sif\ 
 
 ■ 
 
THE 
 
 CAEPENTEE'S ASSISTANT: 
 
 CONTAINING 
 
 A SUCCINCT ACCOUNT 
 
 OF 
 
 EGYPTIAN, GRECIAN AND ROMAN ARCHITECTURE. 
 
 ALSO, A DESCRIPTION OF THE 
 
 TUSCAN, DORIC, IONIC, CORINTHIAN AND COMPOSITE ORDERS; 
 
 TOGETHER WITH 
 
 SPECIFICATIONS, PRACTICAL RULES AND TABLES FOR CARPENTERS, AND A GLOSSARY OP 
 
 ARCHITECTURAL TERMS. 
 
 EMBELLISHED WITH 
 
 UPWARDS OF 200 PLATES OF PLANS, ELEVATIONS, DETAILS, AND 
 PRACTICAL STAIR-BUILDING. 
 
 By WILLIAM BROWN, Architect. 
 
 REVISED, IMPROVED AND ENLARGED, WITH ADDITIONS 
 
 ON 
 
 RURAL ARCHITECTURE; 
 
 EMBRACING 
 
 PLANS, ELEVATIONS, GROUNDS, Ac. &c, OP COTTAGES, VILLAS, AND FARM-BUILDINGS; 
 
 INCLUDING 
 
 NEW AND VALUABLE DESIGNS FOR CHURCH EDIFICES. 
 
 BY LEWIS E. JOY, Architect. 
 TWENTIETH THOUSAND. 
 BOSTON: 
 
 PUBLISHED BY EDWARD LIVERMORE. 
 1854. 
 
Entered according to Act of Congress, in the year 1851, by 
 EDWARD LIVERMORE, 
 In the Clerk's Office of the District Court of the District of Massachusetts. 
 
 Stereotyped by 
 HOB ART & ROB BINS; 
 
 NSW ENGLAND TYPE AND 8TERE0TYPS FCUNDBRT, 
 BOSTON. 
 
 ■ 
 
PIG. I. 
 See Page 116. 
 
fl G.D 
 See Pa&e ne 
 
PIC. V 
 See Page i is 
 
no. vi 
 
 See Pag;e us 
 
PREFACE. 
 
 In preparing this treatise on Architecture, the author has aimed to fur- 
 nish a work suited to the wants of the carpenter. He has long felt the 
 necessity of such a work, and hoped that some one better qualified than 
 himself would have supplied the deficiency ; but, as no one has attempted 
 this task, the author considers it a duty which he owes to his fellow-labor- 
 ers, to offer them the following treatise. 
 
 It is not intended, in this work, to enter minutely into the principles of 
 architecture, for this would extend it to several volumes, and subject those 
 for whom it is mainly designed to unnecessary expense. The author has 
 endeavored, however, to combine, in as brief and concise a manner as 
 possible, all that is absolutely necessary for the student who aims at a 
 practical knowledge of carpentry, and not at finished classical attainments 
 in the study of architecture, either as a science or an art. And he flatters 
 himself that he has done this in a manner so clear and intelligible, that a 
 knowledge of this branch of science may be acquired by the assiduous 
 and careful student, without the assistance of an instructor. 
 
 The peculiar advantages of this work are its simplicity, its singular 
 adaptedness to the wants of the carpenter, and its freedom from technical- 
 ities, which are so abundant in many treatises of this kind. A few tech- 
 nical words, however, have been admitted, of necessity, because the same 
 idea could not be so well expressed without a tedious circumlocution ; 
 but these terms are fully explained in a Glossary which is appended. 
 
 In order that the learner may be furnished with some data on which to 
 found his architectural knowledge, who has not the time or the means to 
 examine more extensive works, we have given a short history of the origin 
 of architecture, with a brief account of its three principal styles, namely, 
 Egyptian, Grecian, and Roman ; also, a description of the five orders, — 
 
PREFACE. 
 
 the Tuscan, Doric, Ionic, Corinthian, and Composite. By the aid of 
 this cursory view, he will be enabled to form an idea of the grandeur and 
 magnificence of ancient architecture, and the extent to which a cultivation 
 of the art was carried before the overthrow of the Grecian cities and the 
 downfall of the Roman Empire. He must not, however, deceive himself 
 by supposing that, when he has acquired all the principles contained in this 
 little treatise, he has become master of the whole subject of architecture ; 
 for it is one to which the brightest intellect and the most powerful talents 
 might be devoted to a declining old age ; and then the individual would 
 exclaim, like the celebrated Newton, "Alas ! I have gathered only a few 
 pebbles on the shore of the great ocean of knowledge." 
 
 As the student is supposed to have some knowledge of the elements of 
 mathematics, the author has not thought proper to admit anything of this 
 character into the work, with the exception of a few elementary principles 
 of Geometry. 
 
 To relieve the carpenter from tedious numerical calculations, several 
 valuable tables are annexed. 
 
 It was the design of the author to prepare a treatise adapted expressly 
 to the actual wants of the carpenter, which he, having had many years' 
 experience in practical carpentry, has known and felt ; and if he shall 
 have succeeded, in offering the following work, it will not be labor lost, 
 and his object will be obtained. 
 
 While preparing this volume, we have been prevented from attending 
 so closely as we could have wished to the revision of our manuscript, 
 and it is possible that a few errors may have crept in from an oversight in 
 the proof. We trust, however, that the book will be found to be as free 
 from inaccuracies as any of its size and character. 
 
 WILLIAM BROWN. 
 
 Lowell, Mass., 1847. 
 
ELEMENTS OF ARCHITECTURE. 
 
 PKACTICAL GEOMETRY. 
 Plate I. 
 
 Fig. 1. — An equilateral triangle, which has three equal sides and equal 
 angles. 
 
 Fig. 2. — A triangle with unequal sides, called a scalene triangle. 
 
 To describe the figure, the three sides being given : — 
 
 Let ab be the longest side, AB ; then, take the length of ad in the 
 dividers, and, with one foot on A, draw the arc at D. Proceed in the 
 same manner with the length bd ; and, with one foot of the dividers in B, 
 make the curve at D ; through the point of intersection, draw the lines 
 AD, BD, and the figure is formed. 
 
 The equilateral triangle is formed in the same way. 
 
 Fig. 3. — A rhomboid, or parallelogram, whose opposite sides are equal 
 and parallel. 
 
 Fig. 4. — A rhombus, having four equal sides, with two acute and two 
 obtuse angles. 
 
 Fig. 5. — An obtuse angle, or one which contains more than ninety 
 degrees. 
 
 Fig. 6. — An acute angle, or one which contains less than ninety 
 degrees. 
 
 Fig. 7. — A right angle, or one which contains just ninety degrees. 
 To raise a perpendicular to a given line : — 
 
 Let AB be the given line, and D the centre, making AD equal to 
 DB ; then, open the dividers the distance of AB, and intersect the curve 
 lines at C. Through the points C and D, draw the straight line CD, 
 and the work is done. 
 
 Note. — By the term perpendicular it is understood, that any line cut- 
 ting another line at right angles is perpendicular to that line, let it have 
 what inclination it may. Horizontal means parallel to the horizon. 
 
 Fig. 8. — A circle. All circles are supposed to be divided into 360 
 equal parts, called degrees. 
 
8 
 
 ELEMENTS OP ARCHITECTURE. 
 
 The distance from the centre of a circle to the circumference, is called 
 its radius, — plural radii. The chord and arc of a circle will be under- 
 stood by a reference to the figure. 
 
 Note. — A circle, strictly speaking, is the space included within its 
 circumference. 
 
 Fig. 9. — A method of measuring any rectilinear figure. 
 
 ILetABCDE be the given figure; divide it into the three triangles, 
 ABC, ACD, and ADE, by drawing the lines AC, AD ; then, draw EF 
 perpendicular to AD ; DH to AC ; and BG to AC. 
 
 Multiply AD by EF, and divide the product by 2 ; the quotient will 
 be the area of the triangle ADE. 
 
 Proceed in the same way with all the triangles, and the sum of the 
 several areas will be the area of the figure required. 
 
 Fig. 10. — A method of inscribing a circle within a triangle. 
 
 Let ABC be the given triangle. At the angle A, make Aa equal to 
 Ab; at the angle B, make Ba equal to Bp; at the angle C, make Ce 
 equal to Cf ; then bisect ab, ap, and cf in their centres c, d, and o; draw 
 lines from the angles A, B, C, through the centres c, d, o, till they inter- 
 sect each other, and the point of intersection will be the centre of the 
 circle. 
 
 Fig. 11. — An easy method of ascertaining the area of a circle. 
 
 Describe a circle of any radius. Let the given radius be AD; then, 
 make AB equal to the circumference of the circle, and draw the line BD, 
 which forms a right angled triangle, ABD. Multiply AD by AB, and 
 divide their product by 2 ; the quotient will be the area of the circle. 
 
 A different method of obtaining the area of a circle will be given in 
 another part of the work. 
 
 Fig. 12. — A manner of describing an ellipse by ordinates, the length 
 and breadth being given. 
 
 Let AC and BD be the length and breadth required. With a radius 
 equal to AE in the dividers, and one foot in E, describe the semicircle 
 AFC. Divide AFC into any number of equal parts, and draw lines from 
 the points of division at right angles with AEC, as at FED. Then, draw 
 BG parallel to AC, and produce the line GE. Make ab, at BE, equal to 
 ab at AG ; and so of all the rest, as at cd, cd. Trace a curve line 
 through the points where the straight lines cut each other, and the ellipsis 
 will be formed. 
 
 Fig. 13. — A method of constructing an equilateral triangle in a given 
 circle. 
 
ELEMENTS OP ARCHITECTURE. 
 
 9 
 
 Let Jig be the radius of the circle, and g the centre. 
 
 With one foot of the dividers on A, describe the arc cgd ; and from 
 the points where the arc cuts the circumference, draw one side of the 
 equilateral triangle. The other sides are drawn according to fig. 2. 
 
 Fig. 14. — Two parallel right lines, AB and CD. 
 
 Parallel lines are always equidistant, whether straight or curved. 
 2 
 
Plate II. 
 
 Fig. 1. — A Roman arch, which is a semicircle. 
 
 Fig. 2. — A Saxon arch, in the form of a semicircle, the centre of which 
 falls below the springing of the arch. 
 
 Fig. 3. — The lancet Gothic arch of the first period of Gothic architec- 
 ture. It " assumes the outlines of the lancet, or bay-leaf." 
 
 The form is simple, and will be readily understood by an examination 
 of the figure. 
 
 Fig. 4. — An equilateral arch, which will also be easily comprehended 
 by inspection. This is the arch of the second period of Gothic architec- 
 ture, and is described from abutments of the arch about an equilateral 
 triangle. 
 
 Fig, 5. — A depressed Gothic arch, described from centres on the 
 spring-line within the arch. 
 
 Fig. 6. — A Gothic pointed arch, described from a given height and 
 given width. 
 
 Fig. 7. — A Turkish ogee arch, formed in the mosques of Constanti- 
 nople. 
 
 Fig. 8. — A Tudor Gothic arch, which came into use during the reign 
 of that family. 
 
 Fig. 9. — A semi-ellipsis, found in the Norman examples. 
 The mode of forming the arches mentioned above, will be understood 
 by an examination of the plate, without any further description. 
 
 10 
 
4# 
 
Plate III. 
 
 Fig. 1. — A method of drawing a parabolic arch, or curve. 
 
 Let AB be the height required, and AD the length or span. Divide 
 AD into any number of equal parts with a as a centre ; and, also, divide 
 AB and CD each into one half the same number of parts. Draw lines 
 from the point a, in the line BC, to intersect with the points of division in 
 AB and CD. Raise perpendiculars from the points of division in AD, to 
 intersect respectively the oblique lines above. Then, trace a curve line 
 through these points of intersection, and the figure is completed. 
 
 Fig. 2. — A method of describing a semi-circular arch by intersecting 
 lines. Divide the height into as many parts as may be convenient, and 
 half the length into the same number of parts ; then draw intersecting 
 lines, as seen in the figure, and trace a curve line through the points of 
 intersection. 
 
 Fig. 3. — A method of describing an elliptical arch by intersecting 
 lines. 
 
 Let AB be the given length, and AE the height, and make ab equal to 
 be. Divide AB into any number of equal parts, and AE into one half the 
 same number of parts. Then draw the intersecting lines, and trace the 
 curve line as represented in the figure. 
 
 Fig. 4. — To divide the Doric column into flutes. 
 
 The D oric column should be divided into twenty parts or flutes. — See 
 the figure. Divide one of the parts into five equal divisions, and make 
 AC and CB equal. Draw lines from A through the points 1 and 4, to c 
 and 6, and divide the line oA into five equal parts. With one foot of the 
 dividers at 1, on the line oA, and the other at B, sweep from B to inter- 
 sect the line Aod. Proceed in the same manner with the opposite side ; 
 then, with Ad for a radius, one foot of the dividers being on A, describe 
 the curve line dc, and the flute is completed. 
 
 Fig. 5. — A section of the Ionic column. The fluting of this column 
 is somewhat different from the other. 
 
 The shaft of the column is divided into twenty-four parts, and each of 
 these into five other parts. 
 
 One of the five parts being taken for the fillet, the four remaining parts 
 
 n 
 
12 
 
 ELEMENTS OF ARCHITECTURE. 
 
 will be the flute. The apex at A is found with a radius of three parts, 
 one foot of the dividers being at the points 2 and 4. 
 
 The first, or side curve, is described by a radius of one part ; the 
 remainder by the radius Ao. 
 
 Fig. 6. — The most simple method of describing an ellipsis. 
 
 Let AB be the length required. Construct two circles which shall 
 extend the whole distance from A to B ; then, with the radius so, de- 
 scribe the equilateral triangle sox and sod, and draw xs to i, xo to/, ds to 
 c, and do to b ; also, with the radii SB and oA, describe the arcs CBi 
 and bAf. Then, with the radii xi and dc, complete the ellipse, by form- 
 ing the curve lines be and fi. 
 
GRECIAN MOULDINGS 
 
 PLT. IV. 
 
 A'/f/./. /''u/.B. 
 
Plate IV. 
 
 On this plate are exhibited four different mouldings of Grecian form 
 and use, developed from the conic sections. 
 
 Fig. 1. — A correct mode of describing a hyperbola, the Grecian ovolo, 
 or echinus. 
 
 Let CD be the height, and AB the projection. Make the quirk 5 
 equal to £ of CD. Draw AE at right angles with CD, equal to twice the 
 projection of the moulding ; then, divide AD and DF, each into an equal 
 number of parts. From the points of division in AD, draw lines to the 
 apex E; and, also, from the points of division in DF, draw lines to B. 
 Where these lines intersect each other, trace the curve line BD, and the 
 figure is completed. 
 
 Fig. 2. — A moulding of the same character, but denominated parabola. 
 This, also, will be understood without a separate description. 
 
 Fig. 3. — The scotia of the base of a column. To describe this, let 
 AF and BG be parallel. Make DE equal CD, and divide BD into any 
 number of equal parts ; divide, also, AB, CD, DE, DG, and GF into the 
 same number of parts. Then proceed to draw the intersecting lines, and 
 trace the curve as shown in the figure. 
 
 Fig. 4. — The cyma-recta, or crowning moulding of the Grecian cor 
 nice. 
 
 To describe this moulding, let AB be the width, and CD the height. 
 Divide it in the centre, both vertically and horizontally, by the lines AB 
 and CD; then divide AE, BE, DE, and CE, each into any equal number 
 of parts. Draw right lines through these points of division, and trace the 
 curve as before. 
 
 13 
 
Second Plate IV. 
 
 The number of subordinate parts of an order of architecture is eight. 
 The parts are denominated mouldings, and are common to all the 
 orders. 
 
 1. The quarter round, echinus, or ovolo. This is formed by a quad- 
 rant, or quarter circle, and is of the Roman character. We will here 
 observe, that the Grecian mouldings were all formed from the conic 
 sections ; consequently, no moulding forms any part of a circle. This 
 remark will apply to all the Grecian examples, and it will be unnecessary 
 to repeat it in the explanation of the other mouldings. It is usually found 
 beneath the abacus of capitals, and is commonly placed between the den- 
 tils and corona in the Corinthian cornice. It should not be used in 
 situations below the level of the eye. 
 
 2. The ogee, reversed cyma, or talon, appears, like the echinus, to be a 
 moulding suitable for the support of another. 
 
 3. The cyma-recta, cyma, or cymatium, appears well designed for a 
 covering to the other members. It is properly used for crowning mem- 
 bers, though it is frequently found in the bed mouldings beneath the 
 corona. 
 
 4). The torus, like the astragal, is formed like a rope, and appears to 
 be intended to support the part to which it belongs. 
 
 5. The scotia, which is placed between the fillets that accompany the 
 tori, is commonly below the eye. It is used to separate the tori, to 
 strengthen the effect of the other mouldings, and to give variety to the 
 base. 
 
 6. The cavetto, mouth, or hollow, is a quarter round, like the ovolo 
 inverted, and generally used in cornices. 
 
 7. The astragal is a small torus. It is sometimes called a bead. 
 
 8. The fillet, listel, or annulet, is used in every situation, and at any 
 height. It is chiefly used to separate one moulding from another. 
 
 The above described mouldings are of the Roman character, and were 
 usually ornamented, more or less, by sculpture. It requires good judg- 
 ment and skill to ornament an assemblage of mouldings, to give an easy 
 repose and avoid confusion. 
 
 14 
 
ELEMENTARY FIGURES. 
 
Plate V. 
 
 Fig. 1. — A method of developing a raking moulding from a given 
 horizontal moulding. Let AB be the given moulding. Divide it, on the 
 curve, into as many parts as necessary, equal or unequal, and draw 
 parallel lines aa, bb, cc, and dd, at 1 ; then, transfer those distances to 
 that part of the figure marked 2, and draw the parallel lines aa, bb, cc, 
 and dd. Trace the curve line op, and the outline is completed. 
 
 After getting the inclination of the roof, RS, proceed in the same man- 
 ner with every kind of moulding, and there will be no difficulty in obtain- 
 ing a moulding which will perfectly correspond with any other in all its 
 parts. 
 
 Fig. 2. — A method of forming an eight-square, or octagon, from a 
 given square. 
 
 To describe this figure, let JIB CD be the given square. 
 
 With AE for a radius, and one foot of the dividers on A, form the 
 curve ab; then, with the same radius, and one foot of the dividers on B, 
 C, and D, severally, make the three remaining curves. 
 
 Then, draw be, which will be equal to be; and so on for all the other 
 sides. The construction of this figure will be evident, without any fur- 
 ther demonstration. 
 
 Fig. 3. — A mode of constructing an eight-square, one side being 
 given. 
 
 Let AB be the given side. With a radius AB, and one foot of the 
 dividers on A, describe the semicircle BOP. Divide BOP into eight 
 equal parts, and draw lines, cutting BOP at 2, 3, 4, 5, 6, 7, and 8, to 
 any indefinite length. Then, with AB in the dividers, step round the 
 figure AbcdefghA, and the octagon is completed. 
 
 To draw a figure with any number of sides, proceed in the same man- 
 ner, remembering to take more or less of the divisions, according to the 
 number in the figure required to be described. 
 
 15 
 
ORIGIN OF ARCHITECTURE. 
 
 The natural wants of the human family, and their necessary protection 
 from the severity of the seasons, gave birth to architecture. From the 
 limited account that is left us^ little is known of its infancy and subse- 
 quent advancement ; but enough to show that it kept pace with the pro- 
 gress of civilization, and that, in proportion as peace was secured, and 
 government established, architecture became no less an object of atten- 
 tion than painting and sculpture. It was another means of transmitting 
 to posterity the degree of civilization to which the nations of antiquity 
 attained, The time that has elapsed since those nations, among whom 
 the art was first introduced and practised, have existed, prevents our 
 examining, with nicety, the peculiarities of their dwellings. We find, 
 however, in the architecture of the ancients, the characteristics of three 
 distinct modes of life, which are discernible even at the present day. 
 The three classes to which we refer, and which, probably, were the only 
 classes into which society resolved itself, were hunters, shepherds, and 
 husbandmen. The first class, being mostly in the chase, sought no better 
 habitations than nature provided for her children ; namely, the caverns 
 and holes of the rocks. The second, being compelled to wander from 
 place to place, in order to procure food for their flocks, and possessing 
 more refinement than the former, furnished themselves with tents. These 
 were well suited to their purposes, because they were easy of transporta- 
 tion and sufficiently protected them from the inclemency of the weather. 
 The third class pursued husbandry, and, therefore, required dwellings 
 more adapted to the preservation of their productions. Hence, arose low 
 huts, or wigwams, which, perhaps, were not very unlike those of the 
 aborigines of our own country. 
 
 The materials which were used in the erection of the buildings of 
 ancient date, were those most easy of access, and such as the nature 
 of the place and the climate afforded. For this reason, reeds, canes, the 
 leaves, bark and boughs of trees were employed. After some knowl- 
 edge of the metals was obtained, more substantial materials began to be 
 used ; and, in the course of time, articles of an inflammable nature came 
 into disuse, especially in the walls of their public buildings. 
 
 Bricks, without doubt, were first employed, having previously been 
 
 16 
 
ELEMENTS OP ARCHITECTURE. 
 
 17 
 
 moulded into form and dried in the sun. Then stones ; and afterwards, as 
 man became more civilized and learning increased, marble was princi- 
 pally used in the construction of their temples and other splendid edifices. 
 
 The construction of the buildings of antiquity needed little skill, and 
 were as simple as the materials of which they were formed. The people 
 possessing less refinement, and being more easily satisfied than those of 
 modern times, had fewer wants to gratify ; therefore, they were contented 
 with whatever afforded them a shelter. Accordingly, a few timbers 
 placed above each other, in the form of a square, fastened together at 
 their angles, and covered over with the branches of trees, were all they 
 required. 
 
 The architecture of the different countries of the world might with 
 propriety be said to be as different as the people, climate, soil, and pro- 
 ductions of the countries themselves ; and it would not be improper to 
 give it a name derived from the country which produced it. 
 
 For example ; the architecture of Babylon, the Babylonian architec- 
 ture ; that of China, the Chinese, &c. But the architecture to which we 
 wish briefly to direct the attention of the reader is that of the Egyptians, 
 to which the present orders of architecture are distinctly traceable. 
 3 
 
EGYPTIAN ARCHITECTURE. 
 
 There were several characteristic features which strikingly marked 
 the architecture of Egypt, and distinguished it from that of any other 
 country ; namely, solidity, strength, and durability. 
 
 The temples were built in the pyramidic form, and generally without 
 any roof. The walls inclined inward and enclosed large columns, vari- 
 ously arranged. The most splendid and ornate figures of men, beasts, 
 and birds were wrought in their porticos, architraves, and friezes, which 
 clearly evince a great degree of excellence in sculpture. The entrance 
 to their temples was ornamented with colossal statues, sphynxes, obelisks, 
 &c, and the door-way was surmounted with a winged globe. 
 
