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T II E 
 
 BUILDER'S MAGAZINE; 
 
 O R, A 
 
 UNIVERSx\L DICTIONARY 
 
 I- O R 
 
 ArMi^eUs^' Carpenter^ Mafoju ^* Bricklayers ^ &c. 
 
 A S W E I, L A S F n R 
 
 EVERY GENTLEAIAN WH^ WOULD WISH TO BEtA COMPETENT JUDGE 
 OF THE ELEGANT AND NECESSARY ART OF BUILDING. 
 
 CONSISTING OF 
 
 DESIGNS IN !?^RCHLTEGTURE, 
 
 IX EVERY SriLE AND TASTE, FROM THE MOST MAGXIFICENT AND SUPERB 
 STRUCTURES, DOWN TO THE MOST SIMPLE AND UNADORNED. 
 
 TOGETHER WITH THE 
 
 PLANS AND SECTIONS, 
 
 Serving as an unerring Assistant in the Conftructlon of any Building, from a Palace to a Cottage. 
 
 IN WHICH V.ILL BE INTRODUCED 
 
 Grand and elegant Designs for Chimney-Pieces, Cielings, Doors, Windows, &c. 
 
 Proper for Halls, Saloons, Vestibules, State Rooms, Dining Rooms, Parlours, 
 Drawing Rooms, Anti Rooms, Dressing Rooms, Bed Rooms, Sec. 
 
 TOGETHER WITH 
 
 Designs for Churches, Hospitals, and other Public Buildings. 
 
 A I SO, 
 
 Plans, Elevations, and Sections, in the Greek, RpMAN, and Gothic Taste, 
 
 Calculated to embellish Parks, Gardens, Forests, Woods, Canals, Mounts, 
 VisTos, Islands, extensive Views, &c. 
 
 the whole forming 
 
 A complete Syijhm of Architecture in aU its Branches, 
 
 And fodifpofed as to render the Surveyor, Carpenter, Mason, &c. equally capable to ereft a 
 Cathedral, a Mansion, aTEMPLE, or a Rural Cot. 
 
 BY A SOCIETY OF ARCHITECTS. 
 
 A NEW E D IT I N. 
 
 JlouDon •. 
 
 Pr'.rtfJ iy T. Maititn, Srerli3!.n!-Lijrf, 
 
 FOR E. NEWBERY, VERNOR AND HOOD.. 
 AND H. D. SYMONDS. 
 
 1 soo. 
 
'» * 
 
 ■ • • ?•* 
 
PREFACE. 
 
 WHEN we confider the variety of channels through which literary 
 Improvements are diffufed to the Public, it appears a matter of 
 aftonifhment that, while the ProfelTors of Literature have monthly in- 
 creafed their intelledtual treafures, the Architedls, Surveyors, Carpenters, 
 and Mafons, have been unnoticed, and pafled by as unworthy of the 
 Inftrudtion or afliftance of thofe who are eminent in their refpedlive pro- 
 feffions. Whence this omiflion could proceed, it is not eafy to invefti- 
 gate ; but as it is time that this tribute fliould be paid, a fet of Gentle- 
 men have formed themfelves into a Society to promote the improvement 
 of Architediure. Each of them has dedicated his labours to that particu- 
 lar department, in which he has been principally engaged, and in which 
 he has obtained the palm of excellence. 
 
 Architedlure, or the art of eredling edifices, is, doubtlefs, of very great 
 antiquity J and was, perhaps, preceded only by agriculture itfelf : Hence 
 Theodore calls the latter the eldeft fifter of Architedlure. The exceiiive 
 heats of fummer, and feverity of winter, the inconvenience of rain, and 
 the violence of wind, foon inftrucled mankind to feek for flielter, and pro- 
 vide themfelves with proper retreats, to defend themfelves againfl the incle- 
 mency of the weather. But thefe at firft were only fmall huts, built very 
 rudely with the branches of trees, and very indifferently covered. 
 
 In the time of Vitruvius, they fhewed at Athens, as a curious relic of 
 antiquity, the roof of the Areopagus, made of clay ; and at Rome, in the 
 temple of the Capitol, the cottage of Romulus thatched with ftraw. After 
 thefe rude eflays, buildings of wood were introduced, and thefe fuggefted 
 the ideas of columns and aichitraves. But the workmen became every 
 day more induftrious and more expert. Inftead of thofe flight huts which 
 fatisfied them at firft, they began to eredl great walls of Hone and brick 
 upon folid foundations, and to cover them with boards and tiles. And, 
 in procefs of time, their reflections, founded on experience, led them to 
 difcover the juft rules of proportion. 
 
 Mofes informs us, that Cain built a city. Afia was therefore the cradle 
 of Architedlure, there it had its birth, and there it attained a confiderable 
 degree of perfedlion, and thence it fpread into other parts of the world. 
 It is indeed to be lamented, that not one fingle Treatile, written by the 
 Greeks upon Architedlure, has reached our hands. Tlie only books we 
 have of theirs upon the i'ubjedl, are the ftrudlurts of thole antient niafters 
 ffill fubfifting, whofe beauty is univerfally acknowledged, and which have 
 been the admiration of all good Judges. Thefe ftrudtures are fuperior to all 
 the precepts they could have left us. The Romans borrowed the art from 
 the Greeks; and under Auguftus, when good tafte univerfally prevailed, 
 
 carried 
 
PREFACE. 
 
 carried it to a great degree of perfection. But it fell with the Weftern 
 empire, and was not recovered for the fpace of twelve centuries. In 
 the two lall: centuries, the Architedls ot Italy, England and France, 
 cm ploy 'd thcmfelves wholly in retrieving the primitive fimplicity and 
 beauty of antient Architecture. 
 
 Every thing in Architecture is, or fhould be, proportioned to the bulk, 
 flrength, delicacy, richnefs, or fimplicity that is required. Such we 
 mean to reprelent every article in the courfe of this Work. The Public 
 may be afl'ured that the Gentlemen concerned in this performance, will 
 fpare neither labour or expence to render it univerfally ufeful ; and they 
 flatter themfelves they are not unequal to the tafk they have undertaken. 
 
 Architedts, in general, have, in their publications, confidered the mag- 
 nificence of building, rather than its ufej it fliall be our tafk to unite 
 both } for architedture cannot be more grand than it is ufeful ; nor is its 
 dignity more to be conlidered than its convenience. 
 
 Though it is our intention lo take the pupil by the hand, and lead him 
 through every branch of Architecture, till he attains the higheft degree 
 of perfection in that noble fcience; yet, in order to render it worthy the 
 attention of every one connected with it, we fhall in every number give 
 Icmething that may be ufeful to adepts in the fcience, as well as to thofe 
 who have but juft entered upon the ftudy of it. We fhall, indeed, in 
 each number, endeavour to introduce fomething in the common way, 
 lomething in a tafte fuperior to that, and fomething elegant and fuperb. 
 By purfuing this method, every clafs of our Readers will find fomething 
 toinftruCt and entertain. 
 
 This Performance will confift of two parts, viz. theoretical and pradti- 
 cal. The theoretical parts fhall confift of fuch inflrudtions as are necef- 
 fary to form the complete Architedt ; and the pradtical part fhall furnifh 
 Plans, Elevations, Sedtions, &c. with their Explanations, as models for 
 the pradliical Builder. 
 
 The two parts are feparately paged, that, at the conclufion of the Work, 
 tliey may be bound feparate : and we flatter ourlelves, that the Purcha- 
 fers will then be poflefTed of a Complete Body of Theoretical and Prac- 
 tical Architedture. 
 
 As we propofe to begin our Theory with the moll fimple inftrudtions, 
 and advance progreflively to the fublime parts, we propofe, as a founda- 
 tion, to give an alphabetical defcription of all the terms of art which are 
 ufed in Baildinir. 
 
 •a' 
 
 ALPHA- 
 
C I 1 
 
 ALPHABETICAL [DESCRIPTION^ 
 
 o r T H £ 
 
 Terms of Art which are ufed in Building ; 
 
 fORMiNG AtSO A COMPLETE 
 
 BUILDER 'S DICTIONARY. 
 
 ABACUS, the fuperior member of the capital, to which it ferves as a 
 kind of crown, on which the architrave refts ; tenuinating the co- 
 lumn w>th its capital at the top, as the Plinth, another fquare pitce, does 
 Vi'ith its bafe at the bottom. It is faid the original of the Abacus was a 
 fquare tile, laid over a bafket, round which leaves of the Acanthus or 
 Bear's breech grew ; whence the Corinthian capital was derived. But the 
 Abacus is certainly of earlier orit^in It is well known, that the Doric 
 order was long prior to the C orinthian ; and there is an Abacus on that in^ 
 the remains of the Parthenion at Athens, though the columns have no bafe. 
 It reprelents a tile indeed in the Corinthian order, but its four fides are 
 fegments of circle^. In the earlieft inrtances it ferved only to give breadth 
 to the top of the columns, and a level fupport to the entablature. For 
 this reafon we fee the Abacus of the Doric capital, very large in the moft 
 ancient buildings. In the infancy of Agriculture, trunks of trees were 
 railed upright for columns, and others laid acrofs them to bear the roof. 
 The Abacus was then a Iqiare piece, added to the top of the column, to 
 iupport thofe others more conveniently. The Abacus was then made 
 fquare and plain on the fides, as in the ancient Doric; and in the Tufcan, 
 added by the Romans ; but in the Corinthian and Compofite, it i- altered. 
 Its four IJdes are hallowed or arched inwa;ds, and it is decorated in the 
 center with a flovver or other ornament, Jn the Tuican order, the Abacus 
 is of a great thicknefs, and is called, bv fome the dye of the capital ; in 
 the later Doric, a cymatium is fometimes put over it, fo that it lofes even- 
 its place: an.l in the Ionic, it is wrought with ^n oval crowned with a 
 fillet ; or it is compofed ot a ct>na rever a and filL t only. In the Tufcan 
 order, the Abacus is ut the fame form >a ith the plinth of the bafe. In 
 the richer orders, it lofcs its native; lorm, the fou. fides or faces uf it beinp-; 
 arched or cut inwards with lome ornament as a rofe, or othei fiower; the 
 tail of a fifh, ficc. in the ii;ijdle of each arch.- Oth'its tell us, that in 
 theCoiin hian and Co polite, it is compofed of an ovokx, a fiitet, and a 
 cavctto. Andrea Falliaio, in the Tufcan order, gives the name of Aba- 
 cus to the phnth above ths echynus, or boultin ; which he fays is ulually 
 
 B called 
 
I 
 
 ] 
 
 called a dado or dye, from its form, and is one-third of the whole height 
 of the capital. He alfo defcribes the Abacus of the Corinthian order to 
 be one-feventh part of the whole capital, divided into three parts, the up- 
 permofl: of which is a boultin, and one-third of the next third below is 
 the fillet, and the remaining part below, which is one and two-thirds, is 
 the plinth and the Abacus. The Abacus is not always reflrained to the 
 capital of the column, Scamozzi ufing it in a very different fenfe; viz. a 
 concave moulding in the capital of the Tufcan pedeftal. 
 
 AbreuvoiRj or Abrevoir, in Mafonry, llgnifies the joint or junfture 
 of two ftones, or the fpace or interftice to be filled up with mortar or 
 cement. 
 
 Abuttals, (from Aboiith, fr. to border upon) the buttings and 
 boundings of land, either to the eaO, weft, north, or fouth, fliewing on 
 whatever lands, ftreets, highways, &c. the leveral extremes abut or ter- 
 minate. Camden obferves, that limits were formerly diftinguilhed by 
 hillocks raifed on purpofe, which were called botentines, whence we 
 have the word buttings. 
 
 Abscisse or Abscissa, in Conies, any part of the diameter or axis of 
 a curve, contained between its vertex, or lome other fixed point, and the 
 jnterfedion of an ordinate. Such is the line AO, contained between the 
 vertex A of the curve BAC. 
 
 The \^■'6'rd is dsrlvcd from a^.fcindete, ito cut off. In the parabola, the 
 abfcifle is a third proportional tothe parameter and the ordinate. Jn the 
 ellipfis, the iquareof the ordinate is equal to. the rcdtangle under the pa- 
 rameter and the abfciffe, kffened by another rtdtangle under the faid ab- 
 fciffc. In the hyperbola, the Iquares of the ordinates arc as the redan- 
 gles of the abfciffe, by aaother line compounded of the abfciffe, and the 
 tranfverfe axis. !n ihefe two propofitions, relating to th.e ellipfis and the 
 hyperbola, the origin of the abfciffes, on the point A, from whence they 
 begin to bcfeckone^l, k fuppofed to be the vertex of the curve, or, which 
 amounts to the fame, the point where the axis meets it^ for if the origin 
 of the abfcifles be taken from the center, as is frequently done, then the 
 two foregoing thei^rems no longer hold good. 
 
 Acanthus, 
 
r 3 ] 
 
 Acanthus, in Botany, a plant producing an irregular, monopetalous 
 flower, terminated in a ring at the bottom. It is called in Englifli Bear's 
 Breech; the leaves of which make an ornament in the Corinthian and 
 Compofite orders. There are two fpecies of plants of the fa-ne name; 
 one of which is wild, and the other cultivated in gardens. The firfl; is, 
 called in Greek Acantha, which fignifies a thorn, oh account of its having 
 prickly leaves ; and in that which the major part of the Gothic fculptors 
 have imitated in their ornaments. The fecond is called in Latin Branca 
 urfina, becaufe they pretend it refembles a bear's foot. The ancient and 
 modern fculptors have preferred the latter, and make ufe of it particularly 
 in their capitals. Vitruvius'fays, that this plant gave occafion to Cailima- 
 chus, the Grecian fculptor, to compofe the Corinthian capital. It hap- 
 pened as follows. An old woman of Athens, happening to place a 
 bafket, covered with a little tile, over the root of an Acanthus, which 
 grew on a young lady's grave at Corinth ; the plant (hooting up the fol- 
 lowing fpring, entirely encompafled the bafkct, till, meeting with the 
 tile, it curled back in a kind of fcrolls. Pafling by, he obferved ir, and 
 immediately executed a capital on this plan, reprefenting the tile by the 
 abacus, and the leaves of the Acanthus by the volutes or fcrolls; and 
 the baiket (which the French call Tambour) by the vafe or body of the 
 capital. Garden Acanthus is more indented than the wild, and more re- 
 fembles parfley or fmallage, as it is found reprefented in the Compofite 
 capitals of Titus, and Septimius Severus, at Rome. The place of the 
 Acanthus leaves is on the ball of the capital, which they cover ; and they 
 are the diftindlion of the two rich orders from the three others ; and their 
 difpofition, in a feparate manner on ihefe two, diflinguiflies them from one 
 another. The Greek fculptors have taken feme liberties in their rcprefen- 
 tations of the leaves of th'rs plant. Sometirnes the indentings are tou deep, i 
 and ofien too numerous for nature. They alfo introduce olive leaves and 
 laurel leaves in the divifion ; but they crave them with fo much freedom^ ' 
 and with fo little regard to truth, that, like herald-paintings, if we' 
 were not told what they reprefent, we fhould find it dithcult to«gusfs. ■ ' 
 AccELiERA'TED MoTiON, in Mcchinics, is that whofe velocity is ' 
 conftantly increafed ; and if the accefTions of velocity be equil in tq lal * 
 times, the motion is faid to be unifotmly accelerated. 1 his cofr.es chiefly t 
 under confideration, in the defcent of heavy bodies, by the force of gra- 
 vity. Notwithftanding various opinions on this fubjedt, thecaufec;t dc~ ' 
 cchratioii is nothing myfterious; the principle of gravitation, which deter- 
 mints the body to defcend, determining it to be accelcratea by a neceC-''" 
 fary confequence. A body having once began to defcend through thd im- 
 pulfe of gravity, that ftate is now, by Sir Ifaac Newton's firfblaw; become 
 as it were natural to it, infomuch that, were it left to itielf, it would for 
 ever continue to defcend, though the firftcaufeof its defcent ihould cesle. 
 
I 4 } 
 
 But, befides this determination to defcend, imprelTed upon it by the firfl 
 caufe, which would be fufficicnt to continue the degree of motion already 
 began to infinity, new impulles are continually fuperadded by the fame 
 caufe, which continue to ad: upon the body already in motion, in the fa nc 
 manner as if it had remained at reft: there being then two caufes ot mo- 
 tion, ading both in the fame diredion, it neceff.rily follow , that the 
 motion which they unitedly produce, muil: ne more confiderable t an 
 what either could produce feparately ; and, as long as thevel ^city is thus 
 increafed, the fame caufe ftill fubfifting to increafe it yet tnore. the delccnt 
 muft of necedity be continually accelerated Suppofing that gravity, from 
 whatever principle, ads uniformly upon all bodies, at the fame diliance 
 from the center of the earth, dividing the time which the heav/ booy 
 takes up in falling to the earth into infinitely fmall equal parts, ti is gra« 
 vity will imptll the body towards the ce iter of the earth, in the fit ft infi- 
 nitely fhort inftant of the defcent. If, after this, we fuppo e t! e adion 
 of gravity to ceafe, the body will continue perpetually to advance uniform- 
 ly towards the earth's center, with an infinitely imall velocity, equal to 
 that which refulted from the firft impulfe. But then, if we luj-ipole that 
 the adion of gravity continues in the fecond inftant, the body will receive 
 a new impulfe towards the earth, tqual to that which it received in the 
 firft inftant, confequently its velocity will be doubled j in the third iniiant 
 it will be tripled j in the fourth quadrupled ; and fo on. For the impulie 
 made in any preceding inftant, is no ways altered by that which is made 
 in the following one ; but they are accumulated on each other: whcrclore, 
 the infiants of time being fuppofed infinitely fmall, and all tqual, the ve- 
 locity acquired by the falling body will be, in every inftant, as the times 
 from the beginning of the defcent, and conftquently the velocity will be 
 proportional t© the time in which it is acquired. The motion of an af- 
 cending body, or of one tJjat is impelled upwards, is diminifhcd or re- 
 tarded by the fame principle of gravity, ading in a contrary dircdion, 
 -after the fame manner that a falling body is accelerated. A body piojeded 
 upwards, alcends until it has loft all its motion, which it does m the ^'ame 
 interval of time that the fame body would have taken up in acquiring by 
 falling, a velocity equal to that with which the falling body begun to be 
 projeded upwards, and confequently the heights to wnich bodies projeded 
 upwards, with oifTcrcnt velocities, arrive, are to each other as the Iquare 
 of tho:e vtlociiits. 
 
 AcciDHNTAL Point, in Perfpedive, the point in the horizontal line, 
 where the projedions of two lines, parallel to each othei, meet the re- 
 fpedive plane. 
 
 AccL.viTY, the flope or afcent of a line or plane, confidered in its af- 
 cending diredion ; as the alcent of an hill is the acclivity ; and, on the 
 contrary, the defcent is the declivity. The woid is compounded of ad, 
 and clivus, a llope. Some writers have ufed the term Acclivity as fynoni* 
 
 mous 
 
AJU '^S 
 
 Vri'ous With talus ; but the latter properly fignlfies the flope in general, 
 whether it be confidered as afcending or defcending. 
 
 AcROTERiA, improperly called Acroters, in Architedure, fmall 
 pedeftals, upon which globes, vafes, or Itatucs, are placed at the end or 
 center of pediments, or frontiipieces. According to Vitruvius, the height 
 of the Acroteria, at the extremities, fliould be only one-half of that of 
 the tympanum; whereas that in the center ought to be one eighth more. 
 Acroteria alfo fignify the figures placed as ornaments or crownings on the 
 tops of churches J and fometimes thofe {harp pinnacles, ftanding in rows 
 about flat buildings, with rails and balufters, are called Acroteria. The 
 word is Greek, and fignifics the fummit or higheft p:iint of any thing. 
 
 Aerial Perspective, that which is reprefented both weak and di- 
 minished, in proportion to the diftance from the eye. It is founded on 
 this, that the longer a column of air an objed: is feen through, the weaker 
 do the vifual rays emitted from it affed the eye. The obj .ft of Aerial 
 Perfpedlive is principally colours of objeds, whofe force and luftreit takes 
 ■off more or lefs, to make them appear as if more or lefs remote. 
 
 Ajutage, or Adjutage, in Hydraulics, a imall pipe ntted to the 
 aperture of a Jet d'eau, or fountain. Experiments have (hewn, that a re- 
 fervoir of 12 feet height above the orifice of an Ajutage of three lines dia- 
 meter, delivers 14 Paris pints of water in a minute. This may ferve as a 
 fundamental rule for fountains, affifl:ed by the following principles. When 
 tlie height of the refervoirs is the fame, and the orifices of the Ajutages 
 different, the expence of water is proportional to the fqaares of the dia- 
 meters of the Ajutages, when the expence of water, through different 
 Ajutages, is thus computed. If 9, the fquare of 3, gives, by experiment, 
 14 pints, what will an Ajutage of 5 or 6 lines give. The anfwtr is, 39 
 pints for 5, and 56 pints for 6. If the expence of two refervoirs of un- 
 equal heights, and different Ajutages, be required, proceed by the follow- 
 ing rule. The expence of water of two reiervoirs, whofe heights are 
 different, and alfo their Ajutages, are in the compound ratio of the fqua-es 
 of the diameters of the Ajutages, and of the fubduplicate ratio of the 
 heights. Water fpouting upwards, through an Ajutage, would alcend to 
 thefame height as that of its upper furface in the relervoir, wero it not 
 for the refillance of the air, the fridlion at the fides of the Ajutai,e, and 
 fome little impediments at the motion of the water in itielf; on account 
 of v>'hich, the height of the rife is always defedive. It i? found, by ex- 
 perience, that if the diredlion of the Ajutage be a fmall matter inclineJ, 
 the waier will rife higher than if it be truly upright ; ani that a poliflieJ 
 round hole, in a thin plate of metal, at the top of the pipe, by way ot 
 Ajutage, will fuffer the water to fpout higher than when it is cylindrical dr 
 oonical. Experience alfo fliews, that the bignefs of the pipe oi the Ajil- 
 ^age (hould be enlarged at and near the fuiface of the water in the reier- 
 
 C voir. 
 
6 ALA 
 
 voir, and that fuch pipe fliould he much larger than the Ajutage : alfo that 
 there is a certain length among the feveral diameters of the Aiutages, which 
 will fpout the greateft height poiiihle, and which muft not exceed an inch 
 and a quarter. Likewife, tiie height of the fpout muft ha^e its limits,, 
 loo feet being almoll- as much as it will bear. Let it be obferved, i. that tlie 
 fquares of the quantities flowing out from the lame Ajutage in equal timep, 
 arc in the ratio of the heit^hts of the liquid above the aperture. 2. The 
 times in which cylindrical veirds ot the fame diameter and height are emp- 
 tied, the liquid flawing from unequil apenures, are in the inverfe ratio of 
 the areas of thofe aperture^. 3. Cylindrical vefTek of unequal bafes, but 
 of equal heights, a-^e emptied through equal apertures in times that are in 
 the ratio of their bafcs. 4. The ti iifs in whicli any cylindrical vellels are 
 evacuated, are in a ratio compounded of the bafes, the inverfe ratio of the 
 apertures, and diredl ratio of the Iquare roots of the heights, li the fide 
 of a cylindrical veffel, beginning from the bale be divided into lengths, 
 which are as i, 4, 9, 16, &c viz. the fquares of the natural numbers, 
 1, 2, 3, 4, &c. the furface of the water (running out through an hole or 
 aperture at the bottom) will defcend from each of thole divifions to the 
 next, in the fame time. In the above invefligations, we always juppofe 
 the velocity of the efHuent water to remain conltant during the evacuation ; 
 and therefore, when we fpeak of the time of emptying a cylindrical veflel^ 
 we only mean that time in which (the veflel being kept ci.,nllant)y full; a 
 quantity of the liquid, equal in magnitude to the capacity of the veflel, 
 v/ill flow through the Ajutage, or aperture, in the fide of the perpendi- 
 cular cylinder. 
 
 Alabaster, A^cbaflrites, in Natural Hiftory, the name of a genus 
 of foffils, nearly allied to marble. It is an elegant flone of great bnght- 
 nefs, and will receive a finepolifh, but is brittle. Naturaliits enumerate 
 feveral fpecies of alabafter j as, the Inow-white fhining alabafter. Boet 
 informs us, that this flone is extremely white, and found in Taurus in 
 pieces only large enough to make diflies and the like ; but it was formerly 
 brought from Arabia. It is not very compadl, but heavy, and conlills of 
 a multitude of broad flat particles, which are very bright, and per ediy 
 white. It cuts very freely, and is capable of a fine polilh. There are 
 very large ftrata of it in Arabia, Egypt, and many pirts of Italy. 
 Whitifh yellow alabafter is of a foft conliilence, and Crlltd by Boet, the 
 Phengites ot Pliny, who affirms it was found in C^ppadocia. It is of a 
 loofe open texture, confiderably heavy, and nearly ot tne colour of honey 1 
 but ihe colour is more deep in fome places than in others, it conlills of 
 irregular pieces lying in tiibles one over another, though with regularity, 
 and altogether compofe a remarkable bright and very brittle mals. Bclidcs 
 the places above-mentioned, it has been tound in Germany, France, and 
 Dcrb)'{hire. Yellow and leddilh variegated Akbalicr is the common 
 
 Alabarter 
 
A L D 7 
 
 Alabarter of the ancients. It is fo foft, that it may be cut with a knife ; 
 and hi the fame name in all langn <ges. It is remarkably bright, glit- 
 tering, and almofl: tranlp.irent ; and its texture very loofe and open, though 
 it is iiioderj ely heavy. The ground is of a clear pale veliow. between 
 that of honey and amber, and has the fame with crooked undulated vein?, 
 fome of which are br^ad, and others narrow j fome of a pale red, others 
 whitifh, and others again of a very agreeable pale brown. It will bear a 
 very fine polifh, and confifts of large angular fparry concretions. It was 
 formerly found only in Egypt, but is now met with in many parts of England, 
 
 Its ufe is chiefly in making monuments in churches, 6cc. where there 
 are many figures in relief, or bas relief, &c. carved. It is alfo ufed for 
 carving coats of arms cut in relief, to be fct in biick or fione in the fmnts 
 ©f houfes. Alabdfter cuts very fmooth and eafy, and is much ufed by 
 fculptors in making fmall ftatues, vafes, columns, &c. Jt is alio ufed 
 like plainer of Paris, being firll burnt and calcined, then mixt d with wa- 
 ter t • a thin confiilencc ; which being afterwards cafl into a mould, it 
 very readily coagulates into a foHd body. 
 
 Alcove, from Ako a, Spanifl:», a recefs or part of a chamber, fepa- 
 rated by an eltrade, or partition of columns, and oiher correfponding or- 
 namei ts j in which eitlier a bed of (late is placed, or leats- to en ertain^ 
 company. Where a part of a room is leparated by a fcrecn of columns, 
 and has lea's in it (whether with or without a bed, it is called an Alcove j 
 and the leats in gardens, when they in any manner approach to the form 
 of fuch a part ot the mom, are in the fame manner called Aicoves. Thcfe 
 Alcoves ate frequent in noble houles in Spain. 
 
 Alder-Tree, y//^«5, in Botany. There are eight fpecies of this plant 
 enumerated by botanical authors ; but the common /\lder is generally 
 meant by that name. There is a peculiar beneficial property belonging 
 to this tree; for no be aft will crop it; which faves the great charge of 
 fencing it after planting. Formerly large alders were uled for building; 
 boats,, and now they are fo much efteemed for Inch parts of works as lie ccn- 
 tmually under water ; where it will become as hard as ftone ; but, if it 
 be fomctimes fuffercd. to lie cxpofed to the weather, and at other times un- 
 der the grourd in watery places, it will decay in a very iTiort time. Vi- 
 truviuj ii'forms us, that the nioraffes about Ravenna, }n Italy, were piled, 
 with Alder timber, in order to build upon ; for which ule he highly com- 
 'mends it. The Rialto, th t celebrated bridge at Venice, over the grand 
 canal, v/hich bears a vaft weight, is built upon piles of this wood. 
 Trunks ot trees, or po es of thu wood, are exceedingly uletul in making 
 pumps, water pipes, &;c. in the country th^y are ufed tor water -pif)es 
 for the conveyance ot water through bogs and dams ; and alio for water- 
 pipes for conveying water to fupply houle^' f om any I'pring. Large poles 
 ot trees of. th^s wood are alio uled for ground-cuts, for conve_yirig water out 
 
 of; 
 
8 .AMP 
 
 of rtews. Thefe poles are about eight or ten inches diameter, and the cavity 
 in them about four, or four and a half. But for water-pipes, the poles 
 jieed not be above four or five inches diameter, and the cavity about an inch 
 and a quarter, or an inch and a half diameter. As to the method of bo- 
 ring Alder pipes : thefe poles being laid on horfes or treffels of a proper 
 heit^it, to reft the augur upon while they are boring, they fet up a lath, to 
 turn the leaft end of the poles, to fit them to the cavities of the great end 
 of the others. The lath being fet up, and the poles cut to the lengths they 
 will conveniently hold, viz. eight, ten, or twelve feet, they turn the 
 imall ends of the poles about five or fix inches in length, to the fize they 
 intend to bore the larger ends, about the fame depths, viz. five or fix 
 inches. This is intended to make a joint to fliut each pair of poles toge- 
 ther; the concave part being the female part, and tlie other part the male 
 of the joint. In turning of the m.le part, they turn a channel in it, or 
 a fmall groove at a certain diftance from the end; and, in the female part, 
 they bore a fmall hole to fit over this channel. This being done, they 
 bore the holes through ; and, to prevent them from boring out at the 
 fides, they ftick great nails at each end, to be a guide to them in boring 
 llrait through; though they ufually bore them at both ends, by which 
 means, it a pole be crooked one way, they can bore it through and not 
 fpoil it. The holes being bored, they form them into pipes in the ground ; 
 in order to which they dig a trench, and prepare it with clay, to ram them 
 in the female part, which is firft bound with an iron ring round it, to 
 prevent its fplitting ; afterwards they drive in the male part, till the groove 
 ;n it is juft under the hole; and pour melted pitch hot into the hole, in 
 the female part. By this means thejundures are rendered very compadt and 
 ilofe; and in this manner they proceed till they have laid all theirpoles or 
 pipes in their order. 
 
 Alley^ in Perfpedive, is that which is larger at the entrance than at 
 the iflue, to give it a greater appearance of length. 
 
 Altimet^ Y, the art of meafuring altitudes or heights, whether ac- 
 -^efiible or inacceflible. 
 
 Amphitheatre, a fpacious edifice of a circular or oval form, with 
 rifing "feats, on which the people fat to behold the combats, or gladiators, 
 wild beads, and other fports. Amphitheatres were originally built of 
 wood; and Statilius Taurus, in the reign of Auguflus, was the firlt who 
 ereded one of ilone. The lowell part was called Arena, from its being 
 generally ftrewed with land, for the conveniency of the combatants ; and 
 round the area were vaults, m which the wild beads appointed for the 
 fliewb were contained. Above thele cells was eredted a large circular pe- 
 j:ill:\le, for accommodating the emperor^, lenators, and other perlons of 
 idiftmction. Over the periftyle were the rows of benches, which were 
 
 .entered 
 
A N G 9 
 
 entered by avenues terminated by gates. The theatres of the antients 
 were built in the form of a femicircle, only exceeding a juft femicircle by 
 one-fourth part of the diameter ; and the amphitheatre is nothing more 
 than a double-theatre, or two theatres joined together ; fo that the longeft 
 diameter of the amphitheatre, was, to the (horteft, as one and an half to 
 one. We have the remains of three very confiderable ones ftanding at 
 this time ; the Co/ifaum, which was an amphitheatre of Vefpafian ; another 
 at Verona in Italy ; and the third in Languedoc, near Nifmes. There 
 are alfo remains of fome others. 
 
 Anchor, in Architedure, a fort of carving refembling an Anchor. 
 They are generally placed as part of the enrichments of the boultins of 
 capitals of the Tufcan, Doric, and Ionic orders ; and alfo of the boultins 
 of bed-mouldings of the Doric, Ionic, and Corinthian cornices ; thefe 
 Anchorsand eggs being carved alternately throughout the whole buildings. 
 
 An CONES, the corners or coins of walls, crols-beams, or raftors, 
 Vitruvius calls the confoles (a kind of brackets or fhouldering pieces) by 
 this name. 
 
 Angle, Angidus, the mutual inclination of twolines, which meet and 
 form an Angle in one point. But if twolines meet in fuch a manner, as 
 to have no inclination to each other, they will generate a right-line, and 
 a right-line equal to both their lengths, without forming any Angle.^ And, 
 on the contrary, if any right-line meet another right-line in any dif- 
 ferent pofition, they will conftitute an Angle at their point of meeting. 
 An Angle is fignified by the three letters, of v^^hich the middlemoft al- 
 ways denotes the Angle ; fo in the cafe of the two right Angles, in the 
 figure Right Angle, which follows, the one is denoted by the letters 
 ECD, and the other by the letters ECB. 
 
 ARiGHT Angle is that whofe legs are perpendicular to each other, 
 and is conflituted by the meeting of two right lines, with an equal in— 
 clination ; that is, if a line, as EC, meet another line, as DB. 
 
 and inclines no more towards D, than it does towards B, but ftands dl-- 
 re<5lly Iquare between both, then the angle is called a Right Angkt and 
 the line bC is therefore called a perpendicular line to the line DB. The 
 line EC ftanding upon the line BD, at C, is perpendicular thereto; be- 
 caufe, if you defcribe a femicircle on C, with any radius, as BED, the 
 
 D arch- 
 
10 , A N G 
 
 arch BE will be equal to the arch DE ; and fince both arches are equal 
 to each other, and to a femicircle alfo, being taken together, it therefore 
 follows that both the angles on either fide are equal, and are therefore cal- 
 led Red or Right Angles. As the femicircle BED contains one hundred 
 and eighty degrees, beingjuft the half of three hundred and fixty degrees, 
 contained in every whole circle, and is equally divided in C, by the per- 
 pendicular line EC ; it therefore follows, that the angles BEC, and DEC, 
 are equal to each other, and mufl each confift of ninety degrees j there- 
 fore a right-angled triangle is that whofe arch contains exadly ninety 
 degrees. 
 
 Acute Angle, is that which is lefs than a right angle, or an angle 
 whole inclination is nearer than a right angle; fo that when any two 
 lines incline nearer to each other than DC 
 
 does to EC, as the lines FC, and DC, or AC, and DC, then by their 
 meeting they fjrm (harper angles than the right angle ECD, and are 
 therefore all called Acute Angles. 
 
 Obtuse hngle, is that which is greater than a right angle. 
 
 Adjacent Anglfs, fuch as have the fame vertex, and one of the 
 legs continued beyond the angular point. 
 
 Vertical Angles are formed by two right lines interfedling each 
 
 other. 
 
 Angle at the center of a circle^ is an angle in a circle, whofe vertex is 
 
 in the center of that circle. 
 
 The quantity and meafure of an Angle, is the arch of a circle def- 
 cribed on the angular point, intercepted between the two fides of that angle. 
 
 To make an Angle of any given magnitude, fuppofe fifty degrees. 
 
 \ ii X) 
 
 Firft, 
 
ANT 1 y 
 
 Firft, draw a line at pleafure, as FD ; then take fixty degrees from 
 your line of chords, and on one end thereof, as at D, defcribe an arch, as 
 EC. Secondly, take from your line of chords fifty degrees, the quantity 
 of the given angle, and fet it on the arch from EC to FB ; then drawing 
 the right line DA from A, through B, it will complete the angle required. 
 The Complements of Angles, are the fame as the complements of 
 arches, becaufe their quantities are meafured by arches of circles. 
 
 Annulet, in Architecture, a fmall fquare member in the Doric 
 capital, under the quarter round. It is alfo ufed to imply a narrow flat 
 moulding, common to various parts of the columns ; particularly their 
 bafes, capitals, &c. Vitruvius calls it a fillet; Palladio a liftel or 
 cindture; and Scammozzi a fupercilium, a lift, tinea, eye-brow, fquare, 
 and rabbit. 
 
 Ant A, in Architeflure, is ufed by M. Le Clerc for a kind of fliaft of a 
 pillafter, without bafe or capital, and even without any moulding. 
 
 Ant^, a name by which Vitruvius has called pillafters when they are 
 adjoining to the wall : when they are free or infuhtc, he calls them 
 paraftatae. In the firft cafe they have ufually no diminution. 
 
 Ante-Chamber, or Ant i -Chamber, in Architecture, the chamber 
 that leads into the chief apartment ; where the fervants wait, and alfo 
 flrangers, till the perfon who is attended at leifure to fpeak with them. 
 A well proportioned ante -chamber ought to be, in length, the diago- 
 nal line of the fquare of the breadth ; and not to exceed the breadth and 
 half at moft. As to their height, they are made either arched or flat ; 
 if they are flat, their height ought to be from the floor to the joifts, two- 
 third parts of their breadth. But if you choofe to have it higher, divide 
 the breadth into feven parts, and take five of them for the heiglit; or 
 divide the breadth into four parts, and take three of them for the height. 
 In fpacious buildings, the ante-chamber, hall, and other rooms of the 
 firlt ftory, may be arched, which will not only render them handfbme, 
 but lefs fubjecft to fire : and in fuch buildings, the height may he five- 
 fixths of the breadth, from the floor to the bottom of the key of the 
 arch. But, if this height fhould be thought too low, you may make 
 the height (even-heights of the breadth : or it may be eleven-twelfths, 
 •which will render it flill more ftately. Ante-chambers ought to be To 
 fituated, that they may be on each fide of the entry, and of the 
 hall. And this alfo ought to be obferved, that thofe on the right 
 hand may anfwer, and be equal (or nearly equal) to thole en the let:; 
 in order that the buildings may, on all fides, bear equally on the rojf. 
 
 Antic, in Sculpture and Painting, is ufed to fignify a tonfuled af- 
 femblage of figures of difl^erent natures and fexes, &c. as of men, beafts, 
 birds, fifh, flowers, &c. And alfo fuch kind of fancies as are not to be 
 found in nature. It would be too tedious a talk to enumerate all the antic 
 
 lot ins 
 
12 ANT 
 
 forms and fancies by which the Heathens reprefcnted their feveral deities, 
 and their poets, painter^-, and fculptors defcribed them. They alfo had 
 llrange and monftrous figures of human creatures, which were reprelen ted 
 infculpture, painting, &c. as of Centaurs, half men and half horfes ; 
 Segitaurs, half men and half bulls; Syrens, or mermaids, half women 
 and half fifli; Harpies, half women and half birds ; Griffins, half beafis 
 and half birds j Dragons, part ferpents and part birds ; the fpread-eagle 
 with two heads, and many others equally unnatural. They alfo reprefented 
 various forts of flowers and fruits, growing on the fame plant, tree, &c. 
 and many fiftions of that kind. Thefe reprefentations are called by the 
 Jtalians Grctejca, and by the French Grotefquc, which fignify comical, 
 whinifical, laughable, pleafant, ridiculous; and the word Grgtelques fig- 
 nifies ridiculous whims or fancies. 
 
 Antipagments, ornaments or enrichments in carved work, fet on 
 the architrave ( jambs, ports, or puncheons of doors) whether of wood or 
 Aone : after the Latin antique word Antipagmenta. 
 
 Antique, pronounced Anteek, from Antique French. It is a term 
 moft in ufe among architeds, fculptors, and painters ; they make ufe of 
 it to exprcfs pieces of architecfture, fculpture, or paintings, executed in 
 the ages when thole arts were carried to the higheft perfection, by men of 
 the fined genius in Greece and Rome ; that is, from the age of Alexander 
 the Great, to the reign of the emperor Fhocas, about the year of our 
 Lord 6co. Antique, in this fenfe, is oppofed to modern; thus we fay 
 an Antique edifice, bufto, baflb relievo, or manner; an antique model ; 
 of a Aatue, that it is in an antique tafte. Wc have feveral antique pieces 
 of fculpture left, as the Laocoon and Venus, in the pofiefTion of the 
 family of Medicis ; the Apollo and Hercules of the houfe of Farnefe, 6cc. 
 Antique paintings are more fcarce ; we have only the wedding of Aldo- 
 brandinus, fome little figures of the pyramid of Ceftius, a Venus, which 
 is the palladium of Rome, and fome fmall pieces in frefco, preferved out 
 of the ruins of the baths of Titus and Heraclius. Some fculptures have 
 counterfeited antiques fo nicely as to impofe upon the judgment of the 
 public ; witnefs the famous ftory of Michael Angelo's Cupid. 
 
 Antique Manner, a phrafe ufed to exprefs any modern building, or 
 part of a building, which is executed according to the ftridl rules and good 
 tafle of the ancients. The v/ord Antique, in itsextenfive fenfe, ftands as 
 a diftincfiion from modern ; and thus the antique tafte is underftood as 
 diftinguilhed from the modern, which is fuller of ornament and lefs 
 corredl. 
 
 Antique Modkrn, a term ufed to fignify thofe buildings, which 
 have been executed fince the time comprehended under the word Antique, 
 and yet too long to be properly called Modern. Our old Gothic churches, 
 and other flrud:urcs of that kind and lime, are called Antique Modern 
 
 edifices. 
 
ARC 13 
 
 edifices, to dlftlngulfli them from thofe of the Greeks and Romans. 
 
 Aperture, or Apertion, from Aperio, to open. In architecture, 
 fome opening, as a door, window, chimney, ftair-cafe, and all outlets 
 and inlets for light, fmoke, &c. Apertures ought to be as tew in num- 
 ber, and moderate in dimenfions as poSible it being a maxitn, in archi- 
 teflure, that every Aperture or opening has a tendency to weaken the 
 building; nor muft they be made too near the angles of the walls; for 
 it would indeed bj a great folecyfm, to weaken that part which ought to 
 ftrengthen all the reft. 
 
 Apophyge, in architefture, the convex part, or ring of a column, 
 lying either ab^ve or below the flat member. It was originally nothing 
 more than the ferril or ring, fixed on the extremity of a wooden pillar to 
 prevent its fplitting, and was afterwards imitated in ftone-work. 
 
 Appearance, in perfpedive, t;hc='proje(flion of a figure or body on the 
 perfpeclive plane. In Optics, diredl Appearance is the fight of any ob- 
 jeft by dire<fl rays, without refraftion or reflection. 
 
 Aqueduct, an artificial canal, built for the conveyance of water from 
 one place to another; either running under ground, or raifed above it ; 
 and ferving to carry the water to places according to their level, notwith- 
 flanding the unevennefs of the ground between. This word is derived 
 from the Latin aqua duSius, a conduit of water. Many of the Aqueducts 
 of the anticnts were great and aftonifhing works ; fome of which are pre- 
 ferved in large remains to this day. We are informed that the Aque- 
 dudl in Rome, brought daily into that city more than five hundred thou- 
 fand hogfheads of water. The lefTer Aqucduds were of wood, and the 
 Jarger of ftone ; and thofe which were railed above the ground, were 
 fupported by arches in the manner of bridges, from one rifing ground to 
 another, often at feveral miles diftance. I'he Aquedud built near Main- 
 tenon, for carrying the river Bure to Verfailles, is the greateft in the 
 world. It is feven thoufand fathoms in length, and its elevation 2560 
 fathoms, containing 242 arcedes. 
 
 Arabasqjje, or Arabask, fomething done after the manner of the 
 Arabians. Arabafque, GrotelquCf and Thorelqiie, aie terms applied to 
 fuch paintings, ornaments of freezes, &c. on which there are no human 
 or animal figures, Lut which confift wholly of imaginary foliages, plants, 
 flalks, &c, Thefe terms are derived from the Arabs, Moors, and oth^r 
 Mahometans, who make ufe of thefe kinds of ornaments, becaule their 
 religion forbids them to make any images or figures of men, or other 
 animals. 
 
 ARiEosTYLE, a term ufed by Vitruvius, to fignify the greateft: interval 
 or diftance which can be made between columns ; which confills ol ei^ht 
 modules, or four diameters. 
 
 Arc-boutant, (from arc and bouter, fr. to obiii) a flat arch, or 
 
 E part 
 
H 
 
 ARC 
 
 part of an arch abutting againfl the reins of a vault, to fupport and pre- 
 vent its giving way. 
 
 Arch, (of A'-cus, Lat.) in architedlure, a concave building, ereded 
 on a rriould bent in the form of acurve, for fupporting fome ftrudiure. 
 Arches are either circular, elliptical, or ftraight, as they are improperly 
 called b) workmen. The terms arch, and vault, properly differ only in 
 this, that the arch exprefles a narrower, and the vault a broader piece of 
 the fame kind. 
 
 What are called f,roight arches, are thofe frequently ufed over doors and 
 windows, the upper and under edges of which are ftraight and parallel, 
 and the ends and joints all pointing towards a centre. 
 
 The Ipace between the piers of a bridge is called an Arch^ bccaufe 
 ufually arched over. 
 
 Triumplial arches are magnificent entries into cities, &c. of a femicir- 
 cular form, adorned with fculpture, infcriptions, 6cc. eredted in honour 
 of thofe who have deferved a triumph. The arches of Titus and Con- 
 ilantine make, at this time, a great figure among the ruins of old Rome. 
 
 Of a circular arch upon a circular plan. From an ingenious work jufl: 
 publiflied, by Mr. Skaife, " There is not the difficulty in an arch of 
 this conftrudion in brick-work, that is ufually confidcred ; the principal 
 thing to be thought of is the fcheme for ftriking the front of the bricks, 
 which, once properly underftood, will render the praclife exceedingly 
 familiar. There is another confideration to he obferved, which is the 
 foffit of the bricks to thefe arches, and muft bear the exaft gauge behind 
 as before, in order to fecure the ftrength and key, that the arch may have 
 no inclination to a center, otherwife than what tends to its gravity. 
 
 The belf pradical method 1 can allude to, is, after you have divided 
 the arch, and fettled your bond in front, make two moulds to fweep off 
 the wall ; after fix two uprights of wood a little above the top cf the arch ; 
 at the top fix one, and let the other be moved down to the top ef the 
 courfes as they gradually rife; then with a rod, with a prick in the end, 
 clapped clofe to thofe two ribs, ftrike the top-fides of every brick ; the un- 
 cer-fide may be marked by the preceding biickj and in this manner pro- 
 ceed all the way, till you get to the top, which will give the exadt curve 
 required to the wall, and perpendicular to the ground plan. 
 
 A Crimma eliptical arch, upon the above plan, may be executed in the 
 fame manner refpecting the front; and foffit likcwife. Arches that fplay 
 in the jambs, and both rife to one height, mull be reduced to practice, in 
 the following manner; firil, divide the arches on both fidts into an exad 
 number of bricks ; and, having drawn the width of the wail, and laid 
 down the arches on both fides, let fall perpendiculars from the different 
 ends of the bricks on both fides, and draw parallel lines into each by the 
 fplay of the wall, which will give the exadl fize of the bricks in tiie fof- 
 fit, and likewiile the fplay of the face of the bricks on both fides. As I 
 
 am 
 
ARC IS 
 
 am treating of brick-work, I fhall fay foinething of the prices, before I 
 depart from the fubjecft. 
 
 Of the quantity of materials to a rod of brick-work. 
 
 The requifite quantity of materials to a rod of brick-\vo;k, which ia 
 the ftandard for valuing, as well as taking dimenfions ; the mailer's 
 prices, and thofe ftipulated by furveyors, coriie next within our notice, as 
 well as the jufl calculation for London, and every capital town in the 
 kingdom, divefled of all errors of furveyors, and extravagant exactions of 
 fome mafters. And, firft, it will not be amifs to mention, that a rod is 
 a meafure of fixteen feet and a half, which, multiplied into itfeH, contains 
 272 feet and one quarter to one brick and half thick, which is the ftan- 
 dard on which the price is fixed ; let the wall confift of what number of 
 bricks in thicknefs foever, they are always reduced to a fyftem by the 
 following rule : multiply the fuperficial content of the wall by the num- 
 ber of half bricks it contains in thicknefs j and divide that product by 
 three; the quotient will be the content in feet, to the ftandard. Laftly, 
 divide that quotient by 272, the number of fuperficial feet in a rod, and 
 the laft quotient will be the content in rods, and the remains feet. See 
 the example. 
 
 ^uppofe the dimenfions of a wall was 64 feet 6 inches by 24 feet 6 
 inches, and three bricks thick, firft multiply 64 feet 6 inches by 24 feet 
 6 inches, the produd is 1580.3, which I multiply by 6, the number of 
 half bricks the wall contains ^ the produdl is 9481 feet 6 inches, which 
 I divide by 3, the number of half bricks in the ftandard ; the quotient is 
 3160 and 2 parts; which I divide by 272, the number of fuperficial feet 
 in a rod, the laft quotient is 1 1 rods and 71 feet. 
 
 272)3160 2(11 
 
 272 
 
 440 
 272 
 
 168 
 
 64 
 
 24 
 
 6 
 b 
 
 256 
 
 128 
 
 
 32 
 
 12 
 
 3 
 
 1580. 
 
 3 
 
 6 
 
 3(9481 
 
 9 
 
 6(3160 
 
 4 
 3 
 
 
 18 
 18 
 
 
 When' 
 
i6 ARC 
 
 Whenever It happens that there is a large remains of feet, 68)168(2 
 
 you mufl: divide them by 68, the number of feet in a quarter 136 
 
 of a rod, u'hich will bring you nearer, if you have but one ——1 
 
 number: if many, add them all together j and this rule will 32 
 ferve for every fubjedf. According to a wall of the above 
 
 dimenfions, the quantity of reduced brick-work is 11 fquare Sq. Q. Ft. 
 
 I quarter, and 3 feet, as in the margin. II 2 32 
 
 Note, Though a rod contains 272 feet and a quarter, the quarter is 
 always rejeded : then divide by 272, which is near enough for brick- 
 work, as a quarter of a foot, ftufF, and labour, cannot be wo-th more than 
 two-pence, which is too trivial to mention, in an eight pound matter. 
 The fame of the parts of a foot to be divided, as in the above example. 
 Having given an example of meafuring brick-work, in order to come at 
 tlie value, we muft confider the quantity as well as the quality of the ma- 
 terials along with the exadl time it takes to execute it. And, firft, of 
 materials. My reader mufl: obferve, that to every rod of brick-work is 
 required 4400, and of fome (as bricks vary much in fize) 4500 of bricks, 
 one load of lime, or 32 bufliels of lime, and two loads of fand, which 
 is the neareft general calculation that can be made. 1 have, noiwithfliand- 
 ing, feen bricks of fuch a fize, that 4000 of them would have walled a 
 rod : but thofe are rarely to be met with ; therefore we mufl abide by the 
 above number. The fame of lime and land, which may va:y a little 
 9ccordincr as they are in goodnels. 1 here are two forts of limej the one 
 made of chaulk, the other of Hone : the latter in point of ftrength and 
 quality deferves much the preference. There are alfo different lorts of 
 land, and equally goodj but that which ought to be preferred for build- 
 ing is river-land, and is much the befl in a flrong current ; of this you 
 may put three of fand to one of lime that is made of flone ; if of chalk, 
 only two of fand, and one of lime. There is a kind of white pit-fand 
 in many countries; but it is not lb good as red. My reader muit ob- 
 ferve, that with regard to materials no univerfal flandard can be found, 
 becaufe bricks and lime vary in every county ; therefore I (hall fix a price 
 for a rod of brick-work in London ; and after make a table to ferve the 
 x:cuntry, acct rding as materials vary in value. But firil let us enquire 
 jnto the labour which a rod of brick-work requiies. iVJy reader mult al- 
 low, that in crder to fettle a general plan for labour, we mufl: either ac- 
 count the mean proportion of time, or flipulate the befl wages to the 
 Jeafl: that reaibn can allow; which, to a good journeyman of 3 s. per 
 day, will take four days, and the like quantity or length of time to a la- 
 bourer, bcfidtrs the making the mortar, &c. .Next, my reader mull ob- 
 ferve, that bricks in London are per thoufand from i 1. to 1 1. los. 
 therefore yve will not hefitate in this, but take a mean of 1 1. 5 s. for our 
 
 ftandard- 
 

 1. 
 
 s. 
 
 d. 
 
 is 
 
 5 
 
 12 
 
 6 
 
 is 
 
 o 
 
 «3 
 
 4 
 
 is 
 
 o 
 
 12 
 
 o 
 
 is 
 
 o 
 
 8 
 
 o 
 
 
 
 
 3 
 
 o 
 
 
 7 
 
 8 
 
 lO 
 
 ARC 17 
 
 ^andard-price, and lime we will reckon at 5 d. per bufhel, and fand 4 s* 
 per load; which are about the neat prices. The reafon 1 chufe to men- 
 tion lime by the bufhel, is to give a clearer light into this matter, than I 
 ihould bv mentioning it, either by the bag or hundred, becaufe every 
 county hath a juft knowledge of the bufhel, and few of bags and hun- 
 dreds. But to the point. 
 
 4,500 of bricks, at il. ^s. per rooo 
 32 bulhels of lime, at ^d. per baOnel 
 Labour of trowel-hand, at 3s per day, 4 days. 
 Ditto a labourer at 2s. ditto 
 
 Making^ the mortar to ditto 
 
 By the above ftipulation we find, that 7I. 8s. lod. is the neat price 
 which a raafter pays out of his own pocket, bclides the lofs of his tools, 
 as Ihovels, fcrcens, the wear of cords, poles, puttocks, &c. which are 
 always upon ihe wafle, and boards, his own time, and the laying out of 
 his mone> j therefore, for materials of the above quality, a mafter in jus- 
 tice fhould have per rod 81. los. But in order to come at a real flan dard 
 of prices for brick-work in any county, I beg my reader to have recourfe 
 to the 1 Rowing table, calculated as univerfal, allowing the mafter for 
 lime, iand, and making the mortar, jl. 3s. and for labour il. 5s. 
 
 Aa univerfal Table of Brick-work, allowing il. 3s. Mortar, and 
 
 li. 5s. Labour. 
 
 At 10 — — 28 — — is 
 
 Bricks per 1000.. 
 
 Mortar and Labour. 
 
 s. 
 
 
 
 1. s. 
 
 t 10 
 
 — 
 
 — . 
 
 2 8 
 
 II 
 
 — . 
 
 _ 
 
 ditto 
 
 12 
 
 — .- 
 
 _ 
 
 ditto 
 
 »3 
 
 
 _ 
 
 ditto 
 
 14 
 
 — 
 
 — 
 
 ditto 
 
 15 
 
 — 
 
 — . 
 
 ditto 
 
 16 
 
 — . 
 
 — — 
 
 ditto 
 
 17 
 
 — 
 
 — 
 
 ditto 
 
 18 
 
 
 
 ditto - 
 
 19 
 
 — 
 
 — 1 
 
 aitto - 
 
 20 
 
 — 
 
 1 — 
 
 diiio 
 
 21 
 
 _ 
 
 — 
 
 ditto 
 
 22 
 
 _ 
 
 — 
 
 ditto 
 
 Tlie Price. 
 
 1. 
 
 s. 
 
 d. 
 
 4 
 
 13 
 
 
 
 4 
 
 17 
 
 6 
 
 5 
 
 2 
 
 
 
 5 
 
 6 
 
 6 
 
 5 
 
 1 1 
 
 
 
 5 
 
 15 
 
 6 
 
 6 
 
 
 
 
 
 6 
 
 4 
 
 6 
 
 6 
 
 9 
 
 
 
 6 
 
 '3 
 
 6 
 
 6 
 
 m 
 
 
 
 7 
 
 2 
 
 6 
 
 7 
 
 7 
 
 
 
 Bricks' 
 
iS ARC 
 
 IS 
 
 The Price. 
 
 1. 
 
 s. 
 
 d. 
 
 7 
 
 II 
 
 6 
 
 7 
 
 i6 
 
 
 
 8 
 
 o 
 
 6 
 
 8 
 
 5 
 
 
 
 8 
 
 9 
 
 6 
 
 8 
 
 14 
 
 
 
 8 
 
 18 
 
 6 
 
 9 
 
 3 
 
 
 
 T!ie above table I have calculated to ferve the country, and ought to be 
 the ftandard in town, when there are no extraordinary exceptions, as fronts 
 with particular breaks, which are attended with much trouble, &c. 
 
 If a mafter-bricklayer ftipulates all his work at one price, as fronts, 
 foundations, and party-walls, one thing will m-ke amends for the lofs of 
 another. The price fhould be what I have mentioned prior to the table ; 
 though mafters would grumble at this price j becaufe being only allowed 
 ll. per rod profit, which I think very fufficient; for by this rule, if a 
 mafter can but employ twelve trowel-men the year round his bufinefs 
 will be a good 500 1. per annum, allowing one hundred per ditto for bad 
 debts, and keeping up his fcaffolding. Whether this is lufficient or not 
 
 I leave to the judgment of the world, But I fay, if from fuch prices 
 
 (which are confidenibly lefs than many maflers have) thefe genteel profits 
 arife, what fhall we fay to lol. and 12 1. per rod, which I have known 
 many bricklayers charge for common brick-work ? But the laft is exorbi- 
 tant, and ought to be utterly aboliflied. There are indeed pariicular jobbs, 
 as warchoufes of a particular height that ftand clofe to the Thames, where 
 one labourer is not fufficient to half ferve one bricklayer, and where dou- 
 ble the trouble is required to erect the fcafFold, &c. In thefe cafes 12 1. 
 per rod may not be amifs I would not willingly infer, or be fuppoled 
 to infinudte, that the above prices fhould be lowered ; but will take the 
 liberty to fay, if a mafter is allowed 9 1. or 10 1. per rod, he ought to 
 augment his journeymen's wages ; a thing which ought to be maturely 
 tonlidered in every branch of building. 
 
 I make no doub". but fome people will wonder how I can fo eafily re- 
 concile this giving as much for labour to a country mailer as a London 
 one, in bufinels like a bricklayer, and fo eafily attained. To the perlon 
 that m.ikes this objection, I give the following anfvver ; that there is a 
 flig! t in brick-work as well as in every other practice, and t at brick- 
 Ia)'ers in London are obliged to do one-third more work than in the coun- 
 try is ever dtfired : befides, in point of labourers with regard to their 
 prices, uhich in London are confiderably more than the country, and 
 with juliicc too; lor could you have a country labourer in London, you 
 
 would 
 
ARC 19 
 
 would find he would not be able to half-ferve a bricklayer, without a 
 year's experience A rod of brick-work in the country is, by men that 
 have not had London pradice, five and a half days work, and in fome 
 places fix j nay, I have even known a brick-layer in the country, and 
 v/ho was efteemed a ^ood workman, to be eight days over-walling a rod, 
 and all this time a labourer to attend him ; which, if we rightly confider, 
 will produce the country mafters lefs profits by much, and not to have 
 w ork forhalf the number of men. 
 
 To a gentleman that finds his own materials, fcaffolding, &c. a mafter 
 fliall have from il. Ss. to 1 1. 16 s. per rod labour, according to the good- 
 nefs of the work. The ftandard price by many furveyors is il. 10 s. 
 The marters prices, where no furveyor is concerned, are trom il. 16 s. to 
 I 1. 18 s. which will allow for men to have 3 s. 6d. per day, which ought 
 to be the journeyman's price, as brick-laying is but an half year's bufinefs. 
 
 It is hoped our readers will pardon this digreflijn, as we fliall now re- 
 turn to the fubje(ft of arches. .. ,. 
 
 Arch of a circle, is a part of the circumference of it lefs than half a 
 lemicircle. The bafe or line that joins the two extremes of the arch, is 
 called the chord ; and the perpendicular raifed in the middle of that line, 
 is the fine of the arch. Every circle is fuppofed to be divided into 360 
 deerees, and an arch is eflimated accordins: to the number of thefe de- 
 grees it takes up. Thus an arch is faid to be 20, 30, 50, 80, 100 
 
 decrees 
 
 Equal Arches, are thofe which contain the fame number of degrees, 
 and are cut from the fame circle, 
 
 Similar Arches are thofe which contain the fame number of degrees, 
 but cut from unequal circles. 
 
 Sir Henry Wooten fays, an arch is a narrow contradled vault, and a 
 vault a dilated arch. 
 
 Arches are ufed in large intercolumnations of fpacious edifices , in por- 
 ticoes, both within and about temples ; in public halls, as cielings ; the 
 courts of palaces, cloifters, theatres, and anti-theatres. 
 
 An arch in geometiy, is any part of the circumference of a circle or 
 curved line, extending from one point to another. 
 
 An arch in mafonry, contains a number of fiiones, hewn out and 
 wrought, which when fet in their proper places, are as one folid circular 
 courle, whofe .lower ends form any part of .a circle or curved line, calcu- 
 lated to fupport any wei^fht, proportionste to their ftrength and figure. 
 Sir Henry Wooten, in his Theorems, oblervts, that "All lolid materials, 
 free from impediments, defcend perpendicularly, becaufe pondercfity is a 
 natural inclination to the center of the earth, and nature ptrforms her mo- 
 tions by the fl:iorteft lines." This evidently proves, that all arch itones 
 
 muil: 
 
20 ARC 
 
 muft be drawn from their central points to form the curve; othervvirc 
 their bearings will be rendered imperfed:. 
 
 Semicircular Archks, are thofe arches which are an exadl femicircle;; 
 and have their center in the middle of the diameter (or chord of the: arch) 
 or the right line that may be drawn between the feet of the arch. Of this 
 form the arches of bridges, windows of churches, and' great gates, are. 
 frequently made in modern buildings. 
 
 Scheme or Skeen Arches, are thofe which are lefs than a femicircley. 
 and confequently are flatter arches, containing fome go, fome jOt. and 
 others 60 degrees. 
 
 Semicircular arches are ealily diftinguiftied from fcheme arclies thus j 
 That the chord or right line, drawn between the feet of a femicircular 
 arch, is jull double to its height (being meafured from the middle of the 
 chord to the key- piece or top of the archj whereas the chord of a fciieme 
 arch of 96 degrees, will be more than four times its height, and the chord 
 of a fcheme arch of 60 degrees, will be more than fix times its height. 
 
 The famous Alberti, in h\s arc bit eSJiir a, has the following oblervations. 
 In all openings, in which we make arches, we ought to contrive never to 
 have the arch lefs than a femicircle, with the addition of the feventh part 
 of half its diameter, the moft experienced workmen having found that 
 arch to be much befi: adapted for enduring, in a manner, to perpetuity; 
 all other arches being thought lefs flrong tor fupporting the weight, and 
 more liable to ruin. 
 
 It is alfo thought, that the half circle is the only arch that has noocca- 
 fion, either for chain, or any other fortification ; whereas all others are 
 found, bv experience, either to burft out, or fall to ruin by their own 
 weight, if they are not chained, or have not fome weight placed againft 
 them lor a counterpoife. 
 
 I will not omit, continues he, what I have obferved among the antients, 
 a very excelleat and commendable contrivance ; their bell archite(fls placed 
 thefe apertures, and the arches of the roofs of temples, in fuch a manner, 
 that if you even took away every column from under them, they would 
 ftill remain firin and not fall down : the arches, on wh.ch the roof was 
 placed, being drawn quite down \o the foundation, with aftonifhing art, 
 known only to a few ; fo that the work upheld itfelt by being only fet 
 upon arches j for as thofe arches had the folid earth for their cham, it is 
 not to be wondered at that they flood firm without any fupport. 
 
 The dodtrine and ufe of arches is well delivered by Sir Henry VVooten 
 in the following Theorems. 
 
 Theorem I. All matter, unlefs impeded, tends to the centre of the 
 earth in a perpendicular line, or defcends perpendicularly downwards. 
 
 Theorem II. All folid materials, as bricks, ifones, &c. moulded in 
 their common reilangular form, if laid in numbers, one by the fiae of 
 
 another, 
 
 r- 
 
ARC 21 
 
 another, ki a level row, and their extreme ends fuftained between two 
 fupporters, all the pieces between will neceffarily fink, even by their own 
 natural gravity; and rnuft much more, if they are preffed down, or fuffcr 
 any preffure by a (uper-incumbent weight ; becauie their fides being pa- 
 rallel, they have room to defcend perpendicularly without impediment, 
 according to the lormer theorem; therefore to make them ftand, either 
 their figure or their pofition muff be altered. 
 
 Theorem III. Stones, bricks, or other materials, being figured cune- 
 atim, /. e. wedge-wife, fomewh.tt broader above than below, and laid in a 
 level row. with their two extremes fupported, as in the preceding theorem, 
 and pointing all to the lame centre ; none of the pieces between can fink, 
 till the fupporters or butments give w^y, becaufe they want room in that 
 fituation, t- defcend perpendicularly. But this is a weak flrufture ; be- 
 cauie the fuppoiters are iubjed to too much impulfion, efpecially where 
 the line is long ; for which realon, this form of ftraight arches is feldom 
 ufed, but over doors and windows, where the line h (hort. Therefore, 
 in order to fortify the work, the figure of the materials muft not only be 
 changed, but the pofition of them too; as will appear in the following 
 theorem. 
 
 7 heorem IV. If the materials be fhaped wedge-wife, and difpofed in 
 the form of a circular Arch, and pointing to fome centre : in this cafe, 
 neither the pieces of the faid Arch can fink downwards for want of room 
 to defcend perpendicularlv, nor can the fupporters or butments of this 
 Arch fuffer io much violence, as in the preceding platform, for the round- 
 nefs, or rather cnvexity, will always make the incumbent weight rather 
 reft upon the fupporters, than heave or fhove them outwards ; whence this 
 corollary may be fairly deduced, that the lafeft or moft fecure ot all the 
 Arches above-mentioned, is the lemicircular; and of all vaults ; the he- 
 mifpherical, although not abfuljtely exempted from fome natural imbeci- 
 lity, ( which is the fule prerogative of perpendicula • lines and right angles) 
 as has been obferved by Bernardino Baki;, Abbot of Guaftalla, in his 
 Commentary upon Ariftotle's Mechanics; where by the way, it is to be 
 noted, that when any thing is demonftrated mathematically to be weak, 
 it is much more fo mechanically ; errors alwa\s occurring more ealily m 
 the management of gfols materials, than in lineal dcligns. 
 
 Theorem V. As lemicircular Arches, or he nifphericai vaults, raifed 
 on the whole diameter, are the ftrongeft and fecureft by the picceding 
 theorem, fo they are alfo the moft beautiful ; which keeping precilely to 
 the fame height, are yet diftended one louiteenth part knger than the 
 faid diameter : which addition of width will contribute greatly to their 
 bcituty, without diminiftiing any thing confideiar)le of their ftrength. 
 However it is to be obierved, that according to geurattrical ftrid:aels, in 
 
 G order 
 
2> ARC 
 
 order to have the iTirongeft: Arches, they muft not he portions of circles, 
 but (f another curve, cal ed, the ca enaria ; the nature of which is fuch, 
 tJiat a number of fpheres dilpoled in -his fo'in, will luftain each other; 
 and form an Arch. Dr. Gregory, Phil. Tranl. No. 231, has fliewn, that 
 Arches conftrutfled in other curves, only ftand or luftain tiiemfelves by 
 virtue of the catenaria contained in their thicknefs ; lo that if they were 
 made infinitely flender or thin, they muft of ccurle tumble j whereat the 
 catenaria, though infinitely flender, muft ftand, by reafon that no one 
 point of it tends downwards more than any other. 
 
 Of meafuring Arches. Whether the arches befl:raightor circular, they 
 -muft be meafured in the middle, i e. if a llraight arch be ten inches 
 in height, or depth, the length muft be meafured in the middle of the 
 ten inches ; which length will not be any longer, than if it were mea- 
 fured at the under fide next to the head of the window, by fo much as 
 one fide of the fpringing arch is turned back from the upright ot the 
 jaumbs, peers, or coins of the windows. And alio in circular Arches, it 
 is to be obferved, that the upper part of the Arch is longer (if girt about) 
 than the under part, becaufe it is the fegment of a greater circle, cut off 
 by the fame right line that the leiTer is, and therefore muft be girt in the 
 middle. 
 
 Architect, a perfon flcil'ed in architedture, who not only draws the 
 plans of edifices, but alfo fuperintends and dirc-fts the artificers It is 
 his bufinefs to confider the whole manner and method of the building, and 
 alfo to calculate the expcnce. In the management of which he ought to 
 have regard to its fituation, contrivance, ftrength, beauty, form, and ma- 
 terials. 1 he term Architedl is alfo ukd forthe furveyor or fuperintendant 
 of an ediiice, the management being wholly commit ed to his circum- 
 fpedlion. Vitruvius enumerates twelve qualifications requifitefo- a com- 
 plete Architedl, viz. that he be docile and ingenious, littrate, ilcilled in 
 Defi^ning, in Geometry, Optics, Arithmetic, Hiftory, Philofophy, Mu- 
 fic. Medicine, Law, and Alhology, The moft celebrated Archi edls 
 among the antients, are Vitruvius, Palladio, Scamozzi Serlio, Vignola, 
 ■Barbaro, Cataneo, Alberti, Vida, Bullant, Ue Lorme, and many others. 
 
 Akchitectonip, fomething endowed with the power and fkill of 
 i>uilding, or calculated to afiili the archited:. 
 
 Architecture, the art or fcience of eicding edifices, either for ha- 
 bitation or defence. It gives the rules for defigning and raifing all forts 
 of rtrudures, according to the rules of Geometry and proportion, and 
 includes, all thofe arts which conduce, in any degree, to the framing of 
 houles, temples, palaces, Sec. The Icheme, or projection of a builoing, 
 is ulually laid down in three feveral defigns or draughts. The firft i& a 
 plan, which exhibits the extent, divifion, and diUribution of the ground 
 
 into 
 
ARC 
 
 23 
 
 into apartments'and other conveniences. The fecond (hews the ftories, 
 their heigh s, and the external appearances of the whole building: and 
 this is ufualiy called the defign or elevation. The third is commonly 
 called the fection, and fliews the infide of the fabrick. From thefe three 
 defigns, the furveyor makes an eftimate of the charges of the v^hole 
 building, and the time requifite to complete it. As to the antiquity of 
 Architedure; Architedure is hardly inferior, in point of antiquity, to 
 any other art. Nature and necelTity taught the firft inhabitants of the 
 earth to build or eredl huts, tents and cottages ; from which in procefs of 
 time, they gradually advanced to erefting more regular and ftately dwel- 
 lings, adorned with variety of orn ^ments, proportions, &c. Antient 
 writers alcnbe the carrying of Architedure to a confiderable height to 
 the Tyrians, who were therefore fent for by Solomon to ered his temple. 
 But Villapandus will not allow thofe who were fent for from Tyre, to 
 be any more than inferior workmen, fuch as artificers in gold, filver, brafs, 
 &c. and fuppofes that the rules of Architcdlure were delivered by God 
 himfelf to Solomon. So that the Tyrians rather learned Architecture 
 from Solomon, than Solomon irom them; which they afterwards com- 
 municated to the Egyptians, the Egyptians to the Greeks, and the Greeks 
 to the Romans. He undertakes to prove, that all the beauty and advan- 
 tages of the Greek and Roman fabricks were borrowed from Solomon's 
 temple. Sturmius produces feveral paffages in Vitruvius in confirma- 
 tion of this, where the rules, laid down in his lib. iv. c?.p. 11. and lib. v. 
 cap. I. correfpond exadlly with what Jofephus relates of the Jewifh tem- 
 ples, in his fixth book. But the twenty-third chapter of Ifaiah, ver. 8. 
 informs us to what a pitch of magnificence the Tyrians and Egyptians 
 had carried Architediure before it came to the Greeks ; and Vitruvius alfo 
 gives an account of the Egyptian occus, their pyramids, obeliiTcs, &c. 
 Yet, in the general account, Architedture feems to be wholly of Greek 
 original. Three of the regular orders or manners take their names from 
 the Greeks, as Corinthian, Ionic, and Doric ; and we have fcarce a part, 
 a fingle member, or moulding, but what is tranfmitted to us with a Greek 
 name. And it is certain the Romans, from whom we take it, borrowed 
 all they knew entirely from the Greeks j nor do they feem to have had, 
 before, any other idea of the grandeur and beauty of fuperb buildings, 
 but what arifes from magnitude, ftrength, &c. 
 
 Archiiedfure is fuppofed to have arrived at its glory in the tinie of Au- 
 guflus Caifar; but that, as well as other polite arts, were negledted under 
 Tiberius. Nero, indeed, notwithftanding his vices, retained an uncom- 
 mon paflion for Architecture; but luxury and dilfolutenefs had a greater 
 fliare in it than real magnificence. In the time of Trajan, Apollodoius 
 excelled in the art ; by which he obtained the favour of that prince, and 
 ereded that famous column, called'Trajan's, which is remaining to this 
 
 day. 
 
24- 
 
 A U C 
 
 day. But after this time, Architefture began to decline ; though h was, 
 fyrlbme time, fupported by the care and magnificence of Alexander Seve- 
 rus ; yet it fell with the Wcftern empire, and funk into corruption ; from 
 whence it did not recover for the fpace of 1200 years. All the moft 
 beautiful monuments of antiquity were deftroyed by the ravages of the 
 Vifigoths; and from that time, Architecfture became fo coarfe and artlefs, 
 that their profeffed architects were totally ignorant of jufl: dcfigning, 
 wherein the whole beauty of Architedlure confifts : hence a new manner 
 of Architecfture, called Gothic, took its rife. 
 
 Charlemagne induftrioufly laboured for tlie reftoration of Architefture : 
 and the French applied themiclves to it with fuccefs, under the encou- 
 ragement of Hugh Capet. His fon Robert profecuting the lame defign, 
 the modern Architedture, by degrees, ran into as great an excefs of deli- 
 cacy, as the Gothic had before done of maffivenefs. To thefe we may 
 add the Arabefk, Morefk, or Moorifh Architecture, which were much of 
 the fame nature with the Gothic; except, that as the former was brought 
 from the North, by the Goths and Vandals, the Utter was hroii^ht from 
 the South, by the Moors and Saracens. The Architeds of the thirteenth 
 fourteenth, and fifteenth centuries, who had fome knowledge of fculp- 
 ture, feemed to make perfedion confift wholly in the delicacy and multi- 
 tude of ornaments, which they laviflily beftowed on their building; but 
 frequently without condudt or tafle. In the two laft ceniurieb, the Ar- 
 chitedts of Italy and France affiduoufly erideavoured to retrieve the pri- 
 mitive fimplicity and beauty of antient Architedture ; nor did tliey fail of 
 fuccefs : infomuch, that now our churches, palaces, 6cc. are built en- 
 tirely after the antique. 
 
 Civil Arcbitcdure may be diftinguiflied, with refped: to the feveral pe- 
 riods or Rates of it, into Antique, Antient, Gothic, iModern, &c. Ano- 
 ther divifion of Civil Architecture arifes from the different proportions, 
 which the different kinds of buildings rendered necefTary ; that there 
 might be Ibme adapted to every purpole, according to the buik, ftrength, 
 delicacy, richnefs, or fimplicity required. Hence proceeded the five or- 
 ders or manners of building, all invented by the ancients, at different 
 times, and on different occafions, viz. Tulcan, Doric, Ionic, Corinthian, 
 -and Compofite. That which forms an order, is the column, with its 
 bafe and capital, furmounted by an entablature, confuting of architrave, 
 freeze, and cornice, fuftained by a pedeftal. We have no Grttk authors 
 now extant, on Architecture: the hrfl who wrote upon that fubjecft, was 
 Agatnereus, the Athenian. He was feconded by Democritus aiid 1 heo- 
 phraflus. Of all theantients, Vitruvius is the only author we have en- 
 tire ; though he relates, that there were feven hundred Architedts in Rome 
 in his time. Vitruvius, in the time of Auguftus, wrote a complete byl- 
 tem of Architcituie, in tea books, which he dedicated to that prince. 
 
 The 
 
A R C 25 
 
 The moderns cenfure two things in this excellent work, viz. want of 
 method and obfcurity. The mixture of Latin and Greek in Vitruvius, 
 is fuch, that Leon. Babtift. Alberti has obferved, that he wrote Latin 
 to the Greeks, and Greek to the Latins : he alfo fays, that there are a- 
 bundance of things fuperfluous and foreign to the purpofe contained in 
 that performance. For this reafon, M. Perrault has extradled all the 
 rules out of the prolix work of Vitruvius, methodized them, and pub- 
 liflied them in a fmall abridgment. Several authors have attenipted to 
 explain the text of Vitruvius, particularly Philander, Barbaro, and Sal- 
 mafius, in notes added to their feveral editions in Latin ; Rivius and Per- 
 rault, in the notes to their German and French verfions j and Baldus. in 
 his Lexicon Vitruvianus. M. Perrault has alfo compofed an excellent 
 treatife of the five orders, which may be confidered as a fupplcment to 
 Vitruvius, he having left the dodfrine of the orders imperfect. 
 
 The authors who have written on Architedlure fince Vitruvius, are 
 Leon. Baptift. Alberti, who publifhed in Latin ten books of the art 
 of building, defigning to outvie Vitruvius ; but he has not, however, fuc- 
 ceeded in his defign, though his books contain a number of excellent 
 things ; for he is deficient in the dodlrine of the orders. 
 
 Sebaft. Serlio alfo wrote feven books of Architedture, five of which 
 were concerning the five orders, and were publifhed in ibo2 ; through 
 the whole of which he flridly adheres to Vitruvius's rule : the feventh 
 was publidied afterwards, in the year 1675. Philip de Lorme publifh- 
 ed nine books of Archite(fture, in French, in the year 1667. J. Baroz- 
 zio de Vignola publi'hed his rules of the five orders, in Italian in the year 
 i68r ; which have been fince tranflated, with confiderable additions, by 
 Davilcr, under the title of Conrs d'ArckiteBure. Alio Vincent Scamozzi's 
 Idea of Univerfal Architedlure was publiflied in Italian, in the year 
 1615 ; and Car. Phil. Dieuflart's Theatre of Civil Architeduie, was 
 publilhed in High Dutch, in the year i6gj ; in which he not only de- 
 livers the rules of ArchiteiSlure, but alfo explains and compares the five 
 orders, as laid down by Palladio, Vignola, Scamozzi, &c. R. Freart 
 de Cambray alfo purfutd the fame defign in French, in a parallel of the 
 antient Architedlure with the modern, which was publifhed in 1650, 
 and trandated into Englifh by Mr. Evelyn, with additions. Fr, Blondel, 
 diredur ot the Royal Academy of Painting, 6cc. in 1698, gave a courfe 
 of Architedure in French, which was a colledion from all the celebra- 
 ted writers upon the fubjed of the orders, Sec. Nich Goldman has alfo 
 done infinite fervice, by reducing the rules and orders ot Archit dur to 
 a further degree of perfection, and fhewing how they may be eafily deli- 
 neated, by means of certain infi:ruments invented by him. 1 his trea- 
 tife wa; publifhed in Latin and fligh Dutch in 1661. Alfo, Sir Henry 
 Wotton haS laid down the elements of Architedure, which have been 
 
 H reduced 
 
26 ARC 
 
 reducecJ by Stnfmius and Wolfius, fo' certain roTfes and demonftrations. 
 And, by thefe gradations, Architedure has been brought to d matheitia- 
 tical art; by the firft in his Mathefis Juvenelis ; and by the iecdnd, in 
 his Elementa Mathefeos, torn. ii. an. 1715. "'"-4 
 
 Military ARCHITECTURE, is the art ct ftrengthening and fortifying 
 places, to fcreen and defend thttn from the infults of enemies, and the 
 violence of Arms.. This is generally called Fortification, and confifls in 
 the erefting forts, caftles, fortrelTes, with ramparts, baffidtts, 6cc. 
 
 Naval Architecture, is the art of building, or conftrudting of 
 ihips, gallies and other floating veflels for the VvaLef i alfo ports, moles, 
 docks, &c. on the fhore. ;^ "■"'•; '^•; "'; 
 
 Architecture, in Perfpedive Is a kihd df StiiMing, wherein the 
 fnembers are of different meafure, and modules, and diminifh pro- 
 portionably to their diflance, in order to make the work appear longer 
 and larger to the view than it really is. Of this kind is the celebrated 
 pontifical flair-cafe of the Vatican, built in the time of Pope Alexander 
 VII. by the cavalier Bernini. 
 
 Coiinterjeit Architecture ; that which confifts of projedures, paint- 
 ed either in black or white, or Colours after the manner of marble; as 
 may be feen performed in the facades and palaces in Italy, and in the pa- 
 villions of Marli. This painting is done infrefco, upon plaiftered walls, 
 and in oil on ftone walls. Alfo, under the title of Counterfeit Architect 
 tnre, is to be comprehended, that which may be alfo called fcene-work, 
 /. e. what is painted on flight boards, or wOoden planks, on which co- 
 lumns, pilafters, and other parts of building, ftem to ftand out in relievo ; 
 the whole being coloured, in imitation of various marbles, metal, &;c. 
 ferving for the decorations of theatres, £cc. 
 
 Architrave, of i^'/ix;'' chief, zn<^trabs, L. a beam, is that part of a 
 column, or order of columns, which lies immediately upon the capital ; 
 the Architrave is the loweft member of the frize, and even of the whole 
 entablature. The architrave is fuppcifed to rqpreient the principal beam 
 in timber buildings; from whence it takes its name, as above. It is how- 
 ever objected by fome, that they do not perfecftly underftand what is meant 
 by the principal beam of a building; becaufe they do not luppcle it can 
 properly be applied to all buildings, but to fome peculiar kinds, fuch as 
 are called Porticos, Piazzas, and Cloifters ; by which are ufually under- 
 ftood long galleries, or walking places, whofe roofs are fupported by co- 
 lumns or pillars, at leafl, on one fide, which have not arches arifing from 
 them, to fupport the fuperincumbent part of the fabrick ; but have a 
 beam refling or lying upon the tops of the columns, by which the fupe- 
 rior part of the edifice is fupported ; for which reafon 't is probably cal- 
 led the principal beam. Inoced, according to Mr. Perrault's definition, 
 it is the firlf member of the entc^blamcnt, being that which bears upon 
 the column, and is made fometimcs ot a fingle iummer, as appears in 
 
 the 
 
ARC r; 
 
 he mofl ancient buildings ; and fometimes of feveral haunches, as fre- 
 quently feen in the works of the moderns. Architrave is alfo fometimes 
 called the reafon-piece or mafler-beam, in timber buildings -, as porticos> 
 cloiflers, &c. In chimnits it is called the mantle-pieces, and over the 
 jaumbs of doors, and lintels of windows, hyperthyron. 
 
 Architrave doors, are thofe which have an architrave on the jaumbs, 
 and over the door, upon the cap-piece, if ftreight, er upon the arch, if 
 the top be curved. 
 
 Archvrave ivindcivs, of timber, are ufually an ogee, railed out of the 
 folid timber, with a lift over it j though It metimes the mouldings are , 
 flruck, ind la'd en, and fometimes cut in britk. 'J he upper fatio is cal- 
 led the header, or heading Architrave. Architcfts take great latitude as to 
 Architraves, fome ufing more members than others, and many ot them 
 having two or three forms of Architraves. Sometim.es tbty are according 
 to one of the five orders of Architcdure, and fometimes they are accord- 
 ing to the fancy of the workman. Some, for an Architrave round a door, 
 have put firft a fmall he.d next the dcor, then a broad p'inth, or fatio, 
 and above that an ogee ?ncl lirt. There are Architraves ot ftone and brick, 
 as well as of timber. Brick Architraves are ufually, cut in the length of 
 a brick, and fometimes in the length of a brick and a half, and then every 
 other courfe alternately confifts of the breadth of two bricks j the upper 
 one, on which the ogee is cut, and part of the upper fatio, they call 
 header, or heading Architrave ; and the breadth or head of bricks, on 
 which tl>e lower fatio, and part of the upper one is cut, they call a jack 
 Architrave of ilone. Architraves are diftinguiihed into five kinds, viz* 
 Tufcan, Doric, Ionic, Corinthian, and Compofite, according to the five 
 orders of columns. Of the parts, or members of Architraves : ihefe are 
 more numerous than the kind', becaufe there are two different iorts of 
 Architraves to fome of the orders; and what greatly increi>fes the number 
 is, that fome authors differ from others in the form of the fame orders. 
 
 The 1 ufcan Architrave, according to Vitruvius, ought to be half a 
 mode, or M. in height. This general member he has defcribed in twa 
 forms : the firft confifts of three parts or members, viz. two fatios and a 
 cymatium, and is thus divided : the whole height is divided into fix parts ^ 
 which are divided after this manner, viz. the uppcmioft fixth part is the 
 cymatium j which being lubdivided into three, the upper is to be the 
 fillet, and the two lower parts the ogee. The five grand divifions which 
 remain, are to be divided into nine parts, five ot which are to be the up- 
 per fatio, and the other four the lower one. His fecond form, confifting 
 of but three members, or parts, is as follows, viz. a large plinth or plan- 
 chier, a cafement and a large fillet, and is fubdivided as follows : the 
 whole height is divided into fix ; and the upper part is for the fillet ^which 
 projedls in Iquare beyond the plinth; the fifth partis for thecafement, which 
 lifes fiom the plane of the plinth, and ends in a quadrant at the lower 
 
 cornels 
 
^8 ARC 
 
 corner of the fillet) the other four parts remaining are for the plinth, or 
 planchier, or Fatio. Palladio has alio two diftincfl forms for the Tufcan 
 Architrave : the firfl: confifts of two fatios and a lift : the lower fatio is 
 twelve and a half M, high, the upper fatio is feventeen and a half M. 
 ending with a quadrantal cafement, rifing with its plain, and ending with 
 the loweft corner of the lift; the lift is five M. high; and fo the whole 
 height of the Architrave is thirty-five M. His fecond Architrave is only 
 a plain fatio of thirty-five M. high. Scamozzi, according to his delinea- 
 tion, makes the Tufcan Architrave thirty-one and a half M. high; 
 which he divides into fjur parts, or members, viz. two fatios, a lift, and 
 a plinth. He makes his firft fatio ten M. his fecond fixteen and a half M. 
 his lift one and a half M. and his plinth three and a half M. all which 
 make thirty-one, one-third M. Though, according to this verbal ac- 
 count, he fays, it muft be thirty-two and a half M, except it be a typo- 
 graphical error. Vignola defcribes the architrave with the fame parts, 
 height, and form, with Vitriivius's fecond. 
 
 The Doric Architrave. This Architrave, according to Vitruvius, is 
 half an M. in altitude, which he delineates in two forms : the firft he di- 
 vides into feven parts ; the uppermoft of which is the taenia ; the other fix 
 parts which remain, he makes a fafcia under the taenia, and places drops, 
 whofe height are one-feventh of the Architrave : a fourth of this feventh 
 is the fillet, to which the drops hang; the diops are in number fix; placed 
 under, and of the fame breadth with the triglyphs. His fecond figure of 
 his Architrave confifts of the fame members with the firft, and the whole 
 height is equal to the firft. But he divides the altitudes only into fix parts j 
 the upper one of which is his taenia, and the other five the fafcia ; the up- 
 permoft of which is the altitude of his drops, which have a lift, which is 
 one quarter of their height. Palladio makes this Architrave with the fame 
 altitude with Vitruvius, but of a different form ; for he makes it to confift 
 of three parts or members, viz. two fafcias and a taenia : he divides the 
 ■whole altitude into fix parts, one of which, being five M. he afiigns for 
 the guttae, drops, or bells, and the jiftella of the diops is one-fifth of the 
 wiiole height, and one-third M. and the drops two and two-thirds M, 
 the taenia above the drops (or rather of the Architrave) he alfo makes four 
 and a half M. and tlie prima ^or upper) fafcia, fourteen one-half M. and 
 the fecunda (or lower) eleven M. in all thirty M. which is the whole alti- 
 tude. Scamozzi (according to the portraiture of this Architrave) makes 
 it thirty -five M. in altitude ; and he makes this grand member to compre- 
 hend three petty members, viz. two fafcias and a lift; the dimenfions of 
 which are, beginning at the top, and lo defcendingj the lift he makes five 
 M. the upper fa'cia eighteen M. and the lower one twelve M. in all thirty- 
 five M. divides the drops or bellb^thus : he detignt. the lift above to be one- 
 half M. and the bells or drops four oiie-halt M. fo that the whole height is 
 fix M. Vignola makes this Architrave thirty M. in altitude, the lame as Vi- 
 truvius 
 
ARC 29 
 
 truvius and Palladlo ; both which he alfo imitates in the leflTer member j 
 for he has two diftindl forms ; one refembhng that of Vitruvius, which 
 contains two members or parts, the one a htl:, the other a fafcia ; 
 his other form is Hke that of Palladio, comprehending three petty mem- 
 bers, viz. one tsnia, and two fatios. 
 
 The Ionic Architrave : according to Vitruvius's order, this grand mem- 
 ber ought to be half an M. in height. He defcrihes two forms of Archi- 
 traves in the Ionic order, viz. one for the Ionic column, without a pe- 
 deftal ; and the other with apedeflal. He compofes that without a pe- 
 deftal of four minuter parts, viz. three fafcias, and a cymatium ; which 
 is divided as toUows : he divides the whole altitude into feven parts, the 
 uppermost of which he allots to the cymatium, which he fubdivides into 
 three parts j the uppermolt of which is for thsiifl:, and the two remain- 
 ing for the ogee. The other fix remaining parts are divided into twelve ; 
 five of which he makes ti.e upper fafcia, four of the middle one, and 
 three the lovveft. The other for the Ionic column, with a pedeftal, he 
 proportions as follows, viz. he reckons the whole altitude of the Archi- 
 trave, freeze and cornirti, to be two mod. which are divided into ten 
 parts ; three of which are for the Architrave, (which is thirty-fix M.) 
 which he diflinguifhes into fix minuter parts, or members ; which he 
 names as follows, (beginning at the top, and lo defcending) viz. a fillet, 
 a cima, a thorus, and three fafcias ; all which fmaller me:nbcrs he thus 
 finds, viz. firfi: he divides the whole altitude into fix equal pirts ; the up- 
 permoft of which parts he fubdivides into four parts, the highelt of thele 
 four is for the fillet, the two next of the four are allotted to the cima, 
 and the fourth, that remains, is for the thorus. The five grand divifions 
 which remain are fubdivided into twelve, which arediftributed as follows, 
 viz. five for the upper, four for the middle, and three for the lower tal- 
 cia. Palladio afiigns thirty-four M. for the height of this Architrave. 
 According to.his Icheme of this member, it is compofed of feven parts, 
 viz. a lifi:, a cima, three fafcias, and two allragals ; which are propor- 
 tioned as follows : to the lifi: (which is above the cima,) he allots two 
 three-tenths M. to the cima, four three-fifths M. to the upper fafcia, he 
 allows ten one-eighth M. to the aflragal, at its foot, one-third M. the 
 middle fafcia is to contain (even fifty-two fixiictiis ; and tiie aflragal at 
 its foot one-third xVl. to the lower fafcia he aliigns fix nine- tenths M. 
 All which being added together, amount to thirty-four one half M. 
 Scamozzi makes the Ionic Architrave thirty-five M. high, and of the 
 fame form with that of the fecond of Vitruvius, confiiling of fix- parts, 
 viz. a liil, cima, artragal, (cr thorus) and three fafcias j which he pro- 
 portions as follows : he allots two one-half M. to the lifi, to the cima 
 four, to the thorus two, to the upper fafcia eleven one-half, to the mid- 
 dle one eight one-half, and to the lower one fix one-half. Vignola nl- 
 
 1 low* 
 
30 ARC 
 
 lows thirty-.feven one-half to the Tonic Architrave in altitude , and as to 
 the form, it is niuch the fame with that of \''itruviu5's firil: order. 
 
 The Corinthian Architrave, according to Vitruvius, ought to be half a 
 mod. in height; but it is to be obferved, that this is for the Corinthian 
 column without a pedeflal. This member he divides into kven parts, of 
 which the uppermoft is the cymatium; the fix remaining parts he divides 
 into twelve, of which he allots five to the upper fafcia, aUb allowing one-r 
 eighth of this fafcia for a head at its foot, and makes the lower fafcia of 
 "the three remaining parts. The Architrave for the Corinthian order wih a 
 pedellal, according to Vitruvius, is allowed a greater altitude than that 
 withoutj confifting of the fame members, both as to number and form 
 with the former Architrave, but differing in dinienfions. The whole al- 
 titude of the Architrave ought to be one quarter of the altitude of the 
 column, nearly to two-eighths of the body of the column below, which 
 
 is ■ to forty-one half M. This altitude he divides into {even equal 
 
 partF, and makes a cymatium at the uppermoft of thefe feven, and divides 
 the fix that remain into twelve equal divilions ; of which, five he allots 
 to the upper fafcia, four to the middle, and three to the lower one. He 
 fubdivJdes the upper and middle fafcia, each into eight parts, and allows 
 one of thefe eighths for a bead at the foot of each of thefe facias. Palla- 
 dio makes this Architrave to contain eight parts, viz. one lift, one cima, 
 three beads, and three fafcias, the height of all which he allows to be 
 thirty-fix M. Which are thus fubdivided, viz. to the lift, (or upper mem- 
 ber) he allows two three-quarters M. the next in order is a cima, and the 
 next in order is two M . high, at the foot of which is a beid; after this 
 is the upper fafcia, its bead at its foot, both which contain about thir- 
 teen one-half M. After this is the middle of the fafcia, and its bead 
 at its foot, which contain eight one-eighth M. and lafl of all, the 
 lower fifcia, which is fix one-quarter M. in height, Scamozzi makes 
 the whole altitude of this Architrave to be forty M. which he fub- 
 divides into nine fmall members, (beginning at the top, and defcend- 
 inr^) a lift of two M. a cafement three one-quarter M. and an ogee of 
 two three-quarters, a bead of one one-half M. a fafcia of twelve M. 
 and its bead of two M. the middle fafcia eight one-half M. and its bead 
 one three-fifths M. and the lower fafcia fix one-half M. which being all 
 added together, make forty M. Vignola makes the Corinthian Archi- 
 trave forty-five M. in height, and fubdivides it into eight fmalkr mem- 
 bers, as Palladio does, viz. a lift, a cima, three beads, and three fafcias. 
 The Compofite Architrave. Vitruvius makes the Architrave of this 
 column, and freeze, and cornice ail of an equal height, viz. each or 
 which is equal in height to the diameter of the column abov?, juft under 
 the capital, which is ten-twelfths of a mod. fifty M. This Architrave 
 he divides into fix parts, one of which is for the cymatium, and its 
 
 boultin 
 
ARC 31 
 
 boultin under It : tills upper fixth part he divides Into four, and allows 
 one of thefefojr for the fillet above the cima, and the two next for the 
 cima itfejf j and appoints the fourth, that remains, for the fmall boultin 
 under the cima ; and fubdivides the other five grand divifions into twelve 
 minuter parts, afhgning five of them for the upper fafcia, four for ths 
 middle one,' and three for the lower ; and alfo fubdivides the middle faf- 
 cias each ir.to eight parts, allowing one of thefe eights for a bead at the 
 foot of each of thefe fafclas. Palladio makes this Architrave forty-five M. 
 in height, and diftributes them into (even particular minuter members 
 (beginning at the top, and fo defcending ;j firfV, he allows two one-eighth 
 M. tothelifi^, four one eighth to the cafement, to the ogee nine one-quar- 
 ler, to the bead one one-quarter, to the upper fafcia fifteen M. two one-quar- 
 ter to the ogee at. its foot, and eleven M. to the lower fafcia. Scamozzi 
 makes this Architrave forty M. in height, which he dillributes among thefe 
 eight following members, viz. (defcending :) firft, a lift of two M. fecond- 
 ]y, an ogee of four biVt-half M. thirdly, an aftragal of twp M. fourthly, 
 the upper fafcia of eleven three-quarters M. fifthly, a bead at its foot of 
 two one-quarter M. fixthly, ihe middle fufcla of eight one-half M. le- 
 venthly, at its foot, one-rhalfM. eighthly, the lower fafcia of fix one- 
 half. Vignola makes this Architrave forty-five M. in height, which he 
 divides into {even members, a lift, a cafement, a boultin, a fillet, a fafcia, 
 a h^id, and a fafcia. . . ,_. 
 
 ,''Meafuring of Architraves.:, Architraves In buildings (either of brick, or 
 flone) are ufually done by the foot lineal ; and therefore, having taken the 
 length in fact, you have, atlfo the content the fame time. Architraves,, 
 fays Mr. Skaife, are taken , (or inealiired) with a firing over the top, and 
 down both jambs for the Jength ;' and girted round the face and back to 
 the wall for the breadth. The faces of an Architrave, fays M. Le Glerc, 
 oueht not to have ornaments, but to be left plain : and particularly when 
 tne irieze^is enncned., - . .., , .. , 
 
 The proportion' of Architraves by equal parts. 
 
 The Ionic Arcliitrave is divided Into nine, giving one and three-fourths 
 to the firfl face, two and a half to the fecond, and three to the third ; 
 one and one-fourtli to the ogee, and one half part to the fillet; the pro- 
 jedion of the fecorid.and third faces have a quarter of a part each, and 
 the whole two of thefe parts. 
 
 The Corinthian Architrave is divided into nine, giving one and a half 
 to the firft face, one-fpurth to the fmall bead, two to the fecond face, three- 
 fourthiS to tlie fmall ogee, two and a half to the third face, half a part to 
 tile bead, one to the ogee, and half a part to the fillet ; the projection of 
 the fecond face hath one-fourth of a part, the third face one ol' thefe parts, 
 and the whole two. 
 
 Ths 
 
32 A R I 
 
 The height of the Compofite Architrave into nine, giving two and a 
 half to the firft face, one-half part to the ogee, three and one-half to the 
 fecond fice -, one-fourth to the aftragal, three-fourths to the ovolo, one 
 to the hollow, and half a part to the fillet : the projecftion of the fecond 
 face, hath one-half a pait, the ovolo one and one-fourth, and the whole 
 two. 
 
 Area, in Architedlure, any plain furface whereon we walk, &c. 
 
 Area, in Geometry, the fuperfici:tl content of any figure. Thus if 
 a figure^ exempli gratia, a field be in the form of a fquare, and its fide be 
 thirty feet long, its area is faid to be goo fqusre feet, or it contains 900 
 little fquares, each a foot every way. 
 
 Arithmetic, the art or fcierice of computing by numbers. We have 
 very little intelligence with regard to the invention of this inellimable 
 fcience. Some attribute it to Seth, others to Noah, and the Turks to 
 Enoch, whom they call Edris. Many imagine it had its rife with the 
 introdudlion of commerce, and confequently fix its epocha with that of 
 the Tyrians, who did not begin to fiourifh till about a thoufand years 
 after the flood. Jofephus tells us, that Abraham taught the PIgyptians 
 Arithmetic during the time of his fojourning in their country : though 
 Pliny and Strabo fay, that the inundations of the Nile gave occafion to their 
 inventing both Arithmetic and Geometry. ' It is however certain, both 
 thefe fciences were held in the higheft veneration, and committed to the 
 care of their prieAs, who founded their theology on them. The Greeks 
 owed their knowledge in Arithmetic to the Egyptians j and Pythagoras 
 built his philufophical fyftem upon numbers, affirming, that the nature 
 of numbers extends through the whole univerle, and that the knowledge 
 of numbers is the knowledge of the Deity. The antient Arithmetic, 
 however, fell far fliort of the modern ; their notation was very imper- 
 fect, and confequently the operations abftrufe and tedious. They wanted 
 the cypher, or a character that of itlclf fignifies nothiog, to fill up a 
 place, and change the value of their numbers in a decuple progrelTion, 
 their feries extending only to nine. We owe our prefent notation to the 
 genius of the eaftern nations, and received it from the Arabians, who 
 learned it from the Indians. But when, or by whom it was invented, 
 cannot be known. It was known in Europe before the year looo, and in 
 Britain 1 1 50. The oldeii treatife extant on the theory of Arithimetic, 
 is 7 th, 8th and 9th books of Euclid's Elements j where he has 
 delivered the do(flrine of proportion, and that of the prime and com- 
 pofite numbers. After the Arabian notation was known in Europe, we 
 find many writers both upon the theoiy and practice ; and as learning 
 advanced, fo did the knowledge of numbers, which by degrees received 
 the grcateit improvements. 
 
 The fundamental rules of Arithmetic are four, namely, addition, inh-t 
 ftrat'tio.n, multiplication, and divifion. But befides theie, theie are other 
 
 rules 
 
ASH 33 
 
 rules contrived for facilitating computations of every kind ; as the rule of 
 proportion, rule of three, or golden rule, the rules of fellowfhip, barter, 
 exchange, intereft, extraiftion of roots, &c. 
 
 Injirumental Arithmetic, is that where the common rules are per- 
 formed by means of inflruments, contrived for eafe and expedition, as by 
 the lines on a Carpenter's rule, a fedor, 6cc. 
 
 Ash, fraxinus, in botany, a genus of trees. Next to the oak itfelf, it 
 is reckoned one of the rriofl ufeful forts of timber we have, ferving for fo 
 many ufes for the carpenter, cooper, &c. and, like the elm, is good for 
 mortoifes, tenons, &c. it hath pinnated leaves, which moftly end in an 
 odd lobe: the male flowers, which grow at a remote diflance from the 
 fruit, have no petals, but confift in nuany flamina ; the ovary becomes a 
 feed- veffel, containing one feed at the bottom, {haped like a bird's tongue. 
 There are fix fpecies of this tree j all which may be propagated by bud- 
 ding them into comnioa Afli ; upon which they will all take very well, 
 and become hardier than upon their owii flock : but thefe budded trees 
 never grow fo large as thofe which are raifed from feeds ; nor will the 
 ftock and bud keep pace in their growth ; fo that there will be a remark- 
 able difference in the fize of the flem, and above the place where they are 
 budded : but few of thefe foreign kinds have yet arrived at an age to pro- 
 duce feeds in England, the nurfery gardeners having been obliged to pro- 
 pagate thefe forts by budding and grafting. 
 
 The common Afli is propagated by fowing the keys in Ocflober or No- 
 vember, en a bed of frefh earth, which fliould be well dug, and cleanfed, 
 from roots and noxious weeds. A fmall bed will be fufhcient to rail'e a 
 great quantity of thele trees. The feeds Qiould be fown pretty thick, and 
 covered about half an inch thick with earth. Thefe feeds many times 
 continue until the fecond fpring before they come up ; you fliould, there- 
 fore, let the bed remain undillurbed, and keep it clean from weeds. 
 When your plants come up, you muft alio keep them very clear from 
 weeds, and if the leafbn fliould prove very dry, if you give them now 
 and then a little water, it will greatly promote their growth. In this bed 
 they (hould remain no more than the autumn following, provided they 
 have grown well ; at which time you fliould prepare a nurfery, which 
 fliould be well dug and cleared as before ; then with your fpade loofen the 
 roots of your plants before you draw them up, otherwife you will endan- 
 ger the breaking of them. When you have drawn them out of the ground, 
 ihorten the downright tap root, but do not cut off any of the lateral fibres ^ 
 then, having prepared your ground, plant them in rows, three feet dif- 
 tance, row from row, and a foot atunder in the rovv'S, clofing the earth to 
 the rools with your feet. In this nurfery they may remain two or three 
 ye^rs, obferving to keep them clear from weeds, as alio to trim up the 
 fide branches every winter, and dig the ground between the rows; after 
 
 K which 
 
34 
 
 ASH 
 
 which time you may remove them where they are to remain for good. 
 This tree will grow upon almoft any Toil; but the better the foil is, the 
 more the tree will incrdfe in bulk. Notwithftanding which, it Onould 
 not, by anv means^ he planted too near the other trees or plants ; for it 
 will exhauft'all the goodnefs of the foil from them ; and the (hade of this 
 tree i§ malignant to moil: other plants. The diilance they fliould be 
 planted is eight feet fquare ; and, after they have been planted one year, 
 you may cut down eveiy other tree, choofing fuch of them as are crooked, 
 within fix or eight inches of the ground j this will caufe them to make 
 many ftrong, vigorous fhoots ; which, in fcven or eight years time, will 
 be fit for arbour poles, or to make hoops ; and the other ftraight trees may 
 be fuffered to grow for other timber; the number of which trets may be 
 leflened, as they increafe in bulk, leaving flill the moft promifing ones to 
 grow for larger timber. If a wood of thefe trees is rightly managed, it 
 will turn greatly to the advantage of its owner, for by the underwood, 
 which will be fit to cut every ftven or eight years, for the ufes abovemen- 
 tioned, there will be a continual income, more than fufficient to pay the 
 rent of the ground, and all other charges ; and ftill there will be a flock 
 preferved for timber, which, in a few years, will be worth forty or fifty 
 (billings per tree. 
 
 This timber is of excellent ufe not only to the carpenters but to the 
 wheel-wrighis, and cart-wrights, for ploughs, axle-trees, wheel-rings, 
 harrows, bulls, oars, blocks for pullies, and many other purpofes. The 
 beft feafon for falling of thefe trees is from November to February; for 
 if it be done too early In autumn, or too late in the fpring, the timber 
 will be fubjed: to be infefled with worms, and other inleds ; but, for 
 lopp'ng of pollards, the fpnng is preferable for all foft woods. 
 
 Ashlar, a term ufed by builders, by which they mean common free- 
 flones, as they come out of the quarry, of different lengths and thick- 
 neffes. As to the goodnefs of the ftones, either for their durablenefs or 
 laroenefs: their durablenefs is only to be known by experience, for at the 
 firil opening of a new quarry it is uncertain how the (tones may prove: 
 for fome ftones, when they are firft taken out ot the qunrry, are very foft 
 and fiiable, and will moulder to fand by being expo(ed to the air only a 
 few years : whereas others of thofe foft Ifones, will be indurated or har- 
 dened, by being expofed to the air. Tho(c ftones which come hard out 
 of the quarry, arc generally durable, being of a more firm and folid con- 
 liftence. As to their largeneis, I need only obferve, that large ftones muft 
 certainly be better, and make firmer work than fmali ones j which are 
 only fit for filling work in thick walls; or to be ufed in thofe places 
 where the country affords no better. 
 
 Key and aftilar fronts ef Portland flone ihe mafters charge i s. 6d. per 
 foot (upcrficial. 
 
 Surveyors 
 
A S S 35 
 
 Surveyors allow from i s. 3 d. to i s. 6 d. 
 
 Befides, meafuring the folidity of the key-ftones, or bonds, which go 
 through the wall, and charged per foot cube 3 s. 9 d. 
 
 The value of materials to a foot of key and aflilar work, confidering 
 the fawing, and the veins that often are detrimental in the opening of a 
 block of ftone, which cannot before be feen, is worth, with materials to 
 fetting, per foot fuperficial q d. labour to fquaring, rubbing, fitting, &c. 
 is worth 6 d. therefore the price allowed by furveyors is not in the lead, 
 exorbitant at 1 s. 6 d. 
 
 AsHLERiNG, quartering to tack to in garrets, about two feet and a 
 half, or three feet high, perpendicular to the floor, up to the under fide 
 of the rafters. 
 
 Assemblage, the joining or uniting of feveral things together, alfo 
 the things fo joined or united; of which aflemblages, there are various 
 kinds and forms ufed by joiners, as with mortoifes, tenons, dove-tails, &;c. 
 
 Assemblage of Orders. M. Le Clerc fays, when two columns are 
 placed over one another, they muft be of different orders, the flronger 
 always to fupport the weaker. For infl^ance, i. The Doric may be placed 
 over the Tufcan, the Ionic over the Doric, the Roman over the Ionic, the 
 Spanidi over the Roman, the Corinthian over the Spanifli. 2. That the 
 upper order fhould always be lefs maflive than the under, agreeable to the 
 maxim, that xhe. Jircng ought to fupport the weak. 3. That the columns 
 ought to ftand exadlly over each other; fo that their two axis's may be 
 both found in the fame perpendicular. 4 The diflances between the 
 lower columns, rauft be determined by the intercolumniations of the order, 
 that is, without pedeftals ; and the diftance of the upper columns, by 
 the intercolumniations of the order, with pedeftals, taking care that the 
 firft order be mounted on a pretty high zocle, or an afcent of feveral fteps, 
 to fervc inltead of a continued pedeftal, or foot. He gives a pedeftal to 
 the upper order ; becaufe being confined to the breadth oi the intercolum- 
 niation of the lower order, its columns, by this means, are rendered 
 fmaller, infomuch, that the diame;er of their bafe does not exceed that 
 of the top of the under column j which, in his opinion, is a rule not to 
 be difpenfed with. He remarks, that Vitruvius will not allow the upper 
 order more than three quarters of the height of the under. But if this 
 redudlion were followed, the columns would be too fmall, and conle- 
 quently too far afunder, with refptct to ihcir height, if placed one over 
 another. 
 
 In order to find tlie mod. of an order that is to be placed over another, 
 
 he propofes, for inftance, to place the Jonic over the Doric ; and advifes. 
 
 To confider, firfl, that in the Doric order, without a pedeftal, which 
 
 is to give the meafures of that firft order, that the columns are placed 
 
 at the diilanceof eleven M. from each other, in portico's. That in the 
 
 Ionic 
 
36 ASS 
 
 Ionic order with a pedeftal, the columns are fifteen M. a-part ; and that 
 to place this order upon the Doric, you muft divide the intercolumn, or 
 its equal, into fifteen equal parts j one of which fifteen will be the M. 
 for raihng the Ionic order, with its pedeftal. He likewifc obferves, that 
 when two porticos ?re placed over each other, the higher ought to be re- 
 gulated by the lower : he means, that the width of the upper arch Oiould 
 be made equal to that of the under ; it being proper, that the two arches 
 fhould have the fame width. On fuch an occafion, the lower arch mav 
 be made ten or twelve minutes narrower than ufual, that the width of 
 the upper arch may be better proportioned. When columns are to be 
 without porticos, he fays, there need be only four triglyphs made between 
 the Doric columns, that is, an interval of eight mod. four minutes, 
 which are equivalent to twelve M. in the Ionic, as appears by the rule 
 of proportion ; and that the fame thing may be obferved of coupled 
 columns. 
 
 The Roman order, he obferves, does' not match perfedlly well with the 
 Ionic; becaufe its capital is higher, with refpccl to its column, than the 
 Ionic capital, with refpedl to the Ionic column ; and becaufe the denticles 
 of the Ionic appear lomewhat weak underneath the modillions of the 
 Roman. However, the Roman order, being in this place lefs than the 
 Ionic, the difproportion between their capitals, becomes lefs fenfible, as 
 well as that between the denticles of the one and the modillions of the 
 other. 
 
 To find the M. for raifing a Corinthian column over a Spanifli order 
 he fays. 
 
 It is evident, that the modillions of the upper order mufl: be the fame 
 in number with thole of the under, in order to have them exadly ever 
 one another. Now the inter-modillions of the Corinthian order contain- 
 ing juft forty minutes, where the column has no pedeftal, thefe iorty mi- 
 nutes muft be multiplied by the number of modillions, which being 
 eleven, the produdl will be four hundred and forty j which being divided by 
 thirty, the mod. the quotient will be fourteen M. twenty minutes ; whicli 
 is the divifion of the fcale for raifiiig the Corinihian order. He oblerves, 
 that there is a difficulty in placing three orders over each other, which 
 confifls in this; that the fecond order having a pedeftal, the columns of 
 the third become a little tco large, at the bottom; th' ugh fo very little, 
 that the eye can hardly perceive it. But this inconveniency, however, 
 may be remedied, by taking the excefs away imperceptibly, wholly from 
 the bafe of the column. This will indeed occafion a little fwelling ; but 
 t"hat will do no prejudice. Again, he is of opinion, it would not be pro- 
 ptr to undertake the placing of more than three orders of columns over 
 one another. For, beijdes that in the fourth order, the columns would 
 be too far afup.dcr ; in refpet^ to their height, it ought likewife to be con- 
 fid ered. 
 
ATT 37 
 
 fidered, that four columns raifed over one another, cannot be very ftrong: 
 indeed, the firft may have a Ruflic, whereon it is railed, and which 
 may ferve it as a foot. 
 
 Astragal, in architedlure, a little round moulding, in the form of 
 a ring, or bracelet, fcrving as an ornament at the tops and battoms of co- 
 lumns. 
 
 The Aftragal is alfo fometimes ufed to feparate the fafcIiE of the archi- 
 trave ; in which cafe it is wrought in chaplets, or beads and berries. 
 
 It is likewife ufed both above and below the lifts, adjoining immedi- 
 ately to the edge or fquare of the pedeftal. 
 
 M. le Clerc obfervss, that the Aftragal of a column ought always to- 
 be plain, excepting in the Ionic order, where the Aftragal of the Ihaft 
 is converted into a chaplet of pearls and olives for the capital. 
 
 Aftragal or Baguette, has the figure of a ftaff, when it is joined to a 
 fillet J the height of which fillet, M. Lc Clerc divides into three parts; 
 two of which he gives to the Aftragal. And this rule, he lays, he ob- 
 fervps upon all occafions. 
 
 This Aftragal is fometimes carved with pearls and olives, which the 
 French call Pater-nofters. 
 
 Asymptotes, are properly ftraight lines, which approach nearer and 
 nearer to the curve, they are faid to be Afymptotes of; but if they and 
 their curves are indefinitely continued, they will never meet. 
 
 Afymptotes are alfo tangents to their curves, at an infinite diftance. 
 And two curves are faid to h^Afymptotical, when they continually approach 
 to each other, and if indefinitely continued do not meet. 
 
 Atlasses, in archited:ure, a name given to thofe figures, or half 
 figures of men, fo frequently made ufe of inftead of columns orpilaftcrs, 
 to fupport any member in architecture, as a balcony, or the like. Thcfe 
 are alfo called Telamone. 
 
 Attic, in its general fenfe, fignifies fomething relating to Attica, or 
 the city of Athens. It is ufed in architecture for a kind of building, 
 wherein there is no roof or covering to be itfa ; being thus called becaufe 
 ufual at Athens. 
 
 Attic, cr Attic Order, is a fort of little order raifed upon a larger one, 
 byway of crowning, or tofinilh the building. It is alio fometimes ufed 
 for the conveniency of having a wardrobe, &c and, inftead of regular 
 columns, has only pilafters of a particular form. 
 
 Attic Order, according to M. Le Clerc, is a kind of rich pedeftal. 
 Some architects give it the feveral capitals of all the orders of columns ; 
 but, he fays the Ionic, Roman, and Corinthian, do not in the leaft be- 
 come it. It is his opinion, that it is beft only to diftinguifh the capitals 
 by a difference in their mouldings; which may be made more or lefs 
 fimple, and more or lets delicate, according to the relation they are to 
 bear to the architecture underneath. 
 
 L The 
 
38 A X I 
 
 The name Aflic, is alfo given to a whole ftory, into which this order 
 enters ; this little order being always found over another ihat is greater. 
 
 The pcdeftal, cr falfe pilafter, he obferves, ought always to have the 
 fame breadth with the column or pilafter underneath ; and its height may 
 be equal to a third, or even half of the lame column or pilafter, fay which 
 it is fupported. 
 
 jlttk of a roof, is a kind of a parapet to a terras, platform, &c. 
 
 Aitic continued, that which encompaffes the whole pourtour of a build- 
 ing, without any kind of interruption, following all the jets, the returns 
 of the pavilions, 6cc. 
 
 • Attic i/itcrpofeJ, is one fituate between two tall ftones, frequently 
 adorned with columns or pilafters. 
 
 Attic Base, a peculiar kind of Bafe, ufed in the Ionic order by an- 
 cient architects j and alfo by Palladio, and other moderns, in the Doric. 
 It is the moft beautiful of all the Bafes. 
 
 Attitude, in fculpture and painting, the pofture of a ftatue or Fi- 
 gure, or the difpofition of its parts ; by which we difcover the adlion it 
 is engaged in, and the very fentiments fuppofed to be in the mind. To 
 reprefent thefe in a ftrong and lively manner, conftitute? what is called a 
 good impreflion. 
 
 Attributes, in fculpture, &;c. fymbols added to feveral figures, to 
 denote their peculiar otfice and character j as a club is the attrioute of 
 Hercules; a trident, of Neptune; a palm, of Vidtory ; the eagle, of 
 Jupiter; a peacock, of Juno, &c. 
 
 Aureola, a kind of crown of glory, given by ftatuaries, Sec. to iaints, 
 martyrs, 6cc. as a mark of the viclory they have obtained. 
 
 Axis, in its primary fignification, fignifics a line, or long piece of iron 
 or wood, parting through the center of a fphere, which is moveable upon 
 the fame. 
 
 Spiral Axis, in archite<fture, the Axis of a twifted column drawn fpi- 
 rally, in order to trace the circumvolutions without. 
 
 Axis oj the Ionic Capital, a line parting perpendicularly through the 
 middle of the eye of the volute. 
 
 Axis, in Optics, a ray paffing through the center of ihe eye; crit is 
 that ray, which, ])roceeding from the middle of the luminous cone, falls 
 perpendicularly on the chryllaline humour, and confequently partes thro' 
 the center of the eye. 
 
 Axis, in Peritrochio, one of the five mechanical powers ufed to raife 
 weights to accnfidcrable height. It conrtrts of a peritrochium, or wheel, 
 concentric with the bafe ot a cylinder, and moveable together with it 
 
 about its Axis. 
 
 Becaufc 
 
39 
 
 Becaufe, in this machine, the wheel and its Axis move together, it is 
 evident that, in one turn of the wheel, when the power P defcends a 
 length equal to the circumference of the wheel, the weight W. will be 
 raifed an equal height to the circumference A, by the winding of the 
 rope, which carries the weight upon the faid Axis. And becaufe, when 
 there is an equilibrium between two weights, as W and P, there muft be 
 a reciprocal proportion between the maffes and velocities ; W will be to 
 P, as the circumference of the wheel is to that of the Axis (fuppofing 
 thethickneis of the rope to be inconfiderable) or as the femi- diameters of 
 the wheel to the femi-diameter of the Axis; for the femi- diameters of 
 different circles are in the fame proportion to one another as their circum- 
 'ferences. The Axis in peritrochio may alfo be confidered as a lever of the 
 firfl kind; for the fulcrum will be in the middle of the Axis A.^ If, 
 therefore, lines be drawn from the middle of the Axis to the power and 
 weight, parallel to the horizon, the radius, or femi-diameter of the wheel, 
 will be the dirtance of the power, and the radius of the Axis the dif- 
 tance of the weight ; and when thefe radii are reciprocally as the weight and 
 power, themachine will be in equilibrio. The wheel and Axis theretore'is 
 nothing .nore than a perpetual lever: it has been already oblerved, that 
 the thicknefs of the rope carrying the weight, is luppofed to be incon- 
 fiderable; but as this is never the cafe in pradlice, when the weight is' 
 confiderable, it will be neceffary to make proper allowance for it; and 
 iliis is done by adding the femi-diameter of the rope to the femi-diameter 
 of the Axis; for the weight really hangs half the thicknefs of the rope 
 beyond the Axis. It is alfo neceffary that the line of direclion in which 
 the power adls be a tangent to the wheel; for othervvife it will not pro- 
 duce the fame effctft, as the lever to which it is applied will bs (liortened. 
 If a plumb-line be applied to any part of the circumference of the wheel 
 above the horizontal radius, it will form a chord line, connefting two 
 points in the circumference of the wheel; and if. this chord be biiecled 
 by a radius drawn from the center, the part of that radius intercepted be- 
 tween the center and the chord will be the length of the lever on which 
 the power afts in that pofition. 
 
 Th? 
 
46 
 
 B A G- 
 
 The machine reprefented by the figure, is a model (made by a fcale of 
 an inch to a foot) of fuch an axel and wheel, as is often made life ot to 
 Jravv water out of a well, by means of a power drawing by a rope applied 
 to the circumference of one of the wheels of the niachine, or by pref- 
 fing down fucceflively the handles E, F, G, H, 1, K, vvhilft another 
 rope or chain is wound up upon the Axis A or B, a bucket hanging at it 
 inrtead of the weiglu W. Here, in the experiment, one pound hanging 
 at the circumference of the biggeft wheel C D, will keep in equilibrio 
 twelve pounds hanging at the fmalleft Axis A, or fix pounds at the Axis 
 P?, and only three pounds upon the circumference T V. In the fame 
 manner, when the weight hanging at the Axis continues in the fame 
 place, and to be of the fame quantity, viz." twelve pounds; then the pow- 
 er, which, at the circumference of the wheel C D, is equal to. one 
 pound, mufl be equal to a pound and an half, if it be applied to S R j but 
 if it be applied at one of the handlej> at, the diflance. of a fourth of an 
 inch from the circumference of the wheel C D (which is the fame as if 
 a new wheel was added of half an inch more diameter); then a power 
 equal to no more than 4J of a pound, will keep the weight in equili- 
 brio, and raife it, if its intenfity be increafed ever fo little. 
 
 B 
 
 BACK NAILS, a kind of nails made with flat llianks, fo as to hold 
 fafl without opening the grain of the wood, ufed in nailing guts to- 
 gether, for faving water under the eaves of a houfe; or by back- makers, 
 in nailing of boards together for coolers, or any veflels made of planks 
 or boards for containing liquors. 
 
 Bagnio, an Italian word, fignifying a bath : we ufe it for a houfe 
 with conveniency for bathing, cupping, fweating, and otherwife clean- 
 fino- the body, and very frequently for worfe purpofes. 
 
 Bake-House, a room or office, or an apartment belonging to noble 
 buildings, and other private buildings in which an oven is built. As to 
 the pofition, it ought, according to the rules laid down by Sir Henry 
 Wotton, to be placed on the fouth-fide of any building. 
 
 Baguette, in architcdure, a little round moulding, lefs than an 
 aftragal ; it is fcmetimes carved and enriched with foliages, pearls, rib- 
 bons, laurels, &c. Though, according to M. Le Clerc, when a Ba- 
 guette is enriched with ornaments, its name is changed, and it is called a 
 chaplet. Baguette is alfo a term ufed by the carpenters for a kind of aftra- 
 gal or hip-moulding, by which is underftood the outward angle or the 
 hips or corners of a roof; which, in fquare frames, where the roof 
 is three quarters pitch, contains an angle of one hundred and fixteen 
 degrees, and twelve minutes. 
 
 Balance, 
 
B A L 41 
 
 Balance, or Ballance, Libra, one of the fix fimple powers in 
 mechanics, principally ufed in determining the difference of weights in 
 heavy bodies, and confequently their maffes or quantities of matter. The 
 balance is of two kinds, the ancient and the modern. The ancient or 
 Roman, called alfo the flatera Romana, or fteel-yard, confifls of a lever 
 or beam, moveable on a center, and fufpended near one of its ext^^emi- 
 ties : the bodies to be weighed are applied on one fide of the center, and 
 their weight is fliewn by the divifion marked on the beam, where the 
 weight, which is moveable along the lever, keeps the fteel-yard in equili- 
 brio. This balance is ftill frequently ufed in weighing heavy articles. 
 The modern balance now generally ufed confifts of a lever or beam fuf- 
 pended exadlly in the middle, having fcales hung to each extremity. 
 •• The lever is called the jurgum or beam, and the two moieties thereof on 
 each fide of the axis, the brachiaor arms. The line on which the beam 
 turns, or which divides its brachia, is called the axis ; and when con- 
 fidered with regard to the length of the brachia, is efteemed a point only* 
 and called the center of the balance : the handle whereby it is held, 
 or by which the whole apparatus is fufpended, is called trutina, and the 
 flender part perpendicular to the beam, whereby either the equilibrium, 
 or preponderancy of bodies is indicated, is called the tongue of the 
 balance. 
 
 Balcon y a projedlure beyond the naked part of a wall or building, 
 fupported by pillars or confoles, and encompaffed with a baluftrade. 
 Or it is a kind of open gallery for people to ftand in to behold any 
 public (hew, as pageants, cavalcades, public entries of embafTadqrs, 
 &c. in cities J or for taking the air, &c. This jutty or projeiftive 
 building is ulually placed in the middle of a front of a houfe, or public 
 hall, &c. if there be but one; and is ufually level with the firft floor, 
 up one pair of ftairs. Some of thefe are made with wood, and others 
 with iron j wooden balconies confift of rails and baluftcrs, and fo fome- 
 times do thofe of iron; but at other times they are made of ca(} iron, 
 of various figures in femi-relief; and fome again, of wrought iron in 
 crail'd work, or flourishes in different forms, according to the fancy of 
 the workman, 6cc. 
 
 It may be proper here to take notice of what Sir Henry Wotten fays 
 concerning all in-lets and out-lets, fuch as balconies, window?, &c. that 
 they ought not to approach too near the corner of walls? it being an e(- 
 fential error, to weaken that part which is to ftrengthen all the reft. This, 
 he fays, is a precept well recorded, but is ill pradlifed, even by the Italians 
 themfelves ; particularly at Venice? where he had obferved divers Pergoli, 
 or MaucJna, (as they fecm to be called by Vitruvius,) which are certain 
 baluftraded out-flandings, made for ftanding in, to fatiify the curioljty 
 
 M of; 
 
42 
 
 B A L 
 
 of the fight, very dangeroufly fet forth upon the very point itfdf of '-the 
 murnl angle. - '-!'jv:. - •. fi" .0 
 
 M. Le Clerc, favs, the parts of a balcony are the terras/ the balgftrade 
 that indole? ir, and the confoles which fupport it: or, to explain hiihfelf 
 more accuratelv, a balcony is a piece of architecflure raifen in t!ie air', 
 inclofed with a baluflrade, and fupported by a little entablature, whereof 
 the cornice, or uopernioft part, makes a terras; the frieze and architrave 
 being only continued at the bottom and fides ; and the whole fealc-ony fur-' 
 ther fupported by confoles. The frieze is made with a little'fweep, that 
 the zocle of the pcdeftM above may hot appear ill lupported j and that the 
 conlole coming to ccntradl, or fhraighten itlelf at the bottom, may do it 
 the more gracefully, wi'hout which, it would appear foo heavy. The 
 height of the confoles may be equal to the proj'ectu-rlf r but it will be an 
 addition both to the beauty and ftrength of the worfc,' If' they are 'made 
 higher. - ■ ^"-' ■ 
 
 A balcony may be continued quite through the ftcade of a building by 
 adding confoles, from ipace to fpace j to be difpofed between the windows, 
 which will be underneath. He is of opinion, thut iron balconies will do 
 much better than thofe of flone, as being lightfer, and lefs fuhjed: to de- 
 cay ; which, if gilt, will be exceedingly magnificent, and a vtry proper 
 01 nament for a palace. 
 
 According to the modern mode of building, fmall balconies of iron are 
 made before each window in the firft floor ; and the apertures, and confe- 
 quently the windows, are begun on a level with the floor, and yet carried 
 up to the fame height, as if they had began in the ufual manner. 
 
 Baldachin, oi Baldachino, Ital. Ba'dagium, Fr. a piece of architedure- 
 in the form of a canopy, fupported with columns, lerving as a crown or 
 covering to an altar. It properly fignifies a canopy carried over tlie boil: in 
 Roman catholic countries. Some aJfo give the name of Badalchin to a 
 fhcll over the front of a houfe. 
 
 Balks, poles or rafters, over out-houfes or barns ; and among brick- 
 layers, great beams, fuch as are ufed in making fcaffolds; this term is alfo 
 applied to great pieces of timber coming from beyond the feas by floats. 
 
 Ballon, in Architefture a French term, uled to fignify the round globe 
 on the top of a peer, or pillar. 
 
 Balustrade, aconneiftion of a number of baluflers ufed for defence or 
 ornament, on balconies, terraces, and the like, and round altars. The ba- 
 lufters are of iron, wood, ftone, or other materials, and the Baluftrade, 
 when finely executed, has an elegant appearance. We have ot late, in fome 
 handfome buildings, miferably lupplicd the place of the antient Baluftrade 
 by Chinefe rails. The Balustrade may confift of i or more rows of ba- 
 luflers, and may ferve as a reft in the front of terraces, and as a defence on 
 levels J and it is fometimes ufed, with great propriety and beauty, by way 
 
 of 
 
B A S 43 
 
 of reparation between one part of a building and another. The baths a- 
 mong the antients were thus encompafled with rails, and the word expref- 
 fitig that reparation was Baluftrum ; hence comes our word Balullrade ; 
 and balufler for the fingle pillar. 
 
 Baluster, (vulgarly called banifter) a fmall pillar or pilafter, ferving to 
 fiipport area!, and making, when joined and continued with others, the ba- 
 luttradc we have jiifl: named. The Balufler may be either round or fquare, 
 but it fliould be adorned with mouldings and other decorations, acconiing 
 to the richnefs intended to be given to the baluftrade. Our Balullers of 
 wood are ufually turned, and often very handfome. 
 
 Band, a term often ufed to exprefs what we more ufually call the face, 
 orfaces, fafcix, of an architrave; but it properly expreffcs any flat and 
 low member, whatever be its place ; if it is not very deep. 
 
 Bandelet, derived from the French Bandclette, a- little fillet or band, 
 is any little band, or flat moulding, as that which crowns the Doric archi- 
 trave. It is alfo called Tenia, from the Latin Tania, which Vitruvius ules 
 for the fame thing. It is alfo ufed by a'chiteils, to fignify the three parts 
 which compole an architrave. 
 
 Base, a part placed at the bottom of a column or pihfter, as the capi- 
 tal is at the top. The words fignifies a fupport of any kind, and for any 
 thing i its derivation being from the Latin batis, of which this is the 
 kvfe } but we have appropriated it in a manner to this lower part of 
 column-. 
 
 The antients, in the early times of architedlure, ufed no Bafes. The 
 Doiic columns, in the temple of Minerva at Athens, have none, but ftand 
 immediately upon the floor of the porch. Columns afterwards came to be 
 fupportcd on fquare pieces called pliiuhs, and after that on pedeftals. 
 When we fee a column, of whatfoever order, on a pedeftal, the Bafe is 
 that part which comes between the top of the pedeftal and the bottom 
 of the rtiift of the column ; when there is no pedeftal, it is the part be- 
 tween the bottom of the column and the plinth ; fome have included the 
 plinth as a part of the Bafe, but it is properly the piece on which the Bafe 
 rtands, as the column ftands upon that. 
 
 The pedcftal alfo has its Bafe as well as the column and the pilafter. 
 The Bafe of columns is differently formed in the different orders, but in 
 general it is compofed of certain fpires or circles, and was thence in early 
 times called the fpire of a column. Thefe circles were in this cafe fup- 
 pofed to reprefent the folds of a fnake as it lies rolled up ; but tiiey are 
 properly the reprefentations of feveral larger and fmaller rings or circles of 
 iron, with which the trunks of trees, which were the antient columns, 
 were furrounded, to prevent their buriling : thefe were rude and irregular, 
 but the fculptor who imitated them in ftone, found the way to make them 
 elegant. 
 
 The 
 
44 B A S 
 
 The Txifcan Bafe confifls only of a fingle torus, or round member upon 
 the plinth ; this is the moft fimple of all. The Doric Bafe has a torus aqd 
 an inverted cima in the colifeum; the Ionic Bafe has a fingle large torus, 
 which is placed over two flenderfcotias, that are feparated by two altragals. 
 The Corinthian Bafe has two torus's, two fcotias, or hollow members, and 
 two aftragals. And the Compofite has a double aftragal in thi- middle. 
 Thefe feveral terms will be explained in their places. We haveobferved, 
 that the Doric had antiently no Bafe; Vitruvius allows none, and other 
 antique buildings befide the Parthenian of Athens might be produced as 
 inflances. Even the Ionic in feme very antient pieces has no Bafe ; fo 
 that we fee what is done in this matter is arbitrary, and has been intro- 
 duced of later time than the period of many buildings of which we have 
 remains ; but this muft not be confidered as an improper deviation from 
 the mofl antient manner, but as an improvement upon it j for the Bafe 
 is a very natural and very beautiful part of every order. We have named 
 the Bafe aopropriated by writers to each order, but there is bsfides thefe 
 five, another called the Attic, or the Atticurgick Bafe, which excels them 
 all in beauty; and was firfl; given to the Doric, and fince to alraofi: 
 every other column. This Bafe confiils of two torus's and a fcotia ; the 
 two tores are of different dimenfions, and the fcotia runs between them. 
 The Ionic Bafe is unnatural, becaufe it is fmaller below than higher up, 
 neither is thatof the Corinthian without its faults : both are greatly infe- 
 rior to the Attic, which is therefore often with great judgment lubdituted 
 in their place. 
 
 The antients feem to have given the fame, or nearly the fameprojefture 
 to the Bale, in all the orders where we find it in their works. For in- 
 ilance, we fee the fame projedure in the Bafe of the Doric and Corinthian 
 order in the Colifasum, and in that of the Ionic in the temple of Con- 
 cord; and the difference between the greatefl projeiflure of any antique 
 Bafe we know, which is in the arch of Titus, and the leafl, which is ia 
 the Corinthian order in the Colifasum, is very trifling. 
 
 Basil, among joiners, &:c. the angle to which the edge of an iron tool 
 is ground. To work any foft wood, they ufually make their Bafil twelve 
 degrees, and for hard, eighteen degrees; it having been obferved, the 
 luore acute or thin the Balil is, the better and faioother it cuts ; and the 
 more obtufe, the ftronger and fitter for fervice. 
 
 Basilic, an ancient palace. Thefe were vaft buildings, confifting of a 
 great hall, with ifles, porticos, tribunes, and tribunal, where the fove- 
 rcigns in perfon adminillered juftice. This is the proper and flridl fenle 
 of the word, according to the Greek ; but the architects have taken the 
 liberty to extend its meaning faither, and Balilic is now uied as c name 
 of any ipacious building, a hall, churcli, or the like. Weftminfler hall 
 is properly in this fenle a Bafilic; but the anlients were more flridt in 
 
 the 
 
B A S 45 
 
 the ufeof the word, and would not have called any thing but a royal pa- 
 lace by that name. Any large building for a court of juft ce, and ex- 
 change, or the like, is. now allb called a Bafilic. When BafiHc is ufed 
 as the term for a church, it always means a large and elegant one. 
 
 Bason, a refervoiror refervatory of water, as the Balon of a jet d'eau, 
 or fountain, the Bafon of a port, bath, &c. which Vitruvius calls Labrum. 
 
 Basso-Relievo, ,or Bass Relief, a piece of fculpture, wherein the 
 figuies do not projeft far, or ftand out from the ground in their full pro- 
 portion Some authors have diftinguilhed three kinds of Baflb- Relievo. 
 In the firft, the front figures appear almoll with the full Relievo; in the 
 fecond, they p-'ojedl above one half; and in the third confiderably lefs, as 
 in vafes, coins, 6cc. 
 
 Bastion, in fortification, a large mafs of earth, ufaally faced with 
 fodg, fometimes wiih brick or flone, (landing out from a rampart, of 
 which it is a principal part. < j ■ 
 
 A Baftion confiifs of two faces and two flanks j the faces Include the 
 angle of the Baftion, and their union forms theoutrnoft, or faliant angle, 
 called alfo the angle of the Baftion j. and the union of the two faces to 
 the two. planks, makes the fide angles, called alio the ftioulders or epau- 
 ]es ; and the union of two other ends of the flanks to the two curtains, 
 makes the angles of the flanks. 
 
 The great rule in conftrucling a Baftion is, that every part of it may 
 be feen and defended from fome other part : mere angles therefore are 
 not fufiicient ; but flanks and faces are necelTary. The faces muft not be 
 lefs than twenty-four Rhineland perches, nor more than thirty. The 
 flanks of a Baftion, provided they ftand at the fame angle under the line 
 of defence, are fo much the better the longer they are j they muft there- 
 fore ftand at risht angles with the line of defence. At the fame time 
 the difpofition of the flanks make the principal part of fortification, as 
 on them the defence chiefly depends; and it is this that has introduced 
 the various kinds of lortifying. The angle of the Baftion muft exceed 
 fixty degrees, otherwife it will be too fmall to give room for guns, land 
 will either render the line of defence too long, or the flanks too fhort. 
 It muft therefore be either a rig;ht angle, or lome intermediate one be- 
 tween that and fiXty degrees. 
 
 Solid Bastion, thdt which has the void fpace filled up entirely, and 
 railed to an equ-1 height with the rampart. 
 
 Void or Hollow Bastion, that which is only furrounded with a 
 rampart and parapet, having the fpace within void or empty. 
 
 Flat Bastion, a baftion built in, the middle of the curtain, when 
 it is too long to be defended by the Baftioiis at its extremities. 
 
 Cut Bastion, that whofe point is cut off"' inftead of which it has a 
 re-entering angle, or an angle inwards, with two points outvvacdb ; and 
 
 N is 
 
46 BAT 
 
 t. 
 
 Is ufed, eiiher when the angle would, without fuch a contrivance, be too 
 acute, or when water, or Ibme other impediment, prevents the Baftion 
 
 from being carried to its full extent* 
 
 Composed Bastion ; when two fides of the interior polygon are very 
 unequal, which alfo renders the gorges unequal. 
 
 ' Deformed Bastion, \vhen the irregularity of the lines and angles 
 caufes the Bartion to appear deformed or<outiof fliape. ' 
 
 Demi-Bastion, is compofed of-one face only, has but-one flank, and 
 a demi-gorge. • • : ■ : • 
 
 Double-Bastion, that which isjaifed on the plane of another Baftion. 
 
 Regular Bastion, that which has its true proportion of faces, 
 flanks and gorges. 
 
 Bastion or Batoon, in architedure, a kind of moulding in the bafe 
 of a column, called alfo a tore. 
 
 Batlment, in carpentry, a term fignifying an abatement or wafte of 
 a piece of (luff, by forming it to a particular purpofe or ufe. 
 
 Batten, a name given by workmen to a fcantling of wooden ftufl^ 
 from two to four inches broad, and about one thick ; the length is pretty 
 confiderable but undetermined. This term is principally ufed in fpeaking 
 of doors and windows of fliops, &c. which are not framed with whole 
 deal, or one-quarter inch oak, with ftiles, rails and pannels, as wainfcot 
 is framed ; and yet they are made to appear as if they were, by means of 
 thefe pieces or Battens, bradded on upon the plain boards, which are joined 
 together for the door, or window, all round, and fometimes crofs them, 
 and up and down, &c. according to the number of the pannels, the 
 workman intends the door or window fliall appear to have. 
 
 Thefe pieces are thus bradded on, to repreient ftiles, rails, and moun- 
 tains, and are of different breadths, according to the defign of the work- 
 man," from two to feven inches; there is alio generally fome moulding 
 ftruck, as a bead and ogee, .or the like, on one edge of thofe that repre- 
 fent the ftiles, and the upper and lower rails, and on both the edges of 
 thofe which are intended to appear like montans and middle rails. 
 
 Batten-Doors, thofe ^which relemble wainfcot doors* but are not 
 fo ; for in wainfcot doors the pannels are grooved into the framing; but 
 in thefe they firft joint and- gJue the boards,- which are cut to the full 
 length and breadth of the door-cafe; and when the glue is dry they tra- 
 verfc them over with a long plane; and, being fmoothed, the battens 
 are fitted on, on the front-fide, Thefe are called fingle Batten Doors, 
 there being others which are called double Batten Doors, viz. fuch as are 
 battened on both, which is very feldom done. 
 
 There are alio Battened Doors, which are called double doors, fuch as 
 front or outer doors, which are ufually made of whole deal, and after- 
 wards battened on the outfide, and pieces four or fiveinches broad -mitred 
 
 round 
 
B E A 
 
 47 
 
 round the edges on the inflde of the door ; and then it is lined crofs the 
 door between thefe pieces, with thin flit deal, which makes it level with 
 the mitred pieces. 
 
 Some doors have been lined with pieces laid leveling, and not at right 
 angles, but near mitre to the fides of the door ; and when all has been 
 planed off level, it has been divided into rhombus's, which was an addi- 
 tional beauty to the work. 
 
 This method of lining upon the doors, viz. pointing from the lower 
 corner behind, towards the upper corner before, appears to be a good 
 method to prevent a Door from finking at the fore-corner, if the joints 
 fhould happen to become unglued. 
 
 Batter, a term ufed by carpenters, bricklayers, &c. tofignify that a 
 piece of timber, a wall, &c. does not ftand upright, but leans from us 
 when we (land before; but when it leans towards us, we fay it over- 
 hangs, or hangs over. 
 
 Battlements, indentures or notches in the top of a wall, or other 
 building, in the form of embrazures. 
 
 Bay-Window, a window compofed of an arch of a circle j and con- 
 fequently will ftand without the flrefs of the building. From fuch a 
 Window.fpedators may better obferve what is paffing in theroad,ftreet,&c. 
 
 Bead, in architedlure, a round moulding, generally made upon the 
 edge of a piece of fluff, in the Corinthian and Compofite orders, cut or 
 carved in (hort emboffments, like Beads in necklaces, in femi-rclief; a 
 Bead is ufually one quarter of a circle, and only differs in fize from a 
 boultin J for when they are large theyare generally called boultins. Some- 
 times a Bead-plain is fet on the edge of each fafcia of an architrave, and 
 fometimes alfoan aftragal is thus carved. In both which theie carvings 
 .are called Beads. 
 
 A Bead is frequently placed on the lining-board of a door-cafe, and 
 on the upper edges of fkirting-boards. 
 
 Beak, in architedlure, a little fillet, left on the edge of a larmier, 
 which forms a canal, and makes a kind of pendant. 
 
 C&in Beak, a moulding, the fame as the quarter- round, except that its 
 fituation is inverted. This is common in modern, but not in ancient 
 buildings. 
 
 Beam, in architedlure, the largeft piece of wood in a building, which 
 always lies crofs the building or the walls, ferving to fupport the principal 
 rafters of the roof, and into which the feet of the principal rafters are 
 framed. 
 
 No building has lefs than two of thefe Beams, viz. one at each head. 
 Into thefe the girders of the garret-floor are alfo framed ; and if the build- 
 ing be of timber, the teazle tenons of the pofls are framed. The teazle- 
 tenons are made at right angles to thofe which are made on the pofls to 
 
 go 
 
48 . B E A 
 
 go into the raifons j and the relifh or cheats of thefe teazle-tenons, ftand 
 up within an inch and an half of the top of the raifon, and the Beam is 
 cauked down j^which is the fame thing as dove-tailing acrofs; till the 
 cheeks of the mortifes in the Beam conjoin with thofe of the teazle- tenons 
 on the ports. 
 
 As to the fize of Beams. The proportions of Beams in or near Lon- 
 don, are fixed by a ftatute or a6l of parliament. 
 
 Sir Henry Wotton advifes, that all Beams, fummers, and girders, be 
 made of the ftrcngell: and moft durable timber. Herrera informs us, that 
 in Ferdinand Cortez's palace in Mexico, there were feven thouland Beams 
 of cedar ; but then he muft be underftood to ufe the word Beam in a 
 greater latitude than it is ufed with us. The French, under the word 
 Poutre, which fignifies a Beam, take in not only the pieces which bear 
 the rafters, but alfo all thofe which fuftain the joifts for the ciclings. 
 Some French authors have confidered the force of Beams, and brought 
 their refiftance to a precife calculation ; as particularly, M. Varignon and 
 M. Parent ; the fyftem of the latter of which is as lolltnvs. 
 
 When two plans of fibres, which were contiguous before, are feparated 
 in a Beam, which breaks parallel to its bale, (which is fuppofed to be a 
 parallelogram) there is nothing to be confidered in thefe fibre?, but their 
 numbt-r, largenefs and tenfion^ before they are broken, and the lever, by 
 which they adt ; all thefe together making the refiftance of the Beam re- 
 maining to be broke. Then fuppofe another Beam of the fame wood, 
 where the bafe is likewife a parallelogram, and of any bignef:^, with re- 
 gard to the other, at pleafure. The height of each of thefe, when laid 
 horizontal, being divided into an indefinite number of equal parts, and 
 their breadth into the fame number, in each of their bafes will be found 
 an equal number of fmall quadrangular cells, proportional to tl^e bafes of 
 which they are parts ; then thefe will reprefent little bales -, or, which is 
 the fame thing, the thickneffes of the fibres to be feparated for the frac- 
 ture of each Beam, and the number of cells being equal in each Beam, 
 the ratio of the Bafes of both beams will be that of the lefiftanceof their 
 fibres, both as to number and thicknefs. Now the two Beams being 
 fuppofed to be of the fame wood, the fibres moft remote from the points 
 of lupport, which are thofe which break the firft, muft be equally 
 ftretched when they break. 
 
