F into any Number of equal Parts (the more the better) as fuppofe into fix Di¬ 
 vide the upper two thirds of the Column, asB, 9 , into the fame Number of equal Parts, 
 thro’ the equal Divifions on the Axis, draw horizontal Lines, and from the divifionary 
 Points on the Arc 6 F, raifePerpendiculars to the correfponding Horizontals; and where 
 they interred each other is the Point thro’ which it gradually diminifhes, as the 
 Points G. 
 
 The lower Part of the Plate contains Pediments, pitch’d after five different Methods. 
 
 By Pedements is meant the Crowning frequently feen over Gates, Doors, Windows 
 and Niches; and fometimes over intire Orders of Archite&ure. 
 
 The Parts of the Pedement are the Tympanum, and its Cornice Horizontal and 
 Rakeing or Circular. ’ 
 
 By Tympanum is to be underftood the Area or Space included between the Cornice 
 which crowns it, and the Entablature whiJi fupports and ferves it as a Foundation. 
 
 The Tympanum is either Triangular or in the Shape of a Bow, fee Plate 40 and 42. 
 
 The Naked of the Pediment, i.e. the Tympanum, ought always to ftand pernendirn 
 larly over the Freeze of the Entablature. * 
 
 The Modilions of the Cornice of the Pedement ought to be found in the fame Perpen¬ 
 dicular with thofe of the Entablature underneath. 1 
 
 That Part of the Cornice whereon the Pedement ftands, fliould not have any Cimati- 
 um, in regard the Cimatium of the reft of the Entablature, when it meets the Pedement 
 pafles over it. ' ’ 
 
 Pedements broken or interrupted are never introduced, but by them of a verv bad 
 Tafte. ' 
 
 The placing two Pedements immediately over one another, is abfurd and ridiculous- 
 
 Circular Pedements are only to be introduced to crown Windows, tfc. for the making a 
 Diverfity in the Dreis of the fmall Parts, but by no Means commendable in the termi 
 natmg the upper Part of a Front. 
 
 To defcribe the following ’Pedements . 
 
 thofpm-ts^stS. 13 “ t0tW0e ^ ual ( PartS at D ’ *he Height AC equal to one of 
 
 Fig. 2. Set the Interval E F from E to H 
 Height E G. 
 
 and with the Interval H F defcribe the 
 
7 2 
 
 A Treatife on the 
 
 Part II. 
 
 Fig- 3 - Divide K L into nine equal Parts, carry five of tliofe Parts and fet them from 
 5 to I; and with the Interval IK deferibe the Arc PM, and I is the Center to the 
 parallel Lines. 
 
 Fig'. 4 Divide LS into three equal Parts, the Interval one of thofe Parts fet from 2 to 
 N, and upon N with the Interval N P or N R, deferibe the Pedement R T P. 
 
 Fig 5. Divide S W into nine equal Parts, fet the Interval of four of thofe Parts from 
 X to V, and with the Interval V R deferibe the Pedement R Y O. 
 
 Plate 50. 
 
 T HREE Enrichments for Freezes, in the Enrichment A the Angels are to be pla¬ 
 ced over the Columns or Pilafters, and the Ox-heads in the Spaces between : In the 
 Freeze C, the Candlefticks mull be placed over the Columns, c. In the Freeze B there 
 is no particular Part to be affign’d over the Columns, but where they bear or take the 
 fpringing, is proper over the Columns; on the fame Plate is Pedeftals to the Ionic and 
 Corinthian Orders. 
 
 Plate 51. 
 
 T HIS Plate contains various Defigns of Pedeflals, with their half or whole Plans 
 underneath each; the firfl Five are for Figures fitting or (landing ; 6 and 8 for Fu¬ 
 neral Columns, 7 for a Figure lying, 9 and 10 for Statues Equeftrial, 11 for a Group of 
 Figures. 
 
 N B. Pedeftals, whofe Cornices are under the Eye, or view'd from alove, ought to have their 
 Cornice Camus or Solid, that is, with a contracted Projection ; and Peueftals whefe Cor¬ 
 nices are ahove the Eye, or vie-ipi 1 a\fmm 7W, teot. oushc tn have a T.armier, which mates 
 the Projection equal, or fomething greater than its Height. 
 
 Plate 5 a. 
 
 T his Plate confifts of ten different Defigns of the Ornament called Frett (and four 
 Flowers) and of which the Ancients made great Ufe, as on the Face of Coronas, 
 or on the Larmier, on the underSides of Architraves ; alfo about the Doors, and on the 
 Plinths of Bafes, when their Torus and Scotias were carv’d, they are a very proper Orna¬ 
 ment for Soffites or Platfonds. 
 
 This Ornament confifts in a certain interlacing of two Lifts, or fmall Fillets, which 
 run always in parallel Diftances equal to their Breadth, witli this necelfary Condition, 
 that every Return and Interfe&ion, they do always fall into right Angles ; this is fo in- 
 difpenfible, that they have no Grace without it, but become altogether Gothic. There is 
 one (amongft the ten) here prefented, that confifts but of a fingle Fillet, which neverthe- 
 lefs fills its Space exceedingly well, and makes a very handfome Show : The ingenious 
 Author of the Parallel has made a Miftake in the Return of this Frett at A, which pro¬ 
 duces a very difagreeable Effeft; the lame Error is copied by Mr. Langley in his Practical 
 Geometry- I have in this rectified the Miftake, which, I hope, will be agreeable to thofe 
 who perufe the fame. 
 
 Plate 53. 
 
 r I ^ HIS Plate confifts of Compartiments for Domes or Cuplos, and proper Ornaments 
 1 for the Soffites of Arcades. (Jc• A A Grand Compartments, B a Compartment 
 Lozenge-wife; C ditto in Ovals; D ditto Grotefque, E figured, F Oftagones and 
 
 Crofles, 
 
J'hte LI 
 
 -E ftaJiUu Dcfin 
 
 £ Cote Jcufy 
 
 Pedestal 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
JLmtui' LnUrfiu.'d Pound/ tvUA '■Herd/wres ' Octagons and. jfuare 
 
 3ordure- 
 
 
 dtrcrcn c-Dcd'oii' 
 
 
 Cam men Brul U' 
 
 Jj/wnOus Ja i 
 
 Pavement' 11 * Ht'XOj 
 
 j)°Bordwedu° diamondpomf 
 
 ■fM-'J! iiz'sna ground -D/< 
 
 Squares D c L)uujCT\dttv 
 
 Citation/ and Potb 
 
 'Regular Ifexagon.' 
 
 7aMeu. Dilin 
 
 
 Purled Jquart-' 
 
 
 TT 
 
 

±6 Ftnrfr 
 
Part II. 
 
 Five Orders of Architecture. 
 
 7 ? 
 
 Croffes, G Hexagons, H Soffite compofed of Squares and Oblongs, I Squares K Col- 
 loJTes Angle and double, L Soffite of Large Arch, PanneJs bonding ; M Oftasons N 
 
 Interlacing, O a branch’d Ornament of Leaves and Rofes. b ’ 
 
 Plate 
 
 54 - 
 
 T HIS Plate contains the Plans and Seflions of Rooms, according to Palladio whole 
 Proportions are as follows. Round Square, or the Length is the Diagonal of 
 of their Square; or of one Square and a Third; or a Square andean Half- or a Sm,are 
 and two Thirds; or laftly, of two Squares. ’ ^ 
 
 Rooms are either with an arched or a flat Cieling ; if with the Latter, the Height from 
 the Floor to the Cieling mull be equal to their Breadth, (on the principal Story) Rooms 
 over them may be one fixth Part lefs in Height. 
 
 If Rooms are to be arched, their Height in fqua're Room, is a third Part more than the 
 Breadth ot the Room : But in thole whofe Length exceeds their Breadth, a Height mu'! 
 be fought proportionally to their Length and Breadth. See the Problem the Bottom of 
 the Plate. Admit ah the Length, and * c the Breadth, add to a l as divide 
 eh _,n the Middle at f, and the Length fe will be the Height required; or upon the 
 
 1 ei m / b , defCribe th£Semicircle b S £ - produce the Lne ac tog 
 
 d the Height ag will be the Height required ; or make ah equal to fe, thro’ the 
 Points he draw the occult Line h c i, produce the Line Id till it interns the Ijm 
 y and thv. Height d 1 will be the Height required. 
 
 ^Thereare fix Sons of Arches, viz. Croffed, Fafc.iated, Flat (a Segment lefs than a Se- 
 ucircle is fo cailed) Circular, Grinded, and Shell-like, all which arc in Height equal to 
 
 one Third of the Breadth of the Room. The four firft ^re ufed by the Anc n s but I e 
 two laft are ef a modern invention. 1 ’ out tne 
 
 Plate 
 
 55 - 
 
 ms Plate contains Variety of beautiful Compartiments and Bordures for Pave 
 ments on the Left Hand of the Plate is the moll common Pavement, as Purleck 
 Squares P.bbles, Chnkarts, or Dutch Bricks, (for Stabling, £*.) R a g C Payment 7- 
 Beautiful Compofitions of Compartments may be made of the common Pavements for 
 Cour-Yards, Effc. which are moll judicioufly performed by the ingenious Mr-. cLfe 
 CapeU, Favour (near Harford-Market) who is not only to be recommended facts 
 Judgment, but likewife for the moll efteemable Character of a Fair Dealer 
 
 Plate 5 6. 
 
 N this Plate I have made a Dcfign of three Obelisks, (each drawn to the ftme Scale! 
 of the Proportions of fix, feven, and eight Diameters, altho’ the Attic Bate is in 
 tioduced to thefe Ornaments, by the Author of a large Volume, yet I think it not a fuffi 
 cient Authority to introduce them here ; and I have therefore added to two of thefe De- 
 figns different Bafes, refembling the Tufcans ot Palladio. 
 
 End of the Second Part. 
 
 u 
 
m 
 
 sasassissssK 
 
 «SSSS58Ba‘ 
 
 PART III. 
 
 ATreatife on Stair-Cafes,and the fever al Methods cf erecting them. 
 
 N placing of Stair-Cafes the utmoft Care ought to be taken, it being not 
 a little difficult to find a Place convenient for them, that will not at the 
 fame Time prejudice the reft of the Building. We muft therefore affign 
 them a proper Situation, to the End that they may' not interfere with the 
 other Parts of the Houfe, nor receive the leaft Inconveniency from them. 
 Stair-Cafes muft have three Openings, the firft whereof is the Door by which we go up to 
 them, which the left it is hid from thofe who enter into the Houfe, the more graceful it 
 will appear; and I very much approve the placing of it in fuch a Manner, as, before our 
 coming at it, may give us a Sight of t!;e beft Part of the Houfe; for then the Building 
 tho’ little in it felf, will appear very large; wherefore it muft be obvious, and eafy to be 
 found. The fecond Opening is the Windows, neceffary to light the Stair Cafe ; thefo 
 muft be fituated in the Middle and be made high, whereby they will diffufe the Light 
 equally. The Third Opening is the Landing Place, through which we enter into the 
 Apartments of the firft Story ; and muft lead into handfome, fpacious, and well furnifhed 
 Pans of the Houfe. Stair-Cafes to be complete, muft be light, large, and eafy to afeend ; 
 which Will invite, as it were, People to go up to them : To make them lightfpme, they 
 muft receive a ftrong Light, which, as was obferved before, muft be equally diffufed upon 
 all Parts of them. They will be fpacious enough, provided they be not made too narrow 
 in Proportion to theLargenefs and Quality of the Fabrick ; but they muft never be nar¬ 
 rower than four Foot, to the End that when two Perfons meet upon them, there may be 
 Doom enough for them to pafs; and if they are wide, and of an eafy Afcent, it will be 
 
 more convenient to thofe who eo and down . ^ ought not to he more than foe 
 
 “ h ™r [eft than four Inches fteep or in Height, the Breadth of Steps ought not to 
 1 d’fixteen Inches, nor be left than twelve Inches- The Ancients, in the Steps of their 
 f? Cafes always made their Number odd ; in order that having begun to afeend wi h 
 1 R'eht Foot they might end with the fame, however eleven or thirteen Steps at moft 
 Efficient to a Flight; and if when we are got fo far, we muft Hill go higher, then 
 W1 n ffi n tr.place muft be made, as well for the Bale of fuch Perfons who may be either 
 weary or tired ; as in Cafe any Thing fhould happen to fall from above, thereby to flop 
 it, and prevent its rolling any lower. 
 
 Plate 57. 
 
 S TAIR Cafes are either made Circular or Oval, Quadrangular or Triangular, or 
 Mixed viz. Part Straight and Part Circular: Circular (or Oval) Stair-Cafes are 
 f metimes made with a Column in the Middle; as Fig. 1. and 2. Plate 57. The Diame¬ 
 ter of the Column muft be proportion’d to the whole Diameter of the Stair-Cafe, and not 
 rn he left than one fixth, not more than three fevenths of the Diameter of the Stair-Cafe. 
 f larger Sort of this Kind of Stair-Cafes, the Column may be made hollow to receive 
 jjoht from above and diftribute it on the Steps below See F«.5. 1 he moft beautiful 
 
 Stair-Cafes are thofe without a Newel or Column, (fee F» ? . j) by Reafon of the Light 
 from above is equally diftributed, and that thofe who are a top may fee and be feen by all 
 thofe who go up and down them. 
 
 In there Stair-Cafes the Steps maybe made Circular, as in Fig. 2. which will not only 
 be very beautiful but add a Length to the Steps. 
 
 In the open Stair-Cafe, as Fig. 3. to find the Length of the Steps, divide the Diameter 
 into four Parts, two whereof are for the Steps, and two for the Vacancy or Space between. 
 
 T7- , This isuDefign of a beautiful circular Stair-Cafe, made by Order of French 
 
 the firft Kffig of France, at CbamUr, in a Palace built in a Wood; in this is included 
 
Part HI. 
 
 A Treatije on Stair-Cafes. 
 
 79 
 
 four Stair-Cafes, with four Entrances to them, viz. one to each, which go up the one over 
 the other in fuch a Manner, that being made in the Middle of the Building, they may 
 ferve for four Apartments; lo that the Inhabitants of one Stair-Cafe, need not go down 
 thofe of the other ; and being open in the Middle, they all lee one another go up and 
 down Stairs, without incommoding one another. This Defign is mark’d with Letters in 
 the Plan and Profile, to fhow where each begins, and how they go up. Viz. A, F, L, Q_ 
 in the Plan is at the Entrance of each Stair-Cafe, the Bottom of the firft Flight to each 
 Stair-Cafe in the Seftion is - denoted by the fame Letters, the Flight A afeends to B, C 
 and D ifc. the Flight F, afeends to G, H, and I, if c. the Flight L to M, N, and O - 
 The Flight Q. to R S T, ifc. in the fame Manner it is conduced to any Place defign’d. 
 
 Fig. 7. Is a ftreight but double Stair, the Entrances are at A and K, and is deferibed 
 by Letters after the fame Manner as the former. 
 
 Fig. 6 . Is a mix’d Stair-Cafe, Part ftreight and Part circular, the Plan and Seflaon fuft 
 ficiently explains the whole. 
 
 Fig. 8. Is a Quadrangular Stair-Cafe, in thefe Stair-Cafes the Steps are conduced in 
 three or four Flights, according as the Extent and Height will admit, for the Length of 
 thefe Steps divide the Length or Width of Stair-Cafes into four Parts, make the Steps 
 equal to to two of thofe Parts, and leave the other two to the Void in the Middle. 
 
 Fig. ro. Where a Quadrangular Stair-Cafe is erefted with a Wall within Side, divide 
 the whole Width as before into four Parts, and let the inner Walls and Steps contain two 
 of thole Parts, and the Void in the Middle theothet two Parts. 
 
 Fig. 9. This Stair-Cafe, the Steps are on Strings of Wood, and the under Side of the 
 Strings are cafed to reprefent folid Steps, the Back being the fame as the Front and Re¬ 
 turn, and make a beautiful Stair-Cafe. In Stair-Cafes in this Manner it is fometimes ne- 
 
 celfary to put Steps in clie Qua.'rci P<n-cb, urKjli juglu nof to svreei) four in Number, un- 
 
 lefs the Stairs are very large, viz. where the Quarter Pace is four Foot, put four Steps 
 where four and a half or five Foot, put five Steps; where it extends to nine Foot, put 
 twelve Steps, ifc. in the fame manner divide Quadrants of Circles of the fame Radius. 
 
 Plate 58. 
 
 T HIS Plate reprefents the Manner of conducing the Rail and Ballifters and Orna¬ 
 ments of Stair-Cafes, to avoid the ufual Irregularities. 
 
 Fig. 1. A reprefents the Horizontal Floor, B the Afcent or Inclination of a Floor, in 
 which is fuppofed to be contained the Strings and Steps of Stairs, C the Horizontal half 
 Pace. 
 
 Fig. 2. A, B, C, teprefents, as in Fig. 1. D the Space for Architrave, E for Bafe to 
 Balluftrade, F Newel, G Hand Rail, between E, F, and G, is the Ballifters. 
 
 Fig. 3. The Reprefentation of the two former as compleated with the Mouldings, if c. 
 
 To deferibe the Stair Cafe, Fig. 4. admit A, B, C, D, to be the inner Angles, then de- 
 feribe the Length of the Steps bounded by the Line F, G, H, I, deferibe the Breadth of 
 the Ornaments, (viz. Balluftrade and Mouldings,) as F f, G g, H h, and I i, the Length 
 of Steps and Breadth of Ornaments being given, then fet out the Breadth of the Steps ; 
 firft confider how many Steps can be made in the Length g h, for the firft: Flight, which 
 fuppofe to be fix, which is twelve Halves, then fetting one of thofe Halves or Parts off 
 from each Angle g and h; with the other ten Parts deferibe five Steps, which continue to 
 the Lines A D and B C ; proceed to delcribe the Steps at the End i k which fuppofe to 
 admit of fourStcps, as before fet the Breadth ofhalf a Step off from each Angle, and de¬ 
 feribe three Steps which produce to the Line DC, and the Plan is compleated; then 
 proceed to raife the Upright of the Steps, and begin with the firft Flight E, 6 ; the 
 the Ground Line is a b, and the Height b e, and deferibe the fix Rifers a e, thro’ the 
 
 u 2 Points 
 
Part III. 
 
 I 6 
 
 A Treatije on Stair-Cafes. 
 
 Points of the Front of the Steps draw the occult Line k 1 , which is the fame as Bafc 
 Line E F/V. 2, in the fame Manner proceed in the other two Flights, obferving c c to 
 be the Level’ of the firft Quarter Pace, dd the Level of the fecond, and 16 the Landing 
 Pace, k k the Level of the Bale on the firft Landing ; m m, the Level of the Bale on the 
 fecond Landing; and after this Manner all the Ornaments will join regularly, as in the 
 Figures 2 and 3.’ And the fame is a general Rule for all Stair-Cafes, that will admit of 
 Room for the like Regularity of Ornaments. 
 
 Fir-5. Is an irregular Stair-Cale, yet notwithftanding, the Urine Method maybepia- 
 ftifed for the Regularity of Ornaments as in the former, by railing Perpendiculars to the 
 Line a d, d c and c b ; as the Lines a e, d f, d g, c h, c i, and b k ; then divide the 
 Steps as before direfted, leaving the Diftance of half a Step from the Perpendiculars, and 
 the whole will be compleated as required. 
 
 Ytn. 6 . This Figure is a Reprefentation of the common Method as praQifed, where 
 the quarter Paces'are made Square to the Angle of the Newel, which caufes the Hand 
 Pvail of the firft Flight to drop lower than the Rail of the fecond by the Height of three 
 Steps, and the fame in the following Flights. 
 
 fig. 7. This Stair being fet to the Middle of the Newel, drops its Rail the Height of 
 two Steps below the Rail next above it. 
 
 Fig. S. This Stair being fet to the Out-fide of the Newel, drops its Rail the Height of 
 'One Step below the Rail above it. 
 
 fig. 9. r fliis Stair being fet half of a Step clear without Side of the Newel, brings the 
 Rails to meet, as in Figure 2 and 3. 
 
 Fig. 10 and 11. To thefe Stairs there are large Moldings, as A A on the Out-fide; 
 therefore to caufe thf* lamp Regularity m t-liplaft, fi-t tla& Step, tile Breadth of half a 
 Step on the out-fide of the Molding, and what is required will be compleated. 
 
 It is to be obferved, that a half Ballifter is join’d to the Newel generally; and if any 
 Difficulty arifes by the Space being too large for a half Ballifter, then the Newel maybe 
 enlarged, as in the Figure n. by BB. 
 
 fjrr. 12. Reprefents the irregular Meeting of Rails and Balliflers on Stair-Cafes, as 
 may" be feen in the new Stair-Cafes at the Weft End of the Parifh Church of St. Mar- 
 
 tii?s in the Fields. 
 
 pig. 13. Reprefents the regular Method of joining Rails and Balliflers, as in Figure 4, 
 9, 10 and 11. 
 
 F/g, 14- Reprefents the Continuation of Lines, for forming rakeing Balliflers. 
 
 Fig. 1$. Isa Stair-Cafeof five Flights, the Middle Flight being larger than the other, 
 for the better Convenieney of a Reception to the Double Flights above, the Entrance be¬ 
 ing in the Angle at A. 
 
 Plate 59. 
 
 A T S the half of a Plan of a Grand Stair-Cafe, with Perrons and Portico; A 2 is the 
 
 X half Plan to the inner Stair-Cafe or upper Part, A 3 is the Seftion to the fame 
 Stairs, Perrons and Portico, The Entrances of Steps are mark’d by Figures in the Plans 
 and Seflions. 
 
 B Is the half of a Grand Stair-Cafe and Portico, B 2 is the half Plan of the upper Part 
 of the fame, B 3 is the Seftion to it, the reft is denoted on the Plan and Section by Figures. 
 
