f 3 o o 
 
 : 
 
 V 
 
 i 
 
An~ fi t: 
 
 TREATISE 
 
 O F 
 
 ARCHITECTURE, 
 
 WITH 
 
 Remarks and Qbfervations. 
 
 Ncceflary for Young People, who 
 would apply themfelves to that 
 Noble ART. 
 
 By Seb. Le Clerc, Knight of the Empire, De- 
 figner and Engraver in Ordinary t& the Ca- 
 binet of the French King. 
 
 
 LONDON: 
 Printed and fold by Richard Ware, at the P 
 ble and Sun in Amen-Corncr^ near Pat 
 Nojler-Row, 1732, 
 
T O T H E 
 
 EADER. 
 
 I 'Don't here fropofc to treat of all the 
 Tarts that belong to Architecture : 
 
 I he Mechanical Structure of a Build- 
 ing Ipajs over : and am utterly fdent as 
 to the manner of preparing the Founda* 
 tw.is, raifim the Walls, manazinz the 
 Carpentry, learning the Nature and Qua* 
 lily of Stmts, Woods and Sands ; mak* 
 ing of Lime, Mortar and the reft : thefe 
 being Things quite foreign to my Fro- 
 fefjion, and which have been already a* 
 bundantly handled in the Works of Vi- 
 truvius, Palladio, Vignola, Savot, and 
 fever al other Architects jujpciently known. 
 
 My 'Dcfign in this Work, is to confine 
 
 my Jtlf to what regards the Beauty, the 
 
 Elegancy 3 and good faffe of the principal 
 
 "Parts in the Com} option of a rMe and 
 
 A i craeeiid 
 
 C? J 
 
To the Reader. 
 graceful Edifice. I lay do f wn Orders of 
 Columns and Tdajlers, in new Measures 
 and proportions j and covfidcr the other 
 Tarts which may accompany tbofc Or* 
 derSy the Rules and Ob f ovations to be 
 regarded in ajjcmbling them together, and 
 the Remarks that appear d neceffary to 
 prevent y<nm& "People jrom running into 
 certain Errors, pretty freqitent in Build* 
 ivosy and which might not, perhaps ap- 
 prehend of thcmfclvcs, nor be inform d 
 of from other Treatifes ; in regard thoje 
 -who have hitherto -written oj Architect 
 turc have not taken the leafl notice of 
 them, tho other-wife precife enough in 
 matters of little moment. 
 
TABLE 
 
 Of the Principal Matters in 
 this Treatife. 
 
 section I. 
 
 OF Architecture in general 
 Of the beautiful and noble mamter of 
 Building 
 *fhe Knowledge neceffary for an Architect to be- 
 come eminent 
 Of the Orders of Columns 
 Of the different Orders of Columns 
 Of the different Manners wherein the five Or- 
 ders of Columns have been handled y with 
 ufeful Remarks on thofe of Palladio and 
 Vignola 
 
 SECTION II. 
 
 Of the Tufcan Order 
 Of a fecond Tufcan Order. 
 Of the Doric Order 
 Of tht Ionic Order 
 
 Of 
 
A TABLE. 
 
 Of the Roman Order 
 Of the Spanifh Order 
 Of the Corinthian Order 
 
 SECTION III. 
 
 Of Pilafers 
 
 SECTION IV. 
 
 Of Wreathed Columns 
 
 Of Symbolical Columns 
 
 Of Cariatides or Columns made in the Figure of 
 
 Women 
 Of Perfian Columns x 
 Of 1 ermini or Terms 
 
 Of Arches or Portico's fuppvrted by Columns 
 Of Entablatures with Returns or unequal Pro- 
 
 jeclures 
 Of tie Attic Order 
 
 SECTION V, 
 
 Of the AJfemblage of Orders 
 
 SECTION VI. 
 
 Of Gates or Doors 
 Of Windows 
 Of Pediments 
 
 Of 
 
A TABLE. 
 
 Of Niches 
 Of Statues 
 Of Pyramids 
 
 SECTION VII. 
 
 Of Balufters and Baluflrades 
 
 Of Balconies 
 
 Qf Perrons or Afcents 
 
 Some particular Obfervations 
 
 A New French Order 
 
 fNDof the Table. 
 
Digitized by the Internet Archive 
 
 in 2011 with funding from 
 
 Research Library, The Getty Research Institute 
 
 http://www.archive.org/details/treatiseofarchitOOIecl 
 
The. Abbot BE VALLEMONT, in 
 
 his Panegyrick on Mr. Le CLERC; 
 Fives the following Account of this 
 his Book of Architecture. 
 
 f N 1714- about fix Month before the fatal 
 § Moment which deprived us of this great Man, 
 he gave over all thoughts oj every thing that 
 bore any relation to Drawing or Engraving ; 
 but at the fame time he did not give over la- 
 bouring in another kind : For during that time f 
 he publijhed his Treatife of Archite&ure, the 
 Proofs of which pajs'd the Correction of his own 
 Hand. This Work conjijls of two Volumes in 
 Quarto ; the fecend whereof is wholly Figures A 
 The Exaclnefs, that reigns throughout this great 
 V/ork, very plainly demonflrates, that there are 
 Perjons who enjoy, as it were, a particular Pri- 
 vilege cf Heaven ; infemuch that when Death 
 makes its approaches upon them, they are much 
 lefs Jenjible than other People, of the Infirmi- 
 ties and Weakneffes which both the Soul and Bo- 
 dy, (the Harmony whereof is at that time pre- 
 paring for a Divorce 'f) feel as Jo many certain 
 Tokens of a near Dijjolution. Of this Monfeur 
 Le Clerc appears a bright and eminent Exam- 
 ple ; if we conjider that Jlrength and vigour oj 
 
 a Soul 
 
11 
 
 Soul which he mujl exercij' in carrying en, fo 
 happily as he did the Imprejfon of a Book, filled 
 with two hundred Figures lately compos d, and 
 whkh mu/l he mighty puzzling and perplexing^ 
 by reafon of the frequent References requird 
 from, the Figures to the Explanations in the fir jl 
 Volume. One mujl take a view of the perpetu- 
 al Relation there is between thefe two Volumes, 
 before we can comprehend how prodigi us an Ap- 
 plication he mujl have made to render that great 
 Work fo correel as it is. 
 
 Monfieur Le Clerc, always modefi, and ever 
 a /peaking of Truth, jhews himjelf very parti- 
 cularly a Mafler of both thefe Virtues, in this 
 his Treatiie of Architecture ; and that to fuch 
 a degree too, as is again/l his own proper Inte- 
 rcjl. It is cujlomary in the titles of Books, to 
 affeB giving the World a great and pompous 
 Idea of them, and to fwcll the Title with nu- 
 merous Contents of mighty Profit, arifing to all 
 forts of Per/bns from the perufal of the Book y 
 in order to in ha nee its Price^ and give it a bet- 
 ter Run, Our Author en the contrary, in the 
 very Front i /piece of his JVork % declares, That it 
 was exprefly made for the ufe of young People \ 
 who had a mind to apply t he mj elves to the flu dy 
 of that fine Art ; and even in the Advice to the 
 Reader, he does not explain himjelf to any better 
 advantage, to mate it appear more promifing. 
 Be it our part to make amends for the Injury 
 which Monfieur Le Clerc has done himjelf in co?z- 
 fir.ing his V/crk to Ju-ch narrow Views, and to 
 Jhew 'hat k A \tains all the Remarks and 
 
 Obfer- 
 
! i 
 
 Observations that can be devifed for the Vfe and 
 Profit even of thofe who have bad many years 
 Experience, and been long practiced in the im- 
 portant Profeffion of an Architect. Throughout 
 all this Work, he keeps clofe to what regards the 
 Beauty, the good Tajte and Elegance of the prin- 
 cipal parts which enter the Compofition of an Edi- 
 fice, truly great and noble ; he has there defcr&d 
 the Orders of Columns, and Pi/afters under new 
 invented Meafures, and Proportions, He next 
 lays before our Eyes, the other Parts which may 
 accompany theje Orders ; and are not theje very 
 nice Points , which mufi take with M afters them- 
 felves, as well as with Difciples of that Art ? 
 
 Our Author explains himfelf fo clearly upon 
 every Point of Architecture that has ever been 
 taught, that there is no young Man of a mode* 
 rate Genius, but may from his own fingle Read- 
 ing and Obfervation, comprehend all the Leffons 
 contained in that Treatife. The Beauty of the 
 Plates which compofe the Second Tome, invite 
 them to the Study, by the agreeable Accidents and 
 Circumfiances which Monfieur Le Clerc has there 
 invented : He divides his Book into feven Secti- 
 ons. 
 
 The fir ft Sefiion treats of Architecture in ge- 
 neral, and the five Orders of Columns : Name- 
 ly, i. The Tufcan. 2. The Doric. 3. The Io- 
 nic. 4. The Corinthian. 5. The Roman, which 
 they likewife call the Compoftte Order, be- 
 caufe the Capital of that Column is composed 
 cut of the principal parts of the Capitals be- 
 longing to the other Orders. The Corinthian 
 
 Order 
 
Order is by much the more noble, rich and del/* 
 cate ; it is a Mafter-piece of Art which is feldom 
 made ufe of, but in Buildings the moft pompous 
 and magnificent. 
 
 The Second Section treats of the Orders of Co- 
 lumns fever ally ; and what the Author remarks, 
 concerning the Intervals, or Spaces between the 
 ModiHionSy deferves the Perufal of the greateft 
 Mafters. 
 
 The Third Section treats of Pit afters. 
 The Fourth Section treats of wreatlPd or 
 twrfled Columns, of Columns reprejenting hu- 
 man Figures, of Caria tides or Columns made 
 in the (bape of Women, of Perfian Columns, 
 Termini or Terms of Arches, Piazzas, and Por- 
 tico's fupported by Pillars, of Entablatures that 
 have Returns, or unequal Projeclures, and of the 
 Attic Order. 
 
 The Fifth Section /peaks of all the Affemblage 
 cf the feveral Orders together. Here the Au- 
 thor delivers tn a. very few Words a. great many 
 things that claim the uttermoft Attention, and 
 that are excellently adapted to form in us a good, 
 Tafte, and lead us to the full Acquifition of that 
 Kjjowledge, which is required in carrying on the 
 grate ft Works of Architecture. 
 
 The Sixth Section treats of Doors, Windows, 
 Pediments, Niches, Statues, and Pyramids, 
 
 The Seventh and I aft Section treats of Kails 
 snd Balufters, of Balconies^ and Perrons or Steps 
 raised before the Doors of great Houjes. Here 
 wain Mr. Le Clerc lays down fome particular 
 Obfervations, The whole concludes with a. new 
 
 French 
 
V 
 
 French Order ; which he gives us to under- 
 (land, provided it be well executed, will have the 
 7»oji beautiful and graceful effect, that can be con- 
 ceived. Hehas made a [mail Model of it in Re- 
 lievo, whichhe obferves is not to be beheld with- 
 out Pleafure and Satisfaction. 
 
 In a word j Mr. Le Clerc has, in this I aft 
 Book of his compofing, not only given us Rules 
 for the Ordonnance of the Parts of all kinds of 
 Buildings ; but he hath I ike wife let us into a tho- 
 rough Knowledge of the proper Ornaments and 
 Decorations, which ought to enter into the re- 
 jpective Compofitions, and give Life and Beauty 
 to the whole. He opens the Eyes of young Peo- 
 ple, and fills their Minds with thofe heights of 
 Knowledge and Judgment, which thofe, who have 
 a mind to be Maflers of the Art, And eminent 
 for their Skill in Architecture, (hould above all 
 things make it their Endeavour to acquire. 
 

 TREATISE 
 
 O F 
 
 ARCHITECTURE. 
 
 SECTION I. 
 
 By way of Introduction to the Study 
 of Building. 
 
 ARTICLE I. 
 
 Of ARCHITECTURE in general. 
 
 RCHITECTURE,inge- 
 
 neral, is the Art of Building 
 well ; and confifts of two prin* 
 cipal parts: the one Civil, the 
 other Military. 
 
 The end of Civil Archi- 
 tecture is to fhelter men from 
 the injuries of the weather ; and to furnifh 
 them with ftrong, fuitable, healthy, conve- 
 nient, and agreeable Habitations. 
 
 Military Architecture, ufually called Forti- 
 fication, has for its Object, the Security of 
 Cities and States: bu: this part we refervefor 
 the Subject of mother Treatife. 
 
 Civil Architecture may be confidered, either 
 m the Defign of a Building, or in the Con- 
 struction and Workmanfhip thereof. 
 
 In 
 
 ■ ..."^■■■: j ?2. i -,^ftHL. 
 
 ••~:<. y 
 
2 A Treat i fe 0/ Architecture. 
 
 In the Defign, the principal regard is Had 
 to the Diftribution of Apartments, their Uies 
 and Conveniences, to the beautiful Appear- 
 ance of the whole, the juft Accord and Har- 
 mony of the parts, and to their Proportion 
 and Elegancy. 
 
 In the Conftruction, regard is had to the 
 Firmnefs of the Foundation, the Strength of 
 the Mafonry, the Quality of the Stone, Sand, 
 Lime, and Mortar ; or, to fpeak properly, the 
 Conftruction, rather, confifts of feveraldiftinct 
 parts; as the Mafonry, Carpentry, Joinery, 
 imithery, Clazery, Roofing, &c. 
 
 The Scheme or Projection of a Building, is 
 ufually laid ao\vn in three feveral Draughts 
 or Defigns. 
 
 The firft is a Plan, which mews the Ex- 
 tent, Divifion, and Diitribution of the Ground 
 into Apartments, and other Conveniencies. 
 
 The fecond fhews the Stories, their Heights, 
 and the Outward Appearances of the whole 
 Building ; and this we call the Defign or Ele- 
 vation. 
 
 The third, call'd the Section, fhews the In- 
 fide: and from thefe three Defigns the Under- 
 taker forms a computation of the expences of 
 the Building, and of the time repuired to go 
 through with it. 
 
 A Defign or Projection may either be that 
 of an ordinary Habitation, or that of a noble, 
 ftately and magnificent Building : the Archi- 
 tecture of which laft, alone, will make the 
 fubject of the following Treatife. 
 
 Anicic 
 
A Trcatife c/ Architecture, j 
 
 ARTICLE II. 
 
 The Knowledge necejfary for an Arclitcol 10 
 become eminent. 
 
 AMong all the arts, that of Architecture is 
 o;ie of the moil extenfive and the molt 
 difficult. For which reafon, a perfon who 
 would apply him:elf to it, fo as to become a 
 Proficient, mould not neglect any of thofe 
 Studies, that have a tendency to open his mind, 
 procure him a Genius, an Accuracy and a good 
 Tafte in every thing that in any wife relates to 
 Building. 
 
 Theie Studies may be reduced to Defigning, 
 Geometry, Arithmetic, Mechanics, or the 
 knowledge of Moving Powers, Peffpective, 
 Stone-cutting, Levelling and Hydraulics. 
 
 Defigning is in a particular manner necefTary 
 for an Architect: for 'tis from hence he muii 
 fetch all his nobleit Thoughts, and all that 
 Grace and Beauty which he would beftow upon 
 his Building, both in the whole and its parts. 
 
 Geometry, too, is indifpenfibly requifite; 
 for it is this that muft furniih the Architect 
 with fure and certain Principles, whereon to 
 proceed in the practice of his Art, 
 
 Arithmetic he can't be without ; on account 
 of the Calculations neceflary to determine the 
 Expence of Materials, of Money, and of Time, 
 that die execution of his defign will require. 
 
 B ~ IU 
 
4. A Treat ifc of Architc&ure. 
 
 He mud underftand the Cutting of Stones, 
 chiefly for the Building of Arches, Vaults, 
 Gates, Stair-Cafes, and all other parts of Buil- 
 dings which hang in the Air, and arc out of 
 the Perpendicular. 
 
 Perfpeclive is highly u r eful ; fortius, in a 
 fingle Defign, (1 ews him the ErTecl which 
 any Building will have, when it comes to be 
 actually rais'd. 
 
 The Knowledge of Mechanics will be of in- 
 finite fervice to him, in contriving the Ma- 
 chines neceffary in railing of his Buildings. 
 
 Levelling and Hydraulics will guide and 
 direct him in the conveyance of Waters. 
 
 But above all he mull ftrive to acquire a 
 good Tafte, by making himfelf a mafter in 
 i)efigning. This will enable him to diflin- 
 guifh the Beautiful and Grand manners of 
 Building, and to prefer them to all others ; on 
 which all his reputation in Architecture en- 
 tirely depends. 
 
 ARTICLE III. 
 
 Of BE AU TI FUL Archite&ure ; or the NOBLE 
 MANNER of Building. 
 
 ~* H E Eeautiful manner of Building we 
 owe wholly to the antient Greeks and 
 Romans, who gave us the firft Ideas thereof, 
 in thofe magnificent Edifices which they erec- 
 te d to the glory cf their falie Gods, their 
 p r inces, and their People. Such were their 
 
 Temples, 
 
A Treat i fc ^Architecture. 5 
 Temples, Palaces, Amphitheatres, Circus's* 
 Triumph \\ Arches, Baths, Maufolea, and 
 ether Buildings and Monuments} iome Re- 
 mains whereof, even at this day, fhevv the 
 Polirenefs and Power of thofe People. 
 
 This Architedure we diflinguifh from the 
 Common, by its Orders of Columns and Pi- 
 lailersj and by their Appendages, as Pedi- 
 ments, Niches, Balu trades, Vafes Statues, and 
 other Ornaments ; by its noble Ordonnances 
 of Frontifpicces, Veftibles, Periftyles, Domes, 
 Salons, and Portico's, whereof Architects have 
 compofed thofe ftatelv aud magnificent Struc- 
 tures, winch frill continue to do honour to 
 thofe for whom they were erected. 
 
 ARTICLE IV. 
 
 Of the ORDER of COLUMNS. 
 
 { F all the parts which enter the compoll- 
 tion of a Magnificent Building, the Or- 
 ders of Columns are the molt confiderable. 
 
 An Order of Columns, is ufually underftood 
 of a Column, bearing its Entablement ; but 
 the Order is fcarcely compleat, excepting the 
 Column be rais'd on a Pedeftal. 
 
 The Pedeital, Column, and Entablement, 
 are three compound Parts, each confiding of 
 three others. 
 
 The Parts of the Pedeftal, are the Bafe 
 Dye, and the Cornice -, thofe of the Column, 
 the Bafe, Shaft, and the Capital) thofe of 
 
 B 2 the 
 
6 A Treatife of A re hi tenure. 
 
 the Entablement, the Architrave, Frize, and 
 the Cornice: each of which parts have their 
 particular characters and members, call'd by 
 the general names of Mouldings or Ornaments. 
 
 ARTICLE V. 
 
 Of the different ORDERS 0/ COLUMNS. 
 
 rT^ H E Antients have given us five feveral 
 1 Orders of Columns ; the Tufcan, Loric y 
 Ionic, Roman, and Corinthian. 
 
 The Tn/can Order is the ftrongeft. and the 
 mod fimple of all others : its name (hews its 
 Original. 
 
 If we believe Monf. deCkambvay, in his Pa- 
 rallel, this Order ought never to be ufed any 
 where but in Ruftic, or Country Koufes and 
 Places. And 'tis certain that in the manner 
 Vitrwvius, Palladio, and feme ethers defcribe 
 it, it icarce deferves to be ufed at all. Me- 
 chinks, however, in Fignolas manner of com- 
 pofition, it has certain beauties even in its fim- 
 plicity, which add a value to it, and render- 
 it worthy to be ufed not only in private Hou- 
 ses, but alfo in publick Buildings ; as in Por- 
 tico's of Markets, or publick Malls, in Ma- 
 gazines or Granaries of Cities, and even in 
 Palaces, and Seats of Princes and Noblemen, 
 particularly in the lower Apartments, Offices, 
 Equerries, eye. and in general, in all places 
 where Strength and Simplicity are required^ 
 and where any of the richer and more delicate 
 Orders would be unfuitable. The 
 
A Treat} fe of Architecture, j 
 
 The Cork Order is the mod anrient, and 
 was given us by the Greeks. Its C ompofition 
 is Grand and Noble; and the Triglyph , which 
 make the Ornaments of its Frize, bearing fome 
 refemhlance to a Lyre, feem to intimate it to 
 have been originally intended for ibme Tem- 
 ple confecratej to Apollo. As we are now 
 furnifh-d with richer and more delicate Or- 
 ders for Temples, the Doric is moft properly 
 uied in the Gates of Cities, in Arfenals and 
 places of Arms, in Halls of Guards, and other 
 Buildings that have relation to War; where 
 Strength and a rough but noble Simplicity are 
 particularly required. 
 
 In the moil antient Monuments of this Or- 
 der, the Columns are without Bafes, the rea- 
 fen of which is net eafy to affign. Monf. de 
 ( bambray y in his Parallel, is of opinion with 
 Vitruvius, that the Ionic Column having been 
 compofed in imitation of a Naked man, ner- 
 vous and robuft as an He?xules ) it ought to 
 have no Bale; imagining a Bafe to be that to 
 a Column, which a Shoe is to a Man. But 
 for my own part, 1 mult confefs, I can't 
 confidtr a Column without a Bale; but in 
 comparing it to a Man, I rather form the idea 
 of a Man without Feet than without Shoes, 
 For this reafon, 1 am rather of opinion, either 
 that the antient Architects had not yet thought 
 of adding Bafes to their Columns, or that they 
 declined on purpofe to give them any, with 
 defign to keep the pavement clear and unem- 
 baraffed with the Andes and Proiedtures of 
 
 Bales, 
 
A Trcat'ifc «?/" Architecture. 8 
 
 Bafes, which are apt to occafion people in 
 palling by to ftumble. This too appears the 
 more probable, in regard the Architects of 
 thofe times ufed to range their Columns ex- 
 ceedingly near one another ; To that, had they 
 been furnifhed with Eafes, the Tallages between 
 would have been extremely narrow and in- 
 commodious. And this appears to be the rea- 
 ibn why Vitrwvius orders the Plinth of the Tus- 
 can Column to be rounded off; that Order, in 
 the manner he defcribes it, being particularly 
 adapted to the fervile Offices of Bufmels and 
 Commerce, where Conveniency is always to 
 be ccnfulted before Beauty. Be this as it will, 
 every man of good taife will allow, that a 
 Bafe adds a Grace to a Column; and that it is 
 a very neceffary Appendage, in regard it makes 
 it ftand the more firmly on its Plan: fo that 
 if no Columns are now made without Bafes, 
 this ought not to be imputed to the Prejudice 
 of our Architects, as fome admirers of Anti- 
 quity will have it, but to their Prudence. 
 
 The firfr. Idea of the Ionic Order was given 
 by the loniam, who, according to Vitrwcius^ 
 compofed this Column on the Model of a 
 young Lady drefs'd in her Hair, of an eafy and 
 delicate Shape ; as the Doric had been formed 
 on the Model of a ftrong robuft Man. 'Tis 
 fa id the Temple of Diana at Epbefus, the moll: 
 celebrated Edifice of all Antiquity, was of 
 this Order. It may now be ufed in Buildings 
 of Piety, as in Churches, Courts of Juftice, 
 
 in 
 
A Treat ife of Architecture. 9 
 
 in Apartments of Ladies, and in other places 
 of quietude and peace. 
 
 The Roman Order is ufually cail'd the Com- 
 pofite, in regard its Capital is compofed of the 
 principal parts of the Capitals of other Or- 
 ders. It has a Quarter-round as the Tufcan 
 [and Do ic, Volutes as the Ionic and a double 
 row of Leaves underneath, as the Corinthian, 
 
 I call it Roman, as believing, with many 
 others, that the Romans firft invented it. Moll 
 of our Architects , in compliance with 
 ufage and cuftom, place this after the Corin- 
 thians ; doubtlefs becaufe it is the lair, that 
 was invented. Scamozzi is the only Author 
 who varies from the rule ; but he does it with 
 fo much Judgment, that we make no fcruple 
 to imitate him. 
 
 This Order may be ufed in every place, 
 and on every occafion, where 'tis required 
 that Strength Richnefs and Beauty lhould be 
 found together. 
 
 The Corinthian Order is the nobleft, the 
 richeft, and the moft delicate Order of Archi- 
 tecture. This is indeed a matter-piece of Art, 
 for which we are indebted to the City of Co- 
 rinth : It ought always to be ufed in the moft 
 Stately and moft Magnificent Buildings. 
 
 Thefe feveral Orders have been very judi- 
 cioully compofed at various times, in order 
 to fuit the various kinds of Buildings, which 
 either Neceflity or Magnificence mould occa- 
 fioo Men to erect ; and thefe are ever made 
 
 more 
 
i o A Trcatifc of Arcirite&iire. 
 
 more or lefs fimple, each in its kind, and 
 more or lefs (lender, according to the Build- 
 ings they are ufed in, and the riches of the 
 Princes, People, or private Ferfons who build 
 them. 
 
 ARTICLE VI. 
 
 Of the different MANNERS, wherein the 
 five Orders or Columns have been treated \ 
 with fome ufeful Remarks on thofe of Palla- 
 dio, and Vignola 
 
 !F thefe Orders of Columns had any pod- 
 tive Beauties, eafy and obvious to the Eye, 
 Archite&s wou'd have been oblig'd to agree 
 among themfelves as to their Rules and Pro- 
 perties j but as their Beauties are, in effect, 
 meerly arbitrary, and not founded on any 
 certain Demonftrations, it happens, that thofe 
 who have treated of them have all prefcrib'd 
 different Rules, according as their Tafte and 
 Genius were different. It muft be own'd, how- 
 ever, that tho' the fame Order may have dif- 
 ferent Beauties, and different Proportions ; yet 
 among thofe Beauties and Proportions, 'tis 
 certain there are fome which pleafe more, and 
 are more univerfally approv'd than others. 
 
