hey Fol es + ah» ana ee eine etre fo ; : a ae mens Cn opi ve « 5 i 4 FRONTISPIECE toCOOKS BUILDERS MAGAZINE. ee 2 } cu mn tt ll " HC rm wa ll | | cn uu We dN 1 MPRA = fore inne i wee A | a: ners ME ME:|| |S. 8S See ee ee ee {eee ST | S———s | - i ————s | =) A i PZ ee ee 2 Eh Se SS ee —————} = | ———— | { _—————— i a ——— 4 cn siti AA AAA ( cosscrsreessreneanditiietl tl Oc en W unt nt tt ttt tt tt ert rrr ‘t —— F Siete SS Setters ome Sage ee a Senta ata == rail | | | ee ee eee Se eee ee eee ea oF ees ' 1 Season ee ———— ————} a 1h see ee i } H 2 ete ae \ ———— Seer orcas | ' See oes ets (es i {Siig PUMA EY Ur rrrdionmnetteememmmtt 3 Sl ——— i mm iid : Saetsr=sssststssssesssssl=ltesseess eee eee ae WUGGUMNLUNNLUTAMNNMIMITIUAD nd hes enos ctessecssssscactscs e+ oaassassarecaeeasecannatcscassessecee i ls | \ eaten Sar Streets! See Nat EW OF STPAUIS CATER DRAT, Lublished by H. Hogg ,tfatano ster Row, London . THE N EW i _ BUILDER'S MAGAZINE, AND COMPLETE Architectural aibvary, FOR/ % ancmrcns SURVEYORS, CARPENTERS, MASONS, BRICKLAYERS, &e. AS WELL AS FOR ~ | EVERY GENTLEMAN WHO WOULD WISH TO BE A COMPETENT JUDGE OF THE ‘ELEGANT AND NECESSARY ART OF BUILDING: CONSISTING OF DESIGNS IV ARCHITECTURE; IN EVERY STYLE AND TASTE, FROM THE MOST MAGNIFICENT AND SUPERB STRUCTURES, DOWN TO THE MOST Saraden AND UNADORNED ; TOGETHER WITH thet PLANS, SECTIONS, AND ELEVATIONS, pring as an unerring AssisTANT in the Construction of it eos froma Paxace to a CorracE, Exclusive of the new and gunk Destens, ample Instructions are given in Ne Letter-Press, concerning ail the Terus of Art, used in every Branch of Building, ALSO, UNDER PROPER HEADS, _ The Laws for the Reautation or Buitpinas—the substance of the Burtpgrs’ Act, &c.—and a List oF THE Prices allowed by the most eminent Surveyors in London to the several Artificers employed. THE WHOLE FORMING A complete System of Architecture in all its Branches; And so disposed, as to render the SuRvEyor, CARPENTER » Bricxnayer, Mason, &c. equally capable to erect a Cathedral, a Mansion, a Temple, or a Raral Cot. P af eo Piso EMBELLISHED WITH UPWARDS OF THREE HUNDRED: ELEGANT QUARTO AND FOLIO ENGRAVINGS. BY ANDREW GEORGE COOK, Aeeuimecne Buruper. London: Printed by J. Hartnell, Wine-Office Court, Fleet-Street, FOR H. HOGG & CO. No. 16, PATERNOSTER-BROW. =) i a4 INTRODUCTORY ADDRESS. NOTWITHSTANDING the multiplicity of Publications annually obtruded upon the Public, the subject of Architecture, though scarcely inferior to any of the arts, in point of antiquity, appears to be most shamefully neglected. This may probably be owing to a-deficiency of talents adequate to an exposition of all the branches of Building: or, more probably, to a want RE leisure, nar those necessary talents are possessed. | ‘Architecture isnot only a useful, but an important science: all Builders, Sur- veyors, Carpenters, Bricklayers, and Masons, are the props of Society, and should not be unnoticed, or passed by, as unworthy the instruction and assistance of such as are eminent in these respective professions. The present Volume is in~ tended to convey that instruction; and as every thing in Architecture is, or should be, proportioned to the bulk, strength, delicacy, richness, or simplicity, that is required, every article shall be so represented in the course of this Work. ‘The Public may be assured, that the Publishers will spare neither labour nor expense to render it universally useful; and the Author flatters himself he is not unequal to the task he has undertaken. We have said the knowledge of Architecture 1s UNIVERSALLY useful; be- cause, the study of it should not be confined to professional characters alone, though this Volume is more particularly intended for their improvement. © All ‘readers require this information; for without it, the descriptions of Cities, ‘Towns, Castles, Antiquities, &c. must be frequently unintelligible. The few who have written on this subjeet have considered the magnificence of a Building, more than its utility: we shall, however, unite rai for Architecture cannot be more grand than it is essential, or is its dignity more to be galisicered than its convenience. Though it is our intention to lead the beginner through every branch of Ar- chitecture, till he attains the highest degree of perfection in it; still, we shall endeavour to render the production worthy the attention of every one connected \ iv | INTRODUCTORY ADDRESS. with ne subject; as we shall give, in every Number, something that may -be useful to adepts in the science, as well as to those who have just entered upon the study of it. The Work shall consist of two parts; viz. Theoretical and Practical. The Theoretical Part comprising such instructions as are necessary to form the complete Architect; and the Practical Part furnishing such Plans, Elevations, Sections; &c. with explanations, as Models for: the Practical Builder. As the two Parts will be printed distinct from each other, they may, when the Work is completed, be bound either separately, or together, by placing the Practical Part at the end of the volume. Thus the Purchasers will be in pos- session of a complete body of Theoretical and Practical Architecture. Having thus explained the nature of our Volume, we shall add some. obser- vations on the importance and utility of Architecture. Ancient writers represent the Tyrians:as the first, among whom Architecture was carried on to any great ‘extent: and hence it was that Solomon had recourse to them for workmen to build his Temple. In the common account, however, it seems to be almost wholly of Grecian origin. The Romans, from whom we derived it, borrowed ‘it entirely from the Greeks. By those people it was consi- dered of great importance, and under Augustus arrived at its greatest perfection. The Architects -of the thirteenth, fourteenth, and fifteenth centuries, seemed to make perfection consist altogether in the delicacy and multitude of ornaments, which they bestewed on their edifices with great care, though frequently with- out taste. . | , | In the three last centuries, the Architects of Italy, Great Britain, and France, wholly bent on retrieving the primitive simplicity and beauty of ancient Archi- tecture, have left us various monuments of success. On some occasions, certain whims have been introduced, which are conspicuous in superfluous ornaments, Indian Roofs, Double Fronts, (according to the Modern example, in Lincoln’s- ‘Inn-Fields) &c. in which we must allow for difference of taste. The utility of Architecture cannot be denied: it affords Man a habitation, it gives to Devotion churches, temples, chapels, &c.; it assists Commerce, by public offices, halls, theatres, &c.; it is necessary for a State, in castles, and palaces; in Domestic Concerns, as stables, barns, &e. The art of pipe is, eee an important and useful science. ABSTRACT OF THE Act of Parliament, FOURTEENTH OF GEORGE THE THIRD; | oR REGULATING. BUILDINGS AND PARTY-WALLS, &e: ‘Tue Preamble to the Act of the 14th of George III. recites, That the Act made in the 12th year of the same reign, for the purpose of regulating Buildings and Party-walls, &c. hath. been found insufficient: to answer the good’ purposes intended thereby ; ; and therefore; that it may tend to the safety of the inhabitants, and _ prevent greater inconveniencies to builders, and workmen employed. in buildings, the present Act has been. made, and began to take effect on the 24th of June, 1774 , _ This present Act is made to’ repeal entirely the:said Act of the 12th of George the Third; and:also so much of all other Acts what- ever as relates to the regulation of Buildings and Party-walls. All irregular eréctions whatever, built since the passing the said Act of the 12th of George the Third, and. contrary thereto (except where prosecutions have been commenced; and the penalties paid), are to be altered and made in every respect eonformable-to the seve- ral regulations. contained in that.of the 14th. The: King’s palaces, or any Building in the possession of himself, his heirs, or successors, or employed for. his use ; also the Queen’s palace, or any Building in her possession, or employed for her use, are exempted by. this imatrs Act from the several regulations therein. 3 contained: 53. Tt v1 | ABSTRACT OF BUILDING ACT. By the said Act, all other Buildings whatever, now built, or here- after to be built, within the cities of London and Westminster, the weekly bills of mortality, the parishes of St. Mary-le-Bone, Padding- ton, St. Pancras, and St. Lukes, Chelsea, are divided into seven different rates, or classes. 7 $ We shall now proceed to the several regulations contained in the Act, which we are enjoined to observe. _ | RATES OF BUILDINGS. In what Manner determined. FIRST RATE BUILDINGS. By ERY church, chapel, meeting-house, or other place of public worship ; Buildings for distilling or brewing of liquors for sale, for making of soap, melting of tallow, dying, boiling or distilling turpen- tine, casting brass or iron, refining of sugar, making glass for chemi- cal works for sale, of whatever dimensions the same respectively are or may be built. | | Every ware-house and other Building (except such as are described to be of the Sth, 6th, or 7th rate), not being a. dwelling-house, which exceeds three clear stories above ground, exclusive of rooms in the roof: or measures in height 31 feet from the surface of the pavement, or footway, of either of the fronts, to the top of the blocking course, or Coping on the parapet. | vis: And every dwelling-house which, with offices adjoining, or con- nected otherwise than by a fence, or fence-wall, er covered passage SBem on one or both sides, shall, when finished, exceed the value of Also, every dwelling-house which exceeds nine s uares of buildj on the ground floor, each squ a iar on are containing one hundred superficial ABSTRACT OF BUILDING ACT: - Vil. féet, including mternal and external wails ; shall be deemed the 5 rate, or class of Building, and must be built as follows; viz.— ‘Thickness of external Walls.—LKvery external wall, not being a Par ii wall, to any first-rate Building, or addition thereto, or enlargement thereof, shall be built and remain at the foundation thereof, two. bricks and a half in length, or one foot nine inches and ahalf; and may diminish on each side of the wall two inches and a quarter to the top of the footing, which shall not be less than nine inches _ high, and wholly below the upper surface of the pavement, or flooring- boards of the cellar story, two inches at the least; and from the top of such footing, of the thickness of two bricks in length, or one foot five inches and a half up to the under side of the one ne of stairs floor ; from thence, of the thickness of one brick and a half in length, or thirteen inches, up to the under side of the plate under the roof, or gutter; and from thence, of the thickness of one brick in length, or eight inches and a half, up to the under side of the blocking course, or coping on the parapet; except such parts as shall be wholly of stone, which shall be of the thickness of fourteen inches at the least below the ground floor, and of nine inches at least above the ground floor; and except all recesses above the ground floor, which shall be arched over in every story, so that the etd and back of such recess shall be respectively of the thickness of one brick in length, or eight inches and a half at the least. Thickness of Party-walls.—Every Party-wall to any first-rate Build- ing, or any addition, or enlargement, shall be, at the foundation, of the thickness of three bricks and a half in length, or two feet six inches, at the least; and shall from thence gradually diminish on each side four inches and ahalf to the top of the footing—such footing to be at least one foot high, and wholly below the ujsper surface of the pave- ment and flooring-boards of the cellar story, two inches at least; and from the top of such footing, of the thickness of two bricks and a half in length, or one foot nine CHS and a half at least, up to the under side of the, eround fluor ; from thence, of the thickness of two bricks in length, or one foot five inches and a half at least, up to the under vill ABSTRACT OF BUILDING ACT, — side of the floor of the rooms (if any) in the roof of the highest build ing adjoining ; and from thence, of the thickness of one brick: and a half in length, or thirteen inches at the least, to the height of eighteen inches in every part above the square of the rafter of the highest building adjoining, and one foot above the gutten, SECOND RATE BUILDINGS. _ Every ware-house, stable, and other Building (except those de- scribed to be of the Ist, 5th, 6th, or 7th rate), not being a, dwelling- house, which exceeds tivo stories, and does. not contain more than. three stories above ground, exclusive of rooms (if any) in the roof, or measures in height 22 feet, and not amounting to 31 feet from the sur- face of the pavement, or ground above thearea, before either of the | fronts, to the top.of the blocking-course, or coping on the parapet; and. every dwelling-house with offices adjoining, or connected otherwise than by a fence, or fence-wall, or covered passage open on one or both -sides,. which,. when finished, exceeds the value of 350/. and, does not amount to more than 850/.; and every dwelling-house which exceeds five squares of Building on the ground plan, and does net amount to more than nine squares, including internal and external walls, shall be deemed the second rate, or class of Buildings, and must be built as follows ;, viz.— | Lhickness of external Walls, shall be two bricks in. length .at the x foundation, and gradually diminish on each side of the wall two me inches and a quarter to the top of the footing, which shall not be less than nine inches high, and wholly below the upper surface of the pavement, or flooring-boards, of the cellar Story, two inches at the least; and from the top of such footing, of the thickness of one brick and a half in length, up to the under side of the one paix of stairs floor; from thence of the thickness of one brick in length, up to the. under side of the blocking-course, or coping on the parapet : except such parts abov e the ground floor, as shall be of stone, which shall ABSTRACT OF BUILDING ACT. . | . ix be of the thickness of nine ‘inches at the least; and except all recesses above the ground-floor, which shall be arched over, so that the arch and back oF each recess shall be of the Cre RECss of one brick in length. Thickness of Pitney shall Be three bricks and a half in length, or two feet six inches and a half at the foundation, and dis diteny: dimi-- nish on each side to the top of the footing, which footing shall be nine inches high, and wholly below the upper surface of the pavement or aberakebdarad of the cellar-story, two inches at the least ; and from the top of such footing, of the thickness of two bricks and a half in length, up to the under side of the ground floor; from thence, in thickness, two bricks in length, up to the under side of the floor of the two pair of stairs story ; and from thence, in thickness, one brick and a ‘half in length, to the height of eighteen inches above the square of the rafter of the highest building adjoining, and one foot above the gutter. : THIRD RATE BUILDINGS. Every ware-house, stable, and other Building, (except those de- scribed to be of the ist, 5th, 6th, or 7th rate, Ha being a dwelling- house, which exceeds one clear. story, and, does not contain more than two clear stories above ground, exclusive of rooms (if any) in the roof, or measures in height more than thirteen feet, and does not amount to twenty-two feet, from the surface of the pavement or foot- way of either of the fronts, to the top of the at aaa or coping on the parapet. _. And: every dwelling-house wrth offices’ adjoining, or connected otherwise. than by a iano or fence-wall, or covered ‘passage open on one or both: sides, which, when finished, exceeds the value of 150/. and: does ‘not amount to more than 300/.; and every dwelling-house which exceeds three and>a half squares of building on the ground- plan; and does not: amount to more than five squares, including inter- 54. Uu : ; _ ABSTRACT OF BUILDING ACT. “— nal and external walls, shall be deemed the third rate or class of building, and must be built as follows; viz.— Thickness of external Walls, shall.be two bricks in Leng at. the foundation, and gradually diminish on each side two inches and a quarter to the top of the footing, which shall not be less than six inches, and wholly below the upper surface of the pavement or floor- ing-boards of the cellar, two inches at least ; and from the top of the footing, in thickness, one brick and a half in length, up to the under side of the ground-floor; from thence, in thickness, one brick in length, up to the under side of the blocking-course, or coping on the parapet. Thickness of Party-walls, or addition thereto, shall be, at the foun- dation, three bricks in length, and gradually diminish on each side four inches and a half to the top of the footing, which shall be nine inches high at the least, and wholly below the upper surface of the pene or flooring-boards of the cellar story, two inches at least ; nd from the top of such footing, shall be in thickness, two bricks in length up to the under side of the ground floor; from thence, in thickness, one brick and a half in length, to the height of eighteen inches above the square of the rafter of the highest Building adjaae ing, and one foot above the gutter. FOURTH RATE BUILDINGS. Every ware-house, stable, and other Building (except those de- scribed to be of the Ist, 5th, 6th, or 7th rate), not being a dwelling- house, which does not exceed one clear story above ground, exclusive of rooms (if any) in the roof, and measures in height not more than thirteen feet from the pavement or footway, before either of the fronts, to the top of the blocking-course, or coping on the parapet. And every dwellinfshianse with offices adjoining, or connected other- wise than by a fence or fence-wall, or covered passage open on one or both sides, which, when finished, does not exceed the value of 150/.; and also, every dwelling-house which does not exceed three and a half ABSTRACT OF BUILDING ACT. xi squares of Building on the ground-plan, including internal and ex- ternal walls, shall be deemed the fourth rate or class of Building, and must be built as follows ; viz.— _ Thickness of external Walls, shall be two bricks in length at the foun- dation, and from thence, gradually diminishing on each side of the wall two inches and one quarter, to the top of the footing ; the footing to be six inches high at the least, and wholly below the upper ae of the pavement or flooring-boards of the cellar story, two inches at least ; and from the top of such footing, shall be in thickness one brick and a half in length, to the under side of the ground floor; and from thence, of the thickness of one brick in length, up to the under side of the coping on the parapet. Thickness of Party-walls, or addition thereto, ‘at the foundation, two bricks in length, diminishing on each side two inches and a quarter to the top of the footing, which shall be nine inches high at the least, and wholly below the upper surface of the pavement or flooring-boards of the cellar story, two inches at least; and from the top of the footing, in thickness, one brick and a half in length, up to the under side of the ground-floor ; from thence, of the thickness of one brick in length, to the height of eighteen inches above. the square of the rafter of the highest Batlding ‘adjoining, and one foot above the gutter. | FIFTH RATE BUILDINGS. Every dwelling-house, ware-house, stable, and other Building (except those not being dwelling-houses, which are described to be of the 1st or 7th rate); which is at the distance of four feet, and within eight feet from any public road, street, or causeway, and is detached from any other Building, not in the same possession, sixteen feet at the least, and within thirty feet, or connected with any other Build- ing only by a fence or fence-wall. These are of the, fifth rate, and may be built of any dimensions whatever. Xil ABSTRACT OF BUILDING ACT. SIXTH RATE BUILDINGS. Every dwelling-house,: ware-house, stable, and -other Building (except those not being dwelling-houses, which are described to be of the first rate), which is at the distance of eight feet from any public road, street, or causeway, and is detached from any other building, not in the same possession, at least thirty feet, or connected with any other building only by a fence or fence-wall. These are of the sixth rate, and may be built of any dimensions, and.with any materials — whatever. : SEVENTH RATE BUILDINGS. Every crane-house, or any wharf, or quay; every shamble, wind- mill, or water-mill; every Building situated without the cities of London and Westminster, and the. liberties thereof, uséd for work- shops, or drying ‘places for: tanners, fellmongers, | glue=makers, size-makers, calico-printers, whitsters, whiting-makers, curriers, leather-dressers, buckram-stiffeners, oil-cloth painters, woolstaplers, throwsters, parchment-makers, and paper-makers ; so long, and at such times, as they are used for some or one of those purposes, and no longer, shall be deemed to be of the seventh rate, and may be built of any dimensions, and with any materials whatever; but they are not to be covered with pitch or tar, or any other inflammable material, nor ever to be converted to any other use than as above mentioned. : “iN.B. The Act makes an exception to the materials of crane-houses, and expressly says, that the whole, or any addition thereto, shall be built of stone, brick, slate, tile, oak, elm, steel, iron, or brass. ~ It may be necessary here to observe, that the Act provides against any doubts which may arise concerning offices: that belong: to any Building of the first, second, third, or fourth rate, and therefore says, ABSTRACT OF BUILDING ACT. Xi that every such office, if detached from the ‘Building to which. it belongs, and’ connected’ therewith :only ‘by a fence or fence-wall,. or covered passage open on one or both sides, shall: be deemed, to’ be of the rate such Building would be. of,’as if the:same was not any ys cannecteds or belonged to any such ‘Building. | What particulary concerns ‘the ¢ BRicktavnns in thi Act. | os are only. the fir st, One ate oad Soerene rates ae ne ee bie thickness of external and Party-walls are’ described in-the Kalk _ The Act directs,.that, before any. Building,or,Wall, on, new: or old oeeper (within, the limits.ofthe Building Act), shall be begun, the master-workman, , OF, other person causing such Wall or Building to be built, shall. give twenty-four hours’ notice thereof, in writing, tothe surveyor, in whose;district such Building or Wall)shall.be situate. . _, As; Buildings in general. are; oftener began by the bricklayer’ than by the carpenter, it naturally follows, that it will be the bricklayer’s business to give such notice, except, where a foundation is.to be. piled or, planked ; and, then, it becomes the business .of the carpenter. | EXTERNAL Was. .. The Act calls every. front,’ ifn or: rend walls be, (not howe a Patty- wall), an.external, Wall. . _.; The footings. tothe walls. are to ne eet vlna esnien on ‘heh side ; but where any adjoining Building will not admit.of.such pro- jection to. be made on the side next as eae to such building, the Act allows it to be done as near as the case will admit, and ait to - each of the four rates. fw pan d AO The timbers in each rate may hie sedi as girders, beams, or trimming: joists; &c. which, might, be illustrated with an engraving, to shew » their: bearing on the Wall;.which; in all nase5s and in all.the 54. XX XIV - ABSTRACT OF BUILDING ACT. above four rates, may be as much as the nature of the Wall will admit, provided there is left four inches between the ends of such timber and the external surface of the Wall. : : The joints of the brick-work might also be shewn, and might. answer to the express number of bricks of which such wall is to be composed. It may now be necessary here to say something further, relative to external walls. ExternaL Wauts, and other external inclosures to the first, second, third, fourth, and also the fifth rate of building, when built hereafter, must be of brick, stone, artificial stone, lead, copper, tin, slate, tile, or iron; or of brick, stone, and such artificial stone, lead, copper, tin, slate, tile, and iron together; except the planking, piling, 8c: for the foundation, which may be of wood of any sort. If any part to an external Wall of the first and second rate, is built wholly of stone, it is not to be less in thickness than as follows :-— First rate, fourteen inches below the ground-floor; nine inches above the ground-floor. | Second rate, nine inches above the ground-floor. Where a recess is meant to be made in any external Wall, it must be arched over, and, in such manner, as that the arch and the back of such recess shall respectively be of the thickness of one brick in length ; it is therefore plain, that where a Wall is not more than one brick thick, it cannot have any recess. No external Wall to the first, second, third, and fourth rate, is ever to become a party-wall, unless the same shall be of the height and thickness above the footing, as is required for each party-wall to its respective rate. Of Party-Watts. Buildings of the first, second, third, and fourth rate, which are not designed by the owner thereof to have separate and distinct side- ABSTRACT OF BUILDING ACT. xv walls, on such parts as may. be-contiguous to other buildings, must have party-walls; and they are to be placed half and half, on the ground of each owner, or of each building respectively, and may be built thereon, without any notice being given to the owner of the other part ; that is to say, the first builder has.a right so to do, where - he is building against vacant ground.. Party-walls, chimnies, and chimney-shafts hereafter to be built, must be of good sound bricks, or stone, or of sound bricks and stone together; and must be coped with stone, tile, or brick. Oo: _ Party-walls, or additions thereto, must be carried up eighteen inches above the roof, measuring at right angles with the back of the rafter, and twelve inches above the gutter of the highest building, which gables against it ; but where the height of a Bartyavall SO Car- ried up, exceeds the height of the blocking-course, or parapet, it may be made less than one foot above the gutter, for the distance of two feet six inches from the front of the blocking-course, or parapet. Where dormers, or other erections are fixed in any flat or roof, within four feet of any Party-wall, such Party-wall is to be carried up against such dormer, and must extend at least two feet wider, and to the full height of every such dormer or erection. No recess is to be hereafter made in any Party-wall of the first second, third, and fourth rate, except for chimney-flues, girders, &c. and for the ends of walls or piers, so as to reduce such wall in any part of it, toa less thickness than is required by the Act, for the — highest rate of building to which such wall belongs. | No opening is to be hereafter made in any Party-wall, except for communication from one stack of warehouses to another, and from one stable-building to another; all which communications must have wrought-iron doors; and the pannels thereof are not to be less than one quarter of an inch thick, and to be fixed in stone door- eases and sills. But there may be openings for passages or ways on the ground, for foot passengers, cattle, or carriages: and must be arched over throughout with brick or stone, or brick and stone together, of the thickness of a brick and a half at the least, to the x1 ABSTRACT OF’) BUILDING: ACT. first and sécond rate, and one brick to’the third and fourth rate: Aiid:if there be any cellar or vacuity under such passage, it is to be phe over throughout in the same'manner as the passage over it.’ * 'No»Party-wall or party-arch, or shaft of any: chimney, new or old, must be cut’into, other than for the purposes as follow'-+ its i9clo Tf the fronts of building are in’a ‘line with each other, a break may becut; bothin the fore and back front of such building; (as'may be already erected), for the purpose .of inserting the end of such other external’ wall :which is to adjoin thereto ; which break must not'be more than nine inches deep, from the outward faces ofisuch external walls, and not to oS Cat ee = centre of the emi thereto: belonging. § ©) 8 = >. jodie And further, for'the use a acisevtiala bhedsurhiniens aid vee ipaiskas that are to be fixed: on’ the ground-floor, either in the front or back wall, which recess'may be cut from the foundation of such new wall, to the top of:such bressummer, fourteen\inches deep from the out- | ward face of such wall, and: four inches wide in the ee pan twounches wide on the ground-story- | And further, for the purpose of ‘tailing-in » stone steps, or stotie landings, or for bearers to wood stairs, or for laying-in stone corbelé for thel support of chimney-jaumbs, girders, beams, purloins, Hie wie or trimming joists, or other principal timbers. | «Perpendicular recesses may also be cut’ in any Party-wall rik, thickness3 is not! less than thirteen inches, for the purpose of insert= ing walls, and piers therein, but they must not be made wider than fiftden inches, or more than four inches deep ; and no sucks recess is to be nearer than ten feet to any other recess. i All such cuttings and recesses must: be immediately made oan tied effectually pinned up, with brick, stone, slate, tile, dpi or nee, bedded in mortar. ‘No Party-wall to be cut me any of tia apods purposes, “if the same will j injure, displace, or endanger; the timbers,’ chimnies, ou or in= ternal finishings of the adjoining buildings. | - THe Act als allows the footing ‘to: be cut ‘off ‘on neste side of. any ABSTRACT OF BUILDING ACT. xvii Party-wall, where an independent side-wall is itendea to be built against such Party-wall. When any buildings (the inns of court excepted) that are erected over gate-ways, or public passages, or have different rooms and floors, the property of different owners, come to be rebuilt, they must have a Party-wall, with a party-arch or arches, of the thickness of a brick and half at the least, to the first and second rate, and of one brick to the third and fourth rate, between building and building, or between the different rooms and floors that are the property of different owners. All inns of court are excepted from the regulation as above, and are only necessitated to have Party-walls, where any room or chamber communicates to each separate and distinct stair-case, and which are also subject to the same regulations as respect other Party-walls. Ifa building of a lower rate is situated adjoining to a building of a higher-rate, and any addition is intended to be ‘made thereto, the Party-wall must be built in such manner, as is required for the rate of such higher rate of building so adjoining. When any Party-wall is raised, it is to be made the same thickness as the wall is of in the story next below the roof of the highest build-— ing adjoining; but it must not be raised at all unless it can be done with safety to such wall, and the building adjoining thereto. Every dwelling-house to be built which contains four stories in height from the foundation, exclusive of rooms in the roof, must have its Party-wall built according to the third rate, although such _ dwelling-house may be of the fourth rate. And every dwelling-house to be built in future, which exceeds four stories in height, from the foundation, exclusive of the rooms in the roof, must have its Party-wall built according to the first rate, although such house may not be of the first rate. CuHIMNIES, &c. No Chimney is to be erected on timber, except on the piling, planking, &c. of the foundations of the Oneenimet 55. Yy xviii | ABSTRACT OF BUILDING ACT, Chimnies may be built back to back, in party-walls; but in that: case they must be not be less in thickness, from the centre of such, party-wall than as follows :— , | . eto First rate, or adjoining thereto, must be one brick thick in the. cellar story; and half a brick in all the upper stories. © : _ Second, third, and fourth rate, or adjoining thereto, must. be three~ fourths of a brick thick in the cellar story; and half a brick in all the | upper stories. irl Such Chimnies in party-walls as do not stand back to back, may be: built in any of the four rates, as follows :— : | tay From the external face of the party-wall to the inward face of the back of the Chimney in the cellar story, one brick and a half thick ;, and in the upper stories, one brick thick, from the hearth to twelve: inches above the mantle. Those backs of Chimnies which are not in party-walls, to the first rate, must not be less than a brick and. half thick in the cellar story, and one brick thick in every other story; and to be from the hearth: to twelve inches above the mantle. r If such Chimney is built against any other wall, the back may be: half a brick thinner than that which is above described. , Those backs of Chimneys which are not in party-walls, of the second, third, and fourth rate, must be in every story one brick thick, at least from the hearth, to twelve inches above the mantle. | These backs may be also half a brick thinner, if such Chimney is built against any other wall. “gd y : : : All breasts. of Chimneys, whether they are in party-walls or not, are not to.be less. than one brick thick in the cellar story, and half a: brick thick in every other. story. All withs between flues: must not: be less than half a brick thick. Flues may be built opposite to each other in party-walls, but they must not approach to the centre of such wall nearer than two inches. All Chimney breasts, next the rooms, and Chimney backs also, and all flues, are to, be rendered, or pargetted. }. on Backs of chimnies and flues in party-walls against. vacant ground, | ABSTRACT OF BUILDING ACT, xix must be lime-whited, or marked in some durable manner; but must be rendered, or pargetted, as soon as any other building is erected to, such wall. No timber must be over the opening of any Ghizame ys: , for sup- porting the breast thereof ; sat must have a brick, or stone arch, or iron bar or bars. | : All Chimnies must have slabs, or foot. paces of stone, ck a: tile, - or iron, at least eighteen inches broad, and at least one foot longer than the opening of the Chimney when finished; and such slabs or foot paces must be laid on brick or stone trimmers, at least eighteen. inches broad from the face of the Chimney breast, except where there is no room or vacuity beneath, and then ebay may be bedded on the ground. | * Brick funnels must not be made on the outside of any building of the first, second; third, or fourth rate, next to any street, square, court, road; er way, so as to extend peat! the general line of the. buildings therety: 7 No funnel of tin, copper, iron, or othedt pipe for conveying smoke or steam, must hereafter be fixed near any public street, square, court, or way, to the first, second, third, or fourth rate; and no such pipe is to be fixed on the inside of any building: nearer than fourteen: inches to any timber, or other combustible material whatever. CARPE N TER: Tose timber partitions between building and building that were erected, or begun tobe erected before the passing of the Act, may remain till one of the adjoining houses is rebuilt, or till one of the fronts, or two-thirds of such fronts, which abut. on such timber par- tition, is taken, down to the bressummer or one pair of stairs SBE and rebuilt. No timber must. hereafter be laid into any party-arch, other than for bond to the same. Nor into any Party-wall other than. for bond,: &e. and theends of the principal timbers to the floors and roof. XX ABSTRACT OF BUILDING ACT, No timber bearer to wood stairs, where an old party-wall has been cut into for that purpose, must be laid nearer than eight inches and a half to any chimney or flue, or nearer than four inches to the © internal finishing of the building adjoining. | | No timber must be laid in any oven, copper, stove, still, boiler, or furnace, nor within two feet of the inside thereof. | No timber must be laid nearer than nine inches to the opening of any chimney. Es No timber must be laid nearer than five inches to any “hea of a chimney, oven, stove, copper, still, boiler, or furnace. Or nearer than nine inches, if such timber is placed nearer than livs — of the mouth of the same, respectively. : No timber is to be laid under any hearth to a chiieysd nearer. than eighteen inches to the upper surface of such hearth. No timber must be laid nearer than eighteen inches to any door of communication through party-walls between warehouses or stables. All wood-work in general, against any breast, back, or flue, of any chimney, must be fixed by iron nails or hold-fasts, and not drove more than three inches into the wall, or nearer than four inches to the inside of the opening of any chimney. Bressummers, story-posts, and plates thereto, are only permitted in the ground story, and may stand fair with the outside face of the wall, but must go no deeper than two inches into a party-wall, nor nearer than seven inches to the centre of a party-wall where it is two bricks thick, nor nearer than four inches and a half, if such pe does not exceed one brick and a half in thickness. Window frames, and door frames to the first, second, third, and fourth rate, are to be recessed in four inch reveals at least. Door-cases, and doors, to’ warehouses only, as are of the first, second, third, or fourth rate, may stand fair with the outward face of the wall. | Every corner story-post, fixed for the support of two fronts, must be of oak or stone, at least twelve inches square. No external decoration is to be of wood, except as follows: cornices, ABSTRACT OF BUILDING ACT. Xx or dressings to shop windows, frontispieces to door-ways, of the _ second, third, and fourth rate; covered ways,or porticos to a build- ing, but not to project before the original line of the houses in. any street or way; such covered ways or r porticos, to sige covered with stone, lead, copper, slate, tile, or tin. ss, No such covered way, or the cornice to any shop window, nor the roof of any portico, must be higher than the under side oF the sill to the windows of the one pair of stairs floor. 7 Every other kind of external decorations to the first, second, third, did fourth rate, is tobe of stone, brick, ar tificial stone, stuceo, lead, or iron. > | ; Every flat, gutter, and roof,.and every turret, dormer, and lanthorn, light, or other erection, placed on the flat, or roof of any building of — the first, second, third, fourth, and fifth rate, must be covered either with glass, copper, lead, tin, slate, tile, or artificial stone. In 1809 an Act of Parliament was obtained, to use the Patent Tassera. jor covering roofs, &§c. No dripping eaves must be made next any public way, to any roof ef the first, second, third, or fourth rate, except from the roofs of porticos, or other entrances. Wood trunks must not be higher from the ground than to the tops of the windows of the ground story ; the pipes from thence upwards, must be of lead, copper, tin, or iron, and may discharge the water into channel stones, on or below the surface of the ground. Or the wood trunks may be continued down below the surface of the ground into drains, &c. or into brick or stone funnels; but. such funnels must in every part thereof be below the surface of the foot pavement. shad gh adi 'THoseE persons who are Owners of warehouses and Meablas are-re- stricted by the Act from making any warehouse or stable whatever, to contain more than a certain number of squares on ae ground plan 55. 3 4 Z XxX ABSTRACT OF BUILDING ACT. thereof, which restriction is as follows: That no stack of warehouses +s to contain more than thirty-five squares of building on the ground | plan, including all the external and internal walls, and so much of the party-walls as may belong to such stack of warehouses. Nor must any enlargement be made to any stack of warehouses already built or begun, so as to increase the same beyond the said thirty-five squares; but if any stack of warehouses is required to be larger than above specified, there must be a party-wall or walls, which must be built in every respect conformable to the rate to which such warehouses be- long; and the communications therein to be by stone door-cases and. iron doors. ei: Pr: , | If a stable building, it must not contain above twenty-five squares, and in every other respect is subject to the same rules and regulations as above described, to be observed in warehouses. : All buildings of the first, second, third, or fourth rate (except those in the inns of court, or chancery, the Royal Exchange Companies halls, and except warehouses and dwelling-houses let at a rack rent . for not more than 25/. a year), if hereafter converted into two or more dwelling-houses, work-shops, stables, or other buildings, and made into distinct tenures on the ground floor thereof, then each of such tenements is.to be considered as a separate building, and must have a party-wall or walls accordingly. 3 | WE The proprietors of , any stack of warehouses or stables are excepted by the Act from the above regulation, and may divide their ware- houses and stables, for the purpose of letting them to under tenants, _ without having any such party-wall, if each division does not exceed © the number of squares before specified. | | Owners of building thinking themselves aggrieved by the ascertain- ment of the rate of their building, made by any surveyor appointed under the Act, may apply to any two justices of the peace within whose jurisdiction such building is situated ; and if not satisfied with their determination, may appeal to the general quarter sessions, whose determination is final. If disputes or difficulties arise between Owners, concerning the re- ABSTRACT-OF BUILDING ACT, XX puilding of houses or other buildings, in separate occupations, or from their property being any ways intermixed, by being over public gateways, Or otherwise, the person who is first desirous of rebuilding, may, upon giving notice in writing to the other party concerned, 8 their intention to apply for the judgment and determination of the general or quarter sessions (to be next holden in the city, county, &c. _ where the same may happen), after fourteen days from the delivery of such notice, proceed accordingly, and obtain verdict by jury. _. The case must be particularly stated in the notice, and such notice is to be left at the last or usual place of abode of the party to whom the notice is addressed. If they are under any legal disability, or cannot be found, or if their building adjoining such intermixed pro- perty is uninhabited, it is sufficient if the notice is wrote in a legible hand, and fixed to the door, or some other conspicuous place of such house or building so uninhabited. ; - Such Owners may, after fourteen days from the obtaining such judgment or determination proceed to the pulling down their own ‘building; and may, in the presence of a peace-officer, enter the _ ground of the other Owner, in order to rebuild such' parts, or the whole of any party-wall or walls, or party-arch or arches, and in such manner as determined by the jury; and may remove to some other _part of the premises, any furniture, or other obstructions to the carry- ing on the work, and themselves and workmen to have free access during the time of working hours, till such party-wall or walls, or.» _party-arch or arches, are completed. And if such Owner or occupier, or any person or persons, shall hinder such workmen so employed for the purposes before-said, or wilfully damage the said works, they are-to forfeit 10/. to be levied,. _ recovered, and applied, in the same manner as the penalty on church- wardens. | ay 4 Within ten days after such party cial or walls,’ or ae or arches are rebuilt, the person who built the same, must leave with the Owner adjoining, an account of the expence incurred, to his, her, or their share, by building so much: of such party-wall or walls, or party- “XIV : ABSTRACT OF BUILDING ACT. arch or arches, as by the verdict so determined to be built; and_ unless payment is made within twenty-one days after demand has been made, it may be recovered by action of debt, bill, plaint, or in- formation, in any of His Majesty’s courts of record at Westminster, with double costs of suit. | Tenants or occupiers may pay the money, and deduct it out of the next payment of their rent. | When any old party-wall to the first, second, or third rate is not. more in thickness than one brick and a half from the foundation to the ground floor, and not mere than one brick thick from thence up- wards to the top thereof; the Owner ef either of the buildings adjoining, being desirous of pulling down his own building, in order to rebuild, and to have a party-wall agreeable to the regulation of the Act, must give three months notice in writing to the Owner or occu- pier of the building so adjoining, of his, her, or their intention, in three months from the date thereof, to pull down such old party- wall, and.erect in its stead a party-wall agreeable to the Act; and at the expiration of which time, he may enter such adjoining premises, and exercise the like authority, as has been expressed in the case of itermixed property. | The same in every other cBiiicti may be done, where there is : wood partitions between buildings, and the Owner of one part is desirous | of having a wall. “ee The Owner who builds a party-wall, is to be reimbursed a part ‘ | the expence, in proportion as the case may be; for example, if:his building is of an equal or inferior rate to that of the Owner’s adjoin- ing, he is to receive an equal moiety, or at least to be paid for as much as the other Owner makes use of: but if his building is of a superior rate to that of the other Owner, he is only to receive such a sum as arises from valuing it according to the thickness of wall. as is required to such arate ay building. _ Party-walls, or party arches, are to be valued at 7/. 15s. per rod for new brick-work; and 1/. 8s. per rod is to be allowed for the old brick-work of such party-wall or arch, as it contained before it was ABSTRACT OF BUILDING ACT. XXV © pulled eter}! and also to allow a per foot cube for old. timber. | ‘ Until the payment of Pisa money, os pr opeity of such shel eis the whole ground on which it stands, is vested entirely in the person id whose expence the same was built. | - The money isto be paid as soon as such party-wall is vraalite use of _by the adjoining Owner, where there was-no building adjoining before such party-wall was built; or if there was a building adjoining thereto, then it is to be paid as soon as the party-wall is built and finished. ~ Within ten days after being so finished, or as soon as conveniently may be, the owner, at whose expence it was’ built, is to leave with the Owner or occupier of the adjoining building, an account in writing of the number of rods contained in such part of the wall as_ the other Owner so adjoining is liable to pay; making therein the deduction (if any) of the value of the old materials according as it may happen, and also an account of such other expences as may have _ been incurred, in shoring up the other Owner’s building, or clearing away wainscot, &c. necessary for the purpose of building such party- wall ; and the tenant or occupier, with whom such notice is left, may pay the money, and deduct it out of the next payment of the rent. _ The party-wall is to be pulled down at the first builder’s expence, baneh expence is not to be included in the above account, it being supposed the old materials are worth 28s. a rod, and 2d. per foot cube, - more than the labour of pulling down. : If the money is not paid within twenty-one days after it has been demanded, it may be recovered, with full costs of suit, from the Owner on whom it has been incurred, by action of debt, or on the. ease, in any.of His Majesty’s courts of record at Westminster, wherein no essoign, protection, or wager of HP or more than one imparlance shall be allowed. If the plaintiff gives: three aailéiaten months’ notice to the other Owner of his intention of bringing such action before the commence- ment thereof, specifying in such notice the sum for which it is to be brought, and-also annexes to such notice a bill of the particulars with Bes sts 3 A XXV1 ABSTRACT OF BUILDING ACT. which such intended defendant is to be charged ; then if such plain- tiff recovers the full sum specified in such notice, he shall also recover double costs of suit. : | When party-walls and party-arches, or party-fence-walls, are: de- cayed, and the Owner of one part thinks it necessary to repair or _ rebuild the same, or any part thereof, and the Owner of the other part is not agreeable thereto, or is under any legal disability or other- wise, the Owner so desirous of rebuilding must give three months’ notice in writing to. the Owner of the other part, or the occupier thereof; or if the adjoining building or ground is. uninhabited, then to fix it on the door; and which notice is to be in form, or to the effect, following :— _ . | “ Apprehending the party-wall, party-areh, or party-fence-wall, or some part thereof (as the case shall be) between the house, or build- ing, or ground (as the case shall be) thereto adjoining, situate | inhabited or occupied by > and my house, or ‘'- building or ground (as the case shall be) adjoming thereto, to be so far out of repair, as to render it necessary to repair, or pull down, and rebuild the same; or some part thereof: take notice, that I intend to have the said party-wall, party-arch, or party-fence-wall (as the case shall be), surveyed pursuant to an Act of Parliament made in the 14th year of the reign of King George III. and that I have appointed | OF fates and | of my surveyors, to meet at in (being at some place within the limits of the Act), on my behalf, on the day of | next, at of the clock in the of the same day (being between the hours of six in the morning and six in the afternoon). And I do hereby require and call upon you to appoint two other surveyors, or able workmen, on your part, to meet them at the time and place aforesaid, to view the said party- wall, party-arch, or party-fence-wall (as the case shall be), and to cer- tify the state and condition thereof, and whether the same or any part thereof ought to be repaired, or pulled down and rebuilt. Dated this day of ABSTRACT OF BUILDING ACT. > jar The person to whom such notice is given, is to appoint two sur- veyors, or able workmen, to meet at the time and place in such notice. mentioned; and they, together with the other surveyors (named and appointed by the Owner giving such notice), may view such party- wall, party-arch, or party-fence-wall, and certify their opinion thereon. If the owner, or occupier, to whom such notice was given, refuses or neglects to provide two surveyors, or able workmen, against the time appointed in such notice, then the Owner may, within six days after such time appointed, provide two other surveyors, or able work- men, and they, together with those before-named, may proceed ac-. cordingly to the viewing such party-wall, &c. } | The surveyors are to give a certificate under their hands to the court of aldermen, or the next general or quarter sessions (as it may happen), of the state of such wall, &c. and whether it is to be rebuilt or otherwise. And if not done by the major part of them within one month after such appointment, the Owner may apply to one or more justices of the peace, who may appoint one other able surveyor, or workman, to be added to the. others, anc they may meet, upon six. days’ notice, to view such wall, &c. Such certificate is to be immediately filed with the clerk of the: peace, for which he is to receive one shilling, and.a copy of such certi- ficate within three days after being made,.is to be delivered to the Owner, or left at the house adjoining, or fixed on the door if unin- habited. The person against whom such certificate has hagh obtained, if not satisfied therewith, may appeal.to the general or quarter sessions to — be next holden in the: city, county, liberty, &c. whose Geterniination. is final. If the parties make no such appeal, or if they do appeal, and. there is no order made to the contrary, then the owner who first gave the notice (of his intention of rebuilding, or otherwise), may, after four- teen days from the leaving the copy of such certificate with the owner, or at the house adjoining, proceed to the pulling down, or. to the repairing such party-wall, &c. ag has been so determined, and.may XXVIII ABSTRACT OF BUILDING ACT. — enter the house’ or ground in the presence of a peace-officer, and exercise the authority as is given to Owners in the case of intermixed property. i dai AoAogo? Ls tap naian ~. Party-walls and chimney-shafts may be raised by Owners on one side to any height; and if the Owner on the other side makes use’ of them in any ‘other manner than for flues therein, he or they is to pay - for as much of the same so made use of accordingly, and to be levied and recovered as in the case of the first building a party-wall. Party-fence-walls (if found) may be raised by Owners on one side ; but are not to be used as party-walls, unless they are of the materials, height, and thickness, required by the Act to the rate of which they belong. | ; | MB OVED sciaed ati ‘The Owner of party-fence-walls, or fences of wood, may take them. down on one side at his own expence, and he may build a new party- wall instead thereof, but must not set more than seven inches on the adjoining ground ; and the Owner of such adjoining ground must not — make use of it otherwise than for a party-fence-wall; if he does, he must pay a proportionable part of the expence in erecting it. Notwithstanding, the Owner who builds such party-wall, may have set it more on his own round, than the seven inches on the ground adjoining; yet he is not to lose his right of soil, but the line of his property is to continue as before. ~ ‘If any new party-wall is intended to be built by:an Owner of one part, and the Owner of the other part is desirous of having chimney- breasts, yaumbs, and flues teft therein, or to have such other recesses left as are by the Act allowed, he must give notice in writing before the wall is begun ‘to be built, to the builder thereof; specifying in what manner such recesses, &c. are required to be left. And the builder is then to erect in a proper manner such chimney jaumbs, breasts, and flues, and also leave such recesses as are required ; and, as soon : as completed, the Owner who gave such notice is deemed to have made use of-such party-wall, and from thenceforth is liable to pay the whole of the expence of erecting such work as was desired, as well as 4 proportionable part of the expence in erecting the party-wall, to be ~ ABSTRACT OF BUILDING ACT. XXIX abesinais by the other Owner, in case “i non-payment, with full costs of suit, in the same manner as the proportionable part of any party- _wall is made recoverable to the first builder thereof. Such party-walls as are built, or begun to be built before the pass- ing of the Act, if sound, may remain, though perhaps they are not built according to the thickness now required; and it may happen that the house adjoining will be rebuilt with a side-wall, without mak- ing use of | such old party-wall; in that case, when the other house adjoining is rebuilt, or the party-wall is taken down, the Owner of such house so adjoining, is not to be entitled to more than one half of the old materials of such old party-wall, nor to more than one half the ground whereon it stood, without having agreed, and made satis- faction for the other half to the Owner who built such distinct side- wall; and if the parties cannot agree, the price and the matters in difference to be settled by a jury. : _ If the house or building so adjoining to such distinct side-wall, as above alluded to, shall be of the first, second, or third rate; or be four stories high from the foundation thereof, exclusive of rooms in the roof, and such old party-wall, not being of the thickness of two bricks in length, from the foundation to the ground floor, and from thence upwards to the top thereof, of the thickness of one and a half brick in length; then such old party-wall, when either of the build: ings adjoining is rebuilt, is to be considered as if the same had been condemned as ruimous. If such old party-wall shall have any timber of any adjoining build- ing laying through the same, and if when either ef the houses or buildings is rebuilt, and the Owner whose house is not rebuilding, will not permit so much of such timber to be cut off as shall leave full six inches of clear brick-work beyond the end of every such tim- ber, then such wall is to be considered as if the same had been con- demned as ruinous; and the same is to be taken down and rebuilt in such manner as has been —igttabae in the case of decayed party- walls. | Bow-windows, or other projections to be hereafter ee er aided | 56. 3B | \ XXX ABSTRACT OF BUILDING ACT, to any building of the first, second, third, or fourth rate, next to any. public street, square, court, or way, must not extend beyond the gene- ral line of the fronts of the houses therein, except for projection of copings, cornices, facias, doors, and window-dressings, or for open porticos, steps, or iron palisades ; and also, except windows to shops. on the ground story. And the stall-boards to such windows, must not in any street or Way, thirty feet wide or more, project above ten’ inches; nor in any street or way less than thirty feet wide, project » above five inches, from the upright line of the building to which such stall-board belongs. » : | ‘No cornice or covering to such shop-window, in any street or: way thirty feet wide or more, must project above eighteen inches, nor in any street or way less than thirty feet wide, pr oject above thirteen. inches, from the upright line of the building to which such window belongs. a eet cy or other a yeti built before the 24th of June, 1774, is ever to be rebuilt (except such projections as are before-: mentioned allowed to be) unless such bow-window or projection was. built originally with the house or building to which it belongs ; or unless such bow, or other proj jection, be within the original line of the street, square, court, place, or way, wherein the same is situated; in which case it must be built, together with the columns (if any) that support the same, with the same materials as is directed for external walls. 3 N.B. The power of the Commissioners of the Pavinty or of Sentidr for the city of London, in regard to the above matters, remain as be- fore the passing of the Act. : Where the fore front and back front of any building now built, is taken down as low as the bressummer or one pair of stairs floor, within the space of five years from each other, it is to be deemed a rebuild. ing, and the party-walls thereof are to be subject in all respects to the several regulations in this Act. The Act, however, allows all external walls or Stele inclosures that are new built (except roofs, flats, gutters, dormers, turrets, and ABSTRACT OF BUILDING ACT. | a lanthorn lights, or other erection. on the same), to be repaired with the same sort of materials of which they are now erected ; but if taken. down to the bressummer or one pair of stairs floor, then they are to be built of the same materials, and not less in their dimensions than has been all along explained, in ei to external walls hereafter to be built. | po | | | _ All internal inclosures, or wdditiers stein bi saadbtcy to be sli for separating any building of the first, second, third, or fourth rate, from any other building iets such buildings shall be in separate occupations, must be of brick, or stone, or artificial stone, or stucco, Y god: | Concerning the SURVEYOR. Tue ee, are, bo the City, appointed by the Mayor and Al- dermen during their pleasure; and, for each county, liberty, &e. by His Majesty’ s Justices of the Peace, at their respective quarter ses- sions, during their pleasure also. The method of valuing the several dwelt ener of the St se- ) Cond, third, or fourth rate, or for ascertaining the number of squares they contain, by which their respective rates are to be determined, becomes the business of the surveyor in whose district the same is situated ; and the Act directs him in two ways, as follows :— If by imal it must be done as near as the case will admit, and notwithstanding any decay that may be in the building, it is to be estimated the same as if it was sound, and the materials thereof en- tirely new, and at the common current prices of materials and work- manship at the time such valuation is made, but the ground whereon uch b uilding is erected, the fence or fence-walls, any vaults under the ground, either before or behind the building, or any lead covering or pavement over the same, or that part of the party-wall which does not belong to such building, is not to be included in such valuation. But iron railing and steps to areas,before or behind the house, are to be included. i) XXRU ABSTRACT OF BUILDING ACT. ; When the rate is to be determined by the squares on the plan, the admeasurement is to be taken on a level at the principal entrance and to take in no more of the party-wall than ee to such house so to be admeasured. | The Surveyor is not required by the Act to attend within the — twenty-four hours notice given him from the owner, .or master-work- _ man, of his or their intention to build; the notice is only given that he may know where any building is erecting within his district : but by his oath, he must afterwards attend, from time to time, in order to see the rules and regulations in the Act duly performed ; and upon discovery of any breach therein, he is to give information of the same, as soon as conveniently may be, to the Lord Mayor of London, or two or more justices of the peace, within whose jurisdiction the same is - situated. ~ The Surveyor, upon receiving notice of a building, or of any addi- tion to a building, being covered in, or the cutting into a party-wall is made good, and completed, must attend and survey the same; and if he finds the work. has been done, to the best of his judgment and belief, agreeable to the Act, he is (within fourteen days afterwards) to make oath thereof in writing, before some justice of the peace, within whose jurisdiction the said building or wall is situated. The satisfaction to be made to the Surveyor for his trouble in see- ing the regulations of the Act duly performed, is at the discretion of two or more justices of the peace, in the city, county, &c. (as the case may be); and under their hand he may be empowered to receive such. sum, or sums, not exceeding the following :— ae Me (Ist Rate, = 2) See Li, +s j-) ~ For any new Building {III - - ~. - 210 O of the < IV. ~ es Vo > VI ee wt) ee VIE 202 Oe ee ABSTRACT OF BUILDING ACT, XXXill Ist Baten scr 6 AgdbonO | ese aves ead Oy D For any addition oral-,.j/III, -.- -: - 1 5.0 ieeetion: wiidet towel vend Ved iand Hepes td den building of the Vick oe ord cir im ADD Be: De. both AE axcerdouers yl cos O. 0, iO i 5.'9 SAE ee Such sum so ordered is to be paid by the master-workman, or the person who caused the work to be erected; and in default of payment thereof, it is by warrant of one or more justices, to be levied by dis- tress and sale of the goods and chattels of such master-workman, or other person (as the case may be), together With the reasonable costs and charges attending it. | ‘Surveyors are liable to be discharged from lias office, upon any com- plaint of their wilfully neglecting their duty, or behaving negligently and unfaithfully in the discharge thereof; and. the same being made appear to the court, by whom they were appointed, it is in their power to discharge him; and for ever afterwards he is to. be deemed incapable of being again appointed a Surveyor under the Act. Each Surveyor must from time to time leave notice in writing with the clerk of the peace, for the city, county, &c. wherein his district is. situated, of the place of his usual. abode.. COURT OF ALDERMEN AND SESSIONS. All the powers and authorities by the Act vested in the Court of Mayor and Aldermen of the city of London, may be by them trans- acted in. the outer chamber of Guildhall, according to the custom of the city. On every application to the general quarter sessions for the county of Surrey, concerning any matter to be by such sessions determined, _.the jury is to be empannelled, and all parties required to attend such. 56. co XXX1V ABSTRACT OF BUILDING ACT. quarter sessions at some general or special adjournment, within six weeks next after such application; which adjournment is to be held in some convenient place in the Borough of Southwark; and that from time to time every further meeting touching all matters to be done upon such application, is to be appointed by the juNbiEeS 9 within three weeks from the meeting last held. The Court of mayor and aldermen, or the Court of sessions respect-_ ively are empowered by the Act to impose fines on the sheriff, or his deputy, for making default in the premises ; and on any person. sum- moned and returned on the jury that does not appear at the time and place in such summons specified, or appearing, shall refuse to be sworn on such jury, or to give his verdict, or in any manner wilfully neglect his duty therein ; and on any person having notice to attend touching the premises, who does not attend, or attending, refuses to be sworn, examined, and give evidence; and in default of payment thereof on demand, to levy such fines, and in such manner, as other fines set by the same Court respectively have been usually levied; but no fine to exceed 10/. on any one person for any one offence ; and such fines so levied and recovered are to be applied to the use ef the person making application in the suit, and to no other purpose whatever: and if any person having had notice to attend as evidence, does not attend and give evidence accordingly, having had ten days’ notice in writing thereof, under the hand of the party on whose behalf they are wanted, and his guardian, trustee, committee, attorney, or agent, having been tendered his reasonable charge and expences for such attendance, such person so neglecting or refusing to give evi- dence, is liable to an action on the case, to be brought by the party on whose behalf they were wanted, and in which the plaintiff may re- cover his damage occasioned by such non-attendance, with full costs of suit; and no other excuse is to be allowed for non-attendance other than the law allows for witnesses legally summoned to attend; and it is in the power of the Court to order such further sum (according to their discretion) to be paid to any witness in proportion to the dime such witness shall attend; and such witness not to be com- pelled to give evidence before such sum so ordered shall be paid. ABSTRACT OF BUILDING ACT. XKKV ~The Court of mayor and aldermen, or Court of sessions, respect- ively, upon receiving application from any party, for their judgment and determination in the case of intermixed property, where such party is desirous of rebuilding, the said Courts are respectively em- powered to issue forth their precept to the sheriffs respectively, requiring him or them to empannel and return a competent number of substantial persons qualified to serve on juries, not less than twenty-four, nor more than thirty-six; and out of such number so returned, a jury of twelve persons is to be drawn, in the same manner as juries are directed to be drawn for the trial of issues joined in His Majesty’s Courts at Westminster; and such jury so empannelled, is required to attend the said Court, at such time and place as in such warrant or precept may be required, and there to attend from day to day, till discharged by the Court; and all parties concerned may have their lawful challenges against any of the said jury, but not to be at liberty to challenge the array ; and the said Court of mayor and aldermen, or the Court of sessions respectively, are also emipowered to summon all such persons to attend as may appear to them as ne- cessary evidence in the matter in dispute, to be upon oath examined thereon; and either of the said Courts may order the jury to view the place in question, in such manner as they shall direct; and to command such jury and witnesses, until all such affairs for which they are summoned shall be concluded. Such jury is to enquire, and try, and determine by their verdict, whether the premises in dispute ought to be rebuilt or not; and if to be rebuilt, are also to determine the scite of a party-wall, or party- walls, and also what party-arches may be necessary over or under any rooms of such house or houses, or other buildings so intended to be rebuilt ; or are to ascertain the quantity or-soil of ground, or other parts of the premises (if any) necessary to be taken from the person so desirous of rebuilding, permitting such person to erect a party-wall or walls, or party-arch or arches ; and are to ascertain and award what compensation (if any) ought to be paid by either of the parties to each other, so in difference; and also to ascertain what proportion of XXKVI ABSTRACT OF BUILDING ACT.” expence is to be repaid by the ~~ in difference to the person so rebuilding as before-said. The Court before whom the matter 1s. adit is to give oe according to such verdict, and may also award to either of the parties such costs as shall seem reasonable ; and which verdict, and the judg- ment, order, or determination, is to be binding and conclusive against all persons whatsoever, claiming any estate, right, Hes trust, use, or interest therein. All such verdicts, orders, determinations, and proceedings of the said Court, are to be filed on record by the town-clerk of the city of London, or by the clerk of the peace, or other proper officer, if in the _ county, liberty, &c. And such clerk or other officer, for the filing thereof, and for a copy of the order of the Court, is to be paid after the rate of twelve-pence for every hundred words, and no more, by the person applying for the same; and after being so paid, he is empowered to deliver to any person requiring the same, an exempli- fication under his hand and seal, and such exemplification may be read as evidence in any court of law or equity. | If any presentment is hereafter made by an inquest or grand jury in London, or by any annoyance jury within the city and liberty of Westminster, or by the jury sworn in at the court leet, held by the sheriff in his turn for any hundred or place, or by any other inquest or Jury sworn within any other part of the limits of the Act, that any house or building, or any part thereof, is in a ruinous condition, the Court of mayor and aldermen (when such house or building is situated in the city of London, or the liberties thereof), or the church-wardens or overseers for the time being for such parish, precinct, or place, in which such house or building is situated (not being in the city of London, or the liberties thereof), may upon notice of any such pre- sentment being made, and a copy thereof laid before him or them respectively, cause a sufficient board to be put up for the safety of all passengers passing by, and to cause notice in writing to be given to the owner interested therein, if he, she, or they can be found; or if not, then to cause such notice:to be fixed on the door, or on some ABSTRACT OF BUILDING ACT. — XXXVI other Conspicuous part of 4indh ruinous building, requiring the owner thereof to repair or pull: down the same, (as the case may — within fourteen days after such notice. : sing made before the said mayor, or some e justice of the peace for the city of London, or county, &c. (as the case may be) of such notice having been given, or affixed, and the owner thereof has not paid observance thereto, the court of mayor and aldermen, out of the cash in the chamber of London, and also every such church-warden: or overseer, by and out of the monies in his hands, are authorized: - and required by the act to cause with all convenient speed, the whole or a part of such ruinous building (as may appear necessary) to be taken down and secured from time to time, as shall be needful for the. safety of passengers; and may sell the materials, in order to reimburse, themselves the several charges they have been at, but to be accountable. for the overplus (if any) to the owner of such ruinous building, upon personal demand thereof made by such owner; and if such.demand is- not made to ‘such church-warden, or overseer, before any other or ‘others are appointed, then the overplus is to be added to the monies the poor’s rate, and to be accounted for as such. ms Any such owner, or their executor or administrator, is at any time. or times within six years then afterwards, entitled to receive such. overplus from the church-wardens or overseers for the time. being, within ten days after demand thereof personally made by such, owner, or his executor or administrator, and such church-warden or overseer, is required to pay the same out of the poor’s rate, and. is to- be allowed the payment thereof in any account.to be by him made to the vestry or inhabitants. ittee | ! If the monies arising from such sale are ob pisudiciens to repay the charges incurred by pulling down such ruinous building, &e. such deficiency isto be paid by the owner of such ruinous building, if he, she, or they can be met with; and if such owner refuses or neglects. to pay the same, then such deficiency is to be levied by warrant, under the hand and seal of the said'mayor of London for the time being, or _ any other justice of the peace, for ‘the said city, or under the hands, 57. | 5D XXXVI ABSTRACT OF BUILDING ACT.» and seals of two or more justices of the peace: for the county, liberty, &c. (as the case shall be) by distress and sale of the goods and chattels of such owner; and if no such owner can be found, or there is - no sufficient distress to be met with on the goods and chattels of such owner, then the person, or persons, whonext after occupies the said build- ing or ground, where the same stood, is required by the act to pay such. deficiency of charges, and in default thereof is in the same manner Jiable to the distress.and sale of his, her, or their goods and chattels, together with the costs of such distress and sale; but the act also -acquits and indemnifies such oceupiers who shall have paid such de- ficiencies, by allowing such payment to be deducted out of the rent, and the-discharge of the persons to whom the money was paid, is’ equally the same as if it had been sali paid to the owner, to, whom such rent was due. At ' All monies so recoverable in neepeot of any such ruinous building within the city of London, or the liberties thereof, is to be paid to the chamberlain, and to be by him placed to the credit of the cash of the said city: and if such ruinous building is situated without: the city of London and the liberties thereof, then to be paid to the church- wardens, or overseers of the poor for the time being, ef the parish, &c. where such building is situated, and to be placed to the account of the same, or a like rate-or senioiac out of which the — so salcontinntin were originally disbursed. ~The court of mayor and atdatelaes or court of quarter sessions respectively have a power, (upon application under the hand of three or more surveyors appointed under the act) to order all irregular erections whatever, built since the passing of the act of the 12th of George ITI. to be made in every respect conformable to the present act, except where prosecutions may be depending in any other court. Such order shall be made at the discretion of the court of mayor and aldermen, or quarter sessions respectively, as near as the case will. admit, and in such manner as will come nearest to the purpose and meaning of the present act, and to be filed upon record by the town- clerk, or clerk of the peace, (as it may happen) of the court where ABSTRACT OF BUILDING. ACT.» XXXIX such order was made, and for the filing shoved and for every copy diaber eck applied for by any person, he is. to be’ paid after the rate of one shilling ‘for every hundred words. ‘The, order is to be delivered he person’ applying for the same, or. left at his usual place of abode, >, or with the tenant in possession of such irregular building, or to be affixed to the door or some conspicuous part thereof. Within nine months next afterwards the person named in such order, is to cause such building or irregularity to be altered agreeable to such order, and in default thereof must forfeit 501. and so on for every nine months such building or irregularity remains unaltered. ~ The penalty is to be recovered and applied in the same manner.as | — on distilling turpentine. | ~The defendants in all cases of informations for the recovery of — oaspaties incurred under the act of the 12th of George IIT. that are now depending before the lord mayor or justices out of session, or at their respective quarter sessions, are: mg the act discharged and indem- nified therefrom. - Any order made by the lord mayor, or i any justice cf the peace by virtue of, or under the present act, or any other proceeding touching the conviction of any offender against the present act, is not to be removable by Certiorart, or by any other writ or process whatever, into ae of his majesty’s courts of record at Westminster. -Any person or persons thinking themselves aggrieved by any sich order, they may appeal to the general quarter sessions of the peace for the city, county, liberty, &c. (as the case may be) to be next holden after such order is made, who are to hear and determine the matter, and their determination is to be final. But the person or persons so intending to appeal, must immediately upon the conviction, commitment, distress, order, or judgment, or within two days afterwards, enter into recognizance to the party appealed against, before such justice or justices with two sufficient securities conditioned to try such appeal, and to abide the order of the determination at the quarter sessions. Parishioners and inhabitants may be witnesses in any action of bill, 4 ee ABSTRACT OF BUILDING ACT. | plaint, or information, touching offences committed against the present act, either in any of the courts of record at Westminster, or upon the hearing and determination of any informations before the mayor of London, or other justice of peace, although they may be parishioners or inhabitants of the parish or place where the offence was committed, — PARISH. The church-wardens of every parish within the limits of the act, and the overseers of the poor for any precinct or place, having no church-warden within the said limits, are required by the’ act from time to time for ever to make and fix, and keep in repair, (at the charge of such parish, precinct, or place) upon the pipes belonging to any water-work whatever, within the limits of the act, such and so many stop-blocks of wood with a wood-plug, or such and so many fire-cocks to go into each pipe, and to be placed at such distances, and in such and every street or place, as they the church-wardens, or over- seers, for the time being, shall direct, and the top of:such stop-block, or pipe, must be even with the pavement of the street or place wherein the same is fixed, in order to prevent loss of time in digging down to the pipes. 3 | Such church-wardens, or overseers, are also required and empowered to fix any mark or writing on the front of the house nearest to such stop-block, or fire-cock, in order to point out where they are to be found. They are also empowered to keep the instrument or key, (by which such stop-block or fire-cock is to be opened) at the house where such mark is fixed against, and also a pipe for the water to come out of the main as occasion may require; the plugs to such stop-blocks, or fire- cocks are to be kept in repair by the owners of such main ‘or pipe, wherein the same is fixed. | : TPG If such owners shall remove, change, or alter such mains or pipes, stop-blocks, or fire-cocks, or others like them, are to be again refixed : ABSTRACT OF BUILDING ACT, xii at the expence ae cost of such owners respectively; ait to be placed in such manner as the church-wardens, or overseers shall direct, and the key, mark, and pipe thereof, to be removed to some other house accordingly. 3 Every parish within the limits of this act, is to have and rete in good order and repair, and within some known and public place in the parish, one large engine, and one hand engine; and also one leather pipe, with a socket of the same size as the plug or fire-cock; and also a standing-cock or suction-pipe, and also to keep in some known and public place within the parish, three or more proper ladders, of one, two, and three story high, fer the purpose of assisting persons to | escape from houses on fire. The respective church-wardens, or overseers, in default of any or either the above premises, upon being convicted thereof before two of his majesty’s justices of the peace for the city of London, county, liberty, &c. where the same shall happen, (as the case may be) are to forfeit ths sum of 101. one moiety to the informer, and the other moiety to the surveyor, in whose djstrict the parish so making default shall be situated, and to be levied and recovered by distress and sale of the goods and chattels of such church-wardens er overseers res- pectively so convicted. | The rewards to be paid by church-wardens, or overseers of any parish, &c. to turncocks and engine-keepers, where any fire happens, are to be in any sum at their discretion, not exceeding the following : To the turncock of any water-work, whose water shall be first found, where any plug is opened, 10 shillings. To the engine-keeper who first brings a parish or other large engine, in good order and repair, compleat with a socket, hose, leather pipe, stand cock, and suction-pipe, 30 shillings. To the next second parish engine, or other large engine, ‘complete as before said, 20 shillings. To the next third parish, or other large hee Sr A ig as Deore said, 10 shillings. None of the above rewards however are to be saa without the ap- 57. 3E xii _ ABSTRACT OF BUILDING ACT. eu ke probation | of the alderman or his deputy, or of two common council- men, of the ward wherein such parish is situated, where such fire may have happened; or, without the approbation of one or more justices of the peace for the county, liberty, &c. where the same may happen. (as the case may be) or if there is no justice, residing in such parish, precinct, &c. then by the approbation of such justice nearest pris thereto. In default of payment of any of the above rewards so ordered. by an alderman, or justice, the church-wardens, or overseers respectively, | in whose parish, &c. such fire may have happened, are liable to the distress and sale of their goods and chattels in the same manner, as the forfeit of 101. is directed to be recovered. When a fire begins in any chimney, and spreads. itself to Sher -parts, or if the chimney only was.on fire, and the above rewards have been paid in consequence thereof, the church-wardens or overseers respectively, have a power to make complaint to the lord mayor, or to some other justice for the county, liberty, &c. (as the case may happen) and who have also a power to call forth upon. notice, and to ex- amine upon .oath the parties complained. against, together. with all witnesses touching the same, and to order and award such reimburse- - ment to be an as they shall think proper, which reimbursement is to be paid within fourteen days after the demand: thereof, by the tenant, or occupier of the house, or by the lodger, in whose apartment such chimney took fire; and in default thereof, they are respectively liable to the distress and sale of their goods and chattels, to be levied under the hand and seal of such justice. United parishes are to be deemed as one parish, as far as respects the purposes of the act. But if any of the vestries of such united parishes, or of any other parish, within the limits of the act, at any time conceive it necessary for the said parish, in respect of the largeness thereof, to have more than one great engine, or hand engine, they may have two or more great engines, or hand engines, and are to be under the same regulations and encouragements, as the act makes and provides for, in any other parish, sg ABSTRACT OF BUILDING ACT. xiii The fund from whence the money is to be paid; in order to defray | Abies charges of the several purposes of the act, is either to be out of the poor’s rate, or by any especial rate to be made by the major part of the church-wardens, or overseers: respectively, together with the consent of the majority of the inhabitants, lawfully assembled at any 3 vestry or public meeting of such parish, precinct, &c. and that if so _ raised, the church-wardens or overseers are liable to the same pains and commitments, and the like distress and penalties for not account: ing for, or paying the monies by them so raised and collected as over- seers of the poor, by all or any of the laws of this land are liable. Constables and beadles are required by this act to repair to any fire on notice thereof, with their staves and other’ badges of authority, in order to be aiding and assisting, as well in the extinguishing such fire; as in preventing goods being stolen, and also give their utmost as- sistance to the inhabitants to remove their goods. | _ Church-wardens and overseers are empowered by this act to cause ‘ruinous npealdings| to be taken down, -OF NUISANCES. Those buildings which are of the fifth or sixth rate, must not be divided into distinct tenures, unless. such distinct tenure is at. the distance required, otherwise they are by the. act deemed nuisances: and must be taken down. as such. tis ford 3 Buildings, or additions to buildings, that are or may be erected since the present act of parliament took place, must be built according to the several regulations therein contained, otherwise the person who causes. such building or addition: to be erected contrary thereto, on being convicted upon oath thereof, by two. or more credible wit- nesses before the mayor, or two or more justices of the peace for the city of London, or county, liberty, &c. (as the case’ may happen) wherein the same is situated, is to be declared a common nuisance. . The builder or, owner, either or both of them, as the mayor or xliv ABSTRACT OF BUILDING ACT. ; justices may require, must enter into a recognizance, in, such sum as they shall think proper, that the building shall be altered or demo- lished within such time as the said justices may respectively appoint, and in default of entering into such recognizance, the person so making default, shall be committed to the common goal of the city; county, or liberty, &c. (as the case may happen) and there to remain without bail, till such building is altered, and made conformable to the act, or otherwise demolished, by order of the mayor, or justices respectively, and which order they are impowered to make, provided conviction was had within three months after such building was finished. : | aie The justices of the peace so making such order have a power to sell the materials, and defray therewith the expences of pulling down such building, and to account for the overplus to the owner thereof; but if the money arising from the sale be insufficient to defray such expence, then the owner must make good the deficiency, which may be levied in like manner, as for taking down ruinous houses and putting up boards, Xc. | \ OF PENALTIES. By this act it is enacted, that before any building, or any wall, on new or old foundations, or on foundations partly new, and partly old, — is hereafter begun to be built, or if a party wall is to be cut into, the’ ” master-workman, or other person causing the same respectively so {to be done, shall give twenty-four hours notice to the surveyor in whose district such building or wall is situated, and shall allow such surveyor’ (within reasonable hours) free access from time to time to view the same, and in default for each offence, must pay to such surveyor treble — the satisfaction he would have been entitled to receive in case such’ notice had been given, and also forfeit the sum of 201. to be recovered: by any action, bill, plaint or information, in any of his Majesty’s courts’ of record at Westminster, by any person suing for the same, and the { ABSTRACT. OF BUILDING ACT, xlv house or other work (as the case may happen), if not built agreeable to this act of parliament, is to be demolished, by order of the lord mayor, or justices as before said, in cases of irregular erections. | Master-workmen, or other persons causing any building to be erected, or any addition to be made, or cutting into any party-wall, must within fourteen days after such building is covered in, or the cutting into the party-wall is made good, also give the like notice again to the surveyor, and he is to survey the same, and make oath accordingly. If the surveyor of the district wherein the building is situated, cannot, or refuses, or neglects to survey the same, then such building is to be surveyed by any other surveyor appoited under the act, and the affidavit is to be filed with the clerk of the peace for the city, county, liberty, &c. within ten days after the making thereof, for which he is to be paid one shilling. And all master-workmen, or other persons by whose order: such work was executed, neglecting to cause such survey to be made; or such ‘affidavit to be filed, must for- feit the sum of 101; and if such affidavit is not made and filed within one month from the recovery of such penalty, then to pay. a further _ sum of 10}. and:so: on for-every month: till such affidavit.is made and filed, which penalties are to be recovered: and applied in the same manner as the penalty on distilling turpentine. No person or persons shall distil or boil turpentine, or draw off any oil of turpentine and rosin, by distilling turpentine, or boil any oil and turpentine together, above the quantity of ten gallons at one time in any workshop or place (within the limits of the act). contiguous to any other building, or nearer than 50°feet at the least, on pain of for- feiting 1001. for every such offence; which forfeitures may be recovered with treble costs of suit, by action of debt, bill, plaint, or information, in any of his majesty’s courts of record’ at Westminster, wherein no essoign, protection, or wager of law, or more than one imparlance shall be allowed; one moiety whereof is to the poor of the parish, wherein the offence: was committed, and the other moiety to the person suing for the same. Shipwrights, barge basics, boat builders, or mast’ makers, or others 57. 3F xlvi ABSTRACT OF BUILDING ACT, concerned in building or repairing vessels, boats, &c. near the river Thames, are allowed to boil their several materials, for the purpose of repairing ships, &c. and consequently are : by this act exempted from the above penalty. ; Every workman or every servant to any workman, who wilfully or negligently, and without the privity or consent of his master, shall cause any building, or any thing to be done to any building contrary to the regulations of the present act, upon conviction thereof before the mayor, or some other justice of the peace for the city of London, or other justice for the county, liberty, &c. (as the case may happen) upon oath of one or more credible witnesses, or upon his, own confes- sion, shall forfeit the sum of 50 shillings, one moiety thereof to the poor of the parish where the offence was committed, and the other moiety to the informer; and if the penalty is not paid upon convic- tion, such offender, by warrant, under the hand and seal of such mayor, or other justice, may be committed to the House of Correction, there to remain without bail, for any time not exceeding three months, or less than one month, unless the said penalty is sooner paid. If any menial or other servant, by carelessness or negligence, cause any building whatever to take fire within the kingdom of Great Britain, and being convicted thereof upon oath by one or more credible witnesses, before any two or more justices of the peace, must forfeit the sum of 1001. to be paid to the church-wardens, or overseers of the parish where such fire shall happen, and to be by them distributed amongst the sufferers by such fire, in such proportion as they may think just; and in case such offender refuses, or in default of paying the same immediately, upon conviction, is (by warrant under the.hand and seal.of two or more justices of the peace) to be committed to the common goal, or House of Correction, (as the justices shall think fit) for the space of eighteen months to be kept to hard labour. No action is to lie against any person in whose house, chamber, stable, barn, or other building, or on whose estate any fire begins by accident, but if any such action be brought, and the plaintiff becomes non-suited, or discontinues his action, the defendant is to recover — ABSTRACT OF BUILDING ACT xvii treble costs, provided no contract or sigh ond between landlord and “tenant, is'by the act = or made void. | OF DISTRE 58. If any distr’ad’s is made for any sum of money to be recovered by virtue of this act, the distress itself is not to be deemed unlawful, on account of any irregular proceeding therein, nor the party making such “distress to be deemed a trespasser (ab initio), but the person so ‘aggrieved by such irregularity may recover full satisfaction for wn ‘special damage only, by action on the case. N.B.. The plaintiff cannot recover if tender of sufficient amends be made before such action is brought, or if no such tender was made, the defendant may with leave of the court, (before issue joined) pay ‘money into the court, and obtain order or judgment in like manner, ‘asin other cases where defendants are allowed to pay money into ‘court. : INSURANCE OFFICE. The governors or directors of the several insurance offices, for in- suring houses or other buildings against loss by fire, are empowered by this act of parliament to lay out such insurance money, for the reinstating such buildings so burnt down, unless the party so claiming such insurance money, shall, within sixty days next after his, her, or their claim is adjusted, give a sufficient security, that the same in- surance money shall be expended in reinstating their property, so burnt down or damaged, or unless such insurance money is disposed of within that time to the other contending parties; and this is done in: order to prevent persons chit their insurance money tinder false pretences. No waterman belonging to, any insurance atten: where their number xlvill ABSTRACT OF BUILDING ACT, does not exceed thirty for each office, is to be impressed into his majesty’s service, either by sea or land, their names and places of abode being registered at the admiralty-oflice. PROSECUTIONS Depending under the Act of 12 George IIE. Tn all actions, bills, lair or informations now derseretienal or that shall hereafter depend, in any of his majesty’s courts of record at Westminster, against any owner, builder or workman, or person or persons, for the recovery of any penalty mcurred, or supposed to be incurred, by erecting any building contrary to the act of the 12th of George III. such respective court may, upon application of the de- fendant, make a rule for the plaintiff to deliver the defendant, or his or her attorney in the cause, an account in writing under the hand of the plaintiff or his:attorney, of the particular defect or irregularity so committed in any such building, and to make an order for the staying of the proceedings in such action, until such account in writing is so delivered, and then the defendant is at liberty to chuse whether or no he will defend such action, the same as if the present act had not been made; and if the defendant does not chuse to defend such action, then he is to enter into a rule of the court for altering such building and to make it in every part agreeable to the regulations of the present act, and in such manner and time, as such two or more sur- veyors, that are appointed for the city, county, liberty, &c. wherein such building is. situated, shall, by any writing under their hte direct and appoint. | _And upon such rule being exitened into, antl payment of the nal incurred by the suit to be taxed by the proper officer of the court, being made to the plaintiff, the court is to make an order for staying © all further proceedings till the time is, expired, appointed. by the sur- veyors for altering such. building in the manner they have directed; and at the end of which time the defendant may make application ta - ge ABSTRACT OF BUILDING ACT. besa xlixt | the court, and if it appears: upon oath to the court, that such building: is so altered, and made conformable to the order and direction of the surveyors, then such defendant is to be for ever indemnified from paying any forfeiture or penalties for not having originally built such. building, according to the said act of the 12th of George III. But if such application of the defendant is not made before the end: of the next term, after the expiration of the time appointed by the: surveyors, or if upon such application the proof does not appear satis-" factory to the court, then the plaintiff is at liberty to proceed in the: suit, the same as if the present act had not been made. - And it is also declared in the act, that where such rule has been entered into, and not complied with, itis to be looked upon as a contempt of the court, and such court has a power to proceed accord- ing’y against the party so offending. ~ There is an express clause in the act, pilisels says, that nothing therein contained shall extend to indemnify any person against whom final judgment was given before the 24th of June 1774, respecting. any such above suit. _ a Limitation of gine under the x idadk Act. No action or prosecution is to be pugite ' against any person, or any penalty, unless the same is commenced ratnt six calendar months next after such penalty has been incurred. : No action or suit is to be commenced against any person, for any thing done in pursuance of the act, until twenty-one days after notice in writing has been given to the person against whom. such action or. suit is intended to be brought, nor after the expiration of three calen- dar months next after the fact committed; and in every such action, or suit, whereof the cause arises within the city of London, or the liberties thereof, is to be there laid and tried, and not elsewhere. And-if the cause arises without the city, or the liberties thereof, then to be laid and tried in the county of Middlesex, and not elsewhere. And the 58, 3G 1: . ABSTRACT OF BUILDING ACT, defendant, in every such action may plead the general issue, and give. the special matter of the act inevidence. And if it appears the matter , or thing so done was in pursuance of the act, or that the action was brought before the end of the twenty-one days as before said, or that. sufficient satisfaction was made or tendered before such action was brought, or that the suit was not commenced within the time of three months as before said, the jury is to find for the defendant, and from. a verdict so found, such defendant is to have judgment to recover. treble costs of suit, under the same remedy as in other cases of re-. covering costs at law. eg It is much to be wished that the present Building Act were repealed, and a new one passed, on a more eligible and equitable scale; for according to the present Act, the houses of the third and fourth rates, are literally spoiled by reason of the cramped space allowed for the ground plan, which necessarily compels the builder, either to make the back rooms so narrow, that they are nearly useless, or the stair-case so narrow, that goods of any size cannot pass up wt; and it ts rather astonishing, that although there is not one house in an hundred, of the third or fourth rates, but is extended to the last inch of ground allowed them, it should not at this day be generally known from whence the evil arises, but that the public should lay the blame on the Builders, which, as a body, they justly deserve, for not endeavouring long since to have the iyury remedied. There are also other defects in the present Act which might be remedied, particularly the projecting, and plastered or boarded, Sronts of houses, dripping eves, §c. which, according to the present system of allowing them to be repaired, may take centuries before the nuisance can be eradicated. Again, the prices allowed by the Act for new brick-work in party-nalls, is not any mays adequate to the ore price of labour and materials. ABSTRACT OF PAVING ACT.) ih -- ABSTRACT OF THE PAVING ACT. ‘No person shall, without licence or authority for the commis-~ sioners, alter or cause to be altered, the form of the pavement of any _ of the streets, lanes, squares, yards, courts, alleys, passages, or places, , which by virtue of this act, shall be under. the management of the said commissioners, or in any way encroach upon, or break up the — same without their leave, except for the purpose of taking up, laying down, or repairing any water pipe or pipes under the same; upon. pain that every person so offending, shall for every such offence forfeit and pay the sum of five pounds, over and above the expence of relaying the same, according to the orders and directions of the: said Commissioners: the said penalty and expences to be recovered by: action of debt, bill, plaint, or information, in any of his Majesty’ S. Courts of Record at Westminster, or within the city of London, ins the name of the principal clerk to the commissioners for the time: being, to: be. commenced within six calendar months next after the commission of such offence; in which action or suit no protection,. privilege, essoin, or wager of law, nor more than one imparlance shall be allowed,. \ lit ABSTRACT OF WINDOW ACT. DUTIES ON WINDOWS. 48 GEO. II. Chap. 55. For every Dwelling-House, not exceeding six alent and under the annual rent of 5]. per annum, 6s. 6d. | And for every Dwelling-House worth 51. per annum, and charged. with the S30 of Inhabited House, 8s. AOAMRSOSCADRSABRSOSSOCHRRGPDODNHKSGOAGHOAR Windows. Pe 5. a) Windows. * i : aac PAP POPES SES TORE NS genet NT ne GES: GA BASS 1) | Od 7s-'O| (SF TEE, 8 to See ETE GE DE ae 50 2 BQN [OSE DES, Oye, Fat, Iga 10 epee hoe S°T6i 6 BRT P4Ae se gahie 25 10 11 3 BP S™ Gh BBs oC OR eee, i raoeeee 12 reap Parpareerailie tube! saat: age) abet IU? Sf Yea ooo e 13 FED GE CESEOG HG Chai Oo. St a8, 28°17 14. Varn eae 6293256 ae Big® Oe Ppa 31°13 eee eee 7 FOOT 56", Tle, €uG | Ca ee io Ses TT ere fa of add Uh ss cabs: ieee 37 6 le vic. par S40 60 PGR IO, I Soe eect ee ee . PIO" C600 ae eee ee See 19 ve 10 OPO O PRT FA ee 49 an hr taiat Sor coon Th MARGE 51S: 70 OREN TQ core oR Lee parame Cran pel aS 12 0) Soe Rae. eae oe SRS BE sien eles eo ee 12 18 O| 85°... 89 2.6.5 eee Oe ae ee ois dS TOO: GR © Gi ese 2g 57) OE nS SE eae ee 1401406) Ghee veges ... eee LEASES Meese 150-86) 100-2 tee ae oo see 26 cote eee egal 16> 5. OIG SI ORs te . + Oa 4 FO Ea ee astaveie oie LT 2.5 OS Bae RS RRR, eae es esse 17. 19° 01490 )-4190:,.... cee 7G oS ES ee SEMEN tn eg © 18:16. 9044403 iD 3? Sa oe S76 ae VAWEEIRR reece e eee 19 12 --61150°) 269° 40. GR BL ne eeee tenes een es 20° 9 6156025160 sich eee .. 85 15 32 Tn ete 21:6 6) A170: ee 90 5 SS take 60 oe ee cn esis oe, QO B - OR Cie ee a. 93am And for every Window exceeding 180, Three Shillings each. _ ABSTRACT OF BUILDING AcT, lik RULES FOR CHARGING WINDOWS. 1.—All skylights, and all windows in staircases, garrets, cellars, passages and all other parts of houses, to whatever use applied, shall be subject to the above duties. 3 | . | 2.—And every window in any kitchen, cellar, scullery, buttery, pantry, larder, washhouse, laundry ,bakehouse, brewhouse or lodging room belonging to or occupied with any dwelling house, whether the same shall be within, or contiguous to, or disjoined from the body of ‘such dwelling house, shall also be subject to the above duties. .—The said duties to be charged annually upon the occupier, his executors, or administrators, except as after provided. 4,.—When any change in the occupation shall take place after the assessment, then the duties charged on the former occupier shall be paid by the present occupier, landlord, or owner of the premises, without any new assessment, notwithstanding such change in occu- ‘pation. But, where a tenant shall quit, and shall have given notice thereof to the assessor, the duty shall be discharged for the remainder of that year, provided it shall appear to the commissioners, that the premises shall have continued wholly unoccupied. 5.—Where any dwelling house is let in different apartments, Hie ‘same shall be charged-as if let to one only,.and the landlord or owner ‘shall be deemed the occupier and. charged. But where the landlord shall not reside within the limits of the collector, or the duties shall remain unpaid by the landlord for twenty days after the same.are due, they may then be levied on the occupiers, and shall be allowed out of the next rent. 6.—Every house that is left to the care ae any person, shall be subject to the above duties, and the same shall be paid by the owners or tenants. : ; _ %.—Every window, including the frame, which by admeasurement of the whole space of the aperture on the outside of the wall, shall exceed in height 12 feet, or in breadth 4 feet 9 inches, (not being less than 3 feet 6 inches high) shall be charged as two windows, except 58. 3 i liv ABSTRACT OF BUILDING ACT. eb as shall have been made of greater dimensions prior to the 5th of April, 1785, except also the acs in shops, workshops, and warehouses, and the windows in public rooms of any house licensed to sell wine, ale, or other liquors, for the entertainment of company; and the windows of farm-houses ‘especially exempted from the duty on houses. ) 8. __Every window extending so as to give light into more rooms, landings, or stories than one, shall be charged as so many separate windows, as there are rooms, landings, or stories so enlightened. — 9.—When a partition or division between two or more windows ~ fixed in one frame, shall be of the width of 12 inches, the window on each side shall be charged as a distinct window. Exemptions from the above Duties. Houses belonging to his Majesty, or any of the royal family, public offices, hospitals, charity schools, and poor houses, except’ such apart- ments as are occupied by the officers and servants, which are to be assessed as separate dwelling houses; the windows in any room licensed for divine worship, and used for no other purpose; and the windows of _ dairy and cheese rooms, made of splines or wooden laths, or iron bars, and wholly without glass—And after the 20th of June, 1810, any window or light in any room of a dwelling-house used wholly for the purpose of carrying on any manufacture. DUTIES ON INHABITED HOUSES. For every inhabited house, which, with the offices, gardens, &e, attached, shall be worth 51. per annum, and under 201. the yearly sum of 1s. 6d. in the pound. 20]. and under 401. 2s. 3d. in the pound, 401. and upwards, 2s. 10d. in the pound. - ABSTRACT OF BUILDING ACT. | ly ABSTRACT FROM THE ACT OF 48 GEORGE IIL. RELATIVE TO SURVEYORS. In the aforesaid act, it is enacted, that the valuation of any estate or effects, real or personal, or of any interest therein, or of the annual value thereof, or of any delapidations or repairs wanted, or of the materials and labour used or to be used in any building, or of any artificers work whatsoever, where the amount of such valuation or appraisement shall not exceed 501. | fy Spal EY SL hth acca veuthve tt. ceete LOR. OF BARU 2 i aed 501. and not exceeding 100]. ~......c..seeeeeeees Go” BG 1001, and not’exceeding 2001 a. 010 0 2001. and not exceeding 5001. ~......26...--2..-.. 0 15° 0 0 MN OOK eo ee et eo Taio And it is enacted in clause the fifth, that no person shall exercise the calling or occupation of an appraiser, or make any valuation as above, without taking out~a licence, which shall state the name. and place of abode of the person taking out the same, under the penalty of 501.: such licence to commence on the 6th day of July, yearly. Penalty on persons neglecting to insert any valuation on a proper stamp 50l.-and on persons receiving the same twenty pounds. Surveyors being employed to measure off work, and not delivering the same within fourteen days after such measurement, are liable to a penalty of fifty pounds. EXEMPTIONS. Auctioneers may act as appraisers, and any valuation made in pur- suance of the order of any Court of Adiralty. lvi “LIST OF PRICES, A NEW AND CORRECT LIST. OF THE MODERN PRICES “ALLOWED BY THE MOST EMINENT SURVEYORS IN LONDON, TO THE SEVERAL ARTIFICERS CONCERNED IN BUILDING; GIVEN IN THE ORDER AS THE RESPECTIVE WORKMEN ARE EMPLOYED IN THE ERECTION OF AN EDIFICE. " BRICKLAYERS’ WORK. New place bricks laid dry in wells, per rod, (including about 4750 bricks to complete a rod), - ee Labour for ditto 3; days, - - - ~ - - Place bricks in party or external walls, (including about 4400 to arod), - ee - ~ - = - 1; cwt, offlime, — - - - = - ~ = - Labour for ditto, - - NE aegis > - - Use of scaffolding, = - - - wi tse + Brickwork, three quarter place and one quarter BLURS - ~Do.-half place and half stocks, ——_- - - 3 Eine Do. three quarter stocks and one sepsis place, - - 0 = Do. all stocks, £ joo) so oor ~ ~ -— oe Lime for do... - - - - - ~ - - Labour. for do. - - - ~ - - Brickwork done in the best manner, picked for the outside, and jointed, four courses, not to exceed 113 inches,’ - Lime for do. - - - = - ~ Labour for do. - - - - - ~ “ 4 If in garden walls, and both sides worked fair and jointed, add per foot super on one side, - - ~~ ~~ If done with river sand, add ‘ ‘ " . Old fronts of houses taken down and rebuilt, faced with new grey stocks, the old bricks to be allowed for taking down and cleaning, at per foot reduced ~ - So Sota & & 6 Of So So GS soled LIST OF PRICES. Circular work, add, per foot sper extra, 9-0 +. Do. quirk sweep, Oe tO O44) t Second malm noing: dd 918 Dis a SUISI29 JO, BOLIC 4 Best'do. —~ - a ie 3 a fu Old brick work to be taken down, if good, and to be re- used, is worth, per rod, = oe ie SG! Ifscaffolding found by the wroellin wade on the labour ronly Beam filling with place bricks, per foot oe a LTO | Ditto, Aoele: “at oa toque Jor SuiInIOg— Large sized chimney pots and ee each! 0g 40. 1897 Second do. - - - = - - 00 £ .fslg.e Meas ee fe eq, yidnG Ovens, coppers, and other solid fs are measured by the foot cube, which quantity of cube’feet, multiplied by 8 ~ and divided by 9, will give the number of rea feet in 1}-brick work; at.per foot, - ©-- HIITII“H29 7 Sash and door frames, bedded and Pee ‘each =. 014 Labour‘to ditto, - a a souse ble Large or Venetian frames, G. gis) eaeioo satis. gobs Labour to ditto, — - ml a9q qos-beno18 ~ Cutisplays or bird’s mouth; - .svods es bis .ebiv so Internal ditto, via a se jib bone .2cdoni bs Cutting'to 9-inch ramps, Ah + Se Ditto; mortice clamped, Ditto; dovetailed, LIST. \OF PRICES ms = Ditto, in drawers, not-less than fe anehes long, Ditto}, i in‘drawer fronts, » ~ INCH-AND- QUARTER 1 DEAL. Bitch; per foot super, — Ditto, edges shot, Wrought one-side, « eas Ditto, ploughed and tongued,. - Ditto, framed and clamped, — - Wrought two sides, kia, ploughed and tongued; - Ditto, framed, keyed, or aie: Mortice clamped, Ditto, dovetailed, Ditto, in drawer fronts, INCH- AND-HALF DEAL. Bough, per foot super, Ditto, edges shot; Wrought one side, Ditto, ploughed and tongued; - Ditto; and dovetailed, Wrought)two-sides, Ditto, ploughed and tongued, - Ditto, framed, keyed, or Sones Ditto, mortice clamped, af Ditto, dovetailed, Ditto, in drawer fronts, Rough, per foot super, Ditto, edges shot, 60. = TWO-INCH aed id 7s SDSS recobseoca eS oooolk So00O0D 0095002 S « << ~a ee ¥.. - os A D & - Ixx LIST OF PRICES. Wrought one side, - = 9c Ditto; ploughed and tongued, - —- - - Ditto, feather tongued, 90 «= - => Ditto, dovetailed, - “ oe at cr Ditto, framed or clamped, = ee is ; Wrought two sides,) = =m Ditto, ploughed and tongued, - - 4901 Ditto} framed, keyed, or clamped, ~ - m Ditto, mortice clamped, sill = Z Ditto, dovetailed, — < = © Ditto, in drawer fronts, ~ — ¥ TWO-AND-HALF INCH DEAL. Rough, per foot super, - « ‘s Ditto, edges shot, - = . e Ditto, ploughed and tongued, - Se eae Wrought one side, ~ - L- ater Ditto, ploughed and tongued, - - - Ditto, clamped, re £ it iu Ditto, one side and framed, ~ - < " Ditto, feather tongued, ~ ~ oo Wrought two-sides, - - ~ - - Ditto, ploughed and tongued; - - - Ditto, framed, keyed, or clamped, ~ wl Ditto, mortice clamped, = ca Ditto, dovetailed, c see er) } THREE-INCH DEAL... Rough, per foot super, - - “ Ditto, edges shot, - Z 7 ote Ditto, ploughed and tongued, - = z Wrought one side, ~ ~ f “ Ditto, ploughed and tongued, - a 4: Ditto, feather tongued, wii ert ot : cocoookh ~~ — Ceooc°o -@e@EGSeBS SD 0OoOHSS OH: S2eoc 6 6 rm © WHO BPH HE eS ee ® Se Ree: - Shee ip WWW HHH WH WWE BS BOD 9 WH WS G) Gr BH GO % GO RD ¢ preg LIST) OF PRICES. Ditto dovetailed, -- - - ci .) Selina etibo Ditto, framed, Gin watt. 20a ‘ Ado a Wrought two-sides, - - ~ a“ wy ~ © Ditto, ploughed and tongued, a Pe 2 od ofdoaB Ditto, framed, keyed, or clamped, 3 a ao iQ Ditto, mortice clamped, a wipupe ix eh hO Ditto, dovetailed, NN - = SO VENETIAN OR PALADIAN SASH-FRAMES. Venetian deal cased -frames,-oak sunk sills, for 13-inch sashes, iron pulleys, prepared to hang single, per foot super, - - - - - - 50 Ditto, prepared to hang double, em - 0 Ditto, for 2-inch (iities| brass pulleys, prepated to hang single,. ~ - cade = & = 8 Ditto, prepared to Hane double, ~ = eles soe 0 Paladian ditto, for 13-inch sashes, prepared to baiig single, 0 Ditto, prepared to hang double, on ~ - O Ditto, for 2-inch sashes, ditto, - = - @O Venetian ditto, with wainscot pulley piecesand beads, ditto,,,.0 Ditto, ditto, with mahogany ditto, - - = 0 Paladianditto, with wainscot pulley pieces and beads, ditto, 0 Ditto, ditto, with mahogany ditto; = - oe Oe | SHOP-FRONT. SASHES. Gleandahal inch ovolo deal; per foot:super,. - - 0 Two-inch ditto, - = - ~ - 0 Ditto, circular on the plan, flat sweep, - = 0 Ditto, 4-inch-to the foot, a BOTS Le = 0 Ditto, ends only, = - - - - 0 Ditto, circular heads, - “ - = = 0. Two-inch wainscot, ovolo, - - - - 0 Ditto, circular on the plan, flat sweep, - - 0 Ditto, 4-inch-to the foot, - - ~ - Q Ditto, to circular ends, = o - 0 % dw BO BO © 0D t & = t 3 Dee eS eS CoS me HW WeH eK OO . | aaa ps rr) Oaonyoeh ow as WOfrd Of pad jek ON Or COON eoad COORWMUAAR OD — Ixxit LIST OF PRICES... Ditto, t6 ditto heads,- - —m = ive heaolicd Two-inch mahogany ovolo, - - - = - - Oe Ditto, circular on the plan, flatsweep, 9 = - i=) Ditto; }4inch to the foot, - - ~bouonad bog bestia: Ditto, ends only, - - bsqeuslo10-beyord aS: heads measured square, — a surislo 69 SKYLIGHTS. One-and-half inch’ ovolo, per foot super, } MALTA Ditto, on an irregular. plant ~ = i Ditto, hipt, o- 9 9) = =) ss svoliug Hot Ditto, on an irregular plan, _ - “ ae T'wo-inch oak ovolo,- - - dvob-oned ot berg Ditto, on an irregular plan, 9) => 9 = wiesz toe Ditto, hipt, - - ~ - — a ae Ditto, on an irregular plan, - - ait 5 or SASHES AND FRAMES. Deal cased frames, oak sunk-sills, 14-inch ovolo ‘sashes, ~’ single hung, iron pulleys, best white lines and iron’) wdights, per foot super, ~ > Yuseais a Ditto, double hung, © = 9 so ee ow this Ditto, circular heads ‘measured square, = 9 > =) = Ditto, with chord bar, in thickness to meeting rail, is Ditto, circular on plan, flat sweep;- -- = » Deal cased frames as above, and 2-inch deal ovolo sashes,’ «: brass cased pulleys-and iron roca single hung, On Ditto, double hung, — - 4 2 tedt «ailt ao ale Ditto, circular Heal eisarce: square, - oc ond of-la Ditto, with chord bar, in thickness a to meeting onl 2 Ditto, circular on plan, 4-inch to the foot, - -» so) =) Ditto, 4-inch to the foot, = ~ - (oloeo Jtooemen Circular heads, 4-inch to the foot,» 02 (4) .os—t} co #eily Ditto, 4-inch-to the foot, - - a: Saat ella -“@beSbS SCSSaT (66656 S% Sseoeooooos S0000 ‘Com News! > WB GO 0D HH OO? WwW Ere R OO ro A Ww Oe OMbwrh AW = pa RR OOS DONKAWSe Bang june 4 Iprans fours J Pane ee eo. on es eh 6 oe SAMO RK! SB ~ LIST OF PRICES... Deal cased frames, oak sunk sills, wainscot pulley pieces and beads, 2-inch wainscot ovolo sashes, brass cased axle pulleys, double hung, with patent lines, - - Ditto, circular heads, measured square, - -° = = Ditto, with chord bar, in thicknesses to meeting rail, | - Ditto; circular on plan, 34-inch to the foot, --. © >= Ditto, 4-inch to the foot, re af i “i Ditto, circular circular-head, 4-inch to the foot,. ~ Ditto, 4-inch ditto, = - ~ - 5 = Deal cased frames, oak sunk sills, mahogany pulley pieces and beads, 2-inch mahogany ovolo sashes, brass pulleys, and patent lines, - - ~ és x Ditto, circular heads, measured square, ~ = Ditto, with chord bar, in thicknesses to meeting rail, - Ditto, circular on plan, 3-inch to the foot, ~ “ Ditto, 4-inch ditto, = - - = = - _ Ditto, circular circular-heads, g7inch “4 the foot, ~ pes 3 4-inch ditto, — - mad enyix L in DADO. 7 Inch Heal, keyed, per foot super, -— eohiiers Ditto, ploughed and tongued, - - % = Ditto, feather tongued, ~ - wa tl Be Circular on plan, flat sweep, - - - - Ditto, raking ditto, — - mig e £ ih Ditto, quick sweep, = - _ - “i “ Ditto, raking ditto, - ‘es ¥ - i Ditto, wreathed to stairs, ~ - FRAMED BACK LININGS. Inch deal, two pannel square, per foot super, - - Ditto, bead butt, - ea mt u 8 Ditto, three pannel square, - - ~ ~ - Ditto, bead butt, ~ a = Aya! . 60. Pi 3 N On <= 6: ©. © "O.0 O02 3° eooooq°ocdeo ¢o oOo oO © ®m 09 €O £9 OD pe mt pe feo fehl feed oO OCHOCKORYW Ww AADOno0 CARAWOA oO COE We Ixxiv LIST OF PRICES. Ditto, four pannel square, = Ditto, bead butt,” le ~ ‘O— ree Honine oe BACKS, ELBOWS, AND SOFFITS. Inch deal, plain keyed, per foot super, eisd bide Ditto, framed square,.- © - geojpok vei or gik One-and-3-inch, plain keyed, - - ¢ ‘ Ditto, framed square, - . ee - _ Ditto, moulded or bead butt, -- ° _ = Ditto, bead flush;. 9 - woteoirt ee im = Ditto, reed flush; 9 = = aE € eV ORO Cte e Ditto, raised moulded, < ae ae tie Ditto, framed square circular on plan; flatsweep, ~ = - Ditto, moulded or bead butt, - — = - “3 Ditto, bead flush, .-- ~ Whiiek ia * Ditto, raised moulded, _ - . One anda half square framed back, circular on plan, quick sweep, veneered rail and canvas backed, ~- - > Ditto, moulded or bead butt, - - - - Ditto, bead flush, - 22 Bs Bt 4 Ditto, raised moulded, s a = + Qne and a quarter square framed soffit circular one edge, Ditto, moulded, = “i wn ” Ditto, bead flush, ~ 3 . * ci Ditto, raised moulded, - “ : u ‘. Ditto, circular two edges, - - x a Ditto, moulded, ~ 2 - E Ditto, raised moulded, 2 e * 3 Circular two edge quick sweep, square framed, ~ Ditto, moulded, - “ “ e = Ditto, raised moulded, - m= = ee Semi-circular, moulded soffit in two pannels, veneered rail canvassed back, aa fe 5 i f Ditto, raised moulded, - = . " ect oy a) coCocOoOtzOoCOoOCooCCO geooooooooseoos © et © dD BH HK HB SH SS = — Dao & BB OD GO CO BW W HD &W b© CO GO LO 29 fond ; ss Aww Oonnt a uu w o ay RPOnwoh DON Er dS Of WwW DO ©9 © LIST: OF PRICES, Plain circular soffit, backed on cy ouees wehnok and filled. in with canvas backed, - - _ pe BOXINGS. 