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THE 
 
 RUDIMENTS 
 
 OF 
 
 ARCHITECTURE : 
 
 BEING A 
 
 TREATISE ON PRACTICAL GEOMETRY, 
 
 ON 
 
 GRECIAN AND ROMAN MOULDINGS ; 
 
 SHEWING 
 
 THE BEST METHOD OF DRAWING THEIR CURVES, WITH 
 REMARKS ON THE EFFECT OF BOTH. 
 
 ALSO, ON 
 
 THE ORIGIN OF BUILDING, 
 
 ON 
 
 THE FIVE ORDERS OF ARCHITECTURE, 
 
 ON 
 
 THEIR GENERAL AND PARTICULAR PARTS AND EMBELLISHMENTS * 
 WITH EXAMPLES FOR 
 
 CORNICES, BASE AND SURBASE MOULDINGS, 
 ARCHITRAVES, AND STAIRS. 
 
 CORRECTLY ENGRAVED ON THIRTY-FOUR COPPERPLATES, 
 
 BY ASHER BENJAMIN. 
 
 SECOND EDITION, 
 
 ENLARGED, WITH A PLAN AND ELEVATIONS OF A CHURCH. 
 
 BOSTON: 
 
 PUBLISHED BY R. P. & C. WILLIAMS, 
 
 Cornhill-Square, 
 
 'Between Nos. 58 and 59, Cornliill, opposite the Old State-House. -» 
 
 1820 ; 
 
DISTRICT OP MASSACHUSETTS, TO WIT : 
 
 District Clerk's Office. 
 
 BE it remembered, that on the twenty-fourth day of February, A.D. 1820, and in the 
 forty-fourth year of the Independence of the United States of America, R. P. & C. WIL- 
 LIAMS, of the said district, have deposited in this office the title of a book, the right whereof 
 they claim as Proprietors, in the words following, to wit : 
 
 “ The RUDIMENTS of ARCHITECTURE : being a treatise on practical Geometry, on 
 Grecian and Roman mouldings ; shewing the best method of drawing their curves, with 
 remarks on the effect of both. Also, on the origin of building, on the five orders of Archi- 
 tecture, on their general and particular parts and embellishments ; with examples for 
 cornices, base and surbase mouldings, architraves, and stairs. Correctly engraved on thirty- 
 four copperplates. By ASHER BENJAMIN. Second Edition, enlarged, with a plan and 
 elevations of a church.” 
 
 In conformity to the act of the congress of the United States, entitled, “ An act for the 
 
 encouragement of learning, by securing the copies of maps, charts and books, to the authors 
 
 and proprietors of such copies during the times therein mentioned and also to an act, 
 
 entitled, “ An act supplementary to an act, entitled, an act for the encouragement of 
 
 learning, by securing the copies of maps, charts, and books, to the authors and proprietors 
 
 of such copies, during the times therein mentioned ; and extending the benefits thereof to 
 
 the arts of designing, engraving, and etching historical and other prints.’* 
 
 JOHN W DAVIS 5 Clerk of the District 
 JOHN W.DAVlb, £ of Massachusetts. 
 
 Printed by Munroe & Francis, 
 No. 4, Cornhill. 
 
PREFACE 
 
 TO THE FIRST EDITION, 1814. 
 
 As custom has established the necessity of a preface, 
 it gives me an opportunity of saying, that the want of a 
 treatise on architecture, fully explaining the rudiments 
 of the art, the price of which being so small, as to put it 
 within the reach of every apprentice, will, in my opinion, 
 be a sufficient apology for the appearance of this book. 
 I have endeavoured to methodise and explain this work, 
 in such a plain, and easy manner, that the young student 
 may collect from it a general knowledge of architecture. 
 It will be necessary for the student, to commence his 
 studies at the beginning of the work, and fully understand 
 every example as he progresses, as there is nothing which 
 will be useless to him. He will be greatly assisted, by 
 reading the origin of building, and the parts which com- 
 pose the five orders, their application and embellishments $ 
 also the orders themselves, which I have collected from 
 some of the most celebrated books on this subject. 
 
Digitized by the Internet Archive 
 in 2016 
 
 https://archive.org/details/rudimentsofarchiOObenj 
 
1 
 
THE RUDIMENTS 
 
 OF 
 
 ARCHITECTURE. 
 
 PLATE I. 
 
 PRACTICAL GEOMETRY. 
 
 DEFINITIONS. 
 
 A. point is that which has position, but no magnitude 
 nor dimensions ; neither length, breadth, nor thickness, 
 as A. 
 
 A right line, is length without breadth or thickness, 
 as 1. 
 
 A mixed line, is both right and curved, as 2. 
 
 A curve line continually changes its direction between 
 its extreme points, as 3. 
 
 Parallel lines are always at the same perpendicular dis- 
 tance ; and they never meet, though ever so far produced, 
 as 4 and 5. 
 
 Oblique right lines change their distance, and would 
 meet, if produced, on the side of the least distance, as 6. 
 
 One line is perpendicular to another, when it inclines 
 not more on the one side than the other ; or when the 
 angles on both sides of it are equal, as 7. 
 
 A surface, or superfices, is an extension, or a figure, 
 but without thickness, as 8. 
 
6 
 
 THE RUDIMENTS OF ARCHITECTURE. 
 
 A body, or solid, is a figure of three dimensions ; 
 namely, length, breadth, and thickness, as 9. 
 
 A line, or a circle, is tangential, or a tangent to a cir- 
 cle, or other curve, when it touches it without cutting, 
 when both are produced, as 10. 
 
 An angle, is the inclination, or opening of two lines, 
 having different directions, and meeting in a point, as 11. 
 
 A right angle, is that which is made by one line per- 
 pendicular to another, or when the angles on each side 
 are equal to one another, as the lines, a b, and a c, on 16. 
 
 An acute angle, is less than a right angle, as 12. 
 
 An obtuse angle, is greater than a right angle, as IS. 
 
 Plain figures that are bounded by right lines, have 
 names according to the number of their sides, or of their 
 angles ; for they have as many sides as angles ; the least 
 number being three. A figure of three sides and angles, 
 is called a triangle, as 14, 15, 16 and 17 ; and they re- 
 ceive particular denominations from the relations of their 
 sides and angles. 
 
 An equilateral triangle, is that whose three sides are 
 all equal, as 14. 
 
 A right angled triangle, is that which has one right 
 angle, as 16. 
 
 An isosceles triangle has only two sides equal, as 15. 
 
 A scalene triangle has all sides unequal, as 17. 
 
 An obtuse angled triangle has one obtuse angle, as 17. 
 
 Of four sided figures there are many sorts ; as the 
 square 18, which is a plain regular figure, whose super- 
 fices are limited by four equal sides, all at right angles 
 with one another. 
 
THE RUDIMENTS OF ARCHITECTURE, 7 
 
 The parallelogram 19, receives its name from its op- 
 posite sides and ends being parallel to each other ; the 
 parallelogram is also called a long square or oblong, in 
 consequence of its being longer than it is wide. 
 
 The rhomboids 20, is an equilateral parallelogram, 
 whose angles are oblique, as 20. 
 
 A trapezium is a quadrilateral, which has neither pair 
 of its sides parallel, as 21. 
 
 A trapezoid hath only one pair of its opposite sides 
 parallel, as 22. 
 
 Plane figures having more than four sides, are in 
 general called polygons, and receive other particular 
 names according to the number of their sides or angles. 
 
 A pentigon, is a polygon of five sides, as fig. 13, 
 plate 2. 
 
 A hexigon, is a polygon of six sides, as fig. 14, 
 plate 2. 
 
 A heptagon has seven sides ; an octagon eight; a * 
 nonagon nine ; a decagon ten ; an undecagon eleven ; 
 and a dodecagon twelve. 
 
 A regular polygon has all its sides and its angles 
 equal ; and if the)' are not equal, the polygon is irregu- 
 lar. 
 
 An equilateral triangle is also a regular figure of three 
 sides, and a square is one of four ; the former being 
 called a trigon, and the latter a tetragon. 
 
 A circle is a plain figure, bounded by a curve line, 
 called the circumference, which is every where equidis- 
 tant from a certain point within, called its centre. 
 
 The radius of a circle, is a right line drawn from the 
 centre to the circumference, as a b 9 23. 
 
3 
 
 THE RUDIMENTS OF ARCHITECTURE. 
 
 A diameter of a circle, is a right line drawn through 
 the centre, terminating on both sides of the circumfer- 
 ence, as c d 9 on 23. 
 
 An arch of a circle is an y part of the circumference, 
 as a b. 24. 
 
 A chord is a right line joining the extremities of an 
 arch, as a b, 24. 
 
 A semicircle is half the circle, or a segment cut off by 
 diameter, as c d, 25. 
 
 A section is any part of a circle, bounded by an arch 
 and two radii, drawn to its extremities, as 26. 
 
 A quadrant, or quarter of a circle, is a sector, having 
 a quarter of the circumference for its arch, and the two 
 radii are perpendicular to each other, as c a, and c e , 27. 
 
 The measure of any right lined angle, is an arch of 
 any circle contained between the two lines, which form 
 the angle, and the angular point being in the centre, as 
 30 . 
 
 The height, or altitude of any figure, as a perpendicu- 
 lar, let fall from an angle, or its vertex to the opposite 
 side, called the base, as the line, a b, 28. 
 
 When an angle is denoted by three letters, the middle 
 one is the place of the angle, and the other two denote the 
 sides containing that angle ; thus, let a b d, be the angle 
 at 29, b, is the angular point, a b , and b d. are the two 
 sides containing that angle. 
 
2 
 
THE RUDIMENTS OF ARCHITECTURE. 
 
 9 
 
 PLATE II. 
 
 FIG. 1. 
 
 To draw a perpendicular to a given point in a line. 
 a b is a line, and d a given point ; take a and b , two equal 
 distances on each side of d, and with your compasses in 
 a and b , make an intersection at c, and draw c d which 
 is the perpendicular required. 
 
 FIG. 2. 
 
 To erect a perpendicular on the end of a line. Take 
 any point you please above the line, as c, and with the 
 the distance c b 9 make the arch a b d 9 and draw the line 
 a c, to cut it at d, and draw d b 9 the perpendicular. 
 
 FIG. 3. 
 
 To make a perpendicular with a ten foot rod. Let b a 
 be six feet ; take eight feet in your compasses; from b 
 make the arch c, with the distance ten feet from a ; make 
 the intersection at c, and draw the perpendicular, c b . 
 
 FIG. 4. 
 
 tvi ■' - 
 
 To let fall a perpendicular from a given point in a line. 
 In the point e, make an arch to cross the line a b, at c d ; 
 with the distance c d, make the intersection /, and draw 
 e /, the perpendicular. 
 
 FIG. 5. 
 
 To divide a line in two equal parts by a perpendicular. 
 In the points a and b 9 describe two arches to intersect at 
 c and e, and draw the line c e, which makes the per- 
 pendicular required. 
 
 FIG. 6. 
 
 To erect a perpendicular on the segment of a circle, 
 ab. From?, draw the arch e d ; and, with the distance, 
 
10 
 
 THE RUDIMENTS OF ARCHITECTURE. 
 
 e d , and on e and d 9 make the intersection c, and draw 
 the perpendicular, c L 
 
 FIG. 7, and 10. 
 
 An angle being given, to make another equal to it, from 
 a point, in a right line. Let a c e 9 be the given angle, 
 and d n 9 a right line ; d the given point ; on a make an 
 arch c c 9 with any radius, and on d 9 with the same radius, 
 describe an arch, no ; take the opening, c e 9 and set it 
 from n to o, and draw o d 9 and the angle will be equal to 
 that of ace. 
 
 FIG. 8. 
 
 To divide any given angle into two equal parts. On 
 a, the angular point, with the radius, a c, or any other, 
 make the circle e d; on c and d 9 with the radius e c, 
 make the intersection c, and draw the line c a, which is 
 the division required. 
 
 FIG. 9. 
 
 To divide a right line given, into any number of equal 
 parts. Let a b, be a given line, to be divided into ten 
 equal parts ; take any distance in your compasses, more 
 than one tenth of the line a b 9 and run them off on the 
 line h g 9 and with that distance, make the triangle h i g 9 
 and draw each tenth division to the angle i ; take 
 the length of the given line a b 9 and set one foot of 
 the compasses at a 9 on the line g i 9 and let the other fall 
 on the line h i, at b 9 parallel to h g 9 and draw the line a b 9 
 which gives the ten divisions required ; the lines d c, and 
 f e 9 or any others which are shorter than the base line of 
 the triangle, can also he drawn across it, which, when 
 done, will he divided into tenths. 
 
THE RUDIMENTS OF ARCHITECTURE. 
 
 II 
 
 FIG. II. 
 
 To make ail equilateral triangle upon a right line. 
 Take a e 9 the given side, in your compasses, and on a 
 and e 9 make the intersection c, and draw a c , and e c. 
 
 FIG. 12. 
 
 To make a geometrical square upon a right line. 
 With the given side d c, and in the points d c, describe 
 two arches to intersect at a ; divide a c, into two equal 
 parts at g ; make a e, and a b , each equal to a g, and 
 draw c b 9 de 9 and e b . 
 
 FIG. 13, 14, and 15. 
 
 The sides of any polygon being given to describe the 
 polygon to any number of sides whatever. On the ex- 
 treme of the given side make a semicircle of any radius, 
 it will be most convenient to make it equal to the side of 
 the polygon ; then divide the semicircle into the same 
 number of equal parts as you would have sides in the 
 polygon, and draw the lines from the centre through the 
 several equal divisions in the semicircle, always omitting 
 the two last, and run the given side round each way upon 
 those lines $ join each side, and it will be completed. 
 
 fig. 13 . 
 
 How to describe a pentagon. Let a 5, be the given 
 side, and continue it out to e ; on a the centre, describe 
 a semicircle ; divide it into five equal parts ; through 
 2, 3, and 4, draw a 2, a c, a and 6, make 5 b, equal to a 5, 
 
 2 c, and c 6, each equal to a 5, or a 2 ; join a 2, 2 c, c b 9 
 and b 5 ; in the same way may any polygon be drawn, 
 only divide the semicircle into the same number of parts 
 that the polygon is to have sides. 
 
12 
 
 THE RUDIMENTS OF ARCHITECTURE. 
 
 PLATE III. 
 
 FIG. 1. 
 
 To make an octagon in a square. Find the centre 
 n 9 with the distance, a n, and in the points abed , make 
 the arches e n m, l n h, in f 9 and k n g ; join l k,m i, 
 h g , and / e, which completes the octagon. 
 
 FIG. 2. 
 
 Any three lines being given to make a triangle. Take 
 one of the given sides, a b, and make it the base of the 
 triangle ; take the second side, c a, in your compasses, 
 place one foot in a, and make the arch at c ; take the 
 third side, b c, and place one foot of the compasses in b , 
 and make the intersection c, then draw c a, and c b, which 
 completes the triangle. 
 
 fig. 1 
 
 Two right lines being given to find a mean proportion. 
 Join a e, and c b 9 in one straight line ; divide it into two 
 equal parts at the point n 9 with the radius n a 9 or n b ; 
 describe a semicircle, and erect the perpendicular c d 9 
 then is be, to c d, as c d, is to c a . 
 
 fig. 4. 
 