 Among the feveral x^uthors who have writ- 
 ten of Architecture, Palladio and Vignola feem 
 to be the moil generally follow'd : But, 'tis a 
 
 doubt \ 
 
A Trcatife ^Architecture. 1 1 
 
 doubt even among Peffons of Skill and Judg- 
 ment, which of the two ought to be pre- 
 ferr'd to the other. The Orders of Palladio 
 have Beauties different from the Orders of 
 Vignola. I mean, their feveral Orders have 
 each of them their refpeclive Beauties: And 
 yet the great difference between their Com- 
 petitions does hardly allow us to view them 
 without making a choice from fome Circum- 
 fiances. For inftance, Vignola 's Rule of mak- 
 ing the Entablement in all the Orders juff a 
 fourth part of the height of the Column, 
 pleafes me lefs than that of Palladio, whodi- 
 minifhes this height in the three laft Orders. 
 I mean Vignola's Entablements appear heavy 
 and lumpiih ; and efpecially in the Ionic, Co- 
 rinthian^ and Compojite Orders ; and above all, 
 when the Columns are without Pedeftals. 
 
 On the other hand, Vignola^ Pedeffals, whofe 
 height in all the Orders is one third of that of 
 the Column, are in my Opinion preferable to 
 the Pedeftals of PAladio, which having lefs 
 height appear flat and low. 
 
 Again, i he Zocco of Vignola* Pedeital 
 fecms too little, and that of Palladio too big 
 and ftrong for the PedeftaL 
 
 Further, I cannot commend Vignola for 
 giving Vitruvius s Bafe to the Ionic Column, 
 and for excluding out of all his Orders the 
 antient Attic Bafe, which without difpnte is 
 the moil beautiful of all the Bafes of Co- 
 lumns. 
 
 C Pallad^o^ 
 
II A TrcJjifc 0/* Architect ure. 
 
 Palladia, too in my Opinion had done bet-^ 
 ter, if, in imitation of the Antients, he had 
 given the Attic Fafe to the Ionic Column, in- 
 ilead cf the Doric \ in which laft fome more 
 iimple Eafe, as that for inftance of Vignola f 
 wcu'd have been more fui table and confident 
 with the folidity of the Order. 
 
 Add to thefe, that a Man cannot view Vig- 
 nolds T'ufcan Order, without obferving that 
 of Palladia ill-conducled almofl in every part j 
 but efpecially in the Shaft of the Column - r 
 which, indeed, appears monftrous on account 
 of its excefiive Diminution towards the top. 
 Even the fmalieit fhare of Difcernment is fuf- 
 ficient to difcover this. 
 
 Methinks, too, it had been more juft in 
 "Palladia, if, inflead of Modill.onsin the Ionic 
 Entablement, he had made Dentils ; which, 
 as Vignola has very well obferv'd, are an efien- 
 tial Ornament of this Order: Modillions ap- 
 pearing too itrong, and mafllve for a Column 
 that profeiies to imitate the delicacy of a 
 young Woman. 
 
 Nor does it appear over-judicious in Vig- 
 nola, to uie Dentils in four of the Orders j it 
 being a Point of Prudence in an Architect, to 
 introduce a diverfity in the Ornaments, as well 
 as the principal Members of his Orders. 
 
 And again, I can't but think it an Over- 
 fight in Vignola to make his Dentils lefs in the 
 Doric Order, than in the Ionic, Cori?ithian and 
 Raman i when 'tis own'd the Doric is conli- 
 
 derably 
 
A Treatlfe of Arcliiteclure. I } 
 drably lefs delicate than any of thole other 
 Orders. 
 
 Who can approve of Palladio's making the 
 Corinthian Column lefs delicate than the Ro- 
 man, and the Roman Capital at the fame time 
 lefs delicate than the Corinthian f Or was it 
 tuft in Vignola, to make the two Column, 
 Corinthian and Compofite, in the fame Propor- 
 tions ? Ought not fome regard to be had to 
 the difference of their Capitals, and, on that 
 account, (Jhou'd not fome more Delicacy he 
 (hewn in the Corinthian Column, than the 
 Roman ? 
 
 Further, it may be jufrly faid, That, if 
 Vignola have made his Entablements too heavy 
 in the three lail Orders, Palladia has made 
 his too light. 
 
 I obferve alio, that Vignola has made his 
 Modillions in the Corinthian Order too large, 
 infomuch that they encroach upon each other 
 in the Inner Angles of the Entablement ; on 
 which account, the Rofes inclofed between 
 them appear too fmall with regard to thole 
 , which come after them ; which muft be 
 own'd a confideiable Fault, that Palhdio had 
 the good Fortune to avoid, by making the 
 ! Spaces between the Modillions perfect Squares. 
 
 Nor can it be denied, that in Vignola the 
 Die of the Corinthian Pedeftal is too high, 
 and in Palladia too low for the Bafe. 
 
 Laftly, a Man cannot view Vignola. 's Porti- 
 : co's, without obferving them to be better pio- 
 • portioned than thofe of Palladio^ which aie 
 
 C 2 too 
 
14- A Trealife 0^ Architecture. 
 too wide in the two firft Orders, and too nar- 
 row in the two laft. 
 
 Were 1 to examine the Profiles of thefe 
 two Authors, many of them wou'd be found 
 intolerable ■> being compos'd of Mouldings 
 that are ill match'd to each other and in 
 no wife fuitable to the Places where they are 
 found. 
 
 Thefe and many other Remarks of this 
 kind, were what nrft determined me to com- 
 pofe the following Treatife. I wifh thofe 
 who do me the honour to read it, may have 
 the Light necefTary to judge of it themfelves ; 
 or at leaft, that they wou'd have recourfe to 
 thofe Affiilances of Ma the ma ticks, and De- 
 iigning, wherein I may be fuppos'd to have 
 made fome Proficiency ; and, which every one 
 jnufl allow are two Points to be principally 
 laboured, in order to meet with buccefs in 
 {hi:> Study. 
 
 ADVER- 
 
A Treat ife of Architecture. 15 
 
 Advertifement. 
 
 Here propofe the free common Orders, tinker 
 
 new Meajures and Proportions ; ninth a fe- 
 \ond T,ufcan Order, which I place bet-ween the 
 Hrji Tufcan and the Doric. 
 
 The Reader will alfo Jind a Spanifh Order 
 between the Roman and Corinthian, and a 
 French Order at the end of the Work. 
 
 For the re/I, I dont here propofe to make any 
 long, pompous, and unnecefj'ary Difcourfes > the 
 Figures which I add will explain themfehes -, 
 nor foall I make any Remarks and Obfer-cati- 
 ons, but fuch as I judge abfolutely necejjary for 
 the Inftruction of the Youth, who apply them- 
 fehes to this Art. 
 
 The Module, which I ufe for a Meafure, is 
 the Semidiameter of the Bafe of the Column^ 
 which I always fuppofe divided into 30 equal 
 parts. 
 
 The Numbers added to the Figures fignify 
 Modules^ where- ever they are follow' 'd by the 
 letter M : without this letter they only exprefs 
 parts of Modules^ which we ctherwife call Mi- 
 mites. 
 
 A 
 
i6 
 
 A 
 
 TREATISE 
 
 O F 
 
 ARCHITECTURE, 
 
 'SECTION II. 
 
 Of die Orders of Columns, in nsw 
 Proportions : with ufeful Remarks 
 and Obfervations. 
 
 Figure i . 
 Of the TUSCAN Order. 
 
 TH E Competition of this Order is much 
 alike to that of Vignola, who has given 
 it all the Simplicity that it can ever, rcaibn- 
 ablv, have. 
 
 the Columns is 4 Modules high, the Fe- 
 deral 4 and 25 Minutes, and the Entable- 
 ment 3 and 1 5 Minutes ; fo that the Column 
 is three times the height of the Pedeital, and 
 four times that of the Entablement ; the whole 
 Order making 22 Modules, and 10 Minutes 
 
 or PartS ' CON. 
 
A Trcatife of Architecture. 1 7 
 
 CONSTRUCTION of this ORDER. 
 
 To conflruct this Order, draw the Bafc- 
 Jine AB, erect the perpendicular CD, which 
 will be the Axis of the whole Order, and make 
 a Scale EF, divided into Modules, that is, in- 
 to equal Pans or Semi-diameters of the Co- 
 lumn, and fubdivide the firfl Divifion into 30 
 Minutes. 
 
 This done, take 4 Modules, 25 Minutes for 
 the height of the Pedeftal CG, 14 Modules 
 for the height of the Column GH, and 3 Mo- 
 dules 15 Minutes for that of the Entablement 
 HD ; the reft according to the Meafures ex- 
 prefs'd in the following Figures. 
 
 Thus much I thought proper to add by the 
 way, to (hew the Novice how he is to begin to 
 make the Defign of an. Order : And I ima- 
 gin I have faid enough, to enable him with- 
 out any further Inftructions, not only to con- 
 tinue this Order, but alio to conceive the Con- 
 struction of the other Orders : Suppofing that 
 every one who applies himfelf to the ftudy 
 of Architecture, has already acquired Geome- 
 try enough to enable him to comprehend the 
 whole at half a word. 
 
 Of the ITERCOLUMINATIONS. 
 
 Figure 2. 
 
 In this Figure, where the Columns-are with- 
 out Pedeftals, and without Portico's too, there 
 
 ar<* 
 
1 8 A Treatise 0/ Architecture. 
 
 are three feveral Spaces or Diftances at which 
 they may be placed: vi%. a large, a mean, and 
 a little Diftance. 
 
 The firft and fecond fhew the greateft, and 
 leaft Space which can be reafonably interpofed 
 between the Columns of this Order, when they 
 follow each other, one by one; and the third 
 ihews how near they may be placed, when 
 they are to follow each other two by two. 
 
 When thofe Columns ftand two by two, be- 
 tween each Pair the greatefl: diftance muft be 
 made, which is 9 Modules, reckoning from 
 the Axis of the one to that of the other. 
 
 When they follow each other, one by one, 
 the Interval ought not to exceed 4 Modules 20 
 Minutes, from one Axis to the other. 
 
 In this Plate are likewife fhewn the Mea- 
 furesfor the diftances of Columns, when they 
 are found in Portico's or Arches. It is not 
 however to be fuppos'd, that thefe Proportions 
 are fo precife, as that they may not be varied. 
 a few Minutes, when occafion mall require ; 
 but this muft be obferved, that the leis ths 
 Variation is, the better it will be. 
 
 Of the COLUMN. Figure 3. 
 
 The Column is compofed of three Parts; 
 the Bafe, the Shaft or Fuft, and the Capital. 
 
 Of 
 
A Trcatife 0/ Architecture. 19 
 
 m 
 
 Of the SHAFT. 
 
 The Shaft always terminates a-top with an 
 Aftragal, and at bottom with a Fillet, which 
 in this place is call'd Ozla. 
 
 The Shaft ufually diminifhes in thicknefs 
 towards the top ; and this Diminution com- 
 mences from a third part of its height. That 
 is to fay, the height of the Shaft being divi- 
 ded into three equal parts, the firft of them is 
 equal, or Cylindrical, and the two others di- 
 minifh imperceptibly to the Aftragal, where 
 the Diminution terminates. 
 
 Some give a little fwelling to their Co- 
 lumns j that is, they make the Shaft fomewhat 
 bigger towards the top of the firft third of 
 its height, than towards the bottom ; or rather 
 they diminifh the bottom of the Shaft, and by 
 this means make the upper part of the firit 
 Divifion appear to fwell. But this Diminu- 
 tion at the bottom of the Shaft, ought never 
 to exceed one Minute, or one Minute and an 
 half at the utmoft. The truth is, there ought 
 to be no fwelling at all in a Column, except- 
 ing where there is fome particular reafon for 
 it ; as where the Orders are placed over one 
 another: an inftance of which will be given 
 hereafter. 
 
 OBSERVATION. 
 
 A Column ought always to ftand exaclly 
 perpendicular on its Bafe j and yet Fitruvius, 
 
 D out 
 
3o A Tr'catijc of Architecture. 
 
 out of a view to the ftrength of the Building, 
 tells us, there are fome places and occafions, 
 where-n it ought to incline towards the Wall, 
 that is. the Diminution of the Column is to 
 be taken wholly on the outfide; fo that it may 
 make a kind of Counter- fort, or Buttreis, to 
 ftrengthen the Building. But as this Irregula- 
 rity of Columns, cannot chufe but have an ill 
 Effect j I am of opinion, Vitrwvius in this cafe 
 ought not to be regarded. 
 
 REMARK. 
 
 In fome anticnt Buildings we meet with 
 Columns, whofe Diminution commences from 
 the very bottom of the Shaft ; which to me 
 indeed appears very juft and reafonable: and 
 yet this practice is now wholly laid afide, and 
 abandoned by all our modern Architects. 
 
 OBSERVATION. Fig.$. 
 
 Some very considerable Architects, on oc- 
 cafion, incompaffed the Shafts of their Co- 
 1 umns with feveral Cinctures or Fillets im- 
 bofs'd ; as we fee particularly in the place of 
 Luxembourg, and other places of Note. But 
 thefe kinds of Ruftic Ornaments are never to 
 be imitated, excepting in the Gates of Cita- 
 dels or Prifons, in order to render their En- 
 trance more frightful and difagreeablc. 
 
 This too mult be obferv'd, That if thefe 
 Ruftic Ornaments may be admitted any where, 
 
 'tis 
 
A Treat if e of Architecture. 2 r 
 Vis only in fotfean Columns, or at mod *n 
 Doric - y and never in the other more delicate 
 Orders, efpecially where they are fluted. 
 
 Of the CAPITAL, fig. ?. 
 
 The Capital of the Tufcan Column only 
 confifts of three parts 5 an Abacus, a Quarter- 
 round or Boultin, and a Gorge or Neck, which 
 terminates under the Quarter- round in a Fil- 
 let : the Aitragal underneath belonging to the 
 Shaft. 
 
 Of the lASEoftbis COLUMN. Same Fig. 
 
 This Bafe only confifts of two Members or 
 Parts, a Plinth, and a fonts : the Plinth is a 
 flat fquare Body, the fonts a Body flat on one 
 tide, and round of the other. 
 
 The Fillet above the fonts belongs to the 
 Shaft. 
 
 Of the ENTABLEMENT. Tig. £. 
 
 The Entablement confifts of three principal 
 Parts; a Cornice, a Frize, and an Architrave. 
 
 To the firft, that is, the Cornice, I give about 
 two fifths of the whole height of the Entable- 
 ment. The Fri'ie I make fomewhat higher 
 than the Architrave, to the end that thole two 
 Members may appear to have nearly the fame 
 height; the Overplus given to the Frize, being 
 intended to fupply the place of that part hid- 
 
 D 2 den 
 
11 A Trcalife ^Architecture, 
 den from the Eye by the T'arnia, which finifhes 
 the Architrave: and this fame Rule 1 obferve 
 in all my Entablements. 
 
 Of the Projetfure of the CORNICE. Same Fig. 
 
 'Tis an eflablifh'd Rule in Architecture, that 
 the Cornice of the Entablement have its Prefec- 
 ture nearly equal to its height: aud yet the 
 Prefecture may be fafely made a little larger 
 on occafion ; particularly where a beautiful 
 Profile is required, as 1 have here done in 
 Vignola's manner. 
 
 Of PORTICO'S, or ARCHES, fig. 2. and 6. 
 
 'Tis the ordinary proportion of Arches, that 
 the height be made double the width. But this 
 maybe varied j and made a little more, or a 
 little lefs, as occafion {hall require. 
 
 OBSERVATION. Fig. 6. 
 
 When the Arches are to be at fome diftance 
 from each other, for the conveniency of any 
 Apartments, either above or underneath, the 
 Columns which feparate them, ought to be in 
 couples; but when they are in couples, they 
 fhould have but one Pedeflal, if they have any 
 Pedeflal at all. 
 
 Of 
 
A Trcatife 0/ Architecture, a J 
 
 O/^PEDESTAL. Fig 7. 
 
 The height of this Pedeftal, according to 
 the general Rule already propofed, fhould be 
 one third qf the Shaft of the Column; that 
 is, it fhould not exceed 4 Modules 20 Minutes. 
 And yet I make it 5 Minutes more; without 
 which, in my opinion, it would lofe all its 
 Beauty: Whence it may be obferv'd, that ge- 
 neral Rules are not always to be rigidly folio w'd. 
 
 OBSERVATION. 
 
 The Breadth of the Pedeftal, I mean that of 
 its Die, is always equal to the breadth of the 
 Plinth of the Column ; excepting the Pedeftal 
 be without Bafe and Cornice, as it frequently 
 happens. In which cafe it is neceffary that ic 
 fhould be a fmall matter broader, in order to. 
 diftinguifh it from the Bafe of the Column. 
 See Fig. 126. and 128. 
 
 Of the ENTABLEMENT of the COLUMN, 
 raifd on a PEDESTAL. Fig. 8. 
 
 I always make two Defigns of an Entable- 
 ment j the one a fmall matter higher than the 
 other: The firft for Columns that have no 
 Pedeftals, and the fecond for thofe which have. 
 This difference of Entablement is a thing high- 
 ly reafonable ; in regard Columns that have 
 l'edeflals, are in a more (lately Grdonnance 
 
 than 
 
a 4 A Trcatifc fl/'Archite&ure. 
 than thoie which have none, provided the Co- 
 lumns be but equal in other refpecls; whence 
 'tis apparent, the Entablement of the nrft 
 fhould be ftronger than that of the laft. Accor- 
 dingly, making one Entablement 3 Modules 
 15 Minutes, which is the common height, I 
 could not think it adviieable to make the o- 
 ther, which is for Columns without Pedeftals, 
 above 3 Modules 10 Minutes; which comes 
 five Minutes {hort of the former. 
 
 I am very lenfible, that were we only to 
 have regard to the Laws of Strength and Weak- 
 nefs, we mould diminith the Entablements of 
 Columns that have Pedeflals, rather thanthofe 
 which have none. But we are here confulting 
 Beauty, not Strength. And it may be obferv'd, 
 that 1 don't augment the Strength of this En- 
 tablement ; but diminifh that of the former, 
 where the Portico's are lefs grand, and the Co- 
 lumns Ids diftant. But the necefiity of thofe 
 two Deiigns of Entablements in the fame Or- 
 der, will appear more vifibly hereafter. 
 
 Of COLUMNS infertcd, or let within tie 
 WALL. Fig. 9. 
 
 There are ibme cccafions, wherein an Ar- 
 chitect cannot give his Building a furhcient 
 Frojecture ; particularly where the Entable- 
 ment would hinder the fight of the Windows 
 above, or intercept the Light of the Apart- 
 ments below. In thefe cafes, the Columns are 
 to have one third part of their Diameter inier- 
 
 ted 
 
A Trediife of Architecture. 1 5 
 
 ted or let into the Wall behind them. But re- 
 courfe mould never be had to this lhift, ex- 
 cepting in cafes of neceffity ; for the Columns 
 here lofe an infinite deal of that beauty and 
 grace which they have when they ftand alone- 
 It frequently happens too, that the Columns 
 are let within the Wall for the greater Solidity, 
 and the further flrengthening of the Building. 
 This, however, ought to be obferved, that they 
 never lofe above one third of thtir Diameter; 
 the reaion of which will appear when we come 
 to fpeak of Imports. 
 
 OBSERVATION. Same Fig. 9 
 
 When the Columns ftand alone, they have 
 ufually a Pilafter placed behind them, join'd 
 t o the Wall, or the Pillar of the Portico ; 
 as is fhewn in the Plan D, of this Figure. 
 
 Sometimes in lieu of a Pilafter, we have a 
 Column let within the Wall, in order to make 
 the Symmetry more compleat : Inftances of 
 which are frequent. 
 
 OBSERVATION. 
 
 Though we allow of a Column let within 
 the Pillar of a Portico; yet we can never ap- 
 prove of the letting a Column within a Pilaf- 
 ter; Inftances of which, however, maybe met 
 withal. 
 
 Fig. 
 
1 6 A Trcatifc of Architecture. 
 
 Figure I o. 
 Of a Second TUSCAN Order. 
 
 THis Order is lefs Simple and Maflive than 
 the former: It has fomewhat of a Maf- 
 culine beauty, and a good tafte. Its Frize 
 may be properly adorned with Turtles, which 
 are the Arms of Tufcany. 
 
 Natnes of the Parts and Mouldings of this EN- 
 TABLEMENT. Fig. 12. 
 
 A. Cima-recla, or Ogee with its Fillet o- 
 ver it. 
 
 B. Baguette, kind of Aftragal, with its Fil- 
 let underneath. 
 
 C. Corona, with its Larmier or Drip under- 
 neath. 
 
 _D. Quarter-round, or Boultin. 
 
 E. Scotia or Cavetto, with a Fillet over it. 
 
 F. Frize- 
 
 G- Taenia, or Liftel. 
 
 H. Second Fafcia with its Fillet over it. 
 
 7. Firft Fafcia or Naked of the Entablement. 
 
 OBSERVATION. Fig. 13. 
 
 When the Columns ftand two by two, they 
 may be placed pretty near each other; but it 
 
 is 
 
A Treatife of Architecture. 27 
 
 is to be obferved, that their Bafes ought never 
 to touch; though we frequently rind they do. 
 The reaibn of this Rule is, that when the rwo 
 Plinths come to be join'd into one, they form 
 a new Body, which feems to have no relation 
 to the Columns themielves. This Failine be- 
 comes very vifible when the Columns have but 
 a fingle Pedeftal ; for in that cafe, this con- 
 tinu'd Plinth appears rather as a part of the 
 Pedeftal, than of the Column. 
 
 Fig. 14. Shews the "Entablement <tf the Column 
 
 raifed on a Pedeftal. 
 
 Fig. 15. Reprefents the Pedeftal with the Baft 
 of the Column: The IS a me s of whofe parts 
 
 are as follow. 
 
 A. Shaft, or Fun: of the Column. 
 
 The Parts of the BASE. 
 
 B. Scotia or Cavetto, with its Fillet under- 
 neoth. 
 
 C Torus. 
 V. Plinth. 
 
 The Parts of the PEDESTAL, 
 
 E. Plat-band. 
 
 F. Quarter-round. 
 
 G. Die, with its Fillets and their Apophyges, 
 H. Little Toius. 
 
 I. Zocco. 
 
 E The 
 
2$ A Treat i fc fl/Archite&ure. 
 
 The Parts of ^PIEDROIT. 
 
 KL. Tiodroir, wuh its Fillet at bottom, 
 M. ItsZocco. 
 
 OBSERVATION. 
 
 If the Shaft be made of Stone or other mat- 
 ter, different from that of the Bafe, the Cavet- 
 f o By with its Fillet underneath, may be added 
 to it ; the remaining Bafe only coniifting of a 
 Torus and a Plinth. 
 
 Figure 16. 
 Of the DORIC Order. 
 
 IN the Compofition of this Order we may 
 diicern fomething extremely bold and noble. 
 Its Entablement is pretty much like that which 
 Yignola gives us ; and which he owns to have 
 taken from fome antient Fragments. The Co- 
 lumn is 1 6 Modules high, the Pedeftal 5 Mo- 
 dules and 10 Minutes, and the Entablement 3 
 Modules 28 Minutes: fo that the height of the 
 Pedeflal is one third of that of the Column, 
 and the Entablement nearly one fourth. The 
 whole Order being in height 25 Modules and 
 8 Minutes. 
 
 Of 
 
\A Treatifc of Architecture. 29 
 
 Of the INTERCO.UMINATIONS. Fig. 17. 
 
 The Pittances of the Columns are not left to 
 Difcretion in this Order, as in the Tufcan, 
 The • riglyphs, which make the ornament of 
 this Column, with their Metopes, being con- 
 fin'd to certain Meafures, put it frequently out 
 of the power of the Architect to place his Co- 
 lumns at the Diftances he might ctherwife 
 chufe : However by taking the liberty which 
 I have done, of difpenfing a little with the or- 
 dinary proportions of thofe Triglyphs and their 
 Metopes, a Man has the Intercolumination in 
 his own power; and yet without giving the 
 leaf! offence to the niceft Judges of Architec- 
 ture, by fuch change of Proportions. 
 
 By Proportion I don't here mean, a Relation 
 of Ratio's, as the Geometricians do ; but a 
 Suitablenefs of parts, founded on the good 
 Tafte of the Architect 
 
 In this Figure, the Meafures of the Inter- 
 columniations, and the Number of Triglyphs 
 and of Netopes which feparate them, are fuf- 
 nciently fhewn : the particular Proportions and 
 Meafures of thofe la ft parts will be fhewn here- 
 after. 
 
 Of the different Diminutions of COLUMNS. 
 
 All Columns begin to diminish, in thicknefs, 
 from one third of their height, as we have al- 
 ready obferv'd. But in proportion as their Or 
 
 E 2 d 
 
^o A Treat t fe ^Architecture, 
 ders are more delicate, their Diminution ought 
 to be lefs fenfible. For inflance ; in the nrft 
 r InJ'can Order, where the Column is hut 14 
 Modules high, its Semi-diameter under the 
 Ailragal is dimmiih'd 6 Minutes. In the fe- 
 cond Ti'.fcan Order, where the Column is but 
 15 Modules high, its Diminution under the 
 Aflragal is but .5 Minutes and an half ; and in 
 the Doric Order where the ( olumn is 16 Mo- 
 dules, the Diminution is but 5 Minutes. In 
 the Ionic, where the Column is 18 Modules, 
 this Diminution is but 4 Minutes and an half j 
 and in the "Roman and Corinthian only 4. That 
 is, a Diminution of 4 Minutes on each fide 
 the Axis, is the utmoft that the Column un- 
 dergoes, tho' it always encrcde in height in 
 proportion to its thicknefs. 
 