 A uniformity exists in all the Egyptian temples, and other edifices, 
 which is peculiarly striking ; and the repetition of the ornaments was 
 carried to the highest pitch of endurance. The greatest irregularity 
 which has been discovered is that found in the island of Philoe ; and 
 this is owing, probably, to its peculiar locality. Among the Egyp- 
 tians, the arch was seldom if ever used. 
 
 The absence of it arose, doubtless, from the desire to preserve a uniform- 
 ity in the structure of their buildings, or from the want of the requisite 
 knowledge of repairing it when injured. But it is a matter of doubt, 
 whether they possessed any idea of the arch at all. 
 
 Its place was supplied by heavy lintils, resting upon large, massy 
 pillars. 
 
 The Egyptian column, so far as form was concerned, was either circu- 
 lar, polygonal, or square. Of the first kind, the shaft was sometimes 
 nearly plain, but often highly adorned with hieroglyphics. 
 
 Sometimes it represented reeds, bound together at short intervals ; and, 
 again, an assemblage of reeds encircled by bands, resembling the hoops 
 of a cask. 
 
 Square columns are often found in the ruins of many Egyptian temples, 
 cut from solid stone. 
 
 Instead of regular columns, like those we have mentioned above, colos- 
 sal statues were frequently used to support the superincumbent weight, 
 similar, in some respects, to the Grecian Caryatides. 
 
 18 
 
ELEMENTS OF ARCHITECTURE. 
 
 19 
 
 The Egyptians displayed as great a variety in the use of their capitals 
 as in their columns. 
 
 Of these capitals, we notice three, which may be called, according to a 
 distinguished architect, the square, the vase-formed, and the swelled. 
 
 The first, in reality, was nothing more than an abacus ; but it was 
 often so high as to admit the sculpture of a human head. The second, 
 as its name implies, resembled a vase ; the third curved out in the cen- 
 tre ; and each of the three was adorned with the most excellent work- 
 manship. 
 
 The entablature of the Egyptians, though unlike that in the architec 
 ture of Greece and Rome, was very seldom subdivided, or separated into 
 frieze, architrave, and cornice. The pilaster, like the arch, was also 
 wanting in the architecture of Egypt ; and windows were not often used. 
 When they were used, they were of the form of a parallelogram, and little 
 ornamented. 
 
 The decorations may be considered as belonging to two classes ; 
 namely, — those which are alien to the buildings themselves, such as 
 obelisks and statues, and those which are connected with them, and 
 form, as it were, a part, — such as carving on the entablature, bas- 
 reliefs, &c. The first class of these ornaments is distinguished for the 
 size and durability of the materials which compose it. 
 
 The statues of colossal proportions, usually in a sitting posture, are 
 detached from the exterior of the temples, and rest on simple pedestals. 
 
 Painting was only another method of ornamenting ; but the taste 
 exhibited here, as in coloring or drawing, was not better than that dis- 
 played in their sculpture. 
 
 The leaf of the palm-tree, and plants of almost every kind which the 
 country produced, were carved in the Egyptian capitals. On the entab- 
 lature and other parts we occasionally find animals of nearly every 
 description, elegantly sculptured ; and there is scarcely a building, of any 
 size, where the winged globe is not to be found. The object of the 
 globe, and of all the decorations on the Egyptian temples, was to typify 
 the divine attributes of the Deity, of whom the people had but an imper- 
 fect idea. 
 
 The exploits of their kings, and large portions of history, were embod- 
 ied in the sculpture on the walls. 
 
 The proportion which is necessary in the different parts of a building 
 in relation to the whole, is not so discernible in the Egyptian architec- 
 
20 
 
 ELEMENTS OF ARCHITECTURE. 
 
 tare as in the Grecian. This disproportion is most distinctly noticed in 
 pyramids and temples. 
 
 The private buildings, though less adorned than the magnificent struc- 
 tures which have withstood the ravages of time, are, nevertheless, not 
 destitute of ornament. They varied, of course, in their locality and 
 size. 
 
 From this mode of architecture, as we have intimated above, all the 
 orders, namely, the Tuscan, Doric, Ionic, Corinthian, and Composite, 
 can be easily traced. 
 
 A description of these orders will be given in the succeeding pages. 
 
GRECIAN ARCHITECTURE. 
 
 Temples were the principal structures erected by the Grecians. In 
 order to give the student some idea of the number, magnitude, and distin- 
 guishing characteristics of those elegantly enriched and highly orna- 
 mented edifices, which were the adornment of Athens and other Grecian 
 cities, we will mention the names of a few of the principal ones. 
 
 The chief of the Grecian-Doric examples are, the Parthenon, Temple 
 of Theseus, and the Portico of Augustus, at Athens ; the Enneastyle, 
 Hexastyle, and Hypesthral Temples, at Psestum ; the Temple of Juno 
 Lucina, and Concord, at Agrigentum ; the Temple of Minerva at Su- 
 nium ; the Temple of Apollo, and the Portico of Philip of Macedon, in 
 the isle of Delos ; the Temple of Jupiter Panhellenius, at. Egina ; the 
 Temple of Juno, at Samos ; the Temple of Bacchus, at Teos ; of Apollo 
 Didymceus, at Miletus, and of Minerva Polias, at Priene. We might name 
 others, did our limits permit, but these are sufficient for our present pur- 
 pose. The last four of these examples are of the Ionic order. The first 
 two in the list, namely, the Parthenon and Temple of Theseus, are the 
 most splendid examples of the Grecian-Doric order. 
 
 From the examples here given, we may readily infer that a taste for 
 elegance and grandeur, with simplicity of arrangement and ornament of 
 parts, was cultivated to an extent never excelled, and seldom equalled. 
 This is not surprising, when we recollect that those massive edifices were 
 erected by the joint expenditure of all the Grecian States, and supported 
 out of immense revenues and munificent donations. 
 
 The influence of the principles of Grecian architecture stretched along 
 the coast of Asia Minor, entered Egypt, and, probably, followed the con- 
 quest of Alexander into India itself on the East, and to the country of 
 Italy and the Sicilian lands on the West. 
 
 In the article on Egyptian architecture, we stated that the temples 
 and public edifices of Egypt were decorated with figures of men, beasts, 
 birds, &c, carved upon the frieze, architrave, and walls, and in numerous 
 other places. The same is true in the Grecian architecture ; but the 
 temples were not the only buildings in Greece that were enriched by 
 sculpture and art. Many of the monuments, theatres, and tombs were 
 magnificently adorned, as were, also, their fora and stadia. 
 
 21 
 
22 
 
 ELEMENTS OF ARCHITECTURE. 
 
 The ancient temples have been divided into seven classes , viz. — 1, in 
 antis ; 2, prostylos ; 3, amphiprostylos ; 4, peripteral ; 5, dipteral ; 6, 
 pseudo-dipteral ; 7, hypsethral. 
 
 For a knowledge of these species, the student is referred to Stuart's 
 Antiquities, where he will find an example of each, and its description. 
 
 Besides the names we have given above, the temples had other names, 
 depending upon the distance between their columns. The intervening 
 space is called intercolumniation, and is measured by the lower diameter 
 of the shaft. When it is one diameter and a half, it is called pycnostyle ; 
 when two, systyle ; when two and one fourth, eustyle ; when three and 
 one fourth, diastyle ; and when four, arseostyle. The eustyle was gen- 
 erally practised by the ancients, and is in use at the present day. 
 
 In hypaethral temples, that is, temples whose cells are not covered, 
 columns were sometimes placed within the walls, on the four sides ; but, 
 frequently, although within the walls, they were only on the long sides, 
 and took the name peristyle. 
 
 Occasionally, the intercolumniation was not regulated by the diameter, 
 but by the triglyphs ; and, if only one triglyph intervened, the mode 
 was styled monotriglyph. 
 
 This mode was more frequently employed than any other in Grecian 
 architecture. 
 
 In the Grecian temples, the number of columns on each flank was one 
 more than twice the number on the front ; that is, if there were six 
 columns in front, there would be thirteen on the sides, reckoning the 
 column at the angle in both ranges. The exterior row of columns, with 
 the entablature, standing upon a platform ascended by three steps, entirely 
 surrounded the edifice. The pediments, frieze, and walls beneath the 
 portico, were often wrought with the most excellent sculpture. 
 
 Writers on the subject of architecture have so universally considered 
 the hut as a symbol of columnar architecture, which is identical with the 
 Grecian, that, although we have not satisfied ourself in regard to the cor- 
 rectness of the theory, we have not ventured to substitute a new one. 
 
 The posts which were driven into the ground to support the roof gave 
 origin, doubtless, to the detached Grecian column. The fiutings, or 
 grooves sunk into the shaft of the column, were said to be made for the 
 purpose of affording a place for the spears of persons entering the tem- 
 ples. It is also said that the " folds of a matronal garment" led to their 
 invention. This, however, does not appear to account satisfactorily for 
 their origin, since we are led to suppose that the ancients were acquainted 
 
ELEMENTS OF ARCHITECTURE. 
 
 23 
 
 with the fact, that light striking upon a curved surface produces a much 
 greater effect than it does when it falls upon a plain surface. But from 
 whatever source they originated, one thing is certain, they were invented 
 when architecture was in its infancy, and give an additional beauty to the 
 column. 
 
 As the ancients wished to build temples with columns, and being igno- 
 rant of the proportions necessary to support the superincumbent weight, 
 they resorted to the expedient of measuring the height of a man, and 
 having found his height to be six times the length of his foot, they made 
 application of this fact in the erection of the Doric column, giving it. a 
 height equal to six times its diameter. In the temple of Diana, which 
 was built afterwards, on similar principles, they varied the proportion, 
 and made the height of the column eight times the diameter, instead of 
 six, in order to give it a more lofty appearance. At a later period, the 
 Doric column was made seven diameters high, and the Ionic eight and a 
 half. 
 
 There are several points of difference existing between the Grecian and 
 Roman styles of architecture, which it may be well to state in this con- 
 nection. The contour of a moulding, in the former style of architecture, 
 was formed from the conic sections ; and the contour of a moulding, in 
 the latter style, from circles. The dome and arches were found among 
 the Romans, but not among the Grecians ; for the columnar style of archi- 
 tecture used by them rendered the arch unnecessary. 
 
 The Grecian architects of modern times, however, have endeavored to 
 introduce the Roman arch, with the Greek form of architecture ; but, in 
 every case, the attempt has proved unsuccessful. 
 
ROMAN ARCHITECTURE. 
 
 It cannot properly be said, that the Romans possessed any original 
 architecture ; what they had was little else than a modification of that of 
 Greece. 
 
 They were instructed in this science by the Etrurians, a people of 
 Italy, during the reign of the Tarquins. At this time, their edifices were 
 constructed more on fixed principles, and received considerable enrich- 
 ment by means of sculpture. 
 
 The first Tarquin, who was a native of Etruria, after having gained 
 several victories, enjoyed a triumph ; and the wealth he obtained from the 
 conquered cities he appropriated to the erection of magnificent temples 
 and halls of justice. During later successful reigns, great additions were 
 made to the knowledge of architecture possessed by the Romans, and, 
 also, many modifications in the construction of their public edifices, and 
 private buildings. We shall not, however, attempt to trace all the differ- 
 ent changes and alterations which are to be found in the progress of 
 Roman architecture, for that would extend this chapter very far beyond 
 suitable limits, and encroach upon ground that does not properly belong 
 to a work of this description. 
 
 Architecture was but partially understood by the Romans, until their 
 victorious arms had made Greece a Roman province, and then it received 
 a new, if not its first impulse ; but it was not till after a succession of 
 victories, that architecture reached its full height, and made Rome, the 
 Eternal City, what it was. 
 
 Statues of the most elegant, sculpture, and all the luxury of ornament 
 which the age and country of Greece afforded, poured into the Roman 
 villas, which, at this time, were of considerable extent. No decoration 
 which Greek art could furnish was unobserved in the erection of Roman 
 edifices. 
 
 The temples of the Romans generally resembled their Greek original ; 
 but, occasionally, there was considerable departure from the Grecian 
 style. These deviations, however, were very few, and, in some respects, 
 little calculated to become a favorite, since they did not always produce a 
 happy effect. The most splendid temple of the Corinthian order that ever 
 existed in Rome, and probably in the world, was that of Jupiter Stator, 
 
 24 
 
ELEMENTS OF ARCHITECTURE. 
 
 25 
 
 in the Campo Vaccino. Recent discoveries have shown that it was an 
 octastyle peripteral temple, having twelve columns on the side ; and the 
 depth of the cell contained eight columns, with their intercolumniations. 
 The capitol, both in design and ornament, surpassed anything of the kind 
 that had ever been executed before. 
 
 Not far from the temple just described, is the Temple of Jupiter 
 Tonans, of the Corinthian order. This was a hexastyle peripteral, and 
 much inferior to the Temple of Jupiter Stator ; this, however, was not 
 without beauty, although, in the cornice, it was very deficient, in com- 
 parison with the one just named. 
 
 The Temple of Mars Ultor, also built by Augustus, was a fine exam- 
 ple of the Corinthian order. Notwithstanding the temples we have men- 
 tioned are all of the Corinthian order, we do not intend to convey the idea 
 that the Romans made use of none of the other orders. The whole of the 
 five orders were generally employed by them, but they underwent several 
 alterations in their hands. 
 
 4 
 
THE ORDERS OF ARCHITECTURE, 
 
 An order of architecture is a system or assemblage of parts subject to 
 certain uniform established proportions and divisions. The proportions 
 are regulated by the several services or offices which they have to perform, 
 requiring strength. An order may be considered the " genus," of which 
 there are five species, namely, the Tuscan, Doric, Ionic, Corinthian, and 
 Composite orders. 
 
 The grand divisions of an order consist of a column and entablature ; 
 these are subdivided into assemblages, as follows ; viz., the base, shaft, 
 capital, architrave, frieze, and cornice. 
 
 The Grecians had three orders of temple architecture; namely, the 
 Doric, Ionic, and Corinthian. The Grecian-Doric orders lay claim to 
 the greatest antiquity, and had their origin in Asia. They were invented 
 or composed by the Asiatic Dorians, who, without doubt, borrowed their 
 ideas from the Egyptians, with whom they had intercourse. 
 
 THE TUSCAN ORDER. 
 
 We begin our description of the orders with the Tuscan, which is 
 considered the most massive. 
 
 This order was invented in Etruria, a country of Italy, now called 
 Tuscany ; hence, the Etruscan or Tuscan order. "It is formed upon 
 the model of the ancient Doric, with such alterations as suggested them- 
 selves to the architects of those days. The chief of these consisted in the 
 alteration of the proportions of the shaft, and in making it plainer, and 
 with a base. It was never fluted, and the column contained seven of its 
 diameters in height." 
 
 " It is generally known as the Vitruvian Tuscan." 
 
 ROMAN DORIC ORDER. 
 
 The Doric order was originally formed by the Dorians, but it was so 
 modified by the Romans as to differ in appearance from the same order 
 
 26 
 
ELEMENTS OF ARCHITECTURE. 
 
 21 
 
 employed by the Grecians. In some edifices the shaft was fluted to nearly 
 two thirds its height, with twenty aris flutes, the lower third being left 
 plain ; in others the whole length of the shaft was fluted. The column 
 contains eight of its diameters in height, with mouldings at the base. 
 
 ROMAN IONIC ORDER. 
 
 The Ionic order has less sublimity than the Doric, but more elegance. 
 Its capital is better enriched with ornaments. It is supposed this order 
 was founded upon the imitation of the female form, and that the propor- 
 tions of the Doric order were obtained from those of the male form. 
 
 The base of the column was designed to represent a shoe ; and the 
 capital had a curling ornament, called a volute, said to resemble the 
 tresses of the hair, falling to the right and left. 
 
 The column is nine of its diameters in height, and has flutes and fillets. 
 
 ROMAN CORINTHIAN ORDER. 
 
 The Corinthian column is slenderer and more adorned than either the 
 Doric or Ionic, and its elegant capital adds greatly to its appearance. 
 
 The column has fillets and flutes, and its altitude consists of ten of its 
 diameters. 
 
 ROMAN COMPOSITE ORDER. 
 
 The most ornamented of the five orders was the Composite. It was 
 composed from the Corinthian and Ionic, and was much employed in the 
 public buildings of the Roman capital in the reign of Titus. This 
 column also has flutes and fillets, and its altitude is the same as the 
 Corinthian. The frieze is adorned with excellent sculpture. 
 
 In concluding our observations on these orders, we quote the following 
 language: — 
 
 « According to the rules of true taste, these orders ought never either 
 to be blended or found in different proportions on the same story ; nor 
 ought the same order, strictly speaking, to be introduced in two stories of 
 
28 
 
 ELEMENTS OF ARCHITECTURE. 
 
 the same building. And where two or more orders are employed in an 
 edifice, the heaviest should occupy the base, surmounted by the others, 
 according to their successive lightness, which contributes the greatest 
 elegance of style, and gives that harmony to the general design, for 
 which the ancients were so particularly distinguished." 
 
TUSCAN ORDER. 
 
 Plate VI. 
 
 We have here given an example suitable for practice, as approved by 
 Benjamin ; and, also, for the purpose of showing how to draw and adapt 
 this order to any required position, the following 
 
 RULE. 
 
 First ascertain the required height, and divide it into nine equal parts ; 
 take one of these parts for the diameter of the column just above the base ; 
 this is called the diameter. Make the column, including base and capi- 
 tal, seven diameters high, and the entablature, which includes all above 
 the capital of the column, two diameters high. 
 
 To make the subdivisions, minutes, &c. : — 
 
 In the first place, take one diameter and divide it into sixty equal parts. 
 This may be done by dividing the diameter, which in the example is H 
 inches, into five equal parts, each being f of an inch. Then divide one 
 of these parts into twelve equal parts. This is easily done by dividing 
 one eighth of an inch into four parts, or one sixteenth into two parts. 
 
 These divisions, whether large or small, are called minutes. Then, 
 for the height of each member in the order, give the number of minutes 
 marked opposite in the column under if, (height) ; and for the projec- 
 tion, give to each member the number of minutes marked under P, 
 (projection.) These projections are given from the face of the frieze in 
 the entablature, and from the outside of the top and bottom of the shaft 
 of the column. 
 
 This rule will apply to all the orders, with the exception of a varia- 
 tion of diameters in height. The names of the different grand divisions, 
 given in the example of the Doric order, are applicable to the grand 
 divisions of all the orders. 
 
 29 
 
30 
 
 The Frontispiece of this work gives a view of the buildings and extensive 
 grounds of Oread Institute, Worcester, Mass. 
 
 It was founded by Mr. Eli Thayer, in 1849, as a Female University. 
 Located on a lofty eminence, about half a mile north of the City Hall, and 
 commands an excellent view of the city and the adjacent country. The 
 buildings are constructed of dark slate-stone, and covered with stucco. 
 
DORIC TEMPLE. 
 Plate VII. 
 
 On this plate is exhibited an elevation of a Grecian Doric Temple, in 
 order to give the student a correct idea of the position of all its members. 
 Their names are given on Plate 8. 
 
 31 
 
32 
 
 No. 1. 
 
 The front elevation is shown in Fig. No. 1, and is a beautiful design for 
 a house of comparatively small expense. 
 
 The following figure, No. 2, is a plan for the arrangement of a flower- 
 garden. 
 
 No. 2. 
 
PLT. V 
 
 // /' 
 
 I. Meiopa. 
 
 l_ L_ L_ 1_ L_ L 
 
DORIC ORDER. 
 
 Plate VIII. 
 
 This plate exhibits a part of the column and entablature of the Doric 
 Temple on Plate 7. 
 
 This is drawn to the same scale as the Tuscan order, and figured in the 
 same way. 
 
 The grand divisions, namely, shaft of column, capital, architrave, frieze 
 and cornice, are marked at the left of the plate ; and each of these 
 divisions is subdivided into members, the names of which are <riven and 
 their sizes figured in minutes. See the Glossary for the definition of 
 terms used in this work. 
 
 5 33 
 
34 
 
 No. 3. 
 
 The ground-plan of the foregoing elevation is seen in Fig. 3. (a) vesti- 
 bule, (b) lobby, (c) sitting-room, (c) closet, (d) parlor, {d) closet (e) passage 
 under the stairs, W closet, (f) back passage, (o) kitchen (h) back k tchen 
 or wash-room, (s) sink, (t) oven, (u) boiler, (i) coal or wood-house k) bed- 
 room, (l) store-closet, or pantry, (m) milk-room, (m, »,) stone shelves, (n) 
 closet under the stairs. 
 
 No. 4 represents an elegant plan for a summer-house, with rustic columns, 
 around which vines or climbing roses may be trained. 
 
 No. 4. 
 
DORIC DETAILS. 
 
 Plate IX. 
 Fig. 1. — Sections of the cornice, triglyph, &c. 
 
 Fig. 2. — A plancer inverted, also the mutules and triglyphs on a large 
 scale. 
 
 For the figuring of this plate, see Plate 8. 
 The minute on this plate is T V of an inch ; and on Plate 8, 
 Study and close examination will enable the student to understand this 
 order without any further explanation. We do not intend to give a full 
 and minute representation of all the orders, for this work is designed, 
 more particularly, for practical purposes ; but the orders are shown merely 
 to give the learner some general knowledge of them, and to enable him to 
 readily make a proper distinction between them. 
 
 35 
 
36 
 
 No. 5. 
 
 No. 5, as above, represents a side elevation of the same house. 
 The upper floor, as seen in No. 6, may be explained as follows : (n) 
 stair-landing, (o, p, q, r,) bed-rooms, (p) store-closet, (s, t,) also for closets. 
 
 No. 6. 
 
IONIC ORDER. 
 
 Plate X. 
 
 This Order owes its rise to, and took its name from, the Ionians of 
 Asia Minor, who, in their cultivation of architectural taste, introduced 
 into their country the new form which peculiarly distinguishes the Ionic 
 Order, namely, the spiral volute. 
 
 This was the second of the Grecian orders in point of time. The 
 column was, as a general thing, made eight diameters in height, always 
 standing upon a base of mouldings, which differs in the outline in different 
 orders. The shaft of the column usually diminishes about ten minutes. 
 The entablature was made two diameters high ; the column was divided 
 into twenty-four flutes, each separated by a fillet of one part ; the flute 
 consisting of four parts. The capital always maintained the same 
 character, but varied, in form and richness of ornament, in the different 
 examples. 
 
 The capitals of the Temple of Erectheus, at Athens, were highly orna- 
 mented and very beautiful ; while the little Temple on the river Ilissus 
 was very plain ; yet its classical beauty and harmony of parts were never 
 excelled. 
 
 T 
 
38 
 
 M, 7. 
 
 S O 10 BO 30 
 
 , 1 . . — 1 — L 
 
 Elevation for a large farm-house. The design is seen in No. 7, in 
 which all the main parts of the building are raised to the height of two 
 stories. 
 
