OF THE 
 
 BANGOR THEOLOGICAL SEMINARY, 
 
 Alcove 
 
f 
 
 * i 
 
Digitized by the Internet Archive 
 in 2013 
 
 http://archive.org/details/studentsinstructOOnich 
 
THE 
 
 STUDENT'S INSTRUCTOR 
 
 IN DRAWING AND WORKING 
 
 THE FIVE ORDERS OF ARCHITECTURE. 
 
 FULLY EXPLAINING THE BEST METHODS FOR 
 
 STRIKING REGULAR AND QUIRKED MOULDINGS ; FOR DIMINISHING AND GLUEING OF CO- 
 LUMNS AND CAPITALS ; FOR FINDING THE TRUE DIAMETER OF AN ORDER TO 
 ANY GIVEN HEIGHT ; FOR STRIKING THE IONIC VOLUTE, CIRCULAR 
 OR ELLIPTICAL : WITH FINISHED ^EXAMPLES, ON A 
 LARGE SCALE, OF THE ORDERS, THEIR 
 PLANCEERS, ETC. ; AND_SOME 
 DESIGNS FOR DOOR-CASES, 
 
 ELEGANTLY ENGRAVED ON FORTY-ONE PLATES — WITH EXPLANATIONS. 
 
 BY PETER NICHOLSON, ARCHITECT, 
 
 AUTHOR OF THE MECHANIC'S COMPANION, CARPENTER'S NEW GUIDE, CARPENTER AND 
 
 joiner's ASSISTANT, ETC. 
 
 THE SIXTH EDITION CONSIDERABLY AUGMENTED AND IMPROVED. 
 
 "-ge, Shaded - . - 
 
 NEW-YORK : ] 
 
 PUBLISHED AT THE OFFICE OF THE RAILROAD JOURNAL. 
 
 1837. 
 
/ 
 
INDEX TO THE PLATES, 
 
 WITH DIRECTIONS FOR PLACING THEM. 
 
 Plate to face Page 
 
 I. Regular Mouldings - - - - - 5 
 
 II. Modern or Quirked Mouldings ----- 6 
 
 III. Modern Mouldings - ----- 7 
 
 IV. A Rule for Diminishing the Shaft of a Column ... 8 
 V. To Draw the Flutes of Columns ----- 9 
 
 VI. To draw the Flutes and Fillets round the Shaft of a Column - 10 
 
 VII. To Draw the Flutes and Fillets on a Column or Pilaster - - 11 
 
 VIII. The Manner of glueing up the Shaft of a Column - - - 12 
 
 OF THE TUSCAN ORDER. 
 
 IX. The Tuscan Order at large, Outline - - - - 13 
 
 X. The Tuscan Order at large, Shaded - - - - 16 
 
 XI. To Draw the Tuscan Order to a given height - - - 17 
 
 XII. A Finished Base and Capital. - - - - - 18 
 
 OF THE DORIC ORDER. 
 
 XIII. The Doric Order at large, Shaded - - - - - 19 
 
 XIV. Planceer of the Doric Order ----- 20 
 
 XV. The Doric Order, with Dentils at large, Shaded - . - 21 
 
 XVI. The Grecian Doric, from the Temple of Minerva at Athens - 22 
 
 XVII. The Parts at large of the same ----- 23 
 XVIII. The Grecian Doric, from the Temple of Theseus at Athens - 24 
 
 XIX. The Parts at large of the same ----- 25 
 
 XX. Other Parts at large ------ 26 
 
 XXI. Greecian Doric, from the Portico at Athens 27 
 
 OF THE IONIC ORDER. 
 
 XXII. Roman Ionic 28 
 
 XXIII. Ionic Capital, Front, and Plan ----- 29 
 
 XXIV. Ionic Order at large, Shaded ----- 30 
 
 XXV. Modem Ionic at large, Shaded - - - " - 31 
 
 XXVI. Ionic Cornice and Planceer ----- 32 
 XXVII. Grecian Ionic, from the Temple at Athens 33 
 XXVIII Shows how to describe the Ionic Volute - - - -'34 
 
 XXIX. To Draw an Angular Volute, also an Elliptical Volute - - 35 
 
 XXX. Methods of glueing up Ionic Capitals ... - 36 
 
IV. 
 
 OF THE CORINTHIAN ORDER. 
 
 XXXI. Corinthian Capital at large, in Outline . ' - - - 37 
 
 XXXII. The Corinthian Order fully enriched, Shaded 38 
 
 XXXIII. Corinthian Cornice and Planceer, Shaded 39 
 
 XXXIV. To Draw the Corintliian Column and Entablature Scale - - 40 
 
 OF THE COMPOSIT ORDER. 
 
 XXXV. The Composite Capital at large, in Outline 41 
 
 XXXVI. The Composite Order fully enriched, shaded 42 
 
 XXPVII. Various Pedestals, ----- . 43 
 
 XXXVIII. Of Bases, showing the method of glueing up etc. - - 44 
 
 XXXIX. Design for a Door-case of the Tuscan Order ... 45 
 XL. Design for a Door-case of the Doric Order 46 
 XLI. Design for a Door-case and Portico, Grecian Ionic - - 47 
 
PREFACE. 
 
 The following treatise will be found particularly useful to students in Architec- 
 ture. It contains a complete development of the methods of drawing and work- 
 ing the five orders, which may be said to be the foundation, the very A B C of the art 
 of building: as from these, with their several proportions and variations, arises all that 
 is great, elegant, or harmonious in the noblest structure ; wherefore I most earnestly 
 recommend to the student, to obtain a thorough knowledge of every order, its parts, pro- 
 portions, and entire figure, as being absolutely necessary to all who aspire to eminence 
 in this profession. 
 
 To this purpose the following work is well adapted, and gives, in the most detailed 
 and accurate manner, examples of the five orders, their proportions and enrichments, 
 according to the present taste ; which are so completely explained by the lines, and the 
 measurement on the plates, that a little attention will enable every p erson readily to 
 comprehend the proportion, use, and situation of each member : and also the several 
 methods adopted in calculating the parts, and for setting them off on rods for practice, 
 to any scale. The manner of drawing them on paper is fully explained, and I must 
 here advise the student to make a diligent practice of drawing the outlines to a large 
 scale, so that the measures may apply with accuracy, before he proceeds to finish in 
 shading ; by doing so, he will acquire a facility of manner, and an accuracy of eye in 
 judging of the beauties of proportion, which will ever be of essential use to him. 
 
 The explanation of the Tuscan order is given very full, and as the same methods 
 apply to each of the other orders, they are not repeated. It is scarcely necessary to ob- 
 serve, the height of the several columns is given according to the most esteemed mas- 
 ters ; nevertheless, they may, with much propriety, be varied, to suit particular purposes 
 or situations. 
 
 The method of describing quirked mouldings is new and easy, for practice, for any 
 swell. I have shown a new method for striking the Ionic volute, which will produce 
 that spiral curve with more elegance and regularity in the sweep, than by any other 
 method I have seen. 
 
 That important branch of practice, glueing up of columns and capitals, is shown in a 
 new and accurate manner, easy to be understood. I have also shown new and easy 
 methods for diminishing of columns, and for making the flutes and fillets on them and 
 on pilasters ; which, with various other interesting matters, will, I hope, make the ope- 
 rative parts of the orders better understood, both in theory and in practice, than by any 
 former publication. 
 
 P. N. 
 
PREFACE TO THE THIRD EDITION. 
 