 Indeed, according to fome Authors, the Di- 
 minution of Columns, even of the fame Or- 
 der, ought to be greater or lefs, according as 
 their heights are greater or lefs. For inflance, 
 a Doric Column, lay they, 20 Foot high mult 
 have lefs Diminution than another of 1 5 Foot. 
 And one of 30, lefs than another of 20: the 
 reafen they give for this, is, that the great- 
 nefs of the height eaiily impofes on the bight ; 
 and hence conclude that a very tall Column 
 mud of itfelf appear diminished towards the 
 top. Nor can it be denied, but that this 
 holds tree where the Eye is placed near, and 
 looks up from the bottom to the top of the 
 Column , but then it is to be confulered, that 
 large Columns are never made with defi gn to 
 
 be 
 
A Trcatlfe 0/ Architecture. 31 
 be view'd thus near, bur always at a diftance 
 fukable to their height; and it would be ri- 
 diculous to fpoil their Proportions, out of 
 Complaifance to fuch as fhould pleafe to view 
 them at an improper diftance. 
 
 In my opinion therefore when any certain 
 Diminution of a Column has been once efta- 
 bliih'd ; provided it do but pleafe the Eve 
 when view'd at a difi ance, it ought never to 
 be changed on occaiion of any Alterations in 
 the height of the Column 3 excepting it mould 
 be found in fome clcfe narrow place, which 
 yet can never happen, unlets in the iniide of a 
 Building ; for inltance, of a Dome, or the 
 like ; to which a prudent Artichect will al- 
 ways have a particular regard 
 
 It mud he remembred, that I am here fpeak- 
 ing or Columns of the lame Order ; for in 
 different Orders the Diminution mud be dif- 
 ferent, as 1 have already obferv'd. But as to 
 a Doric Column, for inltance, be its height an 
 hundred Feet, or be it but ten, its Diminu- 
 tion fhou'd alway§ be the fame, at leaft this 
 is my Opinion. 
 
 Of //*> FLUTINGS of the DORIC Column. 
 
 lig. 18. 
 
 The Flutings of this Column ought not to 
 exceed twenty, which is the Number obferv'd 
 by Vignola. Palladia indeed has' twenty four, 
 but they appear too llender fcr this Order. 
 Thefe fhou'd always be (o cjfpcs^d, as chat 
 
 there 
 
^2 A Treatijc 0/ Architecture. 
 
 there may be one to Hand full in the middle 
 of the Column. Vignola determines their 
 depth by an equilateral Triangle, having one 
 of its Angles in the middle of the Fluting. 
 Vitruvius will have the depth to be the mid- 
 dle of a Square, one of whofe Sides is the 
 width of the Fluting, which lafl mult indeed 
 be the deeper of the two. 
 
 Sometimes the Flutings are made flat, and 
 are call'd Facetted; but thefe never have fo 
 good an Effect as the others ; and for that 
 reafon, are not lb much in ufe tho' it can't 
 be denied but they are more fuitable to the 
 Solidity of the Order. 
 
 OBSERVATION. Fig. 19. 
 
 The Flutings ought always both to begin 
 and end in the Shaft j near the extremity of 
 the Apophygis. 
 
 When there are Flutings in the Column, 
 there ought alfo to be Eggs and Anchors in 
 the Quarter round of the Capital ; and even 
 Pearls and Olives in a Baguette, to be made 
 underneath, in lieu of Anulets. 
 
 Thefe Eggs and Olives ought to be in the 
 fame number with the Flutings, and to be 
 regularly diftributed ; as is fhewn in the Plan 
 of this Figure- 
 
 Of the MUTULES. Fig. 19. 
 
 1 make Mutules in this Entablement, not 
 only to diflinguiili it the more from other 
 
 Entable- 
 
A Treat/ jc of Architecture. 3 3 
 
 Entablement, but alio becaufe they agree ve- 
 ry well with the noblenefs of this Order ; and 
 add fomewhat of a maiculine Beauty to it. 
 
 In this Figure may be feen, how the Mu- 
 tules make a Corona to the Triglyphs under- 
 neath 5 each Trigl) ph having its feveral Mu- 
 tule. 
 
 OBSERVATION. Fig. 20. 
 
 Thofe who ufe Mutules, ufually make 
 them of the fame breadth with the Triglyphs. 
 But it wou'd be much better in my Opinion, 
 if thev were made of the fame breadth with 
 the Capitals of the Triglyphs. 
 
 It may alfo be obferv'd, That I don't run 
 my Mutules fo near the Extremity of the 
 Larmier or Drip, as is ufually done ; but that 
 I leave a Space of three or four Minutes be- 
 tween the two, that the Profile may appear 
 the more diftinc"tly ; and I obferve the fame 
 Rule in the Modillions of the other Orders. 
 
 Of the TRIGLYPHS. Same Fig. 20. 
 
 The ordinary Proportion of Triglyphs, is 
 one Module in breadth, and one and an half 
 in height. But in regard thefe Meafures oc- 
 cafion a Difproportion in the Intercolumina- 
 tions of Portico's, (a thing particularly ob- 
 fervable in Vignola, who makes the Pillars 
 there, five Modules broad, whereas the others 
 are but four j) I have accommodated the Pro- 
 portion of mine, I mean of my Trigl) phs, 
 
 to 
 
jij. A Treatifc of Architecture. 
 
 to that of the Intcrcoluminations ; thinking 
 it more reafonable to make the little parts 
 correfpond to the greater, than the greater to 
 the lefs. And yet I believe it will be own'd, 
 that my Triglyphs, tho' different from the 
 ordinary ones, are not inferiour to them in 
 beauty, bee Fig. j 9. and 24. 
 
 Of the METOPES. Fig. 19. 
 
 By Metopes are meant the Intervals be- 
 tween the Triglyphs. The beauty of thefe 
 coniifts in their regularity ; that is, in their 
 being perfect Squares. And yet when the/ 
 are really fquare, they appear to be lefs in 
 height than in breadth ; which is owing to 
 the Projecture of the little Bandelet wherein 
 they terminate underneath, that hides a fmall 
 part of their height : for this reafon 1 make 
 the Metopes a Minute or two more in height, 
 than in breadth; being of opinion, they ought 
 rather to appear fquare, without being ib, than 
 really be fquare, without appearing fo. 
 
 OBSERVATION. Figure 22. 
 
 When the Triglyphs and Metopes follow 
 each other regularly, as in the Figure here 
 refer'd to, the Columns mud only ftand one 
 by one Exempting thole of the inner Angles, 
 which ought always to be accompany'd with 
 two others, one on each fide ; from which 
 the reft of the Columns may be placed at 
 
 equal 
 
A Trcatife 0/ Architecture. 35 
 
 equal distances from each other : and it is to 
 be obferv'd, that thefe two Columns, which 
 accompany that of the Angle, are not lefs ne- 
 ceffary on account of the folidity of the Build- 
 ing, than of the regularity of the Intercolu=- 
 
 minations. 
 
 OBSERVATION. Pig. 23. 
 
 Inftead of a Column in the Angle, one may 
 place a Pilafter, which will contribute more 
 to the ftrength of the Building. 
 
 OBSERVATION. Fig. 22. 
 
 Columns (landing alone, and distributed 
 one by one, ought to have no Pedeflals, for 
 thefe wou'd make them appear too flender and 
 
 weak. 
 
 Of the PEDESTAL. Pig. 23. 
 
 When Columns are to be placed two by 
 two, as it is fometimes found necefTary, the 
 regular placing of the Triglyphs in the inner 
 Angle, muft be a little interrupted, in order 
 to keep up the regularity of the parts of the 
 Ceiling j as is mewn in this Figure. And in 
 lieu of a little part of a Triglyph in the An- 
 gle, may be plac'd the Arms of the Family, or 
 lome other fuitable Ornament, to cover that; 
 Defeft. 
 
 F OBSER, 
 
5 6 A Treat ifc ojf Architcdure. 
 
 OBSERVATION. Fig. 24. 
 
 In a Pcriftyle confiding of Columns placed 
 one by one with J'edeftals underneath, one 
 finele Pedefb.l mould ferve for all the Co- 
 lumns : that is, the fame Pedeftal muff be con- 
 tinued throughout ; as is reprefented in this 
 Figure. But then the Pedeftal ought to be 
 diftinguim'd into two parts, a fore and a hind 
 part ; fo that each Column may feem to have 
 its feveral Pedeftal. 
 
 OBSERVATION. 
 
 In placing a Pilafter in an Angle, in the 
 manner already directed, there appears an Ir- 
 regularity ; and it confifts in this, that the 
 Naked of the top of the Pilafter, exceeds, a 
 a little, the Naked of the Entablement j which 
 feems to oblige the Architect to make a Ref- 
 faut or extraordinary f rominence in the En- 
 tablement. But as fuch a Prominence wou'd 
 fpoil all the Regularity of the Frize and the 
 Ceiling, 'tis better to let it alone ; and rather 
 to fuffer a little Defect, than correct it by ad- 
 ding a much greater. 
 
 OBSERVATIONS. Fig. 25. and 26. 
 
 When Columns, that have Pedeftals, are 
 ufed in Portico's, they may ftand one by one ; 
 
 becauf® 
 
A Treat ife of Architecture. 3 7 
 
 becaufe in that Cafe, they are fupporced and 
 fortify'd by the Pillars of the Portico. 
 
 The advantage of having two Defigns of 
 an Entablement, appears ftiil more evidently 
 in this Order, than in the Tujc^n. In the pre- 
 ceeding Defigns, intended for Columns with- 
 out Pedeftals, the Triglyphs are but 26 Mi- 
 nutes broad ; whereas in thefe which are for 
 Columns that have Pedeftals, they are 28. 
 this number being neceffary, in order to have 
 juft and well proportioned Intercoluminati- 
 ons 
 
 It may alfo be obferved, that when the Pro- 
 portions of the Triglyphs are changed, thofe 
 of the Metopes change likewife. 
 
 Profile of the large DORIC ENTABLE- 
 MENT, with its Parts } and iheir Names 
 Fig. 26. 
 
 A. Cavetto, with its Fillet over it. 
 
 B. Baguette. 
 
 C. Corona, with its Fillet over it, 
 
 D. Little Ogee or Cima inver/a. 
 
 E. Platband. 
 
 F. Mutule, view'd in Front. 
 
 G. Mutule view'd fidewife. 
 
 H. Quarter-round with its Fillet under- 
 neath. 
 
 I. Capital of the Triglyph. 
 
 K. Triglyph. 
 
 L. Semi-Metope j or rather, part of a Me- 
 tope. 
 
 F 2 M. Tri- 
 
38 A Trcatife 0/* Architecture. 
 
 M. Triglyph, vicvv'd fidewife. 
 
 N. Tenia or Bandelet. 
 
 O. Guztx or Drops. 
 
 P. Fafcia of the Architrave. 
 
 ab. Cornice, be. Frize, cd. Architrave. 
 
 OBSERVATION. 
 
 I make but one Fafcia in the Architrave ; 
 to the end that the Drops which fall from the 
 Triglyphs, may not be found out of the naked 
 of the Frize ; and yet a fecond Fafcia might 
 be added, provided its f rojecture be but fmall, 
 as I my felf have done in the Entablements of 
 Pilafters, Figures 87. and 89. 
 
 Names of the principal Farts of the SOFIT <f 
 a CORNICE. Fig. 27. 
 
 ABC An angular Frame or Pannel, con- 
 taining three Rofes. 
 
 DEF. Bottom of a Mutule. 
 
 G. A little Mcdillion contriv'd under the 
 Mutule in the middle of the Drops, 
 which make a double Row around it. 
 
 D. A little Border containing the Drops 
 of the Mutule. 
 
 HH. A large Border which furrounds the 
 Pannels and the Mutules. 
 
 /. Plan of the Triglyph. 
 
 K. Plan of the upper part of the Column. 
 
 /.. Section of a Mutule, view'd fidewife, 
 
 AGe- 
 
A Treat ife ^Architecture. 39 
 
 A General Rule for PEDESTALS. 
 
 T ufually allow one Module for the height 
 of the Bafe of the Pedeftal, and half a Mo- 
 dule for that of its Cornice. The breadth of 
 the Plinth of the Column, always determines 
 that of the Die of the Pedeftal ; and a third 
 of the height of the Column, is the Meafure 
 for the whole height of the Pedeftal ; fo that 
 the Difference in height, between the Pede- 
 ftals of my Orders, lies wholly in their Dies. 
 
 Of the IMPOSTS. Ftg. 29. 
 
 Imports are little Cornices which terminate 
 the Piedroits of Portico's, and are peculiarly 
 appointed to receive the extreams of their 
 Arches, with their Archivolts or Head-bands. 
 
 I ufually propofe two Defigns of Imports, 
 different in Height and Projeclure. The low- 
 eft for Portico's where the Columns have no 
 Pedeftals, and the other for Portico's where 
 they have ; that is, the little Imports are for 
 little Arches, and the large Imports for large 
 ones ; it being highly reafonable that the big- 
 nefs of the Import fhould be proportionable 
 to that of the Portico. 
 
 OBSERVATION. 
 
 Care muft be taken, that the Projeclure of 
 the Import never exceed the Semi-diameter of 
 
 the 
 
4o A Treat ifc o/'Architedlure. 
 the Column, behind ; nor intercept any thing 
 of its roundnefs, before. 
 
 Figure 30. 
 
 Of the IONIC ORDER. 
 
 THIS Order is of a delicate Compofi- 
 tion with regard to the preceeding ones. 
 Its Column is 18 Modules high; its Pedeftal 
 6, that is one third of the Column ; and its 
 Entablature 4 and 10 Minutes, which is 5 
 Minutes fhort of a quarter of the Column: 
 The whole Order being in height. 28 Modules 
 10 Minutes. 
 
 Of the INTER-COLUMNS. Fig. 31. 
 
 The diftances of the Columns in this Or- 
 der are adjufled by a certain number of Den- 
 ticles, which leave a convenient Space be- 
 tween them ; with this Circumftance, that 
 there is always found one in the middle of 
 each Column. Thus, when I mention 35 
 .Denticles between the Axes of the Columns 
 A and B; it mull be underftood, that there 
 are 34 whole ones, and two halves, one at 
 each extream; the firft Denticle A, and the 
 laft. B, being each cut into two equal parts 
 by the Continuation of the Axes of the Co- 
 lumns. Whence it may be obferved, that in 
 cafe there be a neceiiity for augmenting or 
 diminiihing the Inter-Columns, it muft be 
 
 done 
 
A Treatife of Architecture. 4 1 
 
 done by augmenting or diminishing the num- 
 ber of thefe Denticles, which however ought 
 never to exceed one or two Denticles at the 
 moft. 
 
 Of PORTICO'S and their IMPOSTS. 
 *%"• 33- 
 
 The moft perfect Arches are thofe which 
 confiits of a bemicircle ; and the Imports are 
 ufually placed on a level with their Centre. 
 There are fome Architects, however, who 
 from an Optical confideration, place them a 
 few Minutes lower ; and 'tis with Judgment 
 they do it j for as the Proje&ure of the Im- 
 port hides a little part of the Arch from the 
 Eye, 'tis but reafonable it mould be lower'd 
 a little, to leave the entire Semicircle in view, 
 which otherwife would appear defective. 
 
 Of the CYMAISE or large upper MOULD- 
 ING that terminates the ENTABLATURE. 
 Fig. 32. and 33. 
 
 I ufually make the Prefecture of the Cy- 
 maife equal to its height, exclufive of the 
 Fillet a-top. 
 
 In the firft Tufcan Order the Cymaife is a 
 Quarter-round ; in the Doric it is a Cavettv, 
 and in this, as well as the following Orders, 
 a Doucine or upright Cymaife. 
 
 Pf 
 
q.2 A Treat ifc of Architeclur e. 
 
 Of the CORONA and its LARMIER or 
 DRIP. Same Fig. 
 
 The Corona is that large fquare Moulding 
 immediately under the C^maiie. It prqjedts 
 very much, both for the greater beauty of the 
 Entablature and for the better fheltering of 
 the whole Order. 
 
 I ufually make this part flronger than the 
 Cvmaife, as being the ruling Member of the 
 Entablature, and even of the Order. Under- 
 neath this, we ufually dig a Channel, for three 
 Reafons ; the firil to give it more Grace and 
 Ornament ; the fecond to render it lefs heavy ; 
 and the third to prevent Rain or other Moi- 
 fture from trickling down along the Order. 
 For the Water falling from the top of the 
 Cornice, not being able to afcend into the 
 Channel, is forced to fall drop by drop on 
 the Ground, by means of a little Ledge A; 
 and 'tis on this account that the bottom of the 
 Corona is called Larmier or Drip. 
 
 Of the OVOLO. Same Fig. 
 
 The Quarter-round underneath the Larmi- 
 er is ordinarily called Ovolo ; from the Fi- 
 gures of Eggs frequently carv'd upon it. 
 
 of 
 
A Treatife 0/ Architecture. 4.3 
 
 Oftbe ASTRAGAL or BAGGUETTE, 
 *&• 35- 
 
 The Aftragal orBaguete has the Figure of a 
 Staff; when ic is joyn'd to a Fillet AB. I di- 
 vide the height of the Fillet into three parts, 
 two whereof I give to the Aftragal ; and this 
 Rule I obferve on all Occafions. 
 
 OBSERVATION. 
 
 This A illegal is frequently carvM with 
 Pearls and Olives, which the French call i a* 
 tenotes. 
 
 Of the DENTICLE. Same Fig. 
 
 The Denticle is that fquare Moulding un- 
 derneath the Ovolo ; ib cali'd, becaufe out of 
 this Member, the Architects frequently cut 
 a kind cf Teeth, cali'd Denticles or Dentils. 
 
 REMARK. Pig. 36. 
 
 The Divifion of the Denticle is fo ordered 
 in this Figure, as that there is a Dentil found 
 in the re-entering as well as in the projedting 
 Angle j which occafions a beautiful Regula- 
 rity in the Soffit, not to be had in following 
 Vignolds manner. 
 
 1 hole who will have the Denticles repre- 
 fent the ends of Rafters, will icarce approve 
 
 G of 
 
44- A Treatifc 0/" Architecture. 
 
 of mv ufmg them in Angles that have no rela- 
 tion thereto I fhallbcg, however, they'd con- 
 sider that they are here ufed no otherwife than 
 as pure Ornaments ; fuch as in effeQ they 
 ought to be ; and not as ends of Rafters, which 
 are never feen at all, excepting in Hutts and 
 Country Cottages, which are foreign to my 
 Subject. 
 
 Of the CAPITAL of the COLUMN. 
 
 F k- 37- 
 
 The moft eflenti.il part of this Capital the 
 Volute, which fevcral Architects imagine to 
 have been intended to reprefent the Rind or 
 Bark of a Tree inclofed between the Abacus and 
 Quarter round, having its two Extreams twill- 
 ed into Scrolls, and thofe two Scrolls bound 
 with a large Rope in the middle j which comes 
 pretty near the Figure that the Antients gave 
 to the two fides of the Capital: 
 
 Other Architects coniidering that this Capi- 
 tal bears feme refcmblance to the Head-dreis 
 of a Greek Lady, believe it to have taken its 
 Origin thence: But this being a matter of no 
 great UQ y we leave every one to judge of it as 
 he pleafes. 
 
 Of the manner of defcrlbiftg the VOLUTE, 
 Fig. 38. 
 
 There are various Ways of defcribing this 
 Volute j but I ihall content myfelf with giving 
 
 one, 
 
A Treat ifc of Architecture. 4 5 
 
 one, which is the moil ufual as well as the moft 
 cafy ; being leirn'd without any trouble, by a 
 bare View of the Figure, 
 
 Some Architect blame it as not iufficiently 
 accurate ; but if managed with Addrefs, it an- 
 fwers very well. 
 
 The firft Spiral AB C, &c. being drawn, 
 defcribe the Border or fecond Spiral, A/A r O, 
 &c. taking new Centres near the firft, but ftill 
 approaching nearer to the Centre of the Eye 
 of the Volute, by a Space not exceeding that 
 of a Poinp made with your Compares. 
 
 Of the Modern CAPITAL. Fig. 3 9. 
 
 The Capital of the Antients being found im- 
 proper in angular Columns, by reaibn of the 
 Diverfity of its Faces; Scarnozzi compoied a 
 new one with four fimilar Faces, pretty much 
 like thole in this Figure. Some Architects, 
 however, won't allow the Volutes to fpring 
 • out of the Vafe of the Capital, but will have 
 'em coniift of one and the lame Rind continued 
 under the Abacus, which by this means will 
 appear the better fupponed, an Inftance where- 
 of we have in the five Orders of Monfieur Per- 
 vault ; and they would have Reaibn on their 
 fides, were there the fame good Tafte in this 
 as in the other Defiga; but as that can't be, we 
 mu ft be contended with the other, which is ea- 
 fily defign'd, and has a beautiful Appearance. 
 Tistrue, the new Abacus, which it has here, 
 being better proportion'd to the largencfs of the 
 G 2 Vo- 
 
46 A Treatife of Architecture. 
 
 Volutes, thnn that of Scamozzi, renders it the 
 more graceful ; belides that it is further en- 
 riched with little Feftoons falling from the Vo- 
 lutes which fome modern Sculptors have been 
 pleafed to add . 
 
 OBSERVATION. Fig. 40. 
 
 When there are Eggs cut in its Quarter- 
 round, their Number mould be 24 ; and the 
 Shaft or Full: Ihould be channel'd with an equal 
 Number of Flutings. 
 
 We fometimes alfo cut Pearls and Olives in 
 the Aftragal over the Ovolo, tbo' it belong to 
 the Shaft : Lut were the Capital made of a 
 Matter different from that of the Shaft, then 
 muft the Aftragal be confidered as a Baguette, 
 making part of the Capital, and not of the 
 Shaft ; to which laft the Fillet underneath 
 wou'd be left; were it other wife, the Capital 
 would be but pocrh terminated by its Ovolo, 
 or Quarter-round, befides, that it would be too 
 flat and fquab. 
 
 Of the PEDESTAL. Fig. 41. 
 
 I here propefe two Kinds of Cornices for 
 the Pedeftal ; the one Camus and Solid, to be 
 ufed within -fides of Apartments where the Pe- 
 deftal is to be view'd from above: The other 
 has a Larmier, intended for thofe Pede- 
 
 ftal s whofe Cornices are above the Eye, and 
 are to be view'd from below. 
 
 OB- 
 
A Trcatife of Architecture. 47 
 
 OBSERVATION. Fig. 41. 
 
 Were an Ailragal to be placed underneath 
 the Cornice of this Pedeilal, as we fee done 
 in that of the Corinthian, there mould be no 
 Table in the Die ; at leail, if for any parti- 
 cular Reaibn there were required one, there 
 mull be no Ailragal. Nor wou'd ! ever al- 
 low an Ailragal under a Cornice that is Ca- 
 mus and without a Larmier, but a Table hol- 
 low'd in the manner of half this Pedeflal, A, 
 A Table under the Ailragal wou'd make too 
 many little Mouldings one over another 3 and 
 the Prefecture of an Ailragal under a Cornice 
 without a Larmier, wou'd make it appear too 
 Camus ; whereas the Retreat of a Table will 
 give it a Grace, and feem to augment its Pro- 
 jeclure, and render it lefs Camus, as is feen in 
 the Profile CD of the following Figures. 
 
 Of the BASE of the COLUMN. Fig.42. 
 
 This is that Bafe call'd the Attic - ? which is, 
 without dilpute,oneof the moll beautiful ever 
 invented : its height is one Module j its Parts 
 are a Plinth, two To^es and a Scotia accom- 
 panied with two Fillets. 
 
 Figure 
 
48 A Treat if c of Archite&urc. 
 Figure 43. 
 0/^ROMAN ORDER. 
 
 THIS Order refembles the Ionic in its Vo* 
 lutes, and in the Bafe of its Column ; ' 
 but is much richer and more ornamental. It 
 has fomewhat more Elegancy too. throughout 
 the whole, as being fomewhat higher, and yet 
 it appears ftronger, and more mafculine, by 
 reafon of its Modillions, and the height of its 
 Capital. 
 
 The Column is 19 Modules 20 Minutes 
 high ; the Pedeftal 6 Modules and 16 Minutes, 
 and the Entablature 4 Modules and 15 Mi- 
 nutes ; fo that the height of the i'edeftal is 
 nearly one third of that of the Column and 
 that of the Entablement one fourth, abating 
 12 Minutes and an half: The whole Order 
 containing 30 Modules 21 Minutes. 
 
 REMARK. 
 
 There is a particular Neceflity for a rigorous 
 adherence to thefe Meafures, and Proportions, 
 when the Orders are fo difpofed as that they 
 may be compared together; as when one is 
 placed upon another , where the Elegancy of 
 each may be confidered with regard to that of 
 the othgr. 
 
 Of 
 
A Treatife of Architecture. 4.9 
 Of the INTER-COLUMNS. Fig. 44. 
 
 As in the Ionic Order the Distances of the 
 Columns are to be adjufted by a certain Num- 
 ber of Denticles; fo in this Order they muft 
 be adjufted bv a certain Number of Modil- 
 lions ; with this Reft.iction, that there be al- 
 ways one exactly in the middle between each 
 Column : The Inter-Modillions having been 
 at firfl regulated by the Diftances that ought to 
 be between two Columns. 
 
 Of the CONVEX FRIEZE. Fig. 45: 
 
 We fometimes make the Frieze of the Enta- 
 blature Convex ; but then this fhou'd never 
 be done without fome good Reafon ; meer Ca- 
 price being not fufficient to warrant fuch an 
 Alteration. 
 
 When one Order is rais'd over another, and 
 the upper Column has its due Bignefs, its Pe- 
 deftal necefTarily goes beyond the Naked of 
 the under Column; which to fome Perfons 
 has a difagreeable Effect. This inclines me to 
 think, that the firft. Architect, who made a 
 Convex Frieze, did it with a Defign to exte- 
 nuate this Appearance of a Defect. This is 
 evident, that as the Naked of a Frieze is hid- 
 den by this fwelling, the Pedeftal of the upper 
 Order appears lefs to exceed the Naked of the 
 under Order ; which may be eafily obferved in 
 Figure 129, where the two Orders are feen 
 
 over 
 
5 o A Treatijc of Architecture. 
 
 over each other. Were it not on this ac- 
 count, the Convex Frieze ought not, in my O- 
 pinion, to be imitated. 
 
