A COMPLETE BODY O F ARCHITECT U R E. ADORNED WITH PLANS and E L E V ATI ONS, FROM ORIGINAL DESIGNS. By ISAAC WARE, Esq. Of His Majesty’s Board of Works. In which arc interfperfed Some Designs of INIGO JONES, never before publiflied. LONDONj Printed for T. Osborne and J. Ship ton, in Gray’s-Inn; J.Hodges, near London-Bridge; L. Davis, in Fleetftreet; J. Ward, inCornhill; And R. Baldwin, inPater-Nofler-Row. MDCCLVL 3 I a i i ! i a a p REFACE. ™(>atever fubjeft a book fhould be at this time propofed to the public tbev might aft: what is the need of it: this would be a verv rrafnnshl ’ it y natural queftion; and the author who Ihould not be able to return i fatisfaflory antwer would not deferve their notice. lattsractory Many treatifes have been written on the feveral fciences and th-„ h-„ i great fervice to the worlds but after all the improvements they »Li * th^e" ° room for many more: no one of thefe fubjeds is yet exhaufted; and arch teflure irom its great variety, leaft of all. ucccure > The difcoveries that have been made, and rules that have been eftabiiffied in this faence arc fettered ,n various books, as they have arifen from the labours of diffe¬ rent authors : and many things worthy the regard of all who build, have been found out fince any have written on thofe articles which they concern ™ This we apprehend to be the prefent ftatc of architeflureand we propofe in this undertaking to colled all that is ufeful in the works of others, a.whatfcv" time they have been written or ,n whatever language s and to add the feveral d° bo venes and improvements made fince that time by the genius of others, or by our own % this means we propofe to make our work ferve as a library on Z . fubjed to the gentleman and the builder, fupplying the place of all other hooks it will contain whatfoevet there ,s in them worthy°regard, and, together with this whatever we have been able to invent or obtain that if curious andrfeful. Thofe who have ftudted thefe things, have in general confidered the magnificence of building, rather than ns ufc. Architedure has been celebrated as a nob]- feience by many who have never regarded its benefits in common life: we have endea voured to join thefe feveral parts of the fubjed, nor fhall we fear to fay that the" on of building cannot be more grand than it is ufeful. nor its dignity a greater pr fe than Its convenience From the negled of this confideration, thole wh^have written to inform others of its excellence, have been too much captivated bv fe rSSr„eiS d m a man “ r 3,1 th “ -ving the ££ th™ Ltdth pZ^Zs arc r h;teflure; and * would be moft ufefu) 1 ; while, oite Wh ° m ^ neral, of lefs value: mold of them indeed ufelefs 1 ’ In ge " Upon thefe confiderations we have been induced to undertake the prefent exten iive vvork: thepurpofeof which is to inftrud rather than amufe ■ in which , 1, will be omitted that is elegant or omr • h.,* «■!-, , \ n which nothing what is neceffary and ufefuh g * ^ ^ pnnC ‘P al re S ard wiI > to That we may be underftood in the fucceeding parts of our undertaking pofe to begin with an explanation of thofe I'evefaf terms of art thich a/e ufedZ writing and fpeaking of buildings. are uled ln It may be laid thele have been rendered intelligible by others • but tn this lwer, it has never been yet done perfedly or clearl/ In the e *i , «e an- term authors have commonly made ufe o/others not'leff ex P 1 ‘ ,nat,on °f underftood; therefore they have done iMmoerSv difficult and no better truth that words alone can never explain them ckirly % W “ h ^ In our explication we fhall be careful to ufe no wolds that are not perfediv un detftood without firft rendering them plain and familiar; and wherever the ffiinJ exprefled by the term is capable of reprefentation bv line, we 3 g account of it with a figure accurately prvrnvpd u- T * , , accom p3ny our and ftriking the eye, will never^£ Yo^Z ’ ^ After ' ‘ ^}^‘\mj^wj^^j^m)^A^)'^’^j^wjz^^)^{W)^{&) m ^v)^[wj^A'Ji A C E. P R E F After this, which will be delivered as an introduflion to the ftudy of architec¬ ture w e Utah advance to the conlideration of thofe materials which arc tiled in buildinc; and of which the ilrudures hereafter to be propofed will confift. In this part we fliall treat of the conditions, nature, and qualities, fo far as ex¬ perience has hitherto difeovered them, of the feveral kinds of hone and timber; thefe being; the main fupports and principal materials in building. After thefe we (hall confider the feveral fubftances that arc uied in thofe cements or mortars which hold the former together; and in this part fliall treat of the nature of lime and land; together with whatfoever other ingredients have been or may be ufed in cements; explaining their feveral qualities. From thefe we fliall enter upon the examination of fuch metals as are tiled for covering, ai ding the feveral parts of buildings, deliverin d lead and iron, fo far as they concern the architect, but no farther: it being our purpofe to treat as perfectly as we are able, every thing that relates to our lubjedt; but in no cafe to expatiate beyond its limits. In the confideration of flone we fliall deliver at large the diftindtions of the feve¬ ral kinds of marble; and their ufes in plain or moulded work; in flabs or chimney- pieces; and in other forms. .. . , From this we fliall proceed to the nature and qualities of the feveral kinds ot ordinary flone ufed in our buildings, and known among workmen by the feveral names of Portland, and Bath, Rygate, and Purbeck. Acquainting the reader with their ufes in public and private buildings; plain, wrought, or moulded ; in chimney- pieces, covings, and other forms; in paving, whether it be in random or flrait courfes; in fteps, aflragal or plain; in copings or Curbs for iron-work; and finally in the ere&ing and facing of walls; and in the feveral parts of the different orders of columns. . . . After thus delivering an account of the different fpecies of flone, and their par¬ ticular ufes, we fliall enter upon the nature and the leveral forts of brick. This may be confidered as an artificial kind of flone; of which there aie a great variety of forts, different in value, and fuited to various purpofes. The ufe of thefe in the buildings of this nation, especially in and about London, being much more common than that of flone, they demand the greateft confideration in a body of architecture fuited to our time and country. We fliall here acquaint the reader with the nature of their feveral kinds, as they are diflinguiflied by the workmen, under the names of red flocks, or grey flocks ; place bricks and cutting bricks. , * We fliall from thefe naturally be led to give an account of the feveral forts ot tiles, diflinguiflied by the name of plain, pan, and gutter tiles. . In the confideration of bricks, we fliall deliver an account of their various ufes in walls and ornaments, and in arches and paving. . And, after this, of the feveral ufes of tiles in plain and pantiling, and in all thofe other fervices to which cither of thefe materials are applied. Having here informed our reader of the different ufes to which flone and brick are commonly applied, we fliall in the clofe of the work take an opportunity of acquainting him with their fettled price, as ufed in thofe feveral forms ; which, be- inu- at this time a kind of fixed or eftabliflied rate, will inftrud the gentleman who intends to build, in thofe two great particulars, which are fitted: for his purpofe, and and what is their feveral expence. From this confideration of the materials employed by the architect, their nature, qualities and price, we fliall advance to the methods of ufing them, in the com- no'ii ° the feveral parts of a building, and in forming the whole. It is here the conlideration of what is ftridly and diftindively called.architedure be¬ gins ; and in this place it may be proper to fay fomething concerning the parts of this noble fcience, and to give our reafons for the order wherein we fliall treat them in the iucceeding chapters. Architedure may be confidered under two heads; with refpect to the preparatory ffudies, and to the fcience itfelf. Among the ftudies that lead to it are to be reckoned arithmetic, geometry, pe*- fnedive, and menfuration. Thefe, R E F A E» Thefe, fo far as they are neceffary to the builder, it might be natural to introduces in a regular courfe of the ftudy, before we delivered the principles and practice of the fcience itfelf; and in this order we fhould have difpofed them, had there not ap¬ peared reafons to the contrary. This work is calculated for general ufe; the gentleman as well as the builder is intended to be aflifted by it; and we cannot doubt but the far greater part of our readers are acquainted already with fo much of thofe Radies as may be needful to the prefect fubjedt. For this reafon we have avoided the tedioufnefs and difguft that muft have arifen to many from giving courfes of thofe fcveral fciences in the firlt fheets of our publication; but for the fake of fuch as lhall make this book the whole foundation of their knowledge, we fhall at the end of the book give a concife view of thofe feve- ral fciences, fo far as they regard, or may be fubftrvient to architecture. Having thus explained what is needful to be underftood in the beginning of our work, and referved the more abftradt conliderations which regard it, to the end ; we {hall proceed in a regular order to defcribe and explain the feveral parts of which a building is to confift; and from thefe advance to the ftrudture of the whole. We (hall begin with what is molt familiar and Ample, and thence by gradual ad¬ ditions rife to thofe things which are more complicated and difficult; and thus lead, as it were by the hand, the careful lludent from the raffing of the fmalleft and plaineft, to the''fin idling of the largeft and mod: ornamented ftrudture. Of this the pradtical reader may be perfectly afiured, that with knowledge thus eafily obtained, he will be able to undertake and compleat the greateft edifice; and that he who is ignorant of the principles of the fcience, will not be able to let about the leaft without perplexity and difadvantage. Having premifed a dillindt account of the materials, we fhall in this place enter on the confideration of theeffential parts of a building, and thence proceed to the delign- ing, raffing, and compleating it, of whatfoever kind : in which the knowledge and judgment of the undertaker are to Ihew themfelves in the properly conftrudting the principal and the ufeful parts of the fabrick, and in the feledting and difpoling thofe which are ornamental. We lhall begin with the fituation’j and thence advance to the dodtrine of founda¬ tions ; and fhall lay down the proportion thefe ought to bear to the walls raifed upon them : and fhall deliver fcveral rules, illuftrated with figures, for piling and laying them, according to the qualities of the ground. From thefe we lhall come to the confideration of fewers and drains, and to the railing of walls, of whatever materials ; explaining their ftrudture and proper dimi¬ nutions ; with the dodtrine of chimnies, roofs and floors. We lhall then confider architedlure as divided naturally into two parts: The firft comprehending what is fixed by rule. And the fecond, what is left to fancy. Under the former head will be delivered the dodtrine of the five orders of co¬ lumns : for what relates to thefe is all that is fixed or eltablilhed in the fcience. Under the fecond will be confidered the conftrudtion and difpofition of the feveral parts of a building; all which is left to the imagination of the architedt, and forms proper feene of his employment in ufeful edifices. In fpeaking of the orders we fhall lliew what is fixed, and what is arbitrary; for the vrriations which are found in them among the works of antiquity, lliew that fomething is left to fancy even here. The projedture of the Doric capital in the theatre of Marcellus, is feven minute?, or fixtieths of the diameter of the column, and three quarters; and in the Cojifeuna it is feventeen. Nor do the rules of authors differ in this relpedt lefs than the pradlice of the antient architedts : for Alberti makes this projedture only two minutes and an half, whereas Palladio allows it nine. After other inftances of this kind, to prevent furprife at fuch freedoms as we may find it neceffary to ufe with what is efteemed moll lacred among architecls, we fhall lead the unprejudiced reader, in the ftudy of thefe orders, to a diftinct and ftridt con¬ fideration of the proportions and charadters of the members of their feveral pede- ftals, columns, and entablatures. We 6 R F A C E. \\ e fhall confider firft the three original and great orders of the Greeks, the Doric, Ionic, and Corinthian; explaining from their forms and ftrudture their intents and ufes. The doric made lor ftrength and fervice, fhort in proportion to its thicknefs, and without ornaments on its bale or capital; the Ionic finer and more decorated, of a middle nature, between the ftrong and delicate, taller than the Doric, and adorned with volutes; and laftlv : the Corinthian, light and elegant, loftier than the Ionic, and ornamented in the capital with rows ot leaver, and volutes to lupport the abacus. After thcle we fhall fpeak of the two additional orders of the Romans; the Tuf- can, lower, plainer, and ftronger than the Doric, with no ornaments on its capital, bafe, cr entablature , and the Composite, improving on the height and delicacy of the Corinthian ; and adding more decorations. As an addition to this head, we fhall confider alfo, under the name of orders, fince others have been content to call them fo, the Attic, confiding ot pedeftals with their caps; the Perlian, which has flaves inftead of columns; and the Caryatic, which has women. From thefe we fhall be naturally led to confider piladers, which arc placed fome- times naked and free, and at other times affixed to, or in part immerfed in the wall; as incoli >ita : . Under this h id we fhalltre at at large of theit ture, their diminution, tine manner of placing the entablature upon them, when it lies unon a column at the fame time; and laftly, of their flutings and their capitals. Thefe are the articles o this great fcience which have been ufed mod to perplex the ftudent; but we fhall endeavour to render their forms and ufes as familiar as any other part of the fubject, and to explain all that relates to them equally to the builder and gentleman. When we have thus laid down the principles of architecture, we fhall proceed to the general practice. We fhall lead our dudent to the planning out the edifice, whether for the country or a town, and whether for convenience or magnificence; end to the compleating it with propriety, elegance, and tade. We fhall particularly confider under this head the two great articles of doors and windows. With regard to the fird, we fhall lay down their regular proportion in refpeCt of their height and breadth; their proper pofition in the feveral dories; together with their general and particular conftruCtion : and fhall accompany our obfervations with a great variety of defigns for doors, and their ornaments. In treating of windows, we fhall inftrudt him to proportion them in number and magnitude to the rooms they are to enlighten; and fhall lay down the juft dimen- fions of thofe of the feveral different ftories, both with refpedt of their height and breadth, and their relation to the piers between them. From the walls of the building we fhall advance to the roof, the framing of which we fhall explain according to its feveral forms and kinds; and ihall lay down rules for the compleating it in each in the moft perfect and mafterly manner. Having thus gone through the ftrudture of the outfide of the building, v/e fhall confider its inner divifion into rooms; their diftribution, and offices; and their pro¬ portions, in their feveral dimenfions, and with refpedt to one another. We fhall in this part lay down, for the ufe of the practical reader, fedtions of rooms of various kinds and forms, and deliver rules for the conftrudting of innume¬ rable others; and for the carrying up a great variety of plain and decorated ftair- cafes. Having defigned and diftributed the rooms, placing them in part' ' f the houfe fuited to their feveral purpofes, and proportioning them to one another, we fhall advance to that meft confiderable article of elegance, their ornaments. Under this head comprehending the great variety of chimney-} ieci nd other decorated parts. For thefe we fhall firft deliver certain fixed, and i:r. unable rules, and afterwards lay down a great number of defigns, new, and a da: ' 1 to the prefent tafie. R A E. Having thus fully defcribed the feveral parts of which a houfe is to confifl, wd ihall rile to the confideration of it entire. When the reader has been informed how to deiign, eredt, proportion, and decorate thefe feveral portions of the edifice, we ifiall mllrua him m putting them together, and forming a complete whole from tnole perfect and proportioned parts. We fit all thus give him full and compleat diredtions for the beginning, carrying on and finifiring his work, whether it be fmall and plain, or large and decorated; lead¬ ing him from the conftrudtion of the meaneft private houfe, to that of the molt fuperb publick building: and flrall inftrudt him to work in every part with pro- When we have thus condufled him through every part of the houfe, we fliall lay before linn a variety of defigns for its exterior ornaments, under the heads of piers and other decorations, and we fiiall here enrich our work with a number of new and beautiful defigns for feats, bridges, and temples. In all thefe, as well as the feveral other parts of this undertaking, we fliall endea¬ vour to be plain in the expreflion, and full in the defcriptionsand as we pro¬ pose nothing of the practical kind but what will be illustrated with figures we ruwe made it a principal part of our care that the engravings were executed by the moft mafterly hands. J By thefe means we hope to lay down in one body the whole fcience of archi¬ tecture, from its firft rudiments to its utmoft perfection; and that in a manner which . , render evei 7 P art intelligible to every reader j to acquaint the gentleman with what, on every poffible occafton, he fliould defign in his edifice ; and to in- ftrud the practical builder in not only what he ought to do, but how he fliould execute it, to his own credit, and to the advantage of the owner. TABLE TABLE «/ P L A T E S, with the Places of fuch of them as have been executed. Plate t t~\ART of a building explaining fome technical terms. 2 Jl The five orders of architecture, with their pedeftals. 3. Mouldings. 4. Perfian and Caryatick orders. 5. Kiln for burning tile and brick. 6. The lame. 7. Lime kiln. s. plan and elevation, (hewing ufe of the chain bars and iron cramps; 9. Defigns for iron railing. 10. The fame. , 1. Method of planking and piling foundation of build.ngs. th. Garden or fence walls of brick. . ,, Plan, elevation, and feCtion, explaining how walls arc built of brick and ftone. , 4 . Shews how plates laid on walls are put together, and how beams are [formed of three pieces, trufs beams and roofs. 15. Trufs roofs. 16. Trufs roofs, with the manner of mortice and tenons. , 7 . Variations in the Doric and Ionic cornices, and Doric capital. iS. Columns (hewing their feveral diminutions. 19. Bales of different columns. 20. Variations in the Doric entablature. ,, Variations in bales, and Ionic capitals. . L Ionic entablature in the temple of Fortune Virilis s pedeftal to it; and Palladio s Ionic pedeftal and Corinthian bafe. •23. Corinthian capitals. 04. Corinthian entablatures. 24. Tufcan order. 26. Compofite capitals and bafes. z -. Pilafters. 28. Termini. zq. Dcfign of a loggia with coupled columns. „ r)i Part of a building of A. Palladio, built at "V icenza. r-n _20. Plan of fewers and drains. . . - , , , r dcfign for a houle whofe front, 66 feet, is equal to once and one half the depth 44 feet. ,, Defign for building, whole front is equal to twice its depth. 3+’. Delign of a houfe 2+ feet in front, fhewing the propriety of placing the entrance-door in the middle. .5 Defign of a building whofe plan is near to a fquare where the two back rooms and art cade are propofed to rife but one (lory. „ 7 _ 3 y. Plan and elevation of an .Egyptian banqueting room. f‘ Dt .fign for a parfonage-houfe at Rookby-park in the north riding of the county of ' York, the feac of Sir Thomas Robinfon, Baronet; defigned by himfelf, and en- engraved by Foudrinier. 39. Defign for a garden pavilion with a portico. 2 . 3 6 - A TABLE of r L A T E S. A fmall farm houfe. Elevation of a houfe built on Clifton-hill near Briflol : the feat of Paul Fifher, Efq; Plan, and 45, The elevation of a houfe built at New Milns in Scotland, the feat of Francis Charteris, Efq; Plan, with n° 49, the elevation of a defign for a perfon of diftindtion in the county of York. —48. Plan and elevation of a defign for a gentleman near London. I Plans and elevation for a town-hall, where are the courts of jufticc, and under it is 5 kept a market for corn. Plan and elevation of Wrotham Tuek in Hertfordlbire, the feat of George Byngs, i Efq. ) Plan and elevation of a building defigncd for a manfion-houfe for the lord mayors 3 of London. ; Plan and elevation of a houfe built for Alexander Johnfton, Efq; in Scotland. } Plan and elevation of a building defigned for James Murray, Efq; of Broughton at 3 Kellie. ; plan and elevation of a houfe intended to have been built oppofite Chefterfield-houfe, \ May Fair. ^Plan and elevation of Chefterfield-houfe, May Fair. A door of the Dorick order. A door of the Ionick order. A door of the Corinthian order, to the weft front of Chefterfield houfe. A door of the Compofite order to a drawing room at lord Powlet’s, Berkley Square. Several defigns of Windows. The fame. Sedtion of a dining room. Section of a drawing room at Richard Chandler’s, Efq; Burlington Gardens. 71. Section of a Hall and ftair-cafe, Sir Mark Pleydell’s, Colelhill in Berkfhire. 73. Section of a dining room. Cieling of a ftair-cafe, Sir William Stanhope’s, Dover-ftreet. Another. Cieling to a dining room, lord Cornwallis’s. A cieling. 79. Dining room cieling at Sir Mark Pleydell’s. Bed chamber cieling at the fame place. 82. Cieling to the mufick room, Chefterfield houfe. Dining room cieling, Chefterfield houfe. Great drawing room cieling, Chefterfield houfe. 83. Library cieling, Chefterfield houle. Chimney piece to the dining parlour at George Byng’s, Efq; Wrotham Park. Chimney piece to library, Chefterfield houfe. Chimney piece at James Lumley’s, Efq; South Audley Street. Two Chimney pieces. Chimney piece to the great drawing room, Chefterfield houfe. Chimney piece to a drawing room, Wrotham Park. Chimney piece at Mr. Pitt’s, Bruton Street. Chimney piece at John de Pefters’s, Efq Hanover Square. Bed chamber chimney piece. Dining room chimney piece. 94. Chimney f\ TABLE*/ PLATES, 94,. Chimney piece at Thomas Fitch’s, Efq; Danbury Place. Another at Wrotham Park. 95. Chimney piece at the right Hon. Henry Fox’s, Albemarle Street. Another at William Briftow’s, Efq-, Dover Street. 96. Chimney piece at John Byng’s, Efq-, Berkley Square. 98. Piers at Colefhil 1 , Berkfhire. 99. Piers defigned for the Right Plon. the Ear! of Chefter field. joi. Garden feats. 102. Defign fora cold bath. 103. Garden feat 104. Another at the Hon. Sir William Stanhope’s, Ethrupe, Bucks. 105. Garden feat at the fame place. 106. Defign for a timber bridge. 107. Stone bridge, the Hon. Sir William Stanhope’s, Ethrupe. no, in. Stone bridge, for the Right Hon. the Earl of Kildare, Dublin. 112. Defign intended for Weflminfter bridge. 112. The temporary bridge, with its feftion, at London bridge. 113. A Corinthian front. 114. Another. 115. Another. 116. A front of the compofite order. And. Palladio. 117. Geomatrical figures. 1x8. A plate of perfpeftive. 119. The fame. 120. The fame. 121. The lame. 12'2. Piers at Holland-houfe by Inigo Jones, with the menfuration of groined arches. ERRATA. 7 > line 6, for haunfes , read bounces. Page 179, line 9 . -26. , for Tores read Torus's. 17 9, —— - 41 ; , for Tores read Torus’s. an inch \ 39 » - 17 , , for on read no. 179, line : ■83.-: 43 > - 35 , one too many. 60, - 1 7 ) for differece read difference. 25, for 23 feet read 22 feet si of 63,-6, dele be. 69,-36, for feecond read fecond. 73,-6, for fcldsm read feldorn. 7 3,-3, for price read ufe. In explanation of plate IX. line 6, for Itaa read lead. Page 112, line 6, for mortis'd read groov'd. 113, —■— 8, for the read they. 114, -16, after when it differs, read from thofe rules. 119, laft line, for there read they. 134, line 3 from the bottom, after two read minutes. 142,-33, for a quarter read three quarters. 142,-37, for half read quarter. 147,-4, dele to. 169,-19, dele and they are fix deep. 23, read ten inches and '. 27, read found themfelves. 17, for is read was. 300,-22, for Venetian read Bow. 300,-25, for Venetian read Bow. 3c 3,-24, for Baroccio read Giacoms Ba- rotio da Vignola , 305, line 24, for decagons read a flagons. 343,-19, for that read that. 452,-20, for ace read face. •. - ,'lril.utisn. 520. laft line, for Cadmus read Caduccus. 522, line 16, read not to tranfgrefs. 575,-19, for entablature read cornice. 57 5>-2*, for entablature read cornice. 580,-29, for Attieh pilajlers read pedejlal, 6; 1,-11, for buildmrs read builders. 682,-32, iot architect read architeflure. CONTENT BOOK I. Chap. I. AN Explanation of the Terms of Art, which are ufed in writing or fpeaking of Buildings page i II. Of the materials ufed in building 39 III. Of Stone in general 41 IV. Of common quarry Stones; their kinds, Ufes, and the ways of dig- ging them 43 V. Of the manner of ufing Quarry Stone 4 6 VI. Of the various kinds of Slate 47 VII. Of the feveral kinds of Marble 49 VIII. Of the manner of ufing marble 52 IX. Of Porphyry and Granite 55 X. Of Brick 57 XI. Of the feveral kinds of Bricks 58 XII. Of the manner of ufing Bricks 60 XIII. Of Tiles 62 XIV. Of the various kinds of Tiles 63 XV. Of the manner of ufing Tiles 65 XVI. Of Timber in general 69 XVII. Of Oak. The felling, feafoning, and choice of its timber 7 r XVIII. Of Fir. Its growth, nature, and qualities 73 XIX. Of the ufes of Oak and Fir in Buildings. 74 XX. Of feveral kinds of Timber worthy to be ufed in buildings 75 XXI. A Table of ufeful Timber Trees, the growth of England 77 XXII. Of Lime 79 XXIII. Of preferving Lime, and making it into Mortar 82 XXIV. Of the various kinds of Sand 83 XXV. Of mixing up the Mortar 85 XXVI. Of Lead 86 XXVII. Of Iron 88 Chap. IV. Of the Soil page 102 BOOK II. The Introduction Part I. Of Situations Chap. I. Of Situations in general II. Of the Air III. Of Water 93 95 95 97 100 V. Of the elevation of ground for a fitu< VI. Marks of a healthful Situation 104 P a R t II. Of the eHernial Parts of Buildings. jo7 Chap. I. Of Wells, Sewers, and Drains 107 II. Of the qualities of the Ground 109 III. Of preparing the ground for Foun¬ dations j 11 IV. Of laying the foundations of build¬ ings 113 V. Of "Walls. Their form and diminu¬ tion j 1 5 VI. Of the antient Hone and brick walls, and the manner of conflructingthem 1T 7 VII. Of the modern conftruction of Hone and brick walls 1 ro VIII. Of Roofs j 1 IX. Of Floors I22 X. Of Chimnies 124 Part III. Of the ornamental Parts of Buildings. ; 27 Section I. Of the Orders in general, and what they have in common 129 Chap. I. Of the origin and number of the Or- ders 229 II. Of the proportions of the Order 13 1 III. Of the origin of proportions in the Orders, and the antients’ obferva- tion of them 233 IV. Of the general form of Columns 135 V. Of the pofition of Columns 138 VI. Of the diminution of Columns 140 VII. Of the fwelling of Columns 143 VII T . Of the variations in the heights of Columns 245 IX. Of the progreflional heights of Co¬ lumns 247 X. Of the Intercolumniation 249 XI. Of the general proportion of the parts of Columns jj { c Section C O N T E N T S. Section II. Of the three original Or¬ ders of the Greeks page 153 Chap. I. Of the Doric order; its origin and ufe; and the difficulties attending it 153 II. Of the bale for the Doric order 155 HI. Of the {haft of the Doric order 158 IV. Of the Doric capital 160 V. Of the Doric entablature in general 162 VI. Of the difpofitions of entablatures 163 VII. Of the Doric architrave 165 VIII. Of the Doric freeze 166 IX. Of the Cornice of the Doric order 168 Of the pedeftal appropriated to the Doric Order 172 XI. Of the Ionic order 176 XII. Of the Ionic bafe 177 XIII. Of the £haft of the Ionic column 179 XIV. Of the Ionic Capital 181 XV. Of the entire entablature in the Ionic order 185 XVI. Of the Ionic architrave and freeze 186 XVII. Of the Ionic cornice 188 XVIII. Of the Ionic pedeftal 191 XIX. Of the Corinthian order 192 XX. Of the Corinthian bafe 194 XXI. Of the {haft of the Corinthian or¬ der 195 XXII. Of the Corinthian capital 197 XXIII. Of the entablature of the Corin¬ thian column entire 202 XXIV. Of the Corinthian architrave and freeze 203 XXV. Of the Corinthian cornice 206 XXVI. Of the Corinthian pedeftal 209 Section III. Of the two additional Orders of the Romans 212 Chap. I. Of the Tufcan order 212 II. Of the Tufcan bafe 213 III. Of the {haft of the Tufcan column 215 IV. Of the Tufcan capital 216 V. Of the Tufcan entablature 218 VI. Of the Tufcan pedeftal 220 VII. Of the compoftte order 222 VIII. Of the compoftte bafe 224 IX. Of the fhaft of the compoftte order 225 X. Of the compoftte capital 226 XI. Of the compoftte entablature 230 XII. Of the compoftte architrave 231 Chap. XIII. Of the compoftte freeze page 232 XIV. Of the compoftte cornice 233 XV. Of the compoftte pedeftal 235 Section IV. OfPilafters 2 37 Chap. I Of pilafters in general 237 II. Of the projeCture of pilafters 239 III. Of the diminution of pilafters, and the placing their entablatures IV. Of the fluting of pilafters 242 V. Of the capitals of pilafters 243 Section V. Of the fanciful 1 or lefter orders 245 Chap. I. Of the Attic order 245 II. Of the Perfian order 246 III. Of the Caryatic order 248 IV. Of Termini 2 50 Section VI. Of the decorat ;ion of the orders 252 Chap. I. Of the materials and richnefs of the orders 252 II. Of the conftruCtion of the column, according to the different materials 2 53 III. Of the difpofition of columns 254 IV. Of ornaments of carved work in the orders 256 V. Of preferving the true proportions 258 VI. Of the place of the compoftte order 262 VII. Of the decorations of the Doric freeze 264 VIII. Of the general proportions in the orders 266 BOOK III. Section I. Containing the general prac¬ tice of architecture, in the creating of complete edifices, and propor¬ tioning and decorating their fcveral parts 273 Chap. I. Of preparing for the regular, certain, and unobftruCted difeharge of water 273 II. Of the conftrudtion of pipes and fmall drains, for the conveyance of rain¬ water 275 III. Of feffpools, their ufe, proper places, and dimenfiens 277 5 Chap. CONTENTS. Chap. IV. Of the v/ays of difcharging the water according to the lituation of the houfe page 279 V. Of the difpofition of drains, channels, and fenpools, through the whole ground plan 281 VI. Of the conftruCtion of dry drains, and the general difcharge of water 2S3 VII. Of the conftruCtion of the feveral kinds of fewers and drains 285 VIII. Of the conftruCtion of houfcs 289 IX. Of the giving an edifice a proper ftrength 291 X. Of proportioning the feveral parts of a houfe with judgment 293 XI. Of the difpofition of parts in an edifice 296 XII. Of edifices without columns 297 XIII. Of drawing the ground plan of an edifice 299 XIV. Of circular figures, aud their ufe in building 301 XV. Of angular figures, and their pro¬ priety in buildings 303 XVI. Of mixed figures, and their ufe in building 305 XVII. Of Elevations, and their general • proportions 307 XVIII. Of the particular proportions of parts in an elevation. 309 XIX. Of the ornaments of an elevation 3 11 XX. Of the exterior ornaments of houfes 313 XXI. Of the conftruCtion of the exterior part with refpeCt to ftrength 315 XXII. Of models for the compartition, or inner divifion, of a houfe 317 XXIII. Of the door of a houfe 3 19 XXIV. Of the general diftribution of apartments 321 XXV. Of the compartition or inner divi¬ fion, of the houfe 325 XXVI. Of the diftribution and proportions of rooms 3 2 7 XXVII. Of the proportions of rooms 329 XXVIII. Of galleries 333 XXIX. Of Halls, lobbies and paflages 335 XXX. Of the ./Egyptian manner of build¬ ing 338 XXXI. Of the houfes of the antient Greeks 34i XXXII. Of the private houfes of the an¬ tient Romans 343 Section II. Of the conftruCtion of houfes in which the orders of ar¬ chitecture are not employed page 345 Chap. I. Of common houfes in London 345 II. Of common houfes in the country 348 III. Of the conftruCtion of fmall farm houfes in the country. 349 IV. The conftruCtion of a fomewhat larger farm houfe 351 V. Of the diftribution of the parts in a country houfe with a farm 353 Section III. Of the conftruCtion of houfes in which the orders of archi¬ tecture are ul’ed 3 c r Chap. 3 I. Of the proper diftribution of the orders ibid. II. Of difpofing the Doric under the Ionic order 3 57 III. Of the manner of placing the Ionic over the Doric order 3 59 IV. Of the manner of uiing the Ionic and Corinthian orders in a building 361 V. Of the conftruCtion of the Ionic on a lower ftory 363 VI. Of the choice of parts for the Corin¬ thian order in a fecond ftory 366 VII. Of the choice of Corinthian capitals 368 VIII. Of ufing the Ionic order alone in the front of a houfe 370 IX. Of raifing the Ionic in a fingle feries over an arcade 373 X. Of the conftruCtion of the Ionic order in this edifice 7^ XI. Of raifing an upper ftory with the Attic 377 XII. Of the ufe of the Corinthian order alone in a houfe 378 XIII. Of the conftruCtion of Corinthian columns in a fingle feries 383 XIV. Of the upper or Attic ftory in the before-mentioned houfe 388 XV. Of the ufe of the compofite order in a fingle feries 390 XVI. Of the place and ufe of the mez¬ zanine ftory 393 XVII. Of finishing the front of the lower floor in the above-mentioned houfe 396 XVIII. Of raifing the fecond ftory or firft floor apartments of the above- mentioned houfe 397 XIX. Of the choice of parts for the com¬ pofite order in fronts of houfes 399 xx. '€ 31 CONTENTS. Chap. XX. Of the conftru n of the compofite capital when ufed in the front of houfes page 402 XXI. Of the general ufe of the Tufcan and Doric order 403 XXII. The conftruCtion of a country feat without columns, or other ex- penfive decorations 405 XXIII. Of the drawing a ground plan for this edifice 406 Of the internal dhifion and dii- tribution of the rooms 40S XXV. A fecond difpofnion of the build¬ ing, illuftrated by Plate LIV 409 Of the internal divifion of the XXIV. XXVI plan 41 o XXVII. Of the elevation of the intended building 412 XXVIII. Of a houfe with Ionic columns on the parlour floor 413 XXIX. Of the plan 414 XXX. Of the compartition, or inner divi¬ fion, of the planof the houfe 416 XXXI. Of the compartition of the wings 4 1 7 XXXII. Of the elevation 419 XXXIII. The conftruCtion of a houfe with a fingle row of Ionic co¬ lumns over the parlour ftory 421 XXXIV. Of the out-line of the plan 422 XXXV. Of the diftribution of the ground within the out-line of this plan 424 XXXVl. Of the compartition of the plan 425 XXXVII. Of the elevation 427 XXXVIII. The conftruCtion of a town- houfe of the greateft elegance 429 XXXIX. The ground-plan of the edifice 43 ° XL. Of the two additional rooms 433 XLI. Of the conftruCtion of the additi¬ onal rooms 434 XLII. Of the colonnade and wings 436 BOOK IV. The introduction 437 Chap. I. Of doors 438 II. Of the dimenfions of doors 439 III. Of the elevation of doors. 441 IV. Of the ufe of columns in the orna¬ ment of doors 442 4 Chap. V. The conftruCtion of a door in the Doric, and in the Ionic order page 443 VI. Of the ufe of the more elegant orders in doors 445 VII. Of the original decorations of doors 446 VIII. Of the ufe of the fanciful orders about doors 448 IX. Of fymbolical figures in the orna¬ ments of doors 450 X. Of the ufe of terms as ornaments to doors 451 XI. Of the ufe of pilafters in the orna¬ ments of doors 452 XII. Of the ufe of the Corinthian order in a door 453 XIII. Of a door of the Compofite order 4 54 XIV. Of decorating the orders for doors 455 XV. Of the panncls of doors 458 XVI. Of the fcveral kinds of windows 460 XVII. Of the plainer windows for a prin¬ cipal floor 461 XVIII. Of windows with the orders 463 XIX. Of the ufe of a Doric order in a Ample window ibid. XX. Of the projection of the columns in a plain Doric window 465 XXI. Of executing an Ionic window plain 466 XXII. Of conftruCting a plain window in in the Corinthian and Compofite order 467 XXIII. Of Venetian windows ibid. BOOK V. Part I. Of infide decorations 4c8 Chap. I. Of decorations for the Tides of rooms in general ibid. II. Of the practice of theantients in deco¬ rating their rooms 470 III. Of the introduction of columns into rooms 47 j IV. Of the introduction of pedeftals in the finifhings of rooms 47 2 V. The origin of the ornaments in plain rooms ibid. VI. Of decorating the upper part of the wall. 474 VII. Of the modern decoration of rooms, deduced from the antient pradlice 475 VIII, CONTENTS. Chap. VIII. Of faking the ornaments to one another page 477 IX. Of defigning a finifhing from the principal parts 479 X. Of taking the general defign from the chimney-piece 412 BOOK V. P a R t II. The introduction ChSp. 485 I. Of the ornaments of ceilings in general 486 11 . Of ftair cafe ceilings 487 III. Of a ftair-cale ceiling with other de- corations 489 VI Of placing the circular and elliptical compartments 490 VII. Of ceilings of rooms and their coin- partitions 493 VIII. Of decorating the compartments 494 IX. Of finifhing a ceiling with all curvi¬ linear figures. 497 X. Of decorating curvilinear compart¬ ments in a ceiling 498 XI. The way of conftrucking a curvilinear divifion with fmaller fide and end compartments 499 XII. Of decorating the compartments bf the preceding ceiling 500 XIII. Of ceilings of more expence 501 XIV. Of a large ceiling in the true take 5 02 XV. Of the divifion into compartments 503 XVI. Of finifhing the pannels 504 XVII. Of decorating the pannels 506 XVIII. Of enriching the Compartments ibid. XIX. Of decorating a ceiling with mixt figures. 509 XX. Of the fhape of the compartments in this ceiling 51b XXI. Of the manner of forming the compartments 312 XXII. Of ornamenting this ceiling 513 XXIII. Of the proper kinds of ornament 5 l6 XXiV. Of decorating the compartments in a richer manner 5 [ 8 XXV. Of decorating the fpaces 520 XXVI. Of decorating a ceiling in a fan¬ ciful manner £21 XXVII. Of conftrudting a ceiling for a mufic room 522 XXVIII. Of the general figure of this ceiling 323 Chap. XXIX. Of forming the lines of this dif- tribution P a g e 5 2 5 XXX. Of the farther ornaments 526 XXXI. Of the more peculiar and appro¬ priated ornaments 527 XXXII. Of a large ceiling with mixt compartments 529 XXXIII. Ot the proper ceiling for mixed figures ibid: XXXIV. Ot the compartition of this ceiling _ 531 XXXV. Of the choice of the figures, and their difpofition 534 XXXVI. Of the addition of ornaments to this ceiling ^36 XXXVII. Of decorating a deling with a fingle compartment 537 XXXVIII. Ot striking the compartment 538 XXXIX. Of filling the central fpace 540 XL. Of a divifion of the exterior fpace 54 1 XLI Of filling the fpace within the com- parment 542 XLII. Of ornaments for fuch a deling 544 XLIII. To form a fanciful and very rich ciehng 545 XLIV. Of the compartments 546 XLV. Of the principal figures 547 XL VI. Of the conftrudtion of thefe figures 549 XLVIF. Of finifhing the compartition 550 XL VIII. Of the decoration of this deling 55 1 E O O K VI. Of chimney-pieces 333 Chap. I. Of the general ftrudure of chimney- pieces and their feveral materials ibid II. Of fimple and continued chimney- pieces. _ 355 III. Of the various ornaments of chim¬ ney-pieces 556 IV. Of the appropriation of the materials to chimney-pieces 557 V. Of the choice of marbles for particular chimneys 33 g VII. Of a Doric chimney-piece 361 VIII. Of the difpofition of the columns 562 IX. Of finifhing the order 363 X. Of the ornaments of the reft of the chimney-piece 364 d Chap, CONTENTS. Chap. XI. Of the kinds of marble moll fit ror this chimney page 566 X!I. Of a chimney-piece with figures 5 6 9 XIII. Of a chimney with the Caryatic or¬ der 57° XIV. Of the conftruCtion of the figures 57 2 XV. Of the drapery _ 574 XVI. Of the conftrudtion of this chimney ■575 XVII. Of the materials of this chimney 576 XVIII. Of the chimney-piece whofe foie ornament is fepulchre 577 XIX. A chimney-piece with fingle Doric columns 57 9 XX. Of the feveral parts in this chimney 5'° XXI. Of the materials for this chimney 5 81 XXII. Of a chimney with termini ibid. XXIII. Of the conftruCtion of this chim¬ ney-piece 582 XXIV. Of the materials for this chimney- piece 584 XXV. Of continued chimney-pieces 585 XXVI. Of propriety in the ornaments 586 XXVII. Of enriching a continued chim¬ ney 588 XXVIII. Of fuiting the upper work to tire room 589 XXIX. Of the upper work 591 XXX. Of the decorations 593 XXXI. Of a richer continued chimney- pitce 59 5 XXXII. Of the ornaments 597 XXXIII. Of limplechimney-pieces, with various ornaments 598 XXXIV. Of the ornaments 601 XXXV. Of a marine chimney-piece 603 XXXVI. Of the decoration of this chim¬ ney-piece 604 XXXVII. Of a fmall chimney-piece, with lculptured mouldings 606 XXXVIII. Of the decorations of fuch a chimney 607 XXXIX. Of a chimney-piece for a room more enriched 609 XL. Of the ornaments of this chimney 611 XLI. Of a chimney-piece and wind-dial 612 XLII. Of the conftru&ion of this chim¬ ney-piece 613 Chap. XL 1 II. Of the lower part in this chim¬ ney-piece page 614 XL 1 V. Of the ornaments of this chim¬ ney-piece 615 XLV. Of the decoration for the reft of the lower part 617 XLVI. Of the fuperitrudure. 618 BOOK VII. Of exterior decorations 621 Chap. I. Of piers ibid. II. Of the propriety of piers 623 III. Of the conftrudion of piers 626 IV. The manner of ufing the Corinthian in a pier 629 V. Of the conftrudion of a Corinthian pier 63° VI. Of working the order 633 VII. Of the difpofition of the column 635 VIII. Of the decorations for a garden 636 IX. Of the great beauties of nature 639 X. Of building adapted to particular oc- cafions ibid. XI. Of various places for feats in gardens 641 XII. Of the choice of ground 642 XII. Of the difpofition of ground 645 XIII. Of buildings proper for fuch a gar¬ den 647 XIV. Of their pavilions <549 XV. Of the difpofition of flower-beds 651 XVI. Of water 653 XVII. Of temples in gardens 6 55 BOOK VIII. 657 The introduction Chap. I. Of fixed bridges 659 II. Of wooden bridges 661 III. Of bridges of one arch 662 IV. Of the conftruCtion of fuch a bridge 664 V. Of wooden bridges over large rivers 665 VI. of ftone bridges 667 VII. Of the form and covering of arches 669 VIII. Of the duration of ftone bridges 671 IX. Of the conftruCtion of ftone bridges 672 X. Of dividing the water 675 XI. Of bridges without decorations 676 XII. Of more magnificent bridges 678 BOOK C O N T BOOK IX. Of the conftruCtion of elevations upon true principles of architecture page 680 Chap. I. Of a Corinthian front ibid. II. Of accommodating the order to the building 681 III. Of the modern practice. 682 IV. Of falfe reafons for this practice 684 V. Of the right practice on thefe occafions 686 VI. Of the necefiity of the practice 689 VII. The conduit of Palladio in this in- ftance 690 VIII. Of the height of windows 69 r VIII. Of farther improvements 693 IX. Of retrenching errors 694 ENTS. Chap. X. Of the method of ftudying the writers on architecture page 696 BOOK X. Of the fciences and arts fubfervient to ar¬ chitecture 697 Chap. I. A fyftem of arithmetick ibid. Addition ibid. Subtraction 699 Multiplication j 0l Diviiion .702 The Golden Rule; or Rule of Three 704 Someprinciplesof geometry explained 707 PerfpeCtive y 1Q Chap. / y II. Menfuration 722 COMPLETE BODY O F ARCHITECTURE. BOOK I. CHAP. I. An Explanation of the Terms of Art , which are ufed in writing or ipeaking of Buildings. builder bellows a great deal of pains onthofe parts of an edifice which ) T arG ^ tt: ^ e re § arded > and t ^ ie ca ^ e 1S t ^ ie f ame ' m forming a book upon the __fubjedt. The prefent introductory chapter is an inftance. Though per- haps the lead confpicuous article in our undertaking, there is none that requires a ftridter care or attention. We are to lay down a fyftem of architecture, and it is impofiible to do this without uling many terms with which the reader who has not before confidered the fubject cannot be acquainted. It is necelfary to explain thefe, and to fix their meaning on his memory. So much has been done by others in this refpect, that it will not be ealy for us to acquire praife in the execution of it j and yet fo much more than all that has been done is needful, that if we do not fucceed in the defign of making them remembered, as well as underftood, better than has hitherto been effected, we lhall have written in this part to little purpofe. N°. I. B The 2 A COMPLETE BODY Book I. The hope we have to fucceed better is principally founded on the abidance of thofc v-—v — J ftvui-es we add to our explanations. In thefe we have caufed the moll conliderable of the objects to which we refer, to be reprefented before the eye, as well as to the imagi¬ nation ; firfl together, and afterwards in their feparate parts, with their names annexed. Thefe we conceive to be the principal means by which we (hall convey and eftabliih the neceffary knowledge on this head ; but though the principal, this is not the only fource from which we flatter ourfelves with that expedation. The books wherein thefe terms have already been explained, the writings of archi- teds, and the feveral didionaries lie before us; and we hope that, feeing and avoid¬ ing their errors and defeds, we (hall not fall into lb many nor fo great. If what has been publilhed by others were fufficient, we Ihould (fill have inferted fuch a table here, bccaul'e we (hall not refer the reader to other works : but we apprehend fomething more is wanting. We can perceive how thefe explanations have been copied from the earlier into the later and from the greater into the leffer of thofe books; and in what manner they have been tranferibed from the lad into the modern didionaries. In the writers of archi- tedure the terms recited are too few and they are explained too (lightly: in the didio- narics too many arecolleded, and they are treated too diffufcly. We (hall endeavour to avoid each extreme; we would not leave any term that is in ufe unexplained, nei¬ ther would we tire the ftudent with a multitude which he will never fee elfewhere. In the fame manner, as we (hall take care to give a fufficient explanation, we (hall avoid writing treatifes on each, refervin£that to the body of our work. The writers of architedure have faid too little on thefe terms, becaufe they have fup- pofed their readers acquainted with fome part of the fcience before; in didionaries we find too much, becaufe they have no other opportunities of entering on the fubjeds : and fometimes they err from inaccuracy in the tranferibing. It is very difficult to copy with punduality what is not underftood ; and thefe perfons cannot be fuppofed mailers of every thing concerning which they mud write. We (hall endeavour in the firft place to be corred; and next to proportion the man¬ ner and fcope of our explanation to the importance of the term. Where that is of lefs confequence, we (hall add little illuftration ; where it is of more, we (hall enter farther into particulars; which the reader, remembering this is not only an explication of words, but an introdudion to architedure, will excufe. We (hall endeavour, on each article, to inform the mind, without burthening the memory; and to deliver in this place fo much of the general principles of the fcience, that the ftudent (hall be able not only to comprehend what he reads and hears, but to underftand what he fees. We (hall in fome places add particular accounts to thefe general conflderations, that any other book of architedure, as well as this, may be read without perplexity ; and that the careful reader, with fo much knowledge only, may be able to l'peak in proper terms, and deferibe intelligibly what he fees. The bare explanations being in theml'elves neceffarily the fame, will appear alike in whatever work they occur ; to be corred in this part is all that can be attained : in the illuftration we (hall have recourfe to inftances from the antique, and to the pradice of the greateft architeds among the moderns, that fuch things as are explained in other books may be exemplified here. We ihallomit the common and vulgar terms under¬ ftood by every labouring perfon, and referve to their places in the work the more critical confideration of many others. What we intend here is to give the full explanation of the term; and we (hall endeavour to be ufeful and not tedious. Abacus. OF ARCHITECTURE. 3 Abacus. C^fep. i A fquare piece, which ferves as a covering to the capitals of columns. See the Tufcan Abacus. abacus , Plate II. It is properly the uppcrmoft member of the capital, whereon the architrave refts; terminating the column with its capital at the top, as the plinth, another fquare pieco tp be defcribed hereafter, does with its bafe at the bottom: The term is Latin, but has been introduced from the Greek, a£a£ in that language lignifying. the fame thing; and its origin is from a Hebrew word of like found fig- nifyinga fhelf. Some have faid the original of the abacus v/as a fquare tile, laid over a bafket, round which grew leaves of the acanthus or bear s-breech, whence the Corinthian capital was derived. But the abacus is of earlier origin. The Doric order was long prior to the Corinthian-, and we fee an abacus on that in the remains of the Parthenion at Athens , though the columns have no bafe. In the Corinthian order it indeed reprefents the tile j but its four fides are fegments of circles. In the earlieft inftances, before thofe li¬ centious ornaments of capitals were introduced, it ferved only to give breadth to the top of the column, and a level fupport to the entablature. We fee the abacus of the Doric capital very large in the moft antient buildings, for this reafon. In the origin of archite&ure, trunks of trees were railed upright for columns, and others laid acrofs them to bear the roof. The abacus was then a fquare piece added to the top of the column, for the fupporting and holding thofe others more conve¬ niently : this was its original. In confequence of this origin, the abacus was made fquare and plain on the fides, as is feen in the antient Doric ; and in the Tufcan added by the Romans: but in the Corinthian and Cojnpofite it is altered. Its four fides are hollowed or arched in¬ wards, and it is decorated in the center with a flower, or other ornament. In the Tufcan order the abacus is of a great thicknefs, and is called by fome the die of the capital; in the later Doric a cymatium is fometimes put over it, fo that it lofes even its place : and in the Ionic it is wrought with an ogee crowned with a fillet. In the Tufcan order it is of the fame form with the plinth of the bafe. Abacus is ufed in a particular fenfe by Scammozzi , fignifying not the crowning of the capital of a column, but a concave moulding in the capital of the Tufcan pedeflal j this however is wrong, as it may breed confufion. Acanthus. An herb kept in our gardens, and called in Englifli bears-breech ; the leaves of which Acanthus, make an ornament in the Corinthian and Compoftte orders, and are faid to have been the occafion of the former. See Plate II. There are two kinds of this plant, the one called the wild acanthus , which has prick¬ ly leaves, the other the acanthus mollis , or fmooth acanthus , or garden acanthus , having no prickles. The antients reprefented the leaf of this kind; but we often fee the prickly acanthus in more modern works. Acanthus is the Greek name of this plant; the Latins call it branca urfina , though they often adopt alfo the Greek word. The place of the acanthus leaves is on the bell of the capital, which they cover; and they are the diftindion of the two rich orders from the three others; and their dilpo- fition in a feparate manner on thofe two diflinguifhes them from one another. There all* SI «®2^Kit»/ A COMPLETE BODY alfo rife ftalks among thefe leaves, which in the Corinthian order curl under the abacus. Callimachus was the inventor of the Corinthian capital, and it arofe from this accident; a bafket was fet upon the ground, and covered with a tile; a root of the acanthus being there, the leaves and ftalks rofe up, furrounded the balket, and curled back at the tile; the appearance was fo pretty that he carried it into the capital of a new order. The balket is the bell of that capital; the acanthus leaves and ftalks are the foliage and volutes, and the tile the abacus. The Greek fculptors have taken l'ome liberties in their reprefentations of the leaves of this plant. Sometimes the indentings are too deep, and often too numerous for na¬ ture. They alfo ufe occafionally olive leaves and laurel leaves in the divifion, but thefe they carve with fo much freedom, and fo little regard to truth, that, like the paintings of our heralds, if we were not told what they reprefent, we might be per¬ plexed in guefling. In the Compofite capitals of Titus and Septimius Severus at Rome , the leaves meant for the acanthus mollis are indented fo deeply that they reprefent thofe of parfley. The leaves in the capital of the temple of Vejla at Rome are called lau¬ rel, but they differ from what is ufually made for the acanthus only in the divifion at the ends; this being all the architects mean by that term. In the remains of the temple of the fun at Palmyra., there are Corinthian columns, the bell only of whole capital remains: they make a very ftrange appearance. The columns are of white marble, and the leaves probably were of brafs; for the holes remain by which they were fixed ; and they feem to have been ftolen for the value of the metal. Acroterions. Vulgarly called acroters. Certain little pedeftals placed at the two extremes, and on the middle of pediments. Thefe are commonly made without bafes. They arc placed oil frontifpieces in the fame manner as on pediments, and in their origin were intended to fupport ftatues, though they are more frequently naked ; the word is Greek, and fignifies the the fummit or higheft point of any thing. Vitruvius has given rules for their dimenfions, according to which thofe at the ex¬ tremes ought to be half the height of the tympanum, and that in the middle one eighth more. The term is ufed alfo to fignify thofe fharp pinacles and feparate battlements which ftand in ranges about flat buildings, with rails and balufters; this is conformable enough to the original meaning of the word, but it were well that there never were more than one diftindt fenfe to the fame term, to prevent confulion. Acroterion is alfo ufed by fome to exprefs a figure of ftone or metal, placed as a crown¬ ing to any building, as on the top of a temple or otherwife; but its original fenfe is a pedeftal, and it fliould be ufed in no other. Alcove. A part of a bed chamber in which the bed ftands, feparated from the reft of the room by columns, pilafters, or other ornaments. This is the original and ftrieft meaning of the word, it being derived from alcoba in the Spanifh, which exprefles a retired place for fleeping : but it has been made to exprefs alfo any thing of the fame or like form. Where a part of a room is feparated by a fereen of columns, and has feats or what¬ ever elfe in it, though no bed, it is called an alcove ; and the feats in gardens when they in any manner approach to the form of fuch a part of a room, are in the fame manner called alcoves. Amphi- OF ARCHITECTURE. Amphiprostyle. Ill the antient architecture, a temple that had columns in front and behind. Amphitheatre. A place of old deftined to the exhibiting of fliews. It was fpacidus and large, of a round Am P hi- or oval figure, containing a pit, called its arena, which was encompaffed with a great th “ tre ‘ humberof feats, in rows rifing gradually over one another: and it ufually had porticos both within fide and without. The theatre of the antients was in form of a femicircle, but in meafiire exceeding the exadt femicircle by one fourth part; and two of thefe theatres put together form¬ ed what they called an amphitheatre. The derivation of the word is from two Greek ones, ajj.fi, about, and (kaj^ov, a theatre. The amphitheatres of the antients were built for the entertaining the people with cam- batsandother pompousfpedtacles; and their extentwasmadethus great for the receiv¬ ing the multitude. We have the remains of three very confiderable ones handing at this time; the Colifeeum, which was an amphitheatre ofVefpafian, another at Verona and the third in Languedoc near Nifmes ; and there are alfo remains of i'ome others. Ancones. A term by which fome exprefs the confoles or ornaments cut on the keys of arches, and A "“”~ ferving upon occafion to fupport little bulls or other figures. Vitruvius calls them by this name. Annulet. A little fquare moulding ferving to crown or accompany a larger, or to feparate the Annulet. Actings of a column : 'tis the fame that is called lift, or lijiella, and will be explained farther under that head. See.Plate III. An t^e. A name by which Vitruvius has called pilafters when they are adjoining to the wall. Am* when they are free or infulate he calls them farajiatee. In the firft cafe they ufually have no diminution. ^ Ant i Qjjfe; A term at large expreffing any thing antient, but appropriated to fignify a buildinv part Antique, of a building, or other work, that has been executed by Greeks or Romans, “when the arts were in their greateft purity and perfeSion among thofe people. The period of things called antique extends from the time of Alexander the Great, to that of the emperor Phocas, when Italy was over-run by the Goths and Vandals In the moA Aria fenfe of the term antique, it takes in only the exprefs period when fome of the great works of antiquity were made, that period commencing when the arts had arrived at their perfeftion, and ending when they began to fall to decay In this fenfe antique, which properly fignifies antient, is ufed as a term diftinguifhed from antient: all old buildings, or remains of buildings, of other ages being called antient, but thofe erecled within that period only being honoured with the name of antique. But this is a vague and arbitrary fenfe : the derivation of the word being from the Latin antiquus, which fignifies old, without any limitation to one period of time more than another. Antiqjje Manner. A phi afe ufed to exprefs any modem building, or part of a building, which is executed AnriqnsMan. accord.ng to the ftridt rules and good tafte of the antients. The term antique we have (hewn in its larger fenfe. Hands as a diftinaion from modern; and thus the JN . I. p antique Chap. I. Amphipro- ftj-le. 31 Antiquo-Mo- Aquacdufl. Araoltyle. A COMPLETE BODY antique trifle is underftood as diflinguifhed from the modern, which is fuller of orna¬ ment and lefs corredt. Anti qjj o-Modern. A term ufed by fome to exprefs buildings which have been executed fince the time that is comprehended under the term antique , and yet too long ago to be properly called modern : our old Gothic churches, and other ftrudtures of that kind and time, are called anti quo-modern edifices. A qjj m d u c T. An artificial canal built for the conveyance of water from one place to another ; either running under ground, or raifed above it: and ferving to carry the water to places according to their level, notwithftariding the unevennefs of the ground between. The word is derived from the Latin aqua duBus, a conduit of water. The aquaduBs of the antients were many of them very great and aftonifhing works; fome are pre- ferved in large remains to this time. We are told that the aquaduBs in Rome brought into that city daily more than five hundred thoufand hogflieads of water. The leffer aquaduBs were of wood, the larger of {tone ; and thofe raifed above the ground were fupported by arches, in the manner of bridges, from one rifing-ground to another, often at feveral miles diftance j the remains of one are fliewn in the head-piece to this chapter. Arch. A concave or hollowed piece of building, conftrudled in fuch a manner that the feveral {tones of which it is compofed keep one another in their places. The terms arch and vault properly differ only in this, that the arch expreffes a narrower, and the vault a broader piece of the fame kind. The principal difference in the form of arches is that fome are circular, and others elliptical, the former having a larger or fmaller part of a circle, the other of an ellipfis. What are called {trait arches are thofe frequently ufed over doors and windows, the upper and under edges of which are ftrait and parallel, and the ends and joints alt pointing toward a centre. The fpace between two piers of a bridge is called an arch, becaufe ufually arch’d over. Triumphal arches are magnificent entries into cities, eredted to adorn a triumph, and perpetuate the memory of the adtion. The arches of Titus and Conjiantine make at this time a great figure among the ruins of old Rome. Arasostyle. A particular difpofition of columns with refpedt to die intercolumniations or {paces be¬ tween them, ufed by the antients in many of their buildings. They had peculiar terms for expreffing the various meafures of thefe fpaces, and this was that which denoted the largeft of all. The columns in the araojlyle method were placed at eight modules or half diameters, that is, at four diameters diftance j and fometimes at ten modules, that is five diameters. Vitruvius calls it a diflance of four diameters, and this is the ftridt proportion of that intercolumniation. The word is Greek, a^oaoq is rare, and g-oXoq, a column. It therefore denoted the placing them in the moft rare or remote manner. The araojlyle method of build¬ ing fuits the Tufcan more than any of the other orders j the maffynefs of thofe co¬ lumns belt keeping the diffance. Arch itrave. A part of the entablature placed over a column. It is the loweft member of that orna¬ ment, and refts immediately upon the capital, lying upon its abacus before deferibed. Set Plate 2. The OF ARCHITECTURE. The architrave is underftood to be the principal beam laid upon the columns, and Chap. I or,- r r iaiu r Uil columns, and ferving as a bafe to the reft of the fuperftmaure. Its name expreffes this, being >— dertved partly from the Greek and partly from the Latin; the firft half from which m Greek is principal, and the fecond from trabs, which iRnifies a beam ' This member is made fometimes of a fingle rummer, as we fee in many of the old buddings, and fometimes of feveral haunfes, as is common in modern works The old writers fometimes give it another name, the efiftyle, which is derived from the Greek son, upon, and s-vA« f , a column , becaufe of its place as before deferibed it ly- ing immediately upon the columns. * ) The architrave, though its place be the fame in all the orders, differs in form in each In the Vufcan it confifts only of a plain face: in the Doric it has two faces gene- rally allowed it ; but in the oldeft buildings in this order we fee it plain, and with only one face and its annulet, as in the Tufcan ; in the Ionic it confifts of three faces andfo in the more decorated: this is one of the parts in which architefts allow themfelves a great deal of liberty, and in which too many follow their fancy rather than any rule. J Arch it rave of a chimney-piece , Is that part we more commonly call the mantle-piece, or maltle-tree. The architrave Archtav. rf though a regular part of the entablature of every order, yet is not limited to be placed m that circumftance only; for befides thefe architraves of chimney-pieces there are architraves of doors and windows. All arch,Craves finilh either with a tenia or fillet only, or with an ovolo cavetto and fi let, or a cima reverfa and fillet. Thefe terms will be explained hereafter in their place ; in the mean time the architrave may be perfeftly underftood from this de- lcription and the figures, in Plate II. A little round moulding which in the ord Jfurrounds the top of the Ihaft or body of A ,„ gal th column. It is called alfo the talon, and tondino-, it is ufed at the bottoms as well as tops of columns, and on other occafions: it properly reprefents a ring on whatever part of a column it is placed, and the original idea of it was that of a fplftting ‘ r0n PM r ° Und the HUnk ° f " trCe ' Ufed t0 rUPP ° rt “ edif,Ce ‘° P™ent !ts It has its name from a Greek word cs^uyeCKoc, which fignifies ftridly a bone in the foot, to which this round moulding was imagined to bear a refemblance. The ajlragah s often cut into beads and berries, and is ufed in the ornamented en¬ tablatures to feparate the feveral faces of the architrave. A term that may properly exprefs any thing invented, or moft ufed in Athens: but we Auick. appropriate it principally to two fubjedts in architcdture,,the Attick order, and the attick Itory. W ’ « generally Attick Order, placed over feme other order of columns. We call them an order, in compliance with the common manner of expreffion, but they do not deferve that name- hey have bee n property enough called a baftard order, and a frfife order; but feirinR^/V" 8 ! 111 ^ ‘ Ch . they make 3 prett y appearance. An inftance may be fee n Pa,lad,os fecond book, Plate ra. They make an elegant crowning of a budding when they are properly introduced, but we fee them fometimes brought in very monftroufly, to the difgrace of the architetft, and disfiguring of the edifice. 6 A Attick Book I. Attick Story Balcony. A COMPLETE fiODY Attick Story. A ftory at the upper part of a houfe, where the windows are ufually fquare. The Attick bafe is a very beautiful bafe ufed to columns of different orders, and will be explained hereafter under the article bafe , with the affiftance of a figure ex- preffing its feveral parts. Balcon y, Properly fignifies a proiedurc from the furface of a wall, luppcrted by confoles or pil¬ lars, and furrounded by a baluftrade. The balufters fliould be of fuch height as to ferve at once as a defence againft falling, and a lupport to the arms when any one leans to look from the building. Baluster. A fmail pillar or pillafter ferving to fupport a rail, and making when joined and conti¬ nued with others the baluflrade we have juft named. The bahtjicr may be either round or fquare, but fhould be adorned with mouldings and other decorations, according to the richnefs intended to be given to the baluftrade. Our baluflers of wood are ufually turned, and often very handfome. Balustrade. A connexion of a number of balufters, ufed for defence or ornament, on balconies, terraces, and the like, and round altars. The balufters are of iron, wood, ftone, or other materials, and the baluftrade , when finely executed, has an elegant appear¬ ance. We have of late, in fome handfome buildings, miferably lupplied the place of the anticnt balujbade by Chimfe rails. The balujbade may coniift of one or more rows of balufters, and may ferve as a reft in front of terraces, and as a defence on levels : and it is fometimes ufed, with a great deal of propriety and beauty, by way of feparation between one part of a building and another. The baths among the antients were thus encompafted with rails, and the word exprefting that feparation was baliuijlrum: hence comes our word baluf¬ trade j and balufer for the fingle pillar. Band. A term frequently ufed to exprefs what we more ufually call the face, or faces, fafciee t of an architrave: but it properly exprelles any flat and low member, whatever be its place, if it be not very' deep. Bandelet. A term that is properly a diminutive of the former, and is ufed to exprefs any very nar¬ row flat moulding. The tasnia which crowns the Doric architrave, is called the ban¬ delet of the Doric architrave. Base. A part placed at the bottom of a column or pilafter, as the capital is at the top. The word fignifies a fupport of any kind, and for any things its derivation being from the Latin bafs, of which that is the fenl'e ; but we have appropriated it in a manner to this lower part of columns. The antients, in the early times of architecture, ufed no bafes. The Doric columns, in the temple of Minerva at Athens have none; but ftand immediately upon the floor of the porch. Columns afterwards came to be fupported on fquare pieces called plinths, and after that on pedcftals. When we fee a column, of whatfoever order, on a pedeftal, the bafe is that part which comes between the top of the pedeftal and the bottom of the fhaft of the column ; when there is no pedeftal it is the part be¬ tween the bottom of the column and the plinth; fome have included the plinth as a part of the bafe , but it is properly the piece on which the bafe ftands, as the co¬ lumn ftands upon that, 8 The £P/an uJum-tJmCfrmajw/ •J/oor A Basement Story B the Plinth C theTacia X) Principal II oor E Te delta! FE DoubLe PedeftaL G ledeftal continued II C oluran T Till after Iv E ntablature L Fediment M Attick ftoiy N Attick Pitta It e r O Blockmo-C ourse r/t 'itir/rrh,/m//' ' OF ARCHITECTURE. 9 The pedeftal alfo has its bafe as well as the column, and the pilafter. The bafe of Chap. i. columns is differently formed in the different orders, but in general it is compofed of i “— certain fpires or circles, and was thence in early times called the fpire of a column. Thefe circles were in this cafe fuppofed to reprefent the folds of a fnake as it lies rolled up; but they are properly the reprefentations of feveral larger and fmaller rings or circles of iron, with which the trunks of trees which were the antient columns were furrounded, to prevent their burning : thefe were rude and irregular, but the fculptor who imitated them in ftone, found the way to make them elegant. The life an bafe confifts only of a fingle torus, or round member upon the plinth: this is the moft fimple of all. The Doric bafe has a torus and an inverted cima in the Co- lifceum the Ionic bafe has a fingle large torus, which is placed over two flender fco- tias, that are feparated by two aftragals. The Corinthian bafe has two torus’s, two fco- tias, or hollow members, and two aftragals. And the Compofite has a double aftragal in the middle. Thefe feveral terms will be explained in their places: and in the mean time their form will be underftood by their figures in the fecond plate. We have obferved that the Doric had antiently no bafe ; Vitruvius allows it none, and other antique buildings befide the Parthenion of Athens might be produced as in- ftances. Even the Ionic in fome very antient pieces has no bafe: fo that we fee what is done in this matter is very arbitrary, and has been introduced of later time than the period of many buildings of which we have remains; but this muft not be con- lidered as an improper deviation from the moil: antient manner, but as an improvement upon it; for a bafe is a very natural and very beautiful part of every order. We have named th&ibafe appropriated by writers to each order, but there is befide thefe five, another called the Atlick or the Atticurgick bafe , which excels them all in beauty ; and was firft given to the Doric , and fince to almoft every other column. This bafe confifts of two torus’s and a fcotia ; the two tores are of different dimenfions and the fcotia runs between them. The Ionic bafe is unnatural, becaufe it is fmaller below than higher up, neither is that of the Corinthian without kb faults: both are inferior by much to the Attick , which is therefore often with great judgment fubfti- tuted in their place. The antients feem to have given the fame, or nearly the fame projedure to the bafe » in all the orders where we find it in their works. For inftance, we fee the fame pro- jedure in the bafe of the Doric and Corinthian order in the Colifeum , and in that of the Ionic in the temple of Concord ; and the difference between the greateft pro¬ cedure of any antique bafe we know, which is in the arch of Titus, and the leaft, which is in the Corinthian order in the Colifeum , is very trifling. See the figures of the feveral bafes in Plate II. Basilic. An antient palace. Thefe were vaft buildings confifting of a great hall, with ifles, Bafilic.' porticos, tribunes, and tribunal, where the fovereigns in perfon adminiftered juftice. This is the proper and ftrid fenfe of the word which is Greek, j QoutiXm^ in that lan¬ guage fignifying the fame thing : but architects have taken the liberty to extend its meaning farther, and bafilic is now ufed as a name of any fpacious building, a hall, church, or the like. Wejlminjler hall is properly in this fenfe a bafilic, but the an¬ tients were more ftrid in the ufe of the word, and would not have called any thing but a royal palace by that name. Any large building for a court of juftice and ex¬ change, or the like, is alfo now called a bafilic. When bafilic is ufed as the term for a church it is always underftood to mean a great and elegant one. N°. i. D Boultin. Cabling. A COMPLETE BODY Bou L TIN. A name given by many to the moulding commonly called the egg, or quarter round. Branches. A term ufed by fome to exprefs the arches of Gothic vaults. Cabl in g. The filling up the middle of a fluting in a column with fomething like a rope j hence the columns whofe flutings are thus filled up are called columns with cabled flutings. Cannelures. A term by which fome, after the French , exprefs the flutings of columns. Capital. The head of a column or pilader: terminating it at the top, as the bafe does at the bot¬ tom. Every column confids of three parts, the bafe, the lhaft, and the capital: the lhaft is the body: under the bafe is placed the plinth or the pedeftal, and over the ca¬ pital is placed the entablature, confiding of architrave, freeze, and cornice : this is the general idea of a column, and is equally applicable to all the orders. See Plate I. Capitals of columns and piladers are divided into two general kinds j thofe of mouldings, and thofe with fculptures. The Tufcan and Doric zre capitals confiding of mouldings, the Ionic, Corinthian , and Compojite having leaves and other ornaments are thofe with fculptures. The derivation of the word is from the Latin caput, or capitellum , a head of any thing. The plan of the capital of a column, exclufive of its abacus, is round, and that of a capital of a pilader is rectilinear. The capitals differ in the feveral orders, and principally charadterife them. The Tufcan capital confids only of an abacus, or fquare piece at top j under this an ovolo, or quarter round -, and under that a neck, terminated by an adragal, or fillet, which is underdood to belong to the fliaft of the column : this is its plained and fimplcd form. Vitruvius gives it an altragal under the ovolo ; Scammozzi allows no adragal there j and Serlius gives a fillet to the abacus, and gives room alfo for a fillet under the ovolo. In the Trajan column the Tufcan capital has no neck. The Doric capital has its abacus, ovolo, and neck, as the Tufcan j but befide thefe it has three annulets under the ovolo, and a cima, or an ogee, with its fillet over the abacus. The abacus therefore is not the uppermod member in the Doric capital which is very lingular. This however is different from the olded form of the Do^ ric, for the architrave reds upon the abacus in the Parthenion at Athens, with no* thing between. Many put rofes under the corners of the abacus, and upon the neck of the capital in this order. The greated writers vary much from one another on the Doric capital-, it is re¬ markable that Alberti makes the whole near half as high again as Vitruvius , and al¬ ters greatly the proportions of its feveral parts. The Ionic capital confids of three principal parts; an abacus compofed of an ogee and fillet, a rind which forms the fcrolls that fo plainly didinguilh this capital, and an ovolo, or quarter round and adragal at bottom. This capital reprefents a vafe covered with a piece of bark. The ovolo is the rim of the vafe, on whofe top the bark lies, and curls over, as having fhrunk up in drying. The ovolo in this order is often adorned with eggs. The Ionic capital therefore has no neck. The OF architecture The Corinthian capital exceeds the Ionic in elezanrp . 11 ri ‘ or of an abacus of a particuZ t H Tf ** ^ ^ h leaves and ftalks, the leaves forming i • end a bell covered with —■* thenr, and turning down in form of fcrolls when fhey rTcVZeZZ cm in this order is hollowed circularly inward and has a ^ ^ ^ Uce. Inftead of an ovolo and annLts it “Lt 0 Zt “ ^ ^ fcrolls are f.xteen in number, four in each face. I n ma jT ^ The the abacus are cut off in this order, but they are fhar 7 . b " “ §S , the corners ° f Rowe, and in many other of the antient edifices: there is ajfo a' "Tf f * t‘on in its height in different ftruflures. S dcal ° f V8rla_ The capitals the- Compofie order is more ornamented than this > ■ it were of the two hit, the Ionic bein» nlareH , _ ™ ’ !t ls com pofed as rows fromthe others. ® P ‘*** Up ° n the C ™ thi ™ = and it alfo bor- The Compofite capital takes an ovolo from the Doric an atWal j ,. lutes from the Ionic, and a double row of leaves from the C & “ d T °' in the middle of the abacus, and leaves which return urns T T has a flower has fmaller ftalks than the Corinthian, or, as others call them Tin h ° mSi “ Casement. •W** U .»i*W,„d” Z»‘Zm™" “ -"«• •>« of the flank of the baltion next the curtain. 3 ^ ' ° f mafon -' vork “ that part A . r j CAULI COLE. A term ufed to exprefs the little twills or volutes that i , a “X.sxsr ” * -— “p *r- •» wtog. For a,” ».*, them raifed and waved in a great variety of manners"' “ “ but We fee it- o . Caryatides. figures of captive women of Carya. drefled in the L-mv c t • inftead of columns, to fupport the entablatur ' \ ° •' ’ C'> an ‘ J Serving Caryatidn. See Plate IV. PP entablature in what is called the Caryatic order! In this the entablature if fupporteT'as Uftdyfe T'h’ ^ ^ ba!,din S- j" yUk °” columns. Different as this fs f om the 7 c ’ * ^ ° f wom “> ^ of tients, we fee it introduced in many STT p,ainnrfs the »- Athem, affords a very beautiful initance TlT Tr * mpIe ° f Erietbaa at captive women of ^ who when *°» f* <* the Caryatic order. ' are cal *cd Caryatiaes ; as this is C A - A complete body C AV ET T o. A term ex preffing a hollow moulding, containing a quarter of a circle. We have mentioned occafionally what is called an ovolo or quarter round, and Ml explain it at large in its place. The cavetto has juft the contrary effefl to the ovolo. Its principal ufeisin cornices ; it is derived from the Latin cecum, which frgn.fies hollow. See Plate III. C i M A. Called alfo cimafmm. A mouldingvery common in ornaments, and called by our workmen cma reSla ' It has its names cima and cimafmm , which (hould be written cymafum from the Greek name which literally fignifies « wave, and has been tranf- ferred to this moulding from its figure. The cymafum reprefents in feme meafure a W ave- it is hollow at the top, and fwelling at the bottom, fo that its out-1,ne has a waved appearance : it is generally the uppermoft member in large cornices. There may be faid to be two kinds of cymafmtm , in one the part that has the greateft proiedture is hollow, and is termed douche ; this our workmen call an ogee , in the other the fwelling part has the greateft projecture, and this they call the ogee rever- fed, and fometimes the heel. The beauty of this moulding conlifts in its having the projedture equal to the height. See Plate III. r Cincture. A ring, lift, or fillet, at the top and bottom of a column, ferving to divide the (haft at one end from the bafe, and at the other from the capital. It reprefents one of thofe rings of iron which theantients put round the tops and bottoms of their columns,when made of trunks of trees, to prevent their fplitting. The proper fenfe of this term is a ftatue aUeaft twice as big as life, ufually much larger. The coloffus of the fun at Modes was famous, and there are in the court of the ca- pitol at Rome remains of ftatues of Nero and Commodus of that charafler. Hence we call a building a colo/us which is a great deal larger than the common fee. The am¬ phitheatres of the antients, and the pyramids in Egj/pt are o 1 ls m ■ C ‘ L are Lore properly called cohffal buildings than colofuss, that term being appropriated in a manner to ftatues, when ufed diftinftly in the word : but it may be equally applied to any thing extraordinarily great, or in the lame fenfe as we would ufe gtganne. A member in architeaure, of a round forLTorfifting of a bafe, a (haft or body and a capital. It differs from the pilafter, which is fquare. The word is derived from the Latin column which fignifies the fame thing. The column luppor.s the entabla¬ ture The original columns, as before obferved, were trunks of trees, girt round at he top and bottom with iron hoops and rings to prevent their fphtting: from thefe needful parts fculpture has made thebafes and capitals of the p a,ner orders, and upon thefe, fancy and a licentious freedom have indulged in thofe which are called th finer 2nd more delicnte. . . . t Columns {hould be round, for they reprefent thofe trunks of trees which were the firft fupports of buildings ; and for the fame reafon they (hould have a diminution uo-a-ds They are rafti who fay nature makes nothing lquare, for the ftalks of ma¬ ny plants are fo,' and are very beautiful in that form ; but nature has not made the trunk of anv tree fquare, nor all the way of the fame thicknefs. The-.Gothck p,l- Lrs therefore arc wrong, which are all the way of one d.ameter, and the Greek and r 9 „.„„ are rational which diminUh in the upper part. The column mu ft (band perpendicular,ibecaufe that is the pofture m which rt wall bear mold, and it (hould be detached from the wall, elfe it lofes much of its beauty. • 11 ’ When N°. II. E Co O F ARCHITECTURE. When columns muft be worked in walls, the lefs the better; there Ihould never be Chap. T, above a fourth part of their diameter hid. Columns look belt of all in porticos, be- '- ' -' caufe they are there always free : they Ihould be referved for fuch purpofes, and pilafters ufed where they muft go into the wall. On all other oecafions pil’afters are greatly inferior to columns. As to ruftic columns they have more of fancy than beauty. We find in the oldeft buildings no pedeftals allowed to columns. In the Doric tem¬ ple to Minerva at \Alhens, the columns have not fo much as a bafe; on the contrary we fee them in feme modern works hoifted upon double pedeftals, one on another. Composed Order. This term occurs in fome writers, and is imagined by the generality of readers to mean compoM the fame thing with the Compofite. The fenfe of the word is in reality the fame, but ° rdcr cuftom has made them exprefs what is different. The Comfofite order is, as we (hall ftiew, one thing, a empofed order is capable of great and endlefs variety ; it compre¬ hends any compofition made at the pleafure of the architea, whofe ornaments are extraordinary and unufual, but have fomewhat of beauty. We fee a great deal of this workmanfhip in buildings, but it were well if there were fomewhat lefs of it, for ’tis often very faulty. Composite. One of the five orders of architefture. It has this name from its being com- Compofac; pounded of two or more of the others: the Latin wor Acompofitus, from winch it is derived, fignifying compounded, or made up of others. The Corinthian is indeed by Vitruvius faid to be compofed of the Doric and Ionic, but the traces in that are not fo plain as thofe of the Corinthian and Ionic are in this Compofite. The Compofite, like all the other orders, con lifts of a bafe, (haft, capital, and entablature. The Corinthian bafe is ufed for the Compofite order often, and fometimes the Attick- Vignola gives the Compofite a diftindt bafe, which differs from the Corinthian in that it has only one aftragal between the two fcotias, the other being between the great torus, and firft fcotia: but this is not much ufed. The Ihaft is the fame with that of the Co¬ rinthian to be deferibed in its place, only that it is half a diameter higher The capital has been deferibed already under the article Capital, as compofed of the Ionic upon the Corinthian. In the entablature the architrave has two faces, with an ogee between, the freeze has nothing particular, and the cornice has fimple modil- lions and confifts of fourteen members, and the corona and modillions are maffy. Often the Cornithian entablature unaltered is put upon the Compofite column : we have an antient inftance of this in the arch of Vitus, but it ;has alfo, as we fee, an entablature of its own. See Plate II. The height of the Compofite column is a fubjeft on which architefts differ; fome making it the fame with the Corinthian, others fomewhat more, others lefs; and placing it under the Corinthian as more maffy, allowing that to be the moft delicate . of all: and indeed this is very reafonable, for the Corinthian capital has an afpeft of more lightnefs than the Compofite. Concave Member. A name by which fome call the fcotia, a hollow moulding between the tores at the bafe Concare of columns. Member. Conge. The name of a moulding, of which there are two kinds, the one fwelling, the other Conge hollow. The fwelling conge is what we more commonly call the quarter round, the hollow is the cavetto. Or as flowers, A complete body Console. An ornament cot upon the key of an arch, and having a projeSure or jetting out in fuch manner that is capable of fupporting a bud or other figure The word ts French, and comes from confolider; to clofe up, Vitruvius calls thefe ornaments ancones: being inverted they make modillions. Contour. The line which bounds and terminates a figure, or its parts: the out-line of a figure. Corbel. fom- write it corhelle, a carved ornament, reprefenting a bafket full of fruits and ufed to finilh fome elegant part of a building, as to place on a column, or on the heads of the caryatides. This word is alfo ufed to exprefs the bell or vafe of the Corinthian capital, from its being fuppofed to have originally been defigned from a balket covered with a tile, and furrounded by leaves of the acan- thus. Corinthian. The name of one of the five orders of architeflure ; the moll light and elegant of them 111 The Compojite has been intended as an improvement upon it in point of elegance, but the capital'in that order is heavier than in the Corinthian, and therefore thofe feem to ad very reafonably who give its column a lefs height than the Corinthian, leav¬ ing that, as we have named it, the lighted: of all the orders. The Corinthian is one of the three antient orders of the Greeks , and is the higheft pitch to which they carried architeaure in point of elegance. They began with the Do¬ ric, they rofe to the Ionic, and laftly, they added the Corinthian, whofe capital was formed as has been before obferved, upon the idea of a plant of acanthus growing about a balket, and as this appeared very light and elegant, they gave a height and lightnefs to the column. The bafe of the Corinthian column confifls of a torus fet upon a plinth, a fcotia, two aftragals, another fcotia, and then an upper torus. The column has nine diameters and an halfin height, the capital is compofed of leaves and ftalks of the acanthus, which lad, turning in fpires under the abacus, make a number of finall volutes. The architrave confifls of three faces, the freeze is ufually decorated with fculptures, and the cornice has modillions, and is in moll places beautifully decorated with fculpture. The Corinthian is the order to which recourfe is ufually had for giving the utmoft elegance to a building. It is remarkable that the ruins of Palmyra are all Corinthian, except two Ionic half columns. Corn i ce. A projection confiding offeveral members, which crowns or finilhes the body or part to which it is annexed. It is derived from the Latin corona, a crown. The cornice is a regular part of the entablature of every order, and it differs in them all. In the Tufcan it is the mod plain and Ample, and is dillinguidred by having no or¬ naments ; in the Doric it has drops, or bells, in the foffit; in the Ionic it has plain modillions; in the Corinthian it is extremely rich, and has modillions ; and in the Comfofite there are alfo Ample modillions. The mouldings are carved, and there are channells under the foffit. Thefe marks will didinguifh them to the eye of the young dudentby the affillance of the figures in plate II. The OF ARCHITECTUR E. 15 The cornice is ufed for the crowning of pedeftals, where it is called the cap, as Chap. i. well as columns and pilafters, and in many other parts of building, as will be Ihewn ' in the courfe of this work under the proper heads, Corona or Coronis. Thefe terms are fometimes ufed to fignify a cornice, but wrongly: they exprefs any Corona, or i s r i i-iii C-oroni5. crowning or finifhing of a work, at the top, of whatever kind that be, as a pedi¬ ment, or the like; but as the comice has a peculiar name, fomething like thefe words, and derived from them, it fhould always be ufed in that fenfe. Cdrona is alfo fometimes ufed to exprefs particularly that fiat fquare and mafly mem¬ ber of a cornice which is more ufually and diftindtively called the drip , or larmier. This is placed between the cymatium and the ovolo, and its ufe is to carry off the water drop by drop from the building. Cor sa. A name by which Vitruvius calls a platband, a fquare facia with more height than Corfa , projedture. Dentells. Ornaments in a cornice, in fome degree refembling teeth, whence they have their Dsotells.' name; dens, and in the plural dentes , in Latin, fignifyingteeth. Dentells are often employed in the entablature of the Ionic order; they are cut upon a little fquare member, and have the appearance of a row of teeth , fome call this member the dcnticulus , and the dentells , dentes , or teeth ; others ufe denticle for the dentells. They are in general indifferently called dentells , dentils, and dentiles. See Plate II. The breadth of the dcntill fhould be half its heighth, and the interval or interden¬ tation two thirds of the breadth ; this is the proportion allotted by T ttruvius. Antiently dentills were ufed only in the Ionic cornice, but they have fince been intro¬ duced into others; the Greeks never put them under modillions, but later archi- tedls have not been fo ftridt in this refpedt, though both reafon and elegance recom¬ mend it. D i a s T Y l e . The term by which the old architedts exprefied that intercolumniation, or fpace be- Diaflyle. tween columns, which confifted of three diameters, of the column j others call this a fpace equal to four diameters. The word does not determine any thing by its derivation, which is only from the Greek ^^i^m)rx!KW)^m)^mi^3M> io Book I. Herculean Order. Heroie Order. A COMPLETE BODY diftinguifhed from the antique architecture, by its ornaments being whimfical, and its profiles incorreCt. The inventors of it probably thought they exceeded th&Gre- cian method, and fome of late have feemed, by their fondnels for Go/hick edifices, to be of the fame opinion 3 but this was but a caprice, and, to the credit of our tafte, is going out of fafhion again as haftily as it came in. To do juftice to the architects of the middle period, we are to diftinguifh the Gothick into two kinds, and thefe, according to their origin, may be called antient and mo¬ dern. The antient Gothick is lolid, mafly, and heavy 3 always very ftrong, and of¬ ten fufficiently pompous. This was the Gothick brought by the Goths into Ger¬ many in the fifth century: the modern Gothick has been invented as an improve¬ ment upon this, but has, in reality, deviated from its character 3 it is light, fantafti- cal, and covered with a variety of ornaments, but thefe frequently ufelefs and imper¬ tinent. The antient Gothic , in its original, was too coarfe 5 the modern foon be¬ came too full of imaginary elegance. It continued univerfally in efteem till the fix- teenth century. In the antient architecture, no ornament was admitted but what had its origin in fortiething necefiary or ufeful, and contributed to the beauty of the whole. In the Gothick the ornaments are fanciful, and have no refpeCt to the parts or whole of the building: in the antient all was proportioned, and therefore it was ftrong and appeared fo 3 in the Gothick we fee columns of twenty diameters high, which, though ftrong enough in reality, threaten ruin by feeming weak. Their columns of this height are all the way of the fame thicknefs. There is no kind of building in which the Gothick does fo well as in churches 3 molt of our cathedrals are of this tafte, and in the finer of them we find an air of majefty and grandeur which ftrikes and af- feCts us, in fpite of that profufion of ornaments which fo immoderately disfigures them. The plain and the natural is wanting, while we are overpowered with the delicate and nice : but the error of the late tafte has been in attempting to bring the Gothick into ufe in fmaller buildings, in which it can never look well. In a Gothick cathedral we fee many defefts, but at the fame time we fee fomething very great: but in thefe little buildings in that ftyle, we fee the defeCts without the greatnels. G u L A. A name given by fome to the moulding commonly called an ogee. He l ix. A term ufed to exprefs the little curling ftalk under the flower in the Corinthian ca¬ pital 3 this is a kind of little volute, and approaches to the form of that in the Ionic capital, though of a different original 3 this, in the Corinthian , is intended to repre- fent : a ftalk of the acanthus, bent and twifted down, and that in the Ionic the bark of a tree. Thefe helices of the Corinthian however give it fome diftant refem- blance of the Ionic , though when examined they are found to be fmaller and more numerous. The word comes from the Greek which originally exprefles a twifted ftalk of ivy, but from thence is made to reprefent any thing that is twifted or fpiral. Herculean Order. A name given by Scammozzi to the Doric order. Heroic Order. A name by which Scammozzi has called the Compofite order. 5 Hippo- OF architecture. Hi ppodrome. A kind of building ereGed by the antients for the exercife and fportings of their horfes- It was fpacious, of a long form, circular at the two ends, and encompaffed with por¬ ticos. The fame word is fometimes alfo ufed to exprefs the place where they ran their races. It comes from the Greek ,wno;, a horfi, and Sgopo;, a courfe. Hips. The pieces of timber which are placed at the quoins of a roof. Impost. A term ufed to exprefs a fafeia, or a fmall cornice which crowns a pier, or pilafter and fupports the firfl Hone from whence an arch fprings. The word is Italian im- pojlo fignifying furcharged. Sometimes the entablature of the order ferves for the impojl of an arch, and this has a fine appearance. Insulated. Detached from any other building. A church is infulated when it Hands contiguous to no other edifice, and fo of any other building, The word comes from the Latin in- fula , an illand, thefe buildings being feparate from others asillands are from the con¬ tinent, or neareft main land. A column that Hands alone, and free from any wall is called an infulated column. The columns of the Periptere temples of the antients were infulated: the Monument in London is an infulated column. Ionic Order. One of the three original orders of the Greeks, of a middle nature between the D:ric which was their plaineH, and the Corinthian which was their mofl ornamented. It is alfo the middle order of the five, taking in the two added by the Romans, the I'uf- can and Boric being Hronger, the Corinthian and Compofite more ornamented. See Plate II. The bafe of the Ionic confiHs of a torus and two cavettos, with aHragals between them. Vitruvius was the inventor of this bafe, which is liable to cenfure becaufe fmaller, and confepuently weaker in the lower than the upper part. The antients when they gave a bafe to this order, ufed the Attic : often they gave it none. Many give the Ionic the Corinthian bafe; but this, though better than its own, is not fo well as the Attic. The Hi aft is eighteen femidiameters, or nine diameters, in height j in fome of the antient buildings it has but fixteen femidiameters, which is the prefent proportion of the Doric-, but theDor/c was then lower : when they gave the Doric fixteen they raifed the Ionic to eighteen, to preferve the diflindlion. When the Hiaft of the Ionic is fluted, the flutings fliould be twenty-four j and they are often filled Up with a cable or baton for one third of the height, and the reH of their fpace left empty. Some make the flutings of the Ionic order thirty, in which they have the authority of Vitruvius to fupport them. In thefe things architects take great liberties: the only fluted Ionic column we know of among the remains of the antique in Rome , is that in the temple of Fdrtuna vinlis , and the flutings there are only twenty. The capital in the Ionic order confiHs of three parts, an abacus, a rind which is the hollow of the volute, and an ovolo under which is an aHragal. The abacus fupports the entablature, the rind produces the fcrolls or volutes, which are the great cha¬ racter iflick of this order, and the ovolo is frequently carved. Hips. Import. N". 2. The *' ■ %m^m^mj^W)3MzmteMm^&j^m)^yx)^mpi!\&)'JZ\mrjz\mit£\t*Ji Intcrcolum- Jliition. A COMPLETE BODY The Ionic entablature has its architrave divided into faces; its freeze is often made to fwell, but this is not found in the moft antient buildings; and the cornice has fimple modillions. The Ionic is an order that /lands as a medium between the flrong and rich. It is faid the famous temple of Diana at Ephejiis was of this order; at prefent it i; much ufed in churches ; and, when juflly executed, has a very beautiful effect. Intercolumniation. A term ufed to exprefs the fpaces between columns, or the diflances at which they arc to be placed from one another. This is not arbitrary, but eflablifhed by rule, as flridlly as any thing in the fcience 3 but there is fome variation allowed according to the nature of the building. In the Doric order the particular divifion of the freeze into triglyphs and metopes, makes it neceffary to regulate the intercolumniation according to their diflribution. In the other orders it is of five kinds, diflinguifhed by the names o Ipycf.vioJlyle,fyftyle 3 eujlyle , diaftyk , and arceojlyle. In the pychnoflyle intercolumniation the diflance does not exceed a diameter and an half. In the fyjlile it is four femidiameters, or two diameters of the bottom of the column. In the eujlyle, as already obferved, it is four femidiameters and an half, or two diameters and a quarter 5 and this is fuppofed the befl and mofl beautiful diflance. In the diajlyte it is three diameters, and, according to fome, four: and in the arccoJl\le it is properly four diameters. This is the largefl fpace, and this Vitruvius gives as the meafure of the arceojlyle. Therefore thofe which give this to the diajlyle create confufion. The intercolumniation is ufually made fmaller as the orders are more delicate, and lar¬ ger as they are of the flronger kinds. Ital 1 an Order. • A name by which many have called the Compofite order. See Plate II. Lacunar. The antient name for what vve call a fcjjit, when it confiiled only of compartments, funk or hollowed, without the divifion of platbands, or fpaces between the feveral pannells. But when they were added it was called laquear. L arm 1 ER. A large fquare fiat and mafiy member of a cornice, placed between the cymatium and the ovolo, and called alfo the corona. Its ufe is to difperfe the water, and caufe it to fall at a diflance from the wall drop by drop. It has its. name larmier hence, larmc being French for a tear. See Plate III. L AQJJ E A R. The antient term for what we exprefs by the Italian word fojjit , a ceiling divided into compartments, and thole ornamented with platbands. Where there were the hol¬ low compartments only, they called it lacunar , from lacut, a hollow place, but when there were thefe other ornaments they called it laquear , from the rows of the plat¬ bands refembling noofes, laquei. Leaves. Ornaments of carving, given to the entablatures of the orders, See Plate II. and other parts of decorated buildings: they are either twilled into, fefloons, or fpread irregu¬ larly ever a freeze, or other part. The antients ulcd two kinds of leaves , the one natural, the other imaginary; among the natural were thofe of the lawrel, palm, acanthus, and olive : but they took fuch liberties in the forms of thefe, that they 5 might OF ARCHITECTURE, 23 might be called in a great meafure imaginary too. The introducing imaginary Chap. i. leaves refteded upon their tafte, for it was an infult upon nature; and, in this - - - very unpardonable, that nothing the art of the greateft fculptor can invent in this way will ever come up to what is afforded by nature : the variety of leaves being endlefs, and their forms, in innumerable inftances, in the higheft degree, ele¬ gant. We fee a great deal of this imaginary foliage in the Getkick ornaments, with¬ out wonder, becaufe all there was profeffedly left to fancy; but it is with concern and aftonifhment we meet with it in the antique. Linte ll. A piece of timber that lies horizontally over doors and windows. Lin . e! l List, or Listell. A little fquare member ferving to crown, or to accompany a larger; or fometimes to LiS»,-Liltdl. divide the flutings of a column. The word comes from the Italian lijiello , fignify- ing a little girdle, or band ; it is called alfo the fillet, and by fome a fquare. lee its figure Plate III. Matronal Order. A name by which Scammozzi has exprefTed the Ionic order. See Plate II. Mm-or.ai o- Me topes. der - A name given to the fquare fpaces between the triglyphs of the Doric freeze. Metopes. See Plate II. We have obferved before that the Doric freeze is ornamented with triglyphs, or channelled figures, thefe are placed at certain diflances one from an¬ other ; and the fpaces between one and another of them are the metopes. The diftance at which the triglyphs regularly ftand, makes thefe fquare. They are fometimes left naked; but they were adorned among the antients with parts of beafts, inftruments of facrifice, and other figures; and they have in general fome- thing placed upon them in the modern works of elegance, according to the fancy of the architect. The antient ufe of the Doric was in temples, and fome would refrain it to them at this time, becaufe of the difficulty there is of managing a freeze thus neceffarily di¬ vided in common buildings. When there is a fpace lefs than the proper metope , as at the corner of the Doric freeze, it is called a femi-metope , or demi-metope. Mezanine. A kind of little ftory, called alfo an mterjlole ; it is placed between two principal do- ries, and ferves for apartments for upper fervants. Minute. Architects exprefs by this term a thirtieth part of a femidiameter of a column, that is, a Minute, fixtieth part of a diameter; and fometimes, fpeaking of weights, the twelfth part of an ounce. ^ Mode rn. Arclnteds diftinguifti buildings of former ages into three claffes, antique, antient, and Modern, modem: the two firft terms are exadly the fame in their original fenfe, but they ap¬ propriate them to different meanings. Antique dignities a remain that was executed when the arts were in their greateft purity and perfedion; and antient an old piece of work, but not of that perfed truth. The word modern is ufed as diftinguiihed from both thefe, but its fenfe is not well fixt: fome mean, by modern ftrudures, thofe Gotbick buildings which are fo common at this time, and, though buirtlonn fince, are modern in comparifon of the remains juft namedothers, by modern build¬ ings. 24 Book I. mgs, A COMPLETE BODY mean. the Italian method, but that is only the antique revived. Others exprefs by this term, the new whimiical ftrufiures, which have fo much of fancy, and fo little judgment or tafte, that they deferve no name at all. It is a refleflion upon our country to call thefe modern , as if the general tafte were as much depraved as that of the few particular people who ere CD p . 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O rt CD 3* CD 3 cr o cd" CD 3 r-f cr CD o o O CD < CD "O P —i ft to 3^ 3 cr S' -i “£8, 1 **0 SS sT 3 cr o Si r^ ' CD & CO T H E reader is delired to obferve, That (although we have in our third plate, explaining the mouldings of the Ionic entablature, given, for the fake of the prac¬ tical builder, the proportions of the architrave, freeze, and cornice, in round num¬ bers) we have added alfo the minutes which contain the more exadt divifion. Thefe /1 Jea/e r = Tittel Ogee ** 1 ( 0 ' >v 3 Facia ■Iftragal A _ - S- 2 .iaeia 4 1 1 ; lacia MOULDINGS or the IPJVICK Ei\r2^1BIATrnE and c 1TTICK BAX E Explained Liftel Ci mat mm Modillion ' ■»| -Liflel 1 Ogee v: Corona Oeee Ovnlo Liftel Cavetto Mouth. OF architecture. 2S Cornices, door-cafes, and many other ornamental pieces, are formed out of a com- Chap" I. pofmon of mouldings. Some mouldings are crowned with a fillet, others not: fome are commonly ornamented with carving. All mouldings in regular architedture may be redneed to three kinds, the rounded, the fquare, and the curv’d ; and from a combination ofthefe which are the principal ones, and an occafional mixture of the others, may be form’d a great variety of beautiful pieces : but in Gothick architecture we fee fancy indulged at an extravagant rate to fuperfede the ufe of thefe antient and natural mouldings. Mouth. A name by which workmen call the moulding architefts call cavelto. Mutules. A term ufed by fome to exprefs what are more commonly called modilliom, which are M u to ie, brackets or confoles. Others appropriate the word mutuk to thefe ornaments in the Doric order, and call the others only modilliom . Naked. A term ufed to exprefs the plain furface of a wall, column, or other part of a build- Naked, mg, in dmmdtion from the ornaments. Thus the naked of a wall is the fiat plain furface of the wall that receives the mouldings ; and the naked o fa column is its bare furface. Obe l isk. A tall llender kind of pyramid, ufually placed on a pedeftal and fet up to terminate a ObdiGt villa, or to commemorate fome great aftion. The general form of obelijks is to have eight or nine times their diameter at bottom in height, and their thicknefs at top to be from half to three quarters what it is at bottom. The ufe of obelUks was very antient; they were the firft kind of books: men prefacing the hiftory or knowledge of the time upon them in figures: afterwards they were ufed as tmo mens in dials, to fhew the hour by their fhadow upon a marked ground • at prefen't they are merely ornaments. Obelijks may be properly enough called’a kind of final 1 pyramids, the dtfterence confiding principally in their bignefs, and in the form and dimenfions of the bafe, proportioned to the height of the ftruflure They were fuppofed to reprefent rays of the fun, and thence named , Mis, i„ the Phmnician fignliving ray. Or as it is fometimes written, ogive. A moulding very frequent in ornaments of all n kinds and, according to its pofition, properly divided into two; the ogee upright be £ "' mg the cymaUum , and the inverted ogee the talon. This moulding is of a waved if gurc wdhng at the bottom, and hollowed in the upper part; from this waved form it is called cyma and cymatium, from the Greek xS^tw. „ waw The cymatium makes the uppermoft member in cornices. This moulding may be properly faid to confift of two members, the one concave, the other convex? Vitru ww makes each of thefe m meafure a quadrant of a circle, but cuftom allows them not lo much depth. * Tlie fame as ogee or as it is fometimes written O. G. a moulding, part fwellin has eggs in a kind of cafe, with anchors between. It is called alfo th e echinus, the ovc, and by feveral other names expredive of its form or decoration. Ovum. The fame as ovolo , the moulding called a quarter round, which is generally cut in eggs 0vum , and anchors. It has the name ovum from the egg, that word being Ladn for an egg. Parapet. A defence bread high on a terrace, or building. The parapet may be of brick or wood, parapet, a wall, or a rail, and may ferve as an enclofure, as well as defence. The word is derived from the Italian parapetto , which fignifies a defence to fave the body, bread high ; or a wall raifed to the height of the bread. In military architecture, a para¬ pet expreffes a wall, or other defence, fix or feven foot high, to defend the foldiers from the enemy. This is called alfo a Jkreen. They are made of earth or done- work. Parast at m . Piladers which are infulate and free, not adjoining to any walk ?arafkc». Pedes tal. A fquare body of done or other materials raifed to fet a column upon, or for fome like p edeftal< occafion. 'W\\tn pedtjlals are for columns, they fhould, according to Vignola , be of one third of the height of the column ; but there is a great deal of difference in the determinations of authors on that head. A pedejlal confids of three parts, the bafe, the die, and the cornice called its cap. There is in this a refemblance of the druClure of columns, the bafe anfwers to the bafe of the column, the die to the fhaft, and the cornice to its capital. Pedcjlals may be ufed to fuppor't columns of the different orders, and they mud dif¬ fer on this occafion according to the order they fupport. The pedejlal for the TuJ- can order is the plained ; its bafe is only a fquare piece, or fub plinth. The Doric pedejlal is the fame with the TuJ'can , but that it has the addition of a bafe and cap. The Ionic is like the Doric , only the members are more and a little enriched. The Corinthian pedeflal has its plinth, a carved torus, its lidell, and cimafium $ then the lidell and ogee. The die is plain ; its cornice coniid of an ogee, a lidell, an ovolo, corona, ogee, and lidell. The A COMPLETE BODY The Ccmpofite pedejlal confills of the following parts: its bafe has a plinth, and a carv'd torus over that, then a reglet, an ogee inverted and enriched, and an’ artra- gal. The die is plain. The cornice confills of an aitragal and cymafiium, a liii cymafium, and a fillet; a corona, and an ogee, and its fillet. In the Doric pcdejlals the pannels of the die fliould be in relievo, or projectin'.' ■ in the other orders they fhould be hollowed, or in creux : this is an article of linkin g propriety, but the architects too often neglect or miftake it. A fquare pedejlal is that whofe breadth is equal to its heighth. A double pedtflal is that which fupports two columns, its breadth being greater than its height. A continued pedejlal is that which fupports a row of columns, without any Inter¬ ruption or break. See Plate I. Pedejlah are much more ufed in modern than they were in antient architedure : and thofe of a very nice tafte are for banifhing them entirely from under columns! They fay they were made for ftatues, and fhould be put to no other ufe, and that al¬ though Vitruvius has adopted to every order its particular pedeftal, yet that columns of every order are better without them. Indeed a column never appears to Hand fo firm as when it reds upon the pavement. If we examine fuch .works as have no pedejlah to the columns, we (hall find a look of folidity and compofure in them which the others want. A column always feems lefs when on a pedejlal. Pf.d i me nt. An ornament properly of a low triangular figure, crowning the front of a building, and ferving often alfo as a decoration over doors, windows, and niches. Thouoft the ori¬ ginal and natural form of the pediment be triangular, it is fometimes made aft., ment of a circle, and fometimes broke to let in buffs or figures. Th e pediments of churches are often beautifully ornamented in bafi'o, or alto relievo ■ m the pediment of the Parthenion at Athens, there are figures which (land quite free • the pediment of our St. Paul's church is ornamented with the converfion of that faint, in which the light has proved a very difficult thing to exprefs in ftone-work! The pediment confifls of its tympanum and cornice; the tympanum is the pannel on which thefe figures are reprefented, which is often left plain. The cornice crowns this tympanum ; the moll beautiful pediments are thofe where the height is about a fifth or two ninths of the meafurc of the bafe. Sometimes the pediment is formed of two fcrolls, or brackets, and open in the middle; the tympanum of the pediment is fometimes cut out, and fometimes a fmaller pediment is encircled in it. Pediments being reprefentations of the ridge of the roof, ought not to be placed lengthwife, but always crofs-wife of a building. A pediment no where looks fo well as in the portal of a church, and that for this plain reafon, that it is there always na- tural, and in the proper pofition. The triangular fhape is for the fame reafon belt for pediments, becaufe it is the na¬ tural form of a roof. An arched pediment is not, nor can be, the reprefentation of a pointed roof; and a broken pediment takes from the idea of the ufe • there mull be fuppofed to be another covering or roof within. Pediments placed one upon another, or one over another, as we fee in fome modern buildings are verv erroneous ; the pediment reprefents a roof, W e fhould never put one roof over an¬ other; why then fliould we put the reprefentation of it in one pediment over an- other; OFARCHITECTURE. 29 other? It is unnatural in that reprefentation, becaufe it would be prepofterous in the Chap. f. reality, and nothing that is unnatural can be beautiful. The pediment is for the fame reafon always to ftand above the entablature ; one would think this rule fo obvious that it need not be named ; but that we fee it fometimes tranfgrefled. When a pe¬ diment is put beneath an entablature, it reprefents a roof under a floor, than which nothing can be more contrary to reality. The pediments over doors and windows may be deem’d errors in this kind, they fuppofe fo many roofs : but they are orna¬ mental. Peer, or Pier. A fquare pillar without any regular bafe or capital. The pier is fometimes free, fome- Peer or Pie- times in part immerled in a wall; what the pillar is to the column, the peer is to the pilafler: each refembles the other, but is not ty’d down to that regularity pre- feribed by the proportions of thefeveral orders. Peers often have niches, and ferve as ornaments in front of buildings : we fhall give the figure of one of a very beautiful pair that ftand in front of Holland houfe, the right honourable Henry Fox's , Efq; one of his Majefty’s principal fecretaries of ftate; the work of Inigo Jones. Peer is alfo ufed to exprefs a mafs of ftone-work, raifed againft the force of the fea, for the fecurity of fhips in a harbour, and for the fupports of the arches of a bridge. Per 1 p t er e. A term ufed by the antient architects, and adopted by the moderns, to exprefs a build- Pcriptere, in°- encompnfied round with columns. The word is derived from the Greek -nrg^, round about , and rfefiov, a wing, for they had a way of calling the rows of columns wings. Thefe columns formed a kind of ifle all round the building. A building that had columns only before was called a proftyle, and one that had none at the fides, only before and behind, was called an amphiproftyle ; but when the columns were on all four fides it was called a periptcre ; in the pcriptere the columns fhould be diilant from the wall by the meafure of one intercolumniation. The por¬ tico of Pompey , the bafilic of Ajitonine , ana the maufoltcum of Severus, were pe- riptere buildings. Pill ar. A column of irregular make, not formed according to rules, but of arbitrary parts and pniar. proportions ; free or difengaged from the wall in every part, and always deviating from the meafures of any of the orders of regular columns. This is the diftinc- tion of the pillar from the column. The column in our churches of the Italian ar¬ chitecture is always of one of the orders; the pillar in the Gotbick buildings is of¬ ten vaflly too high for its thicknefs, and has no diminution. This irregularity of ftruCture makes it a pillar , while the juft proportions of the others entitle them to the names of columns. Thefe pillars, as they are without proportion in their parts, fo they wdrtt proportion with rcfpeCt to the building; we conftantly fee them either too thick, or too fen¬ der, and commonly extravagantly in one of thefe extremes or the other. The eye is at once a judge of this difproportion, even when the perfon who views them has not in the leaft confidered architecture, always approving the column, and dllap- proving the pillar. There are buildings about London in which the architect has deviated fo far from rule in his columns, that they cannot be faid to belong to any order; and may be bet¬ ter called pillars. n-. 3 . I Pilaster. tUffiCKiSW $0 A COMPLETE BODY Book I. Pilaster. ' A fquare pillar. The difference between the column and pilajlcr is in the fhape of the fhaft; in the column it is round, in t\iepilajler it is fquare, in either it may be fluted, or othcrvvife ornamented. Pi! Vers fometimes ftand free and detached from the wall, but more ufually they are immerfed, or let into it, fo deep as to fhew only about a fourth part of their thicknefs. The pilajlcr may be of all the five orders as the column may : in each kind it takes the fame ornament and name, and according to the order to which it belongs has the fame proportions with the columns of that order. The only refpeCt wherein they differ from columns, befide their fhape, is that they may be all the way up of the fame thicknefs. The column mud have its diminu¬ tion, and ufually has its fwelling, but the filafler need have neither. Some archi¬ tects however make the pilajlcr occafionally enlarged and contracted in the fame manner as the column of the fame order. Detached pilajlefs are a kind of modern improvement, if it may be fo called, in ar¬ chitecture ; the antients let them into the walls. There are inftances of infulate pi¬ lajlers among the antique remains, but they are few; and the practice was never approved in thofe days of true tafte. Pilajlers that ftand free and with columns, are the only ones that fhould have any diminution 5 they fhould be all the way of a thicknefs when they fhew only one face out of the wall; except when oppofite to columns. The flutings of pilajlers fhould always be in an odd number, but the columns they accompany may be fluted, and the pilajlers plain, or thefe may be fluted, and the columns plain. The capitals of pilajlers muft have the fame height with thofe of columns, but they are naturally broader from the fhape of the fhaft, and the difpofition of the orna¬ ments. Pilajlers , to have their true beauty, and beft effeCt, fhould be of a moderate height. for when they are too tall they depart from that character of ftrength which they were intended to convey; and when they are too fhort and thick they look like the piers for bridges. As ftrength is a great character of pilajlers, they very well bear a rujtick fuper- ficies. In theatres, and other mafly Works, the pilafters fhould be as broad as the half the fpace between them ; or fometimes Vitruvius allows them to be as broad as the whole. In other places their breadth fhould be about that of a third of the fpace • but thofe which are to ftand at corners are to be allowed a greater bulk for the fake of ftrength. The true proportion of the pilafter Is an exaCt fquare, but upon the plan for lef— fening the expence, and allowing more room, they are commonly broader in front than in the flank. Pl at band. PiatD.md. A fquare moulding which has lefs projeCture than height or breadth. The faces of an architrave are platbands. The platbands of flutings are the lifts or fillets which feparate thofe hollows on rhe ftiafts of columns. The lintell of a door, or window, when it is fquare, or not much arched, is called the platband of the door, or platband of the window. Any flat fquare moulding, if not too projecting, is called by this name. 4 Plinth, OF architecture. Plinth. A fquare piece which is placed under the mouldings in the bales of columns. The flwth terminates the column with its bale at the bottom, as the abacus does with its capital at the top. And the abacus in the Tufcan order being plain, fquare, and many, has been called the plinth of that capital. See Plate II. Por t a il. A term ufed by many writers to fignify the fame as the frontifpiece of a building. The PoIBil decoration of a face, or front, of a church is called th oportail. The fame word is alfo ufed by feme to fignify the principal gate of a palace, or caflie ; as all'o for the whole face of a church, including the great door. Portal. A word ufed to exprefs a fmaller gate, where there are a larger and a fmaller • W „ , life .t at random for the gate where there is only one. It is alfo ufed to exprefs an ' arch over a door way , and formerly it fignified a fquare corner of a room, cut off from the left, for the door or entrance. Portico. A place for walking under fhelter, raifed with arches. In the manner of a gallery The . ■ foruco is ufually vaulted, but it has fometimes a foffit, or ceiling. The JL is a piaxza encompaffed with arches raifed upon columns, and covered over hfad in any manner. The word feems to refer to the gate or entrance of feme place, porta in this kfnfST 11 ^ 5 ff “ ‘ S aP f 0priated *° a dif P° fition of colu ™s, forming I ga " e ^ and llaS no relation t0 th = openings. The arcade which we call the piazzas in Covent Garden is a very fin eportico, the workmanfhip is good, and the defign does honour to Inigo Jones. & Architeas ufe this word in a different fenfe from painters, the latter exprefs by it a Profile, bead or other part feenfideways, or reprefented in a fide view ; but in fpeaking of u dlngs . ttexpreflesthe out-line of any member, as a bafe, cornice, or the Ike ■ or, when fpeakmg of a whole building, the profile is the fedtion of it, in which it is reprefented as cut down perpendicularly from the roof to the foundation, to Ihcw its inward conftrudhon. This properly fignifies the prominency, or jetting out, of ornaments from the bare fur P « face o, naked of the wall or column ; thus mouldings are faid to have fo much pro- ^ ' jedlure as is their dilhnce at the thickeft part from the furface of the wall or column to which they are fixed. The word is derived from the Latin frojeZa, which fig. mfies thrown forward. In entire cornices the procure fl.ould be always equal to the height: this is a maxim of Vnrtmus, but it has been fo mil'underftood, that he waUuppofed to mean that th eprojeSlure of every moulding Ihould be equal to its The procure of the bafes and cornices of pedefttls is greater in the antique than in modem woiks; the difference in general is about one third. The relation which the feveral members of a column, or other part of a building, have Proportion, to the Who e of that column, or part ; and which that column, or part, has to the C ‘ Cc ‘ ' 1Cn xve ^ fucil a column is proportioned , it is meant that it is well pro- portumeu, and fo of any other part or member. The fame term is ufed alfo to fignify the different b.gnefs which the members of architedlure and figures ought to have with regard to the diftances from which they are feverally to be feen. There A COMPLETE BODY Sima. The lame as citiia, or cymatium -, the uppermofi member in cornices* Socle. Written alfo zocle. A fquare piece broader than it is high, and ferving to place under the bafes of pedeftals to fupport vafes and other ornaments. We have mentioned the continued pedeftal for columns and other purpofes ; there is alfo a continued fo cle, which is a kind of Hand without either bafe or cornice, carried round a whole building, and called a plinth . The word is derived from the Latin focais } a {hoe. Soff IT. A ceiling or platfond formed of crofs beams, or Hying cornices, which divide it into pannels or compartments, and having thefe compartments carved, or otherwile en¬ riched. The word foffit alfo exprefles the under fide of the larmier or corona in cornices and the under face of an architrave. When a wainlcot is divided into fmall fquare compartments it is fometimes alfo called by the fame name, to exprefs its refemblance to the foffit in a ceiling, or under idee of a cornice. The foffit is what the poets mean by lacunar znA laquear in the Latin j the difference exprefled by thofe diftind words was, that the lacunar exprefled the ceiling, when the compartments were only fo many hollows, or locus ; and the word laquear was 11 fed when thefe compartments were intermingled with platbands, in form of twilled wreaths, ropes, or ribbands, from the word laqueus , a noofe; parts of thefe being bows refembling noofes. Stereobat e. A name taken from the antique for the pedeftal of a column. Stylobate. A name alfo from the antique for the pedeftal of a column. Soli v e. A rafter, joift, or piece of wood flit or fawed, wherewith builders lay their ceilings. The thicknefs of thefe differs according to their length, and their diftances are com¬ monly equal to their depth. SoUBAISS E ME N T. A French term appropriated by fome architeds, and flgnifying a continuedfocle , or a con¬ tinued fand or pedejlal, without bafe or cornice, carried round a whole build¬ ing. Spanish Order. An order, as it is called, in architedure, in which the proportions differ little from thofe of the Corinthian j but there is a lion’s head inftead of a rofe in the center of the abacus. Spire. A name given by fome to the bafe of columns, becaufe of its reprefenting the folds of a ferpent. Sqjj are. A name by which fome exprefs the little fquare moulding called a lift liftd or fillet. Statue. The reprefentation of fome perfon diftinguilhed by his adions, and placed free from any wall, and as an ornament for buildings. Statues are, according to their bignefs 4 di- OF ARCHITECTURE. 34 divided into four kinds; thofe fmaller than life, thofe as bigas life, thofe fomewhat Chap. I, bigger, and laftly, thofe twice, or ever fo much more than twice as big. Thefe are -- v — J called colojji, or calojjal ftatues. Striges. A term by which feme exprefs the flirtings or channellings on the ihafts of columns, S!li „ ;s , fuppofed intended originally to reprefent the folds in a garment. Striures. A term by which fome alfo exprefs th efutings of columns. Vitruvius calls them by strict* this name, and tails us they were originally intended to reprefent the foldings in a garment. Swelling. A term ufed to exprefs an encreafe of diameter, in a part of the column between the Swelling; ■ ofe and the capital. This many declare to be unnatural, but it has the authority of great mailers. y Symmetry. The proportion which the feveral parts of a building have to one another, and to the * whole. In what is called uniform fymmetry there is this proportion obferved through a whole fabnek, and all its parts have the fame relation to one another : in refpec- tive fymmetry, only the oppolite fides are expefted in this particular and exafl man¬ ner to correfpond to one another. The word is however generally ufed to exprefs that relation and due proportion which runs through a whole building ; it is derived from the Greek ro, with, andperpa, meafure ■, expreffing a work executed by iuft and exadl measures. J J Sy style. A term ufed to exprefs one of the intercolumniations or fpaces between columns. In the Svt.,1. JyJtyle difpofition, the intercolumniation is four modules, or two diameters of the column. * Tten 1 A. A name by which Vitruvius and others call th eUftttt, a fquare moulding. Tail loir. A name by which fome who follow the Ffench manner call the abacus. Talon. T " l,oir ' A name by which fome have called the afiragal, and others the ogee. Terminus. Talon. A kind of column adorned at the top with the head and fometimes part of the body t ■ of a man, woman, or pagan deity ; and in the lower part diminifhing into a kind of flieath or fcabbard, as if the remainder of the figure were received into it. The common ufe of the termini is by way of ftatues to adorn gardens, but they are fometimes alfo placed as confoles or brackets to fupport entablatures. Thefe are va- tied greatly in the execution, fome being ruftick, others double, and the like. Theatre. A place for a publick Ihew. The antient theatres were of a femlcircular form, en- Thcllre compaffed with porttcos, and furnifhed with numerous feats, which included a place called the orcheftra, in the front of which was the floor of the theatre called by them profeenmm. This had a large facade or face ornamented with the orders of archi- teaure Behind this was the poftcenium, or pofeenium, where the aaors made themfelves ready for appearing in their feveral charaaers. The word theatre is derived from the Greek tuuifuu, to view. The 3 6 ACOMPLETEBODY Book I. The term theatre is alfo ufed for an affemblage of feveral buildings which together ■-- 1 prefent an agreeable profpedt to the eye. In the more refrained fenfe of the word it was the place of a public fpedtacle, and nothing elfe. What is called the temple of Bacchus at Athens, the remains of which are yet in be¬ ing, was a theatre, and one of the firft we know of. TIGN A, [>na The antient term for joifts or rafters, with which builders lay their ceilings. Ton d i no. Tondino. A name by which fome have called the aftragal. Torus. Torus/ A large round prominent moulding in the bafe of columns, refembling a cable, but without the wreathings or twiftings. The word is derived from the Greek rags,-, a thick rope. In the bafes of fome of the orders there is a Angle torus, in others there are two with a fcotia between them ; and in this difpofrtion they have a very beautiful effect. Tr ABE AT I ON. Trabeation A name by which fome call the entablature of a column, confrlling of the architrave, freeze, and cornice. Triglyph. Triglyph. The name of an ornament in the freeze of the Done order. This figure has two en- tire channels cut down it to a right angle, and feparated by three plain fpaces, from the two demi-channels on the Cdes. This is the exaft defeription of the triglygb, which will be perfeflly underftood by the affiftance of the figure in the fccond plate. The name is Greek, it comes from r^ig, thrice, and y?,v£og, a channel , though the entire channels are but two. The triglyph is particular to the Done freeze, and was ufed in that order in the moft antient buildings. One triglyph is to be placed exaflly over each column, and the reft at equal diftances in the intercolumniation, leaving fquare fpaces between them. Thefe fpaces are called the metopes of the Doric freeze, and are fometimes left naked, fometimes orna- mented. Troch ilus. TrochUus. A name by which fome call the hollow moulding that is between the two torus's of the bafe of columns, and which is more commonly called fcotia. Trochilus comes from the Greek r^yjUe, a pullet : this moulding, when it (lands thus on columns, having much the appearance of a pulley. Trunk. t.„■ When we fpeak of a column, the trunk Is the draft or full: when the word is applied to a pedeftal it ftgnifies the dado, or die, or body of the pedeftal, anlwering to the fliaft of the column. Tuscan. T„r™. One of the orders of architeflure. It is of Roman origin, and much refembles the ori¬ ginal Doric of the Greeks. The original Greek orders were only three, the Doric, Ionic, and Corinthian ; to thefe the Romans have added the tujean, which is plainer than the Doric, and the Compose, which adds the volutes of the Ionic to the leaves Tympanum of a pediment OF ARCHITECTURE. 37 leaves of the more decorated capitals. The orders from three by this became five, Chap. I. and of thefe the Tufcan is the plained, ftrongeft, and moft niafly. ___— The bafe of theT 'ufcan column confifts only of a Angle torus, refting upon a plinth, and crowned with a cindture ; the (haft has fix diameters in height, and its di¬ minution is a fourth or a fifth part, for in thefe things architeas vary. The capital is very plain; it confifts of an abacus, a quarter-round, aftragal, and fillet; under the neck there is another aftragal and fillet, but thefe belong to the (haft of the co¬ lumn. The entablature is plain and large, it confifts of an architrave of one face a plain freeze, and a cornice with a few plain mouldings. The Tufcan order is therefore no other than the Doric made Wronger by lhortening its column, and Ampler by the largenefs and fmall number of its mouldings. No order is fo eafily executed as this, becaufe of its plainnefs i but there is, not- withftanding , a beauty in that plain fimplicity of ftruCture, which makes it deferve a place not only where ftrength but where elegance is confidered. Tympanum of a pediment. Is the pannel or triangular plain fpace within the pediment. V ASE. An ornamental piece enriched with carving, reprefenting a velfel, and placed on a pe- vafe deftal, or otherwife, as a decoration for buildings. The common method is to reprefent in thefe pieces fome of thofe veflels which the antients ufed in facrifices, or on other important occafions; but fancy takes a great fcope here, and often very happily. Some comprehend under the word vafe the urns on monuments and other buildings, but this being of a different form fhould be kept to their diftindb name, as we have explained under the word urn. The word vafe is fometimes ufed to exprefs the body of the Corinthian capital, or that part of it on which the leaves are fixed, and which is concealed by them. This is otherwife called the belly or campana of that capital. Vault. An arched roof contrived in fuch manner that the ftones or other materials of which it Vanlt is compofed, fupport and keep one another in their places. Arched ceilings are a kind of vaults, and they are very beautiful as well as ftrong. Vaults are made circular, elliptical, or of other forms j and their fweep takes in a lar¬ ger or leffer portion of a circle. When they take in more than a femicircle they are called high or furmounted vaults and thofe which have lefs than a hemifphere are called low or furbas’d vaults . The key of a vault or arch is the middle ftone which binds and fattens all the reft. The impoft of a vault or arch is the ftone on which the firft of the arch is laid. Double vaults are thofe built over one another j this is done for the fake of uni¬ formity in the infide and outfide of a building. Vestible, or Vestibule. A kind of entry or palfage into large buildings, prefenting itfelf before the entrance in- Vcflible c to the hall, or at the bottom of the ftair-cafe. Vertibuie. Among the antients the vefible was a large open fpace before the door, or at the en¬ trance of a houfe. Sometimes it is ufed for a magnificent and elegant piece of building, fquare, or octangular, and ornamented, fituated between the court and the gardens in fuperb buildings; and fometimes it is ufed as another word for an anti-chamber, or fmall apartment at the entrance of a larger: but the firft: is its juft and proper fignification. NMV, L Vi r- Virginal Or¬ der. A A name by which Scammoz X> ft,or xyftos Zoophoro COMPLETE BODY Virginal Order. ,7 has called the Corinthian order. Volute. The name of the fcroll which is the diftinguifhing character of the Ionic capital. It is fuppofed to reprefent the bark of a tree which is laid upon the rim of a veflel, and as it has dried has curled and twifted itfelf into a kind of fpiral fcroll. There area fort of volutes alfo in the Corinthian capital, but they are (mailer and more numerous than in the Ionic; and in the Compofite capital thefe large and pro : per volutes of the Ionic are added. In the moft antique lojiic volutes the lift or edge throughout all the circumvolutions, is in the fame line or plane ; and in fome they project: in fome they are oval, and in others the canal of one circumvolution is detached from the lift of another by a vacuity ; in others the round is parallel to the abacus, and fprings out from behind the flower thereof ; and in fome it feems to fpring out of the vafe from behind th§ ovum, and rifes to the abacus. The volute has by fome been fuppofed to reprefent the horn of a ram, and by others the curl of a woman’s hair j but the moft natural refemblance is that of the bark, and that is moft in the character of the antient deflgns in architecture. Confoles, modillions, and fome other ornaments, have fometimes a fort of volute. Urell a. The little fpiral twift or volute that is under the flower in the Corinthian capital; it is formed by a twifted ftalk of the acanthus, and is more commonly called the helix, fometimes the caulicole. Urn. A kind of vafe ferving to crown and decorate baluftrades, and other ornamental parts of buildings. Urn is too commonly ufed as of the fame meaning with vafe, but it properly de¬ notes a diftinCt kind and fuu«. The t/>-» /hmild be low and wide, and is fitted, fur grottos and fountains. Urns are alfo ufed on tombs, for which purpofe they are ge¬ nerally enriched with fculpture, and are diftinguifhed by the name of funeral urns. The antients preferved the allies of the burnt bodies in urns, and thence has arifej> thiscuftom of ufing urns on monuments and maufoleums. Xyst, or Xy s t o s. An antique term ufed to exprefs a portico of a great length, in which were performed feveral feats of running and wreftling. The xyjl was fometimes covered, fometimes open. This was the fenfe in which the term was moft antiently ufed by the Greeks; the Romans called by the fame name a long walk, a kind of ifle or portico, whether co¬ vered or open, ranged on each fide with rows of trees. Sometimes alfo it was ufed to exprefs only a long walk planted with trees on each fide in double rows, and making a fort of arch over the top, fo as to form a kind of long arbour. Zoophoro s. A name by which fome have called the freeze of the entablature; it has this name from the cuflom of reprefenting animals of many kinds upon it iu carving, being Greek for an animal. CHAP, H IL OF ARCHITECTURE. 39 Of the materials ufed in huildmg. I F any think we ftoop too low in a treatifeof architecture to confider the materials, we (hall anfwer him in the language of Sir Henry Wotton ,, country, comes at too large an expence to be employed in the outfide work of buildings. In limiting the production of marble to other countries, we are however to make a referve of fome kinds, which although truly fuch, are found in England\ and probably the curious inquiries of the prefent age will difcover more. It is not probable however that we fhall foon difcover them at home in fuch plenty as to ufe them as common ftone, fo that we are to treat of them as ferviceable in the ornamen¬ tal, rather than the eflential parts of buildings. Their ufes in thefe are fo many, ac¬ cording to their leveral kinds, that we import them annually at great expence j and as they differ extremely in beauty as well as price, we fhall enter upon an examination of their feveral kinds. Thofe in mod frequent ufe are the white veined marble, the white and purple, both from Italy, and the black from Namur j but as befide thefe there are many others uled in great and elegant houfes, we fhall give a catalogue of thole feveral kinds, ac¬ cording to their colours and variations. Of the entire white marbles there are the common Jlatuary , which is foft, and the Carrara which is harder. Among the black, or approaching to that colour, there is firffc a blueifh black kind, common in Germany , which was the Numidian marble of the antients; as the black marble of Namur before-named was their Lucullean kind. What we call the touch- ftone, is a black marble, and was called the Chian by the antients ; and our black Irijb marble of the Giant's Caufeway in Ireland , was their touchflone, called the Lydian and Obfidian marble. It is fingular in this kind that it riles naturally in columns of an an¬ gular figure, and compofed of joints in a nice manner, as if formed by art. Thefe are all the plain black marbles that are known, and of thefe fcarce any is ufed but the common Namur kind, though that of which the Giant's Caufeway is com¬ pofed is vadly fuperior to it in beauty and hardnefs, and that fingle quantity in the county o f Antrim might fupply the kingdom of England for ages. It would be expen¬ sive to cut, but the beauty of the polifh and the hardnefs, would make good amends. Of the other plain coloured marbles, there is a yellow we fometimes have from Italy of the nature of the yellow part of the Syenna marble ; and about Brijlol there is a veiu of a plain green marble that would be very beautiful in flabs and chimney- pieces ; but it is not regarded. Next after thefe we fhall enumerate thofe marbles which have variations made in them by fhells and other bodies petrified and contained in them. What is called Der- byjhire marble is full of the parts of a flar-fifh of a particular kind : this is of a whitifh V* O brown. I] A COMPLETE BODY brown. We have a green marble from Bohemia full of fmall grey (hells, of which the columns in many of our Gothick churches are made; and there is a greyifh marble of the fame kind. We have a blackifh marble, very beautiful, full of a kind of white coral in broad branches, which is too little regarded ; there are great beds of it in Derbyjhire and Wales, and it takes a fine polilh. The tomb of the famous Sir 'Thomas Grejham in Great St. Helen’s church at Bi/hopfgate, is made of this marble : we have alfo another black marble beautifully fpotted in white, with (hells and corah, brought from Kilkenny in Ireland. We have named thefe the more particularly becaufe they are the produce of our own country, and though we have them in great plenty they are negleded. We (hall next enumerate the veined and fpotted marbles, dividing them into feveral affortments, according to the colour of their ground. The common purple and white, which our workmen call purple marble, we have named already; we fometimes im¬ port a brown and white kind from Italy that is pretty enough but very foft; and we have at home a very beautiful and hard red and white marble. It is produced in great quantities in Dcvonjhire, and is called by the workmen Plymouth marble. The blue and white which our workmen call white and veined comes alfo from Italy, and is the mod common kind of all. We have in Cornwall and Devonjloire a brown marble veined with white and red, which we negledt, while we import a brown one variegat¬ ed with white and black, much inferior to it in every refpedt, from Italy : there is alfo from the fame country a brown kind variegated with white only, which is much harder. Of the yellow marble with variegations we know but two kinds ; firft, the fine Sy~ enna marble which is yellow and purple; and fecondly, a yellow and blue marble common in Spain, but not much valued. Of the variegated marbles with a black ground, there are two which have white veins, one brought from Italy in great quantities; the other feldom, becaufe of the hard- tiefs of the white part. There is alfo a black and yellow very beautiful, the yellow looking like veins of gold; tills comes from Italy. There are two others of this kind alfo a black with white and red veins, and another with white red and yellow. Of the variegated marbles with a green ground there are three; firft, the Egyptian marble, which is green with white veins, and was the Siberian and Augujlan marble of th tsRonmns. Secondly, ahard green marble, fpotted with black and white, and called the black ferpent ftone, or ophites, by the antients. And thirdly, thefofter green marble, with white and black variegations, called the white ophites. The former of thefe is what the people of tafte call verde antique. There are three grey marbles variegated alfo, one with fmall black fpots only, called the grey ophites, or tephria, by the antients; a fecond grey with green fpots only^ and a third grey with green fpots and veins. To thefe if we add the variegatad marble with a red ground, called brocatello by the Italians, which is veined with white and yellow, and was the Theban marble of the antients ; we have before us all the really diftintft known kinds of marble. Moft of thefe are in our power, though few of them are ufed, and we fee that even fuch as we have at home are neglected. We have judged it proper to give this OF architecture. 5 1 tliis lilt of them, that the (Indent in building, when he fees them in ufe, may be Chap.' able to call them by their names, and that the accomplished architect may know at once 1 how large a choice, and how vaft a variety, he has before him ; and may be tempted to bring into ufe thofe which we have at home, which have rio fault but that they are not known; unlefs it be that they are of our own production. After thefe, which are known by the name of marbles, we are to name three kinds Very nearly approaching to their nature, and called alabalters; and we have then, in one view, all the Hones of this beautiful clafs. The firft of thefe is the plain alabafter, which is a white arid glittering Hone, like the fineft ftatuary marble, only more brittle ; this Was tlie antient Greek Lyg- dine marble ; the fecond is a plain yellow alabafter, which they called phengites, ve¬ ry beautiful, and the moft tranfparent of all the kinds; and the third is what our workmen call oriental alabafter, a very beautiful ftone, of a yellowish colour, elegantly veined with brown and redifh. We have a fofter kind of this laft in our own kingdom, which is very beautiful; the greateft quantity of it is found in Cornwall , among rocks of lime-ftone. What is called Egyptian marble is now brought from Italy , where there are large quarries of it. The kind called brocatello, before defcribed, is alfo found about Auvergne in France , and in the Eaft near Adrianople ; the French is inferior to the Italian , but the other is much fuperior; and there is a famous quarry of it alfo near 'Tortofa in Spain. The marble called cippolino by the Italians differs little from the Egyptian, but is finer ; what we fee under the name of Egyptian in many old mag¬ nificent houfes is this kind. What is called peacock’s tail marble, is of the broca¬ tello kind, but has the fpots rounder, and more determinate in figure, than they are ufiially in that fpecies. Thefe are the names by which the workmen, and thofe of a higher rank in architecture, and in the polite arts, diftinguifli the feveral kinds of marble that are at this time imported for ufe, or are found in buildings erected fome time Since: in general their meaning is very ill determined, but whjit is fixed among them is upon this foundation. C H A po A COMPLETE BODY H A P. VIII. Of the manner of ufing Marble. T T T HERE marble is very common, and therefore cheap, it enters rough into the VV drufture of many buildings, and (hews itfelf on their outfides: with us, thofe which are the produce of our own country not being diffidently known, and the others coming at a large price, they are feen only in the decorations principally within, and always poliflied. In the cutting there are difficulties and inconveniencies in fome kinds, and in the po- Iifhing in others. Several of the fpecies are fo brittle that they crumble under the tools, and fome fo harffi that they fly off in fplinters: the fird is the fault of the white, and the other principally of the black marbles. In the polifliing, fome are found to have metallic fpots in them, which give a great deal of trouble; thefe are principally of the mundic kind, or of the nature of thole fquare yellow lumps we have deferibed in flates: there often lie clufters of them to¬ gether in marble, and they give a great deal of trouble, and fometimes continue a lading defied. Thefe blemiflics the workmen call emeril, and they are mod frequent in the variegated marbles that have a white ground. Other pieces have a kind of knobs like the knots in timber, which are a great deal harder than the red of the block; and in others there are hollows which mud be filled up with cement to make the furface level: there are alfo. frequently dreaks like threads in pieces of marble, which difeover themfelves in polifliing, and are a great defed: thefe lad are called thready marbles, the others terrace marble ; and both faults lower the value of the flab. The French make what they call an artificial marble, and fome years fince it was geting into faffiion with us, but it is too foft for ufe. It is made from a tranfparent done called felenites, which refembles crydal but that it is foft. This calcines like plaider of Paris ; and, when wrought up in the fame manner, it becomes tolerably firm, and will receive a moderate polifh. The done it is made of is found in clay-pits, and ufed with us as an ornament of grottos. Some mix powdered marble with this done, and calcine them together into a kind of plaider powder which hardens on being wetted : this is the pradice by which they fometimes alfo harden the common plaider for cads. Betide this marble as it is called, which is artificial in its fubdance, there is a practice of giving the colours artificially, but they never look like the natural: it is done by corrofive liquors, and the done may be poliflied afterwards, which gives an appearance of the colours being natural. It is not difficult to give thefe colours, for white mar¬ ble is fo foft that it is eafily dained : a drop of oil will penetrate it; but there is always a look in the coloured parts that, to a judicious eye, will dilcover the artifice. 8 ' The OF ARCHITECTURE. 53 The architect fhould never condefcend to meddle with any of thefe artificial kinds, Chap. 8. or artificial colours: nature, in her plaineft ftate, is preferable : he has a vaft variety V v J before him in the feveral fpecies before mentioned, and in the different blocks they vary fo much, that a fanciful perfon might give them new names,asa number of other kinds, and an ingenious architect may difpofe them in fuch manner as to produce a furprifing variety. We will fuppofe only the feveral kinds that are common, and always to be had, are in his hands: he has here a variety of plain black, plain white,black and white, white and blue, white and purple, together with the Egyptian green, and the yellow and purple Syenna kind : out of thefe he may with judgment form a vaft variety of ornaments, whofe different colours, properly difpofed, will greatly affift the form into which they are thrown, and give a richnefs to the work. The choice and difpofition of the kinds of marble according to their colours, are fubjedls that have not been fufficiently confidered; and that will afford an extenfive held to the man who has tafte for varying and adding beauty to the moft elegant of his ornaments. In the firft place, the architedt is to confider that the excellence of marble is one thing to him, and to the connoiffeur another. A marble becomes a curiolity becaufe it is verv fcarce, becaufe it is brought from a great diftance, or becaufe the quarry is exhaufted. To the people who are devoted to thofe ftudies, a piece of marble is in- eftimable, becaufe there is not another block to be had, and the generality are apt to be led away by them. On the contrary, it is the beauty of the ftone, and not its fcarcity, that fhould recom¬ mend it for ornaments in building. The colours, and the courfe of the clouds and veins are to be examined ; and the height of tafte in this way is to be fhewn in mak¬ ing a proper affortment of them. If thofe kinds that ferve the purpofe are cheap fo much the better : the Syenna, that is the moft beautiful of them all, is not nearly fo dear as porphry, whofe colours have nothing of that fpirit: and the livelinefs of tint is a vaft article in this confideration. We have feen the arms and fupporters of perfons of quality reprefented over their chimniesin marble of proper colours, the dragons green, and the wheat-ftieaves yel¬ low ; but this is quaint and little, and is by no means what we mean by the proper affortment of colours j we fpeak in a larger way, and treat of ornaments, not devices. This confideration will banilli a great deal of expence while it difclofes tafte. The eye is intended to be ftruck at once with a chimney-piece, a tomb, or an altar; and every eye fhould be captivated by it. The fcarcity of a marble will not produce this effedt, for it is a value of another kind : every one is not a judge of it, but he muft be blind who does not perceive the harmony and beauty refulting from a variety of lively and graceful colours properly difpofed. What we have faid, we hope, will lead the architect to think properly upon a part of his profeffion, which feems to have been generally paffed over with too little atten¬ tion ; and we flhall add to thefe general obfervations a few pradticul rules. N*. J. Let A COMPLETE BODY Let thofe marbles, in their feveral kinds, be prefered whofe ground is mod pure, whofe fpots are beft terminated, and whofe veins run in the moft agreeable manner : they {houldbe light, and fantaftically difplayed : for a heavy variegation, or a vein Tun¬ ing in a ftrait courfe, difpleafe : where there is to be fculpture let the white be ufed, for nothing is more difadvantageous to a piece of carving than veins of another colour. They throw falfe lights and create confufion. For the lower parts, in general, no kind of marble is fo well as the plain white ; and the moft beautiful of the coloured kinds ftiould be difpofed in columns and other ornamentss, as freezes and pannels; and in this, is to be {hewn the great art of arranging them, fo that they {hall mutually fet off one another. We would have the architect take care alio to fuit his colours to the fubjedt : let him be as lavifli of the lively tin&s as he pleafes in an elegant chimney-piece, but let him take care not to ufe too many of the gaudy colours on a tomb. We are lenfible that in this, and many other things, we {hall be arraigned for Tun¬ ing counter to the practice of many good fculptors and ftatuaries; but we are not found¬ ing our rules upon what is executed, but what ftiould be j not upon cuftom, but rcafon. Too much black deadens any work, and too much of the tender colours render it in- fipid. There is a fpirit in the black with white veins which is altogether wanting in the white with blue : the black and yellow has a folidity and richnefs of appearance; and there is fomething very pompous in the yellow and purple. We are fonder of the green and white than it deferves: it ferves excellently when ufed fparingly, but it has a ftrange deadnefs where there is too much of it. A piece of beautiful marble may be made to appear doubly fo, by being placed near another of a proper colour; or it may, by an ill dilpofition, be ftiown as much to difadvantage. We fee, in the marble tables that are fet in brafs, how excellently the metalline yel¬ low agrees with, and fets off, the ftone: gilding agrees with moft kinds yet better ; and this is an additional ornament by which the lineft compofitions of marble may be enriched greatlv. There are fome kinds that will be hurt by the brightnefs of the gold yellow ; but thofe colours that will bear it, as moft will, are decorated by an edge of brafs, well gilt, beyond what would be conceived by thofe who have not feen the effect. OF ARCHITECTURE, CHAP. IX. Of Porphyry and Granite. T HESE have been generally reckoned among the kinds of marble, but they al¬ together differ from it in their nature and qualities, as well as in their {fracture and degree of hardnefs; as has been (hewn already. They alfo differ very effentialiy from one another in their conftrudtion as well as colours: but as they are of left fre¬ quent ufe than the others, and agree in moft refpedts fo far as the architect is concerned in them, we fhall treat of them in the fame chapter. Porphyry is a (lone of extreme hardnefs; its colour is purple ftained with white, and this is commonly difpofed in fmall irregular fpots. We have no occafion to feek farther for what porphyry we ufe than to the remains of antique works: the antients employed it frequently, and muff have been at furprifing pains and expence to cut it; but they were in the right, for fculptures in this ftone are made for an hundred ages. The remains of columns, and other ornamental works made in their time, furnifh us with all the porphyry we have; and they are cut to pieces at a great expence by brals faws without teeth, as we faw marble with iron ones ; and with emery inftead of fand. From the great difficulty of cutting porphyry at this time, many conjectures have been made about the manner of working it among the antients j fome fuppofe they tempered fteel to a hardnefs that could cut it better than any we can procure at prefent; and others fuppofe they foftened the ftone; butfeoth thefe are idle opinions : poffibly the porphyry is now become much harder by loilg ex- pofure to the air, for we know this is common to all ftones; or the antients might have more fpirit to go through works of expence in this as in other inftances. There are two diftindt kinds of porphyry met with at this time, very different from that of the antients: one is of a red lead colour, with white, black, and green fpots; the other of a pale fleffi colour, with the fame black and green fpots, and a little white: the firfl is found in the ifland of Minorca the other in Egy;t, and Arabia. The firft-mentioned kind might be. very well worth importing if we could fall upon any tolerable method of working it, but it is nearly as hard as the antient. No art has been more fought after than that imaginary fecret among the antients of •tempering their fteel fo as to make it w’ofk freely on porphyry. Alberti propofes ufing goat’s blood, and Coftno de Medicis is faid to have diftillcd a water from herbs that had the fame effedt, on dipping the fteel in it. Works in porphyry were executed by perfons affifted with the tools thus fempefed; but they were not great, and they pro¬ ceeded very ftowly. The power of-either of thefe tempering liquors is imaginary, and the chilfels would have taken juft as good effedt without; them. The French cut porphyry with iron faws without teeth, and with the grit of a kind of hard free ftone, but the work is very flow. i In Book I. ^ effect, all thefe fecrets fignify little or nothing. A well-tempered chiflcj of the common kind will cut porphyry a little, and it may be fawn by a plain law of any metal, but ilowly : this is the whole truth, and all thefe fuppofed improvements have not at all mended the matter. What is called the tomb of Bacchus is the fined work of porphyry now remaining. Granite is a done of greater hardnefs than porphyry, and of a much more fingular afpedt, and greater beauty; its ground colour is a pale red, and it is variegated with black and white, in fmall and irregular fpots. Thefe have a fingular appearance; the white in particular being fomewhat tranfparent, fo that one fees a little way into the done : this is the granite of the anticnts, and is what we undcrdand by that name ufed f in g]y. The moor-done brought from Cormvall is a black and white granite ; and we have obferved before that there are many of the dones in the pavement of the dreets of London truly of the granite kind. The fine granite is produced in Egypt , and other parts of the Ead; it is extremely hard to cut, but takes a mod beautiful polifii. We have in England dones of other colours, which have the true nature, hardnefs, and condrudtion of the granite, but want its beauty ; and in Italy and France they have quarries of what they call by that name } but the Italian granite is very foft in comparifon of the oriental, and that of Franca is flinty but ill-coloured. We find a variety of tints in the granite of the Ead, and in that which has been wrought and is found in the remains of antiquity, fomeofit is of a dufky whitifh ground, and other pieces have greenifli fpots indead of black ; but in all the hardnefs is the fame, and we are adonidied, as in refpedt of porphyry, at the works that we fee cut in it; not conceiving how they have been done. We find the remains of mafles of a vad bulk, and columns of forty foot in height. We fee the hardnefs of thofe granites wherewith our dreets are paved, by the force with which they refid all injuries; the moor-done we cut into deps, and other works of the like kind, and it is very drong: it is capable of a beautiful polifh, if any would be at the pains to work it. They have vad quantities of this moor-done in Ireland , but difregard it; and with us it is not put to all the ufes to which it might ferve. The architect will find little ufe of the porphyry, for it is one of thofe dones before named, whofe value lies in accidental confiderations, not in the beauty : if it fall naturally in his way it may be ufed among others, and he may take advantage of its vad hard¬ nefs where there will be great wear. The granite may be much more ufeful to him. We fee how elegant a figure it makes in tables when fet in brafs; and this may fliew what effedt it would have in many kinds of work : columns in elegant chimney-pieces are fometimes made of it, and no¬ thing has a more fingular, or beautiful appearance. CHAP. H P. X. OF ARCHITECTURE. Of Brick. B RICK, as it fupplies the place of Stone in our common buildings, and is com- pofed of an earthy matter hardened by art, to the refemblance of that kind, may be very well conlidered as an artificial Stone. It therefore properly follows in this place, and is of fo great ufe, and fo many fpecies, that it demands and deferves out* confiderate and particular notice. Bricks are made of a clayey or a loamy earth, pure, or with various mixtures: they are Shaped in a mould, and after fome drying in the fun or air, are burnt to a hard- nefs. This is our manner of making bricks : the ufe of them was very antient, but whether they were always made in the fame manner admits a doubt; we arc not clear what was the ufe of Straw in the bricks for building in Egypt, and there is room to queftion whether thofe of many later periods were ever expofed to the fire. There are remains of great brick buildings of the Romans in which the bricks feem never to have been burnt, but to have been hardened by a very long cxpofure to the fun 3 and this their own accounts confirm, there being mention in fome of their writers of four and five years drying for this purpofe. The Greeks built with bricks, and they ufed them of fix different Shapes, at lcafl Sizes; three being the principal, and there being as many exadt half Sizes; this gave a variety to their appearance. We are in general ty’d down by cuftom to one form and one fize, but that very idly: eight or nine inches in length, and about four in breadth, is our general meafure; but beyond doubt there might be other forms and other fizes introduced very advantage- oufly. Sir Henry Wotton mentions with commendation a particular form of brick from Daniel Barbara, which is in fliape triangular, of equal fides, and each a foot long. The thicknefs he mentions is an inch and half, fo that his may be well enough called a kind of thick tiles, but that may be altered at pleafure. There is no doubt but bricks of this and other regularly angular forms might be ufed with advantages in many parts of our common buildings. It has been propofed by fome to deep bricks in water after the burning, and then burn them over again, in order to give them greater Strength ; but this may be much better done by a proper choice of the materials, and a thorough lkill and Sufficient labour in tempering them. It is an obfervation of Palladio , that the antients made their bricks of a larger fize, which were intended for great buildings, and this was certainly right and reason¬ able j but he is aware of the difficulty there mud have been in thoroughly and equally baking of fuch: we are allured, by the very names, that the Greeks had bricks of five palms long, that being the fenfe of the name given to the largeft fort they ufed in common buildings. N°. 5. Q_ The A COMPLETE BODY The manner of burning is a thing very effential in the ftrufture of brick. It is. commonly done in a clamp about London, but in fome places in a kiln. Some of the fineft bricks are burnt in the kilns erefled for Liles. See Plate V. The degree of burning makes a confiderable difference in the condition of the bricks ; but their principal diftinflion is from the nature of the materials with which they are made : thefe being not only various in themfelves, but made different in a much greater degree by the mixtures given them in the working. CHAP. XI. Of the feveral hinds of Bricks. A Great variety of bricks have been contrived by different perfons, and made at different times; and long and perplexed defcriptions have been given of the way of fabricating them ; but at prefent they are in a manner reduced to four forts, our builders finding thefe fufficient to anfwer every purpofe. Thefe are place bricks, g rei Jlocks, red Jocks, and the fineft red bricks, or cutting bricks. Adding to thefe two or three foreign kinds imported for particular purpofes, we have before us all that is ufed in this way, and it would be needlefs for us to meddle with any other : our purpofe being to write not for the fatisfaflion of an idle and ufelefs curiofity, but for the fcrvice of the praftical builder, and of the gentleman who employs him. As to the materials of bricks, we have already faid they are all made of earth of a clayey or loamy nature : the more pure the earth is ufed the harder and firmer will be the brick; but then the lefs mixture there is with it, the more labour it will require in working. The brick-makers guide themfelves according to this rule, and finiflt their work according to the fervice for which it is defigned. Grey stocks are made of a good earth, well wrought, and with little mixture. Place bricks are made of the fame earth, or worfe ; with a mixture of dirt from the ftreets ; and thefe are often fo miferably bad they will hardly hold together. This is the principal difference between the two kinds of common bricks, as to their fubftance ; the grey flocks being found and firm, becaufe the earth of which they are made is purer, and the place bricks being poor and brittle, becaufc of the mixture of other matter with that earth, and lefs working. Red stocks, and the red bricks, called alfo from their ufe cutting bricks, owe their colour to the nature of the clay of which they are made ; this is always ufed tolerably pure, and the bricks of the better kind are called by fome clay bricks, becaufe they are fuppofed to be made of nothing elfe. We do not pretend here to enter into the niceties of the brick-maker’s bufmefs, every profefiion has its fecrets, which are kept among thofc who follow it; neither is it our bufmefs to inihuct the reader in the making of bricks, but in the ufing them in 6 build- OF ARCHITECTURE, building. Thus much it was needful to fay, that he might underftand the 59 ture of thefe as that of the other materials wherewith he is to work, and this is the ge" neral account of them. The grey ftocks, he fees, are made of a purer earth ‘d tf/ ter wrought, and they are ufed in front in building, being the ftrofgeft and handfomeft of this kuad i the place brtcks are made of the clay with a mixture of dirt and Wr coarfe mater,als, and are more carelefsly put of hand j they are therefore , , more brittle, and are ufed out of fight, and where little ftrefs is kid un r* “ the red bricks of both kinds are made of a particular earth well wrought antUittli = *—> - •* - M » •* -*>«— Thefe are often cut or ground down to a perfedt evennefs, and fet in nutt • a a of mortar, and on many occafions they in this manner make a very beaudfuf “ Thefe are the three kinds of bricks commonly ufed by us in building, and their dif- ference ,s owing to tins variety in the materials. The place bricks and grey flocks al made in the neighbourhood of town, wherever there is a brick-work Z f , 7 of red bricks, depending upon a particular kind of earth can only be m d T the ^ refurniM ^^eral places within fifteen or twen^X We have obferved in the beginning of this chapter, that there were two other kinds of bricks to be named whichare imported fromother r al o one of the red or cutting brick fort that is of our own manufaflure, and for i s excellence is very worthy to be particularly mentioned : this is th eHcdgcriey brick - it.. made at a y.llage of that name, of the famous earth called X w e U known to the glafs-makers and chemifts. y ’ 11 Tins loam is of a yellowifh colour, and very harfl, to the touch, containing a great deal of fand , its particular value is that it will bear the greateft violence of out hurt: the chemifts coat and lute their furnaces with this, and the ovens at daft' Wes are alfo repaired or lined with it, where it ftands all the fury of,heir heat whh out damage. It ts brought into London for this purpofe, under the name of iTfr' loam, the village being near Windjcr, and is fold at a large price, the bricksmadeff' are of the fineft red that can be imagined, they call them fire bricks, becaufe of their Wng the fire, and they are ufed about furnaces and ovens in ,he fame wayanhl The foreign bricks that are to be named are the Dutch and Flemijh bricks and clin kers ; thefe are all nearly of a kind, and are often confounded together : they are very hard, and of a dirty bntnftone colour, feme of them not much unlike our grey ftocks others yellower. The Dutch are generally the beft baked, and the Flemijh fhe yellow’ the ht. 5 y “* tHC m ° ft ° f *"> and are warped by ft U hefC TuT °" PartiCUlar OCCaflQps - the and Flemijh for paving yards and CHAP. A COMPLETE BODY’ P. XII. Of the manner of ufing Bricks. r-|p HE reader who has thus far acquainted himfelf with the nature and qualities of jL the feveral kinds of bricks, their fevcral drength, colours and beauty, will eafily enter into the didindtions that are made in the ufe of them. As to their nature, it is proportioned to their feveral degrees of goodnefs. The fine red-cutting bricks are twice, or more than twice, the price of the bed: grey docks ; the red docks half as dear again as the grey; and the place bricks, as they are a great deal worfe, fo they are mucli cheaper than any of the others. This will be fhewn more at large hereafter: it is only hinted here as an article of confideration in the ufing them. The grey docks, and place bricks, are employed in the better and worfe kinds of plain work: the red docks, as well as the grey, are ufed fometimes in this bulinefs, and fometimes for arches, and other more ornamental pieces: the fine red-cutting bricks are ufed for ruled and gaged work, and fometimes for paving ; but the red docks are more frequently employed when a red kind is required for this purpofe. The red-cutting brick, or fine red, is the fined of all. bricks. In fome places they are not at all acquainted with this ; in others they confound it with the red dock, and ufe that for it; though, where the fine red brick is to be had pure and perfectly made, fhe differece is five to three in the fale-price between that and the red dock, The red dock and the grey arc frequently put in arches guaged, and one as well as the other fet in puttey indead of mortar : this is an expensive wrok, but it anfwers in beauty, for the regularity of this difpoiition, and finenefs of the. joints, has a very pleafing effedt. The fine red brick is ufed in arches ruled and fet in puttey in the fame manner; and, as it is much more beautiful, is fomewhat more codly. This kind is alfo the mod beautiful of all in cornices ruled in the fame manner and fet in puttey. The grey docks of an inferior kind are ufed in bricking of walls. The place bricks are ufed in paving dry, or laid in mortar, and they are put down flat or edge wife. If they are laid fiat, thirty-two of them pave a yard fquare ; but if they be placed edgewifeit takes twice that number. In the front work of walls the place bricks fhould never be admitted, even in the meaned building. That confideration therefore only takes place in the other kinds; and the fine-cutting bricks come fo very dear this way, that few people will be brought to think of them; fo that it lies in a great meafure between the grey docks and red decks. Of thefe the grey are the mod ufed ; and this not only becaufe they are civ • hut in mod cales where judgment is preferred to fancy they will have v! 4 We OF ARCHITECTURE. 61 Wc fee many very beautiful pieces of workmanfhip in red brick; and to name Chap. 12. one, the front of the green-houfe in Kenfiugton-Gardem will be fure to attract every ^ eye that has the leaft curiofity : but this fhould not tempt the judicious architect to ad¬ mit them in the front walls of the building. In the firfl place, the colour is itfelf fiery and difagreeable to the eve ; it is trouble- fome to look upon it; and, in fummer, it has an appearance of heat that is very dif¬ agreeable: for this reafon it isjnofl improper in the country, though the ofteneft ufed there, from the difficulty of getting grey. But a farther confideration is, that in the fronts of moft buildings of any expence, there is more or lefs flone work : now one would wifh that there fhould be as much conformity as could be had between the general naked of the wall and thefe feveral or¬ naments which projedt from it: the nearer they are of a colour the better they always range together : and if we caff: our eyes upon two houfes, the one red, and the other grey brick, where there is a little hone work, we fhall not be a moment in doubt which to prefer. There is fomething harfh in the tranlition from the red brick to flone* and it feems altogether unnatural ; in the other, the grey flocks come fo near the co¬ lour of flone that the change is lefs violent, and they fort better together. For this reafon alfo the grey flocks are to be judged beft coloured when they have leaflof the yellow caff:; for the nearer they come to the colour of flone, when they are to be ufed together with it, always the better. Where there is no flone work there generally is wood, and this being painted white, as is commonly the practice, has a yet worfe effedl with red brick than the flone work the tranfition is more fudden in this than the other: but, on the other hand, in the mixture of grey bricks and white paint, the colour of the brick being foft, there is no violent change. 'We make the grey flocks at this time to a great excellence about London , as many new pieces of brick work fhew, to the credit of the undertakers. The duke of Norfolk was fo nice in this refpeft, that he had the bricks brought from his eltate in that county for the building the front of his houfe in St. Jams's Square ; but the event fliews that his grace might have been better fupplied near at hand, as to colour, with equal hardnefs. The greatefl advantage a grey flock, which is the ftandard brick, can have, is in its (bund body and pale colour : the nearer it comes to flone the better: fo that the prin¬ cipal thing the brick-maker ought to have in view, for the improvement of his pro- feffion, is the feeking for earth that will burn pale, and that will have a good body, and to fee it has fufffeient working. The judicious architect will always examine Iris bricks in this light, and will be ready to pay a price where it is deferred by the goodneis ot the commodity. N". VI R C H A P„ OF ARCHITECTURE. 63 Tiles being thin would be more apt to crack and break than bricks, which have Chap. 14, more body and fubftance; the clay therefore whereof they are made, muff not only v ' v J be in its nature more tough and firm, but it mull be more thoroughly wrought, that it may have equal firmnefs in every part: and when the tile is fhaped, if of the common kind, it is to be kept flat 3 but if of the pan or gutter kind, it is to be bent afterwards upon a mould to a proper form, and this muff: be done while it is foft, that it may be take and retain the impreflion. More care is alfo required in the management of the fire for burning them, than is needful in bricks; for if it be too flack they do not get a proper hardnefs, and if too violent they fuffer in their flhape and are glaz’d. In burning bricks in the clamp the fire is lighted, and they are left to themlelves, but in the kiln for burning of tiles, the fire mufl be watched and managed with diferetion, and he mufl: beatrufly as well as knowing perl'on to whom this care is committed, for a little negledt may be of vaft mifehief and lofs to the proprietor. CHAP. XIV. Of the various kinds of Tiles. W HAT has been faid with refpedl to bricks, is applicable to tiles alfo, with re¬ gard to their feveral kinds ; a great many forts have been invented and re¬ commended at different times, and have got into ufe in various places; but practice* which is the only judge of convenience, h: s in this, as in the cafe of bricks, reduced thefe to a fmaller compals. In the place of that great variety we hear of among the workmen of fome time ago, the tiles for all forts of ufes may now be comprifed under fix heads. 1. The plain tile for the covering of houfes, which is flat and thin. 2. The plain tile for paving, which is flat alfo but thicker, and its fizc 12, 10, or 9 in¬ ches. 3. The pantile, which is alfo ufed for coverin g buildings, and is hollow and crooked, or bent, fomewhat in the manner of an S. 4. The Dutch glaz’d pantile. 5. The Englijh glaz’d pantile. And 6. Thegutter tile, which is made with a kind of wings. Thefe are the kinds ufed on the exterior part of buildings, but we are not to clofe this lift without mentioning that fmall glaz’d flat kind which is called the Dutch tile, and is fometimes plain, and fometimes decorated with figures. This is ufed about fire places, and is of a different fubftance from all the others, being tenderer and more ea- fily damaged. Common tiles are beft when they are firmeft, foundeft, and ftrongeft. There are not fo many differences in thefe as in bricks, either in refpedt of body or colour, but according to the nature of the clay, and the degree of fire in burning, fome are dufkier and fome ruddier in colour. The dufky-colour’d are ufually the ftrongeft 5 the workmen fometimes, when they have both colours, amufe themfelves with laying them feparately in rows, in which cafe they give the roof a ftriped afpeudle fancy. Paving tiles are made of a more fandy earth than the common or plain tiles: tlie materials for thefe laft muft be abfolute clay, but for the others a kind of loam is ufed, 6 4 Bonk I. A COMPLETE BODY ufed, though it muft be of a tough fubftance, or they will not have due ftrength an7/}/, yV' //??//, 'r 7//YVS//////rs • A//// OF ARCHITECTURE. 67 be eafy to conftrudt a kiln of the fame fabrick, and of any bignefs, proportioned to the Chap. 15* quantity of tiles of the feveral kinds that will be wanted for the building. c ' We have before obferved that bricks may be very finely, and perfectly burnt in it; and it is mod worth while to ufe it for the belt kinds. In the feveral kilns of this make about London they ufually burn a large quantity of the red flocks and other va¬ luable forts; therefore the fame may be done by fuch as fhall fet up a final! one for their own ufe in the country. If it happen tliat m preparing for any large edifice there be little occafion for tiles, Hate being intended for the covering, in that cafe a great part of the expence may be faved,°and yet the kiln anfwer the purpofe for bricks in the mod perfect man¬ ner. Tile lower part for this ufe, of burning bricks alone, Ihould be juft the fame as in our plan and feftions, but all the cone, or great building, above may be fpared; the kiln being covered over with a flight filed, and the fmoak let out at the fides. Bricks burnt in this way will be much better in proportion to the materials than thofe done in clamps as we fee them about London : thefe being only heaps of bricks, fo pil d up as to leave room for the fuel between them. Explanations of the two plates of the conic ic Tile-Kiln. Plate V. Shews theplnn and elevation of the entive kiln* A. Is the ground-plan of the whole building. B. The plan of the kiln. C. C. C. The three arches of the fire-place. D. A fedtion of the conic building. E. A fedtion of the kiln. F. The fire-ptace under it. G. Theafti-pit* H. H. The entrances. I I. The furface of the ground. K. A ladder leading down to the fire-place and the coal-cellar. L. An arched vault before the fire-place. M. The coal-cellar, over which are Iheds for keeping die tiles. Plate ACOMPLETE BODY Plate VI. Shews the plan of the kiln , and its feveral parts. FIGURE i. A. The plan. B. B. B. B. The four entrances. C. The wall of the kiln. D. A pav’d floor beautifully conftrudted, on which the tiles are 4 ^id to burn.' E. The way down to the fire-place. F. A part of the pav’d floor, drawn on a larger fcale. The hexagons in this fi¬ gure are the bricks, and the fquares are flues or openings. FIGURE 2. G. A fedtion of the kiln. H. The three fire-places. I. The afli-pits. K. The pavement, or floor: L. The feverai flues which run from the arches to the floor, and there end in the fquare holes. M. The doors of entrance. FIGURE 3. N. A fedtion of part of the building. O. The front of the kiln under ground. The bricks of which the floor we have reprefented is compofed, are made for this purpofe: they are oblong hexagons; their length is eight inches and a half, and their breadth four and a half; by their fize and figure they naturally form the pavement, which is a beautiful mofaic, and the holes. They might be ufed for paving halls in country houfes; and the fquare holes being in this cafe filled up with a dark-coloured glaz’d brick, would have a very pretty effedt. Nothing can be more artificially conftrudted than the lower part of this build¬ ing, for conveying the heat regularly through the great quantity of tiles burnt at one time. The large cone of brick-work raifed over it ferves to receive the great body of fmoak continually fifing* and to keep the heat together. CHAP. OF ARCHITECTURE. CHAP. XVI. Of Timber in general. A FTER ftone, and brick which is made in imitation of Hone, and ferves in its place, as tiles do in that of flate, we naturaly come to the confideration of tim¬ ber, the fecond eflential in building: in many countries indeed it is the firft, and in fome degree has a title to that diftin&ion in nature, becaufe a houfe it may be built with¬ out Hone or brick, though hardly of thofe without the affiftance of timber. Of timber there are a great variety of kinds, all of which have at one time or other, and one where or other, been employed in building or ornamenting of houfes: but in this article the prefent pra&ice has retrenched the variety more than in brick; for of all thofe kinds of timber, two in a manner do the whole bufinefs of the architect: thefe are oak and fir. They are very excellent fpecies without doubt; and take them all in all, are much fuperior to any other kinds: but as we are not altogether to com¬ mend the reduction of the feveral forts of brick, much lefs are we to allow as proper or convenient this banilhing all except two kinds of timber. There are walls now Handing, in fome places, of what were called great bricks, each twelve inches long, fix broad, and three thick, which flievv that fuch may be made found and will be found ferviceable ; and, in the fame manner, we fee about old houfes, various kinds of timber which have lafied excellently for a vaft length of time, and very well deferve to be continued in ufe: of this we fliall fpeak more largely when we come to enter on the diftindt kinds. Nature feems to have deftined the two fpecies we now ufe for the fervices to which we employ them, and to have pointed out their particular utility in their growth ; the fir, which is tall and upright, being fit to bear any thing perpendicularly ; and the oak, which fpreads its great arms every way, being qualified for fupporting weights in any direction. We fhall not pretend to give the preference againlt the oak for ftrength to any other timber; but if fome other kinds may be ufed as well, there will be convenience in the chufing them on particular occafions, and the builder ought to be acquainted with them. There are many rules laid down refpedting the felling, management, and feafoning of timber, and they are repeated through all the works of thofe who have written on thefe fubjedls. The Englifli reader will fmile to hear that they are all extracted from the Roman oracle Vitruvius: but when he fees how little the moderns have been able to add, he will alfo be pleafed to find thofe rules confirmed by the experience of fo many centuries. Timber that is felled in winter will be ftronger than fuch as has been cut when ful¬ ler of fap, as it is in the leaf and fruit feal'on. This is a rule inviolably followed by all who have any regard to their intereft or credit. A feeond caution given by that au thor is, that it be felled in the decreafe of the moon: this has been laughed at, and N°. 