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REVISED, IMPRO 1D:3D: ENLARGED, WITH ADDITIONS ON RURAL ARCHITECTURE; EMBRAOING PLANS, ELEVATIONS, GROUNDS, &c., &c., OF COTTAGES, VIJLAS, AND FARM-BUILNGN. BY LEWIS E. JOY, ARCHITECT. FIFTH EDITION. WORCESTER: PUBLISHED BY EDWARD LIVERMORE. BOSTON: BENJAMIN B. MUSSEY & Co.; PHILLIPS, SAMPSON & Co. PHILADELPHIA: THOMAS, COWPERTHWAITE & Co. NEW YORK: PRATT, WOODFORD'-& Co; A. S. BARNES & Co. BUFFALO: GEORGE H. DERBY & Co. 1852. Entered according to Act of Congress, in the year 1851, by EDWARD LIVERMORE, In the Clerk's Office of the District Court of the District of Massachusett. Stereotyped by HOBART & ROBBINS; NEW ENGLAND TYPE AND STEREOTYPE FOUNDERY, BOSTON. PREFACE. IN preparing this treatise on Architecture, the author has aimed to furnish a work suited to the wants of the carpenter. He has long felt the necessity of such a work, and hoped that some one better qualified than himself would have supplied the deficiency; but, as no one has attempted this task, the author considers it a duty which he owes to his fellow-laborers, to offer them the following treatise. It is not intended, in this work, to enter minutely into the principles Of architecture, for this would extend it to several volumes, and subject those for whom it is mainly designed to unnecessary expense. The author has endeavored, however, to combine, in as brief and concise a manner as possible, all that is absolutely necessary for the student who aims at a practical knowledge of carpentry, and not at finished classical attainments in the study of architecture, either as a science or an art. And he flatters himself that he has done this in a manner so clear and intelligible, that a knowledge of this branch of science may be acquired by the assiduous and careful student, without the assistance of an instructor. The peculiar advantages of this work are its simplicity, its singular adaptedness to the wants of the carpenter, and its freedom from technicalities, which are so abundant in many treatises of this kind. A few technical words, however, have been admitted, of necessity, because the same idea could not be so well expressed without a tedious circumlocution; but these terms are fully explained in a Glossary which is appended. In order that the learner may be furnished with some data on which to found his architectural knowledge, who has not the time or the means to examine more extensive works, we have given a short history of the origin of architecture, with a brief account of its three principal styles, namely, Egyptian, Grecian, and Roman; also, a description of the five orders, IV PREFACE. the Tuscan, Doric, Ionic, Corinthian, and Composite. By the aid of this cursory view, he will be enabled to form an idea of the grandeur and magnificence of ancient architecture, and the extent to which a cultivation of the art was carried before the overthrow of the Grecian cities and the downfall of the Roman Empire. He must not, however, deceive himself by supposing that, when he has acquired all the principles contained in this little treatise, he has become master of the whole subject of architecture; for it is one to which the brightest intellect and the most powerful talents might be devoted to a declining old age; and then the individual would exclaim, like the celebrated Newton, "Alas! I have gathered only a few pebbles on the shore of the great ocean of knowledge." As the student is supposed to have some knowledge of the elements of mathematics, the author has not thought proper to admit anything of this character into the work, with the exception of a few elementary principles of Geometry. To relieve the carpenter from tedious numerical calculations, several valuable tables are annexed. It was the design of the author to prepare a treatise adapted expressly to the actual wants of the carpenter, which he, having had many years' experience in practical carpentry, has known and felt; and if he shall have succeeded, in offering the following work, it will not be labor lost, and his object will be obtained. While preparing this volume, we have been prevented from attending so closely as we could have wished to the revision of our manuscript, and it is possible that a few errors may have crept in from an oversight in the proof. We trust, however, that the book will be found to be as free from inaccuracies as any of its size and character. WILLIAM BROWN. Lowell, Mass., 1847. ~'~~~~~~ ~~~~~~~~ / ^/'/~/ / / K K-'/' ^ / / ^ /~' /'./' / /~ / - ^'..-^ i-~~~~~~~~~~ "-__ __- ~' C^ \":^ ^"~'^ ~ ~ \ K H.,- 1I^I' ~ -''''. ^' I h ^' / > ~7 ~ N C!)~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~K~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~r ELEMENTS OF ARCHITECTURE. PRACTICAL GEOMETRY. PLATE I. Fig. 1. —An equilateral triangle, which has three equal sides and equal angles. Fig. 2.-A triangle with unequal sides, called a scalene triangle. To describe the figure, the three sides being given:Let ab be the longest side, AB; then, take the length of ad in the dividers, and, with one foot on.1, draw the arc at D. Proceed in the same manner with the length bd; and, with one foot of the dividers in B, make, the curve at D; through the point of intersection, draw the lines AID, BD, and the figure is formed. The equilateral triangle is formed in the same way. Fig. 3.-A rhomboid, or parallelogram, whose opposite sides are equal and parallel. Fig. 4. —A rhombus, having four equal sides, with two acute and two obtuse angles. Fig. 5.-An obtuse angle, or one which contains more than ninety degrees. Fig. 6.-An acute angle, or one which contains less than ninety degrees. Fig. 7.-A right angle, or one which contains just ninety degrees. To raise a perpendicular to a given line:Let.AB be the given line, and D the centre, making AD equal to DB; then, open the dividers the distance of AB, and intersect the curve lines at C. Through the points C and D, draw the straight line CD, and the work is done. NOTE.-By the term perpendicular it is understood, that any line cutting another line at right angles is perpendicular to that line, let it have what inclination it may. Horizontal means parallel to the horizon. Fig. 8.-A circle. All circles are supposed to be divided into 360 equal parts, called degrees. 8 ELEMENTS OF ARCHITECTURE. The distance from the centre of a circle to the circumference, is called its radius,-plural radii. The chord and arc of a circle will be understood by a reference to the figure. NOTE.-A circle, strictly speaking, is the space included within its circumference. Fig. 9.-A method of measuring any rectilinear figure. Let d/BCDE be the given figure; divide it into the three triangles, ABC, OCD, and.IDE, by drawing the lines.C,.AD; then, draw EF perpendicular to LD; DH to A C; and BG to 3AC. Multiply AJD by EF, and divide the product by 2; the quotient will be the area of the triangle.DE. Proceed in the same way with all the triangles, and the sum of the several areas will be the area of the figure required. Fig. 10.-A method of inscribing a circle within a triangle. Let AlBC be the given triangle. At the angle A, make Aa equal to Ab; at the angle B, make Ba equal to Bp; at the angle C, make Ce equal to Cf; then bisect ab, ap, and cf in their centres c, d, and o; draw lines from the angles A, B, C, through the centres c, d, o, till they intersect each other, and the point of intersection will be the centre of the circle. Fig. 11.-An easy method of ascertaining the area of a circle. Describe a circle of any radius. Let the given radius be AtD; then, make.IB equal to the circumference of the circle, and draw the line BD, which forms a right angled triangle, JBD. Multiply AD by JIB, and divide their product by 2; the quotient will be the area of the circle. A different method of obtaining the area of a circle will be given in another part of the work. Fig. 12.-A manner of describing an ellipse by ordinates, the length and breadth being given. Let AC and BD be the length and breadth required. With a radius equal to AE in the dividers, and one foot in E, describe the semicircle AFC. Divide FFC into any number of equal parts, and draw. lines from the points of division at right angles with A/EC, as at FED. Then, draw BG parallel to AC, and produce the line GE. Make ab, at BE, equal to ab at AG; and so of all the rest, as at cd, cd. Trace a curve line through the points where the straight lines cut each other, and the ellipsis will be formed. Fig. 13.-A method of constructing an equilateral triangle in a given circle. ELEMENTS OF ARCHITECTURE. 9 Let Jig be the radius of the circle, and g the centre. With one foot of the dividers on 3, describe the arc cgd; and from the points where the arc cuts the circumference, draw one side of the equilateral triangle. The other sides are drawn according to fig. 2. Fig. 14.-Two parallel right lines,./B and CD. Parallel lines are always equidistant, whether straight or curved. 2 PLATE II. Fig. 1.-A Roman arch, which is a semicircle. Fig. 2.-A Saxon arch, in the form of a semicircle, the centre of which falls below the sprigging of the arch. Fig. 3.-The lancet Gothic arch of the first period of Gothic architecture. It " assumes the outlines of the lancet, or bay-leaf." The form is simple, and will be readily understood by an examination of the figure. Fig. 4.-An equilateral arch, which will also be easily comprehended by inspection. This is the arch of the second period of Gothic architecture, and is described from abutments of the arch about an equilateral triangle. Fig. 5.-A depressed Gothic arch, described from centres on the spring-line within the arch. Fig. 6.-A Gothic pointed arch, described from a given height and given width. Fig. 7.-A Turkish ogee arch, formed in the mosques of Constantinople. Fig. 8.-A Tudor Gothic arch, which came into use during the reign of that family. Fig. 9.-A semi-ellipsis, found in the Norman examples. The mode of forming the arches mentioned above, will be understood by an examination of the plate, without any further description. 10 ......... i?' "J........ _2 ~. ~' ~ - ~ ^1' -~ ^ ^ "" "^^ ~~~" ~ —^' l 1. A - — ~ _' -.-^.~~^ ^ ~~"'-''~, I,...... -. ~-Z.".-'........ ~"''"'.,. _ ~- ~'/. j —"'. ^ --. ^ "' - I -" " I' \ / ~'.,~~~~~~~~~~~~~~~~~?.'..,~:J:~~~~~~~~~~~~~~~~~~~~~~..' C - r L ( -^'^ 1- -"^ L^^^,.-,, A.;~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ \~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~.. At A.~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~.~, ELEM!ENTARY FIGURES. PLT Iii //,,. / ~ _- xL _ ^ ~^' 1 - i-~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~_,~~~~~~~~~~~~~~~~~~~~~~irc..../ /'' /./.- l i'''~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ i~~~~~~~~~~~~~~~~~~~' /. /9 z~^-! /./.-"^ /'" /.-'"a/,.'./. ptic.;:t. Irc h. /-^./. ^~'S,.J.V.2^g.y a i,, / ~~~-,~y --'"" -, I (' \ Lottie. //. —-~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~ c~~~~~~~~~~ ~,~~~~~~~~~~~,. PLATE III. Fig. 1.-A method of drawing a parabolic arch, or curve. Let AB be the height required, and AD the length or span. Divide AD into any number of equal parts with a as a centre; and, also, divide JB and CD each into one half the same number of parts. Draw lines from the point a, in the line BC, to intersect with the points of division in AB and CD. Raise perpendiculars from the points of division in AJD, to intersect respectively the oblique lines above. Then, trace a curve line through these points of intersection, and the figure is completed. Fig. 2.-A method of describing a semi-circular arch by intersecting lines. Divide the height into as many parts as may be convenient, and half the length into the same number of parts; then draw intersecting lines, as seen in the figure, and trace a curve line through the points of intersection. Fig. 3.-A method of describing an elliptical arch by intersecting lines. Let AB be the given length, and AE the height, and make ab equal to bc. Divide JIB into any number of equal parts, and JAE into one half the same number of parts. Then draw the intersecting lines, and trace the curve line as represented in the figure. Fig. 4.-To divide the Doric column into flutes. The Doric column should be divided into twenty parts or flutes.-See the figure. Divide one of the parts into five equal divisions, and make AC and CB equal. Draw lines from A through the points I and 4, to c and b, and divide the line oA into five equal parts. With one foot of the dividers at I, on the line oA, and the other at B, sweep from B to intersect the line Aod. Proceed in the same manner with the opposite side; then, with AJd for a radius, one foot of the dividers being on 3, describe the curve line dc, and the flute is completed. Fig. 5.