 The usefulness of this little volume has been fully proved by the great numbers 
 which have been sold : a new edition being now called for, I have examined the work 
 throughout, and have made such corrections and additions as appeared to be necessary 
 to adapt it to the prevailing style of architecture : to this purpose I have given a new 
 plate containing a variety of Modern Mouldings, also six new ones of Antique Doric 
 Capitals and entabulatures, with the parts at large and in detail: so that in this small 
 work every member of these specimens of ancient magnificence is equally clear and dis- 
 tinct, as in the large work of the original author ; and as I have reduced the proportions 
 to the modular scale, they are more easily put in practice. Upon the whole, it will be 
 found that the Greek Doric, which has of late been so much in vogue, is fully explained 
 and elucidated. I have also given an example of a chaste and noble Ionic Capital ; all 
 these are selected from Stuart's elegant and interesting work on the Antiquities of Athens ; 
 the other new plates are an outline of the Composite Capital, for the use of learners, 
 and an antique Ionic Door-case, proper to be drawn from or worked. These additions, 
 on ten new plates, with various corrections in the descriptions, render this edition more 
 complete and useful ; and I think there is now nothing wanting to constitute it a com- 
 plete introduction to the orders of architecture, both ancient and modern. 
 
REGULAR MOULDINGS. 
 Plate 1. 
 
 Bead. 
 
5 
 
 EXPLANATIONS, &c. 
 PLATE I. 
 
 TO DESCRIBE THE SEVERAL KINDS OF MOULDINGS. 
 
 To describe an Ovolo, 
 
 Take the height a b ; set the compasses in 6, describe an arc, and with the same dis- 
 tance on the projection at c, describe an arc cutting the former at a, then on a } as a cen- 
 tre, describe an arc be, and the ovolo will be completed. 
 
 To describe a Cavetto. 
 
 On b, with the height a b, describe an arc on the projection at c, with the same dis- 
 tance describe another arc cutting the former at d\ then with the same extension on d, 
 describe the arc b c, and it will be a cavetto. 
 
 To describe a Cima Recta. 
 
 Join the projections at each end by the right line A B, divide it into two equal parts at 
 A, and in order to make it look bold, divide A B into three equal parts, or nearly so, and 
 with one third, on A and h as centres, describe arcs, cutting each other at d ; and in 
 the same manner find the intersection, on the opposite side of the line at c ; lastly, on d 
 and c, describe the arcs A h, and h B, and it will form the cima recta required. 
 
 To describe the Torus. 
 
 Divide the height into two equal parts at e. and on e, as a centre, describe a semi- 
 circle to that height ; and it will form a torus. 
 
 The Bead is formed as the torus. 
 
 Note. These are the forms of regular mouldings, viz : the height equal to the pro- 
 jection: but there are other forms, where the projection is often less than the height, 
 and the curvature of the moulding much flatter ; however, the same methods for de- 
 scribing the one, will do for the other. 
 
6 
 
 PLATE II. 
 
 MODERN OR Q.UIRKED MOULDINGS. 
 
 To describe the Ci?na Reversa A. 
 Join the projections at and b, by the line a b, and proceed in the same manner at 
 with the cima recta before described. 
 
 To describe a quirked Cima Reversa B. 
 Divide the perpendicular height into seven parts ; with two of the parts describe a 
 semicircle c e ; on a, draw a line from e c, and on the height of the first division from 
 the bottom b, describe the arc c d, and it will complete the moulding. 
 
 The quirked Cima Reversa C 
 Is described in a similar manner, as is plain on inspection. 
 
 To describe a quirked Ovolo D. 
 Divide the height into four equal parts ; with one part on c, describe the arc af g. 
 Join c b to the end of the fillet below ; on b describe the arc c d, on c, with the distance 
 a b, describe an arc cutting the former at d ; through d, and c. draw the line d c f 7 cutting" 
 the small circle at f : then with a radius, d f t describe the arc f b, and it will com- 
 plete a quirked ovolo. 
 
 To describe the quirked Moulding JB, flatter in the lower part than that at D. 
 
 Describe the smaller circle as in the last ; and through its centre, and the end b of 
 the fillet, draw the line c b e, taking the point e, according as you intend to have the 
 under part of the moulding flatter or quicker : take the distance e c, and on b, describe 
 an arc at d, then take the distance e a, that is e e, made less by the radius c a, of the 
 smaller arc a fg, on c, with that distance, describe an arc cutting the former at d ; lastly on 
 d, with a radius d f ) describe the arc / and it will complete the quirked ovolo required. 
 
 Note. The quirked ovolo at F, is described in the same manner as E ; the only dif- 
 ference being in the projection, which is greater. 
 
 These are the most proper for the workman's purpose, though various other methods 
 may be shown to answer the same purpose ; as G, H, I, K, which are traced from a 
 semicircle, by applying the same projections to a line of any inclination required. 
 
 G, is a torus moulding taken from a semicircle ; and may be applied where the pro- 
 jection of the upper fillet is greater than the projection of the lower. 
 
 To describe a Scotia M. 
 
 From the top of the fillet draw B A, perpendicular, cutting the bottom of the fillet at 
 A : from g the end of the bottom fillet, draw the line g a c, parallel to A B : make g a, 
 equal to twice g A, on a : describe the semicircle gee, cutting the line g a c, at <*, 
 through c, and the end of the fillet, at B, draw the line cBe, cutting the semicircle at e : 
 draw the line ade, cutting A B, in d\ lastly on d, describe the arc e B, and it will com- 
 plete the scotia. 
 
 N is a scotia, described by a similar method to the ovoloa, G, H, I, K. viz. through 
 points found from a semicircle, to the height of the moulding. 
 
MODERN MOULDINGS. 
 
MODERN MOULDINGS. 
 Plate 3. 
 
7 
 
 PLATE III. 
 
 MODERN MOULDINGS. 
 
 To describe a Grecian Ovolo or Echinus. 
 
 Have two tangents to the curve, and the points of contact given, one of the points 
 of contact being the greatest projection, and the other the lower extremty of the curve. 
 
 Fig. 1, 2, 3, let A B, B C, be the two tangents, A the point of contact at the greatest 
 projection, and C the lower extremity of the curve ; draw A E, parallel to B C, and C E, 
 parallel to B A ; produce C E, to F, making E F, equal to E C ; divide A E, and AB, 
 each into the same number of equal parts ; from the point F, draw lines through the 
 points of division in A E, and also from the point C, draw lines to the points of division 
 in A B, to meet the others through the divisions of A E ; through the intersections draw 
 a curve, which will be the contour of the ovolo required. 
 
 Observations. 
 
 The moulding will be flatter or quicker according as the point B, the extremity of the 
 tangent B C, is nearer or more remote from A, the greatest projection. In fig. 1, BD, 
 is one half of AD; in fig. 2, B D, is one third of A D ; and in fig. 3, B D, is one fourth 
 of A D. Also the quirk or recess at the top will be greater, as the distance A G is 
 greater, A G, being in the same straight line with A D. 
 
 The same things being given, to describe the Moulding to any of the Conic Sections. 
 Fig. 4. Draw A H, parallel to the fillets ; produce the vertical line C H, to K, 
 making H K equal H C, and H I equal toBD: join A I ; divide A I, and A B, each 
 into the same number of equal parts, and through the points of division in these lines, 
 and through the points K, and C, draw lines to meet each other, and through these 
 points draw a curve, and it will be the ovolo required. ( 
 
 Observation. 
 
 If B D, were less than the half of A D, the moulding would be elliptical ; and if B D, 
 were equal to the half of A D, the moulding would be parabolical. In this example B D 
 is greater than the half of AD, the moulding is hyperbolical. Of this form is the 
 echinus in all the Grecian Doric capitals, except the Doric Portico at Athens, in which 
 the echinus of the capital is elliptical. 
 