6. T fuppofed *9 Chap. 16. A COMPLETE BODY fuppofed an imaginary advantage, but the confiderate builder, who recollefls the effeft the different times of the moon have upon fhell-fiffi, and even upon our own bodies, when fubjedt to difeafes, will not rejeft the advice ; for he will find it is not impoffible the fap of trees may be influenced by the fame means : he will find the concurrent teflimony of many to eftabliffi the opinion,thattimber is founder and lefs fubjedt to worms when felled in that time of the moon; and he will not be influenced againft it by the laugh of contempt with which fuch an opinion is treated by fome who pretend to wifdom, or the flat denial of others who confefs ignorance. He will judge thus : There may be good in following the prafiice; there can be no harm; and therefore when I am to depend upon my timber I will obferve it. After the timber is felled it fliould be laid up in a dry airy place, where the fun does not come ; and piled in fuch a manner that lying hollow the wind and air will pais freely among it, but where it may be fafe from the rain. It (hould not be drawn to this place in the early time of the morning, when the ground is wet with dew, but when all is dry; and if it be daubed over with cow-dung, that will contribute to its drying more equally. As to the working of it, it is heft done when it is moderately frefti. If it be too wet it works eafier, but will be more fubjedl to decay; and if it be too dry, it cuts with more difficulty than need be. Thefe are the general heads laid down by Vitruvius, with refpedl to the felling, feafoning, and working of timber in general; to which he adds, that it is not per- feftly fit for the fmaller works till three years after the felling. After giving this general idea of the nature of timber for building, we fhall pro¬ ceed to an examination of the two principal kinds in a particular manner, and after¬ wards take a view of the feveral others: which, although negledled at prefent, may be found worthy, on many occafions, to be brought into ufc in building. C H A P, OF ARCHITECTU CHAP. XVIL Of Oak. The fellings feafo?wig^ and clmce S the oak is the ftandard and great article of timber in tion the architect to have the greateft regard to every thing which concerns it * and for that purpofe {hall begin with the tree in its growth, and as it hands: for it will be beft that in great undertakings, and where there is time for preparation, that he mark out the trees as they are growing which {hall ferve for his timber. ’ As to the time of the oak’s growth, perfection, and decay, the vulgar computation of an hundred years for each article is not much amifs. We have dates of feveral plantations by which we know this tree will continue encreafing in bulk for eighty or ninety years: we have fome very found that have been planted an hundred and fixty; and the remains of fome yet alive in part, or not quite decayed, which are more than two hundred and forty. This is known to a certainty, and it goes a great, way toward confirming the common opinion. Alberti advifes that all the oak for a building be cut in the fame foreft. This has been looked upon as an idle nicety by fome, who are more ready to cenfure than to judge ; but there is foundation for it in reafon and the nature of things. Oak grows flow in clayey ground, but the timber is better than in any other; therefore oak of the fame age and fize, growing on different foils, is not of equal flrength. It is for this reafon beft that it Ihould be all from one foil; and this is moft like to be the cafe when all comes from one foreft. R Eo y t Chap. 17. of its timber . building, we {hall cau- As we would have the architect chufe his own timber while growing, we {hall ad- vife him to fix only upon fuch trees as appear healthy and vigorous: but as nothing is moredeceitful than a tree while it ftands, we fhall here add a few cautions. Let him exa¬ mine the trunk with a ftriCt eye to fee that all look even ; if there be a fwelling vein rifing above the level of the wood, and covered by the bark, it is a mark of decay: if a branch at the head be dead it is more fufpicious; and in this cafe he fhould open the earth at the root, and fee the condition of that: if it appear quite found probably the decay of a branch is an accident; but if it be in a ftate of decay, the tim¬ ber is to be fufpeCted. The beft age of the oak for fervice, is juft,or as near as can be, at the time of its ar¬ riving at its full growth. While it is encreafing, it will pay for the {landing on the ground; and experiments have proved that the timber of all trees is founded: and firm- eft at the time of their attaining their full bignefs: at beft it is ufelefs to let them ftand longer; and as all trees are liable to accidents, they are moft eafily injured by them after this time. In felling the oak the branches which may hurt the trunk in its fall are to be firft cut off, and then it is to be cut down as near to the ground as poflible, for this adds length to the main timber. When 71 A CO MPT. ETE BODY Book I. When the tree is down it is to be bark’d j and being trim’d of the branches it is to be feafoned. We have given Vitruvius's way, which is by leaving it thoroughly open to the air, but defended from fun and rain : in this praiftice the work is left to time, and as the wood drys gradually and equally, it is a very good method. Another way is to bury it fome time under ground in a dry foil: this is called ground feafoning. A third way is what we call water feafoning, which we learned from the Venetians. They fink their oak two or three years under water before they ufe it; and no method better prevents the fplitting. The Venetians do this with whole trunks of oak, and allow fuch a length of time ; we frequently pradtife it on oak fawn into planks, allowing only a fortnight or three weeks foaking. It is found that fplit pieces of timber are not fo apt to crack as the entire ones; and even that which is onlylquared efcapes better than fuch as is left round. This fplitting in trees begins in the inner part, and widens outward ; the workmen call it fplittingfrom the heart : they find that boring the timber, when it is for ports or columns, pre¬ vents this better than any other practice ; but after all the care it is fo liable to crack when thus ufed entire, that they prefer columns made of pieces glew’d together. In general oak is moft fubjedt to fplit when it is in its natural rtate, and is lefs liable to this as it is more and more wrought. We have cautioned the builder in what manner to chufe his trees rtanding ; we are next to fuppofe him a purchafer of the timber as he finds it. In this cafe, to know its rtrength and value let him examine its weight and grain. In order to judge from the weight he muft have fome knowledge of its condition as to drynefs, but that an experienced eye will diftinguifh eafily’; and fuppofing that equal in two pieces of timber, that will always be found ltrongert which is heaviert. For moft purpofes that oak is beft which has the evened and moft regular grain. There are fome crofs-grain’d pieces which for rtrength exceed all others: thefe are principally the trunks of oaks that grow upon barren commons; and for ports, and other coarfe occalions, where a vaft weight is to be fupported, nothing is like them. Oak under its maturity is to be chofcn for purpofes of rtrength rather than fuch as has flood beyond its time of full growth, for it is tougher while it is ac¬ quiring its fize than afterwards. Old oak timber is lighter than fuch as ha* been cut at a fomewhat earlier time, and it is more brittle, which is the firft ap¬ proach toward decay. The weight and toughnefs are therefore articles of vaft confideration in the choice of this timber. * CHAP. OF architecture. H A P. XVIII. 0 / F I R. Its growth, nature, and qualities. 'HE fir is a tree much quicker in its growth than the oak, and fooner comes to decay. The hafty growing trees in general are the ihorteft liv’d ' there re¬ quires time to the formation of a found and firm wood ; but when form’d we fee that whether confidered in the living tree, or in the duration in work, it very well anfwers in value to the time required for its produdion. The fir is not a native of this country as the oak, fo that the builder feldom has an opportunity of chafing the trees as they ftand ; we fhall therefore confine our ob- fervations on this head to the timber as we fee it imported: but it may not be amifs to obferve here that the fir, although not a native of England, will thrive here very well; that it has been planted in many places, and grows to a great height and excel¬ lence ; and that it is exceedingly worth while to raife it for ufe in our own country. The climate whence we import this timber is very little different from our own ; k there grows on the moll bleak and barren mountains, and we have hills enough of this kind at prefent that produce very little to the owner : we find the tree will thrive with ■is, and wc know the demand for its timber is great and is certain; what therefore can be more advifeable than to try the fuccefs of plantations ? As to the time of felling firs, it does not at prefent concern us j nor is there any occalion for fuch care in the feafoning, for it is not of the nature of the oak to fpoil for want of this method of preferring; nor is it intended for fuch purpofes of ftrength that fo much caution is neceffary. The juice of the oak is watery, and that of the fir is refinous; this makes a great difference in their nature and qualities: the juices of the fir preferving the timber, while thofe of the oak are more fubjed to decay in it, and produce worms and rottennefs. It is to this refinous nature in the juice that the fir owes its great duration, for otherwile it is fo light a wood, that it would foon perifh : we fee thofe of the fame or like texture of our own growth whofe juices are watery, laft a very little time, while this is of great continuance. The fir is ready for ufe in a much Ihorter time than the oak after felling, and whe¬ ther laid upon the ground, or floated on the water, it keeps ftrong and fit for fer- vice. If it have lefs ftrength than the oak, it is alfo cheaper, and requires lefs care and lefs trouble in preparing, and works with incomparably greater eafe : and if it be not employed for fo great and eflential purpofes, it anfwers more, and a t lefs expence. N*. VII. U CHAP. A C O M P L E'T E BODY H P. XIX. Of the ufes of Oak and Fir in Buildings. ^TO tree affords materials for fo many purpofes as the oak, but we have to do with JL >3 thofe only which concern the builder. The crooked pieces are ferviceable for Coarfc and ftrong work, and the fmalleft fragments will be of fome price for rails, laths, and even down to the pegs for tyling: fo that as there is no timber fo valuable as the oak for large and important fervices, there is not the leaf: piece of it while found, but is of fome ufe and anfwers fome purpofe to the builder. The oak is therefore, of all kinds of timber, the moft univerfal; and it exceeds all others in ftrength, folidity, and foundnefs, and confequently in duration. No wood whatfoever fupports fuch weights j none bears the injuries of weather like it j and even fire affedts it much more flowly than other timber. Oak is the timber which the builder fliould always ufe for the fubftantial parts, and where mod; ft refs is laid. Where it happens that a part of the work is to be fubjedt to the injuries of water in the worft way of all, that is, fometimes wet and fometimes. dry, there is no timber that endures this tryal like the oak, nor in articles of importance is there any other that can be trufted in fuch circumftances. We have obferved that for coarfe purpofes rough pofts of oak will ferve, but for the general ufe in good and elegant buildings, the ftraiteft, fineft, and "evened: pieces of this timber are to be always chofen. The timber of roofs and joifts of floors are in a manner everlafting when made of good oaki and no wood is equal to it in door-cafes and for window-frames. When properly employed in framing or building, it holds for fuch a time as few would imagine. We fee inftances of this in many of the old fram’d houfes; in which the knowledge of geometry has enabled the build¬ ers to give them a prodigious ftrength with a moderate quantity of materials. Beams fliould always be of oak where great ftrength is expected or required. The flooring of barns fliould be with two inch oak plank, for the moft perfedt ftrength and fervice : it is a cuftom with many to lay them with two inch deals, and oak joifts, but they are not comparable: and the excellence of the oak for weather-boarding is the fame. For ftairs it is greatly preferable to any other wood ; and it has the fame pre¬ ference in pofts, joifts, and girders, and in general wherefoever ftrength is required under any form. Fir, although of very inferior quality to oak, is yet a very univerfal timber in build¬ ing j and as it is cheap, and works eafy, fince the ufe of paint has become fo frequent, it Iirs in a manner fuperfeded all other kinds. . Wainfcoting was at one time done with oak,and doors were made of cedar ; other ornamental parts alfo were of wood of different kinds: but it is all one what is the wood when it is covered with paint, fo that deal be- OF ARCHITECTURE. 75 ing cheap and working eafy, has taken the place of all the others in general in this re- Chap. 20. fpcdt; and is on many occafions ufed where indeed oak would do better. There are few of the purpofes before-named, for which we have fo much com¬ mended. oak, but deal is in ordinary buildings made to anfwer in its place. Roofs are framed with fir, and door-cafes are made of it; it ferves for the purpofe of weather¬ boarding rough and feather-edg’d 1 and doors, drefiers, and other ornamental and ufe- ful parts in a houfe are wrought in it : the oak would in mod of thefe cafes very well pay the difference of price by its lalling; and for others elm is preferable. The carvers ufed to have oak for their material, but at prefent we are got into a (lighter way of working, and deal anfwers the purpofe. We admire thofe pieces of antient carving in which the chiffel has been fo boldly and fo happily employed, but thofe who admire do not attempt to imitate them. Deal would not well have fup- ported the tender work in ufe at that time, but it very well anfwers for that which is falhionable at prefent; and as we now paint or gild all carv’d work, one kind of wood does as well in it as another. In this (hort view of the ufes of the fir, we fee that it Is become almoft the uni- verfal timber: it often fupplies the place of all other kinds. Where its ftrength is not fufiicient oak is called in, and we look no farther : in other parts of the fabrick all that we fee is deal, and we find it anfwers very well on the generality of thofe occa- lions. CHAP. XX. Of federal kinds of ‘Timber 'worthy to be ufed in building. C USTOM has received the two kinds of timber, oak and fir, in the place of all others; but there is no reafon that cuftom Ihould, in this cafe, be a law to thofe whofc convenience it may fuit rather to ufe different kinds. In and about London, they may be preferred, not only on account of their excellence, but becaufe they are always ready for the purchafer, who would not know where to procure the other kinds if he approved them; but in the country the farmer may often want to build his barn, or repair his houfe, and the gentleman to raife his whole fabrick, with the timber from his own land, though little oak, and no fir, grow there. It would te hard if, out of a variety of kinds he has at hand, none would ferve, and that he muff purchafe ; but we (hall (hew him that he is not under any fuch neceffity, by point¬ ing out the ftrength, fervice, and ufes, of the other kinds which are of EngUJh growth. The architect in general will do well alfo to take this addition to his materials into his confideration : for he will find it advantageous on many occafions to break in upon the prefent practice by reviving the old ; and to ufe feveral of the other fpecies of timber which cur woods and plantations afford, in the place fometimes of the oak, and often of the fir, among that variety of purpofes which they are made to ferve. We are not about to prefer any timber to oak in ftrength, for that were ridicu¬ lous ; but the oak is of flow growth, and it may be ufeful to fupply its place on many 1 . 76 A COMPLETE BODY Book I. many occafions with wood that comes more fpeedily to perfection. Its duration is often wantec j w h ere its great flrength might be difpenfed with, and on this occafion it may be proper to ufein its Head fome other wood, if fuch as is anfwerable may be found, as we (hall (hew that it may, at home: flrength generally implies weight, and where we want only the duration of oak, and can find a lighter wood that poffeffes that quality hi the fame degree, it will be prudent not to load the building where there is not a necefiity. Where people do not chufe the price of oak they frequently have recourfe to fir but if there were other fpecies in readinefs they would not always fingle out that kind, for there are many that excel it in different particulars, which make them fitter for certain purpofes. At prefent we have no medium between the oak and the fir, whofe feveral flxengths are fo exceedingly different that there may be many degrees between them : there are all thefe degrees in nature, and our own plantations fupply a variety of kinds of timber that anfwer to them 5 we are therefore vaflly to blame that we do not take in their a Alliance. Although it might appear from our ufing only two kinds of wood in building that there was little variety in the nature of thofe occafions on which it is required, yet there is in reality a great deal. Every purpofe for which timber is demanded re¬ quires fome particular quality in it, and thefe purpofes are the mere or lefs perfectly anfwered, as one or other of our two kinds have thofe qualities in more or lefs per¬ fection : but though thefe two cannot be fuited fo well as might be wifhed to all ufes and occafions, fome one or more among that variety of kinds nature affords us at home are perfectly fuited to each of them ; and it would be every way advantageous that they fhould be ufed accordingly. We do not attempt fo idle a thing as the fettingafide the ufe of either of thefe kinds fo generally employed; on the contrary, we are fenfible they excel any other two that could be named: but what we would advife is their taking in other fpecies occafionally to their afiiflance. We would leave them the preference in many, nay in moft things for which they are ufed at prefent; but as nature offers many others by which fome of thofe many purpofes would be better anfwered, we would propofe the ufing fuch on thofe occafions. That the builder who has inclination to take into the fervice of his profeflion thefe feveral farther afiiflances offered by nature in the variety of the Englijh tim¬ ber, may fee at one view what is within his command, and what are the kinds beft fuited to particular fervices, we fhall add a table of the principal fpecies, with their propagation, nature, and qualities. CHAP. OF ARCHITECTURE. 77 Chap. 21. H XXI. A Table of ufeful Timber Trees, the growth of England. E L M thrives on a loamy foil, is raifed by layers, and is of tolerably quick growth : the timber is ftrong and found, but of a rough grain : it will ferve for many coarfe purpofes, and very durable. It is fit for beams, pofts, and water-pipes, but it muft be always wet or always dry, for it does not bear changes in this refpedt: dreffers, and other neceflary things about ahoufe, are better made of elm than any other wood. Ash grows beft in a light rich mould, and is raifed from feed : it is of very quick growth, and the timber is tough, ftrong, and durable, if kept dry : no wood is fitter for many purpofes of ftrength. Beech grows beft in a dry warm foil; and is raifed from feed. It grows mode¬ rately quick, and its timber is found, firm, and has a fine even grain : it is lefs liable to fplit than any wood whatever. Poplar is of feveral kinds: the white, the black, and afpen : they are all very quick growers, and love damp foils. The timber is light but not ftrong: it has how¬ ever many good qualities: none requires fo little feafnning, for none ftarts fo little: it is of a fine white colour and beautiful grain, and is therefore fit for many purpofes in the inner part of buildings. The timber of the black is fomewhat firmer than the white, and the afpen than either; but they are all of this kind. Sycamore thrives on a light moift earth, and is raifed from feeds. It grows quick, and the timber is white and of a very beautiful grain. It refembles that of the poplar, but has more ftrength. There are old houfes in the country floored with fycamore, and wainfcotted with poplar : the wainfcot never has been painted, but re¬ tains a good colour, and floors ftand excellently and are very pretty. The Lime tree grows belt in a rich loamy earth, and is raifed by layers : it is mode¬ rately quick in its growth, and the timber is white and has a very even grain, but it is liable to fplit; it may however be ferviceable for many kinds of infide work, and par¬ ticularly is excellent for carving j much fuperior to deal and to moft other.woods. Wallnut fucceeds beft in a fandy loam, and is raifed by fowing the nut: it grows flowly, but the value of its timber is very great. The fine veined pieces are to be re- ferved for cabinet makers, becaufe of the price they bear, but the reft is of great value in building. The French ufe wallnut as we do oak, and it anfwe'rs very well; for it is firm, found, ftrong to bear weights, and very durable. Chesnut loves a dry warm foil, but is not very fpeedy in its growth. It is raifed by fowing the fruit, and the timber is very found, ftrong and durable. It was N °. 7 . X at A COMPLETE BODY at one time ufed in the fubflantial part of buildings, and in old houfes it is often mif- taken for oak, even by good workmen, it fo greatly refembles it in colour, and fub- flance, and in its qualities. It does not bear to be wet and dry at times; but entirely wet or entirely dry, it will lad; without end. It may fupply the place of oak on mod: occafions. Service does bed on a tough firm loam : it is raifed from feed, and grows quick: the timber is firm and beautifully veined. It would anfwer excellently for doors, and other ornamental purpofes. Quickbeam grows bed; in a light dry loam, is raifed from feeds, and the timber is flrong though light. It is a quick grower, and fhould be felled at about five and twenty years, at which time the wood will be fit for many purpofes in the infide work in buildings, cuting eafily and having a fine grain. Hornbeam grows bed on a poor foil, and is raifed from layers: the growth is flow, but the timber is very found, firm and hard: it has a coarfe grain but great flrength : and may be ufed in the coarfer parts of buildings. Maple thrives bed in a rich mellow foil, and is raifed from layers : it grows tole¬ rably quick, and with proper management will make a handfome tree. The timber is found, firm, flrong, and very beautiful: its grain is exceedingly clofe, and it is often beautilully veined. It would anfwer excellently for the fined of the infide work in buildings, and would be ferviceable on many of the more fubdantial occafions. Cherry tree grows bed in a rich loam, and is raifed by layers: its growth is to¬ lerably quick; and, when not fpoiled in fliapc by the tricks of nurferymen, it make® a large tree: the timber is very firm and very beautiful, and may be ufed both in the infide and outfide work of buildings with great advantage : it is equal to almod any timber, except the oak, in drength and durability ; and, when managed in the way of mahogony, has a handfome appearance. It is idle to attempt, as fome do, to pals it for mahogony ; but every one will allow it to be a beautiful wood; and it bears working as fuccefsfully as any. Pear tree. The wild, or hedge pear tree, rifes to the bed timber. It is raifed from layers, and will live in any foil. It grows moderately quick, and its timber is ftrong and fine : it is of a clofe and delicate grain, and beautiful colour : its drength recommends it, on many occafions, to fupply the place of oak ; its firmnefs and beauty alfo plead greatly for admitting it into the more delicate parts: no wood cuts better into boards, nor does any fuit more excellently for ornaments by carving. Alder grows any where near water, and is raifed from layers, or by flicking pieces In the ground. It may be trained up to a good thicknefs, and bears flanding continually in water as well as any wood whatfoever. Some have written that, being put in water, it hardens by degrees into a done : but that is falfe. It continues firm and good for a vad while, and that is a fufficient recommendation. Sallow grows bed in a loamy damp foil, and is raifed by layers. It grows very Quick, and with care may be trained to a good fiz’d tree. The timber is very tough 4 and OF ARCH and drong, and is furprifingly lading, but in that cafe it is as durable as oak. I T E C T U R E. 79 It mu# be ufed only where it can Hand dry ; Chap. 22. Yew grows beft on barren hills, and might be planted to great advantage in many wade grounds. It is raifed from the berry, and though it grows flow, makes amends in the quality of the timber, which is extremely tough and drong, and of a beautiful grain and fine colour. The more irregular pieces might be ufed in the coarfer works and the beautiful planks of it would be worthy to be introduced into the fined of the ornamental parts of the mod elegant building, where it would be as lading as beautiful. We fay nothing of the former woods, their qualities being diffidently known i but have enumerated thefe to give the builder a view of what a variety of ufeful ma¬ terials be leaves negledted. We do not take upon us to didlate in what kind of fervice each fliould be employed. We have named their qualities, by which it will be feen for what they are fit; and we leave the application to his own judgment and diferetion. HAP. XXII. Of Lime. W E have taken a view of the two great fpecies of materials ufed in building, done and timber : we have confidered their qualities, and laid down their na¬ ture in their feparate date, and thall now proceed towards their ufe in eredting edi¬ fices, by entering upon the nature of thofe things which connea, cement, and faflen them together. With refpea to done, this office is lupplied by mortar; in timber it is affided by nails and other implements of metal. We treated fird in order of flones, and ffiall therefore fird enter upon the nature of the matter which connefts them; this being mortar, its principal ingredients are lime and fand, and thefe we lhall confider in two didindl chapters. Lime is made of a great many different materials,and according to their qualities ai*I nature it is better or worfe, flronger or weaker. It may be made of done, of chalk, or of {hells; but this is a general rule, that the harder the done the better the lime : therefore that which is made of rock is bed, that of chalk inferior, and that of fhells word. Some have pretended to deferibe the limedone as if it were a diflind fpecies of rock, but that is idle. Every done that will ferment with an acid, fuch as aqua fortis, will make good lime ; and the more found and folid it be the better. In England, our bed dones for this ufe are bluifli or rediffi. In Italy, where marble is plentiful and cheap, they burn that into lime; and many other kinds are ufed in dif- ferent places. We A COMPLETE BODY Book I. We have obferved already, that the nicety of burning lime From the fame (lone that is ufed in the building need not be obferved ; but many have with reafon taken no¬ tice that it is a great damage to the Englijh buildings that the archite&s are fo carelefs in the matter of which it is made. We advifethe builder therefore who is to undertake any confiderable ftruflure, to look carefully to the working of his lime. Let him fee that it be burnt from a found, firm, and weighty ftone, and fuch as upon the dropping a little aqua fortis on it fends up a large quantity of bubbles. Let him take care that it be uniform in its ftruflure, at lcaft that there be no lumps of different matter among it, which is often the cafe-, if there be, let him try whether they ferment with the acid, and if they do not, let them utterly reject fuch pieces. Lime done is beft when broken from large rocks or beds, which lie in the fides of hills; and the lime will be ftrongeft which is made from fuch ftone as is newly taken up, not fuch as has been expofed firft fometime to the air. Lime-ftone alters exceed¬ ingly on lying above the ground; and it lofes that very matter which gives it firmnefs in the lime. It is for this reafon that ftones to make lime are always better dug than picked up on the furface, as Palladio juftly obferves; and, for the fame caufi. Inch as have fome moifture while in the pit; for thofe which are utterly dry, are, in a manner, in the fame condition with thofe that have lain expofed to the air. If there be not a fufficient fupply of proper materials for good lime of the ftrongeft kind, let the builder make as much as he can of the beft materials, and a quantity alfo of an inferior fort, from chalk or from worfe ftones: let him keep this inferior kind for infide work, for it will be as white as the other, all that it wants is ftrength ; and let him ufe the other wherever he has a dependance upon it for firmnefs. Among the many idle things we have affefted to copy from the Chimfi, one was their lime : lifts is made of fea-fhells only, and it is a white and elegant kind, but of no ftrength or fervice in this climate. Sound and firm lime-ftone requires about fixty hours, with a good fire well regu¬ lated, to burn it into lime; and it lofes about one third of its weight in the burning. To examine into the value of lime when burnt, we mult obferve its colour and foundnefs: the whiteft is the beft; and if upon flunking it againft a ftone it founds, it is proof that it is ftrong and good. The weight alfo is a confutation, in this matter the lighter the lime is the better; and we are to obferve how it flakes. The beft is that which requirts molt water to flake it; and in wetting, the more it fmoaks the better ; it ought alfo to ftick to the fides of the veffel in which it is flaked for tryal, and the more firmly it does this, the better it may be expefled to endure in the building. As to the degree of burning, the nature of the ftone rnuft determine that: we are fen- fible fixty hours will appear a great while according to the modern pradice ; but where OF ARCHITECTURE. 8 t ■where perfeftly good ftone is ufed lefs is not fufficient; and this is the time direfled by Chap - - all the mailers in the fcience. c—-v —-j Too much care cannot be taken on this head ; for the bell materials, with bad mortar, will never raife a durable fabrick. We fee, in the old buildings, mortar be¬ come as hard as the very Hones, and we fay that it acquires this llrength and firmnefs from the air. It is true that it does, but there requires a choice in the lime of which it is made, otherwife the air, inllead of hardening, will quickly moulder it to powder. We fee this every day in buildings wherein bad lime has been ufed, as we fee the con¬ trary effect where there has been a proper choice in this material. To give the reader a diflindl idea of the manner of burning lime, we have, in Plate VII. given a plan and two fedlions of the kiln moll convenient to this purpofe. FIGURE i. The Plan, A. The fire-place. B. Two bars laid occafionally over the apertures C. C. C. C. and fupported by loofe bricks, one of which is taken out occafionally for the lighting of the fire, C. C. C. C. The four apertures in which the bars are fupported. D. A palfage of three foot and a half wide round the kiln. E. Reedies where the workmen come to rake out the lime. F. F. F. Three windows Wei with the ground. G. The Heps down to the kiln. H. A flight of Heps going to the top, where they put in the lime-flone. FIGURE 2. A feSlion of the entire kihi through the middle, L The cone, in which the materials and fuel are putt K. One of the bars, marked B in the plan. On this, and the other bar, they lay firH faggots, then coals upon them, and after-, wards the lime-Hone and fuel, in beds, one above another. This they carry to the height of about four foot at firH, and afterwards removing the bars, they draw out the lime in the recdles, marked E in the plan, fupplying more fuel and more materials at the top as long as any more lime is required. L. L. The paflages, marked D. D. in the plan. M. M. The walls of the recefles E. E. in the plan.' N. One of the windows anfwering to F. in the plan* N°. y, Y FIGURE FIGURE 3. A fe&ionfhewing the front of the kiln below and the pajfage round it. O. One of the receives, E. in the plan, where the lime is raked out, P. P. The paffage, marked D. in the plan. CHAP. XXIII. Of preferring Lime, and making it into Mortar. A S the lime is always belt when the flone is carried immediately from the rock to the kiln, and burnt as foon as dug; fo the mortar is always bell when the lime is flaked immediately on its coming out of the kiln. The reafon of this is evident, for the lime has at no other time fo much ftrength: the air taking an effedt upon it which is in a greater or lefs degree flaking ; for in time it will be thoroughly flaked by the air, and fall to a weak powder. But it is not always convenient to work up the lime as foon as burnt ; fometimes it is needful to keep it a long time; and finally, there are certain purpofes which it never anfwers fo well as when it has been thus preferved. When lime is to be prelerved only a little time after the burning for convenience of any kind, no more is required than to keep it dry; but when it is to be preferved longer more caution is nedful. For this purpofe let a pit be dug in the ground, and over this a veflel fet, as for making mortar, with a hole flopped fo as it may be opened at pleafure its bottom : let the lime be flaked and worked up in this veflel, and then opening the hole let it run into the pit; as foon as the pit is filled let it be covered up with a good coat of fand, and thus it will be kept moifl and frefh. ^Another method is to cover up a quantity of frefh lime with a yard thicknefs of land ' and then pour on as much water as will flake it, but not reduce it to duft. If the fand crack, and the fmoak riles through the openings, clofe them up, and keep all fall and without vent: the lime will be thus preferved ever fo long, and will acquire a new value by the time of its lying : it will be more tough and clammy than any other kind, and lefs free to fhoot out its falts when worked. No lime is fo proper as this for in fide work, where great nicety is required, and none is fo fit for painting upon, becaufe it will not dellroy the colours. Mortar is made of a mixture of lime, fand, and water ; other ingredients are added occafionally for particular purpofes: but this is plain mortar, and is the foun¬ dation of die different kinds. We have advifed the builder to be very careful in the choice of his done for lime, and very nice in his examination of it after it is burnt: he will by that care be fure to furnifh OF ARCHITECTURE. 83 furnilh himfelf with good lime; but if he Hops there he may have very bad mortar. Sand and water are common ingredients, and to the carelefs eye there may feem Chap. 23. little difference in the feveral kinds of the one, or it may be imagined the variations of *■— - * the other are of no great confequence. But this is an error: every little particular is to be regarded in a great work, and there are differences in both thefe articles which may fo far influence the compofltion of the mortar, as to render the beft choice, and greatefl: care about the lime ineffectual. A judicious perfon who lets about making mortar, will wifli to have nothing in it but what he intends; he will therefore take care that the fand be pure, and the water clear, otherwife whatever foulnefs either of them has, it carries fo much of feme matter not intended into the mortar. Our people are very carelefs in both thefe particulars, and they are very faulty in that negledt. They take their fand from the firft pit, and their water often from the neareft kennel. It mull grieve a perfon, who knows the importance of thefe articles, to fee fuch a flovenly negligence in refpeCt of them in preparations for the greatefl and the moft eminent ftru&ures. CHAP. XXIV. Of the various kinds of Sand. R IVER fand is better than pit fand, becaufe it is cleaner, otherwife there Is no difference: for this reafon, where river fand of a proper kind can be had, it is to be preferred, otherwife pit fand is to be well wafhed, and it comes to the fame thing. River fand is no other than fand wafhed out of the banks or bottom, from which any earthy matter that was among it originally has been carried off by the courfe of the wa¬ ter : therefore pit fand may be made the fame by the fame method; that is, by wafh- ing it in water. Very little fand is perfe&ly clean as it lies in the earth ; therefore, when pit fand is to be ufed, let it be well pumped upon till the water which will be at farft yellow, white, or muddy, runs off, after ever fo much Airing, as clear as it was put on; the fand being then examined will be found to look clean and bright, like that of rivers; and it is to all intents and purpofes the fame. Next to the cleannefs of the fand, let the builder take care of the cleannefs and con¬ dition of his water. Dirty water always weakens the mortar, becaufe it carries mud into it, which has no ftrength nor any buflnefs in the compofltion. Spring is not fo good for making mortar as river water, but the befl: of all is that taken from a clear pond : if it be fet in the fun for fome hours before it is ufed, or a quantity made hot and mixed with the reft, that all maybe warm, it will flake the lime the more readily and perfe&ly : this depends upon a very well eftablifhed principle; which is, that loft water flakes lime better than hard; and hot water more perfe&ly and more readily than cold. 4 The i*i*d A COMPLETE BODY Book I. The quality of the fand is alfo a very great article. There is fome that is foft and fine like dull: this is the worft of all. The proper kind for a ftrong mortar is a large, coarfe, clean looking fand, of a yellowifh colour, and fuch as hurts the hands when rubbed be¬ tween them. The care the antients took in thefe fmall particulars was the occafion of the vail ftrength and duration of their works: if we will at this time ufe the fame precautions, we fhall, like them, work for the admiration of fucceeding ages. Mortar thus made will acquire thathardnefs we find in theirs, which is equal to the brick and ftone that it cements, by the effed of the air ; while the very fame means reduce the common ill made mortar to powder, and deftroy every thing about it. Palladio obferves that a larger quantity of pit fand is needful in mortar than of river fand, but when the pit fand is wafhed it becomes altogether the fame in its nature, and is to be ufed in the fame proportion. The advice of this author, and the pradice of our builders, differ greatly with refped to the quantity of fand that is to be ufed in this mixture. He orders three times the quantity of lime if it be pit fand, and twice the quantity if river or fea fand ; and the common pradice at this time allows lefs than a third part j more in fome places j and in others they are made equal. To fpeak from experience and the refult of many trials, it feems that Palladio's pro¬ portion of fand is too great, at lealt fui mortar to be ufed in our climate, and that what we commonly allow is too little. The medium perhaps will be beft, and if any general rule may be laid down, it fhould perhaps be that two thirds of lime and one of fand would be the beft quantities. Palladio fcts fea fand and river fand upon a level in point of goodnefs, and feems to be indifferent as to their ufe ; but it has been found that fea fand does not fucceed fo well as the other. The reafon is plain enough, for there is fait in fea fand which im¬ bibes the moifture of the air to the damage of the whole; we have obferved that no¬ thing ftiould be differed to come into mortar but what is intended in the compofition i fait is not intended, but it will always hang about fea fand, and therefore river fand is better. We have obferved that a coarfe yellow fand is beft for mortar ; but by this we muft not be underftood to exclude thofe of other colours, for that article is quite indifferent. All genuine fand is a cryftalline matter formed into little grains, and tinged more or lefs to one colour or other, but which fignifies nothing. White fand is condemned by fome of the antient writers, but this muft be properly explained, for what is true in one country does not hold good in another. The writers who condemn white fand wrote in Italy ; in that country there is abundance of a white matter in form of fand, but really compofed of fmall fragments of marble ; this lies about the marble quarries, and is wafhed into the beds of rivers, and this which from its being in form of pow¬ der, is called fand by thofe who do not obferve the diftindion, muft needs be of a very improper nature for mortar. We 3 OF ARCHITECTURE. 85 Wc have faid that land is of a crydalline nature ; this is not in the lead; fo, but cal-^hap. 25. careous : it is too mudi of the nature of the lime itfelf to afifwer the purpofes of the in- ' tended mixture. It ferments with acids in the fame manner as lime-done, and might be burnt like it into lime, whereas the other is not affeCtcd by the acid, nor can be re¬ duced to the condition of lime by fire. This is the white fand that the Italian writers object to, and that the builders in that country refufe to ufein mortar: we have none of it in England ; our white fand is the lame with the yellow in all refpeCts but colour. In Buckinghamjhire the white writing fand is fo common that they life it on all occafions as the other : among the red they mix it with lime for the making of mortar, and it ferves as well as any other. We may underdand by the account the Italian architects give of their white fand, that this is the occafion of their rejecting it; they do not fay it is becaufe of the colour, for they were too judicious to regard fuch trivial circumdances ; they tell us it was fofter, and that is a real caufe of its being inferior to common fand. They have one kind of fand in Italy which the old authors praife extremely, and that with reafon: it is found at this time at Puzzoli , the old Puteoli, and hardens under water. This is a very fubdantial recommendation of it for buildings that areexpofed to that element, and it is found vadly fuperior to all other for fuch purpofes. It is a pale coloured fand, lefs harfh than the common kinds, though compofed of large particles; and it contains a kind of native plaider done, which has, without burning, the fame effeCt as plaider of Paris has when prepared. We lay without burning, be¬ caufe it is not calcined by any human means; but thefe are places full of hot fprings and hot vapours, and probably that effeCt is produced by fires burning naturally under ground. De L'Orme has a very Angular obfervation with refpeCt to this Puzzoli or Pu- teolan powder : he fays, that the mortar in which it is ufed in a manner calcines flints, turning them white throughout their whole fubdance. This is a very wonder¬ ful effeCt ; but he feems to fpeak of it with the alfurance of one who knows it to be true. H P. XXV. Of mixing up the Mortar. "VX7" ^ le ingredients of mortar are carefully chofen, the lime found and frelh, * V the fand clean and lharp, and the water foft and pure, there remains another confideration in which the antients were very careful, and we are very remifs and negli¬ gent j that is, the mixing them well together. We affeCt to wonder at the drength of their cements, and fbme have pretended to explain it by a fuppofed addition of many ingredients; but when we compare their practice and ours in this light, we fhall fee there need be no recourfe to fuch a folution, but that all is ealily accounted for without it. The ingredients were the fame in their time and in ours, for we know ir by the ir writings, but they feleCted and picked them carefully, and were at vafe N- Till. Z pains g6 ACOMPLETEBODY Book I. pains in blending them together, whereas we are negligent in one refpedt and idle in — Y the other. Our people throw in a great deal of water and then a little labour does; the antients mixed all by little and little, and might be very well laid, in the language of the French proverb, to dilute their mortar with the fweat of their brows. They employed a great number of labourers, who conftantly worked together upon the lame quantity of mor¬ tar for many days; and it was this which blended every part of it lo thoroughly to¬ gether that when it united it hardened into a ftone. There are remains of this old mortar yet among the ruins, and when pieces of any fize are taken oh, they bear a polifh equal to marble. We name thefe circumfiances, and confirm them by thefe inftances, to fpirit up our builders to have more pains taken with that great article mortar : they may make fuch as the antients did if they will take the pains the antients took to do it. Hair is on fome occafions mixed in mortar; and, for certain purpofes, it is worked up with oil inftead of water : there are alfo many other particularities of which we fhall treat in their place ; but to fpeak in general here of the materials, and the manner of connecting them, we cannot omit to oppofe againfl: the flight and inconfiderate practice of the prefent time, that careful, exact, and laborious manner in which the Greeks and Romans caufed it to be done, and by which they gave their mortar that power of hardening by time, which we have been very apt to admire and envy, but too little careful to underfland or imitate. H A XXVL Of Lead. T EAD ferves to a variety of purpofes in building; and it is fit the architect fhould J! _ J be fully acquainted with its nature and qualities. It is the produce of moft parts of the world : in England we have a great deal of it, and often there is filver, in large quantities, mixed with it in the ore. Though lead be very common in Engla?:d in the ore, it is neither here, nor elfe- where, found pure or naturally in its perfect flate. Pieces of native lead have been faid to be found in many places, and fuch things are even preferved by name in the cata¬ logues of cabinets; but what has been ufually mitaken for native lead is, in reality, a kind of ore of filver, blackifh and malleable. Common lead ore is bright and bluifh, and has very much the afpect of the me¬ tal. No metal whatfoever is more eafily feparated or purefied; but the operation, though eafy, is deftructive in its confequences, the vapour of lead being very pernicious. The cattle are often killed in the neighbouring paflurcs, and the trees all about have a fickly afpect. The workmen alfo feel the effects of it in terrible difeafes ; and, at the end, death, in the plumbers, who work the pure metal only, are not altogether free from the fame inconveniencies. Lead OF ARCHITECTURE. 87 Lead is fent from the furnaces at the lead-works in large lumps called pigs : the Chap. 26; plumbers receive it in this form, and they run and work it into feveral others. The ' v ^ principal of thefe are fheets, pipes, and canes. Sheet lead is of two kinds made by cafting; and a third which from the nature of the procefs is called milled lead. The two kinds of fheet lead differ in thicknefs and are caft in various manners; the milled lead is the thinned: of all. The thicker kind or common fheet lead, is made by cafting upon a table : the pig lead is melted in a large furnace; the table which is placed very near it is eighteen or twenty foot long, with a riling edge all about, and it is covered with fine land: this is prefled and beat, and then fmoothed down, and the lead from the furnace is run over it. The thicknefs of the fheet is determined by the fpace left between a part of the engine which fpreads it, and the furface of the fand : this engine, which is called a rake, bears upon the edges of the table, and comes within a regular and fmall diftance of the fand. The thin fheet lead is caft upon a linnen cloth, fpread over a woollen one, which is ftretched upon a proper table. The linnen cloth anfwers the purpofe of the fand, and they know the lead will not burn it, when it will not fet fire to paper. In this cafe the thinnefs of the fheet of lead depends upon the quicknefs with which the rake is drawn along the table, Mill’d lead is thinner and fmoother on the furface than this j but though it has an ad¬ vantage in afpedt, it is the worft of all the kinds for fervice. Its great fault is its weak- nefs, and this is owing to its being fo exceedingly thin : it looks very fit for ufe, but when it comes to be expofed to the air it cracks and fhrinks, and by no means anfwers the purpofe of keeping out the weather, or preferving the building. The common fheet lead is ufed in covering churches and large buildings: the thin¬ ner kind is often employed alfo for the fame purpofe j and it is ufed alfo between the large ftones inftead of mortar in fome magnificent buildings. Pipes of lead are made two ways; by cafting in a mould, or by bending a piece of fheet lead, and foldering it. The mould for cafting them is commonly of brafs, and has a core of iron fupported loofe in the middle of it, at fuch diftance from the infide of the mould as is to be the thicknefs of the pipe. In the way of making them by fol¬ dering they have cores of wood of a proper thicknefs, round which they roll a piece of fheet lead, and bringing the edges together, join them with folder, which is a mix¬ ture of two parts lead, and one part tin, that metal melting more readily than lead. The canes of lead are made for the glazier’s mill, in which they are wrought into a flat form with a groove on each fide: this, when finifhed, they ule for joining the pains or quarries of glafs in ordinary windows. There has been an opinion that lead grows heavier when expofed long to the air j and a celebrated Englijh writer urged as an inftance of this, that in buildings covered with this metal they are obliged after a time to take off the lead and put tiles, becaufe it is grown too heavy for the rafters. ’Tis thus philofophers argue: a builder would have told him it was the rafters that grew too weak for the lead, and not the lead that 6 fc» 88 A COMPLETE BODY Book 1 . To encreafed in weight as to become too heavy for them. Wood will decay and lofc ---- - its ftrength, but the imagination that lead grows heavier is altogether fanciful. The principal ufe of ftieet lead to the architect is in the covering large and ftrong build¬ ings ; there is a great deal of difference in the thicknefs of the fheet which ought to be proportioned to the fupports and to the malfynefs of the building : the difference is in general from fevento twelve pound weight the foot fquare, and this makes a vail vari- tion as well in the price to the owner, as to the load laid on the building. Pipes are ufed for a variety of occafions; and ciflerns are made by carting ; thefe as well as the pipes are paid for by weight, as is alfo the covering of gutters, and works of plain lead on other fuch offices. Safh weights are fold by the hundred as the larger things, and the l'olderingthe joints of water-pipes is paid for according to the diameter of the pipe. Befide thefe, which are the great and effential ufes of lead, it ferves for feveral others in the builder’s profefiion, as the faftening of iron-work in the cavities of ftones, which can no other way be firmly united: for thefe and all other accidental purpofes it is paid for at a certain rate, by weight, when the work is little ; but when the trou¬ ble is confiderable, and the quantity of the lead employed is lefs, allowance is made accordingly. CHAP. XXVII. Of Iron. I RON is ufeful to the builder in an equal degree with lead, and the lmith comes in upon the fame footing with the plumber to the fcrvice of architecture : he is even required on a greater number and variety of occafions. Iron, of which the common affairs of life require fo continual affirtance, is, like lead, found in almoft every quarter of the world. It is indeed much more univerfal than that metal, there being fcarce any earthy fubftance out of which it may not be obtained in a greater or lefier quantity; and fcarce any large extent of ground any where in which there are not rich ores of it to be found, often at the furface. In this we fee the care of providence: thofe metals which ferve our neceflary purpofes are common, and produced every where, while gold and filver, the inftruments of luxury, are met with only in a few particular places. Though iron be, like lead, very common, yet it is not found any where native in its pure and perfect ftate, any more than lead, but muff: always be obtained from its ore by the help of furnaces, and violent fires. As there have been pretences of native lead, fo we hear alfo of native iron ; but what ir called by that name, whether by the vulgar or the philofophers, is always either fome rich ore of iron which will not bear hammering, and therefore, though a rich ore, is not a piece of the pure metal ; or it is a piece of fome iron inrtrument loft and buried In the earth, and afterwards t aken up, and fuppofed native iron. The O F ARCHITECTURE. % . The f °™ “ whic J* iron ore a PP ears is various, but ufaHy it is a reUdifli or Chap 27 iron-coloured flone. From this it is obtained by the means of fierce fires, and vaft furnaces in form of what is called pig iron or call iron, and this is afterwards ham mered at the forges near the mines into bar iron, in which condition it is ready for any fervice, and is wrought by the ftnith into any form. In the foreft of Dean \n G Z cejletjhire where there are great iron-works, they mix with the frefii ore the flags o r cinders of former workmen, which lie in vaft heaps about the places where the work have antiently been, and by this mixture they make a tougher and better iron than they could produce at once from the ore alone. It has been pretended that thefe flag/ which plainly contain a greatdeal of iron, have been impregnated by the air with tlS meta, fince they were exhaufted, and thrown by out of the former works, but the truth is that the former workmen did not exhauft them of the metal fo thoroughly they might have done, either becaufe they did not underftand their bufinefs fo J, as ours or becaufe having a greater plenty of ore they did not work fo clofe ■ fo r cer tamly thefe flags have no more iron in them now, than they had when thofe p’eople left In calling of iron there is a bed of fand before the mouth of the furnace, in which hey hollow out a kind of moulds, according to the figure and fixe of the pieces hey intends and the violence of the heat is fo great, that when the meited iron is let out, it not only runs freely to thefe moulds, but continues liquid fome time manner! " “ * § U P lt the «“*“ ia a W^ng and frightful The larger pieces of caft iron thus formed they call lows, and the fma.ler pigs They alfo make moulds for a great variety of things. Thefe come ve™ cheap be caufe there has been no fecond work about them , but when broke tljare of litt e vahie when at a diftauce from the works , and the brittlenefs of caft iron is foch Z whatever is made of it is liable to that accident, and often from the effeft of air-hoi will bui'ft even at the fire. n01es This difference of caft iron and hammered, or as it is commonly called wrought iron IS very great in quality, and, not lefs in price: and in this laft article the ough great is very reasonable; the price of the caft iron being founded on nothin* but that of ore and tuel, whereas the other depends upon a vaft deal of labour . a Jit! made amends for by the mttinfick value, wrought iron, which comes fo much deam being always worth a certain price in any condition ; whereas the merit of the other ft pnnc,pally m its form, its worth being when broke little or nothing. Caft iron is however a very ferviceable article to the builder, and a vaft expence Is faved m many cafes by ufing it, in rails apd balufters i, makes a rich and maffv ap- ro'r/Je/j'vaTrnJjt'Jtjj'^T/! 0 ”? 1 iron much ,efs rubftantiai 11- , , “ ut oa t “ e ot * ler hand, there is a neatnefs and finiflied look in wrought iron that will never be feen in the caft 5 and it beats accidents va% N”. 8. The SI A COMPLETE BODY The ufes the architeft has for iron are not lefs numerous than they are important ; ' railing has been named already, and is of many of kinds, plain,- or with pilafters, or a variety of ornaments. Window bars, chimney bars, and that vaft variety of hooks, nails, and faftenings, fwell the account greatly : we are allb to count among the leffer articles, hinges, ftaples, latches, bolts, and locks, and a multitude of others; and among the lamer thole cramps and chain-bars that are fometimes neceffary to hold the parts of a building together, and thofe that fometimes fupply the place of (lone-work; in all thefe he is to confider the neceffary quality and fubftance ; not trufting to the fmith, whofe ignorance may often make him fuppofe more quantity is neceflary in iron-work than is; and whofe intereff may fometimes make him crowd in a great deal whether it be needful or not. He (hould alfo be careful to look into every piece of large iron-work himfelf, to fee in what manner it is finiihed, for in thefe inftances there is always a great ftrefs laid up¬ on iron, and it will be very ill able to l'upport it if it be carelefsly wrought. Nothing is fo common as to fee iron-work full of flaws, and nothing is fo hurtful, or fo need- lefs. There requires nothing more to give it an equal body and ftrength throughout, than good hammering; but this the fervants are very apt to omit, and the mailer is too ready to look it flightly over. Chain bars are frequently neceffary in groined arches of brick or (lone; they are ufed in arcades to tie the front piers, and to hold them to the main building ; they are alfo ufed occafionaily in other parts of buildings where great ftrefs is laid. Sometimes they are fo difpofed that they may be taken away when the feveral parts of the building have fettled, and all is fafe; but they frequently are left in their places. Cramps are of great fervice in holding (tones together, where it is required they (hould firmly keep their places. We have given figures for the explanation and illuftration of thefe two great ufes of iron in our eighth plate; and in our ninth and tenth lliall give various kinds of railing. Having thus finiihed what appears needful to be faid concerning the materials ufed in building, we (hall clofe the account with a few words on the neceffity of the architc&'s underftanding and overlooking their ufe. It is he whofe credit is at (lake, and it is he therefore who ought to have an eye to every part of the work. The feveral other perfons who are employed according to their trades and profeffions, work under him, and are accountable to him, as he to the perfon at whofe expence the build¬ ing is carried on; it is therefore he on whom the dependance is placed : and he is to anfwer for the mifearriages of the others, becaufe it is under his direflion they are employed. We are fcnfible that among the perfons of diftinftion, who amufe themfelves with the ftudy of architecture, fome of whom have done a great deal of honour both to themfelves and the fcience by their progrefs in it, a confideration of thefe things which are only fubfervient to (he great objefts of their defigns, will be looked upon as 2 t0 ° OF ARCHITECTURE. 9 1 too mean and trivial; but thofe defigns can never be fulfilled, nor thofe great objeCts Chap. 27, raifed to their perfection, without fome perfon who has Hull and integrity be deputed to look after them. As to the profefled architect, though the fcience be a very noble and exalted one, he muft not be above {looping to thefe which are its mod; minute oonfiderations. We admit that there is as much room for genius in architecture as in writing, and that it may be as much difplayed in a great building as an heroic po¬ em > but in order to this, the attention we have advifed to little things is a neceflary previous ftep, without which the others cannot be taken. It is the foundation, an er¬ ror in which undermines the whole fuperftruCture. FIGURE 92 A COMPLETE BODY, &'c. Book I. FIGURE 1, in Plate VIII, Jlsews the plan and elevation of an arcade . par* v 1J 0/" a building in 'which the chain bars are feen in their places , -zl/V/j we?tfh r oj fafejiing. A. The chain bar. B. The collar into which it is received. FIGURE 2. A plan of a plinth , or what is commonly called a facia courfe, f sewing how the Jlone afilering is cramped together . C. The afhlers. Thefe are Rones let nine inches into the wall. D. The cramps of iron holding them together. E. The bond Rones carried through the brick wall. The End of the First Book. BOOK 31 (^?K(3mtX?E:rtm?T?f*wi E x P L A N A T I Q PLAT E IX. figure I. A Piece of plain Iron-Railing. In this the rails are let into a fone curb, and fajkned with lea.,. FIGURE If. Railing of a fomewhat richer kind. * thh t,X "f Z eframd in ‘° “ M bar 01 the M ** into a groove m tie Jlone-work. FIGURE III. Railing of a more ornamental kind. mmstbe bar into which tbe rail; are fronted is Jupported by balls ; and tins the frone „ kept out of the wet, and is fafer front rafting and rotting. FIGURE IV. Railing of a flight kind, with pilafters. * thli the bar is t0 bc let into a fallow groove. C c * EXPLANATIO n PLATE X. This figure reprefents, A piece of Railing with an iron gate in the centre , tbf ornamental part on each fide of the gate ferving by way of piers. AND or THf Effentiai and Ornamental Parts of BUILDINGS. The INTRODUCTION. T HE ftudent has been, in the preceding book, made acquainted with the mate¬ rials which are to be ufed in erefling an edifice; and he will naturally begin to think of putting them together. It is neceffary we ftop him for one important confideration, that is, the choice of a place for the building. This is effentiai in the higheft degree; for the moft elegant ftruQure may lofe a great part of its value from an unconfidered fituation. Thete go many articles to this entire confideration, £ome of greater, and others of lefs confequence; but we Ihall wilh him to give a due attention to them all. We (hall therefore lay them before him as they rife in the examination of the fubjedt, and point out how far each is to be regarded. When we have thus difcharged the article of fituation, we (hall lead him toward the great end of his ftudies, the defigning, executing, and finifhing an edifice, fmalleror greater; by an account of the effentiai and the ornamental parts of buildings, as prepa¬ ratory to the general defign. After this, having a thorough knowledge of the mate¬ rials, a true judgment of a fituation, and an idea of the neceffary and the ornamental paits, we (hall be able to lead him, without confufion, to the defigning and arranging thefirft, and to the felefting, conftrudting, and difpofing of the others. As we have prepared him to read, fpeak, or hear, concerning architecture, without difficulty or confufion, by an explanation of the terms, we (hall prepare him in tins part for the confideration of an edifice by an early acquaintance with its feveral parts; after which we (hall be underftood in treating of the whole without repetitions or explications of every head, N°. 8 . B t> M What- twKHEsnarrai 94 A COMPLETE BODY Whatever be the building he propofes to ereCt, it mud have a foundation: we fliall there¬ fore, in this place, acquaint him with the nature of foundations in general j that we may hereafter fpeakof them without leading him beyond what he has confidered. In the fame manner, a floor, a chimney, and roof, are articles that mud occur, in whatever building, for the ufes of life, and diall be the fubjedl of the farther enquiries ; and thefe will be here treated of in the fame manner as the article of foundations. Thefe are what we underdand by the effential parts of buildings j and to them we (hall add the like accounts of fuch others as come under the fame denomination. Among the ornamental will fall the orders of architecture, which give the greated beauty that can be communicated to a building > but they are not effential parts, be- caufe very good, nay very elegant, edifices and houfes may be ereCted wholly without them. From this view of the plan and nature of the prefent part of our undertaking, the reader will fee not only what we comprehend under the didinCtions we have edablidaed in the feveral portions of buildings, but why we have propofed to treat of them in this part of our work, and in this manner. We propofe leading the dudent from the prin¬ ciples to the practice of the fcience, and from its lmalled objects to its greated under¬ takings. That we may be underdood, we clear every part as we go, and endeavoufc* to explain fird thofe things to which we afterwards refer. BOOK [ 95 ] R T I. O F A T I o [ A p. I. ATIONS in general. Chap. i. Of Si W HEN we fpeak of a fituation we naturally mean that of a houfe in the coun¬ try. In cities and great towns bufinefs is more regarded than pleafure, and men are confined to do not what they chufe, but what they can. They are cramp’d for room, and muft conform to the method of other buildings: what regards a fituation therefore in this refpedt, concerns rather the placing of ftreets and fquares than of private houfes; and this is a confideration upon which we fliall enter in a fucceeding part of our work. We fiiall here fpeak of fituations for private houfes in the country, where a place may be chofen according to the inclination of the builder or the owner, where he may have room to fpread his edifice over what extent of ground he pleafes, and no check upon his fancy as to the difpofition of its parts. In all buildings we feek convenience and pleafure, and neither the one nor the other can be obtained unlefs we properly confider the place and fituation of the ftrudture: the conveniencies of life cannot be had unlefs they are either produced near the fpot, or there be common ways of conveyance for them : therefore the country houfe fliould ftand either in the neighbourhood of a town, or have water-carriage or common land- conveniencies. Pleafure can never be where there is not health j therefore fuch a fituation is to be chofen as is not infedled with damp or other unwholefome vapours ; and after this the beauty of profpeft, and advantages of diverfions, are to be regarded. Thefe are the firft and great confiderations, but the lefler are not to be negledted : though it be convenient to be near a town, or in the way of cheap and ealy carriage of needful matters from one, yet it is a great advantage to have as many of thole things produced about the houfe as poflible. Thus there Ihould be trees in lufficient quan¬ tity for the fake of defence, Ihelter, and the common ufes in country implements, and for fuel; and other fuch common articles of nature, and the means of railing fuch others as are to be the produce of our induftry. The place of the houfe fliould be fuch that the accefs to it be eafy and convenient. £ The 9 6 Cook 1 A COMPLETE BODY The country about it, even to a great diftance, may be underftood in feme fenfe as the property of the eye, and its lituation and difpofition are therefore to be regarded with refpedt of profpedts; the more cultivated it be, always the more chcarful and beautiful; for there is a melancholy look in deTart places. Where it rifes in an agreeable manner fo that two or three views are feen at once, the cbjedt is the more pleafing; and a road at a proper diftance, or a navigable river, affords a continual moving picture. The great articles in profpedts are variety and extent; either without the other tires. There is fomething compofed and chearful at the fame time in a home view, or limited profpedt; but we grow weary of it if in feme other part there benot a Larger field : and where the extent is in a manner unbounded any way, after a while we fee only the clouds and the horizon. The profpedt which is altogether too extenlive is better to be born with than that every way too limited, becaufe it may be in fome degree remedied, but the other can¬ not : we can obftrudt the fight when we cannot enlarge its fcope ; and it is eafy to block up a view with trees, when it is impofiible to open a vifta through mountains. It is the misfortune of our fenfes that we cannot fee diffindtly at great diftances, and from hence arifes that defedt in our minds, that vaft views fwallow up and drown tire apprehenffon, fo that in feeing too much we regard nothing ; but this we can palliate; the other is without the leaf! glimpfe of remedy. The neighbourhood is another confideration not foreign to our prefeut fubjedL, for it is determined by the place. Retirement is what we feek in the country, but it muff; not be too abfolute. We all fancy we fhall be pleafed with it, but few' of us can well bear it in the extreme. When we firft think of leaving a populous city, the charms of a retreat appear double, be¬ caufe of the oppofition to that noife and hurry ; but when the comparifon is forgot we grow weary of the famenefs of the feene. Retirement is apt to be melancholy ; we fhould therefore feek the means of reme¬ dying its fatigue, for it is greater than that of bufinefs: let us have them in our power, and we (hall perhaps be the lefs inclined to fly to them. There is this perverfenefs in human nature that we want ten times over what we cannot have, and that often for no other reafon but becaufe we cannot have it. The remedies for the melancholy of retirement are company and converfation ; let us therefore provide for them, but without forcing them upon us when we are not dif- pofed for them. Company in the country is as a medicine, it naufeates when we do uot want it. I would not have a man lofe the idea of retirement for fear of being melancholy; let him therefore not fix his houfe in the midft of others, for that were like remain¬ ing in a town : nor let him bury himfelf in a defart, out of the reach of every body, for there he will be forlorn. Let him chufe the place for his houfe where there is re¬ tirement, but let it be within reach of company. TKf> OF ARCHITECTURE. 97 The meaner fort of country people are not to be confidered in this light of a neigh- Chap. 2. bourhood j nor indeed for a man of middling fortune are the greateft: thefe two ranks v v J are feverally company only for thofe of their own degree. Let the neighbourhood contain fome number of families whom he can vifit upon equal terms j whom he can receive as they receive him, and vifit without pride or fliame. The neighbourhood of very mean perfons is difagrecable, becaufe they will be too much among the inferior part of the family j and that of the very great is fometimes troublefome. I have feen an advertifement in which, among other recommendations of a country houfe, there was inferted that it was not in the neighbourhood of a lord : this was an indecent reflection; but as the temper and character of the next fuccelfor is never to be known, it is not agreeable to be near too much power. Such a lituation i3 compared by an elegant writer to that of Mercury in the heavens, ever in combuftion or obfeurity from brighter beams than his own. Thefe are the general articles which regard lituations, but there fail under the con- fideration alfo a great many which are particular, which together conftitute the agree¬ able and the healthy. Thefe chiefly regard the air, the water, the foil, the elevation and the alpeCt: we {hall treat of them feparately under the divifion of the fucceeding chapters. CHAP. II. Of the A 1 r. E have reafon to reckon the air among the firft and molt immediate advan- V V tages of lituations, for it is in fearch of that we often principally, and fome¬ times only, fly into the country. We live fo immediately by it that the manner of our living will be determined vaftly by its qualities : our health will of neceflity de¬ pend greatly upon them, and upon that depends the enjoyment of every other fatis- faCtion. We are not here confidering the lick, for according to the different nature of their diforders different temperatures of the air are required ; fharpnefs being the principal recommendation to fome, and foftnefs to others. Thefe are confiderations that regard the choice of an occafional fpot for the recovery of health; but we are here enquiring into fuch an air as may generally preferve it, and are to feek for fuch as will be mofl univerfally agreeable. The choice of good air is the more effential becaufe it is one of thefe things the faults of which we cannot always mend. If the place be choaked up with trees, and fur- rounded with quagmires, thefe will render the air unwholefome, and as they are the caufe it may be amended by cutting down the one, and filling up the other : but this which is the lead occafion of its badnefs can be obviated only in a certain degree, and that at a great expence; w'here the defedt arifes from thefe caufes, and they are in any great degree, no price will purchafe the perfedt cure: and in many other inftances the air is altogether out of the power of human art to mend at all. N°. IX. C c We A COMPLETE BODY We are always to live furrounded with air, and we fee by frequent experience tha it can and does often enter with all its qualities, and, when they are bad, viti¬ ates the whole texture of the blood. In the mod confiderable in dances of the air be¬ ing rendered bad by accidents of nature, we lee that it occafions very terrible and defperate difeafes. Where the air is always moift and damp, agues, coughs, fluxes, cho- licks, and confumptions, are always frequent; and when it is impregnated by the deams of mineral matter^ palfies and other of the greater or lefler nervous diforders are certain to be the confequence. It is in the lame manner that air, in whatever way it is • faulty, according to the nature of that taint, afteCts the conditution. When we have once fet down in it we cannot remove without giving up all that we have been doing in building ; and great indances might be produced to fhew how abfolute is the folly of imagining art and contrivance can always mend its faults. As many diforders are the condant and certain efifeCt of a bad air, health, eafe f and cheerfulnefs, follow naturally from breathing a fine and pure one. To be good in general, it mud be neither too fharp, nor too thick: it mud be pure in itlelf, and it mud be within the reach of natural amendment, for that is of vad ef- feCt, and abfolute necedity; though the artificial amendment be in mod attempts ima¬ ginary and idle. We have indanced the principal things that make air bad in itfelf; but when there are neither of thefe, neither mineral deams, nor marfiiy exhalations, dill, tho' good in itfelf, it requires certain accidents to keep it in that condition. We are told that if the vad body of water in the ocean dood dill, it would corrupt ; it is the fame with refpect of air : the wind is neceflary to keep the one fweet, and motion is as needful to keep the other in order. Air that we have once breathed is no more fit for that fer- vice ; we can fpoil a large quantity of it that is confined in a little time in the fame manner, and the effluvia of our own bodies affid in it; therefore there mud be a cur¬ rent or change of it, or at lead its parts mud be put in motion. Air requires the effeCt of the fun to purify it, and the force of winds to exercile it: if we place our houfe where thefe cannot have accefs, we fhall condemn ourfelves to breathe a foul and unwholefome kind ; though there be no apparent caufe that makes it fo^ Nothing is well that is not in the courfe of nature; the fun and winds were meant to purge the air, and where they cannot come, it will not have the advantages univer- lally intended and univerfelly needful. We fee then the great faults of the air, and to what they are owing ; it is in our power to avoid them all by the proper choice : but if we have not this caution before us we may be led by fome trifling confideration to give up the mod efiential benefits of nature. The fummer is the feafon in which we mod condantly remain in the country, and it is the lead healthful part of the year, we ought therefore to be the more cautious not to add to natural imperfections the difadvantage of an unwholefome air. Upon the principles already laid down the practice follows eafily. As we fee what are the occafions of the faults of air, let us avoid them in our fituation ; let us fix it Of ARCHI TECTU.R E. 99 in an open and elevated place, where the air being in itfelf pure, will be free and in .Chap. 2. continual motion. The advantage of a profpedt brings this with it: when we fee a *“— vaft extent of country we breathe an air that fpreads itfelf at large in all that fpace. The elevation of the ground giving a defcent for the running off of moifture, none will Magnate about the houfej and the air being pure will continue fo, becaufe it will not be loaded by vapours from below, and it will be open to the effects of the fun and winds. It was the cuftoin of our forefathers to build in bottoms, and hide their houfes among woods and between hills; but this is the moft unhealthful as well as unpleafant fitua- tion. An elevation fhews the houfe, and every one who builds with tafte defires it fhould be feen: the infide he contrives for ufe and his own convenience, but the out* fide is decorated for fhew, and to pleafe the eyes of others. A houfe fituated on the fide of a hill is difpofed in the manner of a picture, every part of it is feen and it is feen at a diftance; in a bottom it is ill difpofed for view, and it is buried : this is an accidental confideration in this place, where we are confidering the effects of a fituation with refpedt to air, but it is worthy to be mentioned. There is fure to be too much moifture in thefe places becaufe the rains fettle on them, and are detained there • and the fun has not fufficient force to exhale them: they are fheltered from the wind, which was the great reafon of their being at one time chofen, but they are under the difadvantage of the air ftagnating, for want of the natural and neceffary exercife. We fee therefore that it-muft be uftwholefome in thefe places, becaufe it is filled with va¬ pours, and it ftagnates; the two greateft occafions of the air’s bad qualities. In thefe places, while others are deprived of the pleafure of feeing a good houfe, the owner fliuts himfelf out from all profpedt: and we have oblerved already that a good prol- pedt and a healthful air are things very naturally connected. Thefe bottoms ar.e always colder or hotter than other places, and always difa^ree- ably fo ; where the fun cannot well get at them, the air is continually raw, and where it has free accefs it fcorches. The winds defeending from the tops of the hills that Unround fuch a bottom, or getting in at fome opening between them are violent and unnatural •, and in thofe clofer places where they have not accefs at all, the air be¬ ing damp and ftagnating, cannot poflibly be otherwile than unwholcfome. We fee how eflential the qualities of the air are, and how much they depend up¬ on, of are influenced by, the fituation of the fpot; a free and open air is ofabfolute neceffrty to its being good, and for the reft we are to avoid the extremes of too moift and toO fharp : the firft defedt is natural to places that lie too low, the other to fuch as are too high. Upon too elevated a fpot we ftand often too much expofed ■ we are open but We are bleak ; the air is too thin and acute, and we are too much expofed to the winds : when we fix upon a fituation that is too low we have fo°s all winter, and ill fmells in fummer ; the air therefore is in neither cafe pure or wholefome. Upon the whole we lee that on all confiderations that air which is the moft open and free to fun and Winds, and is moderate in the degree of drynefs and moifture, is to be chofen; and that fuch is the air we are moft likely to find on fome gently rifing ground, where there is an open country before, and on every fide an agreeable profpedt. C H A P, A COMPLETE BODY CHAP. III. O/Water. W JE have been the longer upon the article of air in a fituation, that we maybe \ V fliorter on the others, for their advantages are in a great meafure determined by the effedt they have upon that element, which is the mold eflential of all others to life and health. Water comes the next under confideration, for as the former is requi- iite for everv thing breathing, this is of abfolute neceliity for the common ufes of life. When the architect has fixed upon a fpot that is in an agreeable neighbourhood, has a healthful air, and a good profpedt, let him next examine in what condition it ftands with relpedt to water. Where that is wanting no advantages can compenlate : but we are not only to confider the quantity but the kind and qualities. Water may be too a- bundant as well as too fcanty, and it may be a plague as well as a benefit to the dwell¬ ing. The architcdt is in thefe cafes to have two things in his view to provide conveni- cncies, and to obviate accidents; and without a proper regard to both he may run in¬ to the way of one in procuring the other. We have advifed that the fituation, if that can be done, be fixed in the neighbour¬ hood of a navigable river; but let him fee that it be out of the reach of its inunda¬ tions. He is not only to fix his houfe fo that the lowed: parts of it be above the level of the water in the greateft floods, but even the garden and every part that belongs to it fhould be out of the reach of poflible overflowing. As the point is to find a healthy and convenient fpot, we have advifed an elevated fi¬ tuation near a navigable river, which in two articles provides almoft for the whole; but as thefe things are not always within reach we mull fhew how to atone for the deficiency. If there cannot be had the advantage of a navigable river, let there be at lead if poflible a running water near. This has more advantages than can be imagined by thole who have not fearched deeply into thefe things: every one chufes it for pleafure, but it greatly conduces to health. It refrelhes the air in dimmer, and at all times ferves as a gentle wind, putting it in fome degree in motion; the current of water moves the air that reds upon it, and this element is fo thoroughly moveable that when it is flirred in any part the effedt fpreads very far. The convenience of plenty of water about a houfe is very great j a defedt in this refpedt has more difadvantages than almod: in any other : and the danger of having any bad effedt from a great quantity of it is prevented by its being a running water. The garden may from this be well watered, the houfe in every refpedt fupplied for the ne- ceflary ufes, cattle have plenty of drink, and it is wholefome for them in its kind, and it is of all others the greated ornament. 2 Thefe O F A i G H I f EC f O R g, ioi Thefc are the advantages of a running water, and for thefe it is to be extremely valued C hap. ,. but as much as we would for this reafpn feek to be near running water, we muft avoid a great quant.ty of fuch as dagnates. Theeffeft of thefe waters is exitffly the contrary of that of the others m every refpedl. As nothing affords fo pleafant a profpedt as a tun¬ ing water, nothing gives fo bad a one as a finding lake. In the running water the fur- face is clear and bright, in the (landing it is covered with filth and ill-looking weeds The running water purifies the air, the Handing fills it with o&nfive vapours. Nothing contributes fo much to load the air with difagreeable and unwhoiefome matter as flag- nating water. ® Nor is the inconvenience confined to this article of health, for we are troubled With infefts and vermin in places where there are large (landing waters, which are either never feen at all, or are not plentiful any where elfe. Gnats, and a multitude of other troublefome little flies, are always about (landing waters; for they breed there and they are very troublefome : the gnat in particular cannot be in any abundance any where but where there is flagnating water. That fly lays its eggs upon the furface of a pond, and never any where elfe; and from thefe is hatched a little worm which lives and feeds in the water for feme time, till at length it undergoes a change like that of the caterpillar; and the fly, like the butterfly, is produced out of its body The gnats do not lay their eggs upon running waters, becaufe the current would carry them away; neither does the worm that is produced front them thrive except in fuch as is thick and foul: about thefe places therefore there will be always a vaft quantity of thofe and the like infects, from which running waters are free. What we have faid of the air is equally true of the water : as its faults and 5m- perfedtions breed particular diforders in thofe who hreathe it, fo do thofe of waters in fuch as drink them, whether in their crude date or however altered. The differences of water are greater than can be imagined; rain water differs from that of fpnngs, fpring from river waters, and this from the water of ponds. We have the authority of a very accurate experimenter to vouch that there is water in Africa lghter by four ounces m the pint than the common water of England. We have not ufhciently examined the differences of our own in; its feveral kinds and forms- but health and convenience are both fo much concerned in this enquiry, that none is more worth the making. When the architedl has fixed therefore upon a fituation which is right, in refpedl of the water m its neighbourhood, there being plenty of fuch as runs, and not too much of the Handing kind, let him next examine that which is immediately upon the fpot, or that of the river, if very near, in a proper and accurate manner, to fee how it is fluted to anfwer the purpofes of life and health. Hippocrates commends the lighted water, as mo(l wholefome; and it is a very con iderable article. We read in Herodotus of a very healthy, and long-lived, people, who drank a water fo light that mod kinds of wood funk in it. This is very well countenanced by the experiments made upon the water brought from Africa-, and there is great reafon for concluding that the Greek was right who mentioned this qua- hty in foe water as very conducive t 8 the health and long life of the inhabitants. - N ' X - Ci Afie, A COMPLETE BODY Book II. After the lightnefs, let the water be examined by the eye, and by the tade : that which is moil tranfparent is bed, and it diould never have the lead ill tafte or fmell: farther it is a mark of good water to warm quickly and cool quickly. The water diould be tried farther by examining how it lathers with foap, and whether it boils garden-duff well. River water is commonly found to do thefe things well, and pump water too often but ill: however, if the fault be not great in this re- fpedt, it may be born with, for it will be remedied by letting the water dand fome time open to the air after it has been pumped up. The pured waters of rivers are thofe which have the fwifted current with a clear tranfparency, that run over a clean gravel, and are not encumbered with weeds at the bottom, or beds of flags and ruflies at the fides. It is always convenient to have fpring water about a houfe, be the river water ever fo pure : for this reafon wells are to be dug ; and it is convenient to do this one of the fird things, becaufe nothing fo perfectly fhews the nature of the ground, according to which the architect is to condudt himfelf with refpedt to the foundation. In fine, that houfe is bed fltuated in refpedt of water which has good fprings for its wells, an agreeable body of running water within due didance for beauty and convenience, and has lead ftagnating or danding water that may be in its neighbourhood. H A P. IV. Of the Soil. HE foil, though it has been lefs accurately confidercd in refpedt of fituations than the air or water, is far from being a trivial article on this head: the air and the water, which are allowed to be fo important concerns, always may be, and fre¬ quently are, affedted by it. We are therefore to confider it fird in this light, and after¬ wards in regard to that more immediate concern, its fertility. We have feen that the air may be influenced by unwholefomc vapours arifin<* from the earth ; but thefe, in general, where they are frequent, come from a greater depth than what is commonly underdood by the foil: happily for us this country is not much fubjedt to them: but there is a conlideration of that nature in which the foil is greatly and immediately concerned ; this is the loading the air with moidure from detained waters. . I low long, and in what degree, the rains fliall be detained within the reach of the furface, is altogether determined by the ground, and comes immediately under the archi- tedls confideration. The foils in England may be divided into three general kinds, fandy, loamy, and clayey ; we may add chalky to thefe, but they are not very eligible to build upon. The fandy is the lighted and loofed, and in this may be included the OF ARCHITECTURE:. the gravelly kind : the clayey is the toughed and heavieft. Thefe are the two extremes. The loamy confifts of hand and clay with other mixtures, and is of a middle nature be¬ tween them ; it is therefore, as middle things in general, the moil: eligible. In abfolute fands, or gravels, there is always a healthy drynefs in the air, but they let the rains foak through them too quickly, fo that enough of the wet is not detained for the common purpofes of the growth of plants; and the drynefs and iharpnefs of the air in high fituations, with thefe foils, is too much for many conftitutions. On the other hand, where the foil is clayey, if it be in the extreme, the water that falls in rains is not able to penetrate it: it is detained too long, and here all is in the other ex¬ treme. If the clay lie upon the furface it is damp and dirty in wet weather, and it cracks and chops in dry, both which are very difagreeable ; and if it lie at fome fmall depth under the furface, the rains penetrate eafily to it, but are detained upon it, chilling the roots of plants, and by that hopping their growth, making the place damp and moift. The loam, which is of a middle kind between thefe, is fubjeS to neither of their de- fefts i it receives rains freely, and detains them fuificiently, but not hurtfully : there is enough moifture in the earth to foften by its vapours the great Iharpnefs of the air, but theie is not fo much as to chill the roots of plants, or occafion a dampnefs at the bottom. We have faid that the builder is not, like the phyfician, to pick out an air that will be ft for fome particular diforder, butfuchas, being pure and moderate, will preferve health. This air, fo far as a foil is concerned, which is not in a trivial man¬ ner, will moft naturally be found where that is loamy! The very bed foil on which a houfe can be built is a gravelly loam. The foil demands great confideration on the other accounts of its richnefs and fertility: thefe are of the moll immediate concern for convenience and for beauty. A garden is a veryeffential article in a country habitation; and, both for ufe and pleafure, it Ihould be oil fitch a foil as will caufe things planted in it to grow well. There is no foil fo univerfally fertile as the loamy: it fuffers the rains and dews to penetrate freely to the roots of plants, and it detains them, as we have Ihewn, fuffidently. We fee in wild nature a great indance of the general excellence of this kind of foil. There are plants that love clay, and thefe will not grow on fand ; there are others which delight in fand, and thefe will not live in clay; but both kinds will grow in a loamy earth: indeed them is no kind that will not. This fertility in a foil extends it- felf not only to the ground belonging to the houfe, but to all that about it, and which furnifhes the profpedt. There is a chearfulnefs in a rich country which is not in the poor and barren; and in proportion to the goodnefs of the foil is the beauty of the general face of nature. This fo certainly and perfectly accompanies the excellence of a foil, that before the ground is opened for examination, it may be known by the afped of the growth and herbage. Where the corn profpers well, and the trees grow draight and beautiful, the fod is always good; fqt when it is faulty in one refpedt or the other it is equally feen- the herbage is poor in fpite of all the labour and expence of the farmer, and the trees’ grow irregular and dubbed, or have an afpefl of decay. We 104 Book II. A COMPLETE BODY We would have the architect take Into his confideration all the advantages of nature in their fulled extent, when he is about to fix upon the fituation of a houfe. He mull not expefl that in any place he will find them all in their moll full perfeftion; but knowing what that perfeaion is, he will be the better able to judge how far an excellence in one kind will make amends for a deficiency or imperfaflaon in another. C H A P. V. Of the elevation of ground for a filiation. W E have occafionally given many reafons why a country houfe lliould ftand upon an eminence, but we come now to examine that point feparately, and to con¬ fides what the elevation (hould be, according to the general nature and circumftance of the ground. Every elevation of ground has the advantage of drinefs, and a more wholefomc air than is on flats or in hollows ; lefs moifture remains upon it, and the air has a more free current: but thefe advantages are found only in moderate elevations, for in ex¬ tremes every thing is faulty. Becaufe an elevation of ground is convenient, the builder muft not fix his fpot upon the top of a high hill; the air there is too (harp, the winds have too much power, and the place is bleak and commonly barren. All eminencies are agreeable, but moderate ones the moft : they avoid the difadvantages and imper- feflions of the others. The higher the elevation' the more neceflity there will be for (belter; and, in general, the lefs poflible it will be to have it. All the means of (belter are confined to trees, and thefe will not grow on thole bleak and mountainous heights, where if the architect (hould place his houfe they would be moft wanted. The fide of a hill for this reafon is preferable to the top, and the afeent (hould be gentle, bccaufe otherwife the coming at the houfe is troublefome; and all the walks about it are tirefome. Befide the expofure and bleaknefs of very high fituations, water is commonly want* ing; and where that is not in fufficient plenty, there will not be good verdure. The profpedt from fuch a place is fine ; but the contraft of what one fees, with what one has, is afflifling: when we view the fertility of the fields below, the barrennefs of our fituation is the more hateful. The moft agreeable eminence for a fituation is that upon the dope of a moderate hill, where the ground rifes gently up from the plain, and continues rifing behind the houfe a little; where the height is fufficient to give us a command of the plain be¬ low, and where there are trees to (belter us from the more difagreeable and ftrong winds, but none to block up the profpedt. If the houfe be for a ftranger, let there be as much ground taken in as will ferve his convenience j but if for the owner of a large territory, let its place be as near as may be contrived to the centre of his pofleflion c . There is a pleafure npne but the „ man A fituation which thus has a fine air, plenty of good water, and an extenfive pro- fpeft, with a good foil, and the defence of trees, may be faid to be perfect. He who can find fuch a one needfcruple no expence in his edifice, for he will be hire never to be tired of it; and if accidents (hould influence him to leave it while he liked it, he would never fail of an opportunity of difpofingofit to his advantaee. We have now examined the feveral particulars on which the convenience and health- fulnefs of a fituation depends, and lhall clofe our obfervations on this head with a chapter of general obfervations on the latter and moll important article, which while they illuftrate the truth of the preceding principles, will at the fame time lead to a fa¬ miliar, ealy and certain manner of judging. CHAP. VI. Marks of a healthful Situation. rj-lHE reader has feen on what confiderations the healthfulnefs of a place depends JL It will not be difficult for him to determine on a little examination in what degree any particular fpot has that great advantage : but we (hail here add certain com¬ mon and familiar obfervations by which it will be known at fight. Thefe will be fuf- ficient to determine in a general way without fuch examination; and they will in a more particular and accurate enquiry always confirm it. We have referred the architeft for a general idea of the goodnefs of the foil to the growth of thofe trees and herbage that he fees upon it; and we (hail in the fame man¬ ner advife him to make his firft conjcdure, before his enquiries, by the general face of things, including the other buildings and their inhabitants ; and to confirm the refult of thofe enquiries by the fame means afterwards. With refpea to buildings, if he perceive them clean and frefli on the furface though fo old that the materials begin to decay, it is a proof that the air is pure: on the other hand, if the avails be tinged with green and other colours, and mofs and other herbs grow upon them in abundance, he may look upon it as a proof that the air is damp and bad. In general he will find the buildings that (land on elevated fituations, good fo.ls, and in a free air, of the former kind; and thofe which are fituated in bottoms, on damp foils, and choaked up with wood, of the latter. It the trees by their regular growth and thriving afped declare the goodnefs of the ground, let him obferve the cattle in the adjoining fields, to know what is the con¬ dition of the air and water. Provided the pafture be tolerable, thefe creatures cannot tad to thrive if they have the common advantages in thofe two refpeds; but where there is a fault in either or both of them, they will (hew it in their afpedl. If they be hearty, brifk, and (Irong, it (hews that the air is good and the water pure • if thev be N°. io. E e . IVL*1 106 A COMPLETE BODY Book II. feeble, poor, and heavy, the fault is commonly in one of thefe two particulars, and 1 mold probably in the latter. From the brute animals let him afcend to the inhabitants ; for in their faces and con¬ ditions he will read the mod certain account of the general healthinefs or unhealthi- nefs of the place. High fpirits, firrength to labour, a good body, and a frefli com¬ plexion, are marks of health that can neither be difputed nor miftaken: the lowe L - people have all thefe, from their moderation of diet and exercife in working, in a de¬ gree fuperior to the dainty and the idle ; but they have them not in all places alike. Fie who fhould have obferved the inhabitants of the Alps univerfally with fwelled throats, might naturally conclude that if he fixed among them he fhould have the fame, before he came by a critical enquiry to fearch the caufe of it in their water. This may ferve as an indance of the general manner of judging of a fituation, before we defcend to particulars; and more or lei's it will be found true in all. There is fomething in a good air that is as it were the objedl of tafte; we perceive it as we take it in, and are lcarce ever mildaken in judging of it that way : but it is on¬ ly in elevated places that we have this mark of its purity. In the lame manner that we perceive this the moment we breathe it, we are ftruck at light by that appearance of robuft health we fee in the faces of the inhabitants on healthy fpots; nor are we any more miftaken. Our own fpecies are the mod tender of all the animal kind, and feel the bad effedls of air fooner than any other. The cattle will foinetimcs lhew natural defe&s in a bad place as has been obferved, but their diforders are generally an indication of badnefs in the water: men fhew the lefler defers of the place in their faces, and are affefted by every fault that can attend it. We are fubjedt to more diforders than other creatures, and they more eafily fall upon us ; it is a reafon why we fhould be more upon our guard, to avoid the occafion of them : nature which has left us liable to them gave us our rea¬ fon for that purpofe. When we have our choice of a whole kingdom in which to fix our refidence, it is an unpardonable error to place ourfelves where any great conve¬ nience is deficient ; but where the means of health are wanting it is greateft of all. The general occafions of this we have delivered feparately, as they regard the air, the water, and other accidents; and we here propofe the plained and moft certain method of afiuring ourfelves whether we have judged rightly by thofe rules; for in places where others enjoy their health, he who comes to feat himfelf from elfewhere may; where they do not, probably neither will he. There is an advantage he may have over others by fixing upon a fpot particularly healthy, whereas they are fituated as chance difpofes them ; but it is beft to have this advantage where all is good about him, for where the reft is bad it may not be fufficient to fecure the benefit. The face of the inhabitants fhews the general condition of the country as to health, and this may be obtained in a pick’d fituation. He muft be very weak, or very rafh, who would fix himfelf where every man he met was fhivering with an ague, as is the cafe in ma¬ ny marfhy countries : on the contrary he may reafonably be tempted to the fpot, who fees nothing but health in the countenance of the people, and reads of feventies and fouricores upon their tomb-ftones, PART [ 107 ] PART II. Of the Effential Parts of BUILDINGS, CHAP. I. Of Wells, Sewers, and Drains. / ■'“'HE architect has been led to the feveral confiderations which are concerned in the choice of a place for his building, and he has been before acquainted with the nature of thofe materials with which it is to be railed : we are now to lead him to the employing thofe materials on that ground in the moll fecure and commodious manner; and this by firft giving him a general idea of the effential parts of a building, and then delivering rules for the railing from thefe and the ornamental, a regular and beautiful edifice. The firft of thefe effential parts is a foundation, the ground-work and bafis of the whole; a thing fo important that the leaft error or fault in it affedts the whole build¬ ing, and is not to be rectified without great difficulty, expence, and inconvenience. To avoid the danger of thofe faults or errors, we are in this chapter to give fuch cau¬ tions as are requifite, and preferibe fuch methods as will certainly inform the builder where will be his hazard. This chapter may be confidered as preparatory to the fuc- ceeding: we have fixed upon the fpot for the houfe, and we are about to lay its foun¬ dation ; we lhall therefore here examine the ground on which it is to be raifed : and while we prepare for the conveniencies of the building, allure ourfelves of the condition of the earth that is to bear it. According to this the foundation is to be laid with greater or lefs expence, care, and trouble. It is necefiary that every houfe have conveniencies for difeharging its refufe water, and other ufelcfs and offenfive matters ; thefe are obtained by digging and laying few- ers and drains at proper depths, and with the needful outlets; it is convenient alfo that there be a well for a fupply of fpring water for certain ufes; for though this be in¬ ferior to the water of ponds or rivers for moft occafions, there are fome which it an- fwers much better. As thefe therefore are conveniencies and neceffities that muft be at fome time pre¬ pared, we mention them firft in order, and advife the builder to begin with them, be- caufe they will difeover to him the nature of his ground, and confequently the method that is needful to be obferved in his foundation. The opening for fewers and drains fhews him the ftrata or beds of earthy matter to fome depth; and that of wells to a much greater. When thefe are finifhed therefore he is to begin laying his founda¬ tion ; and he is to prepare himfelf for the method of doing it by what he fees thrown up Kvsj;a^.^^'. , as;ar , ,i^i«T»t 1 108 A COMPLETE BODY Book II. up in the digging : for he will know by that whether the foil be in itfelf ftrong enough to fupport a foundation, or whether he muft have recourle to art; and in what degree, or what manner. As to fewers and drains the great care is that they be made large enough ; that they be placed deep enough, and have a proper defcent; that they be well arched over and have fo free a paffage that there be no danger of their choaking up ; the cleaning them being a work of expence and trouble. Wells are to be funk in places where they will Hand with moll convenience and at fuch a depth as to retain a fufficient quantity of water. They muft be carried down below the level or furface of the water that is collected within the ftrata of the earth otherwife they will not receive or hold it; and they muft be carried fo far below that they may detain a proper quantity. The collection of water between thefe ftrata lies fo differently in various places, that the depth of wells is neceffary to be five, fix, or eight times as ereat in fome fpots as in others, not accounting the extremes of either: but fometimes a great deal of the expence of digging wells where the water lies thus deep is to be faved by bore- ing. When the well is regularly dug to twenty or thirty foot deep, it is in many places a good method to have recourfe to this expedient: a large augur is to be ufed, and the earth carefully taken out of it as it becomes needful. The water will often at length rife up through the hole with great impetuofity, and fill the well to a fuffi¬ cient depth. This method is pra&ifedin Italy, France , and Germany , with great fuccefs, and has been alfo very happily try’d in feveral parts of England, particularly in EJfex. The ex¬ pence of this is fo vaftly lefs than that of continuing to dig and make the well to the needful depth in the ufual manner, that wherever the fituation of the place renders it at all likely of fuccefs, and water is not found at a moderate depth, it fhould be try’d. It is moft likely to fucceed in places encompaffed with diftant hills, or where there may be conceived to be fubterrancan paffages. When a reafonable conjecture can be made at what meafure the water will be found, the diameter of the well fhould be proportioned to its expeCted depth. This may often be known very exactly from the wells in the neighbouring places, and when finiftied with a lining of brick or ftone-work, it will need no farther care for ages. In the neighbourhood of the fea the neceffary depth of wells may be eafily known by obferving the level of its water. In Bermudas they have wells in a manner clofe to the fhore, which rife and fill with the tides, and yet the wa¬ ter is perfectly frefh. In all parts of that ifland they find water when they have dug nearly to the level of the fea, and it is commonly frefh though not always. At any time if they dig a few feet deeper they come at fait water. Thefe are faCts very exaCtly laid down by Mr. Norwood, who has been upon the fpot, and may be of ufe to the architect who is about to build under the like circumftances. CHAP. OF ARCHITECTURE. H P. II. T Of the qualities of the Ground. HE foundation of a building is that part which is laid under the furfaceof the ground in an opening made for that purpofe j and ferves as a bafis or fuppcrt for all that is raifed above. It is the firft thing to be regarded in the eredting of a houfe, and fo much depends upon it that it can never be confidered too thoroughly. In fome places the ground is naturally firm enough for fupporting the building ; and in thefe the foundation i 9 to be laid with eafe and little expence: in others the ground wants this natural firm- nefs, and muft be aflifted by art. The firft bufinefs of the architect is to determine whe¬ ther the earth will do of itfelf, or whether it wants affiftance j and if it be of the latter kind, his next enquiry is what kind of help it requires, and in what degree. The beft ground for a foundation is that which confifts of gravel or ftone : but the architect who intends a great or a heavy fabrick is not to content himfelf with what he fees on the furface, or near it. We have advifed the digging for wells and fewers firft, and have cautioned him to obferve exactly what is thrown up ; he will thus know what is beneath that uppermoft bed, which promifes in itfelf fo much ftrength and fo- Iidity. There is often an unfound matter underneath, and in that cafe the ftrength and firmnefs of the fuperficial ftrata is but a decoy $ and a dependance upon them will un¬ dermine the building. Befide an unfound matter beneath, there roay, in ftony places, be an abfolute vacuity; and this is a much more unhappy circumftance : there are many hollows in the earth, and no where fo many as in rocky places. Such ground, fince it often will deceive fhould be always fufpedted. In this cafe the bed of rock which feems fo firm and found a foundation, is no more than the covering of a vault or cavern, and may break in when loaded with a weighty building. This is the moft terrible of all ac¬ cidents that can attend an error in foundations. Palladio advifes the throwing down great weights forcibly upon the ground in thefe places, and obferving whether it founds hollow or fhakes; and the beating upon a drum fet upon it, by the found of which an accuftomed ear will eafily determine whether the earth be firm or hollow. Though a foundation upon a rock be ftrong to a proverb, we are to examine in this careful manner whether the rock that prefents itfelf be folid or hollow, before we can allure ourfelves of its great advantages. If there be cavities' we muft examine in what degree, and whether they are likely to render the rock too weak for the fuperftru&ure, or whether its thicknefs over them be fufficient for their fecurity. Though rock be the beft foundation, it is in many parts of this kingdom the leaft common. Gravel we have obferved is the next ; and in order to judge of its degree of excellence, we muft obferve the thicknefs of the bed, and the ftrata that lie under it, as they have appeared in the digging. If the gravel be a thick bed, and the under ftrata N°. io. F f of IIO acompletebody Book II. of a found and firm kind, and well difpofed, there needs no affiftance, for it will bear s*--*- - any thing: if otherwife, we are to have recourfe to art, in various ways to be named hereafter, according to the nature and degree of the deleft. The other matters which may occur for a foundation, are clay, find, common earth, or rotten boggy ground. Clay will often both raife and fink a building, yet it has a folidity which, with proper management, is very ufeful; the nvarlliy, rotten, or boggy ground, is that which of all others nature has lead: prepared for a foundation j but e- ven on this very great edifices may be raifed with perfeft fafety, the proper methods being employed to fecure them. Piling is the method in cafe of thefe boggy earths, and where there is an unfirm fand . and this is one of the fecureft foundations when properly executed, notwithftanding the great natural difadvantage of the ground. What we have faid of gravel may in a great meafure be applied alfo to fand, which when it is dry, in a good body, and well fup- ported by firong and found under ftrata, is a very good foil for foundations ; but what is faid in the commendation of thefe two kinds, is to be confined to foundations for buildings on dry land ; for in rivers neither fand nor gravel can afford any dependance at all, becaufe the motion of the water is continually removing and difiurbing them : in this cafe therefore they are not to be regarded, but the right practice is to dig down through them to the firft folid bed ; and if that lies at too great a depth, then let an opening be made in the loofe matter, and the work trufted to piles driven down to the folid: upon piles fo driven and covered with planks, any fuperftrufture may be raifed. When the ground on which a building is to be raifed has been dug or wrought be¬ fore, we fhould never trufl to its condition as fo left, but dig through it to the folid and unmoved ground, and to fome depth into that, according to the weight and bignefs of the intended edifice. This is a rule given by Palladio , and we fee infiances enough in modern buildings to fhew the neceffity of punctually obferving it. One there is in Rowe fo great and fo firiking, that it will leave no occafion for mentioning any other ; even St. Peter § is in danger from a negleft of obferving this reafonable and important caution. That church is in great part built upon the old circus of Nero , and they haue ncglefted to dig through to the folid and untouched ground to fecure a foundation; the confequence of which is that the whole building is much the weaker. The walls were judg’d of firength enough to bear the fuperfirufture of two fieeples, upon the corners of the fron- tifpiecej Bernini made the attempt, but if the walls were firong enough the foundation was not fufficiently firm. They found on this occafion an error that fhould have been obviated early, and they have but imperfeftly amended it. The fettlement this addi¬ tional weight occafioned fent them to the foundation, where they found the defeft: they ftop’d the progrefs of the mifehief, but the fault is beyond remedy. An accident like this may be a warning for ages: we have told the architeft he can¬ not be too nice in the choice of a fpot for his building, he will fee by this he cannot ea- fily be careful enough in preparing for a foundation. Foundations laid in the folid earth are always the raoft fecure where that is hard- efi; and it is a very good fign when every fhower of rain does not melt it into dirt. We have earths fo hard that the tools will fcarce penetrate them ; thefe, when they have a fi.ifficient fupport below, are the beft of ajl. CHAP. OF ARCHITECTURE. CHAP. III. Of preparing the ground for Foundations. T HE form and nature of a foundation differs according to the intended ftrudlure of the edifice. If there are to be cellars and vaults underneath, the foundation is to be dug to the whole extent of the building ; if not, it is to be cut in a kind of trenches where the walls are to be raifed. We call by the name of foundation fo much of the walls as reaches from the bot¬ tom of the digging to the furface of the ground, for the word is equally ufed for thefe walls, and for the ground on which they Hand. On the proper condition of thefe walls depends in a great manner the fecurity of the whole edifice ; they are therefore to be carefully proportioned in ftrength to the weight of the intended fuperftrudture. In the fame manner the depth of digging for the foundation, or the height of thefe walls is to be proportioned to that of the fuperftrufture ; in general for thefe two ar¬ ticles the depth fhould be about a iixth part of the height of the building, and the thicknefs of thefe walls twice that of thofe which are raifed upon them. This is fpeaking generally we fhall in a fucceeding chapter enter upon thefe particulars more largely. Sound wood is a common underwork for a foundation on land ; and wooll packs have been ufed very fuccefsfully under water. In foundations near the edge of waters we fhould always be careful in founding to the very bottom. More errors have been feen in this article, and more accidents happened from them, than almoft in any other. The antients were very feldom guilty of over-fights, or negledt, in this matter : we have in many inftances of the remains of their works, reafon to be aftoniflied at the ftrength they gave to their foundations. They fometimes made them mafiy and folid and continued under the whole buildingj as in their arches, aqusdudls, and fome of the amphitheatres: in other of their ftru&ures they worked in the foundation with ar¬ ches and pillars of fuch a ftrength as was fit to fupport edifices ereefted for two thoufand ages. We fhould blufh to compare this with what we fee among our workmen at the prefent time, who at beft are too negligent, and often fhamefully dif- honeft. We fee them in fome places, when they have dug a trench for the foun¬ dation, fill it up with the worft materials thrown in carelefsly with bad mortar, and call this a wall. They think there is no need to be more careful about what is out of fight, and then they wonder if' the work fails. If the materials were ever fo good there would be danger of cracks., fcttlements, and irregularities, from fuch a practice. Stones -and bricks laid corner-wife will aot bear like thofe plac’d regularly, and there will be cavities in fuch work that muft be crufh’d together when the weight comes upon them. There is no part of a fabrick that requires to be laid with fo much care as the foundation, nor is any other negligence fo unpardonable. 6 We II2 A COMPLETE - B. ODY Book II. Wc have recommended for all marfhy and unfound earth the method of piling this fhould be done with great accuracy and care, or the architect only betrays him- felf j but when it is properly executed, he may eredt any fabrick upon it with the mod perfedl fecurity. The city of Amfierdam is built upon piles; and many other great flrudtures and vafl mafles of continued buildings that ftand perfedlly firm, have the fame foundation for fecurity; the piles may be on fome occafions mortis’d into one another : this makes what they call dove-tail piling : and we have an inflance of its flrength and value in the fecuring of Dagenham breach. The piles for this fervice mufl be of a proper length and firmnefs. Palladio ad- vifes that they be of an eighth part of the wall in heighth, and that their thicknefs be a twelfth part of their length ; but in thefe things fome variation mufl be allowed, according to particular circumflances. They mufl be ramm’d in as thick as they can Hand, and fhould be driven by quick and frequent blows. We mufl not be content with fup'porting the out-walls in fuch places by this me¬ thod ; the fame care mufl be ufed alfo for thofe within. The crofs-walls or inner w'alls will in the courfe of the building, be fo connedled by the girders that the fink¬ ing of one cannot but influence the others; therefore if that neceffary care be omitted, the outer walls will be injured while they fland fecurely upon their foundations by the effedt of the finking of thofe within. Both the inner and outer walls will crack from fuch a defedl, and the whole building may tumble. Fewer piles will ferve for the fup- port of the inner or crofs walls, than are needful for the outer ones; but fome mufl be driven with care, and thefe walls raifed regularly upon them, 01 all the other precau¬ tion will be fruitlels. To inflrudl the pradlical builder in the fullefl manner, we have here given a plate, {hewing the manner of working in planking and piling. Explanation of the PLATE. A. A. A. The foundation a crofs which are firjl laid three inch planks, either of fir or oak f at the difiance of three feet from each other j thefe are marked with the letter B, and drawn with dotted lines , as they lie tinder other three inch planks, laid lengthways of the foundation. Thefe crofs pieces are 12 inches wide , and are buried to the level of the ground. C. C. C. Are the planks lengtloways, dove-tail'd together at their end joints , as marked D. D. and they are mitre dove-tail’d at every quoin, as at letter E. they are alfo fpiked down to the crofs-pieces. F. The manner of pile andplanking where foundations are more fwampy, and will not do without piles. Thefe piles, in foundations for building, may be about fix inches fquare, drove in depth at the diferetion of the architect, and planks laid on the heads of the piles, fpiked or pin'd dozen with oak pins-, in large fcantlings, and where oak piles are drove and are to remain in water, oak pins cut fquare (2 inches) and drove into holes bor d by an auger of a proper fize, will lafi longer than iron, not being capable of rufl. C. Are the piles which are commonly drove with a three-handed beat/e -, that is, three men lift andfirike with it. H. The planking faftened down on the pile-heads. In fome forts offoil, one thicknefs of planking laid crofs-ways will fujfice. OF architecture, CHAP. IV. Of laying the foundations of buildings. T-l HE arch, tea has been taught to underhand the nature of his ground and to 1 remedy its defeas; we fhall now lead him to the working upon it, or the lay. ing of his foundation: It is here he enters upon the praSice of his art, and let him be careful that he do not tumble at the threlhold. We are to fuppofe the ground now prepared for the foundation, and are to advance upon the laying in the materials. Firft then, care mull: be taken that the bottom of floor of the foundation be perfeftly level. When it is thus prepared, the Italians begin with laying over ,t an even covering of ftrong oak plank, and upon that tire lay, with molt exadt care, the firft courfe of their materials. Whether we take this method or begin upon the naked furface, all muft be laid with the moft exadt and precife truth, by the rule and line. When the board plat is laid, a courfe of ftone is the beft firft ed, and this is to be laid without mortar, for lime would make the wood decay which otherwife, in a tolerably dry foil, will laft for ages. After this all the courfes fhould follow with the fame perfedt evennefs and regularity. If the materials be brick, let them be laid with an equal and not too large quantity of mortar: if Hone, let them be placed regularly, and in the fame filiation wherein they lay m the quarry : for many rtones which will bear any weight flatwife, and in their na¬ tural pofition, are of filch a grain that they will fplit otherwife. Let the joinings of the under courfe be covered by the folid of the courfe next over it all the way up, and et the utmoft care be taken that no vacuity be left In the wall, for the weight will cer- tainly crufli it in. There cannot be a greater error than to fuppofe the work that is under ground fhould not have as much regularity as that expofed to the eye: it wants this regularity for iticngth, which is a confideration fuperior to beauty. The evener and better the bricks ate made for a foundation, the ftronger it will be m proportion , and where ftone is ufed it fhould be hewn ftone, or clfe fuch as is naturally of a very regular figure. The lefs mortar there is in a foundation the better. Its ufe is to cement the bricks or ftones together, and the evener they are the lefs will be required for that purpofe. Where mortar is ufed to fill up cavities it becomes a part of the wall, and not being of equal ftrength with the fol.d materials, it takes from the firmnefs of the building! oundatlon wall, to be good, ought to be every where equally ftrong, and that it cannot be where there are great intervals between the more folid materials filled up with a fofter matter. v S N". XI. G We A COMPLETE BODY Book II. We have obferved that in general the thicknefs of the foundation walls fliould be double that of thofe to be built upon them, but we allow for exxeptions. The loofer the ground the thicker ought to be the foundation wall, and it will require the fame addition all'o in proportion of what is to be raifed upon it. The plane of the ground mull be perfeflly level, that the weight may prefs equally every where; for when it inclines more to one fide than another the wall will fplit. Let the architeft fee in their full light the confequences of the lead: negleft in this article, and guard with a proportioned care againft them. Let the foundations diminifli as they rife, but in this obferve that the perpendicular be exafily kept up in the upper and lower parts of the wall; and this caution ought to be obferved all the way up with the fame drifinefs, but it is too much negledted. Let not the young architeft think we are too drift in thefe rules, becaufe he fees them often tranfgreffed by the common practice. Our work would be of little ufe if it were founded on fuch a bafis: we tell the builder what fliould be done, not what is done. When the praftice of others correfponds with our rules, let him obferve how it confirms them: when it differs let him follow them, and not be afhamed of building better than his neighbours. In fome ground the foundation maybe arched, and materials and expence will be faved this way, and the fuperdrutdure have an equal fecurity. In foundations that ate pil'd this is a very ufeful and frugal praflice. The care and aution we prefcribe in a foundation will be underdood to be alto¬ gether neceffary to thofe who know the effedt of faults in that part; it is the ignorant in all things who are apt to cavil. The faults in the foundation enlarge fo in the upper work, that a crack of the breadth of a draw there will make a cleft of five or fix inches higher: no care can therefore be too great in guarding againd an accident at once fo un- fightly and fo dangerous. CHAP iTITTsE} OF ARCHITECTURE. JI 5 Chap. y. H P. V. Of Walls. Their form and diminution. T HE foundations being prepared as direfted in the preceding chapter, the next thing is the raifing the walls upon them : thefe may be properly called a continu¬ ation of thofe foundations, and nothing is of fo much confequence as the raifing them in a workmanlike manner. The foundation walls are to diminilh in thicknefs as they are wrought up, and that diminution ihould be continued to the top of the building, the workman ftill taking care to keep the center of the wall all the way ftrait from the bottom of the foundation. Walls in this country are principally built of one of thefe two materials, brick or ftone; and in building about London brick is much the moll: common. We fee, in feme parts of the kingdom, walls built of flints cut into a tolerably even form in a very furprifing manner. There are at this time fome fine walls Handing of this material in the city of Norwich ; and it is introduced in the old gate at Whitehall, and fome of the adjoining buildings of the fame period. This was an art unknown to the antients, and it is la If again at this time 3 but it was ffrong and beautiful. In the walls of common houfes, which are of brick, the general diminution from the bottom to the top, is one half the thicknefs at the bottom; the beginning is two bricks, then a brick and half, and at the upper part one brick, thicknefs. In larger edifices the walls are made proportionally thicker, but the diminution is preferved in much the fame manner. Some walls are plain and continued, others are made with intermiflions, where there are columns or pilafters: of thefe we fhall fpeak in fome fucceeding chapters, the plain walls are our fubjeft here, where we treat only of the efi'ential parts of all columns and pilafters are ornamental. When a building is to be ftrong, the walls muft have a proportionable thicknefs. Wc have faid that they need not be all the way of an equal diameter; the decreafe of this is what we call the diminution of a wall, and we have obferved already that this diminution fhould be made equal on each fide, that the load may be exaflly in the mid¬ dle. The wall fhould be carried up all the way exaftly perpendicular to the ground work; for the right angle it makes, in this cafe, is the foundation of ftrength and firmnefs. If the wall be compofed of two kinds of materials, as ftone and brick, the maflieft and heavieft are to be ufed in the loweft part, as being fitter to beat than to be born, and the lighted: at the top. The diminiftiing in thicknefs as the wall rifes fives both weight and expence: but it is not abfolutely neceffary ; for if the wall were carried up in a perfedt perpendicular from bottom to top, and all the wayof the fame thicknefs, it would not for that reafon be lefs ftrong. In this cafe the keeping the perpendicular perfefl would be the great difficulty 6 , and j ,6 A COMPLETE BODY Book II. and the great article of merit. Wc find the antients were able to do this : for we fee, in the remains of their works, walls thus carried up to an exorbitant height j but our urchitedts are more ready to be afton'ilmd and admire, than to ftudy and imitate, them. The great rule for the thicknefs of the wall in all buildings is, that it be proportioned to the weight it is to fupport. This is to be carefully computed, and there will be no danger of the ftrength of the edifice j for the great occafion of that fault is the not ob- ferving this proportion. A wall that hands alone is its own burthen and fupport j the higher parts prefs upon the lower, and the lower bear up the higher; this is all, and the ftrudture of it is therefore plain and eafy. In a larger building the arches, roof, and the floor, are the burthen ; the walls are the fupport: let the architect therefore compute the weight of the one according to his plan, and to that proportion the llrength of the other. The thick walls that bear diredtly upon their foundations prefs from top to bottom ; the arches prefs fideways, and to know how much, we mufl meafure their convexity. The floors and the roof have a great preflure perpendicularly, and a little obliquely : all this mufl; be carefully confidered, and upon this depends the computation of the ge¬ neral load, and of the neceflary proportioned thicknefs of the walls. The ftrength of a building depends upon the force of its fupports: and the great art on this head is that of giving a plain wall the utmoft ftrength of which it is capable. We have advifed the young architect to be careful in this computation, that he may- know what ftrength his walls ought to have, for it is as eafy to make them too thick as too thin, and either extreme is equally unworthy of a good builder: too much thick¬ nefs in walls not only is the expence of a great deal of needlefs money, but it gives the edifice a heavy afpedt. The great art is to join ftrength and delicacy. We fee the former confulted in many of our modern buildings at the expence of the latter. The antients had an art in joining thefe that we have loft. They were fparing o£ ftone, but they never grudged iron work, and by the means of that affiftance, and of a perfedt truth in their perpendiculars, they have left us thofe models we defpair of copy¬ ing. Our houles tumble down after a few years for want of ftrength; and we have confecrated the heaviness of our work in moll of the modern churches. There is one farther particular which regards ftrength in the ftrudlure of a plain wall, and that is the fortifying of the angles. This is bell done with good ftone on each fide, which gives not only a great deal of ftrength but a great deal of beauty. A wall that is railed over arches and pillars, provided they be judicioufly diredted, and the work carried on in the fame manner, Hands as firm as one that is begun from a plain foundation. Pilafters properly applied ape a very great ftrengthening to walls; their beft diftance is about every twenty foot, and they ftiould rife five or fix inches from the naked of the wall. A much flighter wall of brick, with this affiftance, is ftronger than a heavier and maffier built plain. In 3 J,yr PLATE XII. Garden or Fence Walls built with Erich FIGURE I. The moji common and leajl expcnfive, being but nine inches thick above the plinth, with pilajlers at twelve feet dijlance from each other ; one foot fix inches broad, projecting four inches -, and covered or coped, as defcribed in the feClion A. FIGURE II. A wall one brick and a half thick, with pilajlers one foot ten inches broad, at twenty feet dijlance, projecting four inches. When built on arches, as in this figure, they are very ufeful in gardens for planting fruit trees againfi them. FIGURE III. A wall of the fame thi chiefs on arches, with pilajlers, at a fomewhat greater dijlance, fuppofed to be built where ground lies hollow, and requires to be filled up to a level. This and the fecondfigure are coped with brick, as drawn on the feCtion. Letter B. C. Is the profile or four inch projection of the pilajlers. D. Is the plinth, four courfe of bricks above the furfacc. G g % plate «mj2Fmiszm PLATE XIII. Shews I. The Plan ; 2. The Elevation; and 3. The Section of part of a Building: explaining how walls are built of brick and Jlone. A. The ground plan. B. The elevation cas'd with pone, which ftone at a mediumJhould be nine inches thick , and this is called ajhler. C. and D. In the elevation and Jcftion are the foundation of the front wall, four bricks and a half in thicknefs. E. E. Are inverted arches under all the apertures, which add great firength, and are a means of preventing cracks. F. Arches turned over the windows behind the flone-work, whichfpringingfromthe bond jtones, G. G. that go through the walls, difeharge the weight from the window- heads, and prevent the frail fine arches from finking. H. Scheme arches over the doors in the fellion, where lintels Jhould be prfi laid. The arches are to take their fpringing from the outpde of thofe lintels, that when time f jail decay the timber, the brick arches may keep their place. I. I. The lintels. Arches Jhould alp be turn'd over the ends at all the beams, that lye in the walls, as marked in the fellion with K, that they may have free air: under thefe Jhould be laid pieces of oak orfr, which are called templets. By this method the ends of the beams will re¬ main fund as long as any part of them. In the common practice the ends decay frf. L. M. Is the perpendicular line of the wall cafed with fine, and back'd with brickwork. In diminijhing the wall, care fcould be taken that it be on each fide the faid perpen- dicular line equal. N. N. Are bond fanes which are a tye to the front work, and alfo keep the brickwork from finking, which it otherwife would do more than the ft one facing: for there being fo many more joints, and thofe joints fo much thicker than in the fone, this muf fink ’ more, and conjequently draw the front out of an upright. UrlE XIII th plate, in the courfe of- this Work, having, by the mifconduct of one engraver, and the fhortnefs of time farily allowed to another, been delivered in a manner not equal is reft of the engravings; Mr. Ware, deftrous of making all awledgments in his power for the favourable reception with the publick have honoured this work, has made a new en- lg of that plate with his own hand, which is given gratis i the prefent number; and the fubfcribers are delired to infert its place, in number XI, inftead of the other. OF ARCHITECTURE. 117 In brick walls of every kind, it is an exceeding addition to their ftrength to lay fome Chap. 6. chief courfes of a larger and harder matter, for thefe ferve like finews to keep all the reft — J firmly together, and arc of very great ufe when a wall happens to fink more on one fide than another. In the mod perfeft way of forming the diminution of walls, the middle of the thin- neft part being direflly over the middle of the thickeft, the whole is of a pyramidal form : but when one fide of the wall mull of neceffity be perpendicular and plain, it muft be the inner, for the fake of the floors and crofs walls. The diminiihed part of the outfide may be covered in this cafe with a fafcia or cornice, which will be at once a ftrength and ornament. As the openings in a wall are all weakenings, and the corners require to be the ftrongeft parts, there never (hould be a window very near a corner. Properly, there fhould always be at leaft the fpace of a breadth of the opening firm to the corner. This is the general idea of a wall, and according to thefe principles it may be raifed of any needful height, and for the fupport of any weight above: and the young archi- teft being thus acquainted with the form, we ihall next lead him to the confideratlon of its conftrudtion of whatfoever materials. H P. VI. Of the antient Jlone and brick walls, and the manner of conflruSling them, T HE antients erefled their walls fometimes of ftone and fometimes of brick, as we do i and by the remains that are yet extant of the feveral kinds, we find they had various ways of conftruding them. At prefent, architedture in this, as in its other branches, is reduced into a much narrower compafs than it has been in earlier times; but as it is not irnpolTiblc to improve upon the prefent pradice, and as the works of the antients are in all refpeds the beft models we can follow in the attempts of improvement, we (hall here give a (hort recital of their feveral manners of con- ftruding them, before we mention thofe of our own time. Their chequer work, or reticulated wall, was at one time famous, but was fooner out of ufe than the others. This had corners of brick, and courfes of brick to bind the whole: there were about three courfes at every two foot and half; the inward part of the reft was made of cement, and the facing was chequered. Their common brick walls were made with the two (ides of good bricks, and the middle was filled up with mortar and brick-bats rammed together. Their cement' walls were compofed of cement with pebbles and earth laid in a rough manner, fometimes with and fometimes without mortar, but the corners were ftrength- ened w ith bi ick or ftone, and at every two foot height there ran courfes of brick work to bind and ftrengthen them. Their 7 uflick walls were built with rough and irregular (tones of various (hapes and fixes, which they laid together as evenly as they could by means of a leaden rule: N °- “• H h this n8 A COMPLETE BODY Book II. this being bent according to the place where the Hone was to be laid, (hewed how it was to be formed and placed. Their jquaredJlone walls were made of larger and fmaller dones regularly cut and fquared, and laid with great beauty. A courfe of larger and a courfe of lmaller ufually were laid over one another. This was a wall of great beauty and great drength. Their coffer-work walls were made of rough and ragged denes with a ftrong mortar. Thefe had their names from the manner of working them. They made a kind of ob¬ long coffers of boards diftant by the intended thicknefs of the wall, and into thefe they threw ragged (bones, cement, and earth at random ; but they began with a courfe of brick work, and made courfes all'o between. The mortar we ufe at this time would not hold fuch rude materials together in a wall j but we have obferved in the chapter on that head, that the antients were much more careful both in the materials and manner of working it: we fee an indance of the effedt of that care and pains, for there are walls of this drudture in which no trowel was ufed, but the force of the mortar held the mod uneven dones; and they are very drong after two thoufand years. There occur alfo remains of a confiderable antiquity, in which we fee a kind of cofferwork, of a folid fubdance, with this rough mixture within, the coffer work be¬ ing the effential part of the wall: in thefe two rows of good free-done were laid at a confiderable didance, and there ran crofs-bars of the lame done from fpace to fpace between them : the red of the inner fpace was vacant in form of great fquare coffers, and this they filled up with rough dones and mortar poured in together, which hard¬ ening with the red became a folid part of the wall. Vitruvius faw the objection to the chequered wall, that it would be more liable to accidents than the others ; and it was found fo, and therefore difufed. The double brick walls, with cement and brickbats between, are extremely drono- and fit for great buildings : we fee remains of them in the rotunda and in the baths of Dioclefian . We have examples of the cement walls in the amphitheatre of Verona : the walls of Prcenejle afford an indance of the rudick, ajid they paved their dreets in the fame manner. The fquare done walls are to be feen in remains about the temple of Augujlus , alfo of the antique coffer work kind, where the faces and crofs work is done, and the filling up of the coders mortar and rough dones. Inigo Jones obferves that he had feen the rudick wall of the antients in a houfe going to Naples , and that it locked very well; and that the fquared done wall made of dones of different bigneffes has a grand look in many of the antient buildings. We fee in all thefe with what knowledge both of the nature of materials and the manner of difpofing them, the antients built their walls: what drength, folidity and beauty. We have all their materials, we Avail next obferve in what manner we employ them. CHAP. 7*23 'A* J OF architecture. 119 Chap. 7. CHAP. VII. Of the modern conftruStion of Jlone and brick walls. W E build walls of part done, or entire brick, and fometimcs face them with hewn (tone, or cover them in part with plairter wrought into a refemblance of fuch a ftone covering. When brick walls ftand Angle we frequently cope or cover them at the top with ftone: but in examining through the whole courfe of the pro¬ ceeding, we ftiall find that we have neither the ftrength, beauty, nor variety of the an . tients in this great part of architecture. We rarely fee inftances of walls of entire ftone rough or wrought without any facing of another kind, and it is only in the moil expenfive of our buildings the others make any tolerable figure: what wc commonly fee about houfes is a facing of cut ftone over a wall of ordinary brick work, better or worfe: and as to brick walls, inftead of the double facing of the antients, which was filled up between with a rougher fluff, our walls are ufually faced with good brick on the outfide, and wrought up a coarfer kind inwardly, the inner furface not being feen when the building is finifhed. In regard to the manner of conftrufling a brick Wall, we are to caution the young architedt that in fummer he lay the bricks as wet, and in winter as dry as he can , for this is the way to make them bind the better with the mortar. In fummer as foon as they are laid they are to be covered up, to prevent their drying too faff, the mortar in that cafe lofing half its binding quality ; and, for the fame feafon, they are to be covered yet more carefully in winter, for rain is a great enemy to the ftrength of mortar; and froft is worfe. In all cafes let him take care that the angles of his walls be well united together, for if the adjoining walls be not wrought up at the fame time they never dofe fo well; Finally, that all the parts of the building where there are walls be raifed and finifhed at the fame time, becaufe then they fettle equally every where, and there are none of thofe cracks and clefts which are fo great a blemilh in the building and fcandal to the builder. Treating of walls, welhould not omit to mention thofe inferior kinds which have been once much uled, and are in fome places to be met with now: for though brick and ftone are the general walls at this time, they do not utterly exclude all others. In framed timber houfes there are fometimes ufed what may be called walls of lath and plaifter; and in fmall buildings, made altogether of wood, there are what may be 8 called A COMPLETE BODY called boarded walls. The plaifter avails are chiefly ufed in ordinary timber buildings : ! they are compofed of loam or coarfe mortar fpread over the lathing, which is to continue from beam to beam, and the whole is covered afterwards with a finer mortar. Sometimes the timber work is left naked, fometimes the whole is covered with lathing, and then with loam and mortar : this is the handfomeft manner of doing it, and frequently in this way of ufing it is rough caff over, and while clean makes a pretty appearance. In what are called boarded walls, the great care is to fecure them very well by painting without and by plaiftering within, in which cafe they will endure a very con- fiderable time, and will be no more in danger of accidents by fire than other materials. Thefe are a very inferior kind, and only fit for meaner purpofes, but in a general account of walls it would have been wrong to omit naming them. We fhall from thefe proceed to the conlideration of thofe molt expenfive and elegant walls which we raife of hewn (lone for churches and other elegant buildings. In thefe the better the Hone be wrought the fmaller will be the joints, and this is a great excellence in that kind of building. We fee the antients have been fo accurate in the cutting of their (lone on thefe occafions, that in the remains of many of their great buildings we can fcarce perceive a joint, but the whole looks as if of one entire rock wrought to that ex- aflnefs. There is indeed thus much to be faid on this head, that they in reality did work down the faces of their ftones after their walls were ereAed, their whole care before being to cut the fquares that were to join with a perfect cxactncfs. This contributed greatly to the ftrength as well as beauty of their buildings. We fee proofs that this was their manner of working among their remains : in fomc the faces of the ftones are yet rough as they were laid, and in others the very marks of the tools fliew how they were wrought. In buildings of vaft extent and expence, they fometimes wrought only the impofts of arches, the capitals and cornices, leaving the reft rough as they laid it in. This was their manner of executing what we call ruftick, in diftindtion from thofe v. alls which they finilhed up in every part. There is nothing into the fpirit of which we have lefs entered than this ruftick of the antients in their walls. We fee they have done it, and therefore we conclude it to be right: but we Ihould examine why they did it, and conform ourfelves to the fame conduit. They always ufed this form in their largeft buildings, we have therefore no authority from them for ufing it in fmall ones. In our (tone walls for elegant edifices this fmallnefs of the joints Ihould be our great concern, and to this end the fides of the ftone where they are to join cannot be wrought with too much care and exaflnefs. The ufe of thin fheet-lead is alfo excellent: and, upon the whole, as it concerns only buildings of great expence, it is an article in which the price of workmanfhip never ihould be Spared. CHAP. i*3i*7 Explanation of the three Plates of Roofs. Plate XIV. Fig. i and 2. Shews how plates laid on walls are join'd together. t;g. 3. ’The manner of patting beams together oj three pieces, where extraordinary lengths are required. Theje will be equally flrong as if they were of one piece of timber . A. The 3 pieces laid down and Jlruck out j thefcarfor lap isfuppofed fp be 10 feet, divided into 6 lengths of tables, the hatch'd ones are funk an inch or more, and when turn'd up one will ft into the other with great exablnefs, which muf be bolted together as in letter B. Fig. 4. Is the upper face of a trufs beam, where C D. isj. of its length: it is morticed at D. 4 inches down; and as deep at C. as the templet on which it lyes : this muf be headed with a right hutment, i. c. fquare with the top or bottom of the braces . 7 / is fuppfed to /pan 40 feet. E. Upright of the faid beam, with the difpoftion of its braces. Fig. 5. Another hind of-trufs of the fame length , 40 feet between wall and wall. F. Is a fort beam 13 feet 4 inches, and placed on the back of the long beam G. The fide braces will be about \ qfeet 4 inches long, 6 inches by 4 inches J'quare, with iron f raps to clafp them and the upper beam, which is to be bolted to the lower beam G. The upper beam F . will be 12 inches by 10 inches fquare, which receive the ends of the binding joifi in the middle ; and thofe on each fide will lye upon the under beam G. 12 inches by 12 inches fquare, the upper binding joifis to be 4 inches by 7 inches, the under ones 6 inches by 4 inches fquare, the ceiling joifis 3 inches by 2 inches. Note, The ironflraps mujl beJo ordered that they come not foul with the binding joifis. Fig. 6. Is a large trufs roof which /pans 60 feet between wall and wall j its principals are taken from a bridge in Palladio’s qd book of architecture, chap. 7. fhe beam H. 65 feet long may be made of 3 lengths of timber put together as before de- feribed, and the following fcant lings will be fufficient. Viz. TT TO In ‘ lD * H. beam 12 by 8 fquare . I. I. 'Principal rafters 10 8 K. Middk king pojl JO g L. L. Side king pofs I0 g M. M. The under rafters to the principals 8 8 N. N. Braces g g O. O; Level rafters on which boarding is nailed to receive fating, 6 34 TJhs roof is framed in an uncommon way, the tenons being made in the head of the king pofl, and the mortices in the head oj the principal rafters, as is fioewn more at large Fig. 3. Plate 14. The teitons may be about an inch thick, made in the middle, which will admit of flrong hutment cheeks on each fide. Fig. 7. Is framed after the common manner, except the crown piece. Plate XV. Fig. 1. Is a trufs thatfpans 44 feet, whofe perpendicular length is equal to E part of the beam. 1 k.fhebeam Jo hi [quart. B. King pofl 10 8 c. Principal rafters IO g D. Braces g ^ Small rafters 5 3x Fig. 2. Isu trufs whofe perpendicular height is equal to half the length of the beam, 22 feet., and is framed with purlins for the fmall rafters to go downward, to receive laths for laying tiles on. The beam E. 4.4. feet long is F. and G. Principal rafters and king pofl FI. H. H. H. The purlins. 10 by 8 10 8 The lower purlins muft be framed in fufl: with the upper fide of the principal rafter, and the upper one framed 3 inches below, for the upper fmall rafters to lye upon it, which ftnall rafters are 4 inches by 3 inchesJquare, and the under one 5 inches by 3 inches j and this is called the common pitch of roofs. Fig. 3. Is a trufs of 54 feet fpan, whofe fides or principal rafters are made to the com¬ mon pitch ; and for the conveniency of gaining room in the garrets, it is finijhed with 3 fmall roofs. Fig. 4. Is the fame kind of trufs, leaving out the 3 fmall roofs, and making the top a fiat , on which a ballufirade may be placed, or a breafi work raifed as in the figure. Plate XVI. Shews a kind of truffes properly adaptedfor roofs to churches. Fig. 1. Is the mof uncommon and bejl: this is framed in the manner defenbed at large in the 3 d figure underneath it . The fcantlings fufikient for this trufs are 5 A. The upper beam B. B. Principal rafters C. C. Lower beams D. D. Trufs braces from the lower beam to the upper beam E. King pofi F. Braces to the king pofi G. Middle rib for the compafs ceiling, to be in 4 parts H. H. The fide ribs ditto I. I. Puncheons on the top of the columns K. K. Tntfs braces to the middle rib L. L. Braces to the fide ribs Scantlings to the 2 d figure •. In. In. 12 by 8 fquart. 8 10 6 6 In. In. 12 by 9 fquare. 12 9 12 9 12 9 6 6 A. The beam B. B. Puncheons on the top of the columns C. C. Principal rafters D. King p'ofl E. E. Braces F. F. Under floort beam 12 9 G. G. Braces to it. 8 8 Fig. 3. Explains the manner of framing trufs roofs two different ways ; one fide fisews the king pofi A, whofe fc ant ling is 10 inches by 8 inches fquare : this has a 4 inch mortice at B. which receives the 4 inch tenon letter C, the head of the principal rafter. D. The beam has a like mortice at E. which receives the tenon F. which is the foot of the principal rafter G. The other fide of the king pofi A. has an inch and quarter tenon in the middle of its thicknefs, as at H. made fit to receive the mortice I. in the head of the principal rafter. The like tenon is made at the other end of the beam D. as at K. and there is a mortice in the foot of the rafter L. to clafp the fame. In this method of framing, which is quite uncommon, care muft be taken that it be done with great exattnefs, that the butments may be good. Js there are various proportions for the pitch of roofs, we have here inferted the feveral degrees that are mofi ufeful, from the pediment pitch to that of the equilateral triangle , called the pinnacle, and deferibed by Fig. 4. A. Is the pediment pitch. B. Rifes ~ the length of its bafe line. C. Rifes equal to one half. D .Is the medium between that and the pediment. E .Is its height given by the length of the rafter, equal to £ of its bafelhie. F. The equilateral triangle. OF ARCHITECTURE. CHAP. VIII. Of Roof s. T H E R E is no article in the whole compafs of the archited's employment that is more important, or more worthy of a diftind confideration, than the roof; and there is this fatisfadion for the mind of the man of genius in that profeffion, that there is no part in which is greater room for improvement. In order to underftand rightly in what manner to undertake fuch improvement, he mult fil'd: comprehend perfedly the idea and intent of this part of a building, and what is generally known concerning its ftrudure. The great caution is, that the roof be neither too maffy nor too flight: in the one cafe it will be too heavy, and in the other too light, for the houfe. Both extremes are to be avoided, for in architedure every extreme is to be fhunned; but, of the two, the over weight of roof is more to be regarded than too much (lightnefs. This part is in¬ tended not only to cover the building, but to prefs upon the walls, and by that bearing to unite and hold all together. This it will not be maffy enough to perform if too little timber be employed, fo that extreme is to be thunned; but in pradice the great and common error is on the other fide ; and he will do the mod acceptable fervice to his profeffion, who thall thew how to retrench and execute the fame roof with a fmaller quantity of timber: he will by this take off an unneceffary load from the walls, and a large and ufelefs expence to the owner. The roof of a houfe properly expreffes the frame of wood work which is raifed upon the walls, and the covering of flate, tile, or lead, which is laid over it; and thus the archited is to underftand it, for he is to compute its weight entire when he confiders the proportion of its preffure to the fupports: but, in the common manner of fpeaking, only the carpentry or timber work is underftood under this term. The form of a roof may be very various. The three principal kinds are the flat, the fquare, and the pointed: to thefe we are to add the pinnacle roof, the double ridged, and the mutilated roof. This laft is very beautiful, and is called the manfard roof, after the name of a French archited its inventor. Laftly we are to name the platform and truncated roof, and adding to all thefe the dome, we lhall have the lift of the principal kinds. We might add here the ogee roof, which is a piece of French ar- chitedure neither commodious nor graceful; and fome others which fancy often prefers to better kinds: but of thefe we lhall treat more largely hereafter, the intent in this place being to give a general idea of the roof, its nature, proper weight, and proportion. When the roof is pointed, its bell proportion is to have the profile an equilateral triangle. In the fquare roof the angle of the ridge is a right angle ; this therefore is a middle proportion between the pointed and the flat roof, which is in the fame proportion as a triangular pediment. The pinnacle roof has its name from its form, being carried up in refemblance of a pinnacle. The manfard confifts of a N°. XII. I i true 122 A COMPLETE BODY Book II. true and a falfe one; the falfe roof lying over the true. The platform roof is common in the Eaft, and the truncated kind approaches to the nature of it. This is cut off at a certain height inftead of rifing to a ridge, and this part is covered fometimes with a terrace, and encompaffed with a baluftrade. Of the dome we fhall fpeak in its place, and of the other fpecies of roofs. This account is fufficient for the general idea of the nature and form of this part of an edi¬ fice. Whatever be the form of the roof, the architect mud take care in the con- ftrudtion to preferve its weight equally on the feparate parts, that it may not bear more upon one fide of the building than another: and in the conftrudtion of the whole edifice he will do well to contrive that the inner walls bear their fhare of the load ; that more than is needful be not laid upon the outer ones. The roof furrounding every part of the building, and preffing equally upon every part, becomes what it was intended, a band of union and firmnefs, as well as a covering to the whole. It preferves the walls alfo by throwing the rain off from them. The making the middle or infide walls affift in fupport- ing the roof, is bell done by making them fupport the girders; and this has many ways an excellent effedt; for a roof in this cafe is not in danger of fall¬ ing from the rotting of the end of a girder, which is otherwife very often ei¬ ther entirely deftrudtive to this part, or at leaft an inconvenience very difficultly fupplied. C II A P. IX. Of Floors. W E have referved the mentioning of floors till we had confidered the walls and the roof of the edifice, becaufe they are introduced in this order in the build¬ ing of a houfe; the pradtice being not to lay them till the houfe is enclofed and co¬ vered in, becaufe otherwife they would be injured by the weather. We are to ad- vife the young architedl to get the boards ready long before, becaufe although they are not to be ufed of a confiderable time, it will be of great advantage to let them ftand to feafon. As foon therefore as the plan of the building is laid, and the dimenfions of the feveral rooms allotted, let the boards for the floor be cut and rough-plan’d ; then being carefully put by in a dry airy place, they will be in a good meafure feafoned by that time they are put to ufe. The floors of all the rooms upon the fame ftory, and of all the paflages between them, fhould be perfedtly even: not fo much as a threfhold fhould be fuffered to rife above the level of the reft ; and if in any part there be a room or clofet whofe floor is lower than the general furface, it fhould not be left fo, but raifed to the level of the reft, what is wanting being fupplied by a falfe one, 5 Wp OF ARCHITECTURE, 123 We have hitherto fpoke of timber floors, by which name is properly exprefTed no- Chap. 9. thing more than the covering of boards on which we tread j but in the ufual accep- -- - tation it ftands for the whole body of the work in this part ; comprehending the fram’d work of timber which fupports the boards, as well as the covering itfelf which is fix’d upon it. But befide thefe, which are the moft general, and as it were uni- verfal floors of common houfes about London , there are feveral other kinds ufed in country buildings, and by fome in the moft elegant and highly finished. The common floors ufed in mean buildings, are made of loam well beaten and tempered with fmith’s dufl, and with or without an addition of lime. Some alfo make them of pure clay, ox blood, and a moderate portion of fharp fand ; thefe three ingredients beaten together very thoroughly, and well fpread, make a firm and good floor -j and of a beautiful colour. In elegant houfes the floors of this nature are made of flucco, that is, of plaifter of Paris beaten and lifted, and mixed with other ingredients. This may be coloured to any hue by the additional matter, and when well worked and laid makes a very beau¬ tiful floor, fome of it looking like porphiry. Befide thefe, we fee halls and fome other ground-rooms pav’d or floor’d with marble or ftone, and this either plain or dotted, or of a variety of colours ; and fometimes in a variety of figures, as the boarded floors in fome rooms are inlaid with wainfcot, and other handfome woods in various forms. The ufe of carpeting at this time has fet afide the ornamenting of floors in a great meafure; it is the cuftom almoft univerfally to cover a room entirely ; fo that there is no necegity of any beauty or workmanftiip underneath. In country buildings floors are frequently made alfo of bricks and tiles. Thefe alfo according to their iliapes, may be laid in a variety of figures; and they are capable alfo of fome variation of colour, according to the nature of the earth from which the bricks or tiles are made. Thefe may be laid at any time ; but for thofe of earth or plaifter they are beft made in the beginning of fummer, for the fake of their dryino- We fee thefe miferably executed in the country, partly through ignorance, and partly through carelefnefs : and in good houfes in London, where there are ftucco floors it is too common to fee frightful cracks acrofs them. In this the workmen are generally to be cenfured : ftucco floors are very common in many parts of Europe, particularly at Venice, where it is rare to fee a crack among a thoufand of them. This is more ow¬ ing to the thorough tempering and working of the materials, than to any fecret in tile compofition. The architedl fees here a variety of materials before him: the boards and plaifter are in general the kinds to be ufed in upper ftories, the other heavy forts being in a manner confined to the lower: but we (hall give him this caution, that what¬ ever kind he takes, it be finifhed with care and exaftnefs; if he will look upon the floors in general in London, he will fee there is reafon for the caution. C H A P. A COMPLETE BODY H P. X. Of Chuinies. I N mod things relating to building, we may refer the modern architect to the practice of the antientsfor models from which to work, and examples bv which to improve; but in this matter of chimnies we have not that refouree. The accounts the antients give of them in their writings are (liort and trivial 5 and the rules ol Vitru¬ vius for condrudting them are full of obfcurity. Indeed they werelefs acquainted with them becaufe they had lefs neceffity for them : they lived in a warmer country than ours, and they had the ufe of (loves; fo that the condrudtion of chimneys was little regarded. With us the neceffity of them is fo abfolute, and the inconveniencies that frequently attend them are fo great, that nothing more effcntially regards the profeffion of the architedt than their proper condrudtion and difpofition. Fires are neceffary, and we wiffi the l'moak to pafs free away : in this the effedt of the wind is very great; and to be (ccure of every advantage in that refpedt, the builder is to have the danger of fmoak in his eye, from the fir it difpofition of the building Let him conlider firfl the nature of the region, and from what quarter the winds mod: frequently blow, or molt furioully : and let him, according to this confideration, dif- pofe the rooms that (hall have mod need of fires in places where thefe winds have lead power. This is much earlier than builders ufually begin their provifion againft fmoaky chimneys ; but their not taking the precaution in time is one of the prin¬ cipal reafons why the fault is fo difficult to be remedied. He who (hall have be»un thus can have only the ill condrudtion of a chimney to combat with in the attempt of remedying an error; he who has negledted it may have the difpofition of it, which is often impoffible, to alter. The common caufes of fmoaking are either that the wind is too much let in above at the mouth of the (haft, or the fmoke is (lifted below : and fometimes a higher build¬ ing, or a great elevation of the ground behind is the fource of the mifchief. Finally, the room in which the chimney is, may be fo little or clofe, that there is not a fufficient current of air to drive up the fmoke. When the architedt has thus acquainted himfelf with the feveral caufes of the fmoaking of chimneys, he will know by what means he may mod rationally obviate fuch inconveniences ; and how he may remedy the accident where in fpite of all his care it (hall happen: when the caufe is not confidered this is impoffible, and it is no uncommon thing to fee much labour bedowed perfedtly in vain, becaufe the fault is mifunderltood. As fmoaking is the greated inconvenience that can attend this part of architedture, we have fet out in this place with its caufes: thefe we (hall now caution the architedt to obviate by a proper dilpofition and proportion of his rooms, and a judicious conllruc- OF ARCHITECTURE, ,25 tionof the chimney itfelf. We have feen that the two great caufes of the inconve-Ghap. jo. nience are the fmoak’s being driven back, or lingering in the funnel: the driving back ' v J is an accident from without, the lingering in the funnel is from fome error within, ei¬ ther in the conftrudtion of the funnel itfelf, or of the room where the chimney Hands. The chimney may be divided into two parts, the firft containing the opening, the hearth, and the funnel j the other the jambs or Tides, the mantle-piece which refts up¬ on them, and what is called the chimney-piece which comes over the mouth. This is the common diftindtion, and according to this the firft part is what concerns ufe, the reft ornament. A great deal depends upon the opening; if this be too fmall and low, the fmoakof itfelf naturally is check’d at the firft fetting out, and miffing its way returns into the room j and on the contrary, if it be too large and high the fame happens, becaufe if there be too much room for the air and wind, the fmoak will by that be driven into the room. The proportions of chimneys we fhall give hereafter, when we treat of their or¬ namental parts, and the rooms in which they are to ftand ; here we are enquiring only into their general ftru&ure. The mouth of the chimney, or that part which joins the back, ftiould be fomething fmaller than the reft j for this will make a ftop againft the fmoak when it fhall be coming down into the room : and meeting with that reiiftance it will often return back: indeed the making the funnel narroweft at bottom is a very great article in the preventing fmoaking, becaufe it affifts doubly j the fmoak getting the eafier up, as the fpace is all the way wider, and coming down with more difficulty as it grows narrower. Yet this prudent caution muft not be carried to an extreme becaufe then the fmoak will linger in the upper part, and all the force of the draught below will not be fufficient to fend it up. Another very good method to affift the difcharge of the fmoak is the making two holes one over another in each fide of the chimney; one of thefe is to go doping up¬ wards, and the other Hoping downwards, fo that the fmoak will always find way thro’ one of them. The placing a moveable vans at the top of the-chimney is alfo often fuccefsful; this keeps the opening of the funnel fcreened againft the efforts of the wind, let that blow which way it will. To thefe we are to add two other contrivances more ingenious than ufeful; the one is the carrying up the funnel fpiral, to prevent the eafy defeent of the fmoak ■, and the other the hanging an aeolipile in the lower part of the chimney, to drive it up by blow¬ ing. This asolipile is a hollow ball of brafs filled with water, with a fmall opening in one part j this being hung up juft over the flame blows forcibly out at the hole as the water heats. Thefe are the feveral methods commonly ufed for the remedying as well as prevent¬ ing the fmoaking of chimneys; but let the judicious architect proceed upon the moft certain principles in obviating the danger. Let him obferve a due proportion between N . 12. K k the A COMPLETE BODY the fize of the room and that of the chimney : let him be careful to place the doors in fuch manner that they may mod; favour the carrying up of the fmoak ■ and to give the fides a proper projedtion, and the back a due diftance. As this falls In with the con- ftrudtion and difpofttion of doors and chimney-pieces, we fhall enter upon the parti¬ culars under thole heads, in their proper place. We have here, in purluance of the method laid down in our plan, given the general idea. PART PART III. [ I2 7 ] Of the Ornamental Parts of BUILDINGS. The INTRODUCTION. Of the Five Orders of Columns, a?id their diftinSlions. r E now enter upon a very important part of our fubjed ; for the five orders, as they are the moft elegant, are the only fixed and eftablifhed article of the fcience. Many who affed to be thought judges ofarchitedure, have never confidered any more of the ftudy ; and as there have been a great number of books written foie- ly upon them, fo they generally take up the largeft part of others, in which the nume¬ rous remaining articles are treated. We fhall endeavour here to give them all the confideration they demand, but not to expatiate either in criticifm or oftentation beyond thofe limits. We write for the ge¬ neral fervice ofthofe who build, and we are fenfible very great and very elegant edi- • fices may be raifed without any ufe of thefe ornamental parts. ’Tis therefore we fhall confider them lefs diffiifely than is the ufual cuflom : but at the fame time as we are confcious that nothing can give fo great an air of dignity and noblenefs to a ftrudure as their proper ufe; and that no perfon can be fiid to have a good knowledge of the fcience who is not very perfedly acquainted with their feveral parts, we fhall allow them fuch a compafs as may be requifite to communicate that information. Too much of what has been written on this fubjed is oftentatious 5 we fhall endea¬ vour to be ufeful: and as there is a general complaint among the beginners in this fci¬ ence of the difficulty of underftanding what is written concerning them, we fhall la¬ bour to make it clear. As we fhall enter upon this by comparing the remains of antient buildings with what is written of thefe their moft confpicuous parts, we fhall hope to throw fome new lights upon the fubjed. What we mean by an order of architedure is an entire column, confifting of four parts, its bafe.fhaft, capital , and entablature. We find in the remains of antient build¬ ings, and in the writings of early architeds, diftindions of entire columns, which have all the general compofition, between one another ; thefe diftindions create what we call the different orders. The diftindions which thus conftitute the feveral orders in architedure are of two general kinds ; fome of them regard the proportions, and fome the ornaments. The moft vifible and ftriking are thofe in the ornaments, but the moft effential are thefe in the proportions. 7 We t ; 1 f «W 3 IVITI V« A COMPLETE BODY We fee, in this difference, the chara&er of the fuperficial and the judicious archi¬ tect : hear them fpeak feverally on the fubjeCt, the one is always influenced by the ornament, the other by the proportion ; a vulgar eye may know the Doric order by its triglyphs, and the Ionic by its volutes: but we fee many familiar with thefe obvious characters, who never puzzled their minds about the true proportions. Of what are comprehended under the name of orders. Tome are more antient, as the Greek , fome more modern, as the Roman ; fome depend on judgment, as the five plain orders j others have owed their origin to fancy, as thofe leffer kinds, the Caryattic and Perfian. There are alfo fome things which they have in common j as the fwelling and diminution of their columns: and fome additions which are arbitrary in their ufe, but when they are employed are tyed down to certain rules, as the article of pedeftals. Finally, although of themfelves very beautiful, they are capable of being many ways enriched, and that often with great propriety. Thefe articles afford a kind of natural diviflon for this part of our work, which will be the more clearly under flood the more diflinCtly it is treated. We lhall there¬ fore, according to fuch general diftribution, treat the prefent article under feven feCtions. The firft will contain the doCtrine of the orders in general, and of what they have in common; the fecond the three original orders of the Greeks j the third the two additional orders of the Romans; the fourth the fanciful or leffer orders ; the fifth the additional parts to the feveral orders; and the fixth their decorations. To thefe we (hall add a feventh on the conftruCtion and ornaments of pilafiersn Under this difpofition we apprehend all that relates to this part of the fubjeCt may be made familiar to the attentive reader. [ 129 ] SECTION I. Of the Orders in general, and what they have in common. Chap. i. H P. Of the origin and nwjiber of the Orders. ALL that has been determined concerning the orders, is eftabliflied upon d what remains of the works of early architects i for, as to authors, we have but one who can be called antient, that is Vitruvius ; and the inftitution of the Greek orders was very long before his time. It is to thefe moft antique remains that we are to look up for their origin ; and it is not difficult to perceive, even in the earlieft of thefe, a true beauty and noble fimplirity from which many of the deviations, however intended for improvement, have been introduced. The antient and original orders were no more than three. The Greeks invented firft the Doric , whofe character is ftrength and juft proportion ; afterwards the Ionic, lighter and more elegant; and laftly the Corinthian, moft beautiful of all. The Ro¬ mans added two to thefe, one at each extreme : they made the Tufcan plainer than the Doric, and the Compofite more ornamented, if not more beautiful, than the Corinthian. Thefe are the five, let it not furprize the ftudent in this fcience that all the genius of mankind has not difcovered a fixth : the two added to the Greek three, were not neceflary. The French , by fixing cocks heads and flower de luces upon the Corinthian capital, iiave attempted a new order idly; and the rittick, which confifts of pilafters, and the Perjian , in which Haves, and the Caryatick , wherein women, fupply the place of co¬ lumns, do not deferve that name. Archite&s of various times have tried fome innovations in this matter, by joining the parts of one order to another; but they have not fucceeded. They call thefe compofed orders; but they are, in the eye of reafon and true tafte, inferior to the Ample. There was meaning and character in the invention of thefe : the beft praife of the otheis is fancy; and they are generally to be charged with impropriety. As this is altogether a matter of tafte and genius, there is however no reafon to fay another order fliould not be invented. It is indeed not wanted in the regularity ot build¬ ings, but it would give variety. It is not out of the compafs of imagination, and it is wor¬ thy attempting; but he who fhall fet about it muft firft be aperfecft mafter of the defign of every part and proportion of the others, and then while he imitates the plan upon which thofe went who formed them, let him avoid their ornaments and proportions. If any N°. 