-A section of the Ionic column. The fluting of this column is somewhat different from the other. The shaft of the column is divided into twenty-four parts, and each of these into five other parts. One of the five parts being taken for the fillet, the four remaining parts 11 12 ELEMENTS OF ARCHITECTURE. will be the flute. The apex at A is found with a radius of three parts, one foot of the dividers being at the points 2 and 4. The first, or side curve, is described by a radius of one part; the remainder by the radius dJo. Fig. 6.- The most simple method of describing an ellipsis. Let JIB be the length required. Construct two circles which shall extend the whole distance from d to B; then, with the radius so, describe the equilateral triangle sox and sod, and draw xs to i, xo tof, ds to c, and do to.b; also, with the radii SB and o,/, describe the arcs CBi and bdf. Then, with the radii xi and dc, complete the ellipse, by forming the curve lines bc andfi. GRECIAN MOULDINGS. Pi,1I'I ~ ~ ~ ~ ~ ~ ~ _., __......._____ __!.... 0< -.... /,'',/'..' / /, /', ~~~~~~/~~~~~~~~~~~~~~~~~ ~. / /j; /. ~.f/? ~ i --—'. // /2 jrff..I _. _ _. I..-~~ PLATE IV. On this plate are exhibited four different mouldings of Grecian form and use, developed from the conic sections. Fig. 1. —A correct mode of describing a hyperbola, the Grecian ovolo, or echinus. Let CD be the height, and JIB the projection. Make the quirk 5 equal to - of CD. Draw.IE at right angles with CD, equal to twice the projection of the moulding; then, divide 3D and DF, each into an equal number of parts. From the points of division in 3D, draw lines to the apex E; and, also, from the points of division in DF, draw lines to B. Where these lines intersect each other, trace the curve line BD, and the figure is completed. Fig. 2.-A moulding of the same character, but denominated parabola. This, also, will be understood without a separate description. Fig. 3.-The scotia of the base of a column. To describe this, let 3F and BG be parallel. Make DE equal CD, and divide BD into any number of equal parts; divide, also, LB, CD, DE, D G, and GF into the same number of parts. Then proceed to draw the intersecting lines, and trace the curve as shown in the figure. Fig. 4.- The cyma-recta, or crowning moulding of the Grecian cor nice. To describe this moulding, let.B be the width, and CD the height. Divide it in the centre, both vertically and horizontally, by the lines AB and CD; then divide SE, BE, DE, and CE, each into any equal number of parts. Draw right lines through these points of division, and trace the curve as before. 13 SECOND PLATE IV. The number of subordinate parts of an order of architecture is eight. The parts are denominated mouldings, and are common to all the orders. 1. The quarter round, echinus, or ovolo. This is formed by a quadrant, or quarter circle, and is of the Roman character. We will here observe, that the Grecian mouldings were all formed from the conic sections; consequently, no moulding forms any part of a circle. This remark will apply to all the Grecian examples, and it will be unnecessary to repeat it in the explanation of the other mouldings. It is usually found beneath the abacus of capitals, and is commonly placed between the dentils and corona in the Corinthian cornice. It should not be used in situations below the level of the eye. 2. The ogee, reversed cyma, or talon, appears, like the echinus, to be a moulding suitable for the support of another. 3. The cyma-recta, cyma, or cymatium, appears well designed for a covering to the other members. It is properly used for crowning members, though it is frequently found in the bed mouldings beneath the corona. 4. The torus, like the astragal, is formed like a rope, and appears to be intended to support the part to which it belongs. 5. The scotia, which is placed between the fillets that accompany the tori, is commonly below the eye. It is used to separate the tori, to strengthen the effect of the other inouldings, and to give variety to the base. 6. The cavetto, mouth, or hollow, is a quarter round, like the ovolo inverted, and generally used in cornices. 7. The astragal is a small torus. It is sometimes called a bead. 8. Thefillet, listel, or annulet, is used in every situation, and at any height. It is chiefly used to separate one moulding from another. The above described mouldings are of the Roman character, and were usually ornamented, more or less, by sculpture. It requires good judgment and skill to ornament an assemblage of mouldings, to give an easy repose and avoid confusion. 14 ROMAN MOULDINGS. STCOND PLT. ___J __ __ /~i~ 1 /,;?. I. )~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~'Kr'.k' ( / l / ~ fy......... I / An,,/.~~~ >.y..,.*. ELEMENTARY FlGURES. PLT V. /- / — ^-'"' —' — -,,,- - i _'"~^ ".I;,o /.., /-' 1 /./ / \ e -,, \ / i.-; \,.. /. i/, i, / _ PLATE V. Fig. 1.- A method of developing a raking moulding from a given horizontal moulding. Let JIB be the given moulding. Divide it, on the curve, into as many parts as necessary, equal or unequal, and draw parallel lines aa, bb, cc, and dd, at 1; then, transfer those distances to that part of the figure marked 2, and draw the parallel lines aa, bb, cc, and dd. Trace the curve line op, and the outline is completed. After getting the inclination of the roof, RS, proceed in the same manner with every kind of moulding, and there will be no difficulty in obtaining a moulding which will perfectly correspond with any other in all its parts. Fig. 2. —A method of forming an eight-square, or octagon, from a given square. To describe this figure, let 3BCD be the given square. With /AE for a radius, and one foot of the dividers on 3, form the curve ab; then, with the same radius, and one foot of the dividers on.B, C, and D, severally, make the three remaining curves. Then, draw be, which will be equal to be; and so on for all the other sides. The construction of this figure will be evident, without any further demonstration. Fig. 3.-A mode of constructing an eight-square, one side being given. Let AJB be the given side. With a radius AB, and one foot of the dividers on 3, describe the semicircle BOP. Divide BOP into eight equal parts, and draw lines, cutting BOP at 2, 3, 4, 5, 6, 7, and 8, to any indefinite length. Then, with AB in the dividers, step round the figure AbcdefghA, and the octagon is completed. To draw a figure with any number of sides, proceed in the same manner, remembering to take more or less of the divisions, according to the number in the figure required to be described. 15 ORIGIN OF ARCHITECTURE. THE natural wants of the human family, and their necessary protection from the severity of the seasons, gave birth to architecture. From the limited account that is left us, little is known of its infancy and subsequent advancement; but enough to show that it kept pace with the progress of civilization, and that, in proportion as peace was secured, and government established, architecture became no less an object of attention than painting and sculpture. It was another means of transmitting to posterity the degree of civilization to which the nations of antiquity attained. The time that has elapsed since those nations, among whom the art was first introduced and practised, have existed, prevents our examining, with nicety, the peculiarities of their dwellings. We find, however, in the architecture of the ancients, the characteristics of three distinct modes of life, which are discernible even at the present day. The three classes to which we refer, and which, probably, were the only classes into which society resolved itself, were hunters, shepherds, and husbandmen. The first class, being mostly in the chase, sought no better habitations than nature provided for her children; namely, the caverns and holes of the rocks. The second, being compelled to wander from place to place, in order to procure food for their flocks, and possessing more refinement than the former, furnished themselves with tents. These were well suited to their purposes, because they were easy of transportation and sufficiently protected them from the inclemency of the weather. The third class pursued husbandry, and, therefore, required dwellings more adapted to the preservation of their productions. Hence, arose low huts, or wigwams, which, perhaps, were not very unlike those of the aborigines of our own country. The materials which were used in the erection of the buildings of ancient date, were those most easy of access, and such as the nature of the place and the climate afforded. For this reason, reeds, canes, the leaves, bark and boughs of trees were employed. After some knowledge of the metals was obtained, more substantial materials began to be used; and, in the course of time, articles of an inflammable nature came into disuse, especially in the walls of their public buildings. Bricks, without doubt, were first employed, having previously been 16 ELEMENTS OF ARCHITECTURE. 17 moulded into form and dried in the sun. Then stones; and afterwards, as man became more civilized and learning increased, marble was principally used in the construction of their temples and other splendid edifices. The construction of the buildings of antiquity needed little skill, and were as simple as the materials of which they were formed. The people possessing less refinement, and being more easily satisfied than those of modern times, had fewer wants to gratify; therefore, they were contented with whatever afforded them a shelter. Accordingly, a few timbers placed above each other, in the form of a square, fastened together at their angles, and covered over with the branches of trees, were all they required. The architecture of the different countries of the world might with propriety be said to be as different as the people, climate, soil, and productions of the countries themselves; and it would not be improper to give it a name derived from the country which produced it. For example; the architecture of Babylon, the Babylonian architecture; that of China, the Chinese, &c. But the architecture to which we wish briefly to direct the attention of the reader is that of the Egyptians, to which the present orders of architecture are distinctly traceable. 3 EGYPTIAN ARCHITECTURE. THERE were several characteristic features which strikingly marked the architecture of Egypt, and distinguished it from that of any other country; namely, solidity, strength, and durability. The temples were built in the pyramidic form, and generally without any roof. The walls inclined inward and enclosed large columns, variously arranged. The most splendid and ornate figures of men, beasts, and birds were wrought in their porticos, architraves, and friezes, which clearly evince a great degree of excellence in sculpture. The entrance to their temples was ornamented with colossal statues, sphynxes, obelisks, &c., and the door-way was surmounted with a winged globe. A uniformity exists in all the Egyptian temples, and other edifices, which is peculiarly striking; and the repetition of the ornaments was carried to the highest pitch of endurance. The greatest irregularity which has been discovered is that found in the island of Philoe; and this is owing, probably, to its peculiar locality. Among the Egyptians, the arch was seldom if ever used. The absence of it arose, doubtless, from the desire to preserve a uniformity in the structure of their buildings, or from the want of the requisite knowledge of repairing it when injured. But it is a matter of doubt, whether they possessed any idea of the arch at all. Its place was supplied by heavy lintils, resting upon large, massy pillars. The Egyptian column, so far as form was concerned, was either circular, polygonal, or square. Of the first kind, the shaft was sometimes nearly plain, but often highly adorned with hieroglyphics. Sometimes it represented reeds, bound together at short intervals; and, again, an assemblage of reeds encircled by bands, resembling the hoops of a cask. Square columns are often found in the ruins of many Egyptian temples, cut from solid stone. Instead of regular columns, like those we have mentioned above, colossal statues were frequently used to support the superincumbent weight, similar, in some respects, to the Grecian Caryatides. 18 ELEMENTS OF ARCHITECTURE. 