3 Inch deal, splayed, per foot run, - = . Ditto, proper boxings, =~ - - dif ba One-and-quarter inch splayed, ss - - Ditto, proper boxings, - Lie ie a aioe eel are Ditto, circular on plan, flatsweep, - = 9 - — Ditto, g glued i in thicknesses, - een ag amen - Ditto, ei cvcnléy head, - - - Inch boxings, for sliding shutters, including pulley pieces, linings, beads, fillets, &c., - - = - Ditto, 14-inch OS, - - _ 2 phat INSIDE BOXING SHUTTERS. Three-quarter-inch deal clamped flaps, one height, per foot super, - - = “ ce as Inch ditto, - ae - uy rcs age One-and-i-inch ditto, - - - _ - ‘Inch deal, two pannel square, - ms Bs eae ee Ditto, bead butt and square, - ! 2 G Ditto, bead flush and ditto, - ae eee re Ditto, reed flush and ditto, - - nd “d Ditto, beed flush and bead butt, One-and-3-inch four pannel square, framed in two heights, Ditto, moulded or bead butt, - - aun Ditto, bead flush and square, - ~ “ e - Ditto, moulded and bead butt, ze b u Ditto, bead flush and bead butt, —s_ - c > | OUTSIDE SHUTTERS. Inch deal, clamped, per foot super, - - - “ One-and-i ditto, eae _ ‘ " One-and-4 ditto, -. Ne ae = ‘ SO? O-G20 0-050 ook S © SsOOCooes 6-SO Oo ooo oC G6 SS © WH 8 WO LO om we wd ee ee oe jf On pod fed oe) qe OC OLSEN Or G9 Cr B® 9 = O oO) > lxxvl One-and-i-inch two pannel square, Ditto, bead butt and square, ~ LIST OF PRICES. Ditto, bead flush and ditto, - Ditto, three reed flush and ditto, Bead flush Ta bead butt, INSIDE SLIDING SHUTTERS. Inch deal, two pannel square, per foot super, One-and-3-inch ditto, ditto, - Ditto, moulded or bead butt and square, Ditto, bead flush and square, - Moulded and bead butt, Ditto, bead flush and bead butt, SHUTTERS TO SHOP FRONTS. One-and-$-inch deal, two pannel square, per foot super, Ditto, bead butt and square, - Ditto, bead flush and square, - Ditto, three reed flush and square, Ditto, bead flush and bead butt, Bead flush, both sides, Ditto, and hea ads Ditto, double rabbeted, DOOR LININGS. Inch deal, single rabbeted, per foot super, Ditto, and beaded, - Ditto, circular on plan, One-and-3-inch deal, single rabbeted, Ditto, and beaded, Ditto, double rabbetted, Ditto, beaded, Ditto, head only circular on plan, single rabbeted, Ditto, and beaded, = ‘ = \ 5 Z = as = coooook ooo0neo°o ‘oOo ooocooocoeo°o eoooo°o ee ~w Wr RF EP SDE eS ee stax & OO @ cont SD oO Oo = 00 Orr OF © Co \ EP LISTON PRICES. Ditto, double rabbeted, “Ditto, and beaded, ~ a bus be espe fy 2 LGD - $2 ~ - ate gf sblivony 10 tiucdh be &. ib hy a 6 oe fen eg. it 0 Whole deal rough, - - - - 90 Ditto, ploughed and ee oe = 19que lool 19q918u pe toringg- Ditto, wrought, wr nd a - - = = Steupe bie feb Ditto, proper, - pes ae - asupe bes 330d re BO + FRAMED DWARF DOORS. rd bob! Inch deal oie pannel square; per foot super «0° ill ‘bib ) Ditto, bead”butt or moulded and bie a ~ flevlt beod bag Ditto, beadflush and square, - ~ ind_bsed bag deeit ! ~ Odie. Miog deg? Whole ‘deal; one pannel square, 60. 30 ST ket ta te One-and-quarter-inch deal, three-pannel square, — @ 2 7 Ditto, bead butt or moulded, “2 COC! - < ~ @ pB'G Ditto, bead flush, _ . sisque Igot 94 Supe nasq-oF} (55 1,10 | Ditto, raised moulded, ae M ; OID isnneg- fh iid One-and-half-inch three-pannel square, dupe louftaq-ows ~ tnd 0 A 1, . L Ditto, bead-butt or moulded, - _ - oritb lonnsq-w8 dik Ditto, bead flush, “‘ sxsupe bas cbobluort 10 ery is” 4 4 Ditto, raised tibalded, ~_ - Bsupe e Ime slau heal 38 Ditto, head-circular, on plan aus, fio £G.q00t. donited- D2 Ditto, moulded or bead butt, HIT Pe ie De rh ages +i ud bea 3.0 Ditto, both-edges circular, square framed, supe Sas deaf be iit Ditto, moulded or bead buttsiom so duu bsod fine daulfbesY id Ort © af a 3 pre ef bsbluogr .otitT Gre Ho LEDGED DOORS. A ae at RRS pe Three-quarter-inch deal dit th nine foot supers ie soaitad Body ry Ditto, ploughed and. tongued,, bas tobisoa? 10 Hud hse@ obj Ditto, wrought, ee ee Sisupe | Dis ik Th» a id Ditto, proper, - 2946 -)sblevon: yo tot id Bas deuit bed ° 1.2 Becercen rough, > . = _ = ashia Hiod heinod dud Ditto, ploughed and tongued, - —~ msiiy dyed doy Py. 0 ‘oid Ditto, wrought, - - ~ a ro Ditto, propenpGod TSViVAeAUOe HOVE OWT Os. smh, OOF ST oY ‘Lexvili LAIST: OF PRICES. Ditto, bead butt or moulded and square, Bile, bead flush and ise a Gateteor ha" e -poors. Inch deal, two-pannel square, per foot super, — Ditto, four-pannel ditto, ~ - “Whole deal, two-pannel square, on iq-991 Ditto, four-pannel ditts, =~ - =~ <7 von’ Ditto, bead butt or moulded, and square, Ditto, bead flush and square, - - One-and-half-inch four-pannel square, Ditto, bead butt or moulded and tebe Ditto, bead flush and square, = ’ Ditto, bead flush and bead butt or pula’ pies Ditto, moulded both sides, - -— Ditto, bead flush both ‘sides, - ~~ - -One-and-half-inch six-pannel’square, =" Ditto, bead ‘butt or moulded and square}?! 9) = Ditto, bead flush and square, - ~ - Ditto, bead flush and bead butt or moulded back, Ditto, moulded both sides,~ - ~- - Ditto, bead flush both sides; ~ - BoD ‘oy Barts ae. e = i pee “TWO INCH FOUR-PANNI EL DOORS: Fou penne! square,-per fk super, Bangaod Moulded and square, - . - |_| - Bead butt and square, - . - | - Bead flush and square, ss - Moulded both sides, ‘+! “fH As: Ditto, and bead butt, - Ditto, and bead flush, - ,,...-,, 5... ‘Bead flush and bead butt, _ - 8 ¥ ‘Bead flush both sides, - -. - : a ‘ dant i 5355856. 88806885 bE Le bebe 3 ROO BOMRO WO WTO ROT eS Wh Ow tf RH Om LIST OF PRICES. | Ixxix SIX-PANNEL DOORS. eeernal square, peo foot: Hep iaagaene isok thoyits Moulded and square, = 2h) er a ee - Bead butt and square, a we joot Teg dood itud head bos’ oi i Bead flush and square, “tose ae = wosdateoR baed Mionidéed both sides,- - «= - .bovist slannee yosian auch oD Ditto aid bead butt; - - ~ ~~ wvuieisthshlycae d Ditto and bead flush; - - -_ ae ae eee Bead flush and bead butt, - - ~ -boaigrage vids Bead flush both sides, . - air As (jan tye Medley tes o i TWO AND A HALE INCH -FOUR-PANNED 1 DOORS. EE Seeley © HOO Hw HE ® OCNARGHE MWHS Four-pannel square, per foot super, - —~ ~qu2 Jen Moulded and square, - 2 _- 48g eter 2ST AO Bead butt and square, - - E i Agianeg? Bead flush and square, - udueblooanisw Jo imate ty Moulded both sides, - ~ - 1 woagodem esugbriog! Ditto and bead butt, - - ree ae HIE Ditto and bead flush, - .._- i a clad Bead flush and bead butt, - - © - . =«{ Q Bead flush both sides, - = = * ‘Two AND A HALF INCH SIX-PANNEL 1 DOORS. al COMNDUA WO - CORD £9 LOW WO 1D WO 2 Sak pergel square, per foot super, abi eee ls doe ‘Moulded and square, - ape te phat pa bas B Bead butt and square, - =— ~ . Bead flush and square, - | Moulded both sides, - “4 e Ditto and bead butt, =) = =) je Ditto and bead flush, °c) ei) ecm foe. Bead flush and bead i ek a ee = te ert bend Bead flush both sides, - - = acne bale ae, Folding ditto, - - - Se ee tail he Double margined ditto, — - pe DB Ou wewwers a a) 3 : L - ' Ge phn ad ‘LES? OR PRICES. i PADANCHMBOORST = us. db Pwo-and-half-inch deal six-pannel:-squarecdoors,>fonm |ouieq- xi i upiper pannels quirck ovolo and bead, pettbscreotrna s bobluoM © bead flush; and bead butt back, per foot i sit bes 10d Bao Ditto and bead flush-back, - - -— - FISD oe fD:8 Bpodt Ditto, with four upper pannels raised, - - =, fies ‘Hod ObSolk Ditto, with moulded-raisings, - - - ~ =jud heed 105 Sif Ditto, folding, — ah" a ws ee - wlaoh beed bOs o3i8 Ditto, dpyble margined, - - © - - tiud-beod bre dOR BpoO% “WAINSCOT AND MAHOGANY DOORS. i2uft Booth Oné-aid2hal firich fo urpantiel waitiscot, 'dduble monldedy A. Oy > © per foot super, . - - ~ 490ue Foot 19q .sisupet serrboce 4.0 : Ditto, Honduras als SNE ~ gee ia hs mo 0 A ) Ditto, Spanish, _- ~ aaa, gene, Se Stia 19d Qeakt = Vig hi 5 ri Ewozinch six-pannel. wainscot, double moulded... .00 hee 40, Ditto, Honduras mahogany, - r = pepe pes ae Ditto, Spanish, _ ~ - sect font Or, v % sas! lary ft he wi Fore neeie SASH DOORS. So" =a pee! ottid Grecand: half-inch ovolo two-pannel square bottom,” pore Cea D8oc foot super, - ~ - Oi its Bead butt and squares. oy yo sy yyy ty ..# Bead, flush and square, - “ Coe oo Moulded and square, 7 > Sa q 918 Moulded both sides, | : " es: 2 ‘a tawety ‘~ j i | A 4 ip iD a ae anes all parent Se, pg pe, me - 4 7 «= ai rr aw” : “a ® bese 4 a ; bed ft ‘ : 794 aig e ce be F pt ath 3 tt + ¥ a arr 1 ro: ie ‘ ra < ¢é we ; — Ra sasl Pager. Bottom pannels, ‘oma LIST OF PRICES. ae on ‘ wt aa [es Ditto, framed top, with clamped. flap, efsileisieiD 41600 f 4-inch mahogany, square monies os - - Ditto, moulded, et it ST oth ee Spanish mahogany, -- -=-- - > 5@. dente WAINSCOTING.. . ach deal square framed to ceiling, including facia’ and skirting, per foot super, ~ - - _ Dwarf ditto, ditto, - os - | 14 deal square framed to ceiling, - - - Ditto, moulded or bead butt, - — = d < Ditto, bead flush, = = - asic! - - Ditto, three reed ditto, - o * “ 12 inch dwarf square framed,. - = ~ “ Ditto, moulded or bead butt, ~ o ‘ ™ Ditto, bead flush, - - - ~ ~. Ditto, three.reed ditto, — - -. - = If framed two pannels high, - =. “ = o If raking to stairs, — - - - Y - If raised moulded, =. - 3 as “ PARTITIONS. 13 ingh square framed, including facia and skating per» foot super, - - . “ ‘i pa 13 inch ditto, - - % - i. Ditto, bead butt or moulded and square, = is Ditto, bead flush and square, = - “ Ditto, moulded both sides, - - - P. a 2 inch square framed, os - Me se Ditto, bead butt or moulded and riba e - Ditto, bead flush and: square, - - we * Ditto, moulded both-sides, ~ - a 4 s ee 8D 0. fo yeas oe [Oka BINBS 0 2 6 Oa SIRI OisSsrO! rin hot 4! Aun Sao nee pig 0 42 0 1 8 » Ov owl 0d based HOw bya 10> Serb BC 0 1.6 Ow bee 0 1 8 0 19 Ob diBs Oi BSG MMs gig Oe POS: 0. Bes O01 9 0 110 O0°> 111° LIST! OF ‘PRICES, a a 8 Ditto, and bead flush, oom, * = 009 deol-roq. sob! Ditto, bead flush and bead butt, i =! lerosep led tet ay _ Ditto, bead flush both diac - hm ei dn i: ee . STAIRCASES, STRING BOARDS, HAND-RAILS, Be. Tach white deal steps; risers and bree pe foot: super, Yellow ditto, me a i RODRIG. jest Ditto, moulded and Suede to Piss vith. ye S91 Oi Ditto, mitred to string boards, hie ote ‘geind Ditto, dovetailed for balusters, © 9209") fa ym Whole deal, yellow steps, risers aie carriage, 9 914 0 Ditto, with moulded nosings to close strings,’ “2.9%: (=i _Ditto, mitred to string dagd and dovetailed for balusters, i wEQe Ditto, winders, with one circular end, saoid? at bedisowy Ditto, both endscircular, - - isa O Pwned, Qh bag - Quarter curtail, glued upright, each, we IIE ST he - Ditto block and veneer, ditto,.-- = == ~- - Pag 2 Proper curtail step and riser, ditto, =. “ - Inch deal, wallstring, - ~- =- . = | = 13 inch eS tapos Meee Cae eae te Gk ea ea 13 inch ditto, a - Inchdeal, plain string,board, framed, rabbeted, aad beaded, | ijinchditto, - — - - ia * “% Ditto, sunk, - Hg oe a a gehen Ditto, and moulded, = 5) 4-5) 5) se - Ditto, and mitredto risers, - - -— = Ditto, level circular, glued i ghar BHO dh 1 aan Bie Ditto, sunk face, oH) OA fg ALPE. i, 4 -Ditto,-and moulded, - ae oes 4 Ditto, solid wreathed, greed upright, we peel bibhe Ditto, sunk, a e i Od bes hous ,arosgnie Ditto, moulded, se faa Wate Poe cs Mane Ditto, wreathed in thidkuastes, Aah MeO tea OO Ditto, sunk’and moulded, = - =, Teste My Pek 70 0 0) 0 0 @) 0 0) 0 0 0 0 1 0 0 0) 0 0 0 0 0 0 0 0 0 0 0 O —s CROWHROQeE SOSOHROROHROCANQRAWHKO OW — —> Ixxxiv LIST: OF PRICES. D2 ede | } s. d. ‘Deal‘moulded, per foot run, ~ - -- faoh bas Bes biel Ditto; sank for balusters, -- © + asd bas cao be@d bul Ditt6, ramped, at wena - = 2dbi2 Mod teu bs “OF 38 Ditto, circular, - ae - - - 04.0 Ditto, quirk/curve, or swan ae DASATS coke an O52 3 Ditto, solid wreathed,. 4490. aren Fy . eis it ~y | ta Honduras mahogany, pated Si : fe & PAW FR Ditto, ramped, ~ - “ > Ditto, circular, .- - a. - Ditto, quirk curve, or swan ae o* 2 Bs Ditto, solid wreathed, «.9).>-) - 4 3 s. Ditto, under.12 inches opening, | - ‘ Stroll ortwist to curtail, = =) - & Scroll, wreathed in thicknesses, §.-- 4: + ~ Ditto, under. 12 inches opening, - a re | an? we ius 7; ee ‘ COUNTERS, 9 Inch. wainscot tops, per foot super; Ob. 1993 by ; aba S Honduras mahogany ditto, 2 ee ee ee ‘s , Spanish ditto, o Se ee ee ee Wainscot moulded, Seanad fronts,. =, “! - Honduras mahogany ditto, ae t ” 8 Spanish. ditto, - 2. uals Rie RE, eb a yee ro in om s COLUMNS AND" PILASTERS. 6 . Whole Sale _diminished columns, glued ; and blacked, 1 exceeding 14 inches diameter, per foot super, = a te Ditto, from 14to 10 inches, - — = - sides Ditte, under 10 inches, od pe Loge ies 14 plain pilasters, glued and backed, be el a 2 inchditto, - | - a te ee a Sa Caps and bases, glued in thicknesses, OR PD Ditto; glued. upright, _- ee sir, 9% a Ai yi i 10158 0,10. «* j A ees =f Eo 60 11,0 , 12,6 sat Ky ‘O a iO ite Ay oO. by 1, 10)).0 - 4:14::0 cde. [TAs EAP hoe - * p<< os (os “a } et » # Yat - — > rt : Lees a 4 aud ee Oy & YY ea. . re ee ti. O09. QD auR 3H : has od n bos jo rf — “ving 7 ro “> os wd — a beret wt — * ee , — : a “4 “7 oon we pa ” - ; . 99 ON OO ON LIST OF PRICES: Ixxxv “MOULDINGS. 1 etG is. Common base, surbase, architraves, and all other mouldings, . - _ per foot super, - - - =. - 0 1 8 Quirked ditto, - “ - ~ - 0 110 Ditto, worked by hand, —_—- = - - 04 @00 Circular on-plan, flat sweep, - ~ = 01938816 Ditto, quick sweep, - ~ - - ah) 4 Onc 8.6 Ditto, corner only, - - - - - 0° 6.6 Semi-circular heads, not less than 4 feetopening, §- O 5 6 Ditto, under ditto, ~ - “ ~ - (016.6 PRICES OF DEALS. ye DEALS. per Foot|| BATTENS. irHr1cK.| 10 ft. | 12 ft. | 14 ft. |Run/Super.| 10 ft. | 12 ft. | 14 ft. meneame | | Geese | GE | eee, || Ee | ee pl s. d.|s do |. aS Gets. Us Nise ds gout 8a da Shs, 3inch|}10 10;}12 11%)15 O}1 2| 1°73] 7 24) 8 73/10 O }O a4 do.|| 9 33/11 -12)12°11]1.0/ 1431/6 3/7 53/8 8 J2do. |'7 53| 8 103/10 4]o 93 1 13) 5 0 | 5 1031 6 1139/0 6 4 ] Ee Ss el on —Eeee: |S | rr | ee | eee | | es | | CE | sees | | | Ido. 3 10/4 7|5 4]05|0 7/2 73/3 13/3 73I0 3; eee aes | | Ue | ERE ERMRe SUE | ae | | OEE | CEC eee | eee, | Oe | $do. |(2 114} 3 63) 4 13/0 4]0 58] 2 03] 2 5 | 20 98 tdo. 2 53}2 11/3 4g]o 33)0 43/1 sa}2 0] 2 4 lo 2: {Slit Deal. 95112 6 | a IP Oe7 0° 3gf1 53] 1. 8g) 2 ~ 04 ea 3Q ae Ixxxvi ‘Oné cwt. of lime, One load of road:drift, One bushel of hair, - One bundle of laths, 1000 nails, - Plasterer, per day, — Labourer ditto, Boy ditto, ~ N.B. Scaffolding to be charged extra. ~ : RENDERING. | One coat, per yard, - - - - - O Ditto and set, - - - = - - O Circular ditto, -.,. - ~ - - O Float and set, - — ~ “ ~ - - O Circular ditto, - ~ - “ = wi 06 | Ditto to groins, - : - - - 0 Chimnies render and set, each, = - Ak 08 LATH AND PLASTERING. |) °° i TRACE a or ee | ——— | ner Ditto, one coat, . “ - - =.0) Ditto, and set, - - - = = 0 Ditto, in ceilings, = = - = ne 0) Ditto, circular, - - . - - O Ditto, to groins, - - - - ro 0 Lath, plaster, float and set, - . = - 0 Ditto, in ceilings, £ - “ “ - 0 Ditto, circular, - ~ » ~ =O ROUGH CASTING. One coat, on brick, per-yard, =~ - ~ en 8) Ditto, floated, - - “ - - mw LIST OF PRICES. res = en by s Ler iie : : ters? s et 2 rs ey ; f : Sige / Ab -_ SS J he? at PLASTERERS’ PRICES. ecocoogoh fume, mR oO OOM ho 2 DORAKWwWaAdS & i wm OREO O SCOqQRORN wr wr wm mee Oo jam = ee een LIST OF PRICES: IXxxvii OS gee Pgs F Ditto, circular, - s = e ~ AO ee ae Lath, plaster, and rough east, IMHO _ = 0 2 .6 Ditto,and floated, _— - ~ Cy ee ae COS Ditto, circular, 2 ie “i ae ae ge “Die 3.1.4 STUCCO. | Bastard, on brick, per yard, . - Lie - Ss Mane Circular, Oitog = _- - _- ome i OE tine O Ditto, on lath, - - Si = 440742 .ottth A-O1di6 Circular, ditto, - - -— ~ ee tiib @e 3510 Trowelled stucco, on-brick, = - = ss. snnihinoos toners Circular, ditto, - - eee . * oftib toni Qe 2310 Ditto, onlath, - _ - ei it. = = ath tint Oe 31449 Carcular, ditto, +.;. dani) oan ~ - -. 0 3.9 Outside stucco, tr owelled on ick: and done with Dorking Ee e -lime, _- - o - _- = (0°2).79 Ditto, on lath, and ditto, “ = oo Lom mold hactkini® Circular, on brick, ~ _ * hom attic 22 3330 Ditto, on lath, - - ~ - oor 3° O SMALL PLAIN MOULDINGS. Ovolos, per foot run, - — -— “ - oe OQ OO A: Small reed mouldings, - a - ee OOOOUR Compound ditto, 3inch girt, - beg = - 0:0 6 PLAIN FLOATED FRIEZES, AND SOFFITS. Floated frieze on lath, por foot super, - ~ - 00 4 Ditto and set, -~~ = = - ~ = On > Soffit.on lath, floated and set, - x | = - 0 0.6 Ditto circular, - - ~ - ~ - -0..0:10 Ditto. elliptical, * ~ ~ - 0.1 O Circular soffit, bead and flush three pannels:on lath, per | footrun, - - ~ - ~ = 6 Os 45:6) Ditto ogee and bead sunk in three pannels, ditto, - 0 0 Ixxxvill LIST OF PRICES. CORNICES. ajesiq apye: § Sincere, = eee = — - ee Ainchditto, - = < = rc =.) aan 5 inch ditto, - - “ “ = OS ay cae 6 inch ditto, - - - ~ - ~ - 20 7 inch ditto, - - -' Suet - L BSOee 8 inch ditto, - ~ ~ = = 100 Tag Plain block ditto, 24 girt, . ° - - 0 0 Ditto, 34 ditto, - - “ : . UW QMB Enriched mouldings, cast solid up to 13 inch girt, ead Sie, Ditto, 24 inch ditto, - - - - - 0 0 Ditto, 3h inch ditto, - > - = - 0 0 Ditto, hollow members, put up separate, 13 inch girt, - O O Ditto, 24 ditto, ~ ~ “ A ey a Ditto; 34 ditto, - ~ ~ - - - Os4 Enriched block ditto, 24 girt, - “ . LF82 Q9 eps Ditto, 34 girts, oe Bm ~ - 2 Ow ENRICHED FRIEZES, SOFFITS, AND STRINGS, 4inch, per foot run, - ~ ~ =. ms 5 inch, = ca id ieee : - 6 inch, = = s 3 a 7 inch, = “8 es i ee 8 inch, ¢ ae 2 4t9 1 @ © © &*o — m= ek CO ©} BAYLEY’S COMPOSITION-STUCCO. Plain face on brick jointed, per foot, Ditto to facias, pilasters, &c.” - Plain mouldings, - Colouring in imitation of stone, - Aris, per foot run, - - Reveals, margins, &c. - - i i oooooe°o ° jm wOHAOAWOA- CoaGe Gr te, CaS oOoaongap® Nhmad ban} he a ao oe) 10° LIST! OF PRICES. = & Soe Oo: fe & - PARKER'S ROMAN CEMENT. Render float and set on brick, per ya ~- ah Ditto onlath,- ~*~ - ~ OS eOY gis! Ditto jointed” ‘to imitate stoné, —= ~- aoe oe oe Ditto circular on brick, ethan - Q Ditto on lath, ih “- om mg iSTodGa 19 Ol “LIME WHITE AND WHITE-WASHING. Lime white, once,per yard = =m Ditto, twice,-per yard, a = — ‘ Whitening to-new work, ditto (iess .borerpe oe Wash stop, and white to old work . = feygeupe Ditto to old ceilings, slightly ornamented - - = Ditto, richly ornamented =. - as - ~ Plain moulded cornice, washed, stopped, ae whitened, per foot run, a = _- - os Ditto; to enriched ditto: w «OP FD Sal Sodenwt Ditto, to ditto and plancier, - ~ ~ a Ditto, washed, stopped, and whitened i in distemper, ~ \ COLOURING. Wash stop and common colour, peryard ~- «© = Ditto French grey, straw, orange, orlemoncolour .-- | French grey, with verditure, ~- ioe =i S French green or mineral ~ -- = - - MASONS’ PRICES. Mason, per day, - re le é f Polisher, ditto, i a ee Sh 2, Labourer, ditto, ~ = ee ee © Cube Portland Stone, °- “ ~ - he Ditto, scantling size, ~- a“ zs , e Plain work to ditto, per foot super, ~~ vs 7 a a ere 3R RD ea oo ococOoco. Cc. Ba * SO So) oo Se > im Oo OP) SOoOCOCCO KOabkUEan jon Wwe Soood ROrxcx! : LIST! OF PRICES. ee Sunk.ditto, «TVA NATO WAMOd < she 2 Moulded,ditto, ~ amy sland ap toa brit joc Circular, plain work, . - “> os meee. ~ his Sunk-ditto, oo eo os Hole sitiisn ohbod Mt Moulded ditto, = - PP Gai opind ao tslu&i Sunk-joggling, per foot run, - wes te os =isOn Grooving, ditto me Oe ee Throating, ditto- ot 8 Portland paving in straight courses, 14 inch.thick,, - 0 Ditto, 2 inch, _ - - + [= 20) Ditto, taken up, squared, aa relaid = = .- 9 = @O Ditto, rubbed, squared, and ditto - = - «= 0 24inch paving, sci MiUHWIOS om = 0 3 inchditto, - - -- - ~ - OO Portland stone sinks, 7 inchesthick: .-. = = - 0 Ditto, 8 inches ditto,-- =~ = ~ - =- 0 Ripe holes and washers let into ditto. - = = = 0 HEARTHS AND. COVINGS. | Inch fire-stone coving, per foot super, ~ 4G 1i inch ditto - = =. of FD = - 0 2 inch ditto, _ - _- byes cymy = “ moe OS “+ 4 tnchnditéo, 2-2 acces: - me win ee Ds Double block-ditto, —- a 1 egy ibe che 4 inchsearch to ovens, = = mario; te oy WINDOW SILLS AND: CHIMNEY PIECES. Purbeck paving in random courses, per foot super, - 0 Ditto in straight courses, ditto, ~ - - 0 Ditto, ribbed: ditto, - - ae ~~ en 0: Channel stones, per foot run, - - “pith be Oy Step ditto, - _ - Sab “a wiltae York paving, - - = “ x a isd Ditto, rubbed, - “ a a Ay Ditto, in slabs, “ ake ue ae Bey bt et et 00 CD et foul mt oe C CO SoO ary ee ACOROAAQW DAANNWS « fom OAdvAwonn LIS? OF PRICES: xcl et a: Beale aii. ter eg Ditto, 3-inch paving var ee ee oe a ee =! ei) Jd 6 ip rubbed, _ em mie = NG beg ek SG Bremen pavirig laid in mortar, - = Ce ee, Oe Old hath taken up and relaid, ee ens, wet Or Ue. 6 If bedded in tarras, - 7 - mye ee A Old ditto, taken up, Squared, snl bedded, too dee Chou og Marble veined, per foot gepeas co cr geet yf ce - 310 0 Plain work to ditto, — Oe eT Oe Tae - 0 4 6 Sunk ditto, - - - yaa, soul lh ge ta Moulded ditto, - - - ie - 010 0 Circular plain, - - - ante (50 meme OOO Sunk ee ~ - - =. 010 0 Moulded ditto, - - ea ee 7 x et SOE Inch mantle jambs and slab, per foot super, - . - 0 9 O Good statuary in mantle, jambs, and slab, ~ aie OEE O Bastard ditto, in ditto, = - os - 010 0 Egyptian ditto, - = - Lee eee RL OPE Bae Dove ditto, _ ae ~ a : Sa - 010 6 Back joints, per foot run, - - eee - O O 6 Small hollow, - AN ales - SO A WONG Single beads, - } - - - ~ - 0.1.56 Double ditto, - ~ = = = -. O0- 9:6 Treble ditto, - - = “ = at OU 4A. O Flutes, - “ cy: Tee er oS Os 88 Rounding corner, each, = - + - 0.3 6 Astrigal necking, oo lot anal he amass =) 0% 3,04 Turned Brterds, per pair, ee ee Oe Purple covings, 2 inches thick, per foot super - - 0. 7 6G Black ditto, ditto, - ~ - meee eT 6) Dittd, marble slips, ditto : “ _ = 140% 9.10 Yellow or black plinths, per foot cube, > - 210.0 Plain'work toditto, per foot'super, - ~ ea Gall) Oy 23:0 Slate‘covings, $-inch thick, - — % be ‘ XCli LIST OF PRICES« Old marble, statuary, or veined chimney pieces, cleaned __ “and reset, per foot super, _ - a oe Se Ditto, jointed and reset, eS ak yi your ew Ditto, polished and reset, _ ~ ~ - 2 Ditto, ripped, polished, andreset, _ - - ie British marble, sanded, polished, and reset - ‘ PAINTERS’ PRICES. Common colour, once in oil, per yard, = - sea Ditto, twice, - - - ee a ie Ditto, three times, “ “es - ie ~ Ditto, four times, ~ - - - - Grained mahogany or wainscot doors, extra, - . Ditto, and varnished, ~ ~ -— Marble and varnished, per foot, - ‘ - Sash frames each, and sash squares, per dozen, once in oil, aoRttOe LICE. = - = “ “2 = Ditto, three times, - ~ - - = Ditto, four times, ~ - “ Narrow skirting, once in oil, per foot run, ~ Ditto, twice, - “ ay ee Ditto, three times, - ~ « = Ditto, four times, - “ - 4 inch reveals to windows, once in oil Ditto, twice, - - ~ Ditto, three times, - ~ Ditto, four times, “ . « Water trunks, once in oil - Ditto} twice, = - Ditto, three times, ; - Ditto, finished green, - A i Window sills, stone strings, edgeof coping, &c. once in oil Ditto, twice, - - 3 Ditto, three times = ooo OO SADOA™ Powe * 6 BSH SHB OSS SHES OCC KP SS xe Aas . : mm CO OF ' ARWARLKARSR SE Swe” LIST OF PRICES. Hand-1 als, réveals, base or surbase mouldings, small pobele | cornices, and other similar articles, once in. ouT - Ditto, twice, - aed - Bit: cf - Ditto, three times, - - ot ee is bs GLAZIERS’ PRICES. : NEW SASHES. Best Newcastle crown, in squares, 3ft. to 3ft. 6 in. per foot, Ditto, of 2 feet 6 inch, and under 3 feet, ditto, Pits Ditto, of 2 feet, and under 2 feet 6 inch, ditto, 5 ied | Ditto, under 2 feet ditto, = - ® " ed Second Newcastle crown, in squares of 3ft. and upwards, do. Ditto, of 2 feet 6 inch, and under 3 feet, ditto, - Ditto, of 2 feet, and under 2 feet 6 inch, ditto, vgs Ditto, under 2 feet, ditto, ~— - - : ~ Third Newcastle crown, in squares of 2 Be and upwards, do. -Ditto, under 2 feet, ditto, aa. a aise = Crown glass ground, in squares of 2 feet and upwards, do. Ditto, icy. 2 feet, ditto, - = Z - Green glass, ditto, ~ = - . SINT mete Old glass es the risk of the Laie ditto, ie , £ 0 OLD SASHES. | Crown glass, in squares of 3 feet to 3 feet 6 inches, per foot, Ditté, of 2 feet 6 inch, ditto, - ~- - - - Ditto, under feet 6 inch, ditto, ~ - ci geet Ditto, under’? feet, ditto, : i : as Green glass, ‘ditto, : Ce a - - SLATERS’ PRICES. WELCH SLATES. Doubles, per square, - : - ‘ : Ladies, — Poth m . é . ° Countesses, —- - : 7 7s in 61. 38 Ly Cc ocoocoooococeoco OO Or Ose © A>) © © Om B® M0 W © WW bo WI WH WO & bo bo 09 CO & Gr om O DO XCili cad fumed, “MADOCOCARHAOCHWSOwWO —| © XC1V Sauer LIST OF PRICES. Duchesses, . - . - = } : Queen’s or large ditto, - - -— . Rags, . = “ = . ~ Imperials, - : : - “ Patent slating, - - : : Tavistocks, - oe «tier Roe Westmoreland, - - reer ay: PLUMBERS’ PRICES. Plumber, perday, - - wage icy 3 Labourer, ditto, ~ a ss Milled lead, percwt. “ ~ r x Cast ditto, ditto, : : : < Old lead re-cast, ditto, - : 2 Solder, per |b. . . : - PIPES. 34-inch water pipes, perfoot, = - “ “ £ ditto, - - Me a ai 1 ditto, - - “ : ‘ 14 ditto, - - ro gia oe = 14 ditto, : : - : z 2 ditto, : oy Weote a et P inch joints, — - : “ “ M 3 ditto, ° sige i : ; 1 ditto, i 4 - * 2 14 ditto, - i - = 14 ditto, - a Gear “ a ve 2 ditto, - Mrs Goa 3 inch rain-water pipes, per foot, - 34 ditto, - * : s . 4 ditto, - are : 2 é : 2% inch pumps, complete, . : ‘ 3 ditto, a i OOo =m im OO mre www ow wh wrmooncoonocnooaoooooo°o ae © wo bom bed co — m Coo ff woooo°o 0, 09 © & bo COM bw HOR OWN 00060 ORF eooncooooogogoeoaoac 33 ditto, A ditto, . LIST OF PRICES. - ' = _ 3 inch force pumps, with iron work, _ - 34 ditto, 4. ditto, 14 soldered pipe, 2 ditto, 23 ditto, — A inch funnels, per 42 ditto, 5 ditto, 54 ditto, | 6 ditto, a -_— = foot, = a = = = =~ Lact i = = ow - = = Lal = ns = = a = - ‘oot é: frsonk MEAN AAO OO ORO ® eooo0soooauumant A io) < CDNATOAGVCAX*WODOROR DIRECTIONS TO THE BINDER. 1 The Work to be divided into Two Volumes. Vol. I to consist of the whole of the Letter- _ press, arranged as follows : | ) . : oe Se | he Act of Parliament, and List of Builders’ Prices, beginning with Sede et aie pe fs this leaf, immediately if follow the Introductory Address ; Practical Architecture, being Signatures A to 28, immediately to follow this leaf; and to be followed by the Architectural Dictionary, beginning with Signature B, and ending with Signature 5 P, which concludes the Volume. ae Volume LI to consist of the whole of the Engravings, Plates 1 to 177, numerically arranged. “The Frontispiece to face the Title-page, Volume I. ie The Work may be bound in One Volume, if required; in which case, thélarhoee g ment, ought to follow the above Plan, generally. | = a | t New Editions of valuable Standard Works, embellished with Engravings, now publishing by T. KELLY, No.17, Paternoster-Row, London.’ ~ The OXFORD ENCYCLOPEDIA; or a Dictionary of Arts, Sciences, and general Literature: including, in distinct Treatises, an accurate view of the Arts and Sciences in their modern and im- proved State. By J.A.Srewart, M.A. and C. Butter, Esq. In about 350 Numbers, Quarto, price Kight-pence each, forming five Volumes. It may be had, also, in Parts, at 4s, and at 8s. each. The BRITISH LAWYER, or Cyclopedia of Law ; forming a complete and concise Digest of the various Laws and Srarurtes in the English Constitution. Including an Epitome of the Acts of Par- liament lately passed, connected with Trade, Commerce, Manufactures, and Agriculture, of the United Kingdom. By Henry Aptineton, Esq. of the Hon. Society of Lincoln’s-Inn.—A Work every Man ought to possess, as it is calculated to guard Persons against precipitating themselves into vexatious Law-suits, and which too frequently terminate in their utter Ruin. In 30 Numbers, 8vo. price 6d. each, or 17s. 6d. bound. . KELLY’s New System of UNIVERSAL GEOGRAPHY;; or, an authentic History and inte- resting Description of the whole World, and its Inhabitants. comprehending.a copious and entertain- ing Account of Asia, Arrica, AmErica, and Europe: with a complete Atlas, and numerous En- gravings. Comprised in 14 Parts, at 6s. or 168 Numbers, Quarto, price 6d. ‘each. KELLY’s BATTLE of WATERLOO; with Biographical Sketches of the most distinguished Waterloo Heroes. Compiled from the most authentic Documents, and interspersed with Original Communications from a Gentleman who was present on this memorable Occasion. Completed in 42 Numbers, Quarto, at 6d. each; or in 7 Parts, at 3s. KELLY’s HISTORY of the FRENCH REVOLUTION, and the WARS produced by that memorable Event, to the Deportation of Buonaparte to St. Helena. The whole compiled from official State-papers, and other authentic Sources. Completed in 20 Parts, price 3s. each; or 120 Numbers, Quarto, at 6d. each. LAWREN CE’s COMPLETE FARRIER and BRITISH SPORTSMAN; containing a syste- matic Enquiry into the Structure and Animal Economy of the Horse; and every Disease to which he is tiable 3 and an Account of the most celebrated Horses, Dogs, &c. In 42 Numbers, Quarto, price 9d. each, or in 7 Parts, at 4s, 6d. BARCLAY?’s COMPLETE and UNIVERSAL ENGLISH DICTIONARY, enlarged and im- proved; including a Pronouncing Dictionary; an Epitome of the History of England; Geography, &c. with Maps of the Universe, and Portraits of Sovereigns. In 66 Numbers, Quarto, at 8d. or in Parts, at 4s. each. HUME’s STANDARD HISTORY of ENGLAND, from the earliest Period of authentic Re- cord, to the Revolution in 1688: with a CONTINUATION, by Hewson Crarxe, Esq. Hume is completed in 100 Numbers, Quarto, at 6d. each, or in 10 Parts, at 5s.; and the Continuation in 60 Numbers, or 6 Parts. . GENERAL VIEW OF ARCHITECTURE. Tue origin of this noble science may be ced; in the Indian’s hut, and in the Greenlander’s cave; they shew the rude beginning from . which it has grown to the present perfection and magnificence. Man, from seeking shade and shelter under the trees of the forest, soon felt the necessity, and saw the utility, of bending them to more commo- dious forms than those in which he found them disposed. by Nature. To huts made of trees and branches. leaning together at top, and. forming a conical figure plastered with mud, succeeded more conve-— nent roofed habitations. The sides of these habitations, and. the inner supports for the cross beams of the roofs, being trunks of trees, from them. were. derived those beautiful, symmetrical columns, the. Orders of Architecture. — / Though the art’of building was cultivated by the ancient Egyptians, . Assyrians, and Persians, with great success, in the production of such . gigantic structures as the pyramids of Egypt, which exist to this day, . and the Labyrinth seen by Herodotus, with other works of extraor- dinary and vast magnificence; yet, we owe to the Greeks the first’ structures, in which elegance and symmetry were combined with | comfort and convenience in the plan. The three branches of AnrcuirectruRE are denominated Cwil, ‘ Military, and Naval. ; CiviL Arcuitectur, is the art of designing edifices: of every kind, for the uses of civil life in every capacity; as habitations for dwellings, churches, meetings, synagogues, colleges, halls, palaces, &c._ and may be distinguished with regard to the several periods ‘or states. thereof, into the Antique, Gothic, Modern, &c. | Another division of Civil Architecture arises from the different pro- portions which the different kinds of buildings rendered necessary, that we might have some proper for every purpose, according to the bulk, strength, delicacy, richness, or simplicity required. Hence arose five Orders, or manners of Building, all invented by the ancients, at different times, and on different occasions; viz. Tuscan, Doric, Ionic, Corinthian, and Composite ; the history, characters, &c. of each whereof; see under their respective articles, Comrosirs, Corintuian, Doric, Ionic, and Tuscan; see, also, Plates I. and IL. a . PRACTICAL ARCHITECTURE. =~ ‘EXPLANATION or PLATE IIL. This is a plan -of the principal floor of ‘the élevation: on Plate ITV, designed for -a villa fora person of quality. ‘The basement, or rustic story, is divided into-a numiber of rooms for the principal servants; the kitchen, and other conveniences, shouldbe detached from the mansion, that it may not be*incommoded by steam or heat; the coach-house and stables should be a building answerable on the | cther side of the mansion; . which, by the help of:a-colonade, will form a communication, and have an agreeable effect. ate a. Hall. | | H. Waiting-room. an b. Saloon. | I.I. Stair-cases lighted from roof. c.c. Withdrawing-rooms. | 4. A small back stair-case to the d. Dining-parlour. pe dining-parlour,, &c. ee. Breakfasting-parlours. | L. A closet. jf: Small parlour. _| m. Library, or study. G. Dressing room. n.n. Water-closets. EXPLANATION or PLATE ‘IV. Plate IV. is an elevation of the Corinthian order. The Corinthian, being a very rich order, never shews its elegance so perfectly, as when placed in.a single series on the principal story. It should. consist only of three stories; a basement floor, a magnificent:principal floor, and an attic; ‘the lower floor, by being sunk a little, makes.a pedes- tal agreeable to the order, which should pe always one-fifth of the height of the whole order. Though we recommend a rustic face in the basement story, yet the delicacy of the order that is to be raised upon it, should always be considered, and that it ought not to be:too rude and harsh. The builder should run.a cgurse of stone, about one foet three inches high, on the level of Das, ; -D. ‘The fiodr to lay the! tiNegole to Work, ‘after being taken ¢ gt | of ae cistern. G4 + _K. His bed. [ 23 ] | EEEE. Posts to support: the ‘floor. ~ above. s Pi Dhelktined® oliow 6 x0t ae _ G. The plate to old the ies: _H. Private door to go into the kiln. I. Malster’s room. L. Room for malt, previous to its * being taken away.” | M. Stairs to go up above. N. Mill-house. ‘CAC ad he second story. _B. Opening in the floor to take the barley up. | ley on to dry a second time. _D. Drying loft for the barley over grated iron, to admit the heat to the barley. EK. Ventilator. Br 0 Day: loft for the malt. | “PLATE O. The hépper. P. The track of the mill “hotse. | Q. Stable. >) RR i Stalls: S. Manger. T. Cart-house. VVVV. Steps to go up above. AEE Wk Coal-room. | XXX. These dotted lines shew tow much’ the loft above ex- “tends. over the ground line of the kiln. G. Skreen to let the malt downin-_ to the room L, in the first story, | H. Store-loft for malt. €. Thesecond floor to lay the bar-. : I. Mill. | K, Barley-loft,. | L. Hole to let barley Baw: into the kiln, the flooring being the cistern B, in the first story. M. Stairs to go down below. N. Granary. aves O. Hay-loft. ribdoE RRR. Reps to eo below.: XXXVI. Two 0 Designs for Iron Railings. PLATE XXXVI. eA Design for the Ceiling i in the Bathing Room, Plate XXKVI pe ANAA. ‘Projection of the Cornices. The ere Fan in the Centre is the Sky-light: eee ae ae | serch XXXVII. The » Elevation a Plan of a Wesion for a Gothic ovienaiente to be erected on a Mount, for the conveniency of taking pis con- | sulting the Stars, &c. PLATE XXXIX.. _ The Elevation and Plan of the Hall. Story, of a Design for a Geademan! § wee AA. Porticos. B. Hall. C. Anti, or Waiting-room, D. Library, or Gentleman’s Dressing-room. E. Breakfast and ‘Dining-parlour. ¥’. Saloon, the height of which extends to the a of the aan aha receives light froin the circular windows, as seen in the elevation. G. Drawing-room. | H. Retiring-room. I. Room for making Tea, &e. KKKK. Oici’s, or small halls leading to: the different aplantatlenth and stair-cases, lighted by semi-circular headed door-cases, fronting — the stair-cases. L. Gentleman’s stair-case, lighted by a sky-light.° M. Servants’ stair-case, lighted by a sky-light. N. These dotted lines shew the breadth of the gallery (on the upper story )to give admittance to the several. rooms. O. Water-closet. — PPPPP. Book-cases. | The floor above consists of Bed-rooms, em S Dressing-room, Nursery, &c. the offices « on the basement story. 1" [ 2> } Minh Meith tab pont? aah 5 4 ee bo ROE ’ + Ceres ee x ‘ TE XL PLA : 4@ é ¥ . ; D ag ve A Design for a Chimney Piece... NOG HOUT SING LNMNIOT IO, i Bection of the Bathing-room, (or Plate SXKVN) taken from the Conversation-room to the fei shite recta bere PLATE XE The Elevation and Plan of the principal Story, of a Design for a Hunting Villa; to be situated in the Centre of a Forest. - This Villa is for the meeting of company in the. morning, previous to the sport, and afterwards to return to and finish the diversions of the day, by partaking of an elegant rural repast. To add something new to this design, in the centre of the Saloon is contrived a circular false flooring, ten feet diameter, which (when the entertainment is ready) is to be opened in the middle, and each half to slide into the thickness of the flooring; a doublé stair-case will then be discovered - for the conveniency of servants.coming’up and down, having an as- cent two ways, up which are brought chairs and tables, so contrived as to join together, and form a ahs circular table, round which the company bedi placed, the dinner is served up. in the same manner, the servants waiting in the middle; after which, every tang is removed and. the false Bobrink closesias before. ie 13. _ N—O [ 26 j The Offices are underneath. ; AAAAAAAA. Steps ascending to the Colonnade. BB. Colonnade. CECCCECC: ‘Columns, being rough bodies of trees. ‘DD. Saloon. EE. This’line shews the extent of the bine flooring. ae ey ~ F. Stairs to go up. G. Stairs to go down. H. Well of the Stair-cases. II. Footing off for the servants to wait in. KK. Circular Table, round which the company sit to dine. L. Withdrawing-room. M. Dressing-room. N. Water-closet. PLATE XLII. Two Designs of Iron work, for Door-cases or Frontispieces. PLATE XLIV. Section of the Side opposite the Alcove, in the Refreshing-room in the Bath, Plate XXVI. | The public are desired to observe, that by taking Plate 41, of thie section of the bathing-room, and placing Plate 34, of the section of the alcove side of the refreshing-room, on its right side, and the above Plate 44, on its left side, they will have a complete section ca a through the whole building; it being taken through the conversation- room B, bathing-room C, and refreshing-room E, of Plate 26. . Note, the sides of the conversation-room are finished in the same manner as the refreshing-room, except that side where the alcove is. PLATE XLY. Section of the side of the Library (opposite the windows) in Plate XX XIX, taken through the book-cases on each side of the room. PLATE XLVI. Two Designs for capitals in the Ionic and Doric taste. PLATE XLVII. The Plan and Elevation of a Windmill, for draining the Water off the Fens, near the Island of Ely, Cambridgeshire. It is situated on the edge of the river, (in the road to Ely,) which surrounds the island of Ely, to which drains being cut, and the waters from off the lands running into them, the mill, by its working, empties the drains and forces it into the river; thus, by continually exhausting the water in the drains, the lands are kept dry, which, for want of _ this useful and simple invention, would be constantly laid under water, and large tracts of rich pasture rendered useless. [ 28 ] A. Perpendicular pies aaviteeh turns ae ee Bb and I ditto | above. 9 Phas .O stodroaitiad | . B. The Trundle. OU BSTIVROD INF 10 298 Oh AsO C. Cogg-Wheel. i2 Jarl Jqaems .ccoo'l-onitleedtas ort ag epee D. Its Cistern to nae WE eh ee E. Horizontal Spindle which turns the Pom ulas C, and the large wheel F’, or scoops. F. The Scoops, or Wheel, that forces the water out of the drains. G. Its Chambers, or contracted part of the drains. H. Water driving out of the chomay nefby the turning. of rhe FODOR> wheel) into the river. 3 | | I. Mill-watcher’s bed. K. Fire Place. LL. Ladder to go up the ie In the elevation is seen ie: scoop SyHeal: one half being above the surface of the water, the other half under. The dotted line shews its extent, it is covered all round except | the small opening seen in this elevation for the discharging the water. f | PLATE Pe che The Longi¢wdihal Section; and Side-front of the Insilatium, c on Laie Pace This section is taken through tlie passage N, tite siti neha es, ie saloon C, the: other inleasa EK, and the bathing-room F.) Having half-way ascended the stair-case on the left, ‘you enter into the picture gallery, being over the servant’s-hall, passage, andthe room for pre- paring ‘necessaries: itis of the ame formas the pbc ihm anil receives light from above in the same manner. [ 29 J PLATE pK Tob. /The Plan astl Elevation of a Design for a Farm-House, and : Seeing adjoining. It has long been Dosaenal ‘that Farm-Houses ‘and ‘their adjacent buildings have always been laid out in an irregular, injudicious, :man- ner, presenting to view a very disagreeable object; one part generally : obstructing the business of the’ tier: and frequently putting an en- tire stop to the work carrying on in ‘a large ‘farm-yard; in:order to remove these difficulties, and render the disposition of the : building pleasing to the eye, this design is contrived at once‘to have every convenience properly situated, that every part may thave'a ready and easy communication with the other ;'and, at thesame time, 'to be ranged — in a grand (though simple) and uniform manner; the possessor having all the business brought under his own inspection, as his office super- intends the whole. A Ist. Great Gates) or Entrance |,.MM. Covered Rooms. leading to into the Yard before the House. | the different Buildings. BB. Common Doors. N. ,Dairy,.descending a few steps. C. Hall. |,O. Its.Shelves. D. Stair-case. | Q. Pantry, descending a few steps. EK. Best Parlour. _ |R. Its Shelves. F. Common Parlour. | S. Laundry. GG. peeecs. |. Rooms for Servants to dine in, H. Farmer’s Room or t Office. | and for sitting in, &c. I. Kitchen. PU, ‘Brew+house and Bake-house. K. Scullery. 1V. Oven. L. Stairs for Servants. |W. Copper. 15. | P—Q bam. X. Pump. _| E2d E2d. Steps to go up above. Y. Stables. - F2d. Pond. Z. Arched way for Carriages - to Ait go in and out. The Bed-chambers are on the Agd. Cart-House. upper floor of the house. B2d. Cow-House. The Cellars, &c. under the C2d C2d Cad C2d. Places for hogs, Hall-story. poultry, &c. Hay-loft, over the Stable. D2d D2d D2d Ded. Places for| Granery, over the Cart-house. — firing, &c. | | The Barns, not being immediately necessary to be adjoining to these buildings, may be at a convenient distance. They would have been introduced here, but the Plate not admitting such an extensive design, they are omitted. iy a future Number will be given, an elevation of the whole build- | ings taken from the entrance to the cow-house. PLATE F The Plan and Elevation of a Design fora Green-House. A. The Plan of the Green-House. B. Gardener’s Room for Utensils, &c. BL AT ELI. The Plan and Elevation of a Design for a,Gothic Piczon-Housr. A. Half the Plan. BBBBBBBB. Pigeon Holes. ha PLAT E SLI’. The Plan and Elevation of a Design for an Entrance into a | GeNTLEMAN’s Park. A. Saloon. BB. Passages. : CC. Porter’s Lodges. DD. Bed-Rooms. PLATE LIII. _ The Plan and Elevation of a Hot-Hovsz. AAA. The Walk round the Flue. | BB. The Flue. C. The Place where the Fire is ! ade. D. The Chimney. 7 E. The Place where the Trees, Flowers 8c. are placed. BEATE LIV. A Design for a Stove, which fills up the whole Opening of the Chimnies, except the Aperture where the Fire is made. fo [ 82 4 PLAT ELV. Designs of Mouldings for Imposts.. Fig. I. Mouldings for a Drawing-Room. Fig. II. Mouldings for a Parlour. PLATE LVI. The traverse Section of the Great Starr-Casz, in the Design of the Gentleman’s Town-House, Plate XX, with the Plans of the Stair-cases on the different Stories. : / A correspondent has requested ‘designs “of ‘sections of stair-cases ; and, as the public have seldom been favoured with publications of that kind, we have complied with his ‘request ;‘and to make ‘them the better understood, we shall be somewhat parti¢ularin the de- scription, to render this difficult part of design in ‘Architecture as plain as possible to the generality of our readers. 2 OEE aR Description of the Section of the Great Starr-Case. ist, Hall story; 2d, One pair of Stairs; 3d, Bed-chamber story ; 4th, Story in the roof. | me On the Hall story, we see the front of the great stair-case ascend- ing to the one pair, the ‘section ‘of the door’ op ‘the left hand leads to the dining parlour. “Door under'the stair+case-leads ‘to'back stairs. On the one pair of stairs story, is only the landing which leads to the different rooms, the section of the door on the left hand leads to the ladies dressing-room, over the dining-parlour. ; [ 33 ] On the two pair of stairs story, is only a Ianding leading to the bed-chambers, the section of the door on the left hand leads to the best bed-chamber, over the ladies’ dressing-roomi. | On the three pair of stairs (or story in ‘the roof) isthe coved sky- light, the glass-door behind which (coming from the back stairs) leads round to the right of the sky-light under a covered way, toa small room over the common dressing-room in the two pair of stairs. The section of the window ¢ on hoi py pple the room over the best bed- claret | | " | Fe tion of the Puans, - A Ist. Hallstory of the Stair-cases. B. The first. step ascending the best Stair-case. _ The figures 1, 2; 3, &c¢. shew the . number of steps to the! one pair of Stairs. C. Doorleadingto Dining-parlour. D,. Door leading to the Hall. E. Door leading to back Stairs, F, The first. step: ascending. the | back Stairs. ine figires‘]; 2, 3; Be. shew the number of steps to the one pair of back Stairs. G. Doorleading to Dining-parlour. H. Door leading to the flat or Yard. B 2d. One pair of. Stairs story of the Stair-cases. C. The landing of the best Stair- case. 17. D. Door leading to Lady’s Dress- Ing-room. | ‘ E. SA Pao eer ioan ei pining FFF. Niches.: — G. Open part of Stant-easé: H. Landing on back Stairs. | I. The first step ascending back Stairs. — The figures 1, 2, 3, sli shew the number of steps to the Bed- chamber back story. K. Door leading to Lady’s Dress- ing-room. | L. Window giving light to back Stair-case, C 3d. Bed-chamber ae es the Stair-cases. D. The landing of best Stair-case. E. Door leading to the best Bed- chamber. — F. Door leading tocommon Dress- R—S fae ing-room, being a small one, |G. Glass-door leading round the the size of the Porter’s Hall. | coved sky-light into the small | -G. Open part of the Stair-case. room over common Dressing- —_. Landing on back Stairs. rooms Yo 4 ith aa I. The first step ascending. H. The flat leading to ditto. . - The figures 1, 2, 3, &c. shew the | III. These dotted lines shew the . number of steps to the roomsin} extent of the covering of the_ the roof. — ty atte flat. a 0) K. Door leading to the best Bed- | J. Open part of back Stairs, chamber. K. Door leading to the small room — L. Window giving light to back | over common Dressing-room. Stairs. 3 LL. Windows lighting the room : over best Bed-chamber. — D 4th. The story in the roof of | M. Half :the inside of the coved Stair-cases. . sky-light. — ! E. Landing of back Stairs. NNN. Cornice. : F. Door leading to the room over | O. Half the outside of the coved best Bed-chaimber. — | sky-light. | maf’ The dotted line P (on each story) shews the course of the traverse section of the great Stair-case. : The ‘dotted line: Q (on each story) shews the course of the lon- gitudinal section of ‘the Stair-cases, which will be given ina future Number. gol toe | | Be PLATE LVII. The Elevation and Sections of the Farm-House, and Buildings: adjoining, on Plate XLIX. The upper draft takes its course through the entrance A, (see the Plan,) then through the yard before the house—in which is seen. the [ 85 } room for servants to dine, &c. T.—The covered way M—through the mansion, in which, on the basement story, is seen the section of the cellars (under-kitchen, &c.) the passage leading to nee the area giving them light—the part under parlours, solid earth. On the hall story is seen the section of hall C, stair-case D, kit- | chen I. : On the chamber-floor, is seen’ the section of the room over the hall, leading to the different chambers, and the chamber over kitchen. From thence we go through the farm-yard—the pond F 2d, where is seen the elevation of the stables, in the centre of which is the - arched-way Z—the hay-loft over ditto—the covered ways M, where is seen the doors of the places for poultry, hogs, &c. D 2d. We then proceed through the cart-house A 2d, and. cow-house B 2d, over which is seen the section of the granaries. We soni go. into the fields. The lower draft takes its course through the Rahs Z, in. which is seen the door leading into the stables, over which is seen the _ section of the hay-loft. Then through the farm-yard, the pond F 2d, where i is seen an ele- - vation of the bart house A 2d, and granary over it, the covered way M, where is seen the door for poultry, &c. D 2d. Then through the brew-house U, and oven V. PLATE LVIII. The Plan and Elevation of a Design for StaBuEs. This design is formed to avoid the disagreeable circumstances usu- | ally attending stables being built under the eye of the mansion, by having all the business relating thereto performed within its.own walls, and to form a pleasing object from the main buildings. Rego <4 The stables, coach-house, and places for cleaning, harnessing, | &e. all comprehended within the design. The carriages to drive through the portico, and to back into the coach-house, the horses, coach, &c. to be cleaned and put-to in the sie of the sink) part of the building. | sf? a A. Portico. The dotted lines GG, shew the The dotted line B shews the ex- | form of the sky-light to stables. tent and forni of the flat over | H. Coach- house, ‘over which is a the portico. - flat of the same : ‘form as over C. The open part of the isuilaine portico, . | The dotted lines shew the manner | I..Pump.- O } 135 of the groinds, Sn i Ge Retivads for sie anehcld “fe. DD. Stables. longing to thecoachman, ,groom, EEE. Stalls. &c. dak ocd: FF. Mangers, i LL. Stairacasesy The Plan of the rooms for the oianliitaa and grooms, hay-lofts, &c. and section of the whole Buri tng, will ne given. in our next, PLATE LIX. The Plan and Elevation of a Design for a Viva. A borrespaniieat has sent the design of this Plan, requesting us to give an elevation adapted to it, | He informs us ‘it. is intended for a geatiesiali mansion in the country. | He describes the Plans in the following aisbes ; ( 3%] A, Vestibule. — py) EB. Common Parlour. B.. Dining-room.. ~~, IF. Study. C., Withdrawing-room.. es » ot G. Kitchen. D.. Best, Stair-case. os | Hy Common Stair-case. The servants’ hall, pantries, ‘cellars, &c. to be on oe under ground- floor. | The brew-house, scullery, &c. to communicate with the. aitghen; me with the stables, coach-house, &e. to form a,.square, court behind the house, which will be commanded from the study. window. — The best stair-case to be lighted by a cupola or dome, the common one by a sky-light. The chamber story to contain six rooms, with light closets to each, except that over study, which must be ; Angered at the last naléspaee of the stair-case. The design for the dail he recom mends as follows: The hall story fifteen feet high, the chamber floor. and attics. to be guided by the elevation. PLATE LX. The Longitudinal Secticl bh the Srarr-Casrs on Plate LVI. Ist, Hall story; 2d, One a of Stairs; 3d, Bed-chamber story Ath, Story in the roof. ! On the Hall story, we see the side'of the great stair-case ascend- ing to the one pair of stairs; the door that fronts leads into the din- _ing-parlour; the section of the door on the left leads into the hall; the section of the door on the right hand leads to the back stairs ; the door that fronts.leads likewise into the dining-parlour; the section of the door on the right leads to the yard—part of the back stairs are seen. 19. T—U [ 38 ] On the one pair of stairs we see the landing; the front door leads to the ladies dressing-room; the section of the door on the: left hand leads to the drawing-room. .On the back stairs is seen the landing; the front door leads likewise to the ladies dressing-room ; the section: of the window to the SEY looking into the. yard Pa of the baek stairs are seen. On the bed-chamber story we see the landing ; the front door leads to the best bed-chamber; the section of the doGr on the te Hace to the common dressing-r oom. On the back stairs is seen the landing; the front door leads, like- wise, to the best bed-chamber, the section of the window t to Das right looks into the yard. On the story in the roof is seen the landing on the back stairs ; front door leads to the servants’ room; the section of the door to the left leads. round the coved sky-light through the other section of the door to _ the room over the common dressing-room ; the two front windows lighting the servants’ room—we likewise see the coved sky-light. - PLATE LXI. The section of the Srasuxs, and Plan of the Fioor over the STABLES, on Plate LVIII. AA. Stair-cases. BB. The Landings. CC. Rooms for coachmen, grooms, &c. DD. Hay-lofts. EE. Trap-doors to take up hay from below. FF. Step-ladders descending to the galleries GG, which extend round the stables for the convenience of putting the way: down into the packs below. 5A ae, HHHHHH. saa ‘openings to let the se through into the racks below. | II. Open part of the Stables, seed K. Flat over Portico. : L. Flat over edaansiited? Description of the Scion. Pivink Aa the portico A, ies Plate LVI yi into the open part _ of the building C, we see before us the entrance into the coach-house ; the doors on each side, that on the left leading to the stair-case L; that on the right to the rooms for utensils KK. Through the sections of the door to right and left we enter the stables, where is seen the stalls, mangers, and racks.——Having ascended the stair-cases, we enter the coachmen and grooms’ room C; to the right and left is seen the hay-lofts D; the door on the left hand one RE to the landing B; in the right hand one we see the window looking towards the flat L over the coach-house; likewise the sections of the trap-doors E, for receiving the hay. On each side is seen the section of doors communicating to the gallery G; by the means of the step-ladders FF, which are likewise seen. Having gone round the galleries to the furthermost part of the building, is seen the section of the semi-circular holes for letting down the hy HHHHHH. At the top of the domes is seen the section of the sky-lights. . | | | PLATE LXII. The Plan and Elevation of a Design for a Gotuic Mawsron, to be erected on an Eminence that commands an extensive Prospect. AA. Steps ascending upon the | C. Porch. BBBB. Terras. D. Hall. F. Closet. | L. Copper. voted: G. Best Parlour. ; MM. Dressers. — H. Closet. ai N. Pantry... I. Stair-case. — xs OO. Shelves... A view of this Eleyation, taken at the point P, with the Plan of the Bed-chamber story, in the next Number. - PLATE, LXUL. _ ‘Three Designs for Lamp Trons. — PLATE -LXIV. _ The Plan and Elevation of a Design for a, Market-Hopse, AA. The Piazza or Market-place, BB. These. dotted lines, ‘shew the form of the pee an - C. The porters’ or officers’ (that superintend . the market), room. D. The grand stairs ascending to the right and left, up to the assem- bly-room, over the Piazza. | EK. The back Stairs. F. Chimney. G. This dotted line shews the course of the longitudinal section. H. This dotted line shews the course of the traverse section of the building, which will be ; given in the succeeding Numbers. The longitudinal section, .with the Plan of, the assembly-room,, in the next Number. [ 41 J PLATE LXV. The Plan of the Beenie Story and the ELEVATION, taken at the peje PY on Plate LXU. A. Stair-case (which continues up to He leads) upon which is aan tance to three rooms for servants, there fee one over each bed- hglihebi, | . Saloon. - Sky-light. . Common Bed-room. . Best Bed-room. . Nursery. . General Dressing-room. . . Private Dressing-room. HII. Beds. KKK. Closets. TOM oO PLATE LXVI. The Plan and Elevation a a Design for a GoTHIc SEAT of “Retirement. A. Inside of the Building. BB. Seats. PLATE LXVII. A Design for an Iron Gate. 21. oe K—Y ( 4a j PLA T E LXVIIL The Plan af the Principal Stotsh 8zc, evi, the Longitudinal Section of the Mansa oWeuls on aes ge: A. Aiscn re Sih nto K. This dotted line’ shot the: B. Refreshing-room. . course of the longitudinal sec~ C. Room for the conveniency of; tion. OD! getting the refreshments ready. “ CRE. D. Card-room. | | L. This dotted line” ns > he EE. Grand-stairs. course of the’ traverse section, F. Landing, a8 which, with the Side’ Front and G. Back-stairs. — Plan of the Attic Story; will be H. Water-closet. given in the next Number. III. Balcony continuing all round the Building. Description of the Section. In the piazza, or market-place, is seen the front door, which leads to the grand stair-case; that door on the right, leads to, the porter’s room; that on the left to the back stair-case. In the upper story, is seen the assembly-room (the height of which extends to the roof;) in front isthe chimney4piece opposite to the — windows; on each side are the doors leading from the grand stair-case. On the right side is seen the refreshing-room. On the left side is seen the card-room. in the attic story is seen the gallery, extending round the assembly- room. On the right hand is'sden the room for the people who have the care of the Hodes On the left hand is seen the music-room. PLATE? LXIX! ‘The Plan and Elevation ofa Design fora Suor Fron. o. ‘that a ¢ fe wae ae t. i] ¢ #* ry s a! A. The plan of the Shop Front. B. The door leading into ditto. C. The Shop.» rieyicmbeeh sf} to Sieg nog _D. The door leading to Passage belonging t to ihe house. fs me. 1ne. eee bei Ppa Ub EX, : Fig? T. ot | F2. Steps ascending to the Pulpit. L. .Dining-parlour. + .| G2. Colonnade leading to the gen- M.: Alcove for side-board. tlemen’s side: of the Chapel. N. Drawing-Room. © ' H2, Colonnade leading to the ser- O. Waiting-Room. -vants’ side of ditto. P. Gentleman’s Dressing Room. | 12, Servants’ Stair-case Fivallegs to Q. Colonnade leading to the Li- ditto. brary.’ © K2 Ke, Water-closets, R, Semicircular passage leading L2 L2: Chimneys. M ? to the Music Room. M2 M2. These dotted lines sew S. Music or Dancing Room. © ‘the form of the Sky-light. T. Orchestra. No N2. This dotted. line shews U. Organ. the course of the longitudinal _Y. Library. section. 25. | Bb—C€ ¢ Tey Description of the SECTION. See the Plan of the Ground Story. We shall begin at the Alcove towards the garden P2—thence (fol- lowing the dotted line $2) we see the dairy O2—thence the cellars M2—thence the butler’s room K2—thence up the steps and through the passage T—across the hall B—thence by the stair-case C—then down the steps, where is seen the private stair-case for servants to go ~ to chapel V—thence the confectioner’s room W—thence the smoking- room C2—thence the Billiard-room A2—thence the dressing-room D2 —thence to the bath E2:-Having thus gone through the whole of the building on the ground-plan, we ascend to the principal floor, and begin again to take our course at the library V (see the Plan.of - the principal Story). thence is séen the music or dancing-room S— thence the circular passage R—thence the gentleman’s dressing-room P—thence the other side of the circular passage R—thence drawing- room N—thence the ground saloon D—thence the» stair-case ‘G— thence through the small saloons Y—thence is seen the picture-gal- lery Z—thence is seen the chapel A2Q—on the two pair of stairs, or bed-chamber-floor is seen over the drawing-room, @ small bed-cham- ber and a dressing-room—the saloon extends to the two pair of stairs floor, over which is seen the outside of the two circular private’ stair- cases for servants 'H, with doors leading over the leads to other roomis - for servants—the stair-case G extends to the top of the house—over the small saloons. Y.is seen a small dressing-room.—In the next:num- ber will be given the plan of the two pair of stairs floor and sec- tion of the whole building, taking its course through the hall C— thence through the saloon D, and the other hall C,. © - | | { 51 ] “PLAT T. BE LXXXIV. i - = : “es Iran: ‘i ae i ee% ity i Fi TOOL? 4 te bt : i LESSORS Re it The Section of the Puserc iiuxter on Plate eLXXVI. shi of iu i cee We begin at the refreshing-room D—thence into one of the small libraries for the different languages B—thence into the grand library C—thence into another small library B—thence through the passage F. PLATE LXXXV. A \ Detign: for a : Canines? Pas de PLATE LXXXVI. The Traverse Section of the ee on . Plate LX XX, with the Plan of the: two Pair of Stairs Bed-chamber Floor. ; A. cones % ae nora oF Governess’ rooms. B. Gentleman’s Bed-room, ;. | G. Small Dressing-room or Pas C. Lady’s Dressing-room. sage. D. Nursery, or room for Children. | HH. Visitors’ rooms. EK... Waiting-maid’s room. | I. Ditto Dressing-room. ~ > { 8 4 OOO. Sky-lights. /PP. Chimneys. he K. Small Dressing-room. LL. Private Stair-cases for ser- vants. + eee ey M. The open part of the saloon. course of the longitudinal sec- Description of the Section. une ' See the Ground Plan. We begin at-the entrance ofthe common hallo B—in the centre of which is seen the passage ‘T—leading to the cellars, &c.—+the first door is the way to the private stair-case for servants U—the second door opens into the cold larder P—the third door opens into the pan- try Q—in the front and rear of the building is seen the steps ascending to the principal story. aC et 2 as See the Plan of the Principal Story. We begin at the platform B— . thence into the small hall.C—through ‘the saloon D—thence into the ‘other hall C. See the Plan of the Bed-chamber floor.—Over the small hall Cm (in front of building) is seen the lady’s dressing-room G—the saloon extends to the top of the two pair of stairs story—over the other small hall C, is the dressing-room for visitors I.—On the three pair of stairs floor, or story in the roof, is seen, over the lady’s dressing- room, a bed-room for servants lighted by a sky-light ; ‘adjoining to it is seen the outside of the entrance to it; we then go round the outside of the sky-light of the saloon, where is seen the outside of private stair-case for servants, which gives admittance into another bed-room for servants, lighted by a sky-light. “|The dotted line Q shews the | a f I Cie O17 PE A rk “pe kvil. ‘The baitour wehoadersplarbal ei | Beat chamber Floor of ‘the Desigh for a small rusticated Hu N'tixe Vitxa, on Plat®LX XI: J. eyommuidO 1H, .ttoo1-badi 54 A. Stair-case. ‘egqutioD oat uf F. Wardrobe. : oye. ‘Ole ieesiC B: Saloon” -3lgil-yle od AY Ig, igbien aah rodmsto-bod .a C. Best bed-room. | HH. Beds. - | D. Alcove for bed. | IT. Chimneys. E. Bed-room. | ~~: — * ~ ae oy * wr res Z oe YITyyy 7 | Lie Tas oe ee oe ee Ae 2 2. ES ae | . oe pM a ea ae ve ~T¥i amunolt BIOL MBean PLATE LXXXVIII. The Plan and Elevation of a Design for a Farm-Hovse, or ural ‘ ‘Mansion. \ s 7 } is sat Se ah yor ie e%% sig T 7 » a one ey : iF EESES - 4 f €) ee. rege f% fs *" | TAUGO ¥THUOT £10! agiest ($8 %o0 novtsevol dl bus asl bauvoiwW os 1. sa ee Liagi' Fins f . * ae ee r F ns orud eee: : S. yi PO) APOG ine NOMTNO 7 A. Portico. (ne2999T MOnIIOV . Ge B. Porch. jos fd C. Hall: sldwol eoeso-nBic, a) 9 987 Olnn Gy oe oF D. Parlour. | igh hy Kr Pantry. i ont of 100b Stsvin'l . AIMS 2°19 erorioer ic F., erbei, 12 yi 2 , ay” F y ‘cece te | gutee Fan’ 4 cys ets rye Crry j at ae 4 3 : } _ me Ne irate Reh thp bs €hS. 3434757 tery i Bo 4 eOTVBsse « WS ) i ; 27. Dd r% my a } ‘ Le ae me ah yr)! BI KK. Doors staph tog a and | a8 yard, Wf 449 Kt Geax Il: The Bed-chamber Floor. A. Stair-case. | F. Bed-chamber for men... AB Compass-room, azar qe G@GGe Beds. jo0, C. Bed-room. HH. Chimneys. D. Dressing-room. _., , «| I. The Compass. E. Bedebhanitier for maid. . | K. The Sky-light. PLATE LXXXIX. A Design for a Monument. PLATE XC. The Ground Plan and Elevation of a Design for a County Court, or Court of Justice; dedicated to the or tinan Justices for the County of Middlesex, who have now a new Building in dieu of -Hicxs’s Haut. : A. Piazza. 1 E. Common saloon, or porch. BB. Doors leading to the office for | FF. Common necessaries. the clerks of the indictments. _ | GG. Stair-cases for the prisoners CCCC. Bail-docks, or tempo- to go up into the court. rary places of confinement for | H. Private door to the. housekeep- prisoners. er’s apartments. my DD. Seats. I. Private door to grand s staircase. [ 53 J _ J. Porter’s hall, K. Grand stair-case.. Tt L.. Hall belonging to. the. douse. keeper’s apartments. od - MM. Passages. me Bee -closct. O..Stair-case leading .to, cellars. underneath the building. P. Housekeeper’s parlour. Q. Kitchen. R. Stoves. S. Copper. T. Passage. U. Pantry. PLATE B2. ‘| V.. Larder. - | pW. Stair-case inebendin is rooms ~ above. >) XX. Closets. YY. Chimneys. , | ZZ. These dotted. lines shew the vmanner of the groinds. : AQ. These dotted lines shew the course of the longitudinal sec= tion... These dotted lines shew the course of the traverse section. | The longitudinal section will be given in a future Number. ACI. The Plan of the Principal Story, with the West Front of a Design for a Court of Justicx, on the preceding Plate. A. Grand Stair-case. B. The Landing. C. The Court of Justice. D. Chairman’s or President’s seat. . , EE. Justices seats. FF. Seats for counsellors and} M. The Bar clerks. G. Their Table. H. Seats for the Jury. I. Seats for the witnesses. JJ. Seats for the public. K. The Bar for arraigning pri- soners for assaults. L. The Bar for arraigning the prisoners from Clerkenwell. for arraigning the prisoners from Newgate. NN. Avenues leading to the above places. “t 56 + OO. Stair-cases for the prisoners: W. Giiean or waittigaasotao4 RAS “ito come ‘from belowi>~' sie WX. Dining-room: tise bast 2 P. The room for the Grand Jury | “Wee Stairltase sbelonging |'to | the. of Middlesex. .2i92019 EK | | housekeepét’s: sipantenerngood Q. The foreman’s‘seataid .¥Y |Z. Chimneys. .29geeesl . iM Ri! Their Pableiotio’ seed NN. | seolo-ta36 WW A S. The room for the witnessesrat- A2. These dotted linés~stiew the ‘ tetidingoti' theGrandJury..°/. | — courséof ‘the Toh genetRalbec P"Thé record-room: to S21N09- * tion, wolisg e‘isqosAeesok UU. Shelves for the records?’ odosial 2 V. These “dotted lines)“shew -the Ag. These dotted Lined ae the ahaniner Of the ‘eromds, 91000 / course of the traverse'séttion. ~~ ; 9 nw ois: 338 fanibusig 4th yf a DT . IRBZER T | ignol oT: | geet .T Rrngess | | 9dmu 4 ond i nevie | yuas‘l .| isdmul sists ai nevig Yasl .U PLATE XCII. { A Design fora Critine a a e Daaaine Rane P, on Plate LX XXIII. | t rrareoG £ To Ino1't jes oe Fe BIS ir Ts sit Io aslf oT stalT onif : rm ea \) frre care IGT 2 Damsoo 1g aris orraul le TrauOO Ss ‘ : s: i * - % 3 oO eS rT eta rot + op a 9h oes + © F “ h | (JOG IUIEW SHI JOT 87896, .h | 9229= msiec bas 3} oA A | JDJ" TiC, DIBTS Ty) Pee me | " ye) i a oe ‘ wldiEa ort “ryt +n ¢ if mi ¥ q { ~tis TOT @7B9Gq «.t “0 PeeR ier ws 31" a “1q yiiavisiis tot wa t Pa T E XII» , Lio Huo. olT. . 4 Mi sees "te yt 2191 Ge2 7% be | tO igi Siar acd! ) nel a Detign — Stove itd illup the 6 opening of a Cutten i} if Tk z S13 ; ; _# b2 AF AE - te) tOet 4 ) sane escorted Gi. AR 18 0 yor. aeth - a Sy" ef ' 2 ft} Ka: oy eg i Pict eh SPS PEE oie oe eer tery oy ‘ iol ‘IeeL alt AYA | VIL @IOMSaIOS rot -eiped . . Chet . P ry ‘ pe i Mol e1isnoerig re loll eisnoerig | | antisl ‘ : “4 { ry? Ortsiar ; Ze f Yertsr : a" Fh j mc thiaday di \ fi ifi i c isl aed T 4 SS . SSH AS f AA : IldsT tied “a 7 , ; a Wee P, *) .yiol, od? tot 2ies@ : a Pam o, nay ye " AISI OVOUE i \ [57 J | PLATE XCIV. The Longitudinal Section of the Design for a Country Court on Plate XC. d Description of the Sibi (see the Ground’Plan). We ascend up the steps into piazza A, where we see the bail-dock — un, between which is the door leading to the office for the clerks of the indictments B; we then enter ne. common saloon or porch E:: the first door that we come to leads ‘to the private stair-case for the pri- soners G; the next door leads to the stair-case ascending to the rooms _ above W ;: the next door isa blank one-——the next door leads to the common necessaries F ; we then. pass through the private door lead- ing to the housekeeper’s apartments H; then through the passage M, and then-into the other passage M, where is seen the. door which leads into the kitchen Q; from thence -we-see the» onseleee Pett S 2 room P, See the Plan of. the Principal Story on Plate XCI. Having ascended to the principal floor, we*see the dining-room X ; then is seen the court of justice C; the: first. door gives: admittance from the stair-case for felons from below O, against which is seen the profile of the seats for the public J; the next door gives admittance from the room for witnesses attending on’ the grand jury S, against which is seen the fence which incloses the seats for the public J ; under the centre niche is seen the fence which incloses the seats for the jury H ; the other door gives admittance from the room for the grand jury P, against which is seen the fence which incloses the seats for the public oe against the above-mentioned fences are seen the 29. : Ff Te | ie bars for the prisoners: we see the profile of the seats for counsellors, clerks, &c. F, and their table G; we next see the pr ofile of the pre- sident’s seat D, from whence is seen the front of the seats for the galleries E. | On the attic story, over the dining-room P, is a bed-r oom, &c. for the housekeeper. ‘The court extends to the top of the roof, which i 1S lighted by asky-light. Inthe centre of the court is seen a gallery _ for the public. In a future Number will be given the traverse section of this design. PLATE XCV. The Plan and Elevation of a Design for a Protestant Dissenters’ Meetine-Houvse. ‘A. ' Portico. | KK. Rooms for the minister. B. The inside of Chapel. CC. Aisles. L. Hall or passage leading to the DD. Pews. apartments of the person who: EE. Seats. | has the care of the ihe tal F. Clerk’s desk. | house. G. Pulpit. re H. Stairs ascending to the pulpit. | MM. The apartments for the per- I]. Stairs ascending to the gallery | son who looks after the meeting- above. house. N.B. The longitudinal section, with aie Plan of the ‘gait: ‘&e. of the design, in a future Number. | 39) PLATE XCVI. - The Plan and Elevation ofa, Design for a GARDEN-SEAT. ‘AA. -Porticos. © ) wiGKeoINachesi’ 9.) we. 1 __ BB. Colonnades. : | F. Window. aah ' -C. Thetea-room,: &c. _ |-GG. These dotted |lines-shew the ~D.'Chimney, . form of:the cove of the ceiling. PLATE XCVU. ‘A Design for a Lamp. PLATE XCVIII. The traverse section of the Design fora County Courr on 5 Ee Plate XC. Description of the Section (see the Ground Plan). To the right is seen the passage T, ,the door in which leads to the kitchen O; -from whence (continuing our course to the left) we see ‘the pantry U ; from ‘whence is seen the common necessary F’, in which we see the profiles of the seats; from whence we see the porch C, the. door in which leads to the housekeeper’s apartments H ; from thence we see the other common'necessary, then the grand stair-case ‘K, which extends to the attic floor. * a , | See the Plan of the Principal Re on Plate XCI. To the right is seen the witnesses-room atteliihe on the orand j jury — S; from thence (continuing our course to the left) we see the court of justice C, on the right side of which is seen the profile of the. seats for the jury H; on the left side is seen the profile of the seats for the witnesses I, between which seats are seen the bars for the prisoners ; — from whence we see the grand stair-case, on the landing -of which ‘we see the door which leads to the record-room T. : On the attic story, to the right, is seen a bed-room, &c. ;. from whence (continuing our course to the left) is seen the: profile of the great gallery for the public; from whence we see, on each side of the circular cove, other small galleries for the public; from whence i is seen | the profile of the other’ Wee gallery ; from whence is seen another ~ ‘bed-room, &c. The court extends'to the top of the roof, which is _ lighted by a'sky-light. ee XCIX. ~The Lopindnan Section, with the Plan of the Gallery-Floor of the — Design for a Protestant Dissenters’ Mertine-Houss, | on Plate XCV. A. The open part of the Chapel. ; EE. Avenues leading to the pews. BB, Stair-cases. FF}... Lobbies or rooms for the CC. Pews. - communication to the different DD Seats. ; galleries. [ 61 ] Description of the SECTION (see the e Ground Plan). We ascend up into the colonnade A—from whence we enter the chapel, where is seen the front and profiles of the pews—to the left of the chapel we see the profile of the clerk’s desk T—then the pulpit G—round which is-seen the stairs H, which ascend up to the pulpit— from whence we see the hall L, the door in which leads to the rooms M. tm See the Plan of the GaLLERY FLoorR. To the right and left of the building we see the profiles of the gal- leries, where is seen the front of the pews and the profiles of the seats behind them—the two doors, that on the right gives admittance from the stair-case B—and that on the left from the lobby F—we likewise see the front of the gallery. | PLATE C. x - A Design for a FRONTISPIECE. PLATE Cl. Three Designs for ENTABLATURES. Fig. 1. For a Drawing-room. Fig. 2. Fora Parlour. Fig. 3. For a Dressing-room. 31. Gg [82 PLATE CII. The Plan and Elevation of a Design for a BripGE. A. Half the plan of the founda- | G. Coach-way. tion of the Bridge. HH. Foot-ways. B. The pier. .|I. The profile of the bed oe the CC. Sterlings. 76 river. : DD. The river. | | K. The water- line: K.. The bank of the river. LL. The profiles of the bank of F. Half the plan of the upper the river. - part, or coach-way of the bridge. | MM. Niches. PLATE CII, The Plan and Elevation of a Design fora Country PuBLic-HOUSE. F EG... The Ground Plan. A. Kitchen or tap-room. KE. Stair-case. B.. Bar. EF. Parlour. C. Pantry. GG. Chimneys. D. Parlour. { 63 ] iheGs : ~The Plan of the Bed-chamber Floor. A. The master’s room. E. Stair-case. B. Children’s room. | F’. Chimney. C. Maids’ room. — | GG. Beds. D. Men’s room. HH. Small Passages. PLATE CIV. The Plan and Elevation of a Design for a Gotuic Putpir. A. Half the plan of the Pulpit. | D. The seat which is designed to B. Part of the steps of the Pulpit.| hang tothe door. C. The door. E. Half the pillar, which supports | the pulpit. PLATE CV. A Design for a Tasie-Frame, to be fixed to a Pier in a Dressing-room. [ 64 J PLATE>CVI. The Section of the Side-board side of the Dininc-Partour ey | on Plate LX XXIII. PLATE CVII. The Traverse Section of the Sugar-HovseE on Plate LX X XI, withthe ~ ne Plan of the Warehouse-floor. A. Warehouse. BB. Stoves. CC. Vent-pan chimney. D. Stairs ascending to the floors above. Description of the Section (see Ground Plan). T'o the left is seen the profile of the stove for the sugar, in which is seen the racks of sugar. On the warehouse-floor (see the Plan) to the left we see the stove continued ; so to the right is seen the profile of the bulk-head, which extends over the place where the pans for sugar are; all, the other floors are for the sugar. [ 65 ] : : PLATE cv. Having seen it remarked in some of the public prints, that the present market-bell in Smithfield is rather too mean a design for the most considerable market-place in the world, and that comeine on. a more extensive plan might be erected, not only to embellish the market with an elegant object, but also to commemorate the actions of those glorious martyrs who there yielded up their blood as a testi- mony of their faith, and laid a basis for the present happy established religion: and that the design might also serve as a monument or mau- lens to hallow the spot where their ashes were laid, we have given the following ‘ Design fora Marxet-Cross. A. Half the plan. | B. The watch-box. PLATE CIX. A Design for an ORNAMENTED PANNEL. PEATE Ox The Plan and Elevation. of a Design for a Cuurcu. (The Elevation is the View taken at the West End) _ AA. Steps ascending to C. Stairs ascending to the bell- BB. Porches. : fry. Hh r 66°) D. Stairs ascending to the organ- the utensils, the ornaments of — loft, which is over the door E. the Church, minister’s vest- E. Grand door, or principal en-| ments, &c. are kept. trance. | S. The vestry-room. F. The body of the Church. T. Room for the reception of i GG. The arms or sides of the ministers, &c. Church. UU. Chimneys. ) HH. Steps ascending to the altar.| WW. Chapels. over the burying~ _ ]. The railing round the altar. places of honourable families. J. The area before the altar. The dotted lines shew the manner | K. The altar. of the groinds. LL. Seats for the ministers. 7 M. The reading-desk. An Elevation of the view taken N. Stairs ascending to the pulpit.| from east to west, the sections — O. The font. taken from east to west, and PP. Seats round the Shaul for north and south, of this Church, the gentry. in future numbers. QQ. Seats for thecommon people. | The Elevation of the North Front, R. The sacristy, or place where| on Plate CXITI. PLATE CXI. A Design for a Term to support a Sun-D1at. The heads on the square block under the dial-plate are to represent the four elements.—Round the body of the term are four square blocks, each containing three compartments, in which are to be the twelve signs of the zodiac.—Upon each block is to be a subject suit- ing a country situation, such asa dog, a hare, a stag, and a fox.— The heads upon the lower square block are to represent the four seasons ; the compartment underneath is to be decorated with subjects appertaining to each Season. f-6% J PLATE CXIL. A Design for a Grate. PLATE CXIII. The Elevation of the North Front (taken from East to West) of the Cuurcn on Plate CX. For the Longitudinal Section of this Church, see Plate CXVI. / PLATE CXIV. The Plan and Elevation ofa Design for a Printinc-Hovse. | EUG, 2. The Ground Plan. A. Hall. 5. Reading-room. |G. Warehouse for the printed C. Library. | books previous to their being D. Office. | . delivered. | KE. Private office. | H. Stair-case. _ F. Warehouse for paper before} II. Chimneys. its being printed. Our y EMT GS WEL | , A. Stair-case. 3 ‘E. Press-room. B. Landing. F. Room for wetting the paper. C. Composing-room. GG. Chimneys. D. Rack-room. PLATE CXYV. Two Designs for Lock-FurNITURE. PLATE CAVE The Longitudinal Section (taken from East to West) of the Cuurcu on Plate CX. Description of the SrcTion. See the Plan. We ascend up the west steps AA—go through the porch B, and | grand door E—and descend one step into the body of the church F.— Under the three windows fronting us, we see the doors which lead to the chapels over the: burying-places of honourable families, WW. —On each side of the said doors, is the elevated seats for the gentry, PP.—We now look towards the south arm, or side of the church G, where in front is the door leading to the south porch B.—Against the apa. waa left cluster of columns is seen the font'O.—We now ascend the three steps leading to the altar HH, where is seen the railing round it, 1; at the back of which is the door leading to the vestry-room S.— Next we see the profile of the altar K—at the back of the altar is seen the sacristy R, to the left of which is seen the profile of its window. —Returning to the west porch, we either ascend belfry-stairs C, or organ-stairs D, which brings us into the organ-loft, we enter the little door, at the side of the window, over the porch ; to the right is seen the profile of the window looking west; to the left is the profile of the large arch (sizeand form of the south large window) under which is to be placed the organ: over the altar is seen the profile of the east window. Returning again to the organ-loft, we leave it, and ascend up the rest of the belfry-stairs, and come through the little door into the clock, or ringing-room; to the right is seen the profile of the circular opening for the west clock; in front is seen the back of the south clock; to the left is seen the profile of a little door leading into the roof, over: which door isseen, likewise, the profile of a window to give light to the roof, we see the upright part of it, or front: and over each window below (between the rafters) is seen little circu- lar openings to give light to it—Over the south window is seen the cross-timbers and side-form of the roof. ‘To the left is seen the pro- file of two small windows over the great east window ;—returning to the clock-room, we see over the belfry, to the right, the profile of the west window ; and to the left, the profile of the east window. Over the belfry is seen the turret. % For the Traverse Section, see Plate CXIX. The Gothic Architecture has, for these few years past, fallen greatly _under the censure of the immoderate admirers of Grecian Architec- ture; yet, if we candidly consider, we shall find both styles have their separate beauties and use. The Grecian taste certainly best suits those public buildings ; such as palaces, courts of justice, exchanges, hos- 35. Ti [ 70 ] pitals, music-rooms, banquetting-rooms, mansions, &c., but for reli- gious structures, Gothic, undoubtedly, ought to be preferred : the difference is easily to be decided: by spending a few hours in St. Paul’s, and Peter’s, Westminster, we may easily and seriously tell which has the greatest effect on the mind; which pile of building conveys ; the more devout ideas ; which fills the senses with the greatest attention | of the heaven above us; which leads us more to contemplate on the life to come? I®f I may take the liberty to judge, it is St. Peter’s; St. Paul’s never can impart those sensations; it has the contrary effect. We behold that wondrous object with a familiar eye: we consider that as raised to pass the hours in business, pleasure, and delight; no pious thoughts possess the mind, as while we are gazing on the vaulted roof of St. Peter. ‘Therefore condemn not Gothic entirely, but as occasion serves, and the subject requires, give preference to it. This little di- gression is meant to take those partial impressions from the minds of the students, which they may likely have imbibed, that Gothic Archi- tecture is a depraved taste, and ought never, on any account, to be introduced ; and to remind them, and others, that Gothic Architecture has been ages back the taste of Englishmen, and not entirely be led away by Grecian Architecture alone, because it is the invention of fo- reigners. PLATE CXVit: The Hall Plan and Elesauen ofa Design for a Gentleman’s Town-Houvuss. A. Steps. D. Stair-case for servants. B. Hall. | K. Private stairs for gentlemen to C. Grand stairs. go to the bed-chamber floor. Lee | F. Dining and break fasting-par- | LL. Niches for fire-vases to warm lour. | the hall. G. Gentlemen’s dressing-room, or| MM. Chimneys. © study. | NN. Book-cases. H. Porter’s-room. ~ | OO. Form of the se ae I. His bed. bad | | PP. The area. K. Water-closet. The Plan of all the Stories in the course of the work. PLATE CXVIII. A Design for a CHANDELIER. PLATE CXIX. The Traverse Section (taken from North to South) of the Cuurcu | on the Plate CX. ya & Description of the Section. See the Plan. We ascend up the north or south steps, AA—go through the porch B—and descend one step into the arm or side of the church G—hav- ing come to the centre of the building, we see the altar K—on the right side of which is seen the door leading to the sacristy R—round [a] it is. seen the railing ae the steps ascending to it HH—to the left is seen the pulpit Aa reading-desk M—to the right is seen the font O—over the north and south doors we see the profiles of the large windows, over which windows we see the profiles of two small ae | dows to light the roof. ) The eta and profile of the roof drawn toa larger scale on Plate CXXIV. 3 PLATE, CXX. A Design for a Door or FRONTISPIECE. PLATE CXXI. The Basement Story of the Design for'a Gentleman’s T own-Houssg, on Plate CXVIT. AA. Coal-vaults. JJ. Closets. B. Vault for servants to put their | KK. Stoves. utensils in. } L. Stair-case for servants. CC. Areas. MM. Necessaries. - D. Steps ascending to the street. | NN. Wine-vaults, in which are EE. Passages. seen the binns for the bottles. TF’. Steward’s-room. O. Butler’s pantry. G. His-bed-room. -| P. Servants’ hall. H. His bed. Q. Dust-hole. I. Housekeeper’s-room, R. Kitchen, | [ ye 2] 5S. Oven. | Y. Stair-case leading to the stables me Copper... and laundry. UU. Dressers. Vio) | ZZ. Beer-cellars, 8c. V. Scullery. ge | A2 A2. Chimnies. W. Larder. ©. >.» | The dotted lines shew the form X. Pantry. fi DY of the groinds.. The continuation of the hall plan, from the dining-parlour to the stables—the laundry plan over the stables—and bed-chamber plan over — the laundry, on Plate CK XV. PLAT E CXXI, ‘The Plan and Elevation of a Design fo an Harmonic PavILIoN. | x Sy stele to the Con iJ. Pee lonnades.. KK. Seats for the fddles a and other BB. Cclonnades. | instruments. C. The music-room. LL. Rooms for the musicians. D. The orchestra. | MM. Rooms for the company. E. Balustrade, that divides the or- | NN. Chimnies. chestra from the room. 10. These dotted: lines ee the FF. Seats for the choristers. form of the cove in the.ceiling. G. Area for the bases. | | ee HH. Their seats. The profile elevation on Plate I, Harpsichord. | CXXVIII. AY PLATE CXXIII. _ A Design for a Cuair. AT | Kk [ 7A } PLATE CXXIV. . The Front and Profile of the Inside of the Roof on Plate Cx. ’ i FIq@ UL The Front or upright Part of the Roof. Be Leas bee The Profile of the Roof. A. 1.2. 3. 4. 5.6. 7. are the different timbers, which refer to the figures on the upright part of the roof. “BB. The laths or bridging which sustain the ek covering. CC. The lead covering. | its) DD. The profile of the vaulting. EE. The profile of the side walls. | me FF. The profile of the turrets. | 2 ee The circular dotted lines shew in what manner the roof is con- structed. | : The perpendicular dotted lines shew where the timbers intersect, | as is seen on fig. I. The Honicntal dotted lines refer from the profile timbers to the up- right part of them on fig. I. The outside of the great north window of the church on Plate CXXVI. [ 75 J PLATE CXXvV. The Continuation of the Hall Plan from ‘the Dining-Parlour to the Stables—The Laundry Plan over Ms Stables—and the Bed-chamber Plan over the Laundry. ES0- 1161 FIG: L: Continuation of the Hall Plan. A. and Fr. uiRieKboin and i Brenkidating baltous. B. and G. Gentlemen’s dressing-room and study. CC. Flat over the kitchen, &c. D. Stair-case ascending to the laundry. E. Stables. FF.’ Stalls. G. Manger. | : H. Step-ladder to the hay-loft. II. Coach-house. JJ.. Areas. FT G.I. The Laundry Plan. ; A. Stair-case ascending to the bed-room. — B. Laundry. C, Hay-loft. D. Opening to put hay down. E. Step-ladder from the stables, F. Door to take hay in from the carts. G. Chimney. | [ %6 ] { ) | Bed-chamber:Plan'for Men. | A. Stair-case. B. Footmen’s-room. C. Coachman and groom’s-room._ DD. Beds. E. Chimney. The plans of the one pair of stairs and two pair, on Eine Keiieine PLATE. CXRVI.: The Great North Window of the Caurcu on Plate CX. ‘The 2 West | Door on Plate a PLATE CXXVII. A Design for a MonuMENT. PLATE CXXVIII. The Profile Elevation of the Design for an Harmonic’ Pavttios [ on Plate XXII. The Section taken’ North and i Aas on. | PlateCX XX ut La § PLATE OXXIX. g- The Plans of the One Pair of Stairs and Two Pair of Stairs Floors of the Design for a Gentleman’s Town House, on Plate CXVIT. FL6G. I. The One Pair of Stairs Floor. A. Drawing-room. B. Saloon. -E. Grand stair-case. | F. Landing. €. Baleony, giving a view of the | G. Private stair-case. grand stair-case. H. Stair-case for servants, DD. Withdrawing-room. _ . tols Chimneys. FIG. LI. The Two Pair of Stairs Floor. B. Ditto dressing-room. stair-case. C. Ditto wardrobe. 3 | TLH. Gallery. D. Second bed-room. I. Private stair-case. E. Ditto dressing-room, K.. Stair-case for servants. F. Ditto wardrobe. — | LL. Beds. " | MM. Chimneys. 4 A. Best bed-room. ie The open part of the erand he Plans of the Garret Story and Outside of the Roof on Plate CXXXIIT. a a ae a! Eee en PLATE CXXx,. The West Door of the CHURCH on Plate ox, " PLA T EK CXXXI, The Section fete North and South) of the Design 1 for an Harmonic PAVILION. Description ‘of the SECTION. See the Plan on Plate CXXII. In front of the music-room C, we see the orchestra D—on each side. are seen the colonnades B. The Section taken East and West on Plate CXXXV, PLA QE. CXXXIt. A Design for a Srarvary Mareie Tape » ImMlaid with Japan - Paintings. Coe. PLATE CXXXIIl. - The Plans of the Garret Story and Outside of the Roof, of the Design for a Gentleman’s Town House on Plate CXVII. | BoOleG a 1. The Garret Sory. A. Stair-case for servants, BB. Landing. — ©. Open part of private stair-case. DD. Rooms for women servants. EE. Closets. : F. Open part of cricine stair-case. GG. Chimneys. HH. Beds. abe dotted lines Mew the form of the Sky ligt Feet Gy. IL.. The Outside of the Root. : AA. The Roof. B. Lead flat over grand stair-case. C.. Ditto over private and servants ditto. D. Ditto over closets, EE. Ditto over garret windows. FF. Sky-lights. a GG. Chimney flues. HH. Gutters. UI, Parapets. | eS cee [ 80 7 ae ~ PLATE CXXXIV. A Design for 2 SHor Front. PEAT Com : The Section (taken East and West) of the Design for an HARMONIC PavILIon. Description of the SECTION. See the Plan on Plate CXXHI. We ascend to the west colonnade B—next enter the music-room C —to the left is seen the orchestra D, wherein is the profile a the organ J, and harpsichord I. To the left of the dome is seen the profile of the false erat to make the side-elevations uniform.—This necessary help is so con- ‘trived, that neither within the building, nor without, can it any ways. be seen, but every part apyears regular. This design is to shew the student (that as frequently buildings are finished in an irregular man- ner, for the convenience of rendering some more favourite part com- plete) that it is possible to remedy every disagreeable object in the hike manner by a little study, as is here illustrated. Lees *) PLATE CXXXVE The Plan and Elevation of a Design for an Eeypt1an Pyramipicar Darry. | sae A. Entrance. B. Dairy. CC. Recesses for pans of milk, &c. DD. These dotted lines:shew the situation of circular windows above. EE. These dotted lines shew the form of the groinds. The Section, taken east and west, on Plate CXL. PLATE CXXXVII. The Plan and Elevation of a Design for a SuEEp-Corts, to terminate the End of a Canal in a Garden, which generally extends to the Meadows or Pasture-Ground. 4, Shepherd’s hut, B. Bed-room. ‘C. Bed. D. Fire-place. K. Yard. * FF. Hovels for sheep. : GG. Rough bodies of trees which support the upper part of the hovel. H. waceaaniee for provender. I. Pond. KK. Avenues for the sheep to go in and out. LL. Hurdles or railing which divide the garden from the meadows. f The a: taken east and west, on Plate CXLI. Al. M m [ 82 ] PLATE CXXXVIII. The Ground-Plan and Elevation of a Design for an Inn. A. Portico. nhs O. Dresser. B. Hall. P. Pantry. C. Larder. Q. Dresser. D. Bar. ; | R. Grand stair-case. E. Bar-room. S. Private ditto. F. Public room for company. TT. Glass doors leading into the GG. Private room for ditto. yard. : : H. Kitchen. UU. Chimneys. I. Copper. | VV. Gateways. K. Stoves. WW. Yard. LL. Dressers. X. Passage. | | M. Scullery. ) The Plans of the Principal and N. Sink. Attic Floors, on PlateC XLV. PLATE CXXXIX. The Ground-Plan and Elevation of a Design fora Vitua, with a small Farm adjoiming. at | Al Al. Steps ascending into the; G. Grand stair-case. House. H. Private ditto, » B. Hall. I. Kitchen. C. Study or common parlour: J. Stoves. — D. Drawing-room. KK. Chimneys. K. Dining-room. L. Cup-board for glasses. F, China cup-board. M. Scullery and Brewhouse. £81 N. Pantry. QO. Milk-house. P. Store-room. -Q. Stair-case: for ascending to - rooms for servants. Bi Water-closet. S. Poultry-court. T. Place for keeping wood, &c. in. | J2J2. Mangers. U. Stairs ascending to i ae V. Coal-hole. | W. Common necessary. X. Dung-court. Y. Common stable. ZZ. Stalls. A2, Manger, B2. Saddle-house. | C2... Best stable. ‘D2 D2. Stalls. 2. Manger. | F2. Saddle-house. G2. Gateway to the court. ‘| H2 H2. Coach-houses. 1212. Cow-stalls. | K2. Hog-stye. L2. Cyder-house. M2. Barn. . The chamber and attic floors are for bed-rooms, &c. PLATE CXL. The Section (taken East and West) of the Design for an Eayptian - Pyramipicat Datry, on PlateC XXXVI. Description of the SECTION, — (See the Plan on Plate CKX XVI) At the west side we see the profile of the door, or entrance A—in the front is seen the recesses for the milk, &c. C—to the left is the profile _ ofarecess; above is seen the profile of the circular window D; and on each side is the profile of ditto; above which is the profile of the timbers supporting the upper part of the pyramid. . [ 84 ] ‘4 PLATE CXLI. The sation fallen: East aa West) of the Design for a Suzee-Corz, | on Plate CXXXVII. ‘ Description of the SECTION. - (See the Plan on Plate CXXXVII. ) At the west end is seen the inside of the Shepherd’s hut Alas the | centre is the fire-place D—on each side are the windows, also profiles — of the two doors—next is the yard K—in the centre of which is seen the pond I—behind is the hovel for sheep F—at the back of which is seen the door leading to the avenues K—at the east end is seen the inside of the (others H—where is a window and a profile O a door. | PLATE Cxmir A Design for an Iron Gate, or Entrance into a Gentleman’s Park. PUA PE’ CREME The Plan and Elevation of a Design for a Foot-BrinGE, over a small River in a Gentleman’s Park. , A. Half the plan ofthe foundations. | G. Steps ascending to the bridge. B. The pier. H. The profile of the bed of the CC. Starlings. : river. > ve a DD. The River. I. The water line. K.. The bank of the river, KK. The profiles of the bank of | F. Half the plan of the upper part} the river. of the foot-way of the bridge, Case ‘v ee ees ~ PB he ee : We Lee By pin [ 85 ] PisAT-E) CXLIV. The Pian and Elevation of a Design for a KEEPER’s Lopce. Y 1G. I. The Ground Plan. AA. Steps. © | E. Gun-room. B. Kitchen. F. Pantry. C. Scullery. G. Parlour. D. Closet. H. Stair-case. tt G.:.. II. The Plan of the Bed-room Floor. A. Stair-case. EE. The top of the parlour. B. Landing. FF. The top of the coeuliony C. Bed-room. and cellar. D. Closet. PLATE CXLYV. The Plans of the Chambers, and Attic Floors of the Design for an Inn, of Plate CX XXIX. FIG. I. The Plan of Chamber Floor. A. Grand stair-case. C. Saloon. B. Landing. D. Grand room for company. 43. Nn [ 86 } EE. Withdrawing-rooms. _—s—-|{ J. Water-closets. F. Waiters’ room. aR IR Balcony. G. Common stair-case. LL. Passage. HH. Bed-rooms. MM. Chimneys. I. Beds. | FIG. H. The Plan of the Attic Floor. A. Common stair-case. F. Water-closet. BB. Passage or gallery. GG. Chimneys. CC. Openings to give light to | The circular dotted lines in galle- passages below. ry, shew the form of the sky- DD. Bed-room. lights, giving light to the same. EE. Beds. A PLATE CXLVI. The Plan and Elevation of a Design for a STABLE. A. Saloon, or carriage-way. BB. Stables. CC. Stalls. DD. Saddle-houses. PLATE CXLVII. A Design for a CHiMNEY-PIECE. [ 87 ] PLATE CXLVIII. The Plan and Elevation of a Design for a Tott-Hovwse. A. Tollman’s room. B. His bed-room. C. Bed. D. Cellar, &c. PLATE CXLIX. A Design for a CrocKx-Case. PY AT BE Cb: The Plan and Elevation. of a Design for a MausoLeum. A. Steps ascending to the Mausoleum. B. Landing. C. Porch. DD. Mausoleum. | EE. Steps which raise one part of the congregation above the other. for the better beholding the ceremony. F. Landing, whereon the corps is rested during the burial service. GG. Stairs descending each way to the catacombs below. HH. The open part of the stairs, or well-holes. [ 88 ] II. Semicircular recesses. K. Steps ascending to the altar. L. Inclosed space before the altar. M. The altar. N. The clergyman’s room. OQ. The sexton’s room. The Plan of the Crypta or Catacombs, with the section of the whole building, taken north and south, on Plate CLVI. PLATE CLI. The Plan and Elevation of a Design for a Rounp Houss, or Wartcu House. A. Piazza or porch. J. Seat. B. The room for the watchmen, | K. Dungeon. &e. L. Seat. C. The constable of the night’s | M. Necessary. seat. . N. Room for women-prisoners. DD. Seats for watchmen, &c. O. Place to lay down on. EK. Table. P. Seat. F. Room for prisoners of credit- | Q. Dungeon. able appearance. R. Seat. G. The house-keeper’s room. S. Necessary. H. Room for men-prisoners. TT. Chimneys. I. Place for them to lay down on. | UU. Beds. [9] | ofr A ible CLIT. | ek FP I G. I, The Ground F loor. F, Shay. | G. Passage. | H. Kitchen. I. Copper.. K. Pantry. “| L, Chimneys. : AAL Steps seending into the _ House. : B. Hall. _C. Best parlour, D. Common parlour. E. Stair-case. : ale iGo The Plan of the Bed Chamber Floor. A. Stairs from below. | jie GG. ‘Chimneys. B. Landing. | The stair-case is lighted fe a sky- C. Stairs ascending to the garrets.| _ light. ; ~ DD. Dressing-rooms. ates |The two-garrets are over the two- EE. Bed-rooms. - — x Ate Reale icone. FF. Beds. PEATE CLL A Design for a CANDLESTICK. 45. pakieer 8 ¢ @ 7 * PLA LE. CLIY. The Principal Plan and Elevation seF 2 a Design for a Comune afar vOHsaosmoaKA 240! Myte)) ihn se ‘AA. Steps. | U. Their table. = B. Saloon. "T'V. Stair-case for the musicians i C. Beadle’s-room. go to-the music gallery over co- D. Armoury, or servant’s hall, lumnade N, beneath which or E. Saloon. descend to the. cellars. below, F. Private stair-case, ascending. to | Ww. Yard or garden. sei 2 the rooms above, beneath w rhich | XX. Alcove. 1", =F im -you descend to the kitchen, &e. -Y. Necessary for women. er a belonging to the beadle, ad /Z. Room for, serdenpots, B-.« 4& G. Courtyard. anes A2. Piazza. 39 2 “ ry y ' “LBIC. 2 H. Saloon. . B2. Kitchen. ‘oe I. Grand hall. | C2 C2. Tables. J. Steps which raise the prime{’D2. Oven. warden’s table above the other Sg Copper. | tables. , ‘| F2. Stoves. — K. Their table. wie oe Scullery, . ie ile LL. Livery tables. orp tt Lh Se CCODDER.) 7 7 MM. Side-boardé. “| 12. Hot larder. _., ee etiske m N. Columnade, or grand side- | J2. Dressers. Cane 5 sae ¢ a board. melt ee oe a ogee 2 ‘Ka. Confectioner’s 's-room. . ak | L2. Stoves. ae nant | M2. Tables. shee grapes N2. Private hall leading { to the — O. Salone: =e tn aero P. Grand stair-case. Q. Saloon. ‘ R. Gown-room. kitchen, &c. S. Private hall. (1) “| 02, Buttery or pantry. T. Parlour for the prime wardens, | P29. Butler's pantry. or court-room., Q2, Yards: ; R22. Necessary for men. T2. Yard. ws | V2. Hall belonging to the clerk | c 9% J. Y2. Clerk’s office. | Z2. Desk. | A3! Stair-case belonging to the clerk’s chambers, beneath which b> “youl descétid to: his kitchen and U2. Necessary for seveddlt “si of *haWenecRan Bea! : baES: yn p i BZ 2 oy : W2. “His parlours: 9! 20 lef © otter offices, 0° bon X2. Saloon. B3 B3. GHnesG. «0 MUAIO“? sas reas RS | debe oe) Se BR ; ist edi 16 os las olf The bie Pair of Stairs Plan, with i North Flank. Dlevatitnt lof the _ whole Building’ of: the Design for'a' Company’s Hanus AA. asied stair-case.) 790° 9 }[P. Room for the musicians. ~B. Landing. a ee ey ee Ihe The open’ or upper part of the GS: Saloon. ey a MOCUhR AG OFF5 7G halle “53% ec D. Card-room...,. T viribasl : RR. The open or upper pant of | Ex Cofleerroom,.or witha Ba Landing. : IG 10: 911} Ip — SaF) itt rawing= |» - the yards, )... “BOOM fisl odd uno bié..-¥1 i007 S. The bd Seg or siiahad part of the | F. Saloon. | kitchen. G. Private stair-case. T. Stairs leading to ‘the clerk’s fa |) “apartments. I. Ball-ro Om. U. Landing. JJ. ‘Reaves for the music, Be. 4 { yr? “Saloon. a Ww. Dressing-room. XX. sue comes YY. Beds. Z. ‘The open or upper pare of the court yard. ae AQ. ee piucys: 1a rrr a lo ie the’ wardens, of? * 7 L. Saloon. M. Council chamber. N. Stair-case for the musicians. ° O. pe ealicty. TTY, vrs The Sin taken North a re South, at: Section taken East and poh ina future Mauwbew xuiace.d 2 it ceitol A ee aS [ 92 ] PLATE CLVI. The Plan of the Goench or fae with the Section iadien North and South) of the whole Building, of the Design for a Mav- ~ gsoLeum, on Plate CL: AA. The stairs from the chapel above. B. Open space under the stairs. CC. The crypta, or vaulted aisles to walk in, and to conte mpia on the ashes of the dead. DD. Catacombs. | The dotted lines shew the forms of the vaultings. Description of the SecTION. See the Plan of the Mausoleum. Having got in the centre of the landing F, we see before us the | steps Keen lead to the altar M—on each side are two recesses I— to the right is seen the clergyman’s room N—and on the left ini 32 SeX- ton’s room QO. | See the Plan of the Pee: In the centre is seen the stairs (to the right and left) which descend — below—in the crypta we see the square doors before the catacombs D —to the right and left is seen the profile of catacombs, in ata are the coffins, . PLATE CLVII. A Design for a Looxine-Grass, * - aC % we \ , f [ 93 ] : i epee» be f a i i i ole ec ee that citage ais 3 BOP PIII OES 63 : * —, : ie * a “1G i! I ‘PLAT on CLVIIL: albtidasias ics ani South) of the Design apt a Company’ s Dbisy- “F109 9 () ojo) codHan., om Plate: CLAMS: Ent fae wi. a “Mee ' oni 37 ef ant: 3 oO} 400} 7 iit EES Spm 4 toni se eKeal ehg ‘yh iar aciF Mi——ivolisg ¢'n ’ Description of the Seetiombaiw sij-— fp viineg & “lind ojni yaidool.wobniw 2 zi-o1tn99 - sh aint | it f > * fr by abameclos alt orga! the Plan of the Principat Floor. nee bs Bers as Lie: Me i? dpac 14 hi a4 ‘pee! ae ie - A ant < e ’ ati in thé’ ecabia of Ku dh coral yale G we see,’ Siecle us, ' the door leading to the grand hall—the door to the: left leading: into piazza A2—and the door to the right leading to the stair-case N— To the right»is ‘seen: ‘the prinie yerdcis’ s parlour;| under which is a cellar Geand to the left the clerk’s office, under which is a passage YQ | beyond which is the kitchen B2, which continues up the next story, ‘beneath which is akitchen tala to’ the brian sab ees ) 4 o {Tame sees te ae %. “‘9l hp: O 513 IUIROOIS He rs as 4 YTS est }; “See the One Pair of Stairs: Plan! The aos | in court-yard g give light to the mei iKe: Raed the windows above light a passage—to the right is seen the coffee-room, or withdrawing-room, above which isa room and passage for the beadle’s use—to the left is seen the dressing-room belonging to the clerk’s apartments, above which is a passage, and over the kitchen a room for servants t9 dittasiyo%) 2 10} wniestl « to noite - at Se ® 7 — ae: eit ¢ iia : et | PLATE ClirxsomildO The Section (taken East and West) of the joc for a adie s Haut. [ 94] - Description of the Section. See the Plan of the Principal Floor. We ascend up the west steps A—enter into the saloon B—under which is a cellar belonging to the beadle—thence into the court-yard, the door to the right leads into saloon E—and the door to the left into’ saloon Q—the windows give light to the warden’s parlour—thence into saloon K—in the centre is a window looking into butler’s pantry P2—(under which is a passage) thence we come through. the colonnade N-—into the grand hall I, which extends in height through the upper story—in the centre is seen the niche for the sideboard M—over the. colonnade is the music-gallery. wnthe See the Plan of the One Pair of Stairs Floor). . ; The three centre windows in the court-yard give light to the coffee- room E—the other two light the saloons E and F; the windows above light the passage belonging to the beadle’s apartments—To the right is seen the ball-room I—to the left is seen the picture-gallery K, over which is a passage. Pol AE BCR Xs _ The Plan and Elevation of a Design for a GoTtuic PAVILIon. | A. A Footing round the Building. B. Inside of the Building. C. Chimney. The dotted lines shew the form of: the vaultings. r| { 95 7] ib 406i vigeesoe YI AHCOUL 101 S28] Ne ripidal ttoig 10} Dh “PL A T rE CLXI, ‘OIFL3 Ge threes - etal As poe mle Plan and Elevation of a , Design for a Ses i del D.- - '. iSaiss oi oe | 44) yay. 8] f 1 Bao ms (i i tae: A Footing round the Conduit. - iB. Entrance Gute ditto. OFT TOE NIRAEIOI Lt -C. Inside ‘of ditto. ‘4 fleiddux tok o96lT A re Bason for v ‘water for people and cattle. OU j vd A ae SB iwi 024i ooo z i . aan § 2 ArRdg PLATE CLXII. A Design for a Gothic ALtTar-PiEcE. sl OE Plies aida a As P i A T E CEXITT. a. eu bs a SHop-F Ron. PLATE CLXIV. A Design for a Cena. P LA T E wenipeo o The Ground ial and Elevation ofa Deion: fora Counry-Gaot, D. A. Steps baddndttig to the ah C. Jailor’s hall. ‘B. Footing before’ ditto. an DD. Ditto rooms. E. Jailor’s yard. FF. Yards for men debtors. G. Room for ditto. ‘THI: H. Stairs ascending to rooms above, belonging to ditto... I. The ground for the exercise of ditto. me ae J. Necessary for ditto. : K. Place for rubbish. L. Tap-room for men debtors. M. The bar. | _N. Stairs to go to the beer-cellar _ below. | cab O. Boxes. PP. Rooms for the, person: who. keeps the tap. .-Q. Yard for men felons. R. Room for ditto. — S. Stairs ascending to rooms ‘above for ditto. z T. Necessary for ditto. — UU. Yards for women debtors. V. Room for ditto. W. Stairs ascending to “rooms! ~ | above for ditto. X. The ground for the use'of: Ditton | F2. Cold larder, a G2. 2 He. Rooms For the person who ie 1K. Stairs ascending to rooms Y. Necessary for ditto. Z. Place for rubbish. | A2: Kitchen. B2. Copper. C2. Oven, D2. Scullery. . Hot larder. by ie ery Dresser. 3 keeps the kitchen.: 12. Yard for women felons. Room for ditto. - above for ditto. ‘L2. Necessary for ditto. M2. Yard before the cellar. | N2 N2. Avenues between ditto, | O2 O2. Cells. P2P2. Chimneys. * 1 Q2. Circular space for the conve- niency of serving all the pri- soners with meat and drink, Be without any of the debtors mixing with the felons. The walls in the small yards, which are shaded lighter than the other walls, are to be carried up breast high, on which is to be raised an iron work to keep the several prisoners asunder; syet, upon occasion, each may converse with the other, without joining together, and so be the means of keeping goodoorder and. peace in) the gaol ;, the general method of letting debtors and felons mix promiscuously together has aa been oftentimes productive | of bad consequences, and is, by the iron partition, remedied. © °° cape In the elevation is seen, at-each angle of the building, (above the first story.) cages for the men and women debtors to beg for charity in. ‘The one pair of stairs’ plan ‘and section of the whole building, taken ne north and ae on Bis, CLXIX. : ink LAT E CLXYI. The Flan and sa of a at for a _Mustcar Pavition, ? To the Memory of HENRY PURCELL, i | He left this life, And is gone to that blessed place Where only—his own harmony can _ Be exceeded. idee leading up to the) CC. aac to ditto. _ building. -- |DD. Platform or terras. BB. Piazza, or arcades, for com-| EE. Flight of steps Tecate to pany to walk (fs pan at ae the orchestra. | P EL e ‘ E CLXVII. ad be Plan and Elevation of a Design for a Temple | ‘qa: afieeb sion det to building. | C. The jonide of ‘he Pienle. BB. Platform ¢ or terras, » | DD. Alcoves. yay AQ. Qq PLATE CLXVIIL. | _ A Design for a Fonr. PLATE CLXIX. The one Pair of Stairs Pian and the ociel of the whole Build- | ing (taken north and south) of the Design for a County-Gaot, on Plate CLXV. A. Stair-case for the men debtors. B. Steps ascending to the cages for them to beg in. C. The cage. DD. Passages. EE. Rooms for men debtors. FF. Common sleeping room for ditto. GG. Barracks for sleeping on. H. Stair-case for women debtors. I. Steps ascending to the cages for them to beg in. J. The cage. KK. Passages. LL. Rooms for women debtors. ditto. N. Barracks for sleeping on. O. Stair-case for men felons, P. Sleeping room for ditto. QQ. Barracks for sleeping on. R. Stair-case for women felons. S. Sleeping room for ditto. TT. Barracks for sleeping on. U. The chapel. _ per part of the chapel, _ may hear the service :—then the After the service is over, M. Common sleeping room for V: The altar. W. Reading desk. X. Stairs ascending to the Billpit. | Y. The pulpit. ZZ. Folding doors, which, when service is to be performed in the chapel, are to be opened, and the prisoners to be placed in the fol- lowing manner:—The felons to — be sent up to the second story, where, from a gallery in the up- they debtors may go into the chapel. ‘the - debtors to return to their apart- ments, and the folding doors being closed, the felons to return to their rooms likewise. A2 A2. Chimneys. B2. The upper part of yard. The threecommon sleeping rooms, _ and the chapel, extend in height _ to the top of the building, and receive light from sky-lights, | T 9f 7) | _ Description of the Section. " (See the Ground Plan. vat In the center is seen the door eee into the cells O2—the doors on each side lead to the men and women felons’ rooms. To the right is a profile door leading, into tap-room for men debtors, L;— here is seen the bar M, and boxes O. On the side of the building is the ground for the debtors, I; and the place for the rubbish, K. To the left is a profile door leading into the Kitchen Az; here is seen the doors leading into the hot and cold larders. On the side of the building is the ground for the women debtors, X; and the place for the rubbish, ZL. | (See the ity Pair of Stairs Plan.) - » Over the girder is seen bhé sleeping-room for men ‘Bandi F, _ which receives light through a circular opening in the floor of the room above, which is to be for a sleeping-room likewise ; the whole lighted from a sky-light above. Over the kitchen is seen the sleep- ing-room for the women debtors, M, which receives light i in the same fit as the men debtors room ; and the room above sg for another ‘Sleeping-room. — : The Two Pair af Stairs oe, and Sectian of the whole » Building | _ (taken east and west), on Plate CLXXIL. PLAT E CLXX. The Plans and Elevation of a Design for a MusicaL Pian To the Memory of GEORGE FREDERICK HANDEL. To thy great name I dedicate this pile, Who has so charm’d this wond’ring, list’ning, isle, [100 J With notes harmonic, which doth rend the Tey : While modern untun’d strains in discords die. The chief of all the choirs, thou: stand’st confest, Of lower worlds. In scenes of endless rest; Handel, thou sure are highly plac’ d among. Hey ~ (In awful state) the bright angelic throng: Sagi | - For, Oh! no mortal more deserved the skies, Who hast made millions, with uplifted eyes, | % Adore their Maker!—Tun’d, by thee, to sing Se ees | The praises of our mighty, heav’ ‘nly, King. At Half the sround-plan. | BB. Steps leading to the CC. Footing round the building. DD. Flights of steps ascending (to right and left) to the pavilion sieve, EE. Arcades forcompany tow alk, &e. FF. Grand saloon for ditto. The dotted lines shew the form of the groinds. G. Half the upper, or pavilion plan. HH. Footing found the building. | II. Flights bé steps ascending to . the KK. First loonie or terras. LL. Steps ascending to the MM. Second platform, or terras. N.. The pavilion. Q. The pedestal for the gure of Handel. In the ElnpatiGi Those circular tablets, upon the fascia below thesecond platform, are designed to contain the titles of the several subjects hich WS has set to music. AG The Section of the whole Boe (north and south), on Plate CLAXIIT, PLATE CULXXI. The Plan and Elevation of a Design for a GarE-way, or Entrance, into a Gentleman’ s Park. A. Gate-way for carriages, : | BB. Deenwhys for er on foot. ee ee ° ah oe ee eo > omar [ dol |] Je - P4 wee ; E a e P stery cas text fo ¢ (xt F S79 4 ae Por We exere re tee ti ie le 2S 5 , 4 5 Sol oe ag oa - WS inFbsye af rie « TES J ¥S RAXEEE xd ae & owed | we > are “913 to on0 to on LpAT Eo CUXKH.) "The Two-Pair of Stairs Plan, and Mie Section’ of the whole Building, (taken vast land West;) of the: Design: for a ae ae ee Ol on Plate hee fs"sfF etstit-ags gE EE + hed ERG PSDIS ied age sith € yoy. ns & A. Stalirease for men 1 debtors. Ae} B.B. Passages: atiis WeOd C.C. Rooms for men Piebtors -D.D. Common rooms for ditto: © E.E. Barracks for sleeping on F. Staircase -for: women Pppericomant G.Gi Passages — 3 he H.-H. Rooms ae women dcbtire ¥ I. Common sleéping=r oom for do. J. Barracks for sleepingion | K. Staircase for men felons L. Sleeping-room for ditto | M.M. Barracks for sleeping on N. Staircase for women felons O. Sleeping-room for ditto |. | P.Py Barracks for sleeping on-’ » | Q. ‘The open or upper-part of the chapel R.R. The «gallery for felons to hear divine service in |S2S.: Folding-doors which givead- _ /mittance to the pallety | | TT. Chimneys: U. The:upper part of the oe -|V.V. Circular: opening’ to « give light to rooms below The circular dotted lines in the three circular sleeping-rooms, and. the chapel, shew the form of the ‘sky-lights. Description * the, Bon. “ y ro See ne Cron Plan . : - Ascend up the steps A—enter into the gaoler’s hall, C—where, on -the left of the chimney, is.seen a door, which leads to the gaoler’s rooms, D.D—from thence into the yards, in the centre of which is the door leading into the tap-room, L—the door on the right leads to the room for, men debtors, G—and the one on the left to the room 51. / Rr [to 4 for men felons, R—we next go to the avenue before the cells, N@— and into the centre circular avenue, where there are seen the doors leading to the cells O2—to the left is seen the inside of one of. the ; cells. See the One Pair of Stairs Plan, on Plate CLXIX. Over the hall is one of the common sleeping-rooms for men debtors, F—in which is seen a door from the passage, D—over the cells is the chapel, U—in which is seen the large door entering into the chapel. See the Two Pair of Stairs Plan. Over the one pair of stairs common sleeping-room is seen the two pair of stairs ditto, with a door from the passage, B—and likewise we see the circular opening for light, V—the whole lighted from the sky- light above. Over the chapel is seen the gallery, R—and the large door entering into the te the whole lighted from the skye : above. PRhA-TE CLXXVE The Section of the whole Building, when North and South, of a Design fora Musicat Pavition, to the Memory of GEORGE FREDERICK HANDEL, on Plate CLXX. Description of the Section. See the Ground Plan. On each side is seen the profile of the steps, B—which lead to the footing round the building, C—we then enter the arcades for the ee ee { 103 company to walk in E—then into the saloon F. Alboxe the groinds _of the arcades is seen a second tier of Srothdssi4 for the heres support of ‘the building wesea i 0 dQ ie See ‘he Pavilion Plan. To the right ae left, above the aitailes: we behold ie first ae form, K—we then ascend up the flights of steps, L—which brings us on the second platform, M—thence we come into the pavilion, N. wee In the centre is seen the’ pets of the figure of HanpgL, and the pedestal, O. " f : P LA TE CLXXIV. The Pipe and Elevation. of a pen for a GENTLEMAN’ s VILLA. 2 4 °. in gee es Hall Paty gH sre yd @. Pantry ies dtaitoase <6 3 R. Dairy . Best parlour | S. Wood and seaetnice . Saloon T. Place to clean knives, &c. . Dining-parlour U. Avenue between the house - Passage ~ and offices . Back staircase V. Staircase to rooms over ceach- . Avenue between the house} house and stable and the offices | W. Yard I. The kitchen... X. Stable J. Copper Lids) Y. Stalls K. Stoves Z. Manger _L. Scullery sae pA. Step-ladder to go up to the M. Wash-house | hay-loft : N. Copper _ | Be, Coach-house QO. Staircase to chambers above : C2. Horse-pond _ P. Avenue between offices and} D2. Chimneys _ out-buildings % a? [ 304 ] VET. ‘CLXXV. ® . x P as RPE ato Ak ¥ hi Tis Pith, 3 i : << } ePut 2 a> & + The Plan of tia Bed- Ghani Hionie and the eats Floor, of the Design for a VILLA, ¢ on 1 the ee Plate. is IG. I. iy | The Plan of the Bed-Crhaniber Floor. Sees es A. Best dannel to stugit sds tg pl yea s¥bb 1 for ‘footmen ©) B. Landing Be M. Ditto for butler ©) C. Best bed-room N. Staircase D. Wardrobe, or dressing-room’ |-O. Bedroom for coachman, &c. E. Saloon dressing-room — P. Hay-loft F.F. ‘Alcoves: ra y 10 e4{@j Door to take hay up” L G. Bed-room — | R. Opening to let the hay down | H. Passage “1 §, Opening from below t-te ay I. Back staircase. |'T. Step-ladder ~ gin cab ts J. Staircase from wash- house U. Beds K. Passage - | V. Chimneys BP: AGee Tie ware The. re of. the Garret Floor. ons | at pi z A. Back staircase ae H. Lady’s maid’s room’? B. Passage euaIe, I. Room for cook and houseniaids, C. Passage ML &c. OIE Wai D. Nursery © >> ~ | J. The open or upper pa oF the E. Glass door, to go out on the best staircase’) 5 68 5) _ balcony _. | The circular dotted line shews ie F’. Balcony : “form of the peAgark G.G. Bed-rooms ee children and | K.K: Beds | | nursery-maids | LL. Chimneys © x ad ¢ Ore — ms NS $ LE eS eee ee eee > ee 7 a — Sere ee To PL A TE CLXXVI. The Plan and Piston of a Dédign for a Grotto, at the End of > Canal i in a Gentleman’s Gar den. ) AA. The Cxiar TDD: Circular HOhctsde BB. Walk in the ee th | The dotted lines shew the form C, Alcove. | of the groinds. — PLATE. CLXXVIL The Plan and Elevation of a Design for a Bonz-Hovse. : Mors ih ono Linea rerum est.—Emb. Hor. A. Half of the Plan. “Ai Tons. BB. Steps ascending up to the | E. Entrance into the Bone-House, Bone-House. F. Inside of ditto. © CC. Footing round ditto. | GG. Butments. The student is to observe, that as all churches should be built in the Gothic taste, as being more suitable to such structures than the Grecian taste, so likewise every part appertaining to it must be im the | same style (as this design for a Bone-House, and various other designs introduced in this moe for religious purposes). or true it is, nothing can be more absurd than mixing one taste with the other, as is too commonly the case; for instance, the towers of Westminster Abbey :—what a medley of Grecian and Gothic architecture is there ! The choir of the same place is decorated with a screen of Grecian. columns, &c. while every other object round is Gothic !