12. LI thing 130 A COMPLETE BODY Book ll. thing is propofed new on this head, let it be new abfolutely; and he who fhall fo 0 —-- - happily follow the fteps of the old Greeks will deferve to fhare their reputation. At prefent we have feen no attempt of this kind from real invention, and all others muft be poor : but fame true architect, infpired with the full fpirit of the fcience, may rife and ftrike out to us a beauty the antients never found; for it is in the compafs of na¬ ture not vet exhaufted. We have faid this is not to be attempted in the manner of the French variation of the Corinthian , nor in the general and frivolous fathion of devifing compofed orders: but we may go yet farther, it is not to be undertaken upon that plan of the Roman additions to the Greek three, for even they do not amount to what deferves the name of an invented order. Properly /peaking, we have yet only thofe three old orders of architecture: they fhew invention and particular character, but it is not fo with others. The Doric , loniCy and Corinthian , differ from one another in effential things; the others have no¬ thing but what is borrowed, and differ only in an accidental manner. The Tufcan is the D.ric very grofs and plain, and indeed is little different from that order in its earlieft (late : the Compofite is the Corinthian enriched, or perhaps it may be as juft to {ay loaded, with the Ionic. It is the Greeks to whom we owe all that is great, ju¬ dicious and diltinCt in this matter : the Romans fucceeded a little better than De L’Orme , who in vain endeavoured to follow their fteps in another addition to the number. To make a great architect there is required from nature as great and as true a genius as to make a confummate poet; and, in the fame manner, what is given by nature muft be fubjeCted and confined by rules; the greateft attempt it could make would be the inventing a new order, and we have fhewn upon what principles that is alone to be done. CHAP- OF ARCHITECTURE, * 3 * Chap. 2 CHAP. II. Of the proportions of the Order, S it was from the works of the antient architefls that the feveral orders were de~ duced, thofe who had fludied and found their different characters, then became defirous of eftablifhing from the fame fource their proportions. From the beauties and excellencies they faw in thefe remains, they took up an almoft enthufiaflick veneration for tne architects who invented them, and from this they fell into an implicit admira¬ tion of them which led them into miftakes. Perceiving confummate beauty in what they faw, they fought to build upon that perfeftion, certain fixed and invariable rules, by the obferving of which others might be fure of attaining the fame excellence. At firft this appeared eafy, but when they came to examine more of thofe works they found the antients themfelves had not confined themfelves to any fuch laws; and therefore that it was impolfible to build fuch rules upon their works. As they became perplexed in fludying a variety of antient remains, the young ftudent is confufed by reading a variety of authors on the fubject. Among a number of the bed of thefe each delivers what he efleems to be the mofl true and perfefl proportion, but in each this differs. All have founded their maxims upon fomething in the antique, but fome having taken in the fame order one piece, and fome another, thofe propor¬ tions vary extremely; for the antients fo varied in their works. We fhall endeavour, in an account of the orders, to fet this matter in a more equal light. Palladio is underflood to be the befl and greated of thefe authors, we fhall therefore deliver his as the general and received authentic proportion in each order ; but, upon a general review of the feveral remains in which that order is preferved, we fhall add what is the mean or middle proportion of the feveral parts, calculating from them all. The modern architefts too dridly and fcrupuloufly follow thefe antients; they did not fo clofely or fervilely copy one another. They were confcious that beauty in any order was not redrained to an exaCt proportion of parts: hence they indulged their genius in its regulated flights, and from that liberty produced thofe feveral great works in the fame order, which are all beautiful, though extremely different one from another. We who tie ourfelves down to a fevere obfervance of fome one proportion, are but copyifls at bed ; while they, though they preferved the charafter of the order one after another, yet were each an original. We feem to imagine that but one pro¬ portion of features can conditute a beautiful face: they, following where nature led the way, have (hewn us that very differently proportioned features can conditute beauty, provided a proper harmony be preferved among them. This may give us an idea of the difference between antient and modern architects : they redrained genius by rules; we propofe working by rules in the place of genius . they were in every thing originals, we feem to ellablifh it as a principle, that it is not needful to invent in order to deierve praife. The 132 ACOMPLETEBODY Book II. The ftate of the cafe is this : as there is in the features of the face a certain degree —"v —-J of proportion within which all that is beautiful is'confined, although that degree is not too ftriCtly limited, fo in architecture, fo far as the orders are concerned, there is a certain proportion from which if we vary .much vve lofe all elegance ; but there are yet certain limits within which the genius may difplay itfelf in variations. The anti- ents knew what thefe limits were} and we do not. We imagine, becaufe columns of a certain proportion are fine, we mu ft in the fame order obferve exa&ly the fame: or, that becaule Palladio has allotted luch meafures we are not to tranfgrefs them: this is aCling as copyifts. The antients, though they faw one proportion beautiful in an or¬ der, conceived others might be fo as well : thus they became originals, and the re¬ mains of their works fhew they were right. It was from this genius, and on this principle, they ventured to augment or diminifh the dimenfions of the parts in the fame order, and executed works fo extraordinary in their proportions, and yet all fine. We compare them with the rules of the mod eftablifhed and authentick writers, and while we find them very different yet we allow them to be beautiful. The Doric and Ionic cornices, in the theatre of Marcellas, arc half as large again as they ought to be, according to the rules of Vitruvius-, and yet we fee they are perfectly beautiful. Would not a cornice in either of thefe orders, made according to the exaCt rules of that author, be as beautiful? We know it would ; for we fee fuch and admire them : therefore we find there is great liberty, and why do we not take it ? Let us be as bold as the antients, but firft let us be as judicious. Let us underfland how far we may vary, and then not fear to do it. Whether we fearch in the books of the approved writers, or in the admired works of the antient builders, we find authority for this liberty, no two architects, nor any two authors, agreeing in the fame rules. We fee by this that both precept and authority, taken in their general fenfe, admit of certain variations} and it is in the fpirit of undertaking thefe, and the judgment of conducting fuch an undertaking, that the genius of an architect is to difplay itfelf. We admire the antique works, and that with reafon, but let us not limit our ad¬ miration to any one inftance, but take in the whole: in the fame manner, we efteem the authors who have ftudied and allowed their proportions, but let us there alfo take in all. They have built their rules upon different pieces of antient remains, and all thole fragments are fine, though they differ fo much. Let us fee this matter in anew light: let us underftand thefe as inftances of the great variation from any one antient work, or any one given rule, that is yet confident with beauty. Upon a clofe examination of thefe we fhall diftinguifh which are the moft excellent, and which are leaft } and this is the principle on which genius is to form itfelf. If the architect (hall dare to attempt the invention of a new order, it is the greateft work within the compafs of his fcience : if he fhall chufe to attempt variation from what is the conftant track of his cotemporaries, let it not be by forming a new compofed order, but by varying the dimenfions of parts, as we have fhewn him the antients did vary them; and by keeping fo ffriCfly within their limits that all he does fhall be fure to be beautiful. In Variations in theDORiCand Ionic Cornices. PI: j/ Iontc Cornice VITRUVIUS. Doric Cornice Vitruvius. A Scale of Sixty - Minutes ox one Module. Variations m the Doric Capital. DH L’Orme According to ALBERTI . According- to PaLLADIO. Ionic Cornice in ill cl 'heatreaf Makcbzz us lathe CoUifceum. In the Theatre of, Mmcklzus. OF ARCHITECTURE. In the diftribution of the orders in buildings one inviolable law is to be obferved, Chap. 3 that is, that the ftrongeft be always fet lowermoft, as molt capable of bearing the weight. The Doric is to be under the Ionic, the Ionic under the Corinthian, and the Corinthian is placed under the Compofite, though there may be fome difpute on this head. There are thofe who make the height of the Compofite equal, and fome who make it lefs than that of the Corinthian ; and its capital is heavier. As to the Tufcan that is always to be placed lowed. If there be but two orders in a building it is not neceffary that they be two exaftly following one another, but the Corinthian may be fet over the Doric : all that is to be obferved inviolably is, that the heavieft be loweft. Thus the diftribution and ufe of the orders is fettled in a few words, but the dodtrine of their proportions may carry us a little farther; we flrall trace it from its original in a fucceeding chapter. CHAP. III. Of the origin of proportions in the Orders, and the antimts obfervatkri of them. "ITT E prefcribe the meafures of the parts in thofe columns which remain from the V V hands of the antient mailers, as laws and rules to fucceeding architefls1 but what do we fuppofe was the law or rule to them ? it was no more than fancy ; but it was a fancy under the reftraint and condudt of judgment. The proportions we have lhewn varied greatly in their feveral works : we may now add they Were arbitrary. They pleafed when they were executed, and they became examples; becaufe, being in themfelves good, and cullom having approved them, it was proper to follow in the fame road. Criticks have eftablilhed rules of poetry upon the pradtce of the antient poets, but in thofe poets the flights and beauties were the refult of fancy thus confined and limited by judgment. The origin of the rules of ar- chiteflure, fo far as the orders are concerned, has been juft the fame: men have found beauties in antient works, and upon thofe beauties they have founded rules; but they had none who made them. 7 The architedls who followed one another we fee varied, but with difcretion • the, confidered an entire eolumn as they would have done an entire beautiful face. The, knew that although a double length of forehead was inconfiftent with beauty, yet tha a twentieth part taken away from, or a twentieth added to what was handfome, woulc make another face handfomeaifo; though not exaftly in the fame manner: and the, followed the fame rule in their orders i they faw the variety nature gives in the beaut of faces, and they transferred it to the beauty of columns, they made them often dif- ter out always pleafe. N\ XIIL M m If A COMPLETE BODY -' ' II. If we enquire with the greateft nicety what could be their e 'on < rtaio ernCI -’ proportions, we cannot find it: for there appears nothing in nature th tc Ibearealoo: we have therefore great caufe to l'uppofe there was not any. Thole who enthufiafti- t-ally admire antiquity, declare thel'e proportions to be incomprehenfible, and admire them not only although they will not, but becaufe they cannot, underftand them : this may be the way to reverence the antique ; but it is not the path by which it can be imitated. It is more rational to conclude that thofe things in particular works, for which we can difcover no reafon, were not founded upon any, but were the refult of fancy. The poets took thefe liberties, and the architects of antiquity were as great geniui'es as the poets: they alfo took them. The precifenefs of thefe meafures was not of importance, and therefore they boldly varied them. Our fpirit of fubmiffion is too great. To be like the antients in our works, we (hould be like them, in our imagination free, but limited within certain bounds by judg¬ ment. We have mentioned great variations from rule in the cornice of the Doric order : we may, now wc have thus introduced the freedom, produce a greater in fiance in the projeflure of its capital, in which authors and the old archite allows this projeCture feven minutes and a half, and Dc V Or me fourteen minutes: here is a great difference in the meafure between two great authors; and tin reft have varied alfo, though by lefs degrees. In the theatre of Mure, Has it has thirteen mi¬ nutes and three quarters; in the Colifaum it Iras nine: on and a halt. Here is a greater difference; but let us compare the difference betwt n nine cn and a half and feven and a half, and we fee a latitude that appears aimoft as if there were no li¬ mits at all. When we can fee how any thing in architecture is deduced from nature, there is a rule for judging of its propriety by refering to that Standard. Thus the diminution of columns being an imitation of that natural contraction In fize which is feen ir. the trunks of trees that were the old columns, this is a rule for judging of it. Accordingly we fee that architects never depart much from the proportion eftablifhed by nature, and if they fhould we (hould cenfure them accordingly : but we have no rule of judging con¬ cerning the proportion of the parts of an ornament, for they are not founded on any thirw in nature: they were originally the effeCt of fancy, and cuftom alone has taught us to limit them fo narrowly. Having thus far explained the nature and origin of the proportions obferved in the feveral orders, we (hall be underftood, and we hope pafs uncenfured in the method we are about to ufe in treating of them. There is a great variety in them, and yet there is beauty throughout; for the mod exceffive works of the antients in this refpeCt are not without grace ; nor the mod ex¬ travagant rules of authors without fome pretence to elegance and harmony. An architect of genius will be glad to fee this field before him : he will think him- felf happy in defigning a building that is to be enriched with the Doric order, that he has all the latitude between two and ahalf and feventeen for the projeCture of its capital; that he can proportion this projeCture to the general idea of his building any where be¬ tween thefe extremes, and ihew his authority. This is an happinefs to the perfon of real Of architecture. I 3S genius j and were there only fuch, one would wifh no fydem of rules had been laid Chap. 4. down for any particular proportions; but that all to be found in books was a difplay of this vad variety before him in antique indances, that he might take his choice among them, or make any variation between them. But as all architedts are not, nor can be expected to be of this damp, it is needful fome dandard fhould be edablifhed, founded upon what a good fade fliall mod admire in the antique, and fixed as a model from which to work, or as a ted to which we may have recourfe in difputes and controverfies. This is what all the eminent moderns have attempted: we (hall not perplex the reader With recounting what they have feverally determined, but as Palladio has executed the talk bed of them all, we fliall deliver for the fervice of the ordinary architect his propor¬ tions : for the ufe of him who has judgment and imagination, we fliall on each head mention the greated variations that the antients have taken, fo far as appears by what re¬ mains of their works, and hence eftablifh, as vve have faid, a mean or middle proportion between them. We fliall not propofe this in oppcrfition to Palladio s rules, but deliver it for the architedt of genius tofiudy and to compare with them. It is mean in the undertaker of a great work to copy dridtly, and it is dangerous to give a loofe to fancy without a perfedt knowledge how far a variation may be judified. We have given the model, and fliewn the limits; and we hope in this manner of explaining the fubjedt we have neither cramp’d the genius of the greater, or perplexed the imagination of the humbler architedt. CHAP. IV. Of the general form of Columns. Fird and univerfal rule in the condrudtion of columns is, that they mud be XJL round. To guide our judgments properly, let us on all heads where it can be done, refer to nature, and to the origin of thofe things which were the fird imitations of nature. The original columns which were ufed in the fird buildings, were the trunks of trees: thefe are round j and therefore as columns of done are only imitations of thefe originals, they mud alfo be round. Nature has formed the trunk of no tree fquare, therefore there could be originally no fuch thing as a fquare pillar; the dalks of fome tender plants are fquare, but it was not from thefe the model of columns was taken, for they want folidity. Roundnefs therefore is the fird article in the general form of a column, and it has been obferved by the antients dridtly j they had their reafons for occafionally ufing pi- laders, of which we fliall fpeak hereafter: but in the fliape of their columns they never varied. Perhaps it is an error in thofe who fuppofe the columna Atticurges was fquar’d; if it were fo in reality, it was an idle invention, and has been treated as it deferved. As the form of a column fhould be round, from the inditution of its natural ori¬ ginal, fo it fhould alfo be plain and even on the furface; for the trunk of a tree has no unevennefs, unlefs what may arife from knots; which would naturally be levelled before it was employed for this purpofe. We 8 >t»f i' J& M }'• 7 ® 136 A COMPLETE BODY Book II. We are here entering upon a fubjedt whereon we mut contradidl vulgar archi- teflure in many inftances, but it is with reafon, and upon the praftice of thofe an- tient workmen whofe remains even vulgar architeds affedto admire. In the firft place let it be confidered that there is a noblenefs in fimplicity which is always broke in upon by ornament : therefore no ornament fhould be admitted but what is realbnable ; and nothing is reafonable in architeSure which is not founded on fome principle of ufe. Let this be the law according to which we try the common methods of decorating columns. In their origin they were plain and equal on the furface, and we Hill ad¬ mire the beauty of fuch as are exadtly proportioned on the fame plan. The hr ft ornament that was given to the (hafts of columns was the fluting; and even this is not fh'idtly to be authorifed. We fee it in fome very early works ; but reafon where a principle of judging is once eftabliflied, is fuperior to the authority of any ex¬ ample, and we may try even thefe admired antients at her tribunal : we fee flutin»s of columns very early introduced, but it is to be condemned as an early error. It is allowed columns (hould not be fquared, becaufe the trunks of trees which are their model are not fquare ; if this be reafon, and fo it is allowed to be in this in¬ stance, it is alfo in the other. Is there in nature any trunk of a tree fluted ? Certain¬ ly there is not 1 therefore the praftice is faife. If the antients meant in this to imitate thofe cracks and chops there are in the barks of old trees, they were for imitating an imperfection. There are trees that have fmooth and entire barks, therefore there was a reafon in nature for plainnefs; and if they would imitate the cracks of the others flutings are too regular to reprefent them. We fee flutings of columns have no origin In nature ; let us next examine them in the eye of reafon. What is the ufe of a column ? Strength. Will its ftren but dll s uft the judicious : the Ample and the natural is the proper path to beauty. F N?. XIV. N n CHAP. Book II. A COMPLETE BODY chap. v. Of the pofition of Colu mn s. T will be feen that we let out as ll riot and critical judges of what is done in archi- _a_ tcciure ; for by that we ihall determine what ought to be done; pointing out the beauties for imitation, and the faults as objeds to be Ihun’d. Though ftrid, We do not intend to be more fevere than juftice demands ; and as reafon, under the guidance of rules, is the foie proper judge in thefe things, we fhall venture to arraign even the praftice of fome of the antient architcds, where fancy has taken the place of judg¬ ment in their conftrudions. Of this we are about to give an inftance, and fuch a one as will fhew the reafonablenefs of the pradice. We have confidered the form of columns, we now are to judge of their pofition. The intent of columns is to fupport the weight of a fuperftradure ; we have feen in the dodrine of walls that all fupports have their full ftrength when they Hand at right angles; it is therefore the perpendicular pofition of a wall is its proper polture, and for the fame reafon this is the only pofition for columns. It is then a law eftablifhed by reafon that all columns Hand exadly perpendicular; but this diredion of reafon is not without violation, even in the admired works of an- tiquity. Wc fee inflances in the porches of their temples of columns which were not placed perpendicularly, but Hood inclining toward the wall. There are thofe who fo enthu- fiafficaliy admire the antients that they think even this to be juft and fine : but we fee the law of the other pofition eftablifhed in reafon, and that fo ftrongly that it is lhperior to all authority. Such an inclining pofture of a column is unnatural and injudicious, al- tho' the antients have given it; and it muft give diftafte to the judicious, though found in their fineft works. Being found in company with great beauties, it may have foe that caufe efcaped the cenfure it deferves, but it is not the lefs faulty becaufe over¬ looked. The young archited who fhould liippofe every thing muft be right in the antient"remains, becaufe he found it there, might be'ready to copy whatever he found there : we have propofed this as a Unking inftance that he would in that do wrong. Let him admire them, but let it be upon a foundation of good fenfe ; and let him be impartial enough, while he reverences their excellencies, to fee their faults. As the column muft always appear ill when the lead out of a perfed perpendicular, foit will always appear moft beautiful when free and detached entirely from any wall. A column never is feen in its full beauty but when it is free of all connedion and in¬ cumbrance in the (haft. There are occafions on which columns muft be in part im- merfed, and in thefe we muft fubmit to the neceffity ; but we are to remember that as the thing is in itfelf a defed, the greater the degree the more is the defed, and there¬ fore we firould bury them as little as we can. A fourth part of their diameter is the moft that can be allowed to be hid, and when it is lefs it is better ; t for the more a ^ . • column TuMiSSiil OF ARCHITECTUR column has its natural free air, the better it will always appear, lumns in a wall is always to their difadvantage: an architedt fhould therefore take all poffible pains to avoid it; but we fee there are thofe who from their ufing it by chance feem to think it a beauty. There is in France an lriftance of a depravity of tafte ftill worfe than this; it is in the inner court of the Louvre. Columns are there engaged not in a wall, but in one another : this furpafl.es all that we can fhew in England in abfurdity. The beauty of the pofltion of a column confifts in three things j, we have named two of them, which are, that it fhould be perpendicular, and fhould be free; the third is that it fhould hand upon the pavement. This rule ftrik.es. at the dodtrine of pedeftals; and it is with fome remiflion and exception that we eftablifh it. In gene¬ ral columns are beft without pedeftals ; but in fome inftances pedeftals are proper. We fee in the works of the antients where they remain unburied at the bottom, fome ranges of columns with, and fome without pedeftals; but the beft are always thofe that are without them. In very ancient buildings we find there was not fo much as % bafe; the temple of Minerva at Athens is an inftance, where the old Doric refts upon the pavement without fo much as a plinth. Solidity is a great merit in columns, and fo is an appearance of folidity; this appearance is beft preferved when they ftand with¬ out pedeftals. There is always an apparent danger of their being fhuffled off from the pedeftal, and there wants that fimplicity and compofure which is in the column alone. The original ufe of pedeftals was apparently from neceffity, not choice ; the antients had columns that were too fhort for the buildings, and they found this way of giving them length. We fee double pedeftals ufed for the fame purpofe one upon another, and they give a milerably tottering afpeeft. There are occafions on which it will be needful and graceful to raife the feries of columns ; as from a variation in the level of a pavement between a portico and the bo¬ dy ofthe building ; but then this is beft done by a continued wall: in other cafes a little feparate bafe may be conveniently given to every column ; as when the fpaces be¬ tween the columns are filled up by a fupported baluftra.de : but even this is ,inforced by neceffity not choice; and the ufe of pedeftals is yet more unnatural. The architedt may fupport the ufe of pedeftals upon the authority both of great writers and great edifices, but they are unnatural and have no foundation in reafon-: though .Vi¬ truvius countenances them, and they are found in elegant works, they are wrong. They are plainly a fhift to help out the length of columns. One alks naturally why the co¬ lumns were not made long enough without them? and the queftion is unanfwerable. E. 139 The engaging co- Chap. r. C H A P. A COMPLETE BODY H P. VI. ry-M Of the diminution of Columns. ■'HE original columns were as we-have laid the trunks of trees, and thole of (lone ' of timber, fafhioned by the workmen's tools, which afterwards fupply their p] aC e with more elegance, dill kept to the old form. Trunks of trees could not be any where got all the way of a bignefs, therefore the original columns were fmaller at top than at the bottom : this was taken into the form of done and other wrought co¬ lumns, and is what we call their diminution. All columns are diminifhed, but the degree of that diminution is the lead fettled of any thing in architedture. Palladio is fhort upon the fubjedt, following Vitruvius: he fays the taller they are the lefs they mud diminifh, becaufe the height anfwers the pur- pofe of diminution to the eye. He lays it down that if the column be fifteen feet high its diameter toward the bafe (hould be a fixth greater than toward the capital; in a column from fifteen to twenty feet high, he allots the diminution to be one feventh, and in one of twenty or thirty feet or more, an eighth. This is the rule delivered by Palladio, and taken from Vitruvius, who prefcribes that the diminution be not according to the proportional but the abfolute height of the column ; not according to the number of diameters, but the meafure in feet: a column of fifty feet high he would have diminidred but an eighth part. The architedt who will content himfelf to follow the diredtions of a mader may obfervc tlrefe proportions, and his work is eafy : if any one blame him he has the au¬ thority of Palladio, nay to the learned he may cite Vitruvius. We fliall always make it our bufinefs fil'd to deliver the fettled and edablifhed rules of the fcience to thefe, but we (hall remember there are alfo another fet of readers. To fuch we (hall obferve that although they may be fafe from cenfure in the obfervance of thefe rules, there is no ne- cefiity that they (hould be ty’d down to them ; for they were not dridlly obferved by thofe architedls whofe works are the foundation of all that is juft, great, or elegant in the fcience. Vitruvius arid Palladio fay the diminution of columns (hould be according to their abfolute height; let us fee whether the pradtice of the antient architedls implies a necefhty of this. The columns in the temple of Bacchus are about a fourth part of the height of thofe in the portico of the Pantheon ; but the diminution is the fame in both. Are not both elegant ? Certainly they are ! Then there may be elegance in a diminution very different from that prefcribed by Palladio : and he who (hould think it proper to follow fo different a defign has the fandtion of the antique, at lead equal to the autho¬ rity of Palladio. We would have the architedt give liberty to his genius, and at the fame time know where it is bounded. The Angle proportions defcribed by Palladio are too narrow and too dridt a confinement. They are uleful in the highed degree to the com¬ mon architedt, and therefore we (hall on every occafion deliver them ; and as they are the Columns Shewing’ their leveral DIMINUTION'S. JP /./8 "Vignola . A- Trajan s C ollumn Jl. Burning Stuff. €M4l»A hitecture, the beft that have been eftablifhed, we fliall deliver them only : but to enlarge the view cha 6 for the bolder fpirit, we (hall on each occafion deliver alfo the praflice of the antients in 1 its extent. There are three manners of diminilhing a column, i. The beginning from the bottom, and diminilhing all the way up. 2. The beginning from a third part of the height; and 3. The making the column thick in the middle, and diminilhing it to both ends; this laft is what we exprefs by the fwelling of a column, and fliall be con- tidered feparately in the next chapter. The othertwo are the Ample diminutions; Phi- lander rightly fays the fecond was the molt antient and mod graceful manner, but the other which commences from the bafe is the molt natural. The article of diminution feems to have been an eftablifhed cuftom amon» the an¬ tients, but the practice of it, as to the manner, very arbitrary. The columns of the temple of Concord are very large, and they have more diminution than fuch as are lcfs by half; we have an inftance of this in thofe of the arch of Conjlantinc. Vitruvius's rule, however adopted, is alfo proved to be different from the pradlice of thefe great mailers, in many other inftances. Many columns that are lefs than fifteen feet have lefs than a fixth part diminution ; and many which are above fifty feet have a greater diminution than he allots them. The degree of diminution is not pro¬ portioned to or influenced by the difference of orders : we fee examples of fmallcr and of greater diminutions in all the orders in the antient works. There is only one order in which the diminution is directed to be proportioned that way ; this is the Tufcan. Vitruvius, who has diredled the others to be diminilhed ac¬ cording to their abfolutc heights, orders this to be contraded in diameter in proportion to its thicknefs. The diminution he direfls is a fourth part; this is fo violent that it has (hock'd architeft;: Vignola orders it to be only a fifth; and molt of the modem workmen make it lefs than that. Wc have but one inftance in antiquity to which to refer in this variety of fenti- ments ; but it is fit the archited Ihould be told of that. The only Tufcan work re¬ maining of the antients, is the column of ‘Trajan, and in this the diminution is but a ninth part. It is plain, from a critical examination of the antique remains, that thofe architefls who are our proper mailers, and their works our models, did not make the diminutions of their columns different according to the different orders, nor according to the fizes of their columns, there being different diminutions in the fame order, and in columns of the fame fize; as there are like diminutions in the different orders, and in columns of very different bignefs. We lhall advance nothing here but what we fupport by inftances: the Doric co¬ lumn of the theatre of Marcellus , and that of the Col:f cum are very nearly of the fame fize, but they have different diminutions; and the difference is not lefs than between twelve and four : the Ionic column of the temple of Fortuna virilis, and that of N”. 14. O o the i 142 A COMPLETE BODY Book II. the Colifeum , which are alfo nearly of the fame bignefs, have their diminutions different v ‘ v J as from feven to ten. On the contrary, there is the fame diminution in the column of the Fortuna virilis and that of the porch of Septimius, though one is of the Ionic order, and is only two and twenty feet high 3 and the other is Corinthian , and thirty feven. We infer from this that the antients were our mailers, but no indance of their prac¬ tice is to be our univerfal guide 3 and that the rules eftablifhed by Vitruvius , though adopted by Palladio, are more drift than they need to be. We have fhewn that the di¬ minutions in columns were not influenced by their abfolute height, or by the proportions of their order 5 we cannot conceive by what they were dictated : and it is reafonable to believe they were prefcribed by no law at all. The antients were not ty’d down to rule in many things wherein we thought they were, but worked by fancy. Perhaps they had in their eye in this refpcft the condruftion of the whole fabrick to which the column belonged 3 and diminifhed it accordingly. Certain it is that we fee extremely different indances of this diminution in their works, and yet all look well: let us keep thefe variations in our eye, and endeavour to imitate their praftice, who indulged the flights of genius with diferetion. As we have given the rules of Palladio for the diminution of columns, we fliall here, as we propofe in other indances, deliver that proportion which relults as a medium from the general obfervation of the praftice of the antients. We fliall give this fird with refpeft to the Fufcan column, which Vitruvius has treated feparately 3 and then for the others. In the fettling the mean diminution of this column, we fliall have fome regard to a continued praftice, though reafon be againd it. Indead of two fifteenths, which will be found the mean diminution in the others, we fliall allow this as a mean a fixth part. In reafon, if we were to alter the degree of diminution according to the orders, it fhould be lefs in thofe which are fhorted, becaufe in thefe it is mod apparent 3 but cudom is too powerful in this indance on the other fide. The Doric column before alluded to, in the theatre of Marcellus , is twenty one feet in height and three feet in diameter 3 the diminution of this is twelve minutes. That in the Colifceum is twenty two feet ten inches and a half high, two feet eight inches and a quarter thick 3 and its diminution is only four minutes and a half: the medium of thefe two numbers is eight minutes and a quarter. The Corinthian column in the ba- filick of Antonine is thirty feven feet high, four feet five inches and a half thick, and its diminution is fix minutes and one eighth 5 and the Ionic in the temple of Concord, which is fix and thirty feet high, and four feet two inches and a half thick, has a dimi¬ nution of ten minutes and a half: According to thefe meafures, which are the greated and the lead in the Doric and the other orders, and between which there are diminu¬ tions in all the intermediate proportions, we fliall find that the mean diminution, ac¬ cording to thefe, produced by adding the larged to the lead, and taking half that num¬ ber, is about eight minutes and a quarter. Thus the architeft has a new rule for the diminution of columns, which is founded on the praftice of the antients, taking the middle way between thofe extremes which OF ARCHITECTURE. *43 we fee in the remains of their works. This is, that in the Tujcan column he make the Chap. 7. diminution a fixth part of the diameter of the column at the bafe, and that of all the '—^—“ J other orders about an eighth and a quarter.. He fees that he may be authorifed in carrying the diminution of the T’ufcan to a fourth, by the rule of Vitruvius ; and that of the Doric to twelve minutes, by the Doric of the theatre of Marcellus : but the bed method is to keep within thefe ex¬ tremes. Let him know what are the rules edabliflied by the moft authentiek writers and what is the extent taken in variation by the antients, and what is the mean of that compafs either way. Having thefe aflidances before him, let him con- fider his column with the building to which it is to belong, and determine as thefe architects did, what was belt aijd moft noble, not in general, but in the prefent inftance. CHAP. VII, Of the fwellbtg ^Columns. E have feen that the diminution of columns is a thing proper, natural, and V V graceful, and that it has been practis’d by the antients univerfally, though in different proportions : we are now to treat of an alteration in their diameters of another kind, which is called their fwelling. The diminution of columns is made from the lowed, or fome lower part, to the top ; the fwelling is made about their middle and renders them fmaller at either end. This, though almod univerfally prac- tifed and prefcribed by the prefent race of architects, is neither proper, natural, nor graceful ; and there is no authority for it in all the remains of the antient ar¬ chitects. It will feem to fome rafh in us to cenfure fo freely a practice fo generally re¬ ceived and approved; but the prefent cuftom among architects is no fanCtion for any thing. This is one of the abufes crept into architecture, and ought to be abolifhed utterly: the Gothick columns of twenty diameters in height, and with¬ out diminution are not more falfe in their principle. Let us reduce this to the general ted, nature and antiquity: nature abhors it, for fhe forms no fuch figures, unlefs difeafed ones; and antiquity is pure from any indance of it. It is true that Vitruvius talks of giving rules for it; but it is alfo true that he has not given any : and we fee that his almod enthufiadick admirer Sir Henry JVotton condemns it. Palladio makes it univerfal to all the orders, and puts it upon an equal footing with the diminution, naming them in the fame fentence. He even gives rules for the doing of it according to his own practice ; in this probably he was led from his better judgment by the veneration he had for Vitruvius , and thought it a virtue to fupply what it was a merit in that author to have left a defect. Columns are reprefentations of trunks of trees: let us keep this in our eye, for this is reducing all to the dandard of nature. Is there any tree whofe trunk fwells in 144 A COMPLETE BODY Book II. in the middle ? There is not. This is as certain as that there is not one but what does diminish. So far from beauty it offends every eye, and moll of all the moft judicious. It is prudent in architects to make it as little as they can j for in all faults the lefs the degree the better. The method by which Palladio executed this fwelling was this: dividing the ihaft of the column into three parts, he drew the lower third perpendicular. At the extremity of this he laid a thin bending rule of the length of the column, or a little more : and bending that part of the rule till the end touched at the point of the diminution under the aftragal, he followed the bent of the rule, and fo the column became fomewhat fwelled in the middle, and diminifhed properly toward the top. This was his way, and we find it approved and followed: it is a fhort, eafy, and practical method of forming the fwelling ; but there is no autho¬ rity in nature, reafon, or the practice of the old architects, for making any fweL ling at all: on the contrary, all thefe, and every other confidcration, are againfl it. Vignola and Blondel have alfo laid down methods of forming the fwelling, and different others may be contrived, but idly. The practice feems to have had its origin from this: that in columns of a moderate height the middle being nearer the eye than either end, would appear therefore a little thicker, the diameters at the ends being diminifhed by diftance : but this could be fo little only as not to be worth regarding ; nor could any thing be fo needlefs or falfe as to add to it. When the fwelling is vifible, it conveys no other idea than that of the column over- preffed, and burfting under its weight: an idea of ruin : the laft that a judicious architect could wifh to convey in any building, CHAP. TIT OF ARCHITECTURE. '+5 Chap. 8. CHAP. VIII. Of the variations in the heights of Columns. I N laying down rules for the feveral orders, on which we (hall enter after we have thus di feu (led fuch things as concern all equally, we (hall deliver their different proportions of length to thicknefs, on which the diftinfiion of the orders more depends than on their ornaments or any other particular. It fhould feem therefore that their proportional lengths ought to be the mod fixed and fettled things in all the fcience; but we find theantients, who indulged their genius in variation from what¬ ever could be called a rule on any other head, were not perfeflly limited even in this material point. It has perplexed all who have followed them to form a guefs why they took fo ftrange a liberty; but we (hall prefume to offer our opinion. Though they took this freedom in the height of their columns they did not follow it at random; but, as will be feen prefently, in a particular manner and on particular oc- cafions. We have obferved, in order to account for their different degrees of diminu¬ tion, which were neither proportioned to the height of the column nor to the order, that probably it was adapted to the harmony of the entire building: and very probably the cafe was the fame in refpefl of this diverfity of height in their columns. There is an abfolute, and there is a relative, proportion : perhaps thefe architects, who were indeed perfons of an exalted genius, comprehended in one general view tha whole building and all its parts; and, having a true idea of both kinds of proportion, fitted the parts to the whole ih a manner quite unknown to us, and as much above our comprehenfion as their works are above our imitation. Something of this greatnefs and extent of genius there is required for the erecting a magnificent building: they (hew they had it j and we appear to want it. Whatever was the reafon, for this is but conjecture, the practice was followed: that is a certainty. They perfectly well knew the juft and general proportion of each order j they were too accurate to vary from it through careleffnefs, but we find they often have departed from it: therefore they doubtlefs did it with defign, and intended thefe differences in the heights of columns of the fame order proportioned to their thicknefs. If we confult V itruvius , he makes the Doric columns of temples (horter than thofe of the porches behind theatres, and the reafon he gives for it is, that they ought to have more folemnity in temples than in other places. It is plain then Vitruvius did allow the Doric column a greater length in propor¬ tion to its thicknefs in fome ufes than in others: this eftabliflies the fact of an allowed variation, and he was undoubtedly right, that there is more folemnity in a lower and more maffy, as there is more elegance in a lighter and higher column. N-.XIV. P p This 146 A COMPLETE BODY Book II. This correfponds with the opinion we have propofed as to the reafon of the antients J allowing a variety in this important article j for we fee they took in the idea of the whole fabrick, and even of its intended ufe, into the confideration of reducing the proportional height of the column. Palladio has given in the Dorick a greater height to columns which Hand on pedeftals than to thofe which have none; and this with a reafon equally apparent and juft. He railed the column to an height beyond what was natural to it, by fetting it on a pc- deftal; and to foften this elevation he alfo added proportional height ; that is, he took away from the proportional thicknefs of the column. In this he alfo followed the effedt of the eye, as the antients did in fome degree in all things. As this railing the column upon the pcdeftal a little diminilhed its thicknefs by diftance, they added to the natural variation by diminilhing the diameter yet more. Serlio orders the column'to be a great deal fhorter when it Hands detached, than when it is fixed to, or in part immerfed in, a wall ; and he gives as a reafon, that it then requires to be ftronger. But this is an unwarrantable variation from truth. Vitruvius has an abfolute, fubftantial, and noble reafon for reducing the height of the Doric column in temples and Palladio has at leaft an excufe for reducing the thicknefs when he fets his columns in that order upon pedeftals; but Scrlio’s is altogether imagi¬ nary, when he would have them a great deal maffier, becaufe they Hand detached: he is right in faying that a detached column is weaker; but when we have fo plain a re¬ medy for this as the placing them nearer together, there is no caufe why we lliould fo idly vary the proportions, and that in fo extravagant a manner as he propofes. We fee the antients have taken great liberties, but with reafon. Thofe among the moderns who have thought of imitating them, have been unhappy in a double re- fpcift ; they have gone into excefs, and they have done it either on a falfe principle or We have faid before, and we lhall fay repeatedly, in the courfe of this work, that to be a great architect requires a very great genius. From this variation in the proportional height of columns, authors have eftablifhed their laws for different heights, allowing them a fimilar proportion in the feveral or¬ ders compared each with the other. This makes what is called the progreflional elevation of columns. Having given the foundation of the variations in this place, we ftiall proceed to this comparative proportion in the feveral orders, according to their pro- greffion, in the fucceeding chapter. CHAP. TiT 773*31 OF ARCHITECTURE. !+7 Chap. 9. CHAP. IX. Of the progrefiional heights of Columns. I N thofe fucceeding chapters wherein we treat feparately of the feveral orders, we fhall deliver their heights, in proportion to their diameters, according to the rules laid down by Palladio , and according to the antique ; giving the abfolute proportion from to that author, and the mean proportion from thofe remains. We are here to confider the heights together, which will there be treated feparately, and to obferve the progreflion in encreafe from one order to the other. They have a like proportion each refpeCtively to the others, by which they rife in height as the orders are lefs mafly. This augmentation fhould be a very fettled thing, but it is greater in fome than others. We lhall here trace it to the origin j and we hope to explain it thoroughly, and to eftablifh this part of architecture upon a certain foundation. In the oldeft remain, the progrefiional encreafe in heights is but of five femidiameters in the five orders. The Tufcati , which is the fliorteft column, has feven diameters and a half in height; and the tailed;, which is the Compojite , has ten. Here are there¬ fore, between feven and a half and ten, two diameters and. a half, or five femi¬ diameters. Vitruvius makes the progrefiional encreafe the fame in quantity as we find it in the oldeft works, that is two diameters and a half j but he raifes them not from feven and a half to ten, but from feven to nine and a half, making the Tufcan column only feven diameters high, and the Compojite nine and a half. In Scammozzi this progrefiional encreafe is five femidiameters and a half 5 and in Palladio it is fix femidiameters. We have here named this author laft, becaufe he is the moft authentick with the common race of builders j but we have (hewn what is determined by the antique, and by his mafter. Vitruvius has not departed from the models of antiquity; and it will be better that fucceeding architects adhere to them. There is a juftnefs in this progreflion of a femidiameter, in each order, that may eafily be overlooked, but that ought to be well regarded. According to our cuftom on other heads, we fliall compare the greateft and leaft of thefe progrefiional encreafes, and give the reader the mean, or middle one between them. The Tufcan order in Vitruvius is only feven diameters high, the Trajan column make it eight, the mean between thefe is feven diameters and a half for the height in this order. The IVL*1 ' 1 *'- 148 A COMPLETE BODY Book II. The Doric order in Vitruvius is eflablifhed at the height of feven diameters in tem- r J pics, and feven and a half ellewhere ; therefore feven is the lowed, which reduces it to the fame height as the Vufcan : but efubliihing feven and a half as the common height, that of temples being an exception, he here takes the half diameter for the progreffional encreafe. In the Colif&um the Doric column meafures nine diameters and a half. The difference between this extreme height, and the extreme lownefs of Vitruvius, where he orders it for temples, is vail: the mean between them is eight diameters; which is therefore the mean meafure of the Doric column. The Ionic column, according to Serlio, (hould be but eight diameters in height; but in the Coliftzum it is nine diameters and a half: the mean meafure between thele is eight diameters and three quarters. The Corinthian column in the temple of the Sibyl is eight diameters and fixteen mi¬ nutes; and in the Forum romanum it is ten diameters and fix minutes : this is avail differ¬ ence in the antique, and (hews what furprifing liberties they would take. The mean meafure between thefe is nine diameters and a third, which may ftand therefore as the middle proportion of the Corinthian column. The Compofite is found fo nearly the fame in all the remains where it is feen, that its mean meafure may be called ten diameters. We find, both in the works of the antientsand in the writings of the moderns, that the progreffion is not kept up in the height between the Corinthian and the Compojite order: for the Compofite, in the arch of Vitus, and the Corinthian, in the Bafilic of Antonine, have exaflly the fame proportional height of ten diameters: fome authors alfo deliver their proper heights as the fame. The anfwer to this is very' fhort and plain: it ftrikes off the Compofite from being a diflindt order. The proportions of the Corin¬ thian were firfl eflablifhed. If the Compofite has the fame, it is only a variation of the fame order ; for it has been laid down before as a certainty, that the diflinfiions of the orders depend much more upon their proportions than on their ornaments. We have feparated both this and the Tufcan from the abfolute orders, in our ac¬ counts of them; and this may ferve as a proof that is not done without foundation. Vitruvius has eflablifhed this into a rule long fince. He fays exprefly, that the va¬ riations they made in the ornaments of capitals in this manner, did not make an order different from the Corinthian, becaufe the proportions were the fame. This author makes the (haft of the Ionic, and that of the Corinthian column, of the fame height, the length of capital in the Corinthian giving the additional height for the progreffion: but there is no reafon why it may not be made (horter, its capital anfwering to the proper progreffional addition in height. Scammozzi makes the ffiaft of the Corinthian column very near equal to the fhaft of the Ionic, bill in the antique it is otherwife. Of the Intercolumniation. of architecture. 149 It IS proper that the progreflional advance in height, in each order, fhould be equal ■ Cha P' IO - it 1b fit therefore that we propofe a method of making it fo. We have (he wn what is' ' V ' . varlatlon amon S a “ th “s> “d in the antique, on this head ; the antique making it at a mean five femidiameters, and the moderns five and a half: let us, by way of brmgmg it to a regular proportion, call it five and ten minutes; this making in the whole one hundred and fixty minutes, may be divided with great eafe and perfefl re¬ gularity into four equal parts, each confifting of forty minutes, and thefe may be the fum of the feveral progreffions: therefore, making the Tufcan column fourteen femi- d,ameters and twenty minutes, the Doric maybe juft fixteen femidiameters, the Ionic feventeen and ten minutes, the Corinthian eighteen and twenty minutes, and the Com- fojile twenty. This is an exafl and regular method of progreffion ; eafily computed, eafily deter¬ mined,. and refts upon this, which is the moft certain foundation in variable quantities, that it is the mean. H A R X. T ,.". aS P r0p0fea) , *;y A COMPLETE BODY chi The proportion generally obferved in the antique is, that the bafe is greater than the cornice ■ and of the ttvo parts of which the bafe is compofed, the focle is greater than the mouldings, which together make the reft of the bafe. Among the moderns thefe proportions have not exactly been obferved. Serlioz nd Vi gm ,a Ike the focle lefs than the mouldings. This feems to be imitating the bafts of columns in the bafes of pedeftals, for they have always the plinth lefs than mouldings by a great deal. But this is a vicious imitation, for it tends to confulion . the practice of the antients is every way better. Palladio has followed the general proportions of the antique, but he is more regu¬ lar in all pedeftals making the bafe the double of the cornice. Scmmz» follows him in this; and he makes the focle double to the mouldings in the Done, Imc, and Composite. Wc have feen what is the height of the Doric pedeftal, and occaf.onally the height 0 Z the others: the breadth of the die, in all pedeftals, , to be equal to he pro¬ cure of the bafe of the column: and in the fame manner we may give, from the mean oCthe antient works and modern rules, certain proport.ons for the couftruftton of the three parts in general. The bafe with its focle maybe allowed to be two fevenths of the whole pedeftal ; ,he cornice may be allowed to be one feventh part, and the focco or focle two thirds of the bafe. This isfo near the praftice of the antients and the doftrine of the moderns, that it is furprifmg fo general a rule could be laid down. Having thus far explained the nature of pedeftals In general and of the Doric pe¬ deftal in particular, which is the immediate bufineis in this place, we (hall clofe chapter with a few confiderations of its mouldings and parts. The proportions of the mouldings of the bafe may be thus found; divide the third of the whole bafe afligned them into feven parts, four of thefe are to be given to the torus next upon the focle, and three to the hollow with the fillet under it, are its three certain members. The proieSure of the torus is that of the whole bafe. Palladio gives a fquare or J* to this bafe betwcee the torus and the fillet of the cavetto; and . puts S he fame place an inverted cima. Vigmla and Serlio g.ve ,t only the focle torus, fillet and cave,to, which being a plainer bafe becomes a plain order. Indeed it is rea¬ dable that if pedeftahinuft the Doric three j and fo the others, more as the orders to which they belong advance in finenefs and elegance. The cornice, which is called alfo the cap of the Doric pedeftal, may be divided into nine parts: it has a hotlow with its fillet and has a drip crowneonly J h a fquare : the drip has five of the nine parts, and its fquare one. This plain nice of the Doric pedeftal, but fome give it a member more. Wc 7 ture. We have now gone through the form, proportion, and parts of the Doric ■ r . and, upon the whole, we cannot but fee it to be a natural, well proportioned and noble order. There is reafon to call it the firft in propriety, as it was the firft in in¬ vention J for the Done was the order which gave the firft rules for regular building. We fee that the finer orders, the Ionic and Corinthian , were the offspring of a more licentious imagination, elegance being the firft confideration in them, as ufe was in thefe: and as fome improved architediure by the addition of thofe kinds, others charmed with the mafculine and noble air of the Doric, bent their minds to the adding elegance to it: thus they by degrees gave it mote height in proportion to its thicknefs, and added mouldings and ornaments. Thefe gave the Doric of later times an air fo different from that of the earlieft, that the Romans, who eftablilhed the Tufcan, did little more than revive the old plain Doric, againft the later and more decorated column of that order. We read of a temple built by Dorns, and dedicated to Juno, as one of the firft of this order. We fee the remains of that of Minerva at Athens ; and the remains of the theatre of Marcellus at Rome, give us a glorious idea of what ufe may be made of it in great edifices. The Doric may be ufed alone, or as the lower order where there are others. Its proper place is in the ground, or in a bafement ftory ; and though we have thus largely delivered the proportions of its pedeftal, we muft add that no order does better without one. Vitruvius complains of the difadvantageous reftriftion in the triglyphs and metopes; and he mentions, as one remedy, thepycnoftyle intercolumniatiorf, where there would come only one triglyph regularly between every two columns; or the arxoftyle method, 111 which there come three triglyphs between each two columns. The firft of thefe methods is extremely improper, becaufe it is againft all rule that maffy columns (hould come fo clofe. There is indeed only one proper intercolumniation for the Doric, and that the judicious architeft muft reconcile to the difpofition of thefe effential ornaments of its freeze. CHAP. •T*t ■'»* Of the Ionic order. T HE Ionic order is the fecond in antiquity ; it is more elegant than the Doric, for that was intended in the addition of it to that fhft plain and more fimple kind. We have obferved that the Doric has great perfedions, but that it alio has its defedts: thefe are avoided in the Ionic : the Grech faw them, and they obviated them in their new invention. We may fay with truth, that the Ionic has not the perfection of the Doric in its proportion ; but that it is without defect. They were excellent judges who invented the firft order, and they eftablilhed the truth of proportion there. As they afterwards added the Corinthian to the Doric and Ionic orders, the Ionic may be called the middle kind between the ftrong and the delicate; and it keeps the fame place when we take in the 1 fufean and Compoftte and have all the five ; for one of them is added at one end of the lift, and the other at the other. As it has not the ftrength of the Doric it has not its mafly look, and as it has not that extreme elegance of the Corinthian it is not fo flight. It is one of thofe middle ftatures which, in the human form, are accounted the moll univerfally agreeable : its lines, neither too grofs nor too fine, pleafe with their uniformity. The Ionic is not a commanding or ftriking beauty, but it is one that is always fure to pleafe. As the Doric has been always underftood to reprefent a well-proportioned man, the Ionic may be confidered as the image of a well-proportioned female, not the girl, for the elegance and flendernefs of the Corinthian more naturally is brought in for that re- femblance, but the woman. The volutes of its capital, which arc the molt diftin- guilhing part of its charafter to the eye, have been fuppofed to reprefent the hair of the head curled; but their origin is more naturally referred to the twilling up of a piece of bark in drying, the firft columns of all kinds having been trunks of trees- We are told the temple of Diana at Ephefus was of this order only: we fee glo¬ rious inftances of its beauty among the Roman ruins in the temple of Eortuna virilis, the theatre of Marcellus , and the Coiifaum. It is in all thefe perfectly beautiful, yet in no two of them exaflly alike : we Ihall enter into the nature of its variations in the fucceeding chapters, and the ftudent comparing the feveral columns will fee that he is not to be ty’d down to any one ftria law in the conftruaion of the order, for that the antients were not. They deviated, within the limits of judgment, from what they faw with approbation in the works of others •, and let him who would elk. ■ blifli himfelf a charaaer in the fcience do the fame. The Ionic order is an excellent decoration when ufed fingly in an edifice; and as it is of the middle degree between the plain and the rich, as well as between the mafly and the ftrong, none is fo fit to be ufed alone ; for we naturally look for forme other order under the Corinthian , or over the Done. When i • ! ->.*4 j j •/ OF ARCHITECTURE, i 77 When it is ufed in conjundtion with the others in buildings of feveral ftories, ; t Cha P- I2> is to be placed upon the Doric, and under the Corinthian or Compofite, fuftaining the ' * third, and adorning the fecond ftory. Although the freeze of the Ionic gives no particular difficulty in the working, not having that perplexing and neceffary divifionin its ornaments which embaraffes thear- chiteft in the Doric-, yet there is not that perfedt eafe that might be imagined here. The fore and hinder parts of the antient Ionic capital are different from the fides.; and altho’ this be an accident of great beauty in the whole, yet there is a difficulty in ma¬ naging the work when this order is to turn from the front of the building to the fide. This is the only inconvenience, and in treating of the capital we ffiall ffiew the re- medy. The antients were fubje&ed to the fame inconvenience that we are, and we fhall explain not only how they condudted themfelves, but how the moderns have avoided the fame difficulty by other means. CHAP, XII, Of the Ionic lafe. T N treating of the Doric we have had occafion to defcribe a bafe called the X Attic or Atticurgic , as commonly ufed to that order, when it has one, in antient works: the fame is frequently alfo ufed to the.Ionic; but th e Ionic has a bafe of its own, though this is often fubftituted for it. Reafon is indeed fo much on this fide that though the proper 7 m,V bafe Hands authorifcd b y Vitruvius, Palladio approves the ufe of the Attic in preference, declaring it the moft agreeable. We need not defcribe the Attic bafe here, that having been done in a preceding chapter; but for thole who fhall dr ufe to ufe the proper Ionic, we ffiall give its parts and proportions ac cording to Palladio, and add the refult of the pradtice of the antients and of reafon. The Ionic bafe is in height a femidiameter of the column, and is compofed of a large torus placed immediately under the cindture of the ffiaft, a fcotia under this then an aftragal, and under that another fcotia which reds upon the plinth. To find its proportions the femidiameter of the column, which gives the height of the whole bafe, is to be divided into three parts ; one of thefe is for the plinth the pro¬ cure of which is a third part of its height: the two other parts are to be divided into feven ; three of thefe go to the torus, and the remaining four are divided again into two parts: one of thefe is for the upper fcotia, and the other to that below, which mull have no more projedture than that above. The aftragal muff have an eighth part of the fcotia: the cindture of the column is a third part of the torus of the bafe, but if the bafe be made a part of the column the cincture may be fmaller. OMPLETE BODY This is the Ionic bafe of Vitruvius, which Palladio has, as in mo.ft other infiances, copied ; he feems to have underftood it as a duty, for in this he has given the words of that author very faithfully, and with the utmoft care, although he prefers, with reafon, another bafe to this order. Indeed the Ionic bafe is a very ill-contrived one, and offends the eye as well as the judgment, being againft the true principles of nature; it has the appearance of a bafe inverted, for the larger part of it is uppermoft: the heavieft and the largeft part, according to all rules, ought to be the undermoft, but we fee the contrary there 5 the natural order is therefore reverfed, and there wants the appearance of ftrength which refults from a more juft proportion : the great torus has for its fupport only two weak fcotias, and an aftragal ; the eye is hurt, and fuppofes there is danger of its breaking off. In all things relating to the column, where there is a diminution it is to be upwards; the diminution here is downward, and nothing can be more unnatural: the lower part of this bafe is fmall, and it encreafes vaftly in the torus, which is its uppermoft member. It is this which has occafioned the beft architects neglect of this bafe, and their fubftituting the Attic , which it is beft to do. In the mean time it were to be wifhed that every order had its peculiar and appropriated bafe, and here is room for the genius of fome architect to difplay itfelf in invention; we have, in the objections to the Ionic bafe of Vitruvius, fhewn what are the principles on which it is to be conftruc- ted. There is no one antique remain in which the Ionic bafe of Vitruvius is feen: and, among the moderns, Alberti and Viola , with fome others, ufe the proper Corinthian bafe for the Ionic column alfo. Vitruvius, who devifed this bafe for the Ionic, fays it may be ufed alfo for the Corinthian <; thofe authors, on the other hand, give the Corin¬ thian bafe to the Ionic: this we fhall deferibe hereafter. Vitruvius has not given the proieftures of his Ionic bafe, but the architect who fhall chufe to ufe it may proceed thus: let him eftablifh a module of twenty minutes, or one third of the diameter of the column, and let him divide this into five p-n-t* , t«-o fifths and a half arc to be given to the projedture of the torus ; two to that of the aftragals; one and a half to the fil¬ let which is under the torus; one and three quarters to the fillets next the aftragals; and two and three quarters to the fillet which lies upon the plinth. We are not to omit that De L'Orme propofes another Ionic bafe, which he fays he has found in antique remains ; this differs from Vitruvius only in having two aftragals of different bignefs between the plinth and the fillet of the firft fcotia. The weaknefs of the fillet next the plinth is the greateft objection of all to Vitruvius' s bafe. It is moft probable that the projedtures of bafes were originally alike in all the orders, and we find they made them fometimes greater and fometimes lefs in the fame order. The bafe of the Doric has the fame projedture in the ColiJ'ceum with that of the Ionic in the temple of Concord. Among authors we alfo find the fame uncertain manner. Serlius gives a greater projedture of bafe to the Dufcan than that of the Compojite, and Scammozzi gives a greater projedture to the bafe of his Compofitc than of his Tufcan. 1 ’ itruv. OF architecture. r / Vitruvius allows to bafes in general a fourth of the diameter on each fide, but ; i Chap. 3 is much more than is any where to be found in the antique : yet fpeakino- 0 f the -*— which we have been defcribing in particular, he fcarce makes it larger than ; lead of the antique. In this, as in all other cafes, we recommend to the judi¬ cious architect to confider what is a mean, and then regulate himfelf, accordin'* to his judgment, within the limits of either excefs. This mean he will find, by a full calculation, to be about eighty minutes. CHAP. XIII. Of the Jhaft of the Ionic column. I N the Ionic the height of the entire order is, according to Palladio, nine diame¬ ters : this includes the {haft with its bafe and capital. We find it taller in propor¬ tion to its thicknefs in fome of the antique remains, and tliorter in others; but neither the antient architedts, nor modern authors, have varied fo much in this as in moll of the others. The mean meafure in height for the entire order may be fet down at fe- venteen femidiameters and one third. It has its cindlurc at the bottom, where it reds upon the bafe, and another at the top, over which is an aftragal, under the echinus of the capital. We find a liberty taken in the diminution of this column, as in the other orders j we have obferved before, that although a diminution is a very necefiary and elTential thing in all regular columns, the proportion of it in general is not at all fettled or re¬ gulated ; nor do the antients feem to have followed any general rule. If we would take their examples into confideration, we find in the lone of the temple of Concord, the fhaft ot the columns being thirty lix toot high, and four foot two inches and a half thick, the diminution is ten minutes and a half; in the temple of Fartuna virilis the height of the (haft is twenty two foot ten inches, the diameter two foot eleven in¬ ches, and the diminution feven minutes and a half; and in the fame order, in the Colifccum, the (haft is twenty three foot high, two foot eight inches and a quarter dia- meter, and the diminution is ten inches. The other variations we have taken notice of already, but with refpeft to this the architefl fees how he may change it according to his pleafure. But the regular proportion, taken at a medium, for the diminution of this and other orders, is about eight minutes. The belt intercolumniation for the Ionic order is that of two diameters and a quar¬ ter of the column. This gives it a very well proportioned diftance between the di¬ ameters of the Doric intercolumniation, and that of the Corinthian , which is only two. 3 When i'PTi i So A COMPLETE BODY Book II. When the Tonic column is fluted, a very different method is to be obferved from '- - J that which is ufed for the Doric ; but this is common alfo to the Corinthian and the Compofite ; that of the Doric only being Angular. In the Doric the flutings are only twenty; in the Ionic they mull be at leaf! twenty four, and they may be thirty two. Vitruvius , and the general pra&ice of good archite&s, authorife this; (but there are not wanting exceptions,) though there are no authorities for it in the antique. There is but one building of the Ionic antique at Rome , where we fee the columns fluted ■ and this is the temple of Fortuna virilis, and there the flutings are only twenty. Whatever be the number of flutings in the Ionic{ haft, their depth always diftinguifhes them, for they are cut to a full femicircle. Thefe flutings are fometimes Ailed up with a plane, or twilled piece ; in the Aril they are called ftaffed, and in the other cabled columns: but this is to be done with moderation and difcretion. The cabling, or other Ailing up, fhould not be carried higher than one third from the bafe, and it has the bell look when the columns have no pedeftals; it fhould never be ufed but when the Ionic order Hands upon the pavement, or is the flrfl order ; when they have an order under them, they fhould be either plain in the fhaft, or have the flutings vacant. The intent of this cabling or Ailing up is only that the Ades may not be left too weak by the flutings ; there is a real ufe therefore in defending the part of the co¬ lumn that is expofed to blows and injuries in this manner, while there is a lightnefs given to the upper part, which is always the effedt of flutings j but, in ftridt juflice, we are to look upon the utility of Ailing them up as a proof that flutings are in reality a work of fancy rather than of judgment. We fee the flutings in fomc work* nnly Ailed up near thp <“dgp of the Adps ; this is a Angular and not very warrantable practice; it exprefles a weaknefs, which it would be better to prevent than to have recourfe to fuch contrivances to remedy. It will be obferved by the critical reader, that againfl what we eftablifh as a rule, the columns on Conjlantine s arch are fluted, though they Hand upon pedeftals; but this is to be anfwered eafily, for that arch is manifeftly compofed of remains of other build¬ ings, and thofe columns had probably no pedeftals in their original place. In cutting thefe flutings in the Io?iic fhaft the architedl is to make each divifton be¬ tween them a third part of their breadth ; this divifton in general is called the Ade, and its front the lift. Thus each twenty-fourth part of the furface of the column being divided into four parts, three of thefe are for the fluting or hollow, and one for the lift. There is variation in this as in other refpedts, but this feems a middle proportion. There are three ways of terminating thefe flutings on the fhaft; they may be termi¬ nated round in the manner of a nich, top and bottom, which is the moll ulual and the a molt •A* I •» 3 y*i ;'p:i PALI ADI Os fclieme for theYOLU TE Ieinple of POUT LYE TlRILIS. THE AT RE of MARC ELLY S. COLISAUM. Variations iu Bases and Ionic Capitals. Tinted Doric. j oxic Base re Lorme. 1051 c BaseYitrutxus. Cable Flutin .re the point falls upon this line’ which feparates it into four and a half above, and three and a half below there is the centre or eye of the volute: this muft be one of the eightparts in diameter: from this point a line is drawn which interfeCls the catheta at right angles, and this divides the vo¬ lute .exactly into four parts: a fquare is next to be formed in the eye of the volute and its bignefs to be half the diameter of the eye : two diagonal lines are to be drawn on is and upon them are to be marked thirteen points, the centre of the eye being one: thefe are fo many centres on which the point of the compafs is to ftand to mark the volute, in the order of the numbers marked in the defign : the aftragal, which fome reckon a part of the (haft, not of the capital, ftands right againft the centre of the eye of the volute : the volutes are as thick in the middle as the projeCture of the ovolo winch reaches beyond the abacus as much as the eye of the volute: the hollow or chan- of the volute is to be even with the fhaft of the column above : the aftragal turns round i8z A COMPLETE BODY Book II. round under the volute, end is ah the way vifible, the fuppofed (lendernefs of the ---- volute making it give way to the fuppofed (Length of the adragal, from which >t ,s every where equally diftant. Originally the Tonic capital had but two of its parallel faces ornamented with volutes, the other two fronts had balluders reunited by an intermediate apple. This had no inconvenience while the voluted faces of the capital prefented themfelves in front ; but the fir ft projecting angle, the fil'd return the halufer'd face was feen. This had two difadvantages: either the capitals of a whole range of columns prefented their balu- flered faces in front, which had a very bad effea ; or the capitals of the two corner co¬ lumns in a portico prefented a different facing from all the others. This was the com¬ mon choice in two fuch inconveniences, but it was very bad. The Ionic capital reded with this inconvenience among the antients. Scammozzi has the merit of having perfeded it: he has (hewn the method of making four parallel faces, and all voluted. This ingenious author, content with making the four faces alike, preferved the fquare plinth, which left the thicknefs this conjundion makes of equal volutes through the whole : but later architeds have improved farther, and have difpofed this thicknefs in fuch a manner that it goes always enlarging below : they have alfo (loped and bent the fquare plinth, making it follow the bending of the faces of the volutes. This per- fedls the Ionic capital: it is in vain for the genius of the archited to attempt any thing farther. : The abacus of the Ionic capital confifts of an ogee and fillet: the rind is hollow under this and preffes upon the ovolo or quarter round : the points in the eye of the volute fervefor centers to the four quarters, of which each of the three revolutions that form the fcrolls confift. Moving the foot of the compaffes from point to point, and drawing a quarter of a circle from each, there will be formed the twelve quarters, which make the fpiral circumvolution of the fcroll. The thicknefs of the edge, or border, which is on the face of the volute, mud go narrowing by little and little till it comes to the eye. This border is raided above the volute, one twelfth part of the breadth of the rind; and as the rind grows narrower and narrower, and this border diminidies proportionably, its elevation ought alfo to di- minifli; and this diminution mud be determined by the breadth of the rind, of which it is always to be a twelfth part. This border is deferibed by a fecond draught, in the fame manner that the fird was; placing the foot of the compafles in twelve other points very near the fil'd, namely, at the fifth part of the didance that is between the former; under which they are to be, reckoning toward the centre of the eye. To find the projedure of the abacus it is the ufual pradice to give the ogee and fillet a procedure beyond the perpendicular line, equal to the height of the ogee. The projedure of the ovolo is equal to its height. This O F ARCHITECTURE. 183 This member is carved in the ufual manner, and five of the eggs are to be cut in Chap. 14. each face of the capital; but only three of the five are to appear entire, the two that 7 are next the volutes being in a manner covered by three final) hiilks which ilTue out of a leaf, the ftalk of which lies upon the firfi; circumvolution of the fcroll. Thefe are the volutes on the front and back of the capital: the fide-faces, when different, arc balufter’d, or have the reprefentation of cups of pomegranates, called ba- lufters or balaufters, which are double, having a pomegranate in the middle ; the edges towards the volutes Vitruvius makes two twelfths, that is the breadth of the eye. The contour of the pomegranate he calls the girdle or belt; but his femicircalar out-line does not agree with what we find in the antique, in which the form is irre¬ gular. This balufter is carv’d with great leaves, as the pomegranate is cover’d with {mailer : they are intended to reprefent laurel leaves, and are rang’d like fifhes fcales. As we find variations in many other tilings in the practice of the antique architects, fo we do in this capital; the proportions of Palladio are thofe of Vitruvius , but we fee capitals of very different kinds in this refpedt among thofe admir’d remains. The height of the capital is eighteen minutes in the Colifceum , and in the theatre of Mar- cellus it is twenty one minutes and two thirds; and in the temple of Fortuna virilis it is twenty one and a half. The ovolo in the temple of Fcrtuna virilis is larger than all the reft of the capital ; and in the theatre o i Marcellus it is lefs than the rind. In the temple of Fortuna virilis the volute is only twenty three minutes and a quarter; in the Colifceum it it twenty four and a half; and in the theatre of Marcellas it is twenty fix and a quarter : thefe are great variations, and yet they all ftand in admired works, and all are beautiful. In the fame manner, the breadth of the volute is twenty three minutes and a third in the Colifceum ; in the temple of Fortuna virilis it is twenty five and a quarter ; and in the theatre of Marcellas it is twenty four. Thefe variations are not only found in antique remains, but are preferved in the writings of authors who found themfelvcs upun one or other of them. We fee Pal¬ ladio makes the ovolo larger than the rind, and in this moft agree with him; but Al¬ berti and Scammozzi make them equal. In fome of the antique buildings the eye of the volute does not exadtlv anfwer the aftragal at the top of the column : but though fome writers alfo follow this, the other way is preferable. The faces of the volutes which ufually make a ftrait flat, are fomewhat curved in the temple of Fortuna virilis ; the circumvolutions going all the way advancing outwards: we fee them form’d in the fame manner in fome of the Compofte capitals of the Roma?is, as in the arch of Titus and Septimius. In the temple of Fortuna virilis the edge or border of the fcroll is not plain, as in other places, but is accompanied with a fillet; and this is a lingular and very beautiful addition. In the balufter’d capitals the leaves which cloath the cup are plain, long, and nar¬ row, as in that of the theatre of Marcellas ; or they are, according to Palladio’s figure, beautifully raffled. In fome antique remains we find them large, as in the temple of Fortuna virilis , where they refemble thofe olive leaves fometimes cut in the Corinthian capital. On 184 A COMPLETE BODY Book II. On the angular columns in the fame temple of Fortuna virilis , the two faces of the volutes are joined together at the outward corner, and the balufters meet in the lame manner in the inner corner ; by this means they appear with volutes on all fides. We have mentioned Scammozzi 's improvement, which mod of the other writers follow, by which he makes all the four faces alike; taking away the balufters, bending all the faces of the volutes, and hollowing them inward as in the Compofile order. Scammozzi , though he has thus perfected the Ionic capital, yet might have finished it more elegantly if he had a little more clofely followed the Compojite, from which he took the hint; for his volute is every where of equal thicknefs, whereas in the Ionic of Fortuna virilis , and in the Compojite , it goes enlarging itfelf very beautifully down¬ wards. Scammozzi caufes the volute to fpring from the ovolo as a vafe, after the manner of the modern Compojite: it is the modern only that has this, for in the Roman Compojite the bark pafles over the ovolo, and under the echinus ftrait, and returns only at its extremities which form the volute. The method of making the Ionic bark fpring thus from the ovolo, leaves the abacus without a fupport, being only an ogee, not like the fquare firm plinth of the Doric. In this Scammozzi has departed from the Ionic of the antients, and from truth and propriety at the fame time. . Scammozzi makes the abacus two ways, leaving the choice to his readers; one way is with a fweep, as the volute, as it is in the Compojite capital; the other is ftrait and perfectly fquare, as it is in the antient Ionic. We fee it thus in the temple of Fortuna virilis, where the abacus does not extend itfelf on the corners of the volutes, there be¬ ing only a leaf, which coming from the corners of the abacus, turns itfelf down upon the volute, and defeends till it comes juft againft the eye of the fcroll; and ft ill* more to diftinguifh this from the Compojite , there is no tiower between the volutes. Later architects have added an enrichment to the Ionic capital, which even Scam¬ mozzi, in his rage of improvement, never thought of: this is the making feftoons, which fpring together with the hufks of the volutes, from the flower whofe ftalk lies upon the firft circumvolution of the volute. Vitruvius makes the volutes to fignify curls of hair, and thofe who invented thefc feftoons feem to have intended that they fhould reprefent curls of hair hanging down on both fides the face. They would thus have the volutes reprefent large locks of hair twifted up, and thefe feftoons the curls, but this is a falfe prettynefs; the intent of the volute not having been the hair of a woman but the rind of a tree. ? One Angularity more we are to name concerning the Ionic capital in the temple of Fortuna virilis , which is, that whereas it is commonly fuppofed they are made more oval and broad fideways than is cuftomary, this is the contrary of the truth ; for in the perfedt and finilhed capitals in this ruin, the volute, fo far from being oval breadth- wiie, is fo upwards and downwards, being twenty fix minutes and a half high, and on¬ ly twenty three and a half wide. 5 We OF ARCHITECTURE. We Ice therefore, that this capital is a very fit fubjed of examination as well as ad- Chap. 15; tniration : for it is by much the mod Angular of them all. Its proportion is very par- '-v—-o ticular, but its variation in the old remains is not greater than in the others; thefe were liberties the antient architcfis took : fancy correded by judgment was their firft guide, and they followed it under the fame regulation, in the fame manner, through all their works ; not permitting an example ever fo beautiful to tye them down to a dull and meafured imitation ; but varying according to the idea of the whole building. CHAR XV. Of the entire entablature in the Ionic order. Ji J H E N the ant 'cnts defigned beauty, they fcldom failed to keep up the eharac- V V ter through every part; we have not a ltronger inftance of this than their ar- chiteds have left in the Ionic order. .We have feen the beauties of elegance, fitnplicitv and proportion, in its column, fo far as the /haft and capital are concerned, and we find the charader in all thefe refpeds perfedly retained in the entablature. Its ele¬ gant fnnplicity is peculiar, and as it anfwers to the reft of the order, perhaps may be laid to excel any of the others in truth. The whole entablature in the Ionic order makes a fifth part of the height of the column; this is the proportion of Palladio, and the feveral parts have the following meafures. The whole being divided into twelve, the architrave is to have four the freeze three, and the cornice five; thefe feveral parts we flrall, for more diftinflnef? confider feparately in two fucceeding chapters. With re/peft to the entablature entire, as we have given Palladio’s dimenfions, we fliall /hew the architect what others have alfo determined, and how far they are au- thorifed by antique remains, the rules they lay down being all drawn from thefe. The meafure eftablillied by Perrault is two diameters of the column for the entire height: for its divifion he firft makes a meafure of the whole, conftfting of twenty parts, and he gives fix of thefe to the architrave, fix to the freeze, and eight to the cornice: this we fee differs from the meafure of Palladio, who makes the architrave larger than the freeze ; but thefe are points in which there has been more variation. I itruvius makes the freeze larger than the architrave, and many confider him as the moft certain oracle. Palladio does not ufc lightly to diflent from him ; and here the medium feems to be the making thefe two parts equal, as is done by Perrault. Vig¬ nola and Do L’Orme have followed Vitruvius, while his profeffed pupil Palladio de¬ parts from him ; but Palladio has fufficient authority in the antique, for the architrave is larger than the freeze in the Ionic of the temple of Fortuna viriiis, and in that of the theatre of Marccllus. Serlius, Cataneo, and Viola , follow Palladio and thefe examples : Alberti has been Perrault's mafter, having allotted thefe exadt proportions. Which ever way the entablature is made in this rcfpo.fi, there is the fame character of elegance about it; but as fimplicity is alfo eflential to it, this is heft preferved by the equality of thefe two parts. N’.XVIU. ~ ‘ ‘ B b b A i S6 A COMPLETE BODY Book II. A great beauty in this entablature is the having few fquare members. They are the *' ' harfh and dry parts of thefe ornaments, and the round and fwellmg are their greateft beauty : the others muft be introduced to give variety, but there muft be great care this is done with tafte ; and in no part of the antient architedure are they fo happily united as in this beautiful entablature. C II A P. XVI. Of the Ionic architrave atid freeze . p ALL AD 10 , who makes the architrave in this entablature larger than the freeze, divides it into five parts; of one of thefe five he makes a cvmaiium, and the relt he divides into twelve, and out of thefe he mea^res the three fafcia?, which are al¬ lowed to the architrave in this order : three of the twelve parts are given to the firft fafcia and its aftragal, four to the lecond and its aftragal, and five to the third. This then is the proper conftrudion of the Ionic architrave ; it confifts of three fafcia?, their aftragals, and a cymafium; thefe three which differ in height begin with the lcaft and end with the greatefl: the firft fafcia, which is fmalleft, refts upon the a- bacus, and is terminated at top by its aftragal; the fecond, which is larger, refts upon this, and is crowned with its aftragal; the third, which is biggeft of all, is terminated inftead of an aftragal by a cymafium, and on this the freeze refts; thefe are the parts and their difpofition. To determine the procedures, take a meafure of twenty minutes, or a third of the diameter of the column; divide this into five parts, and then a quarter of one of thefe fifths is given to the procedure of each face; and one entire fifth to the cymafium and its fillet. This makes one fifth and a half of a third of the column’s diameter for the projedure of the whole architrave. We have given the general proportions, let us now fee the variations from them in the great works, and the dodrines of great mafters. Vitruvius makes the cymafium lefs, and he allows it only the feventh part of the ar¬ chitrave, whereas we make it the fifth ; this is its proportion in the theatre of Mar- celhts, and in other antique remains it is much greater; in the Colifaum it is two ninths and in the temple of Fortuna viri/is two fifths. As it is found various in the antique, fo the rules differ which are laid down by authors; Serlio and Builant make it little, according to Vitruvius ; Palladio , Virus!*; Alberti , and Viola , make it larger. Wc have given aftragals to terminate or feparate the fafcia;, as Palladio has done ; but we fee vaft: variations in this refpeft in the antique; there is but one aftrac ft in ^ the OF ARCHITECTURE. the Ionic architrave of the temple of Fortum virilis, and that is in the cond fafcia, not between two, as we put it. the middle of the fe- Chap. 16. Scammpzzi borrows an ornament from the Corinthian order, and puts an aftragai under the cymafium. If we may determine between fo great authorities, the plainnefs which Vitruvius gives this architrave, by cutting off the aftragals, is too great ; it is true fimplicity is the character of the Ionic order, but then it is an elegant fimplicity. That plain fim¬ plicity of three unfeparated faces in the architrave would- better become the Doric ; here we are to approach toward the ornament of the Corinthian entablature, for the Ionic is to be a medium between the plainnefs of the Doric and the great elegance of that order, and this mean is happily hit by the addition of aftragals between the fafeife : in this Palladio refined with judgment upon the principles of this great maf- ter; we fee him in this order varying freely, and in this part perfe&ly right. Indeed Vitruvius is fingular in his doctrines on thefe heads, and allows too great a liberty to the fancy of the architect; he places the diftin&ion of thefe orders in the form of the capital alone, and makes the Corinthian fometimes borrow the entablature of the Ionic , and fometirnes even of the Doric ; but this we muft disapprove, thefe compoied orders introduce confufion. Each entablature is fuited to its order, for they had judgment who devifed it; and the chafte and fevere taife that continues each to its own column will always beftpleale the moil judicious. ! i SS A COMPLETE BODY Book II. the order, all this is left to the fancy of the architect. The freeze is the feat of orna- ment; but we (hall remind him of the character of the order, which is elegant fim* plicity, and therefore caution him that if ornaments be added, they be not exceflive. In this, as in the divifion of the faces of the architrave by aftragals, let him remember the Ionic entablature is to be a medium between the plainnefs of the Doric and the richnefs of the Corinthian . One thing farther we mud mention refpe&ing this freeze, which is, that it is fome- times form’d in a particular manner, not flat as in all the other orders, but raifed into a roundnefs like a cufhion or a pillow. The baths of Diockftan give an inftance of this freeze in the Ionic order; and from this inftance, for there is no other in the antique, Vitruvius has eftabliftied it into a rule. When it is thus made fwelling it muft be a final 1 fegment of a circle ; and it is not without a very good effedt, though not fufficiently regarded by the prefent architects. H P. XVII. Of the Ionic corttice. T HE cornice of the Ionic order is exceedingly elegant. Its projecture is mode¬ rate, and it is at once beautifully concealed, and finely fupportcd. There is an appearance of weight, and as it were a danger of falling, in the Doric cornice • but this is light and muft always be look’d upon with eafe and fatisfadion : as there is nothing extravagant in the projedture, there is nothing harfh or fharp in the mould¬ ings. The fquare members are few, and confequently there is a look of foftnefs and they are blended happily, fo that all is harmony and regularity. It is compofed of an upright ogee, which terminates it at the top ; under this comes a cima reverfa, or inverted ogee, and under this the corona; under the corona is the cima of the modillions, then follow the modillions $ under thefe is an ovolo, and un¬ der that a cavetto which refts upon the freeze. Here are round and undulated members, finely difpofed, and judiciouflv varied ; and from this refults the great beauty. The proportions of thefe members, according to Palladio , are thefe. The whole cornice is divided into feven parts, and three quarters of a feventh. Two of thefe parts are given to the cavetto and ovolo over die freeze, two to the mo¬ dillions, and three quarters to the corona and the upright cima. The projedure of the whole cornice is to be equal to its height We OF ARCHITECTURE. t8g We Tee Palladio counts only feven members in the Ionic cornice; Perranli' s Chap. reckoning is ten, and the ufual way of meal'uring them is by thofe twentieths of the ^ ^ N “' entablature, of which the whole cornice takes eight. Inftead of the cavetto and ovolo of the lower part, an ogee is mdde to reft upon the freeze, which has for its height one of the twentieths; over this comes the dentel, which has one and a half. Over thefe comes a fillet, which has only a fourth of a part in meafure ; this is followed by anaftragal, which has as much; over this rifes a quarter round, which has juft one part; on this refts the corona, or drip, which is the fixth member, and has one and a half; the depth of the drip under the corona is one third of a part. The feventh member is an ogee, which has half a part irl height; the eighth has a quarter only, it is a fillet; the ninth is the cymafium, which has one part and a quarter ; and the tenth is the lift or fillet, which has half a part. This admeafurement and divifion makes a very beautiful and regular Ionic cornice, and is fupported by the antique, The proje&ures of thefe Teveral parts are to be found by dividing a third of the dia¬ meter of the column into fifths; twelve of thefe fifths go to the whole cornice. The ogee has one taken from the furface of the flat freeze ; the denticle has three; the quarter round, with theaftragal and fillet under it, four and a half. The corona has eight and a half; the ogee with its fillet nine and a half; and the cymafium twelve. In order to cut the dentel, the height is to be divided into three parts; two of thefe are to be given to the denticle, and one to the fpace between. The cutting of the dentel is thus directed by Perrault , and it has a very happy effedt. Vitruvius makes this very different; he gives but half the height of the dentel for its breadth, and but two thirds of the breadth for the fpace between : this is making it very narrow. Barbaro and Cataneo follow Vitruvius in this, but Serlio and Vignola make it larger. The proportion here afiigned is much more beautiful, and is fupported by the au¬ thority of the antient remains in the theatre of Marcellus, the temple of Jupiter ful- mi nans, the arch of Septimius , and the three columns in the Campus Vaccinus. As Vitruvius makes the dentel very narrow, we on the contrary find it in fome of the antique remains very large and broad ; the width being nearly equal to the height. This we fee in the temple of Fortuna virilis, in Nerval s forum, and in the arch of Vitus, and that of Conjlantine. We have propofed to the architect to be careful in ftudying Palladio ; that he make himfelf mafter of all the knowledge he contains: and we have in general propofed that author as a rule, and his defigns as models; but here we have an inftance how neceflary it is alfo to go farther. Palladio gives modillions in the Ionic cornice, but ! 8. C c c Vitruvius A COMPLETE BODY II. Vitruvius makes denticles in their place ; and we find this fo general in the antique : that it may very well be received, for the chara&eriftic of the cornice in this order. Almoft all the authors who have followed Vitruvius give thefe denticles. Scam- mozzi and Viola agree with Palladio in introducing modillions; they borrow their cornice from the temple of Concord , which is an irregular Ionic in every refpedt. Thefe additions very happily chara&erife the cornices of the feveral orders: mutules are peculiar to the Doric, dentels to the Ionic , and modillions to the Corinthian. It is eafy to fee that Scammozzi had the capital of this fingular Ionic in his eve when he perfected the faces of the capital in that order ; but this was the. proper ufe of fuch a flight in the antique, as that column and no other: it might give a hint for the adding to the capital, but was by no means fufficient or proper to be the rule of a general order. It is a very common error to enrich the cornice of the Ionic order too much. Vi¬ truvius makes it too plain, who allows it no ornament but the dentel: but they ex¬ ceed on the other fide who make it like the Corinthian by enriching all its members. Lions heads are a common ornament to this cornice, and the architedl fhould place them at equal diftances in the fpaces between the columns. In the temple of Fortun’a virilis thefe heads neither anfwer the perpendicular of the columns, nor the fpaces between them : they are thrown on in perfect diforder ; but the regular difpofition is better. The obvious charader of the Io)iic cornice is that it has dentels, and that the foffit of the eve is hollow. Thefe diftinguifh the cornice as palpably as the volutes do the capital. The ornaments of this cornice we fee are fimple, but they are finely imagined, and follow with an eafy fimplicity and happy lightnefs. There may be reafon in declaring it the moft perfeft of all the cornices : the archite&s are fo lenfible of this, that they often take it where they ought to ufe the Corwthian. This is a liberty againfl which we in general declare, but there may be very realonable excufes for fometimes taking it. CHAP. O F ARCHITECTURE, 191 Chap. 18. CHAP. XVIII. Of the Ionic pedeftal. E do not begin our accounts of the orders with the pedeftal appropriated to V V each, for this plain reafon j becaufc the order is perfedt without it. We have obferved already, that the ufe of pedeftals is always arbitrary, and often wrong; it is with reafon therefore that we throw them to the laft part of the account: but as there may be occafions that juftify their ufe, and fancy may often prevail when there are not, and may be juftified by authority, it is proper that we lay down the neceflary inftrudtions for their form and proportions. The pedeftal of the Ionic order confifts of a plinth, a bafe, a die, and a cymafium ; the plinth, which refts upon the ground, fuftains the die on its bafe, and the die is crowned with its cornice, cap, or head, called its cymaftum. For the proportion of its members the whole is to be divided into feven parts and a half; the bafe is to have two of thefe parts, the cymafium one, and the die or trunk mud have the reft. The bafe of the pedeftal has five mouldings, thus rifing in elegance above th eDoric, which has only three. Thefe are a liftel, an inverted ogee, and aftragal and fillet, and a cavetto. This is Palladio's bafe : there is another taken from the Ionic of the temple of Fortuna viri/is, and Perrault' s differs from this laft only in omitting the fillet that is there be¬ tween the fillet of the upper cimaife and the cavetto. The members in this part of the pedeftal ftiould encreafe regularly, according to the delicacy of the order j fome put an aftragal inftead of a fillet between the cima and cavetto. The die is plain ; the members of the cornice are fix : thefe are a cavetto with its fillet; an aftragal, a quarter round and a drip, or hanging fquare, crowned with a fillet. For the heights of thefe mouldings that cf the cornice is to be divided into ten parts; two of thefe are given to the cavetto, and one to its fillet; four to the drip, two to the ogee, and one to its fillet. This is a very elegant and plain cornice for the pedeftal of the Ionic order, and therefore appropriated to it. We fee ten members in the cornice of this part in the temple of Fortuna virilis, which are too many, they make it confufed ; and Scam - ttiozzi , and fome others, allow it as many as they do to the Corinthian , which is ex¬ tremely wrong. 8 The A COMPLETE BODY Book II. The antients diftinguilhed their orders by all their parts3 and this practice Ihould be followed by the Ikilful architeft. Let him confider the general character of the order, and he will find that not only the height of the fhaft, and decoration of the capital, form the particular charafter of this order, but that the fame idea of a beau¬ tiful fimplicity is carried through every part of it 3 and that is not only a middle or¬ der between the Doric and Corinthian by way of height, but that it is fo in ornament ; neither arriving at the pomp of one, nor finking into the perfeft plainnefs of the other : every part that goes to its conftrudtion, and every addition to it, Ihould carry the fame general turn, and it fhould advance from plainnefs to ornament by the fame degrees by which it rifes in height 3 and this in every part as well as every member. CHAP. XIX. Of the Corinthian order . E have feen in the fhort plain Doric the origin of regular architecture j we VV have traced the rife of ornaments in the Ionic , and we are now coming to their perfection in the Corinthian order. This was the height at which the Greeks , to whom we owe the rudiments of this fcience, arrived 3 and perhaps it may be faid with truth, that the elegance of order never was, or will be carried farther. The Com- ■pofite , of which we fhall fpeak hereafter, is but the Ionic lifted upon the Corinthian. capital, and what it gains in abundance of ornament it lofes in lightnefs. The Corinthian has at once an air of dignity and beauty 3 it forms an objeft that {hikes and commands the attention, and never is feen without pleafure as well as ad¬ miration. There is a noblenefs in its graces, and whatfoever decoration is given to it feems to belong to the order : the great care of the architect mud be to proportion the decorations in all the orders to the proper char after 5 and it is in this he may be mod lavilh. Each order has its charafter 3 and elegance is that of the Corinthian . The firft care in the fludy of judicious architefture mud be to diftinguilli the properties of the feveral orders, and to luit their additional decorations to them. The origin of the Corinthian order is attributed to an accident; the Greeks had firfi: built with the Doric, in which the capital was formed only of mouldings; from this they had advanced to the Ionic , on which were volutes, and the column they had made taller 3 after this, as they grew more licentious and luxurious in their defires of deco¬ ration and elegance, this chance gave the hint for a new order. A balket had been fet upon the ground, and covered with a fquare tile 3 there grew near it a plant of acanthus, or bear’s-breech; the leaves Ihot up and covered the outer furface of the balket, and as the ftalks rofe among them, they foon reached the tile which over-hung the edges of the balket at the top 3 this Hopping their courfe upwards, they curled and twilled themfelves into a kind of volutes. In OF architecture. *93 In this condition a fculptor, Callimachus, faw it; the twitted part of the ftalk re-Chap to prefented to him the volutes of the Ionic capital, which as they were here fmaller and 1 —- v—- 1 more numerous, appeared in a new form ; he faw the beauty of railing them amono- leaves, and was ftruck with the reprefentation of a lofty and noble capital. The thought was put into execution, and formed what all the world has lince ad¬ mired. The balket in this cafe was the vafe or bell of the capital, the tile the abacus, and the leaves and ftalks cut in ftone were the great charadters of the order. The ufe" of the Corinthian is in great and elegant buildings, and it never is feen to fo much advantage as when it makes the fecond or third row of columns in mag¬ nificent ftrudtures; any of the maffy orders may be placed under it, but the Ionic is the mott proper, for the progreflion is moft beautiful where lead: violent: and the Com- pofite may be placed over it. But in very few buildings more than three orders are required, and then this thould be the uppermoft. Vitruvius makes the dittindtion of the Ionic order from the Corinthian confift in the capital alone ; according to him the Corinthian is only the new invented capital plac’d upon the Ionic column, but it is beft to diftinguiftt them entirely; and this is done ve¬ ry happily by the other parts. The Corinthian has its proper bafe, and the height of the fhaft differs; there are al- fo ornaments on the architrave and cornice that are peculiar: thefe we find in many antient buildings. N°. 18. D d d CHAP. 194 Book II. A COMPLETE BODY HAP. XX. Of the Corinthian bafe. T/'ITRUVIUS gave the fame bafe to the Ionic and Corinthian ; but thofe * architects who followed him invented a new and proper bafe for this or¬ der. Indeed invention is too honourable a term, for it has nothing new in its character, though it is made to differ from the others j it is a kind of compofition of the Attic and Ionic bafe, and is neither fo perfeCt as the former, nor fo faulty as the latter. The Corinthian bafe is the Ionic augmented by a large torus placed immediately upon the plinth ; this gives it fomewhat of the appearance and character of the At¬ tic., but there is too much work between the two torus’s; and it takes off that great abfurditv of the Ionic bafe, which is its diminifhing downward. Indeed one would think this the original, and that the Ionic had been made by cutting off the under torus. The Ionic looks as if it were in danger of breaking off at the bottom, and the Co¬ rinthian as if that danger were in a part a little higher; this is all the difference. So¬ lidity and firmnefs fhould be the charaderiftics of a bafe, and t-hefe want them even in appearance. It is true that the Corinthian column, being the mofl elegant of the three, have a lighter bafe; but this is tco light; it is too delicate. fhould The mouldings are too nice and too tender, they are in danger of continual inju¬ ries j and this fhould not be, for a bafe is in the way of accidents. Thofe who invented this conlidered that the order was generally placed upon fome other, fo that its height preferved it; but they fhould have remembered that it fometimes is fet upon the pave¬ ment. Probably this bafe was invented for it when in the upper range of fome great ftrudure, and thofe who afterwards placed it lower did not confider the intention of the firft author. Let the architect who fhall ftudy upon our plan remember it: let him recoiled that the Corinthian order gives him the choice of two bafes, and ufe them oc- cafionally according to the circumftance. When it is placed upon the ground let him ufe the Attic bafe, and when it is railed over another order let him take its own; for larger columns the Attic bafe is propereft, and the right Corinthian for fmaller ; all this depends upon the fame principle, the Attic is ftrong, the other light. The Corinthian bafe confifts of a large under torus, a fmaller upper torus, and af- tragals and cavetto between them ; thefe reft upon the plinth. The aftragals are two, and there is a cavetto between them. We OF ARCHITECTURE. r 95 Wc find a great deal of diverfity In the proportions of this bafe and its members. Chap. 21. both in the remains of antient buildings, and in the writings which eftablilh rules for *•—v——' praflice. We lhall therefore take the medium. The height of the whole bafe, with its plinth, muft be a femi-diameter of the column. This proportion is fupported by many examples from the antique ; but there do not want variations here as in other parts: we fee in fome remains the upper fcotia of this bafe fmaller than the under, but the prefent architefls, and moil of the writers on the fubjedt, make them equal. They are alfo much better in their effedt when they are thus without difference. CHAP. XXI. Of the Jhaft of the Corinthian order. T H E R E is a great deal of diverfity in refpefl of the height of the entire order in the Corinthian among antient remains In the portico of the Pantheon it is nine¬ teen femi-diameters and fix minutes; in the temple of Vejla it is nineteen and nine minutes; in the temple of the Sibyl it is fixteen femi-diameters and lixteen minutes in the temple of Para it is nineteen and two minutes; in the three columns in the Campus Vaccinia it is twenty femi-diameters and fix minutes ; in the temple of Faujlina it is juft nineteen ; and in the Bafilic of Antoninus it is juft twenty s in the porch of Septimius it is nineteen and eight minutes; and in the arch of Cmjhmtine feventeen and feven minutes; and finally, in th eColifaum feventeen and feventeen minutes’ Here we fee a vaft variation ; the architect: Ihould know how far he may wander on either fide of a medium, without being beyond the fanflion of authority; but at the fame time he fhould know what the mean is. Among authors we find the fame kind of variation, though in a lefs degree. Vi¬ truvius makes the height nineteen femi-diameters, that is, nine diameters and a half, taking for his example the temple of Faujlina ; Serlio makes it eighteen, that is juft nine diameters: this is a meafure fupported by no particular authority, but the effedt of his fancy. Palladio , taking for his guide either his great mailer Vitruvius , or the temple of Faujlina , as he had, makes the height nine diameters and a half. If we take a mean meafure among all this variation, it gives the height at eighteen femi-diameters and two thirds: this, though it feems a broken meafure, yet may, by a different admeafurement, be made an equal one 3 it is juft twenty-eight thirds of the diameter of the column. This is the meafure Perrault calls a little module, and it gives a very regular progreffion in height in the columns, according to their feveral orders j the Doric at a mean being in height four and twenty of thele thirds, the Ionic fix and twenty, and the Corinthian , as we have feen, eight and twenty j and if we take into the account the two additional orders to be lpoken of afterwards, the progreffion 2 being »» \'Wjg) » ~y * f g-y , 9 6 A C 0 M P L E T E B O D Y Book II. being the fame, the Tufcan has twenty-two of thefe thirds of the diameter in height, '-"‘v——' which is two lefs than the Doric, and the Compoflie has thirty, which is two more than the Corinthian. The Corinthian column has a liftel and aftragal at the bottom where it reds upon the bafe, and the fame at the top. The capital rifes from this aftragal. In the diminution of the Corinthian column, we find a great variation according to the pleafure of the architects who built thofe ftru&ures, from the remains of which we draw all our rules ; in the temple of the Sibyl we have Corinthian columns but nine¬ teen foot in height, and their diminution is eight minutes : and in the columns of the Campus Vaccinus , which are feven and thirty foot high, the diminution is only fix mi¬ nutes and a half. At a medium we may fet down the diminution here as in the other orders at two fifteenths of the diameter of the column. The proper intercolumniation for this order is two diameters of the column. Having thus fpoke of the height of the entire order, we come to the height of the lb aft alone which is the proper fubjeCt of this chapter. The height of this is lefs than that of the Ionic fhaft, and that for a very plain reafon; the orders are to proceed gradually, and regularly riling in height, and the rife mud be in the entire column, not in its fhaft alone : now the capital of the Corinthian is fo high, that if the fhaft had not been reduced, the augmentation mull have been too great from the Ionic to this order. The Corinthian fhaft is often fluted, and it is a practice much better fuited to this than to the odier more mafly orders. The number of flutings mud be twenty- four in this order, and they mud be made half as deep as they are broad ; the fpaces between mud be one third of the breadth of the fluting: this is the propor¬ tion of Pallad o. As there is a lightnefs communicated to the column by this pradice, we fhall give the architect this advice in the ule of it, that it is bed for columns removed from the ground ; and that when the column is fluted, it will be proper to ufe its regular and appropriated bafe, for that has alfo an air of lightnefs and delicacy. Perhaps it maybe allowed a very good general rule that the column fhould be plain, and have the Attic/: bafe when it is on the ground, and that it Ihould be fluted, and have its proper bafe, when it is railed upon another order. C II ♦TsUTiT CORIN T PI I A N C A 1*1 T A I* S . Tmiple of Ye STA ,1 tROMB. B AS ILIC of ANTON IXE . A:PaLLA1)1 O. C AMPTS YACCTNrr s. frontispiece of N ERO at ROM E. Mars fetor at Rome. PORTICO of S El TIME s Severe s . TEMPLE of V K STA at 'flA'Ol 1 . O F ARCHITECTURE. CHAP. XXII. Of the Corinthian capital. Chap. 22 T HE capital is the part that gave rife to the idea of the Corinthian order, and is the great article of its didinCtion. It is this that gives the air of dignity and richnefs to the order. We have feen that the {haft is reduced to make way for its height, and it makes ample amends by its richnefs. It is a rounded vafe, covered with an elegant abacus, and furrounded with two rows of leaves ; thefe are feleCted from among the mod beautiful in the vegetable cre¬ ation, and their bending gives an eafy and fine projection. From among thefe leaves rife dalks which terminate at top in a kind of little volutes at the corners and in the centers of the abacus. The vafe ferves as a field, upon which the foliage is beautifully difpofea, and the leaves have a projection that encreafes gradually, and they give room For all the genius of the fculptor in the raffling. The ftalks rife naturally, and their rounding at the extremities is natural and elegant; there is in the whole of this capital a moft happy foftnefs joined to confummate richnefs: there is variety equal to the grace. The leaves are very happily chofen, for they fwell and divide fo finely in the plant that they are a perfeCt model for the fculptor, and they give a fwelling out-lir.e to the capital which Palladio fo happily difplays in his figures; and which mod of the other writers have neither felt nor communicated. In them all is drait, in him there is a fwelling at the bottom of the lower tier of leaves, which takes off the harfhnefs, and very perfectly agrees with the flowing grace which is fo finely difplayed in the red of the capital. The whole capital differs extremely from the others; the abacus is a decorated part, and altogether unlike that of the plainer orders: this is its termination at top, and at the bottom it has no ovolo, but rifes immediately from the adragal, which is a part of the fhaft. The other capitals are addded to the tops of the fhafts, but this feems to grow out of the column, and there is in that an air of great and particular beauty. The rife of the leaves make what may be called the neck of the column ; and from this rife the dalks which fupport the volutes. Thefe have only a Flint external refemblance of the Ionic , not a real fimilarity. The height of the entire capital is to be a diameter and one fixth of the column ; this fixth part is allowed to the abacus; fo that the foliage and volutes are jud a diameter high, meafuring, as in all other refpeCts, from the bot¬ tom of the column. This height is to be divided into three equal parts, and of thefe one is given to the fird row of leaves, another to the fecond, and the other third to the remainder. This third is to be divided into two, and the upper half is to be the meafure of the volutes, and the other of the leaves that fupport them, and from which they feem to grow. The dalks which fupport them mud be fomewhat thick at their lower parts, and diminifh as they rife. N\ XIX. E e c The 198 A COMPLETE BODY The vafe, tympane, or bell, which is the inner part of the capital, mud be diredt to the bottom of the flutings of the column, when fluted. Thefe are the proportions of the capital,according to Palladio: we fee it confifts of four parts befide the abacus; thefe are a firft row of leaves, a fecond row, the leaves covering the flalks that fupport the volutes, and the volutes ; and the conftruftion is eafy becaufe thefe are all equal. Over thefe volutes lies the abacus, which far from a plain, is an ornamented mem¬ ber ; its four faces are hollowed inward circularly, and in the centre of each there is placed a rofe or other flower. For the coliftrudion of the abacus, and its due projedture Palladio gives the follow- ing rules: Make a fquare, each fide of which is to be the module and half of the column : let diagonal lines be drawn in this from corner to corner, and where they interfedt one another the fixed foot of a pair of compaflfes mull be placed. This is the centre of the fquare. Then a model mud: he marked toward each angle of the fquare : where the points are, the lines mull be drawn; and thefe will interfed the diagonals at right an¬ gles, and they will touch the fides of the fquare. Words do not fo well convey this, but it is very eafily comprehended by the figure Plate XXIII; thefe lines are to be the bounds of the projedture, and as much as the length is, fo much is to be the breadth of the horns of the abacus. For the hollowing of the abacus a thread is to be laid from one point or horn to the other; and then from thefe points are to be drawn two fegments of circles : one foot of the compalfes is then to be fet at the interfeflion, and the other is to be ftruck, in order to deferibe the arch which will make the curvature: this is f® made that the points of the leaves touch it, and this gives their projeSure. The rofe or flower in the centre of each face is to be of the fourth part of the diameter of the column above. Thefe arc the proportions given by Palladio. The capital may be formed alfo thus : let the whole height be divided into feven parts; and for the leaves take the four lowed parts of the feven, two for each row. The height of each leaf is then to be parted into three, and the upper part is to be given to the defeent the head of each leaf makes at the turn. The three remaining parts are for the flalks, the volutes, and the abacus : this quantity is to be divided now into feven parts, of which two are to be given at top to the abacus, three others to the volutes, and the two that remain to the flalks, which at that diftance meet the leaves. One of thefe two parts is for the bending down of the leaves, of the Jems of which two meet and join where the volutes meet, which is at the four corners and centres. Under the horns of the abacus, where the volutes meet, there is to be a fmall leaf of the acanthus: and this turns back toward the corner of the abacus, to fill the fpace between the volute which defeends, and the horn of the abacus which remains flrait. The OF ARCHITECTURE. 1 99 The proper leaves of the Corinthian capital are divided into feveral parts j there are three ranges of parts, or as it were fmaller leaves, two on the oppofite fides in each range, and the fingle middle one running up between them : fo that the whole is compofed as it were of feven parts, a long one and fix fhorter; this long one* which runs up in the middle, bends back at the point, and proje&s outwards. Chan. Thefe leffcr leaves, of which there are three ranges, are raffled and divided in diffe¬ rent manners. When each is cut into five they are called olive leaves, but very impro¬ perly j the whole or entire leaf does not in this cafe carry the leaff refemblance of the olive leaf, and if every part or divifion of which thefe fmaller portions are compofed, fflould be imagined to refemble at all a leaf of the olive, the manner of the growth is altogether unlike. When each of thefe fmaller leaves, of which there are three ranges, is fubdividcd into three, inftead of five, the capital is faid to be compofed of laurel leaves; there are of this kind in the temple of Ve/la, at Rome : the middle portion of the leaf, bows its head forwards, and its parts are convex outward, whereas the others are fomewhat hollow. Above the leaves in the middle there is a flower; this rifes from among the leaves, and the ftalk is buried between the volutes in the centre, but the flower appears in the midft of the abacus : this is called the rofe of the Corinthian capital, but it often re- prefents fome other kind. The plan of the capital may be alfo thus made : let a fquare be drawn equal to the plinth of the bafe; make an equilateral triangle with one fide of the fquare for its bafe ; the angle oppofite to this bafe is the centre on which to defcribe the fweep of the abacus. The cutting off the horns of the abacus divides one of the fides of the fquare into ten parts ; one of thefe is the breadth of the horn on the cant, which muff be at right angles to the diagonal of the fquare. We meet with a great deal of variation in the proportions of this capital in the an¬ tique ; and from this has arifen a great deal of diverfity among the rules of writers, founded on thofe remains. In the temple of the Sibyl at Tivoli the whole capital, including the abacus, is but one diameter of the column in height ; this is a fevcnth lefs than Palladio gives it, but Vi¬ truvius feems to have taken his rule from it. On the contrary, in the temple of Vejla at Rome , and in Nero's frontifpiece, it is higher than the allowed proportion* being a di¬ ameter and two fixths ; in the upper order of the Colifceum, and in the temple of Ju¬ piter fulminam> it is a diameter and one fixth. Sometimes it is a little higher than this, as in the temple of Mars the Revenger j and fometimes a little lower, as in the baths of Dioclefian. Bullanty Alberti , Cataneo , Barbaro, and Serlio , make it low, like Vitruvius , but the reft of the writers give it the height of a diameter and one fixth, like Palladio. 6 Vitruvius 200 ACOMPLETEBODY Book II. Vitruvius makes the abacus a feventh part of the capital ; and fo it is in the temple 1 v of Fauflina, and the three columns in the Campus Vaccinus ; in the Pantheon it is but an eighth, as alfo in the Bafilic of Antonine; in the temple of Vejla at Rome, and that of the Sibyl at Tivoli , it is confiderably greater. The form and figure of the leaves has alfo a vad variation ; in the temple of the Si¬ byl at Tivoli they are the true acanthus, and Vitruvius cut them in the fame manner • in many very antique remains they are what are called olive leaves, cut into fives; in the temple of Mars JJltor , they are cut only into four. Serlio, Barbaro, and Catanco make them like the original acanthus, the others vary. We have obferved that the two rows of leaves fliould be of a height; but in the antique we fometimes fee the under-row the tailed:, as in the temple of Vejla at Rome , and a multitude of other- examples: on the contrary, in the Bafilic of Antonine the upper range is tailed. In the three columns in the Campus Vaccinus, in the temple of Jupiter fulminans, Mars Ultcr , and many others, they are equal, and, upon a fair examination, this feems the happied proportion. In the Pantheon the ribs in the middle of the leaves arc raffled on both fides, and fometimes they are not cut at all; of each practice alfo there are many other in¬ dances. We have before obferved the fwelling or bellying out of thefe leaves; the fird row has this more than the other, and principally at bottom. This fwelling is very great in the temple of Vejla at Rome-, there is fomething remarkable alfo in the fwelling and number of the leaves in the Corinthian piladers in the frontifpiece of Nero and baths of Dioclefian ; there are three leaves in the fird row, and four in the fecond and they fwell very confiderably : commonly there are only two leaves in the fird, and three in the fecond row, in piladers. There is a difpute about the propriety of cutting off the corners of the abacus in this order. Vitruvius does not diredl it; and in the temple of Vejla at Rome they are fharp : they are eight when cut, but Vitruvius calls them four; he therefore certainly meant they fhould be left entire. In the flower in the centre of each face of the abacus there is alfo a very great vari¬ ation; it is called a rofe in general, but it is often fomething very different from any flower of that kind. In fize it varies extremely ; Vitruvius allows it the thicknefs of the abacus, and no¬ thing more : fome make it drop as low at the upper part of the vafe of the capital ; and in the temple of the Sibyl at Tivoli it is much larger, almofl covering the middle volutes; and in this extreme proportion it has a very beautiful appearance. In form it is commonly compofed of fix leaves, each raffled into five parts, from the centre of which rifles a pointal, fuch as is ufual in the centre of mod flowers. It is an imputation upon the tade and judgment of the fculptors, that they have made this re- prefent a fifh’s tail: there is nothing of this kind in nature, but we fee it thus in the Pantheon, and the temple of JupiterJulminans, and many other remains. In the temple of Vejla it is made to refemble an ear of corn ; and there is the fame fort of central 1 " part O F A R C H I T E C T U Pv E. 201 part in the flower at the temple of the Sibyl , which is large, and has the leaves undi-Chap. 22. vided. In the Bafilic of A?itonine the bottom of the rofe is turned upward, and has an ear of corn in the middle ; in the three columns of the Campus Vaccinus the rofe has the acanthus leaves, it hangs downward, and has a pomegranate in the midft, hang¬ ing alfo downward. Sometimes the antients varied even the character in this ornament; for in the porch of Septimius , inflead of a flower, there is, in the centre of each face of the abacus, an eagle holding a thunderbolt. Upon the whole, nature is the bell guide in all thefe cafes ; the acanthus leaf was that originally ufed in the capital of this order, and it is much more beautiful than any that has been introduced by fancy, or caprice, in its place; the lculptor will there¬ fore do well to keep to it. The roundings and curvatures intended in this capital are much more happily fupplied by the real acanthus leaf than any other ; and its own ftalks furnifh the branches and volutes. Any deviation from this is a corrupting of the original thought, which was one of the moll happy that ever occurred to man. The fubftituting the laurel diviiion, as it is called, is better than the olive, becaufe it is fomething larger ; but the keeping the original acanthus is vaftly bell. The flower of the abacus has very different projedtures in different works of the antique; fome- times it extends beyond the line that goes from one horn of the abacus to the other } we fee it with this projedture in the three columns in the Campus Vaccinus , and in the Bafilic of Antonine ; and fometimes it is within the line, as in the temple of Jupiter fulminans, and of Mars Ultor ; and in fome other examples its projedture is the fame with that of the line, as in the temple of Faufina. In the temples of Jupiter fulminans , and Mars Ultor , the volutes are joined one to another ; and, on the other hand, in the temple of Vejla , and the frontifpiece of Nero 3 we fee them wholly leparate. The helix of the volute is alfo form’d in two manners in the antique ; fometimes it is kept twilling quite to the end in the fame courfe, like the {hell of a fnail; and fome¬ times it turns back again toward the centre, and forms a crooked line like the letter S. We fee an inffance of the firfl: in the baths of Dioclefan , and alfo in the temple of Vef- ta atfivoli, and fome other places; and of the fecond in the columns of the Campus Vaccinus. The volutes of the laft-named columns are very particular ; thole in the middle, in- ffead of joining at the edge as ufual, are interwoven as it were; that which pafies over the other being continued under it again. Thefe, and a number of other variations, in every article regarding the feveral orders, Ihew, that the architedls who cftablilhed the fcience by their works were much more free than they who laid down rules in their writings : but they were free with judgment, and knew the indulgencies of fancy had their limits. N°. 1 9 * F f f C H A P. A COMPLETE BODY Book II. C H A P. XXIII. Of the entablature of the Corinthian column e?itire. T ^HE entablature is, like the other parts, very pompoufly decorated in this order. It much refembles that of the Ionic in its general form and compofition, but there is a vafl: multiplicity of ornaments added ; we have had occafion to obferve be¬ fore, that ornament is one thing, and true beauty another - 3 it is exemplified here : for the Ionic , which is the foundation of this entablature, is very much fuperior to it, tho’ much plainer. There is a chaftity of manner in it which gives a vafl: grace ; and its delicacy is confpicuous, becaufe not buried with decorations. The multiplicity of ornaments is not all that is to be objected to this entablature j the cornice, which is a very material part in every order, is in itfelf very defective in this, compared to that we have deferibed for the other. Having thus far cenfured the high-finifhed entablature ofth q Corinthian, it is fit we mention its excellencies, which are much greater than its defedts. The parts will be feparately confidered in the fucceeding chapters, but here it may not be improper to obferve in general, that the architrave is the moft beautiful and perfedt of that of any order ; that from its loweft face to the cornice the decorations rife gradually; and that their redundant multiplicity is fomewhat foftened by this ele¬ gant and judicious difpofition. The very cornice, which we have fo much objected againfl, is compofed of parts beautifully difpofed, and would be excellent, were it not for the too vafl: projection ; the platfound of the eve isalmofl: as heavy as that of the Doric : a ftrange overfight in thofe who fet out in this to give an order lighter than the Ionic. Let the architedt who has fpirit to attempt innovations keep this caution in his mind, that every part mufi correlpond with the whole: he will not fo well efcape with an overfight as thofe who invented the Corinthian order j for he will not bury the error under fo many beauties. With relpedt to the height of the whole entablature, Palladio lays it down at a fifth part of the height of the column, and thedivifion he makes by twelve, as in the Ionic ; but in this order he divides the cornice into eight parts; of this we fhall treat more par¬ ticularly when we confider the cornice feparate. The whole may be thus conflrudled: the entablature being divided into twenty parts, fix are to be given to the architrave, fix to the freeze, and eight to the cornice, but this, though a very regular is not an univerfal method. Some pieces in the antique depart from it, and fome authors among the moderns order different proportions. Scrlio and Bullant make the freeze greater than the architrave; and fo we find it in the temple of Jupiter fulminam , and in that of the Sibyl at Tivoli • on the other hand, Palladio, Scammozzi, Cataneo , and Vida make the architrave larger than the freeze, S and OF architecture and they are Imported in this by examples of the antient works in the temple of Fad- rh ^ tina, and the arch of Confiantine. Within the Pantheon, tire architrave and freeze am 2 ^* equal: and, on companfon this fecms the moll beautiful proportion. Having thus given a general idea of the Corinthian entablature, we flail now confider it in its leparate parts. 1 H P. XXIV. Of the Corinthian architrave and freeze. T™ “”r hiteVe !S C ° mp0fed ° f three faces - « ^e Ionic, and in the 1 fame manner they are of unequal height, this gives them a beautiful variety hlheft a 0 "d f r"T tS f thC entaWatUre begin ’ rifi "S ** lowed: to L h.ghed, and fo upwards m the other parts of the entablature ; but too hartily. The whole architrave confids of fix parts, and beginning from the top, they are thefe : the uppermod is an ogee with its fillet, under this con.es an adragal, L under th r Tf f a arC , ; th “ COmCS a fmal1 aftra S al cut in beads, and then the fecondface, and under this a leffer adragal and the lowed face. Counting from the column therefore, there is fird a imall face terminated by a little adragal, th°en a ”rge face terminated by another, and then a third, which is larged, over wLich dandfan adragal, and a large ogee with its fillet; and on this reds the freeze. To find the proportions of thefe feveral members, let each of thefe fix parts be di thebwer three; and half a part is to be allowed to the little adragal that fepamtes To determine the projefturee, we are to give fird that of the whole architrave which is two fifths of a third of the diameter of the column. The upper face has one of ha,f a ° ne ' and *■ ^ from T* d ° Wn Pr ° P0rti0nS WE haVC tak “’ at a medium . "hat »'o be learned from the remainsofthe ant,ents, and the writings of the moderns: and having thus Int ent Wn d ^ ^ niCW th< = ftudent how ^ praflice among the ant,ents, and op.mon among the moderns, have on one fide or other feparated from It. Wehave allowed the greater ogee one fixth of the whole architrave; butwefind it baths of D.ockjian,and the temple of Jupiter fulminant: but, on thecontrary in th diree columns in the Camput Vaccine and in the temple of M,, Ultor, it has only a feventh part. In all thefe proportions, though very various, the ogee, as well as the whole - W/ r A. COMPLETE BODY Book II. whole architrave, appear very beautiful; lo that it would be hard where to give the ‘---' preference, nor is any determination fo proper as taking the medium. When we have feen this diverfity of proportion in thefe pieces of the antique, wc Avail eafrly underhand the praftice of the modern writers. Palladio, Vignola, Mart:, and De Li Or me, allow this ogee more than a fifth ; and Serho and Bullant limit it to a feventh: Palladio took the Pantheon, and De L’Orme the columns of the Campus Vaccinus for his pattern ; that is all. Both proportions are beautiful, both authored by rule, and by the antient remains : the architect may therefore take either of thefe, or the medium between, or any other proportion from one extreme to the other. Any thiiw between a fifth and a feventh is juftifiable, nor is there any meafure between them that will be deftitute of beauty. It is thus of the others; we have delivered a middle meafure, on either fide of which the architeft may indulge his genius with va¬ riation ; for the antients, who are his oracles, have done the fame. Thefe variations in proportion are not all we meet with in the antient remains, for there is found a great deal of diverfity even in the conftruCtion of the architrave in this order. In the temple of Peace, and in Nero's frontifpiece, we fee an architrave to the Corinthian, which, inflead of an ogee to terminate it above, has a quarter round, and over it a cavetto: this is lingular, but it is inferior to the ogee, which, in this part of the Corinthian architrave has very great elegance. There is a foftnefs m it which is not in the oppofition of the quarter round and cavetto, though botli round mem- bers. In the temple of the Sibyl there is an ogee under a cavetto for this termination ; fo that one may fay the upper ogee of the architrave is here reduced, and a cavetto is fet over it. Scammozzi feems to have been vaftly pleafed with this variation ; for, inftead of looking upon it as fuch, he has eftablifhed it as the proper and regular conftruflion in this part of the order. The decorated architrave we have given as the proper one for the Corinthian order is not univerfal; we find, among the antient works, Inch as are plain, and have no or¬ nament or member under the ogee, or between the faces. We have inftances of this in the Colifaum, and the arch of Conjlantine. In others there are only aflragals, and no fmall ogee ; this we fee in the temple of Mars Ullor. But we have yet a more fingular obfervation than this to come : there are Corin¬ thian architraves that have only two faces; we fee thefe in the frontifpiece ot Nero, and in the Bajilic of Antonine. In fome we fee the middle face of the architrave ufed as a freeze for the reception of ornaments ; we have a very fingular inftance of this in the three columns m the Campus Vaccinus. This is a liberty we would by no means advife the young architect to think of following : the fault of the Corinthian entablature is that it is too full of or- 1 *■’ njmpntJ • N?. XX. G g g CHAP. OF ARCHITECTURE. naments ; this therefore adds to the fault, for it is multiplying them yet more. T beauty of this entablature is, that the decorations rife gradually one upon another ; but here that difpolition is utterly broken in upon, and the members, whofe compa¬ rative plainnefs is their proper merit, are crowded, let us fay loaded with ornament. The whole entablature in the Corinthian column laft named has a beautiful effedt, but ft ill it is the worfefor this accumulation of ornaments; they were people who had the art of making their errors pafs, by the beauties with which they were furrounded 3 but ftill it would have been better if all had been beauty, and thofe faults, excellent¬ ly as they are concealed, had been altogether omitted. The freeze of the Corinthian entablature has nothing Angular in it, except that we find fome inftances in the antique, in which it does not rife fquare above the archi¬ trave, but is joined by a little fweep. The baths of Dioclefian , and the temple of "Jupiter fulminansy give us proofs of this; and Palladio and Scammozzi have eftablifhed this into a rule for practice; we muft be fo free however to differ from thefe great men in this point. Upon an examination of the antique in its full compafs, we find this pradtice very rare; the plain and natural manner is that generally followed, and certainly what is thus eftablifhed into a rule, was no other than one of thofe variations from rule, into which we have fhewn that the antients, in many inftances, gave very freely. Cb. v . , w There is a great deal to be faid againft this pradtice; the joint which falls between the freeze and the architrave, when thofe parts meet fquare, when they are joined by this fweep, muft be in the midft of the freeze, which has a very bad effedt. The freeze in this order may be left plain, or it ferves as a field for decoration. There is no order in which ornaments are fo proper; and there is no place in the entire column in which thofe ornaments fall better : they are out of their place when they bury the middle face of the architrave, but here we in a manner expedt them. 206 Book II. A COMPLETE BODY CHAP. XXV. Of the C orintiiian cornice. T HE Corinthian cornice confiffs of thirteen members; we (hall at once enter upon a detail of what they are, and their proportions: thefe being delivered together, we fhall treat of their projedures feparately. Let the whole cornice be divided into ten parts; and out of thefe are to be made the thirteen members of which it is to conin'!. The firl! member is an ogee, this is to have one of the ten parts; the fillet of this ogee is the fecond member, and that is to have the fourth of a part. The third mem¬ ber is a dentel, this has a part and a half; the fillet and afiragal over the dentel arc the fourth and fifth members, and the proportion for thefe is one quarter of a part to each. The fixth member is an echinus, or quarter round, and this has one part; the feventh member is the modillion, and this has two parts; there is an ogee for the crowning of the modillion, this has half a part, and is counted as the eighth member. The corona is the ninth member and has one part; the tenth member has-a fmall ogee crowning the drip, and this has half a part; the eleventh is a fillet, it has a quarter of a pert. The great cimaife has one part and a quarter, and is the twelfth member of the cor¬ nice ; and the thirteenth is the fillet, and its proportion is halt a part. This is the entire cornice. To determine the projedures, take a third of the diameter of the column, and di¬ vide it into fifths ; the great ogee at the bottom has one fifth taken from tile naked of the freeze; the dentel has two ; the afiragal that crowns the dentel has two and a half; the quarter round has three and a quarter; the back part, which fuftains the modillion, has three and a half; the corona has nine, the fmall ogee with its fillet ten, and the great cimaife twelve. The archited who is at all converfant with the works of antiquity, will fee that the diverfity of dimenfions, in all the parts of this cornice, is in a manner endlefs in the le- veral remains. We have confidered it as the propereft method to be taken to give thofe which are found in fome one excellent work ; thefe are exadly the dimenfions of the cornices of the Pantheon, which is juftly celebrated as one of the fined pieces of C'.rin- th'um in all the antient works. One difference there is here from the exad order of the parts in that work ; the fmall ogee we infert between the corona and the great cim:is found in all other remains of the Corinthian, but in the Pantheon there is only a fillet. This is a liberty the archited who ereded that great work took, of deviating from the antique in general, and we have reduced his cornice in that artiue to the old fian- dard, which is fo greatly preferable. 2 When O F ARCHITECTURE. 207 When we look into the antient remains, we find a great diverfity in the cornice of this order, not onlv in relpect of the dimensions of its parts, but of the parts them- felves. We fee this cornice fometimes executed without a corona, as in the temple of Peace , and the Colifautn for in thefe ftruttures the modillions are placed immediately under the great cimaife. On the contrary, we fometimes fee the corona of an exceflive bignefs, as in the fron- tifpiece of Nero. We fee in fome two ovolos, one under the dentel, and the other over it: of this we have an infiance in the temple of Peace. Sometimes the quarter round is put under the dentel, and a cimaife over it • this we f in the three columns of the Campus Vaccinus. In the Pantheon and the tem¬ ple of Faujlina , the member which we call the dentel is not cut into teeth. This not cutting of the member called the dentel, is an article of fome confequence. We fee that in thefe, and it is the fame in many other of the moft admired works of antiquity, it is not cut: and this reconciles a particularly perplexing paffage of Vitru- vius: he fays there never ihould be dentels where thefe are modillions j he had been ufed to fee the member we fpeak of in the antique cornices of the Corhithian order where there are modillions, but, not being cut, he did not call it a dentel. Indeed the fenfe of that word being teeth, it is idle to call by that name a member that may be cut into teeth; the fenfe ought to be fo reftrained, as only to exprefs it when it is fo cut. The member itfelf is a very graceful part of the Corinthian cornice, but the cutting it is certainly a great error: we fee the moil antient works have it entire, and the moft antient mailer fpeaks of it as uncut. In the mean time, the cutting it tends to con found this with the Ionic cornice, than which confufion there can be no greater fault • and it adds to that multiplicity of divifion and ornament which are the great defefl of the Corinthian cornice. The member lies between a quarter round and a large ogee and thefe are ufually both carved ; the cutting of this member in fuch a place, coni fpfes the eye as it would trace the ornaments: the plain form of it would have, on the othet hand, a very pretty effedt between them. We fee the modillions fometimes omitted in the Corinthian cornice ; as in the tem¬ ple of Faujlina, and that of the Sibyi- and in the frontifpiece of Aim; the modillions are fquare, and have feveral faces. Thefe are the modillions at prefent ufed for the Compete order; in fome other remains the modillions have nofcroll, but are quite fquare before, as in the temple of Peace : and in fome, inftead of the leaf that covers the un¬ der part of the modillion, there are a diverfity of other ornaments; in the Corinthian cornice which makes the import of Conjiantimls arch there are eagles. The ll 208 A COMPLETE BODY Book II. The leaf which covers the fcroll is commonly divided into what is called the olive - 1 j ea f divifion, but fometimes we find it the proper acanthus, as in the baths of Diocle- fan 3 and this is much more beautiful. The place of the modillions is lefs regarded in many infiances of the antique, than cne would imagine it ought to be 3 in the three columns of the Campus Vaccinus , and in Conflantine s arch, they are placed at fuch diftances that one comes over the centre of every column 3 but they are more frequently difpofed altogether at random. In Nerva's forum, inftead of three, there are four over every column3 fo that the number makes it impofiible there fhould be one over the middle. The difpofition of modillions in pediments is a point much debated 3 in the antique they are generally placed perpendicularly to the horizon, but the modern architects let them fquare to the declivity of the pediment: Vitruvius tells us the Greeks put in mo¬ dillions in pediments, but left them plain 3 they adted ftridtly up to propriety. The modillions reprefented ends of rafters, and none of thefe come into a gable end5 we fay they reprefent in this place purlins. The works of carpentry ought to govern all that relates to modillions, and dentels which are their reprefentations. Reafon there¬ fore fays, that the pofition of the modillion in a pediment fhould anfwer the fituation of a purlin: this is placed perpendicular to the declivity of the pediment, and the mo¬ dillion fiiould be fo placed alfo. The queftion is, fhall we take the antique implicitly for our guide, or fiiall we dare to follow reafon ? We fee fome inflances of reafon hav¬ ing prevailed, and they have been all approved. We fee lions heads in the great cimaife of Corinthian cornices : thefe we owe to Vitruvius, for they are fcarce found in any of the antique works 3 in this part of the columns in the Campus Vaccinus, there are Apollo's heads, with rays placed in a kind of flower compofed of fix acanthus leaves. The pannels between the modillions in the foffit of the cornices, are commonly ad¬ orned with rofes 3 their form is fquare, or oblong, but more ufually the latter: they are fquare in the temple of Jupiter fulminans , and in the baths of Dioclefian 3 oblong in the porch of the Pantheon, and in the arch of Conjlantine. Sometimes there are rofes without pannels, as in the temple of Peace, and in the Colifeum. In the baths Dio¬ cletian the rofes are alike, but moll commonly they are different. The volute of the modillions fometimes is carried beyond the ogee, as in the baths of Dioclefian ; and in other inftances we fee the ogee beyond it, as in the porch of the Pantheon : and we fee within the Pantheon that it is made to advance half way the The leaf which covers the modillion, in the fame manner has different proportions in various works; in the baths of Dioclefian it extends as far as the volute 3 in the three columns of the Campus Vaccinus it leaves the volute beyond it 3 and in Nervals forum it advances to its middle. 3 Wc OF ARCHITECTURE. aog H P. XXVI. We have hitherto fpoken of the variations of the antique, it is fit we take notice of Chap. 26. thofe of the moderns; Scammozzi's Corinthian cornice is very Angular. There are in --- J this no dentels, and the modillions are fo fmall that they are loft in the corona, whofe project are p en ormouily great. It is eafy to fee the ufe Scam/nozzi has here, as '.sell as in the Ionic , made of the Compoflte capital; but this is a variation from the antique, founded on fancy intirely, and adds to the imperfection of the cornice of this order. In Diocletian's baths the projeCture of the corona runs beyond the modillion : but this is again!! the character of the order ; and, though very faulty, is lefs than Scam- mozzi gives it. There is a ufe in the fmallnefs of thefe modillions in the coupling of columns, and as this was a practice unknown to the antients; fo far there may be merit in reducing this part; but in the reft Scammozzi is too arbitrary : the dentel is an effential mem¬ ber now, according to all cuftom, and the great projeCture he gives the corona is alto¬ gether faulty. This cornice of his approaches to what our architects call the com- pofed cornices, or compofed orders; but they are liberties not to be taken without great judgment; and, in general, he who has moft will be moft cautious how he takes them. Of the Corinthian fedejlal. -% y THEN it is thought proper to give the Corinthian column a pedeftal, its pro- VV portions, according to Palladio , fhould be thefe. Its entire height muft be a fourth part of the length of the column. This heioht muft be divided into eight parts, and of thefe one is to be given to the cimafium, and two to the bafe : there will then remain five eighths of the entire height, and thefe are the meafure of the die or trunk of the pedeftal. The bafe is to be divided into three parts, and two of thefe are to be allowed to the focle, and one to the moulding. Thefe are the concile rules of Palladio, which are fufficiently intelligible. Otherwife the parts and proportions are to be determined thus: dividing the dia¬ meter of the column into thirds, which are what fome call little modules, the whole order muft be forty three of thefe in height; the pedeftal, in this cafe, is nine thirds hieh, the column having eight and twenty, and the entablature fix. The whole bafe . is to have a fourth part of the height of the pedeftal ; and the cor¬ nice half a quarter; the remainder is for the die, as before given. N’. 20. H h li The Book II. A COMPLETE BODY The focle is to have two thirds of the bafe ; then the other part is to be divided in. to nine, and thus the height of its members is to be determined. Thefe members are five; fir it there is a torus laid upon the focle, on this is placed an inverted cimafium with its fillet, and then an upright ogee with its fillet under it ; thele compofe the mouldings of the bafe. The torus is ufually decorated, and the upper ogee; the other, with the fillets, being plain. Of the nine parts the torus is to have two and a half, the cimafium and its fillet three and a half, the half being for the fillet; and the upright ogee and its fillet three, half a part being there alfo allowed to the fillet. The proje&ure of the torus is that of the whole bafe ; that of the cimafium is two fifths and three quarters of the third of the column’s diameter, and that of the ogee with its fillet one fifth. Palladio is the author of this bafe, in whatfoever form, and by whatfoever terms it is deferibed. The arch of Conjlantine furnilhcd him with the idea, but he has varied from that in one particular; the upper member of the bafe in that is an aftragal with a cavetto over it; and, in the place of this Palladio has put an ogee, in which he has plainly improved upon his original. The cornice is compofed of fix members j thefe are an ogee with its fillet; a cima¬ fium which rifes under the corona, which it hollow, to make a drip; a corona with an ogee and its fillet upon it. To determine the proportions, the whole mull be divided into eleven parts j one and a half are to be given to the lower ogee, and half a one to its fillet. Three are to be the meafure of the cimafium, three to the corona, two to the ogee that crowns it. and one to its fillet. The projedtures, counting by fifths of the third of the column’s diameter, are thefe : the lower ogee with its fillet has one fifth from the naked of the die; the ci¬ mafium to the drip has two fifths and the fixth of a fifth; the projedture of the co¬ rona is three, and that of the upper ogee with its fillet is a fifth beyond the corona. This is the cornice of Palladio y and is very well fupported by the antique : but in this, as in other infiances, we fee great variations in the old remains. In the arch of Con¬ jlantine the cornice of the pedefial is extremely irregular ; it has only four members, fo that the proportions between its members, and that of the bafe, which fhould be univerfally obferved, is lofi. The parts alfo are ill proportioned j they are a fillet, an aftragal, and a cimaife with its fillet; the fillet under the aftragal is extremely fin all, and the aftragal and cimaife difproportionately large. There are other variations as irregular, but lefs ftriking than thefe; and, upon the whole, we may determine that the antients did not regard the pedeftal in any order, as an eftential part. We OF ARCHITECTURE * 2 • We (hall conclude this chapter with fome remarks on the whole Corinthian order : Chat) 2, we have Ihewn what are its beauties, and have been free, on the other f.de, to mark its — defeds; we may fee from thefe that architedure has not yet been carried to ali that perfedion of which it is capable, not in the orders themfelves. Nothing can be ib perfed' ^ ^ 3 ^ ™ th ‘ S fdenCe “ the endelvourill g to give it that The method of attempting this mult be by hiding the defeds without injuring the beaut.es ; and this may be done certainly in taking from the great projedion of the cornice m this order, which is almoft as great as in the Doric. The ogee which crowns the platform of the eve encreafes greatly this projedion of the cornice, and we fee fome have of late been fo fenf.ble of this that when the columns were of a large model, they have fuppreffed it; but this is not the method, for then the cornice wants its true proportions, and the crowning becomes too flat. This therefore is not to be done, but it is not needful thence to conclude that no method can be found. The undents ftudied from nature; we have nature, and their models. Let us perceive where are the defeds, and endeavour, upon the principles of nature and reafon to remedy them. Nothing is fo eafy as running into one fault, while we attempt the remedying of another; and if we fct about this difficult undertaking without the due care “and the due knowledge, mod probably the fault we make will exceed that we avoid. Book II. A COMPLETE BODY SECTION III. Of the two additional Orders of the Romans. H P. Of the Tuscan Order. T HE Romans, charmed with what the Greeks had left them of regular architec¬ ture, followed their fteps, and improved in elegance upon their defigns. They faw the happy ufe to which the three orders of columns ferved in all magnificent buildings ; and they were ambitious to encreafe their number, that they might be mat¬ ters of a larger variety. They have done this by adding two orders, one at each ex¬ treme, placing the dufean, of which we are to treat here, below the Doric in fimpli- city, and the Compofite above the Corinthian in ornament. Thefe are the two additional orders: if it be required, Whether they were needed? it may be anfwered, that very noble buildings may be erefted without them : and it is but juftice to the Greeks to add, that there is not an equal genius difclofed in their invention to that fnewn in the devifmg of theirs; nor have they the merit of fuch perfeSly diftinft charates. Though number is not wanting, variety will always be agreeable ; and although the Romans have notfucceeded lb happily in their addition as the Greeks did in the invention of the others, it is no proof that an excellent addition is not yet poffible. For the en¬ couragement of him who fhall attempt it, wc lliall obferve that there is, in rcafon, no limitation of number in this relpe& ; and, for his great caution, we fliall recom¬ mend to him to follow the fteps of the Greeks who invented, not of the Romans who imitated. - c , order is, in reality, no other than a grofs Doric: it is the firft order re¬ duced from its condition of elegance, and good proportion, to the coarfenefs with which it firft let out, or to fomething more than that. There is little invention in it : the G a, ks lbon improved their firft order fo far, that there was properly an old Dow and a new j and tiie Tiifcan is little other than this old Doric, with a yet greater mallyneis iiow- However, though we are not for fetting this addition to the orders in a better Chaj light than it deferves, neither let us deny it the proper merit. It has ftrength and a — grace even in its plainnefs; it is the mod: Ample of all the orders, and has the air of an original more even than the Doric. Its l'ole purpofe feems to be ufe, and it wants all ornament. In the Tujcan order, we fee the Doric made ftronger by the fhortening the fhaft of the column, and plainer by the fmall number and great (ize of its mouldings. Some writers have carried this plainnefs and fimplicity too far; but that is not need¬ ful fufficiently to diftinguilh it from the Doric. On the other hand, fome have varied too much from this affedted plainnefs, and brought it nearer than they fhould to the Doric. Moderation is the rule in all thefe things. The ufe of this maffive order is, where ftrength is required. In publick build¬ ings, and in the lower parts of large edifices, it comes in very well. It is, of all the orders the moft eafily executed; and, when employed with judg¬ ment, not only has a grace in itfelf, but gives a new beauty to the others by the contraft ; its plainnefs being a very happy foil to their feveral ornaments, and its Ihortnefs ftiewing their height to advantage. CHAP. II. Of the Tuscan hafe . A S the charadter of the Pufcan order is fimplicity, it has its peculiar bafe, the plaineft and the fimpleft of any. This confifts only of a fingle torus, with a cindture, or annulet, above it, and the plinth below : the cindture being ufually under- ftood as belonging to the fiiaft, and the plinth confidered as diftindt from the bafe, this order may be faid to have for a bafe only a fingle large torus. Palladio , including the plinth and cindture with the torus, in the article Base, fays its height is to be half the diameter of the column. This he orders to be divided into two equal parts; one of thefe is for the plinth, the remaining part is to be di¬ vided into four, three of thefe are for the torus, and one for the cincture. The projedture of the bafe he determines to be a fixth of the diameter of the co¬ lumn. Palladio fays the cindture may be made fomewhat lefs than a fourth of the whole meafure of the torus and it; and fome determine it to be a fifth, inftead of a fourth, of the whole. :ome make it lefs than this, but the medium is better in pradtice than ei¬ ther extreme. N°. 20. Palladio 2I4 A COMPLETE BODY Book II. Palladio follows ntruvmi in giving the plinth half the height of the whole bale ; - -*-but this is not an univerful praflice. In the column of ' Trajan it is lefs than halt by one minute ; and S cammozzi runs fo far into extreme on the other fide, that he makes it three minutes greater. The height of the torus, according to Palkdios meafure juft given, is twelve mi¬ nutes and a half; and in the Trajan column it is of the fame height; but Serlio makes it only ten minutes ; if we examine thefe proportions ftrkftly, we (hall find Serin's is much farther from truth than Palladio's, who followed what there is in antiquity ; but perhaps the reducing his proportion by half a minute may be advantageous. The cinfture is two minutes and a half in height, according to Palladio ; it is three and a half in the ‘ Trajan column ; and Serlio makes it five. Perhaps, upon a careful review', a little more than Palladio’s proportion may be beft, though that of Serlio is palpably too great. Three minutes is a very happy meafure. The figure of the plinth is extremely particular, according to the old and fome later writers. The plinth is rounded uponthe plan, fo that it reiembles the lhaft in form, and feems, more than in any other, a part of the bafe. Vitruvius defcribes it thus. But this, however authorifed, is a Angularity that has a very bad effedt: and the generality of architeds refufe to follow the diredion. There (hould be a correfpon- dence in the entire column ; and the parts between which this correfpondence is rnoft plainly feen are the plinth of the bafe, and the abacus of the capital. Thefe, when they refemble one another, give an air of likenefs and uniformity to the whole, and this Ihould bepreferved in every order: the rounding of the plinth utterly deftroys this uniformity. The plinth alfo itfelf appears maimed when the corners are thus wantin'', and the column feems to want that mod efiential part which we are ac- cuftomed to fee fquare, and do not know to be of that charader when round. It feems a part of the bafe, and that the plinth is wanting. If caprice therefore didated this rounding of the plinth, it is againft nature and pro- * . . , i r i • _ji i— i i- j „n r r , u priety in any order ; and if ufe w'as ever the foundation it muft hold good in all. The ijnly pretence would be when columns were placed on a circular pavement: yet here it is not done : the fquare plinth agrees but ill, in thefe cafes, with the rounded flep on which it Hands; but we have inftances of this in the antique, and we fee what courfe thofe followed from whom we take all our examples. In the temple of Vojla at Rome, and that of the Sibyl at Tivoli, there is this circumftance. If ever the antients had thought of rounding a plinth, they would have done it here; but they have found a better method, they have taken the plinth away, and the bate rcfts upon the folid, without any thing between. This is the method prefcribed by reafon ; whenever there feems a neceffity of rounding a plinth, it is to be avoided, not complied with. We fee columns in the moll antient works without even bafes, very well they may do without a plinth, when the form of that member would render it improper. C H A P. T HE height of the entire order in the Tufcan, ought to be, according to Palladio, feven diameters. This is the rule by which the prefent architefts, in general, work ; and Palladio is a guide not likely to millead them, and one whofe name would authorife their errors if he (hould. Seven diameters therefore may be called the com¬ mon ftandard of the Tufcan column, including its bafe and capital. But there are works in which this order makes a good appearance, though of another proportion ; and authors differ a great deal on this head. Palladio follows Vitruvius literally. Fourteen femi-diameters is his meafure; Vignola follows Vitruvius alfo, but Serlio makes it only fix diameters high ; Scammozzi makes it feven and a half; and in the Trajan column it is eight. The mean meafure among thefe is about fourteen femi- diameters and two thirds j this fufficiently diftinguifhes it from the Doric, whofe mean proportion is fixteen, and lays the foundation for a regular progreffion in all the reft • the advance from order to order being made by two thirds of a diameter. Scrlids Tufcan is too grofs and clumfy, and that in the Trajan column advances too near the Doric meafure. The Tufcan column has at the bottom of the lhaft, a cinflure, whofe meafure we have given treating of the bafe ; and at the top it has an aftragal, over which is the neck or as fome call it, the freeze of the capital. The diminution in the (haft of the Tufcan column is very great: Palladio fets it down at a fourth part of the diameter below : this is the only cafe in which the diminution is regulated by the order j and in this Palladio, though he have the authority of Vitru- vius, yet is very bold in giving fo great a diminution. He has been too literal a follow¬ er of his matter : there are inftances, as we have (hewn, in which he has departed from his rules, and he never had more occafion than in this. We have but one Tufcan work remaining of antiquity, that Is Trajan's column ; and in that the diminution is but a ninth part. Palladio therefore had authority for reducing this vaft diminution, and it is owing to his keeping to the text fo clofely that Lc Clen obferves his column in this order is not fit to be ufed. He prefers Vignolas to Palladio's : Vignola makes the diminution only a fifth. This gives a reduffion of five minutes on each fide the column, ten in all; and this is a diffident diftinffion from the reft of the orders. The cinaure at the bottom, and aftragal at the top of the draft, ought to have the fame meafure in all the orders, the cinaure having a twentieth part of the diameter of the column, and the aftragal an eighteenth ; the fillet under the aftragal (hould have half its meafure, and thefe are the juft proportions here. The projeaures of the aftragal and the clndure are to be four minutes beyond the naked of the column. We 3 2 l 8 A COMPLETE BODY Book II. The adding this aftragal under the ovolo gives the Tufcan capital a greater refem- ' bi ance 0 f t f, e others; but this is far from being a merit, for its character is to be quite diftinguifhed from them. The diftindtion from the Doric is eftential to the making this an order; and all addition of members under the ovolo, though they be not the fame, is bringing it nearer to a refemblance of the annulets of that order. CHAP. V. Of the Tuscan entablature. HE Tufcan entablature, according to its original defign, very well anfwers the JL reft of the compofttion in plainnefs, folidity, and an appearance of ftrength: fome have, of later time, attempted to introduce decorations into it, but thefe are un¬ natural. This entablature confifts, like the others, of three parts ; architrave, freeze, and cor¬ nice, but all very plain : the architrave and freeze are entirely plain, and the cornice has only a few fimple mouldings. The height of the whole entablature is to be fix modules, and this is to be divided into twenty parts for the general divifion : fix of thefe parts are given to the architrave with its fillet, the fillet having one ; the freeze has alfo fix parts, and the remaining eight make the cornice. In the other orders, after mentioning the whole entablature, we have treated of each of its three parts in feparate chapters; but the plainnefs and fimplicity of this renders fuch fub-divifion unneedful. The Tufcan architrave is a plain piece, fometimes utterly without addition j at the utmoft only having a fillet at the top, feparating it from the freeze. Palladio obferves, that it is ufually of wood, and is no more than a fimple beam : the freeze, which rifes upon the architrave is, in the fame manner, a plain piece j indeed, the old writers make it more than plain, for they leave it rough, and take little pains to conceal the joints; fo Palladio reprefents it in his figure, and this agrees with the idea of Vitruvius , who calls the Tufcan a ruftic order. The cornice is compofed only of mouldings; at the top there is an upright ogee, under this is the corona, under this is a cima redta, and under that a cavetto. This is the cornice of the Tufcan , according to Palladio : the fillets which feparate thefe mem¬ bers, being all there is more ; and this agrees well with the charadter and idea of the order. Others make additions, but moftly for the worfe : however fomething may be done, not difadvantageoufly, by the addition of aftragals, and fome other fmall varia¬ tions, which ftill leaving the cornice plain, give it a little more variety without impairing its ftrength. Thus OF ARCHITECTURE. 219 A cornice very agreeable to the order may be executed in this manner : let the Chap. 5. fird member be a large ogee, its height two of thofe eight parts which are allowed to '-'—“ the entire cornice ; let this be terminated by a fillet, whofe proportion is to be half a partj upon this let there arife a corona, whofe height fhall be two parts and a half- and over this let there be an aftragal with its fillet, one part being allowed to them and the fillet having half as much of this as the aftragal ; over this let there rife a quarter round, which is to terminate the cornice at top, inftead of the great cima. Here is a cornice altogether in charadter with the order, and not without beauty. Its heights in the feveral parts we have fhewn; its projedtures are beft given by di¬ viding a third of the diameter of the column into fifths, three fifths are to be allowed to the ogee and its fillet, reckoning from the naked of the freeze ; the corona is to have a projeflion of feven fifths and a half 5 the aftragal and its fillet nine; and the quarter round twelve. When we examine all that has been delivered by way of rule for the arehitedl in the Tufcan order, we fee a great variety of opinion. Vitruvius makes the architrave larger not only than the freeze, but even than the cornice ; Palladio, though he does not follow his matter in the full extravagance of this meafure, makes it larger than the freeze; and, on the other hand, Vignola makes it lefs. He had feen the faults in thefe proportions, and, in the rage of (hunning it, he has run into one not lefs, though op- pofite ; the making the architrave and freeze equal, has a plainnefs and compofure ve¬ ry proper in this unornamented order: Serlio mud have the praife of having firft di- refled this proportion, and the architedts of mod judgment have followed it. Scammozzi is unpardonable for loading the Tufcan architrave and cornice with de¬ corations quite foreign, and contrary to the charadter of the order; he gives alfo a kind of triglyph to the freeze, though without channels: this betrays a love of prettynefs at the expence of judgment. Serlius, on the contrary, reduces the parts too much ; his is altogether mean and poor: this was not neceffary, though plainnefs was. We fee how difficult it is to combine fancy and judgment. The judgment of Serlio is too cold and tame : the fancy of Scammozzi is too wild. This lad has given the Tufcan cornice ten members, and the other allows it only three : a medium is better. Vi¬ truvius, and Palladio who follows him, allow only a plain fquare beam to the archi¬ trave ; but this is coming toward the cold referve of Serlio, it is fcarce didinguiffied from the freeze. A fillet is a member fo very plain that it may very well be added, and it gives fome variety without departing from the charadter; Vignola's, cornice has a kind of middle charadter, and that, very little varied, is given by Perrault: The order is to be kept diftindt from the Doric, and in charadter in all its parts; this is to be tire purpofe the arehitedl is to have in view : and in conrpleating it in this manner he may reafonably be allowed to take fomewhat more liberties than he ought in working upon thofe original and everladingly edablilhed orders left us by the fathers of architedture. CHAP. 220 Book II. o'vv-' A COMPLETE BODY H VI, Of the Tuscan pedejlal. P ALLADIO has given a lliort direction for the pedcflal to the tufcan order. Its height, he fays, is to be one module, and it is to be made plain. Its form is therefore a longilli fquare, for as it projedts beyond the plinth, its length is greater than its height, determined by that Ample meafure. There may be however a fomewhat more ornamented pedeftal, which may fuffici- ently anfwer the charadterof the column. This pedeftal is then to confift of the three ufual parts ; a bafe, a die, and a cap. The bafe is to confift of two parts; a plinth, and the mouldings, and the top is to have its cornice, or cap. In the more delicate orders, the mouldings of the bafe are to be fmaller and more numerous, and in the more maffive and ftrong, they are to be fewer and plainer. In this the pedeftals follow the ftrufture of the columns to which they belong, and it is this which gives them their harmony. The tufcan bafe, though it need not be entirely deftitute of mouldings, mull, for this reafon, have the feweft of any order; the Doric has three, which is one lefs than the Ionic ; and the tufcan, to continue that regular progreflion, Ihouldhave two, that is one lefs than the Doric : in the fame manner as the Doric pedeftal has four mouldings, this Ihould have three. This is regularity; and thus the orders, while they rife one above another, maintain a general uniformity. The mouldings of the bafe of the tufcan pedeftal may be two, a cavetto and its fillet, the fillet being placed under the cavetto. To find the proportions, we are to obferve that the die is the largeft part; and of the two others, that the bafe is larger than the cornice, this being univcrfal in all pedeftals. In the bafe alfo the focle, in this, as in the other orders, is to be larger than the mouldings. The part of the tufcan bafe allotted to the mouldings is to be divided into fix parts, and of thefe four are to be given to the cavetto, and two to the fillet under it; the fo¬ cle is to be plain. The cornice, or cap, of the tufcan pedeftal is to be divided into eight parts; its members are a platband, a cavetto, and a fillet, and they are to be thus proportioned : the platband, which ferves inftead of a corona, or drip, has five; the cavetto is to have two, and the fillet one, c To OF ARCHITECTURE, 22 t To find the projedtures, divide a third of the diameter of the column into five Chap. 6. parts. The projedture of the whole bafe, without the plinth, is to be equal to its height; and the projedture of the cornice is to be the fame with that of the bafe* This is Angular in the Tufcan order, for in all the others the projedture of the cor¬ nice is a little more than that of the bafe. The projedture of the cavetto of the cornice is one fifth and a half; and the cavetto of the bafe is in projedture two of thefe fifths, reckoning from the naked of the die. Upon this plan a pedefial may be executed for the Tufcan order very proper for the column, and fufficiently ornamented ; if we look into the rules laid down by authors, and into the pradtice of the antients in the Trajan column, we fee a vait variation on either fide; but this medium is more reafonable. In the Trajan column, the bafe is extremely ornamented; it has in the bafe and cornice all the mouldings of the Corin¬ thian order. This is an excels on the fide of ornament, fo many mouldings by no means becoming fuch an order ; nor is the pradtice juftifiable, though we can produce fuch an authority for it. On the other hand we have obferved that Palladio gives no ornament at alL What he orders is not properly a pedefial, for all pedeftals fhould have the three ef- l'ential parts, a bafe, die, and cornice, but his is only a focle, a plain fquare fione, nei¬ ther divided nor ornamented at all. As the architedt is not to crowd this pedefial with Ornaments beCaufe he finds it fo in the antique, neither is he to reduce it to a plain fquare fione, becaufe Palladio ad-* vifes it. Let him remember that a proportion and progreflion of ornament is to be obferved throughout the whole feries of the orders, and that there is fome general me- thod of confirudtion to be regarded in them all. This is only to be attained in the prefent cafe by keeping a medium between the two extremes of plainnefs and deco¬ ration ; and fuch a mean is preferved in the pedefial here diredted, and in that of Scammozzi . N°.2I. L 1 1 CHAP- A COMPLETE BOD Y H P. VII. Of the Composite order. N coming from the 1 'ufcan to the Compofite order, we advance from the piaineil to the moil: ornamented of all the five; the others maintaining a place between them. Thofe we have treated of already, and from what has been there faid, thefe will be much more familiarly underflood. They are bell treated of together, becaufe they are both additional; and as the ’Tufcan was eafier delcribed after the Doric, from which it was formed by a redu&ion of parts; fo the Compofite will be bell underflood after the Corinthian and Ionic of which two it is compofed. The Compofite is allowed to be, as its name imports, a compofed order, formed of two others; and architects of all times have, and thofe of all fucceeding times may, indulge their genius in varying and compounding ornaments, in the way of orders, in this manner. Though there be but one regular Compofite order allowed under that name, yet we fee the remains of many other conftruCtions of a like kind among the relidts of anti¬ quity ; and we fee in the more entire works of a later time, inilances of a parallel na¬ ture, which are called compofed orders. This, which is diftinguifhed by the name of the Compofite , and is received into the number of regular and eflablifhed orders, is owing to Vitruvius ; he has left the pro¬ portion and characters of it, and the moderns have, with reafon, in many particulars, followed his fleps. We fee in this the marks of a genius much fuperior to what is found in thofe arbitrary combinations we fd frequently find under the name of com¬ pofed orders : Vitruvius , in his proportions, confidered the mixture of beauty and ilrength ; this fhould he in every one’s mind who attempts variations from the rules of the orders. This antienthas happily joined the members of one order to thofe of another; in every part accommodating what he has done to the whole. However, with all thefe excellencies, the Compofite order is not without its faults. We fliall be as free to name the one as to praife the other: thefe we fhall take occafion to mention with the more ftriking particularities, in treating of the feveral parts. When we come to examine things with great ftridnefs, even the Corinthian , though it has a great deal new, yet is not altogether original; Vitruvius has obferved that it is indebted to the Doric, and the Ionic, in fo great a degree, that it may be faid to be compofed of them with fome additions. We may obferve alfo that fuch freedoms have been taken in times fince the invention of the orders, that the antique Corinthian is almofi: as different from the Corinthian of Vitruvius, as the Compofite is from the an¬ tique Corinthian% 7 Serlio Serlio was the fird who added a fifth order to the four charadlerifed by Vitruvius, 7 * OF ARCHITECTURE. 22 3 He form’d it upon the remains in the temple of Bacchus, and fome other edifices of early time, but he took nothing exeept the capital from the antique. Palladio gives it a particular entablature, which he takes from Nero's frontifpiece, and Scammozzi joins him in this, and with reafon ; for the entablature is not like that of the Corinthian in other antique works. This part therefore they took, and joining it to the capital of Serlio , compleated a new or fifth order. The Compofite is generally underdood to be a lighter and more elegant order than the Corinthian ; but this is not true : the phrafe fhould be altered, and it fhould be called a more rich and decorated order, for that is the true character of it, and was alone the defign of its inventors ; the capital is heavier than the Corinthian, and the en¬ tablature, though very rich is certainly alfo very heavy. Vitruvius , to whom we owe this order, delivered only its character, and never thought of varying its proportions, and it is therefore he did not allow it to be a di- ftindt order; but Serlio, giving it a particular proportion, made it didindl, and the moderns, in general, have followed him. Vitruvius lays its capital is compofed of feveral parts taken from the Doric, Ionic, and Corinthian ; but as he does not make anv farther particularity in it, the whole became rather one of thofe compofitions of fancy we fee under the name of compofed orders. Thofe who, by adding peculiar proportions, made it a didindt order, made it higher than the Corinthian ; but as it is more mafly, there yet remained a doubt about its place, where feveral orders were employed together. Its inventors defigned it to be placed above the Corinthian, and fo it is placed by the generality of architects at this time; but we fee it placed under the Corinthian in the arch of Lions at Verona , and in fome other places, and it feems to become that place better. Scammozzi has great reafon when he gives the Compofite the fourth, not the'fifth place; the lighted order ought to (land uppermoft, and there cannot be a difpute but the Corinthian is dill the lighted of the five orders. C II A P. 224 A COM Book II. ^ ' C H Of the P L E T E BODY VIII. I N examining the works in which the Compofite order has a (hare, we find it with a variety of bales; fometimes the Corinthian bafe is ufed, and frequently the Al- tick - Vignola gives it a particular bafe : this he takes from an antient bale to fome Corinthian columns in Dioctefail's baths, which differs from the common Corinthian bafe in that it has only one aftragal, inflead of two, between the two fcotias ; and the other, which is taken from this, is put between the great torus and the firft fcotia. Palladio gives the Compofite a bafe compofed of the Attic and Ionic, which is a very beautiful compofition, and greatly preferable to the others. It is an Attic bafe with afiragals in the centre of the fcotia. The plain Attic is too fimple for this ornamented order; and the Corinthian is, in lt- felf, a very indifferent bafe, as has been obferved in its place. It is therefore greatly better to ufe this which is particular, and therefore diltinftive of the order ; and it is fufficiently elegant, and without confpicuous faults. The antients, we know, ufed freely enough the Corinthian bafe for the Compofne order; we fee an inftance of it in the arch of Titus, but it is better each Ihould have its own ; nor, of all things, ought a faulty part of one order to be borrowed for ano¬ ther. We find they alfo ufed the Attic bafe for it, as in the temple of Bacchus ; Vig - mla'% is particular, but inferior to Palladio' s, the aftragal, which is the only member it has between two fillets, being but weak and ill-fuftained by the fcotias, renders this part of the bafe too thin and fharp. Vignola feems to have taken the hint of the bafe for his Compofite from thofe in the temple of Concord : he has improved what he found there, but Hill he has left it very imperfefl. CHAP. N°. 21 < M m m Tha OF architecture. H A IX. Ch Of the fonft of the Composite order « I iST the fhaft of the Compofite order there is left diftindtnefs than in any other part j nor are there thofe confiderable variations, in refpedt of the height of the entire order, as we find in the others, when we examine at once the rules laid down by au thors, and the remains of thofe antient architefls from whom they drew them, thofe remains in which we find it lowed, making it more than nineteen femi-diameters, and thofe in which it is higheft not exceeding twenty. In the arch of Septimus it is' nineteen femi-diameters and nine minutes in height; in the temple of Bacchus it is nineteen and a half; and in the arch of ‘Titus it is twenty. Scammozzi makes his nineteen and a half, taking his meafure from the temple of Bacchus ; and Palladia, preferring the column in the arch of Titus for his model, makes it twenty. This is the mod judicious height, for in this it rifes properly and gradually above the Corinthian in height, and the progreffion in the orders is entire and regular, it being of two thirds of a diameter from one to another all the way. The cinftures of the ihaft in the Compofite order, are a fillet or fimple rin^ at the bottom jud above the bafe, and an adragal and its fillet at the top underwrite capital. Its diminution is very various in the works of the antique, and, as in the other or- ders, feems to have been made without any certain rule. In the baths of Diode/,an, the Ihaft is five and thirty foot high, and four foot four inches in diameter, and its di¬ minution is eleven minutes and a half: in the temple of Bacchus the draft is ten foot eight inches high, and fixteen inches and a quarter diameter; and the diminution is fix minutes and a half: in the arch of Septimius, it is one and twenty foot eight inches high, and two foot eight inches and a half diameter, and its diminution is feven mi¬ nutes. Though there be confiderable variation in this article in thefe feveral inftances, yet it in none rifes nearly the meafure of the diminution we fee in fome other in- ftances where different orders are concerned, nor indeed to a medium, upon the whole computation. We may obferve that the antients gave lefs diminution to this than to their other columns, the mean diminution being, upon the whole, about eight mi¬ nutes ; in this the architect is left to his fancy, either to follow the antient cuftom of dimimfhing this lefs than the other orders; or to give it a mean diminution, together with them, and that at eight minutes: this being found not only a middle proportion! but a very good one. The intercolumniation of the Compofite is the fmallefl of that of any order; the Co¬ rinth,an intercolumniation is only of two diameters, this only of one diameter and a half. This is what the antients called the pyenoftyle manner, and is the clofeft way in which columns are ever to be put fingly. Book II. The Compofite order is generally executed with a fluted (haft, and the flutings are to —-- - ma de exadtly in the fame manner as in the Corinthian , which it indeed refembles, when executed in its general afpedt, much more than any other. W E come now to the part in which the elfential character of the Compofite confifts, from which it has been denominated, and for the fake of which it is eftabliflied into an order. We have already mentioned in general, that this is compofed of the Corinthian and Ionic ; it has moft of the Corinthian in its afpedt, but it differs from that in many eflential particulars. It has the refemblance of a veflel covered with two rows of acanthus leaves, as the Corinthian, and they are difpofed in the fame manner; but, inftead of ftalks or branches, there are only certain little fhoots toward flowering, which adhere to the vafe, and round themfelves toward the middle of the face of the capital. The vafe is terminated juft above thefe by a fillet, an aftragal is placed over that, and upon the af- tragal an ovolo. Over the ovolo the volutes roll themfelves till they meet the tops of the upper row of leaves, on which they feem to reft. There is not a rind fpread over the top of the vafe, as in the Ionic , but the ovolo feems its rim, and the volutes rife out of it, leaving a fpace between, in which is placed the rofe, or flower of the capital. The volutes have a great acanthus leaf, which bends itfelf up fo as to fuftain the corner of the abacus, and it lets fall below upon the border a piece of ornamented work, which almoft entirely covers it. The abacus is like that of the Corinthian capital, but the flower is not fupported by a ftalk, as in that, but feems ftuck on upon the middle of each face of the abacus. The parts therefore of which this capital confifts, are a vafe, or bell, within ; a firft and fecond row of leaves, with fome fmallifhoots; a fillet, aftragal, and ovolo, four vo¬ lutes, and a hollowed abacus with a flower in its centre. We fee by this detail of parts, that the Compofite is richer than the Corinthian capi¬ tal ; but it is lefs light and lefs delicate. It has however a very noble afpedt, and deferves great praifej there is more elegance in the Corinthian , and more richnefs in this; that is their diftindtion. To find the proportions and mcafures of the feveral parts of the Compofite capital, Palladio's method is this: let the entire capital from the abacus downwards be divided into three parts; the firft row of leaves are to have one of thefe three for their height; a fecond part is to be given to the fecond row of leaves ; and the third is for the vo¬ lutes. This is a very natural and very eafy divifion. OF architecture. 227 For forming the volutes, the fame method is tobeobferved as is defcribed for making Chap. 10. thofe of the Ionic ; and to that we refer the Undent, to avoid a repetition. A part of --»-- the abacus is covered by the ornament of the volute near theriling; it is d little thicker in front than the breadth of the horns. The ovolo is, in bignefs, three fifths of the abacus, and its lower edge is even with the eye of the volute ; its projedture is three fourths of its height, and with this it is a little more than perpendicular to the hollow of the abacus. The aftragal and fillet are in height one third of the ovolo; and the projedfure of the aftragal is a little more than half its height: it turns about the capital under the volute ; the fillet is half the height of the aftragal. The body of the vafe, or bell, anfwers diredt with the fiutings of the column. Thefe are the meafures given by Palladio, which he fays he took from a capital of this order at Rome, becaufe of its good proportions, and beauty. The architedt may take this as a general diredtion, and he will never be liable to cenfure while he exe¬ cutes a capital upon this plan : but it is not needful that all his knowledge fliould be confined to this fingle inftance. There have great liberties been taken in the conftruc- tion of this capital, and fome of them very happily ; it is fit he fliould have a view of thefe, and know wherein their merit confifts, and what are their feveral faults. The height of the capital is the fame with that of the Corinthian ; that is, it is a diameter of the column, and a fixth. When we come to very accurate divifions, four fixths being given to the two rows of leaves, and this being divided into fix parts, one of thofe fixths is for the bending of the leaves; four fixths having been given to the leaves, three remain for the volutes, ovolo, aftragal, and abacus. Thefe three fixths being made one meafure, are divided into eight; of thefe eight lix and a half are given to the volute, which refts upon the head of the upper row of leaves; two are given to the abacus ; one to the fpacc be¬ tween the abacus and ovolo in which the volutes fpring; then two are given to the ovolo, and one to the aftragal and fillet. The flower which is in the middle of the abacus over the ovolo, rifes to the upper part of the abacus: and is broader by the half of one of thefe eighths than it is hioft. Thefe are the exadt proportions of its parts; to find the projedtures let a third of the diameter of the column be divided into fifths, and let the projedtures be regulated ac¬ cording to thefe, as in the Corinthian order. The leaves of the Compofite capital fliould be the true acanthus, neither cut into the olive divifion of fives, nor the lawrel of threes; and it will be feen, on comparifon, that they are very much fuperior in beauty to thofe fantaftical and falie ornaments in the divifion. The A COMPLETE BODY Book II. The flower does not reprefent a rofe, or any other particular kind ; but is compofed of feveral leaves, fome of which meet in the centre, and fome turn off tideways j fo that, upon the whole, though it be altogether out of nature, it is not without beauty. Under the horns of the abacus, there are leaves which return upwards, as in the Co - rinthian capital; and there are others which follow the courfe of the volute, lying up¬ on the fide of it. The little tendrils which feem to anfwer to the ftalks in the Co¬ rinthian capital, terminate here in a pretty kind of rofes, which lie upon the vafe, or bell, more of which appears naked than there does in the Corinthian, becaufe of the abfence of thofe ftalks which cover its upper part, as the leaves do the lower in that order. What we have given are the general and moft approved meafures, but in this capi¬ tal we have obferved there will be found a great diverllty, when its execution in diffe¬ rent edifices is confidered. This variation is not only found in the proportions of the members, but in the whole height.. The ftated height here given is feventy minutes j but in the arch of 'Titus we fee the height of the Compofite capital feventy-four and a quarter ; and in the temple of Bacchus it is feventy-flx. On the contrary, in the arch of Septimius this capital is but fixty-eight minutes and a half; and in the goldfmith’s arch but one quarter of a minute more. >Serlio eftabliflies it only at fixtv minutes; feventy therefore is a mean pro¬ portion, and is found the moft happy in the execution. In refpetft of the parts of the capital, the abacus which we have given at feven minutes and a half, has eight minutes and two thirds in the goldfmith’s arch ; and nine minutes in the arch of Septimius , and in the baths of Dioclejian , and ten in the arch of Titus ; but in the temple of Bacchus we meet with a proportion that far ex¬ ceeds all thefe ; it is there thirteen. The ftudent has all thefe meafures before him, and upon examining the capitals in which they ftand, though there is all this variety, he will not find any thing prepof- terous. A mean proportion between thefe would favour of the fault they have in ge¬ neral, that is, of giving too much maflynefs and weight to the capital; and as this was not intended to be the character of it, we have allowed a fmaller proportion. The volute, according to our divifion, has five and twenty minutes, and this is its exa£t proportion in the temple of Bacchus ; but in other works of the antique we fee great variation in this refpect, and that on both fides the meafure : in the arch of Ti¬ tus the volute of the Compofite has twenty-eight minutes; and in the baths of Diocle- fan it has but twenty-two. We have feledted the proportion from the temple of Bacchus , becaufe it is a mean meafure, and becaufe it has the fineft effeft. There are, befide thefe variations in the proportions of the parts fonjc very eflential differences in their conftrudion. The OF ARCHITECTURE, 229 The volutes ufually defcend till they touch the leaves, as we have reprefented them • Chap but in the arch of Septimius , and the baths of Dioclefian , they are found feparated from —v- them. The two rows of leaves which at this time are ufually made equal in height, are found in fome of the antique remains unequal. The volutes, as we have obferved, commonly fpring from the vafe, or rife out 9 f it; but fometimes the rind which forms them is carried all along the top of the ovolo, without entering into it, or riling from it, as in the old Ionic. We fee an inftance of the firft, or ufual manner in the arch of 'Titus ; and of the other in the temple o fBtfc- chus, and the baths of Dioclejian. Palladio and moft others adopt this method of their fpringing from the vafe, as in the arch of Titus, and it is Ufeful by way of diftindtion • but we have obferved already, in treating of the Ionic, that this method leaves the aba¬ cus but ill fupported ; and that is in fome degree wrong, as it comes under fo large an entablature. Palladio , and moft of the other writers on the feience, make the lides of the vo¬ lutes parallel; but, on the contrary, We fee them contracted in thicknefs in the mid¬ dle, and enlarged above and below, in the temple of Bacchus and in the baths of Dio- clcfian , as alfo in the arches of Titus and Septimius. We have of late got into a lighter manner of making thefe volutes alfo : our carvers have introduced this, for in ail the works of the antients it is more folid and it is ordered to be fo by all writers. However, as too much weight is the great- eft objection to which this order is liable, nothing is more proper than to give this free and eafy air to its larger parts, the intent of the order being plainly to unite as much delicacy as could be, with the moft full proportion of ornaments in every part where they could be placed. N°. XXft. CHAP. 230 Book II. A COMPLETE BODY H P. XI. Of the Composite entablature. T HE entablature appropriated to the Compojite order is not without its merit, but it has alfo its defefls. It is large for fo light an order, and the delire of filling it with ornaments has carried the architefts fo far that they have palpably crowded it. The architrave is too much ornamented, and ill terminated, for it has a look of too much tendernefs for the weight above; and its profile is ungraceful. The cornice is heavy, and there is not fufficient variety in its conftruflion. The judicious architeft will find a great deal to reform in this part of the Compfitc , and we have obferved that it is an order in which he may be allowed more liberty in that way than it would be proper for him to take in any other. The height of the entire entablature is a fifth of the column, and this is divided ge¬ nerally, as in the other orders, into twenty parts; twelve of which are given to the architrave and freeze, thefe being equal, and eight to the cornice. But we fliall have occafion to obferve prefently great variations in the divifion of this whole meafure. In the temple of Bacchus, the freeze is lefs than the architrave, and the two are equal in that of Titus. Moil of the antient remains have them unequal, and moft of the authors who have laid down rules for the fcience diredt them to be made fo: but Vignola, following the meafures of the arch of Ttus, makes them equal. After this general account of the entablature, we (hall enter on its feveral parts in detail. C II A P. OF ARCHITECTURE. 