19 The Egyptians displayed as great a variety in the use of their capitals as in their columns. Of these capitals, we notice three, which may be called, according to a distinguished architect, the square, the vase-formed, and the swelled. The first, in reality, was nothing more than an abacus; but it was often so high as to admit the sculpture of a human head. The second, as its name implies, resembled a vase; the third curved out in the. centre; and each of the three was adorned with the most excellent workmanship. The entablature of the Egyptians, thbugh unlike that in the arqhitecture of Greece and Rome, was very seldom subdivided, or separated into frieze, architrave, and cornice. The pilaster, like the arch, was also wanting in the architecture of Egypt; and windows were not often used. When they were used, they were of the form of a parallelogram, and little ornamented. The decorations may be considered as belonging to two classes; namely,-those which are alien to the buildings themselves, such as obelisks and statues, and those which are connected with them, and form, as it were, a part,-such as carving on the entablature, basreliefs, &c. The first class of these ornaments is distinguished for the size and durability of the materials which compose it. The statues of colossal proportions, usually in a sitting posture, are detached from the exterior of the temples, and rest on simple pedestals. Painting was only another method of ornamenting; but the taste exhibited here, as in coloring or drawing, was not better than that displayed in their sculpture. The leaf of the palm-tree, and plants of almost every kind which the country produced, were carved in the Egyptian capitals. On the entablature and other parts we occasionally find animals of nearly every description, elegantly sculptured; and there is scarcely a building, of any size, where the winged globe is not to be found. The object of the globe, and of all the decorations on the Egyptian temples, was to typify the divine attributes of the Deity, of whom the people had but an imperfect idea. The exploits of their kings, and large portions of history, were embodied in the sculpture on the walls. The proportion which is necessary in the different parts of a building in relation to the whole, is not so discernible in the Egyptian architec 20 ELEMENTS OF ARCHITECTURE. ture as in the Grecian. This disproportion is most distinctly noticed in pyramids and temples. The private buildings, though less adorned than the magnificent structures which have withstood the ravages of time, are, nevertheless, not destitute of ornament. They varied, of course, in their locality and size. From this mode of architecture, as we have intimated above, all the orders, namely, the Tuscan, Doric, Ionic, Corinthian, and Composite, can be easily traced. A description of these orders will be given in the succeeding pages. GRECIAN ARCHITECTURE. TEMPLES were the principal structures erected by the Grecians. In order to give the student some idea of the number, magnitude, and distinguishing characteristics of those elegantly enriched and highly ornamented edifices, which were the adornment of Athens and other Grecian cities, we will mention the names of a few of the principal ones. The chief of the Grecian-Doric examples are, th'e Parthenon, Temple of Theseus, and the Portico of Augustus, at Athens; the Enneastyle, Hexastyle, and Hypsthral Temples, at Pestum; the Temple of Juno Lucina, and Concord, at Agrigentum; the Temple of Minerva at Sunium; the Temple of Apollo, and the Portico of Philip of Macedon, in the isle of Delos; the Temple of Jupiter Panhellenius, at Egina; the Temple of Juno, at Samos; the Temple of Bacchus, at Teos; of Apollo Didymeus, at Miletus, and of Minerva Polias, at Priene. We might name others, did our limits permit, but these are sufficient for our present purpose. The last four of these examples are of the Ionic order. The first two in the list, namely, the Parthenon and Temple of Theseus, are the most splendid examples of the Grecian-Doric order. From the examples here given, we may readily infer that a taste for elegance and grandeur, with simplicity of arrangement and ornament of parts, was cultivated to an extent never excelled, and seldom equalled. This is not surprising, when we recollect that those massive edifices were erected by the joint expenditure bf all the Grecian States, and supported out of immense revenues and munificent donations. The influence of the principles of Grecian architecture stretched along the coast of Asia Minor, entered Egypt, and, probably, followed the conquest of Alexander into India itself on the East, and to the country of Italy and the Sicilian lands on the West. In the article on Egyptian architecture, we, stated that the temples and public edifices of Egypt were decorated with figures of men, beasts, birds, &c., carved upon the frieze, architrave, and walls, and in numerous other places. The same is true in the Grecian architecture; but the temples were not the only buildings in Greece that were enriched by sculpture and art. Many of the monuments, theatres, and tombs were magnificently adorned, as were, also, their fora and stadia. 21 22 ELEMENTS OF ARCHITECTURE. The ancient temples have been divided into seven classes; viz. —1, in antis; 2, prostylos; 3, amphiprostylos; 4, peripteral; 5, dipteral; 6, pseudo-dipteral; 7, hypaethral. For a knowledge of these species, the student is referred to Stuart's Antiquities, where he will find an example of each, and its description. Besides the names we have given above, the temples had other names, depending upon the distance between their columns. The intervening space is called intercolumniation, and is measured by the lower diameter of the shaft. When it is one diameter and a half, it is called pycnostyle; when two, systyle; when two and one fourth, eustyle; when three and one fourth, diastyle; and when four, araeostyle. The eustyle was. gen erally practised by the ancients,.and is in use:,t the present day. In hypaethral temples, that is, temples whose cells are not covered, columns were sometimes placed within the walls, on the four sides; but, frequently, although within the walls, they were only on the long sides, and took the name peristyle. Occasionally, the intercolumniation was not regulated by the diameter, but by the triglyphs; and, if only one triglyph intervened, the mode was styled monotriglyph. This mode was more frequently employed than any other in Grecian architecture. In the Grecian temples, the number of columns on each flank was one more than twice the number on the front; that is, if there were six columns in front, there would be thirteen on the sides, reckoning the column at the angle in both ranges. The exterior row of columns, with the entablature, standing upon a platform ascended by three steps, entirely surrounded the edifice. The pediments, frieze, and walls beneath the portico, were often wrought with the most excellent sculpture. Writers on the subject of architecture have so universally considered the hut as a symbol of columnar architecture, which is identical with the Grecian, that, although we have not satisfied ourself in regard to the correctness of the theory, we have not ventured to substitute a new one. The posts which were driven into the ground to support the roof gave origin, doubtless, to the detached Grecian column. The flutings, or grooves sunk into the shaft of the column, were said to be made for the purpose of affording a place for the spears of persons entering the temples. It is also said that the " folds of a matronal garment" led to their invention. This, however, does not appear to account satisfactorily for their origin, since we are led to suppose that the ancients were acquainted ELEMENTS OF ARCHITECTURE. 23 with the fact, that light striking upon a curved surface produces a much greater effect than it does when it falls upon a plain surface. But from whatever source they originated, one thing is certain, they were invented when architecture was in its infancy, and give an additional beauty to the column. As the ancients wished to build temples with columns, and being ignorant of the proportions necessary to support the superincumbent weight, they resorted to the expedient of measuring the height of a man, and having found his height to be six times the length of his foot, they made application of this fact in the erection of the Doric column, giving it a height equal to six times its diameter. In the temple of Diana, which was built afterwards, on similar principles, they varied the proportion, and made the height of the column eight times the diameter, instead of six, in order to give it a more lofty appearance. At a later period, the Doric column was made seven diameters high, and the Ionic eight and a half. There are several points of difference existing between the Grecian and Roman styles of architecture, which it may be well to state in this connection. The contour of a moulding, in the former style of architecture, was formed from the conic sections; and the contour of a moulding, in the latter style, from circles. The dome and arches were found among the Romans, but not among the Grecians; for the columnar style of architecture used by them rendered the arch unnecessary. The Grecian architects of modern times, however, have endeavored to introduce the Roman arch, with the Greek form of architecture; but, in every case, the attempt has proved unsuccessful. ROMAN ARCHITECTURE. IT cannot properly be said, that the Romans possessed any original architecture; what they had was little else than a modification of that of Greece. They were instructed in this science by the Etrurians, a people of Italy, during the reign of the Tarquins. At this time, their edifices were constructed more on fixed principles, and received considerable enrichment bymeans of sculpture. The first Tarquin, who was a native of Etruria, after having gained several victories, enjoyed a triumph; and the wealth he obtained from the conquered cities he appropriated to the erection of magnificent temples and halls of justice. During later successful reigns, great additions were made to the knowledge of architecture possessed by the Romans, and, also, many modifications in the construction of their public edifices, and private buildings. We shall not, however, attempt to trace all the different changes and alterations which are to be found in the progress of Roman architecture, for that would extend this chapter very fir beyond suitable'limits, and encroach upon ground that does not properly belong to a'work of this description. Architecture was but partially understood by the Romans, until their vietorious arms had made Greece a Roman province, and then it received a new, if not its first impulse; but it was not till after a succession of victories, that architecture reached its full height, and made Rome, the Eternal City, what it was. Statues of the most elegant sculpture, and all the luxury of ornament which the age and country of Greece afforded, poured into the Roman villas, which, at this time, were of considerable extent. No decoration which Greek art could furnish was unobserved in the erection of Roman edifices. The temples of the Romans generally resembled their Greek original; but, occasionally, there was considerable departure from the Grecian style. These deviations, however, were very few, and, in some respects, little calculated to become a favorite, since they did not always produce a happy effect. The most splendid temple of the Corinthian order that ever existed in Rome, and probably in the world, was that of Jupiter Stator, 24 ELEMENTS OF ARCHITECTURE. 25 in the Campo Vaccino. Recent discoveries have shown that it was an octastyle peripteral temple, having twelve columns on the side; and the depth of the cell contained eight columns, with their intercolumniations. The capitol, both in design and ornament, surpassed anything of the kind that had ever been executed before. Not far from the temple just described, is the Temple of Jupiter Tonans, of the Corinthian order. This was a hexastyle peripteral, and much inferior to the Temple of Jupiter Stator; this, however, was not without beauty, although, in the cornice, it was very deficient, in comparison with the one just named. The Temple of Mars Ultor, also built by Augustus, was a fine example of the Corinthian order. Notwithstanding the temples we have mentioned are all of the Corinthian order, we do not intend to convey the idea that the Romans made use of none of the other orders. The whole of the five orders were generally employed by them, but they underwent several alterations in their hands. 