 The ground-plan is shown in No. 8, as follows : (a) is the vestibule, 
 (b) hall, (c) parlor, (d) sitting-room, (e) dining-room, (f) store-room, (g) 
 stairs, (h) passage, (h, h,) back passage, (i) kitchen, (l) wood-house, (m) 
 milk-room, (n) pantry, (o) closet, (p) closet, (r) closet, (v) kitchen-yard, 
 (t) ash-pit, (s) water-closet. 
 
 No. 8. 
 
IONIC TEMPLE. 
 Plate XI. 
 
 On this plate is represented an Ionic Temple, merely to show the 
 contrast in the different styles of architecture, and to give the student the 
 means of discriminating, at once, between the several orders. This is 
 drawn to the same scale as the Doric Temple, Plate 7. 
 
 39 
 
40 
 
 No. 9. 
 
 No. 9, as above, represents the side elevation of the same house, as seen 
 m front elevation No. 7. 
 
 The upper floor is shown in Fig. No. 10. ( B ) stair-landing, (a, e, p, k,) 
 bed-rooms, (g) principal stairs, (h) passage, (c) dressing-room, or room for 
 various purposes, (g) back stairs, (n) closet, (l) bed-room (i) closet, (h) land- 
 ing of back stairs. 
 
 No. 10. 
 
PLT. XII 
 
IONIC DETAILS. 
 
 Plate XII. 
 
 Shows the volute and a section of the column. A minute here is ^ of 
 an inch The numbers 12, 11, 10, and so on down to 1, are centres. Take 
 12 as a centre and sweep from A to B; with 11 as a centre, sweep from 
 B to C ; and so on, till the volute is completed. 
 
 6 41 
 
42 
 
 No. 11. 
 
 TIMBER VILLA, IN THE GOTHIC STYLE. 
 
 This building is now in process of erection, from the design and under 
 the superintendence of the author, in the city of Worcester, Mass., and 
 designed for the residence of Benjamin Butman, Esq. 
 
 The Fig. No. 12 is a design adapted for a flower-garden. 
 
 No. 12. 
 
CORINTHIAN ORDER. 
 
 Plate XIII. 
 
 The Corinthian was the last order invented by the Greeks. It was 
 seldom employed ih their public edifices ; and how often in their private 
 buildings, it is not easy to determine. After the subjugation of Greece 
 by the Romans, this order became a favorite with the latter, and its 
 beauty greatly enhanced by an addition of new members, and a further 
 embellishment of costly sculpture. 
 
 The fanciful story of Callimachus, which asserts that the acanthus gave 
 origin to the ornament of the Corinthian capital, is too romantic to bear 
 the test of criticism. 
 
 Fine examples of this order must be sought in Rome rather than in 
 Greece. The portico and arch of Hadrian, at Athens, are not to be com- 
 pared to the three columns of the Temple of Jupiter Stator ; and the 
 specimens of Grecian art, which have withstood the hand of time, give 
 less satisfaction to the artist, than those beautiful and elegant structures 
 which were the ornament of Rome. 
 
 On this plate is shown a Grecian example of the arch of Theseus, or 
 Hadrian, at Athens. 
 
 4b 
 
44 
 
 No. 13. 
 
 The above shows the ground-plan of the foregoing elevation, No. 11. The 
 construction of this villa, though simple, is somewhat peculiar. It is framed 
 in the usual manner, with girts one foot eight inches between centres, and 
 sheathed vertically. The sheathing does not exceed ten inches in width, 
 and the joints are covered with battens two and one half inches in width and 
 one and three eighths inches thick, with the two outer corners covered out. 
 The corner-posts, middle girt-beams, and plates, also the rafters to the 
 gables and beams, are furred out four inches, and the corners splayed, as 
 will be perceived by examining the elevation. The rafters project three feet 
 in a horizontal line from the plate, and are planed and covered. The roof- 
 boards that cover the projection are planed and faced down. The principal 
 story is ten feet in the clear; the chambers, nine feet in the clear; front 
 hall, 14* X 10*; rear hall, 14* X 20*; parlor, 18 X 18; sitting-room, 
 16 X 18; bed-room, 15 X 18; kitchen, 15 X 18; china-closet, four feet six 
 inches by six feet ; wash-room, eighteen feet six inches by fourteen feet, with 
 all the necessary closets, wood-room, &c. 
 
 Estimate the cost of this house to not vary much from $5000. 
 
FRONTISPIECE. 
 Plate XIV. 
 
 On this plate is given a design for a Frontispiece with a plan annexed 
 which is figured in feet and inches. This design, if executed according 
 to the details, will present a fine appearance ; and the carpenter need have 
 no fears m carrying out this plan to the letter. The door is designed to 
 have panes of glass inserted in the panels, which will produce a very 
 pleasing effect. 
 
 45 
 
46 
 
 No. 14 is an elevation of part of a verge-board, to a scale of one inch to 
 one foot. 
 
 JVb. 14. 
 
 No. 15. 
 
 CHIMNEY-TOPS. 
 
 Every chimney, pr stack of chimneys, to be truly archi- 
 tectural, should be treated as a column, or as a group or 
 series of columns ; and as every column consists of three 
 parts, — a base, a shaft, and a capital, — so ought every 
 chimney-top. An example of this is shown in Fig. No. 15. 
 Every person that has a house designed for him should 
 object to every chimney-top, whether Grecian or Gothic, 
 that does not consist of an obvious base, shaft, and capital ; 
 and the base ought in general to be somewhat higher than 
 the ridge of the roof. In general, all the upper terminations 
 of the building should be bold and free ; and this cannot be 
 the case with chimney-shafts, unless they have a distinct 
 base, a shaft of considerable length, and a capital consisting 
 of several members, according to the style of architecture 
 employed. 
 
PLT. XV 
 
 . - 
 
 - 
 
DETAILS OF FRONTISPIECE. 
 
 Plate XV. 
 
 This plate gives the details of the Frontispiece, (Plate 14,) one half 
 their real size. They will be readily understood by inspection of the 
 Plate. Fig. 1, cornice. Fig. 2, capital. Fig. 3, the base. Fig. 4, 
 lintel. 
 
 47 
 
48 
 
 No. 16. 
 
 CONSTRUCTING A COTTAGE PRIVY, IN CONNECTION WITH A CFSS- 
 POOL OR TANK FOR LIQUID MANURE 
 
 The privy may be either partially or wholly over the tank, which should 
 be closely covered, on a level with the privy floor, by a flag-stone, as shown 
 m Jjig No. 16. In this figure, a represents the seat, which is hinged, in 
 order that when the slops of the house are being thrown in, the seat may be 
 lifted up to keep it from being wetted; b shows the fixed and permanent 
 seat, on which the movable seat, a, rests; c shows the movable seat par- 
 tially raised up; (i) the cover to the whole, raised up; d the basin of stone- 
 ware, cemented at / into a tube, («), also of stone-ware, or it may be of wood 
 or metal ; g is the surface of the water in the tank, higher than which it can 
 never rise, in consequence of a waste drain; and it will only fall lower than 
 the bottom of the tube, e t when the tank is nearly empty; h, h t the walls of 
 the tank, and of the back of the privy. 
 
FRONTISPIECE. 
 
 Plate XVI. 
 
 On this plate is given another example of a Frontispiece, which differs 
 somewhat from the former, though not enough to require separate details. 
 It is richer, and will, perhaps, produce a more pleasing effect than the first! 
 At anv rate, it will give a variety. 
 
 7 49 
 
50 
 
 No. 17 is a section of the liquid-manure tank, supposed to form also the 
 tank for the privy. In this figure, (a) represents the liquid, (b) a pierced 
 slate or grating, through which the liquid filters into the well (c); (d) a 
 bell-trap to admit of the drainings of the yard, and to prevent the risings of 
 smells ; and e the covering of flag-stone and earth. On a level with the 
 surface of the water in the well, (c), there is an opening to a small waste 
 drain, which, as it can only be entered by filtered liquid, cannot readily be 
 choked up. The sides and bottom of the tank and well should be built in 
 Roman cement. 
 
 No. 17. 
 
/'/. 
 
WINDOW. 
 Plate XVII. 
 
 This plate shows the inside of a Window and its finish. It is designed 
 for common practice ; and, though simple, it is graceful in its propor- 
 tions. On the right hand side is seen a section of the architrave, and the 
 sizes of each member figured in inches. 
 
52 
 
 No. 18 presents the elevation of a design for a cottage, the interior of 
 which would be found very convenient, and can be built at a moderate cost. 
 
 The ground-plan in No. 19 shows (a) entry, and stairs to upper floor; (b) 
 wood-roo n; bed-room 11 X 12; kitchen 11 X 12, in which there is a closet; 
 pantry, 5 < 8; parlor, 12 X 14; sitting-room, 12 X 14. 
 
 No. 19. 
 
 I 
 
 BED ROOM KITCHEN 
 11 X 12 . 11 X 1 2 
 
PLA 
 
WINDOW CAPS. 
 
 Plate XVIII. 
 
 On this plate are represented two designs for external window finish. 
 Fig. 1 has no cornice, except a crowning moulding. 
 Fig. 2 has a small cornice and a pediment. 
 
 53 
 
54 
 
 No. 20. 
 
 MODERN VILLA. 
 
 The elevation is represented in Fig. 20, and the ground-plan in No. 21, 
 which shows an entrance-porch (a), hall (6), sitting-room (c), parlor (d), 
 staircase, with closet under, (e), kitchen (/), water-closet (g),back entrance 
 (h), pantry (i), wash-room (k), and wood-room (l). 
 
 The staircase is lighted from the tower, and there may be a borrowed 
 light, either from the staircase or the passage to the water-closet, which, 
 being completely within the house, is less likely to be injured during severe 
 frosts. 
 
/'/// : >/ i a 
 
 H//.\// ///'/'/// 
 
 'A 
 
 A / // /// ■// 
 
 >L HL 
 
 /s/y/// ///'//.\7 
 
 ///// / //// / '/ h '/// 
 
 ** /2 
 
 ///•// II '////■/ /V'/v// 
 
 / ✓ ///// s/*/ // 
 
PLAN OF AN ITALIAN VILLA. 
 
 Plate XIX. 
 
 We here present a ground plan of a modern Italian Villa, with the front 
 elevation and details in the succeeding plates. The only apology we 
 have to offer, in giving three designs for dwelling houses in different styles 
 of architecture, is, that there is, in almost all the works upon the subject, 
 a want of adaptation of the various parts to particular places. This is a 
 want that has been seriously felt, even among the more intelligent part of 
 that class of industrious and useful artisans — the carpenters. The design 
 here given is rich in detail, and symmetrical in all its parts ; it possesses 
 every convenience usually found in this class of houses. We have not 
 only labored to give expression of form, but a full expression of design, 
 or purpose. And in the attempt we flatter ourself, that we have so far 
 succeeded as to meet the wants of a class of gentlemen, whose means and 
 republican principles will not admit of their erecting more classical or 
 regal edifices. 
 
 55 
 
56 
 
 No. 91. 
 
 No. 22. 
 
 MODEL OF A CHEAP DOUBLE COTTAGE. 
 
 The front elevation, as seen in No. 22, exhibits two cottages in juxtapo- 
 sition, which shows each as having a single family room, or kitchen, on the 
 lower floor, and sleeping apartments above. The cottage, in place of con- 
 taining one room below, may contain two. 
 
 The ground-plan, No. 23, shows (a) the front entrance, (b) kitchen, (a) 
 recess for bed, (c) pantry, (c) oven, (d) closet, (e) stairs to upper floor, (e) 
 closet, or cellar under the stairs. 
 
FRONT ELEVATION. 
 
 Plate XX. 
 
 This plate represents the front elevation of an Italian Villa, which will 
 be understood in connection with the details, &c. It is drawn to a scale 
 of one eighth of an inch to a foot. 
 
 8 57 
 
58 
 
 The upper floor of the foregoing plan is represented in No. 24. (f) the 
 stair-landing, (g) bed-room, (g) recess for bed, (h) bed-room, (i) closet. 
 
 Fig. No. 25 represents a ground-plan, suitable for a moderate-sized 
 farm-house. From the entrance and staircase, a, there is a kitchen, b, with 
 wash-room, c, and pantry, d; parlor, f; sitting-room, e ; store-room and 
 cellar, g. The three small apartments, h, i, k, may be used as store-rooms 
 for some of the smaller implements, or as a water-closet, work-shop, &c. 
 
 On the second floor there are three bed-rooms, one above the kitchen, and 
 the others above the front rooms, with a dressing-closet over the entrance. 
 The apartments on each side of the kitchen have lean-to roofs, and are not 
 carried to the height of the other parts of the building. 
 
PLT. XX 
 
 i i r r 
 
FLOOR FRAMING. 
 Plate XXI. 
 
 This plate is designed to show a framing plan of the ground floor, for 
 the Italian Villa. The timbers are all properly represented, and their 
 sizes marked. 
 
 59 
 
60 
 
 No. 25. 
 
 ru 
 
 JVb. 26. 
 
 GOTHIC COTTAGE. 
 
 The front elevation exhibits a perspective view of two fronts. 
 No. 27 represents an elevation of part of a verge-board, to a scale of one 
 inch to one foot. 
 
 4 
 
ELEVATION OF FEAME. 
 Plate XXII. 
 
 On this plate the front elevation of the framing is represented. The 
 timbers here are marked, distances and heights given, &c. 
 
 61 
 
62 
 
 JVb. 27. 
 
 J L 
 
 10 20 
 
 The No. 28 shows the ground-plan, in which (a) is the principal entrance 
 porch, which is to be finished with a covered roof, and to have Gothic niches 
 in the angles for statues, or vases for flowers. 
 
 From this we pass to the hall and staircase, (b), by a Venetian door, the 
 upper part of which may be glazed with stained glass; thence to a small 
 ante-room, (c), which, if having a good southern exposure, may be used as a 
 conservatory for plants ; from which there is a door to the covered piazza, 
 (n). From the hall we enter the sitting-room, (d), the two windows of 
 which may be brought down to the floor, and open like French casements, 
 so as to admit of easy access to the piazza, when the ante-room is occupied. 
 
DES. 
 
DETAILS OF CORNICE. 
 Plate XXIII. 
 Fig. 1. — A representation of the cornice, &c. 
 
 It will be understood by examination. Drawn to a scale of 2 m. to a 
 foot. 
 
 Fig. 2. — A triangular window seen in the front elevation. Scale, 1 in. 
 to a foot. 
 
 Fig. 3. — An ornament, shown in the elevation near the triangular 
 window ; half size. 
 
 63 
 
64 
 
 From the hall we also enter the parlor, (e), which has a door to the ante- 
 room, or conservatory; also to the kitchen, (/). 
 
 If preferred, (d) may be made the parlor, and (e) the dining-room, and 
 then a communication may be made with the kitchen, (/). 
 
 The kitchen door from the hall is finished on the staircase side in the same 
 manner as the doors of the principal rooms. From the kitchen there is a 
 coal-closet, (g), back kitchen or wash-room, with a copper, (A), closet, (&), 
 pantry, (l), and a store-closet, (i). 
 
 There are, if desired, two water-closets, (m, w), both under cover, — one 
 entering from the porch, the other from the piazza. 
 
 Under the principal stairs is a flight of steps, (o), shut in by a door, 
 descending to the cellar. Behind the wash-room, at (p), may be a yard, 
 surrounded by a high fence, and covered with shrubbery, where may be the 
 wood-house, privy, well, &c. &c. 
 
 No. 29. 
 
 Fig. No. 29 shows an elevation of a door ; it is surrounded on one side 
 by splayed bricks, and is six feet high to the springing of the arch. 
 
 Fig. No. 30 shows an elevation of chimney-shafts, the base and cap of 
 which are of stone, and the shaft and plinth rising from the roof of brickwork, 
 or artificial stone, — the diameter of the flues nine inches. 
 
 No. 31 is a plan of the above elevation. 
 
 No. 32 is also a plan of the above elevation. 
 
ES. 
 
 Ft 
 
 IKrn, M/vwn Jr. At 
 
DETAILS. 
 
 Plate XXIV. 
 
 This plate represents a design for a chimney, with a scale annexed. 
 1, 2, 3, 4, are openings for smoke. Also, a design for the external finish 
 of the cupola. Fig. 1, chimney. Fig. 2, cupola. 
 
66 
 
 No. 30. 
 
 <FF=R > 
 
 No. 31. 
 
 (iilvirnlnil 1 
 
 iVb. 32. 
 
 Liiui ' 1 1 
 
 WOODEN EAVES-TROUGH, FOR COTTAGE ROOFS. 
 
 This finish to the eaves of a roof has now become very general for country- 
 houses ; and deservedly so, being the neatest, cheapest, and most durable of 
 any, and adapted to the humblest cottage as well as to the elegant villa. 
 This is made of the best clean, seasoned timber, with as few joints as possi- 
 ble, with mitred joints at the angles. It is fixed perfectly level, the fall 
 being within itself, which is obtained by hollowing out the middle, beginning 
 at (o, c), in No. 33, the highest part of the fall, and proceeding gradually 
 deeper to (z), the lowest ; thus a trough of this description may be fixed 
 along a front of forty or fifty feet in length, the fall being given from the 
 centre to the right and left. It requires no lining, but a good thorough 
 painting, which should be repeated every three or four years. A large 
 moulding being wrought on the front, it is thus made to represent the 
 crowning member of a cornice. 
 
 No. 34. No. 35. 
 
 f 
 
 No. 33. 
 
 No. 34 represents the application of it to a cottage, where (a) is the 
 moulded front of the eaves-trongh, (b) the hollow, (c) the plastered soffit, (d) 
 bearer, (e) rafter, (/) slating, (g) front wall of house, (h) fascia, (o) wall- 
 plate. 
 
DES. I. 
 
 PLT. 
 
 XXV. 
 
 V r 
 
 O — i — i , — i — ! — i — i — I — i — i 1 1 — 1 _/ y t 
 
DETAILS OF PORTICO AND ORIEL WINDOW. 
 Plate XXV. 
 
 On this plate are two designs, which will be readily understood without 
 any explanation. 
 
 Fig. 1, Oriel Window. Fig. 2, Portico. 
 
 67 
 
68 
 
 No. 35, the same, with a higher style of finish. The same letters of 
 reference answer. In addition, (i) shows a lead moulding and fascia in 
 cement, and the plancier, (c), is curved. It may be finished in a still more 
 elaborate style, with dentils or cantilevers, if required. 
 
 CAST-IRON GUTTERS TO ROOFS, 
 
 As a substitute for leaden ones, are found economical and effective. No. 
 36 represent a section of a gutter between two roofs, in which (a, a) shows 
 the gutter, with a flange, (b, b), for joining the different pieces together ; 
 (c, c) the slates ; (d, d) the rafters ; and (e) the gutter rafter. All the care 
 that this requires, in slating or shingling, is, to bring the upper edge of the 
 lower course of slates or shingles to a level. 
 
DETAILS. 
 
 Plate XXVI. 
 
 This is a representation of the ornamental parapet-railing, over the 
 porch of the front entrance. Scale, 2 inches to a foot ; a, a, a, a, are 
 openings. 
 
 09 
 
70 
 
 No. 37. 
 
 THE TUDOR STYLE. 
 
 The above elevation represents a cottage in the Tudor style, which 
 fashion of architecture, so prevalent in the time of the Tudors, and called 
 by that name, has been revived, to considerable extent, in cottage building, 
 with very pleasing effect. 
 
 No. 38 represents the ground-plan for a flower-garden. 
 
 No. 38. 
 
DETAILS OF DOOR AND WINDOW. 
 Plate XXVII. 
 
 This plate will be understood by measurement, and reference to the 
 figures. 
 
 Fig. 1. a, stud ; 6, window weight; c, section of window sash ; d, 
 architrave ; e, plastering ; /, sheathing. 
 
 Fig. 2, is a section of an inside door and its finish ; a, the architrave ; 
 6, jamb ; c, door-stile ; d, panel ; e e, stud ; h, plastering ; and i, ground 
 
 7i 
 
72 
 
 No. 39. 
 
 A COTTAGE IN THE ELIZABETHAN STYLE, 
 Is shown in the elevation No. 39. 
 
 The ground-plan, No. 40, shows a porch (a), hall (6), sitting-room (c), 
 staircase (d), parlor (e), kitchen (/), bed-room (g), china closet (A), back 
 entrance (i). 
 
 No. 40. 
 
DES 
 
 . / 
 
 Ft 
 
DETAILS OF DOOK AND FINISH. 
 Plate XXVIII. 
 
 A an elevation of an inside door, with its finish and scroll ornament 
 over the top. B, cornice and architrave, half size ; C, cut-bead to orna 
 ment the architrave ; D, base, half size. 
 
 10 
 
74 
 
 No. 41. 
 
 VILLA IN THE ITALIAN STYLE. 
 
 This beautiful villa, the residence of Thomas A. Clark, Esq., of Worces- 
 ter, Mass., has just been completed, from the designs and under the superin- 
 tendence of the author. 
 
 This building is very much admired for chasteness and beauty, as well as 
 its convenience. It is built of wood, with the roof covered with tin. The 
 principal story is eleven feet in the clear ; the chambers, ten feet in the 
 clear; parlor, twenty-three feet six inches by fifteen feet, with the ceiling 
 panelled, and moulded with an enriched moulding, with two beautiful centre- 
 pieces; hall, twenty-three feet six inches by eight, with front stairs leading 
 to the second story ; sitting-room, fifteen feet by fifteen ; dining-room, fifteen 
 feet by fifteen feet; kitchen, fifteen feet six inches by thirteen feet six inches ; 
 pantry, nine by eight feet ; china closet, nine by five feet ; wash-room, ten by 
 fourteen feet; wood-room, ten by eight feet. The kitchen is fitted up with 
 cooking-ranges ; marble mantels in parlor, sitting and dining rooms ; and a 
 large-sized furnace in the cellar, for heating the house. All the doors 
 grained in imitation of black walnut. Estimate the cost of this house to not 
 vary much from $6000. 
 
STUCCO CORNICES. 
 
 Plate XXIX. 
 
 On this plate are two designs for stucco cornices. 
 Fig. 1, is designed for the drawing-room and hall ; half the real size. 
 Fig. 2, is designed for the parlor, library, and dining-room ; one quarter 
 the real size. 
 
 is 
 
76 
 
 No. 42. 
 
 No. 42 shows the ground-plan to the front elevation, No. 41. 
 No. 43 represents an elegant design for an arbor. 
 
 No. 43. 
 
PLAN OF A COTTAGE HOUSE. 
 
 Plate XXX. 
 
 This plate represents the ground plan of a house in the cottage styie. 
 The back part, as far as the dining-room extends, is to be two stories 
 high. The rest, or kitchen and wood-room, one story high ; the cornice 
 of which is to continue over the porches on each side of the dining-room. 
 The front entrance is from the veranda on each side of the hall, as will 
 be perceived. 
 
