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C C:


THE FIVE ORDERS
OF
ARCHITECTURE


THE CASTING OF SHADOWS
AND
THE FIRST PRINCIPLES OF CONSTRUCTION


BASED ON THE SYSTEM OF
VIGNOLA
SEVENTY-SIX PLATES, DRAWN AND ARRANGED BY
PIERRE ESQUIE
ARCHITECT OF THE FRENCH GOVERNMENT
FORMER MEMBER OF THE FRENCH ACADEMY AT ROME
BOSTON, MASS.


BATES & GUILD COMPANY




I                            i






F    -           -4?
PREFACE
A general formulation of the proportions of the classical orders is accepted as a valuable aid,
if not an essential, to both the study and the practice of architecture. Many such systematic
arrangements of the orders have been made, but none have been more widely or more continuously
used than that of Vignola. In the present edition of this time-honored work M. Pierre Esquie has
retained all of the features of former editions which are of especial value to architects of today,
and has added new and important material, thus rendering it the most complete and useful edition
so far issued.
The addition of the Greek orders in a consistent form with the Roman orders of Vignola is
here made for the first time. The details of stone-jointing and of vaulting, in the drawings of the
porticoes of the different orders, and the clearer and better arrangement of many of the plates are
points of superiority which can be readily appreciated.
The explanatory notes upon each plate have been carefully translated into English, and the
definitions, measurements and references to figures, scattered over the plates, have been gathered
together in a Glossary with their English equivalents.  It has not, however, seemed advisable to
give exhaustive definitions, as the only purpose of the glossary is to enable the student to comprehend the plates and follow the explanatory notes; consequently only the restricted sense in
which the terms are used has been considered. In the case of many of the terms devoted to construction (Plates LXVII. to LXXVI.) the English may not even be the equivalent of the French
in any other respect than that both refer to the same architectural form or member in the particular applications of this work.










EXPLANATION OF PLATES


PLATE I.
EXPLANATORY       PARALLEL     OF THE    FIVE ORDERS OF ARCHITECTURE ACCORDING TO
VIGNOLA; AND THEIR RELATIVE PROPORTIONS TO EACH OTHER.
An order is the combination of architectural elements
necessary to hold up the solids above an opening. When
complete the order consists of an entablature, a column and
a pedestal. The pedestal is not, however, indispensable.
Since the relative proportions of these elements must
vary according to the materials employed, or the degree of
richness desired, the resulting combinations have been resolved into five types, which have been called the Tuscan,
the Doric, the Ionic, the Corinthian and the Composite
orders. The proportions, which are here given according
to Vignola, are far from absolute, but one should not forget
that they are a mean, and that by differing from them too
much and without a reason there is risk even of absurdity.
This plate shows the parallel of the five orders of architecture given by Vignola. The proportions of the orders one
to another can be seen by the scale of heights, divided into
thirty-two parts, one part being assumed as the module.
The Tuscan, the Doric and the Ionic have the same relative
proportions, shown by the lines AA - BB - CC; that is to
say, for these three orders the pedestal is one-third and the
entablature one-fourth the height of the column. It is only
for the Corinthian and Composite orders that Vignola has
thought it necessary to change this proportion.  While
keeping the entablature one-fourth the height of the column
he has raised the pedestal one-third of a module, thus making these two orders still more elegant. This makes the
pedestal 7 modules high, instead of 6t as in the three previous orders. The module is divided into 12 parts for the
first two orders and into 18 parts for the last three.
PLATE II.
DRAWING MOULDINGS.
The ability to draw straight lines and tangential curves
with accuracy is indispensable if one would produce curves
which have a continuous sweep. This operation (called in
French raccordement) consists in so joining lines as not to
leave any break between them. The process is employed in
architecture in a multitude of ways, and especially in the
drawing of mouldings.
Mouldings are divided into simple and compound. The
principal simple mouldings are: the Cavetto, the Quarterround and the Torus. The principal compound mouldings
are the Cyma-recta, the Cyma-reversa and the Scotia.


The cavetto is, in profile, a concave quarter-circle, in
which the projection is equal to the height. An examination
of the three first figures of this plate will suffice to make
clear the method of drawing it.
The cyma-recta is a sinuous moulding, the upper part
of which is concave, and the projection of which equals
the height. It is drawn as follows: The projection AC
being taken equal to the height AB, the points B and C are
joined by a straight line, which is divided in two equal parts
at the point D. Upon the sides DB, DC of this line, construct, one inside and one outside, two equilateral triangles,
which determine the centres, 0, O' of the circular arcs CDB,
which form the cyma-recta.
The cyma-reversa is a moulding formed by two continuous circular arcs; the method of drawing will be made
clear by examination of the diagram.
The scotia is a hollow moulding placed ordinarily between two vertical supporting members. It is drawn as
follows: Given the parallels mt, XT and their tangent points
T and t, and any point in mt, as n. Erect the perpendiculars tO', Ti, nX. Take Xy =  Xn, and from y draw yi
parallel to mt to intersect Ti at i. With i as centre describe
the quarter circle TK. Extend io-=  Ki. From o as centre describe the arc KH equal to one-half the arc TK. Produce Io to Z, making oZ -  oil. Make tQ = HZ and join
Q and Z, and at the centre of this line M erect the perpendicular MO'. The point Z will be the centre for IHL and
0' for Lt
PLATE III.
TUSCAN INTERCOLUMNIATION.
FIGURE 1. Elevation of the Tuscan Intercolulmniation.
FIGURE 2. Section of the Tuscan Portico.
FIGURE 3. Plan of the Tuscan Portico.
The distance from one column to another is called the
Intercolumniation. The intercolumniation should never be
so great that the stability of the structure, either real or
apparent, may suffer, nor so narrow as to prevent the access
of light, or easy passage between the columns. In a colonnade the intervals should be equal, unless there may be
necessity to open a wider passage in the middle for a principal entrance.
Vignola, having found nothing in the buildings of
antiquity which could serve as the type of the Tuscan
order, has made it conform to the rules of Vitruvius, who
says that the height of the column is seven times its diameter, including the capital and base, that is to say 14 modules.