 It is evident, that the levers, by which the fibres of the two Beams adt, 
 are reprefented by the height of their bafes ', and confequently the whole 
 refiftaijce of each Beam is the product of its bafe by its height ; or, which 
 is the fame thing, the fquare ot the height being tiiultiplicd by the breadth, 
 which holds not only of parallelogrammick, but alfo of elliptical bafes. 
 Hence, if the bafis of two Beams are equal, though both their heights 
 are unequal, their refiftance will be as their heights alone j and confe- 
 quently 
 
B E A 49 
 
 quently one and the fame Beam laid on the fmalleft fide of its bafe, will 
 refift more than when laid flat, in proportion as the firfl fituation gives it 
 a greater height than the fecond. And thus an elliptical bafe will refift 
 more, when laid on its greatefl axis, than on its fmalleft. Since in Beams 
 equal in length, it is the bafes which determine the proportion of their 
 weights or folidities ; and fince their bafes being equal, their heights may 
 be different, two Beams of the fame weight may have refinance different 
 to infinity. Thus, if in the one the height of the bafe be conceived in- 
 finitely great, and the breadth infinitely imallj while, in tiie other, the 
 dimenfions of the bafe are finite, the refiftance of the firft will be infi- 
 nitely greater than that of the fecond, though their folidity and weight be 
 the fame. If therefore, all required in architecffure were to have Beams 
 capable of fupporting vafl: loads, and at the fame time have the leafl; weights 
 poflible, it is plain they muff be cut as thin as laths, and laid edge wile. 
 
 If the bafes of the two Beams are fuppofed to be unequal, but the Turn 
 of the fides of the two bafes equal. If they be either 12 and i ?, or n 
 and 13, or 10 and 14, 6cc. fo that they always make 24; and further, 
 if they are fuppofed to be laid edge-wife, purfuing the fcries, it will ap- 
 pear, that in the Beam of 12 and 12, the relillance will be 1728, and 
 the folidity or weight 144, or that in the laft, or i and 23, the reliftance 
 will be 529, and the weight 23 : therefore the firfl, which is fquare, will 
 half the ftrength of the la;t with regard to its weight. Hence M. Parent 
 remarks, that the common pradtife of cutting the Beams out of trees as 
 fquare as poflible, is an imprudent method ; and thence he takes occafion 
 to determine geometrically, what dimenfions the bale of a Beam to be cut 
 out of any tree propofed fhould have, in order to its having the greatefl 
 refiftance poflible; or, which is the fame thing, a circular ba!e being 
 given, he determines the rediangle of the greatefl refiflance that can be 
 infcribed, and finds that the fides muft be nearly as 7 to 5, which agrees 
 with obfervation. 
 
 We have hitherto fuppofed the length of the Beams to be equal ; if it 
 be unequal, the bafes will refift fo much the lefs, as the Beams are the 
 longer. To this may be added, that a Beam fuftained at each end, break- 
 ing by a weight lufpended from its middle, does not only break at the 
 middle, but at each extreme; or if it does not adlually break there, at 
 leaft immediately before the moment of the fradlure, which i^ that of 
 the equilibrium between the refiftance and the weight, its fibres are as 
 much ftretched at the extremes, as in the middle; lo that of the weight 
 fuflained by the middle, there is but one-thud part that ads at the mui- 
 dle to make the fradture ; the other two only adting to induce a tradture 
 in the two extremes. 
 
 A Beam may be fuppofed to be either leaden only with its own weight, 
 or with other foreign weighted, applied at any diftance, or only with thof'e 
 
 O foreian 
 
50 B E D 
 
 foreign weights. Since, according to M. V-artnt, the weight of a Beam 
 is not in common above one-feventieth part of a load given to fuftain it, 
 it is evident, that in confidering fevcral weights, they mud be all re- 
 duced by the common rules, to one common centre of gravity. M. Pa- 
 rent has a] fo calculated tables of the weights, which will-be fuftainedby 
 the middie in Beams of various bafes and lengths, fitted at each end, into 
 walls, on a fuppofition, that a piece of oak ot an inch fquare, and afoot 
 long, retained iiorizoiitally by the two extremes, will iiiltain three h'.in- 
 dred and fifteen pounds in its middle, before it breaks j which has been 
 found by experiments that it will. 
 
 Be AM 'Compi,'//es^ an inftrument made either of 'ivood of-brafs, ,with 
 Aiding fockets or curlors, which ferve to carry levera'l fh'ifting points for 
 drawing and dividing circles with very long radii ; they are of ufe in large 
 projedtions, for drawing the furnitnres on wah-dials, &c. 
 
 Beam-Fjlling, is plaiflerers work, and is the filling up thfe vacant 
 Ipace between the raifon and roof, whether tiling, thatching, or any 
 other roof, with flones or bricks laid between the rafters on the raifon, 
 and plaiftered on with loam, frequent where the gnrrets are net paregated 
 or plaifleredj or fometimes they fet fome tiles with one edge upon the 
 railon ; and the other leaning againft the roof; and then theie tiles are 
 plaiftered over with loam. This fort of work is very common in the 
 country, where they do not parget or plaifter their garrets. 
 
 BEARrR, in architedture, a poft, pier, or wall, eredted between the 
 two ends of a piece of timber, to fhorten its bearing, or to prevent its 
 whole weight refting on the two ends only. 
 
 By an ad; of parliament of the 14th year of the reign of George the 
 Third, it is enadied, that " no bearer to wood ftairs, where an old party 
 wall has been cut into for that purpofe, muft be laid nearer than eight 
 inches and an half to any chimney or flue whatever, or nearer than four 
 inches to the internal finiQiing of the builijing adjoining." But this adt 
 extends only to the bills of mortality, the parifhes ot St. Mary-le-Bow, 
 Paddington, St. Pancras, and St. Luke at Chelfea, in the county of Mid- 
 dlefex. There are feveral other particulars, in the above mentioned adt 
 refpedling carpenters, which we fliall introduce at large under the article 
 Carpenter. 
 
 Bearing of a piece cf timber, among carpenters, the fpace either be- 
 tween the two fixed extremes thereof, when it has no other fupport, 
 which they call Bearing at length ; or between one extreme, and a poft, 
 brick-wall, 6cc. trimmed up between the ends, to fhorten its Bearing. 
 
 Bed of Stone, in mafonry, a courfe or range of flones ; and the 
 joint of the Bed is the mortar between two flones, placed over each other. 
 
 Bed Moulding, a term ufed to fignify thofe members in a cornice 
 which are placed below the coronet : and now, a Bed-Moulding, with 
 
 jomers. 
 
jplners, ufi^^lly, conlift? of rtb.e(e, f9,urf'jn^p^^^pg?, ^an o^ee^^ v-M^'-f ■•^^^^ 
 boultin, ani.{ another Jirt: under the coronet. , ' )'",' "' ■■ 
 
 _,■ ■ fS • •■ /- '■ S i^-'-'^ i-i " .^-.-MMa :>i.J ij(i/j ^fi'' 1'.' 
 
 Bpvel or Jdevil, m rnafonry and loinerv, ,a Kind or iquarp^ pfie leg' 
 
 ofiwhK:« IS. ireauently .crooked, ^ceflrdin^jto, the fweep ol an arcn br 
 vault. It, IS moveable on. a point or cqntr5,,cand 10 rnay be let to anV angle. 
 The make and uie or it are nearly the lame as thole 'of the, comition 
 fquare and mitre, except that th0fe,are fixed ;^the firft at an afigle 6f 
 ninety degrees, and thefecond at forty-"five: whtfeas the Bevel being move- 
 able, it may in fome meafure Tupply _the office of both, and yet lupply 
 the deficiency of both, which it is chiefly intended for, ferving to let off 
 or transfer angles, either greater or lefs, than ninety or forty-five degrees. 
 Hence, any angle that is not fquarcjjs called a Bevel-angle, whether it be 
 more obtufe, or more acute than a. right-angle: but if it be one half as 
 much as a right-angle, viz. forty-five degrees, then workmen call it a 
 mitre ; they have alfo a term half-mitre, which is an angle that is one 
 quarter of a quadrant or fquare, viz.,,^n angle of twenty-two degrees and 
 a half, they call a half-mitre. .*^ , 
 
 Binding-Joists, thofe Joifts iji.any floor, into which the trimmers 
 of flair-cafes (or well-holes for the flairs) and chimney-ways are framed. 
 Thefe Joifts ought to be flronger thab.cpmmon Joifls. As to the fcantling 
 and fize of thefe, as well as all other tirnbec members, they are fettled by 
 act of parliament. ' 
 
 Block of Marble, a piecepf M^arble, ^sjt comes out of the quarry, 
 before it has aflumed any form from the hand pf a worKmali.^ ^natic^ 
 
 Board-Measure, to meafure _a Board,. is^,nothin_g rtidre^hari the 
 .meafuring a long fquare. ■\' , . ", .V 
 
 E X A M p L eJ ''^."^.-'"'""•^'S"'-' 
 
 If a Board be fixteen inches broad, and thirteen feet long, how rriany 
 feet are contained therein.; ' ',; ] . 
 
 Multiply fixteen by thirteen, and the produdl will be two hundred and 
 eight ; which being divided by twelve, gives feyenteen feet ; and four re- 
 maining, which is a third part of a foot; thus, ."'t '\ V 
 
 13 
 
 '■ 'J*, brit J n5v-;'i -[Esn 
 
 48 
 
 16 
 
 -lex''- t. V;/!: i-f ' iv; 
 
 1 2)208(17-11 
 
 12 
 
 C ' - 
 
 88 
 
 
 8* 
 
 ■• 'Jfil bfisJxa i , 
 
 "Of 
 
■i ^'- or A- 
 
 "' Or you may multiply one hundre^'aWcl fifty-fix (tfie lengthlh i n Che's )iy/ 
 fixteen, and the produd will be two thoufand four hundred and ninety- 
 fix ; which being divided by one hundred and forty- four (the number 
 of inches in a foot fquare) the' quotient will be feventeen feet, andfofty-* 
 eie-ht remainitie,. which is a third paft of one hundred and forty-four> aS 
 
 b^for^, tnus^^ ;-art -^^b.i.^^^^'^- ^"■'Ab!!' '•'I'-'iS^- .^m\cu 
 
 'flo Jo; ol -garn^l ,io"f babnaJni Vj^'^rt'^d^ ^'' f''-^""''" /'ioo , ,..;.. i .,, . 
 .EStngsb S'/ft-vnol ic> ^3-;nifi ntri.j,^ - ' la taiy lariJta.isai.'i ; it'>=f!f7i7 
 tdu ladjsrlw t3l§qB-bv:»Cl ;■, bsL't _£ . "pj joa i . u() - 
 
 T "Hi^d on. 3d li i: ?ucf :^Iijn^4.^J2496(i7-^ ' 
 - ^' lino remjhov/ rtsnj tS**- _ - .^>- j='>> -■ ' 
 -i liii'j algtiB fiG ai doiciw ,3^ . . ■ -i if;jL f;n:: 
 
 1008 . ■-■'-'- •''^- " "-^ \ 
 ,; ' .'o'ldv' n'in: .-mR ■• -: :■ 3flio(_ slodl .'T'-- c'-r 
 
 .g ' •'*^^ 23lor{-l 
 
 Extend'tiie compafles from twelve to- thirteen ; the fame extent will 
 reach from fixteen to feventeen feet arid one^third, the content. Or, 
 extend them from one hundred forty-four to one hundred fifty-hx (the 
 length in inches) and the fame extent. will rea^ch -from bxtecn to leventeen 
 feet one-third, .the , content, ,. .' / . ' . . 
 
 . EXAMPLE 11.- • ' 
 
 If a Board be nineteen Inches broad, how many inches in length will 
 
 "" Divide°one hundred and forty -four by nineteen,, and the quotient will 
 be very near feven -, and fo many in length, if a Board be nineteen inches 
 broad, will make a foot. 
 
 Inc. — 
 
 19: 144: i: ■7- IIJ"^ 58 tere. 
 
 9 
 
 II 
 
 Again • extend the compares from nineteen to one hundred forty- 
 
 fou" that extent will reach from one to feven, fifty-eight, that is, feven 
 
 ' inches 
 
BOD 
 
 53 
 
 inches and fomewhat more than a half j Co that if a board be nineteen 
 inches broad, if you take feven inches, and a little more than a half in 
 your compaffes, from a fcale of inches, and run that extent along the 
 board from end to end, you may find how many feet that board contains, 
 or you may cut off from that board any number of feet defired. For this 
 purpofe there is a line upon moft ordinary joint-rules, with a little table 
 placed upon ttie end, of all fuch numbers as exceed the length of the 
 rule, as in ih'is little table annexed. 
 
 o 
 
 C 
 
 O 
 
 o 
 
 'J 
 
 O 
 
 « 
 
 6 
 
 12 
 
 6 
 
 4 
 
 3 
 
 2 
 
 2 
 
 il 
 
 I 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 6 
 
 7 
 
 !f 
 
 Here you fee if the breadth be one inch, the length mud: be twelve 
 feet J if two inches, the length is fix feet ; if five inches broad, the length 
 fs two feet five inches, &c. The reft of the lengths are cxprefled in the 
 line thus : if the breadth be nine inches, you will find it again fixteen 
 inches, counted from the other end of the rule ; if the breadth be eleven 
 inches, then a lit'le above thirteen inches will be the length of a toot, Sec; 
 
 Body, in Geometry, is that which has three dimenlions, length, 
 breadth, and thicknefs. As a line is formed by the niotion of a point, 
 and a fuperficies by the motion of a line, fo a Body is general by the mo- 
 tion of a fuperficies. ' 
 
 To bear a Body, with painters. A colour is faid to bear a Body, when 
 it is- of fuch a nature, as is capable of being ground fo fine, and mixing 
 fo entirely with oil, as to feem only a very thick oil of the fame co- 
 lour j and of this nature are white lead and cerufe, lamp-black, Vermil- 
 lion, lake pink, yellow-oker, verdigreafe, indigo, umber, and Spanifh- 
 brown ; blue-bice and red-lead are not quite fo fine ; but yet they may be 
 faid to bear a very good Body. All thefe may be ground fo fine, as to be 
 even like oil itfelf; and then they alfo may be faid tJ work well, fpreading 
 fo fmooth, and covering the Body of what you lay upon it fo entirely, as 
 that no part will remain vifibie where the pencil has gone, if the colour 
 be worked ftiff enough. But, on the contrary, verditers and fmalts, 
 with all the grinding imaginable, will never be well imbodied with the 
 oil, nor work weilj bice and red-lead indeed will hardly grind to an oily 
 firmnefs, nor lie entirely fui oth in the working; yet it may be faid to 
 bear a tolerable Body, becaufe they \v/ll cover fuch work as they are laid 
 upon very well; but luch colours as are faid not to bear a Body, v/ill rea- 
 dily part with the oil, 'wlien laid on the work; fo that when the colour 
 fliall be laid on a piece of work, there will be a fepaiation, the colour in 
 fome parts, and the clear oil in others, except they are tempered extrerne.- 
 ly thick. 
 
 P Bolts 
 
54 B R, A 
 
 Bolts cf Iron, for houfe buildings are diftingulflied by ironmongers 
 inJo three kinds, viz. plate, round, and fpring Bolts ; plate and fpring 
 Bolts are ufed for the faftening of doors and windows, and thefe are of 
 different fizes and prices. There are alfo brafs- knobbed Bolts, fhort and 
 long. 
 
 Bond, a term among workmen j as make good Bond, fignifies that 
 they fhould faften two or more pieces together, either by tenanting, 
 mortifing, or dove-tailing, 6cc. 
 
 BossAGE, in architecture, a term ufed for any flone that has a projec- 
 ture, and is laid in a place in a building lineal, to be afterwards carved 
 into mouldings, capitals, coats of arms, &c. 
 
 Bojj'age is alfo that which is otherwife called ruftic work; confifting 
 of flones which feem to advance beyond the naked of a building, by 
 ■ reafon of indentures or channels left in the joinings j thefe are chiefly 
 ufed in the corners of edifices, and thence called ruftic quoins. The ca- 
 vities or indentures are fometimes round, and fometimes frame chained or 
 levelled; fonieiim^s m a diamond form, and fometimes inclofed with a 
 cavetto, and fometimes with a liftel. 
 
 BouLTiNE, a term ufed by workmen for a moulding, whofe convexity 
 js juft one-fourth of a circle ; being the member next below the plinth in 
 theTufcan and Doric capital. 
 
 BouTANT, or Argh-Boutant, in architedlure, a flat arch, or part 
 of an arch, abutting againfl the reigns of a vault, to prevent its giving 
 way. 
 
 A pillar Boutant, a large chain or pile of flone, made to fupport 
 a wall, terrace, or vault. 
 
 Brack, in building, a piece of timber framed in with bevel joints; 
 the ufe c-f which is to keep the building from Iwerving either way. When 
 tlie Brace is framed into the king- pieces, or principal rafters, it is fome- 
 times called a fl:rut. 
 
 Brads, among artificers, a fort of nails ufed in building, which have 
 no fpreaaing heads. They are di[i;inguifl:ied by ironmongers, by fix 
 names, as joiners-Biads, flooring-Brads, batten-Brads, bill-Brads, or 
 quarter-heads, &c. Joiners-Brads are ufed for haid wainfcot^ batten- 
 Brads for foft wainfcot; or bill-Brads are ufed when a floor is laid in 
 halle, or for (hallow joifl:s fubjedl to warp. 
 
 Branches, of ogives, in aichitcdure; the arches of Gothic vaults. 
 Thele arches traverfing from one angle to another diagonally, form a crofs 
 between the other arches, which make the fides of the fquare, of which 
 the arches are diagonals. 
 
 Brazing, the foldering or joining two pieces of iron together, by 
 means of thin plates of brafs melted between the two pieces to be joined. 
 If the work is very fine, as when the two leaves of broken faws are to be 
 
 joined 
 
B R E 
 
 55 
 
 joined, it Is covered with beaten borax, moiftened with water, that it 
 may be Incorporated with the brafs duft, which is here added; and the 
 piece is expofed to the fire without touching the coals, till the brafs is 
 obferved to run. Laftly, to braze with a flill greater degree of delicacy, 
 they ufe a folder made of brafs, with a tenth part of tin ; or another one 
 third of brafs, and two-thirds of filver; or borax and rofin ; obferving, 
 in all thefe methods of Brazing, that the pieces be joined clofe through- 
 out ; as the folder holds only in thofe places that touch. 
 
 To Break in, in architecture, a term ufed by carpenters, when they 
 cut or rather break a hole in brick walls with a ripping chizzel. 
 
 Brest, a term in architedlure, ufed, by fome, to fignify the fame 
 member in a column, that others call a thorus. 
 
 Breast- Summers, in timber buildings, fuch pieces in the outward 
 parts of a building, into which the girders are framed in all the floors 
 but the ground-floor, then they call it a cell ; and garret floor, then it is 
 called a beam. As to their fize and Iquare, it is the fame according to the 
 a6l of parliament, with that of girders j it is here to be obferved, that it 
 is not here meant, all the pieces which have girders in them, (and are 
 not in the garret, or ground floor ;'^ but all fuch as are in the exterior 
 part of the building ; whether in the front, flanks, or exterior part of 
 the building ; for the pieces in the internal part of the building, into 
 which girders are framed, are called Summers. 
 
 Brew-House, a building adapted to the brewing, &cc. of malt liquors. 
 
 In ereding a large and public Brew-houle to the befl advantage, fe- 
 veral circumflances fliould be carefully obferved. i. That three fides in 
 four of the upper part, or fecond floor, be built with wooden battons 
 about three inches broad, and two thick, that a fufficient quantity of air 
 may be admitted to the backs or coolers. 2. That the coppers be 
 eredled of a proper height above the mafhing ftage, that the hot water 
 may be conveyed by means of cocks into the maQi tuns, and the worts 
 into the coolers. 3. That the fire-places of the coppers be very near 
 each other, that one ftoker, or perfon who looks after the fire, may at- 
 tend all. 4. That the yard for coals be as near as poffible to the fire- 
 places of the copper. 5. That the malt be ground near the mafli tuns, 
 and ti.e mill ereiied high enough that the malt may be conveyed from 
 the mill immediately to the malh-tuns, by means of a fqiiare wooden 
 fpout or gutter. 6. That the upper backs be not eredted above thirty- 
 three feet above the refervoir of water, that being the greateft heigrit 
 water can be raifed by means of a common fingle pump. 7. 1 hat the 
 pumps which raife the water, or liquor, as the brewers call it, out of 
 the refervoir into the water-backs, and alfo thofe which raife the wurts 
 out of the jack- back into the coppers, be placed fo that they may be 
 worked by the horfe-mill which grinds the malt. 
 
 Bricks, 
 
5'> 
 
 B R I 
 
 Bricks, as they fupply the place of ftone in our common buildings, 
 and are compofetl of an earthy matter hardened by art, to the relem- 
 blance of jl^at kini, may be very well coniidered as an artificial flone. 
 Bricks are of a very ancient itanding, as appears from facred hiilory, 
 the tower of Babel being built with them; and it 15 faid, the remains 
 are flill vifible. In the times of the firrt: king's of Rome, they built 
 with maflive fquare ftones, which they learned from the Tufcans. To- 
 wards the latter end of the republic they began to ufe Brick, having bor- 
 rowed the pradiice from the Greeks. And the greateft, as well as moft 
 durable edifices, of the fucceeding emperors, as the pantheon, &c. were 
 built with Brick. 
 
 In ihe time of Gallienns, the buildings were compofed alternately, 
 of an order cf Brick, and an order of toftu?, a kind of foft gritty ftone. 
 After his time, they laid afide the ufe of Bricks and refumed flints. In 
 the eaft they baked their Bricks in the fun. The Roman.- ufed them un- 
 burnt, having firft left them to dry in the air, for three, four, or five 
 years. 
 
 Of the matter whereof Bricks are made. Pliny fiys, if you would 
 have good Bricks, they muft not be made of any earth that is fall of 
 fand or gravel, nor of fuch as is gritty or llony, but of a greyifli marl, 
 or whitifti chalkey clay, or at leall of reddifli earth. But if there is a 
 necefiity to ufe that which is fandy, choice (liould be made of that which 
 is tough and ftrong. He aUb adds, that the beft feafon for making. 
 Bricks is the fpring; becaufe they will be fubject to crack and be full of 
 chinks, if made in the fummer. He direfts, that the loim of which 
 Bricks are made, be well fteeped or foaked, and wrought with water. 
 
 Bricks are made of a clayey or a loamy earth, pure, or with various 
 mixtures J they are fhaped in a mould, and'after feme drying in the fun 
 or air, are burnt to a hardn«fs. This is our manner of maknig Bricks ; 
 the ufe of them was very anient, but whether they were alA'ays made 
 in the fame manner admits a doubt ; we are not clear what was the ufe of 
 flraw in the Bricks for building in Egypt, and there is room to quellion 
 whether thofe of many later periods were ever expofed to the fire. There 
 are remains of great Brick buildings of the Romans, in which the Bricks 
 feem never to have been burnt, but to have been hardened by a very long 
 expofure to the fun ; and this their own accounts confirm ; mention being 
 made in fome of their writers of four or five years drying for this pur- 
 pofe. The Greeks built with Bricks, and they ufed them of fix ditferent 
 fliapef, or at leaft fo many different fizes j three being the principal, and 
 there being as many exad: half fizes ; this gave a variety to their appear- 
 ance. 
 
 We are in general tied down by cuftom to one form and one Gze, 
 which is truly ridiculous ; eight or nine inches in lengto, and four in 
 
 breadth. 
 
B R I 57 
 
 breadth, is our general meafure; but beyond doubt there might be other 
 forms and other fizes introduced very advantageouOy. Sir Henry Wot- 
 ton mentions with commendation a particular form of Brick from Daniel 
 Barbaro, which is in fiiape triangular, of equal fides, and each a foot 
 long The thicknefs he mentions is an inch and half,, fo that his may 
 be well enough eddied a kind ot thick tiles, but that may be altered at 
 pleafure. There is no doubt but Bricks of this and other regularly an- 
 gulr forms might be ufed with advantage in many parts of our common 
 buildings. 
 
 It has been propofed by feme to fteep Bricks in v/ater after the burn- 
 ing, and then burn them over again, in order to give them greater ftrength; 
 but this may be much better done by a proper choice of the materials, 
 and a thorough fkiil and fufficient labour in tempering them. 
 
 It is an obfervat'on of PallaJio, that the antients made their Bricks 
 of a larger fize, which were intended for great buildings, and this was 
 tertainlv right and reafonable; but he is aware of the difficu'ty there 
 mull have been in thoroughly and equally baking of fuch ; we are alfured,. 
 by the very names, that the Greeks had Bricks of five palms long, that 
 being the fenfe of the name given to the largefl lort they ufed in com- 
 mon buildings. 
 
 The manner of burning is a thing very efTential in the flructure of 
 Brick. It is commonly done in a clamp about LondoJi ; but in fome 
 places in a kiln. Some of the finefl: Bricks are burnt in the kilns eredted 
 for tiles. 
 
 The degree of burning makes a coniiderable difference in the condi- 
 tion of the Bricks ; but their principal diftindlit n is from the nature of 
 the mate'-ials with which they are made; thefe being not only various ia 
 themfelves,. but made different m a much greater degree by the mixtures 
 given them in the working. 
 
 A great variety of Bricks have been contrived by different perfons, and 
 made at different times; and long perplexed defcripiions have been given 
 of the way of fabricating them ; but at prefent they are in a manner 
 reduced to four forts, our builders finding thefe fufhcient to anfwer every 
 purpofe. Thefe are place Bricks, grey Stocks, red Stocks, and the finell- 
 red or cutting Bricks. Adding to thele two or three foreign kii.ds im- 
 ported for paiticu ar purpofes, we have before us all that is uled in this 
 way, anu it would be ricedlels for us to meddle with any other ; our pur- 
 pole being to' write not for the fatisfacftion of an idle and uleleis curio- 
 fity, but f)r the fervice of the pradical builder, and of the gentleman- 
 who employs hirn. 
 
 As to the materials of Bricks* wc have already faid they are all made of- 
 earth of a clayey or loamy nature ; the more pure the earth ufed is, the 
 hardei: and firmer the brick will be; but then the lefs mixture there is 
 
 Q with 
 
5$ B R I 
 
 with it, the more labour it will require in working. The Brick-makers 
 regulate themfelves according to this rule, and finifh their work accord- 
 in p- to the fervice for which it is intended. 
 
 Grey Stocks are made of a good earth well wrought, and with little 
 inlxture. 
 
 Place Bricks are made of the fame earth, or worfe ; with a mixture 
 of dirt from the flreets ; and thefe are often fo very bad they will hardly 
 hold together. This is the principal difference between the two kinds of 
 common Bricks, as to their fubllancej the grey Stocks being found and 
 firm, becaufe the earih of which they are made is purer, aiid the Place 
 Bricks being poor and brittle, becaufe of the mixture of other matter 
 with that earth and Isfs working. 
 
 Red Stocks and the Red Bricks, called alfo from their ufc, cutting Bricks, 
 owe their colour to the nature of the clay of which they are made ; this 
 is always ufed tolerably pure, and the Bricks of the better kind are called 
 by fome clay Bricks, becaufe they are fuppofed to be maae of nothing 
 elfe. 
 
 We do not pretend here to enter into the niceties of the Brick- maker's 
 bufinefs, every profeflion has its lecrets, which are kept among thofe who 
 follow it ; neither is it our bufinels to inftruft the reader in making of 
 Bricks, but in ufingthem in building. 
 
 Thus much it was neceflary to fay, that he might underftand the na- 
 ture of thefe as well as that of the other materials wherewith he is to 
 work; and this is the general account of them. The grey Stock, he 
 fees, are made of a purer earth, and better wrought, and they are ufed in 
 front in building, being the ftrongefl and handfomeft of this kind ; the 
 place Bricks are made of the clay, with a mixture of dirt and other 
 coarfe materials, and are more carelcfsly put out of hand ; they are there- 
 fore weaker and more brittle, and are ufed out of fight, and where lit- 
 tle flrefs is laid upon them ; the red Bricks of both kinds are made of a 
 particular earth well wrought, and little injured by mixtures, and they 
 are ufed in fine work, in ornaments over windows, and in paving. 
 Thefe are frequently cut or ground down to a perfedl evennefs, and fet 
 in putty inllead of mortar; and on many occafions they make a very 
 beautiful appearance m this manner. 
 
 Thefe are the three kinds of bricks commonly ufed by us in building, 
 and their difference is owing to this variety in the materials. The place 
 Bricks and grey Stocks are made in the neighbourhood of London, 
 wherever there is a Brick work ; the two kinds of red Bricks, depend- 
 ing upon a particular kind of earth, can only be made where that is to 
 be had ; they arc furnifhtd from feveral places within fifteen or twenty 
 iniles of London, 
 
 We 
 
B R I 
 
 59 
 
 We have already obferved, that there were two or three other kinds of 
 Bricks to be named which are imported from other countries ; and there 
 is alio one of the red or cutting Brick fort that is of our own manufac- 
 ture, and for it^ excellence deJerves to be particularly mentioned; this is 
 the Hedgerly Brick; it is made at a village of that name of tiie famous 
 earth called Hedgerly loam, well known to the glafs-makers and che- 
 mifts. The loam is of a yellowish colour, and very harfli to the touch, 
 containing a great quantity of fand ; its particular ex'cellence is, that it 
 will bear the greateft violence of fire without hurt ; the chemifts coat and 
 lute their furnaces with this, and the ovens at glals-houfes are alfo re- 
 paired or lined with it, where it ftands all the fury of their heat without 
 damage. It is brought into London for this purpofe, under the name of 
 W'indfor loam, the village being near Windfor, and is fold at a large 
 price ; the Bricks made of this are of the finefl: red that can be imagined, 
 they alfo call them fire Bricks, becaufe of their enduring the fire ; and 
 they are ufed about furnaces and ovens in the fame way as the earth. 
 
 The foreign Bricks that are to be named are the Dutch and Flemiili 
 Bricks and clinkers ; thefe are all nearly of a kind, and are often con- 
 founded together ; they are very hard, and of a dirty brimftone colour ; 
 fome of them not much unlike our grey Stocks, others yellower. The 
 Dutch are generally the befl baked, and the Flemifh the yelloweft. As to 
 the clinkers, they are the moft baked of all, and are generally warped by 
 the heat. They are ufed on particular occafions, the Dutch and Flemifh 
 for paving yards, and {tables, and the like ; and the clinkers, which 
 come alfo from the fame places, in ovens. 
 
 The reader, who has thus far acquainted himfelf with the nature and 
 qualities of the feveral kinds of Bricks, their different flrength, colours 
 and beauty, will eafily enter into the diftinftions that are made in theufe 
 of them. As to their nature it is proportioned to their feveral degrees 
 of goodnefs. The fine red-cutting Bricks are twice, or more than twice, 
 the price of the beft grey Stocks j the red rtocks half as dear again as the 
 grey ; and the place Bricks, as they are a great deal worfe, fo they are 
 much cheaper than any of the others. 
 
 The grey Stocks, and place Bricks^ are employed in the belter and 
 worfe kinds of plain work ; the red Stocks, as well as the grey, are 
 ufed fometimes in this bufinefs, and fometimes for arches, and other 
 more ornamental pieces : the fine red cutting bricks are ufed for ruled and 
 gaged work, and fometimes for paving ; but the red flones are more fre- 
 quently employed when a red kind is required for this purpofe. 
 
 The red cutting brick, or fine red, is the fineft of all bricks. In fome 
 places they are not at all acquainted with this; in others they confound 
 it with red Stock, and ufe that for it, though, where the fine red Brick 
 
6o B R I 
 
 is to be had pure and perfectly made, the difFerence is five to three in the 
 fale price between that and the red Stock. 
 
 The red and grey Stock are frequently put in arches gauged, and one 
 as well as the other Cet in puttey inftead of mortar ; this is an expenfive 
 work, but it anlwers in beauty for the regularity of the difpofition and 
 fineness of the joints, and has a very pleafing effedl:. 
 
 The fine red Brick is ufed in arches ruled and fet in puttey in the fame 
 manner j and, as it is much more beautiful, is fomewhat more coftly. 
 This kind is alio the moft beautiful of all in cornices, ruled in the fame 
 manner and fet in puttey. 
 
 The grey Stocks ot an'inferlor kind are ufed in bricking walls. 
 
 The place Bricks are ufed in paving dry, or laid in mortar, and they 
 are put down fiat or edgewife. If they are laid flat, thirty-two of them 
 pave a fquare yard ; but if they are placed edgewile, it takes twice that 
 number: in the front work of walls the place Bricks fliould never be 
 admitted, even in the meaneft building. Thgt confideration therefore 
 only takes place in the other kinds j and the fine cutting Bricks come fo 
 very dear this way, that few people will be brought to think of them; 
 fo that it lies in a great meafure between the grey Stocks and red Stocks. 
 Of thefe the grey are mofl ufed ; and this not only bf.caufe they are 
 cheaper; but in mofi: cafes where judgment is preferred to fancy they 
 will have the preference. 
 
 We fee many very beautiful pieces of workmanship in red Brick ; and 
 to name one, the front of the green-houfe in Xenfington -gardens will be 
 fure to attradl every eye that has the lead: ciVriofity ; hut this fhould not 
 tempt the judicious architeft to admit them in the front walls of the 
 buildings. Jn the firft place, the colour itfelf is fiery and difagrecable 
 to the eye; it is troublefoine to look upon it; and, in lummer, it has 
 an appearance of heat that is very difagrceable ; for this reafon it is mofl 
 improper in the country, though the ofteneft ufed there from the difficul- 
 ty of getting grey. But a farther confideration is, that in the fronts of 
 mofi; buildings of any expence, there is more or lefs fi:one-work ; now 
 it were to be wifi::ed, that there fhould be as much conformity as could 
 be bad between the general nakednefs of the wall and thefe feveral orna- 
 ments which projedl from it ; the nearer they are of a colour the better 
 they always range together; and if wecafi: our eyes upon two houfe;-, the 
 one red, and the other grey Brick, where there is a little ftone work, we 
 fhall not be a moment in doubt which to prefer. There it fouiething 
 h?.rfli in the tranfition from the red Brick to Hone, and it ieems altoge- 
 ther unnatural; in the other, the grey fi:ocks come fo near the colour of 
 flune thu the change is Icfs violent, and they fort better togethe;. For 
 this reafon alio the grey Stocks are to be judged befi: coloured - 'hfn they 
 hiive leafi: of the yellow call ; for the nearer they come to the colour of 
 
 ilone. 
 
B R I 6i 
 
 flone, when they are to be ufed together with it, it Is certainly the bet- 
 ter. Where there is no flone woric there generally is wood, and this 
 being painted white, as is commonly the pradtice, has yet a greater efFevfl 
 with red brick than the ftone workj the tranlition is more luddcn in this 
 than the other;, but, on the other hand, in the mixture of grey Bricks 
 and white paint, the colour of the Brick being foft, there is no violent 
 change. 
 
 The grey Stocks are made at this time to a great excellence about Lon- 
 don, as many new pieces of Brick work fhew to the credit of the under- 
 takers. The duke of Norfolk was fo nice in this refpedl, that he had 
 the Bricks brought from his eftate in that county for the building the 
 front of his houfc in St. James's Square ; but the event ftievvs, that his 
 Grace might have been better fupplied near at hand, as to colour, with 
 equal hardnefs. 
 
 The greatefl advantage that a grey Stock, wliich is the llandard Brick, 
 can have, is in its found body and pale colour j the nearer it comes to 
 flone the better ; fo that the principal thing the Brick-maker ought to 
 have in view, for the improvement of his profeflion, is the feeking for 
 earth that will burn pale^ and that will have a good body, and to fee it 
 has fufficient woiking. The judicious architect will always examine his 
 Bricks in this light, and will be ready to pay a price where it is merited 
 by the goodnefs of the commodity. 
 
 The utility and common pradlice of building all our edifices of Brick, 
 both in London and the country, arifes from motives too obvious to need 
 a definition, fince it is generally confidered to be much the cheapell, a^ 
 well as the moft eligible fubftance that can be invented for the purpofc, 
 both in point of beauty and duration, and inferior to nothing but wrought 
 fione. 
 
 The great principle in the pradice of Brick- work lays in the procli- 
 vity, or certain motion of abfolute gravity, caufed by a quantity or muU 
 tiplicity of fubftance being added or fixed in refiilable matter j there- 
 fore naturally tends downwards, according to the weight and power im- 
 prclTed. From which obfervations the requifite inferences may be drawn, 
 and fuch remarks made, as may enable the journeyman to eredthls works 
 with fuch accuracy, that no bad confequences may attend, and, more- 
 over, avoid unnatural fettlements. 
 
 And firft it may not be amifs to confider the motive of this above- 
 mentioned proclivity, which is chiefly caufed through the yielding mix- 
 ture of the matter of which mortar is compofed, and cannot well be re- 
 duced to any fyftem of certainty ; becaufe the abfolute weight of a Brick, 
 or any other fubftance laid in mortar, will naturally decline according to 
 the fubft'.nce or quality of it j in which cafe particular care fhould be 
 taken,, that it is of a regular quality all the way through the building j 
 
 R and 
 
62 B R I 
 
 and likewlfe that the fame force fliould be uTed to one Briclc as another ; 
 I mean the flroke cf the trowel; a thing, or point in pradtice, of much 
 more confequence than is generally imagined ; for if a Brick be aftuated 
 upon by a blow, it will be a much greater preflure upon it than the ab- 
 folute weight of twenty Bricks: before which cari be properly laid, in 
 form and arrangement, with the advantage of the weather in a favourable 
 fealon, may be fo dried or confolidated, that no fettlement can enfue from 
 other defeds than that of an overfight in the foundation. The many bad 
 effedls that arife from mcrtar not being of a proper quality, fliould make 
 mafters very cautious in the preparation of it, as well as the certain 
 quantity of materials of which it is compofed, that the whole llrudlure 
 may be of one fubftance. 
 
 There is one thing which often caufes a bulging in large flank-walls, 
 efpecially when they are not properly fet off on both fides ; that is, the 
 irregular method of laying Bricks too high on the front edge j that, and 
 building the walls too high on one fide, without continuing the other, 
 often caufes the above defetfls. Notwithftanding, of the two evils, this 
 is the kafl ; and Bricks fliouid incline rather to the middle of the wall, 
 that one halfof the wall may be a fliore to the other. But th-s method, 
 too much followed, will be more hurtful than beneficial, becaufe the full 
 width of the wall doth not take its ablblute weight, and entire y remove? 
 the fpecific gravity from its firft line of direflion, which in all walls 
 fliould be perpendicular and united ; whereas, if the above method is 
 ilretched to excefs, and the walls have a fuper-incumbent weight to bear 
 adequate to their full flrength, a disjundfive digreffion is made from the 
 right line of direftionj the conjunctive flrength becomes divided ; and 
 inffead of a whole or united fupport from the wall, its ftrength is fepa- 
 ratcd in the middle, and takes two lateral bearings of gravity j each in- 
 lufficient for the purpofe; therefore like a man overloaded either upon his 
 head or fhouldcrs, naturally bends and ftoops to the force imprelled ; in 
 which mutable flate the above grievances ufually happen. 
 
 Another great defedt we frequently fee in thefronts of houfes ; in fome 
 of the principal ornaments of Brick-work, viz. arches over windows, &c. 
 and vvhitli is too often caufed by a want of experience in the rubbing of 
 them; which is the mofl: difficult part of the branch, and ought to be 
 very well confidered. The faults I mean, are the bulging or convex fi- 
 tuation vvc often fee arches in, after the houfes are finifhed, and Ibme- 
 times loofe in the key or center bond. The firff of thefe defedls, which 
 appears to be taufed by too much weight, is in reality no more than a 
 fault in the praftice of rubbing the Bricks too much off on the infides^ 
 for it fliould be a ftanding maxim (if you expedl them to appear ftreight 
 under thdr proper weightj to make them the exad: gauge on the infide, 
 
 that 
 
B R I 63 
 
 that they bear upon the front edges ; by which means their geometrical 
 bearings are united, and all tend to one center of gravity. 
 
 The latter obfervation, of camber arches not being fkewed enough, is 
 an egregious fault ; becaufe it takes greatly from the beauty of the arch, 
 as well as its fignificancy. The proper method of fkewing all camber 
 arches (hould be one-third of their height. For inftanccj if an arch is 
 nine inches high, it fhould Ikew three inches j one of twelve inches, 
 four; one of fifteen inches, five; and fo of all the numbers between 
 thofe. Obferve, in dividing the arch, that the quantity confifts of an 
 odd number; by fo doing, you, will have proper bond ; and the key- 
 bond in the middle of the arches j in which ftate it muft always be, both 
 for ftrength and beauty. Likewife obferve, that arches are all drawn 
 from one center; the real point of camber arches is got from the above 
 proportion. Firft, divide the height of the arch in three parts ; one is 
 the dimenfions for the fkewing ; a line drawn from that through the 
 point at the bottom to the perpendicular of the middle arch, gives the 
 center; to which all the reft muft be drawn. 
 
 There are many other difficult jobbs in Brick-work -, as groins, 
 niches, 5cc. all which fliall be treated of in their proper order. 
 
 Of Brick Groins. 
 
 A Groin is the interfering or meeting of two circles, Sec. upon their 
 diagonal elevations drawn upon the different fides of a fquare, or any other 
 figure, and whofe principle of flrength lies in the united force of eleva- 
 tion, divided by geometrical proportions to one certain gravity, which is 
 the center to which all the bearings tend. The di.^culty that attends 
 the execution of a Brick Groin lies in the peculiar mode of appropriating 
 proper bond at the interfering of the two circles, as they gradually rife 
 to the crown to an exadt point; in the meeting or interfedtinty of thofe 
 angles will be formed a kind of rib in the infide, which fhould be parti- 
 cularly ftreight and perpendicular to a diagonal line drawn upon the plan. 
 There is no definition of a thing of this fort, either by lines or defcrip-- 
 tion, equ'al to what will occur to the learner in the pradice of them. 
 After the centers are fet, let the bricklayer apply two or three Bricks to 
 an angle j by which means he will effedlually fee how to cut them as 
 well as the requifiles of bond. 
 
 There is nothing fo certain as praftice for the folving any difficulty ; 
 it is by this axiom that every proof is founded, and without it the moft 
 flagrant idea of lines, and theoretical fpeculation, would be in many 
 cafes detedive; becaufe a falfe notion, or a wrong conception, nii^'ht 
 lead the wifeft man into an error. It is upon this principle of pradice I 
 propofe to render my inftrudions familiar. 
 
 But 
 
64 B R I 
 
 But to return to the Groins. The workman muft obferve, that the 
 manner of turning Groins with refped: to the fides, is the fame as other, 
 arches and centers, except in the angles, which muft be traced for its 
 properties, as 1 obfei ved by applying the Bricks ; and if the arch is to be 
 rubbed and gauged, you muft divide each arch into an exaft number of 
 parts, and extend the lines till they meet in the Groin; by whiclv means 
 you will eafily find the curve for the angle, from which you muft make 
 your tfmplets; obferve, in fixing the centers, that the carpenters raife 
 them fomething higher at the crown, to allow for fettling, which fre-t 
 quently happens, fometimes by the prefTure upon the butments, other-,- 
 wife from the length of the crown. 
 
 Obferve in building of vaults, that the piers or hutments are of fuf- 
 ficient ftrength ; all hutments to vaults, whether groined, or only arched, 
 fhould be one-fixth part of the width of the fpan ; and, moreover, if 
 there is any great weight to be fuftained, bridgings of timber Ihould be 
 framed, to difcharge the weight from the crown of the arch ; after a 
 vault or Groin is finiflied, it is highly neceflary to pour on a mixture of 
 tefras, or lime and water, on the crown ; and give it ibme little time to 
 dry, before you ftrike the centers, in order to cement the whole together. 
 
 Rough Groins have no more value put upon them than common vaults,, 
 which are included at per rod with common Brick- work, except the an- 
 gles of Groins, which are meafured after run lineal, and fometimes vil- 
 owed by furveyors is. per foot j many mafters charge is. 2d. per foot. 
 
 Of a NicH in Brick-work. 
 
 A Nich is the inner or concave quarter of a globe, and ufually made in 
 walls on the exterior parts of a building, to place figures or ftatues in. 
 The practice of this in Brick-work is the moft difficult part of the pro- 
 feflion, on account of the very thin fize the Bricks are obliged to be re- 
 duced down at the inner circle, as they cannot extend beyond the thick- 
 nefs of one Brick at the crown or top ; it being ufual, as well as much 
 the neateft method, to make all the courfesftanding. 
 
 The moft familiar way to reduce this point to practice, is to draw the 
 front, back, &cc. and make a templet of pafteboard, after you have di- 
 vided the arch for the number of Bricks. My reader muft obferve, that 
 one templet for the flanding courfes will anfwer for the front, and one 
 lor the fide of the Brick ; and at the top of the ftreight pa. t, from 
 whence the Nich takes its fpring, you. muft remember to make a circle of 
 the diameter of eight or nine inches, and cut this out of pafteboard alfo, 
 and divide it into the fame number of parts as the outward circle; trom 
 which you will get the width of your front-templet at the bottom. The 
 reafon of this inner circle is to cut off the thin conjundion of points 
 that muft all finifti in the center, and which in Bricks could never be 
 
 worked 
 
B R I 6$ 
 
 worked to that nicety; it being impoflible to cut Bricks with any accu- 
 racy nearer than halt" an inch thick; within the inner circle the Bricks 
 muft be lying. It will be neceffary to have one templet made convex, 
 to try the faces of Bricks to, as well as fetting of them, when they are 
 gauged. The ftone you rub the faces of the Bricks upon, muft be cut 
 at one end in the exad: form of the Nich, or it will be impoflible to face 
 them proper. The level of the flat fides of the.Bricks is got by dividing 
 the back into the number of parts with the front, and all ftruck to the 
 center ; from the circle of the front of one Brick fet yc ur level, which 
 will anfwer for the fides of the whole : obferve, that the Bricks hold 
 their full gauge at the back, or when you come to fet them you will 
 have much trouble. Jobbs of this kind are ; and when they happen, 
 fl:iould bear a price equal to their value. 
 
 The tollowing is what materially concerns the bricklayer, in an act of 
 the 14th of Geo. 3. for the regulation of Brick buildings and party walls, 
 in London, Weftminfter, St. Mary le Bone, Paddington, Pancras, and 
 St. Luke, at Chelfea. 
 
 It will be neceflary to obferve a few things which refpedl the Brick- 
 layer, before we immediately enter into the defcription of the manner he 
 is to execute his work; 
 
 I ft, That there are only the firft, fecond, third and fourth rates of 
 building, whofe thicknefs of external and party-walls are defcribed in 
 the a<5t. 
 
 The First Rate. 
 
 Every church, chapel, meeting-houfe, and other place of public 
 wor(hip. 
 
 Every houfe or building, fordiftilling or brewing liquors for fale, for 
 making cf foap, for melting of tallow, for dying, for boiling or diftil- 
 ling turpentine, for cafting brafs or iron, for refining of fugar, for mak- 
 ing of glafs for chemical works for lale, of what dimenfion foever the 
 fame refpetlively are built. 
 
 And every warehoufe and other building (except fuch buildings as arc 
 defcribed to beef the fifth, fixth or feventh rate) not being a dwelling^, 
 houfe, which exceeds three clear ftories above ground, exclufive of rooms 
 in the roof, or meafures in height 31 feet frcm the foot- way of either 
 of the fronts, to the top of the blocking coiirfe or parapet. 
 
 And every dwelling-houle with offices belonging and adjoining, or con- 
 nected othei wife than by a fence or fence-walJ, or covered pallage open 
 on one or both fides ; when finilhed exceeds the value of S50 1. 
 
 And alfo every dwelling-houfe which exceeds nine fquares ef building 
 on the ground plan. Are all and each of them of the firft rate. 
 
 S Ths 
 
he B R I 
 
 The. Second Rate. 
 
 Every warehoufe, ftable and other building, ^except fuch buildings aa 
 are di.icribcd to be of the lirft, fifth, lixth or feventh rate) pot bring a 
 dwcliine houle which exceeds two c'ear ftories, and d'jes not contain- 
 more than three clear ftories above ground, exciuuve or rooms in tiie 
 ro^f, or mealures in height 22 feet, and not amounting to 31 feet frortv 
 the foot way of either of the fronts, to the top of the blccking-courfe, 
 or para|.et. 
 
 And every dwelling-houfe with offices belonging and adjoining, or 
 conneded otherwife than by a fence or fence-wall, or covered paffage open 
 upon cne or both fides, when finiilicd exceeds the value ot 300 1. and 
 does not amount to more than 850 1. 
 
 And alfo every dwelling-houle, which exceeds five ftj^^uareSi. of building 
 on the ground plan, and does not amounit to more than ninfefquares, aris 
 all and each of them of the fecond rate. 
 
 The Third Rate. 
 
 Every warehoufe, ftable, arid other building, (except fuch buildings 
 as are defcribed to be cf the firft, fifth, fixth, or feventh rate) not being a 
 dwelling-houfe, which exceeds one clear flory, and does not contain 
 more than two clear ftories above ground, exclufive of the rooms in the 
 roof, or meafures in height more than thirteen feet, and does not amount 
 to twenty-two feet, from the foot-way of either of the fronts, to the 
 top of the blocking-courfe, or parapet. 
 
 And every dwelling-houfe with ofiices belonging and adjoining, or 
 connecled otherwife than by a fence, or fence-wall', or eover-ed paffage 
 open on one or both fide?, when finiihed, exceeds the value of 150 1. and. 
 does not amount to more than 300 1. 
 
 And alfo every dwelling-houfe, which exceeds three and an half fquares 
 of building on the ground plan, and does not anoount to more than five 
 fquares, are all, and each of them, of the third rate. 
 
 The Fourth Rate. 
 
 ' Every warehoufe, ftable, and other building (except fuch buildings as 
 are defcribed to be of the firft, fifth, fixth, or feventh rate; not being 
 a dwelling-houfe, which does not exceed one clear flory above ground,, 
 exclufive of rooms in the roof, and meafures in height not more thaa 
 thirteen feet from the foot-way of either of the fronts to the top of the 
 blocking courfe, or parapet. 
 
 And every dwelling-houfe, with offices belonging and adjoining, or 
 connedled otherwife thaa by a fence, or fence-wall, or covered paffage 
 open on one or both fides, when firnillied, does not exceed the value of 1 50 L 
 
 And 
 
B R I 67 
 
 And alfo every dwel'ing-houfe, which does not exceed three and an 
 half (quarcs of building on the ground plan, are all, and each of ihrin 
 of the fourth rate. 
 
 The 2ft diitfts, that every mafi. r- vvoikaian, or owner, (hall give 24 
 hours not ce to the furvjyor, in whole difi: ift any building whatever, from 
 the fi:ft to the Icvcnth rate, is to be altered or erefted. 
 
 That as it is fobnd by experience, that moft buildings, in general, are 
 more often begv, by the bricklayer than by the carpent'T, there will be 
 no kind of impropriety in faying, it will be the bricklayer's bunnefs to 
 give fuch n tice, except where a foundaUon is to be piled or planked; 
 and tlitn it becomes the bufinefs of the carpenter. 
 
 But be this as it may, the obfervation is only made from fuppofing, 
 that the workman who lays the firfl: ftone would wifli to lay it right, and 
 therefore if the furveyor cannot attend within the 24 hours, he muft 
 himleif obferve the direftions of the aft, which will be hereafter feve- 
 rally explained. And firft of external walls. 
 
 The aft calls every front, fide, or end wall, &c. (not being a party 
 wall) an external wall : a<"d as it has before been faid, that there are hut 
 four rates of building, whofe thicknefs of walls is defcribed by the ait. 
 
 The wails to each rate bath in fublfance and form, according to the ex- 
 prefs declaration of the aft, are not to be lefs in thicknefs than as they are 
 defcribed, yet it muft in courfe be prefumed, that they be made as much 
 thicker as the nature of the l)uilding, or the owner of it may require. 
 
 The footings to the walls are to be with equal projeftion on each fide, 
 but where any adjoining building will not admit of fuch projeftion to be 
 made on the fide next adjoining to fuch building, the aft allows it to be 
 done as near as the cafe will admit, and this to each of the four rates. 
 
 The bearing of the timbers in each rate, as girders, beams, or trim- 
 ming joifts, Sec. which in all cafes, and in all the above four rates, may 
 be as much as the nature of the wall will admit, provided there is left 
 four inches between the ends of fuch timbers and the external furface of 
 the wall. ■ 
 
 The flories are to be made in number agreeable to the rate to which 
 they belong; but their height may be made difcreti( nally. 
 
 The aft exprcfles the thicknefs of the walls in feet and inches, as well 
 as the number of Bricks of which fuch thicknefs is to be compofed; this 
 lafl: methcd being thought moft familiar to workmen in general. 
 
 The joints of the Brick-work mufl anfwer to the exprels number of 
 Bricks of which luch wall is to be compofed. 
 
 External walls, and other external inclofures to the firfl:, fecond,. third, 
 fourth, and alio the ui'ih rate of building, when built hereafter, mull be 
 of Brick, llone, artificial ifone, lead, copper, tin, flate, tile or iron ; or 
 of Brick ftone, and fuch artificial flone, lead, copper, tin,, flate, tile,, 
 
 and: 
 
63 B R I 
 
 2nd iron together, except the planking, piling, 5cc. for the foundation, 
 which may be of wood of any fort. 
 
 If any part to an external wall of the firft and fecond rate is built whol- 
 ly of flone, it is not to be lefs in thicknefs than as follows. 
 
 Fiift rate, 14 inches below the ground-floor; 9 inches above the 
 ground- floor. 
 
 Second rate, 9 inches above the ground floor. 
 
 W here a recels is intended to be made in any external wall hereafter to 
 be built, it mufl be arched over, and in fuch manner, as that the archj 
 and the back of fuch recefs, Ihall refpcftively be of the thicknefs of one 
 Brick in length; therefore it follows, that where a wall is not mors than 
 one Brick thick, it cannot have any recefs. 
 
 No external wall to the firft, fecond, third, and fourth rate, is ever 
 to become a party-wall, unlefs the fame fliall be of the height and thick- 
 nefs above the footing, as is required for each party-wall to its refpec- 
 tive rate. 
 
 Party-walls. Every building of the firft, fecond, third, and fourth 
 rate, hereafter to be built, which is not defigned by the owner thereof to 
 have feparate and diftinft fide-walls, on fuch parts as may be contiguous 
 to other buildings, muft have party- walls; and they are to be placed half 
 and half, on the ground of each owner, or ot each building refpedtively, 
 and may be built thereon, without any notice being given to the owner 
 of the other part, that is to fay, the firft builder has a right fo. to do, 
 where he is building againft vacant ground. 
 
 All party-walls, and all chimneys, and chimney-fliafts hereafter to be 
 built, muft be of good found Bricks, or ftone, or of found Bricks a/id 
 ftone tegether, and muft be coped with ftone, tile or Brick. 
 
 When the fituation of the floors are difltirent levels, it may not be im- 
 proper to ftiew in what manner the walls muft be built, where fuch differ- 
 ence ot level may happen ; as for example, fuppofe a party-wall is to be 
 built between two eld houfes, and there is occafion to fink the cellar ftory 
 of one of the houfes below the level of the floor of the other; in that 
 cafe the wall muft have its declared depth, below the floor of the loweft 
 building, and fo under the ground- floor; and alio above the garret- floor, 
 which is to be carried up to its proper thicknefs, as high as the underfide 
 of the floor of the higheft building. 
 
 Stone corbets muft be inferte.j where the wall will not allow of a fuffi- 
 cient bearing; becaufe the ad expreftly fays, there ftiall be 8 inches i of 
 folid BiicK- work, between the ends and fides of all timbers which lay op- 
 pofite t'.^, or on a level with other timbers of the adjoining building. 
 
 Party-v/,.lls, or additions thereto, muft be carried up eighteen inches 
 above tne roof, mesfuring at right angles with the back of the lafter, and 
 twelve inches above the gutter of the higheft building, which gables 
 
 againft 
 
B R I 69 
 
 againfl: it ; but where, the height of a party-wall fo carried up, exceeds 
 the height of the blocking courfe or parapet, it may be made lefs thaa 
 one foot above the gutter, for the diilance of two feet fix inches from 
 the front of the blocking courfe or parapet. 
 
 And where dormers or other eredlions are fixed in any flat or roof, 
 within four feet of any party-wall, fuch party-wall is to be carried up 
 againrt fach dormer, and mult extend at leall two feet wider, and to the 
 full height of every fuch dormer or ere<ftion. 
 
 There is no recefs to be hereafter made in any party-wall of the firft, 
 fecond, third and fourth rate, except for chimney-flues, girders, &c. 
 and for tise ends of walls or piers, fo as to reduce fuch wall in any part of 
 it, to a lefs thicknefs than is required by the adt, for the higheft rate of 
 building to which lu<. h wall belongs. 
 
 No opening to be hereafter made in any party-wall, except for com- 
 munication from one Hack of warehoufes to another, and from oneflabie 
 building to another, all which communications muft have wrought iront 
 doors ; and the pannels thereof not to be lefs than one quarter of an inch 
 thick, and to be fixed in ftone door-cafes and fills. But there may be 
 openings for paflages or ways on the ground, for foot paflengers, cattle, 
 or carriages, and muft be arched over throughout with brick or ftone, or 
 brick and flone together, of the thicknefs of a brick and half at the leafl, 
 to ihe fiift and fecond rate, and one brick to the third and fourth rate. 
 And if there is any cellar or vacuity under fuch palTage, it is to be arched 
 over throughout, in the fame manner as the pafTage over it. 
 
 No party-wall or party-arch, or fliaft of any chimney, new or old 
 is to be cut into, other than for the purpofes as follow. 
 
 Where the fronts of buildings are in a line with each other, a break 
 may be cut, both in fore and in back front of fuch buildings, (as may be 
 already eredledj for the purpofe of inferting the end of fuch other ex- 
 ternal wall which is to adjoin thereto; which break mufl not be more than 
 nine inches deep, from the outward faces of fuch external walls, and not 
 to be cut beyond the centre of the party-wall thereto belonging. 
 
 And further, for the ufe of inferting brefTummers and flory pofls, 
 that are to be f xed on the ground floor, either in the front or back wall, 
 which recefs may be cut from the foundation of fuch new wall,, to the 
 top of fuch brefiummer fourteen incues deep from the outward face of 
 fuch wall, and four inches wide in the cellar flory, and two inches wide 
 on the ground ftory. 
 
 And turther, for the purpofe of tailing-in ftone fleps, or flone land- 
 ings, or lor bearers to wood flairs, or tor laying in flone corbels for the 
 fupporc of chimney jaumbs, girders, beams, purloins, binding or trim- 
 mings, joiflt:, or other principal timbers. 
 
 T And 
 
■JO 
 
 B R I 
 
 And furtlier, perpendicular recefles may be cut in any party-wall whofc 
 thicknefs is not Ids than thirteen inches, ix)r the purpole of in'erting 
 walls and piers therein, but inuft not be made wider than fifteen inches, 
 or more than four inches deep, and no fuch recefs to be nearer than ten 
 feet to any other recefs. 
 
 And all, and every fuch cuttings and recefTes mufl- be immediately 
 made good and effectually pinned up, with brick, flone, ilate, tile, £he!l, 
 or iron, bedded in mortar. 
 
 But no party-wall is to be cut for any of the above purpofes, if the 
 fanie will injure, difplace, or endanger the timbers, chimuies, flues or 
 internal finifliings of the adjoining buildings. 
 
 And further al fo the a6l allows the footing to be cut off on the fide of 
 any party wall, whtre an independant fide-wall is intended to be built 
 againft fuch party-wall. 
 
 When buildings (except the inns of court) that are ered:ed over gate- 
 ways, or public paffages, or have different rooms and floors, the property 
 of different owner?, come to be rebuilt, they mufl have a party- wall, 
 with a party-arch or arches, of the thicknefs of a brick and half at the 
 ieafl, to the fiifl and fecond rate, and of one brick to the third and fourth 
 rate, between building and building, or between the different rooms and 
 j^oors that are the property of different owners. 
 
 All inns of court fet apart for the ftudy or pracftice of the law are ex- 
 cepted from the regulation as above, and are only necefiitated to have 
 party walls, where any room or chamber communicates to each feparate 
 and dilfinft flair-cafe, and which are alfo fubjed to the fame regulations 
 as refpeft other party-walls. 
 
 Where a building of a lower rate is fituated adjoir/.ng to a building of 
 a higher rate, and any addition is intended to be made thereto, the party- 
 wall mufl be built in fuch manner, as is required for the rate of fuch 
 higher rite of building fo adjoining. 
 
 When any party-wall is raifed, it is to be made of the fame thicknefs, 
 as the wail is of, in the ftory next below the roof of the highefl build- 
 ing adjoining, but is not allowed to be raifed at all, unlefs it can be done 
 with fafety to fuch wall; and the building adjoining thereto^ 
 
 Every dwelling houfc hereafter to be built which contains four flories 
 in height from the foundation, exclufive of rooms in the roof, mufl have 
 its pariy wall built according to the, third rate, notwithflanding fuch 
 dweiling-houfe may be o\ the fourth rate. 
 
 And every dweiling-houie hereafter to be built which exceeds four 
 flories in height, from the foundation, exclufive of the rooms in the roof, 
 mufl have its party-walls built according to the firil rate, notwithfland- 
 ing fuch houle may not be of the firfl rate. 
 
 Chimnies 
 
B R I 71 
 
 Chimnies, &c. No Chimney whatever to be eredled on timber, except 
 on the piling, planking, &c. of the foundations of the building. 
 
 Chimnies may be built back to back, in party-walls ; and where Co 
 built, muft not be lefs in thicknefs from the centre of fuch party-wall 
 than as follows. 
 
 Firft rate, or adjoining thereto, to be one brick thick in the cellar 
 ftory; and half a brick in any of the upper flories. 
 
 Second, third, and fourth rate, or adjoining thereto, to be three fourths 
 of a Brick thick in the cellar ftory j and half a brick in any of the up- 
 per ftories. 
 
 Where Chimnies in party- walls do not fland back to back, they may 
 be built in any of the four rates as follow. 
 
 From the external face of the party-wall to the inward face of the 
 back of the Chimney in the cellar (lory, one brick and an half thick, 
 from the hearth, to twelve Inches above the mantle. 
 
 Backs of Chimnies not in party-walls, to the firft rate muft not be 
 lefs than a brick and half thick in the cellar ftory, and one brick thick in 
 every other ftory, and to be from the hearth to twelve inches above the 
 mantle. 
 
 N. B. If fuch Chimney is built againft any other wall, the back there- 
 of may be half a brick thinner than as above defcribed. 
 
 Backs of Chimnies not in party-walls of the fecond, third, and fourth 
 rate, muft be in every ftory at leaft one brick thick from the hearth, to 
 twelve inches above the mantle. 
 
 N. B. Thefe backs may be alfo half a brick thinner, provided fuch 
 Chimney is built againft any other wall. 
 
 All breafts of chimnies, whether in party-walls or not, muft not be 
 lefs than one brick thick in the cellar ftory, and half a brick thick in 
 every other ftory. 
 
 All witbs between flues are not to be lefs than half a brick thick. 
 
 Flues may be built oppofite to each other in party-walls, but not to 
 approach to the centre of luch wall nearer than two inches. 
 
 Ail Chimney breafts next the rooms and Chimney backs alfo, and all 
 flues are to be rendered or pargetted. 
 
 The backs of Chimnies and flues in party- walls againft vacant ground 
 are to be lim; whited, or marked in fome durable manner, but to ^e ren- 
 dered or pargetted as foon as any other building is eredted to lujh wall. 
 
 No timber whatever is to be over the opening of a Chimney tor lup- 
 porting the breaft thereof, but muft have a brick, or ftone arch, or ircn 
 bar or bars. 
 
 All Chimnies are to have flabs, or foot paces of ftone, marble tile, 
 or iron at leaft eighteen inches broad j and at leaft one fool longer than 
 the open, ng of the Chimney when finiftjed, and which flabs or foot places 
 
 muft 
 
72 
 
 B R I 
 
 mart: be laid on brick or ftone trimmers at lead: eighteen inches tread from 
 the lace of the Chimney bread, except where there is no room or vacui- 
 tv beneath, and then they may be bedded on the ground. 
 
 No brick funnel is to be made on the outfide of any building of the 
 f.rft, fecond, third or fourth rate, next to any ftreet, fquare, court, road, 
 or way, fo as to extend beyond the general line of the buildings therein. 
 
 No funnel of tin, copper, iron, or other pipe for conveying fmoke 
 or fleam, is hereafter to be fixed next any public ftreet, fquare, court, or 
 way to the firll, fecond, third, or fourth rate, nor no fuch pipe is to be 
 fixed on the infide of any building nearer than fourteen inches to any 
 timber, or other ccmbuftible material whatever. 
 
 Bridge, an edifice either of flone or timber, confifl:ing of one or 
 more arches erefted over a river, or the like, for the conveniency of 
 palling over. 
 
 We enter now upon a part of the architedl's province, detached from 
 all the others, but as eflential to him as any. There is the more need 
 that we treat this clearly, becaufe the ideas commonly entertained of it 
 are very confufed ; and we muft do it fully, for little has been faid by 
 others proportioned to the importance of the fubjedl. 
 
 The origin of Bridges may be traced back aimolt to the origin of man- 
 kind; the firil difguft would then feparate families, and rivers were the 
 natural bounds of the partition : thofe feuds would end with thofe who 
 firll: feparated from their influence ; and an intercourfe would naturally 
 be eftabliflied among their defcendants. The deeper the river the better 
 it ferved the purpofe of feparating; and its depth, as foon as an inter- 
 courfe were tftabliflied, demanded a Bridge; this is one natural and piaiii 
 original; founded on that inconflancy of our nature which we ftijiild 
 at once defpife and lament: but befides this there would arife among ihe 
 firft families a variety of others ; curiofity, a defire of enlarging tneir 
 pofrefficns, the chace, the imagination of produdls in countries feparated 
 by the largefi: rivers ; all thefe would lead men early over them. Ford- 
 ing and fwimming are inconvenient, troublefome, and beneath the dig- 
 nity of reafon ; they are the means of hearts j but our faculties were 
 given us to nobler purpofes than that we fhould follow fuch examples. 
 Men no fooner faw rivers than they deiired to crofs them; and they no 
 fooner found advantage on the other fide than they defired to do it otten, 
 eafily, and with fecurity. This gave the origin to Bridges among people 
 who were worthy of the name of civilized. Kgypt may yet fee her rude 
 fons dragged acrofs rivers on a bundle of ilraw drawn by a cow ; fo 
 Norden, laithful and accurate in all things, has delcribed them; but 
 thefe are not examples of human nature, except in the one inltance, in 
 its flownefs to exert its qualities. The more enlightened among them 
 many thoufand years before had Bridges ; and we will fee in all coun- 
 tries 
 
B R 1 73 
 
 tries the remains of them, various and flupendou?. Janus is honoured 
 as the inventor of them, among the earh'efl people of vv'hom we have 
 accounts in profane hillory, and it is recorded on medals to his honour : 
 we have many fuch truly antique, and, with the defit;ns of Bridges, fuf- 
 ficiently fingular on the reverie ; but the many ages that had palfed be- 
 fore the period ot their earlieft hiftory, convince us this was fable. 
 
 Tlie floating Bridge has been admired in all ages, and we have various 
 inftances of its ufe. It is a temporary contrivance, but the invention. 
 great. We admire the Roman's Bridge of boats acrofs the Rhine j but 
 it is with alloniihment we read of that Xerxes conftruded of (hips over 
 the Hellefpont. The earlieft Romans fpeak of the Pontes utritus fuper' 
 Jirati ; and we know the ufe of pontoons in the modern arts human 
 deftru(ftion. Thefe ftand as obj,edls of curioiity or wonder, and have their 
 ufe on lingular occaiions ; but it is not of thefe we are to treat. As we 
 meet with the accounts and tlie reprefentations of thefe in figures and 
 ccins among the learning and antiquities of celebrated nations ; barbarity,, 
 as Greece affcdled to call the ftate of other countries, and as Rome 
 thought it, is not without its remains of the fame kind ; wild indeed, 
 and romantic, but eq^ually aftonifhing. Chains have been drawn acrofe 
 rivers from tree to tree, and wicker cradles extended to amazing lengths. 
 Not only rivers have been thus mad'C paflable,. but horrible precipices at 
 land conneded by this bold, wild thought : the traveller has croffed from 
 brow to brow of perpendicular mountain?, and trembled as he felt the 
 Bridge dance under him,, and faw the depth below. 
 
 Thefe in their way equal, nay in the boldnefs of invention, excel thofe 
 vaft works, which, in the way of Bridges upon land, formed theaque- 
 duds of ancient Rome; nor is there any thing in the invention of man 
 more inexplicable than the manner in which they have been drawn acrofs. 
 We fee with wonder the fpider dancing in an autumn morning upon a 
 thread drawn from tree to tree at leveral feet diftance; the manner in 
 which this wonder is performed we have watched, and it has been called, 
 notamifs, the fpiders flying, but human bodies are top heavy; and it is 
 not to be conceived by what ftrange art the eiFeds we fee have been pro- 
 duced ; only there remain the proofs that there has been fuch art, for the 
 thing is done. 
 
 Of fixed Bridges. We have treated of a kind of Bridges that may 
 properly enough be called moveable ; they are temporary expedients, and 
 they anfwer their purpole ; but they could only have an occalional notice 
 here, becaufe they do not come within the province of the archited. A- 
 great deal isexpeded of him under this head in his own proper way, and 
 he will do well to confider what has been done, and thence to advance 
 to what may be. He will know thus what to adopt and where to Improve. 
 He will find an eifential difference between thofe made for Ihew more 
 
 U ' tha*. 
 
74 B R f 
 
 than fervlce, thrown over canals and rivulets in gardens, and never to be 
 prelfed with more than the human weight; and thofe rivers fitted for 
 lerviceable puipofes, and made to bear the weight of carriages. 
 
 He will tor the firfl: kinds fee light work, fuihcient, but then it muft 
 be put together upon the principles of art : for the other we fhall give 
 various inftruftions, nor muft he omit to confider that defign by which Pal- 
 ladio has conflrudled a Bridge which grows firmer for preflure, either 
 fideways or above, whether or not he has exadily given us that of C^far. 
 
 Thefe dilfindtions of ilrength are all that occur to the architedt be- 
 tween the Bridges in gardens and thofe over rivers for ufeful palTage; the 
 firft is a walk continued over the water, and the latter a road continued 
 over a river. Thus they are to be confidered, and they arc to be made 
 elegant in both kinds, though with the different regards of ftrength. 
 They muff be made convenient, durable, and handfome ; this is the lan- 
 guage of architefture. 
 
 In gardens there will be often beauty in raifing them by a confiderabic 
 fweep above the level of the furface j but this, in thofe Bridges of con- 
 ifant and laborious pafTage, muft be confidered as an article of difad- 
 vantage. In regard to the breadth of the river, the level of the fides, 
 the paflage of boats underneath, and other circumftances, it will often be 
 neceffary to give a confiderable height ; but let the architcd confider this 
 as an inconvenience, though a necefTary one; and to remedy what he 
 cannot avoid, he muft take care to make the afcent and defcent eafy by 
 taking a fufficient fcope. In gardens the place for a Bridge is at the 
 opening of feme principal walk ; and this fhould be alfo contrived in fuch 
 a manner, that while it anfwers the purpofe of communication there, it 
 may be a proper and handfome objedf from other parts of the garden. 
 
 In Bridges of public fervice the place for them is to be fuch as will 
 admit a commodious and eafy pafTage from all other parts. A middle 
 lituation is preferable, for at any extreme the fartheft parts whence it is 
 to be crofl'ed will have the inconveniency of too long a journey. The 
 general place being thus fettled, there remains to confider the beft im- 
 mediate fpot. This will depend upon three circumftances, the breadth 
 and depth of the water, and the lirmnefs of the bottom ; the expence 
 depends on one, the duration on the other. Where the water is narrow- 
 eft and fhalloweft, the Bridge will be chcapeft; but it the bottom be 
 un found, tiie whole fabric will fall i it is better to beat twice the charge 
 where the ftru<fture will laft ren times as long. Rock or hard gravel ai-e 
 the beft bottoms on which to build in rivers ; fand is too moveable, and 
 mud can afford no fecurrty. The more level the bottom the greater will be 
 the convenience of building ; and on the fame principle the good architedl 
 will chufe a part of the river where it runs for a conliderable courle if rait 
 on ; this avoids the dangers of thofe remo»4is of the bottom, which 
 
 will 
 
B R I 
 
 7S 
 
 will often happen in every kind except rock, where there are turnings and 
 windings in the courfe, which give the currents force in time of floods 
 to tear up almoft any thing. 
 
 A great deal of ftrength and fecurity may be given to the whole fabric 
 by its proper fixture to the land on each fide ; but this can only be had 
 where the land itfelfis permanent, for in cafes of many turnings and 
 windings, the fliores are waflied away or undermined, and the reliance 
 on this fecurity deceives the builder. Violent turnings in the courfe of 
 the ftream alfo make lodgments of matter at fome diftance ; and this 
 may be of very bad confequence. The matter which is torn up in one 
 place is naturally let fall in another at fome diftance, the mofl: likely 
 place for this lubfidence is where there is fome oppofition or obftruction ; 
 and therefore a Bridge may greatly fuffer by it. 
 
 If, inftead of the part we direft, where the river runs ftrait for fome 
 confiderable fpace, the architeft fliould fix upon a place at a fmall dif- 
 tance below fome turning, the confequence upon the preceding principles 
 would bejuft this; the firft flood would tear up fome of the bottom jull 
 where the turning lies; and the Bridge a little below obftruding the 
 courfe of the water, the matter would lubfide there. Thus there would 
 be a choaking up of the flream about the Bridge, begun; and it is eafy 
 to fee how diflicult this would be to remove, and how the damage would 
 increafe. . The lodgment firfl: made from above would receive and detain, 
 from every flood, the foulnefs from a great way up the river : thus by de- 
 grees the current would be choaked where it ought to be mofl: free; the 
 paflage of boats and barges would be obflrudted, and there would follow 
 a yet more dangerous confequence, that of the river changing its courfe ; 
 for being obfl:ru(5led in the natural bed, it would at floods force itfelf a 
 paflage on one or both fides; thus carrying away the land from the foot 
 of the Bridge on each fide, and altering its original purpofe ; taking 
 away certainly a part of its natural ftrength, and perhaps rendt;ring it 
 wholly ufelefs. The choaking the paflage for boats is not the only ill 
 confequence of this lodgment, it tends to the deflrudlion of the Bridge ; 
 for btfides the natural confequence of weakening it at each end by 
 loofing or wafhing away entirely its fupporting banks, the weight will 
 alio in time overiet the whole fabric. 
 
 Buildings in cities mull be conflrufted upon the fame principles in all 
 refpefts. The moll central fpot, that is not liable to the inconveniencies 
 we have recounted, is befl:, as it will ferve equally all the inhabitants ; 
 and it in fuch a central place the river be not broader nor deeper much 
 than elfewhere, and if it have a fl:rait courfe and level bottom, this is 
 againll all other choice the place for a Bridge. The place determined, 
 tnc next choice is in the materials, and there are only two, wood and 
 ilene. The firfl: is cheaper, but the latter mofl: durable. 
 
 Of 
 
76 B R I 
 
 Of wooden Bridges. The Bridges of that fort we have named for 
 
 oardeiis are naturally of wood ; they are cheaper, lighter, and make a 
 
 great ("hew for little labour j but in the great and fervlceable kind, this 
 
 material is far from being excluded. There are methods of building 
 
 with wood that almoft vie with ftone for its great quality, duration. 
 
 The firfl: point is, that the timber be found and well feafoned ; the next, 
 
 that it be in fufficient large pieces. The timber muft be fabftantial and 
 
 well joined, or all will prefently be in ruin, it is not only the prefTure 
 
 above that muft be guarded againft in thefe, but the pov/er of the water 
 
 in an encreafed quantity and forced rapidity. Fifty wooden Bridges are 
 
 deftroyed by floods, for one that fails beneath the weight above. The 
 
 broader the river the larger will be the Bridge; and in proportion to this 
 
 the timber muft be more mafly ; and the rapidity of the river, not only 
 
 in its common courfe, but as increafed by floods, muft be computed for 
 
 the fixing. 
 
 The bridge of Caefar acrofs the Rhine contains many excellent leflbns- 
 for the ftrength of thofe, in whatever form, that are conftrudled of tim- 
 ber. The firft pieces were eighteen inches thick, and fixed in the river,, 
 not upright, but leaning according to the courfe of the ftream. Thefe 
 were double; joined together at two feet diftance, and at forty feet dif- 
 tant in the lower part of the river, he fixed againft each pair of thefe twa 
 others bearing againft the ftream. Between thefe double piles, which 
 were well rammed into the bed of the river, there were placed long fum- 
 mers, tvi'O feet thick, held faft at each end by two braces. Thefe prelT- 
 ing contrary to one another, gave that ftrength we named before, en- 
 creafed by weight above, or force fideways. Thefe fummers were joined 
 with others laid acrofs, and all was then covered with hurdles. Piles 
 were placed as buttrefles againft the force of the water, and others above 
 to ftop the force of trees or timber, which chance might throw into the 
 ftream, or an enemy purpofely float down to deftroy the work. Over 
 this bridge illuftrious Caefar pafled with his army to fliow the Romaa 
 prowefs to the Germans. 
 
 Of Bridges of one arch. There are many reafons for building a bridge 
 of a fingle arch, and where the extent of the river is any thing confidera- 
 ble, no piece of wood-work will require more fkill in the fabricator, nor 
 will any do him more honour. He will in no inltance find timbers ne- 
 ceOary to be joined to a greater length than in the forming a bridge with- 
 out middle piers over a river of any extent ; but the arched form affifts, 
 and it niay be done with more fecurity than many would imagine. The 
 advantages are very great : the common accidents which throw down 
 bridges will have no power over this. For one fabric of this kind which 
 fails by any natural decay, thoufands aie torn or thrown down by torrents 
 from land-flcods, by loads of ice or floating timbers, which the fwelling 
 
 of 
 
B R I y-j 
 
 of the water has brought from their places j and its force throws with 
 an irrefiflible violence againft the piers. 
 
 There are many places where the Bridge Is an annual charge ; and when- 
 ever the extent is not beyond all reafonable propofal for a fingle arch, tiiat 
 fliould be the method of avoiding it : if ten times the price were paid it 
 would be frugality ; but indeed fkill is required more than price in fuch 
 a fabric. 
 
 No Bridge is more beautiful than one of a fingle arch ; none more 
 convenient ; and befides the numerous accidents which are avoided, and 
 from which fecurity there refults a promife of great duration > none are 
 ftronger ; for thefe, when well framed, compofe a body more firm, than 
 if cut in a vaft thicknefs from a fingle piece, the parts here iVengthen- 
 ing and fupporting one another, Palladio has given a figure of one 
 which he laid acrofs Cifmone, where the breadth of the river was a hun- 
 dred feet ; its ftrength appears inconteflible from the ftrucfture, and experi- 
 ence iTiewed it to be what it feemed ; but there is yet another great ad- 
 vantage in this Bridge, which is, that it lies level with the reft of the 
 road, and does not tire the traveller with an afcent and defcent. A per- 
 fon unacquainted with mechanics fliudders to look upon it but in the re- 
 prefentation ; but to thofe who know the fubjed: there appears no dan- 
 ger. This advantage of building a Bridge without rife we very much re- 
 commend to the architedt. 
 
 Of the Conftrudlion of fuch a Bridge. 
 
 The great fupport of a Bridge that has no intermediate piers mud: be 
 at the banks, and in this cafe the natural ground is never to be trufled: 
 therefore let the architedt begin by eredting on the fhore two mafly bu'tt- 
 ments of flone capable to bear any prefiure, and refill any force. Thefe 
 railed to the level of the ground, let him take the meafure of their dif- 
 tance, and divide this into quantities of about fixteen feet. The fpacc 
 thus reduced to a number of complete meafures, the fabric of the Biidge 
 may be begun. 
 
 Its breadth cannot be determined to feet or inches, nor needs there 
 any fuch account : that is an article to be fuited to the immediate purpofe 
 of each occafion. Let as many beams be cut as there aredivifions of this 
 meafure, luppofe five ; and let their length be that of the breadth of the 
 intended Bridge. Thefe make the beds of the fabric. Thefe laid, there 
 are to be placed lengthwife on them other beams which make the fides of 
 the Bridge : but there muft be a fmall fpace of the end of each of the 
 firft beams free. 
 
 The next part are the uprights, which fupport the railing. Thefe. 
 muft be fixed on each fide directly on the firft laid beams; they muft be 
 faftened ftrongly with cramps of iron, let through the hy^les^ made for that 
 
 X purpole. 
 
78 B R I 
 
 purpofe, in ihofc ends of the beams which run out free beyond the Gde- 
 pieces. 
 
 This is the regular manner of working, and thus will be feen in a few 
 pieces the extent and form of the intended Bridge. The uprights are 
 not to be all of a length ; for the railing mull be highefl in the middle 
 of tile Bridge-, and flant to nothing at the two ends. The pofts, or up- 
 rights, muif therefore be ot the form proper to i'uppyrt fuch a figure, and 
 gradually fliorter: thefe, according to the pleafure of the architedl, or 
 intention of the bridge, in regard to plainnefs or ornament, may be either 
 left naked or plain as they are cut. or crowned with balls. In the fim- 
 plcft dcfigns they may be left fquare as they are cut off; in thofe, a little 
 more ornamented, the tops may be cut into a number of angles, and 
 capped, if needful, with iron ; and in thofe moft intended for lliew, tho' 
 nothing in this kind (liould aim at much, they may be cut off level at 
 the top, and a ball with a proper bafe and neck may be fixed upon them. 
 The iron cramps which fix thefe uprights to the crofs beams are to run 
 up a great part of their height, and there mull be holes through them 
 for faifening them by (Irong iron pins. They muft be faflened again be- 
 low with pins or fmall bars of iron. By this means every part of the 
 Bridge will be firmly united, and the feveral members will fupport one 
 another-, the crofs-beams, the fide-beams, and the uprights are by thefe 
 cramps faftened into one folid mafs. 
 
 This conftrudlion is not only firm in itfelf, but it has that happy 
 flrength we named in Csfar's Bridge, the parts fupporting one another, 
 and joined in this manner, are made more firm, the great weight prelTes 
 them. This is at leaft true of all weights which can ever come upon a 
 Bridge; and that is enough for pradlice. The more they are prefled the 
 falter they clofe, and the ftronger is the work. The beft way of working 
 is to begin from the buttment on each fliore, and the parts may be thus 
 brought forward each way to meet one another. 
 
 Of wooden Bridges over larger Rivers. 
 
 The conftrudion of a Bridge of one arch is not limited to any parti- 
 cular meafure in the breadth of the water; but the eye of realon will 
 diftinguilh without being told, that thefe kinds are fuited to fmaller rather 
 than larger rivers. We will fuppofe the architedl employed to build a 
 Bridge of timber over a river, of twice the breadth of fuch as we have 
 named; in this cafe it will be proper to fupport the work with lolid 
 buttments on each (hore, and to allow it at certain dillances piers, or 
 fupports of firm upright timber, from the river's bed. The imaller the 
 number of thele the better, provided the Bridge have due ftrength, be- 
 caule the fabric will in proportion be lels liab.e to accidents. We have 
 ©bferved, that the motl frequent dcftrudion of thefe Bridges is from ice, 
 
 timber. 
 
B R i 79 
 
 timber, or other heavy matter thrown againft them by floods. The 
 fewer the lupports in' a river of given breadth, the more chance thefe 
 folid bodies will have of going free, or of being waflied through them^ 
 inltead of remaining to bear with the full force of the water agamll them. 
 The number is to be fo propcnioned, that one may rtand at about five 
 and thirty feet diOance from another; this will leave wide arches, and 
 there- will eafily be llrength enough given in the conllruftion ot the work 
 with thefe diftances. We have not only the authority of geometrical 
 computation in this cafe for the fupporting us, but the pradice of Pal- 
 ladio ; he threw over the Brent near Ralfano. The river is a very rapid 
 one, and its brendth in that place a hundred and eighty feet. The mea- 
 fure he allowed between pier and pier was thirty-four feet fix inches, and 
 the Bridge ftood all the fury of the torrent ; very elegant in its con- 
 ftrudlion, and a iafting monu^nent of his fkill. 
 
 The rows of piles in this cafe fhould be placed firmly, and they mufl: 
 be in themfelves folid j a foot is the belt dillance for them one from^ 
 another; their number fhould be eight in each row; and they fhould be 
 a foot and a half in diameter ; thirty feet is a natural and ufual length ; 
 and, according to this conllrudion, .the Bridge will have a breadth of 
 fix and twenty feet. Over the rows of piles are to be placed crofs-pieces 
 or joifls ; the length of thefe is to be determined by the extent of the 
 others, and they mull be well faftened every where. Thefe keep all to- 
 gether. Over ihefe crofs-pieces, plumb with the fupports, are to ba 
 placed eight other pieces lengthways. Thefe would be in danger of 
 fwagging from their great length, if no farther care were taken ; but they 
 will be very well fup^jorted by carrying itrong fhouldcr-pieces each way 
 from them ; and otl.er beams mufl be railed flanting under them from 
 the piles, and join a middle-piece. 
 
 There Is here a form refembling a quadrant of a circle ; and it is not 
 only a foorcc of flrength l:at beauty. The llrength refults from a very- 
 plain pfinciple; that the beams which make the length of the Bridge are 
 double in the miudle, and ihey and their fupports mutually fix one 
 another. 
 
 The work being thus far advanced, the bed of the Bridges is to be laid 
 on J this mufl coniiH: of pieces kid acrofs the beam's we have juffc named. 
 The length of thefe mull fe a little more than twe breadth we h.we al- 
 lowed for the Bf.dge; for it will be proper to let their ends projedl a lit- 
 tle. Ihcre is always an additional llrengih in this; and the ends thu& 
 projedling refemble the modillions of a cornice, and are an ornaments 
 A D'-idge of this kind will be flrong, beautiful, and of little expcnce;, 
 it Will ber.r a fuperftructur. it the architedl pleafe. Palladio covcre.l luch. 
 a cue with a roof fupportcd by column's ; but for common occafions a. 
 railing of fufficient llrength, bieail high,, fupported by uprights,, and 
 
 decorated. 
 
8o B R I 
 
 decorated with balls, as we mentioned on a former occafion, will per- 
 fcdly well arifwer the purpofe. The banks muft be in thefe cafes fe- 
 cured by a Hrong wood-work, or by buttments cf ftone ; and upon the 
 fame principles may be built a variety of Bridges of this kind ; the tim- 
 ber being fuited t :> the depth of the water, and to the length of the 
 Bridge. The lighter the lefs experience ; but where there is great breadth, 
 the ftrength ought to be more confulted than the charge ; for the danger 
 is great in flight Bridges, and repairs are difficult. 
 
 Of Stone Bridges. The wooden Bridges whereof we have hitherto 
 treated are cheap in proportion to thofe of flone ; and they will ftand a 
 long time, but the folidity, dignity, and fupcrior elegance of the others, 
 when well wrought, leave no room for comparifon in point of real excel- 
 lence. Thefe therefore are the kind the architedt fliould propofe where 
 the proprietor does not limit the expence, and where he hopes to do him- 
 felf the moft lafting honour. The principles on which the flone Bridge 
 is to be conftruded, differ in nothing from thofe of timbtr ones with re- 
 fpe(fl to choice of place and fituation. The bottom muft be founder for 
 thefe than for the others, becaufe mere ftrefs is laid upon it; and the 
 banks muft be defended by buttments of ftone, which make a natural 
 part of the work. Thefe heads or buttments at the banks cannot be too 
 ftrong : they will be expofed to a great weight; and upon their firmnefs 
 will in a great meafure depend that of the whole Bridge : for this is to 
 be confidered as one great arch, and it muft have its latural preflure. 
 If thefe buttments, which are its fupport give way, all will be in dan- 
 ger of cracking; but while thej are firm, the more the weight, the 
 more compadl the whole becomes. The buttments, or head-works, 
 muft be carried a confiderable length upon the ftiore, that they may have 
 the more fecurity and force; and the way being carried over there to 
 the Bridge, not only the ftrength will be more, but the paflage will be 
 continued, though waves and floods fhould eat away the banks. The 
 buttments being made, the next confideration regards the piers. Thefe 
 muft be proportioned in number to the extent of the river and intended 
 form of the Bridge, but it is an univerfal rule, that they fhould make 
 an even number. 
 
 This is a dodrine delivered from father to fon among the architeds, 
 though many receive it without examination j and thol€ who call- them- 
 felves a little wifer, have rallied it as a piece of fuperftition. The judi- 
 cious archited: will return the raillery upon themfclves : he will fhew them 
 by various dcfigns, that an even number of piers make a more agreeable 
 appearance than an odd; and he will add, that fuch a number leaves an 
 arch in the middle, where the odd number would place a pier. The 
 courfe of the river is naturally ftrongeft in the middle ; and would an 
 archited place a pier to obftrud its courfe ? The giving a larger openmg 
 
 thaa 
 
B R I 8t 
 
 than for the reft in that place, allows paffag^e where It is moft wanted, 
 and is every way moCl: rational and convenient. 
 
 In many places the courfe of the river is lefs regular; but ftill it is 
 eafy to find where it is ftrongeft. This will be feen by the clufters of 
 floating refule matters that are carried upon it; and even this is to be 
 confulted in a fecondary manner ; the architedt contriving openings, and 
 not piers in thefe places. The places for Bridges we have confidered 
 before; and this being chofen, lomething is to be added as to the time 
 of beginning the work. Autumn is the feafon when rivers are lowed 
 in water; this is therefore the moil eligible time i and in places where 
 the tide has influence, all experiments mult be taken at low water.. 
 
 In fome places the foundation is made by nature ; thefe are happy 
 circumftances ; in others it muft be by digging. Gravel or rock are two 
 fafe bottoms. On thefe any weight may reft ; and nothing is required 
 but a level furface. We here fpeak of that hard, clean and folid gravel 
 which lies in a mafs like rock, and is of a great depth. In fome rivers 
 the bottom is a loofe gravel lying over mud; this is to be confidered in 
 the fame light a& fand ; and both are to be dug through, if that can be 
 done, til! the archited: comes to a found foundation ; for they are not of 
 that nature ; and no dependence muil be placed upon them. In fome 
 places there lies a found bottom at a I'mall depth beneath them ; and in 
 fuch inftances the fand or loofe gravel muft be dug away a fufficient corn- 
 pals for laying the foundation of the piers. In other places no found 
 bottom is to be found under them within any moderate depth ; and in 
 thefe cafes recourfe muft be had to piling. For this purpofe piles or long 
 beams of oak fhod with iron muft be ufed; the fand or loofe gravel muft 
 be dug away to fome depth, and they muft be driven in with engines till 
 they come to the firm ground and get fome way within it. Their heads 
 are then to be fawn off level, and the work carried on upon them. 
 
 When the foundation of the pier is laid, one part of the bottom mufl 
 be enclofed and kept dry, that the workmen may purfue their bufinefs 
 unmolefted by the water; and thus they are to proceed with the whole. 
 
 The thicknefs of the piers muft be proportioned to the wiuh of the 
 arches. About a fifth pait of th- breadth or the arch is the prjper 
 meafure, but this may be varied according to the circumftances ; they 
 will very rarely be requireu flcnderer than one-fixth of the breadth, or 
 more maffy than aiounh. Vv hen the piers are thick, let them be built 
 with large Ifones. They are to bear a gre?c deal. And they Ihould be 
 ib bau d and faftened together as to be like a rock; they fhuuld be helti 
 together with cramps ot iron foldered in with lead ; and theie bearing 
 joindy the weight or preffure, the whole mafs will be as one Irone. 
 1 he form of the piers is left in a great meature to the fancy of the 
 archited, only that "he muft oblerve not to oppofe a flat face to the ftrea^n. 
 
 y Some 
 
82 B R I 
 
 Somt prefer a" circular front in this place, others a right angle: there is 
 no preference to be given iri abfolute terms to either, but the occaiion 
 muli determine. If the great care be not to interrupt the flream, an 
 angle is the heft'; if there be fear of heavy objefts rtriking againfl it, the 
 belt is the circular form. 
 
 ■ "In the ccndruiftion of arches the work mufl: be very carefully done, 
 and large materials ufed. There is no making a large arch of fufficient 
 ftrcngth with fmall ftones. The ftones fl"iOuld be examined in regard to 
 their quality as well as bignefs ; they mull: be found and firm, and they 
 fhould be cramped in with iron. The calculation of what they are to 
 bear fliould be always made upon the extreme j not from the common 
 courfe of things, or knov/n weight of carriages, but like a proof of can - 
 non with a double charge. Accidents may occafionally bring upon it 
 a much greater weight than is firft thought ; or its fabric may from fome 
 unfeen caufes be lefs folid than imagined ; it is beft therefore to err ori the 
 fide of too much flrength. 
 
 Of the form and covering of Arches. 
 
 By Arches the fludent fl:iould underftand fegrnents of a circle. The 
 Gothic are difclaimed, and there is no form which is capable of fo 
 much ftrength as the plain fweep of a true circle; the elliptic fliould 
 never be admitted for Bridges. In the firft conftrudlion of buildings, the 
 Gothic or fharp Arch was not unnatural, but they improved who took 
 oiFthe point. 
 
 The firfi: Arches probably were fuggefted to men by the vaulted walks 
 formed with double rows of trees ; thefe are very pleafing, and they are 
 of the fame kind. Nature fends up the branches of trees in an oblique 
 diredion, therefore they meet, where oppofite rows ftand near, in this 
 pointed vault, refembling the common roof of a b.Trn. Thele the firft 
 builders copied, but the fweep of a circle was foon found a more eligible 
 figure, more noble in itfelf, more ftrong and capable of more bearing ; 
 they were therefore unpardonable, who, knowing this improvement, 
 fell back into the paths of barbarifm. The Arches of a bridge are 
 therefore determined, by all the laws of fcience, to be of the circular 
 form; they are more ftrong, more elegant, and capable of more duration 
 as well as bearing. 
 
 There yet remains a queftion which architects have not enough efta- 
 blifhcd in their pradtice, though nothing is more plain in theo:y. 7 he 
 Arch of a Bridge we have determined is to be a part of a circle, but of 
 what quantity ? Tviore than the half of a circle cannot be ufed ; but lefs 
 may, in various degrees ; and the judgment /liould diredl where the 
 fancy of the architect ufually does. 
 
 Let 
 
B R I g3 
 
 Let all be taken Into confideration together. The femicircle is the 
 ftrongeft and the moft elevated of all figures for an Archj and it has the 
 vaft advantage of all the preiTure falling upon the piers ; but with thofe 
 advantages there are inconveniences ; the principal is height. It is a 
 great defecft in the conftrudiion, to let a bridge tire the palTengers with 
 a fleep afcent ; yet this in many cafes will be the neceflary refult of the 
 femicircular Arch We fhall diredt how it may be alleviattd, but the 
 architedl mufl refolve, whether thefe helps will or will not obviate the 
 objeftions. 
 
 The;e are alfo inftances where the difpofitlon of the piers will not 
 well admit of femicircular Arches ; we have named the accidents on 
 which the rule of this difpofition depends, fome of which are uncon- 
 querable, and, of an abfolute neceffity, muft be complied with ; and in 
 thefe cafes the ftrength and beauty of an Arch, fuch as we recommend, 
 are not enough to atone for variations in the effential parts. Therefore 
 the quantity of the Arch muft be lelTened ; and architedls may be favcd 
 a great deal of needlefs calculation, by being told the next proportion for 
 thefe parts to the half of a circle is a third. This is his choice, but a 
 great deal more is to be confidered ; for the nature and bearing of the 
 work are altered by it. 
 
 In a dcfign where the Arches are to be femicircular, the great atten- 
 tion of the architect muft be to give ftrength to the piers, and a fecure 
 foundation : for in thefe arches all the weight prefTes there ; in the lefler 
 Arches the force will be very great upon the buttinents or heads built 
 at the banks ; and thefe muft therefore be ftrengthened accordingly ; we 
 have diredted, that in all bridges this be well fccured, but in thefe there 
 muft be greater caution. 
 
 Here the ftudcnt fees another inftance of that invariable rule we gave 
 him of taking the whole of every thing into conhderation before any 
 part is executed. The ftrengthening the banks is always proper and al- 
 ways neceffary ; but we fee here that, befides the various accidents which 
 may make it more needful in one place than another, the very con- 
 ftrudtion cf the bridge itfelf may in a great degree influence in this 
 matter. 
 
 Of the duration of Stone Bridges. If the proprietor or the public, 
 on lelTer or on greater occafions, ftiould bs induced by the cheapnefs to 
 prefer a Bridge of woovJ, we fliall remind him of the vaft difference in 
 duration of the two kinds, and may fupport what would alfo feem ex- 
 travagant accounts, from the remains of Roman Bridges, fome almoft 
 entire. The Elian Bridge, the work of old Romans, Itands to this day ; 
 it is the Bridge of St. Angelo over the Tyber. The Quartro Capi Bridge, 
 fo called from the four-faced ftatue we have mentioned treating of the 
 Termini, is the Fabrician Bridge, named from Fabricius, iis great 
 
 founder. 
 
84 B R I 
 
 founder. The Certian Bridge of Old Rome is St. Bartiiolomew's Bridge, 
 of the modern denomination ; and the Ruftic Bridge, called at this 
 time St. IVIary's, is the famed Senatorian Bridge of antique Rome. 
 All thefe remain in a condition that does great honour to their build- 
 ers, and will, in the eye of reafon, plead far beyond words in pre- 
 ference of thofe of ftone. Thefe the judicious architedl fhvuld quote to 
 thofe who think of nothing but the price of ftrudlures ; and we have 
 told him alfo how to build for ages. 
 
 Of the conftrudtion of Stone Bridges. The oinaments of which 
 fione Bridges are capable are very great j but, to be properly employed, 
 the archited: murt: take them into confideration in the very beginning, 
 and form his whole defign accordingly. This may be varied in the num- 
 ber and form of the arches ; and the fuperftrudlure may be carried to any 
 degree of elegance. We have fliewn how a Bridge of timber may carry 
 columns fupporcing a roof, even where the whole fabric is far from maffy. 
 Jn more folid ftrudtures of that kind, and much more in thofe of ftone, 
 the genius of the architecft is left unlimited ; and houfes and public places 
 of refort may be contrived upon them. 
 
 We fhall confider firft thofe of a fimpler Strudlure. 
 
 The dimenfions of the river are the firfl: articles in the confulting fuch 
 a defign; and, according to thefe the Bridge may be eredfed with dif- 
 ferent numbers of arches. A hundred and eighty feet was a mealure we 
 took before for a wooden Bridge, we will fuppofe a river of the fame 
 extent to be the place of a ftone. The current, the ground, the banks, 
 and every circumfl:ance confidered, we will fuppofe three arches allowed 
 to the Bridge. The central arch muft be larger than the others, but the 
 proportion of that excefs muft be confidered. If we allow fixty feet for 
 the breadth of this, and forty-eight for that of the two others, there 
 will be fufficient proportion ; and the piers needful tor fupportmg fuch a 
 Bridge will leave free compafs enough for thecourfe of the river. Ihefe 
 piers, if made of the folid and large materials we have direiSed for thefe 
 purpofes, need only have a fifth of the meafure of the middle arch for 
 their thicknefs, that is, twelve feet ; and this they mufl be allowed with 
 the bcft workmanfhip. 
 
 If the current be very fliarp, the piers muft projed: forward beyond 
 the body of the Bridge, that they may ftand uninjured, not only the 
 force of the flream, but the accidental blows they may receive from hard 
 bodies brought down upon the water. There is no fecurity againfl 
 thefe accidents equal to this of carrying on the pier beyond the meafure 
 of the Bridge, except that of carrying on a lower building far beyond 
 that. This is oftener done than needful. This kind oH bridge, under 
 fuch dimenfions, of the length, number of the piers, and dilpoiition of 
 
 the 
 
B R I 85 
 
 the arches, would have been too fteep of afcent with the femiclrcular form; 
 therefore the fmaller rneafure is every way preferable, and under this dif- 
 tribution of parts , it will be very elegant. No more is required for the 
 conftrudlion of this Bridge, and the architedl is at liberty to adopt what 
 degree of ornament he pleafes. There muft be a defence breaft-high, or 
 more; and this may be either a plain parapet, or baluftrade work ; and 
 over the piers may be lodges of convenience for many purpofes ; but this 
 muft be determined, not by fancy, but by the reft of the ftrufture. If 
 the under part be plain, the parapet fliould be the fame: if the reft of the 
 Bridge be more orname..'.ed, this may take alfo the fame turn of decoration. 
 
 A Bridge of this conftruftion takes the lefs ornament, as the number 
 of parts are fewer. Thus over each pier there may be a nich, in which 
 to place a figure ; and there may run a cornice the whole length on each 
 fide. This will be a very great article of elegance, and is fupported by 
 the antique. We have mentioned the ends of the tranfverfe pieces, in 
 fome wooden Bridges, being brought out for purpofes of ftrength and 
 fervice» and have obferved a great advantage they would have this way in 
 refembling the modillions of a cornice; but in thofe of ftone the cornice 
 itfclf may be ufed with great propriety and beauty. We fee it in the Ar- 
 minian Bridge, and that was a work of the Auguftan age, nay, of Au- 
 guftus himfelf. It may not be amifs to trace in this Bridge, which is one 
 of the moft elegant remains of Roman work in its kind, their idea of 
 proportions, which the architecfl muft take care not to follow, unlefs 
 where the circumftances are alike. 
 
 The Bridge has five arches, and the three middle ones arc equal : the 
 extent of each of thefe is twenty-five feet. The two others correfpond 
 from the oppofitc fides, and their mealure is happily diminiftied by a fifth ; 
 they are twenty feet each. All the arches are perfect lemicircles ; and 
 their piers are in diameter half the height of the great arches with a fmall 
 furplus. Thefe proportions we learn from this delicate remain, but this 
 is not all we may learn from it. 
 
 In fpeaking before in general terms of making the piers, we have di- 
 redted that they in general face the ftream with a right angle. Thofe who 
 have feen this in the moft admired works have thought to improve the 
 form by making it an acute angle ; but in this the edge is weaker, and 
 the whole too llight. The Romans knew what to attempt and where to 
 flop ; in this elegant Bridge, as in many, nay, we might alnioft fay all 
 the others of pure tafte, the pier meets the ftream in a right angle. 
 Where the courfe of a river is rapid, fubjedl to be fwclled by Hood.-, and 
 furious in thefe conditions; the beft method is to allow rather one large 
 arch in the middle, than, as the elegant ftrudure of which we juft now 
 fpoke, three equal. The piers of thele will break, difturb, and inter- 
 rupt the courfe of the river, and the more the water is difturbed, the 
 
 Z more 
 
S6 B R I 
 
 mo'eimpetaoiis It becomes in all thefe inftances. But In obCerviiig thefe 
 iiiftruftions, let not the young architedl run into excels: though there 
 fliould he a confuierable difference between the central and fide arches in 
 fuch a Bridge, yet this mud not be in fuch extravagance as to render the 
 (ide arches ufelels. 
 
 The decoration we propofcd for a ftone Bridge, has had place in this ; 
 niches remain over the piers, in which the emperor who built the Bridge 
 placed llatues of the heroes and the geniufes of the age; thofe who de- 
 fended and adorned their country : but there fucceeded ages like to ours, 
 ages which, producing no more fuch men, looked on the memorials of 
 valour and of wildom as reproaches ; and left for barbarifm to deftroy. 
 
 Of dividing the water. The main body of ihe river, muff be allowed 
 to keep its couife in the midft, and the great arch is defigned to give it 
 pafTage. But letour ftudent look into nature, and he williee that where- 
 ever there is this violent force in the. body of a flreani,, there is a ripling 
 current alfo at the fides. This let him cqnlider in the.con'ftrui^ion of 
 the Bridge. As we propole the arches the courfe will be thus ; the main 
 body of the water with its full force will pour uninterrupted tti rough the 
 oreat arch, and thefe two fmaller currents of the fides will alio have 
 their proportioned arches ; they will be divided from t,l;3e main current 
 by the piers, and this without moleftation or interruption ; and as they 
 run free, the main body will receive no change in its condition. This 
 we propofe, and this will be the cafe in a well conftrudted Bridge j and 
 in this way even the furious body of the ftream. being undillurbed, will 
 run off evenly. But if this dir^dtion be carried to excefs, and the fide 
 arches be made very fmall, the confequence will be worle than it there 
 were none fuch. In that cafe the bcdy of water would only be too much, 
 huddled together : and in this it w.uld be thus collected and diftincl 
 at the fame time. Thefe fmall arches wou'd take their (liare, fuch as it 
 was, while the river kept its common depth and bignefsj but as it rofe 
 and fwelled, they would be incapable of receiving or pafTing that due 
 proportion : there would be all the confiidl of difturbed and uninterrupt- 
 ed water at the pieis ; and the main body, increafed by the addition of 
 what fhould have gone off in thefe fide ftrcams, will be thrown into 
 new fury and contufion, juft at that place where all the labour of the ar- 
 chitect fliauld have been joined with all his ikill to give it quicknefs j 
 tliat is, under the main arch ot the Bridge, 
 
 From thefe confiderations, let him learn the neceffity of a juft divifion 
 of the fpaceand proportion of the arches ; and if ne would add example 
 to the precept, let him examine from the practice ot others in celebrated 
 ages, and in the climes where his great fcience ilourilLed, what fuits the 
 puipofe. 
 
 We fhall carry him back to Italy. 
 
 Over 
 
B R I 87 
 
 Over the BacchigHone, near the church of Saint Mary, Is a Bridge of 
 this kind : it is a mixed work, antique in part, but finifhed by a hand 
 more modern. The river is fuch as we have defcribed ; the Bridge of 
 three arches, and of thefe one is pure antient Roman, as are the piers 
 of all The river, full or low, rapid or calm, is carried with a happy 
 freedom through thefe arche? ; and their proportion is this : the mealure 
 of the principal or central arch i thirty-two feet, that of the two others 
 twenty two and a half. The piers are in thicknefs one fixth ot the great 
 arch. 
 
 Here the piers are ftrong enough not only to fupport all weights that 
 may come over the Bridge, but they alfo refill the fury of the waves in 
 the greateft floods ; and while they ftand the force of the torrent, do not 
 too much interrupt iis courfe: the whole bed of the river is divided as 
 nature diftates into tliree parts, and the full quantity of the fide currents 
 being taken off, the great body which rolls along the midft moves freely. 
 
 Various circumftances may require that the architedl alter thefe pro- 
 portions ; and he muft comply with fuch neceflity, only remembering, 
 that as truth lies here, the lefs his deviations are, the better. Here is 
 an inllance of propriety, and we have leleded it, becaufe It is, more thaa 
 others, adapted to a middle courfe of things, and to general ufe. 
 
 Of Bridges uithout decoratioua. In tiie eredtion of Bridges, a' well 
 as houfes, v\ithout decoration, proportion will ftand in the place of 
 ornament: we fhall lee this very conlpicuoufly in fome of thofe old 
 Bridges where their great builders deligned ft:rength, and had no 
 thought of decorations. The Bridge over the Reronc at Vicenza, which, 
 from us nearnefs to the flefh -market, has obtamed the name 01 the But- 
 clier's Bridge, is of this kind, and deferves to ftand as a model in like 
 circumftances for thofe built at the expence of the public, and intended 
 only for real ufe. 
 
 In the more cxpenfiveand more decorated buildings, of whatever kindy 
 the architedl has the fiee fcope for his fancy, and the means of greateil 
 honour, but it is in the plain and fimple kinds that he mult ufe all his 
 fkill ill the proportion ; and thefe will never fail to give him equal credit 
 in the eyes 01 the jud cious. We named on this occafion the plain Vi- 
 cenza Bridge, of which it Is not in the intent of our work to give a fi- 
 gure, for what we propofe are new defigns ; not the repetition of plates 
 every traveller has rendered cheap and common. In this where©! we now 
 fpe k there are, as in the preceding, three arches, a larger in the centre, 
 and on each fide of it a fmaller ; the compafs of the arch Is lefs than fe- 
 micir<uiarj and thence the Bridge is of eafier afcent. To compenfate 
 for tne want of drength in fuch an arch, the piers are folid and well 
 wrought, and the buttments firm. Thefe give all the needful addititm of 
 fupport. '1 he prelTure in thofe arches, which are lefs than of the femi- 
 
 circular 
 
88 B R I 
 
 circular form, is upon thefe buttments in fome part, and they are thus pre^ 
 pared for it. 
 
 The meafure of thefe arches is very happily calculated for fuch a fer- 
 vice ; and they may ftand as a model to fucceeding time-, their duration 
 f]iewing the truth of the conftrudtion. The two fide arches rife one-third 
 of their breadth above the import ; the rife of the middle one is fomewhat 
 lefs ; and the thicknefs of the piers is one-fifth of the meafure of the 
 leOer arches. 
 
 We know this Bridge has ftood two thoufand years ; and we have reafon 
 to admire its ftrufture^ but thoi'e who would have their works of the 
 fame kind laft a like period, mufl: more than admire, they muft under- 
 hand its conftrudlion. 
 
 The materials are not of the moft lafting kind ; for, though ftone, it 
 is a foft fpecies ; the truth of work has kept the whole together fo ma- 
 ny ages. This is what we negleft; this the Greeks, and this the Ro- 
 mans ftudied. Their ftones were cut into vaft mafles, the utmoft the 
 quarry would afford without flaws ; and however rough and unornament- 
 ed the exterior part was left, their fides that joined were fmoothed to a 
 hair's truth. Their mortar might be very well faid to have iis temper 
 from the labourers fweat ; no toil, no time was fpared to blend its parts. 
 Thus were the materials prepared, and they were put together with eqaal 
 labour: no art was omitted in conncdting and uniting them; and thus 
 accuracy and induftry formed the whole fo firm, a« if tht Bridge had 
 been cut out of fome mafs, where there had been no flaw or grain in all 
 the quantity. 
 
 Of more magnificent Bridges. The rtrudlure of thefe ufeful and no- 
 ble parts of the architedl's fcience having been thus laid down, we Ihall 
 mention the buildings they may fupport, the ufes of magnihcence they 
 may ferve, and the honour the defigner may attain by a noble and elevated 
 iniagination in their contrivance, where no price is fpared. 
 
 We have obferved, that they may receive Ifreets and walks of refort ; 
 and in great cities no places could be fitter for that purpofe. Their 
 ftrength, when conftructed according to thefe rules, admits of any fuper- 
 flrud;ure: they are elevated, lo that they have a better air than can be 
 found in ftreets and fquares ; the water is open to them, and in hot- 
 ter climates, the coolnels it gives the air is highly pleafing : the veflels 
 upon the river afford a view more agreeable to the mercantile world than 
 all others ; while the eye of fedate contemplation takes in the remote prof- 
 pedt from the height of thefituation, and hears the murmur of the water 
 from the piers that break it always in its courfe ; though in our methods 
 of conftruiflion it be not much. 
 
 From thefe advantages the genius of the great maffcrs in the fcience 
 has deduced vaft fplendor. We lee Biidges fpacious enough for the 
 
 greatefh 
 
1? R I 89 
 
 greateft refort, and commodious a<; well as elegant; covered with build- 
 ings, adorned with trophies, and difplaying to the eye all the elegancies 
 cf'the fuperior orders. Palladio deligned a Bridge of this kind where 
 there ran th;ee fpacious fi-reets com poled in the principal or central of 
 very confiderable houfes, and in the others which we^e narrower, only 
 inferior to thofe of the firft in fize. The wareho fe of merchants may 
 ■with the greateft convenience he difpofed in the principal ftreet of lurh a 
 Bridge, and fhops along the others ; all convenient, and all fubfervienC 
 to the principal defign of rendering it a place of concourfe. But there 
 will require in fuch a defign vaft compaftes for the width of the Bridge. 
 We have feen very near home what great inconveniences may arife from 
 want of breadth ; and how ill houfes are placed where precautions of this 
 kind have not been taken Galleries were intended on this Bridge in 
 three places ; at each head, and over the principal arch : this laft for the 
 refort of merchants j and it is not eafy to fay, with how much dignity 
 and elegance fuch a plan might be conilruded. This would have emu- 
 lated the works of antient Rome, up'-n whofe Elian Bridge there were 
 originally galleries with columns of brafs ,- and every ornament that hap- 
 py period could devile to accompany them. 
 
 Such have been the defigns of lome whofe genius of the later date 
 has wanted nothing of the ant.ent; but there has not appeared that pa- 
 tronage among the great, or fpirit in the pub ic, which ftiould have 
 countenanced and employed them in the fa.ne fccpc of an unbounded' 
 execution. 
 
 Drau'-BrL^'ge, is one made faft only at one end with hinges, fo 
 that the other end may be lifted up ; in which cafe the Bridge flands 
 upright, to orevent the palTage of either ditch or moat. There are 
 others made to draw back to hind>.T the paiTage, and to thrufl over again 
 to afF-rd a oaiTage ; and others, which open in the middle, half of which 
 turns awny to one fide, and the other half to the other; being joined a- 
 gain at plealurc : but they have this inconvenience, that one halt of them 
 remains on the enemy's lide, 
 
 F!\itig- Briuge, is an appellation given to a Bridge made of pontoons^ 
 leatht, -boats, hollow beams, c Jks, or the like, laid on a river, and co- 
 vered with pianks, for the paflage of an armv : it more particularly de- 
 notes a Bridge compofed of one or two boats joined together by a fort 
 of flo'-ring, and furrounued with a rail, or baliuftrade; having alio one 
 ©r m; re mart-, to which is faftened a cable, fupported, at proper diflances,., 
 by boats, and exten; ed to 'n anihor, to which ths other end is faftened, 
 in the middle of the water: by wh.ch contrivance, the B .dge be- 
 comes moveable,, like a pendulum, from one fide of he nvtr to the' 
 otier, without any other help than the rudder Such Bndg s (ometimes 
 al'O CO fift of two ftorics,. for the quuker pafi". ge of a great number of' 
 men, or that bom infantry and cavalry may pals at the fame time,. 
 
 A, a. Ti^c. 
 
 \ 
 
90 B U -F 
 
 The Fioating-BriJgr, is fimilar to the Flying-bridge, being ordinarily 
 made of two fmall Bridges, laid one over the other, in fuch a manner, as 
 that the uppermoft ftretches and runs out, by the help of certain cords 
 running through pullies placed along the l]des of the under- bridge, which 
 pufh it forward, till the end of it joins the place it is defigned to be fixed 
 on. When tbefe two Bridges are Ihetched out to their full-length, foi 
 that the two middle ends meet, they are not to be above four or five fa- 
 thoms long ; becaufe, if longer, they will break. 
 
 Bridges of BoafSy.axe. either made of copper, tin, or wooden boats* 
 faftened with ftak.es, or anchors, and laid over with planks. One of the 
 moft notable exploits of Julius Cajfar, was the expeditious making a 
 Bridge of boats over the Rhine. 
 
 There are fine Bridges of boats at Beaucaire and Rouen, which rife and 
 fall with the water, and one at Seville is faid to exceed them both. 
 
 The Bridge of boats at Rouen, built in lieu of the ftately ftone Bridge 
 eredled there by the Romans, is reprefented by a modern writer as the 
 wonder of the prefent age. It always floats, and rifes and falls with the 
 tide, or as the land waters fill the river. It is near three hu'idred yards 
 long, and is paved with ftone, juft as the ftreets are; carriages with the 
 greateft burdens go over it with eafe, and men and horfes with fafety, 
 though there are no rails on either fide. The boats are very firm, and 
 well moored with ftrong chains, and the whole well looked after, and 
 conftantly repaired, though now very old. 
 
 Broad-Stone, is the fame with free-ftone ; only this is fo called, 
 becaufe raifed broad and thin out of the quarries, viz. not more than 
 two or three inches thick. The ufe of this lort of free-ftones, which 
 are called Broad Stones, is for paving court-yards and pafTages, and before 
 fliop-doors, as in walks or paths in the city of London, to feparate them 
 from the highway. 
 
 But fome of thefe ftones are cut into perfeft fquares, like paving tiles, 
 but much larger, as eighteen, twenty, or twenty-four inches fquare or 
 more ; but as thefe are neater, fo they are dearer. 
 
 Brow- Post, among builders, the beam that goes acrofs the building. 
 
 Brown (Spanifti) is a dulTcy colour, with a reddilli caft. It is an 
 earth that is dug out of the ground. It is of great ufe among painters j, 
 being cheap and plentiful, and a colour that works vvell, if ii be ground 
 fine, uhich may be done with lefs labour, than fonie better colours re- 
 quire. T hat which is of the deepeft colour, and the Ireeft from ll:ones 
 is the beft. The other forts are not fo good to give a colour to the eye, 
 but yet they ferveas well as any other for the priming colours, to feaibn 
 the wood to lay other colours upon. 
 
 Buffet, a little apartment, feparated from the reft of the ropm, by 
 flender wooden columns for placing China and glafs ware, &c. The Buffet 
 
 among 
 
BUI 91 
 
 among the Italians, called Credenza, is inclofed within a baluftrade, 
 elbow-high. 
 
 Building, is ufed to fignlfy the art of conftrucfling and rajfing an edi- 
 fice, in which fenfe it comprehends the expences, as well as the invention 
 and execution of the defign. In the art of Building, convcniency, fiim- 
 nefs, and pleafure, are to be confidered ; and thefe Sir Henry Wotton 
 confiders under two heads, the fituation, and the work. 
 
 As to the fituation, either that of the uhole is to be confidered, or 
 that of. its parts. In the firft, regard muft be had to the quality, tem- 
 perature, and falubrity of the air ; to the quality of the foil ; to the con- 
 veniency of water, fuel, cariiage, &c. and to the agrecablenefs of profpccl. 
 As to the fituation of the parts, the chief rooms, ftudies, and libraries, 
 fixould lie towards the eafl ; thofe offices which require heat, as kitchens, 
 b.rew-houfes, bake-houfes, and diftillations, towards the fouth ; thoie 
 that require a cool, frefh air, as cellars, pantries, and granaries, to the 
 north f as alfo galleries for paintings, mufsums, &c. which require a 
 fleady light, .The ancient Greeks and Romans generally fituaied the 
 fronts of their houfes towards the 'fouth, but the modern Italians vary 
 very much from this rule. And indeed it is abfolutely necelfary to have 
 regard to the country, each being obliged to provide againfl its own in- 
 conveniences. 
 
 The fimple forais of Building are either circular or angular. The 
 circular form is very commodious, and the mod: capacious of any, ftrong, 
 durable, and very beautiful; but is the mod chargeable of all others, 
 and much room is loft by the bending of the walls, when it comes to be 
 divided into apartments ; befides an ill diflribution of the lights, unlefs 
 it be from the center of the roof. For thefe reafons, the antients em- 
 ployed this form only in their te;pples and. amphitheatres, which had 
 no need of compartitions. As for angular forms, Building neither lowes 
 many nor few angles. The triangle is condemned above all others, as 
 wanting both capacioufnefs and firmnefs, as alfo en account of its not 
 being refolvable; in the internal partitions, into any other figure than its 
 own. Buildings with five, fix, or more angles, are more fit for fortifi- 
 cations than civil edifices. The redtangle, therefore, is generally cholen, 
 as being a medium between the triang-le, and the pentagon,. &c. As;to 
 a mixed fqrm, partly circular, and partly angtdar, a judgment may be 
 made of them, from what has-been already faid of fimple ones. Let the 
 builder, however, remember not t9 jofe fight of unifprmi,t){, vylyle he is 
 in purfuit of variety. =, \-,y i . : ^ , ,^[.,r; , .'• 
 
 ■ The acqeffories or ornaments of a Building are fetched , from fculptare 
 and painting. In the firft, care ought to be taken 'that there be not tuo 
 much of it, efpecially ai the entrance j and that both in fine and coarle 
 
 pieces 
 
92 
 
 BUT 
 
 pieces of fculpfure, and likewife in placing figures aloft, the 'rules of 
 perfpedive be ftriftly obferved. '^^ 
 
 In pointing, the chief things to be regarded are, that the befc pieces 
 be placed in the beft h'ghts ; and that they be fuited to the intention of 
 the rooms they atre u'ed in. 
 
 Bulk Heads, in naval architedlure, certain partitions built up in dif- 
 ferent parts of a fhip, either acrofs dr lengthwife, to form and feparate 
 the various apartments. i' 
 
 Bullf.n-Nails, are a fort of Nails with routid heads, and fliort 
 /hanks, lined and lacquered; there are feveral fjzes of them. They are 
 ufed in han^-ing rooms, fetting up beds, covering of fliobls,' chairs, couches^ 
 defks, coffin?, &c. '''"' ' 
 
 Bust, or Busto, in fculpture, &c. the figure or portrait of a perfon 
 in relievo, fliewing only the head, fhoulders, and flomach, the arms be- 
 ing lopped off: it is ufually placed on a pedeftal or confole. Feliobiea 
 obferves, that though in painting, one may fay, a figure appears in Bufto, 
 yet it is not proper to fay, in a Buft. The Bull is the fame with that the 
 Latins called Herma, fr6m' the Greek Hermes, Mercury, the image of 
 that God being frequently repreiented in this manner by the Athenians. 
 Bufl is alfo ufed, elpecially by the Italians, for the. trunk of a human 
 body, from the neck to the hjps. 
 
 BuTMENTS, are thofe fupporters or props, on or againft which the 
 feet of arches refl. Alfu little places taken out of the yard or ground- 
 plot of a houfe, for a butlery, fculleiy, &c.- ■ 
 
 Buttery, a room in the houfes of noblemen and gentlemen belong- 
 ing to the butler, where he depofits the utenlils belongnig to his office^ 
 as table-linnen, napkins, pots, tankards, glaffes, lalvers, &c. 
 
 As to its pofition, Sir Henry WottoTi" fays, it ought to he placed on the 
 north fide of the building, which is defigned for the offices. In England, 
 it is generally near the cellar, viz. the room commonly on the top of the 
 cellar ffairs. 
 
 Buttock, in naval architedure, the round parts of a fliip behind, 
 under the flern, terminated by the counter above, and the after-part uf 
 the bilge below. 
 
 Buttress, a kind of butment built archwife, or a mafs of flone, or 
 brick, ferving to prop or lupport the fides of a building wall, 6cc. on 
 the cutfide, where it is cither very high, or has any conliderable load to 
 f uflain on the other fide, as a bank of earth, &c. 1 hey c.re aifo ulcd 
 againft the angles of lleeples, and other buildings of flone, &cc. on th ir 
 outlioe, and along the walls of fuch buildings as have great and heavy 
 rods, which would be fubjcft to thiuit the walls out, it tncy weic not 
 thick, il no Buttrcfles were placed agaujft them. 
 
 Buttrejfst 
 
C A B 93 
 
 BtiitrefcSt are alfo placed for a fupport and liutment, againft the feet of 
 fome arches, that are turned acrofs great halls in eld palaces, abbeys, 
 &c. and generally at the head of ftoiie buildings, when there are lirge 
 crocket winaows ; and they are alfo placed for butmcnts to the arches of 
 thefe windows. , , 
 
 The. iheory and rules of Buttrefles are one of the defiderata in arch'tec- 
 ture ; but it is not improbahle, but that a fagacious architedl and mathe- 
 nutici n, who would apply himfclf diligently to examine into the mat-- 
 ter, (. ight bing it within the bounds of reafon and rules, whereby it 
 mipht be known very near, of what lize, and confequently what weight, 
 a burtrels or butment ought to be j which mull: be various, according to 
 the dimenlions and form of tne arch, and the weight which is fuper- 
 incumbent on jt. 
 
 Astoth. wf^i^^htof the materials, both on the arch, and in the but- 
 trefs or butment, it is not difficult to calcu ate. But it may probably be 
 objedted there luav be a lenlible difference to the ftrength and goodnefs 
 of the bui^rels or butmcnts. 
 
 Dr. Hork pro effor of geometry in Grefham College, in his Treatife 
 of Hcliolcopes, promifed topublifla Ibmething to the purpofe aoovemen- 
 tioned, but whether he did, 1 know not ; but what he promifed in that 
 treatife. was a«- foUows, viz. a true mathematical and mechanical form of 
 all manner ot arches, with the true butment neceffary to each of them, 
 a problem, fays he, whjch no architectonic writer has ev^r yet attempted, 
 much Icfs pertormcd. A treatife of this nature v/ould be extremely ufe- 
 ful, for the want of a certain rule in arching, with its neceffary butment, 
 has often pr ved the ruin of fome ftrudures, which have been of noincon- 
 liderableexpences, as bridges, 6cc. 
 
 C. 
 
 CABIN, in naval architediire, an apartment in a fhip for any of the 
 officers to eat, drink, and fleep in. 1 he great Cabin is chiefly in- 
 teih^ed ior the captain cr princip.;! officer; but there are befides thefe fe- 
 vcral of a fir.aller kind for the inferior officers. The bed-places of the 
 failors, if they are built up at th^ ihip's-fide betv/een decks, which is often 
 th... cafe in the merchant ihio?, are likewife denominated Cabins. 
 
 Cabinet, the mod retired place in the fineft apartment of a build- 
 ing, let apart for writing, lludying, or preferving any thing that is curi- 
 ous or valuable. A'complete apanmen' coulifts of a halJ, anti-chamber, 
 chamber, and Cabinet, v.ith a gallery on one fide. Hence we fay a Ca- 
 binet of paintings, curiofitits, &c, 
 
 B b Cabling, 
 
94 C A K 
 
 Cabling, the filling up the middle of a fluting in a column with 
 fomething like a rope ; hence the columns whofe flutings are thus filled 
 up are called columns with cabled flutings. 
 
 Caliber, an inftrumcnt ufed by carpenters, joiners, and bricklayers, 
 to fee whether their work be well fquared. 
 
 Caliducts, a fort of pipes or canals, difpofed along the walls of 
 houfes and apartments, ufed by the ancients for conveying heat to feveral 
 remote parts of the houfe, from one common furnace. 
 
 Calotte, in architedure, a round cavity, or d-^prefllurc, in the form 
 of a cap or cup, lathed and plaiflered, ufed to diminifti the rife or eleva- 
 tion of a moderate chapel, cabinet, alcove, &c. which, without fuch an 
 expedient, would be too high for other pieces of the apartment. 
 
 Calquing, or Calking, a term ufed in painting, &c. where the 
 backfide of any thing is covered with a black or red colour, and the ftrokes 
 or lines traced through, on a waxed plate, wall, or other matter, by paf- 
 ling lightly over each ftroke of the defign with a point, which leaves an 
 imprefTion of the colour on the plate or wall. 
 
 Camaieu, alfo a term in painting when there is only one colour, the 
 lights and (hades being of gold, or on a golden and azure ground. It is 
 chiefly ufed to reprefent baflb relievos. 
 
 Camber-Beam, a piece of timber in an edifice, cut arching, or arch- 
 wife, or with an obtufe angle in the middle, commonly ufed in plat- 
 forms, as church leads, and on other occafions, where long and ftrong 
 beams are required. A Camber-Beam being much ftronger than another 
 of the fame fize, and being laid with the hollow fide downwards, (as they 
 generally are) they reprefent a kind of arch. 
 
 Cambring. The feamen fay a deck lies Cambring, when it does not 
 lie level, but higher in the middle, than at either end. 
 
 Cames, the fmall flender rods of caft lead, of which the glaziers 
 make their turned lead. For their lead being caft into flender rods, of 
 twelve or fourteen inches in length, are called Cames ; and fometimes 
 they call each of thefe rods a Came, which, when it has been afterwards 
 drawn through their vice, makes their turned lead. 
 
 Cant, a term ufed by fome carpenters of a piece of timber j when it 
 comes the wrong way in their work, they fay, Cant it, /. c. turn it about. 
 
 Cant ALi VERS, pieces of wood framed into the front or other fides of 
 the houfe, to lufpend the mouldings and caves over it. They feem, in- 
 deed, to be the fame with modillions, except that the former are plain, 
 and the latter carved : they are both a kind of cartouches, fet at equal 
 diftances under the corona of the cornice of a building. 
 
 Can TON ro, in architecture, is when the corner of a building is 
 adorned with a pilaftcr, an angular column, ruftic quoins, or any tiling 
 that projtdts beyond the wall. 
 
 Cant- 
 
CAP 
 
 95 
 
 Cant-Timbers, In fliip building, thofe timbers, or ribs of the 
 fliip which are fituated afore and abaft, or at the two ends where the flifp 
 grows narrower below. 
 
 Capital, (of caput, lat. the head) the uppermoft part of a column 
 or pilafter, ferving as the head or crowning, placed immediately over the 
 fhaft, and under the entablature. 
 
 The Capital is the principal and efTential part of an order of a column 
 or pilafter, and is of a different form in different orders, becoming the 
 diftinguiftiing charadteriftic between them. Vitruvius tells us, that Gal- 
 limachus, an Ingenious ftatuary of Athens, invented the firft regular ca- 
 pital from the following accident. An Athenian old woman happening 
 to place a bafket covered with a fquare tile over the root of an acanthus, 
 which grew on the grave of a young Corinthian lady, the plant l!hooting 
 up the following fpring, encompafled the bafket all round, till meeting 
 with the tile it curled back in a kind of fcrolls. The above fculptor paf- 
 fing by, and obferving it, executed a Capital on this plan, reprefenting the 
 tile by the abacus, the leaves of the acanthus by the fcrolls, and the baf- 
 ket by the body of the Capital. 
 
 The Tufcan Capital is the moft fimple and unadorned of all the reft; 
 its members or parts arc four only, viz. an abacus j an ovolo or quarter 
 round; a collarino or neck; and an aftragal ; the latter indeed properly 
 belongs to the firft or (haft. The charadler which dillinguifties this Ca- 
 pital from the Doric, 6cc. is, that the abacus is fquare and quite plain, 
 having no ogee or other moulding; and that there are no annulets under 
 the ovolo. Authors, indeed, vary a little with regard to the Tufcan 
 Capital. 
 
 The height of this Capital is the fame with that of the bafe, viz. one 
 module, or femi-diameter. Its projedture is equal to that of the bottom 
 of the column, viz. five-eighths of the module. 
 
 The Doric Capital has three annulets, or little fquare members, under- 
 neath the ovolo, inftead of the aftragal in the Tulcan, befides the abacus, 
 an ovolo and a neck, all which it has in common with the former ; and a 
 talon, cyma, or ogee, with a fillet over the abacus. 
 
 Vitruvius makes the height of this Capital equal to half the diameter 
 of the column below; and this height being divided into three parts; 
 the firft goes to the neck, the fecond to the boultin, and the third to the 
 uppermoit paw of the Capital. 
 
 The Ionic Capital is compofed of three parts; an abacus, coniiftmg 
 of an ogee ; under this a rmd, which produces the volutes or fcrolls, the 
 moft effential parts of this Capital ; and at the bottom an ovolo or quarter 
 round. The allragal under the ovolo belongs to the fliaft : the middle 
 part is called the rind or bark, from its fuppofed refemblance to the bark 
 of a tree, laid on a vafe, whole brim is reprelVnted by the ovolo, and 
 
 • feeming 
 
'96 '' C A' R 
 
 fedming to have been fhrunk up in dryihg, and to have been twlfted into 
 'ithe vohites. The ovolo is adorned with eggs, as they are lo^nttimes called 
 from their oval form. ... '.' ' ' 
 
 ' The height of this Capital, according to M. Perault,: Js .eighteen mi- 
 nutes," and its prhjedore one module fcyen tenths. "- :^y:ivn'} .ir'^i.tiq io 
 
 The Corinthian Capital is the richeftof all -fhe'tirders.ianrrt'ifnputed to- 
 Callimachus, an A'thcnian ftatuary as we hfeve already oblevved. It is 
 adorned with eight volutes, a double row of leaves,- and eight fcroUs, 
 fituated found a body called by fomecampana, 6rbell, and by'Otla.ers.tatn-- 
 hour, or drum/^'-^ ^-i-''''^"^"' i-wj.\ io j, -dl ujom:.^,;; ji;; ,^.^.,}ii;iM 
 
 The height of fWs CapTfA^'fS W^ m?«itile8)andfiim^thi>4Hind-iis^fb* 
 jedure one module and one thitd. ■' ■ :•' ^- ''■';■■' !'.-07-. ' * ■:?'.••■' •. o \- ; - 
 'The Cpmpofite Capital 1^ an invention of ^the Romans, and is j:onnipofed 
 of the double row of leaves in the Corinthidn, andvJ<iutes in the Ionic. 
 ■ Theheif^ht of this'Capitil ibtwo modules and one fhird, ^ancd the pro- 
 cedure one module and two thirds. ■ ••<iiviJl u^ h-n , ; ! ■ ■ 
 * Attic Capital; that whjchhas leaves of partition in the gcrge, ;!i3 
 
 Angular Capital, that which fupports the return of an, fentablature, at 
 the corner of a projedu re of a frontispiece. i .k . , 
 
 Capital of ^ ballufler, that part which crovras a baliufter, refembling 
 Sometimes the Capital of Ibme order, generally the Ionic. 
 
 Capital of a trigliph, the plat- band over the tngliph, called by Vitru- 
 vius taenia! It is lotrtetimes a tiieliph, and perio^nis the Office of a Ca- 
 pital to the Doric pilafter. fli bcr: ; r ii.-.Iijmn ^otUo io OTji(, 
 . Capital of a nichy a kind of fmall canopy made over a fhallow nich, 
 to cover a ftatue. 
 
 Capital of a lantern, a covering, fometimes of one form, and fome- 
 times of another, which fin ifhes the lantern of a dome. irnvno_ ,• :: .".,: 
 
 Capital of a baftion, a line drawn from the point of thebaftion to the 
 angle of the polygon ; or from the point of the balbon to the middle of 
 
 the gorge. 
 
 Capstan, or Capstern, in naval architedure, a flrong mafly piece 
 of timber let down through the decks of a (hip, and relHng its foot, or 
 axis, which is fliod with ir.n, in an iron focket, called a laucrr, which 
 is fixed on a wooden b'ock or i^andard, Cdlkd the flep, reifing on the 
 beams. There are ufually two Capfterns : they are uled fo heave the an- 
 chors up to the fhip j to draw u;. or let down the top nidH or any other 
 weighty body; cr to heav? any great flrain in a level diredion, as draw- 
 ing the Oiip forward or backward, &c. 
 
 CaRACol, a term fometimes ufed for a flair-cafe, in a helix, or fpi- 
 
 ral f rm. • . . 
 
 C A" CASE, the iThellorribs of a hcufe, containing the partitions, floors 
 and rafters, made by carpenters ;■ or it is the timber work, or, as it were, 
 
 the 
 
CAR 
 
 ^1 
 
 the flicleton of a houfe, before it is lathed and plaiftered ; it is otherwife 
 called the framing. 
 
 Carina, a term ufed in antient architedture, a name given by the Ro- 
 mans to all buildings in the form of a fhip, (from Carina, the keel of 
 a fhip) as we flill ufe the word nave for navis, a fhip, the middle or princi- 
 pal vault of our churches, becaufe it has that figure. 
 
 Carppntry, the art of cutting, framing, and joining wood for the 
 ufe of building. It is one of the arts fubfervient to architedture, and is 
 divided into houfe carpentry and fhip-carpentry : the firfl; is employed in 
 raifing, roofing, flooring of houfes, &c. and the fecond of the building 
 of (hips, &c The rules in Carpentry are much the fame with thofe of 
 joinery ; the only difference is, that Carpentry is uled in the larger coarfer 
 work, and joinery in the fmallerand more curious. 
 
 There are very tew regulations contained in the late adt paffed in the 
 14th of George III. relpeding carpenters work ; the direftions are fhort, 
 and are as follow : 
 
 Timber partitions between building, and building that was eredted, or 
 begun to be erecfted before the pafTing of the adl, may remain till one of 
 the adjoining houks is rebuilt, or till one of the fronts, or two- thirds 
 of iuch fronts, which abutt on fuch timber partition, is taken down to 
 the brfllummer or one pair of ftairs fijor, and rebuilt. 
 
 No timber whatever is at any time hereafter to be laid into any party- 
 arch, other than for bond to the iarne. Nor into any party-wall other 
 than for bond, &c. and the ends-of the principal timbers to the floors 
 and roof. ■ 
 
 But no timber bearer to wood ftairs, where an old party-wall has been 
 cut into for that purpole, mull: be laid nearer than eight inches and an 
 half to any chimney or flue whatever, or nearer than four inches to the 
 internal flnifliingof the building adjoining. 
 
 No timber to be laid in any oven, copper, : flove, iliil, boileryXir.fiir- 
 nace, nor within two feet of the infide thereof. * '•;"'-■ /: ■•<'y\ 
 
 No timber whatever to be laid nearer than nine inches to the opening 
 of any chimney. 
 
 Nor nearer than five inches to any flue of a chimney, oven, flove, 
 copper, ftill, boiler, or furnace. Or rearer than nine inches, if fuch 
 timber is placed neaier than five feet of the mouth of the lame re- 
 fpcdfively. 
 
 No timber to be laid under any hearth to achimney, nearer than eigh- 
 teen inches to Uie upper furface of fuch hearth. 
 
 No timber whatever to be laid nearer than eighteen inches to any dooc 
 of communication through party-walls between ware-houfes or flables. 
 
 All wojd-work whatever, againll any, breaft, back or flue,, of any chim- 
 ney, muft be fixed by iron nails or hold-fafts, and not to be drove more. 
 
 C c thaa 
 
9^ CAR 
 
 than three ijiches into the wall, or nearer than four inches to the infide of 
 the opening of any chiiiiney. 
 
 Breffummers, ftory- ports, and plates thereto, are only allowed in the 
 ground ftory, and may (land fair with the outfide face of the wall, but to 
 go no deeper than two inches into a p>arty-wall, nor nearer than fevcn 
 inches to the center of a party-wall where it is two bricks thick, nor 
 rearer than four inches and an half, if fuch party-wall does not exceed one 
 brick and an half in thicknefs. 
 
 All window frames, and door-frames to the firft, fecond, third, and 
 fourth rate, mufl: be receffed in four inch reveals at lead:. 
 
 Door-cafes, and doors, to ware-houfes only, as fhall be of the firft, 
 fecond, third, or fourth rate, may ftand fair with the outward face of 
 the wall. 
 
 Every corner ftory-poft, which is fixed for the fupport of two fronts 
 muft be of oak or ftone, a.t leaft twelve inches fquare. 
 
 No external decoration whatever to be of wood, except as follows ; 
 cornices, or dreflings to {hop-windows, frontifpieces to door-ways, of 
 the fecond, third, and fourth rate ; covered- ways, or porticos to a build- 
 ing, but not to projeft before the original line of the houfes in any ftreet, 
 or way, and which covered-ways or porticos, muft be covered with ftone, 
 lead, copper, flate, tile or tin. 
 
 N. B. No fuch covered-way, or the cornice to any fhop- windows, nor 
 the roof of any portito, is to be higher than the underlide of the fiU to 
 the windows of the one pair of ftairs floori arli !, 
 
 All other external decorations whatever to the firft, lecond, third, and 
 fourth rate, are to be of ftone, brick, artificial ftone, ftucco, lead or iron. 
 
 Every flat gutter and roof, and every turret, dormer, and lanthern 
 light, or other erection, placed on the flat, or roof of any building of the 
 firft, fecond, third, fourth, and alfo the fifth rate, muft be covered with 
 glafs, copper, lead, tin, flate, tile, or artificial ftone. 
 
 No dripping eaves to be made next any public way, to any roof of the 
 firft, fecond, third, or fourth rate, except from the roofs of porticos or 
 other entrances. 
 
 Wcod-trunks are not to be higher ftom the ground than to the tops of 
 the windows of the ground ftory, the pipes from thence upwards, muft 
 be of lead, copper, tin, or iron, and may difcharge the water into chan- 
 nel-ftones, on or below the furface of the ground. Or the wood- trunks 
 may be continued down below the furface of the ground into drains, &;c. 
 or into brick or ftone funnels, and fuch funnels muft in every part thereof 
 be below the furface of the foot pavement. 
 
 1 his building-ad:, however, extends only to the bills of mortality, and 
 the pariflies of St. Mary-le-bone, Paddington, St. TancraSf and St. Luke 
 at Chelfea. 
 
 CaRTONj 
 
CAR 99 
 
 Carton, or Cartoon, in painting, a deflgn drawn on flrong paper^ 
 to be afterwards calked through, and transferred on the frefh plafter of a 
 wall to be painted in frefco. Carton is alfo ufed for a defign coloured, for 
 working in mofaic, tapeftry. Sec. The Cartons which were formerly at 
 Hampton Court, but now at the queen's palace, are defigns of Raphael 
 Urbin, intended for tapeftry. 
 
 Cartouche, an ornament reprefenting a fcroll of paper. It is ufu- 
 ally a flat member, with wavings, to reprelent fome infcription, device, 
 cypher, or ornaments of armoury. They are in architedlure, much the 
 fame as modillions; only thefe are fet under the cornice in wainfcotting, 
 and thofe under the cornice at the eaves of a houfe. 
 
 Caryatides, or Cariates, (focalled from the Caryatides, a peo- 
 ple of Caria) are in architedlure, a kind of order of columns or pilafters, 
 under the figures of women dreffed in long robes, after the manner of the 
 Carian people, and ferving inftead of columns to fupport the entablement. 
 
 Vitruvius relates the origin of the Caryatides. He obferves, that the 
 Greeks having taken the city of Caria, led away their women captives ; 
 and to perpetuate their fervitude, reprefented them in their buildings as 
 charged with burdens, fuch as thofe fupported with columns. M. Le 
 Clerc aptly enough calls thefe fymbolical columns, and tells us, that the 
 antient Greeks had a cuftom, in the columns of their public buildings, 
 to add figures and reprefentations of the enemies they had fubdued, to pre- 
 ferve the memory of their victories. That they having reduced the re- 
 bellious Carians to obedience, and led away their wives captives ; and that 
 the Lacedemonians having vanquished the Perfians at Plata^a, they were 
 the firft fubjeds of thefe columns ; which have preferved to late pofterity 
 both the glory of the conquerors, and the diflionour of the conquerea. 
 And hence originally came the names Caryatides, and Perfian columns; 
 which names have been fince applied to all columns made in human fi- 
 gures, though with characters very different from each other. 
 
 M. Le Clerc likewile obferves, that the Caryatides are not now repre- 
 fented among us, as they were among the antients, viz. as fubjedls of fer- 
 vitude and flavery, with hands tied before and behind, fuch charaders 
 feeming injurious to the fair fex ; and for that reafon wc give rhcm others 
 entirely oppolite, never ufing them in building but as lingular beauties^ 
 and fuch as make the greateil: ornament thereof. Among u.^, they are re- 
 prefented under the noble fymbols, or images of Juftice, Prudence, Tem- 
 perance, &c. 
 
 The Caryates fliould always have their legs pretty clofe to each other, 
 and even acrofs, or the one athwart the other, their arms laid Hat to their 
 bodies, or to the head, or as little fpread as polfible ; that as they do the 
 office of columns, they may as near as pollible bear the figures of them,^ 
 When the Caryatides are infulated, they fhould never have ary great 
 
 weight 
 
lOD 
 
 CAR 
 
 welf^ht to fupport, nor greater than thofe of balconies, little galleries, or 
 flight crownings, and their entablature and pedcftal are not to bethought 
 io proper to bear great loads. If the Caryatides have aprojecfture beyond 
 the wall, in the manner of pihifters, they may be ufed in the architedure 
 of a gallery or falon, provided they may be not made to fuftainany thing 
 but an entablature, the weight of the vault being borne by the wall be- 
 hind, which ferves them as aground or bottom. 
 