 The same things being given to describe the Eckiuus, the point C being the extremity of one 
 
 of the axes. 
 
 Fig. 5, join A C, and bisect it in L ; draw B, L, M, C M, perpendicular to B C, and 
 PM, parallel to B C, with the distance CM, on the point A, describe an arc cutting 
 P M, at O : produce C M, to N, and draw A, O, N ; make N P, equal to A N, and M P 
 and M will be the two semi-axe3 by which the curve may be described. 
 
 Fig. 6, is a Scotia or Trochillus ; the fillets may be considered as tangents, and the 
 line parallel to the line joining the fillet, as another tangent. Fig. 7, a cima-recta, com- 
 pounded of two quarters of an ellipse upon the axes. Fig. 8, a cima reversa, com- 
 pounded of two quarters of an ellipse from conjugate diameters, which are given in 
 position. Thesa are described upon similar principles to figures 1, 2, and 3. 
 
8 
 
 PLATE IV. 
 
 TO MAKE A RULE FOR DIMINISHING THE SHAFT OF A COLUMN. 
 
 Method I. 
 
 Fig. 1. Describe a semicircle, on the bottom of the column A B ; from the top of the 
 column, draw the line E 4, parallel to the axis D C, or middle line of the column, cut- 
 ting the semicircle at the base in 4 ; divide the arc A 4, into four, or any other number 
 of equal parts, and divide the height C D, into the same number of equal parts, as 1, 2, 
 3 ; through the divisions 1, 2, 3, 4, of the semicircle at the base, draw lines 1 2 b, 3 c, 
 and 4 r/, parallel to A B ; set off those parts from each side of the axis, on the corres- 
 ponding numbers on the shaft ; then by bending a. thin lath or slip, round pins or nails 
 fixed in these points, you will have the contour, or curve of the column : and the re- 
 verse of this will be the edge of the rule for working it by. 
 
 Method 2. 
 
 Fig. 2. Divide the height of the diminishing rule, as A B, into any number of equal 
 parts ; as four, at 1, 2, 3, and divide the difference of the semidiarneter C D, at the top 
 and bottom, into the same number, viz. four, and draw lines from each division on C D, 
 towards E, at the bottom ; cutting lines drawn parallel to the base, through 1, 2, 3, 
 will give points, by which you may draw as before, a curve of a very regular and plea- 
 sing form, which may be drawn on the edge of the rule, or on the column itself, as is 
 most convenient for the workman ; this, in my opinion, is much preferable to the first 
 method. 
 
 Fig. 3. shows the same thing not in its just proportion but clearer to inspection, as 
 the divisions are much larger. 
 
TO DRAW THE FLUTES OF COLUMNS. 
 Plate 5. 
 
9 
 
 PLATE V. 
 
 TO DRAW THE FLUTES OF COLUMNS. 
 
 To draw the Flutes of the Doric Column. 
 
 On A B, Fig. 1, the diameter of the column, describe a semicircle, and divide the 
 semicircle into ten equal parts ; (as the Doric column usually contains twenty flutes, 
 which are in general made shallow, and without fillets ;) through every two of the 
 divisions draw lines E 1, E 2, E 3, E 4, to E 10, between any two divisions, (as 3 and 
 4,) describe two arcs whose vertex is C : on E with a radius E C, describe the quad- 
 rant G, H, I, K, L, M, cutting the lines E A, E 1, E 2, E 3, E 4, &c, in the points, 
 G, H, I, K, L, M, which are the centres for the flutes ; but if the flutes are wanted 
 deeper, you may make the distance 5 D, halfihe breadth of a flute ; and proceed as 
 shown on the other quadrant, and from a, b, c, &c, draw perpendiculars to the bottom 
 of the column. 
 
 Fig. 2. The Ionic, Corinthian, and Composite Orders, 
 
 Have in general twenty-four flutes, with a fillet between each ; (the fillet one-third 
 of a flute ;) in order to have that number, and preserve the just proportion of a flute to a 
 fillet, observe the following rule : divide the semicircumference, Fig 3, into twelve equal 
 parts, at 1, 2, 3, 4, 5, &c, to 12, divide any division into eight equal parts, as that be- 
 tween 5 and 6, then take three of these parts, and on 1, 2, 3, &c. to 12, as centres, de- 
 scribe arcs which are nearly semicircular as in the plate, and then draw them to the 
 column, Fig. 4. 
 
 .2 
 
10 
 
 PLATE VI 
 
 TO DRAW THE FLUTES AND FILLETS ROUND THE SHAFT OF A COLUMN. 
 
 If the columns are of stone, or wood, the whole or any part may be fluted in the 
 following manner : after being properly rounded, and the ends or joints made parallel to 
 each other, find the centres of the circles at each end ; and if they are not already found, 
 cut two holes, directly in the middle at each end perpendicular to the joints, so that the 
 centre shall be in the middle of the holes ; this being done, drive in two pieces of wood, 
 so as to be quite tight in the holes, and to project out about five or six inches ; let the 
 proj ecting parts be well rounded off, so as to be exactly in the middle of the ends, then 
 make a diminishing rule as in Plate IV. To fit the curve of the column, let the ends 
 of this diminishing rule be fixed into two pieces, a b ; which are made to revolve round 
 the pins at the ends by means of notches, or any other convenient way ; so that the 
 curved edge of the rule be very near to the curved surface of the column, and one side 
 of the rule to tend exactly to the centre : to keep the rule steady from bending side- 
 ways, fix a rule to the other side, the whole length of the diminishing rule, of a sufficient 
 strength to keep the diminishing rule from bending ; so that the breadths of the two 
 rules will be at right angles to each other, the two end pieces and diminishing rule being 
 fixed fast together ; the whole may be turned round the pins at the ends as centres, like 
 one entire piece : then the operation of drawing the flutes and fillets will be as follows : 
 suppose it were required to flute the Ionic, Corinthian, or Composite columns, the cir- 
 cumference at either end will be divided into six equal parts, by taking half the diame- 
 ter at that end, and applying it round the said circumference ; then each of these divi- 
 sions being divided into four, the whole circumference will be divided into twenty-four : 
 in order to have the proportion of a flute to a fillet as 1 to 3, divide any one of the last 
 divisions into four equal parts, and one of these parts will be the breadth of a fillet, 
 which being set off from the same side of each division, the whole column will be di- 
 vided into flutes and fillets ; then by turning the rule round to each mark, or division, 
 you may with a piece of sharp steel draw on the shaft of the column the flutes, and 
 fillets, to the greatest exactness, by keeping it close to the side of the rule. 
 
 This method is by far the most ready, as well as the most correct of any that I have 
 yet seen ; this machine is shown complete on the plate, and I hope a careful inspection 
 will render it sufficiently plain : there are other methods of drawing the flutes on the shaft 
 of a column, as by drawing two parallel lines through the centre at each end of the 
 column, and dividing the circumferences at the ends into the number of flutes and fillets, 
 then bending a thin rule from the respective divisions at each end ; it is necessary to be 
 careful that the edge of the rule by which you draw, touch the curved surface of the 
 column only: but this method, however simple, is very liable to error. Other methods, 
 used by some workmen for setting off the flutes and fillets round the shaft of a column ; 
 are as follow : 
 
TO DRAW THE FLUTES AND FILLETS ON THE SHAFT 
 
 OF A COLUMN. 
 
 Plate 6. 
 
1 1 
 
 PLATE VII. 
 
 TO DRAW THE FLUTES AND FILLETS ON A COLUMN OR PILASTER. 
 