8


EXPLANATION OF PLATES


To draw the Tuscan intercolumniation divide the whole
height of the order into 5 parts, the upper part being taken
for the entablature and the four remaining for the columnDivide these four parts into 14, and the -4 part will be the
length of the module, from which make a scale. Next draw
perpendicular lines 62 modules apart for the axes of the two
columns. Reserving one module for the base and one for
the capital, there remain 12 modules for the shaft, which is
cylindrical for one-third of its height, and diminishes progressively for the remainder of the height as far as the
astragal, where it is 1 module and 7 parts in diameter. The
diminution of the column will be explained in a later plate.
PLATE IV.
THE   TUSCAN     PORTICO, WITHOUT        PEDESTAL.
Arches are more substantial than stone lintels and
consequently arcaded porticos are used for the lower stories
of buildings This plate shows the elevation of a Tuscan
portico without pedestal.  It will be seen that the columns
are engaged in the pier 9 of a diameter, or 9 parts.
Divide the whole height of the order, as for the intercolumniation, Into five equal parts, of which four are to be
given to the column and one to the entablature. Then divide
the height of the column into fourteen parts to obtain the
module, or half diameter, after which erect two perpendiculars 94 modules apart for the axes of the columns.
Draw the piers, 1^ modules on each side of these perpendiculars. Mark off one module from the top upon the middle
line of the arch for the height of the keystone. Measure down
again upon this line 3 modules and 3 parts, which is half the
width of the arcade *; this will at the same time give the
centre of the arch and the height of the impost. Notice that
this arcade is just twice as high as it is wide, the proportions
generally adopted by Vignola.
The relation between the width of the opening and that
of the pier may vary. The construction may appear heavy,
when the width of the pier equals that of the opening; on
the other hand it may seem thin and delicate, when the
width of the opening is three times that of the pier. The
most desirable proportion is that in which the pier is half
the width of the opening.
It has been thought desirable to give an example of the
method of laying out the stone-cutting of a portico, although
this should vary in design according to the actual dimensions and the materials of which the portico is built.
*The French term arcade is used in this work for an opening in
masonry composed of an arch supported either by columns or piers.
It has no exact English equivalent; the French form is therefore used
in the translation.
PLATE V.
THE TUSCAN PORTICO WITH PEDESTAL.
The order with pedestals is generally used in porticos
which are to be closed with a balustrade, in order to avoid




the accidental meeting of the railing of the balustrade and
the columns.
To draw the Tuscan portico with pedestal it is necessary first to divide the whole height into nineteen equal lparts,
of which three are given to the entablature, twelve to the column, and four to the pedestal.
To obtain the module the height of the column is divided
into fourteen parts, as in the portico without pedestal.
With this module as a unit it will be easy to draw the
portico as indicated in the plate.
It will be seen that in this case again the arch is twice
as high as it is wide.
Although the measurements given by Vignola for the
thickness of the piers make them of satisfactory proportion,
it is nevertheless allowable to modify these proportions, if
need be, adapting them in such a way as to support properly
the weight placed upon them.
It will be seen that in this portico also the columns are
engaged one-third of their diameter.
Together with the elevations of the Tuscan porticos, in
both cases, the sections taken on the axis of the arcade have
been shown, in order to make clear what is meant by a
section. They will be repeated for the other orders. The
interiors of these porticos should be adapted to the construction and to the materials employed. The Tuscan order
being simple it will be well to treat the interior with like
simplicity.
PLATE VI.
THE TUSCAN       PEDESTAL AND BASE.
FIGcURE 1. Elevation of the Base and the Pedestal.
FIGrUIE 2. Section of the Base and the Pedestal.
FIGURE 3. Profile of the Base and the Pedestal.
FIGURE 4. Plan of the Base and of the Cornice of the Pedestal.
FIGURE 5. Plan of the Base of the l'edestal.
The Tuscan order is simple and rude, its principal characteristic is force. It should have no applied ornament
unless rustication or some like decoration be used.
Although it is not customary to use a pedestal in the
Tuscan order, Vignola has thought it necessary to show one
to carry out the plan he has adopted for his treatise upon
the five orders. He makes the pedestal I the height of the
column, which gives it 4 modules and 8 parts, including the
base and the cornice, to each of which ^ module is allowed.
The die is 3Z modules high, and equal in width to the plinth
of the base of the column, which is 2 modules and 9 parts.
The height of the base of the column is 1 module, divided in
two equal parts, one for the plinth and one for the torus
with its cincture, the height of the latter being 1 part. In
this order the cincture or listel C is not included in the
height of the shaft.
It should be noted that the module is determined by the
diameter of the column taken just above the base, which is
always 2 modules. The module is divided into 12 parts, or
minutes, for the Tuscan order.
When the pedestal is continued it is called a stylobate.




EXPLANATION OF PLATES


9


NAMES OF THE MEMBERS COMPOSING THE BASE AND THE PEDESTAL
OF THE TUSCAN ORDER.,A. Shaft of the column
B. Conge.
C. Listel or cincture.
D. Torus.
E. Plinth of the base.
F. Listel or Reglet.
G. Cyma reversa.
H. Die.
I. Cong6.
K. Fillet or listel.
L. Plinth of the pedestal.


i Base of the column.
} Cornice of the pedestal.
Base of the pedestal.