 The Caryatides ought always to appear in charadlers proper to the places 
 they are ufed in. For inllance, thofe which fupport the crowning of a 
 throne, {hould be (^mbols, or reprefentations of heroic virtues. Thofe 
 which are let in a place of devotion, fhould bear the charadlers of religion, 
 and thofe in halls and banqueting-rooms, fliould carry the marks of mirth 
 and rejoicing. 
 
 Caryat'des, and common columns, fhould never be ufed together un- 
 der the fame entablature ; for beiides that, there can never be a juft fym- 
 metry between them. The figures of women, as tall as common co- 
 lumns, would appear monflrous, and make all the reft of the architefture 
 appear low and mean. Again, the Caryatides fliould neverbe made of an 
 immoderate Ifature ; left being too large, they might become frightful to 
 ladies; and for this rcafon, one would chufe to confine them ibmetitnes 
 under the impofi: of a portico, fuch impolls ferving them for an entabla- 
 ture. They may aUb upon occafion be railed upon pedeftals, which ougKf 
 not to be lower than one third of their height : and befides this, if there 
 be confoles placed over their heads, the figures may be made of a reafon- 
 able height. 
 
 Sometimes the arms of the Caryatides are cut off for the greater deli- 
 cacy, as thofe for inftance in the halls of the Swils guards in the Louvre, 
 But M. Le Clerc does not approve of fuch mutilations. Thefe kinds of 
 mutilations, which are only uled to make the figures more light and de- 
 licate, cr rather to make them more conformable to the columns, are on- 
 ly proper for termini, or forms, which arc a kind of half human figures, 
 leetning to proceed out of a vagina or iheath. 
 
 The Caryatides are fometimes reprefented in the form of angles ; which, 
 M. Le Clerc is of opinion, fhould not be, except at baldaquins, and al- 
 tars. And fuch as do appear under that holy form, ought, in his opi- 
 nion, to fupport the entablature with their hands j or, as others fay, with 
 their head?, as bearing it eafily and without trouble. The entablature 
 fupported by angels, M. Le Clerc would have to be of the Corinthian 
 order j and that by the virtues of the Ionic ; and both the one and the 
 other fomewhat lefs mafTive than the ordinary. The antients made the 
 Caryatides frequently to fupport corbels, or bafkets of flowers ; and thefe 
 they call Canifera: and Cilliterge. 
 
 Casement, 
 
CAS loi 
 
 Casing of timber-work, is the plaiftering a houfe all ever on the out- 
 fide with mortar, and then ftriking it wet by a ruler, with the corntr uf 
 a trowel, or the like inllrument, to make it refemble the joints of tree- 
 ftone ; by which means the whole houfe appears as it built thereof. 
 
 As to the method of doing it: fome dirett it to be done upon heart- 
 laths ; becaufe that the mortar would in a little time decay fip-laths : 
 and although it will require more labour to lath it with heart, than with 
 fap laths, yet it will be better for the mortar to hang to, becaufe heart- 
 laths are the narroweft ; and laths ought to beclofer together for mortar, 
 than for loam. They alfo fay, that they commonly lay it on in two 
 thicknefTes, viz. a fecond before the firft is dry. 
 
 Casement, a name given by fome workmen to the fcotia, or hollow 
 moulding between the two torus's in the bafe of columns : which loms 
 architedls make one fixth of a circle, and others one fourth. The fame 
 word in its common fenfe exprefles the opening of a window ; and in mi- 
 litary architediure a vault ot mafons-work in that part of the flank of the 
 baftion next the curtain. 
 
 Casting, among fculptors, the taking carts of impreflions, of figures, 
 bufts metals, leaves, 6cc, 
 
 The method of takmg of carts of figures and hurts, as at prefent prac- 
 tifed, is moll generally by the ufe of plairter of Paris, or, in other words, 
 alabafter calcined by a gentle heat. The advantage of uling this fubftance 
 preferably to others, confilts in this, that notwithftanding a flight calci- 
 nation reduces it to a pulverine rtate, it becomes again a tenacious and 
 cohering body, by bemg moiftened with water, and afterwards fuffered to 
 dry ; by- which means either a concave or a convex figure may be given by 
 a proper mould or model to it when wet, and retained by the hardnefs it 
 acquires when dry: and from thefe qualities, it is fitted to the double 
 ufe of making both carts and moulds for forming thofe carts. The 
 plairter is to be had ready prepared of thofe who make it their bufincls to 
 fell it ; and the only care is to fee ttiat it is genuine. The particular 
 manner of making carts depends on the form of the fubje^t to be taken. 
 When there are no projedling parts, it is very fimple and ealy: as like- 
 wife where theie are Inch as form only a right, or any greater angle with 
 the principal furface of the bod\ : but where parts projcdl in leff^it angles, 
 or form a curve inclined towards the prmcipal iuilace of the boiiy, the 
 work is more difficult. 
 
 The fir ft rtep to be taken is the forming the mould ; which is, indeed, 
 done by much the fame means as the cart is afterwards made in it. In 
 order to this, if the original or model be a bais relief, or any oiher piece 
 of a flat form, having its furface frii; well greafed, it muft be placed on 
 a proper table, or other luch fupport, and lurtounded by a frame, th-e 
 fides of which muft be at fuch a diftance horn it, as will allov/ a prop'jr 
 
 D d thicknefs 
 
102 GAS 
 
 thicknefs for the fides of the mould. A due quantity of the piaifter, that 
 is, what will be fufficient to cover and rife to fuch a thicknefs as may give 
 fufficient ftrength to the mould, as alfo to fill the hollow betwixt the 
 frame and the model, muft be moiftened with water, till it be juft of fuch 
 confiftence as will allow it to be poured upon the model, which fliould 
 be done as foon as poflible : for it muft not be delayed after the water is 
 added to the piaifter, which would otherwife concrete or fet, fo as to be- 
 come more troublefome in the working, or unfit to be ufed. The whole 
 muft then be fuffered to remain in this condition, till the piaifter has at- 
 tained its hardnefs ; and then the frame being taken away, the preparatory 
 caft or mould thus formed, may be taken off from the fubjedt entire. 
 
 Where the model or original fubje(fl is of a round or eredt form, a dif- 
 ferent method muft be purfued ; and the mould muft be divided into feve- 
 ral pieces: or if the fubjed; confifts of detached and projecting parts, it 
 is frequently moft expedient to caft fuch parts feparately ; and afterwards 
 join them together. 
 
 Where the original fubjedt or model forms a round, or fpheroid, or any 
 part of fuch round or fpheroid, more than one half the piaifter muft be 
 ufed without any frame to keep it round the model ; and muft be terri- 
 pered with water, to fuch a confiftence, that it may be wrought with the 
 hand like very foft pafte : but though it muft not be fo fluid as when pre- 
 pared for flat figured models, it muft be as moift as is compatible with 
 its cohering futficiently to hold together : and being thus prepared, it 
 muft be put upon the model, and comprefled with the hand, or any fiat 
 inftrument, that the parts of it may adapt themfelves, in the moft per- 
 fedl manner, to thofe of the fubjed, as well as be compadt with refpedt 
 to themfelves. 
 
 When the model is fo covered to a convenient thicknefs, the whole 
 muft be left at reft till the piaifter be fet and firm, fo as to bear dividing 
 without falling to pieces, or being liable to be put out of its form by 
 flight or violence ; and it muft then be divided into pieces, in o-^der to its 
 being taken off from the model, by cutting it with a knife with a very 
 thin blade J and being divided muft be cautiouQy taken off, and kept till 
 dry: but it muft be always carefully obferved, before the leparation of the 
 parts be made, to notch them crofs the joints, or lines of the divifion, 
 at proper uiftances, that they may with eafe and certainty be properly con- 
 joined together ; which would be much more precarious and troublefome 
 without fuch diredlive marks. The art of properly dividing the moulds, 
 in order to make rhem leparate from the model, conftitutes the greateft 
 object of dexterity and fkill in the art of calting ; and does not admit of 
 rules for the moft advantageous conducft of it in every cafe. But we Ihall 
 endeavour to explain the principles on which it depends, in fuch a manner, 
 that by a due application of them, all difhculties may at any time be fur- 
 mounted. 
 
J C A S 103 
 
 mounted, and an expertnefs, even of manner, acquired by a little prac- 
 tice. With refpe(5t to the cafe in queflion, where the fubjedl is of a round 
 or f'pheroidal form, it is heft to divide the mould into three parts, which 
 will then eafily come off from the model : and the fame will hold good of 
 a cylinder, or any regular curve figure. 
 
 The mould being thus formed, and dry, and the parts put together, it 
 muft be firft greafed, and placed in fuch a poiition, that the hollow may 
 lie upwards, and then filled with plaifter, commixt with water, in the 
 fame proportion and manner as was directed for the carting the mouldj and 
 when the caft is perfedlly fet, and dry, it mufi: be taken out of the mould 
 and repaired, where it is neceflary ; which finilhes the whole operation. 
 This is all that is required with refpedl to fubjedls where the furfaces have 
 the regularity above-mentioned : but where they form curves, which in- 
 terfedl each other, the conduit of the operation mufl: be varied with re- 
 fpedt to the manner of taking the caft of the mould from the fubjedt or 
 model J and where there are long projediing parts, fuch as legs or arms, 
 they (hould, as was obferved before, be wrought in feveral cafts. In the 
 fame manner figures, bufts, &c. may be cart: of lead, or any other metal, 
 in the moulds of plaifter : only the expence of plaifler, and tedioufnefs of 
 its becoming fufficiently dry, when in a very large mafs, to bear the heat 
 of melted metal, render the ufe of clay, compounded with fonie other 
 proper materials, preferable where large fubjedts are in queftion. 
 
 Cads of medals, or fuch fmall pieces as are of a fimilarform, maybe 
 made in plaifter, by the method directed for bafs relievos. Indeed there 
 is nothing more required than to form a mould by laying them on a proper 
 board ; and having furrounded them by a rim made of a piece of card, 
 or any other pafte-board, to fill the rim with loft tempered plaifler of 
 Paris; which mould, when dry, will ferve for feveral cafts. It is never- 
 thelefs a better method to form the mould of melted fulphur ; which will 
 produce a (harper impreffion in the caft, and be more durable than thofe 
 made of plaifter. The cafts of medals are frequently made of fulphur, 
 which being melted, muft be treated exadtly in the fame manner as the 
 plaifter. Calts may be made likewife with iron with very little additional 
 trouble, provided it be prepared in the following manner. 
 
 " Take any iron bar, or piece of a fimilar form ; and having heated it 
 red hot, hold it over a veftel containing water, and touch it very flightly 
 with a roll of fulphur, which will immediately difiolve it, and make it 
 fall in drops into the water under it. As much iron as may be wanted 
 being thus diflblved, pour the water out of the veftel; and pick out the 
 drops formed by the melted iron from thole of the fulphur, which con- 
 tain little or no iron, and will be diftinguifhable from the other by their 
 colour and weight." 
 
 Tlic 
 
104 C A U 
 
 The iron will, by this means, be rendered fo fufible, or eafy to be 
 melted, that it will run wth lefs heat than will melt lead, and may be 
 employed for making carts of medals, and many other fuch purpofes, with 
 great convenience and advantage. 
 
 Cafimg in joinery, &c. "Wood is faid to cafl: or wnrp, when either by 
 its own drought, or moirture of the air, or other accidents, it flioots or 
 fhrinks, and alters its flatnels and flraightnefs and becomes crooked. 
 
 Catacomb, a grotto or Jubterraneous place for the interment of the 
 dead. The term is particularly ufed in Italy for a vaft affemblage of fub- 
 terraneous fcpulchres three leagues from Rome, in the Via Appia, fup- 
 pofed to be the fepulchres of the antients. Each Catacomb is three feet 
 broad, and eight or ten high, running in the form of an alley or gallery, 
 and communicating with each ( ther. 
 
 CatadromEj an engine like a crane, ufed by builders in raifing 
 . weights. 
 
 Cat-head, in naval architecSlure, a large fquare piece of timber; 
 one end of which is fattened upon the fore-cafth, and the other end 
 projedts without the bow, fo far as to keep the anchor clear of the fhip 
 when it is drawing up by a tackle. 
 <T* Cathetus, in architecture, a perpendicular line, fuppofed to pafs 
 
 through the middle of a cylindrical body, as a baluller column, &c. 
 Jn the Ionic capital, tlie Cathetus is a perpendicular line pafling through 
 the middle of the eye of the volute. 
 
 Cavazion, or Cavasion, in architefture, the hollow trench made 
 for laying the foundaiion of a building, which, according to Palladio, 
 ought to be one fixth part of the height of the whole building. 
 
 Cavetto, a hollow member or round concave moulding, containing 
 a quadrant of a circle. It is ufed as an ornament in cornices. Mr. Ze- 
 libien takes notice, that workmen confound the Cavetto with fcotia, but 
 the Cavetto is only half a Icotia. When it is in its natural fituation, it 
 is by workmen frequently called gula or guele, or- mouth, in EngliOi ; 
 and when inverted, gorge or throat. 
 
 Caulicolf s, or Caulicoli, eight lefler branches or ftalks, in the 
 Corinthian capital, fpringing out from the four greater or principal cauls, 
 or ftalks. 1 he eight volutes of this order are fuftaincd by four cauls or 
 primary branches of leaves, from which the C^ulicoles ur lefllr foliages 
 arife. Some authors confound thefe with the volutes themfelves ; lome 
 ■with the helices in the middle ; and feme with the principal ftalks 
 whence tht-y arife. Some define them to be carved Icroolls, under the 
 abacus, m ibe Corinthian capital. 
 
 Caulking, in naval architedure, the aft of driving a quantity of 
 oakum, i. e. old ropes untwiftcd and foftened into tl;e feams ot the 
 planks, or between them where they are joined, in order to keep out the 
 
 water ; 
 
C E M 105 
 
 water : after the oakum is driven very hard into thefe Teams, it is covered 
 with hot melted pitch, to prevent the water from rotting it. 
 
 Causeway, or Causey, a maflive body of flones, flakes, and faf- 
 cines ; or an elevation of that vifcous earth, well beaten ; ferving either 
 as a road in wet marfhy places, or as a mole to retain the waters of a 
 pond, or prevent a river from overflowing the lower grounds. 
 
 Cell, Cella, a little apartment or chamber, fuch as thofe wherein the 
 ancient monks, ibiitaries, and hermits, lived in retirement. The hall 
 wherein the Roman conclave is held, is divided by partitions into divers 
 Cells for the feveral cardinals to lodge in. 
 
 Cellar, the lowed room in a houfe, the cieling of wMch is level 
 with the lurface of the ground on which the houft ft.>nds, or at moft but 
 very little higher. As to the fituation of Cellars, Sir Henry VVotton fays, 
 they ought, unlefs the whole houfe be cellared, to be fituated on the north- 
 fide of the houfe, as requiring cool and fre(h air. 
 
 Cellars are ulually dug by thefolid yard, which contains twenty feven 
 folid feet; and therefore the length, breadih, and depth being multiplied 
 together, and the prod u(fl divided by twenty-fevcn, the quotient will give 
 the content in folid yards. 
 
 Cement, or C-iEMent, in a general fenfe, any glutinous fubftance 
 capable of uniting and keeping things together in clofe cohelion. 
 
 Cenientf in architecflure, a ftrong fort of mortar, uled to bind or fix 
 bricks or (lones together, for fome kind of mouldings ; or in cementing a 
 block of bricks; for the carving of capitals, fcrolls, or the like. It is 
 of two forts, one called hot Cement, and the other cold Cement ; be- 
 caufe the hot Cement is made and ufed with fire j and the cold Cement 
 is made aid ufed without fire. 
 
 To make the hot Cement, take of bets-wax two pound, and of refm 
 one pound ; mix them, and add one pound and a halt of the fame pow- 
 dered, as the body to be cemented is compofed of, Itrewing it into the 
 melted mixture, and flirring them well together ^ and atterwards knead- 
 ing the nuls in water, that the powder may be thoroughly incorpcrated 
 with the v/ax and refin. The proportion of the powdered matter may 
 be varied, where required, in order to bring the Cement nearer to the co- 
 lour of the body on which it is employed. 
 
 This which forms an excellent llrong Cement, mult be heated when 
 applied; as mull; alfo the parts of the lubjedt to be cemented t- gether ; 
 and care mufl: be taken likewife that they are thoroughly dry. Where a 
 great quantity of Cement is wanted for coarfer ufes, the coal-afli mortar, 
 or Welch terras, as it is called, is the cheapell and belf, and will hold 
 extremely well, not only where it is conltantly kept wet, or dry; but 
 even where it is fometimes dry, and at other times wet; but where it is 
 liable to be expofed to wet and froft, it fhould, a: its being laid on, be 
 
 E e iuttered 
 
io6 C H A 
 
 fiifFered to dry thoroughly before any molfture can have accefs to it ; and, 
 in that cafe, it will likewife De a great improvement to temptr it with the 
 blood of any beaft. This mortar, or Welfii terras, muil be formed of 
 one part lime, and two parts of well fifted coal-aflies; and they muft be 
 thoroughly mixed by being beaten together ; for on the perfedl mixture of 
 the ingredients, the goodnefs of the compofition depends. 
 
 Where the Cement is to remain continually under water, the true terras 
 is commonly ufed, and will very well anfwer the purpofe. It may be 
 formed of two parts of lime, and one part of plaifter of Paris, which 
 fhould be thoroughly well beaten together, and then ufed immediately. 
 
 For the fixing fliells, and other fuch nice purpofe?, putty is moif ge- 
 nerally ufed J but it may be formed of quick lime and drying oil, mixed 
 with an equal quantity of linfeed oil ; or, where the drying quicker is not 
 necellary, it may be made with lime and crude linfeed oil ; w^ithout the 
 drying oil. 
 
 Refin, pitch, and brick-duft, in equal parts, melted together and ufed 
 hot, are much the cheapeft Cement for (hell Vv'ork, and 'vill perform ihat 
 office very well, provided the bodies they are to join together be perfedly 
 dry when they are ufed. 
 
 The cold Cement is lefs ufed, and is reckoned a fecret known but to 
 few bricklayers. It is made after the following manner. 
 
 Take a pound of old Chefhire cheefe, pare off the rind and throw it by, 
 then cut or grate the cheele very fmall, put it into a pot with a quart 
 of cow's milk ; let it ftand all night, and in the morning, take the whites 
 of twenty four or thirty eggs, and a pound of the beil unflacked or quick 
 lime, and beat it in a mortar to a very fine powder, fitt it in a fine hair 
 fieve, put the cheefe and milk to it in a pan, or bowl, and ftir them well 
 together with a trowel, or fuch like thing, breaking the knobs of the 
 cheefe, if there be any, then add the whites of eggs, and temper all well 
 together, and it will be fit for ufe. The Cement will be of a white co- 
 lour ; but if you will have it of the colour of brick, put into it either 
 fome very fine brick-dulf, or fome almegram, juft fufficient to give it a 
 colour. 
 
 Chamber, in a houfe or building, any room fituate between the low- 
 ermoll, excepting cellars, and the uppermoil rooms. So that there are 
 in fome houles two, in others three or more floiies of Chambers. Sir 
 Henry Wotton direds:, that the principal Chambers for pleafantnefs be 
 lituated towards the eaft 
 
 As to the proportions : the length of a well proportioned lodging 
 fliould be the breadth and half of ttie lame, or fome fmall matter leis,^ 
 but Ihould never exceed that length. As for the height, three-fourths of 
 the breadth will be a proper height. Palladio diredls, that Chambers, 
 anti-chambers and halls, either Hat or arched, Ihouid be made of the 
 
 following 
 
C H A 
 
 107 
 
 following heights. If they are flat, he advifes to divide the breadth into 
 three parts, and to take two of them for the height of the ftory from the 
 floor to the joifl. 
 
 In the building of Chambers, regard ought to be had to the place of 
 the bed, which is ufually fix or feven feet fquare ; and the palTage, as 
 well as to the fituation of the chimney, which, for thi? confideration, 
 ought not to be placed jufi: in the middle, but diltant from it about two 
 feet, or two feet and a half, in order to make room for the bed ; and by 
 this means the inequality is hardly difcerned, if it be not in buildings of 
 the breadth atleaftof twenty-four feet within the work; in this cafe, 
 it may be placed exa(5lly in the middle. 
 
 Chancel, a part of the fabric of a Chriftian church, between the 
 altar and balluftrade that inclofes it, where the minifter is placed at the ce- 
 lebration of the holy communion. 
 
 Chandelier, in military architedure, a kind of moveable parapet, 
 confifting of a wooden frame, made of two upright Hakes, about fix 
 feet high, with crofs planks between them; ferving to fupport fafcines to 
 cover die pioneers. The Chandeliers differ from blinds only in this, that 
 the former cover the then only before, and the latter cover them alfo 
 above. They are ufed in approaches, galleries, and mines, to hinder 
 the workmen from being driven from their Nations. 
 
 Channel, in architedfure, that part of the ionic capital under the 
 abacus, and lies open upon the echinus or eggs, which has the centers 
 cr turnings on every fide to make the volutes. 
 
 Channel of the Larmier, the foffit of a cornice which makes the pen- 
 dant mouchette. 
 
 Channel oi the Volute, in the Ionic capital, the face of the circum- 
 volution inclofed by a liftel. 
 
 Chantlate, in building, a piece of wood faftened near the ends of 
 the rafters, and projedting beyond the wail to fupport two or three rows 
 of tiles, fo placed, to hinder the rain water from trickling down the fides- 
 of the walls. 
 
 Chaplet, in architedure, a fmall ornament carved into round beads,, 
 pearls, olives, and pater- nollers, which is frequently done in banquettes. 
 
 Charge or Overch4.rge, in pointing, an exaggerated reprefenta- 
 tion of any peifon, wherein the likenefs is prefcrved, but withal ridiculed : 
 few painters have the genius to fucceed in thcfe Charges. The method 
 is, to pick out and heighten lomething amifs in the face, v/hether by way 
 of defed or redundancy ; thus, if nature has given a man a nofe a little 
 larger than ordinary, the painter falls in with her, and makes the nofe 
 extravagantly long; and fo in other cafes. This is alfo called caricature. 
 
 Charnel, or Charnel-house, a kind of portico, or gallery, ufually 
 in or near a church- yard, over which were anciently laid the bones of the 
 
 dead,. 
 
jo8 CHE 
 
 dead, after the fleili was wholly confumed. Charnel-houfes arc novr 
 ufually adjoining to the church. 
 
 CiinsNtiT. The Horfe-Chefnut, fays a certain author, ought to be 
 -aniverfally propagated, being eafily increafed from layers, and grows in 
 large ftandards, bearing a mofi: excellent flower j it is much ufed for ave- 
 nues in France, and was brought into tbefe parts of Europe from Tur- 
 key, and lias been raifed from nuts brought from thence j wiiich grow 
 jvell with us, and in time to fair large trees, full of boughs and branches, 
 ■green-leaved, and Areakedon the edges; with threads in the middle, that 
 in their native country turn to Chefnuts, but rarely with us. It is valued 
 for the hW green leaves and flowers ; and for want of nuts is propagated 
 by fuckers : its name comes from the property of the nuts, which m 
 Turkey are given to horfes for their provender, to cure fuch as have 
 coughs, or are broken -winded. 
 
 Mr. Chomel fays, that nothing fcems to him more agreeable, or that 
 would bring more profit to a country, than Chefnuts planted in rows, 
 well managed, and kept in good order; which would not only be pleafing 
 to the eye, but the flower would be agreeable to the fmell, and the latle 
 in time will alfo be gratified. Thefe trees are of quick growth, they 
 flioot up in a little time, and their leaves, which are very beauiiiul, will 
 form a fliade, which will invite people to retire under thein. In lune 
 places he tells us, that Chefnut-trees grow like oaks, and make iureft- 
 trees; they likewife plant them at a full dnlance one fr^.m tn- other, 
 like young oaks for coppice and underwood ; b'jtthis is Jeldom done, as 
 they are not good for burning, on account of their crackling in the fire, 
 and their aptnefs to burn thecloaths of thofe who fit near it. 
 
 As to the particular ufes of Cliefnut-timber, they are next to the oak, 
 mofl coveted by carpenters and joiners; and formerly mofl of our houfes 
 ic London were built of it, there having been a large forefTbf them not 
 tar from this city in the reign of king Henry. 
 
 It makes the befl flakes and pcles for pallifadoes, pediments for vine 
 props and hops; it is alfo proper for mill timber and water-works It 
 is fo prevalent againft cold, that Chefnut-trees defend other plantations 
 from the injuries of the fevereft frofis. 
 
 The Chelnut-tree is alfo proper for columns, tables, cherts, chairs, 
 flools, bedfteads, and wine-calks, and thofe for other liquors, giving tiie 
 liquor the leaft tindure of the wood of any whatfoever, and having been 
 dipped in fcalding oil, or well pitched, is very durable, it will look 
 fair without, indeed, when rotten within; however, the beams give 
 warning of a fall of a houfe by their cracking. The coals of this wood 
 are excellent for the fmith, foon kindled, and as foon quenched. 
 
 Chevaux de Frise, a large jcift or piece of timber, about a foot in 
 4iaffieter, and ten or twelve feet in length; into the fides of which are 
 
 driven 
 
CHI X09 
 
 driven a great number of wooden pins, about fix feet long, armed witlt 
 iron points, and croffing one another. The chief ufe of the Chevaux 
 de Frife, is to ftop up breaches, or to fecure the avenues of a camp, from 
 the inroads both of horfe and foot. It is fometimes alfo mounted oa 
 wheels, with artificial fires, to roll down in an afiault. 
 
 Chimney, that part of a houfe where the fire is made, having a funnel 
 to carry away the fmoke. . 
 
 In moft things relating to building, we may refer the modern architect 
 to the pradice of the ancients for models fiom which to work, and ex- 
 amples by which -to improve ; but in this matter of Chimnies we have 
 pot that refource. The accounts the antients give of them in their wri- 
 tings are ftiort and trivial; and the rules of Vitruvius for conrtruaing them 
 are full of oblcurity. Indeed they were lefs acquainted with them, be- 
 caufe they had lefs neceffity for them; they lived in a warmer country 
 than ours, and they had the ufe of ftoves ; fo that the conftrudhon of 
 Chimnies was little regarded. With us the neceffity of them is abfolute, 
 and the inconveniences that frequently attend them are fo great, that no- 
 thing more effentially regards the profeffion of the architeft, than their 
 proper conftrudtion and difpofitioii. 
 
 Fires are neceffary, and we willi the fmoak to pafs free away : if^ this 
 theeffed of the wind is very great; and to be fecure of every advantage 
 in that refped, the builder is to have the danger of fmoak in his eye from 
 the firft difpofnion of the building. Let him confider firft the nature of 
 the region,' and from what quarter the winds mod frequently _blow, or 
 moll furioufly : and let him, according to this confideration, difpoie the 
 rooms that (liall have mofl: need of fires in places where thefe winds have 
 leaft power. This is much earlier than builders ufually begin their pro- 
 vifiun againft fmoaky Chimnies ; but their not taking the precaution in 
 time is one of the principal reafons why the fault is lo difficult to be re- 
 medied. He who ffiall have begun thus can have only the ill conftruftion 
 of a Chimney to combat with in the attempt of remedying an error; he 
 who has negleded it may have the difpofition of it, which is often im- 
 poffible to alter. 
 
 The common caufes of fmoaking are either that the wind is too much 
 let in above at the mouth of the Ihaft, or the fmoke is ftified below ; and 
 fometimes a higher building, or a great elevation of the ground behind is 
 the fource of the mifchief. Finally, the room in which the Chimney 
 is, may be fo little or clofe, that there is not a fufficient current of air to 
 drive up the fmoke. When the archited: has thus acquainted himlelt 
 with the feveral caufes of the fmoaking of Chimnies, he will know by 
 what means he may mol\ rationally obviate fuch inconveniences ; and how- 
 he may remedy the accident, where in fpite of all his care it ffiall hap- 
 pen : when the caufe is not confidered, this is impolTible, and i! is no un- 
 
 F f common 
 
J 10 
 
 C H I 
 
 common tiling te fee much labour beftowed pcrfedly in vain, becaufe the 
 fault is mifuiic'erftood. 
 
 As fmoaking is the greateft inconvenience that can attend this p&rt of 
 architevfture, we have fet out in this place with its caufes ; thefe we fhall 
 now caution the architedl to obviate by a proper difpofition and proportion 
 of his rooms, and a judicious conftrudlion of the Chimney itfelf. We 
 have feen, that the two great caufes of the inconvenience are the fmoak's 
 being driven back, or lingering in the funnel : the driving back is an ac- 
 cident from w ithout j the lingering in the funnel is from fome error with- 
 in^, either in the conftrudion of the funnel itlelf, or of the room where 
 the Chimney ftands. 
 
 The Chimney may be divided into two parts, the firft containing the 
 opening, the hearth, and the funnel ; the other thejaumbs or fides, the 
 mantle-piece which refts upon them, and what is called the Chimney- 
 piece, which comes over the mouth. This is the common diftindtion, 
 and according to this, the firft part is what concerns us, the reft ornament. 
 
 Much depends upon the opening; if this be too fmall and low, the 
 fmoak of itfelf naturally is checked at the firft (etting out, and miffing 
 its way, returns into the room ; and on the contrary, if it be too large 
 and high, the fame happen?, becaufe if there be too much room for the 
 air and wind, the fmoak will by that be driven into the room. The 
 proportions of Chimnies we fliall give hereafter, when we treat of their 
 ornamental parts, and the rooms in which they are to ftand; here we 
 are enquiring only into their general flrudure. The mouth of the Chim- 
 ney, or that part which joins the back, (hould be fomething fmaller than 
 the reft; for this will make a ftop againft the fmoak, when it fliall be 
 coming down into the room i and meeting with that refiftance, it will 
 of courfe return back : indeed the making the tunnel narroweft at bottom 
 is a very great article in the preventing fmoaking, becaufe it affifts doubly; 
 the fmoak getting the eafier up, as the fpace is all the way wider, and 
 coming down with more difficulty as it grows narrower. Yet this pru- 
 dent caution muft not be carried to an extreme, becaufe then the fmoak 
 will linger in the upper part, and all the force of the draught below will 
 not be fu.^cient to fend it up. 
 
 Another very good method to affift the difcharge of the fmoak is the 
 making two holes one over another in each fide of the Chimney ; one of 
 thefe is to go Hoping upwards, and the other floping downwards, fo that 
 the fmoak will always find way through one of them. The placing a 
 moveable vane at the top of the Chimney is alfo ofien fuccefsful; this 
 keeps the opening of the funnel fcreened againft the efforts of the wind, 
 let that blow whTch way it will. To thele we may add two other con- 
 trivances more ingenious than ufeful ; the one is the carrying up the fun- 
 nel fpiral, to prevent the eafy defcent of the fmoak 3 and the other the 
 
 hanging 
 
C H I 
 
 III 
 
 hanging the aeoliplle in the lower part of the Chimney, to drive it up by 
 blowing. This asolipile is a hollow ball of brafs filled witli water, with 
 a fmall opening in one part; this being hung up jufl: over the flame, 
 blows forcibly out at the hole as the water heats. 
 
 Thefe are the feveral methods commonly ufed for the remedying as 
 well as preventing the fmoaking of Chimnies ; but let the judicious ar- 
 chi'edl proceed upon the moft certain principles in obviating the danger. 
 Let him obferve a due proportion between the fize of the room and that 
 of the Chimney ; let him be careful to place the doors in fuch a man- 
 ner, that they may mof^ favour the carrying up of the fmoak, and to 
 give the fides a proper projeflion, and the back a due diftance. 
 
 Chimney hooks, are hooks of fteel and brafs, put into the jaurnbs of 
 Chimnies, into each jaumb one, for the handle of the fire-tongs and 
 fire pan to reft in. 
 
 Chimney jaumb?, are the fides of a Chimney, commonly ftanding out 
 perpendicularly (but fometimes circularly) from the back, on the extre- 
 mities '-f which the mantle-tree refts. 
 
 Chimney-Piece, is a compofition of certain mouldings of wood or 
 ftone, ftanding on the fore-fide of the jaumbs, and coming over the 
 mantle tree. 
 
 Of the general SiruSfure of Chimney-pieces and their fveral Materials. 
 
 We are in nothing left fo much to the dictates of fancy, under the 
 whole fcience of architedlure, as in the conftrudlion of Chimney-pieces. 
 Thofe who have left rules and examples for other articles lived in hotter 
 countries; and the Chimney was not with them as it is with us, a part 
 of fuch eflential importance, that no common room, plain or elegant, 
 could be conftrucfted without it. With us no article in a well-finiflied room 
 is fo eflential. The eje is immediately caft upon it on entering, and the 
 place of fitting down is naturally near it. By this means it becomes the 
 moft eminent thing in the finiftiing of an apartment ; and, as fancy is to 
 take the place of rule and example in its cunftruftion, nothing is more 
 eflential thin to direct the young architecfl how he fhall employ this wild 
 guide properly, on what occations he is to give the reins to imagination, 
 and when it is to be limited by method. 
 
 We (hall endeavour to lay before our readers all the variety that can 
 properly be introduced, and every kind of allowable ornament, adding to 
 thefe what may be tranlpofed from other parts in the antique ftrudlures, 
 and upon what plan he may devife innumerable and unexceptionable de-* 
 corations. 
 
 We fhall firft confider the ftrudture of the part, and pafiing over the 
 ilighter, reft upon the more worthy materials. 
 
 The 
 
112 C H I 
 
 The fquare body of a Chimney, opened on one fide from the Iev^el cf 
 a floor to a due height, for the convenience of making a fire, and the 
 advantage of receiving its heat, gives the whole idea of the plain Chim- 
 ney-piece: that is, a fquare aperture in one fide of the flrudlure with 
 the raw bricks as edges. Thus it appears to us in the firfi: conftrudlion of 
 rooms ; thus it appeared to thofe whom neceflity firll taught its ufe j and 
 thus it ftands before the architedl to be finifhed. 
 
 The form and dimenfions we have confidered among efl"ential parts ; 
 and its decora,tion now comes into the regard among thole which are 
 purely ornamental. To trace this matter from its origin, we fhall be 
 led to the rife of the firfl: plain Chimney-pieces, formed as all other or- 
 naments that have their foundation in a fenfe of utility, from the incon- 
 venience of the part to be ornamented in its natural condition. The 
 edges of a brick wall thus furnifhing the original chimney, would crum- 
 ble and break off; and they would be inconvenient to thofe who fat near 
 them, by their roughnefs and foulnefs. To take off this difagreeable look 
 and inconvenience at once, a frame of wood-work was carried round it, 
 a board on each fide, and a third at the top ; and this upper one, whofe 
 thickncfs firfl feemcd as a ledge to hold things, gave rife to the mantle- • 
 piece, now fo common and lb proper an ornament to the conllruiflion. 
 
 The firft improvement was painting thefe boards ; and the next was- 
 Aipplying their place with more proper, or more ornamental materials. 
 Stone was fitter to be near a fire than wood, becaufe not liable to acci- 
 dents of burning ; and the ufe of this fOon introduced that ot marble. 
 
 The ftone Chimney-piece, while it banifhed the tear of fires^ renewed 
 the other inconveniency of the original Chimney, though in a lels de- 
 gree ; for tliough lefs foul than brick, it was not near fo cleanly as wood. 
 Here marble fupplied the deficiency ; as fecure from fire as lione, and 
 more beautiful and cleanly than wood. 
 
 Offnnple and continued Ch imney-Pieces. 
 
 Thus far the firft eflibrts of the rude architedure in early time carried 
 the decoration of the Chimney. In after ages, a variety of marbles, ex- 
 ceeding one another in beauty, took each other's place in magnificent 
 apartments i and to thefe firll t!x Iculptor added the graces of his art 5 
 and afterwards the architeft, judging the conftruftion of the ornament 
 not unworthy his molt ferious attention, enriched it with columns and 
 their entablatures, till the workmanfhip eclipfed the befl materials. We 
 fliall confider hereafter the variety of materials the ancients had for their 
 greater purpoles, mofl: of which remain for our Icivice in thefe articles, 
 and fhall then treat of the addition of ornament. 
 
 In 
 
C H I 
 
 •'3 
 
 In order to afcertain the propriety of the peculiar kinds of marble we 
 fliall recommend, (for it is not every one we can recommend to the archi- 
 te(5t for his purpofe,) we fliall firft confider the Chimney-piece as fuited to 
 rooms of more or lefs elegance, by placing it befjre him in the two ge- 
 neral conditions, fimple, or continued to the cieling ; by fimple, we 
 mean a Chimney which terminates at its mantle-piece, or by a pediment, 
 or other fuch ornament over it; and by this kind of Chimney, continued 
 up to the cieling, we underfland an entire work finiOiing that part of 
 the room, and confifting of the proper or fimple Chimney and ornaments 
 above correfpondent to it in breadth, leaving a pannel for a pidlure, ter- 
 minated at the heighth of the room, with fculpture, accommodated in 
 nature and degree to that of the lower part. 
 
 Thefe are the two general ideas the ftudent is to entertain of a Chim- 
 ney-piece» 
 
 Thofe kinds of marble may be very well fuited to one Chimney-piece, 
 which may be altogether improper for the other; for in the continued 
 Chimney-pieces we fhall give, for many purpofes the upper work is to 
 be of wood or ftucco, plain or gilded ; and in all thefe cafes there are 
 rales to be had, from its nature and intended furface, for the kind of 
 marble which will be fitted for the work below. 
 
 Of the various Ornaments of Chimney-Pieces, 
 
 V/hen we have introduced the fludent to the firil diftindion and general 
 divifion under which he is to regard this part of a room, we fhall con- 
 fider the various ornaments of which each kind is capable. With refpedl 
 to their appropriation and ufe, he will find that the fimple Chimney is befi: 
 faited to a papered or plain room, or to one that has little additional de- 
 corations ; the continued kind to thofe which have higher finifliings ; 
 and he will find that the whole honour of this work will depend upon 
 the fliiting this continued ornament to the reft of the finifliing. Both 
 the one and the other are fufceptible of all the grace of ornament. 
 
 We fhall afterwards treat of the dillindl kinds of decorations, which 
 are proper to either in particular, or common to both, and fhew the ufe 
 of columns and fimilar decorations. From thefe we fliall proceed to the 
 introdu6l'.on of figures, the Caryatic or Perfian orders, &.c. 
 
 Of the appropriation of the Materials to Chimney-Pieces. 
 
 Upon the before mentioned diftindions we fhall be able to fpeak intel- 
 ligibly to the ftudent with riffpect to the difi^erent kinds of marble, and 
 their proper ufe. When we can be diflindtly underllood what is the cha- 
 racter ot the fimple and continued Chimney-piece, that with mere fculp- 
 ture, that with columns, and that with figures, we can without te- 
 
 G g dioufnefs 
 
ir4 
 
 c H r 
 
 dioufnefs explain, what is the kind of marble fulted in general to either 
 purpofe. 
 
 Having given this diftindtion of Chimney-pieces, that of marhle fol- 
 lows, the nature of the materials being a proper appendage to the va- 
 riety of the works. We fliall confider the (everal fpecies particularly 
 hereafter ; but for tl^e prefent it will be necefiary to eflablifh only one ge- 
 neral diftindion, this is, into the plain and variegated marbles. By the 
 plain the ftudent is to underftand thofe marbles which are throughout of 
 one colour, whatfoever that be ; and by the variegated, fuch as have 
 more than one colour, however, difpofed. Of this latter kind there are 
 a great number, and they have their variegations in different manners and 
 degrees, but in whatever degree or form they are diflributed, our rules 
 to be eftablifhed in this place fuit them alike. 
 
 Many of the variegated marbles are very expenfive in the firft: purchale, 
 and fome of them have a vaft additional charge attending the cutting. 
 7hofe to whom expence is a recommendalion (and there are too m my of 
 that clafsj determine generally by this, and allot the moft expenfive kinds 
 for the richeft Chimnies : but let our ftudent guide himfelf by better 
 rules ; let him confider to what purpofe each will beft ferve, which have 
 the moft compact fubftance, and will beft anfwer to the artift's chillel, 
 and which from their fhattery nature are ntteft to be wrought plain. 
 This is a rational and great diftinftion j the architedl that goes to work 
 without this confideration, and without a knowledge of the nature of the 
 feveral kinds, will involve his proprietor in expence to no purpofe, and 
 luirt his own reputation. This is a diftincftion founded on the nature of 
 the materials, and is therefore to be obferved inviolably ; but there is 
 alio another of almoft equal importance, though much lefs regarded, 
 which refults from their plain or mixed colouring. The ancients were 
 aware of the effedls of this upon the eye, and they conducted themfelves 
 in general accordingly. There are exceptions ; for there were unavoid- 
 able neceflities in fome cafes, and there were among them Ibme workmen 
 of lefs judgment; but in general the rule by which they guided them- 
 felves was this; when they intended a great deal of ornament, they em- 
 ployed a plain marble ; and where they prcpofed lefs workmanfliip, they 
 allowed the moft variegated kinds. The reaibn of this is evident, and it is 
 furprizing that all ages have not attended to it : the beauty of iculpture de- 
 pends upon light and fliade, and therefore every thing which difturbs 
 the light in this refpeft, defeats the purpofe of the artift. Any thing 
 creates this difturbance, that occafions a different refiedion of the rays 
 of light; and we know that the rays differ from every colour. Tne 
 Ihades give the eye all the idea it has of this great ornament ; and thefe 
 are diverfificd when the light is refledted from an objedt in different 
 
 colours. 
 
 Therefore 
 
C H I 
 
 1^5 
 
 Therefore for all fculpture and ornament, the bed material is that 
 which is of one fimple celour. This is an invariable rule, fo inded upon 
 unalterable principles in the nature of things ; and this the voung ar- 
 chitedl is to make the firil: guide of his conduft. This will throw him 
 upon a determination very different from that we have named as the com- 
 mon opinion of common judges; inftead of bellowing the richeft-co- 
 loured marbles upon thofc Chimney-pieces where he intends the greated 
 expence of ornament, he will referve thefc painted kinds for fuch as he 
 intends fliould be wrought with lefs ailiftance of the chiflel ; and he will 
 adopt for thefe high fculptured pieces always a plain marble of one un- 
 interrupted colour. 
 
 Of a Doric Chimney-Piece. 
 
 Upon the plan already laid down, let us now advance to a Chimney in 
 which there is the ufe of an order. We begin with that which flands 
 loweft in rank among thofe proper to be ufed for this purpofe, the Doric ; 
 and there is none that anfwers the intent more happily for general occa- 
 fions. If ever the Tufcan order {liould be thought of, the common 
 room of a Dutch ordinary would be the only place for it, and then 
 wrought in wood, it might ftand an emblem of the tafte of the country ; 
 hut the very next ftep to this raifes us to great elegance and dignity. 
 As the Doric is an order very well becoming a Chimney, it will natu- 
 rally be moft ufed. No richer order need ever be thought of for a par- 
 lour ; and there are very Izw dining or drawing-rooms in which it would 
 net be proper. We will propofe fuch a Chimney in its plain ufe with- 
 out addition or continuation, that the ftudent may not be embarraifed 
 with any additional articles in the confideration ; and we will fuppofe ic 
 in a parlour papered in the prefent falliionable manner, where nothing is 
 added to it, and where, from the plainnefs of the reit, and the great dif- 
 ference in colour it (lands very confpicuousj the fird object that ftrikes 
 the eye on entrance, and the only one that can fix the attention. 
 
 In this cafe, as it will be confidered flri(flly, let the architedl take care 
 it be liable to no objedlion ; and as there will be lome expence in the ufe 
 of the order, at any rate let him take care the afpe<fl anfwer the charge. 
 In the firft place, let him conlider the outline of the whole, and let him 
 fee that the entire work be not too high. The Doric is not a lofty order, 
 and very little is intended to be added here above its cornice ; in this in- 
 ftance, therefore, the general defign muft be that of a grand atid folid 
 Chimney-piece, whofe proportion and regularity are to be its fources of 
 grace and ornament. 
 
 The column is no way fo happily proportioned for a near view as by 
 the method of Palladio's meafures j and there is no ufe of an order in 
 
 which 
 
ii5 CHI 
 
 which it is brought Co perfectly before the eye entire as this way. This 
 underftood, let the architect defign the outline of his whole Chimney- 
 piece, and raifing the column upon a plinth, conflrudl its feveral parts, 
 architrave, frieze and cornice, with the due proportion to its height and 
 diameter, carrying up above it a plain piece of the pedeftal from over the 
 co'umns, by way of tiniOiing to them ; and continued at the fame height 
 all the way between. This is the general idea; we fliall defcend now 
 to particulars. 
 
 To execute the Chimney-piece here defigned in its full elegance, the 
 columns muft be two on each fide ; we are fenfible this muft be an addi- 
 tion, and a very confiderable one to the expence, but the advantage will 
 very well repay it. The firft things that occur to the imagination of the 
 architedl in this place are the dillance of the columns and their projection j 
 thefe we fhall immediately fettle. The diftance muft be fuch, that a 
 trigliph come regularly over the axis of each column, and a metope of 
 due meafure and proportion be left between. In this manner of coupling 
 the Doric columns, there is all the grace of which that order is capable, 
 and the full beauty of its frieze is difplayed in the mofl: agreeable manner. 
 
 As to their projeftion, let the young architedl remember, that columns 
 have never their full beauty, but when they are perfedlly free. Thefe 
 therefore (hould be brouglit forward in fuch manner as not only to fhew 
 their whole contour; but there fhould be a free fpace behind, correfpond- 
 ing to that between them ; and they will there be (ccn in their full per- 
 fedion. We are not for tying down the architeifl to lines and inches, 
 that not being needful j but advife him to keep a moderate proportion. 
 
 In direding the Doric order to be couftruded in this diilance, upon 
 the rules of Palladio, we order the attic bafe to be placed under it. This 
 is our reafon for raihng the column above the level of the flab, for the 
 mouldings of the attic bafe would otherwife be in danger of injury from 
 accidents. The columns on each fide fhould therefore be placed upon 
 a common or continued plinth, brought forward according to the pro- 
 jedion we have allowed in the plan. From the bafe on this plinth let 
 the column be raifed in all its plainnefs and proportion j let there be no 
 iiutings or other ornament on the fliaft, but let its diminution be pro- 
 perly obferved, and it will in no inftance be fcen more confpicuoufly. 
 The capital is to be after the Palladian meafure j fo in this there is no 
 choice ; but the neck of the column may, at the difcretion of the archi- 
 ted, be left plain or decorated with rofes. The expence of this orna- 
 ment is below confideration, but its effed is more than can eafily be 
 conceived. 
 
 Befides the working the feveral proper mouldings with truth, which in 
 this order is the right fource ot elegance and grace, there remains the 
 confideration of the frieze, in which our fludent is aware he may, at his 
 pleafure, ufe more or lefs ornament. 
 
 The 
 
CHI 117 
 
 The Doric, without its triglyphs, wants its mort; efiential charader, 
 and fcems but an elevated Tufcan. Thefe, therefore, we would e join 
 our ftudent never to retrench : but there remain the metopts or fqu.re 
 fpaces between them, in which he is more at liberty. None would call 
 it an omiflion if he left them plain ; but they are a very agreeable feat of 
 Grn;unentj and fomething may be added in this refpect at a very fm all 
 expence. The ancient-', who ufed this order firft for temples, chofe for 
 their decoration the iniiruments and objeds of i'acrifice; but this is by 
 no means tlie bufinefs for a Chimney. It will be befi: to decorate them en- 
 tirely with the works of fancy ; or with alternate flowers and fanciful fi- 
 gures. In this refpedl, let the architeifl obferve the proportion of orna- 
 ment, between the neck and the fhaft, which is the only part on which 
 we have allowed it, and the metope, which is the fole part in the enta- 
 blature, in which any thing can be placed to correfpond with it. If the 
 metopes are decorated with figures, never let the neck be plain; but let 
 it certainly have rofcs, correfpondent to thofe embellifhments. The rule 
 is not fo abfolute on the other fide, but that it may admit of licence in 
 favour of the fmaller part. The ftrict doiftrine is, that if the metopes be 
 left plain, the neck be alfo plain. This is founded upon the laws of the 
 Icicnce, but in the prefent inftance, we fliall obferve they are not inviola- 
 ble ; and advile the young defigner, if there be any decoration in the rell 
 of the Chimney-piece, which is the point next to come under confidera- 
 tion, that he allows roles to the neck, though the metopes be plain. 
 
 Of the Ornaments of the rejl of the Chimney-Piece. 
 
 The ftudent will eafily conceive, that the coupled columns do not com- 
 pofe the whole Chimney-piece ; they would appear raw and naked if they 
 came with their edges to the aperture of the fire-place. They muft have 
 a back, and that mull: be continued to fome breadth within the expanle ; 
 and it will receive very properly ionit decoration. This part might be 
 carried plain to the edge, but it would by no means agree with the bafes 
 of the columns, or mouldings of the entablature. All here flioukl be 
 of a piece, and the leaft that can be added is a bead by way of margin. 
 7'his will be only fit when the order is executed in the plaineft manner; 
 and even then it will be mu'cih better to allow fomething rtiore. A raifed 
 ornament of mouldings is the lead: that fhould be thought of; and at 
 plealure there may be thrown behind thefe an edge of fculpture. 
 
 The quantity or form of this is altogether the work of fancy. This 
 ornament being added to the verge of the aperture, the frieze forming a 
 continued line, from one pair of columns to the other, will be too tame 
 and uniform for the rell:. its length will indeed be ever propoitioned in 
 every fenfe, and it remains to confider, in what manner to break in upon it. 
 
 H h The 
 
n8 C H I 
 
 The plaineft, beft and eafieft manner, is by inferting a tablet over the 
 centre of the aperture, to intercept or cover fo much of the frieze. 
 This is a kind of addition, very natural and very proper in a Chimney- 
 piece ; and it will receive any ornamert the archileft (hall find correfpon- 
 dent to the reft of the work. The plair^eft and moft natural is an urn to 
 fill the centre ; and from the handles of this may be dropped on each fide 
 a fefioon, which dropping towards the middle, may be raifed again, fo as 
 to reach the upper corner on each fide of the tablet. 
 
 This done, the Chimney-piece may very properly be ftiled compleat. 
 But llil' there is a part, in which, if the architeit pleafes, he may in- 
 dulge his fancy with fome ornament. This is the plain-piece, carried 
 up above the cornice, to correfpond with the finirtiings of the coluinns. 
 It is but little that Ihould be doie here; and it is much eafier and more 
 natural therefore to err on the fide of excefs than of defedl. Scrolls may 
 be added to the projedling parts, at the ends which finifh the top, over 
 the columns; and over the tablet in the centre may be raifed a fniall pe- 
 diment Thus much may be allowed within the bounds of the moft fo- 
 ber rule and method: more may be added, but it wiil be wrong, tor the 
 intent is, that the body of the Ctiimney-piece fhould attract the eye, not 
 this additional part. 
 
 The pediment {hould be open, becaufe it will then receive a figure; 
 and cuftom prelcribes the adding th.,t part of decorative furni ure. The 
 depth of the cornice, and the flattop of the additional part, will ferve as 
 ftielves for fanciful embelliftiments ; and of whatever kind they are, there 
 fhould be three principal ones, one on the lower part in the pediment : 
 the two others are the extremes of the upper diredtly over the columns : 
 thefe may be vafcs. This is always right in the eye of reafon, becaufe it 
 gives the columns an appearance of ufe. In architecture, every thing 
 fhould at leaft wear the afpedt of being intended for utility ; for this re- 
 conciles the whole to reafon. We know the columns in front of an edi- 
 fice, are ufually meant only for ornament, yet they never give fo much 
 fatisfadion, as when they are terminated by an attic pilafter, and that 
 fupports a ilatue. The cafe is the fame here ; the vale we pr pofe as the 
 principal figure at each corner will ftand in the place of fuch an image. 
 The projeding part of the top- piece ferves as the attic pilafter in other 
 inftances ; and there is that fort of delufion we expeft in thct^ inftarces, 
 the coljmns leem placed there for fome ufeful purpofe. Having thus 
 confidered at large the conftrudion of this Chimney-piece, we fhall en- 
 ter upon the fubjed of the moft proper materials. 
 
CHI 119 
 
 Of the kinds of Marble moft Jit for this Chimnev. 
 
 Cuftom allows thearchitedl great liberty in this refped, and it is often 
 abufed ; we fee Chimney pieces very well defigned, and even well exe- 
 cuted ; where the choice of the materials difgraces the conftru(flion, and 
 buries the ornament. Againft thefe errors we are to caution our ftudent : 
 and if he recolled:s the principles we have already eftablirhcd refpefting 
 the ufe of plain and coloured marbles, he will not be at a Ids for the 
 foundation of all we have to add refpedling hi? condu^^h in the prefcnt in- 
 ftance. In the firft place, he has his choice of three manners in which 
 to execute the work in point of materials. It may be entirely of one 
 kind of marble, or it may take in two kinds, or it may even receive the 
 addition of a third. 
 
 The plain manner is to make the whole of one kind, but in the fecond 
 inftance, the body of the Chimney piece being of one kind, the columns 
 are to be of another; and in the third, the columns being of one kind, 
 and the body of the work of another; the tablet, which is a very confpi- 
 cuous part, may be o^ a third. This may be carried yet farther, for the 
 tablet being of a diftinft kind, the fculptured ornaments may be of one 
 difFeitnt even from that, and the plain part will ferve as a ground and foil 
 to them. The plained: way of all would be to execute this Chimney en- 
 tirely with white marble, and this will be extremely plcafing. But let 
 the architedl, who luperintends fuch a work, fee that the true, pure, fta- 
 tuary marble be employed ; for though the plain white is very proper, 
 nothing could be fo improper as the veined white, cr com non marble. 
 The reafon why the plain white would be proper, is, btcaufe it would 
 clearly and beautifully lliew all the work in the Icrolls, about the fefb;ons 
 in the tablet, and the decoration of the freeze of the ord^r. Tiiis it 
 would do, becaufe being of one entire uniform colour, it would always- 
 receive and refledl the light with truth; but in the common marble, 
 which the vulgar fuppofe like this, and fit for the fame purpofes, the 
 veins would appear as lb many (hadows, and would perplex and confound 
 the whole work. 
 
 The body of the Chimney-piece in white, and the columns in black 
 marble, would be agreeable to the eye, but monumental; we name this 
 becaule there are rooms of a particular caft which it may fuit : but what 
 we fliall ablblutely recommend to the ftudent is to adopt both the rules in 
 the conftrudtion of this piece, and give a coloured marble for thole parts 
 which are detached and plain, and to make the reft of an uniform colour. 
 In this there is ftill great choice, for the columns, according to this rule, 
 may be of any of the coloured marbles, and the body of the Chimney- 
 piece of any of the plain ones ; but where there is even fo much choice, 
 
 there 
 
120 
 
 C H I 
 
 there is alwnys a preference id fonie articles. Here the moit elegant man- 
 ner would he to conftriuTt the whole body of the work of pure white fta- 
 tuary-marble, arid the coUiinns of the fyena, or gold and purple. Mar- 
 bles of greater or lefs expence may be found at every ftatuary's, and 
 many that will anfwer the fame purpofe : this will give the general rule, 
 by which, to regulate the choice in every kind. 
 
 . The tablet flifi remiins to be confidered, for it is abfolutely a detached 
 piece, and m?.\ be of any one of the other kinds, or difFv. rent from both. 
 
 This lafl method is never to be iifed, unlets when it is of a very rich ma- 
 terial. Some of the French marbles, that are veined in the manner of 
 agates, may be ufed, but they are the pooreft kind that can properly be 
 admitted ; and as thc^y are very irregular, their veins running wildly, and 
 there being chafms or holes in manv places, if they be admitted, there 
 m >fl; be great care in chufing a perfedf and well figured-piece; and in 
 giving it the mod complete pclilh of which it is capable. There are 
 ibme of the old marbles much more fit for the purpoie ; the true verde 
 antique, will be a glorious addition in this place, its elegant green being 
 altogether unlike the whole ; and upon this the ornament well wrought in 
 the fame ftatuary kind will be very elegant. A tablet of the true por- 
 phyry will alfo fuit very happily ; its bloody tinge never fhewing itfelf fo 
 rich,' as in the contrail of the pure white of this llatuary kind If thefe 
 do not p'eafe, the choice lliould fall upon the granite, whofe fingular 
 afped, thus contralled with the reft, cannot fail to pleale every eye j and 
 whofe everlafting polifli adds greatly to its recommendation. 
 
 Having thus eftabliOied rules for conftrudting thele plainer Chimney- 
 pieces, we fliall, in our next, enter upon luch as receive the addition of 
 figures. 
 
 Of a Chimney-Piece ivii^ Figures. 
 
 We named the ufe of Figures, that is, the introdu<5llon of the Perfian 
 andCoriatic orders in the decoration of Chimnty-pieces ; and as nothing 
 that can be ufed on this occafion is more delicate, we fliall, by a familiar 
 inftance, explain the general doftiine relating to their uie. It is enough 
 to fay here, that they are reprefen rations of perlons ot different nations, 
 whom, inftead of devoting for life to the meaneft and moll laborious 
 employments, the Greeks configned to immortality in the figures ot them 
 in their temples ; fupporting the weight of the upptr part of the build- 
 ing, or leeming to fupport it. 
 
 Men ot rude genius reprefent them cruflied and finking under the 
 weight, and think it a high degree of merit, if they can figure in their 
 fcuipture, ilarting eyes or burfting finews. The Greeks detelUd fucli 
 barbarity ; nor, I hope, are we fo juftly cenfured for a love of c uelty, 
 that fuch fights could pleafe us. it was enough for the polite and hu- 
 mane 
 
CHI 121 
 
 mane Greeks, that they could place them for eternity in the condiiion of 
 abjedl flavery ; they did not defire to make the load oppreflive. Their 
 figures were eafy, and the incumbent weight was not great. Let us in 
 all things imitate them j but it is in no part of architefture we ought fo 
 ftridtly, or can fo eafily follow them, as in the ufe of thefe orders in the 
 decoration of Chimney-pieces. The eye is continually upon thefe figures 
 when placed in fuch a fituation j and he muft have a barbarous fancy, 
 who would wifh to difpofe them in attitudes of horror. Every thing 
 there fhould have an air of chearf ulnefs ; at leaft, nothing fliould give 
 the idea of conftr^int or pain. 
 
 This general maxim will guide the {Indent in his choice and difpofition 
 of thefe figures; and he will naturally acknowledge the force of two ge- 
 neral rules for the choice and difpofition of thefe figures. 
 
 1. That the Perfian order is fittefV for the continued Chimney-piece, 
 and the Cariatic for the fimple. 
 
 2. That very little weight be laid upon either ; that the fimple Chim- 
 ney-piece of this conllrudlion terminate abfoluteiy at its proper mantle- 
 piece, which muft be the top of the entablature of an order j and that 
 in the continued kind, the ornaments to the ceiling be light ; and the 
 materials alfo of a light kind : upon this alone depends the idea of eafe 
 in the figures ; and confequently upon it depends entirely our fatisfadtion 
 in viewing them. 
 
 7 his makes it natural that the figures fhould not be diftorted : and we 
 fhall give one general diredlion to thefculptor, with refpedl to their coun- 
 tenances ; which is, that the Perfian, or man-figure, have a look of in- 
 dignation or contempt : and the Cariatic, or woman of dejedion without 
 pain. Let the Perfian feem to fay he does not feel the load, but the in- 
 dignity; and the Cariatic that fhe underftands her condition with hu- 
 mility. 
 
 Of a Chimney isoith the Cariatic Order. 
 
 Let the perfon who propofes a Chimney of this kind, or who receives 
 
 the propofal from his proprietor, firft reprefent to him the expence, I his 
 
 *is a very needful article at firft fettmg out, for if it be omitted, he muit 
 
 cxpedl, either that the owner will be flartled at the charge, or that the 
 
 work will difgrace him. 
 
 The figures in fuch a Chimney are near the eye, fo that every defedt 
 will be feen as well as every beauty ; and thty are of the nature of thofe 
 other elegancies in the art which had much better be omitted entirely, 
 than done in a flight manner. It is ufual to croud other ornaments among 
 them, and about the fame Chimney; for the common opinion is, that 
 one fine thing muft be near another ; but this we do not mean. Plain- 
 
 1 i ncfs 
 
132 
 
 C H I 
 
 nefs in a certain degree is preferable, becaufe it is more correfpondent to 
 the fi:^iires ; but the needful expence is, that the Chimney- piece be of 
 fufficient extent and hignefs, that the m.iterials be good, and that a full 
 price be allowed the fculptor. He muft finifli his work according to the 
 price ; and there is none too great that is within the bounds of reafon j 
 for there is no occafioii on which his art may be difplayed fo perfedlly. 
 
 We are to treat here of a Chimney of the Cariatic order, and accord- 
 ing to our firfl: principle this muft be a fimple one. The female figures 
 of this order are to (land at feemmg eafe, aud it would be monftrous to 
 load them with ornaments up to the ceiling. Theiiifelves are lufficiently 
 ornamental for the work, and the lefs the eye is difturbed in contemplat- 
 ing them the better. For all thefe reafons, a plain or fimple Chimney, 
 which tertiiinates at the mantle- piece, is the proper one for the receptioa 
 of ihe Cariatic order. This mantle-piece fhould be formed by the pro- 
 jection of the entablature, fupported by thefe figures, with no farther ad- 
 dition; and there is to the true architeft an ablolute rule what this enta- 
 blature fhould be. This deferves a ftridt attention ; for whenever there 
 is an abfolute rule from antiquity, and no objedlion lies againrt: it in na- 
 ture or reafon, nor any thing better can be put in the place of what it 
 direds it is wrong not to make it abfolute, and accufe ail of error who 
 depart from it. 
 
 When we fpeak of thefe male and female figures, under the name of 
 Perfian and Cariatic orders, we do not confider them as fimple ftatues, 
 but as parts of an order of architedlure. They fupply the place of the 
 lliaft of a column ; and they are tofupport an entablature. 
 
 We fee fancied mouldings placed upon the heads of thefe figures in mo- 
 dern works 3 for there is no error or abfurdity fo grofs, but fome of thofe 
 whom of late times we have called architects, have fallen into it: but ia 
 the earlier times it was otherwife : the chaile talle of the Greeks admitted 
 none of thefe irregularities; the termination over a Perfian or Cariatic fta- 
 tue was always the regular entablature of one of the orders. 
 
 It was this which determined the order; for the ftatue ferved as the 
 fliaft to any : and their general diftindion was, that the heavy entabla- 
 tures fliould be laid upon the Perfian, as male figures, and the lighter up- 
 on the Cariatic, or female. But this was not all, they appropriated one 
 entablature to this figure, and in their corredl pieces ufed that only, it 
 was the Ionic : none ferves better than this in the natural form and cor- 
 relpondence to the figure, for a heavier would be ablurd, and the two 
 fuperior orders have entablatures too much enriched for the ftatue. 
 
 The Ionic entablature was upon this confideration more fuitcd than any 
 other to the Cariatic figures, and this would have its ule general among 
 that judicious people ; but there was a farther thought that made it uni- 
 verfal : this was the commemoration of the great event they ferved to 
 
 record 
 
C H I ^ 123 
 
 record, in all Its particulars. The lonians were the people who reduced 
 C.iria to the Gretian yoke, they therefore placed the entablature belong- 
 ing to the order of that name, always upon the heads of Cariatic ftatues, 
 to tell this ftory to pofterity ; the I mians fubdued tnefe people. This, 
 though hitherto unregarded by architedls, we (hall not hefitate to lay down 
 as a law of the fcien.e ; that the Ionic entablature be laid upon the Ca- 
 riatic figures in all places where they fhall be ufed. -■ eafon (hews it is 
 proper, and the authority of Greece lu^iports it. The whole tnatter in 
 thefe fanciful pieces is trifling, in compirifon of the regular majefty which 
 is feen in the great original orders ; but when we ufe them, let us with 
 regularity copy thofe who firft introduced them into thefcience; and like 
 them tell the whole ftory. 
 
 0/ the ConJirii6lkn of the Figures. 
 
 It has already been obferved, that the Chimney-piece in which thefe 
 Figures are introduced fliould be lirgej that it fhould have no ornament 
 above its mantle piece ; and that the mantle-piece ihould be the top of 
 an entablature, and nothing more : it is determined that this entablature 
 /hould be Ionic; and we are now to confider the conftruilion of the 
 Figures. 
 
 Their length being determined by the defign of the general work of 
 which we fliall fpeak hereafter; the proportions are all regulated by that: 
 the human form is the ftandard of tiuth in this refpedf, only let the 
 fculptor remember, that it is a female Figure, and that it will be befl 
 if he make it of the moft delicate form. No gieat weig t is to be fup- 
 ported ; and confequently, no robuft limbs are necelTary for the purpofe. 
 Thus much determined, two points more occur : the difpofition^f the 
 limbs and the drapery. Thefe we (ha 1 confider ieparately. 
 
 When Figures are raifed to a height which places them out of tiie way 
 of accidents, their limbs may be difpofed with a freedom which cannot 
 be admitted, where they are in the reach of blows : nothing can be more 
 in the way of thefe than a Figure which makes part of the ornament of 
 a Chimney, becaufe the perfons who fit near the fire, will lean or rub 
 againft it; 'and the continual bufinefs of (ervants in managing the fewel 
 will carry them alfo for ever in the way of touching it. Let the architect 
 confider what parts are moft liable to damage. Thefe are the hands and 
 feet ; and particularly the extremities of them, the fingers and toes. 
 
 If the hands were dilpiayed at a diftance from the body ; and efpecially 
 if the fingers ftocd loofe and free, a few days could not fill to m.im 
 them.^ We fee this in effecj:, where injudicious defigners have formed 
 them in that manner i and experience joins with realon in direding a con- 
 trary courfe. 
 
 The 
 
124 CHI 
 
 The fiifl: thought would be to throw both arms clofe to the body; 
 but that would be at once ungraceful and improper. It is natural that a 
 perfon loaded upon the head, although but flightly, fliould raife one hand 
 to help to fupport the weight; and this mull: be done in the prefent in- 
 flance. It will be higher than the part of the image that is in moft dan- 
 ger of accidents. The arm, even in a delicate Figure, may be flrong 
 enough to refifl: a little injury ; and the tender part of the hand may be 
 defended from it. 
 
 The proper poflure of a Cariatic Figure at a Chimney, is, to have one 
 hand clofe to the body ; and the other raifed toaffift in the imagined lup- 
 port of the mantle-piece. The hands mufl be delicate, to correfpond 
 with the general Figure, and they will require the bell touches of the 
 fculptor's thiffel, becaufe every eye will naturally be thrown upon them. 
 The fingers muft be Imall to anfvver to this general defign ; and thofe of 
 the lower hand will be expofed naturally to blows and injuries; while 
 thole of the upper will not be altogether exem.pt. The delign of the ar- 
 chited IS to fliew his judgment in fecurmg them gracefully ; as the fculp- 
 tor does in forming them. The hand that is carried up to fu jport the 
 entablature, may very properly be placed upon the freeze ; and in this 
 cafe, the projedlion cf the cornice will give it a great fecurity. It would 
 be very proper to give the order its pulvinated or roundifh freeze (or this 
 purpoie, that the hand may be Oiewn in all its delicacy, gralping it. In 
 this cafe, the cornice would not only be its defence ; for the fingers might 
 be united to the body of the freeze, and thus would have a ftrength that 
 they never can when loufe. This hand being fo fecurely difpofed, let the 
 Audent confider what can be done to preferve the other; it is in moft 
 dancer becaufe it hangs loweft, but there is an eafy way to defend it. 
 Nothing can be fo natural an employment for this hand, as holding up a 
 part of the robe; and this may be its fecurity. There will naturally be a 
 told and a rifing in the part held up, and thefe may be wrought though 
 with the utmolt delicacy, yet with great fubftance. In the hollow un- 
 der the rifing may be placed the hand, in which the moft delicate touches 
 of the chifibl may be fhewn, while it is thus preferved in the greateft 
 fecurity. 
 
 Should any one fuppofe the neceflary lightnefs of the robe cannot be 
 preferved with this quantity of fubftance, necefllary to prelerve the hand 
 from accidents, we refer them to the Flora, well known to all who have 
 viewed with tafte the rarities of modern Italy. The quantity of marble 
 in that is three times what is beflowed on moft other b igures, yet it is the 
 lighteft of them all. 
 
 Of 
 
CHI 125 
 
 Of the Drapery. 
 
 Modern fculptors delight in nudities; but in a Chimney-piece they 
 would be abominable ; they would (hock the delicacy of our fex, and 
 could not be feen by the modeft of the other ; they are therefore abfo- 
 lutcly excluded from this fervice, and feme Drapery is always to be al- 
 lowed : the queftion is, how much and in what manner. 
 
 Let no ilatuary obj dt that the great excellence of his art is withheld, 
 for that it would confifl: of mufcular figures. We banifh anatomy from 
 the parlour of liie polite gentleman : that is ail. Let him copy his gi- 
 ants for expofure, from thole mafculine forms the ancients have left, or 
 from rough and violent nature; but here let him give his figure cloath- 
 ing. Nor (hall we (ufFer the complaint unanl'wered : we (hall tell him, 
 it is as difficult to excel in Drapery, as in nakcdnefs ; and may refer him 
 to thofe cloathed ftatues of the Greeks and Romans, which it would be 
 glorious to imitate. That thele are capable of equal excellence, and may 
 obtain the fculptor equal praife is evident from thofe examples: with re- 
 fpedt to the elegance and propriety, all may judge. 
 
 Of the ConflruSlion of this Chimney. 
 
 Much is now done towards the general conftrudlion of the Chimney- 
 piece ; for in confidering the feveral parts, we have obferved, that there 
 are to be two female figures fupporting an entablature, whofe top lerves 
 as the flat of a mantle- piece. We have eftabliflied it as a nece(rity, that 
 the whole work be of confiderable extent; and there remains only tu 
 place the figures, and add an inward ornament to compleat the Ifrufture. 
 
 Let the figures be placed near the extreme edge, but not abfolutcly 
 upon it, for they will be the better (hewn when a part of the fiat-woik 
 projtdls beyond them; and they will alio be more fecure. 
 
 Let a kind of plinth be placed under them, for it is by no means pro- 
 per they (hould reft immediately upon the hearth ; and this will lerve the 
 fame ufeful purpofe in preferving the toes from injuries, that the freeze 
 of the entablatuie anfwered for the defence of the hands. They may be 
 difpofed both firm'y upon it, and be made of one piece with it ; or that 
 foot which projedts forwardeft, and is there in moll danger of hu't may 
 be fo difpofed, and the other which is backward may be made with more 
 freedom, to reft lightly upon it by the toes, or if the iculptor pleaks to 
 be abl'olutely removed from it, it will be fafe from its pofition ; and he 
 may employ all his delicacy in conQrudling it with fecurity. As the foot 
 rcfts upon a plinth, the head is covered by the entablature. It mull hs 
 brought forward to anfwer the projection of the figure : and this wiij 
 
 K k give 
 
126 CHI 
 
 give a relief of light and fhade to the whole, and be an ornament to the 
 conftruftion. 
 
 There being a fmall fpace of the back beyond the figure on each fide ; 
 there muft be a larger within, and this will require decoration; every ar- 
 ch itedl knows this, and the fault is ufually that of employing too much. 
 
 The opening of the Chimney will be much Icwer than the mantle- 
 piece ; or, properly fpeaking, there will be a confider.^ble fpace between 
 the ornaments of that aperture and the lower member of the entabla- 
 ture : this mufl: be allowed lome ornament, but let it not be too much. 
 A vafe will be very proper in the middle ; and a feftoon on each fide to 
 the edge. The ornaments which furround this aperture mud be hand- 
 fome mouldings. They muft not be continued to the level of the heai ih, 
 but terminate at bottom on a plinth of the lame form with that which 
 fupports the ftatues. Thefe may be ornamented with fculpture; but it 
 is an expencc better faved. There is a correlpondcncy of parts which is 
 preferable to decorations of fancy ; and this is only to be found in fuck 
 a ccnftrudtion in plainnefs. 
 
 Of the Materials cf this C H \ M nn y. 
 
 Let it be obferved, that the figures be of pure marbl'", of one limple 
 colour; and none is fo proper as the plain white, which wc know by 
 the name of the ftatuary marble. If the whole ftrudture be of the lame, 
 none can objeit to it; but there will be tiegance in giving the back and 
 body of the work in marble of another colour. 
 
 Great beauty will be difplayed in making the body of the Chimney of 
 the green and white marble, which is commonly called Egyptic^n j but 
 the greatefl: elegance of all would be to work it in porphyry. The com- 
 mon purple marble would not aniwer the purpofe, becaufe the fpots and 
 cloudings would confufe the eye; and as it is not eafy to find a perfon of 
 fuch expenlive tafte as to go to the price of porphyry, we (hail p opok to 
 make the back of Syenna marble : this is of a colour which very finely 
 {hews white, and will elegantly anfwer the purpole ; and finely orna- 
 ment the figures. 
 
 Of a Chimney-piece, ijchofe fok Ornament is Sculpture. 
 
 Let us on this occafion fuppofe a room of a moderate fize, fini(hed in 
 the fafhiontble way, with light ornaments on the cieling, and wit'j ihe 
 walls papered; a Chimney-piece of fome elegance is to be eicdted in :iiis 
 room; the propiietor diilikes the orders; or the natural bignels of the 
 whole is not fufficient properly to receive them: the architedl is to ^ive 
 him a defign for its conftrudtion ; and he begins with a general outline 
 
 for 
 
C H I 127 
 
 for the fides, and a more particular confideratlon for the top. This is to 
 be the feat of ornament, and he adapts to it the decorations of an enta- 
 blature of one of the fuperior orders. In his firft defign he fees a flat- 
 nefs that difplea(es ; and, to remedy this, feme parts mufl be brought 
 forward. 
 
 We have obferved how rnuch beauty the projedion of the corners of 
 the Ionic entablatutc over the heads of the Cariatic figures gave to that 
 Chimney ; and the fame elegant diverfity of light and fhadovs^ will occur 
 from br nging forward the two ends here. If this be not enough, place 
 a pediment upon the centre. We fliould have objedted to this in the pre- 
 ceding inltance, beeaufe it would have loaded the figures j but here there 
 k no obje(ftion. 
 
 A tabltt fhould be placed in the freeze, under this pediment; and the 
 prcjeiting part at each corner will admit in its freeze a vafe. There re- 
 quires a face, or fome other principal figure in the tablet; and thus is 
 laid down the principal of decoration. Th':!re fwelling corners of the 
 entablature require fome fupport ; and as columns which would naturally 
 occur for that lervice are forbidden, the mofl: proper delign is a fcroll on 
 each fide, in the manner of a confole. This will admit a kind ot flu- 
 ting or cabling at diftances upon its furface ; and an acanthus leaf may co- 
 ver its lower part. There will be beauty in fuch a conflrucftion ; but the 
 judicious eye will only allow thefe as an apology for columns. 
 
 The fcrolls mufi: not reft upon the hearth, but on a plinth ; and the 
 'addition of this compleats the material part of the ftrudture. What re- 
 mains is bculpture ; and the nature and defign of this is plainly pointed 
 out. The common carving of a quarter round into what are called eggs • 
 and anchors will ferve to decorate the inner edge to the aperture; and ■ 
 the proper Sculpture of the mouldings for a cornice of a rich order gives 
 nearly all the reft. A fefloon from the face to each edge of the tablet, 
 and another on each fpacc on the two (ides of that projed;ure, finilli the 
 whole; and there appears a Chimney fomewhat lels expenfive than it would 
 have been if the orders were employed. But though it muft be allowed 
 a great deal of beauty in this way, he mufl have a poor conception of the 
 grace and dignity of thofe great parts in architecture, who does not lee 
 the addition in beuuty from the ufe of them, would have been much - 
 greater than the extraordinary expence. 
 
 The materials of fuch a Chimney are limited by the quantity of Sculp- 
 ture. To fome marble of one colour ; for the greater pirt of the expence 
 would be thrown away upon a veined or clouded marble, btatuary-mjr- 
 ble is again peterable xo all othvio on thi:. occfion ; I ut the who e in a 
 pcrtedt blacK. would have a very agreeable, -hougii gr;4ve aipedl. If a 
 gayer marble be ufed, the b^cnni. ib befl ; but m ihat caie the felloons, . 
 and other oinamt-nts, will be btll in Itatuar^^. 
 
 A C H I M- - 
 
■|2g CHI 
 
 A Chimney-piece tvith fngle Doric Columns. 
 
 The room in which the Chimnev-piece is to be placed, may be fuited 
 to a lighter, or to a more mifiy kind; for this part ot the finidiing 
 fliould always be correlpondtnt to the reft; and this may give a rule for 
 varying the pradice. 
 
 We will fuppofe, for the prefent inftance, a room finifhed in a modern 
 degree of elegance, and that the proprietor delires to have a Chimney de- 
 corated with one of llie orders, but not at too great expence. In this 
 cafe, the finilTiin^s of the room, and the intention of the owner in point 
 of expence, limit the number of columns. The fiill: thought refers he 
 architedl to the Doric order, as by far the leal! expenfive ; and both deter- 
 mine againft more than one column on each lide. Upon this plan i' will 
 be eafy to conllrucl a light and elegant piece; the price of which ftiali 
 be very mode; ate for a Chimney with an oidcr, and its lightnels corref- 
 pondcnt to the rell or the work. 
 
 Let the Undent mark hrft upon his paper the outline of the aperture. 
 Then on each fide let him mark the outline of the work; to which, as 
 there is to be only a fingle column, he needs not allow great breadth ; 
 and after this let him draw the outline of the top member of a Doric 
 cornice, determining its height from the meafure of the Columns. We 
 do not intend to determine the work here : bat let this be firft done. Let 
 an open pediment be raifed from the middle of the cornice ; and that this 
 may not ftand naked, let another ftrait line be drawn iuil above its top, 
 and flopped each way at the breadth of the fides. The cornice of this 
 order will project farther; but that is not to be the meafure of this upper 
 work, which is to ferve as a continued attic for the finilliing. 
 
 Of the fever al Parts in this C H i M N e v. 
 
 The outlines thus laid in, the fludent will eafily comprehend the dif- 
 pofition and form of the feveral parts. Let the columns be firft confi- 
 dered, and let them projedl )o far as to ftand bfolutely free and clear. 
 Let them reft upon the hearth by their phnth : on this place an attic 
 bafe ; and carry up the fhaft, with its regular diminution, according to 
 the rules of Palladio. On this place the capital, and let its ahacu^ lange 
 with the line which marks the top of the apertuie. Upon this capital 
 let the regular cornice of the order reft. It muft projedl to c me over 
 the column ; p.nr", receding ejch way to the back of the Chimney, there 
 will be an agreeable mixture of light and fhade. Let tlie whole aperture 
 of the Chimney be terminated by an architrave, with a carved quarter- 
 round lor the inner edge, and over the center of the Chimney's opening 
 
 let 
 
CHI 129 
 
 let it rife to fuppcrt the cornice. The pediment is placed above this, 
 and this rifing or the architrave has the appearance of a reg lar liipport 
 to it. The fret-ze, where it is continued entire, m\il\ hive its proper 
 ornament of triglyphs. One will (land over the axis of each column, 
 and two on each tide, between the projedure for the column, and the 
 riling of the architrave. 
 
 In this Chimney, whofe expence is to be of a limited kind, we would 
 have ihe netop:s plain, cr left withcut ornament; and confequently 
 the neck of the column muft alfo be plain The rofes in molt cales 
 allowed to this part cofl little, and are a great ornament ; but they muft 
 not be ufed when the metopes are plain. Over each of the columns let 
 there be raifed an attic pilaiter, projeding as the column does ; this con- 
 fining of its bafe, die, and cap, will give the ornament of the plain courfe 
 behin i : its bafe muft be continued each way to the peaiment, but there 
 interrupted by it, and the cap muft be continued along the whole courfe 
 over the top of the pediment. 
 
 Of the Materials for this Chimney. 
 
 The fculpture being little in this piece^ the architefl has his choice 
 of materials. There is fo much decoration of a nobler kind, that the 
 plaineft will ferve; at the fame time the fculpture is fo little, that the 
 moft pompcus of the variegated kind may be ufed. The body of the 
 work may be of flatuary, and the columns of Syenna marble. This 
 will be a very happy mixture, for the gold and purple of that elegant 
 fpecies are rn-ver fecn to fo much advantage as when contrafted with white. 
 The body of the work of the common purple and white, and the columns 
 of the ftatuaiy, would alio be handicme ; or if the columns were of the 
 French onyx marble, and the back white, the colours would be fhewn 
 in the luoll advantageous manner, and the columns would appear like 
 agate. We have a green and fpotted marble in Anglelea, that would 
 make very handfome columns for a white ground, or a very handfome 
 ground tor w hite columns ; and there is a fingularity in this marble which 
 fhuuld make it extremely valued : this is the veins of aibellus, which are 
 lodged in it. Thefe are of a glolTy white, with a tinge of green ; the 
 veins are bbout a quarter of an inch broad, and the threads run crofTways. 
 They are !o extremely dole arranged, that they look as firm as the body 
 of the marble, and not even fire can hu t them. This greatly exceeds 
 the ccmmo;i green and white, whicli is called iEgyptiati marble, and 
 ought to be more regarded, 
 
 LI Of 
 
130 
 
 CHI 
 
 (J a Chimney with Termini. 
 
 We have given the ufe of columns in pliin Chimney-pieces, and the 
 appropriation of Icrolls to liipply their place, where any particular fr.ncy 
 in the proprietor declares agaiuft their ufe. It reniAins that we treat of 
 a kind between the fanciful or Cariatic orders, andthele fcrollsj and thefe 
 ;irc of the nature of Termiin. Theyconlift of the head and breafl: of a 
 human form, and a fcabbard receiving the limbs. 
 
 We fet out with obferving, that fancy was to be freely indulged in the 
 conftrudlion of Chimney-pieces : thefe are, or all the figures that can 
 be introduced, the moft fantaflical ; and it will be no where fo proper 
 to introduce them. When the ftudent falls upon a defiga of ufing them, 
 let him firrt obferve, that one of the fimple Chimncy-p'eces, that is, 
 one of thufe which terminate at the mantle piece, is fittefl for the recep- 
 tion of them ; for it would not be cafy to continue a correfpondent orna- 
 ment to the top of the room. 
 
 Bcfides, as in fuch a Chimney there muft naturally be a great deal of 
 fculpture, the continuing that in the fame talle, if a proper form could 
 be devifed, would be of enormous expence and would diftrad: the eye. 
 It is fit the attention fliould be fixed where ther. has been fo large an ex- 
 pence, and fo much labour and geniu'' to demand it ^ and for this reafon, 
 as well as the other, the work fliould be confined to one place, beftowed 
 about the lower part of the chimney-piece, and full in the eye on every 
 occafion. 
 
 Of the Confiru£iion of this Chimney-piece. 
 
 The firfl confideration of the architeft in a defign of this nature, muft 
 be that of giving it a freedom in all its parts. There will be fomtwhat 
 maffy in the figures themfelves, for it is the nature of thefe kind of de- 
 figns to fwell out at the breaft ; but he is to contraft this with lightnefs, 
 and an airy look in ail other parts, and to give free fcope to his imagina- 
 tion. On thefe principles let hnn fit down to his defign, and mark with 
 a faint line the outline of the whole. This will be naturally three fides 
 of a fquarej but it is to be broken through on feveral occafions j for fo 
 many Itrait lines would give a llifFnefs altogether dilcordant from the de- 
 fign of eafc and freedom. This outline firft given, which only ferves to 
 determine the general extent, let him defign his termini. They are to be 
 raifed upon a fquare plinth, and their heads are to lupport the mantle- 
 piece. This gives their height, and from ti.ence are to be deduced their 
 proportions. As thefe are the principal part of the Chimney-piece, let 
 them be drawn firft, and the reft made correfpondent to them. The 
 
 face. 
 
CHI 131 
 
 face, the neck, and a part of the breafl:, is all that mufl: appear human ; 
 and as this part of the bv)dy is much more graceful in the female form, 
 let them reprefent women. Let the head be decorated with flowers 
 among the hair; the neck be naked, to fliew its true proportion ; and let 
 a feftoon of flnwer^ fall carelelsly over the breaft, to hide the reparation 
 in the midft, and reprefent the fullnefs, and beautiful round, without 
 coarfenefs or indecency. 
 
 The fculptors of this time require nothing fo much as to be taught 
 with decency. The necks of females, from their hands, are generally 
 improper. We may refer them, for better information, to the prefent 
 drefs of the French, who fl)ew all the beauty of the female breaft, yet 
 by a rofe, or fome other artificial flower, in the middle, take off every 
 idea of immodefty. The human part of the figure thus finifhed, the 
 fcabbard corries into confideration. This receives the breaft, and has a 
 fpiral line on each fide at its top, where the arms feem to have been taken 
 off. There is no pa-t of the fcabbard lefs beautiful than this, though 
 cuftom, and the pradlice of the antienf, has rendered it eflential. The 
 feftoon we diredl to be thrown lightly over the breaft, may be continued 
 with eafe, fo as to hide a part of this. From this part the fcabbard will 
 confift of a front and two fides; audit muft be covered with fculpture. 
 
 A great deal of work fhould not be employed on this, becaufe it is 
 not the principal part of the defign ; but they err who give it too little. 
 The ridges fhould be plain but carefully wrought in that plainnefs; and, 
 for the ornament, it may be only a Mofaic, by light lines crofling one an- 
 other, or this may be more ornamented: or, finally, the defign may be 
 varied. This Mofaic, when it confifls only of lines, is very plain, and 
 in fuch a Chimney as is here propofed, would be unworthy of the reft. 
 The lightef: ornament is by adding a kind of ftar at every interfeilion of 
 the lines ; and the moft that ftiould ever be allowed, is by placing almall 
 flowerin the center of each lozenge of the Mofaic divifion. When thefe 
 flowers are added, there fhould be no ftars in the interfedions ot the 
 lines ; and when there are no flowers or other ornament- within, this 
 fhould never be omitted. Thus is the general decoration of the fcabbard 
 to be determined ; but there yet remains to be confldered that fuperior 
 article of ornament, the varying the defign upon this part. The leait that 
 is to be done in this way, is to place a rofe in afmall compartment in the 
 middle of the fcabbard ; and this, when the Mofaic is continued, will 
 give an air of variety. 
 
 The other and more graceful method is, by dropping a leaf from the 
 top down halfway of the fcabbard. This fliould be an acanthus leaf, 
 becaufe its ihape correfponds, and no other is fo handfome. The Mofaic 
 divifion will then perfedlly well anfwer for the other half, and may be 
 carried up all the way on each fide. It will be a farther grace to this 
 
 fcabbard. 
 
3 = 
 
 C H I 
 
 fcjhb.irc!, to let the foot of it rife from the plinth with a fwelling within ; 
 and this may be very happily dtcoraied alio with a leaf. 7 hcle figures 
 linis finifiieii, the reft is eafy. A mantle-piece is to reft upon their heads, 
 where it muft projedl with a rounded outline; and both here and in the 
 ifrait part it may be decorated with Iculpture. The inner line of t' e 
 Chimney-piece may be a rounded and handfome moulding, wiiieh at the 
 top may be carried, according to the French niann r, mto an irregular 
 arch. In the center of this a fcroll may fupply the place of a kty-ftonej 
 and this fpreading each way from that central part, may leave room for a 
 bafket of fruit, and terminate each way in a kftoon: and then the rife 
 of the mantle- piece being decorated with leaves and fanciful ornaments, 
 the whole will be correlpondent, and of a piece. 
 
 Of the Materials for this Chimney-Piece. 
 
 The rule we have laid down of allowing coloured marbles where there 
 is little fculpture, and plain ones where there is more, holds veryftrongly 
 here. We recommend this Chimney-piece to be conitruited entirely of 
 pure ftatuary marble, as that will moft diftii (ftly flaew the work ; and the 
 eye, having no glare of colours to take it off, will be wholly kept upon 
 that. However, as lome think there i*; a dcadnefs in this ftr.dl unifor- 
 mity, we Ihall adviie the ftudent in what manner to give a decent variation. 
 
 The body of the Chimney -piece being ^i white marble, the Icabbards 
 of the termini may be of the gretn Anglefea kind, or of the common 
 green and white Egyptian ; and in this cafe it will be well to make the 
 mouldings round the edge, of the lame materials with the fcabbard. 
 The flower-bafket may alfo be of the green marble; but the fruit and 
 flowers in it ftiould be white, for all the delicacy of the work will other- 
 wife be loft in the veins and cloudings. 
 
 Of continued Chimney-pieces. 
 
 The ftudent is now fo far a mafter of the rules upon which the ftruc- 
 ture and decorations of Chimney-pieces aie to be founded, that we may 
 lead him with familiarity to the compolition of thoic of a more compli- 
 cated kind. 1 hefe are fuch as we exprefled before under the n.ime of 
 continued Chimney-pieces; and they require a more diftindl conlideration 
 than, by the pradice of modern architeds, they Icem to be aware. 
 
 It is no more than truth to determine from their condudl, that they 
 have no other idea of this kind of Chimney-piece, than that it means a 
 limple one, with lometliing at the top of it. Seme flutter of ornament, 
 and f me fhape of a frame, they luppofe are needful on this oecafion ; 
 but farther they feem not to have carried their rtfcarches. One kind of 
 
 ornament, 
 
C H I 133 
 
 ornament, or one fort of frair.e, they apprehend will do as well as nn- 
 othe: ; I'.nd when thev have made, orotherwife pofieffed themfelves of half 
 a dozen figures for this purpofe, they apply them at random, and fecm 
 to think of them, as the fair'ous comedian did of his prolog^ie and epi- 
 logue, that tiie eDiiogue might do for ?. prologoe, or the prologue fur an 
 epilogue, and that cither of them would ferve any other play as well as 
 that for which they were intended. 
 
 We do rot oioduce thefe blemiflies in our heft buildings to ridicule, 
 much Icfs CO injure thole -'^ho invented them ; and therefore conceal the 
 names they wou-d difgrace. It is fof the fervice of our ftudent we repre- 
 ftnt them in tluir proper colouis. Th^y are Co frequent in ^ood houies, 
 and the; pais lb often witnour cenlure under the review of reputed judges, 
 that, "weri- it not for fuch caution, he might be led to think them right; 
 and pLice them before him as examples 'or his condmlit • at lead: as ex- 
 cufes for his own errors. We have told him betore, that it is to very 
 few of the flrudures of this ige he is to loolc up for example ; and wc 
 fhall repeat the decifion before made on a like occafion ; that an error is 
 not the lefs fo, though juftified by a thou and inftances. Of this he 
 may be /ure, that the very eyes which overlook defefts, will never be blind 
 to beauties, and that he will enfure to hinileU, not only a greater, but aa 
 univerlal praife. by ad;ing up to the rules of truth and propriety. 
 
 Longinus dirtdis tnc orator, in order to arrive at excellence, to fup- 
 pofe the famous p cdectfTors in the art are prelent; and upon all occa« 
 fions to put himielf in their place for the compofition. Let the aichi- 
 tedl, who would air.veat excellence in his not lefs arduous or lefs honour- 
 able fcience, tread the fame path. When he is about to lay down the 
 delign, let him confider well the occalion, and afk himfelf : what would 
 Palladio have done in fuch a circumftance ? When he has finilhed, let 
 him demand, what would Vitruvius fay were he prefent to examine this ? 
 It is by this method men who have ai rived at excellence in any of the 
 polite arts, have imbibed, as it were, the genius of their great predecef- 
 Ibrs. He muft have mdeed a cold imagination, who could defign mean- 
 ly or incorredlly when he fuppofed himfelf adling in the fpirit of that 
 reverend modern, or appealing to the judgment ot that judicious antient. 
 
 Of the Piopriity in the Ornaments. 
 
 The 6rfl: confideration which would rife in the mind thus warmed with 
 the remembrance of thole pcrfons immortalized by the fame fcience, 
 would be propriety. Without this, beauty would be ridiculous; for, 
 from the con^iuil of thofe whom, though unnamed, we have been ob- 
 liged to ioa'1 with fo much unwilling cenlure, he wjU firft confrJer by 
 what means the whole will be mod naturally fuited to the room in w hich 
 
 Mm it 
 
134 C H I 
 
 it is to '^c plnced; and next, in what manner the two parts (for they are 
 in ihemfJves didii d:, though joined) will be heft adapted to one another. 
 With regard to the firft article, we have in generil oblerved already, that 
 a rontinucd Chimney-pitce can only be proper where there are Ornaments 
 of fculptnre about the room : for othervvife there will be nothing with 
 which it can correfpond : therefore, againO: all other confiderations, let 
 ])im delign at all times a fimple Chimney piece for a room that is hung, 
 and a continued one for a room ihat is finiihed any other way. No wain- 
 Icot is or can be mjde without pannelsj and it will be eafy to make the 
 upper part of a continued Chimney-piece cctrefpond with them, le; them 
 be of whatfoever kind. This we would recommend to the attention of 
 the builder, even in the plaine[I and meaneft rooms. There will be a re- 
 gularity in it which will never fail to pleafe, and the expence nothing. 
 In this tale no more will be required than to form a regular defign of an 
 upper part for the Chimney-piece intended to be placed there, and to exe- 
 cute it with the common aiouldings of the pannels. There will be no 
 more expence in difpoling them properly than improperly, regularly than 
 irregularly ; and yet the tffcft will be pleafing, and the architect will 
 have credit. 
 
 He now underflands, that the purpofe of this work is to raife an Or- 
 nament like that of the other p>irts cf the room from the Chimney-piece 
 to the cielirg ; and in fuch manner to adapt this to the Chimney-piece 
 itfelf, that it ihall feem naturally to rife from it, and to be connected 
 with it ; that it fliall be a regular and proportioned part of the chimney- 
 work, at the fame time that it is alfo a regular part of the Ornament of 
 the room. This will always be eafy to the architedl who fets out upon 
 juft principles ; for having, according to the rules we have laid down in 
 the preceding book, fuited the Chimney-piece itfelt to the reft of the 
 rcom J thele additional mouldings, or other Ornaments, when they are 
 m;;de to correfpond with one of the two, will alfo agree with both, be- 
 caufe they naturally agree with one another. 
 
 It would be otherwife with one who had fet out without principles. 
 If he had mide a fimple Chimney-piece too rich or too plain for the reft 
 of the room, then the upper work, which continued it to the cieling, 
 would add to the irregularity : for either it muft be made to agree with 
 the lower past of the Chimney, and would fo difagree with the reft of 
 the room ; or to corielpond with the finifhings of the fides, and by that 
 means difagree with the lower part of the Chimney. Thefe are the ac- 
 cumulated irregularities which never fail to arife from an error in prin- 
 ciple. Let them teach the young architedl circumfpeftion, and early re- 
 gular method. 
 
 Of 
 
CHI 13s 
 
 0/ enriching a continued C h i m n e y. 
 
 As the ftudent will now underftand, that the upper part of the conti- 
 rued Chimney-piece, that is, all which is above the place of the mantle- 
 piece, is a kind of repetition of the work, in the hdcs of the room hs 
 will know very well in what manner to add p'oper beauties. Let him 
 confider it is the firfh objedl that ftrikes the eye on entrance, and the nioft 
 confpicuous part of the room; and, for that reafon, whik he eivcs it the 
 fame air with theieft, kt him mske it fomewhat richer. We have ob- 
 ferved, that in the plained: rooms it is to be only a coatin,utian of the 
 mouldings of the wainfcot in a proper form : from this the fir.'t advance 
 to elegance is the adding of a few more mouldings j and after th .t all the 
 reft is eafy. When the common mouldings of the wainfcot have foms 
 fculpture, let thofe which are continued over the Chimney hive more, 
 as well as be laid in greater number; and to whatever degree of elegance 
 the reft is carried, let this part exceed it. The continua'jon thus ma- 
 naged will have the air and afpedl of a peculiar piece, while it is at 
 the fame time a regular and perfectly correfpondent part of the whole 
 finifliing. 
 
 Rooms which are hunc: are debarred bv the rules of the fcience from 
 the advantage of this ornament; but for all other kinds it is very well 
 adapted. Where the walls are plain ftucco, this upper part of the Chim- 
 ney-piece muft have very little ornament : but even in that cafe, as the 
 lower part will naturally be very plain, a light reprefentation ot its molt 
 confpicuous parts in the fpace above will be tar from unplealing. This is 
 a very rare cafe j but we would not have the ftudent without liis rule of 
 conduct in any. Let him not fuppofc this circumftance of a roam hnilh- 
 ed with plain ftucco, to be a parallel cafe with that of one hung with pa- 
 per or damaik, and in which we limited him to the ufe of a fimple Chim- 
 ney. Here the fpace within the pannel over the Chimney being plain as 
 the reft of the wall, at the fame time it admits the grace of this addi- 
 tion, keeps up a fimilarity with the reft', without any thing improper in 
 itfelf ; but, in the other cafe, the great contrail in the colour and figures 
 of the paper or filk would break in upon the intended compofure of the 
 whole, and the mouldings, whether in wood or ftucco, wou'd appear to 
 be ftuck on the paper, not to rife from it, as they will certainly appear to 
 do from the (lucco wall. The upper part of the Chimney-piece, which 
 in the cafe of our plain ftucco-wall thews itfelf only in what it is, that 
 is, a light ornament continued from the lower work of the Chimney, 
 will, where there is paper or filk, have the afpedt of a frame ; and thefe 
 ■will appear as pidtures in it. All know how poor this muft look ; fince. 
 
135 CHI 
 
 in tlie reality, what could be I'o mean as the thought of framing a piece 
 of the hanging ? 
 
 IndeeJ, if in a hung room it is intended to place a piftnre over the 
 Chiinney, the frairie of it (hould be feparate, and fhouTd not rife from the 
 Chimnev -piece below : whereas in other inftances, where the continued 
 Chiiniiey- piece is proper, nothing is fo elegant as to make its upper work 
 ferve as a frame for fome elegant piece of painting. In tliis ju(i: examina- 
 tion we fee, what might have appeared as an objtdlion to our general rule, 
 ftrengthens and fupports it; and although in a plain ftucco-room a conti- 
 nued Chimney-piece is proper, yet in one hung it is perfectly wrong. 
 
 0/ /uiting the Upper Work to the R o o m. 
 
 It appears that in all rooms, except fuch as are hung, a continued 
 Chimney-piece may be allowed. In moll it will be found more proper 
 than a fimple one ; and in the more richly furnifhed apartments altogether 
 necellary. We are about to confider the manner of accommodating the 
 upper part of fuch a Chimney to the room : but we mufl here cenfure 
 fo'ne modern works; and, without naming the workmen, caution our 
 lludent againif their errors. There have been fome who have entertained 
 a confufed fenfe of the neceffity of this great article, the conforming the 
 Chimney-piece (when, from being carried to fuch a height, it becomes 
 fo confpicuous a oart of the room) to the other ornaments. But the ju- 
 dicious reader will allow, that we have uled a gentle term in calling thefe 
 only confufed notions, when he fees in what manner they have brought 
 them into execution. In a room where the doors are decorated with aa 
 order, this idea of corierpond(.nce of parts has carried them to the pla- 
 cing coupled cc^lumns upon the Chimney piece in the continued or upper 
 part of the work ; refling upon a mantle-piece, which is fupported by a 
 fcroll. It reminds one of the c'ecoration of thofe theatres, where a Ca- 
 riatic is fupported by an Ionic column, and that refts upon a bracket. 
 There is in this the double abiurdity if placing the columns without fup- 
 poit, and of giving them ni. thing to carry. They appear monllrous, be- 
 caufe they are u- finifhed : they are t( o bu'ky, and too prominent for the 
 place ; and nothing can be more prcpoflerous than this ufe of them, So 
 far may errcr, in attempting what (hould feem right, carry thofe whofe 
 minds have not imbibed the true principles of the icicnce. 
 
 A correl'pundence of parts is indeed the firfl principle of ornament ; 
 but, before a man pretends to ufe this, he mu(t know what part!^ (hi.;uld 
 correlpond, or the attempt will only ferve to betray him into ab.urdity. 
 The ornaments of d ors, and thole of the Chimney, fhould certamly 
 correfpcnd ; and we have before diredlcd in what manner. But there is a 
 place for every ornament ; and, when it is out of that, it becomes a de- 
 
 fe(ft 
 
CHI 137 
 
 fe<fl, and not a beauty. When an order is employed in decorating a door, 
 there flhould alfo be columns in the conftrudion of the Chimney-piece i 
 but tHey niuft be placed in the lower part : not in the upper. They 
 muft be upon th-^ ground, not in the air. It is their natural pofition to 
 reft upon the ground; and he who takes them out of that place in a 
 Chimnev-piece, is commonlv guilty of an ablurdity. When there are 
 columns below in their proper place, it is ftill wrong to add any above ; 
 for they are not of the nature of thofe decorations which fhould have place 
 there. They are too maffy and uncouth. But if this placing them in 
 the upper work over others in the lower, be wrong, the ahfurdity is ten- 
 fold m tho e inftances we have named, where there is only the common 
 ornament below : it would be as proper to flick them againft the walls io 
 ether parts ^f t'le room. 
 
 When the correfpondence of ornaments requires columns at the Chim- 
 ney, let them always be placed as we have direiited in treating of that ar- 
 ticle, in that cafe they reft: upon the hearth, and they fupport the man- 
 tle-piece. This is natural ; and fo is the continued work above them; 
 more natural than in any other cafe, becaufe they afford it a jufi: and pro- 
 per iupport. It is this part of the Chimney that muft correfpond with 
 the doors, and the ornament above is to agree with that of the other fi- 
 nifhings of like height. Thefe are mouldings of wainfcot, or pannels 
 of fliucco, or the like divifions. It is with thefe the eye compares this 
 upper part; and, while it correfponds with thefe in the nature of its or- 
 naments, the fhape and place, for in both thefe articles it differs from all, 
 will fufficiently vary the whole. 
 
 What we have obferved with refpedl to columns, holds univerfally in 
 regard to the other ornaments of doors. The lower part of the Chimney 
 ought always to huld a correfpondence with them. This muft not be to 
 fervile as to copy the parts or particular mouldings: but as we have di- 
 reded, that when one of the orders is etnployed upon a door, another 
 order fhould be uled for the Chimney; upon the fame principle we add^ 
 that whatever kind of ornaments are placed about the doer, fomething 
 of the lame kind muft be done in the lower part of the Chimney. Of- 
 ten this is to bt carried through a great part of the lower work ; but it is 
 enough if the eye perceive it in the inner edge of the whole, or in any 
 other confpicuous part. As this portion of the Chimney-piece is to be 
 an improved reiemblance of the door-cafes, in the fame manner the upper 
 work is to bear a hkenefs in all its parts to the finifliings of the reft of the 
 room; but it is to be enriched beyond them. 
 
 The form it muft carry will be that of a compartment, determined in 
 breadth by the lower part of the Chimney, and in the height by the lofti- 
 nefs of the room. When the lower work of the Chimney is narrow^ 
 lefs labour fhould be employed upon the upper, for it will ihare tlie nar- 
 
 N n rownefs. 
 
'3 
 
 8 CHI 
 
 rcwtuTs of the bottom, and he incapable from thence of great dignity, 
 'i herefore, when ths young architect fees a room that, from its other fi- 
 nifliings, v, i I require a rich continued Chimney-piece, let him fet out 
 with givinsj it a lufRcieiit extent in breadth below. On this abfolutely 
 tl'-pcnds the breadth of the upper work, and confequently its dignity. 
 
 Of the Upper Work. 
 
 The Paident who underftands the dcfign and nature of the continuation 
 of a Chimney-piece ; whereto ufe it, and in what manner and degree to 
 jidapt its ornaments to the particular purpofe, may proceed to the defign- 
 jng its fevcral parts. How far the conflrudtion of the lower part of the 
 Ci imney is concerned in this, we have (hewn. A continuation of or- 
 nament may be carried up from any Chimney-piece whatfoever, the due 
 care being taken to adapt it to the proper form of that lower part: and 
 confequently, if that be proper, the whole will be of the fame charadler. 
 This may at any time be done occafionally ; but we advife otherwife. 
 We would not have our ftudent defign his Chimney, and then think of 
 an upper part for it ; but forming the whole as one work, and keeping in 
 his eye all the parts while he is making the figure of each, he will that 
 way alone render it compleat and uniform. 
 
 If he defign an Upper Work of flight conftrudtion, let him make the 
 lower part a!fo of the lighter kind j but where he intends a great deal of 
 ornament above, the firfl.care mud be for a fufficient folidity and decora- 
 tion below : the general conllrudion of the Chimney being the fame when 
 it is thus continued to the height of the room, and when it terminates at 
 the mantle-piece, or its finifliing courfe. we rtiall not repeat any thing 
 here of the rules already laid down for its conilrudtion ; t'Ut, fuppofmg 
 a Chimney-piece of the common kind, and of moderate expence, to be 
 the lower part, confider the lighter and lefs expenfive Upper v\ ork fuited 
 to it. This Upper Work naturally reprefents a kind ot trame; but it is 
 not to be placed diredlly upon the mantle-piece, for in ihat cafe it would 
 be either of an enormous height in pn^poition to the breadth, or it wiuld 
 not reach toward the cieling in the manner whi.h is the true purpofe of 
 thefe conilrudlions. Therefore upon the mantle-piece let there be raifed 
 a courfe, pedeftal high in proportion to the other parts of the Chimney. 
 Let the outline of this be in the perpendicular, the fame with that of the 
 fide of the Chimney-piece, not tie extent of the mantle-piece. Thus.it 
 will feem fupported by the fide-work of the Cliimney, and confequently 
 in a condition to fupport the reft ot the work. 
 
 Let this have its proper diftindtions of bafe, die, and cap ; and let there 
 be Ibme flight ornament of fculpture at thofc divifio.s. Upon this is to 
 be raifed the Upper work, whole height niuft be governed by that of the 
 
 room. 
 
CHI 139 
 
 room, and it^ form a fquare, or long fquare. In this, when rightly con- 
 ftru(f^ed, there v/ill be always fome proper refemblance of the llrLnfture of 
 the Chiti;ney. Thus let the rtudent begin, by raifing from the extreme 
 edge of the pedeftal a perpendicular line, which will form the verge of a 
 fide correfponding each way with that of the Chimney-piece below; only 
 that it muft be narrower, becaufe the Upper Work mud always feeni 
 lighter than that beluw. Thefc two ildes are to fupporta cornice in the 
 manner of another mantle-piece, and from the middle part of this is to be 
 raifcd a pediment. This compleats the outline of the work : it may be 
 made entire; but that is not right, becaufe it gives an alped of weight 
 improper lor an ornament that (lands fo high. 
 
 Of the two forms of the pediment, it may be either pointed or round ; 
 but whenever it is made entire, the pointed form fli JuKi be preferred, 
 becaufe of the two it is lighteft. This is a conftru6lion however which 
 the judicious eye will always diflike ; and there is not only more propriety, 
 but more room for ornaments in a broken or open pediment. Let this be 
 a determined point, that the pediment be open ; and the lighter the work, 
 the more neceflity there is of its being fo. As to the two forms, they 
 are direded by the fame rule. The rounded pediment is heavier, as well 
 when open as entire ; and therefore it Ihould always be kept for the Cliim- 
 ney -pieces which have the heaviefl: ornaments; and the pointed for the 
 lighter. The difference between thefe two kinds, in appearance of weight, 
 is much greater when they are broken in this kind of work, than when 
 they are entire ; for the broken-pointed pediment ends at the abrupt line ; 
 but when the rounded or arched pediment is broken, the inner members 
 are to be rolled in fpirally ; and this, at the fame time that it is a great 
 ornament, is an indication of weight, which we have direcTted the fludent 
 to avoid, even in appearance, in the conftrudlion of the upper part of the 
 prefent work. The ftudent who has ufed his pencil as thus far directed, 
 has now the outline of his whole work upon paper: a pedeftal continued 
 over the mantle-piece of a common Chimney fupports iv.'o narrow fides ; 
 thefe are crowned with a handfome cornice, and from the midft of that 
 riles a broken-pointed pediment. 
 
 Cf the Decorations. 
 
 This is the field, of which his genius is to make the moft by the addi- 
 tion of ornament: and his judgment is to difclofe itfelf in forming that 
 ornament of a proper kind, fuch as will bed; fuit a Chimney. Now, al- 
 though the fides he has raifed can very well fupport all that is jbove them; 
 yet the cornice having the air of another mantle piece, will very well 
 bear the appearance of farther fupport from a couple of Icrolls ; thefe 
 may be decorated, each with an acanthus leaf falling down them, which 
 
 will 
 
140 ^ CHI 
 
 will difp^av itfelf very happilv, becaufe of their waved outline; and in 
 the broken pediment may be placed a vafe : thu<: the larger and more ob- 
 vious artic es of ornament are laid in, and for all that can be a^de.1 fculp- 
 ture anfwers the purpofe. We have declared againfl: heavy ornaments in 
 places lo railed as the top of a continued Chimney-pic-ce j but as the cor- 
 nice in this cafe h?.s the ftrength of a couple of icrolls, as brackets, the 
 Vdfe, though heavier than we ^lould otheiwife criufe, will have the ap- 
 pearar.ce of a fupport. The fides terminated at the top by thefe fcrolls, 
 mufl: not, in a Chimney of any tolerable degree of ornament, be left 
 plain. 
 
 It will be eafy to mark out a long compartment in each by fculpture, 
 continued within a fmall diflance of the two other fides and bottom : at 
 the top of thefe two lines may join the fcroll ; and from the bottom of 
 that ornament may be dropt a light feftoon almoft to the bottom. This 
 will give lufficient beauty to the fides, and the pannel markeii in as jult 
 diredled, will feem a frame to it. The vafe may alfo be loaded with 
 fruit and flowers ; and tliefe may be fufFered to run over on each fide in a 
 light leiloon, continued in a bended line each way to the angle made by 
 the infide of the pediment and the cornice. 
 
 Thus a good form of a continued work is laid in ; but there is too 
 much vacancy within. It is intended that the fpacc fhall be large, but it 
 is now too large. The defigner muft reduce itj and the means of this 
 will compleat the ornaments. Let him place within this a kind of frame j 
 let the fides of it join the inner edge of the two upright parts which fup- 
 port the cornice. At their tops let them rife to the cornice, and at their 
 bottoms reft upon the pedeftal raifed over the mantle-piece : thus let the 
 two fides of the intended frame fill the fpace, but let the outline of each 
 of the ends recede a little from the inner line of the cornice at top, and 
 from the cap of the pedeftal at the bottom. This will have a double ad- 
 vantage : it will at once give a relief and lightnefs to the general work, 
 and a fwclling to the corners that wiil be very agreeable. 
 
 This frame, for fuch a work of mo .erate expence as we here intend, 
 may confift of an outer and an inner moulding, ornamented with light 
 fculpture; and the middle fpace with fret. The corners, which fwell 
 up and down, may receive a rofe, or other flower; and thus the frame is 
 compleated; the fpace is reduced to a moderate proportion, and all ap- 
 pears uniform and rational. If any thing more be intended, it muft be 
 given by fume additional fculpture. » The cornice and its pediment are the 
 proper fcenes for this : their mouldings will receive the ornaments of the 
 chiffcl, and fhew them very confpicuonfly. This done, the only blank 
 \vill appear in tlie face of the pedelfal, which rifes from the mantle-piece, 
 and I'upports the upper work ; and it will be eafy to difpofe upon that any 
 lighter or richer ornament, according to the occafion. 
 
 Of 
 
H I 
 
 Of the richer continued CniMNEY-PiECE. 
 
 141 
 
 We have Paid already, that a due breadth is efliintial to dignity in ihc 
 upper wcrk of the(e Chimnies j therefore let hm be^Mn by deligning a 
 Chimney of due extent below ; and, as there cannot be this needful 
 dignity without fome weight, let him give the lower part a folidity to 
 fupport it. In this view, when he has defigned the lower part in the 
 ufual way, let him add breadth to its outline, and folidity with ornament. 
 
 Of the Ornaments. 
 
 Feftoons en the lides of the Chimney are the principal ornaments of 
 the lower parts. Let them be made rich, and wrought with large flow- 
 ers. Let the moulding of the inner part be alfo decorated with fome 
 Iculpturc, and no more will be required in this place. 1 he mouldings, 
 and other parts of the Chimney-piece below, muft thus be enriched by 
 proper fculpture, that they may correfpond with the work above. The 
 particular diredtions on this head need not be repeated here, as they are 
 to be found in treating of plain or fimple Chimney-pieces. The upper 
 work is the proper bufmefs of this place, and to that the (Indent is now 
 to raife his imagination. He has the form of a frame, fupporting acor- 
 nice, and upon that an open pediment; he is to fill the open fpace left 
 there, and to give fomething correfpondent to it below, and he is to en- 
 rich the fiame. 
 
 Tbefe a e the three points. And with regard to the firfi: or mofl ef- 
 fential, the proper direction is, that whatever be placed in that opening, 
 be light. The frame in this cafe fupports the cornice on which the pe- 
 diment is raifed, without the aflillance of two regular fides, therefore 
 lefs weight muft be added, btcaufe the fupport is lefs. A vafe, though 
 proper there, would have an afpecfl of too much weight here; and nothing 
 is io proper as a fhicld, furrounded with fome loofe ornament. This, 
 with a futhcient bignefs, will have little weight, and there may tall from 
 its lides, as from the top of the vafe, feftoons of flowers; thele may ei- 
 ther be lalf upon the flnt cf the cornice, or continued to the angle, at 
 the pleafure of the fculptor; it is indifferent in point of propriety. 
 
 Let our defigner now review his drawing; he will fee that the com- 
 mon ornaments of the tablet over the centre of the fire-place, and the 
 fliield at top, give an air of nakednefs to the bottom of the frame. 
 This mufl: not be fuffered in a piece of work intended to be fo orna- 
 mental; fome figure muft be confidered to fill it. The ftudent has the 
 whole range of nature for his fcope and compafs, and from among the 
 animal kind may felcft what he plealcs. A bale may fupply the place, 
 or any form of a living creature ; but ihoie figures are aii-'ft proper ia 
 which there is the greateft freedom. 
 
 O o Thus 
 
14^ 
 
 C H I 
 
 Thus much fitiiflied, there is only the confideration cf the frame, and 
 its oin;ui)ent is eafily appropriated. The oiitfide flioald be enriched with 
 large and bold fculpture, and the innermoiilding (huuld be wrought with 
 care. From the Iquare of the upper corner there may fall a fcroll and 
 fcUoon Tideways ; tliefe will finidi the dcfign. They mufl be light, be- 
 caufe there is little fpace for them ; but they will have a very good ef- 
 fedl ; for, befide the filling a very difagreeable blank, the fcrolls, fmall 
 ns they are, will yet have an afpedl of fupporting the fquare corners 
 which hold up the cornice. 
 
 Of fimple Chimney-Pieces, tvith various Ornaments. 
 
 The ftudent knows v/e underftand, by a fimple Chimney, one which 
 terminates at the mantle-piece, and is the proper kind for a parlour that 
 is hung with paper. It is not limited to this alone, but may be a fit or- 
 nament in any rooin not of the moll; magnificent kind; but the propri- 
 ety is in the ufe we have named. Variety of torms and ornaments muft 
 be confidered by the architedl for this purpofe ; and to thofe we have 
 oiven, we Chall now add (ome others. 
 
 We will luppofe.a plain and not large room is hung, and is to have a 
 Chimney fuited to it ; the orders we will fuppofe are by the proprietor 
 excluded, and perhaps, by a regular confideration, the room not being 
 of mapnificence to renew them. The owner is tired of the fame dull 
 repetition he lees in common rooms; and he defires, though, without 
 a great expence, to have fomething handfome and new. Thus much 
 preiumed, let the defigner mark in his whole fpace of extent for the in- 
 tended Chimney, and within that outline let him thus begin the con- 
 jlruftion of the feveral parts. From the hearth let him raife a bold 
 fuuare plinth to the meafure of the outliee, and fomewhat backward. 
 Tuft within this, and more projedliog forward, let him raife another 
 plinth of the fame height, and fomewhat more in breadth. Thefe are 
 the proper foundations of the work. Upon the inner plinth, on each 
 fide, let him raife a plain perpendicular piece, with a handfome mould- 
 ing on the inner edge, and a flip of plain marble within that : let the 
 reft of thefe two fides be perfeclly plain, and for the top lay on fuch ano- 
 ther piece, terminated by a moulding inward; and for the reft admitting 
 no ornament but a good polifti. 
 
 Thus is laic! the foundation of cur Chimney-piece ; this is the fimpleft 
 and plaineft form in which luch a piec-e ot work could be conftruitted ; 
 for thefe three parts make a kind of Chimney-piece alone : and from this 
 the ftudent may learn, that the happieft ornaments are thofe added to 
 plain propriety. On the outer plinth, which is placed fomewhat back- 
 ward, .'•aile on each fide a Icroli of the ulual foraij let its head be level 
 
 with 
 
CHI 143 
 
 with the aperture of the Chimney, or lower edge of the upper-piece ; 
 and let it here fvvell into roundnefs in the ufual way ; thence continuing 
 hollow to the middle, and then fwelling out a little again for the foot by 
 way of fupport. Upon the head of this fcroll, on each fide, let a plain 
 piece reft, of the breadth of the upper piece of the frame, and let it 
 have a moulding when it refts upon the head of the fcroll, which will 
 anfwer exadly in this difpofition to the moulding on the lower edge of 
 this part. Thus is the Chimney carried in a plain way (for we fhall 
 fpeak of its few ornaments afterwards) up to the due height of the frame ; 
 and upon the level top of it is to reft the mantle-piece. This muft be 
 correfpondent to the lower part ; that is, it muft be handfome without 
 great expence, and fingular without abfurdity. 
 
 We have contrived for a various projedlion of the parts in the bring- 
 ing forward of the fides ; it will be well to make it confift only ot a 
 freeze and cornice ; the plain upper piece of the frame, and the corref- 
 pondent fmall piece over the fcrolls, ftanding to the eye in the place of 
 an architrave. It will not be eafy or proper to give the cornice any more 
 than two projedions ; that is, its whole level face uniform, and the parts 
 over the two fcrolls receding. The propriety of rule ties us down to this ; 
 but it is not fo in the freeze j that, inftead of three, may be made to 
 confift' of feven parts -, and though the projeftions are in reality but two, 
 they will appear numerous from their alternate mixture, and will have all 
 the force and charm of variety. The two fides projf (5t beyond tie fcroll,-. 
 Let a piece of the fame breadth be continued over thefe, and let it pro- 
 je(5l to their level ; let the whole freeze befide be of the level of the piece 
 abuve the fcroll, and in the center let there be a tablet projeding to the 
 level of the top pieces over the fides. This will give the appearance of 
 feven different projedlions, though in reality there are only two, fince no 
 two that ftand together are alike. Indeed they may at the pleafure of 
 the architecl be carried farther, for the tablet in the middle may have a 
 projedlion different from that of the pieces over the fiiies j and the 
 parts of the freeze over the fcrolls may recede deeper than the common 
 courfe of the freeze. This is in the pleafure of the architect j but wc 
 advife the former method, that the whole plain courfe of the freeze be 
 of the fame level, and the projedions be equal. 
 
 Let the deligner beflow a due attention upon this part of the work, for 
 it is all that requirss invention, the cornice dem^inding no particular 
 thought for its conftrudion. Of the ornaments we fliall ipeak leparate- 
 ly, fo that all we have further to coniider is the cornice, in whofe form 
 there need be nothing particular, nor is any other care rtquired than to 
 ftop the plain force with a fliarp edge, where it terminates at the rcccfs 
 ever ihefciuUs, and to work the feveral mouldings with trutii. 
 
 Of 
 
144 CHI 
 
 Cf the Ornament s. 
 
 Thefe mofl: regard the freeze, and, of all its paris, the central tablet 
 Is the principal ; that will attract the eye firrt, and detain it longeli, and 
 ccnfeqiiently upon that it is needful to beftow the greatefl: attention , With 
 refpedt to its form, that of an oblong fquare would firft come into the 
 archi;e6t's thought, but fomelhing may properly be added to it. The 
 freeze cannot be very deep in a Chimney-piece of this kind ; and, as it 
 is proper to give a confpicuous air to the ornament of this part, nothing 
 can be more judicious than to drop it into the upper member of the 
 frame. The whole tablet may be let into this upper piece of the frame, 
 but it will then appear heavy. It will look like a botch, and leem to (ay 
 the freeze was ill con(lru(5ted for its ornaments. This muft be avoided 
 by all means, for as it is fit the architecfl fhould in his own mind lay the 
 plan for the whole together, it is alfo fit that the eye f]:iould difcover at 
 once that there had been fuch a contrivance. To this purpofe, ia the 
 prefent inflance, let the tablet drop into the upper member of the frame 
 ( nly in the middle, the two fide parts being of the breadth of the freeze. 
 This will giv2 the tablet itfelf a more handfome fliape than that of a 
 plain fquare, and will fuit it very happily to receive the ornament that is 
 inofi; proper for it. This may be of various kinds, but there is none fo 
 lit as a head; and as this will fill the deeper fpace, and leave almol]: a ne- 
 ceflkv of fhort feftoons on tiie two fides where the tablet is lei's deep, 
 the two faces moft happily fuited to the purpofe are thofe of Bacchus or 
 Flora. Round the one may be -.in intermingled wreath of grapes and 
 foliage among the hair, which may run off each fide to fill the narrower 
 part of the tablet with a fruit-feftoon, and round the other a wreath of 
 roles and anemonies, which may in the fame manner be continued into 
 that vacant part. Pomona may take the plsce of Bacchus, but the 
 fruits are properly of the larger kind j or Ceres may be placed inllead of 
 Flora, but her ornaments are lefs elegant. One cl thefe, after all con- 
 lideration, will be found the befl. Where there is a plain tablet, an 
 Apollo's head is very proper, becaufe of the rays ; but it would be irre- 
 gular here. 
 
 The tablet thus covered, the two fpaces on each fide of it come under 
 confideration. Thefe are oblong, and of moderate breadth : they will 
 receive very happily a cornucopia m each. As the tablet is crowded with 
 flowers and fruit to the edges, let the naked ends of the horns come to 
 that part ; and as it will be proper to give fome peculiar ornament to the 
 piece over each fide which term:nates the fpace, that will not be of the 
 flower or fruit kind ; the broad mouth of the horn may each way ter- 
 minate 
 
CHI 145 
 
 minate a little fliort of that, and pour out every way its fruit and other 
 treafures. The ftudent will fee, that, in the decoration of this freeze, 
 we ftudy diverfity as well as beauty. Hitherto the feveral parts are fuffi- 
 ciently diftinguiihed from one another : the face in the center is well fur- 
 rounded with flowers ; the curled ends of the horns come near that, and 
 feparate to a fufficient diftance the treafures they pour out at the other end 
 of the fpace. 1 he piece over the fide, which feparates this from the fmall 
 receding part of the freeze over each fcroll, may be decorated with a ra- 
 diant (\ar; and then, in that receding part, it will be very proper to place 
 a bunch of grapes, or (ome other confpicuous clufter of fruits. Indeed, 
 if a Bacchus's head be placed on the tablet, we by all means recommend 
 grapes here, preferably to any other ornament ; and, on the fame account, 
 if the head were a Flora, we fliould advie the placing on the parts a rofe, 
 or lome other confpicuous and large flower ; for the dirtance between this 
 part and the tablet, with the feveral intervening objeds lufRciently pre- 
 vent it being confidered as a repetition ; and, when that danger is not in 
 the way, there is a happinefs inftead of a fault in this method, becaufe it 
 continues the fubjedt ; and there is a pleafure in feeing under what variety 
 the lame thought and defign may be prel'erved. The principal affair of 
 the freeze being thus determined, little is required for the decoration of 
 the other parts. The fcrolls mufb have their common fpiral upon the 
 fhoulderj and as tlie only vacant fpace will then be in the fide under the 
 voluie of that part, a large flower may very happily be placed there, from 
 which there may be dropped a light and fmall fefloon. All that need be 
 done farther, is the decorating fome of the mouldings with fculpture. 
 The cornice will be the principal fcene o{ this decoration ; and as it is 
 moft in fight, there will be propriety in giving it the greater fhare of thele 
 ornaments. The moulding that furrounds the frame on the infide of 
 the Chimney may alio have the fame decoration. 
 
 0/ a Marine C h i m n e y- P i e c e . 
 
 By this term is meant a Chimney-piece, all the ornaments of which 
 are taken from Marine, or fea fubjects. 'I hefe are in themfelves ex- 
 tremely numerous, full of beauty, and full of variety. The whole fcopc 
 and ferics of them are in the choice of the archited on fuch an occafion ; 
 and his judgment is to dlfplay iilelf in a proper chjice among the irsuhi- 
 plicity ut forms, and a jafl afiortment and continuation of thole he choofes. 
 The hrlt diredii.n we Ihall give tiie young architcd on this head, is tore- 
 view the variety of nature, and take his choice among them. Let him 
 not limit his fancy by the fmall number that have been uled by others : 
 there are not only more, but better. The architedls of the prelerit time 
 do not fufliciently fludy nature i and it is in the works alone of thole who 
 
 P p ha\e 
 
146 CHI 
 
 have profelTedly treated of thefe fuhjefls, that he who would be eminent 
 in th.is part of" his bufinels mufl; ftudy the means. This path rightly fol- 
 lowed, there will be a fource of beauty and variety opened, that no prac- 
 tice can exhaud ; and from fnch (lores, not on the imitation of the works 
 of o'thcr?, we would have the architedl go upon the defign of this 
 Ciiimney. 
 
 Let him, as ufual, mark in a general outline to circumfcribe the com- 
 pafs it flioiild fill; and within this, upon the level of the hearth, let 
 him firll raife two fmall plinths, as in the preceding defign ; only that 
 here the greater one being defined for the fupport of the ornamented part, 
 muft be confiderably larger than the other. On the firft of thefe let him 
 raife two perpendicular fides, confilling only of a few large moulding-", 
 with a flat ledge within them ; and upon thefe let there rt^lt a third piece 
 of the fame kind and form. This makes what may be called the frame 
 of the Chimney-work -, and about this are to be difpofcd the ornament?. 
 Upon the fecond, or broader plinth, on each fide, which are to recede a 
 little for the advantage of light and fliade, let him raife two flat and up- 
 right pieces; to be the field, whereon to place the ornaments. Thefe are 
 to terminate, as the fcroll in the other delign, at the height of the open- 
 ing of the Chimney j and they are there to be crowned each with its head 
 of mouldings. Thefe may be more confiderable than thofe of the other 
 Chimney-piece, becaufe the pieces which they terminate are the moft 
 confiderable part. 
 
 Thus is the body of the Chimney-piece to be defigned j and upon this 
 level top made by the frame, and the outfide pieces, is to be raifed the 
 mantle-piece. This is to confirt: of a freeze and cornice ; and fur the re- 
 ception of the intended ornaments, the freeze muft be broad. Thus is 
 liniflied the plain form of the mantle-piece, and its fupporr. The Chim- 
 ney-piece tinifhed thus perfedly plain, would be of no dilagreeable form ; 
 but we propofe to enrich it with very felegant, though not expenfive. 
 ornaments, 
 
 Cf the Decorations of this C h i M N e v~P i e c e , 
 
 There are two parts in this work allotted for the reception of orna- 
 ment, the flat pieces carved up the fides, and the freeze under the corner 
 of the mantle-piece. In thefe pieces the center of the freeze is under- 
 flood to be the point of principal ornament : it is there the tablet is placed 
 in thofe Chimney-pieces which receive that addition; and in others the 
 principal figure naturally takes its place where fuch a tablet would ffand. 
 The molf natural, as well as the mofl conmion ornament in this place, is 
 a head of fome kind; and the reft of the freeze is ufually, and not un- 
 gracefully, filled with a couple of feft oons that rife from it. We are not 
 
 in 
 
C H I 
 
 H7 
 
 in this inftance about to prevent the iludent from following the courfeof 
 cuftom, but would have him compofe his feftoons of fuch fubjedls as are 
 moft fuited to the occafion, and chiife his head from thofe kinds v\'hich 
 have correfpondencc with the reft. In general, feftoon^ are made of flow- 
 ers and fruits ; and the head, placed as a decoration to the Chimney-piece, 
 is that of fome heathen deity. Neptune's head might anfvver in this 
 place, or that of a fea- nymph; but the firft would be too courfe for the 
 work, and the latter might be mifunderftood. It will therefore be moll 
 proper to place there the head of fome large fifh j not of thefhark, be- 
 caufe the armour of its mouth naturally creates terror; but that of fome 
 more inoffenlive kind, the whale, or the figure heralds give of the dolphins. 
 
 Thefe will not fail to pleafe every eye, when the reft of the Chimney 
 is decorated in the intended manner ; but if either of thefe fuit the tafte 
 of the architedt, he may give a figure from fancy, only takir.f care that 
 it refemble fo much a fi(h's head, that every eye may diftinguith that it is 
 defigned for one. This principal figure being placed in the centre of the 
 freeze, the two fides are to be filled with feftoons. Let the archited: 
 form a general outline of thefe, marking their breadth ; and let him bring 
 each from one fide of the head ; and, after dropping it down in the mid- 
 dle, let him raife up the other end to the top of tiie freeze at its extre- 
 mity. This is to be the courfe of the feftoon ; but with refpedl to its 
 ■parts, they fliould be correfpondent to the general defign, and made of 
 fliells. Cf thefe the fea affords a variety altogether endlefs ; and among 
 them are a thoufand different forms, which may be happily twilled together 
 in this defign. The body of the felloon may be thus diverfified with the 
 figures of the Oiells; and the pearl-oyfter being introduced among the reft, 
 may fcatter over the edge its glittering treaiures. The fides are to be de- 
 corated with the fame kind of fubjeds: but as they have a different di- 
 redion, thofe objedts may be placed in a various manner. At the top of 
 each may very properly be placed a fcallop, and from its bafe may hang 
 a feftoon of other fhells : thefe may be chofen fo as to diverfify the whole 
 by their unlikelinefs toothers, as well as to exhibit a pleafing number of 
 forms : and upon the plinth of this piece may reft a large conch, turning 
 up its wide and open mouth, as if gaping for the dropping fefloon, loaded 
 with fmaller fhells, and fcattered pearls, as in the freeze. 
 
 There will remain a fquare piece undccorated at the top of each of thefe 
 fides above their mouldings, and upon a level with the freeze. This will 
 admit a peculiar beauty, by means of the diverfity of light and (hade af- 
 forded by its receding ; and in this fhould alio be placed one large fliell. 
 For the reft nothing can be added, but fculpture to the mouldings; and 
 this we advife not to be too laviflily allowed them. They fhould not be 
 left altogether plain, becaufe the quantity of work upon the fides requires 
 fome decoration in thefe parts ; but neither fhould the chifi"el be allowed 
 
 to 
 
148 CHI 
 
 to reft too long upon them. They fliould not be plain, becaufe that 
 would ill agree with the reft ; and they fliould not be much adorned, be- 
 caule the eye is intended to be detained but little upon them : the peculiar 
 ornaments of the fides being the intended objedls of the attention. Lit- 
 tle need be faid with regard tothe materials of which this Chimney (hould 
 be made. The quantity of ornament, and its nature, require, that there 
 fliould be no coni ulion in the lights and fliadows. This declares a marble 
 ot one colour to be the only kind fit for the purpofe j and of thefe lorts 
 there is none {o proper as the plain white. 
 
 Of a f mall Chimney-Piece laith Scu'ptured Mouldings. 
 
 The laft defian was of a kind where the beauty of the work refults 
 from the variety of added ornaments. What we are here to treat of has 
 its elegance from a plainer, more familiar, and lels expenfive fourcej 
 and yet in many cafes is full as pleafing. That was fit for particular pur- 
 pofesj for the ftudy of an admirer, or the library of a naturalift, where 
 it might ftand independant of every thing elfe, and yet be fure to pleafe. 
 It could not fail to affecfl the imagination by its novelty, nor to pleafe by 
 the variety of its ornaments, and by the beauty of the fingle figures, as 
 well as by their difpofition. That which we here propofe is one of a more 
 generally ufeful kind ; and we fliall introduce the reader to it as to the 
 others, by forming a fuppofition of its place and ufe. 
 
 A parlour, we will fuppofe, is to be decorated with Sculptured Mould- 
 ings upon wainfcot pannels, and a Chimney is to be fuited to it in point 
 of expence and figure. This mull have the fame kind of decorations, and 
 its ornaments of a higher order. Whatever be allowed in this way, mufl 
 not be repugnant to it. This is the kind of work we propofe here; and 
 the ftudent muft thus defign it. Columns would be too noble, and they 
 would not fuit the room : fanciful ornaments are not to be received, be- 
 caufe the reft of the finifliings are of a plain, though handfcme, kind ; 
 and the defigner has only the form of a common Chimney-piece in his 
 power, and can ufe nothing fo well as Jcrolls to fupport the mantle-piece. 
 Let him maik a general outline for the whole, and tnen confider its fource 
 of ornament. 
 
 As many things are with-held, he is to make the moft of thofe which 
 are tree to him : and let him firft confider the advantages that may arife 
 from light and fliadow. Let him, upon the level of the hearth, lay in 
 three Iquare plinths; the inner one largeft, and moft forward, and the 
 otlier two gradually fmaller, and gradually receding. Thus there will be 
 the foundation of three general projedlions in the upper work ; and, in 
 the principal of thele, there may, from its breadth, be fome other varia- 
 tions of the fame kind. Let him now begin with the inner plinth, and 
 
 raife 
 
CHI 149 
 
 raife upon it on each fide a perpendicular, formed of three piece?, in three 
 different projedions ; that which recedes moft being inward. Thefe 
 raifed, let (here be laid over them a third of the fame form. This as m 
 the preceding inftances, makes the frame or firft woik of the Chimney. 
 Over this let him defign the flat plate as a freeze ; and then beginning 
 from the bottom again, let him raile his fecond perpendicular piece. This, 
 from the decreafed bignefs of the plinth, will be narrower than the for- 
 mer, and it muil be terminated at the top by a handfome fcroU, whofe 
 head muft be on a level with the top of the freeze. The third perpen- 
 dicular is nov»' to be raifed upon the moft backward plinth ; and this muft 
 be according to that part narrower than either of the others j and muft 
 terminate plain at the fame height with the head of the fcroU and the 
 freeze. Thus there will be a regular extended furface, upon which our 
 ftudent is to delign the cornice for his mantle-piece -, in which his care 
 muft be, to ftrike the feveral parts and mouldings with truth, according 
 to the directions given before under their various heads. Thus will rile 
 the whole form and figure of a Chimnev-piece ; and, to finifli it to the 
 purpofe we have here propofed, there will require only a natural iucceffion 
 of ornaments along ihe parts and places where they will be moft con- 
 fpicuous. 
 
 Of the Decorations of Juch a Chimnev. 
 
 The purpofe being to fuit this Chimney-piece to a room where the 
 mouldings of the wainfcot are carved, the mouldings here muft have the 
 fame ornament. There will be two upon the inner form of th- Chimney- 
 piece, which will very properly receive the chiffel ; and thefe being 
 feparated by a broad-piece, which is plain, may be enriched as highly 
 as the artift pleafes. The beauty of the mouldings will be feen diftinclly, 
 if feparated by this plainnefs; but when there is fculpture in this inter- 
 mediate part, the eye is loft and bewildered, and fees nothing diilinctly. 
 The mouldings of the cornice are next : to thel'e there is to be allowed \ 
 great deal of Iculpture. It is the moft confpicuous part, and tor that 
 reafon demands to be made the moft elegant. It is si lo upon a level wiih 
 the eye ftanding, and will be confiderea more naturally than ary other 
 part in the lame view with thofe mouldings of the wainicot, with which 
 it is the art of the Architedl to make it correfpond. The great judgment 
 will be, in this place, to throw in the needful quanfity of crnsment with- 
 out confulion. The great beauty of carved mouldings is to be leen dif- 
 tinCt. To this purpole nothing is fo ufeful as the interventicn ot plain 
 parts. When the quantity cf Iculpture^xcquircd docs not acniit oJ th;^t 
 relief to the eje, the greatcll care muft be m varying the kind ot loulp- 
 ture on the leveral parts, fo that the difference or the figure in the icverul 
 members may occalicn the eye to lee them all diftindtly. The mouldings 
 
 Q^q thus 
 
I50 CHI 
 
 thus decorated, there remains but little to the fininilng this piece. Two 
 parts alone are vacant that would bear ornament; thefe are the freeze, 
 and the two upright pieces, which are terminated by the fcrolls. 
 
 In the freeze the ornament muft not be heavy, yet it muft be confpi- 
 cuous. The head of fome heathen deity, crowned with a wreath of 
 flowers, will very well anfwer the purpofe in the centre ; and from this, 
 on each fide, muft be continued a feftoon of large loofe work, nearly to 
 the extremes. The top of the fcroll may very properly be ornamented 
 with a fcollop (hell ; and its natural riches will be a fufficient decoration 
 to the body of it. The bottom may be covered with the end of an 
 acanthus leaf, and from this may drop a feftoon of flowers : thefe muft 
 have a moderate projection, and the care of the defigner rtiould be to 
 form the feftoon of fuch as have no fmall parts. The projection of the 
 inner part will be fome defence to it, but, notwithftanding that, it is in 
 a place where there is too much probability of accident. This is a thing 
 that ought to be much more confidered in fculpture than it is. The 
 place where the work is to ftand fhould be regarded, that the accidents 
 may be forefeen to which it is liable, and the parts compofed accordingly, 
 nothing tender being admitted where there muft come violence. 
 
 With regard to the materials of which this Chimney-piece fhould be 
 compofed, the quantity of fculpture determines that point. There is 
 difficulty in fo managing this in any manner, that the merit of the artift 
 may not be loft in the confufion of the objedls from their nearnefs ; and 
 if a coloured or variegated marble were employed, that confufion would 
 be inevitable j therefore plain white is fitteft for this purpofe. Indeed the 
 univerfal rulefuits well with nature j for as the variegated marbles do not 
 advantageoufly admit fculpture, neither do they require it, their mixture 
 of tints giving them beauty of another kind. 
 
 Of a Chimney-Piece /cr a Room more enriched. 
 
 We laft confidered the kind of Chimney that would be proper for a 
 room where the mouldings of the wainfcot pannels were decorated with 
 fculpture, without any other confiderable addition ; we fhall carry our 
 reader's imagination a little higher in the fame way; and fuppofe, that 
 befide the kulpture of the mouldings, the room has farther decoration of 
 the fame kind; the Chimney muft be proportioned to this ; and we {hall 
 here confider the form that will be moft proper. The fame general ftiape 
 with the laft muft be right, becaufe the decorations of the room are of 
 the lame kind; but as there is more required in this cafe, there muft be 
 more extent for the reception of the ornament. This is the firft princi- 
 ple : the Chimney-piece muft be larger, and there muft be a greater field 
 
 for 
 
CHI 151 
 
 for decoration. The lights and fliadows muft be next confidercd, and, 
 after the defigner fliall have drawn his general outline, he mufl: begin to 
 provide for this by different projedions. 
 
 Three plinths, in different degrees of projecftion, he mufl firft mark in, 
 as in the preceding; but in thefe the third or mofl remote muft fliew it- 
 felf between the firft and fecond very far back, and the middle one or 
 fecond muft itlelf have a different projedlion, the middle of it ftanding 
 much forwarder than the two fides. We ftiall fhew the ufe of this in 
 the fuperftrudlure J let the ftudent begin here, and he will fee the advan- 
 tage in point of light and {hadow, that muft attend fuch a mixed projec- 
 tion of the feveral part^^. Upon the firft of thefe let him raife on each 
 fide a perpendicular piece of its breadth terminated each way by a hand- 
 fome moulding; and, laying another piece of the fame form and compo- 
 fition over them, from one to the other, he will have then the frame, or 
 firft work of the Chimney. The fecond piece, as we have named al- 
 ready, is not to rife clofe to this ; the third, coming behind it in form of 
 a back pilafter fafhion, is to feparate it a little, and there is then to be 
 raifed upon the middle or moft projecting part of the bottom, a fcabbard 
 of that kind, which holds the figures of the termini ; and from the 
 hinder part of it, which projeds lefs, let him raife a perpendicular piece, 
 which is to ferve as a back to the figure in the middle, and fhall be all 
 the way of equal breadth. We have before mentioned the continued 
 piece of fmalleft projedlion, which, running behind this, ferves as a back 
 to the whole that is raifed on the laft mentioned plinth, and terminates 
 pedeftal-fafhion at the height of the firft frame of the Chimney. Thus 
 much prepared, the figure which is to rife on the middle part of this 
 fecond plinth, and is to be the principal of the work, is to be defigned. 
 
 The back we have proposed for this running of equal breadth up from 
 the whole of this plinth, muft cut through the mouldings of the pilaf- 
 ter back, and rife to fuch a height above them, that a plain piece being 
 laid over the frame by way of freeze, its top fliall be level with theirs, 
 Thefe are uniformly to fupport the cornice of the mantle-piece. We 
 have diredcd the ftudent to begin the form of a fcabbard from the pro- 
 jeding part of the middle plinth, equal to it in breadth at the bafe. 
 The outline of this muft be formed by two divergent lines,, which wi- 
 dening upwards, mufl a little above the lower moulding of general back 
 unite with thofe lines which form the particular back of the figures 
 drawn from the two fides of this plinth. This will have a very h.ippy 
 cffedl. 
 
 Now, diredly under the mantle-piece let there be drawn a female face, 
 crowned with a fancied head-drefs, and ornamented with flowing hair. 
 The neck and breaft muft be naked below this ; and they will naturally 
 
 enough 
 
152 CHI 
 
 enough fill the fquare piece, where the two lines which form the fcab- 
 bard are loft. In this place is to begin the fcabbard, and a little foliage 
 may very well rile on each fide, and in the middle drop lower, forming 
 a kind of ornament above the fides of tlie breaft, and concealing the fe- 
 paration. Hence is to be continued the fcabbard downwards ; and this 
 fhould in the prefent inftance be decorated with a rich fcftoon for two- 
 thirds of its length, and on the lower part covered with an acanthus 
 leaf, raifed for thnt purpofe from the furface of the plinth. Over the 
 head, and upon the flat piece, continued from one of them to the other, 
 is to be carried the cornice, which projecting on each fide over the heads, 
 and receding behind, will have a great deal of variety in light and (hade ; 
 and nothing will now be wanting but the ornaments. 
 
 0/ the Ornaments of this Chimney. 
 
 It is intended in ihe original defign of this Chimney, that it fihall have 
 a great deal of decoration. Heads placed above the fcabbards in the mid- 
 dle parts, are a great article of this elegance; and what remains to be 
 done, is to give a proper decoration to the freeze, or flat piece, over the 
 frame, and to add the advantage of fculpture to the mouldings. In the 
 center of this piece it will be right to place a tablet, as that addition never 
 fails to give a look of finifiiing. In the centre of this is to be formed 
 fome large and confpicuous ornament. It mufi: not be a head in this 
 Chimney-piece, becaufe that would be a repetition of what is already at 
 the fides. A fliell will be very proper for the purpofe, and as it (hould 
 be of fome kind that Ipreads confiderably without projection, none will 
 be fo fit as the fcollop. For the conlliudtion of this, we fiiall refer the 
 fculptor to an original much fujierior to all the models of old Greece: 
 let him lay before him, as he v^'orks, a natural fcollop (hell ; and if he 
 will with due attention follow the work of nature in the feveral ribs and 
 furrows which her difiincft and accurate hand has marked upon its lur- 
 iace, he will command univerfil admiration. This is the everlafting 
 leflbn we give the fculptor. Nature is in all thefe cafes ready at hand ; 
 and we lliall not fear to tell him, that as much praife may be obtained 
 by mimicking a fingle fhell, as by copying the Belvidere Apollo. 
 