 C Is the half Plan of a Grand Stair-Cafe, C2 is the half Plan of upper Part of the fame, 
 C 3 is the Section Lengthwife, C4 is the Section Breadthwife, the reftisdenoted by Figures. 
 
 The End of the Third Tart . 
 
 PART 
 
m-LYW 
 
 -ZT 0alky Dd% 
 

 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 Practical 
 
 ERSPECTIVE is the Art of Delineating, on a flat Superficies, as a 
 Wall, Cieling, Canvas, Paper, or the like ; the Appearances of Objeds, as 
 feen from one determinate Point: For tho’ in Works ot great Length, 
 Two, Three, or more Points of Sight are fometimes made Ufe of; yet fuch 
 
 ■ i ■•--5^ 1 WU, J.1HV.V, -- - -O . . 
 
 may more properly be fa id to be feveral Views conjoined, than one Piece ot Perfective. 
 
 In Perfective, the Eye of the Beholder is efteem’d a Point, from whence Rays are fup- 
 pofed to proceed to every Angle of the Obed. The Wall or Canvas to be painted (which 
 I fhall here call the Section) is imagined to intervene at right Angles to the Axis of the 
 faid Rays ; and, by diLding them, to receive the Appearance ol the Objed, in greater or 
 lefs Proportion, as the Sedion is more or lets remote from the Point of Sight. My Au 
 thor’s Rule is, that-the Diftance of the Eye ought to be equal to the greateft: Extent Oi 
 the Objed, whether in l ength or Height: As to view a DuiUing that k .20 Foot long, 
 and <0 high' he would have the Diftance 10O Foot: To view a Tower 60 Foot wide, and 
 0 Lot high ■ the Diftance Ihould be 150 Foot. This D.ftance is not ftriftly to be un- 
 derftood of the Space between the Eye and the Objed, but of the Space between that and 
 the Sedion the Plan of which my Author 'alls the Line of the Plan, or Ground-line , for 
 ’tis often requifite, that theSedion be plac’d at feme Diftance before the Objed, on Ac¬ 
 count of Projedures of Cornices, and other Parts of the Work that advance. 
 
 The Place of the Eye, with refpeft to its Height above the Ground, ought to be fuch, 
 as is mod natural and agreeable to the Ob,eft. Thus in Architecture, the Bafements and 
 inferior Parts of a Building are improper to be fet above the Eye. and their Cor¬ 
 nices and Entablatures have but an ill Edeft when below it. General Perfo.lt^cs indeed 
 require the Sight to be taken at a Bird’s View ; and on other Occafions the Place of the 
 Eye may be vary’d, but the belt 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 lo plac’d therein, as may render 
 the Objed moft agreeable. From the Point of Sight, either on one or both Sides 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 Treatife are reduced into Perfective ; as is manifeft on Infpedion 
 of the Figures. 
 
 Plate 60. 
 
 Explication of the Lines of the Elan and Horizon, and of the Eoints of the Eye, 
 
 and of the Ehflance, 
 
 HAT you may the better underhand the Principles o {perfective, here is prefent- 
 
 ed to your View a Temple, on the inner Wall ofwhich, one would paint lome- 
 thing in Perfective, that fhould feem to recede as much as the Square P in the Plan, and 
 
 X 2 
 
bo 
 
 Practical Perjpechie. 
 
 1 J arc j V. 
 
 t!ie Depth Q. in the Profile; A is the Geometrical Plan, B the Geometrical Section 
 Lengthwife, C Breadthwife. In A is the Place from whence a Man beholds the 1 ; n » 
 D E which is the Plan of the Wall which is to be painted : In B the fame Man from 
 the fame Diftance, looks upon the .Line FG, that reprefents the Elevation of the Wall 
 and this Figure contains in little, the very fame Proportions of Meafiares transferred irorn 
 the real Wall. ' 1 
 
 For beginning any Defign in Perfpetfwe, there are principally required three Lines and 
 two Points; the firft Line HI where the Edifice begins, and on which it Hands’and 
 where the Feet do Hand, which is call’d the Line of the Plan or Ground-Line The fe 
 condLine NON, (is ufually made a Man’s Height above the Ground-Line’, as in B) 
 parallel to the former, is call’d the horizontal Line, wherein is placed O the Point of the 
 Eye, and N the Point of Diftance, on which Side you will. This Point N muft be as 
 far from O, as the Diftance you intend to place your felf at for the viewing the Depth of 
 the Square P Q.; two Points of Diftance are here laid down, that you may make Ufe of 
 which you pleaft ; for that on one Side only is fufficient for the forefhort’ning Figures in 
 Pe^p e a,ve: Neither can any Optick Delineation, or PerfpeUive, be deferibed, without 
 hrft making two Paralle s ; one of the Plan or Ground-Line, the other of the Horizon - 
 mai king in the Lme of the Horizon; the Point of the Eye, or Sight, and the Point of Di¬ 
 ftance. It was thought befides expedient, to put one and the fame Thing into three 
 Schemes or Defigns, to let you fee, 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 
 fix d at right Angles into O; the Diftance ON being the'fame as that between A and 
 D E m the Plan, or between B and G s the Upright. 
 
 In Pidures taking up a great Deal of Room, the Point of the Sight ought to be made 
 
 mthe Middle of the Horizontal Lme; and where the Height of the Picture happen 
 to be greater than the Breadth, the Diftance N O muft be made equal to the Height. S 
 
 If the Breadth ofthePiflure exceed the Height, the Diftance NO muft be made equal 
 to the Breadth : For lo will the Extent of the Pidure be the better comprehended one- 
 cuved at one View. And altho’ the fame Diftance may teem to be ufed in a different 
 Manner in toe Plan A, and in the Elevation B, from what it is in C; never.helefs the 
 Sedions of the viiual Rays, with the Wall of the Plan A, and of the E.evation B have a 
 perfed Correlpondence with the Sedions of thofe of the Figure C. 
 
 Now, if to the Spedator in A and B, we would have the fartheft Part of the Work 
 feem to recede from the Lines D E and G F, as much as the Square P docs, w hofe Ele¬ 
 vation is Q.; draw from the Points A and B, the Viftial Rays to the extreme Points of 
 the Square P and Q.; noting the Sedions they make with the Walls D E and G F ; which 
 by fome is call d the Veil, tranfparent Medium, Sedion, Cloath, or Table; and you’ll 
 
 find RS equal to TV, X 2 , equal to YK; and fo of the reft. 7 
 
 Plate 6i. Pros. i. 
 
 To delineate a Square in Tcrfpettivc. 
 
 B E FO R E the Squate A, which is fuppoled to be drawn on a feperatePaper, can be 
 laid down in PerfpeSiive, two parallel Lines muft be drawn ; one of the Plan, and 
 the other of the Horizon, as is already intimated; noting in the Horizontal Line the 
 PointofSight O, and the Point of Diftance E. Then, when the Length and Breadth 
 of the Square A fhall be transferr’d into the Line of the Plan, fo that the Line CB be 
 equal to the Breadth, and DC be equal to the Length, let the Vifual Lines B O, C O 
 be drawn from the Points BandC to the Point of Sight O, and the right Line DEfrom 
 the Point D to the Point of Diftance. Laftly, where the Line D E cuts the Vifual 
 
 CO, 
 

Part IV. 
 
 Practical Perjpective. 
 
 bl 
 
 C O, make G F parallel to C B ; and you have the Square optically contrafted, or fore- 
 lhortned in PerfpeChve. * 
 
 r ?, C? .T Tln ; e an f Pa 'f’ ef P ecIaI, y in F; S ul ' es that abound in Lines, fold your Paper In 
 the “f’the Fkn ° “ ^ and Len § th ° f ‘he Square, into 
 
 Pros. a. 
 
 The ‘Delineation of an Oblong Square in TcrfpeSive. 
 
 T E r the Breadth B C of the Square A, be placed in the Line of the Plan, by the 
 ~t . t0n J P 0 a . rs ; f ^ ed i'apcr, and from the Points B and C, make the Vifuals to 
 
 the Point of Sight O. Then fold your Paper crofs-wife, and mark CD the Length of 
 he oquare dravvmgtheLme DE tothePointof Diftance, and the Line F G parallel 
 to B C, w Inch will compieat the Optick Delineation of the Oblong Square. P 
 
 delTneltiln Ro SUrC filS ^ S r t!l ; F ° ld;n 5 of the Paper crofs-wife, which is of ready Ufe in 
 
 ■*?. ttev ■?>* -.*^1«»« 
 
 Pros. 5. 
 
 the Optical Delineation of a double Square. 
 
 H E RE y°u’ll find the Advantage of your folded Paper ; for, applying it to the Line 
 of the Plan, you readily mark the Points 1 2 1 a < f, nf ,,-r , T - 
 which muft be drawn to the Point of Sight O. Then’folding’the kper crofs-wife you 
 mark the Points 7 , 8, 9, to, placing the Point 7 on that of 5, unlefs you would hive 
 the Square removed within the Line of the Plan Then from X „ f T 
 
 the Point of Diftance E ; where chey interfeft the L ne 6T 5 ’ 9 ’ P uT^ C ° 
 of the Plan, and the Work is compared ’ 7 ’ t0 the Line 
 
 Within the Square B, you may eaffly inferibe another Square, by Help of the Diago¬ 
 nals ; as may be feen in the Figure. ’ 1 e 
 
 P r o b. 4. Plate 62. 
 
 Tlans of Squares, with their Elevations. 
 
 B E SIDES what has been already faid of the fore-fhort’ning of Squares in PerfaBi W 
 lsis convenient to obferve That thp V™. „r-i c a c b quires in rer pe ctive, 
 
 I ine of the PI , n « m u ’ , l Foot ° f the firft Sc i uare >s here fet within the 
 
 B D has the SSi B 11 ^ ^ ^ 
 
 Square is diftant from Line of the Plan, the Space E A; and fo for “ft! 
 
 PaltTf dl VTua > l 0 Lin 0brerVe ^ SqMreS ’ tbatb r the to § th 1 a[wa y s underftand 
 
 in he fi ft Sonar ar H ’ f Y t ^ ^ ^ t0 the Ground Line ; which 
 
 ** CD - 
 
 •!.». which,,. 
 
 Thing is to be fet perpendiSy from tl r ’ nr H ^ bt ° f -ery 
 
 Geometrical Length and Breadth are alfoplacedTtheIrSeLiw” 6 ° ^ ^ ** the 
 
 Y The 
 
82 
 
 Practical Perjpecitve. 
 
 Part IV. 
 
 The three other Bafes below are form’d without the Help of Occult Lines, by making 
 Ufe only of the Heights and Breadths of the Angles, taken from the Perfective Plan and 
 
 Upright. 
 
 By Height I underftand the Diftance of each Angle, or Corner from the Ground-Line; 
 by Breadth the Diftance of an Angle, or Corner, from any Line perpendicular to the 
 Ground-Line ; provided thefe Lines have always the fame Place in refpeft of the Bales, 
 as they have in refped of the Perfective Plan and Upright: And as, by *e Help of two 
 Compaffes, the Height FG, and the Breadth HI determine the Corner of the hi ft Bafe, 
 fo, in like Manner, are found the Corners of the other Bafes. 
 
 P R O B. 5 - 
 
 The Manner of defining in Terfettive without Occult Pines. 
 
 Y N this Figure, I have def.gn’d the Geometrical Plan B feparately from the Geome- 
 A trical Elevation A, as I (hall always do hereafter. 
 
 The Plan B optically contraded or put in Perfective, in E, as N MR S ; the Ele¬ 
 vation of its Length in Perfective in F T S N. 
 
 Then fuppofmg the Heights F N, i, 5, a,6, equal, and the Breadths N M, 1,2, 5, 6 
 1 rb?Tines N M, <,6, to be in the Line of the Plan X; and the Lines F N, x, 5, 
 eqU h ’pernendicular V: The Angles 3 and 4 of the Bafe C, have the very fame Eleva. 
 ,n ' Xce fromlheLineof the Plan X, as has the Angle T : The Angle x and 8 , 
 have thffie Elevation with the Angle F : The Angles 3 and 7 have the fame Breadth 
 or D^ance from the Perpendicular V, as the Angle R has: The Angles 2 and 6 
 have the fame Breadth, as the Angle M has. 
 
 P rob. 6. Plate 63. 
 
 Another Example of a Geometrical ‘Plan andUf right , (ut in TerfeiHive. 
 
 nnn drawing in Perfective, a Pedeftal, or Bafe, divided into four Parts make the 
 If Plan A with its Divifions of Length ED, and of Breadth CD, and the fame 
 TV tI of Breadth E F, in the Elevation B, prolong’d to X. Then make the Per - 
 Divifions o transferring the Breadth and Length into the Ground-Line, by Means 
 
 f fZ Si KSifc From which Plan ,hc P,,^, Uprigte i, very mffly 
 ot your Paper H ow ^ Bafe bd without occult Lines, 
 
 made d a f S TtheptSSpk n and Upright, is manifeft from what has been faid be- 
 tLI I Sd would be very dlxjent in the Ptadice of this Method by the 
 
 CompaG^; becaufe the Difpatch of Perfective Delineations chiefly depends thereon. 
 
 Prob. 7. 
 
 To deferile Circles in Terfpefiive. 
 
 'THAT upon Pedeftals you may be able to place Columns with their Bafes and Ca- 
 X pitals, it is requifite you Ihould know the Manner of putting Circles in Perfect,ve, 
 whether Angle, double, or many Concentrick. 
 
 The Geometrical Plan A confifts of a Square with a Circle inferibed, whofe Diameters 
 divide into four equal Parts, and the Diagonals being drawn where they in erfed the 
 Circle continue Lines parallel to each Side of the Square. The Square with all its Dm- 
 Ls, being putin Perfective; By the four extreme Points of the Diameters, nntHxy 
 

 
 
 
 
 Jt 
 
 
 
 
 
 
 
■ME! 
 

Part IV. 
 
 Practical Perjpeflive. 
 
 
 thofeofthe Interfeftion of the Diagonals, you neatly trace by Hand the Circumference B» 
 If you would add another Circle you muft infcribe another Square, as in the Plan C ; from 
 whence you find in Perfpeffive the double Circle D. 
 
 Between tliefe two Circles, you may, by the eight Interfcclions of the Squares, defcribe 
 a Third ; as is evident by the Figures E and F. 
 
 In a Word all Circles are defcribed by the Help of Squares, tracing them by the Inter- 
 fe&ions of the Vilual Lines, with thofe parallel to the Ground-Line: Nor isthereany 
 Point in either the Squares or Circles A, C,E, whofe correfpondent Point may not be 
 readily found by fuch Seditions, in the refpe&ive Squares and Circles B, D, F. Neverthe- 
 lefs, where your Work requires many Circles, I would advife you to ufe as few Squares as 
 poilible, left they perplex, rather than affift you. 
 
 Prob. 8. Plate 64. 
 
 The Trojeflion of aTcdefial in Terfpettive. 
 
 I F you would draw a Pedeftal, with the Projefture of its Cap and Bafe, you muft be¬ 
 gin with the Geometrical Elevation A, by drawing fuch occult Lines as are necef- 
 fary, as well Side-Ways to the Perpendicular L, as downwards for making the Geo¬ 
 metrical Plan B, whofe Diftances muft be transferr’d, and carry’d into the Space 
 G- If the Meafures of the Length be placed the Diftanceofthe Space C, from thofe of 
 the Breadth, the PertpeBivfPhn will then appear removed within the Ground-Line K, 
 as much as the faid Space C is. In the Conftru&ion of the Perfpeclive Elevation D, the 
 Vifuals drawn from the Points of the Line L give the T ines of rhe Breadth ; and thofe of 
 the Height are taken from the Lines of the Perfpeciive Plan, as in the Figure. In delineat¬ 
 ing the clean or finish’d Pedeftal E F, the Interfedion of the Breadth from L to M, with 
 the Height from K to I, gives the precife Place of the Corner H. The Interfedion of the 
 fame Height with the Breadth LO gives the Angle N. Laftly, the Angle P is found by 
 the Interfedion of the Height KQ., with that of the Breadth LR. 
 
 Pros. 9. Plate 65. 
 
 The Attuh Bafe in ‘PcrfprfUve. 
 
 F ROM the Geometrical Elevation A, is drawn the Plan B; which being put into 
 PerfpeSlive, as you fee in C, from the Circles of the Plan C you have the Bread, hs 
 of the Column, with its Torufes and Fillets, £jfr. From thegreateft Breadth of the 
 Circles of the Plan C, wehaveereded Perpendiculars to the Parts that anfwer them in 
 the Bafe, to the End you may fee where the Points fall, which terminate the greateft 
 Breadth of thofe Parts. Thefe Points (which in the biggeft Circle of the Plan C are E 
 and F) are found by touching the Extremity of the Circumference with a Line parallel to 
 the Perpendicular D: If you confider well the Elevation G (which is made by trans¬ 
 porting the Divifions of the Elevation A upon the Perpendicular D) it will plainly ap¬ 
 pear, that there is no Point in the Circles of the Plan C, to which there may not be a 
 correfpondent Point found in the Torufes and Lifts of the faid Bafe as the occult Lines 
 fhew, that arife from EandF, each of which is a Continuation of three Lines : The 
 firft, of Breadth from the Plan C to the Vifual; the fecond, of Height from the Vifual 
 to the Elevation G; the third, of Breadth from the Elevation G to the Bafe. Now 
 tho’ ’tis plain by the Figure, that the Body of the Column prevents the Sight of a good 
 Part of the Fillets, and the fame Fillets takes off from Part of the Torufes, which would 
 otherwife be vifible; for which Reafon the back Part of the Torufes is continued only till 
 it meet the fame .• Yet ’tis certainly beft to draw every Member complete, as tho’the 
 Work were tranfparent ; that the Parts hidden from the Eye may the better am-ee 
 with thofe that are expofed to it. 
 
 Y 2 
 
 When 
 
Practical PcrJpecUve. 
 
 Parr IV. 
 
 84 
 
 When your Draught is finlfh’d, if you view it at the due Diftance, and perpendicularly 
 to the Point of Sight; you’ll readily dilcover and reftify what’s amifs. Your chief Care 
 will be employ’d in lhaping the Torufes, difficult by reafon of their Roundnefs both 
 Ways; namely, in the Contour of their Molding, as in their Elevation H I■ and in the 
 Circuit it makes about the Column. 
 
 P r 0 b. io- Plate 66, 
 
 The Shaft of a Column in ‘Pcrfpeclive. 
 
 B EING to defcribe Part of the Shaft of a Pillar (or Column) without Projecfures, 
 make the Elevation A, and the Geometrical Plan B, at leaft to the Middle: 
 From this brought into PerpMive, as you perceive in C, mult be drawn Parallels both 
 of Breadth to the Vilual D, and of Elevation to the Vifual E, from which are defcribed 
 the Circles in Perfpedive Fandl., taking the Breadths Irom the Plan C, and the Heights 
 from the Perpendicular M ; and according to this Method the Circles F and L are 
 made, without the Help of Squares. Laltly, draw the Perpendiculars G and H, by the 
 Points ydiich terminate the greateft Breadth of the Circles F and L. 
 
 There is not a Point in the Plan C, but what, by Means of the Lines of Breadth and 
 Elevation, may be found in the Circle F; For Inftance, the Place of the Point 6 is 7 , 
 which is found by the three Lines CD, D E, and E 7 . 
 
 In defigning the two Pieces of a Column, with the Projefture of the Cin&ure at Head 
 and Foot, you mull obferve rhedame Rule. 
 
 Prob. ii. Plate 6 -. 
 
 The Pone Capital in TerfpecUve. 
 
 T HE Manner before deliver’d concerning Bafes, is of the fame Ufe in delineating 
 Capitals; forafmuch as, thefe alfo have their fquare Abacus, and their round 
 Members. The Ground-Line in Capitals is ufually placed above the Horizon ; becaule, 
 when they are fet upon Columns which exceed a Man’s Height, they are generally repre- 
 fented above the Eye: 
 
 Prob. ia. Plate 68 .' 
 
 The Corinthian Capital in ‘Perfpettivc. 
 
 'T"~'HERE is no compleating the Corinthian Capital, unkls you moft accurately de- 
 1 lcribe its Geometrical Elevatiuu and Plan. 
 
 Being to form the Plan E from the Plan B, you muft, with occult Lines, make the 
 Squares neceffary for bringing four, or at leaft three of the Circles into PerfpeClive , tranf- 
 ferring into the Line D the Divifions of the Line C, and the reft as ufual. Then, with 
 other occult Lines, contraft the Plans of the Leaves, and finifh what’s farther requifite 
 in the Plan E. 
 
 To make the Optick Elevation of the Length F, you muft transfer into the Perpendi¬ 
 cular H all the Divifions of the Elevation A; and complete the fame, by Lines drawn 
 towards the Point of Sight, till they meet their refpeftive Perpendiculars; which, pro¬ 
 ceeding from all Parts of the Circles parallel to the Line D, interfeft the Vifual G; from 
 whence they delccnd, Parallels to the Perpendicular H. 
 
 Jq 
 
K PilAfri/ Dc-a , 
 
ZT Ca/i/di/ Dciin 
 
pa/itlu Detin 
 
f'l.L 'oAifu- Detin . 
 
t 
 
 Part IV. 
 
 Practical Perfpective. 
 
 89 
 
 In working the clean Capital, you fliould begin with the loweft Circle I, which de¬ 
 notes the Compafs of the Column. Then make the Leaves 1, 2, by taking their Breadths 
 from the Plan E, with the CompaHes, and keeping one Point of them upon the Line H - 
 and their Heights from the Elevation F, keeping one Point on the Line D. The fame 
 muft be done, as well by the Leaves j, 3,4,4, as by the Leaf 5, and the others ; and laft 
 of all, by the Abacus alfo; the finking of the Horns whereof, anfwers that of the Vifual 
 Line L. 
 