4 THE ORDERS OF ARCHITECTURE, AN order of architecture is a system or assemblage of parts subject to certain uniform established proportions and divisions. The proportions are regulated by the several services or offices which they have to perform, requiring strength. An order may be considered the " genus," of which there are five species, namely, the Tuscan, Doric, Ionic, Corinthian, and Composite orders. The grand divisions of an order consist of a column and entablature; these are subdivided into assemblages, as follows; viz., the base, shaft, capital, architrave, frieze, and cornice. The Grecians had three orders of temple architecture; namely, the Doric, Ionic, and Corinthian., The Grecian-Doric orders lay claim to the greatest antiquity, and had their origin in Asia. They were invented or composed by the Asiatic Dorians, who, without doubt, borrowed their ideas from the Egyptians, with whom they had intercourse. THE TUSCAN ORDER. WE begin our description of the orders with the Tuscan, which is considered the most massive. This order was invented in Etruria, a country of Italy, now called Tuscany; hence, the Etruscan or Tuscan order. "It is formed upon the model of the ancient Doric, with such alterations as suggested themselves to the architects of those days. The chief of these consisted in the alteration of the proportions of the shaft, and in making it plainer, and with a base. It was never fluted, and the column contained seven of its diameters in height." "It is generally known as the Vitruvian Tuscan." ROMAN DORIC ORDER. THE Doric order was originally formed by the Dorians, but it was so modified by the Romans as to differ in appearance from the same order 26 ELEMENTS OF ARCHITECTURE, 27 employed by the Grecians. In some edifices the shaft was fluted to nearly two thirds its height, with twenty aris flutes, the lower third being left plain; in others the whole length of the shaft was fluted. The column contains eight of its diameters in height, with mouldings at the base. ROMAN IONIC ORDER. THE Ionic order has less sublimity than the Doric, but more elegance, Its capital is better enriched with ornaments. It is supposed this order was founded upon the imitation of the female form, and that the proportions of the Doric order were obtained from those of the male form. The base of the column was designed to represent a shoe; and the capital had a curling ornament, called a volute, said to resemble the tresses of the hair, falling to the right and left. The column is nine of its diameters in height, and has flutes and fillets. ROMAN CORINTHIAN ORDER. THE Corinthian column is slenderer and more adorned than either the Doric or Ionic, and its elegant capital adds greatly to its appearance. The column has fillets and flutes, and its altitude consists of ten of its diameters. ROMAN COMPOSITE ORDER. THE most ornamented of the five orders was the Composite. It was composed from the Corinthian and Ionic, and was much employed in the public buildings of the Roman capital in the reign of Titus. This column also has flutes and fillets, and its altitude is the same as the Corinthian. The frieze is adorned with excellent sculpture. In concluding our observations on these orders, we quote the following language: — " According to the rules of true taste, these orders ought never either to be blended or found in different proportions on the same story; nor ought the same order, strictly speaking; to be introduced in two stories of 28 ELEMENTS OF ARCHITECTURE. the same building. And where two or more orders are employed in an edifice, the heaviest should occupy the base, surmounted by the others, according to their successive lightness, which contributes the greatest elegance of style, and gives that harmony to the general design, for which the ancients were so particularly distinguished." IL -'~ ~ ~~~''i' ~-~ I~~ ~~~ I. ~~~~~~ ~~~~~~~1 ^'" ~ ~ ~~~~~~~~~ ~~~~ ~~~~~ -7"''.~.'7 7I27^ - ~ff ll-1K7 7~'~< 7 ROS " d..~ 777 ___ ~_ 71__ __1', _ LI - I - -l ^ ^ ^ ^ _ _. _ _ - - - -. ^. --—. —____^______'- "' I "__'"____~ < ""17" ___^__-__^__\.p..~_......^.^ ^. TUSCAN ORDER. PLATE VI. WE have here given an example suitable for practice, as approved by Benjamin; and, also, for the purpose of showing how to draw and adapt this order to any required position, the following RULE. First ascertain the required height, and divide it into nine equal parts; take one of these parts for the diameter of the column just above the base; this is called the diameter. Make the column, including base and capital, seven diameters high, and the entablature, which includes all above the capital of the column, two diameters high. To make the subdivisions, minutes, &c.:In the first place, take one diameter and divide it into sixty equal parts. This may be'done by dividing the diameter, which in the example is U inches, into five equal parts,'each being I of an inch. Then' divide orne of these parts into twelve equal parts. This is easily done by dividing one eighth of an inch into four parts, or one sixteenth into two parts. These divisions, whether large or small, are called minutes. Then, for the height of each member in the order, give the number of minutes marked opposite in the column under H, (height); and for the projection, give to each member the number of minutes marked under P, (projection.) These projections are given from the face of the frieze in the entablature, and from the outside of the top and bottom of the shaft of the column. This rule will apply to all the orders, with the exception of a variation of diameters in height. The names of the different grand divisions, given in the example of the Doric order, are applicable to the grand divisions of.all the orders. 29 30 THE Frontispiece of this work gives a view of the buildings and extensive grounds of Oread Institute, Worcester, Mass. It was founded by Mr. Eli Thayer, in 1849, as a Female University. Located on a lofty eminence, about half a mile north of the City Hall, and commands an excellent view of the city and the adjacent country. The buildings are constructed of dark slate-stone, and covered with stucco. --- -------------- _____ ______ i' i- "_ _L -j lI I a -: - = = _ I II /I /~L_-~~~~~~~~~~~~~~ri'~~~~ DORIC TEMPLE. PLATE VII. ON this plate is exhibited an elevation of a Grecian Doric Temple, in order to give the student a correct idea of the position of all its members. Their names are given on Plate 8. 31 32 JVo. 1. THE front elevation is shown in Fig. No. 1, and is a beautiful design for a house of comparatively small expense. The following figure, No. 2, is a plan for the arrangement of a flowergarden. No. 2. Iz ', I K.I _ -'''.! -.,~,, 1.'; ~ = - = " I i _.!:_t..__-______ _.. _....______.. __ _.._......._____ __.__. -. -,.. I', I ~-7^ rrzi ~.z-.~.-i.......... r. -< DORIC ORDER. PLATE VIII. THIS plate exhibits a part of the column and entablature of the Doric Temple on Plate 7. This is drawn to the same scale as the Tuscan order, and figured in the same way. The grand divisions, namely, shaft of column, capital, architrave, frieze and cornice, are marked at the left of the plate; and each of these divisions is subdivided into members, the names of which are given, and their sizes figured in minutes. See the Glossary for the definition of terms used in this work. 5 33 34 No. 3. ~s 1Vs to art' $ a10,.. THE ground-plan of the foregoing elevation is seen in Fig. 3. (A) vestibule, (B) lobby, (c) sitting-room, (c) closet, (D) parlor, (d) closet, (E) passage under the stairs, (e) closet, (F) back passage, (G) kitchen, (H) back kitchen or wash-room, (s) sink, (t) oven, (u) boiler, (I) coal or wood-house, (K) bedroom, (L) store-closet, or pantry, (M) milk-room, (m, m,) stone shelves, (N) closet under the stairs. No. 4 represents an elegant plan for a summer-house, with rustic columns, around which vines or climbing roses may be trained. No. 4. Q~ ~~~~~~~~~iL 00 0 0 0'.. ^ -____rr - ___^ i i I'~~~~~~~~~~~~~ 0~~~~~~~~13~~~~~~~ DORIC DETAILS. PLATE IX. Fig. 1.-Sections of the cornice, triglyph, &c. Fig. 2. — A plancer inverted, also the mutules and triglyphs on a large scale. For the figuring of this plate, see Plate 8. The minute on this plate is ~ of an inch; and on Plate 8, ~. Study and close examination will enable the student to understand this order without any further explanation. We do not intend to give a full and minute representation of all the orders, for this work is designed, more particularly, for practical purposes; but the orders are shown merely to give the learner some general knowledge of them, and to enable him to readily make a proper distinction between them. 35 36 No. 5. No. 5, as above, represents a side elevation of the same house. The upper floor, as seen in No. 6, may be explained as follows: (N) stair-landing, (o, P, Q, R,) bed-rooms, (P) store-closet, (s, T,) also for closets. No. 6. i i.... ~ -- ~~_I I ^~ - ~~~ 1. it I4'( i'' ~ i 1'.' -' 1-1 LI _:'F I 1 ~! i i I' s'1' i' IONIC ORDER. PLATE X. THIS Order owes its rise to, and took its name from, the Ionians of Asia Minor, who, in their cultivation of architectural taste, introduced into their country the new form which peculiarly distinguishes the Ionic Order, namely, the spiral volute. This was the second of the Grecian orders in point of time. The column was, as a general thing, made eight diameters in height, always standing upon a base of mouldings, which differs in the outline in different orders. The shaft of the column usually diminishes about ten minutes. The entablature was made two diameters high; the column was divided into twenty-four flutes, each separated by a fillet of one part; the flute consisting of four parts. The capital always maintained the same character, but varied, in form and richness of ornament, in the different examples. The capitals of the Temple of Erectheus, at Athens, were highly ornamented and very beautiful; while the little Temple on the river Ilissus was very plain; yet its classical beauty and harmony of parts were never excelled. 38 No. 7. _..... i 5.. i~.... i. ELEVATION for a large farm-house. The design is seen in No. 7, in which all the main parts of the building are raised to the height of two stories. The ground-plan is shown in No. 8, as follows: (A) is the vestibule, (B) hall, (c) parlor, (D) sitting-room, (E) dining-room, (F) store-room, (g) stairs, (H) passage, (h, h,) back passage, (I) kitchen, (L) wood-house, (M) milk-room, (N) pantry, (o) closet, (P) closet, (R) closet, (v) kitchen-yard, (T) ash-pit, (s) water-closet. No. 8. 11 ~ ~'I]R7~' Irr~3 /il I \0 01ill. I I,, 11 if' _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ i it 11 11i 1 I i'i~ 1'11 ---- ---- f —' —-— J —- -I== — ~/~ I,fi,( / -1Ij!==-I __ ____ I_ 1 1 / -jK' 1I iI l''1I I -. I'. i 11 B,1 1 1s 11 s i,!,.x,,- 11 1 1.~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~__ IONIC TEMPLE. PLATE XI. ON this plate is represented an Ionic Temple, merely to show the contrast in the different styles of architecture, and to give the student the means of discriminating, at once, between the several orders. This is drawn to the same scale as the Doric Temple, Plate 7. 39 40 No. 9. 10 *5 0 /0 2 80 40 50 No. 9, as above, represents the side elevation of the same house, as seen in front elevation No. 7. The upper floor is shown in Fig. No. 10. (B) stair-landing, (A, E, p, K,) bed-rooms, (g) principal stairs, (H) passage, (c) dressing-room, or room for various purposes, (g) back stairs, (n) closet, (L) bed-room (I) closet, (h) landing of back stairs. No. 10. PLT. XI. ^______,______________ I —-___^ /. /.'.../.1 ______...../' _._ _ ~~I I~~~~~~ I\~~~~, / -.. \ iI..H-. -"' \, i \ -,'.- -\ I /'', i\',' nL- ~' i^ y____. ___ IONIC DETAILS. PLATE XII. SHOWS the volute and a section of the column. A minute here is, of an inch The numbers 12, 11, 10, and so on down to 1, are centres. Take 12 as a centre and sweep from.J to B; with 11 as a centre, sweep from B to C; and so on, till the volute is completed. 6 41 42 No. 11. TIMBER VILLA, IN THE GOTHIC STYLE. TrIS building is now in process of erection, from the design and under the superintendence of the author, in the city of Worcester, Mass., and designed for the residence of Benjamin Butman, Esq. The Fig. No. 12 is a design adapted for a flower-garden. No. 12. ... -.........'.....-_" D-_-.i~~~&.. ~../....' v _ /._ v J/f'~ 1 Y Jrchz!r eve..... vz 1..- ('_7L? l"" i:i""T _li!~::-E.. rT — L~' -------- - - - - -- - -- - - _ —............'-___ __ l:, - * ~,,,, _ ~" II \,.b iK7. 1. H_ L __ _. - __AJ s. ^y J. <17K' -~ I~ ~ ~_ —-.^ -.... ~!