NOTE.-By an error of the engraver the semi-diameter of the
torus and the plinth of the base is figured in the plan (Figs. 3 and 4),
as 1 module 51 parts. This should be 1 module 4& parts, as will be seen
by comparison with the other figures.
PLATE VII.
ENTABLATURE AND CAPITAL OF THE
TUSCAN ORDER.
FIG URE. Elevation of the Tuscan Capital and Entablature.
FIGURE. Section of the Capital and Entablature.
FIGURE. Impost of the Tuscan Arcade without Pedestal.
FIGURE. Impost of the Tuscan Arcade with Pedestal.
The Tuscan entablature is one-quarter the height of the
column, which consequently makes it 31 modules, of which
1 module is given to the architrave, 1 module and 2 parts to
the frieze, and the remainder to the cornice. In the section
of this cornice the undercutting of the corona can be seen,
which forms a drip to protect the rest of the entablature
from water which might run down. The height of the
capital is 1 module. The shaft of the column under the
astragal is diminished 5 parts, or 2A parts on each side.
At the bottom of the plate is given the plan of the capital and entablature.  It shows clearly the return of the
cornice at the angle.
The figure at the left of the plate, which gives the
impost and archivolt of the Tuscan arch with pedestal (the
lower of the two figures), has not been made according to
the measurements given by Vignola. It was thought necessary to correct Vignola's proportions in certain parts to
give them more grace.
The entablature is divided into three parts, the architrave, the frieze and the cornice.
The architrave is the lower part of the entaklature,
that which rests immediately upon the capital of the column
and serves to carry the members above it.
The frieze is the space which separates the architrave
from the cornice.
The purpose of the cornice is to protect the walls
against the action of rain water.
The purpose of the capital is to carry the architrave
and to give a greater bearing for the entablature upon the
column.
NAMES OF THE MOULDINGS OF TIHE ENTABLATURE AND
CAPITAL OF TIlE TUSCAN ORDER.


G. Frieze.
H. Listel.
I. Fascia of the architrave.  Architrave.
K. Listel of the abacus.
L. Fascia of the abacus.
M. Quarter-roundorechinus i Capital.
N. Fillet or annulet.
0. Neck.                 J
P. Astragal.
Q. Filletror cincture.   > Shaft.
R. Shaft.
S. Fillet.
T. Fascia of impost.       mpst.
U. Second fascia of impost.
Y. Fascia of archivolt.  J
PLATE VIII
TEMPLE OF THE TUSCAN ORDER.
FIGURE 1. Elevation of the Temple.
FIGURE 2. Plan.
FIGURE 3. Section.
There are given in this plate the principal elevation, the
plan and the longitudinal section of a Tuscan temple, with
antae. The middle of the wall which separates the portico
from the interior is occupied by a doorway ornamented with
an architrave. The details of the pediment will be found in
the following plate


A. Courses of stonework.
B. Door-jamb or architrave.
C. Plinth.
D. Antec.


M. Portico.
N. Cella.
0. Steps.


PLATE IX.
DRAWING AND STUDY OF PEDIMENTS OF
THE TUSCAN ORDER.


FICGU RE 1.
FIGU RE 2.
FIGURE 3.
FIG URE 4.
FIGURE 5.


Elevation of straight and curved Pediments.
Side elevation of Pediments.
Section.
Method of drawing straight Pediments.
Method of drawing curved Pediments.


A pediment is nothing more than a gable, ornamented or
concealed; it is not then properly used unless the gable
exists. It is rather difficult to establish what are to be
accepted as the correct proportions for pediments because
of the variation in antique buildings. The process here
given is the one suggested by Serlio, which seems to have
been very successful for the Tuscan and Doric orders. An
examination of the figures will suffice to make clear the different methods employed in drawing.
PLATE X.
DORIC INTERCOLUMNIATION ACCORDING
TO VIGNOLA.
To draw the Doric intercolumniation it is necessary to
divide the whole height into five parts, one for the entablature and the four remaining for the column; or, as Vignola
says, divide the height into twenty parts, one of which will


A. Quarter-round.
B. Baguette, or astragal.
C. Fillet.
D. Corona.
E. Listels.
F. Cyma reversa.


I
t Cornice.
j




10


EXPLANATION OF PLATES


I


be the module. This module is divided, as in the Tuscan
order, into 12 parts. The column will have 16 modules or
eight times its greatest diameter. One module is given to
the base, 1 to the capital, and 14 remain for the height of
the shaft. The entablature has 4 modules, of which 1 is
given to the architrave, 1J to the frieze and 14 to the cornice. All of these parts combined will make the height of
the whole order, 20 modules.
In the frieze the triglyphs are always in line with the
axes of the columns and are I module in width. The metopes
are square and measure 14 modules. They can be enriched
with various ornaments, such as heads of oxen, armor,
patercc, etc. The Doric intercolumniation is always determined by the number of the triglyphs. The column has
20 flutes. The contour of the shaft is drawn as in the
Tuscan order.
PLATE XI.
DORIC PORTICO      WITHOUT PEDESTAL.
To construct this Doric portico without pedestal, it is
always necessary to divide the height into five parts, of
which one is given to the entablature and four to the
column; or else to divide the whole height into twenty parts,
of which one will be the module. Mark off 10 modules for the
distance from axis to axis, of which take 7 modules between
the piers for the width of the arch, and allow 3 modules for
the width of the piers. This will result in a proper division
of the triglyphs and metopes.
The arch will be twice as high as it is wide. It should
be noted that the column should project g module more than
half its diameter, in order that the projection of the imposts,
which is also ~ module, shall not protrude beyond the plane
of the diameter of the column, which is parallel with the
face of the pier. This is done in order that the projection
of the imposts may not intersect disagreeably with the
columns.
PLATE XII.
DORIC PORTICO WITH PEDESTAL.
The Doric portico with pedestal is generally employed
for large openings; examples of it are found in the facades
of city gates and in public buildings.
It is to be noted that the columns in this arrangement
of the order are almost entirely accessory and decorative, on
account of their wide spacing.
It is necessary, says Vignola, if it is desired to erect a
portico or a loggia decorated with the Doric order with
pedestals, to divide the whole height into 254 parts and to
make one of these parts the module. Then make the distance from one pier to the next (in the clear) 10 modules,
and the width of each pier 5 modules. These measurements
are necessary in order to obtain the proper distribution of
the triglyphs and metopes in the entablature. The arcade
will consequently be just twice as high as it is wide, that is,
20 modules in height.
Although the measurement of 2.4 modules is given in the
figure, the thickness of the pier should be left to the archi