 77 
 
FRONT ELEVATION. 
 
 Plate XXXI. 
 
 We here present the front elevation of a cottage house, drawn to a 
 scale of one eighth of an inch to a foot. In all the designs the same scale 
 is used, unless otherwise shown. 
 
 79 
 
80 
 
 No. 45. 
 
 No. 45 represents the ground-plan to the preceding elevation, (a) is the 
 porch, (b) the hall, (c, c) corridor, (d) lobby to the staircase, (e) staircase, (/) 
 sitting-room, (g) parlor, (h) library, (i) conservatory, (k) arcade, (/) landing 
 and steps down to the grounds, (m) landing, or terrace, and steps to the 
 grounds from the conservatory, (rc, n) areas, (o, o) sunk or sloped ground to 
 give light and ventilation to the basement, and (p) approach road. 
 
 To the entrance of every house a porch is not only a luxury, but is neces- 
 sary to protect the house from cold, and to form a suitable shelter in inclem- 
 ent weather. The entrance archway of this porch, (a), should be the largest 
 opening m this front, and it should be conspicuously decorated, in order that 
 it may at once mark the principal entrance. 
 
ill 
 
FRAMING. 
 
 Plate XXXII. 
 
 Represents the first-floor framing. This needs no particular expla 
 nation. The sizes of the timbers are marked, &c. 
 
 11 81 
 
82 
 
 BUEL'S BARN. 
 
 No. 46. 
 
 No. 47 (B) shows a side view. 
 
 No. 48. 
 
 
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 • 
 
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 c 
 
 1 : - ' 
 
 i 
 
 
 
 
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 it. 
 
 <tt>: 
 
 
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 a 
 
 4 
 
 <z 
 
 
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 c 
 
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 c 
 
 
 
 No. 48 is the ground-plan of a barn according to Buel's views, (a) it 
 barn floor, fourteen feet wide; (b, b) bays for hay and grain, eighteen 
 
ELEVATION 1" FRAME. 
 
 Plate XXXIII. 
 
 Br this plate is represented the elevation of frame for the cottage 
 house. The front entry or hall to be arched, as shown at a, a, a. 
 
 The heights, openings, and sizes of timbers, are marked in feet and 
 inches. 
 
 83 
 
84 
 
 wide and ninety-two feet long ; (c, c) stables for cattle and horses, thirteen 
 feet wide in the clear ; (d, d) passages to stable, four feet wide ; (e, e) mangers 
 for feeding, two and one half feet wide; (f,f) great doors, fourteen feet 
 wide; (g, g) stable doors, five feet wide, double. Length of barn, one hun- 
 dred feet ; width, fifty feet ; posts, eighteen feet ; pitch of roof, twelve and 
 one half feet ; height of lean-to posts, seven feet ; pitch of stable roof, eight 
 feet; length of side lean-tos, one hundred feet; length of end lean-tos, 
 thirty-eight feet. The barn is framed as if to stand alone, omitting the lower 
 girt at the ends on each side of the large doors. The lean-tos are then 
 framed on to the barn in the simplest manner, the passage being round the 
 main body of the barn, excepting at the ends, where the passage is in the 
 main barn, and the lean-tos there are only sixteen feet wide, and the manger 
 is fitted up to the main barn. Only one passage is made to go into the shut 
 stables at the ends. Stalls are made, seven and one half feet wide, and 
 boarded between, and each ox or cow is tied next to the partition side of 
 the stall, which prevents their getting together, and saves room. 
 
 This barn will hold two hundred tons of hay. Granaries can be partitioned 
 off from the bays or stables, as may be convenient. On this model barns of 
 any size may be built. 
 
 No. 49. 
 
 W 
 
 No. 49 shows a plan for the internal arrangement of cattle-sheds, &c, a 
 movable ring and chain being used for confining the animals, a, a, a, par- 
 titions between the animals; b, b, b, the upright iron rods or posts to which 
 are fixed the rings and chains ; c, c, c, the raised edges of the manger in 
 front ; d, d, d, the partition ; e, the passage in front ; and f, that behind the 
 animals. 
 
DETAILS. 
 
 Plate XXXIV. 
 
 On this plate are shown two designs for outside finish. 
 Fig. I. — Cornice and battlement of the portico. 
 Fig. 2. — Main cornice, &,c. 
 
 A, an ornament which covers the ends of the bracket, as seen in the 
 front elevation. 
 
 85 
 
86 
 
 The above is a plan of the barn structure sketched by Arthur Young for 
 General Washington. 
 
 Figures 1, 2, 3, 4, 5, 6, represent the barn; 1, 2, 7, 8, the porch of do., 
 with a small door at 9 ; 10, 11, the great doors ; 12, the floor, which extends 
 the space of 1, 2, 10, 11; 13, 13, bays; 14, 14, 14, 14, sheds; 15, 15, 15, 
 15, mangers; 16, 16, 16, 16, passages, between two and three feet wide; 
 17, 17, 17, 17, doors into the passage; 18, 18, 18, 18, principal posts on 
 which the sheds rest; 19, 19, 19, 19, gutters of bricks sloped for conveying 
 the uririfc of the cattle to 20, 20, 20, 20, cisterns; 21, 21, 21, 21, sheds for 
 various purposes ; 22, 22, two yards, with each a shed for shelter ; 23, 23, 
 enclosure; 1, 2, 8, 3, 4, 5, 6, 7, the main body of the barn, which rises 
 from fourteen to twenty feet to the eaves, all the rest of the shed being 
 placed against it. 
 
DUS. II. 
 
 J 
 
DETAILS. 
 Plate XXXV. 
 
 Fig. 1. — The pendant in the angle of the roof or pediment. 
 Fig. 2. — Section of the same. 
 
 Fig. 3. — Ornamented barge-board. From A to B, a section of 
 cornice and barge. 
 
 87 
 
88 
 
 No. 51. 
 
 No. 51 gives a representation of a piggery, which should be raised upon a 
 little declination, so as to allow the drainage of the urine, and divided into 
 sties of between six and seven feet in width and fourteen or fifteen feet long, 
 the back part of which should be covered with a low roof, and sufficiently 
 large to allow a fatting hog to lie down conveniently. The uncovered part, 
 which is used as a court for the animal to feed in, &c, should be boarded in 
 front by a low paling, so as to admit of sun and air, and the trough placed in 
 one corner. The building may be extended to any length, and if connected 
 at one end with a boiling-house, and at the other with a cess-pool, into 
 which the drains are emptied, the elevation of the whole will present the 
 appearance as indicated in No. 51. 
 
 No. 52. 
 
 No. 52 shows an apartment for boiling or steaming food, apparatus 
 necessary, and mode of proceeding. Any kind of wooden box or barrel will 
 answer for this purpose. The steam is to be conveyed in a pipe to the 
 lower part of the vessel, which should have a sliding board at the bottom. 
 
 The apparatus consists of a furnace and iron boiler, a, furnished with a 
 safety-valve. It is supplied from a cistern, b, placed at the height of five or 
 
DETAILS. 
 
 Plate XXXVI. 
 
 Fig. 1. — The ornament surmounting the cornice of the Oriel window 
 seen in the front elevation, half size. 
 
 Fig. 2. — The cornice of the Oriel window. 
 Fig. 3. — The pedestal or base of the same. 
 
 12 89 
 
90 
 
 six feet above it. When filled, the boiler regulates its supply of water by 
 means of a float inside, attached to the valve in the cistern. Two casks, c 
 and d, are intended to hold the potatoes, or other matter to be steamed, — 
 the steam being conducted to these, from the boiler, by a pipe branching off 
 to each by stop-cocks. 
 
 No. 53. 
 
 No. 53, as above, represents a plan for a dairy-house, the roof of which 
 should be of a high conical form, or span roof, rising from the centre, and 
 projecting downwards broadly over the sides, to shade the body of the house. 
 (A) represents the milk-room, with broad shelves around the sides, and in 
 the middle a table for preparing the butter. The windows are closed with 
 lattices covered with gauze wire. (B) the churning-room, with boiler in one 
 corner, and, on sides, frames for cheese-presses, and vessels for holding the 
 whey, and pipes for conveying it to a cistern outside. (C) the wash-house, for 
 cleansing and care of the utensils ; it therefore contains a furnace, with a 
 cauldron for scalding the vessels, and a pump, communicating with a well. 
 The outer door, or entrance, is here ; and adjoining are placed stands, under 
 the verandah formed by the projection of the roof, for exposing the wooden 
 imolements which may have been washed to be dried. 
 
PLT XXXVIi. 
 
DETAILS. 
 Plate XXXVII. 
 
 Fig, 1. — Column of the portico in front. A, bracketed capital ; B, a 
 section of the column ; C, base. 
 
 Figs. 2 and 3, are two examples of hoods for outside finishing of win- 
 dows. (See elevation.) 
 
 91 
 
92 
 
 No. 54. 
 
 MODEL OF A COMPLETE DAIRY. 
 
 The above front elevation represents a view of a complete dairy, which 
 may form a part of the farmer's house, or be distinct from it. 
 
 No. 55. 
 
 The ground-plan is shown in No. 55. (a) is the kitchen; (a), steam 
 boiler ; (o), sink in the window recess, in which the water can be heated by 
 a steam pipe from the boiler; (s), small sink, communicating with the pigs' 
 troughs, in which the whey and other refuse are thrown; (r, r), stone 
 benches; (e), wood and coal cellar, with hatch, (e), by which the fuel is 
 
DETAILS. 
 
 Plate XXXVIII. 
 
 Fig. t. — Stucco cornice, half the real size. 
 Figs. 2 and 3. — Plans of architraves. 
 Fig. 4. — Base moulding. 
 Figs. 2, 3 and 4, are of full size. 
 
94 
 
 thrown in; (c), churning-room ; (c), stone bench for milk-vessels; (b), 
 cheese-making room; (b, b) } stone bench for utensils; (d), milk-room; 
 (d } d), stone bench round the room, for milk-vessels; (/), table for pre- 
 paring butter, with basin and fountain; (g, g), shed along the front of the 
 building; (f, f), horse course for moving the churn; (h), passage; (m), 
 stairs down to milk-room ; (l), stairs to the upper part. 
 
 No. 56. 
 
 No. 56 shows a side elevation of the foregoing No. 54. In plan of the 
 upper floor, represented in No. 57, (a) is the store-room; (b), store-room; 
 (b, b) y shelves; (c), landing of stairs; (d), upper landing; (e), cistern; (e), 
 closet. 
 
 No. 57. 
 
PLT. XXXIX. 
 
INSIDE DOOR. 
 
 Plate XXXIX. 
 
 This plate shows an elevation of an inside door and finish, showing 
 section through the centre. 
 
 95 
 
96 
 
 No. 58. 
 
 The above is a partial view of a beautiful cottage built for Wm. B. Lang, 
 Esq., on the Highlands in Roxbury. 
 
 No. 59. 
 
 This is a view of a noble villa erected at Wyoming, on the borders of 
 Spot Pond, near Medford, and late the residence of Wm. B. Lang, Esq. 
 
 No. 60. 
 
 The above is a plan of a castellated house. 
 
« 
 
 / 
 
PLAN OF A GRECIAN HOUSE. 
 
 Plate XL. 
 
 This plate represents a ground plan of a house in the Grecian style. 
 We consider this kind of house very economical, both in respect to ex- 
 pense and convenience. By an examination of the plate it will be under 
 stood, as the sizes are marked, &c. 
 
 13 97 
 
98 
 
 iVb.62. 
 
 Nos. 61, 62, 63, 64, 65, 66, 67, exhibit seven designs for base, and archi- 
 trave mouldings, full size, for practice 
 
FRONT ELEVATION. 
 
 Plate XLI. 
 
 This plate presents a front elevation of the Grecian house shown in the 
 last sketch. It is a chaste, simple, and graceful design, and one, we 
 think, which will meet the expectations of any gentleman who may see fit 
 to adopt it in building. 
 
 99 
 
ELEVATION OF FRAME. 
 
 Plate XLII. 
 
 This plate shows an elevation of the framing and plan of the roof so 
 plainly as to need no explanation. The sizes of the timbers, height, and 
 spaces, are all marked, &c. 
 
 101 
 
102 
 
 No. 68. 
 
 The front elevation, No. 68, as represented above, exhibits a modern and 
 beautifully-constructed house, built for the Rev. Seth Sweetser, of Worcester, 
 Mass., and designed by Mr. Elbridge Boyden. 
 
 No. 69 shows the end elevation of the same house. 
 
 No. 69. 
 
GROUND FLOOR FRAMING. 
 
 Plate XLIII. 
 
 This plate shows the frame for the ground floor of the Grecian house, 
 with a proper arrangement of timbers, and their sizes marked, &c. 
 
 103 
 
104 
 
 No. 70. 
 
 No. 70 presents the ground-plan to foregoing front and end elevations, 
 Nos. 68 and 69. 
 
 Though the size of the main house is but thirty-five feet by forty-one feet, 
 with an ell of twenty-eight feet by eighteen feet, for symmetry of form, size, 
 and connection of apartments, and abundance and convenience of closet-room, 
 this house is much approved and admired. On the ground-floor, in front, is 
 a parlor, sixteen by twenty-one feet ; hall, twenty-five by nine feet ; and 
 sitting-room, fourteen by sixteen and one half feet. In rear of parlor, library, 
 twelve and one half by sixteen feet ; and in rear of sitting-room, dining-room, 
 twelve and one half by eighteen and one half feet, with three large closets, 
 admirably situated for convenience ; while the ell contains a kitchen, thirteen 
 by seventeen feet, back stairway, large pantry-closet, and an ample wash and 
 wood room. The conservatory, thirteen and one half by five and one half 
 feet, and piazza in front, add much to the beauty and convenience of the struc- 
 ture, at but small increase of the expense. Estimated cost of this house, $3000. 
 
ANT A AND ENTABLATURE. 
 
 Plate XLIV. 
 
 Here we have represented an anta and entablature suitable for this 
 house. It is figured in minutes for the sake of convenience ; and drawn 
 to a scale of one inch to a foot. 
 
 The dark part on the left hand shows a section, or form, of all the 
 members, &c. 
 
106 
 
 No. 71. 
 
 No. 71 presents the plan of the second floor, with two front chambers, six- 
 teen and one half by sixteen feet, and fourteen by sixteen and one half feet ; 
 two large bed-rooms, ample bath-room and closets, and in the ell a large 
 chamber and sleeping-room, with closets from each, with width of passage- 
 ways, and completeness of connection, which render the chambers eminently 
 pleasant and convenient. 
 
// p 
 
 L ^-~ 1 — I — H — i — i — i — i — i — i — i i i i i i i r i i 
 
 I 
 
 tar* 
 
 
 
 I I 1 
 
DETAILS. 
 
 Plate XLV. 
 
 On this plate are shown a column and entablature, designed for the 
 portico of the Grecian house. The whole height is ten diameters ; the 
 entablature being two. The plate is figured in minutes, and drawn to a 
 scale of one eighth of an inch to an inch. The latter division adapts it to 
 this place ; but the former is more suitable for diminishing or enlarging 
 an order or design. 
 
 The following will show how this is done. The column at the base is 
 sixteen inches ; this is divided into 60 parts, for minutes. (See the rule 
 given in the description of the Tuscan order.) Now, if we wish to make 
 this larger or smaller, we should still make the same number of minutes 
 (sixty) in the diameter of the column, and give every member the same 
 number marked opposite under H, (height,) and P, (projection.) It fol- 
 lows that the members are regulated by the minutes, which are greater or 
 less as the case may be. 
 
 This is a beautiful design for a portico, and may be executed, in almost 
 any place, with success. 
 
 107 
 
plt: xlv 
 
 ■ j j j : 
 
 "3 j _uj j j j j j j j-j-zt 
 
DETAILS. 
 Plate XLVI. 
 
 Sections of an elevation of the steps, buttresses, door, door-frame, 
 column, and of that part of the entablature which rests on the column ; 
 also, of the ceiling of the portico. 
 
 The whole is drawn to a scale of one half of an inch to a foot. 
 
 109 
 
WMSMMT WMMM^ MiB MM® 
 CALIPERS AND DIVIDERS. 
 
 These articles are superior to any in use, being more easily adjusted, and expanding wider than any 
 other style spring of the same size, and is afforded at a less price. 
 
 The spring being four times the length of the common bow spring, it acts equal and easy to its full 
 extent, not losing its strength when extended. The Dividers are also manufactured with the addition of an 
 inside nut on the bar, which prevents all tremor, or reaction of the leg, when striking a circle over a rough 
 surface, thus being a great advantage over any spring Divider heretofore used. 
 
 The above are for sale by all the principal Hardware Dealers in the United States. 
 
I 
 
DETAILS. 
 Plate XLVII. 
 
 pig. i. — Sections of the door-stile, panel, and moulding, half the real 
 
 size. 
 
 Fig. 2. — A plan of the portico, shown in the preceding plate, drawn to 
 the same scale. 
 
 111 
 
PL 1 
 
 I. 
 
DETAILS. 
 
 Plate XLVIII. 
 
 Figs. 1 and 2 are designs for inside doors and their finish, which are 
 suitable for this house, drawn to a scale of three fourths of an inch to a 
 foot. 
 
 jPtg-. 3. — A plan of a door-frame with the door closed, drawn to a scale 
 of one and a half inches to a foot. 
 
 15 113 
 
PLT. 
 
DETAILS. 
 
 Plate XLIX. 
 
 Fig. 1.— An architrave of full size for the preceding plate, which we 
 have executed in several instances ; and it has never failed, in any suit- 
 able position, to give a good effect. 
 
 Fig. 2. — Section of a window, with shutters and all the appendages in 
 detail, drawn to a scale of one inch and a half to a foot. A, architrave ; 
 B, plastering ; 0, stud ; JD, back-lining ; E, back-flap ; F , box-leaf of 
 shutters; GG, studs ; 00, weights ; H, face-lining ; J, sheathing ; 
 L, shutters closed. 
 
 115 
 
116 
 
 CHURCHES. 
 
 We have placed in the front part of our work two designs for churches, in 
 totally different manners, — one in the Decorated English, the other in the 
 Modern Italian style. These designs we claim to be original. 
 
 Fig. I. n. 
 Church in the Decorated English Style. 
 
 This church measures 52 feet in front, and 80 feet in flank, beside the porch, 
 which is 18 feet square on the plan. It contains, on the first floor, 80 pews, 3 
 feet wide and 9 feet long, and will seat comfortably 525 persons. A gallery 
 for the organ and singers may be made over the entry, and extend to the dotted 
 line on the plan. The side of the tower next to the main body of the building 
 will be open into the gallery, so as to make a recess for the organ. The top of 
 the spire will be 140 feet from the ground. 
 
STUCCO CORNICES. 
 Plate L. 
 
 On this plate are three designs for stucco cornices. 
 
 Fig m l. — Cornice for the drawing-room. 
 
 Fig. 2. — Cornice for the parlor. 
 
 Fig. 3. — Cornice for the vestibule and hall. 
 
 These designs are drawn to a scale of three inches to a foot. 
 
 117 
 
118 
 
 Fig. III. IV. 
 Italian Church. 
 
 We have here shown a plan and elevation of a church in the Modern Italian 
 style, with a portico of Ionic columns, the entablature of which should be carried 
 entirely round the building. We have made a square tower to this design, 
 believing it to be a comparatively novel, though an exceedingly effective 
 feature. The cupola is also in some respects a novelty. 
 
 We have departed in this design from the common course, which would have 
 been to have made a steeple of two or three stories, with a spire ; but we trust, 
 if this design is properly executed, in a favorable situation, it will present a 
 satisfactory and picturesque appearance. 
 
 Fig. V. — - Plan and Elevation of Pulpit for the church in the Decorated 
 English style. 
 
 Fig. VI. — Plan and Elevation of Pulpit for the church in the Italian 
 style. 
 
CARPENTRY. 
 
 Plate LI. 
 
 Fig. 1 is an example of a truss roof of forty feet span. The queen- 
 posts are represented to be made of iron, instead of wood, as is usually 
 the case. The particular advantage of the former mode over the latter is 
 this : the settling of the timbers caused by the shrinking of the posts is 
 done away with. The sizes of all the timbers, &c, suitable for this . oof, 
 are given below. This kind of truss may be extended to forty-five jfcet 
 with safety. 
 
 Sizes of materials to be used in this truss : 
 Tie-beam, . . . ' . ... . 12 X 10 
 
 Principal rafter, 9X8 
 
 Straining beams, . . . . • . % 9X8 
 
 Struts, 8X2 
 
 Purlins, . . . . • • . . .8x6 
 
 Jack rafters, . . . . . . 6x2 
 
 Iron queen-posts, ...... H round. 
 
 Bolts at the foot of the rafters, . . . I " 
 
 Coving joists, . . . . . . .8X3 
 
 We will here observe, that " the weight of the timber and boarding of 
 the roof is equal to about five pounds on each superficial foot, and the 
 weight of the slates, eleven pounds ; these sums, added together, make 
 sixteen pounds, which is the permanent load on each superficial foot." 
 
 Fig. 2 is designed for a truss of thirty feet span. It may be employed 
 in any place where no very great strength is required. Timber which is 
 six inches by ten will be about the right size for this truss. The mode 
 of construction will be readily understood by inspection of the figure. 
 
 Fig. 3 represents a gallery truss of forty feet span, which will need no 
 explanation. The sizes of the timbers to be used in this kind of truss may 
 be as follows : 
 
 Lower timbers, . ; . . . 10 X 8 
 
 Struts, 8X2 
 
 Upper timbers, 8x8 
 
 Iron rods, 1 round. 
 
 Fig. 4> is designed for scarfing beams where great nicety is required. 
 It will be observed that iron plates are represented on two sides. 
 
 The first three figures on this plate are drawn to a scale of one eighth 
 of an inch to a foot. 
 
 • 119 
 
Plate LII. 
 
 Fig. 1 shows a method of drawing a scroll for stairs. 
 
 Let AB be the given breadth, which is here sixteen inches ; divide AB 
 into eleven equal parts, make AF equal to one of those parts, and join 
 BF ; then bisect BA y and BF, at 2 3, in the centre of BA ; make 2 D 
 equal to 2 3 ; then, with the dividers on D, with a radius of DB, intersect 
 BK; draw BK perpendicular to AB, and HK at right angles to BF 
 intersecting BF at o ; draw BF parallel to AB ; draw the diagonals BI 
 EJ, which will form the centres; then, with one foot of the dividers on B 
 describe the arc BK ; and on E the arc KF ; and on / the arc FH ; and 
 on J the arc HS ; and on L the arc ST; and on M forming the arc T*7 • 
 and on R the arc UV ; which will complete the spiral curve. Proceed 
 with the same centres to obtain the inside of the rail, commencing at W. 
 