 From each lide of this flieil (Lould be carried a feltoan to fill the reft 
 of the tablet ; and as nothing can fo properly decorate the two fpaces of 
 the freeze on the two fides of this tablet, there may be a great deal ot 
 merit in fo difpofing the inner point of each, th >t although it be in re.dity 
 diftind, it ihail fcem a continuation each way of ihe feftoon on the tablet. 
 The remaining ornament of this Chimney-piece muft depend upon the 
 fculpture of the mouldings ^ and in tliis the l3n)e care muft be taken, 
 as in the preceding inftance, that this be varied in io carelul a manner, 
 
 thut 
 
CHI 153 
 
 that the feveral parts tend to fet ofF one another, not to confufe the eye 
 that is detained upon them. The great caution in this refpedl will be 
 required at the cornice, for in that part the fculpture will be clofe. The 
 two mouldings we have diredled to be given to the three pieces which 
 conftitute the inner work or firft frame, muH: be cut into a bold and 
 ftrong elegance of this kind; and as the reparation is confiderable, we 
 fha'.l allow in this what we declared againfl in the other, that is, Tome 
 ornament on the piece between. This mud be light, and confift of large 
 parts, and by this means it will at once have an afpedl of diverfity, and 
 will not confufe the light. 
 
 Of a Chimney-Piece and Wind-Dial, 
 
 We fhall clofe the article of Chimney-pieces with one of the continued 
 kinds: in which, befide the Angularity, there is ufe. Everyone knows, 
 that from a vane at the top of a houfe, turning according to the courfe 
 of the wind, a dial may be made, with its hand, which anfwering di- 
 redly to all the motions and changes above, fhall point to thofe diviiions 
 on which are marked the feveral points of the compafs. This is familiar 
 to every one on the outfidesof buildings, from that which is fo wrought 
 at Buckingham-houfe, now the queen's palace ; but the moft ufeful me- 
 thod is to place the dial within doors. Thofe who are to go out of the 
 houfe to know the courfe of the wind, may look at the vane itfelf; but 
 there is a great deal of convenience in bringing that indication into a room 
 of the houfe. W.hen a thing of this kind is propofed, the firft bufmels 
 of the defigner is to remember, that every room is not fit for it. A wind- 
 dial in a dining-room would be an odd kind of ornament, and much 
 more improper, would it be to place it in a more elegant apartment. 
 The ftudy of a fea-officer, or other curious perfon, or the breakfafting- 
 room of a fportfman, are the proper places. 
 
 Of the Conjlriidlion of this Chimney-Piece. 
 
 Continued Chimney-pieces are in a manner devoted to the fineft rooms 
 in a houfe, and are therefore in great propriety covered with a profufion 
 of ornament J but in this, which is particular in devi? 'ng from that 
 rule, the firft principle is, to omit the thought of fuch accumulated de- 
 coration. The room, in either of thefe cales, is not of that highly en- 
 riched kind ; nor is the dial itfelf, though it may be rendered far from 
 unpleafing to the eye, a piece of ornament at all like the others, of which 
 we have treated. For thefe reafons the defign of the lower work in this 
 Chimney muft be folid, without too much ornament; and all that be- 
 longs to the continued part muft partake of the fame charader. Thus 
 much premifed, that the ftudent may underftand every article, and its 
 
 R r reafon. 
 
154- C H I 
 
 realon, ns we proceed in the defign, we fliall confider Separately the two 
 parts ; or the Chi ninev' piece intended to fupport this fingular fuperftruc- 
 ture, and the upper work itfclf. We have obferved in general, that the 
 upper part in a continued Chimney-piece fliould be light; and for that 
 rcalln have on all common occafions excluded the ufe ot the orders. But 
 this is a kind altogether lingular. Its conftru(flion will therefore afford 
 an exception from that rule, very allowable in its own nature ; and as 
 we have direded that the whole of this upper work fliould be proportion- 
 ed to the defign, we fliall here allow an order in the fuperftrudure, and 
 that not of the lighter kind. 
 
 Of the loiver Part in thh Chimney-Piece. 
 
 The ftudent muft underlland, that he is to defign on this occafion a 
 lower part of a continuedChimney-piece.whofecharadter mull: be ftrength, 
 and whofe ornaments moderate. It is to be the decoration of a room 
 where the tafte of high finilLing has not entered, and it is to fupport a 
 plain, but folid luperftru<flure. Let him, when he has confidered the ex- 
 tent of the room, draw firll a general outline of the whole; and fepa- 
 rating the under part, of which we treat here from the other, let him 
 begin with the mark of a couple of fides confiderably broad in propor- 
 tion to the height of this lower part. No matter that they have an air 
 of mafi^nefs before the upper part is fliadowed in ; as foon as a Doric 
 column is placed over each, the rcafbn will be evident, and what might 
 feem in the imperfect view an error, will become a beauty. Let him be- 
 gin by defigninghis plinih ; Itt tl)is be continued tor the fupport of the 
 frame and general back, and let it prcjedl at an equal dillance from the 
 part where the rim of the frame will come, and the verge, that it may 
 fuppoft an upright piece, whofe pn;jccl:icn will give it an air of folidity 
 beyond the rell, and over whole axis is to rell that of the Doric co- 
 lumn. The plinth thus deligned, let him begin by raifing on its nearer 
 edge two upright pieces fur the firil frame: let thefe be narrow, and 
 teroiinatcd outward by a thick iiioulding. This will give an air of ftrength, 
 more than if thty were broader and more flat, and that is the idea care- 
 fully to be entertained in the mind thro' this whole defign. On the out- 
 fide of thefe muft be contained the general back, pilaller-fafhion, and in 
 themidft cf this let there be railed, upon the projeding of the plinth, 
 an upright of folid afped, which is to run up beyond the fides of the 
 frame to the cornice. 
 
 Thefe parts laid in, let a plain piece be marked for covering the frame 
 to the heiglit af the tops of thefe tvro laft mentioned uprights : and thus 
 there will be a level (uiface, on which to rcfl the cornice: beyond the 
 uprights there muft alfu be continued a piece over the top of the back, 
 which ended by a moulding running in a line with the upper one of the 
 
 frame . 
 
CHI 155 
 
 frame ; and thus Is the whole body of theChunney-pIece framed in this 
 lower part, to the place where it is to be crowned with the mantle-piece. 
 This is to projedl over the uprights, that is, under the pedeflals of the 
 Doric columns; and a pediment may be raifcd from its center. Thcfe 
 variations will give it a great advantage, from the dirpolition of the parts, 
 and the chunges of light and fliade, and that without the introdudlion of 
 any improper ornament. The pediment muil be of the open kind, and 
 muft receive a buft. 
 
 Of the Ornaments of this Chimney-Piece. 
 
 Befide the mouldings, which will very well bear moderate fculpture, 
 there is one confpicuous part that requires ornament. This is the freeze 
 or flat piece over the upper member of the frame j and there will alfo be 
 room for fomething on the bodies of the two uprights, which are imme- 
 diately under the columns. As for the ornaments of the freeze, there is 
 no abfohite neceflTity for a tablet to receive thofe in the midft ; yet it will 
 in general be advantageous. They fliould confift of large and folid parts, 
 to anfwer properly to the charadler of the rell of the Chimney-piece; 
 and as we have given two or three diff^jrent occafions on which it may be 
 proper to introduce this kind of Chimney, we (hall obfcrve, that they 
 ought to be felecled out of that part of nature wherewith the proprietor 
 is moft concerned. 
 
 If the breakfafting-room of a fportfman were the place for the Chim- 
 ney, we fhould diredl: guns and nets to be reprefented on the tablet, and 
 wild game on the fide-fpaces : but it will be beft to fuppofe it anivvering 
 the nobleft purpofes, and placed in the library of a fca-commander. In 
 this cafe the fubjecfts proper to be introduced are of another kind; and, 
 happily for the fculptor, they are fuch as will bed: become his art. There 
 is a vail: field here, as in all the inflances we have named before on like 
 occafions, for the Iculplor to leceive as models, but his art, which (hould 
 depend on nature, lofes fight of her entirely. The heralds animals are 
 not more contemptible than the eggs and anchors of our beft fculptors ; 
 fo remils are they even in the moft common parts ; and in all other;-, tho' 
 nature is before them, they regard only the reprefentations they find in 
 former works. Thefe are few, imperfedl, and obfcure ; while the va- 
 liety is enalefs in nature herfelf, and nothing fb eafy as the imit..tiiig 
 her. There is merit in novelty ; and this is the natural path to acquire 
 that praife.-. The artilf will find an inexhaultible (tore for it in thef- in- 
 ftances ; and he will fland veiy far above all cenfure, when he can appral 
 to nature, and to the reprcfentations of her feveral forms in the writings 
 of thofe who have profeffcdly ftudied them. It is tor this reafon we lb 
 often and fo earneftiy recommend to the architect, who is to dclign orna- 
 ment, and the fculpror, who is to execute them, the fludy of nature. 
 
 If 
 
156 CHI 
 
 If he would tafk his hand to the highefl of its power, let him, as 
 well as art can mirnic nature, trace in this work the accumulated rays 
 that in diftindl affortments cover the ftar ftone. To thefe let him add, 
 in review at leaft, the madrepera, or ipungy ftriated, and Aarry white 
 coral; the efchara, vvhofe netted fubflance tires the eye, vvhile not one 
 fibre lofes its place or office; to thefe the pearly ormus, and the round- 
 headed acetabulum add rheir i'arious, diftindl, and always admired forms. 
 Thefe, and innumerable more, which the fea covers from common eyes, 
 Jiaturaliits have dragged up to light, and their forms far exceed all the 
 fanciful figures that modern genius, or even the idolifed fancy of anti- 
 quity have ever given us. Thefe are the fubjeds ot which the feftoons 
 on the tablet in this inftance ihould be formed, and they are ready for a 
 thoufand others. Jnfteadof a compofition of fmall fubjeds, fill the va- 
 cant lide-fpaccs of the tablet with a whale or dolphin. The malTynefs 
 of luch a figure will contribute with all the reft to the ideas of ftrength 
 and firmnefs, and thus will the decoration of the principal part in the 
 lower work be finiftied. 
 
 Of the Decoration for the reft of the lower Part, 
 
 Next after the freeze, and its tablet, come under confideration the two 
 upright?, which ftand under the columns in the fuperftrudure. Let the 
 top of each be covered with fome broad and well fhaped leaf, and let the 
 body be furrounded by a plain moulding. This will give a kind of ob- 
 long pannel in the front of each, and down the greateft part of its length 
 may be carried a feftoon ; and let thefe feftoons be compofed of ftars, 
 waves, pearls and acetabula, and let the leaf he throws upon the top of 
 each be of the fea kind alfo. 
 
 Thofe whom our artifts affeft to follow copied nature. The firft rofe 
 introduced to fculpture was taken from the bu(h, and there remains to 
 this time its moft perfed model. It is fo in all the others; and every 
 carver has power to refer to the originals. Inftead of this the forms are 
 transferred with little regularity from one piece of work to another, till, 
 though we fee in every inftance the fame fhapes, it is noteafy to fay what 
 they are. The anemony is in fpring open to the imitation of the fculp- 
 tor, and what comparifon can be made between that flower from the gar- 
 dens, and its beft reprefentation from the chiflel .<* This copying one ano- 
 ther is the reafon of the acknowledged decay in the art ; and there is but 
 this method we propofe to reftore it to the firft luftre. The freeze, and 
 this part of the Chimney being difpatched, the other ornaments are hw. 
 A little common fculpture on the mouldings, is all there requires in the 
 cornice; and the buft in the pediment (hould be appropriated to the reft 
 of the work, a Neptune. t 
 
 Of 
 
CHI is7 
 
 Of ike Superstructure, 
 
 Thus much finifhed, we come to the continuation of the Chimney- 
 piece upward; and to form a proper idea of this, recolleft that a wind- 
 dial is to occupy the middle fpace, and that the fides are to be decorated 
 with Doric columns. In all continued Chimney-pieces the upper work 
 is a kind of frame; and Iiere it requires no particular form. The buft 
 will rife a little way into it j but this, far from being a blemifli, will be 
 the happieft way imaginable of conneding the two parts together, and 
 will admit an ornament continued from thofe of the dial. 
 
 To begin with regularity, we Ihall dired our ftudent to draw his lirfl 
 outline of the whole upper work correfpondent to the lower; and this done 
 he is to defign his columns. Though it is proper columns fliould be 
 ufed in the fuperftrudure of a Chimney-piece in this finsjulaf cafe, yet 
 it is to be confidered, that when the Doric, the mod fuited to the general 
 intent is employed, the feveral methods that tend to lighten it (hould all 
 be taken. The firfl: of thefe is the raifing it upon a pedeftal, becaufe in 
 that cafe the column having lefs height in the fliaft, requires le(s dia- 
 meter ; and in appearance nothing will fo much contribute to the weight 
 as the thicknefs of the (haft. This firrt principle being eftablilhsd, let 
 the ftudent find the axis or center of the upright piece on each fide, raifed 
 for the fupport of thefe columns, and there fix the point for the centre 
 of his column. 7 his afcertained, let him raife the proper pedeflal of the 
 Doric order, marking diftindly its bafe, die, and cap ; and let the mould- 
 ings which form thefe be continued as if to unite the two pedeilals by an 
 intermediate plain work ; they mult not be fuffered to cut the pediment; 
 and they will be interrupted alfo by the ornament of the buft. Let them 
 however be marked with a faiut line all the way, that it may be rubbed 
 out where thefe parts intervene. It is the moulding of the bafe that 
 will be interrupted by the pediment, and that of the cap by the orna- 
 ments of buft. The firft lines being marked in already, thefe need not 
 cut through it ; but in the other cafe the place of their (lopping cannot 
 be afcertained till the ornament is formed. Upon thefe pedelLils raife the 
 two Doric columns ; and, to give them a farther air ot lighcnefs, as far 
 as that order is capable, let the (hafts be fluted. Upon thefe raife the 
 proper entablature, and crown it with a broken pediment of the arched 
 kind, from the bafe of whole opening it will be very proper to throw up 
 a fcalUip-fhell, and to give out on each fide feftoons of corals, fhells, and 
 ftai -Hones, to fill the vacancy. This done, the Ipace is marked in, and 
 little remains for the architeft. 
 
 The ftrudureof the work lor the dial is not his province. Its outline 
 is all he is concerned to lay in, for he beft knows what would be its fize, 
 
 S f ' and 
 
158 C I M 
 
 find what ornaments Hiould J'urround it. In the fquare fpace contained 
 within the columns, their continued bale, and the low^r member 0/ their 
 architrave, let h.im defign a proper frame. This mult in general conform 
 to the outline of the fpace; but, to break, in upon the famenefs of a per- 
 fedl iquare figure, let the corners droop, and the top-line from a fmall 
 dill;;ince each way he elevated a little. This mufl: be the Ihape of the 
 frame; and, as to its compolition, nothing is proper but large ftrong 
 mouldings. Let the dial be now defigned, and brought into its proper 
 place. We would not have it fill the centre of the fquare, for that would 
 be poorly formal. Let it be ftruck with fevcral concentric circular ftrokes, 
 which will form the outlines of the mouldings : and let the outer line of 
 thefe be fo near the top, that the ornaments encompal^ing it may rile to 
 the bottom of the pediment. The outline being thus formed, let the 
 four cardinal points be marked, eaft, wefl:, north and fouth, and tijus le<t 
 the ornaments be begun. Oppofite to each of thefe marks let there he 
 a head, reprefcnting the antique figures of the winds ; and all that is re- 
 quired farther, is to conneft by fcroUs of a free, open and large work. 
 All is now properly filled, exrcept a fquare above the buff, left for a parti- 
 cular ornament. Let a couple of dolphins be dropt by the tails from 
 the part of the fefloon over tfiis, and let them at fome diftance furround 
 the buff ; within thefe let the defigner form the outline of a large fcal- 
 Icp. 7 his will ferve as a very elegant as well as proper back ground; 
 and as the upper part will be furrounded by the dolphins, this lower may 
 be decorated on the outfide by rifing fea-weeds. Thus will be finiflied a 
 continued Chimney-piece of a nature fuited to the particular occafion ; 
 in which every part will be appropriated to the main defign, and every 
 ornament will correfpond with the intended charadter. 
 
 Chissel, an inffrument ufed in carpentry, mafonry, joinery, fculp- 
 ture, &c. and diffinguillied according to the breadth of the blade into 
 half-inch Chiffels, quarter- inch Chiffels, &c. They have alfo different 
 names according to the different work to which they are applied. 
 
 Chqik, that part of the church where choriffers fing divine fervice; 
 it is fcparated from the chancel where the communion is celebrated ; and 
 alfo from the nave of the church, where the people are placed; the pa- 
 tron is faid to be obliged to repair to the Choir of the church. 
 
 Chord, in geometry, a right-line connefling the extremities of any 
 arch of a circle. 
 
 CiMA, called alfo cima/ium. A moulding very common in ornaments, 
 and called by workmen Ciiiia and cinwfium, whicfi fliould be written cy- 
 majium from the Greek name )£u;y,a(riot, which literally fignifies a ivaie, and 
 has been transferred to this moulding from its figure. The cyma/ium re- 
 prefents in fome meafure a wave; it is hollow at the top, and fwelling 
 at the bottom, fo that its out-line has a waved appearance; it is gene- 
 rally 
 
C I R 159 
 
 rally the uppermoft member in large cornices. There may be h\<.\ to be 
 two kinds o'i cymaciwns, in one the part that hr^s the greatell projedlurc, 
 and this they call the ogee reverfed, and fometimcs the heel. The beau- 
 ty of this moulding confifts in it", having the projcdure equjl to the height, 
 
 CiLERV, a term in architedlLire, fiynilying the drapery or levage that 
 is wrought upon the heads of pillars. 
 
 CiMELLARE, in architedure, is a veflry or room, where the plate, 
 veftmcnts, and other rich things belonging to the church are kept. 
 
 Cincture, or Ceinture, in architedure, is a ring, lift, or orlo at 
 tlie top and bottom of the fliaft of a column, feparating the fhaft at one 
 end from the bafe, and at the other from the capital. The Cindure is 
 fuppofed to be in imitation of the girts or ferrils, which were ufed by 
 the ancients toftrengthen and preferve the primitive wooden columns. 
 
 CiPPUs, in antiquity, a low column, with an infcription, ereded on 
 the high-roads, or other places, to fhew the way to travellers, to ferve 
 as a boundary to mark the grave of a deceafed perfon, &c. 
 
 Circle, in geometry, a plane figure, comprehended under one An- 
 gle line, which returns into itfelf, having a point in the middle, from 
 which all the lines drawn to its circumference are equal. Every Circle 
 is fuppofed to be divided into 360 equal parts called degrees. Every Circle 
 is the mcft capacious of all figures, containing the greateft area under 
 the leaft bounds. The area of a circle is found by multiplying the pe- 
 riphery by the fourth part of the diameter, or half the periphery by half 
 the diameter. Circles, and their infcribed fimilar figures, are always as 
 the fquares of the diameters, fo that they are in a duplicate ratio of their 
 diameters, and confequently of their radii. A Circle is equal to a tri- 
 angle, whofe bafe is equal to a periphery, and its altifude to the radius. 
 Circles therefore are in a ratio compounded of the peripheries and the 
 radii. The method cf finding the circumference of a Circle from its di- 
 ameter, or radius, being given, is one of the moft ufeful problems inge- 
 ometry. The moft dired and eafy way is by the help of fluxions, and 
 infinite feries. 
 
 Circumference, in a general fenfe, the line or lines bounding a 
 plane figure. However, it is generally uled in a more limited fenfe, for 
 the curve line, which bounds in a circle, and otherwife called a peri- 
 phery j the boundary of a right-line figure being exprelfed by the term 
 perimeter. Any part of the Circumference is called an arch, and a right- 
 line drawn from one extreme of the arch to the other, is called a chord. 
 The Circumference of ev;ry circle is fuppofed to be divided into 360 
 degrees. Tiie angle at the Circumference of a circle is double that at the 
 center. 
 
 Circumvolution, in architedure, the torus of the fpiral line of the 
 Ionic volute. 
 
 Circus,, 
 
x6o CIS 
 
 Circus, a large building of a round or oval figure, erefted by the 
 ancients, to exhibit ftiews to the people. The Roman Circus was a 
 large, oblong edifice, arched at one end, encompafl'ed with porticoes, 
 and furniflied with two rows of feats. In the middle was a kind of foot- 
 bank, or eminence, with obelifks, ftatues, and pofts at each end. This 
 ferved them for the courfes of their biga and quadriga;. Thofe that 
 have meafured the Circus fay, that it was 2187 feet long and 960 broad ; 
 fo that it was the greatell building in Romej fome fay it would contain 
 150 000 people, others 260,000, or 300,00;. 
 
 Cistern, is properly ufed for a fubterraneous refervoir of rain water, 
 or a veflcl ferving as a receptacle for rain or other water, for the neceffary 
 ufe? of a family. If you would make your Cifterns under the houfe, as 
 a cellar, which is the bell way to preferve water for culinary ufes, then 
 lay the brick or ftone with terrr«s, and it will keep water very well. 
 Or you may make a cement to join your brick or ftone with, with a cotn- 
 pofition made of flack'd fifted lime and linfeed oil, tempered together 
 with tow or cotton-wool. The bottom fhould be covered with fand, to 
 fweeten and preferve it. Or you may lay a bed ol good clay, and on 
 that lay the bricks for the floor; then raife the wall round about, leaving 
 a convenient (pace behind the wall to ram in clay, which may be done 
 as faft as the wall is railed j fo that when it is finilhed, it will be a Cif- 
 tern of clay walled with brick ; and being in a cellar, the brick will keep 
 the clay moift (though it lliould fometimes be empty of water) that it 
 will never crack. Mr. Worlidge fays, he has known his to hold water 
 perfedly in a Ihady place, though not in a cellar. Thus in a garden or 
 other place may fuch a Ciftern be made, and covered over, the rain-water 
 being conveyed thither by declining channels running to it. Alfo in or 
 near houl'es, may the water that falls from them be condudled thereto. 
 Authors fpeak of a Ciftern at Conlfantinople, the vaults of which are 
 fupported by two rows of pillars 212 in each row, each pillar being two 
 feet in diameter. They are planted circularly, and in radii tending to 
 that in the centre. 
 
 Some perfons are very fcrupulous pbout thefe waters, which are re- 
 ceived in Cifterns ; for they pretend that they are not all good, without 
 diftinction J that rain which falls in a fmall quantity during heats, and 
 the great rains which flUl prel'ently after great droughts, are reckoned in 
 the number of thofe that are bad; and thence it is, they fay, that the 
 water which is fometimes out of Cifterns has a very difagreeible tafte, 
 and very often ftinks. As for thofe rains that fall during the autumn, 
 fpring and winter, when the weather is cot violent j thele, fay they, are 
 tolerably good. And in all fine weather, they erteem the fmall rains that 
 fall in the month of May, which fliould be carefully laved, to be the 
 
 beft. 
 
C L A i6i 
 
 beft, as being the pureft and Hghteft, and even to putrify the water al- 
 ready in the Ciftern. 
 
 As to the making Cifterns, let it be obferved, that the walls (hould be 
 good, and built to advantage, for fear the water (hould be loft, that the 
 infide {hould be well cemented, elpecially in the angles, without any ne- 
 ceffity of doing the fame by the arch or roof through which the water 
 cannot pals. As to the fize of the Ciftern, that depends upon the fancy 
 of the perfon. The manner of bringing together rain water, is of 
 channels made of different materials, fixed to the edge of the roofs of 
 houfes, which convey the water into a fmall bafon made of lead or tin, 
 in the midft of which there is a hole, through which the water paftes 
 into a pipe that is there; and which, before it enters into the Ciftern, 
 helps it to fall into a ftone trough made on purpofe near the Ciftern. 
 This trough is placed to receive the rain that falls from the roofs of 
 houfes, from whence it runs into the Cil^ern j but, as it has been obferv- 
 ed before, that there is a difference to be made between the rains that fall, 
 and which are received into thefe conveyances, without diftindion, it is 
 neceffary you (hould know how to fave thofe that are good and wholelbme, 
 and get rid of the reft; it muft be by the means of this trough, which 
 has a hole in the bottom, in a corner, on that fide where the moft de- 
 clivity appears. This hole muft, at the time you judge it convenient to 
 fave the water, be ftopped, to the end, that the trough coming to be fil- 
 led up to a certain place, where there is a grate on the fide of the Ciflern, 
 it may fupply a paffage for the inclofed water to fall into the Ciftern ; and 
 when, on the contrary, they do not value the rain that falls, they only 
 leave open that hole, fo that as faft as the water comes into the trough, lo 
 faft it runs out. 
 
 There are feme who do not ufe any fuch trough as this, but fuffer the 
 rain to fall without any diftincttion into a fubterraneous place built higher 
 than the Ciftern, in which they put fome river fand, pretending that the 
 water which paffes through is purged of all ill qualities it may have; 
 and that confequently the water they take out of thefe Cifterns to drink, 
 ought to be extremely good. 
 
 Clamp, among brick-makers, a pile of unburnt bricks built up for 
 burning. Thefe Clamps are built much after the method that arches are 
 built in kilns, with a vacuity betwixt each brxk's breadth, for the fire 
 to afcend by, but with this difference, that inftead of arching, they trufs- 
 over, or over-fpan, as they term it, i. e. they lay the end of one brick 
 about half way over the end of another, and (o till bcth fides meet 
 within half a brick's length, and then a binding brick at the top finilhes 
 the arch. The mouth, at which the fire is to be in, is left open 
 about two ti-et and a half wide, and about three feet in height; and then 
 they begin to truls-over, which they do for three bricks in height; and 
 
 T t which. 
 
iSz C L O 
 
 which, with a binding brick at the top will clofe up the arch. But af- 
 ter they have begun to make the place to receive the fuel, before it is 
 clofed at the top, they almoft fill it with wood, and upon that, lay fea- 
 coal ; then being over-fpanned like an arch, they flrew fea-coal on all the 
 furfaces, and then lay another courfc of bricks the other way, placing 
 them at a little diftance from one another, and brewing fta-co.J upon them; 
 and thus they continue laying one courfe one way, and another ihe other, 
 and ftrowing lea-coal betwixt each courfe, till they come to e:.ght or ten 
 feet high, according as the Clamp is to be for fize ; when they have done 
 this, they fet ths wood on fire, and that hres the coals, which being all 
 burnt out, the whole Clamp of bricks is burnt. 
 
 Clamps, in naval architedlure, thick planks in a fliip's fide, which 
 fupport the ends of the beams. Alfo crooked plates of iron, fore-locked 
 upon the trunnions of the cannon, to keep them fteady in their carriages 
 at fea. They are likewife frequently ufed to fallen the mafts or bowfprits 
 of fmall veffels and boats. 
 
 Clamp-nail?, are fuch nails as are ufed to farten on Clamps in the 
 building or repairing of fliips. 
 
 Clamping, in joinery, &c. is when a piece of board is fitted with 
 the grain to the end of another piece of board crofs the grain, the firft 
 board is faid to be clamped. Thus the ends of the tables are commonly 
 clamped, to prevent them from warping. 
 
 Claro obscuro, or Clare-Ob/curc, in painting, the art of diftribu- 
 ting to advantage the lights and fliadows of a piece, both with regard to 
 the eafing of the eye, and the effed: of the whole piece. Thus, when 
 a painter gives his figure a ftrong relievo, loolens them from the ground, 
 and lets them free from each other, by the management of lights and 
 ftiadows, he is fiid to underftand the Claro Obfcuro, which makes one 
 of the great divilions or branches of painting, the whole of a pidture 
 being revolvable into light and ftiadow. 
 
 Clako Obscur A, or Chiaro-Scuro, is alio ufed to fignify a deligii 
 confining only of two colours, moft ufually black and white, but Ibme- 
 times black and yellow -, or it is a defign walhed only with one colour, 
 tlie lliadows being of a dufky-brown colour, and the lights heightened up 
 with white. The word is alio applied to two prints ot two colours taken 
 off at tvv'ice, whereof there are volumes in the cabiness of the curious 
 in prints. 
 
 Clinkers, thofe bricks which having naturally much nitre, or falt- 
 petre in them, and lying next the fi;e in the clamp or kiln, by the vio- 
 lence of the fire, are run and glazed ever. 
 
 Cloister, a habitation furrounded with walls, and inhabited by re- 
 ligious. In a more general fenfe it is yfcd for a monallery of religious of 
 cither lex. In the firll fenle it is the principal part of a regulaj monal- 
 
 tery. 
 
COL 163 
 
 tery, being a fquare furrounded with walls, or buildings. It is com- 
 monly placed between the church, the chapter- houfe, and refedtory, un- 
 der the dormitory. 
 
 Closet, a general name for any very fmall room, generally without 
 any chimney; it is efleemed one great improvement of our modern 
 architedls. 
 
 CoENOTAPH, an empty tomb or monument, ereded in memory of 
 fome illuftrious defunft, who periflied in (hipwreck, or was flain in bat- 
 tle ; whofe body could not be found to be interred or depofited in the fame. 
 
 CoLARiN, the little frieze of the capital of the Tufcan and Doric co- 
 lumn, placed between the aftragal and the annulets ; called alfo hypo- 
 trachelium, and fometimes cinfture. It is alfo u(ed for the orlo or ring 
 on the top of thefhaftof the column, next the capital. 
 
 Collar- BEAM, a beam framed acrofs betwixt two principal rafters. 
 
 College, a building fet a-part for the fociety and cohabitation of ftudents. 
 
 Colonnade, a perirtyle of a circular figure, or a feries of columns 
 difpofed in a circle, and infulated within-fide. Such is that of the little 
 park at Verfailles, which confifts of thirty-two Ionic columns, ail of fo- 
 lid marble, and without incruflation. A polyftyle Colonnade is that 
 whole number of columns is too great to be taken in by the eye at a fin- 
 gle view. Such is the Colonnade of the palace at St. Peter at Rome, 
 which confifts of two hundred and eighty four columns of the Doric 
 order, each above four feet and a half diameter, all in Tiburtine marble. 
 
 Colossus, the proper fenfe of this term is a ftatueat leaft twice as large 
 as life, ufually much larger. The moll: famous was the Coloflus of 
 Rhodes, made, in honour of Apollo, by Chares the difciple of Lyllp- 
 pus. It was eighty-fix feet high, and its thumb fo large, that few peo- 
 ple could fathom it. This ftatue was placed acrofs the mouth of the 
 harbour at Rhodes, and the fliips with full fails pafTed betwixt its legs. 
 It was thrown down by an earthquake 224 years before Chrift. There 
 are in the court of the capit>.l at Rome remains of (tatues of Nero and 
 Commodus of that charadl.r. Hence we call a building a Colollus, 
 which is a great deal larger than the common fize. The amphitheatres 
 of the antients, and the pyramids in Egypt are ol this kind. Thefe ate 
 more properly called CololTal buildings thim ColofTus's, that term being 
 ajtpropriated in a manner to ftataes, when uled dill:inifl!y in the word ; 
 but it may be equally applied to any thing extraordinariiy great, or ia 
 the iame knk as we wouid ufe gigantic. 
 
 Colours, in painiing, are uled both as to the drugs themfelves and 
 to thofe teints produced by thofe drugs vanoufly mixed and applied. The 
 principal Colours ufed by painters are red and white lead, or cerufe, yel- 
 low and red-ocres ; feveral kmds of earth, as umber, orpiment, black- 
 lead, cinnabar, or vermilion, gumbouge, blue and green aflies, indigo 
 
 biftre. 
 
i64 COL 
 
 biftre, lamp-black, fmalt, ultramarine, and carmine. Of thefe Colours 
 fome are ground in oil, others only in frefco, and others in water, and 
 others for miniature. Painters reduce all colours under thefe two clafTes 
 of dark and light Colours. Under dark Colours are comprehended black, 
 and all thofe which are obfcure and earthy, as umber, biftre, &c. And 
 under light Colours are comprehended white, and all thofe which approach 
 nearefi: to it. 
 
 Column, in architedure, a round pillar, to fupport and adorn a build- 
 ing compofed of a bafe, a fhaft, and a capital. As every fulcrum is lo 
 much the more perfedl as it is firm, or carries the app.arance of firm- 
 nefs, hence all Columns ought to have their bafe broader than themfelves. 
 As a cylinder and a quadrangular prifm are more eafily removed out of 
 their place than a truncated cone, or a pyramid in the fame bafe, and of 
 the fame altitude, the figure of columns ought not to be cylindrical, but 
 grow lefs and lefs, like a truncated cone. Again, as Columns are more 
 firm if their diameter bears a greater proportion to their height than if it 
 bore a lefs, the greater ratio is to be chofen where a large weight is to be 
 fuftained J and lefs, where a fmall weight is to be fupportfd. Further, 
 as the defign of a Column is to fupport a weight, it muft never be fup- 
 pofed without an entablature. Columns are diflf-rent in the different or- 
 ders of architedture, and may be confidered with regard to their matter, 
 conftrudlion, form, difpofition and ufe. With refpedl to the order, we 
 have, 
 
 Tufciin Column, that which has feven diameters in height, and is the 
 fhorteft and mofl fimple of all the Columns. Its diminution is one fourth, 
 that is, the diameter at top is three-fourths of the diameter juft above the 
 bafe. 
 
 Doric Column, has eight diameters in height, and its capital and bafe 
 more enriched with mouldings than theTufcan. It diminifhes one-tenth 
 part of the diameter at the bafe. 
 
 Ionic Column, has nine diameters in height, and differs from the others 
 by the volutes in its capital, and by its bafe. 
 
 Corinthian Column, the richeft and mofl delicate of all, has ten dia- 
 meters in height, and its capital adorned with two rows of leaves v^ith 
 caulicoles, from whence fpring fmall volutes. J t diminifhes one- feventh 
 part of the diameter. 
 
 Ojnpclite Column, has ten diameters in height, and two rows of leaves 
 in its capital, with angular volutes like the Ionic. It diminifhes one- 
 eighth part of the diameter of the bafe. It may be obferved, that dif- 
 ferent authors give different heights and proportions to Columns of the 
 fame order ; and that frequently the fame author takes the liberty of dif- 
 penfing with his own rules ; but the heights and proportions exhibited 
 above are a mean between the extremes of all the reft. 
 
 Columns 
 
COL 165 
 
 Columns, loitb regard to their Matter, arc. 
 
 Fufible Column, which comprehends not only Columns of various me- 
 tals, and other fuiible matter, asglafs.&c. but alfo thofe cf ftone, faid 
 to be caft, the fccret of which fome believe to have been known to the 
 ancients. 
 
 Hydraulic Column, that whofe (hafts appear to be of cryftal j being 
 formed by a number of little threads of water, falling from holes made 
 in a girt cf metal, at equal diftances, by means of a pipe mounting 
 through the middle of it. It alfo denotes a Column from whofe top pro- 
 ceeds a jet d'eau, to which the capital ferves as a bafon, whence the wa- 
 ter defcends by a little pipe, which turns fpirally round the fliaft. 
 
 Moulded Column, that made by impaflation of gravel and flints of di- 
 vers colours, bound together with a cement. 
 
 IVat er CoXnmn, that whofe Ihaft is formed of a large jet d'eau, which 
 fpoutingout water violently from the bafe, drives it within the tambour 
 of the capital, which is hollow, and in falling down it reiembles a Co- 
 lumn of liquid cryftal. 
 
 Columns, with regard to their Conflru^iori. 
 
 Cabled or redented Column, that having projedures in form of cables, 
 in the naked of the (haft, each cable having an effect oppofue to that of 
 a fluting, and accompanied with a little lift on each fide. 
 
 Coloffal Column, one of fo large a fize as oot to enter any oidinancc 
 of architedure, but defigned to be placed folitary in the middle of a 
 fquare, &c. Such is the Trajan Column. 
 
 Corollotic Column, that adorned with foliages, turned fpirally round 
 the fliaft, or in form of crowns and feftoons j they are very proper for 
 decorations of feftoons. 
 
 Diminijhed Column, that which has no fwelling, but begins to taper 
 from the bafe, in imitation of trees. 
 
 Geminated Column, that whofe fhaft is formed of three fimilar and e- 
 qual fides or ribs of ftone, fitted within one another, and faftened at bot- 
 tom with iron pins, and at top with cramp-irons j it ought to be fluted, 
 that the joints may be lefs dilcernible. 
 
 Column of Joinery, that made of ftrong timber-boards joined together -, 
 it is hollow, turned in the lathe, and ufually fluted j luch are the Coicmns 
 of moft altar-pieces. 
 
 Column of Majonry, is made of rough ftone, well laid and covered 
 with plairter, or of bricks, laid triangulaiwife, and covered with ftucco, 
 
 U u Column 
 
i66 COL 
 
 Column of Tambours or Bands, that whofe fliaft is formed of feveral 
 courfes ot ftone, or blocks of marble, lefshigh than the diameter of the 
 Column. 
 
 Column, in Truncheons or Pieces, confirts of two, three, or four 
 pieces of flone or metal, differing from the tambours, as being higher 
 than the diameter of the Column. 
 
 Columns, with regard to their Forms, are : 
 
 Fluted Columns, called alfo channelled and ftriated Columns, thofe 
 whofe {hafts are adorned with flutes or channellings, either from top to 
 bottom, or only two thirds of their height. 
 
 Gothic Column, a round pillar, either too fhort for its bulk, or too 
 (lender for its height, having fometimes twenty diameters, without either 
 diminution or fwelling, confequently differing widely from the propor- 
 tions of the antique. 
 
 Hermetic Column, a kind of pilafter, in a manner of a terme, hav- 
 ing the head of a man in lieu of a capital. It is fo called becaufe the 
 antients placed on the top of fuch columns the head of Mercury. 
 
 MaJJive Column, one two fhort for the order, the capital of which it 
 bears ; it likewife comprehends Tufcan and rullic Columns. 
 
 Oval Column, that whofe fhaft has a flatiiefs, its plane being made 
 oval, to reduce the projedure. 
 
 Pajioral Column, that whofe fliaft is formed in imitation of a trunk 
 of a tree, with bark and knots. It may be ufed in the gates of parks 
 and gardens, and in the decoration of paftoral fcenes. 
 
 Serpetztine Co\\imn, that formed of three ferpents twifled together, the 
 heads of which ferve as a capital ; it is now called the talifman, or en- 
 chanted Column. 
 
 Swelled CoXupna, that which has a bulging in proportion to the height 
 of the fliaft. This pradice obtains among the modern architects, but 
 feems to have been unknown to the ancients. 
 
 Twilled Column, that whofe fhaft is twifled round in form of a fcrew, 
 with fix circumvolutions, being ufually of .the Corinthian order. Some- 
 times the twifted Column is in form of two or three flcnder fhafts 
 twifted round, foas to leave a cavity in the middle. 
 
 Columns, with regard to their Dijpofition, 
 
 lingular Co\\xmn is an infulated one, placed in the corner of a portico, 
 or infertedin the corner of a building, or even a Column that flanks any 
 angle of a polygon. 
 
 ylttic Column, an infulated pilafler, having four equal faces, and of 
 the highelt proportion. 
 
 Cantoned 
 
COL 167 
 
 Cantoned Columns, thofe Columns engraved in the four corners of a 
 fquare pillar, to fupport four fprings of an arch. 
 
 Coupled Columns, thofe difpofed two and two, fo as almofl: to touch 
 each other at their bafes and capitals. 
 
 Doubled Columns, one Column joined with another in fuch a manner 
 that the two {hafts penetrate each other with a third of their diameter. 
 
 Engaged Qo\\jimx\, that which enters in a wall with one-third or one- 
 fourth of its diameter. 
 
 Grouped Q-o\\sxx\x\%, thofe placed on the fame pedeftal or focle, either by 
 three and three, or four and four. 
 
 Jjzfuhiied Column^ oncftanding free and detached from every other body. 
 
 Midian Columns, a Home given by Vitruvius to the two Columns in 
 the middle of a porch, which have their intercoliimniation larger than 
 the reft. The term may alfo be applied to the middle row of Columns 
 in a frontifpiece adorned with three orders. 
 
 Niched Column, thatwhofc fhaft enters with half its diameter into a 
 wall, hollowed out for its reception with its plane parallel to the projec- 
 ture of the tore. 
 
 Columns, with regard to their ufe, are either, fir ft, aftronomical Co- 
 lumns, fuch as that at Paris, eredted for aftronomical obfervations. 
 2. Chronological Column. 3. Funeral Column, which generally bears 
 an urn, and has its fliaft overfpread with fymbols of grief and immor- 
 tality. 4. Gnomonic Column, a cylinder, upon which the hour of the 
 day is reprefented by the fhadow of a ftyle ; of thefe there are two kinds ; 
 in the one the ftyle is fixed, and the hour lines are no more than the 
 projedion of a vertical dial upon a cylindrical furface ; in the other the 
 ftyle is moveable, and the hour-lines are drawn to the different heights of 
 the fun ill the different feafons of the year. 5. Hiftorical Column, that 
 whole fhaft is adorned with a baffo relievo, running in a fpiral line its 
 whole heiglt, and containing the hiftory of I'ome great perfonage. 
 6. Hollow Column, that which has aipiral ftair-cafe within fide, for the 
 conveniency of alcending to the top. 7. Indicative Column, that which 
 ferves to fhew the tides along the fea coafts. 8, Inftrudlive Column, 
 fuch as that railed by the fon of Pififtratus at Athens, containing the 
 rules of Agriculture. 9. Itinerary Column, one with feveral faces placed 
 in the crolfing of feveral roads, fjsrving to fhew the different routes by 
 the infcription^ engraved on itt. feveral faces, lo. Ladary Column, at 
 Rome, according to Fell us, in the herb-market, in the pedeftal of which 
 was a cavity, wheein young children, abandoned by their parents, thro' 
 •poverty or inhumanity, were expofcd to be educated at the expence of the 
 public. i I. Legal Column, among the Lacedemonians, that erected 
 in a public place, upon wiiich wcie engraven the fundamental laws of 
 the liate. 12. Limitrophuus or boundary Column, that which fhews the 
 
 limits 
 
j68 com 
 
 limits of a kingdom, or country conquered. Thofe called the Columns, 
 or pillars of Hercules, are two very rteep mountains, in the ftreights of 
 Gibraltar, 13. Luminous Column, one formed in a cylindrical frame, 
 mounted and covered over with oiled paper or gaufe, lo that lights being 
 difpofed in ranks within over each other, the whole appears to be on 
 fire. 14. Manubiary Column, a Column adorned with trophies, built 
 in imitation of trees, wherein the fpoils of enemies were anciently hung. 
 15. Memo ial Column, that raifed on occafion of any remarkable event, 
 as the monument in London, built to perpetuate the memory of the 
 burning of that city in 1666. 16. Menian Column, any Column that 
 fiipports a balcony, or meniana. 17. Military Column, a Column of 
 marble, raifed, by order of Auguftu?, in the middle of the Roman 
 forum, from whence, as a center, the diftances ot the feveral cities of the 
 empire were reckcned by other military Columns, difpofed at equal dif- 
 tatues on all the grand roads. 18. Roflral Column, that adorned with 
 the beaks, or prows of fliips, &c. erefted either in memory of a naval 
 victory, or in honour of fomc admiral, &c. 19. Statuary Column, 
 that which fupports a ftatue. 20. Symbolical Column, that reprefent- 
 ing by fymbols fome particular country, or fome memorable adlion. 21. 
 Triumphal Column, that eredled by the ancients in honour of an hero j 
 the joints of the ftones or courfes of which were covered with as many 
 crowns as he had made military expeditions. 22. Zoophoric Column, a 
 kind of flatuary Column, bearing the figure of fome animal. 
 
 Commissure, in architedture, is the joint of two flones, or the ap- 
 plication of the one to that of the other. 
 
 CoMPARTiTiON, in architedlure, the ufcful and the graceful difpo- 
 fition of the whole ground-plot of an edifice, into rooms of office, of 
 reception or entertainment. 
 
 Compartment, or Compartiment, in general, a deflgn com- 
 pofcd ot feveral different figures, difpofed with fymmetry, to adorn a pa- 
 terre, a cieling, a platform, panes of glafs, or pannels of joinery, &c. 
 A Compartment of tiles, or bricks, is an arrangement of them, of dif- 
 ferent colours, and varnifhed for the decoration of a building. Com- 
 partments, in gardening, are an affemblage of beds, plats, borders, 
 walks, Sec. difpofed in the mofl advantageous manner that the ground 
 will admit of. 
 
 Compasses, ox pair of Compasses, a mathematical inftrument for 
 defcribing circles, meafuring figures, &c. 1 he principal perfedion of 
 this, as of all other Compafies, confifls in the eafy and uniform open- 
 ing and fhutting of their legs, one of which may be taken out m order 
 to make room for others. There are now ufed CompafTes of various 
 kinds and contrivances, accommodated to the various ufes they are in- 
 tended lor. 
 
 Composed 
 
CON 169 
 
 Composed Order, this term occurs in fome writers, and is im;i<^in- 
 ed by the generality of readers to mean the fame thing with the Conu)0- 
 fite. The lenfe of the word is in reality the lame, but cuftoin has made 
 them exprefs what is different. The Compofite Order is, as we ihall 
 fliew, one thing, a Compofed Order is capable of great and endlefs va- 
 riety; it comprehends any compofition made at the pleafute of the archi- 
 tedt, whofe ornaments are extraordinary and unulual, but havefomewhat 
 of beautv. We fee a great deal of this workmanfliip in buildings, but it 
 were well if there were lomewhat lefs of it ; for it is often very faulty. 
 
 Composite Order, in architedure, is the lall: of the five orders of 
 columns. It has this name from its being compounded of two or more 
 of the others: The Latin word compofitus^ from which it is derived, fig- 
 nifying compounded, or made up of others. The Corinthian is indeed 
 by Vitruvius faid to be compofed of the Doric and Ionic, but the traces 
 in that are not 16 plain as thofe of the Corinthian and Ionic are in this 
 Compofite. 
 
 The Compofite, like all the other orders, confirts of a bafe, (ha'"t, ca- 
 pital, and entablature. The Corinthian bafe is ufed for Compolite order 
 often, and fometimes the attic. Vignola gives the Compofite a difl:indl 
 bafe, which differs from the Corinthi.in, in that it has only one afi:ragal 
 between the two fcotias, the other being between the great torus, and 
 firfl fcotia; but this is not much ufed. The <liaft is the fame with that 
 of the Corinthian, only that it is half a diameter higher. The capital 
 has been defcribed already under the article capital, as compofed of the 
 Ionic upon the Corinthian. Jn the entablature the architrave has two 
 faces, with an ogee between, the freeze has nothing particular, and the 
 cornice has fimple modillions and confifls of fourteen members, and 
 the coronna and modillions art mafiy. Often the Corinthian entablature 
 unaltered is put upon the Compifite column; we have an ancient in- 
 ftance of this in the arch of Titus, but it has alfo, as we fee, an enta- 
 blature of its own. The height of the Compofite Column is a lubjed: 
 on which architcds differ; fome making it the lame with the Corinthian, 
 others lomewhat more, others lefs, and placing it under the Corinthiaa 
 as more maffy, allowing that to be the molf delicate of all ; and indeed 
 this is very realonable, for the Corinthian capital has an al'pecl of more 
 lightnefs than the Compofite. 
 
 Composition, in painting, confifts of two pa ts, invention and dif- 
 pofition ; the firft .is the choice of the objects winch are to enter into 
 Compofition of tlie lubj. dl the painter intends to execute, and is either 
 firmly hillorical or AX goricl. The othtr very much contrioutes to the 
 perfection and value of a piece of paintin^^ 
 
 CvNCAVE Member, a name by which fome call the Scotia, a hoilow 
 moulding between the tores at the bjie of columns. 
 
 X X Conclave. 
 
170 CON 
 
 Conclave, in architedure, is a clofet, or inner chamber j this name 
 is alfo given to a range of fmall cells, about ten feet fquare, made of 
 wainfcot. They (land in a line along the galleries and hall of the Vati- 
 can at Rome, and is the place where the cardinals of the Romi(h church 
 meet, and are (liut up in order to eled: a pope. 
 
 Cone, is a folid body, having a circle for its bafe, and terminated in a 
 point or vertex. If the axis be perpendicular to the bafe, it is faid to be 
 a right cone; and if inclined or oblique, a fcalenous cone. Scalenous 
 cones are again divided into obtufe-angled, and acute- angled. 
 
 Conge, in architecture, a mould in fonn of a quarter round, or a 
 cavetto, which ferves to feparare two members from one another, fuch 
 as that which joins the column to the cincflure, called alfo apophyge ; 
 there are two forts of cones, the one fwelling, the other hollow , the 
 fwelling Conge is what we more commonly call the quarter round, the 
 hollow is the cavetto. 
 
 Conges are iron rings ufed in the extremities of wooden pillars, to 
 keep them from fplitting, and are fometimes imitated in ftone-work. 
 
 Conic-Sect]ons, curves formed from the fedion of a cone by a 
 plane. The curves generally called Conic- fedions are three, viz. the 
 ellipfis, parabola, and hyperbola ; for though the triangle and circle are 
 formed from the fedion of a cone, they are not ufually confidered in that 
 capacity. All diameters in a circle and ellipfis interfed one another in 
 the center of the figure within the fedion. In the parabola they are all 
 parallel amongft themfelves and to the axis ; but in the hyperbola they 
 interfed one another, but this without the fedion, in the common cen- 
 ter of the oppofite fedion s. 
 
 Console, in architedure, an ornament cut upon the key of an arch, 
 which has a projedure, and, on occafion, ferves to fupport little cor- 
 nices, figures, hurts, and vafes. They are alfo called mutules and mo- 
 dillions, according to their form. Some of them are ftriated, others in 
 form of cartouches, others have drops in form of triglyphs. 
 
 Content, the capacity or area of a fpace, or the quality of any mat- 
 ter or fpace included in certain bounds. The Content of a ton of round 
 timber is forty-three folid feet. A load of hewn timber contains fifty 
 cubic feet. In a foot of timber are contained feventeen hundred and 
 twenty-eight cubic or fquare inches; and as often as feventeen hundred 
 and twenty-eight inches are contained in a piece of timber, be it round 
 or fquare, fo many foot of timber are contained in that piece. 
 
 Contour, in painting, the out-line, or that which defines a figuie. 
 Contour with the Italian painters fignifies the lineaments of the face. 
 In architedure, it is the out-line of any member, as that of a bale, a 
 coriiice, or the like. 
 
 Contra- 
 
COR 171 
 
 CoNTRAMURE, in architecture, an out-wall built about the wall of 
 a city. 
 
 Contrast, in architedure, is to avoid the repetition of the fame 
 thing, in order to pleafe by variety, as is done in the great gallery in the 
 Louvre, at Paris, where the pediments are alternately arched and angu- 
 lar. In painting and fculpture, an oppolition, or difference of poiition, 
 attitude, &c. as where in a groupe of three figures, one is fliewn before, 
 another behind, and another fideways, they are faid to be in contraft. 
 The Contraft is to be obferved in the pofition of feveral figures, and in 
 that of the feveral members of the fame figure : thus, if the right arm 
 advance fartheft, the right leg is to be hindermoft ; if the eye be diredled 
 one way, the arm to go the contrary way, 6cc. the Contrail muft be 
 purfued even in the drapery. 
 
 Coping, or Coppihg of a ivall, in architedure, the top or covert of 
 a wall, made floping to carry off the wet. In carpentry, a fort of hang- 
 ing over, not fquare to its upright, but levelling on its under fide, till it 
 ends in an edge. 
 
 Corbel, a carved ornament, reprefenting a balket full of fruit and 
 fiowers, ufed to finifli fomc elegant part of a building, as to place on a 
 column, or on the heads of the caryatides. This word is alfo ufed to ex- 
 prefs the bell or vafe of the Corinthian capital, from its being fuppofed 
 to have originally been defigned from a bafket covered with a tile, and 
 furrounded by leaves of the acanthus. In building, a (hort piece of 
 timber, placed in a wall with its end fticking out fix or eight inches, as 
 occafion may require, in the manner of a fhoulder- piece. The under 
 part of the end thus projeding out, is fometimes cut in the form of a 
 boultin, fometimes of an ogee, and fometimes of a face, &c. according 
 to the defigner's fancy, the upper fide being plain and flat. Thefe Corbels 
 are uiually placed for ftrength, immediately under the femi-girders of a 
 platform, and fometimes under the ends of camber- beams ; in which 
 latter cafe, they are ufually placed a foot or two below the beam, and 
 have a piece of timber ftanding upright clofe to the wall from the Corbel 
 to the beam. Corbel is alfo ufed by Tome architeds for the niches or 
 hollows left in the walls for images, fis;ures or ftatues to ftand in. 
 
 Corinthian Order, is the fourth order of architedure, according 
 to Scammozzi ; but M. Le Clerc makes it the fifth, being the mult no- 
 ble, rich, and delicate of all the other five. The Coriniliian Order has 
 feveral charaders by which it is diftinguifhed from the rtd. Its capital 
 is adorned with two rows of leaves, between which arife little ftalks, or 
 caulicoles, of which the volutes are formed, which fupport the abacus, 
 and are fixteen in number. It has no ovolo, nor even abacus, prop'jil'/ 
 fpeaking, for the number that goes by that name, is quite different irom 
 
 the 
 
172 COR 
 
 the abacus of the other ordeis, being cut with a fweep, in the middle of 
 which is carved a rofe, or other ornament. 
 
 Moft modern archittdls pafs by Vitruvius's Corinthian Order, and fol- 
 low that of the ancient buildings; and feledl from them according to 
 their feveral taftes ; fo that the modern Corinthian is a kind of Compo- 
 site, differing from many of the ancient buildings, and much more from 
 Vitruvius. Vignola and M. Le Clerc made the Corinthian Order twen- 
 ty modules in height, yet Serlio makes it but eighteen ; and M. Per- 
 rault makes the height of the (haft lefs than that of the Ionic, by reafon 
 of the excefs of its capital. 
 
 The Compcfite has been intended as an improvement upon it in point 
 of elegance, but the capital in that order is heavier than in the Corin- 
 thian, and therefore, thofe feem to adt very realonably who give its co- 
 lumn a lefs height than the Corinthian, leaving that, as we have named 
 it, the lighted ol: all the orders. The Corinthian is one of the three 
 ancient orders of the Greeks, and is the highefl pitch to which they 
 carried architedlure in point of elegance. They began with the Doric, 
 they rofe to the Ionic, and laftly, they added the Corinthian, wnofe ca- 
 pital was formed, as has been before oblerved, upon the idea of a plant 
 of acanthus growing about a ballcet, and as this appeared very light and 
 tlegant, they gave a height and lightncfs to the column. 
 
 The bale of the Corinthian column confifts of a torus fet upon a plinth, 
 a Icotia, two allragals, another fcotia, and then an upper torus. The 
 column has nine diameters and an half in height, the capital is com- 
 pofed of leaves and iialks of the acanthus, which laft, turning in fpires 
 under the abacus, makes a fmall number of volutes. The architrave con- 
 fifts of three faces, the freeze is ulually decorated with Sculptures, and 
 the cornice has modillions, and is in moft places beautifully adorned with 
 carving. The Corinthian -is the order to which recourfe is ulually had 
 for giving the utmoft elet^ance to a building. It is remarkable that the 
 ruins of Palmyra are all Corinthian, except two Ionic half columns. 
 
 The Corinthian Column, by equal Parts. 
 
 Corinthian pedeftal, being in height three diameters, and is divided 
 into four, allowing one to the bafe, whofe plinth is two thirds of it j 
 the other part is divided into nine, allowing two and a half to the torus, 
 a half part to the fillet, three to thec\mafe, a half part to the fillet, and 
 two and an half to the ogee ; and the breadth of the die is a diameter, 
 and two-thirds. The projedtion cf its bafe is equal to its height, the 
 upper fillet has three of thefe part', and the lower fillet feven. The 
 height of the cornice is half the baiC, being one-eighth ot ihe whole 
 height, and is divided into eleven, by allowing one and a halt to the 
 ogee, a half part to the fillet, three to the cymafe, three to the corona, 
 
 two 
 
COR 
 
 ^73 
 
 two to the ogee, and one to the fillet. The projedllon of the fillet has 
 two cf thefe parts, the cymafc four and a half, the corona fix and a half, 
 and the whole eight and a half. 
 
 The height of the bafe of the column is half a diameter, which is di- 
 vided into fix', allowing three-fourths to the plinth, one to the lower to- 
 rus, one- fourth to the fillet, a half part to the fcotia, one to the aftragals 
 and fillets (which are to be parted into fix, allowing one to each fidet, 
 and two to each aftragal) a half part to the fcotia, one-fourth to the fil- 
 let, and the other three-fourths to the torus ; the fillet above the faid to- 
 rus is equal to the others, and part of the column. The projection is one 
 fifth part of the diameter; and the upper filkt has one of the faid fix 
 parts ; the upper tcrus, and the leffer fillets have one and a hal!^, and one 
 three-fourths are allowed to the adragal?, and lower fillet. Diminifliing 
 of this column is one-eight of the diameter. 
 
 The Cormthia7i capital. Divide the diameter into fix parts, and take 
 feven fuch parts for the height, allowing two to each height of the leaves 
 (whofe heads turn down half a part of it) allow another part of the flalks 
 whofe heads turn down one-third of it ; three fourths to the fmall vo- 
 lutes, and one-fourth to the fillet ; the large volute is as high as the /aid 
 fillet ; a half part to the hollow, and a half part to the ovolo, whofe fil- 
 let has one- third of it. For the projedtion of the capital, make a fquare, 
 each fide being a diameter and a half, then draw the diagonals, and to- 
 wards each angle, mark a diameter from the center, and draw the cants 
 at right angles with the faid diagonals j then, for the curvature of the 
 abacui., make an equi'ateral triangle, (the part of the fquare cut off by 
 the cants being the bafe,) and the oppofite angle the centre. In the cir- 
 cumference of the column are eight ie: ves, each leaf having four plants, 
 and each plant five rafRes. The projection of thtir heads is found by a 
 ftraight line frc m the abacus lo the coiarino. The rdfe is as high as the 
 volute, and projects to the fide of the before-mentioned fquare. 
 
 The aichiirave is divided into nine parts, allowing one and a half to the 
 firfl face, one and one-fourth to the fmall bead, two to the fecond face, 
 three-fourths to the fmall ogee, and a half part to the fillet. Tiie pro- 
 jection of the fecond face has one-fourth ot a part ; the third face, one 
 of thofe parts, and the whole, two. The height of the entablature is 
 two diameters, and is divided into fix parts, two of which goto the archi- 
 trave, one and a half to the frieze, and two and a half to the cornice. 
 
 The cornice is divided into twelve parts, allowing one and one-fourth 
 to the ogee, one-fourth to the fillet, one-fourth to the dentils, one-fourth 
 to the fillet, one- fourth to the ovolo, one-fourth to the fillet, two to the 
 modillicns, a hah part to the ogee, aiid one-fourth to the fillet ; one and 
 three-fourths to the corona, three-fourths to the cima-reverfa, one fourth 
 to the fillet, one and a half to tne cima reCti, and a half part to the fil- 
 
 \ y let.. 
 
174 COR 
 
 let. As for the projcdions of the cornice ; the ogee is one half of thefe 
 parts, and the dentils two and a half. The dentils are in breadth two- 
 thirds of their height, and the fpaces two-thirds of their breadth. The 
 niodillions prt jcdl three and three-fourths ; and its breadth is one-fifth of 
 the diameter, and one being in the center, gives the fpaces. The re- 
 turned modillions eight and a half, the cap nine, the corona nine and a 
 half, the cima reverfa ten and a half, and the whole twelve, being equal 
 to the heigh \ 
 
 Cork-'Irfe, islikethe holm-tree, refembling the fame in its leaves, 
 catkins, and fruit, the bark of it is light, fpungy, and of a grey colour, 
 inclining to yellow. There are indeed feveral forts of this tree, but two 
 more remarkable, viz. one of a narrower, lefs jagged leaf, and peren- 
 nial j the other of a broader leaf, and falling in the winter. It grows ia 
 the coldefl part of Bifcay, in the north of England, in Italy, Provence, 
 and fouth-weft parts of France, efpecially the fecond fpecies, which are 
 fitted for ouf climate. It grows in all forts of ground, dry heath, ftony 
 and rocky mountains, fo that its roots run above the earth, where they 
 have little to cover them; and therefore we have no reafon to defpair of 
 their growing with us. There were none of them in France in Pliny's 
 time ; but there are large woods of them in Italy, from whence it is pro- 
 bable they were tranfplanted hither. 
 
 The manner of decorating, or taking off" the bark of the Cork-tree, 
 is as follows : they once in two or three years ftrip it in a dry feafon, 
 otherwife the intercutaneous branches endanger the tree, and therefore 
 a rainy feafon is very pernicious to them when the bark is off; they un- 
 vvr.ipit before the fiie, and prefs it even, and that with weights, on the 
 co'nvex part, and it continues, beins ccld. The bell: bark fihould be 
 light, even, of a middling thicknefs, without cracks, having a few 
 knobs, and ealy to be cut. There are cups made of one fort of Cork, 
 good for hedtical perfons to drink out of. The Egyptians made coffins of 
 Cork, which being lined with a refinous compofition, prelerved their dead 
 uncorrupted. They fometimes in Spain line their llone walls with it, 
 which renders them very warm, and correds the moifture of the air. 
 Beneath the Cork or bark of this tree, there are two other coats; one of 
 them reddifh, which they ftrip from the bole when filled, and is valued 
 by turners j the reft of the wood is not only good firing, but alfo appli- 
 cable to many other ufes in building. 
 
 CoRNEK-sTONKs, are two ftoncs commonly of Rigate orfire-ftonc ; of 
 which there ftands one in each jaumb of a chimney. Their faces are 
 hollow in breadth, being a certain fweep of a circle. The breadth of 
 each ftone is equal to the breadth of the jaumb, and their height reaches 
 from the hearth to tlie mantle-tree. 
 
 Cornice, 
 
COR 175 
 
 Cornice, the word is derived from the Latin corona, a crown. It is 
 the uppermofl: membci- of the entablature of a column, or that which 
 crowns the order. The Cornice is the third grand divifion of the trabea- 
 tion commencing with the frieze, and ending v.'ith the cymatium. The 
 Cornice is different in the different orders, there being as many kinds of 
 Cornices, as there are different orders of columns. It is mofl: plain in 
 the Tufcan order. Vignola makes it to confift of an avum, or quarter- 
 round, an aftragal or baguette, the reglet or fillet, the larmier, and the 
 talon. 
 
 In the Ionic, the members are in moft refpeds the fame as in the Doric, 
 except that they are frequently enriched with carving, and have always 
 dentils. In the Dcric, Vignola makes the capitals of the triglyphs of 
 the frieze, with their bandelettes, a talon, mutules, or dentils, a larmier 
 with its gutta, underneath, a t^lon, fillet, cavetto and reglet. 
 
 The Corinthian Cornice is the richeft, and is diftinguiflied by having 
 both modillions and dentils, contrary to the opinion of Vitruvius, who 
 looks upon thefe two ornaments as incompatible; and of M. Le Clerc, 
 who accounts the dentils as peculiar to the Ionic. In the compofite, 
 there are dentils, its mouldings carved, and there are channels under the 
 foffit. The Tulcan, according to Vitruvius, the whole height of this 
 Cornice is one module and a half, which height being divided into four 
 grand divifions, the uppermofl: of which goes to the boultin and fillet 
 under it ; and this divifion being fubdivided into four parts, three of them 
 go into the boultm, and one to the fillet. 
 
 The two next grand divifions go to the corona or crown, (which is flat 
 and plain,) and the lowermoft grand divifion goes to the cymatium, winch 
 being again divided into three parts, the uppermoft of them goes to ths 
 fillet, and the other two to the cyma or ogee. The projedture ot the 
 whole Cornice, as alfo of each member thereof, he makes to be equal to 
 its height ; and the under fide of the corona he divides into eleven partSj 
 of which he allots two to the fillet, and one to the denticle, and fo alter- 
 nately ; for, fays he, it is fitting to have three as deep as they are large. 
 
 Scamozzi makes the whole height of this Cornice thirty-nine muiutes, 
 and the height of each particular member of it (beginning at the top, 
 and delcendmg orderly) is as follows : the upper lift or plinth of the Cor- 
 nice three M. the fupercilium, lift, tinea, or eye brow, one M. and a 
 half; the upper cima or ogee eight M. the lift under it one minute and 
 .a half; the corona or crown nine M. and three-quarters; the lift one M. 
 and a half; the cima or greater ogee, fix M. (here is one and a half M. 
 left betwixt for the depth of the dentils ; the fupercilium or lift one and 
 a half M. the cymatium or little ogee five M. the lift two M, Palladio 
 makes the whole height of this Cornice forty- four M. of which the lift 
 at the top is three and a half M. the fcina recl.a ten M. the lift under it 
 
 two 
 
176 COR 
 
 two and a half M. the corona ten M. the boultin nine, the lift one and a 
 half, and thecavettoor hollow feven and a halfM. 
 
 The Doric Cornice is made by Vitruvius after two different fafliions ; 
 the whole height of the one is half a module, which being divided into 
 two grand divifionf, one of them, (viz. the upper one) is fubdivide.i into 
 eieht parts, of which one part goes to the lift at top, and the other feven 
 to the ogee. The other grand divifion is again divided into four parts, 
 theuppermoft and lovvermoft of which parts go to the two cymatiums, 
 and the two middle parts go to the corona. The lift of each of thefe 
 cymatiums, is one-third of the whole cymatium. The whole height of 
 the ether fafliioned Cornice is forty M. which being divided into nine 
 parts, two are to go to the two pafcias, one to the thorus or boultin above 
 them, two to the modillions above that, two to the crown, and two to 
 the cima, or ogee at the top. The modillions, as alfo the crown, being 
 divided each into three parts, one of them fhall go to their refpeftive cy- 
 matiums, of which their lifts are each one-third of the whole. Scamoz- 
 zi makes the whole height of this Cornice forty-two M. of which the lift 
 at the top is two M. the great ogee feven M. the lift one M. the little 
 ogee three M the corona eight M. the lift one M. the cafe;r,ent two M. 
 the boultin five M. the lift one M. the fquare-feven M. the lift one M. 
 and the boultin four M. Palladio in his verbal defcription of this Cor- 
 nice, makes the whole height of it to be thirty-five M. But in his figure 
 it is but thirty-three M. and a quarter, of which the lift at top is two M, 
 and a quarter, the cima redla, or ogee fix M three-fourths j the liil. one 
 M. the cima reverfa three M. one-fourth ; the corona eight M. the ovolo 
 or boultin fix M. the lift one M. and the cafement at the bottom five M. 
 
 The Ionic ; Vitruvius makes the whole height of this Cornice about 
 fifty-two M. and a half. He defcribes two Cornices of different faihions 
 in this order J in one of which he divides the whole height into eleven 
 parts ; the two uppermoft of which go to the cyrnatium, and the boul- 
 tin under it j and this fpace is agp.in fubdividcd i.ito fix parts, two of 
 which go to the fillet of the cymatium, three to the ogee, and one to 
 the boultin. The next two grand divifions go to the corona; and the 
 next three to the cartoufes, and the cymatium overtheai; and this fpace 
 being fubdivided into five parts, one of them makes th>; cymatium, of 
 which the fillet is one-third of the whole; then one and a half of the 
 next grand divifion goes to the boultin and fillet over it, of which the fil- 
 let is one feventh part of the whole. And ag^m, o le and a half of the 
 next grand divifion goes to the cafement and hilet over it, of which the 
 fillet IS one-fourth of the whole. And the iaft grand divifion goe» to 
 the cymatium, of winch the fillet is one third part ot the wiioie. 
 
 In the Cornice of the other falhion, he divides the whole height into 
 fix parts i the upperrrioft of whica lieailo,vs to the o^ec, the fillet of 
 
 which 
 
COR 177 
 
 which is one-fixth part ; the next grand divifion being fubdivided into 
 three parts, the uppermoft of them" goes to the cymatium, (the fillet of 
 which is one-third part) and the other two to the corona. The next 
 two grand divifions are fubdivided into five parts, the uppermoll: of which 
 goes to the cymatium (the fillet of which is one-third part) and the other 
 four to the cartoufes. The next grand divifion is fubdivided into four 
 parts J, three of which go to the boultin, and one to the fillet under it; 
 and the laft grand divifions being fubdivided into four parts, three of them 
 are for the cafement, and one for the cymatium, of which its fillet is 
 one-third part. 
 
 According to Scamozzi, the whole height of this Cornice is forty-two 
 M. whereof the lift at the top is two M. the cima rcdla five and a half IVI, 
 the lift one M. the cima reverfa two and a half M. the cartoufes feven M. 
 the boultin four M. the lift one M. the fquare five M. the lift one M. 
 and the boultin four M. Palladio makes the whole height of this Cor- 
 nice forty-fix and a half M. of which the lift at the top is two and a half 
 M. the cima redla (even M. the lift one and one-fourth M. the cima re- 
 verfa three and a half M. the corona eight M. the cima rtcta over the 
 modillions three and one-fourth M. the modillions feven and a half M. 
 the lift one M. the ovolo or boultin fix M. the lift one and one half, and 
 the cavetto or hollow five M. 
 
 The whole height of the Corinthian Cornice, according to Vitruvius, 
 is about one module j and he defcribes two forms of Cornices in this or- 
 der ; in one of which, he divides the whole height into five parts ; the 
 uppermoft of which goes to the ogee, of which its fillet is one-fixth part. 
 Then one and one-fourth goes to the corona and cymatium over it, of 
 which Ipace the cymatium is one-third part, and its fillet one-third of 
 that. Then one and three-fourths of the next grand divifions go to the 
 modillions and cymatium over them, of which fpace, the cymatium is 
 one-fevrnth part. And the laft grand divifion goes to the boultin and fil- 
 lets cvdr and under it ; and this being divided into three parts, thelov/er- 
 moft goes to the fillet; and the other being llibdivided into fix part, five 
 of them go to the boultin, and the other to the fillet over it. In the 
 Cornice of the other faftiion, the whole height is divided into nine parts j 
 of which the two uppermoft being divided into four parts, three of them 
 goto the ogee (whule fillet is one-fixth of the whole) and the next two 
 grand divifions go to the corona. The next two grand divifions go to the 
 modiliicni, iVid the cymatium over them ; one-fourth of the fpace goes 
 to the cymatium (whofe fillet is one- third of the whole cymatium) and 
 the reft of the modillions. The next two grand divifions go to the boul- 
 tin and fillet over and under it, v/hich fillets are each one-feventh of the 
 Vi/hcle. And, the laft grand divifion goes to the cima at the foot of the 
 Cornice. 
 
 Z z , Scamozzi 
 
173 COR 
 
 Scamozzi makes the whole height of this Cornice forty-fix and three- 
 fourths M. of whicli tiie lift of the cima redta is two M. the cima refta 
 fix and a half M. the lift of the cima revcrfii one M. the cima reverfa three 
 and one-fourth M. the half round one and one half M. the corona ftven 
 and cne-half M. the cymatium three and one-half M, the modillions 
 eight and a half M. the lift one M. the boultin five M. the lift one M. 
 and the cima five M. According to Palladio the whole height of this Cor- 
 nice is filty M. of which two and one third M. go to the lift of the cima 
 red;a; the cima refta is eight and one-third M. the lift two-thirds M. 
 the cima reverfa three M. the corona feven one-third JVI. the lift of the 
 ogee over the modillions two-thirds M. the ogee two and two-thirds M. 
 the modillions eight and a half M. the boultin four and one third M. the 
 lift one M. the boultin five and a half, the lift one M. and ogee four and 
 ahalfM. 
 
 The Compofite Cornice. Vitruvius m.akes the whole height of it e- 
 qual to the diameter of the column above, which is about fifty- two 
 and a half M. He alfo delcribes two Cornices of this order of a different 
 faftiion ; one of which he divides into two parts, the uppermoft of 
 which goes to the ogee (whofe fiikt is one-fevenih of the whole) and the 
 undermoft to the corona and cymatium over it; and this fpace being di- 
 vided into four parts, three of them go to the corona, and one to the cy- 
 matium, whofe fillet is one-third of the whole cymatium. 
 
 Scamozzi makes the whole height of this Cornice foity-eight M. and 
 Palladio forty-five VI. but about the height of each particular member, 
 thty leave us very much in the dark. Goldman makes the height of 
 the Tufcan Cornice one and one-third, and its prcjedture two-fifths M. 
 the height of the Doric one and one-ihird, and its projedure two and 
 two-filths. The height of the Ionic one and three-fifths ; its projedure 
 two and two fifths. The height cf the Compofite one and three-fifths; 
 its projedlures two and thirteen thirties. The height of the Corinthian 
 one and two- fifths, its projedtures two and thirteen thirties. 
 
 The Projcdure of the Cornice. 
 
 It is an eflabliflied rule in archite<fl:ure, that the Cornice of the en- 
 tabh meat have its prrjedture ne.srly equal to its height; and yet thepro- 
 je<fLLire may be 'afe'y made a little larger on occafion, particularly where 
 a beautiful profile i< requiied. 
 
 The Cornice is different in different orders, there being as many kinds 
 of Cornices as there are different orders of columns. It is moft plain in 
 the Tufcan order, V igncla m. kes it confift cf an ovum or quarter- 
 round, an aftrag.d or baguette, the regiet, or fillet, the larmier, and the 
 talon. In the Ionic, the members are in moft rcfiCds the lame as in the 
 Doric, except that they are frequently enriched with carvings, and have 
 always dentils. In the Doric, Vignola makes the capitals of the tri- 
 
 glyphs 
 
COR 
 
 179 
 
 glyphs of the frieze, with their bandeletters, a talon, mutules, or dentils, 
 alirmier with its guttx underneath, a talon, fillet, cavetto, and reglet. 
 The Corinthian Cornice is thericheil, and is diftinguiihed by having both 
 modillions and dentils. In the Compofite there are dentils, its mould- 
 ings carved, and there arc channels under the foffit. 
 
 Cornice is alfo ufed, in general, for all little projedlures in mafonry or 
 joinery, even where there are no columns, as the Cornice of a chimney, 
 beaufet, &c. 
 
 Architrave Con7ice, is one that is immediately contiguous to the archi- 
 trave, the frieze being retrenched. 
 
 Mutilated Cornice, is cne whofe projedture is cut or interrupted to the 
 right of the larmier, or reduced to a platband with a cymafe. 
 
 Cantaliver Cornice, a term uled by workmen for a Cornice that has 
 cantalivers underneath. 
 
 Coving Cornice, that which has a great cafement or hollow in it, ufually 
 lathed and plaiftered upon compafs-fpretchets, or brackets. 
 
 ModiUion Corfiice, one with modillions under it. 
 
 Corona or Coronis, thele terms are fometimes ufcd to fignify a Cor- 
 nice, but wrongly j they exprefs any crowning or finifhing of a work, at 
 the top of whatever kind that be, as a pediment, or the like ; but as the 
 Cornice has a peculiar name, fomething like thefe words, and derived 
 from them, it fhould always be ufed in that knCe. Corona is alfo ufed 
 to exprels particularly that flat fquare and mafly member of a Cornice, 
 fo called, becaufe it crowns not only the Cornice, but the entablature, 
 and the whole order. The French call it the larmier, our workmen the 
 drip, as ferving, by its great projedlure, to fkreen the reft of the build- 
 ing from the rain. Some call it abfolutely the Cornice, as being the 
 principal member thereof; Vitruvius frequently ufes the word Corona 
 for the whole Cornice. The Corona is itfelf crowned or finifhed with 
 a riglet or fillet. The Corona, fays M. Le Clerc, is that hrge fquare 
 moulding immediately under the cymafe. It projedls very much, both 
 for the greater beauty of the entablature, and for the better (hclterino- 
 even of the whole order. He alfo fays, he makes this part ftronger than 
 the cymafe, as being the ruling member of the entablature, and even 
 of the order. Underneath this he ufually digs a channel, for three rea- 
 fons ; the firft is to give it more grace and ornament, the fecond is to 
 render it lefs heavy, and the third is to prevent rain, or other moifture, 
 from trickling down along the order. For the water falling from the 
 top of the Cornice, not bemg able to afcend into the channel, is forced 
 to fall drop by drop from the building, by the means of a little ledge ; 
 nnd it is on this account, that the bottom of the Corona is called larmier, 
 or drip. 
 
 Cornucopia, or horn cf plenty, among architedls, painters, &c. is 
 reprefented under the figure of a large horn, out of which iffue fruits, 
 
 flowers. 
 
iSo C O U 
 
 flowers, dec. Upon medals the Cornucopia Is given to all deities, genii 
 nnd heroes, to mark the fecundity and abundance of all the wealth pro- 
 cured by the goodnefs of the former, or the care and valour of the latter. 
 
 CoRRiDOK, in architefture, a gallery, or long ifle around a building, 
 leading to feveral chambers, at a diftsnce from each other. 
 
 CoRsA, a name by which Vitruvius calls a platband, a fquare facia 
 with more height than projefture. 
 
 Corps, in architeclure, a term to fignify any part that projects or ad- 
 vances beyond the nakednefs of a wall, ferving as a ground for fome de- 
 coration, or the like. 
 
 Couch, in painting, a phrafe ufed for each lay or imprcffion of co- 
 lour, either in oil or water, wherewith the painter covers his canvas, 
 wainfcot, or other matter to be painted. This word is alfo ufed for a lay 
 or imprellion on any thing, to make it more firm and conliftcnt, or to 
 fcreen it from the weather. Thus paintings are covered with a Couch 
 of varnifh J a canvas to be painted muft have two Couches of fize, before 
 the colours are laid on ; two or three Couches of white lead are laid on 
 wood, before the gold is applied. The leather-gilders lay a Couch of 
 water and whites ot eggs on the leather, before they apply the gold and 
 filver-leaf. 
 
 Coving, in building, when houfes are built projeding over the ground- 
 plot, and the turned projedlure arched with timber, turned with a qua- 
 drant of a circle or femi-arch, lathed and plaiftered, under which people 
 may walk dry, as is much ufed at Tunbridge- Wells, on the upper walks, 
 the work is commonly called Coving. 
 
 Counter-Drawing, in painting, is the copying a defign, or pain- 
 ting, by means of a fair linen cloth, an oiled paper, or other tranfpa- 
 rent matter, where the ftrokes appearing through are followed with a 
 pencil, with or without colour. Sometimes it is done on glafs, and with 
 frames or nets divided into fquares with filk or thread, and alfo by means 
 of inftruments invented for the purpofe. 
 
 CouNTER-FoRTS, buttreffes, ipurs, or pillars of mafonry, ferving to 
 prop or fuilain walls, or terrafles, fubjedl to bulge or be thrown down. 
 Thefe works are ufually bent into arches, and placed at a diftance from 
 each other. When any thing is built on the defccnt of a mountain, it 
 muft be ftrengthened with CountcrJ'orts, well bound to the wall, and at 
 the diftance of about twelve yards from each other. 
 
 Counter-Gagk, in carpentry, a method ufed in meafuring the joints 
 by transferring the breadth of a mortoife to the place in the timber where 
 the tenon is to be, in order to make them fit each other. 
 
 Counter-Light, in painting, a window or light cppofite to any 
 thing which makes it appear to a difadvantage. 
 
 Co UK- 
 
C R O i8i 
 
 Counter-Mure, a little well built clofe to another, to fortify and 
 fecure it, that it may not receive any damages from buildings made con- 
 tiguous to it. 
 
 Course, in archlted'ure, a continued range of ftones, level, or of the 
 fame height throughout the whole length of the building, without being 
 interrupted with any aperture. A courfe of plinths, is the continuity of 
 a plintn of Hone or plaifter, in the face of a building, to mark the repara- 
 tion of the ilones. 
 
 CoussiNET, in architediure, fignifies the flone which crowns a pied- 
 roit or peer, or that lies immediately over the capital of the import:, and 
 under the fweep. The bed of it is level below, and curved above, re- 
 ceiving the firft rife or fpring of the arch or vault. It is alfo ufed for the 
 ornament in the Ionic capital, between the abacus and the echinus or 
 quarter-round, and which ferves to form the volutes. It is firft name*a 
 from its reprefenting a culliion or pillow, prelTed by the weight over it, 
 and bound with the ftrap or girdle, called, by Vitruvius, balthcus. 
 
 Cramp-Iron, or Cramps, a piece of iron bent at each end, ferving 
 to faften together pieces of wood, ftones, or other things. 
 
 Crane, a machine ufed in building and commerce, for raifing large 
 ftones and other weights. It is of two kinds, in the firft, only the gib- 
 bet moves upon its axis j and in the fecond, called the rats- tail crane> the 
 whole crane, with its !oad, turns upon its axis. 
 
 Crank, a contrivance in machines, in the manner of an elbow, only 
 of a fquare form, projedling from a fpindle, and ferving by its rotation to 
 raife and fall the piftons of engines. It is alfo the iron fupport for a lan- 
 tern, or the like ; alfo the iron made fart: to a ftock of a bell for ringing it. 
 
 Crayon, or Pastil, among painters, a compofition of colours, re- 
 duced to the texture of chalk, and ufed dry, in the form and manner of 
 pencils, for painting on paper. 
 
 Crest, ainong carvers, an imagery, or carved work, to adorn the 
 head, or top of any thing, like our modern corniche. 
 
 Crossette, in architecture, the returns in the corners of chambran- 
 les, or door cafes, or window-frames, called alio ears, elbows, ancones, 
 prothyrides. The Croflctte of a luthern is the plaifter or covering near a 
 iuthern. 
 
 Cboss-Grained, Timber is faid to be Crofs-grained, where a bow 
 or fome branch rtioots on a part of the trunk of the tree; for the bough 
 er branch (hooting forwards, the grain of that branch fhoots forwards 
 alfo, and fo runs acrofs the grain of the trunk, and if it be well grown to- 
 gether, it will fcarce be perceived in fome ftuffs, but only in working. 
 
 Crown Post, in architedure, a port which in fome buildings ftands 
 wpright in the middle, between two principal rafters. 
 
 A a a Crown 
 
i82 C Y M 
 
 Crowk, in architedure, the uppermon: mcmbfr of the cornice, called 
 alfo corona, and larmier. 
 
 Crowning, in architedure, any thing that finifhes a decoration. Thas 
 acorniche, a pediment, a croteria, are called Crownings. 
 
 Crypt A, a fubterraneous place or vjult, efpecially under a church, for 
 the interment of particular families or perfons. Vitruvius ufes the word 
 for part of a building, anfvvering nearly to our cellar. Hence, Crypto 
 Poitico, a fubterraneous place, arched or vaulted, ufed as an underwork 
 or pafTage into old walls. The fame words are alfo ufed for the decora- 
 tion at the entry of a grotto. 
 
 CuBATURE, is the cubing of a folid, or the meafuring of the fpace 
 comprehended in a folid, as in a cone, pyramid, cylinder, &c. The 
 Cubature has refped to the content of a folid as the quadrature has to the 
 fuperficies of a figure j fo that the Cubature of the ;phere turns on the 
 fame thing as the quadrature of the circle. 
 
 Cube, in geometry, a regular or folid body, confifting of fix fquare 
 and equal faces and fides, and its angles all right, and therefore equal. 
 •The Cube is fuppofed to be generated by the motion of a fquare plane 
 along aline equal to one of its fides, and at right angles thereto; whence 
 it follows, that the planes of all fedions parallel to the bafe, are fquare 
 equal thereto, and confequently to one another. 
 
 Cupola, in architedure, a fpherical vault, or the round top of the 
 doom of a church, in the form of a cup inverted. 
 
 Curve, in geometry, a line, wherein the feveral points it confifls of, 
 tend feveral ways, or are pofited towards different quarters. In this fenie 
 the word is ufed in oppofition to a ftreight line, whole feveral points are 
 pointed towards the fame quarter. 
 
 Cutting, in painting, the laying one flrong lively colour over ano- 
 ther, without any fliade or foftening. This hath always a difagreeable 
 €ffed. 
 
 Cylinder, is a round folid, having its bafes circular, equal and pa- 
 rallel, in the form of a rolling-ftone. 
 
 Cymatium, in architedure, a member, or moulding of the corniche, 
 the profile of which is waved, that is, concave at top, and convex at 
 bottom. This is oftentimes called alfo douc'r.ie gcrge, or gula reSlj gclctta 
 by the Italians, but mofl ufually Cymatium, among us, being the laft 
 or uppermoft member, q. d. the cima or fummit of the cornice. 
 
 Some write it Simaife, from fwius, an ape, or camus flat-nofed ; but 
 this etymology feems not proper ; the beauty ot the moulding confiding 
 in its having its projedure equal to its height. M. Felibien indeed will 
 not allow of this etymology; and contends, that the moulding is not fo 
 denominated from its being the uppermoft member of the cornice, but 
 upon its being waved, which is the opinion of Vitruvius. Vitruvius 
 
 does 
 
C Y P 183 
 
 does not confine Cymatium to the cornice, but ufes it indifferently for 
 any fimilar moulding, wherever he meets with it. In which he difl'ers 
 from the moft accurate among the moderns. Felibien irakes two kinds 
 of Cymatiums, the one right, and the other inverted; in the firft, that 
 part which projects the fartheft is concave. In the other part that projedls 
 farthefl is convex, called cida inverjaov falon. The Englifli architecfts do 
 not ufually give the name of Cymatium to tbefe mouldings, except when 
 they are found on the tops of cornices. But the workmen ufe the name 
 ■ indifferently, wherever they are found. 
 
 In/can C)matiiim confifts of an ovolo or quarter round. Philander 
 makes two Doric Cymatiums; of which this is one. Baldus calls this 
 the Lefbian aflragal. Lefbian Cymatium, according to Vitruvius, is what 
 our architeds otherwife call talon, viz. a concavo-convex member, hav- 
 ing its projcclure fubduple its height. 
 
 Cypress-Tree, is one of the ever-greens, and very proper to mix with 
 pines and nrs in forming clumps. The wood of the cyprefs is very valu- 
 able when grown to a fize fit for planks, which it will do in as fliort a 
 fpace as oaksj therefore, why fhould this not be cultivated for that pur- 
 pofe, fince there are many places in England, where the foil is of a fandy 
 or gravelly nature, and feldom produces any thing worth cultivation ? 
 Now, in fuch places thefe trees would thrive greatly, and contribute 
 to the pleafure of the owner, while growing, and afterwards render as 
 much profit to his fucceffors as perhaps the belt plantation of oaks, efpe- 
 cially fliould the timber prove as good here, as in the iflands of the 
 Archipelago, which there is no reafon to doubt of: for we find it was fo 
 gainful a commodity to the iHand of Candia, that the plantations were cal- 
 led £/w F///^ ; the felling of one of them being reckoned a daughter's 
 portion. The timber of this tree is faid to refift the worm, moth, and all 
 putrefadion ; and is faid to laft many hundred years. The doors of St. 
 Peter's church at Rome were framed of this material, which laf!:ed from 
 Conftantine the Great, to Pope Eugenitus the Fourth's time, which was 
 eleven hundred years, and were then found and entire, when the Pope 
 changed them for gates of brafs. The coffins were made of this timber, 
 in wfiich Thucydides tells us the Athenians ufed to bury their heroes; and 
 the mummy cherts, brought with thofe condited bodies out of Egypt, 
 are many of them of this wood. This tree is by many learned authors 
 recommended for the improvement of the air, and a ipecific for the liin^s, 
 as fending forth great quantities of aromatic and balfamic fcents ; on which 
 account many ot the ancient phyficians of the eaflern countries ufed to fend 
 their patients who were troubled with weak lungs, to the ifland of Can- 
 dia, which at that time abounded with thefe trees, where, from the ef- 
 fedls of the air alone, very few failed of a perfect cure. 
 
 The 
 
i84 DEC 
 
 The timber of Cyprefs is ufeful for cherts, mufical inftrumeiits, and 
 other utenfils j for it refifts the worm and putrefadion, becaufe of the 
 bitternefs of its juice. It never rifts nor cleaves, but with great violence. 
 And it may be worth obferving, that the Venetians formerly made a con- 
 fiderable revenue of it out of Candia, till the foreil; there was fet on fire, 
 either through malice, (ir by accident, in the year 1400. It is reported 
 it burnt kven years together, becaufe of the unftaous nature of the timber. 
 
 The root of the wilder fort of Cyprefs is of an incomparable beauty, 
 by reafon of its crifped undulations. It was anciently made ufe of in 
 building fliips, by Alexander, and others. And fome will have it, that 
 Gophir, of which Noah's ark was built, was Cyprefs. Plato preferred 
 it to brafs itfelf, for writing his laws on. 
 
 D 
 
 Dado, in architedlure, the die, or that part in the middle of the 
 pedeftal of a column which is between its bafe and cornice. It is of a 
 cubic form, and thence takes the name of die. 
 
 Deal, a thin fort of fir plank, of great ufe in carpentry. Deals are 
 rendered much harder, by throwing them into falt-water as foon as they 
 are fawed, keeping them thres or four days, and afterwards drying them 
 in the air or fun ; but neither this nor any other method yet known, will 
 preferve them from flirinking. 
 
 Decastile, in ancient architecture, a building with an ordonance of 
 ten columns in front, as was the temple of Jupiter Olympius. 
 
 Decoration, in architedlure, whatever adorns a building, either 
 without-fide or within. The orders of architecture contribute a great 
 deal to the decoration j but then the feveral parts of thefe orders inuit 
 have their juft proportion, charadters, and ornaments, otherwife the 
 fined: order will bring confufion rather than richnefs. Decorations in 
 churches are paintings, vafes, feftoons, &c. occafionally placed on or a- 
 gainft the walls, but fo difcretionally, as not to take off" any thing from 
 the form and beauty of the architecture, as is much pradtifed in Italy at 
 the folemn feafts. Decorations alfo fignify the fcenes of theatres. The 
 Decorations in operas, and other theatrical performances, muft be often 
 changed, in conformity to the fubje(ft. The ancients had two forts of 
 Decorations for their theatres ; the firft, called Verfatiles, having three 
 fides or faces, which were turned fucceffively to the fpedtators. The 
 other called Du£lih's, which were drawn or flidden before others. The 
 latter fort of decoration is ftill in ufe, and to greater advantage among us 
 than the antients, who were under a neceffity of drawing a curtain when- 
 ever a change was made in the Decoration, whereas the change is made 
 in a moment, and without fcarce being perceived upon our fhage. 
 
 Decorum, 
 
D E S ,185 
 
 Decorum, in architedure, the fuitablenefs of a building, and its fe- 
 veral parts and ornaments to tbe ftation and cecal! in. 
 
 Vitruvius is very exadt in this point, and gives rules exprefsly for the 
 appropriating or fuiting the feveral orders to their natural charadters ; Co 
 that a Corinthian column Oiould not be fet at the entrance of a prifon 
 or gate-houfe, or a Tufcan in tiie portico of a church, as has been done 
 by fome of our builders, who have offended even in the difpofition cf the 
 offices in our ordinary houfes ; we often finding the kitchen fet where the 
 parlour fliould be; and that in the firil: and beil ftory, which fliould have 
 been condemned to the lowed and the worft. Some iiuerpret Decorum to 
 fignify the obferving a due refpedt between the inhabitant and habitation j 
 whence Palladio concludes, that the principal entrance muft never be re- 
 gulated by any certain dimenlions, but according to the dignity of the 
 perfon who is to live in itj yet to exceed rather in the more than in the 
 lefs, is a token of generofity, and may be excufed with fome notable em- 
 blem or infcription, as that of the Co?iii di Bavilaiqua over his large gate 
 at Verona, where probably there had been fome difproportion cjmmitted : 
 Patet janua cor magis, i. e. My gate is wide, but my heart isfnore wide. 
 
 Dentells, ornaments in a cornice, in fome degree refembli ng teeth, 
 whence they have their name j dens, and in the plural dentes, in Latin, 
 fignifying teeth. Dentells are often employed in the entablature of the 
 Ionic order ; they are cut upon a little fquare member, and have the ap- 
 pearance of a row of teeth, lome call this member the dcnticidm, and 
 the Dentells, dentes or teeth ; others ufe denticle for the Dentt lis. They 
 are in general indifferently called Dentells, dentils, and dentiles. The 
 breadth of the Dentell fliould be half its heighth, and the interval or in- 
 terdentation two-thirds of the breadth ; this is the proportion allotted by 
 Vitruvius. Anciently, Dentells were ufed only in the loniccornice, but 
 they have fince been introduced into others; the Greeks never put them 
 under modillions, but later architedls have not been fo ftrid: in this ref- 
 pe(fl, though both reafon and elegance recommend it. 
 
 Design, in a general fenfe, the plan, order, reprefentation, or con- 
 ftrudion of a building, book, painting, &c. In building, the term 
 ichnography may be ufed, when by Delign is only meant the plan of a 
 building, or a flat figure drawn on paper ; when fome fide or face of the 
 building is raifed from the ground, we may ufe the term orthography; 
 and when both front and fides are feen, in perfpedlive we call fcenography. 
 
 Defign is alfo ufed, in painting, for the firft idea of a large work, 
 drawn roughly, and in little, with an intention to be executed and finiflied 
 in large. The art of painting has been by fome of the grcateft mas- 
 ters divided into the Defign, or draught, the proportion, the expreffion, 
 the claro-obfcuro, the ordonnance, the colouring, and the perfpedlive. 
 It is the fimple counter, or outlines ot the figures or groupe intended 
 
 B b b to 
 
iS6 D I A 
 
 to be reprcfented, or the lines that terminate or cirdumfcribe them, fuch 
 - Delign is fometimes drawn in crayons, or ink, without any ftiadows at 
 all ; fometimes it is hatched, that is, the fliadows are expreffed by fenfi- 
 bje outlines, ufually drawn a-crofs each other with the pen, crayon, or 
 graver j fometimes again, the fliadows are done with the crayon, rub- 
 bed fo as that there do not sppear any lines ; at other times the grains or 
 flrckes of the crayon appear, as not being rubbed j fometimes the Dehgn 
 is waflied, that is, the fliadows are done with a pencil in Indian Ink, or 
 fome other liquor, and fometimes the Defign is coloured, that is, colours 
 are laid on much like thofe intended for the grand work. The eflential 
 requifites of a Defign are corredlnefs, good talle, elegance, character, di- 
 verfity, expreffion, and perfpedive. Corredtnefs depends on the juftnefs 
 of the proportions, and knowledge of anatomy. Tafle is a certain man- 
 ner of conednefs, peculiar to one's felf, and is not to be defined. Ele- 
 gance gives a delicacy that not only flrikes perfons of judgment, but com- 
 municates an agieeablenefs that pleafes univerfally. The charader is 
 what is peculiar to each objcrt, wherein there muft be diverfity, info- 
 much that every thing has its peculiar charader to difiinguifli it. The 
 expreliion is the reprefentation of an objedt, according to the circum- 
 Itances it is fuppofed to be in. Perfpedive is the reprefentation of the 
 parts of a painting, or a figure, according to the fituation they are in 
 u^ith regard to the point of fight. 
 
 Defigning is the art of delineating or drawing the appearance of natural 
 objedts, by lines, on a plane. 
 
 Dial, or Sun-Dial, an inflrument ferving to meafure time by means 
 of the tliadow of the fun. This word is derived from the Latin, dies^ 
 day, becaufe indicating the hour of the day. The ancients alfo call it 
 fciathericum, from its fliewing the hour of its fliadow. Sun-dials are 
 differently denominated, according to their different fituation, and the 
 figure of the furfaces whereon they are defcribed ; as horizontal, ver- 
 licle, equinodtial, polar, diredl, eredl, declining, reclining, cylindrical, 6cc. 
 The firft Sun-dial that was fet up in Rome, was eredled by. Papyrius 
 Curfor, about the year of the city, 447 : for Pliny fays, there was no 
 mention on any account of time, but of the fun's fetting and rifing. 
 This Dial was iet up in the temple of Quirinus, but it went not right. 
 About thirty years after this, M. Valerius Mefi..'., fays Varro, being con- 
 fui, brought out of Sicily, from the taking of Catana, another Dial, 
 which he fet up on a pillar near the roflrum; but it not being made for 
 that particular latitude, it could not go tiue. Neverthelefs they made 
 ufe of it for eleven years, and then Marcius Philippus, who was cenfor 
 with Lucius Paulus, fet up another that was more exaft. The Greeks 
 alfo were a long time without clocks and Sun-dials. Some afcribe the 
 inventions of Sun-dials to Anaximines Miktius, and others to Thales. 
 
 Ihere 
 
D I A 187 
 
 There are many kinds of Dials mentioned by Vltruvius ; as one in- 
 vented by Berofus the Chaldean, which was on a reclining plain, parallel 
 almoft to the equinodial, there was an half circle upon it, and thence it 
 was called Hemicyclus. Ariftarchus Samius found out the hemifphere- 
 Dial. And there were fome fpherical ones with a needle for a gnomon. 
 The difcus of Ariftarchus was an horizontal Dial, with its limb raifcd 
 up all round to prevent the (hadow from extending itfelf too far. 
 
 Dial-planes are of two forts. Firll:, fuch as are made on the wall of 
 a building. Or, fecondly, fuch as are drawn on the tables of wood, 
 commonly called Dial-boards. 
 
 The firft fort, if they are made on brick work is done by plaiftering 
 on the wall with lime, fand, and hair mixed ; this if well drenched witii 
 linfeed-oil, after it is dry, or as long as it will drink in anv, and after- 
 wards with oil and white lead, may be durable enough. But it will be 
 a better way to temper the lime, fand, and hair with ox blood, which 
 will be no great charge, but of great advantage ; for this mixture will 
 equal in time the hardnefs of a free-ftonc, and keep the furface as much 
 from the injuries of the weather ; but it mufi: be afterwards painted white. 
 If you are to work on a ftone, the heft way is to drench the ftone with 
 linfeed-oil, and white lead, very thin, till it will drink no more; then 
 will the Dial you paint upon laft the longer, and be the better prepared 
 to refift the ruins of time. 
 
 Now for tables or Dial-boards of wood, they being mod common, we 
 fhall give fuch diredlions for the making of them, as have been always 
 found moft profitable and fit for the purpofe. The beft wood for this 
 work is the cleared oak, and the reddilL fir, provided it be not turpen- 
 tiny. There is but littl*- difference between thefe two woods as to their 
 alteration by the weather, both being fubjedl to fplit, in cafe they are 
 bound, and have not free liberty to rtirink with dry weather, and to iweli 
 with wet. But as to their lafting, oak appears to be the beft of the two ; 
 though good red fir that is hard will generally laft the age of a man, if 
 it be fecured as fuch things ought to be. In working either of thefe 
 kind of woods, firft cut the boards to fuch a length as you intend the 
 deal board Ihould be, and fo many of them as may make up the breadth 
 defigned ; then let them be jointed on the edges, and planed on both 
 fides, and afterwards fet to dry; for it has been obferved, that though 
 boards have lain in an houfe ever fo long, and are ever fo dry, yet when 
 they are thus fhot and planed, they will fhrink afterwards beyond belief, 
 if kept dry. When they have been thought to have been dry enough, 
 and will flirink no more, let them be again (hot with good joints, and 
 let every joint be fecured by two wooden dove-tails, let in crofs the joint 
 on the backfide ; but let this be done when the boards are glued together, ' 
 and well dried. After they have been thus glued, and the joints are fufii- 
 
 cieutly 
 
i88 D I A 
 
 ciently dried, then let the face of the board be well planed, and tried 
 every way, that it may be boih fmooth and true, and all of a thicknefs, 
 as pannels of wainfcot are commonly wrought. The edges mufl be thus 
 true and even, that they may fit into the rabet of a moulding put round 
 it, juft as a pannel of a wainfcot does in its frame. This will give 
 liberty to the board to fhrink, and fwell without tearing; whereas 
 mouldings that are nailed round the edge, as the common way is, do fo 
 rcftrain the motion of the wood, that it cannot flirink without tearing j 
 but board wrought after this manner will laft a long time, without either 
 parting in tiie joints, or fplitting in the wood. 
 
 Dials are fometimes drawn on planes lined with copper or lead, that 
 they may be free from (plitting or tearing; but a board (if it be prepar- 
 ed as above direded) is thought preferable to them in many refpedls, as 
 it is much cheaper: belides, lead and copper too, will fwell with the 
 heat of the fun, and grow in time hollow outwards or convex, inflead of 
 a perfedl flat, fo that the truth of its fhadow will be much injured. The 
 colours will be apt to peel from the metal, and the Dial will by that 
 means be fooner defaced, than if it were painted on a wooden plane. 
 Before you begin to paint, it will be abfolutely neceffary to make a 
 draught of your Dial on paper ; your board being ready, and your colours 
 prepared, then proceed as follows. 
 
 Take Spanifh brown, that has been well ground, and mixed moderate- 
 ly thin, and with a large briflle-brufh dipped in it, colour the board or 
 plain all over, on the back as well as on the fore fide, to preferve it the 
 better, fo that no part be left uncoloured ; this is called the priming of 
 a Dia^ When this firft colour is dry, do it over ^gain with the fame 
 coloui^ tempered fomewhat thicker; and when this is alfo dry, you may, 
 if you pleafe, do it over again with the fame colour ; the work will be 
 the better, and laft the longer. This being done, then colour the face 
 of the Dial plane over with white lead ; and when that is dry, work it 
 over again three or four times more, fucceffively after each drying j and 
 fo will the face of the Dial-plane be fufficiently defended againft the vio- 
 lence of the weather. When the laft colouring of the white is drawn, 
 you muft draw on the plane, with a black lead pencil, a horizontal line, 
 fo far diflant from the uppermoft edge of the Dial, as your difcretion 
 {hall think fit, or your experience finds fhall be moft becoming the 
 plane; then fet out the margin of the Dial with boundary lines for the 
 hour, half hour, quarters, and quarter-divifions of the Dial, as you fee 
 done in moft Dials. When the margin and boundary lines of the Dial 
 are fet out, then take your paper-draught, that has been fairly drawn, and 
 place the horizontal line of that, on the horizontal linethat you beforedrew 
 on the plane j in doing of which, obfcrve to place the centre according as 
 the fituation of your plane, for convenience fake, requires. Thus if your 
 
 Dial 
 
D i A 189 
 
 Dial be a full fouth-Dial, then let the centre be exactly in the mi.ldle of 
 the plane; but if your Dial decline from the fouth, either eaft or weft, 
 then place not the centre of your draught in the centre of your plane, 
 but nearer to one fide or other of it, according as it declines, having alfo 
 reward to the quantity of "its declination. 
 
 'Asfor example; if your Dial decline eaft wards, then let the centre of 
 your draught be placed between the centre and the eaftern fide of your 
 plane, the quantity thereof mud: be according as your Dial declines : if 
 it declines but a little, then place the center of your draught but a little 
 from the center of your plane ; and if it declines much, place the centre 
 of your draught the more out of the centre of your plane. The reafon 
 of advifing this, is that by fo doing you may gain a greater diftance for 
 thofe hour-lines, which in declining planes, fall nearer together on one 
 fide than they are on the other ; for which reafon, it is ufual fo to do in 
 ' declining planes, except they decline far, as between eighty and ninety de- 
 grees j for in this cafe, they are commonly drawn without centres, to 
 gain the greater diftance for the hour lines. When the paper draught has 
 been thus artificially placed on the plane, and faftened with pins, or fmall 
 tacks, then let the draught of it be transferred on the plane, by laying a 
 ruler over every hour and quarter divifion, and where the ruler cuts or 
 interfeds the boundary lines of the margin, there make marks, by 
 drawing lines with a black lead pencil, of fuch a length as each 
 divifion r. quires, or is defigneJ by your boundary lines, oblerving 
 always to draw the hour and half hour lines quite through your margin, 
 that they may be guides for the right placing of the figures, and for a 
 fmall fpot that is ufually placed in the. margin, right againft the half 
 hour. When this Dial-draught has been thus transferred to the plane 
 itfelf, you muft not forget to draw the fubftdar line according as it lies 
 in your draught, to be a guide for the right placing the ftile or cock ; for 
 you muft be very exaft in every particular, or elie the Dial will not be 
 right. 
 
 Every thing that is required being taken from the draught, and tranf- 
 ferred to the plane, then take the draught off, and with vcrmillion well 
 ground and prepared, let the boundary lines of your Dial, as alfo the 
 hour, half hour, and quarter divifion be drawn therewith ; let your co- 
 lour be as thick and as ftill as you pofTi'r.ly can work it, fo as to draw a 
 clear and fmooth line ; becaufe this is to be done but once. When your 
 Vermillion lines are drawn, then make the figures with lamp-black, and a 
 fpot in the middle of the margin, right againft the half-hour line, and, 
 if you pleafe, in the margin at the t.jp of your plane, you may put the 
 date of the year, your name, and fome fentcnce as is ufual in things of 
 this nature. Then fit in vour cock, fo as to make right ang'es with the 
 plane. So (hall your Dial be drawn, and finiftied in all refpeds as a plain 
 Dial ought to be. 
 
 C c c Before^ 
 
190 
 
 D I A 
 
 Before we difmifs this article, it will be necefTary we dired the fludent 
 to the heft authors who have wrote on the fubjedt of Dialling. Stirrup's 
 Dialling will be found of great ufe to the rtudent, teaching him the- 
 knowledge of the fphere, that he may underfland the nature and reafon 
 of Dials. Collins's Dialling is a very ufeful book. In Leybourne's 
 Dialling you have the befl: inflrudlions for drawing eafl: and wefl Dials, 
 and for decliners. Laftly, Collins's fedor on a quadrant, in which you 
 have reprcfented the cut of a fcale. that by knowing the declination, gives 
 all the requifites of an upright decliner, by infpe6tion only, with as great 
 accuracy, as the moft corrtd: calculation j befides, it teaches the way of 
 drawing the hours of a Dial by a tangent line, and alfo by the fcale of 
 hours ; two of the bell: and mod expeditious ways that ever have been 
 yet difcovered. 
 
 Dialling Globe, an inflrument of brafs or wood, with a plane 
 fitted to the horizon, and an index, fo contrived as to give a clear lUuf- 
 tration of the principles on which Dials are made. 
 
 Dialling-Lines, or Scales, are graduated lines placed on rulers, or 
 the edges of quadrants and other inftruments, to expedite the conftruc- 
 tion of dials. 
 
 Dialling-Sphere, an inftrument made of brafs, with feveral fern i- 
 circles Aiding over each other upon a moveable horizon ; ferving to de- 
 monftrate the nature of fpherical triangles, as well as to give the true 
 idea of drawing dials on all f Tts of planes. 
 
 Diameter, in geometiy, a right line paffing through the center of 
 a circle, and terminated at each fide by the circumference. The chief 
 ■ properties of the Diameter are, that it divides the circumference of a cir- 
 cle into two equal parts. Hence we have a method oi defcribing a femi- 
 circle upon any line, aiTuming its middle point for the center. The Di- 
 ameter is the greateft of all chords. The Diameter of a curve is a right 
 line that bifeds the right lines drawn parallel to one another; and are 
 either of a hnite or infinite length. Although a right line, bifedingall 
 parallel lines drawn from one point of a curve to another, is taken in a 
 ilnO: i'enic only for the Diameter of a curve-line, yet it may not be amifs 
 moie generally to define a Diameter, in faying, that it is that line, whe- 
 ther right or curve, which bifedls all parallels drawn from one point of 
 a curve to another; fo that, according to this every cuive will have a 
 Diameter; and thence Sir Ilaac Newton's curves cf the fecond order 
 have all either a right lined Diameter, or elfe the curves of lome 
 one of the conic fedtions for Diameters ; and many geographical carves 
 of the highefl orders may alfo have lor Diameter curves of more inferior 
 ones, and that ad injinitum. 
 
 Diameter of a Sphere, is the Dism.eter cf the femi-circle, by whofe 
 rotation the fphere isgerieratcd ; in which knfe it is the lame with axis. 
 
 Diameter 
 
D I M 
 
 191 
 
 Diameter of a Column, in architedture, its tbicknefs jufl: above the 
 bafe. From this the module is taken, which meafures all the other parts 
 of a column. Diameter of the fwellings is that taken at the height. 
 Diameter of the diminution of Columns is that taken from the top of 
 the Oiafts. 
 
 DiASTYLE, the term by which the old architeds expreffed that inter- 
 columniation, or fpace between columns, which confifted of three dia- 
 meters of the column ; others call this a fpace equal to four diameters. 
 The word does not determine any thing from its derivation, which is 
 only from the Greek Six, between, and juAoj, a column, fo that it may 
 exprefs one diftance between as well as another. 
 
 Die, a term ufed to exprefs a fquared naked piece. Thus the body of 
 a pedelfal, which is that part between its bafe and its cap, is called the 
 Die of the pedeftal. It is alfo a name by which fome call the abacus. 
 
 Digging, the Digging of the ground for cellars, and for the founda- 
 tions of buildings, is commonly done by the folid yard, containing twen- 
 ty-feven folid feet, which is commonly counted a load. Therefore take 
 the dimenfion in feet, multiply the length by the breadth, and the pro- 
 dud by the depth, and then divide the laft produdt by twenty-leven, and 
 the quotient will give the content in folid yards. 
 
 D I MENSION, is the extenfion of a body conlidered as capable of being 
 ineafured. Hence, as we conceive a body extended and capable of being 
 mea(ured in length, breadth and depth, we conceive a trine Dimenfion, 
 viz. length, breadth, and thicknels. The firft is called a line, the fe- 
 cond a furface, and the third a folid. 
 
 Diminution, a term expreffing the decreafe in thicknefs in a regular 
 column. In Gothic buildings we lee pillars of an enormous height in 
 proportion to their thicknefs, and all the way up of fome diameter j 
 in regular building the column diminilhes in the upper part, and it is na- 
 tural that it fhould do fo, for the hrft columns were parts of trunks of 
 trees, and they muft have from nature this Diminution, which the an- 
 tients had the judgment to preferve in the iliape of their artificial co- 
 lumns. The Diminution generally begins from one-third of the height 
 of the column; fome make it begin from the very bafe, lo that the co- 
 lumn is fmaller all the way up, but the fiilf is the general and the bcft 
 method J this other has not nearly fo good an effcdt. 
 
 The Diminution in the Tufcan order is ufually the greateft of all ; it 
 is commonly made a fourth part of the diameter of the column at the 
 bafe; but anticnt buildings do not warrant this; in the Trajan colun:H 
 the Diminution is but one ninth of the diameter. The Dimuiutions arc 
 \t\-y indifferently proportioned in columns of the fame order m difierent 
 antique remains ; and Vitruvius vv'ould have this contradion in thicknels 
 proportioncQ to theabfolute height of the column, rather than to the con- 
 
 fidcratioa 
 
192 D I S 
 
 fiJeratlon of any particular order : if a colutnn be fifteen feet high, he 
 direds the Diminution to be one fixth of the diameter ; and if it be fifty 
 feet, he would have it only one eighth ; but the pradlice of the antique, 
 as w-ell as later architeifts, differs extremely upon this head ; fcarce any 
 tiling is fo far from being determined. 
 
 DiPTERE, a term ufed by the ancients to exprefs a temple encompafled 
 with a double row of columns; it is derived from the Greek ^nrji^o';, 
 formed of J"!?, twice, and z/l^^o;, a wing, and exprefles a building with 
 two wings. Wlien a building was encompafled with a fingle inftead of a 
 double row of columns, it was called the p/et/Jo Dipterc^ or Jal/e Diptere j 
 the two rows formed of a kind of porticos, which they called wings. 
 
 Disposition, in architecture, the juft placing of the feveral parts of 
 an edifice, according to their proper nature and office. 
 
 Difpofition of pictures and paintings j the manner how, and where 
 noblemen and gentlemen, who are pofl^effed of a choice colledion, fhould 
 have them placed in their different apartments, i. Antique works, or 
 grotefque, may become a wall, and the borders and friezes of other works; 
 but if there be any draughts in figures of men and women to the life on 
 the wall, they will be bell of black and white, or of one colour height- 
 ened : if they be naked, let them be as large as the place will afford : if 
 of marble columns, aqueducts, arches, ruins, and cataradls, let them be 
 bold, high, and of large proportion. 2. Let the beft pieces be placed to 
 be feen with fingle lights ; for fo the fliadows fall naturally, being always 
 barred to anfwer one light ; and the more under or below the light, the 
 better, efpecially in mens faces, and large pieces. 3. Let the porch of 
 entrance into the houfe be fet out with ruftic figures, and things rural. 
 4. Let the hall be adorned with fliepherds, peafants, milk-maids, flocks 
 of fheep, and the like in their refpedive places, and with proper attend- 
 ants ; as alfo fowls, fifh, and the like. 5. Let the ftair-cafe be fet off 
 with fome admirable monument or building, either new or ruinous, to 
 be feen and obferved at a view paffing up ; and let the cieling over the top- 
 flair be with figures forc-fhortened, looking down out of the clouds, with 
 garlands, and cornucopias. 6. Let landlkips, hunting, fifhing, fowling, 
 hiftories, and antiquities, be put in the great chamber. 7. Let the pic- 
 tures of the king, prince, or other great perlonagesj or their coats of 
 arms, be placed in the dining-room. 8. In the inward, or with-draw- 
 ing chambers, put other draughts of the life of perfons of honour, inti- 
 mate or fpecial frie;ids, or acquaintance; or of artifts only. 9. In ban- 
 qucting-rooms, pkce chearful and merry paintings, as of Bacchus, cen- 
 taurs, fatyrs, fyrens, and the like, forbearing all obfcene pidures. 
 10. Hiftories, ferious fubjcds, and the beft works become galleries, where 
 any one may walk, and exerciic their fenfes in viewing, examining, de- 
 lighting, judging, and cenfuring. 11, Place caftles, churches, or fome 
 
 fair 
 
D O O 193 
 
 fair buildings in fummer-houfes and ftone-walks. In terrafl'es, put baf- 
 cage and wild works. Upon chimney-pieces only landlkips, for they 
 chiefly adorn. 12. Place your own, your wife and childrens pictures, in 
 your bed-chambers, as they beft fuit the private rooms, and are moft a- 
 sreeablc to modefty, lead (fays an author) "if your wife be a beauty, 
 " fomc wanton guelt fliould gaze on it too long, and commend the work 
 «' for her fake." 1 3. In hanging picflures, if they hang high above reach, 
 let them bend fomewhat forward at the top, becaufe, otherwife, it is ob- 
 ferved, that the vifual beams of your eye which extend to the top of the 
 pidure, appear further off than thofe of the foot. 
 
 Distemper, in painting, a term u fed for the working up of colours 
 with fomething befides water or oil. If the colours are prepared with 
 water, that kind of painting is called limning ; and if with oil, is called 
 painting in oil, and limply painting. If the colours are mixed with fize, 
 whites of eggs, or any fuch glutinous, or unduous matter, and not with 
 oil, then they fay it is done in Diftemper. In this manner the admira- 
 ble cartoons, late at Hampton-court, but now at the Queen's Palace, are 
 painted. The greatcfl; difadvantage of difteuiper is, that it has no glit- 
 tering, and all its colours look dead, by which means they appear alike 
 in all forts of lights, which oil colours, or even colours in Diifemper, 
 when varnifhed do not. 
 
 Distribution, in architedure, the difpenfing of the feveral parts 
 and pieces which compofe a building, as the plan diredfs. The Diftnbu- 
 tion of ornaments, is an equal orderly placing of the ornaments in any 
 member of architefture. 
 
 DiSTRYGLYPH, in atchitedlure, the fpace between two triglyphs. 
 Dome, in architecture, a Ipherical roof, rajfed over the middle of a 
 building, as a church, hall, &c. by way of Ci-owning. Domes are the 
 fame that the Italians call couppola's, and we cupola's. Vitruvius calls 
 them tholi. They are generally made round, or refembling the bell of a 
 great clock ; but there are ibme inftances of fquare ones, as thole of the 
 Louvre; and alfo feme of them are in the form of Polygons, as that of 
 the jefuits church in the Rue St. Anthoine at Paris. Domes have com- 
 monly columns ranged around their outfides, both for the fake of orna- 
 ment, and fupport to the work. 
 
 Doors. Two things are to be confidered in the defign of a Door, the 
 ■ firft its aperture, and the fecond its ornaments. Thele muft both enter 
 ' into the mind of the archltedt who is defigning an edifice, or he will ne- 
 ver proportion or adapt it to the itrufture. How often do we fee in Lon- 
 don, Doors wJiich appear not to belong to the houfe, but to be joined to 
 it againft nature, not raifed with the building. It is comn:ion to lee Doors 
 whole breadth occupies near one half of the extent in front ; and in Do- 
 ver-ftreet there is one whofe top covers half the window placed over it 
 
 D d d ia 
 
194 D O O 
 
 in the upper flory. This is the error of thofe who mean to be magnifi- 
 cent ; but the oppofite is too common in plain houfes. Doors are put 
 which feem to fay, no fat man comes into this houfe, and they always 
 difgrace the whole building. 
 
 The variations in the antique are in this inftance very great; and from 
 this it was that Palladio evaded giving rules for the dimenfions of Doors 
 in proportion to houfes. He was fenfible he could lay down none againft 
 which fome inftance might not be brought, in thole buildings which were 
 allowed mafterly in their kind; and he therefore left it undetermined. 
 There are many things in which the antient architedls have erred, and it 
 will be a double error in us to copy their faults. They did not in general 
 make the aperture equal all the way, but contraded it upwards, This 
 mufi: have had a iftrange effed. A Door narrower at the top than the bot- 
 tom mull have appeared a deformity in any building. The limits of thefe 
 things are not fixed at any certain point, nor are the powers of genius 
 fettered by fuch boundaries. While we admire the dignity of the Gre- 
 cian or the pomp of the Roman Doors> let us fee alfo this contraction as 
 an egregious error, and if we refer to Palladio, or to the oracle of Palla- 
 dio, Vitruvius, on this account, let it be to diflent from their opinions. 
 With regard to the Italian, he was loft in the diverfity of what he read, 
 and what he faw ; as to the Roman, he fcems to have received it as a law 
 in the fcience, that there (hould be this contradion ; and when he direds 
 that in Doors of more than thirty feet height in the opening, there (hould 
 be no contraftion of the diameter, his commentator Philander, who rare- 
 ly milfcs his lenfe, fays this" was, becaufe at that height the nature of vi- 
 lion anfwered the fame purpofe; and the contradlion was given to the 
 eye by diftance. 
 
 The archited: will fee by this free difquifition, that the antients are not 
 proper inftrudl ors in the dimenfions of Doors j how much foever we may 
 learn from them refpecling their ornaments. He will fee alfo, that the 
 moft famous of the moderns has left him uninformed on this head : and 
 if he looks into the common books of defigns he will find nothing but 
 abfurdity. 
 
 With refpedl to the height ot Doors in the aperture, there is an univer- 
 fil law in reafon, though not oblerved ; there is a certain heigot below 
 which they niufl: not be, though for dignity and proportion the field in 
 which they may exceed is almoft unlimircd. The human ftature is the 
 mark for the Icaft height that can be proper; he who makes a Door is 
 not to defcend below this efrabhfhed proportion. For the loweil Door 
 then the height muft be fuch, as that a man of the higheft common fta- 
 ture may go through it without Hooping, This limits the mealure to Iik 
 feet} below this the Door of no houfe Ihauld be made, even of the plain- 
 ell ; but ail above is left to fancy guided by the general idea of propor- 
 tion. 
 
D O O 195 
 
 tion. The height being thus determined, the breadth conies into confi- 
 deration; the fides muft be fj diftant, that they muft not reduce a man t o 
 enter with his arms in any particular pofture j as he is to go in without 
 Hooping, fo he ought to be able to walk in at eafe. The fmalleft dimen- 
 fion therefore in breadth that can be allowed is three feet ; and this being 
 half of the given height has a very good effedt in refpedl of general propor- 
 tion. 
 
 Thefe are the rules laid down by nature, and thefe being allowed as 
 truth, become the foundation of all the other proportions. While we 
 are near this, we are fure not to err ; and this ought always to be kept in 
 remembrance for that purpofe. He would have reafon to complain of the 
 confined laws of the fcience, who fancied that from this every Door muft 
 be made the exadt double of its breadth in height ; there are peculiar con- 
 ftrudions which require particular meafures ; but as in all other cafes 
 there are bounds which muft not be tranfgrefi'ed, fo in this there is a la- 
 titude, as we ftiall fhew, within which the fancy may rove, but which it 
 muft not pafs. We have faid, that for the plaineft Doors the proportion 
 of height to breadth muft be double; this is to be a little varied at the 
 pleafure of the architedl, and he muft thus employ his liberty. 
 
 If the front of the houfe extend confiderably in breadth, in proportion 
 to the height, the Door muft be adapted to it, by having a proportion of 
 breadth fomewhat too great for its height ; upon the preceding principles, 
 and in the fame manner, if the building be one of thofe which rife to a 
 height without any great breadth, the Door for it fliould be made a little 
 more than twice as high as broad, to accommodate the figure of that as 
 of the other parts to the form of the whole. Thefe are liberties he is 
 to take, but they muft be taken with difcretion ; great variations from 
 common proportions will be always wrong ; and it is never needful, be- 
 caufe a Door is fo obvious a part, that lefier will be I'nen. 
 
 The form and dimenfions of Doors having thus been eftablilhed upon 
 fome principles, we are to confider their pofition. This varies according 
 to their diftance from the level of the ground, and is to be governed by 
 the height of the floor to which tliey belong. In the plair.ell and molt 
 ordinary houfes the Door is upon the level of the ground, but this is v/rong 
 for a very obvious reafon. There is to be fome fettling exptdvd in the 
 houfe, and experience flicws, that the ground in all inhabited places na- 
 turally riles in furface. Tlieretore a houfe \yhofe floor of entrance was 
 placed originally upon the level of the ground, will in a few years, fiom 
 the concurrence of thefe two accidents, or from one of them, be below 
 that level ; the Door will then ftand below the lurface of the ground, and 
 we mult go down flairs into the houfe ; this is to be avoided both for fhew 
 and lervice. A floor under the level of the ground will be damp, and the 
 Door, if well proportioned at firft, it will be too low for its breadth, at 
 leaft it uill appear fo, which in this relped is the fame thing. This is a 
 
 reaion 
 
196 D O 
 
 re;ifon why a Door fhould never reft upon the level of the ground j but if 
 againft all rule the builder or the owner will have it fo, the proportion to 
 be obferved is this j it mufl: be made fomewhat high in an over-proportion 
 to the breadth, becaufe the eye at firft will reduce it to the appearance of 
 regularity, and probably accidents afterwards will place it below it. 
 
 Kence is derived a principle that ought to ftand as unalterable in itfelf; 
 that the more the Door of a houfe is raifed above the level of the ftreet 
 the more its breadth fhould exceed the natural proportion with refpedt to 
 height. This depends upon the nature of vifion, which in thefe near ob- 
 jedls ought always to be confulted ; for the higher the Door is placed the. 
 narrower it will appear by diftance, and therefore the broader it fliould be 
 made in the reality. Thefe are points which deferve to be confidered 
 much more ftridtly than they are, for upon them depends entirely the pro- 
 portion. In the earlieft architedlure we find, that the cuftom was to place 
 the Door at a confiderable height above the level of the ground j and in 
 all magnificent buildings it ihould be thus raifed, and in others in propor- 
 tion to their fize. The raifing the Door after the old Greek manner 
 gives many advantages. The floor to which it opens has elevation, bet- 
 ter air, and the advantages of profpedl. There is the benefit to it by 
 flights of fleps, which, whether fingle or double, are of great ornament, 
 and may be carried to any degree of elegance, according to the pleafure 
 of the purchafer ; it alfo gives a good floor for the ufe of the fervants. 
 For all thefe reafons we fee it befl; to give the Door an elevation, and we 
 have diredled the architedl: to the only method by which one of this litua- 
 tion ever can be rendered truly graceful. 
 
 We are now naturally led to the ornaments of Doors, and -are to pro- 
 pofe, as their firft and greateft decoration, the ufe of the orders. They 
 are the nobleft and mofl" graceful part of architecture, and are therefore 
 fuited to what is to make the firft impreffion, as a Door naturally does. 
 Their expence is no where an article of fo little confideration, becaufe 
 they are here fmaller and fewer than in the common ufes ; and the archi- 
 teft of tafte has this realbn to be pleafed with them, that he has in their 
 conftruction a fcope for all the boldnefs of his genius, and the beft flights 
 cf his regulated fancy. Great variations are authorized by the remains 
 of antiquity in the conftrudlion of every one of the orders; in the orna- 
 ments of Doors there is full fcope for the imitation of all thofe of the 
 antients, and for the devifing new ones; and from this may arife a dignity 
 and grace unknown hitherto in architedlure. From thefe he may feledt 
 what will beft luit the purpofe of every particular Door j for it will be 
 proper for him to give the greateft heights to his columns and their capi- 
 tals, where the Door is to be, according to its fituation, narrower th^n 
 ufual in refpedl of height; and on the contrary, to feleft thofe columns 
 fiom among our examples of each order, which are loweft, where the 
 
 Door 
 
D O O 
 
 '97 
 
 Door is broader than the exafl proportion of height would didate. This 
 is the true uCe of thefe remains of the antique, and by Inch a method of 
 employing them they will obtain as much credit for the architect, as in a 
 random choice they would difgrace him. 
 
 One thing remains to be obferved with refpeft to the diminution of 
 columns ufed in ornamenting Doors, that the greater this is, the lefs they 
 are fuited to the purpofe. This is one of many realons that ought to 
 banifh the Tu'can order from this piece of fervice. Its diminution is 
 not only the greatcft of that of any order ; but it is greater beyond all 
 proportion, and looks as if ill-formed, where it is made with ever fo 
 much truth. The other orders are no way more happily ufed than for 
 this purpole ; their diminution is tlie great grace of their forrr, and it is 
 never fiiewn fo plainly or confpicuoufly. The upright of the Door-cafe, 
 before which it ftands, is a meafure to the eye, and the whole being near,, 
 and the form of the column diftind, the diminution is feen in the whole 
 outline. This is a very obvious reafon for preferring columns to the vul- 
 gar cuftom of pilaitcrs upon this occafion ; but at the fame tmie, as we 
 have obferved already, the peculiar diminution of the Tufcan being too 
 great to be borne, on fo near and fo diftind a view, fliould exclude it 
 fiom this ufe in the ornaments of Doors. Having treated on the ufe of 
 columns in the ornament of Doors, we now proceed to fhew the young, 
 archited the ufe of the more elegant orders in Doors. 
 
 The greateft decoration of Doors is by means of the orders. Tlie 
 Tufcan is in general the leaft fit for the purpofe; therefore there remain 
 to be confidered only the two more rich and elegant to be appropriated to- 
 this ufj. A plain opening left in the wall was doubtlcfs the firft Door- 
 way, and it continues the plained j it were well if we could not fay, it 
 would be to the advantage of many decorated entrances to good houfes, if 
 all theexpence could be removed, and the opening left naked as it came 
 from the hand of the bricklayer. From the plain Door-way, the advance 
 to that ornamented with the lowefl: order is by many Itages, and in all- 
 thefe there is luch a thing as plain propriety, which only a mifguided fan- 
 cy could tranfgrefs. The great error is that of crowding ornaments of a 
 fuperior kind into a work of an inferior; this is as abfurd in the leaft 
 things as the greateft. The capital of the Corinthian order put upon a 
 Tukan column, could not be more monftrous than the bringing in here 
 the decorations of one kind to the plan in another. Vv'hen the Doric 
 with its beft proper decoration docs not appear rich enough, inftead of 
 adding what is unfit, the architect Ihould choofe the Ionic,, and the fame 
 rule holds here univerfally; let the builder fee in this light. If a Door 
 with an architrave cannot be made rich enough by proper fculpture to- 
 pleafe the eye of the pofteftbr, let him not introduce into it the deco- 
 rations appropriated to other kinds; but at one advance from that plan 
 
 E e e to 
 
198 D O O 
 
 to defign with an order, and laying afide the other entirely adhere to 
 this. 
 
 There is nothing ahfurd but from the mixture of improper parts; and 
 ncthing is ridiculcus tiiat is not ablurd ; therefore let him keep only pro- 
 priety in his mind, and he will be fu'-e to elcaps ce;ifure. The 
 plaineft Door that has proportion in its dimenfion-, andpropriet, in what 
 IS placed about it by way cf ornament, will give fitisfadiion not only to 
 the judicious, bijt to every eye, while ill-judged ornaments raiie 
 contenipf. Let it be an univerfa! rule deduced from this principle, that 
 where there are not columns introduced, there fhould be no refemblance 
 of them. With what difguft does the judicious eye lock, at the Door 
 vvheie the conceit of the architecfl has formed a half col. imn out of fome 
 of the mouldings, which running up to enclofe a compartment above 
 the Door, together with it, fifteen diameters in height, and has a fancied 
 capital to crown the abiurdity ? What contempt muft this unnatural 
 Gcthic piece of bufinefs raife in all who look upon it ? If the architedl 
 VvilJ have any refemblance of a column, let it be a column in due pro- 
 portion ; a little judgment will diredl how to di pofe the compartment 
 above ; and leis expence than pays for this abfurdity will iinifh the work 
 with propriety. 
 
 The original thought of decorating a Door- way was no more than by 
 a pldin cafe of u-ood with a bead at its edge. The fliarpntfs of the cor- 
 ner, or angle of the brick- work was difagreeable, as alio its roughnefs; 
 and being a fliarp Cv-lge of a weak fubftance, it was broke and made ir- 
 regular by every little accident. This put it in men's minds to cafe or 
 cover it with board ; and the inconvenience of its fharpnefs made them 
 cut a moulding, by way of bead, or plain allragal, all the way its length. 
 Thus were Doors ornamented in the earlieft times of building, and as 
 they were then under the condudl of men of true tafte, the)' were able 
 to proportion the breadth of the wood- work to the opening of the Door, 
 and tciminating at the extreme edge with another allragal, there was a 
 plainnefs, but ftill there was a propriety and ufe ; and when thefe unite, 
 there never wants beauty to the dilberning eye. As the plain breadth of 
 boards offended the eye, the old architeds carried up along its middle a 
 feftoon of various contrivance. The oak leaves and fruit gave the firft 
 hint ; the olive lucceeded this, and afterwards the vine ; this gave a beau- 
 tiful freedom from its ramping figure, which they knew how tu rellrain 
 with judgment, and from this they reached the acanthus leaf, in their 
 judgment the heighth of vegetable beauty. From thence they began to 
 diveifily the felkon with fymbols and inftruments of lacrifice, and thencs 
 they ccme 10 hieroglyphics. As the plain cafe of the Door received t!)is 
 ornament, the bead at its edge fwelled by degrees, by the addition of 
 more and larger mouldings, to an architrave. This was finely varied, 
 and the freeze which crowned it at the top received all the decorations of 
 
 Iculpture 
 
D O O 
 
 199 
 
 fculpture given to the pannel. Thus far advanced, the orders were intro- 
 duced naturally, and here among thofe great builders ended the decoration. 
 
 Thus began, and thus was raifed to perfedlion, the decorations of Doors 
 among the Greeks and Romans. Here they flopped, for they had judg- 
 ment ; but the luxuriant fancy of thofe who fullowed them, admiring 
 their works, but wanting the tafte which regulated them, flew into every 
 abfnrdity that the whole fcope of things could afford. Of this we fee 
 inftances in many expenfive works which fland, to difgrace our country ; 
 and we have models of them, and of others as ridiculous, propofed for 
 imitation, and publiflied, as the titles fay, for the inftruclion of builders. 
 We have Ceen architedlure, a fcience founded upon the founded princi- 
 ple, difgraced by ignorant caprice, and fafhion lately has attempted to 
 undetermine and deftroy it by the caprice of France, and by the whims 
 of China. 
 
 How muft it difguft a man of true t aft 3 to fee, "in fome of the beft 
 buildings in France, famed as it would pretend, for the encouragement 
 of arts, Corinthian capitals made of cocks heads, inflead of leaves of 
 the acanthus ? And this mofl: abfurd variation from the figure and defign 
 of the antique, give to its inventor the glory of having added a fixth 
 order. It is called the French, and let them have the praife of it; the 
 Gothic fhaflsand Chinefe bells are not beyond or below it in po-ornefs of 
 imagination. Upon the mofl impartial review we ftiall find, that nothing 
 in greatnefs or in grace, can compare with the Greek and Roman archi- 
 tecture; therefore let us employ nothing in the place of them. 
 
 The richnefs of an order depends upon its natural form; lut a great 
 deal may be done in the article of improvement and elegance, by the ma- 
 terials that are employed, and by the additions of fculpture. No abfo- 
 lute diredion can be given in this reipe&, for the expenceof the differ- 
 ent kinds is fo various, that the choice of the proprietor alone can be 
 confulted. We may confider the materials for the orders intended for 
 this ufe to be, in England, three; wood, flone, and marble: of thefe 
 three wood is by much the mod univeri'al. It is the cheapeft in itfeif; 
 it is fufficiently lalling ; and it receives the chiffcl freely, and retains its 
 fmalleftftrokes very fafely. Therefore this is to be confidered as the na- 
 tural material in England, and it ferves equally well either for the outfide 
 Doors or thofe within. Stone has an air of grandeur which wood has 
 not ; ror can any painting or any artifice give it ; but this is naturally to 
 the outfide Door. Marble has, with a much greater dignity, a noble 
 and peculiar elegance. It ferves equally within Uoors and without ; but 
 the weight of this and ftone fliould confine them Vv'ithin the ground 
 floor. 
 
 Vv^e have inftances of enriching even marble columns, by placing upon 
 them in the Corinthian order, capitals of brafs ; but this is an uunUural 
 and foolilh addition. The colours of the brafs and the marble are fo dil- 
 
 terent. 
 
2C0 
 
 D O O 
 
 ferent, they never can agree one with another as two parts of an entire 
 body ; and the marble itfelf bears to be wrought with all the needful raf- 
 flinfTs, and fliews them very happily. The addition of b^a^!^ therefore we 
 wholly rejccfl ; it is expenfive, unnatural, and unb'.coming. Such as 
 have been at the expence of graniteCorinthian columns on feme occaiions, 
 have added capitals of gilded brafs ; which have had their admirers. The 
 reafon of cafting their capitals in brafs was, becaufe we have not tools to 
 cut them in the granite : but in this cafe it would have been better to 
 have wrought this fine material into columns of an inferior order, as the 
 Doric, where the capital being plain, the whole might have been uniform, 
 and of a piece ; for undoubtealy the fame tools, and the fame hands, 
 which could round the column, could alfo form the capital of this plain, 
 tho' noble, order. 
 
 There is no part of an edifice in which fculpture can be fo happily em- 
 ployed as about a Door-cafe : every eye perceives it ; and it does not in- 
 fer a neccfTity of continuing the fame work throughout the houfe j for 
 a Door is a detached piece ; and it is expedted to be ornamented. We 
 fee in many inflances a great deal of labour in this way employed upon 
 Door-cafes -, but it is rude, harOi, and unfinifhed. It is better one good 
 piece, though fmali, fhould ftand in fome confpicuous part alone, than 
 that all this Icattered indifferent work fliould glare without approbation. 
 If our painters want genius to give defigns in this kind, the treafures of 
 antiquity arc inexhauftible ; and our frugal ancelfors, like ourfelves, have 
 made fo little ufe of them, that they are new. What a variety of deco- 
 ration might the ingenious fculptor adopt from the ruins of Palmyra? 
 How bold and noble are the bas reliefs of the Parthenian ? Indeed what 
 is there of the ornamented kind, among all that is left us of antiquity, 
 where various lefTons may not be found under this head ? Which of all 
 their works do not afford hints for the fculptor of genius to follow ? 
 
 Whilewe prefer the enriching our Door-cafes by the hand of art to 
 the more expenfive treafures that are to be had from nature, we muft 
 obferve, that feme regard fhould be paid to each. The materials fliould 
 be adapted to the workmanfhip ; for it would be a pity to bcffow labour 
 and genius upon fuch materials as would difgrace them j or upon fuch as 
 would not long enough fupport themlelves againft the force of accidents. 
 Stone moulders quickly whenexpofed to the air; therefore when a very 
 elegant Door-cafe is intended for the outfide, the proprietor fhould not 
 grudge the ufe of marble. 
 
 In the fame manner with regard to the Door-cafes for rooms in which 
 thefe orders fhall be admitted, the choice naturally falls upo.i wood; but 
 there is as much difference between wood and flone, as between ftone and 
 marble. Our fathers worked in oak, a wood unfavourable to the tool, 
 but which, in thoir mafterly hands, admitted every flroke, and repaired the 
 
 toil 
 
D O O 201 
 
 toil with immortality : we now ufe fir, the weakefl:, and pooreft of all 
 woods that could have been employed for this purpofe ; and we can give 
 for this but two reafons, equally mean ; ihefe are, that it comes cheap, 
 and cuts eafy. It vvill not admit of thofe delicate ftrokes which have 
 eternalized the chiffels of our fathers; norfupport itfelf, in thofe tender 
 parts into which they cut their fine works. We have the fame materials 
 in which they wrought, and not one kind, but many, of wood that will 
 be very uleful for the purpofe. The pear-tree is famous, and the maple 
 more ; this lafl: was known in theearliel!: time of which we have account, 
 and celebrated for its excellence for this purpofe; what then is the reafon 
 our people do not ufe them ? They cut as freely as deal, and they are 
 not nearly fo liable to break off in pieces to the difcredit of the work. 
 It is not needful the whole Doer cafe fhould be made of fuch wood ; 
 no, not the whole columns ; let thofe who calculate expence fo nicely, 
 fave in thefe articles, and only make the pieces of this wood that are for 
 fculpture, the capital of a column, the crnaments of a freeze, or the like. 
 The liifference of colour, to us who cover all with paint is nothing ; 
 and the work would flaew in a finer manner, and would be much more 
 lafting. 
 
 One caution we fliall give the archltedl in this cafe, which is, that he 
 caufe a careful and judicious painter to be employed where there is carved 
 work ; for the niceil ftrokes of thechiffel will be loft if clumfily covered 
 with paint. Two things are efiential to beconfidered in the painting of 
 carved work ; the firft is, to ufe fuch a colour as fhall cover the work 
 without clogging it, and the other is to lay it on in fuch a manner that 
 it ftiall not need a Ipeedy retouching. There may eafily be contrived for 
 this purpofe a paint of a thinner bcdy than ordinary, which will colour 
 without loading ; ard we know how poor an appearance the beft piece 
 of fculpture in wood makes when it has been two or three times painted. 
 It is partly the badntfs of the work, and partly the deftrudlion of it by 
 frequent colouring, which has put carving fo much as it is out of ufe at 
 prelent. Indeed it is now threatened to he utterly turned out of doors ; 
 and while the prcfefTors of the art fubmit to the comparilon, they fcarce 
 deferve pity. The old deception of ftamp-paper, inftead of carved wood, 
 is coming up with all the rage of fafliion ; and we have the mortification 
 to fee his majefty's royal letters patent, lately granted to a gingerbread in-^ 
 vention of this kind. 
 
 Our fculptors need do no more to banifh this invocation, than to op- 
 pofe their work well executed againft it; for there is no eye but will per- 
 ceive the difference ; the cleannefs and (harpnefs which follows the chif- 
 fcl can never be equalled by fuch contrivances, nor the ftucco, when a 
 tolerable hand fafhions it. They are great in their defigns, and they ton- 
 tent themfelves with. the pooreft execution of them. The judicious ar- 
 cbiteft will tell them, that the plaineft moderate-fized room, finished in a 
 
 F f f work- 
 
202 D O O 
 
 workmanlike manner, Is p-eferable to the largeO: defaced by thefe poor 
 ornaments ; and that it is better to have a Doric Door-cafw-of wood, than 
 a Co'i-nhian or Comnofite of paper. 
 
 Vv'e have now conlidered the ornaments ; \vs h.n'e explained to the ftu- 
 dent what he is to undert.ikc, and in what manner to execute the great 
 concern of the decoration of Door-cafes, whether in the plain and com- 
 mon manner, or, with the higheft grace the fcience aftbrds for them, the 
 orders of arciiitedlure. V/e have conlidered alfo the opening, and its di- 
 menfK)ns and form ; and all that remains is to treat of the Door itfelf, 
 which is to clofe that apertuie, and to occupy the center of the propofed 
 decoration. The Door imift be of due thicknefs to prevent its warping, 
 and that muft be farther fecured alTo by its being made of fealoned tim- 
 ber, and framed in panntls. With refpeft to the kind of timber, not- 
 withfianding the great variety our own country affords, that is reduced in 
 a manner to two, oak and fir; againft the firfl: nothing can be objected, 
 for it has both ftrength and beauty; but the other is inferior to many 
 kinds of our own growth. 1 he oak or wainfcot Doors are appropriated 
 to the better kind ol buildings, and are intended to fliew their true fur- 
 Jace and their natural colour. Thefe are often wrought with a great deal 
 of beauty, and are an ornament in themfelves, exclufive of the decora- 
 tions. The fir or deal Djors are meant to be painted. They are moif 
 common in houfes of Ic-alT: expence ; and when they get into better edifi- 
 ces they are fo uel! framed and wrought, that they often make no bad 
 appearance. The a Ivantage of thefe is their lightnefs ; thofe of wain- 
 fcot, of the fame dimenfions and diameter, being much heavier. Jjelide 
 the wainlcot, we fee in fome places infide Doors of great elegance and 
 expence, wrought of mahogany, or inlaid with rofe-wood, and decorated 
 with Iculpture. Either of thefe kinds are very elegant; and thole who 
 have been lamiliar with them, will not approve a painted Door in an 
 elegant apartment. 
 
 'l"he opening of the Door is next to fall under confideration, and the 
 common architert will think, that he has no more choice than to place 
 the hinges on ont or the otlier fide, fo that it may open one way or the 
 other, inwards or outwards : for one of tliek two ways he will luppole 
 every Door in the wor^d muit open. But the:e is a way different from 
 cither of thefe, and it is a method of extreme elegance. A llreet Door 
 opening inwards is of no inconvenience, bccaufe it opens into a hall, 
 which is a room of no conlcquencc ; but this i-. not the cafe i:i the more 
 elegant apartments, where the communication is by a Dcor in the par- 
 tition wall, and the entrance immediately out of one room into another. 
 
 We Will fuppole the two principal rooms upon a firif fioor, communi- 
 cate by a Door in the center of the partition. In an evening when they 
 are lighted up, this Door is thrown open, and the furniture in both being 
 
 alike 
 
DOR. 203 
 
 alike, it becomes ns one apartment. In this cafe the Door, according to 
 the modern cullom, muft open into one or into the other of the rooms, 
 and into which foever of the two it is, it will there be a bkmifli ; an 
 awkward flanting piece, ftanding in the room with a difagreeable {harp an- 
 gle. This may be prevented by making a cavity fomewhat more than 
 equal to the depth and fubftaiice of the Door in the thicknefs of the wall. 
 Into this the Door may Aide by a gentle touch, and remain undifcovered ; 
 and a handfome brafs ring being fixed to the edge, it may come out again 
 when it is to be fhut with as flight a motion. This is done at the houfi 
 of a gentleman near Hanover-fquare, and the manner of it there may 
 ferve as an example to other builders. The opening, in the ufual way, 
 is either by the whole Door on one fide, or by half of it each way, the 
 Door being compofed cf two, folding in the middle; but in either ca(e 
 it is not comparable to the method we have here propofed of Aiding it 
 into the wall on many occafions. 
 