tect who employs this arrangement of the order, for the
piers should have a thickness properly proportioned to the
weight they are required to support and to the thrust of
the vaults.
The details of this exercise are given in the following
plates.
PLATE XIII.
PEDESTAL AND BASE          OF THE DORIC ORDER.
FIGURE 1. Elevation of the Pedestal and Base of the Doric Order.
FIGURE 2. Section of the Pedestal and Base.
FIGURE 3. Profile of the Pedestal and Base.
FIGURE 4. Plan of the Base.
FIGURE E. Flute drawn with an equilateral triangle.
FIGURE F. Flute drawn with a semi-circle.
As in the Tuscan order, the module is here divided into
12 parts or minutes. The pedestal is 5 modules and 4 parts
high, or g the height of the column; the base of the column
has 1 module, and a baguette or astragal, measuring 1 part in
height, is placed above the torus, reducing the height of the
latter by this amount, which renders this base more elegant
and lighter than that of the Tuscan order. Doric columns
can be made either with or without flutes. To obtain the
flutes the circumference of the column is divided into 20
equal parts. The chords of these 20 arcs serve as the bases
of as many equilateral triangles, of which, in each case, the
apex is the centre from which a portion of a circle can be
described to form the flute, as in Fig E. If it is desired to
make the flutes more pronounced (Fig. F.), join the points
b c by a straight line, elevate tLe perpendicular a d, and
describe the semi-circle b d c, and the point d will be the
centre from which an arc can be described giving the deeper
flute.
The section of the pedestal shows the undercutting of
tile corona, or drip, the purpose of which is to stop the
running down of rainwater, which otherwise would quickly
deteriorate the other parts of the pedestal
NAMES OF THE MOULDIN( COIMPOSING TIHE BASE AND TIE PIEDESTAL
OF TIlE DORIC ()OR)ER.


a. Shaft.
b. Lower cong6 of shaft.
c. Annulet, or cincture, or
fillet.
d. Astragal, or baguette, or
baton.
e. Torus.
f. Plinth of base.         J
g. Fillet or listel.
h   Quarter-round or
eclinus.
i. Corona.
j. Drip.
k. Cyma reversa.
1. Die.
m. Cong6.
n. Astragal or baguette.
o. Inverted cyma reversa.   t
p. Upper plinth.
q. Lower plinth.


A.
Base of the column.
B.
Cornice of the pedestal.
C.
Die of the pedestal.
D.
Base of the pedestal.




EXPLANATION OF PLATES


11


PLATE XIV.
ENTABLATURE AND CAPITAL OF THE
DENTICULAR DORIC ORDER.


FIGURE 1.
FIG URE 2.
FIGURE 3.
FIGURE 4.
FIGURE 5.
FIGURE 6.
FlIGURE 7.


Elevation of the Entablature and Capital of the Denticular Doric Order.
Section of the Entablature and Capital.
Plan of the Capital.
Impost and Archivolt of the Arcade without Pedestal.
Impost and Archivolt of the Arcade with Pedestal.
Section of the Cornice upon the line AB.
Plan of the Cornice and of the Denticular Frieze.


This plate gives the different, details of the Denticular
Doric order.
The entablature is one-fourth the height of the column,
and the capital is 1 module high. The triglyphs are each 1
module in width; the incised spaces in them are called
channels, the object of which is to accentuate the function
of the triglyph, which is to support the cornice, the metope
being only a filling in. The metopes should always be
square and may be ornamented with heads of animals, trophies of war, etc.
This order is usually employed in the lower stories of
buildings.


A. Cavetto.
B. Dentils.
C. Capital of triglyphs.


D. Triglyphs with channels.
E. Guttwe.
H. Metope.


PLATE XVI.
TEMPLE OF THE DORIC ORDER.
FIGURE 1. Elevation of a Temple of the Doric Order.
FIGURE 2. Plan of the front portion of the Temple.
FIGURE 3. Section upon the axis of the Doorway.
This plate represents a Mutular Doric portico of three
intercolumrniations. The intercolumniation is determined by
the number of triglyphs. The maximum of three intermediate triglyphs should never be exceeded. See the following
plate for the method of drawing the pediment.
A. Courses of masonry.
B. Cornice of the doorway.
C. Frieze of the doorway.
D. Door-jamb or architrave.
E. Plinth.
PLATE XVII.
DRAWING AND STUDY OF PEDIMENTS OF
THE DORIC ORDER.
The method of drawing used in this plate is based upon
the same principles as those given for the Tuscan order.
An examination of the plate will show clearly to the student
the way to draw the inclined mouldings. Figure 1 shows
the pediment of the Denticular Doric; Figs. 2 and 3 show
the junction of the horizontal and inclined mouldings. It
is to be noted that the cavetto has a small horizontal portion
which it is impossible to avoid. Figure 4 represents the
pediment of the Mutular Doric, and Figs. 5 and 6 the joining
of the inclined and horizontal mouldings, as well as the exact
form of the cyma recta at the apex of the pediment.
PLATE XVIII.
THE IONIC INTERCOLUMNIATION.
The Ionic intercolumniation is laid out in the same way
as that of the Tuscan and Doric, by dividing the whole height
of the order into five equal parts, of which the four lower
make the height of the column. This height (of the column)
is divided into eighteen parts, which will give the module.
The module of this order is divided into 18 parts, or minutes,
to measure the various mouldings, this division being necessary because of the great number of mouldings, which are
also more delicate than in the two preceding orders
The Ionic order is frequently employed for interior
treatment on account of its elegance, or on the exterior in
the upper stories of buildings.  The ancients used it in
numerous temples, a good example of which is the Temple
of Fortuna Virilis at Rome.
It should be noted that the angle capital A returns at
the angle in such a way as to present volutes on both faces.


PLATE XV.
ENTABLATURE AND CAPITAL OF THE
MUTULAR DORIC ORDER
FIGURE 1. Elevation of the Entablature and Capital of the Mutular Doric Order.
FIGURE 2. Section of the Entablature and Capital.
FIGURE 3. Plan of the Capital.
FIGURE 4. Section, following the line AB, of the Cornice.
FIGURE 5. Plan of the Cornice and of the Frieze.
This order is obviously different from  the preceding
one. In the cornice the cavetto is replaced by a cyma recta
and the cyma reversa by a quarter-round. The mutules,
which are not used in the Denticular Doric, give a greater
solidity to the cornice and contribute to its enrichment.
The architrave has two faces instead of one, and the mouldings of the capital are ornamented.
The Mutular Doric order, richer than the Denticular, is
the one most used both in public and private buildings.
At the left of Figure 4. Detail of a gutta, or drop, in the soffit of
the mutule. Detail of the guttea, or drops, in the architrave under the
triglyph.
A. Cymatium, or cyma recta.
B. Mutule, with guttan.
C. Second fascia of the architrave.
D. First fascia of the architrave.