 Fig. 2 shows the method of obtaining the face mould for a scroll 
 
 Let ABC be the pitch board ; make aB in Fig. 2 equal to BD in Fi* 
 1, also aD in Fig. 2 equal to ae in Fig. 1. Proceed with all the ordl 
 nates in the same manner, both on the inner and outer edges of the rail • 
 then trace the curve line BC, and SO, and we have the mould complete. 
 
 16 121 
 
Plate LIII. 
 
 Fig. 1 shows the method of forming a curtail step. It is drawn on the 
 same scale of the scroll, which is one quarter the full size ; the centres 
 are the same as in the scroll. We think this will be readily understood 
 without further explanation, as the lines are described on the plate. 
 
 Fig. 2 shows the method of obtaining the falling mould of the scroll in 
 the preceding plate. Let ABC be the pitch board, and EC the stretchout 
 from B to F, Fig. 1 of the preceding plate. Then set up from B to D, 
 and E to F, the depth of the rail. Draw DG parallel to BA, and FG 
 parallel to EA ; divide FG and DG each into an equal number of parts ; 
 then draw intersecting lines as shown in the drawings, and trace the curve 
 line FD, and we have the upper edge of the mould ; the lower edge may 
 be obtained by gauging. 
 
 123 
 
EXPLANATION OF PLATES. 
 
 Plate LIV. 
 
 On plate 54, A B, Fig. 1 being the ground-plan of the semi-circular part, 
 having a portion of straight rail attached. 
 
 At a b and c d describe the points e and/, and from the point e/draw lines 
 through a b and c d to the tangent lines n m and ; k, which lines will be the 
 stretch-outs of the concave and convex semi-circumference of the given plan. 
 To obtain the concave falling-mould, Fig. 2, draw the horizontal line m b 
 equal to the concave stretch-out : at the point b place the pitch-board b n r. 
 Let ma be equal to the height of the riser, and divide it into four equal parts : 
 the first and third part gives the point x and e ; at the point a b place the 
 pitch-board a j I; then draw the lines; e, e x, and x v; then set up the thick- 
 ness of the rail, and then apply the length of the straight part s a and y b, of 
 the ground-plan, Fig. 1, to the base of the pitch-boards from n to h, and a to 
 /• then erect the perpendiculars, and square across the rail, as is repre- 
 sented, and you have the mould complete. To obtain the joint in the centre 
 of the semi-circular part, let drop the line G H, passing through the centres 
 of the concave and convex falling mould, square across the mould, and the 
 line will be the required joint ; draw the lines u u, and z z, which will be the 
 required overwood ; apply the over wood to the ground-plan, Fig. 1 ; then 
 draw the lines C 0, touching v and z d, and Z, and d s will be the height 
 for the parts B and A of said mould. The easings are formed as represented 
 by the intersecting lines. 
 
 The convex falling-mould, Fig. 3, is obtained in the same manner as the 
 
 concave at Fig. 2. .... 
 
 Let j d, the base Fig. 3, be equal to j k, the stretch-out m Fig. 1 ; J c is 
 equal to the height of a rise of d w, and c r equal to the straight part, as in 
 Fig. 2; the easings and the overwood are obtained in the same manner as 
 before, and you will have your convex falling-mould. 
 
 How to obtain the face-moulds, Fig. 4 and hjrom the ground-plan. 
 
 At the part B, Fig. 1, draw the chord-line 5 9 touching the points y z, 
 including the over-wood. Erect perpendicular lines from said chord-lines at 
 5 v 6 7 8 Z and 9, through the points wydbvad Z; draw Y parallel I to the 
 chord-line; then take the height, Z, Fig. 2, and apply it from to Z, Fig. 4; 
 then draw 5 9, touching the point y at the angles; z y is the P ltch " bevel 
 obtained. Draw lines at right angles to 9 5, and from the points 5 6 7 8 9 ; 
 then take the several distances, 5 W, 6 d, 7 b, 8 4 4, and 9 X, from the chord- 
 
PLT. E 
 
 H T v\1 
 
"i 
 
EXPLANATION OF PLATES. 125 
 
 line Fig 1, and apply them upon the lines carried out at right angles from 
 5 9 from the points 5 6 7 8 and 9, to w d b 44 and x ; draw the line x Z, 
 which will be the end of the required mould. 
 
 The points z 4 b and x 4 d being obtained, describe the arcs through 
 ihem, and by and dw will be the length at the straight part, and y w the 
 end of the required mould. . , 
 
 The face-mould, Fig. 5, is obtained in the same manner as in i ig. 4, the 
 straight part being thrown up, and the height from the parallel lines at d to 
 the hypothenuse at s being obtained at d s, Fig. 2. 
 
 The diagrams 4 and 5 show the manner of applying the face-moulds to both 
 
 sides of the plank. . 
 
 From the part z and y, Fig. 4, and u and S, Fig. 5, at the inner edge of 
 the plank, the pitch-bevels being obtained and applied across the edge z y, 
 Fig 4, and u s, Fig. 5, will be the angle of inclination to the rail-pieces. 
 Then tracing the line of the mould on both sides of the plank ; then cut out 
 your rail-piece ; then it will be ready for the application of the falling-moulds. 
 
 Take the part B, Fig. 2, of the concave falling-mould, which is of paper, 
 and apply it to the concave edge of the rail-piece at Fig. 4, having the plumb- 
 lines z z of the over-wood, Fig. 2, applied to the lines of the pitch-bevels 
 z z and y y, then the plumb-line y y of said mould will coincide with the line 
 y y of the pitch-bevel ; then mark the joints pandw z, and on the upper 
 edge at y, and the lower edge at z, of said joints, square across the ends of 
 said rail-piece. 
 
 Then apply the convex mould to the convex side, and you will have the 
 required piece. 
 
 The upper wreath at A, Fig. 5, is formed in the same manner as B, t ig. 4. 
 
 Plate LV. 
 
 Shows the manner of drawing a continued rail to a straight flight of stairs, 
 
 easing up on the landing. 
 
 Let A A, Fig. 1, be the ground-plan of the circular part of the rail, with a 
 portion of the straight rail attached, so as to bring the joint on the straight 
 part of rail. 
 
 A B, Fig. 4, shows the manner of obtaining the stretch-out of the semi- 
 circular part . abed is the diameters of the concave and convex semi- 
 circumference of the rail. 
 
126 
 
 EXPLANATION OF PLATES. 
 
 1, 2, 3, and 4, as centres; draw the arcs intersecting at P and S; then 
 draw the tangent lines n o e k of the concave and convex sides of the given 
 plan. From the point P draw lines through 2 and 3, until it intersect at n 
 and o ; also from S through 1 and 4, until it intersects at e and k ; then N 
 and e k will be the stretch-outs of the two semi-circular lines. 
 
 It will be observed that A B, Fig. 4, is the same as A A, Fig 1. Fig. 4 
 is to show the manner of obtaining the different points and their stretch-outs. 
 
 To obtain the falling-mould for the concave stretch-outs, Fig. 2 iVand 0, 
 Fig. 4, erect perpendicular from the point n and of the concave stretch-out 
 to c and d ; at the points c, place the upper angle of the pitch-board a b c and 
 c e, the line of floor; draw e i equal to half a rise at right angle to C e ; then 
 draw the hypothenuse, a land Ir, parallel to the top of floor. 
 
 Let d r be equal to the straight part P, of Fig. 1. 
 
 We will now form the easing. From the angle at i, up on the hypothe- 
 nuse, measure off eight inches in length, which divide into six equal parts. 
 Then take four of these parts, and apply it upon the opposite side of the angle 
 at 7, and then divide said distance into six equal parts ; then draw intersect- 
 ing lines, and the easing will be formed for the under side of the rail. Then 
 set up the depth of the rail, square across it at each extremity of said easings, 
 and from the points upon the upper side of the rail the upper easing may be 
 formed. 
 
 Take the length of the straight part g b of Fig. 1, and apply it upon the 
 base of the pitch-board b to g, Fig. 2. 
 
 Erect the perpendicular g w, and form w square across the rail, which line 
 will be the joint ; the joint at / in the centre is obtained by squaring across 
 the rail at j T ; then draw lines parallel to the perpendicular at j and T, 
 which lines will be the over-wood necessary for the joints ; which over-wood 
 must be applied to the joint in Fig. 1, as readily perceived, at r square across 
 the rail, which is the terminating joint. 
 
 From the lower joint draw x y j v, which is the given height for each piece. 
 
 The convex falling-mould, Fig. 3, is obtained in the same manner, from e k } 
 the convex stretch-out, Fig. 4, as Fig. 2 was obtained. 
 
 To form the easing upon convex falling-mould, Fig. 3, so that it may coin- 
 cide with the concave easing Fig. 2, take the distance from z, at the termina- 
 tion of the easing, to d at Fig. 2, and apply it up on the concave stretch-out 
 from to r, Fig. 4 ; then draw the line r P, and through its intersection with 
 the concave at z, on the semi-circumference, draw T U, from the centre T 
 to the convex semi-circumference U; then draw s v through the point of 
 intersection at w, and v k will be the required distance. Apply said distance 
 
EXPLANATION OF PLATES. 
 
 127 
 
 upon the mould from k to v, Fig. 3 ; divide the distance from v to the angle 
 at i into six equal parts ; the distance upon the hypothenuse from the angle 
 at i is the same as the Fig. 2 ; then divide this distance as before, and com- 
 plete the easing as represented, and your pattern is complete for the convex 
 falling-mould. 
 
 We will now proceed to obtain our patterns Fig. 5 and 6. First draw a 
 chord-line 1-2, and 3-4, taking in the over-wood on each pattern. 
 
 Then draw the lines 5678 9 10 11, perpendicular to the chord ; then 
 draw the line 12 parallel to 1-2, at a convenient distance from the ground- 
 plan A A; then take the rise of the rail y j } Fig. 2, and set it up to 13, 
 which gives the bevel for to apply the pattern by, then draw 14 15 16 and 17, 
 at right angles with 13 ; then apply the same distances from 13, the ground- 
 plan measures from 1-2 ; then, by bending a thin piece of wood around the 
 points, mark the required pattern. 
 
 Now, for applying the pattern to the plank : square one edge of the plank, 
 apply the bevel at 13, and lay the pattern on each side, and saw out the rail- 
 piece, and apply the paper pattern of the concave and convex falling-mould, 
 and you have the required piece. You will proceed in the same manner for 
 Fig. 6; first draw 5 6 7 8 9 10 11, as before. 
 
 Then draw 12 and 13, giving the rise from v to r, as in Fig 2; then pro- 
 ceed as before, until complete. 
 
 Plate LVI. 
 
 Exhibits the plan of forming the rail for a semi-circular stairs, with six 
 winders, having fliers attached above and below. 
 
 ABC, Fig. 1, is the ground-plan of the rail; the lengths of the concave 
 and convex semi-circumference of the ground-plan are obtained in the same 
 manner as in the preceding plates. Take the length of the stretch-outs r t 
 and apply the same upon a base line, Fig. 5 ; then take the height of the six 
 winders, including one of the straight steps, and set it up at t ; then apply 
 the pitch-board of the straight steps a and C, the base of which is equal to the 
 straight part A and c, Fig. 1. You will now proceed to form the easings as 
 is represented on mould. When the easing is completed, you will take the 
 distances, and apply them to the concave stretch-out, Fig. 1 ; then, as before 
 in the preceding plate, carry them on to the convex stretch-out ; then apply 
 them to Fig. 6. 
 
128 
 
 EXPLANATION OF PLATES. 
 
 To draw Fig. 6, you will take the convex stretch-out e and c, and apply it 
 to the base line ; then set up the height as before, and apply your pitch- 
 boards A and C, and your easings complete your rail-piece. The manner of 
 forming the but-joints in the rail, on the ground-plan Fig. 1 : Determine the 
 joint, square across it with a line running to the centre of the well ; draw 
 dotted lines from each intersection, on the concave and convex semi-circum- 
 ference, to and P, and then carry them on to the stretch-outs ; then take 
 the distance from r to i, and t to k 9 and apply them to Fig. 5 ; raise a per- 
 pendicular to the rail ; then square across the rail in the centre, which makes 
 the joint on the concave falling-mould. You then proceed the same to carry 
 the joints on to the convex. 
 
 Then draw the lines for the over-wood 1 2, Fig. 5, and apply the distance 
 to the joints, Fig. 1. Then draw as in the preceding plate, Fig. 2, 3, and 4, 
 taking the heights for each piece from Fig. 5, as represented by the horizontal 
 lines, at the bottom of each joint. 
 
 Plate LVII. 
 
 Fig. 1 shows the plan of stairs having five winders, the well-hole being 
 formed by two quadrantal parts, a larger and smaller one, which may be 
 termed a quarter space. 
 
 Fig. 2 shows the plan and elevation of the veneer for the concave side of 
 the stairs. 
 
 Fig. 3 shows the plan and elevation of the veneer, or skirting, for the con- 
 vex side of the stairs. 
 
 Fig. 1 shows the ground-plan of the veneer. 
 
 To obtain their stretch-outs h let a d be equal to twice the radius a c ; 
 then, having a d as centres, describe the intersecting point at b ; then, from 
 b, draw a line through a to h, intersecting the tangent line (the stretch-out 
 for the small quadrant is obtained in the same way), and h j will be the 
 stretch-out of the two quadrants. Then draw lines 3 4 5 6 7 8, touching the 
 points of the risers, to b ; then carry them up to Fig. 2, which gives the 
 width of the tread in the circular part. 
 
 S, the face side of the front string ; the dotted lines at s showing the face 
 of the bracket ; n n, the line of nosing ; C C, the plan of the rail ; r r r r, 
 the risers ; b b b, the plank risers, secured to the studs s s, the wall-string. 
 
f 
 
EXPLANATION C V PLATES. 
 
 129 
 
 G, the ground for the reception of the veneer ; B B, the base upon the 
 landing, having the upper end of the veneer attached. 
 
 Fig. 3. A, the part of the wall-string ; k j the upper edge, and u u the 
 lower ; rr r the risers, and t 1 the treads. To obtain the length of the part 
 B of the string for the convex side, proceed in the same manner as the con- 
 cave ; then 5 7 9 will be the stretch-outs for the winders. The line k j is 
 the upper edge, and j i shows the junction of the part B to A. 
 
 Plate LVIII. 
 
 On plate 58 is represented a plan for a window frame, shutter, and blind. 
 A A, studs ; B B, weights ; C C, sash ; D, stop between sash and blind ; 
 E E, shutter ; F, enclosing ; H 3 outside face-casing ; J, blind. 
 
 On plates 59, 60, 61, are three designs for eave cornices for two-story 
 buildings. Scale, one-eighth of an inch to the inch. 
 
 On plate 62 is exhibited a design for a front door, with a projecting cap 
 and bracket, suitable for a balcony on top, if desired. 
 
 Plate 63 is a detailed cornice and bracket, one-fourth full size, for same. 
 
 On plates 64, 65, are two designs for inside door finish. Scale one inch to 
 a foot. 
 
 On plates 66, 67, are four designs for chimney-pieces, which may be exe- 
 cuted in w r ood, two of them showing different designs for bracket ; all drawn 
 from a scale one inch to the foot. 
 
 Gates and Fences. — Plates 68, 69, exhibit four designs for fences and four 
 designs for gates, which styles, it is believed, will be found very desirable. 
 17 
 
130 TABLE OF CIRCLES. 
 
 TABLE OF CIRCLES. 
 
 From Gregory's Mathematics. 
 
 From this table may be found the circumference of a circle of any diameter, and the side of 
 a square equal to the area of any given circle from 1 to 50 inches, feet, yards, &c. 
 
 If the given diameter is in inches, the circumference, area, &c, set opposite, will be in inches ; 
 if in feet, feet, &c. 
 
 Diam. 
 
 Ciroum. 
 
 Area. 
 
 Side of equal 
 Square* 
 
 Diam. 
 
 Circum. 
 
 Area. 
 
 Side of equal 
 Square. 
 
 JL 
 4 
 _L 
 3 
 
 •7854 
 1-5708 
 
 •0490 
 •1963' 
 
 •2115 
 •4331 
 
 11 in. 
 
 i 
 
 34- 557 
 
 35- 343 
 
 36- 128 
 
 95033 
 99-402 
 103-869 
 
 9-7482 
 9-9698 
 10-191 
 
 1 in. 
 
 i 
 i 
 
 U 
 
 3-1416 
 
 3- 9270 
 
 4- 7124 
 
 •7854 
 1-2271 
 1-7671 
 
 •8862 
 1-0775 
 1-3293 
 
 12 in. 
 i 
 
 ¥ 
 | 
 
 37- 699 
 
 38- 484 
 
 39- 270 
 
 113-097 
 117-859 
 122-718 
 
 10-634 
 
 10- 856 
 
 11- 077 
 
 2 in. 
 i 
 
 t 
 i 
 
 ~z 
 
 6- 2832 
 
 7- 0686 
 7-8540 
 
 3-1416 
 
 3- 9760 
 
 4- 9087 
 
 1.7724 
 
 1- 9939 
 
 2- 2155 
 
 13 in. 
 
 i 
 
 ¥ 
 l 
 
 40- 840 
 
 41- 626 
 
 42- 411 
 
 132732 
 137-886 
 143-139 
 
 11-520 
 11-742 
 11-963 
 
 3 in. 
 
 x 
 
 ¥ 
 1 
 
 2 
 
 9-4248 
 10-210 
 10-995 
 
 70686 
 
 8- 2957 
 
 9- 6211 
 
 2-6586 
 
 2- 8801 
 
 3- 1017 
 
 14 in. 
 
 i 
 
 X. 
 
 43- 982 
 
 44- 767 
 
 45- 553 
 
 153-938 
 159-485 
 165-130 
 
 12-406 
 12-628 
 12-850 
 
 4 in. 
 t 
 
 X 
 2 
 
 12- 566 
 
 13- 351 
 14137 
 
 12-566 
 
 14- 186 
 
 15- 904 
 
 3-5448 
 3-7663 
 3-9880 
 
 15 in. 
 i 
 
 ¥ 
 2 
 
 47-124 
 
 47- 909 
 
 48- 694 
 
 176-715 
 182-654 
 188-692 
 
 13-293 
 13-514 
 13-736 
 
 5 in. 
 
 X 
 4 
 
 X. 
 
 15- 708 
 
 16- 493 
 
 17- 278 
 
 19-635 
 21-647 
 23-758 
 
 4-4310 
 4-6525 
 4-8741 
 
 16 in. 
 
 i 
 
 50- 265 
 
 51- 051 
 51-836 
 
 201-062 
 207-394 
 213-825 
 
 14-179 
 14-400 
 14-622 
 
 6 in. 
 i 
 
 ¥ 
 i 
 
 18- 849 
 
 19- 635 
 20 420 
 
 28-274 
 30-679 
 33-183 
 
 5-3172 
 5-5388 
 5-7603 
 
 17 in. 
 
 i 
 i 
 
 s 
 
 53- 407 
 
 54- 192 
 54-978 
 
 226-980 
 233-705 
 240-528 
 
 15065 
 15-286 
 15-508 
 
 7 in. 
 i 
 
 ¥ 
 JL 
 •2 
 
 21- 991 
 
 22- 776 
 
 23- 562 
 
 38-484 
 41-282 
 44-178 
 
 6-2034 
 6-4350 
 6-6465 
 
 18 in. 
 
 * 
 i 
 s 
 
 56- 548 
 
 57- 334 
 58119 
 
 254-469 
 261-587 
 268-803 
 
 15- 951 
 16173 
 
 16- 394 
 
 8 in. 
 t 
 
 X 
 
 2 
 
 25-132 
 
 25- 91S 
 
 26- 703 
 
 50-265 
 53-456 
 56-745 
 
 7-0897 
 7-3112 
 7-532S 
 
 19 in. 
 
 JL 
 
 4 
 
 JL 
 2 
 
 59- 690 
 
 60- 475 
 
 61- 261 
 
 283-529 
 291-039 
 298648 
 
 16- 837 
 
 17- 060 
 17-280 
 
 9 in. 
 
 i 
 i 
 
 •g 
 
 28- 274 
 
 29- 059 
 29-845 
 
 63.617 
 67-200 
 70-882 
 
 7- 9760 
 
 8- 1974 
 8-4190 
 
 20 in. 
 
 i 
 i 
 
 62- 832 
 
 63- 617 
 
 64- 402 
 
 314-160 
 322-063 
 330-064 
 
 17-724 
 17-945 
 18167 
 
 10 in. 
 
 X 
 4 
 
 t 
 
 31- 416 
 
 32- 201 
 32-986 
 
 78-540 
 82-516 
 86-590 
 
 8- 8620 
 
 9- 0836 
 9-3051 
 
 21 in. 
 i 
 * 
 
 65.793 
 
 66- 759 
 
 67- 544 
 
 346-361 
 354-657 
 | 363-051 
 
 18-610 
 18-831 
 19053 
 
Ll-L I I I xm 
 
8 
 
K 
 
 Six / / 
 
 I 
 
 r 
 
 I 
 
PLT. LX VII I . 
 
TABLE OF CIRCLES. 
 
 131 
 
 Diam. 
 
 Circum. 
 
 Area. 
 
 Square. 
 
 Diam. 
 
 Circum. 
 
 Area. 
 
 Side of equal 
 Square. 
 
 22 in. 
 
 j_ 
 4 
 
 2" 
 
 69-115 
 
 69- 900 
 
 70- 686 
 
 380-133 
 388-822 
 397-608 
 
 19-496 
 19-718 
 19-939 
 
 36 in. 
 
 ¥ 
 J. 
 2 
 
 113-097 
 
 113- 883 
 
 114- 668 
 
 1017-87 
 103206 
 1046-39 
 
 31- 903 
 
 32- 124 
 32-346 
 
 23 in. 
 i 
 
 ¥ 
 
 2 
 
 72- 256 
 73042 
 
 73- 827 
 
 415-476 
 424-557 
 433-731 
 
 20-382 
 20-604 
 20-825 
 
 :37 in. 
 
 i 
 i 
 
 2 
 
 116- 239 
 
 117- 024 
 117-810 
 
 1075-21 
 1089-79 
 1104-46 
 
 32- 789 
 
 33- 011 
 33-232 
 
 24 in. 
 i 
 
 ¥ 
 
 2" 
 
 75- 398 
 
 76- 183 
 76-969 
 
 452-390 
 461-864 
 471-436 
 
 21-268 
 21-490 
 21-712 
 
 :38 in. 
 
 i . 
 