 To make a geometrical square, equal to a triangle 
 given. Let ab n 9 be the given triangle; extend b a, to 
 o ; make a o, equal to half of n r, and with one half of 
 bo 9 on the point c, make a semicircle ; from a 9 erect a 
 perpendicular intersecting the circle at /; make a d 9 d e, 
 and ef 9 each equal to a f, and the geometrical square is 
 completed. 
 
THE RUDIMENTS OF ARCHITECTURE. IS 
 
 FIG. 5. 
 
 A tangent line being given, to find the point where it 
 touches the circle. From any point in the tangent line 
 ab, asc, draw a line from the centre e; divide e c, into 
 two equal parts at d; on d with the radius d e 9 or d c, 
 describe an arch, cutting the given circle at /, which is 
 the point required. 
 
 FIG. 6. 
 
 Through any three points given, to describe the cir- 
 cumference of a circle. Let i d b 9 be the given points ; 
 on id and &, with any radius large enough to make the 
 intersections o e 9 and n c 9 describe the arches e o 9 and n c ; 
 draw the lines e a 9 andc a, cutting o, and n , and meeting 
 at a, the centre. 
 
 FIG. 7. 
 
 Two circles being given, to make another circle to con- 
 tain the same quantity. Let A and B be the two given 
 circles ; draw a c 9 cutting the two circles in their centres ; 
 on c erect a perpendicular ; make c d 9 equal to a b 9 the 
 diameter of the circle A ; draw the line db; divided b 
 into two equal parts at e ; on e 9 with the distance e d 9 or 
 e b 9 describe the circle D, which is equal, in size, to the 
 two given circles A and B. 
 
 fig. 8. 
 
 To draw a segment of a circle to any length and height. 
 a b 9 is the length, n c 9 the height ; divide the length a b 
 into two equal parts by a perpendicular f d ; divide c b 
 by the same method, and their meeting at / will be the 
 centre for drawing the arch b c a, which is the segment 
 required. 
 
14 
 
 THE RUDIMENTS OF ARCHITECTURE. 
 
 FIG. 9. 
 
 To describe the representation of an ellipsis by cen- 
 tres. Divide g- h into three equal parts at d and r ; with 
 that distance, and on d and r, make the intersections i and 
 o ; from i, through d and r 9 draw i n, and i e ; from o, 
 through d and r, draw o c, and o a ; on d and r, describe 
 the circles eg e, and aim; on o and i describe the cir- 
 cles a c, and n e. 
 

 
 
 
 
 
 
 
 
 
 
 £ ■ 
 
 ■ 
 
 
4 
 
THE RUDIMENTS OF ARCHITECTURE, 
 
 15 
 
 PLATE IV. 
 
 FIG. 1. 
 
 To describe a representation of an ellipsis by centres. 
 Divide a b 9 into four equal parts ; with the distance d d , 
 and on d d , describe the arches e d c, and e d c ; draw 
 6 f, ci , ^6 g 9 and e h on c and e 9 with the distance cf, 
 or c'i ; describe the arches i J 9 and g h, bn d 9 and d ; 
 with the distance d a 9 or d b 9 describe the arches fag, 
 and ibh. 
 
 FIG. 2. 
 
 To make an ellipsis with a cord. Take half of the 
 longer diameter a c 9 which is a i 9 or ci; with that dis- 
 tance, fix one foot of the compasses in o ; intersect a c 
 at b and d ; tack* in, a nail at & and d 9 then lay a cord 
 round d and b 9 and make it meet at o ; fix a pencil at o, 
 and move your hand around, keeping the cord tight, will 
 describe an ellipsis. 1 
 
 FIG. 3. 
 
 To describe an ellipsis by ordinates. Make a circle 
 with the radius a c, or a b ; divide the half circle into 
 any number of parts, say 10 ; make c 5, perpendicular 
 to c b , and equal to one half of the smaller diameter of tlie 
 ellipsis ; draw ordinates through each of the ten divisions 
 on the semicircle c db; draw a 5, then ca 5 will be the 
 .scale to set olf your oval ; take 4, 1, from the scale, and 
 set it from 1 to 1, in your oval both ways, and at each 
 end ; then take 3, 2, from the scale, and set it from 2 to 
 2 each way on the oval ; find all the other points in the 
 same manner ; a curve being traced through each of these 
 points, will form the true ellipsis. 
 
16 
 
 THE RUDIMENTS OF ARCHITECTURE 
 
 FIG. 4, 
 
 To describe an ellipsis by a trammel, g f e, is a 
 trammel rod ; g* a nut, with a hole through it, to hold a 
 pencil ; at f and e 9 are two other sliding nuts ; make the 
 distance of /, from g 9 one half of the shorter diameter of 
 the ellipsis, and fromg to e, equal to one half of the lon- 
 ger diameter ; the points / and e, being put into grooves 
 d c , and a b 9 then moving your pencil around at g 9 will 
 describe a true curve of the ellipsis. 
 
 FIG. 5, and 6. 
 
 To draw a semi-ellipsis by the intersection of lines. 
 Let the given axis be a b 9 and divide it into any number 
 of parts, as 10 ; also let the height be div ided into half 
 that number of parts, as 5 ; make e q 9 equal to q k 9 the 
 height of the arch ; then from the point e 9 draw lines 
 through the equal divisions of the axis a b ; likewise 
 through the points 1,2, 3, 4, c, in the height b c, draw 
 lines tending to the crown at p 9 which will intersect at 
 the points, o n m l 9 and lines being drawn through the 
 divisions of a c, atp, at the crown ; in the same manner 
 will form the points i h g f ; a curve being traced 
 through these points, will show the true curve of the el- 
 lipsis. 
 
 FIG. 7. 
 
 How to draw tne segment of a circle by intersecting 
 lines. Let g e 9 be the length of the segment ; a b 9 its 
 height ; draw the chord b e, and b g ; draw e c 9 and g d, 
 at right angles with b e 9 and b g 9 and from the centre at 
 a 9 divide a e, and a g 9 each into five equal parts ; also 
 from b 9 at the crown, in the centre of the line d c, divide 
 b c, and b d , each into five equal parts ; and draw 1 1, 2 
 

 THE RUDIMENTS OF ARCHITECTURE. 
 
 17 
 
 2, 3 3, 4 4, e c 9 and g d, through the divisions 1, 2, 3, 
 4, 5 , on e 5, and g 5, draw lines to the crown at b 9 which 
 ill intersect the other lines at the points m n o r, and q 
 k i ; the curve being traced, the segment will be com- 
 plete. 
 
 c 
 
18 
 
 THE RUDIMENTS OF ARCHITECTURE. 
 
 PLATE Y. 
 
 FIG. A. 
 
 To describe a representation of a semi-ellipsis by the 
 intersection of right lines. Let c d, be the transverse 
 diameter, d 6, equal to one half of the conjugate diame- 
 ter ; divide d 6 and 6 6, each into six equal parts, and 
 draw the lines d 1, 1 2, 2 3, 3 4, 4 5, and 5 6 , which com- 
 pletes one half ; proceed in the same manner to draw the 
 other half, and also to draw fig. B and C. 
 
 Note. This way of representing the ellipsis is not a 
 correct one ; but in most cases it will answer in practice, 
 particularly, where exactness is not required. It may 
 he observed that the curve is changed by the number of 
 parts you make use of ; if divided into a great number of 
 parts, it makes the curve too quick ; if into a small num- 
 ber, it makes it too flat ; by taking the medium between 
 these two extremes, you will approximate nigh the truth. 
 
 fig. D. 
 
 The transverse and conjugate diameters of an ellipsis 
 being given, to draw its representation. Draw c d paral- 
 lel, and equal to o r , bisect it in i, draw i r, and d w 9 
 cutting each other at m; bisect m r 9 by a perpendicular 
 meeting r w, produced at n ; draw n d 9 cutting c e 9 at a ; 
 make o g 9 equal to oa; oh 9 equal to on 9 through the 
 points, a, n 9 h 9 g ; draw the lines n g 9 g h 9 h a 9 and n a ; 
 and in the centres n 9 h 9 g 9 a 9 describe the four sectors, 
 and it will produce the representation required. 
 
V 
 
 5 
 
THE RUDIMENTS OF ARCHITECTURE. 
 
 19 
 
 FIG. 5. 
 
 Divide o 8 into any number of parts, and draw the 
 ordinates a a, 1 b 9 2 c, 3 d, 4 e, 5 /, 6 h, 7 i 9 and c k ; 
 transfer those distances to a a, 1 b 9 2 c, 3 d 9 4 e, 5 /, &c. 
 to figs. 4, 3, 2, and 1, and through the points, o, a , c, 
 d, e 9 f> h, i , k, and 8, trace their curves and the thing is 
 done. 
 
 
20 
 
 THE RUDIMENTS OF ARCHITECTURE. 
 
 PLATE VI. 
 
 FIG. 1. 
 
 How to find the curvature of the different ribs in a 
 plaister groins. Let en 12345 6 70 and 8, on A, 
 be the given arch, standing over e n 1 2 3 4 See. to 
 8, on the plan, or in any other position parallel to it ; 
 let e c , and a /, be the angles of the plan over which the 
 ribs are to be placed ; divide the base line e 8, of the 
 given rib A, into any number of parts, and through those 
 parts draw lines from the arch to the diagonal line / c, 
 which is the base line of the rib D, continue them at 
 right angles through the rib B, and transfer the distan- 
 ces in A, the given rib n n, 1 1, 2 2, 3 3, 4 4, 5 5, 6 6, 
 7 7, 0 0, to n n, 1 1, 2 2, 3 3, 4 4, 5 5, 6 6, 7 7, and 0 
 0, on D and B, and trace the curves, which will complete 
 the angle rib D, and the side rib B. 
 
 Note. The ribs D and B, may be described with 
 the trmmel, which is laid down on plate 4, fig. 4. 
 
 FIG. 2. 
 
 To draw a segment of a circle by rods to any length 
 and height. Take two rods, d h , and d a, each equal to 
 o n 9 the opening ; place them to the height at d 9 and at 
 the points o n 9 put a piece across them o c n 9 to keep them 
 tight and move the rods around the points o n 9 and it 
 will describe the segment at the point d. 
 
 FIG. 3 . 
 
 How to find the raking mouldings for a pediment. 
 Let A, be the given moulding, B, the raking moulding, 
 and D, the return moulding $ draw the line e a 9 in B, 
 
1 
 
 6 
 
 d 
 
 - 
 
THE RUDIMENTS OF ARCHITECTURE. 21 
 
 at right angles with the rake of the pediment and e a, in 
 1) perpendicular, or parallel to e c, in A ; make c a in 
 B, and c a in D, each equal to c a in A ; divide the 
 curve of the given cimarecta A, into any number of 
 parts, as here, ittto fo r, and draw lines upon the rake 
 and parallel to it ,* with the distances 1 2, and 3 4, in A, 
 make the points from 2 to 1, and 3 to 4, in B and D, 
 and through those points trace the curves e 4, I n , in B, 
 and e 4, 1 c, in X). 
 
THE RUDIMENTS OF ARCHITECTURE, 
 
 
 PLATE VII. 
 
 FIG. 1. 
 
 How to diminish the shaft of a column. Let 6 /, be 
 the central line ; divide it into four parts, and at one 
 fourth make the line a b 9 across the column ; on e, c 
 make the half circle a e b ; with the distance /, 1 , at 
 the neck of the column, and on 1, on the central line, 
 make the points 1, 1, on the circle ; divide from 1 to c 
 into four parts; also, from c to/ into four parts, and 
 draw lines through each of those divisions ; and with 
 the distances 2 2, 3 3, and 4 4, in A, on the line 6/ make 
 the points 2 2, 3 3, 4 4, on the sides of the column, 
 and in those points, and in 1 b 9 and 1 a, tack in nails or 
 brads, bend a lath around them, and by it mark the 
 curves. 
 
 FIG. 2. 
 
 How to set out flutes and fillets on a pilaster. Di- 
 vide a b into twenty nine equal parts, and give three of 
 them to each flute, and one to each fillet. 
 
 FIG. 3. 
 
 How to set out flutes and fillets of a column. Draw 
 the lines a b 9 and c d 9 through the centre of the column, 
 and at right angles with each other; divide the cir- 
 cumference of the column into ninety-six equal parts j 
 with one and one half of those parts in your compasses, 
 and on the lines a b 9 and c d 9 at 3, 3, 3, 3, &c. describe the 
 flutes ; the circle r o s g 9 is the size of the column at its 
 neck, where the flutes and fillets are divided, by drawing 
 each line of the fillets across it, pointing to the centre. 
 

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 3 
 
 1 
 
 3 
 
 1 
 
 3 
 
 1 
 
 3 
 
 l 
 
 2 
 
 2! 
 
 2 
 
 
 LJ 
 
 
 
 
 
 
 
 
 
 
 LJ 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
THE RUDIMENTS OF ARCHITECTURE. 
 
 25 
 
 FIG. 4. 
 
 Shows how to set out flutes, without fillets, on the 
 Doric column. Divide the circumference into twenty 
 equal parts ; with three fourths of one of those parts, on 
 the points 5 and 4, make the intersection /, and on f, de- 
 scribe the flute 54; dabceghij and k, are also cen- 
 tres for drawing the other flutes ; nor, is the size of 
 the column at its neck. 
 
24r 
 
 THE RUDIMENTS OF ARCHITECTURE. 
 
 PLATE VIII. 
 
 FIG. 1. 
 
 To draw the Ionic volute. Draw a geometrical 
 square within the eye of the volute, and bisect its sides 
 in the points 1 3, and 2 4 ; and from those points, draw 
 the lines 1 3, and 2 4; divide each of them into six equal 
 parts ; see A, the eye, at large ; place one foot of the 
 Compasses at 1, on the side of the geometrical square, 
 and extend the other to d, and draw the arch d e ; then 
 with the distance 2 e, and on 2, describe the arch e f ; 
 on 3, and with the distance 3 /, describe the arch/g; 
 with the distance 4 g, and on 4, describe the arch g i ; 
 and with the distance 5 i, and on 5, describe i k ; and 
 with the distance 6 k ; describe k n ; and with the dis- 
 tance 7 n, describe no; and with the distance 8 o, describe 
 o m; and with the distance 9m, describe mr; with 
 10 r, describe r s ; with 11s, describe s t ; with 12 t , 
 describe t u ; and on n 9 describe d a, which completes 
 the outside line. 
 
 To describe the inside line, which diminishes the fil- 
 let, divide 1 5 in A, into five equal parts, and set one of 
 them from 1234567891011 and 12, towards the 
 centre of the eye, which will be the twelve centres for 
 drawing the inside line. 
 
 FIG. 2. 
 
 To draw the representation of an elliptical volute. 
 Draw the line b a , cutting the eye in its centre : divide 
 2 g 9 the diameter of the eye, into six equal parts ; on g 9 
 
24-. 7illn. 
 
 H.W. Snyder. 
 
THE RUDIMENTS OF ARCHITECTURE. 
 
 25 
 
 with the distance g a 9 describe a half circle a b ; on 2, 
 and with the distance 2 b, describe the circle be; on 3, 
 and with the distance 3 c 9 describe c d ; on 4 9 and with 
 the distance 4 d 9 describe de; on 5, and with the dis- 
 tance 5 e 9 describe e j ; on 6, and with the distance 6 f 9 
 describe fg; to draw the inside line, divide one sixth of 
 the diameter of the eye into five parts, and set one of 
 them from ^ 2 3 4 5 and 6, toward the centre of the eye, 
 which will be the centres for drawing the inside line. 
 B, is the eye at large. 
 