231 Chap. 12. CHAP. xir. Of the Composite architrave. T HE architrave in this order differs very confiderably from that of the Corinthian for it has only two faces, whereas that of the other has three. This is a very Angular variation from that order; for in one intended to be fuller of ornaments than any other, the faces of the architrave (hould have gone encreafing : the truth is the antients, intending to make their Corinthian the mod decqrated of ail their orders' have in this refpeA carried the point as far as it would go. More than three faces in an architrave would have been prepofterous, and thofe who formed this additional or der being fenfible of it, reduced the number to two; they preferred a variation to t famenefs with the Corinthian, though at the expence of the charaAer of their invention. Between the two faces of the Compofie architrave, there is a final) ogee, which is ufually carved; and it is terminated at top by three members, an aftragal, a quarter- round, and a cavetto: it is this cavetto we have objeAed againit, as making the crown¬ ing of the architrave too tender. The three mouldings here are alfo one too many • this is riling too fad in ornament, and is crowding rather than decorating ; the aftragal and ovolo would certainly have a better effeA without the cavetto. To determine the heights of thefe members, the whole architrave is divided into eighteen parts; of thefe five are given to the firft face, and one to the little ogee that crowns it; feven to the fecond face, and half a part to the little aftragal at the top of it. The quarter round over this aftragal is to have one part and a half, and three are to be allowed to the hollow and its fillet; the fillet having one and a quarter. This is the moll approved meafure when the two faces of the architrave are une¬ qual ; and when they are equal the fame proportion is to be allowed to the mould¬ ings. The projeAure ofth t Compofie architrave is the fame with that of the Corinthian, two fifths of a third of the column’s diameter. Palladio, who has given this architrave to the Compofie order, took the idea of it from the architrave of Nero's frontifpiece; the order there is Corinthian ; it is the fame alfo in the Bafiic of Antoni,ie, where the order is not Compofie, but, as in the other in- ftance, Corinthian ; and it muft be confeffed that although' this be an architrave tha t very tolerably becomes the Compofie, we fee fomething very different from it in the remains of that order in tile antique; in the temple of Bacchus it has three faces, and they are all quite plain and not feparated by fo much as aftragals; in the arch of Septimius the Compofie architrave has but two faces, but it is terminated by an ogee 232 A COMPLETE BODY Book II. ogee with an aftragal, which brings it very near the Corinthian order and in the arch J of Titus it is altogether Corinthian. Thefe are liberties the modern architect may take, becaufe he can fupport his work upon the authority of antiquity ; but he had better purfue a middle courfe. Let him preferve an architrave peculiar to the order, but let him retrench the abundance of ornament that is directed in this part. We have obferved that, without the cavetto, the common architrave that is allotted to the Compofite is very proper; but perhaps he may improve it farther. H XIII. Of the Composite freeze. HE freeze, in the Compofite , as in the Corinthian order, may be either left plain, JL or decorated : but as the defign of this order is elegance and ornament, it is much more natural as well as more common to cover it with carved work. This it has in common with the other elegant orders; but there is fomething lin¬ gular in the form of it, according to Palladio , for he makes it not flat, but fwelling or rounded, as has been done by fome in the Ionic order, whofe freeze, in that cafe, is called a pulvinated freeze. Palladio has the authority of the antique for giving this form to the freeze of the Compofite order, for it is fo in the temple of Bacchus. It very well becomes the order alfo, and it gives a variety ; there is an appearance of more weight in it than in a flat freeze, but there is this alfo in the capital; and if it cannot be difeharged in one part, it is to be retained, or even added, with moderation, in another, that there may be conformity in the whole. This therefore mud be allowed a very judicious prac¬ tice. It is Angular alfo, that in the arch of Septimius , the freeze is joined to the archi¬ trave by a large fweep. In the frontifpiece of Nero , the freeze has alfo a fweep, but it is in the upper part and fmaller; and it ferves happily for joining the naked of the freeze to the firft member of the cornice, which is a fillet. This fweep is large in the frontifpiece of Nero ; but this is a very judicious prac¬ tice, for the freeze is there highly enriched with fculpture j and had there not been this fweep, the ornaments would have equalled the projedure of the firfl; members. This is a fault too frequent in the execution of the more elegant orders, but it is over¬ looked : it might be eafily remedied by this pradice of giving a proportioned fweep at the top of the freeze, which would there be as proper as it is improper below. This pradice, though we fee the rudiments of it among the antique, was not uni- verfal : they had their architeds of greater and of lefler judgment as well as we. In the temple of Fortuna virilis, and that of the Sibyl at Tivoli , we find this fweep j and it 4 has OF ARCHITECTURE. 233 has a very happy effeift j but in the temple o i Jupiter fulminans , and that of Faujiina , Chap. 13. where there was the fame reafonable occafion for it, there is none. —>—v The attentive reader will fee from this, and many other obfervations of a like kind interfperfed in thefe accounts of the orders, that he has a vaft field before him for the indulging his genius. There are things the antients have done feldom, which he will obtain applaufe by following j and many they have done frequently which it will be prudent in him to avoid : let him fee all, and judge of all, and he will then feledt with difcretion. There is a beaten path in which he may travel, even withe tgenius, and be fafe ; but he who is worthy to be called an architect, will not condefcen^ to fol¬ low the practice of any one author with an implicit veneration, when he fees that, among thofe remains of the antients, which all the world admires, there is fo great variety. CHAP. XIV. Of the Composite cornice. W E have obferved already, in fpeaking of the entablature in general, that the cornice in this order is too heavy, and that it wants variety. The fame member is too often repeated, and gives a look of famenefs, by no means agreeing with the fpirit of this compofition; and the projedture of the eve of the cornice beyond the mouldings is ufelefs, and renders the mouldings of little effect. Thefe are its blemiflies but, upon die whole there is in it a great deal of magnificence ; diere is therefore the more reafon to wifh it were reformed. The height of the cornice entire is eight twentieths of the whole entablature: it confifts of thirteen members. For the conftrudtion and proportioning of thefe it is divided into ten parts, and they are formed as follows. The firft member is a fillet j this rifes immediately over the freeze, and its meafure is a quarter of one of the ten parts ; the fecond member is an aftragal, and this alfo has one quarter of a part; the third member is an ogee, and has one part j the fourth member is the firft face of the modillion, and this has one part; over this rifes the fifth member, which is a fmall ogee, and its meafure is half a part; the fixth member is the fecond face of the modillion, and the meafure of this is one part and a quarter ; the feventh member is a fillet, and its meafure is a quarter of a part; the eighth is a quarter round, and it has half a part; the ninth is the corona, this has two parts; and it has a throat underneath, the meafure of which in depth is one third of a part: the tenth member is an ogee, its meafure is two thirds of a part; the eleventh is a fillet, and has one third of a part; the twelfth is the great cimaife, its meafure is a part and a half j and the thirteenth is a fillet, whofe meafure is half a part, Thefe are the proportions of the feveral members of the Compofite cornice ; as to its projedture in the feveral parts, that is regulated by the divifion of a third of the diameter of the column into fifths; a third of one of thefe fifths is the meafure of the pro- jedture for the fillet, which is the firft member; another third is to be given to the N B . 22. O o o little 6 2 3+ A COMPLETE BODY Boole II. little aftragal that comes over it; the large ogee has one part, and a third proje&ure ; the J firft face of the modillion has four parts and two thirds j the lecond has five parts; the quarter round above the modillion has five parts and two thirds; the corona has eight parts and a half; the ogee of the corona is to have nine parts and one third, and the oreat cimaife is to have twelve parts. This is a medium between the exceffes that have been made in the proportions and projectures of thefe feveral parts j the idea of the whole is taken from the entablature of the frontifpiece of Nero. Palladio and Scammozzi having both the fame entabla¬ ture in view, and moft others having followed them, there is little variation in the con- flrudion of this cornice. The material difference is in the projedure of the corona; this, in the frontifpiece of Nero is a fourth part of the whole cornice ; Palladio reduces it to afixth, and Scam¬ mozzi allows it only afeventh. Doubtlefs a true judgment is fliewn in this redudion of the procedure, for its excefs is a terrible fault; yet, in reducing this part, regard mufl be had to the reft of the cornice, which has induced us to give it a middle pro- jedure between the feveral extremes, for, according to our rules, it is a fifth of the whole. In the frontifpiece of Nero, the modillion is only a fourth part of the whole cornice; and Scammozzi has copied this exadly. Palladio, on the other hand, has allowed it a third- and we have followed him exadly in this, for he (hews a true judgment; wc have obferved that more freedom may be ufed in the conftrudion of this than of any other order, becaufe it is the lead eftablifhed of any; and it will be feen we have, in fome meafure, taken that liberty, though thefe projedures vary but very little from Pal ladio's : that author’s cornice for the Compofite is, upon the whole, vaftly preferable to that of Scammozzi , and it is more diftindive and peculiar; for in Scammozzi’?, all the mouldings that are below the modillions are taken from the Corinthian order. The authors who have written of this order, befide thefe two, have been fenfible of tlie liberties that might be taken in it, and they have neither conformed to the pre¬ cepts of thofe who went before them, nor to the practice of the antique. The antient architeds have, in the arches of Titus and Septimius, given the Compo- fitc order a Corinthian cornice; and we have feen what Palladio and Scammozzi have done by way of variation ; and what is preferved in the frontifpiece of Nero ; but others depart from all this. Vignola gives the Compofite a cornice very little differing from that of the Tonic: but this is injudicious, for that cornice is much too plain for fo en¬ riched an order ; and Serlio and Bullant have erred yet more egregiouily in this ex¬ treme, their Compofite cornice is plainer and more homely than the Tufcan ; all this is fo extremely wrong that it needs no comment. Liberties are allowable, but thefe are all of the wrong kind ; they fhould tend to lighten the cornice, thefe give it more weight. The fquarenefs and nakednefs of the modillions contributes greatly to the mafly look and appearance of weight in the cornice j in the Corinthian thefe parts are cut with a fcroll, and covered with leaves, which, to the eye, lightens them extremely. This fhould not be exactly introduced into the Compofite, becaufe it would be blending of the two orders, which fhould be carefully kept diflin though his original defign was that it fhould have been Doric. We produce thefe inftanccs of great men, and bold men in their way, declining the ufe of the order rather than they would enlarge its divifions in the freeze irre¬ gularly, to fhew, that when the architedl fees there is a neceffity of enlarging the metopes in coupling Doric columns, he fhould not enlarge the metopes, but let alone the coupling of the columns. 7 Palhdio OF ARCHITECTURE. 265 Palladio will be quoted as an authority that thefe metopes may be enlarged under Chap. 7 . this kind of neceffity, and the palace he built for count Valerio will be produced as an ' v inftance j it is true that in this palace he has, according to his own account, enlarged the metopes in the middle intercolumniation of the portico to make it fomewhat wi¬ der than the others, which have only two triglyphs; the foie reafon he has had for this plainly is, that he would not enlarge this middle intercolumniation fo much as to make it receive three triglyphs, though he would have it larger than the others which had two. We fee the occafion, and we fee what he has done. We can fay nothing more oil this head, than that it is pity he has done it: for the example of fuch a perfon is dange¬ rous. We have fhewn Hermogenes would not have done it, and he was a greater archi¬ tect than Palladio , or than Palladio's idol Vitruvius ; and as bold as a good architect ought to be. In this Palladio not only played with the proportions, but diffented from the opi¬ nions of his matter. Vitruvius has named this incident of the enlarging the middle intercolumniation in Doric porticos, and his rule is abfolute ; he fays let them be laro-e enough to receive three triglyphs: he puts in this order three triglyphs in the middle intercolumniation, though the others have but one. It is not only this liberty Palladio has taken with the Doric ornaments in that palace; he has put half triglyphs at the inward angles, and, upon the whole, has fo greatly varied upon the proportions in this refpeCt, that nothing but its being his work could protect it from much cenfure. It is not fit any name fhould make error facred; the young architect is too apt to be milled by his own fancy, it is not at all proper he fhould have fuch examples. As this is a point of great importance, we have given the lower part of that palace in the annext plate, to explain thefe obfervations.. A COMPLETE BODY HAP. VIII. Of the general proportions in the orders. H AVING entered thus at large into the particularities of the feveral orders, their beauties and defeCts, and the excellencies and errors in their conftruCtion, as it has been delivered by different writers, we fhall conclude this part of our work with fome few general obfervations. The fubje&s of many of thefe we have occafion- ally touched before, but could not there dwell upon their explanation : we fhall here, in one fhort recital, prefent them to the reader, in which manner they will illuftrate one another. Treating thefe fubjeCts in this order, we divide the fourcesof knowledge into three parts; thefe furnifh three diftinCt kinds of information. They are underflood by the three terms, antique, antient, and modern : by the antique is meant what we learn from the remains of the mofl early architects; the antient architecture is that taught by Vitruvius and the modern is that of late authors. This fcience, among others, flept during the middle ages, and was revived at the time of the others, fo that what is called modern takes in only the writings of a few centuries. The words antique and antient are frequently ufed as fynonimous, and indeed they fienify the fame; but they are to be ufed as thus diflinguifhed and appropriated when we fpeak flridtly. In the meafuring the feveral parts of an order, it is feen we in the fame manner ap¬ propriate terms. The word part is frequently ufed, and has no fixed fignification, but, according to the divifion firft eftablilhed it is of one quantity or another : this is the variable, as the minute is the fixed meafure. A module is the general term ufed to exprcfs the diameter of the column, taken at the bottom ; and a minute is the fixtieth part of this diameter : therefore a minute is a different abfolute quantity in the meafure of different columns, but it is always the fame proportional quantity, being always a fixtieth part of a known meafure, which is fixed with relation to that column. A part is altogether a vague term, taken in itfelf; but being firfl fettled as to its quantity, it does as well, and becomes as fixed as any other. Any meafure, whether it be the diameter of a column, the height of an entablature, or whatfoever, is divided into a certain number of equal portions, five, fix, eight, or more or fewer, and each of thefe is then called a part abfolutely in the admeafurement of the feveral members. This we have {hewn occafionally, but the reader being acquainted with thefe things before, will not be difpleafed at our leaving here it frefh in his memory ; and he will find by this that he has properly underftood what he has been reading. The OF architecture. 267 The antients and the moderns have both oeeafionally ufed each of thefe meafares in Chap 8 deferibing the proportions of members; but, from the more general ufe, the mcafurmg -v—> by parts has been called that of the antients, and that by minutes the manner of the moderns. We have named both to give the Undent his choice, but we recommend to him the andent method by parts, for it keeps up a knowledge of the proportion at the fame time with Che remembrance of the meafure, and it is much more readily and fecurely retained in the memory. It mull be allowed, that in giving the meaftires of feveral of the particular remains of antiquity, it is altogether neceffary to ufe minutes, becaufe the members to be mea¬ sured are fo irregular that fcarce any divifion of parts can explain them, at lead, none but what would be more perplexing than that of minutes. Reafons have been nre- tended for this, but more probably it has been often the effeft of accident or enreieff- nefs : however this renders it moll proper to ufe the admeasurement of minu-es in de¬ feribing fome of the antique remains : but the ufe of parts is vaftly preferable in deli¬ vering tbofe of the abfolute members of the orders, or conveying' any other general knowledge. Although the diameter of the column is what is generally expreffed and under- ftood by the term module, yet the word has other fenfes. When fpeaking of the Doric order, it means half the diameter of the column ; that is, it is a mea- fure containing thirty minutes; and Perrault has a module that contains ftill lefs • it is only a meafure of twenty minutes, or a third part of the diameter of the co- lumn. Vitruvius reduced the Doric module to half, becaufe that was a more con venient meafure for the parts in that order; and Perrault, who has added a third kind of module, diftmguiihes them : he calls the diameter of the column a mat module, the lem.diameter a mean module, and the third of the diameter a little module. As this may however occafion fome confufion, it is always better to ufe the exprefs terms, a diameter of the column, a femidiameter, and a third of adiameter • thefe can not be miftaken, whereas the other word, having three fenfes, may; and this is the method we have followed even where we have been mod obliged to that author as we have been, in the greateft degree, on a multitude of occafions; not ufing ids term of module, mean module, or little module, but expreffing ourfelves by the whole di- ameter, or its afeertained parts. This meafure however, of a third part of the diameter of the column, taken at the bottom, has very great ufe. It determines the general height of pedeftals, columns and entablatures, in ail the orders without a fraflion. The height of the feveral parts are very happily expreffed by this meafure in whole numbers; and it ferves alfo very well, under an appropriated divifion for their projeflures: this divifion is into five and 3 ’ it A COMPLETE BODY it is this we have ufed ; though without the term, to prevent confufion. A fifth part of a third of the column’s diameter is as regular and plain a meafure as the third it- felf, and it anfwers all thefe purpofes. Six of thefe thirds, that is two whole diame¬ ters of the column is the general height of the entablature : this therefore, fpeaking generally, is as well exprefled by the whole diameter, as by any divifion of it; but when we come to the (hafts and pedeftals, they vary by fuch proportions, that this di¬ ameter or even the half of it, is too large for a convenient meafure. 11cre the third part comes in very happily : making the orders increafe in height as they become lighter, their pedeftals rife in an excellent proportion, by adding one third to the height all the way; making the Doric pedeftal one third of the column’s diameter taller than the Tufcan, and fo on. In the fame manner the columns will rife one above another regularly by the pro¬ portion of two of thefe thirds, the Ionic being two thirds of a diameter of the co¬ lumn higher than the Doric, and fo on. This is a regular meafure, and we fee that a whole diameter, or a half diameter could not fupply its place. This kind of general admeafurement is very happy alfo in another refpefl, which is that it is eafily retained in the memory. Thus he who has been acquainted, that in pedeftals in general, the bafe is a fourth part of the height of the whole, and the cor¬ nice an eighth, and that the focle has two thirds of the bafe itfelf, will never be at a lofs for the divifion. He has feen the height of the whole pedeftal determined before, according to the order whereto it belongs, and he here fees the proportion of all its parts, for the meafure of the die is the remainder of the whole. In the fame general way he will remember that the bafes in all the orders are of a regular meafure which is half the diameter of the column, and that their capitals vary, as alfo the parts of their entablatures; thefe variations he is to feek in the par¬ ticular accounts of them, and here is a general idea of the whole. We have obferved that the entablatures may very naturally be made equal in all the orders; but there is nothing fo little determined by the practice of the antients, or writings of the moderns, as this very article. The heights of their feveral parts are very differently adjufted, and the height of the entire entablature, in proportion to the column is a thing as little fettled. If we would fee how undetermined the antients were in this point, let us caff our eyes upon the entablature in Nero's frontifpiece, and that of the temple of Vejia near •Tivoli: one is twice as high in the proportional meafure as the other. It is pity this is not better determined, for there is no part of architedlure in which excefs or defedl are more confpicuous, even to a common eye. Solidity and ftrength are to be the firft confideration in every building, and the parts muff; be fo proportioned as not only to have ftrength, but to (hew that they have it: rfow this is impaired where the entablature and the column are not proportioned to one another, either by the entablature being too heavy or too light. The column muff have a certain thicknefs to bear this ornament, and there muff: be a proportioned height in the the entablature accordingly. The entablature therefore is to be governed in its height Chap. 8, by the thicknefs of the column, being lower as that is flenderer, and higher as it is more malfy. This is the direction of reafon, but if we were guided fingly by particular in* ftances in the antique, we ffiould run diredly counter to it. We fee, in the Corinthian and Compojite orders, entablatures much higher, in proportion to the thicknefs of the column, than in the Doric and Ionic. To fpeak with that freedom which becomes a candid and free examiner, the antients feem to have exceeded in the making their en¬ tablatures too large and high, and the moderns, on the contrary, to have feen this, and become faulty in the oppofite extreme. The entablatures in Nero's frontifpiece, and the Campus Vaccinus , feem too high to be fupportable ; and, on the contrary, we fee thofe of many of the moderns poor and pitiful becaufe of their lownefs. Thefe firft have feen the error of the antique, but it is feldom men can avoid one extreme in ffiunning another. It feems that the oldeft buildings we know were too low in their entablaturesj thefe were Greek: the Romans faw this, and carried theirs to too great a height; the moderns, avoiding that excefs, are getting down to the practice of the firft Greeks again, or, perhaps, beyond it, in their low entablatures: fo difficult is it to find, and fo much more difficult to preferve, a medium. We have always advifed this medium where there is the greateft diverfity, and pro • bably no way can be better here. Having mentioned the more considerable parts, we ffiall now defeend to the leaft important, for there are none utterly below notice. The cindures belong as regularly to columns as their bafe or capital; but, becaufe fmall, they have been lefs confidered. Thele reprefent thofe rings of iron the antients put about their original wooden co¬ lumns, and confequently their proper place is at the bottom and the top. The cinc¬ ture at top is ufually an aftragal with its fillet; that at the bottom is a plain fillet, and has the name of cindure by moft given particularly to it. Thefe are parts the antients have treated as of very trivial confequence; and they have varied in their proportions greatly, without any vifible reafon. We fee the fame diverfity and uncertainty in the moderns; but nothing ffiould be left thus at random in the orders: the leaft parts ffiould be afeertained. There feems no great reafon for varying thefe cindures according to the orders, but if any orve ffiould determine upon doing this, the manner he is to obferve is plain : they muft be larger in proportion as the order is more grofs, and fmaller as it is more delicate. Without this ftridnefs, it may be very well to give them one general meafure, and this will have a very good effed, if given to all the orders, for it favours too much 'of littlenefs in tafte to vary fuch parts. As the orders rife in delicacy, the columns lengthen, and this will make the cindures appear lefs in the more delicate, and larger in the more grofs, though they ffiould be, in reality, the fame in all; the meafure of thele things being proportional. N°. 25. Z z z ^3 2 7 o A COMPLETE BODY Bool- II Wc ma y. at at medium > allow the cir - aiire a twentieth part of the diameter of the column. In the Pantheon we fee it about this meafure j in the temple of An¬ toninus and Fattflina it is higher; and in that of Vefiu at Same lower : we are there¬ fore here happy in having an inftance of the antique to lupport the medium. Inftead of this plain fillet, there is an alfragal and its fillet on the columns in the Campus Vaccims ; and feme of the moderns have imitated this: but the plain member is better. It makes a diverfity between the termination of the Ihaft at top and bottom; and it feems to have more firmnels. The aftragal at the top fhould be about a tenth part more in height than the plain cincture at the bottom ; we may very well therefore allow it an eighteenth of the diameter of the column. We fee it of this meafure in the temple of the Sibyl, and the Bajilic of Antonin ,■; and this is a medium between the extremes in which we fee it in the temple of Fcrtuna virilis, where it it is half as high again, and that of the temple of Vefta at Rome, where it is fcarce half fo high. This admonition is the more neceffary to the fludent from the diverfity of rules he will find in modern writers: Serlio making fcarce half fo large as Palladio, and fo of the reft. There is a proportion for the aftragal eftabliflied in the Ionic order, as we have feen, in which it is to be equal in breadth to the eye of the volute. This is about the meafure we have given, and being fettled in one order, there is no reafon it fhould not be extended to all the others. In the fame manner the cinfture at the bottom of the column is determined in the Fufcan order to be a fifth of the upper half of the bafe. This makes it a twen¬ tieth of the diameter of the column, and there can be no reafon why this proportion fhould not be alfo made general. Finally, the fillet of the aftragal is half the height of its aftragal in the temple of Bacchus, and fome other antique ftruflures. This is a certain and a regular mea¬ fure, and nothing can be more proper than to make ituniverfal. Having thus, after a particular detail of the parts, and their meafures in each order, given this general review of their proportions in general, and with refpeft one to an¬ other, we (hall clofe the account of this great article in the fcience of architefture -, concluding with that caution to the ftudent wherewith we fet out, and which we have fo frequently inculcated in the courfe of thefe obfervations; that, when he has feen the variations In every article, he fettle to himfelf a mean, or middle proportion, as a ftandard between them ; and, when he has done this, that he compare that meafure of conftruaion with what is preferibed by one or more of the celebrated authors. We inftance Palladio, doubtlefs the firft of them in merit, as the firft in reputation in Britain. o Let OF ARCHITECTURE. 2 Let him not be captivated with the name even of this author, or over awed by his ch reputation : but examine what he propofes as freely as if it came from another. If he find it better than this medium which he had drawn from the various ex- ceffes of others, let him prefer it in praftice ; if otherwife, let him confider whe¬ ther the exadt medium, or fome meafure near it, be moll excellent, and having found what is beft, let him not be afraid to ufe it. We have fhewn him Palladio can do wrong, and that may be an anfwer to fuch, as, being bigotted to his opinion, would give it their voice againft truth. Palladio is oftener in the right than any man, and let that be efteemed fufficient praife: no man is always. The End of the Second Book, OF architecture. BOOK III. SECTION I. Containing the general practice of Architecture, in the creeling of complete edifices, and proportioning and decorating their feveral parts. H A P. I. Of preparing for the regular certain and unobfiruSled difeharge of water. W E have, in the preceding part of this work, laid down the principles of ar¬ chitecture, and prepared the fludent for the pra&ice of it, by giving him a general idea of all its parts: we now advance to that practice ; in which we would have him, according to the fpirit and meaning of every article of inflrudtion here laid before him, indulge his genius within the bounds of diferetion: he has here be-* fore him the precepts of all the great mailers, and the moll eminent examples left by the celebrated architects of thofe earlier ages, wherein the fcience reached its greateft perfection. Let him imprint the one upon his memory, and retain the other in his imagination j and let him follow both without being a Have to either. The rules delivered by authors are generally too ftridt, and the variations made by the antient architects are, in fome inftances, too licentious. If he conform himfelf wholly to the one, he will be cold and ftiff in all his defigns, and if he think he may run all the lengths of the other, he will be too free. There are certain de¬ viations from rule upon which depends, in a great meafure, the fpirit of writing ; but there are liberties taken by the Homers and Shakefpears of an earlier time, which, though allowed in them, would bring cenfu.re upon any one who now fhould pre¬ fume to ufe them. Architecture, as we have fhewn, is not lefs a fcience than poetry, nor is lefs a theme for genius; the rules of the one may therefore be transferred into the other : and it is by obferving that conduCt which has been fuccefsful in the one, that we may be certain to fucceed in the other. Our ftudent now, if he have read with any degree of attention, is matter of the ufual terms, and comprehends what may be called the rudiments'of the fcience ; he is N c - 25. 4 A acquaint- ..fife 2 7+ A COMPLETE BODY Book III. acquainted with the nature and qualities of his feveral materials ; he knows which --•- ' are fitted for every peculiar piece of fervice, and he knows the theory of the effential and ornamental parts. Nothing remains, but that he now proceeds to the putting them together in the regular conftrudtion of an edifice. That he mav find no difficulties in his firft advances in this way, and may proceed by the proper gradation, we (hall begin with plain and fmall houfes, and from thefe rife gradually to the larger, more elegant, and more ornamented. But as no houfc, not even the fmalled, can be conveniently fitted for the inhabitant without a proper difeharge for refute water, we (hall lead him to the erefling of the fabrick by this needful preparation. We have, in a former chapter, delivered the fydem and theory of drains, and we are here to proceed to the reducing that, as the other articles to practice. There mud he a pafftge for water, or it will lodge, and the houfe will be damp and uncomfortable; this paffage mud be free and unobftrufled, or it will remedy the evil but partially, or only for a time : and as foulnel's of various kinds w ill make its wav with all water, and this will naturally, though by flow degrees, in time fill up thofe drains intended to carry it off, this choaking and filling of them up, mud be guarded againd hr their very fird condruaion. Every bricklayer can make a drain that (hall receive the water for the time, but it is the architeft alone who can form and condrua it in fuch manner that it (hall per¬ form its office continually, like the veffels in the human fabrick, through which the fluids circulate freely, from our birth to our death, without diforder, interruption, or obftru&ion. We fee the vad preparation there is made for this fcrvice in the regular building of cities ; and the fame, in a proper degree, mud be ufed for every private houfe, great or little, or the fame inconvcniencies will follow. The mod confpicuous buildings, or the mod fhewy parts of them, do not obtain the architea mod praife; tannin has been as highly applauded for condructing the great common fewer at Rome, as thofe who erected the mod pompous edifices. The Writers of that time fpeak with wonder of its bignefs, and it is true that its capaciouf- nefs rendered it worthy to be a model for all fucceeding time. They have recorded that it would receive loaded carriages, and Palladio, who meafured a part of it near the Senatorial! bridge, the part now called Sanfta Maria, found it fixteen foot in di¬ ameter in the clear. As this was proportioned to the buildings it was to drain, fo mud every conveyance of like kind; and this may fiand as an everlading rule, that the fafe fide to err upon is the allowing it too large. A little expence in this work is very ill faved, for there is nothing more troublefome than what is done to this part of the work afterwards. A private houfe, as well as a large pile of building, mud have its principal drain for receiving from all the red, and this, as it is the mod effential article, is to be the 6 archi- OF ARCHITECTURE. 275 architect’s firft care. To underftand what is needful to be done for conveyance, Chap. 2. let him firft obferve what are the feveral fources of the wet, and proportion the ca- u *v ■ vities t© the quantities, that upon ordinary, and extraordinary occafions, may fall into them. H P. II. Of the conftrnElion of pipes and ftnall drains, for the conveyance of rain water. T HE roof of a houfe is a fpace of fo much extent that it receives a great deal of rain water, and for this, conveyances are firft ta be contrived : they muft not be proportioned to the common fall of rain, for then every violent fliower will throw more on the roof than they are able to receive j and, in confequence, they will run over: this will be a great difgrace to the architect, as well as a great inconveni¬ ence to the family. As he is to make the conveyances for this larger than might be fuppofed needful by thofe who computed only for the common chance, fohe muft conftruct the larger and more confiderable drains into which this and other abundant water is to be re¬ ceived, much larger than may be needful for common ogcafions j for accidental re¬ dundancies will happen, and he who knows what they may be, will provide apd guard againft them. The water which falls upon the roof of a houfe muft not be permitted to lodge in any part, for the inconveniences of this are plain. Where it can lie, it will foon over¬ flow the lead which is laid to receive it, and when it has only the tiling to keep it in, that will not perform the office long, but the water will loofen the joints, rot the cement, and make its way to the timbers, which will foon be deftroyed by it. To prevent this, which is the firft fource of water to be carried off, the feveral parts of the roof muft be made fo flanting to one or more places, that the water which falls, in whatfoever quarter, may readily and freely run to one of them. In all thefe places to which the wet will be carried, there are to be put pipes for receiving it; thefe muft be of a due diameter, that the moft violent fliower may not over charge their capacity. This is the firft provifion for the wet; thefe pipes convey the whole quantity from the top to the bottom, and it is there to be received into proper channels. For this purpofe, fmall drains are to be made, beginning at the nofe of each pipe, and thefe are to be carried to the larger. Thefe channels are to be the fecond con- vevance of the water, the pipes being the firft. They are to be proportioned to the quantity they are likely to receive on the moft extraordinary occafions, and the fafe way is to make them fomething too large for that. Under 276 A COMPLETE BODY Book III- Under the name of a third conveyance is to be underflood the drain, or drains, (for, *—■"V-' according to the extent and plan of the edifice, one or more may be requifite for this purpofe) which are to receive the water from thcfe feveral fmail channels. In all this, the builder is to obferve an encreafing proportion ; and having calculated the diameter of his pipes for the greatefl fall of rain on the roof, he is, from that dia¬ meter of the pipes, to regulate all the reft; only obferving that all is to proceed in a greatly encreafing proportion. As each firft channel, or fmail drain, is to receive the water of one pipe only, it is to be calculated in an encreafing proportion to its diameter ; and, in the fame man¬ ner, this larger drain, or third conveyance, is to be calculated from the feveral dia¬ meters of thofe drains from the pipes which come into it; and this alfo in a con- fiderably encreafing proportion. Let not the architect be flartled at the fize he will find necefiary on this principle j for he may be fure geometry and arithmetick are fciences that will never deceive him. Meafures and figures are capable of computation to a mathematical truth, and he is therefore never to deviate from them in his plan. In this, as in the preceeding articles, we fhall caution him that to exceed the pro¬ portioned dimenfion is much better than to fall fhort of it. The erring on this fide can only be attended with a fmail encreafe of the charge, whereas any miftakc in the other overfets the whole defign. It is in vain he has calculated his firft and fecond con¬ veyances according to truth, if he make the third too fmail : it will anfwcr no purpofe that the pipes and the firft channels are well adapted to the fervice, and proportioned to one another, if thefe larger drains be too fmail. Any obftrudtion there will have the fame effedt as if it happened in the others, and they will be liable to burft and run over as much as if the fault were there. C II A P. OF architecture. CHAP. III. O/Sess pools, tbeir ufe, proper places, and dimenfwns, TTTHEN the proportion of the pipes and drains are fettled fo that they (hall be V V able to convey off all that falls from the upper part of the houfe, the next confideration regards their being put into a condition to continue in a capacity of per- forming their office freely. To this purpofe care mull be taken that they do not choak up. The architefl has made his frit calculation juftly, when he has fo contrived the pipes that they will take all the water of the roof, fo proportioned the firft drains that they will give a free paffage to this water, and the fecond fo that they will receive and difeharge it again : but if he were to (lop here his calculation would ferve to but little purpofe. The meafure of the feveral drains has been proportioned to the quantity they were to pafs, and if they always retained their firft capacity, they would at all times be ready to ferve this purpofe: but we are to confider that it is not clear water that runs into them; a great deal of foil is walked in with it, and though this runs freely down the pipe, mured with and fufpended in the water, it will feparate from it, and fettle to the bottom in the fecondary channels. One parcel of fcttlement will gather upon another, and, by degrees, the channels will fill more and more up ; as they fill up their capacity becomes lefs, and confe- quently, though they might have been made in an over proportion of fize at firft, they will thus become too fmall, and the pipes will choak as much as if the convey¬ ances from them had been originally too fmall, from an error in the conftrudtion. This would be the cafe if the feveral drains were built up and finifhed according to the calculation, without any farther precaution : we reprefent it to the young builder in its proper colours, that he may fee the neceffity of providing in time againft it. This provilion is to be made by means of certain cavities, difpofed in proper places for the reception of this fediment from the water; thefe cavities, or holes, are called fejjpooh, and they are to be contrived and difpofed with the fame care and caution that is ufed in making the drains themfelves. The direction to be given the builder with refpedt to thefe feffpools, is, that they be of a due bignefs, and difpofed at proper diftances; and laftly, that they be fo con¬ trived that they may be cleaned at times without difficulty, for otherwife they would fill up, though ever fo large, and then the evil would be continued to the drains; they would fill up next, and all would take the fame ill turn as if the drains had originally been made too fmall. 2 77 Chap. 3. N?. XXVI. 4 B 278 A COMPLETE BODY Book III. It is a g 00d ru le to make a feffpool near the opening of every pipe; this is taking - ---- caution in the firft inftance, for it is preventing a great deal of the grofleft and worft of the foulnefs from coming into the channels or drains at all. This feffpool at the mouth or opening of the pipe muft be made very deep and large and this for a plain reafon ; the water comes with fuch a violence down the pipe that if the feffpool here were Audio* or tail, it would all rtfe over its edges together and the water would run as thick into the channel as if there were none ; but if there be a fufficiently large and deep hole made there, the water will depofit its worft and thickeft part in it: for, as this will keep full of water, let that which comes down the pipe ruth in with ever fo much violence, its motion will be check’d a little there, and the grofs matter will fubfide; this it is always ready to do when tile hurry of that motion does not prevent. The firft feffpools being thus made, one under the nofe of each pipe, others are to be durv at proper diftances, and in a particular manner, where there are angles in the courfe^of the drain, for in all thefe places, the ftrait current of the water being ftopt, there is a tendency to the fettling of the other matter. Thefe muft be, like the firft, large and deep, the bigger in moderation the better ; they can be of no fervice if too tall : the bigger they are the fitter they arc for the intended fervice, and the feldomer they require cleaning. Thd place of the feveral feffpools being fixed, they are to be fo covered that there will be no difficulty, confufion, or inconvenience in opening them ; they muft be cleaned from time to time, and as to the quantity they may hold before they need it, this is one good rule, that the foil in them ffiould never rife within a foot of the floor of the drain ; for if it come fo near the level, any violent motion of the water will difturb and raife the mud, and it will be cairy'd into the channel or drain, and fettle there. This is fetting afide the very ufe for which the feffpools were made. CHAP. OF ARCHITECTURE. 279 Chap. 42 CHAP. IV. Of the ways of difcharging the water according to the fituation of the houfe. W E have contrived for the carrying the water from the roof, receiving it from the pipes, and collecting it from the feveral channels cut for that purpofe.’ We have flopped, as the builder who reduces our rules to practice muft, to provide for the reception of fuch foulnefs, as, if fuffered to continue its courfe with the water, would interrupt its courfe, and pervert the intent of all that had been doing; and hav¬ ing taken care to prevent that inconvenience, we are to purfue the courfe of our col¬ lected water. We have conveyed it now from all parts of the houfe, however large or extenfive, into one common drain, and we are to confidcr what is to be done with it. It is not to lodge there, but to be conveyed thence in the moft free manner, and this is to be done different ways, according to the condition of the place where the houfe is built. The drains are to be continued from the feveral feflpools, and they are to open ei¬ ther into fome general conveyance, whence it may be carried quite off, or into large receptacles into which it may be all received. The firft of thefe is commonly to be praCtifed in London , and is a great conveni¬ ence but, as there is not this opportunity in other places, the other method mufl ge¬ nerally be employed in the country. In the conftruCting of great cities, as foon as the courfe of the ftreet is fettled, a large drain, or common fewer, is carried all along it, at fuch a depth as to receive the wet from the loweft part of all the houfes with a fufficient defeent; and this is the convenience there is in general in the ftreets of London. Therefore when a houfe is intended there, the method, in this part of the conflrudion, is to carry on the large drain, with feveral feflpools, at proper diftances, till it opens into the common fewer as already deferibed, as built for the general fervice. This carries all wet, of whatsoever kind, or from whatfoever fource, perfectly and cleanly off: drains are to be laid for the receiving the accidental wet from the various family occafions, which, like thole from the pipes that receive the water from the roof, are to be all continued, with feflpools at proper diftances, to this main drain; and this, receiving all the wet from the different fources, and difcharging it into the com¬ mon fewer, it is carried off altogether. In the country this great convenience of a common fewer is wanting, and in fome of thofe fpots where town houfes are built, there is the fame disadvantage. Here the architect is to fall upon another method, which, being properly obferved, will have all the fame advantages. 280 A COMPLETE BODY Boak III. p or t hj s purpofe, where there is no method of difcharging the water, he is to pre¬ pare a place for its reception ; this mu ft be no other than a feflpool of proper fize, or, if the reader chufe to call it fo, a well. The place for this great feflpool niuft be the loweft fpot of all the ground, that a natural current may lie to it from every part; and it muft be there dug of a proper fize and depth according to the occafion. If this well be properly dug it will anfwer all the purpofes of the common fewer - the earth is of a loofe and open ftru&ure, and water, let into a hollow made for that purpofe, will naturally make its way through the crevices. We fee that in moft ground, in order to make a cavity hold water any thing near the furface, there is to be a great deal of expence and trouble in claying and ramming the fides; in this prefent cafe, the defign is that it it fhould not hold water, but let it pais, and therefore, when none of thefe cautions are ufed, the wet will make its own way, and be loft as was intended. The bignefs of this muft be proportioned to the occafion ; and, as it is better to err on the fide of making it too large than too fmall, reafon will dictate that it fhould be very coniiderable : while it is fuch as will receive all that is offered to it without be¬ ing full, all is fafe ; for the water that does not run over will find its way off - ; but if it be liable to be over filled, there will be all the inconveniencies that would have at¬ tended the choaklng of the other works. The wet will naturally keep at a certain height in this, according to the level of the water, and the reft which is brought in at any time will go off foon : one of thefe wells, or great feflpools, properly conftruCt- ed and difpofed, is generally enough for the largeft edifice; but it may happen from the dilpofition ot the ground, and extent of the place, more may be convenient: let not the builder mifunderftand this, more than one general feflpool can never be ne- ceflary, becaufc if that be made in the loweft fpot of the ground, every part may be drained to it; and if be dug of a due bignefs it will hold every thing that comes, therefore there can be no abfolute neceflity for making more; but it may often be more convenient and lefs expenfive to make two or three in different places, each of which lhall receive the draining of fome one quarter of the ground. A greater number of f nail drains may, in many cafes, be made, at a finaller expence, to two or three differ¬ ent feflpools, than a few longer and larger, that muft go through a great extent of ground to one. This is the occafion of multiplying the large feflpools, and a good ar¬ chitect is frequently juftified by reafon, in doing it from thefe confiderations. CHAP. OF ARCHITECTURE. 281 H P. V. Chap. 5. Of the cliff 0fit ion of Drains, Channels, and Sesspools, through the whole ground plait. N large houfes we are not to confider the extent of ground the foundation covers as all that is to be the fubjedt of draining; there will be perhaps an area before, and a garden behind, and the architect is to take all thefe into his regard on this oc- cafion. He is to look upon the boundary wall as the circuit of the ground he is to drain, and proportion the work to the whole; not that the drains and feffpools will need to be multiplied and enlarged in proportion to the fpace, as if all covered with building; but ftill they are to be confidered. Water will lodge wherever there is a defeent, and it will be eafily carried off wherever there is a channel cut below: there¬ fore he may be fure a great deal would naturally lodge in different parts of the area and garden, but he will underftand at the fame time, that, having made the needful preparation of drains and feffpools for carrying off the wet of the houfe, it will be eafy for him to contrive to diicharge all that would fettle here the fame way. The beft conftrudtion of the feveral drains is this: let the principal drain be cut through the middle of the plan of the houfe ; and let this be, as we have faid on every occafion before, fomething larger than to anfwer the mofl fudden fall of water: for the draining the natural wet of the houfe, a channel may be carried into this main drain, which goes through the centre from every room of the lower ftory. This being done, the area will next come into coniideration ; and this is to be drain’d by channels, or fmaller cuts. In general, a couple of thefe will be fufficient, or, if not, more than a third is very rarely required ; thefe are to be cut through the extent of that piece of ground, and to open by wide mouths into the middle or great drain already mentioned. When this is done, the places of the feffpools are to be confidered; and firft a main one is to be funk. To this another large drain is to run, upon the principles already laid down for the draining the roof. We have fhewn how the pipes are to difeharge themfelves, each into its proper fmall channel, or drain, and thofe are to open into this main drain, which is to run, like the firft, into the common feffpool. The pipes are to be placed at the angles of the building, and thefe channels con¬ veying the water from them to the drain that opens into the feffpool, it is thence to be difeharged by another large drain into the common fewer, if the houfe be in town, where there is that convenience ; if not, this feflpool mull be made the larger and its fituation mu ft be the more confidered. N°. 26, 4 C In 282 A COMPLETE BODY In thofe places where there is not the great convenience of a fewer in towns, or of running water to carry off all clear in the country, there mull be a great deal of re¬ gard paid to the conftrudtion and fituation of the great feflpool. This is to receive not only all the wafte water, but in a manner, all the filth of the houfe ; and it is to remain and flagnate there. Ill fmells, and even unwholefome va¬ pours, will doubtlefs rife from this, and it may be not only difagreeable but mifchie- vous: in this refpedl we fhould adopt the Italian pra&ice, which is founded in the greateft reafon ; they never content themfelves with Ihutting up fuch a place as this, fo as to confine the bad air, but always give it vent in a proper manner. We have many inftances of the air being fo poifonous in thefe covered wells, that when labourers go down into them, after they have been long lliut up, they are killed by the vapour. Would not any reafonable perfon be very averfe to having a vapour confined under or about his houfe, which is of a poifonous quality ? The method of preventing it is by giving thefe great felTpools a communication with the open air; this will anfwer the purpofe without the help of ventilators, and this the Italian architects, who are worthy to be our models in other refpedts as well as the prefent, always contrive. They place the great feflpool near the out wall in foine remote part of the ground, and they carry up two or three brick funnels from it into the open air, on the other fide of the wall. The principal conveyances being now made, regard mull be had to all the offices, for wet and filth will be produced in all of them; drains of the fmaller kind, fuch as receive the water from the pipes, muft be carried from every one of thefe, and open into the main drain next to them, and there difcharge their water. After this, the plans of the bog-houfes are to be fettled, and of all other needful conveniencies of that kind, and for each of thefe is to be dug a well; from every well there is, in the fame manner, to be carried a channel into the next main drain, to difcharge their abundant water; thefe, and other that receive the wafie waters from wells funk for the fervice of the family, are all to open, each by its proper mouth, in¬ to one of the large drains, and the whole is thence to be difcharged as we have fhewn. We have fpoken already of the placing feflpools at proper diftances, and this cau¬ tion mull: always be kept in mind, and executed wherever there are drains; for there will be little ufe in conftru&ing them ever fo well, if they be continually liable to fill up. We have defcribed the two or three main channels made for draining the area, or fore court, and the fame are to be made, in the fame manner, in the garden, conti¬ nuing them with a gentle defcent to the next large drain ; to the great fewer, or to the great feflpool, as their fituation renders moll convenient. Book III. 5 With OF ARCHITECTURE. + 2 V 3 With refpeCt to the area, or fore court, there will frequently be required fmall channels to the two or three larger ; and, where needful, they mull never be fpared: there muft be alfo fmall drains carried from all the lodges into thefe larger drains, in the fame manner as we have directed them to be carried from every room in the lower ftory to the main drain, palling under the centre of the houfe. Thus one part of the work will be the rule of another 3 and when it is once beo-un with a due fenfe of the theory, the practice through the whole will be very eafy. Chap. 6. CHAP. VI. Of the conftru&ion of Dry Drains, and the general difcharge of water. T HE necellary precautions are now taken for conveying off the water that is brought by rains upon the roof, or thrown off by the various occafions of the family, but the architect is not to flop here 5 if he fhould, after all his care his whole work might perhaps be ufelefs, and himfelf cenfured after all his contri¬ vance. Befide thefe waters which the bufinefs of the family difcharges, and which fall from the clouds, there may rife other water from the ground, and that, in many places, in very large quantity. Conveyances mull be made for this, or the care taken on the other hand will be ineffectual. This mull be provided for by what are called dry drains. Thefe are to be fmall and, according to their name, laid dry : their ufe, we have obferved, is to carry off the water that may arife from land fprings, or drainings from higher ground 3 and as the nature of their fervice is this, they mull be adapted in number to the oc- calions. It is a very ill choice in any one who can avoid it, to build on fwampy ground 3 but when this is the cafe a great number of thefe drains are needful. Thefe dry drains being laid, and the others difpofed according to the directions we have here laid down, the houfe will be always dry and fweet 3 thefe are two very great conliderations, for wherever water can lodge, there will be damp vapours and ill fmells. To explain all that is here laid down, by example, and prefent it to the eye, as well as to the imagination of the builder, we have given, in the annexed double plate, the plan of a houfe of confiderable extent in town, where there is the advan¬ tage of a common fewer, for the reception of the water from the feveral drains. This we have thought the more immediately ufeful to the town builder, becaufe there is every where this convenience for him; and, as to the country, we have direCled 284 acompletebody Book III. direCled what is to be done there. If there be a running water near, that will fcrve perfettly as well as a fewer, and receive all and carry it off; if not, the large 1 c Spools we have deferibed are to do the bufinefs, and we extremely recommend it to the ar¬ chitect to give them openings to the air in the Italian manner. When the difeharge is made into a running water in the country, the owner need not fear any inconveniences that will arife from it, for all filth is prefently carried off this way, and the only confequence will be, that there will be more and better fifh of many kinds there than elfewhere; the various things difeharged from the houfe inviting and feeding them. Palladio , who mentions the great fewer in Rome, obferves that the fined and larged fifh were caught thereabout. This may be diffident to recommend to the country architect the method of difeharging the wade into a running water, where it can be done, and the conftruCt- ing his great feffpool properly, where no better convenience can be had. With refpeCt to an edifice in town, the example we have given in plate XXX. is of a very large and elegant one, and confequently it will anfwer every purpose to the London builder ; for where the extent of ground and variety of offices is lei's, it is only reducing the number and extent of the drains accordingly. In our plan, there is the whole condruCture for draining a houfe, its offices, its area, or court, and its garden ; nothing more can therefore be required on this head than the referring the defign to the account we have given of its feveral parts, which will be eafy to the young dudent from the annexed explanation. C H CHAP. VII. Of the conjlruElion of the federal kinds of Sewers and Drains. W E have (hewn the young builder in what manner he is to defign and difpofe his feveral drains throughout the whole plan of his fabrick, and having thus far proceeded in his undertaking, the next thing is to explain to him their proper con- ftruaion; it will be in vain that he have difpofed and contrived them ever fo well, if there be errors in their ftruaure. We have already explained to him in what manner he is to proportion the capacity and extent of his drains to the ufes which they are to ferve, and the quantities of wa¬ ter that may fall on them ; it remains here, that we (hew how fuch as are of certain given fize may be bed condrudted. It is impoffible, by any rule, to fay of what par¬ ticular dimenfrons all the drains of any houfe (hall be ; but we (hall here take as in¬ stances, fome drains of the mod ufual fize, and fuch as may fuit fuch a plan as we have jud given ; and thefe we (hall explain here both by words and figures. In the fird place we will fuppofe the architeft finds it proper to make a drain of a foot and half wide, this he may conftrufl in the following manner. Let the fides be nine inches thick; let them rife a foot high ; let the arch be turned four inches; and let the bottom be paved with brick laid flatwife. Here is, in a few plain words, the method of fabricating an eighteen inch drain, which will be drong, durable, and able to fupport itfelf; and all with the fmalled ex¬ pence the nature of the work allows. If he find it convenient to make a drain of one foot ten inches wide, the fide walls are then to be one foot three in height, and the red to be condrufted as before. In the fame manner, for a drain of one foot two inches wide, the height of the fide walls is to be nine inches, and the fvVeep of the arch four. All thefe are to be paved in the fame manner, with bricks laid fiat. Other fmall drains are to be condrufted upon the fame principle and proportions; as to the main drain, that should be a yard broad, and of the fame height in the walls; and the arch over it to be turned nine inches thicker : the bottom of this need be paved no otherwife than as the fmaller ones, for there is no drefs there. This is the ufual way of condrudting fewers and drains, and we have accordingly ex- prefled it to the reader’s eye in the plate annext; but as we hope he will be always rea- n°. 26. 4 d d y 2 86 A C O M P L E T E B O D Y Book III. dy to depart from the common tradt when there is reafon for it, we fhall here fubjoin ‘-- 1 an improvement upon that method, firft telling him the occalion. Iirnll the drains we have hitherto named, the flodr, or bottom, is flat; and the two walls riflng at right angles upon it, there are two narrow niches, or corners, all along the drain, one on each Tide. Now both the flatnefs of the bottom, and the ftraitnefs of thefe angles, are very exceptionable. The ufe of a drain being to carry off water freely, the great danger is of its lodging fome part of the fettlement. We have contrived for the fettling of the grofler part of the water, by the numerous feflpools we have direded to be dug at proper places, but ftifl, though thecoarfeft part is left behind in thefe holes, the water is not delivered clear into the drains: there ibill is a great deal of foul matter among it, and this is always difpofed to fettle from it. A flat bottom favours this fettlement of the mud, and the narrow angles on each fide always detain it. This we fee in every place; where fuch corners always prelently fill up. Wherever there is a lodgment of the foul matter from the water begun, it foon encreafes, and the more the drain or fewer is choaked up, the lefs it is capable of an- fwering its purpofes. This is the inconvenience to which all drains of the common conftrudtion are ®x- pofed, and having propofed it to the ftudent, we ihall lay before him the propofed remedy. In (lead of making the bottom of the fewer a flat floor, let it be in form of an in¬ verted arch, anfwering in part to the fwcep of the arch above. Every one knows that the freed: paflage that can be, is through circular channels, and thefe would fufficiently wear that form ; they would in a manner refemble fo many vafl: water-pipes of a cir¬ cular bore, and there would be no danger of their filling up. The perpendicular walls would detain nothing, becaufe there are no angles in their joining, and the bottom being round and free, all would run off eafily and as it fhould. The thickefl water would pals fuch a drain, if it moved tolerably quick, without depofiting any fettle¬ ment j and if, from a very flow motion, fome fmall matter fhould lie at one time, it would be carried olfi by the next quantity that made its way through the drain. This method of conftru&ing fewers is ufed very fuccefsfully under the new build¬ ing of the horfe guards; and we have added in this plate a correct drawing of them, and of the great fewer into which they are received. OF ARCHITECTURE. * 8 ? Chap. 7. Explanation of Plate XXX, A flan of a town houfe and offices, with garden and court, where drains and their ufes are particularly defcribed. That part of the plan Jhaded with a faint tint is the houfe and offices, and boundary wall ; the other lines denote the drains and feffpools. A. Is the main drain through the middle of the houfe, to •which ftnall ones may he convey'd from every room in the lower fory, if required 5 and this has two branches into it, letters B. B. to drain the fore area . C. Is a feffpool. D. A larger drain from the faid feffpool, which receives fever al other fmall ones, thfit bring the water from off the houfe and offices, coming from the fever al angles of the building marked E. where the lead pipes are fixed that bring the rain water from the roof, and convey it into the great fewer F. in the fireet . G. Are other drains that bring the water from other offices, and alfo receive the foil from the bog-houfes, where wells are funk j thefe alfo take the wafie water from the well H. and empty themfelves in the great fewer F. I. I. Are feffpools in the fore court. K. Are the drains to take off the water from the faid court, and from the lodges, they difcharge themfelves into the great fewer F. L. Are fmall drains laid dry, and are called d’-y drains, as their life is to receive and carry off the waters that arife by land or other fprings : they are made ufe of for draining of fwampy lands. M. Is the elevation of a drain one foot fix inches wide, whofe fides are nine inches thick, twelve inches high; arch four inches, and the bottom paved with brick laid falways. N. Is a drain of the fame kind, differing only as to its fze ; being one foot ten inches wide, and one foot three high the fide walls. G. Is a drain one foot two inches wide, nine inches high the fide walls, turned with a four inch arch, and paved with fat brick. P. A 288 A COMPLETE BODY Book III. p, A nine inch drain and paved bottom. O I s the main fewer, whereto all the aforefaid drains lead ; it is three foot wide, three foot high to the fpringing of the arch, which arch is turned nine inches thick, and the bottom paved. R, Is the manner of making dry drains, and which are commonly called weeping drains, and are only four inches wide. Thefe are the kind of drains which are ordinarily made ufe of ; and being made fat at the bottom, they are very liable to be fopped up from the lodgment of the foil that comes into them. C O M P L BODY Bool; III. The world have been amufed with the fentiments of an ingenious but fuperficial writer very lately on this fubjed, who is for introducing an unbounded variety in this refped. He rallies the cold imaginations of architeas. whofe plans are limited to one everlafting figure, a long fquare, and propofes all that variety in its place, that is be¬ tween the circle and the longeftellipfis, and between the triangle and the polygon. It is certain that a building of a beautiful figure may be ereded upon any of thefe plans ; but a houfe mull be commodious, and that limits the fuppofed field into a much narrower compafs. While we propofe variety in this article, we mult caution the ar¬ chitect not to be carried away, either by tile wildneffes of his own, or of other people’s imaginations, into errors and abfurdity. It is true that the prefent general form of houfes is alike ; and it is alfo true that although this be a very commodious one, it is not the only fliape that can be fo : convenience in a houfe is not limited to the figure of a long fquare. All reafonable deviations from this will pleafe, becaufe of their variety ; the care is, that we do notfacrifice convenience to the change, for that is not worth while. What is new always pleafes on equal terms more than what is old ; the elegant and uncom¬ mon will ftrike the eye that negleds the ufual and vulgar form; and thefe Angularities are the points at which the builder is to aim. If any one would know how the puhlick will receive them, let him take his anfu er from the bow window. This, from its being uncommon, pleated extremely; thofe who built it where there was a profped, were followed by people whofe. houfes were fituated where there could be none , and at prefent we fee Venetian windows that look into liable-yards, nay that block up one another in the ftreets. Nor need we go out of the circuit of the new buildings in London, for a houfe where the archited has made two Venetians that block up one another. Let this (hew the tludent how any thing will be received that is out of the common trad; but let the abfurdity which reigns in it at prefent teach him where to flop. Af¬ ter this caution, we may proceed to lay before him the variety that he may have in regular figures. \V: have here given, to illuffrate this fubjed, the plan and elevation of a houfe, in which there is fome variation from the plain fquare plan. Plate XXXII. CHAP. s OF architecture. CHAP. XIV. Chap. 14. Of circular figures , and their ufe in building . T HE figures which the archited is to regard in the making his plan are of two kinds, circular and angular ; and under each of thefe heads there is a great va¬ riety. All thefe may be admitted in edifices of fhewand ornament, but only a limited number in thofe intended for the reception of a family. An author, much efteemed at prefent in France , and by many in England, endear vours to work up the fancy of the builder for variety by laying before him all the fi¬ gures of each kind. This writer, whom I would name if he had named himfelf *, tells the archited, as before obferved, that in the planning of a houfc, he may ufe all the regular geometrical figures, from the circle to the longeft ellipfis, and from the triangle to the polygon of moft fides: but much of this has been anfwered before it was written, for it is an error in principle to fuppofe all thefe figures fuited to the conftrudion of houfes; indeed few of them are, and he whowould adopt the reft muft facrifice com- modioufnefs to the Angularity of an external form. It is certain there is a famenefs in modern buildings which takes off a great deal from their merit; but before the ftudent attempts the feveral ways by which they may be varied, let him underftand thofe by which they cannot. Far from recommending all the geometrical figures to him, we fhall (hew him that moft are improper j not af- ferting this upon the mere didates of opinion, but giving the plaineft reafons. Mixt figures, compofed of circular and angular, we fhall confider feparately after¬ wards j but here it is the bufinefs to enquire into the feveral fimple ones of which they are to be compofed. With refpcd to circular figures, they have in nature their advantages and their de- feds ; but, unhappily for this fcience, their advantages cannot in general be obtained, and their defeds are always obvious and hurtful. The advantages of a complete or entire circle are very great, and might feem to re¬ commend it for a ufeful building preferably to all others, but the objedions are not to be furmounted. It is the moft capacious of all figures, the ftrongeft of all figures, and of all the moft united in its parts: this recommends it for holding a great deal, and ftanding a great while, and for great uniformity; and we muft acknowledge that no form is more beautiful. Therefore, if a great capacity upon the fmalleft piece of ground, a profped of dura¬ tion, or regularity and beauty, were all we required in a houfe, this figure would be preferable to all others ; but the objedions are unalterable and unfurmountable. A circle is the moft expenfive fhape in building ; it is of all figures that in which, though moft fpace is contained, moft room muft be loft in the dividing it for a houfe ; for the N p . XXVIII. 4 H curvature * It is publilhed without a name, 302 ACOMPLETEBODY Book III. curvature of the walls implies a necefiity of this; and finally, it is of all figures the very v ' word; for a proper diftribution of light. The antients knew this, and they governed themfelves accordingly ; they knew the capacity and beauty of a circular figure, therefore, far from rejecting it, they employed it to the nobleft purpofes. They knew the proper light for a circular figure mu ft come from the top, and therefore they employed it for temples ; their 'Pantheon., now the Rotunda , is an inftance how nobly ; but they knew it was not a fhape for a com¬ modious houfe. This let the architect remember, and it will banifti the circle from convenient and ufeful buildings, but it will leave the whole fcope for it in temples and other edifices of beauty in gardens. Of thefe we are to treat in another place, and therefore no more need be added here. This one rule muft be remembered ; a circular figure is fit only for fuch a building as is to have no inner divifion. Having thus freely difeufted the ufe of the circle, we come to the ellipfis This has been recommended in all its variety; but it is liable to all the objedlions which ftand againft the circular figure. Of whatever extent an ellipfis fhall be, there will be the fame want of propriety for a commodious houfe ; there will be room loft when it is divided by the circular figure of the walls, and the fame inconveniencies with refpedt of light: nay this is a more unhappy figure in that refpeft, becaufe it can¬ not be well enlightened, even from the top, as the true circle. That was the proper figure for temples, and not the elliptickj for this reafon, and it was ufed accordingly. C H A P. OF ARCHITECTURE. 303 H P. XV. Chap. 15. Of angular figures , and their propriety in buildings. T HE geometrical angular figures are many, and they cannot be drawn in the moft plain manner on paper, without affeding the eye in a very pleafing manner by their regularity, variety, and beauty. If the external appearance were all the architect was toconfider in the planning his houfe, every one of thefe would recommend itfelf to his choice. We have told him already that, in drawing the firft outline of his plan, he mull always have the idea of the inner divifion in his mind; and this will tliew him how idle and improper thofe writings are which recommend them all to him for va- riety. To begin with the triangle, which has the fewed fides and fewed corners of all the geometrical angular figures j this is utterly to be rejeded. It is the weaked of all other angular figures, from the plained geometrical reafons: and it is incapable of any tole¬ rable divifion within., except into other triangles. We do not fuppofe any would chufe a houfe confining of triangular rooms, therefore this figure is ufelefs. The quadrangular figure, whether the exad cube, or the long fquare, we dial! treat of in another manner, and much more at large, becaufe it is very fit and com¬ modious. As to the figures of more angles they are liable to great objedions in the inner di¬ vifion ; they will always entail more trouble upon the archited, and faceted lefs hap¬ pily than the fquare. They are very ufeful in military architedure, where the corners ferve for bulwarks, and the fides for curtains, but incommodious in the greated degree in houfes, built for the conveniencies of a family. Sir Henry IVotton ,* who has propofed all thefe objedions, mentions an indance of the pentagon being brought into prac¬ tice by Baroccio , in a palace of the Farnefe , at Caprarola. In this there is a circle in- feribed within the pentagon, and that great archited has acquitted himfelf very hap¬ pily in his contrivances for difpofing the lights, and faving vacuities; but the author juftly obferves that it is a drudure rather to be admired, than recommended for imi¬ tation. Indeed all that we fee there is how a great archited may get over the incon- veniencies of fuch figures; and fo far it may be of ufe, that if a perfon of fafhion Should have a mind to a building of fuch a figure, the dudent would no where fo well find the belt methods of managing it. But it is no more than making the bed of a bad figure for a building, and he mud be very idle who would wilfully create himfelf difficulties. The inconveniencies of thefe feveral figures naturally throw the eye of the archi¬ ted upon the fquare or redangular figure, with the account of which we mean to clofe this chapter. * Holton's Elements of Architedture, Part I. This 3 Book III. This figure is recommended by the precepts, and countenanced by the pra&ice of *—" v J alJ the great architects, whofe writings or whofe works remain ; and it has many con¬ veniences and excellencies peculiar to itfelf. He mud therefore have been an ill and an unfafe advifer to the ftudent in architecture, who has endeavoured to pre-pofTefs his mind againft it, under the names of trivial and vulgar, and it is dangerous to re¬ gard him. This figure, being compofed of right angles, is ftronger than any other, and there is nope that admits a better diftribution of light. A perfeft fquare is a plan on which a very good houfe may always be conftruded; but a long fquare is preferable. It pleafes the eye more, it admits more variety in the inner divifion, and it has every convenience of the other, with thele additional advan¬ tages. The figure which we exprefs by this name of a long fquare, in compliance to the cuftomary manner of fpeaking, may be varied extremely in proportion of its length to its breadth. This will admit many fchemes in the firft Iketches of the archited, and as we have, in general, obferved to him that he is to keep in mind the inner di¬ vifion with the outward form, here is one more conlideration needful, that is, the height of the building. In forming the proportion of length and breadth this is an effential condition, and never fhould be omitted ; for affuredly there is fucll a thing as one bed proportion in the refped of length, breadth, and heighth, in a houfe whole plan is rectangular, tho’ our writers have not yeteftablilhed what it is. A very good and very fafe rule is, that the length be one third more than the breadth ; but to tie the ftudent down to this, would be to cut him off from the op¬ portunity of variety. It is better to make the length in general lefs, than to let it ex¬ ceed this proportion; but for this there is no abfolute rule. OF ARCHITECTURE. CHAP. XVI. Of 7?iixed figures, and their ufie in building. 3°5 Chap. 16. B Y mixtfigures the architect is to undcrftand thofe which are partly circular and partly angular. We have rejedted the circular alone from common ufe, but the objections made againft them in that refpedt, do not hold fo far as to denote them ufe- lefs as parts, and under a proper management. It is certain that in parts, as well as in whole buildings, they are liable to the fame objection of lofs of room in the hollowing of the walls; but when they make only a part of a building, this may often be born. The lights alfo fall in but inconveniently on this account; but there is nearly the lame objedtion to thofe angular figures ufed for the fame purpofe. Things therefore Handing, in this refpedt, nearly equal, the ftudent is to confider the afpedt; and this he will find often in favour of the circular form. In the projecting parts of houfes, we fee angular figures ufed in fome places, and round in others; when we examine within, it is to be acknowledged the difference is in favour of the angular; but it is not great: and without, the round projection has in- finitely the advantage. There is a harlhnefs in the angles in thefe little projections, and as they are generally parts of multangular figures, there is confufion; whereas in the round there is compofure, and beauty, an idea of capacity, and an appearance of fo- lidity and firength. Upon thefe principles, and in this limited ufe, the ftudent is to underftand that mixt figures may be employed advantageoully. The complete circles, or whole ellip- fes are not fit for an entire building, yet parts andfegments of them may be introduced with beauty, and without any great inconvenience. In the fame manner of the angu¬ lar figures the triangle is the only one utterly to be rejected ; for though thofe of more than four fides^are not fo proper for entire buildings, yet parts of hexagons, decagons, and the like, maybe introduced in thefe mixed plans, and they will often be a proper means of giving variety. The ftudent may fee the triangular figure brought into ufe in the fame remarkable houfe where one bow window has been built to block up another ; it will be a fironger lefion than all we can deliver in words againft his following the practice. The proper ufe of mixed figures in a plan maybe often advantageous; and, under due caution and referve in their adoption, they will contribute to the beauty of the outline ; but this caution is needful, or all will run into error. It is certain that variety is the fource of great pleafure to the eye, yet there is to be an uniformity preferved in buildings. g i I Book III. If this were carried into a rule, in the ftrideft fenfe, it would fet afide thefe mixed *■" • J figures; but, though the archited need not be fo ftrid in the obfervance, yet he mull not offend again!! it too notorioufly. A cautious mixture of right and curve lines may be allowed, and it will be a fource of vail: variety; this will give the genius room to difplay itfclf; and the reftraint of judg¬ ment muff lie over it to prevent the excefs. It is poffible, by this mixture of figures, thus regulated, to vary the plans without end or limitation ; and yet to preferve in every one of them a perfed regularity of parts. This will employ the extent of the mind ; and he will always pleafe who {hall be able, on every occalion, to give in different defigns for the fame fpot, and every one of them under the recommendation ot fomething new. The eye hates an exter¬ nal famenefs in building, as well as in other objeds, and it is the bufinefs of fcience to take off the tedioufnefs of that univerfal fimilitude, by introducing from this large fource thofe limited articles of variety which reafon admits fancy to adopt. The uniformity that is a needful point in all regular architedure, though it limit the ufe of thefe innovations, yet does not utterly exclude them. Oppofite as the terms may appear in words, they are not irreconcileablc when we come to pradice. It is poffible that the parts of an edifice, though different in themfelves, may correfpond very well with one another : the only objedion would be the variation being made too great, or the tranfidon too fudden. This muff be avoided, and under that limitation ail will be agreeable ; and he who fhall be able to introduce this into his defign, will find he has united the feeming cootradidions: there will be variety in the parts, and yet uniformity in the whole building. The excefs and extravagance of variation is what the archited, in this cafe, muff avoid: indeed it is not the variation, but the great degree of variation, that is the fault. Here then is the latitude wherein the ftudent is to compofe his figures. He will find the long fquare, of all other forms, the mod; perfed in refped of convenience ; but, from its too great fimplicity, he will be induced to vary the outline : this he is to do by the ufe of angular and curved figures, which though when they arc entire are by no means fit for a houfe, yet may be thus admitted to advantage. OF architecture. H XVII. Of Elevations, and their general proportions. H AVING gone through the confideration of a plan, its natural reflriClions, and pofiible additions for variety, we advance to the elevation, or upright, of the building. This is an article of lefs fcope and compafs than the former, but not of lefs neceffity to be rightly underflood by the builder. As we have obferved that there is in nature one length proportioned to breadth for an edifice that is preferable to others, though the architects have not yet eflablifhedit; fo there is, in this refpeCt of elevation, a certain degree of height proportioned to the joint confideration, of length and breadth, which is better than all others. This has no more been eflablifhed in the writings of architects than the former: it is poffible fome may have difeovered it in practice, and form’d themfelves upon the happy rule, though they have not divulged it to the world. In this cafe, it fhould be fought in their de- figns, or in the buildings they have ereCted; and of this we fhall allure the ftudent who wilt employ himfelf iri the fearch, that though he fhould not be able to make fuch a difeovery, his trouble will not be mifapplied } for, by meafuring and confidering a great number of elevations in celebrated works he will become able to form fuch. rules to himfelf as would not otherwife have occurred but from a long experience. He will thus accuflom himfelf to a variety of proportional elevations, all good and pleafing, and by fludying the advantages and difadvantages of them feverally, improv¬ ing upon one by what is better in another, and thus forming the elevation upon the parts as well as general extent, he will, very probably, at length, be able to eflablifh that rule he could no where find; and will do himfelf honour, and the mofl elTential fervice to the fcicnce, by publifhing his difeoveries. The mofl elTential of all beauties in an edifice, refults from a juft proportion ; and in this refpeCt, the height is one of the principal circumflances. When an edifice exceeds in height it is always prepoflerous j and when it is too low, it is mean. Nothing can give grace to the enormous tall one, nor can all the art of the ar¬ chitect ever communicate dignity to that which is too low. Houfes are built, in fome places, of fix or feven flories, but they are always aukward and ungraceful; and we fee more frequently low extended fronts, which difgufl by their pitiful afpeCt. When the impropriety is fo great in either of thefe ways, the mofl unexperienced will diflinguifh it; and when it is lefs the judicious eye will flill fee it. We are judges of this proportion in height when we look at a building, though we have not been able to lay down the flriCl rules for it; and as it appears in the edifice, fo it wilL upon the paper. He mufl have a very poor degree of knowledge that does 308 A COMPLETE BODY Book III. not diftinguiili in a good draught thofe excefles and defedts that will difguft him in the r J reality. For every houfe then let the fiudent propofe to himfelf feveral heights, and confider which fuits his own tafte belt in the lines; this let him follow, and fet it down for his future ufe, as the proportion which, in this inftance, feemed bed for the given plan. As the fixed point, in this matter of general proportion , is not known, there is no other guide for the dudent but a natural judgment and practice : he may, by vary¬ ing his defigns for every edifice, fooner acquire the advantages of practice, than by following only the fame trad, and by dudying and meafuring the moll edeemed buildings, he will have the benefit of the practice of others. The eye is the great judge, as the point is regulated at prefent, and the more it is accudomed to the fubjedt, the more delicately it determines of beauties and faults ; but, by thefe indrudtions to the young architect, we would influence the mind to confider and judge of it: at prefent the whole is mechanical, but that would bring it within the fcheme of fcience. Few are aware of the advantages that would attend a more precife knowledge of proportions than people in general have at prefent. As there is no building that ever can be made to look well where there is any great error in this refpedt; fo, on the other hand, the architect may allure himfelf that the plained houfe will always have its beauty, and give a fatisfadtion to the eye, when it is built in a true proportion. CHAP. OF ARCHITECTURE. H P. XVIII. Of the particular proportions of parts in an Elevation. W HAT we under ftand by the general proportion of an edifice, is its unifor¬ mity, or proper agreement, in length, breadth, and heighth. When thefe are accommodated to one another, the whole will look well as a whole, but there Rill remains the confideration of parts. By parts here we do not mean the inner divifion of the fabrick, for we are treating of the external afpedt, and in the manner all appear to the eye without. What is here intended by the particular proportion of parts is therefore the meafure of thofe parts which appear in the outer face of the building : the care of thefe is too much negle&ed, or too little underftood, by thofe who have fome notion of the other; and hence we fee houfes in which the general proportions are well obferved, which yet offend or fiiock the eye, by errors in refpedt of the particular parts. A houfe is to be divided into ftories; and, as this divifion is very plainly feen on the external part, it is requifite thefe be well proportioned, otherwife there will bean appa¬ rent abfurdity. Tendernefs to builders yet living prevents our pointing out inftances of houfes, very tolerably dcfigned upon the whole, but which are rendered ridiculous by this falfe divifion. There is no rule eftablifiied univerfally on this head ; it is one of thofe things the builder learns by a judicious obfervation and experience, but as it is a kind of know¬ ledge that comes late, we would put the young builder into a road for obtaining it fooner. The method mud be this: let him obferve that there ought to be, in this apparent external divifion, what we recommended to him before fo ftrongly for that within, a conformity of all the parts, firR to the whole building, and next to one an¬ other. Having eftablifiied this as the point at which he is to aim, let him bring into his moft critical view the models left by others : let him examine their excellencies and defe&s, and he will learn as well by their errors as their beauties. It is as effential to him to know what he fliould avoid, as what he fiiould purfue; nay, that fiiould be his firft ftudy. When he has thus fixed in his mind a proper notion of what a regular and pro¬ portioned divifion fiiould be, let him reduce his thoughts to lines, in the elevation of his prefent edifice. We fuppofe him to have drawn the outline of his plan and of his N°. 28. 4 K elevation ; i'M. 3I0 A COMPLETE BODY Book III. elevation ; and, from repeated trials, to have pleafed himfelf in the heighth, length, '- - - - and breadth, as well as in the general figure. He is to take the fame courfe here ; he is to mark in his firft thought of a divifion upon the principles juft laid down, and to examine its afpedt with a levere eye ; we would have him a critical obferver of the works of others, but a molt rigid examiner of his own. If the firft thought pleafe him let him not alter it, (hr often there is a happinefs of invention in the firft touches that no after-thought can mend ; but if any thing appear defective, let him vary it without ceafing, till he bring it to what appears to his own mind redtitude and truth. When the firft divifion is thus made into (lories, let him confider the apertures or openings in each : there molt be doors and windows, and as thefe are apparent and external parts, they now come under confideration. Thefe muft be carefully proportioned ; firft to the general afpeS of the building, next to the ftories, and laftly to one another. Their proportion to the ftories will ferve as a rule, to judge whether they be properly conftrudted for the whole, and alfo, whether that divifion have been well made. It is a tell to which the young archited brings his own defign ; and it will either confirm his approbation, or fhew he fatisfied himfelf too eafily in that divifion. CHAP. OF ARCHITECTURE. Chap. 19. H XIX. Of the ornaments of an Elevation. , L ASTLY, the ornaments of the elevation are to be regarded. When the feveral openingsarereconciled to an agreement in form and dimeniions with one another, and are made perfedly to cojrefpond with the (lories to which they belong, and to (hew the proportions as well of thefe to the whole, as of themfelves to thefe; then this latter article is to be brought into conflderation. It is much lefs than the others, but little as it is, an error in it may disfigure a very good building. Its trifling confequence, in comparifoil of the others, ought to make the archited more Arid in his regard to it, becaufe it would be very mortifying to fee that work in which he had taken fo much care of die eflentia] parts, deformed by the ornamental. There is this farther reafon for his great caution on the prefent head ; that faults in thefe parts are more glaring than in the others. The vulgar eye will always find them out; he who has not capacity to take in the proportions of a whole edifice, will fee an error in thefe parts, and the builder may be lure that their faults will be fpoken of, when the merit of the whole is buried in filence : l'uch is the plealure men find in fpeaking unkindly of one another. This fatisfadion, in the prefent conflderation, may however refult from what we have faid here ; that as the errors in the proportion of ornaments on the external part of a building will be very confpicuous to the eyes of others, fo they will very readily ftrike his own. He mud give way in this, and all other inftances, to the firft motions of his own difguft, and immediately alter that part of the drawing which occafioned them. In this let us give the young builder one general caution, that he will be happy if he obferve throughout; which is, never to jufiify to himfelf what appears, at firfl fight, to be wrong in the external part of a building. It is poffible that fome things which appear erroneous may be fupported by authority or meafure ; but fuppofing them to be capable of this, yet let them not Hand. The exterior part of a building is intended to affed the eye; and whatever ap¬ pears to be a fault, is one, in this article. Let him confider, that it is of no confe¬ quence that he is able to defend his pradice in whatever appears amifs ; he will not be at hand to give his reafons to every one who makes the objedion. His point is, not to be able to anfwer objedions, but to prevent them. For thefe reafons, let him again and again reconfider and retouch whatever gives difguft to his eye; let him not fpare the pains of alteration, for he is all that time purfuing the courfe of his ftudies. Alterations are eafily made on the paper, but very difficultly in the work; and it is only by the confidering many methods toge¬ ther, that he can, in tbefe points where rules are hitherto wanting, diftinguifh what is beft. By 312 COMPLETE BODY Book III. By thefe methods, and this care, our dudent will be able to produce a delign for '-'-' a houl'e, the molt commodious, and of the mod agreeable form, that can be erefled on that’allotted fpot of ground; his plan and elevation will correfpond with one an¬ other in every article of proportion, and the eye of the proprietor will not fail to be pleafed with a defign, in which there is regularity in the whole, and a connexion of all the parts: he may be fure that the drawing which has fatisfied his own cntjcal judgment will not difguft that of another. The young architect will thus have finifhed his defign, fo far as the exterior part one of the edifice is concerned ; but we mud not quit this article without gtving him needful caution ; that he entertain a moded fenfe of his own knowledge; andfup- port his opinions, if controverted in any part, with the dronged reafons, but in the gentleft words. The proprietor of the intended edifice will have a right to pleafe his fancy in the laying out his money, and it is fit he Ihould be indulged, if he chufes it, even at the expence of propriety, in fome leffer article, though not without being in- formed of it. If he defire to have any alteration in the defign, let the architect lay before him the reafons for what he intended, and the impropriety and ill confequences of what he means to introduce : probably he will be won over by this to what is right, if not the architect has done his duty in reprefenting it to him, and he is to go no far¬ ther;’ let him at lead drop it for that time, and leave all to the farther confideration of his principal, who perhaps will cofifult fome other upon the point. There will be time enough to name it again before the bringing it into execution, and lie will then re¬ ceive the final anfwer. Let him not be obftinate, becaufe he is in the right: the candid judge, when he fees a'building in good proportion upon the whole,^ will not b e ;: e ve that he who was capable of going fo far right, could fall into a grofs fault; and therefore, though the error be obvious, he will charge It where it ought to lie, upon the arbitrary will of the proprietor, and not upon any defect in the judgment of the perfon hnilr t-he edifice. OF ARCHITECTURE. CHAP. XX. 3 r 3 Chap. 20. Of the exterior ornaments of houfes. H AVING named the article of ornaments, with refpedt to their proportions, in the exterior parts of a houfe, it may be of ufe to the young architedt that we purfue this general confederation fo far, through the feveral particulars, as may be needful for his prefent enquiries. From the exterior ornaments in this place, we exclude the confiderations of co¬ lumns, becaufe we are treating of plain houfes, and are contriving what may be done without the ufe of the orders of architedture. That great addition will come in when we proceed to the more expenfive works, and we have already explained the dodtrine of the feveral orders fo largely, that a few plain words will convey all we fhall have to fay on that head. We are here to conlider only the common orna¬ ments of the exterior part of a plain built houfe, and what may be farther done in that refped, exclufively of thefe expenfive decorations. In the firft place, the divifions of the principal ftories which we have already named, with refped to its proportions, muft be marked by an even fafcia, and this muft have but a little projedion. This done, the doors and windows may be decorated with their proper mouldings, and the building is to be crowned with a cornice. Lefs than this may be done in a very plain houfe, and we fhall (hew that more may be done by thofe who chufe the expence, without calling in the orders. In refped of thefe parts, the breadth of the ornaments of the doors and windows is to be regulated by their breadths, and by the reft of the parts, and the judicious and careful examination of thefe minute articles will always redound to the honour of the builder. The graceful defign of the cornice will add vaftly to the beauty of the build¬ ing ; this is an article treated at large elfewhere, it is fufficient to name it here. When the decorations are judicioufly adapted, they give a great deal of grace to the exterior part of a houfe; but when more is required it is eafy to be added : the tops of the doors and windows may be covered by their feveral pediments, there may be alfo additions of carved work. In all thefe the fame care is ftridtly required, with refpedt to proportion ; when they err in this refpedt, they ceafe to be ornaments : they are loads and patches upon the face of the building ; they ftiew the defedt more palpably than any other part, and they feem as if they did not belong to the edifice. 4 L N°. XXIX. To 3 r + A COMPLETE BODY Book III To ilIu(1:r;lte this f ub j ea < we have g' ven ’ 1,1 Plate XXXIn - publilhed laft week, .-.. i ,____ elevation of a houfe with a baluftrade, upon a flat roof, and with plain fafcias for the diviflon of the principal ttories. In the matter of decorations, the nicefl care muft be employed, for they lofe their very nature when errors are committed in their conftruftion ; a houfe may look decent without them, nay, we have obferved already, that perfed proportion will give it an air of grace and beauty. This is firft to be ftudied ; this we have carefully inculcated, and vrhen the archl- ted has made himfelf a mailer of this, let him be doubly careful that he do not de¬ form the ftrufture, under the name of decoration, or bury the marks of propriety un¬ der irregular ornaments. In the firft place,' all ornaments of this kind muft be made to bear a due and ex- afl proportion both to the edifice in the whole, and to one another. The more they are enriched, the greater nicety and care are required ; for thefe additional articles of decoration muft, in the fame manner, be proportioned to the parts, and to the whole. To this if we add that variety which may be given in a building of fotne extent, by the various elevation of different parts, we (hall have laid before the young archi¬ tect his great fources of elegance in the exterior part of a building. This article of decoration never comes in fo well as in thofe ftructures where the architect has taken the advantage of a mixed figure in his plan; in that cafe he may give the different parts of the edifice a pleafing variation in height, and at the fame time make them Ihew a perfect uniformity, by giving the fame height to thofe in other refpects of the fame character. Thefe buildings of mixed figures are alfo the moll happily fuited for decorations of the additional kind ; thefe we lhall treat of at large, but have faid the lefs of them here, as we are fpeaking of plainer buildings. C II A P. H P. XXI. OF ARCHITECTURE. Of the conJlruElion of the exterior part with refpcSl to ftrength. T HE doctrine of walls we have laid down already, in a feparate chapter of this work, among the elfential parts of buildings, and need not add any thing on that head. Reafon will inform the pooreft judge in thefe things, that the ftreno-th of his walls are the material article in giving ftrength to the building, but there are yet a few plain and obvious rules to be given in this place, where we are concluding what we have to fay on the outward part of a plain houfe, which mull; always be remem¬ bered. Thefe are indeed fo obvious, that one would fuppofe they need not be men¬ tioned, but that we fee them fo often violated - 3 and fo common in the mouths of archi¬ tects of the lower clafs, that it is ftrange they Ihould be ever out of their memories, yet we fee frequent instances that they are. The firft of thefe is, that, in the raifing of the walls, he place folid over folid, and void over void : that is, the piers are to continue entire from bottom to top of the building, and the windows to ftand over one another. Reafon Ihews the propriety of this, and it is common as a maxim to a proverb - 3 yet in London we fee it frequently violated. This firft rule obferved, the next is that the windows be not more, nor larger,than needful. This is a precept alfo eftablilhed to a proverb : for, from the days of Vitru¬ vius to the prefent, it has been a proverbial expreflion, that all openings are weaken¬ ings. Indeed, if the proper regard be Ihewn to the caution we have given before of proportioning the parts to the whole, the article of bignefs, in thefe openings, will be determined by that; but their number ftill remains a point of great concern. In this, cuftom from time to time has differed, but judgment has been lefs employed than fancy. At one time our houfes were, in a manner, all windows j the piers between them were fo fender, that one wondered how the fabrick fupported itfelf. From this error, which arofe from a defire of abundance of light, we fell of late into the other extreme of making the windows too few, and too fmall. In this our build¬ ers followed the practice of the Italians too clofely, Jiot confidering the difference of our climate. All imitations muft be guided under the rules of judgment: it is fo per- fons of genius follow the beft examples, otherwife they are no better than mimicks, a very paltry kind of .imitators ; that may be proper m.Italy 3 which will be very wrong in England , and the prefent practice is an inftance of it. It is true that our windows were too numerous and too large, becaufe they weakened the fabrick-in that condition but it was poffible to err on the oppofite fide, and thefe improvers did it; not that they failed to avoid that error, and give the building'ftrength, but-they made a great miftake, for they fliut out too much of the light. 1 In A. COMPLETE BODY Book III. In Italy , it may be proper to (but out the fun in a greater degree than it can be 1_—Y -—> here becaufe in that country the air is clearer, and the natural light is much greater ; the Englijh air is often thick, and the funlhine is lefs confhnt. This lhould have been confidered in the improvement, for the diftribution of light is a thing very effcntial in a building, though it be one our common builders very rarely take into their con- fideration. In the houfes of the common fize for moderate families in town, which, in the old way, ufed to have four great windows and a flip, our pra&ice, in the reforming of this article, allowed three, and this was much more proper; but, at the fame time, the builder, forgetting proportion in his earneftnefs of improvement, when he had reduced them to a moderate number, made them too fmall: the rooms were dark, and the houfe on the outfide, though it looked different indeed from the other, yet was equal¬ ly unpleafing : the firft had refembled a lanthorn, the brick-work ferving only as ribs to hold the glazing together ; the other refembled a prifon, where the windows were only holes to let light into feparate dungeons ; the one was a houfe of glafs, the other a heap of brick. Moderation is the rule of pleafing, and that they had not yet found ; we are, in general, improved in this article, but there are fome who follow the old method introduced by the firft improvers too ftridtly. In many houfes of this fize, the builder now puts but two windows in front, and, where the extent is not too great, it is very proper. The pier between thefe is large^ and gives great ftrength to the building, and it is capable of receiving better and nobler furniture, without more expence: one glafs and one table does in this dining-room, in the place of two, and the effect is much hner : but this is attended with fome in¬ convenience for want of room below. The windows, in this cafe, are to be made larger than they would otherwife have been, and the breadth of the pier between very well fuits with this. We have of late alfo fallen into the method of retrenching the wood-work in our frames of falhes, in a very happy manner. Thofe thick bars we ufed to employ hurt the eye, and obftruefted a great deal of light; they made a large window refemble a number of little ones: the intent is, that as much glafs fliould be feen, and as nearly in a continued body a6 pofiible ; this broke in upon it. Our prefent ufe of brafs, for frames of lathes, inftead of wood, is a very elegant improvement in the article of windows; but thefe frames are expen five, and our people, taking the hint from them, have found the way to make them of wood now, with great ftrength, though no great apparent thicknefs. This refpect being had to the number and bignefs of windows, in houfes of ordinary fize, we are to caution the young architect, that when he is to build a larger, he is to confider in the firft view of encreafing his windows, not only in number, as fome have done, but in fize. A great edifice lhould have all its parts great; the windows are to come within this defignation, and the eheteafe in number is to'follow that in dimen- fions; this is the general rule, but here again comes in the former, as the ground-work of all, which is the proportioning of them to the fize of the budding, Laftly, OF ARCHITECTURE. Laftly we muft caution our young builder never to bring his windows too near the Chap 22 come of the building, nor to make any opening there. This will weaken that part upon tile ftrength of which the firmnefs of the whole depends. P Thus much, refpeffing the general dimenfions of windows, we have thought ne- cefrary to place here, for the finding the conlideration of the def.gn of an elevation. Their pa, ticular proportions and ornaments are to be treated of feparately in another part o our work, according to our plan. We have gone through the conlideration of outline of the building, and are now to lead our ftudent to its inner divifion into apartments appropriated for various purpofes. H P. XXII. Of models for the competition, or inner divifion, of a houfe. O | U , R ar . Chite ? 'r "° W marke-ral driftnefs / 7 w t, r J bt therC " 3 gre3t d!ffCr “ Ce b “ I,a b a nd eZ land We dial affid him in this matter by the manner in which we fliaU deliver to him their feveral precepts: fuch as cannot be ufeful here we (hall omit • fuch as r quire to be appropriated, we (hall accommodate to the climate of the country, and nius of the people; and fuch as are univerfal, and fuit equally all places, we (had d - hver as they dand. We are now entering on a part of the work fn which thei pra . tice and their precepts wfll be extremely ufeful, and having once premifed this cl tion with refpedt to the adopting of them, we (hall proceed to the feveral indances We hope that by following this courfe, architefture may be improved greatly more than.t is at prefect; and, under thefe regions, more happily tranfplanL Jt 9 Z N°. 29. N With Tje. -y 322 A C OMPLETE BODY Book III. With refpeft to this general diftribution of apartments, PMo lays down one c-'v--' excellent and univerfal rule ; which is, that in all buildings, the moft beaut.ful and noble parts (hould be placed moft in view; and thofe of a meaner kind as much concealed from fight as poffible. This is one of thofe rules which is univerfal, for good fenfe is the language of all countries; yet we fee this miferably tranfgreffed. In large houfes there is the greateft conveniency for this, yet in theft we fee it moft violated. Where the proprietor has fpirit, and the choftn fpot allows of a due extent, the houfe (hould have a court before it, and a garden behind. Theft are the edifices in which the diftribution of apartments is principally to be confidered, becaufe it is in thefe the builder has fcope for his genius ; it is therefore thefe of which we are pro¬ perly to fpeak here, and on this firft general diftributiofi will depend the fubfequent divifion of the plan. Though it is needful to fpeak of large houfes oh this occafion, becaufe there are in them only all the variety of apartments, yet fo far as fmaller houfes are concerned in this diftribution, all that is here faid may be transferred to them. The young archited will here find all his fubjeft, and he may take into confideration, with refpeft to everv edifice, fucli parts of it as are concerned. In fmaller houfes ill the country, lefs will come into confideration; and in the common kind of houfes in London very little, becaufe they are naturally cramped for room, and ty d down to a particular fituation ; yet, even in thefe, there will be found life for thofe rules efta- blifired upon good praftice, in thofe which are largeft and moft free; for every houfe has its apartments of feparate kind, and its cortveniencies, fuch as they are, and upon every houfe the fun mult (bine in fome direftion. To purfue therefore this fubjefl, in fuch places as afford fcope for it, the offices, which will be numerous in proportion as the houfe is large, mull be dilpofed where they (hall be lc 1 ft obferved : where the building is of fo large a kind as to have wings, fome oftb cm maybe difpofed in them, though all cannot conveniently be there. In other cafes the lower part of the houfe is -to be appropriated to them. In the common way of building in London , they are all placed under ground ; but this is unwholefome, inelegant, and inconvenient. Here then comes in the ufe of what the builders call a bafement ftory; this is the lower floor of the houfe altogether ; or though not buried under ground entirely, it is let in fome feet below the furlace, and is ufually and very properly built in front with rultick work : the firft apartments are thus raifed fome height above the ground, and a flight of eafy fteps leads upto the principal door. This is an elegant and very commodious manner of building; there is fomething of dignity given to firft apartments by the raifing them above the level of the ground: they are more wholefome alfo as they are more out of the reach of damps; and the lower floor which conveniently holds all the common apartments, keeps the fervants near the body of the houfe. The OFARCHITECTURE. 323 The flight of fteps alfo is a very great ornament to the edifice, whether they be Cha p^ 2 ^ .; plain or more decorated ; and when this bafement ftory is faced with ruftick, it gives an air of folidity to the fuperftrutture ; it looks as a rock upon which all the reft is raifed. • Where there is a garden of tolerable extent, fome of the principal apartments, fup- pofing the fituation proper, may be very conveniently placed in the hinder part of the houfe. They will by thefe means be freed from noife and difturbance, and they will have a good light; the garden will alfo be a good profpeCt. Into this the beft en¬ trance is by a door in the centre, oppofite to the great door of the houfe ; but if the firing of uninterrupted rooms be much defired, it may, in this part of the houfe, be had by placing the door to the garden at one corner j and the principal front door may ftill have its proper place. In thefe large houfes, as there will be numerous rooms, they may be fuited to the feafons of the year, as well as to their feveral purpofes. Thus rooms for fiimrper may be placed toward the north, and winter rooms to the fouth and weft, becaufe we feek coolnefs in fummer, and in the winter as much fun as we can have. Thofe rooms for fummer fhould alfo be large, and thofe for winter fmall, for the fame plain reafon, that a fmaller room is eafier warmed, and that a large one is always more airy. So plain are the directions for the general diftribution and ftru&ure of rooms, and yei nothing is more necefl’ary than the laying them down at large, for they are conti¬ nually violated. The Italians are very exaCt in this diftribution of their houfes; they have rooms fronting the eaft, which are their favourites for fpring and autumn ; and they always contrive to have them face gardens, or extenfive grounds where there are trees. In both thefe feafons there is great beauty in this part of nature; the leaves of trees have a frefh and lively green at the time of their firft unfolding, which they lofe in a few weeks, and never after recover; and toward autumn they have a variety that is not found at any other feafon. All leaves change colour as they fade, and this they do va- rioufly according to their kinds, fome earlier, and fome later. This gives the au¬ tumn a colouring unknown at any other feafon : painters underftand this, and are fond of it in their landfcapes, and why fhould not we be as pleafed with it in the re¬ ality ? All their pencils are faint to nature. There is the fame kind of advantage in the weftern fituation of fummer rooms, though from another fource. They command the fetting fun, where they are not blocked up, and this is a fource of beauty beyond painting, and beyond all elfe in na¬ ture. The great luminary of the heavens dropping gradually below the horizon is a noble objedt; and the paintings of the clouds, during the fucceeding half hour, are ve¬ ry beautiful and varied every moment. 324 - Book A COMPLETE BODY ]j An eaftern fituation is of all others t'he moll proper for a (Indy, for the morning is — 1 the time for reforting thither. As the apartments of the nobler kind have all their proper place, provided other circumllances fo favourably concur that it can be chofen, fo the meaner below have alfo their proper fituation: the larder to the north is an everlafting rule, and upon the fame principle of reafon all the rell are to be fituated according to their purpofes. All this general diftribution is eafy when it is thought of in time, but the unhap- pinefs of our archite&s is, that they generally negleft it till it is too late to mend their This general didribution mud come under confideration before the inner compar- tition is made, becaufe the fituation we fee has a right to fome regard in the ftrufiure of apartment. We have endeavoured to reduce the leveral parts of architecture to method, that the (indent, taking them into his plan as they naturally rife, may avoid the difguflful neceflity of breaking the thread of his ftudy, to turn back for fometbing overlooked in its right place, or the worfe error of feeing in the building fome mif- take that Ihould have appeared to him in the plan. With tliefe precautions, we hope the danger of fuch errors may be avoided, andour fludent, having confidered his plan and elevation in all their lights, and with refpe&io all their conveniencies, may now go to work upon his model, to divide the fpace into rooms, according to thefc general admonitions. CHAP. Of the compartition, or inner divijion, of the houfe. r | "* HE architect is now to confider his vacant plan as a fpacc to be divided into JL rooms, which niuft have paflages for getting at them, and a ftair-cafe for riling to thofc of the upper ftories. With refpedl to the height of the firft apartments above the ground, as it is in itfelf a great advantage, fo it will be the greater the more it is in degree, within proper limi¬ tation. Ten foot is the ieaft height the bafement ftory fhould have in a good building : and, at a medium, wc may give fourteen as a very good height. Let the builder re¬ member the great rule of proportion in this matter; let him confider the general height of the edifice before he fixes upon the proper height for this part, for all parts muft be calculated according to one another, or there will want that uniformity in the whole which is the firft and greateft grace in all buildings. On examining the beft houfes in Italy , in this refpeft, we fliall find they have al¬ lowed a confiderable elevation to the firfi ftory, and that they have made a noble uffc of die advantage. Fifteen foot is a common height of this from the ground, which we generally make upon the level with it, and upon this they build the reft. This bafement ftory contains all the offices, except only the cellars, which are funk confi- derably deeper; and, upon the whole, it is vaftly advantageous. The building has a loftier air at no greater expence, and every part of the houfe where the company can fit, is removed out of the way of all annoyance. This general aff'ortment of the houfe being determined, the next confideration is the place of the ftair-cafe : for that is a point always of great importance, and in ma¬ ny cafes very ornamental. A good houfe fliould always have two ftair-cafes, one for fhew and the ufe of the company, the other for domefticks. This latter fhould be thrown behind, but the other is to be fhewn ; and upon the proper placing of it depends, in a great meafure, the judicious difpofition of the reft of the houfe. We fliall, in a fucceeding part of our work, treat of the ftruclure of ftair-cafes, and their ornaments; we are here only treating of the divifion and diftribution of the ground, and of the place for a principal ftair-cafe: a thing not fufficiently underftood, miftakes concerning which have fpoiled many an excellent houfe. The firft:. confideration is to place it lb that it may not obftrudt or difturb the order of the reft of the buiiding ; and, when this is found, the next concern will be to fee that nothing obftruft the ftair-cafe. The place of the ftairs muft be firft marked out in a plan for this reafon ; and when the principal door of the houfe is as it fhould be, in the centre, the ftair-cafe fliould prelbut itfelf immediately beyond the hall. N°. XXX. 4 O It 326 A COMPLETE BODY Book III. It has been at one time held a rule, that nothing fhould obflrudt the fight of this ----- part 0 f the fabrick ; but the praflice at prefect is, in many elegant houfes, different; the flair-cafe is flint in : cuflom makes this pleafe, and fomething may be faid for it in point of warmth and cleanlinefs, but the method of letting an elegant flair-cafe prefent itfelf is better : it is free and bold, and agrees more with a build.ng in a noble tafle than the enclofing it, which, whatever can be faid in its favour, has a confined look. There is often an air of fpace and room in throwing back a flair-cafe ; and this may be done to finch advantage in a moderate houfe, as to make it feem much larger than it is by a meat part of it being feen firfl : but dill the flair-cafe mufl prefent itfelf boldly and B freely to the fight; otherwife all has a confufed and poor afpeft. It looks as if the houfe had no good upper floor: and there is the fome difadvantage in this hiding of it, as there is in mifplacing the door of a houfe; it is as bad not to know how to find the way to the apartments, as not to find it into the houle. As to the fituation of the (lair-cafe, with refpec'l to the principal door, it is a point much difputed. There is in fome edifices, no difadvantage in making it face the door, and bringing it very forward - in others, as we have (hewn, there is great convenience and beauty in throwing it back, but in the fame direaion (Irak before the door: the advantages in tills cafe being no lefs than the gaining room, and reprefenting the extent of the houfe larger than it is. Some, on the other hand, prefer the placing the flair-cafe on one fide, and there are examples of buildings very beautiful m this way. Thofe who are attentive to little things, fay that it (liouid, in this cafe, be on the left hand fide, becaufe it is the left foot that is firfl naturally lifted up on a flair-cafe : but this is a trivial circumflance when there are larger confiderations. The F reach in general, are great enemies to the placing flair-cafes direaly before the door ■ thev have an inflance of a very bad one in this fituation in one of their pa¬ laces and feeing the inconveniencies occafioned by that, they fuppofe them effential to teh a fituation-1 but we can (hew them fome inflances in England, and Italy af¬ fords many,-m which flair-cafes are thus placed, and the whole building very con- veniervt. Let the architeft, whether his building be larger or fmaller, keep in his mind the **** diftribution of the whole, while he defigns his flair-cafe, and he will find he S„„ generally have his choice of placing it either in front, or fideways, as he chufes. It Lite allowed that the flair-cafe in the palace of Luxembourg has many incon- venieneies • it is heavy and dark, and it takes up the place of the entrance 5 cutting the * door i ft to the gardens in its height; but though thefe are the inconveniences of that flair-cafe, and it is placed direfl ; yet they are not neceffary confequences of fuch a fituation,’but the refull of very ill conduft in the architeft in this point. It was an error he committed in the compartition of the edifice, and it is therefore we name it as an inflance of caution here. In OF ARCHITECTURE. 3 2 7 In conSiIci'ing the place for his flair-cafe, the architeS mud have two things in ij. c yc ; the giving it a good light* and allowing a fpacious landing-place. The window for the flair-cafe fhould be in the middle, and it ought to be allowed very large, that there maybe a fufficient light, and that equally diffufed : and the land- inn place ought to lead to the bed apartments in a plain diredt manner, and to leave fpace and room for decoration. If the architect find it convenient, in a large building, it will be an article of great elegance to divide the dair cafe into two flights, which going up, one on each hand, fliall unite at the top in one common landing-place. This we name here, becaufe it may be effential in the forming the defign of the divifion of the houfe, and didribu- tion of the apartments; we fliall fpeak of it more largely when wc come to the con- ftriuflion of this part of an edifice. CHAP. XXVI. Of thi difiributian and proportions of rooms. O UR architefthas now confidered the place of his principal flair-cafe, and, we will luppofe, has marked it faintly in upon his plan; nothing interferes now with his divifion, or compartition, of the whole into rooms. In this place, let him deliberate before he begins ; we have advifed him always to keep in mind the proportion the parts are to bear to the whole; therefore let the ex¬ tent of his plan be his firft general guide for the conftruaion of his rooms. I As thefe are to be for various purpofes, they mud accordingly differ in fize, and in this let him keep alfo in mind the fubordinate proportion they are to have one to an-, other. This confidered, be may. range his de£gn of rooms under the names of three kinds 5 krae, middling, and fmall; and whatever he on dais head firft lays down to his own fatisfadlion upon paper, let him afterwards execute in the plaineft manner in his mo¬ del ; that the proprietor may underftajid it, as the work proceeds, as perfectly as him- felf. . . , ; . . / ' • . Two things he is to aim at in the djftributioo of his rporns; that the whole build-> in? may, by that divifion, be rendered graceful and commodious. The article of gracefulnefs will depend upon the proportion they have, ift, in themfelves j 2dly, to one another; and ^dly, to the whole fabrick : their commodioufnefs will arife from their being properly difpofed, and having a free communication. In the planning out the feveral rooms, the architect muft not forget, on any occa- fion, to make the beft ufe of all'natural receffes for clofets; and he muft contrive for them where the difpofition of the plan does not fo readily throw them in his way. 2 There j 2 g A COMPLETE' BODY Book III. There are a multitude of things that muft be always at hand, and never in fight; and — v -- thefe are what furnilh clofets ; nothing can be more needful than a place oi recep¬ tion fur them. The commodionfnefs of a houfe confifts, in a great degree, in the variety and pro¬ per number of rooms; therefore let the architedt avoid reducing their number to give them a greater magnitude: for that, befide rendering the edifice inconvenient, will make its parts difproportioned. When they are thus properly planned in number, ami the communication well eftabliflied, the houfe will appear airy- and larger than it is. In large houfes, where there is a garden behind, the bed difpofition poffible is to throw the whole firft floor of back rooms into a firing, or fuit; thele fhould confift of a faioon, an anti-chamber, a drawing-room, a bed-chamber, and dreffing-room : the windows of all thefe being to the garden will be very pleafant; and the looking through the whole range at once has an air of magnificence and elegance. There muft be clofets to thefe; and a water-clofet, far removed, and connedted by a pafiage, is a ufcful addition. Many objedt the inconvenience of this difpofition of rooms, from the neceflity of pafiing through one to go to another; and it would be a great one if it were not eafy to be remedied: but the builder, forefeeing this, muft contrive paffages into them from behind. The architedt engaged in a large plan (hould have this diftribution in his eye, and ar¬ range his rooms, and caft his partitions accordingly ; and forefeeing the inconvenience that would attend the needful paffage through all of thefe to get at the innermoft, he muft contrive fecret ways to them all. In the moft cafes this may be done without much difficulty, proportioning them for the fervice, and by this means there will be always convenience enough of getting at them, and at the fame time the eye runs through- them all at once, and the elegance, decoration, and furniture of the principal part of a houfe are thrown into one view. Sir Henry Wotton, who is an enemy to this pradtice, yet is obliged to own that it is frequent in Italy : it may be accufed ofoftentation, and it throws the whole houfe too open. Thefe are its defedls; but the intent is Ihew. In front may be the dining-room, and other elegant apartments. This is the foreign method of calling the rooms in great houfes; with us the diftri¬ bution is more eafy as we (hall Ihew in the fucceeding plans. CHAP. W E have fpoken of the three fizes of rooms; and their proportion to the whole edifice, and to one another; but there remains yet a third kind of proportion to be confidered, which is that of the feveral dimenfions of the room one to another. We have hitherto confidered the room as a part of the houfe, and had every necefiary regard to that whole in the eye ; but we now fuppofe the architect has marked in the feveral apartments into his ground-plan, and is about to transfer them to the model; therefore their fize is feverally adjufted, and there remains no confideration but that of their meafures refpedtively to the fpace each is to occupy. Now as that is not fo cer¬ tainly concluded, but that it may be a little altered if found necefiary, one being made to give way to another, the architect is to confider them as marked in, and to adjuft their breadth to their length, and their height to both. This is as nice a circumfiance as any in the whole compafs of the fcience, nor is there any on which writers have eftablifhed lefs certainty. The proportions of length and breadth are much eafier to be afeertained than thofe of height; for the former we have rules from the works of tile antients, but in this other we have none. In the antique the rooms were of two general proportions in refpedt of length and breadth, not that thefe were univerfal and unexceptionable j fancy amufed itfelf in this as other inftances, and none have indulged it fo much as thofe great architedls. The two proportions however that were accounted moft regular, and were moft uni¬ verfal in their works, were ift, that in which the length and breadth were equal; and adly, that wherein the length was juft twice the breadth. Thefe were the ftandards of propriety in their fquare and long fquare rooms; and we know by repeated expe¬ rience, that thefe are meafures which fuit very happily with one another. This we fee eftabli filed into a kind of law by Vitruvius What comes neared to a certain proportion in their accounts, with refpetf: to height, is that in a room twice as long as wide, the length and breadth were fummed up to¬ gether, and the height was determined at half that meafure. Thus a room of twenty foot long and ten wide, was made fifteen foot high. Thefe feemed their moft eftablifhed proportions; but they often varied them. * Vitruvius , 1. vi. c. 5 . 4 P N°. 30. From 33 ° A COMPLETE BODY Book III. From their time rooms have been made of a variety of proportions, and many of them very happily; bat we, no more than the antients, have yet any one rule for what is beft of all. This is the more lingular becaufe it is a bulinefs of mere mathematical quantity, and, one would think, might be afeertained without much difficulty. The rules the moderns have cftablilhed, or endeavoured to eftablilh, are not fo plain and Ample as thofe we have named from the antients. Some fquare the breadth, and then drawing a diagonal from corner to corner of the fquare ; they give this as the beft meafure of the height. This and other fuch meafures have been ufed by many, but none of them univerfally received. Michael Angelo was the inventor of fome of them, for he was one of the firft who ventured to eftablifh any proportion not found in the antients. The form and manner of working the deling makes a natural variation in any given height of a room, we (hall therefore recommend it to the archited always to fix upon the form of this part, before he calculates the heighth, and to vary that proportion accordingly. As Hat ceilings are tlie moft univerfal we fhall firft mention thefe. Palladio lays down a rule for rooms upon the firft floor with flat ceilings, which is, that their height be equal to the breadth, from the floor to the joifts. Others allow more than this, in various proportions; and thoughfV/W/Vs be a very good general rule, yet more is better. Some have allowed left, but that for rooms up- on this floor is wrong. Upon the fecond ftory Palladio varies the height by a confiderable reduftion; for he orders that it be left than the breadth of the room by one fixth. When rooms on thefirft ftory have the ceilings arched, this author makes a difference, and with fufficient reafon ; for thefe he allows the height in a fquare room to be one third more than the breadth. We fee the antients, in fquare rooms allowed a greater height; and fomething is to be raid in favour of each pradtice. Their rooms were more magnificent; and thele di- refted by Palladio would be more light; we have inftances of both proportions very exadtly preferred abroad, fome in houfes built by Palladio, and others in luch as are of an earlier date. It is not eafy to determine which, upon the whole, is the better, be¬ caufe there are palpable advantages in each; the wifeft method would be to endeavour at a proportion between the two, which (hould avoid the difadvantages of both for both have thefe as well as advantages. Such a middle proportion might have a fuffi¬ cient addition of dignity in imitation of theantient rooms, and be light enough to the too though not fo light as thofe of Palladio ’s proportion: but whoever fhall fet about ** ., b £ this OFARCHITECTURE. 331 this reformation, both of the antique and this eminent matter, mutt remember that it Chap. 27. is in England he builds, and not in Italy. The fame fpace will not be fo well enlight- L * ened here, by the fame apertures, as there, where the iky is clearer and the fun more bright. Therefore in eftablithing what we exprefs by a proportion between the two, he is not to take the exadt middle number, but certainly fomething lefs than half the difference is to be added to Palladios height. This is taking a mean meafure in effedt, though not in feet and inches 5 becaufe it is allowing for the difference of the Italian and Englijh light. If this were all, the point were eafily. determined; but much more is neceffary. Be¬ tween half and a third of the breadth added in the height, there may be innumerable proportions, the meafure being minutely divided; of all thele fome one is indifputably better than any other, but which that i6 none yet have fairly try’d : and it js a point nothing but trial can determine. As experience here mutt be the certain director, all we can do is to advife the young architedt into the right tradt for making his experience ufeful. Let him, on the firft opportunity his employment offers of making an arched ceiling, determine the height of the room as we have directed, by allowing fomething lefs than a medium between the one and a half, and one and a third the breadth. When he fees the cfFedl this has, let him, in the next room he builds of the fame kind, vary on one fide or the other j and fo on in every inftance j keeping an exadt regifter of the proportions of each. Wefhall, in another place, give certain proportions for windows : thefe he mutt, in all rooms carefully obferve, and then, every thing elfe being equal, he will be able to judge which of the rooms fucceeds beft upon the whole. Such a determi¬ nation, founded on fuch critical experience, would be a rule of certainty for himfelf j and the publication of it would be a publick benefit. In thofe rooms with arched cielings, whofe length is greater than their breadth, this author diredts a new heighth to be found, by adding the length and breadth, and dividing that meafure in half. If a room, on this proportion, were twelve foot long* fix broad, and had an arched cieling, the heighth of it mutt be nine foot j that being the half of the joint meafure of the length and breadth, which put together are eigh¬ teen foot. This is a very plain and familiar direction ; but it is farther from exadt truth and perfedtion than the other. Its error is on the fide of excefs, not defedt; and we ad¬ vife the architedt to endeavour eftablittiing a proper height by repeating his variations, in making rooms of this proportion lefs and lefs, by fmall degrees in height, than ac¬ cording to the rules of Palladio. This 532 A COMPLETE BODY Book III. This author’s proportions are brought to a fair trial in England, as we have before *—-'■y-—^ obferved, becaufe they are calculated for a freer, clearer, and brighter air; and, up¬ on all thefe occafions, more height may be allowed to a room of equal dimenfions, and with an equal number of windows, here than there. This author adds another rule, but more difficult, and lefs accurate, by which he determines, that in a room nine foot long, and only four wide, the height will be determined at fix foot. But this is not only worfe proportioned, but the rule will not always be capable of being executed, as himfelf obferves, by numbers. In the fucceeding part of this work, we fliall reduce the rule we have laid down as bed, to pradtife in various rooms ; and the architect will then fee that all he can learn from precept is but of limited ufe ; that a great deal is left to fancy, and that there can be no law of height eftabliffied, which ffiall generally and univerfaily an- fwer all the variety of dimenfions and occafions. What he ffiould eftabliffi from his own experience we have ffiewn him. By the refult of fuch a practice, he will be enabled to proceed in general ; and, in rooms of the more ufual dimenfions, when he has afeertained himfelf in this refpedt, lie will be in a condition to vary, on needful occafions, according to his fancy. This is very frequently neceflary, but It is never done well, unlefs by him who is full-a mailer of all the fettled proportions. C II A I\ OF ARCHITECTURE. Chap. 2S.' HAP. XXVIII. Of Galleries. W E wilt fuppofc our architect about to undertake an edifice where every part is to come in, that we may not have him deficient in any article under this head. A very good houfe may be finilhed without a gallery, becaufe it is an apartment that ferves only for particular occafions, and that is of elegance rather than neceffity 3 but when it happens that the perfon who requires a houfe to be built defires to have a gallery, it muft not appear a new thing to the architect. Thefe feveral parts of the young builder’s bufinefs Ihould all come into his fludy together 3 when he is making himfelf mailer of his fcience, it is then he Ihould examine all its particulars. When we have gone through this general account of the flrudlure of rooms, we lhall come to their decorations, and we would not have him then turn back to confider the pall article of their dimenfions. The fame courfe fiiould be kept by the mind in any fludy, as is followed in a re¬ gular work; one is to be the plan and rule for the other : and of this he may be af- iured, who propofes regularly to make himfelf mailer of a fciencc, that there is no way to arrive at that end, but by perfedlly going through every part as it rifes. We therefore lead him in this place, after the proportions of common rooms, to the flrudture of the gallery. This, as it is only a part of great houfes, and intended for the moll elegant purpofes, requires to be finilhed in every part with the flridell care 3 for there is no room in which a fault will be fo foon Ihewn, or fo harlhly cenfured. The eflential dillindlion of a gallery is, that it be longer than the ufual proportion of rooms; and its great ufe is for the reception of pidlures. Sometimes they are made ftudies, and fometimes kept for walking in. Some ufe them as eating-rooms, but they are lefs fitted for this purpofe than almoll any other form. The firfl quellion, with refpedt to galleries, is, whether the proprietor defire to have one or two ? For on this depends their place in the edifice. The rule is univerfal, that if only one be required, it mull be in the centre of the houfe, either in the fore or back front; but this makes the gallery occupy a principal part of the edifice, fo that it is better there Ihould be two, in which cafe one is to be placed in each of the wings. We fee people trefpafling upon this rule very frequently, and that in elegant build¬ ings. Thofe who do not care to part with the centre of the houfe for their gallery, and yet want only one, order a finglc one to be carried out for that purpofe 3 but, in this cafe, there Ihould be at leall the external part of another to correlpond with it. It is efiential to a gallery to have a free and open and obvious communication with the rdl of the houfe. It is a room intended for grandeur, and there Ihould be a hand- N°. XXXI. 4 Q_ fome /jdujKtiKUi 334 A COMPLETE BODY Book III. fome opening to it. We have told the architect already, howei meou i praftice k is to have any difficulty about the door of a houfe, or my blocking up before the principal ftair-cafe; and the fame caution is to hold good agamft the cheering the way to the gallery : it (hould be open, fpacious, and properly difpofed : there thuuld be preparation for the entering fuch a room ; and a ftrangcr lhould not pop into it as into a parlour. The gallery at Verfailksk liable to this objeftion, and fliould (land an a caution to all builders; you drop into it one way in a ftrange unexpefled manner, without the lead preparation ; and the other way you are to crofs a court, and find a blinded ftair- cafe, which opens direalv, and without any preparation, into tire great apartments . and, after paffing many of thefe, you come to the falon, which is the true entrance to the gallery. We name thefe errors in great buildings, becaufe the young ftudent, if they were not pointed out to him as fuch, might take them for examples, and fuppoie the con- duft proper. It is not the common praftice to diftinguilh between great and fine; the vulgar eye fuppofes every thing that is rich muft be elegant. As to the fize of the gallery, that muft be adapted to the extent and bignefs of the whole building 1 for this, we have (hewn, is a firft article of propriety : and no part can be admired that is not of a piece with the whole. As to the proportions of length and breadth, the archlteS is at liberty to vary them according to the occafion, and to the paintings they are to receive, for there ,s nothing fo much left to diferetion: in general, from fifteen to two and twenty foot, is the meafure of breadth for a gallery ; and according as it is required to be longer, or intended to be (horter, fome meafure between thefe, nearer the iargeft or fmalleft breadth is to be taken. Its length may be from four to eight times its breadth, and its height equal to, or more than the breadth. The finifhing of thefe rooms we (hall (hew with that of the others. C T 1 A P. OF ARCHITECTURE. CHAP. XXIX. II Qf Halls, Lobbies, and Passages. W E arc coming toward the end of our prefent part: the diftribution and general divifion of the houfe is made in the mind of the architect; but he is to remem¬ ber there will require certain places of common reception and communication. The hall anfwers this purpofc below, and that he has provided for ; above flairs, there mull be the fame conveniencies, and thefe are to be lobbies and paflages. In a great houfe all is to be great, and thefe are to be of the fame character; and in a fmaller houfe they muft have their due andadjufted proportion : as there is nothing handfome that has not proportion, there can be nothing perfett in the plainer way that has not commodioufnefs; and all the careful difpofition imaginable of apartments will never give a houfe this character of commodioufnefs, if there be not proper paflages ; and places of reception, and intercourfe to, from, among, and between them. With refpedt to the place of common reception, and entrance below, which is ufu- ally a paflage in fmall houfes, and a hall in larger, we have obferved already that it may be made a hall in all houfes with great propriety. In more magnificent houfes it fhould always be made as large as the rule of propor¬ tion to the entire building, and to the other rooms, will allow. We have fhewn the error of fwallowing up the reft of the rooms in this; but when its dimenfions are within the bounds of proportion, its large fize is an article of great advantage. In town a hall is a place of reception for fervants; therefore, in this, neither mag¬ nitude nor elegance are needful: in the country, where there are other ways into the houfe, the hall may be an elegant room, and it is there we propofe its being made large and noble. It ferves as a fummer-room for dining ; it is an anti-chamber in which people of bufinefs, or of the fecond rank, wait and amufe themfelves j and it is a good apart¬ ment for the reception of large companies at publick feafts. A good hall has many other ufes, amongft which, the reprefenting of theatrical pieces, while that inftru&ive diverfion was in faflfion, was one. Thefe are realons for the fpacioufnefs of a hall; but then, if the rule of general proportion be not obferved, the bignefs of this room may make all thofe look little into which we pafs afterwards. 2 1 M I 33 6 A COMPLETE BODY Book III. It i? a fafhion in fome places to give halls the form almoft of galleries ; to make them very long in front, and very fliallow: this anfwers the purpofe of giving room behind, but it is an ill way of getting it. Halls of any confequence are feltlom thought of unlefs for large houfes in the country; and there it will be cafy to take in a few feet more of ground, and not to make the hall a flip in order to give depth to the parlours, The proportion of breadth to length ihould be very confiderable in a hall. Pal- ladio fays that it may be made twice as long as broad, but never fhould exceed that length. This is indeed carrying the length of a hall to the full proportion ; and that author adds, with great judice, that the nearer they approach to fquare the better. From what we have obferved upon a variety of indances, it feems that from one and a third to one and a half the breadth, is the proper and mod proportional length of a hall. The bed height for a hall is fomewhat lefs than its'breadth ; but here we are to con- fider the difference of flat and arched ceilings, as in other rooms. In thofe halls which have coved ceilings the height may be within a twelfth part the meafure of the breadth; but in thofe with the ceiling flat, four fifths of the breadth is a very good general proportion : however in this the architedt has a great deal of latitude for the faving room above ; for the hajl may be lower than either of thefe allowed propor¬ tions, and yet not liable to great cenfure. The whole that relates to lobbies, and entrances from room to room, and among the rooms above dairs, is that they be made as fpacious as proportion requires, with¬ out hurting the fhape or dimenfion of the rooms; and that they have due light; thefe are points never to be attained unlefs the'conflruftion of thefe places of intercourfe be projected at the fame time with the rooms, and there be the defign of them kept in mind while the red is under confideration. The dudent may be adured that he will never execute that deflgn well which he contrives by piece-meal. All mud be planned together, and every part regulated upon a jud idea of the whole. From the hall below, and from the lobby above, if the condru&ion of the whole take in fuch a lobby, the doors to the feveral apartments are to open fome on the right and fome on the left; and let the young architect let it down as an univerfal rule, that thefe are to open directly oppolite to, or flrait over againd one another. This is an article of regularity, but the confideration extends farther. There is a proper fymmetry in the apartments on one fide of a houfe, anfwering to thofe on the other; and this difpofition places the walls in fuch a manner, that they equally bear the weight of the roof. One good ponfequence as regularly attepds on another, as one ill. When the apartments in a houfe are well proportioned to one another, their walls bear their feveral regular and jud fhares of their weight; but when larger rooms arc made on one fide of a houfe, and final 1 ones on the other, and their difpofition is varied as well OF ARCHITECTURE. 33? as their dimenfions, one fide of the houfe will be ftronger, and another fide weaker, Chap. zg. and the confequence of this will be in time the ruin of the whole edifice. <■—V— J The faloon is another room of Hate and grandeur that has a place in magnificent houles j we have, in the fxrft chapter of our firlt book, given the nature and general proportions of this part of an edifice, and fliall not repeat it here; what farther is needful for the fiudent, in refpeCt of this, will be diltinCtly ihewn in our fucceeding plans; and explained in the references to the plates. We have thus led our young archited from the door of his intended houfe, thro’ his hall, up his Itair-cafe, and through his lobbies, into every apartment. We have before fpoke, in the ampleft manner, of the roof, and may fuppofe him a mailer of that part of his fubjefl ; he will therefore underhand now in what man¬ ner to delineate the plan and elevation of the houfe on paper, for his own fatisfaCtion and improvement; and to transfer it from the paper to a model; there perfectly and familiarly to explain the delign and meaning of every part to the proprietor, to hear his objections; and to anfwer them with modelty and candour, or to undertake fuch al¬ terations as he requires. We fiiall here take fome notice of the manner of building among the antients of different periods, from whence various happy thoughts may arife to the architect of genius; and having thus delivered him his general rules, and laid before him the pro¬ per fources of improvement in the fcience, we lhall lead him to the conftruCtion and finilhing of the houfe he has now planned and modelled, and to which he may add fome improvements from the fucceeding hints. N?. 31, 4 R CHAP. 338 A COMPLETE BODY Book III- CHAP. XXX. Of the ^Egyptian manner of building. • E look up to the Greeks as the fathers of fcience, but we are to remember in this enquiry, that there were an earlier people with whom thofe Greeks had intercourfe ; whom they honoured as the mod: wife and learned of all nations, and from whom they confcfs that they received the origin of their feveral improve¬ ments. Thefe were the /Egyptians ; the Greeks found architecture among them, tho they were the people who reduced it to a fcience : the orders, which arc the orna¬ ment and glory of the art, are all of Greek invention, but without this knowledge of a peculiar form and proportion in their columns, the /Egyptians arrived at great magnificence in their edifices. Therefore, although we are to look no farther than Greece for the invention of regular columns, yet we may find it worth while to feck in JEg\pt the fir ft rudiments of magnificent building ; at lcaft the fil'd at this time known* The whole manner of building among thefe people we are not to expea eve can know at this time; many have prefumed to treat of it, but from imagination, not knowledge ; thefe therefore we rejedt from all confideration, but we have accounts of one magnificent kind of edifice upon better authority ; this was their banqueting houfe. The Greek hilforians have fpoke of the fplendour and dignity of this kind of building ; and Vitruvius has left us an account of its ltrufture and proportions in fo correft a manner, that what we fo much admire the ingenious architefl may reduce to praffice. Palladio has delivered in lines what we read in Vitruvius only in words, and he appears to have underifood the Roman better than all his commentators. It muff be allowed that Palladio in his draught has introduced fome things which Vi¬ truvius does not mention, nor the /Egyptians could know; in particular the regular Corinthian order: but with this and a few other reafonable allowances, he feems to have given us the fenfe of Vitruvius, and to have conveyed the magnificence of the /Egyptian architecture in a very happy manner. This author calls the building an /Egyptian hall; and others have treated of it after him under the fame name, and have try'd to execute it in various places, though not very happily. As it is a (truaure fo extremely noble, and moil have failed who have undertaken it, we have added a plate reprefenting a defign of one of thefe banqueting-rooms, formed with more ftriftnefs than Palladio’s upon the /Egyptian plan; and which, we hope, from the general account we are here about to give of it, and the explanation of the feveral parts, annexed to the plate, will be rendered fo intelligible, that any architeft of tolerable capacity may undertake to build it with regularity and beauty. The banqueting-rcom of'the/E^r«w,was,ln its ufual fize, from ahundred to a hun¬ dred and fifty foot in length, and in breadth fomewbat more than half its length. We 4 O F ARCHITECTURE, 339 will fuppofe, upon a medium, a hundred and twenty-five feet for its length, and for its Chap. 39, breadth feventy feet. Upon this area they built the room in the following manner, v -— v — At the upper end, and along the two fides, they placed rows of pillars, not Co¬ rinthian columns, becaufe they knew them not; but tall and tolerably proportioned pillars, agreeing in their meafures with one another, though of no regular order j and at the lower part they made a magnificent and fpacious entrance: this feems to have taken up with its ornaments one end of the building entire. We are not told there were any pillars there, though perhaps they placed two or more toward the an¬ gles cn each fide for uniformity, the central fpace being enough for entrance in the moft augufi: manner. Thcfe rows of columns were fet at a diftance from the wall, forming a noble portico round two fides, and the upper end of the building. Upon thefe pillars was laid an architrave, and from this was carried up a continued wall with three quarter columns, anfwering diredlly to thofe below, and in proportion one fourth fmaller in all their parts. Between thefe three quarter columns were placed the windows which enlightened the building. In this article of laying only an architrave over the lower columns, we are flridlto the /Egyptian manner. Palladio , who, as we have obferved, ufes fome liberties in his defign of this kind of ftrudture, adds a freeze and cornice over the architrave, making it a complete entablature. This, like the Corinthian order, is not JE.gyptian i but it is a very elegant addition. We diftinguifh it becaufe we are fpeaking diftindtly of the /Egyptian building, which has in itfelf fufficient magnificence, nor needs the addition of the Grecian orders, From the tops of the lower pillars to the wall was laid a floor; this covered the portico over-head within, and made on the outfide a platform which was furrounded by a corridor with rails and balufters. This was terrac’d, and ferv’d as a place for people to walk upon, and from this they could look through the windows down into the room, Moft who commented on Vitruvius fuppofe he meant that this platform or terrace ftiould be covered , but they certainly err : Palladio is almoft the only one who leaves it open J and he is certainly right. Any covering to this terrace muft have darkened the building by obftrufting part of the light to the windows : die company on the outfide were not to be confidered at the expence,of thofe within, nor indeed did there require any thelter for them, for the JEgyftjans .were in no fear of rain. Palladio makes the upper row of pillars to be only half their diameter out pf the wall 1 but as there will be light enough in liis way ofleaving the terrace uncovered, three quarter columns may be yery well allowed, and they will give an air of .dignity and free¬ dom to the whole. As the under row of columns are pcrfedtly infulate and free, the nearer this upper row approach to the fame condition, the more propriety there 'will be in the building ; and we have laid it down before as a general maxim, that when Columns u£uc. y 3 + o A COMPLETE BODY Baok III. columns mud be in part engaged in a wall, as they are to be in this alliance, tire ' c t *" * J of them Hands free the better. We have (liewn how this kind of room may be con [fruited upon the true A yptia?: plan, and it will have prodigious magnificence : this we perfectly recommend, becaufe there (hould be in all thefe things a drift truth and propriety. Thole who chuff to introduce foreign ornaments may do it in Palladia’s manner ; but, with the regular or- ders, it is a compofed room, and not /Egyptian. Mod W'ho have treated of this kind of room allow it lefs breadth than the propor¬ tion here allotted ; but there is foundation in reafon for this proportion : the columns Handing within, at a confiderable didance f am the wall, by the natural effeft of light and diadow, take off from the feeming breadth ; and in llruaures of this kind, where there is no abfolute rule of proportion, the architeft may always confider the apparent as well as real lhape'; and conlult optical as well as geometrical rules, Sir Henry Wootton gave the hint for this, and it is perfeftl; ni.r and proper. The room being thus proportioned (hould have a magnificent gate of entrance ; and this, according to our drift ideas of propriety, (hould not be enriched with any of the orders of architefture, becaule they were all unknown to the /Egyptians, to whom we owe the invention of the drufture, and whofe memory, as the inventors, we diouid perpetuate and reverence. Tire room will have a natural air of regularity and beauty from the juft proportion of length and breadth obferved in it; and it will have an afpeft of vaft magnificence and dignity from the columns thus placed, and from its great height, the foffit reaching above the cornice of the upper feries of columns. The /Egyptians decorated thefe edifices with ftatues.and nothing can be better than to follow their example, for no kind of room can (hew them more happily ; but in this cafe, as in all the others, the architeft of true tafte will place there /Egyptian fi¬ gures, that the whole may anfwer, not to its name, for that is a poor conceit, but to the original defign, invention, and manner of the building. No lio-ht will fall fo happily on dames as this which will come from above, in fo re¬ gular, proportioned, and uninterrupted a manner. We are the more particular upon this fubjeft of an /Egyptian banquetting-room, be¬ caufe it is not only in itfelf a ftrufture that does honour to architefture, but it is a kind of building we want. It would be a very augud and noble room for a corona¬ tion fead, or any other of the great folemnities. In the erefting fuch a building here, the architeft mud, as on all other occafions, take into condderation the diderence of the climate, and make proper allowances ; though in /Egypt or in Italy a marble pavement might anfwer the purpofe, it would not be proper here. Such OF architecture. 3+ r Such a room in England Ihould have a boarded floor, and it flrould be carpeted ch for the reception of the guefts; and with us five magnificent chimney-pieces, two XX- in each fide, and one at the upper end, would add greatly to the convenience, and not impair the beauty. This is the method of accommodating the defigns of the warmer and brighter countries to our own : and, without thefe many of the nobleft plans and models mull be ufelefs. H P. XXXI. Of the houfes of the antient Greeks. H AVING traced architeflure to /Egypt, and drawn from its original fource a ftruflure of great dignity, we may purfue it to the habitations of the early Greeks, and fee their manner of reducing the fcience to ufe. Vitruvius has, with great care and correflnefs, collefled and delivered to us all that can be certainly known on this head, and his faithful follower Palladio has very hap¬ pily reduced many of his precepts to praflice. The doSrines of the one, and the application made of them by the other of thefe great names, we would have our architect perfectly know ; but we would not have him red: his purfuit of knowledge there. Vitruvius was judicious, and Palladio accu¬ rate in the higheft degree in thefe things; but let him remember that both of them, with all this praifc, were no more than men : they may have erred, and this he fhould' examine; or they may have Hopped where the thought might have been purfued far¬ ther, agreeably and ufefully. This is the work of genius and attention ; let him that has the one thus employ the other, and both with perfect freedom; reverencing thefe as men of the firf! rank, but Hill confidering them as men, upon whofe already elfab- lilhed fund of knowledge it is not impoffible but he may advance fomething farther ufeful and new. To aflift him in this, we fliall treat the following fubjeds, as we have done the laft with perfed candour, and we hope with ufeful freedom. In the account of the Greek architeflure in private houfes, we find great conveni- encies, and in that of the Romans of the fame fpecies a great deal of magnificence. In this perhaps the charter tafte of the Greeks is not without its deferved applaufe They were very well acquainted with the ufe of lofty porticos, and fpacious entrances, but thefe they ufed in what might be called their facred architeflure only : they appropri¬ ated them to the temples of their gods. N\ XXXII. 4 S The 342 A COMPLETE BODY Book III. The entrance to their private houfo, however large and fpacious they were, wa, always fmall, narrow, and plain. The whole edifice ufually confided of two courts, and feveral ranges of building, in which every thing was difpofed with great convenience and regularity. Their porter’s lodge, ifthephrafe may be applied to fuch early time, was always placed on one fide of this narrow entrance, and it was ufually on the right hand ; it being to that fide people, except left-handed, ufually turn. Oppofite to this were placed the (tables; by which pofition their horfes were al¬ ways near the air for their health and exercife, at a difiance from the principal apart¬ ments, to which their fmell might have been offenfive, and in readmeis for ufe. From this firft entrance one came into the firft or fmaller court; this had piazzas on three fides, and on the fourth, which was ufually the fouth fide, there were buttments of pilafters, which fupported the parts of the ceiling more inward. A fpace being thus left between the one and the other, they had places for the lodg¬ ings of men and maid fervants; and fuch as had the principal care of the houfe. Upon the fame floor with thefe buttments, they had feveral regular apartments, confiding of an anti-chamber, a chamber, and clofets; and about the piazzas rooms for eating, and for all the common purpoles. Oppofite to the entrance was a lobby, or veftibule, through which lay the paffaga into the feveral rooms; and through this, in front, one entered a large paffage, which led into the larger or principal fipuare. Round this they had four piazzas, which, in the common way of building, were all of equal height; but in more magnificent houfes, they made that which faced the great entrance loftier, and every way nobler, than the other three. A nobleman of Rhodes added this to the common magnificence of their buildings; and it was thence called the Rhodian manner. In this more noble part of the building were the apartments of the family. Thefe were adorned with lofty galleries, and here were the bed rooms; they were called the mens apartments, for in rude times thefe Greeks lodged their wives and female relations in the bed rooms of the firft court, where they had alfo their feparate and detached place. The two fides of this larger court were kept for the reception of vifiters; and fer- vants had their appointment to attend upon them. O This This was a noble fpecies of hofpitality ; the matter of the houfe entertained his guefts the firft day in his own apartments, but, after this, how long foever they flay’d, they lived without reftraint in one of thefe feparate piazzas, and joined the fa¬ mily only when they chofe it. Thus was the upper end and the two tides of the great court difpofed of, and its lower end, being the fame range of building that was the upper end of the firft court, held the lady of the houfe, and her female friends. This was the antient Greek way of building the private houfes of perfons of di- ftindtion ; and there is a great deal to be faid in its favour. There was retirement and great convenience j there was magnificence within, but plain decency without; and this manner of building, though it covered a great deal of ground, yet was not very expenfive, for they raifed their ieveral parts to no great height. The light fell in very well in this way of building, and there was a cleanly and chearful afpedt in the whole. hap. XXXII. Of the private houfes of the antient Romans. W E have feen architecture travel from /Egypt into Greece, with great improve¬ ment in the article of convenience ; and we fhall now follow it from the later days of the Greeks to the Ronlans, where we (hall fee much pomp and magnifi¬ cence introduced in the private buildings. It is from Vitruvius we are to gather what we can know in this- matter, as well as the former ; but it is Angular thai this author, though a Roman, is- not fo diftindt, clear, and intelligible on this head, fpeaking of the buildings of his own country, as in the defeription of thofe of the Greeks. However, enough may be gathered from him to form a general idea of their manner. The Romans ufually placed the principal front of their houfe to the fouth, and on this they beftowed all the decoration of expenfive ornament; they had here lofty galleries and fpacious rooms, and every thing carried an air of greatnefs and of fliew. In their country-houfes they preferved the fame fituation, and the fame front, but the inner diftribution was different. At the entrance they placed the meaner and more offenfive offices, after the manner of the Greeks. The firft gallery which received the ftranger at his entrance had on one fide a paffage to the kitchen, and on the other to the flails where they kept cattle, that their noife or fmell might not be perceived within, while they were yet in readinefs for all fervices. Thefe flails were placed to the left of the paffage, as the ftables in the Greek houfes, and the kitchen to the right, which had its light from above, and its chimney in the middle. 344 A. COMPLETE BODY Book III. The account given by Vitruvius, we have obferved, is not very clear in this matter ; '-- — J and hence have arifen great difputes among architects who have undertaken to lay down the defign of a Roman country houfe. Some place the kitchen in the back of the building; while Palladio and others give it this place in the front part. Scammozzi , who is much difpleafed with Palladios defign, takes this method; but though there are other authorities, as Pliny and Columella , whom thefe follow, Vitru¬ vius is certainly, in a matter relating to architecture, the moft to be depended upon ; and it becomes us to fay, in juftice to Palladio , that whether he have or have not in all points perfectly underftood that author, and accurately reprefented his meaning, yet, in this matter of the kitchen he certainly is more conformable to his words, than thofe who place it far behind. Farther within the building were placed on one fide bathing-rooms, and on the other family conveniencies, in the manner of our butteries and ftore-rooms ; the bath¬ ing-rooms were on the left, -and thefe others on the right. Backwards, and full to the north, they placed their cellars, for fear of the fun ; and over thefe were other ftore-rooms. From this part of the ftruCture one came into the court, for in thefe there generally was only one court; this was taken up by fervants, and thofe who had the care of cattle, and on each fide there were off ftalls for them. In front from the entrance, but very far back from all this annoyance, ftood the nobler apartments for the mafter of the family. Thus we fee the Romans in their country-houfes followed very nearly the Greek mo¬ del, thoughh in thofe in towns they ufed a very different method. In the one the magnificence was in the moft remote inward part, and in the other it was dilplayed be¬ fore the door. SECTION O F 345 architecture. SECTION II. Chap. i. Of the Construction of HOUSES IN WHICH The Orders of Architecture are not employed. CHAP. I. Of common houfes in London. W E have thus (hewn our ftudent in architedurc what are the effential, what the ornamental parts of a building j and how he is to employ and introduce them. We have intruded him to delineate his plan, and fabricate his model, and have laid before him, in a fucceffion of examples, the feveral parts of a ftrudure fub- fervient to convenience, or defigned for decoration. He fees what was the pradice of Mgypt, Greece , and Rome j and having thus all before him that may contribute to form his mind for the perfeding of every part of an edifice of any kind, we fhall {hew him the difpofition and particularities of a houfe, from the fmallefi: to the moll magnificent and noble. Nothing mull be efteemed below the confideration of a complete archited, nor is any thing above him ; he mull be ready to make the beft: defign for the fervice of the pro¬ prietor, whether it be of the meaneft cottage, or the molt magnificent palace. This is a courfe .of ftudy he muft follow, otherwife he will never know all the convenien¬ ces and advantages of the different difpofitions of rooms, nor the method of profitting from that material variety. It is with reafon we have aflerted the beft archited is not to be above defigning the fmallefi: edifice, for nothing is more certain than that he will acquire more reputation from a well-conftruded cottage, than from a faulty palace. The common houfes in London are all built in one way, and that fo familiar that it will need little inffrudion, nor deferve much illuftration. The general cuftom is to make two rooms and a light clofet on a floor, and if there be any little opening be¬ hind, to pave it. Some attempt to make flower-gardens of thefe little fpots, but this is very idle; plants require a purer air than animals, and however we breathe in London , they can¬ not live where there is fo much fmoak and confinement 5 nor will even gravel continue clean many days from the turning. N°. 4 T 32 - In 346 Book III A COMPLETE BODY In this rcfpefl therefore, indead of borders under the walls, the bed method is ‘ to lay the whole with a good found done pavement, and at the farther part to build the needful edifice, that cannot in London be removed farther off; and fomething offi- milar fhape and little fervice oppofite to it. An alcove with a feat is a common con¬ trivance in the fpace between, but it is a ftrangc place to fit in for pleafure ; all this therefore is better omitted; and the young architeft is to have a general caution on this head, that will ferve him on many more, which is, that when there cannot be any proper ornament, nothing is fo becoming as perfeft plainnefs. The lower dory in thefe common houfcs in London is funk entirely under ground, for which reafon it is damp, unwholefome, and uncomfortable; but the excufe has weight: ground-rent is fo dear in London that every method is to be ufed to make the mod of the ground plan ; but even in the mod ordinary houfes in the country, where fome of the offices may be made without doors, it will always be bed, indead of thefe totally under-ground floors, to have a bafement dory. The front room below in London is naturally the kitchen ; the vaults run under the dreet with an area between, in which is to be a cidern, or other veffel for holding water, and there may be behind other vaults beyond another area.- In common houfes the fore-parlour is the bed room upon the ground-floor : the pafl'age cuts off a good deal from this, and from the back parlour ; this ufually running drait into the opening, or garden as it is called, behind ; but it is a much better prac¬ tice to make the back parlour the better room. This may be done as we have propofed by making the fore room a hall or retaining it in form of a parlour ; the paflage into the garden may be from below, and confequently the breadth of the paffage there taken in, which gives the back parlour a greater extent, and another window. The fird floor in thefe common houfes confids of the dining-room, over the hall or parlour ; a bed-chamber over the back parlour, and a clofet over its clofet. This clofet is ufually a corner added to the building, and continued to the fecond dory, not to the garrets. In houfes fomething better than the common kind, the back room upon the fird floor fhould be a drawing-room, or dreffing-room, for the lady ; for it is better not to have any bed on this floor. The two rooms on the fecond floor are for bed-rooms, and the clofets being car¬ ried up thus far, there may be a third bed there. Over thefe are the garrets, which may be divided into a larger number than the floors below, for the reception of beds for fervants. With all the care that can be taken in this article, often the number of fervants can¬ not be lodged there; and in this cafe a bed for one man, or two maid-fervants is^con- OF ARCHITECTURE. 347 trived to let down in the kitchen. But in this cafe the neceflary care of thofe peoples Chap, healths requires it fhould be boarded. This is the common condrutdion of a fmall London houfe, for the reception of a family of two or three people, with three or four fervants. We have given already the proportions in general of rooms to one another; and no¬ thing will be more familiar, or more proper, than for the young dudent to begin with a plan and a model of fuch a houfe; the fubjedt being perfectly eafy, and every part of it familiar in his mind. From what we have before faid on thefe heads, he will be enabled, without much difficulty, to make fome improvements 5 and having the whole in his eye at once, he will perceive where advantages can be given and taken, and how to make the mod; of every portion of room for the reception of fome kind of thing or other that mud have its place. Conveniencies of all kinds are no where fo much wanted as in London houfes, nor is there any where fo little room for them: it is therefore a very proper thing to confider how to add to them. This is the mod trivial and mod fiyniliar manner of building; but it is the mod univerfal. There may be many improvements made, and many things difeovered in it, and there is no part of the fcience from which a common builder will draw lo much advantage, or by attending to which he will fo much recommend himfelf in the eye of the middle rank of people. Such a houfe as we have here been fpeaking of is to be built for fix or feven hun¬ dred pounds, or it will cod upwards, according to a little more extent of ground, and a little more than ufual ornament. The common builders of them work jointly, one doing his diare of bufinefs in the other’s houfe, according to their feveral fubordinate profeffions ; fo that it is not eafy for them to fay what they cod, but they are generally ready to fell them for fourteen years purchafe, exclufive of ground-rent. As this is the way of bargaining for Lo?idon houfes, a great deal depends upon the terms on •which they are fird let. This the owner is therefore carefully to confider, for it abfolutely fixes the price of the houfe. CHAP. 1 u TJL T A COMPLETE BODY H P. II. \\ Of common houfes in the cou?iti A y. HEN nothing more is intended than a habitation proportioned to the family, the common houfe in the country is built juft as the common houfe in Ltn- d* for the moft part, though here there is room for great improvement at a final evpence, becaufe of the quantity of ground. This we (hall (hew and ,n general a great deal morels required. Moft who refide in the country meddle, in feme degree, in rural matters, and they are to be confidered as a fort of farmers ; ,n confining of their houfes therefore, when any thing more is meant than juft a place to deep and eat in, fomething of the conftruftion of a farm-houfe and its offices is to be in¬ troduced into the plan of the building. A houfe where nothing of this is required, and which is for the reception of a fmal! family may be built without any under-ground work at all. Upon the level of the e Tund, if it be a dry wholefome foil, may be an entrance from the principal door ; S on each fide of it a parlour. In front may be the Hair cafe s and over theft lodg- " rooms. Behind may be placed a kitchen and wa.h-houfe, which need be no more than ffieds well covered, and, as moft who devote themfelves to a country life take the amufements of reading and of riding, beyond the right hand parlour may be a ftu- t covered as the kitchen? and beyond the left a ftable. The paffage into the ftudy being from the parlour, and the opening into the ftable by a door outwards. This will be a houfe of fome convenience, and of fmalt expence ; and of this na¬ ture is that we have figured, as a parfonage houfe in Torkjbin i a fmal! family may find perfect convenience in luch a building. C II A P. ^«v^^Krt*»^T? ) T£RP^ra^ OF ARCHITECTURE. C H A P. III. w Of the conJlruSiion of fmall farm houfes in the country. HEN we take in the article of farming in dver fo fmall a way, we mull add extent. To this purpofe the whole mull confift of the houfe and out-buildings, with a need¬ ful quantity of ground, according to the lize of the houfe, and the compafs of the in¬ tended bufinefs. Befide the houfe for the family, there mud be a barn for the reception of the pro¬ duce of the ground, a (liable for cattle, and a cart-houfe for keeping the utenfils un¬ der cover, and (beds for lefler purpofes. The conftrudtion of the houfe is to be quite different from thofe in town, or fuch as we have mentioned in the laid chapter for the country ; for here no dining-room is required, and in the fmall concern we propofe to begin with in this place, a better kind of kitchen may very well anlwer the purpofe of a parlour. Let a piece of ground be taken of five times the extent of the front of the houfe and ejiclofed in the lead expenfivc manner. Back in the centre of this, let the houfe be placed, and in the front of the ground the barn, and the (fable, with the adjoining (beds: thefe are to be fet one on each fide, to the extreme meafure of the enclofed ground: they will thus fill up a part of the entrance, and will leave all about the houfe fome enclofed ground by way of yard, From the barn to the (fable may be extended a fence with agate in the middle. This gate (hould front the door of the houfe j and thus the ground will be very well difpofed. Thus much being fettled, the plan of the houfe and out-buildings may be made in this manner. The door may open into a plain brick pafiage, at the end of which may be carried up a fmall (lair-cafe. On one fide of the pafiage may be a common kitchen, and on the other fide of it the better or larger kitchen, which will ferve the farmer and his family by way of parlour. Beyond thefe may (land on one fide the pantry, and on the other the dairy-room; the la(f being of twice the fize of the former; and being on the fame fide with the belt kitchen : the heat of the other not being fo proper near it. N°. XXXIII. 4 U To Ufife %*>° A COMPLETE BODY Book III. To t hele may be added more rooms on the ground-floor as needful; and the upper ^ ' ’ftpry is to be divided into bed-chambers for the family, with garrets over them for the fervants. Behind this fhould be a fmall garden for ufe, not {hew ; and thus the houfe is fi- nilhed. It remains to conflder what to do with the ground for the two principal out-build¬ ings : thefe fhould be ere&ed of the fame fize for uniformity, though their inner divi¬ sion may differ. The barn muff be an entire and undivided edifice j but the other may be very well divided into ftable and cart-houfe. Behind the barn may be the hog-ftye; and behind the ftable a calf-houfe ; both ftieds: and, if there be occafion, open fheds may be placed againft the houfe. This is a very plain and familiar ftrudfure and difpofttion, fuited to a little family that engage in fome fmall farm. Under the two kitchens there may be arched cellars. The walls of the cellars fhould, for fuch a houfe as this, be two bricks and a half thick up to the fpringing of the arch. The arch itfelf fhould be one brick ; and the other parts of the houfe two bricks to the furface of the ground, and one brick and half from thence to the roof; the gable ends one brick. The walls of the barn and ftable fhould be built as thofe of the houfe : and the walls of the hog-ftye and calf-houfe only one brick. This is a fufftcient ftrength, and comes very cheap. 2 F OR the conftruaion of a larger houfe, the fird concern is to fix upon a piece of ground fomewhat more extenfive ; and in all thefc cafes the choice is to he made according to the fituation of the firm, and nature of the ground. Health and convenience are the two articles that here come under our regard ; for the firll: the fpot mu# be dry, and for the other the more central it is the better: and other re- fipedts being equal, the nearer the road the greater the advantages. The plan may be fo made that as this houfe is to be fomewhat larger, it may ap¬ pear much mote confiderable to the eye. The barn may now be a detached building in the middle of the yard: and the liable and cart-houfe, anfwered by the cow-houfe and calf-houfe, feparated from the principal building only by a gate on each fide, may Hand as two wings; which, with a very little decoration from ajudicious builder, will have a very pretty effect. In this cafe the plan may very conveniently be difpofed thus. Let the principal door open into a moderately wide pafi'age, with Hairs to the upper rooms: on the right of this paffage let there be the common kitchen for the family,, and on the left a room fomewhat larger, which, in very fmall farm houfes, it is ufua'l to call the bell kitchen, but here it may be called the parlour; the place where the far¬ mer, his wife, and children fit retired from their fervants when they chufe to do fo. Adjoining to one of thefe may be the cellar, and to the other the dairy; a couple of clofets may be placed through the cellar for various purpofes, and behind the milk room may be the pantry. This takes up the body of the houfe on the ground-floor. Nothing need be raifed over the dairy or cellar, for there will be upper rooms enough in carrying two dories over the parlour, kitchen, and paffage. The two wings we have named may be joined to the body of the houfe by a couple of gates; one may be the liable, and the other the cow-houfe: and conveniently enough a hog-dye may be made behind the liable, and behind the cow-houfe a calf- houfe. This is alfo a very plain and familiar conftru&ion. Here will be as many rooms as are wanted by a moderate family, and, if conftrudted without elegance, they will lie very conveniently for ufe. In 33 ? Book HI. A COMPLETE BODY In this manner the young architeft will very eafily fee how to enlarge or contraft his plan for the building of farm houfes, according to the intended bignefs. They all confifl of the fame number of rooms, and in general of the fame num¬ ber of offices: this is where the bare article of convenience for farming is concerned. When the inhabitant is grown rich, and intends to live in another manner, he may add what he pleafes ; which the architeft may adopt out of the direflions for the buildings before-mentioned. It is then no longer to be confidered as a farm houle, but as the houfe of a perfon of fome fortune, who intends to live as thofe indepen¬ dent of bufinefs do, but withal to have fome farming in his eye. In this cafe, which is the fituation and choice of many country gentlemen at prefent, and probably will be of more, for it Is rational and agreeable in the higheft degree, the bell iniiruclions will be taken from the villas of the antient Roinans. The great men of that famous nation, when they retired into the country, always farmed. Their fervants of various denominations took care of their affairs in this re- fpedt; and they had always one who performed the duty of farmer to the full extent. We have {hewn in what manner they placed their houfes, with the whole appa¬ ratus of a farm before them; and fomething in the lame manner may be very hap¬ pily and elegantly executed at this time. Many of their houfes in the country, according to the moll accurate accounts we have of them, were too near their farm yards, and too much upon a level with them, fo that they were in the way of dirt, damp, and oftenfive fmells, but that is not need¬ ful in the conftrudtion of fuch a building. If a proper fpot were chofen, it is not cafy to conceive any thing more agreeable than fuch a conftruaion might be made. We will fuppofe the advantage of the ground fo taken that the houfe ffiould Hand on the brow of a fmall hill: from this There Ihould be a gradual defeent to a brook, whence the ground rofe on the other fide again, though to a lefs height. The farm might be fituated jull on the other fide the brook; a fine lawn might lead down to the water, and a bridge over that lead direfily into the farm yard. Tile cattle would thus have the advantage of water, the family would alfo have it In abundance for all their occaiions, and the whole difpofition of the farm would feem as a picture, viewed from the houfe. The cattle fprinkled upon the hilly paflures would afford a profpeft vaftly beyond that of deer in a barren park j and the fucceflive labours of the farm, the hay-making and harveft-work, while they were all performed in this manner, under the mailer's eye, would give an everlafting variety. C H A P. OF ARCHITECTURE. 353 Chap. j. CHAP. V. Of the difiribution of the parts in a country houfe with a farm. E are now confidering the houfe of a man of fortune, who fhall chufe to add vv to it a farm for the advantage of having every thing about himj and for the pleafure of enjoying the country in its full beauty : for this is certain, that none but the farmer knows the full extent of that fatisfadlion which poets have fo finely defcribed, and which every one affedts to admire. We have placed the houfe of the fervant, who in this cafe adts as farmer, full in the mailer’s eye, yet at fuch a diftance that it cannot annoy him with any ill fmell, or other difagreeable accident. Round about this houfe of the manager of the farm muft be buildings for flicker¬ ing and feeding.the cattle within doors, and others for preferving the fruits of the ground. Thefe are the flables and barns belonging to the common farmer’s houfe, and they are there built in a carelefs and flovenly manner, becaufe meant only for ufe j here beauty mud be confidered : fome more expence will be allowed for the eredting of them, and the bufinefs of the architedl will be to defign them. As he placec the houfe of the farmer in full view of the principal building, he fiiould difpofe, and conftrudt all thefe its additional parts upon the fame principle of having a pleafing effedl from thence. He is to ccnfider all this as a pidture, and as he knows where the eye is to be placed, he may very happily and agreeably throw the whole into perfpedlive. The houfe of the farmer is to be the principal objedl, and this mufl be placed on the highefl part of the ground : from this, on either fide, the out-buildings are to defeend fpreading in form of wings, toward the brook at the bottom 3 which terminates the farm territory. Thefe will ferve to enclofe the proper quantity of ground for the yard, and the very racks and flails may be fo placed in that, with a view to the eye at the proprietor’s houfe, that they fhall form a pidlure. Under the diredlionofa fkilful architedl, the barns, flables, and cow-houfes, will rife like fo many pavillions j and the very fheds willaflifl in the defign. In this manner every part will join ; and nothing will obflrudt the intention of mixing perfedt utility with great elegance. As the principal building mufl in this cafe be proportioned to the dignity of the pro¬ prietor, and the number of his retinue j fo mufl the out-houfes in particular, and the whole conflrudtion of the farm in general, be calculated according to the natural pro¬ duce of the quantity of ground to be occupied. 