 Pkob; 13. Plate 69. 
 
 The Pork Entablature in Terfpettive. 
 
 A FTER Capitals we proceed to Entablatures, which becaufe they are (quare, are 
 lefs difficult than the former. From the Geometrical Upright is drawn, as ufual, 
 the Geometrical Plan ; from the Plan put in PerfpeBive, is delcribed the Optick Elevati¬ 
 on of the Length ; and from both the latter is wrought the clean Entablature required. 
 You may obferve, here are two Lines that terminate the Breadth of the PerfpeSliv on one 
 Side and the other. The Line which proceeds from the higher Corner of the Vilual, 
 gives the Height of the moft advanc’d Part; that from the lower determines the Height 
 of the Back part; and fo for the future. 
 
 Prob. 14. Plate 70. 
 
 The Optic}. Trojcflion of a Corinthian Cornice, with the Capital and Tart of 
 
 the Column. 
 
 I N this Figure the Line of the Plan is CI E, that of the Horizon is DFO, the Point 
 of Sight is O, the Point of D'ftance D; the Geometrical Elevation of the Cfmrffe- 
 a,i Capital, with its Entablature, is A; whole Divifions are feen in the Perpendicular 
 C D. The Length and Breadth of the Geometrical Plan B are equal, and the Plan is 
 put into PerfpeBive after the ufual Method ; to wit, by transferring the Divifions of 
 Breadth and Length into the Line C IE; from the Points of Breadth draw Vifuals to 
 the Point of Sight; and from thofe of Length, occult Lines to the Point of Diftance ; 
 by which Interfe&ions, you have all that’s neceffary for putting the Plan into Perfptttive. 
 For the Lines of Length are Parts of the Vifual Rays, as is manifeft by G N, H L; and 
 the Lines of Breadth are made Parallels to the Ground-Line, from the Interfeftions be- 
 forementioned, as is leen in N L. 
 
 Moreover, if the Horizontal Line DO were fo prolong’d, as to receive another Point 
 of Diftance equi-diftant from O ; half the Diagonal Lines of the great Square G N L H, 
 and of the leffer Squares contain’d therein, would tend to one Point of Diftance, and the 
 other Half to the other. 
 
 The Elevation of the Length is put in PerfpeBive, by continuing the Parallels to C E, 
 till they cut the Vifual 10 ; and from thence dropping Lines parallel to IK: Then 
 transferring into I K the Divifions of the Perpendicular C D, from them make Vifual 
 Lines to the Point of Sight, and draw the feveral Members of the Upright, whofe 
 Breadths are the Parts .of Vifuals, and their Heights Parts of Perpendiculars, or Lines pa¬ 
 rallel to I K. Laftly, from the Plan and Elevation of the Length, you delineate the 
 finifh’d Cornice and Capital: But that you may more eafily draw the Modilions, firft: 
 make them in a fquare Form, as in M; and that will very much affift you to give the 
 Scroll of each a more agreeable Turn. 
 
 z 
 
 Prob. 
 
Practical Perjpective. 
 
 Part IV. 
 
 b6 
 
 Prob. 15. Plate 71. 
 
 To dcfcribe the Tufcan Order in TerffeHive. 
 
 I N the Geometrical Plan C, and in the Elevation thereof A B, I have only mark’d 
 the principal Lines, as well for avoiding Confufion in the Figure, as that fomething 
 might be leit to the Induftry ot the Studious. The Line of the Plan EG has the Divifions 
 ofBreadth P, and of Length Q_, of the Geometrical Plan C. From the Points ot Breadth 
 are drawn, as ufual, Vifuals to the Point of Sight O. From the Points of Length occult 
 Lines are produced to the Point of Diftance, which li s fourteen Modules withoi t the 
 Line AB: And where the occult Lints from the Divifions of Length cut the Vi'.ual 
 F O, Parallels are made to the Ground-Line E.F; a id from die h terfeQions of thofe 
 Parallels with the Vifuals, you complete the Delineation of the Plan in Pt-effective- 
 
 The Lines which in the Plan are parallel to E F, being prolong’d to the Vifual E O 
 are then continu’d parallel to the Perpendicular D E, and from the Divifions of A 
 produced to D E, Vif.ial Lines are drawn to the Point of Sight, which LteriecLng 
 the Perpendiculars aiorefaid, you from thence find the Length ot the Elevation in 
 Terfptttive. 
 
 Prob. 16. P l a t e 7-2: 
 
 The Tufcan Order complcat in TerffeSlive. 
 
 F ROM the Rules in the lad Problem , is drawn this compleat Piece of t' e T’ r or Or¬ 
 der, brought into Perfective , by Means of the Breadths and Pidgins lilt lcVvral 
 Parts, exaftly taken off with the CompalTes, as has been often Paid. 
 
 Prob. 17. Plate 75. 
 
 To dcfcribe a Compofitc Wreath'd Column tnTcrfjieitlive. 
 
 H AVING made the Geometrical Elevation of affreight Column, and divided die 
 Height of its Shaft into twenty four equal Parts, the wreathing is defcribed by 
 Parts of the Circumference of Circles, whole Diameters are equal to the tcveral Breadths, 
 or Diameters of the {freight Column ; as is fhewn in the Figure A. For putting the Up¬ 
 right into PerfpeCiive, four {freight occult Lines are of Ule, which defeend from the Ex¬ 
 tent of the Swellings and Sinkings of the lower Wreaths of the Column A, and terminate 
 in two Circles of the Geometrical Plan B. The faid Plan laid down in Perfective is C. 
 The utmoft Extent of the greateft Circle determines that of the Convex Parts of the lower 
 Wreaths: The great If Breadth of the lelTer Circle gives that of the hollow Parts of the 
 faid Wreaths; as m iy be perceiv’d by applying a Ruler from the Wreaths to the Circles of 
 the Plan. From the four Points of the greateft Breadth in thofe Circles, four Lines paral- 
 el to the Ground-Line are continued to the Vifual E D, and thence again continued paral¬ 
 lel to the Perpendicular D F. From the Elevation A, the twenty four equal Parts of the 
 Columns Height are transferred into the Lines DF, and Vifuals drawn from each to the 
 Point of Sight O. By the Interleftions of thofe Vifuals with the four Perpendiculars afore- 
 faid, are drawn the waved Lines M N, P Qg, from which, both the Out-Lines of the 
 finifh d Column are defcribed ; but the Fore-part of the Pedeftal, Column and Cornice, 
 is taken from the Line G H ; the Back-part of the fame from the Line 1 L. 
 
 Plate 
 
„ • . , , ... 
 
Part IV. 
 
 Practical Perjpective. 
 
 87 
 
 Plate 74; 
 
 To find, on Geometrical Bodies, the Geometrical Places of their Lights, Shades 
 
 and Shadows. 
 
 HE Cubes A, B, C, and Cylinders D E are two different Solids, repreftnted Geo- 
 
 metrically two Ways, the Solid C is the fame as B or A, the Difference being 
 only in the Deepning of the Shadows of thofe of B and A, where thofe Angles feem to 
 jett forwards in that of C, by Reafon of the Equality of theft Lines. By the View of 
 the Solids B and C, it muft be obferv’d, that to the End that the ObieCt’s drawn Geome¬ 
 trically may exprefs their Relievo, one muft touch their circumftribicg Line-Shade and 
 Shadow, ftrong and weak, as in the Perfective, which is found in the Horizontal 
 
 Line. 
 
 The Triangular Prifm F, with its Shade and Shadow a,l,c,d, Upon a 
 
 Ground flat and level; fo that a, b, is one Half of the Elevation a B ; and e c the Half 
 of eC; and d f is the Halfof fD , and theft lfreight Lines a b, e c, and f d, are pa¬ 
 rallel to each other, as are likewile the Elevations a B, f D, and e C. 
 
 G Is the fame Solid of which the Shadow is equal to its Elevation ; By the InterfeCti- 
 on of the Lines, and confequently of the Plans, one may eafily difeern the Method of find¬ 
 ing the true Place of thelc Light, Shades and Shadows. The fame is to be obferved in the 
 Line M M and L L, with the fmall Solids Q_Q. upon them. 
 
 For the Impoft P, the pointed oblique Parallels determine the Places, where the 
 Lights and Shades touch on the Horizontal and Curves of the Members of the Profile 
 
 ABCD. 
 
 For ReficiHion on the Plan. 
 
 T HE Angle of Incidence, is that which is contain’d under the incident Ray and 
 the Perpendicular to the Plane of the Point of Incidence, as a b c, in Fig. R. The 
 Angle of Reflection is that which is contain’d under the reflected Ray, and the laid Per¬ 
 pendicular, as the Angle db c, fometimes a be, and d b f, are called the Angles of In¬ 
 cidence and Reflection. The Angle of Incidence is always equal to that of Reflection. 
 
 As for Example on the Elevations N and O, the Sun direCts its Light upon the Ground 
 or Plane whereon it is fituated, or on its projecting Members of a white or light Colour, 
 the Rays reflecting from the Bottom to the Top, as B A, b a ; they refleCt from A to¬ 
 wards edef: And thus thefe projecting Members edef and others tho’fhaded, this 
 Reflection will weaken or enlighten their Shade in Proportion, as they are nearer the 
 Points of Reflection A a. 
 
 End of the Fourth Fart , 
 
Sl!S*********************S*******3i^*3:SS*Sl!***|!***si!****S 
 
 PART V. 
 
 Leon Baptifta Alberti 
 
 O F 
 
 STATUES. 
 
 Have often thought with my felf, that the feveral Arts, whereby Men at 
 firft induftrioully fet themfelves to exprefs, and reprefent by Work of Hand, 
 .the Shapes and Similitudes of Bodies, Ipringing from natural Procreation 
 took their Beginning from the accidental Obfervation of certain Linea¬ 
 ments either in Wood, or Earth, or fome other Sorts of Ma erials, by Na¬ 
 ture fo difpofed, that by altering or inverting fome Thing or other in their Form, they 
 appear’d capable of being made to refemble the Figures and Shapes of living Creatures ; 
 and thereupon, having feriouQy confider’d and examin’d what Courfe was bell to take, 
 they began with utmoft Diligence and Induftry to try and make Experiment, what was 
 necelfary to be added, or taken away, or in any other Kind perform’d, for the bringing 
 of their Work to fuch Pefedion as might caufe it exafbly to refemble the intended Form, 
 appearing, as it were, the very fame Thing ; ever marking as they wrought, to lee if 
 they had fail’d in any Thing, and ftill mending as they found Occafion, fometimes the 
 Lines, fometimes the Superficies, polilhing and re-polilhing, till at Length (not without 
 Pleafure and Satisfaftion) they had accomplifh’d their Defire : So that it is not a Thing 
 fo much to be admir’d, that by frequent PraCtice in Works of this Nature, the Fancies 
 and Ingenuities of Men been from Time to Time improv’d, and advanced to that Height, 
 that at laft (without taking Notice of any rude Draughts in the Material they wrought 
 upon to help them in their intended Defigns,) they became able by their Skill to defign 
 and exprefs upon it whatfoever Form they pleafed, though in a different Manner, lome 
 one Way and fome another; forafmuch as all were not taught, or applied themfelves to 
 proceed by the fame Rule or Method. The Courfe that many take to bring their intended 
 Figures to Perfection, is both by adding to, and taking from the Material ; and this is 
 the Way of thofe that work in Wax, Plaifter or Clay, who are therefore term’d Maejlri 
 de fiucco-, others proceed by taking away, and carving out of the Material that which is 
 fuperfluous, whereby it comes to pafs that they proceed out ofwhatfoeverMafs of Marble, 
 the perfeCt Shape and Figure of a Man, which was there hiddenly but potentially before; 
 and thofe that work this Way we call Sculptors; next-of Kin to whom are they that 
 grave in Seals the Proportions of Faces, that before lay hid in the Matter out of which 
 they were raifed. The third Sort is of thole that perform their Work by only adding to 
 the Materials as Silver-Smiths, who beating the Silver with Mallets, and diftending it 
 into thin Plates of what Fafhion or Size they think fit, lay thereupon their SuperffruCture, 
 adding and inlarging, till they have fafhion’d and brought to Perfection their intended 
 Defign. And here perhaps lome may imagine, that in the Number of this laft Sort of 
 Artifts Painters are to be reckon’d, as thofe who proceed by Way of adding, namely by 
 laying on of Colours; but to this they anfwer, that they do not ftrive fo much to imi¬ 
 tate thofe Lights and Shadows in Bodies which they difcern by the Eye, by the adding 
 or taking away of any Thing, as by fome other Artifice proper and peculiar to their Way 
 
Part V. 
 
 %9 
 
 of Humane Body. 
 
 of working : But of the Painter and his Art we {hall take Occafion to {peak elfewhere. 
 Now, as to thofe feveral Kinds of Defigners which we have here before mentioned, tho’ 
 they go feveral Ways to Work, neverthelefs they all direft their Aims to this End, name¬ 
 ly, that their Labours may appear to him that {hall well obferve them, as Natural, and as 
 like the Life as may be : For the bringing of which to Effeft, it is mod evident, thatby 
 how much the more exquilitely they follow fome certain determined Rule or Method 
 (which Rule we (hall afterwards defcribe) fo much the fewer Defefts will they be guilty 
 of, fo much the fewer Errors commit, and in all Manner of Accounts their Works will 
 fucceed and come off with the greater Advantage. What fhall we fayofMafons, Car¬ 
 penters, (if c. what would they perform to any Purpofe, if it were not for the Square, the 
 Level, the Line, the Plum-Line, and the Compalfes, for the delcribing of Circles, (iff. 
 and by the Means of which Inftruraents they defign their Angles, their Perpendiculars, 
 their Levels, and other their Proportions, thereby finifhing and compleating all they take 
 in Hand with the greater Exa&nefs, and without which they would be able to do no¬ 
 thing fubftantially ? Or can we rationally imagine, that the Statuary could perform fuch 
 excellent and admirable Works by chance, rather than by the Help of fome certain and 
 infallible Rule or Guide, drawn from Reafon and Experience ? Wherefore this we fhall 
 lay down as a Maxim ; that from all Arts and Sciences whatfoever, there are drawn cer¬ 
 tain Principles, Rules, or natural Conclufions, which if we fhall apply our felves with 
 all Care and Diligence to examine and make Ufe of, we fhall undoubtedly find the Bene¬ 
 fit of, by the perfe£t Accomplifhment of whatfoever we take in Hand : For as we were 
 firft inftrufted by Nature, that from thofe Lineaments which are found in 1 ie es of 
 Wood, Earth, Stone or other Materials, may be drawn (as we faid before) the Forms of 
 whatfoever Body or Creature the Concourfes of thefo Lines refemble; fo alfo the fame 
 Nature hath taught us certain Helps and Means, by which we are guided to proceed fe- 
 curely and regularly in what we undertake, and by the conftant obferving and Ule where¬ 
 of, we fhall moft eafily, with the greateft Advantage, arrive at the utmoft PerfeHion of 
 the Art or Faculty we ftrive to attain. It now remains that we declare what thofe Helps 
 are which Statuaries are chiefly to make Ufe of; and becaufe their principal Part is to 
 make one Thing to imitate and refemble another, it will be requifite to fpeak firft ofRe- 
 femblance, a Subjeft our Difcourfe might be abundantly ample in, fince Refemblance is a 
 Thing fo natural and obvious, that it offers it felf to our View and Obfervation in each 
 vifible Objeft, not only every Animal, but even allThings whatfoever that are of the fame 
 Species, being in fome refpeft or other correfpondent and alike : On the other Side 
 there are not in the whole Race of Mankind, any two to be found fo exquifitely refem- 
 bling each other, as not to differ fome one Title in the Tone of the Voice, or the Fafbion 
 oftheNofe, or of fome other Part; to which we may a'dd, that thofe Perfons whom 
 having firft beheld Infants, we come to fee Children of fome Growth, and afterwards at 
 the Age of Manhood, if at length we meet them when grown Old, we fli'all find them fo 
 chang’d and alter’d by Time, that we fhall not know them; for as tpuch as the Apti¬ 
 tude and Pofition of thofe numerous Lines and Features in the Countenance (fill alters and 
 varies from Time to Time, as Age comes on; neverthelefs in the fame Vifage there re¬ 
 mains a certain natural and peculiar Form, which maintains and keeps up the Refem¬ 
 blance inherent to the Species: But we {hall wavethefe Things, as belonging rather 
 to a particular Difcourfe, and return to purfue what we firft took in Hand to 
 treat of. 
 
 The Defign and Intention of making Refemblances among Statuaries, I take to be two 
 fold ; the firft is, that the Defign or Work intended for the Refemblance of any Sort of 
 Creature (for Example, fuppofe it a Man) be fo fram’d, that it come as near in Simili¬ 
 tude as may be to the Species, without regarding whether it reprefent the Image of So. 
 crates more than that of Plato, or any other known individual Perfon, fince it is enough 
 that the Work refembles a Man in general. The other Intention proceeds farther, and 
 aims not only at the reprefenting the Likenefs of Man in general, but of this or that par¬ 
 ticular Man ; as namely of Csfar, or Cato, not omitting to defcribe the very Habit he 
 wore, the Pofturehe affeQred, and the Aftion he ufed ; whether fitting in his Tribunal, 
 
 A a or 
 
Part V c 
 
 90 On the Proportions 
 
 or making Speeches to the People, it being the proper Bufinefs of thofe who addift them- 
 felves to this laft Way oi Reprefentation, to imitate and exprels every Habit, Poftureand 
 Air, peculiar to the Body of that known Peribn whom we intend to reprefent. Anfwer- 
 able to thefe two Intentions, (that we may handle the Matter as briefly as is poffible) 
 there are efpecially required two Things ; that is to fay, Proportion, and Limitation In 
 treating therefore of thefe two Particulars, that which we have to do, is to declare firil 
 what they are , next, to what UTe they ferve for the bringing of our Defign to Perfection 
 Befides which, I cannot but by the Way, take Notice of the great Benefit that is to be 
 made of them, iu rdpeft of the wonderful and almoft incredible Etftas which they pro 
 duce ; infomuch that whofoever fliall be well inllruHed in them, Ihall be able by the 
 Help of feme certain infallible Marks, exaTly toobferve and point out the Lineaments 
 Situation and Pofiture of the Parts of any Body, tho’ it were a thoufand Years after fo 
 as not to fail to place it exaftly at his Pleafure, in the very fame Direftion and Pofture it 
 fhould have happen’d to have Hood in before, and in fuch Sort, as there fliould not be 
 the leaft Part of the faid Body, which fliould not be reduced and refituated toward the 
 very fame Point ot Heaven, again!! which it was originally dire&ed : As if, for Exam¬ 
 ple, you would point out the Place with your Finger where the Star Mercury or the new 
 Moon would rife, and it fhould happen to rife in a direft Angle over-againft the Point of 
 the Knee, Elbow, Finger, or any other Part; moft certain it is, that by thefe Means and 
 Helps all this may be done, and that fo precifely, that there fliould not follow the leaft 
 Failing or Error imaginable ; nor need there any Doubt be made of the Certainty hereof 
 Befides this, fuppofe I fliould take one of the Statues of Phidias, and fo cover it over with 
 Wax or Earth, that none of the Work could be difeern’d, and that it fliould appear to b e 
 only a mere fliapelefs Trunk, you might by thefe Rules and Helps certainly know how to 
 find out in one Place, by boaring with a Wimble, the Pupil of the Eye, without doing 
 it any Harm by touching it; and in another Place the Navil, and finally in another the 
 the great loe, and fo other Parts in like manner ; by which Means you will gain a per- 
 feft Knowledge ot all the Angles and Lines, whether far diftantone from another, or 
 nearly concurring together : You may alfo, beginning which Way you will, and whe¬ 
 ther following the Oiiginal, or the Copy, not only Draw or Paint, but alfo put down in 
 Writing, the various Courfe of the Lines, the Circumferences of the Circles, the Pofiti- 
 ons of the Parts, in fuch fort, that by the aforefaid Helps and Means, you need not 
 doubt the being able to produce with Eafe, fuch another Figure perfeflly refemblin^ and 
 of what Sire you pleafe, either lehs, or juft of the fame Magnitude, or of an Hundred 
 Fathoms in Length, nay, I dare be bold to fay, that were there but Inftruments to be 
 had, anfwerable to fo great a Defign, it were not only not impoflible, but even no hard 
 Matter, to make one as big as the Mountain Caucafus ; and that which perhaps you may 
 moft wonder at, is, that accorning as the Matter might be ordered, one half of this Sta¬ 
 tue may be made in the Illand of Pharos, and the other half wrought and finifhed in the 
 Mountains of Carrara ; and that with fuch exact Correfpondence, that the Jointures and 
 CommilTures of both Parts perfectly fitting each other, they may be united into one com 
 pleat Statue, refembling either the Life, or the Copy after which it fliall have been figur’d" 
 And lor the performing of this fb ftupendious a Work, the Manner and Method will ap¬ 
 pear fo eafy, fo perlpicuous and expedite, that for my Part, I conceive it almoft impof- 
 fible for any to err, but thofe that fliall induftrioufly, tomakeTrya! of the Proof of this 
 Affertion, work contrary to the Rules and Method enjoin’d. We do not hereby under¬ 
 take to teach the Way of making all kind of Refemblances in Bodies, or the expre Jing of 
 all thofe various Afpeifts which refult from feveral differing and contrary Paffions and°Af- 
 fedftions ; fince it is not the Thing which we profefs to fhew, how to reprefent the Coun¬ 
 tenance of Hercules when he combats with Antarns, with all the Height of Magnanimity 
 and Fiercenefs which would be requifite upon fuch an Occafion ; or calling an obliging, 
 cheartul and fmiling Air, when he courts his Deianira, fo that as the Countenance of the 
 fa ne Hercules fliould upon feveral Occafions be reprefented with as various Afpefls; but 
 our Purpofe is rather to take Notice of all the different Figures and Poftures that are inci¬ 
 dent to a Body from the divers Situations, Geftures or Motions of the feveral Members or 
 Parts thereof; for as much as the Proportions and outward Lines are one Way terminat¬ 
 ed 
 
Part V. 
 
 of Humane Body. 
 