 Lart of all we come to the ftrudure of the fabric of the Door itfelf : 
 this fliould be contrived for ftrength, beauty, and flraitncfs. All thefe 
 purpofes are anfwered by making it in many pannels. The folding, or 
 half Doors, are beft made of four pannels, tv.'o larger and two fniallcr; 
 and the entire Door of eight. The framing muft be found, and the joints 
 well fecured. They may be varied in form many ways : but to be mi- 
 nute in thefe things (liews a poornefs of genius in the architect. The 
 befl form of the pannels is the plaineft, and this is a long fquare ; the 
 two or four larger fliould be long upwards, and the other crofs-wile. 
 This is a conftruftion that fhews llrength and firmnefs, and tliis is all 
 that Hiould beconfulted here, the decoration belonging to the other parts. 
 Doric, is the name of one of the live orders in architedure, it is one 
 of the thiee antient orders of the Greeks. It is ufually placed upon the 
 attic bafe ; (he whole height is feven and an half or eight diameters; 
 and its capital is p!ain, being fortJied only of mouldings ; in the entabla- 
 ture the freeze is enriched with figures called triglyphs, to be explained 
 under that head ; tlie fpaces between thefe are called metopes, and may 
 be either left plain or decorated; and its cornice has drops. The Doric 
 is t!.e oldeft of all the orders ; and originally had no bale; it is the moil: 
 natural and befl proportioned of them all. The firft building in which 
 this order was uled was a temple at Argos, built to Juno, by Dorus, a 
 king Achaia, from whom the order was afterwards named. It b.as been 
 much enriched and embellillied fmce its invention, fo what is called 
 Tufcan, comes in many things nearer the ancient Djric, than the order 
 called by that name at this time. The ancient Doric is iccn in great 
 plainneis in the remains of the Parthenian at Athens, and in the theatre 
 of Marcellus at Rome. It is ufed at this time principally in ifrong build- 
 ings, gates, citadels, the lower part of churches, and the like, ia which 
 
 places 
 
204 D R A 
 
 places ftrength is more proper than elegance. The gate of Burlington- 
 honfe, in Piccadilly, is of the Doric order. The triglyphs are fuppofed 
 to be infeparablc from this order; but we find them frequently omitted 
 for the fake of cheapnefs in ordinary works ; and there may be a reafori 
 fometimes for leaving them out, and making the freeze plain even in the 
 moft finifhed and elegant buildings. Vignola adjulls the proportions of 
 the Doric as follows : he divides the whole height cf the order, with- 
 out the pedellal, into twenty parts, or modules; one of which he al- 
 lows to the bafe, fourteen to the fhaft or fuft, one to the capital, and 
 fojrto the entablature. The particular proportions of the feveral parts 
 and members may be feen under their refpedive articles. 
 
 Dormer, in architedture, is the window made in the roof of a houfe, 
 or above the entablature, being raifed upon the rafters. 
 
 Dormant-Tree, is a name given by workmen to a great beam 
 lying crofs a houfe, commonly called a fummer. 
 
 Dormitory, a gallery in convents or religious houfes, divided into- 
 cells, in which the religious flcep. 
 
 Doucine, in architedlure, is a moulding or ornament on the higheft 
 part of the cornice, in the form of a wave, half convex, and half con- 
 cave. The Doucine is the fame as a cymatium, or gula. 
 
 DovE-TAiL ING, in Carpentry, is a manner of fallening boards toge- 
 ther, by letting one piece into another, in form of the tail of a dove. 
 It is the flrongefl: of the kinds of jointings or aflemblages, wherein the 
 tenon, or piece of wood which is put into the other, goes widening to 
 the extreme ; fo that it cannot be drawn out again by reafon the extreme 
 or tip is bigger than the hole. It is called by the French, Queue de A-- 
 ron, i. e. Swallow-tail, which name is alfo ufed by the Englilh them- 
 lelves in fortification. 
 
 Drag, a door is faid to drag when in opening or fhutting, it hangs or 
 grates upon the floor, or cell. 
 
 Dragon Beams, are two ftrong braces or flruts which ftand under 
 a breft-fummer, meeting in an angle upon the flioulder of the king-piece. 
 
 Draper Yj in fculpture and painting, the reprefentation of the cloath- 
 ingof human figures, and alfo hangings, tapeftry, curtains that are not 
 carnations or landfcapes. The art of Drapery confifts, i. In the order 
 of the folds or plaits, which ought to be fo managed, that you may 
 cafily perceive what it is they cover, and dillinguifti it from any thing 
 elfe. Again, the folds ought to be large, as breaking and dividing the 
 fight the lefs ; and there fhould be a contraft between them, otherwife the 
 Drapery will be ftiff. 2. In the quality of the fluffs, for fome make their 
 folds abrupt and harfh, others more foft and eafy ; the furface of fome 
 have a lulf rr, others are flat and dead j fome are fine and tranfparent, others 
 firm and folid, 3. In the variety of colours, which, when well managed, 
 
 makes 
 
D Y P 205 
 
 makes the greatefl beauty of painting, all not being equally amicable and 
 friendly with refpedl to each other, and feme never to be placed near cer- 
 tain others. M. De Piles obferves, that Drapery muft never be made to 
 adhere to the parts of the body ; that a great motion and lightnefs of the . 
 Drapery are only proper in figures in great agitation, or expofed to the 
 wind ; and that the nudities of the figures Ihould always be defigned 
 before the painter proceeds to the Draperies. 
 
 Draught, or Draft, in architefture, the figure of an intended 
 building defcribed .on paper, in which is laid down by fcale, the feveral 
 divilions and partitions of the apartments, rooms, doors, pafTages, &c. 
 in their due proportion to the whole building. It is cuflomary, and con- 
 venient, for any perfon, before he begins to eredl a building, to have De- 
 figns or Draughts drawn upon paper or vellum, wherein the ichnography 
 or ground-plot of every floor or flory is delineated ; as alfo the form or 
 fafhion of each front, with the windows, doors, ornaments, in an ortho- 
 graphy, or upright. Sometimes the feveral fronts, 6cc. are taken and re- 
 prefented in the fame Draught, to lliew the effed: of the whole building, 
 which is called fcenography or perfpeftive. 
 
 Draught-Compasses, fuch as have moveable points to draw fine 
 Draughts in architedlure. 
 
 Draw-Bridge, a Bridge made after the manner of a floor, to draw 
 up or let down, as occafion ferves, before the gate of a town or caftle. 
 In navigable rivers it is fometimes neceflary to make the middle arch of 
 bridges with two moveable platforms, to be raifed occafionally, in order to 
 let the malls and rigging of veflels pafs through. 
 
 Drip, in architedlure, are a certain kind of flep, made on fiat roofs to 
 walk upon ; a way of building much ufed in Italy, where the roof is not 
 made quite dat, but a Httle raifed in the middle, with Drips or fleps, lying 
 a little to the horizon. 
 
 Drops, in architedlure, an ornament in the Doric entablature, repre- 
 fenting Drops, or little bells, immediately under the triglyphs. 
 
 Dye, in architedlure, any fquare body, as the trunk, or notched part 
 of a pedeftal ; or it is the middle of the pedeflal, or that part included 
 between the bafe and the corniche, fo called becaufe it is often made in 
 the form of a cube or Dye. Dye is alfo ufed for a cube of flone, placed 
 under the feet of a flatute, and over its pedeftal, to raife it, and fliew it 
 the more. 
 
 Dyptere, in the ancient architedlure, was a kind of temple, encom- 
 pafTed with a double row of columns ; and the Pfeudo Dyptere, or falfe 
 Dyptere, was the fame, only that this was encompaffed with a fingle 
 j-ow of columns, infleadofadouble row. 
 
 Ggg Eagle' 
 
2o6 E L B 
 
 E. 
 
 Eagle, in architedure, a figure of that bird, anciently ufed as an 
 attribute or cognizance of Jupiter, in the capitals and friezes of the co- 
 lumns of temples confecrated to that God. 
 
 Eaves, in architefture, the margin or edgfe of the roof of an houfe, 
 being the loweft tiles,, flates, &c. that hang over the v/alls, to throw off 
 Vi'ater to adiftance from the wall. 
 
 Eaves Lath, a thick feather-edged board, generally nailed round 
 the Eaves ofa houfe for the lowermoft tiles, flates, or fliingles, to reft on. 
 
 Echinus, is a term ufed fometimes to exprefs the ovolo, or quarter- 
 round, and fometimes for a part of the figures with which that mem- 
 ber is ufually carved. This laft is the more proper and ftrift fenfe, and 
 in the fame manner ovolo, though ufually employed as the name of the 
 whole member, is more ilridlly expreffive only of a part of its carving. 
 The quarter round is ufually carved with what are called eggs and an- 
 chors ; the eggs are the part from which this has been called ovolo, oviiniy 
 being latin for an egg ; thefe eggs have a kind of fhell about them, be- 
 fide their own, at a diftance from their furface, and feparating them from 
 the anchors between ; this is called the Echinus, Echinus being the name 
 of the hulk or Ihell ofa chefnut, which it was meant to refemble. Echi- 
 nus therefore is properly the name of the fhell in the carving of the 
 ovolo, or quarter-round, and it is improperly ufed for that whole member. 
 
 Echo, in architefture, is a term applied to certain kinds of vaults and 
 arches, generally elliptical parabolical figures, eredted to produce artifi- 
 cial Echoes. Blanc, in his Echometry, at the end of his firft book of 
 the fphere, teaches the method of making an artificial Echo. Vitruvius 
 relates, that in divers parts of Greece and Italy, there were brazen vefTels 
 artfully ranged under the feats of the theatres, to render the found of the 
 voices of the aftors more clear, and make a kind of Echo ; by which 
 means the whole audience might hear with eafe and pleafure. In Echoes, 
 the place where the fpeaker ftands, is called the Centrum Phonicum, and 
 the objed: or place which returns the voice. Centrum Phonicampticum. 
 At the fepulchre of Metella, wife of CralTus, was an Echo which re- 
 peated what a man laid five times. And authors mention a tower at 
 Cyricus, where the Echo was repeated feven times. 
 
 Egg, in architedlure, an ornament in that form, cut in the echinus or 
 quarter- round of Ionic and Compofite capitals. The profile of an 
 echinus is enriched with Eggs and anchors placed alternately. 
 
 Elbow, in architedlure, an obtufe angle of a wall, building, road, &c. 
 which divides it from its right line. 
 
 4 Ele- 
 
E N G 
 
 207 
 
 Elevation, in archite<5lure, the fame with an orthographic, or up- 
 right draught of a building. 
 
 Elliptical-arch, a part or fegment of the curve of an ellipfis. 
 Elliptical-arches are frequently preferred to thofe that are circular in va- 
 rious kinds of buildings, becaufe their fpan may be equal to thofe of the 
 circle, without rifing to fo great a height j therefore they have been pre- 
 ferred in bridges ; but it mud be remembered that they will decreafe in 
 ftrength in proportion as they deviate from the circle. 
 
 Elm, is of Angular ufe, where it may lye continually wet or dry in 
 extremes, therefore proper for water-works, mills, ladles, and foles of 
 wheel pipes, aquedudls, pales, fliip planks, beneath the water line. 
 Some of it found in bogs has turned like the moft poliflied and hardeft 
 ebony. It is alfo of ufe for wheel-wrights, handles for fmgle faws, the 
 knotty parts for naves and hubbs ; the ilreight and fmooth for axel-trees ; 
 and the very roots for curious dappled works, kerves of coppers, feather- 
 edge and weather-boards, trunks, coffins, and Ihuffle-board tables. The 
 tenor of the grain makes it alfo fit for all kinds of carved work, and moft 
 ornaments belonging to architedlure. Vitruvius recommends it for te- 
 nons and mortoifes. 
 
 Embossing or Imbossing, in architecture, fculpture, &c. is form- 
 ing, or fafliioning of works in relievo, whether cut with a chilTel, 
 or otherwife ; it is a kind of fculpture or engraving, wherein the figures 
 project out from the plane whereon they are engraven, and according as 
 they are more or lefs protuberant. It is called by the Italians balfo, mez- 
 zo, or alto relievo, and by the Englifli bafs relief, mean relief, or high 
 relief. 
 
 Embrasure, in architedure, the inlargement made of the aperture 
 of a door or window on the infide of the wall, its ufe being to give the 
 greater play for the opening of the door, or cafement, or tc admit the 
 more light. When the wall is very thick, they fometimes make Em- 
 brafures on the outfide. 
 
 Empasting, in painting, is the laying on colours thick and bold, or 
 applying feveral lays of colours, to the end that they may appear thick. 
 
 Encarpus, a term by which fome have called the reprefentation of a 
 feftoon, on friezes, and otherwife, as an ornament in buildings ; Vitruvius 
 calls it by this name. Thefe feftoons were compofed of fruits, flowers 
 and leaves, and Encarpus exprelles them befl when compofed of fruits, 
 naoTTog being Greek for fruit. 
 
 Engine, in mechanics, a compound machine, made of one or more 
 mechanical powers, as levers, pullies, fcrews, &c. to raife, to projeft, 
 or fnftain any weight, or produce any eifedl which could not be eafily 
 effedled otherwife. Engines are extremely numerous ; fome ufed in war, 
 as the battering ram, balifta, waggons, chariots, &c. others in trade and 
 
 manu- 
 
2o8 E P I 
 
 manufadlures, as cranes, mills, prefles, &c. others to meafure time, as 
 clocks, watches, &c. and others for the illuflration of fome branch of 
 fcience, as the orrery, commentarium, and the like. In general we may 
 obferve, concerning engines, that they conlifl of one, two or more of 
 the fmiple powers varioufly combined together ; that in moft of them the 
 axis in peritrochio, the leaver and the fcrew, are the conftituent parts j 
 that in all a certain power is applied to produce an effed: of much greater 
 moment; and that the greatefl effecfl, or perfedlion, is when it is fet to 
 work with four ninths of that charge, which is equivalent to the power, 
 or will but juft keep the machine in equilibrio. In all machines, the 
 power will juft fuftain the weight, when they are in the inverfe ratio of 
 their diftances from the center of motion. 
 
 Entablature, in archite-dture, the ornament fupported by the ca- 
 pital on the top of a column or pilafler. Every column conlifts of its 
 bafe, fhaft and capital, and fupports an Entablature ; thefe together con- 
 iiitute the entire body, or order ; and the Entablature, like the capital, 
 xliffers in every order. The Entablature confifts of three parts, the ar- 
 chitrave, frieze, and cornice ; the architrave is compofed of one or 
 more faces, and refts upon the capital ; the frieze comes next, and is the 
 middle part of the Entablature, the cornice is the top, or uppermoft. 
 In the Tufcan order the Entablature, is plain ; in the Doric the frieze is 
 decorated with triglyphs, or channelled figures ; in the Ionic or other 
 richer orders, the cornice is decorated with den tells, modillions, and a 
 variety of ornaments. The Entablature, according to Palladio, fhould 
 be a fifth of the height of the column, and this equally in all the or- 
 ders, except the Tufcan, in which it is a fourth. 
 
 It is different in different orders : for notwithftanding it confiits of the 
 three before- mentioned divifions in all j yet thefe parts are made up of 
 more or fewer particular members or fubdivifions, according as the order 
 is more or lefs rich. Vignola makes the Entablature a quarter of the 
 height of the whole column in all the orders. In the Tufcan and Doric, 
 the architrave, frieze, and cornice, are all the fame height. In the 
 Ionic, Corinthian, and Compofite, the whole Entablature being of fif- 
 teen parts, five of thefe go to the architrave, four to the frieze, and fix 
 to the cornice. 
 
 Entersole, in architedlure, a kind of little flory, fometimes called 
 a mezanzine, contrived occafionally at the top of the firfi: flory, for the 
 conveniency of a wardrobe, &c. 
 
 Entry, a Door, Gate, PafTage, &c. through which we arrive at any 
 place. 
 
 Epistyle, in the ancient architedlure, a term ufed by the Greeks, for 
 what we call architrave, viz. a malfive piece of ftone or wood laid im- 
 mediately over the capital of a column. 
 
 Eurithmy, 
 
EXP 209 
 
 EuRiTHMV, in archltedure, fculpture, and painting, is a certain ma- 
 jefty, elegance, and eafinefs, appearing in the compolition of divers mem- 
 bers or parts of a body, painting or fculpture, and refulting from the fine 
 proportion of it. Vitruvius ranks the Eurithmia among the effential parts 
 of architeiSure. He defcribes it as confifting in the beauty of the con- 
 ftrudlion, or afiemblage of the feveral parts of the work, which render 
 its afpedt, or its whole appearance graceful; i. e. when the height cor- 
 refponds to the breadth, and the breadth to the length, &c. From thefe 
 three idea?, or defigns, orthography, fcenography, and profile, it is, that 
 the fame Eurithmia, majeftic and beautiful appearance of an edifice, does 
 refult, which creates that agreeable harmony between the feveral dimen- 
 lions, i. e, between the length, breadth, and height of each room in a fa- 
 bric, fo that nothing fl-ems difproportional, too long for this, or loo broad 
 for that, but correfponds in a juft and regular fymmetry and confent of all 
 the parts v/ith the whole. 
 
 EusTYLE, a term by which the ancients exprefled the beft and moft 
 elegant manner of placing columns, with refpedt to diftance, or interco- 
 lumniation. Vitruvius fays the Euftyle intercolumniation, or bed diftance 
 of placing columns, is that of four femi-diameters and a half, that is two 
 diameters and a quarter of the column. He iays this manner of placing 
 columns exceeds all others in ftrength and convenience, as well as beauty. 
 
 Exaggeration, in painting, is a method of reprefenting things 
 wherein they art charged to much, or marked too flrong, either in ref- 
 pe(fl to the defign' or colouring. 
 
 ExEDR^, in antiquity, a general name for fuch buildings as were dif- 
 tindt from the main body of the churches, and yet within the limits of 
 ithe church, taken in 'its largell fenfe. 
 
 Expression, in painting, the reprefentation according to its natural 
 charadler, and the painter's invention, or plan. In portraits it muil be 
 ken whether the perfon is grave, gay, a man of bufinefs or wit, plain, 
 gentle, &c. each charadler muft have an attitude, the ornaments, and 
 back-ground proper to it ; and all about it muil be expreffive of the man, 
 and have a refemblance as well as the features of the face. If the perfon 
 has any particularities as to the pofition of the head, eyes, or mouth, if 
 not unbecoming, they muft be ftrongly expreffed. There are a fort of 
 moving features, and are as much a part of the man as the fixed ones : 
 fome things raife a low fubjedt, and contribute more to a furprizing like- 
 nefs than any thing elfe. If there be any thing particular in the hiftory 
 of the perfon which is proper to be exprefled, it is a great improvement 
 to the portrait, to them that know that circumftance. Robes, or other 
 marks of dignity, or of a profeflion, employment, or amufement, a book, 
 a fhip, a favourite dog, or the like, are hiftorical expreflions, common 
 in portraits. There are feveral kinds of artificial expreflions pradtifed by 
 
 H h h painters, 
 
210 EYE 
 
 painters, bccaufe of the difadvantage of their art in that particular, in 
 comparifon of words. But there is no better fchool than nature for expref- 
 fion. A painter therefore (hould, on all occafions, obferve how men look 
 and adV, when pleafed, grieved, angry, &c.* 
 
 Love is expreffed by a clear, fair, and pleaf\nt countenance, without 
 clouds, wrinkles, or unpleafant bendings, giving the forehead an ample 
 height and breadth, with a majeftic grace ; a full eye, with a fine iLadow 
 at the bottom of the eye-lid, and a little at the corner; a proportionable 
 iiole J noflrils not too wide j a clear cheek, made by ihadowing it on one 
 lide, and a fmihng mouth, made by a thin upper lip, and fliadovving the 
 niouth-line at the corners. Fear is exprefled by making the eyes look hol- 
 low, heavy and downwards, thin fallen cheeks, a clofe mouth, carelefs 
 flaring hair about the ears. Envy is bell: expreffed by only the hanging of 
 the cheeks and a pale countenance, and fometimes by grinding of the 
 teeth. Let every pailion be reprefented according to its outward appearance 
 in thofe in whom it reigns. 
 
 If you aim at any excellence in this art, you mufl endeavour to choofe 
 out the befl adlions for every purpofe, in reflraining the luxurious fancy 
 of nature by a deliberate difcretion, by the benefit of which you will fur- 
 nifli your defign, always exprefilng in each member a certain hidden re- 
 femblance of the principal motions which afte(5l the eye and foul of the 
 fpeftator. To exprefs a paffion truly, you ought to give every thing its 
 proper motion, or that which heft fuits your intention, which is nothing 
 elfe but the agreement of proportion with the adlion or paffion intended, 
 wherein confifts the whole life of the art, for hereby an evident difference 
 is made between the living and the dead ; the fierce and the gentle ; the 
 wife and the finiple ; the fad and the merry ; and in a word, difcovers all 
 the feveral paffions and geftures which the body of a man is capable of. 
 But before thefe things can be exactly done in a pidine, you muff firft 
 intenfely confider the life, that you may come as near it as poffible, to 
 which adding art, you will meet with no motions fb potent, which you 
 will not be able artificially to imitate. Thefe things will be the more ex- 
 adlly accompliflied, by viewing and continually pra(ftifing what we have 
 feen ; fo as lively to exprefs all geffures, aftions, and paflions, incident to 
 natural bodies. 
 
 Eye, in architeflure, is applied to any round window made in a pedi- 
 ment, an attic, the reins of a vault, or the like. 
 
 Eye of a dome, an aperture at the top of the dome, as that of the 
 pantheon at Rome, or of St. Paul's at London ; it is commonly covered 
 with a lantern. 
 
 Eye of the volute, in architedure, the center of the volute, or that 
 point in which the helix or fpiral, of which it is formed, commences. 
 
 Eye-brow, in architefture, is ufed in the fame fenfe as lift or fillet, 
 4 Fabric, 
 
F E L 211 
 
 F. 
 
 Fabric, the ftru6ture or conftrudtion of any thing, particularly a 
 building, as a houfe, hall, church, &c. 
 
 Facade, or Face, in architedure, the front of a building, or the 
 fide which contains the chief entrance. It is alfo fometimes ufed for the 
 fide which it prefents to the ftreet, garden, court, 6cc. and fometimes for 
 any fide oppofite to the eye. 
 
 Fascia, is a term ufed to exprefs a flat member in the entablatures- 
 of columns or elfewhere, refembling a band or broad fillet. Our work- 
 men call it zface or facio, and it is fometimes written facia. The ar- 
 chitrave, in the more elegant orders, is compofed of three parts, or di- 
 vided into three bands over one another ; thefc are called the Jafcice of 
 the architrave : the Tufcan fliould have properly one fafcia, nor had the 
 Doric originally any more. But the architeds have taken the liberty of 
 deviating from exadnefs in this, as in many other refpe<£ts. Fafcias, in 
 brick buildings, certain juttings out of the bricks over the windows of 
 each ftory, except the upper one. Thefe are fometimes plain, like 
 thofe of columns ; but fometimes they are moulded ; and the moulding 
 is ufually a fcima reverfa at the bottom, above which are two plain courfes 
 of bricks, then an aflragal, and laflly a boultin. It is the fame in ftone 
 buildings as it is in brick, and they are alfo fometimes plain, and fome- 
 times moulded with a fcima reverfa, or ogee. 
 
 Felling of timbej-. Many circumflances are well known and con- 
 ftantly obferved in the Felling of timber for building, which, though to 
 a hafty obferver they may appear trifling, yet prove, on experience, to be 
 of the utmoft confequence. One thing obferved by M. de Buffbn, which 
 greatly increafes the folidity and ftrength of timber, is, that the trees in- 
 tended to be felled for fervice fliould be firft flripped round of their bark, 
 and fuffered fo to fland and die upon the fpot before cutting. The lappy 
 part, or blea of the oak, becomes by this means as hard and firm as the 
 heart, and real ftrength and denfity of the wood has been proved, by many 
 experiments, to be greatly increafed by it, nor is this a practice of any de- 
 triment to the proprietor, fince the remaining flumps of thefe trees fend 
 up their young fhoots as vigoroufly as if they had been cut down in their 
 natural condition. When any tree is to be cut down for timber, the 
 firft thing to be taken care of is a fkilful difbranching fuch limbs as 
 may endanger it in its fall ; many trees are utterly fpoiled for want of a pre- 
 vious care of this kind. In arms of timber that are very neat, it is al- 
 ways neceflary to chop or fmk in them clofe to the bole, and then, meet- 
 ing 
 
212 FEN 
 
 ing It with downright ftrokes, it will be fevered from the tree without 
 fplitting. In felling the tree, take care always to cut as clofe to the 
 ground as poffible, unlefs it is intended to be grubbed up j and the doing 
 this is of advantage both to the timber and the wood ; for timber is never 
 fo much valued, if it be known to grow out of old flocks. A more en- 
 larged account will be given under the article timber. 
 
 Fence, a hedge, wall, ditch, bank, or other enclofure, made round 
 gardens, fields, woods, &c. In hotter climates than England, where they 
 have not occafion for walls to ripen their fruit, their gardens lie open, 
 where they can have a water-fence, and profpedts ; or elfe they bound 
 their gardens with groves, in which are fountains, walks, &c. which are 
 much more pleafing to the fight than a dead wall ; but in colder coun- 
 tries, and in England, we are obliged to have walls to fhelter and ripen 
 our fruit, although they take away much from the pleafant profpedl of 
 the garden. Since therefore we are under the neceflity to have walls to 
 fecure our gardens from the injuries of winds, as well as for the conve- 
 nience of partitions or enclofures, and alfo to ripen our fruit, brick 
 walls are accounted the beft and warmeft for fruit ; and thefe walls, being 
 built panel wife, with pillars at equal diftances, will fave a great deal of 
 charge, in that the walls may be built thinner than if they were built 
 plain, without thefe panels ; for then it would be necefiary to build them 
 thicker every where ; and, befides, the panels make the walls look the 
 handfomer. 
 
 Stone walls are to be preferred to thofe of brick, efpecially thofe of 
 fquare hewn fi:ones. Thofe that are made of rough fi:ones, though they 
 are very dry and warm, yet, by reafon of their unevennefs, are inconvenient 
 to nail up trees to, except pieces of timber be laid in them here and 
 there for that purpofe. But in large gardens it is better to have the prof- 
 ped: open to the pleafure-garden, which fhould be furrounded with a fofie, 
 that from the garden the adjacent country may be viewed ; but this muft de- 
 pend on the fituation of the place ; for, if the profped from the garden 
 is not good, it had better be fhut out from the fight by a wall or any 
 other Fence, than to be open. As alfo, when a garden lies near a popu- 
 lous town, and the adjoining grounds are open to the inhabitants ; if the 
 garden is open there will be no walking there in good weather, with- 
 out being expofed to the views of all pafi"engers, which is very difagreea- 
 ble. Where the fofies are made round a garden which is fituated in a 
 park, they are extremely proper ; becaufe hereby the profpedls of the park 
 will be obtained in the garden, which renders thofe gardens much more 
 agreeable than thofe which are confined. 
 
 In fuch places were there are no good profpedls to be obtained from a 
 garden, it is common to make the enclofure of park paling, which, if 
 well performed, will lail many years, and has a much better appearance 
 
 than 
 
F I L 213 
 
 than a wall ; and this pale may be hid from the fight within by planta- 
 tions of flirubs and e\ er-greens ; or there may be a quick hedge planted 
 within the pale, which may be trained up, fo as to be an excellent Fence 
 by the time the pales begin to decay. There are fome perfons who 
 make ftuckade Fences round their gardens to keep out cattle, &c. which, 
 when well made, will anfwer the purpofe of Fences ; but this being very 
 expenfive in the making, and not of very long duration, has occafioned 
 their not being more commonly in ufe. 
 
 As to Fences round parks, they are generally of paleing ; which, if 
 well made of winter-fallen oak, will laft many years. The Fence may be 
 lix feet and a half high, which is enough for a fallow deer ; but, where 
 there are red deer, the Fence fliould be one foot higher, otherwife they 
 will leap over. Some inclofe their parks with brick walls ; and in coun- 
 tries where ftone is cheap, the walls are built with this material ; fome 
 with, and others without mortar. The height of garden-walls fhould be 
 twelve feet, which is a moderate proportion, and, if the foil be good, it 
 may in time be well furnillied with bearing wood in every part, efpe- 
 cially with that part planted with pears, notwithftanding the branches 
 being trained horizontally from the bottom of the walls. 
 
 Festoon, an ornament of carved work, reprefenting a wreath, or 
 garland of flowers or leaves, or both together, twifted or interwoven one 
 with another ; the Feftoon is naturally thickeft in the middle, fmall at 
 each end, and tied up there, whence a part commonly hangs down be- 
 yond the knot. The ancient ufe of the Feftoon was to hang upon the 
 gates of temples at feftivals, and it confifled of flowers, or fruits, and 
 their leaves only j but we have, of later time, deviated fo far from truth 
 and nature, that we have twifled inftruments of mufic, war, and em- 
 blems of the arts and profeflions of all kinds into this form. The an- 
 cients would have exclaimed at a garland of drums and iiddles, or a wreath 
 of cannons and battle-axes, but we overlook thefe abfurdities. The 
 Avord is French, but it is derived from the Latin feflum, feaft or feftivity. 
 Feftoons are hung upon arches, and in the freeze of entablatures, fome 
 times alfo about vafes, and other ornaments. 
 
 Figure, in architedlure, fignifies the reprefentations of things made- 
 in fclid matter, as ftatues. Sec. In painting and defigning, it is the lines 
 and colours that form the reprefentation of a man, or other animal. 
 
 Fillet, in architedlure, a little fquare member or moulding, ufed in 
 divers places and on divers occafions ; but generally as a crowning over 
 a greater moulding. It is called lifta or liftella by the Italians ; by the 
 French reglet, and by others band and bandelette. In painting, gild- 
 ing, &c. it is a little rule, or reglet of leaf-gold drawn over fome mould- 
 ings, or on the edges of frames, pannels, Sec. efpecially when painted 
 white by way of enrichment. 
 
 lii Finishing, 
 
214 FLO 
 
 Finishing, with aichited:s, is frequently ufed of a crowning, acro- 
 ter, &c. raifed over a piece of building, to terminate and finifh, or com- 
 pleat it. 
 
 Fire-Stone, a fort of itone called alfo Rygate flone, of the name of 
 the place from whence it is chiefly brought, being very good for fire-hearthsK 
 ovens, ftoves, &c. 
 
 Flemish Bricks, a neat, flrong, yellow kind of bricks, brought 
 from Flanders, and commonly ufed in paving yards, flables, 6cc. being 
 preferable for fuch purpofes to the common bricks. Thefe bricks are fix 
 inches and a quarter in length, two and a half in breadth, and one and a 
 quarter thick. Now allowing one fourth of an inch for the joint, feventy- 
 two of them will pave a yard fquare ; but if they be fet edgeways, then 
 a yard fquare will require one hundred. 
 
 Floor, in architefture, is the under fide of the room, or that pars 
 whereon we walk. Floors are of feveral forts, fome of earth, fome of 
 brick, fome of ftone, and fome of wood. Carpenters by the word Floor» 
 underftand as well the framed work of timber, as the boarding over it. 
 Earthen Flooi-s are commonly made of loam, and fometimes (for Floors' 
 to make malt on) of lime and brook fand* and gun-duft, or anvil-dufls 
 from the forge. 
 
 Flooring, a rural fort of work, by which, in this place, are not 
 meant floors laid with boards or planks, but fuch as are ufed in plain 
 country habitations, and the manner of making them. 
 
 Take two thirds of lime, and one of coal-aflies well fifted, with a fmall 
 quantity of loamy clay j mix the whole that you intend to ufe together, 
 and temper it well with water, making it up into a heap, let it lie a 
 week or ten days, in which time it will mellow and digeft ; then tem- 
 per it well over again, and be fure that your quantity of water does not 
 exceed, but rather that it may obtain a mellow foftnefs and toughnefs froni' 
 labour : then heap it up again for three or four days,, and repeat the tem- 
 pering very high, till it becomes fmooth and yielding, tough and glewy. 
 Then the ground being levelled, lay your floor therewith about two and a 
 half, or three inches thick, making it fmooth with a trowel : the hotter 
 the feafon is, the better ; and when it is thoroughly dried, it will conti- 
 nue time out of mind. This makes the beft floors for houfes, elpecially 
 for malt houfes ; but as for thofe who cannot get thefe materials, or ga 
 to the charge of them, they may make of clayey loam and new foft horie- 
 dung one third, with a fmall quantity of coal aihes, if they can be had, 
 and temper theft; after the afore-mentioned manner, and lay the floor with 
 the duff, three or four inches thick, fmooth and even, which will, cement, 
 become hard, ftrong, and durable, being done in a hot and dry feafon, 
 good for cottages, barns, and other fmall houfeSo 
 
 4 But, 
 
FLO 215 
 
 But if any would" have more beautiful floors than thefe, they muft 
 lay their floors even, fniooth, and fine, either with the firft or lafl men- 
 tioned Flooring ; then take lime made of rag flones, and temper it with 
 a little whites of eggs, the more eggs the better, to a very high pitch, 
 with which cover your floor about a quarter or half an inch thick, before 
 the under Flooring be too dry, that they may well incorporate together ; this 
 being well done, and thoroughly dry, if fometimes rubbed over with 
 mops or cloths, with a little oil thereon, it will look very beautiful and 
 tranfparent, as if it were pohlhed metal or glafs, provided the eggs and lime 
 were thoroughly tempered, and otherwife well performed. 
 
 Sir Hugh Plat gives a receipt for making an artificial compofition 
 wherewith to make fmooth, glittefing, and hard floors, and which may 
 alfo ferve for plaiftering of walls. Ox blood and fine clay. tempered toge- 
 ther, he fays, makes the fineft floor in the world ; and that this mix- 
 ture, laid in any floor or wall, will become a very flrong and binding 
 liibllance. 
 
 Concerning boarded floors, it is to be obferved, that the carpenttrs 
 never floor their rooms with boards, till the carcafe of the houfe is fet 
 up, and alfo is enclofed with walls, left: the weather fhould wrong the 
 Flooring ; yet they generally rough plane the boards for Flooring, be- 
 fore they begin any thing elfe about the building, that they may fet them 
 by to fciibn, vs'hich is done as follows ; they lean them one by one on 
 end-end aflant, with the edge of the board againfl; a balk fomewhat 
 higher than half the length of the board, and then they fet up another 
 board in the fune pofture on the other fide of the balk, fo that the boards 
 crofs one another, above the balk ; then on the firft: fide they fet another 
 board in the fame poft:ure, and on the fecond fide another, and fo proceed- 
 ing alternately, till the whole number of boards is thus fet on end. 
 The boards being fet up in this pofture, there is left a fpace of the thick- 
 nefs of a board all the length of the boards, but juft: where they crofs 
 one another, for the air to pafs through to dry and Ihrink them ; but 
 they are fet under fome covered fhed, that neither the rain nor fun may 
 come at them ; for if they fhould be wetted with rain, that would fwell. 
 them inft:ead of ihrinking them ; and if the fim ftiould fliine very hot 
 upon them, it would dry them fo faft, that they will fplit or crack, which, 
 is what they call tearing or fliaking. 
 
 There is another way of drying and feafoning boards for. floors, viz. by 
 laying them fiat upon three or four balks, each board about the breadth 
 of a board afunder, the whole length of the balks ; then they lay another 
 lay of boards athwart the laft, and fo till they have laid them all after this 
 manner -, fo that iii this pofition they alfo lie hollow, for the air to play 
 between them. 
 
 Of 
 
2i6 F O O 
 
 Of meafuring floors : boarded floors are ufually meafured by the fqnare 
 (of one hundred fuperficial feet) by muhiplying the length of the room 
 in feet by the breadth in feet, and the producft is the content in feet ; 
 then the chimney- ways and well-holes for flairs are meafured by them- 
 ftlves, and their content in feet is deduded from the whole content ; 
 and afterwards cut off two figures from the remainder on the right hand, 
 and what remains on the left hand is fquares, and what are cut off are 
 odd feet of the content of the Flooring in that room. 
 
 Flutings, in architefture, are hollows or channellings, which are 
 carried perpendicularly up columns by way of ornament. They are 
 cut lengthwife all round the Oiaft of the column, and are ufually round- 
 ed at the ends. Vi'truvius fays, they were firlf intended to reprefsnt the 
 folding of a garment. The Flutings of columns properly differ ac- 
 cording to the feveral orders : in the Doric they fhould be twenty to 
 each column ; in the Ionic twenty-four, and Co on ; but the prefent ar- 
 chitects do not very ftridtly adhere to thefe rules. The Flutings of co- 
 lumns are fometimes left open, and fometimes there is carried up a 
 rounded body Hke a rope, plain or twilled all along their middle. They 
 are, in this condition, faid by fome to be cabled, and the columns are 
 called cable-fluted columns. Between the flutes are little fpaces that 
 feparate them, which Vitruvius calls flria, and we lills : though, in the 
 Doric, the flutes are frequently made to join one another, without any 
 intermediate I'pace at all ; the lift being Iharpened off to a thin edge, 
 which forms a part of each flute. Sometimes the Flutings are made 
 flat, and a.^-e called facettes j but thefe have never fuch a good efl^edt as 
 the others. Vitruvius fays, that when there are Flutings in the column, 
 there ought alfo to be eggs and anchors in the quarter-round of the ca- 
 pital, and even pearls and olives, in a baguette, to be made underneath, 
 inftead of annulets. Thefe eggs and olives ought to be made of the fame 
 number with the Flutings, and to be regularly diftributed. 
 
 Flyers, in architedlure, fuch ftairs as go ftraight, and do not wind 
 round ; nor have the fteps made tapering, but the fore and back part of 
 each flair, and the ends, refpecftively, parallel to one another ; lb that 
 if one flight do not carry you to your intended height, there is a broad 
 half fpace, from whence you begin to fly again, witli fteps every where 
 of the fame length and breadth as before. 
 
 Foliage, a clufter or afl"emblage of flowers, leaves, branches, &c. 
 Foliage is particularly ufed for the reprefentations of fuch flowers, leaves, 
 branches, rinds, &c. whether natural or artificial, ufed as enrichments 
 on capitals, freezes, pediments, &c. 
 
 F ot-Pace, or Half-Pace, is apart of a pair of ftairs, whereon, 
 after four or fix fteps, you arrive at a broad place, where you may take 
 
 two 
 
F O U 217 
 
 two or three paces before you afcend another flep, by that means to 
 eafe the legs in afcending the reft of the fteps. 
 
 Forge, a httle furnace, wherein fmiths, and other artificers of iron 
 or flcel, &c. heat their metals red hot, in order to foften and render 
 them more malleable and manageable on the anvil. Forge is alfo ufed 
 for a large furnace, wherein iron ore, taken out of the mine, is melted 
 down ; or it is more properly applied to another kind of furnace, and 
 then cafl into fows and pigs, is heated and fufed over again, and beaten 
 afterwards with large hammers, and thus rendered more foft, pui-e, duc- 
 tile, and fit for ufe. Of thefe there are two kinds : the firfl is called 
 the finery, where the pigs are worked into grofs iron, and prepared for 
 the lecond, which is called the chafery, where it is further wrought 
 into bars fit for ufe. 
 
 Forging, in Imithery, tlie beating or hammering iron on the anvil, 
 after having firff made it red hot in the forge, in order to extend it in 
 various forms, and fafliion it into works. There are two ways of Forge- 
 ing and hamniering iron ; one is by the force of the hand, in which 
 there are ufually feveral perfons employed, one of them turning the iron 
 and hammering likewiie, and the rell only hammering. The other 
 way is by the force of a water-mill, which raifes and works feveral large 
 hammers beyond the force of men, under the ftrokes of which the 
 workmen prcfent large lumps, or pieces of iron, which are fuffained at 
 one end by the anvils, and at the other with iron chains faflened to the 
 cieling or the forge. This hft way of Forging is only ufed in the 
 largeft works, as anchors for Ihips, 6cc. which ufually weigh fcverai 
 tlioufand pounds. For lighter works, a lingle man ferves to hold, heat, 
 and turn with one hand, while he hammers with the other. 
 
 Foundation', in architeifture, is that part of a building which is 
 under ground, or the mafs of flone, brick, &c. which fupports a building, 
 or upon which the walls of a fuperrtrufture are raifed, or'it is the coffer 
 or bed dug below the level of the ground, to raife a building upon ; in 
 which fenfe, the foundation either goes to the whole area or extent of the 
 building; as when there are to be vaults, cellars, or the like ; or it is 
 drawn in cuts or trenches, as when only walls are to be raifed. Some- 
 times the Foundation is maffive, and continued under the whole building, 
 as in the antique arches and aqueducts, and fome amphitheatres ; but it 
 is more ufually in fpaces or intervals, either to avoid expence, or becaufe 
 the vacuities are at too great a diftance, in which latter cafe, they make 
 ufe of i ululated pillars, bound together by arches. 
 
 There are feveral things to be well confidered, in laying the founda- 
 tion of a building, the moll material of which are here extraded from 
 the beft archite^fts ancient and modern. That we may found our habita- 
 
 K k k tion. 
 
2i8 F O U 
 
 tion firmly, requires the exadeft care ; for, fays Sir Henry Wooton, " if 
 " the foundation dance, 'twill marr all the mirth in the houfe. There- 
 fore, fays that excellent arcliited, we murt firil examine the bed of eartb 
 upon which we are to build, and then the under fillings or fubftrudion 
 as the ancients call it. For the former, we have a general precept in 
 Vitruvius, twice repeated by him as a point indeed of main confequence ; 
 SubJlruSiionis fundationes fodiantiir fequeajit inveniri adjolidum et mfoHdo. 
 By which he recommends not only a diligent, but even jealous examina- 
 tion what the foil will bear ; advifing us not to reft upon any appearing 
 folidity, unlefs the whole mould through which we cut have likewife been 
 folid. But he has no where determined how far we fhould go in this 
 fearch, as perhaps depending more upon difcretion than regularity, ac- 
 cording to the weight of the work. 
 
 Palladio has ventured to reduce it to a rule ; and allows a fixth part of 
 the height of the whole building for the hollowing or under-digging, 
 unlefs there be cellars under-ground ; in which cafe he would have it 
 fometimes lower. See Sir Henry Wooton's Elements of Architedure. 
 Palladio alfo lays down feveral rules to know if the earth be firm enough for 
 the foundation, by obfervations from the digging of wells, cifterns, and 
 the like, and from herbs growing there, if there be fuch as ufually fpring 
 up in firm ground ^ alfo if a great weight be thrown on the ground, it 
 neither founds nor (hakes j or if a drum being fet on the ground, or 
 lightly touched, it does not refound again, nor fhake the water in a veflel 
 fet near it. Thefe, fiys he, are figns of firm ground. But the beft way 
 to difcover the nature of the foil, is to try it with an iron crow, or 
 with a borer, fuch as is ufed by well-diggers. Architeds ought to ufe 
 the utmoft diligence in this point, for, of all the errors that may hap-- 
 pen in building, thofe are the moft pernicious, which are committed in 
 the foundation J becaufe they bring with them the ruin of the whole 
 building ; nor can they be amended without very great difficulty. 
 
 Foundations are either natural or artificial ; natural, as when we build 
 on a rock, or very folid earth ; in which cafe, we need not feek for any 
 turther ftrengthening : for thefe without digging, or other artificial helps, 
 are of themfelves excellent foundations, and moft fit to uphold the great- 
 eft buildings. But if the ground be fandy or marlhy, or have latel)^ 
 been dug, in fuch cafe, recourfe muft be had to art. In the former cafe, 
 the archited muft adjuft the depth of the foundation by the height, 
 weight, &c. of the building ; a fixth part of the whole height is looked 
 upon as a medium j and as to thicknefs, double that of the width of a 
 wall is a good rule. If you build upon molTy and loofe earth, then yoa 
 muft dig till you find found ground. This found ground, fit to uphold 
 a building, is of divers kinds ; as Alberti well obferves, is in fome places 
 fo hard, as fcarcely to be cut withiron, in other places very ftifi^, in other 
 I pkices 
 
F O U 219 
 
 places blackifli, which is accounted the weakeft, in others like chalk, 
 and in others Tandy ; but of all thefe, that is the bell that requires moft 
 labour in cutting or digging, and when wet, does iiot diflblve into dirt. 
 
 If the earth to be built on is very foft, as in raoorilh grounds, or fuch 
 that the natural Foundation cannot be trufted, then you muft get good 
 pieces of oak, whofe length muft be the breadth of the trench, or about 
 two foot longer than the breadth of the wall ; thefe muft be laid acrofs 
 the Foundation, about two feet afunder, and being well rammed down, 
 lay long planks upon therh, which planks need not lie fo broad as the 
 pieces are long ; but only about four inches of a fide wider than the ba- 
 lls or foot of the wall is to be, and pinned or fpiked down to the pieced 
 of oak on which they lie. But if the ground be fo very bad, that this 
 will not do, then you muft provide good piles of oak of fuch a length 
 as will reach the good ground, and whofe diameter muft be about one- 
 twelfth part of their length. Thefe piles muft be forced or drove down 
 with a commander, or a machine or engine for that purpofe, and muft 
 be placed as clofe as one can ftand by another ; then lay planks upon thern, 
 and fp'ikt or pin them down faft. But if the ground be faulty, only here 
 and there a place, and the reft of the ground be good, you may turn 
 arches over thefe loofe places, which will difcharge them of the weight. 
 You muft not forget to place the piles not only under the outer walls, 
 but aho under the inner walls that divide the building, for if thefe fbould 
 fink, it would be the means to make the outer wall crack, and fo ruin the 
 whole building. 
 
 Having thus far confidered the bed of earth on which the building is 
 to be eredled, we fliall next confider the fubftrudlion, as it was called by 
 the ancients, but the moderns generally call it the Foundation. This is 
 the ground work of the whole edifice, which muft fuftain the walls, 
 and is a kind of artificial, as the other was natural ; as to which, thefe 
 things that follow are moft neceflary to be obferved. i. That the bot- 
 tom may be exadlly level; therefore lay a platform of good boards. 
 2. That the loweft edge or row be all of ftone, the broader the better, 
 laid clofely without mortar, which is a general caution for all parts of a 
 building that are contiguous to board or timber ; becaufe lime and wood 
 are utter enemies to one another ; and if unfit confiners any where, then 
 they are more efpecially fo in the Foundation. 3. That the breadth of 
 the fubftruftion be at leaft double the breadth of the wall that is to be 
 raifed upon it. But even in this cafe, art ought to give way to difcretion j 
 and the fubftrudion may be made either broader or narrower, according 
 as the goodnefs of the ground, and the ponderofity of the edifice re- 
 quires. 4. That the Foundation be made to diminifli as it rifes, but yet 
 fo, that there may be as much left on the one fide as on the other ; fo 
 that the middle of that above may be perpendicularly over the middle of 
 
 that 
 
220 F O U 
 
 that below, which ought in like manner to be obferved in diminifliing 
 the walls above ground ; for by this means, the building will become 
 much ftronger than it would be, if the diminution were made any other 
 way. 5. That you ought nev^r r:^ build upon the ruins of an old Foun- 
 dation, unlefs you are well aflured of its depth, and ihat its ftrength is 
 futiicient to bear the building. 
 
 Laftly, there is a curious precept in the writing" of fome ancient ar- 
 chiteds, that the Hones in the Foundation llaouH be laid as they natu- 
 rally lay in the quarry ; they fuppofing them to hwe more ilrength in their 
 natural pofition. This precept is generally obferved by all good modern 
 artilts, not only in the Foundation, but alfo in all the parts of the fu- 
 perftru6lure j and for a better reafon than that of bare conjeiflure, viz. 
 becaufe they find the ftones to have a cleaving grain, or that they are fub- 
 jedl to cleave that way of the ftone that lay horizontally in the quarry ; 
 and for that reafon, if the horizontal poiition of the flones in the quarry 
 fhould be placed vertically in the building, the fuper-incumbent weight 
 would be apt to cleave them, and fo render the building ruinous. For, 
 as it has been oblerved by Philip de Orme, the breaking or yielding of 
 a flone in the Foundation, although it Ihould be but the breadth of the 
 back of a knife, it will make a chft of more than half a foot in the fa- 
 bric aloft. In fome places they found the piers of bridges, and other 
 buildings near the water, on facks of wool laid like matraffes, which be- 
 ing well prefled and greafed, will never give way nor rot in the water. 
 
 Of all the ancients, fays M. Gautier, in architedture, who have left 
 us any rules for the founding on bridges, Scamozzi is the only one that 
 has faid any thing to the purpole. He tells us, that the Foundations are 
 laid after different manners. The firft is by encloling all round the 
 fpace of ground you would build upon, by dams made with piles fet deep 
 in the ground in double rows, well ftrengthened and bound together with 
 crofs pieces and cords, and filling the vacant fpaces between them with 
 chalk, or other earthly matter. This being done, the water muft be emp- 
 tied out, and the Foundation dug according to the quality of the 
 'ground, driving down piles, if it be neceflary, upon which the walls of 
 the Foundation mull: be laid. But this method is only pradicable in 
 building, on luch rivers where the water is neither very rapid, nor very 
 deep. The fecond is done by laying the Foundation on grate-work, 
 rafts of flout oak well bound together, and made faft at the llirface of 
 the water with cables or machines, and building upon them large quar- 
 ters of Ifone cramped together, and jcined with good mortar or cement, 
 and afterwards letting them defcend Ibftly by thofe cables and macliines 
 perpendicularly to the bottom of the water, as he fays was done in the 
 time of the emperor Claudius, at the port of Oftia ; and as Draguet Reys 
 ^id in the laft century at Confiiaatinople, in the fine mofque that he built 
 
 upon 
 
F O U 221 
 
 upon the fea. This manner requh-es a good bottom, equal and very even. 
 The thu'd is by drav/ing off all or greateft part of the water of the river 
 into fome other place, or by digging it another bed, or letting it out into 
 deep ditches, in which, fays he, great diligence muft be ufed, to have 
 all the materials ready, and to have workmen enough ready, fufficient to 
 com pleat it in a Ihort time, to the end that the matbnry may be well 
 confirmed and fettled before there is a neceffity to let the river into its for- 
 mer bed. 
 
 The laft method, which is that which Scamozzi fays he believes Trajan 
 made ufe of in building a bridge over the Danube, is to dig a new bed 
 for the river, in a place which feems, as it were, to meet itfelf, after 
 having made a great elbow or compafs about, which being done, the 
 bridge may be built with eafe, and that dry fliod, in that place. And 
 wheti the bridge has been fettled, to open the paflage of the current at the 
 two ends, flopping the bed up with ftrong banks or moles, and fo the 
 river will take to its old courfe again j thi^ fays he, is the furefl method of 
 aU, 
 
 To lay the Foundation of the piers of a bridge, if the eartli be foft, 
 it muft be piled, after as much of it has been carried away as can well be. 
 The lame is to be done, if it be fand or gravel, which muft be dug out 
 as deep as can be, all round about, to a reafonable diftance, which muft 
 be furrounded with pointed piles or ftakes well faftened to one another, 
 filling the fpaces between pile and pile with chalk or folid earth well 
 rammed in, which will for a time hinder the current from wafhing away 
 the piles and fand, and ruining the work. The piles ought to be made 
 tapering from top to bottom ; the arches unequal in number, and carried 
 up higher than the higheft inundation. The architefture of bridges ought 
 to be plain and rullic. Scamozzi afterwards gives the delign of his fine 
 bridge of ftone, and another of carpentry. The profile of this laft may be 
 feen in La Hire's Treatife of Carpentry. 
 
 M. Blondel relates the method he made ufe of in laying the Foundation 
 of the bridge of the Haintes, which he caufed to be built over the Cha- 
 rante. The ancient bridge had been borne down, it having been built on 
 potters earth or clay, and piled, fo that the fwelling of the Foundation 
 had raifed the piles, and threw down the bridge. The piles, by the 
 fwelling of the clay, ftarted out above a foot higher than the level of the 
 reft. The plummets went into this clay, to the depth of fixty feet, 
 made with a large borer, the arms of which were of iron, each three feet 
 in length, and well jointed one into another with good pins. After they 
 had caufed it to be dug {even feet below tlie bottom of the water, all 
 the work being counterguarded and encompafled with a good dam, and 
 the hollow^nefs raked level, then a grate- work of g-ood oaken wood 
 was laid all over the Foundation, of twelve or fourteen inches in thick- 
 
 L 11 neft. 
 
222 F O U 
 
 nefs, and fquare the whole length and' breadth of the building, not only 
 ♦hat part that was piled, but alio the opening or fpace between the piers 
 and abutments of the bridge, or the void fpaces of the arches. The 
 chambers of the grille, or grate- work, filled with good quarters of hewn 
 ftone, and the upper part covered with planks of five or fix inches thick, 
 well faftened on with pins all over the grate-work. Afterwards upon this 
 work of carpentry is kid a Foundation of mafonry five feet thick, all level 
 wi,th good hewn flones, well faftened together with cramp-irons. Upon. 
 this flat Foundation of five feet thick, the piers are.erefted, which for 
 the firft year are brought no higher than the imports, to the end that 
 they may fettle well during the winter . 
 
 M. Blondel makes it appear, that whatever precautions architects take 
 to fecure their works by good Foundations, yet they are very conjedlural- 
 and uncertain. He in this compares an architeil to a phyiician, who pro- 
 ceeds only upon conjedtures. For who can venture to fay, fays he, that 
 building upon a Foundation of confiftence as it appears to him to be, that 
 he fliall not meet with foft or bad ground underneath, which the weight 
 of the building will prefs down and fiiik into, and by that means be 
 overturned. Upon this occafion, fays M. Gautier, I can give an exam-. 
 pie tliat happened in one of the illes of Oleron or Rhe, where the king 
 caufing fortifications to be built, one face of the wall funk, or fell down, , 
 notwithftanding it was built on a bank of rock; becaufe it had a hollow 
 underneath, which could not- be, or was not difcovered._ Blondel alfo 
 relates in confirmation of whathe has fiid, that the vaft walls of the church 
 of Val de Grace, funk on one fide, though built upon a good foundation ; . 
 becaufe there were underneath large hollows which had been made in former 
 times for taking out of ftones fome fathoms lower, there having been a 
 quarry there. 
 
 Michael Ange Bonarote caufed the foundation of the dome of St. Pe- 
 ter's, Rome, to be laid with all the precautions imaginable. But for all 
 that, this work did gape or fplit, which they cured by binding it about ' 
 with a hoop of iron of an extraordinary breadth and thicknefs, which cofi 
 100,000 crowns. It is fuppofed, that this fradlure in the dome is an 
 effedl of the waters of a lubterraneous fource, from a fpring which runs 
 down from the high mountains of the Vatican and Janiculus, which have 
 waflied the Foundations of this huge edifice. So that, according to thefe 
 examples, nobody can be anfwerable for the Foundations of a building. 
 
 The Corderie of Rochefort, the defigns of M. Blondel, is in length 
 two hundred and fixteen toifes, not comprifing the pavillions that are at 
 the two ends, and four toifes, the breadth between the walls, the two 
 flories, built upon a grillage, or grate-work, as well in the full, as in the 
 void of ten or twelve inches thick, laid upon a bottom of potters clay. 
 
 Upon 
 
F R E 223 
 
 Upon this grillage arc laid platforms well faftened together with pins^ 
 and upon them a coach, or courfe of hewn ftones, and good rough flones, 
 the building being raifed every where level continually, that it may be 
 every w^here equal, that there may be no more weight on the one fide than 
 the other, that all the parts of the work may be in aqiiUihrio. This 
 building thus raifed, has fucceeded perfedly well. M. Blondel remarks 
 further, that the materials at Paris not being of the fame folidity as thofe 
 of Italy, as perhaps marble, and harder, will not permit to make bridges 
 at Paris with fo much delicacy and fo difengaged, as thofe which are 
 made in Italy ; which have a great deal lefs thicknefs at the place of the 
 keys of the arcades. 
 
 Frame, among painters a kind of fquare, confifting of four long flips 
 of wood joined together, whofe intermediate foace is divided by threads,, 
 into feveral little fquares like a net. It ferves to reduce figures from great 
 to fmall ;. or, on the contrary, to augment their fize from fmall to great. 
 
 Framing of an Houfe, among carpenters,, denotes all the timber work 
 therein ; namely, the carcafe, flooring, partitioning, roofing, cieling,, 
 beams, aflierling, 6cc. all together. 
 
 French Order, an Order, as we arc content to call it, in which the 
 proportions are the fame as in the Corinthian, but the capital is decorated 
 with cocks heads and flower-de-luces. There are fome columns of it in 
 the grand gallery at Verfailles, but fuch a variation from the antique does 
 not deferve the name of a difl:ln6t Order. 
 
 Fresco, a method of painting, or rather plaifbring on walls to endure 
 the weather, and reprefenting birds, beafts, herbs, fruits, &c. in relief. 
 It is performed on frelh plaifter, or on a wall laid with mortar not yet 
 ,dry, and with water-colours. This fort of painting has a great advantage, 
 by its incorporating with the mortar and drying along with it, it is ren- 
 dered extremely durable, and never fails or falls but along v/ith it. ^ 
 
 Of the method of this painting : to make the compoft or plaifter of 
 old rubbifli flones, and mix it with well-burnt flint (or lime) and water ; 
 but wafli out the faltnefs of the lime, by often pouring the water, and 
 putting frelh to it. This Qiould not be done in moift weather, becaufe 
 that has a great influence on the walls. And in order to render the plaif- 
 ter the more durable, they ftrike into the joints of the brick or ftone-wall 
 flumps of horfe-nails, at about fix inches diftance, to prevent the plaifter 
 from peeling off. With this plaifter the wall is firft to be plaiftered a 
 good thicknefs, and left for fome time dry j and the dengns and colours- 
 being firft ready prepared. This painting is chiefly performed on walls 
 and vaults newly plaiftered with lime and fand ; but the plaiftering is only 
 to be laid in proportion as the painting goes on, no more being to be done 
 at once than the painter can difpatch in a day, while it is dry. Before 
 the painting is begun, there is ufually a cartoon or defign made on paper, 
 
 to 
 
22+ F R B 
 
 to be calked and transferred to the wall, about half an hour after the 
 plaifter has been laid on. The colour being prepared and mingled, the 
 wall is to be plaiflered over again a fecond time about the thicknefs of a 
 half-crown, but only fo much as you intend prefently to work upon ; 
 and while it is wet, you muft work the colours therein, which will mix 
 and incorporate with the plaifter, fo as never to wafh out. The painting 
 muft be, for the work to come out in all its beauty, wrought quick, and 
 with a free hand : for there can be no alteration after the firlt painting, 
 and therefore make your colour high enough at firft ; you may deepen, but 
 not eafily heighten. Nor, muft they ever be retouched dry, with colours 
 mixed up with the white of an egg, or fize, or gum, as fome workmen do, 
 by reafon fuch colours grow blackilli ; nor do any preferve themfeives, but 
 fuch as were laid on haftily at firft. 
 
 In this painting all the compound artificial colours, and almoft sll the 
 minerals are fet afide, and fcarce any thing ufed but earths ; which are 
 capable of preferving their colour, defending it from the burning of the 
 'lime, and refifting its fait, which Vitruvius calls its bitternefs. The co- 
 lours ufed are white made of lime flacked long ago, and white marble 
 duft ; oker, both red and yellow, violet red, verditer, lapis lazuli, fmalt, 
 ..earth, black Spanifli brown, Spanilh white, &c. All which are only 
 ground and worked up with water ; and moft of them grow brighter and 
 brighter as the Frefco dries. 
 
 The ancients painted on ftuck ; and it is worthy obfervation in Vitru- 
 vius, what infinite care they took in making the incruftation or plaifter- 
 ing of their buildings, to render them beautiful and lafting : though the 
 modern painters find a plaifter made of lime and fand preferable to ftuck, 
 both becaufe it does not dry too haftily, and as being a little brownifli, it 
 is fitter to lay colours on, than a ground fo white as ftuck. This kind 
 of painting was the ancient Grecian way of painting, and fince much ufed 
 by the Romans. Plutarch informs us, that Aratas, the chief commander 
 under Ptolemy king of Egypt (in a compliment to the emperor's affedions 
 that way) forbore to fack a wealthy city, merely for the excellency of the 
 .Frefco painting upon the walls of the houfes. There have been feveral 
 whole towns of this work in Germany, excellently well done, but now 
 ruined by wars. At Rome there are three chambers (in the pope's palace) 
 of Frefco, Aone by Raphael Urbin, and Julio Romano, his difciple, who 
 finiflied his mafter's work, which is yet called Raphael's defign. There 
 are other places done by Andrea del Sexto and Michael Angelo, and fome 
 other artifts. There is an excellent Frefco work at Fountainbleau in 
 France. It is the continued travels of Ulyfl*es, in fixty pieces, done by 
 Bollmneo Martin Roufe, a Florentine, and others. 
 
 Fret, or Frette, in architedure, is a kind of knot or ornament, 
 iConfifting of two lifts or fmall fillets varioufly interlaced or interwove, 
 
 2 and 
 
F R I 225 
 
 and running at parallel diftances equal to their breadth. Every return and 
 interfertion of thefe Frets muft be at right angles. This is fo indifpen- 
 fibly necefliiry, that they have no beauty without it, but become perfect- 
 ly Gothic. Sometimes the Frete confifts but of a lingle fillet, which 
 however may be fo ordered, as to fill its fpace exceedingly well, if well 
 managed. Thefe Frets were very much in ufe among the ancients, who 
 applied them chiefly on even flat members, or parts of buildings ; as the 
 faces of the corona, and eves of cornices ; under the roofs, fotiits, &c. 
 on the plinths of bafes, &c. The name of Frette was hence occafioned, 
 the Frette literally fignifies the timber- work of a roof; which confifts 
 chiefly of beams, rafters, 6cc. laid acrofs each other, and, as it were, 
 fretted. 
 
 Fret-Work, an enrichment of frette, or a place adorned with fome- 
 thing in the manner thereof. Fret-work is fometimes ufed for the filling 
 up and enriching flat empty fpaces, but it is principally pradtifed in roofs 
 which are fretted over with plaifter-work. The Italians alfo ufe Fret- 
 work in the mantlings of chimnies with great figures, a cheap piece of 
 magnificence, and as durable almoft within doors, as harder matters in the 
 weather. 
 
 Frieze, in archltefture, a member in the entablature of columns ; it 
 is the middle part, and feparates the architrave and cornice. The Frieze 
 is flat in all the orders ; but in moft of them is intended to receive orna- 
 ment. In the Tufcan it iliould remain plain ; in the Doric it is eflenti- 
 ally divided into two parts, under the names of triglyphs and metopes ; 
 the triglyphs are channelled figures, and the metopes are the fpaces be- 
 tween them ; thefe triglyphs are not capable of alteration, but the orna- 
 ments in the metopes are varied at pleafure, and frequently they are left 
 plain. In the Ionic the Frieze is fometimes made to fwell, which is an 
 objedion to the general rule of their being flat, but this is an innovation : 
 in the Corinthian and Compofite the Frieze is decorated varioufly at the 
 pleafure of the architect, with figures of any kind, and is often a very 
 elegant part of the order. The Friezes of the Corinthian order, at Pal- 
 myra are very richly decorated. In our common door-ways for perfons 
 of bufinefs, where there is an attempt towards any orders the Frieze is 
 the part which receives the name, or other infcription. In the Corin- 
 thian and Compofite orders the Frieze is often joined to the architrave by 
 Iweep : the height of the Frieze is in general three-fourths of that of the 
 arcliit.ive, but not ftridtly or exadly. When it fwells, as in the Ionic 
 order, it is called a pulvinated or culliioned Frieze. Some write the 
 vvcrd Freeze, or Frieze, and others Phrize ; this laft fpelling brings it 
 nearer what is p^-etended by many to be its origin, the word Ploj-ygio, an 
 embroiderer ; the ornaments oi Friezes, in the richer orders, reprefenting 
 embroidery. 
 
 M m m When 
 
226 - FUN 
 
 Wlien tiie Frieze Is decornted with fculptures, it is frequently named 
 according to their nature j thus hiftorical Friezes are thofe reprefenting 
 hiflories by figures, marine Friezes are thofe with fhells, tridents, and 
 fea-horfes, and fo of the others : but the moll: frequent in ancient build- 
 ings are thofe on which religious ceremonies, the inftruments of facrifice, 
 and other fuch matters are figured. We fee inflances very common in 
 fmall buildings, in which the architedl has taken the liberty to retrench the 
 Frieze entirely, and to make the cornice rell upon the architrave ; but this 
 always offends the eye, and is extremely wrong, llie Frieze is introduced 
 into an entablature to fhew a natural Ipace, and the thing which reprefents 
 it cannot be fupprefi'ed without impropriety. 
 
 Front, in perfpeftive, aprojeftion or reprefentation of the face or fore- 
 part of an objedl, or of that part diredly oppofite to the eye. 
 
 Frontal, in architedlure, a little fronton, or pediment, fometimes 
 placed over a little door or window. 
 
 Frontispiece, in architedlure, the word is fometimes ufed to exprefs 
 the whole decoration of the front of a church ; fometimes for a particular 
 compartment raifed over gateways, and in other places, fupported and en- 
 compalfed with figures, or other ornaments, and intended to hold an em- 
 blem, a coat of arms, or infcription. 
 
 Fronton, this term is ufed by thofe who follow the French authors for 
 what we call a pediment, An ornament that crowns the frontifpieces cf 
 of buildings, and is ufed over doors and windov/s. It is properly of a 
 triangular form, and not very high in proportion to the extent of its bafe, 
 i)ut the architefts hive deviated from this, and made it arched, and often 
 broken, to admit bufts or figures. 
 
 Frowey. Workmen fay timber is Frowey, when it is evenly tempered 
 all the way, and works freely without tearing. 
 
 Funnels of Clnmm'es. The Funnel is the fhaft, or fmalleft part from 
 the walle, where it is gathered into its leafi: dimenhons. Palladio di- 
 refts, that the Funnels of chimnies be carried through the roof, three, 
 four, or five feet at leail, that they may carry the fmoak clear from the 
 houfe into the air. He advifes alio, that care be taken as to the width of 
 them ; for that if they be too wide, the wind will drive back the fmoak 
 into the room ; and if they be too narrow, the fmoke will not be able to 
 make its way. Therefore chamber chimnies muft not be made nafrower 
 than ten or eleven inches, nor broader than fifteen ; which is the ordi- 
 nary depth of the P'unnels of great kitchen chimnies, whofe breadth is 
 four or five feet within the work, from the place where the breil ends, 
 to the top of the Funnel. Now the faid brefi reaches from the mantle- 
 tree to the cieling or pitch of the arch, always diminilhing within the 
 work, till you come to the meafures of depth and breadth before-men- 
 tioned ; and from thence to the end of the Funnel, it mufl be carried \:p 
 I as 
 
GAT 227 
 
 as even as it poflibly can be j for if there be a failure in this, the fmoke 
 happens to be offenfive. 
 
 Furring, in architedlure, is the making good the rafters feet in the 
 cornice. Thus, wlien rafters are cut with a knee, thefe Furrings are pieces 
 which go ftraight along with the rafter, from the top of the knee to the 
 cornice. Ahb when rafters are rotten, or funk hollow in the middle, there 
 are pieces cut thickell: in the middle, and tapering towra-ds each end, which 
 are nailed upon them to make them flraight. Such pieces are called Furs,. 
 and the putting them on. Furring the rafters. 
 
 FusAROLE, in architedlure, is a moulding or ornament placed imme- 
 diately under the echinus in the Doric, Ionic, and Compofite capitals. The 
 Fufarole is a round member carved in manner of a collar or chaplet with 
 oval heads. The Fufarole fliould always anfwer exadly under the eye of 
 the volute in the Ionic capital. 
 
 Fust, in architecture, is the fhaft of a column, and that part which 
 is contained between the bafe and the capital, and may be called the trunk 
 or body of the column. This part is commonly plain, fometimes fluted ; 
 and the flutings are fometimes empty, fometimes filled up at the bottom,, 
 with a ftrait, round or twifted piece, which is called a cable. Sometimes 
 alio the Fuft is ornamented with ruflic, or othcrwife. The word is French, 
 and literally lignifies a calk. But fome derive it from xhc Latin fiijiisy a. 
 - club. 
 
 G. 
 
 Gable-End of a Hoiife, is the upright triangular end from the cornice 
 or caves, to the top of its roof. 
 
 Gain, the levelling fhoulder of thejoifts, or other fluff. It is alfo ufed 
 for the lapping of the end of the joifts, &c. upon a trimmer or girder; 
 and then the thicknefs of the fhoulder is cut into the trimmer, alfo levelling 
 upwards, that it may juft receive the Gain, and fo the joifl and trimmer lie 
 even and level v/ith their lurface. Thi^ way of working is ufed in floors 
 and hearths. 
 
 Gallery, in archite<fture, is a covered place in a houfe, much longer 
 than broad, and ufually in the wings of a building ; its ufe being chiefly to 
 walk in. It is alio a little ille or walk, ferving as a common paifage to fe- 
 veral rooms, placed in a line or row. Their length, according to Palladio, 
 ought to be at leaft five times their breadth. They may be fix, feven, or 
 eight times their breadth, but mufl not exceed. 
 
 Gate, in architefture, a large door giving entrance into a city, town, 
 caftle, palace, or other confiderable building : or a place giving pallage whf: e 
 perfons, hories, coaches, or waggons are to pafs, 6cc. As to their pro- 
 
 portioa 
 
?.2S G L U 
 
 portion, tlie principal Gates for entrance through which coaches and 
 waggons are to pals, ought never to be lefs than feven feet in breadth, nor 
 more than twelve, which laft dimenfion is fit only for large buildings. 
 The height of a Gate is to be one and a half of the breadth, and fome- 
 what more j but as for the common Gates in inns, under which waggons 
 go loaded with hay, ftraw, 5cc. the height of them may be twice their 
 breadth. 
 
 Gigantic Order, a name given by Scammozzi and others to the 
 Tufcan order. 
 
 Girders, in architecSlure, are fome of the largefl: pieces of timber in 
 a floor, the ends of which are ufually faftened into fummers and breft- 
 fumniers, and joifls are framed in at one end to the Girders. The fcant- 
 lings and fize of Girders and fummers, upon the rebuilding of London, 
 after a confultation of experienced workmen, were fettled by ad of parlia- 
 ment. 
 
 Glacis, in building, &c. is an eafy infenfible flope or declivity. 
 
 Glazier, an artificer in the building branch, and whole principal bu- 
 finefs is in fitting panes of glafs to faflies, pictures, &c. and making lead 
 lights for window-frames, cleaning of falh windows, 6cc. 
 
 Glue, to make the beft Glue for gluing the joints of deal-boards. Put 
 half a pound of the befl Glue into a quart of water, and boil them gently 
 together over a flow fire, till the Glue be entirely diflblved, and of a due 
 conflflence; for if it be too thin, the wood will fo drink it up, that there 
 will not remain a body fufficient to bind the parts together : on the contrary, 
 if it be too thick, it will not give way for the joint to fliut clofe enough to 
 be flrongly joined ; for though it is Glue that makes the joints Itick, yet 
 where there is fo much of it, that the joint cannot clofe exadlly, it will 
 never hold firm. When Glue is ufed, it muft be made thoroughly hot ; 
 for Glue never takes firm hold of the wood, when it is not thoroughly hot. 
 And fee that the joints to be glued have not been touched with oil or 
 greafej for if fo, the glue wili never take faft hold. The joints of the 
 boards being fliot true, and the Glue hot, fet both the faces of the joint 
 clofe together, and both turned upwards ; then dip a brufli in the Glue, and 
 befmear the faces of the joints as quick as poflible, and clap the two faces 
 of the joint together, and Aide or rub them long-ways one upon another 
 two or three times, to fettle them dole, and fo let t/:em ftand till they are 
 dry and firm. The beft Glue is that which is the oldefl ; and the fureft 
 way to try its goodnefs, is to lay a piece to fleep three or four days, and if 
 it fwell confiderably without melting, and when taken out refumes its 
 former drincfs, it is excellent. 
 
 A Glue that will hold againft fire or water, may be made thus : mix 
 s. handful of quick-lime with four ounces of linfeed oil ^ boil them to a 
 good thicknefs, then fpread it on tin-plates in the flaade, and it will be- 
 come 
 
G R A 229 
 
 cx)me exceeding hard, but may be eafily dilTolved over a fire, as Glue, and 
 will efFed: the bufinels to admiration. 
 
 Glyph, in fculpture and architedture, any canal or cavity, ufed as an 
 ornament. 
 
 Gorge, in architefture, the narroweft part of the Tufcan and Doric 
 capitals, lying between the aftragal, above the fhaft of the pillar and the 
 annulets. It is alfo uled for a concave moulding, larger, but not fo deep 
 as a fcotia, which ferves for compartments, &c. 
 
 Gothic Architefiure, is that which deviates from the proportions, 
 charadlers, &c. of the antique. It is frequently very folid, heavy and 
 maffivei and fometimes, on the contrary, exceedingly light, delicate^ 
 and rich. The abundance of little, whimfical, wild, and chimerical orna- 
 ments are its moft ufualcharadcrs. The proiiles of this are generally very 
 incorre<5l. Gothic architedure is diftinguiilied into two kinds, ancient 
 and modern. The ancient is that which was brought by the Goths into 
 Germany in the fifth century. The edifices built in this manner were ex- 
 ceeding niaffive, heavy, and coarfe. Thofe of the modern Gothic run 
 into the other extreme, being light, delicate, and rich to excefs. All the 
 ancient cathedrals are of this kind. It is not to be doubted, but that the 
 inventors of the Gothic architefture thought they had far furpafled the 
 Greek architeds. A Greek building has not one ornament, but what adds 
 beauty to the whole. No daring out-of-the-way ftrokes, nothing quaint 
 to impofe on the eye. The proportions are fo juft, that nothing appears 
 very grand of itfelf, although the whole is ftriking and noble. On the con- 
 trary, in the Gothic architeiflure, we fee large vaults raifed on llender pillars, 
 which one would expeft every minute to tumble down, though they will 
 ftand for many ag.°s. Every thing is crammed with windows, rofes, 
 crofi"es, figures, &c. 
 
 Gothic Column, is any round pillar in a Gothic building, either too 
 thick, or two fmallfor its height. There are fome of them found twenty 
 diameters in height, without either diminution or fwelling. 
 
 Gouge, an inflrument or tool ufed by divers ai'tificers ; being a fort of 
 round hollow chillel, for cutting holes, channels, grooves, &c. either in 
 wood or Hone. 
 
 Gradation', In architedure, a flight of fleps, particularly afcending 
 from the cloiller to the choir In churches. Alfo an artful difpofition of 
 feveral parts, as it were, by Heps or degrees after the manner of an amphi- 
 theatre ; ib that thofe which are placed before do no dif-fervice, but are ra- 
 ther ferviceable to thofe behind. In painting, it is ufed tofignifyan infcn- 
 fible change of colour, by the diminution of teints and (hades. 
 
 Granary, a place for laying up or ftoring corn in, particularly for 
 keeping a confiderable time. Sir Henry Wooton advifes to make it look 
 towards the north, becaufe that quarter is the cooleft and moft temperate. 
 
 N n n ' iMrc 
 
C30 G R E 
 
 Mr. Worlidge obferves, that the beft granaries are built of brick, with 
 quarters of timber wrought in the infide, to which tlie boards may be 
 nailed ; with which the inlide of the granary mull be lir.ed fo clofe to the 
 bricks, that there may not be any room left for vermin to fhelter them- 
 felves. There may be many ftories one above another, which fliould be 
 near the one to the other ; becaufe the fliallower the corn lies, it is the 
 better and more eafily turned. Some have had two Granaries one above 
 the other, and have filled the upper with wheat, or other corn. The up- 
 per one having a fmall hole in the floor, by which the corn fell down into 
 the lower one, like the fand in an hour-glafs, which, when it was all come 
 down into the lower Granary, it was then carried up again into the upper 
 one; and by this means was kept continually in motion, which is a good 
 prefervative for the corn. A large Granary full of fquare wooden pipes 
 may keep corn from heating. 
 
 Greek Orders, in architecfture, are the Doric, Ionic, and Corinthian j 
 the other two, namely the Tufcan and Compofite, being called the Latia 
 orders. 
 
 Green-House, a confervatory, or houfe erefted in a garden, for pre- 
 ferving fuch tender and exotic plants as cannot bear the cold of our win- 
 ters, if expofed to the open air. Thefe forts of houfes, as they are com- 
 monly built, ferve more for ornament than ufe : their fituation towards 
 the South, is the only thing that feems to be regarded towards the health 
 of the plants they flielter. It is rare to find one among them that will 
 keep a plant well in the winter, either by reafon of their fituation in moift 
 places, their want of glafies enough in the front, and the difproportion of 
 the room within them ; and fometimes where it happens that a Green- 
 houfe has been confidered in thefe points, all is confounded by the flues 
 under it, which convey the heat from the ftoves. Befides what is com- 
 monly called a Green-houfe, it has been cuftomary to provide glafs cafes 
 of feveral kinds, and floves, for the prefervation of plants brought from 
 different countries. But an ingenious author has found them to be fo 
 many unneceffary expences 3 and that a good Green-houfe, well contrived, 
 will do all that is required for the welfare of any plant in the winter.^ 
 and that it may be fo ordered, as to flicker atone time orange-trees, plants 
 from the Cape of Good Hope, Virginia, Carolina, and indeed fuch as 
 grow within ten degrees of the line. The fame author fiys, that when 
 he was firll acquainted with aloes, Indian figs, and fuch like plants, he 
 confeifes he thought they could never have heat enough, and that he de- 
 ftroyed many by that too common notion ; he could hardly venture them 
 out of the hot-beds in the height of fummer; and that in the winter they 
 were half roafied with fubterraneous fires he made under the glafs -cafes 
 where they flood, 
 
 A good 
 
G R E 231 
 
 A CTOod Greea-houfe ought to be fituated on the driefl ground to be 
 as free from damps as poHible ; great care ought hkewife to be taken for 
 keeping out the cold, and yet upon occalion to let in air freely ; but 
 chiefly to contrive that the front of the houfe be fo difpofed, that nothing 
 may obftrudl the pallage of the fun's rays, in the winter, into the houfe. 
 It is generally allowed that the fouth afpedt is the beft for a Green-houfe, 
 as it will in that expofure receive the fun for the greatefl part of the day ; 
 but in cafe that cannot be had witli conveniency, the fouth-weft afpedt is 
 next to be chofen ; and it would be pleafant, as well as beneficial to 
 plants, if the confervatory was always joined to the dwelling-houfe. No- 
 thing can be more agreeable in winter, than to have a view from a parlour 
 or ftudy through ranges of orange-trees, and curious plants of foreign 
 countries, blooming and bearing fruit, when the gardens without 
 doors are, as it were, in a ftate of death ; and to walk among thofe curio- 
 fities of nature, as in the moft temperate climate, without any fenfe of 
 the froft, or pinching cold that reigns abroad ; and befides, there is this 
 conveniency in joining the conlervatory to the houfe, that in cold wea- 
 ther you may go into it, w^ithout letting in the cold air, or blighting 
 from abroad. Thus much as to the fituation. The next thing to be con- 
 lidered is the proportion of the building, and that chiefly in relation to the 
 height and breadth of the room ; which a certain author direfts, and that 
 for the better admilTion of the fun's ra) s to pafs all over the houfe, the 
 breadth of it be no more than the height from the floor to the ceiling, 
 which may be from ten to eighteen feet. That the walls towards the 
 north and eaft be of a good thicknefs, and the front towards the fouth 
 be all of glafs, except a low wall about a foot high from the ground ; 
 that there be no piers of brick-work or timber in the glazed part, for 
 they caft more Ihade into the houfe, in proportion to their fize, than it 
 can receive light through the glafs ; whereas, every one who underftand;S^ 
 exotic plants will allow, that they fliould have all the advantages of the 
 ftm's rays in winter, that they poffibly can receive. For this end ii'would 
 be proper, in the colder parts of England, to build the front of a Green- 
 houfe in a fweep, or in the form of a femicircle, which v^culd then re- 
 ceive the rays of the fun from the time of its rifing, till its fetting. Let 
 the glafs in the front, whether it be in fadies or cafements, be fo con- 
 trived, that it may either be made to flidfj quite below or above the frames, 
 or to betaken away, as occafion requires, to give air to the plants, which: 
 for about a fortnight or three weeks aftjr they are placed in the houfe, and 
 as long before the plants come abroad, Ihould be quite open night and 
 day, if the air is not too cold. Some have pratftifed, with good fuccefs, 
 to lay the windows of their Greeji-houfes floping about ten inches j but 
 others are of opinion they w'ill do as well upright. The door fliouid 
 be in the middle of the front, and at leafl: four foot wide, to admit large 
 
 plants ; 
 
232 
 
 G R E 
 
 plants ; that it be glazed, to which flrong fliutters fliould be added, at 
 leaft an inch thick, which during the winter Ihould be fliut every night, 
 for fear of froft ; alfo in fevere weather, and when violent winds blow right 
 againft the houfe. That for the better fecurity of the plants from cold, a 
 place for laying up the gardener's tools be built at the Green-houfe, and 
 over it a fruitery or feed-room, or in room of the latter, the room may be 
 filled with dry ftraw. 
 
 The beft pavement for a Green-houfe is that made with fquare-tiles, 
 which quickly fucks up wet, and never fweat, as marble, or fuch kinds 
 of hard ftone ufually do j and that for lining of the walls, nothing is 
 preferable to Dutch glazed tiles, which are foon warmed with the fun, and 
 refledl a great heat into the houfe. That in the difpofition of the fhelves 
 in the Green-houfe, one third of the floor be allowed for them to ftand up- 
 on, one-third from the firft fhclf to the windows, and as much from the 
 laft flielf to the back of the houfe j fo that a perfon may walk round the 
 plants, which being placed in the middle line of the houfe, are fafe from the 
 extreme cold, which is generally nearer the walls or glaiTes. The chimney 
 for warming the air, Hiould be built between the windows and the firft flielf 
 at one end of the houfe, about a foot above the floor, which will rife after- 
 wards, and fpread itfclf over the whole. 
 
 But the ingenious Mr. Philip Miller has given us a more accurate defign 
 of a Green-houfe, which he defcribes as follows. 
 
 As to the length of the houfe, that fliould be proportioned to the num- 
 ber of plants it is to contain, or the fancy of the owner ; but as to the 
 depth, that fliould never be more than fixteen feet in the clear, and the 
 length of the windows fliould be at leafl; equal to the depth of the houfe; 
 and if they are fometimes longer, it will flill be the better. Thefe win- 
 dows fliould be carried up quite to the ceiling, that there be no room for 
 dead air in the upper part of the houfe ; and they ought to come down 
 within about ten inches or a foot of the floor; their breadth fliould be 
 proportioned to the length of the houfe, which in a fmall Green-houfe 
 may be four feet broad, but in a large one they fliould be fix feet. The 
 piers between thefe windows fliould be as narrow as poflible they may be, 
 to fupport the building, for which reafon he chufes to have them either 
 pf ftone or folid oak , for if they are built with fine rubbed bricks, they 
 are generally fo foft, that the piers will require to be made thicker than 
 pan be allowed, otherwife the building will be in danger of falling in a 
 fhort time, efpecially if any rooms.be built over the Green-houfe, which 
 vvould be of great ufe in keeping out the frofts in hard winters. If the 
 piers are made with ftone, he diredls that they be twenty inches broad 
 in front, and floped off backwards to about ten inches broad ; whereby 
 the rays of the fun will not be taken off or obftrufted by the corners of 
 the piers : which it would be, if tliey v/cre fquare. And if the piers are 
 
 2 made 
 
G R O 
 
 233 
 
 -made of folid oak, eighteen inches fquare he accounts flrong enough to 
 hold the building ; and alfo doped off, as before direfted for the ftone. 
 
 A tool-houfe may alfo be erefted at the back of the building, which may 
 alfo ferve for many other purpofes, and will alfo be extremely ufeful, by 
 preventing frofl: from entering that way, fo that the wall between thefe need 
 not be more than two bricks in thicknefs ; whereas if it were quite expofed, 
 behind it ought to be two bricks and a half, or three bricks in thicknefs. 
 And thus alio, if you have a mind to make a handfome building, and to 
 have a noble room over the green-houfe, you may make the room to come 
 over the tool-houfe, and carry up the flair-cafe in the back, fo as not to be 
 {ccn in the green-houfe, and by this means you have a room twenty or 
 twenty-two feet in width, and of a proportionable length. And under 
 this flair-cafe there may be a private door into the green-houfe, at which 
 the gardner may enter in hard frofty weather, when it will not be fife to 
 open any of the glaffes in the front. The floor of the green-houfe may be 
 laid with marble, ftone, or broad tiles, according as the owner pleafes, 
 and mufl be raifed two feet above the level of the ground on which the 
 houfe is litLiate, which will be fullicient if the foil is dry ; but if moiftand 
 Ipangy, and thereby fubjed: to damps, it will be neceflary to raife it at leaft 
 three feet above the furfice. 
 
 He adviles alfo to make a flue of about ten inches in width, and two 
 feet in depth, under the floor, about two feet from the front, which flue 
 is to be carried the whole lengtli of the houfe, which may be returned 
 along the back part, and be carried up in proper funnels adjoining to the 
 tool-houie, by which the fmoak may pafs off. He alfo advifes to have 
 good ffrong fhutters to the windows in the front of the green-houfe, hung 
 on hinges to fold back, fo that they may fall back quite clofe to the piers, 
 ih as not to obftruvil the rays of the fun. Thele fliutters may be an inch 
 thick, or a little more, made to join fo clofe, as to be able to keep out 
 our common froffs, and when the weather is fo intenfe as to endanger 
 the freezing in the houfe, it is but making a fire in the flue, and that will 
 prevent it. 
 
 Tlie back part of the houfe fhould be plaiflered Vv'ith mortar, or white- 
 wafhed ; or if lined with wainfcot, fhould be painted white, as fliould 
 the cieling, and alfo every part within fide the houfe, for white reflects 
 the rays of light in a much greater quantity than any other colour ; and is 
 of very great fervice to plants, cfpecially in the winter fealbn, when the 
 houfe is pretty much clofed, fo that but a fmall fliare of light is admit- 
 ted through the windows. For he fays he has obferved, that at fuch times 
 where a green-houfe has been painted black, or any dark colour, the 
 plants have cafl mofi of their leaves. He adds, that to avoid the incon- 
 venience wliich attends the placing of plants of very different natures in 
 the lame houfe, it will be very proper to have two wings added to ths 
 
 O o o niaiii 
 
'■34- 
 
 G R O 
 
 main green -houfe, which will greatly add to the beauty of the building, 
 and alio coUeft a greater flure of heat. 
 
 The greeri-houle, according to his plan, is placed exadlly fronting the 
 fouth, and one of the wings faces the Ibuth-eaft, and the other the fouth- 
 weil ; fo that from the time of the fun's firft appearance upon any part of 
 the building, until it goes off at night, it is conftantly refleded from one 
 part to the other, and the cold winds are alfo kept off from the front of 
 the main green-houfe. And in Jlie area of this place you may fo con- 
 trive, as to place many of the moft tender exotic plants, which will bear 
 to be expofed in the fummer feafon ; and in the fpring, before the wea- 
 ther will permit you to fet out the plants, the beds and borders of this 
 area may be full of anemonies, ranunculus's, early tulips, &c. In the 
 centre of this area may be contrived a fmall bafon for water, which will 
 be very convenient for watering plants, and will alfo very much add to 
 the beauty of the place; befides, the water being thus fituated, will be 
 foftened by die heat which will be reflefted from the glaffes upon it,^ 
 whereby it will be rendered much better than raw cold water for tender 
 plants. 
 
 The two wings of the building fliould be fo contrived, as to be fit for 
 placing plants of different degrees of hardncfs, which muff be effeded 
 by the lltuation and extent of the fire-place, and the manner of con- 
 ducing the flues. The wing facing the fouth-eaft fliould always be pre> 
 ferred for the warmeft ffove, its fituation being fuch, as that the fun, 
 upon his firff appearance in the morning, Ihines diredly upon the glaffeo, 
 which is of great fervice in warming the air of tlie houfe, and adding 
 life to the plants, after having being fhut up during the long nights in the 
 winter feafon. Thefe wings may be allowed fixty feet in length, and 
 may be divided in the middle by partitions of glafs, wi-th glafs doors to 
 pafs from one to the other. And the fire-place may be fo ordered as to. 
 warm both divifions, by placing an iron regulator in the flue, fo that 
 fmoak may pafs through the flues of which part focver you pleafe. By 
 this contrivance you may keep fuch plants as require the fime degree of 
 heat in one part of the houfe, and thofe which will thrive in a much lefs- 
 warmth in the other part. 
 
 The other wing of the houfe facing the fouth-weit may alfo be di- 
 vided in the fame manner, and flues carried through both parts, which 
 may be ufed according to the feafons, or the particular forts of plants 
 which are placed therein. So that by this difpofition here will be four di- 
 vifions in the wings, each of which may be kept up to a different degree 
 of heat, which, together with the green-houfe, will be fufiicient to en- 
 tertain plants from all quarters of the world. And without having thefe 
 feveral degrees of warmth, it will be impofiible to preferve the various- 
 kinds of plants from the feveral parts of Africa and America, which are 
 
 every 
 
G R O 235 
 
 every year introuuced into the gardens of the ingenious. For when plants 
 from very different climates are placed in the iame green-houfe, fome pe- 
 rilh ibr want of heat, while others are deftroyed by having too much of 
 it ; and this is often the cafe in fuch green-houfes, where there are large 
 coliedtions of plants. 
 
 Grotesqjje, fomething whimfical, extravagant and monftrous. The 
 word is alfo particularly applied to a work or compofition in fculpture or 
 painting in the Grotefque manner or tafte, confifting either of things that 
 are ir.crely imaginary, and have no exiftcnce in nature, or of things 
 turned and diftorted out of the way of nature, fo as to raife furprize and 
 ridicule. Grotefque work is the fame with what is fometimes called an- 
 tique. The name is faid to have taken its rife hence, that figures of this 
 kind were in ancient times much ufedin adorning the grottos, wherein the 
 tombs of eminent perlbns or families were inclofed ; fuch as that of Ovid, 
 •whofe grotto was difcovered near Rome, about one hundred years fince. It 
 is particularly ufed to fignify thofe frnciful ornaments of animals, inter- 
 fperfed among foliages, fruit, &c. as thofe painted by Raphael Urbin in the 
 Vatican, and thofe carved by Michael Angelo, in the cicling of the portico 
 of the capitol. 
 
 Grotto, is a large deep cavern in fome rock or mountain. It is alfo 
 a fmall artificial edifice made in a garden in imitation of a natural Grotto; 
 The outfides of thefe Grottos are ufually adorned v»^ith ruftic architefture, 
 and their infide with fliell-work, coral, &c. and alfo furnilhed wdth va- 
 rious fountains, and other ornaments. A Grotto may be built with a little 
 expence of glafs, cinders, pebbles, pieces of large flints, fhells, mofs, 
 flones, counterfeit coral, pieces of chalk, &c. all bound or cemented toge- 
 ther with a proper cement. 
 
 Ground, in painting, the furface upon which the figures and other ob- 
 jedls are reprefented. The Ground is properly underftood of fuch parts of 
 the piece as have nothing painted on them, but retain the original colours 
 upon which the other colours are applied to make the reprefentations. A 
 building is faid to ferve as a Ground to a figure, when the figure is painted 
 on the building. The Ground behind a picture in miniature is commonly 
 blue or crimfon, imitating a curtain of fattin or velvet. 
 
 Grove, or Groove, in joinery, &c. a term ufcd to fignify the channel 
 that is made by their plough in the edge of a moulding, Itde, or rail, 6cc. 
 to put their pannels in, in wainfcotting. , 
 
 Group, in painting and fculpture, an aflemblage cf figures, of men, 
 beafts and fruits, &c. which have fome apparent relemblance to one ano- 
 ther. It is necelTary, in a good piece of painting, that all the figures be 
 divided into Groups ; this has fomewhat in it of the nature of fymphony 
 or concert of voices ; for as in the one the voices mufi: fuftain each other, 
 in order to fill the ear with an agreeable harmony from the v;hole ; fo in 
 Z Groups, 
 
230 GUT 
 
 Groups, if the parts or figures are not well difpofed, fomething will be 
 found diiligrecable. 
 
 A Group of columns, in architedlure, is ufed when we fpeak of three 
 or four columns joined together on the fame pedeftal j but when there are 
 but two, the word couple is ufed, and not Group. 
 
 GuTT^, in architecture, ornaments in the form of little cones, in the 
 platform of the Doric cornice or architrave, underneath the triglyphs, re- 
 prefenting a fort of drops or bells, ufually lix in number. They are fome- 
 times called lacryms, campans, or campanula. 
 
 Gutters, in architefture, a kind of canals in the roofs of houfes, 
 ferving to receive and carry ofF the rain. Thefe Gutters are of two kinds 
 in refped: to their pofition, for they are either fuch as come near a parallel 
 with the horizon, or fuch as incline in a vertical pofition to the horizon. 
 
 The firft kind of Gutters may be called parallel Gutters, and may be 
 diftinguiflied into three forts, which are covered with lead : i. Either it 
 is a Gutter between two roofs, which fland parallel to each other, being 
 made upon the feet of the rafters of two roofs, which meet together : 
 2. A Gutter where a building has a cantaliver or modillion cornice, 
 which projefts one foot and a half, or two feet beyond the walls, then 
 the roof is fct with the feet of the rafters no flirther out than the wall, 
 but rather within it, fo that the joifts of the upper floor lie out beyond 
 the walls, and alfo beyond the feet of the rafters, which is covered with 
 lead. The third fort of thefe parallel Gutters are in flat roofs, w'hich are 
 ufually called platforms, where are alfo Gutters for the water that run 
 from the platform to defcend to, which is from thence conveyed off from 
 the building by leaden pipes. In the laying of parallel lead Gutters, great 
 care Ihould be taken t!iat tlae Gutter boards, &c. lie not too near p'.mllel 
 with the horizon, but in fuch a pofition that there may be a good current, 
 for if it be laid too near a level, the water will be very fubjedt to fland in 
 plafhes, if it chances to flick a little in the middle, which fome Gutters are 
 apt to do. Some Gutters have a layer of fand for the lead to lie upon, but 
 there are reafons that render this method not approveable. Becaufe ib:"ne 
 lorts of fand does very much corrode and decay the timber that lies near it ; 
 and when a Gutter is laid on fand, a very fmall weight fidling on it v/ill 
 make dents in it, and in thofe dents the water will lland, and this v/ill be a 
 means of decaying the lead the fooner. 
 
 In laying of leads for Gutters upon boards, it is common for plumbers 
 to folder them when they are fo long, that a flieet of lead will not reach. 
 In doing this, they ufually cut a channel crofs the Gutter-boards at 
 the end of the Iheet where the foldering is to be, and to beat dow.n the 
 ends of both the (beets that are to meet here, into the channel, which, 
 :-vhen it is done, there will remain a little cavity, which is filled up with 
 
 the 
 
GUT 237 
 
 the folder level with the reft. The lead which is ufually laid in Gutters 
 is that which weighs about eight or nine pound to the foot. 
 
 Vertical Gutters, are fuch as are made by two roofs meeting 
 at right angles one to another, or, which is the fame thing, made by the 
 end of one roof joining to the fide of another. Thefe Gutters are made 
 either of lead or tile. As to thofe made with lead, unlefs the builder will 
 be at the charge, they need not be altogether fo thick for thefe vertical ones, 
 as for the parallel ones ; for thele vertical ones will laft as long, if laid with 
 lead of about fix or feven pound to the foot, as parallel ones with lead of 
 nine or ten pound to the foot. 
 
 Gutters laid with tiles, are alfo of two kinds : thofe made of concave or 
 Gutter-tiles, and plain tiles. In the plain tile-gutters, there is a Gutter- 
 board laid, which raifes them from pointing to an angle. And in laying on 
 the tiles, the workman begins at one fide of the Gutter, and fo works 
 acrofs, as if it were plain work, and then brings the next row of tiles back 
 again ; fo that he works from right to left. Gutters which are laid after 
 this manner, are not angular, but of a diftorted curvilineal form ; by which 
 means they are not fo fubjedl to be furred up with the mortar which wafhes 
 out of the adjacent tiles. 
 
 In laying of three point Gutters, they begin and lay one tile on one 
 part of the roof, it is no matter which part firft, and lay one corner of 
 the tile juft in the middle of the Gutter ; and then lay another on the 
 other part of the rocf, with its corner juft in the middle of the Gutter, 
 alfo that the corner of the fecond tile is contingent with the firft ; and 
 then lay another tile in the Gutter, v/ith its corner, as it were, betwixt 
 the other two, and to them. When they have done thus, they proceed 
 in the work, and lay a tile on each part of the roof, as before, and an- 
 other betwixt them in the Gutter, proceeding in their work in this man- 
 ner, till they have finiflied the Gutter. And this is what is called the 
 three-point Gutter : for three points, or angles of tiles, always come to- 
 gether. Here you are to take notice, that only three inches fquare of the 
 middle tile is vifible, if the gage be feven inches, the reft of that tile be- 
 ing covered with the next row of tiles above it. Thefe Gutters are very 
 handfome, and if well done, fecure alfo ; yet if they let the water into 
 the houfe, by reafon of fome ftoppage, or broken tile in the Gutter, they 
 are very troublefome to mend. Either of thefe plain tile Gutters are 
 cheaper to the mafter-buikler, than concave ones ; becaufe plain tiles are 
 cheaper than Gutter tiles, they being in many places not above one-fourth 
 part of the price. 
 
 GuTTER-TiLKs afe of a quadrangular form, confifting of two ftreight 
 fides, of about ten inches and a half long, and of two circular fides, the 
 one convex, the other concave j the convex fide is about fourteen inches, 
 and the concave one about two inches. This is their form as to their 
 
 P p p edges 
 
238 HAL 
 
 edges or fides. With rerped: to the plane; at the little end they are bent 
 circular, and fo likewile at the convex great end, at firft like a corner tile ; 
 but then they bend the corners of the great end back again ; fo that if a 
 perfon look againft the end of the broad edge, it confifts of a circular line 
 betwixt two ftraight ones. This you are to underfland, is when you hold 
 the concave fide of the tile downwards. Thefe tiles are laid with their broad 
 ends and hollow fide upwards. 
 
 H. 
 
 Hall, In architeflure, a large room at the entrance of a fine houfe and 
 palace. In the houfes of minifters of flate, magiftrates, &c. it is the place 
 where they difpatch bufinefs, and give audience. In very magnificent build- 
 ings, where the Hall is larger and loftier than ordinary, and placed in the 
 middle of the houfe, it is called a faloon. The word Hall in old writers is 
 ufed for a manfion-houfe, and to this day, in many parts of the kingdom, 
 gentlemen's feats are called Halls. 
 
 In town a Hall is a place of reception for fervants ; therefore in this,, 
 neither magnitude nor elegance are ufeful j in the country, where there are 
 other ways into the houfe, the Hall may be an elegant room, and it is there- 
 we propofe its being made large and noble. It ferves as a fummer-room for 
 dining j it is an anti-chamber, in which people of bufinefs, or of the fecond 
 rank, wait and aniufe themfelves ; and it is a good apartment for the recep- 
 tion of large companies. A good Hall has many other ufes, am.ongft which 
 are the reprefentation of theatrical pieces. Thefe are reafons for the fpaci- 
 oufnefs of a Hall ; but then, if the rule of general proportion be not ob- 
 ferved, the bignefs of this room may make all thofe look little into which 
 we pafs afterwards. 
 
 It IS a fafliion in fome places, to give Halls the form almofi: of galleries ;• 
 to make them very long in front and very fliallow ; this anfwers the purpofe 
 of giving room behind, but it is an ill way of getting it. Halls of any con- 
 fequence are feldom thought of unlefs for large houfes in the country ; and 
 there it will be eafy to take in a few more feet of ground, and not to make 
 the Hall a flip, in order to give depth to the parlours. 
 
 The proportion of breadth to length fhould be very confiderable in a 
 Hall. Palladio lays that it may be made twice as long as broad, but never 
 fliould exceed that length. This is indeed carrying the length of a Hall 
 to the full proportion i and that author adds, with great juflnefs, that the 
 nearer they approach to fquare the better. From what we have obferved 
 upon a variety of inftances, it feems, that from one and a third to one 
 and a half the breadth, is the proper and mofl proportional length of a 
 Hall. The befl height for a Hall is fomewhat lefs than its breadth, but 
 
 here 
 
HEX 239 
 
 here we are to confider the difference of flat and arched ciehngs, as in other 
 rooms. In thofe Halls which have coved cielings, the height may be withia 
 a twelfth part the meafure of the breadth ; but in thofe with the cieling 
 fiat, four fifths of tlie breadth is a very good general proportion ; however 
 in this the architeft has a great deal of latitude for the laving room above ; 
 for the Hall may be lower than either of thefe allowed proportions, and yet 
 not liable to great cenfure. 
 
 Harmony, in architedure, is an agreeable relation between the parts 
 of a building. In painting, both in the compofition and colours of a pidlure : 
 the former denotes the connedion between the figures, with refpeft to the 
 fubjedt of the piece ; in the colouring it denotes the agreeable mixture of 
 different colours. M. de la Chambre derives the Harmony of colours from 
 the fime proportions as that of founds. On this principle he lays down 
 green as the mofl agreeable colour correfponding to the odave ; red to a 
 fifth, yellow to a fourth, 6cc. 
 
 He AD, in architediure, an ornament of carved work, or fculpture, 
 frequently ferving as the key of an arch, or platband on other occafions. 
 Thefe fort of Heads ufually reprefent fome of the heathen deities, vir- 
 tues, feafons, ages, &c. with their attributes, as a thunderbolt for Jupi- 
 ter, a diadem- for Juno, a trident for Neptune, a crown of ears of corn 
 for Ceres, a helmet for Mars, a caduceus for Mercury, &c. The Heads 
 of beaffs are alfo ufed in places fuitable, as an horfe's head for an equerry ;. 
 a deer's, or boar's head, for a park or foreff j a dog's head for a kennel ; 
 a bullock's or flieep's, for {hambles, or a market-houfe. In metopes, 
 friezes, and other parts of certain antique Doric temples, we fee repre- 
 fentations of bullocks or rams heads flead, as a fymbol of the facrifices 
 offered there. 
 
 Heads with bricklayers, a term ufed to fignify half a tile in length, 
 but to the full breadth of a tile ; thefe they ufed to lay at the eaves of a 
 roof. 
 
 Helix, in architecfture. Some diftinguiOi between it and fpiral. Da- 
 viler fays a flair-cafe is helical, when the Heps wind round a cylindrical 
 newel ; whereas the fpiral winds round a cone, continually approaching 
 nearer its axis. Helix alfo denotes, in architedlure, the caulicules or little 
 volutes under the flower of the Corinthian capital, called likewife urillae. 
 Thefe Helixes ot the Corinthian however give it fome diflant refemblance 
 of the Ionic, though when examined they are found to be fmaller and more 
 numerous. The word comes from the Greek, which originally expreffes a 
 twifled flialk of ivy, but from thence is made to reprefent any thing that 
 is twifl:ed or fpiral. 
 
 Hexastyle, in ancient architedure, a building with fix columns in 
 front. 
 
 HiNGESj 
 
240 
 
 H O U 
 
 Hinges, in building, thofe iron or brafs joints, whereby doors, tables, 
 &c. open, fliut, or fold, &c. Of thele there are various fpecies. 
 
 Hippodrome, a kind of building eredled by the ancients for the exercife 
 andfportings of their horfes. It was fpacious, of a long form, circular at 
 the two ends, and encompafTed, The fame word is fometimes alfo ufed to 
 exprefs the place where they ran their races. 
 
 HiP-RooF, among carpenters, called alfo Italian roof, is a roof which 
 has neither gable-head, fliread-head, nor jerken-head, by which is meant 
 fuch heads as are both gable and Hip at the fame end j for it is a gable or 
 up-right as high as the collar-beam, and then there are two fhort Hips, 
 which fliut up with their tops to the tops of a pair of rafters, which 
 country carpenters call fingulars. 
 
 Hod, a well known inftrument ufed by labourers to carry bricks, mor- 
 tar, &c. in, at the building, or repairing of houfes, &c. 
 
 Hollow, in architedture, a concave moulding, about a quarter of a 
 circle, called by fome a cafement, and by others an abacus. 
 
 House, in architefture, a habitation or place built with conveniencies 
 for dwelling in ; thus we fay town Houfe, country Houfe, &c. It will 
 not be improper, in this place, to fpeak of the original conflrudion of 
 houfes. 
 
 Caverns and arbours were undoubtedly the firfl: habitations, for nature's 
 own hand conftrudled thefe, and men, deftitute of better fecurity, would 
 take to them and finilh them ; but thefe, though the firft houfes, could 
 not be long their only habitations. The mud wall tenement naturally 
 rofe firft, for we may very well believe that early cabins were built with 
 clay. The fun would harden thefe rude walls by its heat, and thence the 
 mind of man would foon conceive the method of cutting out the wet 
 clay into fhapes, and drying it before ufing in his Houfe. Thus bricks 
 miift have been an early invention, and they would doubtlefs have been 
 in univerfal ufe, had not nature difclofed to thofe who dug for this poor 
 material, her mines and ftores of ftone and marble. From the fight of 
 thefe greater and noble materials, men conceived the ideas of greater build- 
 ings. This is the plain and natural courfe of things, and this probably 
 was the origin of architedure ; but when it happened, or what quarter of 
 the world, are points which dreaming monks might better Itudy than 
 people who enjoy the prefent advantages of fcience. It is enough for us 
 to acknowledge the defedl of information ; and, while we trace the pro- 
 grefs of the art thus from reafon, to fay it is too old for hiftory. Man's 
 fenfe of feeling told him that he wanted a houfe for flielter and defence ; and 
 his reafon, given him by the Creator for that purpofe, taught him how to 
 fet about it. 
 
 The next thing to be confidered is, the giving the edifice a proper 
 
 flrength ; the Houfe is to be fuited either to the condition of the peifjn 
 
 4 who 
 
H O U 241 
 
 who is to Inhabit it, or to the place where it ftands ; the firft is the point 
 in building by commiffion, for a family , the other in building for a chance 
 of letting. The latter is the common pradlice in great towns ; but, even in 
 that, there is fomething to-be confidered with refpedt to fuiting to the inha- 
 bitant. Though the archited; in this cafe will not know who is to live in 
 his edifice, yet he can very well guefs of what rank he will be, and this ac- 
 cording to the place whej-e it ftands ; thus much is to be confidered in 
 building in this general and random way ; the ftreet, or fquare, the neigh- 
 bourhood, the conveniences, and the other concurrent circumftances, will 
 inftrudt the builder ; for he would be very indifcreet who ihould build a 
 fhed in Grofvenor-fquare, or a palace on Salt-Petre Bank ; and thus far he 
 will be able to proportion the building to the tenant, or purchafer, though 
 unknown. 
 
 After this firft confideration of the general condition and extent of the 
 building, comes the article of ftrength. Whatfoever be the fize, the fo- 
 lidity mufl: be proportioned : for when the houfe is not able to fupport 
 itfelf, all other care Is loft upon it. We fee a ftrange difference between 
 the buildings of earlier ages, and thofe of the prefent time, in refpedl of 
 this article of ftrength, but the reafon is plain ; the nature of the tenures 
 in London has introduced the art of building llightly. The ground land- 
 lord is to come into poffellion at the end of a ihort term, and the builder, 
 unlefs his Grace tie him down to articles, does not chufe to employ his 
 money to his advantage. It is for this reafon we fee houfes built for 
 fixty, feventy, or the ftouteft of this kind for ninety-nine years. The 
 care they Ihall not ftand longer than their time occafions many to fall before 
 it is expired ; nay, fome have carried the art of lllght building fo fiir, that 
 their Houfes have flUlen in before they were tenanted. From this general 
 pradllce, in the common way of working, has been introduced the lame 
 condudl in better buildings ; and It is not often that we fee a ftrufture, like 
 the Horfe Guards, built for pofterity. But whatever be the occafion, there 
 is nothing that more deferves or demands the interpofition of the leglflative 
 power ; the lafetyof the fubjedl is the concern of every wife government; 
 and it is certain the prefent method of running up houfes in London, not 
 only difgraces us in the eyes of ftrangers, but threatens continual difafters. 
 Till fuch a coiitioul Ihall be laid upon bad builders by public authority, thofe 
 who have more fklll and more integrity fliould diftinguilh themielves from 
 them by their work. 
 
 Two things give ftrength to a building, the choice of good" materials, 
 and the putting them well together ; and the firft care, in the regard of 
 ftrength. Is that the fupports be equal to the weight they carry ; thefe 
 fupports are. In common buildings, plain walls. When walls are not 
 able to fupport the incumbent force, recourfe is had to fpars and but- 
 treffes j but thefe are an unfeemly and very dilagreeablc fight. To avoid 
 
 Q^qq ' this. 
 
242 H O U 
 
 this, the archited fliould coniider in time what the force, or prefTure, will 
 be, and proportion the ibhdity accordingly ; great arches are the moil: fub- 
 jed to impair the ftrength of walls in this manner ; but they lliouid be 
 lightened, and the wall llrengthened in tlie orift;inal ftrudure of the build- 
 ing. The occalion on which buttrefles admit of moft excufe, is on 
 the outlide of Gothic churches ; though in thefe a good architedl could 
 have contrived to avoid the need of them, by lightening the arch, and 
 Ifrengthening the wall in its plain, perpendicular form. When we fee 
 this fort of fupport on any other cccafion, it is a great difgrace to the ar- 
 chitedl. The architedl having thus, by an honeft choice of materials, 
 and a judicious manner of proportioning the fuperftrucSture to the fup- 
 ports, taken care of the main confideration of ftrength, the next regard 
 is to be fliewn to proportion and regularity, in the diftribution of the fe- 
 veral parts. 
 
 The extent of ground being determined, the materials chofen, and the 
 weight of the roof, and thicknefs of the walls, fettled in the builder's 
 mind, he is next to coniider the article of proportion. Here is a fpace to 
 be covered with building ; and the great coniideration is its divifion 
 into parts, for different ufes, and their diftribution. In this regard is to 
 be had two things, the convenience of the inhabitant, and the beauty 
 and proportion of the fabric. Neither of thefe fl)ould be confidered inde- 
 pendently of the other, becaufe if it be, the other will not fiil to be fa- 
 crificed to it ; and this, which would be very difagreeable, is never abfo- 
 lutely necelTary. If the houfe be for a perfon in trade, the firft and princi- 
 pal attention muft be ftiewn to the article of convenience ; but with this 
 the builder fliould always carry in his mind the idea of beauty, propor- 
 tion, and a regular diftribution of the parts ; that whenever it can be 
 done, he may favonr the one, while he is abfolutely confulting the fer- 
 vice of the other j in the fame manner, when the houfe is for a perfon of 
 failiion, the beauty and proportional difpoiition of the parts is to be prin- 
 cipally confidered ; yet the great and needful article of convenience muft 
 not be difregarded. In the building where there is to be a fliop, it would 
 be abfurd to ihruft the parlour into the middle of it, in order to give that 
 room an exadl proportion ; but, on the other hand, a little may be re- 
 trenched from fome lefs confpicuous parts of the fliop, to enlarge that ne- 
 ceflary apartment behind it. The merchant's Houfe muft have warehoufe 
 room, but that need not break in upon every apartment, becaufe there is- 
 no neceftity for any exadl inch of ground in a particular fpot for this ufe,, 
 though there muft be a certain quantity upon the whole. 
 
 The parlour, in a fmall private Houle, is a very convenient room ; 
 
 but, as it is not the apartment of moft fhew, there is no neceftity it, 
 
 (hould reduce the paflage to an alley ; and in larger Houfes, inhabited 
 
 by perfons of diftindion, there muft be anti-chambers, and rooms where 
 
 4 people 
 
H O U 
 
 H3 
 
 people of bufinefs may attend the owner's leifure. Thefe muft not be 
 ill conftrufted, becaiife thofe of feme rank may often wait in them; and 
 bende, every thing in a great Houfe fhould have an air of grandeur ; but, 
 on the other hand, the care of rendering thcfe convenient and proper for 
 their ufe, is not to extend fo far as to intrench upon the rooms of llate and 
 elegance. 
 
 The proportion of the feveral parts of an edifice is of two kinds ; for 
 they are to be adapted, in this refped:, firft to the whole building, and 
 afterwards to one another. It is ftrange to fee that many of our archi- 
 ted:s, who have been able to plan out the whole of a good building, 
 have inifcarried miferably in the proportion of its parts. It is in this the 
 ancient aichitedts are found, by all that remains of them, to have been 
 moll; particularly excellent ; tliey formed at once an idea of the whole 
 ftrudlure tliey defigned, and of all its apartments, and it is evident they 
 throughout kept that general idea always in remembrance. It is hence 
 we fee fuch apeifecS hirmony in all their works. It is in this the ftudent 
 who would difti.iguiili himfelf in architecflure fliould principal!/ follow 
 them in the diipofition ot a houfe. The. firll kind of proportion is that 
 of the feveral parts to tlie whole, and in this reafon is a very plain and 
 general guide. We may divide Houfes under three heads, the laree, the 
 middling, and the fmall ; and in each of thefe clalTes plain lenCc will 
 didlate, that the leveral apartments lliould be of the fame charadler with 
 the whole ; that the rooms in the large houfe fLould be large, in the 
 middling, they fliouid be middling, and in the fmall they fiiould always 
 alio be fmall. This is proportioning the parts of a building to the whole; 
 and this rule, which is direded by common reafon, is confirmed by all the 
 writers on architeftu re; for fciences are built upon reafon, and experience 
 which fupports her determinations. 
 
 The dimeniions not only of every room, but of every part of a Houle 
 whatfoever, iLould be laid in a juft proportion to the extent of the 
 ground plan ; for it would be abfurd to fee a great Houfe divided into a 
 multitude of clofets, or a little Houfe confifting only of a hall and dining- 
 room. Here proportion falls in with the rule of convenience ; for fuch a 
 Houfe would not be more abfurd than inconvenient. The apartments 
 being thus fuited to the Houfe in general, are next to be proportioned to 
 one another ; this, one would think, v/ere as rational and plain a precept 
 as the other, yet we fee it continually violated. Notliuig is more, com- 
 mon than to fee a Houfe built for the fake of one room ; and in that cafe 
 the red not being proportioned to that room, it feems not to belong to 
 the Houfe, and there wants that fymmetry which is the great beauty in 
 building. In Houfes which have been fome time built, and which have 
 not had an out of proportion room, the common pradice is to build one 
 to them ; this always hangs from one end, or iHcks to one fide, of the 
 
 Iloufe, 
 
244 HYP 
 
 Houfe, and fliews to the moft carelefs eye, that though faftened to the 
 walls, it did not belong to the building. 
 
 The cuftom of routs has introduced this abfurd pradlice. Our fore- 
 fathers were pleafed with feeing their friends as they chanced to come, 
 and with entertaining them when they were there. The prefent cuftom 
 is to lee tliem all at once, and entertain none of them ; this brings in 
 the neceffity of a great room, which is opened only on fuch occafions, 
 and which loads and generally difcredits the reft of the edifice. This is 
 the reigning tafle of the prefent time, a tafte which tends to the difcou- 
 ragement of all good and regular architecture, but which the builder 
 will be often under a neceffity to comply with, for he muft follow the 
 fancy of the proprietor, not his own judgment. Whatever the falle tafte 
 oi any particular time may adopt, the builder though he complies with 
 it from the orders he receives, yet he muft never fuppofe that the caprice, 
 or fafliion, can change the nature of right and wrong. He muft remem- 
 ber that there is fuch a thing as truth, though the prefent mode will not 
 follow its fteps J and eftablifli it as a maxim in his own mind, that 
 proportion and regularity are real fources of beauty, and always of conve- 
 nience. 
 
 In the difpofition of parts in an edifice, it is incumbent upon the ar- 
 chited: to give a proportion and harmony to the whole building, and to 
 make every part of it as fuitable to that whole as its nature will admit, 
 yet he muft not endeavour to make all equally elegant. This has been 
 the falfe tafte of fome, who have been profufe of ornament, and yet have 
 not been able to give any real beauty. They have wondered at the ef- 
 fect, but this is the reafon ; various parts of a Houfe are fuited to various 
 fervices and purpofes, and they are not all to be contrived for fhew. 
 The plainnefs of fome will fet off^, and Ihew to advantage the beauty of 
 others. To avoid this error, when the archited: has laid down the dimen- 
 fions of the feveral parts of the edifice, let him confider which of thefe 
 are calculated for greater, and which for lelTer fervices, and accordingly 
 dillribute among them all that gives dignity or plainnefs. There is no 
 objeilion to plainnefs, when it is fuited to the occafion, and the variety 
 between that and fuch apartments as are fpacious and elegant, gives a luftre 
 even to the latter ; the plain decency of the humbler rooms, while it is 
 proper, becaufe it fuits them to their purpofes, makes them alfo ferve as a 
 foil to the others. Thus much may be fufiicient to mention in this place, 
 concerning thofe ornaments whofe foundation enters into the original defign 
 of the apartments, all other decorations we fliall fpeak of hereafter under 
 their proper heads. 
 
 Hypotrachelion, in architefture, denotes a little frieze in the Tuf- 
 can and Doric capitals, between the aftragal and annulets, called likewife 
 
 colerin. 
 
J O r S45 
 
 colerin, goi-fferin, &c. By fome it is applied to the neck of any column, 
 or that part of the capital below the aftragal. 
 
 I. 
 
 Jamb, or Jaumb, among carpenters, an appellation given to door* 
 pofts, as alfo to the upright porfs at the fides of window-frames ; and 
 among bricklayers, it denotes the upright fides of the chimnies, from the 
 hearth to the mantle-tree. 
 
 IcE-HousE, is a building contrived to preferve Ice for the ufe of a fa- 
 mily in the fummer lealbn. Ice-houfes are more generally ufed in warm 
 countries, than with us, particularly in Italy, where the meanefl- perfon, 
 who rents a houfe, has his vault or cellar for Ice. 
 
 IcHNOGRAPHY, in architecture, a defcription or drajight of the plat-, 
 form or ground- work of a houfe, or other building. Or it is the geo- 
 metrical plan or platform of an edifice or houfe, or the ground- work of 
 an houfe or building, delineated upon paper, defcribing the form of the 
 feveral apartments, rooms, windows, chimnies, &c. In perfpedlive, the 
 view of any thing cut off by a plane parallel to the horizon, jufl: at the 
 bafe of it. Among painters it fignifies a defcription of images, or of an- 
 cient ftatues of marble and copper, of bufts and femi-bufls, of painting in 
 frefco, Mofaic works, and ancient pieces of miniature. 
 
 Impost, is a term uftd to exprefs a fafcia, or a fmall cornice, which 
 crowns a pier, or pilafter, and fupports the firft ftone from whence an arch 
 fprings. Sometimes the entablature of the order ferves for the impoft of 
 an arch, and this has a fine appearaiTce. 
 
 Insulated, in architefture, detached from any other building. A 
 church is infulated when it ftands contiguous to no other edifice, and fo of 
 any other building. The word comes from the Latin, inliala, an ifland, 
 thefe buildings being feparate from others as iflands are from the conti- 
 nent, or neareft main land. A column that ftands alone, and free from 
 any wall is called an Infulated column. The columns of the Periptere 
 temples of the ancients were Infulated ; the monument in London is an 
 Infulated column. 
 
 Intercolumniation, in architedlure, implies the fpace between two 
 columns, which is always to be proportioned to the height and bulk of 
 the columns. 
 
 Invention, in painting, the choice of which the painter makes of 
 the objedls that are fo to enter the compofition of his piece. 
 
 Joists, or Joysts, in archited;ure, thofe pieces of timber framed 
 'into the girders and fummers, on which the boards of the floor are laid. 
 Joifls are from fix to eight inches fquare, and ought feldom to lie at a 
 
 R r r greater 
 
246 ION 
 
 greater diftance from each other than ten, or at moll twelve inches, nor- 
 ought they ever to bear a greater length than ten feet, or to be lefs inta 
 the wall than eight inches. All Joilts on the back of a chimney ought 
 to be laid with a trimmer, at fix inches diflance from the back. Some 
 carpenters furr their Joifts, as they call it ; that is, they lay two rows of 
 Joifls, one over another, the undermoft of which are framed level with 
 the underfide of the girder ; and the uppermoft, which lie crofs the lower 
 ones, lie level with the upper lide of the girder. 
 
 Ionic Order, one of the three original orders of the Greeks, of a- 
 middle nature between the Doric, which was their plaineft ; and the Co- 
 rinthian, which was their moil ornamented. It is alfo the middle order 
 of the five, taking in the two added by the Romans, the Tufcan and Doric 
 being ilronger, the Corinthian and Compolite more ornamented. The. 
 bale of the Ionic confifls of a torus and two cavettos, with aftragals be^ 
 tween them. Vitruvius was the inventor of this bafe, which is liable 
 to cenfure, becaufe fmaller, and confequently weaker in the lower than the- 
 upper part. The ancients, when they gave a bafe to this order, ufed the, 
 Attic : often they gave it none. Many give the Ionic the Corinthian bafe ; . 
 but this, though better than its own, is not fo well as the Attic. The 
 fliaft is eighteen femi-diameters, or nine diameters, in height j in fome- 
 of the ancient buildings it has but lixteen femi-diameters, which is the. 
 prefent proportion of the Doric j but the Doric was then lower : when* 
 they gave the Doric fixteen, they raifed the Ionic to eighteen, to preferve. 
 the dillindlion. When the £haft of the Ionic is fluted, the flutings iliould 
 be twenty-four J and they are often filled up with a cable or baton fori 
 one-third of the height, and the rell of their fpace left empty. Some, 
 make the flutings of the Ionic thirty, in which they have the authority of: 
 Vitruvius to fupport them. In thefe things architefts take great liberties : 
 the only fluted Ionic column we know of among the remains of the antique, 
 in Rome, is tliat in the temple of Fortuna Virilis, and the flutings there arc. 
 only twenty. 
 
 The capital in the Ionic order confills of three parts, an abacus, a rind,, 
 which is the hollow of the volute, and an ovolo, under which is an aftragal,. 
 The abacus fupports the entablature, the rind produces the fcrolls or volutes,, 
 ■which are the great charadleriilics of this order, and the ovolo is frequently, 
 carved. The Ionic entablature, has its architrave divided into faces ; its 
 treeze is often made to fwell, but this is not found in the moll ancient: 
 buildings ; and the cornice has fimpie modillions. The Ionic is an order, 
 that Hands as a medium between the llrong and rich. It is faid the famous 
 temple of Diana at Ephefus was of this order j at prefent it is much ufedin.- 
 chufches y and, when juflly e.xecuted, has a very beautiful effei^l. 
 
 TJiis- 
 
L A Q. 247 
 
 This order has one advantage above any of the reft, which confifts in this, 
 that the fore and hind parts of its capital are different from its fides ; but 
 tliis is attended with an inconvenience, when the ordonnance is to turn froni 
 the front of the building to the fide ; to obviate which the capital may be 
 made angular ; as is done in the temple Fortuna Virilis. Scamozzi, and' 
 fome other modern architefts, have introduced the upper part of the Com- 
 pofite capital, in lieu of the Ionic, imitating that of the temple of Concord,, 
 whofe four fides are alike. To render it a little more beautiful, the volute 
 may be made a little oval and inclining. 
 
 Irregular Column, in architedlure, a column which does not de- 
 viate from the proportions of any of the five orders, but whofe ornaments, 
 whether in the fhaft or capital, are abfurd and ill chofen. 
 
 K 
 
 Keel, in naval architeifture, the principal piece of timber nrft" laid upon 
 the blocks, which fupports the whole fabric of a fliip in the fame manner 
 as the back-bone fuftains the body. When this cannot be had of a 
 fufficient depth in one piece, there is a ftrong thick plank faftened to the 
 bottom, called the falfe keel, which alfo ferves to fave the bottom of the 
 main keel. 
 
 Key, is a well-known infrrument for opening and fhutting the locks 
 of doors, chefts, bureaus, and the like. The names of the feveral parts- 
 of a Key are thefe : the pin-hole, drilled into the end of the fhank ; the 
 ftep, or dap-ward; the hook- ward ; the middle- ward ; the crofs-ward^. 
 the main-ward; the pot; the bow-ward; the bow, or handle; and the.- 
 piece of fteel containing the wards, is called the bit of the Key. 
 
 Key-Stone of an arch, or vault, that placed at the top or vertex of ani 
 arch, to bind the two fweeps together.. 
 
 Lacunar, the ancient name for what we call a foffit, when it conflfted 
 only of compartments, funk or hollowed, without the divifion of platbands, . 
 or fpaces between the feveraLpannels. But when they were added, it was 
 called Laquear.. 
 
 Lantern, inarchitedture, a little dome raifed over the roof of a. 
 building, to give light, and ferve as a crowning to the fabric. 
 
 Laquear, in ancient architedlure, is a term for what we exprefs by 
 the Italian word foffir, a cieling divided into compartments, and thofe. 
 ornamented with platbands, Wher| there were the hollow compartments 
 
 only,. 
 
248 LOG 
 
 only, they called it Lacunar, from Lacus a hollow place : tut when there 
 were thefe other ornamentSj they called it Laquear, from the rows of the 
 platbands refembling noofes, laquei. 
 
 Larmier, in architeflure, a large fquare flat and maffy member of a 
 cornice, placed between the cymatium and the ovolo, and called alfo the 
 Corona. Its ufe is to difperfe the water, and caufe it to fall at a diftance 
 from the wall drop by drop. It has its nahie from Larmier hence, larme, 
 being French for a tear. 
 
 Leaves, in architeiflure, are ornaments of carving, given to the en- 
 tablatures of the orders, and other parts of decorated buildings : they are 
 eitl:ier twifted into feftoons, or fpread irregularly over a freeze, or other part. 
 The ancients ufed two kinds of Leaves, the one natural, the other imagi- 
 nary J among the natural were thofe of the laurel, palm, acanthus, and 
 olive : but they took fuch liberties in the forms of thefe, that they might 
 be called in a great meafure imaginary too. The introducing imaginary 
 Leaves refleded upon their tafte, for it was an infult upon nature ; and in 
 this very unpardonable, that nothing the art of the greateft fculptor can 
 invent in this way will ever come up to what is afforded in nature : the va- 
 riety of Leaves being endlefs, and their forms, in innumerable inflances, 
 in the higheft degree elegant. We fee a great deal of this imaginary foliage 
 in the Gothic ornaments, without wonder, becaufe thefe all was profefledly 
 left to fancy ; but it is with concern and afto.nilhment we meet with it ia 
 the antique. 
 
 Level, among carpenters and paviours, confifts of along ruler, in the 
 middle whereof is fitted, at right angles, another fomewhat bigger, at the 
 4op of which is faftened a line, which, when it hangs over a fiducial line at 
 right angles with the bafe, fhews that the faid bafe is horizontal. Some- 
 times this Level is all of one board. 
 
 Among mafons, it is compofed of three rules, fo joined as to form an 
 ifoceles-redangle, fomewhat like a Roman A, at the vertex whereof is 
 fallened a thread, from which hangs a plummet that pafTes over a fiducial 
 line, marked in the middle of the bafe, when the thing to which the Level is 
 applied is horizontal ; but declines from the mark when the thing is lower 
 on one fide than on the other. 
 
 Lintel, in architedture, a piece of timber that lies horizontally over 
 door-pofls and window-jambs, as- well to bear the thicknefs of the wall 
 over it, as to bind the fides of the wall together. 
 
 List, or Listell, in architedure, is a little fquare member ferving 
 to crown, or to accompany a larger j or fometimes divide the flutings of a 
 column. The word comes from the Italian lijiello, fignifying a little girdle, 
 or band ; it is called alfo the fillet, and by fome a fquare. 
 
 Lock,, a well known inflrument for fecuring doors, cheils, &c. and 
 cnly to bfi opened by a key. 
 
 A LUTHERM 
 
MAR 249 
 
 LuTHERN, in archlteilure, a kind of window over the cornice, in the 
 roof of a building; {landing perpendicularly over a naked wall, and fcrving 
 to illuminate the upper ftory. Lutherns are of various foi-ms, as f.pare, 
 iemi-circular, round, called bulls eyes, flat arches, &c, 
 
 M. 
 
 Mallf.t, a kind of large wooden hammer, cfed by artificers who 
 work with a chiffel, asfculptors, mafons, and ftone-cutters, whofe mallets 
 are commonly round ; and by joiners, carpenters, 6cc. who work with 
 iquare headed Mallets. 
 
 Mantle, or Mantle-Tree, in architeilure, the lower part of the 
 chimney, or that piece of timber which is laid acrofs the jaumbs, and fuf- 
 tains the compartment of the chimney-piece. 
 
 Marble, a genus of folTils, being bright and beautiful ftones, com- 
 pofed of fmall feparate concretions, moderately hard, not giving fire with 
 rteel, fermenting with, and foluble in acid jiienftrua, and calcining in a 
 flight fire. The colours of Marbles being a very obvious and ftriking 
 chara(5ler, they are arranged according to them in the following divifions. 
 I . Of the white plain Marbles there are two forts j the Parian Marble of 
 the ancients, and ftatuary Marble of the moderns, an extremely bright 
 and elegant Marble ; and the Carrara Marble ; a very fine Marble, more 
 compadl and clofe than the former, but lefs bright. 2. Of the plain yel- 
 lowilh Marbles there is only one fort, which is a hard, pale yellow, and 
 gloify Marble, found in many parts of Italy. 3. Of the bluilh and black 
 Marbles there are a great many fpecies, as the Chian Marble, Bafaltes, &c. 
 4. Of the plain green Marbles there is only one kind, the Lacedemonian 
 Marble of the ancients. 5. The pale coloured or whitiHi brown, com- 
 monly called Darby Marble. 6. The green Marbles with Ihells. 7. The 
 black Coralliode Marble, with and without fhells. 8. Of the white va- 
 riegated Marble there are a great many fpecies, variegated with purple, 
 brown, red, blue, &c. 9. Of the brown variegated Marbles there are 
 likewife feveral forts, fome with red veins ; others with white, black, or 
 brown veins, 10. Of the yellow veined and variegated Marbles fome are 
 veined with purple, and others with blue. 1 1 . Of the black variegated 
 Marbles, fome are veined with white, and others with blue, yellow, red, 
 &c, 12. The green variegated Marbles are likewife diftinguithed by the 
 -colour of their veins, i 3, The grey fpotted Marbles are variegated, Ibme 
 with black and others with green fpots. 14. The red variegated Marble is 
 tljeBrocatello of the Italians, with white and gold veins. 
 
 Polijhing o/Marble is performed by firft rubbing them well with a free- 
 ftone, or fand, till the firokes of the axe are worn off, then with pumice- flone, 
 .and afterwards with emery. 
 
 S iS Cohuring 
 
250 MAR 
 
 Colowing of Marble. The colouring of Marble Is a nice art, and in 
 order to fucceed in it,, the pieces of Marble, on which the experiments 
 are tried,^ muil be well polillied, and clear from the leaft fpot or vein. 
 The harder the Marble is, the better it will bear the heat heceflary in the 
 operation ; therefore, alabafler and the common foft white Marble are very 
 improper to perform thefe operations upon. Heat is always neceffary for 
 the opening the pores of the Marble, fo as to render it fit to receive the co- 
 lours J but the Marble niuft never be made red-hot, for then the texture 
 of the Marble itfelf is injured, and the colours are burnt, and lofe their 
 beauty. Too fmall a degree of heat is as bad as too great ; for in this cafe, 
 though the Marble receive the colour, it will not be fixed in, nor ftrike 
 deep enough. Some colours will flrike even cold, but they are never fo. 
 well funk in as when a juft degree of heat is ufed. The proper degree is 
 that which, without making the Marble red, will make the liquor boil 
 upon its furface. The menftruums ufed to ftrike in the colours, muft be 
 varied according to the nature of the colour to be ufed. A hxivium made 
 with horfe's or dog's urine, with four parts of quick-lime, and one part of 
 pot aflies, is excellent for fome colours ; common ley of wood-aflies does- 
 very well for others ; for fome, fpirit of wine is befi: ; and, for others, only 
 liquors, or common white- wine. 
 
 The colours wliich have been found to fucceed beft with the peculiar 
 menftruums, are thefe : ftone-blue diffolved in fix times the quantity oP 
 fpirit of wine, or of the urinous lixivium ; and that colour which the 
 painters call litmoufe, diflblved in common ley of wood-aflies. An extrad:. 
 of faftVon, and that colour made of buckthorn berries, and called by the. 
 painters fap-green,. both fucceed well diffolved in urine and quick-lime,, 
 and tolerably well in a fpirit of wine. VermilUon, and a fine powder of 
 cochineal, fucceed alfo very well in the fame liquors. Dragon's blood, 
 fucceeds very well in fpirit of wine, as does alfo a tincfture of logwood in 
 the fame fpirit. Alkanet root gives a fine colour, but the only menftruum 
 to be ufed for this is oil of turpentine : for neither fpirit of wine, nor any 
 lixivium, Vv'illdo with it. There is another kind of fanguis draconis, cal- 
 led Dragon's blood in tears, which, mixed with, urine alone, gives a very 
 elegant colour.- 
 
 Eefides thefe mixtures of colours and menftruums, there are fome co- 
 lours which are to be laid on dry and unmixed. Thefe are Dragon's blood,, 
 cf the pureft kind, for a red ; gamboge for a yellow ; green-wax for a 
 green ; common brimftone, pitch and terpentine, for a brown colour. 
 I'he Marble, for thefe experiments, muft be made confiderably hot, and 
 then the colours are to be rubbed on dry in the lump. Some of thefe 
 colours, when once given, remain immutable ; others are eafily changed 
 c>r dt:ft.royed. Thus the red colour given by Dragon's blood, or by a j^- 
 
 2 co^a 
 
MET 251 
 
 codllon of logwood, will be wholly taken away by oil of tartar, and the 
 polilh of the Marble not hurt by it. 
 
 A fine gold colour is given in the following manner; take crude fal ar- 
 moniac^vitrlol, and verdigreafe, of each equal quantities ; white vitriol 
 lucceeds beft, and all mud be thoroughly mixed in fine powder. 
 
 The ftaining of Marble to all the degrees of red or yellow, by folutions 
 of dragon's blood or gamboge, may be done by reducing thefe gums to 
 powder, and grinding them, with the fpirit of wine, in a glafs mortar ; 
 but, for fmaller attempts, no method is fo good as the mixing a little of 
 either of thefe powders with fpirit of wine, in a filver fpoon, and hold- 
 ing it over burning charcoal. By this means a fine tindture will be ex- 
 tj-adled, and, with a pencil dipped in this, thefineft traces may be made on 
 the Marble, while cold, which, on the heating it afterwards, either on 
 fand, or in a baker's oven, will all fink very deep and will remain perfedly 
 dillinfl on the ftone. 
 
 AriindcUiVi Marbles, ancient Marbles with a chronicle of the city of 
 Athens infcribed on them, many years before our Saviour's birth, pre- 
 fented to the univerfity of Oxford by Thomas, earl of Arundel, whence the 
 name. 
 
 Mason, a perfon employed under the diredion of an aixhited, in the 
 raifing of a ftone building. 
 
 Masonry, in general a branch of architefture, confifting in the art of 
 hewing or fquaring ftones, and cutting them level or perpendicular, for the 
 nfes of building % but in a more limited fenle, Mafoniy is the art of aflem- 
 bling and joining ftones together with mortar. 
 
 All the kinds of Mafonry now in ufe may be reduced to thefe five, y\z. 
 bound Mafonry ; that of brick-work, where the bodies and projed:ures of 
 tlie Itones inclofe fquare fpaces, or pannels, &c. fet with bricks ; that de- 
 moilon, or fmall work, where the courfes are equal, v^ell fcj^uared, and their 
 edges or beds rufiicated ; that where thecourfes are unequal, and that filled 
 up in the middle with little ftones and mortar. 
 
 Masqjjes, in architefture, certain grotefque faces, ufed to fill vacant 
 places, as friezes, pannels of doors, keys of arches, &c. 
 ■ Massive, among builders, an epithet given to whatever is too heavy and 
 folid ; thus a malfive column is one too fiiort and thick for the order whofe 
 capital it bears, and a Maffive wall is one whofe opening or lights are too 
 fmall in proportion. 
 
 Mausoleum, a magnificent tomb, or funeral monument. The word 
 is derived from Maufolus, king of Caria, to whom Artcm-ifa, his widow, 
 eredred a moft ftately monument, efteemed one of the wonders of the worlds 
 and called it, from his name, Maufoleum. 
 
 Metopes, in architedlure, is a name given to the fquare fpaces between 
 the triglyphs of the Doric frieze. We have obfcrved before, that the 
 
 Doric 
 
252 MOD 
 
 Doric frieze is ornamented with triglyph?, or channelled figures j thefe are 
 placed at certain diftances one from another, and the fpaces between one and 
 another of them are the Metopes. The diftance at v/hich the triglyphs re- 
 gularly ftand, makes thefe fquare. They are fometimes left naked, but they 
 were adorned among the ancients with parts of beafts, inflruments of fa- 
 crifice, and other figures ; and they have in general fomething placed upon 
 them in the modern v.'orks of elegance, according to the fancy of the ar- 
 chited:. The ancient ufe of the Doric was in temples, and fome would 
 rellrain it to them at this time, becaufe of the difficulty there is of ma- 
 naging a frieze thus neceflarily divided in common buildings. When there 
 is a fpace lefs than the proper Metope, as at the corner of the Doric frieze, 
 it is called a femi- Metope, or demi-Metope. 
 
 Mezanine, a kind of little ftory, called alfo an enterftole, it is placed 
 between two principal ftories, and ferves for apartments for upper fervants. 
 
 Minute, architefts exprefs by this term a thirtieth part of a femi-di- 
 ameter of a column, that is, a fixtieth part of a diameter; and fometimes, 
 fpeaking of weights, the twelfth part of an ounce. 
 
 Modern, architedts diftinguifli buildings of former ages into three claffes,. 
 antique, ancient, and modern ; the two firfl terms are exactly the fame in 
 their original fenfe, but they appropriate them to different meanings. An- 
 tique fignifies a remain that was executed when the arts were in their 
 greatefl purity and perfedion ; and ancient, an old piece of work, but not 
 of that perfedt truth. The word Modern is ufed as diflinguilhed from both 
 thefe J but its fenfe is not well fixt; fome mean, by modern flrudures, 
 thofe Gothic buildings which are fo common at this time, and, though built 
 long fince, are Modern in comparifon of the names jufl mentioned j others, 
 by Modern buildings, mean the Italian method, but that is only the an- 
 tique revived. Others exprefs by this term the new whimfical ftrucflures, 
 which have fo much of fancy and fo little judgment or tafte, that they de- 
 ferve no name at all. It is a reiiedion upon our country to call thefe Modern, 
 as if the general tafte were as much depraved as that of the few particular 
 people who ereil thefe baubles. 
 
 MoDiLLioNs, in architedture, are ornaments in the entablatures of the 
 richer orders. They are little brackets, or confoles ; and their place in 
 the entablature is under the foffit, or bottom of the drip. They ought 
 to be fo placed that one may always be over the middle of the columns. 
 Thefe Modillions are moft of all ufed in the Corinthian order, in which 
 they are enriched with carvings : in the Ionic and Compofite they are 
 more fnnple. And in the other orders they are not properly ufed at all. 
 The word is Italian, with a different fpelling, tnodiglioni fignifying the 
 fame thing. They feem to be introduced as fupports, but are nothing- 
 more than ornaments. Their form is commonly that of the letter S, and 
 fitted to the fgiSt of the cornice. The word mutule was originally ufed 
 
 in 
 
M O L 1^2 
 
 'in common with inodillion, as fignifying in every refpeft tlie fame thing ; 
 but at this time it is confined to the Doric order. The mutules in the 
 Doric always anfwer to the triglyphs. 
 
 Module, in archite(fliire, a certain meafure or bignefs, taken at plea- 
 fare, for regulating the proportions of columns, and the fymmetry, or 
 dilpolition of the whole building. Architedts generally chcofe the femi- 
 diameter of the bottom of the column for their Module, and this they 
 fubdivide into parts or minutes. The Module of Vignola, which is a 
 femi-diameter, is divided into twelve parts in the Tufcan and Doric, and 
 iqto efghteen for the other orders. The Module of Palladio, Scamozzi, 
 M. Cambray, Defgodetz, Le Clerc, 6cc. which is alio equal to the femi- 
 di.im.eter, is divided into thirty parts or minutes in all the orders. The 
 whole height of the column is divided by fome into twenty parts for the 
 Doric, twenty two and a half for the Ionic, twenty-five for the Ro- 
 man, &c. and one of thefe parts is made by a Module to regulate the refh 
 of the building by. There are two ways of determining the meafures, 
 or proportions of buildings. The firll is by a fixed ftandard meafure, 
 v/hich is ulually the diameter of the lower part of the column, called a 
 Alodule, fubdivided into fixty parts, called minutes. In the fecond there 
 are no minutes, nor any certain or ftated divifion of the Module, but it is 
 divided occafionally into as many parts as ju.dged neceflary j thus the 
 height of the attic bafe, which is half the Module, is divided either into 
 three, to have the height of the plinth, or into four, for that of the 
 greater torus j or into fix, for that of the lefier. Both thefe manners 
 have been praftiled by the ancient as well as the modern architects ; but 
 the fecond, which was that chiefiy uled among the ancients, is, in the 
 opinion of M. Perault the prefei'able. As Vitruvius has lefiened his mo- 
 dule in the Doric order, which is the diameter of the lower part of the 
 other orders, and has reduced that great Module to a mean one, which is 
 the femi-diameter, the Module is here reduced to the third part for the 
 fame reafon, viz. to determine the fevcral meafures without a fraction. 
 For in the Doric order, befides that the height of the bafe, as in the other 
 orders, is determined by one of thofe mean Modules, the fame Module 
 gives likevvife the height of the capital, architrave, triglyphs, and metopes. 
 But our little Module, taken from the third of the diametei- of the lower 
 part of the column, has ufes much more extenfivcj for by this the height 
 of the pedeftals or columns and entablatures in all the orders are determined 
 without a fracflion. As then the great Module or diameter of the column 
 has fixty minutes, and tlie mean Module, or half the diameter, thirty 
 minutes, our little Module has twenty. 
 
 Mole, is amaffive work of large ilones laid in the {e.\ by means of cof- 
 fer-dams, extending before a port, either to defend the harbour from 
 
 Ttt the 
 
25^ M O S- 
 
 the impetuofity of the waves, or to prevent the paffage of fhips without 
 
 leave. 
 
 Mole-Head, a fort of pier, mound, or artificial iflhmus, built athwart 
 the outer part of a little bay, and joining to fome head or ifland, to form a 
 retreat for fliipping. 
 
 MoNOPTERE, in architedure, a kind of temple, round, and without 
 walls, having a dome fupported by columns. 
 
 Monument, in architedlnre, a building deftined to preferve the me- 
 mory, &c. of the perfon who raifed it, or for whom it was raifed j fuch 
 are a triumphal arch, a maufoleum, a pyramid, &c. 
 
 Moor-Stone, a valuable ftonc much ufed in the coarfer works of the 
 prefent builders ; being truly a white granite, of a marbly texture. 
 
 Mortise, or Mortoise, in carpentry, &c. a kind of joint, wherein 
 a hole of a certain depth is made in a piece of timber, which is to receive 
 another piece called a tenow. 
 
 Mosaic-Work, is an affemblage of little pieces of glafs, marble, 
 precious flones, &c. of various colours cut fquare, and cemented on a 
 ground of ftucco, in fuch a manner as to imitate the colours and degra- 
 dations of painting. The materials ufed for thefe works are httle pieces 
 of glafs of all the different fhades in every tint or colour, like thofe of 
 the fine EngliQi worlted ufed in needle-work. The glafs is firfl call 
 into thin cakes, which are afterwards cut into long pieces of a different 
 thicknefs. Many of the pieces ufed in the works on roofs and ceilings,, 
 which are confequently i'esn only at a great diilance, appear to be a. 
 finger's breadth ; but the finer works confifts only of glafs pins, if we may 
 make ule of that exprefHon, not thicker than a common fewing needle,, 
 lb that a portrait of fx)ur feet fquare Ihall take up tvvo millions of fuch. 
 pins or fluds. Thefe pins are fo clofely joined together, that after the. 
 piece is polifhed, which is done in the fame manner as looking-glafTes 
 are poliflied, it can hardly be difcerned to be an arrangement of an infi- 
 nite number of particles of glafs ; but rather looks like a pidure paint- 
 ed with the fineft colours, with cryftal placed before it. The ground: 
 in which thefe vitreous pieces are inlaid, is a pafle, compounded of 
 calcined marble, fine fand, gum tragacanth, whites of eggs, and oil. 
 It is at firft fo foft that the pieces are eafily inferted, and upon an over- 
 fight may be taken out again, and the palle new moulded for the ad-- 
 mifiion of other pins or fluds ; but by degrees it grows as hard as a 
 flone, fo that no impreflion can be made on the work. This pafle is 
 fpread within a wooden frame, which, for large pieces, mufl not be lefs 
 than a foot in breadth and thicknefs. This frame is fafbened with brafs 
 tacks to a plate of the lame metal, or to a flone flab ; and as in capital 
 pieces, which are often tv.enty feet by fifteen .; this pafle-ground mufl 
 be above thi-ee quarters of a foot deep, and the pins or fluds as long, it 
 
 may 
 
M O S 
 
 255 
 
 may eafily be conceived of what weight fuch a piece mufl be. The pieces 
 defigned for roofs, or any diftant place, are not polillied ; but in the altar- 
 pieces,, &c. nothing is wanting to give them themoft beautiful and fplen- 
 did appearance. A piece of about eighty feet fquare, if performed with 
 tolerable care and delicacy, will employ eight artifts for the fpace cf two 
 years. The ftuds of the feveral colours lie ready before the artifts in 
 cafes, as the letters are laid before the compoiitors in a printing-houfe : 
 and fuch is their accuracy in imitating the fineft ftrokes of the pencil, 
 that the only apparent difl'erence betwixt the original painting and fuch- 
 a. copy is, that the latter has a much finer lulire, and the colours are more 
 vivid. 
 