—Guildhall is another specimen of this unaccountable fancy: all the upper part of 53. Ss the building has been repaired 1 in the Roman style, doubtless with the intent of shewing how far inferior the Gothic part below, is to its vain and towering deauties above. The choir to Canterbury cathedral is Grecian ; and numberless other places in England can pr oduce instances as ridiculous-as these. I think no true considerate admirer of Grecian ev oletacenes can with confidence maintain, that such medley work shews real taste; it can only shew a love of novelty, which will always reflect a disgrace onthe intruder of Grecian. architecture on Gothic remains... If any of these venerable piles need repair, or any alterations, let it be designed in the exact manner of the original work; and seek not, by introducing some new w ‘him or fancy, to cast a mark of scorn on what, indeed, should be our pride to res a and preserve in its original purity and grandeur. Some architects, of late years, have Poenied an extraordinary taste for Gothic building ; as the seats of justice in Westminster-Hall. The arches that compose the same, are purely modern ; and, I may say, with the rest of the ornaments, need no other conviction of their deformity and extravagance than to be compared with the old Gothic, This is one of the noblest rooms. in the world, rendered odious ; : when, before, it was so truly beautiful and magnificent. I must confess myself a zealous admirer of Gothic architecture ;— —_ affirming, with confidence, nothing can be more in character, and ~ better adapted to a place of worship, than that awful style of building ; and that Grecian and Roman architecture should be confided to mansions, and other structures of ease and Oe ANDREW GEORGE COOK, - N EW BUILDERS MAGAZIN ps | i ‘AND COMPLETE . Architectural Library, For Architects, Surveyors, Carpenters, Masons, Bricklayers, §c. Apacus, 1 the superior member of the ‘capital, to which it serves as a kind of crown, on which the architrave rests: terminating the 7 column with its capital at the top, as the Plinth, another square piece, . does with its base at the bottom. Itis said, the original of the Abacus. was a square tile, laid over a basket, round which leaves of the Acan- ‘thus, or Bear’s-breech, grew; whence the Corinthian capital was derived. But the Abacus is certainly of earlier origin. It is well known, © that the Doric order was long prior to the Corinthian ; and there is an Abacus on that in the remains of the Parthenon at Athens, though the columns have no base. It represents a tile, indeed, in the Corin- thian order ; but its four sides are segments of circles. In the earliest instanees it served only to give breadth to the top of the columns, and a level support to the entablature. For this reason we see the Abacus of the Doric capital, very large in the most ancient buildings. In the infancy of Agriculture, trunks of trees were raised upright for columns, and others laid across them, to bear the roof. The Abacus was then a square piece, added to the top of the column, to support those others more conveniently. The Abacus was then made square E B Q | oe ae a aa plain on the sides, as in the ancient Doric; and in the Tuscan, added by the Romans; but in the Corinthian and Composite, it is — altered. Its four sides are hollowed, or arched, inwards; andit is deco- rated in the centre with a flower, or other ornament. Tn the Tuscan. order, the Abacus is of a great thickness ; and i is called. by some, the 3 dye of the capital. In the later Doric, a cymatium: is sometimes put over it, so that it loses even its place: and in the Ionic, it is wrought with an oval, crowned with a fillet; or it is composed of a cima reversa and fillet only. In the Tuscan order, the Abacus is of the same form. with the plinth of the base. In the richer order, it loses its native - form; the four sides or faces of it being arched or cut inwards, with some ornament, as a rose, or other flower, the tail of a fish, &c. in the middle of each arch. Others tell us, that in the Corinthian and Composite, it is composed of an ovolo, a fillet, and a cavetto. An- drea Palladio, in the Tuscan order, gives the name of Abacus to the plinth above the echynus, or boultin ; which he says is usually called a dado, or dye, from its. form; and 1 is one-third of the whole height of | the capital. He also describes the Abacus of the Corinthian order, to be one-seventh part of the whole capital, divided into three parts; the uppermost of which is a boultin ; and one-third of the next third below, is the fillet ; and the remaining part below, which is one and two-thirds, is the plinth and the Abacus. The Abacus is not always restrained to the capital of the column, Scamozzi using it In a very different sense ; viz. a concave moulding in the capital of the Tuscan pedestal. | ABREUVOIR, OF er eeora in. masonry, signifies the joint or junc- ture of two stones; or the space or interstice to be filled up anh mortar or cement. ABUTTALS (from Aboutir, fr. to border upon), the buttings and boundings of land, either to the east, west, north, or south; shewing on whatever lands, streets, highways, &c. the several extremes abut or terminate. Camden observes, that limits were formerly distin. guished by hillocks raised on purpose, which were called botentines ; whence we have the word buttings. A- EGA | : 8 Axscisse, or Asscissa, in conics, any part of the diameter or axis of a curve, contained between its vertex, or some other fixed point ; and the intersection of an ordinate. Such is the line AO, contained between the vertex A of wast curve BAC, The word is derived from abscindere, to:cut off. In the parabola, the. Abscisse is a third proportional to the parameter and the ordinate. In the ellipsis, the square of the ordinate is- equal to the rectangle under the parameter and the Abscisse, lessened. by: another. rectangle under the said Abscisse. In the hyperbola, the squares of the ordin-. ates are as the rectangles of the Abscisse, by another line compounded. of the Abscisse, and the transverse axis. In these two propositions, relating to the ellipses and the hyperbola, the origin of the Abscisses, on ie point A, from whence they begin to be reckoned, is: supposed to be the vertex of the curve; or, which amounts to the same, the point where the axis meets it: for if the origin of the Abscisses be taken from the centre, as is frequently done, then.the two foregoing theorems no longer hold good. 7 AcANTHUS, in botany, a plant producing an caning monopetalous flower, terminated in aring at the bottom. It.is called in the English, Bear’s Breech; the leaves of which make an ornament to the Corin- thian and Composite orders. There are two species of plants of the same name; one of which is wild, and the other cultivated in gardensé.. The first is called in Greek, Acantha; which signifies a thorn, on account of its having prickly leaves; and: is that which the major part of the Gothic sculptors have imitated in their ornaments. The d : + 0s second is called, in Latin, Branca Ursina; because they pretend it resembles a bear’s foot. ‘The ancient and modern sculptors have pre- ferred the latter; and make use of it, particularly in their capitals. Vitruvius says, that this plant gave occasion to Callimachus, the Gre- cian sculptor, to compose the Corinthian capital. It happened as follows :—An old woman, at Athens, happening to place a basket, covered with a litte tile, over the reot of an Acanthus: which grew on a-young Jady’s grave at Corinth; the plant shooting up the follow- _ing spring, entirely | encompassed the basket, till, meeting with the tile, it curled back in a kind of scrolls. Passing by, he ebserved it, and immediately executed a capital on this plan, representing the tile by the abacus, and the leaves of the Acanthus by the volutes or scrolls ; and the basket (which the French call T ambour), by the vase or body of the capital.. Garden Acanthus is more indented than the wild, and more resembles parsley or smallage, as it is found repre- sented in the Composite capitals of Titus, and Septimus Severus, at Rome. The place of the Acanthus leaves is on the ball of the capital, which they cover, and they are the distinction of the two rich orders. from the three others ; and their disposition in a separate manner on these two, distinguishes them from one another. The Greek sculp- tors have taken some Jiberties in their representations of the leaves of this plant. Sometimes the indentings are too deep, and often too numerous, for nature. They also introduce olive leaves and laurel leaves in the division; but they carve them with so much freedom, and with so little regard to truth, that, like herald-painting, if we were not told what they represent, we should find it difficult to guess. Acceteratep Morron, in mechanics, is that whese velocity is constantly mcreased; and if the accessions of velocity be equal in equal times, the metion is said to be uniformly accelerated. This comes chiefly under-consider ation, in the descent of heavy bodies, by the force of gravity. Notwithstanding various opinions on this sub- ject, the cause of acceleration is nothing mysterious ; the principal of gravitation, which determines the body to descend, determines it to be accelerated by a necessary consequence. A body having once ACC 5 began to descend through the impulse of pravity, that state is now, by Sir Isaac Newton’s first law, become, as it were natural to it, inso- much, that, were it left to itself, it would for ever continue to descend, though the first cause of its descent should cease. But, besides this ‘determination to descend, impressed upon it by the first cause, which would be sufficient to continue the degree of motion already began, to infinity ; new impulses are continually superadded by the same cause, which continue to act upon the body already in motion, in the same manner as if it had remained at rest: there being then two causes of motion, acting both in the same dir ection, it necessarily follows, that the motion which they unitedly produce, must be more considerable than what either could praduce separately ; and as long as the velocity is thus increased, the same cause still subsisting to increase it yet more, the descent must, of necessity, be continually accelerated. Supposing that gravity, from whatever principle, acts uniformly upon all bodies, at the same distance from the centre of the earth, dividing the time which the heavy body takes up in falling to the earth, into infinitely small equal parts, this gravity will impel the body toward the centre of the earth, in the first instant infinitely short of the descent. If after this we suppose the action of gravity to cease, the body will continue perpetually to advance uniformly towards the earth’s centre, with an infinitely small velocity, equal to that which resulted from the first impulse. But then, if we suppose that the action of gravity continues in the second instant, the body will receive a new impulse towards the earth, equal to that which it received in the first instant ; consequently its velocity will be doubled; in the third instant it will be tripled ; in the fourth, quadrupled, and so on. For the impulse ‘made in any preceding instant, is no ways altered by that which is made in the following one; but they are accumulated on each other : wherefore the instants of time being supposed infinitely small, and all equal, the velocity acquired by the falling body will be, in every in- stant, as the times from the beginning of the descent, and consequently the velocity will be proportional to the time in which it is acquired. The motion of an ascending body, or of one that is impelled upwards 5, C titer AEB 4s diminished or retarded by the same principle of gravity, acting im a contrary direction, after the same manner thabts tailing bety, 18 accelerated. A body projected upwards, ascends until it has lost all its motion, which it does in the same interval of time that the same body would have taken up in acquiring by falling, a velocity equal to that. which the falling body begun to be projected upwards, and conse-. quently the heights to which bodies projected upwards, with different velocities, arrive, are to each other as the square of those velocities. AcGIDENTAL Point, In perspective, the point in the horizontal line, where the projections of two lines, parallel to each other, meet the respective plane. | esi ¥ Oi Accurivity, the slope or ascent of a line or plane, considered in its’ ascending direction; as the ascent of an hill is the acclivity ; and, on the contrary, the descent is the declivity. ‘The word is compounded of ad, and clivus, a slope. Some writers have used the term Acclivity. as synonimous with talus: but the latter properly signifies the slope in general, whether it be considered as ascending or descending, AcroTEeRIA, improperly called Acrorers, in architecture, small | pedestals, upon which globes, vases, or statues, are placed at the end ~ or centre of pediments or frontispieces. According to Vitruvius, the height of the Acroteria, at the extremities, should be only one half of that of the tympanum; whereas that in the centre ought to be one eighth more. Acroteria also signify the figures placed as ornaments or crownings on the tops of churches ; and sometimes those sharp pinnacles, standing in rows about flat buildings, with rails and balus- ters, are called Acroteria. ‘The word is Greek, and signifies the sum- mit or highest point of any thing. | 7 On AnriaL Perspective, that which is represented both weak and diminished, in proportion to the distance from the eye. It is founded on this, that the longer a column of air an object is seen through, the weaker do the visual rays emitted from it affect the eye. The object of Aerial Perspective is principally colours of objects, whose force and Justre it takes off more or less, to make them appear as if more or less remote. AJ U if 7 _ Asurace or AnsuTAcr, in hydraulics, a small pipe fitted to the aperture of a Jet d’eau, or fountain. Jéxperiments have shewn, that’a - yeservoir of 12 feet height above the orifice of an Ajutage of three lines diameter, delivers 14. Paris pints of water-in a minute. This may serve as a fundamental rule for fountains, assisted by the follow- ing principles. When the height of the reservoirs is the same, and the orifices of the Ajutages different, the expence of water is pro- portional to the squares of the diameters of the Ajutages, when the expence of water, through different Ajutages, is thus computed. If9, the square of 3, gives, by experiment, 14 pints, what will an Ajutage of 5 or 6 lines give. The answer is, 39 pints for 5, and 56 pints for 6. Ifthe expence of two reservoirs of unequal heights, and different Ajutages, be required’; proceed by the following rule :—The expence of water of two reservoirs, whose heights are different, and also their Ajutages are in the compound ratio of the squares of the diameters of the Ajutages, and ofthe subduplicate ratio of the heights. Water spouting. upwards, through an Ajutage, would ascend to the same height as that of its upper surface in- the reservoir, where it not for the resistance of the air, the friction at the sides of the Ajutage, and some little impediments at the motion of the water in itself: on account of which, the: height of the rise is always defective. It is found, by experience, that if the direction of the Ajutage be a small matter inclined, the water will rise higher than if it be truly upright ; and that a polished round hole, in a thin plale of metal, at the top of the pipe, by way of: Ajutage, will suffer the water to spout higher than when it is cylindrical or conical. :xperience also shews, that the bigness of the pipe of thie Ajutage should be enlarged at and near the surface of the water in the reservoir; and that such pipe should be much larger than the Ajutage: also, that there is a certain length among the several diameters of the Ajutages, which will spout the greatest height possible, and which must not exceed an inch anda quarter. Likewise, the height of the spout must have its limits, 100 feet being almost as much as it will bear. ‘Let it be observed, 1. that the squares of the quantities flowing out from the same Ajutage in equal. times, are in S A © A the ratio of the heights of the liquid above the aperture. 2.°The times. in which cylindrical vessels of the same diameter and height are emptied, the liquid flowing from unequal apertures, are in the ‘inverse ratio of the ratio of those apertures, 3. Cylindrical vessels of unequal bases, but of equal heights, are emptied through equal aper-_ tures in times that are in the areas of their bases. 4. The times in which any cylindrical vessels are evacuated, are in a ratio com-— pounded of the bases, the inverse ratio of the apertures, and direct ratio of the square roots of the heights. If the side of a cylindrical vessel, beginning from the base, be divided into lengths, which are as 1, 4,9, 16, &c. viz. the squares of the natural numbers, 1, 2, 3, 4, &c. the surface of the water (running out through a hole or aperture at the bottom) will descend from each of those divisions to the next, in the same time. In the above investigations, we always suppose the velocity of the effluent water to remain constant during the evacuation ; and, therefore, when we speak of the time of emptying a cylindrical vessel, we only mean that time in which (the vessel being kept constantly full) a quantity of liquid, equal in the magnitude to the capacity of the vessel, will flow through the Ajutage, or aperture, - in the side of the perpendicular cylinder. | Ot Avapaster, Alabastrites, in natural history, the name of a genus of fossils nearly allied to marble. It is an elegant stone, of great brightness, and, will receive a fine polish, but is brittle. - Naturalists enumerate several species of Alabaster; as, the snow-white shining Alabaster. Boet informs us, that this stone is extremely white, and found in Taurus, in pieces only large enough to make dishes, and the like; but it was formerly brought from Arabia. It is not very com- pact, but heavy; and consists of a multitude of broad flat particles, which are very bright, and perfectly white. It cuts very freely, and is capable of a fine polish, There ‘are very large strata of it in Arabia, Egypt, and many parts of Italy. Whitish yellow Alabaster is of a soft consistence, and called by Boet, the Phengites of Pliny, who attirms it was found in Cappadocia. It is of a loose open tex- ture, considerably heavy, and nearly of the colour of honey; but the AL aC | 9 colour is more deep in some places than in others. It consists of irregular pieces, lying in tables one over another, though with regu- larity, and altogether compose a remarkably bright and very brittle mass. Besides the places above mentioned, it has been found in Germany, France, and Derbyshire. Yellow and reddish variegated Alabaster is the common Alabaster of the ancients. It is so soft, that it may be cut with a knife; and has the same name in all languages. It is remarkably bright, and glittering, and. almost transparent; its texture very loose and open, though it is moderately heavy. ‘The ground is of a clear pale yellow, between that of honey and amber, and has the same with crooked undulated veins, some of which are broad, and others narrow; some of a pale red, others whitish; and others, again, of a very agreeable pale brown. It will bear a very fine polish, and consists of large angular sparry concretions. It was formerly found only i in Egypt but is now met with in many parts of England. Its use is chiefly in making monuments in eh. &c. where there are many figures in relief, or bas-relief, &c. carved. It is also used for carving coats of arms cut in relief, to be set in brick or stone in the fronts of houses. Alabaster cuts very smooth and easy, and is much used by sculptors in making small statues, vases, co- lumns, &c. It is also used like plaister of Paris, being first burnt and calcined, then mixed with water to a thin consistence; which, being afterwards cast into a mould, it very readily coagulates into a solid body. Aucove (from Alcola, Spanish), a recess, OF part of a chamber, sepa- rated by an estrade, or partition of columns, and other corresponding ornaments; in which either a bed of state is placed, or seats to entertain company. Where a part of a room is separated by a screen of columns, and has seats in it (whether with or without a bed), it is called an Alcove; and the seats in gardens, where they in any manner approach to the form of such a part of the room, are in the same manner called Alcoves. These Alcoves are frequent in noble houses in Spain. | g D. fe | AL © 4 Atprr-Trex (Alnus, in botany). There are eight species of this plant enumerated by botanical authors ; but the'common Alder 1s generally meant by that name. ‘There is a peculiar beneficial pro- perty belonging to this tree, for no beast will crop it; which saves the great charge of fencing it after planting. T‘ormerly, the large Alder was used in building boats; and now it is much esteemed for such parts of works as lie continually under water, where it will be- come as hard as stone: but if 1t be sometimes suffered to lie exposed — 4o the weather, and at other times under the ground in watery places, it will decay in a very short time. Vitruvius informs us, that the morasses about Ravenna, in Italy, were piled with Alder timber, in order to build upon; for which use he highly commends it. The Rialto, that celebrated bridge at Venice, over the grand canal, which - pears a vast weight, is built upon piles of this wood. ‘Trunks of trees, or poles of this wood, are exceedingly useful in making pumps, water-pipes, &c. In the country they are used for water-pipes, for the conveyance of water through bogs and dams; and also for water- pipes for conveying water to supply houses from any spring. Large poles of trees of this wood are also used for ground-cuts, for convey- ing water out of stews. These poles are about eight or ten inches diameter, and the cavity in them about four, or four and a half. But for water-pipes, the poles need not be above ‘four or five inches di- ameter, and the cavity about an inch and a quarter, or an inch and a half diameter. As to the method of boring Alder-pipes: these poles being laid on horses or tressels of a proper height, to rest the auger upon while they are boring, they set up a lath, to turn the least end of the poles, to fit them to the cavities of the great end of the others. The lath being set up, and the poles cut to the lengths they will conveniently hold—eight, ten, or twelve feet—they turn the small ends of the poles (about five or six inches in length) to the size they intend to bore the larger ends (about the same depths; viz. five or six inches). This is intended to make a joint to shut each pair of poles together; the concave part being the female part, and the other part the male of the joint. In turning of the male part, they turna | A M P 14 channel i in it, or a small groove at a certain Fire from the ends and in the female part they bore a small hole to fit over this channel. This being done, they bore the holes through; and, to prevent them _ from. boring out at the sides, they stick great nails at each end, to be a guide to them in boring straight through; though they usually bore them at both ends, by which means, if a pole be crooked one way, they can bore it through and not spoil it. .The holes being bored, _they form them into pipes in the ground; in order to which, they dig a trench, and prepare it with clay, to ram them in the female part, which is first bound with an iron ring round it, to prevent its split- ting; afterwards they drive in the male part, till the groove in it is just under the hole, and pour melted pitch, hot, into the hole, in _ thefemale part. By this means, the junctures are rendered very com- pact and close; and in this manner they proceed, till they have laid all their poles or pipes in their order. ; ‘Auzey, in perspective, is that which is larger at the entrance than at the issue, to give it an appearance of greater length. -Autrmetry, the art of measuring altitudes or heights, whether ac- cossible or inaccessible. | . AMPHITHEATRE, a spacious edifice, of a cineaihat or oval form, with rising seats, on which the people sat to behold the combats, of gla- diators, wild beasts, and other sports. Amphitheatres were originally built of wood. Statilins Taurus, in the reign of Augustus, was the first who erected one of stone. The lowest part was called Arena, from its being generally strewed with sand, for the conveniency of the combatants. Round the area were vaults, in which the wild beasts appointed for the shows were contained. Above these cells was erected a large circular peristyle, for accommodating the emperors, senators and other persons of distinction. Over the pe- _ristyle were the rows of benches, which were entered by avenues ter- minated by gates. The theatres of the ancients were built in the form of a semicircle, only exceeding a just semicircle by one-fourth part of the diameter; and the Amphitheatre is nothing more than a double theatre, or two theatres joined together; so that the longest diameter 12 AN G of the Amphitheatre was, to the shortest, as one and a half to one. We have the remains of three very considerable ones standing at this time; the Coliseum, which was an Amphitheatre of Vespasian; another at Verona, in Italy; and the third in Languedoc, near rae There are also remains of some others. Awcnork, in architecture, a sort of carving ‘chcicieiaded an Previn They are generally placed as part of the enrichments of the boultins of capitals of the Tuscan, Doric, and Ionic orders; and also of the boultins of bed-mouldings of the Doric, Ionic, and Corinthian cor- nices; these Anchors and eggs being carved nltemately: throughout 4 the whole building. Awncones, the corners or coins of walls, cross-beams, ¢ or rafters: Vitruvius calls the consoles (a kind of brackets or ehoniigaes pieces) by this name. | 2 ANGLE (Angulus), the mutual isbolirekitic of two lines, which meet and form an Angle in one point. But if two lines meet in such a manner, as to have no inclination to each other, they will generate a right-line, and a right-line equal to both their lengths, without form- ing any Angle. On the contrary, if a right-line meet another right-line in any different position, they will constitute an Angle at their point of meeting. An Angle is signified by the three letters, of which the middlemost always denotes the Angle; so in the case of the two right Angles, in the figure Ricur Anes, which follows, the one is denoted by the letters ECD, and the other by the letters ECB. 97 oe ck A Ricur Anere is that whose legs are perpendicular to each other, and is constituted by the meeting of two right lines, with an equal inclination; that is, if a line, as EC, meet another line, as DB, ae Moe Han i 13 and inclines no more towards D, than it dhe towards B, but stands directly square between them both, then the Angle is called a Right Angle, and the line EC is therefore called.a perpendicular line to the line DB. The line EC standing upon the line BD, at C, is perpendi- cular thereto; because, if you describe a semicircle on C, with any radius, as BED, the arch BE will be equal to the arch DE; and since both arches are equal to each other, and to a semicircle also, being taken together, it therefore follows that both angles on either side are - equal, and are therefore called Rect or Right Angles. As the semi-_ circle BED contains one hundred and eighty degrees, being just the half of three hundred and sixty degrees, contained in every whole circle, and is equally divided in C, by the perpendicular line EC; it therefore follows, that the angles BEC and DEC are equal to each other, and must each consist of ninety degrees; therefore a right- angled triangle is that whose arch contains exactly ninety degrees. Acutr ANGLx®, is that which is less than a right angle, or an angle whose inclination is nearer than a right angle; so that when any two lines incline nearer to each other than DC does to EC, as the lines FC and DC, or AC and DC, then by their meeting they form sharper angles than the right angle ECD, and are therefore all called Acute Angles. _ Osrvuse ANGLE, is that which is greater than a right angle. — Apsacent Ancues, such as have the same vertex, and one of the legs continued beyond the angular point. | VerticaL ANGLES are formed by two night lines intersecting. each other. | ANGLE at the centre of a a “irda is an Angle in a circle, whose ver- tex is in the centre of that circle. a. | E 14 | | ANT The quantity and measure of an Anau, is the arch of a ren. described on the angular pees sian, betareen the two sites of that angle. q To make an fener of any given magnitude = aa ay degrees): : First, draw a line at pleasure, as I'D; then take sixty degrees from your line of chords, and on one end thereof, as at D, describe an arch, as EC. Secondly, take from your line of chords fifty degrees, the quantity of the given angle, and set it on the arch from EC to— EB; then drawing the right line DA from A, rongh B, it. will complete the angle required. The Complements of ANGLES are the same as the fe nacpe of arches, because their arches are measured by arches of circles. ANNULET, in architecture, a small square member in the Doric capital, under the quarter-round. It is also used to imply a narrow flat moulding, common to various parts of the columns: particularly — their bases, capitals, &c. Vitruvius calls it a fillet; Palladio a listel, or cincture; and Scammozzi a iced sonst cytes a list, tinea, ee square, and rabbet. Anta, in architecture, is used by M. Le Clerc for a kind of shaft of a pilaster, without base or Ince and even pierre ind moulding. | ANTx, a name by eich Vitruvius has called pilasters has they are adjoining to the wall. When they are free or insulate, he calls them parastatez. In the first case, they have usually no diminution. Antr-Cuamper, or ANTE CHAMBER, in architecture, the chamber that leads into the chief apartment; where the servants wait, and ANT Nae ei as strangers, also, till the person who is attended is at leisure to speak with them. A well-proportioned Ante-Chamber ought to be, in length, the diagonal line of the square of the breadth, and not to exceed the breadth and a half at most. As to their height, they are made either arched or flat. If they are flat, their height ought to be from. the floor to the joists two third-parts of their breadth; but if you. choose to have it higher, divide the breadth. into seven parts, and take five of them for the height; or divide the breadth into four parts, and take four of them for the height. In spacious buildings, the Ante-Chamber, hall, and other rooms of the first stor y, may be arched, which will not only render them handsome, but less. subject to fire: and in such buildings the height may be five-sixths of the breadth, from the floor to the bottom of the key of the arch. But if this height should be thought too low, you may make the height seven-eighths of the breadth; or it may be eleven-twelfths, which will render it still more stately. Ante-Chambers ought to be so situated, that they may be on each side of the entry, and of the hall. And this also ought to be observed, that those: on the right hand may answer, and be equal (or nearly equal) to those on the left; in order that the buildings may, on all aie bear tvs on the roof. , Antic, in sculpture and painting, is Fade to signify a confused assemblage of figures of different natures and sexes, &c. as of men, beasts, birds, fish, flowers, &c. And also such kind of fancies as are not to be found.in nature. It would be too tedious a task to enu- ‘merate all the antic forms and fancies by which the Heathens repre- sented their several deities, and their poets, painters, and sculptors described them. They also had strange and monstrous figures of human creatures, which were represented in sculpture, painting, &c. as of Centaurs, half men and ‘half horses; Segitaurs, half men and half bulls; Syrens, or mermaids, half women and half fish; Harpies, half women and half birds; Griffins, half beasts and half birds; Dragons, part serpents and part birds; the spread-eagle, with two heads; and many others equally unnatural. They also represented tee | AS Ne various sorts of flowers and fruits, growing on the same plant, tree, &c. and many fictions of that kind. These representations are called by the Italians Grotesca, and by the French Grotesque, which sig- | nify, comical, whimsical, laughable, pleasant, ridiculous; and the © | word Grotesque signifies, ridiculous whims or fancies. ANTIPAGMENTS, Ornaments or enrichments in carved work, Set on the architrave (jambs, posts, or puncheons of doors), whether of wood _ or stone; after the Latin antique word Antipagmenta. ae Antique (pronounced Anteek, from Antique, French). Itis aterm 39 most in use among architects, sculptors, and painters; they make use of it in reference to pieces of architecture, sculpture, or paintings, exe- cuted in the ages when those arts were carried to the highest perfec. _ tion, by men of the finest genius in Greece and Rome; that is, from the age of Alexander the Great to the reign of the Emperor Phocas, about the year of our Lord 600. Antique, in this sense, is opposed to modern. Thus we say, an Antique edifice, bust, basso-relievo, or manner; an Antique model; and of a statue, that it isin the Antique taste. We have several Antique pieces of sculpture left, as the Laocoon and Venus in the possession of the Medicis family; the Apollo and Hercules-of the house of Farnese, &c. Antique paintings are more scarce; we have only the. wedding of Aldobrandinus, some little figures of the pyramid of Cestius, a Venus, which is the palladium of Rome, and some small pieces in fresco, preserved out of the ruins of the baths of Titus and Heraclitus. Some sculptures have coun- terfeited Antiques so nicely as to impose upon the judgment of the public;—witness the famous story of Michael Angelo’s Cupid! ANTIQUE Manner, a phrase used to express the manner in which any modern building, or part of a building, is executed, when built - according to the strict rules and good taste of the ancients. _ The word Antique, in its extensive sense, stands as a distinction from modern; _ and thus the Antique taste is understood as distinguished from the — modern, which is fuller of ornaments and less correct. Antique Moperx, a term used to signify those buildings which have been executed since the time comprehended under the ward Antique, and yet-too long to be properly called Modern. Our old _ Gothic churches, and other structures of ‘that kind and ‘time, are called Antique Modern edifices, to distinguish them from those of “Mhe Greeks and Romans. | APERTURE, or APERTION, from Aperio, to open. In Architecture, some opening, as a door, window, chimney, stair-case, -and all out- Jets and inlets for light, smoke, &c. Apertures ought to be as few in number, and moderate in dimensions as possible, it being a maxim, jn Architecture, that every. Aperture or opening has a tendency to weaken the building;.nor must they be made too near the angles of the walls; for it would indeed be a great solecism, to weaken that _ part which ought to strengthen all the rest. — Apopuyce, in Arehitecture, the convex part, or ring of a column, dyimg, either above or below the flat member. It was originally nothing more than ‘the ferril or ring, fixed on the extremity of a wooden pillar to prevent its splitting, and was afterwards imitated in stone-work, APPEARANCE, in Perspective, the projection of a figure or body on the perspéctive plane. In Optics, direct Appearance is the sight of any object by direct rays, without refraction or reflection. AgvepDUwcT, an artificial canal,:-built for the conveyance of water . from one place to another; either running under ground, or raised _ above it; and servmg to carry the water to places according to their level, notwithstanding the unevenness of the ground between. This “word is derived hints the Latin aqua ductus, a conduit of water. Many of the Aqueducts of the ancients were great and astonishing works; some. of which are preserved in large remains to this day. We are informed that the Aqueduct in- Rome, brought daily into that _eity more than five hundred thousand hogsheads of water. The Jessey Aqueducts were of wood, and the, larger of stone; and those > _which were raised above the ground, were supported by arches in the manner of bridges, from one rising ground to another, often at seve- _ral miles distance, The Aqueduct built near Maintenon, for carrying the river Bure to. Versailles, is the greatest in the world. It is seven 3B F 18 A R C thousand fathoms in length, and its elevation 2560 fathoms, contait- ing 242 arcedes. ant ‘Da GEaTORs ARABASQUE, or ARABASK, something done after Hie manner of the Arabians. Arabasque, Grotesque, and Thoresque, are terms applied “to such paintmgs, ornaments of friezes, &c. on whieh there are no — human or animal figures, but which consist wholly of imaginary foliages, plants, stalks, &e. These terms are derived from the Arabs, Moors, and other Mahometans, who make use of these kinds of orna= ments, because their religion forbids them to make anys images or ‘figures of men, or other animals. a tanihlind aff woes AR#OSTYLE, a termi used. by Vitruvius, to signify. the préatest 3 in~ terval or distance which can be made between columinas which con- sists of eight modules, or four diameters. ARC-BOUTANT, (from. are and. bouter, fr. to abut) a flat ene | et part of an arch abutting against ie reins of a vault, to support: and prevent its giving way. | : ; Arcu, (of Arcus, Lat.) in n Architecture, a concave e building, dhosted en a mould bent in the form of a cutve,. for supporting some structure. Arches are either circular, elliptical, or straight, as they are impro- perly called by workmen. The terms arch, and vaul, properly dif- fer only in this, that the arch expresses a narrower, and. the vault a broader piece of the same kind. are! tith What are called straight arches, are those. eoinatiias sae, over doors and windows, the upper and under edges of which are. vn and parallel, and the ends and joints all pointing towards a centre. © The space between the piers of a bridge is called an’ Arch, because usually arched over. : : , Triumphal arches are magnificent. entries ran vibe &e. an a semi-circular form, adorned with sculpture, inscriptions, &c. erected in honour of those who have deserved a triumph. The arches of — Titus and Constantine make, at this time, a great: figure among the ruins of old Rome, Of a circular arch upon a circular plan. From an ingenious work lately pRB ags by Mr. SKAIFE, ‘* There is not the difficulty ARG ss is in an arch of this construction in brick-work that is usually consi- dered; the principal thing to. be thought of is the scheme for striking the front of the bricks, which, once properly understcod, will render the practice exceedingly familiar. There is another consideration to be observed, which is. the soiiit, of the bricks to these arches, and must bear the exact. gauge behind as before, in order to secure the strength. and. key, that the arch may have no inclination to a center, otherwise than what tends to its gravity.” | , . The best practical method I can allude to, is, after you‘ have di-- csiail the arch, and settled your. bond in front, make two moulds te sweep off the wall; after fix two uprights of wood a little above the top of the arch; at the top fix one, and let the other be moved down, to the top of the courses as they gradually rise; then witha rod, with a prick in the end, clapped close to those two ribs, strike the top sides of every brick; the under- side may be marked by the preceding brick ; and on this manner proceed all the way, till you get to the top, which: will, give the exact curve densi to the wall, . and perpendicular to the ground plan. | _A Crimma elliptical arch, upon the above plan, may be executed - in the same manner respecting the front; and soffit likewise. Arches that splay in the jambs, and both rise to one height, must be re- duced to practice, in the: following manner: first, divide the arches - on both sides into an exact number of. bricks ; ; and having drawn the width of the wall, and laid down the arches on both sides, let fall perpendiculars from the different ends of the bricks on both sides, and draw parallel lines into each by the splay of the wall, which will give the exact size of the bricks in the soffit, and likewise the splay of: the face of the bricks on both sides. Arcu of a circle, is a part of the circumference of it less: ne half a semicircle. The base or line that joins the two. extremes of the arch, is called the chord; and the perpendicular raised in the - middle of that line, is the sine of the arch. Every circle is supposed to he divided into 360 degrees, and an arch is estimated according, te. ~ the number of these degrees it takes up. Thus an arch is said to be .20, 30, 50, 80, 100 degrees. | Equal Arcues, are those which contain the same number of de- grees, and are cut from the same circle. Similar Arcuxs are those which contain the same number of . grees, but cut from unequal circles. : | Sir Henry Wooten says, an arch is a narrow contracted vault, and a vault a dilated arch. Nacuaale Arches are used in large intercolumniations of spacious edifices, in porticoes, both within and about temples; in public halls, as ceilings; _ the courts of palaces, cloisters, theatres, and anti-theatres. re An Arch in Geometry, is any part of the circumference of a circle or curved line, extending from one point to another. | | An Arch in Masonry, contains a number of stones, hewn out and wrought, which when set in their proper places, are as one solid cir- cular course, whose lower ends form any part of a circle or curved line, calculated to support any, weight, proportionate to their strength and figure, Sir Henry Wooten, in his Theorems, obseryes, that * All solid materials, free from impediments, descend perpendicu- larly, because ponderosity is a natural inclination to the centre of the earth, and nature performs her motions by the shortest lines.” This ; evidently proves, that all arch stones must be drawn from theit cen= , tral points to form the curve; otherwise their bearings will ‘be ren- - dered imperfect. Chik mann 3 Semieirculay Arcuss are those Arches which are an exact semicirs cle; and haye their centre in the middle of the diameter (or chord of the areh) or the right line that may be drawn between the feet of the arch. Of this form the arches of bridges, windows of churclies, and Great gates, are frequently made in modern buildings, saat Scheme or Sheen ARCHES, are those which are less than a semicirs cle, and consequently are flatter arches, containing some 90, some 70, and others 60 degrees, fe | . Semicircular Arches are easily distinguished from scheme Arches thus; That the chord or right line, drawn between the feet of a Gx A RC . 21 semicircnlar Arch, is just double to its height (being measured from: the middle of the chord, to the key~piece or top of the Arch) whereas the chord of a scheme Arch of 96 degrees, will be more than four times its height, and the chord of a scheme Arch of 60 degrees, will be more than six times its height. The famous Alberti, in his Architectura, has the following obser- vations. In all openings, in which we make Arches, we ought to contrive never to have the Arch less than a semicircle, with the addi- tion of the seventh part of half its diameter, the most experienced workmen haying found that Arch to be much best adapted for endur- ing, in a manner, to perpetuity; all other Arches being thought less strong for supporting the. weight, and more liable to ruin. - -Itis also thought, that the half circle is the only Arch that has no occasion, either for chain, or any other fortification; whereas all others are found, by experience, either to burst out, or fall to ruin, by their own weight, if they are not chained, or have not some weight placed against them for a counterpoise. | _I will not omit, continues he, what I have observed among itis ancients, a very excellent and commendable contrivance; their best architects placed these apertures; and the Arches of the roofs of tem-- ples, in such a manner, that if you even took away every. column. from under them, they would still remain firm. and not fall. down: the arches, on which the roof was placed, being drawn: quite down: to the foundation, with astonishing art, known only toa few; so that the work upheld itself by being only set upon Arches; for as those Arches had the solid earth for their chain, it is not to. be wondered at: that, they stood firm without any support. The doctrine and use of Arches is well delivered’ by Sir Henry: Wooten in the following Theorems. Theorem I. All matter, unless impeded, tends’ to the centre of the earth in a a6 igs line, or descends perpendicularly down-- wards, Theorem IT. All idith materials, as bricks, stones, &c. moulded, in their common rectangular form, if laid in numbers, one by the- 3.. ~ G. 99 . A R C ae! side of another, in a level row, and their extreme ends sustained be- tween two supporters, all the pieces between will necessarily sink, even by their own natural gravity; and must mack more, if they are pressed down, or suffer any pressure by a super-incumbent weight ; because their sides being parallel, they have room to descend perpen- dicularly without impediment, according to the former theorems ; therefore, to make them stand, either their figure or their position’ must be altered. | ft 07 ToWom | Theorem III. Stones, bricks, or other materials, being figured cuneatim, t. e. wedge-wise, somewhat broader above than’ below,’ — and laid in a level row, with their two extremes supported, as in the preceding theorem, and pointing all to’ the same centre; none’ of the pieces between can sink, till the supporters or butments give way, because they want room in that situation to descend perpen-- dicularly. But this is a weak structure; because the supporters are subject to too much impulsion, especially where the line is long; for which reason, this form of straight arches is seldom used, but over doors and windows, where the line is short. Therefore, in order to fortify the work, the figure of the materials must not only be changed, but the position of them too; as will ‘appear in the follow- ing theorem. A“.4 i Theorem IV. If the materials be shaped wedge-wise, and disposed in the form of a circular Arch, and pointing to some centre: in this _ case, neither the pieces of the said Arch can sink downwards for want of room to descend perpendicularly, nor can the supporters or butments of this Arch suffer so much violence, as in the preceding platform ; for the roundness, or rather convexity, will always make’ the incumbent weight rather rest upon the supporters, than heave or shove them outwards; whence this corollary may be fairly deduced, that the safest or most secure of all the Arches above-mentioned, is the semicircular; and of all vaults, the hemispherical, although not absolutely exempted from some natural imbecility, (which is the sole’: prerogative of perpendicular’ lines and right angles,) as has been ob- seryed by Bernardino: Baldi; Abbot of Guastalla, in his Commentary- A R CC. | 23 upon Aristotle’s Mechanics; where, by the way, it is to be noted, that when any thing is demonstrated mathematically to be weak, it is much more so mechanically; errors always occurring more easily in the management of gross materials, than in lineal designs. Theorem V. As semicircular Arches, or hemispherical vaults; raised on the whole diameter, are the strongest and securest by the preceding theorem, so they are also the most beautiful; which keep- ing precisely to the same height, are yet distended one fourteenth part longer than the said diameter: which addition of width will con- tribute greatly to their beauty, without diminishing any thing con- siderable of their strength. However, it is to be observed that, accord- ing to geometrical strictness, in order to-have the strongest Arches,’ they must not be portions of circles, but of another curve, called, the eatenaria; the nature of which is such that a number of spheres dis- posed in this form, will sustain each other, and form an Arch. Dr. Gregory, Phil. Trans. No. 231, has shewn, that. Arches constructed in other curves, only stand or sustain themselves by virtue of the catenaria contained in their thickness; so that if they were made infinitely slender, or thin, they must of course tumble; whereas the catenaria, though infinitely slender, must stand, by reason that no one point of it tends downwards more than any other, Of measuring Arches. Whether the Arches be straight or circular, they must be measured in the middle, 1. e. if a straight Arch be ten inches in height, or depth, the length must be measured in the mid-_ dle of the ten inches; which length will not be any longer, than if. it were measured at the under side next to the head of the window, by so much as one side of the springing arch is turned back from the upright, of the jambs, piers, er coins of the windows. And also in. circular Arches, it is to. be observed, that the upper part of the Arch _ is longer (if girt about) than.the under part, because it is the segment. of a greater circle, cut off by the same right line that the lesser is; and therefore must be girt in the middle. — jibe i> Arcnirect, a person skilled in Architecture, who not only draws | the plans of edifices, but also snperintends and directs the artificers. 24 See DER <é: It is his business. to consider the whole mariner and method of the building, and also to calculate the expence. In the management of “which he ought to have regard to its situation, contrivance, strength, — beauty, form, and materials. The term Architect is also used for the surveyor or superintendant of an edifice, the management being wholly committed to his circumspection. Vitruvius enumerates twelve qualifications requisite for a complete Architect, viz. that he be docile and ingenious, literate, skilled in Designing, in Geometry, Optics, Arithmetic, History, Philosophy, Music, Medicine, Law, and Astrology. The most celebrated Architects among the ancients, are Vitruvius, Palladio, Scamozzi, Serlio, Vignola, Barbaro, Cataneo, ’ Alberti, Vida, Bullant, De Lorme, and many others. 7 ARCHITECTONIC, something endowed with the power and skill of building, or calculated to assist the architect. | ARCHITECTURE, the art or science of erecting edifices, either for habitation or defence. It gives the rules for designing and raising all sorts of structures, according to the rales of Geometry and: proportion; and includes .all those arts which conduce, in any degree, to the framing. of houses, temples, palaces, &c. The scheme or projection of a building is usually laid down im three several designs or draughts. | The first is a plan, which exhibits the exteut, division, and distribu tion of the ground into apartments and other conveniences. The second shews the stories, their heights, and the external appearances _ of the whole building: and this is usually called the design or eleva~ tion. The third is commonly called the section, and shews the inside of the fabrick. From these three designs, the surveyor makes an estimate of the charges of the whole building, and the time re- quisite to complete it. As to the antiquity of Architecture; Architec- . ture is hardly inferior, in point of antiquity, to any other art. Nature and necessity taught the first inhabitants of the earth to build or erect huts, tents, and cottages; from which, in process of time, they. gradually advanced to erectmg more regular and stately dwellings, adorned with variety of ornaments, proportions, &c. Ancient writers ascribe the carrying of Architecture to a considerable height to the ATR AC | 9. Of Tyrians, who were therefore sent for by Solomon to erect his temple. But Villapandus will not allow those who weve sent for from Tyre to be any more than inferior workmen, such as artificers in gold, silver, brass, &c. and supposes that the rules of Architecture were delivered by God himself to Solomon. So that the Tyrians rather learned — Architecture from Solomon than Solomon from them; which they afterwards communicated to the Egyptians, and the Keyptians to the _ Greeks, and the Greeks to the Romans. He undertakes to prove, that all the beauty and advantages of the Greek and Roman fabricks » were borrowed from Solottion’s temple. Sturmius produces several | passages in Vitruvius in confirmation of this, where the rules, laid _ down im his lib. iv. cap. 11. and lib. v. cap. 1. correspond exactly | with what Josephus relates of the Jewish temples, in his sixth book. - But the twenty-third chapter of Isaiah, ver. 8, informs us to what | a piteh of magnificence the Tyrians and Egyptians had carried Ar- | chitecture before it came to the Greeks; and Vitruvius also gives ain _ account of the Egyptian occus, their pyramids, obelisks, &c. Yet im the general account, Architecture seems to be wholly of Greek. _ original. Three of the regular orders or manners take their names: from the Greeks, as Corinthian, Tonic,, and Doric; and we have searce a part, a single member, or moulding, but what is transmitted. to as with a Greek name. And it is certain the Romans, from whom we take it, borrowed all they knew entirely from the Greeks; nor do they séem to have had, before, any other idea of the grandeur and beauty of superb buildings, but what arises from magnitude, , strength, &e. | ; : _ Architecture is supposed to. have arrived at its glory in the time of. Agustus Cesar; but that, as well’ as other polite arts, were neglécted. under Tiberius. Nero, indeed, notwithstanding his vices,. retained an uncommon passion for Architecture; but luxury and dissolutenéss had a greater share in it than real magniticence: In‘ the time of Trajan, Apollodorus excelled in the art: by which he obtained the- favour of that prince, and erected that famous column, called Tra-. - jan’s, which is remaining to this day. But, after this time, Archi« ae 4. .* H 96 es A R C tecture began to decline: though it was, for some time, supported by the care and magnificence of Alexander Severus; yet it fell with the western empire, and sunk into corruption; from whence it did not recover for the space of 1200 years. All the most beautiful monu- ments of antiquity were destroyed by the ravages of the Visigoths; and from that time Architecture became so coarse and artless, that their professed Architects were totally ignorant of just designing, » wherein the whole beauty of Architecture consists; hence a new manner of Architecture, called Gothic, took its rise. . Charlemagne industriously laboured for the restoration of Archi- tecture: and the French applied themselves to it with success, under the encouragement of Hugh Capet. His son Robert persecuting the same design, the modern Architecture, by degrees, ran into as great an excess of delicacy, as the Gothic had before done of massiveness. To these we may add the Arabesk, Moresk, or Moorish Architecture, which were much of the same nature with the Gothic; except that, as the former was brought from the North, by the Goths and Van- dals, the latter was brought from the South, by the Moors and Sara- cens. The Architects of the thirteenth, fourteenth, and fifteenth centuries, who had some knowledge of sculpture, seemed to make perfection consist wholly in the delicacy and multitude of ornaments, which they lavishly bestowed on their building; but frequently with- out conduct or taste, In the two last centuries, the Architects of Italy and France assiduously endeavoured to retrieve the primitive simplicity and beauty of ancient Architecture; nor did they fail of — success: insomuch, that now.our churches, palaces, &e. are built en- tirely after the antique. Civil Architecture may be distinguished, with feos to the several periods or states of it, into Antique, Ancient, Gothic, Modern, &e, Another division of Civil Architecture arises from the different pro- portions, which the different kinds of buildings rendered necessary; that there might be some adapted for every purpose, according to the bulk, strength, delicacy, richness, or simplicity required, Hence proceeded the five pislegs or manners of building, all invented hy’, ‘ ea Hy elem 27 the ancients, at different times, and on different occasions, viz. Tus- ean, Doric, Ionic, Corinthian, and Composite. That which forms an order, is the column, with its base and capital, surmounted by an entablature, consisting of architrave, frieze, and cornice, sustained by a pedestal. We have no Greek authors now-extant on Architec- . ture: the first who wrote upon that subject, was Agathereus, the Athenian. He was seconded by Democritus and Theophrastus. Of all the ents Vitruvius is the only author we have entire: though | he relates that there were seven hundred Architects in Rome in his fime. Vitruvius, in the time of Augustus, wrote a complete System of Architecture, in ten books which he dedicated to that prince. The moderns censure two things in this excellent work, viz. ‘want of method and obscurity. The mixture of Latin and Greek in Vi- truvins, is such, that Leon. Baptist. Alberti has observed, that he — wrote Latin to the Greeks, and Greek to the Latins: he also says, that there are abundance of things superfluous and foreign to the purpose contained in that performance. For this reason, “M. Perrault has extracted all the rules out of the prolix work of Virtuvius, me- i thodized them, and published them in a small abridgment. . Several _authors have attempted to explain the text of Vitruvius, particularly Philander, Barbaro, and Salmasius, in notes added to their seve- ral editions in Latin; Rivius and Perrault, in the notes to their German and French versions; and Baldus in his Lexicon Vitruvi- anus, Mz. Perrault has also composed an excellent treatise of the five orders, which may be considered as a supplement to Vitruvius, he having left the doctrine of the orders imperfect. | The authors who have written on Architecture since Vitruvius, are Leon, Baptist. Alberti, who published in Latin ten books of the art of building, designing to outvie Vitruvius; but he has not, however, succeeded in his design, though his books contain a number of ex- cellent things; for he is deficient in the doctrine of the orders. | Sebast, Serlio also wrote seven books of Architecture, five of which were concerning the five orders, and were published in 1602; through’ 29 OA BR ag the whole of which he strictly adheres to Vitruvius’s rule: the seventh 3 was published afterwards, in the year 1675. Philip de Lorme pub- lished nine books of Architecture, in French, in the year 1667. J. Barozzio da Vignola published his rules of the five orders, in Italian, in the year 1681; which have been since translated, with consider= able additions, by Daviler, under the title of Cours @ Architecture. — Also Vineent Scamozzi’s Idea of Unniversal Architecture was pub- ihed in Italian, in the year 1615; and Car. Phil. Dieussart’s Thea- tre of Civil Architecture ‘was published in High Dutch, in the year 1697; in which he not only delivers the rules of Architecture, but also explains and compares the five orders, as laid down by Palladio, | Vignola, Scamozzi, &c. R. Freart de Cambray also pursued the same design in French, in a parallel of the ancient Architecture with the modern, which was published in 1650, and translated into English by Mr. Evelyn, with additions. Fr. Blondel, director of the Royal Academy of Painting, &c. in 1698, gave a course of Archi- tecture in French, which was a collection from all the celebrated writers upon the subject of the orders, &c. Nich. Goldman has also done infinite service, by reducing the rules and orders of Architec— {ure to a further degree of perfection, and shewing how they may be easily delineated, by means of certain instraments invented by | him. This treatise was published in Latin and High Dutch, in 166T. Also Sir Henry Wotton has laid down, the elements of Architecture, which, have been, reduced by Sturmius and Wolfius to certain rules and demonstrations. And by these gradations, Architecture has been brought to a mathematical art; by the first in his Mathesis Jtve-- nelis; and by the second, in his Elementa Matheseos, tom. 11. an. 1715, | Military, Arcurvecturs, is the art of strengthening and’ fortify= ing places, to screen and defend them from the jnsults of enemies, and the. violence of arms. This is generally called Fortification, and consists of the erecting forts, eastles, fortresses, with ramparts, bas tions, &e, | | i Ee ARC | eo eee _. Maval Ancuitecture, is the art of building, or constructing of ships, gallies, and other floating vessels for the water; also ports, moles, docks, &c. on the shore. = ee ARCHITECTURE, in Perspective, is a kind of building, wherein the members are of different measure and modules, and diminish pro- portionably to their distance, in order to make the work appear. longer, and larger to the view than it really is. Of this kind is the celebrated pontifical stair-case of the Vatican, built in the time of ; Pope Alexander VII, by the cavalier Bernini. © _ Counterfeit ARCHITECTURE, that which consists of projectures,. painted either in black or white, or colours after the manner of mar- ble; as may be seen performed in the facades and palaces in Italy, . and in the pavilions of Marli. This painting is done in fresco, upon — plaistered walls, and in oil on stone walls. Also, under the title of Counterfeit Architecture, is to be comprehended, that which may be called scene-work, i. e. what is painted on slight boards, or. wooden planks, on which columns, pilasters, and other parts of build- ing, seem to stand out in relievo; the whole being coloured, in umitation of various marbles, metal, &c. serving for the decorations - of theatres, &e. 3 =—- : | | ARCHITRAVE, of xi chief, and érabs, L. a beam, is that part of a-- column, or order of columns, which lies immediately upon the capi-- tal; the Architrave is the lowest member of the frieze, and even of the whole entablature. The Architrave is supposed to represent the | principal beam in timber buildings; from whence it takes its name, as above. It is however objected by some, that they do not per-- fectly understand what is meant by the principal beam of a building; because they do not suppose it can properly be applied to all build- ing, but to some peculiar kinds, such as are called Porticos, Piazzas, and Cloisters; by which are usually understeod long galleries, or walking places, whose roofs are supported by columns of pillars, at least on one side, which have not arches arising from them, to support the superincumbent part of the fabrick; but have a beam. «ihe i , sq AR C resting or lying upon the tops of the columns, by which the supe- -yior part of the edifice is supported; for which reason 1 1s probably called the principal beam. Indeed, according to M. Perrault’s defi- — nition, it is the first member of the entablement, being that which bears upon the column, and is made sometimes of a single summer, as appears in the most ancient buildings; and sometimes of several haunches, as frequently seen in the works of the moderns. Arehi- trave is also sometimes called the reason-piece or master-beam, in timber buildings ; as porticos, cloisters, &e. In chimnies it is called the mantle-pieces, and over the jambs of doors, and fintels of win-_ dows, hyperthyron. | See ee Architrave doors, are those which have an architrave on the jambs, and over the door, upon the cap-piece, if straight, or upon the arch, if the top be curved: ) : Architrave windows, of timber, are usually an ogee, raised out of the solid timber, with a list over it; though sometimes the mouldings are struck, and laid on, and sometimes cut in brick. The upper fatio is called the header, or heading Architrave. Architects take great latitude as to Architraves, some using more members than others, | and many of them having two or three forms of Architraves. Some- times they are according to one of the five orders of Architecture, and sometimes they are according to the fancy of the workman. Some, for an Architrave round a door, have put first-a small head next the door, then a broad plinth, or fatio, and above that an ogee and list. There are Architraves of stone and brick, as well as of timber. Brick Architraves are usually cut in the length of a brick, and sometimes in the length of a brick and half, and then every other course alternately consists of the breadth of two bricks; the upper one, on which the ogee is cut, and part of the upper fatio, they call header, or heading Architrave; and the breadth or head of bricks, on which the lower fatio and part of the upper one 1s eut, they call a jack Architrave of stone. Architraves are distin- guished into five kinds, viz. Tuscan, Doric, Jonic, Corinthian, and ov Ste a ea a ee ee ee aa EL SS ee = ae 2 es = = at oT ae ia Composite, according to the five orders of columns. Of the parts or members of Architraves: these are more numerous than the kinds, because there are two different sorts of Architraves to some of the erders; and what greatly increases the number is, that some authors differ from others in the form of the same orders. The Tuscan Architrave, according to Vitruvius, ought to be half a mode, or M, in height. This general member he has described in two forms: the first consists of three parts or members, viz. two faties. and a cymatium, and is thus divided: the whole height is divided into six parts; which are divided after this manner, viz. the upper- most sixth part is the cymatium; which being subdivided into three, the upper is to be the fillet, and the two lower parts the ogee. The five grand divisions which remain, are to be divided into, nine parts, five of which are to be the upper fatio, and the other four the lower one. His second form, consisting of but three members, or parts, is as follows, viz. a large plinth or planchier, a casement and a large fillet, and is subdivided as follows: the whole height is. divided into six; and the upper part is for the fillet (which projects in square beyond the plinth; the fifth part is for the casement, which rises from the plane of the plinth, and ends in a quadrant. at the lower corner of the fillet) the other four parts remaining are for the plinth, or planchier, or fatio, Palladio has also two distinct forms for the Tuscan Architrave; the first consists of two fatios and a list: the lower fatio is twelve and a half M high; the upper fatio is seventeen and a half M. ending with a quadrantal casement, rising with its plane, and ending with the lowest corner of the list; the list is five M. high; and so the whole height of the Architrave is thirty-five M. His second Architrave is only a plain fatio of thirty-five M. high. Scamozzi, according to his delineation, makes the ‘Tuscan Architrave thirty-one and a half M. high; which he divides into four parts, or members, viz. two fatios, a list, and 4 plinth. He makes his first fatio ten M. his second sixteen and a half M. his list one and a half M, and his plinth three and a half a2 & Re M. all which make thirty-one, one-third M. Though, according to this verbal account, he says, it must be thirty-two and a half M. except it be a typographical error. Vignola describes the Archi- trave with the same parts, height, and form, with Vitruvius’s second. | x tL ade fe: Outs The Doric Arehitrave. This Architrave, according to Vitruvius, is half an M. in altitude, which he delineates in two forms: the first he divides into seven parts; the uppermost of which is the teenia; the other six parts which remain, he makes a fascia under the tenia, — and places drops, whose height are one-seventh of the Architrave: a fourth of this seventh is the fillet, to which the drops hang’; the drops are in number six; placed under, and of the same breadth with the triglyphs. His second figure of his Architrave consists of the same members with the first, and the whole height is equal to the first. But he divides the altitudes only into six parts; the upper one of which is his tenia, and the other five the fascia; the upper- most of which is the altitude of his drops, which have a list, which _ is one quarter of their height. Palladio makes this Architrave with the same altitade with Vitruvius, but of a different form; for he makes it to consist of three parts or members, viz. two fascias and a tenia: he divides the whole altitude into six parts, one of which, being five M. he assigns for the guite, drops, or bells, and the listella of the drops is one-fifth of the whole height, and one-third M. and the drops two and two-thirds M. the tenia above the drops (or rather of the Architrave) he also makes four and a half M. and the prima (or upper) fascia, fourteen one half M. and the secunda (or lower) eleven M. in all thirty M. which is the whole alfitude. Sca- mozzi (according to the portraiture of this Architrave) makes it thirty-five M. in altitude: and he makes this grand member to com- prehend three pretty members, viz. two fascias and a list; the di- mensions of which are, beginning at the top, and so descending; the hist he makes five M. the upper fascia eighteen’ M. and the lower | one twelve M. in all thirty-five M. divides the drops or bells thus: A RC Sones | 53 he designs the list above to be one half M. and the bells’ or drops four one-half M. so that the whole height is six M. Vignola makes f this. Architrave thirty M. in altitude, the same as Vitruvius and Palladio ; : both which he also imitates in the lesser member ; for he has two distinct forms ; one resembles that of Vitruvius, which con- tains two members or parts, the one a list, the other a fascia ; his other form is like that of Palladio, comprehending three petty mem- bers, viz. one tenia, and two fatios. ‘The Ionic Architrave : according to ittavide's ia this ih member ought to be half an M. in height. He describes two forms of Architraves in the Tonic order, viz. one for the Ionic column, without a pedestal; and the other with a pedestal. He composes that without a pedestal of four mimuter parts, viz. three fascias, and a cymatium ; which is divided as follows: he divides the. whole al- titude into seven parts, the uppermost of which he allots to the cymatium, which he subdivides into three parts ; ; the uppermost of which is for the list, and the two remaining for the ogee. The other six remaining parts are divided into twelve; five of which he makes the upper fascia, four of the middle one, and three the lowest. The other for the Ionic column, with a pedestal, he proportions as follows, viz. he reckons the whole altitude of the Ar- chitrave, frieze, and cornice, to be two mod. which are divided into ten parts ; three of which are for the Architrave, (which is thirty-six M.) which he distinguishes into six minuter parts, or members; which he names as follows, (beginning at the top, and so descend- ing,) viz. a fillet, a cima, a thorus, and three fascias; all which smaller members he thus finds, viz. first he divides. the whole altitude into six equal parts; the uppermost of which part he subdivides into four parts, the highest of these four is for the fillet, the two next of the four are allotted to the cima, and the fourth, that remains, is for the thorus. The five grand divisions which - remain -are subdivided into twelve, which are distributed as follows, viz. five for the upper, four for the middle, and three for the lower fascia. Palladio assigns thirty-four M. for the height of this Architrave. According to his 5 K | ; SA, A R C- scheme of this member, it 18 composed of seven parts, | viz. a hist, a cima, three fascias, and two astragals; which are proportioned as follows: to the list, ( which is above the cima,) he allots two three- tenths M. to the cima, four three-fifths M. to the upper fascia, he — allows ten one-eighth M. to the astragal, at its foot, one third M. the middle fascia is to contain seven fifty-two sixtieths ; and the as- tragal at its foot one third M.; to the lower fascia he assigns six | nine-tenths M. All which, being added together, amount to thirty- four one half M. “Scamozzi makes the [onic Architrave thirty-five M. high, and of the same form with that of the second of Vitruvius, consisting of six parts, viz. a list, a cima, astragal, (or thorus,) and three fascias, which he proportions as follows; he allots two. one-half M. to the lists, to the cima four, to the thorus two, to the upper fascia’ eleven one-half, to the middle one eighth one-half, and to the lower one six one-half: Vignola allows thirty-seven one-half to the lonic Architrave in altitude ; and as to the form, it is much the same with that of Vitruvius’s first order. dad eh The Corinthian Architrave, according to Vitruvius, ought to be half a mod. in height; but it is to be observed, that this is. for the Corinthian column without a pedestal. This member he divides into seven parts, of which the uppermost is the. cymatium ; the six remain™ ing parts he divides into. twelve, of which he allots five to the upper fascia, also allowing one-eighth of this fascia for a bead at: its: foot, and makes the lower fascia of the three remaining parts. The Ar- chitrave for the Corinthian order with a pedestal, according to Vitru- vius, is allowed a greater altitude than that without consisting of the same members, both as to number and form with the former Architrave, but differing in dimensions. The whole altitude of the Architrave ought to be one quarter of the altitude of the column, nearly to two-eighths of the body of the column below, which is ---to forty-one half M. This altitude he divides mto seven equal parts, and makes a cymatium at the uppermost of these seven, and divides the six that remain into twelve equal: divisions ; of which, five he allots, to the upper fascia, four tothe middle, and threeto the ARG | : 35 jower one. He subdivides the upper and middle fascia, each into eight. parts, and allows one of these eighths fora bead at the foot of each of these fascias. Palladio makes this Architrave to contain | eight parts, viz. one list, one cima, three beads, and three fascias, the height of all which he allows to be thirty-six M. which are thus subdivided, viz. to the: list, (or upper member,) he allows two three- i —. M. the next in order is a cima, and the next in order is two M. high, atthe foot of which is a bead; after this is the upper | ice its bead at its foot, both which contain about thirteen one-half | M. After this is the middle of the fascia, and its bead at its: foot, which contain eight one-eighth M. and last of all, the lower fascia, which is six one-quarter M. in height. Scamozzi makes the whole altitude of this Architrave to be forty M. which he subdivides. into: nine small members, (beginning at. the top, and descending) a list of two M. a casement three one-quarter M. and an ogee of two three-quarters, a bead of one half M. a fascia of twelve M. and its: head of two M. the middle: fascia eight one-half M. and its: bead one three-fifths M. and; the lower fascia six one-half M. which being all added together, make forty M. Vignola makes the Corinthian Axchitrave. forty-five M. in height, and subdivides it to eight smaller members, as Palladio does, viz. a list, a cima, three beads, and three. fascias. ee f : The Composite Architrave. Vitruvius makes the architrave of this column, and frieze, and: cornice, alli of am equal height, viz each of which is equal in height, to’ the diameter of the column above, just under the capital, which. is ten-twelfths: of a mod. fifty M. This: Ar- chitrave he divides into six parts, one of which. is for the cymatium,. and its boultim under it: this upper sixth part he divides into four, and allows one, of these four for the fillet. above the cima, and the two: next for the cima itself; and appoints the fourth, that remains, for the’ smalh boultin under the cima; and subdivides the other five grand divisions into, twelve minuter parts, assigning five of them for the: upper fascia, four for the middle one, and: three for the lower ; and also. subdivides the middle fascia each into eight: parts; allowing one of these:eighths fox 36 ARC a bead at the foot of each of these fascias. Palladio makes this Archi- trave forty-five M. in height, and distributes them into ‘seven parti-’ cular minute members (beginning at the top, and so descending :) first, he allows two one-eighth M. to the list, four one-eighth to the case- ment, ‘to the ogee nine one-quarter, to the bead one one-quarter, to the upper fascia fifteen M. two one-quarter to the ogee at its foot, and eleven M. to the lower fascia. Scamozzi makes this Architrave forty M. in height, which he distributes among these eight following mem- bers, viz. (descending:) ‘first, a list of two M. secondly, an ogee of four one-half M. thirdly, an astragal of two M. “‘fourthly, the upper fascia of eleven three-quarters’ M.-fifthly, a bead at its foot of two one- quarter M. sixthly, the middle fascia of eightone-half M. seventhly, at its foot, one half M. eighthly, the lower fascia of six one-half. Vignola makes ‘this Architrave forty-five M. in height, which he divides into seven members, a list, a casement, a boultin, a fillet, a’ fascia, a bead, and a fascia. ) | Measuring of Architraves: Architraves in buildings (either of brick or stone) are usually done by the foot lineal ; and therefore, having taken the length in feet, you have also the content the same time. Architraves, says Mr. Skaife, are taken (or measured) with a string over the top, and down both jambs for the length; and girted round the face and back to the wall for the breadth. The faces of an Architrave, says M. Le Clerc, ought not to have ornaments, but to be left plain ; and particularly when the frieze is enriched. The proportion of Architraves ‘by equal parts. | The Ionic Architrave is divided into nine, giving one and _ three- fourths to the first face, two and a half to the second, and three to the third : one and one-fourth to the ogee, and one half part to the fillet; the projection of the second and third faces have a quarter of. a part each, and the whole two of these parts. Flas The Corinthian Architrave is divided into nine, giving one and a half to the first face, one fourth to the small bead, two to the second face, three-fourths to the small ogee, two and a half to the third face, half a part to the bead, one to’ the ogee, and half a part to ARI 4 ee the fillet ; die projection of the ‘second face hath : one-fourth of a part, the third'face one of these parts, and’ the whole two. | » The ‘height of the Composite Atchitrave into nine, giving two and a half to: the first face, oné-half part to the ogee, three and ofe-half to the second face; one fourth to the astragal, three-fourths to the ovolo, one to the hollow, and half a part to the fillet: the projection of the second face hath one-half a part, the ovolo one and orie-fourth, and the whole two. Ae é DOU Mot ‘Arra, in Architecture, any plain surface whereon we walk, &c. - Ara, in Geometry, the superficial content of any figure. Thus, - if'a figure, exempli gratia a field, be in the form of a square, and its side be thirty feet long; its Area is said to be sat square feet; or it contains 900 little squares, each a foot every way. AnriTHMETIC, the art or scienée of computing by numbers. We have very little intelligence with tégard to. the invention of this in- estimable’ science. Some attribtite it to Seth, others to Noah, and the Turks to Enoch, whom they call Edris. Martiy imagine it had its rise with the introduction of commerce, and consequently fix. its epocha with that of the Tyrians, who did not begin’ to flourish; till about a thousand years after the flood. Josephus tells us, that Abraham taught the Egyptians Arithmetic durmg the time of his sojourning in their country: though Pliny and Strabo ‘say, that the — inundations of the Nile gave occasion to their mventing both’ Arith- metic and Geometry. It is however certain, both these sciérices weré held in the highest veneration, and committed to the care of their priests, who founded: their theology on them. The Greéks owed theit knowledge in Arithmetic to the Egyptians ; ; and Pythagoras’ built his philosophical system upon numbers, affirming, that the nature of numbers extends through the whole universe, and that the kHow~ ledge of numbers is the ‘knowledge of the Deity. The daicient Arithmetic, however, fell far short of the modern ; their notations was very imperfect, and consequently the operations abstruse and tedious. They wanted the cypher, or a character that of itself signifies no- 5 L 38. > ASH thing; to fill up a place,’ and change the value of their numbers m a decuple progression, their series extending only to nine. We owe ~ our present notation to. the genius of the eastern nations, and received 4 ) it from. the Arabians, who learned it from the Indians. But when, _ or by whom, it) was invented, cannot be known... It was’ known in Europe) before the year 1000,. and in. Britain 1150. | The oldest trea- tige extant on the theory of Arithmetic, is ‘7th, 8th, and Oth books | of Euclid’s Elements ; where he has delivered the doctrine of pro- portion, and that of the prime and composite numbers, After the | Arabian notation was known in Europe, we find many writers both » upon the. theory . and practice; and as learning. advanced, so did the. knowledge of. numbers, ..which, by degrees, received the greatest im- provements. wow 9 | Lak”. COR seaignaed | The fundamental rules of Arithmetic. are, four, namely, addition, subtraction, multiplication, , and division. .But besides these, , there are. other ‘rules _ contrived , for facilitating computations of every kind, as.the rule of proportion, rule of three, | or, golden rule, the rules of fellowship, barter, exchange, interest, extraction’ of roots, &c. 9, | | Instrumental. ARITHMETIC, is that where the common rules are ‘per-. formed. by. means. of instruments, contrived . for, ease and expedition, as by, the lines on a carpenter’s rule, a sector; Kol} deeests ot fi | ., Asu, fraxinus, in botany, a genus of, trees. Next to the oak itself, it is: reckoned one of the most useful sorts of timber we have, serving for so many uses, for the,,carpenter, cooper, &c.,. and, like the elm, is good for ,.mortoises, tenons, .&c. ;. it hath, pinnated , leaves, which mostly end in an odd lobe: the male flowers, which grow at a remote distance from. *the fruit, have no petals, but consist in many stamina ; the ovary becomes a_seed-vessel, containing one seed at the bottom, shaped .like a: bird’s tongue. Pein eee .. There are six species of this tree; all which may be propagated by, budding them into common: Ash ;, upon which. they. will. all take vrey,...well, . and, become , hardier than upon. their own stock: but these. budded trees never grow so large as those which are. raised 3 AS H : 39 from. seeds; nor will the stock and bud keep pace in their growth ; so- that there. will be a remarkable difference in the sizeof the stem, and above’ the place where they: are budded ; but few of these foreign kinds have yet arrived at: an age to. produce seeds in England, the nursery-gardeners “having been obliged to ae these sorts by - budding and grafting. The common Ash is: Sate by sowing the og in » October or November, ona bed of fresh earth, which should be well dug, and. cleansed from roots and noxious weeds.» A’small bed will be sufficient to raise a great quantity of these trees. The seeds should be sown’ pretty thick, and covered about half an inch ‘thick with earth: .These seeds many times continue until. the second spring before they come up; you should therefore, let the bed remain un- disturbed, and keep it clean from weeds. When your plants come up, you must also keep them very clear from weeds, and if the season should: prove very dry, if you give them now and then a little water, it will greatly promote their growth. In this bed they should remain no more than the ‘autumn following, provided they have grown well ; at which time you should» prepare a nursery, which should be well dug and cleared as before; then with your spade loosen the roots of your plants before you draw them up,’ otherwise you will endanger the breaking of them. When you have drawn them out of the ground, shorten the downright tap-root, but do not: eut off any of the lateral fibres; then, having prepared your ground, plant them in rows, three feet distance, row from. row,» and a foot asunder in the rows, closing» the earth . to the roots. »with. your) feet. In this nursery they may . remain two or three» years, “observing. to keep them clear from. weeds, as also to trim’ up» the side-branches every. winter, and dig the ground between the rows ; after whee ‘time you may* remove them where they are to remain for good. This tree will grow upon. almost any soil; but the: better the soil is, the more the tree. will increase in’ bulk. Notwithstanding which, it should not, by any means, be planted too near: the other: trees or plants ; for it will exhaust all the goodness of the soil from) them ; and. the shade of this tree is malignant to most other plants. The distance they should be planted is eight feet square ; and, after they have been — planted one. year, you may cut down every other tree, choosing such of them as are crooked, within six or eight inches of the ground: this will cause them to make many strong vigorous shoots; which, in seven or eight years time, will be fit for arbour-poles, or to make hoops, and the other strait. trees may be suffered to grow for other timber; the number of which trees may be lessened, as they increase ~ in bulk, leaving . still the most promising ones to grow for larger timber. If a wood of these trees is rightly managed, it ‘will -turn greatly to the advantage of its owner, for by the underwood, which — will be fit to cut every seven or eight years, for the uses above men. tioned, there will be a continual income, more than: sufficient to pay the rent of the ground, and all other charges ; and still there » will be a stock preserved for timber, which, in a few years, will be worth forty or fifty shillings per tree. | Fes or 93 This timber is of excellent use not only ‘to the carpenters, but to the wheelwrights and cartwrights, for ploughs, axle-trees, wheel< rings, harrows, bulls, oars; blocks for pullies, and many other pur poses. The best: season for felling of these trees is from November to: February ; for if it be done too early in autumn, or too late in the spring, the timber will be subject to be infested with worms, and other insects; but, for lopping. of pollards, the spring is preferable for all: soft woods. | ‘ ASHLAR, a term used by. builders, by which they mean comnion free-stones, as they come out of the quarry, of different lengths ‘and thicknesses. Ais to the goodness. of the stones, either for their durableness or largeness: their durableness. is only to be known by experience, for at. the’ first opening’ of a new quarry it is “uncertain how the stones may prove : for some stones, when they are first taken out of the quarry, are very soft and friable, and will moulder to sand by being exposed to the air only a few years : whereas, others of those A S_S a soft stones will be indurated or hardened, by being exposed to the air. Those ‘stones which come hard out of the quarry are gene- ‘rally durable, being of a more firm and solid consistence. As to their largeness, I need only observe, that large stones must _ certainly be better, and make firmer work than small ones: which are only fit for filling work in thick walls: or to be used im those. places where the country affords no better. ASHLERING, quartering to tack to in garrets, about two feet and a: ay half, or three feet high, perpendicular to the floor,. up to the Lalas | side of the rafters. ASSEMBLAGE, the joining or uniting of several things together; also the things so joined or united; of which assemblages, there are various kinds and forms used He joiners as with mertoises, ‘tenons; dove-tails, &e.. ASSEMBLAGE of Orders. M. Le Clere says, when two columns are placed over one another, they must be of different orders, the stronger always to support the weaker. For instance, 1. The Doric may be placed over the Tuscan, the Ionic over the Doric, the Ro- man over the Ionic, the Spanish over the Roman, the Corinthian — over the Spanish. 2. That the upper order should always be less massive than the under, agreeable to the maxim, that the strong ought to support the weak. 3. That the columns ought to stand exactly over each other; so that their two axis’s may be both found in the same perpendicular. 4. The distances’ between the lower - columns must be determined by the intercolumniations of the order, that is, without pedestals; and the distance of the’ upper columns,: by the intercolumniations of the order, .with pedestals, taking care that the first order be mounted on a pretty high zocle, or an ascent of several steps, to serve instead of a continued pedestal, or foot: He gives a pedestal to the upper order; because, being confined to the breadth of the mtereolumniation of the lower order, its columns, _ by this means, are rendered: smaller, insomuch, that the diameter of their base does not exceed that. of the top of the under column: 6. ) | M eo aes which, in his opinion, is arule not to be dispensed with. He remarks, that Vitruvius will not allow the upper order more than three quarters 7 of the height of the under. But if this reduction was followed, the columns would be too small, and consequently too far asunder, with respect to their height, if placed one over another. In order to find the mod. of an order that is to be placed over ano- ther, he proposes, for instance, to place the Ionic over the Doric; and advises, To consider first, that in the Doric order, without a pedestal, which is to give the measures of that first order, that the columns are placed at the distance of eleven M. from each other, in porticos. That in the Ionic erder with a pedestal, the columns are fifteen M. a-part; | and that to place this order upon the Doric, you must divide the inter- column, or its equal, into fifteen equal parts; one of which fifteen © will be the M. for raising the Ionic order with its pedestal. He likewise observes, that when two porticos are placed over each other, the higher ought to be regulated by the lower: he means, that the width of the upper arch should be made equal to that of the under; : 1a 4 £ L ps ‘ " , % eS eee a ee Te Ae ey ae it being proper, that the two arches should have the same width. 4 On such an occasion, the lower arch may be made ten or twelve mi- nutes narrower than usual, that the width of the upper arch may be better proportioned. When columns are to be without porticos, he says, there need be only four triglyphs made between the Doric columns, that is, an interval of eight mod. four minutes, which are equivalent to twelve M. in the Ionic, as appears by the rule of proportion; and that the same thing may be observed of coupled columns. The Roman order, he observes, does not match perfectly well with the Tonic; because its capital is higher, with respect to its column, than the Ionic capital, with respect to the Ionic column; and because the denticles of the Ionic appear somewhat weak underneath the modillions of the Roman. However, the Roman order being in this place less than the Tonic, the disproportion between their capitals AS:S&) | 7 43 becomes less sensible, as well as that between the denticles of the one and the modillions of the other. | oY To find the M. for raising a Corinthian column ever a Spanish order he says, pay | It is evident, that the modillions of the upper order must be the same in number with those of the under, in order to have them exactly over one another. Now the inter-modillions of the Corin- thian order containing just forty minutes, where the column has no pedestal, these forty minutes must be multiplied by the number of modillions, which being eleven, the product will be four hundred and forty; which being divided by thirty, the mod. the quotient will be fourteen M. twenty minutes; which is the division of the scale for raising the Corinthian order. He observes, that there is a difficulty in placing three orders over each other, which consists in this; that the second order having a pedestal, the columns of the third become a little too large for the bottom ; though so very little, that the eye can hardly perceive it. But this inconvenience, however, may be remedied, by taking the excess away imperceptibly, wholly from the base of the column. This will, indeed, occasion a little swelling, but that will do no prejudice. Again, he is of opinion, it would not be proper to undertake the placing of more than three orders of columns over one another. For, besides that in the fourth order, the columns would be too far asunder; in respect to their height, it ought likewise to be considered, that four columns raised over one another, cannot be very strong: indeed, the first may have a Rustic, whereon it is raised, and which may serve it as a foot. ut ASTRAGAL, in architecture, a little round moulding, in the form of a ring, or bracelet, serving as an ornament at the tops and bottoms of columns. The Astragal is also sometimes used to separate the fascize of | the architrave; in which case it is wrought in chaplets or beads and_ berries, : a, ) oS aie It is likewise used both above and below the lists, adjoining 4 immediately to the edge or square of the pedestal. M. le Clerc observes, that the Astragal of a column ought al- 4 ways to be plain, excepting in the Ionic order, where the Astra- gal of the shaft is converted into a chaplet of pearls and olives for the capital. } : Astragal or Baguette, ‘has the figure of a staff when it is — joined to a fillet: the height. of which fillet, M. le Clere divides _ into three parts; two of which he gives to the Astragal. And this rule, he says, he observes upon all occasions. ONE This Astragal is sometimes carved with pearls and olives, which: the French call Pater-nosters. ; ASYMPTOTES, are properly straight lines, which approach nearer — and nearer to the curve, they are said to be Asymptotes of; but if they and their curves are indefinitely continued, they will never meet: Asymptotes are also tangents to their curves, at an infinite dis- tance. And two curves are said to be Asymptotical, when they continually approach to each other, and if indefinitely continued do not meet. ATEASSES, in Architecture, a name given to those figures, or half ficures, of men, so frequently made use of instead of columns or pilasters, to Support any member in Architecture, as a balcony, or the like. These are also called Telamone. ATTIC, in its general sense, signifies something relating to Attica, or the city of Athens. Tt is used in Architecture for a kind of building, wherein there js. no reof or covering. to be seen; being thus called because usual at Athens. j Attic or Attic Order, is a sort of little order raised upon a larger one, by way of crowning, or to finish the building. Itis also some- times used for the conveniency of having a wardrobe, &c. and, in- stead of regular columns, has only pilasters of a particular form. Attic Order, According to M. Le Clere, is a’ kind of rich pedestal. Some Architeets Slve it to the Several capitals of all the orders of E . . : : 4 Ge aed omer. ee columns; but, he says, the Tonic, Roman, and Corinthian, do not in the least become it. It is his opinion, that it is hest only to dis-~ tinguish the capitals by a difference in their mouldings; which may be made more or less simple, and more or less delicate, according to ~ the relation they are to bear to the Architecture underneath. The name Aftic is also given to a whole story, into which this order enters; this little order being always found over another that is greater. ; The pedestal, or false pilaster, he observes, ought always to have the same breadth with the column or pilaster underneath ; and its height may be equal to a third, or even half, of the same column or pilaster, by which it is supported. Attie of a roof, is a kind of a parapet toa terras, platform, &e. Attic continued, that which encompasses the whole pourtour of a building, without any kind of Seiten Sa following all the jets, the _returns of the pavilions, &c. Attic interposed, is one situate bate two tall stones, ee adorned with columns or pilasters. 3 Artic Bass, a peculiar kind of Base, used in the Tonic order by: ancient Architects ; and also by Palladio, and other moderns, in the Doric. It is the most beautiful of all the Bases. : ATTITUDE, in sculpture and painting, the posture of a statue or figure, or the disposition of its parts; by which we discover the ae- tion it is engaged in, and the very sentiments supposed to be in the: mind. To represent these in a strong and liv ely manner, constitutes what is called a good i impression. » ATTRIBUTES, in sculptare, &c. symbols added. to. several figures,. to denote their peculiar office and character; as a club is the attribute of Hercules; a trident, of Neptune; a palm, of Victory; the eagle,. of Jupiter; a peacoek, of Juno, &e: Aureota,-a kind of crown of glory, given by. statuaries, &c. to: saints, martyrs, &c. asa mark of the victory they have obtained. Axis, in its primary signification, signifies a line, or long piece of: 6. ie N jron or wood, passing through the centre of a sphere, 9 Telit is move- able upon the same. : Spiral Axis, in Architecture, ibs: Axis of a twisted ccliiieh drawa 7 spirally, in order to trace the circumvolutions without. : Axis of the Tonic Capital, a line passing sil ag through the middle of the eye of the volute. | Axis, in Opties, a ray passing through the centre of the eye; or it is that ray, which, proceeding from the middle of the luminaus cone, falls perpendicularly on the chrystalline humour, and eonsenasully passes through the centre of the eye, - : Axis, in Positedahko, one of the five mechanical powers. used ts raise weights to a considerable height, It consists of a peritrochium, or wheel, concentric with the base of a cylinder, and moveable to- gether with it about its Axis, Because, in this machine, the wheel and its Axis move together, it is evident that, in one turn of the wheel, when the power P descends a length equal to the circumference of the wheel, the weight W will he raised an, equal height to the circumference A, by the winding of the rope, which carries the weight upon the said Axis, And hecause, when there is an equilibrium between two weights, as W and P, there must be a reciprocal proportion between the masses and velo- eities; W will be to P, as the circumference of the wheel is to that of the, Axis (supposing the thickness of the rope to be imeotisideknisleh or as the semi-diameters of the wheel to the semi-diameter of the Axis ; for the semi-diameters of different circles are in the same pro- portion to one another as their circumferences. The Axis in peritre~ chio may also be considered as a lever of the first kind; for the ful- crum will be in the middle of the Axis A. If, therefore, lines be drawn from the middle of the Axis to the power and weight, parallel to the horizon, the radius, or semi- -diameter of the re Vi will be the distance of the power, and the radius of the Axis the distance of the weight; and when these radii are reciprocally as the weight and power, the machine wiil be in equilibrio. _The wheel and Axis there- fore is nothing more than a perpetual lever: it has been already ob- served, that the thickness of the rope carrying the weight, is sup- posed. to be inconsiderable ; but as this is never the case in practice, when the weight is considerable, it will be necessary to make proper | allowance for it; and this is done by adding the semi-diameter of the rope to the semi-diameter of the Axis; fer the weight really hangs half the thickness of the rope beyond the Axis. It is also necessary that the line of direction in which the power acts be a tangent toe the wheel; for otherwise it will not produce the same effect, as the Jever to which it is applied will be shortened. If a plumb-line be applied to any part of the circumference of the wheel, above the horizontal radius, it will form a cherd-line, connecting two points jn the circumference of the wheel, and if this chord be bisected by a_ yadius drawn from the centre, the part of that radius intercepted be- tween the centre and the chord will be the length of the lever op which the power acts in that position, r The machine represented by the figure, is a model (made by a scale of an inch to a foot) of such an axle and wheel, as is often made use of to draw water out of a well, by means of a power drawing by a rope applied to the circumference of one of the wheels of the ma- chine, or by pressing down successively the -handles E, F, G, H, I, K, whilst another rope or chain is wound up upon the Axis A or B, 48 | Ko we A a bucket hanging at it instead of the weight W. Here in the ex- periment, one pound hanging at the circumference of the biggest . _ wheel CD, will keep in equilibrio twelve pounds hanging at the — smallest Axis A, or six pounds at the Axis E, and only three pounds upon the circumference TV. In the same manner; when the weight hanging at the Axis continues in the same ‘place, and to be of the same quantity, viz. twelve pounds; then the power, which, at the cireumiference of the wheel ©D, is equal to one pound, must be 7 equal to a pound and a half, if it be applied to SR; but if it be applied at one of the handles at the distance of a fourth of an inch from the circumference of the wheel CD (which is the same as if a new wheel was added of half an inch more diameter); then a power — equal to no more than 4+ of a pound, will keep the weight in equi-. Tod -librio, and raise it, if its intensity be increased ever so little. r £3 ‘, c¢ 3 t P Ia 4 - ane & , » - Zz 7 f ri; 2 (Tees re » ~ 2 Ree: : : : ear. % ’ 4 i 4 if : Fi i a au ieee F 3 ee*eae a [<9 ‘ s ety F ti : Fm 4 - sire a) un s ger ee 7 . * ' 2 F rt ; = . % : by i a ¢ ‘ : ‘ : Ors £E Vis OR AT FPRL re Ad c) a P. F ; Back NAILS, a kind of nails made with dat shanks, so as to hold fast without opening the grain of the wood, used in nailing guts together, for saving water under the eaves of a house; or by back- makers, in scsilsian of boards together for coolers, or ‘any vessels sti of planksjor boards for containing liquors. _ Bacnio, an Italian word, signifying a bath: we use Hit for a house . with ‘conveniency for bathing, “cupping, sweating, and otherwise cleansing the body, and very. faaiivekitly for worse purposes. Baxe-Hovse, a room or office, or an apartment belonging to noble buildings, and other private buildings in which an oven is built. As to the position, it ought, according to the rules laid down by Sir Henry Wotten, to be placed on the south-side of any building. _ Basuerte, in. Architecture, a little round moulding, -less than an astragal ;. it.is,sometimes carved and enriched with foliages, pearls, ribbons, Jaurels, &e. Though, according to M. Le Clerc, when a Baguette is enriched with. ornaments, its name is changed, and it‘is ealied a chaplet. Baguette is also.a term used by the carpenters for a kind of astragal or hip-moulding, by which is understood the out- ward angie or the hips or corners of’ a roof; which, in square frames, where the roof is three quarters pitch, contains an angle of one ai dred and sixteen degrees, and twelve minutes. BALANCE, or Rasiaxcn. Libra, one of the six simple powers’ in mechanics, principally used in determining the difference of weights in Peay bodies, and consequently their masses or quantities of mat- ter, The Balance is of two kinds, the ancient and the modern. The ancient er Roman, called also the statera Romana, or steel-yard, consists of a lever or beam, moveable on a centre, and suspended near one of its extremities: the bodies to be weighed are applied on one side of the centre, and their weight is shewn by the qivision marked on the beam, where the weight which is moveable along the 7 O | , BA L lever, keeps the steel-yard in equilibrio, This Balance is still fre-— quently used in weighing heavy articles. The modern balance now generally used consists of a lever or beam suspended exactly in the middle, having scales hung to each extremity. . “a . The lever is called the jurgum or beam, and the two moieties there- of on each side of the axis, the brachia or arms. The line on which the beam turns, or which divides its brachia, is called the axis; and when considered with regard to the length of the brachia, is esteemed a point only, and called the centre of the Balance: the handle whereby it is held, or by which the whole apparatus is suspended, is’ ealled trutina, and the slender part perpendicular to the beam, whereby either the equilibrium, or préponderancy of bodies is indi- cated, is called the tongue of the Balance. , | 7 Baxcony, a projecture beyond the naked part of a wall or building, supported by pillars or consoles, and encompassed with a balustrade. Or it isa kind of open gallery for people to stand in to behold any public shew, as pageants, cavalcades, public entries of embassadors, &e. in cities; or for taking the air, &ce. This jutty or projective building is usually placed in the middle of a front of a house, or pub- hic hall, &c. if there be but one: and is usually level with the first ’ floor, up one pair of stairs. Some of these aré made with wood, and others with iron; wooden balconies consist of rails, and balusters, and so sometimes do those of iron; but at other times they are made of cast iron, of various figures in semi-relief; and some again of wrought iron mm crail’d work, or flourishes in different forms, according to the fancy of the workman, &c. 2 It may be proper here to take notice of what Sir Henry Wotten “i Says concerning all in-lets and out-lets, such as balconies, windows, &e. that they ought not to approach too near the corner of walls: it being an essential error to weaken that part which is to strengthen all the rest. This, he says, 18 a precept well recorded, but is ill prac- tised, even by the Ttalians themselves ; particularly at Venice: where: he had observed divers Pergoli, or Maucina, (as they seem to be called by Vitravius,) which are certaih balastraded out-standings, made for BAL . ‘ 51 standing in, to satisfy the curiosity of the sight, very dangerously set forth upon the very point itself of the mural angle. ! | M< Le Clerc says, the'parts of a Balcony are, the terras, the balus- trade that incloses it, and the consoles which support it: or, to ex- plain himself more accurately, a Balcony is a piece of Architecture raised in the air, inclosed with a balustrade, and supported by a little entablature, whereof the’ cornice, or. uppermost part, makes a terras; the frieze and architrave being only continued at the bottom and sides; and the whole balcony further supported by consoles. The frieze is made with a little sweep, that the zocle of the pedestal above may not appear ill supported; and that the console coming to con- tract, or strengthen itself at the bottom, may do it the more grace- fully, without which it would appear’ too heavy. The height of | the consoles may be equal to the projecture; but it will be an ad- dition both to the beauty tint * strength of the work, if they are made higher. A Balcony may be aoisined quite through the Rigsiad of a build- ng by adding consoles, from space to ret to be disposed between the windows, which will be underneath. He is of opinion, that iron. Balconies will do much better than those of stone, as being lighter, and less subject to decay: which, if gilt, will be ex dedi aby wed -nificent, and a very proper ornament for a palace. ks According to the modern mode of building, small Balconies of tron are made before each window in the first floor; and the apertures,. and consequently the windows, are begun on a level with the floor,- and yet carried up to the same height, as if they had began in the- usual manner. BaLpAcnin, of Baldachino, Ttal. Baldagium, Fr. a piece of Ars~ chitecture in the form of a canopy, supported with columns, serving as a crown or covering to an altar. It properly signifies a canopy earried over the host in Roman catholic countries. Some also give the name of Baldachin to a shell over the front of a house. — Bauxs, ‘poles or rafters, over out-houses or barns; and among bricklayers, great beams, such as are used in making scaffolds: this 52 3 BAS term is also applied to) vaeiaeat ula of timber, tion from beyond the 4 seas by floats. | ; f suit 30 tis: aj NH gas cre 4 i ani OG # ion - BALLON, In dradieness a Frencli term, used to signify the: aa globe on the top of a pier, or pillar, 9) bon Ai es toslt -olkaal BALUSTRADE, a connection of a number of Serer noe for defence or ornament, on balconies, terraces, and the like, and round’ altars, The balusters.are of iron, wood, stone; or, other materials,.and the — Balustrade, when finely execnted, ,has.an elegant appearance. We — have of late, in some handsome : buildings, ‘miserably. supplied. the place of the ancient Balustrade,,by Chinese: raiuls.’.'The, Balustrade may consist of one or. more rows) of. balusters, and may serve as. a. rest in the front of terraces, and as a defence. on levels, ‘and. it. is, some times used, with great propriety. and beauty, by. way of: separation between one part of a building. and another.,.The baths among the ancients were thus encompassed. with ‘rails, and ‘the: word . expressing that separation was Balustrum; hence comes eur r word, Balustrade; and baluster for the single pillar... {..4-), an YaeolnEs Batusrar, (yulgarly called .banister,),.4 Perch bay or. pilaster; serving to support a real, and,;making,, when joined and. continued with others, the balustrade we: have just. named, .. The Baluster may be either round or square, but it should be adorned. with mouldings ; and other decorations, according to the richness intended to be given to, the balustrade... Our Balusters of iwaod are usually turned,..and often very handsome. Banp, a term often. used. to. express what we more usually. call the face, or faces, fascize; of an Architraye; but it properly expresses — any flat and low member, whatever be its place, if it is net very. deep, BanDELET, derived. from. the French Bandelette, a little fillet or band, 1s any little band, or. flat moulding, as that which crowns the Page architraye. It is also called. Tenia, from the Latin Tania, which Vitruvius uses for the same thing, It is also used by Archi-~ tects te signify the three parts which compose an architraye. i Base, a part placed at the bottem of a column or pilaster, as the BAS ys | 53. capital is at the ‘siien The word signifies. a support of any kind, and for any thing; its derivation being from the Latin basis, of which this is the sense; but we have peepee it in a manner to this lower part of columns. | The ancients, in the early el of Architecture, used no Bases. The Doric columns, in the temple of Minerva at Athens, have none, but stand immediately upon the floor of the porch. Columns after-. wards came to be supported on square pieces called plinths, and after — that on. pedestals. When we see a column, of whatsoever order, on: a pedestal, the Base is that’ part which comes ‘between the top of the pedestal and the bottom of the shaft of the column; when there is no: pedestal, it is the part between the bottom of the column and the plinth; some have included the plinth as a part of the Base, but it is properly the’ piece on ee the Base wewiing as the column stands | ‘upon that. ‘The pedestal also has its Base as well as the column and the- pilaster. The Base of columns is differently formed in the different orders, but 1 in ‘general it is composed of certain spires or circles, and was ‘thence in: ‘early times called the spire of a column. These circles were in this case supposed. to represent the folds of a snake as it lies rolled wp; ‘but’ they are properly the representations of ‘several larger and smaller rines or circles of iron, with which the trunks of trees, which were the ancient columns; were surrounded, to prevent their bursting; these were ‘rude and irregular, but the sculptor, who imi- tated them in stone, found the way to make them elegant. “The Tuscan Base consists only of a single torus, or round member wpon the plinth: this is the most simple of all. The Doric Base has a torus and an inverted ciina im the Coliseum ; the Tonic Base has a single large torus, which is placed over two slender scotias, that are depiaiwtea by two astragals.. ‘The Corinthian Base has two. torus’s, two scotias, or hollow members, and two astragals. And the Corm- posite has’ a double astragal m the’ middle. ‘These several terms will be explained in their places. We have observed, that the Doric had an¢iently no Base; Vitruvius allows none, and other antique buildings 7. : ae pA B AS beside the Parthenian’ of Athens might be produced as: instances, Even the Ionic in some very ancient pieces has no Base;)so that we see what is done in this matter is arbitrary, and has been introduced of later time than the period of many buildings of which: we have — remains; but this must not be considered: as.an improper deviation from the most ancient manner, but as an improvement upon it; for the Base is a very natural and very beautiful part.of every order. We have named the Base appropriated by writers, to. each order, but there is besides these five, another called the Attic, or the Atticur-— gick Base, which excels them all in beauty; and. was: first given to | the Doric, and since to almost every other column. | This Base- consists of two torus’s and a scotia; the two tores are of different — dimensions, and the scotia runs between them. The Ionic Base is — unnatural, because it is smaller below than higher up, neither is that of the Corinthian without its faults: both are greatly inferior to the . Attic, which is therefore often .with. great judgment substitutedtin their place. yarvehibh ei gant --wedagien The ancients seem to have given. the same, or. nearly the same, projectare to the Base, in all the orders where we. find it in: their. works. ‘or stance, we see the same projecture in the Base. of the Dorie and Corinthian order in the Coliseum, and in that of the Lonie in the temple of Concord: and the difference between the greatest projecture of any antique Base. we know, which is in the,arch of Titus, and the least, which is in. the Corinthian. order in the Coli- seeum, is very trifling, | | 153 Basit, among joiners, &c. the angle to which the edge of an iron tool is ground. To work any soft. wood, they usually make their Basil twelve degrees, and for hard, eighteen degrees; it having been observed, the more acute or thin the Basil is, the. better, and. smoother it cuts; and the more obtuse, . the stronger and fitter for. service. dn v j BasiLic, an ancient palace. These were vast buildings, consisting of a great hall, with isles, _ porticos; tribunes, and tribunal, where the sovereigns in person administered justice... This is the proper and BAS Oe a strict sense ef the word, ial ive tothe Greek ; but the Architects have taken the liberty to extend its. meaning farther, and Basilic is now used as a name of any spacious nanleaias a hall, church, or the like. Westminster-hall is properly in. this sense a Basilic; but the ancients were more strict in the use of the word, and would not have called any thing but a royal palace by that name. Any large build- ing for a court of justice, and exchange, or the like, is now fe called a Basilic. When Basilic is used as the term for a church, always means a large and elegant one. Bason, a reservoir or reservatory of water, as “the Bason of a jet d’eau, or fountain, the Bason of a port, bath, &e. which. Vitruvius calls Labrum, | Basso-Retievo,-or Bass Revise, a piece of sculpture, wherein shi figures do not project far, or stand out from the ground in their full proportion. Some authors have distinguished three kinds of Basso- Relieyo. In the first, the front figures appear almost with the full» Relieve ; in the second, they project above one half; and in the third considerably less, as in vases, coins, Ke. Bastion, in fortification, a large mass of earth, usually faced with sods, sometimes with brick or stone, standing out from a rampart, of which it is a principal part. : i A Bastion consists of two faces and two flanks; the faces include | the angle of the Bastion, and their union forms the outmost, or saliant angle, called also the angle of the Bastion ; and the union of the - two faces to the two planks, makes the side angles, called also the shoulders or epaules ; and the union of two other ends of the flanks to the two curtains, makes the angles of the flanks, The great rule in constructing a Bastion is, that every part of it _may be seen and defended from some other part: mere angles there- fore are not sufficient ; but flanks and faces are necessary.. The faces must not be less than twenty-four Rhineland perches, nor more than, thirty. The flanks of a Bastion, provided they stand at the same angle under the line of defence, are so much the better the longer _ they are; they must therefore stand at right angles with the line of 56 : 8 A: T defence. principal part of fortification, as on them the defence chiefly depends; and it is this that has introduced the various kinds of fortifying. The angle of the Bastion must exceed: sixty degrees, otherwise it will be 4 too small to give room for guns, and will either render the line of defence too long, or the flanks too short. H must therefore be either a right angle, or some intermediate’ one between ay and ae sixty degrees. Sourmp Bastion, that which has the’ void space filled up entirely, and raised to an equal height with the rampart. Voip or Hottow Bastion; that which is only surrounded with a rampart and parapet, having the space within void or empty. Fiat Basrron, a Bastion built in the middle of the curtain, wher it is too long to be defended by the Bastions at its extremities. Cur Bastion, that whose point is cut off, instead of which it has a re-entering angle, or an angle inwards, with two points outwards; and is used, either when the angle would, without such a contrivance, be too acute, or when water, or some other impediment, prevents: the Bastion from being carried to its full extent. Compose Bastion; when two sides of the interior polygon are ‘yery unequal, which also renders the gorges unegal.” Derormep Bastion, when the irregularity of the lines and angles causes the Bastion to appear deformed or out of shape. Raa Demi-Bastron, is composed of one face vo has bat « one flank, ) and a demi-gorge. Dovrnte-Bastion, that which is raised on the plane of another Bastion. flanks and gor ges. 'Basrion or Baroon, in Architectare, a kind ¢ of moulding | in the base of a column, called also a tore. BATEMENT, in carpentry, a term signifying an abatement. or wis _of a piece of stuff, by forming it to a particular purpose or use. BATTEN, a name give by workmen to a scantling of wooden stuff, At the same time the disposition of the flanks make the Reeviar Bastion, that which has its agi proportion of faces, PO age ee ee eae BAT | 37 ¥rom two ‘too four inches: broad, and. about one thick? the length is pretty considerable but undetermined: ‘This term is principally used in ‘speaking: of doors’ and’ windows of shops, &c. which are not framed with whole «deal, or one-quarter inch oak, with stiles, rails and pan- nels, as wainscot-is framed; and yet they are made to appear as if they were, by means of these pieces or Battens, bradded on upon the plain boards, which are joined together for the door, or window, all round, and sometimes cross them, and up and down, &c. according to the number of the pannels the workman intends the door or win- dow shall appear to have. _ These pieces are thus bradded on, to represent stiles, rails, and Si tess; and are of different breadths, according to the desiyn of the workman, from two to seven inches; there is also generally some moulding struck as a bead and ogee, or the like, on one edge of those that represent the stiles, and the upper and lower rails and on both the edges of these which are mntcaded to appear hike montans and middle rails. Barten-Doors, those which resemble wainscot doors, but are not so; for in wainscot doors the pannels are grooved into the framing but in these they first: join and glue the boards, which are cut to thie full iength and breadth of the door-case; and when the glue is dry they traverse them over with a long plane; and bemg smoothed, the battens are fitted on, on the front-side. These are called single Bat» ten-Doors, there being others which are called double Batten-Doors, viz. such as are battened on both sides, which is very seldom done. There are also battened doors, which are called double doors, such as front of outer doors, which are usually made of whole deal, and afterwards battened on the out-side, and pieces four or fivé inches broad mitred round the edges on the inside of the door; and then it is lined cross the door between these pieces, with thin slit deal, which makes it level with the mitred pieces. Some doors have been lined with pieces laid levelling, and not at right angles, but near mitre to the sides of the doors; and when all 8. Q. ' 58 SB aE GA has been planed off level, it has been divided into si os sci Ss, W whieh: was an additional beauty to the work. berth | This method of lining upon the doors, viz. nnisint enn the lower - corner behind, towards the upper corner before, appears to be a good. method to prevent a door from sinking at the fore corners, if the ike should happen to become unglued. 