 91 
 
 ed in a Body that ftands upright, another way in him that fits, another Way in one that 
 is lying down, another Way in thofe that turn or incline themfelves toward this or that 
 Side; and fo in like manner in all other Geftures and Motions of the Body, of which 
 way of Reprefentation our Intention is at this Time ; that is to fay, in what Manner and 
 by what certain and infallible Rules, tliefe Geftures and various Difpofitions of the Bodv 
 may be imitated and reprefented ; which Rules, as we faid before, are reduced to two 
 principal Heads, namely Proportion and Limitation: And firft we {hall treat of Propor 
 tion, which is indeed no other than a conftant and certain Obfervation, by examinina the 
 juft Number and Meafures, what Habitude, Symmetry, and Correfpondence all” the 
 Parts of the Body have one towards another, and that in relpeft of every Dimenfion of 
 the Body, both as to Length, Breadh, and Thicknefs. 
 
 This Obfervation is made by two Sorts oflnftruments, a large Ruler, and two mov - 
 able Squares; with the Ruler we take the Lengths of the Parts, and’with the Squares 
 we take their Diameters, with all the other Proportions of the faid Meafures. Upon this 
 Ruler then, let there be a Line drawn of the Length ofthe Body which you wouldmeator^ 
 that is to fay, from the Crown of the Head to the Sole of the Foot: Whence note by the 
 Way, that to meafure a Man of a fhort Stature, you are to ufe a Ihorter Ruler and for 
 one of a longer Stature, a longer Ruler: But whatlbcver the Length of the Ruler be itls 
 to be divided into fix equal Parts, which Parts we will name Feet; and each of’thefe 
 Feet Ihall again be divided into ten equal Parts, which we may term Inches. 
 
 The whole Length therefore of this Foot Meafure will confift of flxty Inches; every 
 one of which is again to be fub-divided into ten equal Parts, which lelfer Parts I call Mi 
 nutes ; fo that thro’ this Divifion of our Meafure into Feet, Inches and Minutes, the To" 
 tal of the Minutes will amount to the Number of 600, there being in each of the fix Fee" 
 too. Now, for the meafuring of a Man’s Body by this Inftrumcnt, we are thus to pro¬ 
 ceed. Having divided our Ruler according to the forefaid Manner, we are to meafure 
 and obferve by the Application thereof, the Diftances of the Parts of the faid Body a Vf C 
 Inftance, how high it may be from the Sole of the Foot to the Crown of the Head o 1 01 
 far diftant any one Member is from another; as how many Inches and Minutes it 
 be from the Knee to the Navel, otto the Cannel Bone of the Throat ■ and'fo • 
 manner any other Parts. Nor is this Courfe to be at all flighted or derided,’either bv 's 1 
 tors or Painters, fince it is a Thing moft profitable, and abfolutely neceffary- forasm^b 
 as the certain Meafure of all the Parts being once known, we fhall have < 4 ,V cJ 
 eafy and fpeedy Determination how to proceed in our Work with any of th°e Lid Pa 
 Members, without committing the leaft Error: Never think it a Matter worth Res °d 
 nr Notice, if anv capricious Humourift fhall .1 . . - 
 
 is too long, or that too fhort; fince your Module or Foot Meafure, fwhich L eh „ , 
 that muft always direft and govern your Work, and than which you cannot an k ^ 
 more infallible Guide,) will foon determine whether you have proceeded well Jm. By * 
 
 
 A a 2 
 
 We 
 
On the Proportions 
 
 Fart V. 
 
 92- 
 
 We come next to treat of the Squares, which are to be two ; the firft of which fhall be 
 made after this Manner: Let two Rulers in the Nature of {freight Lines, i. e. A B and 
 BC {Plate 7 5) be join’d together fo as to make a right Angle; the firft Ruler A B, fal¬ 
 ling perpendicular, the other B C, ferving for the Bale: I he Bignefs of thefe Squates 
 is to be ordered, that their Bafes confift of at leaft fifteen Inches, according to the Propor¬ 
 tion of your main Ruler, which as we have faid before, is to be made bigger or lelfcr, an- 
 fwerable to the Proportion of the Body you would meafure : Thefe Inches therefore with 
 their Points and Minutes (however they may fall out) being taken exactly from the faid 
 Ruler, you muff fet down upon your Bale, beginning to reckon from the Point of the 
 Angle B, and fo proceeding on towards C. 
 
 The Square being thus marked and divided, as is to be feen in the Example ABC, 
 there is to be adjoined unto it another Square made after the fame manner, according as 
 it is demonftrated by the Letters DFG, fo as that G F may ferve both for (freight Line 
 and Bafe to both. Now to (hew the Ufe of thefe Inft ruments, I undertake to meafure the 
 Diameter of the thickeft Part of the Head H I K, by bringing the two {freight Rulers 
 A B and DF of each Square exaflly oppofite to each other, to touch the two oppofite 
 Points of the thickeft Parc of the Head, and by applying interchangeably to one and the 
 fame Level, the Bafe-Lines of the faid Squares; by which means, from the Points HI, 
 which are touched by the {freight Rulers of the faid Squares, we fhall difcover the exaft 
 Diameter of the Head. 
 
 And after this manner, the Thicknefs and Bignels of any Part of the Body whatfoever, 
 may, with great Eafeand Accuratenefs be found out: Many Ufes and Advantages we 
 could reckon up, which might be made of this Ruler and thefe Squares, were it needful 
 to infill now upon them, there being feveral other Ways, much after the fame manner, 
 which the meaneft Capacity may of himfelf find out, for the meafuring of the Diameter of 
 any Part. As for Example, fuppofe one would know how much the Diameter of from one 
 Ear to the other, and whereabouts it interfedfs the other Diameter, which palfes from the 
 Head to the Nuca, or the like. Laftly, our Workman may fafely make Ufe of this Ruler 
 and thefe Squares as moft faithful Guides and Counfellors, not only for the performing of 
 anv Part of his Work, butalfoat the very firft and before he fets upon it; he will receive 
 much Light by the Help of thefe Inftruments, howto begin and go about it; infomuch, 
 that there will not be the leaft Part of the Statue he is to make, which he will not before 
 have examined and confidered, and rendered moft eafy and familiar to him. For Ex¬ 
 ample who but a very arrogantPerfon would take upon him to be a Mafter-Ship-Wright 
 that had not the perfe£t Knowledge of all the feveral Parts of a Ship, and how one Kind of 
 Ship differs from another, and what thole particular Parts are which belong to o ie Ship 
 more than to another ; And yet who is thereof our Sculptors, let him be a Man never 
 fo fubtileand experienc’d in his Art, who, if it fhould be demanded of him, upon what 
 Ground or Confideration he has made this Member after this manner, or what maybe the 
 Proportion of this or that Member, fo the whole StruHure of the Body ? I fay,^ who is 
 there fo diligent and accurate as to have well confidered and oblerved all that is requi- 
 fite and which becomes that Perfon to know who would perform as he fhould do the 
 Art whereof he makes Profeffion ? whereas doubtlefly all Arts and Faculties are moft ad- 
 vantageoufly learn’d by Rule and Method, and by the Knowledge of fome demonftrable 
 Operation that is to be perform’d ; nor (hall any one attain to the PerfeHion of any 
 Art whatfoever,who hath not firft comprehended every feveral Part and Branch of the faid 
 Art. But thus having fufficiently treated of Measure and Proportion, and after what 
 Manner it is to be found out by the Ruler and Squares, it remains that we fpeak next of 
 Limitation, or the preferibing of Bounds: This Prefcription of Limits is the determining 
 or fixing of a certain Period in the drawing of all our Lines, fo as to direft to what Point 
 they are to be continued, whether extended out in Length, or revers’d, how Angles are 
 to be fix’d, how Parts are to be rais’d or deprefs’d, by Alto, or Baffo Relievo, as Artifts 
 terms it, each Line, Angle and Relieve having their due and certain Places ailign c 
 


 
 
 
 
 
 
 
 , 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 1 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Part V. 
 
 of Humane Body. 
 
 91 
 
 them, by the ConduQ: ofa fure and perfeO: Rule: And the bell Way to put this Rule of 
 Limitation in PraQice, will be by a Line and Plummet, falling from a certain determi¬ 
 nate Center plac’d in the Middle, whereby the Diftances and Extremities of all the Lines 
 may be mark’d out and taken Notice of, as far as the utmoft Bounds every way of the 
 faid Body extends : But between the Meafure defcrib’d above, and this Affignation of 
 Limits, there is this Difference, namely, that that Meafure looks farther backward and 
 fprings from a more Native and Original Conlideration, as grounded upon more common 
 and univerfal Principles, which are by Nature more firmly and fobftantially inherent in 
 all Bodies; as the Length, Largenefs and Thicknefs of the Parts; whereas the prefcribing 
 of Bounds is grounded upon the prefent and accidental Variety ofPoflures, refulting from 
 the different Difpofitions and Motions of the feveral Parts of the Body, fhewing the 
 Manner how to limit and fafhion thofe Poftures, according to the Maxims of Rule 
 and Art. 
 
 Now, for the better Performance of this laid Part of regular Operation, we (ball recom¬ 
 mend this following Inftrument, which is to confift of three Parts or Branches, that is to 
 fay, an Horizon, a Style, and a Flum : The Horizon is a Plane defign’d upon a Circle 
 which Circle is to be divided into equal Parts, mark’d with their feveral Members, and’ 
 th. ir Sub divisions fet over againft each Part : The Style is a {freight Ruler, one End 
 whereof is fix d in the Center of the faid Circle, the other End moves about at Pleafure 
 fo as that it may eafily be transferr’d and direfted from one Divifion of the Circle to ano¬ 
 ther: Tne Plum or Plummet is a Line or Thread, which falls perpendicular from the 
 Top of the Style down to the Floor or Plane, upon which the Statue or Figure Hands 
 whole Members and Lineatures are to be meafur’d and limited : For the Manner of mak¬ 
 ing this Inftrument let it be thus; take a Board well plain’d and fmooth’d, upon which 
 let a Circle be drawn, having three Foot Diameter, and let the Extremity of the Lid 
 Circle s Circumference be divided into equal Parts, which Parts we will call Degrees • 
 an 1 let every of the Degrees be fub-divided again into as many other Parts as fliall be 
 thought fit; as for Example, fuppole every Degree to be fub-divided into fix Idler Parts 
 which we may call Minutes ; to all which Degrees adjoin the feveral Numbers viz 
 I, 2,5, 4 , with the reft in Order, till the Numbers belonging to all the Degrees be fet 
 down. This Circle, thus made and ordered, we call’d the Horizon, to which we are to 
 fit our moveable Style, being alfo to be made after this Manner ; Take a thin ftreicht 
 Ruler three Foot in Length, and fallen one of the Ends thereof (with a Pegg) to the 
 Center of its Horizon or Circle, in fuch a manner, that tho’ the faid End i°°not to be 
 mov’d from the Center, yet the Pegg that fallens it is fo far to be relax’d, that the 
 whole Ruler may have Liberty to move and play about from one Part of the Circle to 
 another, whilft the other Extream extends it felf a good way beyond the Circumference 
 of the faid Circle about which it is to be mov’d: Upon this Ruler or Style, mark out the 
 Inches it is to contain, diftinguifhing them with feveral Points between, after the mann^ 
 of the Module or Foot Meafure abovementioned ; and thefe Inches mull alfo be fob divT 
 ed into leffer equal Parts, as was likewife done in the forefaid Foot Meafure • and th " 
 beginning from the Center, adjoin to the Inches alfo their feveral Numbers vL" 
 1,2,3,4 is’e. Laftly, to this Style annex a Line and Plummet. This whole Inftru¬ 
 ment thus deferibed, confilling of Horizon, Ruler, and Plummet, we fliall call our 
 Definitor. 
 
 1 his Definitor is to be made Ufe of in this manner: Suppofe the Original or Copy the 
 Li nirs of whole Parts we would determine, were a Statue of Phidias, holding with the 
 Lelt Hand, on one Side ofa Chariot, the Raines of a Horfes Bridle : This Definitor is 
 to be let upon the Head oftheStatue in fuch Sort, that it may lye exaflly level upon the 
 Plane ot the Center, being plac’d juft upon the very midll of the Head of the Statue 
 where it is to be made fall with a Pegg : Then note that Point where it is fallned upon 
 the Head oftheStatue, and mark it by fetting up a Needle or Pin for the Center of the 
 Circle . Next, by turning the Inftrument about from the determin’d Place in the Hori« 
 zon, make out the firft defign’d Degree, foasyou may know from whence it is mov’d • 
 
 ® k which 
 
Part V. 
 
 94 On the Proportions 
 
 which may beft be done after this following manner : Bring about the moveable Ruler, 
 which is the Style, upon which the Thread and Plummet hangs, till it arriv e 
 at that Place of the Horizon where the firft Degree of the Horizon is to be fet 
 down; and holding it fall there turn it about together with the whole Circle 
 thereof, until the Line of the Plummet touch fome principal Part of the Statue, that is to 
 fay, home Member particularly noted above all the reft, as the Finger of the Right Hand 
 or fo ; which may ferve as the appointed Place, from whence, upon every new Occafion, 
 the whole Definitor may be mov’d, and afterwards brought back again to the fame Place 
 where it ftood at firft upon the faid Statue ; yet fo, that by the turning of the Style about 
 the Pin, which pierceth from the Top of the Head of the Statue, thro’ the Center of the 
 Definitor, the Plummet which before fell from the firft Degree of the Horizon, may re¬ 
 turn to touch theforelaid Finger of the Right Hand. Thefe Things thus ordered and de- 
 fign’d, fuppofe that we would take the Angle of the right Elbow, fo as to keep the Know- 
 ledge of it in Mind, or to write it down; the Wayisas followeth : Fix the Definitor 
 with its Center which is upon Head of the Statue, in the Place and Manner aforefaid, in 
 fuch Sort, that the Plane whereon the Horizon is deftgn’d, may ftand firm and immove¬ 
 able ; then turn about the moveable Style, till the Line of the Plummet come to touch 
 t he left Elbow of the Statue which we would meafure : But in the performing of this 
 Sort of Operation there are three Things to be obferved, which will much conduce to our 
 Purpofe: The firft is, that we mark how far the Style in the Horizon comes to be diftant 
 from the Place where it (hall have been firft moved, taking Notice upon what Degree of 
 the Horizon the Style lies, whether on the Twentieth, Thirtieth, or whatsoever other : 
 Secondly, obfervebythe Inches, and Minutes mark'd in the Style, how far diftant the 
 Elbow (hall be from the Center of the Circle . Laftiy, take Notice by placing the Mo¬ 
 dule or Foot-Meaftire perpendicularly upon the Plane whereon the Statue ftands, how ma¬ 
 ny Inches and Minutes the faid Elbow is raifed above the faid Plane, and writedown 
 thefe Meafures in a Book or Piece of Paper : For Fxample, thus the Angle of the left 
 Elbow is found in the Horizon to be ten Degrees and five Mina tes; in the Style or Ruler 
 feven Degrees and three Minutes ; that of the Plane in the Module amounts to forty De¬ 
 grees and four Minutes ; and thus by the fame Rule may be meafured and computed all 
 the reft of the principal Parts of the faid Statue or Copy; as for Inftance : The Angles of 
 the Knees and of the Shoulders, and other fuch like Parts that are to be reckoned among 
 the Relievi: But if you would meafure Concavities, or thofe Parts which recede in¬ 
 ward and are fo removed out of the Reach of Sight and eafy Accefs, that the Plummet- 
 Line cannot come to touch them (as it happens in the Concavities beneath the Shoulders, 
 in the Regions of the Reins, £jfc.) the beft Way to find them is as follows .• Add to the 
 Style or Ruler another Plummet-Line which may reach as far as the faid Concavity ; how- 
 far diftant it be from the firft, it is not material, fince by thefe Plummet-Lines falling per¬ 
 pendicularly, and being interfefted by the Gnomon of the plain Superficies above to 
 which they are faftned, and which extends it felf as far as the Center of the Statue, it will 
 appear how much the fecond Plummet-Line is nearer than the firft to the Ceijter of the 
 Definitor, which is therefore called the middle Perpendicular. 
 
 Thefe Things thus demonftrated, being once fufficiently underftood, it will be an eafy 
 Matter to comprehend what we before commended to your Obfervation ; namely, that it 
 the faid Statue fhould chance to have been cover’d over to a certain Thicknefs with Wax 
 or Earth, you might yet by a Piercer, with great Eafe, Readinefs and Certainty come 
 to find out whatsoever Point or Term you would defire to find in the faid Statue ; for as 
 much as it may be clearly demonftrated, that by the turning about ot this Gnomon, the 
 
 Level makes a circular Line like the Superficies of a Cylinder, with which Sort of Figure 
 
 the Statue fo fuper-induc’d as aforefaid, feems to be inclofed and incircled This Pofiti- 
 on eftablifhed, you may fafely infer, that as by making Way through the Air, (the Statue 
 not being covered with Wax or Earth) you guide your Piercer direftly towards the Point 
 T, (which for Example’s Sake we will fuppofe to be the Relievo of the Chin) by the fame 
 Reaton, if the Statue were covered with Wax or Earth, might you by boaring thro’ the 
 laid Wax or Earth attain the Point aim’d at, the Wax or Eartli pofleffing but the fame 
 
 Place 
 
Part V. 
 
 of Humane Body ; 
 
 99 
 
 Place, which otherwife the Air would have done : From what hath been thus difcours’d 
 concerning thefe Things, it may be concluded that the Effed we mentioned before con^ 
 cerning the making of one Half of the Statue in the Ille of Pharos, and finifbing the other 
 Half in the Mountains ot Carrara, is a Thing not only not impoffible, but very eafy to 
 be perform’d ; for let the faid Statue or Model of Phidias be divided into two Segments; 
 and fuppofe, for Example, this Sedior. of a plain Superficies be made in the Waft or Gird¬ 
 ling Place; doubtlefs, by the only Alfiftance of our Definitor, it will be eafy to mark out 
 in the Circle of the Inftrument whatfoever Points fliall be thought fit, belonging to the 
 divided Superficies: Thefe Things granted to be feafible, you fhall not need to make 
 any Queftion of being able to find out at Pleafure in the Model, any Part whatfoever you 
 fliall defire to find ; and that only by drawing a fmall red Line in the Model, which ferves 
 inftead of an Interfedion of the Horizon, in the Place where this Segment Iliould termi¬ 
 nate, if the Statue were divided ; and the Points fb niark’d will diced you the Way how 
 the Work may be finifh'd : And in like manner may other Things be done, as hath been 
 faid before. Finally, by the whole Difoourfe here made concerning all thefe Particulars, 
 it is fufficiently evident that all Meafures, Proportions and Limitations are to be taken, 
 whether in the Life, or Copy, by a moft certain and infallible Rule for the bringing of 
 any Work to Perfedion in this Art; and we could wifh that this Way of proceeding 
 were more ferioufiy intended by all our Painters and Sculptors, fince, if it were, they 
 would foon come to find the extraordinary Benefit of it: But becaufe all Things arc 
 moft illuftrated by Example, and that the Pains we have already taken in this Matter 
 may conduce to the greater Advantage; we have thought fit to beftow yet a little farther 
 Labour in deferibing the Meafures of all the principal Parts in Man’s Body; and not 
 only the Parts of this or that particular Man, but as far as was poflible, even the very 
 Perfedion of all beautiful and excellent Proportions; the feveral farts whereof having 
 obforved in feveral humane Bodies, fome excelling chiefly in this, lbme in that external 
 Gift of Nature, we have thought material to fet down in Writing ; following the Exam¬ 
 ple of him who being employed by the Crotoniati to make the Statue of their Goddefs, 
 went about colleding from the moft beautiful Virgins (whom among many, he with 
 great Diligence fearch’d out) thole Proportions and handfome Features wherein each of 
 them principally excell’d, and apply’d them to his own Statue, fince much after the fame 
 manner we, having taken the Draught from thofe Bodies, that of divers others were 
 judg’d, by the moft fagacious in this Enquiry, to be the moft exadly built and compos’d 
 with all their feveral Meafures and Proportions ; and comparing them exadly together, 
 wherein they excell’d, or were excell’d each by the other, have made Choice out of this 
 Variety of Models and Examples, of thole middle Proportions which feem’d to us moft 
 agreeable, and which we have here fet down by the Lengths, Bigneffes, and ThiokncfTes 
 of all the principal and moft noted Parts; and in the firft Place the Lengths are 
 thefe following. 
 
 The Heights from the Ground, 
 
 The greateft Height from the Ground to the Inftup of the Foot, 
 
 The Height up to the Ancle Bone on the Out-fide of the Leg 
 The Height up to the Ancle Bone on the In-fide of the Leg, 
 
 The Heig it up to the Recefs which is under the Calf of the Leg, 
 
 The Height up to the Recefs which is under the Relievo of the Knee Bone 
 within, 
 
 The Height up to the Mufcle on the Out-fide of the Knee, 
 
 The Height up to the Buttocks and Tefticles, . ’ * 
 
 The Height up the Os facrum, 
 
 The Height up to the Joint of the Hips, 
 
 The Height up to the Navel, 4 ; 
 
 The Height up to the Waft, . . ; 
 
 The Height up to the Teats and Blade-Bone of the Stomach, r . 
 