~ I'r-..... -r _ ii ~2~, CORINTHIAN ORDER. PLATE XIII. THE Corinthian was the last order invented by the Greeks. It was seldom employed in their public edifices; and how often in their private buildings, it is not easy to determine. After the subjugation of Greece by the Romans, this order became a favorite with the latter, and its beauty greatly enhanced by an addition of new members, and a further embellishment of costly sculpture. The fanciful story of Callimachus, which asserts that the acanthus gave origin to the ornament of the Corinthian capital, is too romantic to bear the test of criticism. Fine examples of this order must be sought in Rome rather than in Greece. The portico and arch of Hadrian, at Athens, are not to be compared to the three columns of the Temple of Jupiter Stator; and the specimens of Grecian art, which have withstood the hand of time, give less satisfaction to the artist, than those beautiful and elegant structures which were the ornament of Rome. On this plate is shown a Grecian example of the arch of Theseus, or Hadrian, at Athens. 43 44 No. 13. _~ _ w.. /3 ) /i BED ROOM DINING ROOM /8s X /8 PARLOR 14 I SITTING ROOM 18 X f8 I I X 1S THE above shows the ground-plan of the foregoing elevation, No. 11. The construction of this villa, though simple, is somewhat peculiar. It is framed in the usual manner, with girts one foot eight inches between centres, and sheathed vertically. The sheathing does not exceed ten inches in width, and the joints are covered with battens two and one half inches in width and one and three eighths inches thick, with the two outer corners covered out. The corner-posts, middle girt-beams, and plates, also the rafters to the gables and beams, are furred out four inches, and the corners splayed, as will be perceived by examining the elevation. The rafters project three feet in a horizontal line from the plate, and are planed and covered. The roofboards that cover the projection are planed and faced down. The principal story is ten feet in the clear; the chambers, nine feet in the clear; front hall, 14k X 105; rear hall, 14~ x 20k; parlor, 18 x 18; sitting-room, 16 x 18; bed-room, 15 x 18; kitchen, 15 x 18; china-closet, four feet six inches by six feet; wash-room, eighteen feet six inches by fourteen feet, with all the necessary closets, wood-room, &c. Estimate the cost of this house to not vary much from $5000. i^-I 1/ 1j \ jj I: I i I _, 1l 1~~~~~~~~~~~~~~~~~~~~ 1_ 1 _ _ _ _ _ _ _ I"i rl I; -j! 2.1_ i ~ ~ ~ ~ ~ ~ _ ____ ___ II i * r-;; —-- ~~~~~-.~ —= ~ ~ =_~~I~~~~~~~~~~~~~~L FRO NTISPIECE. PLATE XIV. ON this plate is given a design for a Frontispiece with a plan annexed, which is figured in feet and inches. This design, if executed according to the details, will present a fine appearance; and the carpenter need have no fears in carrying out this plan to the letter. The door is designed to have panes of glass inserted in the panels, which will produce a very pleasing effect. 45 46 No. 14 is an elevation of part of a verge-board, to a scale of one inch to one foot. JoV. 14. No. 15. CHIMNEY-TOPS. EVERY chimney, or stack of chimneys, to be truly architectural, should be treated as a column, or as a group or series of columns; and as every column consists of three parts,-a base, a shaft, and a capital,-so ought every chimney-top. An example of this is shown in Fig. No. 15. Every person that has a house designed for him should object to every chimney-top, whether Grecian or Gothic, that does not consist of an obvious base, shaft, and capital; and the base ought in general to be somewhat higher than the ridge of the roof. In general, all the upper terminations of the building should be bold and free; and this cannot be the case with chimney-shafts, unless they have a distinct base, a shaft of considerable length, and a capital consisting of several members, according to the style of architecture employed. PLT. XV. ______ _ _________,,ig.l_______________,I \\ \ i ~ I ~H.;.2__. ~':,' C: -;K I II fi~ c____________' l!. sJ r l~' /./ DETAILS OF FRONTISPIECE. PLATE XV. THIS plate gives the details of the Frontispiece, (Plate 14,) one half their real size. They will be readily understood by inspection of the Plate. Fig. 1, cornice. Fig. 2, capital. Fig. 3, the base. Fig. 4, lintel. 47 48 No. 16. CONSTRUCTING A COTTAGE PRIVY, IN CONNECTION WITH A CESSPOOL OR TANK FOR LIQUID MANURE. THE privy may be either partially or wholly over the tank, which should be closely covered, on a level with the privy floor, by a flag-stone, as shown in Fig. No. 16. In this figure, a represents the seat, which is hinged, in order that when the slops of the house are being thrown in, the seat may be lifted up to keep it from being wetted; b shows the fixed and permanent seat, on which the movable seat, a, rests; c shows the movable seat partially raised up; (i) the cover to the whole, raised up; d the basin of stoneware, cemented at f into a tube, (e), also of stone-ware, or it may be of wood or metal; g is the surface of the water in the tank, higher than which it can never rise, in consequence of a waste drain; and it will only fall lower than the bottom of the tube, e, when the tank is nearly empty; h, h, the walls of the tank, and of the back of the privy. J ll, 1,..:. 9' - I' i~iiiiiilii~il FII..'E l El ".'~1~ —-~ — I-i0 lAX X lid I,_ __ ____ __________.__.___ _ _, _ FRONTISPIECE. PLATE XVI. ON this plate is given another example of a Frontispiece, which differs somewhat from the former, though not enough to require separate details. It is richer, and will, perhaps, produce a more pleasing effect than the first. At any rate, it will give a variety. 7 49 50 No. 17 is a section of the liquid-manure tank, supposed to form also the tank for the privy. In this figure, (a) represents the liquid, (b) a pierced slate or grating, through which the liquid filters into the well (c); (d) a bell-trap to admit of the drainings of the yard, and to prevent the risings of smells; and e the covering of flag-stone and earth. On a level with the surface of the water in the well, (c), there is an opening to a small waste drain, which, as it can only be entered by filtered liquid, cannot readily be choked up. The sides and bottom of the tank and well should be built in Roman cement. No. 17. JiA im. PLATE XVII ~ ~.-. i I ~I _ l..~_11.._.. i i.I -.- -................i-.......... __- __ —-... —.-7 - I WINDOW. PLATE XVII. THIS plate shows the inside of a Window and its finish. It is designed for common practice; and, though simple, it is graceful in its proportions. On the right hand side is seen a section of the architrave, and the sizes of each member figured in inches. 51 52 No. 18. GARDENER'S COTTAGE. No. 18 presents the elevation of a design for a cottage, the interior of which would be found very convenient, and can be built at a moderate cost. The ground-plan in No. 19 shows (A) entry, and stairs to upper floor; (B) wood-room; bed-room 11 x 12; kitchen 11 x 12, in which there is a closet; pantry, 5 x 8; parlor, 12 X 14; sitting-room, 12 x 14. No. 19..'oX XX BED ROOM KITCHEN 11X12 11X12 PANTRY PARLOR C1TTINC ROOM )2 X14'11 12X14 ENTRY, i' ii,, i 1 I~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~/ I-^ f ~~ ^ -1-^ ^~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ -~~~~~~~~~~~~~~~~~~~~~~~~~~~~ IL ^h ^~ ~ ~ ~ ~ ~~~~~~~~~~~-_________ I ______ll t ^ \ \\' \' ^~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~I - _ ~. -' J WINDOW CAPS. PLATE XVIII. ON this plate are represented two designs for external window finish. Fig. 1 has no cornice, except a crowning moulding. Fig. 2 has a small cornice and a pediment. 53 54 No. 20. MODERN VILLA. THE elevation is represented in Fig. 20, and the ground-plan in No. 21, which shows an entrance-porch (a), hall (b), sitting-room (c), parlor (d), staircase, with closet under, (e), kitchen (f), water-closet (g), back entrance (h), pantry (i), wash-room (k), and wood-room (L). The staircase is lighted from the tower, and there may be a borrowed light, either from the staircase or the passage to the water-closet, which, being completely within the house, is less likely to be injured during severe frosts. . _.... [ ~..../ - - 1'.'' - I.'" / S W --- /,,?,, - f / i p-.//1'''/: I'-..:''7'-\ ~ A'-I tef~~ -'''W'fRX'~i —. Vii'tI~~~~~ 4i,: [ —->?:':.:-:..,r % / -', i.... -."'i Ca'" / i'//'/'V "' /, - L1^.'-0+ jjs -...... -'. I t'I f/.i' t'~ji4- ='-.'' I B'..... - I; ~\ ^~~~~.. Eii': \t'' iV'! -.:'- l>:1"-'"1 ~' -J/ 11 1//':\:-/:///.. // — /'/l''"' 1 I. " i I V Ki ~ ~.. 3C! / I/I.-1 A 4 tilL~~~~~ll^_^l'^IIl^S'''^I. —-.-.l PLAN OF AN ITALIAN VILLA. PLATE XIX. WE here present a ground plan of a modern Italian Villa, with the front elevation and details in the succeeding plates. The only apology we have to offer, in giving three designs for dwelling houses in different styles of architecture, is, that there is, in almost all the works upon the subject, a want of adaptation of the various parts to particular places. This is a want that has been seriously felt, even among the more intelligent part of that class of industrious and useful artisans-the carpenters. The design here given is rich in detail, and symmetrical in all its parts; it possesses every convenience usually found in this class of houses. We have not only labored to give expression of form, but a full expression of design, or purpose. And in the attempt we flatter ourself, that we have so far succeeded as to meet the wants of a class of gentlemen, whose means and republican principles will not admit of their erecting more classical or regal edifices. 55 No. 21. I ft1 o.. O No. 22. MODEL OF A CHEAP DOUBLE COTTAGE. THE front elevation, as seen in No. 22, exhibits two cottages in juxtaposition, which shows each as having a single family room, or kitchen, on the lower floor, and sleeping apartments above. The cottag, in place of containing one room below, may contain two. The ground-plan, No. 23, shows (A) the front entrance, (B) kitchen, (a) recess for bed, (c) pantry, (c) oven, (D) closet, (E) stairs to upper floor, (e) closet, or cellar under the stairs. DES.I. pL. XX. ii 71 -i'-~"~~~~'^ ~~J~ ~ ~i~ ~'J ~0 ~D ~D- J ~- _- - -- "'[_^T7~;r\.~~~,~ — ~~ u-o-o~C ^~o~[^~o~ - ^~c^~a~~a~- — ^ —— ^~^~-^~^ ~J-p-:~ ~ ~~I ~ ii ~ ^T x: _ x~r l II ~ ^ i^ ^ / ^1^^"^'^~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ FRONT ELEVATION. PLATE XX.. THIS plate represents the front elevation of an Italian Villa, which will be understood in connection with the details, &c. It is drawn to a scale of one eighth of an inch to a foot. 8 57 58 No. 23. I1 No. 24. f0 O'~ 20 SO THE upper floor of the foregoing plan is represented in No. 24. (F) the stair-landing, (G) bed-room, (g) recess for bed, (H) bed-room, (i) closet. Fig. No. 25 represents a ground-plan, suitable for a moderate-sized farm-house. From the entrance and staircase, A, there is a kitchen, B, with wash-room, c, and pantry, D; parlor, F; sitting-room, E; store-room and cellar, g. The three small apartments, H, I, K, may be used as store-rooms for some of the smaller implements, or as a water-closet, work-shop, &c. On the second floor there are three bed-rooms, one above the kitchen, and the others above the front rooms, with a dressing-closet over the entrance. The apartments on each side of the kitchen have lean-to roofs, and are not carried to the height of the other parts of the building. l / F:- i - i! 1''' l -"i" -'"L'i I 1 - -I 1 i ~ ~ ~i _.'I I... I - I- -'i!-",.' —"I::...IX:-: ----- - I i _..__...1 _ ____ -_ __-____ -.... F XL I -- i ——.-l -: - [-.1- i:. iI i ______ I I __ i"__ ___ _.___ _______ = ^ ____________'f~_ _fx____...____. I _. —i.... ~-.W7~.......~...........-........... -i,I til _, FLOOR FRAMING. PLATE XXI. THIS plate is designed to show a framing plan of the ground floor, for the Italian Villa. The timbers are all properly represented, and their sizes marked. 59 60 No. 25. No. 26. GOTHIC COTTAGE. THE front elevation exhibits a perspective view of two fronts. No. 27 represents an elevation of part of a verge-board, to a scale of one inch to one foot. DES. I. PLT. XXII. I I i i I i X' I I it',:T. 7 7 7 ll II ELEVATION OF FRAME. PLATE XXII. ON this plate the front elevation of the framing is represented. The timbers here are marked, distances and heights given, &c. 61 62.Jo. 27. No. 28. THE No. 28 shows the ground-plan, in which (a) is the principal entrance i I gU ~ Y a::::::::::::::::::: iit _t a t TV'lX 030 in the angles for statues, or vases for flowers. From this we pass to the hall and staircase, (b), by a Venetian door, the upper part of which may be glazed with stained glass; thence to a small ante-room, (c), which, if having a good southern exposure, may be used as a conservatory for plants; from which there is a door to the covered piazza, (n). From the hall we enter the sitting-room, (d), the two windows of which may be brought down to the floor, and open like French casements, so as to admit of easy access to the piazza, when the ante-room is occupied. PLT XXill'' / ~^ ~ / ~?2.