7 BaTrer, a term used by carpenters, bricklayers, be. to signify that ’ a piece of timber, a wall, &c. does not stand upright, but leans from, 7 us when we stand before; but when it leans towards.us, we say it overhangs, or hangs over. | BaTTLEMENTS, indentures or, ndiahbsk in the top ian wall, or other: building, in the form of embrazures.. pe Bay-Winpow, a window composed. of. an. arch of a ‘nikela and consequently will stand without the stress of. the building. From such. a window, spectators may better observe. what is passing in the road, . street, &c. i Bzap, in Architecture, a round moulding, generally. lente upon, the edge of a piece.of stuff, in the Corinthian and.Composite orders, cut or carved in short embossments, like Beads in necklaces, in'semi-. relief; a Bead is usually, one quarter of a circle, and only differs in size from a boultin; for when they. are large they are generally called | boultins. Sometimes a Bead-plain.is set on the edge of each fascia. — of an architrave, and sometimes also an astragal. is thts carved. In both of which these carvings are called Beads.. | " 3 A Bead is frequently placed on the lining-board of a door-case, and on the upper edges of skirting-boards. : ool Beak, in Architecture, a little fillet, left on. the aia of. a: Miia. which forms a canal, and makes a kind of pendant. ted ebapwietis : Chin Brax, a moulding, the same. as the quanter-towmela pues | that its situation is inverted. This is common, in debi but not in. ancient buildings. ct eae } t Beam, in Architecture, the largest: piece. of wood in. a puildings which always lies across the building or the: walls, serying to support. BIE tA 59 the principal rafters of the roof,. and. into which ihe feet of the Bae ee rafters are framed. | ' No building has: less. than two. of these Beams, viz. one at saab ee Into these the girders: of the garret-floor are also framed ; and if the building be of: timber, the teazle-tenons.of the posts are framed. -The teazle-tenons are made at right angles to. those which are made on the: posts: to go into the. raisons ;. and. the relish. or cheats-of these ‘teazle-tenons, stand up within an inch and a half of the top. of the -raison,. and. the Beam is cauked down. (which is the same thing as dove-tailing across) till the cheeks of the mortoises in the Beam.con-- nie with those-of the teazle-tenons on the posts. As to the. size: of Beams. The proportion of. Beams in or.near Lon- Ee is fixed by: statute or.act.of. parliament... Sir: Henry Wotton advises, that all. Beams, | summers, and girders, . , a of the; strongest, anda mostidurable timber. | Herrera informs - us, that: im Ferdinand; Cortez’s palace in Mexico, there were: seven. ‘thousand Beams.of cedar;: but then he must be understood to use the -word Beam in a greater latitude than it is. used with us... The French, under the word. Paoutre, which signifies a Beam, take in not only the ‘pieces which) bear the rafters, but; also all, those, which sustain the joists for the ceiling, ‘Some French authors have considered the force of Beams, and brought their resistance to.a precise calculation ; as’ particularly, M,. Varignon. and M.. eRavents the system.of. the latter.of: ~which: is as follows.. | » When two plans. of, bi which. were: contiguous before, are se-- sae in a: Beam, which breaks parallel to its base, (which js sup-- posed to bea parallelogram), there is. nothing to. be considered in. »these fibres, but their. number, Jargeness and tension, .before they. are broken, and the lever,, by..which, they act ;.all these together making -the resistance of. the Beam remaining to be broke. . Then suppose - -another Beam of the’ same wood, where the base. is likewise a paral- lelogram, and of, any bigness, with regard to the other, at pleasure. The height of each of these, when laid horizontal, being divided into » -aniindefinite number of. equal parts, and their breadth into the same. 60 BE A number, in ‘each of their bases will be found an equal’ number of small quadrangular cells, proportional to the bases of which they are parts; then these will represent little bases; ‘or, which is ‘the: same thing, the thicknesses of the fibres to be separated for the fracture of each Beam, and the number of cells being equal in each Beam, ‘the ratio of the bases of both Beams will be that of the resistance of their fibres, both as to number and thickness. Now the two Beams being supposed to be of the same wood, the fibres most remote from the points of support, which are those which break the first, must be equally stretched when they break. 5 Ga It is evident, that the levers, by which the fibres of the two Beams act, are represented by the height of their bases; and consequently the whole resistance of each Beam is the product of ats base’ by its height; or, which is the same thing, the square of ‘the height being multiplied by the breadth, which holds’ not only of parallelogram- mic, but also of elliptical bases. Hence, if the bases of two Beams are equal, though both their heights are unequal, their resistance wild be as their heights alone; and consequently one and the same Beam laid on the smallest side of its base, will resist mere than when laid flat, in proportion as the first situation gives it a greater height than — the second. And thus an elliptical ‘base will resist more when laid — on its greatest axis, than on its smallest. Since in Beams equal in length, it is the bases which determine the proportion of their weights or solidities; and since their bases being equal, their heights may be different, twe Beams of the same’ weight may have resistance different toinfinity. ‘Thus, if in the one the height of the base be conceived infinitely great, and the breadth infinitely smaN; while, in the other, the dimensions: of the base are finite, the resistance of the first will be — infinitely, greater than that of the second, though their solidity and weight be the same. If, therefore, all required in Architecture were to have Beams capable of supporting vast loads, and at the same time have the least weights possible, it is’ plain they must be cut as’thinas laths, and laid edge-wise. . If the bases of the two Beams are supposed to be unequal, but the BEA 61 sum of the sides of the two bases equal. If they be either 12 and 12, or 11 and 13, or 10 and 14, &c. so that they always make 24; and further, if they are supposed to be laid edge-wise, pursuing the series, it will appear, that in the Beam of 12 and 12, the resistance will be 1728, and the solidity or weight 144, or that in the last, or l and 23, the resistance will be 529, and the weight 23: therefore the first, which is square, will be half the strength of the last with regard to its weight. Hence M. Parent remarks, that the common practice of cutting the Beams out of trees as square as possible, 1s an imprudent method; and thence he takes occasion to determine geometrically, what dimensions the base of a Beam to be cut out of any tree pro- posed should have, in order to its having the greatest resistance pos- sible; or, which is the same thing, a circular base being given, he determines the rectangle of the greatest resistance that can be in- scribed, and finds that the sides must be nearly as 7 to 5, which agrees with observation. : ibe - We have hitherto supposed the length of the Beams to be equal; : if it be unequal, the -bases will resist so much the less, as the Beams are the longer. To this may be added, that a Beam sustained at each end, breaking by a weight suspended from its middle, does not only break at the middle, but at each extreme; or if it does not actually break there, at least immediately before, the moment of the fracture; which is that of the equilibrium between the resistance and the weight, its fibres are as much stretched at the extremes, as in the middle; so that of the weight sustained by the middle, there is but one-third part that acts at the middle to make the fracture; the other two only acting to induce a fracture in the two extremes. A Beam may be supposed to be either loaden with its own weight, or with other foreign weights, applied at any distance, or only with those foreign weights. Since, according to M. Parent, the weight of a Beam is hot in common above one-seventh part of a load given to sustain it, it is evident, that in considering several weights, «8. ) R | ) 62 BEA they must be all reduced by the common rules, to one common cen- tre of gravity. M. Parent has also calculated tables of the weights a which will be sustained by the middle in Beams of various bases and 4 lengths, fitted at each end, into walls, on a supposition, that a piece of oak of an inch square, and a foot long, retained horizontally by the two extremes, will sustain three hundred and fifteen pounds in q its middle, before it breaks; which has been found by experiment that it will. | aa 4 Beam-Compasses, an instrument made either of wood: or brass, with sliding sockets or cursors which serve to carry several shifting points for drawing and dividing circles with very long radii; they are of use in large projections, for drawing the furnitures on wall- dials, &c. | | "Tend Bream-Fiuiinc, is plaisterers” work, and is the filling up the vacant space between the raison and roof, whether tiling, thatching, or any other roof, with stones or bricks laid between the rafters. on the Taison, and plaistered on with loam, frequent where the garrets are ~ not pargeted or plaistered; or sometimes they set some tiles with: one edge upon the raison ; and the other leaning against the roof; and. then these tiles are plaistered over with loam. This sort of work is. very common in the country, where: they do not parget or plaister: their garrets. Bearer, in Architecture, a post, pier, or wall, erected between the two ends of a piece of timber, to shorten its bearing, or to pre-. vent its whole weight resting on the two ends only. By an act of parliament of the 14th year of the reign of George the: Third, it is enacted, that “no bearer to wood stairs, where an old: party-wall has been cut into for that purpose, must be laid nearer thaw eight inches and a half to any chimney or flue whatever, or. nearer than four inches to the internal finishing of the: building adjoining.” But this act extends only to the bills of mortality, the parishes ‘of St. Mary-le-Bow, Paddington, St. Pancras, and St. Luke at Chelsea, in the county of Middlesex. There are several other particulars in the, ee ae a ar eS en Re ey eh a ee oe me Pe aN, | 63 above-mentioned act respecting carpenters, which we shall introduce at large under the article CarPENTER. | Brarinc of a piece of timber, among carpenters, the space either between the two fixed extremes thereof, when it has no other sup- ‘port, which they call Bearing at length; or between one extreme, and a post, brick-wall, &c. trimmed up between the ends, to shorten its Bearing. ~Bep or Srowne, in Masonry, a course or range of stones; and the joint of the Bed is the mortar between two stones, placed over each other. Bev Moutorne, a term used to signify those members in a cornice which are placed below the coronet: and now, a Bed Moulding, with joiners, usually consists of these four members, an ogee, a list, a large boultin, and another list under the coronet. 9 Breve or Bevit, in Masonry and Joinery, a kind of square, one leg of which is frequently crooked, according to the sweep of an arch or vault. It is moveable on a point or centre, and so may be set to any angle. The make and use of it are nearly the same as those of the common square and mitre, except that those are fixed; the first at an angle of ninety degrees, and the second: at ser (a. whereas the Bevel being moveable, it may in some measure supply the office of both, and yet supply the deficiency of both, which it is chiefly intended for, serving to set off or transfer angles, either greater oer less than. ninety or forty-five degrees. Hence, any angle that is not square, is called a Bevel-angle, whether it be more obtuse, or more acute than a right-angle: but if it be one half as. much as. a right-angle, viz. forty-five degrees, then workmen call it a mitre: they have also a term half-mitre, which is an. angle that is-one quarter of a quadrant or square, viz. an angle of twenty-two. degrees and a half, they call a half-mitre. Brnpinc-Jorsts, those Joists in any floor, into which the trimmers of stair-cases (or well-holes for the stairs) anc chimney-ways are framed. These Joists ought to be, stronger than-common. Joists. A3 64 BO A. to the scantling and size of these, as well as. all other hm bers mem- — bers, they are settled by act of parliament. Brock of Marble, a piece of Marble, as it comes out of the quarry, before it has assumed any form from the hand of a workman. Boarp-MeasuRxk, to measure a Board, is nothing more than the - measuring a long square. EXAMPLE. If a Board be sixteen inches broad, _and thirteen feet long, how many feet are. contained therein? Multiply sixteen by thirteen, and the iad at will be two hundred and eight; which being divided by twelve, gives seventeen feet; and four remaining, which is a third part of a foot; thus, : 12. ds: dete I aGk ; 13 48 16 12)208(174, Or you may multiply one hundred and fifty-six (the length: in inches) by sixteen, and the product will be two thousand four hundred and ninety-six; which being divided by one hundred and forty-four (the number of inches in a foot square) the quotient will be seventeen ea | BOA 65 feet, and forty-eight remaining, which is a third part of « one hundred and forty-four, as icin: thus; 144: 156. 16 16 | > 936 156. 144)2496(17.4! 144 ey 1056 | , 1008... ig RS ane 48. Canes By Scale and Compasses. Extend the compasses from twelve to thirteen; the same extent will reach from sixteen to seventeen feet and one-third, the content... Or, extend them from one hundred forty-four to one hundred fifty-six (the length in inches) and the same extent will. reach. from sixteen to seventeen feet onesthird, the content. EXAMPLE IL. If a. Board be nineteen inches broad: how many inches 1 in length: will make a foot? Divide one hundred and forty-four by nineteen, and the quotient will be very near seven; and so‘ many in length, if a Board be nime~ teen inches broad, will make-a foot. 9. : Ss. Hoetn hiee % » Fee Pag ‘Toe... Ines. of glee, ai LACH GE BA | = ¥3 . Lie Josh ; h 19: 144: J]: Bic) 1. or 58 phan iit bea 133 i9 Again; extend the compasses from nineteen to one hundred forty- — four; the extent will reach from’ one to seven, fifty-eight, that is, ~ seven inches and somewhat more than a half; so that if a Board be — nineteen inches broad, if you take seven inches, and a little more — than a half in your compasses, from a scale of inches, and run that extent along the Board from end teend, you may find how many feet — that Board contains, or you may cut off from that Board any number — of feet desired. or this purpose there is a line upon most ordinary — joint-rules, with a little table placed upon the end, of all such num- bers as exceed the length of the rule, as in this little table annexed. Here you see if the breadth be one inch, the length must be twelve feet; if two inches, the length is six feet; if five inches broad, the length is two feet five inches, &c. The rest of the lengths are ex- pressed in the line thus: if the breadth be nine inches, you will find it again sixteen inches, counted from the other end of the rule; if the breadth be eleven inches, then a little above thirteen inane will be the length of a foot,’ &e. “a | Bony, in Geometry, is that which has three dimensions, length, breadth, and thickness. . Ais a line is formed by the motion:of a: point, and a superficies by the motion of a line, so a fit is Semen by’ the motion of. a superticies, Lo bear a Bony, with haimtaan A pines; is) xa to baw a Badly; when it is of such a nature, as is capable of being: ground so fine, and BAB er mixing so entirely with oil, as to seém only a very thick oil of the same colour; and of this nature aré White-lead and ceruse, lamp-black, vermilion, Jake-pink, yellow-oker, verdigrease, indigo, umber, and | Spanish-br own ; blue-bice and red-lead are not quite so fine, but yet they may be said to beara very good Body. All these may be ground s0 fine, as to be even like oil itself; and’ then they also may be said - _ to work well, Spreading so smooth, and covering the Body ‘of what ie you lay upon: ‘it! so entirely, as that no part will remain visible where the pencil has gone, if the colour’ be worked: stiff enough. But, on the contrary, verditers and smalts, with all the grinding imaginable: will never be well embodied with the oil, nor work ‘well; bice and — red-lead indeed will hardly grind to an oily firmness, ‘nor lie entirely smooth i m the working; yet it may be said to bear a tolerable Body, because they will cover such work as they are laid‘upon very well; but such colours‘as ‘are said not to bear a Body, will readily part with the oil, when laid on the work ; so that when the colour shall be laid on a piece of work, there will be a separ ‘ation, the colour in some parts, and the’ clear’ oil j in peers except ye ai are tempered extremely thick. ee ( Bours or Tron, for abiSe-Deildio gs, are distinguished by iron- mongers into three’ Kinds, viz. plate, round, and spring Bolts; plate and spring Bolts are used’ for: the’ fastening of doors and windows, and these are of different sizes and prices, There ‘are ‘also brass- ‘kknobbed Bolts, short and long: Sele al a hn Bonn, a term among edaGindel: as make good Bond, signifies that they should fasten two or more pieces hatha NE fone by eee more ey or dove-tailing, &c. ’ Bossace, in Architecture, a term used for any stone that has a pro- jecture, and is laid ‘in a place in a building lineal, to be afterwards carved into mouldings, capitals, coats of arms, &e. el ibe Bossage i is also that which is otherwise called rustie work ; edits! ing of stones which seem to advance beyond the naked of a building, by reason of indentures or channels Jeft in the joinings; these are 68 “3 B R A chiefly used in the corners of edifices, and thence called rustic quoins. The-cavities or indentures are sometimes round, and sometimes frame- muaiten or levelled, ; sometimes in a diamond form, and sometimes in- -closed in a cavetto, and sometimes with a listel. ) ee BoutTINE, a term used by workmen for a moulding, whose. con- _yexity is just one-fourth of a. circle ; being the member next below the plinth 3 in the Tuscan and Doric capital. Boutant, or ArcH-Bovutant, in Architecture, a flat ancl. or part of an arch, abutting agpinsts 4 the reigns of a vault, to prenres its Bis ing way. | a wall, terrace, or vault. Brace, in building, a piece of timber framed 1 in with bevel joints; the use of. which is to keep the building from swerving either way. When the Brace is framed into the king-pieces, or pringinal rafters, it is sometimes called a strut. _ Braps, among artificers, a ‘sort of nails used im building, which have no spreading heads. They are distinguished. by ironmongers, by six names, as joiners-Brads, flooring- Brads batten-Brads, bill- Brads, or quarter-heads, &c.. Joiners-Brads are used for hard wain- scot, batten-Brads, for soft wainscot;. or bill-Brads are used when a floor is laid in haste, or for shallow joists subject to warp. - Brancues, of ogives, in Architecture; the arches of Gothic vaults, These arches traversing from one angle to another diagonally, form a cross between the other arches, which. make the sides of the aie of which the arches are diagonals. aE! Brazina, the soldering or joining two pieces of iron’ together, by means of thin plates of i melted between the two pieces to be joined. | Hf the work is very fine, as when the two leaves of broken saws are to be joined, it is covered with beaten borax, moistened with water, that it may be incorporated with the brass dust, which is here added; and the piece is exposed to the fire without touching the coals, till the brass is observed to run. Lastly, to braze with a still greater degree A pillar Bourant, a large chain or pile of stance made to o support BRE 69 of delicacy, they use a solder made of brass, with a tenth part of tin; er another one-third of brass, and two-thirds of silver; or borax and E rosin; observing, in all these methods of Brazing, that the pieces be joined close throughout; as the solder holds only in those sare that touch. To. Break 1N, in Architecture, a’ term used by carpenters, wher: they cut or rather break a hole in brick walls with a ripping chizzel. Breast, a term in Architecture, used, by some, to signify the same member in a column, that others call a thorus. Breast-Summers, in timber buildings, such pieces in the outward parts of a building, into which the girders are framed in all the floors but the ground-floor, then they call it a cell; and garret-floor, then it is called a beam. As to their size and square, it is the same, ac-— cording to the act of parliament, with that of girders; it is here to be observed, that it is not here meant, all the pieces which have girders in them, (and are not in the garret, or ground floor;) but all such as are in the exterior part of the building; whether in the front,. flanks, or exterior part of the building; for the pieces in the inter- nal part of the building, into which girders: are ‘framed, are called: Summers. 7 Brew-Hovse, a 4 bailding adapted to the brewing, &e. of malt-. liquors. In erecting a large and public Brew-house to the best ad- vantage, several circumstances should. be carefully observed... 1: That three sides in four of the’ upper part, or second floor, be built with wooden battons about three inches broad, and two thick, that a suf-. | ficient quantity of air may be admitted to the backs of coolers. 2.. That the coppers be erected of a proper height above ithe mashing- stage, that the hot water may be conveyed by. means of cocks into the mash-tuns, and the worts into the coolers. 3. That the fire- places of the coppers be very near each other, that one stoker, or i person who looks after the fire, may attend all. 4. That the yard for coals, be as near as possible to the fire-places of the copper. 9. That the malt be ground near the mash-tuns, and the mill erected 9. : A "9 | Bp oR @ high enough that the malt may be conveyed from the mill immediv ately to the mash-tuns, by means of a square wooden spout or gutter. 6. That the upper backs be not erected above thirty-three feet above the reservoir of water, that being the greatest height water can be raised by means of a common single pump. 7. That the pumps which raise ihe water, or liquor, as the brewers. call it, out of the reservoir into the water-backs, and also those which raise the worts out the of jack- backs into the coppers, be placed so that. they may be werked by the — horse-mill which grinds the malt. ‘il Bricks, as they supply the place of stone in our common build- ing, and are composed of an earthy matter, hardened by art, to the _ resemblance of that kind, may be very well considered as an artificial stone. Bricks are of a very ancient standing, as appears from sacred — history, the tower of Babel being built with them; and, it 1s said, the remains are still visible. In the times of the first kings of Rome, they built with massive square stones, which they learned from the Tuscans, Towards the latter end of the republic they began to use Brick, having borrowed the practice from the Greeks. And the great- est as well as most durable edifices, of the succeeding emperors, as the pantheon, &c. were built with Brick. | ose? In the time of Gallienus, the buildings were composed, alternately, of an order of Brick, and an order of toftus, a kind of soft gritty stone. After his time, they laid aside the use of Bricks and resumed flints. In the east they baked their Bricks in the sun. The Romans used them unburnt, haying first left them to dry in the air, for three, four, or five -years. | Lous | Of the matter whereof Bricks are made. Pliny says, if you would have good Bricks, they must not be made of any earth that are full of sand or gravel, nor of such as.is gritty or stony, but of a greyish: marl, or whitish chalky clay, or at least of reddish earth. But if there is a necessity to use that which is sandy, choice should be made — of that which is tough aud strong. He also adds, that the best season for making Bricks is the spring; because they will be subject to crack . SES ee ee ae er eee Ce ee ee ee BR iI | ye | and be full of chinks, if made in the summer. He directs, that the loam of which Bricks are sie be well steeped or soaked, and _ wrought with water. _.- Bricks are made of a clayey or a loamy earth, pure, or with vari- _ ous mixtures; they are shaped in a mould, and after some drying in the sun or air, are burnt to a hardness. This is our manner of mak- | ing Bricks; the use of them was very ancient, but whether they were _ always made in the same manner admits a doubt; we are not clear what was the use of straw in the Bricks for buildiag in Egypt, and _4there is room to question whether those of many later periods were _ ever exposed to the fire. There are remains of great Brick buildings of the Romans, in which the Bricks seem never to have been burnt, _ but to have been hardened by a very long exposure to the sun; and this their own accounts confirm; mention being made in some of their writers of four or five years drying for this purpose. The Greeks built with Bricks, and they used them of six different shapes, ' or at least so many different sizes; three being the principal, and _ there being as many exact half Sizes 7 this gave a elas to their ap- pearance. ; Weare in general tied down by custom to one form. and one size, ~ which is truly ridiculous; eight or nine inches in length, and four in breadth, is our general measure; but beyond doubt there might be other forms and other sizes introduced very advantageously. Sir Henry Wotton mentions with recommendation a particular form of Brick from Daniel Barbaro, which is in shape triangular, of equal _ sides, and each a foot long. The thickness he mentions is an inch and half, so that his may well enough be called a kind of thick tiles, but that may be altered at pleasure. There is no doubt but _ Bricks of this and other regularly angular forms might be used with _adyantage in many parts of our common buildings. It has been proposed by some to steep Bricks in water after the burning, and then burn them over again, in order to give them greater strength; but this may be much better done by a proper ¢ { wo) B R I choice of the materials, and a thorough skill and sufficient labour . in tempering them. 1 It is an observation of Palladio, that the ancients made their Bricks j of a larger size, which were intended for great buildings, and this — was certainly right and reasonable; but he is aware of the diffieulty — there must have been in thoroughly and equally baking of such; we — are assured, by the very names, that the Greeks had Bricks of five — palms long, that being the sense of the name Pon to the largest sort they used in common buildings. ; The manner of burning is a thing very essential in ine structure of — Brick. It is commonly done in a clamp about London; but in some © places ina kiln. Some of the finest Bricks are burnt in the kilns | erected for tiles. The degree of burning makes a considerable difference in the condition of the Bricks; but their principal distinction 1s from the — nature of the materials with which they are made; these being not jonly various in themselves, but made different in a much greater — jdegree by the mixtures given them in the working. A great variety of Bricks have been contrived by different persons, and made at different times; and long perplexed descriptions have been given of the way of fabricating them; but at present they are in a manner reduced to four sorts, our builders finding these suffi- cient to answer evcry purpose. These are place Bricks, grey Stocks, red Stocks, and the finest red or cutting Bricks. Adding to these two or three foreign kinds imported for particular purposes, we have before us all that is used in this way, and it would be needless for us to meddle with any other; our purpose being to write not for the satisfaction of an idle and useless curiosity, but for the service of the practical builder, and of the gentleman who employs him. As to the materials of Bricks, we have already said they are alk made of earth of a clayey or loamy nature; the more pure the earth used is, the harder and firmer the Brick will be; but then the less mixture there is with it, the more labour it will require in working- BRI (5 The Brick-makers regulate themselves according to this rule, and finish their work according to the service for which it is intended. . Grey moet are sein oat a ee earth well wrON EHS and with little Mixtures 9 © Gs 3 - Place Bricks are waite of. the same Pai or worse ; ith a mixture of dirt’ from the street ; and these are often so very bad. they will hardly shold together. This is the principal difference between the two kinds of common Bricks, as to their substance; the grey Stocks being sound and firm, because the earth of which they are made is: purer, and the Place Bricks being poor and brittle, because of the mixture of other api with that earth and less working. “Red Stocks and the Red Bricks, called ‘ane phe ‘sheid) use, cutting Bricks, owe their colour to the nature of the clay of which. they are made; this is always used tolerably pure, and the Bricks of the better kind are called by some clay held ese tae en are supposed to be made of nothing else. | ~ We do not pretend — to enter into the niceties ee the Brick-maker’s business, every profession has its secrets, which are kept among those who follow it; neither is it our business to instruct the reader in 1 making of Bricks, but in using them in building. -Thus-much it was necessary to say, that. he might ridiet nds ‘the nature of these as well as that of the other materials wherewith he is to work; and this is the general account of them. The grey Stocks, he-sees, are made of.a purer earth, and better wrought, and they are used in front in building, being the strongest and handsomest of this kind: the place Bricks are made of the clay, with a mixture of dirt and other coarse materials, and are more carelessly put out of hand ; they are therefore weaker and more brittle, and are used out of sight, and where little stress. is laid upon them; the red Bricks of both kinds are made of .a particular earth well. wrought, and little injured ‘by mixtures; and they are used in fine work, in ornaments over windows, and in paving. ‘These are frequently cut or ground down to a perfect evenness, and set in »putty instead of mortar; and on 10. U 74 BRI many occasions they make a very beautiful . Disses: in this — manner: ag These are the three kinds: of Bricks cpmtiadie used by us in building, and their difference is owing to this variety in the materials. The piace — Bricks and grey Stocks are made in the neighbourhood of London, wherever there is a Brick-work; the two kinds of. red; Bricks depending — upon a particular kind of earth, can only be made where that is to be — had; they are furnished from several places within fifteen or twenty, j miles of London. We have already observed, that there were two .or three other kinds of Brick to be named, which are imported. from other coun- — tries; and there is also one of the red or cutting Brick sort that is of our own manufacture, and for its excellence deserves to be 1 particularly mentioned: this is the Hedgerly Brick; it is made at a — village of that name, of the famous earth called Hedgerly loam, well known to the glass-makers and chemists. The loam is of a yellowish colour, and very harsh to the touch, containing a great quantity of sand; its particular excellence is, that it will bear the greatest violence of fire without hurt; the chemists coat and lute their furnaces with this, and the ovens at glass-houses: are also repaired or lined with it, where it stands all the fury of their heat without damage. It is brought into London for this. purpose, under the name of Windsor loam, the village being near Windsor; and is sold at a large price. The Bricks made of this are of the finest red that can be imagined. They also call them fire Bricks, because of their enduring the fire; and they are used about furnaces and: ovens in the same. way as the earth. _ The foreign Bricks that are to be named are the Dutch and Flemish Bricks and: clinkers; these are all nearly of a kind, and are often. confounded together; they are very hard, and of a dirty brimstone colour; some of them not much unlike our grey Stocks, others yel- lower. The Dutch are. generally the best baked, and Flemish the yellowest. As to the clinkers, they are the most baked of all, and BRI 75 are generally daivha by the heat. They are used on particular occasions, the Dutch and Flemish for paving yards, and stables, and the like; to the clinkers, which come also from the same places, in ovens. | The a ae has thus far acquainted himself with the nature and qualities of the several kinds of Bricks, their different strength, eolours, and beauty, will easily enter into the distinctions that are made in the use of them. As to their nature, it is proportioned to their several degrees of goodness. ‘The fine red cutting Bricks: are twice, or more than twice, the price of the best grey Stocks; the red Stocks half as dear again as the grey; and the place Bricks, as they are a great deal worse, so they are much cheaper than any of the others. . : The grey Stocks, and place Bricks, are employed in the better and worse kinds of plain work; the red Stocks, as well as the grey, are used sometimes in this business, and sometimes for arches, and other more ornamental pieces: the fine red cutting Bricks are used for ruled and guaged work, and sometimes for paving ; but the red stones are more frequently employed when a red kind is required for this purpose. | The red cutting Brick, or fine red, is the finest of all Bricks. In some places they are not at all acquainted with this; in others they confound it with the red Stock, and use that for it; though, where the fine red Brick is to be had pure and perfectly made, the difference’ is five to three in the sale price between that and the red Stock. The red and grey Stock are frequently put in arches guaged, and one as well as the other set in putty instead of mortar: this is an expensive work, but it answers in beauty for the regularity of the disposition and fineness of the joints, and has a very pleasing effect. _ The fine red Brick is used in arches ruled and set’ in putty in the same manner; and, as it is much more beautiful, is somewhat more costly. This kind is also the most beautiful of all in cornices, ruled in the same manner, and set in putty. 76 : BRI The grey Stocks of an inferior kind are used in bricking walls. The place Bricks are used in paving dry, or laid in mortar, and théy are put down flat or edgewise. If they are laid flat, thirty-two of them pave a square yard; but if they are placed edgewise, it takes twice that number: in the front work of walls the place Bricks should never be admitted, even in the meanest building. ‘hat con- sideration therefore only takes place in the other kinds: and the fine cutting Bricks come so very dear this way, that few people will be brought to think of them; so that it hes in a great measure between the grey Stocks and red Stocks. Of these the grey are most used ; and this not only because they are cheaper ; but in most cases where judgment is preferred to fancy they will have the preference. We see many very beautiful pieces of workmanship in red Brick ; and to name one, the front of the Green-house in Kensington-gardens will be sure to attract every eye that has the least curiosity; but this should not tempt the judicious architect to admit them into the front walls of the buildings. In the first place, the colour itself is fiery and disagreeable to the eye; it is troublesome to look upon it; and, in summer, it has the appearance of heat that is very disagreeable ; for this reason it is most improper in the country, though the oftenest used there from the difficulty of getting grey. But a farther consider- ation is, that in the fronts of most buildings of any expence, there is more or less stone-work ; now it were to be wished, that there should be as much conformity as could be had between the general naked- ness of the wall and those several ornaments which project from it; the nearer they are of a colour, the better they always range toge- ther; and if we cast our eyes upon two houses, the one red and the other grey Brick, where there is a little stone-work, we shall not | be a moment in doubt which to prefer. ‘There is something harsh in ithe transition from the red Brick to stone, and it seems altogether un- natural; in the other, the grey Stocks come so near the colour of | stone, that the change is less violent, and they sort better together. For this reason, also, the grey Stocks are to be judged best coloured BR AL. AG when they have least of the yellow cast; for the nearer they come to the colour of stone, when they are to be used together with it, it is certainly the better. Where there is no stone-work, there generally is wood, and this being painted white, as is commonly the practice, has yet a greater effect with red Brick than the stone-work: the : transition is more sudden in this than the other; but, on the other hand, in the mixture of grey Bricks and white paint, the colour of the Brick being soft, there is no violent change. : | The grey Stocks are made at this time to a great excellence about London, as many new pieces of Brick-work shew to the credit of the undertakers. The Duke of Norfolk was so nice in this respect, that he had the Bricks brought from his estate in that county for the building the front of his house in St. James’s-square; but the event shews that his Grace might have been better supplied near at hand, as to colour, with equal hardness. } The greatest advantage that a grey Stock, which is the standard Brick, can have, is in its sound body and pale colour; the nearer it comes to stone the better ; so that the principal thing the Brick-maker ought to have in view, for the improvement of his profession, is the seeking for earth that will burn pale, and that will have a good body, and to see it has sufficient working. The judicious architect will always examine his Bricks in this light, and will be ready to pay a price where it is merited by the goodness of the commodity. The utility and common practice of building all our edifices of Brick, both in London and’ the country, arises from motives too ob- yious to need a definition, since it is generally considered to be much the cheapest, as well as the most eligible substance that can be in- vented for the purpose, both in point of beauty and duration, and jnferior to nothing but wrought stone. , The great principle in the practice of Brick-work lays in the pro- clivity, or certain motion of absolute gravity, caused by a quantity or multiplicity of substance being added or fixed in a resistible matter ; therefore naturally tends downwards, according to the weight and power impressed. From which observation the requisite inferences 10. Xx 78 B RI ‘may be drawn, and such remarks made, as may enable the journey- man to erect his works with such accuracy, that no bad consedus aa q may attend, and, moreover, avoid unnatural settlements. . 4 ‘And first, it may not be amiss to consider the motive of this above & mentioned proclivity, which is chiefly caused through the yielding mixture of the matter of which mortar is composed, and cannot well ~~ be reduced to any system of certainty; because the absolute weight of a Brick, or any other substance laid in mortar, will naturally de- : cline according to the substance or quality of it; in which case par- ticular care should be taken, that it is of a regular quality all the way through the building; and likewise that the same force should be used to one brick as another; I mean the stroke of the trowel: a thing or point in practice, of much more consequence than is gene- rally imagined ; for if a Brick be actuated upon by a blow, it will be a much greater pressure upon it than the absolute weight of twenty Bricks : before which can be properly laid, in form and arrangement, with the advantage of the weather in a favourable season, may. be so dried or consolidated, that no settlement can ensue from other defects than that of an oversight in the foundation. .The many bad effects ‘that arise from mortar not being of a proper quality, should make masters very cautious in the preparation of it, as well as the certain quantity of materials of which it is composed, that the whole structure may be of one substance. 3 There is one thing which often causes a peiainb in large deni: walls, especially when they are not properly set off on both sides; that is, the irregular method of laying Bricks too high on the front edge; that, and building the walls too high on one side, without continuing the other, often causes the above defects. Notwithstand- ing, of the two evils, this is the least; and Bricks should incline rather to the middle of the wall, that one half of the wall may bea shore to the other. But. this method, too much followed, will be more hurtful than beneficial, because the full width of the wall doth not take its absolute weight, and entirely removes the specific gravity from its first line of dircution: which in all walls should be perpen- BRI os dicular and united; whereas, if the above method is stretched to ex- cess, and the walls have a super-incumbent weight to bear adequate to their full strength, a disjunctive digression is made from the right line of direction; the conjunctive strength becomes divided; and instead of a whole or united support from the wall, its strength is separated in the middle, and takes two lateral bearings of gravity ; each insufficient for the purpose; therefore, like a man overloaded either upon his head or shoulders, naturally bends and.stoops to thé force impressed ; in which mutable state the above grievances usually Hida ai Another great defect we frequently see in the fronts of houses, in some of the principal ornaments of Brick-work, viz. arches over windows, &c. and which is too often caused by a want of experience in the’ rubbing of them; which is the most difficult part of the branch, and ought to be very well considered: the faults I mean, are the bulging or’ convex situation we often see arches in, after the houses are finished, and’ sometimes loose in the key or centre bond. The first of these defects, which appears to be caused by too much weight, is im reality no more than a fault in the practice of rubbing the Bricks too much off on the insides ; for it should be a standing maxim (if you expect them to appear straight under their proper weight) to make them the exact guage on the inside, that they bear upon the front edges ; by which means their geometrical bearings are united, and all tend to one centre of gravity. The latter observation, of camber arches not being skewed enough, is an egregious fault; because it takes greatly from the beauty of the arch, as well as its significancy. The proper method of skewing all camber arches should be one-third of their height. For instance; if -an- arch is nine inches high, it should skew three inches; one of twelve inches, four; one of fifteen inches, five; and so of all the numbers between those. Observe, in dividing the arch, that the quantity consists of an odd number; by so doing you will have proper bond; and the key-bond in the middle of the arches; in which state it must always be, both for strength and beauty. Likewise observe, 80: BRI that arches are all drawn from one centre ; the real point of camber, arches is got, from the above proportion. . First, divide. the height. of _ the arch in three parts ; one is the dimensions for the skewing; aline - drawn. from that through the point at the bottom to the perpendicular : of the middle arch, gives the centre; to which all the rest must be drawn. | : criti: ed? ee , There are many other difficult jobs in Brick-work; as. groins, niches, &c. all which shall be treated of in their proper order. | 4 Ov Brice Grorns, yee A groin is the intersecting or meeting of two.circles, &c. upon thear diagonal elevations drawn upon the different sides of a square, or any other figure, and whose principle of strength lies in the united force of elevation, divided by geometrical proportions, to one certain gra- vity, which is. the centre to which. all the bearings tend. The diffi- culty that attends the execution of a Brick Groin lies in the peculiar mode of appropriating proper bond at the intersecting of the two circles, as they gradually rise to the crown to an exact point ; in the meeting or intersecting of those angles will be, formed a kind of rib in the inside, which should be particularly straight and perpendicular to a diagonal line drawn upon the plan. There is no definition of a thing of this sort, either by lines or description, equal, to. what. will occur to the learner in the practice of them,, After the centres are set, let the bricklayer apply two or three Bricks to an angle ; by which means he will effectually see how to cut them, as well as the requisites of bond... ne at best ack aes cay a” weeraN There is nothing so certain as, practice for the solving any difficulty ; it is by this axiom that every .proof. 1s founded, and without it the most flagrant ideas of lines, and theoretical speculation, would be in many cases defective ; because a false notion, ora wrong conception, might lead the wisest man, into, an error. It is upon this. principle of - practice I propose to render my instructions familiar. BRI : 81. * But to return to the ‘Groins. © The workman must observe, that the manner of turning Groins, with respect’ to the sides, is the'same as other arches and centres, except in the angles, which must be traced for its properties, as I observed, by applying the: bricks} ‘and if. the arch is to be rubbed’ and gauged, you’must divide each arch ‘into an exact number of parts, and’extend the lines till they meet in’ the Groin ;' by ‘which means: you will’ easily find the curve’ for the angle, from: which*you must ‘make your templets; observe, in fixing the centres, that the carpenters: raise’ them something higher’ at: the crown, to allow for settling, which frequently happens, sometimes by’ the: pesute sug the “igen ial it from the onet of the crown. | i e Ch fil bee ~ Observe, in: building of vaults, that fai piers or teeniaita are of sufficient strength; all butments to vaults; whether groined, ‘or only arched, should be one-sixth part of the width of the span; and more-_ aver, if there is any great weight tobe sustained, bridgings of timber should be framed, to discharge the weight from the crown of the arch; after a'vault:or Groin is finished, it is highly necessary to pour on a mixture of terras, or lime and water, on the crown; and’ give it some little time to dry, before rN strike’ the: peice: in wees to cement ‘the whole! aeaphie : Le \ Of a Nicue in Brick-work. A Niche is the inner or concave quarter of a globe, and. usually made in walls on the exterior parts of a building, to place figures or statues in. The practice of this in Brick-work, is the most difficult part of the profession, on account of the yery thin size the Bricks are obliged to be reduced down at the inner. circle, as they cannot extend beyond the thickness of one Brick at the crown or top; it. being _ usual, as well as much the neatest method, to make all the courses standing. 11. he pieen's 99 fi WBRROH The most, familiar way to} reduce 'ithis. point) to, practice, is to dec qj , Fe: front, back, &c., and make a,templet of ,pasteboard, jafter,you have divided the arch for. the. number of Bricks.:.My-, reader must _ 5 observe, that one templet, for the: standing: courses, will, answer, for the — 4 a | front,, and, one. for the, side..of the | Brick; and, at|the,top of the straight. part, from ‘whence the; Niche takes its spring, you,must,re= member, to make, 2. circle of, the diameter of, eight .or:nine, inches,’ and cut thisout of pasteboard.also;: and.diyide it into the same’ numberof i parts,as, the; outward, circle; from which you; will get: the. widthof your) front-templet: at the bottom. The reason-of «this anner circles; to cut,.off the thin conjunction of points that, must: all-finish in! the Gi centre, and which in Bricks could never be worked to that nicety, ‘it, being impossible to, cut Bricks) with, any accuracy nearer than half” an inch thick, within »the; inner, circle:the' Bricks ‘must: beslying: It will be. necessary to have one templet made:convex;oto try:ithe - 4 faces of, bricks, to, as well-as;setting of. them; when they are gauged, ~ The stone you, rub. the faces, of the Bricks. upon must be cut atone — end..in. the.exact. form of, the Niche, ‘or it) will be impossible to face them. proper..,'The level of, the flat sides. of the. Bricks)isi got by dividing the back,.into the number of partsywith the: front, and all struck to the centre; from the circle of the front of one: Brick: set your level, which will answer for the sides of the whole: observe, that the Bricks hold their full guage at the back, or, when you come to set them, you will have much trouble, Jobs of this kind are, and should, when they happen, ‘bear a price canta to their value. oe The following ’ is what materially concerns the bricklayer, i in ‘an ‘act of the 14th of Geo: IIT.,’ for the regulation of Brick-buildings and party-walls, in the cities of London: and Westminster, the weekly bills of mortality, the parishes ‘of St. Mary-le-bone, Paddington, Pancras, ‘and’ St! Luke, at Chelsea. ~ Tt will’ be lecessaiy to” ‘observe | a few things which +e bee ‘the bricklayer; ‘before we immediately enter into ‘ue description of the manner he is to execute his work. - BRE | 83 First, ‘That there are only the first; second, third, and fourth, rates | of building, whose thickness of ofi the houses below: the level of ‘the' floor ‘of the other ;):in thatocase the walk must. have.its de- clared’ depth,’ below’ the’ floor of the: lowest | building, :and so: under the ground-floor; and also>above the’ garret-floor, which is.-to- be carried up to its proper thickness, as Bhs as the under-side.of, the floor of the highest building. Stone coro ‘must’ be-inserted where theiwall will not allow: of a sufficient bearing, because the: act: expressly::says,- there.shall..be 82 _ inches of solid Brick“work’ between the ends :and:sides.of all, timbers which lay opposite to,’ or ona level: with, other timbers of the ad- joining building. Party-walls, or additions ern must be carried upeighteen inches above the roof, measuring at rightangles. with the back of. the rafter, and twelve inches above the gutter of the highest» building, .which 88 | re ee gables against it ; but where the height of a party-wall, 80 carried | up, exceeds the ‘height of the blocking-course. or parapet, it maybe — 4 made less than one foot above the gutter, for the distance of two feet. n six inches from the front of the blocking course or parapetsijosduan e7il 4 And where dormers or other erections are fixed in any flat.or roof,, & within four feet of any party-wall, such party-wall is to be carried up * against such dormer, and.must extend at least two feet wider,. and to. - the full height of every such dormer or erection. _o} ayo aa There is no recess to be hereafter made in any party-wall of the first, second, third, and fourth rate, except for chimney flues, girders, RC), and for the ends of walls or piers, so as to reduce such wall, in any part of it, to a less thickness than. is required by the act, for. the highest rate of building to which such wall belongs. | aves No opening to be hereafter made in any party-wall, except for “communication from one stack of warehouses to another, and from. one stable building to another, all which communications must have — L wrought-iron doors; and the pannels thereof not to be less, than one quarter. of an inch thick, and to be fixed in stone door-cases and sills. But there may be openings for. passages “or ways on the ground, for. foot-passengers, cattle or carriages, and must be arched over through- out with Brick or stone, or Brick and stone together, of the thickness of a Brick and half at the least, to the first.and second rate, and one — 4 Brick to the third and fourth rate. And if there is any cellar or va- cuity under such passage, it is to be arched over throughout in the same manner as the passage over ition : No party-wall, or party-arch, or shaft of any chimney, new or old, is to be cut into, other than for the purposes as follow: | | Where the fronts of buildings are in a line with each other, a break . may be cut, both in fore and in back front of such buildings, (as may be already erected,) for the purpose. of inserting the end of such other external wall which is to adjoin thereto; which break must not be more than nine inches deep, from the outward faces of such exter- nal walls, and not to be cut beyond the centre of the party-wall _ thereto belonging. , BRI ae 89 _ And further, for the use of inserting bressummers and. story-posts| sei are to be fixed on the ground-floor,, either in, the front or:-back wall, which recess may be cut from the foundation of. such new wall, to. the top of such bressummer, four teen inches deep from the outward fate of such wall, and: four inches wae in. the dellar-storysih and two inches wide on ‘the: ground-story. » orahid's din tinge tea And further, for the purpose: off balling athe wigpiths or! ksibe landing, or for/bearers to wood: stairs, or. for! laying in stone corbels — - for the support. of chimney-jambs, girders,) beams, purloins, binding or trimmings, joists, or other principal timbers. oc _ And further, perpendicular ‘recesses may be cut in/any party-wall, whose thickness is not less than thirteen inches, for the purpose of inserting walls. and piers therein, but must not be made. wider than fifteen ‘inches; .or:more than four inches: deep, and no biol recess. to be nearer than ten-feet!to.any other recessi) (ye, oh) And all and.every such cuttings and: recesses. must. be awit made good, and effectually pinned up, with brick oe i tile, siakes or eh aid bedded: in mortar, | But no party-wall)is to be cut: for any: we tle sah nace if the same will injure, displace, | or endanger the: timbers; chimneys; flues, or internal finishings of the adjoining buildings. And further also, the act allows. the footing to be cut off on the side of any party-wall, where an ‘independent side-wall is intended to be built against such party-wall. . When buildings (except the inns of. a atie that .are erected over - " gateways, | or sagtie® passages, or have ‘different rooms and floors, ‘the property of different owners, come ‘to. be rebuilt, they must have a party-wall, with a party-arch or arches, of the thickness of a Brick and a half at the least, to the first and second rate, and of one Brick to the third and fourth rate, betweén building and building, or be- tween the different rooms and floors that z are the property of different owners. Allinns of dourt, ‘set apart for the study or practice of the law, are excepted from the regulation as above, and are only necessitated to 12. A@ a ee , BR I have batty _walls, where any ‘room or chamber communicates to each _ sep same regulations as respect other party-walls. ‘roof, must have its party-walls built according to the first rine not+ | ‘No Chimney whatever to be erected on.timber, except on the piling, arate and distinct stair-case, and which are also. oe to. ‘the Where a building of a lower rate is situated adjoining toa building q of a higher rate, ' ‘and any addition is intended to be made thereto, the L party-wall must be built in such manner as is required oy the rate of 4 such higher rate of building SO! adjoining. 987 4 diab bint When any party-wall i is raised, it is to be. made’ of eid same thick! | ness as the wall is of in: the story next ‘below the roof of the’ highest a building adjoining ; but is notallowed to be’ raised at all, ede ee can be done with Rae Sch to » such wall, and the; vinci tar a epee ‘SH TOP SONU MAST HATS gear ee must nae its Se built Gettin to’ the third rate, | abithe | monet such dwelling-house may be of “the fourth rate. | And every dwelling-house hereafter to be built, which exceeds four — stories in height, from the foundation, exclusive of the rooms in the withstanding such house eich not be vy the first rate. | CHIMNEYS, gt i planking, , &c. of the foundations of the building. | Chimneys may be built back to back, in party-walls; and, heres SO’ built, must not be Jess in thickness from the centre of such party- wall than as follows. | First rate, or adjoining thereto, to be one Brick thick in the cellar story, and halfa Brick in any of the upper stories. Second, third, and fourth rate, or adjoining thereto, to be three- fourths of a Brick thick in the cellar story . and half a Bagh in any of the upper stories. | Se ee i : Biagio - i “OL » Where Chimneys in party-walls do not stand back to back, they’ “may be built in any of the four rates as follow. From the external face of the party-wall to the. en fice af the back of the Chimney in the cellar-story, one Brick and a half thick from the hearth, to twelve inches above the mantle. Backs of Chimneys not in party-walls, to the first rate must not be . Me less than a Brick anda half thick in the cellar-story, and one Brick thick in every other story, and to be from the neaath to twelve inches 3 pyre the mantle. “N.B: Tf such Chimney 3 is built lee any aren wall, the back Es herebe may be half a Br ick thinner than as above described. - Backs’ of Chimneys not in party-walls of the second, third, and fourth rate,'‘must be in every story at least one Brick thick from the | Deny th, to twelve inches above the mantle. oN. B: ‘These backs may be also half a Brick sesaieie provided such | Chimney is built against any other wall.. All breasts of Chimneys, whether. in party-walls or mnt ‘must not be less thai one Brick thick in the SsllS top LOIN and half a Brick thick in every other story. | Ail widths between flues are not to be toe than half a Brick ney Flues may be built opposite to each other in party-walls, but not to approach to the centre of such wall nearer than two inches. All Chimney-breasts next the rooms, and Chimney-backs also, and all flues, are to be rendered or pargetted. The backs of Chimneys and flues in party-walls, against vacant ground, are to be lime-whited, or marked in some durable manner, but to be rendered or pargetted as soon as any other coh ape is erected to such wall... | No timber whatever is to be over the opening of a Chimney for Se ianting the breast thereof, but must have.a Brick, or stone arch, or iron bar or bars. All Chimneys are to have slabs; or ptiplices of stone, marble, tile, or iron, at least eighteen inches broad, and at least one foot 92 i) BE RG I Jonger than the opening of the Chimney when finished; and which slabs or foot-places must be laid on Brick or stone trimmers, at least ‘eigliteen’ inches broad from the face of the Chimney-breast, except a 4vhere there is no room or vacuity beneath, and then they ‘may, ,be q bedded on the grouwdyisd? gvods pada a No Brick-funnel is to bé made on the outside of any buildingofthe - first, second, third, or fourth rate, next to any street, square, court, road, or way, SO as to extend beyond the. general line, of the; build-— 7 _ ings therein. : , olineremass aaeeaaeel No funnel of ‘tin, copper, «iron, or other pipe for conveying smoke or steam, is’ hereafter to: be:fixed next any pu blic street, square, court, or way; to the first, second, third, or fourth: rate; nor np suchjpipe is to be fixed on’ the insidevof any building nearer than fourteen inches’ 1 to any timber or other combustible material: whateveré.) 6) djing) [A> complete. Abstract of. the’ Building Act, as well as; the: Prices | allowed to Bricklayers, Carpenters, Masons; : kau §e.;, wu .. be given “a at the End.of the Work.) ist ai, aaddoder., dh Ace bbe 4 BripGE, an edifice either of stone or timber, consisting of one or _more arches erected over a, river, ‘or the like, for the cotivenience of passing over. ah wiitien ume BEeOUG iG vnay cool We enter now upon a part of the architect’s province detached from all the others, but as essential to him asany. “There 1s'the more need that we treat this clearly, because the ideas comnionly entertained of it are very confused; and we must do it fully, for little has been said by others proportioned to the importance of the subject.» DOO ; idl ‘hae P The origin of Bridges may be traced back almost’ to the origin of mankind; the first disgust would then separate families, and rivers were the natural bounds of the partition ; those feuds would end with those who first separated from their influence, and an intercourse would naturally be established among their descendants. ‘The deeper. 7 the river, the better it served the purpose of separating; and. its | . depth, as soon as an intercourse were established, demanded a Bridge: B R I : 93 this is one natural and plain original; founded on that inconstancy of our nature, which we should at once despise and lament: but, besides this, there would arise among the first families a variety of others; curiosity, a desire of enlarging their possessions, the chase, the imagination of products in countries separated by the largest rivers; all shina would lead men early over them. Fording sa Swimming are inconvenient, troublesome, and beneath the dignity of reason; they are the means of beasts; but our faculties were given us to _ nobler purposes than that we should follow such examples. Menno sooner saw rivers, than they desired to cross them; and they no sooner found advantage on the other side, than they desired to do it often, easily, and with security. This gave the origin to Bridges, among people who were worthy the name of civilized. Egypt may yet see her rude sons dragged across rivers on a bundle of. straw drawn by a cow; so Norden, faithful and accurate in all things, has described them; but these are not examples of human nature, except in the one instance, in its slowness to exert its qualities. The more enlightened among them, many thousand years before, had. Bridges; and we will see in all countries the remains of them, various and stupendous. Janus is honoured as the inventor of them, among the earliest people of whom we have accounts in profane history, and it is recorded on medals to his honour: we have many such truly antique, and, with the designs of Bridges, sufficiently singular on the reverse; but the many ages that had passed before the period of their earliest history, convince us this was fable. The floating Bridge has been admired in all ages, and we have various instances of its use. It is a temporary contrivance, but the invention great. We admire the Romans’ Bridge of boats across the Rhine; but it is with astonishment we read of that which Xerxes constructed of ships over the Hellespont. The earliest Romans speak of the Pontes utribus surperstrati; and we know the use of pontoons _ in the modern art of human destr uction. These stand as objects of curiosity or wonder, and have their use on singular occasions; but 12. Bb 9A BR if gil i itis not of these we are to treat. As we meet with the accounts and — ‘ the representations of these in figures and coins among the learning’ and antiquities of celebrated nations; barbarity, as Greece affected to call the state of other countries, and as Rome thought it, is not with- out its remains of the same kind; wild indeed, and romantic, but equally astonishing. Chains have been drawn across rivers from tree to tree, and wicker cradles. extended to amazing lengths. Not only rivers have been thus made passable, but horrible precipices at land connected by this bold wild thought: the traveller has crossed from brow to brow of perpendicular mountains, and trembled as he felt the Bridge dance under him, and saw the depth below. Li ne These, in their way equal, nay, in the boldness of invention, excel, those vast works, which, in the way of Bridges upon land, formed the aqueducts of ancient Rome; nor is there any thing in the in- vention of man more inexplicable than the manner in which they have been drawn across. We:see, with wonder, the spider dancing in an autumn morning upon a thread drawn from tree to tree at — several feet distance; the manner in which this wonder is performed we have watched, and it has been’ called, not amiss, the ‘spiders flying, but human bodies’ are too heavy; and’ it is not to be con- ceived by what strange art the effects we see have ‘been produced; only there remain the proofs that, there has been such art, for the thing is done. i | hive a | Of fixed Bridges ——We have treated of a kind of Bridges that may properly enough be called moveable; they are temporary expedients, — and they answer their purpose, but they could only have an occa- | sional notice here, because they do not come within the’ province ‘of the architect. ‘A great deal is'expected of him under this head, in’ his own proper way, andhe will do well to consider what has been done, and thence to advance to what may be. He will know thus what to adopt and where to improve. He will find an essential difference between those made for shew more than service, thrown over canals and rivulets in gardens, and never to be pressed with more than the vr oa BRI | : 95 ~ human weight; and those rivers fitted for serviceable purposes, and made to bear the weight of carriages. » | He will, for the first kinds, see light work sufficient, but then it must be put together upon. the principles of art: for the other we shall give various instructions, nor must he omit to consider that design by which Palladio has constructed a Bridge which grows firmer by pressure, either sideways or above, whether or not he has exactly given us that of Cesar. | These distinctions of strength are all that occur to the architect be- tween the Bridges in gardens and those over rivers for useful pas- sage; the first is a walk continued over. the water, and the latter a road continued over a river. Thus they are to be considered, and they are to be made elegant in both kinds, though with the different regards of strength. They must be made convenient, durable, and handsome; this is the language of Architecture. In gardens, there will be often beauty in raising them by a consi- derable sweep above the level of the- surface; but this, in those Bridges of constant and laborious passage, must be considered as an article of disadvantage. In regard to the breadth of the river, the level of the sides, the passage of boats underneath, and other cir- cumstances, it will often be necessary to give a considerable height; but let the architect consider this as.an. inconvenience, though a necessary one; and to remedy. what he cannot avoid, he must take care to make the ascent.and descent easy, by. taking a sufficient scope. In gardens, the place for a Bridge is at the opening of some princi- pal walk; and this should be also contrived in such a manner, that while it answers the purpose of communication there; 1t may be a proper and handsome object from other parts of the garden. In Bridges of public service, the place for them is to be such as will admit a commodious and easy passage fromvall other parts. : A middle situation is preferable, for at any extreme the farthest. parts whence it is to be crossed will have the inconvenience of too long a journey. The general place being. thus: settled, there remains to consider the 96 BR SL best immediate spot. This will depend upon three circumstances, the breadth and depth of. the water, and the firmness of the bottom; the expence depends on one, the duration on the other. Where the water is narrowest and shallowest, the Bridge will be cheapest; but if the bottom be unsound, the whole fabric will fall; it is better to be at twice the charge where the structure will last ten times as long. Rock or hard gravel are the best bottoms on which to build in rivers; _ sand is too moveable, and mud can afford no security. ‘The more level the bottom, the greater will be the convenience of building; and, on the same principle, the good architect will choose a part of the river where it runs for a considerable course straight on; this avoids the dangers of those removals of the bottom, which will often happen in every kind except rock, where there are turnings and windings in the course, which give the current force in time of floods to tear up ~~ almost any thing. A great deal of strength and security may be given to the whole fabric by its proper fixture to the land on each side; but this can only be had where the land itself is permanent, for in cases of many turnings and windings, the shores are washed away or undermined, _ and the reliance on this security deceives the builder. Violent turn- ings in the course of the stream also make lodgments of matter at some distance; and this may be of very bad consequence. ‘The matter which is torn up in one place is naturally let fall in another at some distance, the most likely place for this subsidence is where there is some opposition or obstruction ; and therefore a Bridge may greatly suffer by it. . If, instead of the part we direct, where the river runs straight for some considerable space, the architect should fix upon a place at a small distance below some turning, the consequence upon the pre- ceding principles would be just this: the first flood would tear up some of the bottom just where the turning lies; and the Bridge a little below obstructing the course of the water, the matter would subside there. Thus there would be a choaking up of the stream : Cc pi 5 ule! Pane) Ee ie ee 2 ‘ se) Saale a ia) tia ” ies iy heer ae oo “ Ny ‘i Mp ‘a S - rs oe ih 7 - a Pe ~~ ee ae 5 a Se RET ‘Vy _—~ e BRI 97 about the Bridge, begun; and it is easy to see how difficult this would be. to remove, and how. the damage would increase. \'The lodgement first made from above would-receive and detain, from every flood, the foulness from a great way up the river: thus,’ by- degrees, _ the current would be choaked where it ought to be most free; the pas~ sage of boats and barges would be obstructed, and there would fol- low a yet more dangerous consequence, that. of the river changing its course; for. being obstructed in. the. natural bed, it would at floods force itself .a passage on one or both sides ; thus carrying away the land from the foot of the Bridge on each side} and altering its original purpose; taking away certainly a part of its natural strength, and perhaps rendering it wholly useless... The’ choaking the passage’ for boats. is not the only ill consequence of this lodgement, it tends to the destruction. of the Bridge; for,.. besides: the natural consequence of weakening it at each end, by loosing. or,.washing away entirely’ its supporting banks, the weight will also in time overset the whole fabric, natal woot noesty siay SST : Buildings in cities must be constructed upon the same principles in all respects.. The most central spot, that is not liable to: the incon= veniences we have recounted, is best, -as it will serve equally all the inhabitants ; and if, in such a central place, the river be-not broader nor deeper much than elsewhere, and if it have a straight'course and level bottom, this is against all other choice the place for a Bridge. . The place determined, the next choice is in the materials, and there are only two, wood and stone. The first is cheaper, but the latter most durable. | Of wooden Bridges.—The Bridges of that sort: we have named for gardens are naturally of wood; they are cheaper, lighter, and make a greater shew for little labour; butin the great and serviceable kind, this material is far from being excluded, There are methods of building with wood that almost vie with stonefor its great quality, duration. The first point is, that the timber-be sound and well sea. soned; the next, that it be in sufficient large pieces. The timber 1. Ce an B“R 1 must be substantial and well joined, or all will presently be in ruin. It is not only the pressure above that must be guarded against in these, but the power of the water in an increased quantity and forced rapidity. Fifty wooden Bridges are destroyed by floods, for one that falls beneath the weight above. The broader the river, the larger will be the Bridge; and in proportion to this, the timber must be more massy ; and the rapidity of the river, not only in its common course, but as increased by floods, must be computed for the fixing. The Bridge of Czesar, across the Rhine, contains many excellent lessons for the strength of those, in whatever form, that are constructed of timber. The first pieces were eighteen inches thick, and fixed in the river, not upright, but leaning according to the course of the stream. These were double; joined together at two feet distance, and at forty feet distant in the lower part of the river, he fixed against each pair of these two others bearing against the stream. Between these double piles, which were well rammed into the bed of the river, there were placed long summers, two feet thick, held fast at each end by two braces. These pressing contrary to one another, gave that strength we named before, increased by weight above, or force sideways. ‘These summers were joined with others laid across, and all was then covered with hurdles. Piles were placed as but- tresses against the force of the water, and others above to stop the force of trees or timber, which chance might throw into the stream, or an enemy purposely float down to destroy the work. Over this Bridge illustrious Cesar passed with his army, to shew the Roman prowess to the Germans. RA! Of Bridges of one archx—There are many reasons for building a Bridge of a single arch, and where the extent of the river 1s any thing considerable, no piece of wood-work will require more skill in the fabricator, nor will any do him more honour. He will, “inno in- stance, find timbers necessary to be joined toa greater length than in the forming a Bridge without middle piers over a river of any extent; but the arched form assists, and it may be done with more security 3 : , f - cs ¢ * &. . pike ge a cae eae: these remain in a condition that does great honour to their builders, — ‘and will, in the eye of reason, plead far beyond words in _pre- ference to those of stone. These the judicious architect should quote to those who think of nothing but the price of str uctures ; and we have told him also how to paid for ages. B R ai | 109 | i the C Construction of pee ecghiel: alan | The ornaments of which stone. si Biadase & are eagbhle are very’ nggeent but, to be properly employed, the architect must take them into con- sideration in the very beginning, and form his whole design accord- ingly. ‘This may be varied in the number and form of. the Arches ; and the superstructure may be carried to any degree of elegance. We have shewn how a: Bridge of timber may carry Senin supporting a roof, even where the whole fabric is far from massy. In more solid structures of that kind, and much more in those of stone, the genius of the architect is left unlimited; and houses and public places of re- sort may be contrived upon them. : : We shall consider first those of a similar Structure. The dimensions of the river are the first articles' in consulting such a design; and, according to these, the Bridge may be erected with different numbers of Arches. A hundred and eighty feet was a mea- sure we took before for a wooden Bridge, we will suppose a river of the same extent to be the place of a stone. The current, the ground, the banks, and every circumstance considered, we will suppose three Arches allowed to the Bridge. The central Arch must be larger than the others, but the proportion of that excess must be Dpeilece: If we allow sixty feet for the breadth of this, and forty-eight for that of the two others, there will be sufficient proportion; and the piers need- ful for supporting such a Bridge will leave free compass enough for the course of the river. These piers, if made of the solid and large materials we have directed for these purposes, need only have a fifth of the measure of the middle Arch for their thickness, that is, twelve feet; and this they must be allowed with the best workmanship. If the current be very sharp, the piers must project forward beyond the body of the Bridge, that they may stand uninjured, not only the ~ 14. Ff ~ ~ 110 BR force of the stream, but the accidental blows they may receive from hard bodies brought down upon the water. There is no security against these accidents equal to this of carrying on the pier beyond — the measure of the Bridge, except that of carrying on a lower building far beyond that. ‘This is oftener done than needful. This kind of Bridge, under such dimensions, of the length, number of the piers, — and disposition of the arches, would have been too steep of ascent with the semicircular form; therefore the smaller measure is every way preferable, and under this distribution of parts, it will be very elegant. No more is required for the construction of this Bridge, and the architect is at liberty to adopt what degree of ornament’ he pleases. ‘There must be a defence breast-high, or more; and this may be either a plain parapet, or balustrade work; and over the piers may be lodges of convenience for many purposes; but this must Pd So el cr a Es ak ’ &, f a og aq ; = a ’ a € be determined, not by fancy, but by the rest of thestructure. Ifthe — under part. be plain, the parapet should be the same: if the rest of the Bridge be more ornamented, this By take also cies same turn of decoration. | 4 A Bridge of this construction takes the less ornament, as the num- ber of parts are fewer. Thus over each pier there may be a niche, in which to place a figure; and there may run a cornice the whole length on each side. This will be a very great article of elegance, and is supported by the antique. We have mentioned the ais of the transverse pieces, in some wooden Bridges, being brought out for purposes of strength and service, and have observed a great ad- vantage they would have this way in resembling the modillions of a cornice; but in those of stone, the cornice itself may be used with great propriety and beauty. We see it in the Arminian Bridge, and that was a work of the Augustan age, nay, of Augustus himself. It may not be amiss to trace in this Bridge, which is one of the most elegant remains of Roman work in its kind, their idea of proportions, - which the architect must take care not to follow, unless where the circumstances are alike. 7 This Bridge has five arches, and the three middle ones are equal : BR 111 the extent of each of these is twenty-five feet. The two others cor- respond from the opposite sides, and their measure is happily dimi- nished by a fifth; they are twenty feet each. All the arches are per- fect semicircles; and their piers are in diameter half the height of the great arches, with asmall surplus. These proportions we learn from this delicate remain, but this is not all we may learn from it. Tn speaking before, in general terms of making the piers, we have directed that they, in general, face the stream with a right angle. Those who have seen sate in the most admired works eee ehebont to improve the form by making it an acute angle; but in this the edge is weaker, and the whole too slight. The. Romans knew what to attempt and where to stop; in raed elegant Bridge, as in many, nay, we might almost say all the others of pure taste, the pier meets the stream in a right angle. Where the course of a river is rapid, subject to be swelled by floods, and furious in these conditions, the best method i is to allow rather one large arch in the middle, than, as the elegant structure of which we just now spoke, three equal. The piers of these will break, disturb, and interrupt, the course of the . river, and the more the water is disturbed, the more impetuous it becomes in all these instances. But, in observing these instructions, let not the young architect run into excess: though there should be a considerable difference between the central and side arches in such a Bridge, yet this must not be in such extravagance as to render Ene side arches useless. | The decoration we proposed for a stone Bridge has had place in this; niches remain over the piers, in which the emperor who built the Bridge placed the statues of the heroes and the geniuses of the age; tines who defended and adorned their country: but there succeeded ages like to ours, ages which, producing no more such men, looked on the memorials of valour and of wisdom as reproaches; and left for barbarism to destroy. 112 ; BR Of Dividing the Watters, ‘Neoniee a The main body of the river must be allowed to keep its course in F the midst, and the great arch is designed to give it passage. But tet our student look into nature, and he will see that wherever there is this violent force in the body of a stream, there is aripling current also at the sides. This let him consider inthe construction of the 4 Bridge. As we propose the arches the course will be thus ; the main 4 body of the water, with its full force, will pour uninterrupted through - the great arch, and these two smaller currents of the sides will — also have their proportioned arches; they will be divided from the ~ ‘ main current by the piers, and this ‘without molestation or inter- ruption ; and, as they run free, the main body will receive no change +n its condition, This we propose, and this will be the case: in a well-constructed Bridge; and in this way even the furious body of the stream, being undisturbed, will run off evenly. But if this direction be carried to excess, and the side arches be made very small, the consequence will be worse than if there were none such. In that case the body of water would only be too much huddled together ; and in this it would be thus collected and dis- — tinct at the same time. These small arches would take their share, such.as.it was, while the river kept its common depth and big- ‘ ness; but as it rose and swelled, they would be incapable of re- ceiving or passing that due proportion: there would be all the conflict of disturbed and uninterrupted water at the piers; and the main body, increased by the addition of what should have — gone off in these side streams, will be thrown into new fury and confusion, just at that place where all the labour of the architect should have been joined with all his skill to give it quickness ; that is, under the main arch of the Bridge. part | From these considerations, let him learn the necessity of a just division of the space and proportion of the arches; and if he would a Bn wa. 4113 add example to the precept, let him examine from the practice of others in celebrated ages, and in the climes where his great sci- ee flourished, what suits the purpose. 1 parks | We shall carry him back to Italy. . is 40 Over the Bacchiglione, near the church of Bink Mary, is a Bridge of this kind: itis a mixed work, antique in part, but finished by. he hand more modern. The river is such as we have described; the Bridge of three arches, and of these one is pure ancient Roman, as are the piers of all. The river, full or low, rapid or calm, is carried with a happy freedom through these arches; and their proportion is this: the measure of the principal or central arch is thirty-two feet, that of the two others twenty-two and ahalf. The pigs are in thick- ness one sixth of the great arch. | Here the piers are strong enough not. only to sree ay all weights that may come over the Baars: but they also resist. the fury of tha waves in the greatest floods; and, while they stand the force of the torrent, do not too mueh interrupt its course: the whole bed of the river is divided, as nature dictates, into three parts, and the full quan- tity of the side currents being taken off, the will best answer to the artist’s:chissel; and which, from their shattery na- ture, are fittest to. be wrought plain. . This is a rational and great dis- tinction; the architect that goes to work without this consideration, — and without a knowledge of the nature of the several kinds, will in- volve his proprietor in expence to no purpose, and hurt his own re- putation. This is a distinction founded on the nature of the ma- terials, and «is therefore to be observed inviolably;, but, there is also another of almost equal importance, though much less regarded, which resuits from their plain or mixed colouring.‘ The anéients — were aware of the effects of this: upon the. eye, and they conducted cn fT , 151 themselves in general accordingly.: There are exceptions; for there were unavoidable necessities’ in some cases, and there: were ‘among them some workmen of «less judgment; but, in general, the rule by which they guided themselves was this; when they intended a great deal of ornament, they employed a plain marble; and where they proposed less: workmanship, they allowed the most variegated kinds. The reason of this is evident, and it is surprising that all ages have not attended to it: the beauty.of sculpture depends upon light and shade, and therefore every thing which disturbs the light in this re~ spect, defeats the purpose of the artist... Any thing creates this dis- turbance that occasions a different reflection of the rays of: light ; and we know that the: rays differ from every colour. ‘The shades © give the eye all the idea it has of this great’ ornament; and these are diversified when the light is reflected from an object in different colours. by og hay Wetinatie olds ute bine Therefore, for all sculpture and ornament, the best material is that which is of one simple colour: This is an invariable rule, founded upon unalterable principlesin the nature of things: and this the young architect is to make the first guide of ‘his conduct. This will throw him upon a determination very different from that ‘we have named, as the common ‘opinion of common judges; instead of bestowing the richest-coloured marbles upon those Chimney-pieces where he intends the greatest expence of ornament, he will reserve these painted kinds for such as he intends should be wrought with less assistance of the chissel; and he will adopt for these high-sculptured pieces always a plain marble of one uninterrupted colour. Of a Doric Coimney-Pircn. .. Upon the plan already laid down, let ‘us now advance to a Chim- ney in which there is the use of an order. We begin with that which stands lowest in rank among those proper to be used for this purpose, the Doric; and there is noné that answers the intent more happily for a ‘ Se - r ‘ Sh) oy \ X. 1 * : ’ \ \ ‘ > ; ; 152 cus general occasions. If ever the Tuscan order should be thought of, — the common room of a Dutch ordinary would be the only place for it, and then wrought in wood, it might stand: an emblem of the taste of the country ; but the very next step to this raises us to great elegance and dignity. As the Doric is an order very well becoming a Chim- ney; it will naturally be most used. No richer order: need ever be — thought of for a parlour; and there are very few dining or drawing- rooms in which it would not be proper. We will propose suse Rhian’ ney in its plain use, without addition or continuation, that the:student may not be embarrassed with any additional articles in the considera= tion; and we will suppose it in a parlour papered in the: present fa~ shionable manner, where nothing is:added to it, and where, from the plainness of the rest, and the great difference in colour, itstands very — conspicuous; the first object that strikes the eye’ on entrance, sna the 3 only one that can fix the attention. | In this case, as it will be considered strictly, let the ar visits take care it be liable to no objection; and, as there will be some expence in the use of the order, at any rate let him take care the aspect answer the charge. In the first place, Jet him consider the outline of the whole, and let him see that the entire work be not too high. The Doric is not a lofty order, and very little is intended to be added here above its cornice; inthis instance, therefore, the general’ design must be that of a grand and solid Chimney-piece; whose ‘proportion and . regularity are to be-its‘sources of grace and ornament. The column is no way so happily proportioned for a near view as by the method of Palladio’s measures; and there is no use of an order in which it is brought so perfectly before the eye entire as this way. This understood, lest the architect design the outline of his whole Chimney-piece; and, raising the column upon a plinth, construct its several parts, architrave, frieze, and cornice, with the due proportion to its height and diameter, carrying up above it a-plain piece of the pedestal from over the columns, by way of finishing to them, and continued at the same height all the way between. This is the gene- ral idea; we shall descend now to particulars. hi Polen Pe iii. m=) a= fs Sa en en aE ae CH od. 133 To-execute the Chimney-Piece. here ica paid in its full elegance, — the columns must be two on each side; we are sensible this must be an addition, and a very considerable one, to the expence, but the advantage will very well repay it.The first things that. occur to the imagination of the architect in this place, are the distance of the idtans and their projection ; these we shall immediately settle. The distance must be such, that a trigliph come regularly over the axis of each column, and a metope of, due, measure and proportion be left between. In. this manner of coupling the Do- ric columns, there is all the grace of which that order is capable, and the full beauty of its frieze is displayed in-the most. agreeable manner. As to their projection, let the, young architect bp nentenip that columns have never their full beauty but when they are perfectly free. These, therefore, should be brought forward. in, such manner as not only to shew their. whole contour, but: there should be a free space behind, corresponding to that between them; and they will there be seen in their full perfection. Weare not for tying down the architect to lines and inches, that not.being needful ; but advise him to keep a moderate proportion. In directing the Doric order to be constructed in this distance, upon the rules of Palladio, we order the attic base to be placed under it. This is our reason for raising the column above the level of the slab, for the mouldings of the ‘attic base would otherwise be in danger of injury from accidents... The columns on each side should therefore be placed upon a common or continued plinth, brought forward accord- ing to the projection we have allowed in the plan. From the base on this plinth let the column be raised in all its plainness and propor- tion; let there be no. flutings or other. ornament. on the shaft, ) but let its diminution be.properly cbeecped: and it will inno instance be seen more conspicuously. The capital is to be after the Palladian measure; so in this there is no choice; but the neck of the column may, at the discretion.of the architect, be left plain or decorated with roses. The 20. Rr ; 154 CW expence of this ornament is below considenationi but its effect is more than can easily be conceived. | Besides the working the several proper mouldings with truth, which | in this order is the tibhe source of elegance and. grace, there remains the consideration of ste frieze, in which our student is aware he may, 3 at his pleasure, use more or less ornament. | ef The Doric, without its trigliphs, wants its most essential char acter, and seems but an elevated Tuscan. These, therefore, we would en= join our student never to retrench: but.there remain the metopes or # square spaces between them, in which he is more at liberty. None — would call it an omission if he left them plain; but they area very — agreeable seat of ornament; and something may be added in this re- spect at a very small expence. The ancients, who used this order first — for temples, chose for their decoration the instruments and objects of — sacrifice; but this is by no means the business for a Chimney. It will — be best to decorate them entirely with the works of fancy; or with. al- ternate flowers and fanciful figures. In this respect, let the architect observe the proportion of ornament, betwee the neck and the shaft, which is the only part on which we have allowed it, and the metope, which is the sole part in the entablature, in which any thing can be placed to correspond with it. If the metopes are dovdiitad with figures, never let the neck be plain; but let it certainly have roses, correspondent to those embellishments. The rule is not so absolute on the other side, but that it may admit of licence in favour of the smaller part. ‘The strict doctrine is, that if the metopes be left plain, the neck be also plain. This is founded upon the laws of the’ science, — but in the present instance, we shall observe they are not inviolable; and advise the young designer, if there be any decoration in the rest of the Chimney-Piece, which is the point next to come under consi-_ deration, that he allows roses to the neck, though the metopes be plain. ae C ho ie aep of the Ornaments a vie rest of the / CuiieyPinen, __ The student will easily conceive, that the coupled columns do not compose the whole Chimney-Piece; they. would appear raw and naked if they, came with their edges.to the aperture of the fire-place. They must have a back, and that must be continued to some breadth within the expanse; and it, will.receive very properly some decoration. This part might: be carried plain to the edge, but it would by no means agree with the bases of the columns, or mouldings of the en- tablature: All here should be of a piece, and the least that can be added isa bead by way of margin. This will be only fit when the order is executed in. the plainest manner; and even then it will be much, better to allow something more... A raised ornament of mould- ings is the least that should be ad tia of; and at — there ney be thrown behind these: an edge of sculpture. The quantity or form of this is altogether the work of ‘wishes This ornament being added to the verge of the aperture, the frieze form- ing ettined line; frour one pair of columns to the other, will be too tame and uniform for the rest. « Its lengthy will indeed be over proportioned in every sense, and it remains to consider, in what man- ner to break in upon it. The plainest, best, and easiest manner,’ is by inserting a tablet over the centre of the aperture, to intercept or cover so much of the frieze. This isa kind of addition, very natural and very proper in a Chimney-Piece;: and it will receive any ornament the architect shall find correspondent to the rest of the work. The plain- est and most natural is an urn to fill the centre; and from the handles of this may be dropped on each side‘a festoon, which dropping towards the middle, may be raised again, so as to reach the upper corner on each side of the tablet. This done, the Chimney-Piece may very properly be styled com- plete. But still there is a part, in which, if the architect pleases, he may indulge his fancy with some ornament. This is the plain-piece, carried up aioe the cornice, to correspond with the finishings of the columns. It is but little that should be done here; and it, is much i ae Py +4 & ‘ 4 ‘ Pr ‘ on \ 156 cHit easier and more natural therefore to err on the side of excess than of defect. Scrolls may be added to the projecting parts, at the ends which finish the top, over the columns; and over the tablet in the centre may be raised asmall pediment. Thus much may be allowed within ~ the bounds of the most sober rule and method: more may be added, | but it will be wrong, for the intent is, that the body of the Chimney- Piece should attract the eye, not this additional part. i The pediment should be open, ‘because it will then receive a figure; _ and custom prescribes the adding that part of decorative furniture. — The depth of the cornice, and the flat top of the additional part, will serve as shelves for fanciful embellishments ;\ and of whatever kind they are, there should be three principal ones, one on the lower part in the pediment: the two.others are the extremes'of the upper, directly over the columns: these may be vases. This is always right in the eye of reason, because it gives the columns an appearance of ‘use. In Architecture, every hihi should at least wear the aspect of being intended for utility ; | for “this reconciles the whole’ to reason. We know the columns in front of an edifice, are usually meant only for ornament, yet Uicy never giveso much satisfaction, as when they are terminated by an attic pilaster, and that. supports a statue. ‘The case is the same here; the vase we propose as the principal figure at each — corner will stand in the place of such an image. The projecting part of the top-piece serves as the attic viladteE: in other instances ; and there is that sort of delusion we expect in these instances, the columns seem placed there for some useful purpose. Having thus considered at large the construction of this Chimney-Piece, we shall enter upon the subject of the most sia ark materials. Of the kinds of Marble most fit for this Cuxmxny. Custom allows the architect great liberty in this respect, and it is often abused; we see Chimney-Pieces very well designed, and even well executed ; where the choice of the materials disBhatdes the con- IC Ta OT . 157 struction, and bruises the ornament. Against these errors we are to caution our student; and if he recollects the principles we have already -established, respecting the use of: plain and coloured marbles, he will not be at a loss for the foundation of all we have to add respecting his conduct in the present instance. Inthe first place, he has his choice of three manners in which to execute the work in point of materials. It may be entirely of one kind of marble, or it may take i in | two ae or it may even receive the addition ofa third. The plain manner is, to make the whole of one kind; sit in Mii second instance, the body of the Chimney-Piece being of one kind, the columns are to be of another; and, in the third; the columns be- ing of one kind, and the body of the work of another; the tablet, which is.a very conspicuous part, may be of a third. This may be carried yet farther, for the tablet being of a distinct kind, the sculp- tured ornaments may be of one different even from that, and the plain part will serve as a ground and foil to them.’ The. plainest. way of all would be to execute this Chimney entirely with white marble, and this will be extremely pleasing. But let the architect, who su- perintends.such a work, see that the true, pure, statuary marble be employed: for though the plain white-is-very proper, nothing could’ be so improper as the veined white, or common marble. The reason why the plain white would be proper, is, because it would clearly and beautifully shew all the work in the scrolls, about the festoons in the tablet, and the decoration of the frieze of the order.. This it would do, because, being of one entire uniform colour, it would always receive and reflect the light with truth; but in the common marble, which the vulgar suppose like this, and fit for the same purposes, the veins would appear as so many shadows, and babes pee ie and confound the whole work. The body of the Chimney-Piece i in white, and the columns in black marble, would be agreeable to the eye, but monumental ; we name this because there are rooms of a particular cast which it may suit : but what we shall absolutely recommend to the student is, to adopt both the rules in the construction of this piece, and give a coloured 20, 5s. ia a ’ * 18 - C iff of marble for those parts which are detached and plain, and to make the: rest of an uniform colour. In this there is. still great choice, for the columns; according to this rule, may be of any of the coloured mar- bles, and the body of the Chimney-Piece of any of the plain‘ones; but where there is even so much choice, there is always 'a preference — in some articles. Here the most elegant manner would be to construct the whole body of the work of pure white statuary-marble, andthe columns of the syena, or gold:and purple. Marbles‘of greater orless _ expence may be found at every statuary’s, and many that will answer ; the same purpose; this will give the general rule; by: which, to-regu- late the choice in every kind. — ar | ‘ond The tablet still remains to be considered, for it is absolutely a de- tached piece, and may be of any one of the other kinds, or different from both. |) ~ ie ee This last method:is never to: be used, unless when: it’ is: of a: very rich material. Some of ‘the French marbles, that are veined in the manner of agates,, may be used, but they are'the poorest kind that can properly be admitted; and as they are very irregular, their veins running, wildly, and there being chasms or holes'in’ many’ places, if they be admitted, there must-be great care in choosing.a perfect and well-figured piece; and in giving it the most complete polish of which it is capable. There are some of the old marbles much: more fit’ for the purpose; the true verde-antique,. will be a glorious addition in this place, its elegant green being altogether unlike the whole; and upon this the ornament well. wrought. in the same statuary kind will be very elegant...A tablet: of the true porphyry willalso suit very happily ; its bloody tinge never shewing itself so rich, as in the con- trast of the pure white of this statuary kind.. If these do not please, the choice should fall upon the granite, whose singular aspect, thus contrasted with the rest, cannot fail to please every eye; and whose everlasting polish adds greatly to its recommendation. Having thus established rules for constructing these plainer Chim- ney-Pieces, we shall, in our next, enter upon. such as receive the addition of figures, | OF a CHIMNEY-PIECE with Ficurss. We named the use.of. Figures, that is, the introduction of the Per- sian and Cariatic orders inthe decoration.of Chimney-Pieces:. and,.as nothing that can be used on this occasion is. more, delicate, we shall, by a familiar instance, explain, the general doctrine relating. to their use. It is enough to say here, that they. are representations of per- sons of different nations, whom, instead of. devoting for life to the meanest and.most laborious employments, the arene consigned to immortality, in the figures of them in-their temples; supporting the weight of the upper part of the building, or seeming to support it. Men of rude genius represent than cabedt and.sinking under the weight, and think it a high degree of merit, if they can figure in their sculpture starting eyes or bursting sinews.. The Greeks de- tested such barbarity; nor, I hope, are we so justly censured for a. love of cruelty, that such sights could’ please us. It was enough. for the polite and humane Grecks, that they could place them a eter-: nity in the condition of abject slavery ;. they did_not. desire to-make. the load oppressive. Their figures were easy, and, the. incumbent weight was not great. jee in all things imitate them; but. it. is in no part of architecture we ought so strictly,.or can.so eaily follow them, as in the use of. these orders: in the decoration of Chimney- Pieces. ‘The eye is continually upon these figures when placed in such a situation; and he must have a barbarous fancy,. who would wish to dispose them. in attitudes of horror. Every thing there should — have an air of. cheerfulness.; at. least, aehuns should give the idea of constraint or pains This general maxim will guide the student.in his choice and dispo- sition of these figures; and he will naturally. acknowledge the force: of two general rules for the choice and disposition of these figures. 1, That the Persian order is fitted for the continued Chimney-Piece,. and the. Cariatic for the simple., , 160 Oe: ae Q. That very little weight be laid upon either; that the simple Chimney-Piece of this construction terminate absolutely at its proper mantle-piece, which must be the top of the entablature of an order; and that in the continued time, the ornaments to the ceiling - be light; and the materials also of a light kind; upon this alone depends the idea of ease in the figures ; bas consequently, upon it sas entirely our satisfaction in viewing them. This makes it natural that the ‘figures should not be distorted: and we shall give one general direction to the sculptor, with respect to their countenances; which is, that the Persian, or man-figure, have a look of indignation or contempt: and the Cariatic, or woman, of de- | jection without pain. ‘Let the Persian seem to say he does not feel the load, but the indignity; and the Cariatic, that she pr acting es ii condition with eee Of a CHIMNEY. with the Cartatic OrpER. Let the person who proposes a Chimney of this kind, or who re- ceives the proposal from his proprietor, first represent to him the ex- _ pence. This is a very needful article at first setting out, for if it be omitted, he must expect either that the owner will be startled at the charge, or that the work will disgrace him. The figures in such a Chimney are near the eye, so that every defect will be seen as well as every beauty; and they are of the nature of those other elegancies in the art which had much better be omitted entirely, than done ina slight manner. It is usual to crowd other ornaments among them, and about the same Chimney; for the com- mon opinion is, that one fine thing must be near another; but this we do not mean. 'Plainness in a certain degree is preferable, because it is more correspondent to the figures; but the needful expence is, that the Chimney-Piece be of siifficiént extent and bigness, that the mate- uals be good, and that a full i Brte be allowed the sculptor. He must f | | , | ; ¢ 8 1 161 finish his work decoraihig to the price; and there is none too great that | is within the bounds of reason; for there i is NO occasion on igs his art may be displayed so perfectly. | We are to treat ‘here of a Chimney of the Cariatic order, and, ac- | cording to our first principle, this must be a simple one. The female figures of this order are to stand at seeming ease, and it would be monstrous to load them with ornaments up to. the ceiling. ° Them- | selves are sufficiently ornamental for the work, and the less the eye is disturbed in contemplating them the Leitex. Fu: all these reasons, a plain. or simple Chianey, which terminates at the mantle-picce, is the proper one for the reception of the Cariatic order. This mantle- : piece should. be formed by the projection of the’ entablature, sup- ported by these figures, with no farther addition; and there is to the true architect an absolute rule what this entablature should be. This deserves a strict attention; for whenever there is an absolute rule from antiquity, and no objection lies against it in nature or reason, nor any thing better can be put in the place of what it directs, ‘C ig | wrong not to make it absolute,:and accuse all of error, who cepa from it. soe Mee! we speak of these male and female figures, under the name ef Persian and. Cariatic orders; we’ do not consider them as simple statues, but as parts of an order of Architecture.’ They supply the place of the shaft of a column; and they are to support an entab- lature. We see fancied mouldings placed upon the heads of these figures in modern works; for iHeits is no error or absurdity so gross, but some of those whom of late times we have called architects, have fallen into it: but in earlier times it was otherwise: the chaste taste of the Greeks admitted: none of these irregularities; the termination over a Persian or Cariatic statue was nine the regular entablature of one of the orders. ‘It was this which determined the mite: for the’ ctoielseriea as the shaft to any: and their general distinction was, that the heavy entablature should be laid upon the Persian, as male figures, and the 21. | Ds 162 fen wok. lighter upon the Cabiatio; or female. But this was not all, they ap- propriated one entablature to this. figure, and in their correct: pieces -used that only. It was the Ionic: none serves better than this in the natural form and correspondence to the figure; fora heavier would be absurd, and the two. qercen orders have entablatures too sab en- riched. for the statue. | The Ionic origllatitan was upon this consideration more il shea | any other to the Cariatic figures, and this would have its use general among. that judicious peoples ut there was a farther thought: that made it universal; this was the commemoration of the great event they served to record, in all its particulars. The Ionians were the people who reduced Caria to the Grecian yoke; they therefore placed the entablature belonging to the order of that name, always upon the heads of Cariatic statues, to tell this story to posterity; the Ionians subdued. these people. This, though hitherto unregarded by architects, we shall not hesitate to lay down as a law of dies science ; that the Ionic entablature be laid upon the Cariatic figures in alk places where they shall be-used. Reason shews it is proper, and the authority of Greece supports it. The whole matter in these fanciful pieces is ‘trifling, in comparison of the regular majesty which is seen in the great original orders: but when we use them, let us with regu- laxity. copy those who first. introduced them into the science ; and like them tell the whole story. | OF the Cieithaieatsiod of the FiGuREsS.— Ir has already been: observed, that the ChinneydBiees in which these figures are introduced should be large; that it should have no — ornament, above its mantle-piece; and that the mantle-piece should be the top of an entablature, and nothing more: it is determined that this entablature should be Ionic; and weare now to consider the con- struction of the Figures. _ Their length being determined by the ssn of the nee rioths ol On 868 _ of which we shall speak hereafter; the’ proportions are all’ regulated by that: the human form is the standard:of truth in this respect, only let the sculptor remember, that it is a female Figure, and that it will be best if he make it of the most. delicate form. No great weight is to be supported ; and consequently no robust limbs are necessary for the purpose. Thus much determined, two points more’ oecur; the disposition of the limbs and the drapery. These we shall consider _ separately. » When Figures are raised to 2 height which ‘places them out of the _ way of accidents, their limbs may be disposed with a freedom which cannot be admitted where they are in the reach of blows: nothing can be more in the way of these than a Figure which makes part of the ornament of a Chimney, because the persons who sit near the fire will lean or rub against it; and the continual business of servants in managing the fuel will carry them also for ever in the way of touch- ing it. Let the architect consider what parts are most liable to da- mage. These are’ the hands and feet ; and particularly the extremi- ties of them, the fingers and toes. ; = 2 sat If the hands were displayed ata distance from the body; and especially if the fingers stood loose and free, a few’ days could not fail to maim them. We see this in effect, where injudicious designers have formed them in that manner; and experience joins with reason in directing a contrary course. | The first thought would be to throw both arms close to the body ; but that would be at once ungraceful and improper. It is natural that a person loaded upon the head, although but slightly, should raise one hand to help to support the weight; and this must be‘done in the present instance. It willbe higher than the part of the image that is m most danger of accidents.. The arm, even ina deliéate Figure, may be strong enough to resist a little injury; and the'ten- der part of the hand may be defended from it. ; The proper posture of a Cariatic Figure at a Chimney, is, to have one hand close to the body; and the other raised to assist in the a 164 a a imagined support of the mantle-piece. The hands must be delicate, © to correspond with the general Figure, and they will require the best — touches of the sculptor’s chisel, because every eye will naturally be | thrown upon them. The fingers must be small, to answer to this ge~ neral design; and those of the lower hand will be exposed naturally — to blows and injuries; while those of the upper will not be altogether exempt. The design of the architect is to shew*his judgment in se- curing them gracefully; as the sculptor does in forming them. The hand ‘that is carricd up tu suppurt the entablature, may very properly be placed upon the frieze; and, in this case, the projection of the cor= nice will give it a great security. It would be very proper to give © the order its pulvinated or roundish frieze for this purpose, that the — hand may be shewn in all its delicacy, grasping it. In this case, the cornice would not only be its defence; for the fingers might be united to the body of the frieze, and thus would have a strength that they = Sit alte 7 RT a~ : ee a a never can when loose. . This hand being so securely disposed, let the — student consider what can be done to preserve the other ; it is in most — danger, because it hangs lowest; but there isan easy way to defend it. — Nothing can be so natural an employment for this hand, as holding up a part of the robe; and this may be its security. There will na- : turally be a fold and a rising in the part held up, and these may be wrought though with the utmost delicacy, yet with great substance. In the hollow under the rising may be placed the hand, in which the most delicate touches of the chisel may be shewn, while it is thus — preserved in the greatest quantity. Should any one suppose the necessary lightness of the vat cannot be preserved with this quantity of substance, necessary to preserve the hand from accidents, we refer them to the Flora, well known to ~ all who have viewed with taste the rarieties of modern Italy. The quantity of marble in that is three times what is bestowed on most other Figures, yet it is the lightest of them all. . H I | 165 abe the Baibews: 4, EMiodeis gosil phos delight: in nudities ; ; but ina »GhisnaeyaPiete they would be abominable: de would shock the delicacy of our'sex, and could not be seen by the modest of the other; they are therefore ab- solutely excluded from this service, and some Drapery is always to be allowed: the question is, how much and in what manner. - Let no statuary object, that the oreat excellence of his art is siithd hid, for that it would cousist of na colat figures. We banish ana- tomy. from the parlour of the polite gentleman: that is all. Let him | copy his giants for exposure, from those masculine forms the ancients have left, or from rough and violent nature; but here let him give his figure clothing. Nor shall we suffer the complaint unanswered: we shall tell him, it is as difficult to excel in Drapery, as in naked= © ness; and may refer him to those clothed statues of the Greeks. and Romans, which it would be glorious to imitate. That these are ca pable of equal excellence, and may obtain the sculptor equal praise; is evident from those examples: with obec to Ee cle ace and pro- eed all may judge. ! : Of the Construction of this CHIMNEY. ‘Much is now done:towards the general construction of the Chimney- Piece; for, in considering the several parts, we have observed, that there are to be two fannie figures supporting an entablature, whose top serves as the flat ofa mantle-piece. We have established it as a necessity, that the whole work be of considerable extent; and there remains only to place the figures, and add an inward ornament: to complete the structure. Let the figures be placed near the extreme edge, but not folusely upon it, a they will be the better shewn when a part of the flat- work projects beyond them ; and they will also be more secure. 