 On the occafion juft mention'd, the Frieze 
 may be made Convex in all the Orders excep- 
 ting the Doric, where this fwelling can't be 
 allow'd, by reafon of the Triglyphs. 
 
 Of the CAPITAL. Fig. 46. 
 
 In thefe two Defigns we fee the effential 
 Parts of the Capital, their Meafures and Pro. 
 portion. 
 
 The firft (hews the Figure of its Vafe, with 
 its height and breadth ; here we may alfo ob- 
 ferve, that the Abacus does not bear upon the 
 Quarter-round, but only on the four Volutes, 
 which feemsto be an Offence againfr. Solidity; 
 but which, however, is not very considerable, 
 as being only in appearance, there being really 
 no Space between the Abacus and Quarter- 
 round ; to which it may be added, that even 
 this apparent Weaknefs is hid, by the Volutes 
 and the little Leaves that accompany them, as 
 may be feen in Figure 48. 
 
 In the fecond Defign of the fame Flate 46. 
 we fee the Plan of the Abacus with its four 
 Horns ; and how the Equilateral Triangle JBC\ 
 gives the Point A, whence the Sweep or Cur- 
 viry is to be defcribed. 
 
 RE- 
 
A Treat ife of Architecture. 5 1 
 
 REMARK. Fig. 47. 
 
 The Volutes of the Capital are lefs in this 
 Order than in the Ionic j the Line A a being 
 here bare 13 Minutes, whereas in the Ionic it 
 is 15. 
 
 CONSTRUCTION of this VOLUTE 
 
 or S P I R A L-L I N E. Same Fig. 
 
 The Eye of the Volute taking up three Mi- 
 nutes of the Diameter IK, make A O thir- 
 teen Minutes ; then from the Point 1. defer ibe 
 the Arch A M, from the Point 2. the Arch 
 MF, from the Point 3. the Arch FG, from 
 the Point 4, /the Arch G C, from the Point £. 
 the Arch G H y from the Point 6. the Arch 
 HL^c. 
 
 From the Point A", let fall the Perpendicu- 
 lar KE, and from the point E } defcribe the 
 Arches JB, CD. 
 
 Of the entire CAPITAL, Fig. 48. 
 
 This Capital is ufually call'd Compofite ; as 
 partaking of the Doric Order in its Quarter- 
 round, of the Ionic in its Volutes, and of the 
 Corinthian in its double row of Leaves under- 
 neath, which are in Number fixteen. 
 
 The Leaves I give it are of Laurel, which 
 not being much edged, or indented, are lefs 
 delicate, and for that Reafon more fuitable to 
 
 H the 
 
51 A Trcatijc 0/" Architecture. 
 
 the Volutes of this Capital ; which are tole- 
 rably matiive, but agreeable to the Modilli* 
 pns of the Entablement. 
 
 Of the FLUTING S. l/g\ 48. 
 
 When we make Flutings in this Column, 
 their Number is to be twenty four, as in the 
 Ionic. But to diftinguifh them, I make thofe 
 of the Compofite flat at bottom, and only a 
 Minute and a quarter deep, but twice as much 
 in width. 
 
 ' Of the KEYS. 
 
 Keys that have a Pi ojecture, and are made 
 in manner of Confoles, and placed in the mid- 
 dle of Arches or rortico's, are particularly 
 deflined to fuftain the Weight and Preffure of 
 the Entablature, where it happens to be very 
 great between the Columns ; for this reafon 
 they ought to be made in fuch manner, as that 
 they may prove a real Support, and not fland 
 for mere Ornaments as they frequently do : 
 Without this Precaution , 1 think they had 
 better be entirely omitted. 
 
 O/^MODILLIONS. Fig. 51. 
 
 The Mcafures that I obferve in the Modil- 
 lions, both of this and the following Orders, 
 are not barely concerted with a View to the 
 juft Proportion of thofe Parts, but alfo to efta- 
 
 blilh 
 
A Treatlfe of Architect lire. 53 
 
 blifh a Regularity in the Parts of the Plafond 
 or Soffit of the Cornice. 
 
 The Diftance between one Modillion and 
 another, depends on that between the Inter- 
 Columns ; and that Diftance obliges us to 
 make the Modillions of a certain height and 
 breadth ; in order to have the Spaces that fe- 
 parate txhem in the Soffit, perfectly fquare. 
 Not only becauie thofe Squares are more re- 
 gular than long Squares , but alfo becaufe 
 they may be continued uniform through the 
 projecting and re-entering Angles which long 
 Squares are incapable of 5 as may be obferved 
 in the Buildings made according to the Rules 
 of Vivrnola. 
 
 Further, in making the Divifion of the 
 Inter-Modillions , Care mu ft be taken that 
 they have fuch a Proportion, as that when 
 the Orders are placed over one another, the 
 Modillions of the lower Order be found in 
 the fame Number with thofe of the upper. 
 
 Of the Uttk TALONS.. Fig, 52. 
 
 When a little Talon or Gula ferves as a 
 Cymaiie, particularly when it terminates an 
 Impoft, as the Talon A does in this Figure, 
 or when it terminates the cornice of the Pe- 
 deftal, as in Figure 54 ; I give it a Fillet fome- 
 wliat ftronger than what I ufe when it h 
 found incloied between other Mouldings. $?i 
 the Talon B. Fig. 52. 
 
 H 2 1 
 
54 ^ Trcatijc tf/'Archite&ure. 
 
 I make the Fillet of the firft A, the ftrong- 
 cr, becaufe being more expofed, it is more 
 liable to be broken : Befides, that theie laft 
 Mouldings always appear more delicate than 
 they really are, by reafon of the Air, which 
 feems to take fomething of their Bulk. 
 
 The height of the Fillet A, is half that of 
 its Talon, and the Fillet B> only a third. 
 
 Of PILLARS or P1EDROITS. 
 
 In Portico's, where the Columns have Pe- 
 deftals, the Fillars or Piedroits ought to be 
 four Modules in breadth j but if they be 
 more, they will be ill- proportioned to their 
 Columns j an Inftance whereof we have in 
 the ercat Comoofite Portico of Palladio : To 
 which it may be added, that the Inter-Co- 
 lumns in that cafe would likewife be to big ; 
 as may be obferv'd in the Doric Order of 
 Vignola, where the Pillars of his great Por- 
 tico being of five Modules, the Columns are 
 found too far diftant from one another. 
 
 11 E M A R K. 
 
 Tailadio terminates thefe Fillars with the 
 Mouldings of the Bafe of the Pedeital, which 
 he continues quite round, fo that the Bafe of 
 the Pedeftal becomes confounded with that 
 of the Piedroit ; a thing, in my Opinion, 
 that ought to be avoided. For if thofe Mould- 
 ings be proportion'd to the height of the 
 
A Treatise of Archke&ure. 5 5 
 
 Pedeftal, they can't be (o to that of the Pillar : 
 Belides, that by advancing a good way with- 
 in the ParTage, they become incommodious, 
 and are foon broken and defaced. 
 
 Vignola terminates thefe Pillars with a plain 
 Zocle, which here fuits very well ; and this 
 too, is my Practice. 
 
 When the Columns have no Pedeftals, I 
 terminate the Pillar with a Zocle equal to 
 the Bafe of the Column. See the Portico's, 
 Fig. 44. 
 
 Names of the Parti that compofe the Bafe of 
 the Column. Fig. 54. 
 
 J. Upper Torus. 
 
 B. Fillet. 
 
 C. Scotia. 
 
 D. Fillet with a Baguette. 
 
 E. Under Torus. 
 
 F. Plinth. 
 
 Names of the Mouldings of the Cornice, and 
 the Bafe of the Pedeftal. 
 
 G. Cymaife, Talon, or Ogee with its Fillet, 
 H. Corona, with its Larmier underneath. 
 /. Doucine, or upright Ogee. 
 
 K. Upper Fillet of the Die. 
 
 L. Lower Fillet of the Die. 
 
 M. Doucine with its Fillet underneath, 
 
 N. Little Torus. 
 
 O. Zocle. 
 
 Of 
 
56 A Treatifc of Archite&ure. 
 
 Of the SPANISH ORDER. Fig. 55. 
 
 THIS Order is more elegant than the 
 Roman, both in the whole, and in its 
 Parts ; and yet it has an Air of Strength and 
 Greatnels that becomes it very well. 
 
 The height of its Column is 19 Modules 
 25 Minutes; that of its Pedefta! 6 Modules 
 and 18 Minutes; and that of its Entablature 
 4 Modules and 15 Minutes ; fo that the height 
 of the Pedeftal is nearly one third of that of* 
 the Column, and the Entablature 14 Minutes 
 lefs than a quarter of the fame The entire 
 Order containing 30 Modules 28 Minutes. 
 
 REMARK on the INTERVALS between the 
 MODILLIONS. Fig. 57. 
 
 The Modillions are further apart in this 
 Order, than in the Roman, but lefs than in 
 the Corinth/an ; which is a thing neceffary, irt 
 order to be able, on occafion, to place thefe 
 Orders one over another. For as any Order 
 ought to be lefs high than that whereon it is 
 placed ; the Corinthian when placed over the 
 Spamfo, fhou'd be lefs than the Spanift, as 
 that when placed over the Roman, fliould in 
 like manner be lefs than the Roman. So that 
 the under Columns being bigger than the up- 
 per, the bottom of the upper may not be big- 
 ger than the top of the under, and yet their 
 Modillions be found exactly over one another ; 
 
 which 
 
A Treat ifc tf/Architechire. 57 
 
 which were things impracticable, unlefs the 
 Mcdillions were at the lame diftance, propor- 
 tionably, in all the Orders. ' Whence it may 
 be obferved, that it is not enough to compofe 
 beautiful Orders, but they mud: alio be match'd 
 and adjufted to one another, if a Man would 
 ever have 'em go together, as 'tis frequently 
 necellary they mould do. And this is what 
 I have had a particular Regard to in compo- 
 fing thefe Orders ; though 'tis a matter of no 
 fmall Labour. 
 
 Of the ARCHIVOLTE, cr HEAD-BAND. 
 
 Fig. 58. 
 
 In every Order the Parts ought to have a 
 relation to one another, as well as to their 
 whole. Thus the Simplicity or richnefs of the 
 Architrave ought to determine the limplicity 
 or richnefs of the Archivolte. And yet Pal- 
 ladio has neglected this iWaximof Archite- 
 cture, particularly in his Tufcan Order. But 
 that's what he cannot be commended for ; or 
 rather, 'tis what he ought not to be imitated 
 in. 
 
 REMARK. 
 
 The Archivolte in large Portico's, is always 
 one Module broad, in all my Orders ; and only 
 20 or 25 Minutes in the little Portico's. 
 
 OB- 
 
58 A Treatifc 0/ Architecture. 
 OBSERVATION. 
 
 In all Vignola's Orders, over the Archi volte 
 are placed triangular Tables, which Monfieur 
 DAvilair calls Timpans, or T\mpana; but 
 which ought not however, to be imitated ; 
 becaufe falling in with the Curvity of the Ar- 
 chivolte, they feem to be confounded with it, 
 and appear to augment its breadth, which has 
 an ill Effect 
 
 Of the CAPITAL. Fig. 60. 
 
 I give it eight large Leaves, fimple, but a 
 little waved with Grenat-Stalks, or Flowers 
 rifing among 'em ; which may be managed 
 in various manners, according to the various 
 Places where this Order is ufed. 
 
 The Horns of the Abacus are fupported by 
 little Volutes ; the middle of the Abacus being 
 adorned with a Lion's Snout, inftead of a 
 Role. I need not mention that this noble 
 Animal is the Symbol of hpain ; and that it 
 cxprefTes the Strength and Gravity, as well as 
 the Prudence of that Nation. 
 
 In the following: Figure we have another 
 Defign of a Capital : The Architect is at liber- 
 ty to chufe which of 'em he thinks beft ; for 
 either the one or the other will do very well, 
 if executed by a good Sculptor. 
 
 Further, in the Friezes over this Capital, 
 may be added a terreftrial Globe, with Cor- 
 nucopia's, 
 
A Treatife of Arc hi tec! r. re. 59 
 
 nucopia's, Palms, and Laurels, which are fg- 
 nificant Ornaments thac explain chemfelves. 
 
 Of the V LUTINGS. 
 
 The Flutings in the fecond De£gn of this 
 Capital are in Number 3 ,'. fixteen whereof 
 are hollowed Semicircularl\ ; the other fix- 
 teen are nothing elfe but little Fillets inter- 
 na ix'd. See the J 'olio wing Fig . 61. 
 
 ' OBSERVATION. 
 
 Columns Handing expofcd in the open Air, 
 I mean thofe on the ourfide of a Building, 
 ought not to have any Flutings ; for befides, 
 that fuch kind of Ornaments can't fubiifr. any 
 long time entire, plain uniform Colours carry 
 always, in that cafe, a better appearance, and 
 fuftain the Magnificence of the Building 
 much better to the E\e; and the Reafbn is 
 obvious ; for the Light diffufed on fluted c o- 
 lumns being divided, .and, as it were, cut bv 
 the ftreaks of Shadow from the Channels, the 
 Eye, when at a little dittance receives a faint 
 confuted lmpreflion : To this it may be ad- 
 ded, that the hollow Flutings found towards 
 the Extremities, make the Columns appear 
 more (lender than they really are j infomuch, 
 that, when view'd from any confiderable di- 
 itance, they mew mean and pitiful. 
 
 I Fig. 
 
6o A Treatifc of Architecture. 
 
 In the PJan we fee the Compofition of its 
 Ornaments and the Effect that we are to ex- 
 pedt from 'em. 
 
 Ths Ornaments between the Modiliions 
 may he Pomegranates, or any thing elfe that 
 the Architect judges more to the purpofe ; 
 and 'tis eafy to perceive, that the Spherical 
 Cavities where fuch Ornaments aieufed, with 
 the targe Canal that forms the Mouchette or 
 i hin of the Larmier, and which is hollow 'd 
 into ?, Semicircle, will render the Cornice ex- 
 treamlv ivee and beautiful. 
 
 Of the CORINTHIAN ORDER. Fig. 64. 
 
 N this Order we have yet more Delicacy 
 than in any of the prececding ones. Its 
 Column is 20 Modules high, its Fcdeftal 6 
 and 20 Minutes, and its Entablature 4 and IC 
 Minutes: So that the Pedeftal is one third of 
 the Column, and the Entablature 15 Minutes 
 lefs than a fourth :. The height of the whole 
 Order being 3 1 Medules 5 Minutes. 
 
 OBSEVATION on, the COLUMNS. 
 
 In Colonnades, the Columns at the Angles, 
 that is, the fir ft: and laft, ought, according to 
 VitrtiviuS) to be bigger than the red, by one 
 
 fiftieth 
 
A Treat i fc of Architecture, d i 
 
 fiftieth part of their Diameter, without which 
 the^ will appear too flender. 
 
 We have already obferv'd, that Objects ex- 
 pos'd the open Air do ordinarily appear more 
 delicate than they really are; the Air w 1 ere- 
 with tire}- are encompafsd on all fides feerh- 
 inp 7 to rake off their Extremities, and todimi- 
 niih their Bulk: And 'tis for this Reafcn that 
 the Sculptors, ordinarily make fuch of their 
 Figures as are to be placed without- fide, and 
 a^top of a Building, that is, in the open Air, 
 much left delicate than the others : and it is 
 very juft in them to do fo But the Cafe is d- 
 therwife in Columns that compofe a Colon- 
 nade in the fame Line, and are placed pretty 
 near one another. An Architecl", on fuch ail 
 cccaiion, has fo many Circum fiances to ob- 
 ferve, that unlefs he has a ereat deal of ore- 
 fence of Mind, as well as a great fhare of Ex- 
 perience, he'll fall into very confiderable Er- 
 rors ; which he has no dther way to avoid, but 
 by fetting this Obfervation of Vitruvius aftde. 
 
 OBSERVATION^ the DENTICULE. 
 Fig. 67. 
 
 I don't here divide the Denticles underneath 
 the Ovolo, as in the Ionic Order : becaufe the 
 Modillions, the Ova or Eggs, and the L enti- 
 tles, wou'd be too many confiderable Orna- 
 ments to go together. 
 
 i 2 of 
 
6 2 A Treat ifc 0/ Architecture. 
 Of the F L U T I N G S. Same Fig. 67. 
 
 Were we only to have regard to this Order, 
 the Flutings of the Ionic Order wou'd fair It 
 very well : but when the two Orders ma)' be 
 compar'd together, as will be the cafe if they 
 be pke'd ever one another, then thefe Flu- 
 tings may eafily have the additional Orna- 
 ments of a little Fillet running quite around ; 
 as in the Figure. 
 
 Of the LEAVES of the CAPITAL. Fig. 69. 
 
 The I eaves of this Capital are in Number 
 fixteen, eight in each Row, the fame as in the 
 Roman. 
 
 Each Leaf is divided into fetfen or nine 
 Plumes ; two whereof, or to fpeak. more pro- 
 perly, one whole and an half on each fide go 
 to form the Return or Defcent. See aljb ike 
 proceeding iigures i 67, and 69. 
 
 Sometimes the Return confifts of three 
 Flumes almoft entire; each P.ume being di- 
 vided according to the nature of the Leaf: 
 As is particularly (hewn in tig. 69. 
 
 R E M ARK. 
 
 The Leaves of the Capital are ordinarily ei- 
 ther thofe of Olive, thoie of Acanthus, or 
 thofe of Smallage. But the fir ft ought, in my 
 Opinion, to have the Preference to the two 
 
 laft; 
 
A Treat ife of Avc\\it e6lit re. 6% 
 
 lad ; and particularly when the Corinthian is 
 rais'd over any other Order. For its Leaves 
 being flat and plain, reflect more Light that* 
 the others, which are more wrought and un- 
 even ; for which reafon the firir. have a better 
 Effect when ken at a diftance, than the hft ; 
 which are only tit to be view'd near at hand. 
 
 OBSERVATION. 
 
 In making the Leaves of this or the Roman 
 Capital, great Care muff be taken they be 
 well defign'd ; particularly that in dividing 
 them into Plumes, thofe Plumes don't run too 
 far off from one another, but that all toge- 
 ther appear to form one iingle Leaf ; which 
 muft not be too narrow towards the top: That 
 each Plume direct, to its Origin, &c. without 
 which Precautions the Leaves will lofe all 
 their Grace and Beauty. 
 
 OBSERVATION. Figure. 
 
 ] f a Cori?ithian Order were to be placed ve- 
 ry high, as in the Lanthorn of a Dome, I 
 fhou'd rather chufe not to divide the Leaves 
 of its Capital at all, but to preferve the Mafs 
 entire, as in this Figure. 
 
 In fome Capitals we find Leaves that are 
 finely w r rought, which, neverthelefs , are of 
 an extreamly ill Tafte j as thofe of Olive for 
 lnflance in the Pilaiters of V. de G. This I 
 mention by the way, for the fake of thofe 
 
 who, 
 
6\ A Treattfc ^Architecture. 
 
 who, having no great 'hare of Judgment 
 themfelves, think they can't fail of doing 
 well, if they do but imitate what they find 
 in Buildings of Reputation. 
 
 OBSEVATION on the MODILLIONS 6f 
 
 BORDER. Fig. 73. 
 
 Underneath thefe Modillions, 'tis ufual to 
 have a Leaf, that takes up their whole breadth, 
 and almoft their whole length too. But in 
 my Opinion, the Modillions wou'd be more 
 graceful, if this Leaf were lefs both in length 
 and breath. For this Reafon I inclofe it be- 
 tween two little Lifts, wherein it feems, as it 
 were, to be {et y and out of which it never 
 comes, but to form its Return againft the lit- 
 tle Wave of the Modillion, which it joins 
 without hiding : From this Relation of the 
 Leaf with the Modillions, the latter ii> ren- 
 dered exceedingly graceful. 
 
 The Leaf of the Modillion ought to be of 
 the fame Kind with thofc which make the 
 Ornament of the Capital : which is a Rule 
 not to be overlook'd. 
 
 Of the TABLES or PANNELS of the PE- 
 DESTAL. Fig. 74. 
 
 The Tables in the Die of the Pedcftal , 
 ought to be equal to the width of the Co- 
 lumn ; that is two Modules : Now the width 
 of the Die being two, Modules twenty four 
 
 Minutes, 
 
A Trcatifc of Architc&urc. 65 
 
 Minutes, there remains twelve Minutes for 
 the width of the Lift that goes round it ; 
 tho' towards the bottom it muftbe fomewhat 
 wider, and may be pretty well fix'd at fifteen 
 Minutes. 
 
 OBSERVATION. 
 
 When thefe Tables are of Marble, I would 
 chufe to have them fix'd even with the Die. 
 However, if they are to be funk lower, the 
 Inequality ought not ordinarily to exceed a 
 Minute and an half; in which Cafe they (hou'd 
 have a Baguette, or a little Talon or Cavetto. 
 for a, Border. 
 
 figure yS. 
 
 *!n thcfe Tables are fometimes added Baflb 
 Relievo's, which may be of Marble, of Brafs, 
 or even of Brafs gilt : But fpecial Care mult 
 be taken that the Relievo never project beyond 
 the Naked of the Die. The Sculptor there- 
 fore, in this Cafe, muft take a futficient depth 
 for the Ground of this Work, and the Work 
 itfclf muft be rais'd as little as porTible. I here 
 fuppofe myfelf talking to young People, who 
 are yet without Experience. 
 
 OBSERVATIONS. 
 
 Some Architects bound thefe Tables with a 
 little Border, projecting beyond -the Naked of 
 
 the 
 
66 A Trcatijc of Architedhire. 
 
 the Die ; but in my Opinion they ought not 
 to be imitated herein : Such a projecting 
 Moulding or Frame 'agreeing very ill with 
 the Aftragal above it, and which itfelf pro- 
 jects nearly as much as the Baguette that ter- 
 minates the bottom of the Corniche. To 
 which it may be added , that fo many little 
 Mouldings, being found almotr. at an equal 
 diflance from one another, have an ill Effed j 
 for it muft be remember'd that the beautiful 
 Diftribution of Mouldings confifts in obferv- 
 ing a Diverfity in their Bignefej Figures, and 
 Diiianccs. 
 
 Of tbe BASE of tbeCOLUMN. Fig.75, 
 
 This is a Corinthian Bafe, in mod refpects 
 like that ufually given to this Order. Its 
 height is one Module, and its Projecture be- 
 yond the Naked of the Shaft twelve Minutes ;. 
 as in the preceeding Orders, which have two 
 Tores. 
 
 Some Architects make the Projecture lefs^ 
 and others more ; but neither the one nor the 
 other, in my Opinion, have fucceeded, 
 
 R E M A R K. 
 
 The two Scotias of this Bafe placed one o~ 
 ver ancther in like manner as the two Ba- 
 guettes that feparate them , don't feem to be 
 well concerted. But this is fo popular a Fault, 
 that a Peribn who wou'd offer to correct it, 
 
 wou'd 
 
A Treat ife of Architecture. £7 
 
 wou'd be fure to be cenfur'd. However, in 
 lieu of the two Baguettes, a Man need only 
 ufe one $ as we fee done in the Baths of Did- 
 clejian. See Fig. 76. 
 
 OBSERVATION. 
 
 To raife an Order of Column ; a Module 
 muffc be taken of fuch a Bignefs, as that 
 when the Pedeftal is deferib'd in its proper 
 Meafures, the Cornice may not be found on a 
 level with the Eyes of thofe whopafs, orwhc* 
 are to be Spectators of it j it being a Pain to 
 the Sight to bear projecting Bodies, juft at its 
 own height ; inafmuch as they feem to menace 
 the Eye with a Rencounter. 
 
 However, if any Difficulty mould occur 
 inadjufting the height of the Pedeftals to that 
 of Portico's and Apartments that are to accom- 
 pany them, one may retrench the Cornice 
 and the Bafe, and then the Pedeftal may be 
 reduced to the proper height without any Re~ 
 ftrittion at all. See Figures 128, and 129. 
 
 K 
 
6S 
 
 A 
 
 TREATISE 
 
 O F 
 
 ARCHITECTURE. 
 
 Section m. 
 Of PILASTERS. 
 
 With ufeful Obfcrvations. 
 Of PILASTERS. 
 
 IL ASTERS are fquare Co- 
 
 §1 lumns, as bie at top as at bottom. 
 
 Thefe Pilaiters arc often ufed for 
 
 wfj§m mere Show ; as when they appear 
 
 infer ted or let wiihin the Wall, 
 
 not difcovering above a fifth or fixth Part of 
 their Bignefs. Thefe kind of Pilafters, which 
 may be called flat 'ilafters, are always found 
 to have a better Effect than the others, which 
 
 being 
 
A Treat ife of A rchi tenure. 6s) 
 
 being entire, ordinarily appear heavy and 
 lumpifh. 
 
 When thefe Pilafters accompany Columns, 
 they mould have the fame heights with the 
 C olumns in every part j but if they be alone, 
 I mean if they be not accompanied with any 
 Columns, their Meafures and Proportions 
 fhou'd be varied. 
 
 Firft, in the Roman y Spanifo and Corinthian 
 Orders, the Capitals of Pilafters, to be well pro- 
 portion^, fhou'd be higher than thofe of Co- 
 lumns, as being broader : whence it follows 
 that their Shafts ought alio to be augmented 
 in proportion. 
 
 Secondly, it may be obferved in general , 
 that a Pilafler made according to the Meafures 
 or rroportions of a Column, that is, contain- 
 ing an equal Number of Modules in height, ap- 
 pears much fhorter, with regard to its rreadth, 
 than the Column : and the reafon is, that the 
 fides of the Pilafters, being flat, appear in their 
 full breadth ; which is otherwiie in the Co- 
 lumn ; the fhadow of whole roundnefs makes 
 it appear flenderer than it really is: lb that, to 
 make a Pilafter appear with the beauty of a 
 Column, the height of its Shaft muff, be aug- 
 mented, as well as that of its Capital ; and of 
 confequence the height of its Entablature, and 
 that of its Pedeftal muff be augmented likewife. 
 