 Fig. i. A B, is any line divided into flutes and fillets, greater than the circumference 
 of the column at the base ; on A B, describe the equilateral triangle A B G, draw all 
 the points in A B to G, then if G C and G D, are equal to the circumference of the 
 column at the bottom of the shaft, the line C D will be equal to the same circumference ; 
 lajr a piece of parchment, or any thing that is pliable, on C D, and mark all the flutes 
 and fillets on it ; then apply this round the column at the bottom, and prick them round 
 it, divide the circumference at top in the same manner as E F, and draw the flutes with 
 a thin rule as before. 
 
 Fig. 2 is another method for marking the flutes and fillets round the end of the 
 column ; the line A B, is aline divided into flutes and fillets, less than the circumference 
 of the top part of the column ; draw any number of parallel lines from the divisions of 
 A B, let BC, B D, BE, be the top or bottom diameter ; set one foot of the compasses 
 in B, and cross the line A F, at C D, or E, draw the line B C, B D, or B E, and 
 either will be divided into flutes and fillets, as before. 
 
 Let A B be the breadth of the pilaster, draw any line A C ; take your compasses at 
 any convenient opening, and run twenty-nine times the said opening from A to C, and 
 join B C ; then set your bevel to the angle A C B, and from the points on A C, draw 
 lines cutting A B, as is shown by the figure, and from the points on A B, draw the flutes 
 and fillets with a common gauge. 
 
 There is another method of drawing the flutes of a diminished pilaster with one 
 gauge, and at one movement, by making the gague equal to the width of the bottom, 
 or something wider; but as this method is erroneous in its principle, no diagram is ex- 
 hibited. 
 
 The best method to draw the flutes on a diminished pilaster, is to divide the height of 
 the trunk into any convenient number of equal parts on a longitudinal line passing 
 through the middle of the breadth at top and bottom, and through the points of division 
 draw transverse lines to the longitudinal line : set off the flutes and fillets on each 
 transverse line : take nails or brads in each corresponding point of each transverse line, 
 and bend a pliable slip of wood round the nails,' and draw a line, and proceed till every 
 set of corresponding points are used, and the pilaster will have its fnre drawn for flutes 
 as required. 
 
12 
 
 PLATE VIII 
 
 TO GLUE UP THE SHAFT OF A COLUMN. 
 
 This must be glued up in eight or more staves, according to the bigness of the column, 
 but always observe to have the joint in the middle of the fillet, and not in a flute, as 
 it would very much weaken it ; in this plate is shown the plan of the top and bottom 
 ends, or the horizontal section at each end. If eight pieces are sufficient for the column, 
 you must describe an octagon round the ends, then draw lines from each angle of the 
 octagon to the centre, and it will give the bevel of the edges of the staves for the 
 joints, which must be quite straight from top to bottom ; only that the staves be nar- 
 rower at the top, as is shown by the plans of the column ; the staves must be of a suf- 
 ficient thickness, because the outside is to be curved to the swell of the column, by 
 means of a diminishing rule : then proceed to glue the pieces together one after the 
 other ; as the glue dries, block them well at the corners in the inside, which will greatly 
 strengthen the joints : proceed in this manner to the last stave ; the blocks must be 
 glued on and dried before you can glue your last stave in : or you may glue pieces quite 
 across for the last stave, fixed to the inside of the two adjoining staves ; or by screws 
 fix them to each stave, then the under side of your last stave must be planned so as to 
 rub well on the cross pieces, and when the stave is put in, and glued upon the said 
 cross pieces, you may drive it tight home like a wedge, and the whole will be as firm as 
 possible ; but care must be taken that the staves and blocks are quite dry, otherwise the 
 column after some time will be in danger of corning to pieces at the joints ; in glueing 
 each piece, care must be taken to try it to the plan, or backing mould, as a trifling dif- 
 ference in each will make a very sensible error in going round the column after the 
 glueing ; when the glue in the columns is dry, you may proceed to work off the angles 
 regularly all round ; the column will then have double the number of sides, or cants ; 
 proceed in the same manner, working off the angles as before, so as to make the column 
 have its sides or cants quite regular ; lastly, make a plane to fit the curve of the 
 column at the bottom, or rather flatter ; then round off all the angles, until the sur- 
 face of the column is quite smooth : there is, however, one thing I would observe in 
 respect to the moulds for jointing the staves together ; that is, they are not exactly true 
 when applied in a direction perpendicular to the joint ; the proper method to find them 
 true is in the same manner as you will find the backing of a hip rafter, or of a pitch sky- 
 light ; but, however, this exactness is not always attended to, as the deviation from the 
 truth is so small as to be disregarded : after your column is quite finished, it ought to be 
 well painted, to preserve it from being injured by the weather. 
 
 Another method is, glue the column in two halves, and then glue these together ; the 
 blockings may be put in a considerable way by hand ; but if the column is too long, a rod 
 of sufficient length may be used. Either of these methods have inconveniences which 
 cannot be avoided ; by the former method the last joints cannot be rubbed together be- 
 cause of the tapering of the stave, but if it is glued quickly, it will be pretty sound 
 by the latter method there is an uncertainty of the blockings being sound. 
 
 Note. — The grain of the blocking pieces must be the same way as the grain of the 
 column, that if affected by weather, they may expand alike. 
 
 For the method of glueing up bases, see Plate XXXVIII, and description. 
 
Plate 8. 
 
TUSCAN ORDER. 
 Plate 9. 
 
 i 
 t 
 
 r 
 
18 
 
 PLATE IX. 
 
 TO DRAW THIS OR ANY" OTHER ORDER. 
 
 Names of the Mouldings. 
 
 IN THE ENTABLATURE. 
 
 E a Fillet 
 F Cima Recta 
 G Fillet 
 H Corona 
 
 1 Ovolo 
 K Fillet 
 L Cavetto 
 
 M 
 
 N Tenia 
 
 O Upper Fascia 
 
 P Lower Fascia 
 
 In the 
 Cornice 
 
 Frize 
 
 In the 
 
 Architrave 
 
 IN THE COLUMN. 
 
 a Fillet 
 R Fascia 
 S Ovolo 
 T Fillet 
 U Neck of the 
 Capital 
 
 V Bead 
 W Fillet 
 X Fillet 
 
 Y Toms 
 Z Plinth 
 
 In the 
 Capital 
 
 In the 
 Shaft 
 
 In the 
 Base. 
 
 Make a scale of the diameter of the column at the bottom ; first divide it into six 
 equal parts called modules, divide the first of these into ten, which are called minutes : 
 then every member of the order is so many minutes of this scale, either in height or 
 projection : the operation is as follows : draw an axis or perpendicular through the mid- 
 dle of the column ; on this line set all your heights, or on any other line parallel to it ; 
 hten make another line parallel to tbe'axis at the distance of twenty-five minutes, which 
 allows five minutes on each side for the diminution at top ; from this line set off your 
 projections, as figured in the plate ; for example, the projection of the top fillet E is 
 forty-two minutes, and the projection of the next fillet G is thirty-two minutes and a 
 half ; then proceed to draw the cima recta, as already shown at Plate I, and afterwards 
 all the other members, until you come to the base which is set off from the outer ex- 
 tremity of the column, that is thirty minutes from the axis. 
 
 In the Tuscan Order, the column is seven diameters high, that is seven times its diam- 
 eter at the base, the entablature is one fourth of the height of the column : but if the 
 order has a pedestal, which is seldom the case, it will be one-fifth part of the entire order 
 in height. 
 
 To make this practice as easy as possible to the workman, the following examples will 
 be found useful. 
 