 Bb 2 
 
 Feet Deg. Mint 
 
 030 
 0 2 2 
 
 o 3 I 
 
 o 8 5 
 
 } 1 4 3 
 
 1 7 o 
 
 2 6 
 
 300 
 3 1 1 
 
 3 6 o 
 
 ? 7 9 
 
 4 ? S 
 
 The 
 
9^ 
 
 On the Proportions 
 
 Part V. 
 
 Feet Deg. Min. 
 
 The Height up to the Part of the Throat where the Weezle Pipe beginneth, 5 
 
 The Height up to the Knot of the Neck where the Head is fet on, 5 
 
 The Height up to the Chin, 5 
 
 The Height up to the Ear, - 5 
 
 The Height up to the Roots of Hairs of the Fore-head, - 5 
 
 The Height up to the Top of the Crown of the Head (or 6 Heads four fevenths)6 
 The Height up to the middle Finger of a Hand that hangs down, 2 
 
 The Height up to the Joint of the Wrift of the faid Hand, - } 
 
 The Height up to the Joint of the Elbow of the faid Hand, ; J 
 
 The Height up to the highelf Angle of the Shoulder. - - S 
 
 o o 
 
 1 o 
 
 2 o 
 $ ° 
 9 ° 
 1 if 
 
 3 ° 
 o o 
 
 8 5 
 1 8 
 
 The Amplitudes or Largcneffcs of the Tarts, arc meafuredfrom the 
 
 to the Left. 
 
 Right Hand 
 
 The greateft Breadth of the Foot, - - o 
 
 The greateft Breadth of the Heel, - - - o 
 
 The Breadth of the fulleft Part beneath the Jettings out of the Ancle-Bones, o 
 
 The Recefs or falling in above the Ancles - - o 
 
 The Recefs of the Mid-Leg under the Mufcle or Calf, - o 
 
 The greateft Thicknefs of the Calf, - ° 
 
 The Falling in under the Relievo of the Knee-Bone, - o 
 
 The greateft Breadth of the Knee-Bone, - * o 
 
 The Falling in of the Thigh above the Knee, - - o 
 
 The Breadth of the middle or biggeft Part of the Thigh, - o 
 
 The greateft Breadth among the Mufcles of the Joint of the Thigh, 1 
 
 The greateft Breadth between the two Flanks above the Joints of the Thigh, o 
 
 The Breadth of the largeft Part of the Breaft beneath the Arm Pits, 1 
 
 The Breadth of the largeft Part between the Shoulders - - 1 
 
 The Breadth of the Neck, ; ° 
 
 The Breadth between the Cheeks, ; : - o 
 
 The Breadth of the Palm of the Hand. - ' o 
 
 4 2 
 
 2 i 
 
 2 4 
 
 * S 
 
 2 ■> 
 
 ? s 
 
 3 s 
 
 4 ° 
 
 3 ? 
 
 5 S 
 
 I X 
 
 o o 
 
 1 s 
 
 5 0 
 
 o o 
 
 4 8 
 
 o o 
 
 The Breadth and Thicknefs of the Arms, differ according to the feveral Motions 
 thereof, hut the mofl common are theje following. 
 
 The Breadth of the Arm at the Wrift, - - o 
 
 The Breadth of the Brawny Part of the Arm under the Elbow, o 
 
 The Breath of the Brawny Part of the Arm, above between the Elbow and 7 
 the Shoulder. $ 
 
 The Thicknefs from the Fore Tarts to the Hinder Tarts. 
 
 The Length from the great Toe to the Heel, - - 1 
 
 The thicknefs from the Inftup to the Angle or Corner of the Heel, o 
 
 The falling in of the Inftup, - - - o 
 
 From the falling in under the Calf to the middle of the Shin, - o 
 
 The Out-fidc of the Calfof the Leg, * ° 
 
 The Out-fide of the Pan of the Knee, - - o 
 
 The thicknefs of the biggeft Part of the Thigh, - o 
 
 From the Genitals to the higheft Riling of the Buttocks, . - o 
 
 From the Navel to the Reins, - 0 
 
 The thicknefs of the Waft, - - - o 
 
 From the Teats to the higeft riling of the Reins of the Back, : o 
 
 From the Weezle Pipe to the Knot or Jointure of the Neck, - o 
 
 From the Forehead to the hinder Part ot the Head, ; 0 
 
 2 ? 
 
 3 2 
 
 4 o 
 
 o o 
 4 ? 
 3 ° 
 
 3 6 
 
 4 ° 
 4 ° 
 
 6 o 
 
 7 5 
 7 ° 
 6 6 
 
 7 5 
 4 o 
 6 4 
 From 
 
Part V. 
 
 of Humane Body. 
 
 91 
 
 From the Forehead to the Hole of the Ear, 
 
 The thicknefs of the Arm at the Wrift of the Hand, 
 
 The thicknefs of the Brawn of the Arm under the Elbow, 
 
 The thicknefs of the Brawn of the Arm between the Elbow and the Shoulder, 
 The greateft thicknefs of the Hand, 
 
 The thicknefs of the Shoulders. - . - 
 
 Feet Deg. Min. 
 
 o o O 
 
 o o o 
 
 ° o o 
 
 ° O o 
 
 ° o o 
 
 ° ? 4 
 
 By means ofthefe Meafures, it may eafily be computed what Proportions all the Parts 
 and Members of the Body have one by one to the whole Length of the Body ; and what 
 Agreement and Symmetry they have among themfelves, as alfo how they vary or differ 
 from one another; which things we certainly conclude mod profitable and fit to be 
 known: Nor were it from the Purpofe to particularize how the Parts vary and alter 
 according to the feveral Geftures incident to humane Bodies as, whether they be fitting’ 
 or inclining to this, or that Side : But we fhall leave the more curious Difquifition into 
 thefe Things, to the Diligence and Induftry of our Artift. It would alfo be of verv 
 much Conducement, to be well informed of the Number of the Bones, the Mufcles and 
 Rifings of the Nerves; and efpecially to know how, by certain Rules, to take the Cir¬ 
 cumferences ol particular Divifions of Bodies, feperately confidered from the reft by an 
 Infpeftion into thofe Parts which are not outwardly expofed to Sight : In like manner 
 as it a Cylinder fhould be cut down right thro’the Middle, fo as out of that Part of the 
 Cylinder which is vifible throughout, there fhould be feparated, by a circular Scftion 
 thro’the whole Length of the Figure, an inward confimilar Part which was before 
 feen, fo as to make ot the fame Cylinder two Bodies, whofe Bafes fhould be alike and f 
 the fame Form, as being indeed wholly comprized within the fame Lines and C \° 
 throughout: By the Obfervation of which Sort of Seftion is to be underftood the .man¬ 
 ner of Separation of the parts and Bodies before intimated ; forafinuch as the Defignof r! 
 Line by which the Figure is terminated, and by which the vifible Superficies is to be f* 
 parated from that which lies hid from the Sight, is to be drawn juft in the fame ma n„J ^ 
 and this Defign being delineated on a Wall, would reprefent fuch a Figure as would ’ 
 much like a Shadow projefted thereupon fromfome interpofing Light ?nd n 
 
 illuminate it from the fame Point of the Air, where at ft, ft the Beholder’s E, “ 
 placed : But this Kind of Divifion or Separation, and the way of defigning Thi™! 
 after this manner, belongs more properly to the Painter than the Sculptor and ' I 
 Capacity we fhall treat of them more largely elfewhere: Moreover, it is of main C 
 cernment to whatfoever Perfon would be eminent in this Art, to know how far e°T 
 Relievo or Recefs of any Member whatfoever is diftant from fome determined p 0 fi t 
 

 O F 
 
 STATUES. 
 
 Of the External Parts of Man’s Body. 
 
 Y Purpofe is in this Place, for our better Underftanding, to name all the 
 External Parts and Members of Man’s Body ; for thele are neceffary 
 for a Painter, or Statuary in the Uie of the Proportions following. 
 
 Now the higheft Part (as all Men know) is called the Head, the 
 fore Part thereof, the Forehead ; the Turning of the Hair, the Crown ; 
 
 the Root of the Hair above the Forehead, the Center ; the Hair which groweth before, 
 the Foretop ; the parting of the Hair beginning at the Forehead, and reaching to the 
 Crown, is called the dividing or Seam ; Womens long Hair is Coma ; that which bufh- 
 eth out, Ceffaries, or the Bufli; thofe which run together in one Place, Feakes; thofe 
 which are prettily involved together, flrizled; thofe which are full of Curls, curled; the 
 long Hair in the Pole, Cuticagna; or the Pole-Locks; The Forehead containeth all the 
 Space between the Root of the Hair before, and the Eye-Brows; the Pulfe is the higheft 
 Part of the Forehead, ending with the Hair; Melone, is that Swelling out in the Fore¬ 
 head above the Eye-Brows; the Temples lie betwixt the Pulfe, the Forehead, and the 
 Ear; the Ear is that Turning, which is contained between the Temples, the upper 
 Part of the Cheek, and the Root of the Hair by the Side of the Head, the lower Part where¬ 
 of is called the Tip or Lippet; in the Midft whereof, is the Hole, where the Sound en- 
 treth in, called in Italian Mirenga; the Eye-Brows are thofe thick Hairs at the Bottom 
 of the Forehead ; the Space between the Eye-Brows, the Italians call Glabella ; the up¬ 
 per Eye-Lid is that little Part which compaffeth the upper Part of the Eye ; the Eye is 
 that round Ball, which is contained between the upper and the lower Eye-lid; the Black 
 oftheEye, is the round Spot in the midft of that little Circle, by Virtue whereof we fee, 
 and is called the Apple or Sight of the Eye ; the outward Corner of the Eye, is that 
 which is next to the Ear, called Cornice ; the inner, is that which is towards the Nofe ; 
 all the Space between the upper Eye-Lid, the outward Corner of the Eye, and the whole 
 Turning of the Eye, to the upper Part of the Cheek; and the Glabella, is called the 
 Cafe or Hollow of the Eye ; the Nofe is contained between the Cheeks, defeending horn 
 betwixt the Eyes, and endeth at the Noftrils ; the Noftrils are thofe two Prominencies 
 which hang out on each Side of the Bottom thereof, each whereof hath a Hole orPalfage 
 whereby we frnell, and is termed Papilla \a Italian-, the lower End of the Nofe whi. h 
 ftandeth forwards, is called the Top or Point; the Rifing in the midft, the Ridge or 
 Griftle ; the upper Cheek is that Space between the Ear, the Hollow of the Eye, the Nofe, 
 and the lower Cheek, whereof the Part rifing towards the Eye, is named Mellons, or the 
 Bale; the lower Cheek is bounded with the upper, the Noftrils, the Mouth, the Chin, 
 to the Throat, and the Neck under the Ear; the upper Lip is that red Piece of Flefh 
 
 above 
 
Part V. 
 
 of Humane Body 99 
 
 above the Mouth called alfo Vergine ; the Mouth is that Divifion which is between the 
 upper and the nether Lips, which is red like the other ; that Concavity which cometh 
 down from the Bottom of the Nofe to the upper Lip, is the Gutter of the Nofe ; the Roof 
 of the Mouth is called the Palate; the Tongue is that which moveth in the Mouth, in 
 Italian, Strozza ; the Paffage between the Lungs and the Mouth, through which the 
 Breath paffeth, is the Wind-Pipe ; the Gum is that fpotted Flefh in which the Teeth are 
 faftened, the four firft whereof are called Dividers, next unto which on each Side, are 
 the Dog-Teeth ; the other Five on each Side with three Roots, are the Grinders or Cheek- 
 Teeth ; fothat the full Number of the Teeth are thirty two : The Chin or Place ofthe 
 Beard is the Extremity beneath the Lip, and the End of the Face* whole Beginning is at 
 the Root of the Hair; the hindef Part under the Crown fome do call Gnucca, or the 
 Nape or Nolle; as alfo the upper Part where the Hairs grow behind, is the Beginning 
 ofthe Neck, and is called Cervix ; thofe long Hairs which grow under the Chin about 
 the Mouth, and upon the lower Cheek towards the Hair near the Ear, are call’d by a 
 general Name the Beard ; thofe upon the upper Lip, the Moftachiums. 
 
 The Throat is the Part betwixt the Chin and the Beginning of the Body or Trunk, in 
 the midft whereof direftly under the Chin, is that Rifing which is called the Throat- 
 Bone ; the Concavity ofthe Neck before, between the End of the Throat, the Clavicolce 
 and the Beginning of the Breaft, is the Throat-Pit; the Neck is that Part behind, be¬ 
 tween the Root of the Hair and the Beginning of the Back-Bone, which on either Side is 
 joined with the Throat, and at the lower End of the Neck with the Shoulders, whereof 
 the Bone in the midft is called Aftragalus,or the Bone of the knitting of the Neck with the 
 Shoulders; the whole Trunk or Body before, containeth in it, firft the upper Fork of the 
 Stomach or Breaft, which beginneth at the End of the Throat-Pit; the Breads or Paps 
 end with the fhort Ribbs, and are alfo called the Part under the Paps, is’c. In Women 
 they are called Duggs, fiifc. the Heads or Extuberancies whence the Milk is fucked out 
 are called Nibles; the Space between the Breads or Duggs at the lower Fork ofthe Breaft* 
 is the Bulk; the Arm-Pits are thofe hollows under the Arms where the Hairs grow • the 
 fhort Ribbs begin at the End of the Paps, and reach to the Flanks near the Belly • the 
 Flanks begin at the End of the Breafts, and are alfo called the Waft; the upper Part of 
 the Belly lieth between the hollow of the Breaft, the Waft above the Navel, and the 
 Ribbs, and is alfo called Epa; the Knitting of the Intrals is called the Navel ■ the 
 Paunch lieth between the Waft, the Privities and the Flanks, and is alfo called the Belly, 
 efpeciallyin Women; where the Hairs grow under the Belly, is the Privities ; the hollow 
 Gompafs at the Top, is called Corona ; the Place thro’ which the Urine paffeth, the Hole • 
 the two little Balls which hang under the Yard, the Stones ; the Privities of a Woman* 
 are called, is>c. 
 
 The hinder Part of the Body called the Back or Chine, confifteth firft of the Shoulder- 
 Blade, which is the Part behind ; the Shoulders end with Part of the Chine and Loins • 
 the reft ofthe Back reacheth down along from the Neck, to the Beginning of the Clift 
 of the Buttocks ; the Loins lie between the Shoulder Blades ; the Ribbs, and the reft of 
 the Chine to the Reins or Waft ; the Reins reach from the Loins to the Buttocks, and do 
 properly belong to the Part below the Waft, or Girdle-Steed ; the Buttocks arc that fleili- 
 ly Part which ferveth us for the Ufe of Sitting. 
 
 The Arm containeth firft the Shoulder, behind which is the Back, beginning at the 
 Clavicola?, between the Neck and the Throat, and reacheth to the Shoulder-Blade behind 
 which Place is properly called the Back; the Part of the Arm from- the Elbow upwards,is 
 called the upper Brawn of the Arm; the Elbow is theBowing of the Arm,the Infide where¬ 
 of is the Joint, and here the lower Part of the Arm beginneth; the Wrift is where the 
 Arm is joined to the Hand in the Infide; the Palm is the Infide of the Hand between the 
 Wrift and the Fingers; the Thumb is the biggeft and fhorteft of all the Fingers: the 
 Fore-Finger is next to the Thumb; the Middle-Finger is that which ftandeth in the Midft, 
 and is longer than the reft; next unto this is the Ring-Finger ; the Ear-Finger or Little- 
 
 C c 2 Finger 
 
loo On the Proportions Part V. 
 
 Finger is the leaft and laft of all. The Fingers have alfo other Names given them by the 
 Cheiromancers As from the Hill of Venus, the Thumb is called Venus, and fo forth; the 
 Fore-Finger Jupiter, the Middle-Finger Saturn, the Ring-Finger So!, and the Little-Finger 
 Mercury, the Brawn in the Palm of the Hand, the Hill of the Moon ; the Triangle in the 
 midft of the Palm, the Hill of Mars . 
 
 And now to the Fingers whofe Joints are as it were even in Number according to 
 their Bignefs, namely three upon each of them, fave the Thumb, which hath only two ; 
 the hinder Part of the Arm reacheth from the End of the Shoulder or Arm-Pit to the El¬ 
 bow, where alfo the fecond Part of the Arm beginneth, reaching to the Wrift-Joint ; the 
 Back of the Hand reacheth from the Wrift, to the firft Joints of the Fingers and is called 
 Peflen ; the Spaces between the Joints are called Internodi, which are two upon each Fin¬ 
 ger, except the Thumb, which hath but one. In the Space between the laft Joint and the 
 Top of the Finger is the Nail, whofe bowing is called Corona, (I mean where it toucheth 
 the Flefb or Skin) the whole Hand beginneth at the Wrift, and reacheth to the Top or 
 Extremity of the Fingers. 
 
 The Leg confifteth of thcfe Firft, the Thigh, which beginneth at the Trunk of the Bo¬ 
 dy, and endeth at the Knee ; the Hollow of the Thigh, is the inner Side thereof below the 
 Privities ; the Knee beginneth at the round Bone at the End of the Thigh, and reacheth 
 down to the Beginning of the Shin Bone, which reacheth down clean through the Leg, to 
 the Inftup ; the Inftup beginneth at the End of the Shin Bone, and reacheth to the Begin¬ 
 ning of the Toes, and is called Peften, or the upper Part of the Foot; the Ancle is that 
 Bone,which buncheth out on each Side between the Inftup and the Beginning of the Heel; 
 the Small of the Leg,is the Space between the End of the two Calves above, and the Ancle, 
 Inftup, and Heel below ; the Pit of the Foot is the hollow under the Hill or higher Bunch 
 ofthe Foot towards the Sole ; the Toes have alfo Joints as the Fingers, tho’ they be fome- 
 what (horter, and have Nails in like manner, but are otherwife called, than the Fingers : 
 As, the Firft, the Second, the Third, the Fourth, and the Fifth. The hinder Part ofthe 
 Leg beginneth under the Buttock, and is called the Thigh, and endeth at the hinder 
 Part of the Knee, called the Ham or Bending; the Calves ofthe Legs begin under the 
 Ham, and are two upon each Leg ; the outward, which endeth fomewhat high, and 
 the inward, which reacheth nearer to the Small of the Leg, which diminifheth by De¬ 
 grees, to the Part a little above the Ancle ; the Heel is that Part of the Foot which rifeth 
 out backwards, reaching from the End of the Leg, to the Bottom ofthe Foot, called the 
 Sole, which beginneth at the End of the Heel, and reacheth to the Top of the Toes ; con- 
 taining likewife the Spaces between tfye Joints underneath orderly. And thus much may 
 fuffice for the Names of the external Parts of the Body. 
 
 A Body of Seven Heads is thus me afured. 
 
 Length, 
 Farts. 
 10 II 
 
 Throat Pit and the 
 
 G 
 
 g 
 
 CJ 
 
 n 
 
 e 
 
 o 
 
 io 
 
 o 
 
 3 ° 
 
 o 
 
 3 ° 
 
 7 
 
 o 
 
 Chin and the 
 
 Root of the Hair & the 
 
 Eye-Brows and the 
 Top of the Head & the 
 
 In 
 
 Top of the Head 
 
 c Crownof theHead 
 
 ■< Root, of the Hair 
 
 C Forehead 
 
 Eye-Brows 
 
 Ears 
 
 Note 
 
 Chin and Throat 
 Neck 
 
 ■ Adv. 
 
 Tranf. 
 
 O 
 
 O 
 
 IO 
 
 9 
 
 8 
 
 14 15 
 
 o 
 
 0 
 
 9 
 
 7 
 
 8 
 
 0 
 
 IO 
 
 8 
 
 12 
 
 8 
 
 JL 0 
 
 12 
 
 Breadth, 
 
 Aver. 
 
 Top 
 
Between the 
 
 Part V 
 
 of Humane Body. 
 
 IOI 
 
 In 
 
 Length, Breadth, 
 
 Parts. 
 
 
 
 
 r Adv. 
 
 Tranf. 
 
 II II 
 
 Top of the Head Sc the 
 
 Top of the Shoulders 
 
 
 0 
 
 O 
 
 IO II 
 
 - --- 
 
 Throat-Pit 
 
 
 5 
 
 9 
 
 3 ° 
 
 Throat Pit and the 
 
 Top of the Breaft 
 
 
 10* 
 
 1 3 '3 
 
 1 3 
 
 -- - 
 
 Arm Pits 
 
 
 5 
 
 6 
 
 O 
 
 ■_ _ . -- 
 
 Paps 
 
 
 0 
 
 O 
 
 IO 
 
 -- - 
 
 Tears 
 
 
 
 6 
 
 8 
 
 -- -- 
 
 Under the Paps 
 
 
 O 
 
 12 I^ 
 
 II II 
 
 - — _ 
 
 Waft 
 
 
 5 
 
 12 1} 
 
 4 ° 
 
 Waft and the 
 
 Navel 
 
 
 O 
 
 O 
 
 3 ° 
 
 
 Hollow of the Hips 
 
 
 9 8 t* 
 
 6 
 
 IO 
 
 -- 
 
 Top of the Hips 
 
 
 4 
 
 II 12 
 
 o 
 
 - --- 
 
 Between the Joints 
 
 
 6 
 
 O 
 
 o 
 
 8 
 
 - -- 
 
 Bottom of the Belly 
 
 
 O 
 
 O 
 
 - - 
 
 Privities 
 
 
 4 
 
 11 12 
 
 6 
 
 - - 
 
 End of the Codds 
 
 
 O 
 
 O 
 
 IO I I 
 
 - -- 
 
 Buttocks-End 
 
 
 17 17 
 
 7 
 
 i 8 
 
 That and the 
 
 Hollow of the Thigh 
 
 
 10 
 
 r 4 15 
 
 21 
 
 Mid-knee and the 
 
 Outward-knee 7 , 
 Inward-knee -P b ° VC 
 
 
 12 
 
 IO 
 
 O 
 
 -- --* 
 
 
 O 
 
 0 
 
 O 
 
 - -- 
 
 Mid-knee 
 
 
 14 
 
 12 
 
 0 
 
 4 ° 
 
 Mid-knee and the 
 
 TT , 1 it r without 
 
 Under the K.J . , . 
 