26 
 
 THE RUDIMENTS OF ARCHITECTURE. 
 
 PLATES IX. AND X. 
 
 On plate 9, are fifteen, and on the lower part of plate 
 10, are six designs for mouldings, all of which have their 
 particular parts figured ; and the centres for drawing 
 their curves, are marked on the plates, which, I think, 
 will make them sufficiently plain, without any further 
 explanation. 
 
 PLATE 10. 
 
 To describe the quirk ovolo, A. With one fourth 
 of i k in your compasses, and on d, which is two and 
 one half parts from the line i k 9 describe the arch n e, 
 with the distance ab ; from a and e, make the point of 
 intersection at c ; on c, describe the arch, a e 9 which 
 completes the moulding. 
 
 The above directions will be observed in describing 
 B and C ; the only difference in them is their projec- 
 tions ; A, projects four parts, B, five parts, and C, six 
 parts. 
 
 To draw the quirk ovolo D, and the hollow E. 
 Draw the lines ab in D and E, and divide ab in F, into 
 eight parts ; draw lines from each of those parts, at right 
 angles with ab in F, and parallel to the fillets of D and 
 E, cutting the lines ab in E, at 2 4 9 7 10 12 and 14 ; 
 transfer the distances 1 2, 3 4, 5 9, 6 7, 8 10, 11 12, 
 13 14, in F, to 1 2, 3 4, 5 9, 6 7, 8 10, 11 12, 13 14, 
 in D and E, and by those points trace their curves. 
 

 10 
 

 
 
 
THE RUDIMENTS OF ARCHITECTURE. 
 
 27 
 
 PLATE IX. 
 
 NAMES OF MOULDINGS. 
 
 A, cavetto, or hollow ; B, cav’etto and astrigal ; C, 
 ovolo and fillet ; D, ovolo and astrigal ; E, cimareversa or 
 ogee ; F, cimareversa and bead ; G, astrigal ; H, bead ; 
 I, cimarecta ; K, L, and M, are scoties of different projec- 
 tions and curves ; N, O, P, are quirk on Grecian ogees. 
 
 Note. If mouldings are only composed of parts of a 
 circle, and straight lines, they are called Roman ; be- 
 cause the Romans, in their buildings, seldom, or never, 
 employed any other curve for mouldings, than that of a 
 circle ; but if a moulding is made of part of an ellipsis, or 
 a parabola, or an hyperbole, the mouldings are then in 
 the Grecian taste ; hence it appears, that mouldings of 
 the Grecian taste, are of much greater variety than those 
 of the Roman, where only parts of circles are concerned. 
 
 Although I have made use of the Roman ovolo and 
 ogee in the orders, I do not generally use them in 
 practice ; the bending, or turning inward, of the upper 
 edge of the Grecian, or quirk ovolo, when the sun shines 
 on its surface, causes a beautiful variety of light and shade, 
 which greatly relieves it from plane surfaces ; and if it is 
 entirely in shadow, but receives a reflected light, the 
 bending, or turning inward, at the top, will cause it to 
 contain a greater quantity of shade in that place, but 
 softened downward around the moulding to the under 
 edge. In the Roman ovolo there is no turning inward, 
 at the top ; therefore, when the sun shines on its surface, 
 
THE RUDIMENTS OF ARCHITECTURE. 
 
 it will not be so bright, on its upper edge, as the Grecian 
 ovolo ; nor will it cause so beautiful a line of distinction 
 from the other mouldings, with which it is combined, 
 when it is in shadow, and when lighted by reflection. 
 
 In the Greek ogee, the turning in of its upper edge, 
 and the turning out of its under edge, will, when the 
 sun shines bright, cause it to he very bright on these 
 edges, which will greatly relieve it from other perpen- 
 dicular surfaces when combined together ; and when it 
 is in shadow, and lighted by reflection, the inclination 
 of the upper and under edges will also make a strong 
 line of distinction, on both edges, between it and other 
 mouldings, or of planes connected with it ; whereas 
 the upper and under edges of the Roman ogee being 
 perpendicular to the horizon, the lightest place on its 
 surface will not be lighter than a perpendicular plane 
 surface ; nor will it be better relieved in shadow than 
 perpendicular plane surfaces also in shadow. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 - 
 
n 
 
 •a 
 
 ,<z 
 
THE RUDIMENTS OF ARCHITECTURE. 
 
 29 
 
 PLATE XI. 
 
 FIG. 1. 
 
 To describe the Grecian ovolo, the tangent a b 9 at the 
 bottom, and the point of contact a 9 and the greatest pro- 
 jection of the moulding at c, being given. From a, 
 draw a d e, perpendicular ; through c, draw c b parallel 
 to it ; also, through c 9 draw c d parallel to the tangent 
 b a 9 cutting a e at d ; make d e equal to a d 9 then will d 
 be the centre of an ellipsis, and c d 9 and d a 9 will be two 
 simiconjugate diameters, from which the ellipsis may be 
 described ; divide b c 9 and c d 9 each into a like number 
 of equal parts ; from the point a, and through the points 
 1, 2, 3, in & c, draw lines ; also from e 9 through the 
 points 1, 2, 3, in c d 9 draw lines cutting the former at 4, 
 5, 6, which will give the points through which the curve 
 is to be traced. 
 
 FIG. 2. 
 
 This figure is described in the same manner as fig. l. 
 it has a greater projection, the tangent being also taken 
 in a higher position. 
 
 FIG. 3. 
 
 To describe a scotia. Join the ends of each fillet by 
 the right line ab ; bisect ab at d; through d 9 draw 
 C d e parallel to the fillets, and make C d 9 and d e, each 
 equal to the depth of the scotia ; divide d a 9 db 9 b /, and 
 a g 9 each into a like number of equal parts ; from the 
 point e 9 and through the points 1, 2, 3, in a g 9 and b /, 
 draw lines ; also from C, through the points 1, 2, 3, in 
 d a 9 and d b 9 draw lines, cutting the former at the points 
 
30 
 
 THE RUDIMENTS OF ARCHITECTURE. 
 
 4, 5, 6, and 7, 8, 9, through which points the curve is 
 to he traced. 
 
 FIG. 4, 5y and 6. 
 
 Draw g f 9 a continuation of the upper side of the un- 
 der fillet ; through b 9 draw b g, perpendicular to g /, 
 cutting it at g 9 and the tangent / c, at the point c ; also 
 through b 9 draw b e parallel to g /, and through /, draw' 
 f e d a, parallel to g b 9 cutting b e at e ; make e a equal 
 to e f ; e d equal to c g 9 and join b d ; then divide each 
 of the lines b c, and b d 9 into a like number of equal 
 parts; from the point /, and through the points 1, 2, 3, 
 4, in b c 9 draw lines ; also from a 9 through the points 1, 
 Q 9 3, 4, in b d 9 draw lines, cutting the former, which 
 will give the points required by which to trace the 
 curve. 
 
 N. B. By these means you may make a moulding to 
 any form you please, whether fiat, or round. The dif- 
 ference produced in the curves of figs. 5, and 6, from 
 that of 4, is occasioned by the tangent line / c 9 cutting 
 g b, nearer to b 9 in figs. 5 and 6, than in fig. 4. 
 
THE RUDIMENTS OF ARCHITECTURE. 
 
 31 
 
 THE ORIGIN OF BUILDING. 
 
 Buildings were certainly among the first wants ol 
 mankind ; and architecture must, undoubtedly, be clas- 
 sed among the earliest antediluvian arts. Scripture in- 
 forms us, that Cain built a city ; and soon after the de- 
 luge we hear of many cities, and of an attempt to build 
 a tower that should reach the sky. A miracle stopped 
 the progress, and prevented the completion of that bold 
 design. 
 
 The first men, living in a warm climate, wanted no 
 habitations ; every grove afforded shade from the rays 
 of the sun, and shelter from the dews of the night ; rain 
 fell but seldom, nor was it ever sufficiently cold to ren- 
 der closer dwellings than groves, either desirable or nec- 
 essary, even in the hour of repose. They fed upon the 
 spontaneous productions of the soil, and lived without 
 care, and without labour. 
 
 But when the human species increased, and the pro- 
 duce of the earth, however luxuriant, was insufficient to 
 supply the requisite food : When frequent disappoint- 
 
 ments drew on contention, with all its train of calamities, 
 then separation became necessary, and colonies disper- 
 sed to different regions, where frequent rains, storms, 
 and piercing cold, forced the inhabitants to seek for bet- 
 ter shelter than trees. 
 
32 
 
 THE RUDIMENTS OF ARCHITECTURE. 
 
 At first they most likely retired to caverns, formed by 
 nature in rocks ; to hollow trunks of trees ; or to holes, 
 dug by themselves in the earth ; hut soon, disgusted 
 with the damp and darkness of these habitations, they 
 began to search after more wholesome and comfortable 
 dwellings. 
 
 \ 
 
 The animal creation pointed out both materials and 
 manners of construction. Swallows, rooks, bees, and 
 storks, were the first builders. Man observed their in- 
 stinctive operations ; he admired ; he imitated ; and be- 
 ing endued with reasoning faculties, and of a structure 
 suited to mechanical purposes, be soon outdid his mas- 
 ters in the builder’s art. 
 
 Rude and unseemly, doubtless, were the first at- 
 tempts ; without experience or tools, the builder col- 
 lected a few boughs of trees, spread them in a conic 
 shape, and covering them with rushes, or leaves, and 
 clay, formed his hut ; sufficient to shelter its hardy in- 
 habitants at night, or in seasons of bad weather. But 
 in the course of time, men naturally grew more expert \ 
 they invented tools to shorten and improve labour ; fell 
 upon neater, more durable modes of construction ; and 
 forms, better adapted than the cone, to the purposes for 
 which their huts were intended. They felt the want of 
 convenient habitations, wherein to taste the comforts of 
 privacy, to rest securely, and be effectually screened 
 from troublesome excesses of w T eather. They wanted 
 room to exercise the arts, to which necessity had given 
 birth ; to deposit the grain that agriculture enabled them 
 to raise in abundance ; to secure the flocks which fre- 
 
TIIE RUDIMENTS OF ARCHITECTURE. 
 
 S3 
 
 quent disappointments in the chare, had forced them to 
 collect and domesticate. Thus stimulated, their fancy 
 and hands went arduously to work, and the progress of 
 improvement was rapid. 
 
 That the primitive hut was of a conic figure, it is rea- 
 sonable to conjecture ; for of that form do the American 
 aborigines build their wigwams ; and from its being 
 simplest of the solid forms, and most easily constructed. 
 And wherever wood was found, they probably built in 
 the manner above described ;* but, as soon as the inhabi- 
 tants discovered the inconvenience of the inclined sides, 
 and the want of upright space in the cone, they changed 
 it for the cube ; and, as it is supposed, proceeded in the 
 following manner. 
 
 Having, says Vitruvius, marked out the space to be 
 occupied by the hut, they fixed in the ground several 
 upright trunks of trees to form the sides, filling the in- 
 tervals between them with branches, closely interwoven, 
 and spread over with clay. The sides thus completed, 
 four beams were laid on the upright trunks, which, be- 
 ing w T ell fastened together at the angles of their junction, 
 kept the sides firm ; and likewise served to support the 
 covering, or roof of the building, composed of smaller 
 trees, placed horizontally like joists ; upon which, were 
 laid several beds of reeds, leaves, and earth, or clay. 
 
 By degrees, other improvements took place; and 
 means were found to make the fabric lasting, neat, and 
 handsome, as well as convenient. The bark and other 
 protuberances were taken from the trees that formed 
 the sides ; these trees w ere raised above the dirt and 
 E 
 
3i 
 
 THE RUDIMENTS OF ARCHITECTURE. 
 
 humidity, on stones ; were covered at the top with other 
 stones, and firmly bound round at both ends with 
 ozier, or cords, to secure them from splitting. The 
 spaces between the joists of the roof, were closed up 
 with clay or wax, and the ends of them either smoothed, 
 or covered with boards. The different beds of materi- 
 als that composed the covering, w f ere cut straight at the 
 eaves, and distinguished from each other by different 
 projections. The form of the roof too was altered ; for 
 being, on account of its flatness, unfit to throw oft* the 
 rains which sometimes fell in great abundance, it was 
 raised in the middle, on trees disposed like rafters, after 
 the form of a gable roof. 
 
 This construction, simple as it appears, probably 
 gave birth to most of the parts that now adorn our 
 buildings ; particularly to the orders, which may be 
 considered as the basis of the w hole decorative part of 
 architecture; for when structures of wood were set aside, 
 and men began to erect solid stately edifices of stone, 
 having nothing nearer to imitate, they naturally copied 
 the parts which necessity introduced in the primitive 
 hut ; insomuch that the upright trees, with the stones 
 and cordage at each end of them, were the origin of col- 
 umns, bases, and capitals ; the beams and joists, gave 
 rise to architraves and friezes, with their triglyphs and 
 metopes ; and the gable roof w'as the origin of pedi- 
 ments ; as the beds of materials, forming the covering, 
 and the rafters supporting them, were of cornices ; 
 with their corona, their mutules, modillions, and dentils. 
 
THE RUDIMENTS OF ARCHITECTURE. 
 
 36 
 
 OF THE PARTS WHICH COMPOSE THE ORDERS OF 
 ARCHITECTURE, 
 
 AND OF THEIR PROPERTIES, APPLICATION, AND EMBEL- 
 LISHMENTS. 
 
 As, in many other arts, so in architecture, there are 
 certain elementary forms, which, though simple in their 
 nature, and few in number, are the principal constituent 
 objects of every composition, however complicated or 
 extensive it may be. 
 
 Of these there are, in this art, two distinct sorts ; the 
 first consisting of such parts, as represent those that 
 were essentially necessary in the construction of the 
 primitive huts ; as the shaft of the column, with the 
 plinth of its base, and the abacus of its capital, represent- 
 ing the upright trees, with the stones used to raise, and 
 to cover them. Likewise the architrave and triglyph, 
 representing the beams and joists $ the mutules, modil- 
 lions, and dentils, either representing the rafters, or 
 some other pieces of timber employed to support the 
 covering ; and the corona, representing the beds of ma- 
 terials which composed the covering itself. All these 
 are properly distinguished by the appellation of essen- 
 tial parts, and from the first class. The subservient 
 members, contrived for the use and ornament of these, 
 and intended either to support, to shelter, or to unite 
 them gracefully together, which are usually called 
 mouldings, constitute the second class. 
 
36 
 
 x THE RUDIMENTS OF ARCHITECTURE, 
 
 Of regular mouldings, there are eight, which are, the 
 fillet, the astragal or head, the ci mare versa or ogee, the 
 cimarecta, the cavetto or hollow, the ovolo or quarter 
 round, the scotia, and the torus. 
 
 The names of these are allusive to their forms ; and 
 their forms are adapted to the uses which they are in- 
 tended to serve. The ovolo and ogee, being strong at 
 their extremities, are fit for supports ; the cimarecta and 
 cavetto, though improper for that purpose, as they are 
 weak in the extreme parts, and terminate in a point, are 
 well contrived for coverings to shelter other members ; 
 the tendency of their outline being very opposite to the 
 direction of falling water, which, for that reason, cannot 
 glide along their surface, but must necessarily drop. 
 The torus and astragal, shaped like ropes, are intended 
 to bind and strengthen the parts on which they are em- 
 ployed ; and the use of the fillet and scotia, is only to 
 separate, contrast, and strengthen the effect of the other 
 mouldings : to give a graceful turn to the profile ; and 
 to prevent that confusion, which would he occasioned by 
 joining several convex members together. 
 