 TO FIND THE DIAMETER OF THE TUSCAN COLUMN, W KEN THAT ALONE 
 IS TO BE EXECUTED. 
 
 RULE. 
 
 Divide the height of the column by seven, and the quotient will be the diameter. 
 
 Example 1. 
 
 Suppose it were required to execute the Tuscan column alone, to the height of 
 twenty-two feet, three inches, I demand the diameter of the column. 
 
14 
 
 OPERATION, 
 
 7)22 ... 3 
 
 3 ... 2» 
 
 So that the diameter of the column is three feet two inches and one seventh part of 
 an inch. 
 
 Divide 3 ... 2 1-7 into sixty equal parts, will give a scale of minutes for propor- 
 tioning the parts. The diameter, found by the following rule, in feet and inches, is always 
 supposed to be divided into sixty equal parts, for minutes. 
 
 TO FIND THE HEIGHT OF THE TUSCAN ENTABLATURE, AND THE DIAMETER OF ITS COL- 
 UMN, THE ENTIRE HEIGHT OF THE COLUMN AND ENTABLATURE BEING GIVEN. 
 
 RULE. 
 
 Divide the height by five, and the quotient will give the height of the entablature ; 
 .subtract the height of the entablature last found from the entire height, and the re- 
 mainder will be the height of the column ; divide this remainder by seven, as before, 
 and the quotient will be the diameter of the column. 
 
 Example 2. 
 
 Suppose it were required to execute the Tuscan column with its entablature, to the 
 height of twenty-two feet one inch, I demand the height of the entablature, and the 
 diameter of the column. 
 
 OPERATION. 
 
 5) 22 ... 1 
 
 4 ... 5 height of the entablature. 
 
 7) 17 ... 8 height of the column. 
 
 2 . . . 6 1 diameter of the column. 
 The diameter of the column being now found, it will be readily put in as follows : 
 Suppose it were required to execute a column to two feet six inches, and two-seventh 
 parts of an inch ; take a rod of that dimension, and divide it into six equal parts, or 
 modules, and the first part again into ten for minutes, and proceed in practice in the 
 same manner as if you were drawing it on paper. 
 
 TO FIND THE DIAMETER OF THE COLUMN, THE HEIGHT OF THE ENTABLATURE, AND 
 THE HEIGHT OF THE TEDESTAL, WHEN THE WHOLE IS TO BE EXECUTED TO A GIVEN 
 HEIGHT. 
 
 R ULE. 
 
 Divide the entire height "by nve,"and the quotient will be the height of the pedestal . 
 subtract this height from the entire height, and the remainder will be the height of the 
 co1nnm< with its entablature: divide the remainder again by five, and the quotient will 
 
15 
 
 be the height of the entablature: subtract the quotient from the first remainder, and the 
 last remainder will be the height of the column : and this last remainder being divided 
 by seven, will give the diameter of the column. 
 
 Example. 
 
 It is required to execute the Tuscan Order complete, with an entablature, column, 
 and pedestal, to the height of thirty feet : I demand the height of the pedestal, height 
 of the entablature, and diameter of the column. 
 
 OPERATION 
 
 5) 30 
 
 6 feet, the height of the pedestal. 
 
 5) 24 height of the column and entablature. 
 
 4 . . . 9f height of the entablature. 
 
 7) 19 . . . 2 1 height of the column. 
 
 2 . . . 8f diameter of the column. 
 
16 
 
 PLATE X. 
 
 The Tuscan Order properly shaded is given as an example, after the manner of setting 
 out the parts and striking the mouldings are well acquired. 
 
TUSCAN ORDER. 
 Plate 10. 
 
 !!—) ] ! 
 
17 
 
 PLATE XI. 
 
 TO DRAW THE TUSCAN COLUMN TO A GIVEN HEIGHT. 
 
 For the Column. 
 
 Fig. 1 . Divide the height in seven equal parts, one of these is the diameter of the 
 column, and a scale to proportion the parts by. See page 38. 
 
 For the Column and Entablature. 
 
 Fig. 2. Divide the given height into five equal parts, give one for the height of the 
 entablature ; then divide the remaining four into seven parts, of which one will be the 
 diameter of the column. 
 
 For the Column and Entablature upon a Subplinth. 
 
 Divide the whole height C D into twelve equal parts, one will be the height of the 
 subplinth ; divide the remaining eleven into five equal parts, one will be the height of 
 the entablature ; divide the remaining four of these parts into seven, and one will be 
 the diameter of the column. 
 
 For the Column and Entablature upon a Pedestal. 
 
 Divide the whole height E F into five equal parts, the lower one will give the height 
 of the pedestal ; divide the remaining four into five equal parts, the upper one will give 
 the height of the entablature ; divide the remaining four of these into seven equal parts, 
 and one is the diameter of the column, 
 
 3 
 
18 
 
 PLATE XII. 
 
 Is a Tuscan base and capital for a pilaster : the scale will show the proportions of the 
 
A FINISHED BASE AND CAPITAL 
 
 Plate 12. 
 
 FOR A 
 
 PILASTER. 
 
DORIC ORDER. 
 Plate 13. 
 
19 
 
 PLATE XIII. 
 
 The manner of drawing the parts of the Doric order is much the same as in the 
 Tuscan ; the heights and projection of the parts being taken from the diameter of the 
 column at bottom, which is a scale, alike in all the orders ; so that the drawing and 
 executing of the Tuscan order if well understood, to draw the Doric or any other order 
 will easily be comprehended, without further instruction or repetition. One thing may 
 seem difficult in this order, which are the triglyphs ; these in modern buildings are placed 
 exactly over the centre of the column, thirty minutes wide, so that fifteen minutes are 
 on each side of the axis of the column : the mutules in the cornice are exactly over 
 them, of the same breadth ; the small conical frustrum under the triglyphs are called 
 guttse or bells : the manner of drawing the triglyph and bells is as follows ; divide the 
 breadth into twelve equal parts, give one to each half channel on the outside, two for 
 each space or interval, and two for each channel, and one space will remain in the mid- 
 dle ; every two divisions or parts is the width of a bell ; the side of every bell, if contin- 
 ued, would terminate in a point at the top of the fillet above them ; the spaces between 
 the triglyphs, called metopes, are generally square, and sometimes enriched with ox 
 heads, as in Plate XV. and sometimes with pateras, according to fancy ; when the co- 
 lumn is fluted, it has twenty in number, and these without fillets, as in Plate XV. For 
 the manner of drawing the flutes of the Doric column, see Plate V. Fig. 1 and 2. 
 
20 
 
 PLATE XIV. 
 
 Is a Doric cornice with the planceer inverted, so that the whole of the work and or- 
 naments under the cornice may be clearly seen. 
 
GRECIAN DORIC—TEMPLE OF THESEUS. 
 Plate 14. 
 
THE DORIC ORDER WITH DENTILS. 
 Plate 15. 
 
21 
 
 PLATE XV. 
 
 Is another example of the Doric order ; with dentils in the cornice; and is very proper 
 for the inside of a building, the column being fluted, and the whole much enriched. 
 
 This example is after the manner of the Doric order in the theatre of Marcellus at 
 Rome. 
 
 TO DRAW THE DORIC ORDER TO A GIVEN HEIGHT. 
 
 For the Column. 
 
 Divide the height into eight equal parts, one of the parts is the diameter of the co- 
 lumn, which diameter is to be divided into modules and minutes, as before directed, for 
 practic. 
 
 For the Column and Entablature* 
 
 Divide the given height into five equal parts, and the upper parts will give the height 
 of the entablature ; divide the remaining in eight equal parts, and one will give the 
 diameter of the column. 
 
 For the Column and Entablature upon Subplinth. 
 