 Method of performing Mosaic-Work of marble and precious f ones.— ^ 
 The ground of Mofaic-works wholly marble, is ufually a maffive marble,, 
 either white or black. On this ground the delign is cut with a chifTel, after 
 it has been firft calqued. After it has been cut of aconfiderable depth, i. e. 
 an inch or more, the cavities are filled up with marble of a proper colour, 
 firfl fafhioned according to the defign, and reduced to the thicknefs of the 
 indentures with various inftruments. To make the pieces thus inferted 
 into the indentures cleave faft, whofe feveral colours are to imitate thole of 
 defign, they ufeaflucco compofed of lime and marble-dufl 3 or a kind of 
 maftic, which is prepared by each workman after a different manner pecu- 
 liar to himfelf. 
 
 The figures being marked out, the painter or fculptor himfelf draws 
 with a pencil the colours of the figures, not determined by the ground,, 
 and in the fame manner makes flrokes or hatchings in the place where 
 fhadows are to be ; and after he has engraven with the chiffel all the 
 flrokes thus drawn, he fills them up with a black maflic, compofed 
 partly of Burgundy-pitch poured on hot ; taking off afterwards what is 
 fuperfluous with a piece of foft flone or brick, which, together with 
 water and beaten cement, takes away the maftic, poliflies the marble, and 
 renders the whole foeven, that one would imagine it only confifled of one- 
 piece. 
 
 This is the kind of Mofaic-work that is feen in the pompous church of 
 the Invalids at Paris, and the fine chapel at Verfailles, with which fome- 
 entire apartments of that palace are incruftated. 
 
 As for Mofaic-work of precious flones, other and finer inflruments 
 are required than thofe ufed in marble ; as drills, v/heels, &c. ufed by 
 lapidaries and engravers on fione. As none but the richell marbles and. 
 ftones enter this work,, to make them go the further they are fawn into 
 tlie thinneft leaves imaginable, fcarce exceeding half a line in thicknefs j; 
 the block to be fawn is faflened firmly with cords on the bench, and 
 only railed a little on a piece of wood, one or two inches high. Two 
 iron pins, which are on one fide the block, and which ferve to fallen it, 
 
 a are, 
 
256 M O U 
 
 are put into a vice contrived for the purpofe, and with a kind of fav/ or bow, 
 made of fine brafs wire, bent on a piece of fpongy wood, together -with emery 
 ileeped in water ; the leaf is gradually falhioned by following the flroke of 
 the delign made on paper, and glued on the piece. When theie are pieces 
 enough faftened to form an entire flower, or feme part of the delign, they 
 are applied to the ground. 
 
 The ground which fupports this Mofaic-work, is ufually of free-ftone. 
 The matter with which the ftones are joined together, is a maftic, or kind 
 of ftucco, laid very thin on the leaves as they are falhioned ; and this being 
 done, the leaves are applied with plyers. 
 
 If any contour, or lide of a leaf be not either fquared or rounded fuf- 
 ficiently, fo as to fit the place evacflly into which it is to be inverted, when 
 it is too large, it is to brought down with a brafs file or rafp ; and if 
 it be too little it is managed with a drill and other inftruments ufed by la- 
 pidaries. 
 
 Moiaic-work of marble is ufed in large works, as in pavements of 
 churches, bafilicks, and palaces ; and in the incruftation and vaneering of 
 the walls of the fame edifices. 
 
 As for that of precious ftones, it is only ufed in fmall works, as orna- 
 ments for altar-pieces, tables for rich cabinets, precious ftones being fo very 
 dear. 
 
 Mosque, is a temple or place of religious worfliip, among the Mahom- 
 metans. All Mofques are Iquare buildings, generally built with ftone; be- 
 fore the chief gate there is a fquare court, paved with white marble, and 
 low galleries round it, whofe roof is fupported by marble pillars. In thefe 
 galleries the Turks wafti themfelves before they go into the Mofque. About 
 every Mofque there are fix high towers, called minarets, each of wliich 
 has three little open galleries, one above another ; thefe tov-'ers, as well as 
 the Mofques, are covered with lead, and adorned with gilciing and other 
 ornaments ; and from thence i iftead of a bell, the people are called to 
 prayer by certain officers appo'nt J for that purpofe. 
 
 Mould, or Mold, in the mechanic arts, &;c. a cavity cut with a de- 
 fign to give its form or impreffion to feme fofter matter applied therein, of 
 great uie in fculpture, foundery, &c. 
 
 Mouldings, in architefiure, projedlures be}'Dnd the naked wall, co- 
 lumn, wainicot, &c. the affemblage of which forms corniches, door-cafes, 
 and other decorations of architecfture. Some Mouldings are fquare, ofliers 
 round, fome are ftraight, others curved, &c. and Ibme are plain, others 
 carved, or adorned with fculpture, either hollowed or in relievo , fome 
 again are crowned with a fillet, others are without, as the doucine, talon, 
 ovolo, torus, fcotia, aftragal, gula, corona, &c. 
 
 A doucine is the cymatium, or that in which the hollow part has the 
 • greateft projedure; the talon is the ogee, in wiiich the fwellin^ part has 
 
 ♦ the 
 
N A I 257 
 
 the greateiT: prqjeftion. The ovolo is a quarter round fwelh'ng. The ca- 
 vetto is a quarter round hollowed ; the aftragal is fmall and round, and has 
 ufually its fillet j thedentell reprefents teeth ; the plinth is a plain fquared 
 furface, whofe ufe is generally to lupport the bafe of a column. 
 
 Cornices, door-cafes, and many other ornamental pieces, are formed 
 out of a compofitlon of Mouldings. All Mouldings in regular architec- 
 ture may be reduced to three kinds, the rounded, the fquare, and 
 the curved ; and from a combination of thefe which are the principal 
 ones, and an occafional mixture of the others, may be formed a great 
 variety of beautiful pieces ; but in Gothic architefture, we fee fancy in- 
 dulged at an extravagant rate to fuperfede the ufe of the ancient and natural 
 Mouldings. 
 
 MuLLER, a ftone flat and even at the bottom, but round a-top, ufed 
 for grinding of matters on a marble. The apothecaries ufe Mullers to pre- 
 pare fome of their teftaceous powders, and painters for their colours, either 
 dry or in oil. 
 
 MuNiMENT-HousF, a little ftrong room in a cathedral, college, or 
 univerfity, deftined for keeping the feal, charters, &c. of fuch cathedral, 
 college, &c. 
 
 Mural Arch, a wall, or walled arch, placed exadlly in the plane of 
 the meridian, for fixing a large quadrant, fextant, or other inflrument, in 
 order to obferve the meridian altitudes of the heavenly bodies. 
 
 Mutules, a term ufed by fome to exprefs what are more commonly 
 called modillions, which are brackets or confoles. Others appropriate the 
 word Mutule to thefe ornaments in the Doric order, and call the others 
 only modillions. 
 
 Nails, In building, &c. fmall fpikes of iron, brafs. Sec. which being 
 driven into wood, ferve to bind fevcral pieces together, or to fafien fome- 
 thing upon them. The feveral forts of Nails are very numerous ; as 
 I. Back and bottom nails, which are made with flat flianks to hold fafl 
 and not open the wood. - 2. Clamp-nails, for fiftening the clamps in 
 building, &c. 3. Clafp-nails, whofe heads clafping and flicking into 
 the wood, render the work finooth, fo as to adniit a plane over it. 
 4. Clench-nails, ufed by boat and barge builders, and proper for any 
 boarded buildings tr^at are to be taken down ; becaufe they will drive 
 without fplitting the wood, and draw without breaking ; of thefe there 
 are many forts. 5. Clout-nails, for nailing on Clouts to axle trees. 
 6. Deck-nails, for faftening of Decks in fliips, doubling of fliip- 
 ping, and floors laid with planks, j. Dog-nails, for fafi:ening of hinges 
 on doors, &c. 8. Flat points, much ufed in ihipping, and are proper 
 
 U u u where 
 
2s^ NIC 
 
 where there is occafion to draw and hold fafl, and no conveniency of 
 clenching, 9. Jobent Nails, for nailing thin plates of iron to wood, as 
 fmall hinges on cup-board-doors, &c. 10. Lead Nails, for nailing lead, 
 leather, and canvas to hard wood. 11. Port-Nails, for nailing hinges to 
 the ports of fhips. 12. Pound Nails, which are four fquare, and are 
 much ufed in Eifex, Norfolk and Suffolic, and fcarce any thing elfe ex- 
 cept for p.deing. 13. Ribbing Nails, principally ufed in Ihip building, 
 for faftening the ribs of fliips in their places. 14. Rofe Nails, which 
 are drawn four fquare in the Ihank, and commonly in a round tool, as all 
 common two-penny Nails are ; in fome countries all the larger fort of 
 Nails are made of this fhape. 15. Rother Nails, which have a full head, 
 and are chiefly ufed in faftening rother-irons to Ihips. 16. Round-head 
 Nails, for faftening on hinges ; or for any other ufe where a neat head is 
 required; thefe are of feveral forts. 17. Scupper Nails, which have a 
 broad head, and are ufed for faftening leather and canvas to wood. 
 18- Sharp Nails, thefe hnve fliarp points and flat thanks, and are much 
 ufed, efpecially in the Weft-Indies, for nailing foft wood, 19. Sheathing- 
 Nails, for faftening flieathing-boards to fliips. 20. Square-Nails, which 
 are ufed for hard wood, and nailing up wall fruit. 2 1 . Tacks, the fmal- 
 left of which ferve to faften paper to wood ; the middling for wool- 
 cards, &c, and the larger for uphblllerers and pumps. Nails are faid to 
 be toughned when too brittle, by heating them in a fire-fliovel, and 
 putting fome tallow or greafe among them. Nails are fold at fix fcore 
 to the hundred : in lathii-tg, five hundred are ufually allowed to a bundle 
 of five feet laths, and fix hundred to a bundle of fix feet laths ; in floor- 
 ing, two hundred are fnfficient for a Iquare of flooring. 
 
 Naked, is a term ufed to exprefs the plain furface of a wall, column,, 
 or other part of a building, in diifincLion from the ornaments. Thus 
 the Naked of a wall is the flat plain furface of the wall that receives the 
 mouldings j and the Naked of a column is its bare furface. 
 
 Nave, in architecture, the body of a church, where the people are- 
 difpofed, reaching from the ballufter, or rail of the choir, to the chief dooro.. 
 Newel, in architedlure, the upright poft which a pair of winding ftairs 
 turn about. 
 
 Niche, in architedlure, a hollow funk into a wall, for the commodi- 
 ous and agreeable placing of a ftatue. The ordinary proportion of a 
 Niche is to have two circles in height and one in width; but M. Le Clerc 
 makes their height fomething more, the excefs being to compenfate for 
 the height of the pedeltal or the ftatue. The hollow is femi-circular at 
 bottom, that is, in its plan ; and at top it terminate in a kind of canopy. 
 Niches have frequently an impoft, and an archivolt or head-band, and the 
 canopy wrought and enriched in the manner of a fliell. The breadth of 
 the archivolt may be made equal to a fixth or feventh part of the Niche,_ 
 
 and 
 
O R D 259 
 
 and the height of the impofl to a fifth or fixth part of the fame ; and the 
 impoft and archivolt ought to confift of fuch mouldings as have feme rela- 
 tion to the architefture of the place. Niches are fometimes made-\vith 
 ruftic-work, fometimes with fliell-wdrk, and fometimes of cradle or ar- 
 bour-work. Niches are fometimes made fquare, but thefe want all the 
 beauty of the others. 
 
 Nudities, in painting and fculpture, thofe parts of an human figure 
 not covered with any drapery, or thofe parts where the carnation appears. 
 
 o. 
 
 Obelisk, in architefture, a truncated quadrangular, and. flender pyra- 
 mid, raifed as an ornament, and frequently charged either witii infcriptions 
 or hieroglyphics. Obelifks appear to be of very great antiquity, and to be 
 firll: raifed to tranfmit to poflerity precepts of philofophy, which were cut 
 in hieroglyphical charad;ers ; afterwards they were ufed to immortalize the 
 great adlions of heroes, and the memory of perfons beloved. The firft 
 Obeliilc mentioned in hiftory was that of Ramefes, king of Egypt, in the 
 time of the Trojan war, which was forty cubits high. Phius, another 
 king of Egypt, raifed one of forty-five cubits ; and Ptolemy Philadelphus, 
 another of eighty-eight cubits, in memory of Arfinoe. Auguftus erefted 
 one at Rome in the Campus Martins, which ferved to mark the hours 
 on an horizontal dial, drawn on the pavement. They were called by the 
 Egyptian priefts the fingers of the fun, becaufe they were made in Egypt, 
 alfo to ferve as ftyles, or gnomons, to mark the hours on the ground.. 
 The Arabs ftill call them Pharoah's needles, whence Italians call them 
 aguglia, and the French aiguilles. The proportions in the height and 
 thicknefs are nearly the fame in all Obelifks ; their height being nine, or 
 nine and a half, and fometimes ten times their thicknefs ■ and their 
 diameter at the top never lefs than half, and never greater than three-fourths 
 of that at the bottom. 
 
 Office, in architefture, in the plural denotes all the apartments ap- 
 pointed for neceffary occafions of a palace or great houfe as kitchens, pan- 
 tries, confedlionaries, &c. 
 
 Ogee, or as it is fometimes written O. G. a moulding, part fwelling 
 and part hollowed, fo that its outlines refembles a wave. When placed with 
 the hollow part upward, it is called the upright Ogee, cima refta, or cy- 
 mafium ; when the fwelling part is upwards, it is called an inverted Ogee, 
 SI flat, and cima inverfa. 
 
 Order, a column entire, confining of bafe, fhaft, capital, and enta- 
 blature, and proportioned to the ufe or fervice for v/hich it is intended. 
 This is what is properly called an Order of archi tenure, and the feveral 
 2 vifes 
 
26o O R D 
 
 ufes and fervices requiring fome difi:in6tion in ftrength, there have been con- 
 trived five kinds of thefe columns, three originally by the Greeks, the Doric, 
 Ionic, and Corinthian, and two added by the Romans, the Tufcan, and 
 the Compofite. Each of thefe has its ornaments as well as general fabric 
 proportioned to its ftrength and ufe ; and thefe are the five Orders, the 
 proper underftanding of which is the great article in the elegance of build- 
 ing. Beginning from the plaineft and the ftrongeft, thefe are reckoned 
 thus: I. The Tufcan. 2. The Doric. 3. The Ionic. 4. The Corin- 
 thian j and 5. The Compofite. 
 
 The Tufcan is the moil fimple and ftrong, the column has feven diame- 
 ters in height, and the capital, bafe, and entablature, have no ornaments, 
 and but few mouldings. 
 
 The Doric has the column feven and a half or eight diameters high ; 
 it has no ornaments on the bafe or capital, but its frieze is decorated with 
 channelled figures, called triglyphs, placed at fuch a diftance as to leave 
 fquare fpaces between them. Thefe fquare fpaces are called metopes, and 
 are fometimes plain, and fometimes ornamented with heads of beafls, and 
 other figures. 
 
 The Ionic order has the column nine diameters in height ; its capital has 
 volutes, which are a kind of fcrolls, and there are plain modillions in the 
 cornice. 
 
 The Corinthian order has its column nine diameters and a half high ; its 
 capital is ornamented with two rows of leaves, and among thefe rife up ftalks 
 which curl round under the abacus, and reprefent, in fome meafure, the vo- 
 lutes of the Ionic, but they are fmaller and more numerous; and the enta- 
 blature of this order has modillions under the cornice. 
 
 The Compofite order has its column half a diameter higher than the 
 Corinthian, that is, ten diameters, but fome make it more, and fome lefs; 
 and its capital has leaves, and above tliem the volutes of the Ionic order. 
 Its cornice has modilhons. 
 
 Thefe are the five great Orders of archite<flure ; what is fiid of them here 
 will give fome general idea of their form, and their feveral parts are de- 
 fcn'T.cd more at large under the articles of bafe, capital, &c. But befide 
 thefe, there are fome other manners and forms of building called by the 
 name of Orders. 
 
 The Perfian Order has men fiaves in the place of columns to fupport 
 the entablature ; the Caryatic Order has women ; the Attic Order has pi- 
 lafters in the place of regular columns. The Ruflic Order is that adorned 
 with ruftic quoins, and the like decorations. The French Order has a 
 capital compofed of cocks heads and fiower-de-luces ; its proportions are 
 thofe of the Corinthian, from which it differs only in the ornaments of 
 the capital. There is alfo a Spanifli Order, which is like the Corinthian 
 in moll things, but has a lion's head inflead of a rofe in the centre of 
 
 the 
 
O R T 261 
 
 abacus. But thefe, though honoured with the names of orders, very little 
 deierve fuch a title : the orders in architecture might be multiplied innu- 
 merably on this plan, but there goes fomething more to the conflruftion of 
 what deferves that name. 
 
 In good archited:ure every part means fomething. We have feen. In ano- 
 ther place, what the defign of the Corinthian capital was ; it reprefents 
 a balket covered with a tile, and furrounded with leaves of the acanthus. 
 Leaves of a plant may furround a bafket naturally as it Hands upon the 
 ground, or elfewhere, but cocks heads and the like cannot. The original 
 orders have fomething great and noble in them, but there is nothing but 
 quaintnefs and fancy ill employed in thefe. 
 
 Difpojition of the Orders. Thofe ought to be fo difpofed in building, that 
 the moll folid may be placed undermoll:, as the moft proper to fuftain the 
 weight, and to give the whole edifice a more firm foundation : therefore 
 the Doric muft always be placed under the Ionic, the Ionic under the Co- 
 rinthian, and the Corinthian under the Compolite. As to the Tufcan, be- 
 ing a plain rude order, it is feldom ufed above ground, except in villas, 
 where one order only is employed. In very large buildings, as amphi- 
 theatres, where many orders are required, the Tufcan may be placed under 
 the Ionic inftead of the Doric. But if you are defirous to leave out one of 
 thefe orders, as for inflance, to place the Corinthian immediately over the 
 Doric, you may, provided you always obferve to place the moft flrong and 
 folid undermoft, for the reafons above-mentioned. 
 
 Thefe Orders took their names from the people among whom they were 
 invented. Scamozzi calls the Tufcan, the gigantic ; the Doric, the Her- 
 culanean ; the Ionic, the matronal ; the Compolite, the heroic ; and the 
 Corinthian, the virginal. 
 
 Ordonnance, in architedlure, is a term ufed by fome to exprefs the 
 fame as order ; but, in its general knk, it means the compofition of a 
 building, and the difpofition of its feveral parts ; it being this that deter- 
 mines the bignefs of the feveral portions of which a building is com- 
 pofed, and the proper and judicious arrangement of them. In painting, it 
 is ufed for the difpofition of the parts of a pidture, either refpedling the^ 
 whole piece, or to the feveral parts ; as the groups, maffes, contrails, afpedis, 
 6cc. 
 
 Ornaments, in architedlure, are ufed to fignify all the fculpture or 
 carved-work wherewith a piece of archited:ure is enriched. 
 
 Orthography, in arch i ted u re, the elevation of a building. This 
 Orthography is either external or internal. Tlie external Orthography is 
 taken for the delineation of an external face or front of a building ; or, 
 as it is by others defined, the model, platform, and delineation of the 
 fi-ont of a houfe, that is contrived, and to be built, by the rules of geo- 
 metry, according to which pattern the whole fabric is eredted and finiflied. 
 
 X X X This 
 
26a PAR 
 
 This delineation or platform exhibits the principal wall, with its apertures, 
 roof, ornaments, and every thing vilible to an eye placed before the build- 
 ing. Internal Orthography, which is alfo called afedtion, is a delineation, 
 or draught of a building, fach as it would appear, were the external wall 
 removed. Orthography in perfpedive, is the front cr fore view of any 
 plane; that is, the fide or plane that lies parallel to a flraight line, which 
 may be imagined to pafs through the outward convex point of the eye, 
 continued to a convenient length. 
 
 OvoLo, or Ovum, in architecSlure, is a round moulding, whofe profile 
 or fweep, in the Ionic or Compolite capitals, is ufually a quadrant of a 
 circle; whence it is alfo commonly called the quarter round, and from the 
 carving with which it is ufually decorated, the egg and anchor. It is com- 
 mon on the richer orders, and about chimney-pieces, and other decorated 
 parts of a building , and, when carved, has eggs in a kind of cafe, with 
 anchors between. It is alfo called the echinus, the ove, and by ieveral other 
 names expreflive of its form or decoration. 
 
 OuT-^HousES, fuch as belong and are adjoining to dwelling- houfes. 
 
 P. 
 
 Palace, in architeflure, is a name generally given to the dwelling- 
 houfes of kings, princes, bifhops, and other great perfonages ; and taking 
 different epithets, according to the quality of the inhabitants, as imperial 
 palace, royal palace, pontitical palace, cardinal palace, ducal palace, epif- 
 eopal palace, &c. 
 
 Paling, a fort of fencing for fruit-trees planted in the fields, wherein 
 three fmall pofts are ereded at a foot and a half diflance one from another, 
 and near the top nniled to each other with crofs-bars. 
 
 Pallet, among painters, a little oval piece of wood,, &c. very thin and 
 fmooth ; on wliich they place the colours they have occafion for, ready for 
 the pencil ; it has a hole at one end, to put the thumb through, to hold 
 it. Pallet in gilding, is an infcrument made of a fquirrel's tail, to take up 
 the gold leaves from the pillow, and to apply and extend them on the mat- 
 ter to be gilt. 
 
 Pan N EL, in joinery, a tympanum or fquare piece of thin wood, fome- 
 times carved, framed, or grooved in a larger piece, between two upright 
 pieces and two crofs pieces. 
 
 Parapet, is a little v;all raifed breaft high on a terrace or building. 
 The Parapet may be of brick or wood, a wall, or a rail, and may ferve 
 as an enclofure, as well as defence. The word is derived from the Italian 
 parapetto, which fignifies a defence to fave the body, breafl high ; cr a 
 ^all raifed to the height of the breaft. In military architedure, a Para- 
 
 J pet 
 
FED 263 
 
 per expreiTes a wall, or other defence, fix or feven feet high, to defend 
 the foldiers from the enemy. This is alfo called a Ikreen. They are made 
 of earth or ftone. 
 
 Pavements a layer of jftone, or other matter, ferving to cover and 
 flrengthen the ground for the more commodious walking on. 
 
 Pa VII LION, in architedure, a kind of turret or building ufually infu- 
 lated, and contained under ,a iingle roof; fometinies fquare, and fonie- 
 times in form of a dome j thus called from the refemblance of its roof to 
 a tent. We have prefented our readers with the plan and elevation of an 
 elegant delign for a nev/ harmonic Pavillion. 
 
 Pedestal, in architedlure, is a fquare body of flone or other mate- 
 rials railed to fet a column upon, or for fome like occafion. When Pe- 
 deftals are for columns, tliey fhould, according to Vignola, be of one third 
 of the height of the column ; but there is a great deal of difference iu 
 the determinations of authors upon tliat head. A Pedeflal confifts of 
 three parts, the bafe, the die, and the cornice called its cap. There is 
 in this a refemblance of the fl:ru(5ture of colum.ns, the bafe anfwers to the 
 bafe of the column, the die to the fliaft, and the cornice to its capital. 
 Pedcftals may be uied to fupport columns of the different orders, ajid they 
 mufl differ on this occafion according to the order they fupport. The 
 Pedeffal for the Tiifcan order is the plaineff ; its bafe is only a fquare 
 piece, or fub plinth. The Doric Pedetlal is the fame with the Tufcan, 
 but that it has the addition of a bafe and cap. The Ionic is like the Do- 
 ric, orJy the members ai-e more, and a little enriched. The Corinthiaa 
 Pedeftal has its plinth, a carved torus, its lifteli, and cymafium ; then 
 the liflell and ogee. The die is plain j its cornice confifts of an ogee, a 
 Mell, an ovolo, corona, ogee, and liflell. 
 
 TJie Compofite Pedeftal confills of the following parts j its bafe has a 
 plinth, and a carved torus over that, then a regie t, an ogee inverted and 
 enriched, and aii affragal. The die is plain. The cornice con fifts of an 
 aftragal and cymaiium, a lill, cymafium, and a fillet; a corona, and an 
 ogee, and its fillet. In the Doric Pedeltals the pannels of the die fliould 
 be in relievo, or projeding j in the other orders they fiiould be hollowed, 
 ©r in cruex; this is an article of ftriking propriety, but the architeds too 
 often negled or miffake it. A fquare "Pedeilal is that whofe breadth is 
 equal to its height. A double Pedeftal is that which fupports two co- 
 lumns, its being greater than its height. A continued Pedeftal is that 
 which fupports a row of columns, withoutany interruption oi-break. 
 
 Pedeftals are much more ufed in modern than they were in ancient ar- 
 chitedure ; and thofe of a very nice tafte are for banifhing them entirely 
 from under columns. They fay they were made for ftatues, a)id fliould 
 be put to no other ufe, and that although Vitruviys has adopted to every 
 order its particular Pedeftal, yet that columns of every order are bette'r 
 
 without; 
 
264 P E D 
 
 without them. Indeed a column nevei- appears to fland fo firm as whea 
 k refts upon the pavement. If we examine fuch works as have no Pe- 
 deftals to the columns, we fl^all find a look of folidity and compofure in 
 them which the others want. A column always feems lefs when on a 
 Pedeflal. 
 
 Pediment, in architedlure, an ornament properly of a low triangu- 
 lar figure, crowning- the front of a building, and ferving often alfo as a 
 decoration over doors, windows, and niches. Though the original and 
 natural form of the Pediment be triangular, it is fometimes made a {tg- 
 ment of a circle, and fometimes broke to let in bufls or figures. The 
 Pediments of churches are often beautifully adorned in baffo, or alto re- 
 lievo ; ill the Pediment of the Parthenion at Athens, there are figures 
 wliicii {land quite free j the Pediment of our St. Paul's church is orna- 
 mented with the converfion of that faint, in which the light has proved a 
 very ditficult tiling to exprefs in ftone-work. The Pediment confifts of 
 its tympanum and cornice ; the tympanum is the pannel on which tbefe 
 figures are rcprefented, which is often left plain. The cornice crowns 
 this tympanum ; the mofl beautiful Pediments are thofe where the height 
 is about a fifth or two-ninths of the meafure of the bafe. Sometimes 
 the Pedmient is formed of two fcrolls, or brackets, and open in the mid- 
 dle ; the tympanum of the Pediment is fometimes cut out, and fometimes 
 a fmaller Pediment is enriched in it. 
 
 Pediments being reprefentations of the ridge of the roof, ought not to 
 be placed lengthwife, but always crofs-wife of a building. A Pediment 
 no where looks fo well as in the portal of a church, and that for this plain 
 reafon, that it is there always natural, and in the proper pofition. The 
 triangular fliape is for the fame reafon bell for Pediments, becaufe it is the 
 natural form of a roof. An arched Pediment is not, nor can be, the re- 
 prefentation of a pointed roof^ and a broken Pediment takes from the 
 idea of the ufe ; there muft be fuppofed to be another covering or roof 
 within. Pediments placed one upon another, or one over another, as we 
 lee in fome modern buildings, are very erroneous ; the Pediment repre- 
 fents a roof, we fhould never put one roof over another ; why then fhould 
 we put the reprefentation of it in one Pediment over another ? It is unna- 
 tural in that reprefentation, becaufe it would be prepofterous in the rea- 
 lity, and nothing that is unnatural can be beautiful. The Pediment is 
 for the lame reafon always to Hand above the entablature; one would 
 think this rule lb obvious that it need not be named ; but that we fee it 
 fometimes tranfgrelfed. When a Pediment is put beneath an entablature, 
 it reprefents a roof under a floor, than which nothing can be more con- 
 trary to reality. The Pediments over doors and windows may be deemed 
 errors in tliis ]:ind, they fuppofe fo many roofs ; but they are ornamental. 
 
 Pencil, 
 
P I L 265 
 
 . Pe-ncil, an inftrumentufed by painters for laying on colours. Pencils 
 are of various kinds, and made of various materials. 
 
 Periptere, a term ufed by the ancient architedls and adopted by the 
 moderns, to exprefs a building encompafled round with columns. The 
 word is derived from the Greek. Thefe columns formed a kind of ifle all 
 round the building. A building that had columns only before was called a 
 proflyle, and one that had none at the fides, only before and behind, was 
 called an axnphiproflyle ; but when the columns were on all four fides it 
 was called a Periptere ; in the Periptere the columns fliould be diftant from, 
 ■the wall by the ineafure of one intercolumniation. The portico of Pom- 
 pey, the balilic of Antonine, and the maufoleum of Severus, were Periptere 
 buildings. 
 
 Perron, in architedlure, the Heps in the front of a building, raifed be- 
 'fore the doors of great houfes, and leading to the firfl flory, when raifed 
 above the level of the ground. 
 
 Pie R, in architedlure, is a fquare pillar without any regular bafe or capital. 
 The Pier is fometimes free, fometimes in part immerfed in a wall ; what 
 the pillar is to the column, the Pier is to the pilailer ; each refembles the 
 other, but is not tied down to that regularity prefcribed by the propor- 
 tions of the feveral orders. Piers often have niches, and ferve as orna- 
 ments in front of buildings ; there is a very beautiful pair that fland in 
 front of Holland houfe, the work of Inigo Jones. Pier is alfo ufed to 
 exprefs a mafs of ftone work, raifed againft the force of the fea, for the 
 fecurity of fillips in a harbour, and for the fupports of the arches of a 
 bridge. 
 
 Pilaster, in archite<5lure, a fquare column fometimes infulated, but 
 more frequently let within a wall, and only Ihewing a fourth or fifth part 
 of its thicknefs. The Pilafler is different in different orders, it borrows the 
 name of each, and has the fame proportions, and the fime capitals, mem- 
 bers, and ornaments with the columns themfelves. Pilafters are, however, 
 ufually made without either fwelling or diminution, and as broad at top as 
 at the bottom, though fome of the modern architeds, as M. Manlard, &c. 
 diminilh them at the top, and even make them fwell in the middle, like 
 columns, particularly when placed behind columns. M. Perrault obferves, 
 that Pilallers, like columns, become of different kinds, according to the 
 different manner in which they are applied to the wall. Some are wholly 
 detached, and thefe Vitruvius calls paraftata? ; others have three faces clear 
 out of the wall; others two^ and others only one j thefe Vitruvius calls 
 antae. Infulate Pilallers are but rarely found in the antique ; for the chief 
 life the ancients made of them, was to give the greater flrength to the ex- 
 tremities of porticoes. 
 
 There are four things to be principally regarded in Pilafters ; their pro- 
 jedure out of the wall ; theii- diminution ; the ditpoiition of the enta- 
 
 y y y blature. 
 
 .A. 
 
266 P I L 
 
 blature, when it happens to be common to them and to a column j and their 
 flutings and capitals, i. The proje£ture of Pilafters that have only one 
 face out of the wall, ought to be one-eighth of their breadth, or at moft one 
 fixth J but when they receive impofts againft their fides, the projeiflure 
 may be a quarter of their diameter. 2. Pilafters are feldom diminiflied 
 when they have only one face out of the wall ; indeed when they ftand 
 in the fame line with columns, and the entablature is continued over both, 
 without any break, the Pilafters are to have the fame dimenfions with the 
 columns. 3. Pilafters are fometimes fluted, though the columns that 
 accompany them are not {o ; and on the contrary, the columns are fome- 
 times fluted, when the Pilafters that accompany them are not. The flutings 
 of Pilafters are always odd in number, except in half Pilafters, which meet 
 at inward angles, where four flutings are made for three, &c. 4. The pro- 
 portions of the capitals of Pilafters, are the fame as to height with thofe of 
 columns ; but they differ in breadth, the leaves of Pilafters being much 
 broader, becaufe Pilafters, though of equal extent, have only the fame num- 
 ber of leaves for their girt, viz. eight. Their ufual difpofition is to have 
 two in each face, in the lower row, one in the middle, and two halves in the 
 angles, in the turns of which they meet. Add to this, that the rim of the 
 vafe, or tambour, is not flraight, as the lower part is; but a little circular 
 and prominent in the middle. 
 
 In Pilafters that fupport arches, the proportions, according to Palladio, 
 fhould be regulated by the light they are placed in j and at the angles by the 
 weight they are to fuftain ; they muft not be too tall and flender, left they 
 refemble pillars, nor too dwarfifli and grofs, left they appear like the piers 
 of bridges. In private buildings they ought not to be narrower than one- 
 third, nor broader than two-thirds of the vacuit}% or interfpace between 
 Pilafter and Pilafter ; but as for thofe that ftand at the corners,, they may 
 have a little more latitude allowed them, to give the greater ftrength to the 
 angles. Palladio obferves, that in the theatres and amphitheatres, and fuch 
 malftve works, they have been as broad as the half, and fometimes as the 
 whole vacuity or interfpace. He alfo aflerts, that their true proportion 
 £hould be an exadl fquare ; but for leflening of expence, they are ufually 
 made narrower in flank than in front. 
 
 Pile, in building, is a large ftake rammed into the ground in the bot- 
 tom of rivers, or in marftiy land, for a foundation to build on. The word 
 is ufed among archited:s for a mafs of building. 
 
 PitLAR, in architecture, a column of an irregular make, not formed 
 according to rules, but of arbitrary parts and proportions y free or difen- 
 gaged from the wall in every part, and always deviating from the mea- 
 fures of any of the orders of regular columns. This is the diftinftion of 
 the Pillar from the column. The column in our churches of the Italian 
 
 archie 
 
P L A 267 
 
 architedure is always of one of the orders ; the Pillar in the Gothic 
 buildings is often vaftly too high for its thicknels, and has no diminu- 
 tion. This irregularity of flrudture makes it a Pillar, while the juft pro- 
 portions of the others entitle tliem to the names of columns. 
 
 Thefe Pillars, as they are without proportion in their parts, fo they 
 want proportion with refpedl to the building : we conftantly fee them 
 either two thick, or too flender, and commonly extravagantly in one of 
 thefe extremes or the other. The eye is at once a judge of this difpro- 
 portion, even when the perfon v/ho views them has not in the leaft confi- 
 dered architedlure, always approving the column, and difapproving the- 
 Pillar. 
 
 There are buildings about London in which the archited: has deviated 
 fo far from rule in his columns, that they cannot be fkid to belong to any 
 order, and may be better called Pillars. 
 
 Pinning, in building, the faflening of tiles together, with pins of heart 
 of oak, for the covering of an houfe, &c. 
 
 Plan, the term Plan is particularly ufed for a draught of a building^, 
 itich as it appears, or is intended to appear, on the ground ; fhewing the 
 extent, divifion, and diftribution of its area, or ground plot, into apart- 
 ments, rooms, paffages, &c. A geometrical Pbn is that wherein the fo- 
 lid and vacant parts are reprefented in their natural proportions. The- 
 raifed Plan of a building, is the iame with what is otherwife called an ele- 
 vation or orthography. A perfped;ive Plan is that exhibited by degrada- 
 tions, or diminutions, according to the rules of perfpedive. 
 
 To render Plans intelligible, it is ufual to diftinguiih the maffives with 
 a back wafh ; the projedures on the ground are drawn in fiUl hnes, and 
 thofe fuppofed over them in dotted lines. The augmentations, or altera- 
 tions to be made, are dillinguiflied by a colour different from what is al- 
 ready built; and the tints of each Plan made lighter, as the Ifories are 
 raifed. In large buildings, it is uiual to have three feveral Plans, for the 
 three firft ftories. 
 
 Plaster, among builders, &c. The Plafter of Paris is a preparation' 
 of feveral fpecies of gypfums, dug near Mont Maitre, a village in the 
 neighbourhood of Paris ; v/hence the name. The beft fort is hard, white,, 
 fliining, and marbly ; known by the names of plafter-ftone, or parget of 
 Mont oVIaitre. It will neither give fire with fteel, nor ferment with aqua- 
 fortis, but very freely and readily calcines in the fire, into a very fine Plaf- 
 ter ; the ufe of which in buildina: and caflin» ftatutes is well known. 
 
 As the modern talle runs greatly into plaillering, it were to be wiilied- 
 that this art could be brought to its ancient perfedtion. The plafters of 
 the Romans were exceeding durable ; witnefs feveral yards of it ftiU to be 
 found on the top of the Pont de Garde, near Nifmes. At Venice they 
 tife a very durable Plafler 3 but as the lecret of preparing it is not known- 
 
 among. 
 
258 P L U 
 
 among us, it would be worth while to try whether facha fubilance might 
 not be made by boiling the powder of gypfum dry over the fire, for it 
 will boil in the manner of water ; and when this boiling or recalcining 
 was over, the mixing with it refin, or pitch, or both together, with com- 
 mon fulphur, and the powder of fea-lhells. If thefe were all mixed to- 
 gether, and water added to it hot, and the matter all kept hot upon the 
 fire till the inftant of its being ufed, fo that It might be laid on hot, it is 
 poffible this fecret might be hit upon. Wax and oil of turpentine may 
 alfo be tried as additions ; thefe being the common ingredients in fuch 
 cements as we have accounts of are the firmeft. Strong ale-wart is by 
 foine direded to be ufed, inftead of \vater, to make mortar of lime-ftone 
 be of more than ordinary ftrength. It is poffible that the ufe of this te- 
 nacious liquor In the powdered ingredients of this propofed Plafter, might 
 greatly add to their folidity and firmnefs. 
 
 Plastice, the plaftic art, a branch of fculpture, being the art of 
 forming figures of men, birds, beafls, fi(hes, 6cc, in plafler, clay, ftuck, 
 or the like. 
 
 Platband, in archltedlure, a fquare moulding which has lefs projec- 
 ture than height or breadth. The faces of an architrave are Platbands. 
 The Platbans of flutings are the lifts or fillets, which feparate thofe hol- 
 lows on the fhafts of columns. The lintell of a door or window, when 
 it is fquare, or not much arched, is called the Platband of the door, or 
 Platband of the window. Any flat fquare moulding. If not too project- 
 ing, is called by this name. 
 
 Platform, in architedlure, a row of beams, which fiipport the tim- 
 ber-work of a roof, and lie on the top of the wall, where the entabla- 
 ture ought to be railed. This term is alfo ufed for a kind of terrace, or 
 broad, fmooth, open walk at the top of the building, from whence a fair 
 profped: may be taken of the adjacent country. Hence an edifice Is fald 
 to be covered with a Platform, when it is fiat at top, and has no ridge ; 
 like the late Duke of Newcaftle's houfe. In Lincoln's Inn Fields. Moll 
 of the oriental buildings are thus covered, as were all thofe of the ancients. 
 
 Plinth, in architedture, a fquare piece which is placed under the 
 mouldings in the bafes of columns. The Plinth terminates the column 
 with Its bafe at the bottom, as the abacus does with Its capital at the top. 
 And the abacus In the Tufcan order being plain, fquare, and mafly, has 
 hetn called tlie Plinth of that capital. It feems to have been originally 
 intended to keep the bottom of the original wooden pillars from rotting. 
 Plinth of a ftatue, &c. is a bafe, either flat, round, or fquare, that ferves 
 to fupport It. 
 
 Plummet, Plumb-Rule, or Plumb-Line, an inftrument ufed by 
 ^carpenters, mafons, 6cc. in order to judge whether walls, &c. be up- 
 right planes, horizontal, or the like. It is thus called from a piece of 
 2 lead 
 
PRO 269 
 
 lead, plumhum, faflened to the end of a cord, which ufually conflitutes 
 this initrument. Sometimes the ftring defcends along a wooden ruler &c 
 raiftd perpendicularly on another, in which cafe it becomes a level. 
 
 i^oRCH, in architedurc. a kind of vefiibiile fupported by columns, much 
 uled at the entrance of the ancient temples, halls, churches, &c. Porch 
 in antient architedure, was a veftibule, or a difpofition of infulated co- 
 Jurans, u/ually crowned with a pediment, forming a covert place before 
 theprincipal door of a temple, or court of juftice. Such is that before 
 the door of St. Paul's Covenl Garden, the work of Inigo Jones. 
 
 PoRTAiL, a term ufed by many writers to fignifv the fame as the 
 front.fp.ece of a building. The decoration of a face, or front, of a church 
 is called the Portail. The fame word is alfo ufed by fome to fignify the 
 principal gate of a palace, or caftle ; as alfo for the whole face of a 
 church, including the great door. 
 
 ,nr°'7''n ' ^ T''^ "^'"^ .^° ^""P""'^' ' ^"''"^'' g^f^' where there are a larger 
 and a fmaller ; fome ule it at random for the gate where there is only one. 
 
 yifr ^° ^""P''? '" ''^^ °^^'' ^ ^00^- way i and formerly it fig. 
 
 enTrfnce '^ ''°'""' ^ '°°'^' ''''' °^ ^''''^ '^^ ''^' ^""^ '^^ ^""' ^^ 
 
 y^^'^V'''' '"'l'''^''^^^^^^^ a place for walking under (helter, raifed- 
 wih arches, in the manner of a gallery. The Portico is uiually vaulted, 
 but It has fometimes a foffit, or ceiling. The Portico is a piazza en- 
 compaffed with arches raifed upon columns, and covered over head ita 
 any manner. The word feems to refer to the gate or entrance of fome 
 place porta m Latm hgnifyinga gate, but it is appropriated toadifpofition 
 oLwT"'' ™'"^ "' ^''"'^ of gallery, and has no relation to the 
 
 rJ^^^VW' '" P^TJ'S and fculpture, the fituation of a figure with 
 
 oTa. u^K' """^ °/ '^f ^'''''^ P''^"^^?^' members thereofl with re- 
 gard to each other, whereby its adtion is exprelfed. 
 
 Profile, in architecture, the draught of a building, fortification, &c. 
 v^^hercm areexpreffed the feveral heights, widths and thickneffes, fuch as, 
 
 ronf rl ?'^'\' '"''' '^' ^"'^^^'"« '-^"^ ^°w" perpendicularly from the 
 roof to the foundation. It is alfo called feftion. or orthographical fee 
 
 lor?;-o "? ^^ ^'''"^'^.'S fciagraphy. This is the fame as elevation, in op- 
 pofit.ori to a plan, wn.ch is called ichnography. It alfo denotes the out- 
 line ot a figure building, member of architedure, &c. Hence pro- 
 
 comifr&c"'% .7^'' i'Y'"^ "■" ^'^'''^'^'^S the member with a rule, 
 compals, 6cc. Profile in fculpture and painting, denotes a head, portrait, 
 &c when reprefcnted fidewife, or ia a fide-view. On almoll ail medals 
 laces are reprcfented in Profile. 
 
 Projecture, in architedure, fignifies the prominency, or jetting out, 
 of ornamems from the bare fu.face or naked of the iail or column; 
 thus mouldings are faid to have fo much projcdure as is their diftance at 
 
 2 z z ihe 
 
270 pre 
 
 the thickeH: part from the furface of the wall or column to which fhey 
 are fixed. The word is derived from the Latin projeSia, which fignifies 
 thrown forward. In entire cornices the Projecflure "fhould be always 
 equal to the height j this is a maxim of Vitruvius, but it has been fo mif- 
 underftood, that he was fuppofed to mean, that the Projedlure of every 
 moulding (hould be equal to its height. The Proje(fl:ureof the bafes and 
 cornices of pedeftals is greater in the antique than in the modern works : 
 the difference in general is about one- third. The word is always applied 
 to galleries, balconies, &c. which jet out beyond the face of the wall. 
 
 Proportion, in architedure, the relation which the feveral members 
 of a column, or other part of a building, have to the whole of that co- 
 lumn, or part; and which that column, or part, has to the edifice. 
 When we (ay fuch a column is proportioned, it is meant that it is well 
 proportioned, and fo of any other part or member. The fame term is 
 ufed alfo to fignify the different bignefs which the members of architec- 
 ture and figures ought to have, with regard to the diflances from which 
 they are feverally to be feen. There is no Proportion about which au- 
 thors vary fo much, as that of the height of entablatures, with refpedl 
 to the thicknefs of columns. 
 
 Prothyrum, in architedure, a porch at the outer door of a houfe. 
 
 Prostyi E, in architedure, a temple that had a range of columns in 
 the front, but was not furrounded, or winged by them. 
 
 PuLViNATED, a term ufed to exprefs the fwelling or rounding of the 
 freeze in the Ionic order. The word is derived from the Latin fulvinatu:, 
 pillowed, or culhioned. 
 
 Puncheon, in carpentry, is a piece of timber placed upright between 
 two ports, whofe bearing is two great, ferving, together with them, to 
 fuftain fome large weights. 
 
 Purlins, in building, thofe pieces of timber that lie acrofs the raf- 
 ters on the infide, to keep them from finking in the middle of their length. 
 
 Putlogs, or Putlocks, in building, are fhort pieces of timber about 
 feven feet long, ufed in building fcaffolds. They lie at right angles to the 
 wall, with one of their ends relling upon it, and the other upon the poles 
 which lie parallel to the fide of the wall of the building. 
 
 PvcNOSTYLE, in theancitnt architedure, is a building where the co- 
 lumns fland very clofe to each other } only one diameter and a half of the 
 column being allowed for the intercolumniations. According to Mr. 
 Evelyn, the l-'ycnofl:yle chiefly belonged to the Compofite order, and was 
 ufed in the mod magnificent buildings ; as at preient in the periftyle at 
 St. Peter's at Rome, which confifls of near three hundred columns j and 
 in fuch as yet remain of the ancients, among the late difcovered ruins of 
 Palmyra. 
 
 Pyramid, 
 
Q^ U A 271 
 
 Pyramid, in archltcdure, a folid malTive building, which from a 
 fquare, triangular, or other bafe, rifes diminifliing to a vertex or point. 
 Pyramids are fometimes ufed to preferve the memory of Angular events; 
 and fometimes to tranfmit to pofterity the glory and magnificence of prin- 
 ces. But as they are efteemed a fymbol of immortality, they are moft 
 commonly ufed as funeral monuments. Such is that of Ceftius at Rome, 
 and thofe other celebrated ones of Egypt, as famous for the enormity cf 
 their fize, as their antiquity. Thefe are fituated oil the weft fide of the 
 Nile almoft oppofite to Grand Cairo : the bafe of the largeft covers more 
 than ten acres of ground, and is, according to fome, near feven hundred 
 feet high, though others make it fix hundred, and fome little more than 
 five hundred. The Pyramid is faid to have been, among the Egyptians, 
 a fymbol of human life, the beginning of which is reprefented by the 
 bafe, and the end by the apex j on which account it was, that they ufed 
 to eredl them over fepulchres. Pyramids are always folid and mafly edifi- 
 ces. A Pyramid with a very fmall or narrow bafe is called an obelifk. 
 
 Quadra, in architedure, a name given by Vitruvius to the fquare 
 piece, commonly called the focle, ferving to lupport the pedeftals ot fta- 
 tues, vafes, and other ornaments. It has this name from its fquare figure. 
 
 Quarry, a place under ground, from whence are taken marble, free- 
 ftone, flate, lime ftone, or other matters proper for buildings. Quar- 
 ries of free-ftonc are in many places opened, and the ftone brought out, 
 in the following manner; they firft dig a hole in the manner of a well, 
 twelve or fourteen feet in diameter, and the rubbifti drawn out with a 
 windlafs in large ofier bafkets, they heap up all around, placing their 
 wheel, which is to draw up the ftones, upon it. As the hole advances, 
 and their common ladder becomes too ftiort, they apply a particular 
 ladder for the purpofe. When they have got through the earth, and are 
 arrived at the firft bank or ftratum, they begin to apply their wheel and 
 balkets to discharge the ftones as faft as they dig thro' them. In freeing 
 the ftone from the bed, they proceed thus ; as common ftones, at leaft 
 the fofter kinds, have two grains, a cleaving grain, running parallel with 
 the horizon, and a breaking grain, running perpendicular thereto; 
 they obferve by the grain where it will cleave, and there drive in a num- 
 ber of wedges, till they have cleft it from the reft of the rock. This 
 done, they proceed to break it, in order to which applying the ruler to 
 it, they ftrike a line, and by this cut a channel with their ftone axe; and 
 in the channel, it the ftone be three or four feet long, fet five or fix 
 wedges, driving them in very carefully with gentle blow?, and ftill keep- 
 ing them equally forward. Having thus broken the ftone in length, 
 
 which 
 
2/2 R A B 
 
 which they are able to do of any fize within half an inch, they apply 
 a fquare to the fti aight lide, flrike a line, and proceed to break it in breadth. 
 This way of managing (lone is found vaftly preferable to that where 
 they are broken at random ; one load of the former being found to do 
 the bufinefs of a load and a half of the latter. But it may be obferved, 
 that this cleaving grain being generally wanting in the harder kinds of 
 flones, to break up thefe in the Quarries, they have great heavy flone- 
 axes, with which they work down a deep channel into the ftone ; and 
 into this channel, at the top, lay two iron bars, between which they 
 drive their iron wedges. Some, in dividing the (tone, efpecially the very 
 hard kinds, make ule of gun-powder, with very good ettedt. In order 
 to which, making a fmall perforation pretty deep in the body of the 
 rock, fo as to have that thicknefs of rock over it judged proper to be 
 blown up at once, at the further end of the perforation they difpofe a 
 convenient quantity of gun- powder, filling up all the reft with ftones and 
 rubbirti, ftrongly rammed in, except a fmall place for the train. By this 
 means is the rock blown into leveral pieces, mod of which are not too 
 big to be managed by the workmen. 
 
 QuAKTERs, in building, thofe flight upright pieces of timber placed 
 between the puncheons and ports, ufed to lath upon. Thefe are of two 
 forts, fingle and double : the fingle Quarters are fawn to two inches thick 
 and four inches broad j the double Quarters are fawn to four inches 
 fquare. It is a rule in carpentry, that no Quarters be placed at a great- 
 er diftance than fourteen inches. 
 
 Quarter-Round, in architedlure, a term ufed by the workmen 
 for any projcdling moulding in general whofe contour is a perfeifl qua- 
 drant of a circle, or which approaches near that figure. 
 
 QuiNK, in building, a piece of ground taken out of any regular 
 ground-plot, or floor: thus if the ground-plot were oblong or fquare, 
 a piece taken out of a corner to make a court or yard, &c. is called a 
 Quink. 
 
 Quoins, in architedure, denotes the corners of brick, or rtone 
 walls. The word is particularly ufed for the ftones in the corners of 
 brick buildings. When thefe ftand out beyond the brick-work, their 
 edges being chamfered off, they are called ruftic Quoins. 
 
 R. 
 
 Rabetting, in carpentry, the plaining or cutting of channels or 
 grooves in boards, &c. In fliip carpentry, it fignifies the letting in of 
 the planks of the fliip into the keel ; which, in the rake and mn of a 
 ftiip, is hollowed away, that the planks may join the clofer. 
 
 Raf- 
 
R E L 273 
 
 Rafters, in building, pieces of timber, which {landing by pairs on 
 the reafon or railing piece, meet in an angle at the top, and form the 
 roof of a building, it is a rule in building, that no rafters fhould Hand 
 farther than twelve inches frcm one another. Principal rafters fliould 
 be nearly ?s thick at the bottom as the beam, and fhould diminifli in their 
 length one fifth or one fixth of their breadth : the king-pofts fhould be 
 as thick as the principal rafters, and their breadth according to the big- 
 nefs of thofe that are intended to be let into them, the middle part being 
 left fomewhat broader than the thicknefs. 
 
 Rail, in architedl,ure, denotes thofe pieces of timber which lie ho- 
 rizontally between the pannels of wainfcot. It is alfo applied to thofe 
 pieces of timber which lie over and under balluflers, in balconies, flair- 
 cafes, 8cc. as alfo from port; to pofl in fences with pales or without. 
 
 Raiser, in building, a board fet on edge under the fore-fide of a flap, 
 ftair, &c. 
 
 Raising-Pieces, or Reason-Pieces, in architedure, pieces that 
 lie under the beams, and over the pofts or puncheons. 
 
 Raking-Table, or Rared-Table, among architedls, is a mem-^ 
 ber hollowed in the fquare of a pedeflal, &c. 
 
 Rampart, in civil architecture, is ufed for the fpace left between the 
 wall of a city, and the next houfes. 
 
 Ranging, in building, fignifies running flraight, when the fides of a 
 work do not break into angles. 
 
 Reduct, in building, a quink or little place taken out of a larger, to 
 make it more uniform and regular ; or for feme other convenience, es 
 for a little cabinet afide of a chimney, for alcoves, 8cc. 
 
 Reglet, in architedlure, a fiat narrow moulding, ufed chiefly in pan- 
 nels and compartments, to feparate the parts or members from one ano- 
 ther, and to form knots, frets, and other ornaments. 
 
 Rejointing, in architefture, filling up the joints of the flones in 
 buildings. 
 
 Relievo, or Relief, in fculpture, &c. the projedlure, or flanding 
 out of a figure, which arifes prominent from the ground or plane on 
 which it is forrred ; wheiher that figure be cut with the chifTel, mould- 
 ed or caft. There arc three kinds or degrees of relievo, viz. alto, bafib, 
 and demi-relievo. The alto-Relievo, called alfo haut-Relief or high 
 Relievo, is when the figure is formed after nature, and projedt^ as much 
 as the life. Eaflb-Rehevo, bafs-Relief, or low Relievo, is when the 
 work is raifed but a little from the ground, as in medals, and the fron- 
 tifpieces of buildings j and particularly in the hiflories, feftoons, fo- 
 liages, and other ornaments of friezes. Demi-Relievo is when one half 
 of the figure rifes from the plane. When, in a balfo-Relievo, there are 
 
 A a a a parts. 
 
274 R O O 
 
 parts that ftand clear out, detached from the red-, the work is called 
 demi-baflb, 
 
 in architedure, the Reh'evo or projedture of tlie ornaments, ought 
 always to be proportioned to the magnitude of the building it adorns, and 
 to the dirtance at which it is to be viewed. 
 
 Relievo, or Relief, in painting, is the degree of boldnefs with which 
 the figures feem, at a due ditlance, to iland out from the ground of the 
 painting. 
 
 Resault, in a-chitecture, is the effedl of a body which either pro- 
 jeds or finks back ; that is, ftands more out or in, than another, fo as to 
 be out of the line or level with it. 
 
 Researching, in fculpture, the repairing of a caft figure, &c. with 
 proper tools ; or the finirtiing it with art and e.xadnefs, fo as the minutell 
 parts may be well defined. 
 
 Return, in building, is a fide or part that falls away from the fore- 
 fide of any ftraight work. 
 
 Ridge, in building, the higheO; part of the roof, or covering of a 
 houfe, (Sec. 
 
 Ring, in architedure, a name by which many call the lill:, cindure, 
 or fillet, on columns, a narrow flat moulding. 
 
 Roof, in architedure, the uppermoft part of a building. The Roof 
 contains the timber-work, and its covering of (late, tile, lead, &c. though 
 carpenters ufually reftrain the word to the timber-work only. The form 
 of Roofs is various ; fometimes it is pointed, in which cafe the moll 
 beautiful proportion is to have its profile an equilateral triangle : fome- 
 times it is fquare, that is, the pitch or angle of the ridge is a right angle, 
 which therefore is a mean proportion between the pointed and flat Roof, 
 which lafl: is in the fame proportion as a triangular pediment : this is 
 chiefly u(ed in Italy, and the hot countries, where there is but little fnow. 
 Sometimes Roofs are made in the pinnacle form ; fometimes they have a 
 double ridge; and fometimes they are mutulated, that is, confill of a 
 true and falle Roof, which is laid over the former : fometimes again they 
 are in the form of a platform, as mod of the eaftern buildings are ; and 
 fometimes they are truncated, that i?, infi:ead of terminating in a ridge, 
 the Roof is cut fquare ofi^at a certain height, covered with a terras, and 
 inccmpafied with a balluftrade ; and fometimes, again, a Roof is made 
 in the manner of a dome. When the walls have been raifed to their 
 defigned height, the vaults made, the joifts laid, the ftairs, occ. brought 
 up, then the Roof is to be raifed, which embracing every part of the 
 building, and with its weight equally prefling upon the walls, is a band 
 to all the work: and befides, defends the inhabitants from rain or fnow, 
 the burning heat of the fun, and the moiflure of the night, and is of no 
 
 final I 
 
R U S 275 
 
 fmall advantage to the building, in cafling off the rain water from the 
 walls. 
 
 Rose, in architedlure, an ornament cut in the form of a Rofe, chiefly 
 ufed in cornices, friezes, vaults of churches, &c. and particularly in the 
 middle of each face in the Corinthian abacus. In what is called the Spanidi 
 order, a lion's head is put in the place of the Rofe, in the center of the 
 abacus. It is to be obferved, that the ancients always ufed a tlower in this 
 place, but they did not always reprefent a Rofe or mean that flower, 
 though we have a way of calling whatever we fee there in old remains by 
 that name. In the temple of Vefta the flower is compofed of a number 
 of narrow and pointed leaves, and has a large conic body in the center : 
 in the campus Vaccinus there arc three Corinthian columns, and the 
 flower on the abacus is compofed of broad indented leaves, and has a 
 roundish body in the center, refembling a goofeberry j and in the bafilic of 
 Antonine the flower confifts of a great number of narrow leaves very dif- 
 ferent in their lengths, and has a conic body in the center compofed ot 
 three or four parts. 
 
 Rotunda, in architedlure, an appellation given to any building that 
 is round both within and without fide, whether it be a church, falon, or 
 the like : the Rotunda at Rome, called alfo the Pantheon, is famous, 
 and the chapel of the Efcurial, which is the burying place of the kings 
 of Spain, is of this form ; as is alfo the Pantheon in Oxford Street. 
 
 RuDENTURE, in architedure, the figure of a rope or ftaff, fometimes 
 plain, fotnetimes carved, with which the third part of the flutings of co- 
 lumns are frequently filled up. 
 
 RuDERATioN, in building, a term ufed by Vitruvius for the laying of 
 pavement with pebbles. To perform the Ruderation it is neceflary that 
 the ground be well beaten, to make it firm, and to prevent it from crack- 
 ing ; then a ftratum of little ftones is laid, to be afterward bound together 
 with mortar made of lime and fand. If the fand be new, its proportion 
 may be to the lime as three to one ; if dug out of old pavement or walls, 
 as five to two. 
 
 Rustic, in architedlure, implies a manner of building in which every 
 thing that is rough and coarfe is affedled to be ufed, and where an ap- 
 pearance of nature is more ftudied than the rules of art. When the ftones 
 in the face of a building are purpofely cut and hacked into an irregular 
 roughnefs, this is called Ruftic work. Ruftic work and Ruftic quoins 
 are commonly ufed in the bafementpart of a building. 
 
 Salon, 
 
«76 SAW 
 
 s. 
 
 Salon, or Saloon, in architeflure, a great room intended for ftate, 
 or for the reception of paintings, and ufually comprehending two ftories, 
 or ranges of windows. Its place is in the middle of 'a houfe, or at the 
 head of a gallery, and it is a kind of magnificent hall, fpacious, and con- 
 tinued with fymmetry on all its fides, and coved at the top. It may be 
 fquare, oblong, orodagonal, or of other regular forms. The Salon at 
 Blenheim houfe is a very fine one : the purpofe for which thefe rooms 
 were originally contrived was the reception of great vifitors. 
 
 Saw, an inftrument which ferves to cut into pieces feveral folid mat- 
 ters, as wood, ftone, ivory, &c. The beft faws are of tempered fleel, 
 ground bright and fmooth j thofe of iron are only hammer-hardened : 
 hence the firft, befides their being fliffer, are likewife found fmoother 
 than the laft. They are known to be well hammered by the flifF bending 
 of the blade -, and to be well and evenly ground, by their bending equally 
 in a bow. The edge in which are the teeth, is always thicker than the 
 back, becaufe the back is to follow the edge. The teeth are cut and 
 fharpened with a triangular file, the blade of the faw being firft fixed in 
 a whetting block. After they have been filed the teeth are fet, that is, 
 turned out of the right line, that they may make the kerf or fifl"ure the 
 wider, that the back may follow the better. The teeth are always fet 
 ranker for coarfe cheap ftuffthan for hard and fine, becaufe the ranker the 
 tetth are fet the more ftuflfis loH: in the kerf. The Saws by which mar- 
 ble, and other flones are cut, have no teeth . ihele are generally very 
 large, and are flretched out and held even by a frame. The workmen 
 who make the greatefl ufe of the Saw, are the Sawyers, carpenters, joiners, 
 cabinet-maker?, ebonifts, ftone-cutters, carvers, fculptors, &c. But 
 of all mechanics, none have fo many Saws as the joiners j the chief are 
 as follow i the pit-Saw, which is a large two-handed Saw, ufed to faw 
 timber in pits; this is chiefly ufed by the fawyers. The whip Saw, 
 which is alfo two-handed, ufed in favving fuch large pieces of ilnff as 
 the hand Saw will not eafily reach. The hand-Saw, which is made for 
 a fingle man's ufe, of which there are various kinds; as the bow or 
 frame-Saw, which is furnifhed with cheeks : by the twifted cords which 
 pafs from the upper parts of thefe cheeks and the tongue in the middle 
 of them, the upper ends are drawn clofer together, and the lower fet 
 further apart. The tennon-Saw, which being very thin, has a back 
 to keep it from bending. The compafs Saw, which is very fmall, and 
 its teeth ufually not fet ; its ufe is to cut a round, or any other com- 
 pafs-kerf : hence the edge is made broad and the back thin, that it may 
 have a compafs to turn in. 
 
 Scaffold, 
 
S C U 277 
 
 Scaffold, among builders, an aflemblage of planks and boards, fuf- 
 tained by treflels and pieces of wood fixed in the walls whereon mafons, 
 bricklajers, &c. ftand to work in building high walls, &c. and plaf- 
 terers in plaRering ceilings, &c. Scaffold alfo denotes a timber-work, 
 raifed in the manner of an amphitheatre, for the more commodious view- 
 ing any fliew or ceremony ; it is alfo ufed for a little ftage, raifed in fomc 
 public place whereon criminals are executed. 
 
 Scale, in architedlure, a line divided into equal parts, placed at the 
 bottom of a map, or plan, to ferve as a common meafurefor all the parts 
 of the building. 
 
 ScAPUs, a term ufed to exprefs the fhaft of a column ; that part which 
 is between the bafe and capital. 
 
 ScENOGRAPHY, in perfpedivc, the reprefentation of a body on a perf- 
 pedtivc plane ; or defcription thereof in all its dimenfions, fuch as it ap- 
 pears to the eye. The ichnography of a building, &c. reprefents its plan 
 or ground -work j the orthography is a view of the front, or one of its 
 fides ; and the Scenography is a view of the whole building, front, fides, 
 height, and all raifed on the geometrical plan. To exhibit the Sceno- 
 graphy of any budy. i. Lay down the bafis, ground-plot, or plan of 
 the body. 2. Upon the feveral points of the plan raife the perfpedlive 
 heights ; thus will the Scenography of the body be completed, excepting 
 that a proper (hade is to be added. 
 
 Scotia, in architcdlure, the name of a hollow moulding principally 
 ufed between the torus's of the bale of columns, and fomewhat relem- 
 bling a large pulley. It is the fame called by many trochilus, and the 
 concave member. The Scotia has an efFecl jufl: oppofite to the quarter- 
 round, and authors fometimes call it the cafement. 
 
 Scribing, in joinery, &c. a term ufed when one fide of a piece of 
 fluff is to be fitted 10 another that is irregular. In order to make thefe 
 join clofe all the way, they fcribe it, that is, they lay the piece to be 
 fcribed clofe to the other they intend to fcribe it to, and opening their 
 compafies to the widefl: diltance thefe two pieces ftand from each other, 
 they bear the point of one of the legs againll the fide they intend to fcribe 
 to, and with the othtr point draw a line on the rtaff to be fcribed. Thus 
 they form a line on the irregular piece parallel on the edge of the regular 
 one ; and if the ft^ff bs cut exadlly to the line, when thefe pieces arc put: 
 together, t cy will feem a joint. 
 
 Sculpture, an art whi-h, by the means of a defign or plan, and of 
 folid matter, imitates the palpable objeds of nature. Its matter is wood, 
 ftone, marble, ive.ry, different matters, as gold, filver, copper, precious 
 Hones, as agate and the like, This art includes, alfo, cafling or found- 
 ing, which is fiibdivided into the art of making figures of wax, and. 
 that of calling them in all forts of metals. By Sculpture we underfland 
 
 B b b b ' liers 
 
2/8 S C U 
 
 liere nil thofc different fpecles. The fculptors and painters have often had 
 grfiit difputes among themfelves, upon the pre-eminence of their feveral 
 proftuions ; the firft founding the preference upon the duration of their 
 works, and the latter oppofmg them wiih the effeds of the mixture and 
 vivacity of colours. But, without entering into a queftion notealy to de- 
 cide, Sculpture and painting may be confidered as two fifters that have 
 hut one origin, and whofe advantages ought to be common; we mit'.ht 
 almoft fay, as the fame art, of which defign is the foul and rule, but 
 which work in a different manner^ and upon diffl-rent materials. It is 
 difficult, i-nd little important, to trace through tht- obfcurity of remote 
 ages, the firft inventors of Sculpture, Its origin may be dated with that 
 ot the world, and we may fay that God was thf lirft ftatuary, when, 
 having created all beings, he feemed to redouble Wis attention in forming 
 the body of man, for the beauty and perkdlion of which he feems to 
 have VvTouaht with a kind of latisfafticn and complacency. The firfl 
 fculptors made their works of earth, whether they were iVitues, or moulds 
 and models. This made the ftatuary Piaxiteles hy^ tjjat the works which 
 were cither caft, or cut wiih a chiflcl or graver, owed their being to the 
 making of figures cf earth, called plallice. It is faid, that Demaratus, 
 the father of Tarquinius Prifcus, who took refuge from Corinth in Etru- 
 ria, brought thither abundance of workmen with him, who excelled in 
 that art, and introduced the tafte for it there, which afterwards commu- 
 nicated itfelf to the refl of Italy. The ftatues erefted in that country to 
 the Gods, were at firlt only of earth, to which, for the whole ornament, 
 was added a rtd colour. We ought not to be afliamed of the men, fays 
 Pliny, who adored fuch Gods. They fet no value upon gold and filver, 
 either themfelves or their .deities. We find that the ancients made ftatues 
 cf almoft all forts of wood. There was an image of Apollo at Sicyone 
 made of box. i\t Fphelus, according to fome writers, that of Diana 
 was of cedar, ss well as the roof of the temple. The lemon-tiee, the 
 cyprefs, the. palm, the olive, the ebony, the vine, in a word, all trees not 
 fubjefl to rot, or to be worm-eaten, were uled for ftatues. Marble foon 
 became the moft ufual and moft efteemed material fjr works of Sculpture. 
 It is believed that Dipsenes and Scyllis, both of Crete, were the firft that 
 ufedit at Sicyone, which was long, in a manner, the center and fchool 
 of arts ; they lived about the ^oth Olympiad, a little before Cyrus reign- 
 ed in pcrfia. Bupalus and Anthermus, two brothers, made themielves 
 famous for the art of carving marble in the time of Hipponax, that is, in 
 the eoth Olympiad. That poet having a vtry ugly face, they made his 
 portrait, in order to expole it to the laughter of Ipcdtators. Hipponax 
 conceived a more than poetic futy againft them, and made fuch virulent 
 verfes upon them, that, according to feme, ihcy hanged themfelves through 
 
 grief 
 
S E S 
 
 279 
 
 grief and fliame. But this cannot be true, becaufe there were works of 
 their making after that time. 
 
 It is believed, that the manner of cutting large blocks of marble into 
 many thin pieces, to cover the walls of houfes, was invented in Cairo. 
 The palace of king Maufolus, at MalicarnafTus, is the moft ancient houfe 
 that had thefe incruftations of marble, which were one of its greatell: or- 
 naments. The ufe of ivory, in works of Sculpture, was known fom the 
 earliefl: ages of Greece. Homer fpeaks of them, though he never men- 
 tions elephants. 
 
 The art of carting in gold and filver is of the greatefl antiquity, and 
 cannot be traced to its origin. The Gods of Laban, wfiich Rachael 
 ftole, feem to have been of this kind. 7 he jewels offered to Rebecca 
 were of cart: gold. Before the Ilraelites left Egypt, they liad I'een cait 
 rtatues, which they imitated in carting the golden calf, as they did after- 
 wards in the brazen ferpent. From that time all the nations of the Eaft 
 cart their gods, deos conflatiles, and God forbad his people toimitste them 
 upon pain of death. In the building of the tabernacle, the workmen 
 did not invent the art of founding; God only direded their tafte. It is 
 faid that Solomon caufed the figures ufed in the temple, and eliewhere, 
 to be cart near Jericho, becaufe it was a clayey foil, which fhews that they 
 had even then the fame manner of founding great mafles as we have. 
 
 Sealing, in architedfure, the fixing a piece of wood or iron in a wall, 
 with plarter, mortar, cement, lead, and other folid bniding. For rt:a- 
 ples, hinges, and joints, plarter is very proper. 
 
 Section of a Biiildiug^ in architecture, is the fame with its p-ofilej 
 or a delineation of its heights and depths railed on a plane, as if the fa- 
 bric was cut alunder to dif.over its infide. 
 
 Sell, among builders, the lowert piece in timber-building, being that 
 on which the whole fuperftrudlure is raifcd. It is alio applied by fume 
 to the bottom part of a window frame. 
 
 Sepulchre, is a tomb or place dertined for the interment ot the ilead. 
 It is chiefly ufed in fpeaking of the burial places of the ancients : tnole 
 of the moderns are ufually called tombs. 
 
 Seraglio, among the oriental builders, the palace of a prince or 'o-d, 
 but it is ufed by way of excellence for the piiacc of the Grand Signior 
 at Conrtantinople. 
 
 SiiSSi'ooL, a well or deep hole funk under the drain for the reception 
 of fediment, 'and other grols matter : which, if not preven'ed, would 
 choak and ftop the drain. The direftion to be given to the builder uitn 
 rel'pect to thefe Sefipools, is, that they be fo contrived, that tiicy may 
 be cleaned at times without ditiiculty, for otherwifd they would ti!! up, 
 though ever fo large, and then the evil would be communicated 10 the 
 
 draiui : 
 
28o S O C 
 
 drains ; they would hll up the next, and all would take the fame ill turn, as 
 if the drains had originally been made too fmall. 
 
 Sf.wek, a drain, conduit, or conveyance, for carrying off water, foil- 
 age, 6cc. from a houfe, ftreet, field, or the like. It is ncceffary that 
 every houfe have conveniences for difcharging its refufe water, and other 
 ufelefs and offenfive matters ; thefe are obtained by digging and laying Sew- 
 ers and drains at proper depths, and with the needful outlets. As to Sew- 
 ers and drains, the great care is that they be large enough j that they be 
 placed deep enough, and have a proper defcent; that they be well arched 
 over, and have fo free a paiTage, that there be no danger of their choak- 
 ingup ; the cleaning them being a work of trouble and cxpence. 
 
 Jnftead of making the bottom of the Sewer a flat floor, let it be in form 
 of an inverted arch, anfwering in part to the fweep of the arch above. 
 Every one knows that the freefl: paffage that can be, is through circular 
 channels, and thefe would fufficiently wear that form ; they would in a 
 manner refemblc fo many vafl: water-pipes of a circular bafe, and there 
 would be no danger of their filling up. The perpendicular walls would 
 detain nothing, becaufe there are no angles in their joining ; and the bot- 
 tom being round and free, all would run off eafily and as it fhould. The 
 thickeft water would pafs fuch a drain, if it moved tolerably quick, with- 
 out depofiting any fettlement ; and if, from a very flow motion, fome fmall 
 matter fhould lie at one time, it would be carried off by the next quanti- 
 ty that made its way through the drain. This method of conftrudling 
 Sewers is ufed very fuccefsfully under the building of the horfe-guards. 
 
 Shaft, in architedlure, is a term ufed to exprefs that part of a co- 
 lumn which is between the bafe and capital; this is in a manner the 
 whole column, and is called alfo the fufl', the trunk, or the body of the 
 column. 
 
 Shank, in archite(fture, a name given to the two interflicial fpaccs be- 
 tween the channels of the triglyph in the Doric freeze j they are fome- 
 times called legs of the triglyph. 
 
 Shingles, among builders, fmall pieces of wood, in the form of 
 wedges, fuur or five inches broad, and eight or nine long. They are ufed 
 inflead of tiles or flates for covering the roofs. Sec. of buildings. 
 
 Slab, an outlide lappy plank or board fawed off from the tides of a 
 timber- tree ; the word is alfo ufed for a flat piece of marble. 
 
 Slate, a bluifli foflile ftone, very fott when dug out of the quarry, 
 and therefore eafily cut or fawed into thin Ijng fquares, to ferve inflead 
 cf tiles for the covering of houfes ; alfo for making tables, &c. 
 
 Socle, or Zocle, in architedlure, a fquare piece broader than it is 
 high, and ferving to place under the bafes of pedeflals to fupport vafes 
 and other ornaments. We have mentioned the continued pedeftal for co- 
 lumns and other purpofes 3 there is alfo a continued Socle, which is a 
 
 kind 
 
S T A 281 
 
 kind of rtand without either bafe or cornice, carried round a whole build- 
 ing, and called a plinth. The word is derived from the Latin, foccus, a 
 flioe. 
 
 Soffit, in archite(5lure, any timber cieling, formed of crofs beams of 
 flying corniches, the fqu.ire compartments or pannels of which are en- 
 riched with fculpture, painting or gildings fuch are thofe in the palaces 
 of Itsly, and in the apartments of Luxembourg at Paris. This word is 
 particularly ufed for the under fide or face of an architrave, and for that 
 of the corona or larmier, which the ancients called lacunar. The French 
 plafond; and we ufually the drip. It is enriched witli compartments of 
 rofes, and has eighteen drops in the Doric order difpofcd in three ranks, 
 fix in each, placed to the right hand of the gutts, and at the bottom of 
 the triglyphs. 
 
 Softening, in painting, the mixing and diluting of colours with the 
 brufh or pencil. To foften defigns in black and white made with the 
 pen &c. fignifies to weaken the tint. To foften a portrait, is to change 
 Ibme of the ftrokes, and give a greater degree of fvveetnefs and foftnefs to 
 the air thereof, which before had fomething rough and harfh in it. 
 
 Sol I Di TV, in archite(5ture, is applied both to the confiftence of the 
 ground whereon the foundation of a building is laid j and to a mafs of 
 mafonry of extraordinary thicknefs, without any cavity therein. 
 
 SuLivE, in building, a rafter, joirt, or piece of wood flit or fawed, 
 wherewith builders lay their cielings. The thicknefs of them uifl^cr ac- 
 cording to their length, and their diftances are commonly equal to their 
 depth 
 
 SouBAissEMENT, a French term appropriated by fome architeds, and 
 flgnifying a continued focle, or a continued flrind or pedeflial, without 
 bafe or cornice, carried round a whole building. 
 
 Spanish Order, an order, as it is called, in architecture, in which" 
 the proportions diflrer little from thofe of the Corinthian, but there is a 
 lion's head infl:ead of a rofe in the center of the abacus. 
 
 Spiral, in architedure and fculpture, implies a curve that afcends, 
 winding about a cone or fpire, fo as all the points thereof continually ap- 
 proach the axis. It ii diftinguiftied from the helix by its winding around 
 a cone ; whereas the helix winds in the fame mmner around a cylinder. 
 
 Spire, in architedure, was ufed by the ancients for the bale of a co- 
 lumn, and fometimes for the aftragal or tore. But among the moderns it 
 denotes a fteeple that continually diminiilies as it afcends, whither coni- 
 cally or pyramidically. 
 
 Stair-Case, in architedure, the afcent inclofed between walls, or a 
 balluftrade, connfting of flairs, or fleps, with landing-places, and rails, 
 ferving to make a communication between the feveral ftories of a houfe. 
 The confliudiun of a complete flair-cafe is one of the moil; curious 
 
 C c c c works 
 
282 S T A 
 
 works in architeiftuic. The common rules to be obfervcd therein are as 
 follows : I. That it have a full free light to prevent accidents of flipping, 
 falling, 6cc. 2. That the fpace over-head be large and airy, which the 
 Italians call un hel sfocato, i. e. good ventilation, in regard a man fpends 
 much breath in mounting. 3. That the half paces of landing-places, 
 be conveniently diftributed for re-paffing in the way. 4. That to prsvent 
 rencounters, &c. the ftair-cafe be not too narrow ; however, this lafi: is 
 to be regulated by the quality of the building. 5. That care be taken in 
 placing the fiair-cafe, fo as the flairs may be diftributed without preju- 
 dice to the reft of the building. 
 
 Statuary, a branch of Sculpture employed in the making of fla- 
 tues. Statuary is one ol thofe arts wherein the ancients (urpdfTed the mo- 
 derns ; and indeed it was much more popular, and more cultivated among 
 the former than the latter. It is difputed between Statuary and painting, 
 which of the two is the moft difficult and the moft artful. Statuary is 
 alfo uled for the artificer who makes ftatues. Phidias was the grcateft 
 Statuary among the ancients, and Michael Angelo among the moderns. 
 
 Statue, is defined to be a piece of fculpture in full relievo, repre- 
 fenting a human figure. Daviler more fcientifically defines Statue a re- 
 piefentation in high relievo and infulate, of fome perfon dillinguifhed by 
 his birth, merit, or great adlions, placed as an ornament in a fine build- 
 ing, or expofed in a public place, to preierve the memory of his worth. 
 In flridlnefs, the term Statue is only applied to figures on foot, the word 
 being formed from Stature, the fize of the body. Statues are formed 
 with the chiflel of feveral matters, as flone, marble, plafler, &c. They 
 ate alfo cafe of various kinds of metal, particularly gold, ftlver, brafs, and 
 lead. 
 
 Statues are ufually diflinguiflied into four general kinds; the firft are 
 thole leis than the life, of which kind we have feveral Statues of great 
 men, of kings and of Gcds themfelves ; the fecond are thofe equal to 
 the life, in which manner it was that the ancients, at the public expence, 
 ufed to make Statues of perfons eminent for virtue, learning, or the fer- 
 vices they had done ; the third, thofe that exceed the life, among which, 
 thofe which furpafled the life once and a half, were for kmgs aiid errpe- 
 rors, and thofe double the life, for heroes; the fourth kind were tliofe 
 that exceeded the life twice, thrice, and even more, and were cad d co- 
 luffes. Every Statue refembling the perfon it is intended to repreient, is 
 called Jlatua iconica. Statues acquire various other denominations, i. 
 Thus allegorical Statue, is that which, under a human figure^ or other 
 fymbol, reprefents fomething of another kind, as part of the earth, a 
 feafon, age, element, temperament, hour, &c. 2. Curule Statues, are 
 thofe which are reprefentcd in chariots drawn by bigas, or quadrigaE, that 
 is, by tw o, or four horfcs ; of which kind there were feveral in the circufes, 
 
 hippodromes, 
 
S T I 283 
 
 dromes, &c. or in cars, as we fee feme with triumphal arches, on antique 
 medals. 3. Equeftrian Statue, that which reorefents fome illuftrious per- 
 fon on horfe-baclc, as that famous one of Marcus Aurelius, at Rome; 
 that of king Charles the Firft, at Charing-crofs ; king George the Sscond 
 in Leicefter Fields; the late duke of Cumberland in Cavendilh Square, &c. 
 4. Greek Statue denotes a figure that is naked and antique; it being in 
 this manner the Greeks reprefented their deities, athletss of the o'.ympic 
 games, and heroes ; the Statues of heroes were particularly called achil- 
 lean ftatues, by reafon qf the great number of figures of that prince in 
 moft of the cities of Greece. 5. Hydraulic Statue, is any figure placed 
 as an ornament of a fountain or grotto, or that does the office ot a jet 
 d'eau, a cock, fpout, or the like, by any of its parts, or by any attribute 
 it holds ; the like is to be underftood of any animal ferving for the fame 
 ufe. 6. Pedeftrian Statue, a Statue, ftanding on foot ; as that of king 
 Charles the Second, in the Royal Exchange ; and of king James the Se- 
 cond in Privy Gardens. 7. Roman Statue, is an appellation given to fuch 
 as are cloathed, and which receive various names from their various dref- 
 fes. In repairing a Statue cafl: in a mould, they touch it up with a chil- 
 fel, graver, or other instrument, to finilli the places which have not come 
 well efF; they alfo^clear the barb, and what is redundant in the joints and 
 projeftures. 
 
 Steeple, an appendage erected generally on the weftern end of a 
 church, to hold the belh. Steeples are denominated from their form, ei- 
 ther fpires or towers; the firft are fuch as afcend continually, diminifli- 
 ing either conically or pyramidically. The latter are more parallelopipeds, 
 and are covered at the top platform-like. In each kind there is ulually a 
 fort of windows or apertures to let out the found, and fo contrived at the 
 fame time, as to drive it down. 
 
 Still-House. The Dutch have much the advantage of us in the 
 flrudlure of their Still-houtes. The general rules in building in thofe 
 houfes, according to Shaw, fhould be fuch as follow. The hrlt caution, 
 is, to lay the floor aflope, not flat, where any wet work is to be perform- 
 ed. Itfhould alfo be well flagged, with broad flones, fo that no wet be 
 detained in the crevices, but all may run off, and be let out at the drains 
 made at the bottom and fides. The Stills (hould be placed a-breaft on 
 that fide of the Still-houfe to which the floor has its current. Fronting 
 the Stills, and adjoining to the back of the wall, fliould be a flage for 
 holding the fermenting backs, and thefe being placed at a proper height, 
 may empty themfelves by means of a cock and a canal into the Stills, 
 which are thus charged with very little trouble. Near this fet of fer- 
 menting backs fhould be placed a pump or two, that they may readily 
 fupply them with water, by means of a trunk, or canal, leading to each 
 back ; under the pavement, adjoining to the Stills, fliould be a kind of 
 
 cellar. 
 
284 SYS 
 
 cellar, wherein to lodge the receivers, each of which fiiould be furnilhed 
 with its pump, to raife the low wines into the Still for redification, and 
 through this cellar the refufe wafh, or Still bottoms, fliould bedilcharged 
 hy means of a hofc, or other contrivance. 
 
 Str]^, in ancient architedlure, the lifts, fillets or rays which feparate 
 the ftriges or flutings of columns. 
 
 Strides, in archittdlure, a term by which fome exprefs the flutings or 
 channellings on the fhafts of columns, fuppofed intended originally to re- 
 prefent the folds in a garment. 
 
 Striures, in archite(flure, a term by which fome alfoexprefs the flu- 
 tings of columns. Vitruvius calls them by this name, and tells us they 
 were originally intended to reprefent the foldings in a garment. 
 
 Summer, in architecture, a large ftone, the firft that is laid over co- 
 lumns and pilaHers, in beginning to make a crofs vault, or it is the ftone 
 which, being laid over a piedroit or column, is hollowed to receive the 
 firft haunce of a platband. In carpentry, it is a large piece of timber, 
 which being fupported on two ftone piers or pofts, lerves as a lintel to a 
 door, window, &c. 
 
 SuPERciLiUM, in the ancient architedlure, the uppermoft member of 
 thecorniche, called by the moderns corona, crown, or larmier. It is 
 alfo ufed for a fquare member, under the upper tore in fome pedeftals ; 
 fome authors confound it with the tore itlelf. 
 
 Swallow's Tail, in carpentry and joinery, a peculiar way of faften- 
 
 ing together two pieces of timber fo ftrongly as they cannot fall afunder. 
 
 Swelling, in architedlure, a term uled to exprefs an encreafe of dia- 
 
 meter, in a part of the column between the bafe and the capital. This 
 
 many declare to be unnatural, but it has the authority of great mafters. 
 
 Symmetry, in architcdure, is the proportion which the feveral parts 
 of a building have to one another, and to the whole. In what is called 
 uniform lymmetry there is this proportion oblerved through a whole fa- 
 bric, and all its parts have the fame relation one to another ; in refpedive 
 Symmetry, only the oppofite fides are expecfled in this particular and ex- 
 adl manner to cor-cfponrl to one another. The word is however gene- 
 rally ufed to exprefs tiiat relation and due proportion which runs through 
 a whole building. 
 
 Systyle, this term is ufed to exprefs one of the intercolumniations 
 or fpaccs between columns. In the byftyle difpofition, the intercolum- 
 niation is four modules, or two diameters of the column. 
 
 Table 
 
T E M 285 
 
 T. 
 
 Table, in architedlure, a fmooth, fimple member or ornament of 
 various forms, but molt ufually in that ol a long fquare. A projcdling 
 Table is that which ftands out from the naked of the wall, pedellal, or 
 other matter it adorns. Raked-Table, is that which is hollow in the 
 die of a pedeftal, or elfewhere, and is ulually encompaifed with a mould- 
 ing. Razed-Table, is an emboffment in a fiontifpiece for the putting 
 an infcription, or other ornament, in fculpiure. This is what M. Per- 
 rault underftands by abacus in Vitruvius. Crowned Table, that which 
 is covered with a corniche, and which a baffo relievo is cut, or piece of 
 black marble incruftrated for an inlcription. Rufticated-Table, that 
 which is picked, and whofe furface feems rough, as in grottos, &c. 
 
 Tgcnia, in architecture, a member of the Doric capital, refembling 
 a fquare fillet, or reglet ; it ferves inflead of acymatium. 
 
 Talon, in architecture, a kind of moulding, which confifts of a 
 cymatium, crowned with a fquare fillet, frequently found to terminate 
 joiners works, as thofe of doors, windows, &c. 
 
 Talus, or Talut, in architedure, the inclination or flope of a 
 work; as of the outfide of a wall, when its thicknels is diminiflied by 
 degrees, as it rifes in height to make it the firmer. 
 
 Tambour, i;) archiict^l:ure, a term applied to the Corinthian and Com- 
 pofite capitals, as bearing fome refemblance to a drum, winch the 
 French call Tambour. Tambour is alio ufed tor a little box of timber- 
 work covered with a ceiling, within fide the porch of certain churches, 
 both to prevent the view of pcrfons paffing by, and to keep off the 
 wind, &c. by means of folding doors. It alio denotes a round coarfe 
 ilone, feveral of which form the Chaft ot a column not (o high as a 
 diameter. 
 
 Templk, a general name for places of public worfhip, whether Pagan, 
 Chriftian, or otherwife. But the word, in a retrained (enfe, is uled to 
 denote 'he places or edifices, in which the Pagans offered facrifice to their 
 falfe gcds. Thus we hear of the temples Jupiter, Apollo, Bacchus, &c. 
 
 Temples were built and adorned with all poflible iplenduur and mag- 
 nificence, partly out of the great refpedt they bore to the gods, and 
 partly to create an awe and reverence in the wo.-fliippers. They were 
 conftru(!:l:ed in the manner which was thought moll; agreeable to the gods, 
 to whom they were dedicated. Thus Jupiter, they thought, took moft 
 delight in pillars of the Doric order; Bacchus in the Ionic, and Vefla 
 in the Corinthian ; though this rule was not univerfally or conftantly 
 obfeived. As to the places where Temples where built, they maae choice 
 
 D d d d of 
 
2S6 T E R 
 
 of thofe with a view to thedlfpofition of particular deities. Hence fome 
 were erefled on the tops of mountains, ethers in vallies, and others in 
 cities. Thofcbuikin the country were generally furrounded with groves 
 facred to the tutelar deity of the place; and wherever they flood, it was 
 fo contrived, that the windows being opened, might receive the rays of 
 the rifing-fun. Tiie moft antient fituation was with the front towards 
 the weft, and the altars and ftatiies at the eaft end, it being a cuftoni 
 among the heathens to worfhip with faces towards the eaft, fo as that the 
 doors being open, fliou'd receive the rifing-fun. If the temples were 
 built by the fide of a river, thev were to look towards the banks of it; 
 if near t!ie high- way, they vve:e {) fituated that travellers might have a 
 fair profpeil of them, and pay their devotion as they p,fled by. Tem- 
 ples, according to the number and difference of their columns, were 
 divided into tetraftyle, proftyle, amphiproftyle, periptere, diptere, 6cc. 
 
 Tetrnliyle Temple, a Temple that had tour columns in front, and as 
 many behind, — as the Temple of Fortuna Virili?, at Rome. 
 
 Proftyle Temple, that which had only columns in its front or fore- 
 fide, — as that of Ceres, at Eleufis, in Greece. 
 
 Ampbyprofix^e or doukle Pro/iy'e Tt:n\^\e. That which had columns 
 both before and behind, and which was alfo tetraftyle. 
 
 Feriptcre Temple, that which had four rows of infulated columns 
 around, and was hexaftyle, that is, had fix columns in front, — as the 
 Temple of Honour, at Rome. 
 
 Diptere Temple, that which had two wings, and two rows of columns 
 around, and was alfo odtoftyle, or had eight columns in front, as that 
 of Diana at Ephefus. 
 
 Temples, among u<:, denote inns of court, thus called, becaufe 
 formeily the dwelling-houfi of the Knights-Templars. Alfo fmall ele- 
 gant buildings in the gardens of tne nobility and gentry. 
 
 Tenon, in building, &c. the fquare end of a piece of wood, or me- 
 tal, diminilhed by one third of its :hickiiefs, to be received into a hole 
 in another piece, called a mortife, for the jointing or faftenintr the two 
 together. It is made in various forms, fquare, dove-tailed for double 
 mortifes, and the like. 
 
 Terminus, in architedure, a kind of column adorned at the top with 
 the he.id, and lomctimes part of the body of a man, woman, or Pagan 
 de:tv ; and in the lower part diminiihing into a kind ot a fheath or fcab- 
 bard, as if the remainder < f the figure were received into it. The com- 
 mon ule of the termini is by way of ftatues to adorn gardens, but they 
 are fometimes alio placed as confoles or brackets to fupport entablatures. 
 Thvfe are varied greatly in the execution, fgmc being ruftic, others dou- 
 ble, and ihe like. 
 
 Theatre 
 
T I M 287 
 
 Theatre, a public edifice for the exhibiting of fcenic fpedacles, or 
 flievvs, to the people, comprehending not only the eminence on which 
 the adlors appeared, and the adtion palled, but alfo the whole area cf the 
 . place, common to the adtors and fpedtators. The Romans borrowed 
 the foim of their theatres from thole of the Greeks, which were gene- 
 rally built in the fliape of a femicircle, encompafled with porticos, and ' 
 fiirnlflied with feats of Hones, difpofed in femi-circles, rifing gradually 
 one above another. The principal parts of the ancient Theatres were 
 the fcena, profcenium, orcheftra, and area. Among the moderns. 
 Theatre more peculiarly denotes the ftage, or place whereon the drama 
 or play is exhibited ; anfwering to the prolcenium of the ancients. It 
 is alio ufed, in a more con-prehenfive lenfe, for the whole play-lioufe. 
 The wurd Theatre is ufed in architedlure, chiefly among the Italians, 
 for an affemblage of feveral buildings, which, by a happy dirpoljtion 
 and elevation, reprefents an agreeable fcene to the eye. In a more re- 
 flrained fenfe of the word it was the place of a public fpedtack and no- 
 thing elle. What is called the temple of Bacchus at Athens, the re- 
 mains of which are yet in being, was a Theatre, and one of the firlt 
 we know of. 
 
 TiGE, in Architedlure, a French term for the fhaft or fuft of a co- 
 lumn, comprehended between the aftragal and the capital. 
 
 Timber, includes all kinds of felled and feafoned woods ufed in the 
 feveral par's of building, as carpentry, joinery, turnery, &c. The 
 forts of 1 imber are numerous, we fhall only mention fome of the moll 
 ufeful from Fvelyn's Sylva, &c. as, 
 
 1. Oak, the ufes of which need no enumerating j to endure all fea- 
 fons and weathers, there is no wood like it; hence its ul'e in building 
 fliips, in ports, rails, &c. For water-works it is fecond to none, and 
 where it lies expoled both to air and water, there is none equal to it. 
 
 2. him. This felled between November and February is all fpine or 
 heart, and no fsp, and it is of lingular ul'e in places where it is always 
 wet or dry, its being tough makes it ufeful to wheel-wrights, mill- 
 wrights, &c. and its not being liable to break and fly in chips, makes 
 it fit for dreffers and planks to chop en. 
 
 3. Beech: is chief ule is in turnery, joinery, and upholftery, and 
 the like, as being of a white, fine grain, and not apt to bend or flit. 
 Of late it is ufed for building timber, anfd if it lie conlfantly wet, is 
 judged to out-lall o.;k. 
 
 4. Afli : its ufe is almoft univerfal -, it is good for building where it 
 may lie dry. It fi.rves the carpenter, cooper, turner, plough -wright, 
 whecl-wright, gardener, and at lea for oars, hand-fpikes, and m-^ny other 
 ufes. 
 
 5. Fir: 
 
2E8 TIN 
 
 5. Fir : commonly known by the name of deal, is of late much ufed 
 in buildings, efpecially within doors, for flairs, floors, wainlcot, and 
 mofl: works of ornaments. 
 
 6. VValnut'tree, is of univerfal ufe, unlefs for the outfides cf build- 
 ings ; very fit for the joiner's ufe, being of a more curious brown-colour 
 than beech, and lefs iubjeft to worms. 
 
 7. Chefnut-tree, next to oak, is the timber moft fought for by join- 
 ers and carpenters ; it is very lafling. 
 
 8. Service-tree, ufed in joinery, as being of a delicate grain, and fit 
 forcuriofities : it alfo yields beams of confiderable hignefs for building. 
 
 9. Poplar, ahel : this and afpen differing very little in their nature, 
 are of late much ufed inftead of fir j they look as well, and are moiC 
 tough and hard. 
 
 ID. Alder, much ufed for fewers, or pipes, to convey water j when 
 always wet, it grows hard like a flone, but foon rots, if it is alternately 
 wet or dry. 
 
 The ules of timber are fo many, and fo great, that the procuring a 
 fufficicnt fupply cf it extremely well deferves the care of every ftate, as 
 it muft be a great tiifadvantage to it to be obliged to have recourfe to its 
 neighbours, and purchafe, at a very confiderable and continually re- 
 newed expence, what might, by an eafy oeconomy, be futficiently fup- 
 plied at home. 
 
 Pj ejervifig 0/" Timber. When boards, &c. are dried, feafoned, and 
 fixed in their places, care is to be taken to defend and prelervc them ; 
 to which the fmearing them with linleed-oil, tar, or the like oleagi- 
 nous matter, contributes much. 
 
 For mcafuiing hewn or fquare timber, the cuftora Is, to find the mid- 
 dle of the length of the tree, and there to meafure its breadth, by clap- 
 ping two rules to the fides of the tree, and meafuring the diflance be- 
 twixt them ; in like manner they meafure the breadth the other way. 
 If the two be found unequal tney are added together, and half their ium 
 is taken for the true fide of the fquare. 
 
 Tinging of Marble. The art of doing this has, in feveral peifons 
 hands, been a very lucrative fecret, though there is fcarce any thing in 
 it that has not at one time or othir been publiflied. Kincher has the 
 honour of being one of the firft who publiilied any thing pradicable 
 about it. This author meeting with flones in lome cabinets fuppofed to 
 be natural, but having figures tco nice and par'ticu'ar, to be fuppofed of 
 Nature's making, aid thefe not only on tue furfrce, but funk through the 
 whole body of the l>ones, vv'as at the pains of finding out the artitt who 
 did the bufinefs ; and on his lefufing to part with the lecret on any terms, 
 this author, with Albert Gunter, a Saxon, endeavoured to find it oui; ; 
 in which they fucceeded at length very well. The method is thisj 
 
 take 
 
T R A 2Pf 
 
 take aqua fortis and aqua regia of ejch two (Unccs, fal armoniac one 
 ounce, Ipirit of wine two drams, about twenty-lix grains of gold, and 
 two drams of pure filver ; let the filver be calcined and put into a vial, 
 and pour upon it the aqua fortis; let this rtand for foms time, then eva- 
 porate it, and the remainder will firll appear of a blui, and afterwards 
 of a black colour. Then put the gold into ^njther vial, p^ur the aqua 
 regia upon ir, and vvhen it is dillo'ved, evaporate it as the former. 
 Then put the fpirit of wine upon the fal armoniac, and let it be evapo- 
 rated in the fame manner. All the remainders,- and many others made 
 in the fame manner from other metals, dilfolved in their proper acid 
 menflrua, are to be kept feparate, and ufed with a pencil on the marble. 
 Thefe will penetrate without the Iccifl: affiltance of heat, and the fi jurcs 
 being traced with a pencil on the marble, the feveral parts are to be 
 touched ever with the proper colours, and this renewed dailv till the co- 
 lours have penetrated to thedefired depth into the (tcne. After thi', the 
 mafs may be cut into thin plates, and eveiy one of them will have 
 the figure exa<flly reprefented on both furf.-.ces, the colours never fpread- 
 ing. The nicefl; method of applying tneie, or the other tiuLing fub- 
 flances, to marble, that is to be wrought into ,:ny or;:amep.tjl v/orks, 
 and where the back is not expofed to view, is to apply the coin's be- 
 hind, and renew them fo often till the figure is fufficiently I'een through 
 the furface on the front, though it does not q.iix- extena to it. This 
 is the method that, of all others, brings the it^ne to a nearer refem- 
 blance of natural veins ^f this kind. 
 
 Torus, in architedure, a large round prominent moulding in the bafe 
 of columns, refeir»bling a cable, but without t.e wreathir-gs or tu ift- 
 ings. The word is derived from the Greek. In the b-fes of fome of 
 the orders there is a fingle Torus, in others there are tao wi'h a fcotia 
 between them, and in this dilpofition they have a ver^ bcautitui efFcdl. 
 
 Tower, a high buildir.g, coniiifing of leveral ftoiies, ufualiy of a 
 round furm, though fometimes Iquare or polygonal Towers are 
 built for fortreffes, prifons, &c. as the Tower of London, the Tower 
 of the BalHle at Paris. The word Tower among the ancients, fignified, 
 a palace or large houfe, 2 Kings v. 24. The Tower of London is not 
 only a citadel, to defend and command the city, river, &c, but alfo a 
 royal palace, where our kings, with their courts, have fometimes lodg- 
 ed ; a royal arfenal, wherein are arms and ammunition tor lixty thou- 
 fand loldiers j a treafury for the jewels and ornamentb of the crown -, a 
 mint for coining of money j the great archive, wherein are preserved all 
 the ancient records of the courts of Weitminfter, 6cc. and the chief 
 prilon for Ifate criminals. 
 
 TkABEATioN, a name by which fome call the entablature of a co- 
 lumn, confiftiijg of the architrave, freeze and cornice. 
 
 E e e e Tsan- 
 
290 T U R 
 
 Transom, among builders, the piece that is framed acrofs a double 
 light window. 
 
 Tfiglyphs, in architedure, a fort of ornamentp, repeated at equal 
 intervals in the Doric freeze. Each Triglyph confifts of two entire gut- 
 ters or channels, cut to a right angle, called glyphes, and feparated by 
 three interftices, called, by Vitruvius, femora, from each other, as well 
 as from two other half channels, which are at the fides. The ordinary 
 proportion of Triglyphs is to he a module broad, and one and a half high. 
 But this proportion M. Le Clerc obferves, fometimes occalions ill-pro- 
 portioned intercolumniations in porticos; for which reaion he choofes 
 to accommodate the proportion of his Triglyphs to that of the inter- 
 columns. 
 
 Trimmers, in architecture, pieces of timber framed at right angles 
 to the joints, agaiaft the ways for chimneys, and well-holes for ftairs. 
 
 Tringle, in architecture, a name common to feveral little fquare 
 members or ornaments, as reglets, liftels, and plat-band. Tringle is 
 more particularly ufed for a little member fixed exadily over every tri- 
 glyph, under the plat-band of the architrave from whence the guttas or 
 pendant drops hang down. 
 
 Trochilus, in architedlure, a name by which fome call the hollow 
 moulding that is between the two torus's of the bafe of columns, and 
 which is more commonly called Icotia : this moulding, when it flands 
 thus on columns, having much the appearance of a pulley. 
 
 Trunk, when we fpeak of a column, the Trunk is the fhaft or fufl: ; 
 when the word is appl.ed to a pedeftal, it fignifies the dado, or die, or 
 body of the pedeftal, anfwering to the fhatt of the column. 
 
 Turning, a branch of Iculpture, being the art of fafliioning hard 
 bodits, as brifs, ivory, wood, &c. into a round or oval form, in a lathe. 
 Turning is performed by putting the fubflance to be turned upon two 
 points, as an axis, and moving it round on that axis, while an edge-tool, 
 let fteady to the outfuie of tiie lubftance in a circumvolution thereof, cuts 
 off all the parts which lie farther off" the axis, and makes the outlide of 
 that fubllance concentric to the axis. 
 
 The invention of Turning feems to have been veiy ancient. Some, 
 indeed, to d.) honour to the age, will h.ive it brought to perfedion by 
 the moderns J but if what Pliny and fome other ancient authors relate, 
 be true, that the ancients turned tliofe precious vales enriched with fi- 
 gures and ornaments in relievo, which we ftill fee in the cabinets of the 
 curious, it muft be owned, that all that has been added in thefe ages, 
 makes but a poor amends for what we loll: of the manner of turning of 
 the ancients. 
 
 The latlie or principal inftrument ufcd in Turning, is compofed of 
 two wcodtn clicekr, or fides- parallel to the hoiizon, having a groove, 
 
 or 
 
T U S 
 
 291 
 
 or opening between them ; perpendicular to thefe are two pieces, called 
 heads or puppets, made to Aide between the cheeks, and to be fixed 
 down at any point at pleafure ; ti.efe have two points or center pins, be- 
 tween which the piece to be turned is faftened by the help of a fcrew. 
 There is alfo a fquare piece of wood called a reft, which bears up the 
 tool, and keeps it fteady. The piece is turned round backwards and 
 forwards by means of a ftring put round it, and faftened above to the 
 end of a pliable hole, and below to a treddle or board moved by the 
 foot. This is the common lathe; but there is another uled in hollow 
 Turning, &c. very diff^erent from it. 
 
 This lathe is compofed like the other of two cheeks, and has alfo two 
 heads fitted to Hide between them; but has no pole, being turned by 
 means of a wheel and pulley. The pulley is faftened on a kind of fpin- 
 dle called a mandrel, one end of which is pointed, and received into the 
 center of the back fcrew, which goes through one of the heads ; and 
 near the other end, called the verge, it moves in a piece called the collar ; 
 the end of the mandrel pafles through the collar, and on it the piece to 
 be turned is faftened. 
 
 Tuscan Order, in architecflure, the firft, fimpleft, and moft maf- 
 five of the five orders. It is of Roman origin, and much refembles the 
 original Doric of the Greeks. The original Greek orders were only 
 three, the Doric, Ionic, and Corinthian; to thefe the Romans have 
 added the Tufcan, which is plainer than the Doric, and the Compofite, 
 which adds the volutes of the Ionic to the leaves of the more decorated 
 capitals. The orders from three by this became five, and of thefe the 
 Tufcan is the plaineft, ftrongeft, and moft mafty. 
 
 The Tufcan column conlifts only ot a fingie torus, refting upon a 
 plinth and crowned with a cindure; the fliaft has fix diameters in 
 height, and its diminution is a fourth or a fifth part, for in thefe archi- 
 tedls vary. 1 he capital is very plain ; it confifts of an abacus, a quar- 
 ter-round, aftragnl and fiilet ; under the neck there is another aftragal 
 and fillet, but thele belong to the fhaft of the column. The entabla- 
 ture is plain and large, it confifts of an architrave of one face, a plain 
 freeze, an.i a cornice, with a few plain moulding?. 
 
 1 he Tulcan order is theiefoie no other than the Doric made ftronger 
 by fhortening its columns, and fimpler by the largenefs and fmall num- 
 ber of it« mouldings. No order is fo eafi'y executed as this, becaufe 
 of its plainnefs; but there is, notwithftanding, a beauty in rhat plain 
 fimplicity of ftrudture, which makes it deferve a place not only where 
 ftrength, but where elegance is confidered. 
 
 Some writers afhrm, that the Tufcan order takes its name from an an- 
 cient people of Lydia, who coming out of Afia, to people Tulcany, firft 
 executed it in fome temples, which they built in their new plantations. 
 
 Tylf, 
 
292 
 
 T Y L 
 
 Tyle, or Tile, in building, a fort of thin, fiiftitious, luminited' 
 brick, ufed on the roofs of houfesj or more properly a kind of fat cliy- 
 ey earth, kneaded and moulded of a juft thicknefs, dried and burnt in: 
 a kiln like a brick, and ufed in the covering and paving ot hou'es. 
 There is fo much conforpiity in the fubftances of bricks and tiles, that 
 the earth that makes one will in many cafes I'erve for the other.' The 
 clay of which Tiles are made may always be wrought into bricks but 
 only the bell of the brick earth can be wrought into Tiles ; btcaule, being 
 thinner, they require more toughnefs in the fubftance. All Tiles are 
 made in the manner of bricks, by tempering and beating up the clay to 
 a due confiftence, and then falhioning them in a mould ; but more care 
 and pains are required in this work than in making of bricks, for the 
 Tile-making approaches more to the pottery work, and the earth of which 
 they are made is fuch as might be employed in potteries. More care is 
 alio required in the management of the fire for burning them, than is 
 needful in bricks ; for if it is too flack the) do not get a proper hardnefs, 
 and if too violent they fuffcr in their (hape, and are glazed. The fire 
 mufi: be watched and managed with dilcretion, and he mud be a trulty 
 as well as a knowing perlon to whom this care is committed, for a little 
 neglect may be of vaft mifchief and lofs to the proprietor. 
 
 The Tiles for all forts of ufes may now be comprized under fix heads. 
 I. The plain Tile for covering of houles, which is flat and thin. 2. The 
 plain Tile for paving, which is flat alfo but thicker, and its iize 9, 10, or 12 
 inches. 3. The pantile, which is alfo uied for covering buildings, and is 
 hollow and crooked, or bent, lomewhat in the manner of an S. 4. The 
 Dutch glazed pantile. 5. The Englifh glazed pantile. And 6, the 
 gutter Tile, which is made with a kind ot wings. 
 
 Common Tiles are belt when they are firmefl, foundefl:, and flrongeft. 
 
 There are not fo many difixrrcnces in the(e as in bricks, either in refpedl 
 of body or colour, but according to the nature of the clay, and the de- 
 gree of fire in burning, fome are dullcier and fome ruddier in colour. 
 The dulky-coloured are ufually the ftrongefl:; the workmen fometimes, 
 when they have both colours, amufe themfelves with laying them fepa- 
 rately in rows, in which caie they give the loof a llriped alpedt. But 
 this is a pitiful and idle fancy. 
 
 P.ving Tiles tre made of a more fandy earth than the common or 
 plain Tics ; the materials for thele laft mufl: be abfolute ciay, but for 
 the others a kind c-f loam is ultd, though it mufl: be oi a tough lub- 
 ftance, or they wi 1 not have due flrength and firmnefs; 1 his loam burns 
 to a Ireflier red colour than the befl: of the common Tile-clay. Thefe 
 are made thicker and larger than the common roof Files ; and, when 
 
 care 
 
TIL 293 
 
 care has been taken in the choice of the earth, and the management of 
 the fire, they are very regular and beautiful. 
 
 Pant'les, wiien of the bed kind, are made of an earth not much 
 unlike that of the paving tiles, and often of the fame; but the beft lort 
 of all is a paler coloured loam that is lefs fandy ; they have aboat the 
 fame degree of fire given th;;m in the baking, and they come out nearly 
 of the fame colour. 
 
 Glazed Pantiles, whether Dutch or Engllfh, get that addition 
 in the fire, many kinds of earthy matter running into a glafTy fubrtance 
 in great heat, as is fccn in the glazing of common earthen-ware, and it 
 is a great advantage to them, prefervmg them much longer than the com- 
 mon Pantiles, lo that they are very well worth the additional charge 
 that attends the ufing of them. 
 
 Gutter Tilf.s are made of the lame earth as the common f^antiles 
 and only differ from them in fliape ; but it is advifeable, that particular 
 care be taken in tempering and working the earth for thefe, for none are 
 more liabla to accidents. 
 
 Dutch Tiles, for chimnies, are of a kind very different from all 
 thefe, fome are white, and loaie quite black. The clay of which thefe 
 Dutch Tiles are made, is very tine, foft, and tender ; it is much the 
 fame with that whereof the apothecaries pots are made, and it is glazed 
 in the lame manner. Thefe were once in great reputation in ordinary 
 houfes, but at (..relent they are grown into neg!e(fl. 
 
 Of the manner of uiing Ti.es. The gieat ufe of Tiles is for the co- 
 vering of hoUiCS ; and for this purpole where either fervice or beauty 
 are regaided the plain comrron 1 ile is geatly prclerable to any otner ; 
 but this, in its belt condition is not at all comparable to (late. Plain 
 Tiles we have obferved, are in colour either reddilh or dulky. In the 
 firlf condition they have a fiery look, and in the other they appear poor 
 and dirty; either way they have a rough, coarle and heavy alped; ; and 
 the niortar in the bell manner of layiiig them is fecn very plainly in irre- 
 gular white joints and feams. 
 
 The neatnefs and pale Icok of the common Hate gives that covering a 
 vaft preference. Having nothing coarle or fiery in the appearance, it a- 
 grees periectly well with tne flone or wcod-work, and with the grey 
 bricks of the chimnies. Then in the place of the hailli and heavy al- 
 pedl of the Tiles, flate has a light ana elegant appearance ; the pieces ^re 
 thin and lie regular, and the joints of mortar are fo flc-uer they are 
 fcarce at all feen. This prelerence is lo very great, tha!. it entirely ba- 
 nifhes the ufe of Tiles from elegant edifices, oi other buiuinj^s of ex- 
 pence ; and when we confider how valily iKOfc dut..bie flate is, as well 
 as handlome, we itiAi. lc inclined ro p cxer it in all, 
 
 F f f f If 
 
294 TIL 
 
 If the plain Tiling be thus inferior to £l?ite, the pantiling is much 
 worfe tlian that, both in duration and afpedl, Thtre are o:cafions on 
 which Tiling is proper, and there are particular buildings whereon pan- 
 tiling is better than the pi fin method ; but whit we have faid is deliver- 
 ed a^geneial, and adtnr.s thefe exceptions; in ordinary buildings adjoin- 
 ing to houfcs, and paiticulnly in fucb as have flit roofs, the pantiUng 
 does ve:y well, and ccmes cheaoer than the other kind, the tiles being a 
 great deal larger, and laid with Lfs troub'e. The plain or common 
 Tiles have holes for pins, and are hung on by means of ihofe pins. The 
 pantile lias a lump in the place of a pin, and hangs by that ; a few of 
 them cover a great deal of roof, and where they aic not in the way of 
 accidents, they will laftagreat while, but they are eafily loofened, inju- 
 red, or broken. 
 
 The Dutch glazed pantiles are better than the Fnglidi glaz<'d, but ei- 
 ther are much fuperior to the common pantile, and for moll ufes to the 
 plain Tile; they are dearer, but their bignefs makes great amends far 
 that, and they are very lafting. In the common pantiling, the difter- 
 ence in fize is fo great an article, that where feven hundred and fixty 
 plain Tiles, at a fix ii.ch gauge, are required, the fame fpace which is a 
 Iquare will he covered by one hundred and fevcnty pantiles. The ule of 
 gutter tiles is explained by their name, their place being in the vallies or 
 gutters of ciols buildings, and when they are ufed they are laid plain, 
 without any railing, the broad end upwards. 
 
 As to the thick Tiles, when they are found and the colour good, they 
 are a very pretty paving for country ground floors in meaner houfes, and 
 for ihe offices of fuch as are better. Tney eafily gather dirt, but they 
 ealiiy wa(h again, and when cleaned they have a pretty and bright ap- 
 pearance. In the lame manner as Portland paving is made with dots of 
 black marble, a paving with thefe Tiles dcxtted with black, may be done 
 very pretty. This will have an agreeable eltedt in the hall of a Imall 
 country houfe, where a plain and rural look is aff^tcfled. 
 
 The Dutch Tiles are in a manner negleded, though they ufed to be 
 in general repute about chimnies. They are indeed inferior to ordinary 
 ilone lor that purpol'e, becaule of their continual falling. The joints 
 are nquircd to be fniall, for the fake of beauty, and this makes the fet- 
 ting weak, and the continual effett of the fire deiliroys the force of 
 ihe lime, lo that ihey arc often dropping; then thtir thinnels is fuch, 
 that a Imall blow cracks them, and when cracked they luon fail out. 
 This is the greatcft dcfed, for it muft be confeffed, ihdt when entire, 
 they look v ry pretty. If they were made thicker, and fome contrivance 
 was uled to keep them firmer, ih'ry might be worth bringing into faQiion 
 aaain, where the cxperice of marble is not allowed, for theie is a parti- 
 cular Lrightnefs in their glazing, and nothing looks fo clean ; nor is this 
 
 the 
 
V A R 
 
 295 
 
 the only advantage, for they refledl the heat much better than done. 
 In this cafe all the trouble they take about the figures is ridiculous, and 
 would he better fpared ; they are ill done, and the plain white are much 
 clearer in the look and prettier; if any thing were done by way of co- 
 lour, it fliould be throwing on a little blueilh loofely to imitate the vein- 
 ingof marble. The plain black alio look very well. 
 
 Tympan, or Tympanum, in architeiflure, the area of a pediment, 
 being that part which is id a level with the naked of the frieze. Or it 
 is the fpace included between the three corniches of a triangular pedi- 
 ment, or the two cornic^'es of a circular one. Sometiaies the Tympjn 
 is cut our, and that part filled with an iron lattice to give light, and 
 fometimes it is enriched with fculpture in bafs relievo. Tympan, among 
 joiners, is alfo applied to the pannels of doors. 
 
 Tympan cj an Arch, a triangular fpace or table in the corners or fides 
 of an atch, ufually hollowed, and enriched fometimes with branches of 
 laurel, olive- tree, or oak, or with trophies, &c. fometimes with flying 
 figures, as Fame, &c. or fitting figures, as the cardinal virtues. 
 
 V. 
 
 Vagina, properly fignifies a fheath, or fcabbard ; and the term Va- 
 gina is u(ed, in architedlure, for the p,ut of a terminus, becaufe refem- 
 bling a flieath, out of which the flatue feems to iflue. 
 
 Varnish, or Vernish, a thick, vilcid, fliining liquor, ufed by 
 painters, gi'ders, and various other artills, to give a glols and luftre to 
 their works, and to defend them from the weather, dull, &c. 
 
 Lajing en 0/ Varnifhes. i. If you varnifli wood, let your wood be 
 very fmocth, clofe -grained, free from greafe, and rubbed with ruOies. 
 2. Lay on y(;ur colours as fmooth as pofllble ; and, if the VarniHi has 
 any bliiters in it, take them off by a polilh with ruflies. 3. While 
 you are varniQiing, keep yuur work warm, but not too hot. 4. In 
 laying on your Varnifli begin in the middle, and flroke the brulh to the 
 outfide, and then to another extreme part, and fo on till all be covered; 
 for it you begin at the edge?^, the brufli will leave blots there, and make 
 the work unequal. 5. In fine works, ufe the fined tripoli in polifliing ; 
 do not poliLh it at one time ( nly, but, after the firft time, let it d'-y for 
 two or three days, and polilh it again for the lall time. 6. In the firft 
 polifliing, you mud ufe a good deal ot tripuli, but in the next a very 
 little will ferve ; when you have done, wafli otF your tripoli with a 
 fponge and water j dry the Varnilh with a dry linnen rag, and clear the 
 work, if a white ground, with oil and whiting, or, if bhck, Willi oil 
 and lamp-black. 
 
 Vase, 
 
296 V A U 
 
 Vase, a term frequently ufed for ancient vefTls dug from unde 
 ground,, or otherwife round, and preferved iri the' cabinets of thd ciii 
 rious. In architecture, the appellation Vale is a?fo given to thofe ornai 
 ments placed on corniches, fackles, or pedeftals, reprelentirig the vef- 
 fels of the antients, particularly tliofe ufcd in facriGce ; as incence-pots, 
 flower-puts, &c. Ti:ey ferve to crown cr finidi facades, or frontifi 
 pieces, and hence called acroteria. The term Vafc, however, is more 
 particularly ufed in architecture, to fignify the body of the Corinthian 
 and Compofite capital, otherwile called the tambour or drum, and ibme- 
 times the campana or bell. Some comprehend under the word Vafe 
 the urns on mrnuments and other buildings, but this being of a dif- 
 ferent f' rm, (hould be kept to their diltind: name, as we ihall explain 
 under the word urn 
 
 Vault, in architecfture, an arched roof, fo contrived that the floncs 
 which foim it fuftain each other. Vaults ate, on many cccalions, to be 
 preferred to foffits, or flat cieitngs, as they give a greater height and ele- 
 vation, and are befides more firm and durable. Salmafius oblerves, that 
 the ancients had only three kinds of vaults. The firfi: was the formix, 
 made cradle-wife; the feccnd teftudo, i. e. tortoife-wife, which the 
 French call cul de four, or even-wife ; and the third concha, or trumpet- 
 wife. But the moderns have (ubdivided thefe three forts into many more, 
 to which they have given different names according to their figures and 
 ufes ; fome of them are circular, and others elliptical. Again, the 
 fweeps of fomc are larger, others lefs portions of a Jphere. All luch as 
 are above hemilpheres, are called high, or furmounted vaults j and all 
 that are lefs than hemilpheres, are called low, or furbaled, vaults, or 
 teftudines. In fome vaults the height is greater than the diameter; in 
 others it is lefs; others again, are quite flat, and only made with haun- 
 fes ; others like ovens, or in the form of a cul de lour, &c. and others 
 growing wider as they lengthen, like a trumpet. Arched cielings are 
 a kind of vaults, and they are very beautiful as well as llrong. 
 
 Majler Vaults, are thofe that cover the principal parts of buildings, 
 in contradiction to the upper or fubordinate V^aults, which only cover 
 fome little part, as a paflage or gate, &c. 
 
 Dcu/le V^ault, is one that is built over another, to make the outer de- 
 coration rarige with the inner; or, to make the beauty and decoration of 
 the infide confiftent with that of theouifide, leaves a fpace between the 
 concavity of the one, and the convexity of the other. Initances of 
 which we have in the dome of St. Peter's at Rome, St. Paul's at Lon- 
 don, and in that of the Invalids at Paris. 
 
 Vaults with Ccmpartments, are fuch whofe fweep, or inner face, is en- 
 riched with pannels of fculpture, ieparated by platbands. Thele com- 
 partments, which are of different figures, according to the vaults, and 
 
 ufually 
 
VOL 297 
 
 ufually gitt on a white ground, are made with ftone or brick walls, as 
 in the church of St. Peter's at Rome, or with plailter on timber v^iults. 
 
 Kev of a Vault, is a flone or brit k tn the miidl- of the vault, in 
 form of a truncated cone, fervi;.^ to bin i or taflca all the reft. 
 Reins crjillings up of a Vault, are t e fiJes which uiftain it. 
 Redentiveoj a N K\M.-Xy is the part lulpended between the arches or 
 opives. 
 
 Veneer iN<J or Finkeking, a kind of marquetry, or inlaying, 
 wherehy feveral thin dices or leav s of fine wo ds, of difFL*rent kinds, 
 are ap lied and faftened on a ^rouiid of fome common wood. 
 
 Vent. DUCTS, in buildm^, me .fpir^c^es or fubtcrraneous places, 
 whertfri.ni. cool wind beirg ktpt, they are made to communicate by 
 means of tubes funnels, or vaults, with, tie chambers or other apart- 
 ments of a hou e, to cool them in iult^y weath r 
 
 Ventilator;, a machine 'y which the noxious air of any clofe 
 place, as an ho'pital, gf-al, Ihip, ci.aniber, &c. may be changed for 
 Irefh air. The n- xious qualitioiOJt: bad air have been long known, tho^ 
 not lufficiently attended tj in p' ^dice ;- but it is to be hoped, that the 
 indefatig .blc pains taken by Dr. Haes, to fet the mifchicfb arifing from 
 foul air in a jull light, and the innedy ht has propoled by the ufe of his 
 ventilators, wili at h ngti^i pFcvail o^er that unaccountable floth, or obfti- 
 nacy, which, where partictddr interefls are not concerned, feems to pof- 
 fcfs the generality of mankind, and vvhii-h rarely allows them to give due 
 atten.ion to any uieful d^ifcuycry. 
 
 Vestible,' in afchiuclure, a kind of entrance into a large building, 
 being a", open place before ihe hall or at tne bottom of the llaic-cafe. 
 Vcftiblcs intended for magnificence are ufually between tne court and the 
 garden. I he Romans had Vellibles at the entrance of their ho des, for 
 fhelicnng tliofe pciio,.s who were obliged to ftand at the do )r ; and we 
 havc new Vc ibies or a like kmd in many old churches, houfes, 6cc. 
 ulually called [Ori.hes. The term Veftibie is fometimes alio uleu tor a 
 little anti-chamber, before the entrance of an ordinary aparunent. 
 
 Vivo, in architedure, the {haft or full of a column. The term is 
 alfo ufed in a more pai ticular fenfe for the naked of a column, or other 
 part. =•''' >T./r:K)f 
 
 Volute, in architcfture, the name of a 'fcroll, which is the diftin- 
 gui(hing charadcr ot the lo: ic capital. ]t is fuppoled to reprelent the 
 balk ot a tree, which is laid up n the rim of a velfel, and as it has 
 dried has curl.d ai>d twilled itfclf into a kind of fpiral fcroll. There 
 are a lort ot V^ luieb alio in the Corinthian capital, but they are fmaller 
 and more numerous than in the Ionic ; and in the Compofite capital tbele 
 large*nd proper Volutes of the Ionic arc added. 
 
 G g g g Itv 
 
J9^ W A L 
 
 In the moft antique Ionic Volutes, the lift or edge throughout all the 
 ,circumvolutions, is in the fame line or plane; and in feme they projedlj 
 on fome they are oval, and in others the canal of one circumvolution is 
 (ietached from the lift of another by a viicuity; in others the round is 
 parallel to the abacus, and fprings out from behind the flower thereof; 
 and in fome it feems to fpring out of the vafe from behind the ovum, 
 and rifes to the abacus. 
 
 The Volute has by fome been fuppofed to reprefent the horn of a ram, 
 and by others the curl of a womui's hair; but the moft natural refcm- 
 blance is that of the bark, and that is moft in the charafter of the an- 
 tient defigns in architedure. ConTolcs, modiillons, and fome other or- 
 nament?, have fometimes a fort of Volute. 
 
 Upright, in architedlure, a reprelentation oi- draught of the front 
 of a building, called alfo an elevation cr orthography. 
 
 Urella, in architedure, the little fpiral twift or volute that is under 
 the flower in the Corinthian capital, it is formed by a twifted ftallc of the 
 acanthus, and is more commonly the helix, fometimes the caulicole. 
 
 Urn, in architedture, a kind of vafe, ferving to crown and decorate 
 baluftrades, and other ornamental parts of buildings. Urn is too com- 
 monly ufed as of the fame meaning with vafe, but it properly denotes a 
 diftindt kind and form. The Urn ftiould be low and wide, and is fitteft 
 for grottos and fountains. Urns are alio ufed on tombs, for which pur- 
 pofe they are generally enriched with fculpture, and are diftinguiftied by 
 the name of funeral Urns, The ancients preferved tKe aflaes of the burnt 
 bodies in urns, and thence has arifeh this cuftom of uhhg Urns on mo- 
 numents and maufoleums. For which reafon they were called cineraria, 
 and urns cinerarias, and were placed fometimes under the tomb-ftone 
 whereon the epitaph was cut, and fometimes in vaults in their own 
 houfes. Urns were alfo ufed at their facrifices to put liquid things m. 
 
 W. 
 
 Wainscot, in building, the timber work that ferves to line the walls 
 of a room, being ulually made in pannel^, agi^ pajnted* to i^rve inftead 
 of hangings. : -,>! -.'!■ i 
 
 Wall, in architedure, the principal part of a building, as ferving 
 both to inclofe it, and fupport the roof, floors, &c. Nothing is of lo 
 much confequence as the raiUng them in a workman-like manner. The 
 foundation walls are to diminish in thicknefs as they ar« wrought up, and 
 that diminution ftiould be continued to the top of, the building, the 
 workman ftill taking care to keep the center of the Wall all the way 
 ilrait from the bottom of the foundation. 
 
 Walls 
 
W A L 299 
 
 Walls in this country are principally built of thefe two materials, 
 brick or ftone, and in building about London brick is the mo-H: common. 
 We fee» in feme parts of the kingdom. Walls built of flints cut into a 
 tolerably even form in a very furprifmg m.inner. There are at this time 
 fome fine Walls ftanding of this material in the city of Norwich, and 
 it was introduced in the late old gate at Whitehall, and fome of the 
 adjoining buildings of the fame period. This was an art unknown to 
 the ancients, and it is loft again at this timej but it was ftrong and 
 beautiful. 
 
 In the Walls of common houfes, which are of brick, the general 
 diminution from the bottom to the top, is one half the thicknefs at 
 the bottom ; the beginning is two bricks, then a brick and a half, and 
 at the upper part one brick, thicknefs. In larger edifices, the Walls are 
 made prcportionably thicker, but the dimenfion is preferved in much the 
 fame manner. Some Walls are plain and continued, .others made with 
 intermiflions. When a building is to be ftrong, the 'Walls muft have 
 a proportionable thicknefs. We have faid that they need not be all the 
 way of an equal diameter; the decreafe of tliis is what we call the di- 
 minution of a Wall, and we have obferved already, that this diminution 
 fhou'd be made equal on each fide, that the load may be exadly in the 
 middle. The Wall fhould be carried up all the way exadlly perpendi- 
 cular to the grand-work ; for the right angle it makes in this is the 
 foundation of ftrength and firmnefs. If the Wall be compofed of two 
 kinds of materials, as ftone and brick, the maflieft and heavieft are to 
 be ufed in the loweft part, as being fitter to bear than to be born, and 
 the lightcft at the top. 
 
 The diniinifliing in thicknefs as the Wall rifes, faves both weight and 
 expence ; but it is not abfolutely necelfary, for if the Wall were carried 
 up in a perfcdl perpendicular from bottom to top, and all the way of the 
 fame thicknefs, it would not for that reafon be lefs ftrong. In this cafe 
 the keeping the perpendicular perfedl would be the great difficulty and 
 the great article of merit. We find the ancients were able to do this ; 
 for we fee in the remains of their works. Walls thus carried up to an 
 exorbitant height ; but our arch itetfls are more ready to be afloniflied 
 and admire, than to ftudy and imitate them. 
 
 The great rule for the thicknefs of the VVall in all buildings is, that 
 it be proportioned to the weight it is to fupport. This is tJ be carefully 
 romputed, and there will be no danger of the ftrength of the edifice ; 
 for the great occafion of that fault is the not obferving this proportion. 
 A Wall that ftands alone is its own burthen and fuppott j the higher parts 
 prt-ts upon the lower, and the lower bear up the higaer; this is all, and 
 the ftrudture of it is therefore plain and eafy. In a larger buildirig the 
 rches, roofs and the floor, are the burthen i the WalU aie the iupport : 
 
 let 
 
'300 W A L 
 
 let the architedl therefore compute the weight of the one according to 
 his pliin, and to that proportion the ftrength of the other. J he thick 
 Wall? that bear diredly upon their foundations prels from top to bottom ^j 
 the arches prefs lide-wwys, and to know how much, we muft mcafure 
 their convexity. The floors and the roof have a grtat preflure perpen- 
 dicularly, and a little obliquely : all this mull be carefully conlidercd, 
 and upon this depends the computation of the general load, and of the 
 necellary proportioned thicknefsof the Walls. The ftrength of a build- 
 ing depends upon the force of its fupports : and the great art on this 
 head is, that of giving a plain wall the utmoll flrength of which it is 
 capable. 
 
 We have adviled the young architecl to be careful in this computa- 
 tion, that he may know what flrength his Walls ought to have, iur it 
 is as eafy to make them too thick as too thin, and either extreme is 
 equally unworthy of a good builder ; too much thicknels in Walls not 
 only is the cxptpce of a great deal of ueedlets money, but it gives the 
 edifice a very heavy afpc6t. The great art is to join flrefigth and deli- 
 cacy. We fee the fonrer confulted in many of our modern I uildings 
 at the expence of the latter. 
 
 The ancients had an art in joining thcfe that we have loft. They 
 were fparing of ftone, but they never grudged iron work, and b) the 
 means of that alliftance and of a perfedf truth in their perpendicul irs, 
 they have left us n^odtls we defpair cf copying. Our houfes tumble 
 down after a few years for want of ftrength ; and we have confecrattd 
 the heavinefs of our work in moft of the m.dem churches. 
 
 There is one farther particular which rtgaros ftrength .n the ftrudure 
 of a plain W all, and that is the fortifyirg the angles. This is bcft done 
 with gocd 0( ne on each fide, which gives not only a great deal of ftrength 
 but a great deal of beauty. A Wall ihct is raifed over arcnes and pil- 
 lars, provided they be judicioufly direftcd, and the work carried on 
 in the fame manner, ftands as firm as one that is begun from a plain 
 founduion. 
 
 Pihillers properly applied area very great ftrcngthening to Walls j 
 their bell diftance is about every twenty foot, and they Ihould rile live or 
 fix inches trom the naked of the Wall. A much (lighter WaJ of 
 brick, with this aliiliance, is ftronger than a heavier and maffier built 
 plain. 
 
 In brick Walls of every kit^d, it is an exceeding addition to their 
 ftrength to lay fome chief courles of a larger and haroer matter, for thefe 
 ferve like finewb to kttp all the reft togeiher, and are of very gicut ufe 
 when a Wall t .ippeiis to fink more on one nde than another. 
 
 In the m. il perfeft way ot forming the diminution of Walls, the 
 middle of the thinnell pait being dircftiy over the midaie of the thich.cit, 
 
 tiie 
 
W A L 
 
 301 
 
 the whole is of a pyramiJal form ; but when one fide of the wall muft 
 of neceffity be perpendicular and plain, it mull be the inner, for the 
 fake of the floors and crofs walls. The diminilhed part of the outfide 
 may be covered in this cafe with a fafcia or cornice, which will be at once 
 a ftrength and ornament. 
 
 As the openings in a wall are all weakenings, and the corners require 
 to be the ftrongeft parts, there never Ihould be a window very near a 
 corner. Properly, there Hiould always be at leaft the fpace of a breadth 
 of the opening firm to the corner. This is the general idea of a wall, 
 and, according to thefe principles, it may be raifed of any needful height, 
 and for the kipport of any weight above; and the young arcf)itedt 
 being thus acquainted with the form, we fliall next lead him to the con- 
 fideration of its conflrudic)n of whatfoever materials. 
 
 The ancients ereded their walls fomeiimes of ftone and fometimes of 
 brick, as we do ^ and by the remains that are yet extant of the fcveral 
 kinds, we find they had various ways of conftrufting them. At prefent, 
 archited:ure in this, as in its other branches, is reduced into a much nar- 
 rower compafs than it has been in earlier times ; but as it is not impof- 
 fible to improve upon the prefent pradice, and as the works of the an- 
 cients are in all relpedts the beft models we can follow in the attempts of 
 improvement, we Hiall here give a fhort recital of their feveral manners 
 of conftrueling them, before we mention thofe of our own time. 
 
 Their chequer work, or reticulated wall, was at one lime famous, 
 but was looner out of ufe than the others. This had corners of orick, 
 and courfts of brick to bind the whole; there were about three courfes 
 at every two feet and halt; the inward part of the red: was made of ce- 
 ment, and the facing was chequered. 
 
 Their common brick walls were made with the two fides of good 
 bricks, and the middle was filled up with mortar and brick-bats rammed 
 together. 
 
 rheir cement walls were compofed of cement with pebbles and earth, 
 laid in a rough manner, fometimes with, and fometimes without mortar, 
 but the corners were ftrengthened with brick or ftone, and at every two 
 feet height there ran courfes of brick- work, to bind and ll^rencrthen them. 
 
 Their ruftic walls were built with rough and irregular ftones of vari- 
 ous fliapes and fizes, which they laid together as evenly as they could by 
 nieansof a leaden rule; this being bent according to the place where 
 flone was to be laid, ihewed how it was to be formed and placed. 
 
 Their fquared walls were made of larger and fmaller ftones regularly 
 cut and fquared, and laid with great beauty. A courfe of larger and a 
 courfe of fmaller ufually were laid over one another. This was a wall of 
 great beauty and grcv^t ftrenclh. 
 
 H h h h Their 
 
302 W A L 
 
 Their cofFer-woik walls were made of rough and ragged Hones, wiih 
 a ilrong mortar. Thefe had their nanies from the manner of working 
 them. They made a kind of oblong coffers of boards dillaiit by the in- 
 tended tbicknefs of the wall, and into thefe they threw ragged ftoncs, ce- 
 ment, and earth at random ; but they began with a courfe of brick- work, 
 and made courfcs al(o between. The mortar we ufe at this time 
 would not hohl fuch materials together in a wall ; but we have before 
 obferved, that the ancients were much more careful both in the mate- 
 rials and manner of working it ; we fee an inftance of the effttt of that 
 care and pains, for there are walls of this ftrudure in which no trowel 
 was ufed, but the force of the mortar held the moft uneven ftones, and 
 they are very flrong after two thoufand years. 
 
 Tliere occur alfo remains of a confiderable antiquity, in which we fee 
 a kind of coffer- work, of a folid fubrtance, with this rough mixture 
 within, the coffer- work being the effential part of the wall j in thefe 
 two rows of good free ftone were laid at a confiderable diflance, and 
 there ran crofs-bars of the fame ffone from fpace to fpace between them ; 
 the refl: of the inner fpace was vacant in form of great fquare coffers, 
 and they filled up with rough flones and mortar poured in together, 
 which hardening, with the retf became a folid part of the wall. 
 
 Vitruvius faw the objedion to the chequered wall, that it would be 
 more liable to accidents than the others; and it was found fo, and there- 
 fore difufed. 
 
 The double brick walls with cement and brick-bats between, are ex- 
 tremely ffrong and fit lor great buildings ; we lee remains of them in the 
 rotunda and in the baths of Dioclefiun. We have examples of the ce- 
 ment walls in the amphitheatre of Verona: the walls of the prasnefle 
 afford an inftance of the rullic, and they paved their ftreets in the fame 
 manner. The fquare flone walls are to be feen in remains about the 
 temple of Auguftus, alfo of the antique coffer-work kind, where the 
 face and crofs work is Hone, and the filling up of the coffers, mortar, 
 and rough flones. 
 
 Inigo Jones obferves, that he had feen the ruflic of the wail of the 
 ancients in a houfe going to Naples, and that it looked very well, and 
 that the fqu:!red flone wail marie of ifones of different bignelles has a 
 grand look in many of the ancient buildings. We lee in ail thefe with 
 what knowledge both of the nature of materials and the manner of dif- 
 pofir.g them, the ancients built their wafs : what lire ngih, lolidity and 
 beauty. We have all their materials, we fhall next obferve in what man- 
 ner we employ them. 
 
 We build walls of part flones, or entire bricks, and fomctimes face 
 thfm with f.ewn flone, or cover them in part with plailler wrought into 
 rcftmblance of fuch a ffone covering. When brick walls fland finale 
 
 we 
 
W A L 
 
 3^3 
 
 we frequently cope or cover them at the top with ftone ; but in exa- 
 mining through the whole courfe of the proceeding, we fliall find that 
 we have neither the ftrength, beauty, nor variety of the ancients in this 
 great part of architecture. We rarely fee inftances of walls of entire 
 ftone rough or wrought without any facing of another kind, and it is 
 only in the moft expenfive of our buildings the others make any tolerable 
 figure; what we commonly fee about houfes is a facing of cut (lone 
 over a wall of ordinary brick-work, better or v/orfe j and as to brick 
 walls, inftead of the doul)le facing of the ancients, which was filled up 
 between with a rougher ftuff, our walls are ufually faced with good brick 
 on the outfide, and wrought up a coarfer kind inwardly, the inner fur- 
 face not being feen when the building is finiflied. 
 
 In regard to the manner of conftrudting a brick-wall, we are to cau- 
 tion the young architedl that in fummer he lay the bricks as wet, and 
 in winter as dry as he can ; for this is the way to make them bind the 
 better with the mortar. In fummer as foon as they are laid, they are 
 to be covered up, to prevent their drying too faft, the mortar in that 
 cafe lofing half its binding quality j and, for the fame reafon, they are 
 to be covered yet more carefully in winter, for rain is a great enemy to 
 the ftrength of mortar, and froft is worfe. In all cafes let him take 
 care that the angles of his walls be well united together, for if the ad- 
 joining walls be not wrought up at the fame time, they never clofe fo 
 well. Finally, that all the parts of the building where there are walls 
 to be raifed and finidied at the fame time, becaufe then they fettle equally 
 every where, and there are none of thofe cracks and clefts, which are 
 fo great a blemhh in the building and fcandal to the builder. 
 
 Treating of walls, we fhould not omit to mention thole inferior kinds 
 which have been once much ufed, and are in fome places to be met 
 with now ; for though brick and ftone are the general walls at this time, 
 they do not utterly exclude all others. In framed timber houfes, there 
 sre fcmetimes ulcd what may be called walls of lath and plaifter; and 
 in fmall buildings made altogether of wood, there are what may be cal- 
 led boarded walls. The plailfer walls are chiefly ufed in ordinary tim- 
 ber buildings : they are compofed of loam or coarfe mortar fpread over 
 the laihirig, which is to continue from beam to beam, and the whole 
 is covered afterwards v^ith a fine mortar. Sometimes the timber work 
 is left naked, foinetimes the whole is covered with lathing, and ti;en 
 with loam and mortar; this is the handfomefl: manner of doin2 it, and 
 frequently in this way of ufing it is rough call: over, and while clean 
 makes a pretty appearance. In what are called boarded walls, the great 
 care is to iecure them very well by painting without, and by plaifteriug 
 within, in which caie they will endure a very confiderable time, aisd 
 will be no mure in danger of accidents by fire than other materials. 
 
 Thefe 
 
30 1- WAT 
 
 Thefe are a very inferior kind, and only fit for meaner ptirpofts, hat 
 in a general account of walls it would have been wrong to omit naming 
 thrm. Wefliall from thefe proceed to the conlidcr.uion of thofc nioft 
 expcnfive and elegant walls, which we raifc? of iievvn ftune for churches 
 and other elegant buildings. In thefe the better the flone be wrought 
 the fm;d!tr will be the joints, and this is a creat excellence in that kind 
 of building. We fee the ancients have been fo accurate in the cutting 
 of their (lone on ihefe occafions, that in the remains of many of their 
 great buildings we can Icarce perceive a joint, but the whole looks as if 
 of one entire reck wrought to that exadtnels. I'here is indeed thus 
 much to be faid on this head, that they in reality did work down the 
 iaces of their ftones after their walls were ereded, their whole care 
 before being to cut the fquares that were to join with a pcrfed exadncfs. 
 We fee proofs that this was their manner of working .among their re- 
 mains ; in fome the faces of the ifones were yet rougli as they were laid, 
 and in others the very marks of the tools Chew how they were wrought. 
 
 In buildings of valV extent and expence, they lometimes wrought 
 only the impofls of arches, the capitals and cornices, leaving the reft 
 rough as they laid it in. This was thtir manner of executing v.hat 
 we call ruflic, in diflindlion from thofe walls they finiflied up in every 
 pait. Tliere is nothing into the fpirit of which we have lefs entered 
 than the ruftic of the ancients in their walls. We fee they have done 
 it, and therefore we conclude it to be right; but we Ihould examine 
 why they did it, and conform ourfelves to the fame condudt. They al- 
 ways ufed this lorm in their largefl buildings, we have therefore no au- 
 thority from them for uli ng it in fmall ones. 
 
 In our flone walls for elegant edifices this Imallnefs of the joints 
 fhould be our great concern, and to this end the fides of the flone where 
 they are to join cannot be wrought with too much care and exaitne/s. 
 The ufe of thin flieet-lead it, alfu excellent; and upon the whole, as it 
 concerns only buildings of great expence, it is an article in which the 
 price of workmandiip never fliould be fpared. 
 
 Of all materials for building walls for fru.t-trees, brick is the bed, it 
 being not only the hamlfomel'l:, but the warmelf and kindefh for the ripen- 
 ing of fruit, and affording the bell conveiiiency for nailing, as fmaller 
 nails will lerve in brick than will in Hone walls, where the joints 
 are larger; and if the walls are coped with free flone, and flone pilaf- 
 ters or columns at proper diliances, to feparate the trees, and break off 
 the force of the winds, they are very beautiful, and the moft pro- 
 fitable walls of any others. 
 
 Water-Table, in architedlure, a fort of a ledge left in flone or 
 brick-walls, about eighteen or twenty inches f'lom the ground, from 
 wliich place the thickncfs of the wall begins to abate. 
 
 Wat£R- 
 
X Y S 
 
 Water-Whkel, is an engine for raifing water in great quantities 
 out of a deep well. 
 
 Water- vVoRKS, in general, denote all manner of machines moved 
 by, or employed jn raifing or fuftaining water, in wlich i'enk, water- 
 mills of all kinds, fluiccs, aquc^duds, &c. may be called Water-work?. 
 The term Water- works, however, is more pirticularly ulcd for luch 
 machines as are employed only in raifing water. 
 
 Wfi ATHER-CocK, or We ather-Vane, a moveable vane in the 
 form of a cuck, or other ihape, uIuaHy placed on the llecples of churches, 
 and other great buildings, to be tur'ud round accordmg to the diredlion 
 of the wind, and point out what quarter the wind blows from. 
 
 Well, is a hole under ground ufually of a cylindrical figure, and 
 Willed with ftone. brick &c and mortar; its ufe is to colleift the wa- 
 ter of the llirata arou ^d it. The rifing of wat^er in Well.^ is thus account- 
 ed f 'r Suppofe a Well be funk at tne foot of a hill to fuch a depth as 
 will bring the diggers to an eruption of a fpring, whofe water is 
 brought by a dutfl from a cavity in the hill, or otherwife from a pond, 
 a riv;r, the fea, 6cc. it is evident the water in the Well will rife from 
 the bottom to an altitude, where the furface of the water is upon a level 
 with that in the refervoir, and conftitutes a Well. Well, in the milita- 
 ry art, is a depth which the mmer finks under giound with branches, or 
 galleries running out from it, either to prepare a mine, or to difcover 
 and difappoint the enemy's mine. 
 
 Well-Hole, in building, the hole left in a floor for the flairs to 
 come up through. 
 
 Wicket, a /mall door in the gate of a fortified place, &c. or a hole 
 in a door, througn which to view what palles witnout. 
 
 X. 
 
 Xyst or Xystos, an antique term ufed toexprefs a portico of great 
 length, in wnich were performed ieveral teats of running and wiciiling. 
 TheX)fl was fometimes covered, fometimes open. 
 