 An assemblage of essential parts and mouldings, is 
 termed a profile ; and on the choice, dispositions, and pro- 
 portions of these, depend the beauty or deformity of 
 the composition. The most perfect profiles, are such 
 as consist of few mouldings, varied both in form and size ; 
 fitly applied, with regard to their uses, and so distributed, 
 that the straight and curved ones, succeed each other 
 alternately. In every profile, there should be a pre- 
 dominant member, to which all the others ought to seem 
 subservient ; and made, either to support, to fortify, or to 
 
THE RUDIMENTS OF ARCHITECTURE. 
 
 37 
 
 shelter it from injuries of weather ; and whenever the 
 profile is considerable, or much complicated, the predomi- 
 nant should always be accompanied with one, or more, 
 other principal members ; in form and dimension, calcu- 
 lated to attract the eye ; create momentary pauses ; and 
 assist the perception of the beholder. These predominant 
 and principal members, ought always to be of the es- 
 sential class, and generally rectangular. Thus, in 
 a cornice, the corona predominates ; the modillions 
 and dentils are principals in the compositions ; the cima- 
 recta and cavetto, cover them ; the ovolo and ogee, support 
 them. 
 
 When ornaments are employed to decorate a profile, 
 some of the moulding should always be left plain, in order 
 to form a proper repose ; for when all are enriched, the 
 figure of the profile is lost in confusion. In the entabla- 
 ture, the corona should not be ornamented ; nor the mo- 
 dillion band ; neither should the plinths of columns, fillets, 
 nor scarcely any square members be carved ; for, general- 
 ly speaking, they are either principal in the composition, 
 or used as boundaries to other parts ; in both which 
 cases, their figures should be simple, distinct, and unem- 
 barrassed. The dentil band should remain uncut, where 
 the ovolo and ogee immediately above and below it are en- 
 riched ; for when the dentils are marked, the three mem- 
 bers are confounded together, and being covered with 
 ornaments, become far too rich for the remainder of the 
 composition, which are defects, at all times, studiously to 
 be avoided ; as a distinct outline, and an equal distribution 
 of enrichments, must, on every occasion be strictly attend- 
 ed to. 
 
38 
 
 THE RUDIMENTS OF ARCHITECTURE. 
 
 Ornaments should neither be too frugally employed, 
 nor distributed with too much profusion ; their value will 
 increase, in proportion to the judgment and discretion 
 shown in their application. 
 
 Variety in ornaments should not be carried to an ex- 
 cess. In architecture they are only accessories ; and 
 therefore they should not be too striking, rior capable of 
 long detaining the attention from the main object. Those 
 of the mouldings in particular, should be simple, uniform, 
 and never composed of more than two different represen- 
 tations upon each moulding ; which ought to be cut equally 
 deep ; be formed of the same number of parts ; all nearly 
 of the same dimensions, in order to produce one even un- 
 interrupted hue throughout ; so that the eye may not be 
 more strongly attracted by any part in particular, than 
 by the whole composition. 
 
 i 
 
 . All the ornaments in the entablature are to be governed 
 by the modillions, or mutules ; and the distribution of 
 them must depend on the intervals of the columns ; and 
 be so disposed, that one of them may come directly over" 
 the axis of each column. It is farther to be observed, 
 that the ornaments must partake of the character of the 
 order they enrich ; those used in the Doric and Ionic 
 orders, are to be of simple forms, and of larger bulk than 
 those employed in the Corinthian or Composite. 
 
 When friezes, or other larger members, are to be en- 
 riched, the ornaments may be significant, and serve to in- 
 
THE RUDIMENTS OF ARCHITECTURE. 
 
 39 
 
 dicate the destination, or use of the building ; the rank, 
 qualities, profession, and achievements of the owner. 
 
 In sacred places, all obscene, grotesque, and heathenish 
 representations ought to be avoided ; for indecent fables, 
 extravagant conceits, or instruments and symbols of pa- 
 gon worship, are very improper ornaments in structures 
 consecrated to Christian devotion, 
 
 With regard to the manner of executing ornaments, it 
 is to be remembered, that, as in sculpture, drapery is not 
 estimable, unless its folds are contrived to grace and indi- 
 cate the parts and articulations of the body it covers ; so 
 in architecture, the most exquisite ornaments lose all their 
 value, if they load, alter, or confuse the form they are de- 
 signed to enrich and adorn. 
 
 The method of the ancient sculptors, in the execution 
 of architectonic ornaments, was, to aim at a perfect repre- 
 sentation of the object they chose to imitate ; so that the 
 chesnuts, acorns, or eggs, with which the ovolo is com- 
 monly enriched, are, in the antiques, cut round, and al- 
 most entirely detached ; as are likewise the berries, or 
 heads, on the astragal, which are generally as much hol- 
 lowed into the solid of the body, as the moulding projects 
 beyond it ; but the leaves, shells, and flowers, that adorn 
 the cavetto, cima, ogee, and torus, are kept flat, like the 
 things they represent. 
 
 In the application of their ornaments, they observed to 
 use such as required a considerable relief, on mould- 
 ings, that in themselves are clumsy, as the ovolo and 
 astragal ; which, by means of the deep incision made 
 in them to form these enrichments, acquired an extra- 
 
40 
 
 THE RUDIMENTS OF ARCHITECTURE, 
 
 ordinary lightness ; but on more elegant parts, as the 
 cavetto, and cima, they employed thin bodies, which 
 could be represented without entering too far into the 
 solid. The ornaments of their cornices were boldly 
 marked, that they might be distinguished from afar ; 
 but those of the bases of columns, or of pedestals, being 
 nearer the eye, were more slightly expressed ; as well 
 on that account, as because it would have been improper 
 to weaken these parts, and impossible to keep them clean, 
 had there been any deep cavities in them to harbour dust 
 or filth. 
 
 When objects are near, and liable to close inspection, 
 every part of the ornament should be expressed, and well 
 finished ; but when they are much exalted, the detail may 
 be slightly touched, or entirely neglected ; for it is suf- 
 ficient if the general form be distinct, and the principal 
 masses strongly marked. A few rough strokes from the 
 hand of a skilful master, are much more effectual than 
 the most elaborate finishings of an artless imitator ; 
 which, seldom consisting in more than smoothing and 
 neatly rounding off the parts, are calculated to destroy, 
 rather than to produce effect. 
 
THE RUDIMENTS OF ARCHITECTURE, 
 
 4 ) 
 
 OF TEE ORDERS OF ARCHITECTURE 
 
 IN GENERAL. 
 
 The orders of architecture* as has been observed, are 
 the basis upon which the whole decorative part of the art 
 is chiefly built, and toward which the attention of the ar- 
 tist must ever be directed, even where no orders are intro- 
 duced. In them, originate most of the forms used in 
 decoration ; they regulate most of the proportions ; and 
 to their combination, multiplied, varied and arranged, in a 
 thousand different ways, architecture is indebted for its 
 most splendid productions. 
 
 These orders are different modes of building, said, 
 originally, to have been imitated from the primitive huts ; 
 being composed of such parts as were essential in their 
 construction, and afterward also in the temples of anti- 
 quity ; which, though at first simple and rude, were, in 
 the course of time, and by the ingenuity of succeeding 
 architects, wrought up and improved, to such a pitch of 
 perfection, that they were, by way of excellence, distin- 
 quished by the name of Orders. 
 
 Of these there are five ; three said to be of Grecian 
 origin, are called Grecian orders ; being distinguished by 
 the names of Doric, Ionic, and Corinthian ; they exhibit 
 three distinct characters of composition ; supposed to have 
 been suggested by the diversity of character in the human 
 frame. The remaining two, being of Italian origin, are 
 
 called Latin orders ; they are distinguished by the names 
 F 
 
42 
 
 THE RUDIMENTS OF ARCHITECTURE. 
 
 of Tuscan and Roman, and were probably invented with 
 a view of extending the characteristic bounds, on one side, 
 still farther toward strength and simplicity ; as on the 
 other, toward elegance and profusion of enrichments. 
 
 At what time the orders were invented, or by whom 
 improved to the utmost, remains, at least, doubtful. And 
 of their origin little is known but from the relation of 
 Vitruvius ; the veracity of w hich has been much question- 
 ed, and is, probably, not much to he depended on. 
 
 “ Doms,” says he, “ son of Helenes and the nymph 
 Optica, king of Achaia and of all the Peloponnesus, having 
 formerly built a temple to Juno, in the ancient city of 
 Argos ; this temple happened to be in the manner which 
 is called Doric ; and was afterwards imitated in many 
 others, built in the several cities of Achaia. 
 
 “ About the same time, the Athenians, after having 
 consulted the oracle of Apollo, at Delphos, by the common 
 consent of all Greece, sent into Asia thirteen colonics, 
 each under the command of a separate captain ; but all 
 under the general direction of Ion, son of Xuthus and 
 Creusa. Ion being arrived in Asia, conquered all Caria, 
 and founded thirteen large cities ; the inhabitants whereof, 
 having expelled the Carians and Leleges, called the coun- 
 try Ionia, in honour of Ion, their leader ; and erected 
 temples, of which the first, dedicated to Apollo Panionius, 
 was built after the manner of those they had seen in 
 Achaia, which they called Doric, because temples of the 
 same sort had been erected in the cities of the Dorians. 
 
THE RUDIMENTS OF ARCHITECTURE. 
 
 43 
 
 « But some time after, building a temple to Diana, 
 different from these, and of a more delicate structure ; 
 being formed upon the proportions of a female body, as 
 the Doric bad been on those of a robust man ; and adorn- 
 ing the capitals of their columns with volutes, to represent 
 the curls of a woman’s hair ; and the shafts with flutings, 
 to express the folds of her garment. They gave to this 
 second manner of building the name of Ionic ; because it 
 was invented, and first used by the Ionians. 
 
 « The third sort of columns, which are called Corin- 
 thian, and represent the delicate figure of a young girl, 
 owe their birth to the following accident. 
 
 « A young woman of Corinth being dead, her nurse 
 placed on her tomb a basket, containing certain trinkets 
 in which she delighted, when alive ; covering it with a 
 tile to shelter them from the weather. The basket hap- 
 pened accidentally to be set on a root of the acanthus, 
 which, pushing forth its leaves and sprigs in the spring, 
 covered the sides of it ; and some of them, longer than the 
 rest, being obstructed by the angles of the tile, were forced 
 downward, and, by degrees, curled into the form of vo- 
 lutes. 
 
 “ Callimachus, a celebrated sculptor, passing near the 
 tomb, observed the basket, and in how graceful a manner 
 the leaves of the acanthus had surrounded it ; the form 
 pleased him exceedingly ; he imitated it on the tops of some 
 columns, which he afterward executed at Corinth ; esta- 
 blishing and regulating, by this model, the manner and 
 proportions of the Corinthian order.” 
 
44 
 
 THE RUDIMENTS OF ARCHITECTURE. 
 
 Of the I wo Latin orders, the Tuscan is said to have 
 been invented by the inhabitants of Tuscany, before the 
 Romans had intercourse with the Greeks, or were ac- 
 quainted with their arts 5 whence it is called Tuscan. 
 Probably, however, these people, originally a colony of 
 Greeks, only imitated, in the best manner they could, 
 what they remembered in their own country ; simplifying 
 the Doric, either to expedite their work, or, perhaps, ta 
 adapt it to the abilities of their w orkmen. 
 
 The second Latin order, though of Roman production, is 
 but of modern adoption ; the ancients never having con- 
 sidered it as a distinct order. It is a mixture of the Ionic 
 and Corinthian ; and is now distinguished by the names, 
 of Roman, or Composite. 
 
 The ingenuity of man has hitherto not been able to pro- 
 duce a sixth order, though large premiums have been offer- 
 ed, and numerous attempts been made, by men of the first 
 rate talents, to accomplish it. Such is the fettered human 
 imagination; such the scanty store of its ideas, that Do- 
 ric, Ionic, and Corinthian, have ever floated uppermost ; 
 and all that has ever been produced, amounts to nothing 
 more than different arrangements and combinations of 
 their parts. 
 
 An order is composed of two principal members ; the 
 column, and the entablature ; each of which is divided 
 into three principal parts. Those of the column are the 
 base, the shaft, and the capital. Those of the entablature 
 are the architrave, the frieze, and the cornice. All these 
 are again subdivided into many smaller parts ; the disposi- 
 tion, number, forms, and dimensions, of which, character- 
 
THE RUDIMENTS OF ARCHITECTURE. 45 
 
 ize each order, and express the degree of strength or deli- 
 cacy, richness or simplicity peculiar to it. 
 
 The simplest, and most solid of all, is the Tuscan. It 
 is composed of few, and large parts, devoid of ornaments ; 
 and is of a construction so massive, that it seems capable 
 of supporting the heaviest burdens. 
 
 There is no regular example of this order among the 
 remains of antiquity. Piranisi has given a drawing of a 
 Tuscan base, found at Rome, but of what date is uncer- 
 tain. Vitruvius, in an indistinct manner, has mentioned 
 its general proportions ; but through his whole book does 
 not refer to one structure of this order. The Trajan and 
 Antonine columns at Rome are reckoned of the Tuscan 
 order ; they have eight diameters for their height ; the 
 torus and capitals are certainly more ornamented than is 
 consistent with Tuscan plainness. The fluting to the 
 necks also are after the most ancient Doric examples. It 
 is somewhat singular there should be no remains of this 
 order ; and were it not for what little Vitruvius has writ- 
 ten of it, it certainly might have been lost to the moderns. 
 The plainness of its appearance, no doubt, caused it to be 
 neglected at Rome ; but in no other place has been dis- 
 covered any truly ancient example. 
 
 As this order conveys ideas of strength, and rustic sim- 
 plicity, it may very properly he used for rural purposes ; 
 for farmhouses, barns, sheds, stables, and green-houses ; 
 for gates of parks and gardens ; for prisons, arsenals ; 
 also, in colonades and porticoes, surrounding squares, 
 markets, and granaries, or storehouses ; and, generally. 
 
 i 
 
4t> 
 
 THE RUDIMENTS OF ARCHITECTURE. 
 
 wherever magnificence is not required, and expence is to 
 be avoided. 
 
 The design here annexed, and also the Doric, Ionic, 
 Corinthian, and Composite orders, I have selected from 
 several authors, and have made all the alterations, that in 
 my opinion, were necessary to render them conformable to 
 the practice of the present time. 
 
 The Doric order, next in strength to the Tuscan, and 
 of a grave, robust, masculine aspect, is, by Scamozzi, 
 called the Herculean. Being the most ancient of all the 
 orders, it retains more of the structure of the primitive 
 huts, in its form, than any of the rest ; having triglyphs 
 in the frieze to represent the ends of joists ; and mutules 
 in its cornice, to represent rafters, with inclined soffits, to 
 express their direction in the originals, from whence they 
 were imitated. Its column too, is often seen in ancient 
 works executed without a base, in imitation of the trees, 
 used in the first buildings, without any plinths to raise 
 them above the ground. Delicate ornaments are repug- 
 nant to its characteristic solidity, and it succeeds best in 
 the simple regularity of its proportions. Nosegays and 
 garlands of flowers grace not a Hercules, who always ap- 
 pears more becomingly, with a rough club and lion’s skin. 
 For there are beauties of various sorts and often so dis- 
 similar, in their natures, that those which may be highly 
 proper on one occasion, may be quite the reverse, even 
 ridiculously absurd, on others. 
 