4 X N°. 33 . This 354 A COMPLETE BODY Book III. This is an article of which the architect will not be able to judge; therefore let him ^ n ot be above receiving information concerning it. No man need be afhamed of ig¬ norance in a bufineis which he does not follow, and this is more in the way of the meaneft farmer, than of the moft judicious builder that ever lived. The quantity of produce will be proportioned to the extent of land occupied by the pofleiTor ; let the builder enquire of the neighbouring farmers what it will naturally yield, and when he has learned from them what bignefs his barns and other repofitories Should be, let him follow his own defign in the placing them. The communication between one part and another may be under piazzas of a cheap flru&ure, and the fame form may be given to feveral parts of the out-buildings, which require only a back and top : thus expence will be faved by the very conftru&ion that gives beauty and elegance to the whole. There mull be in fuch a piece of building lodging-rooms for feveral fervants of the meaner kind; and thefe may be much better provided in the out-parts, than in the houfe. If fome be lodged over the hen-houfes, that common thievery of hen-rooft robbing will be avoided ; and a great deal of mifchief of a like kind will be prevented by the fame careful difpofition in other refpedts. With regard to the better kinds of cattle, their lioufes and ftables inuft be placed on the higher ground, that they may have a warm, dry, and airy place. Hogs will do well toward the lower part, and the cribs and flails for feeding the cattle may conveniently be placed near the bottom, the water being near, into which there fhould be made a proper defeent with a found bottom for the creatures to enter to drink. Thus the conftru&ion of a gentleman’s farm may be finifhed, and the fatisfa&ion a3 well as advantage attending fuch a building would be fo great, that if the fafhion were once properly fet on foot, numbers would follow it. Perhaps there is not in the whole extent of the builder’s profeflion, any part fo worthy his confideraticn as this, in point of profit. The mixture of farm and garden is become very much admired, and would be more and more if it were carried to this height; and he who fhould fet the ex¬ ample, by planning out an elegant and pleafant habitation of this kind, would recom¬ mend himfelf by that firfl fbudture to many of thole which fhould be undertaken in its imitation. This would certainly happen, bccaufe thofe who undertook another would know no perfon could be fo fit to condu£ it, as he who did the firft. SECTION OF ARCHITECTURE. SECTION III Of the Construction of HOUSES IN WHICH The Orders of Architecture are ufed. H A P. L Of the proper diflribiitioji of the orders. r AVING led the young architeft from the plaineft houfes to fome others in which genius may difplay itfelf in the elegance as well as propriety of the con- ftrudtion, we now advance to thofe of a higher kind, in which he may introduce the whole dignity ot the icience* Here knowledge mull come to the affiftance of his fan¬ cy; for the dodtrine of the orders is a point of very eflential and eftablifhed fcience ; but this is a knowledge which we hope we have conveyed to him in the preceeding part of our work, treating of this portion of the architect's ftudy. With this knowledge of the intent, ufe, and character, of the feveral orders of co¬ lumns, he will find it no difficulty to difpofe them properly in more magnificent ftruc- tures; and we have {hewn the method of defigning his plan : he is therefore to join thefe two parts of the ftudy together, and he will make no errors in the choice, or dif- pofition, He is to remember that the heavier and more many orders are always ufed in the loweft places when more than one order is employed ; but that is rarely the cafe. They muft be very magnificent buildings indeed wherein there are feveral feries of columns. In general, one feries is a great addition of dignity; and then the choice falls be¬ tween them all, but in general the Ionic or Corinthian are preferred. The choice between thefe is to be made, not, as is ufually done, according to the expence, but according to the other decorations of the building: for the more they are in number, and the more elegant in their workmanfiiip, the more the Corinthian order will become them, and the plainer they are the more proper will be the Ionic. This is the middle order, and it is in general the beft, where only one row of co¬ lumns is ufed. It is fufficiently light and elegant, and there are few edifices which are fo decorated as not to become this better than the other. When 35 6 A COMPLETE BODY Book III. When the Ionic order is ufed alone, the place for it is on the principal floor, and nothing is fo proper as to fupport it on a ruftick bafement ftory. When two orders are ufed there can be no better choice made than of the Doric and Ionic for lefs ornamented, and the Ionic and Corinthian for more rich and decorated edifices. When the latter choice is made, the Ionic may be placed on a continued courfe, on a level with the ground floor ; and the Corinthian upon pedeftals raifed on the entab¬ lature of the Ionic. This practice is jollified by Palladio's plate, in his fecond volume, of a houfe at UJertc ; but though we produce this inftance to give a lanCtion for the placing the Ionic or whatever other lower order, upon a plain courfe, and the Corinthian or upper order upon pedeftals, the architea is not to fuppofe the edifice there reprefented is to Hand as a model in all refpeas, for it is liable to many objeaions. That part of the front in which the columns are placed is too narrow for its height. There are two Itories within each order, which is very much again!! the (triCt pro¬ priety of architecture ; though other inllances may be produced for it in good build- To this we (hall add that the Corinthian columns would have looked lighter if they had been fluted. The true fpirit of architecture is again!! the fluting of columns in general; but, in this cafe, where an order is raifed to an upper (lory, and fupported on pedeftals, there is an air of elegance and delicacy in the fluting the Corinthian (haft. The ^round-floor wall of the fore front of this houfe is ruftick, and even this is not altogether commendable ; the ruftick of a lower ftory is moll proper when that ftory is not of any great confequence, but here there are properly two. The upper one is indeed but a metzanine, but (till the continuing the ruftick to this height, as it is in front of a good ftory, and behind Ionic columns, is a practice which, although it may be juftified upon this authority, yet is not to be recommended as an example. The candid reader will not blame us that we thus fpeak with freedom of the works of the greateft mailers. We have done it with regard to the remains of the antique, and it has been received without difguft; that liberty which could be allowed in regard to thofe great remains on which all that is noble in the fcience is founded, we hope, will not be condemned with refpeCt to a more modern author, whofe great praife is that he formed himfelf upon them. It is thus we apprehend the works of great mafters, and the writings of the bed authors, are to be rendered ferviceable to the ftudent. Howfoever great thofe perfons have been they were not without error; and their works will be of double fervice when the excellencies are thus diftinguilhed from the defefts. Without fuch caution every thing feen in the antique, and every thing read in Palladio , would naturally be received by the ftudent as a model, and a law. He would by this OF ARCHITECTURE. 357 be led fometimes out of his way, and think he was copying excellencies when he was Chap. 2. imitating imperfections. For this reafon, as we have, in the preceeding part of this work, fhewn him what was excellent and what defective in the celebrated remains of old time, we fhall, in the fucceeding pages, while we fupport our inftruCtions on inftances in the practice of the great architects of later ages, be free to name what in the fame ftruCtures appears amifs : we fhall always do this with candour, and it will remain with every reader on his own deliberation to adopt or rejeCt thefe our particular opinions. The intent of this undertaking is to make the utmoft advantage of whatever has been done well in the fcience. So far as we are able to execute a defign fo ufeful this will be done through¬ out the work; and it appears that in no part a free difclofing of our fentiments can be more ufeful than in this. H P. II. Of difpojing the Doric under the Ionic order. W E need not fay here, that where a double feries of columns are intended, and thefe orders are fixed upon, the Doric is to be the lower: it is a principle fufficiently eftablifhed already, that the mofl mafly always muft have the loweft place: but there is a great deal of variety in the manner wherein the columns may be difpofed; and, from the feveral inftances we fhall produce on different occafions, innumerable other forms of difpofition may be drawn. We have, in the fecond volume of Palladio, a beautiful defign wherein the Doric , or lower order, forms a portico that takes up the whole fore front of the edifice. The columns have no pedeftals, but are raifed five foot above the level of the ground by a thick wall; the offices are under this, and the beft floors are thus raifed out of the reach of damp, and made more airy. In the centre of the edifice above is a hall, which projecting a little, is fupported by double columns at the outer angles: this is an un¬ common and a very beautiful method of difpofition ; but if ever it fliould be copied in England, there muft be more light admitted than in that defign. Some, when they ufe the Doric and Ionic order in the fame building, give each its pedeftal ; and others place both upon their bafes, without any farther elevation or fup¬ port. In this laft cafe the defign is better than in the other; for the Doric, in a lowerfto- ry, upon a pedeftal, is an ill fight. Solidity and firmnefs are the character and intent of that order, and a pedeftal breaks in upon that appearance. The better method is to place the Doric plain on its bafe, and to give the Ionic a pe¬ deftal. In general pedeftals are better omitted than employed, but if they be any where allowable, it is in the fupport of columns upon a fecond ftory. There is not required fo I\°. XXXIV. 4Y much r.<& 358 A COMPLETE BODY a Tji. much ftrength there as on other occafions, and generally the form of the edifice de- mands a pc dedal by way of uniformity. We fee pedeftals ufed to columns in the antique in fome inftances 5 and if in any cafe they come in properly they do here. The lighter the building the more reafon there is for railing the upper order on its pedeftal, becaufe that always gives it an air of lightnefs ; and, in the fame manner, the more ornamented the building is, the more proper is the column to be fupported on its pedeftal, becaufe that always gives an air of greater decoration, though it take away the appearance of ftrength. For the fame reafon the fluting of an upper row of columns is proper. This, like the pedeftal, is againft drift rule; but the columns in this place have lefs to fupport them than when they ftand under the finer orders. In treating of the Ionic, we have fhewn the ftudent that different bafeS may be ufed ; and, as the builder has his choice in this article, he is not to hold it as a matter of indifference. Reafon and propriety are to be confidered in all things, and there is here one plain courfe to follow, which is to fuit the bafe to the ufe of the order. The Doric alfo affords him his choice of different bafes, as we have (hewn ; and in the fame manner he is to feleS from thefe that which is fuited to the difpofition of the order in the building. We lhall begin with the bafe he is to feleft for the Doric, becaufe that is the order for the lower ftory ; and we Shall here lay down one ge¬ neral rule which may give him the reafon of our choice in the prefent inftance, and di- rea him in all others on thefe occafic. s. This is, that the more folid bafes are to be ufed when columns reft immediately upon the floor, and the lighter and more elegant when they are placed on pedeftals ; the reafon of this is plain ; all lightnefs is an im¬ pairing of ftrength, now the columns that reft upon the floor arethofe fitted for bear¬ ing weights, therefore they fhould have the moft folid bafes: when they areraifed on pedeftals beauty is more confulted, and lefs ftrength is required, therefore the finer and lighter bafes will unfwer the purpofe, and they are more adapted to that part of the defign, being always the more beautiful. To bring this to the prefent occafion. We have, in treating of the Doric, given three bafes° two proper to the order, and one common to it and the others. This latter is that called tire Attic bafe : it is in the architeft's choice to give this to a co¬ lumn of any order; though, on proper occafions, it fuits none fo well as the Doric. Of the other two, the one is fupported by antiquity, and the other is the invention of a late architeft, Vignola. For the figures of thefe we refer the reader to Plate XIX. The antique Doric bafe, which may alfo be called the Roman bafe of the Doric, is lcen in the remains of the Colifarum, and is the ftrongeft of them all, the out-line fpreadirrg from the bafe of the column to to the plinth very gradually. The next in ftren-nh to this is the bafe of Vignola : it is not fo ftrong as the Roman, becaufe of the fudden OF ARCHITECTURE. 359 fudden encreafein breadth of the torus, but it is handfomer j the mod: beautiful and Chap. 3; lead mafly of them all, is the Attic adopted by Palladio , and ufed by mod others. -- - J Whenever the Doric is fet upon a pededal the Attic bafe is the mod proper ; but it is not limited to that ufe alone, for it is folid and drong enough to bear very well upon the ground. Now of thefe three let the architect chufe according to the fize of his column, and the weight of the building; it mud be very large and mafly indeed to require the Ro¬ wan bafe : Vignola ’s will have drength enough for almod any edifice ; and, in general, for thefe purpofes, the Attic will be of fufficient drength, and then it is always prefer¬ able. This is the cudom mod adopted, and Palladio has followed it in the before- named defign. We fuppofe then the Doric colnmns placed upon the pavement with the Attic bafe, and their entablature raifed upon them. H P. III. Of the manner of placing the Ionic over the Doric order . T ^ HE Ionic is to come over the Doric ; and the quedion is in what form it ffiall be condrudted. In the fird place we are to confider that raiding it upon the entablature of the fird row of columns is very proper. This alfo directs the propriety of the pededal for each column of the upper order j the Ionic columns are to come between the windows, and there would bean apparent irregularity in the drudture, if they rofe from their bafes on the entablature of the Doric without any fupportj befide that in reviewing the building from below a great part of the bafe would be out of fight, and confequently the column not feen in its en¬ tire date j that being a very beautiful part of it. This therefore is a cafe in which reafon directs the ufe of the pededal. For each column therefore let there be a proper Ionic pededal, for this is the mod elegant way of working, and upon thefe place the columns in their mod beautiful and light manner. The pededal being fixed, the bafe comes next under confideration. The Attic bafe is frequently ufed for this order, and it is a very common pra&ice to raife it upon that when it is afecond leries, though the Doric have the fame below; but this is not fo proper, it gives a look of famenefs which is difpleafing to a nice obferver. 8 The 360 A COMPLETE B O D V III- The Ionic has a proper bafe of its own. We have named this with fome ccnfure be- caufe of its wcaknefs, but it is ornamented and elegant; here therefore is the proper place of it. We do not require ftrength in the Ionic of a fecond feries, therefore let its own bafe be ufed ; it keeps the whole more diftindt than the other method, and it has an air of lightnefs. For the fame reafon, let the column be fluted in its fhaft; this correfponds with the bafe ; and thus we (hall have an entire order, regular in all its parts, of fuffi- cient ftrength to fupport the weight that is laid upon it in this way of ufing it. and al¬ together diftingufthed from the lower. In one there will be an afpedt of ftrength and folidity j and this will be improved by the contrail: of the light delicacy given to this other. The ftrength of the lower order will be natural and proper, beeaufe it will ap¬ pear to have a good deal to fupport; and the lightnefs of the upper feries will be very well reconciled to the eye, becaufe we fee it has little to load it. Indeed the upper rows of columns in common buildings are confidered as orna¬ ments rather than fupports. We look upon them as fhapes of columns rather than as the things themlelves, in their natural and important office ; and it is therefore we, on thefe occafions, allow of their having all thofe decorations, which in the referved and fevere tafte of propriety, we on other occafions declare to be falfe. In the building of Palladio 's which we have mentioned on this occafion, the Doric columns form a kind of portico ; and there is no way of ufing them fo judicious or fo beautiful. As we wiffi to fee the column entire, fo we wifli to fee it quite free and infulate. We never can judge of a column unlefs we fee it under thefe two conditions, entire in all its parts, and Handing clear of all other objects; it is thus we fee its pro¬ portions and ornaments in their true elegance, and it is for this reafon the way of plac¬ ing thefe in the manner of the portico has fo happy an effcdt: it gives the whole build¬ ing an air of freedom and dignity. In other circumftances they mull be fet out as much as the nature of the defign will admit; the architect always keeping this in his mind, that the more free they Hand, the more beauty they will have. When columns in the lower ftory are let into the wall, it never fhould be more than a fourth part of their diameter, and even this gives a tamenefs and confined air to the whole; very much inferior to the noble freedom the fame order gives when ufed as we have diredted. It is a common practice in the upper feries to ufe pilafters inftead of columns; or, when there are columns in the fides, to have pilafters in the fore-front of all, where it js made to projedt a little. Cuftom and great names fupport this pradtice, but reafon declares againft it. A pilafter has always a flat and poor look ; but it no where thews itfelf to fo much difadvantage as when it is feen above a column. The eye is naturally carried from one to the other, and the contraft fets the pilafter in a very difagrecablc light. 3 Nothing OF ARCHITECTURE. 361 Nothing can have a more beautiful afpedl than an Ionic column of a fmaller mo- Chap. 4, dule, rifing with all its ornaments perpendicularly over the Doric: but when we fee v J a pilafter over the column, it is poor to the laft degree. The entire Tonic over the en¬ tire Doric is the way of placing them with mod elegance: but there may be fome- thing fpared of this; and a column engaged in part in the wall is always vaftly prefer¬ able to the beft pilafter. The judicious never fee a pilafter in any building, but their imagination recalls at the fame time the idea of a column, and (hews the poornefs of ufing this harfli piece in its place 5 but when the columns and pilafters rife over one another in the fame place, and (hew themfelves to equal view together, the moft vulgar eye fees the differ¬ ence, and always with difguft and difpleafure. H P. IV. Of the manner of ufijig the Ionic and Corinthian orders in a building. T HE fame general rule comes into ufe here as before, that the Ionic being the more maffy order of thefe two, is to be placed loweft. It was the upper or¬ nament in the preceeding inftance, becaufe the other was the Doric , heavier than it 3 and, for the fame caufe, it takes the loweft place when thefe two are ufed together, the Corinthian being lighter. The edifice in which thefe two orders are employed is naturally to be more magni¬ ficent and more decorated 3 and there is no way in which they appear fo beautiful, as when an Attic is railed over the Corinthian , and the pilafters of that little order fup- port ftatues. This is (hewing the ufe of the Ionic and Cormthian orders in an edifice in their moft elegant light. The wall of the lower ftory may be wrought with a light ruftick behind the Ionic columns, and the windows between the Corinthian of the firft floor fhould be decorated : the Attic pilafters then rifing over the entablature, and fup- porting the images, all is of a piece, and every thing has its ufe. It is common to fee columns in the front of a building that are put there only to (hew themfelves 3 the architect thinks he has done enough if he have proportioned them juftly, and placed them properly, but this is abfurd and unnatural: let our ftu- dent, who is to form himfelf upon the principles of reafon, guard utterly againft it. Columns are very ornamental fupports, but ftill they are intended as fupports3 and to place them without fomething over them, is to depart from the rules of nature and propriety. An Attic very happily finifties a column of one of the great orders 3 but what is the Attic placed there to do ? Still unlefs fomething be fet upon that, it is only encreaf- ing the abfurdity. It is placing fupport upon fupport where there is nothing to be fup- ^ • 34 ’ 4 ^ ported. 362 A COMPLETE BODY Book III. ported. Our builders have fo far a notion of this, that they fpeak continually of the --•- ' finilhing of an order, but cuftom, rather than any idea of what is right, feems to have eftablilhed this principle in them; for when they have put a fmall Attic upon the head of a column, they think they have done all that was required under the name of finiihing; not recollecting, or not knowing, that the Attic makes as poor and naked a figure with¬ out its (latue, as the column would have done without the Attic-, and that there ftill wants the great article propriety, without which nothing can ever pleafe a reafonable mind. What we would inculcate by this ftrid leffon, is that, when two elegant orders and an Attic are employed, there fhould always be the expence of fomething to crown the Attic. Let the archited who is to undertake fo large a work finifh his plan to this rafte, and then propofe it to the proprietor j if the addition of ftatues, which pro¬ bably was not thought of, fhould be objeded to, the bed method is to alter the de- fign. The Attic order fhould in this cafe, by all means, be retrenched ; and then, as the columns will have no other office but to fupport their entablature, it will be better to alter the plan fo far as to change the intended orders; the lefs ornamented ones will do better, and the plan will be reduced to the former of a Dork and Ionic front, in- ftead of an Ionic and Corinthian. It is certain that the Corinthian order in the front of a building, expreffes fo much elegance that it fhould be united with elegant ornaments of all kinds; the defign we have made of terminating by an Attic crowned with flatues, is the lead that fhould be allowed to it; and we will fuppofe it therefore to be carried on in that manner. We now enter upon the difpofition and ftrudure of the columns, and in this refped all that has been delivered in the lad chapter comes into ufe with equal force. Reafon always inculcates the fame truths, and thefe lead one to another. The fame propriety which direded the Ionic order, when it made the upper feries, to be fupported on its pedeftal, and decorated with all its ornaments, now retrenches them all; for the purpofe is quite altered, another order has taken the place where there is little to be fupported, and nothing to injure it, and the Ionic now is to be con¬ fer uded plain upon the fame principle of reafon that directed the Doric to be made fo before. In that cafe we direded the liwfV (haft to be fluted, the bafe to be itsown, which is light and weak, and a pedeftal to be fet under it; in this the flutings are not to be allowed, becaufe they either weaken, or appear to weaken it; the bafe is to be altered becaufe ftrength is required ; and for the fame reafon it is to be without a pedeftal, becaufe it will fo ftand firmeft ; befide thefe elegant and fharp parts which flood fecurc upon an upper ftory, here would be expofed to continual injuries; the corners of the pedeftal, the fharp mouldings of the baft, and the edges of the liftels between the flutings, would be (battered by every little accident. Therefore they would not be able to retain their beauty, nor would they have propriety. 9 CHAP. OF ARCHITECTURE. 363 Chap. 3. CHAP. V. Of the conflruElion of the Ionic ott a lower Jlory. U PON thefe principles we diredt our architect, when his Ionic is the lower or¬ der, to ufe the Attic bafe j to place it upon the pavement, or on a low wall . and to make the fhaft plain. Thus will there be an air of ftrength, and of more dignity than in the lighter way of executing it. What we have faid of the Doric holds good of any order that makes the loweft fe- ries. If the columns be perfectly detached, it is bell of all. If otherwife, the lefs they are immerfed in the wall the better. It is not only in the bafe of the Ionic that the architect has a choice of variety, there are two kinds of capital to this order, and of thefe he is to take which beft fuits his defign. The antient is very plain, and has a beautiful fimplicity ; the modern is more decorated : this naturally diredts his choice. If the edifice be very full of de¬ coration the modern capital will join beft with the reft of the fabrick; but if other- wife, his happieft choice will be the antique, which will give a fine oppofition to the other order. Indeed, though the modern capital be moft ufed, the antient is in this cafe gene¬ rally to be preferred. When the Ionic is an upper feries, the modern capital is beft, becaufe it more agrees with thofe ornaments we have diredted to be employed on the reft of the order in that cafe ; but where the Ionic is the lower feries the plain old capital is generally prefer¬ able. It has more appearance offtrength, and is in lefs danger of accidents. There is alfo a farther reafon why the antique capital fliould be ufed in the Ionic of a lower order, whqn the Corinthian is raifed above it j which is, that the volutes in the modern Ionic mucli more refemble the fcrolls of the Corinthian capital than thofe of the old j therefore the old capital is preferable, as we have obferved that the diftindtion is as much as poflible to be kept up between the two orders ufed one over another in the fame building. Having thus fettled the place and manner of the Ionic in a lower ftory, we arc to confider the moft elegant manner of working for the Corinthian that rifes above it. As no plainnefs can be too great for the Ionic below, no decoration can be too much for the Corinthian above. 36+ A COMPLETE BODY Book III* There is the fame reafon for placing this order upon a pedeftal in the prefent cafe, that there was for railing the Ionic in the fame manner in the other defign ; but though this be very proper it is not eflential, for we fee, by very elegant inftances, that the Co- rinthian in an upper ftory may ftand on a bale without its pedeftal. We would have the architect who ftudies by our plan, know at the fame time what may be done, and what is beft to be done ; for there are circumftances under which he cannot always chufe what he knows is in general the beft method. When the Corinthian column in the upper feries is railed upon its pedeftal, let the builder take care that the pedeftal be that which is peculiar to the order, and that it be well executed in all its parts. In this cafe, a continued baluftrade of the height of the pedeftal is very proper to be carried along over the entablature of the Ionic, and under the windows; this Ihould be proportioned to the proper height of the Corinthian pedeftal for a column of that model, and the windows fhould commence where it terminates. Then the column railed upon this pedeftal will ftand altogether free, exalted, and in full view from be¬ low, and it fhould be wrought with the utmoft care and elegance, and have every ad¬ vantage of decoration that belongs to the order. Where the other defign is preferred, and the defign is to place the Corinthian or¬ der upon its bafe without a pedeftal, another method fhould be followed. If the columns be placed diredtly upon the entablature of the lower order, as is the practice of fome, the difadvantage of not feeing them entire from the ground, named in the other inftance, occurs here; and it is the more difagreeable, becaufe this, being an order of more cxpence, it is fit it fhould be feen entire. Therefore, in this cafe, the baluftrade fhould be low and interrupted, not conti¬ nued, as in the former inftance; and the columns fhould rife againft the naked of the wall, with a free fpace on each fide of them. This will ferve to fhew their fhaft in the lower part free, and by means of the windows, the diminution of the column will be very beautifully fhewn. To give the whole column to the view from below, the beft method is this: let a courfe of ftone, which may be called a continued focle, be carried all along over the entablature of the Ionic columns; on this let a little baluftrade be raifed for the fupport of each window, terminated by low pilafters, and made juft of the breadth of the window. Thefe being ere&ed, there will remain between the windows a plain fpace for the columns. The plinth of the bafe is to be laid upon the courfe of ftone, and the column then raifed in all its juft proportion. This OF ARCHITECTURE. 3 6 5 N-. XXXV. chap; This will give the column very fully to the eye; and the courfe or focle, though Chap. 5. no ornament to the edifice, will not be feen. It will be buried in the perfpedtive view, though (hewn in a geometrical plan j and the columns will feem to rile free. We have obferved that the columns lliould have all their ornaments. They Ihould be fluted, and have their diminution carefully made. In fluted columns it is common to cable up a part, but it lliould not be done here, for the ufe of that addition is to prevent the edges being injured by accidents, where¬ as here, as we have obferved in the preceeding inftance, the order is not in the way of any. The diminution of a column, we have obferv’d, may be either from the bafe, or from one third of the height only. We have Ihewn the builder before that he has this choice ; it is now we are to diredt him in the making advantage of it. The beginning the diminution of a column from one third of its height may in fome inftances be more graceful, but the beginning from the bafe is always the moft natural j and in this cafe ftridt propriety and grace agree. It is by much the bell: method, in all cafes where the eye is to be placed below, to begin the diminution from the bottom, other- wife the fight is troubled, and the regular form of the fhaft never can be feen. As we have declared again!! the common practice of beginning the diminution from a third, we are here to reject utterly the falhion of giving the fhaft a fwelling. This is in itfelf a falfc practice on all occafions: it never will pleafe a perfon of true judgment j but in this cafe where the eye is fo placed below the objedt, it utterly per¬ verts the intent of Ihewing a diminution. If this be not gradual and exadt it is no¬ thing ; and it thus appears altogether irregular. In declaring what will be the fentiments of a perfon of true tafte in thefe refpedts, we mull be underltood always to mean one whofe tafte is founded on the rules deli¬ vered by architedts, butfinilhed by a true and juft idea of the fubjedt. He who is li¬ mited in his opinion by what others have faid, can never arrive at that charadter : he may have knowledge, or it may be called judgment, but tafte is fomething more de¬ licate, and is to be added to knowledge; and it is this alone which can be allowed to judge impartially, and to determine freely, concerning the pradtice of this elegant and noble fcicnce. 366 liook III. A COMPLETE BODY CHAP. VI. Of the choice of parts for the Corinthian order in a fecond Jiory. 1 1 E bale may be varied in the Corinthian as in the other orders, and this is to JL be appropriated therefore to the occafion. We ihall remind the architect alio that he is not ty’d down to one certain rule in the conftrutflion of the capital. He is fufhciently fenfible that the capital of this order, as in all the others, confifts of cer¬ tain effential parts which muff always be preferved ; that none of thefe muft be omitt¬ ed, nor any thing added to them : yet he will find there is a great deal of variation within the compafs of antique example for the putting thefe feveral parts together, and for their different proportions. He will remember that we have fhewn him, in a pro¬ ceeding part of this work, the great liberties taken in this matter by the antient archi- tefts; it was for this purpofe we named them, that he might on thefe occafions refer to them. He will find that he needs not on every occafion refer himfelf coldly to Pal¬ ladio : he may make great variations in his capitals, and by that means adapt the order to the edifice in a happier manner than that perfon ever will be able to do who fhall confine himfelf to the meafures of any one author. The remains of antique buildings fhew a vaft variety of alterations in the capital of the Corinthian order : eight of the principal of thefe we have given in Plate XXIII. to which we refer the ftudent; and fhall recommend it to him, on this occafion, to finifli up his capital after the model of any one of them which Ihall fuit the place in the flrudture he is erefting. If he chufe to follow any one of thefe, his anfwer is ready againfl all poffible cenfure. If he enlarge the flower in the abacus, and alter otherwife, according to the fame draught, the meafures of the capital, when any accui'e him of depart¬ ing from the meafures of Palladio, he may refer to thofe who built the temple of Vefta atT ‘ivoli 1 and if he prefer keeping the corners of the abacus Iharp, and make it terminate in four, inftead of eight points, lie may fiience all cavil by referring to the temple to the fame deity at Rome. What the antients did in their mod celebrated works, the modem archited may certainly imitate, and introduce into his; and his judgment (hould be feen in appro¬ priating to his edifice what he has thus the fpirit to adopt from the antique. With refpeci to a bafe, as the Corinthian has one of its own, that fhould be ufed preferably to all others when the order is thus elevated. It is liable to obieflion when the order is placed lowed, bccaufc it has neither drength to fupport weight, nor folidity to refill injuries, like the Attick j but being OF ARCHITECTURE. removed in this cafe from the neceffity of one, and the danger of the other, its own Chap 6. proper bafe fhould be ufed, becaufe it charafterifes the column, and is fo well orna- __a mented that it fuits thedefign. We have obferved that the front into which the Cmntbian order is introduced, fhould be ornamented in other parts: this and the weight above mud determine the architeft what capital of the antique to cllufe for his model. With refped to the weight above, the capital mud be appropriated to it, by chufino- the lighted where there is lead, and the mod maffy where there is mod. It was th ° s the antients aded ; and this was the caufc of thofe variations which we advife the mo* dern builder, on the fame principles to follow. He will find, among thefe antique remains, fome that are higher, fome that are lower; the higher are the (lighter, and therefore are to be preferred where there is lead to be fupported, or but to appear fo ; for in thefe cafes the eye mud be fatisfied as well as the judgment. On the other hand, when there is a great deal above, the capitals fhould be ohofen from thofe which are the mod rnady among the remains of the antique. It IS not that there is fo much between one and the other of thefe in real differ- rence, as in appearance to the eye, but appearances are, in thefe cafes, greatly to be confulted, C H A Pj £Z(C. " a68 A COMPLETE BODY Book III. CHAP. VII. Of the choice of Corinthian capitals. U PON the fame principles, and in the fame manner, the degree of work in the capital is to be fuited to the richnefs of the other ornaments of the building. The leaves are the great charafler of the Corinthian capital, and thefe are more or lefs cut or as the builders term it, raffled in different remains of the antique. Thofe wrought with the true acanthus leaf are the fimpleft of all, and in true tatte the bed ; thefe therefore are bed fuited to a front but moderately ornamented for one in which the'-e is an order of this kind ; and in general it may be added here that as thefe leaves in the capital are in truth preferable to all others, fo is there more grace in the orna- nv-nts that anl'wer them properly, than in fuch as are more minutely divided. The air of dignity meant to be conveyed in thefe fronts, is better feen in this plainnefs than in the wantonnefs of more laborious carving. When this kind of capital is preferred, the architect cannot take a better model than that of the temple of Vejli at Tivoli, before named, and figured in Plate X XIII. and it is very happy that the proportions in that capital perfedly agree with the plainnefs of the leaves. When there is a degree more of delicacy in the ornaments of the front, let the ar- chiteft fuit one part to another, by chufing a capital in which the leaves are cut into three at the fides ; this is what is called the laurel divifion. Such a capital, very hap¬ pily executed, he will find in the temple of Vejta at Rome ; it is finely proportioned in the meafures to this divifion of the leaves, and will very finely become the fame kind of ornaments in ftruflure as in divifion. This may be called the Corinthian capital of a middle elegance, and it happily fuits a middle degree of ornament in the front of a building. When the decorations are intended to be carried to the extream, there is a capital for the Corinthian columns that will match them ; this is made by giving die leaves what is called the olive divifion. They are thus divided into five (lender parts at the Mints -U up the fides, and in this way are full of work and elegance. The architedt P -ho lhall want fuch a capital to match the delicacy and fine fmall-work of the orna¬ ments, will find it beautifully executed in the columns of the Campus Vacuum at Rome. This Is the lighted; and mod enriched Corinthian capital of all the antique. It is very finely fuited in its meafures to the delicacy of the ornaments; and it will have - an air of peculiar lightnefs in the edifice. Thefe O F 6g ARCHITECTURE. Thefe are the rules by which the architect is to fuit his capital to the ftru&ure: ? they are new; but they are founded in unanfwerable reafon. Our builders have been too tame followers of their mailers rules; they fhould have looked up to the examples whence thofe rules were drawn. We lay them down here before the ftudent in ie- leifted pieces of the antique remains ; and open a way to thofe who have fpirit and ge¬ nius to follow their method ; by which they will exceed all'that has been done in this kingdom, and perhaps of late time in any other : this is. the road to fame in the prac¬ tice of the fcience. As we have directed the architect on this occafion, to employ or admit a great deal of ornament in his columns, as well as the reft of the front, let us caution him againft the intollerable error of fome, who, under the name and delign of elegance, introduce abfurdity andconfufion. Let him give as many decorations as he can to his Corinthian order in the iaft in- ftance; but let them be decorations which are genuine juft, and legitimate ; fuch as are eftablilhed in the reafon and nature of things, and not founded on a vitiated fancy : fuch as can be fupported by fomething in the antique, not fuch as are the peculiar character and difgrace of modern architecture. Under this diftincftion, we are to rejedt all that has been propofed beyond fluting, for the decorating of the lhafts of columns. They were meant to be plain j their plainnefs is their beft ornament: even fluting, which we admit upon the occafion here treated of, is really in itfelf wrong; but any thing farther is abfurd j and vi hat we fre¬ quently fee pradtifed is monftrous. As we fee jointed columns in the groffer, we find twifted columns in this more light and elegant order. Though little is to be fupported, ftill fomething is above, and we can conceive no¬ thing of a twifted fhaft but that it is breaking ; would any one who had in his choice a fmooth and folid bar, propofe to fupport a large weight upon a cork-fcrew ? the ab¬ furdity can be no lefs in twifting the (haft of the Corinthian column. A great beauty in the entire order is the gradual diminution and perpendicular a- fcent of the (haft, to fupport and meet the capital, but this is altogether loft in this pitiful device of twifting it. It is eflential that the axis of the capital bear upon the axis of the column : and as it is fo neceflary that this fhould be, it is proper that it fhould appear. It is poffible for the architect to place the axis of the capital thus over the centre of the (haft, but it is altogether impoflible for him to fhew that he has done this. In the beft conftrudted columns of this kind which we fee in fome of the French churches fupporting the great altars, the capital looks as if it were placed awry in many lights, and there is no appearance of its being able to fupport itfelf, much lefs the fuperftrudture. J B N°. 35 - The The next in abfurdity to the twitted, is the fpiral fluted coluirn. This we fee in the Corinthian in fome of the foreign churches : and there has been bad talte enough to endeavour to introduce it here. In this cafe the column is entire, and has its re¬ gular form and proper diminution, but the fluting, inftead of proceeding in ftrait lines upwards, is wound round it in the manner of thofe fpiral figures we fee carried up within the foot of a drinking-glafs. This diiturbs the eye in its perufai of the or¬ der ; it gives falfe lights which pervert the view of the diminution; and, to thofe who have not the ftriflnefs of judgment to difeover this, provided they have any it appears unworthy the dignity and beauty of the order; poor, low, and frivolous. Every falfe ornament is to be rejefled, and thefe which fancy has introduced without any warrant from reafon are all of this kind. There (hould be no ornament admitted on the Ihaft of a column beyond the ftrait upright fluting, and that rarely. CHAP. VIII. Of ufing the Ionic order alone in the front of a houfe. T HE variety in the builder’s choice for the difpofing and decorating but a (ingle order is very great: he has a full fcope and field for his genius where the edi¬ fice admits no more ; and the variations he may ufe are almoft endlcfs. We (hall name the principal of thefe, and enter more particularly into the examination and defeription of the belt. The proper place of the Ionic order, when ufed alone, is for a middle and Attic ftory ; a building with no order may be high according to the architedt’s pleafure, pro¬ vided he obferve proportion, as we have Ihewn before; and where there are two or more feries of columns, it ought to be, and indeed muft be, high ; but in this cafe, where there is only one feries of columns, proportion and fymmetry limit the height not to be very great; and the befl: method is to have only three ftories. The parlours a little above the level of the ground; the firlt floor raifed over them at fome height, and there the columns are to Hand ; and over this an Attic , contained in the height of the faid columns. This is the elevation of an elegant edifice, and for one enriched with the orders not expenfive. Decorations may be added ; and flatues, or fome other ornament, may be fup- ported over the columns, but that is at the pleafure of the proprietor. Culfom will authorife the omitting them ; though we have fhewn it to be wrong. H I T U R E. In thefe fronts the columns may be continued all the way, or be placed only in what is called the fore front, that is a part projecting a little from the reft - Cfuf> ' and the two fide parts left plain or lefs ornamented all the way. in the centre; The latter is the lefs expenfive way, and is the moll ufual, and indeed, in many dfc- figns, it anfwers fully as well in elegance. There is another article perfectly in the archited’s power, and in which people art not agreed as to which method is beft; this is the fupporting the entablature in a con¬ tinued rtrait line over the heads of the columns, as in the delign annex’d; or the throwing it back in the continued parts, and only bringing forward a part of it over the head of each column. We are fenfible that the generality declare for the latter method j but the generality may err. We have obferved in another place that the plain (trait courfe of the entab¬ lature is the moft agreeable to nature and reafon : however this other method is not to be wholly difallowed. We confider columns in the front of a building as ornamental more than ufeful, and therefore we may take liberties in their difpo- lltion there, which would not be proper where they were placed for more effential ftrvice. In the Doric there occurs a difficulty in this bringing forward of the entablature over the column, becaufe of the difpofttion of the triglyphs and metopes; wherefore wc have chofe to fpeak of it here, in treating of the ufe of the Ionic, as the more fair difquifition. The refult of due conftderation will be this; that neither way is to be uni¬ versity recommended on this particular occafion, but that the entablature may be continued ftrait, or interrupted by thefe breaks, according to the nature of the build- To explain this clearly, the archited mult be reminded, that the continuing the en¬ tablature ftrait and entire has a look of ftrengh, and the breaking it by bringing it forward over the columns has an air of lightnefs. For this reafon, if the edifice” be more plain, let him ufe the more plain and folid method in this refped; but if it be of the more decorated kind, let him ufe the other; for that air of lightnefs, anfing from the breaking of the parts, will agree perfedly well with the other decorations. The columns, in the plain method of continuing the entablature, appear to fupport the edifice ; but in this other way they Hand more light, feem only ornamental, and plainly fupport nothing but the Attic that is raifed over them. HSTE fT.Kf£ >' A COMPLETE BODY 37 2 Book III. T hi s farther confideration therefore occurs; that, as they fupport only their proper --' ’ pilafters, thefe mul of neceffity carry ornaments in this cafe ; in the other, the build¬ ing may much better be terminated by a blocking courfe at the top of the entab¬ lature, becaufe more plainnefs may be born where there is more folidity; and as the columns have fomething to fupport in the building itlelf, they may be finilhcd plain. In treating of the Ionic order, we have fhewn the architefl that he has his choice of two diftind freezes in the entablature; it may be railed flat and plain, or it may be fwelled out and rounded: this latter is called the pulvinated freeze. This choice is not given without reafon to the archited ; it is here in reducing the rules to pradice that we fltew the ufe of thefe allowed variations. When the entablature is continued plain, and in a ftrait line, it is bell to ufe the pulvinated or rounded freeze to the Ionic, becaufe this has more look of folidity; and, on the other hand, for the fame reafon, where the entablature is interrupted and brought forward over the columns, he flrould always chufe the flat freeze. The reafon of this pradice is extremely plain : lefs llrength is required in this lat¬ ter cafe, and therefore there fhould be lefs the air and appearance of folidity ; and the flat is by much the lighter freeze for this order. This is a nicety not attended to, but it ought to be univerfally regarded. 9 CHAP. OF ARCHITECTURE. 373 Chap. 9. H P. IX. Of raijing the Ionic in a Jingle feries over an arcade. r HETHER the columns in this Tingle feries whereof we are now treating be only placed in the central part, or be continued along the whole front of the building, nothing can be more elegant, or more proper, than to raife them over an ar¬ cade ; there is an air of continued elegance in this, and the fuperftrudture is no way better fupported. When this is not chofen it may ftill give a very ufeful hint; for the imitating this method of building to the eye, by throwing a deep arch over the top of each of the windows in the lower ftory, will have an extremely good effedl. Thus we will fuppofe the front railed from the foundation to a foot above the ground, in a plain well-conftru&ed wall, in the fame plain but workmanlike manner; and from this let the front rife ruftick up to the next ftory, as in the annexed de- fign. This will have a very fine effedl: a plain fafcia is to be carried along to crown this ruftick bafement: the naked in the deep arches fhould alfo be left plain ; then the piers between, and all the other parts being ruftick, the whole will have a very beautiful effedt. The arch over the door may thus be of the fame height and compafs with thofe over the windows, and it will have a very fine effedt. Thus is the front of the ground ftory raifed ; upon this is to come a broad plain fafcia : this terminates the ruftick, and divides the two ftories ; and uj on this are to be railed the columns which are the great decoration of the edifice. In the elevation of this ftory, regard muft be had to all the ornaments that are to ap¬ pear upon the front, and the columns are to be conftrudted accordingly. The architect remembers he has his choice of two capitals for the Ionic , the antique or the modern; we have alfo given him his choice of two freezes; and there are other variations, though lefs obvious, which we have named in treating of this or¬ der, and all which will come into his eye here; add to this that the columns may be fluted or plain ; and that they may be, at his pleafure, fet on pedeftals, or raifed from the fafcia without : and he will thus find a great fcope for variety. N°. XXXVI. The 376 A COMPLETE BODY Book III. In this manner of working all will be conformable to reafon, all of a piece, and v a |j p r0 p er . j n t ] ie fi r ft cafe, where there is the pedeflal, all will be full of decoration and ornament, all will be light and fhewy : in the other the whole order will be ex¬ ecuted plain, and perfe&ly proportioned. There is a ftillnefs and compofure in the Ionic, when thus executed with a plain (haft, an Attic bale, and the modern capital, that, to the Arid eye, out-does all the fluttering ornament of the other. It is this way executed at a much fmaller expcnce, and the whole front in which it is ufed neceflarily following the fame method, is alfo Ids expenfive. It were well if this were more confidered. The more archite&ure is reduced to plainnefs, the more it comes to its antient flandard and where there are leafl: ornaments there is always the greatefl: regard paid to proportion. This is the article on which the architect Ihould value himfelf; but the decorations are become the principal regard of moll : they Ihould confider that this is priding themfelves out of their proper fciencc ; the car¬ ver, not the builder, fhines in thefe articles. We fee at Vicenza two capitals executed by the hand of Palladio . and they are very beautiful ; but it would have been very much beneath that great man to have valued himfelf upon cutting them. The defign is the glory of the architedl, other hands may be employed on the de¬ corations ; and they are what the judicious eye leafl; regards, however they afFe not rejetft the antique plain capital becaufe there is a modern one more ornamented, but keep both in his eye on all occafions, and ufe them in their proper ftrudtures, where a plainer or more decorated capital fhall be required, according to the nature of the work, in its other parts. 2. We will fuppofe the front with this feries of Corinthian columns, is intended to be of a middle degree of elegance, neither fo plain as the laft, nor fo highly Anidred, or extravagantly enriched as the fucceeding : in this cafe the conftru&ion of the co¬ lumns mull be in a middle way, between the lighted; and thofe we have laft named as the plained of all. This is a fubjeft not enough confidered, and yet of the greateft confequence j we fee nature, reafon, tafte, and uniformity, all offended in many ftruc- tures, where it is not eafy to fay in what the fault confifts, which is yet fo obvious: it is in this ill choice of the columns, and we drall give exa£t dire&ions in the avoiding it by a proper conftru&ion in each cafe. The architect mud, in this fecond inftance, avoid the plainnefs of the former and yet not rife to the height of lightnefs: we diall give him very Angular inftruc- tions. Let there be no pedeftal to the column, and let the entablature be laid in a ftrai t line as in the preceeding : thefe are the two articles in which it agrees with that but there are two others in which it is to differ. Thefe are the conftrudtion of the draft and capital. Let the bafe in all thefe methods be the proper Corinthian , becaufe it is removed from danger, and will fhew itfelf to advantage. In this middle method let the draft be Auted, and let the flutings be cabled to one third of the height, and for the reft empty. Let thofe Autings terminate at top, not with a fweep, but plain and fquare; there are inftances in the antique to fupport this, and it is peculiarly proper in that place. The Auting of the columns in that celebrated temple at Tivoli are thus terminared fquare; in fuch a column we propofe to have no Autings at all, but in the prefent, while they, in this difpoAtion, make a ^ * 37 * 5 F happy 3 86 A COMPLETE BODY Book III. happy medium between thofe of the preceeding kind, which are altogether plain, and >-—v— J thofe of the following in which they will be altogether open ; this fquarenefs at the top will happily correfpond with the ftrudure of the capital we are about to dired to be chofen. The architeft by this time fo far enters into our defign, that he is fcnfible he is to chufe a capital not fo plain as that of the preceeding ddcription, nor lo elegant as that of the Campus Vaccims. The middle degree of finenel's, between the acanthus and the olive capital, is the lawrel; this therefore is proper in the prefent inftance. We (hall direft him to ufe fuch a capital on this occation ; and, in the conftrufliou of the abacus, to cut itwithafweep in the ufual way, but not to take off the corners* Let thei'e be entire, and run out fharp; many an architect will cry out againft this, but we have lhewn already, that although it be not common, it is fupported by the an¬ tique ; and we (hall give him for a model, in this place, the very capital we named on that occafion s that of the temple of Vffia at Rome. .This is a capital exadtly luited to the prefent purpofe ; it is of a middle proportion between the Tivoli capital, and that of the Campus Faecbms, and it has the corners (harp; the laurel divilion is fine¬ ly made out in this, and nothing can be fo proper for the prefent occafion. - We are to fuppofe our front is intended to be railed in tbe mod- elegant and rich manner. To this purpofe the conftrudlion of the order is to be varied from either of the former, and it is to have altogether a new charafter. We are aware how lingular a manner of writing this will appear to the common clafs of readers, for the ordinary architect fuppofes the Corinthian order to be the Corinthian order, and knows no vari¬ ation in it. Palladio is his deity, and if he works according to that author’s direction he fuppofes he mud do right, and he will be ready to think thofe who do otherwife will do wrong. We enlarge his mind, we fend him to fchool there where Palladio ftudied. The undents, our great and only proper mafters, varied their works, with refpedt to us, in vain, if we are too poor in fpirit to comprehend, or too limited in imagination to follow them. Time has to no purpofe fpared the remains of fo many of their great works two thoufand years, if we refufe to take them as models. We propofe to the judicious and fpirited architeft to adopt all their beauties ; and we (hall (hew him, in thefe inflances, how they ufed, and to what end devifed them. We have gone through the confideradon of a Corinthian front in the plained and in a middle manner; we are now to lead him to the mod light and elegant. Let him_ in every part, retain this idea, and he will every where comprehend what we are fay¬ ing-, and be able to transfer the fame obfervations to many other fubjefts. In this cafe the column is to be made every way light and airy. For the fird article therefore, let it have its proper pededal : in the two preceeding defigns, the plinth o( the bale has reded on the fafeia ; here the proper pededal of the Corinthian order is to be raifed and enriched with all its ornaments. A On OF ARCHITECTURE. . 3 8 7 On this is to be placed the {haft, which muft be fluted ; the flutings mull be left empty to the bottom, and they muft terminate in a fweep, or circularly, not in a ftrait line, as the preceeding. Thus we {hall have a light, beautiful, and elevated column. The capital for this muft be the lighted; and richeft that can be found among the antique, and confequent- ly norte fo proper as that of the columns in the Campus Vaccinus, the laft in Plate XXIII, for a model. The entablature, in this cafe, ftiould not be carried on in a ftrait line, becaufe that, though the moft universally proper in ftridtnefs, yet is heavy; and here all lhould be light. Therefore the inftance, of all others in which the bringing the entablature for¬ ward over the columns is moft agreeable, is this. The form and working of the •whole {hews that thefe columns are placed for beauty and decoration more than for ftrength, or as fupports; and therefore the entablature may be laid in this broken or interrupted manner. This will give a confummate air of grace and elegance to the whole. The co¬ lumns will appear perfectly airy and difengngcrl, and there will run through every part that lightnefs which is the charadteriftic of the order. We have obferved in general that in thefe feveral cafes, the other ornaments of the front are to be made to correfpond with this of the order employed. The feries of ornament we have directed to be continued along the building, under the entablature, and anfwerable to the capital, is the field for greateft beauty in this article; and the place where the moft ftridt propriety is required. In this therefore let the ornaments always carry an air of refemblance to thofe of the peculiar capital that is ufed. This is the moft ftriking article of all. T 3 * C H A l\ 3 S8 A COMPLETE BODY Book III. CHAP. XIV. Of the upper or Attic Jlory in the before-mentioned houfe. 1 —' VERY part is to be made correfpondent to the whole in fuch an elegant ftruc- jL_j ture as we are here defcribing, with the molt nice regard to propriety : this is a general rule ; but let the architect beware it does not millead him on fome occafions. Though every part is to be adapted, every part is not to be equally ornamented ; and that which might be correfpondent to the whole in a general fenfe, may yet be out of its place. This is to be particularly confidered with refpedt to the Attic over the principal ftory in this kind of houfe. To load it with ornaments would be not to depart from the character of the reft of the building, but it would be to depart from reafon and pro¬ priety. 8 i S 1 R i i g The Attic is a ftory of little importance, therefore it is not to be decorated in the manner of the more noble apartments; audit is placed lb much above the eye, that line ornaments could not be diftinguifhed on it. It muft not be entirely plain, for that would be to lofe all uniformity in the build¬ ing ; therefore it muft be decorated with dilcretion j its own proper pilafters with their finilhing being the principal parts. The builder is to confider that the principal ftory is to attradt the regard. That be¬ low we have directed to be fo conftrudted that it has decoration in fome degree cor¬ refpondent to that above it, and yet not at all fo as to interfere with it; and the fame muft be the judicious conduct with refpedt of that above. Having thus given the.general idea of what is to be intended in this Attic, we fhall lay down fome rules for its conftrucftion. The form of the windows of an Attic ftory every builder knows: they are to be fquare, but this is not a rule that muft bind him to inches one way or another. It is certain they fhould not be higher than they are broad, but there is no rule againft their being fomewhat broader than they are high. The excefs in breadth muft not be great, but it may, with caution, be often admitted in a due degree, and on no occafion better than the prefent. As the principal floor will, in this ftrudture, be lofty, we would have the Attic low. It gives a greater air of dignity to the other, which is the great thing intended, as that is the principal ftory. ^ •' . * As the three Corinthian fronts could not be given in this number , and any one of them would have been inadequate to the defign , we have , in their place, given an elegant edifice of another kind ; the plan and elevation of which fo perfectly few itsjlrudlure in every tart , that it needs no explanation in words. 8 OF ARCHITECTURE. 589 To this purpofe the windows of the Attic muft be low: but they mud alfo, for the fake of proportion, have fome tolerable extent. As this cannot be given them upwards, they muft be allowed it fideways, and on this depends the propriety of giving them in this cafe more breadth than heighth. One of thefe windows in the Attic is to be placed exadtly over every window in the ftory below : and as the piers between thofe windows below are decorated by the Co¬ rinthian columns, thefe piers between the windows of the Attic ftory are to be orna¬ mented by pilafters of the proper Attic order. Thefe muft have their bafe, die, and cap, in the manner of pedeftals, which they re- femble very much in fuch a low Attic as we here prefcribe, and they ferve alfo in the place of fuch to fupport ftatues, or other ornaments. As a window in the Attic will come over every window in the lower ftory, fo a pi- lafter of the Attic order will rife diredtly over the axis of every one of the Corinthian columns. If the nature and difpofition of the front have required in any part that the columns fhould be coupled, as at the corners, or under any projection, in that cafe, the Attic pilafters are to be coupled alfo ; one (landing as a crowning of every column. We have before (hewn, that thefe being meant to fupport figures, or other pieces of ornament, the purpofe is not anfwered when they are left naked ; and as this is in any cafe a deficience, it is leaft of all to be fuffered in a front that is of fo ornamental a kind as that we here defcribe. Therefore let it always be a part of fuch an elevation as this, that the Attic fupport fomething ornamental on every pilafter. Thefe pilafters will give a very beautiful air to the front of the Attic, and to add to the decoration, the windows muft all have ftone cafes, though not very much orna¬ mented ; and, as the fpace between the window and next pilafter will be large, this may be decorated by a raifed pannel. This will be ornament enough for the Attic ftory : Iefs would fet it below the reft of the front, and more would be puerile. The cornice of the Attic is to be carried all along the front; and the finifhing is to be a blocking courfe behind : but in front there fhould come over the head of each pilafter a kind of fquare plinth for fupporting the ftatue, or other orna¬ ment. The reafon of this is, that the figure may be a little raifed, and the whole feen • if the ftatue, or other decoration, were placed immediately upon the cornice of the Attic, it would look poor and flat. The eye of the fpeeftator is alfo to be confidered : That is, in thefe cafes, placed below, and unlefs the figure were raifed upon this little kind of pedeftal, the lower part could not be feen. N°. XXXVIII. s a Thus 39 ° Book III. A COMPLETE BODY Thus will the ftudent underhand the ufe of the Corinthian order in a fingle feries the front of a houfe, in all its latitude. He will fee the variety in which he may difpufe it, and how he ought to adapt the feveral forms and conftruftions, according to the reft of the ornaments-, and the elevation of the building. We have diffidently treated before of the article of proportion, and he will now very well underhand upon thofe principles how every part is to be difpofed. In general, when the elevation is greater, the lighter and more ornamental kinds of this order are fitted for fervice ; and when it is lefs, and the whole building lower, the plain (haft without a pedeftal, and the plain capital, that is the acanthus leaf ca¬ pital, is the moft proper to be uled. With refpeS to the Compofite order, the general method to be obferved is the fame. The more the front is in other refpefis decorated, the richer that is to be executed ; but in general, as it is an order full of work and ornament, it is in its nature more proper than any other for a front intended to be loaded with decorations. CHAP. XV. Of the ufe of the Composite order in a fngle feries. rf" 1 HE Compofite may be ufed, as we have juft obferved, in the fame manner with 1 the Corinthian , and fubjedt to all the fame variations; but there is a method of employing it in a fingle feries, which is feen at this time in fome celebrated houfes in Italy, that is peculiar; and though againft general rule and ftrift propriety, yet mult be acknowledged to have, in thofe edifices a very noble effetft. This is the railing the columns of that order from the ground, and carrying them up to fupport the Attic of the upper ftory. It will be conceived at once, from this difpofition of the order, that it mult compre¬ hend more than a fingle ftory. It is true that this is wrong ; but there is fometimes, in the way of the perfeft architea, a manner of making things beautiful that arc liable to objeftions. In that cafe the order will comprehend naturally two ftories, and lup- port the Attic ; and it may be faid fometimes, in the way it is ufed, to contain four.; there being a mezzanine between a part of the parlour and firft floor ftory, and another between the firft floor and the Attic. We fhall (hew the ftudent how he is to erect a building of this form. The parlour floor muft be raifed a few fteps above the level of the ground, and the columns, which as they are intended for this great height muft have their pedeftak, muft be raifed upon a folid courfe, or continued focle. The TURK. The firft thing therefore is to raife this focle of found, firm, and even ftone-work, fome little height above the level of the ground ; and on this, at proper diftances, are to be raifed the pedeftals of the Compojite order. Thefe will give the height up to the bottom of the windows, and will determine all the intermediate parts whofe ornaments are to run pedeftal height, and pedeftal fa- fhion, and are properly to be continued from the mouldings of thefe pedeftals. The bafe and its mouldings, executed according to the rules we have before laid down, are to be continued on the plain wall between. In the fame manner the naked of the intermediate wall is to be left quite plain the height of the die, that being alfo plain j and the mouldings of its cap, or cornice, are to be continued above this plain part in the fame manner as thofe of the bafe. The wall will be thus raifed to the pedeftal height in its proper form, and from this part are to arife the ornaments. The order are to run to fuch a height that they may very well comprehend two ftories, the abacus of the capital ranging with the top of the window-cafe in the upper ftory. The columns being thus far underftood, we are to begin to raife from the plain wall of the pedeftal height the reft of the fabrick. Between the columns are to be made the windows, one over another regularly in each ftory ; and the tyvo ftories are to be determined by another order. We have, in a former chapter, fhewn the method of decorating the intermediate wall, by the entablature carried from columns raifed to adorn the windows, and fup- . port their pediments. The very fame method may be followed here ; but we fhall alfo lay down one altogether different, though upon the fame principle, that the architect may fee he is not ty’d down too ftridtly in this method of decoration. At the angles of the front let double pilafters be raifed, of fuch a height as to comprehend the parlour floor, and by the cornice of their entablature to fupport the lower ornaments of the firft floor. The double pilafters being ranged at the angles, let half pilafters be raifed in the fame proportion behind all the columns. Thefe mud have no pedeftal, and they muft be raifed from the cornice of the lower or plain wall at the height of the pedeftals of the great columns. The ftudent will remember what we have determined in a preceeding chapter with refpedl to the inferior order that comes in behind a larger, only by way of partial deco¬ ration. The rule we eftabljfhed was, that it be always the order next below that of the principal columns. 3 In Chap. 151 392 acomplete body Book III. j n (JjJ s ca f e therefore, the large columns being Compofite , thefe piladers muft be of ' ' ' the Corinthian order. The proper bafe of the Corinthian is to be ufed for thefe, and their capitals fliould be of the lighter kind ; Palladio's capital, which we have given in Plate XXIII, may perfedtly well ferve for a model. The regular Corinthian entablature is to be placed over thefe, and continued from one to another in a drait line; and thus, though the principal columns run up to a much greater height for the fupport of the Attic, this dory will be very well termi- nated. Between every two windows of the parlour ftory will run up the (haft of one of the principal columns, and an half pilader on each fide ; the naked of the wall will not therefore be feen in any great quantity ; but the bed condruftion of it is rudick. The windows of this dory (hould have no ornament at their fides, but the edge of the plain rudick. The reafon of this is, that being in a lower dory they diould not be too much decorated, and that there are piladers between them. When the wall is carried up thus high, and the top of each window is covered by a drait arch, the architeft will perceive, that if he have obferved a due proportion of parts to the whole, according to the rule we have laid down treating of that part of the fubjed, there will be a confiderable fpace between the tops of the windows and the entablature of the Corintloian cornice from the piladers. This he mud preferve for the making the principal rooms of the parlour floor lof¬ ty ; but as it will naturally happen that, toward the corner, there will, in a good dif- podtion of the parts, be a fmall room on the fame door each way, thefe will not re¬ quire, nor indeed by any means admit, the fame height as the larger apartments. Here comes in the natural place and the natural ule of the mezzanine dory, which, to be didinft, we Ihall treat in a feparate chapter. chap. H XVI. Chap. 16. OF ARCHITECTURE* 393 Of the place and ufe of the 7Jiezzanine Jlory . W E have fhewn, in our firft chapter of this treatife, under the head of explanation of terms of art, what is meant by a mezzanine ftory j and we are here taking the firft opportunity which has naturally offered in the courfe of the work, to explain to the ftudent its nature and proper ufe. A mezzanine is a fmall ftory between two large ones : and in this ftrucfture we fhall fhew it, in a double difpofition, between the parlour ftory and firft floor, and again be¬ tween the firft floor and Attic. Though we call it, in compliance with cuftom, a ftory, yet it is not to be underftood that there is a neceflity of carrying it, like the others, through the whole building: on the contrary, that is not its natural or reafonable ufe. It is properly, as we fhall fhew it here, a room in fome part, not in the whole of a building ; repeated at a certain diftance, but not continued j and is made out of that height which is to fpare in a fmaller room, but is wanted in larger apartments of the fame floor. It is very natural that there fhould be fuch fmall rooms upon the fame floor with large ones in many good houfes, and this judicious conftru&ion gave the firft hint of the mezzanine ftory. Our architects feldom ufe it, and more feldom underftand it: we fhall not be fo cruel to them as to recite inftances of thofe buildings where it is ufed in London ; but if the reader caft his eye upon fome of them, he will find the mezzanine confifts of a complete dwarf ftory, between the parlour and firft floor; and is of a great deal of prejudice to both, while it can be but of very little fervice in itfelf. Thefe people had heard of a mezzanine ftory, and they refolved to make one : taking the form into their confideration, at once, without any knowledge of the origin orde- fign of the ftory, they have, for the fake of a parcel of ufelefs low rooms, and for the fhowing a range of little windows, made their parlour too low, and raifed their firft floor ftory out of proportion. We name this as a caution to the young architect; we fhew him the conduct of this fort of builders, that he may know what he is to avoid. This is the weak and improper ufe of the mezzanine ftory ; and, having fully informed him of the error of thefe builders, we fhall lead him to the true ufe of fuch rooms by an example in the pre- fent inftance. N°. 38. 5 H Let tur. y 94- A COMPLETE BODY Book III. Let him recoiled: how far we fuppole him to have now proceeded in the elevation ■ 0 f his edifice. He is at the top of the parlour windows ; and he has a large fpace be¬ tween the ftrait arch that terminates or covers them, and the entablature of the Corin¬ thian pilafters which are the interior order. We will fuppofe this houfe to have, in die upper ftory, fcven windows in front. then on each fide of the door there will be, in the ground floor, three windows. Two of thefe will enlighten a very handfome parlour: to admit all the three would be to render it difproportioned. This is an article that concerns the inner dirtribution of the houfe; we have treated it at large before, and therefore need only refer to it here as a point eftablifhed upon thofe principles. Here is on each fide the door a parlour enlightened by two windows, a large and weir- proportioned room requiring all the height we have given to the ground ftory. Thus the room is difpofed of within ; and on the outfide, as this is an elegant ftrudture, in the fpace between the top of each window, and the cornice of the Corinthian pilafters, there may be pi ad a fqriar.e compartment of ftone-work, plain or wrought, according to the greater or leffer decoration of the general front. The bottom of this fquare compartment muft reft un >n the top of the (tones which make the ftrait arch over the windows; and its top muft be crowned with another ftrait arch of the fame kind. The reafon of this, and the part with which it will correfpond, we (hall (hew prefently. Here therefore is the room, in refpedt of height within, and the fpace without, very well, very properly, and very ornamentally difpofed of, in the two windows on each fide neareft the door. There remains toward each corner a Angle window. This anfwers to a proper fpace within, and has its height on the outfide juft as the others. The queftioh now is how to employ this part of the edifice. The fpace naturally belonging to this.window in the inner difpofition of the houfe, will make a very good room; but, as it is a great deal fmaller than the other parlours, there is no reafon why it (hould have their height: indeed it cannot, nor muft. We have fliewn before what is the proportion of height to length and breadth in rooms, there¬ fore the height of this room muft be terminated at its proper place ; its ceiling muft be laid there, and there will confequently be a very confiderable l'pace over head, between this ceiling and the floor of the upper ftory. This may be left vacant if the builder pleafe, and a falfe floor laid to bring all the upper ftory to a level; but the judicious ar- chiteft will never differ any room to be loft in a houfe. Here, in every inftance of this kind, was fo much room not employed in the ufual way, and this gave the hint to the mezzanine ftory. The builder having this fpace at the top of his corner room on each fide, may, if he pleafe, cover it up thus with a falfe floor, and leave it vacant to be a harbour for rats : but" it is beft to employ it for a mezzanine. If he determine to make no ufc of it, the front is to be continued in an uniform manner, and a compartment is to be placed over the window in this place as in the other. 8 We OF ARCHITECTURE. 395 We advife him however to aft with more judgment; we advife the making a mez-Chap. 16. zanine room of this fpace at each corner: and, in this cafe there will be a window in v —- this fpace of the fhape and figure of the compartments over the other parlour win¬ dows} and this, far from being a blemilh, will diverfify the front of the houfe, and be a great beauty. The mezzanine room he is to conftruft within upon the rules of proportion we have before laid down, and the two at the two corners are to correfpond with each other in fhape and office. The French ufe thefc for wardrobes} the Italians for places to lay things out of the Way} and in England they are generally lodging-rooms for fervaults, when upon a higher floor, and offices when upon a lower. The Italian architects were the inventors of the mezzanine rooms, and we may fee by the ufe they made of them, how light they held them. The conftruftion of the room below this mezzanine mud be proportioned to its height, as that to its fpace in length and breadth. The window alfo mud be propor¬ tioned to the height} therefore it mufl not be fo high as thofe which enlighten par¬ lours that are fo much more lofty. The window may, by a faint, be made to equal the others on the outfide if the builder pleafes ; but the beft method is to make it lower, proportioning it in afpeft, as in ufe, to the room it is made to enlighten. We have before given the architeft his choice, to make a mezzanine, or to fink the fpace over this room in a falfe floor. According to the method he takes in this refpeft the window of this room is to be formed : if he make no room, the fpace above in front we have faid is to receive fuch a compartment as is over the reft} and, in that cafe, the window muft certainly be made of the fame height with the others. This uniformity demands} but, in the other choice, which is much preferable, of making a mezzanine in the place, the window fhould be lower, and appear juft what it is. We have obferved that the mezzanine window will have a very pretty efteft in diverlify- ing the front} and the fame is the cafe in refpeft of altering the proportion of the room below it. The architeft now underftands what is the proper ufe of this fpace } we advife him to form a mezzanine in it: and, having explained to him the nature and defign of that kind of room, we {hall proceed to the railing the front in that defign. C H A P. Of finijhing the front of the lower floor in the al/ovementtoned houfe. T H E ftudent, we hope, fo far underftands the defign of the plan in the conftruc- tion of this houfe, with a Angle l'eries of Compqfite columns from the ground, that he will not propofe the varying the window at each corner. We have direfted to carry up a Compofite column to the Attic, between every two fcries of windows ; the fhaft of this column will therefore rile between every two of the parlour windows, but there will be no column beyond the lad window each way to¬ ward the corner. This is therefore in itfelf a detached and feparated part of the front, and becomes fufceptible, for that reafon, of variation. This variation, properly conduct¬ ed, will be of great beauty to the whole. In the prefent inftance, the making the corner window lower than the others forms a line of great propriety and beauty, much preferable to that ftrait horizontal line which would re fa It from their tops all terminating equally. The bottom of this window mult Hand in the fame line with the others in the cornice of the pedeftal high plain wall, but its top mud be confidefably lower; this being made equally fo in both ex¬ tremes will very well fet off the middle ; and thefe windows, by being lower, will agree better with the couplcdCorintbian pilafters which are placed at the angles of the building.' Tire window of the mezzanine muft correfpond with the compartments over the other windows; but in this there is not any drift meafure of conformity required. It may be a little larger, and the inner fpace often requires it Ihould be fo ; in this cafe its bottom will come fomething lower, as well as its top fomething higher. But with this allowance the bottom of the mezzanine window will not come nearly fo clofe to the ftrait arch over the other, as the compartments do to the arch of the loftier windows which are between the columns. Here then naturally falls in an irregular fpace, but an architeft of genius will eafily find a way to form it to the reft. A very plain and familiar method is this : let the win¬ dow below be terminated at its top by a ftrait arch in the manner of the others, only with fhorter or lower ftones; over this let there run a cornice: from the top of the cornice let there be raifed a very fmall fegment of a circular arch, and over this another row of ruftick, like the ftones of ftrait arches. The top of this muft make the bot¬ tom of the mezzanine window. This being repeated with the fame meafnres and perfeft regularity on the other fide of the houfe there will be a very agreeable variation from the continued ftrait line too common in fronts ; and the beft proportion that can be will be given to the corner room, and the mod proper ufe made of the fpace over it in a good and well-conftrufted mezzanine. The front of the parlour floor will be thus complcated in a very beautiful manner. The ruftick of the wall will rife from a plain wall pedeftal high, and diverfify’d with the pedeftals of the great columns ; and it will be terminated by the Corinthian cor¬ nice , . T h; ; fubjeft we Hi all illnllr.it? in a fuccccding plate, and here give a plan and elevation of a building defigned for the fervice’of the city of London, and that might have done it honour. OF ARCHITECTURE. 597 nice from the pilafters of the interior order. The bodies of thefe pilafters and the fhafts Chap. 18. of the columns running up plain between, will give a pleafing diverfity, and the coni- partments over the windows will crown the difpofition. Over this is to be raifed the upper ftory, within the height of the great order of columns, in which there muft not be too much decoration. C H A P. XVIIL Of rciifing the fecojid ftory or fir ft floor apartme?its of the abovementioned honfe. HE cornice of the Corinthian entablature, raifed upon the pilafters of the interior JL order, and fupported between them, terminates the parlour ftory in our intended edifice. The fliafts of the principal columns continue through this, and are carried fo high that the tops of their capitals range with the top of the cafe of the windows of that ftory. The proper entablature of the Compofite order is raifed upon thefe, and this terminates the prefent ftory. This will give a general idea of the conftruCtion of the front in this part ; but v, c are to defcend to the particulars. The Compofite entablature at large, in proportion to the principal columns, is to be car¬ ried in a ftrait line to the extremity of the building each way j and, for uniformity, it muft, in thefe places, have the appearance of a lupport. In the lower ftory, the pilaf¬ ters of the interior order fupported their entablature in this place, becaufe they were placed at the angle; but here the much heavier and larger entablature of the great co¬ lumns muft feem to hang in the air, unlefs fome device be found for it. This however, muft not be determined till the ftrudture of the wall from the cornice of the Corinthian below is determined. Firft then, let a baluftrade be raifed upon this cornice exadtly over every window of the ftory below, that it may ftand under the windows feverally in this ftory ; it is to be terminated by a pilafter on each fide, and the cornice of this pilafter is to be continued along the wall all the way at that height, connecting the whole in a ftrait even line. At each corner there muft be raifed another pilafter, and thefe muft anfwer thofe of the ba- luftrades under the windows. This part of the wall of the upper ftory will be thus very well finiflied ; there will be at each corner a low pilafter: under every window a baluftrade like the pilafters, pe- deftal high, terminated each way by pilafters, and the mouldings of thefe are to run on the front of the wall. Thus much being fettled, it will be feen that there is but a fmall height from the top of the low pilafters at the angles, to the hanging entablature continued from the co¬ lumns. There wants fomething, as we have obferved, that fhould have the afpect of fupporting that cornice, and it is not difficult now to fay what it fhould be ; a figure at each corner, placed on the low pedeftal, will ferve as a Caryatic , and rife to the height of the entablature; this will have a very pleafing effeCt. N°. XXXIX. Upon 39 8 A COMPLETE BODY Book III. Upon the baluftrades are to be raifed the windows, which fhould have ornamented cafes,and they fhould rile to meet the bottom of thearchitrave continued from the columns: What we have obferved, refpedting the difpofition of the rooms in the lower ftorv, mud hold exadtly here alio. The rooms in the centre of the houfe will want all the height they have from the cornice of the Corinthian to the cornice of the Compofite a- bove •, but it will not be fo with thole two rooms which it will now be convenient to make at the corners, with one window to each, for this reafon; thefe windows are, like thofe of the lower ftory, to be much lower than the others, and it will be proper to give them a pediment at the top, the point of which lhall reach juft to the bottom of the entablature ; in all refpetfts befide they fhould refemble the others. Their balul- trade at the bottom will (hew very diftindtly the proportion they bear to the others in breadth, which is to be computed according to their diminution from that llandardin height; and thus there will be a regularity in thefe though unlike the others, and they will have a very good effect in the general alpedt of the front. As the room enlightened by this fingle window on each fide of the prefent ftory will, like thofe below it, be fmall, it muft not have the height that is left for the others. Here therefore is fpace for another mezzanine; it muft be fmaller than that below, and its window muft be opened in the Compofite entablature. This will have no bad ef- fe6l,for a very good proportion will be to make it nearly the height of the architrave and freeze • fo that a little ftiall be left below of the architrave, and a little aboveof the freeze. Though there were compartments of ftone-work over the principal windows of the lower ftory, no fuch will be required here ; in that place there w'as a large vacant fpace, becaufe only the fliaft of the principal columns ran up between them, and the ftory was terminated by an entablature of an interior order j but, in this cafe, the columns terminate in the ftory, and their large and proper entablature rifes immediately over the window. This is a fufficient ornament, and nothing but its proper decoration need be confidered j thus will the great ftory be terminated, and it will be very elegant. The Attic is to rife from this, and as the columns are here very lofty, and of a large mo¬ dule, the Attic fhould not be too low which they fupport; it fhould be proportioned: and as the principal columns are of the moll ornamented order, this ftory, to keep up a uniformity in the whole, fhould alfo be decorated. It will be remembered that we have before declared againft all extravagance of orna¬ ment for an Attic ftory ; therefore what we advife here is not to be fo far mifunderftood as to lead the builder into excefs. The pilafters of the Attic are to be raifed, as ufual, one over the head of each of the principal columns, and they are to be confiderably lofty. Thefe pilafters of the Attic confift of a bafe, die, and cap; the mouldings and pro¬ jection of the bafe are to be continued along the intermediate wall; and in the fame manner thofe of the cap ; and if thefe pilafters projeft moderately, this gives an air of lightnefs to the upper part of the ItruCture, and a variety of light and fhadow that is very well feen from the ground. Be- OF ARCHITECTURE. 399 Between the pilafters are to be placed the windows of the Attic , and in this crfe Chao.’ they can have no better figure than a perfect fquare. They mud be furrounded with '—' an ornamental cafe. They are to reach, their cafe included, from the height of the mouldings of the bafe, to that of the cap of the Attic pilafters, and they Ihould have a projecting part of their own breadth below them, riling from the cornice of theChvv- pofite order, and terminating at the bafe of their cafes. This anfwers to the bafe of the Attic pilafters, and gives great uniformity and great beauty to the whole dory. Over every pilader of the Attic is to be placed a figure or other ornament. This depends upon principles explained before, and therefore not needful to be repeated here: and the front being thus terminated will be very great and very elegant, pro¬ portioned in all its parts, and forming a great, folid, and elegant whole. H P. XIX. Of the choice of parts for the Composite order in fronts of Joufes. W E have obferved that the directions we hive given in general for the choice of parts, and the ufe of the antique variations in condruCtirig the Corinthian order were equally applicable to th zCombofite ; this being remembered by the dudent will lave a great deal of needlefs repetition : yet fomethir.g remains particularly refpeCting this order that mud not be omitted. The ufe of the orders in the fronts of houfes is a particular thing; it is to be conlidered in a very different light from the placing them to fupport porticos to churches, and onluch other great occafions. In thofe indances they are the principal fupports of the edifice. In this cafe they are in general only ornamental : this makes a vad difference! for there is a lightnefs and tendernefs of parts that may very well be introduced on thele occafions, though it would be very improper in the other. It is a great happinefs that we have remains of the Roman architecture in which there are variations in this as well as the other orders: thefe countenance luch liberties as a modern builder dares not otherwife take, and it is to the adapting of thefe in a proper manner that the architect mud owe his greated praife. This has been a thing little confidered hitherto; but we hope this work has pointed out the method of doing it to advantage; and that it will be hereafter undcrdood as the true fource of reputation to the builder. We have here explained at large one method of uling this order in the front of a houfe; but we have at the fame time informed him that it may be alfo ufed in many others, even as many ways as the Corinthian ; and in this we have indanced, and in all the others, regard is to be had to the place, and the ufe, or appa¬ rent ufe of the columns, in order to determine concerning their parts and decorations. With refpeCt tc a bafe for this order, the architect has his choice of three. The an- tients, who ufed the Attic bafe in common to all the orders, gave it this among the red, and they fometimes alfo ufed the Corinthian bafe unaltered : of thefe therefore he has his choice, and to thefe Palladio has added another, altogether didinCt from both, and perfectly adapted to the order. This BOD Of the conJlniBion of the Composite capital when ufed in the front of houfes. L ET the architect who has thus determined what bafeto give his Compofitc order, next look into thofe variations of capitals which we have mentioned in the an¬ tique remains where this order ftands ; and take care to chufe fuch as (hall be fuited to the place and ufe of the order, to which confiderations he has before appropriated the bafe. Thefe parts being thus equally proportioned to the place and office of the co¬ lumn, will be alfo proportioned in the fame manner to one another. The great article of variation he is in this cafe to regard, is the height of the capital, and this may be his general rule for proportioning it to the edifice ; that the lighter the order be made, the more lofty be its capital. The ftudent will find in Plate XXVI. three Compofitc capitals which he may ufe upon very diffident authority, and which he may appropriate to the three bafes we have named. The whole confideration mud determine him ; but being determined in the choice, he has either way the fandtion of fufficient authority. If he raife the Compofite column from the ground, and give it, as in that cafe we have ordered, the Attic bafe, this being folid, we lhould advife him to make the whole or¬ der wear the appearance of folidity : in this cafe let the column be plain; and this is the only inftance in which we think the fhaft of this enriched order lhould be plain : hav¬ ing thus fuited the fhaft to the bafe for an afpedt of folidity and firmnefs, let him take the model of his capital from that of the arch of Septimius. This is the loweft of all the Compofite capitals in the antique, and will therefore bed become the order in this date: fixty-eight minutes and a half is but a very fmall height fora Compofite capital, but who fl,all dare to cenfure it, when it is proportioned to the form and office of the column in theprefent building, and is fupported by the remains of a very noble Roman drudture. We fhall next confider the right condrudion of this order when its place and of¬ fice in the building make it proper to give it a middle condition between its greateft and lead appearance of folidity. In this cafe Palladio s bafe is to be chofen, but not Pal¬ ladio 's capital; it may feem Angular to feparate the parts united by that great and excellent writer, but the reafon will appear obvious upon our prelent plan. It is a nicer difquifition than any have entered on in this refpeft before; but truth and reafon will fupport it in every Hep. Palladios bafe, which is in general by much the beft for this order, is of a middle de- gree between the Attic and Corinthian ; therefore if the antique afford us a capital ofa middle charafter in the fame refpefls, that is to be adapted to it: on enquiry in this cri¬ tical manner we diall find it does. Palladio s is the lighted Compofite capital that can be properly made, that of the arch of Septsmius is, as we have diewn, the mod folid ; and, between thefe two, the Romans have left us a very happy medium in the capital of the Compojlfe order in the arch of 'Titus. As this is a capital of middle condition in refpeft of hghtnefs, it lhould be adapted to that bafe which is of the fame charafter, and this is the bafe of Palladio. a In OF ARCHITECTURE. 403 In the lad place we are to fuppofe the place and condruftion of the order require the Chap. 2 i. lighted: capital that can be; then we approve perfe&ly of Palladio' s Compofitc capita': LJ but in order to fuit every part of condrudtion one article to another, in this cafe we would diredt the architect to ufe, in the manner of the antients, the Corinthian bafe to the order. This will ferve as a general and invariable rule for the condrudlion of this order, in whatfoever part of an edifice it may be wanted, or under whatfoever form. The ad¬ mirer of Palladio will fee that we receive and adopt all the parts of h\s Compofite order* though we ufe them in a different manner. There is no bafe that fo well becomes the Compofite column as his, but the proper capital is one of a middle degree of lightnefs: in the fame manner it becomes us to fay there is no capital fuperior to his in delicacy; but then being the mod delicate it requires the lighted bafe. With refpedl to the fhaft, all that remains is to confider its decoration by fluting: as we have mentioned three bafes, and three capitals, of different folidity, or appearance offolidity, and directed the architect to adapt them one to another, we are to add that there is a way of working the (haft of the column proper to each. There are three me¬ thods of finifhing the fhaft of any column that perfedtly well anfwer thefe other didinc- tions; the making it altogether plain gives it the afpe^ft of moft folidity ; the fluting it open all the way gives it the lighted afpeid, and the middle between thefe is the fluting it with cablings up to a third of the height. Thus where the Attic bafe is ufed, and the capital is that from the arch of Septimius , the fhaft fliould be plain ; when Palladio's bafe is ufed, and the capital of Titus s arch is placed on it, the fhaft fliould be fluted with cablings; and finally, where Pall’adio's capital and the Corinthian bafe are ufed the fhaft fhould be fluted, and the flutings all the way vacant* H P. XXL Of the general ufe of the Tuscan and Doric order . W E have given an indance in a preceding chapter of the manner of ufing the Z) re¬ order in an under dory. This is its principal ufe, for it is very rarely employed alone. Its place is in the lower dory, and its ufe is in no indance fo proper or fo happy as in the manner of porticos. The weight and drength of the Doric fhould not be em¬ ployed but in the real office of fupporting fome confiderable part of the fabrick : as to the Tufcan it mud never be removed from the ground at all. The principal ufe of this lowed of all the orders is when there are large weights to be fupported; for it is more mafiy than the Doric : indeed it would be natural enough to fuppofe it the original and fird-invented order, nor would there be any thing very foreign to reality in this, however diffant in appearance. The Tufcan is a very late invention in comparifon of the other orders, but it approaches, as we have elfewhere obferved, fo near to the old Doric , that it might, in refpedt of proportion, be better called by that name than what we raife at prefent as Doric . With regard to the Tufcan, we fhall advife the architect to ufe it rarely, and only in the mod grofs works; in all others the Doric will anfwer its purpofe, and that in a much more elegant manner. Where 404 - A COMPLETE BODY Book III- Where he ufes the Tufean , let him never endeavour to decorate it, for that is depart- ing from its charafter; and if decoration be defired the Doric is always ready to be ufed in its place. For the Doric more is to be faid : though it is rarely ufed except upon the ground, yet in maffy.'buildings it might be placed in’the upper dory, fupported by a bold rut- tick wall, or a very drong arcade. There would be a great deal of majedy in it thus introduced in a building of a pro¬ per kind and character. It would fliew itfelf more fully to the eye than when in part below its level; and there is no order that will better bear a clofe infpeftion, or more pleafe under fuch a view: for there is none in which the great article of proportion is more perfectly feen. In this cafe we fhall advife the architect to feleft the Attic bafe for this order, and to condruftit with the mod perfeft plainnels and with the drifted regard to meafure. It is a very common error to break the ftiaft of this order as it were into parts, in order to introduce lome rudick; but this is a falfe ornament, and the architeft formed upon the principles we have delivered in the courfe of this work, will always avoid it; the order has in itfelf fufficient beauty without thefe fuppofed decorations. Nothing is required to appear fo entire as the ffiaft of a column ; and this is break¬ ing it. If it were poffible to be done, the judicious architeft would always wifh that the joints of the dones of which a fhaft is compofed diould be made invifible : if nature afforded the means, they would have the diaft cut out of a fingle piece; for drength is the point required in this part, and all joints are weakenings: when the dudent thus edablidies in his mind what the natural and perfeft drufture of a column diould be, he will fee the great abfurdity of thus loading the fhaft with imagined decorations. If the beauty of this part be, as it certainly.is, its fine proportion, this can never be fo per¬ fectly didinguifhed as when it is entirely plain ; even flutings break in upon the plain view of it in lome degree by breaking the lights; but in thefe jointed fhafts the view is broken and interrupted fo often, that all this beauty is altogether lod to the eye of the obferver. If the great art be to conceal the joints in the diaft of a column as much as poffible, and that it certainly is, what can be fo erroneous as to expofe them to the view by giv¬ ing a different furface to the column between one ana another? When thefe plain truths are confidcred as they ought, the architeft will not be tempt¬ ed to fall into this pitiful fault. As the proportion of the Doric will diew itfelf very happily when the column is raifed a little above the eye, there is alfo another reafon for employing it, on fome oc- cafions, in this place; which is, that its great intercolumniation gives opportunity for many beauties between. .We fee in the baiilicas of theantients there were fine arches thrown up between the Doric columns, and fupported by an inferior fet of columns. 3 W e OF ARCHITECTURE. 16 S We have before obferved that there would occur a difficulty in the management ofehap. 2i» this article, whenever it fhould happen that that the Doric was to have an inferior order 1 — behind or between its columns on the fame flory ; but we have here an inftan.ee how the antients conducted themfelves under that circumftance. The rule is, that the interior order be of tbe kind next below the principal in ele¬ gance ; but in this cafe, the Tufcan occupying that place in the feries of the orders, a difficulty occurred. The Tufcan never was to be raifed from the ground, and here it was required by the general rules in a fomewhat more advanced fituation. There was a ne- ceffity of committing one of thefe two violations of the rule, either :o raife the Tufcan out of its place; or to employ the fame order twice in the fame flory j and we find they preferred the latter. The interior order fupporting thefe arches was alfo Doric ■, this the architect knew to be wrong, but there was nothing to be done, but either to com¬ ply with the neceffity, or do what was more wrong in avoiding it. The Doric is an order the ufe of which is attended with many difficulties : this is one ; and the difpofition of its triglyphs and metopes we have before mentioned at large as another. Thefe difficulties have fo embarraffed the common race of architects, that the order has been much lefs ufed than its natural beauty deferves. There is no neceffity for thus neglecting an order which all allow to be of extreme beauty, and there is nothing more worthy the attention of an architect who has the true fpiritof the fcience in him, than to fludy means of bringing it more generally intofervice* Having thus laid before the flu dent in this fcience, the methods by which he may mofl fuccefsfully employ the orders in edifices of elegance, and may ereCt thofeoflefs expence without fuch decorations, we have prepared him for executing any thing that fhall be propofed on this head : we fhall therefore illuflrate what has been thus de¬ livered with a fmall number of elevations, and their plans of a conflruCtion different from the others j and which will need much lefs explanation. We will begin with one that has no columns, and lay at once before the gentleman and the builder what may be done with propriety and elegance upon a given piece of .ground, without the more expenfive decorations. H P. XXII. The confiruElion of a country feat without columns , or other expenfive de- corations. r OTHING can be done properly in thefe kind of undertakings, without firfl confidering the extent, and then forming in the mind a general idea of the pro¬ portion and diflribution of the rooms. This is a fubjeCt of which we have delivered the theory or principles in a preceding part of the work, and we fhall now have an opportunity of illuflrating them in the practice. We will fuppofe in the prefent cafe a gentleman intends to retire from London : he is difpleafed with the houfes he fees offered to fale, as he may, with fufficient reafon, with mofl of them; and he determines to build himfelf a feat. He is firfl to chufe a fpot for it, weighing carefully, on this occafion, the feveral cau^ tions we have before given refpeClingthe choice of a fituation. Many of thefe would efcape N°' XL. j L icg A C O M P L IE T E B O D Y ., , j ::;. the Unaoeu , mx: lew. fepfiotie <.’ (fdf £ll tbte ax, intagdi an 1 uifedvaHtsg 5 -- - - - of any particular loot but tbofe wli . h sve been in the way of information, either from' their own experience, or that ol others. Setting out with this general knowledge, we (hall fuppofe then the proprietor of the intended edifice to have fixed upon hi ; fpot ; and he will then naturally call in his builder. Hi: iamilv is moderate : he intends to build for convenience more than magnifi¬ cence, but he will have the houfe handfome, though not pompous. This is the fpot, fuch is' the houfe he intends, and hi, firft demand is, What extent of ground the builder would advife him to cover with it f he will anfwer, that a houfe of fixty-five foot in front may anfwer his purpofe. The next conftdcration is for offices, and here comes in the fir If principle of elegance and contrivance in the plan. He is not to put the kitchen under the parlours, or the (fables in a corner of the yard : a bricklayer could do that, we are fpeaking of tflebufinefs of an architedf ; and we (hall (hew that thefe offices are far from being under a neceffity to be hid, to be inconvenient, or to be placed improperly. Beauty and nfe may he confulted together ; and, inftead of a plain fquarc houfe of this extent, it will be polfiblc, at a fmall advance in the charge, to add wings to the centre, and conneS them by paflages. So that from a plain defign, foch as the vulgar builder would have propofed, here ffiall arife, with little more expence, a centre, its wings, and their communication, the whole regular and'Unifonn. HAP. xxnr. Of the drawing a ground-plan for this edifice. - E take the given extent of fixty-five foot for the front of the houfe, or central building ; and the firft coniideration is the depth proper for that front. This has nothing to do with the additional buildings, but is a feparate concern, we there¬ fore enquire into it here firft. We have given general rules for the proportions of length and breadth before, and (bail upon thofe principles work in this place. For a moderate family an extent of fix- tv-five foot will make a houfe wherein there may be fome rooms of elegance and (hew: and as fomething is intended for elegance, as well as for convenience in this edifice, we (hall fuppofe the depth made of the larger kind, and give it the meafure of forty foot in the centre, and forty-five to the two ends, which thus running out five foot, will form agreeable rooms by means of their bow windows. We Avail fpeak of this prefently when we come to the diftribution of the rooms, and other internal parts; but let our ftudent go on with regularity. We (ball lead him by the hand through every article of his profeffion, in the defign of this plain houfe : he is now coniidering the face of the building, and we begin with the ground it is to cover. The body of the houfe occupies a fpace of fixty-five foot, by forty or forty-five in depth. The offices come next to be confidered : thefe we have faid may be difpofed in form of wings and for thefe he is to allot a proper extent of ground. Though thefe are to be applied to various purpofes as we have mentioned, the ftabfos being intended to be made in the one, and the kitchen in the other; yet that need u at be feen in their front. They may in that agree with the reft of the building, and e.:-y mull correipond exactly with one another, a Thus 4 OF ARCHITECTURE. 407 Thus much premifed, the ftudent will underhand how he is to go to work upon their Chap. 23^ plan. In the fir ft place, the wings muft not join the centre of the building, for that has ^ J a crowded and confined look ; it makes a middle and twofidesof one continued build¬ ing, not a centre and two wings of a regular ftru&ure ; therefore proportioning thqir diftance to the plan of the central building, let him fet off on each fide twenty-eight foot, and there begin the out-line of each office. He is firft to confider the fronts of thefe offices, and there two articles occur; their extent and their projection. They might be made upon a line with the central building; but in fuch ftrait courfes of work there is no grace, no variety, nor elegance : the eye is tired with the fame dull formal look, and all has a poor dead afpeCt. The offices muft be made to project therefore, and the communication to recede; this will break the ftrait line ; and the two lides correfponding exactly, it will be broken with regularity, and there will be a variety of light and fbadow in the higheft degree pleating. It is determined then, upon thefe principles, and for thefe reafons, that the two wings fhall projeCt, and the central building fall back between them. This will be again thrown forward by the recefs of the building of communication, and thus the great ar¬ ticle of light and iliadow will fall gracefully ; for there is as much in this article in the real elevation, as in the drawing on paper* The projection of the wings may be at the builder’s pleafure, but having given him the rcafon of it in this place, we ftiall propofe fuch a proportion as will have the happy efteCl. We ftiall advife him then to give each wing a projection of thirteen foot- from the central building. He has fet off his twenty-eight foot for diftance, let him now meafure out his thirteen for projection, and then mark the place of the interior angle of each office. He is now to confider the extent of thefe ; and as they muft be proportioned to that of the principal edifice, we ftiall advife him to give each a front of thirty-five foot. This is the beft meafure in proportion to fixty-five ; if they be fmaller, the houfe will look gigantic; if they be larger, they will on the contrary leffen its afpeCt. Their extent in front being fettled, their depth comes next under confideration ; for a houfe of this bignefs and defign, forty-eight foot will be a good meafure. and. The architect has now the out-line of his central building, and of his offices. They appear very well proportioned, but they ftand quite detached. Not only convenience, but beauty, require they fhould be united one to another ; and the manner of doing this is next to be confidered. Here is a fpace of twenty-eight foot fet off for that purpofe, and now comes the time to employ it: a ftrait wall might join the liable to the houfe; but fomething more is required with refpeCt of the kitchen : there muft be a covered communication between thefe, and therefore fomething more than a wall is needful ? this communication might be made under ground, but this is often fubjeCt to incon- veniencies, and here it is as well to make it above, as there is a place for it, and proper means. As there will be fome exterior ornament to the houfe, this paffage muft not be a plain blank wall; and as the line of beauty is not ftrait, it muft have a recefs. This recefs muft 408 A COMPLETE BODY Book III. mud be proportioned to the projeaion of the offices ; and there cannot lie abetter mea- ‘—“I" ' f ure than five foot from the angle of the central building. Thus the front of each of¬ fice which has but thirteen foot real projection, will have an apparent one of eighteen, and the light will be agreeably broken. Therefore five foot within the angle of the central building let the architect draw his out-line of the communication, and let him allow a paffage of eight foot in the clear. How this (hall be decorated we (hall (hew hereafter, that being a concern properly connected to the elevation : here.we have drawn the out-line of the plan. HAP. XXIV. Of the internal clivifum and diftrihution of the rooms. / | jp E out-line of the plan is now finifhed : the architect fees what extent he has _L to divide for the purpofes of ufe and magnificence; and he is now to proceed to the conftruCtion and dilbribution of the looms. The fore front ofthehoufe is to project a little forwarder than the two ends ; this we (hall fpeak of more particularly when we come to the elevation, it is only named here to give the juft proportion of the whole (pace. Firft let him confider the length of fixty-five foot, which by this fmall projection of the fore front is divided naturally into three parts : let him follow this divifion within ; for it is always belt to accommodate the inner diftribution of a houfe to the outer afpeCt when that can be conveniently done. It may in this cafe, and he will thus throw the whole front into three rooms : a hall will be proper in the centre, and as this will occupy the whole projecting part, it will be longer than the reft, and its breadth muft be proportioned. The thicknefs of walls being confidered, the bignefs of thefe rooms will naturally fall thus: let the hall be fet down at twenty-four foot long, for that the conftruCtion of the front direfls; and the length of each of the other rooms will be fixteen foot. This being marked, the breadth of the ball fhnnjd befet down at half its length, that is twelve fcot; and the two other rooms will be very well proportioned if their breadth be eleven. In the centre of the fore front will be the door opening in mediately into the hall ; and thus the whole extent of fixty-five foot will be difpofed of in front, to the depth of twelve foot, and the thicknefs of the walls. Of thefe two front rooms that on the right hand may very conveniently be made a waiting-room for thefe perfons who are of better rank than to beleft in the hall; and that on the left may be a dreffing room for the mafterofthc houfe : the paffage into the waiting-room is to be made from the hall and that into the drefling-room from the bottom of the ftair-cafe. This will be in each refpeft convenient; as thofe who wait in the right hand room are naturally led through the hall to it, and the mafter of the houfe will have no rooms to go through between the ftair-cafe and drefling-room. Behind the hall there may run a paffage of four foot and a half, leading to the apart¬ ments in the hinder part of the houfe, and to the ftair-cafe ; thele may coni. .lier.tly be thus difpofed. * DireClly OF ARCHITECTURE. Q - Direaiy behind the hall and this paffige the fpace may be occupied by a Moon : its Ch l 2 , length twenty-four foot, as that of the hall, and its breadth, according to the proportions we have before treated of feventeen. This coming behind the hall, occupies the cen¬ tral part of the houfe backwards ; on the left hand of the paffage, behind the hall is to be placed the grand ftair-cafe; and, as this will not fill the extent of depth, a plea- ftnt common parlour may terminate that fide of the houfe. On the other fide, or right hand, the paffage is to lead to the door of the great dining-parlour, which may occupy this whole part of the fpace. This is a method m which the fpace included within the ground plan of the central or principal building may be commodioufly divided ; the upper part ferving, by a like dtvrfion, to all the needful purpofes : but as taftes may vary, and occafions alter the choree, we ffiall in the next chapter add a different diftribution of the rooms and dif- pofitton of the offices, fuppofing them ftill to cover nearly the fame extent of ground. hap. XXV. A [econd difpofition of the building, illuflrated by Plate LIV. E ffiall here take nearly the fame extent of ground; and defign a houfe of about .... . . the &me P nce intended in the former chapters: but we contider a different diipofition of parts, and a different diftribution of rooms. We ffrall propofe to the architect to place the offices in wings as before, but we a propofe to him a graceful method of placing them farther from the body of the building. In this cafe they will be beft connected not by a ftrait line, but a fweep, and theiemay be, at very fmall expcnce, a plain colonnade in this part. As we propofe the wings fomewhat farther removed, we ffiall advife the adding a little to the extent nf the front; inftead of fixty-five as before, let it be now fixty-eio-ht foot/and let it confift of a fore front a little projecting, and two fides as before -°to find the place of the wings let the architect meafure twenty-eight foot from each an¬ gle of the building; and let this be their diftance in extent to the inner angle as well as in projection : thus, m drawing his plan, having fet off twenty-eight foot fideways, and twenty-eight foot perpendicularly from that, he will have the place of the neareft In ner angle of each of the wings. This being fixed, let him draw the out-line of the plan of each of thefe upon the following proportion : let the length be forty-ewht foot, and the breadth thirty-fix. Thefe out-lines being drawn, he has the contour of a centre and two wings. He is to come to the confederation of their diftribution into rooms and divifions; but firft he is to defign their connection to the building. As the wings are now at a confiderable diftance in projection, they could not be con¬ nected to the building by a ftrait line figure without one or more angles; if only one were ufed, it mult be a right angle, and this would be very unpleafing to the eye, and troublcfome in the pafl'age. There is the choice therefore of a multangular figure, or of the fweep of a circle, and tills latter is vaftly to be preferred. 4IO A COMPLETE BODY Book III. building, to the inner and upper angle of the wing. This makes the inner line of the c—-v-- paffjge of communication, the breadth of which thould be nine foot; therefore at that diftance behind is to be drawn another fweep of a circle correfponding with the firft. The out-line of the connecting paffage on each fide being thus drawn, the contour of the whole plan is finillied. The architedt will fee the form and figure of his intend¬ ed ttrudture, and he is then to confider the diltribution of the fpace in each, into proper convenient and proportioned rooms and offices. H XXVI. Of the internal divifion of the plan. r-riHE out-line being finillied, the architedt fees Ivs fpace, and he is to confider in JL what manner it may be mod conveniently employed W will lead him firft to the compartition of the plan for the central or principal building, that rccpuii u'g his greateft concern. Vde have, in a proceeding chapter, given a convenient and elegant diftribution of rooms for a houfe of this kind ; but as various fancies may approve different methods, we thall here give another of an equally corredt and uleful kind, which we lhall illuf- trate in Plate LIV. Of the door we (hall fpeak in a iucceeding chapter, that coming properly under our regard when we treat of the elevation ; it is only needful to name it here as the paffage mull be through it into the feveral apartments. This d X will be in the centre of the edifice, and it muft open into a hall. We have obferved thatthe central part of the building is to projea a little, the two Tides falling back; and this prelecting part gives the meafurc of the hall in length, as ob¬ ferved on a former occafion ; for this room, including the thicknefs of the walls, is to occupy this part of the plan. A houfe like this will admit of a large and noble hall, confidently with the divifion we aie about to propofe in this place; and as there will lc here no faloon, but a fmaller room behind, the hall may be the more fpacious and ciwvat; in this cafe the given length of the hall will be fix-and-twenty foot, and its breadth fhould be feventeen. On the right and left of the hall, there will be fpaces in the plan equal in front to the two fides in°the elevation. That on the left hand may very properly be made a waiting- roc ; its length will be fixteen foot, for that is a given thing, counting the entire ex¬ tent, the length of the hall, and the thicknefs of the walls. As to its depth there comes more into confideration 3 a large and elegant room is intended behind it, therefore this retrenches it in that particular; and as its ufe andoffice are neither grand or very impor¬ tant, there is no need to pinch the other to ferve it. Ten foot fix will be a very good depth, and will leave room behind for the conftrudtion of a handfome dining¬ room. The pafTage into this waiting-room fhould be at the lower end of the hall, and it fhould have another door opening into the room behind. o The OF ARCHITECTURE. The (pace on the left of the hall is thus difpofed and determined, in extent of depth ; there remains that on the right, and that is the place of the great ftair-cafe. This is a part that muft not be cramped on any occafion, neither is there any need it fliould ; for as there will be a great dining-room on the other fide, there is not required an apart¬ ment of any extent here. The place of the Hairs is thus left to be determined accord¬ ing to ufe, and it will be well to make it about fixteen foot and a fourth, or three inches. This is to be the depth of the fpace allotted for the ftair-cafe : its extent in length is the fame as that on the oppofite fide. Thus the whole front of the ground plan is difpofed into a hall, a ftair-cafe, and a waiting-room ; and there remains an equal extent behind. This it will be proper to divide in the fame manner into three rooms, two of which will be large, and the third, though not extenfive, yet very ufeful. Behind the waiting-room there may be the great dining-room, twenty-two foot four inches long, and fixteen foot broad; behind the hall, that is in the centre of the build¬ ing backward, there may be a drawing-room twenty-fix foot long, and fixteen foot broad; and, behind the ftair- cafe, there will be room for a common parlour of fixteen foot fquare. Thus is the ground floor of the principal building divided. The paflage of commu¬ nication on each fide may be formed into colonnades in a cheap manner behind ; a flight of fteps railed with a fweep, like the whole, occupying the centre of each, and leading up to a door j and the covering being no more than a fihed fupported by the plaineft and cheapeft columns. The two wings now remain to be difpofed of That on the right hand may contain the kitchen, and offices belonging to it, and the other the ftables. The front of the right hand wing may be occupied by a kitchen entirely; this will then be thirty foot long, and fixteen and a half wide : or it may be made fmajler, by fettino- off a little room to the right. Twenty-two foot by fixteen will then be a good bignefs. The other room will then have the fame depth of fixteen foot, and the w idth to the front may be feven and a half; behind the kitchen may ftand the ftair- cafe, for which feven foot and a half will be a proper allowance ; and to the right of this may be a fcullery twelve foot ten deep from the back front, by feven in breadth* To the left of the ftairs may be a fervants hall, fixteen foot fquare •, and behind that a larder, twelve foot ten by fourteen foot fix. 4 it Chap. a 6-, In the centre of the other wing may be a double coach houfe ; for which there fliould be allowed the whole breadth of the wing, with ten foot fix inches width in the clear, and on each fide of this may be the ftables. sue y + i: A COMPLETE BODY Book III. H P. XXVII. Of the elevation of the intended building. 'HE plan being finifhed, the architect is to determine in what manner to exe¬ cute the elevation ; and in that there can be no great difficulty, after what has been laid concerning the intent in general terms. It is not to have any rich decorations, neither is it to be altogether plain. The firft principle is, that the principal building and the wings are to be of the fame general form and ftru&ure ; and that there is to run a uniformity through thcle, and through the connedting fweep. Let the front wall be raifed plain for a foot above the ground, along the whole line of the edifice. Over this, in the principal building, and in the wings, let there rife a courfe of ruf- tic to the top of the parlour ftory. Let the tops of the windows be made in a ftrait arch, with three key-ftones to each ; and let the door be decorated with ruftic, and have its key-ftones j correfponding to thefe of the windows. This being executed in the centre and wings, there will be a regular courfe of work which will give the eye fatisfadlion. In the fweeps let the wall be carried up plain to the height of the ruftic in the fronts, and if an arched door-way be made where the heps rife, and a fquare window at equal diftance on each fide, this will be fo far finifhed. We are now arrived to the top of the parlour-ftory, and to an equal height through¬ out the building. At the top of this is to be laid a plain fafcia, which is to run in a re¬ gular line throughout the whole ; and over this is to be raifed an Ionic pedeftal of three foot in height. This is alfo to be carried in a ftrait line along the whole building, only that it is to be interrupted in jfeven places by baluftrades; five of thefe are to be under the windows in the front of the centre building, and one over each of the arched doors of the fweep. The windows of the wings are to reft upon the plain pedeftal, with no baluftrade or other ornament under them. We are thus got as high as the bottoms of the firft floor windows; three of thefe are to be in the fore front, and on each fide, and there are alfo to be three in each of the wings* Here the architect will fee room for a needful and a pleafing variety. The windows muft all be furrounded by their ufual and plain ornaments in the main building, and their tops may be varied to have a pleafing effect; the centre window may have a round pediment ; thofe on each fide may be terminated flat; and the two in the fides may have pointed or fharp pediments. The windows correfponding to thefe, in the wings muft be entirely plain, The wall being carried up plain between all thefe, over thofe in the wings fhould rife a pediment; and over thofe in the principal building an Attic ftory; and then the jroof and cornice thus finifh the building. CHAP. O F architecture. 41.1 CHAP. XXVIII. Of a houfe with Ionic columns on the parlour floor. Chap. 2$ I N the preceding number we gave the plan, elevation, and conftrudlion, of a houfe: of moderate expence, without the orders; we fhall here, in the fame manner, il- luftrate the general rules before laid down concerning the ufe of columns, by laying down the praftice, in the compofition of an elegant and ufeful houfe ; modern in the de- fign, and moderate in the expence. We fhall fuppofe the architeflto begin hisfeheme, in thought, as he muff in praflice begin his ftrudture, from the ground; and we fhall lead hirnto the proper firftconfide- rations, and thence to the fucceeding. The extent of ground to be covered is the firft point, and that being fettled the diihibution of the offices comes next. Thefe mull be in number and extent proportioned to the family, and accordingly they muft be defigned in a different manner. There are two places for offices; the under-ground floor, as is the cuftom in Lon¬ don, where room is fcarce, becaufe the ground rent is dear; and the wings, which is their common place in the country, where the ground is generally the property of the perfon who builds, or if not, comes but at a moderate price, Of thefe two methods the placing them in the under-ground floor is fitted: for fmaller families; and the lodging them in the wings for larger. But in this cafe there mud be places of waiting nearer the principal apartments, for thofe fervants whofe bu- finefs it is to be about the perfon of the mafier and lady. Thefe are the two methods; but there may be a third between them which fhall an- fwer the purpofe of convenience more than either: and this is what we fhall propofe tothearchitea in the fucceeding plan. In this we fhall direa him to lodge a part of the fervants at a didance from the houfe, and a part within it. The upper fervants are mod wanted about the perfons of the mader and lady, and thefe we fhall place in a bafe- ment dory under the parlour floor ; which is intended here as the principal apartment. They can be differed here becaufe they are cleanly and quiet : therefore there is con¬ venience in having them near, and nothing difagreeabie. On the other hand, the kit¬ chen is hot, the fculleries are offenfive, and the fervants hall is noify; thefe therefore we fhall place in one of the wings. This is the condudl of reafon ; the houfe-keeper, the clerk of the kitchen, and other domeflics of the like rank, will thus be feparated from the rabble of the kitchen; they will be at quiet to difeharge their feveral duties, and they will be ready to.attend the mader or lady. The others will be placed where they can perform their feveral offices alfo unmoleded ; and we fhall yet lay them open to the infpeflion of the upper fervants continually, and place them in readinefs to attend the family, by means of a fhort open paffage of communication between the wing in which they are lodged and the body of the houfe. N\ XLI. j N As 4 T 4- A COMPLETE BODY Book III. As we fh a ll propofe to lodge in one wing the lower clafs of fervants, the other will ‘ v w conveniently hold the ftables ; and as the gentleman in the country frequently is fond of horfes, and has pleafure in feeing them well managed, the fame kind of pafiage may be opened from the body of the houfe to that wing as to the other. Thus the young architect fees what kind of general difpofition may be ufeful in an edifice of this kind, and having firft eftablifhed in his mind this afi'ortment of the parts at large, we fhall lead him to the particulars, beginning with his plan. CHAP. XXIX. Of the plan. W E propofe this houfe to confift of one principal (lory, a parlour floor raifed to a proper height above the level of the ground ; and therefore the plan is to be of this floor: under it are to come the offices of the upper fervants, and above it an Attic for bed-chambers. This is the general idea of the building. We will fuppofe the extent of front to be ninety-two foot ; this is die firft point a- greed upon with refpeft to the central or principal building: this being given, he is to confider what depth will be convenient for fuch a front, for the intended fervice, and what the proper extent of the wings. The depth mull be proportioned to die intended fize and number of the rooms with¬ in • and the other article is guided by proportion and convenience: the wings muft be of a proper bignefs in refpeCt of the houfe. Their diftance muft be fuch, that the out¬ line have a regularity, and look neither fcattering nor crowded ; and that they may neither be fo near as to be offenfive to the family, nor fo diftant as to have the fervants out of hearing, or the things too far off for carrying. Upon thefe joint confidcrations of ufe and proportion, the architetft will find the fol¬ lowing meafure very proper ; let him for the depth of the houfe allow eighty foot: this is a good proportion to the ninety-two in length, and it is a fpace that will allow a number of very convenient rooms,- and admit of a graceful divifion. This determined, let him draw the out-line of his plan. We have mentioned eighty foot as the beft pro¬ portion in this cafe, but he is not to confider himfelf as tied down to inches, or com¬ pelled to draw a ftrait line every where. On the contrary, it will be more ufeful in the diftribution to give the centre a projection of five foot in the back, and this will alfo break in upon the tatnenefs of an abfolute ftrait wall in the elevation. Afmall projec¬ tion may, in the fame manner, be gracefully allowed in the fore front, and thus the meafure which, in a general computation, we have given at eighty foot, may be a little more than that in the centre, and a little lefs in the fides. The out-line of this being laid down, the next confideration is the length of the paf- fage leading to the wings; for this let him fetoff on each fide two-and-twenty foot, or a iittle lefs; and let him allow eight foot and a half for the clear. This gives the place 8 of OF ARCHITECTURE. 4i5 of the out-line of the back, and as to that of the front it ffiould recede about five foot Chap. 29„ from the line of the building. ' The plan of the houfe and of the communication are now laid down, and confe- quently the place of the inner line of the wings. Thefe come now under confide- ration: we have delivered their theory, and we come to the practice of it. With refpeCt to their depth, it is to be adapted folely to convenience, for that not be¬ ing feen, is under no limitations as to proportion ; but in regard to the extent in front, it is otherwife ; that is to be a regular and determinate thing. In a houfe of this front, and in a diftance fuch as is here laid down, the wings ought to be lefs than half the cen¬ tral building in extent; the proper diminution from half is about a fifth of the half, or a tenth of the extent of the whole central building. This is a calculation founded upon the unerring and invariable rules of proportion; and is praCtifed by many who never have troubled themfelves about the theory or rea- fon of it. The meafure thus preferibed is that each wing extend about forty foot in front; this will plcafe the moft judicious and the molt common eye together; and any thing greatly more or greatly lefs will always difguft thofe who have not ftudied proportion, and will fhock thofe who have. There remain two things to be yet determined refpeCting the wings; thefe are their depth and their projection. In proportion to fuch a depth as we have allowed the principal building, thefe wings for the offices ought to have between fixty and feventy foot; about fixty-four within the clear of the walls will contain a proper number of offices, and thofe of a proportioned fize, for fuch a family as are likely to inhabit a houfe of this bignefs. This depth being fixed upon, the out-line is to be drawn as foon as the projection is determined, and this is a point of great nicety. Light and ffiadow are to be confulted, and their effects ought to be known : it is not a wonder that fome of the fineft archi¬ tects the world ever produced have rifen from among the painters. The arts are natu¬ rally allied, and he will always, upon other equal confiderations, be beft able to plan the out-line of a building, who could beft difpofe the parts on canvafs. Of the many projections that might be chofe on this occafion, none will fo perfectly anfwer as that of forty-five foot from the line of the building. This is a little lefs than half the extent of the front of the principal edifice, and a little more than half the full extent in front of the buildings themfelves. This anfwers every law of geometrical and perfpeCtive proportion, and in this difpofition the whole will have a graceful effect. The architect is upon thefe meafures to draw the out-line of his offices; that of the building itfelf ; thofe of the paffages, were marked before, and thus the contour is fi. nifhed. CHAP. ,.£uc -y A COMPLETE BODY CHAP. XXX. Of the co?npartition , or inner divifion , o/ - the plan of the houfe, ' HE architect is to remember that the principal floor of the houfe we propofe is to be a parlour flory, raifed to a due height above the level of the ground ; what that height is to be comes under confideration when we treat of the elevation here we fpeak only of the divifion of the plan. We have reminded him this is the prin¬ cipal floor, therefore it is the plan of this he is to draw j the offices below and the bed¬ chambers above may be formed by an eafy divifion afterwards. A flight of fteps leads to the door, which is in the centre of the houfe. and this opens into the hall. There is fpace in this extent to make that a fpacious room, and let it be fuch : it will naturally occupy the fore front of the houfe, comprehendino- .he door and two windows, and it will be proper to allow it five-and-thirty foot and a half in length, and in depth thirty. To the left of this hall may be a common dinin°-- parlour, and to the right an anti-room. The parlour may be three-and-twenty foot fix by eighteen, which will be a commodious bignefs, and well lighted by the finale window allotted to it; and the room on the other fide-may be larger: its breadth is li¬ mited by the hall, and muft be the fame with that of the other, twenty-three foot fix but inftead of eighteen, this may have eight-and-twenty foot in depth. Thus the extent in front is conveniently difpofed of. Behind the hall is to be the great flair-cafe; and at the back of that a fuloon, occu¬ pying the central part of the houfe behind, as the hall does in front. The breadth of the hall being thirty-five foot fix, this is not all needed to a flair- cafe 5 nor need the faloon have the full depth of the hall, though it have the fame breadth ; thirty-five foot fix is its meafure this way ; and a very proper depth for it will be twenty-three foot eight. The central part of the houfe being all thus difpofed of, there remain the back part of the two fides; and this being a deeper extent on the left, behind the common din- ing-parlour, than it is on the right hand behind the anti-room, is to be differently dif¬ pofed of. Behind the anti-room there is a depth of forty foot, and its breadth being the fame with that of the anti-room is three-and-twenty foot fix: this, without, any divifion, gives a very noble room ; it may be properly the capital apartment of the houfe, and may be called the great dining-room. There remains only the other fide backward to be difpofed of; this is not of a fliape to be thrown into one room, nor is one of that kind needed. Behind OF ARCHITECTURE. 417 Behind the common dining-parlour may be two waiting-rooms, each of them feven-'Chap. 3 r. teen foot three by fifteen foot; and this will leave a fpace of feventeen foot deep, by the fame meafure twenty-three foot fix. This may conveniently be made into a drefling-room for the mailer of the family; and thus the diflribution of the principal floor will be finished elegantly and conveniently. The allowed breadth of the two waiting-rooms on this fide, leaves a fpace for a paf- fage between them and the flair-cafe : the mafler of the houfe pafles through this to his drefling-room, and through the fame paffage into the common dining-parlour. The two waiting-rooms anfwer their intent very properly, the one being before the drefling-room, the. other before the dining-parlour j the places where they are mofl needed and mofl convenient. CHAP. XXXI. Of the compartition of the wings. T T 7 E have obferved in general that one of the wings is to he nllotterltto A COMPLETE BODY 4IO Thus the right wing will be difpufed conveniently : the paflhgc of communication !!^'leadinv from the houfe will open into this lad-named paffage of the wing; from thence there fliould he a door ftrait in front into the fervants hall for the convenience of their attending readily and eafrly ; and the paffage continued down the wing in .ts length of twenty foot leads to the kitchen and the dak-cafe, and by proper communications to the larders. This is verv needful, that the houfe-keeper, houfe-deward, or clerk of the kitchen may go at any time to the larders without palling through the kitchen. We are now to cad our eye to the other wing, the conftniftion of which will he very eafy. Its extent being the fame with that of the right, it will allow, belide the coach-houfe, dabling for a confiderable number of horfes. The principal liable for the better fort of horfes may mod conveniently be placed in the back of the wing, becaufe it is into that part the mader mod readily comes from the houfe ; the projeftion of the wing throwing the open communication into this part. The conftrudlion of this may be nearly the fame with that of the back c f the other wing. The communication paffage mud open into a paffage in this place, whofe breadth need° not be more than five foot three, and its length may be twenty foot, proportioned to the liable. This allows a fpace of twenty foot deep, and thirty-one foot nine in the clear, which is to be the principal dable. At the end of this twenty foot paffage fiiould be the dair-cafe, a moderate allowance for which will be eight foot in breadth, and feventeen foot fix in depth. Behind this may Hand the coach-houfe, eighteen foot fquare ; and the red of the fpace is to be divided into two llables. The coach-houfe intrenching upon one of thefe allows it only nineteen foot fix in length, but the other, being terminated only by the dair-cafe, may be in length twenty-nine foot fix. This will be a convenient difpofidon of the ground plan of each wing, and over both there will be room for bed-chambers for the fervants. CHAP OF architecture. H XXXII. Of the elevation. H AVING thus diftributed the plan into apartments, the architect comes to the elevation : in this, as we propofe the affiflance of columns, there may be a great deal of elegance ; and as thofe columns are Ionic, he mull remember that harmony re¬ quires that the ornaments be neither laviflily employed, nor wholly omitted. The height at which he fhnnM place the principal floor above the level of the ground Is about eight foot. The firft confideration is the afcent from the ground: mo¬ deration is an excellent guide on all occafions, and it is what fhould be confulted here: let the architect confider there is only to be an Attic over the parlour floor, and he will find that a guide ; let himalfo confider the due height of the windows, and that will give him the elevation of this part; for both thefe being made in good proportion, they will give the height of one another, which in fueh an edifice ihould be eight foot. Here is then firft to be raifed a wall of eight foot, in which are to be feen the tops of the windows of the bafement ftory : let this wall be quite plain, and its conftruCtion in other refpeCts will be directed by the fteps. The door being placed in the centre of the houfe, the afcent to it mud be by a flight of fteps: thefe fhould be fo broad as to occupy the whole centre of the front, and they Ihould be terminated on each fide by a pedeftal. This is to be Ionic, and it gives the conftruCtion of the upper and lower part of the wall; a plinth is to run in a continued line from its bafe, and its mouldings arc to be continued in the fame manner from the top; thefe give the finifhing to the bafement and lay the foundation for the floor of the principal or parlour ftory. In the centre of this exactly muft be placed the door, and on each fide of this there is to be one window in the middle, and two windows are to be in each of the Tides; thofe on the left enlighten the common dining-parlour, and thofe on the right enlighten the anti-room ; the two next the door being in the hall. To the bafe of thefe windows is to be carried a plain wall three foot, terminated by mouldings, and on thefe the windows are to be raifed. We have now rifen to the place of the columns, and are to confider their pofition and conftruCtion. This is a very eflential point, becaufe the lead error will be feen and cenfured. The place of thefe columns is upon the level of the parlour floor, and, for a houfe of this form and dimeofion, they will, in this pofition, require only a three quarter projection. They i'.a. y 420 A COMPLETE BODY Book III. They ffiould reft upon the floor or wall at eight foot height, and their entablature muft fupport the roof. There will, in this conftrudlion, be a very agreeable deception to the eye, for tho’ they really ftand plain on the parlour floor, they will feem to be elegantly elevated. The pedeftals which flank the fteps will fupport the two outer ones at their back, where they join the building 3 and thofe on the fteps will feem alfo fupported by them. As to the conftrudlion of the order, the rules we have before given, being brought to practice, eftabliflt it thus: the bafe muft be Attic , the fhaft muft be plain, the ca¬ pital muft be modern, and the entablature muft have the fwelling or pulvinated freeze. This way the columns will have an air of compofure and magnificence, and they will be in every refpedt proportioned to the building. As to the windows in this edifice, they fhould have their plain and ufual ornaments. Thofe on each fide of the door may have pointed pediments, and thofe in the fides be terminated with a ftrait cornice; the door may have a circular pediment which will in the whole give a pleafing variety The Attic windows are to have plain ornaments in the ufual way ; and the Ionic cor¬ nice crowning the whole, will give a degree of elegance perfectly proportioned to the nature of the building. Thus the front of the houfe will be finiflied to the height of the order : and over this is to be raifed a pediment, which it will feem the office of the columns to fup¬ port. We come now to the wings, and their elevation is to be plain j femicircular win¬ dows for the lower rooms are moft proper, and a plain Attic for the rooms above; over thefe is to be carried a low pediment of the extent of the building, and in that another femicircular window will be ufeful to light upper rooms; and it will be alfo ornamental. Laft of all we are to give the elevation of the paflage, and that a few words will d^fcribe j it is to be carried plain the height of the parlour floor, and its door in the centre is to be decorated with a dome. CHAP. XXXIII. ‘The conJlruEUon of a houfe with a fingh row of Ionic columns over the parlour Jlory. r E have given in the laft inftance the method of ufing the Ionic in the plaineft tanner; we here advance to a building of more elegance and greater deco¬ ration. This is naturally required where the order is more raifed ; and every thing is to be accommodated to that firft con liberation. Our prefent ftrudlure will, like the laft, conlift of a central edifice and wings, united by a pall age of communication : but the wings will be more decorated in proportion to the reft of the edifice. They will all'o be neceflarily thrown in this richer edifice to a greater diftance. We lliall convey here a general idea of fuch a conftruction, that the young architedt may comprehend the reafon of the feveral directions to be given re- fpedling the particular parts ; and he will thence underftand in the ftrudture of each not only the form but the meaning. The parlour ftory in this cafe being intended for rooms of fome confequence, is to be better lighted and better decorated than the bafementin the other; which being in¬ tended only for fervants was proper to be plain. Thefe decorations in the parlour ftory of the prefent edifice mud have a conformity with one another, and all muft be made in proportion, and in relation, to the upper ftory which is to be fupported on it. A well-underftood ruftick will be bell: on all thefe confiderations; and, in the upper floor, the decorations muft be proportioned to the elevation, and to the general defign. We fhall explain to the ftudent, in the feveral particulars, what we have only de¬ livered here as general information; and lliall give in thefucceeding plates LVJII, LIX the plan and elevation of fuch a houfe, as accommodated to a particular piece of oround. This edifice was defigned for London , in one of the extreme ftreets. The ground allotted for it was confiderably deeper at one end than the other, and its fituation was in a ftreet which it terminated at the corner. This being premifed, the reafon of the par¬ ticular form of the out-line in the plan will be underftood, and the young architect will fee in what manner, on like occafions, a right knowledge of his profeflion will palliate natural irregularities, or in fome cafes turn defedts to advantages. The ground he will fee in this inftance is regular in front, but unequal in depth. There is however in the centre abundantly depth enough for the houfe, and for a due Ipace behind it; and in the narroweft angle there is room enough for a kitchen and its needful adjoining offices. This is fufficient for ufe with diferetion in the management j and he will fee how that diferetion is to be employed. N°. XLII. He £'. the beft depth proportioned to the front line is forty-fix foot in the centre, where there are to be no principal rooms below ; and in the two ends fifty-three. Thefe may be thrown into angulated forms, and in this manner each gives a very fine room, while the centre back¬ wards contains the ftair-cafe : and thus the whole out-line will be agreeable to the eye, and very well contrived for ufe. The out-line of the principal building and of the wings being thus laid down, there will be feen a great deal of unoccupied ground within the general fcheme of the piece; and this will give great advantages. Many ways of difpofing it may be taken : but we (hall lay before the ftudent one by which he will find it is capable of great ufe. CHAP* 424 Box: III. A COMPLETE BODY C II A XXXV. Of the dijlribution of the ground 1 within the out-line of this plan. r two extremes, there is on each fide a large fpace. It is of equal length either way, but of much greater compafs to the left than to the right, becaufe of the oblique line by which it is terminated behind. We fhall fhew how the mod proper ule mav be made of this, and the architect will Dot be at a lofsto contrive more advantageoufly, when he has equal extent each way. The fpace about the houfe may be mod: commodiouflv thrown into a garden. The meafure of this from the houfe mud be each way the dime, but the whole extent will be very different ; becaufe of the irregularity of depth in the ground ; the principal part of the garden will lie to the left, but the great art will be to conceal as much as podible the irregularity of the two fides. It is a principle in the difpofition of gardens that, of all figures, the circular fhevv their extent the mod uncertainly to the eye : the reafon of this is the falling of the fhadow, which is ufed in all round bodies to deceive the eye ; and this varies every moment, as we change place in walking. Upon this principle, let the ground for a garden be defigned in a couple of fweeps : but there is yet more to be obferved. As the eye is to be deceived, the care mud be to make thefe fweeps only partial; if they took in the whole each way, the eye mud perceive their great difpaiity at unce; therefore let a draitline begin the contour of each from the paffage of communication between the houfe and the wings. Let this be drawn at about eight-and-twenty foot from the Out-line of the building, and continued as many foot from the front wall on the right; and about three footlefs on the other fide. From this point let the fweep begin on each fide, and let its diameter be fifteen foot on the right hand fide where the ground is narrowed, and one third more on the other ? that is twenty foot. This fweep on the right hand will reach to the wall, making the back out-line, but in the other it will be terminated by a drait wall of about fourteen foot in length: This is the refult of the encreafe in breadth in the ground. Thus will there be formed a garden of an agreeable though not of a regular figure j and there will remain on each fide, without its wall, or between that and the wings, a confiderable piece of ground ; this will in each place be very ufeful. A fervants hall may be placed in it on the right, the extent of the ground plan in that wing not admit¬ ting it in the building; and the red of the fpace, which, according to this condrudtion, will be an area of forty-five foot by thirty, will be very ufeful as a kitchen court. As to the fpace on the other fide, that may be left altogether free, and it will be a very fine dable-court, continued to a good depth before all the dables, and giving the coach room to turn. C H A P. 7 OF architecture. H A XXXVI. Of the compartition of the plan . T H E principal building we fee is thus placed in a garden ; into which fome of the beft rooms may very properly look : there is extent both here and to the front to afford very good ones, and we fhall propofe the following diftribution of the plan. Let a flight of plain ftcp3 lead to the front door, and let this open, not into a hall, becaufethe extent of that would intrench too much upon the adjoining rooms; but in¬ to a handfome veftibule ; we propofe in this edifice a noble flair-cafe, occupying, as ob- ferved before, the central part of the back front: therefore this veftibule will lead to it. Let its breadth be ten foot in the clear, and let it run twenty foot into the houfe ; be¬ hind this let the flair-cafe be placed, and let it take up twenty foot fquare, going to the back of the building. The centre of the houfe being thus difpofed of, there will remain its two fides, each of which, according to this diftribution, will afford place for two handfome rooms; thofe in the front gaining breadth by the veftibule, occupying the place of a hall: and thofe behind being of a fine length. On the right of the veftibule let there be a parlour twenty-five foot by twenty ; and behind this may be a paffage from the houfe into the communication paffage to the kitchen wing. There may very well be allowed for this purpofe feven foot in the clear, and this will leave behind twenty foot for a drefling-room ; this will be very conveni¬ ent and agreeable : it is at the bottom of the flair-cafe, and it opens to the garden. On the other fide of the houfe there fhould be only two rooms upon this floor; one to the front of exactly the fame dimenfions with that on the other fide the veftibule, and the other behind it; this latter will be allowed twenty-feven foot by twenty, and may, from its form be made a very elegant room. That to the front fhould be the beft dining-room, and this the drawing-room. The paffage opening between the parlour and drefling-room, on the right hand of the houfe, is to be continued to that forming the communication, and fhould be feren foot wide. This may open into a kind of plain veftibule and flair-cafe, behind which may be placed afcullery ; and to the left it muft open into the kitchen. This, as it is the principal office in this wing, fhould occupy its greateft part; it muft have the whole breadth of the wing, which will very well allow it eighteen foot in the clear; and its depth may be twenty-feven foot. This allows fourteen foot depth for the vef¬ tibule, ftair-cafe, and fcullery ; and the irregular fpace behind it, terminated by the ob¬ lique back wall, may make a couple of larders. N°. 42. 5 Q~ There 426 A COMPLETE BODY Book III. There wants to this wing a fervants hall; and we have mentioned how it is to be gained. It is to be carried along the back wall, and to cover a part of the fpace be¬ tween the wing and that fide of the garden j it fliould be of the depth of the part let off for the larders, and fliould be carried in a ftrait line till it touch the out-line of the fweep of the garden. It may thus be thirty foot in length, and its breadth, which mull be irregular becaufe of the oblique line of the wall, may be in general terms called fifteen foot. This whole wing is thus difpofed; and much lefs care will ferve for the other. Let twenty foot depth along the whole wall be fet out for the building, and all the reft between that and the garden be left vacant for a ftable court. In the centre of this there may be a coach-houfe, containing Hands for three equi¬ pages, and on each fide a fix-horfe ftable ; thefe will be in tire clear eighteen foot by thirty-two in length, and the coach-houfe may occupy the reft. We have named the convenience and advantage there is in having a coach-houfe that Is open through : this cannot be done to the full effedt, except where there is the bene¬ fit of a corner fituation, as this houfe has: but this way it will be eafy. We have men¬ tioned a couple of gateways in the wall of communication between the body of the houfe and the wings; thefe, though both of the fame form, will differ in this, that al¬ though there be no occalion for opening a paffage through that between the houfe and kitchen, this on the left hand between the flables and the houfe being opened, will give a way into the ftable court, and through it to the coach-houfe. Thus when the mafter of the houfe has been fet down at his door, the coach goes through the gate in the communication wall into the ftable court, and through that is t, into the coach-houfe, the horfes being taken oft on the other fide, and brought ron. d to the ftable. There it Hands ready for the horfes to be put to when he goes out again, and is brought round to the door of the houfe. This faves the trouble and da¬ mage of backing into a coach-houfe in the common way, which is attended with fre¬ quent damage to the equipage, and often beats down the corners, or batters other parts of the coach-houfe. C II A P. OF ARC H I T C H A P. C T U R E. XXXVII. Of the elevation . ' HE plan of this edifice will now be perfectly underftood, and we may lead the architect to the elevation. This may be made very elegant, for there is fpaceand fcope for it; and it muft be made correfpondent to the main defign of decorating the principal ftory with the order. We have given the principles for this in a preceeding part of the work, and the Un¬ dent is expedted to retain them in his mind ; it would be tedious to recapitulate on every infiance what is equally the rule in all of the like kind : but it will be the plaincft road to the fcience to illuftrate with real defigns and accurate engravings, the general truths which have been delivered there. As there is to be an order employed in an upper flory, the lower fhould be propor¬ tioned both in refpedt of folidity and convenience. Its folidity will be fhewn in the railing the wall of a due ftrengh for fupporting the columns, and its convenience in the height and difpofition of the rooms. 4 2 7 Chap.37. As there is to be an upper fiory of an elegant kind, this lower floor fhould not be elevated as in thofe edifices where it is the principal part. There muft be no high flight of fteps to rife to it, nor fhould there be any bafement ftory under it. Its height fhould be juft: fo much above the level of the ground as to fet it out of the reach of damps, and the afeent to the door fhould be by a plain but well wrought fet of fteps. Here will be a proper contraft to the parts above, for if there were pedeftals and the like ornaments employed in this inftance, they would diftradt and confufe the eye. The proper diftindtion of parts is what fhews both to the utmoft advantage. Thus much being determined as to the form, the next thought is for the conftruc- tion. Now the order employed above is to be confidered, becaufe that is to be fupported ; the architedt muft here remember the great rule of proportioning the fupports to the weight. The Ionic is a weighty order, therefore let the wall which carries it be ruf- tick : it is to be raifed over the parlour ftory, therefore the wall of that ftory is to be of that ftrudture. The columns are not in this difpofition to ftand quite detached the plan fhews we mean them to be three quarters out of the wall, and this in fome degree lightens their weight: therefore though the lower part of the front muft be ruftick to fupport them as Ion c, it need not be the heaviefl kind of ruftick, becaufe this is but a three quarter weight proportioned to the abfolute confideration of the column. The reader will fee, in this explanation of the principles, the re^fon of that ruftick we have given in this part. Upon this parlour ftory thus raifed is to ftand the order. The conftrudtion of this is to be folid, becaufe it fupports the cornice ; and it would be wrong in principle to light¬ en it, becaufe it is not free from the wall. For this reafon, the Ionic fhould be raifed, as in the former inftance, without a pedeftal, with the Attic bafe, and with the modern capital. This 3 % S 8 428 A COMPLETE BODY Book III. This order is to decorate the middle part of the front: in the precceding defign, - -■ ' the whole being of a plainer nature, nothing was added for the Tides; but here we come to the elevation of a ftruflure in all refpedts more elegant, therefore there will re¬ quire fome conformity to that principle in all the parts. The reader will on this occaiion recollect what we have faid of pilnfters in treating particularly on that fubjeft, and he muft reduce it to praflice here ; the continuation of the order muft be by means of thefe: and the elevation (hews what we have there laid down as a rule for laying the entablature over them, when it is upon columns at the fame time. The conftrudtionof the front of the principal building being thus underftood, we are to confider the wings; but to go regularly to them, we muft firft fpeak of tire walls which join them to the edifice. Here is a very confiderable length of building, which, if left plain, would be of a dead afpedt; but if properly ornamented will have an elegant effedt. This is the alter¬ native of the architedt in innumerable other inftances ; he has his choice of making that very ornamental which would naturally be unpleafmg, and he is to take the ut- moft care to employ his pains upon it. The proper decoration of this kind of wall is a gate in its centre. Wc have obferved one will be ufeful on the left hand, and that another muft anfwer it on the right for (hew, Thefe muft be large, becaufe otherwife they would have the afpedt only of holes cut for convenience, without regard to uniformity in the edifice ; and they muft be de¬ corated that they may anfwer the reft. Thus much being fettled, the nature of their decoration comes next to be deter¬ mined : the fame confideration here occurs again: they muft be fo ornamented that the whole may have reference to the principal building; this is what will render them parts of the ftrudture; the common method of doing thefe things at random, makes them feem like pieces ftuck upon it, The front wall being ruftick, and the upper (lory having columns, both muft be in¬ troduced here ; we have fpoke before upon the rife of ruftick coiumns, and condemned them, but there are inftances, as we have there faid, where they may be admitted; and this is one. Though rufticated columns would have been abominable in the front of the building, they may be allowed in decorating a coach gateway, in the wall joining the wings ; and this gives the proper model for ornamenting that part. An order is to be employed to them correfponding with the order above ; and ruftick is to be admitted to give a refemblance with the wall of the lower (lory : thus all will be of a piece, and the gate will plainly be a regular part of the ftrudlure. What we have before faid of the employing an order for windows where there is an¬ other for the principal parts, anfwers equally here. This lefler order (hould always be the next inferior to the principal, and that gives for thefe gates the Boric. The wings are the only remaining part, and they are alfo to be made conformable to to the main defign of the building: no order (hould be employed here, for they are parts of a meaner fort; but the windows (hould be well proportioned, and have the modeft decoration ufual in fronts of a middle kind. Thus the whole building will be complete in itfelf, confident in all its parts, and fluted to its defign. W E have thus led the young architect, by gradual advances, from the plained: to the more difficult articles in the theory of architecture; and having advanced thence to the practice, we have in the fame manner conducted him from the plained: fabrick, to thofe of more and greater expence and decoration. We now advance to the clofe of this article: and we diall here lay before him the condxu&ion of a houfe in the higheft degree elegant, built for a nobleman of the mod didinguifhed fade and adorned at the greated expence. With this we diall conclude the prefent part of our undertaking, the fucceeding books being intended for the decorations and peculiar parts of buildings. We have already given the fubterranean condruCtion of this edifice, which is ex¬ plained in our plate of fewers and drains; and we diall in the fucceeding books in¬ troduce defigns of feveral of its internal decorations under the article of Ceilings and Chimney-pieces. We diall, in the account of this capital houfe, follow the fame method as in the preceeding numbers ; and as we have there pointed out what might bed be done upon a given fpace, we diall here fhew the dudent what has been done: we diall explain to him all that is executed upon this dedgn in an edifice univerfally applauded ; illudrat- ing the feveral parts with figures of the plan and elevation, engraved by that great mader Fourdrinier . Before we enter upon the particulars, it may be proper to obferve, that the edifice we here treat of has its front to the wed, and has before it a large court j and that the ead front commands a fpacious garden. The level of the ground in all this extent behind is eleven foot below that of the fore¬ court. This might have perplexed the young architect; but he will fee here in what manner fuch an irregularity is to be managed, and made an article of ornament indead of an imperfection. Into this garden, the defcent from the principal floor of the houfe is, by a double flight of done fleps, difpofed with elegance and magnificence, and decorated with ba- ludrades proportioned to the red of the building. What houfe in London it is that we are thus celebrating, few will be at a lofs to dif- cern from the elevation ; but if any fliould not difcover that, we fhall add at the clofe of the work a table of explanation, in which we fhall acquaint the reader, where and for whom, every one of the defigns already executed is built. R j. g N°. XL1I1. S The 43° A COMPLETE EODY Book III. rj.| ie j u( j[ c ; ous architeit who obferves the great extent of ground in this (fruclure, "~~ J the dimenfions of the building, the fubterraneous conftrudtion, the boundary walls, and the extraordinary depths of the foundations from the inequality of the ground, will fee it in the light of a great and capital undertaking. The curious obferver who (hall enter into the fpirit of it, in the free ufe of the Co¬ rinthian order in the colonnade, the elegance of the iron-work on the outfrde as well as within, and the high finilhing of all the principal apartments, will not be (larded when he hears the expence was five-and-twenty thoufand pounds : perhaps there is not in Europe fo much richnefs and elegance for the fame expence. LI A P. XXXIX. "The ground-plati of the edifice. T HE young architeft who is about to enter with us on the confideration of this edifice, mud firft underftand its place with refpefl: to tile area be r ore. The principal building has before it a court 177 foot in length, and 91 in breadth, termi¬ nated each way from the houfe by a Corinthian colonnade, and flanked by the wings, containing the offices. At the back of this court, and in its centre, is to (land the houfe; and its front is terminated by a wall and gates. This wall, including the offices, and continued round the garden, gives the general outline of the ground. The (fudent will find the rules we have occafionally laid down in the prececding part of our work exemplified at large in this building. In the centre of the front wall of the court, and direfily oppofite to the centre of the houfe, are placed the great gates of entrance ; a law we have (hewn to be founded 0:1 reafon, but often neglefted in great and good buildings. This gateway, to flit it to the edifice, muff be decorated with piers, and within, on each fide, is to be allowed a fmall fquare room for a porter’s lodge ; the places of thefe are marked M. M. in Plate LXI. in which is given the whole ground-plan and diltribution of the rooms. Tire boundary wall is to be continued entire to the right; but the wing to the left, containing the coach-houfe and (tables, (liould have the convenience of an opemng to the (freer. This will require a gateway near the corner; but as this is intended for ufe, not (hew, and is too remote to catch the eye at the fame time with the houfe; the lefs decoration is employed on it the better. Its place is marked by an opening in the wall of the court, and a plain wooden pair of gates will beft fuit the purpofe. Enterin O F ARCHITECTURE. Entering the court the wings are to be feen on each hand ; in the centre the prin¬ cipal building, and on each fide the colonnade. This houfe being intended for elegance and magnificence mu ft have the parts great. On this depends the diftribution of the rooms, or compartition of the fpace : that is not to be thrown into a great number of fmall rooms, for this would difgrace the external form : and if, as may naturally be imagined, the rooms upon fuch a difpofition would be too few in a houfe whofe ground-plan was proportiqned to the centre of the fpace 4 there is a remedy without deviating from the principles we have juft cftablhhed. The young architect muft not, for this rcafon, divide the principal floor into fmall rooms, for the fake of having a fufficient number for his purpofe.h i» he muft add others ?n adjoining places : this may always be done witheafe and convenience, and if they be well difpofed they will give a greater air of freedom and extent to the inlidc of the houfe, while they are an ornament and not a blemifh without. 43 1 Chap. 39 Thus in the compartition of the edifice, as laid down in the prefentplan, the rooms within the outline of the building can be only a fmall number, proportioning thcul to the intended magnificence. The entrance muft be into a hall, which, with the ftair-cafe to the right hand, will neceflarily take up more than half the extent in front the door being in the centre, and opening into it. This hall and ftair-cafe are marked in the figure A. On the left, in the fame range, Will be the dining-parlour ; this we have marked C, and it will be a handfome room, according to the proportion there allowed. It is eafy to fee that no more can be done with the front line of the houfe, placing the ftair-cafe in this manner ; and the architect will find, after a thoufand trials tiiat there is no way of placing it fo well, even in point of room. Behind the hall and ftair-cafe, there muft be back ftairs, for in fuch a houfe this cannot be wanting, nor is there any other part of the plan proper for it. As this takes up ojily a part of the extent of the back of the hall, there will be room for a lobby befide it j and this is the only ufe that can be well made of that fpace. We have in this plan marked the place of thefe back ftairs B, and the lobby with the letter I. This is all perfectly neceftary ; and by this we fee fo confiderable a part of the pre- fent floor occupied without any confiderable room, yet deligned, that there remains only a poftibility of making one larger and one fmaller on this floor, 8 Three £ i H I 8 £ I H § a 1 I 3 i Bl i Book III* Three rooms are by no means ftifficient in a houfe of this kind, for the floor of which we are treating ; we fhall lee what they muft naturally be, and then conflder how to add to them. There is in front, on the left hand, only a dining-parlour; this therefore leaves a handfome fpace behind : but the back flairs and lobby take up fo much of the other fide in depth, that the fpace there is fmaller. Now with regard to the larger fpace behind the dining-parlour, the architect who thought there was no way to get a due number of rooms but by making them fmall ones, might divide this into two ; but that would fpoil both, and be beneath the dig¬ nity of the houfe. Let it therefore be made into one ; it will be a magnificent and well-proportioned anti-room, and will become die reft. The fmaller fpace behind the back ftairs and lobby may be divided into two rooms, becaufe there will be two wanted in this part, and neither of them need be large. A drefling-room, not far from the foot of the ftair-cafe, is a very requifite apartment in a houfe of this kind ; and near it there lliould be a waiting-room. They are apartments of convenience, not of fhew ; and there requires no great fize for either: therefore this part of the fpace will very well anfwer for both. The drefling-room may be the fmaller, as marked in this plan at the letter F ; and the waiting-room may occupy the fpace between that and the large room on the left A drefling-room in the houfe of a perfon of fafhion is a room of confequence, not only for its natural ufe in being the place of drefling, but for the feveral perfons who are feen there. The morning is a time many chufe for difpatching bufinefs j and as perfons of this rank are not to be fuppofed to wait for people of that kind, they natu¬ rally give them orders to come about a certain hour, and admit them while they are drefling. This ufe of the drefling-room fliews alfo the neccflity of a waiting-room where we have placed it. Though thefe perfons arc expe&ed at a certain hour, they cannot al¬ ways be admitted the moment they come, therefore they muft have fome place where to ft ay. When they are not there, it is convenient for the principal fervants; who ftiould have a room where they may be near their mafter, and in call. I This is the neceflity of the two rooms we have here marked in our plan; and thus will the fpace be difpoled of. g 4 The architect will naturally fay, that here yet want the two great apartments for fucli a Ik ufe as this; thefe are a drawing-room and a library : they muft be on this floor, and yet the whole is difpofed of without them. OF ARCHITECTURE. 433 raifed accordingly. Thefe are to have other rooms over them to the top ; but though Chap. 39 the outline of the edifice terminate at thefe, there may be elegance, dignity, conveni- ence, and every article that fliould come into the thought of a good architect, added by means of a couple of additional rooms formed of connected building : of thefe we {hall fpeak in the fucceeding chapter. CHAP. XL. Of the two additioital rooms. HE body of the houfe being thus conftruded, will be decorated in front with the JL principal entrance, the door, the fteps, and their ornaments ; and behind by a flight of flairs into the garden : of thefe we {hall fpeak more particularly hereafter. They finifli the two ends of the houfe, but the fides are only plain j hence although nothing could be added to, or connected with, the ends, there is no objection in rule or regularity to the adding whatever convenience requires to the fides : therefore thefe are the places for the two additional rooms: their communication with the houfe will be natural, and they will open into the proper apartments. The plan of thefe two rooms muft be laid with pcrfedt regularity ; they muft cor- refpond with one another in all refpeds, in length, breadth, and heighth j and they will then have every article of convenience and grace. The room to the right is to be the library, and at the corner of this fliould be an adjoining little building for a water- clofet; that on the left fliould be the drawing-room. We have marked the firft by the letter G, and the other by the letter H, in the plan j the young architect will there fee the proportions which reafon and the rules of the fcicnce approve j and he will find it in the edifice perfedly anfwered in practice. We fee an addition of a great room now to almoft every houfe of confequence, and we have taken occafion in a preceeding part of our work, to rally that practice as the common race of builders now execute it. Their faults or follies however, have no right to bring the practice into difgrace j for it is not the adding a part to a houfe, but the adding it improperly, that is the ab- furdity. Let the ftudent here learn the difference: in thofe houfes which are ridiculous for their new rooms; the addition is made without any regard to the whole fabrick j but here it is, though an addition, a regular part. In them it is ftuck to the houfe, and here it is a part of the building ; in,the common practice it is a Angle part, for few have thought of adding two great rooms upon this vulgar plan j in the inftance before us there are two. Everyone knows that in the large and eflential parts of this kind in a ftrudure, there fliould always be two, that one may anfwer another 5 or if convenience do not require two, the fliell, or outfide of a fecond, fliould be raifed for regularity. Thus in the pro- fent 434 COMPLETE BODY Book II!. fent inftar.CL :bcfe additions are two 5 they are alike, and they anfwer to one another. - - v ~~~“ Inftead of ih.e c< unmon appearance of a large room added to the fabrick, which is al- wavs that of a wart, deforming the whole, or of a wen, threatening to pull it down, thefe appear of a pa ce with the reft j no excrefcer.ces or unfeemly parts, but a re¬ gular addition to a regular building : and being conformable to it in ftrudture, colour, and decoration, they are a beauty inftead of a deformity in the out-line ; giving at the fame time variety and regularity. This is an eftential point in the practice of modern architecture. The builder fees every body wants a large room ; let him therefore think of it in time, that his employer may not be reminded by fame other perfon when it is too late: and let him not in any confiderabb- building cramp or diminifh the other rooms, and fpoil a whole houfe to give fco’ e to this. Let him conftrudt the feveral parts as the plan and compafs na¬ turally direct ; and when he has thrown the fpace, by a judicious compartition, into a convenient houfe with proportioned apartments, let him add fuch a room, if fafhion continues to require it, as an exterior part j and place oppofite to it the refemblance at leaft of another. Tliis will ferve as a very agreeable deception both ways; for the houfe on the out- fide will loo:; larger than it is, beeaufe of the added refemblance of the great room ; and within it will have fcopeby the real addition. From thefe, which are the principles of architecture, as old as Greece, and as authen- tick as the fuffrage of the moft eminent of modern builders can eftablifh them, we re¬ fer the ftudent to the plan of this building, where it is really and very happily carried into execution. As to the fize of fuch additional rooms, in all particular inftances, he muft be guided by thofe laws of proportion we have before laid down ; for nothing can make amends for the abfurdity ariling from ill proportion. If he would lix in his mind the idea of a good general fize, he will find an example here. Wc have already obferved that thefe two rooms are equal in dimenfions, as well as alike in form ; and their bignefs is, in this inftance, forty-two foot by twenty-four. CHAP. XLI. Of the conflruSlion of the additional rooms . E L E G AN C E muft; be obferved in the conftrudtion of a building like this in eve- , rv p ar t ; and thefe rooms, though additional, are to be underftood as parts: therefore the fame degree, and if the builder pleafe, the fame kind of decoration muft be employed upon them. Thus they will appear as parts of the whole. This is the firft confideration : but there is another. They may be decorated, or they may be concealed j and in many cafes the architect will prefer the latter courfe. 7 In OF ARCHITECTURE. 4 In the building now under coniideration he will fee a method followed, which at Chap once gives him the choice of appropriating or concealing them ; and fhews in what manner, and to what pifrpofe, they may be on the one part adapted to the building, and on the other concealed from the eye. We have obferved that behind this houfc is a large extent of garden; therefore there Ihould be care taken that the back front, which is feen entire from it, may be fit for in- Ipetftion. Thefe look into the garden ; and as that affords an agreeable profpedt from them, they will in the fame manner afford a good objedt feen from thence. Therefore in this conftrutftion and defign, their exterior part mufl: be exa&ly adapted to that of the back front, and they will join with it. Thus there is light for the rooms, and a good objedt for the garden. In the next place we are to confider them with refpedt to the effedt they would have feen, from the front. Now as the building is entire without them; and, as we fhall fee by this elevation, fufficiently proportioned to the court, and fuited to the wino-s, there will be no occafion for bringing thefe additions into fight. That which is per- fedt without addition, will always be hurt by addition ; therefore it would be better in this refpedt there had been none. That which is concealed is in refpedt of the eye as if it did not exift. Therefore if thefe rooms can be fo hid that the eye fees the building without perceiving them, the impropriety of adding where nothing is wanted is concealed, and at the fame time all the advantage and convenience are obtained that were defired. Thus it is managed in the prelent building : the inner compartition of the houfe has the advantage of thefe rooms; the garden has them as an objedt; and the front which is entire without them, is feen without them. The ftiident will obferve there is a colonnade in front, adjoining each way to the houfe ; this, for the fake of proportion, mufl; be of a certain height there given, and the place of the two additional rooms being underfliood, they will be found to fall behind it; therefore to a certain height they would be concealed behind this colon¬ nade, and the judicious architect mufl: contrive in fuch cafes, that the buildings do not exceed that height. Now although two fuch rooms were requifite to be added to the plan upon this floor, there is no occafion in a houfe of this conflrrudlion and defign for more rooms above than may very well be contained within the compafs of the principal building : there will be room enough for their number, and for their due bignefs. This takes away the ncceffity of building any thing over the two additional rooms; and by this is taken away all danger of their rifing too high to be concealed by the co¬ lonnade. Thus the fore front is entire; and the ftranger when he enters the houfe is charmed to find two fuch rooms which were this way externally invifible. Although there mufl: be for this reafon nothing over the two great rooms, there is no ob'iedtion to any necefiary convenience under them ; and in the prefent inftance the principal offices are placed, and are connected there, as naturally as the rooms with thole under the reft of the houfe. CHAP. £UC > III. A COMPLETE BODY CHAP. XLII. Of the colmmade and wings. E ACH way from the houfe runs in the prefent inflance a colonnade: this is one I of thenobleft additional ornaments a houfe can receive, and in this edifice no price has been fpared to give it the full dignity. The order is Corinthian , and its effeft is very happy. It is one of thofe decorations that the four rules of criticifm would call too rich for the building; but we fee in this, one of a thoufand inflances that genius may depart a little from that cold fcverity of rule with happy effeft. Under the colonnades are arcades open to the eall, which make a communication between the offices under the houfe, and the north and fouth wings. yy e have obferved that the coach-houfes and (tables are placed in the left wing, that beinv the north; and in the oppofite, which is the right, or louth wing, are the kit¬ chen, larders, paflry, fcullery, wafllhoufe and laundry. Over the ftables is a mezzanine floor, properly divided for a granary ; and above this are lodging-rooms for fervants. In the fame manner the upper part of the other wing is divided into lodging-rooms for fervants, and thus is the whole of this magnificent building conflrufted. This is all that comes under our confideration in the prefent place, for the infide fi- nifhings belong to a fucceeding part of the work; but we (hall here obferve that they are adapted to the whole. The great flair-cafe afeends with three flights of fleps; and is of white and veined ble, of a very uncommon fize, and degree of perfeftion. The fereen which divides the hall from the flairs is of the fame material, and formed in arches and half columns of the Corinthian and Compofite order. The rooms upon the principal floor and that above it, have all expenfive and rich ceilings and chimney- pieces, defigned in the moil elegant manner, and wrought in the bell marbles; andall by the firft artifls in their feveral profeffions. Of thefe we fhall treat hereafter, among many other defigns of ornamental parts of the fame kind; and with this ftrufture, the firft in the kingdom for elegance, we (halt clofe the prefent part of our work. 8 The End of the Third Book. OF ARCHITECTURE. BOOK IV. 437 Chap. i» Of Doors and Windows. The INTRODUCTION. W E have had occafionto obferve in the preceeding (beets, that not only the cf- fential do&rincs of this elegant fcience have been tranfgreffed by very ce¬ lebrated builders, but that in the moil familiar things the fame negledl is more fre¬ quently (hewn to all rule and order. We have named this not (or the fake of criti- cifing what has been done, but to (hew what (hould be avoided 3 and we (hall purfue the fame courfe here 3 aiming at real ufe. Doors and windows mull have been as early as human habitations; for the firftman who eredted the hurdle hut, or the clay cabbin, could not have been fo abfurd as to climb in at the top, or (hut himfelf up in darknefs: therefore the conftru&ion of any habitation implied the ufe of thefe; and reafon declares that the door Would be fuited to the human height, and the windows to the proportion of light required for the need¬ ful offices of life. Thus have been laid down by nature the laws for their dimenfions • but it will afloniffi us to confider how they have been tranfgreffed. We have feen at one period of late time, doors made of l'uch height that one would think every houfe inhabited by a giant: and from this extreme, for according to the old Romans' obferva- tion, weak minds in avoiding one error always run into another; we have feen them lofe the form and fafhion, grace and dignity of entrances to a habitation, and wear the afpedl of holes cut through the walls, to accommodate houfes built for men to the ufe of pygmies. It is enough to obferve, that as all extremes are amifs, one ofthefeisas faulty as the other. With regard to windows, the fame univerfal law, eflablifhed by nature and autho- rifed by reafon, of admitting a proportioned and ufeful quantity of light has been as much tranfgreffed. We have in the fame manner run from the extravagance of ex- cefs, to the abfurdity of defett. It is not long fince our houfes were fo many lanthorns the piers feeming defigned only to receive the frames of the windows; and from this we ran into the admitting light only through certain holes, as if for the ufe of a dun¬ geon. Let the architect who has thus far formed himfelf upon the principles of fcience learn on this point the golden rule of moderation. We give him the general leffon here, and we (hall in the fucceeding chapters bring it to pra&ice; and illuftrate the the¬ ory by examples. I~i °. XLIV. 5 T CHAP. T WO things are to be confideredin the defign of a door; the firft its aperture, and the fecond its ornaments. Thefe muft both enter into the mind of the archi¬ ng. who is defining an edifice, or he will never proportion or adapt it to the ftruflure. How often do we fee in London doors which appear not to belong to the houfe, but to be joined to it againft nature ; that feem to have been duck on, not raifed with the building. It is common to fee doors whofe breadth occupies near one half of the ex¬ tent in front; and in Dover flreet there is one whofe top covers half the window placed over it in the upper ftory. This is the error of thofe who mean to be magnifi¬ cent ; but the oppofite is too common in plain houfes. Doors are put which feem to fay, no fat man comes into this houl'e; and they always difgrace the whole building. We have lliewn in treating of elevations, how the moll plain and fmall houfe may be made convenient; and we ihall obferve here that it may alfo be eredted with a pe- culiar kind ol beauty. Its foie grace muft lie in proportion, therefore let not the architerft omit that moft ef- fential point. The variations In the antique are in this inftance very great: and from this it was that Palladio evaded giving rules for the dimenfions of doors in proportion to houfes. He was fenfible he could lay down none againft which fome inftance might not be brought in thofe buildings which were allowed maftcrly in their kind : and he there¬ fore left it undetermined. He gives no rule, and he fays none can be given; all he di¬ re,^ is, that they be proportioned to the dignity of the inhabitant of the houfe. We muft here difl'ent from him, and determine that, be the condition or benevolence of themafter what it will, the door ought to be proportioned to the other parts of the building. There are many things in which the antient architects have erred, and it will be a double error in us to copy their faults. This great variation in the height of doors is one, and in their conftruftion there was a greater. They did not in general make the a- perture equal all the way, but contrafted it upwards. This muft have had a ftrange etTedl. A door narrower at the top than the bottom muft have appeared a deformity in any building, though over it were written the name of Hermogenes as architect. Thefe antients, though much greater men than our prefent architeSs, were but men ; the feience, which they carried to fuch a height, they did not perfea. The limits of thefe things are not fixed at any certain point, nor are the powers of genius fettered by fuch boundaries. While wo admire the dignity of the Grecian or the pomp ofthe Re¬ man doors, let us fee alfo this contraftion as an egregious error : and if wc refer to Pal¬ ladio, or to,the oracle of Palladio,Fitni-.iu!, on this account, let it be to diffent from their opinions: if wc turn our eyes to the temple at Tivoli, let us place the door there as an objea (hewing what wc fhould avoid. OF ARCHITECTURE. 