\ j.\ ~ ~ ~ / \ \/. )"^0))-^..^^ J...,'~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~i;~~,'~. 1~~~~~~~~~~~~~~~~~~~~~~~~~~~~~/ I~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~..~~~~~~~j DETAILS OF CORNICE. PLATE XXIII. Fig. 1. —A representation of the cornice, &c. It will be understood by examination. Drawn to a scale of 2 In. to a foot. Fig. 2.-A triangular window seen in the front elevation. Scale, 1 in. to a foot. Fig. 3.-An ornament, shown in the elevation near the triangular window; half size. 63 64 From the hall we also enter the parlor, (e), which has a door to the anteroom, or conservatory; also to the kitchen, (f). If preferred, (d) may be made the parlor, and (e) the dining-room, and then a communication may be made with the kitchen, (f). The kitchen door from the hall is finished on the staircase side in the same manner as the doors of the principal rooms. From the kitchen there is a coal-closet, (g), back kitchen or wash-room,, with a copper, (h), closet, (k), pantry, (L), and a store-closet, (i). There are, if desired, two water-closets, (m, m), both under cover, - one entering from the porch, the other from the piazza. Under the principal stairs is a flight of steps, (o), shut in by a door, descending to the cellar. Behind the wash-room, at (P), may be a yard, surrounded by a high fence, and covered with shrubbery, where may be the wood-house, privy, well, &c. &c. No. 29. Fig. No. 29 shows an elevation of a door; it is surrounded on one side by splayed bricks, and is six feet high to the springing of the arch. Fig. No. 30 shows an elevation of chimney-shafts, the base and cap of which are of stone, and the shaft and plinth rising from the roof of brickwork, or artificial stone,- the diameter of the flues nine inches. No. 31 is a plan of the above elevation. No. 32 is also a plan of the above elevation. DES. 1. PL7-. >,;i IJ __ ___g_^. - ~ 7;, I 2 I~~'~~.~i i - -\~ ~ ~~~~i - \ DETAILS. PLATE XXIV. THis plate represents a design for a chimney, with a scale annexed. 1, 2, 3, 4, are openings for smoke. Also, a design for the external finish of the cupola. Fig. l, chimney. Fig. 2, cupola. 9 65 66 No. 30. -=^ = =' _-C No. 31. No. 32. 111 - ~ WOODEN EAVES-TROUGH, FOR COTTAGE ROOFS. THIS finish to the eaves of a roof has now become very general for countryhouses; and deservedly so, being the neatest, cheapest, and most durable of any, and adapted to the humblest cottage as well as to the elegant villa. This is made of the best clean, seasoned timber, with as few joints as possible, with mitred joints at the angles. It is fixed perfectly level, the fall being within itself, which is obtained by hollowing out the middle, beginning at (o, c), in No. 33, the highest part of the fall, and proceeding gradually deeper to (z), the lowest; thus a trough of this description may be fixed along a front of forty or fifty feet in length, the fall being given from the centre to the right and left. It requires no lining, but a good thorough painting, which should be repeated every three or four years. A large moulding being wrought on the front, it is thus made to represent the crowning member of a cornice. No. 34. No. 35. No. 33. No. 34 represents the application of it to a cottage, where (a) is the moulded front of the eaves-trongh, (b) the hollow, (c) the plastered soffit, (d) bearer, (e) rafter, (f) slating, (g) front wall of house, (h) fascia, (o) wallplate. PLT. XXV. irrrrrrrrr I I I',' —I l -— ^ 1- -- i' i.. ~ -. _, _,LL^^ DETAILS OF PORTICO AND ORIEL WINDOW. PLATE XXV. ON this plate are two designs, which will be readily understood without any explanation. Fig. 1, Oriel Window. Fig. 2, Portico. 67 68 No. 35, the same, with a higher style of finish. The same letters of reference answer. In addition, (i) shows a lead moulding and fascia in cement, and the plancier, (c), is curved. It may be finished in a still more elaborate style, with dentils or cantilevers, if required. CAST-IRON GUTTERS TO ROOFS, As a substitute for leaden ones, are found economical and effective. No. 36 represent a section of a gutter between two roofs, in which (a, a) shows the gutter, with a flange, (b, b), for joining the different pieces together; (c, c) the slates; (d, d) the rafters; and (e) the gutter rafter. All the care that this requires, in slating or shingling, is, to bring the upper edge of the lower course of slates or shingles to a level. No. 36. DES.. L'....-....- --—..- -...- -- _ -.._.....-_....- - _.., _I-I i - - -- - -. / / -----— i —---- ~ ~ —~ —_ q 0-~ —`-, I -/ *_ I I * i __ 1 o~~~~~/ ~~~ ~/ ~~~~~~/i DE T AILS. PLATE XXVI. THIS is a representation of the ornamental parapet-railing, over the porch of the front entrance. Scale, 2 inches to a foot; a, a, a, a, are openings. 63 70 No. 37. THE TUDOR STYLE. THEr above elevation represents a cottage in the Tudor style, which fashion of architecture, so prevalent in the time of the Tudors, and called by that name, has been revived, to considerable extent, in cottage building with very pleasing effect. No. 38 represents the ground-plan for a flower-garden. No. 38. DETAILS OF DOOR AND WINDOW. PLATE XXVII. THIs plate will be understood by measurement, and reference to the figures. Fig. 1. a, stud; b, window weight; c, section of window sash; d, architrave; e, plastering; f, sheathing. Fig. 2, is a section of an inside door and its finish; a, the architrave; b, jamb; c, door-stile; d, panel; e e, stud; h, plastering; and i, ground. 71 72 No. 39. A COTTAGE IN THE ELIZABETHAN STYLE, Is shown in the elevation No. 39. The ground-plan, No. 40, shows a porch (a), hall (b), sitting-room (c), staircase (d), parlor (e), kitchen (f), bed-room (g), china closet (h), back entrance (i). No. 40. 1 0 S 10 2 9 -' b~ 1,,L,? I) Li.-'-h -ha) ~~~ —-n r-~-.; \i ^ J i. 7:?1 C:]^ ".... *!-7 ~~L/ i'1 ^ II l I ).,. _'CLL j - ----— ~ ^... i I, DES. 1., ____________ __________________ _.. ~ i - lu - I' 1 - 1 I............ -- 1. _ il -..... ^? — -^~.- i,,^,~-^-j ^ ^ i..~.. _.^~-.~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ye__ __ =L _ I I H_24ZS? i~~~~~~~~~~~\"^ DETAILS OF DOOR AND FINISH. PLATE XXVIII. AJ, an elevation of an inside door, with its finish and scroll ornament over the top. B, cornice and architrave, half size; C, cut-bead to ornament the architrave; D, base, half size. 73 10 74 No. 41. VILLA IN THE ITALIAN STYLE. THIS beautiful villa, the residence of Thomas A. Clark, Esq., of Worcester, Mass., has just been completed, from the designs and under the superintendence of the author. This building is very much admired for chasteness and beauty, as well as its convenience. It is built of wood, with the roof covered with tin. The principal story is eleven feet in the clear; the chambers, ten feet in the clear; parlor, twenty-three feet six inches by fifteen feet, with the ceiling panelled, and moulded with an enriched moulding, with two beautiful centrepieces; hall, twenty-three feet six inches by eight, with front stairs leading to the second story; sitting-room, fifteen feet by fifteen; dining-room, fifteen feet by fifteen feet; kitchen, fifteen feet six inches by thirteen feet six inches; pantry, nine by eight feet; china closet, nine by five feet; wash-room, ten by fourteen feet; wood-room, ten by eight feet. The kitchen is fitted up with cooking-ranges; marble mantels in parlor, sitting and dining rooms; and a large-sized furnace in the cellar, for heating the house. All the doors grained in imitation of black walnut. Estimate the cost of this house to not vary much from $6000. PLT XXIX.:j~C f * i ~ wi,..I. K-]^~~~~~~~~~~~~~~ ['/,',- <,"',?.. STUCCO CORNICES. PLATE XXIX. ON this plate are two designs for stucco cornices. Fig. 1, is designed for the drawing-room and hall; half the real size. Fig. 2, is designed for the parlor, library, and dining-room; one quarter the real size. 1r 76 No. 42. W00DD4OM m WASH ROOM DININ I N Il SITT IN G ROOM I R I j ROOM IA. D' I'I IT'I [ PARL OR No. 42 shows the ground-plan to the front elevation, No. 41. No. 43 represents an elegant design for an arbor. No. 43. ^^^ UC 7 1 i;.-:..- ~ "'"~.:!!?, =-....: I', //1'' X'/ -'F'/, yl~/'i/ /z.:.".'7^^^"i -,.-.,~'.'/,-., "IF, SS~~~~ -~~ ^/^,2~./ i.y~.-....'~. -? - - 7./^.: /_/:'.,/z//.'/./,,/ 1 -'1.... il4.::7 K. ~ V / I r 0 -' ".i! _ s ~ ~/ __ii r':' >'~:"r??/.1..................... II"; — —. —-—. —- -__....'Lt-~'~-..." - T-= ll X -'=.... i_;W \ ~~~=.;.'..1..I C' L. _ i \\\ l / mo-.-.-. ——.- - - - ELEVATION 0F' FRAME. PLATE. XXXIII. BY this plate is represented the elevation of frame for the cottage house. The front entry or hall to be arched, as shown at a, a, a. The heights, openings, and sizes of timbers, are marked in feet and inches. 83 84 wide and ninety-two feet long; (c, c) stables for cattle and horses, thirteen feet wide in the clear; (d, d) passages to stable, four feet wide; (e, e) mangers for feeding, two and one half feet wide; (f, f) great doors, fourteen feet wide; (g, g) stable doors, five feet wide, double. Length of barn, one hundred feet; width, fifty feet; posts, eighteen feet; pitch of roof, twelve and one half feet; height of lean-to posts, seven feet; pitch of stable roof, eight feet; length of side lean-tos, one hundred feet; length of end lean-tos, thirty-eight feet. The barn is framed as if to stand alone, omitting the lower girt at the ends on each side of the large doors. The lean-tos are then framed on to the barn in the simplest manner, the passage-being round the main body of the barn, excepting at the ends, where the passage is in the main barn, and the lean-tos there are only sixteen feet wide, and the manger is fitted up to the main barn. Only one passage is made to go into the shut stables at the ends. Stalls are made, seven and one half feet wide, and boarded between, and each ox or cow is tied next to the partition side of the stall, which prevents their getting together, and saves room. This barn will hold two hundred tons of hay. Granaries can be partitioned off from the bays or stables, as may be convenient. On this model barns of any size may be built. No. 49. No. 49 shows a plan r the internal arrangement of cattle-sheds, &c., a No. 49 shows a plan fbr the internal arrangement of cattle-sheds, &c., a movable ring and chain being used for confining the animals. A, A, A, partitions between the animals; B, B, B, the upright iron rods or posts to which are fixed the rings and chains; c, c, c, the raised edges of the manger in front; D, D, D, the partition; E, the passage in front; and F, that behind the animals. PLT. XXXIV. li~~~~~~~~~~~~~~~ I'!,i l,.~ t.,~!,,'.'~ INSIDE DOOR. PLATE XXXIX. THIS plate shows an elevation of an inside door and finish, showing a section through the centre. 95 96 No. 58. The above is a partial view of a beautiful cottage built for Wm. B. Lang, Esq., on the Highlands in Roxbury. No. 59. This is a view of a noble villa erected at Wyoming, on the borders of Spot Pond, near Medford, and late the residence of Wm. B. Lang, Esq. No. 60. The above is a plan of a castellated house. DES. lii. _ IL - il'','- ~'z z2.,, ~- --' - i.. L.. -1~ -~. Tx-: I -vig'-hi t'i l ^ ^l I I /- / - -I — - - - - --- - - - - - -I0r11 1': in I' II. I I- ^ ^^~-1: J~~~~~~~~~~~~~r^^: ^~~..~ PLAN OF A GRECIAN HOUSE. PLATE XL. THIS plate represents a ground plan of a house in the Grecian style. We consider this kind of house very economical, both in respect to expense and convenience. By an examination of the plate it will be under stood, as the sizes are marked, &c. 13 -97 98 VNo.62. No. 61. No. 63. Nos. 61, 62, 63, 64, 65, 66, 67, exhibit seven designs for base, and architrave mouldings, full size, for practice. I-.0.?~~~~~~~~~~~~~~~~~~~~~~~~~~~i. III ~ll~~~ ~~ill~~~~~~~~~~~~l I;j..I~~~~~~~~~~~~~~~ I I ^~ — -----— _- - -^ _ __ __ r FRONT ELEVATION. PLATE XLI. THIs plate presents a front elevation of the Grecian house shown in the last sketch. It is a chaste, simple, and graceful design, and one, we think, which will meet the expectations of any gentleman who may see fit to adopt it in building. 99 100 No. 65. No. 66. 7N~~~~~~~~~~~~~No.. INo. 64... t~~/ DES. III. PLT. XLII. -I I I~~~~~~~~ ^i'I I',:-~/ I ________________ ____ ^\.