 The ancients employed the Doric in temples dedicat- 
 ed to Minerva, to Mars, and to Hercules ,* whose grave 
 
THE RUDIMENTS OF ARCHITECTURE. 
 
 47 
 
 and manly dispositions, suited well with the character of 
 this order. Serlio says it is proper for churches dedicated 
 to Jesus Christ ; to St. Paul, St. Peter, or any other 
 saints, remarkable for their fortitude, in exposing their 
 lives, and suffering for the Christian faith. It may he 
 employed in the houses of generals, or other martial men ; 
 in mausoleums erected to their memory ; likewise in ail 
 kinds of military buildings ; as arsenals, gates of fortified 
 places, guard-rooms, and similar structures. 
 
 The Ionic, being the second of the Grecian orders, holds 
 a middle station between the other two ; and stands in 
 equipoise between the grave solidity of the Doric, and the 
 elegant delicacy of the Corinthian. Among the antiques, 
 however, we find it in different dresses ; sometimes more 
 simple, and bordering on Doric plainness, all according 
 to the fancy of the architect, or nature of the structure 
 where employed. It is, throughout, of a more slender 
 construction than either of the aforedescribed orders ; its 
 appearance, though simple, is graceful and majestic ; its 
 ornaments should be few, rather neat than luxuriant. 
 
 As the Doric order is, particularly in churches or tem- 
 ples, dedicated to male saints, so the Ionic is, principally, 
 used in such as are consecrated to females of the matronal 
 state. It is likewise employed in courts of justice, in li- 
 braries, colleges, seminaries, and other structures, having 
 relation to arts or letters ; and in private houses ; 
 and in all places dedicated to peace and tranquillity. 
 The ancients employed it in temples sacred to Juno, 
 to Bacchus, to Diana, and other deities, whose dispo- 
 
48 
 
 THE RUDIMENTS OF ARCHITECTURE. 
 
 sitions held a medium between the severe and the effemi- 
 nate. 
 
 The Corinthian. Its proportions are elegant in the ex- 
 treme ; every part of the order is divided into a great 
 variety of members ; and abundantly enriched with a di- 
 versity of ornaments. The ancients, says De Chambray, 
 aiming at the representation of a feminine beauty, omitted 
 nothing, either calculated to embellish, or capable of per- 
 fecting their work. And he observes, that in many ex- 
 amples left of this order, such a profusion of different 
 ornaments is introduced, that they seem to have exhausted 
 imagination in the contrivance of decorations for this mas- 
 terpiece of the art. 
 
 The ancients frequently employed the Ionic entablature 
 in the Corinthian order, as appears by many of the build- 
 ings ; and sometimes, according to Vitruvius, even the 
 Doric. 
 
 When the modillion cornice is employed on large 
 concave surfaces, the sides of the modillions and coffers 
 of the soffit, should tend toward the centre of the curve ,* 
 but when the concave is small, it will be better to direct 
 them toward the opposite point in the circumference, 
 that the contraction may be less perceptible, and the parts 
 dependant thereon, suffer less deviation from the natu- 
 ral form. The same rules must be observed with re- 
 gard to dentils, to the abacus and bases of columns of 
 pilasters, and likewise to the flanks, of the pilaster itself. 
 But on a convex surface, the sides of all these should 
 be parallel to each other ; for it would be unnatural, and 
 very disagreeable, to see them narrowest w r here they 
 spring out of the cornice, diverging as they advance 
 
THE RUDIMENTS OF ARCHITECTURE. 
 
 49 
 
 forward, forming sharp angles, and a sort of mutilated 
 triangular plan, with enlarged solids, and diminished in- 
 tervals ; all calculated to destroy the usual proportions 
 and beauty of the composition. 
 
 The Corinthian order is proper for all buildings, 
 where elegance, gaiety, and magnificence are required. 
 The ancients employed it in temples dedicated to Venus, 
 to Flora, Proserpine, and the nymphs of fountains ; be- 
 cause the flowers, foliage, and volutes, with which it is 
 adorned, seemed well adapted to the delicacy and elegance 
 of such deities. Being the most splendid of all the orders, 
 it is proper for the decoration of squares, or galleries and 
 arcades, surrounding them ; for churches ; and, on ac- 
 count of its rich, gay, and graceful appearance, it may, 
 with propriety, be used in theatres, in ball or banquetting 
 rooms, and in all places consecrated to festive mirth, or 
 convivial recreation. 
 
 Care must be taken in Corinthian, as well as in Com- 
 posite capitals, that the feet of the lower leaves do not 
 project beyond the upper part of the shaft of the column ; 
 because they then hide a considerable part of the upper 
 row of leaves, and give a stunted disagreeable form to the 
 whole capital. The different divisions of the acanthus 
 leaf, and bunches of olive or parsley, which compose the 
 total of each leaf, must be firmly marked, and massed in 
 a very distinct manner ; the stems that spring from be- 
 tween the upper leaves, are to be kept low upon the vase 
 of the capital, while rising between he leaves, then spring 
 gradually forward, to form the different volutes. 
 
 G 
 
50 
 
 THE RUDIMENTS OF ARCHITECTURE. 
 
 The Composite, or Roman order, certainly owes its 
 origin to that constant solicitude after novelty, which ever 
 renders the mind of man restless in an enlightened and 
 highly cultivated age. The desire of variety and novelty, 
 either of new invention, or combination, certainly engaged 
 the Roman architects to unite with the proportions and 
 enrichments of the Corinthian order, the angular volute, 
 and dentils of the Ionic, and by this union to compose a 
 new order. 
 
 The introduction of the angular Ionic volute, and the 
 omission of the upper row of leaves in the capital, certain- 
 ly give it a more bold and noble aspect, than that of the 
 Corinthian capital, yet different from any of the other 
 orders, possessing an elegance and projection very pleas- 
 ing, and may be used with very agreeable and happy 
 effect. 
 
 There are many examples remaining at Rome, which 
 show the general estimation of this order there, in the 
 height of its splendour and prosperity. In their triumphal 
 arches it was used with good effect, where it produced an 
 agreeable boldness, uniting elegance and ornament. 
 
 The example here given of the column, its base and 
 capital, is that executed in the triumphal arch, erected in 
 honour of Vespasian and Titus at Rome. 
 
 The entablature is nearly a copy of that of Sir William 
 Chambers. 
 
 The cornice differs from the Corinthian, only in the 
 modillions, which are square, and composed of two fas- 
 cias. The soffit of the intervals between the dentils, 
 
THE RUDIMENTS OF ARCHITECTURE. 
 
 51 
 
 may be hollowed upward behind the little fillet in front, 
 which occasions a dark shade, that marks the dentil more 
 distinctly. And the same method may be observed in the 
 Ionic and Corinthian orders, for the same reason. The 
 roses in the soffit of the corona, are not to project beyond 
 its horizontal surface. 
 
 The Romans used the Composite order more frequently 
 in their triumphal arches, than in any other buildings ; 
 meaning to express their dominion over those nations that 
 invented the orders of which this is composed. It may, 
 with propriety, be used, wherever elegance and magnifi- 
 cence are to be united ; but it is more particularly adapted 
 to buildings, designed to commemorate signal events, or, 
 to celebrate the virtues and achievements of conquerors 
 and legislators ; because the capitals, and other ornaments, 
 may be composed of emblems, and of allusive representa- 
 tions. 
 
52 
 
 THE RUDIMENTS OF ARCHITECTURE. 
 
 PLATE XU. 
 
 To draw the Tuscan order to any given height. Sup- 
 pose twelve feet. Divide it into thirty-nine equal parts ; 
 each part will be three inches, five eighths, and about one 
 sixteenth. Take four of these parts for the diameter of 
 the column, just above its base, which will be fourteen in- 
 ches, and three quarters. Of that length make the scale 
 of minutes, a b. First divide the line a b into twelve equal 
 parts ; then one twelfth, as 5 b 9 into five parts, each of 
 which is called one minute. It is to be remembered, that 
 each member of the order is so many minutes of this 
 scale, either in height, or projection. Under H, figures 
 are placed against each member of the order, w hich give 
 the number of minutes it is high. Under P, are to be 
 found the number of minutes, which each member of the 
 order projects. If it be necessary to add a subplinth, 
 divide the whole height into forty -three equal parts : and, 
 as before, make the diameter of the column equal to four 
 of those parts. Give one diameter to the height of the sub- 
 plinth. If a pedestal be required, divide the whole height 
 into forty-eight equal parts, four of which will be the 
 diameter of the column. Give nine to the height of the 
 pedestal, which will be two diameters, fifteen minutes. 
 The column is eight diameters high ; and the height of 
 

THE RUDIMENTS OF ARCHITECTURE. 
 
 53 
 
 the entablature, is one hundred and five minutes, or one 
 diameter and forty-five minutes. Note. The direc- 
 tions here given, for making a scale of minutes, must 
 be strictly attended to, in making that for the Doric, 
 Ionic, Corinthian, and Composite orders. 
 
54 
 
 THE RUDIMENTS OF ARCHITECTURE. 
 
 PLATE XIII. 
 
 To draw the Doric order. Divide the whole height 
 into sixty-five equal parts, six of which, are equal to the 
 diameter of the column, just above its base. Make the 
 scale of minutes to draw it by, of that length, as before 
 directed, in the Tuscan order. If it be required to add a 
 subplinth ; divide the height into seventy-one equal parts ; 
 give six of them, as before, to the diameter of the column, 
 and one diameter to the height of the subplinth. If it be 
 necessary to execute this order on a pedestal ; divide the 
 height into eighty parts, six of which will be the diameter 
 of the column. Make the pedestal, two diameters and 
 thirty minutes high. The column, including base and 
 capital, is nine diameters high, and the entablature, one 
 diameter and fifty-one minutes high. 
 
 A represents the planceer of the mutule. Divide g h , 
 and e c, each into six equal parts ; also c h 9 and e g, each, 
 into five equal parts. Draw diagonal lines across the 
 mutule, and through each of those divisions, the intersec- 
 tion of which will make the centres for drawing the bells. 
 B represents a section of the mutule, taken from a to b 9 on 
 A. C represents the front view of a triglyph. Divide its 
 breadth into twelve equal parts ; give one to each half 
 channel on the outsides ; two for each space, or inter- 
 val ; and two for each channel ; and two parts will 
 remain for the middle space. Every two parts is the 
 width of a bell ; the sides of each, if continued, would ter- 
 
13 
 
THE RUDIMENTS OF ARCHITECTURE. 
 
 55 
 
 minate in a point, at the top of the fillet above them. D 
 shews the planceer, or lower end of the hells ; also the 
 under edge of the fillet above them. E is a section of the 
 triglyph. From o to g 9 the triglyphs and mutules, are 
 each thirty minutes wide, and seventy-five minutes from 
 centre to centre. The centre of one, of each, must always 
 be placed exactly over the centre of a column. The 
 spaces between the triglyphs, called metopes, are always 
 square, and may he left plain, or enriched with pateras, 
 or oxheads, according to fancy. When the column is 
 fluted, it has twenty in number, and those without fillets ; 
 for that, and the diminishing of the column, see Plate 7th. 
 The distance between columns in this order, must be reg- 
 ulated by the triglyphs in the entablature. Two diame- 
 ters thirty minutes between the central lines, take two 
 triglyphs ; three diameters forty-five minutes, take three 
 triglyphs ; five diameters, take four triglyphs ; six diam- 
 eters fifteen minutes, take five triglyphs ; seven diameters 
 thirty minutes, take six triglyphs. 
 
 The diameter of the neck of this column (and also that 
 of all the other orders) is fifty minutes, of course they di- 
 minish ten minutes each. 
 
aK 
 
 THE RUDIMENTS OF ARCHITECTURE, 
 
 PLATE XIV. 
 
 TO DRAW THE IONIC ORDER, 
 
 Divide the whole height into forty-seven equal parts, 
 four of those parts are equal to the diameter of the col- 
 umn ; the column, including its base and capital, is ten 
 diameters high ; the height of the entablatures is one 
 diameter and forty-five minutes. If it be required to pro- 
 portion this order on a subplinth ; divide the height into 
 fifty-one parts, give four to the diameter of the column : 
 make the subplinth one diameter high. If a pedestal be 
 required, divide the height into twenty-nine equal parts, 
 two of which are equal to the diameter of the column. 
 Make the pedestal two diameters and forty-five minutes 
 high ; make the modillions ten or eleven minutes in front, 
 place them thirty-one minutes from centre to centre. To 
 draw its planceer, see Plate 20, Jig. 2. In placing the col- 
 umns of this order, due regard must be had to the modil- 
 lions in the cornice. They must be so arranged that the 
 central line of each one will be exactly under that of a mo- 
 dillion. It will also be necessary to pay due regard to 
 the above directions, in placing the columns of the Corin- 
 thian, and Composite orders. 
 
THE RUDIMENTS OF ARCHITECTURE. 
 
 57 
 
 PLATE XV. 
 
 TO DRAW THE CORINTHIAN ORDER. 
 
 Divide the height into twenty-six equal parts, two of 
 which will be equal to the diameter of the column ; if on a 
 subplinth, divide the height into twenty-eight equal parts, 
 give two of them to the diameter, and make the subplinth 
 one diameter high. If a pedestal be added, divide the 
 height into thirty-two equal parts as before ; give two to 
 the diameter of the column, and three diameters to the 
 height of the pedestal. The entablature is two, and the 
 column eleven diameters high. The modillions are thir- 
 teen minutes in front, and must be placed thirty -five min- 
 utes from centre to centre. I have given this order, Pal- 
 ladio’s Ionic base, for the sake of variety, but the Attic 
 base, may with propriety be used, in this, and all the oth- 
 er orders, except the Tuscan. 
 
 H 
 
58 
 
 THE RUDIMENTS OF ARCHITECTURE. 
 
 PLATE XVI. 
 
 To draw the Composite order. Divide its height into 
 seventy-nine parts ; take six of them for the diameter of 
 the column. If a subplinth be required, divide it into 
 eighty-five parts, take six as before, for the diameter ; 
 make the subplinth one diameter. If a pedestal is neces- 
 sary, divide it into ninety-seven parts, take six for the 
 diameter, give the pedestal three diameters. 
 
 The modillions are eleven and a half minutes in front, 
 measuring on the lower facia ; and thirty-eight minutes 
 from centre to centre. Their planceer may be embellished 
 with eight bells each, like those of the Doric mutule ; see 
 a and c . — b represents a pannel sunk up into the planceer 
 between the modillions. 
 
 I have, in imitation of the ancients, and likewise the 
 moderns, given certain rules for the height of columns ; 
 although experience has convinced me, that no determi- 
 nate rule will answer in all cases for their proportion. 
 They must be proportioned according to the weight, or 
 apparent weight which they sustain. It would be absurd 
 to make stone columns which support, besides their enta- 
 blature, a whole story of a brick or stone building (as is 
 the case of those in front of the Custom House in this 
 town) as many diameters in height, as those which have 
 only their entablature to support, and that, and the col- 
 umns made of wood ; which is the case with the greater 
 part of columns in porticos and colonades, in this country. 
 
16 
 

 
 
 
 
 
 
THE RUDIMENTS OF ARCHITECTURE. 
 