439 With regard to the Italian , we have (hewn he was loft in the diverfity of what he Chap, i read, and what he faw : as to the Roman , he feems to have received it as a law in the ' v fcience, that there fhould be this contraction ; and when he direCts that in doors of more than thirty foot height in the opening, there fliould be no contraction of the diameteri his commentator Philander , who rarely mifles his fenfe, fays this was becaufe at that height the nature of vifion anfwered the fame purpofeand the contraction was given to the eye by diftance. CHAP. II. Of the dimenfions of Doors. f jjTMIE architect will fee by this free difquifition, that the antients are not proper Jl inftruCtors in the dimenfions of doors; how much foever we may learn from them refpeCting their ornaments. He will fee alfo that the moft famous of the mo¬ derns has left him uninformed on this head; and if he look into the common books ofdefigns he will find nothing but abfurdity. There are in none of the parts of archi¬ tecture monfters equal to thofe we find in thefe books intended for this purpofe : this is the ftate of the matter in all of them; the more as well as the lefs refpeCted, and throughout the whole courfe of time from Francini to Batty Langley. § The defeCt on this head we (hall endeavour to fupply; and whatever merit we fhall attain by attempting improvement, the ftudent may depend on this, we will not lead him into errors. With refpeCt to the height of doors in the aperture, there is an univerfallaw in rea- fon, though notobferved : there is a certain height below which they muft not be; tho’ for dignity and proportion the field in which they may exceed is almoft unlimited. x. f The human ftature is the mark for theleaft height that can be proper, and this is the fame among the vulgar as the noble : he who makes a door is not therefore on any confideration to defeend below this eftablifhed proportion. If he fiiould give it as an excufe that the owner was of low ftature, boys would laugh at him ; thofe who vifit are not proportioned by the height of the poffeflbr of the houfe, nor may his fon be of his ftature ; or the next inhabitant. It is therefore as improper to conftruCt the door to the ftature of the owner, as to the greatnefs of his hofpitality. Though the heart of Bevilacqua was bigger than his door, that of his fucceffor in the palace might have found room in a nut-fhell. For the lowed door then the height muft be fuch as that a man of the higheft common ftature may go through it without {looping. This limits the meafure to fix foot: below this the door of no houfe fhould be made, even of the plaineft; but above all is left to fancy guided by the general idea of proportion. The height being thus determined, the breadth comes into confideration; the fides muft be fo diftant that they muft not crufti the largeft body ; nor is it fit they fhould reduce a man to enter with his arms in any particular pofture : as he is to go in with¬ out {looping, fo he ought alfo to be able to walk in at eafe. The fmalleft dimenfion therefore in breadth that can be allowed is three foot; and this being the half of the given height has a very good effeCt in refpeCt of general proportion. Thefe 44^ A COMPLETE BODY Book IV. Thefe arc the rules laid down by nature; and thefe being allowed as truth become the foundation of all the other proportions. While we are near this, we are fure not to err; and this ought always to be kept in remembrance for that purpofe. He would have reafon to complain of the confined laws of the fcience, who fancied that from this every door mud be made the exaCt double of its breadth in height: there are peculiar conftruCtions which require particular meafures ; but as in all other cafes there arc bounds which muft not be tranfgrefled, fo in this there is a latitude, as we fhall ihew, within which the fancy may rove, but which it muft not pafs. The dimenfions being thus in their firlt fenfe Confidered, we are to regard them as necefiarily varied according to the nature of the building. In proportion as the houfe is larger the door muft alfo be enlarged. This is an univer- fal rule : and there being fome variations, though they are of a limited nature in the proportion of height and breadth, thefe muft be appropriated alfo to the general form of the houfe. We have faid that for the plaineft doors the proportion of height to breadth mud be double : this is to be a little varied at the pleafure of the architect; and he mull thus employ his liberty. If the front of the houfe extend confiderably in breadth, in proportion to height the door muft be adapted to it, by having a proportion of breadth fomewhat too gieat for its height; upon the preceeding principles, and in the fame manner, if the building be one of thofe which rife to a height without any great breadth, the door for it fhould be made a little more than twice as high as broad, to accommodate the figure of that as of other parts to the form of the whole. We fhall in a fucceeding chapter fpeak of the decorations of doors ; but in this place it is neceftary to obferve thus much, that the ornameuts mull in the fame manner be fuited to the aperture of the door, and to the entire body of the building. The ornaments ufually employed will bear to be extended or retrenched at the fides as the architect fhall fee proper; and he muft make them broader or narrower as the opening of the door is wider or more contracted; and by this means they will be fuited at once to the opening and to the edifice, to that part and to the whole. In the fame manner the pediment is a part which the architect may conftruCt upon his own principles. We have given the heft proportioned height to breadth in a pre¬ ceeding part of the work, and we here fhall illuftrate the fubjeCt farther by figures of proportioned pediments over doors of the feveral orders; but at the fame time we are to tell the ftudent, that although what we have given in thefe and the plates of the fuc¬ ceeding number be right, it is not all that can be right. A pediment higher or lower than what we have given would not fuit the other dimenfions and ornaments in thofe figures; but there may be others of innumerable kind, bearing different proportions: in fuch the builder is left to his liberty, and he is to ufe it to the purpofe we have named, making it an univerfal rule, that as the whole building, and in confequence of our rules its door alfo, is extended in breadth in proportion to height, the pediment is to be lower : and as it is taller, and the door with its ornaments are narrower, the pe¬ diment is alfo to have a fomewhat higher pitch. Thefe OF ARCHITECTURE. 44 i Thefe are liberties lie is to take, but they mud be taken with difcrction : great vari- Chap. 2. ation from common proportions will be always wrong ; and it is never needful, be- caufe a door is fo obvious a part that lelTcr will be feen. As our firfl rule of the proportion of doors is abfolute, and yet capable of variation without a fault, fo the dudent is to regard the figures we give in this and the fucteed- ing numbers. We tliall venture to fay they are proportioned judly, and that the rules of architedlure are perfedlly followed in their conftrudtion ; but from thefe he may va¬ ry a little as occafion fliall require, or the general proportion of the fabrick fhall demand. CHAP. III. Of the elevation of Doors. HE form and dimenfions of doors having thus been edablilhed upon fome prin- JL ciples, We are to confider their pofition. This varies according to their didance from the level of the ground, and is to be governed by the height of the floor to which they belong. In the plained and mod ordinary houfes the door is upon the level of the ground, but this is wrong for a very obvious reafon. There is to be fome fettling expected in the houfe, and experience fiiews that the ground in all inhabited places naturally rifes in furface. Therefore a houfe whofe floor of entrance was placed originally upon the level of the ground, will in a few years, from the concurrence of thefe two accidents, or from one of them, be below that level; the door will then dand below the furface of the ground, and we mud go down flairs into the houfe : this is to be avoided both for Itiew and fervice. A floor under the level of the ground will be damp, and the door if well proportioned at firft, will be too low for its breadth ; at lead it will appear fo, which in this refpect is the fame thing. This is a reafon why a door fliould never red upon the level of the ground ; but if againfl all rule the builder or the owner will have it fo, the proportion to be ob- feived is this; it mud be made fomewhat high in an over-proportion to the breadth, becaufe the eye at firfl will reduce it to the appearance of regularity, and probably ac¬ cidents afterwards will place it below it* This is a rule that in itfelf will not, we hope, come often into practice s but it gives the general law to what follows. Hence is derived a principle that ought to dand as unalterable in itfelf; that the more the door of a houfe is raifed above the level of the ftreet, the more its breadth fliould exceed the natural proportion with rcfpcct to height. This depends upon the nature of vifion, which in thefe near objects ought always to be be coniulted; for the higher the door is placed, the narrower it will appear by didance, and therefore the broader it fliould be made in the reality. Thele are points which deferve to be confidered much more flrictly than they are, for upon them depends entirely the proportion: at the fame time we are to tell the young architect, that all we fpeak here of variations, is meant to thofe of a very fmall kind ; for when a certain rule of proportion is edablilhed; no caufe mud lead us too far either Way from it. 4 U In 442 A COMPLETE BODY Book IV. In the earlieft architeflure we find that the cuftom was to place the door at a con- >•—v"— 1 flderable height above the level of the ground ; and in all magnificent buildings it Ihould be thus raifed, and in others in proportion to their fize. The raifing the door after the old Greek manner gives many advantages. The floor to which it opens has elevation, better air, and the advantages of profpefl. There is the benefit of rifing to it by flights of fteps, which whether Angle or double are of great ornament, and may be carried to any degree of elegance according to the plea- fure of the purchafer: it alfo gives a good floor below for the ufe of the better fort of fervants. For all thefe reafons we fee it beft to give the door an elevation, and we have dircfled the architefl to the only method by which one of this fituation ever can be rendered truly graceful. H A P. IV. Of the ufe of columns in the ornamettt of Doors. W E are now naturally led to the ornaments of doors, and are to propofe, as their firfl: and greateft decoration the ufe of the orders. They are the nobleft and the moll graceful part of architeflure, and are therefore finely fuited to what is to make the firfl impreflion ; as a door naturally does. Their expence is no where an article of fo little confideration, becaufe they are here fmaller and fewer than in the other common ufcs , and the architefl of tafle has this reafon to be pleafed with them, that he has in their conftruflion a fcope for all the boldnefs of his genius, and the beft flights of his regulated fancy. We have in a preceeding part of this work fliewn what great variations may be au¬ thorized by the remains of antiquity in the conftruflion of every one of the orders; in the ornaments of doors there is full fcope for the imitation of all thofe of the an- tients, and for the devifing new ones: and from this may arife a dignity and grace un¬ known hitherto in architeflure. We have here added by way of illuftration of what we are faying in this place, the figures of two doors decorated with the Dorn and Ionic orders; and in thefe for the fervice and example of the ftudent in his firft defigns, we have adhered ftriflly to the proportions eftabliihed for thofe orders by Palladio-, but having forme I tohim- felf an idea of ftrifl proportion from thefe, he may be taught how to vary with fuccefs from the exafl regularity. We have (hewn him in this place under what circumftances his doors (hould be made more lofty, or lefs fo, in proportion to their breadth ; and in a preceeding place we have given him examples from the antique of various proportions in height and di¬ minution in the execution of every order. From thefe he is to felefl what will beft fuit the purpofc of every particular door ; for it will be proper for him to give the greateft heights to his columns and their capitals, where the door is to be, according to its fitu¬ ation, narrower than ufual in refpect of height; and on the contrary to felect thofe co¬ lumns from among our examples of each order, which are lowed, where the door is broader than the exafl: proportion of height would diflate. This H P. V. OF ARCHITECTURE. 443 This is the true ufe of thefe remains of the antique, and by fuch a method of em- Chap. 4. ploying them they will obtain as much credit for the architect, as in a random choice they would difgrace him. One thing remains to be obferved with refpedl to the diminution of columns ufed in ornamenting of doors, that the greater this is, the lefs they are fuited to the purpofe* This is one of many reafons that ought to banifh the Tuftan order from this piece of fervice. Its diminution is not only the greateft of that of any order ; but it is greater beyond all proportion; and looks as if ill-formed where made with ever fo much truth. The other orders are no way more happily ufed than for this purpofe : their dimi¬ nution is the great grace of their form, and it is never £hewn fo plainly or confpicur oily. The upright of the door-cafe, before which it ftands, is as a meafure to the eye, and the whole being near, and the form of the column diftintt, the diminution is feen in the whole out-line. This is a very obvious reafon for preferring columns to the vulgar cuftom of pilafters on this occafion ; but at the fame time, as we have obferved already, the peculiar di¬ minution of the Tufcan being too great to be born, on fo near and fo diftindt a view, fhould exclude it from this ufe in the ornaments of doors. *The conftru&ion of a door in the Doric, a?id in the Ionic order . T HE two examples we fhall here give of the ufe of the orders are of the Doric and Ionic j and the general direction to be laid before the ftudent is, that the parts be all proportioned ; that no way be given to a vitiated fancy in adding unnatural ornaments j no placing of the entablature of one order over columns of another, as we fee too often in London in what are called compofed door-cafes, but that every thing be proper and juft. The plaineft door we would ever advife him to make of this kind is with the Do¬ ric order, and for this we have given him a drawing in Plate LXII. In this he will perceive all the parts, to the minuteft mouldings, preferved in the form in which they are to be wrought, and the ornaments of the freeze in their proper place and difpo- fltion. This is a door of fmall expence for one with the orders; and the columns may at his diferetion be either made of folid timber, or of pieces glewed together : but in this cafe and moft ethers we fhall advife the making them hollow and of pieces to avoid cracking. If he have a mind to decorate this door farther, the method is open; we fhall not repeat what has been already given in another part of the work, but refer him to thofe pages wherein we have treated of the Doric order : he will there find that the fhafts of the columns may be fluted ; that rofes may be added to the neck; and that the me¬ topes or fpaces between the triglyphs may be decorated with variety of figures. 1 Thefe rjc - 44+ A COMPLETE BODY Book IV. Thefe additions with what we have farther diredled under that head to be occafion- --v-' ally done, will fhew the builder how much is to be added for the enriching of that or¬ der : and all the time he is to obferve invariably the conftru&ion and proportions given in this figure. Thus the young architect will fee in what manner he may enrich and raife to ele¬ gance a Doric door ; but if the utmoft ornament he can with propriety give to that order be not fufficient for his purpofe, he is not to run into impropriety and confufion by adding falfe decorations; but in that cafe to chufe a fuperior order. The next above the Doric is the Ionic ; and of this we have here alio given him a figure; that comparing the natural and proper decorations of the two, he may fee by what degrees they rife one above another ; and whether for his prefent pur¬ pofe it be moft advifeable to decorate this firft, or to chufe in its head the fecond order. As we advife him rather to chufe the Ionic , than to give improper decorations to the Doric , we mufl in the fame manner diredt him, when he has chofen this fecond kind, to adhere ftridtly to rule and method, and admit no ornament but what has au¬ thority from the antique. We have given him in the figure Plate r/XIIT, the form of an Ionic door, accord- in" to the proportions of Palladio : the firft caft of the eye, even of the unfkilful, dif- tinguifhes the great decoration and grace this kind receives from the capital with its volutes, and the modillions of the cornice. Though we caution our ftudent againft any unwarrantable liberties on this head, he is to remember that there is great variation in his power, within the ilri&eft limi¬ tation of rule, and under the fupport of authority from the antique. Wc have given in the figure the antique’ Ionic capital, and the fwelling or pulvinated freeze; but he knows from what we have obferved in treating of the order, that he has his choice to ufe the modern capital and the flat freeze, which he may adorn at pleafure with fculpture ; and in other refpedts add, without tranfgrefiing the laws of the fcience, much decoration. CHAP. OF ARCHITECTURE. HAP. VI. Of the ufe of the more elegant orders in doors. W E have obferved that the greateft decoration of doors is by means of the orders; and we have given inftances of the ufe of the two plainer illuftrated with fi¬ gures. The T ufcan we have declared in general leaft fit for the purpofe: therefore there remain to be confidered only the two more rich and elegant to be appropriated to this ufe. But before we advance to thefe, let us take a review of what we ufually fee fineft, as it is thought, in this way, of the prefent, or of a fomewhat earlier time. A plain opening left in the wall was doubtlefs the firft door-way; and it continues the plaineft : it were well if we could not fay, it would be to the advantage of many decorated entrances to good houfes, if all the expence could be removed, and the open¬ ing left naked as it came from the hand of the bricklayer. From the plain door-way, the advance to that ornamented with the lowed: order is by many ftages : and in all thefe there is fuch a thing as plain propriety, which only a vitiated fancy could tranfgrefs. The great error is that of crowding ornaments of a fuperior kind into a work of an inferior: this is as abfurd in the leaft things as the greateft. The capital of the Co¬ rinthian order put upon a Tufcan column, could not be more monftrous than the bring¬ ing in here the decorations of one kind to the plan in another. We have advifed that when the Doric with its beft proper decoration does not appear rich enough, inftead of adding what is unfit, the architect fhould chute the Io :ic y and the fame rule holds here univerfally : let the builder fee it in this light. If a door with an architrave ornament cannot be made rich enough by proper fculpture to pleafe the eye of the pofTdTor, let him not introduce into it the decorations appropriated to other kinds; but at once advance from that plan, to a defign with an order, and laying afide the other entirely adhere to this. There is nothing abfurd but from the mixture of improper parts; and nothing is ri¬ diculous that is not abfurd : therefore let him keep only propriety in his mind, and he will be fure to efcape cenfure. The plaineft door that has proportion in its di- menfions, and propriety in what is placed about it by way of ornament, will give fatis- fadtion not only to the judicious, but to every eye, while ill-judged ornaments raife con¬ tempt. Let it bean univerfal rule deduced from this principle, that where there are not columns introduced, there fhould be no refemblance of them. With what dilguft does the judicious eye look at that door where the conceit of the architedt has formed a half column out of fome of the mouldings, which running up to enclofe a compart¬ ment above the door, together with it, is fifteen diameters in height, and has a fancied capital to crown the ablurdity ? What contempt muft this unnatural Gothic piece of bufinefs raife in all who look upon it ? No. XLV. 5 X .If 44 6 A COMPLETE BODY Book IV. If the architect will have any refemblance of a column, let it be a column in due proportion ; a little judgment will diretf: how to difpofe the compartment above ; and lefs expenee than pays for this abfurdity will finilh the work with propriety. We fpeak here of an infide door ; but we are to tell the reader once for all that all our figures may be the models of doors, either for the outfide or the infide, as the con¬ dition of the building, and the magnificence of the rooms requires. CHAP. VII. Of the original decorations of doors . T HE original thought of decorating a door-way was no more than by a plain cafe of wood with a bead at its edge. The fharpnefs of the corner, or am lc of the brickwork was difagreeable, as alfo its roughnefs; addd to this it daubed the cloaths of thofe who palled in ; and being a fharp edge of a weak fubftance, it was broke and made irregular by every little accident. This put it in mens’ minds to cafe or cover it with board ; and the inconvenience of its lharpnefs made them cut a moulding, by way or bead or plain aftragal, all the way its length. Thus were doors ornamented in the earlieft times of building; and as they were then under the conduCl of men of true taftc, they were able to proportion the breadth of the wood-work to the opening of the door: and terminating at the extreme edge with another aftragal, there was a plainnefs, but ltill there was propriety and ule . and when thefe unite there never wants beauty to the difeerning eye. Upon this firlt idea of a door-cafe were formed all the decorations which we have feen introduced. The plain breadth of boards offended the eye, and the old architects carried up along its middle a feftoon of various contrivance. The oak leaves and fruit gave the firfb hint; the olive fucceeded this, and after¬ wards the vine : this gave a beautiful freedom from its ramping figure, which they knew how to reftrain with judgment; and from this they reached the acanthus leaf; in their judgment the heighth of vegetable beauty. From thence they began to diverfify the fefioon with fymbols and inftruments of facrifice, and thence they came to hieroglyphicks. As the plain cafe of the door received this ornament, the bead at its edge fwclled by degrees, by the addition of more and larger mouldings, to an architrave. Ti.i. was finely varied, and the freeze which crowned it at the top received all the decora¬ tions of fculpture given to the pannel. Thus OF ARCHITECTURE. 44 ; Thus far advanced, the orders were Introduced naturally; and here among thofe Ch? P' 7 ‘ great builders ended the decoration. They felefled the columns molt proper fr. - the occafion ; and they ufed them with the fame correS tafte in the door of an edifice of the lead kind, where they were admitted, as in the portico of their moft magnificent temples. Thus began, and thus was railed to its perfcaion, the decoration of doors among the Greeks and Romans. Here they flopped, for they had judgment; but the luxu¬ riant fancy of thofe who followed them, admiring their works, but wanting the tafte which regulated them, flew into every abfurdity that the whole fcope of things could afford. Of this we fee inftances in many expenfive works which fland, and will ftand, to difgrace our country: and we have models of them, and of others as ridiculous, pro- pofed for imitation, and publifhed, as the titles fay, for the inftruSion of builders’. We have feen architefture, a fciencc founded upon the founded principles, difgraced by ignorant caprice; and fafhion very lately has attempted, and it were well if we could not fay attempts now, to undermine and deftroy it by the caprice of France, and by the whims of Chwa. How muft a man of true tafte frown to fee, in fome of the beft buildings of that country, famed as it would pretend, for the encouragement of arts, Corinthian capitals made of cocks’heads, inftead of leaves of the acanthus ? And how muft one blufl, to fee this moft abfurd variation from the figure and defign of the antique, give to its in- ventor the glory of having added a fixth order. It is called the French, and let them have the praife of it: the Gothic lhafts and Chi- mje bells are not beyond or below it in poornefs of imagination. It is our misfortune to fee at this time, an unmeaning fcrawl of (C’s) inverted, turned, and hooked together, take place of Greek and Roman elegance, even in our moft ex- penfivc decorations. This is not becaufe the pofleffer thinks there is or can be elegance m fuch fond weak ill-jointed and unmeaning figures: it is ufually becaufe it is French- aud fafhion' commands that whatever is French is to be admired as fine: the two words (fo low are Britons funk) mean the fame thing 1 Let us propofe againft this poor unmeaning fantaftic figuring, the plain manly noble orders, which dignify the IWrftrudlures, and have preferved, more than two thou- iand years, the Greek remains, even in the countries of barbarians. Thefe, in fpite of this prevalence of fafhion, are never feen with us but they are admired. Let us make It a point to reftore their ufe; and whenever France is named, lay Greece before the eves of thofe who would have chofethe other model. If they will chufe it then, they de- Jerve no better. J While thefe French decorations were driving out, from the infides of our houfes thole ceilings which a Burlington had taught us to introduce from Roman temples and tho.c ornaments of doors, (our proper bufinefs here) which a better tafte under had formed upon the models of the beft Roman ftruftures; the Goths feemed to have feujed upon pavilhons, and the Chinefe on rooms of pleafure. The jointed co- 2 1 umns 448 ACOMPLETEBODY Book Iy. l umns rofe without proportion for the fupport of the thatched roof in fome lower ground, while bells dangled from every corner of the edifice that caught the traveller’s eye upon an elevation. True tafte and good admonitions have got the better of thefe; and they are left to cake-houfes forfunday apprentices: the French are more difficult to conquer; but let us roufe in every fenfe the national fpirit again ft them; and no more permit them to de¬ prave our tafte in this noble fcience, than to introduce among us the miferies of their government, or fooleries of their religion. Upon the moft impartial review wefhall find that nothing in greatnefs, or in grace, can compare with the Greek or Roman architedure ; therefore let us employ nothing in the place of them : and if any fuppofe it is a limitation of genius, in this article of the deco¬ ration of doors, to permit the ufe of no other ornaments, we are to tell him that he has little idea of what variations the antient practice allowed, and the remains of it will juf- tify. Whether he would enrich the architrave, or add the column, there lies under each head l'ovaft a fund of variety, that all the buildings his life can raife will never exhauft it, or give him caufe to complain he wants a new refource. CHAP. VIII. Of the ufe of the fanciful orders about doors . IT TE have allowed four orders as very proper for the decoration of doors, and cuf- V V tom has taken in the fifth ; for though we are far from recommending the 1 ’ufcan , there are thofe who will ufe it. Befide thefe the free licentioufnefs of fancy has in fome places called in the Perfian and Caryatic. The figure of a man, or wo¬ man, have been placed to fupport the architrave and freeze, inftead of a column of one of the regular orders; and there are inftances where it has been done with propriety and beauty. For onefuch, however, there are many where every thing about them is improper, abfurd, and difagreeable. We do not abfolutcly banifh the ufe of thefe fan¬ ciful orders, though we are far from recommending it; and as wefhall no where leave the ftudent without inftrudions for doing properly what we advife him to do at all, we fihall here lay down the general maxims by which he is to be governed. Let him firft confider the fize of the door, and the proportion of its ornaments. By thefe he is to be led to adopt out of thefe two orders that which will beft fuit his pur- pofe. The man, being the more robuft figure, is to be feleded where the door is large, and its ornaments are maffy ; the female figure for the lighter and lei's. As all objeds that reprefent pain difturb the imagination : let him therefore avoid the Common error of reprefenting the Perfian as if cruffied, and finking under the weight of the entablature. Let the head and fhoulders be ered; not, as is the common cuftom, tnruft forward ; nor let the face reprefent a Laocoon in anguifh, rather an Hercules taking the load from Atlas , and fhewing in his countenance how light it refted on his fhoulders. Ro- i OF ARCHITECTURE. 4 43 Refpe£ting the drapery of the figure, let him remember it is to be Perfmn. It mud ^ ^ ri P- Fall to'the feet with a graceful folding ; and the arms be fo dilpofcd that they be in no danger of accidents. An infide door is a place of continual paflage; and fculpturej in rooms where it does not exceed the human height, is liable to frequent accidents. This is not enough confidered in the decorations in rooms j we fcarce fee them a week porfeCt, and the lofs of a wing, or finger, is a very difagreeable fight. This then is the rule for the Pcrfian order. That the figure be robud ; that the dra¬ pery cover it to the feet; that the face be ferene, and the hands lecured j we fhall add, that in mod cafes it will admit, and in many it will require a pededal, and that this, well proportioned, will be a grace rather than an imperfection. If the door be of the lighter kind, the Caryatic is the better order. A female is the more graceful figure, and therefore whenever it can be introduced with propriety, it is to be preferred to the other. In this we are to remind our dudent of the lame general caution, that the figure do not feem opprefled, or in pain, that it be properly habited, and that the hands be not placed fo as to fall in the way of accidents. This is the general rule; but there are alfo particular cautions, which need the morfe to be inculcated here, becaufe they are too frequently tranfgreffed; As We have directed the Perjian figure to be fo made as not to fhock the humanity of our own fex; let care be taken that the female be fo decent as not to offend the rno- defty of the other : it is an idle freedom painters and fculptors have equally taken of re- prefeuting female figures almoft naked. Enough of the maftery of their art may be fhewn without this; and indeed they generally fail in thole parts they fo unneedfu.iy expofe. In this cafe'it is alfo againft propriety as well as decency : naked legs and uncovered breads, of all pet and for this reafon we fliall voter as far as needful into : . eoaft.u-tjou -a th, , ca- Con. Never let a pilafter be ufed to any door but a large and lofty one, for if there be any thing that takes off from the haifhnefs of the pilafter it is its height. Never let a pilafter that ornaments a door rife from the floor, but always give it ape- deftal. Tire laws of architecture admit that, according to the fancy of the builder, the (haft of the pilafter may be either plain or fluted; but in this cafe tile law of reafon is ab- folute that it mull not be plain. The round form of a column breaks the light fo agreeably, that plainnefs in it is not difadvantageous ; but it is not fo here : the plainnefs of a pilafter is abfolute flatnefs in every fenfe of the word. It offends the eye, and there is a poornefs in it never to be for¬ given. The angles of a pilafter always give dilguft ; their (harpnefs is harfti and un- plcafing ; this is never perceived fo ftrongly as when the ace of the pilafter is plain : this is therefore another reafon for fluting it. The eye being employed among the (lut¬ ings, and the lifts between them, does not fo plainly perceive the (harpnefs at the edge, which now feeins only as the edges of the lifts, or feparations of the flutings. They alfo diverfify the light and fhadow, as well as take off the harflinefs of the edge, and are thence calculated as happily as any tiling can be to hide the imperfection. Still, however, we are to obferve to the ftudent, that it is much more worthy his art to avoid imperfeflions than to conceal them : that columns are in his choice which are elegant even in their plaineft form ; and that there is no doubt which he is to ebufe, when left to himfelf on this occafion. When the pleafure of the proprietor interferes, he muft conduft himfelf according to the rules we have here laid down, which will' foften the harflineis of the pilafter. CHAP. '"-' f (Wl A Door of the Corinthian Order. El: 64. OF ARCHITECTURE. H P. xir. Of the uje of the Corinthian order in a door . T HIS rich and elegant order may be employed equally to the decoration of the great door of a hcufe, or to the door of an inner room of date. The delign we fubjoin in Plate LXIV, may anfwer either of thofe purpofes : and it is very finely exe¬ cuted in the outer door of the town-houfe, which makes the laft fubjedt in our third book, and is illuftrated by figure LXI. The ftudent will by that know to what kind of edifice fuch a door is properly adapted. It there ranges very happily with the Corinthian colonnade on each fide, and is no indifferent means of connedting that elegant part to the edifice j whofe ornaments in general are, in the front, below rather than equal to, that fine addition. In the defign we have given in this plate, the ftudent will fee how elegant a door is to be conftrudted upon this order, with the moil ftridt adherence to rule. The pro¬ portions in that figure are exadlly after the eftablifhed rules of Palladio ; and, as we have told him on other occafions, having that before him as a ftandard, he will be able freely and eafily to vary in many refpedts, in order to adapt the door to the houfe, to fuit it to the other ornaments, or to fit it for an inner inftead of an outer one. In the making an inner door for a room of ftate, the proportions may be obferved in every part exadlly as in this, and the fame capital ufed j yet there may be a great air of elegance and lightnefs given to the whole by fluting the columns. When they are fluted they will alfo, if he plenft* to introduce it, fuit a lighter capital than this: we have given him choice under the article of the Corinthian Order. With regard to the fluting, we have before laid down the various methods in which it may be done ; and have mentioned the ufe of cablings in the flutings, which is to pre¬ vent accidents and injuries to the tender edges of the lifts between the hollows, A door cafe is not out of the way of accidents, and therefore it will be very proper to cable the flutings to a certain height. This will preferve the edges, and it will give a diverfity to the afpedt of the column ; which, in a place where it is altogether ornamental, will have a good effedl. The hollow of the flutes in the upper part always looks the lighter for this filling of them underneath 5 and there is no way in which the Corinthian or¬ der better becomes an infide door. On the outfide we altogether prefer the plain Ihaft, as it is reprefented under this inftance in the figure. N®. XLVI. 5 Z CHAP. fmtss: 454 Book IV. A COMPLETE BODY CHAP. XIII. Of a door of the Composite order. /-•—SHE ftudent retains in his mind the characters of thefe two orders, the Cm ■ - ,1 Man and the Compofite ; and from them he will be able to judge, in general, of the work to be bellowed upon thofe doors in which they are ufed, and the manner of performing it. As the Corinthian is the lighted: of the orders, all the work that is employed in form¬ in'' and decorating the part m which it is ufed, mud be alfo light and lnewy. Now with refpedt to the Compofite, as the charafter of that order is abundance of or¬ nament, the fame mud be obferved in every thing about it. Every part of the order itfelf mud be decorated, and there fhould be no plainnefs in any part of the door-cafe into which it is introduced. We have edven a dedgn of a door in which this order is ufed: in this we have de¬ corated fome of the parts; and by this have pointed out to him what in general fhould be done in the others; leaving fome parts vacant that they may be decorated accord¬ ing to his fancy, and to the rules we fhall lay down in a fucceeding chapter. When we fpeak of decorating the Compofite order fo lavilhly on this occafion, the dudent will naturally think of its pededal. This always adds to its air of elegance, and the appropriated kind is in itfelf very graceful; but it is not to be ufed here. l he ornaments tho’ numerous, mull be appiup.iaicd not only to the order, but to the pre- fent ufe of it; and a pedeflal to a column in fuch a door-cafe is improper. We are fenfible there may be quoted inftances, under the authority of great names, to contradict what we have faid; but the reader is to remember what we have often obferved, that the greeted are not above error: and that the judgment of the profeffor of this fcience is no where fo ftriflly employed as in felefting from among the works of thefe eminent perfo'ns, what parts they are which arc excellent and Worthy to lie copied, and which they that fhould be avoided. There are none above faults, nor are any errors fo dangerous as thofe which arc fo fupported that they might become examples. A pedeRal to a Compofite column', when placed in a feries out of the reach of danger, and meant only for ornament, is a very fine addition in refpeft of elegance ; but a pe- deftal to any column placed by a door of this kind is wrong. It breaks in upon an aper¬ ture whofe outline fhould be perpendicular and uninterrupted ; and as the height of the door cannot be very great, this pededal occupying the lower part to fo much of the height, makes the column necellarily (hort, and confequently too final! for either dignity or true proportion. The *0V/‘ r circular; and where there are feveral windows in a range thus ornamented, the common practice is to make them alternately round and pointed. This is fupported on ftflkient autho¬ rity tho’ it might be liable to the cavils of drift rule. In no cafe let the pediment be broken, or open at the top. This, tho’ fometimes praftifed, can never be judified. Some who have feen pediments broken in the in- fide finifhings of rooms, to admit a bud, or other ornament, have transferred the prac¬ tice to the tops of windows ; not regarding that they were without. In the finifhing of rooms fancy mud be allowed its liberties; and there is nothing in that ufe of the broken pediment which contradifts reafon ; but when we lee it on the outfide of a houfe the eye is difguded. The pediment has its ufe, which is to throw off the water ; and in thefe cafes the architeft feems to have opened it purpofely to let it in. This is deftroyilig the ufe of a thing, under the notion of beautifying it; a prac¬ tice reafon abhors. The pediment may feem fupported by a fcroll; and this, tho’ of no real ufe, yet has an appearance of it, and adds to the gracefulnefs of the whole. This being adjuded, the upper part is finifhed ; and we may therefore return to the pededal. Its encreafe in breadth we have named ; but that, unlefs fome farther care be employed about it, indead of adding to the decoration, will make it appear plainer by fhewing more of the die. Therefore to fuit it to the red, let there be added a baluftrade of the breadth of the aperture. This will give an air to the bottom proportioned to the top, and the whole will be not only elegant but uniform, cure of Plate LXVI. Such a window will he feen in the fecond fi- Lad among the decoration of windows, without the addition of the orders, we are to confider the effeft of fculpture in the mouldings ; in our fird indance we meant to reprefent the plained of thefe kind of decorations, and in fuch a one fculpture could find no place. In our (econd defign the addition of a pediment with its fcrolls render OF ARCHITECTURE. 463 any other kind of decoration needlefs ; and it is therefore in a third kind we are to exa- Chap. 18. mine its ufe. '- - J We will fuppofe the proprietor thinks our firft window too plain, and our fecond with its pediment too heavy : he is not willing to admit the orders, and he requires a richer ornament. The purpofe muft therefore be to make a light and elegant w.ndow: this is the proper ufe and delign of fculpture on the prefent occafion. The contour of our firft defign was plaiil, and the outline of the architrave perpen¬ dicular; this gave it the air of fimplicity which we intended as its character : in this, Which is to be more ornamented, let the outline fwcll gracefully at the bottom, and projedl in a fquare form at the top : this gives that uneven line which is efiential to beauty ; and if a row of fculptured ornament be carried round the edge, there is a ve¬ ry decent and pretty addition. To receive this fwelling in breadth at the bottom, the pedeftal muft be extended ; and, to fuit this to the whole, there muft be a baluftrade as in the other cafe. Thus will rife a beautiful and light window, proportioned and uniform. A defign ol fuch a one we have given in the third figure of Plate LXVI. beforementioned. CHAP. XVIII. Of windows with the orders, W E have thus carried the decoration of windows without columns as far as it ought ever to go : whoever is not content with this degree of ornament with¬ out them, fhould not think of adding to it in the fame way, but fhould altogether lay afide his firft plan and admit them. This is correfpondent to what we have Paid on the fubjed of doors; and the rule is univerfal, that when a certain degree of ornament, without the ufe of columns, will not give fatisfadion, then farther ornament of the fame kind is not to be fought exclufive of them, but they are to be admitted. Thus, in the prefent cafe, if the plain decorations of architrave freeze and cornice, the addition of the pediment, or the ornaments of fculpture, do not give fatisfadion, let no falfe foolifh and fantaftic decorations be added, but at once admit an order. We fhall confider firft the plaineft, and afterwards the more rich, in this employment. The orders here, as with refped to doors, are properly reduced to four, for the Tuf- can fhould have no place. The Doric is the plaineft that fhould be ufed, and we fliall begin with the adding it to a fimple window. CHAP. XIX. Of the ufe of the Doric order in a fimple window. r“gr^ O underftand what we propofe in the addition of the Doric order to a plain win- Jl dow, let the ftudent turn to the deflgns we have juft mentioned as reprefented in our figures. Thefe are the three moft graceful forms of plain windows, and he will eafily determine to which of thefe, in the general idea, the Doric order may be added ; or, in more proper terms, which it is of thefe from which, with the addition of an order, the moft graceful window may be formed. Not 164 A COMPLETE BODY • • >k IV- N .: from the firft, '. ecaufe its narrow ornamei t gi • room for columns; not to the third, becaufe the outline is not fuited to the upright pofition of them; and its carved work would be obfcured and buried by them : therefore the fccond figure gives the beft general form for the combination with an order. There is in that a propor¬ tioned breadth and a majeftic plainnefs; and there is a good pedeftal for*the columns to reft upon. Let the reader underftand this properly : we do not mean that, in order to make a Doric window, he is to add columns to that exadt figure; but, as thefe columns are an additional ornament, there fhould be the idea of apian formed for them, and it fhould be fomething in this kind. Therefore let him entertain this notion of the general form, and upon that proceed to the work : let the window be of a fufficicnt breadth, and the columns terminate the outline on each fide; and, for two realons, let there be a pediment at the top : it ferves to make the height proportioned to the breadth, and it gives the columns fome¬ thing to fupport. This being determined, nothing remains but to execute the plain order in its true proportions, and with its proper ornaments. We have advifed the ftudent never to think of a pedeftal to any column placed at a common door ; but here, whatever the order be that is railed, a pedeftal is a natural and proper part. The window is, and muft be fupported to a certain height above the fafeia on the outfide, which anfwers to the floor within. This fupport is naturally a pedeftal of the breadth of the window and its ornaments. In this cafe, where the window receives fo much decoration, the pedeftal mull alfo have its ornaments: thefe, we have fhewn, naturally are a baluftrade of the breadth of the aperture ; and this, being terminated on each fide by a plain piece of the breadth of the window-cafe, leaves juft a proportion on each fide for the real anti proper pede¬ ftal of the column. This is a very obvious ufe of it; no one could think of putting it to any other, and all that we can add is, that as the Doric is the order here employ¬ ed, this pedeftal muft be the proper one for the order, as we have explained under that head. This pedeftal muft terminate in its height exactly at the level at the bottom of the window, and upon this muft be raifed the column with its bale. The ftudent has his choice of different bafes for this order, all eftablilhed by great example, or authority, as we have fhewn ; but in this cafe there is none fo proper as the Attic. We fhall propofe the columns to be eredted in all the noble fimplicity of , their plainnefs, and this bafe has in it a purity and dignity which happily became that purpofe. The bafe being fet on its plinth, and finifhed in its proper meafures, let the fhaft be railed to its true proportion ; its height muft be that of the aperture of the window, and it muft have its exadt diminution. The plain cafe between the outer edge of the aper¬ ture and the column, will, in this cafe, fhew its natural diminution in a very perfedt and very happy manner. 7 The OFARCHITECTURE. 465 The capital muft be that of Palladio ; and the neck may, at the pleafure of the fcul- Chap. 20 ptor, be either plain, or decorated with rofes. But of this we fhall prefently fpeak ' ~ Y '' ' farther; for tho’ the choice is left to fancy, all fhould be uniform, and therefore there are cafes in which the judgment fliould dired him to the one, and others in which it fhould guide him to the other. The architrave being fupported immediately upon the capital, over that comes the freeze; as to the firft, the archited has nothing to do but conform exadly to rules, and make it as direded under the head of the Doric order : but in the freeze he has three choices. It may be left entirely plain, or it may be ornamented with its triglyphs ; or, finally, there may be decorations in the metopes or fpaces between. This gives a confiderable variation in the article of expence ; therefore a defign in each way (hold be laid before the proprietor, that he may make his own choice. The leaving the freeze of the Doric plain is wrong; for the triglyphs are confidered by all true judges as an effential part of the order. It gives the Doric an air of Tufcan when thev are left out, and he muft have an ill tafte who defires to reduce the appear¬ ance of a fuperior to that of an inferior order ; or who would make the Doric , which is very proper on thefe occafions, reprefent the 'Tufcan, which is unworthy the office. Therefore, tho’ cuftom allows the choice of thefe three methods of conftruding a Do¬ ric window, judgment ought to reduce them to two. The plain freeze fliould be re- jeded as improper for the order; and it remains to add the triglyphs and leave the me¬ topes plain, or to add figures, or pieces of fculpture, in thofe fpaces. In this the proprietor Is the only proper judge, but the addition of fculpture in the metopes is always worth the expence. On the determination of this point depends the lefter article concerning the neck of the column; and the rule fhould be this. If the order be conftruded with the me¬ topes plain, the neck fhould be plain alfo : but if there be ornaments in the metopes, there fhould be rofes in the neck. Over the freeze rifes the cornice, and this is crowned by the pediment: thus is conftruded the Doric window in its plaineft form, and thus we have reprelented it Plate LX VI. Fig. 4. C FI A P. XX. Of the projection of the columris in a plain Doric window. T HERE yet remains a particular concerning the columns in this kind of win¬ dow, which demands a diftind and feparate confideration. The common ar^ cliited fuppofes the degree of their projedion to be left wholly to fancy; and he ne¬ ver examines it by any other law : but let the ftudent whom we lead to the regular principles of the fcience, confider what are called the leaft things diftindly; he will often find them not fo little as imagined, and this is one inftance. We have obferved before, that the more a column ftarids out, the more graceful i t appears; and it is an undoubted truth, that it never looks perfedly well, but when entirely free of the wall. N°- 47 - To 4 66 A COMPLETE BODY Book IV To make this Doric window with its full degree of beauty, the columns lhould '«•— v -' therefore projeft their whole diameter upon the quoins. This will not only give an air of freedom and dignity to the column itfelf, but it will be a means of difpofing the triglyphs much more happily than they poffibly can be managed in any other degree of projection. Thus when the projeflion is of the whole diameter, the triglyph will Hand in the return exaftly in the fame manner as in front, over the columns. This will give great propriety and beauty : and, by projefting three fourths next the aperture, the triglyph fhews alio its whole figure there in the return. By this method, no part of the triglyph, or of the metope, will be broke in the angle. This is a point to be confidered very exaflly by the architefl who knows the depth of the fcicnce. HAP. XXI. Of executing an Ionic window plain. R O M the Doric , the plaineft order that lhould ever be employed about a win¬ dow, the next advance is to the Ionic : and if the defign of fuch a window as we have given do not anfwer the proprietor’s intent of richnefs, let nothing be added far¬ ther than the decoration of the metopes; that not being fufficient, the advance fhould be to a fuperior order. The Ionic offers next, and is fecure of great beauty. This the archited muff con- fider as an advance in ornament; and he lhould rife modeftly in the additional decora- tions. With refpeCl to the pedeftal, let the baluftrade lie as in the other inftance: let the proper pedeftal for the columns be that appropriated to the order to which they belong j and let fome breadth be added beyond it on each fide by way of grace. In the Doric window the outfides of the columns tei minated the outline of the whole, but in the ufe of the Ionic there will he a great deal of beauty added by placing a feeming pilafier behind each column. The capital of the pilafier, (the order being the fame, and the conftrudlion alfothe lame,) will agree very happily with that of the co¬ lumn j and this gives a breadth of the fuppofed pilafier alfo, beyond the outfide of the column, in the outline on each fide of the window. This fhews the necefhty of an encreafed breadth in the general pedeflal at the bot¬ tom of the window ; and this addition on each fide is to be wrought as the proper pe¬ deflal of the pilafier, and will in that way perfectly agree with the reft, and give a great deal of beauty. With refpedl to the conftruftion of the order for this ufe, we by all means recom¬ mend the (haft to be plain, and the capital the antient Ionic. Great variety may be given by introducing thofe feveral variations which we have fhewn the ftudent may be ufed, when we treated of the Ionic order ; but in this inftance we propofe it in the plaineft form, and it will be found by no means deficient in beauty. We fhall advile the ufe of the fwelling freeze on this occafion, and the covering it with a circular or arched pediment, in which the modillions of the cornice will correfpond with the ge¬ neral form of the reft, and give a very fedate and pleafing afpedlto the whole. A OF ARCHITECTURE. 467 A defign of an Ionic window thus conftrudted will be feen in Plate LXVI, Fig. 6. Chap. 22. and its feveral ornaments will no lefs happily correfpond with one another in the work- ing, than they do there upon the paper, to make a beautiful regular and well-propor¬ tioned whole. CHAP. XXII. Of conftruSiing a plain window in the Corinthian and Composite order. W E have yet to confider the manner of ufing the elegant and rich orders in this purpofe of decorating windows; but what may be needful to be laid before the ftudent on thefe heads, will be comprifed in the fewer words, as we have at large ex¬ plained the fame principles in the two already mentioned. The Compofite may be fuppofed to rife in decoration above the Corinthian , as the Io¬ nic above the Doric ; and upon this Tingle thought will depend the general idea of a conftrudtion of a window, with the afiiftance of one or the other. When the Corinthian is to be ufed, let the ftudent turn his eye to what we have laid down refpedting the Doric: the richnefs of the order need make, in this refpetft, no difference in the defign. Let him raife the column to terminate the outline of the win¬ dow on each fide ; let him fupport it on its pedeftal, and finifh it with its appropriated ornaments; and at the top raife a pointed pediment. There fhould be a baluftrade uuderneath to the breadth of the aperture j and fomc light but handfome carvings may be carried round the mouldings that encompafs the aperture. This will agree with the proper fculpture in the Corinthian freeze 5 and thus there will be finilhed a proportioned and elegant window. We have reprefented fuch a one in a defign in Plate LXVIT, Fig. 2. This will be in reality the mod light and elegant of the two more enriched kinds : but as the Compofite has naturally more decoration in the order, it mud be proportioned to that throughout the whole. In the conftrudting a plain window of this kind, there fhould be put pilafters behind the columns ; and this infers all that is needed in the difference of the conftru&ion. As the body of the pilafter fpreads on each fide behind and beyond the fhaft of the column, the pedeftal muft, in the fame manner and pro¬ portion, be continued beyond that of the column. This gives the additional breadth ; and a pointed pediment is a proper finifhing. A defign of a Compofite window upon thefe principles will be found in Plate LXVII, Fig. 5. CHAP. XXIII. Of Vfnetian windows . W E have led the ftudent now through the whole confideration of plain win¬ dows, with their ornaments ; from the fimpleft and cheapeft, to the richeft and moft expenfive : and we are from thefe to advance to the Venetian , a kind calcu¬ lated for fhew, and very pompous in their nature; and, when executed with judgment, of extreme elegance. They may be made upon feveral plans,- and all elegant; but their heft forms arc thofe we have reprefented in Plates LXVI and LXVII. 6 With 46 S A COMPLETE BODY Book IV. The Venetian windows take their proportions from the middle aperture, whofe height - I fliould always be twice and one half its breadth. Being divided into three parts, fometimes one of thofe three parts is found convenient for the tide openings; but where a confiderable body of light is wanting two mutt be given to the breadths of the fide apertures. It is a common pradtice, and a common error, to make the fide openings one half of the middle; and this is attended with a great inconvenience in dividing the fafh fquat'es : the principal light thould be divided into three parts for the fquares, and the fide light fliould be either one or two of thofe parts; but where a very large Venetian window is required, another proportion, different from thefe, may take place : let the middle void he divided into five parts, two of which give to each of the fides, and the fquares will be all equal. Of Inside Decorations. T - IT AVING finifhed the confideration of plans and elevations of edifices, and, as we hope, led the ftudent in a pradtical manner, from the defigning to thcraifing his fabrick in a proportioned manner, and dividing it for ufe and elegance into rooms, we now advance to the infide decorations. Thele principally regard three articles; the fides, the ceiling, and the chimney. Under each of thefe heads we {hall lay before him many new defigns fuited to va¬ rious degrees of expence and elegance ; we {hall begin with the decorations of the fides ; and, after fome plainer and lefs expenfive defigns for this purpofe, we (hall Igy before the curious eye fome which do honour to the name of Inigo Jones , and to which, we flatter ourfelves, the hand of Mr. Fourdrinier will do juftice in the execution. C H A P. I. Of decorations for the fides of rooms in general. TWAPER has, in a great meafure, taken the place of fculpture upon this occafion ; jL and the hand of art is banifhed from a part of the houfe in which it ufed to dif- play itfelf very happily: but we flatter ourfelves that a juft reprefentation of the fu- perior excellence of the other, will reftore to the fculptor this proper, and once great part of his province. We {hall, in this place lay before the reader two defigns, the one plainer, the other fomewhat more enrich’d ; and when he has thus formed a general idea of the intent and purpofe of this decoration, we {hall proceed to an explanation of the feveral parti¬ cular parts. The Pl:(?8. vSffi&gcFj. v O F ARCHITECTURE. The decorations of the infide of rooms may be reduced to three kinds : fird, thbfe in which the wall itfelf is properly finifhed for elegance ; that is where the materials of its lad covering are of the fined: kind, and it is wrought into ornaments plain or un¬ covered j fecondly, where the walls are covered with wainfcot; and thirdly, where they are hung; this lad: article comprehending paper, filk, tapedry and every other decoration of this kind. In each of thefe methods, there is fome advantage and fome inconvenience. In ge¬ neral, the ducco rooms, which are thofe where the wall is left naked, but ornamented in itfelf, are cold ; thofe wainfcoted are naturally warmer; and thofe which are hung warmed. The ducco room, when heated, becomes the hotted of all ; and the wainfcot hot¬ ter than the hung. Thefe are general rules which may afford fome direction in re¬ gard to the choice of either kind, for in each there are conveniences; and the prudent architect mud confider that one fort is fitted for one fort of fervice, and another for another. Too often thefe things are left to fancy ; but there is a method of conduc¬ ing them with judgment. After the confideration of heat comes that of light; and this ought to be as much regarded in chufing the kind of room bed adapted to the place and purpofe. Other confiderations being equal, a wainfcoted room, painted in the ufual way, is the lighted of all; the ducco is the next in this confideration, and the hung room the darked. This depends upon the plain principle that the mod even furface will refled: mod light; and this is feen by night as well as day: a room of the fame dimenfions, which* if wainfcoted, will take fix candles to light it, will in ducco require eight, and if hung ten. For thefe reafons where the archited is confulted, let him give his motives for his particular choice: where the light is dronged, let him propofe hanging, if he ever propofe it at all; where it is fainter, ducco ; and where it is lead of all, wainfcot. In the fame manner let him condud himfelf with regard to the confideration of heat: and his proprietor will then find, that he has to deal with a perfon who weighs every advantage, and underdands that greated of all articles, in this matter, the appropriation of ornaments. Of the three kinds we have named, the granded is that in ducco; the neated that- in wainicot; and the mod gaudy that in hangings. This will be a farther guide to the archited in his choice; for there are apartments in which dignity, others in which neatnefs, and others in which fhew are to be con¬ fulted. 6 D Fcx N°. XLVIII. 47 o A COMPLETE BODY Book V. For a noble hall, nothing is fo well as ftucco j for a parlour, wain foot fcems pro- v^orx^ pereft; and for the apartments of a lady, hangings. All thefe are to be confidered, we deliver them, as general rules, but by no means univerf.il. There may be occalions to difpenfe with them frequently in practice j and thev mav be fo dilpcnfed with without impropriety ; but Hill, tho’ not without ex¬ ceptions, they are general rules; and it is fit the young architect fliould be reminded of them. We judge this the more necefTary, becaufe we fee them frequently violated without caufe, by thole who have not that plea of excufe : this confideration, we hope, mav be a means of preventing it for the future. HAP. II. Of the fraElice of the aniients in decorating their rooms . ri^HERE is no article in the fcience of architecture, in which we may not re- JL ceive inftruCtion from the practice of the antients. They were the firft and great inventors; and we read in thofe remains which the malice of time has fpared, eve¬ ry where lefTons of improvement: the hiftory of architecture has not been written by any j but there are not wanting materials for fuch a work ; and thefe we fhall employ here, as in the preceeding refearches. In all the antient ftruCtures we fee a dignity which is not fo much as attempted in thofe from modern hands j for our ambition runs in another channel. We facri- fice the noble to the pretty j and had rather what we finifh fliould be called fine than great. The antients were of a contrary turn ; they admitted ornaments, but without luxu- riancy. They never indulged fancy at the expence of judgment, and they confidered firft the eflential parts: they began with plainnefs, and they advanced to decoration. The original infide finifhing of a room was its wall, well covered with a plaifter. This they made as fine as our ftucco,tho’ of other materials ; and the nature of the com- pofition rendered it more durable. Their covering was no other than mortar; but it was mortar tempered with the labourer’s fweat. They chofe the fineft and the founded; (tones of the limey kind - r they burnt them with an exaCtnefs unknown to us ; and when they had ieledted the other ingredients as carefully, as they had prepared this, the mixture was blended in its minuted: parts by repeated toil. This we have treated of before, and refer to our firft chapters for the particulars . but it was by this repeated labour that the feveral parts became fo united with one an¬ other, that the mortar was as if a natural fubftance. Stones OF ARCHITECTURE. 47 * Stones are formed of cryftal and earth, or fpar and earth ; but nature’s flow and Chap- 2; careful operation blends them fo that neither earth, nor fpar, ncr cryftal appear; but a '' Y * fubftance different from all, andfeeming as original as either. Thus it was with the mortar that fupplied the place of ftucco for the antients. This they laid on while the walls were frefti; while the mortar which joined the ftones, or other materials, was moift; and before the ftones or bricks themfelves were too much hardened. They laid it on with the fame patient induftry that had been employed to make it; and thus uniting with the ftone and with the mortar of the joints, it became one folid mafs with them ; at once a finifhing of a room, and a part of a building. Thefe were the firft coverings of the Greeks ; thus rofe the ftruiftures of Hyperbiui at Athens , improvements of the rougher works of Doxius j and thus the antique prac¬ tice formed itfelf. The walls were covered and made plain; and thus the fathers of our fcience firft contented themfelves: but while the fucceeding geniufes directed or¬ naments without; while columns rofe and porticos were formed, the infide could not be negle&ed. H P. III. Of the introduElion of columns into roojns. A S the ftucco wall, if we may call it fo, was the firft invention, it admitted of thtf earlieft improvements; columns, fo graceful on the outfide, were foon brought into the great apartments of magnificent buildings; and behind thefe the plain wall fhewed ungracefully. The antient eye never failed to fee what was required for uniformity. The bafe and capital of the column, which at firft (hewed the flatnefs of the wall in fo ill a light, pointed the general method of improvement. The bafe of the column Was continued round the room, at the fame height in the wall, with a decent projection : this gave the whole a look of general refemblance. The columns were notiluck in the room, but connected with it; and the fimilarity of ornament was pleafing and fatisfaCtory* The entablature of the column was continued over the intercolumniation, and the whole feries thus joined in a regular body. This filled the eye with fatisfa&ion, when it looked from the inner part of the room upon the columns; but when it was caft upon the wall behind, all were again an unproportioned plainnefs. The eve of an Hermogenes could not bear this, and the remedy was eafy : the fame courfe that had been followed in the lower was copied in the upper part of the room, and the whole entablature, being hung from the ceiling, was fupported by a continued ornament refembl’ing the capital of the order, whatfoever that was. Thus 111 Book V. Thus Epimenides decorated the fuperb hall he built for the reception of the Grecian —w J dates; and thus were harmony and proportion at once obferved, and parts introduced correfpondent to the whole. CHAP. IV. Of the introduBion of pedefials in the finijhijigs of rooms. 1 ? UTURE geniufes faw what might yet be added : and a different difpofition of JT the columns gave origin to new decorations. The top and bottom of the wall being decorated the whole was underflood to be fufficiently connected, while the fo- ber Doric was the order ufed on this occafion : but when the Ionic came into its place more was required. The fpace between the ornaments, correfpondent to the bafe and cornice, appeared too blank, and in the centre of each intercolumniation there was cut a nicb, in which was placed fome ftatues. This added to the expence, but the improvement kept good pace with the charge. It is not eafy to conceive what would be more elegant in a magnificent hall than fcreens of columns with their ornaments continued round the walls, and niches with ftatues in the centre of each intercolumniation. Here flopped for fome time the finifhing of rooms of ftate; but an eafy and natural addition followed. The chafte tafte of the old Greeks did not admit the ufe of pede- ftals, but fancy quickly introduced them without doors ; and they were then brought into thcfe decorated apartments. Wherever thefe were ufed the mouldings of their cap were continued in the fame manner round the wall with their due projection. CHAP. V. 'The origin of the ornaments in j>lai?i rooms. W E have traced to their origin the molt elegant of the Greek ornaments in rooms; and having found by what degrees and what advances they were in¬ troduced and added in thefe magnificent apartments, we fhall ealily fee how the like decorations were brought into plainer rooms ; that is, fuch as had not the dignity of the column as a part of their embellifhment. Take away the columns and this was done. The ornaments introduced upon the wall to make it correfpond with the orders, were found in themfelves very agreeable, and they were ufed without the columns. 6 This OF architecture, 473 This was the origin of the infide finishing of apartments: and to this it is neceflary the Chap, architect always adhere. ^ The antient builders foon brought the decorations-of the more magnificent rooms into fuch as, though elegant, were in their nature of lefs dignity, and compleated upon a lefs expensive..plan. They underftood .an or-der duly proportioned to be a very- good meafurefor the parts of the room ; and'havingfeen columns where they were, they carried them in their imagination where they were not; and formed the decoration of the plainer, juft as they had done that of the more magnificent rooms. On the lower part of the plain wall 'they raifed from the floor the bale of a pedeftal, which they continued all round ; this was the firft ornament : from this the wall was continued in its natural plainnefs to the height of the die of the pedeftal; and there was raifed the cap with its proper mouldings. From hence the wall was again carried up plain to the upper part, where they aL- lbwed a cornice. They did not in thofe rooms where there were no columns continue the whole refemblance of the capital and entablature, becaufe that, although very proper for con¬ formity where there was that kind of embelliflunent, yet in thefe plainer rooms, would, have been too much : therefore the pedeftal with its mouldings being continued round the lower part; the cornice of the entablature, anfwered it at the top, and thus were nnilhed thefe their plain apartments. This is the original idea of the infide finifliing of a room ; and this our builders re¬ tain, or fliould retain to this day ; but, between the Grecian accuracy and their incor- re&nefs, there are many degrees of error. Thofe who devifed this ornament for walls always proportioned the order to the height of the room ; and adapted its feveral parts one to another. We now fee a Corin¬ thian cornice to a room whofe pedeftal is Tonic ; and ornaments and liberty in the other parts: this is an idle trangreflion of the original practice; and we fhall caution our ftu- dent to avoid it with due- care. The general rule is this; that he firft proportion the order to the room; and of thefe the Ionic is moft generally to be recommended : after this let him take care that the cornice anfwer to the pedeftal; and that both be executed with truth. This gives a farther rule for his conduct: as the order is preferved in the feveral parts of the walls, nothing unworthy of its dignity fhould be admitted in the other de¬ corations. The ornaments of fculpture are appropriated to no particular kind; therefore with a juft tafte they may be introduced any where ; and the only rule is, that where moft of this decoration is intended, the ornament of the walls be taken from a fupe- rior order. Let this banifli French, Chinefe, and Gothic decoration, equally mean and frivolous, equally unworthy a place where the feience is obferved, and equally a difgrace to the tafte of the proprietor. Let all be of a piece, and all will be proper. ^°- 4 8 - 6 E CHAP. Of decorating the upper part of the wall. E EC E introduced the ufe of the pedeftal and cornice for an infide finifhing; and in her plainer apartments this was all: in thole which received the addition of columns, the ufe of (tatues placed in niches was added, to fill the whole, and give an equal grandeur to all the parts. There remained a third kind of room beneath the dignity of the latter, and above the plainnefs of the former ; and for this fome new decoration was to be confidered. Niches and their (tatues were referved for halls with fereens of columns; and there wanted fomething in the elegant apartments that Ihould anfwer the purpofe of thofe ornaments, in a lighter and lefs expenlive manner. Here came in the painter j for he was prior to the fculptor in the decoration of this part. In rooms intended for this delicacy and (hew, their height admitted, and elegance required, the introduction of a higher order. The Corinthian was taken. Its cornice in all its proper beauty enriched the top, and its pedeltal was in the lower part projected forward in different places j and deco¬ rated with the compartments they allowed its die. Thefe, while they gave a new beauty to this part, (hewed the plainnefs of the up¬ per divilion in a worfe light; and here the painter filled up the defeCt: with his three colours he (truck out compartments correfpondent to the ornaments of the enriched pedeltal; and in thefe he, in the fame great manner, reprefented to the pofiefTor’s eye fome aCtion of an heroic anceftor, and filled the vacancy with a fecondary life. Genius fupplied all here ; the knowledge of the painter made amends for the coarf- nefs and imperfection of his materials : and hiltories role tn every compartment; of which the belt idea we can form will he drawn from the Cartoons of Raphael ; tho’ very faint refemblances ot their greater pencil. C H A P. OF ARCHITECTURE; H P. VII. Of the modern decoration of rooms, deduced from the antient praBice. T HUS was the article of finithing and decoration of rooms firft devifed ; and the great care was to give an equality of ornament: no part was to be crowded, none left vacant; and this we are to imitate. To what the painter had devifed fucceeded the fculptor ; he threw in ornaments in the richer apartments within the circumference of the pannels; and where lefs ele¬ gance was required, the pannels themfelves were judged fufficient. Thefe were made of the fame plaifler with the mouldings of the pedeftal and cor¬ nice ; and the pannelled ftucco rooms thus rofe upon the idea of thofe with painted compartments. This we have followed in fome places; and upon this is founded our general pian of decorationi When they placed in the compartments pictures of great confequence, they decorated their edges with fculpture along the mouldings; and in the fmaller they hung feftoons of flowers : all this our people copy, without knowing whence or why* for the modern architect knows nothing of the Grecian practice, but treads in the bare fteps of his predecefior. Errors and abates have been hence introduced ; and thefe we hope, by reducing the whole practice to its original ftandard, to banilh. We follow the antique pradtice j but let us follow it ftridtly : pictures and glafles, our fafhionable furniture, may be difpofed more happily in thefe compartments than any other way : and nothing prevents, that while we decorate the richer apartments with fculpture, we follow the pradtice in the reft by pannelling. A confpicuous fide of a room is that in which a chimney is placed, and this requires a particular decoration. How the chimney-piece may be conftrudted in various manners we (hall fhew in a lucceeding part of this work j but whatever method be Followed, a principal compart¬ ment fhould be raifed over it to receive a pidture. This will be very happily terminated by a pediment; and as we have obferved that there is no objedtion to an open one within doors. It may be broken to receive a buft, a ftiield, or other decoration : and as this can reach only to the chimney-piece, which muft be a great deal above the height of the pedeftal, the compartments, or pannels, on each fide being brought with" in a fmall fpace of the pedeftal, will give a pleaflng variety. Another BODY Book V. Another fide of a room we will fuppofe receives a large glafs, and the difpofition >—-v- - of this is eafy. The principal compartment is to be formed purpofely for it, and the Tides of it decorated with two fmaller pannels, of the lame height, but narrower ac¬ cording to the ditncnfions of the room. Over the door there is a fpace for tower pannels, unlefs where pediments intercept them. In this latter cafe the pediment fliould be opened to receive a figure that will fitlv occupy the place : in the other the whole is to be ornamented with a compart¬ ment in ftucco or wainfeot, according to the conflru&ion of the room ; and if not pictures, feftoons fliould be the ornaments. According to the intention of more or lefs decoration in the apartment, the mould¬ ings of thefe pannels or compartments may be left plain, or ornamented with fculpture ; and where the fhape of the room, and neceffary ufe of the principal panncl in a fide, has occafioncd there fliould be two very narrow ones, nothing gives a greater beau¬ ty than the dropping down each a long fefloon Thefe principles of the finilliing of rooms we have endeavoured to illuflrate to the eve of the pra&ical ltudent, by the deligns in the annexed plates, fuited to dif¬ ferent degrees of expence. We have in thefe endeavoured to fliew him how plainnefs may be ornamental, and by what eafy means he may rife from thence to decoration; what thefe firfl plates reprdent is all of the more moderate expence, but we fhall not leave him unacquainted with the v inous methods in which, where he defignsfor a proprietor of tafle and for¬ tune, he may add thofc things which will equal the magnificence of their owner’s fan¬ cy ; either by following the rules we fhall lay before him, or the pra&ice of one of the. greatefl mailers in the fcience our country has produced, which we fhall reprefent in a very happy inflance. CHAP, OF ARCHITECTURE. 477 Chap. 8. H VIII. Of fitting the ornaments to one another . T H E architect may very frequently defign an elegant fide of a room, which yet may be improper for the place, or difagreeable to the reft of the ornaments. The remedy for this is to reduce no part into practice, till he has upon paper defigned the whole together. Architecture is not the only art in which men of genius have ran into this error ; and it is indeed the common miftake of young men, whofe fancy is at its height while judgment is in its infancy. We fee, in the works of fome indifferent poets and orators, paffages that would have been worth a place in the writings of thegreateft, had they been applied and introduced properly; had they been of a piece with the reft, and a part of the whole: but as they ftand they are detached fentences, which no man of judgment ever admired, becaufe fuch have an univerfal rule, that nothing can be elegant which is not proper : it is fo in architecture. A room of the ufual conftruCtion has four fides, or two fides and two ends; and It will difguft the eye if one fide have ornaments, though ever fo handfome, which do not colrefpond With thofe of the other. This is a miftake fo very obvious, that one would fuppofe none who deferved the name but of the meaneft architect, could fall into it; yet we fee it has been praCtifed by fome of better credit: nay there is an inftance of one who pretended to juftify it, by afking, Whether a man could fee before him and behind him both at once ? It is needful therefore fo name thefe faults, grofs as they are, for the fake of cau¬ tion ; fince there is not any thing fo abfurd but fome have run into it; and there is nothing that has been done in a good houfe but fome will copy. When a defign is therefore made for the finilhing of one fide, let it be placed on paper in its lituation ; and let no farther regard be (hewn it till the others are delineated. In thefe let the (Indent have all along the firfl in his eye, and let him contrive the fa- fhioning of them to its refemblance. 'Iliere are inilances in plain rooms where this will bring no difficulty; for where the parts are alike, their decorations may alfo be alike in all the fides ; but this is by no means univerfal: the difpofition of the doors, the fituation of the windows, and the place of the chimney, are to be regarded. All thefe together, or even any one of them, may be an occafion of varying the dimenfion and form of the pannels and com¬ partments ; and fomething may arife from this neceffity which makes it impoffible to accommodate the three fucceeding to the firfl defign. N-. XLIX. 6 F What 478 A COMPLETE BODY Book V. What mud be done in this cafe is very plain ; but it would have been too late to find it out if the architect had before put in hand his defign of a firft fide. The drawing vs ill fh ew where they difagree, and reafo.n will point out the method for a remedy. Where the three fides cannot be made to anfwer the defign of the firft, that mult be altered to accommodate it to them : this way all will be reduced to propriety, and the defigner will find that preferable to abfurd beauty. What neceffity may compel in this cafe, fome happy thought, tome additional ftroke of fancy, may occafion in another : the fpace between doors, the proportion of pannels between windows, the height over a chimney, or the recefs at its fides, may give an idea of fonte peculiar addition, or of fome lingular conftrudtion of parts, which will not fail to affedt the eye, and give praife to the tafte of the defigner 3 but how is this to be introduced, if the decoration of one fide be already executed, or already obftinately refolved in the architects fancy ; for that with many people is the fame thing ? If the new thought exert itfelf in the ornaments only, fomething correfpondent to them mull be placed in the other fide ; of which, when thus finally and invariably determined, it may not be capable : fomething may be neceffary that cannot find a place in its compartments, or that will difagree with fome other ornament already there. This will reduce the defigner to a-hfurdity who is thus fixed in his purpofe; but it may he worfe • the difagreement may not be in the ornaments, but in the con¬ ftrudtion of the compartments; and thefe, if not agreeable to one another, mull be abominable: therefore either fome alteration mull be admitted in this firft defigned fide, or the improvements in the other cannot be introduced. Often a very final! alteration in the firft defigned fide will ferve, but whether fmaller or greater it is neceffary. The ftudent who does not take this confideration in time, will lead himfelf into uneafinefs, perplexity, and faults; of which he will never be ignorant as he commits them : he cannot be fatisfied with what he has done, neither can he expedt or ima¬ gine that others will be fatisfied with it. There is nothing more grating to an ingenuous mind than to reproach itfelf t let the architect, for his own private fatisfadtion, as well as his credit, recolledt in time how difagreeable it muft be to him to fee with confufion and concern thofe works of his contrivance which might have given him the applaufe of others and his We inculcate on this occafion the rule we have laid down on others; that the ftudent fee the defign of the whole, before he determine concerning any particular part: that he be deliberate in his determinations; and weigh and confider every thing, before he puts the laft hand to any thing for pradtice. The four fides of the room being laid down on paper, with the fpace or propor¬ tion of floor between, the figure reprefents at once to the eye the whole and its feveral parts: $ OF ARCHITECTURE. 479 parts: they are eartly To feen to be uniform or aifagreeable; fancy can at pleafure raife Chap. K. them perpendicularly, and fee the room in miniature j diverted of its ceiling. ’—" v Thus let the architect confider it ds well as in the plane : it is a view in which no other will ever look upon the work, becaufe the room will not be finished in the re¬ ality without its ceiling ; but the view will be ufeful to him in the highert degree, for the true method of feeing the proportions with a geometrical regard, is to view them in all lights, and under all advantages. When the whole is thus feen at once, fome happy thought will often arife that could not come into the mind from the conrtderation of any of the particular parts ; and perhaps fome light piece of fculpture will be now found applicable uniformly round the room ; either continued uninterruptedly, or with its proper breaks; which will connect the whole more than the utmort regularity of the diftributary ornaments, or com partition of the fpaces. C U A P. IX. Of dejig?ii?ig a ji?iijhing from the principal parts. B Y the finiJJoing of a room, fpeaking in the artirt’s ftile, we mean, as exprerted in the preceeding chapters, the decoration of the walls, and diftribution of their fpaces, pannels, and ornaments ; but the whole is to be comprehended under the term taken in its full and moft extenfive meaning* We here take in the whole conrtderation ; and, that the young ftudent may the bet¬ ter regulate his thoughts concerning the feveral parts, lay before him a perfect whole. Let him then conrtder his room that is to be decorated thus. Let him comprifei in the idea of it, the pedertal, naked, and cornice of the wall; the ornaments of the doors, and the conrtrudtion of the chimney : and be upon his guard that the decoration of one article, as well as that of one part, agree with another. This is a confideration the more needful becaufe it is very much negletfted. We write fot inrtrudion, not reproof; elfe we could mention houfes, and thofe among the moft new and expenfive, where, in fome principal apartment, there is a wall well finifhed, a handfome door, and and an elegant chimney: but where the whole is in¬ congruous and inconfiftent, and fhocks the eye of fcience by its abfurdity. When we allow the wall, the door, and the chimney, in thefe cafes, to be hand¬ fome, they muft, to deferve that praife, be conrtdered as a wall, a door, and a chim¬ ney-piece, feparately and detached; not as a part of the fame room, for they are un¬ fit for one another. There is merit in forming thefe detached pieces well; but why will not the perfon who deferves that praife, add to it the applaufe of putting them alfo well together ? The l8o A COMPLETE BODY Book V. The invention of a fingle piece is the work of fancy; the putting them togethef ~v-is the province of judgment. Often the wildeft effays of the imagination are the mod pleating ; but fancy mud not be employed beyond her bounds: fhe may be allowed and encouraged to devife or- naments; but fire mud never be differed to put them together; that is the bufinefsof amorefober faculty, the judgment. It requires tafteas well as the other, but it requires alfo fcience. Experience of what is bed, and a drift attention to method, can alone :l: this matter on its proper footing. Youth may fancy and contrive ornaments, but it is the province of a more edablifhed period to fettle or reject, to adopt or baniih the feveral defigns; and, when that is done, to form and regulate the whole. In this large view we have at prefent taken of the finifhing a room, including all it parts from floor to ceiling, this doftrine will be eafily edablifhed. We fpeak of an expenfive and elegant apartment in this place, for in the former chapters we have conlidered thofe which are plainer. In this room we fuppofe a rich cornice is intended; and that the chimney-piece and doors are to have their nobled ornaments, that is, the ufe of the orders is to be called in to embellifh them. So much the architeft propofes to his proprietor, as the riched means of decora¬ tion ; and to fo much he confents. Now the choice is to be fixed upon the Icveral kinds. The youthful defigner, proud of the extent of his commiffion, fets himlelf down to feleft, or to devife, what (hall be firfl in each kind. He ranfacks modern figures, and he turns over the bed reprefentations of what remains yet, or did remain within the time of writers, of the labours of antiquity. He felefts a noble cornice; he compotes an elegant door, embclliflied with fome pecu¬ liar condruftion of a rich order ; and he plans out a chimney-piece upon the fame idea. He is happy to be employed where expence will not be fpared ; he is ravifhed with the fight of his collefted beauties; and, confidering that the walls of fuch a room mud be rich, as well as the feveral particular parts we have named, he lays them by in his port-folio, and begins the defign of a fide: when one is finifhed he undertakes the other ; and thus, piece by piece he compleats the number of parts. This is the work of fancy : he reviews it with an eye of fatisfiiftion ; and wanting the fober direftion of judgment, he confiders no farther. All are elegant; but they are improper to be mixed with one another. They would make the parts of four five or fix different rooms; but they are very unfit to be comprifed within the com- pafs of one. This he does not fee ; or, if he does, his fondnefs for thefe offsprings of his brain will not permit him to fee it. He puts them together: and the proprietor, who has not dudied architefture as a fcience, is pleated with the gaudy appearance, and fo are mod who vifit him. OK ARCHITECTURE. 481 There cannot be worfe compofers in this art than there are judges of their com- fchap ^ pofitions. The architect contents himfelf with tire applaufe of the vulgar ; and the owner is charmed with the common praife: he (hakes his head when he fays critics do not like it: but it is certain that the fame expence he has bellowed upon thefe ill- forted ornaments, would have enriched his apartment in fuch talle, that the judges would have approved it, and the common eye been delighted with it more. This is his proper confideration; and there is one of equal force for the architect: he is to be told, that the ill-forted ornaments he has laviihed upon this one room to his difcredit, might have been a fource of the decoration of feveral, fo as to have done him honour. This leads to the confideration of the diftindt bufinefs of the prefent chapter; which is the defigning of a whole finifhing, from fome one of the principal part: this Is the true method ; and this, while it gives fatisfadlion to the moll judicious eye, will be caf cr to the architedl. Let him not fuppofe in this cafe, that any of his principal parts which he has thus feledted, are thrown away, upon our prefent plan. We have fuppofed his fancy to be fo good, that they are all juft and elegant; it may happen that two of them may a- gree one with the other ; but, being chofen at random, it is not very likely they lliould; that all three lliould is not to be expected. We will take the more probable conjedture, that no twb of them agree : the con- fequence is, that but one of ’em can be admitted into the room he is about to de¬ corate ; but the two rejedted from this may be brought into ufe in two others; and each be made the foundation of a compleat delign. Thus in the prefent cafe, when he has reviewed and confidered the three princi¬ pal parts, the cornice, the door, and the chimney-piece, let him fix upon any one of thefe, and adopt a finilhinj* to it. This will be eafy When he lias once entertained the notion of conformity, and agreeablencfs of parts; and thus, inllead of having be¬ llowed all his time for the comprifing ornamental parts for one room, he will have furnilhed himfelf for the finifhing of three. N°. ao. 6 G CHAP. A 6 OMPLETE BODY H A P. X. Of taking the general defign from the chimney-piece. j —v F the three principal parts we have named, the cornice, the door-cafe, or the V_y chimney-piece, either may be the choice upon which to form the reft. The ge¬ neral miftake is, that no part is chofen for this purpofe: the doCtrine of appropriation in ornament is not underftood in this cafe ; and it is therefore we fcarce ever fee it de¬ cently pradtifed. We will fuppofe of thefe three parts the architect chufes his chim¬ ney-piece for the purpofe. We have fuppofed it decorated with an order of architecture, and here we are to tell him he is fomewhat limited : for that the inferior are more proper for chimneys in thefe ornamented rooms than the fuperior orders. This will feem ftrange, but we (hall make the reafon evident ; we write upon a fubjeCt none has yet confidered, and we are therefore to explain all we advance. All architecture is comprifed within certain rules; and they are the fame, to what¬ ever part they are applied : were it otherwife this were not a fcience, nor could it be reduced to rule. The reader will recolleCt, that in treating of the exterior decorations of houfes, we have laid it down as an everlafting rule, that when an order of architecture is employed in a building as a part of its main front, and the windows are alfo decorated with co¬ lumns ; thefe laft fiiould always be of that order which is next in degree below that employed in the principal columns. This, though a rule not eftablifhed before, we have fupported on the authority of the greateft architects; drawn, though not from their writings, yet from their works. This rule being eftablithed with refpeCt to outfide decorations, muft therefore hold, according to what we have here fhewn, with regard of thofe within. It fol¬ lows therefore, that the chimney-piece being the firft thing defigned, and the fixed point from which the architect is to diredt his work in the reft, all is to rife from it in a like proportion. Thus confidering the three parts in the light of their importance, in their place, nature, and fituation, the cornice is the principal, the decoration of the doors has the fecond place, and the chimney the third, or laft and loweft. It would have been equal if the ftudent had begun with drawing his cornice, and proceeded down¬ ward from that; but as it is all one from what part he proceed, provided lie regular¬ ly do proceed from fome part, we have chofen the chimney-piece a? the moft natural, and the eafieft for the conducting of the whole. If O F ARCHITECTUR If in an apartment intended for a middle degree of decoration tended to be executed without columns, then the cornice and the chimney-piece are the only two parts in which the orders are concerned. The pedeftal we have directed already to be conftrudted with an exadl truth accord¬ ing to the cornice ; and thefe forming the principal part, the chimney-piece is to be looked upon as the fecond, or inferior decoration. According to our rules before eftablifhed, the cornice is, in this cafe, to be of an order next above that employed in the conftru&ion of the chimney-piece: thus, if the chimncy-piece be Doric , the finifhing of the walls fhould, for that reafon, be an Ionic cornice : if the chimney-piece be Ionic , the cornice fhould be Corinthian. This pleafes the eye, and fatisfies the judgment. The chimney-piece is neareft, and it naturally catches the firfb attention. It is elegant; and therefore the eye, be¬ ing directed higher, looks for more elegance: if what it fees above were of the fame order, there would be a tamenefs and poornefs expreffed in it: if lefs elegant, it would be carrying the eye to what was worfe, and that would be abominable. Pveafon therefore directs what we have laid down as the true courfe; the eye is thrown from one degree of elegance to another which is greater; and this not raflily, or by an unmeafurable Hart, but foberly and in proportion. Thus far the fludent comprehends, that whether he eflablifh the cornice, or the chimney, as his firft principle of regulation, provided there be no other order in the room, thefe mud gradually and proportionally rife or defeend by a fingle ftep, one from, or to, the other. He will begin to fee from this, why we declared againft the ufe of the richefl orders in chimney-pieces on this occafion ; becaufe there was an advance needed from the chimney to the cornice, and this could not be where the richefl was employed below : but we are to name a farther confideration, which is the introducing another part, decorated with an order, into the fame room. This third article is the door, and we have only poftponed it in this confideration that the rule of conftrudtion might be lefs embarrafTed by the number of parts. It is natural that fuch a room as we here treat of fhould have the door-cafes fi- nifhed with an order $ and there is no finifhing which will give the whole fuch an air of grace and dignity. In this manner all will be conformable to the rules of truth, and the pradlice of the antients j and, if executed with the diferetion we are about to recommend, all will be great and graceful. The door being intended to receive the decoration of an order, has its natural place in this difquifition j the eye ranks it, according to its height, as of a middle kind between the chimney and the cornice , and the judgment gives it the fame regard. There- E* 483 the doors be in- Chap. 1 n * 4 484 A COMPLETE B O £> Y Book V. Therefore the fame law of the fcience which decrees that the cornice (hall be o/a v ‘ w higher and richer order than the chimney, places the door between them. In this cafe the advance from the chimney to the cornice, muft not be by a Angle ftep, as in the former, where there was nothing to attradt the eye between them, but it muft be by two fteps, the order employed at the door filling up the gap between. Thele principles being laid down, we may proceed with our ftudent to practice. If he will adapt any of his three fancied parts into his new defign, he fees how he is to conftrudt the reft according to them. If it be the cornice he preferves, the order to which it belongs muft be confidered: not only the pedeftal muft be appropriated to that order, but the ornament of the door and chimney muft be de¬ duced from it 3 the door being decorated with that order which is next below, and the chimney with that inferior to the qrder ufed in the door. This ferves as the general rule, and upon this foundation he may appropriate every other part. We have given him in this fhort lefion the whole ground-work of the pra&ice ; and we have in the annexed, and the three preceeding plates, repre- fented to the eye feveral methods of finifhings, where the architect is lefs ty’d down to rule, and will find all open to fancy. We hope from the rules on the one part, and examples on the other, he will be qualified for undertaking this matter under any form with truth and elegance. OF ARCHITECTURE, 485 BOOK V. PART II. Of C eilings. The INTRODUCTION. W E have led the attentive ftudent, by gradual advances, in the feveral preceed- ing books, to the conftrudtion of his rooms, and finifhings of their fides, with ornaments of a plainer or more expensive kind ; we here lead him to the ceiling, which covering all, fo far compleats the whole; In this we fliall advife him, as in the formerly-mentioned articles, to lay down for his examples thofe great and glorious remains we have of the antique ■ and to guide himfelf by no rules but thofe which can be either drawn from fuch examples, or au- thorifed and illuftrated.by them. Thus he will fee the Britijh Palladio, Jnigo Jo}ies } conducted himfelf in thefe noble ornaments: and thus Palladio himfelf. Since their time, fuch as have ftudied their works, have formed their ideas, and conftru&ed their edifices upon the fame foie principle ; nor is it a lefs glory to the late lord Burlington to have adopted at Chifwick a Roman ceiling, than it would have been to have devifed a new one. The antients, who had more genius than our architefts, and a bolder fancy, had alfo more feverity of judgment. It is not wonderful, with thefe advantages, they excelled all w;e have been able to produce by innumerable degrees: but, knowing this as the fource of their excellencies, we know how to copy them. Our people err, not only in the degree of ornaments, but in their very nature : the ■antients offended in neither of thefe articles, and it is therefore from them alone we -can deduce ajufter knowledge. K°.L. 6 H C II A P. A COMPLETE BODY CHAP. I. Of the ornaments of ceilings in general. T HE fcope of fancy in the decoration of ceilings is very great, even with¬ out tranfgrefiing the fevered: rules of propriety: the divifion into com¬ partments is natural and proper; and the fird thing that offers to the imagination in the decorating thefe, is the adding mouldings in the divifions. Even this, when the ornament is carried no farther, has its beauty ; and few would think, who have not feen it executed, how much grace there is, in the fimple divifion of a ceiling, by a judicious hand, into thefe plain compartments. This we may call the fird dage of ornament; the next in degree above an ahfolute plain ceiling. For the fecond degree we fhall name the addition of fculpture to thefe mouldings; the centre of the compartment being all this time plain. A third degree, the centre dill left plain, is the addition of fcrolls and faces in the verge of circular defigns. The degree of decoration in thefe three kinds may differ, and thence may be given various ftages of ornament, according to the expence : but this, in a general view, is all that can be done while the central part is left plain and vacant. When the pleafure of the proprietor authorizes, or the correfpondence with other ornaments requires, that thefe central parts Ihould be decorated, we rife to a fourth degree of embellilhment; and thence to many higher : the fird of thefe, which for didinftion and plainnefs, we fhall here call the fourth degree of general ornament, confids in the placing a flower in the centre of the principal compartment. this alone giving a great look of finifhed elegance. In this cafe we have fuppofed the other compartments to remain vacant; but, as a fifth degree, we fhall name the placing a flower in each of thefe; in which cafe the flower in the central pannel mud be proportionably enlarged. Laffly, for a fixth, which may clofe the account of moderate ornament, we fhall propofe, indead of placing a flower feparate in the centre of each outer panne], to throw into it a fcroll from the mouth of fome bead’s face, in the verge of the princi¬ pal compartment: and, in this cafe, thccentral ornament of that principal pannel mud be alfo farther extended. Thefe 486 Book V. OF ARCHITECTURE. 487 Thefe may be confidered as the fix dages of ornament in ceilings, within which a ^ la P' 2 ’ moderate expence mud be terminated ; and by which the architect is, for the fake of thofe who will go farther, to afeend to the great and rich defigns of which we fhall treat in a fucceeding number 1 . To explain and illuftrate thefe* we have given, in the two Plates LXXIV and LXXV, two defigns, whofe varied ornaments will reprefent thefe fix deferiptions in their feveral parts. The method of leading the fludent mold eafily to this knowledge is to confider firft with him thofe ceilings, which, when decorated, naturally fall into feweft com¬ partments : with thefe we fhall begin ; and from thefe advance to thofe, where, th<$ parts being more numerous, the method is more difficult. CHAP. II. Of ft air-cafe ceilings * T HERE is no part of a houfe where the eye is more naturally directed up¬ wards than the flair-cafe : this is a icaion why ionic compartition and orna¬ ment of the ceiling is in that part peculiarly proper. When we enter a room, the variety of objects calls the eye from place to place, and the furniture, as well as decoration, claim this divided fhare of the attention ; bift in the pafiirtg up flairs, the eye is naturally directed to the fides and top, and this jufti- fies the finifhings ufually bellowed upon thofe parts of an edifice. For our prefent purpofe we fhall fuppofe an oblong narrow ceiling is to be con- flru&ed in this part, with fome decoration. It will be the mod proper for a begin¬ ning under this head, becaufe fmaller than others j and becaufe from its form it will, if divided into compartments, admit but of three, a central, or principal, and two fmaller. In a houfe any thing decorated, we fhall advife our architett to recommend the giving fome embellifhment to this ceiling; and fhall explain more at large the general rules jud laid down, by propofing the various plans, on which he make defigns to lay before his proprietor, according to the fix edablifhed degrees of expence. If fome decoration be allowed, but the lead that can be admitted, we fhall advife him to divide the whole length under three compartments. Let thefe be furrounded by plain mouldings, and every thing within and about them be left plain. Ig 4 ss a complete body Boo!: V. J n this there will be no great expence ; it will give an air of beauty and dignity v “ / " V ^ vaftly above that of a perfedly plain ceiling : and if there be nothing elfe of the kind in the houie, it will llill look well. If the ftudent would fee the beH meafures of the feveral parts, let him apply his compares to the compartments in Plate LXXIV, and he may, in the fame defign, fee the mam :r of executing it. The left hand pannel in that figure is wrought plain, and he has only to work the two others in the fame manner. If this defign do not fufficiently anfwer the intent of the proprietor, let him pre- ferve the fame divifion, but finifh the whole drawing in the manner of the right hand pannel in the fame figure. This will give what we have eftablilhed as the fecond ftage, or degree of ornament; that is, the dividing by vacant compartments with enriched mouldings. To execute the fame ceiling according to the third degree of expence : let him, Hill preferving the fame outline for the three compartments, add two fcrolls and two faces with the fame ornaments, in the verge of the circular or middle compartment. The two others arc then to be executed with fculptured mouldings, in the manner as repre- fented in the right hand pannel; and the whole will be thus conftru&ed upon the fame principles of a regular and true divifion in a more’expenfive manner. One figure ferves here for the explaining thefe three manners of executing this ceil¬ ing ; but we fhall advife the architect, when he propofes fuch a piece of work to his principal, to finilh the three drawings one in each way; for tho’ one verfed in thefe ftudies may be able to carry in his mind the idea of an ornament, as exprefled in part, round the whole, it is better for the unexperienced to fee the whole exhibited in the fe¬ veral forms. Let not the ftudent think it hard to make three drawings for one work : he is pur- fuing die courfe of his ftudies while he is doing it; and they remain with him as fo many deligns, a part of his profefiion, and ready for other occafions. CHAP. L ET the ftudent who would confider how farther ornaments may be adddd to fuch a ceiling as we have juft named, turn his eye upon Plate LXXV. The out-line is the fame and the compartition ; he will therefore with lefs difficulty appre*- hend what we have to fay of the additional decorations, thefe being the foie objedt. In the firft place as he has in this a defign of more elegance, it is in his choice to take off the corners of the two fmaller compartments; thus reducing them to ellipti¬ cal, or as they are vulgarly called, oval figures: and, rendering them by that more fuitable to the intended ornaments. This done, let the ornaments of fculpture be- ftowed on the mouldings be richer than in any of the preceeding defigns j and in the centre of the principal compartment place a flower : this will give an air to the whole quite different from what it wore in the preceeding defigns; and an eye not accuf- tomed to thefe things would not conceive fo great a variety could be deduced from fo fmall variation To execute this, let the ftudent take the general figure of theout^ lines in our defign Plate LXXV, with the flower in the central compartment, and let him leave the others perfectly vacant. This ferving as an inftance of the fourth degree of ornament, if it be not yet rich enough for the proprietor’s tafte, or to anfwer the reft of the decorations in the edifice let this fmall addition be made : let the flower in the central compartment be enlarged and enriched by the addition of fome more work, and in the middle of each fmaller compartment let there alfo be placed a flower: all the reft is, in this cafe, to remain as it was in the preceeding, yet there will be quite a new afpedt in the whole ceiling. If the compartments do not yet appear full enough to the eye of the proprietor, let the architect give in his fixth and laft defign on this plan, and let it be made thus. Let the mouldings of the feveral compartments be wrought bolder and fuller of fculpture: let the two faces in the parts of the verge of the mouldings belonging to the principal be made larger andftronger,andinftead of human, let themrefemble lions’ heads. Then from the mouth of each drop a fcroll, which falling into the fmaller compartment, {hall expand each way nearly to its limits; and from the ends of this drop a feftoon; Let this follow the inner line of the mouldings, and be kept at a fmall diftance from it. The two external pannels being thus filled with ornament, the flower in the midft of the principal muft be enlarged and enriched to anfwer them ; and thus will the deco¬ ration be carried to the full height we have propofed to reprefcnt within this degree of expence. The two compartments at the ends in Fig. LXXV, are decorated in thefe various manners, and the ftudent has only to form both according to either in his defigns of the fifth and fixth degrees. N°. 50. 6 1 C H A P. 49 ° Book V. BODY A C OMPLETE CHAP. VI. Of placing the circular and elliptical compartments. f N the fmall ceiling we have chofen for our firft reprefentations of the manner of decoration, the nature and reafon of every part, and of ks difpofition, will be fami¬ liarly underftood ; and when our young defigner has made himfelf a mafter of thefe, he will find no great difficulty in the fucceeding more intricate compofitions. To underftar.d the placing of the compartments in thefe ceilings, let us refer him back to Plate LXX1V, there being in that lead ornament, and a gradual method of proceeding. In all divifion of parts a firft regard is to be had to the whole: the out-line is to be confidered in order to ajuft diftribution of the internal decorations. The out-line of the whole figure being fquared in this place, the natural form of the compartirious is to be fquared, that they may anfwer it. The firft thing therefore is to mark out tire whole fpace into three parts; a principal with its two end compartments: and this general meafure being laid down, and faint¬ ly marked in upon the paper, let one of the end compartments be ftruck with its plain out-line, expreffing the internal fpace, and the breadth of its mouldings. This is to be done as in the left hand figure of Plate LXXIV. Then let the other be defigned in the fame manner by a bare out-line; and this done, let the round or central compartment be ftruck by a pair of compafles, firft markin'* the inner verge, and afterwards the full extent of the mouldings. If the whole were left thus, the eye would difeern a ftrange vacancy remaining, and the middle part, intended to be the mod ornamental, would be the mod ungrace¬ ful. This depends upon that want of conformity between the inner diviftons and the out-line of the whole, againft which we cautioned the artift at the beginning of this chapter. The two end pannels will look very well, becaufe their figure agrees with that of the whole; but the middle one, being circular, does not fill its place, nor correfpoud yet with the whole, or with thefe other parts. This is to be remedied by placing it in a fquare. 6 The OF ARCHITECTURE. The faint out-line of fuch a figure we fuppofe to have been originally marked up- Chap. 4. on the paper, before the compafles were employed to infcribe the circle within it. 1 " This mull now be figured a little ftronger, and finiftied with a finall flight mould¬ ing. The manner of this the ftudent will fee reprefented in Plate LXXIV, in a plain way i and this fquare being thus defigned, and lightly exprefled, the whole of the inner compartition will be rendered correfpondent to the out-line of the ceiling, and the circular compartment will appear only as an ornament infcribed within the pro¬ per and natural fquare of the divifion. As we defign in the finifliing up this figure, that faces with the decoration of fcrolls {hall be placed in the verge of the circle, thefe will fall over the line which Ihould mark the fquare in feveral places. It would be needlefs to conti¬ nue that line when it Ihould be hid, and this gives the idea of a lighter and more fuited dilpofltion of the whole. Let the ftudent recoiled that all we intend here, is for the fake of conformity, to preferve an out-line of a fquare figure in the centre, to anfwer to the two fquares at the ends: therefore the more lightly it be done, provided that it i§ diftind and vifible, the better. To this was owing our ordering that it (hould be only repre¬ fented by a Angle flight moulding; and fo it will be found in the figure to which we refer. But as the fcrolls, ornamenting the mouldings of the circle, prevent its being continued all the way from corner to corner, let it in the whole be made nothing more than a mark of the four corners, and continued only to a limited and moderate length. The meafure of this will be eafily determined ; for the fcrolls which flop the line are to give its termination. Let it be continued from each corner crofs-wife of the ceiling, till it meet the fcroll of the face both ways; and let it be then continued the lengthway of the ceiling in the fame meafure. It will not thus meet the fcrolls placed there, becaufe they are fmaller and fliorter than the others; neither is it intended that it Ihould. This feeming itnperfedion, which might eafily be fupplied, if that were pro¬ per, by continuing the line a little farther, will give a lightnefs to the whole, fuited to this defign: it will Ihew that the lines within which the circular compart¬ ment is infcribed, are the ihape or lhadow of a fquare, rather than the reality ; and that is what the drawing intends to reprefent. This circle being thus infcribed within its fquare, there will ftill remain a great fpace between the corner of the iquare, and the edge of the mouldings, making the out-line of the circle. This 49 = Book V. A COMPLETE BODY This rifes from a very natural caufe ; for both the place of thofe lines, and the di- menfions of the circle are limited j the firft by uniformity, and the latter by pro¬ portion. Uniformity requires that the lines marking the fquare be at equal diftance from the mouldings of the edge of the ceiling with the out-line of the fquare pannels: and this gives their place invariably. The proportion of parts requires that the circle exceed the diameters of the two end- mod pannels, but in a certain ratio; and that makes its bignefs as certain. Now be¬ tween thefe out-lines thus determined, by necefiity there will be a large vacant corner each way within the fquare. This looks amifs at firft, but it is the province of genius in the architect to convert imperfections to beauties; and it is eafily done in this cafe. Firft, in order to reduce the fpace, let a line be drawn concentric with the lines of the mouldings of the circle, and at a moderate diftance beyond them : let this reach from corner to corner of the lines which make the fquare, and no farther j and let it be ornamented with the fame light moulding which thofe lines have. Thus is this great and difpleafing vacancy at once leffened : the idea of the fquare i$ better prelerved than before ; the broken parts of the circle form an interrupted out¬ line to the proper verge of it; and four fmall regular and handfome fpaces are marked out at the corners. Thefe In the plainer work are to be left entirely vacant, as we have reprefented them in Plate LXXIV; but they may at pleafure be made the feat of ornaments, as we have {hewn in Plate LXXV, by throwing into them vafes or cornucopia’s, whofe fef- toons uniting with the fcrolls of the faces, will continue a richnefs of ornament all round with very little addition of expence. What we have here faid of the inferibing the circular compartment within a fquare, holds equally of the elliptical ones in the delign in Plate LXXV, only it may in thefe be marked out yet more lightly : the corners need be only touched in the lame man¬ ner as we have directed, and as we have reprefented in that figure. CHAP. OF ARCHITECTURE, C I-[ A P. VII. 493 Of ceilings of rooms and their compartitiqns. T H E (ludent in architedlure will have formed, from what we have delivered oh the fubject of flair-cafe ceilings, a general idea of the divifion and ornaments proper for thofe of rooms: we fhall therefore continue that difquifition from thofe fmaller and more Ample to thefe naturally larger and more complicated kinds • illus¬ trating, as in that inftance, the feveral rules by appropriated figures. In thefe fhall rife gradually toward thofe more elegant defigns of which we fhall treat in the fuc- ceeding numbers. We have hitherto fpoke of ceilings fo narrow in proportion to their length, that a fingle compartition into a middle and two ends, anfwered the whole purpofe of a dis¬ tribution into parts. This is limited either to the ceiling of a ftair-cafe, or a pafiage, becaufe no others are fo lhaped. The fmalleft room approaches nearer to a fquare ; and, in confequcnce, Something more muft be there done in the matter of diftribution. We will introduce our reader by the juft degrees to this important part of his Ad¬ dles; and firft confider with him the ceiling of a fmall room, of the common long fquare fiiape, and intended for the Aighteft degree of elegance. He is firft to confider in this the divifion of the fpace : it cannot be into three pan¬ els or Compartments, becaufe their breadth would be monftroufly out of proportion with regard to their length; nor can it be by a fingle figure, becaufe that will either crowd the fides, or leave the corners miferably vacant. Therefore he is to confider of a proper compartition for the whole length, taking in fuch a part of the breadth as is needful to the keeping up a true proportion. The middle compartment is to be firft eftablifhed, and in this he has little choice as to figure; all the parts about it will naturally be fquare, therefore this fhould be made with a fweep ; and the length needfully prevailing over the breadth, to accommodate this part, it muft be elliptical. Let the reader caft his eye upon the right hand figure in Plate LXXVI, and he will underftand what we propofe in the double refpedt of form and proportion. . This central figure being placed in the out-line of the drawing, let him for the pre- fent rejedt all confideration of ornament, and think only of the diftribution of the re¬ maining lpace into form> 6 K Ho N°. U. 494 A COMPLETE BODY He will fee a large compafs on each fide, but let him begin in the refpeft of length. Let him at each end of his elliptic* figure place an oblong fquare ; the form and dimenfions of this will be direfled by the reft of the work, and he cannot well err. The length of this fquare muft be equal to the ellipfis in its broadeft part, and its breadth muft be fuch as can {land without crowding, between the end of that centtal figure, and the verge of the plain part of the ceiling. It muft leave a free fpace for the mouldings, and a fmall fpace between thefe and the cornice. One of thefe figures being thus added at each end of the principal, a great deal is done.toward the compartition of the whole. To proceed regularly, let him lay down upon paper what we have here reprefented, in plain lines: this will drew him where is the vacancy, and what is wanted ; and the reft, however difficult and inexplicable it may feem to thofc who view it in the grofs at random, follows now eafily. Let him mark out another long fquare on each fide correfpondent to his ellipfis; that is, as the fquares at the ends equal the diameter of the ellipfis a-crofs, let thefe equal it in length. Thefe being marked iu by plain lines, there will remain no vacan¬ cy but at the corners, and in each of thefe is to be drawn another fquare, equal in length to the breadth of the fquare at the end of the ellipfis, and in breadth to th* long fquare which runs parallel with it. This being marked in upon paper, the compartition of the ceiling is performed ; and there remains only to confider the ornaments. c H A P. VIII. Of decorating the compartments. H E lead: decoration that can be allowed in this cafe, is to enclofe the com¬ partments in the manner of pannels, and give them {lighter or richer mould, ings ; in this there is no great charge, and the decoration, even this way, is very jpleafing. The ftudent fhould make at leaft two defigns in fuch a form ; the firft with th# (lighter, and the other with fomewhat better mouldings : if he would have an idea at once of the effefl it will take, let him look upon that part of the figure we hav« given for the illuftration of thefe chapters, where the mouldings are all the ornament. Wo OF ARCHITECTURE. 49*5 We {hall, in a fucceeding chapter, treat of the manner of decorating a ceiling with c '* more elliptical figures; but we are here considering only the methods of decorating it when the compartments encompafling the ellipfis in the centre are fquare. In this cafe, the firfl thing, after the enriching them with mouldings, is to add the ornaments of fculpture in that part, leaving the reft vacant. Many degrees of expence may be employed in this, and various kinds of carving introduced : we have given inftances in the mouldings of the ellipfis, and fquare pan- nels in the more enriched parts of the fame figure; and more may be added; giving in this cafe a full liberty to fancy, for it is no where fo much to be indulged as in fculp¬ ture. When there has been a defign made in this manner, and the proprietor defires fomething richer, let the young architect, that we may avoid repetition, recur to what we have faid of additional ornaments in the decorations of the two firft ceilings; for til that was faid of thofe may be applied to any other. In the firft place, whether more ornaments be or be not added, four fmall angular compartments, cut with a fweep on the infide will be very proper; and thefe, being enclofed by pannels correfponding to the reft, may, like them, be enriched in the mouldings with fculpture. We are here treating of farther ornament; and beginning with thefe we fliall add, that when the mouldings are carved, a light piece of foliage may very happily be thrown in. In the fame manner, when we advance beyond the fculpture of the mouldings, for the enriching of the other pannels, it is to be done by adding fome ornaments within. This will be at once eafy and of fmall expcnce, becaufe of the narrownefs of the compartments: feftoons of leaves and flowers are very proper, and there is no way of throwing them in fo agreeably, as that of dropping them from the mouth of a lion’s face, from the verge of the principal compartment. Thefe fhould occupy the middle part of the fpace, but as it would be too long to carry them throughout to fill the whole, their ends may be received by the terminations of certain fcrolls, which may happily fill the reft of the fpace. This is the firft and fimpleft method of decoration, and beyond this, within the fcope of that expence we allot to the prefent confideration, we may eftablifh two others. The firft of thefe is to give fantaftick forms of birds in the place of the fcrolls, whole tails may be lengthened and curled up in the Arabefque manner, to re¬ ceive the ends of the feftoons; and from their mouths may drop a ftrait ornament in the fame tafte. When this is not efteemed fufficient, the next advance is to be made by introduc¬ ing figures j and thefe in a ceiling fliould be alfo after the Arabefque manner. 3 We Book V. We fee boys hung up whole by the back in feme coarfe old ceilings; and this the *——v^-^architefts thought bold and fine ; but they always look elumfy, and feem in danger of falling. Let our ftudent better underftand his biifin.fs: whole figures -are not here the proper kind, for it would be idle to reprefent what it would be improper to fuo- pofe, men hanging in the air. There are particulars in which flights of fancy arc beauties, and this is one. The figures are to be fuch as reprefent boys or young women; tender and elegant forms; and they are to reach naked no farther than the waifl: from this part downward they are to be a kind of Terms received into fcabbards ; and thele may be twilled about vari- oufly. Thefe figures, being naturally longer, are fitter for the deeper compartments ; and they fhould be placed near the two extremes, as we diredted concerning the birds, that the ends of the fcrolls into which their bodies run, may be turned up to receive the ex¬ tremes of thofefeftoons we have propofed to drop from the principal figures. Thefe feffoons may either fall at once from the mouths of the lion’s heads, or they may be fixed to fcrolls which iffue thence. Thefe may be called the three degrees of enrichment within a moderate expcnce ; and let us now take a review of them. Inthefirft, the whole isfo plain that an uniformity -of ornament is all that can be expended ; in the other, either part may be taken of the finifhing with or without figures; or they may be very happily united: there is enough of uniformity to make them correfpond ; and the different depths, at which thole two kinds of ornaments will fall, agree excellently with the dimenfions of the compartments at the ends and fides of the principal or ellipfis. The ends allowing deeper, and the fides reffraining the architect to narrower pannels, the bird ornament will excellently anfwer for the narrow pannels, and thofe with human figures for the ends. In this manner the reader may fee the ornament reprefented in our right hand fi¬ gure in Plate LXXVI, and the builder may either execute it with the two defigns a. there laid down, or with any one of them. The principal compartments being thus ornamented, there remain only the four (mall ones at the corners; and thefe are of a fize to admit very eafy cheap and agree¬ able ornaments. We have placed in one a cornucopia, which anfwers very well to this kind of fpace ; and in the other a piece of fancy : various others may be devifed ; for there is nothing where the imagination has more fcope : but from thefe it will appear ^ow eafily fuch a dclign is filled, and of what variety it is capable. CHAP. 497 OF ARCHITECTURE. Chap. 9. CHAP. IX. Of finifijing a ceiling with all curvilijjear figures . I N the preceeding chapters we have delivered various ways of decorating a ceiling, whofe compartition fliould be in the rectilinear figures, the central piece excepted'. We fliall here enter upon a very different fpecies of ornament. We will fuppofe the central figure to be of the fame kind in this as the preceeding, that the imagination of the ftudent may be lefs embarraffed ; and that he may perceive he is purfuing the fame fubjecft, tho’ under different forms. The firft thing of which we fliall remind him in fuch a defign is, that this middle piece muff be fmaller. This depends upon a very familiar principle. Rectilinear fi¬ gures will bear all proportions, and look well in al! ; but it is not fo in fegments of Curves: they have no grace unlefs they have fome tolerable extent; or, in other words, as fmall fegments of large circles or ellipfes make no appearance, there is a ne- ceffity of making the middle compartment in this cafe fmall, that the others may have a due bignefs. On thefe principles let the ffudent fet out, and he will find that, according to them, he muff, in a ceiling of equal meafure, make the central compartment fmaller in this than in the other cafe, by a proportion like what is reprefented in the left hand figure of Plate LXXVI. Then as there were in the former inffance two fquares anfwering to the fides, and two to the ends of the principal compartment, in this there muff be four curvilinear fi¬ gures. As the central compartment is elliptical, thefe muff be fegments of ellipfes; the two anfwering to the fides muff be fegments of the length-way, or taken from the two fides of an ellipfis, and the others from the ends. The ends naturally require more depth in the fegments, and the fides lefs: we have given a meafure in which they fucceed very happily in the figure juft named. Thus is tile ceiling divided in this manner, and if it be left altogether naked, only marking the compartments by mouldings, it will make a very agreeable appearance, and that at no great expence. No ceiling is more capable of decoration than one that is thus divided, and we fliall explain the feveral manners. N". 51 6 L, CHAP. BODY decorating curvilinear compartments m a ceding. T H E decoration of this, as of the preceeding defign, depends upon two articles. The adding fculpturc to the mouldings, or figures and other ornaments to the compartments included within them. The firft decree of ornament to the propofed ceiling will be the addition of com¬ partments in the corners. The fweeps of thefe curves will leave naturally much larger {paces at the corners, than the divifion by fquares ; hut there will not be the fame ne- ceffity of filling them up, becaufe the figures are here in themfelves elegant. In the other inftance, they are fo many dead fquares; a form deftitute of ornament; but here, each being formed by three convex and two ftrait lines at right angles, the form refulting from them is naturally handfome, and teems a compartment, like the others, of a ftudied form. But altho’ this be not ungraceful, there is room for an elegant addition within its limits: to this purpofe, a mixed figure is to be drawn by following the feveral outlines of the former at equal diftance; and this being inferibed in a flight moulding, will form as it were a compartment within a compartment, the refult of which will be ex¬ tremely graceful. This is the firft addition, and fuppofing that and the reft of the compartments to be left plain or vacant within, it will ftill be very ornamental. The whole being figured in, the next confiJeration is the addition of ornaments in the l'paces; for this purpofe the fame rules are to be obferved as we laid down before ; and the architect will find he has more liberty for executing of them, as the fpaces are all larger. The compartment at each end of the principal figure, will, by its depth, bear one of thofe grotelque reprefentations of the human form which we received from the Moors and Arabs, and have recommended on the preceeding occafion ; and the genius of the defigner adding the idea of the terminus and Caryatic may make a combination perfectly agreeable to the wild tafte which formed thefe defigns at firft ; and altogether beautiful. Thus upon the head of the figure may be a balket of fruit or flowers ; fcrolls may fupply the place of arms, and others may fpread beautifully from the divifions of the fcabbard. The OF ARCHITECTURE, The fide compartments, being lefs deep, may be decorated with trophies, or bufts, d- fl P‘ u, in the centre ; and feftoons about them : and the mixt figures included in the way of compartments in the corner fpaces, will ferve for the reception of faces, or fcrolls of fancy. Thefe feveral kinds of ornament the ftudent will find in their places in the laft- mentioned figure. H P. xr. 17jg way of conjlri'&ing a curvilinear, divifion , with f?nailer fide and end conipartmejits . rpHE ftudent as he purfues this pleafing feience will find that it affords an inex- JL hauftible variety. The fame figures may be differently difpofed, lb as to form many agreeable appearances j and the fmalleft variations are often a fource of great beauty. We have feen in the preceeding defign a fmall elliptical compartment for the cer.*» tre, and deep fegments of ellipfes for the ends; we fhall here propofe a larger princi¬ pal compartment, and extend thofe mixed forms which are deferibed in the corners of the other to a greater bignefs. We there fpoke of the elegance of their natural form, and we fhall here enlarge them for the reception of ornaments. Firft then, let a large ellipfis be ftruck for the centre in fuch proportion as we have given in Plate LXXVII. This will leave large fpaces at the ends, and narrow ones at the fides j and if thefe large endmoft fpaces Were filled with fegfne'nts of equal depth, the corners would be ungraceful. This the ftudent may confirm to himfelf at any time, by drawing them in that manner. We have in the firft-named figure given them in another form, which extending the corner fpace, gives it room for ornament. To proceed in method, when the firft or central figure is made, let the two fide fegments be ftruck : thefe will be very fhallow ; and they will give a proportional meafure for thofe which we, in this cafe, intend fhall be fmall alfo at the ends. Let a couple of fegments from the ends of ellipfes be ftruck there, and let them have but little more depth than the fide fegments. 8 Thefe 500 A COMPLETE BODY Book V. Thefe will not reach nearly to the ends of the central compartments, they ar e therefore to be joined to it by a bar; and this gives the whole compartition : the ceil¬ ing is difpofed into a variety of figures, and all handfome. II P. XII. Of decorating the compartments of the proceeding ceiling. I F the whole of the ceiling thus divided by mouldings marking the compartments were left quite plain, nothing would be perceived too vacant except the great ellip- fis in the middle : therefore let a flower be added there, and the reft left unadorned, and you have the plained form of fuch a ceiling. Sculpture added to the mouldings will give to this a grace, as to the others; and different degrees of expence may be allotted under this head. As there are bars to conned the ends to the central compartment, there may be, with perfed propriety, fomething added to conned the Tides to the fame central part. As they touch they cannot be united by any intermediate figure, but they may bo reprefented as buckled together, or faflened by a broad belt. This being made large, may have a lion’s face by way of finifhing, and will give a very great and noble air to both parts. The corners whieh are enlarged by the retrenching of the end fegments, will re¬ ceive a very beautiful ornament of figures, fuch as we lafl: mentioned, boys or virgins to the waift, and from thence terminating in fcrolls, wound about with a wild free¬ dom. Thefe feveral decorations we have added in different parts of Plate LXXVII, and from thefe the whole may be executed in the plain or varioufly decorated manner. CHAP. OF architectur 5 01 Chap. 13. C H A P. XIN. Of ceilings of more expence. TTTE have at large delivered in the preceeding fbeets the method of decorating VV ceilings at a moderate expencej and, beginning with the mod plain and Ample, have, we hope, led the ftudent in this elegant fcience gradually to a fenfe of what is required, and why it is required, under thefe feveral articles. The firft we propofed to him were divided but into a few parts, and therefore of cafy diftribiltion j thofe of the fucceeding number were fomewhat larger, and thence required more divifion. We hope he has underftood the principles on which that divifion, in its gradual advance, has been founded ; and requeuing him to bear in me¬ mory thofe feveral rules, we fhall here enter on the larger and more elegant ceilings, the fum and extent of his profeffion in this great and difficult article. We will fuppofe he is called to defign a ceiling for a large and high-finifhed dining¬ room. This, according to the fancy, or, if the reader pleafe to call it by a better name, the tafle, of the proprietor, muft be either of the great andfolid, or of the light and airy kind. Not only the fancy of the proprietor is to be confulted, but the other ornaments intended for the finifhing the fides of the room : where thefe are noble and regular, what we have called the great and folid manner will be proper for the ceiling, for that will be all truth and regularity, and will therefore correfpond with them j but where the flights of fancy have been admitted on the fides of the room, it will be belt to give a loofe to them alfo in the ceiling. This compliance will be fometimes neccflaryj for the owner of the houfe has an un¬ doubted right to pleafe himfelf: and where French decorations have been admitted on the fides, the architect of judgment would no more place a Greek ceiling, than he would fupport a Gothic ^rch on Corinthian columns. We advife the ftudenl firft to eftablifli in his own mind the great fuperiority there is in the true and noble ornaments, over thefe petty wildneflesj but we muft advife him alfo to underftand the conftrudtion of both : for unlefs he can conform himfelf to fancy, as well as work with judgment, he will do little in an age like this. Having thus far explained the eflential difference between ceilings of tafte and thofe of fancy, we fhall in the prefent and fucceeding numbers, illuftrate each with deiigns fuited to larger and more expenfive rooms: but having given the reafofls why that which is not ftridtly right, may be fometimes preferable to the nobler kind, we fhall advife the architect, on fuch occalions, to make a drawing of each j and, laying them before the proprietor together, to explain the dignity of the one, as well as to illuftrate the fanciful decorations of the other. N°. Lll. 6 M CHAP. A “COMPLETE BODY H P. XIV. Of a large ceiling in the true tajle . W E introduce the architect, on this occafion, into a fpacious room, the fir ft in elegance of the intended houfe ; and as nothing is determined in this befide the meafures, we fuppofe there is nothing to limit or cramp his genius j but lie is left to the full merit of his invention, and may difplay all his knowledge. In this cafe, let him explain firft to the owner the necefilty there is of a conformity in all the parts of a room ; and the fuperiority of a ceiling in which there is judgment, to one where nothing rules but fancy. When he has gone thus far, let him propofe the other finifhings upon the plan we have diredted, according to the rules of the fcience, and then mark out his ceiling. The room we fuppofe lofty and large : let him confider firft the diftance of the ceil¬ ing from the eye ; and adapt all to it. In very large works fmall parts are unnatural, and always appear poor; therefore in this ceiling the diftribution fhould be into large compartments: and, as there is di¬ ftance, let there be alfo fome depth in them. The advantage of light and lhadow will be given by this means; and, when the parts are thus proportioned, it will have an eftedt of which a fmaller piece of work is not capable. At the firft fight, it would appear, that in proportion as this ceiling extends in length and breadth to a greater fpace, the divifion fhould be into more parts or compartments j but, againft this ftands the rule we have juft laid down. To be more they muft be fmaller, and it is fit on the contrary, that the parts of a great work fhould be all great. Their extent gives the advantage of that depth we have named, which, if allowed to luch compartments as were fmaller, would throw all into confufion : far from giv¬ ing an advantage from the fhadow, it would do great damage; and thefe fmall parts, feen from the diftance of the floor, in a room thus lofty, would look fmaller than they really were. For all thefe rcafons, it will appear abfolutely neceftary, that the parts be few, in order to give them a due extent in bignefs. CHAP. Chap. 15 CHAP. XV. Of the divijion into compartments. I N this ceiling, extenfive as we fuppofe it to be, we lhall, for the reafons before given, admit few compartments. We have directed the ftudent, in thofe fmaller kinds we have treated of before, to make the diftribution by a centre, two ends, and two Tides: and we (hall admit no more in this, which is of the largeft kind. This gives the general diftribution. The central compartment, and its two end compartments compleat the divifion, as well as diftribution, with refpeCt to that principal part of the ceiling: but it cannot be fo with refpeCt to the two fides. Pannels running the whole length would be mon- fters in difproportion, as great as the Gothic tall and llender columns. The ftudent has feen this part of the ceiling broken into three compartments, in thofe of a fmaller and plainer kind; and we {hall admit no greater number here. The diftribution and mu¬ tual proportions of them only will be different. The principles thus delivered, we {hail now bring our ftudent to the practice. Let him firft mark upon paper the extent of this ceiling, and then divide it by three ftrait lines drawn lengthwife into a central part, and two fides : let him fo place thefe lines that the central part be, according to its importance, larger than the fide ones; and then let him by two crofs-lines drawn from one of the out-lines to the other, divide it again into two ends and a middle. Let thefe ends bear an over-proportion to the middle ; for that will always give the whole ceiling an air of more extent: and we lhall lhew him how to make the central compartment in this diftribution very confi- derable, and confpicuous in the greateft degree, above the reft, without fwelling it out to occupy the whole ceiling in a manner, and to take from the needful extent of all the others. Let our ftudent comprehend this perfectly: on one article in good works, depend in a great meafure all the others. If he were to allow that great proportional fcope to the central compartment in this ceiling, which we have directed in fome of thofe in fmaller rooms, where the whole is nearer to the eye as the room is lower, he would render impracticable the rule with which we fet out; namely, that in fo great a work all the parts Ihould be great j for, by fuch a firft divifion, the end and fide compart¬ ments would be little, and they could not admit that depth we have advifed, becaufe the light would not fall kindly in it. Now then that thefe feveral articles are confidered together, four ftrait lines, drawn as we have directed, mark out the compartition. The ceiling is diftributed by thofe few lines into nine compartments, and they have a regular and agreeable proportion. The s°+ A COMPLETE BODY Book V. The particular meafures are left to the judgment or the fancy of every one. It is enough we have directed that the central part fhall be broader than the tides, and the ends in the crofs divifion longer than the middle : the whole is thus thrown into this form, a fquare in the middle, and and along fquare at each end of that; and the tides each into three long fquare pannels of which the central one is the fhorteft. All this is done by the few lines we have directed to be drawn, and if no more were done than the running flight mouldings along the ceiling in this form, it would have a very pretty efledlj fo much beauty is there always in fimplicity and proportion. This however is not the intent of our prefent diflribution. C H A P. XVI. Of finifnng the pannels. T HE firft objection that will occur to a perfon of tafte upon viewing our ceil¬ ing thus marked out into compartments, is that they are too uniform. He will fay fimplicity is beautiful, but that there is a degree of it too great; and he will name the objection rightly in this place. We do not intend to leave the ceiling thus; for the marks are only the firft-out-lines; but he will fee by what is to he added in this refpedt, how eafy it is to give variety and grace, where the original defign is juft. The fecond objection would be that the central part was not enough confiderable; and this would be as juft as the former : we are prepared to avoid the cenfure, and the fame thing which anfwers the one of thefe objections ferves equally for the other. The fquare in the centre is not intended to remain in that form, for we propofe the central compartmeot to be circular. Let the architect fix his compafles in the centre of this fquare, and ftrike with them a compleat circle : let this be fo large that it infcribe the whole fquare, except four fmall corners j and let him then, at due diftances, infcribe circle within circle, as the marks of the fucceeding mouldings. This takes away the only two objections to which the compartition we have directed could be liable ; it gives variety, and it adds a look of importance to the central part which is always neceflary in a good difttibution. The ftudent will underftand that this is not a circle within the limits of the fquare, for that would be poor and little. This which cuts the outline of the fquare near its corner, is of much greater extent than the whole fquare was, the outline which is be¬ tween thofe corners fwelling greatly beyond the natural fide of this fquare : it reaches in this manner compleatly to the ends and fides of the two end and two central fide pannels, and fills themidft of the ceiling with grace, dignity, and proportion. OF ARCHITECTURE. 5 a 5 A due depth is to be given to this circle in the centre, and it will then have an air Cha P- l6 ' of elegance which will not fail to ftrike even the injudicious. '- - The outline of the fquare, which was the firft figure marked in the centre, will be thus fwallowed up in the fweep of the circle, excepting the four corners; but the reft of the lines marking the general diftribution will remain exaflly as they were. Thefe, though they mark the places of the feveral pannels, are not their proper out¬ lines ; for, in that cafe, they would unite and crowd upon one another. A plain fpace is to be left between them, and it mult be of fuch a breadth as to receive orna¬ ments : what thofe thall be we will diredt hereafter: we are here treating only of the diftribution and place of the pannels. Let each be marked in now within the lines which made the firft divifion ; and let the outline of their extream mouldings be kept feverally at a due and equal diftance: then let the inner line deferibing the breadth of the mouldings be marked ; and the depth of the pannel, that is the projedtion of the moulding, confidered. The whole outline will be now marked, but there will remain the firft lines of dif¬ tribution ; thefe perplex the eye, and they have now no farther bulinefs on the paper. Their intent was to direft the ftudent in marking in the compartments, and that is done; theyfeem to unite the feveral pannels, or to divide the propofed fpace of their partition into two; and either way they perplex the fight or offend it. Let them be taken out with bread ; and the whole is then feen in its true form. The feveral pannels have their proportion ; blank fpace which fliews that proportion. and they are feparated every way by a Every thing is now done which regards the diftribution of parts in the ceiling the architedt has the fcheme of the work he is to decorate. and N°. 52. 6 N CHAP. BOD Of decorating the panneh. N a diftribution fo juft as that we have laid down in this place, there will not re¬ quire that great degree of ornament which is often necdtul to hide the faults of a firft compartition : it will be graceful in the plaineft execution ; but it will alfo receive everv degree of ornament that an expenfive tafte can willi to throw upon it. If the compartments are executed with plain mouldings, and the fpace which di¬ vides them left wholly unadorned, the ceiling will have an air of grandeur ; and in this form it may very happily fuit a large room, where the finilhing of the lides is plain: but this, though not ungraceful, is poor to the full glory in which it may ap¬ pear under more rich additions. We propofe to lead the ftudent to the execution of thefe; and he is to confider them under the three following heads: fitft, the decoration of the verge of each compartment. Secondly, the enriching of their inner fpaces; and. Thirdly, the add¬ ing ornament to the plain part which feparates them. Thefe may be confrdered as three ftages or degrees in the ornamenting and enrich¬ ing the prefent ceiling. If it be intended for the firft or froalleft degree of decoration, let the mouldings of all the compartments be enriched with fculptured parts, and let thefe be bold and. great, anfwerable to the defign of the whole, the mcafure of the parts, the proportion and diftance. All thefe confiderations require they fliould be large and ftrong ; and, in the pre¬ rent purpofe of a decoration not too expenfive, let them be plain. H P. XVIII. Of etiriching the compartments. I N the defign juft named, the purpofe has been only to decorate the mouldings of the pannels, or to give them a handfome edge ; while the lpace between, and the infide of the compartments themfelves is left plain. Thefe parts are intended occafionally to be the feene of ornament, and it is that ad¬ dition which forms the fecond and the third degree of ornament. With OF ARCHITECTURE. 5°7 With refpedt to the principal or central compartment, which is circular, if it have Chap. 18 due depth, and a large expanfe be taken up about its verge and in its mouldings, the ' v J inner part, and the breadth within the outer verge and the mouldings may all be left plain. The centre ( 5 f this circle will very well receive the pulley of a luftre, or if no fuch piece of furniture be in the room, there will be no fault in its plainnefs. Let us next lead the ftudent to the decoration of the end pannel, that is, the prin¬ cipal fquare compartment, which terminates each way the circle, and reaches the reft of the length of the ceiling. There are two of thefe ; but we fpeak only of one, becaufe the ornaments muft of neceffity be repeated in the other. Thefe are the two largeft fquare compartments; and, next to the circular one in_the centre, they are the principal parts of the ceiling. We fuppofe them already terminated by handfome mouldings, for that was the de¬ coration of the firft degree. Within thefe is the vacant fpace of the pannel, which we are now to enrich : in this wefhall advife the ftudent to aim at lightnefs and fimple elegance : let there be no clutter of ornaments, no heavy figures, nothing mafly, nor any thing large. Firft, as the fpace is large, and we diredt the infide decoration not to be fo, the care fhould be to leffen its extent j this muft be done by making as it were a pannel with¬ in the pannel: let a line of light fculpture be carried every way at equal diftance from the infide mouldings, leaving a fpace between of moderate extent, and let this remain unornamented : the fquare for decoration is by this means reduced to a much fmaller compafs ; and, to give all the advantages of light and fhadow, concerning which we have fpoke fo largely on this occafion, the central pannel fhould have a depth greater than that of the reft of the ceiling. In this let there be placed a very light feftoon. The dignity of the work is to con- fift in other parts, therefore this fhould not be either large or very rich : its form fhould be regulated by that of the pannel, and as that is a long fquare, the beft fhape for this will be oval. Let its bottom come toward that end of the pannel which is neareft the central compartment, and let its other end be tied in a loofe free manner with a cord or rib¬ band. This, well underftood, will lead the architect to the finishing of the reft, for they are only fmaller pannels of the fame general kind. On each fide of this principal compartment, there is a fmaller. Thefe are of the fame length, but much narrower, and are feparated bv a proper fpace of divifion : let • the ornaments in thefe be like thofe of the principal which is between them 5 not fo 3 fer- 5o8 A COMPLETE BODY Book V. fervilely like as a copy, for that would not fuit the fliape of the pannels; but let the ornaments be accommodated to them, and correfpond with the other. If a compartment were made within each of thefe, and a feftoon placed in it, that would be a gut by its great length ; and the want of breadth would deny it all poflible beauty: therefore let it not be done. Jnftead of one long pannel within the compartment, let there be placed two fmall- er; one at each end of it, and between thefe let there be fpace for a feftoon. Let thefe pannels be enriched, in the fame manner as the others, with a light edcre of fculpturej and let them have more depth than the fpace between, which receives the feftoon. This will give in the whole a very pleafing variety ; and let the feftoon be of the fame fliape, though fmaller, with that in the principal fquare. Thus will the three principal fquare pannels be filled ; and there remain only the two fmalleft, which terminate the central circle the breadth way of the ceiling. Let thefe be decorated in correfpondence with thofe already named, but ftill let there be a variation ; for a perfect famenefs of parts is fully as difagreeable as a rude un- likenefs. Let there be two fmall pannels formed within each of thefe larger, and let their fronts, which come toward one another, be cut out with afweep ; this will give room for a feftoon, which fliould hang crofs-wife, not lengthwile, as the others; that its bottom, like the reft, may be toward the verge of the circular or central pannel. The laft degree of finifliing to be added to this ceiling, is by throwing fome orna¬ ments of fcrolls into the fpaces which feparate the feveral pannels. This will give a compleat richnefs to the whole ; and thus we have reprefented it in the annexed figure, illuftrating our rules by the practice of Inigo Jones . The feveral degrees of finifliing may be feen in the different parts of the figure, which, for the ufe of the pra&ical architect, we have compleated indifferent degrees. ^jl 3 l£Z£M 1 BBSS jyQyQyQyQyQUQyQyQyQUQyflyQyQ! iunliriijn^^ 1 -fWT imnyMUH Hi m m rlnuriiriHra mmmmmMMjmmi rji.ri-iui.fi n w p MlItC-iMi 'mwi. f {/7U!<4 /-// a OF ARCHITECTURE. HAP. XIX. Of decorating a deling with mixt figures. T PIE architect is to underftand by this term the divifion of a deling into com¬ partments and fpaces: that is, the placing it in a number, greater or lefs, of compartments ; which, filling the whole extent, leave fpaces of accidental, but not ir¬ regular figure, capable of decoration in the manner of compartments, and naturally fetting them off by the variety. They are accidental becaufe they arc not laid down by lines, but refult from the dilpofition of the other figures, and they are regular; that is, proportioned in fize and difpofition, becaufe thofe figures to whofe out-line they are owing, are alfo regularly placed. To reduce this to praflice, let an architea, in a cieling of any given fize, mark out a central compartment of moderate dimenfions, and, at equal difiances, place four final! compartments at its edge. He will then fee the general idea of this divifion with mixt figures; the few regular compartments will he accompanied with fewer inter¬ mediate fpaces, and thefe will be large and capable of any decoration: they are the four parts of the cieling, circumfcribed by its proper out-line, and by the verges of the com- partments marked within. With refpca to the fize of thefe it is eafy to err on the fide of excefs, but it is th* word fault; for, in that cafe, they give the whole a poornefs, and an air of vacancy, i lie cieling fiill fcems plain, and only to have the compartments lodged upon it On the other hand, when the excefs of the compartments makes the corner fpaces too lmall, the whole feems crowded with ornament without tafte ; for diftancc and freedom are the greateft ornaments of a good figure ; and, if they are to be ornamented they can only receive a figure too fmall to be either fairly confpicuous from the floor or correlpondent to the refi of the cieling; or they muft be crowded fo as to lofe the grace we have juft named of freedom, which could only refult from a clear fpacc be¬ tween the figure inclofcd, and the out-line of the fpace in which it is included. The ftudent fees by this, that when thefe corner fpaces are made too fmall by excefs in fize, or lll-chofen form of the compartments, they muft be one of thefe three ways improper. Either they muft be plain, and-therefore not correfpondent to the reft of a fimthed cieling, or they muft be ornamented with a fmall, or a crowded figure. For this reafon, let him as carefully avoid the making them too fmall on their own account, as the fuffenng them to remain too large, to the hurt of the reft of the ciel¬ ing. N°. LIII. 6 O To 5 10 Book V. A COMPLETE BODY To reduce the rule to praftice, he mud obferve, that if the fmall compartments be all four equal, as they will be in a fquare cieling, then the corner fpaces are to be left fo large that they juft receive one of thofe fmall compartments : if the cieling be of an oblong fquare, which is the moft ufual form, then two of the fmaller compartments will naturally be larger than the two others*; and the rule, in this cafe, is that the cor¬ ner fpace be of fuch extent, that it would more than receive one of the fmaller, and would not receive one of the larger compartments. This will depend principally upon marking out the firft or central large compart¬ ment : we have here given the principles on which the whole divifion is to bs found¬ ed ; and fl»ll now treat of the form. H A P. XX. Of the flaps of the compartments in this cieling. A fpace being given for the form of a cieling, whether fquare or oblong, there will be three ways of dividing it, according to the preceeding fyftem : it may be thrown into figures all fquare; fecondly, into fuch as are all circular ; and third¬ ly into thofe which are partly fquare, and partly circular. Now to make a choice properly in this refpeft, let the ftudent keep in his mind thefe corner fpaces, which, with their decorations, are to make a principal figure in the cieling. He muft confider that freedom in the out-line is the great article of beauty in thefe fpaces, and this will at once determine him againft the divifion into fquares. The out-line of the cieling marks two (ides of each of thefe fpaces, and thefe arc therefore naturally ftrait-lined Tides: if the compartments were all fquares, the inner as well as outer lines would be (trait, which would give a (tiffnefs, and there would run into each a difagreeable (harp corner. This would be, upon the whole, a very unpleafing, irregular, and harili figure , therefore, in the prefent cafe, the firft of thofe three divisions of which the cieling is capable, is utterly to be rejefted. With refpeft to the divifion mentioned under the third head, partly into fquare, and partly round compartments, it is not liable to the fame weight of objeftion with that into all fquare ones; but it is (fill very faulty. There are but two ways of executing this divifion ; either the central compartment muft be round, and the four fmaller fquare, or the central muft be fquare, and the ♦",-u it rmil 1 ftr ronnrl OF ARCHITECTURE. This laft is a very bad contrivance in itfelf j for the circular being the figure, the principal fhould be that j but, befides the impropriety in rule, agreeablenefs of the general appearance, this, in the prefent inftance, would be very im¬ proper ; for it would ftill thruft thofe fharp corners into the four fpaces between the fmaller compartments, which we before named as the principal objection to throwing it into all fquare figures. i For all thefe reafons therefore, this method of divifion is to be rejected. In refpedtof the other, in this mixed kind, that is, the making the principal or cen¬ tral compartment round, and the fmall ones fquare, it is liable to fewer objections, but ftill it is not the method to be preferred. In this cafe, the ftudent will find he is rid of thofe deforming angles, which ran in¬ to the corner fpaces when the principal compartment was fquare; but he will find, that although, inftead of the ungraceful figure refulting from that combination, he has, pppofite the angle made by the out-line of the deling, a convex or fwelling figure to terminate the fpace; yet, at its two intermediate parts, the harfhnefs of the ftrait line of the fquare returns, and there will be unavoidably a hollow angle which he can ne¬ ver fill up, becaufe of its fmallnefs, and which will be always ungraceful. Thefe rational objections to all the propofed figures, throw us naturally upon that divifion of the deling we mentioned in the fecond place j which is, that all the com¬ partments fhould be round. This is the true form of a ceiling whofe corner fpaces are intended for decoration in the prefent manner. Let the ftudent, for his fatisfaCtion, firft try the feveral others; all the diftributions .and figures we have named, are ealily marked in upon paper: and he will, by that, have ocular demonftration of the propriety of our remarks. When he has convinced himfelf of the defects in thefe, let him try the other by making all his compartments round, and he will in that find every thing as graceful as it was unpleafing in the other ; the four fmaller figures will agree perfectly with the larger, and the corner fpaces being made of the proportion we have directed, will be confpicuous without nakednefs ; and their figure, formed of two ftrait lines as right angles, and three convex ones, formed by the verge of the principal and two of the .fmaller compartments, will be very pleafing, and happily fuited to the reception of any kind of ornament. 5 11 molt perfect and the dif- chap. A COMPLETE BODY HAP. XXI. Of the mariner of forming the compartments. \HE architeft having now convinced himfelf, not by oat words alone, but by his own pencil reducing them to the tell; of lines, that no diflribution under this intent can be fo proper as the throwing the whole into circular figures, will begin to Confider of their proportions and conftrudtion. A fquare cieling may be thrown into this form, but the mold proper one is the more ufual form an oblong fquare. The reafon of this preference will be feen if the fludent will again reduce the propo¬ rtion to the teft of lines : the fquare fpaces at the corners are a principal confideratiou here, and when the cieling is fquare, the figures of the compartments being of equal diameters, the corner fpaces will be alfo exadtly alike in their parts. This will give a famenefs to the whole, which by no means agrees with thofe ideas of freedom and variety we have endeavoured to imprefs upon the fludent in this ar¬ ticle. On the contrarv, when the four fmall compartments are alternately larger and lefs, as they mult be in an oblong cieling, the central figure being a circle, there will refult from this a pieafing wildnefs in the form of the corner fpaces ; their breadth, when they are terminated by a larger compartment, being greater than where they are clofed by one of the finaller ; and the two fmall ends and two large ends of tllefe fpaces be- 1 w placed naturally and necelTarily againft one another, there will be a pcrfefl connec¬ ts. m of parts, at the fame time that there is this agreeable diverfity of figure. Vv'e V.ill fuppofe our fludent now to have perfectly made himfelf a mafter of the tbcoiy of this diflribution, and ihall lead him to praftice in a cieling of that form which w e have laid belt fuits the divifion, that is, an oblong fquare. Having marked in the out-lines of this upon paper, on a proper fcale, let him firft :u r.e in the centre a large circle, and furround it at due diflance with feveral other concentric circles, gradually larger for its mouldings ; and this being ftruck and finifh- c i to a due fize, will leave but fmall depth for the others, efpecially for thofe at the tides of the cieling : but it is eafily remedied. If more fnace of depth were left for thefe, the central compartment could not have its due bignefs, which is the firft article to be confidered ; this being allowed, though at the expence of the fpace for the fmaller compartments, we are to contrive in the bed manner to make up that deficiency. We OF ARCHITECTURE, Si1 w. e Will 1 uppofe a feftoon is to be ufed as an ornament of the outer part of the nrin opal compartment, and the fame kind of decoration with mouldings to be carried alfo round the verge of the cieling: any ocher decoration may be ufed at pleafure but we name this becaufe it is the ornament ufed in the figure with which we have illuftrated this compartition oi the deling. This being marked in upon the paper, and the extreme line of the circle in the cen¬ tre fimfhed, the (paces between them will appear very fmall at the Tides, indeed too fmall to admit a proportioned compartment at the ends of the cieling. Here the liberty of the artift is to be ufed, and the compartments are not to be cir. cumfcribed by the allowed too narrow limits of the fpace ; if more had been allowed the central compartment would have been too fmall, and the whole figure ill-propor’ tioned i and this, which gives a due extent to that part, and conformity throughout the whole, is limited too clofely by thefc ornaments or mouldings. Therefore the freedom of the artift, taking its plea from neceflity, commits a fmall er fault to avoid a greater, and carries the out-line of thefc leffer compartments into thofe ornaments. The (Indent, knowing he may do this, is to fix his compaffes in the centre of the abfolute fpace, and extending one of the points to touch the very out-line of his ciel¬ ing, is then to ftrike the circle which is to be the out-line of this fmall compartment. Let him draw this out-line carefully, for to be elegant it mult not be compleat • it will, at the edge of the figure, cut through the feftoon that marks the verge of ihe cieling, .d all its mouldings; and hence it is to be carried to the edge of the circular verge of the principal compartment. If it were carried on it would here alfo cut thro' the feftoon, and fomeofthe mouldings of this compartment; but this at the fame time that it offended the ey* by its harflmefs, would rob the architedl of the means of a great beauty. Within this line let him ftrike two or three concentric ones, imperfea as the firft and terminating at the out-line of the principal compartment; and within thefe let him leave the place of a feftoon, whofc out-line muft terminate alfo with the reft. Thefe are all the imperfea lines he need ftrike. . Let hlmnow '«ve a due fpace for the thicknefs of the feftoon, and then mark its inner fpace entire ; let him then ftrike two or three fmallcr circles at due diftance with¬ in that for the mouldings; and then, taking off his compaffes, let him obferve the fi¬ gure. If the out-lme of this fmall compartment had cut deep into the principal figure as into the ornaments of the verge of this cieling, then this principal figure would have been wounded in four parts, and nothing being entire but thefe fmall compartments it would appear as if they had been the principal forms. N». 53- 6 P Another 511- Book V A COMPLETE BODY Another conftruflion, very unpleafing to the architect might alfo arife from this, •which is, that a common eye would fuppofe he had made his principal compartment too large’ and had been forced to intrench upon it afterwards by the others. An architeft (hould guard even againft falfe cenfure ; and, in the prefent cafe, he will, at the fame time that he avoids the apparent fault, find he has given the cicling a confiderable beauiy. He will fee, on thus examining the figure, that the cutting through the ornament of the edge, far from having any ill effeft, very agreeably breaks the verge out of four ftrait lines, into four handfome corners; and that the fpreading of the ornamental parts thus to the verge, far from hurting the eye, enlarges to appearance the whole delin'*, and gives extent to the ornaments, and richnefs to the entire form. So many beautie’s may°fometimes refult from a freedom taken againft drift rule, at the com- niand of neceffity. On the other part, he will find that by this method of leaving the out-line of the fmall compartment imperfeft at the larger, the feftoon of the fmaller will meet the feftoon in the verge of the larger ; and each lofing half its thicknefs, the two will form the depth of one ; and thus there will refult a union and combination of the Idler and lamer parts, fo perfeft that they will feem to rife out of one another. The five com¬ partments will not feem fo many detached pieces, but parts of an entire figure, and there will be that uniformity and regularity which gives the greateft grace to all dif- tribution. One of the four fmaller compartments being formed, the rule is evident for all the reft , they are only to be ftruck upon the fame plan. The circle oppofite to that which is firft formed muft, in all things, correfpond with it, for the fpace it is to oc¬ cupy is exaftly the fame , and, for the conftruftion of the other two, nothing is need¬ ed but a little more opening or clofing of the compaffes , for the form and figure, and the manner of finithing each line, proportioning the whole to the fpace, is the fame. Thefe lines being all ftruck, let the (Indent take a review of his work before he proceeds farther. He will fee, under this view, a deling circumfcribed by the form of an ornamented verge, and decorated with the figures of five proportioned circles. The corner fpaces will be of a good flrape, but they will appear large. This is becaufe they are plain : it is enough for the prefent condition of the draw¬ ing that he fees proportion in the feveral figures; thefe fpaces will not appear too large when they are no longer vccant: this is a deling intended for ornament, and therefore it is no matter that it does not perfeftly pleafe in this part while plain. We (hall proceed now to confider the method of decoration. CHAP. OF ARCHITECTURE. CHAP. XXII. Of ornamenting this deling . W E have, on the preceeding occafions, given the ftudent his choice of allowing more or lefs decoration to the defigns we have laid before him. They have been intended for general examples, and were therefore calculated for general ufe, fuited equally to be left plain, or finifhed with more or with lefs ornament; but here we fpeak of a particular kind, in which there are many things to illuftrate the general rules, but which is yet one of thofe where the quantity of ornament is limited. A bad tafte may load fuch a defign with foolifti figures, or a poornefs of imagination may leave it raw and vacant; but, in either cafe, any one who was a judge of the fcience would ex¬ claim to fee fo good a defign fo ill finifhed; and even the vulgar eye would be difgufted, tho’ without perceiving why. There is a middle degree of decoration proper to fuch out-lines: this may be varied in kind as much as the inventor pleafes, provided he keep out of abfurdity: but it mud not exceed, or fall below, a certain degree, if he would hope to fatisfy the eye of tafte, or pleafe the common obferver, The firft point to be determined in the bofom of the architect, is that the orna¬ ments may correfpond ; that nothing may be admitted in ono of the compartments which may not have a place in all; and that the decorations of thefe be fuch as, without impropriety may be admitted in the verge of the deling. Upon thefe principles, it will not be eafy to err, and almoft impoflible to mifs of at¬ taining a great beauty. CHAP. W E have named, in fpeaking of the confirudtion of the feveral compartments, the feftoon, as a proper ornament; and we fhall here diredt the eye of the ftudent, from the frivolous decorations which France has furnilhed us, to thofe which dignified the works of Greece and Rome , and have been an honour to the names of lbine of our own architects in times of better tafte. We allow the licentious rolling of a feftoon, when it is to fpread through a large va¬ cancy ; and will permit it to be wildly formed when nothing circumfcribes its edges; but the prelent cafe is quite different. There is no extent of fpace to fill with a feftoon, nor any licence for its fpreading out at the edges: it is naturally and ncceirarily circumfcribed, being ufed only as an ornament between mouldings: we fhall therefore here refer to the ftridt tafte of the old Greeks. Their feftoon was a plain wreath of oak, or fume other tree, but none in general fo well as the oak, becaufe its leaves were of a moderate fize, and not ungraceful figure ; and the ufe of acorns in their cups, and of their cups m fome places without them, added greatly to the variety. Such a feftoon we fhall diredt for the principal decoration of this deling; and thi s we (hall advife the architedt to lay between his mouldings of the verge of the ceiling, and round each of thedrcular compartments within their outer circles. Thefe are the fcftoons we would have united where the larger and fmaller com¬ partments interfedt one another ; and, in thele places, they will naturally admit a very pretty ornament, in form of a knot or ribband, to tye them together. Thus let the ftudent lay the plan of his ornaments to this elegant ceiling ,- the con¬ nexion and agreement of the feveral compartments, and of the whole ceiling, will be very pleafing ; and the eye, running from one to another without confufion, will at once comprehend the whole, and admire its feveral parts. We have fa id there is a certain depth of ornament appropriated to this cieling ; but in that exprefiion we have not meant to limit the architedt to a ftroke of the ornament in the lefier parts. The infide decoration of the great compartment muft be well finifhed ; we do not mean the decorating the plain fpace within that circle, but the hnifhing of thofe mouldings which are between the feftoon and the inner verge. OF ARCHITECTURE. 5 l 7 Thefe mud be large, bold, and enriched with fculpture, and the red gradually Chap. 23. lighter to the fedoon, and thence ftill lighter to the outer edge ; but dill, in all this - - —" lightnefs, there muft be ornamefit. The fmalled mouldings will admit of fculpture; and this Ihould not be denied where the deling is of the richer of thofe two kinds we (hall allow as prafticable with, and proper to this defign. Thefe differ but by flight accidents in the fculpture. The plained way of finiihing the deling of this didribution is, that the central parts of the feveral compartments be in all left plain, and the mouldings with which they are furrounded be alfo plain, excepting thofe which are within the fedoon in the principal compartment. In this cafe the fpaces at the corners mud not be plain, for they are intended for the reception of ornaments; and, if left plain, would appear too large for a due pro¬ portion ; but, as lefs is allowed in this defign than in fuch as are more enriched, it will be proper, byway of appropriating this part, to place in each corner a fmall and very light ornament. J Thus the cieling would be finilhed with its proper decorations at a lefs expence than it might reafonably demand ; but we (hall, in the fucceeding chapter, give that degree of them which appears more finilhed in the feveral parts; and which we (hall advife the architect to follow where he is to work fuch a defign, and is not too ftridly limited hr the article of expence. N°. 53. 6 a CHAP. 5 lt Book V. A COMPLETE BODY H P. XXIV. Of decorating the compartments in a richer manner. U PON this plan of a proper degree of decoration, and where the genius of the architect is not limited by the regard of expence, we (hall propofe not to load the cieling with ornaments, for that we have already declared improper, but to enrich it elegantly. In the firft place, the mouldings of the compartments come under confideration. Thefe mud not be all plain, as in the firft inftance; nor all decorated with fculpture. It is in thefe determinations genius difplays itfelf. The common architeft, as foon as he had received his unlimited commiffion for enriching the cieling, would crowd in as much fculpture as he could into the feveral parts, and the more he put in the bet¬ ter he would think he had executed his purpofe. On the contrary, the enriching every moulding confounds all. There is a famenefs that difpleafes, and the eye that (hould admire the elegance of the whole, is loft in the perplexed multiplicity of its ornaments. In general, let one of thefe mouldings be cajved, and the other plain. The account is to be begun from the outer and inner moulding toward the feftoon, for in each of thefe the plainnefs of the flat of the ceiling relieves the fculpture, and there is the propofed variation to fuit the whole to the eye. Thus with regard to reft, the fimplicity of thofe left plain will appear with great juftre among and between the carved ones; and they will, as they were calculated to do, fet off mutually one another. The feftocn naturally falls next under the arhited’s confideration, and he will do well to confider it thoroughly. The entire wreath is, in thefe cafes, fuppofed to be round, but it may according to the height of the other ornaments, projed in a various degree from this cieling. Half is called an unexceptionable meafure, but there is too much of ftiffnefs in it under that form : Iefs than half appears poor 5 and the greateft beauty Is to give fome- thing more. It need not be much more, for the eye cannot diftinguifh the exaft de¬ gree^ but if there is a flatnefs in a fplit feftoon, the giving it fome projection above the evtreme diameter, throw a it forward, rounds and finilhes it OF ARCHITECTURE. 5 1 9 As to its condrudtion, we have recommended the oak for the fubjedt, but there are Chap. 24^ two others which may be ufed, the beech and the chefnut) each of thefe has its fruit, which may be intermixed with the foliage: and in the chefnut there is, befide the largenefs of the fruit, and its peculiar form, which is rudely reprefented in our eggs and anchors, the advantage of a didindt kind of figure, the catkin : the leaf alfo of tjhe chefnut is extremely beautiful* its figure, ferrature, and point, all confpiring to recom¬ mend it to the eye. The beech is the fmalled leaf, and has the lcaft confpicuous fruit of the three; it is therefore in general the lead: eligible j but let not our architedt judge therefore that he is to rejedt it utterly. Differentfoims are fuited to different purpofes; and there may be ufe in all. To give one general rule, let him proportion the kind to the thicknefs of the fedoon, and its didance from the eye. Thefe, in good architedture, will be proportioned to One another; and therefore the confideration of either would have been fuliicicnt. If the fedoon is very large, the chefnut is the proper fubjedt ; and let the architedt learn its true form, both in leaf and fruit, from 1 'ome of the botanical writers. When it'is of a middle kind in refpedt of bignefs, let it be made of oak, and when lead of beech. Therefore, when mod remote from the eye, let it be chefnut j when at a middle didance oak ; and when very near beech. This didance, which we call the middle, between the very remote and very near, is the mod frequent; and therefore the mod ufeful ornament is that which fuits it: this makes the oak mod generally ufed, and mod generally proper; but, even in this refpedt, the architedt may (hew his genius in fome variation. By the word oak, we exprefs the tree of that name which is of our own gtowth, and with whofe leaves we are familiarly acquainted. This may be ufeful often, but there are others : the American oaks have diarper pointed leaves; and th eSpaniJh, called by our gardeners the Italian oak, has fmaller leaves than ours, and more deeply divided. There is alfo another, a native of the mountainous parts of Europe , whofe acorn is placed in a vad prickly cup ; the leaves of this are alfo large, and they are deeply finu- ated. Of all thefe let our architedt make choice, when he is determined to ufe the oak, fuiting the kind to the purpofe; this lad-named fpecies is fit for lofty fedoons of great bulk ; our own, or the American, for thofe of middle fize and didancc, within the li¬ mitation where the oak dands, according to the former didribution; and, for the fmalled and neared to the eye, he fhould chufe the Spanijh <, The • .-rvi 520 A COMPLETE BODY Book V. The figures of all thefe kinds will be found in the writers on trees ; and the fculp- s— -- ture may" thence be adapted to the purpofe, and varied according to its place ; the ar- chiteft all the time being able to juftify himfelf upon the foundation of nature. For this deling, according to that height it belt fuits, which is that of a middling room, we (hall advife the ufe of the Spanijh oak leaf. H A P. XXV. T Of decorating the fpaces. H E feftoon being fixed upon, and the degree of carving fettled for the mould¬ ings, all is done in the verge, and there remains only to decorate the central fpaces of the pannels, and the fpaces at the corners. In each of the fmaller compart¬ ments let the architeft place a flower; and let it be boldly and largely imagined. Let it not (land clear within the fpace, but fill it, and roll up its edges at the inner line of the moulding. Thefe being thus ornamented, let him leave the whole compartment in the centre vacant and plain. The reafon of this will be undcrftood from what we have juft fluid of the decoration of the mouldings, that feme plain parts are needful to fet off the ornaments of the others. The fmall compartments are filled with fculpture, and in the corner fpaces there are to be ornaments; not fuch as will fill up the place, but fuch as will make a proper figure in it. The reader has, in Plate LXXX, here annexed, a cieling of this form, on which the ■great Inigo Jones, always ftrift to rule where it could be obferved without tranfgreflion, has employed his genius very happily in finilhing fuch a defign. The ornaments ol the four corners are varied cppofitely, and it would not be eafy to conceive a decoration which could more happily fill the principal place, than thofe cornucopias with the ca- duceus which he has fo happily thrown into them. CHAP. mk •JL m \ f. '£ f/f fiJ^Scs/a/ That the Perfian order is fitted for the continued chimney-piece, and the Ca- ryatic for the fimple. 