12


EXPLANATION OF PLATES


PLATE XIX.
IONIC PORTICO WITHOUT PEDESTAL
In order to draw the Ionic portico without pedestal,
divide the height, as in the preceding plate, into five equal
parts, the upper part for the entablature and the four lower
for the column. The arcade is always twice as high as wide.
The columns are engaged in the pier. of a module.
The Ionic portico can be used to advantage in the second
story of courtyards of palaces or of public buildings which
call for a rather ornate treatment.
Students will do well to practise drawing this portico
owing to the difficulty of drawing the volutes on a small
scale.


NOTE.- In the note upon this plate it is stated that the columns
are engaged one-third of a nmodule; this is an engraver's error and
should be one-third of a diameter.
PLATE XX.
IONIC PORTICO WITH        PEDESTAL.
The Ionic portico with pedestal is used as a rule in large
buildings, and especially for the principal story. The relation of its parts, and its individual forms, are more elegant
than those of the two preceding orders, the character of
which is more that of strength and solidity.
To draw the Ionic portico with pedestal it is necessary
to divide the whole height into 28A parts or modules.
The pedestal, including its base and cornice, should be
6 modules in height, that is, one-third the height of the
column. There will be left, therefore, 4A modules for the
height of the entablature, according to the rule adopted by
Vignola. The width of the pier is 4 modules and the arcade
is always twice as high as it is wide.
The section, made upon the axis of the arcade, shows a
barrel vault with rib arches at right angles to the columns
and the penetrations.
PLATE XXI.
PEDESTAL AND       BASE    OF THE     IONIC ORDER.
FIGURE 1. Elevation of the Pedestal and of the Base of the Ionic
Order.
FIGURE 2. Section of the Pedestal and of the Base.
FIGURE 3. Profile of the Pedestal and of the Base.
FIGURE 4. Plan of the Base.
The Ionic order occupies, by reason of its form and
decoration, the position of mean between the Doric on the
one hand, which represents strength and solidity, and the
Corinthian on the other, which is the complete type of
elegance and richness.  The refined taste of the Greeks
required something between these two systems, the one
simple and severe, and the other more graceful, richer and
more noble.
The Ionic pedestal which is given in this plate is onethird the height of the column, that is, 6 modules. Its base




A. Semicircular flute.
B. Side of the flute, orlistel.
C. CongS.
D. Listel.


E. Torus.
F. lUpper scotia.
G. Baguettes or astragals.
II. Lower scotia.


PLATE XXII.
ENTABLATURE AND CAPITAL OF THE IONIC
ORDER WITH CUSHION.
FIGUIRE 1. Elevation of the Entablature and Capital of the Ionic
Order.
FIGURE 2. Section of the Entablature and Capital.
FIGURE 3. Profile of the Capital.
FIGURE 4. Plan of the Angle Capital.
This plate represents at large scale the details of the
entablature and capital of the Ionic order, as well as the
imposts of this order. The capital given is that of an angle
column, based upon the proportions of the Temple of Fortuna Virilis at Rome. By reason of this special arrangement
the capital is symmetrical when seen diagonally. The other
capitals of a series are made up of two parts similar to A,
Fig. 1.
At the left of Figure 1 (upper drawing). Impost and archivolt of
the arcade without pedestal. (Lower drawing.) Impost and archivolt of the arcade with pedestal.
PLATE XXIII.
STUDY OF THE VOLUTE AND CUSHION OF
THE IONIC CAPITAL.
FIGURE 1. Face of the Ionic Capital.
FIGURE 2. Plan of the Capital.
FIGURE 3. Profile of the Capital showing the detail of the Cushion.
FIGURE 4. Second method of drawing the Volute.
Two methods of drawing the volute are given. For the
first see Fig. 1.
Having drawn the cathetus* of this first volute, and
having prolonged the upper line of the astragal wvhich will
intersect the cathetus at right angles in the centre of the eye
of the volute at a distance of 1 module from the axis of the
column, inscribe a square in the eye of the volute as shown
in the detail, Fig. A. Then draw two diagonals through
the centre of the eye of the volute, perpendicular to the
sides of the square, and divide the distance from the centre
to the side of the square into three equal parts. This will
give twelve points which will serve as centres for portions
of circles, which together will make up the three revolutions
*The cathetus is the vertical line passing through the centre of the
eye of the volute.


and cornice are each ^ module high, the die 5 modules,
including the two fillets. The base of the column given
here is that of Vignola. An example will be given later of
the Attic base, employed by the ancients  This base is 1
module high, not including the listel or cincture. The shaft
of the column is ornamented with 24 semi-circular flutes,
which terminate squarely at the beginning of the conga
The width of the listel between the flutes is ' of that of the
flutes.