 7 . within 
 
 <D 
 
 "2 < 
 
 26 26 
 
 O 
 
 O 
 
 12 
 
 8 
 
 Mid-knee and the 
 
 C a , f J inward 
 
 L outward 
 
 
 *4 
 
 *3 
 
 0 
 
 19 19 
 
 Mid-lmee and the 
 
 
 O 
 
 O 
 
 - — 
 
 Mid-Leg or Calf 
 
 
 22 24 
 
 20 21 
 
 O 
 
 ■ - — 
 
 Small 
 
 
 27 
 
 0 
 
 20 
 
 Sole of theFoot and the 
 
 Jnftup 
 
 
 O 
 
 *3 
 
 0 
 
 28 
 
 SoleoftheFootand the 
 
 Ancle 
 
 
 22 
 
 O 
 
 - — 
 
 Heel 
 
 
 O 
 
 0 
 
 O 
 
 - — 
 
 Toes 
 
 
 15 
 
 0 
 
 O 
 
 - - 
 
 Sole 
 
 
 O 
 
 6 
 
 
 The 
 
 Arm. 
 
 
 
 
 II II 
 
 F.lbow and the 
 
 Top of the Shoulder 
 
 
 O 
 
 21 21 
 
 IO 
 
 Shoulder 8c the Brawn 
 
 Near the Arm Pits 
 
 
 18 
 
 i? 
 
 O 
 
 *— — 
 
 Elbow 
 
 
 21 
 
 18 
 
 O 
 
 *-- *-* 
 
 Brawn below the Elb. 
 
 
 1 6 
 
 IS 
 
 9 * 
 
 Top of the Mid-Fin- 7 
 ger and the J 
 
 Wrift 
 
 
 2 5 
 
 32 
 
 O 
 
 __ 
 
 Palm 
 
 
 15 
 
 3 ° 
 
 0 
 
 l 4 
 
 Elbow and the 
 
 Top of the Fingers 
 
 1 
 
 6 
 
 D d A 
 
102 
 
 On the Proportions 
 
 Part V. 
 
 Length, 
 
 Parts. 
 
 2 
 
 IO 
 
 30 
 
 3 ° 
 
 O 
 
 3 ° 
 
 8 
 
 o 
 
 o 
 
 o 
 
 o 
 
 6 
 
 <L> 
 
 o 
 
 *4 
 
 o 
 
 10 
 
 o 
 
 3 
 
 2 9 
 
 18 
 
 20 18 
 o 
 o 
 
 IJ 13 
 40 
 
 10 II 
 
 From the 
 End of 
 the But. 
 to the end 
 of the 
 Cods 4° 
 which 
 £>«r. hath, 
 & is omit¬ 
 ted by my 
 Author. 
 
 *5 
 
 3 ° 
 
 o 
 
 
 4 
 
 3 ° 
 
 o 
 
 9 
 
 o 
 
 15 1 6 
 o 
 21 
 27 
 o 
 o 
 
 A Body of Eight Heads is thus meafured. 
 
 Privities and the 
 Chin and the 
 Root of the Hair 8t the 
 Forehead and the 
 
 Eye-Brows and the 
 Top of the Head & the 
 
 Top of the Head & the 
 Throat-Pit and the 
 
 Throat-Pit and the 
 
 Top of the Head St the 
 Waft and the 
 Waft and the 
 Waft and the 
 
 Waft and the 
 Extr. of the But. & the 
 
 Waft and the 
 
 Extr. of the But. & the 
 
 Mid-Knee and the 
 
 Ancle and the 
 Mid-knee and 
 
 That and the 
 
 Mid-Knee and the 
 
 Sole of the Foot 8t the 
 Sole of the Foot 8c tire 
 
 In 
 
 Top of the Head 
 Root of the Hair 
 
 Forehead --■ 
 
 Eye-Brows •-- 
 
 Ears •—— 
 
 Nofe- 
 
 Chin - 
 
 Beginning of the Thr. 
 
 Neck - 
 
 Top of the Shoulders 
 Joints of the Shoulders 
 
 Throat-Pit - 
 
 Top of the Breaft 
 
 Afm-Pits -- 
 
 Paps - - 
 
 Teats -- 
 
 Under the Paps 
 
 Waft --- 
 
 Navel -- 
 
 Hollow of the Hips 
 Top of the Hips 
 Betw. the Jts. of the H. 
 Bottom of the Belly 
 
 Privities - 
 
 End of the Codds 
 Buttocks — 
 Extremity of the But. 
 Hollow of the Thigh 
 Outward-Knee above 
 Inward-Knee above 
 
 Mid-Knee - 
 
 Under the Kn. without 
 Under the Kn. within 
 Outward-Calf 
 
 Mid-Leg - 
 
 Inward-Calf - 
 
 Small of the Leg 
 Inftup —— 
 
 Ancle - 
 
 Heel — :— 
 
 Toes —- 
 
 Sole of the Foot 
 
 Adv. 
 
 Tranf. 
 
 0 
 
 O 
 
 G 
 
 10 
 
 9 
 
 0 
 
 10 
 
 8 
 
 17 17 
 
 0 
 
 12 
 
 9 
 
 16 
 
 10 
 
 6 
 
 16 
 
 0 
 
 J 4 
 
 0 
 
 12 
 
 11 12 
 
 0 
 
 6 
 
 12 
 
 4 
 
 7 
 
 6 
 
 0 
 
 © 
 
 0 
 
 9 
 
 7 
 
 0 
 
 x 4 x 5 
 
 1 3 1 3 
 
 16 17 
 
 0 
 
 17 18 
 
 6 
 
 8 
 
 10 11 
 
 7 
 
 < *4 M 
 
 0 
 
 0 
 
 0 
 
 0 
 
 x 5 x 5 
 
 0 
 
 0 
 
 0 
 
 0 
 
 11 
 
 9 
 
 *3 
 
 19 20 
 
 1 6 
 
 0 
 
 x 4 
 
 0 
 
 iS 
 
 x 5 
 
 20 
 
 16 
 
 O 
 
 0 
 
 0 
 
 l 7 
 
 M 
 
 l 3 
 
 20 
 
 0 
 
 : 34 
 
 0 
 
 0 
 
 2 4 
 
 2 7 
 
 0 
 
 0 
 
 0 
 
 16 
 
 0 
 
 . . 0 
 
 1 6 
 
 Breadth, 
 
 Aver. 
 
 O 
 O 
 O 
 O 
 Q 
 O 
 
 o 
 o 
 o 
 o 
 
 5 
 o 
 o 
 o 
 o 
 o 
 o 
 o 
 o 
 o 
 o 
 o 
 o 
 o 
 o 
 
 IO 
 
 o 
 o 
 o 
 o 
 o 
 o 
 o 
 o 
 o 
 o 
 o 
 o 
 o 
 28 
 o 
 o 
 
 The 
 
Part V. 
 
 of Humane Body. 
 
 IOJ 
 
 Length, 
 
 f Parts. 
 
 5 
 
 G 
 
 <d 
 
 d> 
 
 g 
 
 <D 
 
 w 
 
 4 
 
 10 
 
 Elbow, and the 
 
 Elbow, and the 
 Top of the Mid¬ 
 finger, to the 
 
 } 
 
 The Arm. 
 
 In 
 
 Top of the Shoulder, 
 Under the Armpits, 
 Elbow, 
 
 Top of the Midfinger, 
 Wrift, 
 
 { Brawn below the El¬ 
 bow, 
 
 Palm, 
 
 ' Adv. 
 
 Tranf. 
 
 O 
 
 15 
 
 24 
 
 *7 
 
 2 6 
 
 24 
 
 0 
 
 i 
 
 0 
 
 3 ° 
 
 40 
 
 *9 
 
 22 
 
 . 16 
 
 34 
 
 Aver. 
 
 O 
 
 O 
 
 o 
 
 o 
 
 The Proportion of a young Man of Nine Heads. 
 
 I am of Opinion, that Francis Mazzolinus would have proved the only rare Man of 
 the World, if he had never painted any other kind of Piftures (as Rude, Grofs and 
 Melancholy) than thefe {lender ones, wnich he reprdented with an admirable Dexterity, 
 as being naturally inclined thereto ; fo that if he had only reprefented Apollo, Bacchus , 
 the Nymphs, &c. He had fufficiently warranted this his moft acceptable Proportion, 
 which was ever {lender, and oftentimes too {light. But when he took upon him to ex- 
 prefs the Prophets, our Lady, and the like, in the fame, as appeareth by his Mofes at 
 Farma, our Lady at Ancona, and certain Angels not far from thence ; and divers other 
 Things quite contrary to the Symetry they ought to have ; he gave a precedent to all 
 other Painters to fhun the like Error; which himfelf might alfo have eafily avoided ; being 
 reputed little Inferior to Raphael Urbine, whom he might have propofed to himfelf as a 
 Patern : for Raphael ever fuited his Perfonages anfwerable to the variety of the Natures 
 and Difpofitions of the Parties he imitated ; fo that his old Folks feem ftiff and crooked, 
 his young Men agile and {lender; and fo forth in the reft : Which Example admonifheth 
 us, that a Painter ought not to tye himfelf to any one kind of Proportion in all his Fi¬ 
 gures ; for befides, that he (hall loofe the true decorum of the Hiftory, he fball commit 
 a great abfurdity in the Art, by making all his Piftures like Twins: Into which Error, 
 notwithftanding divers (otherwife worthy Painters) have run, whofe Names Ifupprefs, and 
 cfpecially one of thofe two great ones: Which Overfight, all good Pra&itioners will 
 eafily difcern, becaufe all their Figures are of an uniform Proportion, though wonderfully 
 expreffing variety of Actions. And for our better underftanding in this kind of Propor¬ 
 tion (as bell fitting young Men, who are fomewhat Beautifull by means of their Slen- 
 dernefs, Agility, and gentle Difpofition, mixed with a kind of Boldnefs) Raphael Urbine 
 hath very well expreffed it in St. George fighting with the Dragon, now to be feen in the 
 Church of St. Victore de Frati in Milan; in St. Michael at Font enables, in France ; and 
 in that St. George which he made for the Duke of Urbin, on a Table. According to 
 which Obfervation of his, every Man may difpofe of this Proportion in the like young 
 Bodies. Now for our more exacl Infight hereinto, by way of Precept, we muff firft 
 note, that a {lender young Body of nine Heads, is from the top of the Head, to the end 
 of the Chin, a ninth Part of the whole Length ; and thence back again to the Root of 
 the Hair, a tenth or eleventh Part, as I have obferved in Raphael’s St.Michael, and in an 
 old Apollo. But which way foever you make it, this Space is divided into three equal 
 Parts (each whereof containeth a thirtieth Part) whereof the firft makes the Forehead, 
 the fecond the Nofe, the third the Chin. Howbeit I grant, that in a Face which is 
 the eleventh Part (by reafon of a certain Tuff of Hair which is ufually expreffed) the 
 Forehead becometh lower by a third Part; which Rule the ancient Grecians kept, as 
 their Statues do evidently Witnefs. But to the Purpofe ; this Body is likewife meafured 
 by Parts, 
 
 D d 2 
 
 In 
 
From the 
 
 On the Proportions 
 
 104 
 
 Part V 
 
 * 25 25 
 
 Length, 
 
 r Parts. 
 
 9 
 
 10 
 o 
 o 
 
 o 
 
 9 
 
 o 
 
 15 16 
 o 
 
 6 
 
 28 
 
 14 
 
 o 
 
 12 
 
 19 19 
 6 
 
 26 
 
 9 
 22 
 o 
 8 
 
 7 
 
 o 
 
 o 
 
 6 
 
 11 
 
 20 
 
 3 ° 
 
 4 
 
 80 
 
 4 ° 
 
 10 
 
 9 
 o 
 o 
 2 J 
 ?5 
 13 13 
 o 
 o 
 
 Chin, to the • 
 
 top of the Head to die 
 
 Throat-pit to the 
 
 Waft to the 
 
 In 
 
 Top of the Head 
 Root of the Hair 
 Fore-head 
 Eyebrows 
 
 Ears - 
 
 Nofe --- 
 
 Chin -— r- 
 
 Neck, under the Chin 
 Top of the Shoulders 
 between the Shoul- 7 
 der-joints J 
 
 Throat-pit 
 Top of the Breaft 
 Arm-pits 
 
 Paps --— 
 
 Teats --- 
 
 under the Paps 
 
 Waft - 
 
 Navel - 
 
 top of the Hip 
 hollow of the- Hip 
 between the Joints 
 bottom of the Belly 
 
 Privities- - 
 
 end of the Cods 
 
 Buttocks - 
 
 Thigh under them 
 
 Privities, to the 
 
 hollow of the Thigh 
 
 C outward 
 
 Mid-knee, to the 
 
 Knee above < 
 
 (_inward 
 
 above the Ancle to the 
 
 Mid-knee 
 
 C without 
 
 Mid-knee to 
 
 und.theknee/ 
 
 /within 
 
 Sole of the Foot to the 
 Heel to the 
 
 C outward 
 Calf ^ 
 
 Cinward 
 
 Mid-legg- 
 
 fmall of the Legg 
 
 Inftup- 
 
 Ancle- 
 
 Toes-top-— 
 
 Heel-- 
 
 Sole of the Foot 
 
 Adv. 
 
 CrtULIl, 
 
 Tranl. 
 
 O 
 
 O 
 
 11 
 
 O 
 
 10 
 
 12 
 
 11 
 
 9 
 
 l8 19 
 
 0 
 
 12 
 
 10 
 
 O 
 
 23 23 
 
 1-8 
 
 18 
 
 16 
 
 l 7 
 
 *3 *3 
 
 0 
 
 6 
 
 12 
 
 9 9 
 
 8 
 
 7 
 
 15 16 
 
 0 
 
 0 
 
 9 
 
 8 
 
 0 
 
 16 17 
 
 7 
 
 18 19 
 
 12 * 
 
 18 20 . 
 
 10 12 
 
 18 19 
 
 12 13 
 
 15 16 
 
 15 16 
 
 0 
 
 0 
 
 8 
 
 0 
 
 16 17 
 
 0 
 
 0 
 
 0 
 
 0 
 
 12 
 
 10 
 
 I 4 
 
 11 
 
 18 
 
 *5 
 
 *9 
 
 H 3 1 
 
 21 
 
 18 
 
 21 
 
 !9 
 
 20 
 
 xS 
 
 *9 
 
 16 
 
 21 
 
 18 
 
 17 
 
 ! 5 
 
 42 
 
 28 
 
 0 
 
 24 
 
 33 
 
 0 
 
 *9 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 o 
 
 o 
 
 o 
 
 o 
 
 o 
 
 o 
 
 o 
 
 a 
 
 o 
 
 o 
 
 o 
 
 o 
 
 o 
 
 o 
 
 o 
 
 o 
 
 o 
 
 o 
 
 o 
 
 o 
 
 o 
 
 o 
 
 11 
 
 o 
 
 o 
 
 o 
 
 o 
 
 o 
 
 o 
 
 o 
 
 a 
 
 o 
 
 o 
 
 o 
 
 o 
 
 o 
 
 o 
 
 31 
 
 o 
 
 The 
 
 Os O 
 
From the I Between the 
 
 Part V. 
 
 of Humane Body, 
 
 109 
 
 The Arm. 
 
 In 
 
 Length, 
 
 Parts. 
 
 O 
 
 o 
 o 
 
 II II 
 
 10 
 
 o 
 
 4 
 
 Length, 
 
 Parts. 
 
 O 
 
 3 6 
 
 24 
 
 21 22 
 *5 *5 
 *3 *3 
 
 6 
 
 11 11 
 
 Breadth, 
 
 top of theShould. to the 
 
 Top of the Mid-7 
 finger, to the S 
 
 Elbow, to the 
 
 Top of the Shoulders, 
 
 ’ Adv. 
 
 O 
 
 Tranf. 
 
 *5 
 
 Aver. 
 
 O 
 
 Arm-pits, 
 
 2 6 
 
 20 
 
 O 
 
 Brawn upper 
 
 O 
 
 O 
 
 O 
 
 Elbow, .£ 
 
 Brawn below ^ * 
 
 31 
 
 2 6 
 
 O 
 
 22 
 
 2 5 
 
 48 
 
 O 
 
 <3 
 
 Wrift, 
 
 
 O 
 
 Palm, 
 
 *9 
 
 38 
 
 O 
 
 Top of the Midfinger, 
 
 L 0 
 
 O 
 
 O 
 
 A Child of Six Heads is thus to be meafur 
 
 In 
 
 ed by Tarts. 
 
 Breadth, 
 
 top of the Head to the 
 
 9 10 
 9 9 
 
 top of the Should, to the 
 
 11 11 
 24 
 
 Waft unto the 
 
 Top of the Head 
 Crown 
 
 Root of the Hair 
 Eyebrows 
 Noftrils bottom 
 Mouth 
 
 end of the Chin 
 end of the Fat under 
 the Chin 
 Throat-pit 
 
 Top of the Shoulders 
 Top of the Breaft 
 
 beginning of the Paps 
 
 Teats --- 
 
 under the Paps 
 
 (a) Waft - 
 
 Navel-- 
 
 l l 
 
 top of the Hip 
 hollow of the Hip 
 (J) bottom of the Belly 
 Privities 
 
 Adv. 
 
 Tranf. 
 
 O 
 
 O 
 
 s 
 
 8 
 
 7 
 
 13 *3 
 
 12 1; 
 
 6 
 
 8 
 
 7 
 
 10 
 
 8 
 
 12 
 
 8 or 9 
 
 0 
 
 0 
 
 7 
 
 11 
 
 9 11 
 
 9 
 
 7 it 
 
 7 
 
 6 
 
 12 15 
 
 6 
 
 J 3 r 3 
 
 ii 12 
 
 12 15 
 
 6 
 
 7 
 
 5 
 
 12 14 
 
 5 
 
 12 13 
 
 9 10 
 
 II 12 
 
 | 9 9 
 
 6 
 
 8 9 
 
 12 15 
 
 9 
 
 7 or 8 
 
 10 
 
 8 
 
 11 
 
 19 19 
 
 *3 
 
 12 
 
 0 
 
 0 
 
 r 4 
 
 t 3 
 
 12 
 
 11 
 
 l 9 
 
 *4 
 
 24 
 
 *9 
 
 («) 15 
 
 8 
 
 *9 
 
 
 18 
 
 J 3 
 
 22 
 
 24 
 
 *5 
 
 18 
 
 22 
 
 21 
 
 24 
 
 2 6 
 
 l6 
 
 27 
 
 (a) The El¬ 
 bow reacheth 
 to the Waft. 
 
 A 
 
106 
 
 On the Proportions 
 
 Parc V. 
 
 A Child of four Heads is likewije meafured by Parts. 
 
 (^jTlicDi- 
 fla n ce betw. 
 the Extremi¬ 
 ties of the 
 Ears, it as 
 much as from 
 theTopofthe 
 Head to the 
 Chin, {a )the 
 Space betw. 
 the Eyebrows 
 and the Chin 
 divided into 
 two halves, 
 makes the 
 Nofe; which 
 divide into 
 three, the id 
 gives the No¬ 
 il riIs, the 2d 
 that Space 
 between that 
 and the Mid- 
 Eye; the 3d 
 that to the 
 Eye-Brow. 
 
 (b) The Ear 
 reacheth from 
 the Eye-Bro. 
 to the End of 
 the Nodrils. 
 
 (c) divide the 
 Space betw. 
 the Noftrils 
 and the Chin 
 into 5.2,make 
 the upper Lip 
 the other 3, 
 the Space be¬ 
 twixt the 
 Mouth & the 
 Chin. 
 
 * 20 20 
 Part the Nofe 
 into 3 equal 
 Parts, 2 give 
 the E} es, and 
 the 3 the 
 Space betw. 
 them, and the 
 Br. of the 
 Nodr. which 
 is equal with 
 the Length ol 
 the Mouth. 
 
 (d) Between 
 the Joints of 
 the Shoulder 
 9 9 
 
 * 17 17 17 
 
 ■* 16 16 16. 
 
 (e) Between 
 the Joints of 
 the Hips ix 
 
 Length, 
 
 Parts. 
 
 1 6 
 
 24 
 
 In 
 
 m 
 
 60 
 
 1 6 
 
 9 
 
 7 
 
 5 
 
 21 
 
 15 >5 
 
 14 
 
 6 
 
 10 11 
 9 9 
 4 
 58 
 
 15 
 
 P 
 
 o 
 
 9 
 
 o 
 
 Top of the Head to the 
 
 Top of the Head to the 
 
 End of the Fat under 7 
 the Chin to the f 
 
 Waft to the 
 
 End of the But. to the 
 
 Mid-knee to the 
 
 Inftup to the 
 
 Top of the Head 
 Crown -—■ 
 
 Root of the Hair 
 (< 7 ) Eye-Brows 
 («) Noftrils by the Pole 
 (JS) Bottom of the Ear 
 Mouth 
 
 (c) End of the Ch. 8c Neck 
 
 EndoftheFatund.the Chin 
 Throat-Pic - 
 
 (d) Top of the Shoulder 
 
 Top of the Bread: 
 Arm-Pits 
 
 Beginning of the Paps 
 
 Teats -. 
 