 Further, the Capital of a Pilafler being 
 broader than that of a Column ; and thc'Pro- 
 file of the Entablature beyond the naked of, 
 K 2 the 
 
 
7o ATrcatife of Architecture. 
 
 the Pilafter continuing nearly the fame, the 
 Modillions are found f r her apart from each 
 other than in the Orders of Columns : Whence 
 it likewife follows that the Diftances given for 
 the intervals of Columns adjuftedby a certain 
 number of Modillions won't ferve for the In- 
 tervals of Pilafters, no more than they will for 
 determining the proportion of Portico's. 
 
 And laftlv, the Modillions being farther a- 
 part from each, the Cornice ought to have a 
 greater Projecture, in order to have perfect 
 Squares between the Modillions ; whereon the 
 Regularity of the SofHt depends. 
 
 1 1 is necefjary therefore to have particular 
 Compositions for the Orders of Pilafter3, diftincr 
 from thofe of Columns; for thisreafon 1 fup- 
 pofe the following ones, which anfwer to thofe 
 of my Order of Columns. I have not given 
 any particular Defigns for their Bales, nor for 
 the Cornices and Bafes of their Pedeftal.s ; the 
 proportions of which parts may be taken from 
 the Orders of Columns : and the reafon is, that 
 as the breadths of thofe parts are not alered, 
 neither ihojld there be any Alteration in their 
 heights. So that the difference in height be- 
 tween the Pcdeitals and Columns, and thofe 
 of Pilafters will lie wholly in their Dies. 
 
 tre 93. 
 
 Bcndes the common Portico's, I likewife pro- 
 pofe others with Breaks or Retreats, fuch as 
 
 we 
 
A Trcatife of Architecture. 7 \ 
 
 we have in th&Val dc Grace, and which have 
 this advantage, that one may make Baffo Re- 
 lievo'sover the Archivolts, which, when well 
 managed prove a very great Ornament to the 
 Architecture. 
 
 Some Architects are averfe to this kind of Por- 
 tico's ■ and may perhaps have particular Rea- 
 fons for it. Be that as it will, 1 am of another 
 Sentiment. 
 
 Of the VrojeBure of fat PILASTERS. 
 
 The ordinary Prefecture of thefe Pilafters 
 beyond the Wall is ten or twelve Minutes; hut 
 when they terminate the Saillant An^le of a 
 Building, their thicknefs fhou'd, if practicable, 
 be regulated by the parts of the Soffit or Pla- 
 fond of the Cornice^ as is feen in figures 96, 
 97, 98, 104. 
 
 Of the FLUTINGS. Fig, 97. 
 
 When Flutings are ufed in Pilafters, their 
 number fliou'd be ieven on each fide : The firft 
 and laft whereof may be a little further from 
 t:-e Angle than the reft are from each other ; 
 that the Extremities of the Pilafters mayn't be 
 too much weakned. 
 
 In fome old Monuments we find Pilafters 
 which have only five Flutings on a fide; but 
 then thofe are too large, and make the Pilafters 
 appear little and pitiful : and if there were nine, 
 they wou'd be too fine and (lender ?ven for the 
 molt delicate Orders. O B» 
 
2 7 A Trcatijc 0/^ Architc&ure. 
 
 OBSERVATIONS. Fig. 89. 
 
 We never make Flu tings in the Tufcan Pi- 
 laller ; and if by chance we make any in the 
 Doric , (which however is very rare) we leave 
 pretty large Spaces next the two Extremities, 
 in order to fortify the Angles. 
 
 One may either add a fingle Fluting in the 
 Projeclure or thickneis of the Pilafter, or leave 
 it quite plain ; provided it don't exceed ten 
 Minutes in breadth. 
 
 Qbjervatlon on ths antient IONIC CAPITAL, 
 F '& 9b- 
 
 The Antients having made the Baluiter of 
 this Capital very lhort, one finds fome Diffi- 
 culty in adjufting the Volutes to the Quarter- 
 round in the Capitals of Pilafters. This has 
 occafion'd feveral Architects to flatten or di- 
 minish the Convexity of the Quarter-round; 
 which is a very confiderable Irregularity, that 
 they might have avoided by lengthning out 
 the Balufter fo as to go beyond the Quarter- 
 round ; at the fame time making the Circum- 
 volution of the Volute advance a little farther, 
 .is is {hewn in the Profile, AB. 
 
 F & 97- 
 
 However, if a Perfon has a mind to follow the 
 Cultom, 1 mean, if he chufes to diminish the 
 
 Con- 
 
A Trcatifc of Architecture. 73 
 
 Convexity of the Quarter- round, as is here 
 done, he commits a Fault, that has good Au- 
 thority on its fide : which, however, he wou'd 
 do well to avoid ; efpecially as it may be done 
 without much trouble. 
 
 We meet with a Difficulty of the fame kind 
 in the Quarter-round of the modern Capital, 
 which our Architects havelikewife diminiih'd, 
 in order to receive the Volutes more favoura- 
 bly ; which fhou'd further have a Curvity like 
 that of the Abacus, but from which a Man is 
 under a Neceffity of receding, and of opening 
 the Volutes, fo as to be above the Quarter- 
 round, after it has run perpendicularly acrofs 
 the face of the Pilaiter : and the fame may be 
 underflood of theRGmcm Capital. See Fig. 103. 
 
 Of the RUDENTURES, or Fillings up of 
 FLUTINGS. 
 
 By a Rudenture we mean the Figure of a 
 Rope or Staff cut, on fome Occasions, in the 
 Flutings, to ftrengthen their fides, and render 
 them leis liable to be broken. For Instance, when 
 we make Fluted Columns or r ilafters without 
 Pedeftals, and place them on a Level with the 
 Ground: or at lead fo little rais'd as to be with- 
 in the reach of the Hand ; their Flutings mutt 
 be rudented, or cabled (as they call it) as far 
 as one third of their height : that is, they mult 
 be fill'd up in part to that height, with thefe 
 Rudentures, in order to ftrengthen the fides 
 which might otherwife be foon defae'd. 
 
 Thefc 
 
yi. A Trealifc of Architt&xxte, 
 
 Thefe Rudentures, which were at firft in- 
 vented for ule, have been fince converted into 
 Ornaments, to enrich the Flutings; fo that, in- 
 flead of plain fubftantial Rudentures, we now 
 frequently fee them exceedingly weak and 
 Gender, being wrought in form of twitted 
 Ribbons Foliages, Chaplcts, and other rich and 
 delicate Ornaments, but this kind of Ruden- 
 tures ought mver to be ufed, excepting in Co- 
 lumns or pilaibers of Marble, and fuch as are 
 beyond the reach of the Hands of the People. 
 
 One may likewife for the greater richnefs, 
 as well as the greater eafe fake , make thefe 
 Ornaments of lirafs, and- even of Brafs gilt j 
 to be fitted within theFlutings. 
 
 Thefe delicate Ornaments are alfo found to 
 fucceed very well in Columns and Pilafters of 
 Wood j where they are cut with a great deal 
 of Eafe and Juftnefs. 
 
 Of ORNAMENTS on the MOULDINGS. 
 Fig. 1 1 8. 
 
 Ornaments are not always ufed on Mouldings 
 barely to enrich them, but fometimes alfo to 
 diftinguifh them the better from one another. 
 
 As the generality of Mouldings, and in par- 
 ticular thole of Cormchcs, are only illumined 
 bv Reflexion, they would be frequently con- 
 founded and loft, if they were all fimpie and 
 uniform : but a few Ornaments cut on fome 
 onediftinguiih them advantageouily from each 
 
 other- 
 
A Trcatife 6\ r Architecture. 75 
 
 other. Thus the Eggs have a noble Effe£t un- 
 derneath the Larmier in the Ionic ( ; rder, or 
 underneath the fquare Member whence the 
 Modillions proceed, in the 1 :<rinthian Fig. 67. 
 becaufe thoie Ornaments, bein? cut ftrons; and 
 bold , make an agreeabie difference between 
 the Mouldings that accompany them. 
 
 Among thefe Ornaments Lb?>iz (land promi- 
 nent from the Mouldings, and others are cut 
 within 'em, as may be obferv'd in the feveral 
 Figures of this Plate 1 18. 
 
 0/MOULDING S that are to have no Ornamefiu^ 
 
 Ornaments are not to be bcflow'd every 
 where indifferently. Some Members or Mould- 
 ings muff be refer v'd plain to fet oft the reft ; 
 and without the Simplicity and Plainnefs of 
 thefe, the richnefs of Ornaments would only 
 make a Confufion in Architecture ; a fenfible 
 Inffance whereof we have in the Corinthian 
 Profile taken from the Baths of Dioclefian, and 
 mention'd in the Parallel of M. de ( hambray.. 
 
 The Corona, for Inftance, is the hrft Mailer- 
 Moulding in the Corniche, which won't ad- 
 mit of Ornaments, and the reafon is, that it is 
 follow'd with a Larmier, which is ufually full 
 of very rich Compart i men ts, befides the Modil- 
 lions which make one of the moil considerable 
 Ornaments. It may be obferv'd, that I now only 
 fpeak of the more delicate Orders ; wherein Or- 
 naments are the moil proper. 
 
 L The 
 
j 6 A Treat ijc of Architecture. 
 
 The Faces of the Architrave ought al r o to 
 be left plain, and particularly when the Frieze 
 is enrich'd. 
 
 Ail the Fillets, Lifts or Liftels, ought ftill to 
 be without Ornaments ; chofe being peculiarly 
 deftin'd to fix and inclofe the parts in the Moul- 
 dings wherewith they are encompafs'd. 
 
 The Aftragal of the Column ought always to 
 be plain, excepting in the Ionic ( )rder, where the 
 Aftragal of the Shaft is converted into a Chaplet 
 of Pearls and Olives for the Capital. See Fig. 40, 
 
 All the parts of the Bafe of a v. olumn ought 
 to be plain, in order to ferve as a Reft to the Flu- 
 tings of the Shaft. There are fome occafions, 
 however, wherein the Tores may be enrich'd ; 
 of w hi. h we have a remarkable li.ftance in the 
 new Chappel at Ve failles : where 'tis done with 
 a great deal of Prudence. For as nothing mould 
 be expos'd to the Eyes of a great Prince, but 
 what is fome way diftinguifh'd by its Richnefs j 
 and as the King, here, has in fight, the Bafes of 
 the Columns of his Seat, 'tis but juft thcyfliould 
 be enrich'd, like the reft of the Chappel, which 
 is extreamly pompous : The noblenefs of the 
 Architecture, and the beauty of the Painting 
 and Sculpture, mewing, at the fame time, the 
 Magnificence and the Piety of the Founder, 
 But fetting afide fuch Occafions, it wou'd be a 
 Fault to adorn the Bafes of Columns ; tho' 
 Scamozzi is of another Opinion. 
 
 We (hall ihew hereafter what is to be ob- 
 fcrv'd with regard to the grand Diftribution of 
 parts, plain and enrich'd. A 
 
77 
 
 TREATISE 
 
 O F 
 
 ARCHITECTURE. 
 
 SECTION IV. 
 Of particular Kinds of COLUMNS. 
 
 O/WREATHED COLUMNS. 
 
 HESE kind of Columns, which 
 are pretty well known by their 
 Names, and are ufually made ve- 
 ry rich, ought never to be ufed 
 but in places of Diftin&ion, as in 
 Altars, Tombs, Salons, and other Places where 
 Magnificence is required j an Initance whereof 
 we have in the Val de Grace. 
 
 They {hou'd never be ufed to fupport either 
 "Walls or Vaults, or any other considerable Bur- 
 then ; by reafon of their Weakneis: nor fhould 
 any thing be laid upon them beyond a plain 
 L 2 flight 
 
78 A Treat ife fl/Archite&ure. 
 
 flight and delicate Entablature. For tho' they 
 appear by their Circumvolutions tb have fdfs 
 delicacy than the common Columns, yet in 
 effect they have lefs Solidity. This is evident 
 from the Perpendiculars ab y cd ) drawn by the 
 Cavities of their Waves ; the folid Space in- 
 c hi ted between the two, being considerably 
 lefs in Diameter than the Column G H ) which 
 however is as delicate as polTible. 
 
 tfhi manner of defcrtbing the CIRCUMVOLU- 
 TIONS ^^j COLUMN. Fig. 119. 
 
 Divide the Diameter of the Plan of the 
 Column into three equal Parts, AC, CD, DB. 
 
 On the Divifion CD, as on a Diameter, de- 
 fcribe a Semicircle CED, and divide it into 
 three equal Parts. 
 
 From the Divifions of this little Semicircle 
 draw Lines parallel to the Axis of the Column 
 EF. 
 
 Draw a common Column as GH, of the fame 
 height, and in the fame Order as the wreath'd 
 Column to be defign'd ; but take care the Order 
 be delir. ite. 
 
 Divide its Axis GH, into 48 equal Parts, 
 which is eafily done by dividing it at firft into 
 tb e, then each of thefe into two, and each 
 of thefe into two more : thus proceediug from 
 two to two till you get the whole Number 48. 
 
 Through thefe Divifions draw Lines paral- 
 lel and horizontal. 
 
 From 
 
A Treatifc of Architecture. 79 
 
 From the Points where thefe Parallels cut 
 the Perpendiculars CI t DL, ccc. defer ibe the 
 Spiral M, N t O, &c. 
 
 Through the Points of that Spiral draw 
 tranfve.rfe Lines, P %s NR,&c. equal to the 
 tranfverfe Lines 1,2, 3, 4, $,6 y &c. and you'll 
 have Points fufficient for defcribing your 
 Vv reath'd Column. 
 
 REMARK. 
 
 The Wreath'd Columns in the high Altar 
 of St. Peters at R<?ne have two Afrxagals, 
 which divide the height of the Shaft into three 
 parts j but thefe are not to be imitated -, ex- 
 cepting where there are particular Reafons 
 for it. 
 
 Thofe in the Altar of the Val de Grace have 
 an Aflragal over the firfl third of their height ; 
 which is a judicious Contrivance to hide the 
 Jon&ure, or fetting on of the two Pieces, 
 whereof each Column conlifts. 
 
 Eut what I think inexcufable both in the 
 wreath'd Columns of St. Peter y and in thofe 
 of the Val de Grace, are the Flu tings in the 
 nrft third of their height; for thefe render 
 the lower part of the Column more delicate 
 than the upper part ; which is the more vifi- 
 ble, by reafon of the Foliages and other Or- 
 naments that run along the upper parts, and 
 by their Relievo feem to increafe its Bignefs : 
 For this reafon it had been better, in my Opi- 
 
 nion* 
 
80 ATrcatife of Architecture. 
 
 nion, to have fluted the upper part, and either 
 to have charged the low er part with Foliages^ 
 or to have left it quite plain and uniform. 
 
 Another thing to be cenfured in the Altar of 
 the Val de Grace, is the Entablature, which is 
 distributed Piece-meal over each Column : a 
 continued Entablature wou'd doubtlefs have 
 done much better. 
 
 Of SYMBOLICAL COLUMNS and HU- 
 MAN FIGURES. 
 
 THE ancient Greeks, to prefer ve the Me- 
 mory of their Victories, had a Cuftom, 
 in the Columns of their publick Buildings, to 
 add Figures and Reprefcntations of the Ene- 
 mies they had fubdued. The Wives of the 
 rebellious Carians, when reduced to Obedi- 
 ence, and the Ferfians vanquifh'd by the La- 
 ced&moniam at Plataa y were the firft Subjects 
 of thefe Columns ; which have preferved, to 
 late Pofterity, both the Glory of the Victors, 
 and the Difhonour of the Vanquiih'd. 
 
 Hence, originally, came the Names Cariatides 
 and Per pan Columns ; which have been fince 
 applied to all Columns made in Human Fi- 
 gures, tho' with Characters very different from 
 one another. 
 
 0/ 
 
A Treatife of Archite&ure. 8 1 
 
 O/CARTATIDES or CARIATES, Columns 
 made in the Figures of WOMEN. Fig. 120. 
 
 We don't now reprefent the Cariates,as for- 
 merly, with the Marks of Servitude and sla- 
 very : Such Characters were injurious to the fair 
 Sex, and for that reafon we give them others 
 entirely oppofite ; never ufing them in Build- 
 ings, but as fingular Beauties, and fuch as make 
 the greateit. Ornaments thereof. Thev never 
 make their appearance, now, but under the no- 
 ble Symbols of rrudence, Wifdom, Juftice, 
 Temperance, &c. 
 
 When the Cariates areinfulate, they mould 
 not have any Weights to fupport, greater than 
 thofe of Balconies, little Galleries , or flight 
 Crownings ; and their Entablature may be Ionic* 
 
 The Cariates ihou'd always have their Legs 
 pretty clofe, the one a little a-thvvart the other, 
 with their Arms either join'd to the liody or to 
 the Head, or at leaft very little afunder j that, 
 as they do the Office of Columns, they mav, 
 as much as pomble, bear the Figures of them. 
 
 There is this particular defect in the Cari- 
 ates, that being the Figures of Women, they 
 don't feem altogether proper to do the Office 
 of Column, : but this is eafily amended when 
 they join to a Wall, there being nothing to 
 do in that Cafe but to place a Confole over 
 'em, which mall appear to bear all the Weight 
 of the Entablature. Tfiis will have a good Ef- 
 fect; 
 
8 i A Treat i jc 0/" Architecture. 
 
 fe<ft j and the Cariates will ferve for Columns ; 
 without appearing over-burden'd. 
 
 If the Cariates have a Projecture beyond 
 the Wall in the manner of Pilafters, thev may 
 be ufed in the Architecture of a Gallery or 
 Sallon; provided they ben't made to fuftain a- 
 ny thing but the Entablature ; the weight of 
 the Vault being born by the Wall behind, 
 which ferves them as a Ground or Bottom. 
 
 OBSERVATION. Fig. 121. 
 
 The Cariates mould never be made of an 
 immoderate Stature ; left being too big they 
 become frightful to the Ladies. For this rea- 
 fon one would fometimeschufe to confine them 
 under the Impoft of a Portico ; fuch Imports 
 ierving them for an Entablature. Further, on 
 occafion, one may raife them on Pedeftals, 
 which however, muft not have lefs than one 
 third of their height. And if befides this, one 
 place Cofoles over their Head, the Figures 
 may be made of a reafonable Size. 
 
 OBSERVATIONS. 
 
 The Cariates and the common Columns 
 (hould never be ufed together, under the fame 
 Entablature ; for befides that there can never 
 be a juft Symmetry between them ; the Figures 
 of Women as high as common Columns would 
 be monftrous, and make all the reft of the 
 Architecture appear mean and pitiiul. 
 
 There 
 
A JYeatife <?/" Architecture. 83 
 
 There are fome Cariates that have their 
 Arms cut off; as thofe, for Initancc, in the 
 Hall of the Swtfs Guards in the Old Louvre, 
 But thefe kind of Mutilations, which are only 
 iifed to make the Figures more 1 ght and de- 
 licate, or rather to make 'em more conform- 
 able to the ether < olumns, are only proper 
 for Termini or Terms, which are a kind of 
 half human Figures feeming to proceed out of 
 a Vagina or iheath, as in the following Figure 
 122. 
 
 OBSERVATION. 
 
 The Cariates muft always appear in Cha- 
 racters proper td the Places they are ufed in. 
 Thofe for Inftance, which fupport the Crown- 
 ing of a Throne ought to be Symbols, or Re- 
 prefentations of Heroic Virtues. Thofe that 
 ferve as Columns in a Place of Devotion , 
 fhou'd bear the Characters of Religion: and 
 thofe, again, in Halls andBanquetting-Rooms, 
 carry the Marks of Gladnefs and Rejoicing, 
 
 OBSERVATION. 
 
 'Tis not proper tt? ufc Cariates in the Fi- 
 gures of Angels, excepting at Baldecjuins arid 
 Altars; and fuch as do appear under that holy 
 Form, ought, in my Opinion, to fupport the 
 Entablature with their Hands, as bearing it 
 eafily, and without trouble, bee Fig. 120. 
 
 M The 
 
8 4- A Treat if e of Architecture. 
 
 The Entablature fupported by Angels may 
 be Corinthian, and the Virtues Ionic ; and both 
 the one and the other fomewhat lefs mafllve 
 than ordinary. 
 
 Of Ferfian COLUMNS. Fig. 120, iar. 
 
 Thefe Columns are ufually made inform of 
 robuft Men, with long Beards; and fuch Fi- 
 gures are much fitter to reprefent an unhappy 
 Slavery, than thofe of Women. 
 
 The Character of Slavery is exprefs'd in 
 thefe Figures, either by tying their r lands be- 
 fore, or behind their Backs. 
 
 Columns of this Kind may be very properly 
 ufed in a Cabinet or Gallery of Arm-, in Princes 
 Palaces; in which cafe they may be made Gi- 
 gantic, as in Figure 121. and their Entablature 
 Doric. 
 
 We would not however infinuate that the 
 Figures of Men are always Marks of Slavery : 
 They are frequently ufed as Symbols of Vir- 
 tues and Vices; of Joy, Strength, Valour, and 
 even of fabulous Deities : as when they are 
 made in the Figure of Hercules to f.gnify 
 Strength, of Mars to mew Valour, of Mer- 
 cury, to reprefent Dexterity, and of Fauns or 
 Satyrs to mfpire Mirth and Jollity. 
 
 Of TERMINI or TERMS. %. 122. 
 
 Termini a r e another kind of Symbolical Co- 
 lumns in human Figures, that appear with a 
 
 half 
 
A Treatife of Arcliitedu re. 85 
 
 half Body, as if they proceeded out of a Sheath 
 or Cafe 
 
 To give 'em a Figure proper to reprefent a 
 delicate Column, their Arms are lopp'd off, 
 and their Body docs not appear below the Gir- 
 dle ; an Inftance whereof is feen in Figure 122. 
 
 Thefe Te; mini are very proper in Decora- 
 tions of a Theatre, as alfo in pieces of Archi- 
 tecture de Treillage, or of the crail'd Work kind. 
 
 OBSERVATION. 
 
 The Termini have this in common with 
 the Cariates, that they fhou'd never be brought 
 to match with the common Columns : This 
 Advantage, however, they have in particular, 
 that a Man may give them what degree of De- 
 licacy he pleafes, by lengthning out their 
 Sheath, and railing the Figures to any height 
 defired. By this means they'll be made toluit 
 gay airy Architecture ; fuch as Cabinets, Sal- 
 Ions, and Arbours of crail'd Work, efpecialiy, 
 require. 
 
 OBSERVATION. 
 
 'Tis not reafonable, in my Opinion, to re- 
 duce the Figures of Angels into Termini ; tho* 
 we fee it has been formerly done in Places of 
 Diilin&ion. 
 
 Ma Of 
 
86 A Treat ifc tf/Archite&urc. 
 
 Of ARCHES or PORTICO's fupported by CO- 
 LUMNS. Fig. 123. 
 We have but few Inftances of iuch pieces of 
 Building j tho' nothing hinders but [hey may 
 be ufed, where the Architecture is not requir'd 
 10 be very ltrong, as in a plain open Gallery, 
 ferving for a Palfage or Communication be* 
 tween two Parts of an Houfe ; or where 'ti$ 
 defired to have a flight TerrafTe in the Front 
 of a Building, and a Gallery or Portico un- 
 derneath; as in this Figure. 
 
 In a Portico of this kind, I would have no- 
 thing but the Archivolte upon the ( olumn : 
 the Corniche fhou'd he placed over the Archie 
 volte, as in this Example. 
 
 If a Man wou'd have a Gallery in Treillage 
 or crail'd Work between two grand Cabinets, 
 he may fuppori it by Te. mini inftead of Co- 
 lumns. 
 
 Of ENTABLATURES that have BREAKS, 
 or that project unequal y. Fig. 124. 
 
 The Entablature is fometimes made to give 
 back or retreat a little between the Columns: 
 but fuch Breaks ibou'd never be ufed but on 
 extraordinary Occalions, and for fpecial Rea- 
 fons, as where there are not large Stones fuf- 
 ficient to carry out the whole Entablature to 
 its due Pitch ; or where a great Projeclure be- 
 tween the Columns might intercept the Light 
 neceflary underneath, or prevent the View of 
 
 any 
 
A Trcatife 0/ Architecture. 87 
 
 any tiling above; as in this Example, and in the 
 Triumphal Arch, Fig. 142. where the Bajjo Re- 
 lievos in the Attic could not befeen, but fro.ri 
 a great diftance, if the Entablature had all the 
 Pr«e;lure v/hich that of the Columns might 
 gjve it. It mult not, however, be forgot, that 
 the principal end of the Entablature is to fhelter 
 what is underneath ; which in this cafe it only- 
 does by halves ; as having nothing befides the 
 bare Projeclure of the Cornice for that purpofe. 
 
 Of the ATTIC ORDER. Fig. 124, 
 
 Tliis Order is a kind of rich Pedefial. .Some 
 Architects, on occafion, give it the feveral Ca- 
 pitals of all the Orders of Columns but the 
 Ionic, Roman and Corinthian den't at all be- 
 come it. The belt. Way, in my Opinion, is only 
 to diftinguifh the Capitals by a difference in 
 their Mouldings; which may be made more or 
 lefs fimple, and moie or lefs delicate, accord- 
 ing to the relation they are to bear to the Ar- 
 chitecture underneath. 
 
 . OBSERVATION. 
 
 We alfo give the Name Attic to the whole 
 Story, wherein this Order enters ; this little Or- 
 der being always found over another that is 
 greater. 
 
 This Pedeftal, or falfe-Pilafter, ought always 
 to have the fame breadth with the Column or 
 Pilafter underneath, and its height may be equal 
 to a third, or even a half of the fame Column 
 or Pilafter, by which it is fupported. A, 
 
88 
 
 TREATISE 
 
 O F 
 
 ARCHITECTURE. 
 
 SECTIONV. 
 
 Of the Affemblajve of ORDERS. 
 