 ¥ 
 1 
 
 2" 
 
 119- 380 
 120166 
 
 120- 951 
 
 1134-11 
 1149-08 
 116415 
 
 33- 675 
 33897 
 
 34- 118 
 
 25 in. 
 i 
 
 4 
 2" 
 
 78- 540 
 
 79- 325 
 
 80- 110 
 
 490-875 
 500-741 
 510-706 
 
 22-155 
 22-376 
 22-598 
 
 :39 in. 
 i 
 
 ¥ 
 l 
 
 2" 
 
 122- 522 
 
 123- 307 
 
 124- 093 
 
 1194-59 
 1209-95 
 1225-42 
 
 34-561 
 
 34- 783 
 
 35- 005 
 
 26 in. 
 i 
 
 ¥ 
 1 
 
 2 
 
 81- 681 
 
 82- 467 
 
 83- 252 
 
 530-930 
 541-189 
 551-547 
 
 23041 
 23-062 
 23-484 
 
 40 in. 
 i 
 
 ¥ 
 l 
 
 2 
 
 125- 664 
 
 126- 449 
 
 127- 234 
 
 1256-64 
 1272-39 
 1288-25 
 
 35-448 
 35-669 
 35-891 
 
 27 in. 
 
 4 
 X 
 
 84- 823 
 
 85- 608 
 
 86- 394 
 
 572-556 
 583-208 
 593-958 
 
 23- 927 
 
 24- 149 
 24-370 
 
 -41 in. 
 i 
 
 ¥ 
 
 128- 805 
 
 129- 591 
 
 130- 376 
 
 1320-25 
 1336-40 
 1352-65 
 
 36-334 
 36-555 
 36-777 
 
 28 in. 
 
 i 
 
 87- 964 
 
 88- 750 
 
 89- 535 
 
 615-753 
 626-798 
 637-941 
 
 24- 813 
 
 25- 035 
 25-256 
 
 42 in. 
 i 
 
 ¥ 
 
 2" « 
 
 131- 947 
 
 132- 732 
 
 133- 518 
 
 1385-44 
 1401-98 
 1418-62 
 
 37-220 
 37-442 
 37-663 
 
 29 in. 
 l 
 
 4 
 1 
 
 2 
 
 91-106 
 
 91- 891 
 
 92- 677 
 
 660-521 
 671-958 
 683-494 
 
 25-699 
 
 25- 921 
 
 26- 143 
 
 43 in. 
 i 
 
 4 
 1 
 
 2 
 
 135-08S 
 135-874 
 lo6-659 
 
 1452-20 
 1469-13 
 1486-17 
 
 38106 
 38-328 
 38-549 
 
 30 in. 
 i 
 
 ¥ 
 1 
 
 2" 
 
 94- 248 
 95033 
 
 95- 818 
 
 706-S60 
 718-690 
 730-618 
 
 26-5S6 
 
 26- 807 
 
 27- 029 
 
 44 in. 
 i 
 
 ¥ 
 
 138- 230 
 
 139- 015 
 139-801 
 
 1520-53 
 1537-86 
 1555-28 
 
 38- 993 
 
 39- 214 
 39-436 
 
 31 in. 
 
 i 
 
 1 
 
 97- 389 
 
 98- 175 
 98-968 
 
 754-769 
 766-992 
 779-313 
 
 27-472 
 27-693 
 27-915 
 
 45 in. 
 i 
 
 4 
 1 
 
 141- 372 
 142157 
 
 142- 942 
 
 1590-43 
 1608-15 
 1625-97 
 
 39- 879 
 
 40- 110 
 40-322 
 
 32 in. 
 i 
 
 ¥ 
 
 100- 531 
 
 101- 316 
 
 102- 102 
 
 804-249 
 816-865 
 829-578 
 
 28-358 
 28-580 
 28-801 
 
 446 in. 
 
 i 
 i 
 
 2 
 
 144- 513 
 
 145- 299 
 146 0S4 
 
 1661-90 
 1680-01 
 1698-23 
 
 40-765 
 
 40- 986 
 
 41- 208 
 
 33 in. 
 i 
 
 ¥ 
 
 103 672 
 
 104- 458 
 
 105- 243 
 
 855-30 
 868-30 
 881-41 
 
 29-244 
 29-466 
 29-687 
 
 447 in. 
 i 
 $ 
 
 147- 655 
 
 148- 440 
 
 149- 226 
 
 1754-94 
 1753-45 
 1772-05 
 
 41-651 
 41-873 
 42094 
 
 34 in. 
 
 * 
 
 106- 814 
 
 107- 599 
 
 108- 385 
 
 907-92 
 921-32 
 934-82 
 
 30-131 
 30-352 
 30-574 
 
 418 in. 
 i 
 
 4 
 1 
 
 2 
 
 150- 796 
 
 151- 5S2 
 
 152- 367 
 
 1809-56 
 1828-46 
 1847-45 
 
 42-537 
 42-759 
 42 980 
 
 35 in. 
 i 
 
 ¥ 
 
 109- 956 
 
 110- 741 
 
 111- 526 
 
 962 11 
 975-90 
 9S9-80 
 
 31-017 
 31-238 
 31-460 
 
 449 in. 
 i 
 
 ¥ 
 X 
 
 2 
 
 153- 938 
 
 154- 723 
 
 155- 509 
 
 1885-74 
 1905-03 
 1924-42 
 
 43-423 
 43-645 
 43-867 
 
MISCELLANEOUS. 
 
 The following are the results of experiments made by Mr. Emerson, 
 which state the load that may be safely borne by a square inch rod of 
 each i 
 
 Pounds Avoirdupois. 
 
 Iron rod, an inch square, will bear, . . . 76,400 
 
 Brass, 
 
 Hempen rope, .... 
 
 Ivory, 
 
 Oak, box, yew, plum-tree, 
 Elm, ash, beech, .... 
 Walnut, plum, .... 
 Red pine, holly, elder, plum, crab, 
 Cherry, hazel, .... 
 Alder, asp, birch, willow, 
 
 Lead, 
 
 Free-stone, 
 
 ACTUAL COHESION 
 
 Gold Cast, 
 
 Silver Cast, 
 Copper Cast, 
 
 Steel Bar 
 
 Soft, . 
 Razor tempered, 
 
 Lead Cast, 
 
 19,600 
 15,700 
 7,850 
 6,070 
 5,360 
 5,000 
 4,760 
 4,290 
 430 
 914 
 
 24,000 
 20,000 
 40,000 
 43,000 
 28,700 
 120,000 
 150,000 
 860 
 
 Zinc, WHO 
 
 CIRCLES AND DIAMETERS. 
 To find the circumference of a circle, the diameter being given ; or, to 
 find the diameter, the circumference being given, we have the following 
 
 RULE. 
 
 Multiply 3.1416 by the diameter, and the product will be the circum- 
 ference ; or, 
 
 132 
 
MISCELLANEOUS. 
 
 133 
 
 Divide the circumference by 3.1416, and the quotient is the diameter. 
 Note. — As 22 is to 7, so is the circumference to the diameter ; or, as 7 
 is to 22, so is the diameter to the circumference. 
 
 EXAMPLES. 
 
 1. What is the circumference of a circle whose diameter is 15 ? 
 
 3.1416 X 15 ==47. 124= circu inference. 
 
 2. What is the diameter of a circle whose circumference is 179 ? 
 
 ? 7 f ???^ = 56.97 = diameter. 
 3.141b 
 
 3. Required the circumference of a circle whose diameter is 30 feet. 
 
 Ans. 94.248. 
 
 4. Find the circumference of a circle whose diameter is 13 feet. 
 
 Ans. 40.84. 
 
 5. Required the diameter of a circle whose circumference is 24884- 
 .6136. Ans. 7921. 
 
 6. The circumference of a circle being 37.6992, what is the diameter ? 
 
 Ans. 12. 
 
 The following Table, taken from the " Mechanic's Own Book," con- 
 tains diameters and circumferences in inches and parts, from half an inch 
 to 65 inches. 
 
 Diameter m 
 inches & half. 
 
 Circumference 
 in inches 
 and parts. 
 
 Diameter in 
 inches & half. 
 
 Circumference 
 in inches 
 and parts. 
 
 Diameter in 
 inches & half. 
 
 Circumference 
 in inches 
 and parts. 
 
 Diameter in 
 inches & half. 
 
 Circumference 
 in inches 
 and parts. 
 
 Diameter in 
 inches & half. 
 
 Circumference 
 in inches 
 and parts. 
 
 1 
 
 1.57 
 
 71 
 
 * 2 
 
 23.56 
 
 m 
 
 15 
 
 45.55 
 
 211 
 
 67.54 
 
 281 
 
 89.53 
 
 2 
 
 1 
 
 H 
 
 3.14 
 
 8 
 
 25.13 
 
 47.12 
 
 22 
 
 69.11 
 
 29 
 
 91.1 
 
 4.71 
 
 8| 
 9 
 
 26.7 
 
 151 
 
 48.70 
 
 221 
 
 70.7 
 
 291 
 
 92.67 
 
 2 
 
 6.28 
 
 28.27 
 
 16 
 
 50.26 
 
 23 
 
 72.25 
 
 30 
 
 94.28 
 
 
 7.85 
 
 al- 
 
 29.84 
 
 161 
 17 
 
 51.83 
 
 231 
 
 73.82 
 
 301 
 
 95.81 
 
 3 
 
 9.42 " 
 
 io 
 
 31.4 
 
 53.40 
 
 24 
 
 75.4 
 
 31 
 
 97.39 
 
 31 
 
 10.99 
 
 
 32.98 
 
 m 
 
 54.97 
 
 241 
 
 76.9 
 
 311 
 
 98.96 
 
 4 
 
 12.56 
 
 n 
 
 34.55 
 
 18 
 
 56.54 
 
 25 
 
 78.54 
 
 32 
 
 100.53 
 
 H 
 
 14.13 
 
 hi 
 
 36.12 
 
 181 
 
 58.11 
 
 251 
 
 80.11 
 
 321 
 
 102.1 
 
 5 
 
 15.7 
 
 12 
 
 37.70 
 
 19 
 
 59.69 
 
 26 
 
 81.68 
 
 33 
 
 103.67 
 
 5| 
 
 17.28 
 
 12J 
 
 39.27 
 
 19^ 
 
 61.26 
 
 261 
 
 83.25 
 
 331 
 
 105.24 
 
 6 
 
 -18.85 
 
 13 
 
 40.84 
 
 20 
 
 62.8 
 
 27 
 
 84.82 
 
 34 
 
 106.81 
 
 6| 
 
 20.42 
 
 13J 
 
 42.4 
 
 201 
 
 64.4 
 
 27i 
 
 86.39 
 
 341 
 
 108.38 
 
 7 
 
 21.99 
 
 14 
 
 43.98 
 
 21 
 
 65.97 
 
 28* 
 
 87.96 
 
 35 
 
 109.95 
 
134. 
 
 MISCELLANE OUS. 
 
 Diameter in 
 inches & half. 
 
 Circumference 
 in inches 
 and parts. 
 
 Diameter in 
 inches & half. 
 
 Circumference 
 in inches 
 and parts. 
 
 Diameter in 
 inches & half. 
 
 Circumference 
 in inches 
 and parts. 
 
 Diameter in 
 inches & half. 
 
 Circumference 
 in inches 
 and parts. 
 
 Diameter in 
 inches & half. 
 
 Circumference 
 in inches 
 and parts. 
 
 351 
 
 111.52 
 
 411 
 
 130.37 
 
 47| 
 
 149.22 
 
 531 
 
 168. 
 
 591 
 
 60 
 
 186.92 
 
 36 
 
 113.00 
 
 42 
 
 131.94 
 
 48 
 
 150.79 
 
 54 
 
 169.64 
 
 188.49 
 
 36£ 
 
 114.66 
 
 421 
 
 133.51 
 
 481 
 
 152.36 
 
 541 
 
 171.21 
 
 601 
 
 190. 
 
 37 
 
 116.23 
 
 43 
 
 135. 
 
 49 
 
 153.93 
 
 55 
 
 172.78 
 
 61 
 
 191.63 
 
 371 
 
 117.81 
 
 431 
 
 136.65 
 
 491 
 
 155.5 
 
 551 
 
 174.35 
 
 611 
 62 
 
 193.2 
 
 38 
 
 119.38 
 
 44 
 
 138.23 
 
 50 
 
 157. 
 
 56 
 
 175.92 
 
 194.77 
 
 381- 
 
 120.9 
 
 441 
 
 139.8 
 
 50| 
 
 158.65 
 
 561 
 
 177.5 
 
 621 
 
 196.35 
 
 39 
 
 122.52 
 
 45 
 
 141.37 
 
 51 
 
 160.23 
 
 57 
 
 179. 
 
 63 
 
 197.92 
 
 391 
 
 124.1 
 
 451 
 
 142.94 
 
 511 
 
 161.79 
 
 571 
 
 180.64 
 
 631 
 
 199.49 
 
 40 
 
 125.66 
 
 46 
 
 144.52 
 
 52 
 
 163.36 
 
 58 
 
 182.21 
 
 64 
 
 201. 
 
 401 
 
 127.23 
 
 46J 
 
 146. 
 
 521 
 
 164.93 
 
 5S| 
 59 
 
 183.78 
 
 64| 
 
 202.63 
 
 41 
 
 128.8 
 
 47 
 
 147.65 
 
 53 
 
 166.5 
 
 185.35 
 
 65 
 
 204.2 
 
 EXAMPLE. 
 
 Required the circumference of a circle of 7 inches diameter. See the 
 above Table ; in column 1st, is 7 inches diameter, and against that, in 
 column 2d, is 21.99, or what might be considered 22. 
 
 The following Rules, taken from the "Engineer's Text Book," are 
 inserted for the convenience of the practical carpenter. 
 
 TO FIND THE AREA OF A CIRCLE. 
 
 Rule 1. — Multiply half the circumference by half the diameter, and the 
 product will be the area. 
 
 Rule 2. — Square the diameter, and multiply that square by the decimal 
 .7854 for the area. 
 
 Rule 3. — Square the circumference, and multiply that square by the 
 decimal .07958. 
 
 TO FIND THE WEIGHT OF LEAD. 
 
 Rule. — Find by calculation the number of cubic inches in the piece, 
 and multiply the sum by .41015, and the product will be the weight in lbs. 
 
 TO FIND THE WEIGHT OF BRASS. 
 
 Rule. — Find the number of cubic inches in the piece. Multiply by 
 .3112, and the product will be the weight in pounds. 
 
SPECIFICATIONS. 
 
 135 
 
 TO FIND THE WEIGHT OF WROUGHT IRON. 
 
 Rule. — Find the number of cubic inches in the piece, and multiply by 
 the weight of 1 cubic inch, which is .2816, and the product is the weight 
 in pounds. 
 
 TO FIND THE WEIGHT OF CAST IRON. 
 
 The multiplier is .2607, weight of a cubic inch. 
 
 SPECIFICATIONS 
 
 Of materials and labor suitable for the erection of the Italian Villa, Design I. 
 The specifications given beLow may be adapted, with some alterations, 
 to almost any building of the s;ame character. The Villa for which these 
 specifications were originally drawn, was designed for William M. Bick- 
 ford, Esq., of Worcester, Mass., which he is now erecting, and is similar 
 to Design I. It cannot be exp ected that we should publish all the details 
 for such a dwelling ; hence, the references made to plans not found in this 
 work. 
 
 SIZE OF HOUSE. 
 
 The house is to be of such dimensions as to admit of the rooms being 
 finished as large as they are represented on the plans. 
 
 CELLAR. 
 
 The cellar to extend under the whole house, and to be eight feet from 
 the bottom to the top of the underpinning. The wall, two feet six inches 
 thick at the bottom and one foot eight inches at the top, to be made of 
 large block stone well laid, and to be pointed with good lime mortar ; to 
 be carried up with a good face to the bottom of the underpinning with 
 stone, and thence, on the inside of the underpinning, up to the sills, with 
 brick-work. In those places where the underpinning sets out from the 
 sills, under the porches or porti cos, the wall is to be carried up to the sills, 
 in place of the underpinning, with eight inch brick-work. The cellar to 
 be divided, as per plan, with a Ibrick wall eight inches thick, commencing 
 at the bottom with hard burnt brick; — to be brick piers twelve inches 
 square, to support the sills, where they are marked on the plan ; — to have 
 a drain, not less than eight inches square, well stoned and covered ; also, 
 doors in the partition walls, to afford a passage from one apartment to 
 another, and a door from without, having good curb-stones and stone 
 steps ; the drain and doors to be located in such places as the owner may 
 direct. 
 
136 
 
 SPECIFICATIONS. 
 
 UNDERPINNING. 
 
 The underpinning to be two feet eight inches in height, and of fine 
 hammered stone, well set, with the upper edge straightened and ends 
 squared ; the ends next to the cellar windows quoined. That part of the 
 underpinning under the porticos to be of the same height as the other, and 
 to rest on a dwarf wall commencing three feet below the surface of the 
 ground. The front steps and buttresses to be of the same kind of stone 
 and finish as the underpinning. 
 
 FRAMING. 
 
 The sills to be of the best chestnut timber, and the rest of the frame of 
 the best northern hard pine, free from large knots and shakes. The floor 
 joists jointed crowning, and the posts, studs, and girts jointed straight on 
 their outer edges ; the whole frame to be braced in every part where it is 
 necessary. 
 
 The floor timbers in the back part may be one inch less in depth than 
 in front. 
 
 The sizes of the timbers suitable for this house are given below : 
 
 Inches. 
 
 Outside sills, 8x8 
 
 Cross sills, 9X8 
 
 First floor joists, 10 X 2i 
 
 Posts, main part, . . . . • . .8X6 
 
 Posts, back part, 7X5 
 
 Studs, main part, 6X2 
 
 Girts, main part, . . . . • . 8X6 
 
 Studs, back part, 5X2 
 
 Girts, back part, 7X5 
 
 Second floor joists, 9 X 2h 
 
 Plates, all around, . . . . . . 7X6 
 
 Third floor joists, 8x2 
 
 Beams, or Upper Girts, 8 X6 
 
 Rafters, main part, . . . . . .7X3 
 
 Rafters, back part, . . . . . . 6X3 
 
 Furring, on the ceiling, 3X1 
 
 Partition, first story, 4X2 
 
 Partition, second story, . . . . . .3x2 
 
 Partition, back part, 3x2 
 
 Braces, 4X5 
 
SPECIFICATIONS. 
 
 137 
 
 COVERING. 
 
 The outside to be well boarded with planed unmatched boards, of soft 
 or white pine, thoroughly nailed, and sheathed with good eastern boards, 
 well seasoned, well nailed, and smoothed to a straight edge; — the 
 sheathing boards not to exceed five inches in width, — the joints matched 
 and well painted with white lead and linseed oil ; the corners at the an- 
 gles of the house mitred together. For the finishing of sheathing around 
 the windows, and for making the cornice, battlement, bracket, frieze, and 
 gutters, see plan. 
 
 ROOFS. 
 
 The roofs, including those of the porticos, to be first covered with 
 square-edged boards, about six inches wide, planed to an even thickness, 
 the joints being left open about one eighth of an inch, and then with tin 
 of the best quality and workmanship ; the tinning to be continued through 
 the gutters, to the edge of the cornice. The chimneys to be properly 
 leaded, and every other place about the roofs where it is necessary. 
 
 FLOORS. 
 
 The under floors to be made of good northern pine boards, planed, 
 matched, and well nailed ; the upper floors of good floor boards free from 
 large knots and shakes, and not to exceed eight inches in width, well 
 nailed, and cut in against the mop-boards. The floor in the kitchen to be 
 made of Georgia pine, well oiled and varnished ; those in the drawing- 
 room and parlor, traversed and made perfectly straight and level. 
 
 PARTITIONS. 
 
 The partitions to be made of good stock, jointed to such width as is 
 given in the table, set edgewise, and bridged in two places. Those par- 
 titions around the closets and rooms of minor importance, may be set 
 flatwise. All the partition joists, and all the furrings, set one foot from 
 centre to centre. 
 
 The house to be divided into rooms throughout, as shown on the plan. 
 
 WINDOWS. 
 
 In first story, main part, each window, twelve lights, 24 by 14 ; in 
 second story, each window, twelve lights, 20 by 14, excepting the one 
 over the balcony in front, of fifteen lights, nine in the lower casement. 
 In first story, back part, lights 16 by 12 ; in second story, lights 15 by 12. 
 
 All the sashes to be made of pine, one and seven eighths inches thick, 
 and double hung with pulleys, weights, cords, &c, of the best quality. 
 18 
 
138 
 
 SPECIFICATIONS. 
 
 The glass, in fro . /indows, to be French plate ; all the other, Red- 
 ford crown glass, except that in back part, which is to be second quality 
 of Redford, or Saranac. 
 
 PLASTERING. 
 
 The first and second stories of main part to be lathed and plastered 
 with two coats of brown mortar, made perfectly even, and hard finished. 
 The first and second stories of back part to be lathed and plastered with 
 two coats, and the ceilings hard finished. The parlor, drawing-room, 
 dining-room, vestibule, and entry, to have a small cornice ; also, centre- 
 pieces ; one in the parlor, two in the drawing-room, one in the dining- 
 room, one in the vestibule, and one in the entry. The bath-room and 
 conservatory sheathed all around with planed and matched boards. 
 
 CHIMNEYS. 
 
 The chimneys, commencing at the bottom of the cellar with hard-burnt 
 brick, to be carried up and topped out, as shown on the plan, with pressed 
 brick ; — to be as many fire-places as the owner may require, each having 
 a separate flue extending to the top of the chimney. 
 
 The parlor, drawing and dining rooms, each to have marble chimney- 
 pieces and hearths ; the other hearths to be of pressed brick. The 
 kitchen chimney to be fitted for a cooking-range, and a copper boiler, with 
 an iron door, which will hold not less than thirty gallons ; and to have a 
 good-sized oven with a cast-iron door ; to be an ash-pit formed in the 
 basement of the chimney, having two cast-iron doors, one above and the 
 other below. 
 
 HEIGHT OF STORIES. 
 
 The first story of main part to finish thirteen feet ; the second story, 
 twelve feet. 
 
 The first story of back part to finish eleven feet ; the second story, ten 
 feet. The attics unfinished, and without floors. Cupola as per plan. 
 
 PORTICOS. 
 
 The porticos in front to be made as per plan and elevation ; see, also, 
 details. The floors to be made of Georgia pine, one inch and a half 
 thick, and four inches wide, with openings of one eighth of an inch ; the 
 timbers or bearings placed not more than eight inches apart. The under- 
 pinning to be on a level with that of the house. (See elevation and plan.) 
 The whole front edge of the floors of the porticos to be abaut six inches 
 thick ; the roofs, like those on the house, to have small tin gutters in the 
 
SPECIFICATIONS. 
 
 139 
 
 top of the cornice. The columns, cornice, and all the other finish, as per 
 plan. 
 
 FOLDING SHUTTERS. 
 
 The parlor and drawing-room to have folding shutters on the inside of 
 the windows, divided into four parts vertically, and three horizontally. 
 The shutters made of the best Eastern stock, well seasoned, and well 
 nung, with trimmings and fastenings to correspond with the doors. 
 
 CHINA CLOSET. 
 