2. That very little weight belaid upon either: that the fimple chimney-piece of this conftrudion terminate abfolutely at its proper mantle-piece, which mult be the top of the entablature of an order ; and that in the continued kind, the ornaments to the cieling be light; and the materials alfo of a light kind : upon this alone depends the idea of eafe in the figures j and confequently upon it depends entirely our fatif- fadlion in viewing them. This makes it natural that the figures fliould not be diftorted ; and we Hull give one general direflion to the fculptor, with refpeft to their countenances; which is, that the Perfian, or man-figure have a look of indignation or contempt , and the Caryatick, or woman of dejeftion without pain. Let the Perfian feem to fry he does not feel the load, but the indignity ; and the Caryatick that the underftands her condi- tion with humility. C H A P. XIII. Of a chimney with the Caryatick order. L ET the architedt who propofes a chimney of this kind to his proprietor, or 1 w ho receives the propofal from him, firtl reprefent to him the expencc. This is a very needful article at firft: fetting out, for if it be omitted, he muft exped, either that the owner will be ftartled at the charge, or that the work will difgrace him. The figures in fuch a chimney are near the eye, lb that every defed will be feen as well as every beauty; and they are of the nature of thofe other elegancies in the art which had much better be omitted entirely, than done in a flight manner. It is ufual to crowd other ornaments among them, and about the fame chimney; for the common opinion is, that one fine thing muft be near another : but this we do not mean. Plainnefs in a certain degree is preferable, becaufe It is more cor- refpondent to the figures; but the needful ex-pence is, that the chimney-piece be of fufficient extent and bignefs, that the materials be good, and that a full price be allowed the fculptor. He muft finilh his work according to the price, and there is none too great that is within the bounds of reafon ; for there is no occafion on which his art ought to be difplayed fo perfedly. We are to treat here of a chimney of the Caryatic order, and according to our firft principle this muft be a fimple one. The female figures of this order are to (land OP ARCHITECTURE-. 571 fta'nd at Teeming eafe, and it would be monftrous to load them with ornaments up to the deling. Themfelves are fufficiently ornamental for the work, and the Ids the C’ 13 ?' * 3 * eve is difturbed in contemplating them the better. For all thefe reafons, a plain or fimple chimney, which terminates at the mantle-piece is the proper one for the reception of the Caryatick order. This mantle-piece fhouid be formed by the pro¬ jection of the entablature, fupported by thefe figures, with no farther addition ; and there is to the true architect an abfolute rule what this entablature fhouid be. This deferves a ftrid attention ; for whenever there is an abfolute rule from antiquity, and no objection lies againft it in nature or reafon, nor any thing better can be put in the place of what it directs, ’tis wrong not to make it abfolute, and accufe all of error who depart from it. When we fpeak of thefe male and female figures, under the name of Perfian and Caryatick orders, we do not confider them as fimple ftatues, but as parts of an or¬ der of architecture. They fupply the place of the fhaft of a column j and they are to fupport an entablature. We fee fancied mouldings placed upon the heads of thefe figures in modern works; for there is no error or abfurdity fo grofs, but fome of thofe whom of late times we have been content to call architects have fallen into it: but in the earlier times it vyas otherwife : the chafte tafte of the Greeks admitted none of thefe irre¬ gularities 5 the termination over a Perfian or Caryatick ftatue was always the regular entablature of one of the orders. It was this, which determined the order, for the flatue ferved as the fhaft to anv : and their general diftindion, was, that the heavy entablatures fhouid be laid upon the Perfian as male figures, and the lighter upon the Caryatick or female. But this was not all, they appropriated one entablature to this figure, and in their corred pieces ufed that only. It was the Ionic: none ferves better than this in the natural form and correfpondence to the figure, for a heavier would be abfurd, and the two fuperior orders have entablatures too much enriched for the ftatue. This is a point we Thai! not wonder to find the fiudent wholly unacquainted with at prefentj but we fhall explain it at large hereafter. The Ionic entablature was upon this confideration more fuited than any other to the Caryatick figures, and this would have made its ufe general among that judicious people ; but there was a farther thought that made it univerfal : this was the com¬ memoration of the great event they ferved to record, in all its particulars. The Ipnians were, the people who reduced Caria to the Grecian yoke, they there¬ fore placed the entablature belonging to the order of that name, always upon the heads of Caryatick ftatues, to tell this ftory to pofterity; the Ionians fubdued thefe people. This, though hitherto unregarded by architeds, we fhall not hefitate to lay down as a law of the fcience; that the Ionic entablature be laid upon the Caryatick 2 figures S7 2 a. COMPLETE BODY figures in all places where they (hall be ufed. Reafon Ihews it is proper, and the VI. a ^ thority of Greece fupports it. The whole matter in thefe fanciful pieces is tri- ” fling, in comparifon of the regular majefty which is feen in the great original or¬ der”; but when we ufe them, let us with regularity copy thofe who firft introduced them into the fcicnce ; and like them tell the whole ftory. CHAP. XIV. Of the conJiruEiion of the figures. J T is already determined that the chimney-piece in which thefe figures are intro- 1 . iluced fhall be large ; that it (hall have no ornament above its mantle-piece ; and that the mantle-piece fhall be the top of an entablature, and nothing more : It is deter¬ mined that this entablature (hall be Ionic ; and we are now to confider the conftruc- tion of the figures. Their length being determined by the defign of the general work, of which we {hall fpeak hereafter ; the proportions are all regulated by that: the human form is the flandard of truth in this relpeft, only let the fculptor remember, that it is a female figure, and that it will be bed if he make it of the mod delicate form. No great weight is to be fupported ; and confequently, no robud limbs are neceffary to the purpofe. Thus much determined, two points more occur: the difpofition of the limbs and the drapery. Thefe we fhall confider feparately. When figures are railed to a height which places them out of the way of acci¬ dents their limbs may be difpofed with a freedom which cannot be admitted, where they are in the reach of blows : nothing can be more in the way of thefe than a figure which makes part of the ornament of a chimney, becaufe the perfons who fit near the fire, will lean or rub againd it 5 and the continual bufinefs of fervants in managing the fewel will carry them alfo for ever into the way of touching it. Let the architect confider what parts are mod liable to damage. Thefe are, the hands and feet; and particularly the extremities of them, the fingers and toes. If the hands were difplayed at a didance from the body; and efpecially, if the fingers flood loofe and free, a few days could not fail to maim them. We lee this in effefi, where injudicious defigners have formed them in that manner, and experience joins with reafon in directing a contrary courfe. 4 The OF ARCHITECTURE. 573 The firft thought would be to throw both arms clofe to the body : but that would ^ be at once ungraceful and improper. It it natural that a perfon loaded upon the head, although but lightly, fhould raife one hand to help to fupport the weight; and this muft be done in the prefent inftance. It will be higher than the part of the image that is in moft danger of accidents. The arm, even in a delicate figure, may be ftrong enough to refill a little injury ; and the tender part of the hand may be defended from it. The proper pofture of a caryatick figure at a chimney, is, to have one hand clofe to the body ; and the other raifed to aflift in the imagined fupport of the mantle- piece. The hands muft be delicate, to correfpond with the general figure, and they will require the beft touches of the fculptor’s chilfel, becaufe every eye will naturally be thrown upon them. The fingers muft be finall to anfwer to this general defign ; and thofe of the lower hand will be expofed naturally to blows and injuries; while thofe of the up¬ per will not be altogether exempt. The defign of the architect is to fliew his judgment in fecuring them gracefully > as the fculptor does in forming them. The hand that is carried up to fupport the entablature, may very properly be placed upon the freeze j and in this cafe, the projection of the cornice will give it a great fecurity. It would be very proper to give the order its pulvinated or roundifh freeze for this purpofe, that the hand may be fhewn in all its delicacy, grafping it. 9 In this cafe, the cornice would not be its only defence; for the fingers might be united to the body of the freeze, and thus would have a ftrength that they never can when loofe. This hand being fo fecurely difpofed, let the ftudent confider what can be done to preferve the other ; it is in moft danger becaufe it hangs loweft, but there is an eafy way to defend it. Nothing can be fo natural an employment for this hand, as hold¬ ing up a part of the robe; and this may be its fecurity. There will naturally be a fold and a riling in the part held up, and thefe may be wrought tho’ with the utrrioft delicacy, yet with great fubftance. In the hollow under the riling may be placed the hand, in which the moft delicate touches of the chilfel may be fhewn, while it is thus preferved in the greateft fecurity. If any fuppofe the neceflary lightnefs of the robe cannot be preferved with this quantity of fubftance, neceflary to preferve the hand from accidents, we refer N°. 60. 7 G them A COMPLETE BODY theni to the Flora, well known to all who have viewed with tulle the raiities of modern Italy. The quantity of marble in that is three tiroes what is bellowed on moll other figures, yet it is the lighted ol them all. CHAP. XV. Of the drapery. ]» MODERN fculptors are fond of nudities; but in a chimney-piece they ivi would be abominable : they would (hock the delicacy of our fex, and could not be leen by the modefty of the other ; they are therefore abfolutely excluded from this lervice, and fome drapery is always to be allowed: the quedion is, how much and in what manner. Let no datuary here objedl, that the great excellence of his art is withheld, for th a t it would condd of rr.ufcular figures. We banilh anatomy from the parlour of the polite gentleman : that is all. Let him copy his giants for expofure, from thofe malculine forms the antients have left, or from rough and violent nature ; but here let him give his figure cloathing. Nor (hall we differ the complaint unanfwered : we (hall tell him, it is as difficult to excel in drapery, as in nakednefs ; and may re¬ fer him to thofe cloathed datues of the Greeks and Romans, which it would be glorious to imitate. That thefe are capable of equal excellence and may obtain the fculptor equal praife is evident from thofe examples : with refpedt to the elegance and propriety all may judge. We have given in Plate 88, a caryatick chimney-piece, in which the juftly diftin- guifhed hand of Mr. Grignion has executed very finely the delign Mr. Ware has given for the illuftration of this fubjeCt. In the one half there is a plain- nefs, and in the other ornament, of which we fhall fpeak hereafter ; but what re¬ gards the prefent dilquilition, is, that on one fide there is a caryatick figure perfect¬ ly cloathed, and on the other, one according to the prefent licentioufnefs of lculp- ture, in great part naked. To thefe we refer the eye of decency and reafon ; and leave it to its own determination. None can dilpute, but that die more perfectly cloath¬ ed figure is the more elegant, as well as the more modeft. And it is certainly the more natural and proper of the two. The iliewing a thigh is contrary to the cha¬ racter of woman, which is modefty, and in the other cafe, inftead of the robe h.iding beauty, it gives a great deal, let the drapery be executed well, and die limbs will be fecn through it: there will be at once elegance and decency. C H A P. Let a kind of plinth be placed under them, for it is by no means proper they fhould reft immediately upon the hearth; and this will ferve the fame ufeful pur- pofe in preferving the toes from injuries, that the freeze of the entablature anfwer- ed for the defence of the hands. They may be difpofed both firmly upon it, and be made of one piece with it ; or that foot which projects forwardeft, and is there in moll danger of hurt may be fo difpofed, and the other which is backward may be made with more freedom, to reft lightly upon it by the toes, or if the iculptor pleafcs to be abfolutely removed from it, it will be fafe from its pofition; and he may employ all his delicacy in conftru&ing it with fecurity. OF ARCHITECTURE, FI P. XVI. Of the conJlruEUon of this chimney. A Great deal is now done towards the general conftruCtion of the chimney-piece ) for in confidering the feveral parts, we have obferved, that there are to be two female figures fupporting an entablature, whofe top ferves as the flat of a mantle-piece. We have eftablifhed it as a neceflity, that the whole work be of con- fiderable extent; and there remains only to place the figures, and add an inward or¬ nament to compleat the ftruCture. Let the figures be placed near the entream edge, but not abfolutely upon it, for they will be the better fhewn when a part of the flatwork projects beyond them and they will alfo be more fecure. As the foot refts upon a plinth, the head is crowned by the entablature. It mult be brought forward to anlvver the projection of the figure : and this will give * relief ot light and fhade to the whole, and be an ornament to the conftruCtion. As there is a fmall fpace of the back beyond the figure on each fide 5 there mult be a larger within, and this will require decoration; every architect knows this, and the fault is commonly that of employing too much. The opening of the chimney will be much lower than the mantle-piece; or, pro., perly fpeaking, there will be a confiderable fpace between the ornaments of that aperture and the lower member of the entablature : this muft be allowed forne or¬ nament, but let it not be too much. A vafe will be very proper in the middle; and BOD a feftoon on each fide to the edge. The ornaments which furround this aperture • mult be handfome mouldings. They mud not be continued to the level of the. hearth, but terminate at bottom on a plinth of the fame form with that which lup- ports the ftatues. Thefe may be ornamented with fculpture; but it is an expence better faved. There is a corefpondency of parts which is preferable to decorations of fancy ; and this is only to be found in fuch a conftruSion in plainnefs. We have given the fiudent his choice in the two Tides of our figure, but e. cry eve muft give the preference to the plain mouldings. In this cafe the figure: ap¬ pear a part of the work, in the other they feem ftuck upon it. H P. xvir. Of the materials of this chimney. \ H E fir ft principle is, that the figures be of pure marble, of one Ample colour; and none is fo proper as the plain white, which we know by the name of ftatuary marble. If the whole ftruaure be of the fame, none can ohjeft to it; but there will be elegance in giving the back and body of the work in marble of another colour. There will be great beauty in making the body of the chimney of the green and white marble, which is commonly called jEgyptlan ; but the greateft elegance of all would be to work it in porphyry. The common purple marble would not anfwer the purpofe, bccaufe the fpots and clouding would confufe the eye; and as it is not eafyto find a perfon of fuch expenfive tafte as to go to the price of por¬ phyry, we Ihall propofe to make the back of Syenna maible : this is of a colon r which very finely [Lews white, and will elegantly anfwer the purpofe ; and finely ornament the figures. We have added to this number for the ufe of the praaical ftudent, two dc- figns of handfome chimneys at a lmaller expence, and fuited to the common pur- pofes. Thefe need no explanation. chap. OF architecture '■'S7V Chap. iff. CHAP. XVIII. Of a chimney-piece whofe foie ornament -is fculpture. E have confidered the ufe of the Cariatiq order in this kind of works and VV we have given the conftruttion of a Doric chimney with coupled cofumns: we (hall confider, in a fucceeding chapter, the ufe of the Doric for a chimney in hnj we return to their diftin6t ufe. It is objected by many, that the orders give a look of maflynefs and weight when¬ ever they are employed. But we {hall fet this matter in a fairer light in our 90th plate, by reprefenting to the candid eye, upon the fame paper, a Doric chimney, which is the heavieft order fit to be ufed on this occafion ; and one in which thd orders are excluded. Having (hewn by this comparifon, that ornaments of the received kind, for our firib figure contains only fuch, have tin air of maflynefs greater than needs be given where there is the ufe of an order, we fhall proceed to the conftrudtion of fuch a chimney-piece. Let us on this occafion fuppofe a room of moderate fize, finifhed in the fafliion- able way, with light ornaments on the cieling, and with the walls papered; a chimney-piece of fome elegance is to be eredled in this room; the proprietor difljkes the orders; or the natural bignefs of the whole is not fuflicient properly to receive them : the architect is to give him a defign for its conftru&ion 5 and he begins with a general oudine for the fides, and a more particular confideration for the top. This is to be the feat of ornament, and he adapts to it the decorations of an enta¬ blature of one of the fuperior orders. In his firfl: defign he fees a flatnefs that difpleafes; and, to remedy this, fome parts muft be brought forward. We have obferved how much beauty the proje&ion of the corners of the Ionic entablature over the heads of the Cariatic figures gave to that chimney ; and the lame elegant diverfity of light and fhadow will occur from bringing forward the two ends here. N° 61. If 57 8 A COMPLETE BODY Book VI. If this be not enough, place a pediment upon the centre. We Ihould have ob- ]edted to this in the preceding inftance, becaufe it would have loaded the figures ; but there is here no objection. A tablet fhould be placed in the freeze, under this pediment ; and the projecting part at each corner will admit in its freeze a vafe. There requires a face, or fome other principal figure in the tablet; and thus is laid down the principle of deco¬ ration. Thefe fwelling corners of the entablature require fome fupportj and as columns which would naturally occur for that fervice are forbidden, the moft proper defign is a fcroll on each fide, in the manner of a confole. This will admit a kind of fluting or cabling at distances upon its furface j and an acanthus leaf may cover its lower part. There will be beauty in fuch a conftrudtion ; but the judicious eye will only allow tficfe as an apology for columns. The fcrolls muft not reft upon the hearth, but on a plinth ; and the addition of this compleats the material part of the ftrudture. What remains is fculpture j and the nature and defign of this is plainly pointed out. The common carving of a quarter-round into what are called eggs and anchors, will ferve to decorate the inner edge to the aperture ; and the proper fculpture of the mouldings for a cornice of a rich oiider gives nearly all the reft. A feftoon from the face to each edge of the tablet, and another on each fpace on the two fides of that proje&ure, finifh the whole ; and there appears a chimney fomewhat lefs expenfive than it would have been if the orders were employed. But though it muft be allowed a great deal of beauty in this way, he muft have a poor conception of the grace and dignity of thofe great parts in architecture, who does not fee the addition in beauty from the ufe of them, would have beca much greater than the extraordinary expence. The materials of fuch a chimney are limited by the quantity of fculpture. To fome marble of one colour ; for the greater part of the expence would be thrown away upon a veined or clouded marble. Statuary-marble is again preferable to all others on this occalion ; but the whole in a perfect black would have a very agreeable, though grave afpeCt. If a gayer marble be ufed, the Syenna is beft; but in that cafe the feftoons, and other ornaments, \vill be beft in ftatuary. C II A P. m OF ARCHITECTURE. II A P. XIX. 579 Ch; ap. 19, A chimney-piece with fingle I)oric columns. W E gave, in a preceding chapter, a chimney with coupled columns of the Doric order, and have determined that upon the whole to be the bell and nobleft way of ufing that order. But various occafions will require a variety of de- figns i and that which is evidently the beft, is not on every occafion the moft proper. The room in which a chimney-piece is to be placed, may be fuited to a lighter, or to a more maffy kind ; for this part of the finilhing ftiould always be correfpom dent to the reft; and this may give a rule for varying the practice. We will fuppofe, for the prefent inftance, a room finilhcd in a moderate degree of elegance, and that the proprietor defires to have a chimney decorated with one of the orders, but not at too great expence. In this cafe, the finiihings of the room, and the intention of the owner in point of expcnce, limit the number of columns. The firft thought refers the architeS to the Doric order, as by far the leaft expenfive ; and both determine againft more than one column on each fide. Upon this plan it will be eafy to conftrudt a light and elegant piece ; the price of which fhall be very moderate for a chimney with an order, and its lightnefs corre- fpondent to the reft of the work. Let the ftudent mark firft upon his paper the outline of the aperture. Then on each fide let him mark the outline of the work; to which, as there is to be only a finale column, he needs not allow great breadth ; and after this let him draw the outline of the top-member of a Doric cornice, determining its height from the meafure of the columns. 1 We do not intend to terminate the work here : but let this be firft done Let an open pediment be raifed from the middle of the cornice ; and that this may'not (land naked, let another ftrait line be drawn juft above its top, and Hoped each way at the breadth of the fides. The cornice of this order will project farther ; but that is not to be the mealure of this upper work, which is to ferve as a continued attick for the nnilhmg. CHAP. acomplete body H p. XX. Of the Several parts in this chimney. i r - r^HE outlines thus laid in, the ftudent will eafily comprehend the difpofitioti i and form of the feveral parts. Let the columns be firft confidered, and let them projeft fo ihr as to hand abfo- lutelv free and clear. The diftance we have expreffed in the plan will be proper. Let them reft upon the hearth by their plinth: on this place an Attic bafe ; and carry up the draft, with its regular diminution, according to the rules of Palladio. On this place the capital, and let its abacus range with the line which marks the top of the aperture. Upon this capital let the regular cornice of the order reft. It mutt projeft to come over the column ; and, receding each way to the back of the chimney, there will be an agreeable mixture of light and diade. Let the whole aperture of the chimney he terminated by an architrave, with a carved quarter-round for the inner edge, and over the center of the chimney s open¬ ing let it rife to fupport the cornice. The pediment is placed above this, and this rifing of the architrave has the appearance of a regular fupport to it. The freeze is here interrupted, and a plain tablet left under the raifed architrave ; hut this is no way difpleafrng. The reader who will caft his eye upon the def.gn of this chimney in plate 90, will fee that this interruption of the freeze gives va¬ riety, and is very pleading. The freeze, where it is continued entire, muft have its proper ornament of tri¬ glyphs. One’will Hand over the axis of each column, and two on each fide, between the projeflure for the column, and the rifing of the architrave. In this chimney, whofe expence is to be of a limited kind, we would have the metopes plain, or left without ornament; and confequently the neck of the column muft alio be plain. The rofes in moft cafes allowed to this part coft little, and are a great ornament; but they muft not be ufed when the metopes are plain. In the center above we have placed the open pediment, and have continued a plain courfe far its back. Over each of the columns let there be raifed an Attic pilafter, projefling as the column does; this confiding of its bafe, die, and cap, will give the ornament of the plain courfe behind : its bafe muft be continued each way to the pe¬ diment, but there interrupted by it; and the cap muft be continued along the whole courfe over the top of the pediment. „ CHAP. OF architecture. chap. XXI. Of the materials for this chimney. np H E fculpture being little in this piece, the architeft has his choice of mate JL rials There is fo much decoration of a nobler kind, that the plained will ferve; at the fame time the fculpture is fo little, that the mod pompous of the va- legated kind may be ufed. The body of the work may be of datuary, and the columns of Svenna marble Tins will be a very happy mixture, for the gold and purple of that elegant fpecies are never feen to fo much advantage as when contraded with white. The body of the work of the common purple and white, and the columns of the datuary, would alfo be handfome ; or if the columns were of the French onyx marble, and the back white, the colours would be fhewn in the mod advantageous manner, and the co lumns would appear like agate. We have a green and fpotted marble in Amdefea that would make very handfome columns for a white ground, or a very handfome ground for white columns; and the re is a Angularity in this marble which (hould make it extremely valued : this is the veins of afbedus, which are lodged in it. Thefe are of a gloffy white, with a tinge of green ; the veins are about a quarter of an inch broad, and the threads run croffways. They are fo extremely clofe ar¬ ranged, that they look as firm as the body of the marble, and not even fire can hurt them. This greatly exceeds the common green and white, which is called Egyptian marble, and ought to be more regarded. CHAP. XXII. Of a chimney with termini. "ITTE have given the ufe of the columns in plain chimney-pieces, and the V V appropriation of fcrolls to fupply their place, where any particular fancy in the proprietor declares agamft their ufe. It remains that we treat of a kind be¬ tween the fanciful or Caryatic orders and thefe fcrolls; and thefe are of the nature of termini. They confift of the head and breaft of a human form, and a fcabbard re- ceiving the limbs. N°6l. ~ r w / 1 We A COMPLETE BODY We fet out with obferving, that fancy was to be freely indulged in the condruc- tion of chimney-pieces: thefe are, of all the figures that can be introduced, the mod fantadical 5 and it will be no where fo proper to introduce them. When the dudent falls upon a defign of ufing them, let him fird obferve, that one of the fimple chimney-pieces, that is, one of thofe whiph terminate at the mantle-piece, is fitted for the reception of them ; for it would not be eafy to conti¬ nue a correfpondent ornament to the top of the room. Befide, as in fuch a chimney there mud naturally be a great deal of fculpture, the continuing that in the fame tade, if a proper form could be deviled, would be of en„ ormous expence, and would didradt the eye. ’Tis fit the attention fhould be fixed where there has been fo large an expence, and fo much labour and genius to demand it ; and for this realon, as well as the other, the work fhould be confined to one place bedowed about the lower part of the chimney-piece, and full in the eye on every occafion. CHAP. XXIII. Of the conjlrii&ion of this chimney-piece. ' H E fird confideration of the architect in a defign of this nature, mud be that of giving it a freedom in all its parts. There will be fomevvhat mafly in the figures themfelves, for it is the nature of thefe kind of defigns to fwell out at the bread ; but he is to contrad this with lightnefs, and an airy look in all other parts, and to give free fcope to his imagination. On thefe principles let him fit down to his defign, and mark with a faint line the outline of the whole. This will be naturally three fides of a fquare ; but it is to be broken through on feveral occafions; for fo many drait lines would give a diffnefs al¬ together difeordant from the defign of eafe and freedom. This outline fird given, which only ferves to determine the general extent, let him defign his termini. They are to be raifed upon a fquare plinth, and their heads are to fupport the mantle-piece. This gives their height, and from thence are to be deduced their proportions. As thefe are the principal part of the chimney-piece, let them be drawn fird, and the red made correfpondent to them. The face, the neck, and a part of the bread, is all that mud appear human ■ and as this part of the body is much more graceful in the female form, let them repre_ fent women. Let the head be decorated with flowers among the hair; the neck be naked, to ihew its true proportion; and let a fedoon of flowers fall carelefilv over the bread OF ARCHITECTURE 5 83 to bide the reparation in the midd, and r'eprcfent the fullnefs, and beautiful round, Chap. 23 without coarfenefs or indecency. The fculptors of this time require nothing fo much as to be taught decency. The necks of females, from their hands, are generally improper. We may refer them, for better information, to the prefent drefs of the French, who (hew all the beauty of the female bread; yet by a rofe, or feme other artificial flower, in the middle, take off every idea of immodedy. The human part of the figure thus 'finifhed, the fcabbard comes into confidera- tion. This receives the bread, and has a fpiral line on each fide at its top, where l he arms feem to have been taken odd There is no part of the fcabbard lefs beautiful than this; though cuflom, and the practice of the antients, has rendered it effential. The fedoon we direft to be thrown lightly over the bread, may be continued with eale, fo as to hide a part of this. From this part the fcabbard will confid of a front and two fides; and it mull be covered with fculpture. A great deal of work (hould not be employed on this, becaufe it is not the prin¬ cipal part of the defign ; but they err who give it too little. The ridges (hould be plain, but carefully wrought in that plainnefs; and, for the ornament, it may be only a Mofaic, by light lines eroding one another, or this may be more ornamented: Or, finally, the defign may be varied. This Mofaic, when it confids only of lines, is very plain, and in fuch a chimney as is here propofed, would be unworthy of the red. The lighted ornament is by adding a kind of dar at every interfeflion of the lines ; and the mod that (hould ever be allowed, is by placing a fmall flower in the center of each lozenge of the Mofaic divifion. When thefe flowers are added, there fhould be no fiars at the interfedlions of the lines; and when there are no flowers or other ornament within, this Ihould never be omitted. Thus is the general decoration of the fcabbard to be determined j but there yet remains to be confidered that fuperior article of ornament, the varying the defio-n upon this part. The lead that is to be done in this wdy, is to place a rofe in a fmall compart¬ ment in the middle of the fcabbard ; and this, when the Mofaic is continued, will give an. air of variety. This we have reprefented in the left-hand figure of the chimney-piece, in Plate 91. The other and more graceful method is, by dropping a leaf from the top down half-way of the fcabbard. This (hould be an acanthus leaf, becaufe its (hape cor- refponds, and no other is fo haDdfome. The Mofaic divifion will then perfedtly well 213!war for the other half, and may be carried up all the way on each fide. It BODY 5 g 4 A COMPLETE look VI E will be a farther grace to this fcabbard, to let the foot of it rife from the plinth -— r—> with afwelling within ; and this may be very happily decorated alfo with a leaf. We have mven thefe various ornaments in the termini of the two lides, in the fi¬ gure before mentioned. Thefe figures thus Unfilled, the reft is eafy. A mantle-piece is to reft upon their heads, where it mull project with a rounded outline ; and both here and in the ftrait part it may be decorated with fculpture. The inner line of the chimney-piece may be a rounded and handfome moulding, which at the top may be carried, according to the French manner, into an irregular arch. In the center of this a fcroll may fupply the place of a key ftone; and this Spreading each way from that central part, may leave room for a balket of fruit, and terminate each way in afeftoon. This we have reprefented in the figure in a moderate way , and then the rife of the mantle-piece being decorated with leaves and fanciful ornaments, the whole will be correfpondent, and of a piece. c H A P. XXIV. Of the materials for this chimney-piece. T H E rule we have laid down of allowing coloured marbles where there is little fculpture, and plain ones where there is more, holds very ftrongly here. We recommend this chimney -piece to be conftrudted entirely of pure ftatuary marble, as that will moft diftindly ihew the work; and the eye, having no glare of co¬ lours to take it off, will be wholly kept upon that. However, as fome think there is a deadnefs in this ftrift uniformity, we fliall advife the ftudent in what manner to give a decent variation. The body of the chimney-piece being of white marble, the fcabbards of the ter¬ mini may be of the green Anglefea kind, or of the common green and white Egyp¬ tian ; and in this cafe it will be well to make the mouldings round the edge, of the fame materials with the fcabbard. The flower-balket may alfo be of the green marble ; but the fruit and flowers in it ihould be white, for all the delicacy of the work will otherwife be loft in the veins and cloudings. CHAP. OF architecture. CHAP. XXV. Of continued chimney-pieces . r - a- a H E ftudent is now fo far a matter of the rules upon which the ftrudture and decorations of chimney-pieces are to be founded, that we may lead him with familiarity to the compofition of thofe of a more complicated kind. Thefe are fuch as we exprefled before under the name of continued chimney-pieces; and they re¬ quire a more diftindt confideration than, by the practice, of modern architects, they feem to be aware. It is no more than truth to determine from their conduit, that they have no other 'idea of this kind of chimney-piece, than that it means a fimple one, with fomething at the top of it. Some flutter of ornament, and fome fliape of a frame, they fuppofe •are needful on this occafion ; but farther they feem not to have carried their refearches* One kind of ornament, or one fort of frame, they apprehend will do as well as an¬ other : and when they have made, or otherwife poflefled themfelves of half a dozen figures for this purpofe, they apply them at random.; and feem to think of them, as the famous comedian did of his prologue and epilogue, that the epilogue might do for a prologue, or the prologue for an epilogue, and-that either of them would ferve any other play as well as that for which they were, intended. Indeed inftances of chimney -pieces of this kind might be produced from fome of the lateft and molt expensive houfes, In which the whole might ferve as well inverted as upright; and the frame would ferve for a chimney-piece, and the chimney-piece for a frame# and both would fait any other room as well as that where they are placed. We do not produce thefe blemiflies in our bett buildings to ridicule, much lefs to injure thofe who invented them;, and therefore conceal the names they would difgrace. It is for the fervke of oilr ttudent. we repfefmt them in their proper colours. They are fo frequent in good houfes, and they pais fo often without cenfure under the review of reputed judges, that, were it not for fuch caution, he might be led to think them right; and place them before him as examples for his conduit: at leaft as excufes for his own errors. We have told him before, that it is to very few of the ftruflures of this age he is to look up for example; and we fhall repeat the decifion before made on a like occafion, That an error is not the lefs fo, though juftified by a thoufand inftances. Of this he may be fure, that the very eyes which overlook defedts, will never be blind to beauties, and that he will enfure to himfelf, not only a greater, but an uni- verfal praife, by adting up to the rules of truth and propriety. N° 62. 7 K Longinus BODY Longinus directs the orator, in order to arrive at excellence, to fuppofe the famous predeceflors in the art are prefent ; and upon all occafions to put himfelf in their place lor the competition. Let the architect, who would arrive at excellence in his not lefs arduous or lefs honourable fcience, tread the fame path. When he is about lay down the defign, let him confider well the occafion, and afk himfelf, What would Palladio have done in fuch a circumftance ? When he has finished, let him demand, What would Vitruvius fay were he prefent to examine this? It ib by this method men who have arrived at excellence in any of the polite arts, have imbibed, as it were, the genius of their great predeceffors. He mull have in¬ deed a cold imagination, who could defign meanly or incorredlly when he fuppofed himfelf a&ing in the fpirit of that reverend modern, or appealing to the judgment ot that judicious antient. H P. XXVI. Of prop?iety i?i the orna?nents. rpHE fir ft confederation which would rile in the mind thus warmed with the remem- — brnnee of thofe perfons immortalized by the fame fcience, would be propriety. Without this, beauty would be ridiculous ; for, from the condudt of thofe whom, though unnamed, we have been obliged to load with fo much unwilling cenfure, he wili firfl confider by what means the whole will be moft naturally fuited to the room in which it is to be placed ; and next, in what manner the two parts (for they are in themfelves diftind, though joined) will be bell adapted to one another. With regard to the firft article, we have in general obferved already, that a continued chimney-piece can only be proper where there are ornaments of fculpture about the room : for otherwife there will be nothing with which it can correfpond : there¬ fore, againft all other cenfiderations, let him defign at all times a fimple chimney- piece for a room that is hung, and a continued one for a room that is finifhed any other way. No wainfeot is or can be made without pannels ; and it will be eafy to make the upper part of a continued chimney-piece correfpond with them, let them be of whatfbever kind. This we would recommend to the attention of the builder, even in the plaineft and meaneft rooms. There will be a regularity in it which will never fail to pleafe, and the expence nothing. In this cale no more will be required than to form a regular defign of an upper part for the chimney-piece intended to be placed there, and to execute it with the common mouldings of the pannels 2 There OF ARCHITECTURE. 587 There will be no more expence in difpofing them properly than improperly, regu- c] 2 g larly tiian irregularly ; and yet the effea will be pleafing, and the architeft will have credit. A defign of this plain kind may be taken from fome of thofe we fhall give in the fucceeding chapters, only omitting the fculpture and expenfive ornaments. A few pieces of moulding extraordinary will in thefe cafes add a vaft grace to the room, and pleafe every eye. This is not all we have in view in defcribing fuch a plain, continued chimney- piece. We have, in aH other articles of the fcience, begun from the fimple origi¬ nal, and thence led the ftudent to the refinements of the art. This is the familiar original of all continued chimney-pieces, and he will from this be naturally led to thofe which are more elegant. He now underftands, that the purpofe of this work is to raife an ornament like that of the other parts of the room from the chimney-piece to the deling; and in fuch manner to adapt this to the chimney-piece itfelf, that it fhall feem naturally to rife from it, and to be conneded with it; that it fhall be a regular and proportioned part of the chimney-work, at the fame time that it is alfo a regular part of the or¬ nament of the room. This will always be eafy to the architect who fets out upon juft principles; for having, according to the rules we have laid down in the preceding book, fuited the chimney-piece itfelf to the reft of the room ; thefe additional mouldings, or other ornaments, when they are made to correfpond with one of the two, will alfo agree with both, becaufe they naturally agree with one another. It would be otherwise with one who had fet out without principles. If he had made a fimple chimney-piece too rich or too plain for the reft of the room then the upper work, which continued it to the cieling, would add to the irre<*u - larity : for either it muft be made to agree with the lower part of the chimney, and would fo difagree with the reft of the room ; or to correfpond with the finifhings of the (ides, and by that means difagree with the lower part of the chimney. Thefe are the accumulated irregularities which never fail to arife from an error in principle. Let them teach the young architect circumfpedion, and an early regular method. CHAP. 5 8 S Chap. 2.7. COMPLETE BODY C II A P. XXVII. Of etiriching (i continued chimney. \ $ -the Undent will now underdand, that the upper part of the continued chimney-piece, that is, all which is above the place of the mantle-piece, is a kind cf repetition of the work in the fides of the room, he will know very well in what manner to add proper beauties. Let him con fide r it is the fird object that ftrik.es the eve on entrance, aad the mod confplcuous part of the room; and for that rcafon, while he gives it the fame air with the red, let him make it fotne- what richer. We have obferved, that in the plained rooms it is to be only a continuation of the mouldings of the wainfeot in a proper form : from this the fird advance to elegance is the adding of a few more mouldings; and after that all the red is eafy. When the common mouldings of the wainfcot have fome fculpture, let thefe which are continued over the chimney have more, as well as be laid in greater number; and to whatever degree of elegance the red is carried, let this part exceed it. The continuation thus managed will have the air and afpecd of a peculiar piece, while it is at the fame time a regular and perfedly correfpondent part of the whole firmLing. • Rooms which are hung are debarred by the rules of the fcience from the advantage 0 f this ornament; but for all other kinds whatfoever it is very well adapted. Where walls are plain ducco, this upper part' of the chimney-piece mud have very j. : le ornament: but even in that cafe, as the lower part will naturally he very plain, a light reprefentation of its mod confpicuous parts in the fpace above will be fan ’ 'Siis is a very rare cafe; but" we would’ not have the ftudent without his rule of conduct in any. Let him not fuppofe this circumftance of a room finifhed with plain ftucco to be a parallel cafe with that of one hung with paper or damaik, and in which we limited him to the ufe of a fimple chimney. Here the fpace within the pannel over the chimney being plain as the red of the wall, at the fame time it admits the grace of this addition, keeps up a fimilarity with the red, without any thing improper in jtfclf ; but, in the other cafe, the great contrad in the colour and figures of the paper oit fiik would break in upon the intended compofure of the whole ; and the mould¬ in'^’ whether in wood or ducco, would appear to be duck on the paper, not to rife 0 from O F A R C H I T E C T U R E. 589 from it, as they will certainly] appear to do from the ftucco-wall. The upper part Chap. 28. of the chimney-piece, which in the cafe of our plain ftucco-wall fhews itfelf only J what it is, that is, a light ornament continued from the lower work of the chimney, will, where there is paper or filk, have the afpeft of a frame ; and thefe will appear as pictures in it. All know how poor this muft look j fince, in the reality, what • could be fo mean as the thought of framing a piece of the hanging ? Indeed, if in a hung room it is intended to place a pidlure over the chimney, the frame of it fhould be feparate, and fhould not rife from the chimney-piece below : whereas in other inftances, where the continued chimney-piece is proper, nothing is fo elegant as to make its upper work ferve as a frame for fome elegant piece of painting. In this juft examination we fee, that what might have appeared as an objedtion to c ur general rule, ftrengthens and fupports it; and although in a plain ftucco-room a continued chimney-piece is proper, yet in one hung it is perfectly wrong. CHAP. XXVIII. Of Jutting the upper work to the room . I T appears that in all rooms, except fuch as are hung, a continued chimney-piece may be allowed. In moft it will be found more proper than a fimple one; and in the more richly finifhed apartments altogether neceflary. We are about to confider the manner of accommodating the upper part of fuch a chimney to the room : but we muft here cenfure fome modern works; and, with¬ out naming the workmen, caution our ftudent againft their errors. There have been fome who have entertained a confufed fenfe of the neceftity of this great article, the conforming the chimney-piece (when, from being carried to fuch a height, it becomes fo confpicuous a part of the room) to the other ornaments. But the judicious reader will allow, that we have ufed a gentle term in calling thefe only confufed notions, when he fees in what manner they have brought them into execution. In a room where the doors are decorated with an order, this idea of correfpon- dence of parts has carried them to the placing coupled columns upon the chimney- piece in the continued or upper part of the work ; refting upon a mantle-piece, which is fupported by a fcroll. It reminds one of the-decoration of thofe theatres, where a Caryatick is fupported by an Ionic column, and that refts upon a bracket. There is in this the double abfurdity of placing the columns without fupport, and of giving them nothing to carry. They appear niotiftrous, becaufe they are un- N°. 62, 7 L finifhed: 59° A COMPLETE BODY Book Vl.finifhed : they are too bulky, and too prominent for the place; and nothing can be more prepofterous than this ufe of them. So far may error in attempting what fhould feem right carry thofe whofe minds have not imbibed the true principles of the fcience. A correfpondence of parts is indeed the firft principle of ornament; but, before a man pretends to ufe this, he mull know what parts fhould correlpond, or the il IlltUl I'-' .1 ....I WI u-ipuilU, Ul LUG attempt will only ferve to betray him into abfurdity. The ornaments of doors, and thofe of the chimney, fhould certainly correfpond ; and we have before directed in what manner. Eut there is a place for every ornai that, it becomes a defedl, and not a beauty. and, when it is out of When an order is employed in decorating a door, there fhould alfo be columns in the conftrudition of the chimney-piece j but they mufl be placed in the lower part ; not in the upper. They mufl be upon the ground, not in the air. It is their natural pofition to reft upon the ground ; and he who takes them out of that place in a chimney-piece, is commonly guilty of an abfurdity. When there are columns below in their proper place, it is ftill wrong to add any above ; for they are not of the nature of thofe decorations which fhould have place there. They are too mafiy and uncouth. But if this placing them in the upper work, over others in the lower, be wrong, the abfurdity is tenfold in thofe inftances we have named, where there is only the common ornament below : it would be as proper to flick them againft the walls in other parts of the room. When the correfpondence of ornament requires columns at the, chimney, let them always be placed as we have directed in treating of that article. In that cafe they reft upon the hearth, and they fupport the mantle-piece. This is natural ; and fo is the continued work above them 3 more natural than in any other cafe, becaufe they afford it a juft and proper fupport. It is this part of the chimney that mufl correfpond with the doors, and the of- nament above is to agree with that of the other finilhings of like height. Thefe are mouldings of wainfeot, or pannels of flucco, or the like divilions. It is with thefe the eye compares this upper part3 and, while it correfponds with thefe in the nature of its ornaments, the fhape and place, for in both thefe articles it differs from all, will fufficiently vary the whole. What we have obferved with refpedl to columns, holds univerfally in regard to the other ornaments of doors. The lower part of the chimney ought always to hold a correfpondence with them. This mufl not be fo fervile as to copy the parts or par¬ ticular mouldings: but as we have directed, that when one of the orders is employed upon a door, another order fhould be ufed for the chimney, upon the fame prin¬ ciple we add, that whatever kind of ornaments are placed about the door, fome- thing of the fame kind mufl be done in the lower part of the chimney. Often this is to be carried through a great part of the lower work 3 but it is enough if the eye perceive it in the inner edge of the whole, or in any other confpicuous part. 8 As - . . pSgpasg X^llUJJUWri' TT1111 I II 111 1 1 1 H 11111 ii-m i»yi ^^Kyndeje- OF ARCHITECTURE, 59 * As this portion of the chimnfcy-piece is to be an improved refemblance of the Chap door-cafes, in the fame manner the upper work is to bear a likenefs in all its parte _v~ to the finilhings of the teft of the room ; but it is to be enriched beyond them, The form it mull carry will be that of a compartment, determined in breadth by the lower part of the chimney, and in height by the loftinefs of the rdom. When the lower work of the chimney is narrow, lefs labour fhould be employed upon the upper, for it will {hare the narrownefs of the bottom, and be incapable from thence of great dignity. Therefore, when the young architect fees a room that, from its other finifhings, will require a rich continued chimney, let him fet out with giving it a fufficient extent in breadth below. On this abfolutely depends the breadth of the upper work, and confequently its dignity. To throw this at once before the eye of the ptadtical architect, we have reprc- fented, in Plates 92 and 93, a continued chimney-piece of the narrower, and one of the broader kind. Of both thefe we {hall have ocCafion to fpeak more hereafter; but in the prefent cafe they ferve very ftrongly to illuftrate the truth of our obfervation, that the noble air of a continued chimney-picce can only arife from a fufficient extent of the lower work in breadth. 29-. HAP. XXIX. Of the upper worJL 1 H E ftudent who underflands the defign and nature of the continuation of a chimney-piece j where to ufe it, and in what manner and degree to adapt its ornaments to the particular purpofe, may proceed to the defigning its feveral parts. How far the conftrudtion of the lower part of the chimney is concerned in this, we have {hewn. A continuation of ornament may be carried up from any chimney- piece whatfoever, the due care being taken to adapt it to the proper form of that lower part: and confequently, if that be proper, the whole will be of the fame character. This may at any time be done occafionally; but we advife otherwife. We woulcl not have our fludent defign his chimney, and then think of an upper part for it; but forming the whole as one work, and keeping in his eye all the parts while he is making the figure of each, he will that way alone render it compleat and uniform. 59- acomplet BODY If lie defigfl an upper work of flight ) of the lighter kind ; hut where he info fir ft care muft be for a fufficient folidity and decoration below. The two figures given in Plates 92 and 93, will at one light lay this inherence I - fore the eve of the ftudent 5 and we (hall explain it by a more exprcl's detail, in the firft of thefe, Plate 92, the work in the upper part being light and narrow, a ckim icy- piece with no great appearance of folidity, or profufion of ornament, lerve- very well to fupport it: but in the other, Plate 03, the upper work being larger a- ' h - \icr the chimney-piece itfelf is made ftronger in proportion3 and as the continued part is more rich, the lower half has alfo more ornament. The general conftrudion of the chimney being the fame when it is thus continued to the. height of the room, and when it ten • or its hniftjing comic, we fhall not repeat any thing here of the rules already laid down for its conftrudtion ; but, fuppofing a chimney-piece of the common kind, and of moderate expence, to be the lower part, confider the lighter and lefs expen five upper work fuited to it. This upper work naturally reprefents a kind of frame ; but it is not to he placed dire&ly upon the mantle-piece, for in that cafe it would either be. of an enormous height in proportion to the breadth, or it would not reach toward the deling in the manner which is the true purpofe of thele conftrudlions. Therefore upon the mantle-piece let there be raifed a courfe, pedeftal high in pro¬ portion to the other parts of the chimney. Let the outline of this be in the perpen¬ dicular, the fame with that of the fide of the chimney-piece, not the extent of the mantle-piece. Thus it will feem fupported by the fide-svork of the chimney, and confequently in a condition to fupport the reft of the work. Let this have its proper diftindtions of bafe, die, and cap 3 and let there be fome flight ornament of fculpture at thofe divifions. Upon this is to be raifed the upper work, whole height muft be govern: ! by thit of the room, and its form a fquare, or long fquare. In this, when rightly conftruded, there will be always fome proper refembhuice of the ftructure of the chimney. Thus let the ftudent begin, by railing i: >111 the ex¬ treme edge of the pedeftal a perpendicular line, which will form the verge c; : t fide corresponding each way with that of the chimney-piece below 3 only that it muft be narrower, becaufe the upper work muft always feem lighter than that below. Thefe two lides are to fupport a cornice in the manner of another mantle-piccc, and from the middle part of this is to be raifed a pediment. This compleats the outline of the work : it may be made entire; but that is not right, becaufe it gives an afped of weight improper for an ornament that frauds lb high. Of H P. XXX, OF ARCHITECTURE. .593 Of the two forms of the pediment, it may be either pointed or round; but when- Chap. 30, ever it is made entire, the pointed form fhould be preferred, becaufe of the two it ^ is lighted. This is a conftrudtion however which the judicious eye will always dillike ; and there is not only more propriety, but more room for ornament in a broken or open pediment. Let this be a determined point, that the pediment be open; and the lighter the work, the more neceflity there is of its being fo. As to the two forms, they are di- redted by the fame rule. The rounded pediment is heavier, as well when open as when entire; and therefore it fhould always be kept for the chimney-pieces which have the heaviefl ornaments; and the pointed for the lighter. The difference between thefe two kinds in appearance of weight, is much greater when they are broken in this kind of work, than when they are entire; for the broken pointed pediment ends at the abrupt line: but when the rounded or arched pediment is broken, the inner members are to be rolled in fpirally ; and this, at the fame time that it is a great ornament, is an indication of weight, which we have directed the Undent to avoid, even in appearance, in the conftrudtion of the upper part of the prefent work. This difference in the two kinds of pediment will be feen in the two figures 92 and 93 ; and, being once underftood, we may return to our firft defign, which, be¬ ing of the plainer kind, is reprefentcd in the firft of thofe plates. The ftudent who has ufed his pencil as thus far directed, has now the outline of his whole work upon paper ; a pedeftal continued over the mantle-piece of a com u mon chimney fupports two narrow fides; thefe are crowned with a handfome cor¬ nice, and from the midft of that rifes a broken-pointed pediment. Of the decorations. T H I S is the field, of which his genius is to make the mod by the addition of ornament; and his judgment is to difclofe itfelf in forming that ornament of a proper kind, fuch as will beft fuit a chimney. Now, although the fides he has raifed can very well fupport all that is above them ; yet the cornice having the air of another mantle-piece, will very well bear the appearance of farther fupport from a couple of fcrolls: thefe may be decorated, each with an acanthus leaf falling down them, which will difplay itfelf very hap¬ pily, becaufe of their waved outline; and in the broken pediment may be placed a N° 62. 7 M vafe. 59+ a COMPLETE BODY Book VI. vafe : thus the larger and more obvious articles of ornament are laid m, and lor all ^— v ' that can be added fculpture anfwets the purpofe. We have declared againft heavy ornaments in places fo railed as the top of a conti¬ nued chimney-piece; but as the cornice in this cafe has the (Length of a couple of fcrolls as brackets, the vafe, though heavier than we fhould otherwile chute, will have the appearance of a fupport. The Tides terminated at the top by thefe fcrolls, mull not, in a chimney of any to¬ lerable degree of ornament, be left plain. It will be eafy to mark out a long compartment in each by fculpture, continued within a fmall diftance of the two fides and bottom : at the top thefe two lines may join the fcroll; and from the bottom of that ornament may be dropt a light feftoon almoft to the bottom. This will give fufficient beauty to the fides, and the pannel marked in as juft direfted, will feem a frame to it. The vafe may alfo be loaded with fruit and flowers; and thefe may be buffered to run over on each fide in a light feftoon, continued in a bended line each way to the angle made by the m- fide of the pediment and the cornice. Thus a good form of a continued work is laid in ; but thercis too much vacancy within. It is intended that the fpacc (hall be large, but it is now too large. The de- figner muft reduce it, and the means of this will coinpleat the ornaments. Let him pkee within this a kind of frame ; let the fides of it join the inner edge of the two upright parts which fupport the cornice. At their tops let them rife to the cor¬ nice, and at their bottoms reft upon the pedeftal raifed over the mantle-piece: thus let the two fides of the intended frame fill the fpace, but let the outline of each of the ends recede a little from the inner line of the cornice at top, and from the cap of the pedeftal at tile bottom. This will have a double advantage : it will at once give a relief and lightnefs to the general work, and a lwelling to the corners that will be very agreeable. This frame, for fuch a work of moderate expence as we here intend, may confift of an outer and an inner moulding, ornamented with light fculpture ; and the middle fpace with fret. The comers, which fwell up and down, may receive a rofe or other flower ; and thus the frame is compleated ; the fpace is reduced to a moderate pro¬ portion, and all appears uniform and rational. If any thing more be intended, it muft be given by feme additional fculpture. The cornice and its pediment are the proper feenes for this: their mouldings will receive the ornaments of the chiffel, and (hew them very confpicuoufly. This done, the only blank will appear in the face of the pedeftal, which rifes from the mantle- piece, and fupports the upper work ; and it will be eafy to difpofe upon that any lighter or richer ornament, according to the occafiou. C I I A P, OF architecture. chap. XXXI. Of a richer co?itinued chimney-piece. '“T H E fluent has thus a full and clear idea of the continued chimney-piece and -1 Its due proportion. He has feen one raifed upon the plainer model, and he will therefore with eafe rife to fuch as require more ornament. In this, as in the other, let him defign the whole together : let him not conftrud his lower part firft, and afterwards contrive a top to it; but, beginning with the whole in his imagination, fo prepare one half that it may fupport the other with propriety and give fcope to all his invention. * We have faid already, that a due breadth is effentiai to dignity in the upper work of thefe chimneys; therefore .let him begin by def.gning a chimney of due extent below i and, as there cannot be this needful dignity without fome weight, let him give the lower part a folidity to fupport it. In this view, when he has defigned the lower part in the ufual way, let hint add breadth to its outline, and folidity with ornament. This will be eafily underftood by a review of the lower part in our 93d figure. A chimney-piece is there raifed with firm Tides, fupporting a weighty mantle-piece, refting upon the fcrolls, from which feftoons drop, as are mentioned in the fides of the upper work in tile pre¬ ceding lnftancej but beyond thefe fides the work is continued. Scrolls are added at the fame height in a contrary diredion ; and the mantle piece being thus doubly fup- ported, is perfedtly adapted to carry the upper work. Nor is the addition of ftrength given this way without great ornament. The profile of one of thefe fcrolls on each fide is feen with the face of the other, and there is at once a variety and regularity, the great purpofe of judicious architeds. The fides, with their fcrolls in profile, terminate the outward line of the lower part; and within them is to be a handfome moulding, placed at fome diftance, fe- parated by a plain piece, with another plain between that and the cavity, ter- minuting the inner line of the chimney-piece. Upon this, as upon the projeding fides, alfo is to reft the cornice, with its other parts, forming the whole mantle-piece. Thefe mull be large and mafly, propor¬ tioned to their fupports, and to the fupcrincumbent weight of ornament; and thus will be completed the under part of the work, of a ftrength to bear a rich upper part, and of a breadth to allow it fufficient fcope. This 7ETT A COMPLETE BODY This upper part is to confift of a frame raifed a little height above the mantle-piece, and terminated at the top by a cornice with its pediment; but in this, as the frame is defrgned like the reft to be more rich, it will be proper to let its corners fupport the cornice, inftead of raifing fides for that purpofe, as in the preceding inftance. Upon this plan let the defrgner carry a flight courfe, pedeftal-faftiion above the mantle-piece, and let him raife upon this a flat back, or at leaft an outfide relem- blance of one, parallel with the outline of the lower part of the chimney. This is to be the field to receive the frame or proper ornament; and that we are now to con- fider. Let its outline rife perpendicular over the fecond line of the chimney, as the outline of the back did over the exterior. At the top let this on each fide fwell ou t to form a fquare corner, and let the top-line fink, and the lower rife, as in the pre¬ ceding inftance, to give the due extent every way to thefe corners. The outline of the frame thus formed, let its inner line be ftruck at a due diftance within to admit enough room for ornament, and upon this let the cornice be placed. The two ri- fing fquare corners of the frame will very well anfwer for the needful appearance of a fupport to this, as the frame itfelf has fo much the alpedt of foliditv. Upon this cornice is to be raifed the pediment, which muff be open for the re¬ ception of a figure offome kind, and for the fake of lightnefs, although in this open ftate it will yet have an air of much greater folidity than the other. Let the pediment in this cafe be one of a low pitch and its opening muff be large. The outer mouldings mull be made to turn in with a fmall fweep, for there is much more beauty in that form than in the cutting them off at an exadt degree in a plain line; and there will be a great deal of beauty added to the figure by the turning the inner half of it in a round manner. This done, the paper (hews the outline of the feveral parts; and there requires nothing farther but the ornaments. Of thefe we fhall treat together, becaufe we would have them appropriated to each part, yet correfpondent one with another. CHAP. O F ARCHITECTURE. CHAP. XXXII. Of the ornatnents . 597 Chap. 32. W E have named the fefloons on the Ades of the chimney; and they are the principal ornament of the lower part. Let them be made rich, and wrought with large flowers. Let the moulding of the inner part be alfo decorated with fome fculpture ; and no more will be required in this place. The mouldings, and other parts of the chimney-piece below, muft thus be enriched by proper fculpture, that they may correfpond with the work above. The particular diredions on this head need not be repeated here: we refer to the chapters wherein we have treated of plain or Ample chimney-pieces. The upper work is the proper buflnefs of this place, and to that the fludent is now to raife his imagination. He has the form of a frame, fupporting a cornice, and upon that an open pediment: he is to All the open fpace left there, and to give fomething correfpondent to it below j and he is to enrich the frame. Thefe are the three points. And with regard to the flrfl, or moll cffential, the proper direction is, that whatever be placed in that opening, be light. The frame in this cafe lupports the cornice on which the pediment is raifed, without the af- iiftance of two regular Ades, as in the preceding in fiance ; therefore lefs weight mull be added, becaufe the fupport is lefs. A vafe, tho’ proper there, would have an afpedt of too much weight here ; and nothing is fo proper as a fliield, furrounded with fome loofe ornament. This, with a fufficient bignefs, will have little weight; and there may fall from its Ades, as from the top of the vafe, fefloons of flowers: thefe may either be loft upon the flat of the cornice, or continued to the angle, at the pleafure of the fcul- ptor : it is indifferent in point of propriety. Let our deflgner now review his drawing: he will fee that the common ornaments of the tablet over the centre of the Are-place, and the fhield at top, give an air of nakednefs to the bottom of the frame. This mufl not be fuffered in a piece of work intended to be fo ornamental : fome flgure mufl be conlidered to All it. The fludent has the whole range of Nature for his fcope aud compafs, and, from among the animal kind, may feledt what he pleafes. In the 93d plate, where we have reprefented a chimney-piece of this kind, we have placed an eagle in this point of view, dropping from her beak each way a fefloon, which covers the K°. 63. 7 N fpace 59 s A COMPLETE BODY Book VI. fpace left by the raiftng the under line of the frame, and is fattened each way in the ’ square of the bottom of the frame. This is perhaps as proper a figure as can be fupplied from all the round of Nature, for there is a noblenel's of afpedt in this bird : and the fpreading of its wings,-and free reprdontation of its feathers, will have a very fine effea. A bufl may lupply its place, or any other form of a living creature ; but tliofe figures are mod proper in which there is the greeted freedom. Thus much finifhed, there is only the ednfideration of the frame, and its orna¬ ment is eafily appropriated. The outflde flrould be enriched with large and bold fcul- pture, and the inner moulding ihould be wrought with care. The infide-fpace, which we decorated with fret-work in the other defign, may be finifhed in the fame manner here ; but it will be better to give it feme defign of more elegance. From the lquare of the upper corner there may fall a fcroll and iefloon Tideways.: thete will finifh the defign. They mud: be light, becaufe there is little fpace for them : but they will have a very good edict ; for bcflde the filling a difagreeable blank, the fcrulls, fmaU as they are, will yet have an alpeft of Supporting the lquare corners which hold up the cornice. H A P. XXXIII. Of fnnple chimney-pieces, with various ornaments. T HE diidcnt knows we underdand by a fimple chimney, one which ter¬ minates at the mantle-piece, and is the proper kind for a parlour that is hung with paper. It is not limited to this alone, but may be a fit o nament in any rootfi not of the mod magnificent -kind > but the propriety is in the ufe we have named. Variety of forms and ornaments mud be confidercd by the architect: for this pur- pofe; and, to thofe we have given in the fil'd chapters on that head, we {hall now add fome others. We will fuppofe a plain, and not large room is hung, and is to have a chimney fuited to it : the orders we will fuppole are by the proprietor excluded, and perhaps by a regular confideration, the room not being of magnificence to renew them. Tha owner is tired of the fame dull repetition he fees in common rooms; and he defircs, tho' without a great expcnce, to have fomething handfome and new. Tlie ornaments we added to the fides of. the preceding continued chimney-piece, may be very well appropriated to this; and they will give a figure very different from the common kind. The ornaments we mean are thofe lcrolls which dood fide ways in the continued chimney before mentioned, and which we propofc to place in the fame manner here. 2 ThU OF ARCHITECTURE. 599 This is to be the foundation of the work; and to this, as it is fomething finguIar,Ghap. 33, is to be adapted every other part. 1 Thus much premifed, let the defigner mark in Ids whole fpace of extent for the intended chimney, and within that outline let him thus begin the conftrudtion of the feveral parts. From the hearth let him raife a bold, fquare plinth to the meafure of the outline, and fomewhat backward. Juft within this, and more projecting forward, let him raife another plinth of the fame height, and fomewhat more in breadth. Thefe are the proper foundations of the work. Upon the inner plinth, on each fide, let him raife a plain perpendicular piece, with a handfome moulding on the inner edge, and a flip of plain marble within that: let the reft of thefe two Aides be perfectly plain; and for the top lay on fuch another piece, terminated by a moulding inward ; and for the reft admitting no ornament, but a good polifh. Thus is laid the foundation of our chimney-piece ; this is the fimpleft and plaineft form in which fuch a piece of'work could be conftruCted ; for thefe three parts make a kind of chimney-piece alone ; and from this the ftudent may learn that the hap- pieft ornaments .are thofe added to plain propreity. On the outer plinth, which is placed fomewhat backward, raife on each flde a fcroll of the ufual form : let its head be level with the aperture 'of the chimney, or lower edge of the upper piece and let it here fwell into roundnefs in the ufual way ; thence continuing hollow to the middle, and then fwelling out a little again for the foot by way of fupport. Upon the head of this fcroll, on each flde, let a plain piece reft, of the breadth of the upper piece of the frame ; and let it have a' moulding when it refts upon the head of the fcroll, which will anfvver exactly in this difpofltion to the moulding on the lower edge of this part. Thus is the chimney carried in a plain way (for we fhall fpeak of its few orna¬ ments afterwards) up to the due height of the frame; and upon the level top of it is to reft the mantlepiece. This mull be correfpondent to the lower part; that is, it muft be handfome without great expence ; and Angular without abfurdity. We have contrived for a various projection of the parts in the bringing forward of the fides: it will be well to make it confift only of a freeze and cornice; the plain upper piece of the frame, and the correfpondent fmall piece over the fcrolls, Hand¬ ing to the eye in the place of an architrave. 600 ACOMPLETEBODY Book VI. * - -' It will not be eafy or proper to give the cornice any more than two projections j that is, its whole level face uniform, and the parts oyer the two fcrolls receding. The propriety of rule ties us down to this ; but it is not fo in the freeze : that, in- ftead of three, may be made to confifl of feven parts; and though the projections are in reality but two, they will appear numerous from their alternate mixture, and will have all the force and charm of variety: The two fides project beyond the fcrolls. Let a piece of the fame breadth be con¬ tinued over thefe, and let it projeCt to their level: let the whole freeze befide be of the level of the piece above the fcroll; and in the center let there be a tablet pro¬ jecting to the level of the two pieces over the fides. This will give the appearance of feven different projections ; though in reality there are only two, fince no two that {land together are alike. Indeed they may at the pleafure of the architect be carried farther, for the tablet in the middle may have a projection different from that of the pieces over the fides; and the parts of the freeze over the fcrolls may recede deeper than the common courfe of the freeze. This is in the pleafure of the archi¬ tect; but we advife the former method, that the whole plain courfe of the freeze be of the fame level, and the projections be equal. Let the defigner beftow a due attention upon this part of the work, for it is all that requires invention ; the cornice demanding no particular thought for its con¬ it ruCtion. We have divided our freeze into feven parts, a tablet in the center, a piece over each of the fides, and four receding parts over that part of the chimney on each fide of the tablet, and one over each of the fcrolls. Of the ornaments we fhall fpeak feparately; fo that all we have farther to con- fider in this chapter, is the cornice, in whofe form there need be nothing particular ; nor is any other care required than to flop the plain face with a (harp edge, where it terminates at the recefs over the fcrolls, and to work the feveral mouldings with truth. 1 CHAP. OF architecture. CHAP. XXXIV. Of the ornaments. T HESE moft regard the freeze; and, of .all Its parts, the central tablet ts the principal: that will attrafl the eye firft, and detain it Iongeft; and con- fequently upon that it is needful to bellow the greateft attention. With’refpedl to its form, that of an oblong fquare would firft come into the architefi's thought; but fomething may properly be added to it. The freeze cannot be very deep in a chimney-piece of this kind ; and as it is proper to give a confpicuoas air to the ornament of this part, nothing can be more judicious than to drop it into the upper member of the frame. When the young architedl has learned what it will be right to do, the next confi- deration is how to do it. The whole tablet may be let into this upper piece of the frame; but it will then appear heavy. It will look like a botch, and feem to fay the freeze was ill con- fhudted for its ornaments. This mull be avoided by all means; for as it is fit the architecft fhonld in his own mind lay the plan for the whole together, it is alfo fit that the eye (hould difcover at once that there had been fuch a contrivance. To this purpofe, in the prefent in- ftance, let the tablet drop into the upper member of the frame only in the middle i the two fide-parts being of the breadth of the freeze. This will give the tablet it felf a more handfome fliape than that of a plain fquare, and will fuit it very happily to receive the ornament that is moll proper for it. ^ 1 This may be of various kinds; but there is none fo fit as a head: and as this will fill the deeper fpace, and leave almoft a neceffity of fhort feftoons on the two fides, where the tablet is lefs deep, the two faces mod happily fuited to the pur¬ pofe are thofe of Bacchus or Flora. Round the one may be an intermingled wreath of grapes and foliage among the hair, which may run off on each fide to fill the narrower part of the tablet with a fruit-feftoon; and round the other a wreath of rofes and anemonies, which may in the fame manner be continued into that vacant part. Pomona may take the place of Bacchus, but the fruits are properly of the larger kind; or Ceres may be placed inftead of Flora, but her ornaments are lefs elegant. One of thefe, after all confideration, will be found the bell. N° 63. 7 O Where 6o2 acompletebody Where there is a plain tablet, an Apollo’s head is very proper, becaufe of the rays; i_but it would be irregular here. The tablet thus covered, the two fpaces on each fide of it come under confidera- Thefe are oblong, and of moderate breadth : they will receive very happily ■_ : n p, r h In this cafe there is one plain and natural direflion to be ob- a cornucopia in earn. r , . . . . . . . . ferved As the tablet is crowded with flowers and fruit to the edges, let the naked endTof the horns come to that part j and as it will be proper to give fome peculiar ornament to the piece over each fide, which terminates the fpace, that will not be of the flower or fruit kind, the broad mouth of the horn may each way terminate a little (hort of that, and pour out every way its fruit and other treafures. The ftudent will fee, that, in the decoration of this freeze, we ftudy diverfity as well as beauty. Hitherto the feveral parts are fufficiently diffinguilhed from one an¬ other : the face in the center is well furrounded with flowers; the curled ends of the horns "come near that, and feparate to a fufficient diftance the treafures they pour out at the other end of the fpace. The piece over the fide, which feparates this from the fmall receding part of the freeze over each fcroll, may be decorated with a radiant liar ; and then, in that re¬ ceding part, it will be very proper to place a bunch of grapes, or fome other confpi- cuous clutter of fruits. Indeed, if a Bacchus’ head be placed on the tablet, we by all means recommend grapes here, preferably to any other ornament; and, on the lame account, if the head were a Flora, we Ihould advife the placing on thefe parts a rofe, or fome other confpicuous and large flower ; for the diftance between this part and the tablet, with the feveral intervening objefts fufficiently prevent it being con- fidered as a repetition ; and, when that danger is not in the way, there is a happinefs inftead of a fault in this method, becaufe it continues the fubjea j and there is a pleafure in feeing under what variety the fame thought and defign may be pre- ferved. The principal affair of the freeze being thus determined, little is required for the decoration of the other parts. The fcrolls mutt have their common fpiral upon the Ihoulder; and as the only va¬ cant fpace will then be in the fide under the volute of that part, a large flower may very happily be placed there, from which there may be dropped a light and fmall feftoon. All that need be done farther, is the decorating fome of the mouldings with ffcul- pture. The cornice will be the principal feene of this decoration ; and as it is moft in fight, there will be propriety in giving it the greater fliare of thefe ornaments. ■The moulding that furrounds the frame on the infide of the chimney may alfo have the fame decoration. CHAP. OF ARCHITECTURE. 603 Book VI. CHAP. XXXV. Of a marine chimney-piece. JY this term is meant a chimney-piece, all the ornaments of which are taken from marine or fea fubjefts. Thefe are in themfelves extremely numerous, full of beauty, and full of variety. The whofe fcope and feries of them are in the choice of the architedt on fuch an occafion ; and his judgment is to difplay itlelf in a proper choice among the multiplicity of forms, and a juft affortment and continuation of thofe he chufes. The firft dire&ion we (hall give the young architedt on this head, is to review the variety of Nature, and take his choice among them. Let him not limit his fancy by the fmall number that have been ufed by others: there are not only more, but bet¬ ter. The architedls of the prefent time do not fufficiently fludy Nature j and it is in the works alone of thofe who have profefledly treated of thefe fubjedts, that he who would be eminent in this part of his bufmefs mull ftudy the means. This path rightly followed, there will be a fource of beauty and variety opened that no practice can exhauft ; and from fuch ftores, not on the imitation of the works of others, we would have the architedt go upon the defign of this chimney. Let him, as ufual, mark in a general outline to circumfcribe the compafs it fhould fill ; and within this, upon the level of the hearth, let him firft raife two fmall plinths, as in the preceding defign; only that here the greater one being deftined for the fupporj of the ornamented part, muft be confiderably larger than the other. On the firft of thefe let him raife two perpendicular fides, confiding only of a few large mouldings, with a flat ledge within them ; and upon thefe let there reft a third piece of the fame kind and form. This makes what may be called the frame of the chimney-work ; and about this are to be difpofed the ornaments. Upon the fecond or broader plinth, on each lide, which are to recede a little for the advantage of light and fhade, let him raife two flat and upright pieces ; to be the field, whereon to place the ornaments. Thefe are to terminate, as the fcroll in the other defign, at the height of the opening of the chimney ; and they are there to be crowned each with its head of mouldings* Thefe may be more confiderable than thofe of the other chimney-piece, becaufe the pieces which they terminate are the moft confiderable part. 5 Thus 6c>4 A COMPLETE BODY Book VI. Thus is the body of the chimney-piece to be defigned ; and upon this level top m ade by the frame, and the outfide pieces, is to be raifed the mantle-piece. This is to confift of a freeze and cornice j and for the reception of the intended orna¬ ments, the freeze mull be broad. Thus is finilhed the plain form of the mantle-piece, and its fupport j and this the moll unaccuftomed to the fcience will, we hope, underhand. We have for that purpofe avoided in thefe defcriptions of the parts, not only the technical terms of authors, but thofe in the trade. The chimney-piece finifhcd thus perfectly plain, would be of no difagreeable form ; but we propofe to enrich it with very elegant, tho’ not expenfive orna¬ ments. CHAP. XXXVI. Of the decoration of this chimney-piece . H E ftudent fees two parts are in this work allotted for the reception of orna- jL ment, the flat pieces carried up the fides, and the freeze under the cornice of the mantle-piece. In thefe pieces the center of the freeze is underftood to be the point of principal ornament : it is there the tablet is placed in thofe chimney-pieces which receive that addition ; and in others the principal figure naturally takes its place where fuch a tablet would ftand. The mod natural, as-well as the mod common ornament in this place, is a head of fome kind ; and the reft of the freeze is ufually, and not ungracefully, filled with a couple of feftoons that rife from it. We are not in this inftance about to prevent the ftudent from following the courfe of cuftom, but would have him compofe his feftoons of fuch fubjedls as are mod fuited to the occafion, and chufe his head from thofe kinds which have correfpon- dence with the reft. In general, feftoons are made of flowers and fruits; and the head placed as a decoration to the chimney-piece, is that of fome Heathen deity. Neptune’s head might anfwer in this place, or that of a fea-nymph; but the firft would be too coarfe for the work, and the latter might be mifunderftood. It will therefore be mod proper to place there the head of fome large fifh ; not of the ftiark, becaufe the armour of its mouth naturally creates terror ; but that of fome other in- offenfive kind, the whale, or the figure heralds give of the dolphins. Thefe OF ARCHITECTURE. 6oj ■ fail '° P ' eare / Very eye when the rcft of the ch!mn =y is decorated Chap. . 6 in the intended manner ; but if neither of thefe fait the tafte of the architeft, he may -- *—*- give a figure from fancy, only taking care that it referable fo much a fifh’s head that every eye may diftmguilh that it is defigned for one. , TfP rinC ' pa ' figUre being P laced in the centre of *e freeze, the two fides are to e filled with feftoons Let the architeft form a general outline of thefe, marking then breadth ; and let him bring each from one fide of the head ; and, after drop! ping it down in the middle, let him raife up the other end to the top of the freeze at its extremity. r L This is to be the courfe of the feftoon; but with refped to Its parts, they fliould be correfpondent to the general defign, and made of (hells. Of thefe the fea affords a variety altogether endlefs; and among them are a thoufand different 01 ms, which maybe happily twifted together in this defign. The body of the feftoon may be thus diveriified with the figures of the (hells; and the pearl-oyfter being introduced among the reft, may fatter over the edge its'glittering treafures. The fides are to be decorated with the fame kind of fubjefts : but as they have a different due&on, thofe objedts may be placed in a various manner. At the top of each may very properly be placed a feallop, and from its bafe may hang a feftoon of other /hells: thefe may be chofen fo as to diverfify the whole by then unhkenefs to the others, as well as to exhibit a pleafing number of forms ■ and upon the plinth of this piece may reft a large conch, turning up its wide and open mouth, as if gaping for the dropping feftoon, loaded with finaller (hells, and fat- tered pearls as in the freeze. There will remain u (quare piece undecorated at the top of each of thefe fides above their mouldings, and upon a level with the freeze. This will admit a peculiar beauty by means of the diverfity of light and (hade afforded by Its receding • and in this (hould alfo be placed one large (hell. For the reft nothing can be added but fculpture to the mouldings; and this we advife not to be too lavilhly allowed them They (hould not be left altogether plain, becaufe the quantity of work upon the fides requires fome decoration in thefe parts; but neither fliould the chiffel be allowed to reft too long upon them. They fliould not be plain, becaufe that would ill agree with the reft; and they fliould not be much adorned, becaufe the eye is intended to be detained but little upon them: the peculiar ornaments of the fides being the intended objedts of the attention. Little need be faid with regard to the materials of which this -chimney (hould be made. The quantity of ornament, and its nature, require that there fliould be no confufion m the lights and (hadows. This declares a marble of one colour to be the only kind fit for the pnrpofe ; and of thefe forts there is none fo proper as the plain white. N ° 6 4- 7 p CHAP. T H E laft defign was of a kind where the beauty of the work refults from the variety qf added ornaments. What we are here to treat of has its ele¬ gance from a plainer, more familiar, and lefs expenfive fource j and yet in many cafes is full as pleafing. That was fit for particular purpofes ; for the ftudy of an ad¬ miral, or the library of a naturalift, where it might (land independent of every thing e lfe, 'and yet be fure to pleafe. It could not fail to affefl the imagination by its no¬ velty, nor to pleafe by the variety of its ornaments, and by the beauty of the fingle figures, as well as by their difpofition. That which we here propofe is one of a more generally ufefut kind ; and we (hall introduce the reader to it as to the others, by forming a fuppofition of its place and ufe. A parlour, we will fuppofe, is to be decorated with fculptured mouldings upon wainfcot pannels, and a chimney is to be fuited to it in point of cxpence and figure. This muft have the fame kind of decorations, and its ornaments of a higher order. Whatever be allowed in this way muft not be repugnant to it. This is the kind of work we propofe here; and the ftudent muft thus defign it. Columns would be too noble, and they would not fuit the room : fanciful ornaments are not to be re¬ ceived, becaufe the reft of the finiflfings are of a plain. th°’ handfome kind ; and the defwner has only the form of a common chimney-piece in his power, and can ufe nothing fo well as fcrolls to fupport the mantle-piece. Let him mark a general out¬ line for the whole, and then confider its fource of ornament. As many things are with-held, he is to make the moil of thofe which are free to him : and let him firft confider the advantages that may arife from light and (hadow Let him upon the level of the hearth lay in three, fquare plinths; the inner one largeft’ and molt forward, and the other two gradually finaller, and gradually .receding] Thus there will be the foundation of three general projedtions in the upper work ; and, in the principal of thefe, there may from its breadth be fome other variations of the fame kind. Let him now begin with the inner plinth, and raife upon it on each fide a per. pendicular, formed of three pieces in three different projeflions; that which recedes mod being inward. Thefe raifed, let there be laid over them a third of the fame form. This, as in the preceding inftances, makes the frame or firft work of the chimney. Over tins let him OF ARCHITECTURE. 607 him defign the flat plate as a freeze ; and then beginning from the bottom again, let Chap. 38. him raife his fecond perpendicular piece. v —' This, from the decreafed bignefs of the plinth, will be narrower than the former; and it muft be terminated at the top by a handfome fcroll, whofe head mull be on a level with the top of the freeze. The third perpendicular is now to be raifed upon the mod backward plinth ; and this muft be according to that part narrower than either of the others ; and muft ter¬ minate plain at the fame height with the head of the fcroll and the freeze. Thus there will be a regular extended lurface, upon which our ftudent is to defign the cor¬ nice for his mantle-piece ; in which his care muft be, to ftrike the feveral parts and mouldings with truth, according to the directions given before under their various heads. Thus will rife the whole form and figure of a chimney-piece, fuch as we have reprefented in the firft figure on our 90th plate ; and, to finifli it to the pur- pofe we have here propofcd, there will require only a natural fuccefiion of ornament* along the parts and places where they will be moll confpicuous. CHAR XXXVIII. Of the decorations of fuch a chimney. T H E purpofe being to fuit this chimney-piece to a room where the mould¬ ings of the wainfeut aic carved, the mouldings here muft have the fame orna¬ ment. There will be two upon the inner form of the chimney-piece, which will very properly receive the chiflel; and thefe being feparated by a broad piece, which is plain, may be enriched as highly as the artift pleafes. We have given in the figure the fketch of a light ornament, which may be given to this plain part; but it is better to leave it untouched. The beauty of the mould¬ ings will be feen diftin&ly, if feparated by this plainnefs ; but when there is fculpture in this intermediate part, the eye is loft and bewildered, and fees nothing dif- tindlly. The mouldings of the cornice are next: to thefe there is to be allowed a great deal of fculpture. It is the moft confpicuous part, and for that reafon demands to be made the moft elegant. It is alfo upon a level with the eye ftanding, and will be confidered more naturally than any other part in the fame view with thofe mould¬ ings of the wainfeot, with which it is the art of the architect to make it cor- refpond. The great judgment will be, in this place, to throw in the needful quantity of or¬ nament without confufion. We have told our ftudent on repeated occafions, that the 1 great 608 a. COMPLET Book VI. great beauty of carved mouldings is to be feen diftinCt. To this purpofe nothing is fo ufeful as the intervention of plain parts. When the quantity of fculpture required does not admit of that relief to the eye, the greateft care mud be in varying the kind of fculpture on the feveral parts, fo that the difference of the figure in the feverai members may occafion the eye to fee them all diftinCtly. This we have attempted in the cornice of this chimney-piece j and the ftudent will at once find in it as much decoration as can be defired, and yet no confufion. The mouldings thus decorated, there remains but little to the finifhing this piece. Two parts alone are vacant that would bear ornament: thefe are the freeze, and the two upright piecs, which are terminated by the lcrolls. In the freeze the ornament mud not be heavy, yet it mud be confpicuous. The head of fome Heathen deity, crowned with a wreath of flowers, will very well an- fwer the purpofe in the centre and from this, on each fide, mud be continued a ■feftoon of large loofe work, nearly to the extremes. The top of the fcroll may very properly be ornamented with a fcollop {hell ; and its natural riches will be a fuflicient decoration to the body of it. The bottom may be covered with the end of an acanthus leaf; and from this may drop a feftoon of flowers: thefe mud have a moderate projection, and the care of the defigner fhould be to form the feftoon of fuch as have no fmall parts. The projection of the inner part will be fome defence to it; but, notwithftanding that, it is in a place where there is too much probability of accident. This is a thing that ought to be much more confidered in fculpture than it is. The place where the work is to ftand fhould be regarded, that the accidents may be forefeen to which it is liable, and the parts compofed accordingly, nothing ten¬ der being admitted where there mud come violence. With regard to the materials of which this chimney-piece fhould be compofed, the quantity of fculpture, as in the laft, determines that point. There is difficulty in fo managing this in any manner, that the merit of the artift may not be loft in the con¬ fufion of the objeCls from their nearnefs; and if a coloured or variegated marble were employed, that confufion would be inevitable j therefore plain white is fitted for this purpofe. Indeed the univerfal rule fuits well with Nature; for as the varie¬ gated marbles do not advantageoufly admit fculpture, neither do they require it; their mixture of tints giving them beauty of another kind. CHAP. OF architecture. CHAP. XXXIX. Of a chimney-piece for a room more enriched. W E lad confidered the kind of chimney that would be propet for a room where the mouldings of the wainfcot panneis were decorated with fculpture, with¬ out any other confiderable addition : in this chapter we fliall carry our ftudent's ima¬ gination a little higher in the fame way; and fuppofe that, befide the fculpture of the mouldings, the room has farther decoration of the fame kind : the chimney mud be proportioned to this; and we ill all here confider the form that will be mod proper. The fame general fliape with the lad mud be right, becaufe the decorations of the room ate of the fame kind; but as there is more required in this cafe, there mud be more extent for the reception of the ornament. This is the firft principle: the chimney-piece mud be larger, and there mud be a greater field for decoration. The lights and ihadowsmud be next confidered; and, after our young defigner fliall have drawn his general outline, he mud begin to pro¬ vide for this by different projections. Three plinths, in different degrees of projection, he mud fird mark in, as in the preceding; but in thefe the third or mod remote mud drew itfelf between the fird and fecond very far back, and the middle one or fecond mud itfelf have a different projection, the middle of it danding much forwarder than the two fides. Wc fhall fhew the ufe of this in the fuperftruCture : but let the dudent begin here, and he will fee the advantage in point of light and fhadow, that mud attend fuch a mixed pro¬ jection of the feveral parts. Upon the fird of thefe let him raife on each fide a perpendicular piece of its breadth terminated each way by a handfome moulding ; and, laying another piece of the fame form and compofition over them from one to the other, he will have then the frame, or fird work of the chimney. The fecond piece, as we have named already, is not to rife clofe to this: the third, coming behind it in form of aback pilader fafhion, is to feparate it a little, and there is then to be raifed upon the middle or mod projecting part of rhe bottom, a fcabbard of that kind, which holds the figures of the termini; and from the hinder part of it, which projects lefs, let him raife a perpendicular piece, which is to ferve as a back to the figure in the middle; and fliall be all the way of equal breadth. Wc have before mentioned the continued piece of fmalled projection ; which running N ° 6 4 - 7 Q_ behind 6lo acompletebody Book VI behind this, ferves as a back to the whole that is raifed on the laft mentioned plinth, and terminates pedeftal-fafhion at the height of the firft frame of the chimney. Thus much prepared, the figure which is to rife on the middle part of this fecond plinth, and is to be the principal ornament of the work, is to be defigned. The back we have propofed for this running of equal breadth up from the whole of this plinth, muft cut through the mouldings of the pilafter back, and rife to fuch a height above them, that a plain piece being laid over the frame by way of freeze, its top (hall be level with theirs. Thefe are uniformly to fupport the cornice of the mantle-piece. We have directed the ftudent to begin the form of a fcabbard from the projeft- ing part of the middle plinth, equal to it in breadth at the bafe. The outline of this muft be formed by two divergent lines, which widening upwards, muft a little above the lower moulding of general back unite with thofe lines which form the par¬ ticular back of the figure, drawn from the two tides of this plinth. This will have a very happy effe&, as the ftudent will perceive by carting his eye upon the figure in our 95th plate. Now, direflly under the mantle-piece, let there be drawn a female face, crowned with a fancied head-drefs, and ornamented with flowing hair. The neck and breatl: muft be naked below this; and they will naturally enough fill the fquare piece, where the two lines which form the fcabbard are loft. In this place is to begin the fcabbard ; and a little foliage may very well rife on each fide, and in the middle drop lower, forming a kind of ornament above the Tides of the breaft, and concealing the leparation. Hence is to be continue d the fcabbard downwards; and this fhould in the prefent inftance be decorated with a rich feftoon for two thirds of its length, and on the lower part covered with an acanthus leaf, raifed for that purpofe from the furface of the plinth. Over the head, and upon the flat piece, continued from one of them to the other, is to be carried the cornice; which projeding on each fide over the heads, and receding behind, will have a great deal of variety in light and rtiade ; and nothing will now be wanting but the ornaments. CHAP. OF ARCHITECTURE. 611 Chap. 40 . CHAP. XL. Of the ornaments of this chimney. I T is intended in the original defign of this chimney, that it fliall have a great deal of decoration. Thofe heads we have placed above the fcabbards in the middle parts, are a great article of this elegance 5 and what remains to be done, is to give a proper decoration to the freeze, or flat piece over the frame, and to add the advantage of fculpture to the mouldings. In the centre of this piece it will be right to place a tablet, as that addition never fails to give a look of finishing. In the centre of this is to be formed fome large and confpicuous ornament. It muft not be a head in this chimney-piece, becaufe that would be a repetition of what is already at the fides. A fliell will be very proper for the purpofe; and as it Should be of fome kind that fpreads confiderably without projection, none will be fo fit as the fcallop. For the conftru&ion of this, we fliall refer the fculptor to an original much fuperior to all the models of old Greece: Let him lay before him, as he works, a natural fcallop fliell; and if he will with due attention follow the work of Nature in the feveral ribs and furrows which her diflinCt and accurate hand has marked upon its furface, he will command univerfal admiration. This is the everlafting leflon we give the fculptor. Nature is in all thefe cafes ready at hand ; and we fliall not fear to tell him, that as much praife may be obtained by mimicking a Ample fliell, as by copying the Belvidere Apollo. From each fide of this fliell fliould be carried a feftoon to fill the reft of the tablet; and as nothing can fo properly decorate the two fpaces of the freeze on the two lides of this tablet, there may be a great deal of merit in fo difpofing the inner point of each, that altho' it be in reality diftinCt, it fliall feem a continuation each way of the feftoon on the tablet. The remaining ornament of this chimney-piece muft depend upon the fculpture of the mouldings ; and in this the fame care muft be taken, as in the preceding in¬ stance, that this be varied in fo careful a manner, that the feveral parts tend to fet off one another not to confufe the eye that is detained upon them. The great caution in this refpedt will be required at the cornice, for in that part the fculpture will be clofe. The two mouldings we have directed to be given to the three pieces which conftitute the inner work or firft frame, muft be cut into a bold and ftrong elegance of this kind; and as the reparation is confiderable, we 8 fliall A COMPLETE BODY {lull allow in this what we declared againfl: in the other, that is, fome ornament on l the piece between. This muft be light, and confift of large parts; and by this means it will at once have an afped of diverfity, and will not confufe the fight. H P. XLI. Of a chimney-piece , and wind-dial » W 7 E fhall clofe the article of chimney-pieces with one of the continued kinds; \ \ in which, befide the Angularity, there is ufe. Every one knows, that from a vane at the top of a houfe, turning according to the courfe of the wind, a dial may be made, with its hand, which anfwering di- redllv to all the motions and changes above, {hall point to thofe divifions on which are marked the feveral points of the compafs. This is familiar to every one, on the outfides of buildings, from that which is fo wrought at Buckingham houfe ; but the moft ufeful method is to place the dial within doors: and we {hall give a defign, in which it is at the fame time orna¬ mental. Thofe who are to go out of the houfe to know the courfe of the wind, may look at the vane itfelf; but there k a great deal of convenience in bringing that in¬ dication into a room of the houfe. When a thing of this kind is propofed, the firft bufinefs of the defigner is to re¬ member, that every room is not fit for it. A wind-dial in a dining-room would be an odd kind of ornament; and much more improper would it be to place it in a more elegant apartment. The fiudy of a fea-officer, or other curious perfon, or the breakfafting room of a fportfman, are the proper places. CHAP, ’nrf>n Ur iillLU OF ARCHITECTURE. 61 Chap. 42* CHAP. XLII. Of the conftruSiion of this chimney-piece. C ontinued chimney-pieces are in a manner devoted to the fined rooms of a houfe; and are therefore in great propriety covered with a profufion of orna¬ ment : but in this, which is particular in deviating from that rule, the firft principle is, to omit the thought of fuch accumulated decoration. The room, in either of thefe cafes, is not of that highly enriched kind ; nor is the dial itfelf, tho’ it may be rendered far from unpleafing to the eye, a piece of orna¬ ment at all like the others, of which we have treated. For thefe reafons the dcfign of the lower work in this chimney mud be folid, without too much ornament; and all that belongs to the continued part mud par¬ take of the fame charaQer. Thus much premifed, that the dudent may undcrdand every article, and its reafon, as we proceed in the'dcfign, we fhall confider feparately the two parts; or the chimney piece intended to fupport this Angular fuperdruflure, and the upper work itfelf; We have obferved in general, that the upper part in a continued chimney-piece fhould be light; and for that reafon have on all common occafions excluded the ufc of the orders. But this is a kind altogether Angular. Its condrufiion will therefore afford an exception from that rule, vefy allowable in its own nature; and as we have diredted that the whole of this upper work fhould be proportioned to the defign, we fhall here allow an order in the fuperdrufiure, and that not of the lighter kind. N° 65. 7 R CHAP. TTrT CHAP. XLHI. Of the lower fart hi this chimney-piece. r ~j— u E {Indent undcrftands that he is to defigr, on this occalion a lower part of a 1 continued chimney-piece, whole charaOer muft be flrength, cod.whole orna¬ ments moderate. It is to be the decoration of a room where the tafte of high flmflung has not en¬ tered ; and it is to fupport a plain, but folid fuperftrudbfre. Let him when he has confidered the extent of the room, draw firft upon his napcr a general outline of the whole , and feparating the under part, of which we treat here from the other, let him begin with the mark of a couple of f.des confider- ab lv broad in proportion to the height of this lower part. No matter that they have an air of maflynefs before the upper part is fhadowed in'; as foon as a Doric column is placed over each, the reafon will be evident; and what might feem in the im- perfect view an error, will become a beauty. Let him begin by defigning his plinth: let this be continued for the fupport of the frame and general back, and let it projeft at an equal didance from the par t where the rim of the frame will come, and the verge, that it may fupport an up¬ right piece, whole projection will give it an air of foiidjty beyond the reft, and over whofe axis is to reft that of the Doric column. The plinth thus defigned, let him begin by railing on its nearer edge two upright : , ces for the firft frame : let thefe be narrow, and terminated outward by a thick mouldin'*. This will give an air of llrength, more than if they were broader dnd more flat°, and that is the idea carefully to be entertained ,n the mind thro this whole defign. On the outfide of thefe muft be contained the general back, pilafter-fafliion, as we ned i r a preceding fafhion; and in the midft of this let there be ra,fed upon the projeaing of the plinth, an upright of folid afpeft, which is to run up beyond the lides of the frame to the cornice. Thefe parts laid in, let a plain piece be marked for covering the frame to the height of the tops of thefe two laft mentioned uprights; and thus there will be a level furface, on which to reft the cornice : beyond the uprights there muft alfo b continued a piece over the top of the back, which ended by a moulding running m t line wi th« .pper one of the flame; andthu i the whole body ol ..a. piece O F ARCHITECTURE. 615 piece framed in this lower part, to the place where it is to be crowned with the Book VI- mantle-piece. '—— J This is to project over the uprights, that is, under the pedeftals of the Doric co¬ lumns; and a pediment may be railed from its centre. Thefe variations will give it a great advantage ; from the difpofition of the parts, and the changes of light and lLude, and that without the introduction of any improper ornament. The pediment muft be of the open kind, and mull receive a buft. Of this we HmII fpeak more at large, when we confider the ornaments; but thus is to be de¬ fined the body of the lower part of the chimney, fuitted to fupport the reft. C H P. XLIV. Of the ornaments of this chimnej/~piece. RESIDE the mouldings, which will very well bear moderate fculpture, there is one confpicuous part that requires ornament. This is the freeze or flat piece over the upper member of the frame : and there will alfo be room for fomething on the bodies of the two uprights, which are immediately under the columns. As for the ornaments of the freeze, there is no abfolute necefilty for a tablet to receive thofe in the midft ; yet it will in general be advantageous. They fhould confift of large and folid parts, to an Ever properly to the character of the reft of the chimney-piece ; and as we have given two or three different occalions on which it may be pro¬ per to introduce this kind of chimney, we fhall obferve that they ought to be leleCted out of that part of nature wherewith the proprietor is mod concerned. If the breakfafting-room of afportfman were the place for the chimney, we fhould direCt guns and nets to be reprefented on the tablet, and wild game on the fide- fpaces: but it will be beft to fuppofe it anfwering the nobleft purpofes, and placed in the library of a fea-commander. In this cafe the fubjeCts proper to be introduced are of another kind; and, happily for the fculptor, they are fuch as will beft become his art. We fhall advife in this cafe, that there be a tablet in the freeze, and that it be larger than ordinary. It will add to the general look of folidity, and will feem a par¬ ticular fupport to the pediment raifed over the centre of the mantle-piece, and to the buft we have-already propofed it fhould contain. This tablet will have another advantage in its breadth, which is, that it will con 1 tain the more happily thofe implements which will in the prelent cafe beft become it. Inftcad of the gun and nets, in the preceding ufc of it, let the fculptor here em¬ ploy his beft art to reprefent the oar and trident. Behind thefe, where they crofs one ii one another, let him place the large hollow of a fcallop fhell j an.l from their upper part let him drop a feftoon, which, after drooping toward the bottom of the tablet on each 1'ide, fhall be taken up again, and fattened at the upper corner. Thefe fettoons fhould not be formed of flowers or fruits, as on other occafions ; but, keeping up the fpirit of the charader in all parts, they fhould be compofed of fhells and fea-weeds. There is a vaft field here, as in all the inftances we have named before on like occafions, for the fculptor to receive as models, but his art, which fhould depend on Nature, lofes fight of her entirely. The heralds animals are not more contetnptibie than the eggs and anchors of our bett fculptors : fo remifs are they even in the mett common parts : and in all others, tho’ Nature is before them, they regard onlv the reprefentations they find in former works. Thefe are few, impeded, and obfeure ; while the variety is endlefs in Nature herfelf, and nothing fo eafy as the imitating her. There is merit in novelty ; and this is the natural path to acquire that praife. The artift will find an inexhauflible ftore for it in thefe inflances; and lie will fland very far above all cenfure, when he can appeal to Nature, and to the reprefenta¬ tions of her feveral forms in the writings of thofe who have proielledly ttudied them. It is for this reafon we fo often and fo earneftly recommend to the archited, who is to defign ornnament, and to the fculptor, who is to execute them, the fludy of Nature. In the prefent inftance, inflead of his being reduced to copy what he has feen in the works of others, befide the great variety of fhells, there are numerous plants of the fea, and works of infeds, ufually numbered with them ; which afford not only Angularity, but a beauty which one would fuppofc there needs only to knew to create a defirc of imitating. Let him trace in marble the wild meanders of the brainttone, and fee whether the world will not admire the reprefentation : fo much the more, becaufe the fuhjed it- Llf is white, and hard as marble. If he would tafk his hand to the higheft of its power, let him, as well as art can, mi;nick Nature, trace in his work the accumulated rays that in dittind affortmn.t:-. cover the ftar ttone. To thefe let him add, in review at leatt, the madrepera, or ipungy, ftriated, and ttarry, white coral ; theefehara, whofe netted fubfiance* tires the eye, while not one fibre lofes its place or office : to thefe the pearly ormus, and the round-headed acetabulum add their various, dittind, and always admired form.-,. Thefe, and innumerable more, which the fea covers from common eye?, r.aturaiifts have dragged up to light; and their forms far exceed all the fanciful figures that mo¬ dern genius, or even the idolifed fancy of antiquity, have ever given us. Nor let the ttudent complain of the difficulty of vifiting the fhores, and dragging the bot¬ tom of feas, for them : this labour has been taken oft his hands, and he may view them all upon a fingle fheet of paper *. Thele are the fubjeds of which the feftoons on the tablet in this inftance fhould be formed ; and they are ready for a thoufand others. Hill on Animals. 7 The OF ARCHITECTURE. 6j _ The■tablet, which is the principal and moll confpicuous part of the lower work, Chan 4 - being thus dcfigned and finiflied, there remain on each fide of it two large vacant ■ (paces: thefe arc the uncovered part of the freeze, and upon thefe are to be placed fome ornament. Let the ftudent remember, that we have told him every thing here mu be bold and large. Inftead of a compofition of fmall fubjefls, let him fill each of thefe fide-fpaces with a whale or dolphin. The maflynefs of fuch a figure will contribute with all the reft to the idea of ftrength and firmnefs ; and thus will the decoration of the principal part in the lower work be finilhed. N CHAP. XLV. Of the decoration for the reft of the lower part. EXT after the freeze, and its tablet, come under confideration the two up¬ rights, which ftand under the columns in the fuperftruflure. Let the top of each be covered with fome broad and well-fhaped leaf; and let the body be furrounded by a plain moulding. This will give a kind of oblong pannel in the front of each, and down the greateft part of its length may be carried a feltoon. Let the ftudent all this time keep in mind the nature of the fubjefl; and let him e ign thefe feftoons, not in the common way', but with ftars and waves, and pearls and acetabula; and let the leaf he throws upon the top of each be of the fea-kind alfo. In confequence of this adherence to Nature, thofe who are unacquainted with the fubjefls will yet be charmed with their various forms and afpedt, and will perhaps give to his imagination the praife of their invention; but to thofe who have more knowledge, they will be the fource of a nobler pleafure : fuch will praife the judg¬ ment ufed in their choice, and the truth in the imitation. All the ornaments of fculpture had this origin ; and it is to be lamented that the pint has fo much decayed. It is owing to the foie caufe we have named, the poverty of genius, and the tame fpirit of imitation. Thofe whom our artirts affedl to follow copied Nature. The firft rofe introduced fculpture was taken from the bufli; and there remains to this time its moft per¬ fect model. It is fo in all the others ; and every carver has power to refer to the ori¬ ginals. Inftead of this the forms are transfered with little regularity from one piece oi work to another, till, tho’ we fee in every inftance the fame dupes, it is not eafy to lay what they are. The anemony is in fpring open to the imitation of the fcul_ ptor; and what comparifon can be made between that flower from the garden, and *“- 6 5 - 7 S i ts 6lS A COMPLETE BODY Book VI. its beft reprefentation from the chifl'el ? This copying one another is the reafon of the c-- 1 acknowledged decay in the art; and there is but this method we propofe to reftore it to the firft luftre. The freeze and this part of the chimney being difpatched, the other ornament* are few: A little common fculpture on the mouldings is all there requites on the cor¬ nice ; and the bud in the pediment fheuld be appropriated to the reft of the work, a Neptune. H P. XLVL Of the fuperJlruElure. HUS much finifhed, we come to the continuation of the chimney-piece up- ' j ward ■ and of this the young architect will eafily form a proper idea, when lie recollects what we have at firft faid of it, that a wind-dial is to occupy the middle fpace, and that the fides are to be decorated with Doric columns. In all continued chimney-pieces the upper work is a kind of frame ; and here it requires no particular form. The bull will rife a little way into it; but this, far from being a blemilli, will be the happieft way imaginable of conned,ng the two parts together, and will admit an ornament continued from thofe of the dial. To begin with regularity, we (hall dired our ftudent to draw firft his outline of the whole upper work correfpondent to the lower : and this done, he is to de¬ fen his columns. Tho' it is proper columns ihould be ufed m the fuperftrudure of a chimney-piece in this Angular cafe ; yet it is to be confuted, that when the Done, the moll fuited to the general intent is employed, the leveral methods that tend to lighten it fliould all be taken. The firft of thefe is the railing rt upon a pe- deftal becaufe in that cafe the column having lefs height in the (haft, requ.res lefs diameter; and in appearance nothing will fo much contribute to the we.ght as the thicknefs of the (haft. This firft principle being eftablifhed, let the (Indent find the axis or centre of the upright piece on each fide, raifed for the fupport of thefe columns, and there fix the point for the centre of his column. This afeertained, let him raife the proper pedeftal of the Doric order, marking dift'mdly its bafe, die, and cap ; and let the mouldings which form thele be conti¬ nued as if to unite the two pedcftals by an intermediate plain work : they mult not be buffered to cut the pediment; and they will be interrupted alio b> tic c.n.mcnt or OF ARCHITECTURE. 6i$ of the buft. Let them however be marked with a faint line all the way, that it Chap. 46.' may be rubb’d out where thefe parts intervene. It is the moulding of the bale that ' ‘ v "“ J will be interrupted by the pediment, and that of the cap by the ornaments of the buft. The firft lines being marked in already, thefe need not cut thro’ it; but in the other cafe the place of their flopping cannot be afcertained till the ornament is formed. Upon thefe pedeftals raife the two Doric columns; and, to give them a farther air of lightnefs, as far as that order is capable, let thefhafts be fluted. Upon thefe raife the proper entablature, and crown it with a broken pediment of the arched kind ; from the bafe of whofe opening it will be very proper to throw up a fcallop-fhell ; and to give out on each fide feftoons of corals, fhells, and ftar-ftones, to fill the va¬ cancy. This done, the fpace is marked in, and little remains for the architect. The ftrudture of the work for the dial is not his province. Its outline is all he is concerned to lay in, for he beft knows what fhould be its fize, and what or¬ naments fhould furround it. In the fquare fpace contained within the columns, their continued bafe, and the lower member of their architrave, let him defign a proper frame. This muft in general conform to the outline of the fpace ; but, to break in upon the famenefs of a perfedt fquare figure, let the corners droop, and the top-line from a fmall diftance each way be elevated a little. This muft be the fliape of the frame j and as to its compofition, nothing is pro¬ per but large, ftrong mouldings. Let the dial be now defigned, and brought into its proper place. We would not have it fill the centre of the fquare, for that would be poorly formal. Let it be ftruck with feveral concentrick circular ftrokes, which will form the outlines of the mouldings; and let the outer line of thefe be fo near the top, that the ornaments encompaffing it may rife to the bottom of the pediment. The outline being thus formed, let the four cardinal points be marked, eaft, weft, north, and fouth ,• and thus let the ornaments be begun. Oppofite to each of thefe marks let there be a head, reprefenting the antique figures of the winds; and all that is required farther, is to connedt thefe by fcrolls of a free, open, and large work. All is now properly filled, except a fquare above the buft, left for a peculiar orna¬ ment. Let a couple of dolphins be dropt by the tails from the part of the feftoon over this, and let them at fome diftance furround the buft : within thefe let the defigner form the outline of a large fcallop. This will ferve as a very elegant as well as pro- 8 per 6 20 a COMPLETE BODY Book vr. per back-ground ; and as the upper part will be Surrounded by the dolphins, thi, -' lower may be decorated on the outfide by rifing fea-weeds. Thus will be finilhed a continued chimney-piece of a nature fuited to the particu¬ lar O ccafion ; in which every part will be appropriated to the main defign, and every ornament will correfpond with the intended character. The End of the Sixth Book. BOOK »•>»¥»< OF ARCHITECTURE. 621 BOOK VII. Of Exterior Decorations. CHAP. I. Of Piers . W E have now fo far difcharged the terms of our plan, that the architect is left untutored in nothing relating to the conftru&ion of a houfe, from its foundation-ftone to the finifHing } fo far as his province is concerned. He is a mailer of the terms, nfed in his proper fcience, he underftands the fundamental parts of it, the dodtrine of foundations and walls has been explained; the orders ■we hope are familiar to him j and the divifion and diftribution of his plan has been for various occaflons laid down in a plain and ufeful manner. We hope therefore he knows perfectly what a houfe fhould be, according to its different purpofes j and it remains that we fpeik of exterior ornaments and decorations. Thefe are always proper, and they are often neceffary. A houfe of elegance fhould have every thing about it elegant; and it is no fmall advantage to be a little removed from the eye, and from the common walk of men. It can only thus be removed, by taking in a proper area before it. This we have explained and pro¬ portioned in feveral of the preceding inftances; and this mull be confined within its wall. In this wall there muff be openings, paffages of Ihew, and convenience j and thefe muff be decorated according to their intended ufe. Their places we have treated of before: and tho’ cuftom blocks up the front, and has made it a kind of law that thefe openings lhall be two, and at remote parts from the centre, we have ventured to diffent, and have lhewn that the bell place for the principal gate is in the middle. . N! 66. 7 T This \J 625 A COMPLETE BODY BookVII. Tbefe openings muft have their gates, and the gates their fupport. This is the origin of the prefent article, the pier. AH things in regular architeQure are deduced originally from rude Nature. The farmer's gate, which opened into his paled yard, had its polls; and thefe, in a more ennobled form, make the piers of magnificent edifices. There muft not only be ftrength, but an appearance of ftrength in all things; and this would be wanting without the afliftance of the pier. We fhould fee the walls rock, or we fhould fuppofe they rocked with the motion of the gates, if not imported by a mound or mafs. This gave origin to the pier; the addition of a piece of ftone-work, or of brick-work, more folid than the reft, to receive the ftaples of the hinges, to hang the gates fecure, to give them room and free power to turn, without appearance of fhaking the wall; and thus the firft plan of this part was laid. In plainer ftrudtures it is no more than a piece of the brick-work, brought out more forward, and made ftronger than the reft : from this thought it was natural to improve the part in buildings of more elegance; and it became a regular ftrudure, proportion, folid and graceful, riling above the wall, and varioufly decorated. One piece of ornament its ufe has made almofl univerfal; this is the mch. Oar forefathers, more acquainted than we with the ufe of their legs, were fup- pofed to knock at one another’s doors; and, as they might be tired with the exer* cife, a nich with its feat were cut conftantly in each pier to receive them. At pre¬ fent, tho'our coaches only pafs in at thefe gates, the form remains. Niches are made for (hew, even when bars and fpikes of iron are placed in .hem, or before them, to prevent the boafted purpofe. Hofpitality was once the character of our country ; and thefe eafy, tho hard feats in the front-walls of every great houfe, invited the weary traveller to reft, and to take in refrefhment and the profpedt. We are in general to obferve the practice in building, tho the purpofe is forgot, and are to cop.lider a nich as an efiential part of the pier. CHAP, OF ARCHITECTURE, CHAP. II. 623 Chap. 2. Of the propriety of piers . t E would have no part, no appendage, allowed in good architedure, which has not its propriety or ufe ; and it is pity we have fo many inftances in late and mod; expenfive buildings of that improper method, which fets afide the pier. The fpace or area before a houfe is effential to its /landing well 3 and, when it i<* a noble building, the piers of the gate are as neceffary as the wall which enclcfes the fpace. Let the ftudent remember what we have faid of columns and their fuperior beauty, when they /land free and clear of all other parts of a building. It is the fame with the whole, with the entire ftrudure. Nothing gives fuch an air of rude- nefs and ill management, as to fee a building crowded in its plan. The archited who intends to beftow decoration and elegance of form upon a ftrudure, fhould have it in his thoughts firft to let that beauty he defigns be feen ; and this mud; be done by giv¬ ing freedom. If he be left at large in the place, let him proportion the area to the building; if confined, let him proportion the edifice to the fpace. This gives the fird; principle of the front-wall and gateway; and as it is effential, introduces with equal necefiity the dodrine of piers. The fpace, if circumfcribed, being marked out, the building mud: cover a pro¬ portionable fpot of it, removed from the front-line ; and this line mud be the place of the wall. To fliew the neceffity in one vaft recent inftance, let the judicious eye, nay, let any eye be direded to the manfion-houfe of the city of London. A hole feems to have been chopped out, by cutting away fome houfes in the ftreet, and this great monument of dullnefs to have been raifed to fill the gap, not feated there to enrich it; fo big, that ’tis an alley only ‘which furrounds it; fo high, that, from the ill-proportioned fpace before, the eye cannot be carried up to view the fculptured upper-works, without half breaking the finews of the neck in throwing the head backward. Thus Hands this large unwieldy mafs of matter; where elegance might have difplayed itfelf in all its fplendour, and the eyes of bigotted Italy have been taught to admire Britifti architedure. It is not that the fpace was too fmall; none is too fmall for elegance : ’tis that the building is too big for it. The houfe might have been thrown far back in this very piece of ground, and the wafte room fpared within, might have made a fore-court, terminated by its proper diftant wall, decorated with piers and gateways; and the apartments, upon fuch a plan, would have been more compad and more conve¬ nient, the expence lefs, and the ftrudure as delicate as ufeful. 2 We 624. A COMPLETE BODY Book VII. We cannot give a ftronger proof of the propriety of gates and piers in front of c^X^cu elegant buildings than this, in which the heavy iron work crowds on the very flights of fteps, and the eye akes to look upon the building ; while, with due difpofition, all might have been compofure and propriety. Next to this error of bringing forward the building to the flreet in great towns, is the burying it behind walls too lofty. The entrance is of the contrary kind ; but every one knows the fault may be equal in oppofite extremes. In the fiifl cafe the houfe is thru;! too forward upon the obferver, and lofes all its praife, like objeds brought too clofe before the eye in vifion, which, being within its focus, are feen confufedly and with pain : in the other it is hid entirely. Neither is the purpofe in building. For what does the proprietor expend his fortune 1 for what the architect fearch over the flores of antient time, and tax his labouring genius for invention, but that the ftrudure may be admired ? This purpofe is prevented when it is hid. Who ever faw the regularity, the fymmetry, and beauty, of the London houfe of that great ornament, as well as patron, of the fcience, the Lord Burlington ? The friends and intimates of that great man; who could not but be few, becaufe his judgment and his tafle were delicate, and he lived in an age almoft of barbarifm. If a ftranger prefled for the fight, a porter furlily denied him: and for wlrat purpofe was this burying and hiding of an elegant building defigned ? It is indeed impoffible to an- fwer. The wall is difproportioned to the edifice, and throws a melancholy gloom upon it and about it. The height too enormous for piers, the proper ornament; and therefore an expenfive gateway, with the orders, and a rich fuperftrudure, was rendered neceffury. Let us excufe this great man, while we condemn the pradicc. The errors were not his. The work was done in his abfence, while he was gather¬ ing that knowledge, in the more improved parts of Europe, which he (hewed af¬ terwards at Chifwick. lie difapproved this ; but he fuffered it to Hand, becaufe his own defign was in the other place. The purpofes of this wall would have been anfwercd by fuch as would have ad¬ mitted the ufe of piers, and the building would have been feen with them. The duft and inconveniences of a flreet, the noife of paffengers, and the too Lee gaze of untaught eyes, would be kept off with a common front-wall, and to this what we here treat of is the proper decoration. A houfe not too large for the ipace in which it Hands, defended from the too clofe approach of ftrangers by its front- wall, proportioned fo as to become it, not to hide it, and decorated at a front¬ opening with piers, exhibits perfedion in this part of architedure; and this is a mod eflential part of the great point, difpofition. This (hews the place, the ufe, and the necefiity, as well as propriety, of piers: a part in architecture lefs uuderffood than mod others, and as ill pradifed as any. The wall being proportioned to the height of the houfe, the gate mud have an opening, fuited partly to its ufe, and partly to the extent. The entrance (liould be free, and it (hould appear fo. The idea of crowding has in it meannefs and trouble. Dignity and cafe are confulted in the drudure, and let them he feen every where. As the gate is intended for a coach, let it be fo large in the open. OF ARCHITECTURE 623 ing, that this may pafs thro’ without coming near either fide. It has the afpect of Chap. 2 1 a place of bufinefs to come in thro’ an gap which will juft admit the wheels $ ’ v and there will always be the idea of rubbing and fqueezing. Thefe are meannefies that fhould have no place in the approach to an edifice of tafte and grandeur. The opening is therefore neceftary to be free and broad ; and this will give the firft law for the piers. They are to terminate it; they muft bear a general proportion to the wall in which they ftand, to the edifice to which they lead, and to their fervice ; but the moft immediate relation the eye difcovers, will be that to .the opening of the gate. Should this be difproportioned, all regularity befide were fruitlefs. A pair of mafly piers to a narrow opening would be abfurd : they would have the afpedt of unneceflary weight and of conftraint, and would appear intended for fome other ufe, and brought in here by chance. As we have diredted proportion to be obferved in the gate, the wall, and the whole exterior work, it is no where fo needful as in theft piers. They have the firft attention of the eye, and they never fail to fix a kind of character of the whole building. The high-gates, which have been fuffered unluckily to fwallow up a vaft price, and take their place before fome elegant buildings, carry the afpedt of triumphal arches more than paflagcs to a common houfe. Their columns raifed on pedeftals, and crowned with a regular fuperftru&ure, bring into our minds thofe triumphal edifices raifed by Rome to the glory of their half-deified heroes. We are reminded of the ftrudtures facrcd to the names of Conftantine, of Severus j and of Antonine, and look in vain for trophies, ornaments, and hiftory. The houfe feen thro’ their opening gate is reduced below its real dignity in the comparifon of their ill-adjufted bignefs; and the buildings fo difproportioned mutually refledt difgrace on one another. The ftudent will now fee the whole theory of piers, refpedling their ufe and ap¬ propriation j and we fhall lead him to their conftrudtion, by a few inftances 3 giving rules for all that can be required of him. N° 66. U C II A P„ 626 Book VII. A. COMPLETE BODY CHAP. III. Of the conJlruSUon of piers. T HEY are to be fixed to the wall, therefore they muft be proportioned to it; and they are to be feen in one view with the front of the building, there¬ fore their correfpondence with that is of equal neceflity. The general error is, that they are made too mally ; but we (hall inftrudt our ftudent how they may have ftrength without this appearance of weight. In houfes of the more maffy form, a greater fullnefs may be allowed, nay will be required for the piers before it. In others their height muft be fuited to their diameters; and there is nothing fo commendable as an air of lightnefs. They are to be placed upon a plinth, and fomething muft be allowed by way of ornament and finifhing at their top. Their ufe is to receive the ftaples of the hinges, and to fupport the gates; but this is a ufe to be concealed, at leaft there muft be an addition of ornament to difguife it; and the ornament placed at the top will happily concur in this, becaufe it will give to the eye at leaft an appearance of the pier being raifed to fupport and carry it. Piers may be of the more fimple or of the more noble kind. We exclude from this confideration the falfe tafte of Gothick, and the contemptible defigns of Chinefe ornament. The pier we call fimple, is that which rifes from its plinth with a plain fhaft, hollowed for its nich, and crowned with a flight ornament. Under the diftindfion of moie noble, we include thole which have the ufe of columns. Thefe admit all the luxuriance of fancy in their decoration. The columns are placed naturally on each fide the nich, and they fupport their proper entablature- This forms a broad head, over which may be raifed a kind of pedeftal to hold the Ihield, or the fupporters of the arms, an antique vafe, or fome other proper ornar ment. In this kind of pier the choice of all the orders is in the hand of the ftudent j and it will be his proper confideration to feledl that which is beft fuited to the edifice. If there be an order employed in the houfe itfelf, let it be the univerfal rule, that this m the piers be the next in degree below it. If the Corinthian is employed in the ■f^yi f* OF ARCHITECTURE. 627 the front,-let the Ionic fupport the entablature of this more elegant pier ; and fo of Chap. 3. all the reft: only the two extremes will admit of fume variation from the common "y— pradtice. In the ftri and that wherein the full labour of ornament would be proper, which characterized the Compofite. This they faw, and to this conformed their practice, varying the model of their order. They had an eftablifhed rule for the conftruCtion of the Corinthian order confidered abfolutely ; but this was rather an idea than a model for working : they never ufed any order but they confidered it relatively to the building j and when that was plain, they reduced the decoration, and even the form of the column to more fimplicity; on the other hand, where the building in ge¬ neral was lighter, and defigned for more embellifhments, they, by as many degrees, raifed it above the ideal ftandard of regularity. Thefe are the niceties of the fcience: this is to fludy architecture. The com¬ mon practice is but the labour of the hand •, this the employment of the mind, and is as much fuperior as creation (if we may be allowed to adopt that facred word from nature into fcience) is above imitat : on. We have led our fludent thro’ the common forms; and it is time he fhould afeend to this fuperior knowledge: the principles of it are laid down where we have treated of the orders; and we may, in thefe chapters where the figures illuftrate without large explanation the common nature of the defigns, lead him to them. In thefe refearches he who has genius will find the true pleafure that attends a knowledge of fcience ; and he will find whatever is faid on one fubjeCt applicable, with his prefent fund of knowledge, to many others. CHAP. OF ARCHITECTURE, CHAP. VI. Of working the order. "'HE architect who views his fcience in the light wherein we have juft placed it before him, will find, that he has fcope for genius in the leaft things ; and that the leaft will give him opportunities of difplaying it: he will, inftead of meafuring out the lines and figures of Palladio, confider two great points for his rule in the conftruction ; the firft, that it be appropriated to the place and ufe ; and • the other, that it have a proper correfpondence with the order employed on the front of the building. Thefe two confiderations diftate the fame conduft ; and both prefcribe a plain and fimple manner. As it is fixed to a pier, an exterior part, and one of the inferior kind, it is fit it fhould be conftrufted with little ornament. The danger of confufing the imagination by making it equal in elegance, the compofite of the the front will alfo be avoided the fame way : the plain and fimple method we propofe for its conftrudlion rejects ail thofe ornaments that can be fpared with¬ out intrenching upon the charafterifticks of the order ; and this at once diftinguifhes it moft obvioufly from the compofite, which is crowded with ornaments; and fets it below that order. Thus, by a proper choice of the manner wherein to conflrudt the Corinthian, the natural perplexity attending the feeing it with the compofite is avoided : it plainly is fliewn an inferior order ; and the fame conformation of parts fuits it to the place and office. Therefore let the ftudent, when he has thus far confidered his fubjefl, chufe from among the models of antiquity that column of the Corinthian which beft fuits the purpofe ; or let him take the plaineft we have given in our account of that order. This will anfwer the purpofe; and he will be able to juftify from the antique the column he has thus fuited to his work. This is fome ufe of genius, but he may make yet more ; he may conftrudt his column upon a plan of his own, not too far removed from the plainer inftances in the antique; and thus may perfeftly accommodate the conformation to the place, office, and conneftion. If any fhould objedl to this, and call for his authority, let him declare his reafons : let him freely anfwer that he has no authority : that the column is Corinthian according to alt rule, but without any particular model : that the an- tients have varied in all thofe degrees and inftances we have laid before him; and N° 67. 7 Y the A C OMPLETE BODY BookVII. .he modems who dare judge for themfelves may vary alfo ; tha they d,d *.s to accommodate the order to its place and office, he has done the fame ; that although not authorized by any particular example he rs juftffied by the, general praft.ce. This would be fpeaking as becomes the profeffor of an elegant Science ■and thus might he (trike dumb the cavrls of vulgar art,(Is. Certaincha- r afters ’there are which belong to each order, and thefe mud be kept mvrolable and invariable ■ it is the bulinefs of fcience to diftinguilh thefe from the lighter and left effential additions: to prelerve the one facred, while he plays at pleafure w.th the other. We advife therefore, that for an edifice where the compofite order is ufed in the front, the pier have the decoration of a Corinthian column, wc dneft th,s to be made in the mod plain and Ample manner poffible ; and we Ihould applaud th t architeft who would ffiew us one in this ufe more plain, mo e Ample th i the lowed of the antique. He might give us for his reafon, that ,f they had left an indance of this ufe of the order, they would have made ,t fuels; and as them con¬ duit will fupport this affertion, he would have as much r.ght to follow the ru s as if the bed of them had left an example. Nor let him fear his pier Ihould in this cafe be too plain ; he is, with all this fimnlicity. to obferve in every refpeft the rules of condruft.on m the order ; and we (hall tell him, that the plained Corinthian column will be full of elegance. C B A P. T HE fituatlon of the column demands a firft confideration, for we propofe to raife it from the ground : it will therefore be in the reach and way of in¬ juries, and all care niuft be ufed to render it lead; liable to them. The firft thing dictated by this rule is, that the column have its pedeftal, and that this pedeftal be proper to the order, but wrought in the plaineft manner. The body of the pier muft be of a breadth to fwell on each fide confiderably beyond the extreme line of the cap and bafe of the pedeftal j for that way the form both of this and the column will be moft beautifully fhewn : and this pedeftal muft be raifed upon a plinth feparate from, and independant of all its parts. The greateft beauty of a column is, that it ftand free and difingaged j but this is a ufe in which there lies a plain exception : if the column here flood perfectly ih- fulate it would appear an ornament placed before the pier, not a part of its ftrue- ture: therefore the beft proportion is that of a three-quarter column. This will rife very happily in the centre of the pier, and its equal diftant fides will (hew the diminution : its proper entablature wrought in the plaineft way, will have fufficient ornament for the nature of the part j and if it fupport a plain vafe or fome like ornament the pier will be compleat ; it will have an air of ftrength and elegances and it will be appropriated to its office, and conne&ed to the building. Here there will be required no other ornament; nor can there be any admitted : in other cafes there fhould not be much, the nich may be decorated with fome fculpture in its vault in the fhell-form ■, and over it, in the more enriched kinds, may be placed fome ornament. All muft be of a piece in thefe things: the ornament muft correfpond to th e finifhing; and the whole fhould have a connexion with the ornament of the front. In the fimpleft kinds the finifhing fhould be a ball, and the fpace over the nich plain. This, Inigo Jones has fhewn, may have a great deal of elegance, in the defign we have given in plate 98. The next ftage may be the placing a tablet over the nich, and crowning with a vafe j and for the more enriched kinds, the defign in the fucceeding 3 plate «Ste tmi a L cCDSlkai• t fc==oiie&•¥■•< OF ARCHITECTURE. H P. XL Of various places for feats in gardens < TE have brought our Student into the consideration df thefe exterior orna¬ ments to noble edifices in a way hitherto unregarded but the only one by which he can perfectly understand their nature and true form. He who would know where to place his pavilion, feat, or temple, in a garden, muft firft underftand what the purpofe of it is, and what the true beauty and excellence of the garden itfelf. In the fame way we Shall purfuc the fubjedt fomething farther j and Shall be happy if in the introducing our Student to the more complicated, or more elegant Structures for thefe fervices, we throw into the view of the poSTeSTor fuch remarks at may illustrate what good defigners attempt at prefent ■, wherein their excellencies confift; and how they may be improved. We have in thefe inftances given the common, kinds of buildings for good gardens : below thefe we need not begin ; the carpenter can fix up a bench; nor is it within the province of an architect to dired the conftrudion of a moveable feat. What he un¬ dertake* is tV.'* pqyillnn. the temple, the bath, and others of more elegance. The plaineft of thefe is what we fee mnfti nfi-ad without the orders ; and it is a well Shaped box, contrived for warmth, and formed with regularity, iu Aaiid in the place of ornament: in the other two defigns we have given ftrudures with the orders, and having added the plans of all thefe the Student will find no difficulty in exe¬ cuting them. Thefe are the fimpler kinds; and we Shall advance from them to fuch as are of more elegance, or more complicated ufe: but firft we muft cpnfider their placo6 in the garden, and therefore the garden itfelf. Errors in the original points are never to be remedied : therefore to all who arc about to undertake a garden, thefe muft be firft avoided : for the reft they are to be accommodated as well as the nature of the place will allow. When a garden is already made in an ill fpot, all that can be done is to open agreeable views, by clearing away walls and hedges in the ground j and trees, and iometimes even buildings, when ill-placed, ill-looking and of little value : this is to be done when fomething pleafing, fome view of elegant, wild nature can be let in ; and where that cannot be, fome pavilion, fuch as we have deferibed, or Shall dclcribe, muft Shut out unalterable deformity. 8 A Thefe A* 642 A COMPLETE BODY BookVII Thefe are the remedies > &ch as the y are > for a fixed 111 fituation: but who wou, a kln< * of chcerful nefs may be diffufed even there ; and we may have fohtude, (hade, and retirement, without a favage darknefs or dreary wet. In thefe parts let the intelligent gardener confider both the outer afped and the inner difpofition. We are too formal in the plantations; let us remember how it is in nature: irregularity is there the beauty ; and it mud be confuted here by inter¬ mingling trees of different growth. Thus there will be an objeft from feme other part of the garden, or from feve- ral ■ and if the plantation be made with due care, there will be always variety. The decay of autumn comes on gradually, and the leaves change colour before they fall; fome become brown, fome yellow, and fome red; while others change, their green only to palenefs. Thefe, well known, and well intermixed, will paint the clump, as feen from without, and every eye will be lurprifed and charmed; it will be beauty, and it will be nature. So much confidered for the outer part; let the walks be dedgned within. The form preferibed by reafon, as well as cudom, is the ferpentine; but though the thought b, j u ib we fee it fadly executed. The paths are curled and twided, and they are narrow • it is hence they are difagreeable, damp, and dark. On the contrary, let them have a confiderable breadth, and we ft all fee to walk in them with pleafure : the trees will not clofe fo at their top as to diut out air, though they give a fuffic.ent flrade from the fun; and we drall have at the fame time freedom, eaie, and ele¬ gance • let the ferpentine have few, and thofe flight turns; and here and there let an old tree with all its natural ruggednefs of bark break in upon the uniformity,, and obdruft the walk. Let the plantation be made of feleded trees, as we have propofed, and let them have good didance: they will grow more vigoroufly, and the walk will be more wholfome. This fpace of planting will alfo give room for flowering ftrubs, which may befcat- tered here and there about the walk, and will thrive nearly as well as m the open air. Thus may the groves be condmfted ornamentally to the other parts of die garden, elegant and pleafing in themfelves, and fit to form receflcs in winch to place ftatutes, temples, and other ftrudtuFes. The eye will here be able to view perfeft uncondrained nature ; and die will have diffident vigour to difplav all her charms. This will relish hoth ways from the lame caufe, the opennefs or didance of the plantation : the growth of every tree is left free and difingaged, it fpreads as nature fends forth its wide branches; thefe are all cloathed with healthy leaves, and as they play about with every gudof wind, fcattcr the trembling ftade; and dancing in the air, admit its free courfe to the walks, and to the whole plantation. Even draitnels in a path of this kind is not always un- pleafing. Where the ground favours, the opening prefents an amazing profpeft ; the air and Iky make a kind of lea; and the country only appears as the eye approaches nearer the end of the avenue. 2 In mz^mjzcsmrjcm * OF ARCHITECTURE. 65J In the outer afpefl of thefe plantations they can only appear as clumps of trees ; Chap. 15. and in thefe there is a wildnefs we have direfled our gardener to improve. The r natural melancholy air they would aflume is rendered cheerful by the variety of colouring; which well chofen trees have in their perfeflion as well as their decay ; and hence advantage is taken of what appears to Iefs confiderate minds, the imper- fe&ion of nature. In all the arts there is a ufe of many particulars which are in themfelves harlh but well blended with the reft, create pleafure. Dilcords in mufick, and the fliades in painting have their place and ufe: they are not in themfelves beauties or graces, but the due mixture of them produces the nobleft and the fineft parts. All light, or all concord would be glare and famenefs : it is by the artificial mixture of thefe difeordant parts that we raife ftrength, life, and harmony. A ragged outfide of a grove contrails the trim cheerfulnefs of an even walk ; and one gives the other luftre. The only rule is, that they be ufed with moderation and diferetion; for they mull be confidered as foils and extravagancies, not as the effen- tial and regular part of a garden. H XV. Of the difpofltion of flower-beds. 'HERE is nothing in which the late tafte of gardening fo much required im¬ provement as the difpofition of flower-beds. The vulgar think a piece of mound ftuck full of plants is a garden; they have no other idea of what is meant by the word ; but it is much otherwife with thofe of a more elevated tafte ; they know that the extenfive feenes, of which we have been fpeaking, conftitute what is properly a garden ; but they do not deny clufters of flowers a place. The difpofition of thefe was once in figured borders, cut into flowers de luce and true love knots, with hearts and flames, and wheels and hour-glafles. This banilhed a tafte, if lefs quaint, yet as precife fucceeded, the planting them in even, regular, and ftrait borders, fet by the fides of gravel-walks, and edged with box, in manner of a low wall. This has a puoruefs, and is unlike nature. Let its lead fuch as ftill prefer it to more free difpofitions, into a May meadow, full of the common weedy flowers of that healthy feafon, and terminated by a haw¬ thorn hedge in bloom. There is no rational creature fo abfurd or ignorant, as not to give the preference to nature. Let us take in the meadow and the hedge to fome lefs frequented part of the garden, that they may be admired at their due feafon , and let us learn from this profufion of cheerful beauty to imitate nature in the reft. Gravel M .K/C ' ’,t9}JZ 2 A COMPLETE BODY Gravel fatigues and fcorches on the eye ; and new cut box has all the aukwardnefl of the clipped yew, long banifhed. We fee in nature, grafs is the bed; foil to flowers: its green blends happily with their leaves, and there is not the violent contraft between its colour and that of their coloured tops, which hurts the delicate eye in gravel. We cannot plant them in the grafs ground, as nature does the wild flowers of the meadow, becaufe that mud be mowed for condant walking • but it is eafy to defign fmall fpaces enriched with every ingredient that favours vegetation, and in thefe to plant the flowers of other regions. They may be brought fo near the edge as to feem rifing from the grafs; and there will be all the happy effedt of nature improved by more elegant fpecies. Thefe, being thus placed, will appear as flower-pots, or large nofegays rifing out of the ground in their happy form ; and the gardener who underflands that branch of his profefiion which treats of the railing of thefe plants, will know how to diverfify the fcene from month to month, and give at once a fucceflion for the whole flowery part of the year. Thefe plants are confpicuous in many kinds before they flower; and in thefe as in the difpofltion of flirubs, there is a great deal of room for beauty and variety. It is not enough attended to, but the variations of thofe greens, which at prefent difg'ud the eye, as they are placed at random, might be fo managed as to form a pidturefque appearance. The gardener fhould be fo much of a painter as to know the effedt of different fhades : and upon that knowledge he may lay the foundation of great beauty. Reafon cannot but didtate this neceflity ; for colours have their concord and difeord, their harmony and difagreement, as well as founds • and there is not even a poflibility that they fhould look well when thrown promifeuoufly together. We might as reafonably expedt words fhuffled in a bag and poured out together fhonld make a book of learning; or that the keys of an organ flruck by a child fhould produce harmony. Let the colours of the plants be confidered when they are put into the ground, and fo placed that there may rife from the joint view, beauty and variety, without glare or diflonance. In moff of our plantations we fee the greens ill chofen ; and in them all ill difpofed. On the contrary, where the leaves were confidered as well as the flowers, there would be a pleafing foftnefs in the gradation from one to another; and if the fame art were continued to the flowers themfelves, they would be a perfedt pidture. Every thing that is pleafing in nature would be thus brought together and united j and art would improve them all by the difpofltion. In thefe, as well as in the thickets of flirubs, groves, and wildernefles, diverfity fhould be confidered: nothing is fo tedious as a dull uniformity, and this is the re¬ fill t as much when a variety of trees all of one or nearly of one green are employed as when one kind tires the eye with the repetition. In our purpofed method of ar¬ rangement the dark would fland as fhades; the pale as lights, and all would re- 5 femble ■;xw;xwm«i. o F A R C H I T E C T U R E. 653 femble a good pi&ure. The mixture of thefe, when care and judgment have united Chap. 16 in it, always furprize and pleafe. — '•r—*° In thefe plantations, whether of flowers or fhrubs, in groves or lawns, are to Hand occafionally thofe edifices of which we particularly treat in this place. They will acquire a double beauty, when not only their fituation is well chofen, but the eye comes upon them fatisfied with every thing that it has Teen before, in pafling to them. H XVI. Of water. \ X 7 E have omitted to this place the confideration of the water properly to be VV introduced into gardens, that we might treat of it without interruption. This is an effential article, though many have contrived to make gardens either with¬ out it wholly, or with but a poor fupply. They have been wrong : bccaufe they denyed themfelves one of the greateft benefits of nature, and one of the firrt deco¬ rations to the garden. The fituation we propofe will not admit a quantity of ftag- nant water, nor could any one defire that; but there will be with good choice a quantity fufficient for the purpofes of pleafure and fervice. Coolnefs is one of the great articles for which we value a garden, and this we can never fo well have, even in idea, as by means of water. The whole ground will be refrefhed by it, even to diftances, that it could not be fo well fupofed to affefi: ; and the groves will all be frefher and more pleafant. In our propofed plan it is probable fomething may be done by way of fall, and if this be ever fo little, it will be ftill agreeable. The murmur of water on the (lighten decline of ground is pleafing, and the more that defcent, the nearer it ap¬ proaches to the fiercer beauties of the cafcade. The pleafing noife that water in¬ terrupted in its courfe makes, always compofes the mind, fills it with the ideas of thofe poetical defcriptions we have read, and places us in the fcene with fancied nymphs and deities of the rural kind, as from immemorial time thefe writers have defcribed them : it gives that caft of fedate and compofed thought which makes a natural part, and a very confiderable one, of all rural enjoyment, and by the various difpofition always adds a new beauty to places where it is wanted. If there be any thing in which the old tafte was worfe than in the cuting of trees and figuring of parterres, it was their management of water; the artificial was all they fought; and this has been often introduced under foolilh forms at an expence that would have drawn in a river. We fee in fuch gardens (lone-bafons with fome N° 60. 8 D y 0 image 654 a complete body BookVXI. image in the centre, which once a year, or perhaps once in feven years, l'pouts up a <-’ Bream for two hours, like a burft water-pipe; and for all the reft of the time we find the furred, and the foul bafon half filled with {linking water, green with over¬ growing mofs, and the habitation of newts and frogs. Water to be agreeable muft be clean ; and it (hould be continual: in whatfoever form it once appears, that it fhould have for ever. We do not come into a gar¬ den to fee tricks and feats of art, but agreeable nature. The leaft ftrcam that runs conftantly is a treafure above all valuation ; it may be extended, enlarged, and turned about a thoufand ways, and all with little expence. With the advantage of a (light fall, heads may be made to convey it over parts where it is wanted; here it may fwell into a bafon, and in another place its ftream confined within narrow bounds may run fwift in a deep, clean channel, paved with large, loofe gravel. Here a beam laid crofs (hall give it a fall pleafing at cnce to the eye and ear; and there its own rapidity down a fmall defcent (hall, with the interruption of fome large pieces of ftones thrown loofely into the middle, or raifed at the fides, curl and twift, and form itfelf with a mixed noife of rattling, murmuring, and Dubbl- ing, into a thoufand (hapes of fleeting clouds. Where fwift and (hallow, it (hall {hew its gravelly bottom wa{hcd every moment by its courfe, and (hining with an artificial poll (la : where deeper and more quiet, it {hall refledt the flowers which the ingenious gardener plants on its green verge for that purpofe; and every liily {hall be doubled. The ftream may be admitted through a piece of plain and natural rock-work ; and may go out unfeen. Thus will be compleated all that water can do, which is agreeable to the eye or ear, and all that fhould be expelled from it in a garden, and this at an expence much lefs than the foolifh work of fountains. Near fome expanded part of this may be eredled one of the temples we are about to deferibe j and this will have the new grace of retteiSion, if well contrived, from l'ome frequented part of the garden. OF ARCHITECTURE. 655 Chap. 17 CHAR XVII. Of temples in gardens. W E have gone through the examination of what a garden ought to be, to (hew where edifices (liould be placed in it; and what may be their beauties. From the whole our architefl will gather this univerfal leffon, that in fmall gar¬ dens there mud be none of thefe buildings; and that in others they are to be pro¬ portioned to the extent of the ground. Their due fituation is an article of no fmall account, but is fecond to this ; the firlt and principal. He will find by thefe free confiderations, a garden may be magnificent without being agreeable, and fine without deferving praife. If a whole manor were in¬ cluded in yew-hedges, and laid out into ftrait walks, filled in the open places with clipped yews, and falhioned into box^figures, crowded with temples, and adorned with fountains, cafcades, and figures ; there yet may be nothing of a garden in the whole. The idea to be properly conveyed is that of pleafure and fimplicity : art we have (hewn mud have its place, but it mud be difguifed and concealed ; for art has always, and mud have in its afpedl an idea of condraint: all in nature is free, and that alone mud be imitated in good gardens. The quantity of verdure, the proper difpofition and arrangement of it according to the feveral colours, thefe are the'fit and proper charms of a garden. Too regular a defign is always, and always mud be wrong : the art will be to give variety and proportion, to regulate the walks and the lawns, the thickets and the water one to another, that there be no¬ where a famenefs of parts, nor in any place a repetition ; that the feveral portions re¬ late to, and agree with one another; fo that from whatever fpot the eye be diredted all that it fees plainly belongs to the whole. We havegiven feveral defigns of ornamental buildings forthefe purpofes, and we here add two others, each fuited to a large garden ; but of two kinds, the Ample we have given plate 104, is fit for the mod enriched piece; the other defign, plate 105, will fuit an extenfive piece of ground, managed with lefs pomp in its feveral parts. We have added to all thefe defigns their plans; fo that the builder who has confidered the diredtions given in the courfe of this work, will be at no lols to bring any of them into execution. There is no neceffity of explaining their feveral parts after what we have done on other occaflons fo largely under the like heads; and it is with pleafure we have taken the opportunity of accompanying thefe figures with fo much of the general and proper idea of a good garden, that the architedl 6 S 6 ACOMPLETEBODY Book VII. who will thus underfland their forms, and the manner of erecting them, will never t./’Y's-' be guilty of an abfurdity in placing them ; that he will never recommend fuch build¬ ings to the proprietor who cannot have a proper place for them, nor ever erect them in gardens unworthy of fuch additions. We muft not be fuppofed to have intended a general treatife of the conilrudion of gardens in this place. Nothing is fo much wanted ; but all we have endeavoured here is to fupply its place to the architect, and give him the necefl'ary fund of know¬ ledge till fuch a work fhall be publifhed. The End of the Seventh Book. B O O K BOOK VIII. Of Bridges. INTRODUCTION. OF ARCHITECTURE. 657 W E enter now upon a part of the architect's province, detached from all the others, but as elTential to him as any. There is the more need that we treat this clearly, becaufe the ideas commonly entertained of it are very confufed ; and we mull do it fully, for little has been faid by others proportioned to the importance of the fubjeCt. The origin of bridges may be traced back almoft to the origin of mankind; the firft difguft would feparate families, and rivers were the natural bounds of the parti¬ tion : thofe feuds would end with thofe who firft feparated, from their influence ; and an intercourfe would naturally be eftablifhed among their defeendants. The deeper the river the better it ferved the purpofe of feparating ; and its depth, a s foon as an intercourfe were eftablifhed, demanded a bridge : this is one natural and plain original; founded on that inconftancy of our nature which we fhould at once defpife and lament: but befides this there would arife among the firft families a variety of others ; curiofity, a defire of enlarging their pofleflions, the chace, the imagination of products in countries feparated by the largeft rivers; all thefe would lead men early over them. Fording andfwimming are inconvenient, troublefome, and be¬ neath the dignity of reafon : they are the means of beafts ; but our faculties were given us to nobler purpofes than that we fhould follow fuch examples. Men no fooner faw rivers than they defired to crofs them ; and they no fooner found advan¬ tage on the other fide than they defired to do it often, eafily, and with fecurity- This gave the origin to bridges among people who were worthy the name of civilized. Egypt may yet fee her rude fons dragged acrofs rivers on a bundle of ftraw drawn by a cow; fo Norden, faithful and accurate in all things, has deferibed them: but thefe are not examples of human nature, except in the one inftance, in its flownefs to exert its qualities. The more enlightened among them many thoufand years before had bridges; and we will fee in all countries the remains of them, various and ftu- pendous. Janus is honoured as the inventor of them among the earlieft people of whom we have accounts in prophane hiftory, and it is recorded on medals to his honour: we have many fuch truly antique, and, with the defigns of bridges, fuf- ficiently Angular on their reverfe: but the many ages that had pafled before the pe¬ riod of their earlieft hiftory convince us this was fable. N° 70. 8 E The A COMPLETE BODY 6 58 Bank VIII The floating bridge has been admired in all ages, and we have various inflancrs v“— of its ufe. It is a temporary contrivance, but the invention great. We admire the Roman’s bridge of boats acrofs the Rhine ; but it is with aftoniihment we read of that Xerxes conftrudted of (hips over the Hellefpont. The earlieft Romans fpeak of the Poptes utribus fuperftrati; and we know the ufe of pontoons in the more mo¬ dern arts of human deftrudtion. Thefe Hand as objedts of curiofity or wonder, and have their ufe on fingular occafions; but it is not of thefe we are to treat. As we meet with the accounts and the reprefentations of thefe in figures and on coins among the learning and antiquities of celebrated nations; barbarity, as Greece affedted to call the ftate of other countries, and as Rome thought it, is not without its remains of the fame kind ; wild indeed, and romantick, but equally aftonilhing. Chains have been drawn acrofs rivers from tree to tree, and wicker cradles extended to amazing lengths. Not only rivers have been thus made palpable, but horrible precipices at land connected by this bold, wild thought: the traveller has croffed from brow to brow of perpendicular mountains, and trembled as he felt the bridge dance under him, and faw the depth below. Thefe in their way equal, nay in the boldnefs of invention, excel thofe vaft works which, in the way of bridges upon land, formed the aquzdu&s of antient Rome j nor is there anv thing in the invention of man more inexplicable than the manner in which they have been drawn acrofs. We fee with wonder the fpider dancing in an autumn morning upon a thread drawn from tree to tree at feveral feet diflance : the manner in which this wonder is performed we have watched, and it has been called, not amifs, the fpiders flying, but human bodies are too heavy ; and it is not to be conceived by what ftrange art the effects we fee have been produced : only there remain the proofs that there has been fuch art, for the thing is done. C PI A P. OF ARCHITECTURE. H Of fixed bridges. E have treated of a kind of bridges that may properly enough be called 1 moveable 5 they are temporary expedients, and they anfwer their purpofet but they could only have an occafional notice here, becaufe they do not come within the province of the architect. A great deal is expedted of him under this head in his own proper way, and he will do well fo confider what has been done, and thence to advance to what may be. He will know thus what to adopt and where to improve. He will find an eflential difference between thofe made for fhew more than lervice, thrown over canals and rivulets in gardens, and never to be preffed with more than the human weight, and thofe over rivers fitted for ferviceable purpofes, and made to bear the weight of carriages. He will for the firft kinds fee light work fufficient, but then it muft be put toge¬ ther upon the principles of art: for the other we fhall give various models, nor muft he omit to confider that defign by which Palladio has conftrudted a bridge which grows firmer for preffure, either Tideways or above, whether or not he has exadtly given us that of Casfar. Thefe diftindtions of ftrength are all that occur to the architedt between the bridges in gardens and thofe over rivers for ufeful paffage: the firft is a walk con¬ tinued over the water, and the latter a road continued over a river. Thus they are to be confidercd, and they are to be made elegant in both kinds, though with the different regards of ftrength. They muft be made convenient, durable, and handfome: this is the language of architedture. In gardens there will be often beauty in railing them by a confiderable fweep above the level of the furface; but this, in thofe bridges of conftant and laborious pafiage, muft be conlidered as an article of difadvantage. In regard to the breadth of the river, the level of the fides, the paffage of boats underneath, and other cir- cumftances, it will often be neceffary to give a confiderable height ; but let the architect confider this as an inconvenience, though a neceffary one ; and to remedy what he cannot avoid, he muft take care to make the afeent and defeent eafy by taking a fufficient fcope. \ 4. k' «(» mk • \ 660 Book VIII. A COMPLETE BODY In gardens the place for a bridge is at the opening of fome principal walk; and " this Ihould be alfo contrived in fuch manner that while it anfwers the purpofe of co mmunication there, it may be a proper and handfome objeft from other parts of the garden. In bridges of publick fervice the place for them is to be fuch as will admit a commodious and eafv paffage from all other parts. A middle fituation is preferable, for at any extreme the fartheft parts whence it is to be eroded will have the incon- veniency of too long a journey. The general place being thus fettled, there remains to confider the bed immedi¬ ate fpot. This will depend upon three circumdances, the breadth and depth of the water, and the firmnefs of the bottom: the expence depends on one, the duration on the other. Where the water is narrowed and dtallowed the bridge will be cheaped ; but if the bottom be unfound the whole fabrick will fall: it is better to be at twice the charge where the ltrufiure will lad ten times as long. Rock or hard gravel are the bed bottoms on which to build in rivers: fand is too moveable, and mud can afford no fecurity. The more level the bottom the greater will be the convenience of building; and on the fame principle the good architefl will chufe a par} of the river where it runs for a confiderable courfe drait on t this avoids the dangers of thofe removals of the bottom which will often happen in every kind except rock, where there are turnings and windings in the courfe, which give the currents force in time of floods to tear up aimed any thing. A great deal of drength and fecurity may be given to the whole fabrick by its proper fixture to the land on each fide; but this can only be had where the land itlelf is permanent, for in cafes of many turnings and windings, the Ihores are wafhed away or undermined, and the reliance on this fecurity deceives the builder. Violent turnings in the courfe of the dream alfo make lodgements of matter at fome didance; and this may be of very bad confequence. The matter which is torn up in one place is naturally let fall in another at fome didance , the mod likely place for this fubfidence is where there is fome oppofition or obdruflion; and there¬ fore a bridge may greatly fuffer by it. If, indead of the part we diredl, where the river runs drait for fome confide¬ rable fpace, the architeft ffould fix upon a place at a fmall didance below fome turn- the confequence upon the preceding principles would be iud this : the fird flood would tear up lome of the bottom juA where the turning lies; and the bridge a little below obdrufling the courlc of the water, the matter would iublide there. Thus there would be a choaking up of the dream about the bridge, begun ; and it is eafy to fee how difficult this would be to remove, and how' the damage would encreafe. The lodgement fird made from above would receive and detain, from OF ARCHITECTURE. 661 from every flood, the foulnefs from a great way up the river: thus by degrees the current would be choaked where it ought to be molt free; the paffage of boats and Chap. 2. barges would be obUrufted, and there would follow a yet more dangerous confe- -- V ~~ J quence, that of the river changing its courfe; for being obflmSed in the natural bed, it would at floods force itfelf a paffage on one or both fides : thus carrying away the land from the foot of the bridge on each fide, and altering its original purpofe; taking away certainly a part of its natural ftrength, and perhaps rendering it wholly ufelefs. The choaking the paffage for boats is not the only ill confequence of this lodge¬ ment, it tends to the deftrudtion of the bridge ; for, befide the natural confeqence of weakening it at each end by loofening or waffling away entirely its fupporting banks; the weight will alfo in time ovcrfet the whole fabrick. Bridges in cities muff be conftrufted upon the fame principles in all refpefts. The moft central fpot, that is not liable to the inconveniencies we have recounted, is beft, as it will ferve equally all the inhabitants; and if in fuch a central place the river be not broader nor deeper much than elfewhere, and if it have a ffrait courfe and level bottom, this is againft all other choice the place for a bridge. The place determined, the next choice is in the materials, and thefirare only two* wood and ftone. The firft is cheaper, but the other moft durable. H Of wooden bridges. T HE bridges of that fort we have named for gardens are naturally of wood j they are cheaper, lighter, and make a great fliew for little labour : but in the great and ferviceable kind, this material is far from being excluded. There are me¬ thods of building with wood that almoft vie with ftone for its great quality, duration. The firft point is that the timber be found and well feafoned } the next, that it be in fufficiently large pieces. The timber muft be fubftantial and well joined, or all will prefently be in ruin. It is not only the preffure above that muft be guarded againft in thefe, but the power of the water in an encreafed quantity and forced rapidity. Fifty wooden bridges are deftroyed by floods for one that fails beneath the weight above. The broader the river the larger will be the bridge; and in proportion to this the timber muft be more maffy; and the rapidity of the river, not only in its common courfe, but as increafed by floods, muft be computed for the fixing. N ° 70 . 8 F ° The 662 A COMPLETE BODY Book VIII. The bridge of Ctefar acrofs the Rhine contains many excellent leffons for the flrength ' of thofe, in whatever form, that are conftrufted of timber. The firfl pieces were eighteen inches thick, and fixed in the river, not upright, but leaning according to the courfe of the dream. Thefe were double; joined together at two feet diftance, and at forty feet didance in the lower part of the river, he fixed againd each pair of thefe two others bearing againd the dream. Between thefe double piles, which were well rammed into the bed of the river, there were placed long fummers, two feet thick, held fad at each end by too braces. Thefe prefling contrary to one ano¬ ther, gave that drength we named before, encreafed by weight above, or force fide- ways. Thefe fummers were joined with others laid acrols, and all was then co¬ vered with hurdles. Piles were placed as buttreffes againd the force of the water, and others above to dop the force of trees or timber which chance might throw into the dream, or an enemy purpofely float down to dedroy the work. On this bridge the illudrious Caffar faffed with his army to Ihew the Roman prowefs to the Germans. CHAP. III. Of bridges of one arch. T HERE may be many reafons for building a bridge of a Angle arch, and where the extent of the river is any thing confiderable no piece of wood-work will require more (kill in the fabricator, nor will any do him more honour. We have in the preceding part of this work, treating of the framing of roofs and other timber-work, fpoken largely of the manner of joining piece to piece : we have flrewn that there is fcarce any length to which timbers may not be carried by this art; and that they will be Aronger at the joints than elfewhere: this let the reader recollect, or if his memory retain but an imperfeS idea of it, let him turn back to thofe Iheets. He will in no indance find timbers neceffary to be joined to a greater length than in the forming a bridge without middle piers over a river of any extent; but the arched form affids, and it may be done with more fecurity than many would imagine. The advantages are very great: the common accidents which throw down bridges will have no power over this. For one fabrick of this kind which fails by any na¬ tural decay, thoufands are torn or thrown down by torrents from land-floods, by loads of ice or floating timbers, which the dwelling of the water has brought from their places; and its force throws with an irrefidible violence qgainfl the piers. There OF ARCHITECTURE, 663 There are many places where the bridge is an annual charge; and whenever the Clu P- 3 ‘ extent is not beyond all realbnable propofal for a Angle arch, that {hould be the ' V ‘ method of avoiding it: if ten times the price were paid it would be frugality ; but indeed {kill is required more than price in fuch a fabrick. No bridge is more beautiful than one of a Angle arch ; none more convenient ; and befide the numerous accidents which are avoided, and from which fecurity there refults a promife of great duration; none are ftronger; for thefe, when well framed, compofe a body more Arm than if cut in a vaft thicknefs from a Angle piece, the parts here ftregthening and fupporting one another. Palladio has given a Agure of one which he laid acrofs the Cifmone where the breadth of the river was a hundred feet; its ftrength appears inconteftible from the ftrudture, and experience {hewed it to be what it feemed; but there is yet another great advantage in this bridge, which is, that it lies level with the reft of the road, and does not tire the traveller with an afcent and defcent. A perfon unacquainted with mechanicks ftiudders to look upon it but in the reprefentation; but to thofe who know the fubjeft there appears no danger. This advantage of building a bridge without rife we very much recommend to the architedl. CHAP. V*. r \ .nr* mu tft&A -k'j i «£*( tism l«fce( ieifp'l C HAP. IV. Of the conJlruSlion of fuch a bridge. T HE o-reat fupport of a bridge that has no intermediate piers muft be at the banks, and in this cafe the natural ground is never to be trufted : therefore let the architect begin by erecting on the fhore two malfy hutments of Hone capable to bear any preffure, and refift any force. Thefe railed to the level of the ground, let him take the meafurc of their diftance and divide this into quantities of about fixteen feet. The fpace thus reduced to a number of compleat meafures, the fabrick of the bridge may be begun. Its breadth cannot be determined to feet or inches, nor needs there any fuch ac¬ count : that is an article to be fuited to the immediate purpofe of each occafion. Let as many beams be cut as there are divifions of this meafure, fuppofe five; and let their length be that of the breadth of the intended bridge. Thefe make the beds of the fabrick. Thefe laid, there are to be placed lengthwife on them other beams which make the fides of the bridge •. but there muff be a fmall fpace of the end of each of the firfl beams free. The next part are the uprights, which fupport the railing. Thefe mufl: be fixed on each fide direflly on the firft laid beams; they muft be faftened ftrongly viHth cramps of iron let through the holes made for that purpofe in thofe ends of the beams which run out free beyond the fide-pieces. This is the regular manner of working, and thus will be feen in a few pieces the extent and form of the intended bridge. The uprights are not to be all of a length ; for the railing muft be higheft in the middle of the bridge, and flant to nothing at the two ends. The ports, or uprights, muft therefore be of the form proper to fup¬ port fuch a figure, and gradually fhorter. \m}^\wrs\mrjsxm - OF ARCHITECTURE. 66| Nothing in this kind fhould aim at much, they may be cue off level at the top, and Chap. 5. a ball with a proper bafe and neck may be fixed upon them, as we have retyre*- J fented in the bridge) plate 106, of which wc ihall fpeak in a fuccecding chapter. The iron cramps which fix thefe uprights to the crofs beams are to run up a great part of their height, and there rtUlft be holes through them for fattening them by ftrong iron pins. They muft be fattened again below with pins or final! bars of iron. By this means every part of the bridge will be firmly united, and the feveral members will fupport one another: the crofs-beams, the fidc-bcams, and the uprights are by thefe cramps fattened into one folid mats. This conftru&ion is not only firm in itfelf, but it has that happy firength we nafhed in Casfar’s bridge, the parts fupporting one another, and joined in this manner are made more firm the greater weight prefies them. This is at leatt true of all we r- ht's which can ever come upon a bridge; and that is enough for practice. The more they are prefled the fatter they clofe, and the ttronger is the work. The beft way ot working is to begin from the buttment on each fhore, and the parts may be thus brought forward each way to meet one another. HAP. Of wooden bridges over larger rivers * T HE conftruition of a bridge of one arch is not limited to any particular mea- fure in the breadth of the water; but the eye of reafon will diltinguilh with¬ out being told that thefe kinds are fuited to fmaller rather than larger rivers. Wd will fuppofe the architect employed to build a bridge of timber over a river, of twice the breadth of fuch as we have named: in this cafe it will be proper to fupport the work with folid buttments on each fhore, and to allow it at certain dis¬ tances piers, or fiipports of firm, upright timber, frorh the river’s bed. The fmaller the number of thefe the better, provided the bridge have due firength, becaufe the fabrick will in proportion be lefs liable to accidents. We have obferved that the moft frequent deflrudtion of thefe bridges .is from ice, timber, or other heavy mat¬ ter thrown againft them by floods. The fewer the lupports in a river of given breadth, the more chance thefe folid bodies will have of going free, or of being walked through them, infiead of remaining to bear with the full force of the water againft them. The number is to be fo proportioned that one may ftand at about five and thirty feet difiance from another ; this will leave wide arches, and there will eafily be firength enough given in the conftrudtion of the work with thefe diftances. We have not only the authority of geometrical computation in this cafe for the fupporting us; but the practice of Palladio : he threw over the Brent near Baflano. The river is a very N° 71. 8 G rapid' fgg&t.TT. fl 066 A COMPLETE BODY Bo >kYHI.x&pid one; and its breadth in that pi ice a I ufldre ' and e f ; ■ -• Ti allowed between pier and pier was thirty-four feet fix inches, and the bridge llo-.-d all the fury of the torrent: very elegant in its conftruCtion, and a lading monu¬ ment of his fkill. The rows of piles in this cafe ffiould be placed firmly, and they mud be in them- felves folid ; a foot is the bed didance for them one from another ; their number fhould be eight in each row3 and they fhould be a foot and a half in diameter; thirty feet is a natural and ufual length ; and, according to this condruCtion, the bridge will have a breadth of fix and twenty feet. Over the rows of piles are to be placed crofs-pieccs or joids : the length of thefe is to be determined by the extent of the others, and they mud be well fattened every where. Thefe keep all together. Over thefe crofs-pieces, plumb with the fupports, are to be placed eight other pieces lengthway. Thefe would be in danger of fvvaging from their great length if no farther care were taken ; but they will be very well fupported by carrying drong flioulder-picces each way from them; and other beams mud be raifed Hunt¬ ing under them from the piles, and join a middle-piece. There is here a form refcmbling a quadrant of a circle; and it is not only a fource of drength but beauty. The drength refults from a very plain principle : that the beams which make the length of the bridge are double in the middle, and they and their fupports mutually fix one another. The work being thus fir advanced, the bed of the bridge is to be laid on : this mud confid of pieces laid acrofs the beams we have juft named. The length of thefe mud be a little more than the breadth we have allowed for the bridge ; for it will be proper to let their ends projcCt a little. There is always an additional drength in this ; and the ends thus projecting refemblo the modillions of a cornice, and are an ornament. A bridge of this kind will be drong, beautiful, and of little expence: it will bear a luperdruCture if the architect pleafe. Palladio covered fuch a one with a roof fupported by columns; but for common occafions a railing of fufficienc drength, bread high, fupported by uprights, and decorated with balls, as we men¬ tioned on a former occafion, will perfectly well anfwer the purpofe. The banks mud be in thefe cafes fecured by a drong wood-work, or by buttments of done; and upon the fame principles may be built a variety of bridges of this kind: the timber being fuited to the depth of the water, and to the length of the bridge. The lighter thelefs expenfive ; but where there is great breadth, the drength ought to be more confultcd than the charge ; for the danger is great in flight bridges, and repairs are difficult. & « t SS& * l RWs \ • *» ( \mk a t tfc&A \tii c.i Si&% kek*( ssssai i©ifcl©f 3&lfc l i • 4* I w l#4*f §. OF architecture. 