21. Uu 166 oe eS Let a kind of plinth be placed under them, for it is = no means proper they should rest immediately upon the hearth; and this will serve the same useful purpose in preserving the toes from injuries, that the frieze of the entablature answered for the defence of the hands. They may be disposed both firmly upon it, and be made of one piece with it; or that foot which projects forwardest, and is there in most danger of hurt may be so disposed; and the other, which is — backward, may be made with more freedom, to rest lightly upon it — by the toes; or, if the sculptor pleases, to be absolutely removed from it, it will be safe from its position ; and he may employ all his deli- cacy in constructing it with security. As the foot rests upona plinth, the head is covered by the entablature. It must be brought forward . to answer the projection of the figure: and this will give ‘a. relief al of light and shade to the whole, and be an ornament, to the con-— ' struction. There being a supa space ds the ee beyond the ee on ee 4 side; there must be a larger within, and this will require decoration ; every architect knows this, and the fault is usually that of employing , too much. The opening of the Chimney will be much lower sha the maistiee piece; or, properly speaking, there will be a considerable space between the ornaments of that aperture and the lower member of the entablature: this must be allowed some ornament, but let it not be too much. A vase will be very proper in the middle; and a festoon on each side to the edge. ‘The ornaments which surround this aper- ture must be handsome mouldings. _They must not be continued:to the level of the hearth, but terminate at bottom ona plinth of the same form with that which supports the statues. These may be or- namented with sculpture; but itis an expence better saved. There is a correspondency. of parts which is preferable to decorations of — fancy ; and this is only to be found in such a construction in pie ness. Ps i ig eat ti a =o CHI | 167 ‘ail the ‘Matehial py this CHIMNEY. pet ct it be observed, that the figures be of pure oriles afi one sim~ ple colour; and none is so proper as the plain white, which we know by the name of the statuary marble. If the whole structure be of the same, none can object to it; but there will be elegance in giving the back and body of the work in marble of another colour. ~ Great beauty will be displayed ia making the body of the Chimney of the green and white marble, which is commonly called Egyptian; but. the: greatest: elegance of all would be to work it in porphyry. The common purple marble would not answer the purpose, because the spots and cloudings would confuse the eye; and, as it is not easy to find a person of uieh expensive taste as to go to the price of por- phyry, we shall propose to make the back of Syenna marble: this is of a colour which very finely shews white, and will bce’: answer the ‘purpose, and ey ornament the casi - Of a Cutmney-PIEcE, whose sole Ornament is ScuLeTuRE. ‘Let us on this occasion suppose a room of a moderate size, finished in the fashionable way, with light ornaments on the ceiling, and with the walls papered; a Chimney-Piece of some elegance is to be erected in this room; the proprietor dislikes the orders; or the natural bigness of the whole is not sufficient properly to receive them: the architect is to give him a design for its construction; and he begins with a ge- neral outline for the sides, and a more particular consideration for the top. This is to be the seat of ornament, and he adapts to it the decorations of an entablature of one of the superior orders. In his first design he sees’ a flatness that displeases ; and, to remedy this, some parts must be brought forward. We have observed how much beauty the projection of the corners of the Ionic entablature, over the heads of the Cariatic figures, gave to 168 ¢ H SD ® that Chimney; and the same elegant ates of light and shadow will occur from bringing forward the two ends Hae, If this be not enough, place a pediment upon the centre. We should have objected to this in the preceding instance, because it would have loaded the figures; but here there is no objection. A tablet should be placed in the frieze, under this pediment ; Bee: the projecting part at each corner will admit in its frieze vase. There requires a face, or some other principal figure in the tablet; and thus is laid down the’ (prineiple-cf-dooorstion; These swelling corners of the entablature require some support; and, as ‘columns which would naturally occur for that service are forbidden, the most proper design — | is a scroll on each side, in the manner ofa console. This will wiantt a kindof fluting or cabling at distances upon its surface; ‘and an — acanthus leaf may cover its dowel part. There will be beauty insuch a construction; but the judicious eye will only allow these as an apology for columns. The scrolls must not rest upon the hearth, but on a plinth: and the addition of this completes the material part of the structure. What remains is Sculpture; and the nature and design of this is plainly pointed out. The common ¢arving of a quarter round into what are called eggs and anchors, will serve to decorate the inner edge to the aperture ; and the proper Sculpture of the mouldings for a-cor-_ nice of a rich order gives nearly all the rest. ..A festoon from the face — to each edge of the tablet, and another on each space on the two sides of that projecture, finish the whole ; and there appears.a Chim- ney somewhat Jess expensive than it would have been if the orders were employed. But though it must be allowed:a great deal of beauty in this way, he must have a poor conception of the’grace and dignity of those great parts in Architecture, who does not see the addition m beauty from the use of them, would have been much greater than) the extraordinary expence. The materials of such a Chimney are limited by the quantity of Sculpture. To some marble of one colour; for the greater part of — the expence would be thrown away upon a veined or clouded marble. G th I 169 _ Statuary marble is again preferable to all others on this occasion; but _ the whole in a perfect black would have a very ‘agreeable, though grave aspect. Ifa gayer marble be used, the Syenna is best: but in that case the festoons, and other ornaments, will be best in sta- tuary. | a : | “~ A Cuimney-Pircr with single Dortc Cotumns. “The room in which a Chimney-Piece is to be placed, may be suited to a lighter, or to a more massy kind: ‘for this part of the finishing should always be correspondent to the rest: and this may give a rule for varying the practice. : , os We will suppose; for the present instance, a room finished in a modern degree of elegance, and that the proprietor desires to have a Chimney decorated with one of the orders, but not at too great ex- pense. In this case, -the finishings of the room, ‘and the intention of the owner in point of expense, limit the number of columns. The first thought refers the architect to the Doric order,’ as by far the Jeast expensive; and both determine against more than one column on each side. Upon this’ plan it will be easy to construct a light and elegant piece; the price of which shall be very moderate for a Chim- ney with an‘order, and its lightness correspondent to the rest of the work, | aah 40, oF e Let the student mark first upon his paper the outline of the aperture. Then on each side let him mark the outline of the work: to which, as there is to be only a single column, he needs not ailow: great ‘breadth;.and after this let him draw the outline of the top member _ of a Doric cornice, determining its height from the measure of the columns. We do not intend to determine the work here: but let this _be first done. Let an open pediment be raised from the’ middle of the cornice; and that this may not stand naked, let another straight line be drawn just above its ‘top, and stopped each way at the breadth _ Of the sides: . The cornice’ of this order will project farther ; but that eee yh X X | 170 : i 2 Si is not to be the measure! of this upper work, whichiis toi serve-as a _ continued attic for the finishing. | Of the several Parts in thas CHIMNEY. The outlines thus laid in, the student will easily comprehend the disposition. and. form of the. several parts. Let the columns be first considered, and let them project so far as to stand absolutely free and clear. Let them rest upon the, hearth by their plinth :: on this place an attic base; and carry up the shaft, with its regular diminution, according to the rules of Palladio, . On-this place the capital, and let — its abacus range with the line which marks the top of the aperture. Upon. this capital let the regular cornice of the order rest. It must project to come over the calumn;.and, receding each way to the back of the Chimney, there will. be an agreeable: mixture of light and ~ shade. Let the whole aperture of the Chimney. be terminated. by an architrave, with a carved quarter-round for the inner edge, and over the centre of the Chimney’s opening let it rise to support the cornice. — The pediment is placed above this, and this rising of the architrave has the appearance of a regular support to it. The frieze, where it. is continued entire, must: have its proper ornament of triglyphs. One will stand over the axis of each column, and two on each side, between the projecture for the column, and the rising of the ar- chitrave. : In this Chimney, whose expense is. to be of a limited’ kind, we would have the metopes plain, or left: without ornament; and con- sequently the neck of the column must also be plain. ‘The roses in most cases allowed to this part cost little, and are a great ornament ; but they must. not be used when the metopes are plain. Over each of the columns let there be raised an attic pilaster, projecting as the column. does; this, consisting of its base, die, and cap, will give the ornament of the plain course behind: its base must be continued each way to the pediment, but there interrupted by it; and the E tt 3 : a7 cap must be continued alone the whole course over: the top of the pediment. Of the Materials for this CHIMNEY. The sculpture being littlein this piece, the architect has his choice of materials. ‘There isso much decoration: of a nobler’ kind, that the plainest. will: serve; at the same time the sculpture is:so little, that the most pompous of the variegated kind may be used. The body of the work may be of statuary, and the columns of Syenna marble. This will be a very happy mixture, for the gold and’ purple of that elegant species are never seen to so much advantage as’ when: con- trasted with white. The body of the work of the common purple and white, and the columns: of the statuary, would also be handsome; or if the columns were of the French onyx marble; and the back white, the colours would*be shewn in the most advantageous manner, | and the columns: would appear like agate. We have a green and spotted marble-in Anglesea, that would make very handsome columns fora white ground, ora very handsome ground for: white columns; and there is a singularity in this marble, which should make it ex- tremely valued: this is the veins of asbestus, which are lodged in it. These are of a glossy white, with a tinge of green; the veins are about a quarter of an inch broad, and: the threads run crossways. They are so extremely close arranged, that they look as firm as the. body of the marble, and not even vie can hurt’'them. This greatly exceeds the common green and white, which is called Egyptian mar- ble, and ought to be more regarded. Of a CHiMney with TERMINI. We have given the use of columns in plain. ChinmepiHicces, and the appropriation of scrolls to supply their place, where any particu- 172 ) . ES lar fancy in the proprietor declares against their use. It remains that we treat of a kind between the fanciful or Cariatic orders, and these scrolls; and these are of the nature of Termini. They consist of the head and breast of a human form, and a scabbard receiving the limbs. | OMicodt We set out with BEE ing, that fancy was to be freely indulged in the construction of Chimney-Pieces: these are, of all the figures that can be introduced, the most fantastical; and it will. be no where so proper to introduce them. When the student falls upon a design of using them, let him first observe, that one of the simple Chimney- . Pieces, that is, one of thosé which terminate at the mantle-piece, 1s fittest for the reception of them; for it would not be easy to continue a correspondent ornament to the top of:the room. uh: . Besides, as in such a chimney there must naturally bea er eat deal of sculpture, the continuing that in the same taste, if a proper form could be devised, would be of enormous expense, and would distract the eye. It is fit the attention should be fixed where there has been so large an expense, and so much labour and genius to demand it ; and for this reason, as well as the other, the work should be confined to one place, bestowed about the lower part of the Chimney-Piece, and full in the eye on every occasion. | Of the Construction of ths CHIMNEY-PIECE. »_ Ha. The first consideration of the architect in a design of this nature, must, be that of giving it a freedom in all its parts... There will be somewhat massy in the figures themselves, for it is the nature of these kind of designs to swell out at the breast ; but he 1s to contrast this with lightness and an airy look in all other parts, and to give free scope to his imagination. On these principles. let him sit down to his design, and mark, with a faint line, the outline of the whole. This will be naturally three sides of.a square; but it'is to be broken through on several occasions; for so many straight, lines would. give a. stiffness * € H 1 | 173. altogether discordant from the design of ease and freedom. This outline first given, which only servés to determine ‘the general extent, let him design’ his terminix’ They: are ‘to ‘be raised ‘upon a square plinth, and their heads are to support the mantle-piece. \ This gives their height, and from thence are. to be ‘deduced ‘their proportions: As these: are the ‘principal part of the Chimney-piece, let them be _ drawn first, and the rest made’correspondent to them. The face; the - neck, and a part of the breast, is all that must appear human; and as this: part of the body is much more graceful in the female ‘form, let, them: represent women. © Let thé’ head be decorated with flowers among the hair ;: the neck be naked, to shew its true proportion; ‘and let a festoon of} flowers fall carelessly over the breast, to hide the se- paration in the midst, and represent the fullness, and beautiful round, without coarseness or indecency, et bas orto ‘od’ .) The sculptors of this time require nothing so much as to be taught with decency. . The necks of females, from their hands, are: generally improper. We may refer them, for better information, to the present dress ofthe French, who shew all’ the beauty of the female breast, yet by a rose, or some other artificial flower, in thé middle, take off every idea of immodesty. The human part of the figure thus finished, the scabbard comes into consideration. This receives the breast, and has a spiral line on each side at its top, where the arms seem to‘have been taken off... There is no part of the scabbard less beautiful than this, though custom, and the practice of the ancients; ' ‘has rendered it essential. The festoons we direct to be thrown lightly over the breast, may be continued: with ease, so as to hide’a part of ‘this. From this part the scabbard will consist of a front and:two sides ; and it must be covered with sculpture: it MO yew Hoss _ibssige A great deal of work should not be employed on'this, because itis not the principal part of the design; but they err who give it too lit- tle. ‘The ridges should be plain, but carefully wrought’ in that plain- hess; and for the ornament, it may be only a Mosaic, by light lines crossing one another, or this may be more ornamented: or, finally, the design may be varied. This Mosaic, when it consists only of. 29, Yy tr es © Hi D lines, is very plain, and in suchoa Chimney as: is here proposed, would be unworthy of the rest. The lightest ornament is by adding a kind of star at every intersection of the lines; and ‘the most: that should ever be allowed, is by placing: a small flower in the centre of each lozenge of the Mosaic division.» When these flowers are added, there should be no. stars | in) the intersections of the lines; and when there are no flowers or other ornament: within, ‘this should never be omitted... Thus. is the general decoration of the scabbard to: be de- termined; but ‘there yet remains to be considered that superior ar- ticle of ornament, the varying the design upon this part... ‘The least that is to be done in this way, is to: place ‘a rose in a small compar t- ment in the middle of the scabbard; and saira she fice apace iS continued, will give an air of variety. > | The other and more graceful siete is, phy Bite a leaf Sain the top down half way of the scabbard.: »'This should be an acanthus leaf, because its shape corresponds, and: no»other is so handsome. The Mosaic division. will then. perfectly well answer for the other half, and may be carried. up all the way on each side. It will-be'a farther grace to this scabbard, to let the foot of it rise from the plinth with. a swelling within; and this may be! very happily decorated also — with a leaf. . These figures thus finished, the rest is easy. A mantle-- piece is to rest upon their heads, where it must project with a rounded outline; and both here and in the straight part it may be decorated ~ with sculpture... The inner line of the Chimney-Piece may be a rounded and handsome moulding, which at the top may be carried, according. to the French manner, into anirregular arch. In the cen- tre of this a scroll may supply the place of a key-stone ; and «this spreading each way from that central part, may leave room for a — basket of fruit, and terminate each way in a festoon: and then the rise of the mantle-piece being decorated with leaves and fanciful or- naments, the whole will be correspondent, and of a: piece- | iC HH OI gpa SAW POON | ,OUUSiL 10,3108 960,10 .insegen gence: «) ore the Materials i fort this Counmvey-Prnce. rads vidas you ied. io eovisemsi| | The rulewe. ae laid if at of ailowiug ‘Gblaneed S hise Pie oie as little sculpture, and plain ones where there is more, holds very: strongly: here. We recommend this. Chimney-Piece to be con- structed entirely of pure statuary marble, as that will, most. distinctly shew the work: and the eye having no glare of colours to take it off; will, be wholly kept upon that, olen, as some think there is a deadness)in this strict uniformity, we shall:advise the student. in what inanner to, give a decent variation. » The. Bode of the. Eee lace being of white See Hiss nt Castla of the termini may be of the green Anglesea kind, or of the common green and white. Egyptian ; and, in this case, it will be well to make. the mouldings round the edge of the same materials with the scabbard: The flower-basket may also. be. of the green marble ; but the fruit and flowers in it should be white, for, all the delicacy of the work will otherwise be lost in the veins and cloudings.. he continued CHIMNEY=PIECES. The Drident is NOW so: fn a i of the. ehet upon aia, the structure and decorations of Chimney-Pieces are to be founded, that we may lead: him with familiarity to the composition of those ofa more:complicated kind. _ These are stich as we expressed before under the name of continued Chimney-Pieces ; and they require a more distinct consideration than, by the practice of modern architects, they seem to be aware: It is no more than truth to caphtae from their conduct that. they have no other idea of this kind of Chimney-Piece, than that it means a simple one, with something at ‘the top of it. ..Some flutter,of orna- ment, and some shape ofa frame, they suppose are needful on this occasion; but farther they seem not to have carried their researches. 176 | y iC FH UF One kind of ornament, or one sort of frame, they apprehend will do as well as another ; and when they have made, or otherwise possessed © themselves of half a dozen figures for this purpose, they apply them at random, and seem to think of them, as the famous ‘comedian did of his prologue and epilogue, that the! epilogue might do for’a pro- logue, or the prologue for an epilogue,;:and that either of them would serve any other as alata as rea for = oe were in- tended. - A 30 We do not produce these ‘plediishets in our best bbildings:t to teh cule, much less to injure, those who invented them ; and therefore conceal the names they would disgrace. It is for the service of our'stu- dent we represent them in their proper colours. They areso frequent in good houses, and they pass so often without censure under the re- view of reputed judges, that, were it not for such caution, he might be led ‘to think them’ right, and place them before’ him ‘as examples for his conduct ; at least as excuses for his own errors. We have told him before, that it'is to very few of the structures of this age he is to look up for’example ; and we shall repeat the decision before:made — on a like occasion; that an error is not the lessso, though justified by a thousand instances. Of this he may be sure, that the very eyes which overlook defects, will never be blind to beauties; and that he will ensure to himself, not only a greater, but an universal pres by acting up to the rules of truth and propriety. | a OR Longilus: directs the orator, in order to arrive at cbeukieeatal to suppose the famous predecessors in the art:are present ; and, upon all : occasions, to put himself in their place for the composition. \ Let the architect, who would arrive at excellence in his not Jess arduous. or less honourable science; tread the same path. When: he 1s about to lay down. the design, let him consider well the occasion, and: ask himself—What would: Palladio have done insuch) a circumstance : When he has finished, let-him:demand—What would Vitruvius say were he present ‘to: examine this >: It is) by’ this: method: men, whe have arrived at excellence in any of ‘the: polite: arts,have imbibed; as it were, the genius of their great predecessors. “He must: have OC 3 ree... indeed a cold imagination, who could design meanly’ or incorrectly, _ when he'supposed himself acting in the spirit of that reverend modern; or appealing to the judgment of that judicious ancient, Of Propriety in the ORNAMENTs. . The first consideration which would rise in the mind, thus warmed with the remembrance of those persons immortalized by the same - science, would be propriety. Without this, beauty would be ridi- culous; for, from the conduct of those whom, though unnamed, we have been obliged to load with so much unwilling censure, he wilk. first consider by what means the whole will be most naturally suited to the room in which it is to be placed; and next, in what manner the two parts (for they are in themselves distinct, though joined) will be best adapted to one another.. With regard to the first article, we have in general observed already, that a continued Chimney- Piece can only be proper where there are Ornaments of sculpture about the room: for otherwise there will be nothing with which it can corre- spond: therefore, against all other considerations, let him design at all times a simple Chimney-Piece fora room that is hung, and a con- tinued one for a room that is finished any other way. No wainscot is or can be made without pannels; and-it will be easy to make the upper part of a continued Chimney-Piece correspond with them, let them be of whatsoever kind. ‘This we would recommend to the at- tention of the builder, even in the plainest and meanest rooms. There will be a regularity in it which will never fail to please, and the ex- pense nothing. In this case, no more will be’ required than to form a regular design of an upper part for the Chimney-Piece intended to be placed there, and to execute it with the common mouldings of the pannels. There will be no more expense in disposing them properly than improperly, regularly than irregularly; and yet the effect will be pleasing, and the architect will have credit. 7 23, Sh G as 178 cH ‘He now ondefivendsy' that the ‘purpose of this work is to raise an Ornament, like that of the other parts of the room, from the Chimney- Piece to the ceiling ; ‘and in such manner to adapt this to the Chim- 4 ney-Piece itself, that it shall seem naturally to rise from it, and to be connected with it; that it shall be a regular and proportioned part — of the Chimney-work, ‘at the same time ‘that it is also a regular part of the Ornament of the room. This will always be easy to the ar- : chitect who sets out upon just principles; for having, according to the rules we have laid down in the preceding book, ‘suited the Chim- ney-Piece itself ‘to the rest of the room, these additional mouldings, or other Ornaments, when they are made to correspond with one of the two, willalso agree with both, because wet naturally agree with — one another. It would be otherwise with one who had set out without piel If he had made a simple Chimney-Piece too rich or too plain for the — vest of the room, then the upper work, which continued it to the ceiling, would add to the irregularity: for either 1t must be made ‘to agree vawith the lower part of the Chimney, and would so disagree with the rest of the room; ‘or tocorrespond with the finishings of the sides, and'by that means disagree with the lower part of the Chim- — ney: These are the abeunnilaced irregularities which never fail to arise from an error in principle. Let them teach the young architect circums pectiott; and early regular method. Of enriching a continued CHIMNEY. As the student will now understand. that the upper part of the continued Chimney-Piece, that is, all which is above the place of the mantle-piece, is a’kind of repetition of the work in the sides of the room, he'will know very well in what manner to add proper beauties. Let him consider ‘it is the first object that strikes the eye on entrance, and the most conspicuous part of the room; and, for that reason, IC HH OF. 179 while he gives it the same air with the rest, let him make it somewhat richer. We have observed, that in the plainest rooms itis to be only a continuation of the mouldings of the wainscot in a proper form: from this the first advance to elegance is the adding of a few more mouldings; and after that all the rest is easy. When the common mouldings of the wainscot have some sculpture, let those which are continued over the Chimney have more, as well as be laid in greater number; and to whatever degree of elegance the rest is carried, let this part.exceed it. The continuation thus managed will have the air and aspect of a peculiar piece, while it is at the same time a ree gular and perfectly correspondent part of the whole finishing. Rooms which are hung are debarred by: the rules of the science from the advantage of this ornament ; but for all other kinds it is very well adapted. Where the walls are plain stucco, this upper part of the Chimney-Piece must have very little ornament : but even in that case, as the lower part will naturally be very plain, a light represen- tation of its most conspicuous parts in the space above will be far from unpleasing. This is a very:rare case; but we would not have the student without his rule of conduct in any. Let him not suppose this circumstance of a room finished with plain stucco, to be 4 pa- rallel case with that of one hung with paper or damask, and in which we limited him to the use of a simple Chimney. Here the space within the pannel over the Chimney being plain as the rest of the wall, at the same time it admits the grace of this addition, keeps up e similarity with the rest, without any thing improper in itself; but, 4 the other case, the great contrast in the colour and figures of the paper or silk would break in upon the intended composure of the whole, and the mouldings, whether in wood or stucco, would appear to be stuck on the paper, not to rise from it, as they will certainly | appear to do from the stucco wall. ‘The upper part of the Chimney- Piece, which in the case of our plain stucco-wall shews itself only in what it is, that is, a light ornament continued from: the lower work of the Chimney, will, where there is paper or silk, have the 180 ea aspect of a frame; and these will’ appear as pictures in it. All know how poor this must look; since, in the reality, what could. be: $0 mean as the thought of framing a piece of the hanging? — Indeed, if, ina hung room, it is intended to place a picture over the Chimney, the frame of it should be separate, and should not rise from the Chimney-Piece below: whereas, in other instances, where the continued Chimney-Piece is proper, nothing is so elegant as to _ make its upper work serve as a frame for some elegant piece of paint- — ing. In this just examination, we see, what might have appeared as : an objection to our general rule, strengthens ah supports it; and al- though in a plain stucco-room a continued Chimney-Piece is pro- per, yet in one hung it is perfectly wrong... Of suiting the Upper-Work fo the Room. It appears that in all rooms, except such as are hung, a continued Chimney-Piece may be allowed. In most it will be found more pro-_ per than a simple one; and, in the more richly finished apartments, altogether necessary. Weare about to consider the manner of ac- commodating the upper part of such a Chimney to the room: but we must here censure some modern works; and, without naming the workmen, caution our student against their errors. There have been some who have entertained a confused sense of the necessity. of this great article, the conforming the Chimney-Piece (when, from being carried to such a height, it becomes so conspicuous a part of the room) to the other ornaments. But the judicious reader will allow, that we have used a gentle term in calling these only confused notions, when — he sees in what manner they have brought them into execution. In a room where the doors are decorated with an order, this idea of correspondence of parts has carried them to the placing coupled co-— lumns upon the Chimney-Piece in the continued or upper part of the work; resting upon a mantle-piece, which’ is supported by a Cmte 181 scroll.) It remingls: one icf the iia ails of those-theatres,, where a Cariatic is supported. by an: Ionic column, and that rests upon a bracket. There is in this the double absurdity. of placing the columns, without support, and of giving them nothing: to carry... They. appear, monstrous, because they are unfinished : they are too bulky, and too prominent for the place;. and. nothing can be more preposterous than this use of them. So far may error, in attempting what should seem right, carry those whose nas have not imbibed the true PRA ISS of the science. | | 0.9¥ : A ee yderics of parts is indeed the first eta rf ornament ;. but, before a man pretends to use this, he must, know what, parts) should correspond, or the attempt will only serve to betray him into. absurdity. The ornaments of doors, and those of the Chimney, should sexinnly correspond ; and we have before directed in. what manner. But there is a place for every ornament; and, when it is out of that, it becomes a defect, and not a beauty.. When an order is employed in decorating a door, there should also be columns in the construction of ‘the a castey eco but they must be placed in the lower part; not in the upper.. They must be upon the ground, ‘not intheair. It is their natural position to rest upon’ the ground; and he who takes them out of that. place ina Chimney-Piece, is com- monly guilty of an absurdity. When there are columns below in their proper place, it is still wrong to add any above: for they. are not of the nature of those Sea ods. which should have: place there. They are too massy and uncouth. But if this placing them in, the -upper work, over: others in the lower, be wrong, the absurdity is ten- fold in those instances we have named, where there is.only the com- mon ornament below: it would be as proper to stick them against the walls.in other parts of the room. fi ~ When the correspondence: of ornaments requires columns at. thé Chimney, let them always be placed as we have directed in treating of that article. In that case they rest upon the hearth, and they sup- port the mantle-piece. This is natural; and so is. the continued work above them; more natural than in any other case, because 23. 3A 189 € Hid they afford it a just and proper support. It is this part of the Chim- ney that must correspond with the doors, and the ornaments above is to agree with that of the other finishings of like height. These are mouldings of waitiseot, or pannels of stucco, or the like divisions. It is with these the eye compares this upper part; and, while it corres-— ponds with these in the nature of its ornaments, the shape and place, for in both these articles it differs from all, will sufficiently vary t What we have observed with respect to columns, holds universally in regard to the other ornaments of doors. The lower part of the Chimney ought always to hold a correspondence with them. ‘This. must not be so servile as to copy the parts or particular mouldings : but as we have directed, that when one of the orders is employed upon a door, another order should be used for the Chimney ; upon the same principle we add, that whatever kind of ornaments are placed about the door, something of the same kind must be done in the lower part of the Chimney. Often this is to be carried through a ereat part of the lower work; but it is enough if the eye pereeive it in the immer edge of the whole, or in any other conspicuous part. As this portion of the Chimney- Piece is to be an improved resem- blance of the door-cases, in the same manner the upper work is to bear a likeness ia all its parts to the finishings of the rest of the room; but it is to be enriched beyond them. The form it must carry will be that of a compartment, determined in breadth by:the lower part of the Chimney, and in the height by | the loftiness of the room. ‘When the lower work of the Chimney is narrow, less labour should be employed upon the upper, for it will share the narrowness of the bottom, and be incapable from thence of great dignity. Therefore, when the young architect sees a room that, from its other finishings, will require a rich continued Chimney- Piece, let him set out with giving ita sufficient extent:in breadth, be- low. On this absolutely depends the breadth of the upper work, and consequently its dignity. Fe Ca Oo. 183 Of the Upper Work. The student who understands the design and nature of the continu- ation of a Chimney-Piece; where to use it, and in what manner and degree to adapt its ornaments to the particular purpose, may proceed to the designing its several parts. How far the construction of the lower part of the Chimney is concerned in this, we have shewn, A continuation of ornament may be carried up from any Chimney-Piece _ whatsoever, due care being taken to adapt it to the proper form of that lower part: and consequently, if that be proper, the whole will be of the same character. This may at any time be done occa- sionally ; but we advise otherwise. We would not have our student design his Chimney, and then think of an upper part for it; but forming the whole as one work, and keeping in his eye all the parts while he is making the figure of each, he will that way alone render it complete and uniform. Peli If he design an upper Work of slight construction, let him make the lower part also of the lighter kind; but.where he intends a great deal of ornament above, the first care must be for a sufficient solidity and decoration below: the general construction of the Chimney being the same when it is thus continued to the height of the room, and when it terminates at the mantle-piece, or its finishing course, we shall not repeat any thing here of the rules already laid down for its construction; but, supposing a Chimney-Piece of the common kind, and of moderate expence, to be the lower part, consider the lighter and less expensive Upper Work suited to it. This Upper Work naturally represents a kind of frame; but it is not to be placed directly upon the mantle-piece, for in that case it would be either of an enormous height in proportion to the breadth, or it would not reach toward the ceiling in the manner which is the true purpose of these constructions.. Therefore upon the mantle- piece let there be raised a course, pedestal high in proportion to the _ other parts of the Chimney. Let the outline of this be in the per- 184 os ICE OF pendicular, the same with that of the side of the Chimney-Piece, not the extent of the mantle-piece. ‘Thus it will. seem supported by the side-work of the Chimney, and consequently in a condition to sup- port the rest of the work. ite Ty? tata Let this have its proper distinctions of base, die, and cap; and let “there be some light ornament of sculpture at those divisions.. Upon this is to be raised the Upper Work, whose height must, be governed by that of the room, and its forma. square, or long square. . In this, when rightly constructed, there will be always some proper resem=_ _ blance of the structure of the Chimney. . Thus let the student begin, by raising from the extreme edge of the pedestal a perpendicular line, which will form the verge of a side corresponding each way with that of the Chimney-Piece below; only that it must be narrower, because the Upper Work must always seem lighter than that below. ‘These two sides are to support a cornice in the manner of another mantle- piece, and from the middle part of this is to be raised a pediment. This completes the outline of the work: it may be made entire; but that is not right, because it gives an aspect of weight improper for an ornament that stands so high. tad | 1 Of the two forms of the pediment, it may be either pointed or round; but whenever it is made entire, the pointed form should be preferred, because of the two it is lightest... This is a construction however which the judicious eye will always dislike; and there is not only more propriety, but more room for ornaments in a, broken or — open pediment. Let this be a determined point, that the pediment be open; and the lighter the work, the more necessity there is of. its being so. As to the two forms, they are directed by the same rule. The rounded pediment is heavier, as well when open as entire; and therefore it should always be kept for the Chimney-Pieces which have the heaviest ornaments; and the pointed for the lighter. The differ- ence between these two kinds, in’ appearance of weight, 1s much ereater when they are broken in this kind of work, than when they are entire; for the broken-pointed pediment, ends at the abrupt line: ut when the rounded or arched pediment is broken, the inner mem- bers are to be rolled. in spirally; and’ this, at the same time that it is a-great ornament, is an indication of weight, which we have directed the student.to avoid, even in appearance, in:the construction of the as thus far directed, has now the outline of his whole: work upon pa- per; a pedestal continued over the mantle-piece of a common Chim- ney supports two narrow sides: these are: crowned with a handsome cornice, and from the midst of that rises a broken-pointed pediment, Of the DecoraTions. _ This is the field, of which his genius'is to make the most by the addition of ornament; and his judgment is to disclose: itself ‘in form-= ing that ornament of a proper kind, such as will best suit a Chimney. _ Now, although the sides he has raised can very well support all that is above them; yet the cornice having the air of another mantle-piece, will very well bear the appearance of farther support from a couple of scrolls: these may be decorated, each with an acanthus-leaf falling down them, which will display itself very happily, because of their wayed outline; and in the brqken pediment may. be placed.a vase: thus the larger and more obvious articles of ornament are laid in, and for all that can be added, sculpture answers the purpose. We have declared against heavy ornaments in places so raised as the top | of a continued Chimney-Piece; but as the cornice in this: case has the strength of a couple of scrolls, as brackets, the vase; though heavier than we should otherwise choose, will have the appearance ~ of a support. The sides terminated at the top by these serolls, must not, in a Chimney of any tolerable degree of ornament, be left plain. © { apere It will be easy to mark out a long compartment in each by sculp- ture, continued within a small distance of the two other sides and bottom; at the top of these two lines may join the scroll; and from the bottom of that ornament may be dropt a light festoon almost to a 24. 3B 186 : C H I the bottom. This will give sufficient beauty to the sides, and the pannel marked in, as just directed, will seem a frame to it. The vase may also be loaded with fruit and‘ flowers; and these may be suffered — to run over on each side in a light festoon, continued in a bended line each way to the angle made by the inside of the pediment and the cornice. Thus a good form of a continued work is laid in; but there is too much vacancy within. It is intended that the space shall be large, but it is now too large. The designer must reduce it ; and the means — of this wul complete the: ornaments. Let him place within this a kind of frame; let the sides of it join the inner edge of the two up- right parts which support the cornice. At their top let them rise to the cornice, and at their bottoms rest upon the pedestal raised over the mantle-piece: thus let the two sides of the intended frame fill the space; but let the outline of each of the ends recede a little from the inner line of the cornice at top, and from the cap of the pedestal at the bottom. This will have a double advantage; it will at once give a relief and lightness to the general work, and a swelling to the cor- ners that will be very agreeable. This frame, for such a work of moderate expense as we here intend, may consist of an outer and an inner moulding, ornamented with light sculpture ; and the middle space with fret. The corners, which swell up and down, may receive a rose, or other flower; and thus the frame is completed ; the space is reduced to a moderate proportion, and all appears uniform and rational. If any thing more be intended, it must be given by some additional sculpture. The cornice and its pediment are the proper scenes. for this: their mouldings will receive the ornaments of the chissel, and shew them very conspicuously. This done, the only blank will appear in the face of the pedestal, which rises from the mantle-piece, and supports the upper-work; and it will be easy to dispose upon that any peu or richer ornament, according to the occasion. ( GH Dp. | 187 Of the richer continued Cuimney-Prece.) - We have said already, that a due breadth is essential to dignity in the upper work of these Chimnies; therefore let him begin by de- signing a Chimney of due extent below; and, as there cannot be this needful dignity without some weight, let him give the lower part a solidity to support it. In this view, when he has designed the lower part in their usual way, let him add breadth to its outline, and solidity with ornament. | | cn Of the OnnaMENTS. Festoons on the sides of the Chimney are the principal ornaments of the lower parts. Let them be made rich, and wrought with large flowers. Let the moulding of the inner part be also decorated with. some sculpture, and no more will be required in this place. The mouldings, and other parts of the Chimney-Piece below, must thus be enriched by proper sculpture, that they may correspond with the work above. The particular directions on this head need not be repeated _ here, as they are to be found in treating of plain or simple Chimney- Pieces. The upper-work is the proper business of this place, and to that the student is now to raise his imagination. He has the form of a frame, supporting a cornice, and upon that an open pediment; he is to fill the open space left there, and to give something correspon- dent to it below, ‘and he is to enrich the frame. These are the three points. And with regard to the first or most essential, the proper-direction is, that whatever be placed in that open- ing, be light. The frame in this case supports the cornice on which the pediment is raised, without the assistance of two regular sides, therefore less weight must be added, because the support is less. A vase, though proper there, would have an aspect of too much weight 188 Pers Be. here; and nothing is so proper as @ shield, surrounded with some loose ornament. This, with a sufficient. bigness, will have little weight, and there may fall from its sides, as from the top of the vase, festoons of flowers: these may. either be last upon the flat of the cor- — nice, or continued to the angle, at the pleasure of ‘the sculptor; it is -ndifferent in point of propriety. My Es heed Let our designer now review his drawing: he will see that the | common ornaments of the tablet over, the centre of the fire-place, and the shield at top, give an air of nakedness to the bottom of the — frame. This must not be suffered in a piece of work intended. to be so ornamental; some figure must be considered to fill it. The stu- — dent has the whole range of nature for his scope and compass, and — from among the animal kind may select what he pleases. A base — may supply the place, or any form of a living creature; but those figures are most proper in which there is the greatest freedom. Thus much finished,. there is:only the consideration of the frame, and its ornament is easily appropriated. The outside should be en- riched with large and bold sculpture, and the inner moulding, should be wrought with care. From the square of the: upper: corner there may fall a scroll and festoon sideways: .these will finish the design. They must be light, because there is little space for them; but. they will have a very good effect ; for, beside the filling a very disagree- able blank, the scrolls, small as they are, will yet have an aspect of supporting the square corners which hold up the cornice. Of simple CHIMNEY-PIECES, wrth various. ORNAMENTS, | The student knows we understand, by a simple Chimney, one which terminates at the mantle-piece, and is the proper kind fora parlour that, is hung with paper. It is not limited to this alone, but may bea fit, ornament in. any room. not of the most magnificent kind; but the propriety isin the use. we have named. Variety of © TH | 189 forms and ornaments must be considered by the architect for this _ purpose; and to those we have given, we shall now add some others. — | | We will suppose a plain and not large room is hung, and is to have a Chimney suited to it; the orders we will suppose are by the pro- prietor excluded, and perhaps, by a regular consideration, the room not being of magnificence to renew them. The owner is tired of the same dull repetition he sees in common rooms; and he’ desires, though without a great expense, to have something handsome and new. Thus much presumed, let the designer mark in his whole space of extent for the intended Chimney, and within that outline Jet him thus begin the construction of the several parts. From the hearth let him raise a bold square plinth to the measure of the outline, and somewhat backward. Just within this, and more projecting forward, let him raise another plinth of the same height, and somewhat more - in breadth. ‘These are the proper foundations of the work. Upon © the inner plinth, on each side, let him raise a plain perpendicular piece, with a handsome moulding on the inner edge, and a slip of plain marble within that; let the rest of these two sides be perfectly plain, and for the top lay on such another piece, terminated by a moulding inward; and for the rest admitting no ornament but a good polish. | Thus is laid the foundation of our Chimney-Piece: this is the simplest and plainest form in which such a piece of work could be constructed; for these three parts make a kind of Chimney-Piece alone; and from this the student may learn, that the happiest orna- ments are those added to plain propriety. On the outer plinth, which is placed somewhat backward, raise on each side a scroll of the usual form; let its head be level with the aperture of the Chimney, or lower edge of the upper piece; and let it here swell into roundness in the usual way; thence continuing hollow to the middle, and then swelling out a little again for the foot by way of support. Upon the head of this scroll, on each side, let a plain piece rest, of the breadth of the upper piece of the frame, and let it have a moulding when it 24. 3C 7 190 a ew ; rests upon the head of the scroll, which will answer exactly in this disposition to the moulding on the lower edge of this part. Thus is the Chimney carried in a plain way (for we shall speak of its few ornaments afterwards) up to the due height of the frame; and upon the level top of it is to rest the mantle-piece. This must be corres- pondent to the lower part; that is, it must be handsome without great expense, and singular without absurdity. We have contrived for a various projection of the parts in the bring- ing forward of the sides; it will be well to make it consist only of a frieze and cornice; the plain upper piece of the frame, and the corres- pondent small piece over the scrolls, standing to the eye in the place of an architrave. It will not be easy or proper to give the cornice any more than two projections; that is, its whole level face uniform, and the parts over the two scrolls receding. The propriety of rule ties us down to this; but itis not so in the frieze; that, instead of three, may be made to consist of seven parts; and though the projec- ' tions are in reality but two, they will appear numerous from their alternate mixture, and will have all the force and charm of variety. The two sides project beyond the scrolls. Let a piece of the same breadth be continued over these, and let it project to their level;: let the whole frieze beside be of the level of the piece above the scroll, and in the centre let there be a tablet projecting to the level of the. top pieces over the sides. This will give the appearance of seven different projections, though in reality there are only two, since no two that stand together are alike. Indeed they may, at the pleasure of the architect, be carried farther, for the tablet in the middle may have a projection different from that of the pieces over the sides; and the parts of the frieze over the scrolls may recede deeper than the common course of the frieze. ‘This is in the pleasure of the architect; but we advise the former method, that the whole plain course of the frieze be of the same level, and the projections be equal. Let the designer bestow a due attention upon this part of the work, © for it is all that requires invention, the cornice demanding no: par-— ticular thought for its construction. Of the ornaments we shall speak a C 191 separately, so that all we have further to consider js the cornice, in whose form there need be nothing particular, nor is any other care required than to stop the plain force with a sharp edge, where it terminates at the recess over the scrolls, and to work the several mouldings with truth. Of the ORNAMENTS. These most regard the frieze, and, of all its parts, the central tablet is the principal; that will attract the eye first, and detain it longest, and consequently upon that it is needful to bestow the sreat- est attention. With respect to its form, that of an oblong square would first come into the architect’s thought, but something may pro- perly be added to it. The frieze cannot be very deep, ina Chimney- Piece of this kind; and, as it is proper to give a conspicuous air to the ornament of this part, nothing can be more judicious than to drop it into the upper member of the frame. The whole tablet may be let into this upper piece of the frame, but it will then appear heavy. It will look like a botch, and seem to say the frieze was ill constructed for its ornaments. This must be avoided by all means, for as it is fit the architect should in his own mind lay the plan for the whole together, it is also fit that the eye should discover at once that there had been such a contrivance. To this purpose, in the pre- sent instance, let the tablet drop into the upper member of the frame only in the middle, the two side parts being of the breadth of the frieze. ‘This will give the tablet itself a more handsome shape than that of a plain square, and will suit it very happily to receive the ornament that is most proper for it. ‘This may be of various kinds, but there is none so fit as a head; and as this will fill the deeper space, and leave almost a necessity of short festoons on the two sides where the tablet is less deep, the two faces most happily suited to the purpose are: those of Bacch»s or Flora. Round the one may be an intermingled wreath of #¢Pes and foliage among the hair, which rn ys 192 | ¢ @ & may run off each side to fill the narrower part of the tablet with a fruit-festoon; and round the other a wreath of roses and anemonies, which may in the same manner be continued into that vacant part. Pomona may take the place of Bacchus, but the fruits are properly of the larger kind; or Ceres may be placed instead of Flora, but her ornaments are less elegant. One of these, after all consideration, will be found the best. Where there is a plain tablet, an Apollo’s head is very proper, because of the rays; but it would be irregular here. The tablet thus covered, the two spaces on each side of it come under consideration, These are oblong, and of moderate breadth: they will receive very happily a cornucopia in-each. As the tablet is crowded with flowers and fruit to the edges, let the naked ends of the horns come to that part; and as it will be proper to give some peculiar ornament to the piece over each side which terminates the space, that will not be of the flower or fruit kind: the broad mouth of the horn may each way terminate a little short of that, and pour out every way its fruit and other treasures. The student will see, that, in the decoration of this frieze, we study diversity as well as beauty. - Hitherto the several parts are sufficiently distinguished from one — another: the face in the centre is well surrounded with flowers; the curled ends of the horns come near that, and separate to a sufficient distance the treasures they pour out at the other end of the space. The piece over the side, which separates this from the small receding part of the frieze over each scroll, may be decorated with a radiant star; and then, in that receding part, it will be very proper to place a bunch of grapes, or some other conspicuous cluster of fruits. Indeed, if » Bacchus’s head be placed on the tablet, we by all means recommend grapes here, preferable to any other ornament; and, on the same account, if the head were a Flora, we should advise — the placing on the parts a rose, or some other conspicuous and large flower; for the distance between this part and the tablet, with the several intervening objects, suf&ciently prevent it being considered as a repetition; and, hee that dange: is not in the way, there i is a ee ee ee ee ae a ee ee @ Hs | : 193 | happiness instead of a fault in this method, because it continues the subject; and there is a pleasure in seeing under what variety the same thought and design may be preserved. The principal affair of the frieze being thus determined, little is required for the decoration of the other parts. The scrolls must have their common. spiral upon the shoulder: and as the only vacant space will then be in‘the side under the volute of that part, a large flower may very happily ' be placed there, from which there may be dropped a light ‘and small festoon. All that need be done farther, is the ‘decorating some of the mouldings with sculpture. The cornice will be the principal scene of this decoration; and as it is most in sight, there will be propriety in giving it the greater share of these ornaments. The moulding that surrounds the frame on the inside of the Chimney may also have the same decoration. | Of a Marine Curmney-Prece. By this term is meant a Chimney-Piece, all’ the ornaments of which are taken from Marine or sea subjects. These are in themselves ex- tremely numerous, full of beauty, and: full of variety. The whole scope and series of them/are in the choice of the architect on such an occasion; and his judgment is to display itself in a proper choice among the multiplicity of forms, and a just assortment and continu ation of those he chooses. The first direction we shall give the young architect on this head, is to review the variety of nature, and take his choice among them. Let him not limit his fancy by the small num- ber that have been used by others: there are not only more, but better. The architects of the present time do not sufficiently study ‘nature; and it is in the works alone of those who have professedly treated of these subjects, that he who would be eminent in this part of his business must study the means. This path rightly followed, there will be a source of beauty and ‘variety opened, that no practice ean exhaust ; and from such stores, not on the imitation of the works i | 3D 194 a of ee we would. have the architect go epaai the. design of this Chimney. Let him, as usual, ried in a sodabal siti bi cincabaalll the oa compass it should fill;. and within: hits upon the level of the:hearth, — let him first raise two @eail plinths, as in the preceding design; only ‘that here the greater one being destined for the support of, the orna- mented part, must be considerably larger than the other. On the first of these let him raise two perpendicular sides, consisting only of a few large mouldings, with a flat ledge within them ; and upon these let there rest a third piece of the same kind and form. ‘This makes what may be called the frame of the Chimney-work ; and about this — are to be disposed the ornaments. Upon the second, or broader plinth, on each side, which are to recede a little for the advantage of _ light and shade, let him raise two flat and upright pieces; to be the field, whereon to place the ornaments. ‘These are to terminate, as the scroll in the other design, at the height of the opening of the Chimney; and they are thereto be crowned each with its head of mouldings. These may be more considerable than those of the other Chimney-Piece, because the pieces which they terminate are the most considerable part. | Thus is the body. of the Glvcanosapic ae to be cleaitaivesks and upon this level top. made by the frame,.and,the outside pieces, is to be raised the mantle-piece. This is,to consist of a frieze and cornice; and for the reception of the intended ornaments, the frieze must be broad. Thus is finished the plain form of the mantle-piece, and its support. The Chimney-Piece finished thus perfectly plain, would be of no disagreeable form; but we propose to enrich it with very ele- sant, though not expensive ornaments. Of the Decorations of this CuimNEY-PiEcE. There are two parts in this work allotted for the cecaleen of. orna= ments, the flat pieces carved up the sides, and the frieze under the ce a ae ae lle corner of the mantle-piece. In these pieces the centre of the frieze is understood to be the point of principal ornament:) it is there the tablet is placed in those Chimney-Pieces which receive that'addition ; and in others the principal figure naturally takes: its. place where such a tablet would stand. The most natural, as well as the most common ornament i in this place, is a head of some kind ; and the rest of the frieze is usually, and not ungracefully, filled with a couple of festoons that rise from it. Weare notin this instance about to prevent the _ student from following the course of custom, but would have him compose his festoons of such subjects as are most suited to the occa- sion, and choose his head from those kinds which have correspondence with the rest. In general, festoons are made of flowers and fruits; and the head, placed as a decoration to the Chimney-Piece, is that of some heathen deity. Neptune’s head might answer in this place, or that of a sea-nymph; but the first would be too coarse for the work, and the latter might be misunderstood. It will therefore be most proper to place there the head of some large fish; not of the shark, because the armour of its mouth naturally creates terror; but that of some more inoffensive kul; th lai or a pou heralds give of the dolphins. ; I | _ These will not fail to please every eye,’ when the rest of the Chim- ney is decorated in the intended manner; but if either of these suit the taste of the architect, he may give a figure from fancy, only taking care that it resemble so much a fish’s head, that every eye may distinguish that it is designed for one. This principal figure being placed in the centre of the frieze, the two sides are to be filled with festoons. Let the architect form a general outline of these, marking their breadth; and let him bring each from one side of the’ head; and, after dropping it down in the middle, let him raise up the other end to the top of the frieze at its extremity. This is to be the course of the festoon; but with respect to its parts, they should be corres- pondent to the general design, and made of shells. Of these the sea affords a variety altogether endless ; and among them are a thousand ics. ca DP | << different forms, which may be very happily twisted together in this _ design. The body of the festoon may be thus diversified with the fastates of the shells; and the pearl- oyster. being introduced among | thie rest, may scatter over the edge its glittering treasures. \ ‘The sides are to be decorated with Sheva kind of subjects: but as they have a different direction, those objects may be placed in a various manner, At the top of each may very properly be placed a scallop, and from its base may hang a festoon of other shells: these may be chosen so as to diversify the whole by their unlikeliness to others, as well as'to exhibit a pleasing number of forms: and upon the plinth of: this piece may rest a large conch, turning up its wide and open mouth, as if gaping for the dropping festoon, loaded with smaller shells, and scattered pearls, as in the frieze. _ There will remain a square piece undecorated xt the top of end of these sides above their mouldings, and upon a level with the frieze. This will admit a peculiar beauty, by means of the diversity of light and shade afforded by its receding; and in this should also be placed one large shell. For the rest nothing can be added, but sculpture to the mouldings; and this we advise not to be too lavishly allowed - them. They should not be left altogether plain, because the quantity of work upon the sides requires some decoration in these parts: but. neither should the chissel be allowed to rest. too long upon them. They should not be plain, because that would ill agree with the rest ; and they should not be much adorned, because the eye is intended to be detained but little upon them: the peculiar ornaments of the sides being the intended objects of the attention. Little need be said:with _ rebar to the materials of which this Chimney should be made... The quantity of ornament, and its nature, require, that there should be no confusion in the lights and shadows. This declares a marble of — one colour to be the only kind fit for the purpose; and of these sorts there is none so proper as the plain white. | OF ® re 197 Hihesie esi viol Pysin s19d9 seer) to Isqtouitg Odd ai -bas iain 794 Y iy siOf avsmaliiCuiMney=Pirce ‘with | Sculptured Mouldings. Mariel asivoibssq ted 6 obie fo#9' M10 Fi 0g Seist bas Ainid sau oc jhe» last) desigivwas of: a‘kind where the ' beauty of'thework: results from the variety of added! orhaments|.! What we-have here to treat of has: its elegance from a:(plainer;>°more! familiar;! and. less’ expensive source;jand) yetan many cases is fall as’ pleasing»! ‘That’ was fit’ for | particular : purposes ;:'for the study ofvan admirer, or' the library of a naturalist, iwhere it might’ stand independent: of every thing else,’ and yet .be: sure to iplease.: It.could not. fail! to-affect'the imagination by its noyelty,; nor:to please by! the variety of its'ornatients,'!and by the _ beauty of they single ‘figures, -as well as by ‘theirSdisposition. ‘That which we here. propose is oné of ai more genérally ‘useful kind ; ‘and we shall introduce the:reader to it! as td'the otliers, ‘by'forming a sup- position ofsits placeand'use. 9!) 10 eon ol) Siw TBISE SB. 91 3 & parlour, ‘we: will” suppose;)is' to be decorated: with Sculptured Mouldings: upon: wainscot ‘pannels)~‘and“a' Chimney is'to’'be suited to it! im point of expence’ and ‘figure. This’ must! ‘have! the same Kind of decorations, -and its. ornaments ‘of ‘a° higher’ 6rdéi, Whatever be al- lowed) inthisi way, must not be repugnant’ tote ‘Phis' is the kind of work ‘wei propose! ‘here; and’ the ‘student’ must! thus ‘design’ it: ° Co- - lumns would be:'too noble, and they would not suit the'room: fanciful ornaments are not to be received, because the rest’of the finishings are of a plain though handsome, kind; and the designer has only the form of a common Chimney-Piece in his power, and can use nothing so well .as‘scrolls\to support the ‘mantle-piéce. Let him mark a general outline of the whole, and then consider its source of oMnamsent: mice: «od s00tF-yoursiAD ei} tive of ecg . 1 , AS many) things: ate cwithheld) he: is” to make* the’ most’ of’ those which are:free toihim: andidet him ‘first’ consider the advantages’ that. may arise from:‘light and shadow.) Let him, ‘upon the level ‘of the hearth, Jay: inithreeisquate’ plinths;) the! innér one largest;'‘and most forward,, and'the other two grad ually smaller, and gradually receding. Thus there will be the foundation of ‘three general projections ‘in the 25. 3 E | | in t 7 r ner Fe WOES ‘ 198 , CH D upper work ; and, in the principal of these, there may, fromits breadth, be some other variations of the same kind. .Let:him»now begin with the inner plinth, and raise upon it on each side a perpendicular, formed of three pieces, in three different projections ; that which recedes ‘most - being inward, These raised, let there be laid) over them'a ‘third of the same form.| This, as in the preceding instances, makes the frame or first work of the Chimney. Over this let him: design the dlat plate as a frieze; and then beginning from the bottom again, ‘let him raise ee ee ae — his second perpendicular’ piece. This, from the: decreased bigness of 4 the plinth, will be narrower than the former, and it must be terminated at the top by a handsome scroll, whose head::must :be‘on a levelowitli the top of the frieze. The third perpendicular 4s now to be ‘raised upon the most backward plinth; and) this must be according to that — part narrower|than either of the others; and must terminate plain at the same height with the head of the scroll,and the frieze... ‘Thus there will be a regular extended surface, upon which-our student is. to design the cornice, for his: mantle-piece; in which, his care must be, to strike the several parts and mouldings with truth, according to the directions given before under their various heads. | “Phus wall rise the whole form and, figure of a Chimney-Piece; and, to finish it: tothe purpose we have here proposed, there will require only a natural suc- cession of ornaments along the, parts and places where they will be most conspicuous. ie Bae Of the Decorations of such a CHIMNEY.) © The purpose being to suit this Chimney-Piece toa room where the mouldings of, the wainscot are carved, the mouldings here must have the same ornament. There will be two upon the inner formof the Chimney-Piece; which will very properly receive the chissel; and these being separated by a broad-piece, which is plain; may be én riched as highly as the artist. pleases. The beauty of the: mouldings will be seen distinctly, .if.separated by this plainness; but when there eu! on (199 1s) sculpture i in this. intermediate part, the. eye.is, lost, -and. bewildered, and sees nothing distinctly. The mouldings of. the cornice, are, next: to. these: there isto’ be jallowed.a great: deal, of, sculpture. , It, is the most conspicuous part, and for: that reason demands to, te made the most elegant. It is also:upon:a level with the. eye, standing, and --will; be considered more naturally than any other part in the same view, with those mouldings of the wainscot, with which itis the art of the architect to make it correspond. . The great judgement; will be, in this’ place, to throw in the needful, quantity of ornament, jwithout © confusion. ‘The great beauty of carved, mouldings, is.to,be,seen dis- tinct. ‘To ‘this: ‘purpose nothing is ‘so useful, as, the intervention, of plain parts. When the quantity of sculpture required, doesnot admit of that relief to the eye, the greatest care must be in varying the kind of sculpture on the several parts, so that the difference of the figure in the ‘several :members,, may ;occasion ,the, eye to see them all distinctly. The mouldings thus decorated, there remains but little to the-finishing this piece. Two parts alone) are:vacant that would’ bear ‘ornament; these-are the frieze, and the two.u pHs hei pieces, which. are ‘terminated by the scrolls. , ! «In the frieze the ornament must not a iseaes yet it must. be con- -spicuous. The head of some heathen deity, crowned, with a wreath -of flowers, will very wellanswer the purpose in the centre; and from this, on each side, must be continued a festoon of. large loose work, nearly tothe extremes... The top of the scroll may very properly be ornamented with a scollop-sheil;, and its natural. riches will be a-sut- ficient decoration to the body of it. . The bottom may be,covered with the! end of an acanthus-leaf, and from this may drop a festoon of flowers: these must have a moderate projection, and the care of the designef should be to form the festoon of such as have no small parts. The projection of the inner part, will be some defence to it, but, not- withstanding that, it is in a place where there is too much probability of aceident. This isa thing that ought to be much more considered in sculpture than it/is. The place where the work is to stand should be regarded, that the accidents maybe foreseen to which it.is liable, 200 | ic HH OL f ‘and the parts’ ‘composed aceordinglys nothing paar being: admitted where’ there must come violence. ¥ Tito ane With regard t to the materials of which this Chinmendieln aiid) mavan 2 “be comm imposed, the quantity of: sculpture ‘determines that points: There ‘is’ ‘difficulty’ ins? managing . this in‘any ‘manner,’ that the:merit ofthe ‘aitist ‘may’ not’ be 108 iti ‘the confusion of the objects from: their near- “hess'{) and if’a ‘¢oloured) or®variegatedomarble! were: employed,. that “Confusion: would | bé inevitable; therefore? ‘plain: white ‘isi fittest’ for ‘this purpose." Indeed ‘the’ universal rule ‘suits well withonature\; for ~as) the variegated: marbles do not advantageously. admit sculpture, ‘neither do they” palais it, Slt inexeate uae sabi giving | ‘them aii. "of another ot ana | | io. ..atuaq sist 3 ; taf 6 t i . § e ae ey ELOY ES Pep eery LER erg rat ete may 1 4% A ee DY } cr tout i ‘ en { + i - ; } a6 J CHU O8 TO) OLA Of. a Curnivny-Prxon = fra a’ Room more conch. fi CRIT iy gil - we last ashisidiered’ thie kind of Chinndy that seco Reet for a room ‘where | ‘the ‘mouldings of the wainscot: pannels: were ‘decorated — with sculpture, without any other considerable: addition; wey shall | “Carry our ‘Yeader’s’ imagination a little higher ‘in the samé way; ‘and suppose,’ that! béesidé® the’ sculpture of thee mouldings, the .room has ‘farther “decoration of ‘the same! kind’; the:Chimney must. be propor- tioned’ to this’s “and we‘shall here ‘consider the ‘form that will: be. most proper. ‘The same general shape with the last: must be right, because ‘the *decorations “of the: room are’ of the-same kind; ‘ily as: there: iS. ‘more required iti this'‘case, thére must beomore extent for: the'recep- ‘tion of thé drhamert! “‘Thisisthe first principle: the Chimney=Piece must bé larger; and there! must''be a! greater field: for: decoration. “The lights and shadows must ‘be next? considered, and, after» the de- signer’ shall have? drawn his general’ COM: he’ miust begin bs paces “for this by ‘different’ siojetions sid St aid ! onibasterl. Three plinths)»in' different: degie of Projectidfl. he: isishs fixgt mark in, as in the ‘preceding? bubin' these: the ‘thirds or most remote must shew itself between ‘the first'and second very ‘far’ back, and the Cm dT | ae middle one or second must itself. have-a different projection, the mide - dle of it standing much forwarder than the two sides. We shall shew the use.of this,in the. super structure; let the student begin here, and he. will, see the advantage in. point, of Jight and shadow, «that must: Oy be ter SED ay \ attend such a amixed’ projection of the several parts. Upon the first ke these let him raise on each.side a perpendictilar piece of its breadth, terminated each way. by a handsome. moulding; and , laying another _ piece of the same form and, composition over them, from one to the other, he; will have then, the frame, or ifirst work. of the Chimney. The second: piece, as we have named already, is: not to rise close to | this; the third, coming behind. it in form, of a back pilaster fashion, — is to. separate it. a little, and there is then to be raised upon the mid- dle or most projecting part of the bottom, a. scabbard of that kind, which, holds the figures of the termini; and: from: the hinder: part of. it, which projects less,, let him: raise’ a: perpendicular piece, which is. toserve as a back to the figure in the: middle, and shall be all the way of equal breadth. We have’ before mentioned the continued ‘piece of smallest projection, which, running behind ‘this, serves asia back to the whole that is raised on the last-mentioned plinth, and _ terminates pedestal-fashion at the height of the first frame of the Chimney. Thus much prepared, the figure which is to rise on the middle part of this second. plinth, and. 1s to be the principal of the work, 1s to be designed. E aaotpioaba 10 bash drei g . ‘The, back we, have, proposed’ for this running of equal breadth up from the.whole of this. phath, must cut through the mouldings of the pilaster back,, and rise. to such: a height» above them, that a‘plain piece being laid.over the frame by way of frieze, its top shall be level with theirs. These are uniformly to. support the cornice of the man~- tle-piece. We have directed the student to begin the form of a scab- bard from the projecting part of the: middle plinth, equal to it in breadth at the base, The outline.of this must be! formed by two di- vergent lines, which widening upwards, must, a little above the lower moulding: of general. back, unite with those lines which form the par- Oe Buy oF “992. ©. 0TH 4 tiem back oft hd ficened Gato from the two sides oF this plinth, This will have a. very happy! effect. fT) Now, directly under the puineteusnsee Jet. there. be drawn’a female face, crowned with a fancied head-dress, and ornamented with flow- — ing hair. The neck and breast must be naked below this: and’ they will naturally enough fill the square piece, where the two lines which — form the scabbard are lost. In‘this place is to begin the scabbard, and a little foliage may very well rise on each side, ‘and in the middle | drop lower, forming a kind of ornament above the sides of the breast, and concealing the separation. Hence is to be continued the scabbard downwards; and-this should, in the present instance, be decorated with a rich festoon for two-thirds of its length, and on the lower part co- — _ vered with an acanthus-leaf, raised for that purpose from the surface of the plinth. Over the head, and upon the flat piece, continued from one of them to the other, ‘is to be carried the cornice, which, project- ing on each side over the heads, and receding behind,’ will have a great deal of variety in light and shade ; and ee will now be wanting but the ornaments. - Of the cee ee of this CHIMNEY... It is intended in the original design: of this Chimney, that it shall have a great deal of dadeiabionk Heads placed above the scabbards / in the sietdle parts, are a great article of this elegance; and what re- ; mains to be done, is to give a proper decoration to the frieze, or flat piece, over the frame, nif} to add: the advantage of sculpture to the mouldings. In the centre of this piece it will be right to place a tae blet, as that addition never: fails to give a look of finishing. In the centre of this is to be formed some large and conspicuous ornament. It must not be a head in this Chimney-Piece; ‘because that would’ be — a repetition of what is already: at the sides. A’ shell will be very — proper for the purpose;. and as it should be of some kind that spreads considerably ‘without projection, none will be so fit as the scollop. | C iH ' 19.0%. - For the construction of this, we shall refer the sculptor to an ei, much superior to all the models of old Greece: let him lay before _ him, as he works, a natural scollop-shell; and if he will with due attention follow the work of nature in the several ribs and furrows, _ which her distinct and accurate hand’ has marked upon its surface, he will command universal admiration. This is the everlasting lesson we give the sculptor. Nature is in all these cases ready at hand ; | atid’ we shall‘not fear'to tell him, that as much praise may be ob- tained by mimicking a siigle Shell, as by copying the Belvidere Apollo, . _ From each side of this shell: should be eairied’s a fsyebiic to fill the rest.of the tablet; and, as nothing can so properly decorate the two. “spaces of the frieze on the two sides of this tablet, there may be a great deal of merit in so disposing the inner point of each, that al- chibi it be in reality distinct,. it shall seem a continuation each way of the festoon on the tablet. The remaining ornament of this Chim-. ney-Piece must depend upon the sculpture of the mouldings; and in this the same care must be taken, as in the preceding instance, that this be varied in so careful a manner, that the several parts tend to: set off one another, not to confuse the eye that is detained upon them. The great caution in this respect will be required at the cornice, for in that part the sculpture will be close. The two: mouldings we have: directed to be given to the three pieces which constitute the inner work or first frame, must be cut into a bold and strong elegance of this kind; and, as the separation is ‘considerable, we shall allow in this what we declared against in. the other, ‘that is, some ornament on. the piece between. This must. be light, and consist, of large parts, and by this means it will at. once pee an aspect of diversity, and will, not confuse the peg ce Of a CHimney-Piscr and Winp-Diat.. ~~.) We shall close thearticle of Chimney-Pieces with: one of the con». tinued: kinds: in:which,. beside the singularity, there is use.. Every. a Gane oe NS games ee one knows, that from a vaneat; the ‘top of. a house, | turning according 4 ‘tothe course of the wind; a dial may. be made, with its hand, which | ariswering directly to-all the motions, and. changes above, shall point — to those divisions on which are marked the several’ points of the com- pass.) This 1s. familiar to-every.jone omthe outsides of buildings, from ; that, which is so wrought at Buckingham-house;, now the Queen’s Palace ; but the most useful method is to place the dial within doors. Those who are: to go: out of the house to know? the course of the wind, may look at the vane itself; but. there. is ai great deal of conve-. ‘nience in bringing that, indication into a room of “the house. . When a thing of this sicitas is. proposed, the ‘first -business of the designer is — . ee that/every room isnot fit for it. Ae Wind-Dial i ina din- — ing-room would be an odd kind of ornament, fats much more impre O- — per: would! it, be, to place it: ina more elegant apartment, The study of a sea-officer, or other curious person, or the: breakfasting-room of © a sSpoptemian, are the proper iol Of the. Construction vi thas Canniun-EIHb es a Chniiuae’ Chintney-Bicces | are in a manner dveued to the finest ~_yooms:in a house; and are therefore in great propriety covered) with a profusion of ornament; but: in) this; which is particular in deviating — from that rule, the: first principle is, to omit the thought of such; ac~ cumulated decoration. \‘Ehe room, ineither of these cases, 15 not of that-highly enriched,: kind; mor) is)the: dial itself, though; itmay. be rendered: far from: unpleasing| to the eye, a piece of ornament atall like the others, of which we have:treated. For these reasons the'de- sign of the lower work in this Chimney. must be solid); without too” much ornament; and all that belongs to the continued part must partake of the sane character. Thus much premised, that the student may understand’ every article, and its reason, as we proceed i in the design, we. shall-\consideri ‘separately the two parts’; or the Chimtiey-. Piece intended to support; this singular superstructure; and) theupper ey Hr eae i. work itself We ren See in. general, that the upper part in a continued Chimney-Piece should be light; and for that. reason have on all common occasions excluded the use of the orders. But this is a kind altogether singular. Its construction will therefore af- ford an exception amy that rule, very allowable in its own nature; and as we have directed that the whole of this upper work should be proportioned to the design, we shall here allow an order in the super- stata, | and that not of the lighter kind. : Of the lower Part in this Curmyey-Piece. The anh a must understand, that mA is to design on this ¢ occasion a lower part of a continued Chimney-Piece, whose character must be strength, and whose ornaments moderate. It is to be the decoration of a room where the taste of high finishing has not entered, and it is 7 to support a plain, but solid superstructure. Let him, when he has considered the extent of the room, draw first a general outline of the whole; and separating the under part, of which we treat here from the other, let him begin with the mark of a couple of sides consider- ably broad in proportion to the height of this lower part. No matter that they have an air of massiness before the upper part is shadowed in; as soon as a Doric column is placed over each, the reason will be evident, and what might seem in the imperfect view_an error, will become a beauty. Let him begin by designing his plinth; let this be continued for the support of the frame and general back, and let it project at an equal distance from the part where the rim of the frame will come, and the verge, that it may support an upright piece, whose projection will give it an air‘of solidity beyond the rest, and over whose axis is to rest that of the Doric column. The plinth thus designed, let him begin by raising on its nearer edge two upright pieces foe the first frame: let these be narrow, and terminated outward by a thick moulding. This will give an air of strength, more than if they: ¥ were 26. : 3G a Tie ee ae Cc HI broader and more flat, and that is the idea carefully to be entertained — in the mind through this whole design. On the outside of these — must be contained the general back, pilusteistashions and in the midst of this Jet there be nigel upon the projecting of the plinth, an up-~ right of solid aspect, which is to run up beyond the sides of the ge to abe cornice. - These parts laid in, let a ahi piece be marked for covering the | frame to the height of the tops of these two last-mentioned prion q and thus there will be a level surface, on which to rest the cornice: — beyond the uprights there must also be continued a piece over the top — of the back, which ended by a moulding running ima line with the upper one of the frame; and thus is the whole body of the Chimney- — Piece framed in this lower part, to the place where it is to be crowned — with the mantle-piece. This is to project over the uprights, that is, ' under the pedestals of the Doric columns; and a pediment may be raised from its centre. ‘These variations will give it a great advan-— tage, from the disposition of the parts, and the changes of ight and ; shade, and that without the introduction of any improper ornament. — The pediment must be of the open kind, and must receive a bust. Of the ORNAMENTS of this CHIMNEY-PIECE. Beside the mouldings, which will very well bear moderate sculp- ture, there is one conspicuous part that requires ornament. ‘This is the frieze or flat piece over the upper member of the frame; and there will also be room for something on the bodies of the two uprights, which are immediately under the columns. As for the ornaments of the frieze, there is no absolute necessity for a tablet to receive those in the midst; yet it will in general be advantageous. They should consist of large and solid parts, to answer properly to the character — of the rest of the Chimney-Piece;: and as we have given two ofr three different occasions on which it may be proper to introduce: this kind of Chimney, we shall observe, that they ought to be selected out of that ee of nature wherewith the aba is most concerned. | If the BreAR fasetnieyobin of a sist were the beats for the Chimney, we dhould direct guns and nets to be represented on the tablet, and wild game on the side-spaces: but it will be best to sup- pose it answering the noblest purposes, and placed in the library of a sea commander. In this case the subjects proper to be introduced are of another kind; and, happily for the sculptor, they are such as will best become his art. There is a vast field here, as in all-the instances we have named before on like occasions, for the sculptor to receive as models ; but his art, which should depend on nature, loses sight of | her entirely. The heralds’ animals are not more contemptible than the eggs and anchors of our best sculptors; so remiss are they even in the most common parts; and in all others, though nature is before them, they regard only the representations they nee in. former works. These are few. ! imperfect, and obscure; while the variety is endless in © nature herself, and nothing so easy as the imitating her. There is” merit in novelty ;. and this. is the natural path to acquire that pr aise. The artist will find an inexhaustible store for it in these instances ; and he will stand very far above all censure, when he can appeal to ‘nature, and to the representations of her several forms in the writings of those who have professedly studied them. It is for this reason we so often and so earnestly recommend to the architect, who is to design ornament, and. the sid gaa who is to execute them, the study of | nature. ) ‘ If he would task his hand to the highest of its power, let him, as well as art can mimic nature, trace in this work the accumulated rays. that in distinct assortments cover the star-stone. To these let him, add, in review at least, the madrepera, or spungy striated, and starry: white coral; the eschara,. whose nettled substance tires the eye, while not one fibre loses its place or office; to these the pearly ormus, and the round-headed acetabulum add their various, distinct, and always: admired forms.. These, and innumerable more, which the sea covers: wi 208 C H..f from common eyes, naturalists have dragged up to light, oad their forms far exceed all the fanciful figures that modern genius, or even the: idolised fancy of antiquity have ever given us. These are the gee ee subjects of which the festoons on the tablet in this instance should be @ formed, and they are ready for a thousand others. Instead of a com- position of small subjects, fill the vacant side-spaces of the tablet — with a whale or dolphin. The massiness: of such a figure will con- tribute with all the rest to the ideas of strength and firmness, and thus, will the decoration of the pringipal part in the lower work. be finished. Of the Decoration for the eth th the lower Part. Next after the frieze, and its tablet, come under prints the two uprights, which stand under the columns in the superstructure. Let the top of each be covered with some broad and well-shaped leaf, and let the body be surrounded by a plain moulding. This will give a kind of oblong pannel in the front of each, and down the greatest — part of its length may be carried a festoon; and let these foatenns be composed of stars, waves, pearls, and acetabula, and let the leaf he ] throws upon the top of each be of the sea kind also. - Those whom our artists affect to follow copied nature. “The first rose introduced to sculpture was taken from the bush, and there re~- mains to this time its most perfect model. It is so in all the others; and every carver has power to refer to the originals. Instead of this, the forms are transferred with little regularity from one piece of work to another, till, though we see in every instance the same shapes, it is not easy to say what they are. The anemony is in spring open to the imitation of the sculptor, and what comparison can be made be~ tween that flower from the gardens, and its best representation from the chisel? This copying one another is the reason of the acknow- | ledged decay in the art; and there is but this method we propose to | restore it to the first lustre. The frieze, and this part of the Chimney @ HI ba 209 pébeg dispatched, the other ornaments are few. A. little common | sculpture on the mouldings is: all there requires in the cornice; and the bust in the pediment so nivab be Ss asi to the rest of the work, a oh laa weg or sot lo SOF the SupERsSTRUCTURE. Thus much finished, we come to the continuation of the Chimney- Piece upward; and'to form a proper idea of this, recollect that a wind-=dial is to occupy the middle space, and that the sides are to be | decorated with Doric columns. ° In all continued Chimney-pieces the upper work isa kind of frame; and here it requires no particular form. The bust will rise a little way into it ; but’ this, far from being a blemish, ‘will be the ‘happiest way imaginable of connecting the two parts peter, tl will Li mit an ornament continued from howe of the dial. f C2 SOT Bh SSID SEF gor : To: begin ith ibilerityy we shall direct our atinderit to Brave his , silat of the whole upper work correspondent to the lower; and this done, he is to design his columns..’‘ Though it is proper columns should be used in the Superstructure of a Chimney-Piece in this sin- gular case, yet it isto: be considered, that when the Doric, the most. suited to the general intent is employed, the several methods’ that tend to lighten it should all be taken. The first of these is the raising 1t upon a’ pedestal; because in that case the column having Jess height in the shaft, requires less diameter; and in appearance nothing will so much ’contribute to the weight as the thickness of the shaft. This first principle being established, let the student find the axis or centre of the upright piece on each side, raised for the support of these columns, and there fix the point for the centre of his column. ‘This ascertainéd, let him raise the proper pedestal of the Dorie order, ‘marking distinctly its base, die, and cap; and let the’ mouldings which form these be continued, as if to unite the two pedestals by an 27. 3H 210 i aC Gat oe intermediate plain work ; they’ must not be suffered | to os the pedi- | ment; and they will be interrupted also by the ornament. of the bust. Let them however be marked with a faint line all the way, that it may be rubbed out where these parts intervene. It is the moulding — of the base that will be interrupted by the pediment, and that of the cap by the ornaments of bust.. The first lines being marked in al- ready, these need not cut through it; but in the othtie case the place of their stopping cannot be ascertained till the ornament is formed. Upon these pedestals raise the two Doric columns; and, to give them a farther air of lightness, as far as that order is capable, let:the shafts © be fluted. Upon these raise the proper entablature, and | crown it with a broken pediment of the arched kind, from the base of whose q opening it will be very proper to throw up a scallop-shell, and. to give out on each side festoons. of corals, shells, and star-stones, to fill the vacancy. This done, the space is marked in, and little’ remains for the architect. The structure of the work for the dial is not his province. Its out- line is all he is concerned to lay in, for he best knows what would be its size, and what ornaments should surround it. In the square space contained within the columns, their continued base, and the lower member of their architrave, let him design a proper frame. This must in general conform to the outline of the space ; but to break in upon the sameness of a perfect square figure, let the corners droop, and the top-line from a small distance each way be elevated a little. This must be the shape of the frame; and as to its composition, no- thing is proper but large strong mouldings. Let the dial be now de- signed, and brought into its proper place. We would not have it fill the centre of the square, for that would be poorly formal. Let it be struck with several concentric circular strokes, which will form the outlines of the mouldings; and let the outer line of these be so near the top, that the ornaments encompassing it may rise ta the bottom of the pediment. The outline being thus formed, let the four car- dinal points be marked, east, west, north, and south, and thus ‘let Cc IM 211 the, ornaments Ke begun... Opposite to each of these marks let there be a head, representing the antique figures of the winds; and. all that is required farther, is to. connect ie scrolls of a free, open and large work. _ All is now properly filled, except a square above the aot left for a particular ornament. Let a couple of dolphins. be dropt by the tails from the part of the festoon over this, and let them at) some’ distance surround the bust; within these let the. designer | form the outline of a large scallop. This will serve as a very slegaitt as well as proper back-ground ; and as the upper part will be sur- rounded by the dolphins, this lower may be decorated on the outside by rising sea-weeds. ‘Thus will be finished a continued Chimney- Piece of a nature suited to the particular occasion ; in which every part will be appropriated to the main design, and every ornament will cor- respond with the intended character. _ CHISSEL, an instrument used in carpentry, masonry, joinery, sculp-_ ture, &c. and distinguished according to the breadth of the. blade into half-inch Chissels, quarter-inch Chissels, &c. They have also different names, according to the different work to which wey are applied... | Cuom,; ‘that part of a church where choristers sing divine service : it is separated from the chancel where the communion is celebrated ; and also from the nave of the church, where the people are placed : the patron is said to be obliged to repair to the Choir of the church. Cuorp, in Geometry, a right-line connecting the extremities of any arch of a circle. Cima, called also czmascum. A stiri very common in orna- ments, and called by workmen Cima and cimastum, which should be written cymasium, from the Greek name xupesiov, which literally signi- fies a wave, and has been transferred to this moulding from its figure. The cymasium represents in some measure a wave ; it is hollow at the top, and swelling at the bottom, so that its out-line has a waved ap- pearance; it is generally the uppermost member in large cornices. There may be said to be two’ kinds af cymasiums, dnvionieoeive part that has the greatest projecture,’ ‘and this they call the ogee reversed, and sometimes the heel. ‘The beauty of this. seiagpiner = ah in its. having the projecture equal to the height. 9 POWs Ciery, a term in Architecture, Aonntyeele the drapery or 3 erage that is wrought upon the heads of pillars | CIMELLARE, in Architecture, is a vestry or room, _— tle hati vestments, and other rich things belonging to the church are kept. CINCTURE, or CEINTURE, in Architecture, is a ring, list, or Orlo, at the top and bottom of the shaft of a column, separating the shaft at one end from the base; and at the other from: the capital.’ ‘The Cincture is supposed to be in imitation of the girts or ferrils;: which were used by the ancients to pute and sa the’ epee | wooden columns. ~ ‘ : Ot REE Ciprvus, in Antiquity, a low column, wich an inscription, erected on the high-roads; or other places, to shew the way to travellers, to serve as a Beusdbey to mark the grave of the deceased person, &c. Cinéie, in Geometry, a plane figure, compreherided under one siii~ gle line, which returns into itself, having a point in the middle, from which all the lines drawn to its circumference are equal. Every Cir- cle is supposed to be divided ‘into’ 360 equal parts, called’ ‘degrees. K.very Circle is’ the most ‘capacious ‘of all figures, containing’ the greatest area under the least bounds. The area of a circle 1s foutia by multiplying the periphery by the fourth part of the diameter, or half the periphery by half the diameter. Circles, and their inscribed similar figures, are always as the squares of the diameters, so that they are ina duplicate ratio of their diametérs, and consequently of their radii.. A Cirele is‘equal to a triangle, whose base is equal toa periphery, and’ its altitude to the radius. Circles therefore ave in a> ratio compounded of the’ peripheries and the radii. The method of finding the circumference of a: Circle from its diameter, or radius, being given, is one of the'most useful problems in Geometry. The most direct and easy way is by the help of fluxions and infinite series. @.1 8s : me 213 CIRCUMFERENCE, in a general sense, the line or lines wereree a plain figure. However, it is generally used, in a more limited sense, _ for the curve line, which bounds in a circle, and otherwise called a periphery ; the boundary of a right-line figure being expressed by the term perimeter. Any part oftree Circumference is called an arch, and a right-line drawn from oné extreme of the arch to the other, is called a chord. The Circumference of every article is supposed to be divided into 360 degrees, The angle at the Circumference of a circle is double that at the centre. — Circumvo.utTion, in Architecture, the torus of the spiral line of the Ionic volute. | Circus, a large building of a round or oval figure, erected by the ancients to exhibit shews to the people. The Roman Circus was a large oblong edifice, arched at one end, encompassed with porticos, and furnished with two rows of seats. In the middle was a kind of | foot-bank or eminence, with obelisks; statues, and posts at each end. This served them for the courses oftheir bige and quadrige. Those that have measured the Circus say, that it was 2187 fect long, and 960 broad; so that it was the greatest building in Rome: some say it would contain 150,000 people, others 260,000, or 300,000. Cisrerw, is properly used for a subterraneous reservoir of rain-— water, ora vessel serving as a receptacle for rain or other water, for the necessary uses of a family. If you would make your Cisterns under the house, as a cellar, which is the best way to preserve water for culinary uses, then lay the brick or stone with terras, and it will keep water very well. Or you may make a cement to join your brick.or stone with, with a composition made of slacked sifted lime and linseed oil, tempered together'with tow or cotton-wool. The bot- _tom should be covered with sand, to sweeten and preserve it. Or you may lay a bed of good clay, and on that lay the bricks for the floor ; then raise the wall round about, leaving a convenient space petitia the wall to ram in clay, which may be done as fast as the wall is raised ; and so that, when it is finished, it will be a Cistern of clay walled with brick ; and, being in a cellar, the brick will keep the clay 27. Dh Ae oun @ ite Ws moist, (though it should sometimes be empty of water) that it: will never crack. Mr. Worlidge says, he has known his to hold water perfectly in a shady place, though not in a cellar. Thus ina garden or other place. may such a Cistern be made, and covered over, the rain-water being conveyed thither. 'z declining channels running to it. Also in. or near houses, ‘may the wate: that falls from them be con- ducted thereto. Authors speak of a Cistern at Constantinople, the vaults of which are supported by two rows of pillars, 212 in each row, each pillar being two feet’ in diameter. ‘They are plantec and in radii tending to that in the centre. 4M Some persons are very scrupulous about these waters, which are received in Cisterns; for they pretend that they are not all good, without distinction ; that rain which falls in a small quantity during heats, and the great rain which falls presently after great droughts, are reckoned in the number of those that are bad : and thence it is, they say, that the water which is sometimes out of Cisterns has a very dis- agreeable taste, and very often stinks. As for those rains that fall - during the autumn, spring, and winter, when the weather is not vio- ~ lent ; these, say they, are tolerably good. And, in all fine weather, - they esteem the small rains that fall in the month of May, which should be carefully saved, to be the best, as being the purest and lightest, and even to purify the water already in the Cistern. ‘f As to the making Cisterns, let it be observed, that the walls should be good, and built to advantage, for fear the water should. be lost, — that the inside should be well cemented, . especially in the angles, without any necessity of doing the same by. the arch or roof :through which the water cannot pass. As to the size of the Cistern, that de- pends upon the fancy of the person. The manner of bringing: toge- ther rain-water, is of channels made of different materials, fixed to the edge of the roofs of houses, which convey the water into a small — bason made of lead or.tin, in the midst of which there is a hole, through which the water passes into a pipe that is there; and which, before it enters into the Cistern, helps it to fall into a stone trough made on purpose near the Cistern. ‘This trough is placed to receive | § d circularly, | CO WA , 215 _ the rain that falls from the roofs of houses, from whence it runs into the Cistern ; but, as:it has been observed before; that there is a differ- ence to be made between the rains ‘that fall, and which aré received into these conveyances, without distinction, it is necessary you should know how to save those that are good’ and wholesome, and get rid of the rest; it must be by the means of this trough, which das a hole in the bottom, in a corner, on that side where the most declivity appears. This hole must, at the time you judge it convenient to save the water, be stopped, to the end, that the trough coming to be filled up to a certain place, where there is a grate on the side of the Cistern, it may supply a passage for the inclosed water to fall into the Cistern ; and when, on the contrary,: they do not value the rain that falls, they only leave open that hole, so that as fastas the water comes into the trough, so fast it runs out. : [TAM 92 There are some who do not use any such trough as fies but suffer the rain to fall without any distinction into a subterraneous place built higher than the Cistern, in which they put some river sand, pretend- ing that the water which passes through is purged of all ill qualities it may have; and that consequently the water they take out. of these Cisterns to drink ought to be extremely good.» CLAMP, among brick-makers, a pile of unburnt bricks built up for burning. These Clamps are built much after the method that arches are built in kilns; with a vacuity betwixt each brick’s breadth, for the fire to ascend by, but with this difference, that instead. of arching, they truss-over, or over-span, as they term it, z..e. they lay the end of one brick about half way over the end of another, and so till both sides meet within half a brick’s length, and then a binding brick at the top finishes the arch. The Caetila at which: the fire is to be in, is left open about two feet and a half wide, and about three feet in height ; and then they begin to truss-over, which they do for three bricks in height ; and alaais with a binding brick at the top will close up the arch. But after they have begun to make the place to receive the fuel, before it is closed at the top, they almost fill it with wood, and upon that lay sea-coal ; then, being over-spanned like an 216 ee c LA arch, they strew sea-coal on all the surfaces, and then lay another course of bricks the other way, placing them ata little distance from — one another, and strewing sea-coal upon them ; and thus they continue — laying one course one way, and another the other, and strewing sea- coal betwixt each course, till they come to eight or ten feet biel ace cording as the Clamp is to be*for size; when they have done this, — they set the wood on fire, and that fires the coals, which being all — burnt out, the whole Clamp of bricks is burnt. | Cuamps, in Naval Architecture, thick planks ina ship’ s side, which support the ends of the beams. Also crooked plates of iron, fore- — locked upon the trunnions of the cannon, to keep them steady in — their carriages at sea.’ They are likewise frequently used to fasten — the masts or bowsprits of small vessels and boats. CLAMP-NAILS, are such nails as are used to fasten on Campi in the building or repairing of ships. Grist in Joinery, &c. is whena piece of board is fitted with the grain to the end of another piece of board cross the grain, the — . first eee is said to be clamped. Thus the ends of the tables are commonly clamped, to prevent them from warping. | Craro-Osscuro, or Clare-Obscure, in Painting, the art of distri- buting to advantage the lights and shadows of a piece, both with re- _ siwdito the easing ea the eye, and the effect of the whole piece. Thus, when a painter gives his figure a strong relievo, loosens them from the ground, and sets them free from each other, by the management of lights andshadows, he is said to have understood the Claro-Obscure, | which makes one of the great divisions or branches of painting, the whole of a picture being revolvable into light and shadow. Criaro-Osscura, or Chiaro-Scuro, is also used to signify a avid consisting only of two colours, most usually black and white, but — sometimes black and yellow’; or it is a design washed only with one colour, the shadows being of a dusky-brown colour, and the lights heightened up with white. The word is also applied to two prints of two colours taken off ‘at twice, eine there are volumes in the cabi- nets of the curious in prints, ; £10 2 | 8 ae CuinxeErs, those bricks which, having naturally much nitre or salt- - petre in them, and lying next the fire in the clamp or kiln, by the violence of the fire, are run and glazed over. -Cxoister, a habitation surrounded with walls, and inhabited by Nah gid In a more general sense it is used: for a monastery of reli- ‘gious of either sex. In the first sense it is the principal part of a re- gular monastery, being a square surrounded with walls, or buildings. It is commonly placed between the church, the chapter-house, and refectory, under the dormitory. | - Coser, a general name for any very small room, generally *otbolit any chimney; it is esteemed one great improvement of our modern architects. | | i CrNoTAPH, an empty tomb or monument, erected in memory of some illustrious defunct, who perished j in shipwreck, or was slain in battle ; whose body could not me found to be interred or deposited in the same. _ 119 -. Coxarin, the little frieze of the capital of the Tuscan and Doric column, placed between the astragal and the annulets; called also hypotrachelium, and sometimes cincture. It is also used for the orlo or ring on the top of the shaft of the column, next the capital. Ovni AR-BEAM, a beam framed across betwixt two principal rafters. CoLLecE, a building set apart for the society and cohabitation of students. 2 CoLONNADE, a peristyle of a circular figure, or a series of columns disposed in a circle, and insulated within-side. Such is that of the little park at Versailles, which consists of thirty-two Ionic columns, all of solid marble, and without incrustation. A polystile Colonnade is that whose number of columns is too great to be taken in by the eye at a single view. Such is the Colonnade of the palace at St. Peter at Rdnit; which consists of two hundred and eighty-four columns of the Doric order, each above four feet and a half diame- ter, all in Tiburtine marble. | ‘Coxossus, the proper sense of this term is a statue at least twice. as large as life, usually much larger. The most famous was the 28. | 3K 218 ; C408 Colossus of Rhodes, made, in honour of Apolle by Chares the dis- ciple of Lysippus. It was eighty-six feet high, and its thumb so — large, that few people could fathom it. This statue was placed across — the mouth of the harbour at Rhodes, and the ships with full sails passed betwixt its legs. It was thrown down by an earthquake 224 years before Christ. There are in the court of the: capitol at. Rome remains of statues of Nero and Commodus of that character.. Hence — we call a building a Colossus, which. is a great deal larger than the common size. The amphitheatres of the ancients, and the pyramids in Egypt are of this kind. These are more properly called Colossal buildings than Colussus’s, that term being appropriated in a manner — ? to statues, when used distinctly in the word; but it may be equally — applied to any thing extraordinary great, or in the same sense as we | would use gigantic. Cotours, in Painting, are used both as to the drugs themselves — and to those, teints produced by those drugs variously mixed and ap- plied. The principal Colours used by painters are red and white lead, or ceruse, yellow and red ochres; several kinds of. earth, as umber, " orpiment, black-lead, cinnabar, or vermilion, gumbouge, blue and — green ashes, indigo bistre, lamp-black, smalt, ultramarine, and car- mine. Of these Colours some are ground in oil, others only in fresco, and others in water, and others for miniature. . Painters reduce all Colours under these two classes of dark and light Colours. Under dark Colours are comprehended black, and all those, which are obscure and earthy, as umber, bistre, &c. And under light Co- lours are comprehended white, and all those which approach nearest to it. | Co.umn, in Architecture, a round pillar, to support and ada a building composed of a base, a shaft, and a capital. . As every ful- crum-is so much the more perfect as it is firm, or carries the appear- ance of firmness, hence all Columns ought to have their base broader than themselves. As a cylinder and a quadrangular prism are more easily removed out of their place than a truncated cone, or a pyramid in the same base, and of the same altitude, the figure of Columns c Oo L erm 919 ought not to be cylindrical, but grow less and less, like a truncated cone. Again, as columns are more firm if their: diameter bears a greater proportion to their height than if it bore a less, the greater ratio 1s to be chosen where a large weight is to be supported. Far- ther, as the design of a Column is to su pport a weight, it must never be supposed without an entablature. Columns are different in the — different orders of Architecture, and may be considered with regard to their matter, construction, form, disposition, and use. With re- spect to the order, we have, | | Tuscan Column, that which has seven diameters in height, and is - the shortest and most simple of all the Columns. Its diminution is one-fourth, that is, the diameter at top is. three-fourths of the dia- meter just above the base. | : | Doric Column, has eight diameters in height, and its capital and base more enriched with mouldings than the Tuscan. It diminishes one-tenth part of the diameter at the base. | onic Column, has nine diameters in height, and differs from the. others by the volutes in its capital, and by its base.. Corinthian Column, the richest and most delicate of. all, has ten diameters in height, and its capital adorned with two rows of leaves with caulicoles, from whence spring small volutes. It diminishes oné-seventh part of the diameter. Composite Column, has ten diameters in height, and two rows of | leaves in its capital, with angular volutes like the Ionic. It dimi- | nishes one-eighth part of the diameter of the base. It may be ob- served, that different authors give different heights and. proportions to Columns of the same order; and that frequently the same atithor ‘takes the liberty of dispensing with his own rules; but the heights and proportions exhibited above are a mean between the extremes of all the rest. . BP €°O-h Coxtumns, with regard to thetr Matter, are: _ Fusible Column, which comprehends not only Columns of various : metals, and other fusible matter, as glass, &c. but also those of stone, — said to be cast, the secret of which some believe to have been KnOwm to the ancients. | Hydraulic Column, that whose shafts appear to be of crystal; be- — ing formed by a number of little threads of water, falling from holes. sete in a girt of metal, at equal distances, by means of a pipe mounting through the middle of it. It also denotes a Column from | whose top proceeds a jet d’eau, to which the capital serves asa bason, whence the water descends by a little pipe, which turns pie round the shaft. 7 Moulded Column, that made by impastation of sea and aint of : divers colours, bound together’ with a cement. Water Column, that ite shaft is formed of a large jet d’eau, — which spouting out water violently from the base, drives it within the — tambour of the capital, which is hollow, and in falling down it re=— sembles a Column of baud crystal. Coxtumns, with regard to their Constructton. Cabled or redented Column, that having projectures in form of cables, in the naked of the shaft, each cable having an effect opposite to that of a fluting, and accompanied with a little list on each side. Colossal Column, one of so large a size as not to enter any ordi- nance of Architecture, but designed to be placed solitary in the mid- dle ofa square, &c. Such is the Trajan Column. ) Corollotic Column, that adorned with foliages, turned spirally , round the shaft, or in form of crowns and festoons; they a are very proper for decorations of festoons. ST ae OD fo! Diminished Column, that which has no swelling, but ices to taper from the base, in imitation of trees. ~Geminated Column, that whose shaft is formed of three similar and equal sides or ribs ‘of stone, fitted within one another, and fas- tened at bottom with iron pins, and at top with cramp-irons: it vee to be fluted, that the joints may be less discernible. _ ‘Column of Joinery, that made of strong timber-boards joined to® gether; it is hollow, turned in the lathe, and usually. ees ; such are the Columns of most altar-pieces. © Column of Masonry, is made of rough stone, well laid and co- -vered with plaster, or of bricks, laid triangularwise, and covered with stucco. Column of Beinbio tars or Bands, that whodes shaft is formed of se- veral courses of stone, or blocks of marble, less high than- the dia- meter of the Column. Column, im Truncheons or Pieces, consists of two, three, or four pieces of stone or metal, differing from the tambours, as being higher than the diameter of the Column. 5), Cotumns, with regard to their Forms, are: Fluted Columns, called also channelled and straited Columns, those whose shafts are adorned with flutes or channellings, either from top or bottom, or only two-thirds of their height. Gothic Column, a round pillar, either too short for its bulk, or too _ slender for its height, having sometimes twenty diameters, without either diminution or swelling, consequently differing widely from the ‘proportions of the antique. Hermetic Column, a kind of dilsaten, in a manner of! a terme, having the head of a man in lieu of a capital. It is so called be- cause the antients placed on the top of such Columns the head of Mercury. 28. ite 31 222 C O L Massive Column, one too short: for the order, the capital of which it bears; it likewise comprehends Tuscan and rustic columns. Oval Column, that whose shaft has a flatness, its plane being made oval, to reduce the projecture. SEEN T Pastoral Column, that whose shaft is formed in imitation of a ie a ofa tree, with bark and knots, It may be used in the gates of pangs ; and gardens, and in the decoration of pastoral scenes. _ Serpentine Column, that formed of three serpents twisted together, the heads of which serve as a capital; it is now called the talisman, or enchanted Column. Swelled Column, that which has a bulging in proportion to the height of the shaft. This practice obtains among the modern archi- tects, but seems to have been unknown to the antients. Twisted Column, that whose shaft is twisted round in form of a screw, with six circumvolutions, being usually of the Corinthian or~ | der. Sometimes the twisted Column is in form of two or three slen- — der shafts twisted round, so as to leave a cavity in the middle. Coxiumns, with regard to ther Disposition. Angular Column is an insulated one, placed in the corner of a por- tico, or inserted in the corner of a building, or even a column that flanks any angle of a polygon. - Attic Column, an insulated pilaster, having four equal faces, and of the highest proportion. | Cantoned Columns, those Columns engraved in the four corners of a square pillar, to support four springs of an arch. Coupled Columns, those disposed two and two, so as almost to touch each other at their bases and capitals. Doubled Columns, one Column joined with another in such a manner that the two shafts penetrate each other with a third of their diameter. Cc oO Dp . ae 993 Engaged Column, that which enters in a wel ib one-third or Segrerth of its diameter... | : Grouped Columns, those neti on the same pedestal or socle, f either by three and three, or four and four, : Insulated plain, one standing free and emo’ from every other body. | ih Midian Ghieimns: a name. given by Wideawes to silks two Columns in the middle of a porch, which have their intercolumniation larger than the rest. The term may also be applied to the middle row of Columns in a frontispiece adorned with three orders. | _Niched Column, that whose shaft enters with half its diameter sad a wall, hollowed out for its reception with its plane: parallel to the projecture of the tore. | Columns, with regard to their use, are ‘eather, first, astronomical ‘Columns, such as that at Paris, erected for astronomical observations. 2. Chronological Column. 3. Funeral Column, which generally bears an urn, and has its shaft overspread with symbols of grief and immortality. 4. Gnomonic Column, a cylinder, upon which the hour of the day is represented by the shadow of a style; of these there are two kinds; in the one the style is fixed, and the hour lines are no more than the projection of a vertical dial upon a cylindrical surface ; in the other the style is moveable, and the hour lines are drawn to the different heights of the sun in the different seasons of the year. 5. Historical Column, that whose shaft is adorned with a basso relievo, running in a spiral line its whole height, and containing the history of some great personage. 6. Hollow Column, that which has a spi- ral stair-case within side, for the conveniency of ascending to the top. 7. Indicative Column, that which serves to shew the tides along the sea-coasts. 8. Instructive Column, such as that raised by the son of Pisistratus at Athens, containing the rules of Agriculture. 9. Itinerary Column, one with several faces placed in the crossing of several roads, serving to shew the different routes by the inscriptions engraved on its several faces. 10. Lactary Column, at Rome, accord- ing to Festus, in the herb-market, in the pedestal of which was a 994 Cc OM cavity, wherein young children, aieasiionied by their viii through — poverty or inhumanity, were exposed to be educated at the expense — of the public. 11. Legal Column, among the Lacedemonians, that — erected in a public nies upon which were engraven the fundamental — laws of the state. 12. Limitrophous or boundary Column, that which — shews the limits of a kingdom, or country conquered. Those called — the Columns, or pillars of Hercules, are two very steep mountains — cs | in the straits of Gibraltar. 13. Luminous Column, one formed in a cylindrical frame, mounted and covered over with oiled paper or — gause, so that lights being disposed i in ranks within, over each other, the whole appears to be on fire. 14. Manubiary Column, a Column — adorned with trophies, built in imitation of trees, wherein the spoils — of enemies were anciently hung. 15. Memorial Column, that raised on occasion of any remarkable event, as the monument in London, — built to perpetuate the memory of the burning of that city in 1666. ) 16. Menian Column, any Column that supports a balcony, or meni-— ana. 17. Military Column, a Column of marble, raised, by order of Augustus, in the middle of the Roman forum, from whence, asa centre, the distances of the several cities of the empire were reckoned — by other military Columns, disposed at equal distances on all the grand roads. 18. Rostral Column, that adorned with the beaks, or prows of ships, &c. erected either in memory of a naval victory, or in honour of some admiral, &c. 19. Statuary Column, that which supports a statue. 20. Symbolical Column, that representing by sym- bols some particular country, or some memorable action. 21. Tri- umphal Column, that erected by the antients in honour of an hero; the joints of the stones or courses of which were covered with as many crowns as he had made military expeditions. 