 This was the fenle in whicti the term was moir anciently ufed by the 
 Greeks; the Romans called by the lame name a i ing w .'k a kind of 
 ifle or po-tico, whether covered or open, ra;:ged on each iide \v,ih rows 
 of trees. Sometimes alfo it was uied to cxprels only along walk planted 
 with trees on each fide in double rows, and maicing a fort of area over 
 
 1 i 1 i the 
 
3o6 ZOO 
 
 the top, fo as to form a kind of long arbour. The gladiators who prac- 
 tifed therein, were called Xyftici. 
 
 z. 
 
 Zocco, ZoccoLO, ZoCLE, Or SoCLE, In architcdlure, a kind of (land 
 or pedeftal, being a low fquare piece, or member, ferving to fupport a 
 bufto, ilatue, or the like thing that needs to be raifed. 
 
 ZooPHORUs, a name by which fome call the frieze of the entablature ; 
 it has its name from the cuflom of reprefenting animals of many kinds 
 upon it in carving. 
 
At the Earneft Requeft of manv of our StTB<:cRiB''ns, we (hall give 
 a complete A B S T K A C I ot the 
 
 ACT OF PARLIAMENT, 
 
 OF THE 
 
 FOURTEENTH, OF GEORGE THE THIRD, 
 
 FOR REGULATING 
 
 BUILDINGS AND PARTY-WALLS, &c. 
 
 THE Preamble to the Adl of the 14th of George III. recites. 
 That the Aifl made in the i^th year of the fame reign, for the 
 purpofe of regulating Buildings and Party-walls, &.c hath been found 
 iniufficient to anlvver the good purpofes intended thereby; and there- 
 fore that it may tend to the Safety of the inhabitants, and prevent 
 greater inconveniences to Builders, and workmen employed in Build- 
 ings the prefent Ad has been made, and began to take effedl on the 
 24th of June, 1774. 
 
 This prefent Aft is made to repeal entirely the faid Adl of the 12th 
 of George the Third ; and alfo fo much of all other Afts whatever as re- 
 lates to the regulation of Buildings and Party-walls. 
 
 All irregular eredlions whatever built fince the paffing the faid Adl of 
 the 12th of George the Third, and contrary thereto, (except where pro- 
 ftcuticns have been commenced, and the penalties paid^ are to be alter- 
 ed and made in every refpedt conformable to the feveral regulations con- 
 tained in that of the 14th. 
 
 The King's palaces, or any building in the pofleffion of himfelf, his 
 heirs, or fucctflirs, or employed for his ufe ; alfo the Queen's palace, 
 or any building in her pofleffion, or employed for her ufe, are exempted 
 by this prefent Ad: trom the feveral regulations therein contained. 
 
 By the iaid Ad, all other buildings whatever now built, or hereafter 
 to be built, are by the Ad divided into feven different rates or clafles. 
 
 We fhall now proceed to the feveral regulations contained in the Ad, 
 which we are enjoined to ojjferve. 
 
 Kkkk RATES 
 
( 3oS ) 
 RATES OF BUILDINGS. 
 
 Ill what Manner determined. 
 
 First Rate of BUILDINGS. 
 
 VERY church, chapel, nieeting-hpufe,. or any other place of 
 Q^ publick vvoriliip. 
 
 Every tioiiie, eredion, or bi)ilding, for diftilling or brewing liquors 
 for f^Ie, for making of foap, melting of tallow, dying, boiling or dif- 
 tilling turpentine, caRing brafs or i;cn, refining of lugar, making of 
 glnfs for chjmical works for fale, of whatfoevcr dimenlion the fame ref- 
 pedlively are or may be built. * 
 
 Every ware-hoiiit; and other building (except fuch as are defcribed to 
 be of the fiith, fixth or feventh rate), not being a dwelling-houfe, 
 which exceeds three clear ftories above ground, exclufive of rooms in the 
 roof, or meafures in height 31 feet from the foot-way of either of the 
 fronts, to the top of the blocking courfe, or parapet. 
 
 And every dwelling houfe with offices anjoining, or connedled other- 
 wife than by a fence or tence-wall, or covered paflage open on one or 
 both fides, when finifhed, exceeds the value of 850 1. 
 
 Alfo every dweliing-houfe which exceeds nine lijuares of building on 
 the ground plan. 
 
 Second Rate of BUILDINGS. 
 
 Every ware-honfc, ftable, and ether building, (except thofe defcrib- 
 ed to be of the firll:, fifth, fixth, or leventh rate) not being a Dwelling- 
 houie, wbich exceeds two clear lloiies, and does not contain more than 
 three clear fl:o'ies above ground, exclufive of rooms in the roof, or mea- 
 fures in blight 22 feet, and not amounting to 31 feet from the foot- 
 way of either of tiie fonts, to ihc top of the bl cking-courfe, or parapet. 
 
 Every dwelling houle with offices adjoining, or conneftcd otherwile 
 than by a fence or fence wall, or covered paflage open on one or both 
 fjdts, when finifhed exceeds the value of 300 1. and dees not amount 
 to more than H50 1. 
 
 Every dwelling-houfe, which exceeds five fquares of building on the 
 ground plan, and does not amount to more than nine fquaies. 
 
 T H I K D Rate of BUILDINGS. 
 
 Every ware-loufe, flabk, and other building, (except thofe defcribed 
 to he of the firtf, filth, fixth or feventh latc! not being a dwelling-houfe, 
 which exceeds one c.car ffory, and docs not contain mcie than two clear 
 
 flori;.^s 
 
( Z^9 ) 
 
 florles above ground, exclufive ofrooms in the roof, or meafures in height 
 rfore than 13 htt, and does not amount to 22 feet, from the footway of 
 either of the fronts, to the top of the blocking -courfe, or parapet. 
 
 Every dwelling-houfe with offices adjoining, or conneileAl otherwife 
 than by a fence, or fbnce-wall, or covered paifige open on one or both 
 fide?, when finifhed, exceeds the value of 150I. and does not amount to 
 more than 300I, 
 
 Every dwelHng-houfe which exceeds three and a half fquares of build- 
 ing on the ground plan, and does not amount to more than rive fquares. 
 
 Fourth Rate of BUILDINGS, 
 
 Every ware-houfe, ftable, and other building (except thofe defcribed 
 to be of the firft, fifth, iixth or feventh rate) not being a dv^elling houfe, 
 which does not exceed one clear ftory above ground, exclufive of rooms 
 in the roof, and mealnres in height not more than 1 3 f -et from the foot- 
 w.iy of either of the fronts to the top of the blocking-coiirfe, or parapet. 
 
 Every dwelling houfe with offices adjoining, or connected otiierwife 
 than by a fence, or fence-wall, or covered pailiige open on one or both 
 fides, when finiHied, does not exceed the value of 150I. 
 
 Every dwelling-houle, which does not exceed three and an half fquares 
 of bui ding on the ground plan. 
 
 Fifth Rate of BUILDINGS. 
 
 Every dwelling-houfe, ware-houfe, ftable, and other building (except 
 thofe not being dwelling houfcs, as are defcribed to be of the hril or 
 feventh rate) which is at the dillance of 4 feet, and not 8 feet from any 
 public road, ftreet or caufeway and is detached from any other buikiing, 
 not in the fame pjflcffion, 16 feet at the leaft, and nr.t 30 feet, or con- 
 nedlcd with any othet building only by a fence or fence-wall. Thefe 
 are of the fifth rate, and may be built oi any dimenlions whatever. 
 
 Sixth Kate of BUILDINGS. 
 
 Every dwelling-houfe, ware-hou'e, ftable, and other building (except 
 not being dwelling-houfes, as are defcribed to be of tb.e firlf rate) wfiich 
 is at the diildnce or 5 feet from any public road, ftreer, cr caufeway, and 
 is detached from any oiher building, net in the (iuiie j;ofleffion, at leaft 
 30 feet, or connected with any other huildirg cnly by a fence or fence- 
 wall. Thele may be built of any dimtnficns, and with any materials 
 ■.vhatever. 
 
 Seventh 
 
[ 3^«> 1 
 Seventh Rate of BUILDINGS. 
 
 EvcRV crane -houfe, or any wharf or qtiay, every fhamble, wind-mill 
 or w?ter-mill ; every building fituated without the cities of London and 
 Wedmlnfter, and t!ie liberties theieof, ufed for workshops or Hryng 
 pi .ces for tanners, kllmangcrs, glue-mnkers, fize-makcrs, calHco prin- 
 ters, whitflers, whitinsj makers, curriers, lea her-dreffers, buckra n- 
 ftiftcners, oil-clcth p.nnters, wool ft i piers, throwfters, parchme it-ii»ikcrs 
 and paper- makers, lo long and at ki h times, as t"- ey arc ufed far fo;ne 
 or one of thofe purp fes, and no lonij;er, fh.iil be deetn-d to be of the 
 feventh rate, and may be built of any dimenfions, and with any ma.cnals 
 what'-ver ; but they are not to be covered with pitch or tar, or any other 
 inflammable material, nor ever to be converted to any other ule tiian as 
 abi vementiontd. 
 
 N. B The aft makes an exccptioi to the m^-terials of crane-houfes, 
 and expre-sly fays. That the wiiole, or any iduitio. thereto, (hall be built 
 of llone, brick, (lite, tile, oak, elm, ftetl, iron oi brTs. 
 
 It may be neceiraiy hereto obferve. That the aft pr> vides againft any 
 doubts which may arife cuncernmg offices th.t belong to any building of 
 the firft, fecond, thi'd, or fourth rate, and therefore fays, ' hat every 
 fuch office, if detached from the buildinj^ to which it belongs, and con- 
 nefted therewith only by a fence or fence wall, or covered palTige open 
 on one or both fides, fhall be deemed to be of the rate fuch building 
 would be of, as if the lame was not any ways connefted or belonged to 
 any fuch building. 
 
 What particularly concerns the Bricklayer in this Act. 
 
 There are only the firft, fecond, third, and fourth rates of Building, 
 vshofe thicknefs of external and party-walls are defcribed in the aft. 
 
 The aft direfts. That every mafter-workman, or owner, (hall give 24 
 hours notice to the lurveyor, in whofe diftrift any building, from the 
 firft to the feventh rate, is to be altered or erefted. 
 
 As buildings in general are oftener began by the bricklayer than by the 
 carpenter, it naturally fol o.vs, that it will be the bricklayer's bulinefs 10 
 oive luch notice, except where a foundation is to be piled or planked; 
 and then it becomes the bufinefs of the carpenter. 
 
 External Walls. 
 
 The Aft of 14 George III. calls every front, fide, or end wall, &c. 
 (not being a paity-Wrtll; an external wall. 
 
 The 
 
( 3^1 ) 
 
 The footings to the walls are to be with eq-ial projeilion on each fide,. 
 but where any adj iin'ng building will not admit of luch p''oj dli jn to be 
 made on the fide next adj wning to fuch bu Ming, the ad: allow i. to be 
 d ^ne as near as the cale will admit, and this to each of the four 
 rates. 
 
 The timbeis in each rate may be Tuppo^ed as g'rders, beams, or trim- 
 minti joilb, &c. which might be illulTirated with an engraving, to 
 fhew tiieir be::ring on the wall, which in all cafes, and in ail the a!)ove 
 four rates, may be as much as the nature of the wall will admit, pro- 
 vided there is left 4 inches between the ends of fuch timber and the ex- 
 ternal furface of the wall. 
 
 The joiiits of th:- brck-work might alfo be fhewn, and might anfwer 
 to the exprels number of bricks of which fuch wall is to be compofed. 
 
 It miy now be nectflary here to lay lomething further, relative to ex- 
 ternal wa Is. 
 
 External Walls, and other external inclofures to the firft, fe- 
 cond, third, fourth, and alfo the fiHh rate of building, when built 
 hereafter, mult be of brick, flone, artificial flone, lead, copper, tin. 
 Hate tile, or iron; or of brick, done, and fuch artificial ftone, lean, 
 copper tin, (late, tiie and iron together, except the planking, piling, 
 &c for the foundation, which may be of wood of any fort. 
 
 If any part to an external will of the firft and fecond rate, is buik 
 whol'y of lloue, it is not to be lels in thicknefs than as follows. 
 
 Firll rate, 14 inches below the ground floor i 9 mches above the 
 ground floor. 
 
 Second rate, 9 inches above the ground floor. 
 
 Where a receis is meant to be made in any external wall, it muft be 
 arched over, and in fuch mmnT, as that the arch, and ths back of fuch 
 recefs (hall refpeftively be of the thicknefs of one brick in length j it is 
 therefore plain, that where a wall is not more than one brick thick, it 
 cannot have any recefs. 
 
 No external wall to the firft, fecond, third, and fourth rate, is ever 
 to becoiiie a party-wall, unlefs the fame fliall be of the height and 
 thicknefs above the footing, as is required for each party-wall to its ref- 
 pedive rate. 
 
 Of Part y-w alls. 
 
 Buildings of the firfl, fecond, third, and fourth rate, which are 
 not dcfigneil by the owner thereof to have feparate and diftind fide walls, 
 on fuch parts as may be contiguous to ether buildings, mud have 
 party-walis; and they are to be placed half and half, on the ground of 
 each owner, or of each building refpedively, and may be built thereon, 
 
 L 1 1 1 without 
 
( 3'2 ) 
 
 without any notice being given to the owner of the other part, that !<; 
 to fay, the firfl: builder has a right fo to do, where he is building againft 
 vacant ground. 
 
 F;irty-vvall?, chimnies, and chimney- fhafts hereafter to be built, muft 
 be of good found bricks, or ftone, or.of found bricks and llonc toge- 
 ther, and muft be coped with flone, tile or brick. 
 
 Party- wallf, or additions thereto, muft be carried up iS inches a- 
 bove the roof, meafuring at right angles with tlie back of the rafter, 
 and 12 inches above the gutter of the higheft building, which gab'es 
 agiinftit; but where the height of a party- wall fo carried up, exceeds 
 the height of the blocking courfe,. or parapet, it may be made lefs than 
 one foot nbcve the gutter, for the diftance of 2 feet 6 inches from the 
 front of the blocking -courfe, or parapet. 
 
 Where dormers or other eredtions are fixed in any flat or roof, within 4 
 feet of any party-wall, fuch party-wall is to be carried up againft fuch 
 dormer, and muft extend' at leaft 2 feet wider, and to the full height of 
 every fuch dormer or erection. 
 
 No recefs is to be hereafter madein any party-v/all of thefirft, fecond, 
 third and fourth rate, except for chimney -flues, girders, £ic. and for the 
 ends oPwalls or'piers, fo as to reduce fuch wall in any part of it, to a 
 lefs thicknefs than is required by the ad, for the higheft rate of build- 
 ing to which fuch wall belong?. 
 
 No opening is to be hereafter made in any party-wall, except for 
 communication"from' One ftack of ware-houfes to' another, and from one 
 ftable building to another, all which communications muft have wrought 
 iron doors; and the pannels thereof are nOt to be lefs than one quarter 
 of an inch thick, and to be fixed in ftone door -cafes and fills. But there 
 may be openings f'or pafflVges or \Vays on the ground, for foot paftengers, 
 cattle or carriag-^s, aind muft be arched over throughout with brick or 
 ftone, or brick and ftdiie together, of the thicknels of a brick and haif 
 at the leaft, to- the-fir.ft and fecon^ rate, and one brick, to the third and 
 fourth rate. And if theie is anycellar or vacuity under fuch paflage, it 
 is to be arched over throughout in the fame manner as the pafla^c over it. 
 No party wall or party-arLh, or Ihaft of any chimney, new or old, 
 muft be cut into, other than for the purpofes as follow. 
 
 If the fronts of buildings are in a line with each 'other, a break may 
 be c t, b. th in the fore and back front of fjch building, (as may be al- 
 ready erected), for the purpole of inferting the end of fuch other exctrnal 
 wall which is to adjoin thereto; which break muft not be more than 
 9 inches dtcp, from the outward faces cf fuch external walls, and not 
 to be cut beyond the centre ot the purty-wall tneicto belonging 
 
 rtp.d further, lor the u e of inlcrtii.g br^fl'ummerb and ftory ports, that 
 are to be fixed on the ground floor, cithtr in the front or back wall, 
 
 which 
 
( 3^3 ) 
 
 which recefs miy be cut from the foundation, of fuch new wall, to the 
 top of fuch brelfummer 14 inches deep from the outward face of fuch 
 wall, and 4 inches wide in the cellar Ilory, and 2 inches wide on the 
 ground fliory. 
 
 And further, for the purpofe of tailin.;-in ftone fteps, or ftone land- 
 ipgs, or lor bearers to v\ood flairs, or for laying-in ftone corbels for the 
 fupport of chitijney jauoib?, girders, beams, purloins, binding or trim- 
 ming joifts, or other principal timbers. 
 
 Perpendicular recefles may alio be cut in any party-wall whofe thick- 
 nefs is not lefs than 13 inches, for .the purpofe of inferring walls, and 
 piers therein, but they muft not be made wider than 1^ inches, ormjre 
 than 4 inches deep, and no fuch recefs is to be nearer than lo feet to 
 any other recefs. 
 
 All fuch cuttings and recefles muft be immediately made good, and 
 eflldtually pinned up, with bri.k, ftone, flate, tile, (hell, or iron, bed- 
 ded in mortar. 
 
 No party-wall to be cut for any of the above purpofef, if t':e fame 
 will injure, dilplace, or endanger, the timbers, chimnies, flues or inter- 
 nal finilhings ot the adjo.ning buildings 
 
 The aft alio allows the footing to be cut off on the fide of any party- 
 wall, where an independent lide-vvailis intended to be built againll fucli 
 party wall. 
 
 When any buildings I'the inns of court excepted) that are ereded over 
 gatewa-^s, or public palTages, or have diffennt rooms and floors, the pro- 
 perty of difl'erent owners, come to be rebuilt, they mull h ive a party- 
 wall, with a party- arch or arches, of the thickne.'s of a brick and half 
 at the leafl, to the fiift and feconJ rate, and of one brick to the third and 
 fourth-rate, between building and buiding, or between the different 
 rooms and floors that are the property ot different ovvn( rs. 
 
 All mns of court are excepted from the regulation as above, and are 
 onlv neceffit.. ted to have party wa'Is, where any room or chamber com- 
 municates to each feoarate, and difrinft ftair-cafe, and which are aifo 
 fubjedl to ti.e fame regulations as re'pecl other party-walls. 
 
 it a bui'dingof a lower rate, is lituated adjoining to a building of a 
 higher-rate, and any addition is intended to be made thereto, the party- 
 wall mul be built in luch mamer, as is req^ui'-ed for the rate ot fuch 
 higher rate of building lo adjo^nmg. 
 
 When any party-wall is raifcJ, it is to be made the fame thicknefs, as 
 the wa.l is of, in the itory ntxt below the root ot the highell outlding 
 adjoining, but it mull not be railed at all, unlefs it can be done with 
 fatety to luch wall, and the building adjoining thereto. 
 
 Every dwtUing-houie to be built which contains four flories in height 
 fiom the tounddtion, exclulive of rooms in the roof, mull have its party- 
 
 M m m m wall 
 
r 3H 1 • 
 
 wall built according to the third rate, althoigh fuch dwelling-houfe may 
 be of the fourth rate. 
 
 And every dwelling houfe to be built in future which exceeds four 
 ftorics in height, from the foundatio.i, excluive of the roorriN in the 
 roof, mufthave its party- wall built according to the firft: rate, although 
 fuch houfe may not be of the firft rate. 
 
 C H I M N I E s, &c. 
 
 No Chimney is to be ereded on timber, except on the piling, plank- 
 ing, &c. of the foundations of the building. 
 
 Chimnies may be built back to bdck, in party-walls j but in that cafe 
 they muft not be lefs in thicknefs irom the centre of fuch party-wall 
 than as follows. 
 
 Firft rate, or adjoining thereto, mull: be one brick thick in the cellar 
 floryj and half a brick in all the upper ftories. 
 
 Second, third and fourth rate, or adjoining thereto, muft be three- 
 fourths of a brick thick in the cellar ftory ; and half a brick in all 
 the upper ftories. 
 
 Such chimnies in party-walls as do not ftand back to back may be 
 built in any of the four rates as iollows : 
 
 From the external face of tht party-wall to the inward face of the back 
 of the Chihiney in the cellar ftory, one brick and an half thick, and in 
 the upper ftories, one brick thick, from the hearth to 12 inches above 
 the mantle. 
 
 Thole backs of chimnies which are not in party- wails, to the firft rate, 
 muft not be lefs than a brick and half thick in tlie ctllar ftory, and one 
 brick thick in every other ftory, and to be from the hearth, to 12 inches 
 above the mantle. 
 
 If fuch chiinney is built againft any other wall, the back may be half 
 a brick thinner than that which is above defcribed. 
 
 Thole bncks of chimnies which are not in party-walls of the fecond, 
 third and fourth rate, muft be in every ftory one brick thick, at leaft, 
 from the hearth, to. 12 inches above the mantle. 
 
 Thefe backs may be alio half a brick thinner, if fuch chimney is built 
 againft aAy other wall. 
 
 All breafts of chimnies, whether they are in party-walls or not, are 
 not to be lefs than one brick thick in the cellar ftory, and half a brick 
 thick in every other ftory. 
 
 All withs between flues muft not be lefs than half a b. ick thick. 
 
 Flues may be built oppolite to each other in party- walls, but they muft 
 not approach to the centre of inch wall nearer than 2 inches. 
 
 All chimney breafts, next the rooms, and chimney backs alfc, and all 
 fluts aie to be rendered or pargeited. 
 
 Backs 
 
( 315 ) 
 
 Backs of chimnies and flues in party-walls agaiart: vacant ground mufl: 
 be lime whited. or marked in fome durable manner, but muft be render- 
 ed or pargetted as foon as any other building is eredted to fuch wall. 
 
 No timber mufl; be over the opening of any chimney for fupporting 
 the breafl: thereof, but mufl: have a brick, or flone arch, or iron bar 
 or bars. 
 
 All chimnies mufl: have flabs, or foot paces of fl:one, marble, tile or 
 iron at leafl: ib inches broid, and at leafl one foot longer than the open- 
 ingot the chimney when finifhed, and fuch flabs or foot paces mufl: be 
 laid on brick or fl:one trimmers at leafl: ■ H inches brQad from the face 
 of the chimney breafl:, except where there is no room or vacuity beneath, 
 and then they maybe bedded en the ground. 
 
 Brick funnels mufl not be made on the outQde of any building of the 
 firfl:, fecond, third or fourth rate, next to any ftreet, fquare, court, road, 
 or way, fo as to extend beyond the general line of the buildings therein. 
 
 No funnel of tin, copper, iron, or other pipe for conveying finoak 
 or fl:eam, mufl: hereafter be fixed near any public fl:reet, fquare, court or 
 way, to the firfl, fecond, third, or fourth rate, and no fuch pipe is to be 
 fixed on the infide of any building nearer than 14 inches to any timber, 
 or other combuftible material whatever. 
 
 r 
 
 CARPENTER. 
 
 THOSE timber partitions between building and building that 
 were eredled, or begun to be eredled before the paflling of the ail, may 
 remain till one of the adjoining houfes is rebuilt, or till one of the fronts, 
 or two-thirds of (uch fronts, which abutt on fuch timber partition, is 
 taken down to the breffummer or one pair of fl:aiis floor, and rebuilt. 
 
 No timber muft hereafter be laid into any party arch, other than for 
 bond to the fame. Nor into any party-wall other than for bond, &C' 
 and the ends of the principal timbers to the floors and roof. 
 
 No timber bearer to wood flairs, where an old party-wall has been 
 cut into for that purpofe, mufl: be laid nearer than eight inches and an 
 half to any chimney or flue, or nearer than four inches to the internal 
 finifl:iing- of the building adjoining. 
 
 No timber mufl: be laid in any oven, copper, fl:ove, flill, boiler or 
 furnace, nor within 2 feet of the infide therec f. 
 
 No timber mufl be laid nearer than nine inches to the opening of any 
 chimney. 
 
 No timbtrmufl: be laid nearer than five inches to any flue of a chim- 
 ney, oven, ftove, copper, flill, boiler, or furnace. Or nearer than 
 nine incLes, if fuch timber is placed nearer than five feet of the mouth 
 of the fame refpedtively. 
 
 No 
 
( 3'6 ) 
 
 No linihcr is to be laiil umkr any hearth to a chimney, nearer than 18 
 inches to the upper furface of fuch hearth. 
 
 No timber muft b:^ laid cearer than j8 inches to any door of commu- 
 nicAtion through party- wal^s between w.^irehoufes or ftables. 
 
 All vvocd-work in general againd any breaft, back or flue, of any 
 chimney, mull: be fixed by iron nails or hold-fafts, and not drove' more 
 than three inches into the wall, or nearer than four inches to the infide 
 of the opening of any chimney. 
 
 BreOummers, llory pofts, and plates thereto, are only permitted in the 
 ground ftory, and may ftand fair with the outl'ide face of the wall, but 
 mult go no deeper than two inches into a party- wall, nor nearer than fe- 
 ven inches to the centre of a party-wall where it is two bricics thick, 
 nor nearer tiian four inches and an half, if fuch party-wall does not ex- 
 ceed one brick and an half in thicknefs. 
 
 Window frames, and door frames to the firft, fecond, third and fouith 
 rate, are to be receffed in four inch reveals at lead. 
 
 Door-cafes, and doors, to warehcufes only, as are of the firft, fecond, 
 third or fourth rate, may ftand fair with the outward faceot the wall. 
 
 Every corner flory pod, fixed for the fupport of two fronts, mull be 
 ef oak or llone, at leafl 12 inches fquare. 
 
 No external decoration is to be of wood, except as follows : cornices, 
 or drefiings to Ihcp windows, frontilpieces to door ways of the lecond, 
 third and fourth rate; covered-ways, or porticos to a building, but not 
 to piojed: before the original line of the houles in any ftreet or vv. y ; fuch 
 covered- ways or porticos, to be covered with ftone, lead, copper, llite, 
 tile or tin. 
 
 No fuch covereil-way, or the cornice to any fliop window, nor the 
 roof of*^any portico, muft be higher than the under fide of the fill to 
 the windovvs of the one pair of ftairs floor. 
 
 Every other kind of external decorations to the firft, fecond, third and 
 fourth rate is to be of,ftone, bri^k, artificial fione, llucco, iead, or iron. 
 
 Every flat, gutter and roof, and every turret, dormer, and Imthorn, 
 light, or other ercdtion, placed on tiie fl,u, or roof of any building of 
 the firll, fecond, third, fourth, and fifth rate, mult be covered eitner 
 with glaP, copper, lead, tin, fltte, tih, or artificial ito.ie. 
 
 No dripping eaves muft be made next any public way, to any roof of 
 the firft, fecond, third, or fourth rate, except from the roofs of porticos 
 or othtr entrance?. 
 
 W'.od trunks muft not be higher from the ground than to the top<; of 
 the windows of the ground ftory, the pipes from thence upwards, muft 
 be ol lead, copper, tin, or iron, and may dilcharge the water into chan- 
 nel ftones, on or below the (urface of the ground. Or the wooJ trunks 
 may be continued down below thefuriaceof the ground iaio drains, 6cc. 
 
 or 
 
( 3^7 ) 
 
 or into brick or ftone funnels, but fuch funnels muft in every part there- 
 of be below the furface of the foot pavement. 
 
 OWNERS. 
 
 THOSE perfons who are owners of warehoufes and llables, are re- 
 ft:riifl';d by the adl, from making any v/arehoufe or ftable whatever, 
 to Contain more than a certain number of fquares on the ground plan 
 thereof, which reftridion is as follows: That no flack of Warehoufes 
 IS to cont.un more than 35 fquares of building on the ground plan, in- 
 cluding all the external and internal walls, and fo much of the party- 
 walls as may belong to fuch Oack of warehoufes. Nor muft any en- 
 largement be made to any flack of warehoufes already built or begun, 
 fo as to encreafi the fame beyond the faid 35 fquares; but it any ftack 
 of warehoufes is required to be larger than above fpecihed, there muft 
 be a party wall or walls, which muft be built in every refpecfl conform- 
 able to the rate to which fuch warehoufes bclono : and the communica- 
 tions therein to be by ftone door-cafes and iron doors. 
 
 If a ftable building, it muft not contain above 25 fquares, and in 
 every other relpeCt is fubjed: to the fame rules and regulations as above 
 defcrihed, to beobl'erved in warehoufes. 
 
 All buildingi of the firft, fecond, third or fourth rate, (except thofe 
 in the inns of court, or chancery, the royal exchange companies halls, 
 and except warehoufes and dwelling-houfes let at a rack rent for not 
 more than 25 1. a-year) if hereafter converted into two or more dwelling- 
 houfes, work-fhops, ftables or other buildings, and made into diftindt 
 tenures on the ground iioor thereof, then each of fuch tenements is to 
 be confidered as a feparate buildu g, and muft have a party-wall or walls 
 accordingly. 
 
 The proprietors of any ftack of warehoufes or ftables are excepted by 
 the &0. from the above regulation, and may divide their wareho.jftrs and 
 flables, for the purpofe of letting them to unner tenants, witho.it hav- 
 ing 2ny fuch party wall, if each divifion doesnot exceed the number of 
 fquares before fpecificd. 
 
 Owners of buildings thinking t'-:emfelves aggrieved by the afcertain- 
 mcnt of the rate of their buildintr, made by any furvc) or appointed un- 
 der the zt\, may apply to any two jufticts of the peace within whoi. ju- 
 rildidlion luch building is fituaied, and if not lausfied with their dctcr- 
 min<nio!i, may appeal to the general quarter fclfions, whofe determina- 
 tion is final. 
 
 If difputes or difficulties arife between o^/ners, concerning the re-»- 
 building of hcufes or other buildings, in feparite occupations, or from 
 their property being any ways intermixed, by being over public gate- 
 
 N n n n ways. 
 
( 3iS ) 
 
 ways, orotherwife, the peifon wiio is firft defirous of rebuilding, may, 
 upon oiving ro'ice in writing to the other pa-ty concern-ii, of tneir in- 
 tention to apply for the judgment and determination of the geuerai or 
 quarter ftifions, (to be next ho. den in the city, county, &c. whvtre the 
 fame may happen) after 14 days fiom the deliveryr of fuch notice, pio- 
 ceed accordingly, and obtain vcrdidt bv jury. 
 
 The cafe mu(t be particularly flated in the notice, and fuch notice is 
 to be left at the laft or ufual place of abode of the party to whom the 
 notice is addrefled. If they arc under any legyl difability, or cannot be 
 found, or if their building adjoining fuch inttrmixed property is uninha- 
 bited, it is fufficient if the notice is wrote in a legible hand, and hxcd 
 to the door, or fome other confpicuous place of fuch houie or building 
 fo uninhabited. 
 
 Such owners may, after 14 days from the obtaining fuch judgment 
 or determination, proceed to the pulling down their own building, and 
 may, in the prefence of a peace officer, enter the ground of the other 
 owner, in order to rebuild fuch parts, or the whole of any party-wail or 
 walls, or party-arch or arches, and in fuch manner as determined by the 
 jury, and may remove to fome other part of the premiles, any furniture, 
 or otlier obftrudions to the carrying on the work, and themfelves and 
 workmen to have free accefs during the time oi working hours, till fuch 
 party- wall or walls, or party-arch or arches are completed. 
 
 And if fuch owner or occupier, or any other p^rlon or perfons, fliall 
 hinder fuch workmen fo employed tor the purpofes before faid, or wil- 
 fully damage the laid works, they are to torfeit 10 I. to be levied, re- 
 covered, and applied, in the fame manner as the penalty on church- 
 wardens. 
 
 Within 10 days after fuch party-wall or walls, or party-arch or arch- 
 es are rebuilt, the perfon ^vho built the fame, mufl leave with the own- 
 er adjoining, an account of the expence incurred, to his, her, or their 
 fliare, by building fo much of fuch party-wall or walls, or p.irty-arch or 
 arches, as by the verdi<ft fo determined to be built; and unlefs payment 
 is made within 21 days after demand has been made, it maybe recovered 
 by adtion of debt, bill, plaint, or information, in any of his majeili^'s 
 courts of record at Weflminfter, with double cofls of fuit. 
 
 Tenants or occupiers may pay tlie money, and dedud: it out of the 
 next payment of their rent. 
 
 Wiien any old party- wall to the firfl, fecond, or third rate is not more 
 in thicknefs than one brick and an half from the foundation to the 
 ground floor, and not more than one brick thick from thence upwards 
 to the top thereof, the owner of either of the buildings adjoining, being 
 defirous of pulling down their own building, in order to rebuild, and 
 to have a party-wall agreeable to the regulation of the adt, mufl give 
 
 three 
 
( 3'9 ) 
 
 three months notice in writing to the Owner or Occupier of the Build- 
 ing fo adjoining, of liis, her or their intention, in three'months from the 
 date thereof, to pull down fuch old party-wall, and eredt in its ilead a 
 party-wall agreeable to the adl, and at the expiration of which time, he 
 may enter fuch adjoining premiles, and exertife the like authority, as 
 has been expreff-d in tie cafe of intermixed property. 
 
 The fame in every other rcfpedt may be done, where there is wood 
 partitions between buildings, and the owner of one part is defirous of 
 having a wall. 
 
 1 he owner who builds a party -wall, is to be reimburfed a part of 
 the expence, in proportion as the cafe may be ; for example, if his 
 building is of an equal or inferior rate to that of the owner's adj oin'ng, 
 he is to receive an equal moiety, or at lead to be paid for as inuch as the 
 other owner makes ufe of: but if his building is of a luperior rate to 
 that of the other owner, he is only to receive fuch a fum as ariks from 
 valuing it accoriiing to tiie th ckneis of wall as is required to fuch a 
 rate of building. 
 
 Party-walls, or party- arches are to be valued at 7I. 15s. per rod for 
 new brick-work J and il. 8s. per rod is to be allowed tor the old brick- 
 vvo: k of fuch pirty wall or arch, as it contained before it was pulled 
 down, and alio to allow two-pence per fcjot cube tor old timber. 
 
 Until the payment of the money, the property of luch wall, and the 
 whole ground on which it ftands, is veiled intirely in the perlon at whofe 
 expence the fame was built. 
 
 The money is to be paid, as foon as fuch party-wall is made ufe of 
 by the adjoining owner, where there was no building adjoining before 
 fuch party-wall was built; or if thcie was a buiiding a>joiinng thereto, 
 then it is to be paid as foon as the pirty-wall is built and hnilhed. 
 
 Within ten days after being lo fimflied, or as foon as conveniently 
 may be, the owner, at whofe expence it was buih, is to leave vv/ith the 
 owner or occupier of tne adjoining Ludi ing, an ai^c^unt in writmg, of 
 the number of rods contauied in luvh part of the wail as the other 
 owner fo adjoining is liable to pay ; making iherei'i the dedudion (if 
 f.ny'^ of tfic value of the old materials according as it miy happen, and 
 alio an account of Inch otlier expences as iriay have been incurred, m 
 fiioring up the other owner's building, or clearing away vi'ainfcot, &c. 
 receflary lor the purpofe of building luch party-wail ; and the tenant 
 cr occupier, with wiioni luch notice is lett, may pay the money, and 
 dediidl ic out of the next payment of the rent. 
 
 The prirty-wall is to be pulled down at the firft builder's expence, 
 which expence is not to be included in t!ie above account, it bemg lup-« 
 pofed the old materials are woitli 28 s. a rod, and 2 d. per foot cube, 
 more than the labour of pulling down. 
 
 O o o o If 
 
( 320 ) 
 
 If tiie ironcy is not paid within 21 days after It has been demanded, 
 
 it may he recovered with full cofls of lliit from the owner on whom it 
 
 1 as been incurred, by adlion of debt, or on the cale. in any of his IVla- 
 
 jrliy's c lifts of record at WeftminRe:-, wherein no elToign, protedion, or 
 
 , wager of law, 01 more than one imparbince (hall be allowed. 
 
 If the pbiniitf gives three callcnd^ir months notice to the other owner, 
 of bis intention of bnngi g !uch adion befoe ihe commencement there- 
 of, fpeciLing in fnch notice thr fum for which it is to be brought, and 
 sllb annex, s to fuch no'i e a bill of the particulars with which fuch in- 
 tended defendant is to be charged, then if (uch pbnn tiff recovers 'he full 
 fum fpecified in Inch notice, he {hall alfo recover double cofts of luit. 
 
 Wi-ien party-walis and party-arches, or party-fcnce-walls are decayed, 
 and the owner of one part, thinks it r.eceilary to repair or rebuild the 
 fime, or any part thereof, and tliC owner of the otlier part is not agree- 
 able therett;, or is under any legal diiability or otherwife, the owner lo 
 dcf;rous of rebuilding muft give three months notice in writing to the 
 owner of the other part, or the occupier thereof, or if the adjoining 
 building or ground is uninhdhited, then to fix it on the dcor, and which 
 notice is to be in lorm, or to the ctiedt, following, 
 
 " Apprehending the party-wall, party arch, or party-fence wall, or 
 fome part thereijt ;^as the cafe fhdl be), between the-houfe, or builuing, 
 or ground (as the caie rtiall be) thereto adjoining, fituate 
 
 inhabited, or 1 ccupied by and my houfe, or 
 
 building, c r ground ^as the ca.e fhall be) adjoining thereto, to be fo far 
 out of repair, as to render it neceflary to repair, or pull down, and 
 rebuild the lame, or f^ me part thereof : t.'ke notice, that I intend to 
 liave tliC laid party wall, party-arch, or party-tence-wa 1, (as tiie cale 
 ihall be^ furveycd purluant lo an a6t of parliament, made in the 14th 
 year ot the reign of king George 111. and that I have appointed 
 
 of and 
 
 of my furveyors, to meet at 
 
 in (^ being at lome place within 
 
 the limits of the adl) on my behalf, on the Day of 
 
 next at of the clock, in the of the lame day, 
 
 (being between the hours of fix in the morning, and fix in the aiter- 
 ncon.^ And I do hereby require and call upon ycu to appoint two othrr 
 Jurveyors, or able wcrkmen, on youi part, to meet them at the time 
 and place aforelaid, to view the laid party-wall, pariy-arch, or party- 
 fcnte-wall (as tl:e cafe fliall be) and to certify the ftate and condition 
 thcieol, and whether the fime or any part thereof ought to be repaired 
 or puiltd down and rebailt. 
 
 Dated this day of 
 
 The [lerlbn to whom fui h notice is given, is to appoint two furveyors, 
 or able workmen, to meet at the time and piace in fuch notice mentioned, 
 
 and 
 
( 321 ) 
 
 and they together with the other furveyors (named and appointed by the 
 owner giving fuch notice) may view fuch party-wall, party-arch, or 
 partv-fence-wall, and certify their opinion thereon. 
 
 If the owner, or occupier, to whom fuch notice was given, refufes 
 or nf'slecfls to provide two furveyors, or able workmen, againft the time 
 appointed in fuch notice, then the owner may, within lix days after 
 fuch time appointed, provide two other furveyors, or able workmen, 
 and they, together with thofe before-named, may proceed accordingly to 
 the viewing fuch party-wall, &c- 
 
 The furvcvors are to give a certificate under their hands to the court 
 of aldermen, or the next general or quarter fcffions, (as it may haj pen) 
 the ftiite of fuch wall, &c. and whether it is to be rebuilt or otherwile. 
 And if not done by the major part of them within one month alter luch 
 appointment, the owner may apply to one or more juftices of the peace, 
 who may appoint one other able furveyor, or workman, to be added to 
 the others, and they may meet upon fix days notice, to view luch 
 wjII, &c. 
 
 Such certificate is to be immediately filed with the clerk of the peace, 
 for which he is to receive one fliiliing, and a copy ot luch certificate 
 within three days atrer being m.^de, is to he delivered to the owner, or 
 left at the ho lie adjoining, or fixed on the door, if uninhabited. 
 
 The perfon againft whom fuch certificate has been obtained, if not 
 fatisfied therewith, m ly app.;al to the general or quarter leifions lo be 
 next holden in tlie city, county, lioerty, &c. whole detei niination is 
 final. 
 
 If the parties make no fuch appeal, or if they do appeal, and there 
 is no ordir made to ths contnry, then the owner wiio fill: gave the no- 
 tice iofhis intention, of rebuilding or otherwile) may, after fourteen 
 days trom the leaving the copy of fuch certificate with the owner, or 
 at the houle adjoining, proceed to the pulling down, or to the repairing 
 fuch party wall, &c. as has been lb determu.ed, and niiy tnter the 
 houfe or grou .d in ihe prelence of a peace officer, an*! exercle the au- 
 thority as is given to owners in the cale of intermixed property. 
 
 Party-walls and chimney fliafts may be railed by owner'? on one fide 
 to any height, and if the owner on the other licie makes ule of tnem in 
 any other manner than for flues therein he or tiiey ks to pay tor as mjch 
 of the lame io made ule of accordingly, and to be levied and lecuvtrcd 
 as in the cafe of the firlf building a party-wall 
 
 Party fence-walls, i^if found) rnav be railed by owners on one fide, 
 but are not to be ufed as party-wUls, uniefs they are ot the materials, 
 height, and thicknefs, required by the adt to tne rate of wnich tnty 
 belong. ' 
 
 The 
 
[ 322 I 
 
 The owner of party-fence-walls, or fences of wood, may take them 
 down on one fide at bis own expence, and he may bui'd a new party- 
 wall intiead thereof-, but mu'l not fct more than feven inches on the ad- 
 joining ground; and the owner of fiich adjoining g-ound mu(T n^-t mn'<e 
 uie of it otherwife than for a pi'tyfence wall j it he does he mulf pay 
 a pr'^portionable part uf the e\pe ice in en (fling it. 
 
 Notwithdanding, the o^vner who builds fuuh party-wall, may have fet 
 it more on his own ground, tha:i the [tven inches on V\e ground ad- 
 joining, yet he is not to lole hit fight of foil, but the line ot his pro- 
 perty is to continue at be ore. 
 
 If any new partv-wali is intended to be built ly an owner of one 
 part, and the owner of the other part is deiirous of having chimney 
 breads, jaumbsand flues left the.ein, or to have fucn otiier lecelfes le't, 
 as are by the acft allowed, he mult give notice in writing before the wail 
 is begun to be built, to the builder thereof ; I'pccifying in what man- 
 ner lueh recellls, &c. aie required to be left. AuJ the build;r is then 
 to ercdf in a piopcr manner fuch chimney jaum'os, brealts ana flues, and 
 alfo leave fuch recefl'cs as a:e required; and, as fojn as completed, the 
 owner who gave iuch notice is deemed to have made ufe of lu^h party- 
 wall, and from ther>ccforth is liable to pav the whole of the expence of 
 cred;ing fuch wcrk as Wjs defired, as well as a proportionable part of 
 the expence in ereding the party wall, to be recovered by the other 
 owner, in cafe of ncn-payment, with lull cods of fuit, in the f.ime man- 
 ner as the proportionable part of any party- wall is made recoverable to 
 tlie fijft builder thereof. 
 
 Such party walls as are built, or begun to be built before the pafling 
 of the £df, if kund may remain, though perhaps they are not buiit ac- 
 cording to the tbickneis now required; and it may happen that the 
 houle adjoining will be rebuilt with a fide wall, with.out inAing ufe of 
 fuch old party. wall ; in that cafe, when the other hou:^ adjoining is re- 
 built, or the pnrtv-wdl is taken down, the owner of Iuch noule fo ad- 
 joinii-it^, is not t j be intitled to more than one half or the old materials 
 of fuch old p.irty- Wall, nor tu more than one halt the ground whereon 
 it flood, without having agrc(.d, and made iathfadion fur tue other half 
 to the owner who built li;ch didindl lide-vvall ; and if the parties cau- 
 not agree, tlie price and tne matters in difference to be fettled b) a jury. 
 If the houle or building io adjoining to fuch duhii(ft lide-wall, as 
 above alluded to, lliall be ot the hrii, lecond, or thiid rate, or be four 
 ffories hi^h from the found.^tion thereof, exclunve of rooms in the roof, 
 and iuch old party-wall, not be.ng of ti.e thiekncfs of tv/o bricks in 
 Jer.gib, from tlie foundation to the grou id floor, and trom thence up- 
 wasd'- to the top thereof of the thicknels uf one and an half brick m 
 length ; then iuch old party-wa.l, wiien cither of the Duildings adjoining 
 
 is 
 
C 323 ) 
 
 is rebuilt, is to be confidered as if the fame had been condemned as 
 ruinous. 
 
 If fuch old party-wall fhall have kny timber of any adjoining build- 
 ing laying through the fanje, and if when either of the hcul'es or build- 
 ings is rebuilt, and the cwtier whofe houfe is not rebuilding, will not 
 perait fo much of fuch timber to be cut off, as (hall leave full fix inches 
 of clear brick-work beyond the end of every I'uch timber then fuch wall 
 is to be confidered, as if the fame had been condemned as ruinous, and 
 the fame 's to be taken down and rebuilt in fuch manner as has been 
 decrilnd, in the cale of decayed party-walls. 
 
 Bow-windows, or other projections to be hereafter built, or added to 
 any building of the firfl, fecond, third, o^ fourth rate next to any public 
 ft.eet, Iquare, court, or way, mud not extend beyond the general line of 
 the fronts ot the houles therein, except for projedion of copings, cor- 
 nices, facias, doors, and windoA'-dreflings, or for open porticos, fttps, 
 or iron pill ifade,- ; and alio, except windows to fhops on the ground 
 ftory. And the ftall-boards to fuch windows, muft not in any ftreet or 
 way, 30 feet wide or more, projed: above 10 inciies, nor in any ftreet or 
 way Icfs than 30 feet wide, projed above 5 inches, from the upright line 
 of the building to which fuch ftall-board belongs. 
 
 No cornice or covering to inch fliop window, in any ftreet or way 30 
 feet wide or more, muft projed: above 18 inches, nor in any ftreet or 
 way lefs than 30 feet wide, projed above 13 inches, from the upright 
 line of the building to which iuch window belongs. 
 
 No how-window or other projedion built before the 24th of June, 
 1774, is ever to be rebuilt (except Iuch projedions as are before nien- 
 tioned allowed to be) unlels fuch bow-window or projedion, was built 
 originally with the houfe or buiKiing to which it belongs ; or unlefs 
 fuch bow, or other projedion be within the original line of the ftreet, 
 fquare, court, place, or way, wherein the iame is ficu.ited ; in which 
 cafe it muft be built, together with the columns (if any) that fupport 
 the fame, with tiie fame materials, as is di edlcd for external walls. 
 
 N. B. The power of the commiflioners of the paving, or of fewers 
 for the city of London, in regard to the above macters, remain as before 
 the pafting of the ad. 
 
 Where the fore tront and back front of any building now built, is 
 taken down as low as the brcfllimmer oi one pair of ftairs floor, withm 
 the fpac of five years irom each otner, it is to be deemed a rebuilding, 
 and the party walls thereol are to be fubjed in all reipeds to the feveral 
 regulations in this ad. 
 
 The ad however allows all external walls or external inclofures 
 that are now built, (except roofs, flats, gutters, dormers, turrets, and 
 lanthurn lights, or other eredion on the lame) to be repaired with the 
 
 P p p p fame 
 
( 324 ) 
 
 •llirhe fort of materials, of which tbey are 'now ercdc-d, but if taken 
 down to the breiTum;iier or one pair of ftairs floor, then they are to be 
 
 .built of the fame materials, and not kfs in their dimenfions thsn has 
 been all along explained, in regard to external walls hereafter to be 
 
 .built. 
 
 Ml internal inclofures of additions thereto, hereafter to be made for 
 feparating any building of the firll, lecond, third or fourth rate, from 
 any other building where fuch buildings fhall be in feparate occupations, 
 mull be of brick, or ftone, or artificial (tone, or Uucco. 
 
 Concerning the SURVEYOR. 
 
 The Surveyors are (for the City) appointed by the Mayor and Al- 
 der. nen during their pleakire ; and (for ach Countv, Lib rty, &c.) by 
 his Majefty's Juftices of the peace, at their relpeftive quarter IclTions 
 during their pleafure afo. 
 
 The methcd of valuing the feveral dwelling- houfes of the fi'-fl, fe- 
 cond, third, or fourth rate, or for afcenairing the number ol fquares 
 they contun, by which their relpedive fates are to be d termined, be- 
 comes the buluvels'b'f the furveyor in whole diftridt the fame is fituated ; 
 and the a<5l iliredls him in two ways as follows; 
 
 If by valuation, it muft be done as near as the cafe will admit, and 
 notwilhftanding any decay that may be in the building, it is to be elti- 
 tnated the lame as if it was found, and the materials thereof entirely new, 
 and at the cominon current prices of materials and workmanOiip at the 
 time fuch valuation is made, but the ground whereon luch building is 
 eredled, the fence or fence-walls, any vaults under the gro.md, eitner 
 before, or behind the building, or ai,y lead covering or p.vemcnt over 
 the fame, or that part of the party- wall, which does not belong to luch 
 building, is not to be included in luch valuation 
 
 But iron railing and Heps to areas, before or behind the noule, are to 
 be included. 
 
 When the rate is to be determined by the fquares on the pi m, the 
 admcafurement is to be taken on a level at the principal entrance, and 
 to take in no more of the party-wall than belongb to luch houle, fo to 
 be lidmeal'ured. 
 
 The furvevor is not required by the adl to attend within the twenty- 
 fcur hours notice given h;in i:om the ovvs'er. or m'llcr-worknian, of 
 his or their intention to build j ihe n tice is only given, thy he may 
 know where any building is erc<Sirig within his diitruft, but by iiis oath 
 he mull alterwards attend, from time to time, in oruer to lee tile rules 
 and regulations in the aft duly perJoimed, and upon difcovery of any 
 breacli therein, lie is to give intoimation of the lame, as loon as c> nve- 
 
 luenily 
 
( 3^3 ) 
 
 is rebuilt, is to be confidered as if the fame had been condemned as 
 ruinous. 
 
 If fuch old party-wall fliall have any timber of any adjoining build- 
 ing laying through tile fame, and if when either of the houfes or build- 
 ings is rebuilt, and the owner whofe houfe is not rebuilding, will not 
 permit fo much of fuch timber to be cut off, as (hall leave full fix inches 
 of clear brick-work beyond the end of every Inch timber, then fuch wall 
 is to be confidered, as if the fame had bten condemned as ruinous, and 
 the fume is to be tak; n oown and rebuilt in luch manner as has been 
 deicribed, in the cale of decayed party-walls. 
 
 Bow-windows, or other projections to be hereafter built, or added to 
 any building of the firO, fccond, third, or fourth rate next to any public 
 ftreet, fquare, court, or way, mull: not extend beyond the general line of 
 the fronts ot the houfes therein, except for projedion of copings, cor- 
 nices, faci.3s, doors, and windovv-dreffings, or for open porticos, lleps, 
 or iron pallifides ; and alfo, except windows to fliops on the grc und 
 (lory. And the (kll-boards to fuch windows, mud nor in any ftreet or 
 way, 30 feet wide or more, projedl above 10 inches, nor in any ftreet or 
 way Icfs than 30 feet wide, projed above 5 inches, from the upright line 
 of the building to which fuch Ifall-board belongs. 
 
 No cornice or covering to fuch flicp- window, in any ftreet or way 30 
 feet wide or more, mufl prujed above 18 inches, nor in my ftreet or 
 way lefs than 30 kct wide, projei^l: above i 3 inches, from the upright 
 line of the building to v/hich inch window belongs. 
 
 No bow-window or other projedion built before the 24th of June, 
 1774, is ever to be rebuilt (except fuch projedions as are before-men- 
 tioned allowed to be) unlefs fuch bow-window or projedion, was built 
 originally with the houle or building to which it belongs j cr unlefs 
 fuch bow, or other projedion be within the original line of the ftreet, 
 fquare, court, place, or way, wherein the fame is fituated -, in which 
 cafe it muft be built, together with the columns (if any) that fupport 
 the lair.e, with the lame materi.^ls, as is di eded for ex-ernr.1 walls. 
 
 N. B. i he power of tne CcmmilTioners of the paving, or of fewers 
 for the city of London, in regard to the above matters, remain as before 
 the palling of the ad. 
 
 Where the fore front and back front of any building now built, is 
 taken down as low as the br^fTummer or one pair of Itairs floor, within 
 the fpac" of five years irom each other, it is to be deemed a rebuilding, 
 and the party walls thereof are to be fubjed in all relptdi to the leveral 
 regulations in this ad. 
 
 The nd however allows all externa! walls or external inclofures 
 that are now built, (except roof , flits, gutters, dorin--rs, turrets, and 
 lanthorn lights, or other eredion on the lame) to be repaired with the 
 
 P p p p fame 
 
f 324 ) 
 
 (nmt fort of materials, of which they are 'now erected, but If taken 
 down to the breflumnier or one pair f)f flairs floor, then they are to be 
 built of the fame m iterials, and not lefs in their dimenlions th.m has 
 been all along explained, in regard to external walls hereafter to be 
 built. 
 
 All internal inclofures or additions thereto, hereafter to be made for 
 fepirating any building of the ftrll, lecond, third or fourth rate, fr m 
 any other building where fuch buidings fli.ill be in feparate occupations, 
 muft be of brick, or llone, or artificial rtone, or ftucco. 
 
 Concerning the SURVEYOR. 
 
 The Surveyors are (f)r the City , appointed by the Mayor and Al- 
 dermen during their plealure ; and ^^for ^ach Countv. Lib rty, &c.) by 
 his Majefiy's Juftices of the peace, at their relpedive quarter fefHons 
 during their pleafure a fo. 
 
 The met^^cd of valuing the feveral dwelling- houfes of the fiff, fe- 
 cond, third, or fourth rate, or for afceriaining the uuriiber of fquares 
 they contai ', by which their refpedive vates are to be d teriniufd, be- 
 comes the buiiiielsof the furveyor in w^^ole dillridt the fame is iituatcd ; 
 and the acftiiiredts him in two ways as follows: 
 
 If by valuation, it mui\ be done as near as the cafe will admit, and 
 iiotwithflanding any decay that may be in the building, it is lo be efli- 
 mated the fame as if it was found, and the materials thereof entirely new, 
 and at the common current prices of materials and workmatjfliip at the 
 time fuch valuation is made, but the ground whereon luch building is 
 crefted, the fence or fence-walls, any vaults under the gro uid, cither 
 before, or bthind the building, or any lead covering or p^vt:mcnt over 
 the fame, or that part of the party-wall, which does not belong to luch 
 building, is not to be included in fuch valuation. 
 
 But iron railing and Heps to areas, before or behind the houle, are to 
 be included. 
 
 When the rate is to be determined by the fquares on the pi in, the 
 admt-afu re merit ib to be taken on a level at the principal entrance, and 
 to take in no more of the party-wall than belongs to luch houle, lo to 
 be admcalured. 
 
 The furvevor is not required by the aft to attend within the twenty- 
 four hours notice given him irom the owner, or m ifter-workman, of 
 his or their intention to bu;ld ; the notice is only given, thai ht may 
 know where any buiiaing is erecting within his diftr'df, but by his oath 
 he mud atterwards attend, from time to time, in oraer to fee tr.e rules 
 anu regulaiuns in the aft duly performed, and upon dilcovery of any 
 breach tijereui, he is to give information of the lauie, aa loon as convc- 
 
 niejuiy 
 
I 335 ] 
 
 Tsiendy may be, to the Lord Mayor of London, or two. or morejuftices of 
 the peace, within whofe jurifdidtion the fame is fituated. 
 
 The furveyor upon receiving notice of a building, or of any addition 
 to a building, being covered in, or the cutting into a party-wall is made 
 good, and completed, muft attend and furvey the fame, and if he finds 
 the work has been done to the beft of his judgment and belief agreeable to 
 the aft, he is (within fourteen days afterv/ards) to make oath thereof in 
 writing, before fome juftice of tlie peace, within whofe jurifdidtion tha 
 faid building or wall is fituated. 
 
 The fatisfadtion to be made to the furveyor for his trouble in feeing the 
 regulations of the adl duly performed, is at the difcretion of two or more 
 juftices of the peace, in the city, county, &c. (as the cafe may be) and 
 under their hand he may be empowered to receive fuch fum, or fums, not 
 exceeding the following. 
 
 
 "Ifl: Rate 
 
 — 
 
 - 
 
 3 
 
 iO 
 
 
 
 
 IL - 
 
 - 
 
 - 
 
 3 
 
 3 
 
 
 
 For any new Build- <> 
 ing of the 
 
 III. - 
 
 IV. 
 
 V. - 
 
 - 
 
 - 
 
 2 
 2 
 I 
 
 IO 
 
 2 
 
 ID 
 
 
 
 
 
 
 
 VI. - 
 
 — 
 
 - 
 
 I 
 
 I 
 
 
 
 
 _ VII. - 
 
 - 
 
 - 
 
 O 
 
 IO 
 
 6 
 
 
 " Ift. Rate 
 
 „ 
 
 « 
 
 I 
 
 15 
 
 
 
 
 II. 
 
 - 
 
 — 
 
 I 
 
 IG 
 
 
 
 For any addition or 
 
 III. - 
 
 - 
 
 - 
 
 I 
 
 5 
 
 
 
 alteration made to , 
 a building of the 
 
 IV. - 
 
 _ 
 
 - 
 
 I 
 
 I 
 
 
 
 V. - 
 
 _ 
 
 - 
 
 o 
 
 15 
 
 
 
 
 vr. - 
 
 — 
 
 . 
 
 o 
 
 10 
 
 6 
 
 
 VIL - 
 
 - 
 
 - 
 
 o 
 
 5 
 
 
 
 Such fum fo ordered is to be paid by the mafter-workman, or the perfon 
 ^vho caufed the work to be erefted, and in default of payment thereof, it is 
 by warrant of one or more juftices, to be levied by diftrefs and fale of the 
 goods and chattels of fuch mafter-workman, or other perfon (as the cafe 
 may be) together with the reafonable cofts and charges attending it. 
 
 Surveyors are liable to be difcharged from their office, upon any. com- 
 plaint of their wilfully negledling their duty, or behaving negligently and 
 unfaithfully in the difcharge thereof ^ and the fame being made appear to 
 the court, by whom they were appointed, it is in their power to difcharge 
 him ; and for ever afterwards he is to be deemed incapable of being again 
 sippointed a furveyor under the adt. 
 
[ 326 ] 
 
 Each lltrveyor muft from time to time leave notice in writing wfth 
 the clerk of the peace, for the city, county, &c. wherein his diilridt 
 is fituated, of the place of his ufual abode. 
 
 COURT OF ALDERMEN AND SESSIONS. 
 
 All the pwvers and authorities by the a<ft: vefted in the court of mayor 
 and aldermen of the city of London, may be by them tranfadied in the 
 outer chamber of Guildhall, according to the cuftom of the city. 
 
 On every application to the general quarter feflions for the county of 
 Surry, concerning any matter to be by fuch feflions determined, the 
 jury is to be impannelled, and all parties required to a:ttend fuch" quarter 
 fefhons at fome general or fpecial adjournment, within iix weeks next 
 after fuch application; which adjournment, is to be held in fome conve- 
 nient place in the Borough of Southwark ; and that from time to time 
 every further meeting touching all matters to be done upon fuch applica- 
 tion is to be appointed by the juflices within three weeks from the meet- 
 
 ing lall held. 
 
 The court of mayor and aldermen, or the court of feflions relpedively 
 are impowered by the a<3: to impofe fines on the fl:ieriiT, or his deputy, for 
 making default in the premifes ; and on any perfon fummoned and re- 
 turned on the jury that does not appear at the time and place in fuch 
 fummons fpecified, or appearing, fliall refufe to be fworn on fuch jury,, 
 or to give his verdift, or in any manner wilfully negledl his duty there- 
 in ; and on any perfon having notice to attend touching the premifes, 
 who does not attend, or attending, refufes to be fworn, examined, and 
 give evidence; and in default of payment thereof on demand to levy 
 fuch fines, and in fuch manner, as other fines fet by the fame court ref- 
 peftively have been ufually levied, but no fine to exceed lol. on any 
 one perfon for any one offence ; and fuch fines fo levied and recovered- 
 are to be applied to the ufe of the perfon making application in the 
 fuit, and to no other purpofe whatever : and if any perfon having had 
 notice to attend as evidence does not attend and give evidence accordins"- 
 ]y, having had ten days notice in writing thereof, under the hand of the 
 party on whofe behalf they are wanted and his guardian, trultee, com- 
 mittee, - attorney, or agent, having been tendered his realbnable charge 
 and expences for fuch attendance, fuch perfon fo negledling or refufing 
 to give evidence, is liable to an adtion on tne cafe, to be brought by the 
 party on whofe behalf they were wanted, and in which the plaintiff" 
 may recover his damage, occafioned by fuch non-attendance with full 
 cofi:s of fuit, and no other excufe is to be allowed for non-attendance, 
 other than the law allows for witneffes legally fummoned to attend ; and 
 it is in the power of the court to order fuch further fum (according to 
 
 their 
 
-[ 32? ] 
 
 tlic'ir (i?fcrfetion) to be paid to any witnefs fn pfo'portioh to the tit^e ifuch 
 v/itnefs fhall attend, and fuch witnefs riot to be compelled to give evidence 
 before fuch fum fo ordered fliall be paid. 
 
 The court of mayor and aldermen, or court of feffions refpedtively, 
 upon receiving application from any. party, for their judgment and de- 
 termination in the cafe of intermixed profjerty ivhere fuch party is de- 
 firous of rebuildiYig, the faid courts are refpedtively empowered to iffoe 
 forth their precept to the fheriffs refpeftively ^ requiring hitn or tliem to' 
 impanel and return a competent number of fubftantial perfons, qualined 
 to ferve on juries, not lefs than twenty-four, nor more than thirty-fix ; 
 and out of fuch number fo retarned, a jury of twelve pef'fons is to be 
 drawn, in the finie manner as juries are direcfled to be drawn for the 
 trial of iffues joined in his majefty's courts at Weftminfter, ^inA fuch 
 jury fo impannelled is required to attend the faid court, at fuch time 
 and place as in fuch warrant or precept may be required, and there to 
 attend, from day to day, till dilcharged by the court j and all parties con- 
 cerned may have thfeir lawful challenges agajnil any of the faid jury, but 
 net to be at liberty to challenge the arrays and the faid court of mayor 
 and aldermen, or the court of feffions refpedively, are alfo impowered to' 
 fummon all fuch perfons to attend as may appear to them as neceffary 
 evidence rn the matter in difpute, to be upon oath examined thereon 5 
 and either of the faid courts may order the jury to view the place in quef- 
 tion, in fuch manner as they fhall direft J and to command fuch jury and 
 wifneffes, until all fuch affairs for which they are fummoned ihall be con- 
 cluded. 
 
 Such jury is to enquire, and try, and determine by their verdi(fl, whether 
 the premifes in dilpute ought to be rebuilt or not, and if to be rebuilt, are 
 alfo to determine the fcite of a party-wall, or party- walls, and alfo what 
 party-arches may be neceiTary over or under any rooms of fuch houfe or 
 houies, or other buildings fo intended to be rebuilt; or are to afcerlain the 
 Quantity or foil of ground, or other parts of the premifes (if any) necefiary 
 to be taken from the perfon fo defirous of rebuilding, permitting fuch per- 
 fon to ereft a party-wall or walls, or party-arch or arches ; and are to af- 
 certain and award what compenfation (if any) ought to be paid by either 
 of the parties to each other, fe in difference, and alfo to afcertain what 
 proportion of expence is to be repaid by the parties in difference to the perfon- 
 lb rebuilding as before f;id. 
 
 The court before whom the matter is brought, is to give judgment 
 according to fuch verdidl, and may alfo award to either of the parties 
 fuch cofts as fhall feem reafonable ^ and which verd4<fb, and the judg- 
 ment, order, or determination is to be binding and conclufive againft all 
 perfons whatfoever, claiming arvy eftate, right, title, trufl:, ufe, or interest 
 therein. 
 
 AU 
 
[ 328 ] 
 
 All fuch verdicts, orders, determinations, and proceedings of the faiJ 
 court, are to be filed on record by the town-clerk of the city of London, 
 or by the clerk of the peace, or other proper officer, if in tiie county, 
 liberty, &c. And fuch clerk or other officer for the filing thereof, and 
 for a copy of the order of the court, is to be paid after the rate of twelve- 
 pence for every hundred words, and no more, by the perfcn applying 
 for the fime ; and after being fo paid, he is empowered to deliver to any 
 perfon requiring the fame, an exemplification under his hand and feal, 
 and fuch exemplification may be read as evidence in any court of law or 
 equity. 
 
 If any prefentmcnt is hereafter made by an inqueft or grand jury in Lon- 
 don, or by any annoyance jury within the city and liberty of Wefiiminfter, 
 or by the jury fworn in at the court leet, held by the fheriff in his turn for 
 any hundred or place, or by any other inqueft or jury fworn within any other 
 part of the limits of the adl, that any houfeor building, or any part thereof 
 is in a ruinous condition, the court of mayor and aldermen, (when fuch 
 houfe or building is fituated in the city of London, or the liberties thereof) 
 or the church-wardens or overfeers for the time being for fuch parifh, pre- 
 cinft or place, in which fuch houfe or building is fituated (not being in 
 the city of Loiidon, or the liberties thereof) may upon notice of any fuch 
 prefentment being made, and a copy thereof laid before him or them re- 
 Ipeftively, caufe a fufficient board to be put up for the fafety of all pafiengers 
 paffing by, and to caufe notice in writing to be given to the owner inte- 
 refted therein, if he, Ihe, or they can be found ; or if not, then to caufe 
 fuch notice to be fixed on the door, or on feme other confpicuous part 
 of fuch ruinous building, requiring the owner thereof to repair or pull 
 down the fame, (as the cafe may require) within fourteen days after fuch 
 notice. 
 
 Oath being made before the faid mayor, or fome juftice of the peace 
 for the city of London, or county, &c. (as the cafe may be) of fuch no- 
 tice having been given, or affixed, and the owner thereof has not paid 
 obfervance thereto, the court of mayor and aldermen out ot the cafh in 
 the chan^ber of London, and alfo every fuch church-warden or over- 
 fcer, by and out of the monies in his hands, are authorized and required 
 by the acfl to caufe with all convenient fpeed, the whole or a part of fuch 
 ruinous building (as may appear necefiary) to be taken down and fecured 
 from time to time, as ihall be needful for the fafety of pafiengers ; and 
 may fell the materials, in order to reimburfe themfelves the feveral 
 charges they have been at_, but to be accountable for the overplus (if 
 any) to the owner of fuch ruinous building, upon perfonal dgmand 
 thereof made by fuch owner ; and if fuch demand is not made to fuch 
 church-warden, or overfeer, before any other or others are appointed, 
 
 then 
 
[ 329. ]; 
 
 then the overplus Is to be added to the monies of the poor's rate, and to 
 be accounted for as fnch. 
 
 Any fuch owner, or their executor or adminiftrator, is at any time or 
 times within fix . years then afterwards, entitled to receive fuch overplus 
 from the church-wardens or overfeers for the time being, within ten 
 days after demand thereof perfonally made by fuch owner, or his exe- 
 cutor or adminiftrator, and fuch church-warden or overfeer, is required 
 to pay the fame out of the poor's rate, and is to be allowed the pay- 
 ment thereof in any account to be by him made to the veftry or inha- 
 bitants. 
 
 If the monies arifmg from fuch fale are not fufficient to repay the 
 charges incurred by pulling down fuch ruinous building, &c. fuch defi- 
 ciency is to be paid by the ov/ner of fuch ruinous building, if he, ihe, 
 or they can be met with ; and if fuch owner refufes or negleds to pay 
 the fame, then fuch deficiency is to levied by warrant, under the 
 hand and (eal of the faid mayor of London for the time being, or any 
 other juftice of the .peace for the faid city, or under the hands and feals 
 of two or more juftices of the peace for the county, liberty, &c. (as the 
 cafe fliall be) by diilrefs and file of the goods and chattels of fuch owner, 
 and if no fuch owner can be found, or there is no fufficient diilrefs to 
 be met with on the goods and chatties of fuch owner, then the perfon, 
 or perfons, who next after occupies the faid building or ground, where 
 the fame flood, is required by the adl to pay fuch deficiency of charges, 
 and in default thereof is in the fame manner liable to the diflrefs and 
 fale of his, her, or their goods and chatties, together with the coils of 
 fuch difirefs and fale ; but the adl alfo acquits and indemnifies fuch occu- 
 piers who fliall have paid fuch deficiencies, by allowing fuch payment to 
 be dedudled out of the rent, and the difcharge of the perfons to whom 
 tlie money was paid, is equally the fame as if it had been adlually paid to 
 the owner, to whom fuch rent was due. 
 
 All monies fo recoverable in refpecl of any fuch ruinous building 
 v.'ithin the city of Londoii, or the liberties thereof, is to be paid to the 
 chamberlain, and to be by him placed to the credit of the cafh of the 
 faid city: and if fuch ruinous building is fituated without the city of 
 London and the liberties thereof, then to be paid to the church-wardens, 
 or overfeers of the poor for the time being, of the pariih, &c. where 
 fuch building is fituated, and to be placed to the account of the fame, 
 or a like rate or fund, out of v/hich tlie charges lb recovered were originally 
 difliurfed. 
 
 -The court of mayor and aldermen, or court of quarter feflions ref- 
 pedively have a power, (upon application under ih^ hand of three or. 
 more furveyors appointed under the adt) to order all irregular ered:ions 
 Avhatever, built fi nee the paffing of the ad: of the 12th of George IIL to 
 
 R r r r be 
 
C 33<3 T 
 
 be liiade in every refpeft conformable to the prefent a(5t, except where 
 profecutions may be depending in any other court. 
 
 Such order fhall be made at the difcretion of the court of mavor and 
 aldermen, or quarter feffions refpeftively, as near as the cafe will admit, 
 and in fuch manner as will come neareft to the purpofe and meaning 
 of tils prefent aft, and to be filed upon record by the town-clerk, or 
 clerk of the peace, (as it may happen) of the court where fuch order 
 was made, and for the filing thereof, and for every copy thereof ap- 
 plied for by any perfon, he is to be paid after the rate of one fhilling for 
 every hundred words. The order is to be delivered to the perfon ap- 
 plying for the fi.me, or left at his ufual place of abode, or with the te- 
 nant in poUeffion of fuch irregular building, or to be affixed to the door 
 or feme confpicuous part thereof. 
 
 Within nine months next afterwards the perfon named in fuch order, 
 is to caufe fuch building or irregularity to be altered agreeable to fuch 
 order, and in default thereof muft forfeit 50I. and fo on for every nine 
 months fucli building: or irre^ularitv remains unaltered. 
 
 The penalty is to be recovered and applied in the fame manner as that 
 on diftilling turpentine. 
 
 The defendants in all cafes of informations for the recovery of penal- 
 ties incurred under the ad: of the 12th of George III. that are now de- 
 pending before the lord mayor or juftices out of feffion, or at their re- 
 fpedlive quarter feffions, are by the aft: difcharged and indemnified there- 
 from. 
 
 Any order made by the lord mayor, or by any juflice of the peace by- 
 virtue of, or under the prefent aft, or any other proceeding- touching 
 the conviftion of any offender againft the prefent aft, is not to be re- 
 movable by Certiorari, or by any other writ or procefs whatever, into 
 any of his majelly's courts of record at Weftminfter. 
 
 Any perfon or perfons thinking themfelves aggrieved by any fuch or- 
 der, they may appeal to the general quarter feffions of the peace for the 
 city, county, liberty, &c. (as the caie may be) to be next holden after 
 luch order is made, who are to hear and determine the matter, and their 
 determination is to be final. 
 
 But the perfon or perfons fo intending to appeal, muft immediately- 
 upon the conviftion, commitment, diftrefs, order, or judgment, or 
 within two days afterwards, enter into recognizance to the party ap- 
 pealed againft, before fuch juftice or juftices with two fufficient feCu- 
 rities conditioned to try fuch appeal, and to abide the order of the de- 
 termination at the quarter feffions. 
 
 Pariffiioners and inhabitants may be witneffes in any aftion of bill, 
 
 plaint, or information, touching offences committed againft the prefent 
 
 aft, either in any of the courts of record at Weftminfter, or upon the 
 
 2 hearing 
 
[ 331 ] 
 
 hearing and determination of any informations before the mayor of London, 
 or other juftice of peace, ahhough they may be parifhioners or inhabitants 
 of the parifli or place where the ofJbnce was committed. 
 
 PARISH. 
 
 The church-wardens of every parifh within the limits of the afl, and the 
 ^overfeers of the poor for any precindt or place, having no church-warden 
 within the faid limits, are required by the adl from time to time for ever to 
 make and fix, and keep in repair, (at tlie charge of fuch parhh, precindl, 
 or place) upon the pipes belonging to any water-work whatever, within the 
 limits of the a6l, fuch and fo many ftop-blocks of wood with a wood-plug, 
 or fuch and fo many fire-cocks to go into each pipe, and to be placed at 
 fuch diftances, and in fuch and every ftreet or place, as they the church- 
 wardens, or overfeers, for the time being, fhall direft, and the top of fuch 
 flop-block, or pipe, mud: bb even with the pavement of the ilreet or 
 place wherein the fame is fixed, in order to prevent lofs of time in diggino- 
 down to the pipes. 
 
 Such church-wardens, or overfeers, are alfo required and empowered to 
 fix any mark or writing on the front of the houfe neareft to fuch flop-block,. 
 or fire-cock, in order to point ou^vvhere they are to be found. 
 
 They are alfo empowered to keep the inflrument or key, (by which 
 fuch flop-block or fire-cock is to be opened) at the houfe where fuch mark 
 is fixed againft, and alfo a pipe for the water to come out of the main as 
 occafion may require ; the plugs to fuch flop-blocks, or fire-cocks are to be 
 kept in repair by the owners of fuch main or pipe, whei-ein the fame is 
 fixed. 
 
 If fuch owners fhall remove, change, or alter fuch mains or pipes, the 
 flop-blocks, or fire-cocks, or others like them, are to be again refixed at 
 the expence and cofl of fuch owners refpedively ; and to be placed in 
 .fuch manner as the church-wardens, or overfeers fliall direft, and the 
 key, mark, and pipe thereof, to be removed to fome other houfe accord- 
 ingly. 
 
 Every parifh within the limits of this acfl, is to have and keep in good 
 order and repair, and within fome known and public place in the parifh, 
 one large engine, and one hand engine ; and alfo one leather-pipe, with 
 a fbcket of ^e fame fize as the plug or fire-cock ; and alfo a flanding- 
 cock or lud^n-pipe, and alfo to keep in fome known and public place 
 within the parilh three or more proper ladders, of one, two, and three 
 flory high, for the purpofe of aflifling perfoiis to efcape from houfes en 
 fire. 
 
 The refpedive church-wardens, or overfeers, in defudt of any or ei- 
 ther the above premifcs, upon being convided thereof before two of hi& 
 
 S f f f iiiajefly''s 
 
[ 332 1 
 
 majefty'sjuftices of the peace for the city of London, county, liberty, &cc. 
 where the fame fliall happen (as the cafe may be) are to forfeit the fum of 
 lol. one moiety to the informer, and the other moiety to the furveyor, in 
 whofe diftrid: the parifli fo making default fliall be fituated, and to be levied 
 and recovered by diftrefs and fale of the goods and chattels of fuch church- 
 wardens or overfeers refpedlively fo convidted. 
 
 The rewards to be paid by church-wardens, or overfeers of any parifli, 
 6cc. to turncocks and engine-keepers, where any fire happens, are to be in 
 any fum at their difcretion, not exceeding the following. 
 
 To the turncock of any water-work, whofe water fliall be firft found, 
 where any plug is opened, lo fliillings. 
 
 To the engine-keeper who firll; brings a parifli or other large engine, in 
 good order and repair, compleat with a focket, hofe, leather-pipe, fl:and 
 cock, and fudlion-pipe, 30 fliillings. 
 
 To the next fecond parifli engine, or other large engine, complete as 
 before faid, 20 fliillings. 
 
 To the next third parifli, or other large engine, compleat as before faid, 
 10 fliillings. 
 
 None of the above rewards however are to be paid without the approbation 
 of the alderman or his deputy, or of two common council-men, of the 
 ward wherein fucb parifli is fituated, where fuch fire may have happened; or 
 without the approbation of one or more iuftices of the peace for the county, 
 liberty, &c. where the fame may happen (as the cafe may be) or if there 
 is nojuftice, refiding in fuch parilh, precindl, 6cc. then by the approbation 
 of fuch juftice neareft refiding thereto. 
 
 In default of payment of any of the above rewards fo ordered by an al- 
 derman, or juftice, the church- wardens, or overfeers refpedtively, in whofe 
 parhh, &c. fuch fire may have happened, are liable to the diflirefs and fale 
 of their goods and chattels in the fame manner, as the forfeit of lol. is di- 
 reded to be recovered. 
 
 When a fire begins in any chimney, and fpreads itlclf to other parts, 
 or if the chimney only was on fire, and the above rewards have been 
 paid in confequence thereof, the church-wardens or overleers refpec- 
 tively, have a power to make complaint to the lord mayor, or to fome 
 other juflice for the county, liberty, &c. (as the cafe may happen) and 
 who alfo have a power to call forth upon notice, and to examine upon 
 oath the parties complained againfl, together with all witnefi'es touching 
 the fame, and to order and award fuch reimburfement to be made, as 
 they fliall think proper, which reimburfement is to be paid withui four- 
 teen days after the demand thereof, by the tenant, or occupier of the 
 houfe, or by the lodger, in whofe apartment fuch chimney took fire ; 
 and in default thereof, they are refpedively liable to the dillrefs and fale 
 
 of 
 
[ 333 ] 
 
 of their goods and chattels, to be levied under the hand and feal of fuch 
 julHce. 
 
 United pariflies are to be deemed as one parifh, as far as refpedls the; 
 purpofes of the a6t. 
 
 But if any of the veftries of fuch united pariihes, or of any other parifli, 
 within the limits of the a&:, at any time conceive it neceffary for the faid 
 parifli, in refpecfl of the largenefs thereof, to have more than one great engine, 
 or hand engine, they may have two or more great engines, or hand engines, 
 and are to be under the fame regulations and encouragements, as the adt 
 makes and provides for, in any other parifh. 
 
 The fund from whence the money is to be paid, in order to defray the 
 charges of the feveral purpofes of the adt, is either to be out of the poor's 
 rate, or by any efpecial rate to be made by the major part of the church- 
 wardens, oroverfeers refpedively, together with the confent of the majority 
 of the inhabitants, lawfully affembled at any vellry or public meeting of fuch 
 parifli, precindl, &c. and that if fo raifed, the church-wardens or over- 
 feers are hable to the fime pains and commitments, and the like diftrefsand 
 penalties for not accounting for, or paying the monies by themfo raifed and 
 colleded as overfeers of the poor, by all or any of the laws of this land 
 are liable. 
 
 Conftables and beadles are required by this ad: to repair to any fire on 
 notice thereof, with their ftaves and other badges of authority, in order to 
 be aiding and affifting, as well in the extinguifliing fuch fire, as in prevent- 
 ing goods being ftolen, and alfo give their utmoft affiftance to help the inha- 
 bitants to remove their goods. 
 
 Church-wardens and overfeers are empowered by this ad to caufe ruinous 
 buildings to be taken down. 
 
 Of nuisances. 
 
 Thofe buildings which are of the fifth or fixth rate, mufl not be divided 
 into diftind tenures, unlefs fuch diftind tenure is at the diftance required, 
 otherwife they are by the ad deemed nuifances, and muft be taken down as 
 fuch. 
 
 Buildings, or additions to buildings, that are or may be ereded fince the 
 prefent ad of parliament took place, muft be built according to the feveral 
 regulations therein contained, otherwife the perfon who caufes fuch build- 
 ing or addition to be ereded contrary thereto, on being convided upon oath 
 thereof, by two or more credible witnelfes before the mayor, or two or more 
 juftices of the peace for the city of London, or county, liberty, &c. (as 
 the cafe may happen) wherein the fame is fituated, is to be declared a com- 
 mon nuifance. 
 
 A The 
 
[ 334 ] 
 
 The builder or owner, either or both of them, as the mayor or juftices 
 may require, muft enter into a recognizance in fuch fum, as they fhall think 
 proper, that the building fliall be altered or demolished within fuch time 
 as the faid juftices may refpecflively appoint, and in default of entering into 
 fuch recognizance, the perfon fo making default, fhall be committed to 
 the common goal of the city, county, or liberty, &c. (as the cafe may 
 happen) and there to remain without bail, till fuch building is altered, and 
 made conformable to the adt, or otherwife demoliflied, by order of the 
 mayor, or juftices refpedively, and which order they are impowered to make, 
 provided convidtion was had within three months after fuch building was 
 iiniflied. 
 
 The juftices of the peace fo making fuch order have a power to fell the 
 materials, and defray therewith theexpences of pulling down fuch building, 
 and to account for the overplus to the owner thereof; but if the money arif- 
 ino' from the fale be infufficient to defray fuch expence, then the owner muft: 
 make good the deficiency, which may be levied in like manner, as for tak- 
 ing down ruinous houfes and putting up boards, 6cc. 
 
 OfPENALTIES. 
 
 By this a£l it is enaded, that before any building, or any wall, on new 
 or old foundations, or on foundations partly new, and partly old, is here- 
 after begun to be built, or if a party wall is to be cut into, the mafter- 
 workman, or other perfon cauftng the fame refpeftively fo to be done, 
 /hall give twenty-four hours notice to the furveyor in whofe diftridt fuch 
 building or wall is fituated, and fliall allow fuch furveyor (within rea- 
 fonable hours) free accefs from time to time to view the fame, and in 
 default for each offence, muft pay to fuch furveyor treble the fatisfadion 
 he would have been entitled to receive in cafe fuch notice had been given, 
 and alfo forfeit the fum of 20I. to be recovered by any adion, bill, plaint 
 or information, in any of his majefty's courts of record at Weftminfter, by 
 any perfon fuing for the fame, and the houfe or other work (as the cafe may 
 Jiappen), if not built agreeable to this aft of parliament, is to be demoliflied, 
 by order of the lord mayor, or juflices as before faid, in cafes of irregular 
 ereftions. 
 
 Mafter-workmen, or other perfons caufing any building to be eredled, 
 or any addition to be made, or cutting into any party-wall, muft within 
 fourteen days after fuch building is covered in, or the cutting into the 
 party- wall is made good, alfo give the like notice again to the furveyor, 
 and he is to furvey the fame, and make oath accordingly. If the fur- 
 veyor of the diftrict wherein the building is fituated, cannot, or refufes, 
 or negleds to Turvey the fam.e, then fuch building is to be furveyed by 
 any other furveyor appointed under the adt, and the affidavit is to be filed 
 
 with 
 
I 335 J 
 
 witli the clerk of the peace, for the city, county, liberty. Sec. within ten 
 days after tiie making thereof, for which he is to be paid one fhilling. And 
 cU mafter- workmen, or other perfons by whofe order fuch work was exe- 
 cuted, neglecting to caufe fuch furvey to be made, or fuch affidavit to be 
 filed, mart: forfeit the fum of lol. and if fuch affidavit is not made and filed 
 within one month from the recovery of fuch penalty, then to pay a fur- 
 ther fum of lol. and fo on for every month till fuch affidavit is made and 
 hied, which penalties are to be recovered and applied in the fame manner, 
 as the penalty on diflilling turpentine. 
 
 No perfon or perfons fhall diflil or boil turpentine, or draw off any oil of 
 turpentine and rofin, by diflilling turpentine, or boil any oil and turpentine 
 together, above the quantity of fen gallons at one time, in any workffiop 
 or place (within the limits of the adt) contiguous to any other buildino-, 
 or nearer than 50 feet at the leaft, on pain of forfeiting lool. for e%'ery 
 hich otfence ; which forfeitures may be recovered with treble cofls of fuit, 
 by adtion of debt, bill, plaint, or information, in any of his majefly's 
 courts ot record at Weftminfter, wherein no efibign, protedion, or wager 
 ot law, or more than one imparlance fliall be allowed ; one moiety whereof 
 is to the poor of the pariHi, wherein tl-ie offence was committed, and the 
 other moiety to the perfon fuing for the fime. 
 
 Shipwrights, barge builders, boat builders, or maft makers, or others 
 concerned in building or repairing veffels,, boats, &c. near the river 
 Thames, are allowed to boil their feveral materials, for the purpofe of 
 repairing fliips, &c. and confequently are by this adt exempted from the 
 above penalty. 
 
 Every workman or every fervant to any v/orkman, who wilfullv or ne- 
 gligently, and without the privity or confent of his mafler, flrall caufe 
 ■any building, or any thing to be done to any building contrary to the re- 
 gulations of the prefent a6l, upon conviftion thereof before the mayor, 
 or fome other juftice of the peace for the city o-f I-ondon, or other juf- 
 tice for the county, hberty, Sec. (as the cale may happen) upon oath of one 
 or more credible witneffes, or upon his own confeffion, fhall forfeit the 
 fum of 50 ihillings., one moiety thereof to the poor of the parifli where 
 the offence was committed, and the other moiety to the informer ; and 
 if the penalty is not paid upon convidion, fuch offender, by warrant, un- 
 der the hand and feal of fuch mayor, or other juftice, may be committed 
 to the houfe of corredion, there to remain without bail, for any time not 
 exceeding three months, or lefs than one month, unlefs the faid penalty 
 is fooner paid. 
 
 If any menial or other fervant, by carelefsnefs or negligence, caufe any 
 building whatever to take fire within the kingdom of Great Britain, and 
 being convided thereof upon oath by one or more credible witnelfes, 
 before any two or more juftices of the peace, muft forfeit the fum of 
 
 Tttt jooL 
 
[ 336 ] 
 
 1 ool. to be paid to the church- wardens, or overfeers of the parlfh where 
 fuch fire fliall happen, and to be by them diftributed amongft the fat- 
 ferers by fuch fire, in fiich proportion as they may think juft, and in 
 cafe fuch offender refufes, or in default of paying the fame immediately, 
 upon convidion, is (by warrant under the hand and feal of two or more 
 juftices of the peace) to be committed to the common goal, or houfe of 
 corredlion, (as the juftices fljall think fit) for the fpace of i8 months to be 
 kept to hard labour. 
 
 No adtion is to lie againft any perfon in whofe houfe, chamber, ftable, 
 barn, or other building, or on whofe eftate any fire begins by accident, 
 but if any fuch adion be brought, and the plaintiff becomes non-fuited, or 
 difcontinues his ad:ion, the defendant is to recover treble cofts, provided no 
 contradl or agreement between landlord and tenant, is by the adt defeated or 
 jnade void. 
 
 OfDISTRESS. 
 
 If any diftrefs is made for any fum of money to be recovered by virtue 
 of this adt, the diftrefs itlelf is not to be deemed unlawful, on account 
 of any irregular proceeding therein, nor the party making fuch diftrefs 
 to be deemed a trefpafter fai initio), but the perfon fo aggrieved by fuch 
 irregularity may recover full fatisfadtion for the fpecial damage only, by 
 adlion on the cafe. 
 
 N. B. The Plaintift' cannot recover if tender of fufficient amends be 
 made before fuch adlion is brought, or if no fuch tender was made, the 
 defendant may with leave of the court (before iffue joined) pay money 
 jinto the court, and obtain order or judgment in like manner, as in other 
 cafes where defendants are allowed to pay money into court. 
 
 INSURANCE OFFICE. 
 
 "The governors or diredtors of the feveral infurance offices, for in- 
 furing houfes or other buildings againft lofs by fire, are empowered by 
 this adl of parliament to lay out fuch infurance money, for the reinftat- 
 ing fuch buildings io burnt down, unlefs the party fo claiming luch in- 
 furance money, fhall, within 60 days next after his, her, or their claim 
 is adjufted, give a fufficient fccurity, that the fame infurance money 
 ihall be expended in reinftating their property, fo burnt down or da- 
 maged, or unlefs fuch infurance money is difpofed of within that time 
 to the other contending parties j and this is done in order to prevent 
 perfons claiming their infurance money under falfe pretences. 
 
 No waterman belonging to any infurance office, where their number 
 does not exceed 30 for each office, is to be imprefted into his majefty's 
 fervice, either by fea or land, their names and places of abode being re- 
 gift;ered at the admiralty-office. 
 
 2 PROSECU- 
 
[ 337 I 
 
 Profecuiions depending under the A£i of 1 2 George III. 
 
 In all anions. Bills, Plaint-fuits, or informations now depending, or 
 that fhall hereafter depend, in any of his majefty's courts of record at 
 Weftminfter, againft any owner, builder or workman, or perfon or per- 
 fons, for the recovery of any penalty incurred, or fuppofed to be incur- 
 red by ereding any building contrary to the aft of the 1 2th of George 111. 
 fuch refpeftive court may, upon application of the defendant, make a rule 
 for the plaintiff to deliver the defendant, or his or her attorney in the 
 caufe, an account in writing under the hand of the plaintiff or his at- 
 torney, of the particular defedl or irregularity fo committed in any fuch 
 building, and to make an order for the flaying of the proceedings in 
 fuch aaion, until fuch account in writing is fo dehvered, and then the 
 defendant is at liberty to chule whether or no he will defend fuch adion, 
 the fame as if the prefent aft had not been made ; and if the defendant 
 does not chufe to defend fuch adion, then he is to enter into a rule of 
 the court for altering fuch building, and to make it in every part agree- 
 able to the regulations of the prefent aft, and in fuch manner and time, 
 as fuch two or more furveyors, that are appointed for the city, county, 
 liberty, &c. wherein fuch building is iltuated, fhall, by any writing 
 under their hand, diredl and appoint. 
 
 And upon fuch rule being entered into, and payment of the cofts in- 
 curred by the fuit to be taxed by the proper officer of the court, being 
 made to the plaintiff, the court is to make an order for flaying all further 
 proceedings till the time is expired, appointed by the furveyors for alter- 
 ing fuch ^building in the manner they have direfted j and at the end of 
 which time the defendant may make application to the court, and if it 
 appears upon oath to the court, that fuch building is fo altered, and 
 made conformable to the order and diredion of the furveyors, then fuch 
 defendant is to be for ever indemnified, from paying any forfeiture or 
 ■ penalties for not having originally built fuch building, according to the 
 laid aft cf the 1 2th of George III. , , r i, a 
 
 But if fuch application of the defendant is not made before tfie end 
 of the next terni, after the expiration of the time appointed by the fur- 
 veyors, or if upon fuch application the proof does not appear fatisfac- 
 tory to the court, then the plaintiff is at liberty to proceed m the fuit, 
 the fame as if the prefent adl had not been made. 
 
 And it is alfo declared in the aft, that where fuch rule has been en- 
 tered into, and not complied with, it is to be looked upon as a contempt 
 of the court, and fuch court has a power to proceed accordingly againft the 
 
 party fo offending. 
 
 U u u u ^ "S'® 
 
[ 338 ] 
 
 There is an exprefs claufe in the acfl, which fiiys, that nothing therela 
 contained fliall extend to indemnify any perfon againft whom final judg- 
 ment was given before the 24th of June 1774, refpe<3:ing any fuch above 
 fuit. 
 
 Limitation of ASlions under the prefent Aft. 
 
 No adlion or profecution is to be brought againft any perfon, or any 
 penalty, unlefs the fame is commenced within fix calendar months next af- 
 ter fuch penalty has been incurred. 
 
 No aftion or fuit is to be commenced againft any perfon, for any thing 
 done in purfuance of the adt, until twenty-one days after notice in writ- 
 ing has been given to the perfon againft whom fuch aftion or fuit is in in- 
 tended to be brought, nor after the expiration of three calender months 
 next after the fad; committed ; and in every fuch adlion, or fuit, whereof 
 the caufe arifes within the city of London, or the liberties thereof, is to 
 be there laid and tried, and not elfewhere. And if the caufe arifes with- 
 out the city, or the liberties thereof, then to be laid and tried in the 
 county of Middlefex, and not elfewhere. And the defendant, in every 
 fuch adtion may plead the general iffue, and give the fpecial matter of 
 the ail in evidence. And if it appears the matter or thing fo done was 
 in purfuance of the ad.t, or that the aflion was brought, before the end 
 of the twenty-one days as before iaid, or that fufficient fatisfaftion was 
 made or tendered before fuch aftion was brought, or that the fuit was 
 not commenced within the time of three months as before faid, the jury 
 is to find for the defendant, and from a verdidt fo found, fjch defendant 
 is to have judgment to recover treble cofts of fuit, under the fame re- 
 ■sTjedy as in other caj.es of recovering coftg at Ia\v. 
 
[ 339 ] 
 
 Of the i^GYPTiAM Manner of Building. 
 
 WE look up to the Greeks as the fathers of fcience, but we are to 
 remember in this enquiry, that there were an earher people with 
 whom thofe Greeks had intercourfe ; whom they honoured as the moil wife 
 and learned of all nations, and from whom they confefs, that they received 
 the origin of their feveral improvements. Thefe were the Egyptians ; the 
 Greeks found architedure among them, though they were the people who 
 reduced it to a fcience : the orders, which are the ornament and glory of 
 the art, are all of Greek invention, but without this knowledge of a pecu- 
 liar form and proportion in their columns, the Egyptians arrived at great 
 magnificence in their edifices. Therefore, although we are to look no far- 
 ther than Greece for the invention of regular columns, yet we may find it 
 worth while to feek in ^Egypt the firft rudiments of magnificent building ', 
 at leafi; the firft at this time known. 
 
 The whole manner of building among thele people we are not to expe(3j 
 we can know at this time \ many have prefumed to treat of it, but from 
 imagination, not knowledge ; thefe therefore we rejedl from all confidera- 
 tion, but we have accounts of one magnificent kind of edifice upon better 
 authority ; this was their banqueting-houfe. The Greek hiflorians have 
 fpoke of the fplendor and dignity of this kind of building ; and Vitruvius 
 has left us an account of its ftrudfure and proportions in fo corredt a man- 
 ner, that what we fo much admire, the ingenious architedl may reduce to 
 practice. Palladio has dehvered in lines, what we read in Vitruvius only 
 in words, and he appears to have underflood the Roman better than all his 
 commentators. It mufl be allowed, that Palladio in his draught has in- 
 troduced fome things which Vitruvius does not mention, nor the ^Egyptians 
 could know ; in particular the regular Corinthian order : but with this and 
 a few other reafonable allowances, he feems to have given us the fenfe of 
 Vitruvius, and to have conveyed the magnificence of the Egyptian archi- 
 ted:ure in a very happy manner. 
 
 This author calls the building an ^Egyptian hall ; and others have treated 
 of it after him under the fame name, and have tried to execute it in various 
 places, though not very happily. 
 
 The banqueting-room of the i5i^gyptians, was, in its ufual fize, from a 
 hundred to a hundred and fifty foot in length, and in breadth fomewhat 
 more than half its length. We will fuppofe, upon a medium, a hundred, 
 and twenty-five feet for its length, and for its breadth feventy feet. Upoa 
 this area they built the room in the following manner. 
 
 At the upper end, and along the two fides, they placed rows of pillars^ 
 not Corinthian columns, becaufe they knew them not ; but tall and to- 
 
 X X X lerably 
 
[ 340 ] 
 
 lerably proportioned pillars, agreeing in their meafures with one another, 
 though of no regular order ; and at the lower part they made a magnificent 
 and fpacious entrance : this feems to have taken up with its orn iments one 
 end of the building entire. We are not told there were any pillars there, 
 though perhaps they placed two or more toward the angles on each fide 
 for uniformity, the central fpace being enough for entrance in the moft 
 auguft manner. The rows of columns were fet at a diftance from the 
 wall, forming a noble portico round two fides, and the upper end of the 
 building. 
 
 Upon thefe pillars was laid an architrave, and from this was carried up 
 a continued wall with three quarter columns, anfwering diredlly to thole 
 below, and in proportion one fourth fmaller in their parts. Between thefe 
 three quarter columns were placed the windows which enlightened the 
 building. 
 
 In this article of laying only an architrave over the lower columns, we 
 are flridl to the -Egyptian manner : Palladio, who, as we have obferved, 
 ufes fome liberties in his defign of this kind of ftrucflure, adds a freeze and 
 cornice over the architrave, making it a complete entablature. This, like 
 the Corinthian order, is not ^Egyptian, but it is a very elegant edition. We 
 diftinguifh it, becaufe we are fpeaking diffcindlly ofJEgypthn building, which 
 has in itfelf fuch fufficient magnificence, nor needs the addition of the Gre- 
 cian orders. 
 
 From the tops of the lower pillars to the wall was laid a floor ; this covered 
 the portico over-head within, and made on the outfide a platform, which 
 was furrounded by a corridor with rails and balufters. This was terraced 
 and ferved as a place for people to walk upon, and from this they could 
 look through the windows down into the room. 
 
 Moft who commented on Vitruvius, fuppofe he meant that this platform 
 or terrace fhould be covered ; but they certainly err. Palladio is almoft the 
 only one who leaves it open ; and he is certainly right. Any covering to 
 this terrace muft have darkened the building, by obftrudling part of the 
 light to the windows ; the company on the outfide were not to be confi- 
 dered at the expence of thofe within, nor indeed did there require any fhelter 
 for them, for the ^^gyptians were in no fear of rain. 
 
 Palladio makes the upper row of pillars to be only half their diameter 
 out of the wall ; but as there will be light enough in his way of leaving the 
 terrace uncovered, three quarter columns may be very well allowed, and they 
 will give an air of dignity and freedom to the whole. As the under row of 
 columns are perfedly infulate and free, the nearer this upper row approach 
 to the fame condition, the more propriety there will be in the building ; and 
 we have laid it down before as a general maxim, that when columns muft 
 be in part engaged in a wall, as they are to be in this inftance, the more of 
 them ftands free the better. 
 
[ 34i J 
 
 We have fliewn how this kind of room may be conilruded upon the true- 
 i^^gyptian plan, and it will have prodigious magnificence ; this we perfedly 
 recommend, becaufe there fliould be in all thefe things a flridl truth and 
 propriety. Thofe who chufe to introduce foreign ornaments may do it in 
 Palladio's manner; but, with the regular orders, it is a compoied room, 
 and not Egyptian. 
 
 Moft who have treated of this kind of room, allow it lefs breadth than 
 the proportion here allotted ; but there is foundation in reafon for this 
 proportion ;. the columns flanding within, at a confiderable diftance frona 
 tl:e wall, by the natural efFed: of light and fhadow, take off from the 
 feeming breadth ; and in flrudlures of this kind, where there is no ab- 
 folute rule of proportion, the architedl may always confider the appa- 
 rent, as well as real fhape j and confult optical, as well as geometrical rules. 
 Sir Henry Wootton gave the hint for this, and it is perfectly right and 
 proper. 
 
 The room being thus proportioned, fhould have a magnificent gate of 
 ' entrance J and this,, according to our ftrid ideas of propriety, fhould not 
 be enriched with any of the orders of architedlure, becaufe they were all 
 unknown to the ^Egyptians, to whom we owe tlie invention of the ftruc- 
 ture, and whofe memory, as the inventors, we fhould perpetuate and re- 
 verence. 
 
 The room will have a natural air of regularity and beauty from the juft 
 proportion of length and breadth obferved in it ; and it will have an afpedt 
 of vaft magnificence and dignity from the columns thus placed, and from 
 its great height, the foffit reaching above the cornice of the upper feries -of 
 columns. 
 
 The ^Egyptians decorated thefe edifices with ftatues, and nothing can be 
 better than to follow their example, for no kind of roof can {hew them more 
 happily ; but in this cafe, as in all the others, the architeft of true tafte will 
 place their /Egyptian figures, that the whole may anfvver, not to its name, 
 for "that is a poor conceit, but to the original defign, invention, and m.an- 
 ner of building. No light will fall fo happily on ftatues as this which 
 will come from above, in fo regular, proportioned, and uninterrupted a 
 manner. 
 
 We are the more particular upon this fubjedt of an vEgyptian ban- 
 queting-room, becaufe it is not only in itfelf a ilrudture that does honour 
 to architedlure, but it is a kind of building we want. It would be a very 
 augufi: and noble room for a coronation feaft, or any other of the great fo- 
 lemnities. 
 
 In eredling fuch a building here, the architedl muft, as on all other oc- 
 cafions, take into confideration the difierence of the climate, and make proper 
 allowances, though in ^gypt or in Italy a marble pavement might anfwer 
 the purpofe, it would not be proper here. 
 
 Y y y y Such 
 
I 342 ] 
 
 Such a room in England fliould have a boarded floor, and It fliould be 
 carpeted for the reception of the guefls ; and with us five magnificent 
 chimney-pieces, two in each fide, and one at the upper end, would add 
 greatly to the convenience, and not impair the beauty. This is the method 
 of accommodating the defigns of the warmer and brighter countries to our 
 own ; and, without thefe^ many of the nobleft plans and models mufl be 
 ufelefs. 
 
 Of the Houses of the Ancient Greeks. 
 
 Having traced archited;ure to ^gypt, and drawn from its original fourcc 
 a ftrudlure of great dignity, we may purfue it to the habitations of the early 
 Greeks, and fee their manner of reducing the fcience to ufe. 
 
 Vltruvius has, with great care and corredtnefs, collecfted and delivered to 
 us all that can be certainly known on this head, and his faithful follower 
 Palladio has very happily reduced many of his precepts to prailice. 
 
 The doftrines of the one, and the application made of them by the 
 other of thefe great names, we would have our architedl pcrfeiftlyknovv- ; 
 but we would not have him reft his purfuit of knowledge there. Vl- 
 truvius was judicious, and Palladio accurate In the higheft degree in thele 
 things; but let him remember that both of them, with all this praife, 
 were no more than men : they may have erred, and this he fliould exa- 
 mine ; or they may have ftopped where tlie thouglit might have been 
 purfued farther, agreeably and ufefully. This is the work of gehlus and 
 attention , let him that has the one thus -employ the" other, and both 
 with perfeft freedom ; reverencing thefe as men of the firft rank, but 
 ftill cunfidering them as men, upon whole already eftablllhed fund of know- 
 ledge, it is not impofiible but he may advance fomething farther ufeful and 
 new. 
 
 In the account of the Greek architedlure in private houfes, we find great 
 conveniences, and In that of the Romans of the lame fpecies a great deal of 
 magnificence. In this perhaps the chafter tafte of the Greeks is not without 
 its deferved applaufe. They were very well acquainted with the ufe*of lofty 
 porticos and fpacious entrances, but thefe they ufed in what might be called 
 their ficred archltedlure only : they appropriated theni to the temples of 
 their gods. 
 
 The entrance to their private houfes, however large and fpacious they 
 were, was always fmall, narrow, and plain. The whole edifice ufually 
 confifted of two courts, and feveral ranges of building, in which every thing 
 '»\'as difpofed with great convenience and regularity. 
 
 Their porter's lodge, if the phrafe may be applied to fuch early time, 
 
 was always placed on one fide of this narrow entrance, and it was 
 
 ufually on the right hand ; it being to that fide, pecple, except 
 
 Jeft-handed, ufually turn. Uppufite to tliis were placed the ftables ; by 
 
 2 wJiich 
 
r 343 3 
 
 ■which pofition their horfes were alvvays near the air for their health and 
 exerclfe, and at a dillance from the principal apartments, to which their 
 fmell might have been offenfive, and in readinefs for ufe. From this 
 firfl entrance one came into the firft or fmaller court, this had piazzas 
 on three fides, and on the fourth, which v/as ufually the fouth fide, there 
 were buttments of pikifters, which fupported the parts of the ceiling 
 more inward. A fpace being thus left between the one and the other, 
 they had pkivCs for the lodgMgs of men and maid fervants, and fiich as 
 had the principal care of the houfe. 
 
 Upon the fame fioor with thefe buttments, they had feveral regular a- 
 partments, confiding of an anti-chamber, a chamber, and clofets, and about 
 the piazzas rooms for eating, and for all the common purpofes. 
 
 Oppofite to the c trance was a lobby, or veflibule, through which 
 lay the paffage into the feveral rooms j and through this, in front, one 
 entered a large paffage which led into the larger or principal fquare. 
 Round this they had four piazzas, which, in the common way of build- 
 ing, were all of equal height ; but in more magnificent houfes, they 
 made that which faced the great entrance loftier, and every way nobler, 
 than the other three. A nobleman of Rhodes added this to the com- 
 mon magnificence of their buildings : and it was thence called the 
 Rhodian manner. 
 
 In this more noble part of the building were the apartments of the 
 family. Thefe were adorned with lofty galleries, and here were the 
 beft rooms ; they were called the mens apartments, for in rude times 
 thefe Greeks lodged their wives and female relations in the beft rooms of 
 the firft court, where they had alfo their feparate and detached place. 
 The two fides of this larger court were kept for the reception of vifitors, and 
 fervants had their appointment to attend upon them. 
 
 This was a noble fpecies of hofpitality, the mafiier of the houfe en- 
 tertained his guefts the firft day in his own apartments, but, after this, 
 how long foever they ftayed, they lived without reftraint in one of thefe 
 feparate piazzas, and joined the family only when they' chofe it. Thus 
 was the upper end, and the two fides of the great court difpofed of, and 
 its lower end difpofed, being the fame range of building that was the 
 tipper end of the firft court, held the lady of the houfe, and her female 
 friends. 
 
 This was the ancient Greek way of building the private houfes of 
 perfons of diftindlion ; and there is a great deal to be faid in its favour. 
 There was retirement and great convenience ; their was magnificence 
 v/ithin, but plain decency without ; and this manner of building, tho' 
 it covered a great deal of ground, yet was not very expenfive, for they 
 raifed their feveral parts to no great height.x The light fell in very well 
 
 Z z z z in 
 
[ 344 ] 
 
 in this way of building, and there was a cleanly and chearful afpedl irf 
 the whole. 
 
 Of the private Hoiifes of the ancient Romans. 
 
 We have feen architedture travel from ^gypt into Greece, with great 
 improvement in the article of convenience ; and we fhall now follow it 
 from the latter days of the Greeks to the Romans, where we fliall fee 
 much pomp and magnificence introduced in the private buildings. It is 
 from Vitruvius we are to gather what we can know from this matter, 
 as v/ell as the former ; but it is Angular that this author, though a Roman, 
 is not fo diflind, clear, and intelligible on this head, ipeaking of the 
 buildings of his own country, as in the defcrlption of thofe of the Greeks. 
 However, enough may be gathered from him to form a general idea of their 
 manner. 
 
 The Romans ufually placed the principal front of their houfe to the 
 fouth, and on this they beftowed all the decoration of e^penlive orna- 
 ment ; they had here lofty galleries and fpacious rooms, and every thing 
 carried an air of greatnefs and of ibew. In their country-houfes they 
 preferved the fame fituation, and the fame front, but the inner dillribu- 
 tion was different. At the entrance they placed ihe meaner and more 
 offenfive offices, after the manner of the Greeks. The firil: gallery which 
 received the ftranger at his entrance had on one iide a palTage to the kitchen, 
 and on the other Tide to the flails where they kept cattle, that their noife or 
 fmell might not be perceived within, while they were yet in readinefs for all 
 fervices. Thefeilalls were placed to the left of the pallage, as the fhables in 
 the Greek houfes, and the kitchen to the right, which had its light from 
 above, and its chimney in the middle. 
 
 The account g:ven by Vitruvius, we have obferved, is not very clear 
 in this matter ; and hence have arifen great difputes among architedls, who 
 have undertaken to lay down the defign of a Roman country-houfe.- 
 Some place the kitchen in the back part of the building, while Palladio and 
 others give it this place in the front part. 
 
 Scammozzi, who is much difpleafed with Palladio's delign, takes this 
 method ; but though there are other authorities, as Pliny and Columella, 
 whom thefe follow, Vitruvius is certainly in a matter relating to architedure, 
 the moft to be depended upon j and it becomes us to fay, in juftice to 
 Palladio, that whether he has or has not in all points perfectly underftood 
 that author and accurately reprefented his mear.ing, yet, in this matter of 
 the kitchen, he certainly is more conformable to his words, than thofe \\\\o 
 place it far behind. 
 
 Farther within the building were placed on one fide bathing-rooms, 
 and on the other family conveniences, in the manner of our butteries 
 and flore-rooms ; the bathing-rooms were on the left, and thefe others 
 
 J ou 
 
( 345 ) 
 
 on the right." Backwards, and full to the north, ■they placed their cel- 
 lars, for fear of the fun ; and over thefe were other ftore-rooms. 
 
 From this part of the ftrudture one came into the court, for in thefe 
 there generally was only one court ; this was taken up by fervants, and 
 thofe who had the care of cattle, and on each fide there were flails for 
 them. In front from the entrance, but very far back from all this annoy- 
 ance, flood the nobler apartments for the mafler of the family. 
 
 Thus we fee the Romans in their country-houfes followed very nearly the 
 Greek model, though in thofe in towns they ufed a very different method. 
 In the one the magnificence v/as in the moil remote inward part, and in 
 the other it was difplayed before the door. 
 
 FINIS, 
 
 5 A 
 
[ I ] 
 
 PLATE I. 
 
 As we can only have recourfe to fancy in the decoration of aciel- 
 ing, and as perfons of tafte only can delign them, or be adequate 
 judges of fuch defigns, when they are prroduced to the Public ; we 
 can only fay, that we have engaged thofe gentlemen in that depart- 
 ment who are univerfally allowed to excel. We think it unnecelfary 
 to explain what is fo clearly reprefented by the copper-plate No. I. 
 and hall only obferve, that the delign for a cieling is adapted to the 
 room, of which a feclioa is given in Plate II. 
 
 Description of Plate II. 
 This is a feftion of a room adapted to the cieling in Plate I. Be- 
 ing intended to be hung with damallc or paper, it is not decorated 
 with the orders. But, though we recommend this ornament for the 
 wall^, proportion and uniformity fliould never be forgotten ; as it 
 would be ridiculoufly abfurd to fix a Corinthian cornice to an Ionic pe- 
 dertal } it is therefore ncceflary, in the firll: place, to proportion the 
 order to the room, and afterwards to be particularly carr.ful that the 
 cornice anlwers to the pedeftal. As the order then is prelerved in the 
 feveral parts of the walls, nothing unworthy of its dignity ihould be 
 admitted in the other decorations. 
 
 Explanation of Plate III, 
 
 a. Hall. 
 
 ^, Sal. on. 
 
 c, c. Withdrawing rooms. 
 
 d, Dining parlour. 
 
 e, e, Bseakfafting parlours. 
 /, Small parlour. 
 
 G, Drefiing room. 
 
 H, Waiting room. 
 
 I, I, Stair cafes lighted from the roof. 
 
 /e, A fmall back ftair-cafe to dining parlour, 6cc> 
 
 L, A ( lofet. 
 
 ;;/, ijibrary or lludy. 
 
 ;/, n. Water clolets. 
 This is a plan of the prirxipal floor of the elevation on Plate IV. 
 defigned for a villa for a perfon of quality. The bafement or ruitic 
 ifory, is divided into a number of rooms for the principal fervants j the 
 kitchen ana other convtniencies ihould be detached from the manfion, 
 that it may not be incommoded by iieain or heat : the coach houfe and 
 ilablfS fl:iould be a building anfwerable on the other fide of the manfioa ; 
 which, by the help of a colonade, will form a communicaticn, and 
 have an agreeable effedt. 
 
 A EXPLA- 
 
[ 2 ] 
 
 Explanation of Plate IV. 
 
 Plate IV. is an elevation of the Corinthian order. The Corin- 
 thian, being a very rich order, never fhevvs its elegance fo perfedtly, as 
 when placed in a fingle feriss on the principal ftory. It fliould confitt 
 only of three ftories, a bafement floor, a magnificent principal floor, 
 and an attic; the louder floor, by being funk a little, makes a pedeftal 
 agreeable to the order, which fliould be always one-fifth of the height 
 of the whole order. Though we rtcommend a ruftic face in the bafe- 
 ment flory, yet the delicacy of the order, that is to be raifed upon it, 
 fhould always be confidered, and that it ought net to be too rude and 
 harlh. 1 he builder tliould run a courfe of ilone, about one foot three 
 inches high, on the level of the ground, which fornis a plinth, on 
 which the ruftic is to be raifed; which, continuing in a ftraic line, 
 forms a fub- plinth to the pedeftal on which the columns are to be 
 railed. The fafcia which terminates this ilory fhould he equal in 
 bread h to the cap of the pedeftal. On this fhould be raifed a pedef- 
 tal of the Ionic order to the bottom of the windows, on which the 
 decorations of the window fhould be placed. Thefe decorations are 
 fo various, that the archited: will generally make ufeof hi^ own judg- 
 ment in the choice of the;ii ; but he fhould be particularly attentive 
 never to ule columns or other decorations of a luperior order, as that 
 would be exceedingly abfurd ; for a more enriched order would give 
 an ill contraft to the other columns, which are the principal objedl, 
 and where the greateft decoration is required. For example, if, in 
 this elevation, we fhould decorate i ur win'ows with the Compufite 
 order, the eye would naturally be ofFinded, that thoie in the principal 
 fabric hid not as much decoration as the others. We thereiore re- 
 commend the Ionic order, as a proper decoration for the windows on 
 thofe occafions. Kawng explained the decorations of the vv'indows on 
 the principal floor, it is nectflary to obferve, that a flat w.ill wholly 
 unornamented, cairicd up tu ihe height of the columns, wiil have a 
 dead afpedl ; to prevent which, the windows ot the attic and ftring 
 (or falcia) are properly introduced ; and as the entablature raifed up- 
 on the columns is carried aK ng the n. ked wa.l, this gives an unifor- 
 mity, very happily, to the face of the whole building. As every 
 part fliould be made to correfpond with the whole, in fuch an elegant 
 ftrufture as we are liere otfc.ibing, it fliould not be entirely plain, 
 therefore a baluftrade with t; cir proper pedcflals, crowned with vafes, 
 &c. will be judicioufly added. 
 
I 3 ] 
 
 > 9m>rt 
 
 P LA T E V. 
 
 Is defigned for. a door for a room of Hate. We have endeavoured 
 to fliew how elegant a door is to be conftrudled upon this order, with 
 the ftri-dtefl adherence to the eftablifhed rules of Palladioj and having 
 that before you as a ilandard, you will find no difficulty to vary it iti 
 many refpetis. By fluting the columns, it gives an opportunity of in- 
 troducing a capital, compofed of a lighter nature, the architrave round 
 the door being funk, and the door pannel raifed ; and, by adding the 
 architrave into the freeze, vye have a large fcope to introduce luch orna- 
 ments, as will, with propriety, add much to its dignity ; and by hav- 
 ing the pediment open, we may, without deviating from the order, in- 
 troduce a fhield with proper fupporters, which will give it an air of 
 grace and beauty. 
 
 P LA T E VL 
 
 Ts a plan and elevation for a farm-houfe, intended to be built for a 
 farmer of eminence in the county of Middlefex ; the front extends fe- 
 venty-eight feet, and is meant to afcend with three fteps, with a portico 
 over them, which will add fomc little degree of elegance to the building*. 
 
 '"'■■ 'The plan islaid out in the following manner. 
 
 APafFageorHall 
 B B Parlours 
 C Dining Room 
 
 D Kitchen IG Clofet 
 
 E Dairy 
 FBrew-houfc 
 
 H Lobby 
 I Wafli-houfe 
 
 K Pantry 
 
 L Great-Stairs 
 
 M Stair-cafe 
 for Servants 
 N Paflage 
 
 The Barns, Cow-houfes, Cart-houfcs, Stables, Pig-fties, Hen-houfes, 
 and other buildings, made ufe of in the farming bufmefs, form two 
 wings at the back ot the houfe; and, as they have a communication 
 from a road by the fide of the houfe, it will fiand detached ; and by 
 having a grafs plat, and fmall gravel walk up to the front, it will make 
 it have an agreeable appearance. 
 
 PLATE VII. 
 
 Is a Dcfign for a Chimney-Piece. 
 
 We are in nothing left fo much to the didates of fancy, in the 
 whole fcience of Architedure, as in the conftrudtion of Chimney- 
 pieces; and it is deemed an article of fuch efiTential importance, that 
 no room, whether plain or elegant, can, with any degree of proprie- 
 ty, be finiflied without it. We have here given two different defigns, 
 both of which are fufceptible of all the grace of ornament ; and in 
 thefe two figures we have fketched various kinds, which are proper to 
 cither : wc have decorated the one with columns, and the other with 
 
 B i^n 
 
r 4 ] 
 
 an open pilartcr, which render them defigns of various fpecies, adapted 
 to different prices, and alfo to the elegance or plainnefs of different 
 aparrments ; and as the openings of chimnies are fo very various, we 
 would advife the following particulars, viz. to have a chimney which 
 is four feet high, to be kept as nearly fquare as poffible; but, if there 
 is any difference, to be wider, and lo on, in proportion, down to 
 about three feet four inches high. Columns have the befl effe<ft, when 
 elevated on a fub-plinth, which faves the bafcs from damage, and 
 gives an opportunity of correfponding with the fkirting of the 
 room, and by conflrudling the feveral parts, the architrave, freeze, and 
 cornice, with due proportion to its height, it gives the whole a pleaf- 
 fing effedt, and will appear elegant. 
 
 PLATE VIII. 
 
 Is an elevation for a garden building, of the Ionic order ; the co- 
 lumns being elevated on thefe pedeftals, and the vafes bemg placed on 
 fmall pedeftals at the top, give it a handfome appearance- This build- 
 ing ferves very properly to terminate a view, and fhut out a dilagrcea- 
 ble profpedt ; its height and extent unite to anfwer that purpole, and 
 the variety of its conftrudtion engages the eye with pleafurc. This 
 building will admit of a parlour, a dreffing room, and a bath, by 
 which a convenient compartition of the fpace may be laid out, and 
 the utility of this ftrmSurc be confidered not lefs than its beauty. 
 
 ! ni lo 6hs 
 
r 5 1 
 
 PLATE IX. 
 
 Two original defigns for iron work for balconies, &?c. Alfo two original 
 defigns for grates, hs we mean to enrich our Work with every thing that 
 can be ufeful to the Architeft, Carpenter, Mafon, Smith, &c. we hope 
 thefe defigns will be found acceptable, 
 
 P L A T E X, 
 
 The entrance into Lord Milton's, in Park Lane, Sir William Chain- 
 bers was the architedt. 
 
 P L A T E XL 
 
 Is a plan, and elevation, for a banqueting room, the elevation being of 
 the Corinthian Order. The floor being railed a few fteps above tlie level 
 of the ground, the pilaftcrs muft be raifeiJ upon a folid coarfe, or con- 
 tinued focle of found, firm, and even ftone-work, running in a direct 
 line even with the top of the fl:eps. The pilafters, which ornament the 
 front are of a middle degree of elegance. For a choice of a capital, 
 in this cafe, we recommend that enriched with the true acanthus, there 
 being none in real grace equal to that; the others are fanciful improve- 
 ments of art, this is the leaf from nature ; a leaf celebrated for its beauty 
 by all ancient writers j and is indeed vaftly fuperior in its out line in a 
 building, where the great beauty is in adhering to the true proportions 
 of the orders. It is alio very necefiary to keep the true ftrurture of the 
 capital. The entablature is not carried in a flraight line, though it is 
 proper fo to do; yet it would then appear heavy. The form and work- 
 ing of the whole, fhews that thefe pilafters are placed for beauty and 
 decoration, more than ftrength ; and therefore the entablature may be 
 laid in this broken or interrupted manner. The entablature being 
 crowned with a baluflrade, will give a graceful air to the whole. V/e 
 have introduced Venetian windows, which are properly calculated for 
 fhew, and are very pompous in their nature; and when executed with 
 judgment, will add a great degree of elegance to the whole ; and there 
 will appear through every part, that lightnefs which is the charadterilf ic 
 of the order. 
 
 The Plan is laid out in the following manner. 
 
 A Banqueting Room. 
 
 B Withdrawing Room. 
 
 C Clofet. 
 
 D Paffage and flairs to go to apartments below. 
 
 E Alcove for fide-board. 
 
 C -PLATE 
 
[ 6 ] 
 
 PLATE Xir. 
 
 Is the Sedlion of the foregoing Plat?. 
 
 As thefe kind of rooms are ufed for the reception of large companies, 
 for elegant entertainments, and variety of diverlions ; thefe are realons for 
 tlie fpacioufnefs of the apartment, but the rule of general proportion 
 fliould be obferved ; that is, the length flaould be one and two-thirds the 
 breadth, and the height ihould be equal to four-fifths of the breadth, 
 which is the proper proportion for fuch a room. As the wall is decorated 
 with pilafters, in which are introduced various ornaments, the pilafters 
 ftand on their pedeftals, which continue with the entablature round 
 the room, which joins the whole feries in a regular body ; and as nothing 
 unvi^orthy its dignity fliould be admitted, the ornaments of fculpture are 
 appropriated; therefore they may be introduced j and the on!y rule is, 
 that where moft of this decoration is intended, tne ornament to the walls 
 fliould be taken from a fuperior order, which will fill the eye with 
 fatisfadtion. 
 
r 7 ] 
 
 PLATE Xill. 
 
 Is the Sedion of the Banqueting Room on Plate XF. 
 
 As thefe kind of" rooms are ufed for the reception of large companies, 
 /or elegant entertainments, and variety of diverfions ; thele are reafons 
 for the fpacioufnefs of the apartment, but the rule of general propor- 
 tion fliould be obferved ; that is, the length Hiould be one and two-thirds 
 the breadth ; and the height fhould be equal to four- fifths of the breadth, 
 which is the proper proportion for fuch a room. As the wall is deco- 
 rated with pilafters, in which are introduced various ornaments, the pi- 
 lasters ftand on their pedeftal^, which continue witli the entablature 
 round the room, which joins the whole feries iu a regular body; and as 
 nothing unworthy its digniiy fhould be admitted, the ornaments of 
 fculpture are appropriated ; therefore they may be introduced; and the 
 only rule is, that where moft of this decoration is intended, the orna- 
 ment to the walls fliould be taken from a fuperior order, which will fill 
 the eye with fatisfadion. 
 
 PLATE XIV. 
 
 Two defigns for coloured ornaments for pannels, curioully coloured* 
 Thefe coloured ornaments are in the prefent reigning tafte, and were de- 
 figned by Mr. Carter. 
 
 PLATE XV.' 
 
 Two defigns for vafes for chimney-pieces, dreffing-tablef, 5cc, 
 
 PLATE XVI. 
 A Defign for a Gothic Temple, 
 
 D 
 
' ' ' ) 
 
[ 9 ] 
 PLATE XVir. 
 
 The Plan of a Town-houfe of a Perfon of Diftinftion. 
 
 A the Hall. 
 B the Dining Parlour. 
 C Withdrawing Room. 
 D D fmall Parlours. 
 E Drefling Room. 
 F Library or Study. 
 G G Cloiets. 
 H Water Clofet. 
 I Waiting Room. 
 K Paffage. 
 
 L Grand Stairs, .; 
 
 M Back Stairs. 
 
 PLATE XVin. 
 
 The Elevation of a Town-houfe to the Plan on Plate XVIL- 
 
 PLATE XIX. 
 
 Plan and Elevation of a Defign for a Maufoleum. 
 
 A Maufoleum, though feldom ufed among the moderns, among the 
 antients was a place fo ely appropriated for the depohting of their dead,, 
 whofe bodies bemg firll: burned, the afh..'s were gathered in an urn, and 
 placed in fmall niches in the catacombs, with an infcription cither on the 
 urn or over the niche. The reviving this ciiftvim in the prefent times we 
 think will not be amiis upon two accounts ; firft. the building will have 
 an elegant appearance, in whatever (ituation it is placed j and I'econdiy,. 
 will be more decent and reverential than the preient method of depofiting 
 the body, which, after the ceremony, is without any concern thrown 
 in an irreverend manner in a poifonous vault under a church, the refort of 
 rats and other vrrvnin, whirh fills the mind with very difagreeable f;nti- 
 menis of the fituation of our much lanented puents, 6cc. rclicks. — — 
 Now this defign of the Maufoleum prevents thofe inconveniences and 
 defeifls; tor here we repofe the bodies in a decent manner; they being 
 placed in a recefs called catacombs, with a door before it, which opens at 
 pleafure ; and if any perfon, whofe father, mother, &c. as he Jays thus 
 filently waiting the lafl tremendous day, iTiOuld vi'ifh to contemplate their 
 former happy hours with them, or to refi^d on and frame their fouls for 
 quilting this iranfitory life, where will they find a place more fuitable for 
 
 E fuchi 
 
r 10 J 
 
 fuch ideas than this ? — ^Tnthi'; folitary manfion they will find true monitors 
 who will not flatter. We have not introduced windows, thinking it more 
 fuitable fothrc' funeral ce feme rry tohave lamps plaetd in different pirts of 
 the building, wliich will caft a religious gloom over the whole place, and 
 inlpire the auditors with proper ideas for the awful fcene before them. 
 
 A Portico. 
 
 B Colonnade, which defcends one ftep into the body of the church C, 
 
 D D Stairs leading to the catacombs. ' 
 
 E Landing-place, where the corpfe is rafted during the ceremony. 
 
 F A room fcr the ule of thofe who alTifl: at the tuiieral. 
 
 G Private doors to ditto, that is, doors which break through the orna- 
 mental part of the building, as the pilafler, or ornam'-nted paniiel, &c. 
 and is fo contrived, when fiiut, to have no appearance to the Granger's 
 eye of being an open way to any particular place; which methods are 
 made ufe of, when you could not either with propriety, or the defign 
 will not admit of lliewing a regular door-cafe. 
 
 H Stair cafe, leading either to the right or left, to the gallery over 
 coll nnade B. 
 
 I! Porches or Lcgias, for the reception of tho,fe who wait to fee the 
 ceremony. 
 
 K Niches, where may be introduced, according to fancy, vafes or 
 urns, with the inlcription of thofe who are depofited below m the cata- 
 combs, at. numbers of the vifitants may not chufe to defcend too near 
 the mouldring clay of their once fellow creatures. 
 
 PLATE XX. 
 
 A Defign of a Town-houfe for a private Gentleman. 
 
 Elevation and plan of hall floor. 
 
 The bafement comprehends a kitchen, butler's pantry, houfe- keeper's 
 room, fervants room; and indeed the kitchen, fcuUery, &cc. may be under 
 the flat or yard behind the houfe. — Upon the hah floor, A Porter's hall. 
 B Library. C Dining-parlour. D Great ftair- en le. E Back ftair-cafe. 
 Ja pyfamidical ftove, placed in a large i iche, which will have in fuch a 
 place as a hall a much better efFed than the common method of grates,&c. 
 g door leading to yard, water-clofet, &c. 
 
 One pair of rtairs ; a drawing-room, lady's drefTing-room, &c. Two 
 pair of lUirs; a bed-chamber, and common dreffing or b.d-room for 
 children. 
 
 Tlie rooms for fervants are defigned to be in the roof, and receive 
 light from the gutter, 6cc. 
 
 The bottom of the windows on the firft floor are level with the floor,^ 
 to which is added neat iron balconies. 
 
r II 3 
 
 PLATE ixi.' 
 
 Seftion of the Maufoleum, and Plan of the Catacombs, on Plate XIX, 
 A The ftair-cafe leading to the catacombs. 
 B Landing-place where the corps refts during the ceremony. 
 C C C, The arched way, or arcade, under the Maufoleum. 
 D D D, The catacombs where the corps are placed. 
 E E, Sedion of ditto. 
 
 PLATE XXir. 
 
 Defigns for Entablatures for Rooms, &c. 
 
 FIG. I. 
 
 A Defign for an Entablature for a Drawing or Dining-room. 
 
 FIG. 2. 
 
 A Defign for an Entablature for a Lady's Drefling-room, the frieze of 
 which muft be of painted Ornaments. 
 
 FIG. 3. 
 
 A Defign for an Entablature for a Hall. 
 
 PLATE XXIII. 
 
 A Defign to terminate an extenfive View in a Park or large Garden. 
 
 Such a defign as this, beheld from the manfion of the pofleiTor, will 
 ilrike the eye with delight ; the fight being carried over the opening lawn, 
 and through the lengthening vifto, is at laft agreeably brought to the 
 pleafing objecfl. 
 
 The figure at the top is Flora, a proper emblematical figure for the 
 iituation. The oval tablet in the middle of the column is for an in- 
 fcription, when built and by whom; with the addition of feme few 
 poetical lines, adapted to the place and defign ; the fubjeds of the balTo 
 relievo on the pedeftal muft be paftoral. 
 
 The introducing a fountain iffuing from the mouth of the lion on the 
 pedeftal, which, with a murmuring pieafing noife, falls gently into a femi- 
 circular bafon, will at once not only pleafe the eye and ear, but be of great 
 utility for refrefliing cattle, 6cc. For the diftance of this objeft from the 
 .houfe, the utmoft limits may be taken of the park or garden, where gene- 
 rally the publick road runs, in the centre of which this pedeftal is recom- 
 mended to be ereded. At the extremity of the garden muft be a haw- 
 
 F haw. 
 
f " J 
 
 haw, which will obftru^ tbepeople's entrance, and not Interrupt the fight 
 of the pedeftal. 
 
 The fphiiix is an emblem of care and watchfulnefs. 
 
 A A The femi-circular bafons, for the reception of water from the 
 pedeftal. 
 
 PLATE XXIV. 
 
 Of Brick and Stone Arches. 
 
 In this plate are exhibited three different defigns, both in brick and 
 fione, with the method of ruflicating, &c. Figure i, is an arch of 
 brick, and fig. 2. an arch of flone, both of them being femi's ; the centre 
 where all the joints have their fommerings is at a, as the dotted lines will 
 ihew. The knii is certainly the ftrongeft, and has the mod agreeable 
 efFtd of any other arch ; this is allowed by all the beft writers on this 
 fcience, becaufe an arch which will fuftain itfelf, will more eafily fuftain 
 an additional weight: it is impoffible for anv arch to have the fame 
 preffure on the top, bottom, and fideg, which proves that none can 
 equal (he femicircular for fupport. Fig. 3, and 4, are elliptical arches; 
 the fommering of each are to the diff"erent centres, from which the dif- 
 ferent curves are ftruck, but where an arch is taken from more than one 
 centre, it cannot be in equilibrio; and the difference of this vou may 
 form a judgment of j indeed the difference being fo great in their beds, 
 muff occafion a very unequal preffute i for if their joints or beds are un- 
 equal, the preffure will confequeiitly be fo. In this kind of arch, the 
 flones that Hiould be at the top are at the bottom j the reafon is clear, 
 becaufe the nearer the flones at the top come to a parallel in the joints or 
 bed in the upper part of the arch, the weaker it is, and if the fpandrells 
 and haunches are not lufficiently fecured, the ftones that are neareft the 
 top are in the greatefl danger of falling, as it will naturally fpring at b. 
 
 Fig. 5, and 6, are fegments, or parts of circles, whofe joints lommer 
 to their centres, which is exadly the fame height with an elliptical arch, 
 and yet is certainly ftronger, they being nearer to the line ot lateral prel- 
 lure, therefore bear with greater force to the fjot ot each other. This 
 will throw the whole weight more in the middle of the pier, which will 
 rot be lo in the eliipfes, and the ftones being all worked by one mould, as 
 in the femi-circular, and taken from one centre, which will form ail the 
 joints alike, when fixed in their places, tiiey will have equal weight on 
 each of them. 
 
L 13 3 
 
 PLATE XXV. 
 
 The Elevation of a Defign for an Hofpital, with the Plan of the Hall Story, 
 
 A Hall. L Water-clofet for Men. 
 
 B3 Gra-id Stair-cafes. M Water-clofet for Women. 
 CC Palfiges or fmall Rooms lead- N ditto for Men Patients. 
 
 ing to the Wards. O ditto for Women Patients. 
 
 DDD Men's Ward. P Circular Piazza. 
 
 EEE Women's Ward. Q^The Area. 
 
 FF Rooms for Niirle?. R A circular Bafon for Water. 
 
 GG Private Stair-cafes. S S S S Clofets for the Nurfes. 
 H Saloon. The Sedlion of the Holpital, with 
 
 I Governor's Room. the plan of the principal Story, will 
 
 K Governefs's Room. be given in the next Number. 
 
 PLATE XXVL 
 
 Plan and Elevation of a Defign for a Therms, or public Bath. 
 
 Who can refleft on the general utility and magnificence of the Romarr 
 baths, without being lolt in am-'.zement, that there (hould be nothing in 
 thefe days on a fimilar plan 1 Buildings of that kind, exclufive ef the ele- 
 gance and magnificence which the/ dilplay, would be conducive to health, 
 and become the theatre of polite cxercifes and amufements. 
 
 Baths were held in fuch a degree of eftimation among the Romans, that 
 Ammianus Marcellinus obferves, there cannot be a greater inftance of their 
 magnificence and grandeur, than the baths that were built in Modum Pro- 
 vinciarum, as large as provinces. 
 
 Seneca fpeaking in this refpedl, fays, his countrymen were arrived to 
 fuch a pitch of fondncfs for this healthful and favourite recreation, that 
 in their baths they fcorned tofet their feet on any thing but precious llones. 
 And Pliny tells us, the very women mufl have their feats of folid filver. 
 
 A defcription from the poet Statius's poems upon the baths of Claudius 
 Etrufcus, Reward to the emperor Claudius, may with great propriety b& 
 introduced here. 
 
 Nil ibi plebeium ; nufquam Temefjea videbis 
 JEn, fedargentofehx propellitur unda, 
 Argentoque cadit, labrifque nitentibus inftat 
 Delicias miratd fuas, et abire recufat. 
 
 G Ift 
 
f H ] 
 
 In Englifli thus. 
 
 Nothing there's vulgar, not the faired brafs. 
 In all the glittering ftrutture claims a place. 
 From filver-pipes the happy waters flow, 
 In filver ciflerns are receiv'd below. 
 See where with noble pnde the doubtful ftreani 
 Stands fix'd in wonder on the fhining brim ; 
 Surveys its riches, and admires its ftate ; 
 Lotli to be ravilh'dfrom the glorious feat. 
 
 This dcfign is to be confidered under two heads ; to ferve both for a hot 
 nnd a cold bath. Which diilindiion may be made by allotting particular 
 days for each purpofe. 
 
 The bathing room, rooms for converfation, dreffing, laconicum, &c. 
 5cc. are all on the principal ftory, which are lighted from domes in each 
 
 room. The offices, ciflerns, furnaces for givirtg the bath and other 
 
 rooms the particular heats required, are upon the bafement ftory. 
 
 Upon the day appointed for cold bathing, the bathers refort to the bath, 
 enter the hall A, and producing the fubfcription ticket, are admitted into 
 the faloon B, or room for converlation, reading the news, &c. C bathing- 
 room ; when agreeable to bathe they may retire to the rooms D. D. 
 DDD, where they undrefs and make ready to bathe: when that is over, 
 and they are drefled again, they next are to vifit the room for refrefhment 
 E. F the alcove where the refrefhments are given ; G, room for the fer- 
 vants attending on the alcove F. H retiring room, previous to having 
 given orders to their fervants to attend with the carriage. I Icfftr hall for 
 the porter to prepare the fervants to attend on their mailers. K domes to 
 admit the light into the rooms. LL water-clofets. w m Stairs leading 
 into the bath. ;z n large niches for feats, o rtairs leading down to the 
 offices below, p dairs leading down the area to the offices below, q pi- 
 azzas for fervants. 
 
 Having thus gone through, in a regular progreffion, all the rooms pro- 
 per for a bath and tlieir ules, we proceed next to fhew their ufes on thofe 
 days appointed for warm bathing. 
 
 Having the wafer in the bath, (which iflues from a ciftern joined to the 
 fide of the bath under room B) in its proper heat by means of a furnace 
 under the abo\ e mentioned ciftern j and all the other rooms brought to the 
 heat required, by means of furnaces underneath, which loices the heat in- 
 to fiews in the walls, &c. and haying all the other necelTary prepara- 
 tions ready, the bathers refort to the balh as before. The firif de- 
 cree of heat being in the hall A, next faloon B, then dreffing-room DD, 
 
 then 
 
[ 15 J 
 
 then bathing-room C; two of the rooms D may be for the laconicum or 
 fweating-rooms. The reficfliing-room E is of a lefs degree of warmth 
 than the other rooms abovementioned ; the retirinp-room H ftill cooler, 
 which prepares the bather for leaving the bath. Thus from the greated 
 heat they are brought gradually to their natural degree of warmth, where- 
 by no cold can effedl them ; whereas by a fudden tranfition from extreme 
 heat to cold many ill confequences enfuc. 
 
 PLATE XXVir. 
 
 A Plan and Elevation of a Defign for a Cottage or rural Public Houfe. 
 
 A Portico. 
 
 BB Rough bodies of trees to reprefent columns. 
 
 C Kitchen or Tap- Room. 
 
 D Stair-cafe afcending to the firfl Floor. 
 
 E Paflage leading to the Yard. 
 
 F Stairs defccnding to the Cellars. 
 
 G Parlour. 
 
 H A Room, comprehending the Bar, Pantry, 6cc. 
 
 I Waftihoufe, Brewhoufe, &c. 
 
 K Copper. 
 
 The one pair of flairs is reduced to the body (or odagon) of the houfe, 
 which is divided into three rooms for the mafter and miltrefs ; another for 
 the maid and children, and the third for a man. Thefe rooms may have 
 communication with the roofs over the parlour and waflihoufe, 6cc. for 
 depofiting flores, lumber, &c. 
 
 PLATE XXVIIL 
 
 Figure 7 and 8 are flraight arches of flone and brick; At ^ in fig. 7 
 and 8 are the centres where all the joints have their fommerings, which 
 may be feen by the dotted lines j fig. 8 is a ftrait arch of ftone, which 
 may be uled where no battments are to be had ; the ftairs are tied toge- 
 ther with iron, cogged, and run in with lead, to prevent their fpreading. 
 The dividing of this may eafily be feen by referring to the figure. 
 
 Figures 9 and 10, femi-elliptical arches on the conjugate diameter j the 
 courits in fig. 9 are divided on the outfide curve, a, b, c. Figure 10 is 
 a ftone arch, which is equally divided on the infide curve, whofe centres 
 are X and >• ; the fommering of each courfe will appear clear, by in- 
 fpedting the dotted lines. 
 
[ ^7 ] 
 
 PLATE XXIX. 
 
 Scdlion of the hofpltal on plate 25, with the plan of the princi- 
 pal ftory. 
 
 The fedion is taken through the wards, nurfes room, circular piazza, 
 and area : the dotted line Z in the plan lliews its courfe. 
 
 In the bafement ftory we fee the vaults under the ftreet for coals ; the 
 areas, and ftairs down to them; the houfe-keeper's room, cook's-room, 
 (being under the center of the wards) rooms under the nurfes rooms : 
 circular paflage (under piazza) which receives light from grates in the 
 footing of the piazza : large vaults for ftores, &c. (under the center area, 
 or court yafd) — the bafon for water; the drains on each fide for receiv- 
 ing the rain, &c. which difcharge themfelves in the common-fhore. 
 
 In the hall flory we fee the wards, nurfes rooms, piazza, area, or court- 
 yard, &c. 
 
 In the principal flory, we again fee the fecond tier of wards, nurfes 
 rooms, and the flat over the piazza. 
 
 In the roof we fee rooms for patients or nurfes, fcrvants, &c. 
 
 A Committee room. P Phyfician's room. 
 
 B Secretary's office. Q^Surgeon's room. 
 
 C Secretary's room. R The theatre which receives light 
 D E Withdrawing rooms for the from the windows in the attic 
 
 committee. ilory : the height of the theatre 
 
 FFF Men's ward. extending above them. 
 
 GGG Women's ward. S Place for the operations on the 
 
 HH Grand ftair-cafes. patients, 6cc. 
 K Water-clolet for women patients. TT The avenues to ditto. 
 
 L do. do. for women. VVV Seats for the auditory. 
 
 M do. do. for men. W The open part of the buUding. 
 
 N Water-clofet for men patients. XXXX Clofets for nurfes. 
 00 The flat over the piazza. 
 
 PLATE XXX. 
 
 Elevation and plan of a defign for an Infularium, or houfe of plea- 
 fure, to be eredled on fome fmall ifland in the park, at a convenient dif- 
 tance from the main building: dedicated to the deities of learning, paint- 
 ing, mulic, love and friendfhip. 
 
 The Infularium, is meant for the reception of company immediately 
 after dinner. Being furrounded with wood and water, will render the fa- 
 bric extremely cool and refredii ng. 
 
 When fatigued with heat, or exercife, the bath will exhileratc the fpi- 
 
 H rits, 
 
( »8 ) 
 
 rjis, brace the nerves, and enable the company to purfue their amufements 
 
 and exerciles with alacrity and vigour. 
 
 A A Porticos, places for exercife, L Refrefliing-rooQi. 
 
 dancing, &c. M Servants hall. 
 
 BB Tablino, or entrance into the N Paffage for fervants into the Ta- 
 
 laloon. loon, 8cc. 
 
 C 'Saloon, where the concerts are O Room for preparing neceflaries 
 
 held. for the compan}. 
 
 DDDD Oicij or fmall halls leading P Water-clofst for company. 
 
 to the different apartments. Q_ Do. do. for lervants. 
 EE Stair-cales afcending to the gal- R Sky-light. 
 
 iery over the oici's D. S Billiard-table. 
 
 F Bath. TTrr Book-cafes. 
 
 GG Drawing-room. U Sky-light. 
 
 H Library. W Footing round the bafon in the 
 
 I BiiHard-room. bath. 
 
 K Cabinet. ' X Stairs leading into the bafon. 
 
 PLATE XXXL 
 
 A defign for a monument. 
 
 PLATE XXXn. 
 
 Figure ii and 12 are rampant femi-circles ; the bricks being divided 
 in fig. II, on the out- fide, as in figure 9, from the centre a, ftrike the 
 curve by e, and ci, e, which interfedl with the rampant curve, ftruck 
 Irom the center at c and e ; ihe centring of the biick are at a, J, g h. 
 Figure 1 2 is a ftone arch, c being the height of the ramp, f om a, and a, 
 h, is the width of the arch; in the middle of/7, /', ereil the perpendi- 
 cular e, j\ then draw the line c, b, and g, h, parallel to each other, 
 and at the point b eredl the perpeidicular to interfed: g, h, at h, which 
 is half tile width of the arch ; then draw the lines c, J, and /, b, then 
 at / on the line f, /; and at k on tiie line b, f ; at each point ertdt the 
 perpendicular /, /, and k, ;;;, then the points of / and ;«, are the cen- 
 tres to the arches c, f, and f, b, which divide into ruflicks as in the 
 figure. 
 
 Figures 13 and 14 are Gothic arches. Our intention in this work 
 being to make every thing as clear as poffible to the meanefl capacity, 
 we have introduced a number of arches ; as we mean to pals over nothing 
 without taking notice of it: thefe arches are but feldom ufed, but we 
 have introduced them to render our work the more generally ufeful. The 
 brick arch is divided on the outfide curve as before, in the above figures, 
 and tht different centres and dividing the arch will appear, by applying 
 to the bafe line, the dotted lines, and figures. 
 
C 19 J 
 
 PLATE XXXIII. 
 
 The Elevation and Plans of a Defign for a Pavillion to be eredled in 
 
 the Center of a grand Canal, 
 
 A Plan of the Pavillion. F Plan of the foundation. 
 
 B The Loggia. G G The arch which runs thro* 
 
 C C The Colonnades the Pavillion. 
 
 D D Piers of the Loggia. H H The arches which crofs the 
 
 E E E E Stairs leading to go from Pavillion. 
 
 the water. I III I Places for fwans, ducks, &c. 
 
 The dotted lines round this plan to rooft and lay their eggs in. 
 fhew the courfe of the iron- 
 work to prevent people's falling 
 into the water, 
 
 PLATE XXXIV. 
 
 The longitudinal Sedion of the Refrefhing-room in the Bath (Plate 26.) 
 
 PLATE XXXV. 
 The Elevation and Plan of a Defign for a Malt-houfe. 
 
 Ai The firft ftorv. M Stairs to go up above. 
 
 B Ciftern for wetting the barley, N Mill-houfe. 
 