 Divide the given height into twelve equal parts, the lower one will give the height of 
 the subplinth ; divide the remaining eleven into five equal parts, the upper one is the 
 height of the entablature ; divide the remaining four parts into eight, and one of these is 
 the diameter of the column. 
 
 For the Column and Entablature upon a Pedestal. 
 
 Divide the given height into five equal parts, the lower one is the height of the pe- 
 destal; divide the remaining four into five equal parts, and the upper one is the height 
 of the entablature ; divide the remaining four of these into eight equal parts, and one 
 will give the diameter of the column. 
 
22 
 
 PLATE XVI. 
 
 FROM THE TEMPLE OF MINERVA AT ATHENS. 
 
 Shows the profile of the order, elevation of the parts, and proportion of the members. 
 This example is taken from the flank of the temple, and is well adapted to all buildings 
 which require a solemn and dignified character. The temple from which this example 
 is taken, is one of the numerous buildings which were erected during the administration 
 of Pericles a Athens; he employed Calicrates and Ictinus as architects under Phidias. 
 It exceeds all the remains of antiquity in grandeur and boldness of parts. The taste of] 
 the members of this example is much the same as in the temple at Theseus, as will be 
 shown hereafter, the parts here being only of a bolder character. 
 
 Note. — The measurements are in modules and minutes. 
 
GRECIAN DORIC— TEMPLE OF MINERVA 
 Plate 16. 
 
 <0# 
 
 I r\3<> 
 
TEMPLE OF MINERVA. 
 
 Plate 17. 
 
23 
 
 PLATE XVII. 
 
 PARTS AT LARGE AND IN DETAIL OF THE PRECEDING EXAMPLE. 
 
 Fig. 1. Cornice, No. 1. shows the profile, No. 2. the soffit. 
 
 Fig. 2. Profile of the front part to a larger scale. 
 
 Fig. 3. The moulding under the fillet still larger, showing its particular form. 
 
 Fig. 4. Shows the recess or cutting upwards, in the under face of the corona. 
 
 Fig. 5. Echinus of the capital. 
 
 Fig. 6. Annulets of the same. 
 
 Fig. 7. Quarter plan of the column at each extremity. 
 
 Fig. 8. Annulets of the interior columns. 
 
24 
 
 PLATE XVII. 
 
 FROM THE TEMPLE OF THESEUS AT ATHENS. 
 
 The building from which this example is taken is one of the most perfect remains of 
 antiquity, and is generally supposed to be of the age of Pericles. The various parts 
 have an elegant contour, are well proportioned, of a light character, consequently it is 
 is well adapted for private buildings. The column in the original is nearly six diameters 
 in height. In this plate part of the pediment is shewn. 
 
P ! a te 18. 
 
25 
 
 PLATE XIX. 
 
 PARTS AT LARGE AND IN DETAIL OP THE PRECEDING EXAMPLE. 
 
 Fig. 1. Quarter plan of the column, at the superior and inferior diameter of the shaft. 
 
 Fig. 2. Profile of the cornice to a large scale. 
 
 Fig. 3. Soffit of the corona, with a section of the angular triglyph. 
 
 Fig. 4. One of the flutes showing its proportions, and the manner of drawing its 
 elliptical segmental figure : first draw the chord to its extent, and bisect it by a perpen- 
 dicular, set the depth of the flute on the perpendicular, from one side of the chord, which 
 will give the extremity of the flute : from this extremity set the radius in the contrary 
 direction, extending over the chord, which will give the centre : divide the chord of the 
 flute into five equal parts, through the first divison from each end, and from the centre, 
 draw two right lines, then upon the centre with the radius describe an arc limited by these 
 lines, and this will give the middle part of the flute : divide each of these radial lines 
 into three equal parts : take the first point of division in each next to the arc, and 
 describe each remaining part of the flute, and this will form the elliptic segmental figure 
 of the flute. 
 
 Fig. 6. Lower part ol the triglyph with the architrave band, the tenia, and the pend- 
 ing guttse. 
 
2G 
 
 PLATE XX. 
 
 OTHER PARTS AT LARGE OF THE FOREGOING, AND OF THE FOLLOWING EXAMPLES. 
 
 Fig. 1. Profile of the echinus of the capital of the temple of Theseus to a large 
 scale : this moulding as well as that of the temple of Minerva, is an hyperbola, or the 
 portion of one : the low?r part from the greatest projection at the top to the bottom, 
 being one of the legs ; the upper part forming the quirk or recess above, part of the 
 other leg, and the greatest projection the vertex. It is something singular, that the very 
 ancient mouldings in Grecian capitals, should be of this form, and some of them quite 
 straight, from one end to the other, which may be considered as a section of the cone 
 through the vertex. 
 
 Fig. 2. Annulets under the echinus of the capital of the column. The reader may 
 here observe that the annulets continue in the general foim of the curve, viz. the recess- 
 es in the curve itself, and the extremities in a line parallel to that curve. 
 
 Fig. 3. Profile of the echinus of the capital of the Doric Portico, as in the following 
 plate ; this moulding is singular, being of an elliptical figure ; it is more than a quad- 
 rant. This portico was built while the government of Athens was in the hands of the 
 Romans, who were partial to mouldings of a uniform and bold curvature ; the taste of 
 the Grecians, it appears, began to blend with that of their conquerers, hence I account 
 for the elliptic form of this member ; it is a medium be! ween a hyperbolical and a circu- 
 lar moulding. 
 
 Fig. 4. Part of the annulets of the capital of the same column, no less singular in 
 their construction than the echinus, or other members of this example, being disposed 
 vertically, and in the form of chamfered rustics ; whereas the annulets of other Grecian 
 remains follow the contour of the echinus, as has been before observed. 
 
DORIC PORTICO. 
 Plate 20. 
 
 TEMPLE OF THESEUS. 
 
27 
 
 PLATE XXI. 
 
 FROM THE DORIC PORTICO AT ATHENS. 
 
 This plate exhibits the contour, the elevation, and proportions of the members in 
 minutes and parts of a minute. This example, although singular on account of its ap- 
 proach to the Roman style in the members, is in its general form the same as other 
 Grecian examples. 
 
 As Mr. Stuart appears to have bestowed particular attention to the measures of these 
 Doric examples, here shown, I have with considerable pains reduced the original meas- 
 ures of feet, inches, and decimals of an inch, by arithmetical calculations into minutes, 
 and decimal parts of a minute, and not by measuring them from two scales which would 
 have been more expeditious to me, but much less accurate : each minute is conse- 
 quently divided into ten equal parts, each of these again into ten, and so on as long as 
 division can be made. By these universal proportions, the construction will be more 
 easily obtained by students in general. 
 
28 
 
 PLATE XXII. 
 
 Shows the front, side, and plan of the Roman Ionic capital. The whole height of the 
 volute is twenty-eight minutes, the centre of the volute is sixteen minutes from the top 
 side of the list ; and is described as in Plate XXVIII. ; the bead, or upper part of the 
 astragal, is equal in thickness and in height, to the eye of the volute ; the height of the 
 ovolo above, is from the upper side of the eye, to the upper side of the list in the second 
 revolution ; the projection of the cincture, or hollow under the fillet of the astragal, is 
 equal to the height of the fillet ; and the projection of the bead is a semicircle ; for the 
 ovolo, the quarter of a circle, whose projection is from the perpendicular line of the fillet. 
 The dotted line upon the volute, is a section through the side at A B ; or through the 
 plan at C D ; the ornamental part is drawn by hand. 
 
ROMAN IONIC. 
 Plate 22. 
 