 59 
 
 Columns when coupled, or in pairs, may be made 
 smaller, than when single ; and they may generally be 
 made one, or one and a half diameter higher than here 
 laid down, when made of wood, and to appearance having 
 but little to support. There are situations, when made of 
 wood, which require them to be larger than here laid 
 down ; as in steeples, cupolas, and all other situations 
 when placed at a great distance from the eye. When 
 columns are placed in front of a building, they ought to 
 stand in front of the piers, and never before windows or 
 doors. When placed one above another, the diameter of 
 the upper one should be equal to that of the neck of the 
 lower one. Always place the lightest order on the top, 
 the largest being best able to support. Place the- Doric, 
 on the Tuscan ; the Ionic, on the Doric ; the Corinthianv 
 and Composite, on the Ionic, 
 
60 
 
 THE RUDIMENTS OF ARCHITECTURE. 
 
 PLATE XVII. 
 
 Shews the method for glueing up the Ionic capital. A 
 represents the plan for a column, and B for that of a pilas- 
 ter. The pieces for the horns ought to be glued upright 
 with the wood, it being best for the carving. To draw 
 the plan of the abacus ; set off at each angle, as at c d 9 ten 
 minutes with the distance d b ; and on d and 6, make the 
 intersection at a ; and on a, make the arch d b 9 and with 
 the same distance complete the three remaining sides of 
 the abacus. C shows an angular elevation of the capital, 
 when put together. D also shews the body of the cap 
 with the mouldings turned, before the horns are glued on. 
 
 - • NV ' k \ // 
 
 v\r y ! \\VJ / 1 ) } 
 
 I 
 
 
Plate 17. 
 
Plate 18. 
 
 11©MAW 3©MC 
 
THE RUDIMENTS OF ARCHITECTURE. 
 
 61 
 
 PLATE XVIII. 
 
 Shows the front side, and plan of the Roman Ionic 
 capital. The upper part of the astragal is equal in thick- 
 ness, and in height, to the eye of the volute ; the height 
 of the ovolo above, is, from the upper side of the eye, to 
 the upper side of the fillet, in the second revolution ; the 
 projection of the cincture, or hollow under the fillet of the 
 astragal, is equal to the height of the fillet ; and the pro- 
 jection of the bead is a semicircle ; make the ovolo, a 
 quarter of a circle, its projection is from the perpendicular 
 line of the fillet. The dotted line upon the volute, is a 
 section through the side at A R, or through the plan at C 
 D ; the ornamental part is drawn by hand. 
 
62 
 
 THE RUDIMENTS OF ARCHITECTURE. 
 
 PLATE XIX. 
 
 Shows an angular view of the Corinthian capital, also 
 two plans, one for a column, and the other for a piJ aster. 
 Make A B C D the upper part of the elevation which 
 contains the abacus, and volutes solid. The leaves are 
 two and a half minutes thick at their base, and must be 
 glued on with the grain upright. The bell, of course, 
 will be five minutes less in diameter, than the shaft of the 
 column at its neck. Make the bell project six minutes 
 at the top, draw the abacus by the same directions as are 
 given for that of the Ionic. 
 
Tlate 19. 
 

THE RUDIMENTS OF ARCHITECTURE. 
 
 63 
 
 OF PILASTERS. 
 
 Pilasters are, I believe, a Roman invention. The 
 Greeks employed antse in their temples to receive the 
 architraves where they entered upon the walls of the cell. 
 These, though they were in one direction of equal diame- 
 ter with the columns of the front, were, in flank, extrava- 
 gantly thin in proportion to their height ; and neither their 
 bases nor capitals bore any resemblance to those of the 
 columns they accompanied. The Roman artists, disgust- 
 ed, probably, with the meagre aspect of these antse, and 
 the want of accord in their bases and capitals, substituted 
 pilasters in their places ; which, being proportioned and 
 decorated in the same manner with the columns, are cer- 
 tainly more seemly, and preserve the unity of the compo- 
 sition much better. 
 
 They differ from columns in their plan only, which is 
 square, as that of the column is round. Their bases, capi- 
 tals, and entablatures, have the same parts, with all the 
 same heights and projections, as those of columns ; and 
 they are distinguished in the same manner, by the names 
 of Tuscan, Doric, Ionic, Corinthian, and Composite. 
 Columns are certainly the most perfect. Nevertheless, 
 there are occasions, in which pilasters may be employed 
 with great propriety ; and some, where they are, on vari- 
 ous accounts, even preferable to columns. 
 
 Engaged pilasters are employed in churches, galleries, 
 halls, and other interior decorations, to save room ; for 
 
€4 
 
 THE RUDIMENTS OF ARCHITECTURE. 
 
 as they seldom project beyond the solid of the walls, more 
 than one quarter of their diameter, they do not occupy 
 near so much space, even as engaged columns. They are 
 likewise employed in exterior decorations ; sometimes 
 alone, instead of columns, on account of their being less 
 expensive. 
 
 When pilasters arc used alone, as principal in the com- 
 position, they should project one quarter of their diameter 
 beyond the walls, which gives them a sufficient boldness, 
 and in the Corinthian and Composite orders, is likewise 
 most regular ; because the stems of the volutes, and the 
 small leaves in flank of the capital, are then cut exactly 
 through their centres. 
 
 When pilasters are placed behind columns, and very 
 near them, they need not project above one eighth of their 
 diameter, or even less ; when they are on a line with col- 
 umns, their projection is to be regulated by that of the 
 columns ; and consequently, it can never be less than a 
 semidiameter, even when the columns are engaged as 
 much as possible. This extraordinary projection, how- 
 ever, will occasion no very great deformity, as the largest 
 apparent breadth of the pilaster will exceed the least, only 
 in the ratio of eleven to ten, or thereabouts. But if col- 
 umns be detached, the angular pilaster should always be 
 coupled with a column, to hide its inner flank ; because 
 the pilasters will otherwise appear disproportionate, when 
 seen from the point of view proper for the whole building, 
 especially if it be small, and the point of view near. 
 
 It is sometimes customary to execute pilasters without 
 any diminution ; diminished pilasters are, however. 
 

 THE RUDIMENTS OF ARCHITECTURE. 65 
 
 on many accounts, much preferable. There is more va- 
 riety in their form ; their capitals are better proportioned, 
 both in the whole, and in their parts, particularly in the 
 Corinthian and Composite orders ; and the irregularities, 
 occasioned by the passage of the architraves, from dimin- 
 ished columns, to undiminished pilasters, are thereby 
 avoided ; as are likewise the difficulties of regularly dis- 
 tributing the modillions and other parts of the entablature, 
 either when the pilasters are alone, or accompanied with 
 columns. 
 
 The shafts of pilasters are sometimes adorned with 
 flutings, in the same manner as those of columns ; the 
 plan of which may be a trifle above a semicircle, and they 
 must be to the number of seven on each face, which makes 
 them nearly of the same size with those of the columns. 
 The interval between them must be either one third, or 
 one fourth of the flute in breadth. 
 
 » 
 
 The capitals of Tuscan or Doric pilasters, arc profiled 
 in the same manner as those of the respective columns : 
 but in the capitals of the other orders, there are some 
 trifling differences to be observed. In the antique Ionic 
 capital, the extraordinary projection of the ovolo makes 
 it necessary, either to bend it inward considerably toward 
 the extremities, that it may pass behind the volutes, or 
 instead of keeping the volutes flat in front, as they com- 
 monly are in the antique, to twist them outward till 
 they give room for the passage of the ovolo. 
 
 The same difficulty subsists, with regard to the passage 
 of the ovolo behind the angular Ionic volutes. 
 
 T 
 
66 
 
 THE RUDIMENTS OF ARCHITECTURE. 
 
 What has been said with regard to the passage of the 
 ovolo behind the volutes in the Ionic order, is likewise to 
 be remembered in the Composite ; and in the Corinthian, 
 the lip, the edge of the vase or basket, may be bent a lit- 
 tle inward toward its extremities ; by which means, it 
 will easily pass behind the volutes. The leaves in the 
 Corinthian and Composite capitals, must not project be- 
 yond the top of the shaft. The diameter of the capital 
 must be exactly the same as that of the top of the shaft ; 
 and to make out the thickness of the small bottom leaves, 
 their edges may be bent a trifle outward ; and the large 
 angular leaves may be directed inward, in their approach 
 toward them. In each front of the Composite of Corin- 
 thian pilaster capital, there must be two small leaves, with 
 one entire, and two half large ones ; and wrought in the 
 same manner as those of the columns are ; the only dif- 
 ference being, that they will be somewhat broader. 
 
 The employing of half, or other parts of pilasters, 
 that meet, and, as it were penetrate each other, in inward 
 or outward angles, should, as much as possible, be avoid- 
 ed, because it generally occasions several irregularities in 
 the entablatures. 
 
THE RUDIMENTS OF ARCHITECTURE. 
 
 67 
 
 OF PEDIMENTS. 
 
 A pediment consists of a horizontal cornice, supporting 
 a triangular, or curvilineal space, either plain or adorned, 
 called the tympan, which is covered either with two por- 
 tions of straight, inclined cornice, or with one curvilineal 
 cornice, following the direction of its upper outline. 
 
 Pediments owe their origin, most probably, to the in- 
 clined roofs of the primitive huts. Among the Romans 
 they were used only as coverings to their sacred buildings, 
 till Caesar obtained leave to cover his house with a pointed 
 roof, after the manner of temples. In the remains of an- 
 tiquity we meet with two kinds of them, viz. triangular 
 and circular. The former of these are promiscuously ap- 
 plied to cover small or large bodies ; but the latter being 
 of a heavier figure, are never employed but as coverings 
 to doors, niches, windows, or gates, where the smallness 
 of their dimensions compensates for the clumsiness of their 
 form. 
 
 It is to be observed, that the cimarecta, and fillet above 
 it, of the cornice, are always omitted in the horizontal 
 one of a pediment ; that part of the profile being directed 
 upward to finish the inclined cornices. This difference 
 of direction, increases the height of the cimarecta very 
 considerably, and makes it far too large for the other 
 parts of tlje entablature ; to obviate which, it will always 
 be better, whenever the whole object is covered with a 
 
68 
 
 THE RUDIMENTS OF ARCHITECTURE. 
 
 pediment, to make the profile of the cimarecta lower than 
 usual, by which means it may, notwithstanding the in- 
 crease occasioned by the difference of its direction, be 
 made of a size suitable to the rest of the cornice. But if 
 the inclined cornice of the pediment be, on each side, join- 
 ed to the horizontal ones, the only good method of lessen- 
 ing the abovementioned deformity is, to give very little 
 projection to the cimarecta ; by which means the increase 
 in its height may be rendered very trifling. 
 
 The modillions, mutules, dentils, and other ornaments 
 of the inclined cornice, must always answer perpendicularly 
 over those of the horizontal cornice, and their sides be 
 always perpendicular to the horizon. 
 
 The proportion of the pediments depends upon their 
 size ; for the same proportion will not succeed in all cases. 
 When the base of the pediment is short, its height must be 
 increased ; and when long, it must be diminished ; for if 
 a small pediment be made low, the inclined cornice, which 
 is always of the same height, whatever may be the dimen- 
 sion of the pediment, will leave little or no space, for the 
 tympan ; consequently, little, or no plain repose, between 
 the horizontal and inclined cornices. And if a large 
 pediment be made high, it will have too lofty a tympan, 
 and the whole composition will appear straggling, and too 
 heavy for that which is to support it. The best proportion 
 for the height, is from one fifth to one quarter of the base, 
 according to the extent of the pediment, and the character 
 of the body it serves to cover. 
 
THE RUDIMENTS OF ARCHITECTURE. 
 
 69 
 
 The face of the tympan is always placed on a line per- 
 pendicular with the face of the frieze ; and, when large, 
 may be adorned with sculpture, representing the arms or 
 cypher of the owner $ trophies of various kinds, suited to 
 the nature of the structure ; but, when small, it is much 
 better left plain. 
 
70 
 
 THE RUDIMENTS OF ARCHITECTURE. 
 
 PLATE XX. 
 
 Fig. 1 represents the planceer of the Ionic cornice at an 
 external angle. Fig. 4 is also a representation of the 
 Doric cornice, at an external angle , — a be and d are re- 
 presentations of pannels, which are sometimes used in the 
 planceer of that cornice, when it is very large and near the 
 eye, but it generally succeeds best plain. 
 
 Fig. 5 represents the planceer of a mutule of this order, 
 which has already been explained. Fig. 2 shews the side 
 and end view of the Ionic modillion ; to draw it, divide a 
 6 into six equal parts on 4 ; make the arch 5 i on c, which 
 is one and a half parts from 4 ; make the arch i n with 
 the same distance on n and 1 $ make the intersection at a 
 and on a complete its curves. 
 
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Plato 22 . 
 
THE RUDIMENTS OF ARCHITECTURE. 
 
 71 
 
 PLATE XXI. 
 
 On this plate are three examples for cornices, belonging 
 to the Tuscan, Doric, and Ionic orders. That of the Tus- 
 can is represented with blocks, which may be used with 
 success when small, and at a considerable distance from 
 the eye. Those of the Doric, and Ionic, are represented 
 with dentils, and are proper for inside finishing, &c. 
 Draw each of them from a scale, made on the diameter of 
 their respective columns. 
 
 PLATE XXII. 
 
 DESIGNS FOR LEAVES, &c. 
 
 Fig. A represents a profile. Fig. B a front view of a 
 leaf, for the Corinthian capital. Fig. C a side view. Fig. 
 D the planceer of a modillion of that order. 
 
n 
 
 THE RUDIMENTS OF ARCHITECTURE, 
 
 % 
 
 PLATE XXIII. 
 
 ■ I ... 
 
 DESIGNS FOR BANISTERS, URNS, AND KEY-STONES. 
 
 Fig. A represents a banister four diameters high. Di- 
 vide it into eight parts, see line a 8, one of which is the 
 height of its plinth. Divide from fig. 1 to 2 into four 
 parts — give one to the torus — two to the fillet and scotia — 
 and one to the astrigal. Give one eighth to the abacus or 
 square at the top. Divide from 6 to 7 into four parts — 
 give two of them to the ovolo and fillet ; and two to the 
 necking and astrigal. Fig. B represents a banister five 
 diameters high. Its particular parts will not require any 
 further explanation than that which is given of A. Fig. B 
 is perhaps a better representation for ballustrades, where 
 columns are not concerned, than that of A. It may there- 
 fore sometimes be proper to give it six or seven diameters, 
 where the banisters are long and near the eye. The dis- 
 tance in the clear between them, should never exceed one 
 half of their diameters. Always place half of a banister 
 next to the pedestal. Banisters, when used for ballus- 
 trades, may be considered as a pedestal ; and they, to- 
 gether with the buse and cornice of a pedestal, when 
 placed over an order may be equal in height with the en- 
 tablature on which it stands. There is no situation which 
 requires it to be made lower, but there are some which 
 
i 
 
 Mate 23 . 
 
THE RUDIMENTS OF ARCHITECTURE. 
 