 C Pump. O The hopper. 
 
 D The floor to lay the barley out P The track of the mill-hopfe. 
 
 to work, after being taken out Q^Stable. 
 
 of the ciftern. R R Stalls. 
 
 E E E E Pofts to fupport the floor S Manger. 
 
 above. T Cart-houfe. 
 
 F 1 he kiln. V V V V Steps to go up above. 
 
 G The plate to hold the fire. W Coal-room. 
 
 H Private door to go into the XXX Thefe dotted lines fhew 
 
 kiln. how much the loft above ex- 
 
 I Maimer's room. tends over the ground line of the 
 
 K His bed. kiln. 
 
 L Room for malt, previous to its 
 
 being taken awav. 
 
 I A 2 The. 
 
I 20 ] 
 
 As The fecond ftory. 
 
 B Opening in the floor to take the 
 barley up. 
 
 C The fecond floor to lay the bar- 
 ley on to dry a fecond time. 
 
 D Drying loft for the barley over 
 the kiln, the flooring being 
 grated iron, to admit the heat to 
 the barley. 
 
 E Ventilator. 
 
 F Dry loft for the malt. 
 
 G Skreen to let the malt down into 
 the room L in the firfl: ftory. 
 
 H Store-loft for malt. 
 
 I Mill. 
 
 K Barley loft. 
 
 L Hole to let barley down Into the 
 ciftern B in the firft ftory. 
 
 M Stairs to go down below, 
 
 N Granary. 
 
 O Hay-loft. 
 
 P P P P Steps to go down below. 
 
 PLATE XXXVI. 
 
 Two Defigns for Iron Railing. 
 
[ 2i J 
 
 PLATE XXXVII. 
 
 A Defign for the Cieling in the Bathing Room, Plate 26, 
 
 A A A A Projedion of the Cornice. 
 
 The large Fan in the Center is the Sky-light. 
 
 PLATE XXXVin. 
 
 The Elevation and Plan of a Defign for a Gothic Obfervatory, to be 
 ere<fled on a Mount, for the Conveniency of taking Views, confulting the 
 Stars, &c. 
 
 PLATE XXXIX. 
 
 The Elevation and Plan of the Hall Story, of a Defign for a Gentle- 
 man's Villa. 
 
 A A Porticos. 
 
 B Hall. 
 
 C Anti, or Waiting Room. 
 
 D Library, or Gentiemun's D'^cfllng Room. 
 
 E Breikfaft and Dining P.irlour. 
 
 F Saloon, the height of which extends to the top of the dome, and 
 receives light from the circular windows, as feen in the elevation. 
 
 G Drawing Room. 
 
 H Retiring Koom. 
 
 I Room tor making Tea, &c. 
 
 K K K K Occi's, or fmall halls leading to the different apartments 
 and ftair-cal'es, lighted by femi-circular headed door-cafes, fronting the 
 flair- cafes. 
 
 L Gentleman's ftair-cafe, lighted by afky-light. 
 
 M Servants ftair-cafe, lighted by a fky-light. 
 
 K N Thefe 
 
( 22 ) 
 
 N Thefe dotted lines fliew the breadth of the gallery (on the upper 
 ilory) to give admittance to the feveral rooms. 
 
 O VVater-clofet. 
 
 P P Book-cafes. 
 
 The floor above confifts of bed rooms, Lady's drefling room, 
 nurfery. Sue. the offices on the bafement flory. 
 
 PLATE XL. 
 
 A Defign for a Chimney Piece, 
 
[ 23 ] 
 
 PLATE XLI. 
 
 Section of the Bathing-room (on Plate 26) taken from the Converfa- 
 tion-room to the refrefhing-room. 
 
 PLATE XLIL 
 
 The Elevation and Plan of the principal Story, of a Defign for a 
 Hunting Villa; to be fituated in the Center of a foreft* 
 
 This Vil'a is for the meeting of company in the morning previous to 
 the fport, and afterwards to return to and finilh the diverfions of the day, 
 by pirtaking of an elegant rural repaft. To add fomethin'^ new to this 
 defign, in the center of the Saloon is contrived a circular falfe flooring 
 ten f:ct diameter, which (when the entertainmert is ready) is to be open- 
 ed iii the middle, and each half to Hide into the thicknefs of the flooring; 
 a double ftair-cafe will then be cJifcovered for the conveniency of fcr- 
 vants coming up and down, having an afcent two ways, up which 
 are brought chairs and tables, fo contrived as to join together, and form 
 a large circular table, round which the compaiiy being placed, the din- 
 ner is ferved up in the fame manner, the Servants waiting in the middle; 
 after which every thing is removed, and the falfe flooring clofes as 
 before. 
 
 The Offices are underneath. 
 
 A AAA Steps afcending to the Collonade. 
 
 B B Collonade. 
 
 C C C C Columns, being rough bodies of trees. 
 
 D Saloon. 
 
 E This line (hews the extent of the falfe flooring. 
 
 F Stairs to go up. 
 
 G Stairs to go down. 
 
 L H Well 
 
L 24 ] 
 
 H Well of the Stair-cafes. 
 
 I Footing off for the fervants to wait in. 
 
 K Circular Table, round which the company fit to dine. 
 
 L Withdrawing-room. 
 
 M Dreffing-room. "•,• ^ 
 
 N Water- clofet. 
 
 ^ PLATE XLIII. 
 
 Two Dcfigns of Iron-work for Door-cafes or Frontifpieces. 
 
[ 25 j 
 
 PLATE XLIV. 
 
 Seiftlon of the Side oppofite the Alcove, in the .Ref.-tfliing-room in the 
 
 Bath, Plate 26. 
 
 The public are defired to obferve, that by taking Plate 41 of the fecEtlon 
 of the bathing room, and placing Plate 34 of the fedion of the ale ve 
 fide of the refrelhing room, on its right fide, and the above Plate 44 on 
 its left fide, they will have a compleat fection through the whole build- 
 ing, it being taken through the converfation-rooni B, bathing-room C, 
 and refrefliing-room E of Plate 26. "^ 
 
 Note, the fides of the converfation-room are finifhed in the fame man- 
 ner as the refrefliing-room, excepting that fide where the alcove is. 
 
 PLATE XLV, 
 
 Sedtion of the fide of the library foppofite the windows) in Plate 39, 
 taken through the book-cafes on each fide of the room. 
 
 PLATE XLVI. 
 
 Two Defigns for capitals in the Ionic and Doric tafte. 
 
 PLATE XLVIL 
 
 The Plan and Elevation of a Windmill, for draining the Water off the 
 Fens, near the Ifland of Ely, Cambridgefliire. 
 
 It isfituated on the edge of the river, (in the road to Fly) which fur- 
 rounds the ifland of Ely, to which drains being cut, and the waters from 
 off the lands running into them, the mill, by its working, empties the 
 drains and forces it into the river : thus, by continually exhaufting the 
 water in the drains, the lands are kept dry, which, for want of this ufe- 
 ful and fimple invention, would be conftantly laid under water, and 
 large trads of rich pafture rendered ufelefs. 
 
 M A Per- 
 
I, 26 ] 
 
 A Perpendicular Spindle, whicli 
 turns the tru,.dlc B below and ditto 
 above 
 
 B The Trundle 
 
 C Cogg V/heel 
 
 D Its Ciftern to keep it dry 
 
 E Horizontal Spindle which turns 
 the cog5 wheel C, and the large 
 wheel F or fcoops 
 
 F Tlie Scoops or Wheel that 
 forces the water out of the drairs 
 
 G Its Chamber, or contracted 
 part of the drains 
 
 H Water driving out of the 
 
 chamber (by the turning of the 
 fcoop wheel) into the river 
 
 I Mill-watcher's bed 
 
 K Fire Place 
 
 L Ladder to go up the mill. 
 
 In the elevation is ken the fcoop 
 wheel, one half being above the 
 furface of the water, the other half 
 under. 
 
 The dotted line fhews its extent, 
 it is covered all round, except the 
 fmall opening fren in this elevation 
 for the difcharging the water. 
 
( 27 ) 
 
 PLATE XLVHI. 
 
 The longitudinal Seaion, and Side-front of the Infularlum, on Plate jo. 
 
 This fedion is taken through the p&ff^ge N, the ftiir-cafe E, the fa- 
 loon C, the other ftair-cafe £, and the bathing- room F. Having h^ilf- 
 way afcended the ftair cafe on the left, yuu enter into the pidure galk^ry, 
 being over the fervants hall, paffage, and the room for preparing nece:- 
 faries : it is of the fame form as the bathing-room, and receives ligfit 
 from above in the fame manner. 
 
 PLATE XLIX. 
 
 The Plan and Elevation of a Defign for a Farm-houfe and Buildings 
 
 adjoining. 
 
 It has long been obferved, that farm-houfes and their adjacent build- 
 ings have always been laid out in an irregular, injudicious manner,' pre- 
 fenting to view a very difagreeable objed j one part generally obllruding 
 the bufineis of the other, and frequently putting an entire (fop to the work 
 carrying on in a large farm-yard; in'order to remove thefe dilficulties, 
 and render the difpofiticn of the building pleafing to the eye, this defign 
 is contrived at once to have every convenience properly fituated, that every 
 part may have a ready and eafy communication with the othei ; and Jt 
 the lame time to be ranged in a grand (tho' fimple) and uniform manner; 
 the pofTeffor having all the bufinefs brought under his own infpedion, 
 as his office fuperintends the whole. 
 
 A ift Great Gates or Entrance L Stairs for fervants 
 
 into the Yard before the Houle. M M Covered Rooms leading to 
 
 B B Con:!mon Doors the different Buildings 
 
 Q Hali N Dairy, defcending a few fleps 
 
 D St^ir-cafe O Its Shelves 
 
 E Beft Parlour Q^Pantry, defcending a few fteps 
 
 F Common Parlour R Its Shelves 
 
 G G P.^ff-ges S laundry 
 
 Fi Fa.mer's Room or Office T Rooms tor Servants to dine in, 
 
 I Kitchen and for fitting in, 6cc. 
 
 K LcuUcry U Brewhoufe and Bakehoufe 
 
 N V Oven 
 
[ 28 ] 
 
 V Oven The Cellars, &c. under the Hall- 
 •W Copper llory. 
 
 X Pump Hay lo't, over trie Stable. 
 
 Y Stables Granary, over tl.c Cart houle. 
 Z Arched way fcr Carriages to The Barns, no. being iniuiedi- 
 
 go in ar-.d cut ately neceflary to be adj fining to 
 Aad C rt Houfe thefe buiUi'ngs, may be at a conve- 
 Bad Cow Kouie nient ditiance. Thev w u'd have 
 Cad Cad Places for hogs, poul- been intuduced here, but the PLite 
 try, 'Sec. not admitting 1 ich an extenlive de- 
 Dad Dad Places for firing &,c. fign, they aie on.ittcd, 
 Ead Fad Steps to go up above In a future Number will be given 
 •Fad Pond an elevation of the whole buildings 
 The Bed-chambers are on the taken from the entrance to the cow- 
 upper floor of the houfe houfe. 
 
 PLATE L. 
 
 The Plan and Elevation of a Defign for a Green Houfe. 
 
 A The Plan of the Green Houfe. 
 B Gardener's Room for Utenfils, 6cc. 
 
 PLATE LL 
 
 The Plan and Elevation of a Defign for a Gothic Pigeon Houfe. 
 
 A Half the Plan. 
 B B Pigeon Holes. 
 
[ 29 ] 
 
 PLATE Lir. 
 
 The Plan and Elevation of a Defign for an Entrance into a Gentle- 
 man's Park. 
 
 A Salocn. 
 
 B B Palfages. 
 
 C C Porter's Lodges. 
 
 D D Bed Rooms. 
 
 PLATE LIIL 
 
 The Plan and Elevation of a Hot-Houfe. 
 
 AAA The Walk round the Flue. • 
 
 B B The Flue. 
 
 C The Place where the Fire is made. 
 
 D The Chimney. 
 
 E The Place where the Trees, Flowers, &c. are placed. 
 
 PLATE LIV. 
 
 A Defif^n for a Stove, which fills up the whole Opening of the Chim- 
 neyf, except the Aperture where the Fire is made. 
 
 PLATE LV. 
 
 Defigns of Mouldings for Imports. 
 
 Fig. T. Mouldings for a Drawing Room. 
 Fig. n. Mouldings for a Parlour. 
 
 O 
 
C 3r ] 
 PLATE LVr. 
 
 The traverfe feftion of tlie great flair-cafe in the defign of the gentleman's town-houJTe, Pbte 
 20, aith the plans ot the flair-cafe; en the ditierent do ies. 
 A correfpondent, who figns himfelf W. N — has requelled dei.-i^ns of fedions of flaircnfes, 
 and as the oublic have feldon. been favoured with publication' of that kind, »ve h ve complied 
 with hii requefl. ; and to make them- the better underftood, we fliall be fomewhat particular in 
 the delcription, to render this difficult part of defign In architecture as plain as poffible to the 
 generality of our readers. 
 
 Defcription of the Seflion of the Great Stair-Case. 
 
 ill, Hall (lory; 2d, One pair of Hairs ; 3d, Bed chamber (lory; 4th, ftory in the roof. 
 
 On the hall ftory, we fee the front of the great ftair-cafe afctnding to the one pair, the feftion of 
 the door on the left hand leads to the dining parlour. Door untler the ftair-cafe leadi to back 
 flairs. 
 
 On the one pair of Rain flory, is only ihe landing which leads to the different rooms, the 
 fedlion of the door on the left hand leads to the ladies drelTing-room, over the dining parlour. 
 
 On the two pair of flairs llory, is only a I.iiiding leading to the bed chambers — the fedion of 
 the door on the left hand leads to the bell bed-chamber, over the ladie.'; dieffingroom. 
 
 On the thi-ee pair of flairs (or flory in the roof) is the coved fky light, the glafs door behind 
 which (coming from the back flairs) leads round to the right of the (ky-light under a covered 
 way, to a fmall room over the common drefTing-room in the two pair of flairs. The feflion of 
 the window on the left, lights the room over the beil bed-chamber. 
 
 Delcription of the Plans. 
 A ill hall flory of the flair-cafes. F Door leading to common drefling-room, be— 
 
 B The firft flep afcending the bell (lair cafe. ing a fmall one, the fize of the porter's 
 
 The figures i, 2, 3, &c. fhew the number of hall. 
 
 fteps to the one pair of flairs. G Open part of the ilair-cafe. 
 
 C Door leading to dining parlour. H Landing on back flairs. 
 
 D Door leading to the hall. I The firft ftep afcending. 
 
 E Door leading to back flairs. The figures 1. 2, 3, $cc (hew the number of 
 
 F The firlf Hep afcending the back flairs. fleps to the rooms in the roof. 
 
 The figures I, 2, 3, &c. fhsw the number of K Door leading to beft bed-chamber. 
 
 fteps to the one pair of back ftairs. L Window giving light to back flairs. 
 
 C Door leaning to dining parlour. 
 H Door leading to the flat or yard. D 4 th, The ftory in the roof of flair-cafes. 
 
 , ^ . E landing of back ftairs. 
 B 2d one pair of ftairj flory of the flair-cafes. ' F Door leading to the room over beft bed- 
 C The landing of the beft Ibir-cafe. chamber. 
 
 D Door leading to lady's drefling-roora. G Glafs door leading round the coved (ky-light 
 
 E D"or leading to drawing-room. into the fmall room over common dreffing 
 
 FFF Niches. ., room. 
 
 G Open part of ftair-cafe. H The flat leading to ditto. 
 
 H Landing on b.ick flairs. Ill Thefe dotted lines fhew the extent of the 
 
 1 The firft ftep afcending back flairs. covering of the flat. 
 
 The figures i, 2, 3, &c.. (hew the number of J Open part of back flairs. 
 
 fteps to the b-d-chamber back flory. K Door leading to the fmall room ever com- 
 
 K Door leading to ladies drelfing-room. mnn drefling-room. 
 
 L Window giving light to back ftair-c^.fe. LL Windows lighting the room over beft bea- 
 
 ' ,., , .' J , chamber. 
 
 C 3d bed chamber ftory of the flair-cafes. M Half the infide of the coved fky-liglt. 
 
 D The landing of beft flair cafe. ' MNN Cornice. 
 
 E Door leading to the beft bed-ch^inber. O Half the outfide of the coved (ky-light. 
 
 The dotted litje P (on each ftory) ftews the caufe of the traverfe fedlion of the great flair- 
 cafe. , . : 
 
 The dotted line Q_(on each ftory) (hews the courfe of the longitudinal feflion of the flair- 
 ■cafes, which will be given in our next Number. 
 
 P LA T E LVn. 
 
 The elevation and fcftions of the farm-hoiife and buildings adjoining, on Plate 49. 
 The upper draft takes its coutfe through the entrance A (fee the Plan) then througli tiie 
 yard before the houfe— in which is feen ihe room for fervants to dine, &c. T. — The covered 
 
 way 
 
[ 3^ ] 
 
 ■,vay M tVircivh the manfion, in which, on the baferaent ftory, is feen the feftion cf the cel- 
 lars (undi-T kitchen, &c.) the paflage leading to thetn, the area giving them light — the part un- 
 •der parlour";, folld eaith. 
 
 On the hall Hory is feen the fc£lion of hall C, ftiir-cafe D, kitchen I. 
 
 On the chamber floor, is leen the fettion of the room over the hall, leading to the different 
 chambers, and the chamber over kitchen. 
 
 From thence ne go through the farm-yard — the pond P zd, where is feen the elevation of 
 the ftahles, in the cenur of which is the arched way Z — the hay-loft over ditto — the covered wars 
 M, where is feen the doors of the places for poul ry, hogs, &:c. D 2d. 
 
 We then proceed through the cart-houfe A 2d, and cow-houfe B zd, over which is feen the 
 4e£lion of the granaries. We then go into the fields. 
 
 The lower draft takes its courfe through the arched way Z, in which is feen the door leading 
 into the ftables, over which is feen the fcftion of the hay-lo(t. 
 
 Then thro' the farm-yard, the poi^d F 2d, where is feen an elevation of the cart-houfe A2, 
 and granary over it, the covered way M, where is feen the dcor for poultry, &c. D zd. 
 
 Then through the brew-houfe U, and oven V. 
 
 PLATE LVIII. 
 
 The Plan and Elevation of a Defign for Staeles. 
 
 ■ This defign is formed to avoid the difagreeable cicumflances ufually attending flables being 
 fcuilt under the eye of the mai.fion, by having ail the bufinefs relating thereto performed within 
 its own walls, and to form a pleafing objeft from the main bu'ldings. 
 
 The ftables, coach-houfe, and places for cleaning, harnefTing, &c. all comprehended within 
 the defi<'n. The carriages to drive through the portico, and to back into the coach-houfe, the 
 horfes, coach, &c. to be cleaned and put-too in the center of the open part of the buildings.. 
 A Portico. 
 
 The dotted line B fliews the extent and form of the flat over the portico. 
 C The open part of the building. 
 The dotted lines fliew the manner of the groinds. 
 DD Stables. 
 EEE Stalls. 
 FF Mangers. 
 
 The dotted lines GG (hew the form of the flcy-light to llabies. 
 H Coach-houfe, over which is a flat of the lame form as over porticb, 
 1 Pump. 
 
 KK Rooms for the utenfils belonging to the coachman, groom, &:c. 
 LL Stair-cafes. 
 
 The plan of the rooms for the coachman and grooms, hay-loft, &c. and feflion of the whole 
 biulding, will be given in our next. 
 
 PLATE LiX. 
 
 The Plan and Elevation of a Defign for a Villa. 
 A correfpondent, who figns himfelf J. D. has fen t the ddign of this plan, reqaefling us to 
 give an elevation adapted to it. 
 
 He inf' rms us it ii intended for a gentleman's manfion in the coonuy. 
 He defcribes the plan in the following manner. 
 
 E Common parlour. 
 
 F btudy. 
 
 G Kitchen. 
 
 H Common ftair-caffe. 
 
 A Veflibule. 
 B Dining room. 
 C Withdrawing room, 
 D Eefl ftair-cafe. 
 
 The fervants hall, pantries, cellars, ftc. to be on the tindir gioundHoor. The brew-houfe, 
 /cullery, Sec. to comniunicate with the kitchen, and wiih ihe I'ablcs, coach-houfe, &c. to fornl a 
 fqoare court behind ihe houfe, which will be comn.anued frcrii he lludv window. 
 
 •] he bell flair-cafe to be lij^hted by a cupola or dome, the cc.mmcn one by a fky-light. 
 
 The chamber llory to contain ! x room;, with lij;hi clclets to each, except that over fludy, 
 which muft be entered at the laft hall-pace of the flair-cafe. 
 
 The defign for the elevation, he recommends as follows. 
 
 The hall ftory fifteen feet high, the chamber floor and atticks to be guided by the elevation. 
 
 He dates from Taunton, Augull ill, 1775. 
 
[ 33 J . 
 
 PLATE LX. 
 
 The longitudinal Sedtion of the Stair-Cases on Plate LVI. 
 
 lO, Hall Hoy; 2d, One pair of flairs j 3d, Bed-chamber ftory ; 4th, 
 Story in the roor. 
 
 On the hall ftory, we fee the fide of the great ftair-cafe, afcending to 
 the one pair of ftairs -, the doer that ironts leads into the dining-parlour ; 
 the fe<ftion of the door on the left leads into hall ; the fedlion of the door 
 on the right hand leads to back flairs j the door that fronts leads likewife 
 into the dining-parlour ; the feftion of the door on the right leads to the 
 yard — part of the back flairs are feen. 
 
 On the one pair of flairs we fte the landing ; the front door leads to the 
 ladies drefTing-room ; the feftion of the door on the left hand leads to 
 the drawing-rcom- On the back flairs is fcen the landing; the font door 
 leads likewife to ladies drefling room j the fedtion of the window to the 
 right looking into the yard — part of the back flairs are feen. 
 
 On the bed chamber flory we fee the landing ; the front door leads to 
 the befl bed-chamber j the feftion of the door on the left leads to com- 
 mon dreffing-room. 
 
 On the back flair is feen the landing ; the front door leads (likewife) to 
 beflbed-chambcr, the fedlion of the window to the right looks into the yard. 
 
 On the flory in the roof is ki:n the landing on back flairs ; front door 
 leads to fervants room ; the fedion of the door to the left leads round 
 the coved fky-hght through the other ledfi^n of the door to room 
 over common drefling room ; the two front windows lighting fervants 
 room — we likewife lec the coved fky-light. 
 
 PLATE LXL 
 
 The Sedion of the Stables, and Plan of the Floor over the Stables,, 
 
 on Plate LVllL 
 A A Stair-ca^ei, 
 B B 1 he landings. 
 
 C C Rooms ibr coachmen, grooms, &c. 
 DD Hay lofts. 
 
 E E T tap doors to tike up the hay from below. 
 F F Step-ladders defcending to the galleries G G, which extend round 
 
 t^e flables for ihe convenicncy of putting the hay down into the racks 
 
 below. 
 HHH Semi-circular openings to let the hay through into the racks below.. 
 I I Open part of u\c flables. 
 K Fi^at ove--' portico. 
 L Flat over coach houfe. 
 
 Q^ Defcription 
 
( 34 ) 
 
 Defcription of the Section. 
 
 Having entered the portico A, (fee Plate LVIII.) into the open part of 
 the building C, we fee before us the entrance into the coach-tioufe ; the 
 doors on each fide, that on the left leading to ftair-cafe L ; that on the 
 right to the rooms for utenfils K K. Through the fedions of the door 
 to right and left we enter the ftables, where is feen the ftalls, mangers, 
 
 and racks. Having afcended the flair-cafes, we enter the coachmen 
 
 and grooms room C ; to the right and left is feen the hay-lofts D ; the 
 door on the left hand one leads to the landing B ; in the right hand one 
 we fee the window looking towards the flat L over coach-houfe ; likewife 
 the fedtions of the trap-doors E, for receiving the hay. 
 
 On each fide is feen the fedlion of doors communicating to gallery Gj 
 by the means of the ftep-ladders FF, which are likewife leen. Having 
 gone round the galleries to the furthermoft part of building, is feen the 
 
 fedlion of the femi- circular holes for letting down the hay HHH.- -At 
 
 the top of the domes is feen the fedlion of the Iky-lights. 
 
 PLATE LXII. 
 
 The Plan and Elevation of a Defign for a Gothic Manfion to be ereded 
 on an Eminence that commands an extenfive Profpe<5t, 
 
 A A Steps afcending up on the H Clofet. 
 
 BB Tarras. I Stair-cafe. 
 
 C Porch. K Kitchen. 
 D Hall. ^ L Copper. 
 
 E Common parlour. MM Dreflers. 
 
 F Clofet. N Pantry. 
 
 G Beft parlour. OO Shelves. 
 
 A view of this Elevation taken at the point P, with the plan of bed- 
 chamber flory in the next Number. 
 
 PLATE LXIIL 
 
 Three Defigns for Lamp Irons. 
 
[ 35 ] 
 PLATE LXIV. 
 
 The Plan and Elevation of a Defign for a Market Hou^ii. 
 
 AA The piazza, or market-place. 
 
 BB Thefe dotted lines fhew the form of the groinds. 
 
 C The porters or officers (that fuperintends the market) room. 
 
 D The grand flairs afcending to the right and left, up to the affembly- 
 room, over the piazza. 
 
 E The back flairs. 
 
 F Chimney. 
 
 G This dotted line fhews the courfeof the longitudinal fecflion. 
 
 H This dotted line fliews the courfe of the traverfe fedlion of the buihi- 
 ing, which will be given in the fuccecding Numbers 
 The longitudinal feftion, with the plan of the aflemblyroom, in the 
 
 next Number. 
 
 PLATE LXV. 
 
 The Plan of the Bed-Chamber Story and the Elevation, taken at 
 
 the Point P, on Plate LXII. 
 
 A Stair-cafe (which continues up to the leads) upon which is admittance 
 
 to three rooms for fervants, there being one over each bed-chauiber. 
 B Saloon. 
 C Sky-light. 
 D Common bed-room. 
 E Befl bed-room. 
 F Nurfery. 
 
 G General drefling-room. 
 H Private drefling-room, 
 III Beds. 
 KKK Clofets. 
 
 PLATE LXVI. 
 
 The Plan and Elevation of a Defign for a Gothic Seat of Re- 
 tirement. 
 
 A Infide of the building. 
 BB Seats. 
 
 PLATE LXVIL 
 
 A Defign for an iRon Gate. 
 
 R 
 
( 37 ) 
 PLATE 
 
 LXVIII. 
 
 The Plan of the principal Story, Sec. with the longitudinal Sedion of 
 the Market House on Plate LXIV. 
 
 A Aflembly-room 
 B Refrefhing-room 
 C Room foi" the convenicncy 
 getting the refrefhments ready 
 D Card-room 
 EE Grand flairs 
 F Landing 
 G Back-ftairs 
 H Water-cloiet 
 
 III Balcony continuing all round 
 the building 
 of K This dotted line (hews the courfe 
 of the longitudinal Sedlion 
 
 L This dotted line {hews the courfe 
 of the traverfe fedtion, which 
 with the fide front and plan of 
 attic flory in the next Number. 
 
 Defcription of the S e c t i o n. 
 
 In the piazza, or market-place, is feen the front door, which leads to 
 the grand ftair-cafe; that door on the right leads to porter's roonii that 
 on the left to the back ftair-cafe. 
 
 In the upper ftory, is feen the aflembly-room (the height of which ex- 
 tends to the roof) in front is the chimney-piece oppofite to the windows; 
 on each fide are the doors leading from the grand ftair-cafe. — On the right 
 fide is feen the refrefhing-room. — On the left fide is feen the card-room.. 
 
 In the attic ftory is feen the gallery, extending round the aflembly- 
 room. On the right hand is feen the room for the people who have the 
 care of the houfe. On the left hand is {een the mufic room. 
 
 PLATE 
 
 LXIX. 
 
 The Plan and Elevation of a Defign for a Shop Front. 
 
 A The plan of the fliop front 
 
 B The door leading into ditto 
 
 C The fhop 
 
 D The door leading to pafliage belonging to the houfe 
 
 E The pafl^age. 
 
 PLATE LXX. 
 
 Two Defigns for Chair s.. 
 —for a hall. 
 
 Fig. I- 
 
 Fig. 2 for a drefling-room. 
 
 & 
 
 PLATE 
 
C 38 J 
 
 PLATE LXXI. 
 
 The Plan and Elevation of a Defign for an Obelisk. 
 
 A The Plan 
 
 BBBB Niches, for the conveniency of people refting themfelves after 
 walking. 
 
[ 39 I 
 PLATE LXXII. 
 
 The Plan of tlie Attic Story, with the traverfe Secflion, and the profile 
 Elevation of the Market House on Plate LXIV. 
 
 A The open part of the aflembly-room. 
 
 BBB Gallery. 
 
 C Mufic room. 
 
 D Room for the perfon who has the care of the houle, &c. 
 
 R The bed room. 
 
 F Open part of the great flair-cafe. 
 
 G Water clofet. 
 
 H Back rtairs. 
 
 I This dotted line iTiews the courfc of the longitudinal fedlion. 
 
 K This dotted line (hews thecourfeof the traverfe fedion. 
 
 Defcription of the Section. 
 
 In the piazza to the right is feen the fedlion of the door leading to the 
 grand ftair-cafe, which is I'een ; the lide of which is the door leading to 
 the back ftairs. — On the upper ftory, in the allembly-room in the front, 
 is the coRonade leading to the card-room j the front door on the grand 
 ftair-cafe leading to the back flairs. — On the attic ftory is ken the nui- 
 fic-room, decorated with curtains, Sec. which let down on occafion ; the 
 oppofite end to be painted, to reprefent the fame defign j as it is parti- 
 tioned off for the conveniency of a room for the people who have the 
 care of the houfe. 
 
 PLATE LXXIII. 
 
 Defign for 
 Villa. 
 
 The Plan and Elevation of a Defign for a rufticated fmall Hunting 
 
 A The viftibule, or porch. 
 
 BB Anti-rooms. 
 
 C Dining-parlour. 
 
 D Parlour. 
 
 E Drefiing-room. 
 
 F Stair- cafe. 
 
 G Door leading to the offices. 
 
 H The offices. 
 
 The 
 
( 4° ) 
 
 The bed-roam, Sec. on the upper ftory^ — the plan of which, with the 
 back front, will be given in fome future Number. 
 
 PLATE LXXIV. 
 A Defign for a Fire Vase to warm Halls or Stair-cafes. 
 
 PL A T E LXXV. 
 
 A Defign for a Stove, 
 
[ 41 J 
 
 PLATE LXXVI. 
 
 The Plan and Elevation of a Defign for a public Library. 
 
 A The Hall. 
 
 B B B Small Libraries 
 
 C The grand Library 
 
 D The Refrefliing Room 
 
 E Private Room 
 
 F PafTage 
 
 G Room for the people who have the care of the Library 
 
 H H Water Clofets 
 
 I II I Book- cafes 
 
 K Sky-light 
 
 L L L L Chimneys. Thefe four in grand Library are defigned to give 
 heat both ways 
 
 M This dotted line fhews the courfe of the fedion, which will be 
 given in a fucceeding number. 
 
 PLATE LXXVIL 
 
 A Defign for finifhing the Pier of a Lady's Dreffing Soom. 
 
 PLATE LXXVIIL 
 
 A Defign for a Tomb. 
 
 PLATE LXXIX. 
 Three Defigns for Shop Cornices, 
 
 U 
 
( 43 ) 
 
 PLATE 
 
 LXXX. 
 
 The Ground Plan and Elevation of a Villa, defigned at the Requefl of 
 John Fennick, Efq; of Bywell, near Newcaftle upon Tyne. 
 
 AAA A Flights offteps afcending 
 
 to the principal iloiy. 
 B Common Hall 
 C Stair-cafe 
 D Steward's-room 
 E His Office 
 F Stone Clofet 
 G Bed-room. 
 H Houfekeeper's-room 
 1 1 Store-rooms 
 J Bed-room 
 KK Stoves 
 L Kitchen 
 M M M Stoves 
 N Scullery 
 O Hot Larder 
 P Cold Larder 
 Q Pantry 
 R S-rvant's Hall 
 S Room to clean Plate in 
 TTT Paffages 
 U U Private Stair-cafes for fervants 
 
 V Private Stair-cafe for fervants to 
 go to the chapel 
 
 W Confedioner's-room 
 XX Stoves 
 
 Y Clofets for jellies, &c. 
 
 ZZZZ NecelTciries 
 
 A2 Bi liard-room 
 
 B2 Ditto Table 
 
 C2 Smoakinsr-room 
 
 D2 Drcfling-room belonging to 
 the Bath 
 
 E2 Bath 
 
 F2 Footing round t!ie Bath 
 
 G2 Steps down into the water 
 
 H2 H2 Niches for feats to repofe 
 on 
 
 I2 I2 Piazzas 
 
 K2 Butler's- room 
 
 L2 L2 Plate Clofets 
 
 M2 M2 Cellars 
 
 N2 Wine Cellar 
 
 O2 Dairy 
 
 p2 Alcove towards Garden 
 
 Qz Q2 Chimnies 
 
 R2 R2 Thefe dotted lines fhew 
 the manner of the Groinds. 
 
 S2 S2 This dotted line fliews the 
 courfe of the longitudinal Sec- 
 tion, which, with the plan of 
 the principal ftory, will be 
 given in the next number. 
 
 X 
 
 PLATE 
 
[ 44 ] 
 
 PLATE LXXXI. 
 
 The Plan and Elevation of a Sugar Houfe. 
 
 A Stove for baking Sugar 
 
 EBB Pans for boiling Sugar 
 
 C Pan Chinrjiney 
 
 D Clarifying Cillern 
 
 EEE Coolers 
 
 F Stairs afcending to the Warehoufes. 
 
 PLATE LXXXII. 
 
 A Defign for a Looking Glafs. 
 
[ 45 J 
 
 PLATE 
 
 LXXXIII. 
 
 The longitudinal Sedion and Plan of the principal Story of the Defign 
 
 . for a Villa on Plate LXXX. 
 
 A A Flights of Steps afcending to 
 
 the principal floor. 
 B B Platforms 
 C C Small halls leading to the grand 
 
 hall or faloon 
 D Saloon 
 E Porter's-room 
 F Room for fire-arms, &c. 
 G Stair-cafe 
 
 H H Private ftair-cafe for fervants 
 I Breakfarting-parlour 
 K Alcove for china 
 L Dining-Parlour 
 M Alcove for fide-board 
 N Drawing-room 
 O Waiting-room 
 P Gentleman's drefling'room 
 Q Collonade leading to the library 
 R Semicircular paffage leading to 
 
 the mufic-room 
 S Mufic or dancing-room 
 T Orcheftra 
 U Organ 
 V Library 
 W W Book-cafes 
 
 X Collonade 
 
 Y Y Sdlcons leading to the pic- 
 ture gallery 
 
 Z Pidture-gallery 
 
 Az Chapel. 
 
 B2 Pulpit 
 
 C2 Reading-deflc 
 
 D^ Communiontable 
 
 E2 Organ 
 
 D2 Gentlemens-feats 
 
 E2 Servants- I'eats 
 
 F2 Steps afcending to the pulpit 
 
 G2 Collonade leading to tlie gen- 
 tleman's fide of the chapel 
 
 H2 Collonade leading to the fer- 
 vant's fide of ditto 
 
 I2 Servants ftair-cafe leading to 
 ditto 
 
 K2K2 Water- clofets. 
 
 L2 Lz Chimnies 
 
 M2 M2 Thefe dotted lines fliew 
 the form of the flcy-light. 
 
 N2 N2 This dotted line fhevvs 
 the courfe of the longiiujinal 
 fedion. 
 
 Defcription of the Section. 
 
 See the Plan of the Ground Story. 
 
 We {hall begin at the Alcove towards the garden P2 — thence (follow- 
 ing the dotted line S2) we fee the dairy O2 — thence the cellars Mz-- 
 thence the butler's-room K2 — thence up the fteps and thro' the paffage 
 T — acrofs the hall B — thence by the ftair-cafe C — then down the fteps, 
 where is feen the private ftair-cale for fervants to go to chapel V — thence 
 
 Y ti^e 
 
( 46 ) 
 
 the confedionrr's room W — thence the fmoaklng room C2 — thence the 
 billiard room A a — thence the drelling-room D2 — thence the bath Ez— 
 Having thus gone through the whole of the building on the grouid plan, 
 we afcend to the principal floor, and begin again to take our courfe at 
 the library V (^fe- ti^e plan of the principal ftoryy thence is (stn the mufic 
 or dancine-room S — thence the circular paffage R — thence the gentle- 
 man's drtfling-r&om P — thence the other fide < f the circular paffage R— . 
 thence drawing room N — thence the ground faloon D — thence the ftxir- 
 cai'e G — thence thro' the fmall falcons Y — thence is feen the pi(flure 
 gallery Z— thence is ken the chapel A2 — on the two pair of flairs, or 
 bed-chamber-flior is feen over the drawing-room, a fmall bed-chamber 
 and a drefiing-room — the faloon extends to the two pair of ftairs floor, 
 over which is feen the outfuie of the two circular private ffcair-cafes for 
 fervants H, with duors leading over the leads to other rooms for fervants 
 —the flair cafe G extends to the top of the houfe — over the fmall faloons 
 Y is (een a fmall drefling room — In the next number will be given the 
 plan of the two pair of flairs floor and fedtion of the whole building, 
 taking its courfe thro' the hall C — thence thro' the laloon D, and the 
 other hall C. 
 
 PLATE LXXXIV. 
 
 The Sedion of the publick Library on Plate LXXVL 
 
 Defcription of the Section. 
 
 We begin at the refrefhing room D — thence into one of the fmall li. 
 brarics for the different languages B — thence into the grand library C— 
 theuceinto another fmall library B — thence thro' thepaflage F. 
 
 PLATE LXXXV. 
 
 A Dtfign for a Chimney Piece. 
 
[ 47 ] 
 PLATE 
 
 LXXXVI. 
 
 The traverfe Seaioti of the Villa on Plate LXXX. with the Plan of th< 
 two pair of Stairs Bed- chamber Floor. 
 
 A Stair-cafe 
 
 B Gentleman's bed'tooni 
 
 C Lady's drefling-room 
 
 D Nurfery, or room for children 
 
 E Waiting-maid's room 
 
 F GovernefTes room 
 
 K Small dreffirig room 
 
 LL Private ftair-cafes for fervcints 
 
 M The open part of the falooa 
 
 NN BL-ds 
 
 OO Sky-lights 
 
 PP Chimnies 
 
 G Small dreffi ng- room or pallage The dotted line Q^fhews the courfe. 
 HH Vifitors-rooms of the longitudinal fedion. 
 
 I Ditto drelling-room 
 
 Defcription of the Section. 
 
 See the Ground Plan. 
 
 We begin at the entrance of the common hall B — in the center of 
 which is feen the palTage T — leading to the cellars, 6cc. — the ijrft door 
 is the way to the private ftair-cafe for fervants U — the fecond dooi' opens 
 into the cold larder P — the third door opens into the pantry Q — in the 
 front and rear of the building is feen the fteps afcending to the principal 
 flory. 
 
 See the plan of principal ftory. We begin at the platform B — thence 
 into the fmallhall C — thro' the faloon D — thence into the other hall C. 
 
 See the plan of the bed-chamber floor. — Over the fmall hall C — (in 
 front of building") is feen the lady's drefling-room G — the faloon extends 
 to the top of the two pair of flairs ftory — over the other fmall hall C — ■ 
 is the dreffing-room for vifitors L — On the three pair of flairs floor, or 
 ftory in the roof, is [een, over the lady's dreffing-room, a bed-room for 
 fervants lighted by a fky-light; adjoining to it is feen the outfide of the 
 entrance to it; we then go round theoutfide of fk.y-light of the faloon, 
 where is feen the outfide of private ftair-cafe for fervants, which gives 
 admittance into another bed-room for fervants— lighted by a fliy-light. 
 
 PLATE 
 
 LXXXVIL 
 
 The Back Front and Plan of the Bed-chamber Floor of the Defign for a 
 fmall rufticated Hunting Villa on Plate LXXIIL 
 
 A Stair-cafe 
 B Saloon 
 C Beft bed-room 
 D Alcove for bed 
 E Bed-room 
 
 F Wardrobe 
 G Water-clofet 
 HH Beds 
 II Chimnies 
 Z 
 
 PLATE 
 
P L A 
 
 I 48 J 
 T E 
 
 LXXXVIII. 
 
 The Plans and Elevation of a Defign for a Farm House, or Rural 
 
 Manfion. 
 
 F I G. I. 
 
 The Ground Plan, 
 
 A Portico 
 B Porch 
 C Hall 
 D Parlour 
 E Pantry 
 F Stair-cafe 
 
 G Kitchen 
 H Copper 
 II Chimnies 
 
 KK Doors leading to garden and 
 yard 
 
 F I G. II. 
 
 The Bed-chamber Floor. 
 
 A Stair* cafe 
 
 B Compafs-room 
 
 C Bed-room 
 
 D Dreffing-room 
 
 E Bed-chamber for maid 
 
 F Bed-chamber for men 
 GGG Beds 
 HH Chimnies 
 I The compafs 
 K The Slcy-light 
 
 PLATE LXXXIX. 
 
 A Defign for a M M V K S V T. 
 
( 49 ) 
 PLATE 
 
 XC. 
 
 The Ground Plan and Elevation of a Defign for aCouNTy Court, or 
 Court of Justice ; dedicated to the worftiipful Jullices for the Coun- 
 ty of Middlefex, who have now anew building in lieu of'Hicks's Hall. 
 
 A Piazza P Houfe-keepcr's parlour 
 
 CC Bail-docks, or temporary places Q^Kitchen 
 of confinement for prifoners R Stoves 
 
 DD Seats 
 
 E Common faloon, or porch 
 
 FF Common neceffaries 
 
 GG Stair-ca(e£ for the prifoners to 
 go up into the court 
 
 H Private door to the houfe keep- 
 er's apartments 
 
 I Private door to grand flair-cafe 
 
 J Porter's hall 
 
 K Grand ftair-cafe 
 
 L Hall belonging to the houfe- 
 keeper's apartments 
 
 MM Paflages 
 
 N Water-clofet 
 
 O Stair-cafe leading to cellars un- 
 derneath the building 
 
 S Copper 
 
 T Paffage 
 
 U Pantry 
 
 V Larder 
 
 W Stair-ca(e afcending to rooms 
 
 above 
 XX Clofets 
 YY Chimnies 
 ZZ Thefe dotted lines fnevv the 
 
 manner of the groinds 
 A2 Thefe dotted lines fliew the 
 
 courfe of the longitudinal fe(ftion 
 B2 Thefe dotted lines fliew the 
 
 courfe of the traverfe fedion 
 The longitudinal fedion will be 
 
 given in the fucceeding number. 
 
 PLATE 
 
 XCL 
 
 The Plan of the principal flory, 
 a Court of Justice 
 
 A Grand ftair-cafe 
 B The landing 
 C The court of juftice 
 D Chairman's or prefident's feat 
 EE Juftices feats 
 FF Seats for counfellors and clerks 
 G Their table 
 H Seats for the Jury 
 I Seats for the witneffes 
 JJ Seats for the public 
 K The bar for arraigning prifoners 
 for aiTaults" 
 
 A 
 
 with the Weft Front of a Defign for 
 , on the preceding Plate. 
 
 L The bar for arraigning the pri- 
 foners from Clerkenwell 
 
 M The bar for arraigning the pri- 
 foners from Newgate 
 
 NN Avenues leading to the above 
 places 
 
 00 Stair- cafes for the prifoners to 
 come from below 
 
 P The room for the grand jury of 
 Middlefex 
 
 Q^The foreman's feat 
 
 Pv Their table 
 
( 
 
 S The room for the witnefles at- 
 tending on the grand jury 
 T The record room 
 UU Shelves for the records 
 V Thefe dotted lines fliew the 
 
 manner of the groinds 
 W Saloon, or waiting' room 
 X Dining-room 
 
 5^ ) 
 
 Y Stair- cafe belonging to houfe» 
 
 keeper's apartments 
 Z Chimnies 
 A2 Thefe dotted lines fliew the 
 
 courfe of the longitudinal fedlion 
 A2 Thefe dotted lines (hew the 
 
 courfe of the traverfe fedlion. 
 
 PLATE 
 
 XCII. 
 
 A Defign for a Cieling for a Dressing-Room P on Plate LXXXIII. 
 AA The cornice. 
 
 PLATE 
 
 XCIIL 
 
 A Defign for a Stove to fill up the opening of a Chimnei 
 
[ 51 ] 
 
 PLATE XCIV. 
 
 The longitudinal Sedion of the Defign for a County Court on 
 
 Plate XC. 
 
 Defcription of the Secflion (fee the Ground Plan) 
 
 We afcend up the fteps into pinzza A — where we fee the bail-dock C— 
 between which is the door leading to the office for the clerks of the in- 
 ditements B. Note, in the defcription of the ground plan this article B, 
 by the niiftake of the printer, was left out. — We then enter the common 
 faloon or porch E — the firft doer that we come to leads to the private 
 ftair-cafe for the prifoners G — the next door leads to the ftair-cafe afcend- 
 ing to the rooms above W — the next door is a blank one — the next door 
 leads to the common neceffaries F — we then pafs through the private 
 door leading to the houfe-keeper's apartments H — then through the Paf- 
 fage M, and then into the other paflage "vl, where is ieen the door which, 
 leads into the kitchen Q^-from thence we fee the houfe-keeper's room P. 
 
 See the Plan of principal Story on Plate XCI. 
 
 Having afcendcd to the principal floor, we fee the dining-room X — 
 then is feen the court of juftice C — the firft door gives admittance from 
 the ftair-cafe for felons from below O, againft which is feen the profile 
 of the feats for the publick J — the next door gives admittance from the 
 room for witnefles attending on the grand jury S, againft which is feen 
 the fence which inclofes the feats for the publick J — under the center 
 niche is feen the fence which inclofes the feats for the jury H— the other 
 door gives admittance from the room for the grand jury P, againft which 
 is feen the fence which inclofes the feats for the publick G — againft the 
 aboveme:Uioned fences are feen the bars for the prifoners — we fee the 
 profile of feats for counfellors, clerks, &c. F, and their table G — we 
 next fee the profile of the prefident's feat D, from whence is feen the 
 front of the feats for the galleries E. 
 
 On the attic ftory, over the dining-room X, is a bed-room, &c. for 
 houfe-keeper. — The court extends to the top of the roof, which is light- 
 ed by a fky-li^ht.— In the center of the court is feen a gallery for the- 
 public. In the next Number will be given the traverfe fedion of this 
 defign. 
 
 B b PLATE 
 
( 52 ) 
 
 PLATE XCV. 
 
 The Plan and Elevation of a Defign for a Proteftant Diilcnters Meeting- 
 
 House. 
 
 A Portico 11 Stairs afcending to the gallery 
 
 B The infide of chapel above 
 
 CC Ifles KK Room for the minifter 
 
 DD Pews L Hall or paflage leading to the a- 
 
 EE Seats ' partments of the perfon who has 
 
 F Clerk's defk the care of the meeting-houfe 
 
 G Pulpit MM The apartments for the per- 
 
 H Stairs afcending to the pulpit fon who looks after the meeting- 
 houfe. 
 
 N. B. The longitudinal fedion, with the plan of the gallery, &c. of 
 the defign, in the next Number. 
 
 PLATE XCVL 
 
 The Plan and Elevation of a Defign for a Garden Seat. 
 
 AA Porticos EE Niches 
 
 BB CoUonades F Windovsr 
 
 C The tea-room, &c. GG Thefe dotted lines (hew the 
 
 D Chimney form of the cove of the cieling. 
 
 PLATE XCVIL 
 A Defign for a L A m p. 
 
( S2 ) 
 PLATE XCVlir. 
 
 The traverfe Ssdioii of the Dcfign for a County Court on Plate XC. 
 Defcription of the Sedlion (fee the Ground Plan.) 
 
 To the right is feen the pafTage T — the door in which leads to the 
 kitchen O — from whence (continuing our courfe to the left) we fee the 
 pantry U — ^from whence is feen the common neceflary F, in which we 
 fee the profiles of the feats — from whence we fee the porch C — the door 
 in which leads to the houfe- keeper's apartments H — from thence we fee 
 the other common neceffary, then the grand ifair-cafe K — which extends 
 to the attic floor. 
 
 See the Plan of the principal Story on Plate XCI. 
 
 To the right is feen the witnefles room attending on the grand jury S — 
 from thence (continuing our courfe to the left) we fee the court of 
 juftice C — on the right fide of which is feen the profile of the feats for 
 the jury H — on the left fide is feen the profile of the feats for the wit- 
 nelles I — between which feats are feen the bars for the prifoners — from 
 whence we fee the grand flair-cafe, on the landing of which we fee the 
 door which leads to the record-room T. 
 
 On the attic flory, to the right, is feen abed-room, &c. — from whence 
 (continuing our courfe to the left) is feen the profile of the great gallery 
 for the public — from whence we fee on each fide of the circular cove 
 other fmall galleries for the public — from whence is feen the profile of 
 the other large gallery— from whence is feen another bed-room, &c. 
 the court extends to the top of the roof, which is lighted by a fky-light. 
 
 PLATE XCIX. 
 
 The longitudinal fedion with the plan of the Gallery Floor of the Defign 
 for a Proteflant Diffenters Meeting-House on Plate XCV„ 
 
 A The open part of the chapel EE Avenues leading to the pews 
 BB Stair-cafes FF Lobbies or rooms for the com- 
 
 CC Pews - munication to the difixrent gal- 
 
 DD Seats leries. 
 
 C c Defcription 
 
C 54 J 
 
 Defcription of the Sedion (fee the Ground Plan.) 
 
 We afcend up into the collonade A — from whence we enter the chapel, 
 where is feen the fronts and profiles of the pews — to the left of the 
 chapel we fee the profile of the clerk's defk T — then the pulpit G — 
 round which is {een the flairs H, which afcend up to the pulpit — from 
 whence we fee the hall L, the door in which leads to the rooms M. 
 
 See the Plan of the Gallery Floor. 
 
 To the right and left of the building we fee the profiles of the gal- 
 leries, where is feen the front of the pews and the profiles of the feats 
 behind them — the two doors, that on the right gives admittance from 
 the ftair-cafe B — and that on the left from the lobby F — we likcwife fee 
 -the front of the gallery. 
 
 PLATE C. 
 
 A Defign for a Frontispiece. 
 
 PLATE a. 
 
 Three Defigns for Entablatures. 
 
 Fig. I. For a drawing-room. 
 Fig. 2. For a parlour. 
 Fig. 3. For a dreiling-room. 
 
~ [ 55 : 
 
 PLATE Cir. 
 
 The Plan and Elevation of a Defign for a Bridge. 
 
 A Half the plan of the foundation G Coach -way 
 
 of the bridge H H Foot-ways 
 
 B Tlie pier I The profile of the bed of the river 
 
 C C Sterlings K The water-line 
 
 D D The river L L The profiles of the bank of the 
 E The bank of the river river 
 
 F Half the plan of the upper part, M M Niches, 
 
 or coach- way of the bridge 
 
 PLATE CIIL 
 
 The Plan and Elevation of a Defign for a Country Public-Houfc. 
 
 FIG. L 
 
 The Ground Plan. 
 
 A Kitchin or tap-room 
 B Bar 
 C Pantry 
 D Parlour^ 
 
 E Stair-caie 
 
 F Parlour 
 
 G G Chimnies 
 
 F I G. IL 
 
 The Plan of the Bed-chamber Floor, 
 
 A The mailer's Room 
 B Childrens room 
 C Maids room ' 
 D Mens room 
 
 E Stair-cafe 
 
 F Chimney 
 
 GG Beds 
 
 H H Small paflages. 
 
 D d 
 
 PLATE 
 
[ 56 ] 
 
 PLATE CIV. 
 
 The Plan and Elevation of a Defign for a Gothic Pulpit. 
 
 A Half the plan of the pulpit D The feat, which is defigned to 
 
 B Part of the fleps of the pulpit hang to the door 
 
 C The door E Half the pillar, which fupports 
 
 the pulpit. 
 
 PLATE CV. 
 
 A Defign for a Table-frame, to be fixed to a Pier in a Drefling-Room. 
 
[ S7 ] 
 
 PLATE CVI. 
 
 The Sedllon of the Side-board fide of the Dining Parlour L on 
 
 Plate LXXXIir. 
 
 PLATE CVn. 
 
 The traverfe Sedlion of the Su2;ar-houfe on Plate LXXXI, with the Plan 
 
 of the Warehoufe- floor. 
 
 A Warehoufe 
 
 BB Stoves 
 
 C C Vent pan chimney 
 
 D Stairs afcending to the floors above. 
 
 Defcription of the Sedtion. 
 
 See the Ground Plan. 
 
 To the left is feen the profile of the ilove for the fugar, in which is 
 feen the racks for fugar 
 
 Oil the warehouie-floor (fee the plan) to the left we fee the flove 
 continued ; to the right is ittn the profile of the bulk-head, which extends 
 over the place where the pans for fugar are j all the other floors are for 
 the fugar. 
 
 PLATE CVIir. 
 
 Having (&tn it remarked in fome of the public prints, that the prefent 
 market-bell in Smithficld is rather too mean a defign for the mofl: confider- 
 able market-place in the world, and that fomething on a more exten- 
 five plan might be ereded, not only to embellifli the market with an ele- 
 gant objecfl, but alfo to commemorate the ailions of thofe glorious martyrs 
 who there yielded up their blood as a teftimony of their faith, and laid a 
 bafis for the prefent happy eilablifhed religion : and that the defign might 
 
 E e alfo 
 
[ 58 J 
 
 alfo ferve as a monument or maufoleum to hallow the fpot were their afhes 
 was laid, we have given the following 
 
 Defign for a Market-crofs. 
 A Half the plan E The watch-box. 
 
 PLATE CIX. 
 
 A Defign for an ornamented Panneh 
 
[ 59 ] 
 
 iP L A T E 
 
 ex. 
 
 Tlie Plan and Elevation of a Defign for a Church. 
 (The Elevation is the View taken at the Weil End.) 
 
 A A Steps afcending to 
 
 BB Porches 
 
 C Stairs afcending to the bellfrey 
 
 .D Stairs afcending to the organ loft, 
 which is. over the door E 
 
 E Grand door, or principal en- 
 trance 
 
 F The body of the church 
 
 GG The arms or fides of the church 
 
 HH Steps afcending to the altar 
 
 I The railing round the altar 
 
 J The area before the altar 
 
 K The altar 
 
 LL Seats for the miniflers 
 
 M The reading delt 
 
 .N Stairs afcending to the pulpit 
 
 -O The font 
 
 PP Seats round the church for the 
 
 gentry 
 
 QC^Seats for the common people 
 R The facrilly, or place where the 
 
 uteniils, the ornaments of the 
 
 church, miniflers vefiments, &c. 
 
 are kept 
 S The veftry-room 
 T Room for the reception of the 
 
 miniflers, &c. 
 UU Chimnies 
 WW Chapels over the burying- 
 
 places of honourable families 
 The dotted lines fhew the manner 
 
 of the groinds 
 An elevation of the view taken from 
 
 eaft to weft, the fedions taken 
 
 from eaft to weft, and north and 
 
 fouth, of this church in future 
 
 numbers. 
 The fide view in our next. 
 
 PLATE CXI. 
 
 A Defign for a Term to fupport a Sun-Dial, 
 
 The heads on the fquare block under the dial plate are to reprefent the 
 four elements — Round the body of the term are four fquare blocks, each 
 -containing three compartments, in which are to be the twelve figns of 
 the zodiac — Upon each block is to be a fubje(5t fuiting a country litua- 
 tion, fuch as a dog, a hare, a ftag, and a fox. — The heads upon the 
 lower fquare block are to reprefent the four feafons, the compartment 
 underneath is to be decorated with fubjedts appertaining to each Seafon. 
 
 PLATE 
 
 CXIL 
 
 A Defign for a Grate., 
 
 F f 
 
[ 6I J 
 
 PLATE CXIII. 
 
 The Elevation of the North Front (taken from Eafl to Weft) of the- 
 
 Church on Plate CX,. 
 
 The Ion gitudinal Sedlion of this Church in our next^ 
 
 PLATE CXIV. 
 
 The Plan and Elevation of a Defign for a Printing House, 
 
 FIG. r. 
 
 Ground PlaNo 
 
 A Hall 
 
 B Reading-room 
 C Library 
 D Office 
 E Private Office 
 
 F Warehoufe for Paper before its 
 being printed. 
 
 G Warehoufe for the printed Books 
 
 previous to their being delivered 
 H Stair-cafe 
 II Chimnies, 
 
 A Stair- cale 
 
 B Landing 
 
 C Compoling-room 
 
 D Rack-room 
 
 FIG. IL 
 
 E Prefs-room 
 
 F Room for wetting the paper 
 
 GG Chimnies, 
 
 PLATE CXV. 
 
 Two Defigns for Lock-Furniture, 
 
 G§ 
 
[ 63 ] 
 
 PLATE CXVr. 
 
 The longitudinal Sedion (taken from Eaft to Weft) of the Church on 
 
 Plate ex. 
 
 Defcription of the Sedtlon. 
 See the Plan. 
 
 We afcend up the weft fteps A A — go through the porch B, and grand 
 door E —and defcend one ftcp into the body of the church F. — Under the 
 three windows fronting us, we fee the doors which lead to the chapels 
 over the buryin^-places of honourable families, W W. — On each fide of 
 faid doors, is the elevated feats for the gentry, P P. — We now look to- 
 wards the fouth arm, or fide of the church G, where in front is the door 
 leading to the fouth porch B. — Againft the left clufter of columns is feeii 
 the front O. — We now afcend the three fteps leading to the altar HH, 
 where is feen the railing round it, I ; at back of which is the door leading 
 to the veftry room S. — Next we fee the profile of the altar K — at back of 
 the altar, is {ecu the facrifty R, to the left of which is {een the profile of 
 its window. — Returning to the weft porch, we either afcend the beifrey 
 ftairs C, or organ-ftairs D, which bring us into the organ-loft, we enter 
 the little door, at the fide of the window, over porch ; to the right 
 is feen the profile of the window looking weft ; to the left is the profile of 
 the large arch (fize and form of fouth large window) under which is to 
 be placed the organ : over the altar is feen the profile of eaft window. 
 Returning again to the organ-loft, we leave it, and afcend up the reft of 
 the beifrey- ftairs, and come through the little door into the clock, or 
 ringing room ; to the right is feen the profile of circular opening for the 
 weft clock J in front is feen the back of fouth clock; to the left is feen 
 the profile of a little door leading into the roof, over which door is {ten 
 likewiie, the profile of a window to give light to the roof, we fee the up- 
 right part of it, or front : and over each window below, (between the 
 rafters) is feen little circular openiiigs to give light to it. — Over the fouth 
 window, is feen the crofs timbers and fide form of roof. To the left, is 
 feen the profile of two fmall windows over the great eaft window ; — re- 
 turning to the clock-room we fee over the beifrey, to the right, the profile 
 of weft window ; and to the left, the profile of eaft window. Over the 
 bellfrey is i'cen the turret. 
 
 The traverfe Sedion in the next number. 
 
 The Gothic architefture has, for thefe few years paft, fallen greatly 
 under the cenfure of the immoderate admirers of Grecian architedlure, yet 
 if we candidly confider we Ihail find both ftyles have their feparate beau- 
 
 H h ties 
 
I 64 ] 
 
 ties and ufe. The Grecian tafle certainly befl fuits tliofe public build- 
 ings ; fuch as palaces, courts of juftice, exchanges, hofpitals, mulic- 
 rooms, banqueting-rooms, manfions, &c. but for religious ftruftures, 
 Gothic, undoubtedly, ought to be preferred : the difference is eafily to 
 be decided : by fpending a few hours in St. Paul's 'and St. Peter's, Weflmin- 
 fler, we may eafily and ferioufly tell which has the greateft effecl on the 
 mind ; which pile of building conveys the more devout ideas ; which fills 
 the fenfes with the greateft attention of the heaven above us ; 'vhich leads 
 us more to contemplate on the life to come ? — If I may take the liberty 
 to judp-e, it is St. Peter's ; St. Paul's never can impart thofe fenfations j 
 it has the contrary effe<fl. We behold that wondrous objedl with a fa- 
 miliar eye : we confider that as raifed to pafs the hours in bufinefs, plea- 
 fure, and delight ; no pious thoughts poffefs the mind, as wliile we are 
 gazing on the vaulted roof of St. Peter. Therefore condemn not Gothic 
 entirely, but as occafion ferves and the fubjed: requires, give preference 
 to it. This little digreffion is meant to take thofc partial impreffions 
 from the minds of the fhudents which they may likely have imbibed, that 
 Gothic architedure is a depraved tafte, and ought never, on any account, 
 to be introduced ; and to remind them and others, that Gothic architec- 
 ture has been ages back the tafte of Engliflimen, and not entirely be led 
 away by Grecian architedlure alone, becaufe it is the invention of fo- 
 reigners. 
 
 PLATE CXVir. 
 
 The Hall Plan and Elevation of a Defign for a Gentleman's Town- 
 
 Hous E. 
 
 A Steps H Porter's room 
 
 B Hall I His bed 
 
 C Grand ftairs K Water-clofet 
 
 D Stair-cafe for fervants L L Niches for fire vafes to warm 
 
 E Private ftairs for gentlemen to hall 
 
 go to the bed-chamber floor M M Chimneys 
 
 F Dining and breakfafliing-parlour N N Book-cafes 
 
 G Gentlemen's drefilng-room, or O O Form of the groinds 
 
 ftudy P P The area 
 
 The plan of all the flories in the enfuing numbers. The bafement flory 
 in the next. 
 
 PLATE cxvnr. 
 
 A Defign for a Chan DEL IE K. 
 
[ ^5 ] 
 
 PLATE CXIX. 
 
 The Travene Sedlon (taken from North to South) of the Cliurch on t£c 
 
 Plate ex. 
 
 Defcriptlon of the Sedion. 
 
 See the Plan. 
 
 We afcend up the north or fouth fleps, A A — go thro' the porch B— 
 and defcend one ftep into arm or fide of the chuch G — having come to 
 tlie center of the building, we fee the altar K — on the right fide of which 
 is feen the door leading to the facrifty R — round it is feen the railing 1— 
 and the fteps afcending to it H H — to the left is feen the pulpit and read- 
 ing-defk M — to the right is {ep,n the font O — over the north and fouth 
 doors, we fee the profiles of the large windows, over which windows we 
 fee the profiles of two fmall windows to light the roof. 
 
 The front and profile of tlie roof drawn to a larger fcale in the next 
 Number. 
 
 PLATE CXX. 
 
 A Defign for a Door or Frontispiece. 
 
 PLATE 
 
 CXXL 
 
 The Bafement Story of the Defign for a Gentleman's Town House on 
 
 Plate CXVIL 
 
 A A Coal vaults 
 
 B Vault for fervants to put their 
 
 utenfils in 
 C C Areas 
 
 D Steps afcending to the ftreet 
 E E Pafiages 
 F Steward's -room 
 G His bed-room 
 
 H His bed 
 
 I Houfekeeper's-rooni 
 J J Clofets 
 KK Stoves 
 
 L Stair-cafe for fervants 
 M M Neceflaries 
 
 NN Wine vaults, in which are feen 
 the binns for the bottles 
 
 I i 
 
[ 66 } 
 
 O Butler's pantry 
 P Servants hall 
 Q^Duft-hole 
 R Kitchen 
 S Oven 
 T Copper 
 UU Dreffers 
 V Scullery 
 
 W Larder 
 
 X Pantry 
 
 Y Stair-cafe leading to ftables and 
 
 laundry 
 Z Z Beer Cellars, &c. 
 A2 A2 Chimnies 
 The dotted lines fhew the form of 
 
 the groinds. 
 
 The continuation of the hall plan, from the dining parlour to the 
 ftables — the laundry plan over ftables-^nd bed-chamber plan over laundry, 
 in the next Number. 
 
r ^7 ] 
 
 PLATE 
 
 CXXIL 
 
 The Plan and Elevation of a Defign for an Harmonic Pavillion, 
 
 Ay\ Steps afcending to the collo- 
 
 nades 
 B B Collonades 
 C The mufic-room 
 D The orcheflra 
 E Baluftrade, that divides the or- 
 
 cheftra from the room 
 F F Seats for the choriliers 
 G Area for the balTes 
 HH Their feats 
 I Harpfichord 
 J Organ 
 
 K K Seats for the fiddles and othec 
 
 inftruments 
 L L Rooms for the muficians 
 M M Rooms for the company 
 N N Chimneys 
 O Thele dotted lines fhew the form 
 
 of the cove in the ceiling 
 The profile elevation and feftions 
 
 taken north and fouth,and eaft and 
 
 weft, in the proceeding numbers 
 The profile elevation in the next 
 
 number. 
 
 PLATE 
 
 CXXIIL- 
 
 A Defign for a Chair. 
 
 PLATE CXXIV. 
 The Front and Profile of the Infide of the Roof on Plate CX^ 
 
 F I G. I. 
 
 The Front or upright Part of the Roof. 
 
 F I G. IL 
 
 The Profile of the Roof. 
 
 A I. 2. 3. 4. 5. 6. 7. are the difierent timbers, whichrefer to the fip;ures. 
 
 on the upright part of the roof,, 
 
 BB The laths or bridging which fuftain the lead covering. 
 
 C C The lead covering 
 
 D D The profile of the vaulting 
 
 E E The profile of the fide v/alls 
 
 F F the profile of the turrets 
 
 The circular dotted lines fhew in what manner the roof is conftrndled. 
 
 The perpendicular dotted lines fliew where the timbers interfed:, as is 
 feen on fig. I, 
 
 K k The 
 
r 68 ] 
 
 The horizontal dotted lines refer fronj the profile timbers to the upright 
 part of them on fig, I. 
 
 The outfide of the great north window of the church in the next 
 Number. 
 
 PLATE CXXV. 
 
 The Continuation of the Hall Plan from the Dining Parlour to the Sta- 
 bles — The Laundry Plan over Stables — and the Bed-chamber Plan over 
 Laundry. 
 
 F I G. I. 
 
 Continuation of the Hall Plan. 
 
 A and F Dining-room and breakfafting parlour 
 
 B and G Gentleman's dreffing-room and flud 
 
 C C Flat over the kitchen, &c. 
 
 D Stair-cafe afcending to the laundry 
 
 E Stables 
 
 FF Stalls 
 
 G Manger 
 
 H Step-ladder to the hay-loft 
 
 1 1 Coach-houfe "^ 
 
 ]j Pn\i as 
 
 FIG. L 
 
 The Laundry Plan. 
 
 A Stair-cafe afcending to bed-room 
 
 B Laundry 
 
 C Hay-loft 
 
 D Opening to put hay down 
 
 E Step-ladder from the ftables 
 
 F Door to take hay in from the carts 
 
 G Chimney. 
 
 F I G, in. 
 
 Bed Chamber Plan for Men. 
 A Stair- cafe 
 B Footmen's room 
 C Coachman and Groom's room 
 
 DD Beds ■; 
 
 E Chimney 
 The plans of the one pair of flairs and two pair, in the next Number. 
 
[ (>9 ] 
 
 PLATE CXXVI. 
 
 The great North Window of the Church on Plate CX. The Weft 
 
 Door in tlie next Number. 
 
 PLATE CXXVIL 
 
 A Dell gn for a Monument^ 
 
 PLATE CXXVIIL 
 
 The Profile Elevation of the Defign for an Harmonic Pavillion on 
 Plate CXXn. The Sedion taken North and South in the next Number. 
 
 PLATE CXXIX. 
 
 The Plans of the one Pair of Stairs and two Pair of Stairs Floors of the 
 defign for a Gentleman's Town House on Plate CXVIL 
 
 F I G. L ■ 
 
 The One Pair of Stairs Floor. 
 
 A Dra wing-room E Grand ftair-cafe 
 
 B Saloon F Landing 
 
 C Bale ony, giving a view of the G Private flair-cafe 
 
 grand ftair-cafe H Stair-cafe for fervants 
 
 D Wit hdrawing-room I Chimnies 
 
 LI FIG. 
 
[ 70 J 
 
 F I G. II. 
 
 The Two Pair of Stairs Floor. 
 
 A Beft bed-room 
 B Ditto dreffing-room 
 C Ditto wardrobe 
 D Second bed-room 
 E Ditto dreffing-room 
 F Ditto wardrobe 
 
 G The open part of the grand flair- 
 cafe 
 HH Gallery 
 I Private ftair-cafe 
 K Stair-cafe for fervants 
 LL Beds 
 MM Chimnies 
 
 The Plans of the Garret Story and Outfide of Roof in the next 
 
 Numbct, 
 
( 71 ) 
 
 PLATE CXXX. 
 
 The Weft Door of the Church on Pbte CX. 
 
 PLATE CXXXr. 
 
 The Sedion (taken North and South) of the Defign for an Harmonic 
 
 Pavillion. 
 
 Defcrlption of the Sedlion. 
 
 See the Plan. 
 
 In Front of the Mufic-room C — we fee the Orcheftra D — , on each Side 
 
 are feen the Collonades B — . 
 
 The Sedion taken Eaft and Weft in the next Number. 
 
 PLATE CXXXIL 
 A Defign for a Statuary Marble Table, Inlaid withJapanPaintings. 
 
 PLATE CXXXIII. 
 
 The Plans of the Garret Story and Cutfide of the Roof, of the Defign 
 for a Gentleman's Town House on Plate CXVIL 
 
 FIG. L 
 
 The Garret Story. 
 
 A Stair-cafe for fervants 
 
 B B Landing 
 
 C Open part of private ftair-cafe 
 
 D D Rooms for women fervants 
 
 E E Clofets 
 
 F Open part of grand ftair-cafe 
 
 G G Chimnies 
 
 H H Beds. 
 
 The dotted Lines fhew the Form of the Sky-lights. 
 
 Mm FIG. 
 
[ 72 1 
 
 F I G, ir. 
 
 The Outfide of Roof, 
 
 A A The Roof 
 
 B Lead flat over grand ftair-cafe 
 
 C Ditto over private and fervants ditto 
 
 D Ditto over clofets 
 
 E E Ditto over garret windovs'S 
 
 FF Sky-lights 
 
 G G Chimney flues 
 
 H H Gutters 
 
 1 1 Parapets, 
 
[ 73 J 
 
 PLATE CXXXIV. 
 
 A Del]<i;a for a Shop Front. 
 
 PLATE CXXXV. 
 
 The Sedtion (taken Eaft and weft) of the Dcfign for an Harmonic 
 
 Pavillion. 
 
 Defcrlption of the Sedion. 
 See the Plan. 
 
 We afcend to the weft coUonade B — next enter mufic-room C — to 
 the left is Teen the orchcftra D, wherein is the profile ot the organ J, and 
 harplichord l. 
 
 To the left of the dome is feen the profile of the falfe front, to make 
 the fide-elevations uniiorm-^Tbis neceft'ary help is fo contrived, that 
 neither within the building, nor without, can it any ways be feen, but 
 every part appears regular. This defjgn is to lliew the ftudent (that as 
 frequently buildings are finiflied in an irregular manner, tor the conve- 
 niency of rendering fome more fivoarite part compleat) that it is poffi' le 
 to remedy everv dilagrceable objcdt in the hke manner by a little ftudy, 
 as is here illuftrated. 
 
 PLATE CXXXVL 
 
 The Plan and Elevation of a Befign for an Egyptian Pvramidical 
 
 Dairy. 
 
 A Entrance 
 
 B Dairy 
 
 C C Recefles for pins of milk, &c. 
 
 D D Thefe dotted lines ftiew the fituation of circular windows above 
 
 E E Thefe dotted lines ftiew the form of the groinds 
 
 The fedjon, taken eait and weft, in the next Number. 
 
 Nn PLATE 
 
( 74 ) 
 
 PLATE CXXXVII. 
 
 The Plan and Elevation of a Defign for a Sheep Cote, to terminate the 
 End of a Canal in a Garden, which generally extends to the Meadows 
 or Failure Ground. 
 
 A Shepherd's hut 
 
 B Bed-room 
 
 C Bed 
 
 D Fire-place 
 
 E Yard 
 
 F F Hovels for flieep 
 
 G G Rough bodies of trees which fupport the upper part of hovel 
 
 H Stcre-houfe for provender 
 
 I Pond 
 
 K K Avenues for the flieep to go in and out 
 
 L L Hurdles or railing which divide the garden from the meadows. 
 
 The fedtion (taken caft and weft) ia the next Number. 
 
[ 75 J 
 
 PLATE CXXXVIir. 
 The Ground Plan and Elevation of a Defign for an Inn. 
 
 A Portico 
 
 B Hall 
 
 C Larder 
 
 D Bar 
 
 E Bar-room 
 
 F Public room for company 
 
 G G Private rooms for ditto 
 
 H Kitchen 
 
 I Copper 
 
 K Stoves 
 
 L L DrefTers 
 
 M Scullery 
 
 N Sink 
 
 leading 
 
 into the 
 
 O Dreffer 
 
 P Pantry 
 
 Q DrefTer 
 
 R Grand ft air -cafe 
 
 S Private ditto 
 
 T T Glafs doors 
 
 yard 
 U U Chimnies 
 V V Gateways 
 W W Yard 
 X Paffage 
 
 The plans of the princi paland at- 
 tic floors in the next Number. 
 
 PLAT 
 
 CXXXIX. 
 
 The Ground Plan and Elevation of a Defign for a Villa, v^'ith a fmall 
 
 Farm adjoining. 
 
 A I A I Steps afcending into the 
 
 Houfe 
 B Hail 
 
 C Study, or common Parlour 
 D Drawuig-room 
 E Dining-room 
 F China cup-board 
 G Grand ftair-cafe 
 H Ir'rivatr: ditto 
 1 Kitchen 
 J Stoves 
 K K Chimnies 
 L Cup- board for Glaffes 
 M Scuilery and Brewhoufe 
 N Pantry 
 O Miik 'houfe 
 P Store-room 
 Q^Stair-cafe afcending to rooms 
 
 for fervants 
 R Water-clofet 
 S Poultry court 
 
 T Place for keeping wood, &c. in 
 
 ( 
 
 U Stairs afcending to laundry 
 
 V Coal-hole 
 
 W Common neccflary 
 X Dung court 
 
 Y Common ftablc 
 ZZ Stalls 
 
 A2 Manger 
 B2 Saddle houfe 
 C2 Beft Stable 
 D2D2 Stalls 
 E2 Manger 
 F2 Saddle houfe 
 G2 Gateway to the court 
 H2 H2 Coach-houfes 
 I2 I2 Cow-ftalls 
 J2 ]z Mangers 
 K2 Hog-fly 
 L2 Cyder-houfe 
 M2 Birn 
 
 Tlie chamber and attic floors are 
 for bed- rooms, £cc. 
 
 PLATE 
 
( 76 ) 
 
 PLATE CXL. 
 
 The Sedtion (taken Eaft and Weft) of the defign for an Egyptian 
 Pyramidical Dairy, on Plate CXXXVI. 
 
 Defcription of the Sedion. 
 
 See the Plan. 
 
 At the weft fide we fee the profile of the door or entrance A — '\n the 
 front is Icen the receflcs for the milk, &c. C — to the left is the profile of 
 a recefs; above is feen the profile of the circular window Dj and on 
 each fide is the profile of dittos above which is the profile of the tim- 
 bers fupporting the upper part of pyramid. 
 
 PLATE CXLL ^ f 
 
 The Sediion (taken Eaft and Weft) of the Defign foraSaEEP Cote, 
 
 on Plate CXXXVII. 
 
 Defcription of the Se6lion. 
 See the Plan. 
 
 At the weft end is feen the infide of the fliepherd's hut A — in the 
 center is the fire-place D — on each is the windows, beyond which is the 
 profiles of the two doors — next is the Yard E — in the center of which 
 is I'een the profile of ihe pond I — behind is the hovel for fheep F— 
 where is feen the door leading to the avenues K — at the eaft end is feen 
 the infide of the ftore-houfe H — where is a window and a profile of a 
 door. 
 
( 77 ) 
 
 PLATE CXLII. 
 A Defign for an Iron Gate, or Entrance into a Gentleman's Park. 
 
 PLATE 
 
 CXLIIL 
 
 The Plan and elevation of a Defign for a Foot Bridge, over a fmall 
 
 River in a Gentleman's Park. 
 
 A Half the plan of the foundations G Steps afcending to the bridge 
 B The pier H The profile of the bed of the 
 
 C C Stirlings river 
 
 D D The river I The water line 
 
 E The bank of the river K K The profiles of the bank of 
 
 F Half the plan of the upper part the river 
 of foot-way of the bridge. 
 
 PLATE CXLIV. 
 
 The Plan and Elevation of a Defign for a Keeper's Lodge. 
 
 F I G. L 
 The Ground Plan. 
 
 A A Steps 
 B Kitchen 
 C Scullery 
 D Clofet 
 
 A Stair- cafe 
 B Lan.ding 
 C Bed-room 
 DCiofet 
 
 E Gun room 
 F Pantry 
 G Parlour 
 H Stair-cafe. 
 
 F I G. n. 
 
 The Plan of the Bed-room Floor. 
 
 E E The top of the parlour 
 FF The top of the fcullery and 
 cellar. 
 
 PP 
 
 PLATE 
 
[ 78 1 
 
 PLATE 
 
 CXLV. 
 
 The Plans of the Chamber, and Attic Floors of the Defign for an Inn, of 
 
 Plate CXXXIX. 
 
 FIG. I. 
 
 The Plan of Chamber Floor. 
 
 A Grand ftair-cafe 
 
 B Landing 
 
 C Salloon 
 
 D Grand room for company 
 
 EE Withdrawing-roops 
 
 F Waiters-room 
 
 G Common Stair-cafe 
 
 HH Bed- rooms 
 I Beds 
 
 J Water-ciofets 
 K Balcony 
 L Paffage 
 MM Chimnies. 
 
 FIG IL 
 
 The Plan of the Attic Floor. 
 
 A Common ftair-cafe 
 
 B B Pafiage or gallery 
 
 C C Openings to give light to 
 
 paffages below 
 D D Bed-room 
 EE Beds 
 
 F Water- clofet 
 
 G G Chimnies 
 
 The circular dotted lines in gallery, 
 {hew the form of the fky-lights, 
 giving light to the fame. 
 
I 79 ) 
 
 PLATE CXLVI. 
 
 The Plan and Elevation of a Defign for a Stable. 
 
 A Saloon, or carriage-way. 
 
 B B Stables. 
 
 C C Stalls. 
 
 D D Saddle houfci. 
 
 PLATE CXLVir. 
 
 A Defign for a Chimney-Piece. 
 
 PLATE CXLVI! I. 
 
 The Plan and Elevation of a Defign for a Toll Hous^;. 
 
 A Tollmr.n's room. 
 
 C His b'jd-rooni 
 
 D Bed. 
 
 R Cellar, ^c 
 
 PLATE ( XLIX. 
 A Defign f' <• a Clock Case. 
 
 Q. q 
 
.lYJXD a T A J 1 
 
 .vK7/-3gBivir,3 lo .nooIcS A 
 
 .el(r.j8 'J D 
 ,8jlnorI albbnS Q a 
 
 J 3 T A J ^ 
 
 J H 
 
( 8i > 
 PLATE CL. 
 
 The Plan and Elevation of a Defign for a Mausoleum. 
 
 A Steps afcendingto the maufolcuai. 
 
 B Ljnding. 
 
 C Porch. 
 
 D D iVlaufoleum. 
 
 E E Steps which raife one oart of the Congregation above the other, for 
 
 the better behoUing the ceremony 
 F Landing, wiiereon the corps is relied during the burial fervice. 
 GG Stairs defcendingeach vvav to the catacombs below. 
 H H The open part of the ftairs, or well-holes. 
 1 1 Semicircjlar recefies. 
 K Steps aicending to the altar. 
 L Inctofed fpace before the altar. 
 M The altar. 
 N The clergyman's room. 
 
 The Sexton's room. 
 
 The Plan of the Crypta or Catacombs with fhe fedlion of the whole 
 building, taken north and louth, in the next Number. 
 
 PLATE CLL 
 
 The Plan and Elevation of a Deign for a Round House, or Watch 
 
 House. 
 
 A Piazza or Porch. 
 
 B The room for the Watchmen, 
 
 &c. 
 C The conftable of the night's feat 
 D D Seats for watchmen, &c. 
 E Table. 
 F Room for prifoners of creditable 
 
 appeararjce. 
 G The houic- keeper's room. 
 H Room for men prifoners. 
 
 1 Place for them to lay down on. 
 J Seat. 
 
 R 
 
 K Dungeon. 
 
 
 L Seat. 
 
 
 h- Neceffary. 
 
 
 N Room tor women prifoners. 
 
 O P'ace to lay 
 
 down on. 
 
 P SeU. 
 
 k 
 
 Q^Dungeon. 
 
 
 R Seat. 
 
 
 S NscLffary. 
 
 
 TT Chimnies. 
 
 
 UU Beds. 
 
 
 
 PLATE 
 
[ 82 ] 
 
 PLATE CLII. 
 
 The Plans and Elevation of a Defign for a Parsonage House. 
 
 F I G. I. 
 
 The Ground Floor. 
 
 A A Steps afcending into the Houfe. G PafTage. 
 
 B Hall. H Kitchen. 
 
 C Bell Parlour. I Copper. 
 
 D Common parlour. K Pantry. 
 
 E Stair cafe. L Chimnies. 
 F Study, 
 
 FIG II. 
 
 The Plan of the Bed Chamber Floor. 
 
 A Stairs from below. G G Chimnies. 
 
 B Landing. The ftair-cafe is lighted by a fky- 
 
 C Stairs alcending to garrets. light. 
 
 D D Drefling- rooms. The two garrets are over the two 
 
 E E Bed-rooms. drelling-rooms. 
 
 F F Beds 
 
 PLATE CLIIL 
 
 A Defign for a Candlestick. 
 
( h J 
 
 PLATE CLIV. 
 
 The principal Plan and Elevation of a defign for a Company's Hall» 
 
 A A Steps. Z Room for garden pots, &c. 
 
 B Saloon. A2 Pi.-.zza. 
 
 C BeMdles-room. B2 Kitchen. 
 
 D Arnrior}, or fervants hall. C2 C2 Tables. 
 
 E Saloon. D2 Oven. 
 
 F Private ftair cafe, afcending to K2 Copper. 
 
 the rooms above, beneath which F2 Stoves. 
 
 you defcend to the kitchen, &c. G2 Scullery, 
 
 belonging to the beadle. H2 Copper. 
 
 G Court-yaid. I2 Hot larder. 
 
 H Saloon. Jz Dreflers. 
 
 I Grand hall. K2 Confeftioner's-room. 
 
 J Steps which raife the prime L2 Stoves. 
 
 warden's table above the other M2 Tables. 
 
 table?. N2 Private hall leading to kitch- 
 
 K Their table. en, &c. 
 
 L L Livery tables. O2 Buttery or Pantry. 
 
 MM Side-boards. P2 Butler's Pantry. ' 
 
 N Columnade.orgrand fide-board. Q2 Yard. 
 
 O Saloon. R2 NecefTary for men. 
 
 P Grand ftair-cafe. T2 Yard. 
 
 Q^Saloon. U2 NecelTary for fervants. 
 
 R Go'ivn-room. V2 Hall belonging to the clerk of 
 
 S Private hall. the hall's chambers. 
 
 T Parlour for the prime wardens, \V2 His parlour. 
 
 or court-room. X2 Saloon. 
 
 U Thar table. Y2 Clerk's office. 
 
 V Stair cafe for the muficians to Z2 Defk. 
 
 go to the mulic gallery over co- A3 Stair-cafe belonging to the clerk's 
 
 lumnade N, beneath which you chambers, beneath which you 
 
 defcend to the cellars below. defcend to his kitchen and other 
 
 W Yard or garden. offices. 
 
 X Alcove. B3 83 Chimnies. 
 
 Y Keceffary for women 
 
 S s PLATE 
 
( H ) 
 
 PLATE CLV. 
 
 The cne Fdii of Stairs Plan with the North Flank Elevation of the 
 whole; Building of the Defign for a Company's Hall. 
 
 A A Gr^nd ftair-cafe. 
 
 B Landing. 
 
 C Saloon. 
 
 D Card-room. 
 
 E Coffee-room, or withdravving- 
 
 room. 
 F Saloon. 
 
 G Piivate ftair-cafe. 
 H Landing. 
 I Ball room. 
 
 J J Alcoves for the mufic, &c. 
 K Piilure gallery for the portraits 
 
 of the wardens, 6cc. 
 L Saloon. 
 
 M Council chamher. 
 N Stair-cafe for the muficians. 
 O Muf)C gallery. 
 
 P Room for the muficians. 
 Q^The open or upper part of the 
 
 hail. 
 R R The open or upper part of 
 
 the yards 
 S The open or upper part of the 
 
 kitchirn. 
 T Stairs leading to the clerk's a- 
 
 partments. 
 U Landing. 
 V Saloon. 
 
 W Drclling-room. 
 
 XX Bed- rooms. 
 
 Y Y Beds. 
 
 Z The open or upper part of the 
 
 court yard. 
 A2 A2 Chimnies. 
 The feftion taken north and fouth, and ledtion taken eaft and weft, 
 in the next Number. 
 
 PLATE CLVL 
 Ihe Plan of the Crypta or Catacombs, with the Sedlion, (taken 
 North and South) of the whole building, of the Defign for a Mau- 
 foleum on Plate CL. 
 A A The ftairs from the chapel above. 
 B Open fpace under the Oairs. 
 C C The crypta, or vaulted ifles to walk in, and to contemplate on the 
 
 alhes of the dead. 
 D D Catacombs. 
 
 The dotted lines fliew the forms of the Vaultings. 
 
 Dcfcription of the Sedion. 
 
 See the Plan of the Maululeum. 
 
 Having got in the center of the landing F, we fee before us the fteps 
 
 K— whicli lead to the altar M— on each fide are two recefles i— to 
 
 the right is feen the clergyman's rcom N— and to the lett the fextoa's 
 
 room O. 
 
 See the Plan of the Crypta. 
 In the centre is f^en the ftairs (to the right and left) which defcend 
 below — in the crypta we (ee the fquare doors before the catacombs D — 
 to the right and left is feen the piohle of catacombs, in which are the 
 
 ccfHns. 
 
 PLATE CLVIL 
 
 A Defign for a Looking Glass. 
 
PLATE CLVIir. 
 
 The Sedion (taken North and South) of the Defign for a Company's 
 
 Hall, on Plate CUV. 
 
 Defcription of the Sedion. 
 
 See the Plan of the principal Floor. 
 
 Being in the centre of the court-yard G — we fee, fronting us, the 
 door leading to the grand hall — the door to the left leading into piazza 
 A2 — and the door to the right leading to the flair-cafe N. — To the 
 right is feen the prime warden's parlour, under which is a cellar T — 
 and to the left the clerk's otfice, under which is a paflage Y2 — beyond 
 which is the kitchen B2, which contniues up the next (lory, beneath 
 which is a kitchen belonging to the clerk's apartments. 
 
 See the One Pair of Stairs Plan. 
 
 The windows in court-yard give li^ht to the pidlure gallery K — the 
 windowi above light a pafiage — to the right is feen the coffee-room or 
 withdrdwing-rooin, above which i^ a room and a paff.ige for the Beadle's 
 ufe — to the left is fetn the drefling-room belongintr to the clerk's apart- 
 ments, above which is a paffage, and over the kitchen a room for fervants 
 to ditto. 
 
 PLATE CLIX. 
 
 The Sedion (taken Eaft and Weft) of the D-jfign for a Compan v'b Hall. 
 
 Defcription of the Sedtion. 
 
 See the Plan of the principal Floor. 
 
 We afcend up the weft fteps A — enter into the faloon B — under which 
 is a cellar belonging to the beadle— thence into the court- yard, tiie d or 
 to the right l':'ads into filoon E — and the door to the left into faloon Qj— 
 the windows give light to the warden's parlou — thence in'.o faioon K — 
 in the centre is a window looking into butler's pantry P2 — (under which 
 is a pafliige) thence we come through tiie colonade N — into the grand 
 hall I, which extends (in hei^ht) though the upper llory — in t e centie 
 is feen the nich for the hde- board M — over the colonade is the niulick 
 galicry. 
 
 ' T t Sec 
 
V. 
 
 [ 85 J 
 
 See the Plan of the One Pair of Sfairs Floor. 
 
 The three centre windows in the court-yard give light to the coffee- 
 room E the other two light the faloons E and F ; the windows above 
 
 light the paflage belonging to the beadle's apartments — To the right is 
 feen the ball room 1— to the left is feen the picture gallery K, over 
 which is a paflage. 
 
 PLATE CLX. 
 
 The Plan and Elevation of a Defign for a Gothic Pavilion. 
 
 A A Footing round the building. 
 
 B Infide of the ditto. 
 
 C Chimney. 
 
 The dotted lines fliew the form of the vaultings. 
 
 PLATE CLXL 
 
 A Defign for a Commode, for a Lady's Dressing Room. 
 
[ S7 3 
 
 PLATE CLXII. 
 
 A Defign for a Gotliic A l t a r-P i e c e, 
 
 PLATE CLXIIL 
 A Defign for a S h o p Front, 
 
 PLATE CLXIV, 
 
 A Defign for a C i e l i n g. 
 
 PLATE CLXV. 
 A Defiga for a H a l l L a m e^« 
 
 U u 
 
( 89 ) 
 
 PLATE CLXVr. 
 
 The Plan and Elevation of a Defign for a Musical Pavillion, 
 
 To the Memory of 
 
 HENRY PURCELL,. 
 
 He left this life 
 And is gone to that blefled pkce 
 Where only — his own harmony caa 
 Be exceeded. 
 
 A A Steps leading up to the building. 
 
 B B Piazza or arcades for company to walk in». 
 
 CC Avenues to ditto. 
 
 D D Platform or terras. 
 
 E E Flights of fleps afcending to the orcheflra. 
 
 PLATE CLXVIL 
 
 The Plan and Elevation of a Defign for a Temple, 
 
 A A Steps afcending to the building. 
 B B Platform or terras. 
 C The infide of the temple, 
 DD Alcoves ► 
 
 PLATE CLXVIIL 
 A Defign for a Font, 
 
 PLATE CLXIX. 
 ik. Defim for a Stove Gratb, 
 
 X X 
 
[ 91 3 
 
 PLATE CLXX. 
 
 The Plans and Elevation of a Defign for a Musical Pavillion. 
 
 To the Memory of 
 
 GEORGE FREDERICK HANDEL, 
 
 To thy great name, I dedicate this pile. 
 Who has fo charm'd this wond'ring lift'nlng ifle. 
 With notes harmonic, which doth rend the fky. 
 While modern untun'd flrains in difcords die ; 
 The chief of all the choirs, thou ftand'ft confeft. 
 Of lower worlds. In fcenes of endlefs reft, 
 Handel, thou fure art highly plac'd among 
 (In awful flate) the bright angelic throng. 
 For oh, no mortal, more deferv'd the fkies. 
 Who has made miUions, with uplifted eyes. 
 Adore their maker ! — Tun'd by thee to ling. 
 The praifes of our mighty heav'nly king. 
 
 A Half the ground-plan. KK Firft platform or terras. 
 
 B B Steps leading to the L L Flights of fteps afcending to the 
 
 C C Footing round the building. M M Second platform or terras. 
 
 D D Flights of fteps afcending (to N The pavillion. 
 
 right and left) to the pavillion a- O The pedeftal for the figure of 
 bove. Handel. 
 
 E E Arcades for company to walk. In the Elevation 
 
 &c. Thofe circular tablets upon the faf- 
 
 F F Grand faloon for ditto. cia below the fecond platform. 
 
 The dotted lines fliew the form of are defigned to contain the ti- 
 the groinds. ties of the feveral fubjedts which 
 
 G Half the upper, or pavillion plan. he has fet to mufic. 
 
 H H Footing round the building. 
 
 I I Flights of fteps afcending to the 
 
 The Sedion of the whole building, north and fouth, in the next Number. 
 
 Yy PLATE 
 
[ 335 J 
 
 ^ L A T E CLXXi; 
 
 The Pkn and Elevation of a Defign for a Gate-way or Entrance into 
 
 a Gentleman's Park. 
 
 A Gate-way for Carriages, 
 
 B B Door-ways for people on foot. 
 
 PLATE CLXXIL 
 A Defign for a Term. 
 
 L . Vi^ ■ . ,.l 
 
 ; lUoTtO cSii: : 3 IT 
 
 
( 93 )• 
 
 PLATE CLXXIII. 
 
 The Sedllon of the whole Building, when North and South, of a De- 
 fign for a Musical Pavillion, to the Memory of GEORGE 
 FREDERICK HANDEL, on Plate CLXX. 
 
 Defcription of the Sedion. 
 
 See the Ground Plan. 
 
 On each fide is feen the profile of the fteps B, which lead to the footing 
 round the huilding C — we then enter the arcades for the company to walk 
 in E — then into the falcon F. Above the groinds of the arcades is feen a 
 fecond tier of groinds for the better fupport of the building above. 
 
 See the Pavillion Plan. 
 
 To the right and left (above the arcades) we behold the firft platform 
 K — we then afcend up the flights of fteps L, which bring us on the fecond 
 platform M — thence we come into the pavillion N — In the center is feea 
 the profile of the figure of Handel and the pedeftal O. 
 
 PLATE. 
 
 CLXXIV. 
 
 The Plan and Elevation of a Defign for a Gentleman's Villa. 
 
 A 
 B 
 C 
 D 
 E 
 F 
 G 
 H 
 
 Hall 
 
 Beft ftair-cafe 
 Beft parlour 
 Saloon 
 
 Dining-parlour 
 Paflage 
 
 and 
 
 Back ftair-cafe 
 Avenue between the houfe 
 the offices 
 
 I Kitchen 
 
 J Copper 
 
 K Stoves 
 
 L Scullery 
 
 M Wafli-houfe 
 
 N Copper 
 
 O Stair-cafe to chambers above 
 
 P Avenue between offices and out- 
 buildings 
 
 Q_ Pan try 
 
 R Dairy 
 
 S Wood and coal-houfe 
 T Place to clean knives, &c, 
 U Avenue between the houfe and 
 offices 
 
 V Stair-cafe to rooms over coach and 
 ftable 
 
 W Yard 
 X Stable 
 
 Y Stalls 
 
 Z Manger 
 
 A 2 Step ladder to go up to the hay 
 
 loft 
 B2 Coach-houfe 
 C2 Horfe-pond 
 D2 Chimnies. 
 
 Z 2 
 
 PLATE 
 
P L A 
 
 ( 94 
 T E 
 
 CLXXV. 
 
 The Plan of the Bed Chamber Floors and the Garret Floor of the Defign; 
 for a Villa, on the preceding Plate. 
 
 F I G. I. 
 
 The Plan of the Red Chamber Floor. 
 
 A Beft fluir-cafe 
 
 B Landing 
 
 C Belt bed- room 
 
 D Wardrobe or dreffing-room 
 
 E Saloon dreifing-rooni. 
 
 FF Alcoves 
 
 G Bed-room 
 
 H Pallage 
 
 I Back flair-cafe 
 
 J Stair-cafe fromWafh-houfe 
 
 K Paliage 
 
 L Bed-room for footmen 
 
 M Dditto for butler 
 
 N Stair-cafe 
 
 O Bed- room for coachman, &c. 
 
 P Hay-loft 
 
 Q^Door to take hay np 
 
 R Opening to let the hay down. 
 
 S Opening from below 
 
 T ^tep ladder 
 
 U Beds 
 
 V Claimnies.. 
 
 FIG. U. 
 
 The Plan of the Garret Floor. 
 
 A Back flair-cafe 
 
 B PalTage 
 
 C Palfage 
 
 D Nurfery 
 
 E Glafs door to go out on the bal- 
 cony 
 
 F Balcony 
 
 GG Bed-rooms for children and 
 nurfery maids 
 
 H Lady's maid's room 
 
 I Room for Cook and houfe maids,. 
 
 &c. 
 J The open or upper part of the befl 
 
 flair- cafe 
 The circular dotted line fhews the 
 
 form of the fky- light 
 KK Beds 
 LL Chimnies.. 
 
 PLATE 
 
 CLXXVL 
 
 The Plan and Elevation of a Defign for a Grotto, at the End of a Canal 
 
 in a Gentleman's Garden. 
 
 A A The Canal 
 
 BB Walk in the grotto 
 
 C Alcove 
 
 DD Circular receffes 
 
 The dotted lines Ihew the form of the groinds. 
 
t 95 i 
 
 PLATE 
 
 CLXXVII. 
 
 The ground Plan and Elevation of a Defign for a County Gaol, B, 
 
 A Steps afcending to the prifon 
 
 B Footing before ditto 
 
 C Jailor's hall 
 
 D D Ditto rooms 
 
 E Ditto yard 
 
 FF Yards for men debtors 
 
 G Room for ditto 
 
 H Stairs afcending to rooms above, 
 belonging to ditto 
 
 I The ground for the exercife of 
 ditto 
 
 J Neceffary for ditto 
 
 K Place for rubbifli 
 
 L Tap-room for men debtors 
 
 M The bar 
 
 N Stairs to go to the beer cellar be- 
 low 
 
 O Boxes 
 
 P P Rooms for the perfon who keeps 
 tlie tap 
 
 Q__Yard for m.en felons 
 
 R Room for ditto 
 
 S Stairs afcending to rooms above for 
 ditto 
 
 T Neceffary for ditto 
 
 U U Yards for women debtors 
 
 V Room for ditto 
 
 W Stairs afcending to rooms above 
 
 for ditto 
 X The ground for the ufe of ditto 
 Y Neceflary for ditto 
 Z Place for rubbifh 
 A2 Kitchen 
 B2 Copper 
 C2 Oven 
 D2 Scullery 
 E2 Hot larder 
 F2 Cold larder 
 G2 DrefTer 
 H2 H2 Rooms for the perfon who 
 
 keeps the kitchen 
 1 2 Yard for women felons 
 J 2 Room for ditto 
 K2 Stairs afcending to rooms above 
 
 for ditto 
 L2 Neceffary for ditto 
 M2 Yard before the cellar 
 N2 N2 Avenues between ditto 
 O2 O2 Cells 
 P2 P2 Chimnies 
 Q2 Circular fpace for the conveni- 
 
 ency of ferving all the prifoncrs 
 
 with meat and drink, without any 
 
 of the debtors mixing with the 
 
 felons. 
 
 The walls in the fmall yards, which are fliaded lighter than the other 
 walls, are to be carried up breafl high, on which are to be raifed an iron 
 work to keep the feveral prifoners afunder ; yet, upon occafion, each may 
 converfe with the other, without joining together, and fo be the means 
 of keeping good order and peace in the gaol ; the general method of let- 
 ting debtors and felons mix promifcuoufly together, has been ofteiitim.es 
 produftive of bad confequences, and is, by the iron partition, remedied. 
 
 In the elevation is feen at each angle of the building (above the rirft llory) 
 cages for the men ai)d v\ omen debtors to beg for charity in. 
 
 A a The 
 
C 96 3 
 
 The one pair of flairs plan and fe(5lion of the whole building, (taken 
 Ijorth and ibuth) in the next Number. 
 
 PLATE CLXXVIII. 
 
 The Plan and Elevation of a Defign for a Conduit, D. 
 
 A A Footing round the Conduit 
 
 B Entrance into ditto 
 
 C Infide of ditto 
 
 D Bafon for water for people and cattle. 
 
 PLATE CLXXIX. 
 
 A Defign for act Ornamented Pannei, 
 
r 97 1 
 
 PLATE 
 
 CLXXX. 
 
 The one Pair of Stairs Plan, and the Sedlion of the whole Building 
 (taken North and South) of the Defigu for a County Goal on 
 Plate CLXXVII. 
 
 A 
 B 
 
 C 
 
 D 
 E 
 F 
 
 Stair-cafe for the men debtors 
 Steps afcending to the cages for 
 them to beg in 
 
 The cage 
 
 D 
 
 Paflages 
 
 E Rooms for men debtors 
 
 F Common fleeping rooms for 
 
 ditto 
 G G Barracks for fleeping on 
 H Stair-cafe for the women debtors 
 I Steps afcending to the cages for 
 
 them to beg in 
 J The cage 
 K K Paffages 
 
 L L Rooms for women debtors 
 M Common fleeping room for ditto 
 N Barracks for fleeping on 
 O Stair-cafe for men felons 
 P Sleeping room for ditto 
 QjC^Barracks for fleeping on 
 R Stair-cafe for women felons 
 S Sleeping room for ditto 
 T T Barracks for fleeping on. 
 U The chapel 
 V The altar 
 
 Defcription 
 
 W Reading deflc 
 
 X Stairs afcending to the pulpit 
 
 Y The pulpit 
 
 Z Z Folding doors, which, when 
 fervice is to be performed in the 
 chapel, is to be opened, and the 
 prifoners to be placed in the fol- 
 lowins manner. The felons to 
 be fent up to the fecond fl:ory, 
 where, from a gallery in the up- 
 per part of the chapel, they may 
 hear the fervice. Then tbe 
 debtors may go into the chapel 
 after the fervice is overj the 
 debtors to return to their apart- 
 ments, and the folding doors 
 being clofed, the felons to return to 
 their rooms likewife 
 
 A2 A2 Chimnies 
 
 B2 The upper part of yard 
 
 The three common fleeping rooms 
 and the chapel extend in height to 
 the top of the building, and receive 
 light from flcy-lights. 
 
 of the Sedlion. 
 
 (See the Ground Plan.) 
 
 In fhe center is (ken the door leading: into the cells O2 — the doors on 
 each fide lead to the men and women felons rooms. To the right is a profile 
 door leading into tap-room for men debtors L — here is feen the bar 
 M — and boxes O — on the fide of the building is the ground for the debt- 
 ors I — and the place for the rubbifli K — to the left is a profile door lead- 
 ing into the kitchen Az— he.^e is feen the doors leading into the hot and 
 
 cold 
 
[ 98 ] 
 
 cold larders ; on tlie fide of the building is the ground for the women 
 debtors X— and the place for the rubbifli Z. 
 
 (See the One Pair of Stairs Plan) 
 
 Over the tap room is feen the fleeping room for men debtors F. 
 ^vhich receives light through a circular opening in the floor of the room, 
 above which is to be for a fleeping room likewife ; the whole lighted 
 from a iky-light above. Over the kitchen is feen the fleeping room for the 
 women debtors M, which receives light in the fame manner as the men 
 debtors room, and the room above that for another fleeping room. 
 
 The two pair of fl:airs plan, and fection of the whole building, taken 
 eail and well, in the next Number. 
 
 PLATE CLXXXI. 
 
 A Defign for a Monument, to the Memory of the Earl of Chatham. 
 
 The figure In the center is the Earl in his laft ficknefs, requefliing the 
 figure before him (which is Lord Camden) to fave his country j the other 
 figure is Britannia weeping over her dying fon. 
 
 PLATE CLXXXIL 
 
 Two Defigns for D o o r Knockers. 
 
( 99 ) 
 PLATE CLXXXIir. 
 
 The two Pair of Stairs Plan, and the Sedion of the whole building 
 (taken Eaft and Weft) of the Defign for a County Goal, on Plate 
 CLXXVII. 
 
 A Stair-cafe for men debtors P P Barracks for fleeping on 
 
 B B Paffages Q^ The open or upper part of the 
 
 C C Rooms for men debtors chapel 
 
 D D Common rooms for ditto R R The gallery for felons to hear 
 
 E E Barracks for fleeping on divine fervice in 
 
 F Stair-cafe for women debtors S S Folding doors which give admit- 
 
 G G PalTages tance to the gallery 
 
 H H Rooms for women debtors T T Chimneys 
 
 I Common fleeping-room for ditto U The upper part of the yard 
 J Barracks for fleeping on V V Circular openings to give light 
 
 K Stair-cafe for men felons to rooms below 
 
 L Sleeping-room for ditto The circular dotted lines in the 
 
 M M Barracks for fleeping on three circular fleeping-rooms and 
 
 N Stair-cafe for women felons the chapel, Ihew the form of the 
 
 O Sleeping-room for ditto fl5.y- lights. 
 
 Defcription of the Sedtion. 
 (See the Ground Plan) 
 
 Afcend up the fteps A — enter into the jailor's hall C — where on the left 
 of the chimney, is feen a door which leads to the jailor's room D — from 
 ■thence into the yards, in the center of which is the door leading into die 
 tap-room L — the door to the right leads to the men debtors appartments 
 E — and the one on the left to the men felons rooms R — we next go to the 
 avenue before the cells N 2 — and into the center circular avenue, where i» 
 feen the doors leading into the cells O 2 — to the left is feen the inlide of one 
 of the ceUs. 
 
 (See the One Pair of Stairs Plan.) 
 
 Over the hall i-s one of the common fleeping-rooms for men debtors 
 F — in which is feen a door from the paflage D — over the cells is the 
 chapel V — in which is icen the large door entering into the chapel. 
 (See the Two Pair of Stairs Plan.) 
 
 Over the one pair of ftairs common fleeping-room is feen the two 
 pair of ftairs ditto, with a door from paflage B — and likewife we fee 
 the circular opening for light V — the whole lighted from the iky-light 
 above. 
 
 Over the chapel is {ctn the gallery R — and the large door entering 
 into the gallery, the whole lighted from the fl^y-light above. 
 
 PLATE. CLXXXIV. 
 
 Three Defigns for Borders for Grates. 
 
 Cc PLATE. 
 
[ 100 ] 
 
 PLATE CLXXXV. 
 The Plan and Elevation of a Defign for a Bone-PIouse. 
 
 Mors tiltima Unea rerum ejl.- Emb. PIor. 
 
 A Half of the plan D D Tombs 
 
 B B Steps alcending up to the Bone- E Entrance into the Bone-houfe 
 
 houfe F Jnfide of ditto 
 
 C C Footing round ditto G G Buttments 
 
 The ftudent is to obferve, that as all churches lliould he built in the 
 Gothic tafle, as being more fuitable to fuch ftruftures than the Grecian 
 tafle, fo likewife every part appertaining to it muft be in the fame ftyle, 
 (as this defign for a bone-houfe, and various other defigns introduced in 
 thecourfe of this work for religious purpofes.) For true it is, nothing can 
 be more abfurd than mixing one tafte with the other, as is too commonly 
 the cafe, for inftance, tiie towers of Weflminfter Abbey, what a medley of 
 Grecian and Gothic architefture is there ! 
 
 The choir of the fame place is decorated w'x^z fcreen of Grecian co- 
 lumns, &c. to the altar, while every other objetfl round is Gothic ! 
 Guildhall is another proof of this unaccountable fancy — all the upper 
 part of the building has been repaired in the Roman ftyle, doubtlefs 
 with the intent of fhewing how far inferior the Gothic part below is to 
 its vain and towering beauties above — the choir to Canterbury cathe- 
 dral is Grecian, and numberlefs other places in England can produce 
 inftances as i-idiculous as thefe. 
 
 I think no true confiderate admirer of Grecian architecfture can with 
 confidence maintain that fuch medley 'work fhews real tafte, it can only 
 fhew a love of novelty, which will always refle(5ta difgrace on the intru- 
 der of Grecian architedure on Gothic remains. 
 
 If any of thefe venerable piles need repair, or any alterations, let it 
 be defigned in the exaft manner of the original work, and feek not, by 
 introducing fome new whim or fancy, to caft a mark of /corn on what in- 
 deed fliould be our pride to imitate and preferve in its original purity 
 and grandeur. 
 
 Some architecfts of late years have invented an extraordinary tafle for 
 Gothic buildings, as the feats of juflice in Wefiminfter-hall — the arches 
 that compofe the fame are purely tfiodern, and I may fay, with the reft: of 
 the ornaments, need no other convidion of their deformity and extrava- 
 gance than to be compared with the old Gothic — thus is one of the 
 nobleft rooms in the world rendered odious, when before it was fo truly 
 beautiful and magnificent. 
 
 I muft confefs myfelf a zealous admirer of Gothic architedure — af- 
 firming with confidence, nothing can be more in charadler, and better a- 
 dapted to a place of worfhip, than that awful ftyle of building, and that 
 Grecian and Roman architefture ftiould be confined to manfions and other 
 ftruiftures of eafe and pleafure. 
 
 John Carter. 
 FINIS. 
 
CORRECT 
 
 LIST 
 
 OF THE 
 
 PRICES allowed by the mofl eminent Surveyors in London to 
 the feverai ARTIFICERS concerned in Building. 
 
 BY AN EXPERIENCED SURVEYOR. 
 
 BRICKLAYERS WORK. 
 
 £. s. d. 
 
 New place bricks laid dry in wells, per rod 5 19 o 
 Do. rough and unjointed, in party and 
 
 internal walls — — 720 
 
 Do. with neat flufh joint — — 7 18 o 
 
 Grey ftock brick-wotk, with a neat 'flufh 
 
 joint on both fides in garden walls 9 
 
 Half grey flocks, and % place bricks do. 8 
 
 Labour and mortar, per Rod — 3 
 
 Labour only, find fcafFolding — 1 
 
 All drains worked with mortar, per foot 
 
 reduced — o 
 
 N. B. Ovens and coppers are meafured as 
 
 folidwork,at — O 
 
 Gauged brick work, per foot — o 
 
 Do. arches o 
 
 Labour to gauged arches o 
 
 Tufcan cornice, and allftrait Mouldings o 
 
 Labour to do. o 
 
 In brick dentil cornices add for the dentil 
 
 per foot, run — — o 
 
 DRAINS. 
 
 Eighteen inch drains, four inch arch, fix 
 courfes high, and paved at bottom, 
 per foot run — 
 
 Do. fourteen inches . 
 
 Do. nine inches- 
 
 o 
 o 
 o 
 
 13 o 
 
 '3 o 
 
 o o 
 
 TO O 
 
 8 
 
 ' 5 
 
 1 10 
 
 Q 10 
 
 2 9 
 
 I 5 
 
 COPINGS. 
 
 3 3 
 2 3 
 I 6 
 
 Foot tile coping, per foot,, fup. 
 Ten inch do, 
 
 BRICKNOGGING. 
 
 Place bricks, laid flat, per yard — 
 
 Do. laid on edge — 
 
 Grey flocks laid flat 
 
 Do. laid on edge — — 
 Labour to flat bricknogging, per yard 
 Do. brick on edge nogging 
 
 PAVING.. 
 
 Paving with grey ftocks laid flat in mortar, 
 
 per yard — — — 
 
 Do. do. laid dry — — 
 
 Do. with Dutch clinkers, fand included 
 
 Labour to do. — — 
 
 Do. to dry flat brick paving — 
 
 Do. with mortar — — 
 
 Twelve inch tile paving in mortar, per 
 
 foot, fup. — — 
 
 Ten inch do. — — 
 
 N, B. When ovens are pared with oven 
 foot tiles, they mufl be numbered and 
 charged, per tile — 
 
 o 
 o 
 
 a 
 o 
 o 
 o 
 o 
 o 
 
 o 
 
 o 
 
 o 
 o 
 o 
 o 
 
 o 
 
 o 
 
 u d. 
 
 o 6k 
 o 41 
 
 II 
 8 
 
 4 
 9 
 4 
 6 
 
 6 
 
 4i 
 
 O II 
 
[ 2 ] 
 
 POINTING. 
 
 Tuck and pat new \vork 
 Flat joint — — 
 
 I- 
 
 o 
 o 
 
 s, 
 o 
 o 
 
 GALLEY TILE SETTING. 
 
 Common wMte, per Flemifh foot — o 
 
 Blue and White . q 
 
 Preparing the chiranics to be charged by the day. 
 
 TILING. 
 
 d. 
 
 4 
 
 24 
 
 Plain tiling on fir laths to a 7 incn gauge, 
 
 per fquare — 
 
 Do. with Oak laths — 
 
 Do. with double do. 
 
 Do. labour cnlv — 
 
 New pantiling laid dry —^ __ 
 Do. bedded and pointed outfide with lime 
 
 and hair — 
 
 Do. bedded and pointed infide only 
 Do. pointed infide and c utfide - 
 
 DAY PRICES. 
 
 Bricklayer, from Lady-Day to Lord- 
 Mayor's Day — 
 
 Labourer, per day 
 
 Bricklajer, from Lord -Mayor's Day to 
 Lady-Day — — 
 
 Labourer — 
 
 Pricklayer, per hour — — 
 
 Labourer, do. — — 
 
 Bedding and jointing fafh frames, each 
 
 o. 
 o 
 
 o 
 o 
 o 
 o 
 o 
 
 10 
 12 
 
 '5 
 
 o 
 
 3 
 S 
 
 7 
 
 3 
 2 
 
 3 
 2 
 o 
 o 
 I 
 
 o 
 
 o 
 o 
 o 
 o 
 
 o 
 
 o 
 o 
 
 CARPENTERS PRICES. 
 
 New wrought oak, per foot cube — 
 
 Do. and framed — 
 
 Do. framed rebated and beaded — 
 
 OAK PLANK. 
 
 Or.e Inch rough, per foot, fup. 
 Inch and half — 
 
 Two inch — 
 
 Two inches and half 
 Three inch — — 
 
 Three inches and half — 
 
 Four icnh — — 
 
 o 3 9 
 046 
 
 o 4 10 
 
 FIR. 
 
 Old fir, per foot cube — 
 
 New rough fir 
 
 IJCew rough fir, labour and nails 
 
 o 
 o 
 o 
 o 
 o 
 o 
 o 
 
 o 
 o 
 
 o 
 
 5 
 
 7 
 
 9 
 1 1 
 
 2 
 5 
 
 I 4 
 I 10 
 z 2 
 
 Do. common framing ..- . 
 
 Do. in king polls or trurted roofj -^ 
 
 FIR PLANK. 
 
 Inch fir plank, per foot fup. 
 
 Inch and half I, ^. — — 
 
 Two inch do. — — 
 
 Two inches and half do. -^ 
 Three inch do. — — 
 
 I- 
 o 
 o 
 
 o 
 o 
 o 
 o 
 o 
 
 NAKED FLOORING. 
 
 LABOUR AND KAILS. 
 
 Single framed, per fquare 
 Do. with trimmers — 
 
 Treble framed -r- 
 
 Framed with pulley joills 
 Bridged only on naked flooring 
 Bridgings and ceiling joifts 
 Cieling floors with pullej- joifts 
 
 o 
 o 
 o 
 o 
 o 
 o 
 o 
 
 TRUSSING GIRDERS, 
 
 Including oak and labour 
 Do. to each Girder — 
 Grooves cut, per foot run 
 
 ROOFING. 
 
 Shed roofing rafters 4x3 per fquare 
 Common curb roofing — — 
 
 Purline roof with collar beams . 
 Do. framed with principals — 
 
 Girt roofing framed, per fquare — 
 Do. Do. framed and truffcd, including 
 king polls — — 
 
 s. d. 
 2 4 
 
 o 
 o 
 o 
 o 
 o 
 
 3 
 
 3i 
 4l 
 6 
 
 7 
 
 7 
 8 
 10 
 9 
 3 
 
 6 
 6 
 
 o 
 6 
 6 
 o 
 6 
 
 o r 
 o 14 
 o 
 
 I 
 o 
 
 o 6 
 
 7 
 
 8 
 
 1 1 
 
 S 
 
 12 
 
 QJJ aRTER PARTITIONS. 
 
 LABOUR AND NAILS. 
 
 Common partitions, per fquare — o 
 
 Truffcd partitions — — o 
 
 GUTTERING, 
 
 6 6 
 9 6 
 
 Inch deal bridged gutters, per foot 
 Whole deal do. — — — 
 
 Whole deal trough — — — 
 
 o o 
 
 o o 
 o o 
 
 WATER TRUNKS. 
 
 Whole deal 4^ pitched, pet foot run o o 
 
 Do. 5 inch do. — — 00 
 
 Do. 6 inch do. — — 01 
 
 9 
 
 10 
 I 
 
WEATHER-BOARDING. 
 
 Yellow rou^h boards, per foot fupr 
 Do. planed and cyphered do. 
 Do. do. do. battens — 
 
 o o 
 o o 
 o o 
 
 BOARDING FOR SLATING. 
 
 Rough I boarding, per fquare 
 Do. do. edges (hot — 
 
 Do. inch boarding — 
 Do. do. edges lliot — 
 
 CENTERING. 
 
 Common centering to vaults, per fquare 
 
 Groined do. — — 
 
 SLIT DEAL. 
 
 Rough, per foot, fup. — 
 
 Planed one fide 
 
 Do. two fides — — 
 
 Do. do. and dovetailed in drawers 
 
 IS 
 
 19 
 
 2 
 
 3 
 
 13 
 I 
 
 o o 
 
 o o 
 
 o o 
 
 o o 
 
 T H R E E-QJJ ARTER DEAL. 
 
 Rough, per foot, fup. 
 Planed one fide — 
 
 Do. two fides 
 Do. do. and dovetailed 
 
 o o 
 
 o o 
 
 o o 
 
 o o 
 
 INCH DEAL. 
 
 Rough, per foot fup. 
 Planed one fide — 
 
 Do. two fides — 
 
 Do. do. and dovetailed 
 
 WHOLE DEAL. 
 
 Rough, per foot fup. 
 Planed one fide 
 Do. two fides 
 Do. do. dovetailed 
 
 INCH AND HALF DEAL. 
 
 Rough — 
 
 Planed one fide 
 Do. two fides 
 Do. do, dovetailed 
 
 TWO INCH DEAL, 
 
 Rough — 
 
 Planed one fide 
 Do. two fides 
 
 o o 
 o o 
 
 o o 
 
 C 3 ] 
 
 TWO AN-D HALF INCH DEAL. 
 
 o o 3i 
 
 004! 
 005' 
 008 
 
 o o 4I 
 005- 
 o o 6' 
 o o 9 
 
 
 
 
 
 
 
 51 
 6i 
 
 
 
 
 
 H 
 
 
 
 
 
 10 
 
 7 
 
 H 
 10 
 
 Rough — 
 
 Planed one fide 
 Do. tu'o fi.ies 
 Clean drelfer tops 
 
 
 
 
 
 9 
 
 
 
 
 
 iO 
 
 
 
 I 
 
 
 
 
 
 I 
 
 z 
 
 
 
 
 
 '0^ 
 
 
 
 I 
 
 1 
 
 
 
 
 I 
 I 
 
 3 
 6 
 
 THREE INCH DEAL. 
 
 Rough — — 
 
 Planed one fide — 
 
 Do. two fides — — 
 
 Clean dreflcr tops — . 
 
 SASH FRAMES and SASHES. 
 
 Deal cafed fafh frames with wood pullies 
 boxed, and inch and half deal fafhes 
 double hung with lines and iron 
 weights, per foot fup. — 
 
 Do. wiih oak fills — — 
 
 Do. frames xvith iron pullies and wainfcot 
 faflies — — 
 
 Do. double hung and wainfcot beads and 
 tongues — ■" — 
 
 Do. with inch and half mahogany fallies 
 aftragal and hollow — 
 
 Do. with two inch wainfcot aftragal and 
 hollow fafhes, brafs pullies. Sec. com- 
 pleat — — 
 
 Do, with two inch mahogany fadies 
 
 
 
 
 
 n 
 
 
 
 I 
 
 I 
 
 
 
 I 
 
 4 
 
 
 
 I 
 
 6 
 
 I 10 
 
 o 
 o 
 
 BOXING AND HANGING STILES. 
 
 Inch deal boxing ftiles ■ 
 Do. flamed, beaded, rebated, and fpl.ayed 
 Whole dtal do. — — 
 Inch and i deal do. 
 
 o o 61 
 
 o o 7i 
 o o 8} 
 
 DADO. 
 
 Inch deal dovetailed 
 
 Do. keyed 
 
 Do. do. raking 
 Whole do. dovetailed 
 Do. raking — 
 
 WAINSCOTTING. 
 
 Inch deal fquare dwarf wainfcotting, per 
 
 yard — — — 
 
 Do. do. raking — . 
 
 Do. wainfcotting framed to ceiling 
 Do. quarter round and raifed pannels 
 
 Do. do. dwarf — 
 
 Do. quarter round and flat pannels 
 Do. ogee and bead with fix inch margins 
 Do. raking — __ 
 
 Do. with raifed pannels — 
 
 Do, raking — . __ 
 
 o 
 o 
 o 
 o 
 o 
 
 o 
 o 
 o 
 o 
 o 
 o 
 o 
 o 
 • 
 
 6i 
 8 
 7 
 9 
 
 6 
 
 o 
 
 4 
 o 
 6 
 6 
 6 
 o 
 o 
 
 9 
 
t 4 3 
 
 Inch ' deal wainfcoting, ovolo and flat 
 
 inch ileal panncls — _ O 
 
 Two inch wainfcotting ovolo and flat inch o 
 deal pannels O 
 
 Do. quirkt ogee 
 
 PARTITIONS. 
 
 Whole deal partitions framed fquare w ith 
 
 I deal pannelsj per foot I'np. 
 Inch J deal do. — — 
 
 Do. framed, flufh and fquare — 
 
 Two inch partition framed fquare 
 Do. ovolo and Hat pannel one fide 
 Do. ovolo and flat pannel two fides 
 Do. raifed pannels one fide — 
 
 Do. raifed pannels both fides _ — 
 Two inch and half deal partitions bead 
 flufll and fquare — — 
 
 FLOORS. 
 
 Slit deal, per fquare — 
 
 Three quarter deal, rough — 
 
 Do. wrought — • 
 
 Yellow whole deal, rough — 
 
 Do. do. wrought — — 
 
 W hite do. do. — ■ — 
 
 Yellow do. llraight joint — — 
 Do. do. nailed one edge and joints plowed 
 
 and tongued — — 
 
 Do. do. fecond beft and'dowelled 
 Do. do. with battens — — 
 
 Do. do. with clean boards — 
 
 Do. do. with clean battens — 
 
 Inch and half deal, rough, per fquare 
 Do. wrought — . — 
 
 Two inch deal folded floor — 
 
 Do. plovied and tongued — 
 
 Inch and i clapboard dowelled floor, 
 
 heading joints plowed and tongued 
 Inch and half do. — 
 
 Inch and i right wainfcot do. — 
 
 Inch and i do. — — 
 
 o 
 o 
 o 
 o 
 o 
 o 
 o 
 o 
 
 2 
 
 3 
 
 4 
 
 5 
 6 
 
 I 
 
 2 
 2 
 
 TORUS SKIRTING. 
 
 I deal torus plinth, per foot fup. 
 Do. raking — — 
 
 Inch, deal level do. — 
 Do. raking do. — 
 
 Whole deal level do, 
 
 Do. raking do. — 
 
 DOORS. 
 
 Slit deal rough ledged, per foot fup. 
 Do. planed — — 
 
 A deal rough ledged ■ 
 
 Do. planed — — 
 
 Ii)ch deal rough ledged — — 
 
 6 o 
 
 6 9 
 
 7 o 
 
 o 6i 
 
 o 7" 
 
 o 7-1 
 
 o 9 
 
 10 
 
 1 I 
 I 3 
 ' 5 
 
 2 
 
 3 
 
 S 
 
 '9 
 
 iS 
 12 
 
 18 
 
 4 
 10 
 10 
 18 
 
 6 
 16 
 
 3 
 
 o 
 10 
 10 
 
 17 
 
 o 
 o 
 o 
 o 
 o 
 o 
 
 o 
 o 
 o 
 o 
 o 
 
 6 
 
 7 
 
 81 
 
 8 
 
 9r 
 
 Do. planed — ~— -. 
 
 Do. lio. rebated and b'^ded — 
 
 Who: deal rough lef,^ .1 
 
 Do. : laned and beaded — 
 
 Do. ; vo pannel fquare framed — 
 
 Do. do. bead flufli and fquare — 
 Do. do. bead and flufh both fides 
 Do. four pannel fquare framed — 
 
 Do. fix pannel do, — — 
 
 Do. four pannel flufh and fquare 
 Do. iix pannel raifed one fide fquare back 
 Inch i deal ledged and beaded — 
 
 Do. two pannci fquare framed 
 Do. four pannel — — 
 
 Do. fix pannel — — 
 
 Do. do. quarter round and flat pannel 
 
 front and fquare back — 
 
 Do. two pannel ovolo and flat front and 
 
 bead and flufh back — 
 
 Inch and half deal two pannel doors bead 
 
 and flufh both fides, per foot fup 
 Do. fix pannel ovolo and flat front bead 
 
 and flufh back 
 
 Two inch deal four pannel fqaare doors 
 Do. ovolo and flat fronffquare back 
 Do. ovolo and flat both fides — . 
 
 Do. fix pannel bead, flufh, and fquare 
 Do, do. ovolo and flat both fides and 
 
 double margins 
 
 Two inch and i bead, flufh, and fquare 
 
 with fafh and fhutter in do. 
 Do. fix pannel ovolo and flat both fides 
 Two inch and half fix pannel ovolo and 
 
 flat front, bead, and flufh back 
 Do. bead, and flufh, both fides — 
 
 Do. ovolo and flat both fides — — 
 Do. with broad muntins — 
 
 Do. ovolo and raifed pannel both fides 
 Do. with bead and hollow on the raifing 
 
 
 
 
 
 6 
 
 
 
 
 
 6^ 
 
 
 
 
 
 6 
 
 
 
 
 
 7 
 
 
 
 
 
 6k 
 
 
 
 
 
 8 
 
 
 
 
 
 JO 
 
 
 
 
 
 8 
 
 
 
 e 
 
 9 
 
 
 
 
 
 9 
 
 
 
 
 
 ir 
 
 
 
 
 
 8 
 
 
 
 
 
 7 
 
 
 
 
 
 8 
 
 
 
 
 
 81 
 
 
 
 
 
 9 
 
 
 
 
 
 9 
 
 
 
 
 
 10 
 
 
 
 I 
 
 I 
 
 
 
 
 
 10 
 
 
 
 I 
 
 I 
 
 
 
 1 
 
 2 
 
 
 
 I 
 
 I 
 
 — o 
 
 o 
 o 
 
 o 
 
 o 
 o 
 o 
 o 
 o 
 
 3 
 
 4 
 
 8 
 3 
 
 8 
 10 
 
 RIGHT WAINSCOT DOORS. 
 
 Two inch fafh door bottom part ovolo and 
 
 flat, and bead and flufli — 
 
 Two inch fix pannel o\ nlo or quirk ogee 
 and bend with double margins, raifed 
 pannels with afSragal moldings and 
 raifirgs crofs banded both fides 
 Two and half inch ogee and raifed pannel, 
 
 and fquare back — 
 
 Do. falh door bottom bead and flufh both fide 
 
 I 10 
 
 o 
 o 
 o 
 o 
 o 
 
 MAHOGANY DOORS. 
 
 Two inch andTialf folid mahogany folding 
 doors, with quiik ogee and bead, and 
 raifed pannels both fides, pannels ve- 
 neercd one fide, and afl:rog,-U or bead 
 iiioldings laid on round the pannels 
 
 Two inch blank do. — 
 
 Two inch and i do. flat pannels veneered 
 on both fides, with fmali moldings 
 round do. 
 
 Two inch do. ogeeand flat both ) d 
 
 o 
 o 
 
 o 
 o 
 
 1 1 
 
 7 
 
 o 
 6 
 
L 5 1 
 
 G ATES. 
 
 Two and half deal in 1 8 pannels and a 
 wicket in do. per foot fup. 
 
 Do. in nine pannels, molding on the fram- 
 ing, raifed pannels both fides, and a 
 fniall gate in do. — 
 
 Three inch deal framed gates in thirty 
 pannels, bead and flufh both fides 
 
 WINDOW SHUTTERS. 
 
 Inch deal framed fhutters — 
 
 Do. in two heights ' — 
 
 Do. clampt back flaps 
 
 Do. do. in two heights — — 
 
 Do. one panncl bead flufh and fquare 
 Do. two pannels do. — — 
 
 Do. do. ill two heights — 
 
 Whole deal two pannel fquare (butters 
 Do. do. in two heights — 
 
 Do. do. ovolo and flat, front, bead, and 
 
 flufh back — — 
 
 Do. do. in two heights — 
 
 Do. three pannel bead flufh both fides 
 Do. do. in two heights — — 
 
 Do. four pannels bead butt both fides 
 Do. do. in two heights — 
 
 Do. two pannel quirk ogte and bead and 
 
 flat pannel with molding laid on do. 
 
 and bead and flufh back — 
 
 Do. in two heights — — 
 
 Inch and half deal two pannel fquare 
 
 framed fhutters — . 
 
 Do. in two heights — — . 
 
 Do. three pannels — -_ 
 
 Do. do. in two heights — 
 
 Do. do. bead and flufn both fides 
 Do. o'.olo and flat front, bead and flufli 
 
 back frieze pannels 
 
 Do. do. in two heights 
 
 Two inch deal four p,nnnel fhutters, ovolo 
 
 and flat front, and flufh back, in two 
 
 heiglits — 
 
 Do. four pannel, bead and flafli both fides 
 
 STAIRS. 
 
 Common white inch deal flops, rifers and 
 caniage, per foot fup. 
 
 • 
 o 
 o 
 o 
 o 
 o 
 o 
 o 
 o 
 
 o 
 o 
 o 
 o 
 o 
 o 
 
 o 
 o 
 
 o 
 o 
 o 
 o 
 o 
 
 o 
 o 
 
 2 2 
 
 2 9 
 
 3 4- 
 
 o 
 o 
 o 
 e 
 o 
 o 
 o 
 o 
 o 
 
 o Si 
 
 9 
 
 1 o 
 
 I 2 
 
 I I 
 
 1 o 
 
 I o 
 
 I 2 
 
 o 7 
 
 o 8 
 
 O lO 
 
 O I I 
 
 O lO 
 O II 
 
 Do. yellow deal — — — o 
 
 Do. yellow whole deal — o 
 
 Whole deal, fecond heft do. with molded 
 
 nofings; ciofe firing board o 
 
 Do. with mitred nofings and bracket ftring 
 
 board — — 
 
 Do. of clean deal — 
 
 Add for circular block to curteel ftep 
 Clean whole deal flops, rifers (and carria jc) 
 
 to geometrical liairs, on circular plan, 
 
 rifers mitred to ftring board 
 Circular firing board glued up in thickneflts 
 Inch and i wainfcot fteps and rifers, with 
 
 molded nofings 
 
 Whole deal raking firing board 
 
 Three inch deal molded handrail per foot run 
 
 Do. ramped — 
 
 Do. twill — 
 
 Two inch and half mahogany ftrait handrail 
 
 Do. rampt 
 
 Do. twifl: 
 
 Mahogany, writhed, railed, glued in thick- 
 
 nefl'es, per foot run 
 
 Do. folid -_ 
 
 Do. cap to iron rail on a circular plan 
 
 Do. level L_ 
 
 Three inch deal newel . 
 
 Do. mahogany 
 
 Inch I deal turned balluftcrs 
 
 Do. mahogany do. 
 
 Three quarter wainfcot fquare ballufter 
 
 Do. dovetailed to ftep 
 
 Plain block brackets, each _, 
 
 Cut brackets __ 
 
 Mahogany do. __ ■ 
 
 MOULDINGS. 
 
 Strait ftuck by hand, per foot fun. q 
 
 Raking do. for pediments _ q 
 
 Strait moldings to caps and bafes of pilafters o 
 
 Wainfcot moldings, ftrait 
 
 Mahogany do. ° 
 
 BLOCKS. 
 
 o 8 
 
 Ionic, level, and capt, each 
 Do. raking do. 
 
 o gl 
 
 O 10 
 
 o 
 
 I 
 
 6 
 
 o 
 
 I 
 
 7 
 
 o 
 
 8 
 
 o 
 
 o 
 
 2 
 
 6 
 
 c 
 
 7 
 
 6 
 
 o 
 
 2 
 
 
 
 o 
 
 o 
 
 9 
 
 o 
 
 o 
 
 lO 
 
 
 
 I 
 
 8 
 
 o 
 
 8 
 
 6 
 
 o 
 
 2 
 
 6 
 
 o 
 
 9 
 
 o 
 
 o 
 
 12 
 
 6 
 
 I 
 
 I 
 
 o 
 
 
 
 '4 
 
 o 
 
 o 
 
 13 
 
 o 
 
 o 
 
 8 
 
 o 
 
 o 
 
 o 
 
 4 
 
 o 
 
 2 
 
 o 
 
 o 
 
 o 
 
 8 
 
 o 
 
 I 
 
 8 
 
 
 
 o 
 
 .? 
 
 o 
 
 o 
 
 4 
 
 o 
 
 I 
 
 o 
 
 o 
 
 I 
 
 8 
 
 o 
 
 3 
 
 o 
 
 ® 
 
 I 
 
 I 3 
 I 6 
 
 1 lo 
 
 2 6 
 
 o 7 
 o 9 
 
 D A V 
 
[ 6 ] 
 
 DAY PRICES OF DEALS, t-cc. 
 
 Thickncfs 
 
 Length of Deals 
 
 Pieces of Deal 
 
 Len:;th of Battens . 
 
 Pieces of Battens 
 
 
 10 Feet 
 
 12 Feet 14 Feet 
 
 Run. 
 
 Sup. 
 
 1 Feet 
 
 12 Feet 
 
 14. Feet 
 
 Run 
 
 3 Inch 
 
 s. d. 
 4 5 
 
 s. d. 
 5 4 
 
 /. d. 
 6 3 
 
 d. 
 _ 1 
 
 )5 
 
 7 
 
 s. d. 
 
 2 iii 
 
 s. d. 
 
 3 6 
 
 s. d. 
 4 2 
 
 d. 
 3k 
 
 2i Inch 
 
 3 9 
 
 4 7 
 
 5 5 
 
 4^ 
 34 
 2| 
 
 6t 
 
 2 6 
 
 3 °x 3 7i 
 
 3 
 
 2 Inch 
 
 2 II 
 
 3 6^ 
 2 10 
 
 4 2 
 
 5 
 4 
 
 I 1 1 i 
 
 2 4 
 
 2 8i 
 
 H- 
 
 Inch and i 
 
 2 4 
 
 3 4 
 
 I (>k 
 
 I lOJ 
 
 2 2j 
 
 -> 
 
 Whole Deal 
 
 2 I 
 
 2 6 
 I 1 1 
 
 I 7 
 I 5 
 
 2 1 1 
 
 2i: 
 
 3i 
 
 2j 
 
 I 4i 
 
 I s 
 
 I Hi 
 
 'i 
 
 Inch Deal 
 
 I 7 
 
 2 3 
 
 2 
 
 I oi 
 
 r 3i: 
 
 I 6 
 
 1 
 
 li- 
 
 1 Inch 
 
 I 4 
 
 1 10 
 
 ■1 
 
 2i 
 2 
 
 10' 
 
 I C^l I 2i 
 
 I 
 
 Slit 
 
 I 2 
 
 I 8 
 
 li 
 
 9' 
 
 ij I ll 
 
 I 
 
 PLAISTERERS PRICES. 
 
 Lath aud P'aifter, one coat, per yd. 
 
 Do, and fett 
 
 Outfide do. 
 
 Dc^. not fett hut trowelled 
 
 Do. two coats and fet 
 
 Do, do. not fett but trowelled — 
 
 Floated lath and plaifter, fett — 
 
 Do. do. fett and white 
 
 Baftard finifhing on laths, floated and 
 trowelled — — 
 
 STUCCO WORK. 
 
 Stucco on bricks, per yd. — 
 
 Do. on laths 
 
 Do. do. in pannels 
 
 Rough calling on laths 
 
 Do. do. on bricks — — 
 
 o 
 o 
 o 
 o 
 o 
 o 
 o 
 o 
 
 o 
 o 
 « 
 o 
 o 
 
 PLAISTER FLOORS. 
 
 Grey, per fquare 
 Red — 
 
 CORNICES, &c. 
 
 Plain plaifter cornice, per foot, fup. 
 
 Dontill do. — 
 
 Plain block do. — ~- 
 
 Plain ioaic modillion cornice — 
 
 Do. two members inriched — 
 
 o 
 
 o 
 o 
 o 
 o 
 
 o 1\ 
 
 O 10 
 
 i o 
 
 9 
 
 1 o 
 
 II 
 
 1 [ 
 
 I 2 
 
 I 8 
 
 1 6 
 
 2 o 
 
 2 6 
 
 2 O 
 
 I O 
 
 3 10 
 
 3 »o 
 
 o 9 
 
 II 
 
 1 z 
 I o 
 
 ' 7 
 
 Do. fully inriciied ■ — — 
 
 Corinthian cornice inriched — 
 
 Compofed cornice, 4 members inriched 
 Architraves, one member inriched 
 Do. Corinthian, three members inriched 
 
 020 
 027 
 016 
 009 
 o I 3 
 
 MASONS PRICES. 
 
 Portland Stone, per foot cube — o 
 
 Plain work — — o 
 
 Moulded work _ _ q 
 
 COPING. 
 
 Portland — per foot run — 
 
 Do. 1 3 inches wide, 35- thick in front, and 
 
 2 inches thick in back, crampt, and 
 
 joints leaded — — 
 
 Portland coping, 1 2 inches wide, 3 inches 
 
 thick in front, inch ■£ back 
 Newcaftle do. with crampt joints run with 
 
 lead — • — 
 
 Do. without cramps 
 
 Portland fmk, fup. — — 
 
 Newcaftle do. — — 
 
 Sink ftones — — 
 
 WINDOW SILLS. 
 
 Portland, 8 inches wide, 5 inches thick, run o 
 
 Newcaftle do. - — ■ o 
 
 Paving, inch and half thick, in ftrait courfes o 
 
 Do. t\vo inches thick — o 
 
 o 
 o 
 o 
 o 
 o 
 
 2 6 
 
 10 
 
 1 o 
 
 6 
 
 z 
 o 
 o 
 4 
 
 6 
 3 
 
 7 
 
[ 7 ] 
 
 Paving with black marble dotts — 
 Channel ftone, 7 inches wide, run 
 Purbeck paving, fup, — — 
 
 Do. in ftrait courfes — — 
 
 Do. rubbed ■ 
 
 Bremen paving in tarrace — _ 
 
 o 
 o 
 o 
 o 
 o 
 o 
 
 6 
 
 9l 
 
 10 
 
 3 
 I 
 
 PORTLAND STONE in Chimniei 
 thick — — 
 
 Slabs, inch ^ 
 Do. inch ^ 
 Do. 2 inches 
 Do. 2 i 
 
 o 
 o 
 o 
 
 10 
 o 
 
 2 
 
 HEARTHS and COVINGS. 
 
 Slit fire ftone _ — — 
 
 I 
 
 2 
 
 Purple marble covings — 
 
 6 
 
 
 
 Black do. 3 inches thick — — 
 
 7 
 
 6 
 
 MARBLE CHIMNEY PIECES 
 
 
 Blue and white, or veined Italian marble. 
 
 
 
 inch thick — — 
 
 e S 
 
 
 
 Egyptian marble — — 
 
 12 
 
 
 
 Agate — — — 
 
 10 
 
 
 
 Dove — — — 
 
 7 
 
 
 
 Black and yellow plinths, cube — 
 
 . .6 
 
 
 
 Plain jaumbs and mantle — 
 
 8 
 
 
 
 PAINTERS PRICES. 
 
 Common colours once in oil — 00 
 
 Do. twice in oil — — 00 
 
 Do. thrice — — 00 
 
 Do. four times — — 00 
 
 Infide painting primed in fize, and done 
 
 twice in oil — — 00 
 
 Second colour and finifli — 00 
 
 Clear cole and finilh . ■ o o 
 
 Once in oil on ftucco — — 00 
 
 Twice in oil, do. — — 00 
 
 Three times do. — — 00 
 
 Four times do. — — 00 
 
 Do. and funded — — 01 
 
 SASHES and S A S H-F R A M E S. 
 
 Safh frames each, and fa(h fquares per 
 
 dozen, once in oil — 
 
 Twice in oil —. 
 
 Ihrice — _ 
 
 Dead white — 
 
 Clear cole and finifh 
 
 Window lights, thrice in oil 
 
 GLAZIERS WORK. 
 
 Beft Ratcliii' in fquares of three feet fup. 
 
 each at per foot. fup. — o 
 
 Squares of 2 feet 6 inches — o 
 
 Do. a feet — — — o 
 
 Do. common fizes — — o 
 
 (O 
 
 8 
 6 
 
 + 
 
 SECOND RATCLIFF and BEST NEWCASTLE 
 
 Squares of three feet 
 Do. two feet 6 inches 
 Do. tv\o feet — 
 Do. common fi2es 
 
 4 
 6 
 8 
 
 4 
 S 
 3 
 
 5 
 
 7i 
 10 
 
 o 
 
 o 
 o 
 o 
 o 
 o 
 o 
 
 o 
 o 
 I 
 I 
 
 o 
 o 
 
 o 
 o 
 o 
 o 
 
 SECOND NEWCASTLE. 
 
 Squares of 3 fest — 
 
 Do. 2 feet 6 inches — 
 
 Do. 2 feet — 
 
 Do. common fizes — 
 Newcaftle Green, in new falhes 
 Do. flopped in old — - 
 
 GLAZING in LEAD. 
 
 Beft RatclifF fquares, 9 by 7, cemented 
 
 for fkylights — 
 
 Do. fmall fquares in do. — 
 
 Second Ratcliff, and beft Newcaftle in 
 
 fquares 9 by 7 — 
 
 Do. in fmaller fquares — — 
 
 Small fquares and quarries in lead 
 Squares, 7X5 — — 
 
 Do. 8x6 — — 
 
 Do. 9x7 — — 
 
 o 
 
 o 
 
 o 
 o 
 o 
 o 
 o 
 o 
 
 SLATING. 
 
 Weftmoreland on boards, nailed with 4d 
 
 clout nails, per fquare — 
 
 Do. on heart oak, laths and pointed infide 
 Taviftock on boards — 
 
 Do. on oak laths and pointed 
 
 W'elch, on boards — — 
 
 Do. on oak laths and pointed — 
 
 Welch rags — 
 
 Welch ladies — 
 
 Do. on oak laths and poinred — 
 
 PAVIORS PRICES. 
 
 New purbeck paving, in beft gravel, per 
 
 yard — — 
 
 Do. five inches deep — 
 
 Do. fix inches deep — _ 
 
 Do, do. hard blue fort — . 
 
 2 
 
 3 
 I 
 
 I 
 
 I 
 I 
 
 2 
 I 
 
 2 
 
 I 8 
 I 6 
 
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 I 
 
 6 
 
 
 
 I 
 
 4 
 
 
 
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 2 
 
 
 
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 8 
 
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 18 
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[ 8 ] 
 
 Do, taken up and relaid, gravel, &c. 
 
 included — — ; 
 
 New pebble paving, not lefs than 14 inch 
 
 deep, in gravel ■■ — 
 
 Do. 1 5; inches deep — — 
 
 Do. from 1 6 to 18 inches — 
 
 New Jerfey pebble paving ■ — 
 
 New rags or bowlers — — 
 
 Sqarc Guernfcy granite, to be 9 inches 
 
 deep, and t; inches wide, 6 inches 
 
 wide for channels — 
 
 Do. 8 inches deep — — 
 
 Purbeck, or Yorklhire ealing, edge 
 
 2 inches — • — 
 
 Free ftone paving — — 
 
 Moor ftone, curb, 12 inches by 7, per 
 
 foot run — — 
 
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 PLUMBERS PRICES. 
 
 New call lead, 6 lb. per foot, at per cwt. i 
 
 Labour and lolder to do. per cw t. o 
 
 Lead ciftern heads, at — — i 
 
 Do. and folder, holdfafts and labour i 
 
 Rainwater pipes, per cwt. — — I 
 
 Do. and folder, holdfafts, and labour i 
 
 SMALL CAST PIPES. 
 
 Two inch pipe, 28 lb, to the yard — 
 Inch and |- do. 24 lb. — — 
 Inch and i do. 2olb. — — 
 
 Inch and i do. 1 61b, — — 
 Inch do. I zlb. — — 
 
 Half inch do. 81b. _ _ — 
 
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