22. Zoophoric Column, a kind of statuary Column, bearing the figure of some animal. CommissuRE, in Architecture, is the joint of two stones, or the ap- plication of the one to that of the other. Compartition, in Architecture, the useful and the pe cise dispo- sition of the whole ground-plot of an edifice, into rooms of office, of reception, or entertainment. Gt OP Mi } 285 _ ComparTMENT, or ComParTIMENT, in general, a design composed 6E several different figures, disposed with symmetry, to aston @ par- terre, a ceiling, a platform, panes of glass, or pannels of joinery, pec. A Path partwent of tiles, or bricks, is an arrangement of them, of different colours, and varnished for the dees dition of a building. Compartments, in gardening, are an assemblage of beds, plats, borders, walks, &c. disposed in the most advantageous manner that the ea will admit of. ~ Compassgs, or Pair of Coit asics; a mathematical siibteaenent for describing circles, measuring figures, &c. The principal perfection of this, as of all other Compasses, consists in the easy and uniform opening and shutting of their legs, one of which may be taken out in order to make room for others. There are now used Compasses of various kinds and contrivances, accommodated to the various uses they are intended for. , Composep OrpER.—This term occurs in some writers, and is ima- gined by the generality of readers to mean the same thing with the Composite. The sense of the word is in reality the same, but custom has made them express what is different. The Composite Order is, as we shall shew, one thing,—a Composed Order is capable of great and endless variety; it euprolienda any composition made at the pleasure of the architect, whose ornaments are extraordinary and un- usual, but have somewhat of beauty. We see a great deal of this workmanship in buildings, but it were well if there were somewhat less of it; for it is often very faulty. - Compositrr Orper, in Architecture, is the last of the five orders efcolumns. It has this name from its being compounded of two or more of the others: the Latin word compositus, from which it is de- rived, signifying compounded, or made up of others. The Corinthian is indeed by Vitruvius said to be composed of the Doric and [fonic, but the traces in that are not so plain as those of the Corinthian and Tonic are in this Composite. “Ae PM The Composite, like all the other sides consists of a base, shaft, 29. 3M gat ee) ) Cr OFAN capital, and entablature. The Corinthian isi is s used. for Composite order often, and sometimes the attic. Vignola gives the Composite a — distinct base, which differs from the Cored in that it has only one astragal between the two scotias, the other being between the great torus and first scotia; but this is not much used. \ The shaft is the same with that of the Corinthian, only that it is half a diameter higher. ‘The capital has been described already under the article ca- pital, as composed of the Ionic upon the Corinthian. In the enta- blature the architrave has two faces, with an ogee between, :the frieze has nothing particular, and the cornice has simple modillions and consists of Bounce members, and the coronna and. modillions are. massy. Often the Corinthian entablature, unaltered, is put upon the Composite column ; we have an ancient instance of this in the arch — of Titus, but it has also, as we see, an-entablature of its own. The — height of the Composite Column is a subject on which architects dif- — fer; some making it the same with the Corinthian; others somewhat — more, others less, and placing it under the Corinthian as more massy, | allowing that to be the most delicate of all ;. and indeed this is: very ree colahle: for the Corinthian capital has an aspect of more lightness — than the Composite. Composition, in Painting, consists of two parts; invention and dis- position ; the first is the choice of the objects which are to enter into Composition of the subject the painter intends to execute, and is either firmly historical or allegorical. The other. very much contri- ; butes to the perfection and value of a piece of painting. | Concave Mempser, a name by which some call the scotia, a hollow moulding between the tores at the base of columns. | ConcyuaveE, in Architecture, is a closet, or inner chamber: this name is also given to a range of small cells, about ten feet square, — made of wainscot. They stand i in aline along the galleries and hall of the Vatican at Rome, and is the place ee the cardinals of the Romish church meet, and are shut up in order to elect.a pope. Conk, isa solid body, having a circle for its base, and terminalia O308N 7 : 99T in a point or vertex. If the axis be perpendicular to the base, it is said to be a right cone; and if inclined or oblique, a scalenous cone.! - Scalenous cones are ages divided into Ausesapiaiis and acute- angled. ' : : ConGE, in Architecture, a mould in form of a quarter round, or a cavetto, which serves to separate two members from one another, such as that which. joins the column to the cincture, called also apo- phyge ; ; there are two sorts of Conges, the one swelling, the other hol- low; the swelling Conge is what we more commonly call the quarter round; the hollow is the cavetto. Conges are iron rings used in the extremities of wooden pillars, to keep sie from splitting, and are-sometimes imitated in stone-work. Conic-SECTIONS, curves formed from the section of a‘cone by a plane. The curves generally called Conic-Sections are three, viz. the ellipsis, parabola, and hyperbola; for though the triangle and circle are formed from the section of a cone, they are not usually considered in’ that capacity. All diameters in a circle and ellipsis “intersect one another in the centre of the figure within the section. — In the parabola they are all parallel amongst themselves and to the axis; but in the hyperbola they intersect one another, but this without the section, in the common centre of the opposite sections. Consoue, in Architecture, an ornament cut upon the key of an arch, which has a projecture ; and, on occasion, serves to support little cornices, figures, busts, and vases. They are also called mutules and modillions, according to their form. Some of them are striated, others in form of cartouches, others have drops in form of triglyphs. Content, the capacity or area of a space, or the quality of any matter or space included in certain bounds. The Content of a ton of round timber is forty-three solid feet. A load of hewn timber contains fifty cubic feet. In a foot of timber are contained seventeen hundred and twenty-eight cubic or square inches ; and, as often as seventeen hundred and twenty-eight inches are contained in a piece of timber, be it round or square, so many feet of timber are contained ‘in that piece. 998 ; eT OF De Contour, in Painting, the outline, or that which denned a figure. i Contour with the Italian painters signifies the lineaments of the face. — In Architecture, it is the outline of any member, as that of a base, a cornice, or the like. — mae _ContTRAMURE, in Architecture, an out-wall built about the wall of — a city. PRES ConTRAST, in Architecture, is to avoid the ienatliaet of the same — thing, in order to please by variety, as is done in the great gallery in the Louvre, at Paris, where the pediments are alternately arched and — angular. In painting and sculpture, an opposition, or difference of — position, attitude, &c. as where in a group of three figures, one is” shewn before, another behind, and another sideways, they are said to : bein Contrast. The Contrast is to be observed in the position of se-— veral figures, and that of the several members of the same figure: thus, if the right arm advance farthest, the right leg is to be hinder- most; if the eye be directed one way, the arm to go the contrary way, &c. the Contrast must be pursued even in the drapery. _ Copine, or Corrine of a Wall, in Architecture, the top.or covert — of a wall, made sloping to carry off the wet. In carpentry, a sort of © hanging over, not square to its upright, but levelling on its under side, till it ends in an edge. - CorBEL, a carved ornament, representing a basket full of freitt and flowers, used to finish some elegant part of a building, as to place on a column, or on the heads of the caryatides.. This word is also used to express the bell or vase of the Corinthian capital, from its being supposed to have originally been designed from a basket covered with a tile, and surrounded by leaves of the acanthus. « In building, a short piece of timber, placed in a wall with its end sticking out six or eight inches, as occasion may require, in the manner of a shoulder- . piece. The under part of the end thus projecting out, is sometimes cut in the form of a boultin, sometimes of an ogee, and sometimes of a face, &c. according to: the designer’s fancy, the upper side be- ing plain and flat. These Corbels are usually placed for strength, immediately under the semi-girders of a platform, and sometimes os See C O R , 999 ied the ends of ssh hie dae sli’; in which lethal case, they are usu- ally placed a foot or two below the beam, and have a piece of timber _ standing upright close to the wall from.the Corbel to the beam. . | Cor- bel is also used by some. architects for the niches or hollows left in the walls for images, figures, or statues, to stand in. -Corinturan Orpen, is the fourth order of Architecture, according to’ Scamozzi; but M. Le Clere makes it the fifth, being the most no- ble; rich, and delicate of all the other five. The Goxinthian Order has several characters. by which it is distinguished from the rest. Its capital is adorned with two rows of leaves, between which arise little stalks, or caulicoles, of which the volutes are formed, which ‘support the abacus, and are sixteen in number. It has.no ovolo, nor even abacus, properly speaking, for the number that goes by that name is quite different from the abacus of the other orders, being cut with a sweep, in the middle of which is carved a rose, or other ornament. Most modern architects pass by Vitruvius’s Corinthian Order, and follow that of the ancient buildings; and select from them according to their several, tastes; so, that the modern Corinthian is a kind of Composite, differing from many of the. ancient buildings, and much more from Vitruvius. Vignola and M. Le Clerc made the Corinthian Order twenty modules in height, yet Serlio makes it but eighteen ; and M. Perrault makes the height of the shaft less than that of the Tonic, by reason of the excess are its capital. The Composite has been intended’ as an improvement upon it in point of elegance, but the capital in that order is heavier than in the Corinthian, and therefore those seem to act very reasonably who give its column a less height than the Corinthian, leaving that, as we have named it, the lightest of all the orders. The Corinthian is one of the three: ancient. orders of the Greeks, and is.the highest pitch to which they carried Architecture in point.of elegance. They began with the Doric, they rose to the Ionic, and lastly, they added the Co-. rinthian, whose capital was formed,.as has been before observed, upon the idea of a plant) of acanthus growing about a basket, and as: this 29. 3.N | 230 | | CO R : appeared: very light» and elegant, they g gave a height Sudidighincemae the column. The base of the Cabinthiat stideboltin consists of a torus set upon ry plinth, a scotia, two astragals, another ‘scotia, and then’ an upper torus. The column has nine diameters and a half in height, the — capital is composed of: leaves and stalks of the acanthus, whielv last, turning in spires under the abacus, makes a ‘small number. of volutes... The archittave consists of three faces, the frieze is usually decorated — with sculptures, and the ‘cornice has'modillions, and ‘isin most places — beautifully adorned with carving. The Corinthian is the order to — which recourse is usually had for giving the utmost elegance to a building. It is remarkable that the ruins of Palmyra‘a are all ome thian, geet two Tonic weal columns. * Be ~ » The Corintuian Coitumn, by equal Parts. Corinthian pedestal, being in height three diameters; and is divided inte four, allowing one to the base, whose plinth is two-thirds of it ; the other part‘is divided into nine, allowing two and a half to the torus, a half-part to the fillet, three to the cymase, ‘a half-part to the fillet; and two and a half to the ogee; and the breadth’ of the: die is a diameter and two-thirds. The’ projection of its base is equal to its height, the upper fillet has three of these parts, and:the lower fillet — seven. The height of the cornice is half the base, .being one-eighth — of the whole height, and. is divided into eleven, by allowing one and — a half to the ogee, a half part ‘to the fillet, three to the cymase, three to the corona, two to the ogee, and one tothe fillet! .The pro- — jection of the fillet has two of these parts, the cymase four and:a half, the corona six and a half, and the whole eight and a half. The height of the base of the column is half a diameter, which is divided into six, allowing three-fourths to the plinth, one to the lower torus, one-fourth to the fillet, a half-part to the scotia, one to the } CO R rane 231 astragals: and fillets,. (which are to be parted into: six, allowing one to ~ each fillet, and two to ‘each astragal,) a half-part.to the scotia, one- - fourth to the fillet, and the other: three-fourths to the torus; the fillet above the. said torus is equal tothe others, and part of the column, The. projection. is one-fifth part of: the diameter;: and ‘the upper fillet _ has one of the said:six parts; the upper torus, and the lesser fillets, _ have one. and.a- half; and one three-fourths are allowed to the astra- - gals, and: lower: sepia oe this colina “is one-eighth of _ the diameter.: The Corinthian: ental soDibide! “$He Ricchibabsie into six: parts, and take seven such parts for the height, allowing two to each height of the leaves, (whose heads turn dow half a part of it,) allow another part of the stalks whose heads turn down one-third of it; three-fourths to the small volutes, and one-fourth to the fillet; the large volute is as high as the ‘said fillet ;-a: half=part'to the ‘hollow, and a half-part to the, ovolo, whose fillet: has one-third of it. For the projection of the capital, make: a) square, each side being a diameter and a half, then draw the diagonals, and: towards. each aniete; mark a diameter from the centre, and draw the cants at right angles with the said diagonals; then, ‘for the curvature of the abacus, make an equilateral triangle, | (the part of the: square cut off by the cants ‘being the base,)} and ny opposite angle the centre: In the ieunteiduce of the column are eight bames,, each: leaf having four:plants, and each plant five raffles. The projection of their heads:is found by'a straight’ line from the aba- cus to the colarino. The rose is as high as'the volute, and Lanes to the side of the before-mentioned square. The architrave is divided into nine parts, allowing one and a half to the first face, one and one-fourth to the small bead, two to the _ second face, three-fourths to the small ogee, and a half-part to-the fillet. The projection of the second face has one-fourth of a part ; the third face,. one of those parts, and the whole, two.: The height ofthe entablature is two diameters, and is divided into six parts ; two of which go: to the architrave, one and a half to the frieze, and two and a half to the.cornice. | - ¢! — 932 Cc O.R The. cornice is divided into twelve parts, allowing one and one- fourth to the ogee,’ one-fourth to the fillet, one-fourth to the dentils, one-fourth to the fillet, one-fourth to the ovolo, one-fourth to the fillet, two to the modillions, a half-part to the ogee, and one-fourth to the fillet; one and three-fourths to the corona, three-fourths to the cima-reversa, one-fourth to the fillet, one and a half to the cima-recta, and a half-part to the fillet. As for the projections of the cornice; the ogee is one-half of these parts, and the dentils two and a half. _ The dentils are in breadth two-thirds of their height, and the spaces — two-thirds of their breadth. The modillions project three and three- ‘fourths ; and.its breadth is one-fifth of the diameter, and one being in the centre, gives the spaces. The returned modillions eight and'a_ half, the cap nine, the corona nine and a half, the cima-reversa ten and a half,.and the whole twelve, being equal to the heights: 9) > Corx-Tree, «is like the holms-tree; resembling the: same’ in’ its leaves, catkins, and: fruit,’ the bark. of it is light, :spungy, and ofa grey colour, inclining to yellow: © There are indeed: several sorts of this tree, but two’ more remarkable, viz. one of a narrower, ‘less: jag- ged leaf, and. perennial; the other of a broader leaf, and falling in the: winter. It grows in the coldest part of Biscay, in the north of Eng- land, in Italy, Provence, and south-west parts) of France, especially the second species, which are fittest for our climate! It grows in all sorts. of ground, dry heath, stony and rocky mountains, so that its. roots run above the earth, where they have. little to cover them 3; and therefore. we. have no reason to despair of their growing with us. There were none of them in France in Pliny’s time; but there are large woods of them in Italy, from whence it is probable they were transplanted hither... | 3 The manner of ‘decorticating or taking off the bark of the Cork- tree, is as follows: they once in: two or three: years strip it in a dry season, otherwise the intercutaneous’ branches endanger. the tree, and therefore a. rainy season jis very pernicious to them when the bark is off; they unwrap it, before. the: fire, andipress iteven, and that with weights, on the convex part, and it continues, being cold. | The best | ] 1 j | . | | | . on SR eat eae 4 bark should be light, even, of a middling thickness, without cracks, having a few knobs, and easy to be cut. “There are cups made of — one sort of Cork, good for hectical persons to drink out of. The Egyptians made coffins of Cork, which, being lined with a resinous composition, preserved their dead uncorrupted. They sometimes in “Spain line their stone walls with it, which renders them very warm, and corrects the moisture of the air. Beneath the Cork or bark of - this tree, there are two other coats; one of them reddish, which they Strip from the bole when filled, and is valued by turners ; the rest of the wood is not only good firing, but also applicable to many other uses in building. | | 3 CorNER-STONES, are two stones commonly of Rigate or fire-stone ; of which there stands one in each jamb of achimney. Their faces : are hollow in breadth, being a certain sweep of a circle. The breadth of each stone is equal to the breadth of the jamb, and their height reaches from the hearth to the mantle-tree. i SE Cornice: the word is derived from the Latin corona, acrown. It is the uppermost member of the entablature of a column, or that which crowns the order. The Cornice is the third grand division of the tra- beation, commencing with the frieze and ending with the cymatium. | The Cornice is different in the different orders, there being as many kinds of Cornices as there are different orders of columns. It. is most plain in the Tuscan order. Vignola makes it to consist of an avum or quarter-round, an astragal or baquette, the reglet or fillet, the larmier, and the talen. pl t | ; In the Ionic, the members are in most respects the same as in the Doric, except that they are frequently enriched with carving, and have always dentils. In the Doric, Vignola makes the capitals of the triglyphs of the frieze, with their bandelettes, a talon, mutules, or. dentils, a larmier with its gutta underneath, a talon, fillet, cavetto, and reglet. | | The Corinthian Cornice is the richest, and is distinguished by hav- ing both modillions and dentils, contrary to the opinion of Vitruvius, who looks upon these two. ornaments as incompatible; and of M. Le 30. i aD Uiate ST Sieeeament. “GO BW: Clerc, who. accounts the dentils as peculiar to the Tonic. “In the Composite there are dentils, its mouldings carved, and there are channels under the soffit.. The Tuscan: according to Vitruvius, the whole height of this Cornice is one module and a “half, which height - being divided into four grand divisions, the uppermost of which goes to the boultin and. fillet under it; and this division being sabdivided into four parts, three of them go into the boule, and one to the fillet. | The two next anand divisions go to the corona or crown, (which is flat and plain,) and the lowermost grand division. goes to the cyma- tium, which being again divided into three parts, the uppermost of them goes to the fillet, and the other two to the cyma or ogee. The projecture of the whole Cornice, as also of each member theteot he makes to be equal to its height ; and the under side of the corona he divides into eleven parts, of which he allots two to the fillet, and one to the denticle, and so alternately ; for, says he, it is fitting to have three as deep as they are large. : Scamozzi makes the whole height of this Cornice thirty-nine mi- nutes, and the height of each particular member of it (beginning af the top, and descending orderly) is as follows: the upper list or plinth of the Cornice three M., the supercilium, list, tinea, or eye-brow, one M. and a half; the upper cima or ogee eight M., the list under it one minute and a half; the corona or crown nine M. and three-quarters ; : the list one M. and a half; the cima or greater ogee, six M: (here is one and a half M. left betwixt for the depth of the dentils) ; the su- percilium or list one and a half M., the cymatium. or little ogee five M., the list two M. Palladio fee the whole height of this Cornice forty-four M.; of which the list at the top is three and a half M., the scina recta ten M., the list under it two and a half M., the corona ten M., the boultin nine, the list one ae a half, the cavetto or hollow seven and a half M. . The Doric Cornice is made by Vitruvius after two different fashions ; the whole height of the one is half a module, which being divided into two grand divisions, one of them (viz. the upper one) is sna c OR aes 235 ‘divided into eight. parts, of which one part goes bb the fist! at top, | and the other seven to the ogee. The other grand division is again divided into four parts, the uppermost and lowermost of which parts go to the two cymatiums, and the two middle parts go to the corona. The list of each of these cymatiums is one-third of the whole cyma- tium. . The whole height of the other fashioned Cornice is forty M. which being divided into nine parts, two are to go to the two fascia’s, one to the torus or boultin above them, two to tHe modillions above that, two to the crown, and two to the cima or ogee at the top. | ‘The modillions, as also the crown, being divided each into three parts, one of them shall go to their respective cymatiums, of which their lists are each one-third of the whole. Scamozzi makes the whole height of: ~ this Cornice forty-two M.; of which the list at the top is two M. the - great ogee seven M., the list one M., the little ogee three M., the co- _ -rona bight M., the list one M., the casement two M., the boultia five M., the list one M., the square seven M., the list one M., and the boultin four M. Palladio, in his verbal description of this Cornice, makes the whole height of it to be thirty-five M. But in his figure it is but thirty-three M. and a quarter, of which the list at top is two M. anda quarter, the cima recta, or ogee, six M. three-fourths: the list one M., the cima reversa three M. one-fourth; the corona eight M., the ovolo or boultin six M., the list one M., and the casement at ete bottom five M. : The Ionic, Vitruvius makes the whole height of this Cornice about fifty-two M. and a half. He describes two Cornices of different fa- shions in this order; in one of which he divides the whole height into eleven parts, the two uppermost of which go to the cymatium and the boultin under it; and this space is again subdivided into six parts: two of which go to the fillet of the cymatium, three to the ogee, and one to the boultin. Tlie next two grand divisions go to the corona, and the next three to the cartouses, and the cymatium over them; and this space being subdivided into five parts, one of them makes the cymatium, of which the fillet is one-third of the whole; then one and ahalf of the next grand division goes to the boultin and fillet over 236 - EOR al jit of which the fillet is one-seventh sia of the whole. And again, ‘one and a half of the next grand division goes to the casement and_ | fillet over it, of which. the fillet j is one-fourth of the whole. And the — last grand division goes to the eymelnny, of which the fillet is Ones 4 third part of the cle In the Cornice of the other fashion, he divides the whale heigl 3 into six parts; the uppermost of which he allows to the ogee, the fillet of which is one-sixth part; the next grand division being sub-— divided into three parts, the uppermost of them goes to the cyma- — tium, (the fillet of which is one-third part,) and the other two to the corona. The next two grand divisions are subdivided into five parts, the uppermost of which goes to the cymatium, (the fillet of which is one-third part,) and the other four to the cartouses. The next grand — division is subdivided into four parts; three of which go to the boul- tin, and one to the fillet under it; and the last grand divisions being subdivided into four parts, three of them are for the casement, and one for the cymatium, of which its fillet is one-third part. According to Scamozzi, the whole height of this Cornice is forty- two M.; whereof the list at the top is two M., the cima recta five and a half M., the list one M., the cima reversa two and a half M., the cartouses seven M., the boultin four M., the list one M., the square five M., the list one M., and the boultin four‘M. Palladio makes the 4 whole height of this Cornice forty-six and a half M., of which the — list at the top is two and a half M., the cima recta seven M., the list one and one-fourth M., the cima reversa three and a half M., the. i corona eight M., the cima recta over the modillions three and one= fourth M., the modillions seven and a half M., the list one M., the ovolo or boultin six M., the list one and one half, and the cavetto or — hollow five M. The whole height of the Corinthian Cornice, according to Vitous vius, is about one module; and he describes two forms of Cornices in — this order; in one of which, he divides the whole height into five parts; the uppermost of which goes to the ogee, of which its fillet — is one-sixth part. Then one and one-fourth goes to the corona and | | | c oO R | 5 gaia cymatium over it, of which space the cymatium is one-third. part, and | its fillet one-third of that. Then one and three-fourths of the next © grand divisions go to the. modillions and cymatium over them, of : Bich | Dudas Aidan cymatium is one-seventh part. And the last orand | division. goes to the boultin and fillets over and under it; and this be- ing: Bead: into three parts, the lowermost goes to the fillet ;: and the other being subdivided into six parts, five of them go to the boultin, ‘and the dihiee to the fillet over it. In the Cornice of the other fashion, the whole height is divided into nine parts; of which the-two upper- most being Hisided into four parts, three of them go to the ogee, (whose fillet j is one-sixth of the whole,) and the next two grand Hlivie ‘sions go to the corona. The next two grand divisions go to. the mo- dillions, and the cymatium over them ; aa of the space goes | to the cymatium, (whose fillet is one-third of the whole. cymatium,) and. the rest of the modillions. The next two grand divisions go to. the boultin and fillet. over and under it, which ‘Allets are each one- seventh of the whole. _ And the last. grand division goes to the cima at the foot of the ‘scent Scamozzi makes the whole height at this Cornice forty-six ol three-fourths M. ; of which the list of the cima recta is two M., the cima recta six and a half M., the list of the cima reversa one M., fh cima reversa three and one-fourth M., the half-round one and one- half M.,; the corona seven and one-half M., the cymatium three and one-half M.,.the modillions eight and a half M., the list one M., the boultin five M., the list one M., and the cima five M.. According to Palladio, the whole height of this Cornice is fifty M.; of which two and one-third M. go to the list of the, cima recta; the cima recta is eight and Seiten M.., the list two-thirds M., the cima reversa three M., the corona seven one-third M.., the list of the ogee over the mo- dillions. two-thirds M., the ogee two and two-thirds M. the. modillions eight and a alf M., the boultin four and one-third M., the list one M., the boultin five and a half, the list one M., and JoGa ont and a half M. : oud ai Bs 30. | Ate | 938 OLB The Composite Cornice.—-Vitruvius makes the whole height of it equal to the diameter of the column above, which is about fifty-two anda half M. He also describes two Cornices of this order of a dif= ferent fashion; one of which he divides into two parts, the upper- most of which goes to the ogee, (whose fillet is one-seventh of the whole,) and the undermost to the corona and cymatium over it; and this space being divided into four parts, three of them go to the co- _ rona and one to the eymatium, whose fillet is one-third of the whole cymatium. Scamozzi makes the whole Neat of this Carnige fottyweivit M., and Palladio forty-five M.; but about the height of each particular member, they leave us very much in the dark. Goldman makes the height of the Tuscan Cornice one and one-third, and its projecture two-fifths M. The height of the Doric one and one-third, and its pro- jecture two and two-fifths: The height of the Ionic one and three- fifths, its projecture two and two-fifths. The height of the Compo- site one and three-fifths, its projecture two and thirteen thirties. The height of the Corinthian one and two-Hithe, its projectures two and thirteen thirties. « The Projecture of a CoRNICE. It is an established rule in Architecture, that the Cornice of the entablement have its projecture nearly equal to its height; and yet the projecture may be safely made a little larger on occasion, ae larly where 2 beautiful profile is required. The Cornice is different in different orders, there being as many kinds of Cornices as there are different orders of columns. — It is most plain in the Tuscan order. Vignola makes it consist of an ovum or quarter-round, an astragal or baynette, the reglet or fillet; the lar- mier, and the talon. té the lotic, the members are in most respects the same as in the Doric, except that they are frequently enriched COUR.’ 239 with carvings, and “have always dentils. In the Doric, Vignola _ makes the capitals of the triglyphs of the frieze, with their bande-— letters, a talon, mutules, or dentils, a larmier with guttz under- . neath, a talon, fillet, cavetto, and reglet. The Corinthian Cornice is the richest, and is distinguished by having both modillions and - dentils. In the Composite there are dentils, its mouldings carved, Ee and there are channels under the soffit. Cornice is also used, in general, for all little projectures in “masonry or joinery, even where there are no columns, as the Cornice of a chimney, beaufet, &c. | _ cantalivers underneath. Architrave Cornice, is one that is immediately contiguous to the | architrave, the frieze being retrenched. \chlakiphacte | Mutilated Cornice, is one whose projecture is cut or interrupted to the right of the larmier, or reduced to a platband with a cymase. Cantaltoer Cornice.—A term used by workmen for a Cornice that has Coving Cornice, that. which has a great casement or hollow in it, usually lathed and plastered upon compass-spretchets, or brackets. Modillion Cornice, one with modillions under it. — Corona or Coronis: these terms are sometimes used to signify a ~ Cornice, but wrongly ; they express any crowning or finishing of a work, at the top of whatever kind that be, as a pediment, or the _ like ; but as the Cornice has a peculiar name, something like these words, and derived from them, it should always be used in that sense. Corona is also used to express particularly that flat square and massy member of a Cornice, so called because it crowns not only the Cor-_ mice, but the entablature, and the whole order. The French call it the larmier, our workmen the drip, as serving, by its great projec- Aure, to skreen the rest of the building from the rain. Some call it. absolutely the Cornice, as being the principal member thereof... Vi-. truvius frequently uses the word Corona for the whole Cornice. The Corona is itself crowned or finished with a reglet or fillet. The Co- Yona, says M. Le Clere, is that large square moulding immediately under the cymase. It projects very much, both for the greater beauty 240 € OC’ of the entablature, and for the better sheltering even of the whole — order. He also: says, he makes this part stronger than the. cymase, agi being the ruling member of the entablature, ' band even of the order. — Underneath this he usually digs a channel, for three reasons ; the first is to give it more grace and ornament, the second is to render it — less hee and the eae is to prevent rain, or other moisture, from trickling down along the order. For the water falling from the top — of the Cornice, not eee able to ascend into the Shasta is forced to fall drop by drop from the building, by the means of a little ledge ; and it is on this account, that the bottom of the Corona i is called Jarmier, or drip. Cornucopia, or horn of plenty, among architects, painters, &c. is . * 8 eee Po represented under the figure of a large horn, out of which issue fruits, — flowers, &c.. Upon medals the Cornucopia is given to all deities, genii, and heroes, to mark the fecundity and abundance of all the~ wealth procured by the goodness of the former, or the care and va- lour of the latter. | Corripvor, in Architecture, a gallery, or long aisle round a baila ing, leading to several chambers, at a distance from each other. Corsa, a name by which Vitruvius calls a platband, a cae facia with more height than projecture. Corps, in Auiiteeiice! a term to signify any part that projects or — advances beyond the nakedness of a wall, serving as a baie for some decoration, or the like. Coucu, in Painting, a phrase used for each lay or impression of — colour, either in oil or water, wherewith the painter covers his can- vas, wainscot, or other matter to be painted. This word is also used — for a lay or impression on any thing, to make it more firm and con-— sistent, or to screen it from the weather. Thus paintings are covered” with a Couch .of varnish; a canvas to be. painted’ must have two Couches of size, before the colours are laid-on; two or three Couches — of white lead are laid on the wood, before the gold is applied. The leather-gilders lay a Couch of water and whites of eggs on the lea- ther, before they apply the gold and silver-leaf. | | f ES coU | 241 Covina, in Building, when’ houses are built projecting over the ground-plot, and the ured projecture arched ‘with timber, turned | witha quadrant of a circle or semi-arch; Jathed and’ plastered, under which people may walk dry, as is much used at Tunbr idge-Wells, on the upper walks : the work is commonly called’ Coving. CountEr-DRrawine, in Painting, is the copying of. a design, or - painting, by means of a fair linen cloth, an’ oiled paper, or other — _ transparent: matter, where the strokes appearing through are followed with a pencil, with or without colour. Sometimes it is done on glass, and with frames or nets divided into squares with silk or enveda> and also by means of instruments invented for the purpose. CounTER-FortTs, buttresses, spurs, or pillars of ‘masonry, serving — to prop or sustain walls, or terraces, subject to bulge or:be thrown down. These works are usually bent into arches, and placed at a distance from each other. When any thing is built on the descent of ' a mountain, it must be strengthened with Counter-forts, well bound to. the wall, and at the distance of about twelve yards from each other. CountTER-GaGE, in Carpentry, a method used in measuring the joints, by transferring the breadth of a mortoise to the place in the timber, where the tenon is to be, in order to make them fit each other. fs Counter-Licut, in Painting, a window or light opposite to any thing which makes it appear to a disadvantage. CountTEer-Morg, a little wall built close to another, to fortify and secure it, that it may not receive any damages from buildings made contiguous to it. Gouin! in Architecture, a continued range of stones, level, or of the same height throughout the whole length of the building, with- out being interrupted with any aperture. A course of plinths, is the continuity of a plinth of stone or plaster, 1 in the face of a building, to mark the separation of the stones. Coussi1NnET, in Architecture, signifies the stone which crowns a pied- roit or pier, or that lies immediately over the capital of the impost, and under the sweep. The bed of it is level below, and curved above, DL, 3 Q) 949 Cc BR.O receiving the first rise or spring of the RON or suinie It is also used — for the ornament in the Ionic capital, between the abacus and the q echinus or quarter-round, and which serves to form the volutes. It is first named from its representing a cushion or pillow, pressed by the weight over it, and bound with the strap or girdle, called ie Vil awins baltheus. . Cramp-Iron, or Cramps, a piece of i iron, 1 bent at each end, serving : to fasten together pieces of wood, stones, or other things. : Crane, a machine used in building and commerce, for raising 7 large stones and other weights. It is at two kinds; in the first, only a fe gibbet moves upon its axis; and in the second, called the rats-tail — Cais the whole Crane, with its load, turns upon its axis. BS CRANK, a contrivance in machines, in the manner of an elbow, : only ofa square form, projecting from a spindle, and serving by its — rotation to raise and fall the pistons of engines. It is also the iron 3 support for a lantern, or the like; also the iron made fast to a stock of a bell for ringing it. ei Crayon, or Pastin, among painters, a composition of colours re- _ anced to the texture of chalk, and used dry, in the form and manner of pencils, for painting on paper. : CRreEsT, among carvers, an imagery, or carved work, to adorn the head or top of any thing, like our modern cornice. CROSSETTE, in LN yao the returns in the corners. of cham- branles, or door-cases, or window-frames, called also ears, elbows, — ancones, prothyrides. The Crossette of a luthern is the plaster orco- vering near a luthern. ; Cross-GraInEp. ‘Timber is said to be Cross-grained, where a_ Lough or some branch shoots on a part of the trunk of the tree; for the bough or branch shooting forwards, the grain of that branch shoots forward also, and so runs across the grain of the trunk, and if it be well grown together, it will scarce be: perceived in some stuffs, but only in. working. Crown Post, in Architecture, a post which, in some buildings. stands upright in the middle, between two principal rafters.. WY aL fee ‘943 - Crown, in Architecture; the uppermost member of he: cornice, ‘called also corona, and larmier. | CRowNING, in Architecture, any thing that finishes a wee ation: thus a cornice, a pediment, a croteria, are called Crownings. Crypta, a subterraneous place or vault, especially under a church, for the interment of particular families or persons. Vitruvius-uses the word for part of a building, answering nearly to our cellar. Hence, _ ‘Crypto Portico, a subterraneous place, arched or vaulted, used as an underwork or passage into old walls. The same words a are also used _for the decoration at the entry of a grotto. ; Cusature, is the cubing ofa solid, or the measuring of the space arabada ina solid, asina cone, pyramid, cylinder, &c. The. Cubature has respect to the content of a solid, as the quadrature has to the superficies of a figure; so that the Cubature of the sphere turns on thesame thing as the quadrature of the circle. Cussz, in Geometry, a regular or solid body, consisting of six square and equal faces and sides, and its angles all right, and there- fore equal. ‘The Cube is supposed to be generated by the motion of a square plane along a line equal to one of its sides, and at right angles thereto ; whence it follows, that the planes of all sections pa- ville} to the base, are square, equal thereto, and consequently to one another. CuPpo.a, in Architecture, a spherical vault, or the round top of the dome of a church, in the form of a cup inverted. Curve, in Geometry, a line wherein the several points it consists of tend several ways, or are posited towards different quarters. In this sense the word is used in opposition to a straight line, whose se- veral points are pointed towards the same quarter. | Curtine, in Painting, the laying one strong lively colour over another, without any shade or softening. ‘This te always a dis- agreeable effect. CyzinpER, is a round solid, having its bases circular, equal, and parallel, in the form of a rolling-stone. yr CoS gas Cymatium, in Architecture, a member or moulding of. the cornice, the profile of which is waved ; that is, concave at top, and convex at bottom. This is oftentimes called also doucine gorge, or gula recta goletta by the Italians, but. most usually Cymatium, among.us, beiig the last or uppermost member, g.d. the cima or summit: of the cornice. iV saad oilit i | 4 nai Raa Some write it Simazse, from simus, an ape, or: camus:flat-nosed; — but this etymology seems not proper; the ‘beauty: of the ‘moulding consisting in its having its projecture equal to its height.» M.Felibien indeed will not allow of this etymology; and contends, that the moulding is not so denominated from its being the uppermost mém- ber of the cornice, but upon its being waved, whichis the-opinion of Vitruvius. Vitruvius does not confine Cymatium to the:cornice, but uses it indifferently for any similar moulding, wherever he meets with — it; in which he differs from the most: accurate among the moderns. Felibien makes: two kinds of Cymatiums, the one right,. and the other inverted; in the first, that part which projects the farthest is concave: in the other part ‘that projects farthest is convex, called cula inversa, or salon. The English architects do‘not usually give the name of Cymatium to these mouldings, except when they are found on the tops of cornices. But the workmen use the name indifferently, wherever they are found. : Tuscan Cymatium consists of an ovolo or quarter-round: Philan- - der makes two Doric Cymatiums ; of which this is one. ‘Baldus calls _ this the Lesbian astragal. Lesbian Cymatium, according to Vitruvius, is what our architects otherwise call talon, viz. @ concavo-convex member, having its projecture subduple its height. Cypress Treg, is one of the ever-greens, and very proper to mix — with pines and firs in forming clumps. The wood of the» Cypress is very valuable when grown toa size fit for planks, which it will do in as short a space as oaks; therefore, why should this not be culti- vated for that purpose, since there are many places in England where the soil is of a sandy or gravelly nature, and seldom produces any Ss cone si CYP Oe sie thing worth cultivation? Now in such places these trees would thrive greatly, and contribute to the pleasure of the owner, while growing, and afterwards render as much profit to his successors as perhaps the best plantation of oaks, especially should the timber prove as good here as in the islands of the Archipelago, which there is no reason to doubt of: for we find it was so gainful a commodity to the island of Candia, that the plantations were called Dos Filie; the selling of one of them being reckoned a daughter’s portion. The timber of this - tree is said to resist the worm, Ekin, and all putrefaction; and is said to last many hundred years. The doors of St. Peter’s church at Rome were framed of this material, which lasted from Constantine the Great to Pope Eugenius the Fourth’s time, which was eleyen hundred years, and were then sound and entire, when the Pope changed them for gates of brass, The coffins were made of this tim- ber, in which Thucydides tells us the Athenians used to bury their heroes; and the mummy-chests, brought with those condited bodies out of Egypt, are many of them of this wood. ‘This tree is by many learned authors recommended for the improvement of the air, anda specific for the lungs, as sending forth great quantities of aromatic and balsamic scents; on which account many of the ancient. physi- - cians of the eastern countries used to send their patients, who were troubled with weak lungs, to the island of Candia, which at that time abounded with these trees, where, from the effects of the air alone, very few failed of a perfect cure. The timber of Cypress is useful for chests, musical instruments, and other utensils; for it resists the worm and putrefaction, because of the bitterness of its juice. It never rifts nor cleaves, but with great vio- lence. And it may be worth observing, that the Venetians formerly made a considerable revenue of it out of Candia, till the forest there was set on fire, either through malice or by accident, in the year 1400. It is reported it burnt seven years together, because of the unctuous nature of the timber, The root of the wilder sort of Cypress is of an incomparable beauty, by reason of its crisped undulations. It was anciently made use of 31. 3R 246 DE C in building ships, by Alexander, and others. And some will have it, that Gophir,’ of which Noah’s ark was built, was bs Plato _ preferred it to oe itself, for writing his laws on. . D. Dapo, in Architecture, the die, or that part in the middle of the pedestal of a column which is between its base and coriice.’, It is of a cubic form, and thence takes the name of die. iiss Deat, a thin sort of fir-plank, of great use in carpentry. Deals are rendered much harder by throwing them into salt-water as soon as they are sawed, keeping them tiFee or four days, and afterwards drying them in the air or sun; but neither this nor any other method, yet known, will preserve them from shrinking. -DEcAsTILE, in ancient Architecture, a puitdtbe with an ordonnance of ten columns in front, as was the temple of Jupiter Olympius. Decoration, in Architecture, whatever adorns a building, either without-side or within. The orders of Architecture contribute a great deal to the Decoration; but then the several parts of these ace must have their just proportion, characters, and ornaments, otherwise | the fixest order will bring confusion rather than richness. Decora- — tions in churches are, paintings, vases, festoons, &c., occasionally placed on or against the walls, but so discretionally, as not to take off any thing from the form and beauty of the Architecture, as is much practised in Italy at the solemn feasts. Decorations also signify the scenes of theatres. The Decorations in operas, and other theatrical performances, must be often changed, in conformity to the subject. ‘The ancients had two sorts of Decorations for their theatres ; the first, DEX. | | 247 called Versatiles, having three sides or faces, which were turned suc- cessively to’ the spectators ; the other, ‘called Ducétiles, which were - drawn or slidden before others. The latter sort of Decoration is still in use, and to greater advantage among us than the ancients, who _ were under a necessity of drawing a curtain whenever a change was made in the Decoration; eohre sas the change is made in a moment, and without scarce being perceived upon our sae | DeEcorvm, in Architecture, the suitableness of a building, and its several parts and ornaments, to the station and occasion. Vitruvius is very exact in this point, and gives-rules expressly for the appropriating or suiting the several orders to their natural charac- ters; so that a fcntnthian’ column should not be set at the. entrance of a prison or gate-house; or a Tuscan in the portico of a church, as has been done by some of our builders, who have offended. even in the disposition of the offices in our ordinary houses; we often finding the kitchen set where the parlour should be, and that in the first ae best story, which should have been condemned to the lowest and the worst. Some interpret Decorum to signify the observing a due re- spect. lait the inhabitant and habitation ; ; whence Palladio con- cludes, that the principal entrance must never be regulated by any certain dimensions, but according to the dignity of the person who is to live in it; yet to exceed rather in the more than in the less, is a token of generosity, and may be excused with some notable em- blem or inscription, as that of the Conte di Bavilaiqua, over his large gate at Verona, where probably there had been some disproportion committed: Patet janua cor aah: i.e. My gate is wide, but my heart is more wide. . DENTELLs, ornaments in a cornice, in some ee recttine teeth, whence they have their name; dens, and in tis plural denées, in Latin, signifying teeth. Dentells are often employed in the en- tablature of the Ionic order; they are cut upon a little square mem- ber, and have the appearance of a row of teeth: some call this mem- ber the denticudus, and the Dentells, dentes, or teeth; otherwise den- ticle for the Dentells. They are in general indifferently called Dentells, . . a 7 dentils, and dentiles. ‘The breadth of the Dentell should be half its _ height, and the interval or interdentation two-thirds of the breadth: this is the proportion alotted by Vitruvius. _ Auciently, Dentells — were used only in the Ionic cornice, but they have since been intro- duced into others ; the Greeks never put them under modillions, but jater architects have not been so strict in this respect, though both reason and elegance recommend it. ge Desien, ina general sense, the plan, order, representation, or con- © struction of a building, book, painting, &c. In building, the term ichnography may be eed when by Design is only meant the plan of a building, ora flat figure drawn on paper; when some side or face of the building 1s pulsed from the ground, we may use the term or- thography ; and when both front and sides are seen, in perspective, — we call scenography. Design is also used, in Painting, for the first idea Bf a large work, drawn roughly, and in little, with an intention to be executed and finished in large. The art of painting has been by some of the great~- est masters divided into the Design, or draught, the proportion, the — expression, the claro-obscuro, the brdotinatice, the colouring, and the perspective. It is the simple counter, or outlines of the figures or group intended to be represented, or the lines that terminate or cir- cumscribe them, such Design is sometimes drawn in crayons, or ink, ‘without any shadows at all; sometimes it is hatched, that is, the shadows are expressed by sensible outlines, usually drawn across each other with the pen, crayon, or graver; sometimes again, the shadows are done with the crayon, rubbed so as that there do not ap- pear any lines; at other times the grains or strokes of the crayon ap- pear as not being rubbed; sometimes the Design is washed, that is, - the shadows are done with a pencil in TAdiniy! ink, or some other liquor; and sometimes the Design is coloured, that is, colours are laid on much like those intended for the grand work. The essential — requisites of a Design are correctness, good taste, elegance, character, diversity, expression, and perspective. Correctness depends on the justness of the proportions, and knowledge of anatomy. ‘Taste is a 948 DES ~* Dt « | 249 certain manner of correctness, peculiar to one’s self, and is not to be defined. Elegance. gives a delicacy that not only strikes. persons of judgment, but communicates an agreeableness that pleases univer- sally. The character is what is peculiar to each object, wherein there must be diversity, insomuch that ey ery thing has its peculiar charac- ter to distinguish it. ‘The expression is the representation of an ob- ject, according to the circumstances it is supposed to be in. Perspec- tive is the representation of the parts of a painting, or a figure, ac- cording to the situation they are in with regard to the point of sight. _. Designing is the art of delineating or ‘drawing the appearance of © natural objects, by lines, on a plane. : Dia, or Sun-D1ax, an instrument. serving to measure time by means of the shadow of the sun. This word is Bh abe from the Latin, dies, day, because indicating the hour of the day. The ancients also call it sciathericum, from its shewing the hour of its shadow. Sun-., dials are differently denominated, according to their different: situa-. tion, and the figure of the surfaces, whereon they are described ; as horizontal, vertical, equinoctial, bela direct, erect, ipehuing, re- clining, cylindrical, &c. The first Sun-dial that was set up in tees was erected by Papy- rius Cursor, about the year of the city. 447: for Pliny says, there was no mention on any account of time, but of the sun’s setting and > rising. ‘This Dial was set up in the temple of Quirinus, but it went not right. - About thirty years after this, M: Valerius Messala, says - Varro, being consul, brought out of Sicily, from the taking of Catana, another Dial, which he set up ona pillar near the rostrum ; but it not being made for that particular latitude, it could not. go true. Nevertheless they made use of it for eleven years, and then. Marcius Philippus, who was censor with Lucius Paulus, set up another, that was more exact. The Greeks: also were a long time without clocks and Sun-dials. Some ascribe the inventions of Suns dials to Anaxi- mines Miletius, and others to Thales. There are many kinds of Dials mentioned by Vitruvius; as one in- vented by Berosus the Chaldean, which was on a reclining plane, pa- 32, 3 250 BF A rallel almost to the equinoctial, there was an half-circle upon it, and thence it was called Hemicyclus. Aristarchus Samius found out the Hemisphere-Dial. And there were some spherical ones with a needle for a gnomon. The discus of Aristarchus was an Horizontal-Dial, with its limb raised up all round to prevent the shadow from extend- ing itself too far. Dial- -planes are of two sorts : First, such as are iad on the walt of a building: or, secondly, such as are drawn on the tables of wood, commonly called Dial-boards. The first sort, if they are made on brick-work, is done by plastering . on the wall with lime, sand, and hair, mixed; this, if well drenched with linseed-oil, after it is dry, or as long as it will drink in any, and afterwards with oil and white lead, may be durable enough. But it will be a better way to temper the lime, sand, and hair, with ox-blood, which will be no great charge, but of great advantage; for this mix- ture will equal in time the hardness of a free-stone, and keep the sur- _ face as much from the injuries of the weather; but it must be after- wards painted white. If you are to work ona stone, the best way is to drench the stone with lhinseed-oil and white lead, very thin, till it will drink no more ; then will the Dial you paint upon last the longer, and be the better prepared to resist the ruins of time. Now for tables or Dial-boards of wood, they being most common, we shall give such directions for the making of them, as have been always found most profitable and fit for the purpose. The best wood for this work is the clearest oak, and the reddish fir, provided: it be not turpentiny. There is but little difference between these two woods, as to their alteration by the weather, both being subject to split, in case they are bound, and have not eee liberty to shrink with dry weather, and to swell with wet. But as to their lasting, oak appears to be the best of the two; though good red fir that is Haag will gene- rally last the age of a man, if it be secured as such things ought to be. In working hee of these kind of woods, first cut the boards to such a length as you intend the deal board should be, and so many of them as may make up the breadth designed ; then let them be jointed on be 7; Ces ie 3 251 the edges, and planed on both sides, arid afterwards set to dry; for it has been observed, that though boards have lain in a house ever so long, and are ever so dry, yet when they are thus shot and planed, they will shrink afterwards beyond belief, if kept dry. When they have been thought to have been dry enough, and will shrink no more, let them again be shot with good joints, and let every joint be secured by two wooden dove-tails, let in cross the joint on the backside ; but let this be done when the boards are glued together, and well dried. After they have been thus glued, and the joints are sufficiently dried, then let the face of the board be well planed, and tried every way, that it may be both smooth and true, and all of a thickness, as pan- nels of wainscot are commonly wrought. The edges must be thus true and even, that they may fit into the rabet of a moulding put round it, just as a pannel of a wainscot does in its frame. This will give liberty to the board to shrink, and swell without tearing; whereas mouldings that are nailed round the edge, as the common way is, do so restrain the motion of the wood, that it cannot shrink without tear- ing; but board wrought after this manner will last a long time, with- out either parting in the joints, or splitting in the wood. Dials are sometimes drawn on planes lined with copper or lead, that they may be free from splitting or tearing ; but a board (if it be prepared as above directed) is thought preferable to them in many re- spects, as it is much cheaper: besides, lead and copper too will swell with the heat of the sun, and grow in time hollow outwards or con- vex, instead of a perfect flat, so that the truth of its shadow will be ‘much injured. The colours will be apt to peel from the metal, and the Dial will by that means be sooner defaced, than if it were painted on a wooden plane. Before you begin to paint, it will be absolutely necessary to make a draught of your Dial on paper ; your board being ready, and your colours prepared, then proceed as follows : '- Take Spanish brown, that has been well ground, and mixed mo- derately thin, and with a large bristle-brush dipped in it, colour the board or plane all over, on the back as well as on the fore side, to preserve it the better, so that no part be left uncoloured ; this is called 252 | Diisa the priming ofa Dial. ' When this first colour is dry, do it over again with the same colour, tempered somewhat thicker; and when this is also dry, you may, if you please, do it over/again with the same co- — lour; the work will be the: better, and last. the longer, . This. being done, then colour the face of the Dial-plane over with white lead ; and when that is dry, work it over again three or four times more, successively after each drying; and so will the face of the Dial-plane be sufficiently defended against the violence of the weather. When the last colouring of the white is drawn, you must draw on the plane, with a black lead pencil, a horizontal line, so far distant from the uppermost edge of the Dial, as your discretion shall think fit, or your experience finds shall-be most becoming the plane; then set out the margin of the Dial with boundary lines for the hour, half-hour, quar- ters, and quarter-divisions of the Dial, as you see done in most Dials. When the margin and boundary lines of the Dial are set out, then take your paper-draught, that has been fairly drawn, and place the horizontal line of that, on the horizontal line that you before drew on — the plane; in doing of which, observe to. place the centre according as the situation of your plane, for convenience sake, requires. Thus if your Dial be a full south-Dial, then let the centre be exactly in the middle of the plane; but if your Dial decline from the south, either east or west, then place not the centre of your draught in the — centre of your plane, but nearer to one side or other of it, according as it declines, having also regard to the quantity of its declination, As for example: if your Dial decline eastwards, then let the centre of your draught be placed between the centre and the eastern) side of — your plane, the quantity thereof must be according as your Dial de-— clines: if it declines but a little, then place the centre of your, draught but a little from the centre of your plane; and if it declines much, place the centre of your draught the more out of the centre of your plane. The reason of advising this, is, that by so doing you may gain a greater distance for those hour-lines, which, in declining planes, fall nearer together on one side than they are on the other; for which reason, it is usual so to do-in declining planes, except they REE Se eke srg tA. Fe bial = DIA 253 decline far, as between eighty and ninety degrees; for, in this case, they are commonly drawn without centres, to gain the greater dis- tance for the hour-lines. When the paper draught has been thus ar- tificially placed on the plane, and fastened with pins, or small tacks, . then let the-draught of it be transferred on the plane, by laying a ruler over every hour and quarter division, and where the ruler cuts or intersects the boundary lines of the margin, there make marks, by drawing lines with a black-lead pencil, of such a length as each di- vision requires, or is designed by your boundary lines; observing al- _ ways to draw the hour and half-hour lines quite through your margin, that they may be guides for the right placing of the figures, and for a small spot that is usually placed in the margin, right against the half-hour. When this Dial-draught has been thus transferred to the plane itself, you must not forget to draw the substilar line according as it lies in your draught, to be a guide for the right placing the stile or cock ; for you must be very exact in every particular, or else the Dial will not be right. Every thing that is required being taken from the draught, ands.“ -. transferred to the plane, then take the draught off, and with vermil- lion well ground and prepared, let the boundary lines of your Dial, as also the hour, half-hour, and quarter division, be drawn therewith ; let your colour be as thick and as stiffas you possibly can work it, so as to draw a clear and smooth line; because this is to be done but once. When your vermilion lines are drawn, then make the figures with lamp-biack, and a spot in the middle of the margin, right against the half-hour line; and, if you please, in the margin at the top of your plane, you may put the date of the year, your name, and — some sentence, as is usual in things of this nature. Then fit in your cock, so as to make right angles with the plane. So shall your Dial be drawn, and finished in all respects as a plain Dial ought to be. Before we dismiss this article, it will be necessary we direct the student to the best authors who have wrote on the subject of Dialling. Stirrup’s Dialling will be found of great use to the student, teaching him the leeciuledue os the sphere, that he may understand the nature Se. igo 254 Db FF A and reason of Dials. Collins’s Dialling is a very useful book. In Leybourne’s Dialling you have the best instructions for drawing east and west Dials, and for decliners. Lastly, Collins’s sector on a qua- | drant, in which you have represented the cut of a scale, that, by knowing the declination, gives all the requisites of an upright de- cliner, by inspection only, with as great accuracy as the most correct calculation ; besides, it ‘teaches the way of drawi ng the hours of a Dial by a tangent line, and also by the scale of naw ; two of the best and most expeditious ways that ever have been yet discovered. DiaLtine GLOBE, an instrument of brass or wood, with a plane fitted to the horizon, and an index, so contrived as to give a clear illustration of the principles on which Dials are made. Dratiine Lines, or Scales, are graduated lines placed on rulers, or the edges of quadrants pape se instruments, to expedite the con- struction of Dials. DIALLING SPHERE, an instrument made of brass, with suberalls semi-= circles sliding over each other upon a moveable horizon; serving to demonstrate ‘the nature of spherical triangles, as well as to give ‘the true idea of drawing Dials on all sorts of planes. DiAMETER, in Geometry, a right line passing through the centre of a circle, and terminated at. each side by the circumference. The chief properties of the Diameter are, that it divides the circumference of acircle into two equal parts. . Hence we have a method of describ- ing a semicircle upon any line, assuming its middle point for the centre. The Diameter is the greatest of all chords. The Diameter of acurve is aright line that bisects the right liaes drawn parallel to one another, and are either of a finite or infinite length. Although a right line, bisecting all parallel lines drawn from one point of a curve to another, is taken in a strict sense only for the Diameter of a curve-line, yet it may not be amiss more generally to define a Dia- meter, in saying, that it is that line, toliathien right or cutve, which bisects all parallels drawn from one point of a curve to another; so- that, according to this, every curve will have a Diameter; and thence Sir Isaac Newton’ s curves of the second order have all either a right- DIM Se lined Diameter, or else the curves of some one of the conic sections - for Diameters ; and many. geographical curves of the ‘highest orders may also have for pean curves of more inferior ones and that ad infinitum. Diameter of a Sphere, is the Diameter of the semicircle, by whose rotation the Sphere 1 is generated ; in which sense it is the same with axis. | Diameter of a Column, in Architecture, its thickness just above the base. From this the module is taken, which measures all the other parts of a column. Diameter of the swellings is that taken at the height. Diameter of the diminution of Columns is that taken at the top of the shafts. Diasty te, the term by which the old architects expressed that intercolumniation, or space between columns, which consisted of three diameters of the column; others call this a space equal to four dia- meters. ‘The word does not determine any thing from its derivation, which is only from the Greek o:2, between, and sudos, a column, so that - it may express one distance between as well as another. Dig, a term used to express a squared naked piece. Thus the body of a pedestal, which is that part between its base and its cap, is called the Die of the pedestal. It is also a name by which some call the abacus. Dieaine, the Biggie of the ground for cellars, and for the foun= dations of buildings, is commonly done by the solid yard, containing twenty-seven solid feet, which is commonly counted a load. Therefore take the dimension in feet, multiply the length by the breadth, and the product by the depth, and then divide bho last product by tw re seven, and the quotient will give the content in solid yards. DiMEnsIoN, is the extension of a body considered as. capable of being measured. Hence, as we conceive a body extended and ‘capa- ble of being measured in length, breadth, and depth, we conceive a triune Dimension, viz. length, breadth, and thickness. The first is called a line, the second a surface, and the third a solid. 256° | | SPO ae: DiminuTion, aterm expressing the decrease in thickness in a re- gular column. In Gothic buildings, we see pillars of an enormous — height, in proportion to their thickness, and all the way up of the same diameter; in regular building, the column diminishes in the — upper part, and it is natural that it should do so, for the first columns ~ were parts of trunks of trees, and they must have from nature this — Diminution, which the ancients had the judgment to preserve in the: shape of their artificial columns. The Diminution generally begins from one-third of the height of the column; some make it begin from the very base, so that the column is smaller all the way up; but the first is the general and the best method; this other has not nearly so good an effect. | | | The Diminution in the Tuscan order is usually the greatest of all ; it is commonly made a fourth part of the diameter of the column at’ the base; but ancient buildings do not warrant this; in the Trajan column the Diminution is but one-ninth of the diameter. The Dimi-: nutions are very differently proportioned in columns of the same order, in different antique remains ; and Vitruvius would have this contrac-— tion in thickness proportioned to the absolute height of the column, rather than to the consideration of any particular order: if a column be fifteen feet high, he directs the Diminution to be one-sixth of the diameter; and if it be fifty feet, he would have it only one-eighth; but- the practice of the antique, as well as later architects, differs extreme- ly upon this head; scarce any thing isso far from being determined. ~ o i o DiprTeRs, a term used by the ancients to express a temple encom-- passed with a double row of columns: it is derived from the Greek: ee nw ot el Sizlegos, formed of dig, twice, and aegoc, a wing, and expresses a building: with two wings. When a building was encompassed with a single in- stead of a double row of columns, it was called the psuedo Diuptere, or false Diptere; the two rows formed of a kind of porticos, which’ — they called wings. Disposition, in Architecture, the just placing of the several parts of an edifice, according to their proper nature and office, WD I § : 957 - Disposition of pictures and paintings ; the manner how and where gamienien and gentlemen, who are possessed of a choice. collection, should have them placed in their different apartments. 1. Antique works, or grotesque, may become a wall, and the borders and friezes of other works; but if there be any draughts in figures of men and women to the life on the wall, they will bel best of black and white, or of one colour heightened: if they be naked, let them be as large as the place will afford: if of marble columns, aqueducts, arches, ruins, and cataracts, let them be bold, high, and of large proportion. 2. Let the best pieces be placed to be seen with abel lights; for so the shadows fall naturally, being always barred to answer one light ; and the more under or below the light, the better, especially in men’s faces, and large pieces. 3. Let the porch or entrance into the house be set out with rustic figures, and things rural. 4. Let the hall’ be adorned with shepherds, peasants, milk-maids, flocks of sheep, and the like, in their respective places, and with proper dt- tendants ; as also fowls, fish, and the like. 5. Let the stair-case be set off with some admirable monument or’ building, either new or ruinous, to be seen and observed at a view passing up; and let the ceiling over the top stair be with figures fore-shortened, looking down out of the clouds, with Batlands! and cornucopias. 6. Let landscapes, hunting, fishing, fowling, histories, and antiquities, ‘be put in the great chamber. 7. Let the pictures of the king, prince, or other great personages ; or their coats of arms, be placed in the din- ing-room. 8. In the inward or with-drawing chambers, put other draughts of the life of persons of honour, intimate or special friends, -or acquaintance; or of artists only. 9. In banquetting-rooms, place cheerful and merry paintings, as of Bacchus, centaurs, satyrs, syrens, and the like, forbearing all obscene pictures. 10. Histories, serious subjects, and the best Worked. become galleries, where any one may walk, and exercise their senses in viewing, examining, ‘delighting, judging, and censuring. 11. Place castles, churches, or some fair buildings, in summer-houses, and stone-walks. In’terraces, put bas- 33. 3.0 } 258 aD up et cage and wild wothai Upon chimney-pieces only landscapes, for’ ye chiefly adorn. | 12. Place your own, your wife and children’s pictures, in your eee aha) as they best suit the private rooms, and are most agreeable to modesty, lest (says an author,) “‘if your — «wife be'a beauty, some wanton guest should gaze on it too long, ‘‘and commend the work for aa sake.” 13. cH hanging pictures, if they hang high above reach, let them bend somewhat forward at — the top, because, otherwise, it is observed, that the visual beams of — your eye, which extend to the top of the picture, appear further off than those of the foot. DisTEMPER, in Painting, a term used for the working up ‘of CO- lours with something besides water or oil. If the pine are pre- pared with water, that kind of painting is called limning; and if — with oil, is called painting in oil, and simply painting. If the co- lours are mixed with size, whites of eggs, or any such glutinous or unctious matter, and not with oil, then they say it is done in Dis- temper. In this manner the admirable cartoons late at Hampton- court, but now at the Queen’s Palace, are painted. The greatest disadvantage of Distemper is, that it has no glitterings, and all its colours look dead, by which means they appear alike in all sorts of lights, which oil-colours, or even colons. in Distemper, when var- nished, do not. 7 _ Disrrisution, in Architecture, the dispensing of the several parts and pieces which compose a building, as the plan directs. The Dis- tribution of ornaments, is an equal orderly placing of the ornaments — in any member of Architecture. DistRYGLYPH, in Architecture, the space between two ‘rigleee Dome, in Architecture, a spherical roof, raised over the middle ofa building, as a church, hall, &c., by way of crowning. Domes are the same that the Italians call couppola’s, and we cupola’s. Vitruvius calls them ¢holi. They are generally made round, or resembling the bell of a great clock ; but there are some instances of square ones, as ~ as = x < A y. those of the Louvre; and also some of them are in the form of poly- D O 0 vis 250 gons, as that of the jesuits’ church, in the Rue St. Antoine, at Paris. Domes have commonly columns ranged around their outsides, both for the sake of ornament, and support to the work. Doors. Two things are to be considered in the design of a Door, the first its aperture, a the second its ornaments. These must both enter into the mind of the architect who is designing an edifice, or he will never proportion or adapt it to the structure. How often do we see in London, Doors which appear not to belong to the house, but to. be joined to it against nature, not raised with the building. It is common to see Daadrs whose breadth occupies near one half off the ex- tent in front; and in Dover-street there is one whose top covers half the window placed over it in the upper story. This is the error of those who mean to be magnificent ; but the opposite is too common in plain houses. Doors are put which seem to say, no fat man cancome . into this house, and they always disgrace the whole building. The variations in the antique are in this instance very great; and from this it was that Palladio evaded giving rules for the dimensions of Doors in proportion to houses. He was sensible he could lay down none against which some. instance might not be brought, in those Kisiliaies which are allowed masterly in their kind; and he therefore left it undetermined. There are many things in which the ancient architects have erred, and it will bea ‘lobbies: error in us to copy their faults. They did not in general make the aperture equal all the — way, but contracted it upwards. This must have had a strange effect. A Door narrower at the top than at the bottom must have appeared a deformity in any building. The limits of these things are not fixed at any certain point, nor are the powers of genius fettered by such boundaries. While we admire the dignity of the Grecian or the pomp of the Roman Doors, let us see also this contraction as all egregious error; and if we refer to Palladio, or to. the oracle of Palladio, Vitruvius, on this account, let it be to dissent from their opinions. With regard to the Italian, he was lost in the diversity of what he read, and what he saw; as to the Roman, he seems to 260 . Dt FO have received it as a law in the science, that there should be this con- traction ; and when he directs that in Doors of more than thirty. feet height in the opening, there should be no contraction of the diameter, , his Gbrhrleritator Philander: who rarely misses his sense, says this was, because at that height the nature of vision answered the same pur-_ pose ; and the contraction was given to the eye by distance. ‘The architect will see by this ire disquisition, that the ancients are — not proper instructors in the dimensions of Doors; how much soever we may learn from them respecting their ornaments. He will see also, that the most famous of the moderns has left him uninformed ¥ on this head; and if he looks into the common book of designs, he will find nothing but absurdity. . With respect to the height of Doors in the aperture, there is an universal law in reason, thouwh not observed; there is a certain — height below which they must not be, though for dignity and pro- — portion the field in which they may exceed is almost unlimited. The — human stature is the mark for the least height that can be proper; he who makes a Door is not to descend Hetdve this established pro- portion. For the lowest Door then the height must be such, as that a man of the highest common stature may go through it without stooping. This isits the measure to six eet: below this the Door of no house should be made, even of the plainest ; but all above is ‘left to fancy, guided by the general idea of proportion. The height e being thus determined, the breadth comes into consideration ; “a sides must be so distant, that they may not reduce a man to enter with his arms in any particular posture; as he is to-go in without stooping, so he ought to be able to walk im at ease. “The smallest — dimensions therefore in breadth that can be allowed is three feet: and _ this being half of the given height, has a'very good effect in respect of general proportion. These are the rules laid down by nature, and these, being allowed as truth, become the foundation of all the other proportions. ‘While — we are near this, we are sure not to err; and this ought always to be. oN ® | 261 kept in remembrance for that: purpose. ~He would: have’ reason to complain of the’confined laws of the science, who fancied that from this every Door must be made the exact double of. its breadth in height; there are peculiar constructions which require particular mea-_ sures; but as in all other cases there are bounds which must not be transgressed; so in this there is a latitude, as we shall sane within whigh: the fancy may rove, but which it must not pass.’ We have said, that for the plainest Doors the proportion of height to breadth must be double ; this is to be a little varied at the pleasure of the ar- chitect, and he must thus employ his liberty. | If the front of the house extend considerably in firealith, in pro- portion to the height, the Door must be adapted to it, by having a proportion of breadth somewhat too great for its height; upon the preceding principles, and in the same manner, if the building be one of those which rise to a height without any great breadth, the Door for it should be made a liiplee more than twice as high as broad, to accommodate the figure: of that as of the other parts to the form of the whole. “These are liberties he:is-to take, but they must be taken with discretion ; great variations from common proportions will be al- ways wrong ; and it is never needful, ine a Door is so obvious a _ part, that: fade will be seen. | The form and dimensions. of Doors having thus been established upon some principles, we are to consider their position. -This varies according to their distance from the level of the ground, and is to be governed by the height of the floor to which they belong. In the plainest and most ordinary houses the Dooris upon the level.of the ground, but this is wrong, for a very obvious reason. © There is to be some settling expected in the house,’ and experience shews, that the ground in all inhabited places naturally rises in surface. ‘Therefore a house whose floor of entrance was placed: originally upon the level of the ground, will in a few years, from the concurrence of these two accidents, or from one of them, be below that level: the Door will then stand below the surface of the ground, and we must go down 33. 3X 262° D Oo O stairs into the Jobe this is to. be avoided both. for. iat and service. A-floor under the level of the ground will be damp, and the Door, if well proportioned at first, it will be too low for its breadth; at least it will appear so, which in this respect is the same thing... This is a_ a reason why a Door should: never rest upon: the level os the ground;. — but if against all rule the builder'or the owner will have it so, the. @ proportion to be observed 1s this; it must be made somewhat. high i in, 3 an’over-proportion to the breadth, because the eye at first will reduce it to the appearance of regularity, and was accident; after wards _ will place it below it. 3. sotto Hence is derived a iduedlaide that atighity to Stand t as 4 unattesablen in @ itself; that the more the Door ofa house is raised above the level of 7 the street, the more its breadth should exceed the natural proportion 4 with respect to height... This depends upon the nature: of. vision, which in these near objects ought always’ to be consulted; for’ the higher the Door is placed, the narrower it will appear by distance, and therefore the broader it should be made in the reality. These are points which deserve to be: considered much more strictly than. . they are, for upon them depends entirely the proportion. In the ear- liest Architecture we find, that the custom was to place the Door at— a considerable height above the level of the ground; and in all mag- nificent buildings it should be thus raised, and in others in proportion to their size. . The raising the Door after the old Greek manner gives many advantages. The floor to which it opens has elevation, better air, and the advantages of prospect. There is the benefit to it by | flights of steps, which, whether single or double, are of great. orna. ment, and may be carried to any degre of elegance, adpordines to the pleasure of the purchaser; it also gives a good floor for the use of the servants. For all these reasons we see it best to give the Door an elevation, and we have directed the architect to the outils method by which one of this situation ever can be rendered truly graceful. We are now naturally led to the ornaments of Davie wea are to propose, as their first and greatest decoration, the use of the orders. wo @. 263. They are the noblest and most graceful part of Architecture, and are therefore suited to what is to make the first impression, asa Door na- turally does: Their expence is)no where:an article of so little consi= deration, because they are‘here sinaller and fewer thamin the common uses ; and the architect of taste has this reason to be pleased with them, that he‘has in their construction a: scope for all the boldness of his genius, ‘and the best flights of his regulated ‘fancy. Great: varia tious are authorized by the remains of antiquity in the construction of every one of the orders; in the ornaments of Doors there is full scope for the imitation of all those of the ancients, and for the devising new ones; and from this may arise a dignity and grace unknown ithe to in Architecture. From these he may select what will best>suit the purpose of every particular Door; for it willbe proper for him to give the greatest heights to his columns and their capitals, where the Door is to be, according to its)situation, narrower than usual in respect of height ; -and on the contrary, to select those columns from among our ei pies of each order, which are lowest, where the Door is broader than the exact proportion of height would dictate. This is the true use of these’ remains of the setiahien and by such a method of em-: ploying them they will obtain as much credit for the architect, as in a random choice they would disgrace him. One thing remains to be obientdsi with respect to the ubslbian of columns used ‘in ornamenting Doors, that the greater this is, the less they are suited to the purpose. This is one of many reasons that ought to banish the ‘Tuscan order from this piece of service. Its di- minution is not only the greatest of that of any order; but it 1s greater beyond all proportion, and looks as if ill-formed, where it is made with ever so much truth. The other orders are no ‘way more happily used than for this purpose; their diminution is the great grace of their. form, and it is never shewn so plainly or conspicuously. ‘The upright of the Door-case,; before which it stands, is a measure to the eye, and the whole being near, and the form of the column) distinct, the diminution is seen in the whole outline. . This is a very. obvi- See wD @ a0 ous reason: for preferring columns. to the vulgar custom of pilas- ters upon ‘this occasion; but at the same time, as. we have. observ- ed already, the peculiar diminution of the Tuscan. being too great a oe to be borne, on so near and so distinct a view, should exclude it : from this. use: in the ornaments. of Doors... Having treated on the ‘s use of columns, in the ornament of Doors, we now proceed to © shew the young architect the use of the more pte ons dine Doors. The greatest eee e of Doors is by means. of. thei vides “The : Tuscan is in general the least fit for the purpose; therefore there re- — main to be pousidered only the two more rich and elegant to be ap- propriated to this use. A plain opening left in the wall, was: doubt-_ less the. first Door-way, and it continues the. plainest ; it were well if we could not say, it would be to the advantage of many deco- rated entrances to good houses, if all the expence could be removed, — and the opening left naked as it came from the hand. of the brick- layer. From the plain Door-way, the advance to that ornamented with — the lowest order is. by many stages, and in all these there is such a thing as plain propriety, which only a misguided fancy could trans- gress. . The great error is that of crowding ornaments) of a superior — kind into a work of an inferior: this is as absurd in the least things as the greatest. The capital of the Corinthian order put upon a Tuscan column, could not be more monstrous than the bringing in here the decorations of one kind to the plan in another.. When the Doric with — its best proper decorations does not appear rich enough,, instead of adding what is unfit, the architect should choose the Ionic, and the same rule holds here universally ; let the builder see in this light. If a Door with an architrave cannot be made rich enough by proper sculpture to please the eye of the possessor, let him not introduce into it the decorations appropriated to other kinds; but at once advance from that plan to design with an order, and laying aside the otherg entirely adhere to this. There is nothing absurd but from the mixture of improper parts; bs : DOO festa 265 and nothing is ridiculous that is not absurd; therefore let him: keep i only propriety in his mind, and: he will be sure to escape censure. | The plainest Door that has proportion in its dimensions, and pro- _ priety in what is-placed about it by way of ornament, will give satis- ~ faction, not only to the judicious, but to every eye, while ill-judged ornaments raise contempt. Let it be an universal rule, deduced from this principle, that where there are not columns introduced, there should be no résemblance of them. With what disgust does the jus _ dicious eye look at the Door where the conceit of the architect has _ formed a half column out-of some of the mouldings, which running _ up to enclose a compartment above the Door, together with it, fifteen diameters in height, and has a fancied capital to crown the absurdity ? _ What contempt must this unnatural Gothic piece of business raise in _ all who look upon it? If the architect will have any resemblance of a column, let it be a column in due proportion; a little judgment _ will direct how to ‘dispose the compartment above; and less expense than pays for this absurdity will finish the work with propriety. The original thought of decorating a Door-way was no more than by a plain case of ne with a bead at its edge. The sharpness of the corner, or angle of the brick-work ‘was disdereied be: as also its roughness; and being a sharp edge of a weak substance, it was broke and made irregular ‘by every little accident: ‘This put it in men’s minds to case or cover it with board; and the inconvenience of its sharpness made them cut ‘a moulding, by way of bead, or plain as- tragal, all the way its length. Thus were Doors ornamented in the earliest times of building, and as they were then under the conduct of men of true taste, they were able to proportion the breadth of the wood-work to the opening of the Door, and terminating at the ex- treme edge with another astragal, there was a plainness, but still there. was a propriety and use; and when these unite, there never wants beauty to the discerning eye. As the plain breadth of boards offend- ed the eye, the old architects carried up along its middle'a festoon of various contrivance. “The oak-leaves and faite gave the first hint; the olive succeeded this, and afterwards the vine: this gave a beau- 34. i 266 . Oe tiful freedom from its ramping figure, which they knew how to re# strain with j udgment ; and from this they reached the acanthus-leaf, in their judgment the height of vegetable beauty. From thence they began to diversify the festoon with symbols and instruments of sacria. fice, and thence they came to hieroglyphics.' As the plain case of the Door received this ornament, the head at its edge swelled by degrees, by the addition:of more and larger mouldings, to an architrave. ‘This was finely varied, and the frieze which crowned it at the top received all the decorations. of sculpture given to the pannel. Thus far ad vanced, the orders were initald here dancsuauaen 6 and here among one | great builders ended the decoration.) | Thus began, and thus was raised to perfection, he dedbpatibue of. Doors.among the Greeks and Romans. Here they stopped, for they had sndpniinds but the luxuriant fancy of those who followed them, admiring their works, but wanting the taste which regulated: them, flew into every absurdity that the whole scope of things could afford: Of this we see instances in many expensive works, which stand to disgrace our country ;,and,we have models of them, and of others as lala: proposed for imitation, and published, as the titles say, for the instruction of builders. We have seen Architecture, a science founded upon the soundest principle, disgraced by ignorant caprice ; and fashion lately has attempted to fiijdatectialie and destroy it oS the caprice of France, and by the wims of China. How must it disgust.a man of true taste to see, in some of sli best buildings in France, famed as it would pretend for the encourage- ment of arts, Corinthian capitals made of cocks’ heads, instead of leaves of the acanthus ?, And this most absurd variation from the figure and design of the antique, give to its inventor the glory of having added a sixth order, It is called the French, and let them have the praise of it; the Gothic shafts and Chinese bells are not beyond or below it in poorness of imagination. Upon the most impartial review, we shall find that nothing in greatness or in grace can compare with the Greek and Rosin Architedtane therefore Jet us SR nothing in the place of them, D:0O OO 267 _ The richness of an order depends upon its natural form; but a great deal may be done in the article of improvement and elegance, by the materials thatare employed, and by the additions of sculpture. No absolute direction can be given in’ this respect; for the expence of the different kinds is so various, that the choice of the proprietor alone can be consulted. We may consider the materials for the orders in- tended for this use to be, in England, three ; wood, stone, and mare ble: of these three wood is by much the most universal. It. is the cheapest in itself, it is sufficiently lasting ; and it receives. the chisel freely, and retains its smallest strokes very safely. Therefore this is _ to be considered as the natural material in England, and it serves — - equally well either for the outside Doors or those within. Stone has an air of grandeur which wood has not; nor can any painting or any artifice give it; but this is naturally to the outside Door. Marble has, with a much greater dignity, a noble and peculiar elegance. It serves equally within Doors and without; but the weight of this and _ Stone should confine them within the ground-floor. We have instances of enriching even marble columns, by placing upon them in the Corinthian order capitals of brass; but this is an _ unnatural and foolish addition.- The colours of the brass and marble are so different, they never can agree one with another, as two parts of an entire body ; and the marble itself bears to be wrought with all the needful rafflings, and shews them very happily... The addition of brass therefore we wholly reject; it is expensive, unnatural, and un- becoming. Such as have been at the expence of granite Corinthian columns on some occasions, have added capitals of guilded brass ; which have had their admirers. The reason of casting their capitals in brass was, because we have not tools to cut them in the granite: but in this case it would have been better to have wrought this fine material into columns of an inferior order, as the Doric, where the capital being plain, the whole might have been uniform and of a piece ; for undoubtedly the same tools, and the same hands, which could round the column, could also form the capital of this plain, though noble, order. 268 D Oo QO There is no part of an edifice in which sculpture can be so: happily employed as about a Door-case : every eye perceives it; and it does not infer a necessity of continuing the same work throughout the house; fora Door isa detached piece ; and itis expected to be orna- mented. We see in many instances a great deal of labour in this way employed upon Door-cases ; but it 1s rude, harsh, and unfinished. It is better one good piece, though small, should stand in some | conspicuous: part alone, than that all this scattered indifferent work ~ should glare without approbation. If our painters want genius to — 5 Reve iy oe give designs in this kind, the treasures of antiquity are inexhaus- — tible; and our frugal. ancestors, like ourselves, have made ‘so little — use of them, that they are new. What a ‘variety of decoration might — the ingenious sculptor adopt from the ruins of Palmyra? » How bold and noble are the bas reliefs of the Parthenian? Indeed what is there 1 of the ornamented kind, among'all that is left us of antiquity,’ where various lessons may not be found under this head? Which of all their works do not afford hints for the sculptor of genius to follow? While we prefer the enriching our Door-cases by the hand of art, to. the more expensive treasures that are to be had from nature, we must — observe, that some regard should be paid to each.. The materials _ should be adapted to the workmanship; for it would bea pity to be- stow labour and genius upon such materials as would disgrace them; — or upon such as would not long enough support themselves against | the force of accidents. Stone moulders quickly whew exposed to the air: therefore when a very elegant Door-case is intended for the out- side, the proprietor should not grudge the use of marble. | In the same manner with regard to the Door-cases for rooms in which these orders shall be admitted, the choice naturally falls upon wood: but there is as much difference between wood and stone, as between stone and marble. Our fathers worked in'oak, a wood un- ! favourable to the tool, but which, in their masterly hands, admitted every stroke, and repaired the toil with immortality : we now use fir, the weakest and poorest of all woods that could have been employed for this purpose ; and we can give for this but two reasons, equally DOO | 269 mean; ‘these are, that it comes cheap, and cuts easy. It will not admit of those delicate strokes which have eternalized the chisels of our fathers; norsupport itself in those’ tender parts itito which they ut theirfine works. We have the same materials’ in which they wrought, and not one kind, but many, ‘of wood that will be very useful for. the purpose. The pear-tree is famous, and the maple more; this last was known in the earliest time of which we have an account; and celebrated for its excellence for this purpose ; ‘what then is the reason our people do not use them? They cut as freely as deal, ‘and they ‘are not near so liable to break off in pieces to the discrédit of the work. It is not needful the whole Door-case should be made of such wood; no, nor the whole columns; Jet those who calculate ex- pence so nicely, save in these articles, and only make the pieces of this wood that are for sculpture, the capital of a ‘column, the orna- ments of a frieze, or the like. The difference of colour, ‘to us who cover all’ with paint, is nothing ; and the work would shew’ in a ich manner, and would ‘be much more lasting, arty Wie Oy One caution we shall give the architect in this case, flich is, that he cause’a careful and judicious painter to be employed where there is carved work; forthe nicest'strokes of the chisel will be lost if clum- sily covered with paint: Two things are essential to be considered in the painting of carved work ; the first is, to use such a colouras shall cover the work without clogging it, and the other is to lay it on in such a manner that it shall not need a speedy’ retouching. ‘There may easily be contrived for this purpose a paint of a thinner Body than ordinary, which will colour without loading; and we know how poor ail appearance the best piece of sculpture in wood makes when it has_ been two or three times painted. It is partly the badness of the work, and partly the destruction of it by frequent colouring, which has: put carving so much as it is out of use at. present. THdcee it is now thedteniet to be utterly turned out of doors; and while the professors of the art submit to the comparison, they scarce deserve pity. The old ‘deception of stamp-paper, instead of carved wood, is coming up with all the rage of fashion; and we have the mortification to see his 34, 3Z, 270 D O O majesty’s royal letters patent lately g granted toa Bagechneag invention of this kind. Our sculptors need do no more to banish this Wenig’ than to oppose their work. well-executed against it; for there is no eye but will perceive the difference; the sichanee and sharpness which fol-- lows the chisel can never be equalled by such contrivances, nor the stucco, when a tolerable hand fashions it. They are great in their designs, and they content themselves with the poorest execution of — them. The judicious architect will tell them, that the plainest. mode- rate-sized room, finished in a workmanlike manner, is preferable to the largest defaced by these poor ornaments; and that itis better to — have a Doric Door-case of wood, than a Corinthian or Composite of paper. | 2 | We have now considered the ornaments: we have Ssiphai ead to the student what he is to undertake, and in what manner to execute the great concern of the decoration of Door-cases, whether’ in, the plain — and common manner, or, with the highest grace the science affords for them, the orders of architecture. We have considered ,also ‘the opening, and its dimensions and form ; and all that remains is to treat of the Door itself, which is to close that aperture, and to. occupy the centre of the proposed decoration. . The Door must be of due thick- ness to prevent its warping, and that must be farther secured also by its being made of seasoned timber, and framed in pannels.. With.re- spect to the kind of timber, notwithstanding the great variety our Own country affords, that is reduced in a manner to two, oak and fir; against the first nothing can be objected, for it has both strength and . beauty; but the athens is inferior to many kinds of our own growth. The oak or wainscot Doors are appropriated to the better kind of build- ings, and are intended to shew their true surface and their natural co- lour. ‘These are often wrought witha great deal of beauty, and are an ornament in themselves, exclusive of the decorations. The fir or deal Doors are meant to be painted. They are most common in houses of least expence; and when they get into. better edifices they are so well framed and wrought, that they often make no bad appearance. b © © | 271. The advantage of these is their lightness; those of wainscot, of the same dimensions and diameter, being much heavier. | Besides the wain- scot, we see in some places inside Doors of great elegance and 'ex= pence, wrought of mahogany, or inlaid with rose-wood; and decorated with sculpture. Either of these kinds are very elegant; and: those who have been familiar with ss wee not! ‘ace he a -toigpii = in an one apartment. _ The opening of the Door is next to fall dni cnsidefatidn, and the commen architect will think, that he has no more choice than to place _ the hinges on one or the other side, so that it may open one way or the other, inwards or outwards; for one of these two ways he will _ Suppose every Door in the world must open.. ‘But there is a way dif ferent from either of these, and itis a method of extreme elegance. _ Astreet Door opening inwards is of no incotivenience, because it opens into a hall, which is a room of no consequence ; but this is not the case in the more elegant apartments, where the communication is by a Door im the partition wall, and pia entrance oe ae out of one room into another. | | We shall suppose the two Ditaeignit rooms upon a first’ oor) com-= municate by a Door in the centre of the partition. \In an evening _ when. they are lighted up, this Door is thrown open, and the furni- ture in both being alike, it becomes as one apartment. In this: case the Door, according to the modern custom, must open into one or into the other of the rooms, and into which soever of the two it is, it will there be a blemish; an awkward slanting piece, standing in the room with a disagreeable sharp angle. This may be prevented by making a cavity somewhat more than’ equal to the depth and sub- stance of the Door in the thickness of the wall. Into this the Door’ may slide by a gentle touch, and remain undiscovered; and a hand- some brass ring being fixed to the edge, it may come out again when it is to be shut with as slight a motion. This is done at the house of a gentleman near Hanover-square, and the manner of it there may serve as an example to other builders. ‘Phe opening, in the usual way, is either by the whole Door on one side, or by half of it each 279, 7 : D- O 0 a way; the Door béing composed. of two, foldings in the middle; but in either case it 1s not ceirmettlide to: the method we. have here: ia, of sliding it into the wall on many occasions. | -'veJuast-of all we come to:the structure of btie fabric of ee Dowie it= self: this should: be contrived for strength and straitness: Alb these purposes are answered: by making it in many pannels. ‘The folding, or half Doors, are best made of four pannels, two: larger and two smaller; and the entire Door of eight. The framing mustbe sound, and the joints well secured. They may be varied in form many ways: but to be minute in these things shews a) poorness of) genius ‘in| the architect. The best form of the pannels is the plainesty and this isa long square; the two/or four larger should- be long upwards, and’the other cross-wise. This isa construction that shews strength and /firm- ness, and this is all that should be consulted here, the ag Ra be- longing to the other parts...» ‘16 isd « obs Doric, is the name of. one of the bine anaes in oan ; itis one of the three ancient) orders of! the Greeks, It is;usually -placed upon the attic base; the whole height is seven and: achalf or eight diameters; and its capital:is plain, eee formed only: of. hinted dibs in the entablature the frieze is enriched with figures called triglyphs, to: be explained under that head; the spaces between’ thesevare called metopes, and may be either Jeft plain or decorated; and its cornice has drops... : : CE off) The Doric is bhis oldest of: all. bie Stine ail aigindity ios no base ; itis the most natural and best: proportioned of them all. The first building in which this order was used was a temple at Argos, built to Juno, by Dorus, .a king of Achaia, from whom the order was afterwards named. It has been much enriched and embellished since its invention, so what is called, Tuscan, comes in many: things nearer the ancient Doric, than the order called by that nameiat this’ times The ancient Doric. is seen in great plainness. in the remains of the Parthenian at Athens, and ‘in the theatre.of Marcellus at Rome. It is used at this time principally in strong buildings, gates, citadels, the lower part of churches, and the like, in’ which places strength is DD Rm A | 273 more proper than elegance. . The gate of Burlington-house, in Pic-_ cadilly; is of the Doric order. Thetriglyphs are supposed to be in- separable from this order; but we find them frequently omitted for the sake of cheapness in ordinary works ; and there may be a reason sometimes: for leaving: them out; and’ making the frieze plain even in the most finished. ile elegant buildings. Mizooile adjusts the propor- tions of the Doric as follows: he divides the whole height of the ‘order, without the pedestal, into twenty parts, or modules; one of which he allows to the base, fourteen to the shaft or-sust, one to the capital, and four to the entablature. The particular. proportions of the several. parts and: members _ be seen schtnba their respective articles. DorMER, in. aidksiteabuvél is the window made in ihe rove. ofa house, or above the entablature, being raised upon the rafters. ~Dormant-TreEe, isa name given by ‘workmen to a great beam lying cross a house,’ commonly called a summer. | 'Dormirory, a gallery in:convents or religious pias divided into cells, in which the religious sleep. ute : Dovcinge, in Architecture, isa moulding or ornament on thé high- est part of the cortiice, in the form of a wave, half convex, and half concave. ‘The Doucine is the same as a cymatium, or cula. DoveE-TAILING, .in Carpentry, is‘a'manner of: fastening boards to- gether, by letting one piece into ‘another, in form of the tail of a dove. It is the strongest of the kinds: of jointings ‘or assemblages, wherein the tenon, or piece of wood which is put-into'the other, goes widening ‘to ‘the extreme; so that it cannot be drawn out again by reason the extreme or tip is bigger than the hole. It is:called by the French, Queue de Aron, 7) é. Swallow-tail,. which name is also used BY the English themselves‘in fortification. | | | + Drag, a door is said to’drag when in opening or shitting, it tangs or grates upon the floor, or cell. | Dracon Beams, are two strong braces or struts, which staid: tinder a breast-summer, meeting in an angle upon the shoulder of the king- piece, 35. AA 974 | DK “A DRAPERY, in Sculpture and Painting, the representation of the clothing of human figures, and also hangings, tapestry, curtains that are not carnations or landscapes. The art of Drapery consists, 1. In the order of the folds or plaits, which ought to be so managed, that you may easily perceive what it is they cover, and distinguish it from any thing else. Again, the folds ought to be large, as breaking and dividing the sight the less ; and igievt should be a contrast between them, pisses the Drapery will be stiff. 2. In the quality of the stufis, for some make their folds abrupt and harsh, others more soft and easy; the surface of some have a lustre, others are flat and dead ; some are fine and transparent, others firm and solid. 3. Inthe variety of colours, which, when well managed, makes the greatest beauty of painting, all not being equally amicable and friendly with respect to each other, and some never to be placed near certain others. M. de Piles observes, that Drapery must never be made to adhere to the parts of the body; that a great motion and lightness of the Drapery are only proper in figures in great agitation, or exposed to the wind; and that the aadabe of the figures should always be de-— signed before the painter proceeds to the Draperies: sibiodantstieal or Drart, in Architecture, the figure of an satan building, described on paper; in which is laid dues by scale, the several divisions and partitions of the apartments, rooms, doors, pas-_ sages, &c. in their due proportion to the whole building. It is cus- tomary, and convenient, for any person before he begins to erect a building, to have Designs or Draughts drawn upon paper or vellum, — wherein the ichnography or ground-plot of every floor or story is- delineated; as also the form or fashion of each front, with the win- dows, doors, ornaments, in an orthography or upright. Sometimes the several fronts, &c. are taken and represented in the same Draught, to shew the effect of the whole -puilding, which is called scenography or perspective. Draucut-CompassEs, such as have moveable points, to draw fine Draughts in Architecture. E A G . 275 _ Draw-Brince, a Bridge made after the mariner ofa floor, to draw up or let down, as occasion serves, before the gate of a town or castle. In navigable rivers, it is sometimes necessary to make the middle arch of bridges with two moveable platforms, to be raised occasionally, in order to let the masts and rigging of vessels es through. Drip, in Architecture, are a certain kind of steps; made on flat roofs to walk upon; a way of building much used in Italy, where the roof is not made quite flat, but a little raised in the middle, with Drips or steps, lying a little to the horizon. 3 Drop, in Architecture, an ornament in the Doric entablature,’ re- presenting Drops, or little bells, immediately under the triglyphs. Dye, in Architecture, any square body, as the trunk, or notched part of a pedestal; or it is the middle of the pedestal, or that part included between the base and the cornice, so called because it is often made in the form of acube or Dye. Dye is also used foracube | of stone, placed under the feet of a statue, and over its pedestal, to raise it, and shew it the more. 'Dyptere, in the ancient Architecture, was a kind of temple, en- compassed with a double row of columns; and the Pseudo Dyptere, or false Dyptere. was the same, only that this was encompassed with a single row of columns, instead of a double row. we Face, in Architecture, a figure of that bird, anciently used as an attribute or cognizance of Jupiter, in the capitals and friezes of the columns of temples consecrated to that god. 276 , tid EC H Eaves, in Architecture, the margin or edge of ti roof. of an house, being the lowest tiles, slates, &c. se iat tes over the walls, to. throw off water to a great distance from the wall. | : Eaves Latn, a thick feather-edged board, g generally railed shied the Eaves of. a house for. the domerninsy. tiles, slates, or shingles,, to @ rest on. ; EcHINUS, isa term used sometimes to express the ovolo, or -quarter- a round, and sometimes for a part of the figures with which that mem- 3 ber is usually carved, . This last.is the more proper and _ strict.sense, : and in the same manner oyolo, though usually employed as the name of the whole member,. is more strictly expressive onlyof a part of its carving. The quarter-round is usually carved with what are called eggs and anchors ; the eggs are the part. from which this has been . called:ovolo, ovum) being vice for an egg: these eggs have a‘kind of ; shell about thet, beside, their own, ata distance from their surface, | and, separating them from the anchors between;) this is called the Echinus, Echinus being + the name of the husk or,shell of a chesnut, _ which it was meant to resemble. Echinus, therefore is properly. the . name of the shell in the,carving af the ovolo, or quarter-round, jand — it is improperly used for that sina member......, . Ecuo, in Architecture, isa term applied to certain oa af sail and arches, generally elliptical parabolical figures, erected. to produce _ artificial Echoes. Blanc, in his Echometry, at the end of his first book of the sphere, teaches the method of making an artificial Echo. Vitruvius relates, that, in divers parts of Greece and Italy, there were brazen vessels artfully ranged under the seats of the theatres, to ren- — der the sound of the voices of the actors more clear, and make a kind of Echo; by which means the whole audience might hear with ease — and pleasure. In Echoes, the place where the oe stands, is called the Centrum Phonicum, and the object or place which returns the voice, Centrum Phonicampticum, At, the sepulchre of Metella, wife of Crassus, was. an Echo, which repeated what a man said five times. And authors mention a tower at Cyricus, where the Echo was repeated seven times, EM B | | QrT ~ Eee, in Architecture, an BE aaeieett in that form, cut in the eouinne | or quarter-round of Ionic and Composite capitals. The profile of an echinus is enriched with Eggs and anchors placed alternately. . Exzow, in Architecture, an obtuse angle of a wall, building, road, Bee. which divides it from its right line. ELEVATION, in Rciatect ures: the same with an orthographic or up- right draught of a building. _ ELLIrricaL-aRCH, a part or segment of the curve of an ellipsis. Elliptical-arches are frequently preferred to those that are circular in various kinds of buildings, because their span may be equal to those of the circle, without rising to so greata height; therefore they have _ been preferred in bridges ; but it must be rethom bered that they will decrease in strength in proportion as they deviate from the circle. Em, is of singular use, where it may lie continually wet or dry in extremes, therefore proper for water-works, mills, ladles, and soles of wheel-pipes, acqueducts, pales, ship-planks, beneath the water- line... Some of it found in bogs has turned like the most polished and hardest ebony. It is also of use for wheel-wrights, handles for single saws, the knotty parts for naves and hubbs; the straight and smooth for axle-trees ; and the very roots for curious dappled works, keryes of coppers, feather-edge and weather-boards, trunks, coffins, and shuffle-board tables. The tenor of the grain makes it also fit for all kinds of carved work, and most ornaments belonging to Architecture. Vitruvius recommends it for tenons and mortoises. EMpBossInG, or Imzossin@, in Architecture, Sculpture, &c. is form- ing, or fashioning of works in relievo, whether cut with a chisel, or otherwise; it isa kind of sculpture or engraving, wherein the figures project out from the plane whereon they are engraven, and according as they are more or less protuberant. It is called by the Italians basso, mezzo, or alto relievo, and by the mate e bass relief, mean relief, or high relief. eecuitin, in Architecture, the enlargement made of the aperture of a door or window on the inside of the wall; its use being to give the greater play for the opening of the door, or casement, or to admit 35. 