 Under the Paps 
 
 Waft ___ 
 
 Navel - 
 
 0 ) Top of the Hips 
 Hollow of the Hips 
 Bottom of the Belly JS 
 
 Privities - “ 
 
 End of the Codds 
 End of the Buttocks 
 Hollow of the Thigh 
 Beginning of the Knee 
 (f) Mid-Knee 
 End of the Knee 
 Calf of the Leg 
 end of the Calf 
 
 Inftup - 
 
 Sole of the Foot 
 
 The Arm. 
 
 end of the Shoul. to the 
 
 Top of the M. F. to the 
 
 Elbow to the 
 
 End of the Shoulder 
 Upper-Brawn 
 
 Elbow - 
 
 Lower-Brawn 
 Between that Sc the Wri ft 
 
 Wrift _ 
 
 Palm - 
 
 Top of theMiddle-Finger 
 e Arm-Pit 5 
 
 TVyI 1 /~L"R,t 
 
 Ereadth, 
 
 Adv. Tranf. 
 
 O 
 
 9 9 
 o 
 o 
 o 
 9 
 
 7 7 
 5 
 o 
 
 7 
 
 o 
 
 5 
 
 l l 
 
 J 7 
 
 O 
 
 15 id 
 
 8 
 
 17 17 
 19 20 
 
 12 
 
 1 3 
 
 2] 23 
 1 6 
 J 9 
 
 27 27 
 
 1 7 
 
 16 
 
 14 
 
 20 
 
 IJ 
 
 O 
 
 o 
 
 o 
 
 4 
 
 20* 
 
 5 
 9 
 
 *5 15 
 
 6 
 
 o 
 
 o 
 
 II II 
 II 12 
 6 
 
 II II 
 
 9 10 
 
 10 11 
 
 5 
 
 o 
 
 6 
 
 7 
 
 14 15 
 
 8 
 
 10 
 
 11 
 10 
 
 12 
 16 
 
 13 14 
 
 10 
 
 12 
 
 16 
 
 iS 
 
 18 
 
 2 ? 
 
 21 
 
 The Breadth of the Averfe is at the-' Mid-Buttocks 0 
 
 C Heel 22 
 
 The 
 
Part V. 
 
 of Humane Body. 
 
 107 
 
 The Rule of the Dejign of Natural Motion. 
 
 H E Motions are never Natural, when the Members are not equally ballarlc’d on 
 their Centre; and thefe Members cannot be ballanc’d on their Centre in an equal¬ 
 ly ot Weight, but they mud contrail each other. A Man who dances on the Rop e 
 makes a manifcft Demonftration of this Truth. The Body is a Weight ballanc’d on its 
 beet, as upon two Pivots. And tho’ one of the Feet moil commonly bears the Weight* 
 yet we lee that the whole Weight reils centrally upon it.; infomuch that if, for Example 
 one Arm is ilretched our, it mud of neeeffity be either that the other Arm, or the Le<*’ 
 e cm backward, or the Body bow’d fomewhat on the oppofite fide, fo as to make an E- 
 quihbrium^nd be in a Scituation which is unforc’d. It may be, though feldom (if it be not 
 m old Men) that die Feet bear equally ; and for that Time half the Weight is equally di- 
 ftnbuted on each Foot. You ought to make ufe of the fame Prudence, if one Foot bears 
 diree parts m four of the Burthen, and that the other Foot beat the remaining Part, 
 llus in general is what may be laid of the Ballance, and the Libration of the Body • and 
 in particular there may many Things be faid which are very Ufeful and Curious as in 
 Part wnl appear by the five following Plates from the Works of Leonardo da VM. The 
 
 dwMem'l Hu , man Members « to be confider’d by the exterior Aftion, which 
 
 Membeis make, or the Body turning with its Arms and Legs, according to nature 
 becaufe the Force fo moving confifts in the Bones and Nerves : And our common fayin'’ 
 
 the Centcr^and Lifeof^ll-^ C f whok is mOTed by vertue of the Soul, which h 
 lie Center and Life of all Since the Fingers are moved by vertue of the Hand and that 
 
 by vettueof the Arm, and that by vertue of the Body, and Viral or Animal Spirits- fo 
 
 according to our Ki It Order of the Hca.cnl, Bodice, crr&rriug fhi. Bod, form’ ",’ 
 “ P J“ ° f our geeat Mailer-piece, whereby we raife up „d J„' fj “fi 
 
 S’” ^1“, “ po ” ‘ l,c “ pis “ re - “ d >11 
 
 Pi a t e 1. Fig. r. 
 
 I Motion and Center of the Line of the Neck and Head. 
 
 “ Motion! r ent£1S °r ^ L ' ne ° f the Bod f and of che Waft. 
 
 3 Motions and Centers of the Lines of the Body and Lees to the half n- 
 
 4 Motions and Centers of the Thigh, from the outward par^of he Hank ^ 
 
 5 Motion and Center of the Flank, and its Line to the W 6 
 
 6 Motion and Center of the Line of the Foot. 
 
 7 Motion and Center of the Line of the Arm and the Shoulder. 
 
 8 Motion and Center of the Line of the Elbow and Hand. 
 
 9 Motion and Center of the Line of the Hand 
 
 10 Motion and Center of the Line of the Fingers of the Hand 
 
 II Motion and Center of the Line of the Toes. 
 
 MonJ *K 
 
 Ee 2, 
 
 1 
 
Monj r - Girard Aadran 
 
 On the Proportions of 
 
 HUMANE BODY: 
 
 Meafured from the moft Beautiful Antique Statues. 
 
 --—’HERE will be, I think, but little Occafion to enlarge upon the Necefllty 
 
 of a perfe£t Knowledge of the Proportions, to every Perfon con- 
 verfant in defigning ; it being very well known, that without obferving 
 them, they can make nothing but monftrous and extravagant Figures. 
 
 Every one agrees to this Maxim generally confidered, but every one puts it differently 
 in PraCtice ; and here lies the Difficulty, to find certain Rules for the Juftnefs and Noble- 
 nefs of the Proportions; which, fince Opinions are divided, may ftand as an infallible 
 Guide, upon whofe Judgment we may rely with Certainty. 
 
 This appears at fir ft very eafy; for fince the Perfection of Arts confifts in imitating 
 Nature well, it feems as if we need confult no other Matter, but only work after the Life . 
 neverthelefs, if we examine the Matter farther, we fhall find, that very few Men, or 
 perhaps none, have all their Parts in exaft Proportions without any DefeCt. We mutt 
 therefore chufe what is beautiful in each, taking only what is called the beautiful Nature : 
 But who will fay that he has himfelf Difcernment enough, not to be miftaken in fuch a 
 Choice ? 
 
 Our greateft Matters find themfelves at a Lofs in this Matter, and often difagree •, they 
 form to°themfelves different Ideas of Beauty, which they generally regulate according to 
 their Country and Temper. 
 
 I fay according to their Country ; for fince all Men, in their Air and Manners, have 
 much in them of the Climate where they were born, the Painters form t heir particu¬ 
 lar Guftos from the Objects that are continually before their Eyes, with which they fo fill 
 their Imaginations, as to make all their Figures conformable to them. 
 
 Hence it comes that we give a Character of Painters by Name of certain Countries, 
 faying, the Piece is of the Gufto of fuch a Country ; and indeed this Gufto is always 
 found, more or lefs, in all the Defigners of thole Nations. 
 
 As to our Temper, that aCts ftill more powerfully in us. It is that, which makes the 
 molt effential DiftinCtion between one Man and another, and has a Part in every 
 thing we do. In this Senfe we may fay, that a Painter paints himfelf in his Works ; and 
 if we had Penetration enough, we might there find his moil: prevailing Inclination. A e- 
 cret Prejudice born with us, the Reafon of which we many times dont know, is genera y 
 that which determines our Choice, and caufes us to make ourFiguies 3-,reea e to t le 
 Air of thofe Perfons we have moft Inclination to. 
 
 There 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 \ 
 
 
 


B.C&le Scul-p 
 
SULXXX 
 
 E OaMtyJDc/t'n 
 
 7 ?. urfe- jZ-n/f. 
 
Part V. 
 
 of Humane Body. 
 
 I op 
 
 There are fome Painters, in whofe Work their Temper is fo remarkable, that it is im- 
 poffible to be miftaken in it; we have had fome that have been carried by their Inclina¬ 
 tions only to pleafant Subjects, fuch as Diana bathing, the Sports of Nymphs, and the 
 like; others always choofe difagreeable SubjeCts, as Sorceries, Apparations of Ghofts,and 
 fuch things as are frightful and terrible. 
 
 If we were to take the Pains to obferve them, according to this Remark, we fball 
 find that their Ways of Living agreed with their Works ; and that the Character of 
 their Difpofition might be found, not only in the Choice of the SubjeCts, but yet farther, 
 in each Figure in particular. 
 
 Let us add, to fo many Prejudices which we have from our felves, thofe which proceed 
 from our Matter, of whofe Manner we almoft always retain fomething: Upon which, 
 we may obferve by the By, that what is called a Manner, in Painting, is generally a 
 Fault; it being commonly only fome particular Agreeablenefs with which we are fo 
 much pleafed as to load it with Excels; by doing which, we have patted the juft Point of 
 that Truth, which all the World feeks, and to which it is fo difficult to attain. 
 
 What can a Defigner do amidft all thefe Difficulties? I fee nothing but the Antique 
 in which we can place an intire Confidence. The Sculptors who have left us thofe beauti¬ 
 ful Figures which remain to this Day. havehappily difingaged themfelves from this Per¬ 
 plexity. Some of thefe Difficulties were not fuch to them, and they have perfectly under- 
 ftood how to furmount the others. 
 
 Firft, as to thofe which regard the Country, they work’d in Greece and Italy. We 
 know that the one abounded with Beauties; and the other being the Miftrefs of the 
 World, every thing that was beautiful and curious came there from all Parts- 
 
 As to their Temper and Paffions, without Doubt they were fubjeCt to them as well as 
 we; indeed a natural Infenfibility would be no very happy Difpofition for an Artift, and 
 his Works would hardly efcape having a Teint of this extream Coldnefs; but however, 
 thefe great Men did not fuffer themfelves fo to be drawn afide by their Paffions, as not to 
 obferve what was to be avoided and praCtifed, according to the different Characters of their 
 Figures ■, and that with fo much ExaCtnefs, that no one in fo many Ages has yet been 
 able to attain that high Perfection they gave their Works. 
 
 We may boldly fay,that they have in fome Sortexcell’d Nature ; for tho’ it be true,that 
 really they have only imitated her; that mutt be underftood of each Part in particular, but 
 not of the whole together ; and there never was any Man fo perfeCt in all his Parts as fome 
 of their Figures. They have imitated the Arms of one, the Legs of another, collecting thus 
 in one Fig. all the Beauties which agreed to the SubjeCt they reprefented ; as we fee in the 
 Hercules all the Strokes that are Marks ofStrength; and in the Venus all the Delicacy and 
 Graces that can form an accomplilh’d Beauty. They fpared neither Time nor Care ; 
 there have been fome that have work’d their whole Lives in View of producing one perfeCt 
 Figure. 
 
 To animate them they had three powerful Motives, Religion, Glory and Intereft. 
 They confider’d it as a kind of religious Worlhip to give the Figures of their Gods fo much 
 Noblenefs and Beauty, as to be able to attraCt the Love and Veneration of the People. 
 Their own Glory was concern’d, particular Honours being bellowed on thofe that fuc- 
 ceeded. And as to their Fortune, they had no farther Care to take, when they were ar¬ 
 rived to a certain Degree of Merit. 
 
no 
 
 On the Proportions 
 
 Part V 
 
 Befide thefe Reafons, which have the moil contributed to form thofe excellent Men ; it 
 is certain there are happy Ages like thofe of Alexander and Augu(lus . We live at prefent 
 under a Reign like theirs, where we fee the Arts flourifhing in fuch a Manner, as there is 
 Reafon to hope, that they may attain at laft to the Perfection of the Greeks and Romans in 
 their moft finifh’d Works. 
 
 However,the high Efteem we have for the Ancients, tho’ well grounded, mult not make 
 us blindly admire all the Antique Figures ; there is Reafon to believe, that as there were 
 Matters, (b there were Scholars too, fome of whofe Works have been brought down to us, 
 tho’ they don’t indeed deferve the Care that has been taken to preferve them. Thereforej 
 among the great Number there is of them, I have only chofe thofe that have the moft uni- 
 verfal Approbation, and which the greatelt Defigners look upon with Admiration, and 
 allow to be the moil certain Models to work after. 
 
 Your principal Study being to be made updti thefe Figures, it may be convenient to 
 obferve to you, that in the beft of them weobferve certain Things which would cettainly 
 be counted Faults if they were in the Works of a Modern. The left Leg of the Apollo is 
 about nine Minutes longer than the Right. That Leg of the Venus that bends, is almoft a 
 Part and three Minutes longer than that which bears the Body. 
 
 Neverthelefs, I can’t forbear having a Veneration even for thefe feeming Faults; I be¬ 
 lieve the Sculptors had their Reafons lor them, and that it would be Rafhnefs to condemn 
 them ; how can we think that thefe great Men who have been the Authors of Works that 
 may be called perfeft, fhould fall into fuchgrofs Miftakes as thefe I have been fpeaking of, 
 if they had not been done with Defign. 
 
 Among feveral Confiderations with which we are not acquainted, one oPthcm is likely 
 to be the Fore-fhortning. I take the Matter to be thus: Thefe Figures were made to be fet 
 in Places where they were chiefly to be view’d from certain Sides, with Heights and Di- 
 ftances that might change the Appearances of the ObjeCt; the Parts we have taken Notice 
 of being fore-lhortned would have feem’d defective; and it was that, I fuppofe, that oblig¬ 
 ed them to make them longer; whence we may draw an important Confequence, which 
 is, that where a Figure is to be view’d on all Sides, and at a Diftance that gives us Leave 
 to examine it thoroughly, we mult make the Proportions fuch as we find them in the 
 Antique, in thofe Parts that are been without Fore- fliortning; but if the Figure be plac’d 
 where it can be view’d only at fuch Places and Diltances as hide fome Part from the Eye; 
 in that Cafe it would have good Effeft, (if it is not neceffary) to put in Pra&ice thofe in¬ 
 genious Artifices, of which the Ancients have made fuch a happy Ufe. 
 
 I propofed to my felf to make this Work larger, by adding the fame Figures fhadow’d 
 with as much Gufto and Correftnefs as I could, and above all, according to my Meafures; 
 but being preffed to give it to the Publick, for the Benefit of the ftudious, I thought I 
 ought not to put it off any longer; the rather becaufe all that is necelTary is here, and the 
 reft would only ferve for E ntertainment. I muft only advertife you, that thefe Figures not 
 being ftiadow’d, and the Places which would appear round prefenting nothing but a flat 
 Surface, you may chance to think them fliort; but trouble not your felf with that Doubt ; 
 they are in the moft elegant Proportions; ifyoudoubtofit, draw one of them in the fame 
 Meafures that I have mark’d, fhadow it tenderly, and you will have a very light Figure. 
 
 Different Books have been written upon this Subject; it feems to me, that feveral of 
 thofe that have treated of it, have affefted to make themfelves Heads of a Seft, by giv¬ 
 ing fuch Meafures as pleafed themfelves, without relying on any Authority I believe 
 they are miftaken. It is your Part to judge; compare their Proportions with mine ; de¬ 
 fign the lame Figure, according to the different Rules, and you will fee the Effeift. 
 
 Others 
 
Part V. 
 
 of Humane Body. 
 
 Ill 
 
 Others having firft drawn the Figures very Regular, and of a good Gufto by Sight 
 after the Antique, have afterwards meafured the Statues to find the Proportions which 
 not being done with all the Exadnefs neceffary, their Writing did not agree with their 
 Figures. 
 
 I have endeavour’d equally to avoid thefe two Faults. I give you nothing of myfelf ■ 
 every thing is taken from the Antique: But I have drawn nothing upon the Paper ’till f 
 had firft mark’d all the Meafures with Compaffes, in order to make the Out-lines fall juft 
 according to the Numbers. 
 
 I have choien Figures of different Charaders, and meafured them on feveral Sides, that 
 you may find in one or in the other fomething that may be ufeful to you. I have difpofed 
 my Meafures in fuch a manner that you may make Ufe of them, whatever Profeffion you 
 are of, where there is occafion for Drawing. 
 
 If you are a Sculptor, you will eafily find more than another, fuch Things as may be 
 of moft fervice to know ; for fince your Art counterfeits nothing, and reprefents the Fi¬ 
 gures with their real Dimenfions, you may meafure with the Compaffes any Place about 
 which you have any Doubt. 
 
 . If >’ ou are a Painter, or Graver, you will find likewife many ufeful Things: becaufe 
 in whatever View a Figure prefents itfelf, there are always many meafurable Parts I 
 have befides invented two ways of meafuring different from the common one will ferve 
 for the Parts that go off, you will find it in the 8jd Plate-, and the other to meafure the 
 fore-fhortned Parts, in the 88 th Plate. 
 
 I confefs, you would perplex very much the greateft part of Painters, if you were to 
 meafure their Works with the Compaffes in all the Places that can be meafured • feveral 
 fave themfelves by the help .of the Graces of Painting ; but let us not flatter our felves, 
 neither the L.vel.nefs of the Colouring, nor the Richnefs of the Difpofitions, nor the 
 ftrongeft Expreflion, will make a beautiful Whole, except they are fuftained by the Cor 
 reftnefs of the Drawing. However, let not that difeourage you, for though few Pidures 
 will bear fuch an Examination, yet we may ufe all the feverity of the Compaffes to the 
 Works of Raphael, Hannibal Carracci, Pouflin, and fome others of our moft famous 
 Matters , we even know fome at this Day with whom we may ufe this Way • their Mo- 
 defty forbids my naming of their* their Works make them fufficiently known ; examine 
 them well, you will find Painters whofe Pidures are Juft in all their Proportions, by Out- 
 lines boch Correct: and Graceful. y 
 
 When I give fuch great Commendations to thefe Painters whofe Works may be meafiir* 
 ed, I do not mean to make you fpend too much Time in meafuring your Figures with 
 the Compaffes, which would certainly hinder your Progrefs in Drawing ; bu? you mav 
 ufe the Compaffes and my Meafures, whenever you have any Difficulty about the Pronnr 
 tions ; then having inform d your Judgment feveral Times, it will become natural to you" 
 and you will get a Habit of obferving them Regularly without the Compaffes. 
 
 In the laft Place, don’t take if ill that I freak well of my own Work, the principal 
 Honour is not for me it is the Antique I commend. The Antique prefents me admira- 
 bie Works. I make them my principal Study; I am obliged to it for the little I know ■ I 
 colled the Meafures that I may the better examine the Beauties, and now offer them to 
 you, hoping you will find as much Benefit by them, as can be gotten from them 
 
 . In , order t0 « n derftand the Meafures, and their Ufe, it will be neceffary to know that 
 it is the manner of good Painters and Sculptors, to make their Figures a little bendine 
 
 F f 2 
 
 A * to 
 
112. 
 
 On the Proportions 
 
 Fart V. 
 
 to give them an appearance of Freedom and Gracefulnefs; and almoft all the Antique 
 Statues are in this manner more or lefs, as the different Subjects require. The places 
 where this bending is made, are the Knees, the Loins, and the Head ; which however in 
 Lome Figures is but very little, as in the Apollo, which is almoft upright; but in others^ 
 as the Antonius amounts to about one Part ten Minutes. Therefore when we fay, that 
 a Figure has fo much in Height, it is not meant, that the Statue meafured from the Crown 
 of the Head, to the Sole of the Foot, in the Attitude it is in, has fo much Height as we 
 give it; but it is to be underftood, fuppofing the Figure to Hand upright, and equally 
 poiz’d on both Feet, that then it would have the Height we fet down. 
 
 This being fuppofed, I have meafured the Figures according to the Height they would 
 have if they were upright; I have mark’d in fome Places where the Parts appear lefs than 
 they are, and have taken my principal Meafures from thofc Parts which appear in their 
 proper Bignefs. 
 
 The Meafures of the whole are regulated by thofe of the Head, according to the ufual 
 Method. The Head is divided into four Parts, one of which reaches from the lower 
 part of the Chin to the lower part of the Nofe ; another, from the lower to the upper 
 part of the Nofe, between the Eyebrows; a third, from between the Eyebrows, to the 
 Hairs upon the Forehead ; and a fourth, from thence to the Top of the Head. Each 
 Part is divided into twelves Minutes, and the Minutes into Halfs, Thirds, and Quarters. 
 For Example, P. fignifies a Part. M. a Minute, Ml half a Minute, Mf one thiid of 
 a Minute, M 5 a quarter of a Minute. It is to be obferved, that when I mark half a 
 Minute, it is thus M \, and when a Minute and half thus 1 M i. 
 
 I 
 
 An 
 
A /cafe 
 
v 
 




1 
 

 
 
 
 
 
 
 
 
 
 
 


A. Scale 
 
 *g%fc 
 

- 
 
 
 
% ^ 
 
A N 
 
 EXPLANATION 
 
 O F 
 
 TERMS, 
 
 made Ufe of, in 
 
 Books of ARCHITECTURE 
 
 A 
 
 BACUS, in Archi'refl-nre, Pignifies a Quadrangular Piece, ferving as a 
 Corona or Drip to the Capital. This it is which fupports the Under- 
 face, or Soffire of the Architrave. In the Corinthian and Comfo(lta j 
 the Corners of it are nam’d the Horns, and are fomewhat Blunted or 
 Hollow’d; the intermedial fweep and curvature with the Arch, has 
 commonly a Rofe, or fome pretty Flower, carv’d in the middle of it. 
 
 ACANTHUS, is the Herb Bears-foot, whofe Leaves are reprefented in the Capital 
 of the Compofite Column. See Plate 31. 
 
 ACROTERIONS, are little Pedeftals, ufually without Bales, placed at the two 
 Extremes, and on the middle of Pedements. But where they hand in Ranges with 
 Rail and Ballifters, they ftill retain the fame Name, only with this Difference, that 
 fuch as are placed between the Angular Points, are ftyl’d the median or middle 
 Acroteria. 
 