 73 
 
 make it necessary to exceed that height. The plinth of 
 the ballustrade, should be placed exactly over the face of 
 the wall, or frieze of the entablature on which it is to 
 stand. Fig. C is a design for a key-stone. Its width may 
 be about one eleventh part of the arch, in which it is 
 placed. Fig. D is likewise a design for a key-stone. The 
 width of this should be about one sixteenth of the arch, in 
 which it is placed. Figs. E F and G are examples for 
 urns. The whole height of E is divided into seven equal 
 parts. Those of F and G each, into eight equal parts ; 
 and those parts divided again, so as to give the proportions 
 of their particular parts. It will be best, generally, to 
 make their greatest diameter about three fourths the di- 
 ameter of the pedestal, or post, on which they are to 
 stand. Judgment is however to be exercised in propor- 
 tioning them, so that they may appear to the best advan- 
 tage. Likewise for those of banisters and keystones, for 
 the same proportion, will not succeed, equally well in all 
 situations. 
 
 K 
 
74 
 
 THE RUDIMENTS OF ARCHITECTURE. 
 
 PLATE XXIV. 
 
 OF PEDESTALS. 
 
 I have judged it more regular to treat of the pedestal as 
 a separate body ; having no more connection with the or- 
 der, than as an attic, a basement, or any other part with 
 which it may, on some occasions, be accompanied. 
 
 A pedestal, like a column or an entablature, is composed 
 of three principal parts ; which are, the base, the dye, 
 and the cornice. The dye is always of nearly the same 
 figure, being constantly either a cube, or a parallelepiped ; 
 but the base and cornice are varied, and adorned with 
 more or fewer mouldings, according to the simplicity or 
 richness of the composition in which the pedestal is em- 
 ployed ; hence pedestals are, like columns, distinguished 
 by the names of Tuscan, Doric, Ionic, Corinthian, and 
 Composite. 
 
 Some authors are very averse to pedestals, and com- 
 pare a column raised on a pedestal, to a man mounted on 
 stilts ; imagining that they were first introduced merely 
 through necessity, and for want of columns of a sufficient 
 length. 
 
 With regard to the proportion which their height ought 
 to bear, to that of columns they are to support, it is by no 
 means fixed ; the ancients and moderns too, having in 
 their works, varied greatly in this respect, and adapted 
 
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THE RUDIMENTS OF ARCHITECTURE. 
 
 75 
 
 their proportion to the occasion, or to the respective 
 purposes for which the pedestals were intended. 
 
 I have given the Tuscan, two diameters, fifteen min- 
 utes ; the Doric, two diameters, thirty minutes ; the Ionic, 
 two diameters, forty-five minutes ; the Corinthian and 
 Composite, three diameters each, in height ; but it is not 
 necessary to adhere always to this proportion ; it is, how- 
 ever, to be observed, that when pedestals are profiled 
 under each column, and the dye is much less than a square 
 in height, the pedestal has a clumsy appearance ; and 
 when a pedestal of the same kind exceeds one third of the 
 height of the column, it has a lean, unsolid, tottering as- 
 pect. But if they are continued without any breaks, this 
 need not be attended to ; though, indeed, there are very 
 few occasions, in which pedestals, higher than one third 
 of the column, ought to be suffered ; as they lessen too 
 much the parts of the order, and become themselves too 
 principal in the composition. 
 
 The plan of the dye is always made equal to that of the 
 plinth of the column. 
 
 It is sometimes customary to adorn dyes of pedestals 
 with projecting tablets, or with panels sunk in, and sur- 
 rounded with mouldings. The former of these practices 
 ought seldom to be admitted, as these tablets alter the gen- 
 eral figure of the pedestal, and when they project much, 
 give it a heavy appearance. The latter should be reserved 
 for large pedestals only. 
 
 With regard to the application of pedestals, it must 
 be observed, that when columns are entirely detached, 
 
76 
 
 THE RUDIMENTS OF ARCHITECTURE. 
 
 and at a considerable distance from the wall, as when 
 they are employed to form porches, or porticoes, they 
 should never be placed on detached pedestals ; for then 
 they may indeed be compared to men mounted on stilts, 
 as they have a very weak and tottering appearance. 
 
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THE RUDIMENTS OF ARCHITECTURE. 
 
 PLATE XXV. 
 
 On this plate are four designs for impost mouldings. 
 To draw them to a given height, divide that height into 
 twenty, or from that to twenty-three equal parts, as judg- 
 ment may dictate, one of which will be the height of the 
 impost ; divide it into as many parts, as are contained in 
 the impost to be drawn ; then each member, either in height 
 or projection, is so many parts of that division, as are fig- 
 ured on the plate. 
 
78 
 
 THE RUDIMENTS OF ARCHITECTURE, 
 
 « 
 
 PLATE XXVI. 
 
 * 
 
 DESIGN FOR A FRONTISPIECE IN THE TUSCAN ORDER. 
 
 The door is four feet wide, and eight feet high. Divide 
 its height into fifteen equal parts, each of which, will be 
 equal to one half of the diameter of the column. Place 
 the central line of each column, or pilaster, as the case 
 may be, one diameter from the opening of the door. 
 Make the pitch of the pediment, equal in height to two 
 ninths of its extreme width. Make the height of the sub- 
 plinths equal to the thickness of the first step. In this ex- 
 ample, I have chosen to let the whole of the mouldings, 
 belonging to the capital, pass between the door and sash ; 
 thinking that separation not too great for this order, as 
 all its parts are so very large and bold. It would, how- 
 ever, be proper, in frontispieces of the Ionic, and Corin- 
 thian orders, to reduce the distance, between the door and 
 window, to two and a half, or three inches, on account of 
 the parts of those orders being much more delicate than 
 those of the Tuscan. The division between the door and 
 sash, in this example, is ornamented by a tablet. Its pro- 
 jection must be exactly equal to that of the capital, or im- 
 post moulding, on which it is placed. 
 
 Fig. A shews the plan of this frontispiece. It projects 
 from the building two feet four inches ; and may be in- 
 creased to three feet four inches, if necessary. ' The ceil- 
 ing, under the raking cornice, may be embellished with 
 panels, &c. 
 
27 
 
THE RUDIMENTS OF ARCHITECTURE. 
 
 79 
 
 PLATE XXVII. 
 
 DESIGN FOR A VENETIAN ENTRANCE, EMBELLISHED WITH 
 A DORIC PORTICO. 
 
 Divide from a to & into nine equal parts, one of which 
 will be equal to the diameter of the column ; proceed to 
 draw it, as before directed, in the Doric order. Make 
 the subplinth equal in height to the thickness of two steps. 
 The projection from the building and distance, between 
 the columns, must be regulated by the triglyphs in the 
 frieze ; see Doric order for explanation. All the other 
 parts of this plate are sufficiently plain, without any further 
 explanation, as each part of it can be accurately measured, 
 by the scale of feet here laid down. 
 
so 
 
 THE RUDIMENTS OF ARCHITECTURE. 
 
 PLATE XXVIII. 
 
 DESIGNS FOR CORNICES. 
 
 Figs. A B C D and H are proper for the outside finish- 
 ing ; for eves of buildings, door and window caps, or any 
 other place required. A is drawn from the same scale of 
 minutes, that the Tuscan cornice is drawn from ; and 
 may with propriety, be used instead of that cornice, in 
 small porticos, or in any other place where lightness is 
 required. Figs. E F and G are proper for the finishing 
 of rooms, or any other place required. They have fre- 
 quently been executed under my direction in stucco, with 
 great success. To proportion them to rooms : suppose a 
 room ten feet high ; divide it into forty equal parts, give 
 one of them to the height of the cornice, which will be 
 three inches ; divide three inches into as many parts as 
 are contained in the height of the cornice, intended to be 
 used ; then each member of the cornice will be so many 
 of those parts, either in height or projection, as are figured 
 on the plate. To proportion cornices to the eves of 
 buildings : suppose a house thirty-five feet high ; divide 
 that height into thirty equal parts, one of which will be 
 the height of the cornice ; then proceed to draw it as 
 above directed. It is, however, often necessary to vary 
 that proportion, if it be required to make a cornice to a 
 house of twenty, or twenty-five feet front, and forty feet 
 
1'. H 
 
 iJ] \~z~ 
 
THE RUDIMENTS OF ARCHITECTURE. 81 
 
 high, unconnected with any other building. In that case, 
 I should not make the cornice larger than one fortieth 
 part of the height ; but for a two story house of twenty- 
 five feet high, and from forty-five to sixty feet front, I 
 should make the cornice about one twenty-sixth part of 
 the height. 
 
82 
 
 THE RUDIMENTS OF ARCHITECTURE. 
 
 PLATE XXIX. 
 
 DESIGNS FOR ARCHITRAVES, BASE AND SURBASE MOULD- 
 INGS. 
 
 To proportion base and surbase mouldings to the 
 pedestal part of rooms : divide from the floor to the top 
 of the surbase into ten parts, one of which will be the 
 height of the surbrase. Suppose the height to he two feet, 
 eight inches ; one tenth would be three inches and one 
 fifth of an inch ; divide that distance into as* many parts 
 as are contained in the surbase intended to be used ; then 
 each member of the surbase, and also the base, will he so 
 many parts of that scale, either in height or projection, as 
 are figured on the plate. Make the plinth from five to 
 seven inches high. . 
 
 To proportion architraves to doors and windows ; di- 
 vide the door into eight parts, give one to the width of 
 the architrave ; suppose a door three feet six inches 
 wide ; one eighth would be five and one fourth inches. 
 Divide that distance into as many parts, as are contained 
 in the architrave intended to be used ; then each member 
 of it will be as many parts, either in height or projection 
 as are figured on the plate. It is often necessary to vary 
 that proportion, and oftener for inside of windows, than 
 for doors. For example : A room which required the 
 doors to be three feet, six inches wide, would probably 
 require the window of such a size, that the opening be* 
 
THE RUDIMENTS OF ARCHITECTURE. 
 
 83 
 
 tween the architraves would be four feet, four inches, one 
 eighth of which would be six and a half inches. In all 
 such cases I should make the architrave to the windows 
 the same width as that of the doors. It would be very 
 improper to have two widths of architraves in the same 
 room. Judgment must be exercised respecting their pro- 
 portion. If they are to be used on external parts of build- 
 ings, and at a considerable distance from the eye, it will 
 be proper to make tiiem larger, than if used on internal 
 finishings, and near to the eye. 
 
84 
 
 THE RUDIMENTS OF ARCHITECTURE. 
 
 PLATE XXX. 
 
 TO DRAW THE SCROLL OF A HAND-RAIL. 
 
 Fig. 1. Make a circle three and a half inches in diam- 
 eter ; divide it into three equal parts ; make a square in 
 its centre equal to one of those parts ; divide each side of 
 that square into six equal parts ; draw lines across it both 
 ways, with the distance from 1 in the square to i ; and on 
 1 draw from i to k ; on 2 draw k 1 ; on 3 draw 1 m ; on 
 4 draw m n ; on 5 draw no ; and on 6 draw o 6, which 
 completes the outside revolution. Set the thickness of 
 the rail from 6 to r, then on the centres 6 and 5 go the 
 reverse way to complete the inside line. The curtail step 
 is drawn from the same centres as that of the rail, and is 
 represented by the dotted lines on the plate. 
 
 TO DRAW THE FACE MOULD FOR SQUARING THE TWIST 
 PART OF THE RAIL. 
 
 Make the joint so as to just clear the side of the scroll, 
 as the base line of the pitchboard ab; draw ordinates 
 across the scroll at discretion, to cut the line c b the long- 
 est side of the pitchboard ; take notice that lines be drawn 
 from 3 and &, so that the points may be exact at 3 and b ; 
 make 1 b in Fig. 2, exactly equal in its length and divi- 
 sions to 6 b in f ig. 1 $ then transfer the distances 5 10, 
 
THE RUDIMENTS OF ARCHITECTURE. 
 
 85 
 
 4 9, S 8, 2 s 7*, and 1 r 6 to Fig. 2, and trace the lines as 
 those figures direct, which completes the face mould. 
 
 TO DRAW THE FALLING MOULD. 
 
 Fig. 3. a b c is the pitchboard : its height is divided 
 into six equal parts to give the level of the scroll ; the dis- 
 tance a d is from the face of the riser, to the beginning of 
 the twist ; and the distance from d to k is the stretchout 
 from 6, the beginning of the twist round to h in Fig. 1, 
 each, being any point taken at discretion more than the 
 first quarter. Divide the level of the scroll, and the rake 
 of the pitchboard, each, into a like number of parts, and 
 complete the top edge of the mould by intersecting lines, 
 and make the under edge parallel to it. 
 
 Fig. 5 represents the eye of the scroll at large, with the 
 centres figured, and lays exactly in the same position as 
 that in Fig. 1. 
 
 HOW TO FIND THE PARALLEL THICKNESS OF STUFF FOR 
 THE TWIST AND SCROLL. 
 
 Take the stretchout of the line from 6 to &, in Fig. 1 ; 
 place it upon the base line of the pitchboard from d to g 9 
 in Fig. 3 ; draw g h perpendicular, to intersect the top of 
 the mould, and draw the dotted line / h to i parallel to the 
 level of the scroll ; then take the distance 1 b in Fig. 1, 
 which is the length of the plan for the twist part, and set 
 it from d to e in Fig. 3 ; and draw e f perpendicular to 
 cut the parallel / h i ; then draw a dotted line through 
 /, parallel to c b , the longest side of the pitchboard, 
 
86 
 
 THE RUDIMENTS OF ARCHITECTURE* 
 
 which gives the thickness of stuff for the twist, which is 
 about 4 inches ; and from the end of the parallel line 
 / h i, and from i to n 9 the base line of the scroll, also 
 gives the thickness of stuff for the scroll, which is 
 three inches. 
 
 Fig. 4 represents the outside falling mould, and is 
 found in the same manner as that of Fig. 3. 
 

 * 
 
 
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THE RUDIMENTS OF ARCHITECTURE. 
 
 87 
 
 PLATE XXXI. 
 
 THE METHOD OF GETTING A SCROLL OUT OF A SOLID PIECE 
 OF MOOD, THE GRAIN RUNNING THE SAME DIRECTION 
 WITH THE RAIL. 
 
 Place the pitchboard a b c in Fig. D ; then draw ordi- 
 nates across the scroll at discretion, and make a b in E 
 parallel with, and equal in length to a b on the longest 
 side of the pitchboard in D ; and from where the ordi- 
 nates of D cut that line, and at right angles with it, draw 
 other ordinates through E, cutting a b in E at a 2 3 4 5 
 6 7 8 9 10 and b ; and on 10 in D take the distances 10 k 9 
 and 10 l ; transfer them from 10 to k and l on E ; then on 
 9 in D take the distances i and m, and, as before, transfer 
 them to E, and so on ; until E, the face mould, is com- 
 pleted. Note. The scroll D is drawn as is directed in 
 the foregoing plate. 
 
 HOW TO FIND THE PARALLEL THICKNESS OF STUFF. 
 
 Let a b c be the pitchboard in F, and let the level of the 
 scroll rise one sixth, as in the last plate ; then from the 
 end of the pitchboard b , which is exactly over the face of 
 a banister, draw the form of a rail, which will extend to d ; 
 and from the nose of the scroll draw the dotted line m n 
 parallel with c b ; and the distance between that line and 
 the under tip of the scroll will be the thickness required. 
 
I 
 
 SS THE RUDIMENTS OF ARCHITECTURE. 
 
 which is about six inches. It will be hardly discernible, 
 if a small piece be glued on the under tip of the scroll, 
 from e to i ; nor will it injure its strength, but would re- 
 duce the thickness of stuff to about five and one fourth 
 inches. 
 
 i 
 
 Fig. 4 represents a section of a handrail ; to draw it, 
 make a square, as a b n m, with the distance a b ; and on 
 c draw the arch d u ; and with the distance d a on e draw 
 d o i make r s three fifths of m n 9 and on i complete the 
 curve from o to the side of the rail r. 
 