__ _ _^_ __ ___ _. __ ___ L __ F ___" _ __- ---- I I — - I -~ _____/ 1 - - - I ^._... _:\. _ J \ __b_ _J.~._................... ~1-^1 iI II - ~{_~~-/~ II1 ~... \~ __il d ii._._1! ~~~~~~~._.i~ ~ li_~~ilL _II. L. i~!t i I, _ii "'I ii /'II.II~ ~!l ]I Ii'LI I l ~... ^ ^T^T^ 1^" ^F^""^'^~~~~~~~~~~2H ( cz -- - I -. /i i ~ ~ ~ ~ ~ ~ / ii \/'\ ~ - -- 7 i l [ I' 3""' -' -7' 7[; 1'.'- ~,~'. ii J J _. II _ _ _ _ __II_' I II / L! \\L'. i...PO ii A ch..........!.>... ELEVATION OF FRAME. PLATE XLII. THIS plate shows an elevation of the framing and plan of the roof so plainly as to need no explanation. The sizes of the timbers, height, and spaces, are all marked, &c. 101 102 No. 68. THIE front elevation, No. 68, as represented above, exhibits a modern and beautifully-constructed house, built for the Rev. Seth Sweetser, of Worcester, Mass., and designed by Mr. Elbridge Boyden. No. 69 shows the end elevation of the same house. No. 69. a_ _w. - _e=E~~~~~~~~~~~~~~~4 ~~~~~~~~~~~~~~~~~~~~~~~~jcTrs An' PLT. X L II. _'-''~~' _ I I 1 _' __I I! S _j I ~ I - L^' i il f -[ tll l i' I [ i i Ii I I: I A = I I I —L i 5 _____ E_ I ___ I-0 — |~ lI,~ l-~~ ~. __. —?2'.... ____________ I ~, "~'~~~~~' -___________ - _____________ tgx~j> ~, ____________________________.__. GROUND FLOOR FRAMING. PLATE XLIII. THIS plate shows the frame for the ground floor of the Grecian house, with a proper arrangement of timbers, and their sizes marked, &c. 103 104 No. 70. lr^,. I I i.7, IC' I " No. 70 presents the ground-plan to foregoing front and end elevations, Nos. 68 and 69. Though the size of the main house is but thirty-five feet by forty-one feet, with an ell of twenty-eight feet by eighteen feet, for symmetry of form, size, and connection of apartments, and abundance and convenience of closet-room, this house is much approved and admired. On the ground-floor, in front, is a parlor, sixteen by twenty-one feet; hall, twenty-five by nine feet; and sitting-room, fourteen by sixteen and one half feet. In rear of parlor, library, twelve and one half by sixteen feet; and in rear of sitting-room, dining-room, twelve and one half by eighteen and one half feet, with three large closets, admirably situated for convenience; while the ell contains a kitchen, thirteen by seventeen feet, back stairway, large pantry-closet, and an ample wash and wood room. The conservatory, thirteen and one half by five and one half feet, and piazza in front, add much to the beauty and convenience of the structure, at but small increase of the expense. Estimated cost of this house, $3000. > zi Li w~~~~~~~~~~ F.vz~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~z. ~I F i.4 X'K -'''1- - ~~~~1/~~ ci)~~~~~.' L~~~~~~~~~~~~~~~~~~~~~~~J~~~~~~~~ / 0~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ANTA AND ENTABLATURE. PLATE XLIV. HERE we have represented an anta and entablature suitable for this house. It is figured in minutes for the sake of convenience; and drawn to a scale of one inch to a foot. The dark part on the left hand shows a section, or form, of all the members, &c. 14 105 106 No. 71. I6 X 6 IA No. 71 presents the plan of the second floor, with two front chambers, sixteen and one half by sixteen feet, and fourteen by sixteen and one half feet; two large bed-rooms, ample bath-room and closets, and in the ell a large chamber and sleeping-room, with closets from each, with width of passageways, and completeness of connection, which render the chambers eminently pleasant and convenient. _- -— 77 - l I 1- - -- - - -.-~........... —- I_ I I c' I, —, $._ L-'I~~~ I' 0 f ~~~~~'\ - - \.;:'.P~~~~~~~~~~~~~~~~~r'N' -~ ~ ~~' ~ -"~-~-~~~~~- ~ ~' ~^ - - ~,q' -'A'\!ii'','_ i__ _ _ _ _ _ _ _ __ 9 _AIY'11-l DETAILS. PLATE XLV. ON this plate are shown a column and entablature, designed for the portico of the Grecian house. The whole height is ten diameters; the entablature being two. The plate is figured in minutes, and drawn to a scale of one eighth of an inch to an inch. The latter division adapts it to this place; but the former is more suitable for diminishing or enlarging an order or design. The following will show how this is done. The column,at the base is sixteen inches; this is divided into 60 parts, for minutes. (See the rule given in the description of the Tuscan order.) Now, if we wish to make this larger or smaller, we should still make the same number of minutes (sixty) in the diameter of the column, and give every member the same number marked opposite under H, (height,) and P, (projection.) It follows that the members are regulated by the minutes, which are greater or less as the case may be. This is a beautiful design for a portico, and may be executed, in almost any place, with success. 107 ,7? Ii I Ii~~~~~~~~~~~~~~, i i i I y / // - / - I ~~~~~~~~~~~~~~~~~~~~~~~I I.1 -III I'\ n ii LK —. J " IiIii, f, F fig, F: I I _ _, — -_-_____-: —----— __,__ _.____.I__ _J II _ _.~ L ~_,,, _ _ _ I.,,.,.... DETAILS. PLATE XLVI. SECTIONS of an elevation of the steps, buttresses, door, door-frame, column, and of that part of the entablature which rests on the column; also, of the ceiling of the portico. The whole is drawn to a scale of one half of an inch to a foot. 109 "5. in ~. PL-F XLVIil Fig. i ~~T~I~~~~~~~~~~~~~~~~- —'~^ ~~1i. ].l' N I 7^. ^^ -'J;.m ~, E DETAILS. PLATE XLVII. Fig. 1.-Sections of the door-stile, panel, and moulding, half the real size. Fig. 2. —A plan of the portico, shown in the preceding plate, drawn to the same scale. 111 D[I,/. 11t. I - - -- —'' i i ~~I~~~~~~ i -ii'f.''5' j-' ]'" ~~-' ~ ^ ^ ______. ^ r ~' _ _J~~~~~~_ kS.!~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~I I II~~iii i i 1 ~!i I; -.~'/t 1; ii iii ii II II I i' iI I I' I. ~ i __ _ —-- fi -. ~ ____ _j ___ - i._ ~- _~ /___________ -__________"_ __/ _______]_ ~?___ f~i i' 1; I' Ii / A -, / >? ____/ _\ / L __. "~ / I', lt,-I ",,i /, j |-Ii; I ~l% "~ ~~, " I,,.: DETAILS. PLAiE XLVIII. Figs. 1 and 2 are designs for inside doors and their finish, which are suitable for this house, drawn to a scale of three fourths of an inch to a foot. Fig. 3.-A plan of a door-frame with the door closed, drawn to a scale of one and a half inches to a foot. 15 113 PLT. XLIX. ii! i i.' i.-I I -- II ~ i -' \ -,'.i i~;-'?' ~,.,, ~ ~~....'I ~l // > ~~/ /> i/ DETAILS. PLA LTE XLIX. Fig. 1.-An architrave of full size for the preceding plate, which we have executed in several instances; and it has never failed, in any suitable position, to give a good effect. Fig. 2. —Section of a window, with shutters and all the appendages in detail, drawn to a scale of one inch. and a half to a foot.., architrave; B, plastering; C, stud; D, back-lining; E, back-flap; F, box-leaf of shutters; GG, studs; 00, weights; H, face-lining; I, sheathing; L, shutters closed. 115 -7- 7 -7- ~~~~~~~~~~~~~~~ ~~~~~~-K:~~~~~~'.- 77-~~~~~~~~~~~~~7 *~~~~~~~'~~~~-7- -7-~~~~~~~ — 7> 7- ~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~ 2 7- 77-7-7-7-7-> -~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 77777-77~~~~~~~~~~~~~~~~~~~~~~-. =L~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~77~~777: r I ~ /,~-/~-//~~,~/~//////;-;///J77 L1. ~ ~ ~ ~ ~ ~ >-< —77 7 64~~~~~~~~~~~~~~~-777 7-777777777777 77~7-1-~f~j2-7-7-77 —-— 77- r;$7777-7;; t I ~I I i 1~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~1 it ~ ~ ~ ~ ~ -77i r I I K STUCCO CORNICES. PLATE L. ON this plate are three designs for stucco cornices. Fig. 1.-Cornice for the drawing-room. Fig. 2. —Cornice for the parlor. Fig. 3.- Cornice for the vestibule and hall. These designs are drawn to a scale of three inches to a foot. 117 PLT. LI. iii~-.. _ / 5 ] ~ - ~ ~\~J ^ ~ ~i ~ ~- ~'t" ~ ^ h~ - ~ ^ ~ - ~7 }' ^~ ~ -~0 ~ ~ 0 ~ ~ ^'~.f - _ ~ -~ CARPENTRY. PLATE LI. Fig.. is an example of a truss roof of forty feet span. The queenposts are represented to be made of iron, instead of wood, as is usually the case. The particular advantage of the former mode over the latter is this: the settling of the timbers caused by the shrinking of the posts is done away with. The sizes of all the timbers, &c., suitable for this roof, are given below. This kind of truss may be extended to forty-five feet with safety. Sizes of materials to be used in this truss: Tie-beam,...... 12 x 10 Principal rafter,...... 9 X 8 Straining beams,.... 9 x 8 Struts,........ 8 X 2 Purlins,....... x6 Jack rafters,...... 6X 2 Iron queen-posts,...... U round. Bolts at the foot of the rafters,... i Coving joists,....3... We will here observe, that " the weight of the timber and boarding of the roof is equal to about five pounds on each superficial foot, and the weight of the slates, eleven pounds; these sums, added together, make sixteen pounds, which is the permanent load on each superficial foot." Fig. 2 is designed for a truss of thirty feet span. It may be employed in any place where no very great strength is required. Timber which is six inches by ten will be about the right size for this truss. The mode of construction will be readily understood by inspection of the figure. Fig. 3 represents a gallery truss of forty feet span, which will need no explanation. The sizes of the timbers to be used in this kind of truss may be as follows: Lower timbers,....... 10 x 8 Struts,....... 8 2 Upper timbers,....... 8x Iron rods,....... 1 round. Fig. 4 is designed for scarfing beams where great nicety is required. It will be observed that iron plates are represented on two sides. The first three figures on this plate are drawn to a scale of one eighth of an inch to a foot. 119 PLT, LIl..,'``~~~ ~X'// ~~~~~~~~~~~~~~~/?~~~~~~~~~~~~~~ "~~ "i tl~~~~~ / /1'~~~~~' \ \ 1_/ // ~ ~) /1 - -.,- /,- \,,.,,X/ \ /,'.' X'..../., * \\ —''.1. 7/ i` ~~~~~~~~~I ------ i t f. / "'" -. / 7.71\~ ~ ~ ~ ~i. / / /.< ~~~~~~~~~~~~~~~~........-.., J'~ I 0,;:' Si~ —, \ I —V I i ~-. x..... C\.: - 1 1, 0,'-a..,: ~~~~\,i, of \' \i: /.e, l. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~-......,, \, ~ ~~~~~~~~~~~~~~~" -,. /,,' ~~~~~~\. z1 ~ ~~~~~ / PLATE LII. Fig. 1 shows a method of drawing a scroll for stairs. Let sB be the given breadth, which is here sixteen inches; divide.JI into eleven equal parts, make sIF equal to one of those parts, and join BF; then bisect B/, and BF, at 2 3, in the centre of BJd; make 2 D equal to 2 3; then, with the dividers on D, with a radius of DB, intersect.DK; draw DK perpendicular to s.B, and IlK at right angles to BF, intersecting BF at o; draw EF parallel to sB; draw the diagonals DI EJ, which will form the centres; then, with one foot of the dividers on 1), describe the arc BK; and on E the arc KF; and on I the arc FH; and on J the arc UHS; and on L the arc ST; and on M forming the arc TU; and on R the arc UV; which will complete the spiral curve. Proceed with the same centres to obtain the inside of the rail, commencing at W. Fig. 2 shows the method of obtaining the face mould for a scroll. Let JIBC be the pitch board; make aB in Fig. 2 equal to BD in Fig. 1, also aD in Fig. 2 equal to ae in Fig. 1. Proceed with all the ardinates in the same manner, both on the inner and outer edges of the rail; then trace the curve line BC, and SO, and we have the mould complete. 16 121 '1 iI A'' ~.__I I_ __ __ _ __ __ _ __ PLATE LIII. Fsg. 1 shows the method of forming a curtail step. It is drawn on the same scale of the scroll, which is one quarter the full size; the centres are the same as in the scroll. We think this will be readily understood without further explanation, as the lines are described on the plate. Fig. 2 shows the method of obtaining the falling mould of the scroll in the preceding plate. Let ABC be the pitch board, and EC the stretchout from B to F, Fig. I of the preceding plate. Then set up from B to D, and E to F, the depth of the rail. Draw DG parallel to Be, and FG parallel to E.; divide FG and D G each into an equal number of parts; then draw intersecting lines as shown in the drawings, and trace the curve line FD, and we have the upper edge of the mould; the lower edge may be obtained by gauging. 