 ALCOVE a Place to deep in ; it fignifies that Place in which the Bed ftands, and 
 which is ufually feparated from the reft by Pillafters, or other Decorations, forming an 
 agreable.Place of Retirement. 
 
 AMPHITHEATRE, is a fpacious Building, either Round or Oval, having its 
 Arena, or Pit, encompafs’d with a vaft number of Seats, difpos’d in Rows, and rifing 
 gradually one over another. 
 
 ANTI Q.UE, a Building or Statue, made at the Time when the Arts were in their 
 greateft Purity and Perfection among the ancient Greeks and Romans. We likewife 
 lay, the Antique Manner, to fignifie any Thing done according to the ftrift Rules, and 
 good Tafte of the Ancients. 
 
 AQ.UEDUCT, an Artificial Canal, either running under Ground, or railed above 
 ir and ferving to convey Water, from one Place to another, according to their Level, 
 notwithftanding theUnevennefs of the intermediate Ground. 
 
 ARCHITRAVE, the firft Member of the Entablement, being that which bears up¬ 
 on the Column. 
 
 AREOSTYLOS, belonging chiefly to the Tnfcan Order, was where the Intercolum- 
 niation is very wide. 
 
 Gg 
 
 ASTRAGAL, 
 
1 14 
 
 An Explanation of 
 
 A of™ ” ‘ li " le ml M —„« Top „f~^ 
 
 A T TI C K. See under Order. 
 
 A o P e° ™a„a«: ‘ hC Pri “" Ifc ' » **> rf *• « ~ * Allragal 
 
 liavfng’nal’oriamaos ill™)' Iff i ' lr ’“ (r ° m ' 
 
 Columns between. at * ie Q. lTOin > and two 
 
 A I P dLfof^^VuLLla h r the BUi,din§ had “ d0UbIe P — S > - A**, con. 
 
 B 
 
 B A rh L n S , T r RA D E> iS I he Continm ’ t y of one or more Rows of Ballufters with 
 their Rail, ferving as Reft to the Elbows, and at the fame Time for F 
 
 cafeCtf 6 ^ AkarS ’ F ° ntS ’ BalC ° nieS> Tcn ' afc > Water-works, Windows, Staft! 
 
 B tfth L Mo S ulL E , R ’ 5 r l;ttle C n Umn ° r Pi,,after > either Round oc Square, adorn’d 
 BAN ;f° U ' dln Sy ^rvmg to form a Reft or Support to the Arm. 
 ii A N D, 1S any flat Member that is Broad, and not verv Dee D • and the wwn v 
 or Fafcia, is fometimes us’d to fignify the fame Thing 7 P ’ ^ FaCe ’ 
 
 S ?’ ° r Sup P° rt - Tl: ‘ s Word is ufed to fignify any Body which bears no 
 
 B A S°I LI C Jt app -m d t0 tfae Bottoms of Columns and Pedelfals. 1 
 
 BASILIC, a Royal Palace. I his among the Ancients was a lanm H,ll D ... 
 
 cos, Ides, Tribunes and Tribunal, where the Kings their felves admin h t a- ^ 
 
 But die Name is fomewhat differently applied now-a-days ; being given’to^Churche^ 
 
 and Temples, and to fpacious Halls in Princes Courts, where the People and Merchants 
 
 Cj A P r P ' S ^ UPPer Part ° f a C ° Iumn - Such of t!lefe as have Ornaments' 
 
 have r heT " fca f and ° 0nc > we caI1 Ga P itals with Mouldings ; and the reft which 
 hav e Leaves and other Ornaments, Capitals with Sculptures. 
 
 CIM A , R E C T A, or Cymaife, a Moulding waved on its Contour, Concave at the 
 Top and Convex at the Bottom, and is the uppermoft Member of Cornices; vulgar- 
 ly call’d by Workmen Ogee, or O G. S 
 
 SP is a ^ ind ° f round PilIar > compofed of Bafe, Shaft and Capital. 
 
 CAVE f 1 O, a Round concave Moulding, which has a quite contrary Effeft to the 
 quarter Round. 
 
 CARTOUCHE,. an Ornament of no determinate Form, whofe Ufe is to receive a 
 Motto, or Inlcription. 
 
 CA a Y / JJ P E S ’ ^' SUreS ° f Cap “ Ve Men and Women (People of Curia) ferving 
 mltead of Columns to fupport Entablements. 
 
 COLOSSUS. This is apply’d to any Figure that is twice as big as the Life. We 
 likeWife call a Building a ColoiTus, when it is of an extraordinary Bignefs, as the an¬ 
 cient Amphitheaters, the Pyramids of Egypt, See. 
 
 CINC TURE, is a Lift or Fillet at the Top and Bottom of the Column. That at 
 the Top is fometimes call’d Colier, and fometimes Annulus, 
 
 CONSOLE, is an Ornament cut upon the Key of an Arch, which has a Projeflure 
 or Jetting, and on occafion ferves to fupport little Cornices, Figures, Bulls, and Vafes. 
 Vitruvius calls the Confoles, Ancones. 
 
 CONTOUR, is the Out-line fas we fometimes call it) of a Figure, or that which 
 bounds and defines it. 
 
 CORNICE 
 
Architeclomcal Terms. 
 
 HI 
 
 CORNICE, is applied to every Prominent or Jetting Member that crowns any Bo- 
 dy, as the uppermoft Member of the Entablement, or the Cornice of the Pedeftal. 
 CORONA, this Word is applied to any Thing that finifhes an Ornament in Archi- 
 teffure ; as for Inftance, to a Cornice, i$c. 
 
 D 
 
 D ENTICLES, are Ornaments in a Cornice, cut after the manner of Teeth ; and 
 the Square Member whereon they are cut is call’d the Denticule. 
 
 DIA STYLE, the Space between two Columns, confifting of three Diameters. 
 
 DI E, any fquare Body, as the Trunk or Naked of a Pedeftal, which is that Part includ¬ 
 ed between the Bale and Cornice. 
 
 D I P T E R E, among the Ancients, a kind of Temple encompafs’d round, with a 
 double Row of Columns. The Pfeudo or falfe Diptere is only encompafs’d with a 
 iingle Row of Columns. 
 
 E 
 
 E CHINUS, is fometimes ufed to fignifie the Quarter Round, but more commonly 
 that Part of it which includes the Ovum or Egg. 
 
 EGG, fee Quarter Round. 
 
 ENTABLATURE, fee Entablement. 
 
 ENTABLEMENT, by Vitruvius and Vignola is called Ornament, and fignifies 
 the Architrave, the Freeze and the Cornice together. Trabeation includes the fame. 
 
 E U S T Y L E, is the moft approv’d manner of placing Columns, which is at the Di- 
 ftance of two Diameters and a Quarter, fee Plate 49. 
 
 ENTRESOLE, fometimes called Mezanine, is a Kind of low Story, occafionally 
 at the Top of the Building, for Lodging of Servants, 8?c. and Lights from the Roof 
 to preferve the Regularity and Grandeur of the Front. 
 
 F 
 
 F ACADE is the Front or Face, which any confiderable Building prefents towards 
 a Street, Court or Garden. 
 
 FACIA, or Fafcia, fignifies any flat Member, as the Band of an Architrave, &c. 
 FESTOON, an Ornament of carv’d Work in the Manner of a Wreath or Garland of 
 Flowers or Leaves twifted together, thickeft at the middle, and fufpended by the two 
 Extremes, whence it hangs down perpendicularly. Some of thefe are contriv’d with 
 a View to Mufick ; others to Hunting, Fifhing, £sV. 
 
 FILLET, is any little fquare Moulding which accompanies or crowns a Larger. 
 FLUTEINGS, are certain perpendicular Cavities cut Length-wife around the Shaft 
 of the Column, and rounded at the two Extremes. 
 
 FREEZE, a large flat Member, which feparates the Architrave from the Cornice 
 FRON 1 ISPIECE. See Portail. 
 
 F U S I, The Trunk or Shaft of a Column, being that Part comprehended between the 
 Bafe and Capital, Vitruvius calls it Scapus. 
 
 G 
 
 0 T HIC K, or Modern Architefture, is that which is far removed from the Mam 
 VJ ner and Proportions of the Antique, having its Ornaments Wild and Chimerical, 
 and its Profiles incorrect. 
 
 Gg 2 
 
 HELIX 
 
ii 6 
 
 An Explanation of 
 
 H 
 
 H ELIX, orUrilla, is a little Volute, Caulicole, or Stalk under the Flower of the 
 Corinthian Capital. 
 
 HIPPODROME, among theAncients, was a long Place, Circular at the two Extremes, 
 and encompafs’d with Porticos, wherein they were ufed to exercife their Horfes intend¬ 
 ed for the Courfe. 
 
 HYPETHRE, confifts of two Ranks of Columns all about, with ten at each Face 
 of the Building, and a Periftyle within of fmgle Columns; the reft being expos’d to the 
 Air, that is not walled in, (and placed as thePycnoftile clofer to one another) we have 
 called Periftyle; which tho' importing a Colonade, or Series of Columns ranging quite 
 about; yet are not all which are fo placed to be call’d fo, unlefs Handing within the 
 Walls which is effential to their Denomination ; fince otherwife, as well the Periptere, 
 as Monoptere (both confiding but of a fingle Range or Wing a Piece) fhould then be 
 Periftyles, which they are not: Befides, the Monoptere is only where aRoofisfup- 
 ported without any Wall or Clofure whatfoever. 
 
 I 
 
 I MPOST, is a Plinth or little Cornice, that crowns a Piedroit, or Peer, and fupports 
 
 the fpringing Stone, whence a Vault or Arch commences. 
 INTEKCOLUMNATION, is the Space between two Columns. 
 
 L 
 
 L EAVES, are Ornaments of carved Work, and either natural, asthofeofthe 
 Lawrel, Olive, Palm, itfc. or imaginary, fuch as are frequently feen in the 
 Foliages of the Antique. 
 
 LIST, a Girdle, is a little fquare Moulding, ferving to crown or accompany a larger, 
 or on Occafion to feparate the Flutings of a Column. 
 
 M 
 
 M ETOPS, is the fquare Space between the Triglyphs of the Doric Freeze. 
 
 MINUTE, is the one thirtieth Part of a Module, or the one fixtieth of the 
 Diameter. 
 
 MODULE, a little Meafure, by which in Architecture, we mean any Bignefs or Ex¬ 
 tent taken at Pleafure, iu mcifurc the Parts of a Building by, and is ufually determined 
 by the lower Diameter of Columns and Pilafters, the Module made ufe of in this Trea- 
 tife, is equal to the Semi-diameter of the Column, which is divided into thirty Parts. 
 MODERN, thisWord fignifies fomething new, is very improperly applied to the Italian 
 manner of Building, that being according to the Rules of the Antique : The Word 
 Modern then, in its genuine meaning, is only applicable to fuch Architecture as par¬ 
 takes partly of the Gothich, retaining fomewhat of its Delicacy and Solidity ; and 
 partly of the Antique, whence it borrows Members and Ornaments without any Pro¬ 
 portion or Judgment. 
 
 MODILLIONS, are little inverted Conloles, under the Soffit of the Corona, and 
 ought to correfpond to the middle of the Columns. 
 
 MOULDINGS, under this Name are comprehended all thofe Jettings or Projeftures 
 beyond the Naked of a Wall, a Column, i$c. which only (erve for Ornament ; whe¬ 
 ther they be fquare, round, (freight or crooked. See Plate 47- v A K F D 
 
A Roy Fnv HcaiU in Heu/fo 
 
A. if call erf i 2, AA'mutts 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ‘ 
 
 
 
 
 
 
 
 
 
 
 
 
 
 — »i 
 
 . . , |i' ■■ » 
 
 
 
 — 
 
 
 
Achiteclonical Terms. 
 
 II? 
 
 N 
 
 N AKED, of a Wall, Column, is’c. is the Bare Surface of a Wall, or Column,' 
 which ferves as a Field or Ground to the Projeftures. 
 
 o 
 
 O BELISK, is a Kind of Quadrangular Pyramid, very tall and (lender, rais’d in a 
 public^ Place, to (how the Largenefs of fome enormous Stone, or to ferve as a 
 Monument of fome memorable Aftion. 
 
 OGEE, fee Cima. 
 
 ORDONANCE, 
 
 ORDER, 
 
 The Tufcan Order, 
 
 The Doric Order, 
 
 The Ionic Order, 
 
 The Corinthian Order, 
 
 The Attic Order, fee Page 6j. 
 
 ORNAMENT, is any Piece of Carv’d Work, ferving as a Decoration in Archi¬ 
 tecture. 
 
 t See Page 59. 
 
 P ER I PTE R E, in the ancient Architedure, is a Building encompafs’d round with 
 Columns. 
 
 PARAPET, afaveBreaft, is a little Wall, above the Eves of the Roof of a Building 
 and which enclofes the Gutters; it is likewife applied to the Inclofure of a Key Bridne 
 Terrafs, b 9 
 
 PEDESTAL, is a fquare Body, with a Bafe and Cornice, ferving as a Bafement to 
 Columns, Statues, Urns, £"?r. See PI ate 51 , Pag e 62 and 72. 
 
 PILASTER, is a Kind of a Iquare Column, luinetimes Itandlng and detacch’d 
 from the Wall, but more ufually contiguous to it, or let within it. 
 
 P A R A S T AT At, or Ifocles, as thofe Matters which Hand clear or detatch’d from the 
 W alls. 
 
 PILLAR, is a Kind of round Column, made without any Proportion ; being ahvavs 
 either too maflive or too {lender. b ' 
 
 PYRAMID, is a folid Body, whofe Bafe is either fquare, triangular, or poligonous 
 and which from that Bafe diminifhes continually to its Vertex or Top. 5 
 
 PL A T-B AND, Fafcia, Tania and Corfa, is a fquare Moulding, having IefsProiedure 
 than Height, fuch are the Faces of Architrave, Lfr. J Ule 
 
 P 0^ P eLbls iS a fqUalC P ' eCe ° r Tab!e ’ Undel ' the Mouldin S s of Bafes of Columns 
 
 PORTTTO 0 rF r ,T r, CC ’ the Pfincipal Gate of a Palace, Cattle, Houfe, 
 
 R TI CO, ! S where Columns are detatch’d from the Front of a Building for the 
 
 p n nw r T 1 U " de " S,leker ’ “ at the weft Front of St - Martin^ Church. 
 
 f r, ? r B ’ - IS the f°r t , 0Ur ’ or0ut ' line of any Member in Architea-ure, as that of a 
 
 Bafe, a Cornice or the like. 
 
 P ^nH C ^ U ^ E ’ £ I 1C Proil >nency or Embodiment, which the Mouldings 
 
 PRO Pnnmov °f Architecture have, beyond the Naked of the Wall. 
 
 Relation they bj’to wholf * ^ ° f 1 Bui ‘ ding > and the 
 
 H h 
 
 PEDE- 
 
An Explanation of 
 
 118 
 
 PEDEMENT, an Ornament that crowns the Ordonances, finifhes the Fronts of 
 Buildings, and ferVes as a Decoration over Gates, Windows, Niches, isc. fome are of 
 a triangular Form, and others makes an Arch of a Circle. 
 
 PEER, or Piedroitis, a kind of a fquare Pillar, Part whereof is hid within the Wall,, 
 without either Bafe or Capital. 
 
 PSEUD O-DI P T E R E, fee Diptere. 
 
 PYCNOSTYLE, this Term is ufed when the Columns are ranged (o clofe to one 
 another, that the Intercolumniation does not exceed a Diameter and a Half, or three 
 Modules. 
 
 a 
 
 U A R T E R-R 0 U N D, by this Name the Workmen call any Moulding, whole 
 
 Contour is a Circle, or approaching. 
 
 R 
 
 R OSE, is an Ornament cut in the Spaces which are between the Modillions under 
 the Plat-fonds of Cornices, and in the Middle of each Face of the Abacus, in the 
 Corinthian and Compofite Capitals. 
 
 ROTONDA, is a vulgar Term, fignifying any Building that is round both within 
 and witnout Side. 
 
 RUSTIC K, a manner of Building rather in Imitation of Nature, than according 
 to the Rules of Art. 
 
 s 
 
 S COTIA, fignifies a Hollow, obfeure Moulding between the Tores of the Bafe of 
 a Column, IsY. 
 
 SYMMETRY, fignifies the Relation of Parity, both as to Height, Depth and 
 Breadth which the Parts have, in order to form a beautiful Whole. In Architecture 
 we have both Uniform Symmetry, and RctpvClivc Symmetry ; in the former, the Or- 
 donance is purfued in the lame manner throughout the whole Extent; whereas in the 
 latter, only the Oppofite Sides correfpond to each other. 
 
 SOCLE, or Zocle, is a Square Body, lefs in Height then Breadth, and placed under 
 the Bafes of the Pedeftals of Statues and Vales, fcs’r. 
 
 SALON, is a kind of Hall in the middle of a Houfe, or at the Head of a Gallery, or 
 a large Apartment, which ought to have a Symmetry on all its Sides. 
 
 SOFFIT, this Term fignifies the Cieling of any Part of a Building, whether it be 
 ornamented with enrich’d Pannels, or Plain. 
 
 SO LIVE, fignifies a Joift, Rafter, or piece of Wood either (lit or fa w’d, wherewith 
 the Builders lay their Ceilings. 
 
 STATUE, is an imbofied Figure, either in Stone or Metal, reprefenting fome Perfon 
 diftinguifh’d by his Birth or Merit, i§c. And either ferving as an Ornament of a Pa¬ 
 lace, or expofed in fome Publick Place, to perpetuate the Memory of the Perfon it is 
 intended to reprefent. Of Statues there are four Kinds ; the firfi: is thofe that are lels 
 than the Life. .The fecond, thofe juft as big as the Life. The third exceeds the Life. Such 
 as were half as big again, were appropriated to Emperors; and thofe twice as bigas 
 the Life, to Hero’s. Laftly, the fourth Kind confifts of fuch as exceed the Life three or 
 four Times, or more. Thele are called Colofil, and were peculiarly fet apart to repre¬ 
 fent Divinities. Every Statue which refembles the Perfon it reprefents, is called Statua 
 Iconica. 
 
 SYS- 
 
Architecimical Terms. 
 
 U9 
 
 S Y S TI L E, is that Manner of placing Columns where the Space beween the two 
 Fulls, confifts of two Diameters, or four Modules. 
 
 T 
 
 H E A T R E, among the Ancients, was a publick Building in form of a Semi. 
 
 JL circle, encompafs’d with Portico’s, and furnifh’d with Seats of Stone, which in. 
 eluded a Place called Oche/ir-a, on the Front of which was the Profcenium, or Pulpi- 
 tum; that is to fay, the Floor of the Theatre, with the Scene, which was a large Fa¬ 
 cade, adorn’d with the Orders of Architecture ; and behind this was the Polcenium, 
 or Place where the ACtors made themfelves ready. 
 
 TORUS, a large round Moulding in the Bafes of Columns; the Figure of this Moul- 
 ing being not unlike the Edge of a Quilt. 
 
 TRABEATION. See Entablement. 
 
 TRIGLIPH, is a Member of Doric Freeze, placed direflly over each Column, and 
 at equal Diitances in the Intercolumnation, having two entire Glyphes, or Chanels, 
 engraven in it, meeting in an Angle, and feparated by three Sides, or Legs, from the 
 two Demi-channels of the Sides. 
 
 TRUNK, fignifies the Full, or Shaft of a Column, and the Die of a Pedeftal. 
 
 u 
 
 E S T I B L E, an open Place at the bottom of a large Stair-cafe, lerving as a tho- 
 
 V rough-fare to the feveral Parts of the Houfe: ’Tis here that the Robes are firlt 
 let fall in Vifits of Ceremony. Veftible is fometimes alfo ufed to fignifie a little kind 
 of Anti-chamber, before the Entrance of an Ordinary Apartment. 
 
 VOLUTE, is one of the principal Ornaments of the Joice and Compolite Capital, 
 reprefenting a kind of Bark wreath’d or twilled into a Spiral Scroll. There are eight 
 Angular Volutes in the Corinthian Capital, and thefe are accompanied with tight other 
 little ones call’d Helices. 
 
 VAULT, is a Piece of Mafonry arch’d without Side, and fupported in the Air, by 
 the artful placing of the Stones which form it ; Its principal ufe heinrr far a Cover, or 
 Shelter. 
 
 URN, a Veflel to draw Water in, and fignifies a low wide Vafe, lerving as a Crown¬ 
 ing over Balluftrades, and as an Attribute to Rivers, River-Gods, isfc. A Funeral 
 Urn is a cover’d Vale enrich’d with Sculpture, and ferving as the Crowning, or Fi- 
 nifhing of a Tomb, a Column, Pyramid, Obelisk, or other Funeral Monument ■ 
 made in Imitation of the Ancients, who depofited the Allies of their deceafed Friends 
 
 in this kind of Urns. 
 
 X 
 
 O'" Y S T O S, Among the Ancient Greeks was a Portico of uncommon Length, either 
 \_ cover’d or open, wherein the Athlets ufed to exercife themfelves in Running and 
 Wreflling. The Romans too had their Xyftus, which was a long Ille, or Portico, Come 
 Times roof’d over, and at other Times open, and ranged on each Side with rows of 
 Trees, forming an agreable Place for the People to walk in. 
 
 z 
 
 z 
 
 O C O L O. See Socle. 
 
 Hh 2 
 
 BOOKS 
 
BOOKS Printed for B. C r e a k e, at the Bible in JermynStreet, 
 againft St. James's Church. 
 
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 \ Complete Colle&ion of State-Trials, and Proceedings upon Impeachments, ffc. 
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 Rating’s General Hiftory of Ireland. Containing an Account of the firft Inhabitants 
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