 FRONT. 
 
f / 
 
IONIC CAPITAL. 
 Plate 25. 
 
29 
 
 PLATE XXIII. 
 
 The front and plan of the angular Ionic capital ; the plan is inverted that the mould* 
 ings underneath the abacus may be seen ; the volutes in front are drawn according to 
 Plate XXIX. ; this sort of capital has an advantage over the others, it fronts each of its 
 sides alike ; which is not the case with the Grecian capital, unless one of the angles is 
 horned at the return of the building ; which is unpleasing to some, and not consicered 
 as correct. 
 
30 
 
 PLATE XXIV. 
 
 Is the Ionic order with dentils in the cornice on an attic base ; the capital is in the 
 Grecian taste ; the manner of drawing the uppei' list is the same as described to Plate 
 XXVIII. the under list is drawn by hand, the other parts are obvious to inspection. 
 
MODERN 
 Plate 
 
 IONIC. 
 
 25. 
 
31 
 
 PLATE XXV. 
 
 The Ionic order with modillions, and an angular capital ; the measures of the parts 
 are accurately figured ; Fig, 1. is a section of the capital through the middle of the aba- 
 cus, in order to show the projection of the mouldings. 
 
 TO DRAW THE IONJC ORDER TO A GIVEN HEIGHT. 
 
 For the Column and Entablature. 
 
 Divide the whole height into six equal parts, give the upper one to the entablature, 
 divide the lower five into nine parts, and one will give the diameter of the column, to be 
 divided into sixty minutes, as a scv.le to work or draw by. 
 
 For the Column and Entablature on a Subplinth. 
 
 Divide the whole height into twelve equal parts, give the lower one to the subplinth, 
 and proceed with the remaining eleven as above, and you will get the height of the en- 
 tablature, and the diameter ef the column. 
 
 For the Column, Entablature, and Pedestal. 
 
 The height of the pedestal, for this or any of the five orders, is always one-fifth part 
 of the entiie height ; then the height of the entablature, and diameter of the column, is 
 found as before. 
 
32 
 
 PLATE XXVI. 
 
 The Ionic cornice with the planceer inverted, showing the finishings underneath 
 the cornice. 
 
IONIC— TEMPLE AT ATHENS. 
 
 Plate 27. 
 
33 
 
 PLATE XXVII. 
 
 FROM THE IONIC TEMPLE ON THE ILISSUS, AT ATHENS. 
 
 This elegant temple is entirely destroyed ; not a fragment now remains : but the in- 
 genious workman, from this book, may restore it with the greatest exactness. 
 
 This is a very fine example, uniting elegance with simplicity : the column is well pro- 
 portioned in all its parts ; the turnings of the spirals are gracefully formed, and the volutes 
 which form the capital are bold, which give an appearance truly characteristic of this 
 order. The members of the enaablature are few, but their effect is clear and distinct, 
 calculated for effect at a distance. 
 
 5 
 
34 
 
 PLATE XXVIII. 
 
 TO DESCRIBE THE IONIC VOLUTE. 
 
 Divide the height P Q into seven equal parts, upon the third division describe a circle 
 about C as a centre, whose diameter will be equal to one of the parts ; draw the square 
 V W X U, and in that square draw another, whose angles shall touch the sides of the 
 former square in the middle. In order to make the construction of the centres appear 
 plain, the centre part is shown above of a larger size, and the same letters of reference 
 put to each ; divide C 1 and C 2 each into three equal parts at 9, 5; 10, and 6; divide 
 C 10 into two equal parts at x, if the volute is intended to be on the right hand, as in this 
 example ; but if on the left, divide C 9 into two equal parts, and proceed in each case as 
 fellows : from x draw the perpendicular line, cutting the side S F of the square at D ; 
 from D make DE and D F equal to G 1 or G 2 ; join EH and F H, draw 5, 4.. .9, 8... 10, 
 11, and 6, 7, parallel to the perpendicular side of the square, cutting E H and F H, at 4. 
 8.3.7.11; then 1... 2.. .3. ..4. ..5.. .6. ..7.. .8.. .9.. .10.. .11. ..and 12 are the centres.— 
 Begin at 1, and with the radius 1 A, describe the quadrant A B, of the volute ; on 2, with 
 the radius 2B describe the quadrant B C : on 3, describe the quadrant C D ; proceed in 
 this manner with all the quadrants, till you touch the eye at U, and it will comple one 
 side of the fillet. 
 
 To draw the inside of the Fillet. 
 
 Divide the thickness of the list A a at the top into twelve equal parts, by means of the 
 scale N, O, R, as follows ; beginning at N, and with any opening of the compass run it 
 twelve times from N to O ; draw R, making any angle with O N ; make O R equal 
 the thickness of the fillet at A a ; join R N, draw a 11, b 10, c 9, d 8, &c. parallel to R O ; 
 make the thickness of the list at B b, equal to a 11 ; and D d, equal to b 10, &c. at the 
 beginning of every quadrant ; join a b, and bisect it by a perpendicular meeting the eye 
 a little within the first centre ; set the same small distance within all the other centres, 
 and proceed to describe the inside of the list, in the same manner as the outside, and it 
 will end in a point with the outside at U ; and the volute will be completed. 
 
IONIC VOLUTE. 
 
 Plate 28. 
 
Plate 29. 
 
 P 
 
35 
 
 PLATE XXIX. 
 
 TO DRAW AN ANGULAR VOLUTE. 
 
 Divide the perpendicular height A B, as in Fig. 1. into twenty-three equal parts ; 
 take the centre G, ten divisions from the bottom, or thirteen from the top, through the 
 centre G draw H I perpendicular to A B ; bisect the angle B, G, I by the diagonal 
 line D, C ; through the first division K above H, on the line A B, draw K E parallel to 
 H I, cutting the line D C at E, on G as a centre, with a radius G E, describe a circle 
 cutting D C on the opposite side of the centre at F ; divide F E into six equal parts at 
 3, 5, G, 6, 4, F, then on E as a centre, with a radius E B describe an arc D C cutting 
 D C at C, on F with a radius F C describe the semicircle C, A, K, cutting C D at K, on 3 
 with a distance 3 K describe a semicircle K L, on 4 as a centre with the radius 4 L de- 
 scribe a semicircle L M, on 5 as a centre with a radius 5 Mdescribe a semicircle M N ; 
 lastly on C with a radius 6 N, describe a semicircle N E, touching the centre at E, then 
 figure 1 will be completed. This method will describe an elliptical volute to a given 
 height, but not to any given width, this is only a preparation to what follows. 
 
 To describe an Elliptical Volute to any given Height and Projection from tlx . Centre, 
 
 Fig. 2. Divide the given height L M into twenty-three equal parts as before, taking 
 the centre E ten from the bottom, or thirteen from the top ; through N the first division 
 above E draw N F, cutting the diagonal line E at F, on E as a centre, with a radius 
 E F, describe the dotted circle ; or through E draw P Q at right angles to the diagonal 
 line E, make E P and E Q each equal E F, on F as a centre with the distance L F, 
 describe an arc L H, cutting E H at right angles to L M at H, from E make E G equal 
 to the distance the projection of the volute is intended to be from the centre, divide G H 
 into six equal parts, and set one of the parts to I ; make E K and E R each equal to the 
 sum of the two lines E F and G I, through the points K, P, R, Q, complete the parallelo- 
 gram A B, C D, whose sides A B, D G, are parallel to P Q and A D, B C parallel to K 
 R, draw the diagonals, A C and B D, and divide each of them into siz equal parts, then 
 on B as a centre, with the radius B L describe the arc L b, cutting A B produced at 6, 
 on A as a centre with the radius A 6, describe the arc b c, cutting A D produced at c, 
 on D as a centre with the radius D c, describe an arc c d, cutting D D produced at d, 
 on C as a centre with a radius C d, describe an arc de, on 5 as a centre with a radius 5 e, 
 describe an arc e/*, on 6 as a centre with the radius 6 describe an arc f g, on 7 as a 
 centre with the radius 7 g*, describe an arc g /*, on 8 as a centre with a radius 8 h de- 
 scribe an arc h i proceed in this manner, beginning the third revolution at 9, till you end 
 at 12 ; lastly describe an ellipsis touching the last centre of the third revolution E, be- 
 ing its centre, and its transverse and conjugate axis being in the same ratio as the length 
 or height of the volute is to its width, and it will be finished. 
 