 Of the ASSEMBLAGE of ORDERS. 
 OBSERVATION I. 
 
 ^•cv^'fr HEN two Columns are placed o- 
 ^§L^ V er one another, they mult be of 
 different Orders; the ftronger al- 
 ways to fupport the weaker. For 
 Inftance, the Doric may be placed 
 
 over the I'ufcan, the Ionic over the one the 
 Romanovet the Ionic, the Spanifh over the Ro- 
 man, and the Co, inthian over the Spanifh. 
 
 OB- 
 
A Treat ifc of Arcliitedure. 89 
 
 OBSERVATION 2. 
 
 The upper Order muft always be lefs Maf- 
 five than the under, agreeable to the Maxim, 
 that the ftrong ought to iupport the weak. 
 
 OBSERVATION. 3. 
 
 The Columns ought to Hand exactly over 
 each other, fo that their two Axes may be 
 both found in the fame perpendicular. 
 
 OBSERVATION 4. 
 
 The Hiftances between the lower Columns 
 muft be determin'd by the Intercoluminations 
 of the Order, that is without Pedeftals ; and 
 the Distances of the upper Columns by the In- 
 tercoluminations of the Order with Pedeftals: 
 taking care by the way that the firft Order be 
 moun-ed on a pfetiy high Zocle, or on an 
 afcent of feveral Steps, to ferve inftead of 
 a continued Pedeftal or Foot, dee Figures 125, 
 126, 127.. 128, and 129. 
 
 To the upper Order ! give a Pedeftal, be- 
 caufe, being confin'd to the breadth of the In- 
 tercolum ^nation of the lower Order, its Co- 
 lumis, b this means, are render'd fmaller ; 
 infomuch that the uiameter of their Bafe does 
 not exceed that of the top of the under Co- 
 lumns which is a Rule that ought not to be 
 difpenfed withal. 
 
 RE- 
 
$o A Treatijc of Architecture* 
 REMARK. 
 
 Vitrwoim won't allow the upper Order a- 
 fcbve three quarters of the height of the un- 
 der. But if this Reduction were followed, the 
 Columns wou'd be too final 1, and of confe- 
 quence too far afunder, with regard to their 
 height, when placed over others. 
 
 Haw to find the Module of an Order that is to be 
 placed over another : 'Tis here pro po fed] or In- 
 /lance to place the IONIC Order over the 
 DORIC, Fig. 126. 
 
 Confider firft, that in the Doric Order with- 
 out a Pedeftal, Fig. 17. which is to give you 
 the Meafures of that firft Order, the Columns 
 are placed at the diitance of 1 1 Modules from 
 each other, in Portico's. 
 
 That in the Ionic Order with a Pedeftal, the 
 Columns are 15 Modules apart; and that to 
 place this Order upon the Doric, you mutt di- 
 vide the Intercolum AB, or its equal CD, in- 
 to 15 equal parts ; one of which 15 will he 
 the Module for railing the Ionic Order with 
 its Pedeftal, according to Fig. 33. 
 
 OBSERVATION. 
 
 When two Portico's are plac'd over each o- 
 
 ther, the higher ought to be regulated by the 
 
 lower: I mean the width of the upper Arch 
 
 • £houid 
 
A Trealife of Architecture. 91 
 
 Jhou'dbs made equal to that of the under; it 
 being but juft that the two Arches fhou'd have 
 the fame width. On fuch an occafion, one may 
 make the lower Arch 10 or 12 Minutes nar- 
 rower than ufual ; that the width of the up- 
 per Arch may be the better proportioned. 
 
 Fig. 127. 
 
 When Columns are to be without Portico's, 
 as in this Figure, one need only make 4 Tri- 
 glyphs between the Doric Columns, that is, an 
 Interval of 8 Modules 24 Minutes; which are 
 c|uivo!ent to 12 Modules in the Ionic ; as ap- 
 pears by the Rule of Proportion : and the lame 
 thing may be obferved of coupled Columns. 
 
 REMARK. Snme Fig. 
 
 The Roman Order does not match perfectly 
 well with the Ionic* Becaufe its Capital is 
 higher with regard to its Column, than the 
 Ionic Capital, with regard to the Ionic Column $ 
 and becaufe the Denticles of the Ionic appear 
 fomewhat weak underneath the Modillions of 
 the Roman. However, the Roman Order being, 
 in this place, lefs than the Ionic, the Difpro- 
 •portion between their Capitals becomes lefs 
 fenfible, as well as that between the Denticles 
 of the one, and the Modillions of the other. 
 
 N Hw 
 
yi ATreattfe of Architecture. 
 
 How to find the MODULE for raifuig a CO- 
 RINTHIAN over a SPANISH Order. 
 Fig. 130. 
 
 T;s evident that the Modillicns of the up. 
 per Order mu.fl: be the flame in Number widi 
 thofeof the under, in order to have 'cm exactly 
 over one another. Thus the Modillions be- 
 tween the Spanijh Columns A and B, being 
 in Number 1 1, there mud likewife be 1 1 be- 
 tween the Corinthian Columns over 'em. 
 
 Now the Inter-modillions of the orinthidn 
 Ord r containing juft 40 Minutes where the 
 Column has no Kedeftal, theie 40 Minutes 
 muft be multiplied by the number of Modilli- 
 ons, that is, by eleven, the Product whereof 
 will be 440, and this divided by 30 the Mo- 
 dule, the Quotient will be 14 Modules 20 
 Minutes, which is the Divilion of the Scale 
 CD, for railing the Corinthian Order. 
 
 Bow to divide the INTER-COLUMN, C D, 
 into 14 Modules 20 Minutes. Same Fig. 
 
 Draw at random the Line CE, making an 
 Ar.gie with L D. 
 
 lake any Diflanoe at pleafure, for Inftance, 
 CG andfet it off 14 times on CE. This done, 
 div de the lait, as we divide the Module; that 
 is, into 30 Parts, 20 whereof add to the 14 
 Moaules ^L 
 
 Laflly, 
 
A Treatise of Archite&ure. 9 3 
 
 Laftly, draw the Line DE and its Paral- 
 lels IS, LM, &c. and you'll find CD divided' 
 into 14 Modules 20 Minutes, according to 
 Prop. 48. Lib. 3. of my Geometry. 
 
 OBSERVATION, tig. 131. 
 
 One finds a Difficulty in placing three Or- 
 ders over each other j and it confifts in this, 
 that the fecond Order having a Pedeftal, the 
 Columns of the third become a little too big 
 at bottom : tho' 'tis fo very little that the Eye 
 can hardly perceive it. This Inconvenience, 
 however, may be remedied by taking the Ex- 
 cels imperceptibly away, wholly from the 
 Bafe of the Column : 'tis true, this will occa- 
 fion a little Swelling, but that won't do any 
 harm. 
 
 OBSERVATION. 
 
 ' It wou'd not be proper, in my Opinion, to 
 undertake the placing of more than three Or-' 
 ders of Columns over one another. For, be- 
 tides that in the fourth Order the Columns 
 wou'd be too far afunder with regard to their 
 height, it mufti ikewife be confider'd, that four 
 Columns rais'd over one another, can't well be 
 very ftrong : indeed the firft may have a Ruftic 
 Order whereon it is railed, and which may 
 ferve it as a Foot. 
 
 N 2 Of 
 
94- A Treatife of Architecture. 
 
 Of PILASTERS raffed over one another. 
 Fig. 132. 
 
 Pilaftersare to be rais'd over one another ac- 
 cording to the preceeding Rule. 'Tis defired 
 for Inftance, to place the Corinth' an Order o- 
 ver the Spainfi, and 'tis fuppofed thai in this 
 Figure the f ik-fters A and B are ten Modilli- 
 ons apart j thc^e muft therefore be ten Modil- 
 lions between the Axes C and D of the Corifi* 
 thian Order: and, as the Corinthian lnter-mo- 
 dillions confift of 41 Minutes and a quarter, 
 the whole difta nee CD, will be found equiva- 
 lent to 13 Modules 22 Minutes and an half, 
 which being divided in the manner already 
 fhewn, p. 125. you'll have a Scale for raifing 
 the Corinthian Order. 
 
 The upper PILASTERS to be lefi than the 
 lower. Fig. 132. 
 
 As Pilaflers are of the fame bignefs from top 
 to bottom . one would imagine at fir ft fight, 
 that to preferve a Regularity, the Piladers pla- 
 ced one over another fhould likewife be of 
 the fame bignefs \ but there are two Reafons 
 which oblige us to recede from this Rule. 
 
 The firil is, that as the Orders increafe in 
 Delicacy, they likewife increafe in height with 
 regard to their bignefs : fo that were the Mo- 
 dule to continue the fame in the upper and the 
 under Pilailers, the Confequence wou'd be, 
 
 that 
 
A Trcati fe of Architect lire. 95 
 
 that the Orders and Stories would increafe in 
 height in proportion as they rife over one ano- 
 ther, which wou'd be prepoilerous. 
 
 The fecond Reafon is, that if there mou'd be 
 Columns along with the Pilaftersof the lower 
 Order, as in Fig. x$$. the Diameter of the up- 
 per Pilailers wou'd be bigger than that of the 
 top of the C olumns underneath, which wou'd 
 be another Fault 
 
 One ilould never, therefore, place two Pi- 
 lafters of the fame bignefs over one another, 
 unlefs the upper be Attic, as in t'ig 124. 
 
 REMARK. 
 
 In the AfTemblage of Filacers, all that is re- 
 quired is to examine how big the Bafe of the 
 upper Pilafter may be, with regard to the top 
 of the under : for the Pilafters being always e- 
 qually big at top and bottom, it follows inevi- 
 tably according to my Rules, that by observing 
 the fame number of Modillions in the two 
 Orders, the upper Pilafter always becomes lefs 
 than the under, as ineffeil it lhould be. 
 
 OBSERVATION on the INNER or RE- 
 ENTERING ANGLES, tig. 133. 
 
 Tn the Orders of Pilafters, I wou'd always 
 have the Inner Angles accompanied and 
 ftrengthened with two flat Pilafters, one on 
 each fide, at an equal Diftance from a third, 
 
 i blir 
 
96 A Treat ifc of Architecture. 
 
 but within the Angle, as appears by the Plan 
 of this I'i latter A. 
 
 On fome Occafions one need only place a 
 fingle Anta in the Angle between two Pilailers j 
 as when the Capitals of the two entire Pilaiters 
 approach very near each other. 
 
 By Anta I mean a kind of Shaft of a Pilaf- 
 ter without Bafe or Capital, and even without 
 any Moulding. 
 
 OBSERVATION. Same Fig, 133. 
 
 1 ho' thefe Columns be Conjugate or coup- 
 led, and for that reafon can have but one com- 
 mon Pedeftal, yet 'twould not be amiis, if on 
 this occafion they appear'd to have each its 
 feveral one ; which may be had by means of a 
 little Indenture or Retreat, B C } not exceeding 
 a Minute in depth, 
 
 REMARK. 
 
 Tilaitcrs fplit or cloven from top to bottom 
 in an inner Angle never have a good Effect ; 
 for belides that their halves have no Symmetry. 
 with the entire Pilafters that anfwer to them, 
 their Capitals do likewife become very defect 
 tive, as is particularly (ccn in the Church of 
 Valde Grace. 
 
 OBSERVATION. Fig. 134- 
 
 When Columns and Pilailers are placed 
 under the fame Entablature^ the Entablature' 
 mull b. that of the Columns, When 
 
A Treat ifc of Architecture. 97 
 
 When Columns and Pilaflers are placed un- 
 der the fame Entablature, they mould never, 
 if pofhble, Hand in the front Line, by reafon 
 of the manifest irregularities that would fol- 
 low thereupon •, they mull: therefore be fepa- 
 rated by a Reflaut or Difference in the Range. 
 
 A Reifaut can never confift of lefs than an 
 entire Modiilion , without ruining the Regu- 
 larity of the Parts of the soffit of the Corniche. 
 
 Further, if the Reflaut don't exceed a Mo- 
 diilion, the Column will remain engag'd in 
 the Body of the Building, as appears by the 
 Plan A. 
 
 When this Column is allow'd to be thus en- 
 gag'd in the Body of the Building, it mud have 
 a Pilafter by its fide, to make a Symmetry with 
 that on the other fide the Window, which the 
 Column cou'd not well do : befides, that with- 
 out this Pilaiter the Angle or Corner of the 
 Building would be too weak. 
 
 But if one would have the Column entirely 
 difengaged, as it appears in Figure B of the 
 fame Plate, the Reifaut or difference of Range 
 in that cafe muft coniift of feveral Modillions ; 
 and behind the Column mult be a Pilafter, be- 
 fides that which makes the neceffary S) mme- 
 try with the Window. 
 
 OBSERVATION. 
 
 When Pilaflers accompany Infulate Columns, 
 
 rve them as a Ground or an iere Corps, 
 
 and fe as 
 
9 8 A Treat ifc of Architecture. 
 
 as in this Figure, they ought to be at a compe- 
 tent Diftance from each other, to prevent their 
 Capitals from interfering ; which is a confi- 
 derablc Fault that we find frequently commit- 
 ed, but which, however, ought to be carefully 
 avoided. 
 
 In this Figure is reprefented a Reflaut, where 
 the Line of Columns advances forwards, with 
 regard to the Pilafters which are funic behindj 
 Jn the following Figure is a RefTaut where the 
 Columns retreat backwards, with regard to 
 the Face of the Building, and the Line of Pi- 
 la iters, which Hands forwards. 
 
 OBSERVATION. Fig. 136. 
 
 Where Filafters are placed under an Enta- 
 blature of Columns, by way of Ground or ar- 
 rie re Corps^ as was juft now fuppoied, there 
 arifesa confiderab e Difficulty ; and 'tis this. 
 
 I have already ihewn that in the Orders of 
 Filafters, the Modillions mull of necellity be' 
 further apart than in the Orders of Columns. 
 
 Now fuppofe thisExcefs to be of 4 Minutes 
 in the panijh Order ; here then are 4 Minutes 
 to be regain'd on the breadth of the Pilafters, 
 and on that of the Modillions and Inter-Mo- 
 dillion?, in order to adjuft the Pilafters of this 
 Order to the Columns : But the Pilaiters be- 
 hind the Columns muft be excepted out of the 
 Diminution; becaufe being very near the Co- 
 lumns, neither their Bales nor Shafts can lofe 
 
 any 
 
A Treatise 0/ Architecture. 99 
 
 any thing of their breadth, without its being 
 perceived. So that the whole Reduction will 
 lie on the Pilafters A and B> which are by the 
 fide of each other. 
 
 Firft then the Pilaflers A and B, may be 
 each two Minutes lefs in breadth without 
 its being difcovered, in regard the Eye can'c 
 compare thefe at one Glance, with thofe be- 
 hind the Columns : but this Diminution be- 
 ing no more than a Minute on each fide, there 
 will ilill remain three to be gain'd out of the 
 Modillions and fnter-Modillions. The Modil- 
 lions therefore mufl be made a little broader 
 than thofe in the Entablature of Columns y 
 and the Inter-Modillions the fame - y and if 
 with this, the ftrength of the Modillions be 
 likewife a little increafed, we fhall have per* 
 fe£t Squares in the Larmier to feparate them 
 from each other ; and by this means the Or- 
 der of Pilafters will be brought to agree very 
 well with that of the Columns. 
 
 OBSERVATION. 
 
 When a Pilafter is placed behind a Column, 
 the breadth of the upper part of its Capital 
 fhou'd be reduc'd to that of the upper part of 
 the Capital of the Column ; to the end that, 
 their Bafes being of the fame breadth, their 
 Abacus and Volutes may be fo too. 
 
 O ft 
 
ICO 
 
 TREATISE 
 
 O F 
 
 ARCHITECTURE. 
 
 SECTION VI. 
 
 Of GATES or DOORS, WINDOWS, 
 PEDIMENTS and NICHES. 
 
 Of GATES or DOORS. 
 
 p-^iATES or Doors are cither large, 
 ^HSlI m °derate, or little. The 1 arge 
 
 ^pljl *n°d er ate, or little. The 1 arge 
 uught to be arch'd to an enti'e 
 Semicircle ; the Moderate may ei- 
 ther have a Semicircle or an Arch 
 fomewhat lefs ; and the Little ones mull be 
 fquare; excepting they ferve for iubterrane- 
 ous PafTag^s ; which being ufually vaulted, 
 their Doors mult be arch'd likewife. 
 
 AH 
 
A Treatife of Architecture, i o I 
 
 All regular Gates have three principal parts j 
 thofe with Arches have Piedroits or Jaurnbs, 
 Impofts, and Archivolts ; the fquare ones have 
 a Chambranle or Door-Cafe, a Frieze and a 
 Corniche. 
 
 Each kind of Door is fometimes accompa- 
 nied with an Order of Columns or Pilafters. 
 
 When they are fo accompanied, they are 
 ufually crown'd with a Pediment, and foms* 
 times alfo with a Balcony. 
 
 Square Gates, without any Order of Columns 
 or Pilafters, have their Corniches frequently 
 fupported by Confoles j particularly v here 
 thofe oorniches have a little Projetture for a 
 Shelter to Perfons underneath 'em. 
 
 Of the Proportion of GATES. 
 
 The ordinary proportion of Gates is to have 
 their Height double to their Width: This 
 Rule, however, is not fo inviolable, but that 
 they may have a little more, or a little lefs, 
 height on occafion, 
 
 REMARK. 
 
 Gates are call'd Tufcan, Doric, Ionic, Sec ac- 
 cording to the Relation which their Impofts, 
 Corniches, and Chambranlies bear to the Parts 
 and Mouldings of thofe Orders, 
 
 O 2 RE- 
 
iol ATreatife of Architecture. 
 
 REMARK. 
 
 Betides Gates in the regular Architecture, 
 there are others of the Rujtic Order, which in 
 their kind have very lingular Beauties, and 
 fuchas, in fomc Places, are more fuitable than 
 any others that could be ufed j particularly in 
 the Entries of great Houles, where the Front 
 lias no regular Order of Architecture. 
 
 REMARK. Fig. 138, 139. 
 
 Coach-Gates, and others of a middle I<ind, 
 are ufually made with two Leaves or Folding- 
 Doors ; and, when they are a little bigger than 
 ordinary, have a Dormant, (i. e. the upper part 
 of the Gate that does not open) which Dormant, 
 where the Gate is arch'd, commences from 
 the Spring of the Arch. 
 
 REMARK. 
 
 In one of the Folding Doors is ufually Wic- 
 ket, or little Gate, through which People on 
 foot ordinarily pafs. 
 
 OBSERVATION, fig. 140. 
 
 Gates of Gardens, Parks. &c. have ufually 
 a. kind of Pillars behind, call'd Buctreffes or 
 Counter Forts, as in the Plan of this Gate. 
 
 Thefe 
 
A Trcatife of Architecture, i o 3 
 
 Thefe Pillars (hou'd reach far enough inwards 
 to receive and ftay the Leaves or Folding- 
 Doors, as alio to fupport the Scones or Bar- 
 ries placed there for their Security. 
 
 REMARK. 
 
 It may be eafily concluded that thefe But- 
 trefTes are only uied in fuch Gates as have no 
 Lodgement to fuftain 'em. 
 
 Fig. 140. 
 
 Thefe kind of Gates may alfo have Eut- 
 treffes on their Sides, with Confoles both to 
 fupport the Architecture of the Gate, and alfo 
 to add a Grace and Ornament to it ; efpecially 
 where the Wall is low, and the G ace high and 
 magnificent. 
 
 OBSERVATION. 
 
 A Confole, in my Opinion, fhou'd always 
 have fomething exceedingly maflive to fuftain 
 and ferve it as a Reft, when rais'd, as in this. 
 Example. 
 
 Fig. 141. 
 
 This Sweep , with the Archivolt, of any 
 great publick Gate, as that of a Place Royal, 
 may be fupported by Pilafters, which will 
 
 make 
 
l o 4 A Treat ifc of Archite&ure. 
 
 make a Symmetry with the Ground Story, 
 and may confift of Columns fupporting aTer- 
 rafe, or Balcony, to be continued quite round 
 the Place. 
 
 OBSERVATION. Fig. 142. 
 
 Large Gates, as the preceeding one, which 
 nre never (hut, and are principally intended to 
 mew the Magnificence of Princes and People, 
 ought to have a noble and rich Compofition, 
 with great Streets anfwering to 'em. Trium- 
 phal Arches, in a peculiar manner have their 
 Appearance enobled by large Avennes, which 
 Mew them at a great Diflance. 
 
 OBSERVATION. 
 
 Thefe grand Triumphal Gates fhould al- 
 ways be accompanied with two little ones for 
 the I'afTage of People on foot. 
 
 OBSERVATION. 
 
 The Vaults or Ceilings of thefe Gates 
 [hould be enrich'd with Compartiments of 
 beautiful Sculpture, to make the PafTage thro' 
 them the more pleaung. 
 
 OBSERVATION. 
 
 The Avenue on the fide of the Champains 
 fnould always eorifift of large Trees planted in 
 
 parallel 
 
A Treatife of Architect, lire. 105 
 
 parallel Lines, with an Interval equal to the 
 breadth of the Whole Triumphal Arch, that 
 the Beauty and Magnificence of the Edifice 
 may ftrike the Eye at once, and from a great 
 diftance. 
 
 OBSERVATION, fig. 143. 
 
 When a little Door is made in the Front of 
 an ordinary but regular Building, it (houM be 
 rais'd to the juft height of the Windows that 
 accompany it, but its breadth mnft a little ex- 
 ceed that of the Windows j left, while it is 
 adjufted to the reft of the Building, it appear 
 ill proportion'd in itfelf. 
 
 If 'tis defired to have the Door adorn'd with 
 an Order of Columns or Pilafters, it muft be 
 rais'd higher j fee the firft facade or Front in 
 this I late, where the Plat Band E F being con., 
 tinued, ferves as an Impoft to the Door, ter 
 minating the firft Story, and (hewing where 
 the fecond commences. 
 
 A. Firft Story. 
 
 B. Second Story. 
 
 C. Third Story. 
 
 According to the common Ufage, B is the 
 firft, C the fecond, D the third, &c. 
 
 Of W I N D O W S. Fig. 143. 
 
 "Windows, as well as Gates, differ both in 
 their Bignefs, and in their Architecture. The 
 biggeft are fecn in Churches, and are ufually 
 arch'd to a Semicircle. The 
 
106 A Treat ifc of Architecture. 
 
 The moderate ones frequently terminate ill 
 an Arch lefs than a Semicircle. As to the fmall 
 ones, they are ufually long Squares ; their 
 height being fometimes double their width, 
 or very nearly fo 
 
 Both the one and the other are made more 
 or lefs fimple, or more or lefs rich, according 
 to the Place, and to the Architecture of the 
 Buildings where they are ufed. 
 
 OBSERVATION. Same Fig. 
 
 In the Facade or Front of a Building, the 
 Windows lhou'd be exactly perpendicular un- 
 der one another ; and to that end care mud be 
 taken that they be all of the fame width: but 
 in different Stories, their height muft be diffe- 
 rent. 
 
 Thofe of the loweft and the upper moll: Sto- 
 ries may be lefs high, as well as lefs adorn'd, 
 than thofe of the middle, which are ufually 
 for the Mailer's Story. 
 
 OBSERVATION. 
 
 The width of the Windows, with regard to 
 that of their Jaumbs, that is, with regard to 
 the breadth of the Wall between two Win- 
 dows, may be as 3 to 4 in temperate Climates, 
 like that of ours ; or as 3 to 5 in Climates that 
 are colder or more hot: or as 3 to 6 in Coun- 
 tries (till more expofed to violent Heat, or vio- 
 lent Cold j but the various Situations of a 
 
 Build- 
 
A Trcatifc of Architecture. 107 
 
 Building with regard to Eaft and Weft, will 
 always occafion a Variation in the proportion 
 of the Windows themfelves. See Vitruroiu* 
 on the Subject. 
 
 REMARK. Fig. 144, 145. 
 
 The Defigns of Windows given us by F/'g- 
 iiola, do very well as reform'd by M. d'jivijer 
 in the Translation he has made of that Au- 
 thor: TheCompofition whereof is (hewn pret- 
 ty accurately in thefe two Defigns or Figures: 
 However, 'tis ufual to have Windows much 
 lefs adcrn'd ; and we often make them without 
 any Ornament at all, befidesa Plat-Band around 
 them, and that too, in fine Buildings. See Fig. 
 
 143- 
 
 OBSERVATION. 
 
 Large Windows fhou'd have a Cornlche that 
 projects pretty much, to be a fhelter to thofe 
 who prefent themfelves at it ; and in that cafe 
 the Prefecture fhon ? d be fupported by two 
 Cqnfoles, as well as the Reft or Leaning place 
 that terminates the Window at bottom, 
 
 OBSERVATION. 
 
 The Confoles of the Corniche fhou'd be as 
 big at bottom as at top, that they may fall 111 
 regularly with the Jaumb and Chambranle. 
 
 P OB- 
 
1o8 A Treatife of A rchite&u re. 
 
 OBSERVATION. 
 
 The breadth of the Chambranle or Window 
 Frame may be a fixth part of that of the Win- 
 dow. 
 
 REMARK. 
 
 Without the Chambranle is a Plat-Band, 
 ferving it as an Arriere-Corps, called a Mon- 
 tant or Window-poft, which may have an e- 
 qua : breadth with the Chambranle, or on oc- 
 cafion a little lefs. It ferves particularly to 
 place the Ccnfoles of the Corniche upon. 
 
 OBSERVATION. 
 
 If the Corniche be not fupported by Con- 
 foles, this Plat-Band fhou'd be then narrower 
 by one half \ and without any Mouldings be- 
 sides thofe that compofe its Corniche. 
 
 OBSERVATION. 
 
 The Confoles that fupport the Reft or Bot- 
 tom of the Window, mould be placed under- 
 neath the Chambranle, and be equal to it in 
 breadth, and their Wreathings may be made 
 to run out on the (ides. 
 