EXPLANATION OF PLATES


13


of the spiral of the volute. To describe this spiral begin by
taking the point 1 (Fig. A ) as a centre, and with the radius
1 B describe a quarter circle from B, terminating at the
horizontal line 1 2; then with the point 2 as centre, and
radius the distance from 2 to the extremity of the quarter
circle just described, draw a second quarter circle, and
repeating this operation as far as the point 12 the outer
arris of the listel of the volute will be obtained. To obtain
the other arris, divide each of the three parts of the semi.
diameters of the square into four equal parts and from each
of these divisions next adjoining the successive centres for
the first spiral describe twelve other quarter circles which
will give the other spiral of the listel. The dotted lines
passing through the centre point indicate the terminations
of the quarter circles.
Second method. To construct the volute by the method
shown at the bottom of this plate, draw the line called the
cathetus 16 parts of a module in length, 9 parts above and 7
parts below, and at the centre thus obtained draw the eye
of the volute and divide its circumference in eight parts by
diagonals, as shown. Then construct the auxiliary triangle
BAC, of which the side BA will be 9 parts and AC 7 parts
of a module. What remains will be easily understood from
the drawing, the distances Al, A2, etc., being marked off
from the centre of the eye on the eight diagonals. To draw
the contour join the points 1 and 2 by a straight line, and at
its centre erect a perpendicular. With 1 as a centre and the
distance IA as radius, cut this perpendicular, which will
give the centre for the arc of a circle which will join 1 and
2. Then repeat the same operation for the remainder of
the spiral. The points on the eight diagonals can be joined
by a curve drawn free-hand without using compasses. For
the width of the listel mark off on the eight diagonals the
corresponding distances on the line A'B', and follow the
same method as above.
The cushions, Figs. 2 and 3, should be drawn free-hand,
in order to give them a more graceful form; nevertheless, in
order to facilitate the drawing, a method of constructing
them mechanically is given.
AB. Perpendicular line called the cathetus.
A. Eye of the volute with detail of the points of centre.
D. Eggs. E. Shell of eggs. F. Darts. G. Pods.
H. Profile of the cushion from the side.
I. Section of the volute upon the line AB.
NOTE.-It is to be regretted that the ornaments of eggs and darts
and pods upon the echinus of Ihe capital, shown in Fig. 1, are not
accurately drawn. If these ornaments be drawn upon the plan (Fig.
2) and produced point by point from plan to elevation, the inaccuracy
will quickly be made evident.
PLATE XXIV.
ENTABLATURE AND CAPITAL OF THE IONIC
ORDER WITH FOUR VOLUTES.
FIGURE 1. Entablature and Capital with four Volutes.
FIGURE 2. Section of the Entablature and Capital.
FIGURE 3. Base.
FIGURE 4. Section of the Base.
FIGURE 5. Plan of the Capital with four Volutes.
Because of the difficulty experienced in using satisfactorily the Ionic capital at the angle of a building, the Ionic




order with four volutes without a cushion is sometimes
used. As Vignola has not given an example of this disposition of the order that adopted by Scamozzi is here shown.
PLATE XXV.
THE TEMPLE OF FORTUNA VIRILIS AT ROME.
In order to complete the explanation of the Ionic-order
an example is given of a temple built by the Romans, dedicated to Fortuna Virilis. It is the most beautiful example
of this order which has been preserved to us in so complete
condition. It seems advisable to place it before beginners
in order to persuade them from the beginning of their
studies of the art of architecture never to depart from
good traditions and to familiarize themselves thoroughly
with the beauties of antiquity.
PLATE XXVI.
CORINTHIAN INTERCOLUMNIATION.
To draw the Corinithian intercolumniation divide the
whole height into 25 parts, one of which will be the module,
which is divided in 18 parts or minutes, as in the Ionic
order. Vignola establishes the distance between the columns at 4- modules, in order to arrange the spacing of the
modillions in the cornice so that one may always be in line
with the axis of the column.
This order, distinguished above all the others by its
magnificence, should be employed principally for great
monuments, such as temples and palaces.
NOTE.- By a mistake of the engraver the distance between the
columns is given in the note as 4j instead of 42 modules.
PLATE XXVII.
CORINTHIAN PORTICO WITHOUT PEDESTAL
This arrangement of the portico without pedestal is
obtained by dividing the whole height into 25 parts, one of
which will be the module. The explanations given in the
preceding plates are not repeated here, the proportions of
the height of the column and entablature being the same.
The width of the arcade is 9 modules and its height 18,
or double the width.
Few examples of the Corinthian portico without pedestal are found in execution. It is advisable, noreover, not
to use this arrangement of the order without some kind of
sub-base under the piers, in order that the base, which is
formed of delicate mouldings, may not be placed directly
upon the ground, at the risk of being quickly damaged.
The section shows the intersection of the arch with a
barrel vault, the width of which may vary according to
circumstances.


NOTE.- By a mistake of the engraver the height of the arcade is
figured in the section 8 instead of 18 modules.




14


EXPLANATION OF PLATES


PLATE XXVIII.
CORINTHIAN PORTICO WITH PEDESTAL
To draw this Corinthian portico with pedestal, divide
the whole height in 32 parts, of which one will be the
module, and give 12 modules to the width of the arcade and
16 from axis to axis of the columns, making the piers 4
modules in width.
This portico and that of the Composite order are the
only ones in which Vignola departs from the uniform proportion of the arcade, the height twice the width  This is
done to give the order greater delicacy and grace, and also
to give greater height to the keystone, thereby making the
latter more serviceable.
A section through the axis of the arcade is given in
order to make clear the relation of the exterior to the
interior when a groined vault is used.
The thickness of the pier may vary according to the
weight and thrust which it may have to support.
This arrangement of the order is employed in the most
important class of monuments and in the upper stories of
buildings.
PLATE XXIX.
PEDESTAL AND BASE OF THE CORINTHIAN
ORDER.
FIGURE 1. Elevation of the Base and of the Pedestal of the Corinthian Order.
FIGURE 2. Section of the Base and of the Pedestal.
FIGURE 3. Profile of the Base and ot the Pedestal.
The module of the Corinthian order is divided into 18
parts or minutes. In this order Vignola makes an exception
to the general rule that the pedestal should be one-third of
the height of the column. This is done to give it grace to
correspond with the rest of the order. Vignola advises
making it 7 modules in height; thus the die of the pedestal
is twice as high as wide, or the equivalent of two superposed squares. The plinth of the base of the pedestal may
be heightened, giving it 8 parts instead of 4.
The base of the column shown in the plate is that given
by Vignola.  The ancients sometimes used instead the
so-called Attic base, the mouldings of which are more
beautifully proportioned.
PLATE XXX.
ENTABLATURE AND CAPITAL OF THE
CORINTHIAN ORDER.