36 
 
 PLATE XXX. 
 
 THE MANNER OF GLUING UP THE IONIC CAPITAL. 
 
 Fig. 1. for a column; the parts marked B, B, &c. are triangular blocks of wood, 
 glued upon the front, in order to complete the angular square ; then the pieces AAA, 
 &c. are glued upon them ; this is one method of gluing up the capital. 
 
 Another method is, to glue the triangular blocks C C, at the angle of the abacus ; then 
 the four sides of the abacus as D E E, may be made of one entire length, and mitred 
 at the horns ; or they may have a joint in the middle of the abacus, where the rose 
 comes, as the workman shall think fit ; this will either do for a column or pilaster. 
 
 Fig. 2. is a manner of gluing up the abacus for a pilaster capital ; but in my opinion 
 it is far from being a complete method, for when all the superfluous wood is worked off, 
 the joints at the horn will be in various directions, and the end of the wood butting against 
 the grain never holds fast. 
 
METHODS OF GLUEING UP IONIC CAPITALS. 
 
 Pldte 30. 
 
CORINTHIAN CAPITAL. 
 Plate 8 1. 
 
37 
 
 OF THE CORINTHIAN ORDER. 
 
 PLATE XXXI. 
 
 Is the Corinthian capital and plan in outline for the sake of clearness ; to find the 
 places of the stems of the leaves, divide the semi-plan into eight equal parts, and draw 
 the plan of the leaves, with their stems ; from the side of each stem draw the perpen- 
 dicular lines of the elevation of the capital, and it will give the breadth of each stem on 
 the front, the projection of the tops of the leaves is from a line joining the top of the aba- 
 cus and the astragal at the bottom of the capital, the heights of the leaves are shown 
 in Plate XXXII. the outline of the leaves are drawn by hand ; observe, that these out- 
 lines are supposed to be only in black-lead pencil, preparatory to shading and finishing 
 them, as shown in Plate XXXII. 
 
 V 
 
38 
 
 PLATE XXXII. 
 
 Is the Corinthian order fully enriched with ornaments, which may be executed with 
 the order or not, according to the place it is intended for ; before the student begins to 
 draw this orddr, he ought to be well acquainted with drawing the various kinds of or- 
 nament and foliage, otherwise he never will produce a masterly performance, or be able 
 to make any considerable figure in drawing so elegant a subject. 
 
Plate 3 2. 
 
Plate 33. 
 
39 
 
 PLATE XXXIII. 
 
 The Corinthian cornice, with the planceer inverted. The height and projections of 
 the cornice are the same as in Plate XXXII. 
 
40 
 
 PLATE XXXIV. 
 
 Is the manner of drawing the Corinthian column with an entablature entire ; or the 
 column and entablature on a pedestal ; or upon a subplinth. The diameter of the co- 
 lumn is one-tenth part of its height ; the height of the entablature, and pedestal, are 
 found in the same manner as in the Ionic order ; that is, the height A B, fig. 1. is divided 
 into six equal parts, the upper one is for the height of the entablature ; one half of which 
 will of course, be the diameter of the column. The rods C D, and E F, show the me- 
 thods of setting off the order when it is to be executed on a pedestal or on a subplinth ; 
 the pedestal takes one-fifth of the entire order, the subplinth one- twelfth. The diameter 
 of the column is one-tenth of its height. 
 
CORINTHIAN. 
 
 Plate 34. 
 
COMPOSITE CAPITAL. 
 Plate 3 5. 
 
 SOMln. 
 
41 
 
 OF THE COMPOSITE ORDER. 
 
 PLATE XXXV. 
 
 General outline of the Composite capital, showing the manner of projecting the same. 
 See the description of Plate XXXI. 
 
 6 
 
42 
 
 PLATE XXXVI. 
 
 Is the Composite order, so named because of its capital ; the upper part being the 
 same as the Ionic angular capital, and the lower part for leaves, the same as the Co- 
 rinthian ; the general heights of the cornice, frieze, architrave, capital, shaft and base, 
 are the same as those of the Corinthian ; the diameter of the column is one-tenth part 
 of its height, as in the Corinthian ; the heights and projections of the members are 
 plain by the measures on the plate. 
 
COMPOSITE ORDER. 
 
 P I a i e 3 6. 
 
PEDESTALS FOR FOUR OF THE ORDERS 
 Plate 3 7. 
 
 Doric. 
 
 Tuscan. 
 
 Corinthian. 
 
 Ionic. 
 
43 
 
 PLATE XXXVII. 
 
 Contains pedestals for four of the orders. It has been already mentioned, that the 
 pedestal of every order is one-fifth of its entire height ; the die of the pedestal, or plain 
 part, is in breadth equal to the plinth of the base of the column. 
 
44 
 
 PLATE XXXVIII. 
 
 OP BASES. 
 
 To each order there is a particular kind of base. A Tuscan base is shwon to Plate 
 IX. and X. To the Doric there is no particular base, but the Attic base is proper to 
 be used as shown on Plate XIII. The Ionic base is of a clumsy appearance, and is 
 very rarely used, Fig-, 1, Plate XXXVIII. The Corinthian base is very elegant, as is 
 shewn by Fig. 2. The Composite base is Fig. 3. The Attic base (Plate XIII. and 
 XXIV.) is most frequently used, and is applicable to all the orders, except the Tuscan. 
 
 Method for Gluing vp Bases. 
 
 Fig. 4 is a plan showing how the bottom course is mitred together ; which must be 
 done on a flat board, and all the joints fitted as close as possible : this course being glued 
 together with care, and well blocked in the inside at the angles, and the glue being 
 thoroughly dry, plane the top of the course quite smooth, and out of winding ; then glue 
 on the next course, breaking the joint in the middle of the under course, as shown by 
 the dotted lines, and so on, for as many courses as are wanted ; when thoroughly dry, 
 it may be sent to the turner. The bedding joints may be on one side of a fillet, as 
 shown in the elevation, Fig. 5, A A, B B, C C ; a base glued up in this manner, will 
 be the strongest possible, and be less liable to crack and split, than by any other method 
 I have seen practised 
 
BASES. 
 Plate 38. 
 
45 
 
 DESIGNS FOR DOOR CASES. 
 PLATE XXXIX. 
 Is a design for a door-case of the Tuscan order. 
 
46 
 
 PLATE XL. 
 Is a design for a door-case of the Doric order. 
 
DORIC DOOR. 
 
] ON I C J) R. 
 
47 
 
 PLATE XLI. 
 
 Door-way and portico from the Ionic Temple, (see Plate XXVII.) That doors of 
 this construction were used by the ancients is evident from the example of the Tower of 
 the Winds, as shown by Stuart, in the Antiquities of Athens, vol. i. 
 
 The above are proper examples to draw from, and will give some useful ideas for 
 composition and combinations of the orders, and their parts, and will look well if pro- 
 perly executed.