 OBSERVATION. 
 
 The height of thei'e Confoles muft not ex- 
 ceed half that of the opening of the Window 
 
 at 
 
 
A Trcdtife of Architecture, t 09 
 
 at the moft, nor fall fhort of a third of that 
 opening, when the leaft. 
 
 OBSERVATION. 
 
 They are ufually made narrower at bottom 
 than at top, but in my Opinion, 'twould be 
 better to have 'em equally big. 
 
 REMARK. 
 
 The top of the Perron or Afcent frequently 
 terminates the bottom of thefe Confoles. 
 
 O/LUTHERNS or DORMERS. Fig. 146. 
 
 We call Lutherns, thofe Windows rais'd o- 
 Ver the Corniche of a Building, and in the 
 Roof of the Houfe. 
 
 Lutherns mould be built dn the Wall, and 
 {land very upright. Being now mueh in ufe 
 in Houfes of indifferent Architecture, 'tis be- 
 come a Cuftom td cut off that part of the Cor- 
 niche directly underneath 'em, that it mayn't 
 intercept the View of what paries below. But 
 this fhou'd never be pra&is'd in Palaces or 
 Buildings of Magnificence ; fucb. Notches in 
 the Corniche having a very ill Effect, outwards 5 
 which muft be carefully avoided, tho* to th£ 
 Prejudice of thofe People who may chance to 
 poifefs thefe upper Stories. 
 
 Pa 0) 
 
I ! O A Treatijc of Architecture. 
 
 Of the fever a! STORIES in the height of a 
 BUILDING^ the fame Order of C O- 
 LUMNS or PILASTERS. Fig. 147. 
 
 In a publick Place, intended for the Mag- 
 nificence as well as the Convenience of a City, 
 the Buildings cannot be too ftately : Now, as 
 nothing carries more State with it, than one 
 grand Order ; this is what muft be thought 
 on in the nrft place : However, as Conveni- 
 ency on this Occafion is to be infeparable from 
 Magnificence, I think two Stories- may be al- 
 low'd in the height of this one Order : and if 
 the whole be rais'd on a Rujiic Order, 'twill be 
 a great addition to the Beauty of the Ordon- 
 nance. This is what we fee practis'd with fo 
 much Succefs in the Building of the PLwe de 
 Vend ?ne, and that of des Ficloires. 
 
 Over this grand Order, one may raife a Ba- 
 luftrade, to make it terminate the more agree- 
 ably, and to conceal, in fome meafure, the 
 Roof, which is never found any great Orna- 
 ment to a beautiful Building. 
 
 Inftead of Pilalters, one might place an Or- 
 der of Infulate Columns with a Corridor or 
 Gallery behind j which would be (till infinitely 
 better. 
 
 F& 
 
A Treatife of Architecture. 1 1 1 
 
 Fig. 148. 
 Of PEDIMENTS. 
 
 BY Pediment we mean the Crowning fre- 
 quently feen over Gates, Doors, Windows, 
 and Niches ; and fometimes over entire Orders 
 of Architecture. The Ridges of ordinary Hou- 
 f.s, were, what gave Architects the firfr. Idea of 
 this noble Part. 
 
 The Parts of the PEDIMENT are the TYM- 
 PANUM, and its CORNICHE. 
 
 By Tympanum we mean the Area or Space 
 included between the Corniche which crowns 
 it, and the Entablature which fupports and 
 ferves it as a Foundation. 
 
 Tig, 149. 
 
 The Tympanum is either Triangular or 
 Circular. The Triangular the Workmen call 
 pointed, the Circular they call arch'd. 
 
 OBSERVATION. Fig. 148. 
 
 The Naked of the Pediment, /. e. the Tym- 
 panum, ought always to ftand perpendicularly 
 over the Frieze of the Entablature underneath, 
 as the Tympanum A, which is in the fame 
 Perpendicular with Frieze B, 
 
 OB- 
 
J 1 2 -<4 Treat if e of Architecture, 
 
 OBSERVATION. Same Fig. 
 
 The Modillions of the Corniche of the Pe- 
 diment ought to be found in the fame Perpen- 
 dicular with thofe of the Entablature under- 
 neath. 
 
 OBSERVATION. F:g. 150. 
 
 That part of the Corniche whereon the Pe- 
 diment ftands, fhou'd not have any Cimatium j 
 in regard the Cymatium of the reft of the En- 
 tablature, when it meets the Pediment, paflea 
 over it : but this change of Determination oc- 
 cafions a very confiderable Difficulty j and 'tis 
 this. 
 
 If the Cymatium were carried over the Pe- 
 diment, beginning juft at the Angle of the Cor - 
 niche, as one would imagine it lhou'd do; it 
 would be conliderably widen'd, in regard that 
 Angle is acute. But this wou'd be a confidera- 
 ble Eye-fore, both on account of the inequality 
 of its width, and becaufe it would be render'd 
 too ftrong and heavy for the Corona. 
 
 Some Architects, to reduce this Cymatium to 
 a proper width, make the Horizontal Cymati- 
 um that fupports the two fides of the Ped.mcnt 
 very flat, as we fee done over the great Door of 
 the Minimes in the Place Royal; but this is to 
 prevent one Deformity, by putting another iri 
 its Head. 
 
 Othsf 
 
A Treatife of Architecture. 1 1 3 
 
 Other Archite&s make a little Retreat or El- 
 bow, as the Workmen call it at the extremity of 
 the Cymatium of the Pediment ; much after the 
 manner of this Figure ; and this Expedient, in 
 my Opinion, is preferable to aay of the reft. 
 
 It here appears very evidently, that if the Cy- 
 matium A B, were to pafs over the Pediment, 
 commencing from the Point £, it wou'd have 
 the whole Breadth, C F. whereas by commen- 
 cing from the CroiTette or Elbow Z), it has on- 
 ly the breadth E F, which is the juft breadth the 
 Cymatium fhou'd have according to my Rules. 
 
 Sometimes the Pediment does not commence 
 from the Extremity of the Corniche ; but in 
 that cafe, too, there are Difficulties, which we 
 mall take occafion to examine hereafter. 
 
 Vitrnvius obferves, that the Ancients did not 
 approve of Modillions in the Corniche of a 
 Pediment, and the reafon they gave for it was, 
 that Modillions being only intended to repre- 
 sent the ends of Rafters, it would be abfurd to 
 ufe them in the Declivity of a Pediment where 
 no Rafters are fuppofed to be. But the truth is, 
 thefe Modillions are rather 0j naments to fuf- 
 tain the great Projeclure of the Corona or Lar- 
 mier, than to reprefent the ends of any Raf- 
 ters, or other pieces of Wood ; and therefore it 
 wou'd be a Weaknefs to be influene'd by fuch 
 imaginary Reafons ; the rather becaufe thefe 
 Ornaments have a very good Effect, and efpe- 
 cially when ufed in large Pediments. 
 
 OB- 
 
114. A Treattfc ^/"Architecture. 
 
 OBSERVATION. Fig. 151. 
 
 A Triangular Pediment may ferve to crown 
 three Arches, but a circular Pediment can't 
 properly crown more than one: and the Centre 
 of the Sweep of the Gate or Arch, mould be u- 
 fed for defcribing the Sweep of the Pediment. 
 
 OBSERVATION. Fig. 155. 
 
 I would not have more than two Pediments 
 placed over each other in the fame Front of a 
 Building: and even where there are two, it 
 wou'd not be airiifs to have the one with a 
 Sweep, and the other pointed or triangular ; 
 this laft finifhing the Front in manner of a 
 Ridge. 
 
 OBSERVATION. Fig. 152. 
 
 We now ufe none of thofe broken and inter- 
 rupted Pediments which Michael Atigelo intro- 
 duced in his Time : Nor is there any body that 
 feems to value 'em, but People of no Tafle or 
 Experience. 
 
 Thofe made of later Days, and which are fup- 
 ported by an Entablature truncated in the mid- 
 dle, as thofe in the Court of the Val de Grace, 
 were fo maim'd to fhew the Cypher of the 
 Houfe. But thefe, too, are Co] uprtions in Ar- 
 chitecture, which ought by all means to be a- 
 voided. O B- 
 
A. Tfeatife 0^" Afchi tenure. 1 1 5 
 
 OBSERVATION. 
 
 Tho' the Pediment is bounded by its Tym- 
 panum and its Corniche, yet were it not for its 
 Entablature undernearh, it would not only be 
 ill lupported, but imperfect too; jiift as a Ridge 
 would be, if the Rafters th.it compofe it want- 
 ed Beams to prevent their flying afunder. 
 
 The placing of two Pediments ever one a- 
 nother, as is done in the old Louvre, is per- 
 fectly abfurd and ridiculous, tho' perform'd 
 by an Architect of Reputation. 
 
 In feme places weiikewife lee the Architrave 
 interrupted and cut off between the two Co- 
 lumns, with Feftoons in its place, which is a 
 Deformity, tho' fomewhat lefs considerable 
 t.ian the former. 
 
 REMARK. 
 
 Vitruvius. thinks it juft that all the Parts 
 rais'd above Columns and Pilarters, that is, all 
 that are above the Eye, as the Faces of the Ar- 
 chitrave, the Frieze, the Tympanum of the 
 Pediment, and the Acroteria with their Figures 
 or Statues fhou'd be incJiri'd forwards, about a 
 twelfth part of their height. And his reafon 
 for it is, that thole parts will by that meai s be 
 the better expofed to the view of fuch Perfons 
 as are plac'd below : but I think his Advice 
 ought here ;o be fet aiide, as being built on a 
 particular reafon to the prejudice of a general 
 Rule, which enjoins all the parts of a beautiful 
 Q^ Euiid- 
 
f i 6 A Treat ije of Architecture. 
 
 Building to be exactly perpendicular. With- 
 out this, they muft needs have a vvoful Effect, 
 when view'd fidewife ; on which occafion they 
 wou'd appear reeling, and ready to tumble 
 down. However, the Statuaries obferve the 
 Maxim of J r .tnrcius very judicioufly with re- 
 gard to their Figures, when they are placed 
 fufficiently high, and can only be view'd in 
 Front, and from below. 
 
 O/NICHE S. % 153. 
 
 Niches are Hollows funk into the Wall, for 
 the eoiLiYiodiwUS and agreeable placing of Sta- 
 tues. 
 
 Their ordinary proportion is to have two 
 Circles in h ight, and one in width ; but I make 
 their height fomething more : The excefs being: 
 to compenfate for the height of the Plinth or 
 Pedeftal of the Statue - y as is (hewn in the Fi- 
 gures A and B. 
 
 REMARK S. 
 
 The Flollow is Semicircular at bottom, that 
 is in its Plan; at top it terminates in a kind of 
 Canopy or Cul de / our, as is feen in Figure C. 
 
 Niches have frequently an Impolt, and an 
 Archivolt Or Head-band, and their Canopy 
 wrought and enrich'd in manner of a Shell. 
 See Fig. D of the fame Plate. 
 
 The breadth of the Archivolt may be made 
 equal to a iixth or feventh part of the Aperture 
 
 of 
 
A Treat ifc ^Architecture. 117 
 
 of the Nice; and che height of the Import to 
 a fifth or fixth part of the fame. 
 
 The Import and Archivolt ought to con H ft 
 of fuch Mouldings as have fame relation to the 
 Architecture of the Place. 
 
 OBSERVATION. Fig. 154. 
 
 When a Niche is placed underneath an Im- 
 port, between two Columns or Pilafters, as in 
 this Figure; it fhou'd have no Import or its 
 own : for two Imports over each other wou'4 
 have a woful Effect ; befides that the Pedertals, 
 in this cafe, having their Bafes and Cornichesj 
 there wou'd be too many Mouldings over one 
 another. 
 
 OBSERVATION. Sams Fig. 
 
 There murt no Niche be made between two 
 Pilarters, if they ben't a part nearly one third 
 of their height ; other Wife we fhou'd have 
 Niches too fcanty and narrow. 
 
 Care muft alfo be taken, that they be not too 
 big ; left by that means the Architecture be made 
 to appear little and pitiful : Thus from the 
 largenefs, forlnftance, of the Niche one is led to 
 judge that the Architecture is only intended for 
 a Chappel or other Building of an ordinary fize. 
 
 OBSERVATION. 
 
 Niches fhould be plac'd at the height cf the 
 Pedertals of the Columns or Pilafters that ac- 
 company them. Qjz O B- 
 
I i 8 A Treat if j (^Architecture. 
 
 OBSERVATION. 
 
 When Niches are placed underneath Tm- 
 
 pcfts as in this Figure ; the opening of the 
 Arches fhou'd be fomewhat narrower than or- 
 dinary, that the Impdft b^ing on that account 
 a littfe higher, the Niches may become of a 
 moderate bignefs : For this reafon, inftead of 
 twelve Modillipns between the Pilafters, I on- 
 ly here make eleven, that is, i retrench o:;e 
 Modiliipn from the Corniche, that the Pilafters 
 may approach each other equally. 
 
 OBSERVATION. 155. 
 
 When ths Columns have no Pedeftal§, a. 
 Niche may be rais'd higher than their Bafe j and, 
 in that cafe a Table or Pannel may be placed 
 
 underneath. 
 
 OBSERVATION. Same Fg. ' 4 
 
 If it happen that a Niche with an Import be. 
 pla.edbet a een two Filailcrs, without any Por- 
 tico, as in this Figure; it fhou'd be made with 
 a Retreat or Fall, backwards, to prevent the ne- 
 ceilUy of continuing its Import: between the Pir 
 laftei s. Fcr that Impoil being proportioned to 
 the I i he, cannot be in proportion to the Pi- 
 lafters. Befides, without this Expedient 1 don't 
 rea \ ly fee how it cou'd be well terminated op 
 the fide of the Gate. 
 
 We 
 
A Treatise of Architecture, r r 9 
 
 We fometimes fee Niches that are made 
 ftjuare, but thefe want all the Beauty of the o- 
 thers. 
 
 OBSERVATION. Fg. 156. 
 
 If the Order of Column or Pilafter iliould be 
 verv big and high, as that by following the De- 
 \viy\ of the preceding Plate, the Niche vvou'd 
 become too large and unfjzeable, the Pilafters 
 muft be brought a Modillion or two nearer 
 each other ; and inflead of a Niche with a Re- 
 treat, one may make a Niche with a Cham. 
 branle and a Corniche, crown'd with a Pedi- 
 ment, over which may be an Oval Light of 
 the fame width with the Niche. 
 
 O/STATUES. Fig. 124. 
 
 A Figure or Statue, rais'd over an Order or 
 Building, may have its height equal to one 
 third of that of the Column, or to four ninths 
 thereof, if the Statue have no Niches. Fig. 155. 
 If it be bigger, it will make the Building ap- 
 pear little j and if it be lefs, for Initance only 
 a fourth or a little more, the Building will ap- 
 pear by much the larger ; as may be obferved 
 from Figure 156. 
 
 OBSERVATION on the Size of STATUES. 
 
 'Tis obfervable, that in proportion as a Sta- 
 tue is rais'd above the E^e, it appears to dimi- 
 nifli in Bulk, 'till fuch time as being elevated to 
 I very great pitch, it becomes almofl impercep- 
 tible. 
 
110 A Treatijc 0/* Architecture. 
 
 tible. For this reafon fome Architects contend 
 that the Sculptor muff always accommodate 
 his Figures to their height, and increafe their 
 bignefs juft as their Elevation increafes, to the 
 end that they may always appear of a reafon- 
 able Size But as the Orders of Columns are 
 to be diminifh'd in proportion as they rife over 
 one another, it would happen that the Statues 
 in this cafe would become too big for the Order. 
 There need not therefore be any Difficulty 
 made with regard to what the Architect is to 
 do on this occafion. He mult always propor- 
 tion his Figures to the Orders, and the Stories 
 where they are to be placed; unlefs it happen 
 to be in a clofe narrow place, as in a Stair- 
 Cafe or Dome, for in that cafe the Orders and 
 the Statues may be enlarged in proportion. 
 However, v. are mult be taken not to run into 
 cxccis, it being better they fhou'd appear too 
 little than too big. 
 
 OBSERVATION. 
 
 Initead of placing Statues to finifh the up- 
 permost Stories, one may have Vafes, Torches, 
 Pots o[ incenfe, Trophies, and the like Orna- 
 ments ; which will fuit better with fuch Places 
 than human Figures ; unlefs thofe reprefent 
 the Tutelar Angels appointed for the Guard 
 and Protection of the Building. 
 
 0B« 
 
A Treatifc of Architecture, iai 
 OBSERVATION. Eg. 155. 
 
 Figures plac'd in Niches fhou'd have their 
 Eyes at the height of the Sweep, as in the Dia- 
 meter of the Arch. 
 
 OBSERVATION. 
 
 'Tis ufual to add little Plinths or Zocles for 
 Bafes, to thefe Figures : but when the Niches 
 are of the bilged, fo as the Figures wou'd ap- 
 pear too Gigantic, if hiving their Eyes in the 
 Centre of the Sweep, they lhou'd reach to the 
 bottom, abating the height of a little Plinth 
 under their Feet; in that cafe, they may be 
 rais'd on a moderate I edeibal , as in this Fi- 
 gure 155. But on the other hand, care muft be 
 taken that thefe Pedeftals be not to high, and 
 the Figures too little, with regard to the Niche, 
 it being a great Eye-fore to fee a little Figure 
 in a b g Niche. On fuch an Occafion, I ima- 
 gine the Pedeftai may have a fifth part of the 
 height of the Figure j if it have more, the Fi- 
 gure will be too little. 
 
 O B S E R V A T I O N. Fig. i 5 5. 
 
 When Figures are plac'd in Niches by way of 
 Ornaments to the Portail or Frontifpiece, there 
 feems no neceffity to have any above the Enta- 
 blature j but in their ftead one may have Vafes 
 or other Ornaments, which will have nearly the 
 fame Effect , For, thole Figures in Niches be- 
 ing frequently requir'd to be bigger than thofe 
 
 plac'd 
 
112 A Treat if e 0/" Architecture. 
 
 plac'dover the Entablature, fuchan Inequality 
 of Figures in the fame Frontifpiece, might be 
 difpleafing to fome People. 
 
 Of P Y R A M I D S. 
 
 Pyramids are a kind of Monuments proper 
 for tranfmitting the Memory of great Princes 
 to Pofterity. They may be adorn'd with Tro- 
 phies of War, with Statues and BafTo Relievo's, 
 to reprefent their memorable Actions, their 
 Victories, Virtues, Power, and the Enemies 
 they fubdued. 
 
 A Pyramid can't be better fituate than in the 
 middle of a large Place, or Square, where it 
 may be feen on all (ides, and at different heights, 
 without Interruption. 
 
 It fhou'd be rais'd to fuch a height as may 
 fet it above all the Buildings that encompafs 
 it; lb as it may be view'd out of the Country, 
 and be a noble Ornament to the City where it 
 is rais'd. 
 
 The Pyramid is always efteem'da Symbol of 
 the Glory of Princes , for this reafon it rtiuft 
 be made fo much the more magnificent, as 
 the Prince for whom 'tis defign'd has been 
 more eminent for Virtue and Power. 
 
 Further, a Pyramid fhould always be fingle, 
 or alone ; otherwife it lofes its proper Signifi- 
 cation, which is to reprefent the Glory of the 
 Prince who Reigns, or has ReignU 
 
 A 
 
A 
 
 TREATISE 
 
 O F 
 
 ARCHITECTURE 
 
 SECTIONVIL 
 
 Of BALUSTERS and BALUSTRADES, and 
 of BALCONIES, and PERRONS or AS- 
 CENTS. 
 
 Of Balufters and Baluftrades. 
 
 ^- ^ '' V^ Alufters or Balifters, are a kind of 
 little Pillars join'd by a Rail, at a 
 convenient height for the Elbows 
 to reft upon. Of thefe I propofe 
 various Forms accommodated to 
 the various Orders of Architecture where Ba- 
 luftrades may be ufed, 
 
 By Baluftrade we mean a Series or Row of 
 Balufters with their Rail, ferving as a Ta- 
 
 R bletr e 
 
I 2 4. A Treat ifc of Architecture. 
 
 blette or Reft to the Elbows and at the fame 
 time as a Fence or Inclofure to Altars, Balco- 
 nies, TerraiTes, Water-works, Stair-cafes, and 
 large Windows. 
 
 Baluftrades confift of one or more Ranges or 
 Rows of Balufters, terminated by Fedeftals of 
 the fame height. 
 
 If in a Stone or Marble Baluftrade, the Di- 
 ftance from one Pedeftal to another be too 
 great for a Tablette or Rail of a fingle Stone, 
 it mult be made of two j in which Cafe 'twill 
 be proper to have the Joncture or AlTemblage 
 fupported by a Die, mark'd D B, if a Balufter 
 be judged too weak to fuftain them. 
 
 The Ranges, in my Opinion, ought to ter- 
 minate in half Balufters join'd to the Pedeftals ; 
 tho' there are other Architects of another Sen- 
 timent. However, every Man may follow his 
 own Inclination. I here give Inftances of each 
 kind. 
 
 We have Balufters of various Figures, but 
 the round and the fquare mould always have 
 the Preference. See Fig. 158, and 159. 
 
 Every Baluftrade fhou'd have a Zocle. Pal- 
 ladio indeed, gives us an Inftance of the con- 
 trary, in his Egyptian Hall, p. no. but this 
 is not to be imitated. 
 
 Round Balufters are not fo heavy as the fquare 
 ones : they are frequently made of very hard 
 Stone, as that of Lions , which works better than 
 any other kind of Stone, except Marble. 
 
 Fi 
 
A Tre&ttfe of Architecture. 125 
 
 Fi 8- J 59- 
 
 A, Tablette, Rail, or Reft. 
 
 B. Abacus. 
 
 C Cincture or Orlo. 
 
 D. Altragal. 
 
 E. Ball of the Balufter. 
 
 F. Gaudrons of the Ball. 
 
 G. Aftragal. 
 H. Bafe. 
 
 /. Plinth. 
 
 L. Zocle or Foot. 
 
 Fig. 160. 
 
 When 'tis defir'd to have a Baluftrade richer 
 and more delicate than ordinary, fuch as we 
 fometimes fee before Altars, it may be caft of 
 Brafs or Silver j unlefs, to fave Expences, it 
 be thought better to have it of Wood gilded ; 
 for fuch kind of Baluflrades may be made as 
 rich in Ornaments as one pleafcs : feveral De- 
 figns of this kind will be found in this Plate ; 
 and thofe, who have a Tafte for fuch Things, 
 will find no Diiriculty in compofing infinite 
 others. 
 
 All Baluftrades being intended to be Breaft- 
 high, fhou'd none ever exceed three Foot and a 
 quarter at the moft, nor come fhort of two Foot 
 and a quarter at the leafl : the Meafures for this 
 to be taken from the Royal Paris Foot, * which 
 
 * N. B. The Paris Foot here referr'd to, is to the Enghjh Foot 
 as 1068. to 1000. 
 
 R 2 is 
 
1 1 6 A Trcatifc of Architecture. 
 
 is the fame throughout the Kingdom, and 
 does not vary like the Module, which is of va- 
 rious Dimenhons. 
 
 AB a Scale of three Feet, whereon the 
 parts of thefe Balufters may be meafured. 
 
 OBSERVATION. Fig, 161. 
 
 In Baluftrades of Stair-Cafes , the Zocle 
 fhou'd always be the height of the Steps : and 
 the Baluftrade terminates much better with 
 a Fedeftal on the Ground, as in this Figure, 
 than with a Fedeftal on the Defcent, as in Fig; 
 
 J 57- 
 
 OBSERVATION. 
 
 Whether the Pedeftal be on the Defcent or 
 not, it mult always have a Buttrefs in manner 
 of a Confole to luftain and bear up againft the 
 PrefTure of the Ealuftrade. 
 
 OBSERVATION. 
 
 In Baluftrades that are between Pedeftals, 
 without either Bafes or Corniches, of which 
 I give Instances in Figures 126, and 13 1 ; the 
 Tabletts fhou'd only confift of a Plat-band, 
 fuftain'd by a Fillet or little Talon underneath, 
 and the Zocle may have a little Cavetto over 
 it. 
 
 OB- 
 
 * 
 
jl Trcatifc of Architecture. 1 1 7 
 
 OBSERVATION. Fig. 162. 
 
 When a Baluftrade is independant, one may 
 proportion its Pedeftals to its Balufters, of 
 which I have given feveral Inftances : but 
 when it isufed in Orders of Columns, whereon 
 it has feme Dependence, the Pedeftals in that 
 cafe can't be manag'd at Pleafure. 
 
 Fig. 162. 
 
 If the Pedeftals that terminate a Baluftrade 
 h^ compleat, and well-proportion'd to the Pil- 
 lars which they fupport, their Corniclies will 
 b: found too weak to be continued alone, and 
 fo to ferve for a Tablette to the Baluftrade. 
 'Twill be neceflary, therefore, to add a Plat- 
 Band underneath ; which will make a Sym- 
 merry with that round the Table or Pannel of 
 the Pedeftal, as in the Figure mark'd A. 
 
 Fig. 163. 
 
 Inftead of Balufters , we fometimes make 
 Entrelas of Crail'd W©rk, which are not in- 
 ferior to the others in Beauty. Of theie I pro- 
 pofe various Deiigns in this Plate ; and every - 
 body is at liberty to imagine as many more as 
 he pleafes. 
 
 One might enrich thefe yet further, by ma- 
 king the Wreaths, Rofes, and Foliages, of 
 Brafsj which wou'd do ftiil infinitely better if 
 they were gilt. O B- 
 
I 2 S A Treatife of Architecture. 
 
 OBSERVATION. 
 
 Thefe Entrelas fhou'd be made more or lefs 
 delicate according to the Places where they are 
 to be ufed. For lnltance. thofe that ai e to be 
 placed a-top of a iuilding, and which can on- 
 ly be view'd from a-far, mould be lefs deli- 
 cate than thofe that are to be view'd near at 
 hand. 
 
 Of BALCONIES. Fig. 164. 
 