4B 278 JS 2H GNeae the more light... When the wall is very thick, they 2 nee make ‘Embrastres onthe outside. iiss isop Fae EmpastTine, in Painting, is the laying on colours einen al bold, or applying several em or colours, to the end bhatt! they may) appear thick. va Encarpus, aterm by which some have called the reprceitnti allel F a festoon, on friezes, and otherwise, as an ornament in buildings ; » Vie _ truvius callsit by this name. These festoons were composed of fruits, flowers, and leaves, and Encarpus expresses them best when com=_ posed of fruits, xzgxo¢ being Greek for fruit... ia wore Enerne, in Mechanics, a compound machine, made’ of ove or more — mechanical powers, as levers, pullies, screws, &c., to raise, to pro- | ject, or sustain any weight, or produce any effect which could not be easily effected adheowisel Engines are extremely numerous ; some | used in war, as the battering-ram, balista, waggons, chariots, &c.; others in trade and manufactures, as cranes, mills, presses, &e.; others — to measure time, as clocks, watches, &c.; and others for the illustra- _ tion of some branch of science, as the orrery, commentarium, and the like. ‘In general we may observe concerning Engines; that they con- sist of one, two, or more, of the simple powers variously combined together; that in most of them the axis in peritrochio, the lever and the screw, are the constituent parts; that in alla certain power is ap- plied to produce an effect of much greater moment; and that the greatest effect, or perfection, is ahies it is set to work with four- ninths of that charge, which is equivalent to the power; or will but just keep the machine in equilibrio. In all machines, the ' power will just sustain the weight, when they are in the inverse ratio of. their distances from the centre of motion. ce ENTABLATURE, in Architecture, the ornament supported by theie ca~ - pital on the top of a column or pilaster. Every column consists of its base, shaft and capital, and supports an Entablature; these toge-__ ther constitute the entire body, or order; and the Entablature, like the capital, differs in every order. ‘Fhe Entablature consists of three _ parts, the architrave, frieze, and cornice; the architrave is composed bE - OR 279 of one or more faces, and rests upon the capital; the frieze comes next, and is the middle part of the Entablature; the cornice is the top, or uppermost. In the Tuscan order, the Entablature is plain; in the Doric, the’ frieze is decorated with triglyphs, or channelled figures; in the’ Lonie or other. richer orders, the cornice is decorated with dentells, modillions, anda variety of ornaments... The Entab- lature, according to Palladio, should bea fifth of the height of the column, and this equally in all the orders, except ‘the Tuscan, in which it is a fourth. oi ¢ | ixTeyd ~ It is different in different orders : : for notwithstanding it-consists of . the threé béforesmentioned ‘divisions in all ; yet these ‘parts'are made up of more or fewer particular members or subdivisions, according as ° the order is moré or less ‘rich. Vignola makes the Entablature a ‘quarter of the height of the whole’ column in all the orders. In the Tuscan and Doric, the architrave, frieze, and cornice, are all the same height. In the Ionic, Corinthian, and Composite, the whole Entablaturé being of fifteen parts, five of these go to the architrave, four to the frieze, and six to the cornice. ie) | 4 ENTERSOLE, in Architecture, a kind of little story, sometimes called amezanzine, contrived occasionally at the top of the first story, for the conveniency of a wardrobe, &c. | f23 a Entry, a Door, Gate, Passage, &c., through which we may arrive at any place. Episty Le, in the ancient: Architecture, a term used by the Greeks, for what we call architrave, viz. a massive piece of stone or wood laid immediately over the capital of a column. OM Evritumy, in Architecture, Sculpture; and Painting, is a certain majesty, elegance, and easiness, appearing in the composition of di- vers members or parts of a body, painting or sculpture, and resulting tom the fine proportion of it: Vitruvius ranks the Eurithmia among the essential parts of Architecture. He describes it as consisting in he beauty of the construction, or assemblage of the several parts of he work, which render its aspect, or its whole appearance; graceful ; -€. when the height corresponds to ‘the breadth, and the breadth te 280 EX. the length, &c. From these three ideas, or designs, orthography, scenography, and profile, it is, that the same Eurithmia, majestic and beautiful appearance of an edifice, does result, which creates that agreeable harmony between the several dimensions, 7. e. between the length, breadth, and height of each room ina fabric, so that nothing seems disproportional, too long for this, or too broad for that, but corresponds in a just and regular symmetry and consent of all the . parts with the whole. | Evsty es, aterm by which the ancients expressed the best and most elegant manner of placing columns, with respect to distance, or in- tercolumniation. Vitruvius says, the Eustyle intercolumniation, or best distance of placing columns, is that of four semi-diameters and a half, that is, two diameters and a quarter of the column. He says, — this manner of placing columns exceeds all others in strength and - convenience, as well as beauty. : | f ExaGGERATIoN, in Painting, is a method of representing things wherein they are charged too much, or marked too strong, either m respect to the design or colouring. Exepr, in Antiquity, a general name for such buildings as were » distinct from the main body of the churches, and yet within the limits of the church, taken in its largest sense. ih Expression, in Painting, the representation according to its na- tural character, and the painter’s invention, or plan. In portraits, it must be seen whether the person is grave, gay, a man of busi- ness or wit, plain, gentle, &c. ; each character must have an attitude, the ornaments, and back-ground proper to it; and all about it must be expressive of the man, and have a resemblance as well as the features of the face. If the person has any particularities as to the position of the head, eyes, or mouth, if not unbecoming, they must be strongly expressed. ‘There are a sort of moving features, and are as much a part of the man as the fixed ones: some things raise 4 Jow subject, and contribute more toa surprising likeness than any thing else. If there be any thing particular in the history of the person, which is proper to be expressed, it is a great improvement “ox Pp 98h _ to the portrait, to them that know that circumstance. Robes, or other marks of dignity, or of a profession, employment, or amuse- ment, a book, a ship, a favourite dog, or the like, are historical ex- pressions, common in portraits... There are several kinds of artificial expressions practised by painters, because of the disadvantage of . their art in that particular, in comparison of words. But there is no better school than nature for expression. A painter therefore should, | on all occasions, observe how men look and act, when pleased, grieved, angry, &c. | psidaak Ut Love is expressed by a clear, fair, and pleasant countenance, with- out clouds, wrinkles, or unpleasant. bendings, giving the forehead an ample height and breadth, with a majestic grace; a full eye,’ with a fine shadow at the bottom of the eye-lid, and a little at the corner ; a proportionable nose ; nostrils not too wide ; a clear cheek, made by shadowing it on one side, anda smiling mouth, made by a thin -up- _ per lip, and shadowing the mouth-line at the corners. Fear is ex- pressed by making the eyes look hollow, heavy and downwards, thin fallen cheeks, a close mouth, careless staring hair about the ears. Envy is best expressed by only the hanging of the cheeks and a pale countenance, and sometimes by grinding of the teeth. Let every passion be represented according to its outward appearance in those in whom it reigns. If you aim at any excellence in this art, you must endeavour to choose out the best actions for every purpose, in restraining the luxu-~ rious fancy of nature by a deliberate discretion, by the benefit of which you will furnish your design, always expressing in each mem- ber a certain hidden resemblance of the principal motions which affect the eye and soul of the spectator. To express a passion truly, you ought to give every thing its proper motion, or that which best suits your intention, which is nothing else but the agreement of pro- portion with the action or passion intended, wherein consists the whole life of the art; for hereby an evident difference is made between the living and the dead; the fierce and the gentle; the wise and the simple; the sad and the merry; and, in a word, discovers all the 430. AC 282 i he _ several passions and gestures which the body of a man is capable of. But before these things can be exactly done ina picture, you must 4 first intensely consider the life, that you may come as near as possible, to which adding art, you will meet with no motions so potent, which you will not be able artificially to imitate. These things will be | 5 the more exactly accomplished, by viewing and continually practising what we have seen; so as lively to express all gestures, actions, and passions, incident to natural bodies. : Eve, in Architecture, is applied to any round window madeina ~ pediment, an attic, the reins of a vault, or the like. | Ever of adome, an aperture at the top of the dome, as that of the pantheon at Rome, or of St. Paul’s at London; it is commonly co- — vered with a lantern. Eve of the volute, in Architecture, the centre of the volute, or that point in which the helix or spiral, of which it is formed, com- mences. ) Eyve-srow, in Architecture, is used in the same sense as list or fillet. F. F azric, the structure or construction of any thing, particularly a building, as a house, hall, church, &c. Facapg, or Facer, in Architecture, the front of a building, or the side which contains the chief entrance. It is also sometimes used for the side which it presents to the street, garden, court, &c., and some- times for the side opposite to the eye. , Fascia, is a term used to express a flat member in the entablatures of columns or elsewhere, resembling a band or broad fillet. Our Women 283 » workmen call ita face or -facio, and it is sometimes written Facia. The architrave, in the more elegant orders, is composed of three parts, or divided into three bands over one another : these are called the fascte of the architrave: the Tuscan should have properly one Fascia, nor had the Doric originally any more. But the architects have taken the liberty of deviating from exactness in this, as in many other respects. Fascias, in brick buildings, certain juttings out. of the bricks over the windows of each story, except the upper one. These are sometimes plain, like those of columns; but sometimes they are moulded ; and the moulding is usually a scima reversa at the bottom, above which are two plain courses of brick, then an astragal, and lastly a boultin. It is the same in stone buildings as it’ is in brick, and they are also sometimes plain, and sometimes moulded with a scima reversa, or ogee. Friiine of Timber.—Many circumstances are well known and con- stantly observed in the Felling of timber for building, which, though to a hasty observer they may appear trifling, yet prove, on experi- ence, to be of the utmost consequence. One thing observed by M. de Buffon, which greatly increases the solidity and strength of tim- ber, is, that the trees intended to be felled for service should be first stripped round of their bark, and suffered so to stand and die upon the spot before cutting. The sappy part, or blea of the oak, becomes by this means as hard and as firm as the heart, and the real strength and density of the wood has been proved, by many experiments, to be greatly increased by it; nor is this a practice of any detriment to the proprietor, since the remaining stumps of these trees send up their young shoots as vigorously as if they had been cut down in their natural condition. When any tree is to be cut down for timber, the first thing to be taken care of is a skilful disbranching such limbs as. may endanger it in its fall; many trees are utterly spoiled for want of a previous care of this kind. In arms of timber that are very neat, itis always necessary to chop or sink in them close to the bole, and then, meeting it with downright strokes, it will be severed from the tree without splitting. In Felling the tree, take care always to cut 284 ; 2 BON as close to the eae as possible, unless it is intended to be grubbed up; and the doing this is of advantage both to the timber and the 7 wood ; for timber is never so much vale if it be known to grow out of old stocks. A more enlarged account will be given under the article TIMBER. FENCE, a hedge, wall, ditch, bank, or other enclosure, — gardens, fields, woods, &c. In hotter climates than England, where ~ they have not occasion for walls to ripen their fruit, thiels gardens 7 lie open, where they can have a water-fence, and prospects; or else they bound their gar dens with groves, in which are fountains, walks, ‘ &e., which are ae more pleasing to the sight than a dead wall; but in colder countries, and in England, we are obliged to have walla 3 to shelter and ripen our fruit, Alisa they take away much from the pleasant prospect of the garden. Since therefore we are under — the necessity to have walls to secure our gardens from the injuries of winds, as well as for the convenience of. partitions or enclosures, — and also to ripen our fruit, brick walls are accounted the best and — warmest for fruit; and these walls, being built panel -se with pillars at equal distances, will save a great deal of charge, in that 4 the walls may be built thinner than if they were built plain, without these panels; for then it would be necessary to build them thicker i every where; and, besides, the panels make the walls look the handsomer. Stone walls are to be preferred.to those of brick, especially those — of square hewn stones. Those that are made of rough stones, though they are very warm, yet, by reason of their unevenness, are inconve-— nient to nail up trees to, except pieces of. timber be laid in them here and there for that purpose. But in large gardens it is better to have — the prospect open to the pleasure-garden, which should be surrounded — with a fosse, that from the garden the adjacent country may be viewed: but this must depend on the situation of the place; for, if the prospect from the garden is not good, it had better be shut out — . from the sight by a wall or any other Fence, than to be open. As also, when a garden lies near a populous town, and the adjoining ee aaa : 285. grounds are open to the inhabitants; af the garden is open, there will be no walking there in good weather, without being exposed. to the. views of all passengers, which is very disagreeable... Where , the _ fosses are made round a garden| which is situated ina park, they are. extremely proper; because hereby the prospects of the park will be obtained in the garden, which renders those gardens much .more, agreeable than those which are confined. . te - In such places where there are no good prospects ty be. abeaned from a garden, it is common to al: the enclosure of park-paling, which, if well performed, will last many years, and has a much Bek, ter appearance than a wall; and this pale may be hid from the sight within by plantations of shrubs and ever-greens; or there may, be a quick-hedge planted within the pale, which may be trained up; so as to be am excellent Fence by the time the pales begin to decay. There are some persons who make stuckade Fences round their gar- dens, to keep out cattle, &c., which, when well made, will answer the purpose of Fences ; but this being very expensive-in the making, and not of very long duration, has occasioned their not being more commonly in use. As to Fences round pankshy they are generally of paling ; which, if well made of winter fallen oak, will last many years. ‘he Fence may be six feet anda half high, which is enough for.a fallow-deer; but, where there are red deer, the Fence should be one foot higher, other- | wise they will leap over. Some inclose their parks with brick walls ; and, in:countries where) stone is cheap, the walls are built with this material; some with, and others without, mortar. ‘The height of gar- den-walls should be twelve feet, which isa moderate proportion; and, if the soil be good, it may in time’ be well furnished with bearing wood in every part, especially with that part planted with pears, notwith- standing the branches being trained horizontally from the bottom of the walls. | _ FEstoon, an ornament of carved work, representing.a wreath, or garland of flowers or leaves, or both together, twisted or interwoven one with aao thay: ; the Hestoonit is naturally thickest: in the middle, 286 FAR small at each end, and tied up there, whence a part commonly hangs down beyond the knot. The ancient use of the Festoon was to hang upon the gates of temples at festivals, and it consisted of flowers, or fruits, and their leaves only ; but we have, of later time, deviated so far from truth and nature, that we have twisted instruments of music, war, and emblems of the arts and professions of all kinds’ into this form. The ancients would have exclaimed at a garland of drums and fiddles, or a wreath of cannons and battle-axes, but we overlook these absurdities. The word is French, but it is derived from the Latin fes- tum, feast or festivity. Festoons are hung upon arches, and in the frieze of entablatures, sometimes also about vases, and other_ orna- ments. FiGurRE, in Architecture, sieifies! the representations of things — made in solid matter, as statues, &c. In painting and designing, it is the lines and colours that form the representation of a man, or other animal. Finiet, in Architecture, a little square member or moulding, used in divers places and on divers occasions ; but generally as a crowning over a greater moulding. It is called lista or listella by the Italians; by the French reglet, and by others band and bandelette. In paint- ing, gilding, &c., it is a little rule, or reglet of leaf-gold drawn over some “Wetting or on the hedges of frames, pannels, &c., especially when painted white by way of étirichin Ente | FINISHING, with architects, is frequently used ofa crowning, : acro=. ter, &c., raised over a piece of building, to terminate ‘and finish, or complete it. FirE-SToNnE, a sort of stone called also Ryegate stone, of the name of the place from whence it is chiefly brought, being very aod for fire-hearths, ovens, stoves, &c. FLEemMisH Bricks, a neat, strong, yellow kind of bricks, iadeerl from Flanders, and commonly used in paving yards, stables, &c., being preferable for such purposes to the common bricks. These bricks are six inches and a quarter in length, two and a half in breadth, and one anda quarter thick. Now allowing one-fourth of an inch for the joint, Rk) Ly @ : ree oe seventy-two of them will pave a yard square; but if aa be set edge- ways, then a yard square will require one hundred. . Froor, in Architecture, is the under side of the room, . or that ne _whereon we walk. Floors are of several sorts, some of earth, some _ of brick, some of stone, and some of wood., Carpenters, by the word - Floor, understand as well the framed work of timber, as the boarding over it. Earthen Floors are commonly made of loam, and sometimes (for Floors to make malt on) of lime and brook sand, and gun-dust, or anvil-dust from the forge. FLoorinG, a rural sort of work, by which, in this place, are not | meant floors laid with boards or planks, but such as are used in plain country habitations, and the manner of making them. Take two-thirds of lime, and one of coal-ashes well sifted, with a small quantity of loamy clay; mix the whole that you intend to use together, and temper it well with water, making it up into a heap, let it lie a week or ten days, in which time it will mellow and digest ; then temper it well over again, and be sure that your quantity of water does not exceed, but rather that it may obtain a mellow soft- ness and toughness from labour; then heap it up again for three or four days, and repeat the tempering very high, till it becomes smooth and yielding, tough and gluey. ‘Then the ground. being levelled, lay your floor therewith about two and a half, or three inches thick, making it smooth with a trowel: the hotter the season is, the better ; and when it is thoroughly dried, it will continue time out of mind. This makes the best floors for houses, especially for malt-houses ; but as for those who cannot get these materials, or go to the charge of them, they may make of clayey loam and new soft horse-dung one third, with a small quantity of coal-ashes, if they can be had, and temper these after the afore-mentioned manner, and lay the floor with the stuff, three or four inches thick, smooth and even, which | will cement, become hard, strong, and durable, being done i in a hot and dry season, good for cottages, barns, and other houses. But if any would have more beautiful floors than these, they. must lay their floors even, smooth, and fine, either with the first or last 288 eo mentioned Flooring ; then take lime made of ap seeoltehe and temper: it with a little whiths of eggs, the more eggs the better, to avery high pitch, with which cover your floor aboue a quarter or half an nel thick, before the under Flooring be too dry, that they may well incorporate together; this being well done, and thoroughly. dry, if sometimes rubbed over with. mops or cloths, with a little oil thereon, it will look very beautiful and transparent, as if it were polished me- tal or glass, provided the eggs and lime were thoroaghly tempered, and otherwise well performed. ARV E Sir Hugh Plat gives a receipt for making an ar tidcial cammpositifn heleuitte to make smooth, glittering alah hard floors, and which. may also. serve for plaistering of walls. Ox-blood and fine clay tem- pered together, he says, makes the finest floor in the world ; and that this mixture, laid in any floor or bicads will become a very strong. cand binding substance. | : Concerning boarded floors, it is to be observed, that the onnpbaleut never floor their rooms with boards, till the carcase of the house is set up, and also is enclosed with wall, lest the weather should wrong the Flooring; yet they generally rough-plane the boards for Flooring | before they begin any thing else about the building, that they may set them by to season, aviioh 9 is done.as follows : tes lean them one by one on end-end aslant, with the edge of a board against a balk somewhat higher than half the length 66 the board, and then they set ip another Sane in the same posture on the other side of the balk, so that the’ boards cross one another, above the balk ; then on the first side they set another board in the same posture, and on the se-_ cond side another, and so proceeding alternately, till the whole num- ber of boards. is thus: set on end. The boards being: set: up in) this posture, there is left a space of the thickness of a board all the leneth of the boards, but just’ where they cross one another, for the air to pass through to dry and shrink them; but they are set under some covered shed, that neither the rain nor sun may come at them; for if they should be wetted with rain, that: would swell them instead of shrinking them; and if thesun should shine very hot-upon them, PF oa 289 it would dry them so fast, that they will split or crack, which is what they call tearing or shaking. — it _ There is another way of drying and seasoning boards for floors, viz. by laying them flat upon three or four balks, each board about the _ breadth of a board asunder, the whole length of the balks ; then they lay another lay of boards athwart the last, and so till they have laid _ them all after this manner; so that in this position they also lie hollow, for the air to play between them. Of measuring Floors: boarded floors are usually measured by the Square, (of one hundred superficial feet,) by multiplying the length of the room in feet by the breadth in feet, and the product is the con- tent in feet; then the chimney-ways and well-holes for stairs are measured by themselves, and their content in feet is deducted from the whole content; and afterwards cut off two figures from the re- mainder on the right hand, and what remains on the left hand is squares, and what are cut off are odd feet of the content of the Flooring in that room. ‘4 | FLutines, in Architecture, are hollows of channellings, which are carried perpendicularly up columns by way of ornament. They are. cut lengthwise all round the shaft of the column, and are usually — rounded at the ends. Vitruvius says, they were first intended to re- present the folding of a garment. The Flutings of columns properly differ according to the several orders: in the Doric they should be twenty to each column: in the Ionic twenty-four, and so on; but the present architects do not very strictly adhere to these rules. The Flutings of columns are sometimes left open, and sometimes there is carried up a rounded body like a rope, plain or twisted all along their middle. _ They are in this condition said, by some, to be cabled: and the columns are called cable-fluted columns. Between the flutes are Jittle spaces that separate them, which Vitruvius calls, stria; and we, lists : though, in the Doric, the flutesare frequently made to join one Another, without any intermediate space at all; the lists being sharp- ened off to a thin edge, which forms a part of each flute. Sometimes the Flutings are made flat, and are called facettes; but these have 37. 4E 290 eS | UF sD SR never such a good effect as the others. “Vitruvius Says, that when there are Flutings in the column, there ought also ‘to be eggs and anchors in the quarter-round of the Sipital and even pearls and olives, in a baguette, to be made underneath, instead of annulets. These eggs and olives ought to be made of the same number with the Flutings, and to be regularly distributed. ibe _ Fryers, in Architecture, such stairs as go straight, and do not — wind round; nor have the steps made tapering, but the fore and back part of each stair, and the ends, respectively, parallel to one another; so that, if one flight do not carry you to your intended height, there is a broad half space, from whence you begin to fly again, with steps — every where of the same length and breadth as before. | Fori1aGE, a cluster or assemblage of flowers, leaves, branches, &c. Foliage is particularly used for the representations of such flowers, leaves, branches, rinds, &c., whether natural or artificial, used as en- richments on capitals, friezes, pediments, &c. Foot-Pace, or Haur-Packe, isa part of a pair of stairs, whereon, after four or six steps, you arrive at a broad place, where you may take two or three paces before you ascend another step, by that means to ease the legs in ascending the rest of the steps. Forces, alittle furnace, wherein smiths, and other artificers of iron or steel, &c. heat their metals red-hot, in order to soften and render them more malleable and manageable on the anvil. . Forge is also used — for a large furnace, wherein iron ore, taken out of the mine, is melted down: or it is more properly applied to another kind of furnace, and then cast into sows and pigs, is heated and fused over again, and beaten afterwards with large hammers, and thus rendered more soft, pure, ductile, and fit for use. Of these there are two kinds: the first is called the finery, where the pigs are worked into gross iron, and prepared for the second, which is cated the chafery, where it 1s fur- ther wrought into bars fit for use. Roncuvc, in Smithery, the beating or hammering i iron on the anvil, aiter having first made it red-hot in whe forge, in order to extend it in various nae and fashion it into works. There are two ways of F and, be- ing well rammed down, lay long planks upon them, which planks need not lie so broad. as the pieces are:'long: but only about four inches of a side wider than the basis or foot of the wall is to be, and pinned or spiked down to the pieces of oak on which they lie. But if the ground be so very bad, that this will not do, then you must . provide: good piles of oak of such a:length as will reach the good ground, and whose diameter must be about one-twelfth part of their length. These piles must be forced or drove down with a comman- der, or a machine or engine for that purpose, and must be placed_ as close as one can stand by another; then lay planks upon them, and spike or pin them down fast. But if the ground be faulty, only here and there a place, and the rest of the ground be good, you may turn arches oyer these loose places, which’ will, anahiyge them ‘of the weight. You must not forget to place the piles not only under the outer walls, but.also under the inner walls that divide the building; for if these should sink, it would be the means to make’ it outer wal crack, and so ruin the whole building...) >. Having thus far considered the bed. of earth-on. eres it biivlaing is to be erected, we shall. next consider the. substruction,; as’ it was or. 4A} 294 BO we called by the ancients, but the moderns generally call ‘it the Fou nda- tion. This is the ground-work of the whole'edifice, which must sus- tain the walls, and is a kind of artificial, as the other was‘natural; ‘as to which, these things that follow are most necessary to be observed: 1,,.That the bottom may be exactly level ; ‘therefore lay a ‘platform — of good boards. 2.:That ‘the lowest edge or row be all of stone, : the broader the, better, laid closely without: mortar, which is a general caution: for all: parts of ‘a building ‘that are contiguous to board ortimber; because lime and wood ate utter enemies to one another; and if unfit confiners any where, then they are more espe- cially so in the Foundation... 3. That'the breadth of the substruction be at least double the breadth of the wall that is to be raised upon it. But even in this case, art ought to give way to discretion ; and the substruction. may be made either broader or narrower, according as the goodness of. the ground; andthe ponderosity of the edifice re- quires. 4, That the Foundation be made to-diminish as it rises, but. yet so, that, there may be as much left on’ the’ One side as on the other ;, so thatthe middle of that above-may’ be perpendicularly over the middle, of that below, which ought ‘in like'manner to be observed in diminishing the walls:above ground; for, by that means; the build-_ ing will become much stronger ‘than it would be, if the diminution were made any other way.) 5. That you ought never to build upon the ruins, of an. old Foundation, unless you aré well assured of its depth, and that its strengths sufficient to bear'the building. © ©” Lastly, there is 'a curious precept in the writings of some ancient architects, that the stones in the Foundation should be laid as they naturally lay in the quarry; they supposing them to have more strength in their natural position! This precept is. generally observed by all good modern artists, not only in the Foundation, but also in all the parts of superstructure; and fora better reason than that of bare conjecture, viz. because they find the stones to have a cleaving grain, or that they are subject to cleave that way of the stone that lay hori- zontally in the quarry’; and, for that reason, if the horizontal position of the stones.in the quarry should be placed vertically in the build- UF © WW | 205 __ ings the super-incumbent weight, would be apt:to cleave them} and so render the building ruinous. For, as it has. been observed by Philip de Orme,’ the breaking or yielding of a stone in the Foundation, al- though it should be but the breadth of the back of a knife, it will makea clift of more than half'a foot in, the fabric: aloft. -In some places they found the piers of bridges, and. other buildings near the water, on sacks of. wool laid like mattresses, which, \being well pressed and greased, will never, give way nor rot.in the water. _Ofall the ancients, says: M. Gautier, in Architecture, who have left us any rules for the founding on,bridges, Scamozzi. is the only one that has said any thing to the purpose. He tells us; that the Foun- _ dations are laid after different manners. The first is by inclosing all round the space of ground you would build. upon, by dams made with piles set deep. in the ground in double rows, well strengthened and bound together with cross. pieces, and cords,, and filling the vacant Spaces between them,with chalk, or other earthy matter.) ‘This being done, the water must be emptied out, and. the Foundation dug ac-- cording to.the quality of the ground, driving down-piles, if it be ne- cessary, upon which the walls of the Foundation must:be laid. But this, method is only practicable in building on such rivers: where the water is'neither very rapid, nor very deep... The second is done: by laying the Foundation on. grate-work, rafts of stout’ oak well bound together, and made fast at the surface of the water with.cables or ma- chines, and building upon. them large: quarters.of stone cramped toge- ther, and joined. with good mortar or cement, and, afterwards: letting them descend softly by those cables and machines perpendicularly to the bottom of the water, as he says was done in the time of the em- peror Claudius, at the port. of Ostia; and as Draguet Reys did in the last.century, at Constantinople, in the fine mosque that he built upon thesea. This manner requires:a_ good bottom,’ equal and very even. The third is by drawing off all or: greatest part of the water of. the ri- yer into some other place; or by digging it another bed; or letting it out into deep ditches, in which, says he, great diligence must be 296 | EO used, to have all the materials ready, and to have workmen enough ready, sufficient to complete it in a short time; to the end that the masonry may be well confirmed and settled before there is a Marc eis | to let the river into its former bed. : The last method, which is that which Bedinousi says he believes Trajan made use of in building a bridge over the Danube, is to dig a new bed for the river, ina bisee: sihich seems, as it were, to meet it- self, after having made a great elbow or compass about ; which being done, the bridge may be ‘built with ease, and that dry shod, in that place. And when the bridge has been settled, to open the passage of — the cugrent at the two ends, stopping the bed up with strong banks © or moles, and so the river will take to its old course ans this, a8 he, is the surest method of all. To lay the Foundation of the piers of a brides if the part bie soft, it must be piled, after as much of it has been carried away as can well be. The same is to be done, if it be sand or gravel, which must be dug out as deep as can be, all round about, to a reasonable dis- tance, which must be surrounded with pointed piles or stakes well fas- tened to one another, filling the spaces between pile and pile with chalk or solid earth well rammed in, which will for a time hinder the current from washing away the piles and sand, and ruining the work. The piles ought to be made tapering from top to bottom; the arches unequal in number, and carried up higher than the highest inunda- tion. The Architecture of bridges ought to be plain and rustic. Sca- mozzi afterwards’ gives the design of his fine bridge of stone, and. ano- — ther of carpentry. . The profile of ‘this last may be seen in La yee s Treatise of Carpentry. | M. Blondel relates the method he made use of in layhi the Ronis dation of the Bridge of the Haintes, which he caused to be built over the Charante.. The ancient br idge had been borne down, it having been built on: potters’ clay, and piled; so that the swelling: of the Foundation had raised the piles, and threw down ‘the bridge. ‘The piles, by the swelling of the clay,: started out above:a foot: higher 2 me 7 oR | 297 than the level of the rest. The plummets went into this stay, to the depth of sixty feet, made with a large borer, the arms of which were ‘of iron, each three feet in length, and well jointed one into another with good pins. After they had caused it to be dug seven feet below the bottom of the water, all the work being counterguarded and en- compassed with a good dam, and the su dunntans raked level, then a grate-work of good oaken woed was laid all over the Foundation, of twelve or fourteen inches in thickness, and square the whole length and breadth of the building, not only that part that was piled, but- also the opening or space between the piers and abutments of the bridge, or the void spaces of the arches. The chambers of the grille; or grate-work, filled with good quarters of hewn stone, and the up- per part covered with planks of five or six inches thick, well fastened on with pins all over the grate-work. Afterwards upon. this work of earpentry is laid a Foundation - of ‘masonry five feet thick, all level with — good hewn stones, well fastened together with eramp-irons. Upon this flat Foundation of five feet thick, the piers are erected, which for the first year are brought no higher than the pape to the end that they may settle well during the winter. : -M. Blondel makes it appear, that whatever precautions arehiteets take to secure their work by good Foundations, yet they are very conjectural and: uncertain. He in this compares an architect to a physician, who proceeds only upen conjectures. For who can venture ° to say, says he, that building upon a Foundation of consistence as it’, appears to him to be, that he shall not meet with soft or bad ground 4 underneath, which the weight of the. building will press-down and: — sink into, and by that means ‘be overturned. Upon this occasion,: says M. Gautier, Ican give an example that happened in one ef the isles of Oleron or Rhe, where the king causing fertifieations to. be built, one face of the wall sunk, er fell down, notwithstanding it was built on a bank of reck; because it had a hollow underneath, which: could not be, or was not discovered. Blondel also relates in confirm=. ation. of what he has said, the vast. walls of the church. of Val de -38.. ; 4G. 298 | FRA _ Grace, sunk on one side, though built upon a good foundation ; bee cause there were underneath large hollows which had been made in former times for taking out of stones some fathoms lower, there hav- ing been a quarry there. Michael Ange Bonarote caused the foundation of the dome sa St. Peter’s, Rome, to be laid with all the precautions imaginable. But for all that, this work did gape or split, which they cured. by binding it about with a hoop of iron of an extraordinary breadth and thick= ness, which cost 100,000 crowns. It is supposed, that this fracture in the dome is an effect of the waters of a subterraneous source, from a spring which runs dewn from the high mountains of the Vaticaw and Janiculus, which have washed the Foundations of this huge edi= fice. So that, according to these examples, ne body can be Baie able for the Foundation. of a building. The Corderie of Rochefort, the designs of M. Blondel, is in lengli two hundred and sixteen toises, not comprising the pavilions that are at the two ends, and four toises, the breadth between the walls, the two stories, built upon a grillage, or grate-work, as well in the full, as in the void of ten or twelve inches thick, and upon a bottom of potters clay. Upon this grillage are laid platforms well fastened to- gether with pins, and upon them a ceuch, or course of hewn stones, and good rough stones, the building being raised every where level continually, that it may be every where equal, that there may be no more weight on the one side than the other, that all the parts of the work may be in equilibrie. This building thus raised, has sueceeded perfectly well. M. Blendel remarks further, that the materials.at Paris not being of the same solidity as those of Italy, as perhaps marble, and harder, will not permit to make bridges at Paris with so much delicacy and so disengaged, as those which are made in Italy; which have a great deal less thickness at the place of the keys of the _ arcades. FRAME, among Painters, a Mind: of square, consisting of four long slips of wood joined together, whose intermediate space is divided FRE 299 ‘by threads, into several Vittle squares like a net. Ft serves to red ace - figares from great to small; or, on the contrary, to augment their size from small to great. - Framing of an Flouse, amon & carpenters, denote all the timber- “work therein ; namely, the carcase, flooring, partitioning, roofing, ceiling, beams, asherling, &e. all together, _ Frencn Orper, an Order, as we are content to call it, in which | the ‘proportions are the same as in the Corinthian, but the capital is ‘decorated with cocks heads and flower-de-luces. "There are some columns of it in the grand gallery at Versailles, but such a variation from the antique does not deserve the name of a distinct Order. ' -FReEsco, a method of painting, or rather plastering on walls to endure the weather, and representing birds, beasts, herbs, fruits, &e. in- relief. It is performed on’ fresh plaster, or on a wall laid with ‘mortar not yet dry, and with water-colours.- This sort of painting has a great advantage, ‘by its incorporating with the mortar and drying along with it, it is rendered extremely durable, and never fails or falls but along with it. eS i ) Of the method of this painting: to make the compost or plaster of old rubbish-stones, and mix it with well-burnt flint (or lime) and wa- fer; but wash out the saltness of the lime, by often pouring the wa- ter, and putting fresh to it. This should not be done in moist wea- ther, because that has a great influence on the walls. And in order _ fo render thé plaster the more durable, they strike into the joints of the brick or stone-wall stumps of horse-nails, at about six inches dis- fance, to prevent the plaster from peeling off. With this plaster the wall’ is first. to be plastered a good’ thickness, and left for some time dy; and the designs and colours being first ready prepared. This painting is chiefly performed on walls and vaults new] y plastered with fine and sand; but the plastering is only to be laid in proportion as the painting goes on, no more being to be done at once than the painter can dispatch in a day, while itis dry. Before the painting is begun, there is usually‘ a cartoon or design made on paper, to be calked and transferred to the wall, about half an hour after the plaster has been ~~ hastily at first. ; 300. eg a laid on. The colour being prepared and mingled, the wall. is to: be - plastered pyer again a. second time about the thickness of a hal crown, only so much as you intend presently to. work upen; and while it is wet, you ‘must. work the colours. therein, whieh will mix | and incorporate with the plaster, so. as never to wash. out. The ; painting must be, for the work to come out in all its beanty; wrought ‘ quick, and with a free hand: for there can be no alteration after the first painting, and therefore make your colour high enough at first; you may deepen, but not easily heighten. Nor must they ever be retouched dry, with colours mixed. up, with the white of an egg, or size, or gum, as some workmen do, by reason. such colours. grow | blackish; nor do any preserve themselves, but such as were laid on ’ toy 7 - In this painting all the compound artificial coleurs‘and almost all the minerals are set aside, and scarce any thing used but earths; which are capable of preserving their colour, defending it from the burning of the lime, and resisting its salt, which Vitruvius calls its: bitterness. ‘The colours used are white made of lime slacked long ago, and white marble-dust; oker, both red and yellow, violet red, verditer, lapis lazuli, smalt, earth, black Spanish brown, Spanish white, &e, All which are only ground and. worked up’ with water; and most of them grow brighter.and brighter as the Fresco dries. | " The ancients painted on stuck ; and it is worthy observation in. Vie truvius, what infinite care they took in making the incrastation or. plastering of their buildings, to render them beautiful and lasting: though the modern painters find a plaster made of lime and sand. pre- ferable to stuck, both because it. does not dry, too hastily, and. as be- ing a little brownish, it is. fitter to lay colours. on, than a,ground SO, white as stuck. This. kind of painting. was the ancient Grecian way of painting, and since much used by the Romans. Plutarch informs us, that Aratas, the chief commander under Ptolemy. king of Egypt (ina compliment to the emperor’s affections :that way) forbore to sack, a wealthy city, merely for the-excellency of the Fresco painting upon the walls of the houses. There haye been..several. whole; towns, of rR. ape | sol this work in Germany, excellently well done, but now ruined by wars. At Rome there are three chambers (in the_pope’s palace) of Fresco, done by Raphael Urbin, and Julio Romano, his disciple, who fixiotestl his master’s work, which is yet called Raphael’s design. There are other places done by Andrea del Sexto and Michael Angelo, ‘and some other artists. There is an excellent Fresco-vork at Fon- tainbleau in France. 1t is the continued travels of Ulysses, in sixty le done by Bollmneo Martin Rouse, a Florentine, and others . Pret, or Frere, in Architecture, is a kind of knot or soca nn | “epnsisting: of two lists or small fillets variously interlaced or inter- wove, and running at parallel distances equal to their breadth. Every -yeturn and intersection of these Frets must be at right angles. ‘This is so indispensibly necessary, that they have no beauty withont it; but become perfectly Gothic. Sometimes the Freite consists but of a ‘single fillet, which however may be so ordered, as to fill its space exceeding well, if well managed. These Frets were very much ia use among the ancients, who applied them chiefly on even flat mem- bers, or parts of buildings; as the faces of the corona, and eves of cornices; under the roofs, soffits, &c. on the plinths of bases, &c. The name of Frette was hence occasioned, the Frette literally signi- fies the timber-work of a roof; which consists chiefly of beams, raf- ters, &e. laid across each other, and, as it were, fretted. Frer-Work, an enrichment of frette; or a place adorned with something in the manner thereof. Fret-work is sometimes used for the filling up and enriching flat empty spaces, but it is principally practised 1 in roofs which are fretted over with plaster-work. The Ita- lians also use Fret-work in the mantlings of chimnies with great figures, a cheap piece of magnificence, and as durable almost within doors, as harder matters in the weather. Frieze, in Architecture, a member in the entablature of columns; itis the middle part, and separates the architrave and cornice. The Frieze is flat in all the orders; but in most of them is intended to rez ceive ornament. In the Tuscan it should remain plain ; in the Doric it is essentially divided into two parts, under the names of triglyphs eee, ° 4H 80) F k O | | % 4 ae “and metopes; the i duets are channelled fini and the metopes- are the spaces between them; these triglyphs are not capable of. al- teration, but the ornaments in the metopes are varied at pleasure, and frequently they are left plain. In the Ionic the Frieze is some. times made to swell, which is an objection to the general rule of their being flat, b&t this is an innovation: in the Corinthian and Compo- site the Frieze is decorated variously at the pleasure of the architect, with figures of any kind, and is often a very elegant part of the order. ‘The Friezes of the Corinthian order, at Palmyra, are very” richly decorated. In our common door-ways for persons of business, — where there is an attempt towards any orders the Frieze is the part which receives the name, or other inscription. In the Corinthian and Composite orders the Frieze is often joined to the architrave by sweep: the height of the Frieze is in general three-fourths of that of the architrave, but not strictly or exactly. When it swells, as in the Tonic order, it is called a pulvinated or cushioned Frieze. Some write the word Freeze, or Frieze, and others Phrize; this last spel- ling brings it nearer what is pretended by many to be its origin, the word Phrygio, an embroiderer; the ornaments of Friezes, in “a richer orders, representing embroidery. When the Frieze is decorated with sculptures, it is frequently. named according to their nature; thus historieal Friezes are those re-_ presenting histories by figures, marine Friezes are those with shells, tridents, and sea-horses, and so of the others: but the most frequent — in ancient buildings ave those on which religious ceremonies, the in- struments of sacrifice, and other such matters are figured. We see instances very common in small buildings, in whieh the architect has” taken the liberty to retrench the Frieze entirely, and to make the cornice rest npon the architrave; but this always offends the eye, and is extremely wrong. The Frieze is introduced into an entablature to shew a natural space, and the thing which represents it cannot be suppressed without impropiety. Front, in Perspective, a projection or representation of the face or fore-part of an object, or of that part directly opposite to the eye. Fz ¥F U WN - 803 _ Fronrat, in adoiate diana a little fronton, or Reg pant sometimes ; pie over a little door or window, _ Fronvtispisce, in Architecture, the word is sometimes used to ex- fess the whole decoration of the front of a church; sometimes for a particular compartment raised over gateways, and in other places, supported and encompassed with figures, or other ornaments, and | intended to hold an emblem, a coat of arms, or inscription. _Fronton, this term is used by those who follow the French au- thors for what we call a pediment. An ornament that crowns the frontispieces of buildings, and is-used over doors and windows It is ° properly of a triangular form, and not very high in proportion to the extent of its base, but the architects have deviated from this, and abs it arched, and often broken. to admit busts or figures. Frowey. Workmen say\timber is Frowey, when it is evenly tem- pered all the way, and works freely without tearing. : | - Funnets of Chimnies. The Funnel is the shaft, or smallest part © from the waste, where it is gathered into its. least dimensions. Pal- ladio directs, that the Funnels of chimnies be carried through the roof, three, four, or five feet at least, that they may carry the smoke clear from the house into the air. He advises also, that care be taken as to the width of them; for that if they be too wide, the wind will drive back the smoke into the room; and if they be too narrow, the smoke will not be able to make its way. Therefore chamber-chim- mies must not be made narrower than ten or eleven inches, nor broader than fifteen; whieh is the ordinary depth of the Funnels of great kitchen chimnies, whose breadth is four or five feet within the work, from the place where the brest ends, to the top of the Funnel. Now the said brest reaches from the manile-tree to the ceiling or pitch of the arch, always diminishing within the work, 1ill you come to the measures of depth and Beith before- mentioned; ;-and from thence to the end of the Funnel, it must be carried up as even as it possibly can be; for if there be a failure in this, the smoke happeus to be ottensive. | . Res ; i 304 it as a > Sed “Furnrine, in Architecture, is the making good. the rafters feet in the cornice. Thus, when rafters are cut with a knee, these Furrings are pieces which go straight along with the rafter, from the top o the knee to the cornice. Also when rafters are rotten, or sunk hole low in the middle, there are pieces cut thickest in the middle, and tapering towards each end, which are nailed upon them to “dle them straight. Such pieces are called Furs, and the e putting them on, a i Furring the rafters. | : Hi FUSAROLE, in Architecture, is a moulding or ornament placed im= mediately under the echinus in the Doric, Tonic, and Composite ca= pitals. The Fusarole is a round member carved in manner of a collar or chaplet with oval heads. The Fusarole should always an~ swer exactly under the eye of the volute in the Tonic capital! °° Foust, in Architecture, is the shaft of a column, and that part which is contained between the base and the capital, and may be called the trunk or body of the column. This part is commonly plain, sometimes fluted; and the flutings are sometimes empty, some- times filled up at the bottom, with a straight, round or twisted piece, which is called a cable. Sometimes also the Kust is ornamented with rustic, or otherwise. The word is French, and literally. signifies ¢ a cask. But some derive it from the Latin fustis. a club. | (x, CT ABLE-E END of a House, is the upright triangular end from the cornice or eaves, to the top of its roof. | i Gain, the levelling shoulder of the joists, or other stuff. It is also used for the lapping By, the end of the joists, &c. upon a trimmer or Gh 4a ee 8 d rs bod then the euidlenéss of ifie shoulder is cut into the trimmer, o levelling upwards,:that it may just réceive the Gain, and so the and trimmer lie even-and level with their surface. This way of Working is used in floors and hearths. | Gauuery, in. Architecture, is a covered place in a robe faut longer than bread, and usually in the wings of a building; its use being chiefly to walk in. It is also a little aisle or walk, ‘Serving as a common passage to Yotirnd: rooms, placed in a line or row. Their length, aceording to Palladio, ought to be at least five times their breadth. «They may be SIX, seven, or eight times their breadth, but must not exceed, . | | 2 Gate, in Architecture, a large door giving entrance fic: a city, m, castle, palace, or other considerable building: or a place giving - sage where persons, horses, coaches, or wageons are to pass, &c. to their proportion, the principal Gates for entrance through which coaches and waggons are to pass, ought never to be less than- seven feet in breadth, nor more than twelve, which last dimension is fit only for large buildings. The height of a Gate is to be one and a half of the breadth, ‘and somewhat more; but as for the common Gates in inns, under which wae gons Zo loaded with hay, straw, me the height of them may be twice their breadth. Gicantic Orper, a name given by Scamozzi and others to the Tuscan Order. Girpers, im Architecture, are some of the largest pieces of timber in a iloor, the ends of which are usually fastened into summers and _ brest-summers, and joists are framed in at one end os the Girders. The scantlings and size of Girders and summers, upon the rebuilding of London, after a consultation of. expericneed atin wei were set- tled by act of parliament. | - Guacis; in building, &e. is an easy frisenisible slope or declivity. Guazirr, an artificer in the building branch, and whose principal business is in fitting panes of glass to sashes, pictures, &c. and mak- ing lead-lights fer windew-frames, cleaning of sash-windows, &e. wa, ee 4 AT: SS 308 eS SS Guus, to make the best Glue for gluing the joints of deal boards. Put half a pound of the best Glue into a quart of water, and boil them gently together over a slow fire, till the Glue be entirely dis- ; - solved, and of a due consistence; for if it be too thin, the wood will so drink it up, that there will not remain a body sufficient to bind the parts together; on the contrary, if it be too thick, it will not give way. for the joint to shut close enough to. be strongly joined; for though it is Gine that makes the joints stick, yet where there is so much of it, that the joint cannot close exactly, it will never hold firm. i When Glue is used, it must be made thoroughly hot; for eee never takes firm hold of the wood, when it. is not thoreughly hot. And see that the joints to be glued have not been touched with oil or grease; for if so, the Glue will never take fast hold. The joints of the boards being shot trae, and the Glue hot, set both the faces of the joint close together, and both turned upwards; then dip a brush in the Glue, and besmear the faces of the joints as quick as possible, and clap the two faces of the joint together, and slide or rab them long-ways ene upon another two or three times, to settle them close, and so let them stand till they are dry and firm. The best Glue is that which is the oldest; and the surest way to try its goodness, is to. lay a’ piece to steep three or four days, and if it swell considerably without melting, and when taken out resumes its former dryness, it is excellent. es A Glue that.will hold against fire or water, may ih made thus: mix a handful of quick-lime with four ounces of linseed oil; boil them to a good thickness, then spread it on tin-plates in the shade, and it will become exceeding hard, but may be easily dissolved, over a fire, as Glue, and will effect the business to admiration. a Giypn, in Sculpture and Architecture, any canal or cae used as an ornament. 3 | » Gorce, in Architecture, the narrowest part of the Tuscan and Do- rie capitals, lying between the astragal, above the shaft of the pillar and the annulets. It is also used for a concave moulding, large not so deep as a scotia, which serves for compartments, &c. GRA Te S07 Gornic Architecture, is that hth; deviates from the proportions, a &c. of the antique, It is frequently very. solid, heavy and massive; and sometimes, on the contrary, exceedingly light, de licate, and rich. The abundance of little, whimsical, wild, and. chi- merical ornaments are its most usual characters. The profiles. of this are generally very incorrect. Gothic Architecture is distinguished into two kinds, ancient and modern. The ancient is that which was brought by the Goths into Germany in the fifth century. The edifices built in this manner were exceeding massive, heavy, and coarse. Those of the modern Gothic run into the other extreme, being light, delicate, and rich to excess. All the ancient cathedrals are of this kind. It is not to be doubted, but that the inventors of the Gothic Architecture thought they had far surpassed the Greek architects. A Greek building has not ene ornament, but what adds beauty to the whole. No “al out-of-the- “way strokes, nothing quaint to impose on the eye. The proportions are so just, that nothing appears very grand of itself, although the whole is striking and noble. On the contrary, in the Gothic Architecture, we see large vaults raised on slender pillars, “which one would expect every minute to tumble down, though they will stand for many ages. Every thing is cram- med with windows, roses, crosses, Riniteal &e. _ Gornic CoLtumn, is any round pillar in a Gothic building, either too thick, or too small for its height, There are some of them found prenty diameters in height, without either diminution or swelling. _ GOUGE, an instrument or tool used by divers artificers; being a sort: of round hollow chissel, for cutting holes, channels, grooves, &c. either in wood or stone. Gowr, or Go-our, in Enginery, a sluice used in embankments against the sea, for letting out the land-waters when the tide i is out, and preventing the ingress of salt-water. . ~Grapation, in Architecture, a flight of steps, particularly ascend- ing from the cloister to the choir in churches. Also an artful disposi- tion of several parts, as it were, by steps or degrees after the manner of an amphitheatre ; so that those which are placed before do not eb- oa ie GRE struct the view from those behind. In painting, it is used to signify an insensible change of colour, by the diminution. of teints. and shades. | efi BOR os OR a. GRANARY, a place for laying up or stering corn in, particularly for keeping a considerable time. ‘Sir Henry Wooton advises to make it look towards the north, because that quarter is the coolest and most temperate. Mr. Worlidge observes, that the best Granaries are built . of brick, with quarters of timber wrought in the inside, to which the boards may be nailed; with which the inside of the Granary must be lined so close to the bricks, that there may not be any room left for vermin to shelter themselves. There may be many stories one above another, which should be near the one to the other; because the shallower the corn lies, it is the better and more easil y turned. . Some have had two Granaries one above the other, and have filled the up- per with wheat, or other corn. The upper one having a small hole in the floor, by which the corn fell down into the lower one, like the sand in an hour-glass, which, when it was all come down into the lower Granary, it was then carried up again into the upper one; and by this means was kept continually in motion, which is a good pr e servation for the corn. A large Granary full of square wooden pipes may keep corn from heating. PaO : oo GREEK Orders, in Architecture, are the Doric, Tonic, and Corin- thian; the other two, namely the Tuscan and Composite, being called the Latin orders. ; : | ay | Green-Hovse, a conversatory, or house erected in a garden, for preserving such tender and exotic plants as cannot bear the cold of -our winters, if exposed to the open air. These sorts of houses, as they are commonly built, serve more for ornament than use: their situation towards the south, is the only thing that seems to be re= garded towards the health of the plants they shelter. It is rare to find one among them that will keep a plant well in the winter, either by reason of their situation in moist places, their want of glasses enough in the front, and the disproportion of the room within them; and sometimes where it happens that a Green-house has been consi- GRE oe 309 Pied in these sty all is confounded by the flues under it, whick eonvey the heat from the stoves. _ Besides what is commonly called a : ‘Green-house, it has been customar y to provide glass-cases of several Kinds, and stoves, for the preservation of plants brought from dif- | Ricént countries. But an ingenious author has found them to be so. many unnecessary expences; and that a good Green-house, well con- trived, will do all that is required for the welfare of any plant in the winter ; and that may be so ordered, as to shelter at one time orange- trees, plants from the Cape of Good Hope, Virginia, Carolina, and indeed such as grow within ten degrees of the line. The same author says, that when he was first acquainted with aloes, Indian figs, and such like plants, he confesses he thought they could never have heat enough, and that he destroyed many by that too common notion; he eould hardly venture them out of the hot-beds in the height of sum-— ‘mer; and that in the winter they were half roasted with subterraneous fires he made under the glass-cases where they stood. _A good Green-house ought to be situated on the driest ground to be as free from damps as possible; great caré ought likewise to be taken for keeping out the cold, and yet upon occasion to let in air freely ; but chiefly to contrive that the front of the house be so dis- posed, that nothing may obstruct the passage of the sun’s rays, in the winter, into the house. It is generally allowed that the south aspect is the best for a Green-house, asit will in that exposure receive the sun for the greatest part of the day; but in case that cannot be had with convenience, the south-west aspect is next to be chosen; and it would be pleasant, as well as beneficial to plants, if the con- servatory was always joined to the dwelling-house. Nothing ean be more agreeable in winter, than to have a view from a parlour or study through ranges of orange-trees, and curious plants of foreign countries, blooming and bearing fruit, when the gardens without doors are, as it were, in a state of death; and to walk among those curiosities of nature, as in the most temperate climate, without any sense of the frost, or pinching cold that reigns abroad ; and besides, foo. 4K 8310 Wwe er q there 1s. this convenience in joining the convatsatory to the. house, | that in cold weather you may go- into it, without letting in the cold. air, or blighting from abroad. Thus much as to the situation. The next thing to be considered is the proportion ef the building, a and that chiefly in relation to the height and breadth of the room; which | a certain author directs, and that for the better admission of the: sun? ns rays to pass all over the house, the breadth of if be no more than the height from the fleor to the ceiling, which may be from ten to eighteer 9 . feet. That the walls towards the nor th and east be of a good thicknes, and the front towards. the south be all of glass, except a low wall | about a foot high from the greund; that there be no piers of brik -_ work or timber in the glazed part, for they cast more shade into the house, in preportion to their size, than it can receive light through _the glass; whereas, every one w ho understands exotic plants will al low, that they should have all the advantages of the sun’s rays in winter, that they possibly can receive. For this end it would be pros per, in the colder parts of England, to build the front of a Green- house in a sweep, or in the form of a semi-circle, which would then yeceive the rays of the:sun from the time of its rising, tll its setting. Let the glass in the front, whether it be in sashes or casements, be so contrived, that it may either be made to slide quite below or above the frames, or to be taken away, as occasion requires, to give air to the plants, which for about a fortnight or three weeks after they are placed in the house, and as long before the plants come ‘abroad, should be quite open night and day, if the air is not too cold, Some have practised, with good success, to lay the windows of their Gr een- houses sloping about ten inches; but others are of opinion they will do as well upright. The door should be in the middle of the front, | and at least four feet wide, to admit large plants; that it be glazed, to which strong shutters shonld be added, at least an inch thick, which duting the winter should be shut every night, for fear of frost; also in severe weather, and when violent winds blow right against the house. That for the better security of the plants from cold, @ io eae ne for laying up the gardener’s tools’ be built at the Green-house, ver ita ir aitery. or seed-room, or in room of the latter, the room be filied with dry straw. eae ae best pavement for a Green-house i is that ete with square- tiles , which quickly sucks up wet, and never sweat, as marble, or ' eh. kinds of hard stone usually do; and that for lining of the walls, nothing i is preferable. to Dutch glazed tiles, which are soon warmed with the sun, and reflect a great heat into the house. That in the disposition of | the shelves in the Green-house, one-third of the flour be allowed for them to stand upon, one-third from the first shelf te the windows, anil as much from the last shelf to the back. of the honse;, so that a person may walk round the plants, which being placed i in the middie line of the house, are sa‘e from the extreme cold, which is generally nearer the walls or glasses. The chimney for warm- ing the air, shonld be built between the windows and the first shelf at one end of the hease, abont a foot above the floor, which will rise afterwards, and spread itself over the whole. | But the ingenious Mr. Philip Miller has given ‘us a more accurate design of a Green-house, which he describes as follows. | As to the length of the house, that should be proportioned to the Ramber of planis it is to contain, or. the fancy of the owner; but as to the depth, that should never be more than sixteen feet in the clear, — and the length of the windows should be at least equal to the depth of the house; and if they are sometimes longer, it will still be the better. These windows should be carried up quite to the ceiling, that there be no room for dead air in the upper part of the house; and they onght to come down within about ten inches or a foot of the floor; their breadth should be proportioned to the length of the house, which ina sinall Green-house may be four feet Krom bat in a large one they should be six feet. he piers between these windows should be as narrow as possible they may be, to suppert the building, for Which reason he.chuses to have them either of stone or solid oak, for if they are built with fine rubbed bricks, they are generally so. solt, ~ that the piers will require to be made thicker than can be allowed, - 312, on Ee aes otherwise the building will be in danger of falling in a short time, especially if any rooms be built over the Green-house, which would be of great use in keeping out the frosts in hard winters. If t the piers are made with stone, he directs that they be twenty inches E broad in front, and sloped off backwards to about ten inches broad: whe tn by the rays of the sun will not be taken off or obstructed by the c cor= ners of the piers: which it would be, if they were square. And if the piers are made of solid oak, eighteen inches square he accounts strong enough to hold the piiae ; and also sloped off, as oa é directed for the stone. * A tool-house may also be erected at the back of the boikarag which may also serve for many other purposes, and will also be ex- ‘tremely useful, by preventing frost from entering that way, so that the wall between these need not be more than two bricks in thick- ness; whereas if it were quite exposed, behind it ought to be two bricks and a half, or three bricks in thickness. And thus also, if you have a mind to make a handsome building, and to have a noble room over the Green-house, you may make the room to come over the tool-house, and carry-up the stair-case in the back, so as not to be. een in the Green-house, and by this means you have a room twenty or twenty-two feet in width, and of a proportionable length. And under this stair-case there may be a private door into the Green-house, at which the gardener may enter in hard frosty weather, when it will not be safe to open any of the glasses in the front. The floor of the | Green-house may be laid with marble, stone, or broad tiles, accord- ing as the owner pleases, and must be raised two feet above the level of the ground on which the house is situate, which will be sufficient if the soil is dry; but if moist and spongy, and thereby subject to damps, it will be necessary to raise it at least three feet above the | surface. : He advises also to make a flue of about ten inches in width, ail two feet in depth, under the floor, about two feet from the front, which flue is to be carried the whole length of the house, which may - be returned along the back part, and be carried up in proper funnels Gc mR 313, | adjoining to the tool-house,, by which the smoke may pass off. He. also advises to have good strong shutters to the windows in the front _ of the Green-house, hung on hinges to fold back, so that. they may fall. back quite close to the piers, so as not to obstruct the rays of the sun. ‘These shutters may be an inch thick, or a little more, made m: join so close, as to be able to keep out our common frosts, and when the weather is so intense as to endanger the freezing in the house, it is but making a fire in the flue, and. that will pre- vent it. The back part of the hobse should be plastered with SAY Cie or _white-washed; or, if lined with wainscot, should be painted white, as should the ceiling, and also every part withinside the house, for white reflects the rays of light ina much greater quantity than any other colour ; and is of very great service to plants, especially in the © winter season, when the Hoses is pretty much closed, so that but a small share of light is admitted through the windows. For, he says, -he has. observed that, at such times, where a Green-house has been painted black, or any dark colour, the plants have cast most of their Jeaves.. He adds, that to avoid the inconvenience which attends the placing of plants of very different natures in the same house, it will be very proper to have two wings added to the main Green-house, _ which will greatly add to the beauty of the building, and also collect a greater share of heat. ‘The Green-house, according to his plan, is placed exactly fronting the south, and one of the wings faces the south-east, and the other _ the south-west ; so that from the time of the sun’s first appearance upon any part of the building, until it goes off at night, it is con- stantly reflected from one part to the other, and the cold winds are also kept off from the front of the main Green-house. And in the area of this place you may so contrive, as to place many of the most tender exotic plants, which will bear to be exposed in the summer season ; and in the spring, before the weather will permit you to set out the plants, the beds and borders of this area may be full of ane- monies, ranunculus’s, early tulips, &c. In the centre of this area AQ. 41 314 GRE may be contrived a small bason for water, which will be very conve- nient for watering plants, and will also very much add to the beauty of the place; besides, the water being thus situated, will be softened by the heat which will be reflected fon the glasses upon it, where- by it will be rendered much better than raw cold water for tender plants. : The two wings of the building should be so contrived, as to wd fit i for placing plants of different degrees of hardness, which must *be effected by the situation and extent of the fire-place, and the manner of conducting the flues. The wing facing the south-east should al- ways be preferred for the warmest stove, its situation being such, as that the sun, upon his first appearance in the morning, shines di- ~ rectly upon the glasses ; which is of great service in warming the air of the house, and adding life to the plants, after having been shut — up during the long nights in the winter season. These wings may be allowed sixty feet in length, and may be divided in the middle by partitions of glass, with glass-doors to pass from one to the other. And the fire-place may be so ordered as to warm both divisions, by placing an iron regulator in the flue, so that smoke may pass through the flues of which part soever you please. By this contrivance, you may keep such plants as require the same degree of ‘heat in one part of the house, and those which will thrive in a much less warmth in the other part. The other wing of the house, facing the south-west, may also be divided in the same manner, and flues carried through both parts, which may be used according to the seasons, or the particular sorts of plants which are placed therein. So that by this disposition here will be four divisions in the wings, each of which may be kept up to a different degree of heat, which, together with the Green-house, will be sufficient to entertain plants from all quarters of the world. And without having these several degrees of warmth, it will be im- possible to preserve the various kinds of plants from the several parts of Africa and America, which are every year introduced into the gardens of the ingenious. For when plants from very different cli- Gc RK DO 315 mates are placed in the same Green-house, some perish for want of heat, while others are destroyed by having too much of it: and this is often the case in such Green-houses where there are large collec- tions of plants. & GROTESQUE, something whimsical, extravagant, and monstrous. The word is also particularly applied to a work or composition in _ Sculpture or Painting in the Grotesque manner or taste, consisting — either of things that are merely imaginary, and have no existence in nature; or of things turned and distorted out of the way of nature, . so as to raise surprise and ridicule. Grotesque work is the same with what is sometimes called antique. The name is said to have taken its rise hence, that figures of this kind were in ancient times much used in adorning the grottos, wherein the tombs of eminent persons or families were inclosed ; such as that of Ovid, whose grotto was discovered near Rome, about one hundred and fifty years since. | It is particularly used to signify those fanciful ornaments of animals, interspersed among foliages, fruits, &c. as those painted by Raphael, Urbin in'the Vatican ; and those carved by Michael Angelo, in the ceiling of the portico of the capitol. | Grotto, isa large deep cavern in some rock or mountain, It is also a small artificial edifice made in a garden in imitation of a natu- ral Grotto. The outsides of these Grottos are usually adorned with . rustic Architecture, and their insides with shell-work, coral, &c. and also furnished with various fountains, and other ornaments. A Grotto may be built, with a little expence, of glass, cinders, pebbles, pieces of large flints, shells, moss, stones, counterfeit coral, pieces of chalk, — &c., all bound or cemented together witha proper cement. 7 GrounD, in Painting, the surface upon which the figures and other objects are represented. The Ground is properly understood of such parts of the piece as have nothing painted on them, but retain the original colours upon which the other colours are applied to make the representations. A building is said to serve as a Ground toa figure, when the figure is painted on the building. The Ground be- 316 Ee ae hind a picture in miniature is ee blue or crimson, imitating a curtain of satin or velvet. | | Grove, or Groove, in Joinery, a a trim used to signify the channel that is made by their plough in the edge of a moulding, stile, or rail, &c., to put their pannels in, in ieinsectanee Group, in Painting and Sculpture, an assemblage of figures, of men, beasts, and fruits, &c., which have some apparent resemblance to one another. It is necessary, in a good piece of painting, that all the figures be divided into Groups; this has somewhat in it of the na- | ture a symphony or concert of voices: for as in the one the voices must sustain each other, in. order to fill the ear with an agreeable | harmony from the whole; so in Groups, if the parts or figitres: are not well-disposed, something will be found disagreeable. A Group of columns, in Architecture, is used-when we speak of — three or four columns joined together on the’same pedestal ; but when there are but two, the word couple is used, and not Group. Grout, a thin semi-liquid mortar, composed of quick-lime, and a portion of fine sand ; it is more particularly used in the internal joints of masonry, where the work consists of large masses of stones. ‘The process is called Grouteng. Gutta, in Architecture, ornaments in the form of little cones, in — _ the platform of the Doric cornice or architrave, underneath the tri- glyphs, representing a sort of drops or bells, usually six in number. They are sometimes called lachryme, tears; and campanz, or cam- panule, bells. Gutters, in Architecture, a kind of canals in the roofs of houses, serving to receive and carry off the rain. These Gutters are of two kinds, in respect to their position, for they are either such as come near a parallel with the horizon, or such: as incline in a vertical posi- tion to the horizon. The first kind of Gutters may be called aa Gutters, and _ be distinguished into three sorts, which are covered with lead: Kither it is a Gutter between two roofs, which stand parallel to ooh GU T ; 317 other, being made upon the feet of the rafters of two roofs, which meet together. 2. A Gutter where a building has a cantaliver or modillion-cornice, which projects one foot and a half, or two feet beyond the walls, then the roof is set with the feet of the rafters no farther out than the wall, but rather within it, so that the joists of the upper floor lie out beyond the walls, and also beyond the feet of the rafters, which is covered with lead. The third sort of these parallel Gutters are in flat roofs, which are usually called platforms, where are also Gutters for the water that run from the platform to descend.to, which is from thence conveyed off: from the building by leaden pipes. In the laying of the parallel lead Gutters, great care should be taken that the Gutter-boards, &c. lie not too near parallel with the horizon, but in such a position that there may be a good current, for if it be laid too near a level, the water will be very subject to stand in plashes, if it chances to stick-a little jn the middle, which some Gutters are apt to do. Some Gutters have a layer of sand for the lead to lie upon, but there are reasons that render this method not approveable. Because some sorts of sand does very much corrode and decay the timber that lies near it; and when a Gutter is laid on sand, a very small weight falling on it will make dents in it, and in those dents the water will stand, and this will be a means of decaying the lead the sooner. In laying of leads for Gutters upon boards, it is common for plumbers to solder them when they are so long, that a sheet of lead will not reach. In doing this, they usually cut a channel cross. the Gutter-boards at the end of the sheet where the soldering is to be, and to beat down the ends of both the sheets that are to meet here, into the channel, which, when it is done, there will remain a little cavity, which is filled up with the solder level with the rest, The lead which is usually laid in Gutters is that which weighs about eight or nine pounds to the foot. Verticat Gurters, are such as are made by two roofs meeting — at right angles one to another, or, which is the same thing, made _by the end of one roof joining to the side of another. These Gutters AO. 4AM - : 318 Gu tT, are made either of lead or tile. As to those made with lead, unless the builder will be at the charge, they need not be altogether so a thick for these vertical ones, as for the parallel ones; for these ver-= tical ones will last as long, if laid with lead of about six or seven pounds to the foot, as parallel ones with lead of nine or ten pounds to the foot. Gutters laid with tiles, are also of two kinds: those ee of con- cave or Gutter-tiles, and plain tiles. In the plain tile-gutters, there is a Gutter-board laid, which raises them from pointing to an angle. And in laying on the tiles, the workman begins at one side of the Gutter, and so works across, as if it were plain work, and then — brings the next row of tiles back again; so that he works from right - to left. Gutters which are laid after this manner, are not angular, but of a distorted curvilineal form; by which means they are not — so subject to be furred up with the mortar which washes out of the adjacent tiles. In laying of three-point Gutters, thes begin and lay one tile on one part of the roof, it is no matter which part first, and lay one cor- ner of the tile just in the middle of the Gutter; and then lay another on the other part of the roof, with its corner just in the middle of the Gutter, also that the corner of the second tile is contingent with the first ; and then lay another tile in the Gutter, with its corner, as it were, betwixt the other two, and to them. When they have done thus, they proceed in the work, and lay a tile on each part of the roof, as before, and another betwixt them in the Gutter, proceeding in their work in this manner till they have finished the Gutter. And this is what is called the three-point Gutter ; for three points, or an- 4 gles of tiles, always come together. Here you are to take notice, that only three inches square af the middle tile is visible, if the gauge be seven inches, the rest of that tile being covered with the next row of tiles above it. These Gutters are very handsome, and, if well done, secure also; yet, if they let the water into the house, by reason of some stoppage, or broken tile in the Gutter, they are very trouble- some to mend. Hither of these plain-tile Gutters are cheaper to the He Ay 45 319 master-builder, than concave ones; because plain tiles are cheaper than Gutter-tiles, they being in many places not above one-fourth part of the price. GUTTER-TILES are of a Boe form, consisting of. two straight sides, of about ten inches and a half long, and of two cir- cular sides, the one convex, the other concave: : ie convex side is about fourteen inches, and the concave one about two inches. _ This is their form as to their edges or sides. With respect to the plane ; at the little end they are bent circular, and so likewise at the convex great end, at first like a corner tile; but then they bend the corners of the great end back again; so that if a person look against the end of the broad edge, it consists of a circular line betwixt two ‘straight ones. This you are to understand, is when you hold the concave side of the tile downwards. These tiles are laid with their broad ends and hollow side upwards. | +H. Hart in Architecture, a large room at the entrance of a fine house and palace. In the houses of ministers of state, magistrates, &c. it is the place where they dispatch business, and give audience. In very magnificent buildings, where the Hall is ee and loftier than ordinary, and placed in the middle of the betes it is called a saloon. The word Hall, in old writers, is used for a mansion-house ; and, to this day, in many parts of the kingdom, gentlemen’s seats a are called Halls. In town, a Hall is a place of reception for servants, therefore, in this, neither magnitude nor elegance are useful; in the country, where there are other ways into the house, the Hall may be an ele- 320 H A R gant room, and it is there we propose its being made large and noble. It serves as a good summer-room for dining; it is an anti-chamber, in which people of business, or of the second rank, wait and amuse themselves; and it is a good apartment for the reception of large companies. A good Hall has many other uses, amongst which are the representation of theatrical pieces. These are reasons for the spaci- — ousness of a Hall; but then, if the rule of general proportion be not observed, the bigness of this room may make all those look little ~ into which we pass afterwards. i ee It is a fashion in some places, to give Halls the form almost of galleries; to make them very long in front and very shallow ; this answers the purpose of giving room behind, but it is an ill way of — getting it. Halls of any consequence are seldom thought of unless — for large houses in the country ; and there it will be easy to take in a few more feet of ground, and not to make the Hall a slip, in order to give depth to the parlours. | The proportion of breadth to length should be very considerable in a Hall. Palladio says, that it may be made twice as long as broad, but never should exceed that length. This is indeed carrying the length of a Hall to the full proportion ; and that. Author adds, with great justness, that the nearer they approach to square the better. From what we have observed, upon a variety of instances, it seems, that from one and a third to one and a half the breadth, is the proper and most proportional length of a Hall. The best height for a Hall is somewhat less than its breadth, but here we are to consider the dif- ference of flat and arched ceilings, as in other rooms. In those Halls’ which have covered ceilings, the height may be within a twelfth part the measure of the breadth; but in those with the ceiling flat, four- fifths of the breadth is a very good general proportion; however, in this the architect has a great deal of latitude for the saving room above; for the Hall may be lower than either of these allowed pro- portions, and yet not liable to great censure. Harmony, in Architecture, is an agreeable relation between the parts of a building: In Painting, both in the composition and — colours of a picture: the former denotes the connexion between the figures, with respect to the subject of the piece; in the. colouring it denotes the agreeable mixture of different colours. M. dela Clams _ bre derives the Harmony of colours from the same proportions as that _ of sounds. On this principle he lays down green as the most agree- _ able colour, corresponding to the octave; red toa ike yellow to a : fourth, ‘&e. : Heap, in Architecture, an ornament of carved work, or sculpture; giediienitly serving as the key of an arch, or platband on other occa-_ ‘sions. These sort of Heads usually represent some of the heathen deities, virtues, seasons, ages, &c., with their attributes ; ; as, a thun- derbolt for Jupiter, a diadem ta Juno, a trident for Neptune, a crown of ears of corn for Ceres, a helmet for Mars, a-caduceus for _ Mercury, &c. The Heads of beasts are also used in places suitable ; as, an horse’s head for an equery; a deer’s or boar’s head, for a park or forest ; a dog’s head fora kennel; a bullock’s or sheep’s, for sham- bles, ora Markee hoike: In metopes, friezes, and other parts of cer- tain antique Doric temples, we see representations of bullocks’ or rams’ heads flayed, as a symbol of the sacrifices offered there. Heaps, with bricklayers, a term used to signify: half a tile in leneth, but to the full breadth ofa tile; these they used to lay at the eaves of a roof. . Hexrx, in Architecture. Some distinguish between it and spiral. Daviler says, a stair-case is helical, when the steps wind round a cylin- drical newel; whereas the spiral winds round a cone, continually | approaching nearer its axis. Helix also denotes,-in Architecture, the caulicules or little volutes under the flower of the Corinthian capital, ealled likewise urille. 'These Helixes of the Corinthian however give it some distant resemblance of the Ionic, though when examined they are found to be smaller and more numerous. . The word comes from _the Greek, which originally expresses a twisted stalk of ivy, but from | thence is made to represent any thing that is twisted or spiral. » Hexasty se, in Ancient Architecture, a. building with six columns in front. 41. 4AN 322 Re HOU Hinees, in Building, those iron or brass joints, wea doors, tables, &c., open, shut, or fold, &c. Of these there are various species. HiproDROME, a kind of building pects by the ancients for the exercise and sportings of their horses. It was spacious, of a long form, circular at the two ends, and encompassed. ‘The same word is sometimes also used to express the place where they ran their races, Hip-Roor, among carpenters, called also Italian roof, is a roof — which has neither gable-head, shread-head, nor jerken-head; by which - is meant such heads as are both gable and Hip at the same end; for it isa gable or up-right as high as the collar-beam, and then there are twoshort Hips, which shut up with their tops to the tops of a pair — of rafters, which country carpenters call singlars. Hop, a well known instrument used a labourers to carry bricks, mortar, &c. in, at the building, or repairing of houses, &c. Houtow, in Architecture, a concave moulding, about a quarter of a circle; called by some a casement, and by others an abacus. Hovssk, in Architecture, a habitation or place built with conveni- encies for dwelling in; thus, we say, town House, country House, &e. It will not be improper, in this place, to speak of the original con- struction of houses. Caverns and harbours were undoubtedly the first habitations, for 4 nature’s own hand constructed these; and men, destitute of better — security, would take to them and finish them; but these, though the first houses, could not be long their only habitations. The mud- wall tenement naturally rose Ea for we may very well believe that — early cabins were built with clay. The sun would harden these rude walls by its heat, and thence the mind of man would soon conceive the method of cutting out the wet clay into shapes, and drying it be- fore using in his House. Thus bricks must have been an early inven- tion; and they would doubtless have been in universal use, had not . nature disclosed to those who dug for this poor material, her mines and stores of stone and marble. From the sight of these greater and nobler materials, men conceived the ideas of greater buildings. This is the r plain and natural course of things, and this probably was the origin of Architecture; but when. it happened, or in what quarter of the world, are points which dreaming monks might better study than people who enjoy the present advantages of science. It is enough for us to ac- knowledge the defect of information ; and, while we trace the pro- gress of the art thus from reason, to say, it is too old for history. Man’s sense of feeling told him that he wanted a house for shelter and de- fence ; and his reason, given him by the Creator for that purpose, » taught him how to set about it. | hon _ The next thing to,be considered is, the giving the edifice a proper strength. ‘T’he House is to be suited either to the condition of the per-_ son who is to inhabit it, or to the place where it stands; the first is the point in building by commission, for a family ; the other in build- img for a chance of letting. The latter is the common practice .in great towns; but, even in that, there is something to be considered with respect to suiting the inhabitant. — Though the architect, in this case, will not know who is to live in his edifice, yet he can very well guess of what rank he will be, and this according to the place where it stands ; thus much is to be considered in building in this ge- neral and random way: the street, or square, the neighbourhood, the conveniences, and the other concurrent circumstances, will instruct the builder; for he would be very indiscreet who should build a shed in Grosyvenor-square, or a palace on Salt Petre Bank ; and thus far he will be able to proportion the building to the tenant, or purchaser, though unknown. —. 3 at, After this first consideration of the general condition and extent of the building, comes the article of strength. Whatsoever be the size, the solidity must be proportioned ; for when ‘the house is not able to support itself, all other care is lost upon it. We seea strange differ- ence between the buildings of earlier ages, and those of the present fime, in respect of this article of strength: but the reason is plain ; the nature of the tenures in London has introduced the art.of building slightly. The ground landlord is to come into possession at the end ofa short term; and the builder, unless his Grace tie him down to articles, does not chuse to employ his money to his advantage. It is for this reason we see houses built for sixty, seventy, or, the stoutest of this kind, for ninety-nine years. The care they shall not stand longer than their time, occasions many to fall before it is expired; nay, some have carried the art of slight building so: far, that their Houses — have fallen in before they were weaanted RS the general practice, — in the common way of working, has been ‘ried deen the same con- duct in better buildings: and it is not often that we see a structure, like the Horse Guards, built for posterity. But, whatever be the oc- — casion, there is nothing that more deserves or demands the interpo- | sition of the legislative power ; the safety of the subject is the concern — of every wise government; and it is certain the present method of running up Houses in London, not only disgraces us in the eyes of strangers, but threatens continual disasters. Till such a controul shall be laid upon bad builders by public: authority, those who have more | skill and more integrity should distinguish themselves from them by their work. : Two things give strength to a building—the choice of good mate- rials, and the putting them well together: and the first care, in the regard of strength, is that the supports be equal to the weight they carry ; these supports are, in common building, plain walls. When walls are not able to support the incumbent force, recourse is had to spars and buttresses ; but these are an unseemly and very disagreeable sight. To avoid this, the architect should consider in time what the — force, or pressure, will be, and proportion the solidity accordingly : great arches are the most subject to impair the strength of the walls in this manner; but they should be lightened, and the wall strength- — ened in the original structure of the building. ‘The occasion.on which buttresses admit of most excuse, is on the outside of Gothic churches; though, in these, a good architect could have contrived to avoid the need of them, by lightening the arch, and- strengthened the wall in its plain, perpendicular pant When we see this sort of support on any other occasion, it is‘a great disgrace to the architect. The ar- chitect, having thus, by.an honest choice of materials, and a judicious one. at HOU 825. manner of proportioning the superstructure to the supports, taken care of the main consideration of strength, the next regard is to be shewn to proportion and regularity, in the distribution of the several parts. _ The extent of ground being determined, the materials chosen, and the weight of the roof, and thickness of the walls, settled in the . builder’s mind, he is next to consider the article of proportion. Here is a space to be covered with building ; and the great consideration is its division into parts, for different uses, and their distribution. In this, regard is to be had to two things—the convenience of the inhabi- tant, and the beauty and proportion of the fabric. Neither of these should be considered independently of the other, because if it be, the other will not fail to be sacrificed to it ; and this, which would be. very disagreeable, is never absolutely necessary. If the House be for a person in trade, the first and principal attention must be shewn to the article of convenience; but with this the builder should always carry in his mind the idea of beauty, proportion, and a regular distri- bution of the parts; that, whenever it can be done, he may favour the one, while he is absolutely consulting the service of the other: in the same manner, when the house is for a person of fashion, the beauty and proportional disposition of the parts is to be principally considered; yet the great and needful article of convenience must not. be disregarded. In the building where there is to be a shop, it would be absurd to thrust the parlour in the middle of it, in order to give that room an exact proportion; but, on the other hand, a little may be retrenched from some less conspicuous parts of the shop, to enlarge that necessary apartment behind it. The merchant’s House must have warehouse-room ; but that need not break in upon every apartment, because there is no necessity for any exact inch of ground in a parti- cular spot for this use, though there must be a certain quantity upon the whole. | ' The parlour, in a small private House, is a very convenient room ; bat, as it is not the apartment of most shew, there is no necessity it Should reduce the passage to an alley; and in larger Houses, inha- bited by persons of distinction, there must be anti-chambers, and Ai. 40 326 - HO U0) rooms where people of Business may attend the owner’s leisure. These must not be ill constructed, because those of some rank may often a wait in them; and beside, every thing in a great House should have an air of grandeur; but, on the other brand the care of rendering © these convenient and proper for their use, is-not to extend sO far as to BS entrench upon the rooms of state and elegance. _ The proportion of the several parts i an edifice is of two kinds; fo they are to be adapted, in this respect, first to the whole building, ¥ _and afterwards to one another. It is strange to see that inany of our — architects, who have been able to plan out the whole of a good build- ing, have miscarried miserably in the proportion of its parts. Ttisin tifis the ancient architects are found, by all that remains of them, to | have been most particularly excellent; they formed at once an idea of ‘the whole structure they designed, and of all its apartments; and it is — evident they throughout kept that general idea always in remembrance. It is hence we see such a perfect harmony in all their works. It is in this the student, who would distinguish himself in Architecture, should _ pea follow them in the disposition of a house. The first kind ~ of proportion is that of the several parts to the whole; and, in this, rea-_ ‘son is a very plain and general guide.’ We may divide Houses under ~ three heads—the large, the middling, and the small; ‘and in each of these classes plain sense will dictate, that the several apartments | should be of the same character with the whole; that the rooms in X's the large house should be large; in the middling, they should be mid-_ dling; and in the small, Ag should be always also small. This is — proportioning the parts of a building to the whole; and this rule, j which is directed by common reason, is confirmed by all the writers. on Architecture; for sciences are built upon reason, and experience, which supports her determinations. The dimensions not only of every room, but of ever ry part ofa House whatsoever, should be laid ina just proportion to the extent of the ground-plan; for it would be absurd to see a great House divided into_ a multitude of closets, ora little House consisting only of a hall and dining-room. Here proportion falls in with the rule of convenience ; HQuw :. 7 327 for such a House would not be more absurd than inconvenient. The. apartments, being thus suited to the House in general, are next. to be: proportioned to one another; this, one would think, were as rational and plain a precept as, the other; yet we see it continually violated. Nothing is more common than to see a House built for the sake of one room; and in that case, the rest not being proportioned to that room, it seems not to belong to the House; and there wants that sym- metry which is the great beauty in building. In Houses which have been some time built, and which have not had an out-of-proportion room, the common practice is to build one of them: this always hangs from one end, or sticks to one side, of the House: and shews, to the - most careless eye, that, though fastened to the walls, it did not be- long to the building.. | | : ey _ The custom of routs has introduced this absurd practice. Our fore- fathers were pleased with seeing their friends as they chanced to come, and with entertaining them when they were there., The pre- sent custom is to see them all at once, and entertain none of them ; _this brings in the necessity.of a great room, which is opened only on such occasions, and which loads and generally discredits the rest. of the edifice. This is the reigning taste of the present time: a taste which tends to the discouragement of all good and regular Architec- ture, but which the builder will be often under a necessity to comply with; for he must follow the fancy of the proprietor, not. his own judgment. Whatever the false taste of any particular time may adopt, the builder though he complies with it from the orders he receives, yet he must never suppose that the caprice, or fashion, can change the nature of right and wrong. He must remember that there is such a thing as truth, though the present mode will not follow its Steps: and establish it as a maxim in his own mind, that proportion and regularity are real sources of beauty, and always of conve- nience. | In the disposition of parts in an edifice, it is incumbent upon the architect to give a proportion and harmony to the whole building, and. to make every part of it as suitable to that whole as its nature.will, 398 PAM admit; yet he must not endeavour to make all equally elegant. This has been the false taste of some, who have been profuse of ornament, and yet have not been able to give any real beauty. They have won- dered at the effect, but this is the reason; various parts of a House are suited to various services and purposes, and they are not all to be contrived for shew. The plainness of some will set off, and shew to advantage the beauty of others. To avoid this error, when the archi- tect has laid down the dimensions of the several: parts of the edifice, let him consider which of these are calculated for greater, and which ~ for lesser services; and accordingly distribute among them all that gives dignity or plainness. There is no objection to plainness, when — it is suited to the occasion; and the variety between that and such hi apartments as are spacious and elegant, gives a lustre even to the latter: the plain decency of the biwrintteah, rooms, while it is proper, because it suits them to their purposes, makes them also serve as a foil to the others. Thus much may be sufficient to mention in this i place, concerning those ornaments whose foundation enters into the” original design of the apartments, all other decorations we shall speak of hereafter under their proper heads. ' HypotracHELion, in Architecture, denotes a little frieze in the Tuscan and Doric capitals, between the astragal and annulets, called likewise colerin, gorgerin, &c. By some it is applied to the neck of any column, or that part of the capital below the astragal. I. J AMB, or Jaums, among Carpenters, an appellation given to door- — posts, as also to the dghont posts at the sides of window-frames ; and among bricklayers, it denotes the upright sides of the chimneys, from the earth to the mantle-tree. ti (e@) oy . $99 _ Icr-Hovssz, a building contrived to preserve Ice in the summer season. ‘l’he best soil for an Ice-house is chalk, as it conveys away the waste water, without the aid of an artificial drain; next to that, Ms loose stony earth, or gravelly soil. Its situation should be on the side of a hill, for the advantage of entering the cell upon a level. — - To construct.an Ice-house. A cavity is to be dug in the form of an inverted cone, the bottom being concave, so as to forma reservior _ for the reception of waste water. Should it be necessary, from the nature of the soil, to construct a drain, it must be extended, at least, so far as to open at the side of the hill, or into a well. An air-trap should likewise be formed in the drain, by sinking the latter so much > dower in that place as it is high, and by fixing a partition from the top, for the depth of an inch or two into the water of the drain, by which means the air will be completely excluded from the well. Brick piers must now be formed in the sides of the Ice-house, for the support of a cart-wheel, to be laid with its convex side upwards to receive the Ice; and which must be covered with hurdles and straw, to afford a drain for the melted Ice, and serve as a floor. The thickness of the sides and dome of the cone should be about nine inches, the former being constructed of brick-work, without mortar, and with the bricks placed at right angles to the face of the work. - The vacant space behind ought to be filled with gravel, or loose stones, in order that the water oozing through the sides may the more easily be conducted into the well. The doors of the Ice- house should likewise be made to shut closely ; and bundles of straw put before them, more effectually to exclude the air. Ice-houses are more generally used in warm countries, than with us, particularly in Italy, where the meanest person, who rents a house, has his vault or cellar for Ice. : | _ Icunograpny, in Architecture, a description or draught of the platform or ground-work of a house, or other building. Or it is the geometrical plan or platform of an edifice or house, or the ground- work of an house or building, delineated upon paper, describing the form of the several apartments, rooms, windows, chimneys, &c. In 42. 4P 330 | ONES. perspective, the view of any thing cut off by a plane parallel to the horizon, just at the base of it. Among painters it signifies a descrip- tion of images, or of ancient statues of marble and copper, of busts and semi-busts, of painting in fresco, Mosaic works, and ancient pieces of miniature. | -_— Impost, a term used to express a fascia, or a small cornice, which _ crowns a pier, or pilaster, and supports the first stone from whence an arch springs. Sometimes the entablature of the order sérves for - the Impost of an arch, and this has a fine appearance. InsuLaTEp, in Architecture, detached from any other pailatiga A church is Insulated when it stands contigious to no other edifice, and so of any other building. The word comes from the Latin insula, an island, these buildings being separate from others as islands are from the continent, or nearest main land. A column that stands alone, and free from any wall is called an Insulated column. The columns — of the Periptere temples of the ancients, were Insulated; the monu- | ment in London is an Insulated column. — INTERCOLUMNIATION, the space between two columns, which is always to be proportioned to the height and bulk of the columns. INTER-JoIsTs, the space between Joists, which may be a foot be- tween centre and centre in good buildings, and in slight a ae a eighteen to twenty-two vobtiess 5 in Painting, the choice of which the painter makes of the objects that are.so to enter the composition of his piece. Joists, or Joysts, in Architecture, those pieces of timber framed into the girders and summers, on which the boards of the floor are laid. Joists are from six to eight inches square, and ought seldom to lie at a greater distance from each other than ten, or at most twelve inches, nor ought they ever to bear a greater length than ten feet, or to be less into the wall than eight inches. All Joists on the back of a chimney ought to be laid with a trimmer, at six inches distance from the back. Some carpenters furr their Joists, as they call it ; that is, they lay two rows of Joists, one over another, the undermost of which are framed level with the underside of the girder; and the i ON | 331. uppermost, which lie cross the lower ones, lie level with the upper side of the girder. | | Ionic-Orper, one of the three original orders of the Greeks: of a middle nature between the Doric, which was their plainest, and the Corinthian, which was their most ornamented. Itisalso the middle order of the five, taking in the two added by the Romans, the Tus- can and Doric being stronger, the Corinthian and Composite more ‘ornamented. The base of the lonic consists of a torus and two ca- vettos, with astragals between them. Vitruvius was the inventor of this base, which is liable to censure, because smaller, and conse- quently weaker in the lower than the upper part. The ancients, when they gave a base to this order, used the Attic: often they gave it none. Many give the Ionic the Corinthian base; but this, though better than its own, is not so wellas the Attic. The shaft is eighteen semi-diameters, or nine diameters, in height; in some, of the an- cient buildings it has but sixteen semi-diameters, which is the present proportion of the Doric; but the Doric was then lower: when they gave the Doric sixteen, they raised the Ionic to eighteen, to preserve the distinction. When the shaft of the Ionic is fluted, the flutings should be twenty-four; and they are often filled up with a cable or baton for one-third of the height, and the rest of their space left empty. Some make the flutings of the Ionic thirty, in which they have the authority of Vitruvius to support them. In these things architects take great liberties: the only fluted Ionic column we know of among the remains of the antique in Rome, is that in the temple of Fortuna Virilis, and the flutings there are only twenty. The capital in the Ionic order consists of three parts, an abacus, a rind, which is the hollow of the volute, and an ovolo, under which is an astragal. The abacus supports the entablature, the rind pro- duces the scrolls or volutes, which are the great characteristics of this order, and the ovolo is frequently carved. The Ionic entablature has its architrave divided into faces; its frieze is often made to swell, but this is not found in the most ancient buildings ; and the cornice has simple modillions. _The Ionic is an order that stands as a medium ee eRe between the strong and rich. Itissaid the famous temple of Diana, — at Ephesus, was of this order; at present it is much used in churches ; ia and, when justly executed, has a very beautiful effect. This order has one advantage above any of the rest, which count } in this, that the fore and hind parts of its capital are different from its — sides; but this is attended with an inconvenience, when the ordon- | nance is to turn from the front of the building to the side; to obviate 3 which the capital may be made angular; as is done in the temple — Fortuna Virilis. 'Scamozzi, and some other modern architects, have 2 introduced the upper part of the Composite capital, in lieu of the ~ Tonic, imitating that of the temple of Concord, whose four sides are _ alike.. To render it a little more beautiful, the volute Ps He abe q a little oval and inclining. 4 Iron, a hard, gikiblé; and malleable metal, of a greyish catia EY soon tarnishing in the air to a dusky blackish hue, and in no long ~ time contracting a yellowish or reddish rust. This change takes place more rapidly if the atmosphere is moist. It is occasioned by % the gradual combination of the iron with the oxygen of the atmos- . phere, to which it has a very strong affinity. ; Tron, like other metals, is said to consist of earth, phlogiston, and » a metallic or mercurial principle. ‘This metal has, next to gold the _ greatest tenacity of parts; an iron-wire, the diameter of which is . 1-10th of an inch, being capable of sustaining 4501b. without being broken. It is the most sonorous of the metals except copper; the hardest and most elastic of them all ; hence its excellence for mecha- _ nic instruments; it is made into tools, by which all the others are filed, drilled, and cut; and is the only one that strikes sparks with flint. — It spreads difficultly under the hammer, but may be extended toa great degree, drawn into wire, as slender as the finest hairs; it is — more easily malleable when ignited than when cold; whilst some of the other metals, though ductile when cold, become quite brittle by heat. It is lighter, considerably, than copper ; and a little heavier than tin. It is the only metallic body which attracts, or is auttne te by the magnet, one of its own ores. K EY 838 Iron grows red-hot much sooner than any other metal, and this not . only from the application of actual fire, but likewise from strong ham- mering, friction, or other mechanic violence. It nevertheless melts the most difficultly of all the metals; requiring, in its most fusible state, an intense bright white heat. When perfectly malleable, it is not fusible at all, without additions, or the immediate contact of the burning fuel; and when melted, it loses that quality, which deprives it at the same time of the other, as if infusibility and malleability were in this metal incompatible. _ Tron Brincss were first invented in England towards the close of the eighteenth century, and are now preferred in many instances to similar structures of wood or stone. The first Iron-Bridge construct- ed in England, was erected upon the Severn, near Colebrook Dale, in DE echice. Irrecurar Couvmnys, in Architecture, a column which does not Beinic from the proportions of any of the five orders, but whose or- naments, whether in the shaft or capital, are absurd and ill chosen. K. Kee, in Naval Architecture, the principal piece of timber first laid upon the blocks, which supports the whole fabric of a ship, in the same manner as the back-bone sustains the body. When this can- not be had of a sufficient depth in one piece, there is a strong thick plank fastened to the bottom, called the false Keel, which also serves to save the bottom of the main Keel. Key, is a well-known instrument for opening and chsittin: the locks of doors, chests, bureaus, and the like. The names of the seve- ral parts of a Key are these: the pin-hole, drilled into the end of the shank ; the step, or dap-ward; the hook-ward ; the middle-ward ; the 42. 4Q ; 334 j open De cross-ward ; the main-ward; the pot; the bow-ward, the bow; or — handle ; and the piece of steel containing the wards, is called the bit of the Key. 1 ast ey —— Key-Srone of an arch or vault, that placed at the top or vertex of an arch, to bind the two sweeps together. 2 Loacunar, the ancient name for what we'call a soffit, when it: i consisted only of compartments, sunk or hollowed, without the divi- ee sion of platbands, or spaces between the several pannels, But when they were added, it was called Laquear. ) : a - LANTERN, in Architecture, a little dome raised over the roof ofa building, to give light, and serve as a crowning to the fabric. LaquEar, in ancient Architecture, is a term for what we express by the Italian word soffit, a ceiling divided into compartments, and — those ornamented with platbands.. Where there were the hollow com- _ partments only, they called it Lacunar, from Lacus a hollow place as but when there were these other ornaments, they called it Laquear, — from the rows of the platbands resembling nooses, daguei. ne Larmigr, in Architecture, a large square flat and massy member of a cornice, placed between the cymatium and the ovolo, and called also the Corona. Its use is to disperse the water, and cause it to fall at a distance from the wail drop by drop. It has its name from’Lar-_ mier, hence, darme being French for a tear. , 3 un io LEAVEs, in Architecture, are ornaments of carving, given tothe entablatures of the orders, and other parts of decorated buildings : they are either twisted into festoons, or spread irregularly over a frieze, or other part. The ancients used two kinds of Leaves, the one natural, the other imaginary ; among the natural were those of the 5 ed 3 ia) | 335. laurel, palm, acanthus, and olive: but they took such liberties in the forms of these, that they might be called in a great measure imagin- ary too. The introd ucing imaginary Leaves reflected upon their taste,. for it was an insult upon nature; and in this very unpardonable, that nothing the art of the greatest sculpture can invent in this way will ever come up to what is afforded in nature: the variety of Leaves being endless, and their forms, in innumerable instances, in the highest degree elegant. We sec a great deal of this imaginary folia- age in the Gothic ornaments, without wonder, because all these were professedly left to fancy; but it is with concern and astonishment we meet with it in the antique. , , Leven, among carpenters and paviours, consists of a long ruler, in _ the middle whereof is fitted, at right angles, another somewhat big- ger, at the top of which is fastened a line, which, when it hangs over a fiducial line at right angles with the base, shews that the said base is horizontal. Sometimes this Level is all of one board. Among: masons, it is composed of three rules, so joined as to form an isocles-rectangle, somewhat like a Roman A, at the vertex where- of is fastened a thread, from which hangs a plummet that passes over a fiducial line, marked in the middle of the base, when the thing to which the Level is applied is horizontal; but declines from the mark when the thing is lower on one side than on the other. _ Linen, in Architecture, a piece of timber that lies horizontally over door-posts and window-jambs, as well to bear the thickness of the wall over it, as to bind the sides of the wall together. | | List, or LisTELr, in Architecture, is a little Square member sery- ing to crown, or to accompany a larger; or sometimes divide the flut- ings ofa column. The word comes from the Italian “stelh, signify ing a little girdle or band ; it is called also the fillet, and by some a Square. | | | | | _ Locx, a well-known instrument for securing doors, chests, &e., and only to be opened by a key. ts eee -hutuerny, in Architecture, a kind of window over the cornice, in 336 MAR the roof of a building; standing perpendicularly over a naked wall, and serving to illuminate the upper story. _Lutherns are of va- rious forms, as squares, semi-circular, round, called bulls-eye, flat arches, &c. + M. Matter, a kind of large wooden hammer, used by artificers who ~ work with a chisel, as sculptors, masons, and stone-cutters, whose — mallets are commonly round; and by joiners, carpenters, &cc., who © work with square-headed Mallets. Mantis, or Mantie-Tree, in Architecture, the lower part of | the chimney, or that piece of timber which is laid across the jambs, — and sustains the compartment of the chimney-piece. Marsue, a genus of fossils, being bright and beautiful stones, Bs i » xy h “0 58 t > stg } . # ; } t ¥ * a) : ar Be ENPEL | eens oF NG ee wri)“ ad ee i dS composed of small separate concretions, moderately hard, not giving — fire with steel, fermenting with and soluble in acid menstrua, and — calcining inaslight fire. The colours of Marbles being a very obvi- — ous and striking character, they are arranged according to them in the following divisions. 1. Of the white plain Marbles there are two sorts: the Parian Marble of the ancients, and statuary Marble of the — moderns, an extremely bright and elegant Marble ; and the Carrara Marble; avery fine Marble, more compact and close than the former, but less bright. 2. Of the plain yellowish Marbles there is only one sort, which is a hard, pale yellow, and glossy Marble, found in many — parts of Italy. 3. Of the bluish and black Marbles there area great many species, as the Chian Marble, Basaltes, &c. 4. Of the plain creen Marbles there is only one kind, the Lacedemonian Marble of the ancients. 5. The pale-coloured or whitish-brown, commonly MAR 5 337 called Darby Marble. 6. The great Marbles with shells. 7. The black Coralliode Marble, with and without shells. 8. Of the white variegated Marble there are a great many species, variegated with purple, brown, red, blue, &c. 9. Of the brown variegated Marbles _ there are likewise several sorts, some with red veins; others with white, black, or brown veins. 10. Of the yellow veined and varie- gated Marbles some are veined with purple, and others with blue. 11. Of the black variegated Marbles, some are veined with white, and others with blue, yellow, red, &c. 12. The green variegated Marbles are likewise distinguished by the colour of their veins. 13. _ The grey spotted Marbles are variegated, some with black and others with green spots. 14. The red variegated Marble is the Brocatello of the Italians, with white and gold veins. : _ Polishing of Marble is performed by first rubbing them well with a free-stone, or sand, till the strokes of the axe are worn off, then with _ pumice-stone, and afterwards with emery. tgs Colouring of Marble.—The colouring of Marble is a nice art, and in order to succeed in it, the pieces of Marble, on which the experi- ments are tried, must be well polished, and clear from the least spot or vein. The harder the Marble is, the better it will bear the heat neces- sary in the operation; therefore, alabaster and the common soft white Marble are very improper to perform these operations upon. Heat is alway necessary for opening the pores of the Marble, so as to ren- der it fit to receive the colours; but the Marble must never be made red-hot, for then the texture of the Marble itself is injured, and the colours are burnt, and lose their beauty. Too small a degree of heat is as bad as too great; for in this case, though the Marble receive the colour, it will not be fixed in, nor strike deep enough. Some colours will strike even cold, but they are’ never so well sunk in as when a just degree of heat is used. The proper degree of heat is that which, without making the Marble red, will make the liquor boil upon its surface. The menstruums used to strike in the colours, must be varied according to the nature of the colour to be used. A lixivium made with horse’s or dog’s urine, with four parts of quick-lime, and 43. 