123 124 EXPLANATION OF PLATES. PLATE LIV. ON plate 54, A B, Fig. 1 being the ground-plan of the semi-circular part, having a portion of straight rail attached. At a b and c d describe the points e andf, and from the point ef draw lines through a b and c d to the tangent lines n m and j k, which lines will be the stretch-outs of the concave and convex semi-circumference of the given plan. To obtain the concave falling-mould, Fig. 2, draw the horizontal line m b equal to the concave stretch-out: at the point b place the pitch-board b n r. Let m a be equal to the height of the riser, and divide it into four equal parts: the first and third part gives the point x and e; at the point a b place the pitch-board a j l; then draw the lines j e, e x, and x v; then set up the thickness of the rail, and then apply the length of the straight part s a and y b, of the ground-plan, Fig. 1, to the base of the pitch-boards from n to h, and a to f; then erect the perpendiculars, and square across the rail, as is represented, and you have the mould complete. To obtain the joint in the centre of the semi-circular part, let drop the line G H, passing through the centres of the concave and convex falling mould, square across the mould, and the line will be the required joint; draw the lines u u, and z, which will be the required overwood';'apply the overwood to the ground-plan, Fig. 1; then draw the lines C 0, touching v and z d, and 0 Z, and d s will be the height for the parts B and A of said mould. The easings are formed as represented by the intersecting lines.''The convex'ftling-mould, Fig' 3, is obtained in the same manner as the concave at Fig. 2. Let j d, the base Fig. 3, be equal to j k, the stretch-out in Fig. 1; j c is equal to the height of a rise of d w, and c r equal to the straight part, as in Fig. 2; the easings and the overwood are obtained in the same manner as before, and you will have your convex falling-mould. How to obtain theface-moulds, Fig. 4 and 5, from the ground-plan. At the part B, Fig. 1, draw the chord-line 5 9 touching the points y z, including the over-wood. Erect perpendicular lines from said chord-lines at 5 y 6 7 8 Z and 9, through the points w y d b and Z; draw 0 Yparallel to the chord-line; then take the height, O Z, Fig. 2, and apply it from 0 to Z, Fig. 4; then draw 5 9, touching the point y at the angles; z y is the pitch-bevel obtained. Draw lines at right angles to 9 5, and from the points 5 6 7 8 9; then take the several distances, 5 W, 6 d, 7 b, 8 4 4, and 9 X, from the chord .......,.... -..,,"..:,~~/ —-.-..~f ~~-...-^^^~: \. / ~".~. -~ \.~~"" ^...-~'..........? -.. 0^ },,,:-..."...i:.{..'~~.._,.~ ~~~~ %:_'-..,.'. ~.'..... -...-":il.-'"vr....... "..'' / \ ^ \~ ~ ~,....-!:,'~~........P'~'I,,:,' "'. ~"'"':' "~~~./7:' r~-' -~'..,.........', /l'.-.~~."-^-"-~'::' /'...~../i-'^ ^\, >,, ^ B /~~i... —-"~ -J,i" /'.''::.-J:..."//....:..:'- -.../:' —.,. -.:V \ / ^ -r'. \,,:. —"-. —":.' ", Xf/,'./.....'?!. s "^\ -,, - \".,/' i'\ i/.-' -:" x. —"' ~ "',!, -"./,-.-. ".1 ~~' -l-" — ~ ^ -- --- "...,:'...'-I, ^">" -... -~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~" ~- -:^ "~-: —.....-I ""'.'.:::/ - F J - ~., ~. —' ~>:-:......:-.::-i ".~ ~ ~ ^^ ~,,. lu i../\ i". I- if!.?i..i'.-'" i-,:,.......'?-.'- J"-~ \''",' A m..... ",:-"~.......,-'~.....I' / -I"-.. \.. I / / I ~~~~~~~~~~~~~~~~~~~~~~~ "I'", ^j i- ~, \ ~ - /..-~ /.~~I~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~:!.'~:..,~Ft~-l~~~~:j,~,: ~ —. — -^.............~;~ I ~~~~~:.~~ZL~:~-'~/'.~ll ~~~~~~~~~~i-~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~' i~;::'':~?~ —~~~~'-^ —r —------— ^ —- -. i'~~~~~~~~~~~~~~~~~~~~~~~~~~~?~./rv 1. II I I ^"~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~iI. \ "'"-'f'\ I I I I I''.' "X I ^.1: I i i I I''' lI I ^X i ^ N,ifti — S / ~. 1 /'-'-'- _ - i ~'.....^ ^ T ^ ^ - I I -^ 1^^ r I ____ I i __ _^ " i\ ~ ~' i ft Un'^ / i_~~~~~~~~' ~' -.-'" [,' / ^..2 - ~~~~~// \i~~~~~~, I \../. \ A —4-.5.. T'.. - - / /- -: - --......,,, I,,^ I_5 ~_ Io I i ii _. _ _. _:'-. - ",'....... 1...........! i - -,'' "',,"' \.''' \' \ X I g /;'', \! - A -'' - \ \ y /'~~. ~/ \ i: EXPLANATION OF PLATES. 125 line, Fig. 1, and apply them upon the lines carried out at right angles from 5 9 from the points 5678 and 9, to w d b44 and x; draw the line x Z, which will be the end of the required mould. The points z 4 b and x 4 d being obtained, describe the arcs through them, and b y and d w will be the length at the straight part, and y w the end of the required mould. The face-mould, Fig. 5, is obtained in the same manner as in Fig. 4, the straight part being thrown up, and the height from the parallel lines at d to the hypothenuse at s being obtained at d s, Fig. 2. The diagrams 4 and 5 show the manner of applying the face-moulds to both sides of the plank. From the part z and y, Fig. 4, and u and S, Fig. 5, at the inner edge of the plank, the pitch-bevels being obtained and applied across the edge z y, Fig. 4, and u s, Fig. 5, will be the angle of inclination to the rail-pieces. Then tracing the line of the mould on both sides of the plank; then cut out your rail-piece; then it will be ready for the application of the falling-moulds. Take the part B, Fig. 2, of the concave falling-mould, which is of paper, and apply it to the concave edge of the rail-piece at Fig. 4, having the plumblines z z of the over-wood, Fig. 2, applied to the lines of the pitch-bevels z z and y y, then the plumb-line y y of said mould will coincide with the line y y of the pitch-bevel; then mark the joints y v and u z, and on the upper edge at y, and the lower edge at z, of said joints, square across the ends of said rail-piece. Then apply the convex mould to the convex side, and you will have the required piece. The upper wreath at A, Fig. 5, is formed in the same manner as B, Fig. 4. PLATE LV. SHOWS the manner of drawing a continued rail to a straight flight of stairs, easing up on the landing. Let A A, Fig. I, be the ground-plan of the circular part of the rail, with a portion of the straight rail attached, so as to bring the joint on the straight part of rail. A B, Fig. 4, shows the manner of obtaining the stretch-out of the semicircular part: a b c d is the diameters of the concave and convex semicircumference of the rail. 126 EXPLANATION OF PLATES. 1, 2, 3, and 4, as centres; draw the arcs intersecting at P and S; then draw the tangent lines n o e k of the concave and convex sides of the given plan. From the point P draw lines through 2 and 3, until it intersect at n and o; also from S through 1 and 4, until it intersects at e and k; then N 0 and e k will be the stretch-outs of the two semi-circular lines. It will be observed that A B, Fig. 4, is the same as A A, Fig 1. Fig. 4 is to show the manner of obtaining the different points and their stretch-outs. To obtain the falling-mould for the concave stretch-outs, Fig. 2 N and 0, Fig. 4, erect perpendicular from the point n and O'of the concave stretch-out to c and d; at the points c, place the upper angle of the pitch-board a b c and c e, the line of floor; draw e i equal to half a rise at right angle to C e; then draw the hypothenuse, a I and Ir, parallel to the top of floor. Let d r be equal to the straight part 0 P, of Fig. 1. We will now form the easing. From the angle at i, up on the hypothenuse, measure off eight inches in length, which divide into six equal parts. Then take four of these parts, and apply it upon the opposite side of the angle at I, and then divide said distance into six equal parts; then draw intersecting lines, and the easing will be formed for the under side of the rail. Then set up the depth of the rail, square across it at each extremity of said easings, and from the points upon the upper side of the rail the upper easing may be formed. Take the length of the straight part g b of Fig. 1, and apply it upon the base of the pitch-board b to g, Fig. 2. Erect the perpendicular g w, and form w square across the rail, which line will be the joint; the joint at J in the centre is obtained by squaring across the rail at j T; then draw lines parallel to the perpendicular at j and T, which lines will be the over-wood necessary for the joints; which over-wood must be applied to the joint in Fig. 1, as readily perceived, at r square across the rail, which is the terminating joint. From the lower joint draw x yj v, which is the given height for each piece. The convex falling-mould, Fig. 3, is obtained in the same manner, from e k, the convex stretch-out, Fig. 4, as Fig. 2 was obtained. To form the easing upon convex falling-mould, Fig. 3, so that it may coincide with the concave easing Fig. 2, take the distance from z, at the termination of the easing, to d at Fig. 2, and apply it up on the concave stretch-out from 0 to r, Fig. 4; then draw the line r P, and through its intersection with the concave at z, on the semi-circumference, draw T U, from the centre T to the convex semi-circumference U; then draw s v through the point of intersection at u, and v k will be the required distance.' Apply said distance /~~~~~~~~~~~~~~~~~ 7-"o Iui'' K —/ u i] ^^ J] ^" ^^ ^-^~ —^ \ -^::^^ ^ \\ ^ ^^ -- X: > i ^ \ \ \ ^^ ^^ ^^^^^^. ^ -, / ^ _^___ ~-, i_._______.__.__________^^_,__._. ___...______.____-^^ ^^^v^T^ i ^-. S 0 ~ ~ ~ ~ ~~ - -~ i 111~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~I~'i~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ hii~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~: 'DETAILS. PLATE XLVII. Fig. 1.-Sections of the door-stile, panel, and moulding, half the real size. Fig. 2.-A plan of the portico, shown in the preceding plate, drawn to the same scale. 111 8 ^~- ^ i^ I-~ / i i/ /'.\ v i i i g -..... i' li I.... I ~$ ^ i \.~~~~~~~~~~~~~~~~~~~~~.. ~ - ".. i iv:i ^ ^ i -~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~..~'i' i'~` -------— j.. ^:~.....'~~~-. i ~ i i -.... i \ 4fl X~~ I.' -.. \~'y I I' ^^"~~~~~.-. I T\ I \ l.....-~... ~ I ^ \' I.^ \., i- v^^i -^/ij^. /.... ~~~~~~~~~':7 ~^~5..... ~,._' -i~~~~~~~~ /... ~ \~ ~ ~ ~~". ^..~: -;~~ ~-. -'~~/~~,': ^' ^' "~~~~~i —'......; ^ -—: —' ~' - -....... 1 ~' \ \ ill I ~ ~~~~~..l...-~i"' ^ ^ -^s^~~~ ~~~ ~................................. -~.....^ x ^ ]: ~'.n.''~.~~ I S\: —~': ~......',,/i ~...:.,,:,..)~ i.......;:i n..",'_:. -.' \:!-J,-'''~~~~-' —"~ - r:~.........~:I"...:'':t i:,i ~~~~~~~~~i~~~-\..~ -' i.....'-.',. ~ ~ ~ /: ~ — ~'~~ c....'....!'.. "..:. i, " i~'.'.,.: \ l ~..:...;,',:.......::,'...,~~~~~~~~~~~~~~,.-I:.. I-, ~ ~ ~ ~~~~~ ~~~~~~~~~~~~~~~~~~, ":::::. ~::.'~: ".'~1:,' t~'.:..~~.,.. ~:,,'- i,i.. ~':~~~~~~~~~~~~ I'"~''":Z................................>,': 2: "'" -./-:5' "~n....'.'7 [ ~'.....'';.......-..~~.~..... ~~~~~.~~~~:1,1 ~~. ~ f'::~~~~~~~~~~~~~~' "'""'" I —~ —':'........ l -~ " ~ I::i -......... ~.~~~~~~~~~~~~~~~~~~~~~~~~~~~ x t,,..~~~~~~::: k.,~~~~~~~, ~.......... ~~~~~~~~~~ /: X "~ \ " "::' .....~. —-4^1j17.- ~. -7g - ____ r- __ _^_ _ _ j~~~ j-'.__^ _.......^^~~~~~~~~~....._..._.~.__. -- ____I__._l__ DETAILS. PLATE XLVIII. Figs. 1 and 2 are designs for inside doors and their finish, which are suitable for this house, drawn to a scale of three fourths of an inch to a foot. Fig. 3.-A plan of a door-frame with the door closed, drawn to a scale of one and a half inches to a foot. 15 113 _ _ i I'' KI / F_ __ _ I ___.. _ _ __ _. n r:. —. i_.,;I~~_LT_! 1_L -!_~_lI IZ=7 ___ ~ ~ __/ PLT. LX. I ______' _ _ -_ _ ~_ _-_ _ ___ _________ _______ __ ___ -~ _ ~ 1~ ~~ ~ ~ - i,\ /'\'\ KI i _____ _i I l'K, _ _....__________ _ __ t. r-7 [7~1-T LOLL ~ 1- { _L=[- 1 X _ I .J.' ><\ _ ( __ _ __ _ _ _ _ _ _ I _ ____ _.~~_.-._ ~ __ --. I~- X -. _ P~~~~~~~~~~~~~~~~~- ~ —---- L -it PLT. LXIH........................:,-..... _:_____ ~^___~ -''' - 2 - < ~ - 7~ ~ -... --- _I I -F~~~~~~~~~~~~~~F o' X 1r __ i_ K'_____ 12_ l l " r r T -1 --....................................~~~~~~~~~~~...,........ ii i-__-~~~~~~~~~~~~~~~~~~~~~~~~~~L 1 ~ ~ ~ ~~~~~~~~~~~~....... _t, L —J_T, l~ ~F__L --— S_ —— E........I~-........... _7i__' PLI. LXIII. I I — I / \ / \'i -KJ II /' i VI ~~/'1,,'1 C WS in,> XJ^~~ ~ ~ // //% .....- -. —...-_- - i - _-. —' l-Z]-L,-L l...Lr-_L.Z I "~ ~......._ -. - - __ ~_ ~. __._._._ ~___ I- _ _ ~ _ _ ~"__ _ _ _ ~~~I~~~~~~~~~~- I 1!1 II I~~~~~I'q uiJ t~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ MX,, _.-. PLT. LXV. ~1,,' ~, _ —-------- -- __ -- _ - __I~~~~ ~ I r __ll__ _ ___ _ L ~ 11 — -... <. 1-., _ 1 X~~~~~~~~j L_~ I IIJ 11 _ 2i PLT.LXV -'^~~~~~~~ _., -... -L_ -- j________ _,_______ B _-__,____~'~~~~~~ _ I l,,!'. I I 3'' t. 1 l21~ PL-T,. P LT.L, r.-__. -i_______ __. ^^ ^ ==^= = ^ ^-... _______ ^- ^/ I ~~~ C.j L — ^'i, 1-2111__"__.z....____ - --- — _______.._.__ _._.X_ {9,1) i-l I - - - =I —I1t.... PLT. LXVIII. ^^^.^~~~ J_ ^^~~~~ —------ ^ __- 7 ~n'1 f X I I i Qi, En,,' ----- k!_ - _ _-__ - - - _ -- -- >_______ _________ - 7 __________________________________________ ________________________________________ ' ^^-^^^^d i mr~^~~~'~]^^~~~~~~~~~(~7' - --' " ^ ^ ^' ~~ ~ ~ ~ i.. ^ ^ ~~~~~~~~~~~~~~~~~~~~~'. u- - - - -. ~ ^ { ^ I7^ L _ ________ ^ ~~~~~->~. ^ __ _ I ~ ~._.__:; _:'________ __ _ I~~~~~~~ I'! \'^("''~ \ 7J 1 /''! l K- ^i- - ___~~ - - ~~-" —. I. *'=";~7/( (N./ -— YK \ \r N< —-^i __ = ^ ^r = ^ __________ _______ __1 L ^