a decorative motive or lion's head. In ancient buildings
these were rainwater outlets; but in modern buildings they
are only used for overflows.
PLATE XXXI.
STUDY OF THE CORINTHIAN CAPITAL.
FIGIURE 1. Diagonal projection of the Corinthian Capital.
FIG(URE 2. Plan, looking up, of the Capital.
FIGURE 3 Elevation of the Corinthian Pilaster Capital.
FIGURE 4. Plan of the Pilaster Capital.
FIGURE 5. Profile of the Key-stone of the Arch.
FIGURE 6. Elevation of the Key-stone of the Arch.
The Corinthian capital is ornamented by two rows' of
leaves, of the same height, and placed so that those of the
upper row alternate with those of the lower. From between
the leaves of the upper row spring the cauliculi from which
start the volutes, terminating the capital. Upon the volutes
is placed the abacus, which is composed of three members,
the cymatium, the listel and the fascia of the abacus.
Vignola makes the Corinthian capital 2 modules and 6
parts high, of which 2 modules are for the vase and 6 parts
for the abacus  All the other dimensions are indicated on
the plate, and by carefully comparing the plan and profile
they can be easily understood.
In Figures 3 and 4 are given the elevation and plan of
the Corinthian pilaster capital. This pilaster is used either
separately or behind columns, or upon the angles of buildings. The heights of the leaves and of the members of the
mouldings are the same as in the capital of the column, but
while the shaft of the column is 30 parts in diameter just
below the capital, that of the pilaster is 34. The shaft of
the column has 24 flutes and the pilaster has 7 upon its face.
A. Cymatium. B. Fascia of the abacus. C. Volute.
D. Leaf of the cauliculus. E. Larger leaf.
F. Smaller leaf. (. Rose.
PLATE XXXII.
CORINTHIAN PEDIMENT
In a pediment the triangular space inclosed by the three
cornices is called the tympanum. It was in this space that
the ancients placed figures, by means of which it has been
possible to identify beyond question so many temples. The
Corinthian temples, on account of the richness of the order,
almost always bore this kind of decoration. Sometimes
also, figures or other motives, forming a silhouette, were
placed above these pediments, at the angles or at the apex.
At the right of plate: Section upon the line AB. At the left
bottom corner: Profile of modillion and face of imlodillion.
PLATE XXXIII.
CORINTHIAN TEMPLE.
This plate gives an example of a hcexastyle temple of
the Corinthian order. It should be noted that the scales
given are in metres and not in modules, in order to give a
conception of the actual proportions.


FIGURE 1.
FIGURE 2.
FIGURE 3.
FIGURE 4.
FIGURE 5.
FIGURE 6.


Elevation of the Corinthian Entablature and Capital.
Section of the Entablature and Capital.
Section of the Cornice.
Plan of the Cornice.
Impost and Archivolt of the Arcade without Pedestal.
Impost and Archivolt of the Arcade wilth Pedestal.


The height of the entablature is divided into 10 parts,
of which 3 are given to the architrave, 3 to the frieze and 4
to the cornice. Above each modillion on the cyma is placed




EXPLANATION OF PLATES


15


PLATE XXXIV.
COMPOSITE      INTERCOLUMNIATION
To draw the Composite intercolumniation the same
method is'employed as that which has already served for
the Corinthian order. It is necessary, however, always to
give the shaft, an entasis * of A part at a point one-third the
way up, and to diminish it progressively from this point to
the astragal.
* See Plate XLIV.
PLATE XXXV.
COMPOSITE PORTICO WITHOUT PEDESTAL.
This portico is employed for the same class of structures
as that of the Corinthian order. It is drawn in the same
way, by dividing the whole height into five parts, the upper
part for the entablature and the four others for the column.
The arcade is exactly twice as high as it is wide
In the section the interior is assumed to be barrelvaulted in such a way as to avoid the penetrations of the
arches.
PLATE XXXVI.
COMPOSITE      PORTICO    WITH    PEDESTAL.
This portico can be used for the facades of palaces, as
well as in galleries and in great halls, and for all places
where it is desirable to decorate, architecturally, with great
richness.
For explanation see Plate XXVIII., upon the Corinthian
portico with pedestal.
The section shows a domical vault with pendentives.
PLATE XXXVII.
PEDESTAL AND BASE OF THE COMPOSITE
ORDER.


PLATE XXXVIII.
ENTABLATURE AND CAPITAL OF THE
COMPOSITE ORDER.


FIGURE 1.
FIGURE 2.
FIGURE 3.
FIGURE 4.
FIGURE 5.
FIGURE 6.


Elevation of the Composite Entablature and Capital.
Section of the Entablature and Capital
Section of the Cornice.
Plan of the Cornice.
Impost of the Archivolt of the Arcade without Pedestal.
Impost of the Archivolt of the Arcade with Pedestal.


In the Composite order Vignola has departed from the
rule given for the Corinthian order by not making a dentil
come directly in line with the axis of the column  This
irregularity is not important, as in the case of modillions,
because the ornaments are not of sufficient size for the eye
readily to perceive it
PLATE XXXIX.
HALF OF THE UPPER PART OF THE COMPOSITE
CAPITAL SEEN UPON THE ANGLE.
The Composite capital is drawn in the same way as the
Corinthian, the only difference being in the volutes. This
part only is given in order to better show the detail. The
construction of the spiral of the volute is the same as that
described in Plate XXIII. for the Ionic order.
PLATE XL.
ARCH OF TITUS AT ROME
Section, Principal Elevation and Side Elevation.
The Arch of Titus, of which a restoration is here given,
will make it possible to judge of the manner in which the
ancients employed the Composite order. This order can be
used for monuments which do not require great severity of
treatment.
PLATE XLI.
SUPERPOSITION OF THE ORDERS.
FIG URE 1. Elevation of the two Orders superposed.
FIGcURE 2. Section.
FIGURE 3. Plan.
FIGURE 4. Plan of one of the first-story Piers.
In this plate is given a simple example of the superposition of the Ionic above the Doric order, taken from the
Theatre of Marcellus at Rome.
It is to be noted that the Ionic column is shorter than
that of the Doric by the length of one module of the Doric
order, or one-half a diameter.