 China closet, located as per plan, with drawers on two sides, and with 
 shelves, cupboards, and doors to suit the proprietor. Store-room fitted 
 up with cupboard and shelves. 
 
 DOORS. 
 
 Doors in first story, main part, 7 feet 3 inches by 3 feet 3 inches, and 
 1 3-4 inches thick. In second story, doors 7 feet by 3, of the same thick- 
 ness as the former. In first story, back part, doors 6 feet 10 inches by 2 
 feet 10 inches ; in second story, 6 feet 8 inches by 2 feet 8 inches, and 
 1 1-2 inches thick in each story. Outside doors, 1 7-8 inches in thickness. 
 For the form, see plan. 
 
 Here let the student or builder specify the quality of the doors, trim- 
 mings, &c. 
 
 STAIRS. 
 
 Front stairs, located as per plan, with mahogany railing and scroll ; 
 the railing and stairs to continue to the cupola, made of the best stock 
 and workmanship. 
 
 DOOR AND WINDOW FINISH. 
 
 Finish for doors, windows, <fcc, in the parlor, drawing-room, and hall, 
 both above and below, to be the same as represented on the plan. To be 
 the same kind of finish, with the exception of the cornice, and some slight 
 variations in size, in all the other rooms of main part. In the back part, 
 a plain finish with a band moulding is all that is necessary. 
 
 BLINDS. 
 
 Blinds to all the windows in the house, well hung, and secured by 
 proper fastenings ; the lower part of each blind to have movable shades 
 or slats. Painted with four coats, the last two of Paris green. 
 
140 
 
 SPECIFICATIONS. 
 
 PAINTING. 
 
 All the exterior of the building to have three good coats of German 
 white lead and best linseed oil, put on at proper times. The interior, 
 excepting the floors, to have the same number of coats, of the same qual 
 ity, neatly put on. 
 
 SINK AND FIXTURES. 
 
 Sink to be located, as shown on the plan, with two good copper purnps, 
 one for soft, and the other for hard water, connected with two pipes, lead 
 ing, one to the well of 1 3-4 inches calibre, and the other to the cistern of 
 1 1-2 inches calibre. The pipe that leads to the well to be tinned on the inner 
 surface the whole length, and as far on the outer surface as it hangs in the 
 water in the well. The cistern to be composed of brick and cement, and 
 situated in the back cellar ; to be good pipes attached to the conductors 
 to carry the water to the cistern, and a pipe of a calibre not less than 
 1 1-2 inches, to convey the water from the sink to the drain. 
 
 WATER WORKS. 
 
 A cistern, situated in the bath-room, six feet six inches from the floor, 
 to be sufficiently large to contain five hundred gallons, and made of two 
 thicknesses of plank, with a space of four inches between them, the space 
 to be filled with tan, or any other substance that will prevent the water 
 from freezing in the cistern. The spaces between the studs of the exte- 
 rior walls of the bath-room filled with brick-work ; —the ceiling covered 
 with moss or hair to the depth of eight or ten inches, and overlaid with 
 boards. 
 
 The cistern to be supplied with water by a force-pump in the wash- 
 room near the boiler, and a pipe 1 1-2 inches in diameter, so constructed 
 as to draw the water from the cistern in the cellar and force it, as also 
 water from the boiler, to the bathing-tub, as well as to the cistern in the 
 bath-room. Also, a small sink in the bath-room, with a pipe and faucet 
 for the purpose of drawing water from the upper cistern. The pipe-box, 
 placed perpendicularly in the partition, reaching from the upper cistern to 
 the cellar, should be large enough to permit all the pipes to pass, viz., the 
 receiving pipe, discharging pipe, and a large pipe connected with the cis- 
 tern above, the last not less than two inches in diameter, extending to the 
 cellar, then dividing into branches three fourths of an inch in diameter, 
 carried along in the cellar under the chambers, then up in the partitions 
 to sinks prepared for the purpose, which may be in the form of furniture ; 
 each sink to have a small discharging pipe. 
 
A CATALOGUE 
 
 OP THE PRINCIPAL STYLES OP ANCIENT TEMPLES, ARRANGED UNDER ONE HEAD, FOR 
 OP THE PRINCIPAL, bix ^ C ON VENIENCE OF THE STUDENT. 
 
 Amphiprostyle.-A term applied to a temple having 
 a portico or porch in the rear as well as in toe 
 front, but without columns at the sides. This spe- 
 cies of temple never exceeded the use of four col- 
 umns in the front and four in the rear. It differed 
 from the temple in antis, in having columns instead 
 of antse at the angles in the portico. 
 
 Akjsostyle. — One of the five proportions used by the 
 ancients for regulating the intercolumniations or 
 intervals between the columns in porticos and col- 
 
 Arjeosystyle. — A term used by the French architects 
 to denote the method of proportioning the intervals 
 between columns coupled or ranged m pairs, as 
 invented by Perrault, and introduced in the princi- 
 pal facade of the Louvre. 
 
 Diastyle —That distance between columns which 
 consists of three diameters, or, according to some, 
 of four diameters. The term is sometimes used 
 adjectively, to signify that the building is arranged 
 with those intervals between the columns. 
 
 Dipteral. — In ancient architecture, a temple hav- 
 ing a double range of columns on each oi its 
 flanks. 
 
 Eustyle. — See Colonnade. 
 
 Hypaethral. — A building or temple without a roof. 
 The temples of this class are arranged by Vitruvius 
 under the seventh order, which had ten columns on 
 each front, and surrounded by a double portico as 
 in dipteral temples. The cell was without roof, 
 whence the name, but it generally had round it a 
 portico of two ranges of columns, one above the 
 
 Monotriolyph. — A term applied to an intercolumnia- 
 tion in which only one triglyph and two metopsB 
 are introduced. 
 
 Peripteral. — A temple surrounded by a penptery, 
 that is, encompassed by columns. 
 
 Peristyle. — See Colonnade. 
 
 Prostyle — A portico in which the columns stand in 
 advance of the building to which they belong. 
 
 PSEUDODIPTERAL, Or FALSE DlPTERAL. - A disposition 
 
 of antiquity wherein there were eight columns in 
 front and only one range round the cell. It is 
 called false or imperfect, because the cell only oc- 
 cupying the width of four columns, the sides 
 from the columns to the walls of the cell have no 
 columns therein, though the front and rear present 
 a column in the middle of the void. 
 
 Pycnostyle. — See Colonnade. 
 
 Systyle. — See Colonnade. 
 
A GLOSSARY 
 
 OF 
 
 ARCHITECTURAL TERMS. 
 
 FROM GWILT'S ENCYCLOPAEDIA 
 
 A. 
 
 ABACUS. The upper member of the capital of a 
 column, and serving as a crowning, both to the 
 capital and to the whole column. In the Tuscan, 
 
 member 11 l0I " C ° rderS ' il is a flat ' squar ^ 
 
 Abbey. -Properly, the building adjoining to or near 
 a convent or monastery, for the residence of the 
 head of the house, - Abbot or Abbess. It is often 
 used for the church attached to the establishment, 
 for the buildings composing the whole 
 establishment. In such establishments, the church 
 was usually grand, and splendidly decorated. 
 Acanthus. — A spiny, herbaceous plant, found in vari- 
 ous par s of the Levant. Its leaf is said by Vitru- 
 vms to have been the model on which the Grecian 
 architects formed the leaves of the Corinthian 
 capital. 
 
 Acropolis. -The upper town or citadel of a Grecian 
 city, usually the site of the original settlement, 
 and chosen by the colonists for its natural strength 
 
 Acute Angle. — A term used in geometry to denote 
 
 ani 6 9 °° that is ' Iess than a ri S ht 
 
 Aisle - A term chiefly used by the English architect 
 to sigmly the side subdivisions in a church, usu- 
 al y separated from the nave or centre division b V 
 pillars or columns ; but, in more modern times, 
 this term is used to denote the alley, or passage 
 between the pews or slips. 5 
 
 Alley. — An aisle, or any part of a church left open 
 for access to another part. In towns, a passage 
 narrower than a lane. A walk in a garden. 5 
 
 Almonry. — Properly, a closet or repository for the re- 
 ception of broken victuals set apart as alms for 
 the poor; but more generally used to denote a 
 house near the church, in abbeys or their gates, 
 provided with various offices for distributing the 
 almoner convent > and for the dwelling of the 
 
 Altar. — A sort of pedestal whereon sacrifices were an- 
 ciently offered to some deity. In modern churches, 
 the communion tables, and, figuratively, a church 
 a place of worship. ' 
 
 Alto Rilievo. — See Rilievo. 
 
 Ambulatory. — A sheltered place for exercise in walk- 
 ing ; a cloister ; a gallery. 
 Amphitheatre. - An edifice formed by the junction of 
 
 SftSffi? at tb ?P r ° SCenium ' 80 as t0 have seats 
 all round the periphery, -a contrivance by which all 
 the spectators, being ranged about on seats rising 
 the one above the other, saw equally well what 
 
 mnge^seatr' 6 ^ ° r ^ end ° Sed by the lowes< 
 Angle — The mutual inclination of two lines meetine 
 m a point, called indifferently the angula? point 
 
 SS'legs P ° mt ° f C ° nC0UrSe "' the tW ° lines ar « 
 
 ANG nn ?n A ,^ ET T" A bracket P laced in the vertex of 
 Anst? r> S ' and n T 0t at nght an S ]es the sides. 
 Tnr,?, ;7" In a ? Cient Greek architecture, the 
 Ionic capitals used to the flank columns which 
 
 So Tv. °{ the , ir volutes P laced at an angle of 
 friL ™ 6 Planes ° f the front and ^turning 
 meze. This term is also applied to the modern 
 lomc capital, in which the whole of the four vo- 
 lutes have an angular direction. 
 Angle of Vision. - The angle under which an object 
 or objects are seen, and upon which their appa- 
 rent magnitudes depend. In practical perspective 
 it should not exceed sixty degrees. 
 Annulet — A small fillet whose horizontal section is 
 circular. The neck or under side of the Doric 
 capital is decorated with these thin fillets, listels, 
 pies number varies in different exam- 
 
 Anta, (plural Antae.) — The joints or square posts 
 supporting the lintels of doors. There are three 
 kinds of antse ; those of porches or jamb orna- 
 ments ; angular antae, being such as show two 
 faces on the walls of a temple; and those on the 
 longitudinal walls of its cell. 
 Ante-chamber, or Ante-koom. — An apartment through 
 which access is obtained to another chamber or 
 room. One in which servants wait, and strangers 
 are detained till the person to be spoken with is at 
 leisure. 
 
 Aperture. — An opening through any body. In a 
 wall it has usually three straight sides, two where- 
 of are perpendicular to the horizon, and the third 
 parallel to it, connecting the lower ends of the ver- 
 tical sides. The materials forming the vertical 
 sides are called jambs, and the lower level side is 
 called the sill, and the upper part the head. This 
 last is either a curved or flat arch. Apertures are 
 made for entrance, .light, or ornament. 
 Apiary. — A place for keeping beehives. Sometimes, 
 this is a small house with openings for bees in 
 lront, and a door behind, which is kept locked for 
 security. Sometimes, it is an area wherein each 
 particular beehive is chained down to a post and 
 padlocked. 
 
 Aqueduct. — A conduit or channel for conveying wa- 
 ter from one place to another; but more particu- 
 larly applied to structures for the purpose of con- 
 
GLOSSARY. 
 
 143 
 
 veying the water of distant springs across valleys, 
 for the supply of large cities. 
 
 Arabesque. — A building after the Arabian style. The 
 term is more commonly used to denote that sort of 
 ornament which adorns the walls, pavements, and 
 ceilings of Arabian and Saracenic buildings. 
 
 Aec. — In geometry, a portion of a circle or other 
 curve line. The arc of a circle is the measure 
 of the angle formed by two straight lines drawn 
 from its extremities to the centre of the circle. 
 
 Arcade. — A series of apertures or recesses with arched 
 ceilings or sofites. 
 
 Arch. — A mechanical arrangement of blocks of any 
 hard material disposed in the line of some curve, 
 and supporting one another by their mutual pres- 
 sure. The solid extremities on or against which 
 the arch rests are called the abutments. 
 
 Architrave. — The lower of the three principal mem- 
 bers of the entablature of an order, being, as its 
 name imports, the chief beam employed in it, and 
 resting immediately on the columns. 
 
 Architrave Cornice. — An entablature consisting of 
 an architrave and cornice only, without the inter- 
 position of a frieze. It is never used with columns 
 or pilasters, unless through want of weight. 
 
 Archivolt. — The ornamental band of moulding round 
 the arch-stones of an arch, which terminates hori- 
 zontally upon the impost. It is decorated, as to 
 the members, analagously with the architrave, 
 which, in arcades, it may be said to represent. It 
 diners in the different orders. 
 
 Area. — In architecture, a small court or place, often 
 sunk below the general surface of the ground, 
 before windows' in the basement story. It is also 
 used to denote a small court, level with the 
 ground. In geometry, the superficial content of 
 any figure. 
 
 Arena. — The central space in a Roman amphitheatre, 
 wherein the gladiators fought. 
 
 Arsenal. — A public establishment for the deposition 
 of arms and warlike stores. 
 
 Artificer. — A person who works with his hands in 
 the manufacture of anything ; an artist : a me- 
 chanic. 
 
 Ashlar, or Ashler. — Common or free stones, as 
 brought from the quarry, of different lengths and 
 thicknesses. 
 
 Astragal. — A small moulding of a semi-circular pro- 
 file. r 
 
 Attic, or Attic Order. — A low order of architecture, 
 commonly used over a principal order, never with 
 columns, but usually, with antae or small pilas- 
 ters. r 
 
 Attic Base. — The base of a column consisting of an 
 upper and lower torus, a scotia and fillets between 
 them. 
 
 Aviary. — A house or apartment set apart for keeping 
 
 and breeding b*ds. 
 Awning — Any covering intended as a screen from 
 
 the sun, or protection from the rain. 
 
 B. 
 
 Balcony. — A projection from the external wall of a 
 house, borne by columns, and usually placed be- 
 fore windows or openings, and protected on the 
 extremity of the projection by a railing of balus- 
 ters or iron-work. 
 
 Baluster. — A species of small column belonging to a 
 balustrade. This term is also used to denote the 
 lateral part of the volute of the Ionic capital. 
 
 Balustrade. — A parapet or protecting fence formed 
 of balusters, sometimes employed for real use, and 
 sometimes merely for ornament. 
 Band. — A flat member or moulding, smaller than a 
 facia. The word, however, is applied to narrow 
 members somewhat wider than fillets: and the 
 word facia. 
 Banister. — A vulgar term for baluster. 
 Barge Boards. — The inclined projecting boards placed 
 at the gable of a building, and hiding the horizon- 
 tal timbers of a roof. 
 Basement. — The lower story of a building, whether 
 
 above or below the ground. 
 Base. — In geometry, the lower part of a figure or 
 body. The base of a solid is the surface on which 
 it rests. 
 
 Basso-Relievo. — See Relievo. 
 
 Bath. — An apartment or series of apartments foi 
 bathing. 
 
 Batten. — A scantling, or piece of stuff from two to 
 six inches broad, and from five eighths of an inch 
 to two inches thick. 
 Battlements. — Indentations on the top of a wall, par- 
 apet, or other building. 
 Batter. — A term used by artificers to signify that a 
 body does not stand upright, but inclines from a 
 person standing before it. When, on the contrary, 
 it inclines towards a person, it is said to over- 
 hang. 
 
 Bay Window. — A window placed in the bay or bow 
 
 of a window ; called also an oriel window. 
 Belfry. — The upper part of the steeple of a church, 
 for the reception of the bells. It is sometimes 
 used more especially in respect of the timber fram- 
 ing by which the bells are supported. 
 Belvedere. — A turret or lantern raised for the enjoy- 
 ment of a prospect : also, a small edifice in gar- 
 dens. 
 
 Blank W indow. — One which has the appearance of a 
 real window, but is merely formed in the recess of 
 the wall. 
 
 Blank Door. — A door either shut to prevent a pas- 
 sage, or one placed in the back of a recess, where 
 there is no entrance, having the appearance of a 
 real door. 
 
 Bracket. — A supporting piece for a shelf. It is some- 
 times used in stairs and in eave cornices. 
 Builder. — A person who contracts for performing the 
 
 different artificers' works in a building. 
 Building, —Used as a substantive, is the mass of 
 materials shaped into an edifice. As a participle 
 it is the constructing and raising an edifice suited 
 to the purposes for which it is erected. 
 Bundle Pillar. — In Gothic architecture, a column 
 consisting of a number of small pillars round its 
 circumference. 
 Butment. The same as abutment. The solid part 
 of a pier from which the arch immediately springs. 
 Butments are artificial or natural. The former 
 are usually formed of masonry or brick-work, and 
 the latter are the rock or other solid materials oh 
 the banks of the river in the case of a bridge 
 which receives the foot on the arch. ' 
 Buttery. — A store-room for provisions, which, if pos- 
 sible, should be on the north side of a building. 
 
 C. 
 
 Cabin. — A term applied to the huts and cottages of 
 poor people, and to those of persons in a savage 
 state of life. 
 
144 
 
 GLOSSARY, 
 
 Cabinet. — A retired room in an edifice, set apart for 
 writing, study, or the preservation of anything 
 curious or valuable. 
 
 Camber. — The greatest extent or diameter of a round 
 body. 
 
 Campanile. — A tower for the reception of bells, usu- 
 ally, in Italy, separated from the church. 
 
 Canal. — A duct for the conveyance of a fluid ; thus, 
 the canal of an aqueduct is the part through 
 which the water flows. 
 
 Canopy. — An ornamented covering over a seat of 
 state ; and, in its extended signification, any cover- 
 ing which affords protection from above. It is also 
 the label or projecting roof that surrounds the 
 arches and heads of Gothic niches. 
 
 Capital. — The head or uppermost member of any part 
 of a building, but generally applied, in a restricted 
 sense, to that of a column or pilaster of the several 
 orders. 
 
 Carpenter. — An artificer who cuts, forms, and shapes 
 timbers for the purposes of giving strength and 
 support to the various parts which are of limber 
 in the construction of buildings. 
 
 Carpentry. — An assemblage of pieces of timber con- 
 nected bv framing, or letting them into each other, 
 as are the pieces of a roof, floor, centre, &c. It is 
 distinguished from a joinery by being put together 
 without the use any other edge tools than the axe, 
 adze, saw, and chisel; whereas, joinery requires 
 the use of the plane. 
 
 Caryatides. — Figures used instead of columns for the 
 support of an entablature. 
 
 Casement. — A glazed frame or sash, opening on 
 hinges affixed to the vertical sides of the frame 
 into which it is fitted. 
 
 Castle. — A building fortified for military defence; 
 also, a house with towers, usually encompassed 
 with walls, and moats, and having a dungeon or 
 keep in the centre. 
 
 Catacombs. — Subterraneous places for burying the 
 dead. 
 
 Cathedral. — The principal church of a province or 
 diocese, where the throne of archbishop or bishop 
 is placed. 
 
 Cavetto. — A hollowed moulding, whose profile is the 
 quadrant of a circle. It is principally used in 
 cornices. 
 
 Ceiling. — The upper horizontal or curved surface of 
 
 an apartment, opposite the floor ; usually finished 
 
 with plastered work. 
 Cell. — In ancient architecture, the part of a temple 
 
 within the walls. It was also called the naos, 
 
 whence our nave in a church. 
 Cesspool. — A well sunk under the mouth of a drain, 
 
 to receive the sediment which might choke up its 
 
 passage. 
 
 Chamber. — Properly, a room vaulted or arched; but 
 the word is now generally used in a more restricted 
 sense, to signify an apartment appropriated to 
 lodging. 
 
 Chamfer. — The arris of anything originally right an- 
 gled, cut aslope or bevel, so that the plane it then 
 forms is inclined less than a right angle to the 
 other planes with which it intersects. 
 
 Chancel. — That part of the eastern end of a church in 
 which the altar is placed. 
 
 Chapel. — A building for religious worship, erected 
 separately from a church, and served by a chaplain. 
 
 Chimney Piece. — An ornamental decoration applied 
 to the aperture of a chimney opening. 
 
 Choir. — The part of a church in which the choristers 
 sing divine service. 
 
 Church. — A building dedicated to the performance of 
 
 Christian worship. 
 Cincture. — The ring, list, or fillet at the top and bot- 
 tom of a column, which divides the shaft of the 
 column from its capital and base. 
 Cinquefoil. — An ornament used in the pointed style 
 of architecture. It consists of five curved pen- 
 dants inscribed in a pointed arch, or in a circular 
 ring, applied to windows and panels. 
 Cistern. — A reservoir for water, whether sunk below 
 
 or formed of planks of wood above ground. 
 Coffer. — A sunk panel in vaults and domes, and 
 also, in the soffite or under side of the Corinthian 
 and Composite cornices, and usually decorated in 
 the centre with a flower. But the application of 
 the term is general to any sunk plank in a ceiling 
 or soffite. 
 
 Colonnade. — A range of columns. If the columns 
 are four in number, it is called tetrastyle ; if six in 
 number, hexastyle ; when there are eight, octo 
 style ; when ten, decastyle ; and so on, according to 
 the Greek numerals. "When a colonnade is in 
 front of a building, it is called a portico ; when sur- 
 rounding a building, a peristyle ; and when double 
 or more, folystyle. The colonnade is, moreover, 
 designated according to the nature of the inter- 
 columniations introduced, as follows : — pycrosiyle, 
 when the space between the columns is one diam 
 eter and a half of a column ; systyle, when it is of 
 two diameters ; evstyle, when of two diameters and 
 a quarter ; diastyle when three, and araostyle when 
 four. 
 
 Composite Order. — This order, as its name imports, 
 is a compound of other orders, — the Corinthian and 
 Ionic, — and was received into the regular number 
 of orders by Vitruvius. 
 Conservatory. — A building for preserving curious 
 
 and rare exotic plants. 
 Contour. — The external lines which bound and termi- 
 nate a figure. 
 
 Coping. — The highest and covering course of masonry 
 
 or brick-work in a wall. 
 Corbeil. — A carved basket, with sculptured flowers 
 and fruit, used as the finishing of some ornament. 
 This is also applied to the bell of the Corinthian 
 capital. 
 Corinthian Order. — See 
 
 Cornice. — Any moulded projection which crowns or 
 
 finishes the part to which it is affixed. 
 Corona. — A member of the cornice, with a broad, 
 vertical face, and usually of considerable projec- 
 tion. . 
 Court. — An uncovered area before or behind the 
 house, or in the centre of it, in which latter case 
 it is often surrounded by buildings on its four 
 
 Cove. — Any kind of concave moulding or vault ; but 
 the term, in its usual acceptation, is the quad- 
 rantal profile between the ceiling of a room and 
 its cornice. 
 
 Cramp. — An iron instrument, about four leet long, 
 having a screw at one end, and a movable shoulder 
 at the other, employed by carpenters and joiners 
 for forcing mortice and tenon work together. 
 