4k 338 M A R one part of pot-ashes, 1s. excéllent for some colours ; ' ‘common ley of & wood-ashes doés very well for others; for some, spirit of wine eis Bete _ and, for others, only liquors, or common white-wine. - 9 7 . The colours which have been found to succeed best with the pect = menstruums, are these: stone blue dissolved in six times the quantity Ee of spirit of wine, or of the urinous lixivium’ ‘and that colour, which , the painters ‘call litmouse, dissolved in common ley of wood-ashes. . An extract-of saffron, and that colour made of buckthorn-berries, and _ called by the painters sap-green, both succeed well dissolved in urine and quick+lime, and:tolerably well in a spirit of wine. o Viel ee } and a fine: powder of cochineal, succeed also very well in the same le ae quors. . Dragon’s-blood succeeds very well in ‘spirit of wine, as does also a tincture of logwood-in the same spirit. ' Alkanet-root givesa fine colour, ‘but the only menstruum to be used for this is oil of tur- pentine: ‘for neither spirit of wine, nor any lixivium, will do with it. a There is another kind of sanguis draconis, called Dragon’s-blood in tears, which, mixed with urine alone, gives a very cMeahe colour, Besides these mixtures of colours and menstruums, there are some __ colours which are to be laid on dry and unmixed. These are Dragon’s- ts blood, of the purest kind, fora red ; -_gamboge fora yellow; green wax for a green;' common brimstone, pitch and turpentine, for @ brown colour. The Marble, for these experiments, must be made — i considerably hot, and then the colours are to be rubbed on dry in- the lump. Some of these colours, when once given, remain immutable; others are easily changed or destroyed. Thus the red colour given by Dragon’s-blood, or by a decoction of logwood, ‘will be wholly ri away by oil of tartar, and the polish of the Marble not ‘hurt by it. A fine gold-colour is given in the following manner: take eel sal armoniac,~ vitriol, and verdigrease, of each equal quantities ; " white vitriol succeeds best, and all must ae jibe ee in n fine powder. | The staining as Marble to all the je Wosstees of red and yellow, By" so- lutions of Dragont s-blood or gamboge, may be done by reducing’ these gums. to powder, and grinding them, with the spirit of wine, ina glass mortar; but, for smaller attempts, no method is so good as the mang M AU : 839 a little of either of these powders with spirit of wine, in a silver spoon, and holding it over burning charcoal. _ By this means a fine tincture will be'extracted,and, with a pencil dipped in this, the finest traces may be made on the Marble, while cold; which, on the heating it afterwards, either on sand, or in a bakér’s oven, will all sink very deep, and will remain. perfectly distinct on the stone. ' Arundelian Marbles, aticient Marbles with a chronicle of the city of Athens described on’ them, many years before our Saviour’s birth: presented to the university of Oxford by Thomas, earl of Arundel, whente'the names 99 daw scab: of Di Mason, a person employed under the direction of an architect, in the raising of a stone Buildisg 5000. gonpig. ei 2 Og | > - ~ Masonry, in general a branch of architecture, consisting in the art. of hewing or squaring stones, and cutting them level or perpendi- cular, for the-uses of building; but, ina more limited sense, Masonry is the art of assembling and joining stones together with mortar. “All the kinds of Masonry now in use may be reduced to these five, viz. bound Masonry; that of brick-work, where the bodies and pro- jectures of the stones inclose square spaces, or pannels, &c., set with bricks; that demoilon, or small work, where the courses are equal, well squared, and their edges or beds rusticated; that where the courses are unequal, and that filled up in the middle with little stones ee VM a tae ~ Masquss, in Architecture, certain grotesque faces used to fill va- cant places, as friezes, pannels of doors, keys of arches, &c. - Massive, among builders, an epithet given to whatever is too heavy and solid; thus a massive column is one too short and thick for the order whose capital it bears, and a Massive wall is one whose opening or lights are too small in proportion. sie | a See )Mavsorevm, a magnificent tomb, or funeral monument. The word’ is derived from’ Mausolus, king of Caria, to whom Artemisa, his wi- low, erected a most stately monument, esteemed one of the wonders of the world, and called it, from his name; Mausoleum, | 340 ; MOD Merorgs, in Architecture, is a name given to the square spaces q between the triglyphs of the Doric frieze. We have observed before, that the Doric frieze is ornamented with triglyphs, or channelled < figures; these are placed at certain distances one from another, and the spaces between one and another of them are the Metopes. The distance at which the triglyphs regularly stand, makes these square. B They are sometimes left naked, but they were adorned among the — ancients with parts of beasts, instruments of sacrifice, and other * figures; and they have in general something placed upon them in the modern works of elegance, according to the fancy of the archi- tect. The ancient use of the Doric was in temples, and some would restrain it to them at this time, because of the difficulty there is of managing a frieze thus necessarily divided in common buildings. When there is a space less than the proper Metope, as at the corner — of the Doric frieze, it is called a semi-Metope, or demi-Metope. - Mezanine, a kind of little story, called also an enterstole; it is ® placed between two principal stories, and serves for apartments for _ upper servants, | | | ; a Minute, architects express by this term a thirtieth part of a semi- = diameter of a column, that is,a sixtieth part of a diameter; and some- times, speaking of weights, the twelfth part of an ounce. _ a Mopern. Architects distinguish buildings of former ages into three classes, antique, ancient, and modern; the two first terms are exactly 2 the same in their original sense, but they appropriate them to differ- ent meanings. Antique signifies a remain that was executed when the arts were in their greatest purity and perfection; and ancient, an old piece of work, but not of that perfect truth, The word Modern is used as distinguished from both these; but its sense is not well fixed; some mean, by Modern structures, those Gothic buildings — which aré:so common at this time, and, though built long since, are Modern in comparison of the names just mentioned ; others by Mo-~ dern buildings, mean the Italian method, but that is only the antique revived. Others express by this term the new whimsical structures, MOD St which have so much of fancy and so little judgment or taste, that they deserve no name at all. It isa reflection upon our country to call these Modern, as if the general taste were as much depraved as that | of the few particular Bedale who erect these baubles. - Monit rons, in Architecture, are ornaments in the entablatures of the richer orders. They are little brackets, or consoles; and their place in the entablature is under the soffit, or bottom of the drip. They ought to be so placed that one may always be over the middle of the columns. These Modillions are most of all used in the Corin- thian order, in which they are enriched with carvings: in the Ionic and Composite they are more simple. . And in the other orders they are not properly used at all. The word is Italian, with a different. spelling, modiglioni signifying the same thing. ‘They seem to be in- troduced as supports, but are nothing more than ornaments. Their form is commonly that of the letter S, and fitted to the soffit of the cornice. The word mutule was originally used in common with mo- dillion, as signifying in every respect the same thing; but at this time it is confined to the Doric order. The mutules in the Doric al- ee answer to the triglyphs. | | ~Mopute, in Architecture, a certain measure or r bigness, ae at pleasure, for regulating the proportions of columns, and the sy mme-~ try or disposition of the whole building. Architects generally choose the semi-diameter of the bottom of pietalinn for their module, and this they subdivide into parts or minutes. The Module of Vignola, which is a semi-diameter, is divided into twelve parts in the Tuscan and Doric, and into eighteen for the other orders. The Module of Palladio, Scamozzi, M. Cambray, Desgodetz, Le Clerc, &c., which is also equal to the semi-diameter, is divided into thirty parts or mi- nutes in all the orders. The whole height of the column is divided by some into twenty parts for the Doric, twenty-two and a half for the Ionic, twenty-five for the Roman, &c., and one of these parts is made by a Module to regulate the rest of the building by. There are two ways of determining the measures, or proportions of build- ings. The first is by a eee standard measure, which is usually the 43. 4S 342 M ON diameter of the lower part of the column, called a Module, subdi- vided into sixty parts, called minutes. In the second there are no minutes, nor any certain or stated division of the Module, but it is divided occasionally into as many parts as judged necessary; thus the height of the attic base, which is half the Module, is divided either . into three, to have the height of the plinth, or into four, for that of the greater torus; or into six, for that of the lesser. Both these man- ners have been practised by the ancient as well as the modern archi- tects; but the second, which was that chiefly used among the anci- ents, is, in the opinion of M. Perault, the preferable. As Vitruvius has lessened his Module in the Dorie order, which is the diameter of the lower part of the other orders, and has reduced that great Module toa mean one, which is the semi-diameter, the Module is here re- duced to the third part for the same reason, viz. to determine the se- veral measures without a fraction. For in the Doric order, besides that the height of the base, as in the other orders, is determined by one of those mean Modules, the same Module gives likewise the height of the capital, architrave, triglyphs, and metopes. But our _ little Module, taken from the third of the diameter of the lower part of the column, has uses much more extensive; for by this the height of the pedestals or columns and entablatures in all the orders are de= termined without a fraction. As then the great Module or diameter of the column has sixty minutes, and the mean Module, or half i diameter, thirty minutes, our little Module has. twenty. Mots, is a massive work of large stones laid in the sea, by means of coffer-dams, extending before a port, either to defend the harbour from the impetuosity of the waves, or to prevent the passage of ships without leave. Mour-Heap, a sort of pier, mound, or arbitusied isthmus, built athwart the outer part of a little bay, and joining to some head or island, to form a retreat for shipping. Monoprere, in Architecture, a kind of temple, round, and witha : out walls, having a dome supported by columns. | Monument, in Architecture, a building destined to preserve the M Os 348 memory, &c. of the person who raised it, or for whom it was raised 2 such are a triumphal arch, a mausoleum, a pyramid, &c, ~ Moor-Srone, a valuable stone much used in the coarser works of the present builders ; being truly a white granite, of a marbly texture. ~ Morris, or Mortotss, in carpentry, &c. a kind of joint; wherein a hole of a certain depth is made in a piece of timber, which is to re- ceive another piece called a tenow. | ~ Mosatc-Work, is an assemblage of little pieces of glass, marble, precious stones, &c. of various colours cut square, and cemented on a@ ground of stucco, in such a manner as to imitate the colours and degradations of paintings. The materials used for these works are little pieces of glass of all the different shades in every tint or colour, like those of the fine English worsted used in needle-work. The glass is first cast into thin cakes, which are afterwards cut into long pieces of a different thickness. Many of the pieces used in the work on roofs and ceilings, which are consequently seen only at a great distance, appears to be a finger’s breadth; but the finer works consist only of glass pins, if we may make use of that expression, not thicker than a common sewing-needle, so that a portrait of four feet square shall take up two millions of such pins or studs. These pins are so closely joined together, that after the piece is polished, which is done in the same manner as looking~glasses are polished, it can hardly be discerned to be ani arrangement of an infinite number of particles of glass; but rather looks like a picture painted with the finest co- fours, with crystal placed before it. The ground on which these yj- treous pieces are inlaid, is a paste compounded of calcined marble, fine sand, gum, tragacanth, whites of eggs, and oil. It is at first SO soft that the pieces are easily inserted, and upon an oversight may be taken out again, and the paste new moulded, for the admission of other pins or studs; but by degrees it grows as hard as a stone, so that no impression can be made on the work. This paste is spread within a wooden frame, which for large pieces must not be less than @ foot in breadth and thickness. This frame is fastened with brass tacks to a plate of the same metal, or to a stone slab; and as in ca- 344 MO 8S pital pieces, which are often twenty feet by fifteen, this paste-ground must be above three quarters of a foot deep, and the pins or studs as long, it may easily be conceived of what weight such a piece must be. The pieces designed for roofs, or any distant place, are not po- lished; but in the altar-pieces, &c. nothing is wanting to give them the most beautiful and splendid appearance. A piece of about eighty feet square, if performed with tolerable care and delicacy, will em-_ ploy eight artists for the space of two years. ‘The studs of the seve- ral colours lie ready before the artists in cases, as the letters are jaid: before the compositors in a printing-house : and such is their accu- racy 1n imitating. the finest strokes of the pencil, that the only ap- parent difference betwixt the original painting and such a copy is that the latter has a much finer lustre, and the colours are more — vivid. ay Method of performing Mosaic-Work of marble and precious stones. —Lhe ground of Mosaic-works wholly marble, is usually a massive marble, either white or black. On this ground the design is cut with a chisel, after it has been first calqued. After it has been cut of aconsiderable depth, @.e. an inch or roore, the cavities are filled up with marble of a proper colour, first fashioned according to the design, and reduced to the thickness of the indentures with vari- — ous instruments. ‘To make the pieces thus inserted into the inden-_ tures cleave fast, whose several colours are to imitate those ofa design, 4 they use a stucco composed of lime and marble-dust; ora kind of mastic, which is prepared by each workman after a different manner peculiar to himself. “7eguRe . The figures being marked out, the painter or sculptor himself draws with a pencil the colours of the figures, not determined by the ground, and in the same manner make strokes or hatchings in the place where shadows are to be; and after he has engraven with the chisel all the strokes thus drawn, he fills them up with a black mas- tic, composed partly of Burgundy-pitch poured on hot; taking off afterwards what is superfluous with a piece of soft stone or brick, which, together with water and beaten cement, takes away the mastic, * * 8 M O'S 345 polishes the marble, and renders the whole so even, that one would imagine it only consisted of one piece. 18S : _ This is the kind of Mosaic-work that is seen in the pompous church of the Invalids at Paris, and the fine chapel at Versailles, with which some entire apartments of that palace are incrustated. . As for Mosaic-work of precious stones, other and finer instruments are required than those used in marble; as drills, wheels, ‘&c., used by lapidariés and engravers on stone. As none but the richest mar- bles and stones enter this work, to make them go the further they are - Sawn into,the thinnést leaves imaginable, scarce exceeding half a line in thickness; the block to be sawn is fastened firmly with cords on the bench, and only raised a little on a piece of wood, one or two inches high. Two iron pins, which are on one side of the block, and _ which serve to fasten it, are put into.a vice contrived for the purpose, and with a kind of saw or bow, made of ‘fine brass wire, bent on a piece of spongy wood, together with emery steeped in water; the leaf is gradually fashioned by following the stroke of the design made on paper, and glued on the piece. When there are pieces enough fastened to form:an entire flower, or some part of the design, they are applied to the Brbuntleisiie.aih oo? ten + The ground which supports this Mosaic-work is usually of free- stone. Ihe matter with which: the stones are joined together is a mastic, or kind -of ‘stucco, laid very thin on the leaves as they are fashioned ; and this being done, the leaves are applied with pliers. | # ~ If any contour, or side ‘of a leaf, be.not either squared or rounded sufficiently, so asito fit the place exactly into which it is to be in- verted, when it is too large, it is to.be brought down with a brass ‘file:or' rasp; )-and/if:it be too litfle, it is managed with a drill and other instruments used by lapidaries. 99 : » Mosaic-work of marble is used in large works, as in pavements of churches, basilicks, and palaces; and in the incrustation and vaneer- ling of the walls of the same edifices. 290) As for that of precious stones, it is only used in small works, as 44. 3 4T | 346 MO U ornaments for altar-pieces, tables for rich cabinets, precious stones being so very dear. | | MosqugE, isa temple or place of religious worship, among the Ma- hometans. All Mosques are square buildings, generally built with — stone: before the chief gate there is a square court, paved with white marble, and low snes round it, whose roof is supported by mar- — ble pillars. In these galleries the Turks wash themselves before they go into the Mosque. About every Mosque there are six high towers, called minarets, each of which has three little open galleries, one above another; these towers, as well as the Mosques, are covered with lead, and adorned with gilding and other ornaments; and from thence instead ofa bell, the people are called to prayer by certain officers appointed for that purpose. Movu.p, or Mo.p, in the mechanic arts, &c., a cavity cute with a design to give its form or impression to some soe: matter ope therein, of great use in sculpture, foundery, &c. Movtopines, in Architecture, projectures beyond the naked wall, column, wainscot, &c., the assemblage of which forms cornices, door- cases, and other decaiatains of architecture. Some Mouldings are square, Others round, some are straight, others curved, &c. and some are plain, others carved, or adorned with sculpture, either hollowed, or in relievo ;_ some again are crowned with a fillet, others are with- out, as the doucine, sels! ovolo, torus, scotia, astragal, sales coro- na, &c. A. doucine is the cwmantitun’ or earth in which the Hollow part hia the greatest projecture ; the talon is the ogee, in which the swelling part hae the greatest projection.. The ovolo is a quarter round swell- ing. The cavetto is a quarter round hollowed; the astragal is small and round, and has usually its fillet; the dentell represents teeth; the plinth is a plain squared surface, whose use is gaa ee: to support the base of a column. Cornices, door-cases, and. many pant ornamental pieces, are forme out of a composition of Mouldings. All mouldings in regular archi- N AI Sie tecture may be reduced to three kinds, the rounded, the Square, and the curved; and from a combination of these which are the principal ones, and an occasional mixture of the others, may bé formed a great variety of beautiful pieces; but, in Gothic Architecture, we see fancy indulged at an extravagant rate to supersede the use of the ancient and natural Mouldings. b VES O8 iO 20 _ Mutter, astone flat and even at the bottom, but round a-top, used’ for grinding of matters on a marble. The apothecaries use Mullers'to prepare some of their testaceous powders, and painters for their colours, either dry or in oil. | | ol Moniment-Hovss, alittle strong room in a cathedral, college, or university, destined for keeping the seal, charters, &c., of such cathe- dral, college, &c. — | | ~ Morar Arcu, a wall, or walled arch, placed exactly in the plane of the meridian, for fixing a large quadrant, sextant, or other in- strument, in order to observe the meridian altitudes of the heavenly bodies..': | HEB. = | ~‘Mourvutes, a term used by some to express what are more commonly _ called’ modillions, which are brackets or consoles. Others appro- priate the word Mutule to these ornaments in the Doric order, and call the others only modillions. ~ N. N AILS, in Building, &e., small spikes of iron, brass, &c., which, being driven into wood, serve to bind several pieces together, or to fasten something upon them. The several sorts of Nails are very nu- merous ; as, 1. Back and bottom Nails, which are made with flat shanks to hold fast and not open the wood. 2. Clamp-nails, for fas- tening the clamps in buildings, &c. 3. Clasp-nails, whose heads Cy al, - ’ bi *. . { clasping and sticking into the wood, render the work smooth, so as to admit a plane over.it. 4. Clench-nails, used by boat and barge builders, and proper for any boarded buildings that are to be taken down ; because they will drive without splitting the wood, and draw without. breaking: of these there are many sorts. 5. Clout-nails, for nailing on clouts to axle-trees. 6. Deck-nails, for fastening of decks in ships, doubling of shipping, and floors laid with planks. 7, Dog- nails, for. fastening of hinges.on doors, &c. 8. Flat points, much used in shipping, nate are proper where there is occasion to) draw and hold fast, and no convenience of clenching. 9. Jobent. Nails, for nailing thin plates of iron to wood, as small hinges. on, cupboard- doors, &c. 10..uead Nails, for nailing lead, leather, and canvass to ~ hard wood. 11. Port-nails, for nailing hinges to the ports of ships. ‘ 12. Pound Nails, which are four. square, and are much used:in Essex, Norfolk, and Suffolk, and scarce any thing else except for, paleing. : 13. Ribbing Nails, principally used in ship-building, for fastening ‘ the ribs of ships in their places. 14. Rose Nails, which are. drawn | four square in the shank, and commonly in a.round tool, as:all, com- * mon two-penny nails. are;..in some countries all the larger, sort of — Nails are made of this shape... 15. Rother Nails, which havea full ~ head, and are chiefly used in fastening rother-irons to ships.) 16. — Round-head Nails, for fastening on hinges; or for any other use where a neat head is required ; these are of several sorts. _ 17. Scup- per Nails, which have a broad head, and are used for fastening lea- — ther and canvass to wood. 18. Sharp Nails; these have sharp points and flat shanks, and are much used, especially in the West-Indies, — for nailing soft wood. 19. Sheathing-nails, for fastening sheathing- boards to ships. 20. Square-nails, which are used for hard wood, and nailing up wall-fruit. 21. Tacks, the smallest of which. serve fasten paper to wood; the middling for wool-car ds, &c., and the larger for upholsterers and pumps.. Nails are said to be toughened when. too 348 N ASE — Sica Sil psec an a Sige lak Nay pita og ee oS ee brittle, by heating them ina fire-shovel, and putting some tallow or grease among them. Nails. are sold. at six score to the hundred ; in lathing, five hundred are usually allowed to.a ‘bundle of. five feet IN: AD) 4D 349° laths, and-six hundred to a bundle of six feet laths; in flooring, two _ hundred are sufficient for a square of flooring. _ Nake, is a term used to express the plain surface of a wall, co- ir, or other part of a building, in distinction from the ornaments. _ Thus the naked of a wall is the ‘flat plain surface of the wall that receives the mouldings; and the Naked of a column. is its hare surface. 4 | a ., in i tie the body of a bhai chee the isin are disposed, reaching siihiag the baluster, or rail of the choir, to the chief door. 7 | | NEWEL, in BD daitdctime. the upright ids whicha pains of NeNOE stairs turn about. Nicug, in Architecture, a hollow sunk intoa wall, for the commo- dious and agreeable placing of a statue. The ordinary proportion ofa Niche is to have two circles in height and one in width; but M. Le Clerc makes their height something more, the excess being to. compensate for the height of the pedestal or the statue. The hollow is Semicircular at ae teotty that is, in its plan; and at top it terminates in akind of canopy. Niches have frequently an impost, and an ar- chivolt or head-band, and the canopy wrought and enriched in the _ manner ofa shell. The breadth of the archivolt may be made equal toa sixth or seventh part of the Niche, and the height of the impost to a fifth or sixth part of the same; and the impost or archivolt ought to consist of such mouldings as have some relation to the Arahitecture of the place. Niches are sometimes made with rustic-work, some- times with shell-work, and sometimes of cradle or arbour-work. Niches are sometimes made square, but these want all the beauty of the others. Nupirtigs, in Painting and Sculpture, those nee of an human figure not covered with ay drapery, or. those parts where the carna- tion appears. “Aa, | 4U $50 : a Gs O. \ Obsxxisk, ; in Architecture, a truncated qubiareihiciliee and slender _ pyramid, raised as an ornament, and frequently char ged either with — inscriptions or hieroglyphics. Obelisks appear to be of very great antiquity, and to be first raised to transmit to posterity precepts of philosophy, which were cut in hieroglyphical characters ; afterwards : they were used to immortalize the great actions of heroes, and the memory of persons beloved. The first Obelisk mentioned in history — was that of Rameses, king of Egypt, in the time of the Trojan war, which was forty cubits high.. Phius, another king of Egypt, raised one of forty-five cubits; and Ptolemy of Philadelphus, another of eighty-eight cubits, in memory of Arsinoe. Augustus erected one at. Rome in the Campus Martius, which served to mark the hours on an horizontal dial, drawn on the pavement. They were called by the Egyptian priests the fingers of the sun, because they were made in Egypt, also to serve as styles; or gnomons, to mark the hours on the ground. he Arabs still call them Pharaoh’s needles, whence Italians call them aguglia, and the French aiguilles. The proportions in the height and thickness are nearly the same in all Obelisks; their height — Velie nine, or nine and a half, and sometimes ten times their thick- ness ; and their diameter at the top never less than half, and never greater than three-fourths of that at the bottom. | Orrick, in Architecture, in the plural, denotes all the apartments appointed for necessary oceasions of a palace or great house, as kit- chens, pantries, confectionaries, &c. Ocrg, or as it is sometimes written O.G. a moulding, part swell- ing and part hollowed, so that its outline resembles a wave. When placed with the hollow part upwards, it is called the upright Ogee, cima recta, or cymatium ; when the swelling part is upwards, it is called an inverted Ogee, a flat, and cima inversa. O KR D 351 ORDER, a column entire, consisting of base, shaft, capital, and en- tablature, and proportioned to the use or service for which it is in- tended. T'his is what is properly called an Order of Architecture, and the several uses and services requiring some distinction in strength, there have been contrived five kinds of these columns: three originally by the Greeks, the Doric, Ionic, and Corinthian; and two added by the Romans, the Tuscan, and the Composite. Each ‘of these has its ornaments as well as general fabric proportioned to its strength and use; and these are the five orders, the proper under- standing of which is the great article in the elegance of building. Beginning from the plainest and the strongest, these are reckoned thus: 1. The Tuscan. 2. The Doric. 3. The Tonic. 4. The Corin- thian; and 5. The Composite. The Tuscan is the most simple and strong, the cult eat has seven | diameters:in height, and the capital, base, ‘aud entablature, have no ornaments, and but few mouldings. ‘The Doric has the column seven and a half or weight diameters high; it has no ornaments on the base or capital, but its frieze is decorated with channelled figures, called triglyphs, placed at such a distance as to leave square spaces between them. ‘These square spaces are called meétopes, and are sometimes plain, and sometimes ornamented with heads of beasts, and other figures. The Tonic Order has the éolainn nine diameters in heidht ; its capi- tal has volutes, which are a kind of scrolls, and there are plain mo- dillions in the cornice. The Corinthian Order has its column nine diameters and a half high; its capital is ornamented with two rows of leaves, and among these rise up stalks which curl round under the abacus, and represent, in some measure, the volutes of the Ionic, but they are smaller and more numerous; and the entablature of this order has modillions under the cornice. The Composite Order has its column half a diameter higher than the nae, that is, ten diameters, but some suey it more, and 352 Oo RD some less ; and its capital has leaves, and above them the volutes of — the Ionic order. Its cornice has modillions. — | tj These are the five great Orders of Architecture; what is said of © them here will give some. general idea of their form, and their seve- : ral parts are déscribed more at large under the articles of base, capi-. J tal, &c. But beside these, there are some other manners and bake of building called by the name of Orders. } _ The Rérsian order has men slaves, in the place of cloumns, to ub port the entablature; the Cary atic Order has women; the Attien s Order has pilasters in the place of regular columns. The Rustie Order is that adorned with rustic quoins, and the like decorations. — The French Order has a capital composed of cock’s heads and. flower- ) de-luces ; its proportions are those of the Corinthian, from which it ~ differs only in the ornaments of the capital. There is also a Spanish E Order, which is like the Corinthian in most things, but has a lion’s — head instead of a rose in the centre of the abacus. But these, though © honoured with the names of Orders, very little deserve such a title : the Orders in Architecture might be multiplied innumerably on this ~ plan, but there goes caiething more to the construction of what de- 4 serves that name. q In good Architecture every part means something. We have seen, — in another place, what the design of the Coriitiide capital was ;.it represents a basket covered with a tile, and surrounded with leaves — of the acanthus.. Leaves of a plant may surround a basket naturally s as it stands upon the ground, or elsewhere, but cock’s heads and the — like cannot. The ieipal Orders have something great and noble % in them, but there is nothing but quaintness and Arias ill employed in these. oe Disposition of the Orde Those ought to be disposed so in build- a ing, that the most solid may be placed undermost, as the most pro=-— 4 per to sustain the weight, and give the whole edifice a more firm ~ foundation: therefore the Dorie must always be placed under the ‘ Tonic, the Ionic under the Corinthian, and the Corinthian under the ‘ C Fe ORT eo ee mposite. yAsto the Tuscan, beinga a plain rude. Péter itis seldom ec ed a bove. gtound, except in: villas, where one: Order only» is em- bs ployed. In very large buildings, as! amphitheatres,° where. many P Orders are requited;, the Tuscan, omay:be placed .under the. Tonic in- stead of the Doric. <é But if you are désirous to leave out. one of these | Orders, , as for instanee,:to: place the Corinthian: immediately over the t ‘Doric, you may, provided -you always: vobserve ‘to: place the: ‘most _ strong and:solid undermost, for the reasons above-mentioned. & ‘These.Oxders took their names from the people among bhéus ky "were invented. | Scamozzi calls the: Tuscan; the gigantic; the Doric, the H ereulanean 5 »ithe: Tonic, ‘the: matronal; bhi See gre the, | heroic ; and the Corinthian, the virginal. CHB 1099) -Orvoynance,. in. Architecture, :is aterm used A some. to. express the | same as order; but, in its general sense, if means the com posi- tion of a building, and the een of its several parts; it being this that determines ‘the bigness of the several portions of which a building is ‘composed, and the proper and judicious arrangement of them. tn painting, it is used for the disposition of the parts of a picture, either respecting the whole piece, or to the several parts; as the groups, masses, contrasts, aspects, &c. _. ORNAMENTS, in Architecture, are used to signify all the septa or carved-work: wherewith a piece of Architecture is: enriched. OnrnoGRaPnHy, i im Architecture, the elevation ofa building. This Orthography .is either>éxternal or internal... The external : Ortho- graphy is taken for the delineation ofan aera face or front of a building; or, as it:is by-others defined, the model, platform, and de- lineation of ‘the front‘of a house, that! is contrived, and to be built, by the.rules of geometry;’according'to which: pattern the whole fabric is erected and finished. °> This delineation or platform exhibits the principal wall, withyits apertures, roof, ornaments; and ‘every thing visible to an eye placed»before the building. . Internal Orthography, which is‘also‘called:a section, is a delineation, or draught of a build- ing, ‘such.as it would appear were the externalwall removed. Or- thography, in perspective, is the front or fore view'of any plane; that 45. AX ‘36d | rye is, the side sadn bhetiicapapaibad toa strai aight line/w i imagined to pass'through:the outward ‘convex ‘poir 7 tinued to. a:convenient length.» eguiblisd. spit yoy ah ., OvoLo, or Ovum, in Architecture, is aréund moulding, who file or sweep,).in the Ionic or Composite’ capitals, ds ‘usually a aa rant of a circle;» whence it:is also ne and from the. carving with which it is usually decorated, : anchor. “Tt 1S). pipe storie eign ee about chin 1 form. or dence 5 dadberye odd efinidd niyo ald paving ; ad -. Our-Hovsss, suchas belong and are sijdinihg do soclingign ee ieoOD Hd adtnogt dy yoartse [siatsy aha) {iid sso Shit Re “Ore d Jip atisq dayoves dito noitizoqelnetobus, aiid eae * uidw te esoiieq Leva olf Te epsmgith odd esse aa ie : : ** : ar “ - ‘ ri 7 7 ro. Ses ee ee Pte fa SS oe ee i‘ is i + eer ¢% i 2 tt of TAD Ww ’ Fiore tS Pde he ee qi “>> yn fe Ft VEG ‘ft CS oh. ok ae Re RED RP SE Fete hotel hide! i adh Rj Nae. Sa ee |g Be SEER a | ORDERS 2 ee 1 “ ve 4 xe a s + _ = 2 7 a ee Re ry eye an ¥ a titer © ma ¢ + « 4 reed >} ee rs roe : ¥ | a2 yore +f F » tia } 4 2 iy ia 4 ‘ 7s 5 ; ere | kD 9 PEAR) THLIT PEGI SSL cee AS ROR ES) J 4 i ie " i : ae 2 m2 tee 7A fii FS ' 2 i.e ee a ee he ee oy (oy POE OS POR OL Cee aaa es ee eis: 0) 2.2 An ib LSIAS, PAD F 20 « ufee G37 FOG Fase &T Ge) GS clade deat: Mili eer gee ye: gy ee 4 a ‘ ‘" hts > eae ee oe : 4 - sie ss , fe 8 AS eiviae Mi) .Aoe &Baib ott efi VE? Se Pp ALACE, im. Aiclisecknben 1s a name depts given to the delle ; ee of en) ey phawatesssict other. bios: Lonnie e ? lade duesh oy spiaavidl warner Benuilol ad aa NOUNS 2i.¥ ‘aa yee a sort of ts tics fruit-trees page ths ls wh . and Laapistde: on: ‘ehlab: lace eta ue Bris they Nie oceasion for § ready for the pencil; it has a hole at,one-end,:to put the thumb — through, to hold it.,,, Pallet in gilding, is an instrument made o ofa squirrel’s tail, to take up the gold leaves from: rg and to aps id ply and extend them on the maar to be. gilt.) ep genoa » a oe 355 from the Itali defence to save the body, br ir f the breast. )} In military ‘or building ‘usually metimes square, and of its Toof.to.a tent. . We have presented our readers with the plan ric Pedestal is the same with the Tuscan, but that it has the addition of.a base and cap. The Ionic is like the Do ric, only the members are more, anda little, enriched: . The. Corinthian Pedestal has its Plinth, a carved torus, its listell, and cymasium; then the listell and 356 PED ogee. The die is plain;: : its cornice: consista of an 1 ogee, a aeataer corona; ogee, and listell 9 hd Perino m The Composite Pedestal consists of the following parts i has a plinth; and a carved ‘torus over that, ‘then a’ eglet e at verted and enriched, and amastragal. ‘Whe die’ is ; plain.” . consists of an astragal and: éyinasiuin, alist, eymasium, a : a corona, and an ogee; and ‘its fillet.” In ‘the: otis Lal pannels: of the die: should be in’ ‘reliévo,. orp projecting ate ath th orders they should ‘be shollowed; or in’ (ervey ‘js an article striking propriety, but the: architects too often ne lect or mi tak A square Pedestal is that) whose breadth is equal: to its heigh mi double, Pedestal i is that which ‘supports. two columns, its being grea or than its height. | _A continued Pedestal is that which supports a1 ow of columns,|, without any interruption or b reakl 2. ne Pedestals: are: much: more: used iim modern’ than’ they: were eh - crent, ‘Architecture; and those!of'a:very nice’ taste are for’ banishi g | them. entirely from under columns, : ‘They say they awere thade. a statucao as ponice bes ites to no: CARES use, yee that although Vitru- Lavine of every: yr a are: baedtep without’ en? “nde colt f never appears: to’ stand:so firm’ as’ when. it rests ‘upon the ‘pavem inte If we examine such works as have no’ Pedestals. to the columns, we a shall, find a took. of uae and iismiveiu in ‘them which at gular etrats crowning’ ithe frankecr of a Gita , and see! Rett al as a decoration over doors, windows, and nitHeg® “Though: ‘the ginal, and natural form of the Pediment be triangular, it is ‘sometim t made a segment ofa circle, and sometimes Bioke. to let in’ busts. figures’; The Pediments of churches are often: beautifully’ adorne in basso, or alto-relievo ; in the: Pediment of the Parthenon ‘at Athe en there, are figures. which stand quite free ; the Pediment “of our ‘St. : Paul’s' church is ornamented with the: Conversion: of that ‘saint, in which the light has proved avery: difficult thing to express in stone- : “a x j xi iE S | CF work. . ‘The Pediment-consists of its tympanum and cornice; the 4ympanum is the pannel on-which these figures.are represented, which is often left «plain... The:cornice crowns this. tympanum) the most beautiful: Pediments-are those where the height is about a fifth or.two- cninths of the measure, of'the.base. » He aes the Pediment is formed of two-scrolls, or’ brackets, and open)in the middle; the tympanum of the Pediment: is sometimes: cut out, cand sometimes sisoraites Pe» diment is enriched i siniOEL on | Dedeey iments: being Tirpntacdtasi ons n: me the ridge of the roofy ‘oleh hat to be. _placed -length-wise, but always: cross-wise of abuilding. -A Pediment no where looks so well as inthe portal of a church, and that for this plain reason, that it is:there always natural, and in the proper position. The triangular shapes for the same reason best for } Pediments, ‘because it is the natural form of a roof. ; An'arched:Pedi- ment is not;:nor/can be, the representation of a pointed. roof; anda broken Pedimént takes.from:the idea of the use ; there niust: be-sup- _ posed: to be another covering or roof within. .Pediments placed one upon another, or one over another, as we see in some modern build- ings, are: very. erroneous; the Pediment represents .a.roof, we should | never put one:roof over another;: why then should we put the repre- sentation of it in one Pediment over another? It is: unnatural in that representation, because it would be preposterous in the: reality, and nothing that is.unnatural can be beautiful... The Pediment is for the same reason always to stand above the entablature; one would think this ruleso-obvious) that» it need not be named;. but that we:see it ‘sometimes: transgressed. When a Pediment is put beneath:an en- tablature, it represents a roof under a-floor, than which nothing can be more contrary to reality, - The Pediments: over doors and: windows may. be deemed errors in this. desi, they suppose so 1654s roots; but phey are ornamental. /Penoyi, an instrument used by ‘painters for. laying on colours. Pencils are of»various kinds, and made of various materials,. - - PERrpTeRs; aterm used by the ancient architects, and allopted by the moderns; to express:a building encompassed round with columns. 45. De ~ mee | 2 ua The word is derived from ‘the Greek. These columns fort of isle all round the building. ):A building that had columns only fore was called a/prostyle; and one that had none at the sid S$; 0 before and behind, was called an amphiprostyle; but when’ the’ lumns were on all four sides, it was called a Periptere;in- the Pe tere the columns should be’ distant from the wall by the measure of one intercolumniation..: The portico of Pompey, the. basilie'6f Ant : nine, and the mausoleum of Severus, were Periptere buildings. _ Perron, in Architecture, the steps in the front of bhitdingi ici befots the doors of great houses,*and ~~ beipnarecnpes when : raised above the Ibe of the ground.) 0 62 wot ont. daeeariae . Pier, in Architecture, is a square pillar veiehichas ial regular b or capital. » The Pier is sometimes free; sometimes in part immerse ina wall; what the pillar is to the column; the Pieris to the pila ter; each resembles the other, but is not tied down to’ that regulari’ prescribed by the proportions of the several orders. ’ Piers often hay niches, and serve as ornaments in front of buildings; there is a ve beautiful pair that stand in front of Holland-house, the work of Inis Jones. \ Pieris‘ also used to: express a mass ‘of stone-work,. rais against the force of the sea, for the security: of mph in a harbour, an for 'the supports: of the ‘arches ofa bridge. T ono af i tosoltaiaga PiiasterR, ‘in Architecture, a square column’ shea tone insulate: 1 bit more frequently let within‘a wall) and only shewing a fourth: fifth part of its thickness. ‘The Pilaster is different in different orde: it borrows the name of each, and: has the'same proportions, and the ~ same capitals;'members, and ornaments with the columns themselves. — Pilasters are, however, usually: made without either swelling or dimi: nution,’ and as broad’at top as at the bottom, though’ some of t modern architects, as M. Mansard, &c., diminish them at the top, and Re even make them swell in the middle, like columns, particularly when ; “placed behind ‘columns. !> M. Perrault observes, ‘that»Pilasters ,. ” ke columns, become of different kinds, according to the different man= — ner in which ‘they are applied to the wall. Some are swholly’tde= ie tached, and these Vitruvius calls parastata; others have three faces ar - breadth; _»/there,are four:things to be: principally regarded in: Pilasters; their ariout of the wall;:others two;-and others,only one; these Vitru- _tique;; for the | greater strength to the extremities of por iebes+ iti howell” shi) chief use the ancients ma de.of them, was to give the wre; out,of the wall; their.diminution ; the disposition of the and: their flutings and-capitals:,..1. The projecture.of Pilasters that have only one face out ofthe wall, ought, to be. one-eighth of their yorat most one-sixth; but when they. receive imposts against their sides, the projecture may bea quarter of their diameter. 2, Pis those of columns; but they differ in breadth, the leaves of ‘Pilasters being: much, broader, because Pilasters, though of equal extent, have only; the same! number , of leaves -for their girt, viz. eight... Their usual disposition. is to, have two in each, face, in the lower row, one - a in| the, middle, and. two jhalves,in the angles, in, the turns of which they ‘meet. Add to this,, that the rim of the. vase, or tambour, is not straight, as:the lower. part is; but a little circular and prominent in the middle. — — - dn Pilasters that support arches, the proportions, according to Pal- ladio,, should be regulated:by. the light they are placed-in; and.at the angles by the weight they are to sustain; they must not-be. too tall and slender, lest they resemble. pillars:;. nor too dwarfish -and gross, lest they appear like the piers. of bridges. In private buildings they Ea es PIN ought not to be narrower: ‘than one-third, nor broader than twouthieds of the vacuity, or interspace between Pilaster’and Pilaster ; but: as for those that stand at wet ae: sy nas i ain: whens = more lie the weivole wach or interspace. “He she ners, ‘that thet rere portion should be an exact square ; but, for lessening of expense, they are usually: made narrower in flank than in front. = Pitz, in building, is a large stake rammed into: the ground in the | :; bottom of rivers, or: in: err land, for a foundation to. build | “be The word is used among architects fora. mass of building. 12 (DGRae ~Pitvar, in Architecture, a column of an irregular make, not: formed 7 according to sore nae of pcre ome and: aha 0 9 — te) distinetion of the Pillar ee the Wiiotildd "The: pornry in our | churches of the Italian Architecture is always one of the orders; ‘the 5 Pillar in the Gothic buildings is often vastly too high for its thickness, — and has no diminution. This irregularity of structure makes ita Pillar, while the: Just proportions of the others: entitle: them to: the names of columns.” los Io saa a | ‘These Pillars as they are without seo peauttast in'their: eave woth want proportion with respect to the building; ‘we constantly see cba either too thick, or too slender, and commonly extravagantly in one ¥ of these extremes or the other. The eye is at once a judge of this — disproportion, even when the person who views them: has not inthe — least considered Architecture, always approving ‘the column, and dise — approving the Pillar. dei 2 There are buildings about! London in which the ar ohitesk has devi- — ated so far from rule in‘his columns, that they cannot be: baie bids bes long to any order, and may: be better called Pillars.) Pinntna, in building, the fastening of tiles together, with: pins of heart of oak, for the covering of an hows cc. :. < \ 7 | y 2 A SS. SOB. oP: AN: the term Plan is par ticular ly used fora draught ofa building, such as it appears, or is intended to appear, on the ee ; shewing the extent, division, and distribution of its area, or ground plot, into apart- ments, rooms, ‘passages, &c. A geometrical Plan is that wherein the solid and vacant parts are represented in their natural proportions. The raised Plan of a building is the same with what is otherwise called an elevation, or orthogr aie A perspective Plan is that exhibited by oF adations, or diminutions, according to the rules of perspective. wee render Plans intelligible, it is usual-to distinguish the massives with a back wash; the projectures on the ground are drawn in full lines, aiid those supposed over them in dotted pits The augmentations, or alterations to be made, are distinguished by a colour different from what is already built; and the tints of each plan made lighter, as the stories are raised. In large buildings, it is usual to have three sever al Plans, for the three first stories. : i -Puaster, among builders, &c. The Plaster of Paris is a preparation of several species of gypsums, dug near Montmaitre, a village in the neighbourhood of Paris ; whence the name. The best sort is iki: white, shining, and marbly ; known by the names of plaster-stone, or parget of Montmaitre. It will neither give fire with steel, nor ferment with aqua- fortis, but very freely and readily calcines in the fire, into a very fine Plaster; the use of which in building, and casting statues, is well known. _As the modern taste runs oveatly into plastering, it were to be wished that this art could be brought to its ancient perfection. The Plasters of the Romans were exceeding durable ; witness several yards of it still to be found on the top of the Pont de Garde, near Nismes. At Venice they usea very durable Plaster ; but as the secret of preparing it is not known among us, it would be worth while to tr y whether such asubstanee might not be made, by. boiling the powder of gypsum dry over the fire, or it will boil in the mainer of water : ; and when this boiling, or recal- ming was over, the mixing with it resin, or pitch, or both together, with common sulphur, and the powder of sea-shells. If these were all mixed together, and the water added to it hot, and the matter all kept not upon the fire till the instant of its being used, so that it might be laid 46, AZ = 362 Luk ee sy on hot, it is. possible this secret might be hit upon. Wax and oil; oilof turpentine may also be tried, as additions these being the common i in- eredients i in such cements as we have accounts of are the firmest, Stron 7 ale-wort i is by some directed to be used, instead of water, to make mor- tar of lime-stone be of more than ordinary strength. Itis possible that the use of this tenacious liquor i in the powdered ingredients of this pre O+ posed Plaster, might greatly add to their solidity anil firmness.’ Ps PLASTICE, she: plastic art, a branch of sculpture; being the art of forming figures of men, birds, beasts. fishes, &c. in plaster: clay,. stuck, » or the like. ; PLATBAND, in architecture, a square moulding w hich has ee projec ture than height or breadth, ‘The faces of an architrave are Plat- bands. The Platbands of flutings are the lists or fillets, which separate those hollows on the shafts of columns. The lintel of a door or window, — when it is square, or not. much arched, is called the Platband of t i] door, or Platband of the window. . Any square flat moulding, if not too projecting, is called by this name. ava oe PLAtForM, in architectur e, 2 row of beams which support the timber= workof a roof, and lie on the top of the wall, where the entablature ought | to be raised. This term is also used for a.kind of terrace, or broad, : smooth, open walkat the top of the building, from whence a fair prospect may be taken of the adjacent country. ene an edifice is said to be | covered with a Platfor m, when it is flat at top, and has’ no. ridge ; like the late Duke of Newcastle’s house, in Lincoln’s-Inn- Fields. Mosel the oriental buildings are thus covered, as were all those of the ancients... PLINTH, in chal ache a square piece which is placed under the mouldings i in the bases of columns. The Plinth terminates the column. with its base at the bottom, as the abacus does with its capital at the top. And the abacus in the Tuscan order being plain, square, and massy, has been called the Plinth of that capital. It seems. to have been originally intended to keep the bottom of the original wooden pillars from rotting. Plinth of a statue, &c. isa base, either flat, round, or square, that serves to support it. | PiumMet, Prumsp-Rutse,. or Piums-Lineg, an instrument used by 25 “fer * ie ii s Po Ror. . ee ¢arpenters, masons, &c. in order to judge whether walls, &c. be up= right planes, horizontal, or the like. It is thus calied, from a piece of lead (plumbum), fastened: to the end of a cord, which, usually constitutes. this instrument. Sometimes the string descends along a wooden ruler, &c. raised perpendicularly on another, in which case it becomes a level. Porcu, in architecture, a kind of vestibule supported by columns, much used at the entrance of the ancient temples, halls, churches, &e. | Porch, in ancient architecture, was a vestibule, ora disposition of insu- lated columns, usually crowned witha pediment, forming a coyert place before the principal door of a temple, or court of justice. Such is that before the door of St. Paul’s, Covent-Garden, the work of Inigo Jones. Porvart, a term used by many writers to signify the same as the frontispiece ofa building. The decoration of a face, or front, of a church is called the Portail. 'The same word is also used by some. to: signify the principal gate of a palace,’ or castle ; as also for the whole face of a church, including the great door. i lanes oe a . Porrar, a word used to express a smailer gate, where there are a: larger and a smaller; some use it at random. for the gate where there is. only one. «It is also used to express an arch over.a door-way; and for- merly it signified a square corner of a room, cut off from the rest, for the door or entrance. r 459 | riolles 03 boaag.ev Portico, in architecture, a place for walking under shelter, raised with arches, in the manner of a gallery. The Portico is usually vaulted. but it has sometimes a soffit, or ceiling. The Portico is a. piazza en- compassed with arches raised upon columns, and covered over head in any manner. The word seems to refer to the gate or entrance of some place; porta, in Latin, signifying a gate; but it is appropriated. to,a disposition of columns, forming this kind of gallery, and has no. relation, to the openings. | si’oi jileuo eonued bee Posture, in painting and sculpture, the situation’ of a figure. with regard to the eye, and of the ‘several principal members thereof, with egard to each other, whereby its action is expressed...» Prorite, in architecture, the draught of a building, fortification, &c-. wherein are expressed the several heights, widths, and thicknesses, such: 364 P\' RO as they would appear if the building were cut down perpendicularly from the roof to the foundation. It is also called section, or orthographical ’ section, and by Vitruvius, sciagraphy. ‘This ts the same as elevation, in opposition toa plan which is called ichnography. It also denotes the | outline of a figure, building, member of architecture, &c. Hence pro- filing sometimes denotes designing oF describing the member with a rule, compass, &c. Profile, in sculpture and painting, denotes a head, portrait, &c. when represented side-ways, or in aside-view. On almost all medals, faces are represented in Profile. | PROJECTURE, in architecture, signifies the prominency, or jutting cae out, of ornaments from the bare surface or naked of the wall or column. Thus, mouldings are said to have so much projecture as is their distance at the thickest part from the surface of the wall or column to whicli : they are fixed. The word is derived from the Latin proecta, which signifies, thrown forward. In entire cornices, the Projecture should be always equal to the height; this isa maxim of Vitruvius, but it has been so misunderstood, that he was supposed to mean, that the Projecture of © every moulding should be equal to its height. ‘The Projecture of the bases and cornices of pedestals is. greater in the antique than in the mo- dern works ; the difference in general is about one third. The word is” always applied to galleries, balconies, &c. which jut out beyond the face of the wall. - | Proporrion, in architecture, the relation which the several members of a column, or other part of a building, have to the whole of that co-_ lumn or part’; and which that column, or part, has to the edifice. When we say such a column is proportioned, it is meant that it is well propor tioned, and so of any other part or member. The same term 1s also used to signify the different bigness which the members of architecture and figures ought to have, with regard to the distances from which they - are severally to be seen. There is no Proportion about which authors vary so much as that of the height of entablatures, with respect to the thickness of columns. | : PRoTHYRuM, in architecture, a porch at the outer door of a house. ProstyLe, inarchitecture, a temple that had a range of columns in the front, but was not surrounded, or winged by them. {4 P YR | 365 Pur VINATED, a term used to express the swelling or dated of the — freeze i in the Ionic order. “The word is der ived from the Sigies pulvinatus, pillowed, or cushioned. ft Die | : Poncueoy, in carpentry, is a piece of timber placed upright BelWetn two posts, whose bearing is too great, serving, together with them, to sustain some large weights. Puriuys, i in balding, those pieces of timber that lie across the rafters on the inside, to keep them from sinking in the middle of their length. Purtoes, or Putrocks, in building, are short pieces of timber, about seven feet long, used in building scaffolds. They lie at right angles to the wall, with one of their ends resting upon it, and the other upon the poles which lie parallel to the side of the wall of the building. PYCNOsTYLE, in the ancient architecture, is a buildings where the columns stand very close to each other; only one cuetiaven and a half of the column being allowed for the intercolumniations. According to Mr. Evelyn, the Pycnostyle chiefly belonged to the Composite ae and was used in the most magnificent buildings; as at present in the peristyle at St. Peter’s at Rome, which consists of near three hundred columns; and in such as yet remain of the ancients, among the ie discovered ruins of Palmyra. | : PYRAMID, in architecture, a solid massive budding: hala ait a square, triangular, or other base, rises diminishing to a vertex- or point, Pyramids are sometimes used to preserve the memory of singular events; and sometimes to transmit to posterity the glory and magni- ficence of princes. But as they are esteemed a symbol of immortality, they are most commonly used as funeral monuments... Such is’ that of - Cestius at Rome, and those other celebrated ones of Egypt, as famous for the enormity of their size, as their antiquity. ‘These are situated on the west side of the Nile, almost opposite to Grand Cairo: the base of the largest covers more than ten acres of ground, and is, according to some, near seven hundred feet high, though others make. it six hundred, and some little more than five la cicloead, The Pyramid is said. to have been, among the E gyptians, a. symbol of human life, the AO. 866 Qu A sacueian of which is represented by the base, and the end by the apex :, on which account it was, that they used to erect them over sepulchres, Pyramids are always solid and massy edifices. A Pyramid, with, a veel small or narrow base 1 is called an » obelisk. Quanra, in architecture, a name given by Vitruyius to the square piece, commonly called the socle, serving to support the pedestals of statues, vases, and other ornaments. It has this name from its square figure. ae ee Quarry, a place under ground, fiom whence are taken marble, free= stone, slate, lime-stone, or other’ matters proper for buildings. In many places, Quarries of free-stone are opened, and the stone brouglit out in the following manner. They dig, first, a hole, in the manner ofa well, twelve or fourteen feet in aianbee and the rubbish drawn out with a windlass in large osier baskets, they heap up all around, placing their wheel, which is to draw up the stones, upon it. .As the hole advances, and their common ladder becomes too short, they apply a particular ladder -for the purpose. When they have got through the earth, and are arrived at the first bank or stratum; they begin to , apply their wheel and baskets to discharge the stones as fast as they dig through them. In freeing the stone aot the bed, they proceed thus:— as Common stones, at Less the softer kinds, have two grains, a cleaving grain, running parallel with the horizon, and a breaking grain, running, per pendicular thereto; they observe by the grain wie it will cleave, and there drive in a number of wedges, till ae have cleft it from the a | 867 rest of: the rock. This done, they proceed to break it; ‘in order to which, ‘applying the ruler to it, they strike a line, and by this cut a4 channel with their stone axe; and in the channel, if the stone be three or four feet long, set five or six wedges, driving them in very carefully “with gentle blows, and still Keeping them equally forward. Jlavihg thus broken the stone in length, which. they are able to do of any size; within half an inch, they apply a square to the strait side, strike a line, | and proceed to break itin breadth. This way of managing stone is found . vastly preferable to that where they are broken at random; ‘one load. of the former being found to do the business ofa load and a half of the: latter. But it may be observed, that this cleaving grain being generally ° wanting in the harder kinds of stones, to break up these in the Quarries, . they. have great heavy stone-axes, with which they work down a deep : channel into the stone; and into this channel, at the top, lay two iron: bars, between which they drive their iron wedges. Some, in dividing the stone, especially, the very hard kinds, make use of gun-powder, with very good effect. In order to which, making a small perforation pretty. deep in the body of the rock, so as to have that thickness of rock over it judged proper to be blown up at once, at the further end of the. perforation they dispose.a convenient quantity of gun-powder, filling up. all the rest with stones and rubbish, strongly rammed in, except a small. place for the train. By this means is the rock blown into several pieces,. most of which are not too big to be managed by the workmen. 7 - QuarTERs, in building, those slight upright pieces of timber placed. between the puncheons and posts, used to lath upon. These are of two sorts, single and double: the single Quarters are sawed to two inches: thick .and four inches broad; the double Quarters are sawed to four. inches square. It isarule in carpentry, that no Quarters be placed at. a greater distance. than fourteen inches, died: 1 ae Quarter-Rovunp, in architecture, a,term used by the workmen for: any projecting moulding in general, whose contour is a perfect quadrant. of a circle, or which approaches near that figure. 0 mee, 7 Quinx, in building, a piece of ground taken out of any regular - srcund-plot, or floor. Thus, if the sround-plot were oblong or square, 368 . R A. I a piece taken out of a corhenot to make a court, or yard, 8c. is called a Quink. r be } fe - Qvorns, in architecture, denotes the corners of tori or Oat walls. The word is particularly used for the stones in the corners of brick buildings. When these stand out beyond the brick- work, their ees : being chamfered off, ee are called rustic Quoins.. ¥ ¢ me ‘af +:, aa ‘ > 5 ¥ : f y i ; : + " - . z $5 a . f AS is = a * +. ; Ri, 4 & . , ' ; . an : A Z i Rasertine, in carpentry, the plaining or cutting of channels ot grooves in boards, &c. In ship carpentery, it signifies the letting-in of a the planks of the ship into the keel ; which, in the rake and run ofa ship, is hollowed away, that the planks may join the closer. iy 4 Rarrers, in building, pieces of timber, which, standing by pairs on the reason or raising-piece, meet in an angle at the top, and form the roof of a ‘building. It is a rule in Duilding, that no rafters should stand farther than twelve inches from one another. Principal rafters should be nearly as thick at the bottom as the beam, and should — diminish in ‘their length one fifth or one sixth of their breadth : the king-posts should be as thick as the principal rafters, and their breadth according to the bigness of those that are intended to be let into them, | the middle part being left somewhat broader than the thickness. | Rai, in sechitceetnes denotes those pieces of timber which lie horizontally between the pannels of wainscot. It is also applied to a those pieces of timber which lie over and under ballusters, in balconies, r stair-cases, &c. as also from post to post in fences with pales or without. RAIsER, in dei 2 a board set on edge under qe fore-side of a steps stair, &c. ie 4 cs Sea - 869 ORAtstNe-Pinc es; opRHASdNePYEEHE, in architectitre, agi ‘that die under the beams, and over the posts or puncheons.) 7684) 9) Raw Né-Tazer, of Rar#p-Taste, RGIS Heit Bt, iva meine . he lowed in the: ‘square’ oPapedestal, ee it ¢ AQ8C Ca la 10 @g99/ 01 - Ramparz, in civil architecture, ‘is’ used — eee eft: wer sreb ‘tide: of a city’ ‘and the néxt houses.” Gigiuee nh. .OMImImazea fl, SE ‘Ranoine; in building, signifies r ramming g Strait; when the: sides’ ofa a _ work do not break into ‘angles,’ RAR AOW.OG, Yeu 2hisq 32 cf ~-Repvucrt, in building, Ualapiinl? or little: oiplanei dale out of a larger, _to make it more oat and regular ; or for some other convenience, as for alittle’ cabinet aside of a: chimney, for alcoves, &e.. 200%. _ ‘Reerer, in architecture, a flat narrow moulding, used chiety st in _ pannels and compartments; to Separate ‘the parts or meinbers degen one another, and to form:knots; frets, ‘and-other ornaments. . Le ‘Rasoinnine, ‘in: ‘afchiteeture, oe obi ti sje of the stones i in (Babatetss. « wai) 916 io <1 AIOW “lod git. edt eqis: ~ RELIEVO; or ating) | in eeunptee) 88. ie projecture or: stand- ing out of a figure}. ‘which arises. prominent from the ground or-plane on AebTeh 164 isformed 3) whether: that: figure bé cut: with thé chisel, moulded, ‘or ‘cast.’: There ‘are threé kinds or degrees of Relievo:— VIZ. ‘alto, “basso,” and démi+Relievo.°:. The: alto-Relievo,. called also haut“Relief; ov high-Relievo, is when the figure-is formed after nature, and projects as much.as the life.” ‘Basso-Relievo, bass-Relief, or Be Relievo,: ‘is'‘wheh the work ‘is taiséd but £2 ee appellation given to suchas are cloathed, and which receive various names from their various dresses. In repairing a Statue cast i ina mould, they touch it up with a chissel, graver, or other instrument, to finish the places which have not come well off; they also clear the barb, and what is redundant in the joints and projectures. tk STEEPLE, an appendage erected generally on the western end of a chutub: to hold the bells. Steeples are denominated, from their form, either spires or towers; the first are such as ascend continually, dimi- nishing either conically or pyramidically. The latter are more parallel. opipeds, and are covered at the top platform-like. In each kind there is usually a sort of windows, or apertures, to let out the sound ; and ‘so contrived at the same time, as to drive it down. ! iS _ Srmu-Hovse. The Dutch have much the advantage of us in the structure of their Still-Houses. The general rules in building, in those houses, according to Shaw, shoviie be such as follow. The first, caution ‘is, to lay the floor aslope, not flat, where any wet work is to be performed. It should also be well flagged with broad stones, so that no wet be detained in the crevices, but all may run off, and be let out at the drains made at the bottom and sides. The Stills should be placed a-breast on that side of the Still-House to which the floor has its current. Fronting the Stills and adjoining to the back of the wall, should be a stage for holding the fermenting-backs; and these being placed at a proper height, may empty themselves by means of a cock and a canal into the Stills, which are thus charged with very little trouble. Near this set of fermenting backs should be placed a pump or two, that they may readily supply them with water, by means of a trunk, or canal, leading to each back; under the pave- ment, adjoining to the Stills, should be a kind of cellar, wherein to lodge the receivers, each of which should be furnished with its pump, to raise the low wines into the Still for rectification ; and through this cellar the refuse wash, or Still bottoms, should be discharged, by means” ofa hose, or other contrivance. ” STRIZ, in ancient architecture, the lists, fillets, or rays, which separate the striges or flutings of columns, | Gi vi gy ee | 393 _ Srrices, in architecture, a term by which some express the flutings or channellings on the shafts of columns, supposed as intending origin- ally to represent the folds in a garment. pay oie STRIURES, in architecture, a term by which some also express the flutings of columns. Vitruvius calls them by this name, and tells us, they were originally intended. to represent the foldings in a garment. SUMMER, in architecture, a large stone, the first that is laid over columns and pilasters, in beginning to make a cross vault; or, it is the stone which, being laid over a piedroit, or column, is hollowed to receive the first haunce of a platband. In carpentry, it is a large piece of timber, which, being supported on two stone piers or posts, ‘serves as a lintel. to adoor, window, &c. | _SUPERCILIUM, in the ancient architecture, the uppermost member of the corniche, called by the moderns, corona, crown, or larmier. It isalso used for a square member, under the upper tore, in some pedestals + some authors confound it with the tore itself, | _Swattow’s Taiz, in carpentry and joinery, a peculiar way of fast- ening together two pieces of timber so strongly that they cannot fall . SWELLING, in architecture, a term used to express: an increase of diameter in a part of the column between the base and the capital. This, many declare to be unnatural; but it has the authority of great masters, Yo. : ‘SymMerry, in architecture, is the preportion which the several arts of a building have to one another, and to the whole. » In what is called uniform Symmetry, there is this proportion observed through a whole fabric, and all its parts have the same relation one to mother; in respective Symmetry, only the opposite sides are expected » a this particular and exact manner to correspond to one another. The vord is, however, generally used to express that relation and due pro- ortion which runs through a whole building. Lig? SYSTYLE ; this term is used to express one of the intercolumniations, T Spaces between columns. In the Systyle disposition, the intercolum- uation is four modules, or two diameters of the column. 384. TAM 4 , fn >. ee & he © btn a : 5 » - Bere he a ys . T "Vase, in architecture, asmooth, simple member, or ornament, of various forms, but most usually in that of a long square.. A projectit Table is that which stands out from the naked of the wall, pedestal, or other matter it adorns. Raked Table, is that which is hollow in the die of a pedestal or elsewhere, and is usually encompassed witha mould ing. Razed Table, is an embossment in a frontispiece, for the putting’ an inscription, or other ornament in sculpture. T his is what M. Perrault understands by abacus, in Vitruvius. Crowned Table,’ that which is covered with a corniche, and on which a basso-relievo is 1 t, or piece of black marble incrustated, for an inscription. Rusticated Table, thatwhich is picked, and whose surface is rough, as in grottos, See ‘4 Tanta, in architecture, a member of the Doric capital, resembling a square fillet‘or reglet. It serves instead of a cymatium. © | Be Taxon, in architecture, a kind of moulding, which consists of a cymatium, crowned with a square fillet, frequently found to terminate joiners’ works, as those of doors, windows, &e. 9° 9° it Tatus, or Tatwr, in architecture, the inclination or slope of a work ; as of the outside of a wall, when its thickness is diminished by degrees, as it rises in height, to make it the firmer. eee py Tamgour, in architecture, a term applied to the Corinthian and Composite capitals, as bearing some resemblance to a drum, which the French call Tambour. ‘Tambour is also used for a little box of timber-work covered with a ceiling, within side the porch of certain churches, both to prevent the view of persons passing by, and to keep off the wind, &c. by means of folding doors. It also denotes a round a TEM 385 4 coarse stone, “several of which form the shaft of a column not so. Tamers, a general name for places of public worship, whether _ Pagan, Christian, or otherwise.. But the word, in a restrained sense, is used to denote the places or edifices in which the Pagans offered cr fice’ to their false gods. Thus we hear of the temples. of _ Jupiter, Apollo, Bacchus, &c: . Housdt hela » Temples were built and adorned with all possible splendour and gnificence; partly out of the great respect they bore to the gods, F nd partly to create an awe and reverence in the worshippers. They __ were constructed inthe manner which was thought. most agreeable : to the gods to whom they were dedicated. Thus J upiter, they _ thought, took most delight in pillars of the Doric order; Bacchus in the Ionic; and Vesta in the Corinthian; though this rule was Dg ta. bt universally or constantly observed. As to the places where disposition of particular deities. Hence, some were erected on the tops of mountains, others in vallies, and others in cities. Those byilt in, the country were generally surrounded with groves sacred to the. tutelary deity of the place; and wherever they stood, it was 80 contrived, that the windows, being opened, might receive the _ vays of the rising sun. .The most ancient situation was with the front towards the west, and the altars and statues at the east end; it _being.a custom among the heathens to worship with their faces towards the east, so as that the doors, being open, should receive the beams of the sun at its rising. If the Temples were built by _ the side of a river, they were to look towards the banks of it; if near the highway, they were so situated, that-travellers might havea _ fair prospect of them, and pay their devotions as they passed by. Temples, according to the number and difference of their columns, were divided into tetrastyle, prostyle, amphiprostyle, periptere, 4 4 diptere, &c. % ee __ Metrastyle Temple, a Temple that had four columns in front, and as many behind; as the Temple of Fortuna-Virilis, at Rome. 386 oo a Prostyle Temple; that which had only columns in ition or — as that of Ceres, at Eleusis, in Greece. 0 8 > 6 wi gt | -Amphiprostyle, or Double-Prostyle Temple, that which “had c c0- jumns both before and behind, and which was also tetrastyle. age % Periptere Temple, that which had four rows of insulated columns — 4 around, ‘and was ‘hexastyle (that is, had’ paar in’ front ; as the Temple of Honour, at Rome. oT ollogh | sohyaug Diptere Temple, that which had two- wings, and two rows of columns around, and was also. octostyle, or — eight’ columns ‘ia front; as that of Diana at Ephesus.) 9) 0” slaorovenk hl ing bem : Temples, among us, denote inns of court, thus called; because for- merly the dwelling-house of the Knights’ -Templars: gisaringe ele gant buildings in the gardens of the nobility and gentry. Ae -Tenon, in building, &c. the square end of a piece of agoud) or metal, diminished by one-third of its thickness, to be received into a hole in another piece, called a mortise, for the jointing or fastening the two together. It is made in various forms, squares Lae for double mortises, and the like. | TAHOA Ey gee Terminus, in architecture, a kind of ea tuknts adorned at the tig with the head, and sometimes part of the body of a man, woman, or Pagan deity ; ; and in the lower part diminishing into a kind of a sheath | or sdabbadd: as if the remainder of the figure were received into ‘Te The common use of the Termini is by way of statues to adorn gar- dens, but they are sometimes also placed as consoles or brackets, to support entablatures. These are varied greatly in the execution, some being rustic, others double, and the like. — oy rd ae THEATRE, a public edifice for the exhibiting of scenic spectacles, or shews, to the people, comprehending not only the eminence on which the actors appeared, and the action passed, but also the whole area of the place, common to the actors and spectators. The Romans borrowed the form of their Theatres from those of the Greeks, which were generally built in the shape of a semicircle, encompassed with porticos, and furnished with seats of stones, disposed in semicircles, rising gradually one above another. The principal parts of the ancient Theatres were the scena, proscenium, orchestra, and area. ‘ ‘a 2 U | T I M | 387 the moderns, Theatres ‘more peculiarly denotes the dees or e'whereon the drama or play is exhibited; answering to the prosce- a of the ancients. It is also used in a more’ eotuprélietisive sense, ewhole play-house: | The word Theatre is used in architecture, vefly among the Italians,-for an assemblage of several buildings, which, by a happy disposition and elevation, represent an agreeable - scene to the’eye. © Ina more restrained sense of the word, it was the ce of a public spectacle, and ‘nothing else. What is called the temple of Bacchus at Athens, the remains of which are pe in being, was 'a Theatre, ‘and one of the first’ we know of. ok th: hee IGE, in architecture, a French term for the shaft or fust: of a Y umn) ‘comprehended between the astragal and the capital. WT wend: ‘includes’all kinds of felled wail seasoned woods used in e several ‘parts of building, as carpentry, joinery, turnery, &c. r e sorts of timber are numerous: we shall only. mention some of . é most ‘useful’ from Evelyn’s Sylva, &c. as,— B34 uae Ee Oak, the uses of which need no enumerating; to endure all ‘aé4 Ons and weathers there is no: wood like it: REGee its use in “bul Iding ships, in posts, rails, &c. For water-works it is second to mone; and where. it lies: exposed to both air and water, there is 9,0B in: ’ This, felled bebyenn ‘Nie veinbisr and cbr is all "spine or heart, and no sap, and it is of singular use in places where it is always wet or dry; its being tough makes it useful to wheel- oe mill-wrights, 8cc. and its not being liable to break and fly in chips, makes it fit for dressers and Gianher to chop on. 3. Beech: its chief use is in turnery, joinery, and upholstery, aiid the like, as being of a white fine grain, and not apt to bend or slit. Of late it is used for building-timber, and if it lies papent _ wet, is judged to out-last oak. . i 4. Ash: its use is almost universal ; it is good for bikeies aes where it may lie dry. It serves the carpenter, cooper, turner, plough- wright, wheel-wright, gardener’; ; and at sea, for oars, hand-spikes, and wind other uses. 388 rt M 5. Fir: siaatenls known by vile name of deal, is of late — i used in buildings, especially within ere for stairs, ogres hd es and most. works of ornament. ; oalé | io Arta 6. Walnut-tree is of universal use, vila i the ‘pikaal OES buildings; very fit for the joiner’s use, being of a more. curious brown colour than beech, and less subject to worms, = ee 7. Chesnut-tree, next to oak, is the Timber most sought fans by joiners and carpenters ; it is very lasting. to Subhy 13 : 8. Service-tree, used in joinery, as being of a edibaie grain, and fit for curiosities; it also yields beams of i CORBIC GRE bigness for building. iM < 9. Poplar, abel: this and aspen dideving very Nittle i in men natisal are of late much used. instead of fir; they look as well, as are more tough and hard. AKG 10. Alder, much used for sewers or : pipes, to convey wean hell: always wet, it grows hard like a stone, Rus soon rots if i 1s alter= nately wet or dry. , The uses of Timber are so many and so great, that the ‘oraaasall a-sufficient supply of it extremely well deserves the care of every state, as it must bea great disadvantage to it to be obliged to have recourse to its neighbours, and purchase, at a very considerable and continually ednthida expense, what might, by an easy ceconomy, be sufficiently supplied at home.- Preserving of Timber. When boards, &c. are dried, ieuonta a fixed in their places, care is to be taken to defend and preserve them; to which the smearing them with linseed-oil, tar, or til like oleaginous matter, contributes much, For measuring hewn or square Timber: the custom. is, to: find, the middle of the length of the tree, and there to measure its breadth, by clapping two rules to the sides of the tree, and measut- ing the distance betwixt them; in like manner they measure the breadth the other way. If the two be found unequal they are added together, and half their sum is taken for the true side of She square, aT, ages ke Ei Me 389: Marble..,|The art of: doing this'has,:in several ‘person "sz a iwery, Jucrative: secret; though there: 4s’ scarce! any _ that has. not, atone time. or: other; been:made: known.: the s honour of being» one of the firstywho publislied. practicable about it... This:author, meeting ‘with ‘stones . paniis u ediito:be- natural, buts shaving figures | too. -particul ro: besupposed of Nature’s making, and these: mn the surface; -but sunk Abrough: herp Beeic of Mg 7 foe ee “on: his refusing. to. > part. with. the | secret on any terks. or, with. Albert Gunter; va Saxon, endeavoured to find. it out: they: succeeded. at length very well... The method is this: c rtis!and. aqua, regia, of each two ounces, sal armoniac one rit. of wine two drams, about twenty-six grains of gold, and: 0 3 of pure’ silver; let the: silver be calcined and put into | and. - pour upon it: the’ aqua fortis; let ‘this stand for some e; then: evaporate it, andthe. remainder will. first appear of a wand afterwards of a. black colour. Then put the gold into rial, pour: the aqua regia upon it, and when it: is dissolved, te it asthe former. “Then put the spirit of wine upon the sal , and let it be evaporated in the same manner. — All the , and many: others made in the same manner from other , dissolved i in their proper acid menstrua, are to be kept sepa- and: -used: withsa’ pencil’ on the marble. These will penetrate ut the least assistance of heat, and the figures being traced -arpencil on the marble, the several» parts are tobe touched. Over with ‘the proper colours; and this renewed daily till the colours have. penetrated: to. the desired depth into the stone. ‘After 3 the: mass:may be cut into: thin plates, and every one of them ill have the figure exactly, represented on both surfaces, the colours _hever'spreading. The nicest method of applying these, or‘the: other f inging/ substances, to. marble that is.to be wrought into any orna- men ntal works, sand: where: the back is not; “exposed to’ view, is to > the ‘colours behind, and renew nee ‘80 rpiteh ail sai sada is Jo i “La Ma 18 sufficiently: seen through: the surface on the front, thoug not quite: extend to it. . This is the method that, of all: oth i1 the stone to.a nearer resemblance of natural veins of this kind. if ‘Torus, in architecture, a large round prominent ‘moulding ii base of columns, resembling a calles, but without the wreath twistings. The word:is derived from the Greek, staid D some of the orders there is.a'single ‘Torus, in others there ar with a. scotia it iaudiaas them, aul in als oe seueees they Si beautiful effect. ws Sd, dua, paibath Jo anus cq Odds aes eat Tower, a high imuildivg jn erie 7 cciveadale stories, usually round) form, though sometimes square or polygonal. Tower built for fortresses, prisons, 8cc., as the Tower of London, the T of the late Bastile at Paris. The word Tower, among the ancients, ! nified a palace, or large-house, 2 Kings, v.24. The Tower of. Lo mm is not only a. secs to defend and command the city, river, | but also a nage! a snail our eae ig bas. mes ‘hav foe soli scanaaid solilidts a) alae for the pines and ornaments - of the crown; |the great archive, wherein are preserved all the ancient records of the courts of Westminster, Bice and the chief: prison fe 0% oF state criminals. 1 OFS ¢ Leia | 1b Jol Das peoerett ie i ret san ol of Mah qaePO its eee ae cornice. 8 TRANSON, among builatasss ithe sina that is framed across.aidot light window. 8 d69 soagteres Jeph Ot) Rane TRIGLYPHS, in idane sas a “eat ae ickuatchasiie pit atequ intervals in the Doric frieze: Each Triglyph ‘consists of two entire gutters, or-channels, cut to a right/angle, called igbyphes, andseps ‘a rated Py three, ante ba ae called | ys pe nen eens Tor The a y Spiatnte i ‘of Triglyphs idaboisead page ronal and d one anda half high. But this proportion, M. LeoClere observes, sometimes occasions ill-proportioned imtercolumniations im porticos; for,which reason he chooses to, accommodate ‘the proportion ofa Triglyphs to that of the intercolumns. C89 ae oe ptt as 391 + RIMMERS, imarchitecture, pieces of timber framed at right angles Or new jomnts against “the ways: for chimneys, and “well-holes for Le A B.5e5ih) - Saibeasic. 253 tog Vis t8 pwols.) Sar 3 : oo ites of Ps = ah ee ay 433. 33112 a + Tr: INGLE, in archi tectu re, aname common to several little ‘square embers Or ornaments, as reglets, listels » and plat- + nore particularly used for a little member fixed exactly over every triglyph, ounder ‘the plat-band of the architrave, from: whence the te or pendant drops; hang dowreuds hosiet big 4 baad ana ‘Trocuitvs, in architecture, a name by which some’ call the _hollow»moulding that is between the two toruses of the “base of — columns, and which is more commonly called scotia: this'‘moulding, w len af stands thus on columns, having much. the appearance of a pulley scion on eat Tistt ims Hoe wred shila oF hati eheod Ay Trunk, when we speak of a column, ‘the "Trunk js: the shaft or - fust; when the ‘word is applied to a pedestal, it signifies the dado, _ oridie, or body of the pedestal, answering ‘to the shaft of the column: Peete SI HOMES (iS TTS St 4nar bre but if what Pliny and some other ancient authors relate; “be true, that the ancients turned those precious vases, ‘enriched with figures and ornaments in relievo, which we still see in the cabinets of the curious, it must be owned, that all that has been ‘added sin ‘these’ages, makes but a poor amends ‘for what we lost of the manner of Turning ofthe ancients: © °° on wo RAR RAD hey ~~ Thelathe, .orprincipal ‘instrument ‘used in: Turning, is composed of ‘two’ wooden! cheeks ‘or ‘sides, parallel ‘to the ‘horizon , having a 392 : i groove, /OF, opening: between them; perpendicular 0: th two pieces,. _ called, heads,,, or puppets, »made to.islide: bet eee and to be fixed down at any point at Pieatire these two. points, | or centre pins, , between, which. the’ piece to be fastened by the help, of a: screw. . There is also.a a square wood called a rest, whieh bears up the tool, and keeps it stead, piece is turned. round | backwards) and forwards, by means sof put round it, and fastened above, to the end of a pliable ‘hole below to a treddle, or board, moved by: the foot... This.is the co lathe ;. but theres is. another need | in hollow Turis s8cb! very d ent, from. it. siione hallss virromures dOnt ar Tor Dae renal This soner is. hata like the other, of iid chidelatimaih hai 5 two heads fitted to slide between them; but has no pole, . bei turned by means’ of a'wheel and: pulley. -The. pulley is fastened 01 a kind of spindle, called a mandrel, one end. of which is! pointed, : received ‘into the centre of. the back‘screw, which goes through’ o of the heads; and near the other end, called the verge, it moves a piece called the collar ;) ‘the end of the mandrel: passes. through t eolar en and on it the piece to be turned is fastened. <9) os Tuscan Orper.. The Tuscan Order takes its name: from an anc gente} of. Lydia, who, coming. out of Asia to people T uscany, \ executed ..it in some.temples, which, they built in their new-pla: tions. ;Itis the first, simplest, and most massive of, the five Orde It is of. Roman origin, and much. resembles the original Doricsof Greeks.. The original Greek Orders were only three, the Doric, Loni and. Corinthian; to these the Romans have added the Tuscan, whi is plainer than the Doric,.and theComposite, which adds) the volu' of the. Ionic, to. the leaves, of the more: decorated, capitals...0 Thi a Orders; from. three,, by this. became. five; and of saictian the ‘Tuss a ia is the .plainest, strongest, and most massy.e) 0 405 0) Jo @) i idnoa . The Tuscan, column, consists. only of a. pe torus, esting spon ai o 2 plinth and crowned with a cincture; . the shaft. has six, diameters — in,height, and. its, diminution, is;a-fourth,orja, fifth part, fon inst these architects vary.,.. The capital is. very plain ; it consists of one 1 IO Boia ep | 395 _ quarter-round, astragal, and fillet ; ‘under the neck there is another . astragal and ‘fillet, but these belong to the shaft of the column. _ The entablature is plain and large ; it consists of an architrave of one face, a plain frieze, and a cornice, with a few plain mouldings. hi'The ‘Tuscan order is, therefore, no other. than the Doric, made ” stronger by shortening its: columns, and simpler by the largeness and small number of its mouldings.’ ‘No order. is so easily executed as this, because of its plainness; but there is, notwithstanding, a beauty in that plain simplicity of structure, which makes it deserve a place, not only where strength, but where elegance is considered: *: “Tyuz, or Trxz, in building, a sort of thin, fictitious, luminated brick, used on the roofs of houses; or, more properly, a kind of fat clayey earth, kneaded and moulded of a Just thickness, dried and burnt in a kiln like a brick, and used in the covering and paving of houses. There is so much conformity in the substances of bricks and ‘Tiles, that the earth that makes one, will, in many cases, serve for the other. The clay of which Tiles are made may always be wrought into bricks, but only the best of brick-earth can be wrought into Tiles; because, being thinner, they require more toughness in the substance. All: Tiles are made in the manner of bricks, by tempering and beating up the clay to a due consistence, and then fashioning them’ in a mould.) But more care and pains are required in this work than: in making of bricks; for the Tile-making approaches more to the pottery-work, and the earth of which they are made is such as might be employed in potteries. More care is also required — in the management of the fire for burning them, than is needful in bricks ;\ for if it’ is too’ slack they do not get a proper hardness; and if too violent, they suffer in their shape, and are glazed. The fire’ must be watched’ and managed with discretion; ‘and ‘he must be a trusty as well as a knowing person, to whom this care is committed ;- fora little neglect may be of vast mischief and lass to the proprietor. | : ; OD 4 “The Tiles for all»sorts of uses may now be comprised under six heads :—1. The plain Tile, for covering houses, which is flat and thin. 90. ai 5 396 ee 7, I 2 2. The plain Tile for paving, which is flat also, but thicker, and its size 9, 10, or 12 inches. 3. The pantile, which is also used for co- _ vering buildings, and is hollow and crooked, or bent somewhat ‘in the manner ofan S. 4. The Dutch glazed pantile. 5. The English glazed pantile. And 6. The Satter Mile which is made with a kind as wings. Common Tiles are best, when they are firmest, soundest, ‘and | strongest. } There are not so many differences in these as in bricks, either in respect of body or colour ; but according to the nature of the clay, | and the degree of fire in burning, some are duskier and some ruddier in colour.’ The dusky-coloured are usually the strongest ; the work- — men sometimes, when they have both colours, amuse themselves with — laying them separately in rows, in which case they give the roofa striped aspect. But this is a pitiful and idle fancy. f Paving Tiles are made of a more sandy earth than the common, or plain Tiles. ‘The materials for these last must be absolute clay ; a but for the others a kind of loam is used, though it must be of a tough © substance, or they will not have due strength and firmness. ‘This loam burns:to‘a fresher red colour than the best of the common Tile-clay. These are made thicker and larger than the common roof-Tiles; and when care ‘has’ been taken in the choice of the earth and the management of the fire, they are very regular and beautiful. - Pantriies, when of the best kind, are made of an earth not much > unlike that of the paving-Tiles, and often of the same; but the best sort of all is a paler coloured loam, that is less sandy. They have about the same degree of fire given them in the baking, and they come out nearly of the same colour. | Guazep Pantixes, whether Dutch or English, get that addition in the fire; many kinds of earthy matter running into a glassy substance, in great’ heat, as is seen in the glazing of common earthen-ware. It is a great advantage to them, preserving them much. longer than | the common Reiphilens andare, therefore, very well worth the addi- tional charge that attends the use of them. PT i £ : 307 GuTTER Tixes are made of the same earth as the common pantiles, and only differ from thém in shape; but it is advisable, that particular care be taken: in tempering and working the earth for these, none / _ being more liable to accidents. _ Dvutcx Tres, for chimnies, are of a kind very different from all a these ; ‘some are’ white, and’ some quite black. The clay of which these Dutch Tiles are made is'very fine, soft, and tender: it is much | the same with that whereof the apothecaries’ pots are made, and it is glazed in' the ‘same manner.’ They were once in great reputation in _ ordinary’ houses, but at’ present they are grown into neglect. Of ‘the manner of using Tiles: The great use of Tiles is for the covering of houses; and, for this purpose, where either service or beauty ‘are regarded, ‘the plain common Tile is greatly preferable to any other; ‘but this, itr its best condition, is not at all comparable to slate.’ ~ Plain’Tiles, we have observed, are, in colour, either reddish or _ dusky.° In ‘the first condition they have a fiery look, and in the _ othe: they appear poor and dirty ; either way, they have a coarse and heavy aspect ; and the mortar, in the best manner of laying them, is seen very plainly in irregular white joints and seams. ~The ‘neatness’ and pale look of the common slate gives that cover- _inga vast preference. Having nothing coarse or fiery in their appear- ance, it agrees perfectly well with the stone or wood-work, and with the: grey’ ‘bricks of the chimnies.’’ Then in the place of the harsh and heavy aspect of the Tiles, slate has a light and elegant appearance; the pieces aré thin, and ‘lie‘regular; and the joints of the mortar are so slender, that they are scaréely perceptible. Add to these consi- derations,”’ the fact of its durability and beauty of appearance, its advantages must entirely supersede the use of Tiles, in the erection of any modern edifice. . Tf plain Tiling be thus’ inferior to slate, Pantiling is much worse than that, both in’ duration and ‘aspect. There are occasions in which Tiling is proper; and’ there are particular buildings where Pantiling » is better than the plain method’: but our remarks are general, and admit thesé ‘exceptions: In ordinary buildings, adjoining to houses, 398 = ee ee and particularly in such as have flat roofs, the Pantiling does. very well; and is cheaper’ than the other kind; the Tiles, being much larger, and laid with less ‘trouble. . The plain or common Tiles: have holes for pins, and are hung on by means of) those pins; the Pantile has a lump. in the place of a pin, by which it is fixed. _Afew of them cover a great deal of roof; and where they are not in the way of accidents they will last a long time, but they are easily Joosened, injured, or broken. The Dutch glazed Pantiles are better than the English, glazed ; | but either are much superior to the common Pantile, and, for most uses, to the plain Tile. They are more expensive; but their ~~) increased size, and durability, make full amends. In the common ~ Pantiling, the difference of dimensions is so material a point, that where seven hundred and sixty plain Tiles, ata six-inch gauge, are required, the same space (which is a square,) will be covered: by. one hundred and seventy Pantiles.. The use of gutter Tiles is explained 4 by their name, their place being in the valleys, or gutters of cross” buildings ; and when they are used, they are laid plain, without any: railing, the broad, end upwards, : As to the thick Tiles, when they are sound and the colour. good, they : are a very pretty paving for country ground-floors, in meaner houses, and. for the offices of such as are better. They soon gather dirt, but easily washed again ; and when cleaned havea pretty and bright appear- — ance. In the same manner as Portland paving is made with dots of black marble, a paving with these Tiles, dotted with black, may: be done with a pleasing effect... This would look well in the hall of a small. country-house,, where an air of plainness and rusti¢ity. 13, assumed. : | 5 oe sein a The Dutch Tiles are in a manner neglected, though they used to, be in general repute about chimnies., They are, indeed, inferior to ordinary stone for that..purpose, because, of their continual falling. : ‘The joints are required to be small, for. the sake of beauty, and. this’ makes’ the. setting weak, and the continual effect of the fire destroys; the force of the lime, so that they are often dropping. Their thinness: a : VAG. tee is such, that a small blow cracks them;. and when cracked, they soon fall out. This is the greatest defect ; for it must be confessed, that, when entire, they look very pretty. If they were made thicker, and some contrivance was used to keep them firmer, they might be | brought into fashion again, where the expense of marble is not allowed: for there is a particular brightness in their glazing, and nothing looks so clean. Nor is this the only advantage; for they Teflect the heat much better than stone. In this case, all the trouble | _takén about the figures is ridiculous, and would be better spared ; they ate ill done, and the plain white are much cleaner in the look, and prettier. If any thing were done by way of colour, it should be the throwing on a little bluish loosely, to imitate the veining of marble. ‘The plain black, also, look vetyiwellilog Joa. | hi ‘Tympan, or TymMpaNnum, in architecture, the area of a pediment, being’ that part which is in a level with the naked of the frieze. Or, it is the space included between the three cornices of a triangular pediment, or the two cornices of a circular one. Sometimes the Tympan is cut out, and that part filled with an iron lattice to give light, and sometimes it is enriched with sculpture in bass relievo. Tympan, among joiners, is also applied to the pannels of doors. - Tympan of an Arch, a triangular space or table in the corners or Sides of an arch; usually hollowed, and enriched sometimes with branches of Jaurel, olive-tree, or oak, or with trophies, &c.—some- times with flying figures, as Fame, &c.; or sitting figures, as the Cardinal Virtues. | | V, | MAGIA properly signifies, a sheath, or scabbard ; and the term Vagina is used, in architecture, for the part of a terminus, because resembling a sheath, out of which the statue seems to issue. 50. : of 400 V AU Varnisu, or Vernisu, a. thick, viscid, shining liquor, used. by painters, gilders, and various otherartists, to give a gloss and lustre — to their works, and to defend them from the weather, dust, &c. Laying on of Varnishes. .1. If you varnish wood, let your wood a | very smooth, close-grained, free from grease, and rubbed with rushes. 2. Lay on your Siionr as smooth as possible; and. if the Varnish has any blisters in it, take them off by a polish with rushes. 3. While you are varnishing, keep your work warm, but not too hot. 4. In laying on your Varnish, begin in the middle, and: stroke the brush to | the outside, and then to senile extreme part, and: so on, till all be covered ; for if you begin at the edges, the brush will leave blots there, and make the work unequal. 5. In fine works, use the finest - tripoli in polishing; do not polish it at one time: only, but, after the first time, let it dry for two or three days, and polish it again for the last time. 6. In the first polishing, you must use a good deal of tripoli, but.im the next, a very little will serve. When yow have” done; wash off your tripoli with a sponge and water; dry the Varnish with a dry linen rag, and clear the work, if a white ground, with oil and: whiting, or if black, with oil and lamp-black. : Vase, a term frequently used for ancient vessels dug from: under ground, or otherwise found, and: preserved in the cabinets) of the curious. Inarchitecture, the appellation Vase is also given to: those ornaments placed on cornices, sackles, or pedestals, representing the vessels of the ancients; particularly those: used: im sacrifice ;: as incense-pots, flower-pots, &c. They serve to crown or finishi facades, or frontispieces; and hence are called acroteria. The term Vase, however, is more particularly used in architecture, to signify the body of the Corinthian and Composite capital, otherwise called the tambour or drum, and sometimes the campana or bell. Some comprehend under the word Vase the urns on monuments and other -buildings ; but this being of a different form, should be kept to their distinct name,.as we shall explain under the word: urn. VAULT, in architecture, an-arched roof, so contrived, that the stones which form. it sustain, each other. Vaults are, on many occasions; OF FO OW : | 401 to be preferred to-soffits, or flat ceilings, as they give a greater height and elevation, and are, besides, more firm and durable. Salmasius observes, that the ancients had only three kinds of Vaults :—the first was the formix, made cradle-wise ; the second tetsudo (2. e. tortoise- wise) ; which the French call cul-de-sour, or even-wise: and the third concha or trumpet-wise. But the moderns have subdivided these three sorts into many more; to which they have given different natives, according to their: figures and uses; some of them are circular, and _ others elliptical. Again, the Sweeps of some are larger, others. less a portions ofa sphere. Alb such as are above hemispheres are called - cover some little part; as ai passage, or gate, &c. high, or surmounted vaults; dnd all that are less than hemispheres tow, or surbased vaults, or testudines. In some vaults, the height is _ greater than the diameter; in others, it is less: others, again, are quite flat, and only made with haunses ;. others like ovens, or in the form of a cul-de-sour, 8c.; and others, growing wider as they lengthen, like a trumpet. Arched ceilings are a kind of vaults, and they are _ very beautiful-as well as strong. | Master V aults, are those that cover the principal parts of buildings, in ¢ontradistinetion to the upper or subordinate Vaults, which only Double Vault,—is one that is built over another, to make the outér decoration range with the inner; or, to make the beauty and: deco- _ Yation of the inside: consistent with that of the outside,—leavesa space between the concavity. of the one aid the convexity of the other. Instances of which we have in the dome of St. Peter’s, at Rome: _ ‘St. Paul’s; at: London; and:in that of the Invalids; at Paris, Vaults with Compartments,. ave such whose sweep, or inner face,, is enriched: with pannels of sculpture, separated by platbands. These compartments, which are of different figures, according to the vaults, and usually gilt on @ white ground, are made with stone or brick walls, asin the church of St. Peter’s, at’ Rome ;: or with plaster on timber vaults. . } , 3 Key of a Vauur, is a stone or brick in the: middle of the Vault, in form of a truncated cone, serving to bind or fasten all the rest. ie. MTS. ie az Reins or: fillings up of a VAULT, are the sides which sustain it. Redentive of a Vauut, is the part suspended between. the arches or goiveyD—: ashe VTS abet SOM CERIO NBN en 23V19ee ~ VENEERING, or Finrerine, a kind of marquetry, or inlaying, whereby several thin slices or leaves of fine wood, of different kinds, ~ are applied and fastened ona ground of some common wood. — ssate Ventipucts, in building, are spiracles, or subterraneous places, where fresh cool wind being kept, they are made to communicate by means of tubes, funnels, or vaults, with the chambers or other | apartments of a house, to cool them in sultry weather. Prog VENTILATORS, a machine by which the noxious air of any close — place, as an hospital, gaol, ship, chamber, &c., may be changed for fresh air.. [he noxious qualities of bad air have been long known, | though not sufficiently attended to in practice ; but it is to be hoped, © that the indefatigable pains taken by Dr. Hales, to set the mischiefs _ arising froma foul air ina just light, and the remedy he has pro-— posed by the use of his Ventilators, will at length prevail over that unaccountable sloth, or obstinacy, which, where particular interests — are not concerned, seems: to possess the generality of mankind ; and which rarely allows them to give due attention to any useful discovery. | ay ¥ a VESTIBULE, In architecture, a kind of entrance intoa large building, being an open place before the hall, or at the bottom of the stair-case. Vestibules intended for magnificence are usually between the court and the garden. ‘The Romans had Vestibules at the entrances of their houses, for sheltering those persons who were obliged to stand at the . door: and we have now Vestibules of alike kind in many old churches, houses, &c., usually called porches,» The term Vestibule is also used for a little anti-chamber, before the entrance of an ordinary apartment. Vivo, in architecture,. the shaft or fust of a column. ~ The term 1s also used in a more particular sense for the naked of a column, or other part. Hus vod eed -Voture, in architecture, the name of a scroll, which is the distin- guishing: character of the Ionic capital. Its supposed to represent the e bark of.at tree, which i is laid. upon, the rim of a vessel, and as it has od ied, has, curled : and twisted itself into a kind of spiral scroll, There ae a sort ¢ of Volutes, also, in the Corinthian capital, but they ; are a * aller ai and more numerous than in the Tonic; and, in the Composite ea ital, these large. and proper Volutes of the Ionic are added. aes In tl the most antique Ionic Volutes, the list, or edge, throughout : + the circumvolutions, is in the same line or plane. In some they : roject, on some they oval, and in others the canal of one circumvo- ution i is detached from the list of another by a vacuity ; in others ~ othe. round is parallel to the abacus, and springs out from behind the flower thereof; and in some it seems to spring out of the vase from — the ovum, and rises to the abacus, Phe Volute has, by some, been supposed to represent the horn of Aan, and by others, the curl of a woman’s hair; but the most natural resemblance i is that of the bark, and this i is most in character ie the ancient designs in architecture. Consoles, modillions, and some other ornaments, have sometimes a sort of Volute. Me ile sere PRIGHT, i im architecture, a representation or draught of the front ofa ‘building, ‘called, also, an elevation; or orthography. , “Urer1a, in architecture, the little spiral twist or volute that is ander the flower in ‘the Corinthian capital. It is formed by a ‘twisted stalk of the acanthus, and i 1s more deity the helix, some- times | the caulicole. estas : edly rN, in architecture, a kind of vase, serving to crown and decorate Balustrades, and other ornamental parts of BitidiNes: Urn is too “commonly: used _ as for the same meaning with vase ; but it properly “denotes” a distinct | kind and form, The Urn should be low and wide, and i is fittest for. grottos and fountains. Urns are also used on ‘tombs, for which ‘purpose they are generally enriched with sculpture, and are distinguished by the name of funeral Urns. The ancients ‘preserved the ashes of the burnt bodies in Urns: and hence has | risen the custom of using Urns on monuments and mausoleums. For which reason Aid were called cinerarta, and urne cinerarie, and were wee tne Fa are SK at : Se ig eane ¥. 404 | wal placed sometimes under the tomb-stone; whalenhhe epitaph was cut, ty and sometimes in vaults in their own houses: ‘Uins were also used at their sacrifices, be eins haa things i in 68:8 ROR EG « 3 W aryscot, in building, the timber-work Hee serves , to Wick ‘I walls of a room, being usually made in pannels, . and painted, to serve i instead of hangings. r . WALL, in ee the principal part ofa building, as serving ‘- both to inclose it, and support the roof, floors, &c. _ Nothing i is of so much > consequence as the raising them in a workman-like manner. The foundation-walls are to diminish in thickness.as they are wrought " up, and that diminution should be continued to the top of the building, the workman still taking care to keep the centre of the Wail all the way strait from the bottom of the foundation. | an Walls, in this country, are principally built of these two ac brick or stone; in building, about London, brick is the most common. — We see, in some parts of the kingdom, Walls built of flints, cut intoa tolerably even form, in a very surprising manner. There are, at this time, some fine Walls standing, of this material, in the city of Norwich, by and it. was introduced in the late old gate at Whitehall, and > some of the adjoining buildings of the same ered This was an art unknown to the ancients, and it is lost again at this time; but. it was strong an nd beautiful. pie In the walls of common houses, which are of brick, the eee diminution from the bottom to the top, is one half the thickness, at "the bottom ; the beginning is two bricks, then a biick and a half, and at the upper part one brick, thickness. | In larger edifices, the Walls are made proportionably thicker, but the dimension is preserved in _ much the same-manner. Some Walls are plain and continued, others om de with intermissions. When a building is to be strong, the Walls must have a proportionable thickness.’ We have said that they need not be all the way of an equal diameter; the decrease of this is what. we call the diminution of a Wall; and we have observed already, that _ this diminution should be made equal on each side, that the load may be exactly in the middle. The Wall should be carried up all the way exactly perpendicular to the ground-work; for the right angle it makes in this. is the foundation of strength and firmness. If the Wall be composed of two kinds of materials, as stone and brick, the massiest s = ee Sao iY | heaviest are to be used in the lower part (as being fitter to bear an'to be. borne), and the lightest at the top. : pg aie oeThe: diminishing in thickness as the Wall rises, saves both weight and expense ; but it is not absolutely necessary ; for, if the Wall were carried up:in a perfect perpendicular, from the bottom to top, and all the way of the same thickness, it would not, for that reason, be Tess*strong. In this case, the keeping of the perpendicular. perfect would be the’ great difficulty, and chief article of merit. .We find the ancients were able to do this; for we see, in the remains of their works, Walls thus carried up to an exorbitant height; but our archi- tects are more ready to be astonished and admire, than to study and ‘IMitate them... “a | gina: _ The great rule for the thickness of the Wall in all buildings is, that it be proportioned to the weight it has to support. This is to be carefully computed, and there will be no' danger of the strength of the ‘@difice; for the great occasion of that fault is the not observing this proportion. A Wall that stands alone is its own burthen and support ; the higher parts press upon the. lower, and the lower bear up the higher ; this is all, and the structure of it is, therefore, plain and easy. In a larger building, the-arches,’ roofs, and the floor, are the burthen, ‘the Walls are the’ support. ’» Let the architect, therefore, — 406 mh WeACL compute the weight of. the one according to his plan, anid! to that proportion the strength of the other. The thick Walls that bear @ directly upon. their foundations press from top. to bottom; _the arches b: press side-ways, and to knowhow much, we must measure their con- e. vexity. The floors and the roof, have a:gréat pressure’ Pe ae and.a little obliquely. All this must’ ne carefully considered, ‘and — upon. this depends the computation of the general load; and of ‘the necessary proportioned thickness: of the Walls. The strength of a a building depends upon the force of its supports ; and the great art ¢ on this head is, that of giving a — Wall the utmost strength c of of which it is capable-oius idouit vegaog We have advised. shee young » atehitedt to ae valent in. i vis compu+ : tation, that he may know what strength his walls ought to have, for it” is as easy to make them tow thick as too thin, and either extreme is” equally unworthy of a good builder. Too much thickness in Walls not only is the expense of a great deal of needless money, but it gives the edifice a very heavy aspect. The great art is to join strength and delicacy. We see the former consulted in many of our: na buildings at the expense of the latter. | iit ‘The ancients had an art in joining these that we hake yates “They were sparing of stone, but they never grudged iron-work; and by the means of that assistance, and of a perfect truth m their perpendiculars, : they have left us models we despair of copying. Our houses tumble” down, after a few years, for want of strength ; and we have conser f the heaviness of our work in most of the er churches.):)) 91/5 _. There is one farther particular which regards strength in ius struc- ture of a plain Wall, and that is the fortifying the angles. | This is best done with good stone on each side, which gives not only a great deal of strength, but much beauty. A. Wall that. is ' raised: over arches. and ER: provided they be judiciously: directed, and the work carried on in the same manner, stands as firm as one that i is begun from. a plain foundation... |. ! | tJ: POE rial Pilasters, properly applied, area . very aah vrdneinealll te Walls; their best distance is about every twenty feet, and: they should rise a“ iW : 407 : minution of Walls, the » mide eof the ‘thinnest’ part being directly over ‘the middle of the 2 thickest the whole is of a pyratnidical form: but when one side of the ‘Wail must’ of necessity be perpendicular and plain, it must-be the inner, for the sake of the floors and cross Walls.” The diminished “part of ‘the outside may ' be ‘covered, in this case, ‘with a fascia, or cornice, which will beat once a‘strength and ornament. | oi “As the’ openings’ in a Wall are all weakenings, and the corners ‘Tequireto be the’ strongest parts, there never should be a window very near acorner. Properly, there should always be at least the “space of‘a’ breadth: of ‘the opening firm’ to the corner. This is the general ‘idea of a wall; and, according to these principles, it may be _ raised ofany needful height,’and for the support of any weight above. _ The young architect. being ‘thus acquainted with the form, we shall — next‘lead him ‘to the consideration of ‘its construction, of whatsoever materials. Si mai eoman: wadi) bel oad oct a _» The ancients erected their walls, sometimes of stone, and sometimes _of-brick;'as we'do; and, by the remains that are yet extant of ‘the several kinds, vwe'find they had various ways of constructing them. : ‘At'present, architecture in this): as in its other branches, ‘is reduced inte a much narrower compass than it has been in earlier times: but: -as'it isinot impossible to im prove upon the’present practice, ‘and ‘as ‘the ‘works‘of the ancients are in all respects the’ best models we can followy ‘in the attempts ‘of improvements) we’ shall ‘here give a short recital “of ‘their several manners’ of: constructing them, before ‘ive Thention those of our-own time!’ 91) (0) bo - Their chequer-work, or reticulated Wall, was at one time famous, ‘ 51. 4 be F } } bie sggib c= WE ae butswas sooner out of use than the others... 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ES POMS MPR fA Carter tine! GG Durler Aue ia | © oP ts ne £4.24, % A of) ~ patra ey H i row MS] AST N SQ I EE") NS Wd eo = Late XX . i Im | TL Me i \ a 7 \ ; 5 | Hh re i ial | ; xX 4 N TAL, “ip de i « ‘ ; ci s ‘ * % uf a, i } ud ; Jf & * S at ® ‘ * 7 - , . “ - = 2 _ : cA tatr'ley wre ¢; Llale AXTT. DSN LON AT N ON ol Na BOONE Ne Vee ae, i ES BF Bi ALA) jad . aS ae aS aS Br er Zs. SEs E SSS 5 = See leone SAU EAA SSSR AGIOS Hj AONAAAABSAALIRISLE DOO I TTT aes pur” rs ae 7 Le Rhee ty eek Ry ba ay Eater ye Plate XXII. °, Tn a ie Se EO neneieme TLL SLOT SESE IO ST EE CS Se omens ye =a —— l WHEL: He Yijsdea WL, & & hy, ; ee . , : “ - * 4 es ra % & t . é rae f , s “* ‘ - \ : : af ‘ , Z . f i 4 or \ : : ; es ’ ping i 4 ‘ : ‘ t - * Sects 4 wl : : ry , ware *. ‘ C . “4 4 Llale XXV. | Tea — BIR Re ho hi Cte eet i Soe IS SS SSS S SS NG ss SN SS SS UHL —~Y,A<-Z7DpAA~"—TY—--_ ~ hava gO 20 r . be, : IR EL LAY Sy “ ‘ A Plate XXVI. 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TENOR TR I 1} at UT ; AT i Mi rere Sa > SaneansoDenapresTenegeasisarnias wanT 7 T ; - 1 | || il HUH HN OORTITO WEDD INGHONTTONIDE. \] | || WET} | eas HEATUMAANRSHATGATOW GHA 1) | Hin : 1108S SB EASED SERRETO ATCO BETO BUTORDD NTA TAGOTRND | | WI | 11] HA Lu | | | qui ‘CUOUBUNITUDUUITHECTINGTTUEEICHDEUGSTBEREEIBEEEBITTHOBUMT AO a FSS PVUSTDRETTEEREOTERES EG STOO RUNSINDSERED NEN TDONETODETRER i L L ' 4o Peet: iy . \ ao ° ; a . | | Plate XLIX. | TLC % ; call i , i ‘ y y % : Y Z 7 Y Y % Y G 7) 1 : i! eal Wi Z Y ; M y GUL we Lit y iF, YZ id: Ly, y y G ZA Yj | Up Z| y , o YA A " iY, A aN F GL k ~ Yl os 1 : WML \ Y YZ Pn a eo Y GY ) y LA @ AOL EETLLEL CULE — UT" - ae : LLL LLU LEST ITELILE ALE B WY VLU —— LL 4 ~ , 0 700 Jee, 70 np 8 O¢ oe feet 70 Z0 ay | ; mt . Ps, Wie’ hess breeders ato Gf ™ Walks de : : Plate. t.. av HA = UN iN a, : | \ eG | » _j ie a = > en 5 nt LE yO ee a Oe ee ee ee A | | ( 70 20 30 jo feet - ( uf a ’ J bed: Cop. y/ Me, //. - i Plate LI. S Cirtor dey! 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CA > —_ = ae t = cod I = 4 = . = = = 7 Ls = = ‘ = 4 Ba x = = = = - im Lt = ¥ = = = = = col Co = E 6 KG 5 = ? ~ 4 - a \ . = << = = Safe kK es 7 = a = aa ‘ae ) = = = f = 4 = 4 — 4 — y . = y c we 4 LJ y = Nh = i = y BS y) J = ~ 4 = / = } : = y | eb} Vy VW) - y : y 4 4 4 Y) = Yj BS 4 S j = Y | 4 4 = 4 = 7 [4 Z Y — Soy BS) aSti= Ny Sa AS NY A YY AA A AAA A YA AY A A | a a A AA” AY A CL" | [jess 0S a © SE ed Rs a ) a. a, ee ht dhe tn Carel ek oh te tt Ne OT mrt (NOT SI ap. Ml sary ree ZFe F Carler Invt = E bas 28 Ee NN a “ake TTT HN wl al un TN i AAA il tT 1} = a si ig TU Plate LXXIX . TT i ua a or = ———— once citi UL —————— 4 7h ‘ —S Sy ! d Yj 5 J 7] ' LCarter “ue > { Plate L, G64 * U 21 1) SE 3S 8S TREST FA] pao Din! i 110 OO ANA Ee AT 1 a A ore Cad Tt HBF SE FTE OTE URLAEIS SOURED SERRE A eesul n i N Mien = iy? soit Trotter a | AY TALI a Wi! me Ara \ | A Mt ou Ce é ie (ATA nmi) i) Ul AQ/UISDNREO A = a (Nel 1010 At! AMMAN! AM) Wh) RA 2 A |) My MM = nme f { = A HAD ARN ll (04 SEE NAR len 4 J SS a ay GWU SUDQDATOOAQOGOR 11100111411) =a es as | Th l Per] meen flll i ntrntnnee = | aR = E =| PU {00 ANYRBRBRORNRE | | SU SEAN LA | tn a Suit M/E E HR) NN AANA TT td (aa = a a me ee | | 3 E UNTO UNH OE {10 0000: BEA af A Pere a — a —| wa > iam = Wnt = = PM a NT i ANT = = Ht f (A A Kaen MANA HA) | t Sm : ea Re om ||! ad QUO MANET IANA SORRBA Freer ivvgtvnel 1 OOO EE (i) BONO SRAOATDAEDVG RRMARDBDAT: LU! ATMEL NM || MLOEDUUDG | BRD S = =| {0 TONOATENAESAEDEREA A A SERNA RATTAN 4111 LL LA LA TY eV | AT ||| 90000 GRR hee ae it TBIAUEE MURS)! f (a al RE ps vi) h Tran eh \ eel bs yp) au aa yy i (ute WT ser Le = ii “A | it aN Ie a Wii ii Mi 1M A : Kk) ‘uh l ' Ce 7 (Muni { 401 A | EE = = orm 40]1!)0 0NODORANGRDDD MENARD ih TATOO SNL OORT | AT iii i a MA A A LS tN I Me ST TT tT rr 3 . 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