667 Chap. 6. CHAP. VI. Of Jlone bridges. T HE wooden bridges whereof we have hitherto freated are cheap in proportion to thofe of ftone; and they will Hand a long time, but the folidity, dignity, and fuperior elegance of the others, when well wrought, leave no room for com- parifon in point of real excellence. Thefe therefore are the kind the architect fhould propofe where the proprietor does not limit the expence, and where he hopes to do himfelf the moft laftin* honour* The principles on which the ftone bridge is to be conftrudted differ in nothing from thofe of the timber ones with refpedt to choice of place and fituation. The bottom muft be founder for thefe than for the others, becaufe more ftrefs is laid upon it ; and the banks muft be defended by buttments of ftone, which here make a natural part of the work. Thefe heads or buttments at the banks cannot be too ftrong: they will be expofed to a great weight; and upon their firmnefs will in a great meafure depend that of the whole bridge : for this is to be confidered as one great arch, and it muft have its lateral preflure. If thefe buttments, which are its fupport, give way, all will be in danger of cracking j but while they are firm the more the weight the more compadt the whole becomes. Thefe buttments, or head-works, muft be car¬ ried a conlidefabi'e length upon the fhore, that they may have the more fecuritv and force ; and the way being carried over thefe to the bridge, not only the ftrength will be more, but the pafiage will be continued, though waves and floods fhould eat away the banks. The buttments being matfe, the next confideration regards the piers. Thefe muft foe proportioned in number to the extent of the river .and intended form of the bridge; but it is an universal rule, that they fhould make ah even number. This is a dodtrine delivered from father to fon among the architedts, though many receive it without examination ; and thofe who call' themfelves a little wifir, have rallied it as a piece of fuperftition. The judicious architedt will return the raillery upon themfelves: he will fhew them by various defigns, that an even number of piers make a more agreeable appearance than an odd ; and he will add, that fuch a number leaves an arch in the middle, where the odd number would place a pier. The courfe of the river is naturally ftrongeft in the middle; and would an architedt there place a pier to obftrudt its courfe ? The giving a larger opening than for the reft in that place allows paflage where it is moft wanted, and is every way moft ra¬ tional and convenient. In BOD BookVIII. In many places the courfe of the river is lefs regular; but Bill it is eafy to find < where it is ftrongeft. This will be feen by the clutters of floating refufe matters that are carried upon it; and even this is to be confulted in a fecondary manner; the architect contriving openings, and not piers in thole places. The places for bridges we have confidered before ; and this being cholen, fome- thing is to be added as to the time of beginning the work. Autumn is the feafon when rivers are loweft in water ; this is therefore the mott eligible time; and in places where the tide has influence, all experiments mutt be taken at low water. In fome places the foundation is made by nature: thefe are happy circumftanccs; in others it mutt be by digging. Gravel or rock are the two fife bottoms. Oil thefe any weight may reft ; and nothing is required but a level furface. We foeak here of that hard, clean, and folid gravel which lies in a mafs like rock, and is of a great depth. In fome rivers the bottom is a loofe gravel lying over mud : this is to be confidered in the fame light as fand; and both are to be du<^ through, if that can be done, till the architedt comes to a firm foundation : for they are not of that nature: and no dependance mutt be placed upon them. In fome cafes there lies a found bottom at a finall depth beneath them; and in fuch inftances the fand or loofe gravel mutt be dug away a fufficicrit compafs for laying the foundation of the piers. In other places no found bottom is to be found under them within any moderate depth ; and in thefe calcs rccouife mutt be had to piling. For this purpofe piles or long beams of oak mod with iron mutt be ufed : the fand or loofe gravel mutt be dug away to fome depth, and they mutt be driven in with engines till they come to the firm ground and get lomc way within it. Their heads are then to be fawn off level, and the work carried on upon them. When the foundation of the pier is laid, one part of the bottom mutt be en- clofed and kept dry, that the workmen may purfue their bufmefs unmolefted by the water ; and thus they are to proceed with the whole. The thicknefs of the piers mutt be proportioned to the width of the arches. About a fifth part of the breadth of the arch is the proper meafure, but this may be varied according to the circumftances: they will very rarely be required fleiiderer than one fixth of the breadth, or more mafly than a fourth. When the piers are thick, let them be built with large ftones. They are to bea r a great deal. And they Ihould be fo bound and fattened together as to be like a rock : they Ihould be held together with cramps of iron foldered in with lead; and thefe bearing jointly the weight or prdTure, the whole mafs will be as one ftone. The form of the piers is left in a great meafure to the fancy of the architedt, only that he mutt obferve not to oppolc a flat face to the ftream. Some prefer a circular i front OF ARCHITECTURE. front in this place, others a right angle : there is no preference to be given in abfo- lute terms to either, but the occafion muft determine. If the great care be not to interrupt the ftream, an angle is the belt j if there be fear of heavy objedts link¬ ing againft it, the beft is the circular form. In the conftrudtion of arches the work mull: be very carefully done, and large materials ufed. There is no making a large arch of fufficient ftrength with fmall Hones. The Hones fhould be examined in regard of their quality as well as bignefs : they muH be found and firm, and they fhould be cramped in with iron. The calculation of what they are to bear fhould be always made upon the ex- tream: not from the common Courfe of things, or known weight of carriages ; but like a proof of cannon with a double charge. Accidents may occafionally bring up¬ on it a much greater weight than is firfi thought; or its fabrick may from fome unfeen caule be lefs folid than imagined : it is befi therefore to err on the fide of too much firength. IT P. VII. Of the fortn and covering of arches . B Y arches the ftudent fhould undsrfiand fegments of a circle. The Gothick arc difclaimcd, and there is no form which is capable of fo much Hrength as the plain fweep of a true circle: the elliptick we have treated of elfewhere, and they fhould never be admitted for bridges. In the firfi confirudtion of buildings the Gothick or fharp arch was not unnatural, but they improved who took off the point. The firfi arches probably were fuggefted to men by the vaulted walks formed with double rows of trees: thefe are very pleafing, and they are of the fharp kind. Nature fends up the branches of trees in an oblique direction, therefore they meet, where oppofite rows Hand near, in this pointed vault, refembling the common roof of a barn. Thefe the firfi builders copied, but the fweep of a circle was foon found a more eligible figure, more noble in itfelf, more ftrong, and capable of more bearing: they were therefore unpardonable who knowing this improvement, fell back into the paths of barbarilm. N° 71. 8 H The f 670 A COMPLETE BODY BookVIII. The arches of a bridge are therefore determined by all the laws of fcience to be of the circular form : they are more ftrong, more elegant, and capable of more duration as well as bearing. There yet remains a queftion which architects have not enough eflablifhed in their practice, though nothing is more plain in theory. The arch of a bridge we have determined is to be a part of a circle ; but of what quantity ? More than the half of a circle cannot be ufedj but lefs may, in various degrees; and the judgment fliould direCt where the fancy of the architect ufually does. Let all be taken into confideration together. The femicircle is the Itrongeft and the moft elevated of all figures for an arch ; and it has the vail advantage of all the prelfure falling upon the piers: but with thofe advantages there are inconveni- encies; the principal is height. It is a great defeCt in the conltruCtion to let a bridge tire the paflengers with a Beep afcent; yet this in many cafes will be the neceflary refult of the femicircular arch. We have directed how it may be allevi¬ ated, but the architect mult refolve, whether thefe helps will or will not obviate the objections. There are alfo inftances where the difpofition of the piers will not well admit of femicircular arches: we have named the accidents on which the rule of this difpo¬ fition depends, fome of which are unconquerable, and, of an abfolute neceflity, mud be complied with ; and in thefe cafes the ftrength and beauty of an arch, fuch as we recommend, are not enough to atone for variations in thefe eflential parts. Therefore the quantity of the arch muff be leffened ; and the architect may be faved a great deal of needlefs calculation by being told the next proportion for thefe parts to the half of a circle is a third. This is his choice, but a great deal more is to be confidered: for the nature and and bearing of the work are altered by it. In a defign where the arches are to be femicirclcs, the great attention of the archi¬ tect mult be to give ftrength to the piers, and a fecure foundation; for in thefe arches all the weight preffes there: in the lelfer arches the force will be very great upon the buttments or heads built at the banks; and thefe mull therefore be Itrengthened accordingly : we have directed that in all bridges this be well fecured, but in thefe there mult be greater caution. Here the ftudent fees another inltance of that invariable rule we gave him of tak¬ ing the whole of every thing into confideration before any part is executed. The Itrengthening the banks is always proper and always neceflary ; but we fee here that, befide the various accidents which may make it more needful in one place than another, the very conflr^Ction of the bridge itfelf may in a great degree influence in this matter. CHAP. OF ARCHITECTURE. Of the duration of jlone bridges. CHAP. vm. 671 Chap. 8, I F the proprietor or the publick, on lelTer or on greater occafions, fhould be in¬ duced by the cheapnefs to prefer a bridge of wood, we (hail remind him of the vaft difference in duration of the two kinds, and may fupport what would elfe feem extravagant accounts, from the remains of Roman bridges, fome almoft entire. The Elian bridge, the work of old Romans, (lands to this day : it is the bridge of St. Angelo over the Tyber. The Quatro Capi bridge, fo called from the four-faced ftatue we have mentioned treating of the Termini, is the Fabrician bridge, named from Fabricius its great founder. The Certian bridge of old Rome is St. Bartholo¬ mew's bridge of the modern denomination ; and the Ruftick bridge, called at this time St. Mary’s, is the famed fenatorian bridge of antique Rome. All thefe remain in a condition that does great honour to their buildners, and will in the eye of reafon plead far beyond wdrds ih preference of thofe of lione. Thefe the judicious architea (bould quote to thofe who think of nothing but the price of fuch ftruaures; and w 4 have told him alfo how to build for ages. T HE ornaments of which ftone bridges are capable are very great; but, to b e properly employed, the architefi mull; take them into confideration in the very beginning, and form his whole defign accordingly. This may be varied in the number and form of the arches; and the fuperftruc. ture may be carried to any degree of elegance. We have (hewn how a bridge of timber may carry columns fupporting a roof even where the whole tabrick is far from mafly. In more folid ftruftures of that kind, and much more in thofe of Hone, the genius of the architedl is left unlimited, and houfes and publick places of refort may be contrived upon them. We (hall conftder firft thofe of a Ampler ftrudlure. f The dimenlions of the river are the firft article in the confulting fuch a defign ; and according to thefe the bridge may be erefted with different numbers of arches. A hundred and eighty feet was a meafure we took before for a wooden bridge, we will fuppofe a river of the fame extent to be the place of a ftone one. The cur¬ rent, the ground, the banks, and every circumftance confidered, we will fuppofe three arches allowed to the bridge. The central arch mult be larger than the others, but the proportion of that excefs mull be confidered. If we allow fixty feet for the breadth of this, and forty-eight for that of the two others, there will be fufficient proportion ; and the piers needful for fupporting fuch a bridge will leave free compafs enough for the courfe of the river. Thefe piers, if made of the folid and large materials we have directed for thefe purpoles, need only have a fifth of the meafure of the middle arch for their thick- nefs, that is, twelve feet; and this they muft be allowed with the bell work- manlhip. If the current be very (harp, the piers muft projedl forward beyond the body of the bridge, that they may Hand uninjured, not only the force of the ftream, but the accidental blows they may receive from hard bodies brought down upon the water. There is no fecurity againll thefe accidents equal to this of carrying on the pier beyond tile meafure of the bridge, except that of carrying on a lower building far beyond that. This is oftener done than needful. 2 This This kind of bridge, under fuch dimenfions, of the length, number of the piers, Chap. 9. and difpofition of the arches, would have been too fteep of afcent with the femicircular form ; therefore the fmaller meafure is every way preferable, and under this diftribution of parts, it will be very elegant. No more is required for the conftrudtion of this bridge; and the architect is at liberty to adopt what degree of ornament he pleafes. There muft be a defence breaft-high, or more ; and this may be either a plain parapet, or a baluftrade work ; and over the piers may be lodges of convenience for many purpofes j but this muft be determined, not by fancy, but by the reft of the ftrudture. If the under part be plain, the parapet fhould be the fame: if the reft of the bridge be more ornamented, this may take alfo the fame turn of decoration. A bridge of this conftrudlion takes the lefs ornament, as the number of parts are fewer. Thus over each pier there may be a nich in which to place a figure; and there may run a cornice the whole length on each fide. This will be a very great article of elegance, and is fupported by the antique. We have mentioned the ends of the tranfverfe pieces in fome wooden bridges being brought out for purpofes of ftrength and fervice, and have obferved a great advantage they would have this way in refembling the modillions of a cornice; but in thofe of ftone the cornice itfelf may be ufed with great propriety and beauty. We fee it in the Arminian bridge, and that was a work of the Auguftan age, nay, of Auguftus himfelf. It may not be amifs to trace in this bridge, which is one of the moft elegant re¬ mains of Roman work in its kind, their idea of proportions; which the architect muft take care not to follow, unlefs where the circumftances are alike. This bridge has five arches; and the three middle ones are equal : the extent of each of thefe is twenty-five feet. The two others correfpond from the oppofite fides, and their meafure is happily diminlhed by a fifth: they are twenty feet each. All the arches are perfect femicircles; and their piers are in diameter half the height of the great arches with a fmall furplus. Thefe proportions we learn from this delicate remain, but this is not all we may learn from it. In fpeaking before in general terms of making the piers, we have directed that they in general face the ftream with a right angle. Thofe who have feen this in the moft admired works have thought to improve the form by making it an acute angle; but in this the edge is weaker, and the whole too flight. Thefe Romans knew what to attempt and where to ftop: in this elegant bridge, as in many, nay, we might almoft fay all the others of pure tafte, the pier meets the ftream in a right angle. N° 72. 8 I The f r 6 7+ A COMPLETE BODY Book VIII. T [ ie decoration we propofed for a ftone bridge before, has had place in this; niches ' ' remain over the piers, in which the emperor who built the bridge placed (latues of the heroes and the geniufes of the age ; thole who defended and adorned their country, but there fucceeded ages like to ours, ages which, producing no more fitch men, looked on the memorials of valour and of wifdotn as reproaches and left for barbarifm to deftroy. Where the courfe of a river is rapid, fubjcct to be fwelled by Hoods, and furious *n thefe conditions; the bell method is to allow rather one large arch in the middle, than, as the elegant ftruQure of which we juft now fpoke, three equal. The piers of thefe will break, difturb, and it. rupt the courfe of the river ; and the more the water is difturbed the more impetuous it becomes in all thefe inftances. But in obferving thefe inllructions let not the young architect run into excefs: though there fhould be a conftderable difference between the central and fide arches in fuch a bridge, yet this muft not be in fuch extravagance as to render the fide arches ufelefs. CHAP. OF ARCHITECTURE. CHAP. X. Of dividing the water. T HE main body of the river mull be allowed to keep its courfe in the mid ft ■ and the great arch is defigned to give it paffage. But let our ftudent look into nature, and he will fee that wherever there is this violent force in the body of a ftream there is a ripling current alfo at the fides. This let him confider in the conftrudlion of the bridge. As we propofe the arches the courfe will be thus,- the main body of the water with its full force will pour uninterrupted through the great arch, and thefe two fmaller currents of the fides will alfo have their proportioned arches; they will be divided from the main current by the piers, and this without moleftation or interruption ; and as they run free, the main body will receive no change in its condition. This we propofe, and this will be the cafe in a well conftrudted bridge; and in this way even the furious body of the ftream, being undillurbed, will run off evenly. But if this dire&ion be carried to excefs, and the fide arches be made very fmall, the confequence will be worfe than if there were none fuch. In that cafe the body of water would only be too much huddled together ; and in this it would be thus collected and diftindt at the fame time. Thefe fmall arches would take their ill are, fuch as it was while the river kept its ^prrimon depth and bignefs; but as it rofe and fwelled, they would be incapable of receiving or palling that due proportion : there would be all the conflict of difturbed and uninterrupted water at the piers; and the main body, increafed by the addition of what fhould have gone off in thefe fide ftreams, will be thrown into new fury and confufion juft at that place where all the labour of the architect Ihould have been joined with all his Ikill to give it quicknefs; that is, under the main arch of the bridge. From thefe confiderations let him learn the neceftity of a juft divifion of the fpace and proportion of the arches; and if he would add example to the precept, let him examine from the practice of others in celebrated ages, and in the climes where his great fcience flourithed, what fuits the purpofe. We fhall carry him back to Italy. Over the Bacchiglione, near the church of Saint Mary, is a bridge of this kind : it is a mixed work, antique in part, but finifhed by a hand more modern. The river is fuch as we have deferibed 5 the bridge of three arches, and of thefe one f -T*. f piai •Xk ( IsseA 1 r ('»A fe e (tm 1 «\•( ieitf'Es&g i« 4 >U£ O M BOD Book VIII. is pure antient Roman, as are the piers of all. The river, full or low, rapid or calm, is carried with a happy freedom through thefe arches; and their proportion is this: the meafure of the principal or central arch is thirty-two feet, that of the two others twenty-two and a half. The piers are in thicknefs one fixth of the great arch. Here the piers are ftrong enough not only to fupport all weights that may come over the bridge, but they alio refift the fury of the waves in the greatefl floods ; and while they Rand the force of the torrent, do not too much interrupt its courfe : the whole bed of the river is divided as nature dictates into three parts, and the full quantity of the fide currents being taken off, the great body which rolls along the midft moves freely. Various circumftances may require that the architect alter thefe proportions ; and he muft comply with fuch neceffity, only remembering, that as truth lies here, the lefs his deviations are, the better. Here is an inflance of propriety, and we have fe- ledted it, becaufe it is, more than others, adapted to a middle courfe of tiling, and to general ufe. C H A P. XI. Of bridges without decorations. \ 'v 7 HAT we fail! of elevations in the defigns of houfes, is equally true here; a i -ti'"> v. II Hand in the place of ornament: we (ball fee this very confpicuoufly in fume of thofe old bridges where their great builders defined, ftrength, and had no thought of decoration. The bridge over the Rerone at Vicenza which from its nearnefs to the flefli-market, lias obtained the name of the butchers bridge, is of this kind, and deferves to Hand as a model in like circumftances for thofe built at the expence of the publick, and intended only for real ufe. In the more expenfive and more decorated buildings, of whatever kind, the archi- ted has the free fcope for his fancy, and the means of greateft honour, but it is in the plain and fimple kinds that lie muft ufe all his fkill in the proportion : and thefe will never fail to give him equal credit in the eyes of the judicious. We named on this occalion the plain Vicenza bridge, of which it is not in the intent of our work to give a figure ; for what we propofe are new defigns : riot the repetition of plates every traveller has rendered cheap and common. In this whereof we now fpeak, there are, as in the preceding, three arches, a larger in the centre, and e» each fide of it a fmaller; the compafs of the arch is lets 'Iran kmicc uiar, and thence the bridge is of eafier afeent. S To OF ARCHITECTURE. To compenfate for the want of ftrength in fuch an arch the piers are folid and Chap, r r well wrought, and the hutments firm. Thefe give all the needful addition of' ~ ~ ' fupport. The preffure in thofe arches, which are lefs than of the femicircular form, is upon thefe hutments in fome part, and they are thus prepared for it. The meafure of thefe arches is very happily calculated for fuch a fervice : and they may (land as a mode! to fucceeding time ; their duration (hewing the truth of the conftruflion. The two fide arches rife one third of their breadth above the import; the rife of the middle one is fomewhat lefs: and the thicknefs of the piers is one fifth of the meafure of the leffer arches. We know this bridge has flood two thoufand years; and we have reafon to ad¬ mire its ftrudture : but thofe who would have their works of the fame kind laft a hke period, muft more than admire, they mull underftand its conrtrudtion. The materials are not of the moll lading kind; for, though (tone, it is a foft ipecies: the truth of work has kept the whole together fo many ages. This is what we neglefl ; this the Greeks, and this the Romans fludied. Their ftones were cut into vail maffes, the utmoft the quarry would afford without flaws, and however rough or unornamented, the exterior part was left, their fides that joined were fmoothed to a hair’s truth. Their mortar might be very well faid to have its temper from the labourers fweat; no toil, no time was fpared to blend its parts. Thus were the materials prepared, and they were put together with equal labour : no art was omitted in connefling and uniting them j and thus accuracy and induftry formed the whole fo firm as if the bridge had been cut out of one mafs, where there had been no flaw or grain in all the quantity. C H A P. 6 7 8 A COMPLETE BODY Book VIII. CHAP. XII Of more magnificent bridges. T HE flrufture of thefe ufeful and noble parts of the architects feience having been thus laid down, we fhall devote one chapter to the buildings they may fupport, the ufes of magnificence they may ferve, and the honour the defigner may attain by a noble and elevated imagination in their contrivance, where no°nricc i fpared. We have obferved that they may receive flreets and walks of refort; and in great cities no places could be fitter for the purpofe. Their ftrength, when con- ftrufled according to thefe rules, admits of any fuperftrudture : they are elevated fo that they have a better air than can be found in ftreets and fquares; the water is open to them, and in hotter climates the coolnefs it gives the air is highly pleafinT • the veffels upon the river afford a view more agreeable to the mercantile world than all Others; while the eye of fcdate.contemplation takes in the remote profpedl f,om the height of the fituation, and hears the murmur of the water from the piers that break it always in its courfe; though in our methods of conftruflion it be not much. hrom thefe advantages the genius of the great matters in the fcience has deduced vafl fplendour. We fee bridges fpacious enough for the greateft refort, and commo¬ dious as well as elegant; covered with buildings, adorned with trophies, and ditplav- ing to the eye all the elegancies of the fuperior orders. Talladio, from whofe im¬ mortal works we have enriched this treatife with many of its belt and greateft in- ftances of antient architecture, defigned a bridge of this kind where there ran three fpacious ftreets compofed in the principal or central of very confiderable houfes and in the others which were narrower, only inferior to thole of the firft in fizc The warehoufes of merchants may with the greateft convenience be difnofed in the principal ftreet of fuch a bridge, and fhops along the others; all convenient, and all fubfervient to the principal defign of rendering it a place of concourfe. But there will require in fuch a defign vaft compafs for the width of the bridge We have feen very near home tvhat great inconveniencies may arile from want of breadth ; and how ill houfes are placed where precautions of this kind have not been taken. Galleries were intended on this bridge in three places; at each head, and over the principal arch : this laft for the retort of merchants ; and it is not eaty to fay, with how much dignity and elegance fuch a plan might be conftructed. This 7 OF ARCHITECTURE. 679 This would have emulated the works of undent Rome, upon whofe Elian bridge Chao is there were originally galleries with columns of brafs; and every ornament that happy period could devife to accompany them. Such have been the defigns of feme whofe genius in later date has wanted no¬ th,ng of the undent ; but there has not appeared that patronage among the great, or pint in the pubhck, which fliould have countenanced and employed them in the lame lcope of an unbounded execution. To tin’s, which we have given as the general theory of bridges, we have added figures of new defigtis', founded upon thefe principles, and correfponding with the everlafting rules of the feience. The Undent will find in thofe plates the manner of reducing rules into execution; and will fee examples, which he may vary upon the fame plan a thoufand ways, according to the neceffary circumftances, Hill preferving one uniform conduit. He will find examples of larger and’ fmaller, more and lefs chargeable; and whether his proprietor cbufe elegant or plain, ordinary or chargeable, he will find the methods for raifing them illuftrated in thofe examples. Where the rules of a fcience are perfeflly underftood, a few infiances ferve for all; and where there is confufion in the firft principles, nothing will redtify that error. The End of the Eighth Book, BOOK itfSteSiiKfC ■ 680 A COMPLETE BODY Book IX. vyW B O O K IX. Of the Conftruftion of Elevations upon the true principles of Architefture. H P. Of a Corinthian front. T HE regular courfp of our work has been preferved without interruption; and it is at the infiance of thofe whom we have moft ambition to pleafe, that we here return to the fubjedt of elevations. It was obferved that in thofe numbers which treated of the Corinthian and Compolite fronts we confidered that matter in a light more flridt and regular tha 1 * modern practice knows ; and we have been defired to give the ufual illuflration of that part by deligns. The purport of this work is utility ; and where we lofe fight of that we fhall think we write for nothing. The fiudent who has confidered the dodtrine we laid down for the ufe of the more rich and elegant orders on that head, and found the pradtice difficult, fhall here have the fame univerfal truths ex¬ plained by lines, and fee in what manner the fuperior orders are to be ufed with propriety. CHAP. OF ARCHITECTURE. CHAP. II. Of accoimnodating the orders to the building. W HAT our builders mean by accommodating an order to the place is, the altering its proportions to make it fuit the fervice ; or conftru&ing ir of parts unfuitable in meafure to one another. Something like this the antients have done, but in a manner widely different from ours: they would vary the proportions by fmall meafures, which are not perceived by the Common eye, and Which .he artiffc views with wonder upon his meafure: he does not conceive whv, unlefs like them he can comprehend the whole fcheme of the building j but he may fee, even with¬ out this mafterly confideration, that the variations are fmall * and that they are regular in themfelves. This they have done to their honour: it is on this are Founded thofe variations genius may take the liberty to make in modern work, becaufe they have authority : on this depends the appropriation of the order to the immediate fervice, and without this all the perfection of regularity and ftriCtnefs of meafure will avoid cenfure without demanding praife. In the place of this we fee in more modern edifices a very rafh and Wild liberty taken in the parts of the orders, where the bungling artift does not fee how they may be reconciled to the fervice; He will add or retrench without connection or dcfign-, not what the conftruCtion of the order will bear, but what the nature of the building requires; he will encreafe or diminifh one part while the other remains unaltered; and deform the whole to make it fuit fome pnrpofe which he fancies other wife impracticable. This is called accommodating the order to the building; a practice as different from that of the antients which we have named appropriating, as genius from ab- furdity, fcience from ignorance. Their variations* of which we have fpoken at large treating of the feveral works in which their remains are feen, were fuch as appropriated the column which flood in the front of a building to the whole front: making it a regular part of a regular whole. They were calculated to fatisfy the eye of the common obferver, and to furprize and charm the more correct and knowing artift. They entertained at once in their minds the whole that would come in view together 3 and fuited one part of it to another, even at the expence of violating thofe meafures of proportion in ari order which our correCt imitators have held inviolable. Thus it was they appropri¬ ated the moft elegant of the orders * confulting what was feen and all that was feen * and thus with little freedoms often unperceived till brought to rule and line, they gave that proportion to their works in which fubfifts the harmony of building. 73* CHAP, 632 ACOMPLETE BODY Book IX o v^v CHAP. III. Of the modern pra&ice. OW we have feen what the antients did in this wav, let us obferve with free- iM dom and with juftice the practice of the moderns. They take more liberties; and with lefs reafon. As we allow fair praife to their excellencies, let us open the eyes of the ftudent to their defeCts; which otherwife, becaufe they appear under the fanCtion of refpeCtable names, may pafs for beauties. The comparifon with the antients is the true rule of judging, and by this let us acquit or condemn them in thefe liberties taken with the orders which have been fo often praCtifed that they got into authority, and are fo feemingly neceffary, that they appear therefore excufable. The occafion of a liberty may fometimes plead in its excufe: nay, we have feen where it turned the bold fault into merit. The antients when they reduced or ex¬ tended the parts of an order, reconciled it to their own minds by the forms of the other parts of the building which came in view with it. If they fhortened the capital, or lengthened the fhaft beyond what would have been their practice in the abfolute conftruCtion, they reconciled it to their own minds, when they cort- fidered it relatively to the other parts: this they would have given for anfwer if queftioned why they had done it; and though we have not their apologies in their writings, their works fpeak for them. Of all thofe antient edifices where enough remains for fuch confideration, we fee at the fame time the variation from ordinary rule, and the reafon for it: while we obferve that the column is not con- ftruCted according to the general rule, we perceive alfo that it fuits the reft of the front better than it would have done if it had been fo conftruCted as to anfwer gene¬ ral meafures. Thus whenever we fee their variations we lee the caufe; and add to this we always find them little. On the contrary, in modern practice we fee the violent liberties taken in proportioning the parts, and the mod inquifitive eye can¬ not diftinguifh the reafon. There appear columns whole proper conftruCtion and right capital would per¬ fectly have fuited the elevation and degree of ornament, but we fee the wildneifes of a childifh fancy employed inftead of that precifion which would have arifen from knowledge; and a front where the expence has been fufficient for a great elegance, covered with fantaftic forms; a building executed at a time when the fcience of ar¬ chitect is well underftood, yet funk into a kind of barbarifm ; fo much the more unpardonable, as the vitiated parts fhew he who ufed them did not want, however he perverted the means of knowledge. When H IK OF ARCHITECTURE. 68j Wlien the eye has wearied itfelf with viewing the whole, and the mind with endeavouring to find a reafon for the practice, and the obferver is reduced to afk of the architect that reafon he can no where find in his work ; he is anfwered with a felf-fufficient fmile this is a compofed order. The antients had indeed their compofites, but they were of very different con- ftruCtion from thefe foolifh combinations of unlike parts from unconnected orders. But the artift is fatisfied with the excufe, and the proprietor; who would have liked Chinefe as well, or what we are content to call Gothic, thinks the building very pretty. Thus the purpofes of both are anfwered 3 and Only the national credit fuffers. As the proprietor will not be at the pains to underhand architecture, the artift finds it is to no purpofe for him to labour to acquire a knowledge of the fcience; and if queftion -d more deeply about his work, he will anfwer with more aflufance he Will call a vulgar conftruCtion of the orders, a running on in the beaten track ; and revile it as beneath a man who has any genius of his own : he will juftify the conftruCtion from the opinion of the common eye, or from his own 3 and like that Othello who on one of our ftages quenched the rofe and fmelt the candle on the tree, he will anfwer thofe who remind him that he is not ftriCt to the original j that he fhall not make it worfe. Thefe are the liberties which offend all judgment, becaufe they are founded upon ignorant fancy. If we are afked whether fancy never is to be indulged, we anfwer yes: none have prefcribed more liberties for it; but it muft be a fancy corrected by judgment. The difference between fuch a one and what we fee fo often is the fame with that between genius and diftraClion. Chap. C H A P«i Of falfe rcafo?is for this praftice. B ESIDE this variation of members, and introduction of unconnected parts which the builder will dignify with the name of compofition ; and for abfurditv, per- fwade his no more enlightened hearers that what he did was judgment ; befide thefe flights of whim, we fee in our bell elevations moft egregious difproportion of mea¬ sure. They are indeed hardened who give the columns ill fuited to their capitals or compofe orders by placing the head of one upon the body of another ; but in the works of thofe whom the inattention to elegant ftudies allows the name of great and mafterly, we fee violations of meafure in the lefs important parts, which are yet altogether intolerable. The pedeftal is one great fubjed of thefe liberties ; and they are wholly unpar¬ donable who take them in this inflance. Our ftudent has been taught that a pede_ ltal is no eflential part of a column ; but a kind of adjund to it: yet, though the ufe of it be at pleafure, the form and meafures, when ufed, admit of no arbi- rary variations. It is in the choice of the architect who defigns a column to allow or not to allow it a pedeftal; but if he allow it let him ftriCtly follow thofe rules which have been laid down for its meafure and proportion. The antients have ufed pedeftals, and the modern mailers have given from their re¬ mains their kinds and proportions. Every order has its own ; and if we fhould laugh at him who introduced into that of an inferior, thofe ornaments which belonged to the pedeftal of a fuperior order, fure we ought to exprcfs more difapprobation again ft the altering their meafures. If thofe who feeing the reafonablenefs of an adopted pedeftal to each order have given the proportions, have in their own works after¬ wards violated them in this degree, let the ftudent call in his moft diltnterefted judg¬ ment to decide : let him confider things, not names; and let him quote fuch an au¬ thor to his own condemnation : if his abfolute rules were right, no excufe can have weight in fuch bold and extravagant violations of them. When in the front of a noble edifice we fee columns of a fuperior order wrought with all expence, and perhaps in the bafe, fhaft, and capital with truth ; and placed on difproportioned pedeftals, we are fhocked at the abfurdity : looking for the rea- fon we find none ; not an apology, not a fhadow of excufe appears. We recoiled what the antients have done, and why they did it : we fee their variations final], and we find an abfolute and evident reafon for them. The columns which make a part of the front muft be feen with the whole ; tl»e common conftruCtion of the fame «»nKvw;anwaa,arm«>a?i ; w)xwrx!E)m>! - OF ARCHITECTURE. 685 fame columns would have made them fomewhat difproportioned ; therefore the Chap. 4. judicious architect, keeping at once in his eye the order and the building, has v varied the parts of one a little, in order to make it fuit the other; and while the whole is thus made more congruous, the change in parts is Icarce perceived. Another great praife of the antients is the regularity and fade with which they wrought thefe neceffary changes in the orders. They have not hurt the elegance or truth of proportion in the whole. Their columns thus altered have been laid down in an abfolute fenfe as rules of beauty and proportion, by thofe who finding them fuch, admired them as they were, and never thought of confidering them in this relative fenfe. On the contrary, our modern changes are violent and abfurd ; they have no ap¬ parent reafon in a relative fenfe, and in an abfolute they are monllrous. Look at them in the building and no caufe appears for the liberty the architeft has taken : confider¬ ing them alone, and the eye is offended beyond bearing. Yet the artift who has ventured thus far Hands unmoved at the cenfurt; he has his reafons he thinks though they are not feen, and he is as fatisfied as if he had done what he knew to be right. The anfwer is eafy: that reafons which do not appear are no reafons. If he would found the variation from propriety and rule upon any caufe, it muff be upon a vifible one; if he would fupport it upon the practice of the antients, it can only be done the fame way ; for they had no other reafon than what appeared in the face of the building. All they have done fhews this, and authority and good fenfe equally declare this truth, that nothing can be alledged as a caufe of variation in an order but what appears with it. It is in vain the true judge of the feience alledges this ! in vain reafon confirms it. The criminal frniles at the fentence, for he thinks he has a pardon in his pocket : he refers you to the praflice of others; he quotes the defigns publilhed under great names; and he alledges the neceffity of the occafion. The inner conftru&ion of a houfe he tells you is to be confidered equally with the outer appearance: that in iome particulars they depend upon one another; and that in thefe inftances the dif- poiition of the floors gives him a fufficient excufe. It is anfwered already, that only what is feen with the column has any relation to its conftruftion; or can be admitted as excufe. The difpofition of the floor is not feen on the outfide, nor are the common marks of it unalterable : he therefore errs who fuppofes the true architedt will allow that apology. N° 73- 8 M CHAP. A COMPLETE BODY CHAP. V. Of the right praBice on thefe occafions. } p we are afked what then is the builder to do who finds his pedeftals of the order in their true proportions to be incompatible with the fit placing of his floors, we have a fliort anfwer. Suppofing the cafe thus dated to be fair, and the neceffity what is alledged, the right pradice would be to ufe no order on the out- fide. We have fhewn that elegant and noble edifices may be conftruded without columns; and plainnefs is better than abfurdity. This anfwer the builder (hould make to himfelf, where he fancies there is a ne¬ ceffity of vitiating an order. But we have more to tell him : the neceffity is not in nature, but in his imagination. Many things may be accomplifhed in a fcience which they cannot conceive who have not fufficiently ftudied its precepts. There are limitations and imperfedions in all the arts, but they are few in comparifon of what are imagined ; the fciences are more extenfive than thefe men fuppofe : architedure in particular is fruitful in refources, and for one neceffity of deviating from truth that there is in the thing itfelf, ignorance makes a thoufand. The bufinefs in this point is to proportion the pedeftal to the column ; and yet to dil'pol'e the inner part of an edifice to which it belongs in the received and con¬ venient manner. The common builder thinks this impradicable : lie fuppoies this exadt obedience to rule on the outfide will lift the windows beyond their proper and right place within; and fpoil the whole finifliing of a room whofe leve- ral parts muft in a great meafure be regulated by it. This is a plaufible account of tilings: this he alledges as a reafon for breaking in at any rate upon the pro¬ portions of the pedeftal ; and feeing no other method, he alledges this as a neceffity. Indeed the ading otherwife is new, but it is not unpradicable. We lhall (hew that is not by the plained defigns: and reconcile propriety within and with¬ out the building. On this principle all reds ; the pedeftal height within need not be the fame with that on the outfide. This once eftabliftied, all follows eafily : There muft in the ulual defign of finiffiing be a pedeftal at due height within ; and the order being railed on its pedeftal, it has been fuppofed thefe muft give the: height of one another ; but this is no adual, but a meer imaginary neceffity. We have faid ail that is r without OF ARCHITECTURE. 687 without mult correfpond, becaufe it is all feen together; and for the fame rcafon all Chap. that is within the room muft alfo be proportioned : but the neceflity ceafes when we J confider the infide of the room and the outfide of the houfe together: for the mind only forms this aflemblage, the eye cannot ever take them in view at once. In the common courfe of building the outer marks and inner difpolition corre¬ fpond ; and it is eafy, natural, and fit they fhould : but in thefe cafes where there i s a point of fo much importance againlt it there mult be no regard paid to fo vague a connection. We fee the outer parts and inner without correfpondence where there is lefs rea- fon : let us by all means give the fame liberty where there is greater. A window may be allowed a peculiar decoration in the centre of a front, and yet it may be A neceffary part of the light in a principal room : in this cafe the architect knows how to break the fuppofed connection of outer and inner parts. He makes the glafs- work and its frame the fame in meafure with the other windows, but difpofes his ornaments with all the fuperior freedom of fancy. This meafure, thefe dimenfiona alone concern the room within ; the ornaments alone concern the form without. There is no correfpondence obferved between the outer and inner part; yet both fuiting the reft of the edifice with which they come in view, each is proper and all is right. There is nothing impoflible in the continuing this thought to the fubjeCt before us. Though the difpolition of floors we have named be common; it is not of ab- folute neceflity ; and the architect has, as we have Ihewn, the opportunity to vary from this practice, and the means to diguife the variation. This we have illuftrated in the annexed plates. They contain defigns in the mo¬ dern tafte juftified by all the laws of antient architecture, and adorned with its nobleft and molt elegant decorations. The outfide in thefe Ihews a regularity that pleafes the common eye and fatisfies themoft judicious; and it is the fame within. All the parts and appendages of the orders are wrought up to rule and meafure; and the eye of judgment is pleafed to fee regularity where he has been too much accuftomed to diforder. Hence let him examine within; and he will find the fame fatisfaClion. The parts are fuited to common cuftom, and have their proportions duly obferved. Every thing is therefore obtained ; and let us examine how ? It is by a proper, tha’ unufual conftru&ion of the inner part; and is done at the expence only of violating an imaginary regularity between that and the outer part of an edifice. This is a flight facrifice to the preferving the meafures of an order unviolated ; and this is all. It is certain the inner and the outer difpofition in this cafe do not agree ; but what law of the fcience fays they Ihould ? Nothing is found to this pur- pofe in Vitruvius; nothing in the celebrated and ineftimable remains of antient ar^ chiteCture. The eye is no where offended, the judgment every where fatisfied. There is no real connection between the outer wall and inner divifion; for the rule is only that all things have a correfpondence in meafure which can be feen to- gether.- Thb If prejudice declare againfl it the fcience has nothing to do in that: it concerns the judgment, not the paflions of mankind. If thofe whofe obftinacy fhall prefer what they know to be wrong fbould alledge common practice againfl: the plain amendment, they are to be anfwered, that if this were reafonable, there would be an end of all improvement in the practice, and of all advances in the fcience of architecture. If they quote againfl us the greateft names, it may be anfwered, that they invalidate no part of the fyftem, by fhewing no name is fo great as to be above the charge of error. Of the necejfty of the PraSiice. W E have obferved on many occasions, in treating of the pradlice of architec¬ ture, and the curious eye in viewing the works of architects will have opportunity of obferving oftener, that this neceflity of preferving the proportions of an order, and the other neceflity of adopting the height of the windows to a room very often have occurred together as contradidions: and the builder who has wifhed to do right has fallen a facrifice to the feeming irreconcileable contrarieties. It were well if this cenfure were limited to modern ftrudures, or to common names. We fee it in the works of thofe who have diftinguilhed themfelves by their writings: Perrault, in France, who has fo well {hewn his knowledge in the rules and everlafting laws of the fcience in his books, has violated them on this occafion in fome of thofe edifices committed to his care ; and even Palladio, to whofe eftablidied name all praife mull be fuperfluous, has not efcaped this caule of cenfure. In thofe preceding numbers of our work where we had occafion to name the ufe of the Corinthian and compofite orders in elevations, we have obferved that Palladio himfelf had fometimes employed them on this occafion in a way not altogether above criticifm. The inftance we propofe to name will fiiew more than the common tranf- grefiionof including feveral ftories in the compafs of an order j it will explain by a fair comparifon the advantage of the method we propofe of raifing the floor to the proper place, for giving the fame height to the cap of the proper pedeftal of the order without, and that of the pedeftal ufed in finifiiing the room within. We have not an inflance in this defign of Palladio’s, of the difficulty of accom¬ modating the floor of an upper ftory to the true form of the pedeftal of an order, for he raifes the order from the ground; but there is no eflential difference whether it be above ftairs or below that this neceflity is incurred ; and the fadt is very ftriking. This great mailer, who knew the ftridt obfervance neceflary to the laws of the fcience in fo confpicuous a ufe of an order, when he propofed including within the meafure of its height the feveral ftories, faw the immediate propriety of railing the pilafters on their pedeftal. The ftudent knows that the law of thefe is the fame which regulates columns of the fame order, and that it muft be obferved as ftridtly. In treating the art therefore in theory the terms are indifferent; for all that regards them as orders is the fame. The 6go A COMPLETE BODY t, . u-—refpedt between columns railed from their bafe, and fet upon their pedeftal is very great. The thicknefs of the fliaft regulated entirely by the height of the column muft be very different when fo much was added to that length, as might be taken off by allowing it a pedeftal. It was therefore Palladio added that ornament in this place : and thus the ftudent in the fcience fhould review and confider his works. Any one who can ule his rule and compafs can tell what Palladio has done on fuch an occafion ; but knowing this he has but half his lefl'on: it remains to find why he did it. This compleats the ule of his deligns as models for future works j and this is the difference between the builder and the architect: the one is the work of the hands, the other of the mind ; one is mechanical, the other the effedt of genius. C II A P. VII. The conduSl of Palladio in this infance. TIE reader fees what were Palladio’s reafons for raifing the order on its pedeftal Jl in this elevation ; and he will fee in the conftrudHon of the whole that in¬ violable attachment the great matter of the moderns fihewed to the laws of Vi¬ truvius, and to the rules eftablifhed in the works of thofe chafte Greeks and daring early Romans, on whofe then remaining edifices they were ettablifhed. fie will find the pedeftal bears its true proportion to the fhaft, and that the whole order is wrought, with that declicacy and judgment which reign in his other works; but he will fee that contradi&ion within which is the fubjedt of our prefent enquiry; and he will be furprized to find how ill that great man managed this part of the ftructure. |To lay the whole before the reader’s eye in the plaineft manner, we fhall annex here after our third Corinthian elevation, a fketch of that building in the great architect's own meafure. In his works there are two reprefentations of it, one on a lmall fcale entire, the other a half only on a larger. We fhall give the whole in a mo¬ derate fize for the more ready judgment of our ftudent. He will fee, that in accommodating the meafures to the laws of the fcience without, he has ftrangely difturbed the proportions that fhould have been obferved within. The cap of the pedeftal is, as it always muft be, the bafe of the window. This lias no ill appearance in the elevation as viewed from without; but the greateft incon¬ venience muft attend it within. The windows of the ground-floor are indeed railed by it higher from the level of the furface than is ufual in houfes built upon that level; o \fm l-a t *(£&% ( $&!• 4 * OF ARCHITECTURE, 691 level j but there is an evident air of propriety and regularity in it, which reconciles Chap. 12# the eye to what it fees uncommon. This that great matter perfectly knew would be the cafe. He therefore was at no pains to alter the place of the windows on that account; but when we fee the opening on a level with the furface, and the floor continued from it on the fame plane, we cannot but be fenfible that within doors there mutt be ftrange impropriety In this cafe the keeping the meafure of the pedettal unviolated without, and con- ftruCting the rooms within upon the common principle, occafions the windows which are regular on the outfide to be fo high within, that it is impoffible to look out at them. Every one mutt perceive that the rooms upon the lower floor in that houfe mutt be ttrange in the higheft degree: prifons, enlightened dungeons, whofe windows ferve only one of the two purpofes of thofe openings; for in all houfes properly con- ttruCted the windows ferve for the enlightening the apartment, and giving a view of things without. VIII. Of the height of windows . T HIS extream is the worfe, becaufe the common conftruCtion of our rooms is deficient in this particular; and all our windows would be more agreeable if they came lower. The purpofe of looking out cannot be obtained but by fitting in them, or Handing up to look through them. It would be much more pleating that the company as they fat in the ufual places could fee before them, whether it were the fields, the garden, or the ttreet. This may be done without tranfgrefling the rules of fcience - 3 and we fee it done often in the neighbouring countries j and fometimes here. In France it is no unufual thing to bring the windows down to the level of the floor, and to run a brafs rail before them to keep off feet, and prevent accidents. This is not the perfect method, for in nothing is perfection obtained at once ; the rail is awkward : it cannot be confidered as any proper part of the finifhing or fur¬ niture of the room. It refembles thofe coarfe contrivances to keep children out of the fire, and in that fprightly nation a man is often thrown by it upon the window. The 692 COMPLETE BODY , The propriety would be to bring down the windows fo far that the command of f^CTthe profpeft fhould be within the reach of the eye fitting, and no lower. The reft is unufeful, and the lowed part mod; offendve. Lefs than is commonly thought would anfwer this purpofe; and in the Corinthian front before given the reader will fee a method of doing it on all occafions. That article of accommodating the inner conftrudtion to the meafures of an outer order, is the mod difficult that can occur on this occafion; and we have dicwn how it is to be regulated. The fame method which will fucceed in the mod difficult cannot fail to anfwer in that which is lefs fo; and the ftudent will on the fame prin¬ ciple find it eafy to manage the Idler appropriation. In regard to this edifice of Palladio's, we have (hewn in what it is plainly de- feftive 1 "and though it be an unprecedented prefumption to fay what would be better . in Paladian ftruSures, we (lull venture fo far as to obferve, that if the Englith artift fhould chufe to ereift an edifice upon the fame principles, he would do well to ac¬ commodate the inner and outer parts of this lower floor, according to the prin¬ ciples laid down in our firft floor of the Corinthian, in which we have explained this Doiflrine. What we fay does not amount to the liberty of finding fault with what that great mafler has done in this inftance. We do not know the ufe to which thofe lower rooms were put by the noble proprietor of the building ; or for which they were in¬ tended. We know what would be their ufe in this country; and as we fee the propriety of placing the windows fo as to admit the common ufe of looking out at them, and feeing through them : we alfo know in what manner the floor may be placed to give thefe advantages; while all the propriety and exaftnefs of method is obferved without. C H A P. OF ARCHITECTURE, CHAP. VIII. 693 Chap. 8 i Of farther improvements. T HE practical reader will not be difpleafed that we have dwelt fo long upon this fubjeCt: it is new, and it is highly ufeful. We fee that the greateft men have been perplexed by the neceflity, and that their works, far from letting the ftudent in the right way of remedying, rather countenance the error. He looks uron thefe as lawgivers, againft whofe determinations there is no appeal j but this limits the fcience to the degree of perfection it knew in their time, and places bounds to the human genius. This we have throughout declared to be wrong : the fcience of ar¬ chitecture is not exhaulted, and genius is inexhaultible. We have traced architecture from its origin, and explained its parts ; compofed of them the ftruCtures they were intended to form; and we hope have left in the mind of the attentive reader no article obfcure, nor any part of the practice unexemplified. Belide the common forms we wilh him to employ his genius in invention. It is this will give him praife; this will raife him to the character of an original; and that is the reputation he fhould labour to acquire. Let him be bold in remedying the defects of the fcience; for he fees by what we have taken the liberty of faying on many occafions, that there are yet many. Every country has its own peculiar character; and to this its buildings mull be made fublervient. Were there no more than that it would give room for Itudy and improvement; and there would refult from this an air of novelty, and the credit of original fciencei The buildings of Greece and Italy, though in general excellent models, are not to be underitood as ItriCt patterns for us. The temples of their gods will not fuit our more perfeCt worlhip; and that race of men to whom they raifed triumphal arches is now extin Cl. One fource of their elegance is cut off from us, and another re¬ quires great art in the accommodation. The ftruCtures of modern Italy more familiarized by ufe, dnd more near the cuftoms of our country, yet are thofe of a people whofe form of worlhip is diffe¬ rent from ours, thoug the objeCt be the fame ; and whofe climate induces as fte- ceffary a deviation in copying their works here as the ceremonies of their re¬ ligion. N° 74* 8 O Our A COMPLETE BODY 69+ Book IX. Oar churches may bear the fame exterior form with theirs ; but the altars of their faints fcarcelefs numerous, or in many inftances lei's abfurd than the deities of pagan worfhip, have no place in our pure communion. With thefe reftridtlons mud: the Britifh Architect form his defigns upon thofe of modern Rome, in great and facred buildings; nor is lefs required in the common houfes. The bright iky of Italy is very different from the foggy air of this iiland ; and we have obferved before, that it requires confideration to adapt the meafures, in him who copys buildings from thence. A fmaller aperture admits light enough where the light is itfelf ftronger and lefs encumbered; and one rule of thefe parts may hold where the whole year aifords the fame degree of light, or nearly fo : with us the builder, who fhould calculate nicely his proportion of light for a bright day in fummer, would (hut up the inhabitants more than half the year in dungeons. Our houfes a century ago were too light, and the heft built are now too dark. Thick walls with their broad, plain fides contribute to darken the room into which too little light is originally admitted; and it is not the (helving off the angle that will make the due atonement. It will be neceflary to enter upon a new calculation on thefe occafions; and even where there are no errors in the Italian ftru&ure, yet to adapt it to the fervice of the country where it is to be raifed. C II A P. IX. Of retrenching errors. T F this be the cafe where the defigns are mod corredl and unexceptionable, much A more mu ft it be fo where they are liable to exception. The Cuftom among Englifh architects has been to obferve thefe too implicitly. To transfer the buildings of Italy right or wrong, fuited or unfuited to the purpofe, into England ; and this, if done exactly, the builder has been taught to confider as merit in his profefiion. We have pointed out to him a worthier and better plan ; let him ftudy thofe defigns, but with fome regard to his own Genius. It is not in thefe he learns the rudiments of the fcience, though he fees the rules by which he has been taught exemplifyed in them: let him therefore read with more freedom, and regard thefe ftru&ures as they are, as works of great men, but of men: the greateft are not out of the reach of error, nor above improvement. It was thus the antisnts ftudied one another: and thus the fcience became im¬ proved ; thus Vitruvius formed his principles; and thus Palladio followed them. The Roman laid down rules which he illuftrated by examples; but he did not fuppofe every thing he faw in the old buildings worthy to be made the principle of a maxim added to the fcience: and the Italian has Ihewn in many of his edifices that, altho’ he OF ARCHITECTURE. 695 he held his mailer in high reverence, he did not efteem him above error; or think Chap 5 he carried the fcience beyond improvement. c—j In fludying a defign of Palladio’s, which which we recommend to the young architefl as his frequent praflice, let him think, as well as meafure. Let him con¬ fer the general defign and purpofe of the building, and then examine freely how far, according to his own judgment, the purpofe will be anfwered by that flruflure. He will thus eflablifh in himfelf a cuftom of judging by the whole as well as by parts ; and he will find new beauties in the flrudlure confidered in this light. He will improve his knowledge and correfl his tafte by fuch contemplation ; for he will find how greatly the defigner thought, and hew judicioufly he has done many things; which, but for fuch an examination, would have paffed in his mind un- noticed ; or at bell not underftood. PofTibly, when he has thus made himfelf a mafter of the author or defigner’s idea, he will fee wherein it might have been improved. Now that he underftands the work, he will have a right to judge thus : and what would have been abfurdity in one who knew not the fcience, or prefumption in fuch as had not enough con¬ fidered the building, will be in him the candid and free ufe of that knowledge he has attained in the art. Therefore let him never check thefe fallies of his fancy; but with due candour, and a modeft fenfe of his own rank in the fcience, compared with his whofe work he fludies, let him indulge them freely. Let him confider himfelf as a dwarf placed upon the giant Palladio’s Ihoulders; as feeing not with his own eyes ftngly, but with the borrowed light of that great mafter’s j and thus indulge his genius. Let him cotnfnit to paper his thoughts on thefe fubje&s; not in words only, but in lines and figures. He will be able to reconfider them at leifure ; and thence adopt¬ ing or condemning his firft thought, he will either way improve his judgment, and probably introduce new excellences in his pra&ice. C H A Pc 1 c- 1 i«&© ( 1 • l 9 ( j « 4 • A COMPLETE BODY Of the method of fudying the writers on architeBure% T HIS is the plan upon which he who deferves the title of an architect will fludy the works of others of that chara&er : thus he will confider the flrudlure entire,and by the fame ftridt rules he will judge of thefeveral parts. Eut let the fludent remember that it is after he has made himfelf a- mafter of the theory of the fcience, that he takes thel'e liberties (even fuppofing them confined to his own mind) with thofe who have made themfelves immortal by the practice. The world is in aflate of improvedknowledge, and every one to whom he takes upon him to fpeakon fuch a fubjedt will be able to judge whether thefe freedoms be the relult of fancy or of knowledge. No contempt can be greater than that which will attend him who cenlures Palladio’s works before he has read thofe principles of Vitruvius on which they are eflabliflied ; no honour too great for him who having read and underflood thofe rules, remarks upon that practice with a modeft freedom. Pie who proceeds thus fets himfelf upon a level with the great Italian in the knowledge of the fcience, be¬ fore he prefumes to confider the works which fhew his genius; and while he will allow that great man his due praife, yet name his imperfedtions, he will fhew that he is able to make the true ufe of what he has left us. Such a fludent will know how to transfer the firudtures of one country to another ; where necefiity and the difference of climate compel him to alter, and what his genius may induce him to improve. . This he may do, but this fuch as he alone can : to others the pradtice of that great man mull be facred ; becaufe it is fupported by his charadter, and fuperior to their imderftanding. Vitruvius has no obfeurity to thofe who confult thofe remains on which he built bis principles ; nor will there be a beauty or an imperfedtion in the works of Palladio hid from him who firfl has underfiood that writer, and formed upon his rules a judgment of the fcience. We now write to an eflabliflied architedt, for he who has gone through this work and cannot afl'ume that charadler has read to little purpofe; and to him we lhall ob- ferve, that Defgodets furniflies the bell comment onVetruvius; and that Palladio fhould be judged by thofe rules on which he is known to have eflabliflied his pradtice. Thus confidered, they will both afford, befide the common fund of knowledge, new lights to the fubjedt: the architedt will be able to felcdt from both without copying either; and to accommodate in fuch manner the parts to their offices, that the whole lhall be his own, while things beyond invention are known to be bor¬ rowed ; and he lhall have, and lhall deferve the credit of novelty, where there is nothing but what may be fupported by the remains of antiquity, the writings of the great Roman, and the works of the no lefs great Italian architedt 2 OF architecture. B O O K X. Of the Sciences and arts fubfervient to Architecture. INTRODUCTION. T HAT the fludent may be left unacquainted with nothing which can be needful in the fludy of architecture, we fubjoin to the general rules for its practice the afiiftant arts, arithmetic, geometry, perfpeCtive, and menfuration ; with the prices of the feveral works, as charged by perfons of fkill and integrity at this time. The proficient will pardon us, that for the fake of thofe who are lefs inltruCted we give firfi: a fuccinCt fyftem of Arithmetick: to fuch, though not to him, it will be necelfarv ; and he will acknowledge that this work could not be compleat with¬ out it. Our tables of menfuration cannot be ufed without a knowledge of this firfi: ufeful art; and we have therefore, with .this apology to thofe who are above the want of fuch affiflance, devoted to that article a few pages. CHAP. I. Afyftem of Arithmetick. ADDITION. A DDITION is that, by which feveral numbers are collected together, to the end that their fum, aggregate or total, may be difeovered. To add one one thoufand feven hundred and thirty-one, to five thoufand four hundred and thirty-two. 543 2 Set the fums in figures thus, 1731 7 i6 3 097 Draw a line under them, and begin at the place of unites, which is the firfi figure on the right-hand, fay one and two make three: fet the three down underneath in the place of unites. Three and three make fix, fet the fix down in the place of tens; feven and four make eleven, fet down one in the place of hundreds, and carry one to the next place of thoufands, fay, one I carry’d, and one, is two, and five make feven, which fet down, and then you will find the fum required to be feven thoufand one hundred and fixty-three. N° 75. B P To 698 A COMPLETE BODY To find the futn of the following numbers added together, viz. nine hundred eighty-feven millions, fix hundred fifty-four thoufand, three hundred and twenty- one ; eighty-feven millions, fix, hundred and fifty-four thoufand, three hundred and twenty-one; feven millions, fix hundred fifty-four thoufand, thiee hundred and twenty-one; fix hundred fifty-four thoufand, three hundred and twenty-one; fifty- four thoufand, three hundred and twenty-one; four thoufand, three hundred and twenty-one ; three hundred and twenty-one; twenty-one ; and one, or unite. Set the fums under one another as before ; the unites under unites, the tens under tens, and the hundreds, thoufands, tens of thoufands, fee. in their proper places: thus, viz. nine hundred and eighty-feven millions, fix hundred fifty-four thoufand, Sec. then eighty-feven millions. See. and fo on till you have fet down all the fums: draw a line under them, and begin at the place of unites, as before. 98765432! 8765432I 7654321 65432! 54321 432t 1103676269 To add 36 pounds 10 fhilluags and one penny, to 41 Pounds 5 Shillings and 6 pence three farthings. /. s. d. Set down thus, and add them together 36 10 r This muff be done in the manner as the foregoing examples, with-* this difference only, that every fourth farthing mull be carried to 77 15 7 f- the pence, and every twelfth penny to the (hillings, ami every twentieth {hilling to the pounds ; there being in this but 3 in the farthings,' 7 in the pence, and 15 in the (hillings, nothing can be carried from one denomination to the other, and therefore the 3-4ths or 3 farthings muff be fet down under the farthings ; then go to the pence, and fay 6 and 1 makes 7, fet that down under the Pence; then go to the.fhillings, and fay 5 and 10 is 15, which muff be fet under the (hillings ; then in the pounds fay 1 and 6 is 7 and 4 and 3 is 7, which being fet down makes the fum total feventy-lcven pounds fifteen (hillings and feven pence three farthings. To add three miles fix furlongs ten poles and eleven feet, to forty-one miles five furlongs thirty-three poles and ten feet. Miles Furl. Poles Feet 4i 5 - 33' io- 03 6 10 11 Set down the miles, &c. as in the margin, and add them together as before, only obferving that every 16 foot and a half, which is the length of a pole or perch, mud be car-- ried to the poles, and every 40th pole to the furlongs, and 45 4 04 04 4 every 8th furlong to the miles. Begin then and fay, 11 and 10 is 21, out of which if you take 16 foot 4 there remains 4 foot 4 > which muff be fet down as you fee in the example, and carry 1 to the Poles, and fay 1 and 10 is 11 and 33 is 44, out of which you mud take 40 and fet down the remainder which is 4, and carry 1 to the furlongs, and fay 1 and 6 is 7 and 5 is 12, out of which you mud take 8 and fet down the remainder, which is 4, then carry 1 to the miles and lay, 1 and 3 is 4 and 1 is 5, fet that down, and fay 4 is 4, which likewife fet down, and then the fum of both will be 45 Miles 4 furlongs 4 poles and 4 feet 4. Let : svMgsMry,* 1 OF ARCHITECTURE. 699 Let it be required to add fixteen acres three roods and twenty-ieven rods perches to thirty-fix acres one rood and eleven perches. Set down the acres and roods, &c. and add them together 36 as in the other examples, only remcmbring that 40 perches or 16 poles makes a rood or one quarter of an acre, and that 4 roods - make an acre, which muft be carried to their ieveral denomi- 53 nations as before, and this is a conffant rule in all examples of Addition of mixed numbers. PcoJs Perches r 31* 3 2 7 18 To add the feveral under-written dimenfians together, viz. one hundred and fix feet eleven inches and one quarter, forty-nine feet ten inches and three quarters, ninety-feven feet and feven twelfths of an inch, one hundred and forty-three feet and eleven twelfths or parts of an inch, and fifty-nine feet four inches and a half. In this example the inches are fuppofed to be divided into twelve parts, and that when the dimenfion happens to be one quarter, or one half, or throe quarters, the parts will be 3, 6, and 9 j that is to fay, 3 for one Quarter, 6 for one half, and 9 for three quarters. Set down the feveral dimenfions one under another, and add them up together as before, and divide the parts by 12, as well as the inches. In the parts the number is 36, which being divided by 12, the Quotient will be 3, and nothing re¬ main, therefore fet down o underneath the parts, and carry the 3 to the inches, and fay 3 and 4 is 7 and 10 is 17, &c. till the whole is added up, making in all 38, which being divided by 12, the quotient will be 3, and the remainder 2, which muft be fet down, and the 3* carried to the feet, and added up with them, as in whole numbers, &c. Feet 106 049 097 *43 059 Inches Pans I I 03- io* 09 OO 07* to* II* 04 06 457 SUBTRACTION. S ubtraction is that by which one number is taken out of another, that the remain¬ der or difference between the two may be known. To fubtraCt from one hundred forty-five pounds, or one hundred forty-five yards or feet, 6cc. ninety-three pounds, yards, or feet, &c. Set the fums in figures the fame as you did in addition thus. J 45 93 52 then begin at the place of unites, and fay 3 from $ and there remains 2 j fet down the 2, and then fay 9 from 4 I cannot, but 9 from 14 and there remains 5 ; that being fet down makes the remainder 52. Bought 700 A COMPLETE BODY Book X. Bought eight thoufand five hundred and fixty-feven load or feet of timber, fione, w--y -- or other materials, dec. out of which you have ufed or fold feven thoufand fix hun¬ dred thirty-nine Loads or Feet, &c. the queftion is, what remains? Set the fums as before, then begin at the place of unites, and fay 9 from 7 I can¬ not ; therefore borrow 10, add it to the upper number, which is 7, and fay 10 and 7 is 17, out of which you take the 9, 9 from 17 and there remains 8, which fet down, and fay 1 that I borrowed and 3 is 4, 4 from 6 there 8567 remains 2, which fet down, and fay 6 from 5 I cannot, but 6 from 7639 15 and there remains 9, which fet down, and fay 7 and 1 that I bor- _ rowed is 8, and 8 from 8 remains nothing, which you may fet down and 0928 deferibe by a o or cypher, or let it alone as you pleafe, the remainder will then be nine hundred and twenty-eight. To take fixteen acres three roods and thirty-feven perches, from thirty-fix acres one rood and twenty-one perches. da ts Roods Perches from 36 1 21 fake 16 3 37 remains jg 1 24 Set the fum down and fubtrad in the fame manner as you have done before, only allowing for the difference of the quantities in the fevcral denominations which you mjjfi take care to remember therefore fay, 37 from 21 3 cannot, but 37 from 1 rood or 40 perches that I bor¬ row, and there remains 3, which remainder mud always be added to the upper number ; then fay, 3 and 2 1 makes 24, which fet down and carry 1 that you bor- rowed to the roods, and fay 1 and 3 makes 4, which from 1 I cannot, but 4 from 1 acre or 4 roods that I borrow there remains o or nothing, which u U i nothing being added to 1 the upper number is but 1, fet that down and carry the 1 acre vou borrowed to the acres, and fay 1 and 6 is 7, which from 6 you cannot, but 7 from 16 there remains 9, fet that down and fay, 1 and 1 that I borrowed is 2, and 2 from 3 remains 1, that being fet down finifhes the fum. To take or fubtrad five years two quarters eleven weeks four days feventen hours and fifix-two minutes, from twenty-one years three quarters nine weeks five days twenty-three hours and thirteen minutes. Years Qrs. Weeks Days Hours Miss. from 21 03 09 05 23 13 take 05 02 ir 04 17 52 Set down the fums or quantities as ufual, the Idler under the greater, and in fub- trading obferve the method already fiiewn,- whkh i hope is fufficient, and then you will remains 16 00 11 01 find the remainder to be fixteen years eleven weeks one day five hours and twenty-one minutes. °5 MULTI- 3. multiplication. OF ARCHITECTURE. M ultiplication teaches how by two numbers given to find a third, which fhall contain either of thofe numbers fo many times, as the other contains 1 or Unity-. The TABLE. fix - 2 is 4 3 is 6 4 is 8 5 is 10 6 is iz 7 is 14 > 8 is 16 9 is 18 10 is 20 11 is 2 2 12 is 24. 6 is 36 7 | s 42 ; >s 1 5 > is 18 four times five times i 5 1S 25 6 is 30 7 h 35 8 is 40 9 is 45 10 is £0 11 1 3 55 12 is 60 8 is 48 -• < 9 1S 54 times J ■ i-Z • 10 is 60 1 11 is 66 L12 is 72. (even ^ times f 7 is 491 8 is 56 I J 9 is 63!, j 10 is 70 1 I 11 is 77 j L12 is 84J r 8 is 64 I 9 is 7 2 / | 10 is 80 s I 11 is 8: I L 12 is 96 J ten times elpvpn times r,T.*.■> £ 12 is I32 J twelve times , 12 is 144 To multiply one hundred and thirty-four by two three, four, and five. Set down the fuins thus, 134 J 34 134 >34 z 3 4 5 26S 402 536 670 Then fay twice 4 is 8, fet down the 8 in the place of unites, then twice 3 is 6* which likewife fet down in the place of tens, then twice 1 is 2, fet down the 2 in the place of hundreds; begin the next multiplication by 3, and fay 3 times 4 is 12, fet down the 2 and carry 1 to the next figure on the left hand, and fay 3 times 3 is 9 and 1 that I carry’d is io, fet down the o or cypher and carry one to the next place, and fay 3 times 1 is 3 and 1 that I carry’d is 4, which fet down; then begirt the next multiplication and fay 4 times 4 is 16, and fo on as you have already done in the foregoing fums* till you have finifiied, and then you will find the pro¬ duct to be, in the fir ft lum two hundred and fixty-eight, in the fecond four hun¬ dred and two, in the third five hundred and thirty-fix, and in the fourth fix hun¬ dred and fevertty. To multiply 5107 by 210, and alfo to multiply the product which is 1072470 by 59, and again to multiply that product, which is 63275730 by 1795. N» 7 ^. 8 CL Set If *£.*( il«ss i *£•( £• t 1 •£* t£tf £T§i« &• (€, 965=230 5362350 6 3 2 7573° 1 ~95 316378630 5' )4“ 1 55 - 41295OIIO t) 3 z 7573° 93535° A COMPLETE BODY Set down the dimenfions or Turns thus, and fay nought times 7 is nothing, nought times nought is nothing, nought times 1 is o or nothing, and o times 5 is nothing, which fet down by ooco; then fay once 7 is 7, once nought is nought, once 1 is 1, and once 5 is 5, which fet down in the fame man¬ ner as before; then fay twice 7 is 14, fet down the 4 and carry i, and fay twice o or nought is nought, but 1 that I carry’d is 1, which fet down; then fay twice 1 is 2, and twice 5 is jo, fet down the 2 and the 10 as in the example; then add or caft up the fums as you have been already fiiewn, and you will find the product to be one million feventy-two thoufand four hundred and feventy, which product multiplied by 59, produces fixty- three millions, two hundred feventy-five thoufand, leven hundred and thirty; that produdt again multiplied by the third number propofed, makes the fum total one hundred and thirteen thoufand five hundred and feventy-nine millions, nine hundred and thirty-five thoufand, three hundred and fifty. To multiply twelve feet fix inches, by fix feet nine inches. Bcfi . vou begin to multiply this it will be necefiary to you to know divifion the next rule, and you are alfo to know, that feet multiplied by feet produce feet; feet multiplied by inches and divided by 12 produce feet and inches; inches mul- tiplied by inches and divided by 12 produce inches and firfi part?, or firfi: parts of inches; the firfi: parts of inches multiplied by feet and divided by 12 produce inches and firfi parts; firfi parts multiplied by inches and divided by 12 pro¬ duce firfi and fecond parts; and lafily, firfi parts multiplied by firfi parts and divided by 12 produce fecond and third : This being well underfiood, the working of the fums or dimenfions will be very eafy; therefore fet down the fum or dimenfion re¬ quired as in the margin, then multiply the feet by the feet, which makes 72, fet down the 72 underneath the feet, then multiply -the lower feet by the upper inches as you fee it marked, and the upper feet multiply by the lower inches, and firfi mul¬ tiply the lower feet by the upper indies, faying 6 times 6 is - 6 , which being (according to the above rule) divided by 12 makes juft 3 feet o inches remaining, fet down the 3 under the feet, and fay 9 times 12 is 108, that divided by 12 produces 9 feet, which likewife fet down under the feet, then multiply the inches by the ladle?., faying’6 times 9 is 54, which being divided by 12 makes 4 inches and T * T or 6 parts, fet that down as in the example, and add up the particulars. I O N. ir~\IVISION is that by which we difeover how often one number is contained in another ; or (which is the fame) it fhews how to divide a number propofed, into as many equal parts as you pleafe. To know how many times two there is in ninety-fix, and how many times three, four and five there is in the fame fum. 2 Set Feet Inches 12 06 6 x 09 OF A R C H I T E C T U R E. 7°3 Divif, r Dividend Quotient Chap. i. Set the fums down thus, 2 ) 96 ( 48 3 ) 9 6 ( 3 2 4)96(24 5)96(19 ' ^ 4 and call the number you divide 8- 9 ’ 8- S’ by the divifor, tile number — — — — Which is to be divided, the 16 06 16 46 dividend, and the third num¬ l6 06 16 45 ber (being fo many times the -- -- • - — divifor in the dividend) the OO OO OO 1 quotient; then fay how many times 2 can I have in 9, which you may eafily find to be 4 times, therefore fet down the 4 in the quotient, and fay 4 times 2 is 8, fet the 8 under the 9, then fubtraift, and fay 8 from 9 and there remains j, fet that down, and then make a dot or prick, under the 6, to fignify that you have brought down the 6 to the r, to make a new dividend, which is a rule you muft always Unfitly obferve; then fay how many times 2 is there in 16, which you will find to be 8, fet the 8 down in the quotient, and fay 8 times 2 is 16, fet the 16 down underneath, and fub" tratt as you did before, and you will find the remainder to be o or nothing; fo that you have 48 times 2 in 96. Now to know how many times 3, 4 and j there is in 96, you muft begin again, and fay the threes in 9 are 3 times, which muft be let down in the quotient, as in the Example, and fay 3 times 3 is 9, fet the 9 down under the 9 in the dividend, and fubtrafit as before, and bring down the 6 for a new dividend, £cc. as in the firft example, till you have done all the fums or queftions as above, and then you will find there is 48 times 3, 32 times 2, 24 times 4 and 19 times 5, and 1 remaining, in the abovefaid fum 96. To divide nine hundred and eighty-feven millions, fix' hundred fifty-four thou- fand three hundred and twenty-one, by five hundred and forty-three, which is to ■ know how many five hundreds and forty-threes there is in the abovefaid fum of mine hundred and eighty-feven millions, &c. Set down the example in figures thus, then fay how many times 543 can I have in 987 (the three firft figures of the dividend) which can be but once, for twice 543 makes 1086, which is more than the 907, therefore you muft fet the 1 down in the quotient, and fay once 3 is 3, once 4 is 4, once 5 is 5, which fet down as you lee in the example, then fub- trafi, and 3 from 7 and there remains 4, fet that down, then fay 4 from 8 and there remains 4, fet that down, and lafl.lv, fay 5 from 9 and there remains 4, fet that down likewife, then make a prick or point under the 6, to fignify that you have brought it down to the new dividend, which will then be 4446, then try how many times 543 you can have in 4446, or, which is eafier, fire how many times J the firft figure towards the left- hand in the divifor, can I have in 44, which you will find to be 8, fet down the 8 in the quotient, and mul¬ tiply the divifor by it, and fay 8 times 3 is 24, fet down 4 under the new dividend, and carry 2, and fay 8 times 4 is 32, and 2 that I carried is 34, fet down the 4 and carry 3, and fay 8 times 5 is 40, and 3 that I carried is 43, which fet down, and fubtraS that fum out of the dividend as before, then bring down 5, the 543 ) 9 8 7 6 543 2I ( i8i888 4 543 . 543 4446 J 45 66 5 2 4344 7 2 7553 6 - 9094420 1025-* 543 9 8 7 6 54 °i 2 3°9 4824 - 4344 9 8 7 ^ 543 2 * 4803 4 344 459 2 4344 248l 2172 3°9 next! 704 A COMPLETE BODY Book 5 T. next figure in the dividend, which will make you a new dividend, and this method — r~~~-> muft be continued till you have brought down all the figures in the firll dividend, always remembering to make a dot or prick at the figure when you bring it down and alfo to obferve, that when the firll figure of the divifor is greater than the firll figure in the dividend, you mull take the two firll figures in the dividend, as in the example above, when you tried how many times 5 there Was in 44, for 4 in that new dividend being lefs than 5 in the divifor, was the realon of the next figure be¬ ing added to it, and this is a conllant rule. The whole work being done, you will find that there is one million, eight hundred and eighteen thoufand, eight hundred and eighty-four times five hundred and forty-three (your divifor) in nine hundred ejghty-Teven millions, fix hundred fifty-four thoufand, three hundred and twenty-one (your dividend) and three hundred and nine remaining. For the proof of this, and all other lums in divilion, you mull multiply the divifor by the quotient, and take in the remainder, when there is any, as in the example, the fum of this multiplica* tion with the remainder will always be the fame as the dvidend, otherwife your work is fall’e. The GOLDEN RULE; Or R u l e of Three. T HE method to be obferved in this rule is firll to Hate your queflion, then to make your firll and third numbers of one denomination, to multiply the lecond and third numbers together and divide by the firll, and the quotient is the anlwcr to your queflion. But, before you can proceed to work according to the above rule, it often happens that the firfi and third numbers, though of one name or denomination, yet have different parts, as halves or quarters of pounds or yards, &c. and whenever this happens, they mull be reduced into the fame parts or deno¬ minations one as the other j you mull alfo, before you multiply your fecond and third numbers together, reduce your fecond or middle number into the fame deno¬ mination you care to have your anfwer in : for example, if your fecond or middle number happens to be pounds, fhillings, pence and farthings, it mull be brought into farthings; fo likewife if you would know to a farthing what any thing will coll (when there is no farthings in the middle number) you mull bring the middle number into farthings. A few examples will explain thefe rules better than many words, which very often confound and perplex, more than inflrudl the ingenious reader. If fix pounds Is given for a hundred of deal-boards, what will fix coft at the fame price ? State O F architecture. 705 State your queftion as in the margin, and fay if 120 (the number of boards which is always fold fora hundred) coft 61 . what will 6 coft; then bring your 61 . into the lowed: denomina¬ tion, as farthings, by multiplying the pounds by 20 to bring them into (hillings, and the (hillings by 12 to bring them into pence, and the pence by 4 to bring them into farthings, as in the margin; then multiply 5760 your middle number in farthings by 6 your third number, and divide the contents of that multiplication, which is 34560, by 120 your firft number; then divide 288 the quotient by 4 to bring the anfwer to your queftion into pence; and laftly divide the pence by 12 to bring it into (hillings : the price being thus found for the 6 deals, you may if you pleafe know what one deal will coft by dividing the price of the 6 deals, which is 6 fliillings by 6, the number of deals, and then you will find each deal to coft one (hilling. This method well obferved will be of great ufe in many queftions in the Rule of Three, &c. To know what fix load and a half of oak timber will coft, when two load and a quarter is fold for five pounds twelve fliillings and fix pence. Deals l. Deals If 120 coft 6 what will 6 ccjl ? 20 120 /hillings 144.0 pence + 5760 farthings 6 the third /cumber I2|o)3 4S 6|o( 4)288 12)72 pence 6)6 /hillings the price of 6 Dealt. Load l. S. State your queftion thus, and fay, IJ'2-L coft 5 12 4 20 d* Load 6 what will 64 coft at the fame ratet 4 Then, according to the rule above, make your firft and third num¬ bers of one denomination by bring¬ ing them into quarters of loads, and taking in the fra&ions as in the example; then bring your middle number into the loweft de¬ nomination of farthings, as before, and multiply the 5400 farthings by your third number, which is 26 quarters, and divide by 9 the firft number ; then divide 15600 the quotient by the fame num¬ bers you multiplied the middle Number, as in the example above, which will produce the fum re¬ quired, being 16/. $s. for 6 load and a half of oak timber, &c. 112 Jhillitigs 13 5° pence 4 5400 farthings 26 26 3240© 10800 9)140400 4)15600 the quotient 12)3900 pence 2l 0 ) 3 2|j N° 75 16 S ! R To 9 Z 4° 5° 2 |o) 462 oc|o 6 | 2 io|c - D s Anpuitr l Cj Dots Men Men Days Ho. Days Ho. ds 50 is to 20 fo is 16 1 to 6 10 20) twice and 20 ^ a half the 6 10) twice and 6 1 o ^ a half the 3 5) 2d numb. BOD Book X. To know how many days twenty men can do the fame work as fifty men would ' * ^ do in fix days ten hours. State your queftion thus, and fay if 50 men can do a piece of work in 6 days 10 hours in how many days will 20 men do the fame work. The firft and third numbers being already of one denomination, you mud mul¬ tiply the middle number, which is 6 days 10 hours, . *' tn Days Hours Men. by 24, the number of hours in a day, and take in the hours, &c. and then if you pleafe multiply by 60, to bring them into minutes; the middle number being thus brought into minutes, you mud multiply them by the firft number, and divide by the third, which is contrary to the rules before mentioned. The reafon is, becaufe 20 men will require more time than 50 to do the fame work, whereas if you had multiplied the fe- cond and third number together, and divided by the firft, the anfwer would have been but 2 days 1 3 hours and ftlis or 36 minutes, which is the reverfe of the queftion, and the exaeft time that 50 men would have done the work that 20 men would do in 6 days 10 hours. And therefore this rule is called the rule of three reverfe or inverfe ; for in the rule of tnree diredl, the numbers are in fuch proportion, that as the firft is to the third, fo is the fecond to the fourth or number fought; but in this rule the numbers are al¬ ways in fuch proportion, that as the firft is to the third, fo is the fourth, or num¬ ber fought, to the fecond, as in the example above; for if you fay. As 50 Men the firft number is to 20 men the third number, fo is 16 Days 1 hour your number fought or fourth number to 6 days 10 hours your fecond number; that is, as many times as the firft number is more or lefs than the third, fo many times more or lefs muft the fourth number be than the fecond, as the queftion happens to be ftated. In this ex¬ ample, the firft number, which is 50, is twice and a half more than 20, the third number; therefore the fourth number, which is 16 Days 1 hour, muft be twice and a half more than 6 days 10 hours, the fecond number, as is very plain in the margin. Another thing to be obferved in this rule is, that if your firft number is greater than the third, the number fought, or fourth number, will be greater than the fecond number ; and that if the firft number is lefs than the third, the fourth number will be lefs than the fecond; which being well obferved, will make this ufeful rule very eafy. GEOMETRY. w^w/umwjoemb A OF ARCHITECTURE. Cl geometry. Some principles of Geotnetry explained. Point is that which hath no part, neither length nor breadth. A line lias length but not breadth, whofe ends or limits are points. Fie i For in Inftance, if we conceive the point A to move towards B. by this motion it will leave a trace, or deferibe fire line A B of length without breadth ; and if that line A B be conceived to move again, fo that the extream points (hall deferibe other lines, as AD and B C, this motion will deferibe A BCD a fuper- ficies or furface. And laftly, if this furface A C (denoted compendioufly by the diagonal letters) be conceived fo to move upwards or downwards, the fa.d points of the furface will deferibe other lines A F, D E, B C, and G H: and confequently thefe lines deferibe other furfaces, &c. By this motion there will be formed a mag¬ nitude of three dimenfions, called a folid, or body, which maybe, for brevity fake, denoted by the two diametrically oppofite letters A H and D G, &c. Fig 2 A circle is made by the rotation, or wheeling a line about the center ; the outf.de line fo deferibed is called the periphery or circumference ; and a line any where through it cutting the center, is called the diameter ; and half the Diameter is called the radius. The circumference of a circle, whether great or final!, is di vided into 360 degrees, and each degree into 60 minutes, and each minute into feconds, &c. Again, if the parallelogram A B C D being rotated about A B (the axle) it will defcrible a cylinder d D c G. Alfo if the triangle A B C be rotated round A B as an axle, there will be deferibed a cone A c C. Likewife, if the femicircle ABE be rotated round about the axle A B there will be deferibed a fphere, or globe. But thefe things being only fpeculative, wave them, and only mention them when I (hall find occafion. Explanation of Charalters. 'equal, parallel. more, or to be added, plus.' lefs, or to be fubftrafled, minus.' multiplication, v a fquare. proportion'between the ift aid 2d number in the rule of three: ditto 3 d and 4th. ditto between 2d and 3d number of the rule of three, fquare root. cube root. D E F 1 - yo8 A COMPLETE BODY Book X. D E F I N T I O N. Geometry is a fcience which ex-aftly (hews the magnitude or largenefs of things, with their meafure, &c. And ift of fuperficies, and zdly of folids. Fig. 3. I. Superficies. Suppofe a fquare fuperficies j feet every way. as in the figure, there will be Z5 feet in the fame, as in the figure. Fig. 4. A rhombus, or diamond-figure, is that which has 4 = tides, but two acute, and two obtufe angles; and a Rhomboides, or diamond-like figure, is that whole oppofite fides and oppofite angles are equal. Demonflralion. By the method of indivifibles to make it appear that thcfe two figures are = as when dc = hg , and ab=ef, and contained under the fame ||, or height. Where the rhombus is divided into an infinite number of parts, or elements, or if we (hould fuppofe the rhombus to be filled up with lays of paper, and fince they are all of one length, and thtfe fame applied to the rhomboides (for h c and gf are longer than the bottom and top lines or ildes) the ends will coinfide with the fides h e and gf and therefore equal. Therefore the way to meafure a rhombos, or rhomboides, is to x the bafe by the perpendicular height. 35 of the 1. of Euc. Fig. 5. This way of reafoning holds good aifo in triangles: for if we fuppofe a large field to be divided between four men, and all of them to have the Life of a pond at a. If the bafe b c be divided into 4 = parts, and lines drawn from thence to the common angle a, all the triangles will be = ; for all the indivifible parts which fill up d a e will alfo fill any of the reft. t of the 6 of Euc. Fig. 6. Suppofe a fquare that is 5 feet 6 inches each way, what is the content thereof? f f f in. 5X5 = 25 —abed 5X6= 2 b=becf 5x5— 2 6 — di h c 6X6 = ° 3 = e f s b Total is 30 3 This being the grounds of crofs multiplication, or duodecimal arithmetick. Fig. 7. A fquare is more capacious than any oblong figure of the fame mrt or compafs. Or we may fuppofe the fquare to be the end of apiece of i2°inches fquare, and the oblong 16 inches by 8 inches, which is the fame girt round ; and if we (hould cut them into pieces of 4 inches fquare there will be n° 9 in the Vquare, and but 8 in the oblong. So that □ contains one piece 4 inches fquare more than the oblong. Or by figures, 12x12 = 144 16 X 8 = 128 The difference = 16 inches. A circle is the moft capacious this way of any figure; but if the circle (hould be dilated out into ellipfifes, thele ellipfifes will hold lei's than the circle by how much they J * 1 ^, r z z! X ^ c / / < • ' x Z A. /X. E \ z \ L \ .Jr / B Z >- z // \ / V Z,/ y - \ // N° 76. 8 S How OF ARCHITECTURE. 709 they are dilated. For inftance, a bag when filled out round will hold moft : if Chap. r dilated into an elipfis, it will not hold fo much, but yet there remains the tame cir- '^^' v ~ cumference; the fides may even be folded together fo as they will hold nothing.' How to divide a circle into any number of fdcs, or polygons. Fig. 8. Firft draw the diameter a b through the center, and ra'ife an equalateral Aube upon the fame, then divide the diameter a b into the fame number of parts as you delign fides to the poligon ; then draw a line from the apex of the A c through two of thefe parts on youf diameter, till it meets with the circle on the oppolite fide, and that will give the true fide of your poligon. Let the diameter be divided into what number of parts you pleafe, drawing through two of them the line will interfedt the circle into the true fide. A general rule. Fig. 9. To meafure a cirfcle, we are to meafure the circumference by .1 of the diameter, or ^ of the circumference by the diameter. To illuftrate this rule, we may confider this poligon of 6 fides, which makes 6 triangles all meeting in the center; and to meafure this poligon, we are to add all the fides together, and X it by half the perpendicular de (which is the - of df) and it gives the content of the poligon ; but this does not come up to the content of the circle by all the fix fegments: and although this comes fliort of the content of the circle, yet if we go farther, by bifedting thefe angles into 16 fides, it is very evident we (hall come nearer the truth, and approach nearer to the circumference, bu t not exaCt enough yet: therefore if we bifeCt it, or trifedl again ; and, to be fhort, if we fuppofe it to be divided into an infinite number of A, fufely then we may fuppofe that the fides will coincide with the circnfnfi»n?n*e itfelf, and all the fides added together will be, or w» may fuppofe to be, equal to the circumference, or periphery ; and becaufe 4 the perpendicular of each A is fo near, or may be com¬ puted ^ of the diameter, therefore (for any ule) we may conclude the rule above is true. Another rule to meafure a circle is to fquare the diameter, and x by n and divide it by 14, and it will give the content as above. The reafon is thus; if we admit Archemedes’s' proportions, i. e. as 22 is to 7 (which is near enough for any ufe) if, from the rule above, we fuppofe diameter 7 the circumference = 3x7= 21, to which if you add - part of the diameter, which is here 1, it will = 22 for the circumference. Now, if we take ^ of 22 = 54, therefore if we X 54 by 7 it will be = 384, the content. And now, becaufe 54 is a fractional ntunber, to avoid it, we only double it, and the numbers will be n and 14, as above. And becaufe all circles are in proportion to one another as the fquare of their diameters. [2d pr. of 12 b. ofEuc.] And alfo the fides of fquares, and poligons bear the fame proportion one to another as the fquares of their fides, viz. dimeter 7 X 7 = 49, 94 X 11 = 539, W = 3 8 ? Content. A C OMPLETE BODY Book X. i How from the diameter to get the circumference. Fig. 10. x 7 by 3 = 21 and add f the diameter 1. it "ill = 22 ; and thefe numbers will always ferve as a proportion for any other. As fuppofe the diameter to be 9. what is the circumference ? Then it will be as 7 : 22 :: 9 : 28 \ the circumference. Or 9 x 3 = 27, and [y of 9 = 127 + 1 \ — 28 j, before. 9 7)198(28 5 ( 2 ) If the circumference be given it will be 22 : 7 :: 28: 9 the diameter. 7 22)198(9 *70 find the circumference of a fimi-circle whofe diameter is 7. Fig. 12. 10 o diam. 36 = height Fig. 11. 70 the diam. 3 6 femi diam. or height-. 6 rr l—l 14 o * circumf. 11 o = to t the whole circumf. 'To find the circumference of - of a circle. Fig. !3. 3 6 = 4 diameter. 1 9=4 height. 3 = V 5 6 = to 4 of the whole circumference of the circle. c fio ?nake an oblong equal to a femi circle having only the diameter given. Fig. 14. 7 6 = diameter. 7 0 2 9 19 = i _- — height. 106= '—- 2 9 o^to^of the circumference of thefemicircle (11) i. e. = 2|. * 7 0 reduce a trapezium, abede , into a triangle of the fame content. Fig. 15. 1. Draw a line from a to c , and || from a c draw b f- y now, if you confider a c to be the bafe of the A a b c, the A a f c muft be = to it, becaufe the point f is contained in the fame |j, therefore A a b c = a f c, and the two Tides of the trapezium is reduced to one fide f c : and the other fide muft be reduced in the fame manner, where e c will be the bafe of the a e d c and becaufe dg f is |J to e c, the A e eg will be = to e c d, becaufe the points d {ind g are in the fame J| ; and fo the trapezium is reduced to the A f c g . \mr^\wrj£xm!:mk£ : OF ARCHITECTURE. 7H To me ofure an ellipfis. Fig. 16. A C = tranfverfe diameter; and B D the conjugate. ACxBDx n» 16X 12 = 192, 192 X ii =2112, a - 4 ?* = 150 y, the fuperficial content of the fame.' Pythagoras s theorem . 47. 1 Euc. Fig. 17. In a right angled > B A C, the fquare BCDE = B F G A 4, ABIC. The fquares being formed from every fide, as in the figure, join A E and A D 9 and draw A M |j to CE; and becaufe right angles attend every lquare, and the fide B D = B C, and the fide B A = B F, the a DBA — CBF; and it is evident C B F is 4 the greater fquare ABFG; becaufe F B being the bafe, and the point C is in the parallel line G A continued to C ; therefore B C F = to 4 of the □ A B F G, and = to 4 of D B L M: for A, the point of the A is in the || L M continued; and likewife the parellelogram E M L C may be proved to be = to the □ A C I H. Chap. Fig. iS. A -f- B = C 4- D. A + B taken out of the great □ leaves X + Z. D + D taken out of the Idler □ it will alfo leave X + Z j therefore the two lefier □ are = £ o the greater. Fig. 19. B A E — ABLK BEFG and CAD — CAHI GFDC 0 _E. D. becaufe A C, the fide of the lefier □, is the bafe of the A CAD, and the point D is in the jj of the oppofite fide I H, therefore = 4 the lefier fquare. Another way to prove the fame. Fig - 20 ' 6 x IZ two left. □. 10 X 10 = 100 greater □. To bring three points ABC into a circle. 8. 6 Euc. Fig. 21. 1. Geometrically. Draw the chord-line B C, and middle it, and ap¬ ply a fquare to the chord, and draw the middle line till it cut the diameter in q which will be the center delired. 2. Arithmetically. The chord-line A C being middled by the diameter B (which diameter and lower part of the circle is only yet fuppofed to be done) and A B, the chord-line drawn, there will be a right angled A, A B D, whofe perpen_ dicular D B = 4, and the fide DA = 9; and the A A T>f will be fimilar and pro¬ portionable to the other j becaufe the angles are all alike in both A, therefore they will be proportionable tc one another, viz. at D there is a right angle common to both and in the A ABD; angle A and B will be = 90 ; fo likewife the Ay A B : the 1 angle 712 A COMPLETE BODY Book X. angle A will be a right angle, fo the two angles at A will be one the complement of the other. Therefore asBD:DA::DA:D/, to which add D B — By'. 4 : 9 9 : 20^, to which add 4 = 244, the whole diameter ; and half is = to the radius. This mas be reckoned one of Pythagoras’s theorems, where there are circles injleai of fquares , which will likewife agree, "viz. 10 — diameter of the greater circle. 8 = diameter of one fide, and 6 the other. I IO x 10 — 100 1 8 X 8 = 64 2 X X l I —ii00 2 I X I I = 7°4 3 2^14 = 78 T 3 2 14 — 5 ° T 1 6x6 = 36 2 I X II = 396 3 2 -m 4 r=.2o^- — content lefier circle. 50 T 28 4 78 4 = to the greater circle. To take the di/lance of a tree on the other fde a river. Fig. 23. At a put down a picket, then go onward to b in the ftrait line to the tree, and fet down another picket, as fuppofe 20 yards ; then from a to c fquare, or ctherwife, and at c put down another picket alfo 20 yards diftance ; then from c to d or from, b to d make the line b d || to a c , and fet down a picket at d in a ftrait line from c to the tree. The operation follows: As e c is to e d fo is a c to a f, the diftance of the tree. In numbers, as 4 : 20 :: 20 : 100 yards to the tree. 9. 6 Euc. 20 4 )+°o( A defeription of foilds. Fig. 1. Every prifm having a triangular bafe (or under) and upper face [[, may be divided into three pyramids, viz. a C A B, a C b B, and a b c B, equal one to the other,, having equal bafe-s and heights, or altitudes. Draw the diagonals to all the three parallelograms or fides, as a C, diagonal of the face A a b C, a B of the fide A a c B, and B b of the fide of B c b C. It is no great matter which you cut off firft, as fuppofe ab c B, there will then remain a b 1 ' A B 'for the two others, which muft be cut in the fedtion a CB; and thefe two will be ‘ becaiffe d tC = A a C, bafes, and the altitudes at B fo that they muft confe- •qOent’y be eqiial ; and if you compare the firft cut B a b C with A a C B, they will alfo be =, and all — to one another. From hence we may infer, that every pyramid is the 4 pai^ of a prifm that has the fame bafe and altitude with it: this is evident from the triangular prifm above ; and is alfo as certain of others, becaufe there is no fort of bafes but what may be 3 refolved OF ARCHITECTURE. refolved into triangular prifms, as the cylinder may be divided into an infinite num¬ ber of prifms, and each prifm may be fuppofed to be divided into three pyramids ' and confequently the cone will be L part of the cylinder. A prifm is meafured by X the fuperficial content of the bafe by the altitude the bafe of a piramid by -i- of the altitude. The fame a cone. As it was in fuperficies, all parallelograms, rhombus’s, triangles, having the fame bafes, and contained in the fame altitude, whether upright or leaning, as = feparately one with another, fo it is likewife with parallel epipedes, prifms, and pyramids and cones, if they have feverally the fame bafes, and contained under the fame altitude, they will be feverally equal; but if they (hould be contained in the fame altitude only and not the fame bafes, then they will be in proportion one to the other, as their bafes, &c. Fig. 2. To meafure a cylinder. You mud get the fuperficial content of the bafe whofe diameter is 7, i. e. 7 x 7 — 49, 49 X 11 rr 539, S T V = 387, fuperficial content of the bale ; and this x by 16, the height, zr 616, whole cilinder. Fig. 3. To meafure a cone which is L part of the cylinder. Get the bafe as before 384., and X it by '-i = 3.4, X 205, \ content. N° 76. Fig. 4. To meafure a cone or piramid leaning, bafe as before, 38-f*. 38.6 = content of the bafe. jj.o = the height mud be taken on the perpendicular, here as we me n- mentioned in A. A cylinder is to a fphere as 3 is to 2 ; and a cone is to a cylinder as 1 is to 3. Fig. 5. Demondration from this figure A B C D, where, if we confider B D as an axle, and fo moved round, the fquare will defcribe a cylinder, the quadrant A E D B will defcribe a hemifphere; and the A B C D will defcribe an inverted cone, having all the fame bafe and altitude. Since circles (2 of 12 Euc.) are as the fquares of the diameters. The fquare of GH = to the fquares of G E and G F taken together; for the fquare of G F = QGB ( i.e. dGB + dGE —B ErGH^BA: and fo the circle defcribed by G H z t 0 wo circles defcribed by G E and G F taken together: wherefore if you take away from the fquare GH - nGEraGB within the cone = to the annulus or ring defcribed by E H about the fphere. And fince this may be demondrated after th e fame way in any other place downward or upward in this figure, viz. that a circle defcribed by gf will be zr to an annulus defcribed by eh, it will follow, that all rings or annuli defcribed by the lines E H or eh, i. e. all that folid that is conceived o be defcribed by the trilinear figure A E DC turned round, will be = to all the circles defcribed by GF or g f, i. e. to the cone generated by the A BCD; and be_ caufe the cone, 7 part of the cylinder which was generated by moving round D B the axle, and fo alfo the folid made by the trilinear ring A E D C, viz. the excef s of the cylinder above the fphere, will be 7 part of the cylinder ; and confequently the hemifphere mud be \ parts of the cylinder, i. e. as 3 is to 2. Superficies BOD Superficies of a cylinder is to the fuperficics of a fphere as 3 is to 2. Fi™. 6. To demonftrate this from this figure, viz. ACDH, half . logram, which is firft divided into 3 parts, or parallelograms, as C E, 2 V, 1 C, which being revolved about the axis A B, tliere will be defcribed in the upper part three circumfcribed cylinders of = height, and a fphere as before. But if all thefe altitudes of cylinders are bifefled or divided into two, there will be double the num¬ ber of cylinders of half their heights, which being taken together, approach nearer the folidity and furface of the fphere than the former. And thus if we fuppofe the bifeftion to be continued ad infinitum, the innumerable number of thole infinitely little cylinders will coinfide with the furface of the fphere itfclf: and all their heights will aDH, the fide of halt' the cylinder. From whence we may infer, that if the circumference of the cylinder be meafured by its height, it will give the circular furface of the cylinder {- to the furface of the lphere) to which, if we add the lower and upper face of the cylinder, we Ihall have the fuperficial content of the whole cylinderical furface, = to the fuperficial content of fix great circles, and the fpherical furface — four fuch circles: therefore the furface of the cylinder to the fphere is as 6 to 4 or 3 to 2. In the two foregoing figures are contained the principal properties belonging to a cylinder, fphere, and cone, and they are briefly demonftrated ; which will be further illuflrated by the examples following : A cylinder with circular baft . 20 feet diameter, 3 x 70 — 3° = to the circumference, 3 1 -f I he fuperficial of the round plate, 3 1 f X circumference by 10 the diameter 3144- = fuperficial of round part 78 4- — fuperficial under-face 78 4 — fuperficial upper-face 471 -f — whole fuperficies. ‘The folidity. 100 — 10x10 = □ of diameter 1100= 100 x 11 - L ~ 2 - — 78 4- fuperficial of the bafe 78 4. x 10, height, — 785 4 = folid content. Superficial content of a fphere. 314.— circumference X 10 = diameter = fuperficial content of the fphere, agreeable with the round furface of the cylinder, in whole or in part, rz to 4 great circles, viz. 78 4 X 4 =3144* For OF ARCHITECTURE. 7*5 For the folidity , We mud conceive the whole fphere to be made up or compofed of an infinite number of pyramids, whofe vertices or tops all meet in the center ; and the fuperficial content of the fphere mud be the fuperficies of all their bafes, which mud be x by i part of the radius, becaufe the radius is the perpendicular height of all the pira- mids; or, which is all one, if you take f part of the whole diameter, fo if we x the fuperficial content of the fphere by f part of the diameter, = to the folid con¬ tent ; or if you take the f part of the circumference and x it by the whole diameter it will be all one and the fame thing: and if we are fatisfied with Archimedes’s numbers, as 7 is to 22, we may deduce another way to get the folidity of the fphere, by taking the f part of 22 — 3 -i; fo that the diameter is to the folidity as 7 is to 3 Now, to clear thefe numbers from fractions, x each of them by 3, and you will have the numbers 21 and 11, equivalent with the former. Therefore, becaufe fpheres are to one another as'the cubes of their diameters (18. i2Euc) as it is done in the 2d way in the margin. 1. Solid content of the Jphere. 314 ..iL. near = fuperficial content, as above. X 1.66 = f part of diameter. 18858 3H3 521.738 = to folid content. Anfwer, 521 ^ almod. 2. Solidity another •way. 1000 = 10 X 10 X 10 cube diameter X 11 - a given number 1000 1000 11000 — icoo x 11 ■ LX ff s - = 5 2 3 ib This comes to more than the other above, be- [caufe of the fractions taken too little. N. B. In fig, 5 above, it is demonftrated that the folidity of the fphere is i of the circumfcribed cylinder, having the fame height. Therefore if you take, 7 8 5 | — folid content of the cylinder, as above, and X by 2 3) 1571 f = 523 4 - X f, or i 4 , the folid fphere. More- Book X. COMPLETE BODY Moreover, in fig. 6 (of folids) the diagonal line of the quadrant A D will b e the radius of a circle, which will contain the fuperficies of the hemifphere, and that doubled = to the whole fuperficies. A C □ = 25 □ C D = 25 Sum — 50.00.00(7.07 r AD, A D X 2 : 49 14, 14 which is diameter of [the circle. 1407)10000 9849 14.14 ■4.14 19796 19796 199.9396 =: D of the diam. 199.9396 x 11 1999 396 >4)2i99'3356(i57'°954 = f globe 717 X by 2 - [fphere. 314.1908 n fuperficies of whole From the firft example above of the folid content of a fphere, may be deduced another way to attain to the folid content, viz. there f of the diameter X by the fuperficial content = to the folidity thereof: wherefore, becaufe the fuperficies of the fphere — 4 great circles, therefore, inftead of x the circles by 4, if I x f by 4 = £ — therefore if I x the fuperficies of the greateft circle by £ of the diameter, it will give the content as before. 78 y =r fuperficial content of the greateft circle. X 6 4 = -r of 10 the-diameter. 471 26 26 523 \ — to the folid content, as before. A cone 'with circular bafe. ~ — t 7 t near — .57 decimals 78 f = fuperficial of the bafe 78 7 — fuperficial of bafe X 3 4 r: ■'f = f perpendicular 35 9 26 24 261 11 4 az folid content Superficiai OF ARCHITECTURE. Superficial content . | ~ circumference X 11 f = Hope fide 345 5 = 3 ifx 11 4 3 3 - 37 f x f. 35 ° i ■*- — 175 = fuperficial content. ‘To meafurc the firufium of a piramid or cone-. Let the fruftum be B b c C Ahes^t bate ‘° P | a n P iram!d ' 1. You may meafure it as a whole piramid, only deducting the top from it: but it may be done, 2. By getting the fuperficial content of top and bottom, and then x thefe two contents together, and extraditing the fquare root, of the fame : then add the fu¬ perficial content of each end to the root found, and that fum x by the ~ of the height. 3x3= 9 Superficial top-end? ^ fQ her 7 144 X 9 = 12x12= 144 fuperficial bafe ^ & j Y 1296(36 ,£/of 144 X 9 = 36=: the root added 9 189 x ( 3 t 6 ) — 12 := 2268 folid content 66)396 of the fruftum of the fquare piramid. 396 The height of the whole cone may be found by the rule of three, viz.’ ^ ^ ^ c or (339:36 :: 12: 4.8 — whole height of the fuperficial bafe,-’ 1:2 — 3 — 9 ) 144 X ( y 8 ) 1 6 — 2304, content of whole piramid, from which if you take top cone “ 36 . Leaves 2268 — content of the fruftum, as before. To meafure the fruftum of a cone, you may obferve the lame method as in the piramid, only, as this is circular, the fuperficies of the ends will be different, we will make ufe of the former figure, only reckoning the bafe and top circular. Top X 3 X 3 — 9, 9 X 11 = 99 . ” = 7 A( l i P ' rf - COnt f t r° f U r P P e /u Cn r ?Sum oft 7 ^ Bale 12X 1 2 = H 4 . 144X11-= 1584, -*• - h 3 t? fuperf. of bafeY^ j 113 11.3 T V X 7 tV — So ° A> s/ 800 t't =: 28 tV J ^ 28 tY Sum 148 5 x V 12 = 1782 folid content of fruftum. 148 A The whole cone, the fuperficies of the Bafe is 113 f X (V) 16 = 181 o f = folid content of the whole cone. Top 7 T ' T X (V) 4 — 28 \ zz folid top cone, which taken out leaves K° 76. 1782 =: folid content of fruftum, as above. . 8 U The 7 A COMPLETE BODY Book X. The □ fruftum of a piramid may be meafured with extrafting the root. 1x3= 9 = to the □ of the top. 12 X 12 =: 144 = to the □ of the bafe. 3x12= 36 = to the rectangle of the two ends. 189 re to main proportional bafe, which x ( l ~) — >t = 2268 folid content, as bctore. We may meafure the fruftum of a cone the fame way, only by x the folid content, via. by 11 = 24948, and 'VV" I 7% 2 > ^ folid content of a fruftum, as above: but this way will not be fo general where the bafes differ, as pohgons and the like. Suppol'e we are to divide the whole cone as above = 1S104 into two = (hares, what length mail be cut off? It will be as the whole content is to the cube of the whole perpendicular, fo is i the whole content to the cube of the perpendicular to be cut off from the top. 1810 4 c 4x4X4 1810.37 : 64 : 905.143 64 3620372 J430858 Feet 1810.28)57929.132(32 = 3.18 to cut off from the top. 362O79 OOOI For Froof we mud try what will be the diameter of the bafe of that part cut off by faying as 48 inches, the whole height, or rather 4 feet, is to 12 inches, the bottom, :: 3.18 feet to 9-54 — diameter: therefore, IOOI.I 27 _ 9.54 X 9.54 = IOOI.127, and- 71.5 fuperficies of the bafe, 71.5 X 12.66 inches = to f the height, itVill produce 905.19 = to f the content of the whole cone required. Perfpcfl'ri! OF A R CHITECTURE. 7*9 Chap. Perfpe&iVe is a branth of the Op ticks, T-jErfueftive aerial, is a proportional leffening the faint (hades and colours of a I picture when the objefls are fuppofed to be at a very great drftance. Perfpefllve lineal, (hews the diminifhing of thofe lines in the plan of the ptdture according to the remote reprefentations of them. Perfpeaive practical, is the method of delineating that which is apparent to out fight, with a tight conception of the forms of the objefls. Perfpedive fpeculative, is the knowledge of the radons of different *PP “ 3 of certain objeds, according to the various pofitions of the eye, vm. as if the ob- jeds were viewed through a diaphanous or tranfparent plane, perpendrcular th ground, or bafe-line- From the confideration of this may the reafon of all the following figures be drawn. Fig. I. Shews a fquare fuperficies put in perfpedive, with an explanation of the terms made ufe of. The fquare being viewed in the center, one half laid down, as in the plan, is fufficient. A D is the ground-line or plane whereon the fedion-line or tranfparent perpendw cular plane is to ftand. B C is the fedion-line or tranfparent plane, perpendicular to the faid ground-hne. D is the point of diftance on the ground where the perfon (lands to view the object. E, the point of fight or height of the eye viewing it From this draw the Vifualravs to the plan on the ground-plane . a ; and where they cut or interfed the fcflion XC, marked I a, will give the true depth or length of the fquare, fore- (hortened I X 1 a 2 2, as is (hewn by carrying on the level occult lines, horizontal to ,hc ground-plane. From D draw the ground-rays from both corners of the fquare of the plan . a, and where they interfed the fefl.on-l.ne X B, . * g-s the b eadth of the fquare in its front and behind, which is here transferred to D put- ZTa, , on the right and on the left of D, from which carry up perpend,cular lines and they will give the four points 1 1 and 2 2; from which right lines muft be drawn, which combats the fquare fuperficies forefhortened : and by this plain method the mod intricate figures may with great eafe be put into perfpefl.ve. Fig. 2. Shews the fquare put into perfpeflive viewed upon the angle. D F is the ground-line. A B the feflion-line, where the radial lines from each center drawn to the point of light E interfed:- Ffom T' 7 20 A COMPLETE BODY Book X. From the point of fight E draw the radial lines to the plan marked I 2 - • and -- - - - where they cut in the' feflion-lihe i 2 3 will give you the forefhortened length of the figure 1223. Then lines drawn from the point of diftance F to the angle of the plan 2, where interfefts in the fe‘fiioh r line A D, marked 2, gives the breadth of the fhntre, as is transferred right and left of F, 2 and 2. The figures with which the plan is marked are put on the line of feflion to fhetv their correfpondcncy. Fig. 3. Shews the manner of putting a cube into perfpeflive by the firme eafy rule. As in the firft figure it is faid the vifual rays interfefling the feflion-ime C B, gives the lengths or depths of the fuperficies, muft be faid here the line of feflion which give the heights of the objefl as it appears to view: fo that it may in general be called the feflion-line for taking the lengths and heights of all objefts. F D is the ground-plane. C By the perpendicular plane or fed ion-line, Fj the point of diftance. E, the point of light. G, half the plan of the cube, it being viewed in the center: H, its elevation. I, the perfpedtive appearance. Fig. 4. Is a hexagon put into perfpetftive. Fig. 5. Shews how to delineate a circle in perfpeflive, viewed in an oblique poiition. As in the former figures, firft draw the ground-line D F, where F will be the point of diftance, and E F perpendicular to F D. E is the height of the eye or point of fight. Let your circle be drawn below the ground-line fo much as you would fee it obliquely," then draw a perpendicular line through the center of the circle, half of which circle divide into fix equal parts : the whole into twelve. Let perpendicular lines be drawn from them to the ground-line, and from thele parts given upon the ground-line 10 11 12 and 1 2 3 4. Draw radial lines to the point of fight E, and where they interfefl in the feflion-line D C will give the depths of every divifidn of the perfpeflive circle: Then radial lines drawn from the point of diftance F to the feveral divifions on the circle E, where they cut in t' : fefiion-liue A D will give the refpeflive breadths as marked with numerical figures, and transferred upon the line F D, and from thofe divifions let dotted lines L. drawn perpendicular fill they meet the tipper parallels, will fiiew theft the points of the perfpeflive circle, as the correfponding figures direfl. T^ien a curve line drawn from eat h gives the peripeflive appearance. t«k*l OF ARCHITECTURE. 721 ATE. Chap, |> ^rv y S a building put in perfpe&ive where there are many breaks feen obliquely. 1 Here the fedtion-line is placed clofe to the front, fo that there will be no fore- fhortening to the extreme breaks: the height of the whole front, as well as the par¬ ticular dimenfions of the windows, may be put by the fame fcale upon thofe breaks by which the geometrical plan is drawn: and from every part of the front draw the ground-rays to the point of diftance D, where they interfedl the fedtion-line B X. they will, in like manner as in the former examples, give the principal breaks and angles as marked with the numerical figures 1 2 3, &c. to 13, from which figures draw perpendicular lines, and they will determine all the breaks, angles, windows, &c. as is feen by the correfponding numbers. D X A is the ground-line. X D the diftance, equal to the width X B upon the fe&ion-line. C X B the fedtion-line. E the point of fight. ATE. II. S a building put into perfpedtive, viewed upon its angle or quoin (6) which quoin {landing clofe to the fedtion-line B X will not be forfhortened j fo that the height of the windows and other parts of the fronts may be put by the fame fcale by which the geometrical plan is drawn, as in the preceding plate. On the bafe-line A Q_ make XI on X C equal to I I on A will give the depth of that angle at I and X 10, on X C equal to 10 jo on the line A will determine the depth of the angle 10 ; a line then drawn from 6 to 10 continued till it interfedts the horizontal-line, gives what is called the accidental point of fight (N) to which all the vifual rays mull tend on that fide the building : in like manner, a line drawn from 6 to 1, and continued till it interfedl the horizontal line (o) gives the point for drawing the vifual rays to on that fide the building. Here the interfedtions are marked on the fedtion-line with figures 123, &c. and as the plan is figured, fo are the rays upon the {edtion-line, which {hews their cor- refpondency. By this fimple method (preferable to many words) the whole art of perfpedtive is rendered very eafy. N° 77. 8 X CHAP. 722 A COMPLETE BODY Book X. CHAP. II. Menfuration. T HERE remains now to compleat the defign of this work only the article of menfnration; with the prices of materials. Thefe naturally come under con- fideration one with the other; and we fltall lay down the whole in a plain and familiar manner. The number of bricks required to a given quantity of work is at this time per- feflly known; and from this may be deduced the price of any part of a building, or of the whole, fo far as brick-work is concerned, with the greateft eafe and certainty. The cafe is no way different in refpedt of the price of materials in all the other confiderable articles of building ; and therefore with the general price firft afcer- tained ; and the quantity required to a given meafure known, arithmetick gives the produdt, or whole price. This is familiar, and is in the reach of every capacity. It requires no particular talents in the builder, nor any knowledge in architeaure in the gentleman, fie who intends to build may from his meafures thus know his expence in all the great articles. We fhall here enter upon them at large; and to be the more ufeful, fhall con- fider them feverally; fir ft in general terms, then in the particular eftimate of one of thofe buildings of which we have given the plan and defign in the preceding part of this work. We fhall begin with the brick-work, and thence proceed to the feveral other articles. Thus will be underftood with eafe the menfuration and price of mate¬ rials in one defign; and as we have given plans with fcales to them, the fame method will give fo far the menfuration and price of any other building in this work or elfewhere. We A OF ARCHITECTURE. We JJjall thus give Menfuration at large ; S far as is ufeful to architecture and praCtifed in the meafurement of the fe- veral artificers works in the conftrudtion of buildings. Of Brick-work. SuppofeaWall was to be built ioo feet in length, and whofe depth from the foundation to the firft fet off above ground be 3 feet, and thicknefs two feet three inches, and from the faid fet off to the top of the wall be 12 feet, and one foot ten inches thick, what quantity of rods will be contained in this wall ? Note, 272A feet (one brick and half in thicknefs) is a rod of brick-wor-k ; that is, 16 feet 6 inches, the length of a rod, X by 16 feet 6 inches = 2 72 A feet, the rod. Now, to meafure this wall, take the dimenfions and place them one under the othe r in manner following: in the fecond column put your dimenfions of the lengths and heights of the wall, and in the firft column place the number of bricks the wall is thick, as in the firft inftance 100 feet is the length, three feet the firft height from the foundation, whofe thicknefs, two feet three inches, is equal to three bricks in length: therefore in the firft column you place the three bricks on the left fide of the dimenfion 3 and if any dimenfions are required to be repeated three or more times, the number of times is fet againft the dimenlion in the third column, on the right. The fourth column is the contents of each dimenfion. Example. Length Firft height jft. 2d. 3d. Feet. In. 300 3 24 - 4th Feet. In. 300 o Foundation. From fet off to top of Wall. To abftraCt the above contents in the common method, draw two columns, one for abftradting the 1 4 brickwork into, and the other for one brick thickneffes, thus: Then take the 300 feet, which being in thick nefs 3 bricks, will be repeated twice under the head of 1 brick and 4- work, and the 1200 feet being 2 bricks and 4- will be placed once in the 1 brick and 4- and once inthe 1 brick, as 1 brick ! and 1 brick makes the 2 bricks and 4. Add up the 1 brick -4 work will be 1800 feet then take A of the contents of the 1 brick which reduces that to 1 brick and 4 thicknefs and add it to the 1800 feet gives 2600 feet, that divided by 272, the feet in a rod, its contents will be 9 rods 152 feet, as above. 1 brick 4- 1 brick Feet. In. Feet. In. 300 0 1200 0 O O O 1200 O 400 0 — 400 b 18co 0 8co 0 -[« II 0 0 00 of 1200. 7 2 + A COMPLETE BODY Book X This is the common method long in practice, which we {hall have occafion to repeat throughout the whole, but may be done another way, as will be {hewn in fome example to follow, where the manner of meafuring groind-arches is {hewn. We fhall now proceed t'o make a calculation of the-feveral artificers works as will be required in the conftrudtion of a regular building, and for that purpofe will fix as an eafy introdudtion upon the plain defign in this work plate 37, which extends in front 74 feet, part of which edifice only rifes two ftories, and part only one ftory, which are called leanto’s or fheds. Under the two parlours A A will be cellars feven feet high. The ground-floor will be eleven feet high, and the attic fiory eight feet high. We fhall firft begin with the digging out the ground for the foundationwalls and cellars; whofe dimenfions may be taken by the fcale prefixed, and will be as follows: Feet In. Length of front 45 o Back front 45 o End walls 1 >5 Stair-cafes walls j ^ 3 5 ° 45 Iengtl width depth Feet In. length. width. 1 depth. 661 foundation to be dug for the footing to nil the walls of that part of the building which is to be carried up two flories above ground. 0 earth dug out for making the cellars and flairs. 178 o length. 2 o width. 356 o Digging the foundation one foot deep 1 o depth - 4 - 27)7252(3 to all the walls of the leanto’s. 268 yards 16 feet. Thefe dimenfions X their length by the widths, and what they produce x by their depths, gives to each dimenflon its contents of cubical feet; then the whole added together, as above, will be 7252 feet 3 inches, which — by 27, the cubical feet in a yard, gives the number of yards, 268 and 16 feet. Note, 3 feet is a yard X by 3 zr 9 x 3 = 27, which makes the cubical yard. We {hall now proceed to the meafurement of the brickwork, and lay down the dimenfions in form and manner as taught in the firft example ; with this difference only, that we will add one column more in the margin to the right hand, for the collecting together feveral lengths of walling that will come under one and the fame heights and thicknefs, in order to lelfen the number of dimenfions that would be required if taken feparate. Length OF ARCHITECTURE. Length co- le&ed. Feet In. 44 -° ‘j 44-0 i 5 -o 15-0 ifll 2d to 1 Feet In. 3 d 18-0 0-9 15-0 9 ll8-o 7 -o 15-0 7-0 26-0 8-0 6 - 7'9 6 -. 3 ° 3 d Feet In. 88-6 22-6 826-0 210-c 208-0 3 - ° 4 - o 38 15-° Feet In. I 18-O 20-0 I O4-O 139-6 2 36-0 24-O Chap. L The footing or foundation to the four outward walls cf the cellars. Ditto to the crofs walls of the ftair-^cafe. The four outfide walls in height of the cellar-dory. Stair-cafe walls in ditto, height. Add the break in the front or middle. Add for breaks to the chimneys. The deductions from the above dimenfions will be the door-ways and recedes in the carriages for chimneys. DeduCt openings to doors. DeduCt recedes in the bre..ks that carry the chimneys. 570-oFlat bride paving. From the ground-floor to the flone-corntce. 26-0 20-0 34-o 2-6 15-0 20-0 5-6 20-0 5-6 8-0 7-0 3-6 3 -' 6-0 Feet In 2360-O 520-0 260-O 85-O 6co Length of the front, back and end walls in height of the two Storys. Add the middle break. Timpan of the pediment, which is the length of the bafe-line by half the perpendicular. 54-0 Crofs walls to the dair-cafe. 330-0 Add the bread to the three chimneys, -o Shafts of chimneys above the roof. 4-6 DeduCt entrance door. N° 77. DeduCt in fide doors. * 8 Y It 726 Book X- A COMPLETE BODY ff it In FeetI.:. ill 6-0 3 -° 60 3 -° 6-o 3 -° 3 -° 3 *° 4 72-0 2 36- | 2 36-0 3 2 7 _c Dedudt doors in dair-cafe walls, Dedudt the windows on each fide the door, middle break, Dedudt on each fide the break. Deduct attick windows in the middle break. Dedudt attick windows on each fide the break. As thefe are all the dimenfions of the brick-work contained in the principal part of the building, we now come to fee what more there will be in the lower parts, called the leanto’s. Feet In 16-6 16- 6 15-0 J 1-0 J 1-0 17- 0 87-0 87-0 174-0 Feet h 1 74 '° 2 | '-9 I ' 74 -o ii 12-0 120 6-0 3 ° 6-0 3 -o 6-0 15-0 6-0 11 o 6-0 3 * 6 1-0 0-6 17-0 10-0 13-6 J 3 130-6 The footing or foundation to the rooms C D E F. 2088-0 From the footing up to the plate of the roof. 144-0 Allowance for breads of chimneys. 288 54 -o 180-0 45-6 19-6 340-0 202-6 Dedudt doors. Deduift the windows. Brick-work in the fpandrals over the niches, and the back part parallel to them. The fpandrals of the leanto’s D and E. Superficial rubbed and gaged drait arches to all the win¬ dows meafured on the face. The fuperficial meafure of foffites to ditto arches. Foot tile paving to the offices D and F. Dutch clinker paving to the flable F. To abdradt the foregoing particulars, columns mud be drawn as before : one for the brick and half work, and another for one brick work, and at the fide of each 3 a column OFARCHITECTURE. 727 a column in like manner for the deductions, then take the contents of your firfi: di^ j menfion, which is 88 feet 6 inches; and it being in three-brick work will be re- peated twice in the column of 1 brick i-. The next content, which is 22 6, being jn 2 brick 4 work, will be placed once in the 1 brick 4> and once in the column of one brick : and in this method the following abltraCt is drawn up from the foregoing particulars. ABSTRACT. 1 Brick r Brick j. dedufl. 1 Brick. I Brick deduft. Feet In. Feet In. Feet In. Feet In. 88-6 36-0 22-6 24-O 88-6 24-6 826-0 24-O 22 6 72-O 2 10-0 24 6 826-0 36-0 2 10-0 54 -o 139.6 27-O IO4-O 54 O 8 5-0 54-0 2360-O 36 0 600-0 1 26-0 2360-O 36-0 330-O — 260-O 36-O 88-0 375-6 13 0 - 6 27-O 88-0 l JO-6 j 8-0 2088-0 2S8-0 6612 6 18-0 180 0 132-0 deduct 351-6 351- 5 Flat brick pav¬ ing. Foot tyle pav- Dutch clinker paving. Rubb’d and gag’d arches. ~F~~t~I ' ~Feet~I ~F~'t~I "" 9)570-0 9)340.0 9)202-6 Feet In. 4. c -6 63 yds. 4. 37 yds. 7f. 22 yds. 4-f. I9-6 65 0 -r- 3)6260-0 5044-O 375-6 deduCt. 4668-6 4175-4 2087-8 20S7 8 4175-4 the 4 carried to the i brick and ■-272)8843-10 (32 rod 139 feet, the whole content of brick-work. 816 683 544 439 Paving is always reduced to luperficial yards fquare, which is three feet X by 3 — 9; there being 570 feet flat brick paving -4- 9 63 yards 4. Of foot tyle paving 340 feet -4- 9 = 37 yards 4 : and of Dutch clinkers 202 feet 6 inches 49 r 22 yards 4 feet. A bill of this abftradt will be made out at the end of the general eftimate of the other artificers works, and the prices of the whole confidered together; therefore fhall now give the dimenfions of the covering of the building, which may be either tyling or flating, but will give preference to the latter. And begin with the di* menfions of the middle roof: take the extreme length bv its breadth, the dimenfions will be 46 feet by 3 1 feet; and this dimenfion is called once and one half, the com¬ mon way of meafuring, flating or tyling: in the cafe of flating an addition is made to the meafurement-for valleys and eaves, as we fhall fuppofe the hips and ridges to be covered with lead; and that allowance is the length by one foot in breadth ; the reafon is, that the flates to the valleys are cut to their proper angle, and thofe of the 728 Book X. the eaves A COMPLETE BODY for their extraordinary lap one over the other. The dimenfion will then I 46-0 I 1 The total will be 2321 feet, or 23 fquare 21 feet, o !_o I 1 I A fquare is 100 feet, that is, 10x10 = 100. 46 138 1426 The | 7 1 3 2139 182 in valleys and eaves. 2321 The (hed-roofing over the rooms C and F, the dimenfions will be 17 feet the length of the rafter by 17 the width. I 7 "° I 2 I 1 7-o I I 119-0 *7 289 2 57S 34 add for the eaves. 6,12 feet, or fix fquare, 12 feet. 23,2 1 Hating brought forward. 29,33 which is 29 fquare 33 feet, quantity of Hating contained upon the whole. But before we leave the the bricklayer -fhall give the manner of meafuring groined arches with the greateft accuracy, as there are not any calculated in the preceding account, as well as (hew a different method of taking the dimenfions. In the laft plate is the plan and fettion of groined arches. Suppofed 27 feet fquare within the walls, and height from the fpringing to the top of the arch 6 feet 9 inches, and from the fpringing to the foffite or underfide of the arch 6 feet. To meafure the faid groined arches, take the dimenfions in the manner following: 1 9 I 27-0 length. 7 And the height being 6 feet 9 inches mull be brought into I 27-0 breadth. J bricks 6 feet 9 inches = 8 1 inches = 9 bricks. 4374 As there are three dimenfions 27 and 27 and 9 bricks, you may take 4 of either of them, and they will come to juft the fame 3 for, as 4 of 9 bricks = 6, and the total of the two firft dimenfions 729 X 6 = 4374, fo will 729 x 18 4 bricks — 13122 -f- 3, the product will be as before, 4374 feet. Again, ERRATA in the MENSURATION. Page 723, line 1, for Door read Doors. -23, for 300 read 100. 731, -5 from the bottom, for fcart'ing read rafters. 732, -1 and 2, for dovel’d read dowel'd. 7:3,- laft, for fquare read diameter. 9 % 5 ! | $ I ■— l i U I ; f; : iji * D 8 I i 1 ! 3 ! 1 3 § ^ ill « , OF ARCHITECTURE. 729 Again, 27 X 18 — j 27, will produce 486 x by the 9 bricks, the produCt will be» p, as in the former, 4374 feet. v——v- As by the above dimenfions we have taken the groined arches folid, we muft next proceed to the deductions. The groined work is 27 feet between the walls; and there are two arches each way to be taken, which are 6 feet high in the clear from the fpringing. Now, 27 will be the length and 12 feet the width for the deduction, but 6 feet will be too much for the height: it being half a cylinder, it muft be reduced to a fquare equal ; or with a five feet lath meafure the fweep, and take ^ of the fweep or arch, and it will be the proper height of the fquare or oblong. To find it arithmetically, get the half circumference of the circle, viz. as 7 : 22 "• 12 : 37.7, or 37-V, or 37 feet 8 inches, and the half of it is 18 feet 10 inches. Now, the f part of this 18 10 = 4 feet 8 inches, and 6 parts for the height of the oblong, which muft be brought into bricks. Deduction. Or take 1296 12 f bricks. Another way. Take 27 o 8 0 — 4 of 12. 324 o 4 o times 1296 o 4. o = 4 of 6 bricks. 3) 1 5 55 2 5184 reduced. 216 o 4 o times. 864 o 6 o bricks. 5184 o reduced. 5184 o reduced as before. As we have taken thefe deductions of the arches through four ways, an addition muft be made for the quadrantal femi-fpheres which were taken too much in the deductions, the meafure of which will be 161 12 oI 4 I J 44 0 4 o times. 576 o 4 o z; i of 6 bricks. 2304 o reduced. As groined arches require more art and fkill in the performance than common arches which are not groined, by reafon of the bricks being all cut to fit each other in the groins, an allowance is made to the workmen for that extraordinary labour, and this is meafured by the feet running: there will in thefe arches be 190 feet 8 inches running of groins cut. AbftraEt of brick-work contained in the groined arches. Dimenfions reduced brought forward. 4374 . 2304 add the quadrantal femi-fpheres. 6678 5184 deduCt the vacancy of the arches. 272)1494(5 rods 134 feet. 1360 N Q 78. 134 8 Z Having 73 u Book X. A COMPLETE BODY Having gone through the bricklayers work, the next in courfe will be the car. penters, and the firft parts to be taken are the door-cafes and doors in the cellars, and lintels over thofe doors. To meafure the door-cafes take the extream height of the Tides and add to that the length of the head; which will make a dimenfion of 20 feet 8 inches, the length, and whofe fcantling will be 6 inches by 4 inches: and as this kind of work fhould always be reduced to cubical feet, the dimenfion will be Fir door-cafe to the two doors, framed, plained and rabetted. Feet In. 20 S 6 Fiet In. Parts 4 610 8 4 ° 6 3 - O O 3 0 1 0 3 3 ° Oak cells to ditto. Rough fir in lintels over the doors. Rough fir lintels that lie under the beams. The next will follow the timber-floors, called naked flooring ; and the firft to be taken is that over the three rooms and flair-cafe A A B C, which rooms being 15 feet wide and the beams or girders laying crofs that way, that dimenfion mufl be called 17 feet, as the cuflomary way is to allow one foot each way for wall-hold j and the joift lying the contrary way, 6 inches at each end is allowed extraordinary for wail-hold ; therefore the two rooms A being 15 feet each way, the dimenlion will be Naked floor to the rooms A A, the girders of which will be 12 inches fquare, binding joifls at about 3 feet ; a part will be 9 inches by 4, the bridging will be 4 inches fquare, and the ceiling-joift 3 inches fquare. Ditto to the room C. Feet In. Feet In. 17 0 j6 O 2 544 0 O O | j 2 55 2 9 0 11 0 99 0 Ditto to the flair-cafe. Under the ends of all the joifls will be a plate of fir, for them to reft on, whofe length will be Feet In. 114 0 Fit! In. H 3 2 544 0 H 3 Rough fir under ends of joifls. Naked flooring, fcantlings as before to the 2 rooms over A A. Rough fir plates under ends of joifls, to ditto floors- In ordinary cafes and common buildings the beams would be but 10 inches deep, and joifls framed into them one foot a part, the depth without either ceiling, joifls, or bridgings ; fometimes they are framed with ceiling joifls, but floors framed as here calculated are the ftrongeft and beft. y * ufrr*> « aKww rjg [mrj;\w)'ji\mrAZ «. Feet In. 4 ° j 6 42 o 16 o 44 © 18 124 o 6 35 ° 0 4 34 ° 1 5 38 o 11 o 176 o 6 OF architecture. Feet In. 84 O 672 20 8 Lintels to door and windows. Ceiling floor under the roof. Trufs roofing, the beams 10 inches deep and 8 inches thick, prin¬ cipal rafters 10 inches by 7 inches at the bottom, and 9 inches by 7 inches at the top ; collar beams 9 inches by 8 inches; king poft 7 inches fquare, befides the joggles; braces 6 inches fquare, and fmall rafters 6 inches by 4 inches. Wall-plate under the roof framed.. Rough fir in difcharging pieces over the breafts of chimneys, and bond timber. 2 9 765 oShed roofing. 627 o Ditto. 22 oWall plates under ditto. In this place it will be neceffary to fhew an abftrad of the foregoing dimenfions of carpentry before we begin qn other works in the fame branch. The firfl: column will be for door-cafes, and fo on according to the different kind of works as they follow. ABSTRACT. Cube firdoor cafes planed, Feet In. Pts. 6 10 8 Cube oak Cells. Feet In. Square. J 4 6 Bill of the above. Feet In. 6108 Cube fir door-cafes planed, framed, and rabetted. j o Cube oak door cills. Rough fir lintels, difcharching pieces, and bond timber. Naked flooring. Ceiling floor. Of trufs roofing. Rough fir framed in plates to ditto. Shed roofing, fcantling, and braces, 6 inches , by 4 inches. 42 7 2 What follows in the carpentry will be the boarded flooring : in this, for the fake of giving variety, we fhall fuppofe each room of a different fort, and fhall put the prices to each, as alfo to all the foregoing articles at thcclofe of the account, where all the bills may be brought together. I Feet Rough fir in lintels, & c. Feet In. 13 6 Naked floor¬ ing. Feet In. 5 44 © 2 55 0 99 0 54 + 0 Ceiling j Trufs roof- floQrs. 1 ing. Feet In. 1 Feet In. 6,72 O | 11,88 0 Rough fir framed Feet In. 20 8 22 O Shed roofing. Feet In. 765 0 627 O 3 0 r 39 2 0 3 '4 3 84 0 29 2 42 8 . 14,42 0 Feet In. IJ o 14 o 15 o >5 ° 15 o 15 o 225 6 COMPLETE BODY Right wainfcot dovel'd floor to the ftudy. Clean deal floor dovel'd to the joining parlour. A fecond belt dovel’d floor to the other parlour. From the above there will be three fmall deductions made for the breaks of the chimneys, the fpace on which the flab lies is never dedudted, the extraordinary work, manlhip of the border round it is given as an allowance for it. The chimneys break¬ ing forward 1 foot 2 inches into the room, and their width 6 feet, will be the dimenfion for the deductions. Deduft out of the wainfcot floor. Deduct out of the clean deal floor. Deduft out of the fecond bed floor. 'The one pair of flairs floors. Feet In. 6 0 Feet In. I 2 7 0 6 O 1 2 7 0 6 O I 2 7 ° Feet In. IJ o ! 5 0 ij 0 IJ o 14 o ij o Feet In 225 o Streigbt joint floor nailed. 225 o Common folding joint floor. 420 o Rough whole-deal floors to the lofts over the flieds. There will be two deductions as before. Feet In Feet In. 6 o 1 2 6 o 1 2 7 0 7 0 DeduCt for the ftreight joint floor. DeduCt for common folding joint floor. N° 22. Steps of flairs of clean deal three feet going, including their ftrings and bearers. Feet In. 1 Feet In. | 7 6 1 1 8 o | - 2 | 120 O | 15 feet running off turned rail and baniffer 2 inches fquare- Abjlract Wainfcotdo- Clean deal vel’d flooor. dovej’d floor. Feet In. Feet In. 210 1 225 O 7 0 7 O 203 1 0 2l8 O OF ARCHITECTURE, Abft raft of the flooring , &c. Second beft dovel’d floor. Feet In. 225 O 7 o Deductions. 218 o To N° 22 of fteps of flairs clean deal, firings and bearers. 120 feet fuperficial of clean deal quarter-paces and landings, including their joifts and bearers. 25 feet running of turned rail and banifler, 2 inches diameter. MASON. Strciglit Common Rough whole joint-floor. folding deal board- Feet In. joint. ing. 22 5 O Feet In. Feet In. Dt.7 O 22 5 0 Dt. 7 0 420 O 2l8 O 218 0 A S the plinths, firings, fafcias, and cornices are here intended to be of flone, we fhall fhew in what manner it is to be meafured. All flone-work fhould be reduced to the foot cubical, and the workmanfhip beflowed on it meafured and brought into feet fuperficial, except in fome cafes of afhlaring and thin coping, which are frequently meafured by the feet fuperficial, their thickneffefs being afcer- tained. As afhlaring in good works fhould have, one flone with another, nine inches bound in the wall. What is meant by afhlaring, is, the cafing of a building with flone : the plain face is called plain afhlaring, and the ruflick bafement is called ruflick afhlaring. In the cafe before us we have none of that fort of work. We fhall begin with the flone plinth of the building ; and as it will be of different thickneffes in the wall, we will, to fave trouble of many dimenfions (which by taking every lingle flone there would be) fuppofe the plinth at a medium to be 6 inches thick, as all'o the firing and fafcia above it; fo that in taking the di- menfious coiled the whole lengths round the building, and that will be Then add together the height of the plinth one foot, the firing fix inches, and fafcia nine inches, will make two feet three inches, which fet under the length 208 feet, and 3 j under that the thicknefs 6 inches, which multiplied together will give the cubical content 234 feet. The fame length muft again be taken, and to the height 2 feet 3 inches, ten inches mull be added for the projections out of the wall, which are wrought, and that dimenfion is called the plain work. Feet In. 208 O 2 34 Feet In. 208 O 3 1 183 o 1 2 2 8 180 o 2 I 37_3 o 1 2 I N° 78. 641 4 Plain work. 569 4 Cube of the cornice. 375 o Superficial molded front. 207 8 The plain upper face of the cornice. 9 A The I'WKTI Book X. The flied roofings are coped with ftone with a a moulding on the edge, 'flic n - / "" v ’ n -' whole length of which will be Feet In. Cube. Plain upper face. Molded edge to the copeing. There will in the execution of this work be about 400 n° of iron cramps, 12 inches long each, let into the ftone-work, and run with lead to tie the joints to- gether. The flone door-cafe is compofed of an architrave, frieze, and cornice, with fcrolled pilafters. To meafure it, firft take the architrave jambs, and head, whofe length together will be 16 3 8 6 Cube of raking Pediment. Supeficial plain jambs and foflitc of architrave. 4 Sunk dowel and bond for door-cafe. Plain front, and proje&ion of Pi’a'lers. Molded front of fcrolk 735 I 3 6 J 4 6 7 6 I 3 I O 3 7 O I 6 j 7 O IO j 6 8 7 6 1 6 6 7 6 1 6 10 6 6 OF ARCHITECTURE. Feet In.P/s Plain Tides of fcrolls. Molded front of fwelling frieze. Molded front and returns of level cornice. Add the upper cima in the return. Molded raking cornice. Plain upper face of ditto. Upper face of level cornice. 946 o 6 o 6 5 10 3 8 5 7 6 11 3 Chap, r; Cube portland flep. Plain upper face of ditto; Plain front and ends. There will be two flights of ftone fteps from the parlour floor down to the cellars and they will be in number fixteen, and are to be meafured their length three feet out of the wall, and Ihould be nine inches in the wall j therefore the length of each flep will be Fret l„. Feet In. 3 9 ;6 30 o Cube of the Heps. I Iain work to the tread and rife, back front and under fide, fuppofed wrought all round. Plain end of flops. And as the practice of putting up ftone fleps is, after the walls are up and have taken their fettlements, the rnafon is allowed one Shilling for each flep letting into the wall. Chimnev-picces, according as they are more or lefs in folidity, are meafured by the foot ftip.rflcia), are brought into cube feet, and the workmanfhip meafured as in the like manner of portland, whether they be of marble or any other kind of ftone: but in this eftimate we (hall only calculate three chimney-pieces to be of flat marble, two inches thick, as they are moft in ufe j and two of Portland-ftone of the fame thicknefs. Feet A Feet In.Pi.. Marble mantle and jambs. Slips and nofings. Marble flab. 7 ^Portland mantle and jambs. Slips and nofings. Portland flabs. Rygate ftone hearths to all the chimneys. Rygate covings or cheek-flones. Here follows the AbjlraEl, which begins with the contents of cube feet in the plinth- fring andfafeiu. !935 11 Superficial molded. Feel In. Pli 375 0 96 0 1394 N° Iron 400 Flat marble chimney- pieces and flabs 2 inches thick. Fen In. 27 11 l 5 0 Portland flat chimney- pieces. Feet In. Pis. 18 7 4 10 0 18 8 Rygate hearth and covings. Feet In. Pts. 24 4 6 35 0 1 8 59 4 6 2 8 946 0 6 10 6 28 O 47 3 + 70 II 5°9 5 10 U M B A S the roof to this edifice is defigned for dripping eaves, there will be but little lead wanting, other than for the valleys, hips, and ridges; and to come at the quantity of lead, the lengths of the hips, valleys, and ridges mull be taken, which lever: 1 lengths put together will here be 160 feet, which X by 2 feet, an al¬ lowance for the width = 320 feet; and as the common allowance is 7 pounds to the fuperficial foot, 320 x 7 = 2240 pounds H- 112 = 20 hundred weight of lead in the i'cveral hips, ridges, and valleys. C. qr. lb. Lead for runn'ng the cramps to the ftone-work will be about 500 O F architecture. 737 . If, inflead of dripping eaves, gutters were made in the roof, as is pra&ifed in Chap. i. mod buildings, there would then be a necefiity for feveral rain-water-pipss to con-f- vey the water from off the building, the quantity we fhall here calculate, principally to inform gentlemen and builders of the difference of that kind of work from the_for-j mer 5 here would be wanting three flacks of pipes placed in the proper angles-of the building, each in length 32 feet, making together 96 feet in length, which, ac- 1 cording to the common fort made ule of in London, each foot in length would' weigh 9 pounds; this alfo fhould be brought into weight, and a price allowed in proportion, as will be (hewed in the bill to follow. To find out. the weight, take the given length 96 feet x 9 pounds = 864 -r 112 pounds = 7 hundred 2 quar¬ ters and 24 pounds. JOYNER. F OR fafhes and frames and wainfcoting the three rooms on the ground-floor and the two rooms over A A. To meafure the fafhes and frames, the height muff be taken from the extreme length of the frame, and its breadth from the outfide to outfide. The meafure will then be Feet In. Feet In.Fts. 6 9 3 10 6 I S 5 3 . 3 3 10 10 I46 ii 4 4 0 3°2 2 4 8 0 3 Z 0 OUO 0 0 4 72 0 Two inches wainfcot fafhes and frames boxed, with lines and pullies included. Attick windows, alfo to the houfe and fhed-buildings. Two inches deal door framed flufh on both fades to the entrance. Outfide doors framed out of two-inch deal and flufh. To wainfcot the room C in the common way, with deal fquaire-work, the framing fhould be 1 inch ± thick, and the pannels -4 inch. To meafure this room of wain¬ fcoting, add the four fides together, will be 60 feet four inches, take the height from the floor to the under fide of the cornice, will be 10 feet 3 inches, which put down as a dimenfion. Feet In. 60 4 J Feet In. U18 ; Deal fquare wainfcoting. The (hutters being of the fame kind of work, are meafured with the wainfcot of the room; but being wrought on both fides, mu ft be again meafured, and half their contents allowed for that extra work. N° 78. 9 B Feet 738 & 6 In. 8 4 12 8 I 2 3 8 J O 4 O 4 O 3 O 0 O 17 O 9 5 6 4 I 4 To finif houk be taken in t dimenfion Feet In. 62 4 IO 3 2 )3 8 6 4 12 8 I 2 3 8 IO 4 0 4 0 3 0 6 0 l 7 0 9 60 4 I 4 3 0 6 0 15 0 I 10 15 0 I 6 — — A COMPLETE BODY Feet In. Pts I 232 b 29 6 8 614 16 O 18 O 12 9 75 1 4 Half work to fhutters. Back lining and boxing to fhutters. Soffites. Deduct the chimney. Deduct the door. Architrave round the door. Deal cornice round the room. t to letter C with deal-bead and flat pannels* the framine and the pannels of dram deal; the dimenfions will bg .. Kpfnre . hut this room being a little larger, the firft Feet In.Pts. Deal-bead wainfeoting worked with flat pannels. Half work to fhutters. Back lining and boxing to fhutters. Soffites. Deduct the chimney. Deduct the doors. Architrave round the doors. Deal cornice round the room. Two inch deal doors, bead and flat pannels. Door-jambs and foffite. 22 6 Door-jambs and foffite. 638 11 23 2 b 29 6 8 6 1 4 16 o 36 o 25 6 80 5 4 36 o 27 6 To OF architecture. 739 To introduce as many forts of work in the joiners way as we can, we will calculate the next room, finifhed in the bed manner now in practice in the mod elegant buildings, which will be to wainfcot it with ovolo and plain pannels with broad margins, viz. an ovolo duck on the framing, which framing fhould be two inches thick and the pannels one inch ; and in this fort of work the rails and diles fhould be 6 or 7 inches wide, which are called broad margins. In this kind of finiflnng, a regular pededal of fome one of the orders of architeaure fhould go round the room; therefore it will make fome difference in the manner of meafurement from the com¬ mon way, as the works are of another kind. We will begin firft to drew in what manner the pededal is meafured, which in this room will be 2 feet y inches high of the Ionick order. Then 48 feet 4 inches will be the length of the Dado or plain part round the room. The height (as it goes behind its cap and bafe mould above and below) will be 2 feet, and this is called dado work in pedeftals, and fhould be dovetail d with pieces on the back to keep their joints together. Ovolo and flat pannels with broad margins, which is from the top of the pedeftal to the under fide of the cornice, allowing one inch top and bottom for nailing. Dedudt windows. Feet In. Feet In.Pts. 48 4 2 O 96 8 0 7 IO 62 4 4S8 3 4 I O'-UJ ! 0 0 2 36 0 3 0 6 0 2 36 0 4 ° 4 ° 16 0 Deduct doors. Dedud the chimney ^ Here the fliutters will be framed out of two-inch deal, the fame kind of works manfhip as the doors, and mufl be meafured feparate. Feet In 3 O 6 O 3 O 6 O 12 8 1 2 3 8 IO 36 o 36 o 29 6 8 614 Two-inch deal fhutters framed with an ovolo and flat pannels. Two-inch deal doors framed with an ovolo 2nd pannels. Back lining and boxing to fhutters. Soffites ovolo and flat pannels. The mouldings are all to be taken feparate from the other work ; and, beginning with the cap and bafe mould of the pedeftal, their lengths will be the fame as the dado 48 feet 4 inches, of which make a dimenfion and girt with a ftring, the cap mould of the pedeftal and the bafe and plinth to ditto, and put their girts together, will make one foot five inches, by which the length is to be multiplied. The mouldings to the doors and windows will be architraves only, and meafured a s before. Feet In. 4S 4 i 5 17 o 9 J« 4 A COMPLETE BODY Futh-Pu. 4 68 5 8 5 1 ° 6 3 2 4 Superficial deal mouldings to the pedeftal. Superficial deal architrave round doors and windows. Bracketing prepared for plaifter cornice. To the two rooms in the attick ftory there will only be two doors, fhutters, and a (kirting board round the rooms to receive the plaiftering for hangings. One inch and half deal doors with bead and flat pannels. One inch and half deal fliutters. Whole deal linings. Door jambs and foflites. Whole deal fklrting boards. Whole deal fkirting board to the llair-cafe. Abjlract of joiners work. Feet In. 3 0 6 0 Feet In. 3 0 3 0 2 36 0 12 0 10 5 45 0 15 0 1 6 5 50 0 112 0 6 2 45 0 100 0 6 56 0 — 50 0 2 inch wain- 2 inch 2 inch 1 inch [ fcot kibes deal doors deal doors deal Poors and frames. framed and Jhuc- and fliut- Fat fr.Pt-. Hub. tin ters ovolo ters bead 302 2 4 both fidcs. and flat flat. Feet In. p?nnels. Feet In. ,3 2 °. Feet In. 36 Q 36 0 72 O 4-5 0 36 0 IC4 O 8 1 0 72 Q Deal fijuare wainfcoting. F.rf In. I’/s. 618 5 23 2 S 29 6 8 614 6 77 3 : 8 Deduct deal Upare ivamfcdt 16 o 1 8 o 34 o 9 ) 6 43 . 3 . 8 71 yards 4 feet. Dvduft K-ad and fl-»t pan¬ nels. F are meafured and reduced to fquare yards, which is 3x3 = 9 feet fuper_ facial, and there being different kinds of plaiftering we (hall eftimate the rooms, letters C D E, for ceilings of the mod; common fort. Fed In. 15 0 14 o 17 o 10 o 34 0 10 o 3 0 6 o 34 o 10 o 340 o 340 o 18 o 340 o Common lath and plaifter ceiling, whiting included-; Ditto the rooms D E. Hard finilhing or ftucco on brick-work to the room letter E. DeduCt the door. Common rendering and whited to the room letter D. DeduCt the door. The plaiftering for the jambs of windows and chimneys will make good for the deductions. To the rooms A we will put floated ceilings, which are the beft kind, and to meafure them, take the breadth of the room each way fhort one projection of the cornice, i. e. the rooms being 15 feet fquare, the dimenfions for the ceiling will be BODY 74 2 A COMPLETE BODY Book X. Feet In. Feet In. ---- - 15 0 3 0 2 24O O Lath and plaifter floated to ceilings. 6 0 6 108 O Dedudt doors from rendering. 14 0 2 10 0 Common lath and plaifter ceiling to the ftable. abstract. Common lath and plai- ftering. Feet In. 210 O 340 O 9)760 O 84 yards Hard finilh- ing or ftucco on bricks. Feet In. 340 O Dc. 18 o 9)322 o Common TeduiEt com- Floated lath Plain plaifter co on bricks. rendering. mon j render- and plaifter. cornice. Feet In Feet In. 406 I 6 Feet In. 18 O 34O O : : 420 6 0 74 si Dc. 18 0 18 0 24O O O 93 4 1 ° 1 On s )io66 7 6 0 35 y a rds 7 feet. 118 yards . feet. 35 yards 7 feet. Rendering Deduft ren- floated. dering float- Feet In. ed. 420 0 Feet In. 920 0 3 6 0 108 0 1340 0 144 0 144 0 9)1196 0 132 yards 8 feet. GLAZIER. A LL glafs-work is meafured by the foot fuperficial; and to meafure the glafs i n fifties, the height and width of the fafli muft be taken, but no more than the glafs extends in the rabet: as here the fafh will be 2 feet 10 inches wide, it muft be taken but 2 feet 7 inches for the glafs. 5 feet 9 inches high, muft be taken but 5 feet 6 inches. Therefore the dimenfion for the lower ftory of windows will be Feet In. 1 Feetln.Pti. 5 6 2 7 CO On OJ O 2 7 2 7 S 33 4 5 2 7 2 7 26 8 4 2 7 2 7 2 13 4 2 Crown-glafs in fifties. Ditto to the atticks. Caftle-glafs in fafhes to the offices D E. Caftle-glafs in lead-work to the ftable. ABSTRACT- OF ARCHITECTURE. 743 Chap. i. A B S T R A C T. . —,—1 Crown-glafs Caftle-glafs Caftle-glafs in fa flics. in fafhes. in lead-work Feet In. Pts. Feet In. Pts. Feet In. Pts. , 85 3 0 1 33 4 5 26 8 4 13 4 2 1 ns 7 5 s M I T H. I ■-'■OR plain iron railing to one (lory of ftone fteps down to the cellars, weight 4 C. 2 qrs. 6 C. 3 qrs. weight of iron in cramps and holdfafts. 64 pair of eight-inch fide hinges to fhutters. 64 pair, of fix-inch ditto to back fhutters. 10 pair of twelve-inch PL hinges to doors. P AINTERS work, which comes the lad in finiflring of a building, is mea- fured by the foot fuperficial, and brought into fquare yards, and requires rather more care than any extraordinary judgment in the meafuremcnt, as there is no great difficulty in taking the dimenfions; for wherever the bruffi has gone the line mull be laid : therefore to meafure a room of painters work, the four Tides mull be taken for the length, as by the joiner; but the height mud be girt by a line bending it into every moulding ; fo that the dimenfion of the room C, 60 feet 4 inches will be the fame as to the joiner; but the height by girting it will gain 6 inches, which will make the dimenfion for the painting. Feet In. 60 4 10 9 6 0 4 c 2 17 0 3 0 0_ 1 0 2 4 0 4 0 62 4 10 9 6 0 4 0 17 C 3 48 o Add for the back and edges to the fhutters. 4 3 Back edge to the architrave. Jambs and foffites to windows. Deduft the chimney. Painting to the room A. Add for the back and edges to the fhutters. 8 6 Back edge to the architraves. 3 2 0 16 o 744 - Book X. A COMPLETE BODY Ttitln.Pli. Jambs and foffites to the windows. Jambs and foffites to doors. Painting to the wood cornice. Dedudt the chimney. 1 To the room wainjcoted with ovolo and Jiat pmineh. feet In.Pit. The height will girt io feet io inches. Add for the back and edges to the (butters. Back edges to the architraves; Jambs and foffites to windows. 16 o Dedudt the chimney. 150 yards may be allowed for painting the one pair of (lairs rooms and back officesj 16 N ' of fafh frames painted three times. 132 N of la(h fquares ditto. Fut In. 16 O r O 16 O 1 IO 60 4 1 4 4 O 4 O Feet In. 62 4 IO 10 6 0 4 0 ‘7 0 3 l 6 0 I 0 4 0 4 0 ABSTRACT. Painting 3 I Dcdudt from times in^oil painting 3 common co- times in oil. 48 o I 2 37 6 3 8 Decuit 48 o o 16 N 1 ’ of fafh frames. 132 N° of fafh fquares. 9)2328 3 8 Add : 258 yards 6 feet. 408 yards 6 feet. Having z OF ARCHITECTURE. 745 Having (hewn the manner of meafuring the feveral artificers works, and the me¬ thod of abftrafting the quantities into general heads, we fhall conclude with drawing up the regular bills from thofe abftradts, with prices put to each article as the works may reafonably be done. The firft bill therefore will be for digging out the foundations. See page 724. DIGGER. Yards Feet To 268 16 cubical of digging out the foundations and clearing away /. s. d. the rubbifh, at ir. 8 d. per yard, - - 22 7 8 BRICKLAYER, page 723. Rods Feet 3 1 39 of brick-work reduced to 1 brick and 1 in thicknefs, including the facing the front with grey flock bricks, two loads of lime and two loads of fand to a rod, at 5/. 15^. per rod, - - Feet Riches 65 o fuperficial of rubbed and gaged arches to the windows, at is. 4 d. per foot, - Yards 63 3 of flat brick paving, at is. 6 d. per yard, 37 7 foot-tyle paving, at 35. 9 d. per yard, - 22 4 of paving with Dutch clinkers, at 3*. 6 d. per yard, - Chap. 1. 184 16 4 6 - 4 15 318 64 - Note, The common price of bricks are. /. s. d. 014 o Place-bricks per thoufand - Grey flock bricks per thoufand - - -100 Red flock bricks per thoufand - - - 1 10 o Plain tyling with oak heart laths will be per fquare 1 6 o Old plain tyling rip’d, new laid, and the defective tyles made good, per fquare - - - o 16 o New pantyling, pointed and laid in lime and hair, per fquare - - - - -110 Old ditto, rip’d and new laid in lime and hair at per fquare - - - - - 0100 Dutch glazed pantyling at per fquare - - 1150 Four thoufand five hundred of bricks is the common allowance to a rod of work. SLATER, page 728. Square Feet 29 33 of Hating done with Taviflock flates, laid in good lime I. s. d. and hair, to a full gage, on boards, at 1/. 14 s. per fquare, - - - - - - - 49 J 7 2 * Note, If laid on laths, the laths included will be 1 /. 125. per fquare. Slating with Weflmorland flates, which is the beft covering for capital buildings, a nd not inferior to lead for its ufe, if well performed, is done for 2/. 1 $s- P er iq uare - N° 79. 9 D C A R P E N- A COMPLETE BODY 73 '- N T E R, page planed framed, and rabetted, 14 C A R P E Sg. Feet In. Pts. 6 10 8 cube fir door-cafes, at 2 s. 6 d. per foot - - - - - o 17 2I 1 o o cube oak door cills at 3*. 6 d. per foot - - 036 158 2 o rough fir lintels, difehargingpieces, and bond-timber, at is. SI. per foot, - - - - 13 3 74 o o naked flooring, the girders 12 inches fquare, bind¬ ing joifis 9 inches by 4 inches, bridges 4 inches fquare, and deling joifts 3 inches fquare, contain¬ ing 25 cubical feet in a fquare, at 1 s. lod. per foot cubical, will be 2/. 5*. io*/. per fquare, - 33 o 11 6 72 o o of cieling floor to the roof, joifis 9 inches by 2 inches and 4, and cieling joifis 4 inches by 3 inches, containing 12 cube feet of fir in a fquare, will be 1 /. 2 s. per fquare - - - - - 7710 ji 88 o o of trufs roofing, containing about 28 cubical feet, at the rate of 2 s. 4 d. per foot cubical, will be 3/. 5_r. 4 d. per fquare, - - - - - 3S 16 i-£ 42 8 c rough fir framed in plates to ditto, at is. 8 d. per foot 3 u 14 13 92 o o fhed roofing and its cieling floor, containing 24 cubical feet to the fquare, at 2/. 4 s. per fquare, - 30 12 54 We have here fet down the cubical feet of fir contained in a fquare of the diffe¬ rent kinds of works in the feveral floors and roofing, to inform the reader that to come at the juft value of a fquare of naked floor and roofing, he muft firft calculate the quantity of timber contained in it, ptherwife the price he charges may be at a great uncertainty. This method of meafuring naked floors and roofs by the fquare is of very little ufe, fince it is a much better way, and more correft to take the dimenfions of all the timbers and abftrad them into one general head of cube feet, and a price put to it according to the nature of the work. Cube fir framed in naked floors is worth il. ior. per foot. In trufs-roofing, a larger price is allowed for the extraordinary labour in fram¬ ing, and the letting in of bolts and ferews. All fir laid in walls, rough and not framed, is worth per foot cubical Oak in the like manner ufed rough and not framed Oak framed in floors and partitions - Page 733. Sq. Feet 1 2 3 right wainfeot dowel’d floor, at 5/. ior. fquare, 1 2 18 of clean deal floor dowel’d, at 5/. per fquare, 1 2 18 of fecond beft dowel’d floor, at 3/. ror. per fquare, 2 18 beft ftreight joint floor nailed, at 2/. 55. per fquare, 2 18 of common folding joint floor, at 1 7 . ior. per fquare, 4 20 rough whole-deal boarding, at il. 4 s. per fquare, 3 s. d. 1 8 2 8 3 0 s. d. 1 3 3 i ) 18 0 7 12 7 i I- iS ! 5 4 i ; 0 Si 22 n° OF ARCHITECTURE. 22 n 9 of fleps of flairs clean deal, with firings and bearers, and 3 feet going, each $s. 120 feet fuperficial clean deal quarter paces and landings, in¬ cluding their joifls and bearers, at is. per foot, 25 feet running of turned rail and banifler, 2 inches diameter, at 2 s. per foot, - -- -- -- - MASON, page 733. Feet If2. Pis. 935 1234 5°9 o cubical of Portland flone, at 2 s. per foot, - - 93 o fuperficial plain work of ditto, at 10 d. per foot, - - 51 10 fuperficial molded Portland work, at is. per foot, - - 25 - 3 N° 400 iron cramps let into flone work, 2 d. each, 70 11 o fuperficial of flat marble in chimney-pieces and flabs, 2 inches thick, at 6 s. per foot - 47 3 4 flat molded white and vein’d Portland chimney-pieces, 2 inches thick, at j s. 4 d. per foot, - 59 4 6 fuperficial ofRygate or fire-flonc in hearths and covings, at 1 s. per foot - PLUMBER, page 736. C. qrs. lb. 2156 l 9 4 * /. s. d. To 20 o o of fheet-lead (cafl or mill’d) in hips, ridges, valleys, &c. to the roof, carriage and the labour of laying included, 18 s. per C. weight, — ** - 18 0 o To 500 lead delivered for running of cramps, at lys. per C. weight, - - - ----450 7 2 24 of lead in rain-water ciflerns and rain-water pipes, that convey the water from off the building, folder and workmanflijp included* at 1 /. 3 s. per C. weight. It has for a long time been, and is, a common cuflom for the plumber to charge rain-water pipes by the foot running meafure, and the ciflern heads at a certain price each, without afeertaining the weight of either; but in publick offices where th e value of materials are carefully looked into and well adjufled, rain-water ciflerns and pipes are brought into weight, and done at the rate of one pound three (hillings per C. weight, which is five fhillings more per C. than is allowed for lead in flats and gutters, on account of the extraordinary labour in the pipes and ciflerns: fo that unlefs the builder contracts with his plumber for all his lead by weight, he will often find himfelf greatly impofed upon. JOINER, page 737. Feet In. Pis. 302 2 4 two-inch wainfeot fafhes and frames, including lines /. s. d. and pullies, at 2 s. per foot, - - 30 4 5 104 o o two-inch deal doors flufh on both fides, at is. per foot, - - - -- -- 54O 72 o o two-inch deal doors and fhutters ovolo and flat pan- nels, at 1 s. per foot, - - - - 3120 81 o 0 one inch and half deal doors and fhutters, bead and flat pannels, at 9 d. per foot, - - » 309 .^:rc ■ 74-8 A COMPLETE BOD Y Yds. Feet In. Pis. ... ! s : "-, 7 [ 4 o o of deal fquare wainfcoting, at 2 j. 6 - - 0 10 5 t 132 8 of rendering floated, at $±d. per yard, - - - - 3 o 1 14 Ii8 4 of lath and plainer cielings floated, fir laths, at ij. per yard, - 5 18 4 168 fuperficial plain plaifler cornices, at 6 d. per foot, - - -440 Note, Hard finifhing or flucco on oak laths, with three coats of fluff, and trowel'd fmooth, may be done for 1 s. 9 d. per yard. GLAZIER, page 742. Feet In. Pts. >■ *■ d - j 18 7 5 fuperficial crown-glafs in fames, at 1 s. 4 d. per root, - 7 10 2- 26 8 4 caflle or common glafs in fafhes, at 9 d. per foot, - - - 1 o 04 13 4 2 caflle glafs in lead work, at 7 d. per foot, - - - 0 7 9 f SMITH, page 743. C. gn. lb. s - f. 4 2 o of plain iron railings to flone flairs, at 34 per pound, - 7 17 6 630 of iron in cramps and holdfafls, at 4 d. per pound, - - 12 12 o 64 pair of eight-inch fide hinges to fhutters, at 1 s. 3 d. per pair. 3 *9 4 64 pair of fix-inch ditto to the back fhufiteft, at \od. per pair, 2 13 4 10 pair of twelve-inch PL hinges to doors, at 35. bd. per pair, 1 15 0 PAINTER, page 744. Yds. Feet 1 *■ 408 6 of painting 3 times done in oil, done colour, at 6 d. per yard, 10 4 4 16 N° of fafli frames 3 times done, each zs.od. 132 N Q of fafh fquares 3 times done, each l-i d. 18 8 016 6 INDEX, £ I N 1) E X. A. Of propriety in the ornaments 586 A I R page q 7 Of fuiting the upper work totheroom 589 jT\ ./Egyptian building 33 8 Upper work 591 Arithmetic <597 Decorations 593 Attick order 2 +5 A rich continued chimney-piece 595 B. The ornaments 597 Brick 57 Chimney-pieces fimple with various orna- Bridges e 57 ments 59s -fixed 6 S 9 The ornaments 601 --wooden 66 1 Chimney-piece, a marine one 603 -of one arch 66 2 Decoration of this chimney piece 604 The conftrudtion of fuch a bridge 664 A fmall chimney-piece with fculptured Bridges wooden over large rivers 66, mouldings 606 .— Stone 667 Decorations of fuch a chimney 607 The form and covering of arches Bridges ftone, duration of -ftone, conftru&ion of Dividing the water Bridges without decorations • magnificent 669 671 672 6 75 676 678 Caryatick order 248 Chimneys 124, 559 Chimney-pieces 553 .-general ftrudlure of, and their feveral materials ibid. Chimney-pieces fimple and continued 555 .-various ornaments of 556 -.-appropriaton of the materials to p 557 Chimney-piece Doric 561 -difpofition of the columns 562 ------finifhing the order 563 ----Ornaments of the reft of the 564 -kinds of marble moft fit for 566 5 6 9 57 0 57 2 574 for this Chimney-piece with figures Chimney with the Caryatick order The conftru&ion of the figures The drapery Of the conftrudtion of this chimney 575 Of the materials of this chimney 576 Chimney-piece whofe foie ornament is fepulchre 577 Choice of marbles for particular chimneys 558 .-with fingle Doric columns , 579 The feveral parts in this chimney 580 The materials for this chimney 58 1 Chimney with termini ibid. The conftrudtion of this chimney-piece .582 The materials for this chimney-piece 584 Continued chimney-pieces 585 Of enriching a continued chimney 588 The ornaments of this chimney 611 Chimney-piece and wind-dial 612 Cielings 48 £ -ftair-cafe 487 -ftair-cafe with other decorations 4S9 Circular andelliptical compartments 490 Cielings of rooms and their compartitions 4 93 Decorating the compartments 494 Finifhing a cieling with all curvilinear figures 497 Decorating curvilinear compartments in a cieling 498 Of conftrudting a curvilinear divifion with fmaller fide and end compart¬ ments 499 Decorating the compartments of fuch a ceiling 500 Cielings of more expence 501 A large cieling in the true tafte 502 Divifion into compartments 5Q3 Finifhing the pannels 504 Decorating the pannels 506 Enriching the compartments ibid. Cieling with mixt figures 509 Ornamenting this cieling 515 The proper kinds of ornament 516 Decorating the fpaces 520 Cieling in a fanciful manner 521 .-for a mufic-room 522 Peculiar and appropriated ornaments 527 Cieling with mixt compartments 529 Proper cieling mixed figures ibid. Choice of the figures and their difpo¬ fition _ 534 Addition of ornaments to cover a cieling S 3 6 Cieling with a fingle compartment Of linking the compartment Of filling the central fpace Divifion of the exterior fpace Filling the fpace within the compartment 542 Ornaments Cieling fanciful and very rich The compartments The principal figures The conftruftion of thefe figures Columns .- pofition of __- diminution of . -{welling of _— variations in the heights of -- progrefiional heights of — -- Intercolumniation - general proportion of the parts of 15 t Compartition 3 2 5 Compofite order .-- bafe — -order, the fhaft of __ capital -entablature -architrave ConftruCtion of pipes and fmall drains, for the conveyance of rain-water 275 Sefipools, their ufe, proper places, and dimenfions Difpofition of columns 2 77 "54 - freeze - cornice pedeftal 222 224 22 5 226 230 231 232 2 33 2 35 192 194 195 197 Corinthian order -bafe .-order, the fhaft of the --capital — -column entire, the entablature of 202 --architrave and freeze 203 — -cornice 206 -pedeftal 209 Country feat without columns, or other ex- penfive decorations 4°5 Drawing a ground plan for this edifice 406 Internal divifion and diftribution of the rooms 4°^ Internal divifion of the plan 410 Elevation of the intended building 412 Doric order, its origin and ufe, and the dif¬ ficulties attending it 153 Bafe for the Doric order 155 Shaft of the Doric order 158 Doric capital 160 Doric entablature in general 162 Difpofitions of entablatures 163 Doric architrave 165 Doric freeze 166 Cornice of the Doric order 168 Pedeftal appropriated to the Doric order 17 2 Doors 43 8 --the dimenfions of 439 —-the elevation of 44 1 -the ufe of columns in the ornaments of 442 Doors, the ufe of terms as ornaments to 451 .-the ufe of pilafters in the ornaments of 452 Door, the conftruCtion of, in the Doric and in the Ionic order 443 Doors, the ufe of more elegant orders in 445 --the original decorations of 446 Ufe of the fanciful orders about doors 448 Doors, fymbolical figures in the ornaments of 45° The ufe of the Corinthian order in a door 453 Door of the compofite order 454 Doors, of decorating the orders for 455 -doors, pannels of 458 Drains 107, 275 ■ dry E Decorations, infide • of the orders 468 252 3°7 345 355 Materials and richnefs ibid. ConftruCtion of the column, according to the different materials 253 Difpofition of columns 254 Ornaments of carved work in the orders 256 The true proportions 258 The place of the compofite order 202 The decorations of the Doric freeze 264 The general proportions in the orders 266 Infide decorations 468 Decorations for the fides of rooms in general ibid. Practice of the antients in decorating their rooms 47° Introduction of columns into rooms 471 Introduction of pedeftalsin the finifhings rooms 47 2 Origin of the ornaments in plain rooms ibid. Decorating the upper part of the wall 474 Of the modern decoration of rooms, deduced from the antient practice 475 Difcharge of water Elevations -without the orders -with the orders -and their general proportions 307 Particular proportions of parts in an elevation 309 Elevation, ornaments of 311 Exterior ornaments of houfes 31 3 ConftruCtion of the exterior part with refpeCt to ftrength 315 F Finifhings, infide 47 Fir 73 Floors 122 Foundations 113 Galleries 333 Garden 6 36 The great beauties of nature 639 Buildings adapted to particular occa- fions ibid. Places for feats in gardens 641 Choice of ground 642 Difpofition of ground 643 Buildings proper for fuch a garden 647 Pavilions Difpofition i N D X. Difpofition of flower-beds page 651 Water 653 Temples in gardens 655 Geometry 7°7 Granite 55 Greek houfes 34 1 Ground t lo 9 Preparing ground for foundations 111 Laying the foundations of buildings 113 H 335 289 ibid. Lead Lime Lobbies London houfe M page 86 79 335 349 Halls Houfe, coftru&ion of Houfes Edifice of a proper ftrength 291 Proportioning the feveral parts of a houfe with judgment 293 Difpofition of parts in an edifice 296 Edifices without columns 297 Drawingthe ground plan of an edifice 299 Circular figures, and their ufe in build¬ ing 3 QI Angular figures, and their propriety in buildings 303 Mixed figures and their ufe in building 305 Houfe with Ionic columns on the parlour floor 413 The plan 4*4 The compaction, or inner divifion, of the plan of the houfe 416 Compartition of the wings 417 The elevation _ 4 J 9 Conftru&ion of a houfe with a Angle row of Ionic columns over the par¬ lour ftory 4 21 The out-line of the plan 4 22 The diftribution of the ground within the out-line of this plan 424 The compaction of the plan 42 5 The elevation 4 2 7 Models for the compaction, or inner divifion of a houfe 317 Door of a houfe 319 General diftribution of apartments 321 Compartition or inner divifion of the houfe 3 2 5 Diftribution of rooms 327 Proportions of rooms 329 Galleries 333 Halls, lobbies, and paflages 335 /Egyptian manner of building 338 Houfes of the antient Greeks 341 Houfes of the antient Romans 343 I Intercolumniation *49 Ionic yif - -- order 1 bid. - bafe r 77 Shaft of the Ionic column 179 Ionic capital 1 8 1 Entire entablature in the Ionic order 185 Ionic architrave and freeze 186 --cornice *88 -pedeftal * 9 r Iron 88 74 127 129 ibid. 131 Marble Materials ufed in building Poryphiry and Granite Tiles Menfuration Mortar O Oak Orders Orders in general Origin and number of the orders Proportions of the order Origin of proportions in the orders, and the antients obfervacion of them J3J Orders, their diftribution 355 Difpofing the Doric under the Ionic order 35? Placing the Ionic under the Doric or¬ der 359 Manner of ufing the Ionic and Corin- thianorders in a building 361 Conftru&ion of the Ionic on a lower ftory 363 Choice of parts for theCorinthian order in a fecond ftory 366 Choice of Corinthian capitals 368 Ufing the Ionic order alone in the front of a houfe 370 Raifing the Ionic iri a Tingle ferieS over an arcade 373 The conftru&ion of the Ionic order in fuch an edifice 375 Raifing an upper ftory with the Attic 377 The ufe of the Corinthian order alone in a houfe 378 Conftrudtion of Corinthian columns in a Angle feries 383 The ufe of the compofite order in a Angle feries 39 ° Orders, lefler 245 Order, Attic 245 - Perfian 246 -Caryatic 248 -.Termini 250 P Pannels of doors +58 Paflages 335 Pavilions 649 Perfian order 246 PerfpedUve 719 Piers 623 Propriety of piers ibid. Conftru&ion of piers 626 Manner of ufing the Corinthianin a pier 629 The conftru&ion of a Corinthian pier 630 Working the order 633 Difpofition of the column 635 Pilafters ^ 2 37 The proje&ure of pilafters 239 Diminution of pilafters, and the placing their entablatures p a g e 2 4° The fluting of pilafters The capitals of pilafters Poryphiry Prices of work Proportions Roofs Roman hou Tufcan order bale 242 2 43 55 724 2 5 S The lhaft of the Tufcan column page 212 213 121 343 Sand Sciences Arithmetick Addition Subtraction Multiplication Divifton , ' * The Golden Rule; or Rule of Three704 Seflpools Sewers Situations Slate Soil Elevation of ground Marks of a healthful fituation Stone T Temples Terms explained Termini Timber Town-lioufe of the greateft elegance The ground-plan of the edifice Additional rooms - Defi»n for a houle whofe front, 66 feet, is equal to once and one half the depth 44 feet 3 ° o 33. Defign for building, whofe front is equal to twice its depth - - 314 34. Defign of a houfe 24 feet in front, fhewing the propriety of placing the entrance-door in the middle - " " •" 3 I 9 33. Defign of a building whofe plan is near to a fquare where the two back rooms and ar¬ cade are propofed to rife but one ftory - - - 328 37—37. Plan and elevation of an ./Egyptian banqueting room - - - 338 Dcfio-n f° r a parfonage-houfe at Rookby-park in the north riding of the county of York, the feat of Sir Thomas Robinfon, Baronet; defigned by himfelf, and en¬ graved by Foudrinie - - _ 34-8 Defign for a garden pavilion with a portico - - ibid. A fmall farm-houfe - - - - - 349 Elevation of a houfe built on Clifton-hill near Briftol: the feat of Paul Fifher, Efq; 355 A Plan of ditto - - - “ “ 354 Plan, and 4;, The elevation of a houfe built at New Milns in Scotland, the feat of Francis Charteris, Efq-, - - - ‘ ' 37 °> 37 1 42. Plan, with n u 49, the elevation of a defign for a perfon of diftinCtion in the county of York ------ 37 2 47—48. Plan and elevation of a defign for a gentleman near London - - 373 48. ) Plans and elevation for a town-hall, where are the courts of juftice, and under it 19 4»-( kept a market for corn - - 3^8 co .7 Plan and elevation of a building defigned for a manfion-houfe for the lord mayors 41.5 of London - - - " “ 3^9 , 2 , plan and elevation of Wrotham Tuek in Pier for dfhire, the feat of George Byng, 5 3 - \ Efq; - - 396 54 - \ Plan and elevation of a houfe built for Alexander Johnfton, Efq; in Scotland 404 55 ■) 37 ' 39 - 3 6 - 40. 4 l • 39 - DIRECTIONS ttA&e BOOK-BINDER. 56. {Plan and elevation of buiUing dcfigr.ed for Janies Murray, Efq; of Broughton at 5J.\ Kellie - - - - - - - - 412 58. {Plan and elevation of a houfe intended to have Men built eppofue Chtfterfic'.d-houfe, 59. \ May Fair - - 420 j?°' | Plan and elevation of Chefterfield-houfe, May Fair. - - 428, 43 ( 62. A door of the Dorick order - - - - - 443 63. A door of the Ionic': order - 444 6+. A door of the Corinthian order, to the weft; front of Chefterfield houfe 453 64. A door of the Compoftte order to a drawing room at lord Powlet’s, Berkley -fquare 454 66. Several deftgns of windows - - - - 460 67. The fame - - - - - - 461 68. Section of a dining room - - ... 463 69. Section of a drawing room at Richard Chandler’s, l .lq-, Burlington’s Gardens 469 70. 71. S eft ion of a hall and flair-cafe. Sir Mark Pley..ell’s, Colcll.il in Berkfiiire 476 72, 73. Section of a dinning room - 484 74. Cieling of a (fair-cafe, S r William Stanhope’s, Dover-ftreet - 4S7 75. Another - ------- 4S9 76. Ceiling to a dinning room, lord Cornwallis’s - 49 2 77. A ceiling - - * - - - 499 .78, 79. Dinning room ceiling at Sir Mark Pleydell’s - 50$ 80. Bed chamber ceiling at the fame place - - - 320 81. 82. Ceiling to the rnufic room, Chcfterfirld-houfe - - - 524 82. Dinning room ceding, Che.fterfield-houfe - - - 338 S3. Great drawing room ceiling, Chefterfield-houfe - 550 82, 83. Library cieling, Chefterfield-houfe - - - 552 84. Chimney piece to the dining parlour at George Byng’s, Efq; Wrotham Park 546 85. Chimney piece to library, C hefterfield houfe - 560 86. Chimney piece at Jame’s LumJey’s, Efq; South Audi .-y Street ... 567 87. Two Chimney pieces - - ----- 56S 88. Chimney piece to the great drawing room, Chefterfield houfe - 572 89. Chimney piece to a drawingroom, Wrotham Park - 577 90. Chimney piece, at Mr. Pitt’s, Burton-ftrect - 579 91. Chimney piece at John de Pefters’s, Efq; L lanover-Iquare - 582 92. Bed-chamber chftnney piece. - - - 590 93. Diningroom chimney piece - - - - 591 94. Chimney .piece at Thomas Fitch’s, Efq; Danbury Place 603 Another at Wrotham Pack, on the fame plate 95. Chimr.ey_piece at the right Hon. Henry Fox’s, Albemarle Street - 609 Another at William Bnltow’s, Efq; Dover Screet, on the iarr.e plate 56. Chimney piece at John Byng’s, Efq; Berkley Square - - 612 98. Piers at Colefhill, Berkfhire —-- -• -- 621 99. Piers defigned lor the Right Hon. the Earl of Chefterfield •-- 623 10:. Garden feats 640 102. Defign for a cold bath - - -- 647 103. Garden feat - ■-- 648 104. Another at the Hon. Sir Wil iam Stanhope’s, Ethrupe, Bucks 655 105. Garden feat at the lame place - - 646 106. Defign for a timber bridge - - - 661 107. Stone bridge, the Hon. Sir William Stanhope’s, Ethrupe 662 110, xii. Stone bridge, ior the R ; ght Hon. the Earl of Kiidare, Dublin - 667 no, 111. Defign for a bridge at Weftminfter - - - 674 112. The temporary bridge, at London bridge - -- 67S 112. A feflion of ditto at ditto - 679 113. A Corinthian front 680 114. Another, by J. Coufe 6S8 115. Another, by W. Proud 692 ia 6. A iront of the compofite order. And. Palladio, an upright plate, by W. Proud 696 117. Geometrical figures, by W. Proud - 708 118. A plate of perfpeiftive, with half the fquare of fuperficies 720 119. I he fame, with figures 4 and 5 - — — 9 120. The fame, with the horizontal line — — - > 721 121. The ume, with a proffile ground line — - - ) 122. Piers at Holland-houle by Inigo Jones, with the menfuration of groined arches, by W. Proud - - - - 728 Plat.s 114, n r, 116, and all after not being numbered, are diftinguifii’d by the engra¬ vers nan'/s as above, and re;erences, that the Binder cannot poftibly place them wrong. The Binder to cancel Sheet 8 Y in N’ 77, which is incorrect, and place in its room that with a * in N° 80. This Leaf not to be bound up with the Book. HHBWIKtt ri ,,.. . •- .—— -g-**- •» '■