 Crescent. — A building, or rather a series of buildings, 
 which on the plan is disposed in the arc of a 
 circle ■ 
 
 Crocket. — One of the small ornaments usually placed 
 on the angles of pinnacles, pediments, canopies, 
 &c, in Gothic architecture, and most commonly 
 disposed at equal distances from each other. 
 
GLOSSARY, 
 
 145 
 
 Cupola. — A term, properly speaking, which is con- 
 fined to the under-side, or ceiling part of a dome. 
 
 Curbstones. — Those in the foot-paving of a street 
 which divide it from the carriage-paving, above 
 which they are, or ought to be, raised. 
 
 Curtail Step. — The first or bottom step by which 
 stairs are ascended, ending at the furthest point 
 from the wall, in which it is placed in a scroll; 
 perhaps taking its name from the step curling 
 round like a cur's tail. 
 
 Custom House. — An edifice erected for the receipt of 
 the customs' duties, payable on the importation 
 and exportation of merchandise. 
 
 Cyma. — A moulding taking its name from its contour, 
 resembling that of a wave, being hollow in its 
 upper part, and swelling below. Of this moulding 
 there are two sorts, the cyma recta, and the cyma 
 reversa. By the workmen these are called ogees. 
 
 Cymatium. — The upper moulding of a cornice. 
 
 D. 
 
 Dado. — The die, or part in the middle of the pedestal 
 of a column, between the base and cornice. It is 
 of a cubic form, whence the name of die. 
 
 Dentils. — The small, square blocks or projections in 
 the bed-mouldings of cornices in the Ionic, Corin- 
 thian, Composite, and, occasionally, Doric orders. 
 Their breadth should be half their height. 
 
 Details. — A term usually applied to the drawings on a 
 larger scale, for the use of builders, and generally 
 called working-drawings. 
 
 Diameter. — A straight line passing through the cen- 
 tre of a geometrical figure, as that of a circle, 
 ellipse, or hyperbola. 
 
 Dog-legged Stairs. — Such as are solid between the 
 upper flight, or such as have no well-hole, and in 
 which the rail and balusters of both progressive 
 and retrogressive flight fall in the same vertical 
 plane. 
 
 Dome. — The spherical, or other figure, convex roof 
 
 over a circular or polygonal building. 
 Doric Order. 
 
 Dormer. — A window placed on the inclined plane of 
 the roof of a house, the frame being placed verti- 
 cally on the rafters. 
 
 Dormitory. — A large sleeping-room, capable of con- 
 taining many beds. 
 
 Draught. — The representation of a building on paper, 
 explanatory of the various parts of the interior and 
 exterior, by means of plans, elevations, and sec- 
 tions, drawn to a scale, by which all the parts are 
 exhibited in the same proportion as the parts of the 
 edifice intended to be represented. 
 
 Drip. — See Corona. 
 
 Drops. — The frusta of cones in the Doric order, used 
 under the triglyphs in the architrave. 
 
 Eaves. — The lowest edges of the inclined sides of a 
 
 roof, which project beyond the face of the walls. 
 Echinus. — The same as the ovola, or quarter round, 
 though the moulding is only properly so called 
 when carved with eggs and anchors. 
 Edifice. — A word synonymous with fabric, building, 
 erection. The word is, however, more commonly 
 employed to denote architectural erections distin- 
 guished for grandeur, dignity, and importance. 
 
 19 
 
 Egyptian Architecture. — See 
 
 Elevation. — A geometrical projection drawn on a 
 plane perpendicular to the horizon. 
 
 Ellipse, or Ellipsis. — One of the conic sections pro- 
 duced by cutting a cone entirely through the 
 curved surface, neither parallel to the base, nor 
 making a sub-contrary section ; so that the ellip- 
 sis, like the eircle, is a curve that returns into 
 itself, and completely encloses a space. 
 
 Entablature. — The whole of the parts of an order 
 above a column. The assemblage is divided into 
 three parts ; viz., architecture, frieze, and cornice. 
 
 Fabric — A general term applied to a large and impor- 
 tant building. 
 
 Facade. — The face or front of any building towards a 
 street, court, garden, or other place. A term, how- 
 ever, more commonly used to signify the principal 
 front. 
 
 Facia, or Fascia. — A fiat member of an order or of a 
 building, like a flat band or broad fillet. 
 
 Festoon. — A sculptured representation of flowers, 
 drapery, and foliage, looped or suspended at inter- 
 vals on the walls. 
 
 Figure. — In a general sense, the terminating extremes 
 or surface of a body. In geometry, any plane sur- 
 face comprehended within a certain line or lines. 
 
 Fillet. — A narrow, flat band, listel, or annulet, used 
 for the separation of one moulding from another, 
 and to give breadth and firmness to the upper edge 
 of a crowning moulding, as in a cornice. 
 
 Fixture. — A term applied to all articles of a personal 
 nature affixed to land. This annexation must be 
 by the article being let into, or united with, the 
 land, or with some substance previously connected 
 therewith. 
 
 Flank. — That part of a return body which joins the 
 front. 
 
 Floated Lath and Plaster. — Plastering of three 
 coats, whereof the fin>t is pricking-up, the second 
 floating, or floated work , and the last of fine stuff. 
 
 Floated Wokk. — Plastering rendered perfectly plane 
 by means of a float. 
 
 Forum. — In ancient architecture, a public market ■ 
 also, a place where the common courts were held, 
 and law pleadings carried on. Fora of the Ro- 
 mans were large, open squares, surrounded by por- 
 ticos, parts whereof answered for market places, 
 other parts for public meetings of the inhabitants, 
 and other parts for courts of justice ; the forum 
 was also occasionally used for shows of gladiators. 
 
 Freeze. — See Frieze. 
 
 Fresco Painting. — A method of painting by incorpo- 
 rating colors with plaster before it is dry, by which 
 it becomes as permanent as the wall itself. 
 
 Frette, or Fret. — A species of ornament consisting 
 of one or more small fillets, meeting in vertical 
 and horizontal directions. 
 
 Frieze. — That member in the entablature of an order, 
 between the architrave and cornice. 
 
 Furring. — The fixing of thin scantlings or laths upon 
 the edges of any number of timbers in a range, 
 when such timbers are out of the surface they were 
 intended to form, either from their gravity, or in 
 consequence of an original deficiency of the timbers 
 in their depth. 
 
146 
 
 GLOSSARY. 
 
 G. 
 
 Gallery. — An apartment of a house, for different pur- 
 poses. A common passage to several rooms in 
 any upper story is called a gallery. 
 
 Geometry. — That science which treats of the objects 
 of figured space. 
 
 Glyph — A sunken channel, the term being usually 
 employed in reference to a vertical one. 
 
 Groin. — The line formed by the intersection of two 
 arches which cross each other at any angle. 
 
 Ground. — The plan of the story of a house level with 
 the surface of the ground, or a few steps above it. 
 
 Guttje. — See Drops. 
 
 H. 
 
 Hand-E.ail of a Stair. — A rail raised upon slender 
 posts, called balusters, to prevent persons falling 
 down the well-hole, as also to assist them in as- 
 cending and descending. 
 
 Hecatompedon. ■ — A temple of a hundred feet in length. 
 
 Hexagon. — In geometry, a plain figure bounded by 
 six straight lines, which, when equal, constitute 
 the figure a regular hexagon. 
 
 Horizontal Cornice. — The level part of the cornice 
 of a pediment under the two inclined cornices. 
 
 Hospital. — A building for the reception of the sick 
 poor, for insane persons, and, sometimes, for par- 
 ticular diseases. 
 
 Hot House. — A general term for the glass buildings 
 used in gardening, and including stoves, green- 
 houses, and conservatories. 
 
 House. — A human habitation, or place of abode of a 
 family. 
 
 Hung, (Double and Single.) — A term applied to 
 sashes ; the first, when both the upper and lower 
 sash are balanced by weights, for raising and de- 
 pressing ; and the last, when only one, usually the 
 lower one, is balanced over the pulleys. 
 
 I. 
 
 Ice House. — A subterranean depot for preserving ice 
 during the winter. 
 
 Imperial. — A species of dome, whose profile is pointed 
 towards the top, and widens towards the base, thus 
 forming a curve of contrary flexure. 
 
 birosT. — The capital of a pier or pilaster which re- 
 ceives an arch. 
 
 Inclined Plane. — One of the five simple mechanical 
 powers, whose theory is deduced from the decom- 
 position of forces. 
 
 Intercolumniation. — The distance between two col- 
 umns, measured at the lower part of their shafts. 
 
 Ionic Order. — See 
 
 J. 
 
 Jambs. — The sides of an aperture which connect the 
 two sides of a wall. 
 
 Joiner. — The artisan who joins wood by glue, fram- 
 ing, or nails, for the finishings of a building. 
 
 Joinery. — The practice of framing or joining wood for 
 the internal finishings of houses. 
 
 K. 
 
 Kitchen. — The apartment or office of a house wherein 
 the operations of cookery are carried on. 
 
 L. 
 
 Label. — In Gothic architecture, the drip or hood- 
 moulding over an aperture when it is returned 
 square. 
 
 Labyrinth Fret. — A fret with many turnings, in the 
 form of a labyrinth. 
 
 Lewis, or Lewisson. — An instrument said to hav» 
 been used in England by the builders of the mid- 
 dle ages, to raise stones of more than ordinary 
 weight to the upper part of a building. 
 
 Lintel. — A horizontal piece of timber or stone over a 
 door, window, or other opening, to discharge the 
 superincumbent weight. 
 
 List, or Listel. — The same as fillet. 
 
 Lobby. — An enclosed space surrounding or communi- 
 cating with one or more apartments. 
 
 Lock. — A well-known instrument, consisting of springs 
 and bolts, for fastening doors, drawers, chests, &c. 
 
 Luthern. — The same as Dormer. 
 
 M. 
 
 Mansion. — A large house ; a term more usually ap 
 plied to one in the country. 
 
 Member. — Any part of an edifice, or any moulding 
 in a collection of mouldings, as of those in a cor- 
 nice, capital, base, &c. 
 
 Metopa. — The square space in the frieze between the 
 triglyphs of the Doric order. 
 
 Minster. — A church to which an ecclesiastical fra- 
 ternity has been or is attached. The name is 
 occasionally applied to cathedrals. 
 
 Minute. — A term given to the sixtieth part of the 
 lower diameter of a column, being a subdivision 
 used for measuring the minuter parts of an order. 
 
 Miter, or Mitre. — See Bevel. 
 
 Modillian. — A projection under the corona of the 
 richer orders, resembling a bracket. 
 
 Moresque Architecture. — The style of building 
 peculiar to the Moors and Arabs. 
 
 Mosaic — A mode of representing objects by the inlay- 
 ing of small cubes of glass, stone, marble, shells, 
 wood, &c. 
 
 Mosque. — A Mohammedan temple or place of worship. 
 
 Mouldings. — The ornamental contours or forms ap- 
 plied to the edges of the projecting or receding 
 members of an order. 
 
 Mullion, or Munnion. — In pointed architecture, the 
 vertical post or bar which divides a window into 
 several lights. 
 
 Mutule. — A projecting ornament of the Doric cornice, 
 which occupies the place of the modillion in the 
 other order, and supposed to represent the end 
 rafters. 
 
 N. 
 
 Nave. — The body of a church, or place where the peo- 
 ple are seated, reaching from the rail or partition 
 of the choir to the principal entrance. 
 
 Neck of a Capital. — The space in the Doric order 
 between the astragal on the shaft and the annulet 
 of the capital. 
 
 Newel. — The upright cylinder or pillar round which, 
 in a winding staircase, the steps turn, and are 
 supported from the bottom to the top. 
 
 Niche. — A cavity or hollow place in the thickness of a 
 wall, for the reception of a statue, vase, &c. 
 
 Notch-board. — A board which is grooved or notched 
 for the reception and support of the ends of steps 
 in a staircase. 
 
GLOSSARY, 
 
 147 
 
 OaEE. — A moulding, the same as the Cyma reversa. 
 Orchestra. — The enclosed part of a music-room, 
 
 wherein the instrumental and vocal performers are 
 
 seated. 
 
 Order. — An assemblage of parts, consisting of a base, 
 shaft, capital, architrave, frieze, and cornice. 
 
 Oriel, or Oribo Window. — A large bay or recessed 
 window in a hall, chapel, or other apartment. It 
 ordinarily projects from the outer face of the wall 
 either in a semi-octagonal or diagonal plane, and 
 is of varied kinds and sizes. 
 
 Oval. — A geometrical figure, whose boundary is a 
 curve line returning into itself; it includes the 
 ellipsis or mathematical oval, and all figures re- 
 sembling it, though with different properties. 
 
 Ovolo. — A convex moulding, whose lower extremity 
 recedes from a perpendicular line drawn from the 
 upper extremity. 
 
 P. 
 
 Palace. — In England, a name given to the dwelling 
 of a king or queen, a prince, and a bishop. 
 
 Panel. — A board whose edges are inserted into the 
 groove of a thicker surrounding frame. 
 
 Parapet — A small wall of any material for projec- 
 tion on the sides of bridges, quays, or high build- 
 ings. 
 
 Parlor. — A room for conversation, which, in the old 
 monasteries, adjoined the buttery and pantry at 
 the lower end of the hall. At the present day it 
 is used to denote the room in a house where com- 
 mon visitors are received. 
 
 Pedestal. — The lowest division in an order of 
 columns. It consists of three principal parts ; the 
 die or square trunk, the cornice or head, and the 
 base or foot. 
 
 Pendent. — An ornament suspended from the summit 
 of Gothic vaulting, very often elaborately deco- 
 rated. 
 
 Perspective. — The science which teaches the art of 
 representing objects on a definite surface, so as 
 from a certain position to affect the eye in the same 
 manner as the objects themselves would. 
 
 Piazza. — A square open space, surrounded by build- 
 ings. The term is very frequently, and very igno- 
 rantly, used to denote a walk under an arcade. 
 
 Piles. — Large timbers driven into the earth, upon 
 whose heads is laid the foundation of a building in 
 marshy and loose soils. 
 
 Pillar. — A column of irregular form, always disen- 
 gaged, and always deviating from the proportions 
 of the orders, whence the distinction between a 
 column and a pillar. 
 
 Pinnacle. — A summit or apex. Its form is usually 
 slender, and tapers to a point. 
 
 Plan. — The representation of the horizontal section of 
 a building, showing its distribution, the form and 
 extent of its various parts. 
 
 Plancer. — The same as the sofite or under surface of 
 the corona ; the word is, however, very often used 
 generally to mean any sofite. 
 
 Plinth. — The lower square member of a base of a 
 column or pedestal. 
 
 Pointing. — The raking out the mortar from between 
 the joints of brick-work, and replacing the same 
 with new mortar. 
 
 Porch. — An exterior appendage to a building, form- 
 
 ing a covered approach to one of its principal 
 
 doorways. 
 
 Portal. — The arch over a door or gate ; the frame- 
 work of a gate ; the lesser gate, when there are 
 two of different dimensions at one entrance. 
 
 Portico. — See Colonnade. 
 
 Post. — An upright piece of timber set in the earth. 
 
 Profile. — The vertical section of a body. It is princi- 
 pally used, in its architectural sense, to signify the 
 contour of architectural members, as of bases, cor- 
 nices, &c. The profile of an order is in fact the 
 outline of the whole and its parts. 
 
 Projection. — The art of representing a body on a 
 plane by drawing straight lines through a given 
 point, or parallel from the contour and from the 
 intermediate lines of the body. 
 
 Pulpit. — An elevated place, an enclosed stage or 
 . platform for a preacher in a church. 
 
 Purlins. — Horizontal pieces of timber, lying generally 
 on the principal raftcs of a roof to lessen the bear 
 ings of the common rafters. 
 
 Q. 
 
 Quarter Round. — The same as Ovolo and Echinus, 
 being a moulding whose profile is the quadrant of 
 a circle. 
 
 Quarterfoil. — A modern term denoting a form dis- 
 posed in four segments of circles, and so called 
 from its imagined resemblance to an expanded 
 flower of four petals. 
 
 Quay. — A bank formed towards the sea, or on the 
 side of a river, for free passage, or for the purpose 
 of unloading merchandise. 
 
 Quirk. — A piece taken out of any ground-plot or floor ; 
 thus, if the ground-plan were square or oblong, 
 and a piece were taken out of the corner, such 
 piece is called a quirk. 
 
 Quirk-mouldintj. — One whose sharp and sudden re- 
 turn from its extreme projection to the reentrant 
 angle seems rather to partake of a straight line on 
 the profile than of the curve. 
 
 Quoins. — A term applied to any external angle, but 
 more especially applied to the angular courses of 
 stone raised from the naked face of the wall, at the 
 corner of a building, and called rustic quoins. 
 
 R. 
 
 Rabbet. — See Rebate. 
 
 Radius. — In geometry, the semi-diameter of a circle, 
 or a right line drawn from the centre to the cir- 
 cumference. 
 
 Rafters. — The inclined timbers of a roof, whose 
 edges are in the same plane which is parallel to the 
 covering. 
 
 Rail. — A term applied in various ways, but more par- 
 ticularly to those pieces of timber or wood lying 
 horizontally, whether between the panels of wain- 
 scoting or of doors, or under or over the compart- 
 ments of balustrades, &c. 
 
 Raking. — A term applied to any member whose arris- 
 ses lie inclined to the horizon. 
 
 Reservoir. — An artificial pond, basin, or cistern, for 
 the collection and supply of water. 
 
 Rilievo, or Relief. — The projecture from its ground 
 of any architectural ornament. 
 
 Roof. — The exterior covering of a building. 
 
 Room. — An interior space or division of a house, separ- 
 ated from the remainder of it by walls or par- 
 tilioos, and an tared by a door- way. 
 
148 
 
 GLOSSARY. 
 
 Rotunda, or Rotondo. — A building circular on the 
 interior and exterior, such as the Pantheon at 
 Rome. 
 
 Rough-cast. — A species of plastering used on external 
 walls, consisting of a mixture of lime, small shells 
 or pebbles, occasionally fragments of glass, and 
 similar materials. 
 
 Rustic Order — A species of building wherein the 
 faces of the stones are pricked with the point of a 
 hammer. 
 
 Rustic Work. — A mode of building masonry wherein 
 the faces of the stones are left rough, the sides 
 only being wrought smooth where the union of the 
 stones takes place. 
 
 S. 
 
 Sash. — A frame for holding the glass of windows, and 
 so formed as to be raised and depressed by means 
 of pulleys. 
 
 Scantling. — The dimensions of a piece of timber in 
 
 breadth and thickness. 
 Scotia. — The hollow moulding in the base of a 
 
 column, between the fillets of the tori. It receives 
 
 the name from being so much in the shadow. 
 Scroll. — A convolved or spiral ornament, variously 
 
 introduced. 
 
 Sculpture. — The art of imitating forms by chiselling 
 
 and working away solid substances. 
 Shaft. — The cylindrical part, or rather body, of a 
 
 column, between the base and the capital. 
 Sill. — See Cill and Aperture. 
 
 Soffita, Soffit, or Sofite. — A ceiling ; the lower 
 surface of a vault or arch. A term denoting the 
 under horizontal face of the architrave between 
 columns ; the under surface of the corona of a 
 cornice. 
 
 Splayed. — A term applied to whatever has one side 
 making an oblique angle with the other. 
 
 Stadium. — In ancient architecture, an open space 
 wherein the athleti or wrestlers exercised run- 
 ning, and in which they contested the prizes. It 
 signifies also the place itself where the public 
 games were celebrated, often formed a part of the 
 gymnasia. The word also denotes a measure of 
 length, among the Grecians, of 125 paces. 
 
 Steeple. — A lofty erection attached to a church, 
 chiefly intended to contain its bells. 
 
 Stile. — The vertical part of a piece of framing, into 
 which, in joinery, the ends of the rails are fixed by 
 mortises and tenons. 
 
 Story. — One of the vertical divisions of a building ; 
 a series of apartments on the same level. 
 
 Stucco. — A term indefinitely applied to calcareous 
 cements of various descriptions. 
 
 Stuff. — A general term for the wood used by joiners. 
 
 Symmetry. — A system of proportion in a building, 
 from which results from one part the measure- 
 ment of all the rest. 
 
 T. 
 
 Tjenia. — The fillet which separates the Doric frieze 
 
 from the architrave. 
 Temple. — Generally an edifice erected for the public 
 
 exercise of religious worship. 
 
 Torus. — A large moulding whose section is semi-cir- 
 
 » cular, used in the bases of columns. The only 
 difference between it and the astragal is in the 
 size, the astragal being much smaller. 
 
 Transom. — A beam across a window of two lights in 
 height. If a window have no transom, it is called 
 a clear story window. 
 
 Trefoil. — In Gothic architecture, an ornament con- 
 sisting of three cusps in a circle. 
 
 Trellice. — A reticulated framing made of thin bars 
 of wood, for screens ; windows where air is re- 
 quired for the apartment, &c. 
 
 Triglyph. — The vertical tablets in the Doric frieze, 
 chamfered on the two vertical edges, and having 
 two channels in the middle, which are double 
 channels to those at the angles. 
 
 Truss. — A combination of timber framing, so arrang- 
 ed, that, if suspended at two given points, and 
 charged with one or more weights in certain others 
 no timber would press transversely upon any other 
 except by timbers exerting equal and opposite 
 forces. 
 
 Turret. — A small tower, often crowning the angle oi 
 a wall, &c. 
 
 Tympanum. — The naked face of a pediment included 
 between the level and raking mouldings. 
 
 U. 
 
 Underpinning. — Bringing a wall up to the ground 
 sill. The term is also used to denote the tem- 
 porary support of a wall whose lower part or 
 foundations are defective, and the bringing up new 
 solid work whereon it is in future to rest. 
 
 V. 
 
 Vane. — A plate of metal, shaped like a banner, fixed 
 on the summit of a tower or steeple, to show the 
 direction of the wind. 
 
 Vault. — An arched roof, over an apartment, concave 
 towards the void, whose section may be that of 
 any curve in the same direction. 
 
 Venetian Door. — A door having side-lights on each 
 side for lighting an entrance hall. 
 
 Venetian Window. — One formed with three aper- 
 tures, separated by slender piers from each other, 
 whereof the centre one is much larger than those 
 on the sides. 
 
 Vestibule. — An apartment which serves as the me- 
 dium of communication to another room or series 
 of rooms. 
 
 Vestry. — An apartment in, or attached to, a church, 
 for the preservation of the sacred vestments and 
 utensils. 
 
 Villa. — A country-house for the residence of an opu- 
 lent pffrson. 
 
 Volute. — A spiral scroll which forms the principal 
 feature of the Ionic and Composite capitals. 
 
 W. 
 
 Well-hole. — In a flight of stairs, the space left in tht 
 middle, beyond the ends of the steps.