 A Balcony is a little flight Terrafs, (landing 
 out from the Body or Naked of a Building y 
 where one may take the Air, and eafily obferve 
 what paries underneath. 
 
 Its Parts are the Terrafs, the Baluftrade 
 that inclofes it, and the Confoles that iupport 
 it : or, to explain myfelf more accurately, a 
 Balcony is a piece of Architecture rais'd in the 
 Air, inclofed with a Baluftrade, and fupponed 
 by a little Entablature, whereof the Corniche 
 or uppermoft part makes a Terrafs : The 
 Frieze and Architrave being only continued at 
 the Bottom and Sides ; and the whole Balcony 
 further fupported by Confoles, as is fhewn in 
 this Figure. 
 
 REMARK. 
 
 The Frieze is made with a little Sweep, that 
 the Zocle of the Pedeftal above may not appear 
 
 il! 
 
A Treatise 0/ Architecture. 129 
 
 ill fupported, and that the Confole, coming to 
 contract or ftraiten itfelf at bottom, may do ic 
 the more gracefully j without which it wou'd 
 appear too heavy. 
 
 The height of the Confoles may be equal 
 to their Projedture, but 'twiU be an addition 
 both to the Beauty and Strength of the Work 
 if they be made higher. 
 
 OBSERVATION. 
 
 A Balcony may be continued quite through 
 the Facade of a Building, by adding Confoles 
 from Space to Space ; to be difpofed between 
 the Windows, which will be underneath. 
 
 A. A Balcony of Stone, view'd in Front. 
 
 B. A Balcony of Stone view'd Sidewife. 
 
 C. The Section of the fame lalcony. 
 
 OBSERVATION. Same fig. 
 
 Balconies of Iron will do much better than 
 thofe of Stone, as being lighter, and lefs fub- 
 ject to Decay : If they be gilt , they will be 
 exceedingly magnificent, and a very proper Or- 
 nament for a Palace. 
 
 DE F\ Balconies of Iron. 
 
 Fi £- l 5S- 
 0/PERRONS or ASCENTS. 
 
 By Perron we mean an Afcent or Eleva- 
 tion given to the Entrance of a Building. The 
 
 Portail 
 
ijo A Treat i fe 0/ Architecture. 
 
 Portail or Frontifpiece of a Church, Palace, 
 or any other great Building, mould always 
 have a Rife of fome Steps, that is, in a word, 
 it ought to have a Perron. 
 
 OBSERVATION. 
 
 The Reft or Landing-place of a Perron 
 fhou'd always be extended in Width as far as 
 the Frontifpiece, if poffible ; and the Steps, 
 according to Vitruvius 7 mull ever be an odd 
 Number. 
 
 OBSERVATION. 
 
 Thefe Steps fhou'd always be £ or 6 Inches 
 in height, and 10 or 12 in breadth ; that is, 
 their breadth mud be double their height ; 
 which is found the belt Proportion to have an 
 eafy and commodious Afcent. 
 
 OBSERVATION. Fig. 155. 
 
 Where the Perron is 13 or 15 Steps high, 
 'tis neceifary, at leaft 'tis convenient, to inter- 
 rupt its Range with one or two Landing-pla- 
 ces, that there mayn't be too many Steps to 
 mount fucceffively, and that the Eye may not 
 be difpleafed in defcending fo great a height 
 without Refts. See, in this Figure, the Perron 
 interrupted with two Landing-places, accord- 
 ing to the Difpofition of the Parts of the Fron- 
 tifpiece. 
 
 V OB- 
 
'A Treatife of Architecture, i g i 
 
 OBSERVATION. 
 
 A Perron mou'd always be confin'd to the 
 height of the Zocle or Foot of the whole 
 Building. 
 
 OBSERVATION. 
 
 Tho' this Zocle or Foot ferve as a conti- 
 nued Pedeftal ; yet it muft neither have a 
 Bafe nor Corniche when its height is taken up 
 by a Perron; and I can't at all agree with 
 Valladio in the Examples he has given us to 
 the conrary. 
 
 Sometimes the Place does not allow a Per- 
 ron to be extended fo far as one would other- 
 wi e wifh, in which cafe it muft be reduced 
 as conveniently as may be, to the little Space 
 allotted for it. See Fig. 165. 
 
 Some particular Obfervations. Fig. 165. 
 
 REMARK, 
 
 When 'tis required to have an Order of Co- 
 lumns or. Pilafters placed in a Second Story j 
 the Firft Story may be Ruftic, and its Arches 
 in BoiTage, which will not only add to its So- 
 lidity and Strength, but to its graceful Ap- 
 pearance, 
 
 S RE- 
 
[t 3 3 A Treatife of Architecture, 
 
 REMARK. Same Eg. 
 
 If the Firft. Story be a Ruftick Order, the 
 Order of Columns or Pilafters rais'd over it 
 may be ma.de higher ; that is, its height may 
 exceed that of the Ruftic Order j which in 
 this Cafe only ferves it as a Stand or Foot. 
 
 OBSERVATION. Same Fig. 
 
 "When the Body of a Building is to be rais'd, 
 higher than the Alae or Wings that accompany 
 it ; 'tis not neceffary for that purpofe, that the 
 firft or loweft Or4er of the Body mould be 
 taller than that of the Wings, but that of the 
 Wings may be continued throughout, and the 
 Elevation of the main Body above thefe may 
 be left to a fecond Order, and even, if it be 
 neceiTary, to a third. 
 
 OBSERVATION. 
 
 For the third Story one may ufe an AttkQv» 
 der j as in the fame Figure. 
 
 OBSERVATION. Fig. 165. 
 
 We have already obferv'd that on fome Oc- 
 cafiens. one may make two St ries in the height 
 of tiic fame Order. Figure 147. And in this 
 f i ire 165. I propofe another Inftance with 
 Round or Oval Lights, which will make a very 
 beautiful Diverfity with the larger Windows. 
 
 Thefe 
 
A. Trcatife of Architecture. 133 
 
 Thefe round Lights Over the Windows 4 
 ferving to illumine the Mezzanines or Half 
 Stories, may alfo ferve to raife the Light of a 
 large Sallon in the middle of a Buildings 
 
 Fig. 1 66. 
 
 One might alio make two Stories in tne 
 height of the fame Order of Pilafters, bv pla- 
 cing the Mafter-Story a-top, and that of the 
 Offices and Domefticks underneath ; but this 
 laft, with Ample unadorn'd Windows: arid 
 yet the whole be conducted in a noble and 
 graceful Manner. 
 
 OBSERVATION. 
 
 In fuch kind of Ordonnances, I would nc^ 
 ver chufe to continue any Mouldings quite to 
 the Pilafters j excepting the Zocle of the whole 
 Building. 
 
 The Bod v of the Building may be of Brick 
 where this is in Ufe : and the Archite&ure, or 
 Orders of a beautiful white Stone, which yill 
 make the molt agreeable Facade of Building 
 imaginable. 
 
 Of the DiJIribution of ORNAMENTS on the 
 POPARTS. Ug.ibj 
 
 The Ornaments fhou'd be diftrlbuted in fuch 
 
 manner, as that they may always be fuftairi'd 
 
 by fimple uniform Parts, to ferve as Foils rofet 
 
 'em off. I mean the Parts that are fimple and 
 
 S 2 plain 
 
154- ^ Treat ifc of Architecture.' 
 
 plain fhou'd always be fo difpofed as to be a 
 Reft or Repofe to the Parts that are adorn'd. 
 For Inftance, if the Vault of a church be full 
 of Ornaments, the principal or projecting Arch- 
 es fhou'd be plain ; if the Vault be plain, the 
 Arches muft be enrich'd ; with this Reftriction, 
 that the Compofition of the place be fuch as 
 that Ornaments may be fuiuble. 
 
 If 'tis defir'd to have a great deal of Rich- 
 nefs and Ornament; I mean, if the Place 1 ap- 
 pens to require Ormmen s both in the project- 
 ing Arches ; and in the Compartiments ir.clo- 
 fed between 'em j 'twill be necelTary, however, 
 that the Arches and Compartiments of the 
 Vault be brrder'd with pretty broad but plain 
 Lifts, in order to make a Separation, and to 
 prevent thofe Parts from being blended and 
 confounded together. 
 
 OBSERVATION. Same Fig. 
 
 When the Projecting Arches of a Vault have 
 no Ornaments, the Columns or Pilafters that 
 fupport them fhou'd have no Flutings : And 
 if the Columns or Pilafters be Fluted . the 
 Arches fhou'd be Enrich'd, as alfo the Frieze of 
 the Entablature: at leaft this is my Opinion ; 
 tho* we find it other wife praaifed in the Val 
 de Grace. 
 
 OBSERVATION. 
 
 It may be obferv'd that the Zocle A i?, which 
 is licr^ over the Entablature, cannot be feen 
 
 from 
 
A Treat i fe of Architecture. 155 
 
 from below, yet is it of fome Ufe, to have the 
 w) ole Sweep of the Vaulted Roof in Sight; 
 pa t whereof, without fuch a Rife, wou'd be 
 hid behind the Prefecture of the Corniche, 
 whi h wou'd he a confirterable Defect: the 
 grea. tfeauty of the Vaul of a Church, and 
 that whereon its Effect principally depends, 
 confiiling in its appearing rais'd, as much as 
 poilible, with a full Sweep. 
 
 OBSERVATION. Same Fig. 
 
 Each Pilafter in the Vault of a Church fhou'd 
 have a projecting Arch anfwering to it, which 
 Arch ihou'd be of the fame breadth, and the 
 fame Projecture or Thicknefs with the Pilafter 
 that fuftains it. 
 
 OBSERVATION. Fig. 168. 
 
 In a Lodgment or piece of Building that re- 
 ceives the Light under a Portico, and whofe 
 "Windows have a Reft or Support for the Breaft; 
 the Columns or r ilafters fhou'd have Pedeftals 
 of the fame height with thofe Refts, or to 
 fpeak more properly, thofe Pedeftals fhould be 
 continued fo as to form Refts or Leaning-pla- 
 ces for the Windows, as in the Figures A and 
 B: otherwifethe Columns and Filafters fhou'd 
 not have any Connexion with the Pedeftals, as 
 is fhewn in Fig. C. 
 
 OB- 
 
i 3 6 A Treat ife ^Architecture. 
 
 OBSERVATION, 
 
 If the Windows have no Refts, but reach 
 down to the Pavement ; the Columns and Pi- 
 lafters will do much better without Pedeftals 
 than with them. See Yig- D. of the fame Plate. 
 
 It may here be obferv'd, that an Order of 
 Columns or Pilafters, which only takes up one 
 Story in height, makes but a mean piece of 
 Architecture, when the Windows are of a big- 
 nefs fuitablc to the Apartments. 
 
 OBSERVATION. 
 
 An Order of Pilafters ufed in an Apartment 
 {hou'd have a continued Fedeftal, equal in 
 height to the Refts of the Windows j the Cor- 
 niche of which Pedeftal fhou'd be flat, and 
 without any Larmier. 
 
 OBSERVATION. 
 
 In fuch Places where the Pedeftals are re- 
 quired to be higher, as in Churches, large Sal- 
 Ions, Halls, &c. they muft be at leaft fix or 
 feven Foot high, that their Corniche may not 
 ftand directly out againft the Eyes of thofe 
 who may have occafion to come near. 
 
 OBSERVATION. 
 
 A Pedeftal rais'd above the Eye muft never 
 have a flat Corniche -, I mean a Corniche that 
 
 is 
 
A Treat if e of Architecture. 137 
 
 is to be view'd from below, fhou'd always be 
 adorn'd with its Larmier, which on fuch an 
 Occafion makes its chief Beauty ; whereas it 
 only ferves to weaken and fpoil the Effect of 
 the Corniche , where that Corniche can only 
 be view'd from above. 
 
 OBSERVATION. 
 
 Coupled Columns, mould, ordinarily, have 
 but one and the fame Pedeftal ; and the princi- 
 pal reafon is, that thefe Columns requiring to 
 be as near one another as poffible, it frequently 
 happens they can't be lb well diftinguifh'd 
 from each other, but that their Bafes and Cor- 
 nilhes will be confounded together, which 
 muffc needs have a miferable Effect, that by 
 all means ought to be avoided : To which it 
 may likewife be added, that the two Pedeftals 
 being brought into one, the Columns will be 
 the more firmly fix'd. 
 
 If it fhou'd happen, however, that two 
 Coupled Columns be found far enough a-part 
 to prevent any (Jonfufion of the Cornifh.es or 
 Bafes of their Pedeftals, each Column may 
 have its liparate Pedettal ; and this, on fome 
 occafions, is neceTar ; as for fnftance, when 
 two Columns are rais'd upon two others : for 
 in thai Cafe'tis n lence to make the Pede- 
 ftalc ab light as poffible: and yet they wilj itill 
 compofeakindot continued Pedeftal, by means 
 of a Rail or :aluftrade which connects ;hem 
 together. See Fig. 127. 
 
 It 
 
138 A Treatifc of Archite&ure. 
 
 Tt may be obferv'd, that I here only fpeak 
 of Pedefials that are compleat ; for when two 
 Columns have only a Zocle for a Pedeftal, 
 'twill always be heft to have it undivided, as 
 in Figures 128, 129, 131. 
 
 REMARK. Fig. 169: 
 
 To conclude the general Rules which we 
 have propofed for Pedefials , cannot be ob- 
 ferved on all Occafions ; it being frequently 
 neceffary to vary their Heights and Breadths, 
 to accommodate them to the Parts that en- 
 compafs them. For Inftance, the Pedeftal J t 
 fhou'd be as broad as both the Bales of the 
 JPilafters it fupports ; whereas the Die of the 
 Pedeftal B y fhou'd only be the breadth of the 
 Pilafters that fupport it. 
 
 It may alfo be obferv'd, that the width of 
 the bind Pedeftal E i 7 , is equal to that of the 
 hind Pillar GU. That the Baluf trade EI, 
 does exceed the width of the opening G K un- 
 derneath : fo that Maflive is found over Maf- 
 live, and Void under Void ; or, at leaft, no- 
 thing very heavy is fupported by any thing 
 
 very weak. 
 
 V 
 
 That the Parts which enter the COM POSI- 
 TION of a BUILD1N GJhou'd he made 
 
 for one another. 
 
 In raifing any Edifice, as for Inftance, a 
 ChurJ h, regard muft be had to the Joynery 
 
 that 
 
A Treatife of Architecture. 139 
 
 that is to be ufed in it : and care taken, that 
 all the parts of the Architecture, whether 
 they belong to the Joynery or Mafonry, may 
 appear as if they were the Work of the fame 
 Undertaker. Without this Precaution, a Man 
 will fcarce do any thing that is tolerably con- 
 fident j as we find frequently .the Cafe when 
 the Architect, and Joyner follow each their 
 particular Humours and Inclinations. Can 
 any thing, for Inftance, be more ridiculous, 
 than to fee the Bafes of grand Orders of Co- 
 lumns or Pilaftei's covered with Seats and 
 Confeffionals ? or to fee the Tops of feveral 
 large Pilafters appearing over fome little Ba - 
 luftrade or Gallery ? 'Tis in vain to urge that 
 thefe are magnificent Seats and Confeffionals, 
 and that the Gallery is a Mafter-piece of Art Q 
 No-body difallows all this ; but the Misfor- 
 tune lies here, that thefe Works, beautiful as 
 they are, are ill placed, and are found to hide 
 others more beautiful than themfelves. 
 
 Seats, and even Chapels or Oratories, may 
 be contrived at the Foot of a large Order, as 
 appears in this Figure, where there is likewife 
 foom for a Gallery, and a Choir of Mufick 
 to be placed with Advantage. 
 
 In the Churches of Religious , the Choir 
 may be feparated fom the Nave, in fuch 
 manner as that the Architecture of the one 
 mail have no Dependance on that of the o- 
 ther ; an Inftance whereof we have in the 
 Church of the Prie{h, of the Oratory in the 
 'Rue-Sahit-Honore. And in this Cafe the Seats 
 
 T of 
 
1 4-o A Treatise of Architecture. 
 
 of the Religious may make the Architecture 
 or the Choir, and the Orders of Columns and 
 Pilafters the Architecture of the Nave. 
 
 As to Confeffionals, they may be placed be- 
 tween the Chapels, or even in the Chapels 
 themfelves. 
 
 OBSERVATION. Fig, 172, 
 
 Galleries made entirely open, and placed 
 over one another in the height of fome one 
 grand Order of Columns, whereof we have 
 ieveral Inflances in L'aladio, ought not to be 
 imitated. See Fig. A in this Plate. 
 
 OBSERVATION. 
 
 Care mud be taken to avoid the making a 
 Baluftrade between Columns or Pilafters, with-' 
 cur Pedeftals ; in regard the Apparatus and 
 Difpofition necelTary for a Baluftrade is there 
 wanting. See Fig. B of the fame Plate, . . . 
 
 OBSERVATION. 
 
 Two Ordonnances of Architecture fhou'd 
 never be placed within one another, a little 
 one within a great one, with defign only to 
 compofe a fingle one ; as we fee done in many 
 Places. See Fig. C. 
 
 OB- 
 
A Treat ifc of Architecture. 1 4. 1 
 
 OBSERVATION. 
 
 Columns of different Bigneffes and different 
 Orders, fhou'd never be placed by the fide of 
 one another, for they can't chufe but make 
 a very unpleafing Diicord. See Fig. D. 
 
 OBSERVATION. Fig. 156- 
 
 When one wou'd add any piece of Archi- 
 tecture, as a Pavillion or Turret for inflance, 
 to a Building already made ; it muft be re- 
 member'd, that it be made of* fome other Or- 
 der. Care mufl likewife be taken that the 
 Additional Piece may appear to have been di- 
 rected by the fame Architect who had the Ma- 
 nagement of the reft of the Building. In a 
 word, all Endeavours mufl be ufed to make 
 the part conformable to the whole. 
 
 OBSERVATION. 
 
 I wou'd never have any Order of Columns 
 painted on a flat Ceiling, much lefs on a 
 Vaulted Roof j in regard, for one little Spot 
 or Point of View, whence fuch a piece of 
 Architecture wou'd have its Effect ; there are 
 a thoufand others whence it wou'd appear de- 
 form'd, and monftroufly out of the perpen- 
 dicular, unlefs the Vault be very high, and 
 very narrow too, as ihe CALOTTE or 
 S:oy of a Dome. 
 
 T 2 OB- 
 
1^.2 A Treatifc of Arch ite£l arc. 
 
 OBSERVATION. 
 
 An Intelligent Architect will never allow 
 fuch elevated Places to be painted with pie- 
 ces of Hiitory, or other Matters relating to 
 our Earth ; where fuch Subjects mult be ex- 
 treamly unfuitable. If it be the Dome of a 
 Church, he may paint the Heavens open, a 
 Glory, an Afcenfion, fome Saint carried up by 
 Angels : In a word, fome Subject that relates 
 to Heaven. He may, indeed, introduce Peo- 
 ple at the Bottom, leaning over a Baiuftrade, 
 and viewing attentively what paffes above. 
 
 When an Architect is not provided of an 
 able Painter fit to manage a Work of this kind, 
 he had better content himfelf with fine Com- 
 partiments, which may be made extreamly 
 rich, and will be infinitely more ornamental 
 than a Hiliory Piece ill conducted. 
 
 A New COMPOSITION of a FRENCH 
 
 ORDER. Fig. 173.' 
 
 I Give this Order as great a Share of Delicacy* 
 Richnefs and Elegancy, as I cou'd conceive 
 practicable, without running into Excefs. 
 
 The height of the Column is 20 Modules 5 
 Minutes, that of the Pedeftal 6 Modules 22 
 Minutes, and that of the Entablature 4 Mo- 
 dules and 15 Minutes : So that the Pedeftal is 
 about one third of the height of the Column, 
 and the Entablature 16 Minutes lefs than a 
 
 fourth j 
 
A Treatife of Architecture. 14.3 
 
 Fourth ; the entire Order making 3 1 Modules 
 12 Minutes. 
 
 The Ornaments of the Capital arc three 
 Flower-de- Luces on each fide, with Palms, and 
 the Badge of Fra?ice, viz. a Cock ; Arms un- 
 derneath, and a Lyre in the Shade of the Palms 
 under each Horn of the Abacus, which are fb> 
 many Symbolical Ornaments, that Perfons of 
 underftandrng will conceive without any Dif- 
 ficulty. 
 
 Crowns make the Ornament of its Frieze 
 with a Sun mining in the middle ; whence ic 
 will be eafily apprehended that this Order is 
 confecrated to the Glory of the Grand Mo- 
 narch. 
 
 This Order, in the Execution, will have 
 the nobleft, the moil beautiful and agreeable? 
 Effecl: imaginable: I have made a little Mo- 
 del of it in Relievo, which I never fee with- 
 out Pleafure. 
 
 Tor what remains ; it was my Defign to have 
 do fed this Work with the Plans, Elevations and 
 SecJions of J ever al Buildings ; but a H eaknefs 
 of Sight having feized fuddenly on me } prevents 
 my proceeding any further. 
 
 FINIS. 
 
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fffHHHmilllUUMJl!lllJ'JllUl'JL i JLM ! Ull'-!J!!f!B 
 
 LECLRRC. 
 
ATreati se of 
 
 RCH1TECTURE, 
 
 AVith Re marks and 
 
 Observations. 
 
 ^/ /^//Excellent Mailer fArrco/ 
 
 Iebastianle Clerc ; 
 
 KXIGHToftheEMPIRE 
 
 Defi2ueiw/?</Eii«rraver to the Cabinet 
 Ofthclitc FRENCH KING<v<7/,-///Av- 
 
 Q/^Academy</Art$ fcj Sciences.. l^V//;^/ 
 
 For louii^Peoplewho would applv to that 
 
 Noble Art 
 
 Engraveiiiii CLXXXI. Copper Plates' 
 Bi/Jonx J *Tl JIT. 
 
 Printed and Sold ty RICH* WARE atMe 
 Jiitde of - fitfa /// Warwick Lane 
 AMEN CORNER. 
 

 Annslilazon'd 
 Azure* d CAev- 
 ron Or/v/flww 
 ttFlorwerde lvs 
 urgent enfred i 
 Brick-axee in 
 
 QhA*£f)a/'und/e 
 
 ■v Or. Creft^j arm- 
 $ ,-,/ Arm kcrld - 
 />!</ ti Brick-Ax 
 
 Or. 
 
 alr/r/iJ ' o/~ 
 
 SI 
 
 \lav irrfeafeyoUrV\ orllnps. 
 
 « (/it/ ti/ r a* y3t >(/i/ r/'// < '/•/'// u v / / / '/ii< 'h hare /////>/ -ov a \ // ..- 
 . IrttaJucA a^r&i&AtaJ to t.i\r// d// t/irifi /hri/irrn in 
 
 ClUVp^dot/t />// hutt/>C/' <///<// '//'/ to //?<'< '/Yr/i r ///'<>/ * 
 
 tncir d >///;// •(/. 
 
 K * f/t /.<.//-ea///< : <>/ Architedufe @i/ that Y ; V/Y>/7//<y/-^ 
 Architect Sebaftian le Oei •<://«" mo/t ^ozriouJ ana&xact 
 in a///ij jt><7/'f. 1 t/uii ha* * t/ri d/wcar\/ i/i // //( '/;/< I may 
 enaine uou i<> advance it 0//L/ ) i//(/<'/icc(i/i(/. milatttotij 
 ti mo/f/uim/>/i/(y\ , a , icah'i{ />// Your Worfliips 
 
 (tyedient Jervtvrit 
 
 John Slui'l 
 
PPM : i 
 
 1 an- of Compa 
 
 lit*/'/ V Lecond. 
 
 The: 
 
 '. ' ( 07 7/ Utffll/ fnij Incorporated in Anno 141*). 
 . f(<i rtiK/ Ocen callU the Free Mafons,^ . /7v//(V7//7// ojarcat 
 . /////<-/////// deingcrumcwred iHfJev^ral Kl N (i >()'<"« v 7/ ninnn 
 ofy Nobility^ Gentry Geiru? of'tfieir Society.. 4ndarea frodycff 
 Workmen which /n/i^uuhuiiu-i/ l/n'i/-{//-t to /ito/i it /n n//i(j/i<i! 
 they outdo aUth '//•( 6/-t'//i/Y/i in curopeOot/i //(• I umbers 
 
 . V/v.f Treatile of Architecture l-'i/ the /no/ 1 &rrvc/J)eRvnei' 
 fVAtchiteCt SebalHan le CI wc///n/ //</<< uet (Zvttearit in tike 
 
 '// 1 *rut;?v/u '/<'./« uled <//i</ f//\yh'/-//?/i.< well/mlow .7 '///</// 
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 />«///• ly'Coinpalle? 
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 &Ldp>in&a$eQr. 
 
 
 
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 K /W// Proper. 
 
 T O 
 
 The MASTER andWARDENS 
 
 May itPleale \ourWoriliips. 
 
 WTliS ( (V/t/Stf/lJ/ n\isLh\vjhv<ifcd Annoi^o. 
 . itui 'are a ioihti/ 1 >f ftar&men?t+/iic/t Aaveiirififovdy* 
 
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 ////(^<7v/// in l~\ timber and 'J '///, /V ///<• f/fimour cf 
 t/ieir Country. 
 
 d/a'j t/reatdc ^Architecture /v/^//" ( lelelrrdtea. 
 Architect Sebaihau le ^^tt^themafbCerpioTid bC< ocact 
 i/i ait '//-J parts diat/iaJ i/eta/>/>ea/-d/n // WerHvsmay 
 cnalde you to ad ranee itOi/f/ndu/ 'tr// bfiCfoblicaturri 
 /.' /no/t/iam/'/i/ij edieated l'i/ YourWorihipS 
 
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 . ////J ()L y 7)lf>i mi/>r<is ( Jn<-< rrporated 'Anno 14.76. 
 
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 , y/iid Treatife of Architecture /v/ tAatinaft Celebrated*^ 
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