Plate 4-6. 
 
 PI. i'2 
 
THE RUDIMENTS OF ARCHITECTURE. 
 
 89 
 
 PLATE XXXII. 
 
 TO FIND MOULDS FOR MAKING BUTT JOINTS FOR A RAIL, 
 WHEN GOT OUT OF THE SOLID. 
 
 Let fig. 1 be the plan of a rail ; b c d 9 and bed, the two 
 sides of the circular part ; a b and d e 9 the breadths of 
 two common steps, at the beginning and end of the wind- 
 ers ; make the whole stretchout of the straight line, A B 
 C I) E, fig. 2, equal to a b c d e, round the outside, going 
 upward, fig. 1 ; that is, make A B, in fig. 2, equal to a b 9 
 fig. 1 ; the last common step in the ascent before the 
 winders ; B C D, in fig. 2, equal to the circumference of 
 the semicircular part, bed, fig. 1, and D E, in fig 2, equal 
 to d e ; on the outside, fig. 1, the first common step imme- 
 diately after ascending the winders, draw the lines B F, 
 D G, and E II, perpendicular to A E ; make B F, equal 
 to the height of one step ; make D G, one step higher 
 than the number of winders that is in the example ; sup- 
 pose the circular part to contain eight winders, then D G 
 will be equal to the height of nine steps ; make E H equal 
 to the height of ten steps ; then join A F, F G, and G H, 
 and describe the parabolical parts A I, and K II, and the 
 under edge of the falling mould will be completed ; the 
 upper edge w ill be formed by drawing a line parallel to it, 
 and equal to the thickness of the rail. Bisect the stretch- 
 out of the circular part B D, at C ; from C, draw C M. 
 
90 
 
 THE RUDIMENTS OF ARCHITECTURE. 
 
 perpendicular to A E, cutting both edges of the falling 
 mould at L and M ; bisect L M at N, and through N, 
 di ■aw O P 5 at right angles to the falling mould ; cutting 
 it at O and P ; through the points, 0 and P, draw O Q, 
 and P R, each perpendicular to A E, cutting A E, at Q 
 and R ; let S T be the joint on the straight part ; then 
 from the points S and T, draw S U and T V, perpendicu- 
 lar to A E, cutting it at U and V, then take the distances 
 C R and C Q, in fig. 2 , and apply them in the middle of 
 the circular part, fig 1 , from c to r, and from c to q , and 
 draw to the centre r Z, and q Z, cutting the inside of the 
 rail at r and q ; also take the distances B V, and B U, 
 fig. 2 , and apply them from b to v , and from b to u 9 fig. 
 1 ; then draw v v and u u at right angles to the rail, cut- 
 ting the other side at v and u ; then through the points 
 u and r, on the inside of the rail, fig. 1 , draw the chord 
 u r, then from all the points, u 9 u 9 v 9 v q q 9 and r, r, 
 draw lines u u s 9 u s 9 v t 9 v t 9 and q o, &c. each perpendi- 
 cular to the chord line u r ; then complete the sections 
 of the rail 1 1 s s 9 and o o p p 9 as are shown at the shad- 
 owed parts, and draw the chord line, s o 9 to touch these 
 sections without cutting them ; then take any number 
 of intermediate points as 5, 6 , 7, 8 , in the chord u r 9 and 
 draw the lines, 5 5, 6 6 9 7 7, 8 8 , perpendicular to u r 9 
 cutting the chord of the face mould, s o at the points 5, 
 6 , 7 , 8 ; continue the lines u s and r p 9 till they cut the 
 chord line of the face mould, s o, at o and 9 ; through all 
 those points, s 9 o, 5, 6 , 7, 8 , 0, 10, 9, draw lines perpen- 
 dicular to the chord of the face mould, s o, for ordinates, 
 points being found in each of them corresponding to 
 
THE RUDIMENTS OF ARCHITECTURE. 
 
 91 
 
 these ; on the plan and lines being traced through these 
 points the face mould X, will be completed in the usual 
 manner. 
 
 N.B. The small letters on the sections of the face mould, 
 and similar capital letters on the falling mould, show cor- 
 responding places in each. 
 
 HOW TO CUT THE JOINTS. 
 
 The stuff must first be cut out by the face mould, and 
 the joints made exactly plumb, according to the face 
 mould, as is shown by figs. 3 and 4. 
 
 To make this appear plain, figs. 3 and 4, are different 
 views of this solid rail, got out by the face mould X. Fig. 
 3 shows the top and convex side of the pieces, which is to 
 make the rail ; take the distance 9 p, from the chord line 
 of the face mould, down the perpendicular, fig. 1, and set 
 it from 9 top, in fig. 3 ; then apply the shadowed part of 
 the falling mould at fig. 2, which is to correspond to the 
 block of the rail, fig. 3 ; that is, apply the point S, the 
 upper edge of the lower end of the failing mould, at fig. 2, 
 to the point s at the fig. 3, and bend the falling mould 
 round until the point P, the lower edge of the upper end of 
 the falling mould, coincide with the point p ; draw a line 
 all round by the falling mould ; it will show how to cut off 
 the ends of the rail, and will also give the upper and lower 
 edge of the rail. Fig. 4, shows the concave side of the 
 piece, in order to show the ends, having similar letters of 
 reference as before. From s in fig. 4, draw s s, at right 
 angles to s b ; then cut off the end through the line s s , as 
 
92 
 
 THE RUDIMENTS OF ARCHITECTURE. 
 
 is shown at fig. 3, and through the points s, t 9 as is shown 
 at fig. 4. The upper joint will be found in the same man- 
 ner ; that is, by drawing the linep p, at right angles to 9 
 p ; then cut off the end, through the line p p 9 in fig. 4, and 
 through p o 9 as is shown in the other view, fig. 3. If great 
 accuracy is required in squaring the rail, make an inside 
 falling mould, which apply the under edge of the upper end 
 to the point p 9 in fig 4, and the upper edge of the lower 
 end of the falling mould, to the point s 9 and draw lines 
 above and below, by the two edges of the falling mould ; 
 and it will give the form of the upper and under edges of 
 the rail. By this method of proceeding, the workmen will 
 be enabled to cut out the stuff of a hand rail with very 
 great accuracy. 
 

 
 
 
 
 
 
 
 
 
 
 
Plate A 
 
 Fiy. B 
 
I'u/ C. 
 
 
11111111111 
 
 Plate B 
 
 
THE RUDIMENTS OF ARCHITECTURE. 
 
 93 
 
 
 PLATES A & B. 
 
 PLAN AND ELEVATIONS OF A CHURCH. 
 
 Plate A, fig. a, is a plan ; fig. b 9 an elevation of a Church, 
 drawn on a scale of twenty feet to an inch, which will con- 
 tain about one thousand people. The dotted line on the 
 plan represents the front line of the gallery, which is in- 
 tended to run across the front only, and not continue along 
 the sides of the house, as is common in churches in this 
 country. 
 
 Plate B, fig. c, is a side elevation for the same building. 
 Fig. d respresents a plan of the cupola ; 1, shews the 
 shape and size of the tower, as it rises from the roof of the 
 house ; 2, the shape and size of the story which is intend- 
 tended to contain the bell and clock ; 3, the shape and 
 size of the octagon story, which is to be finished after the 
 Ionic order ; and 4, the size and shape of the base which 
 is to support the roof. e shows the size and shape of the 
 glass, and the manner of finishing the inside of one of the 
 windows, any part of w hich may be measured by the scale 
 of feet below it. 
 
94 
 
 THE RUDIMENTS OF ARCHITECTURE. 
 
 A TABLE, 
 
 Shewing the weight of square bars of iron of one foot 
 in length, from three eighths of an inch to four inches 
 square ; also flat bars of the same length, from three 
 eighths in thickness by one and a half inches wide, to three 
 fourths in thickness by three and three fourths inches 
 wide ; which will be found very useful for estimating the 
 prices of iron work, such as fences, gates, window 
 guardirons, &c. 
 
 wwwvwv^ 
 
 WEIGHT OF SQUARE IRON 
 BARS. 
 
 Square. | 
 
 WEIGHT OF FLAT IRON 
 BARS. 
 
 In. 
 
 1 
 
 1 
 
 1 
 
 1 
 
 1 
 
 1 
 
 1 
 
 1 
 
 2 
 
 2 
 
 2 
 
 2 
 
 2 
 
 2 
 
 2 
 
 2 
 
 3 
 
 3 
 
 3 
 
 3 
 
 4 
 
 , lb. 
 
 qr. 
 
 X 
 
 A 
 
 oz. 
 
 
 
 
 
 
 0 
 
 0 
 
 Width 
 
 Thick- 
 
 I 
 
 
 1 
 
 4 
 
 2 
 
 
 in 
 
 ness. 
 
 
 
 1 
 
 4 
 
 3 
 
 4 
 
 1 
 
 Inches 
 
 
 lb. 
 
 qr. 
 
 2 
 
 l 
 
 3 j 
 
 
 
 
 
 
 2 
 
 JL 
 
 0 
 
 1 
 
 1 
 
 2 
 
 3 
 
 8 
 
 1 
 
 3 
 
 4 
 
 3 
 
 x 
 
 3 
 
 1 
 
 3 
 
 4 
 
 3 
 
 8 
 
 2 
 
 4 
 
 4 
 
 I 
 
 0 
 
 1 
 
 1 
 
 2 
 
 1 
 
 2 
 
 2 
 
 0 
 
 5 
 
 I 
 
 31 
 
 I 
 
 5 
 
 8 
 
 1 
 
 2 
 
 2 
 
 3 
 
 4 
 
 6 
 
 1 
 
 2 
 
 I 
 
 3 
 
 4 
 
 1 
 
 2 
 
 3 
 
 0 
 
 7 
 
 j_ 
 
 2 
 
 1 
 
 7 
 
 8 
 
 1 
 
 2 
 
 3 
 
 4 
 
 9 
 
 x 
 
 0 
 
 2 
 
 0 
 
 1 
 
 2 
 
 3 
 
 1 
 
 2 
 
 10 
 
 x 
 
 31 
 
 2 
 
 1 
 
 1 
 
 2 
 
 3 
 
 3 
 
 4 
 
 12 
 
 x 
 
 A 
 
 1 
 
 2 
 
 3 
 
 8 
 
 1 
 
 2 
 
 4 
 
 0 
 
 14 
 
 4 
 
 0 
 
 0 
 
 2 
 
 1 
 
 2 
 
 1 
 
 2 
 
 4 
 
 1 
 
 2 
 
 15 
 
 X 
 
 1 
 
 2 
 
 3 
 
 4 
 
 1 
 
 2 
 
 4 
 
 3 
 
 4 
 
 17 
 
 I 
 
 •2 
 
 3 
 
 2 
 
 3 
 
 4 
 
 5 
 
 8 
 
 5 
 
 I 
 
 4 . 
 
 19 
 
 3_ 
 
 0 
 
 3 
 
 0 
 
 1 
 
 2 
 
 5 
 
 4 
 
 21 
 
 4 
 
 3_ 
 
 2 
 
 3 
 
 0 
 
 5 
 
 6 
 
 1 
 
 2 
 
 24 
 
 2 
 
 0 
 
 3 
 
 0 
 
 3 
 
 4 
 
 8 
 
 0 
 
 26 
 
 i 
 
 3 
 
 3 
 
 4 
 
 1 
 
 2 
 
 5 
 
 1 
 
 2 
 
 28 
 
 x 
 
 3 
 
 3 
 
 4 
 
 5 
 
 8 
 
 7 
 
 0 
 
 31 
 
 4 
 
 x 
 
 0 
 
 3 
 
 4 
 
 3 
 
 4 
 
 8 
 
 1 
 
 2 
 
 37 
 
 0 
 
 0 
 
 3 
 
 1 
 
 2 
 
 1 
 
 2 
 
 6 
 
 0 
 
 42 
 
 x 
 
 0 
 
 3 
 
 1 
 
 2 
 
 5 
 
 8 
 
 7 
 
 I 
 
 T 
 
 49 
 
 x 
 
 0 1 
 
 3 
 
 5 
 
 8 
 
 3 
 
 4 
 
 9 
 
 1 
 
 2 
 
 56 
 
 0 
 
 0 ! 
 
 3 
 
 4 
 
 3 
 
 4 
 
 9 
 
 3 
 
 4 
 
 31 
 
 0 
 
 2 
 
 H 
 
 of 
 
 0 
 
 0 
 
 2 } 
 
 2 
 
 I 
 
 0 
 
 1 
 
 if 
 
 H 
 
 of 
 
 2 
 
 2 
 
 11 
 
 n 
 
CONTENTS OF THE PLATES. 
 
 Definitions -------1 
 
 Perpendiculars bisecting angles , polygons , Spc. - - - 2 
 
 i/ow Jo make an octagon within a square , tangent lines, 
 and how to draw a segment of a circle, Spc . - - - S 
 
 How to describe ellipses by a string, a trammel, and by 
 ordinates, Spc. - -- -- -- -- -4 and 5 
 
 How to find the curves of an angle, brackets, raki ng cor- 
 nices, and how to describe the segment of a circle by 
 rods - -- -- -- -- -- -- -- 6 
 
 How to diminish the shaft of a column, and how to pro- 
 portion the flutes and fillets, on both columns and 
 
 pilasters - - - - 7 
 
 How to describe the Ionic volute ------- 8 
 
 How to proportion and draw both Grecian and Homan 
 mouldings ---------- 9, 10 and 1 1 
 
 How to proportion the Tuscan order 12 
 
 „ ,, „ ,, Doric ,, ------ 
 
 „ ,, „ ,, Ionic „ ------ 14 
 
 ,, ,, ,, ,, Corinthian ,, - -- -- - 1 5 
 
 „ „ „ „ Composite ,, 16 
 
 How to glue up the Ionic capital 17 
 
 How to draw the Roman Ionic capital ----- 18 
 
 How to glue up and finish the Corinthian capital - - 19 
 
96 
 
 THE RUDIMENTS OF ARCHITECTURE. 
 
 PLATE 
 
 The planceers of the Doric and Ionic cornices at an ex- 
 ternal angle , also the Ionic modillion ----- 20 
 
 Tuscan , Doric, and Ionic cornices 21. 
 
 Examples of leaves for the capital and modillion of the 
 
 Corinthian order 22 
 
 Examples for keystones, banisters, and urns - - - 23 
 
 Pedestals for each of the five orders 24 
 
 Impost mouldings and architraves for arches - - - 25 
 
 Frontispiece and door of the Tuscan order - - - - 26 
 
 Frontispiece and door of the Doric order 27 
 
 Examples for cornices, for both inside and outside finish- 
 ings 28 
 
 Examples for base and surbase mouldings, and for archi- 
 traves 29 
 
 1 low to draw the scroll, and find the face and falling 
 moulds, to any pitch of a hand rail - -- -- -30 
 
 How to find the face and falling moulds, also the paral- 
 lel thickness of stuff when a scroll is to begot out of a 
 
 solid piece of wood ---31 
 
 IIow to find the face and falling moulds, and to cut the 
 joints of the circular part of a hand rail - - - - 32 
 
 Plan and Elevation of a Church A 
 
 Side Elevation of the same plan, of a Cupola, and windows B 
 

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