FIGURE 1. Elevation of the Pedestal and of the Base of the
Composite Order.
FI(GURE 2. Section.
FI( URE 3. Profile.
The proportions of the pedestal and base of the Composite order are the same as those of the Corinthian, the
only difference being in the mouldings of the cyma and the
base of the pedestal. Vignola did not ornament the mouldings of this pedestal, but it is not necessary to regard this
as an absolute rule, as the order is a combination of the
Ionic and Corinthian orders.
The shaft of the column, like the Corinthian, has 24
flutes. The width of the listels between the flutes is 7 of
the width of the flute.




16


EXPLANATION OF PLATES


PLATE XLII.
SUPERPOSITION      OF THE ORDERS.
FIGURE 1. Elevation.
FIGURE 2. Section.
FIGURE 3. Plan of the Lower Story.
FIGURE 4. Plan of the Upper Story.
This example of the superposition of the Ionic order
above the Doric is taken from the interior court of the
Farnese Palace, Rolme. Notice the disposition of the angle,
a plan of which is given for both stories. The plan of the
upper story is indicated in dotted lines on that of the lower
story.
PLATE XLIII.
STUDY OF THE PROPORTIONS OF THE ORDERS
FIGURE 1. Elevation of the Portico of Octavia.
FIGURE 2. Plan.
FIGURE 3. Detail.
When two orders are juxtaposed the smaller is generally
made two-thirds the height of the larger. It is well not
to depart too far from this proportion, when it cannot be
followed exactly.. As an example, the Portico of Octavia at
Rome, which follows this rule, is given.
PLATE XLIV.
MANNER OF FORMING THE PROFILE OF
COLUMNS.
FIGURE 1. Method for the Tuscan and the Doric. The Tuscan
shaft tapers from a point one-third the way up.
FIGURE 2. Method for the Ionic, the Corinthian and the Composite. The Corinthian shaft is swelled at one-third
its height.
FIGURE 3. Shaft of a twisted column.
The diminution or the entasis of columns can be obtained
in several ways. The two methods which Vignola considered best are here given.
Figure 1.- Determine first the height and thickness of
the column and the amount of diminution in the upper twothirds. Then describe a semicircle on the diameter at onethird the height of the column, at the point where it begins
to diminish, and divide the arc AB into as many parts as
desired, the point B being the projection of B'. The remainder of the process will be made clear by examining the
figure
Figure 2.- The various given points being established
as in Fig. 1, for the Tuscan and Doric columns, the diameter
at one-third the height being in the present case 2 modules,
2J parts, produce the line PO indefinitely, and from M as a
centre with the radius PQ, describe an arc cutting the axis
in R, and draw the line MRO. From O draw as many lines




as it is desired to obtain points, in each case making the distance from the axis to the profile of the shaft the same; for
example, making ST = PQ
Figure 3.-If it is desired to make a twisted column,
first draw one of the straight columns  Then draw the
small cylinder, shown in plan at E, to determine the eccentricity of the axis of the column. Divide the circle in 8
equal parts and from these points draw four lines parallel
with the cathetus or axis of the straight column. Divide
the height of the column into 48 equal parts, and draw the
spiral in the small cylinder in the centre of the column.
From this centre carry out on the 48 diameters the corresponding dimensions of the straight column, line for line.
It is to be noted that the numbers 1, 2, 3, 4 represent only
one-half a revolution of the spiral, going up, because this
first revolution begins at the centre. In all the rest follow
the circumference of the little circle, except in the upper
circumvolution which is the same as the lower one and ends
at the centre


I




NOTE.-The term entasis (French renflement) when applied to
columns is properly used only for swelling: that is to say, for columns
which increase in diameter from the base to a point, say, one-third the
way up, and then diminish toward the top.
PLATE XLV.
PARALLEL OF BALUSTRADES.
FIGURE 1. Tuscan Balustrade.
FIGURE 2. Doric Balustrade.
FIGURE 3. Ionic Balustrade.
FIGURE 4. Corinthian Balustrade.
The balustrade is nothing more than a support or elbowrest. Its height is sometimes a little more and sometimes a
little less than a metre. It should be raised upon a plinth
sufficiently to allow its base to be seen above the projection
of the cornice when viewed in perspective. The pedestals
limiting a balustrade should always be in proper relation,
as to richness of ornamentation, to the order with which
the balustrade is used  A balustrade should not be confounded with an attic, the former being always in scale
with the human form, while the latter is proportioned to the
scale of the building as a whole.
The four principal types of balustrade are given in this
plate, the metre and not the module being taken as the unit
of measure.
PLATE XLVI.
INTERCOLUMNIATION OF THE GREEK
DORIC ORDER.
The various Greek temples of which the remains are
known were all of different proportions.  A drawing is
given in this plate of a Doric order which follows very
closely the Parthenon at Athens.
To find the module of this order, the desired height
being given, divide the whole height in 14J parts, one of




EXPLANATION OF PLATES


17


which will be the module, 11 parts being given to the column
and 3| to the entablature. Directions in detail for drawing
this order arc given in Plate XLVII.
It should be noted that, as in the other Doric orders
previously given, the module is divided in 12 parts, and in
order to give the measurements for the smaller details each
of these parts is subdivided into 12 minutes.
PLATE XLVII.
ENTABLATURE AND CAPITAL OF THE GREEK
DORIC ORDER.


FIGURE 1.
FIGXUIRE 2.
FIGc RE 3.
F[(II RE 4.
FIGr IRE 5.
FIGURE 6.


Elevation of the Entablature and Capital of the Greek
Dorlic Order.
Section of the Entablature and Capital.
Section of the Cornice on the side.
Side Elevation of the Cornice.
Section of the TJ iglyph.
Plan of the Shaft of the Column at its Base.


In this plate is given a drawing of an entablature and
capital of the Greek Doric order, closely resembling that of
the Parthenon at Athens.  It should be noted that the
column represented, which is the corner column, does not
follow the usual rule, being 2 modules and 6 minutes in
diameter at the base. The other columns should be exactly
2 modules in diameter. This difference arises from the fact
that the column is slightly inclined inward to give greater
stability. It should also he noted that the triglyph in the
Greek orders is at the angle of the frieze and not upon the
axis of the column, as in the Roman and Renaissance Doric.
This arrangement is much more logical, the triglyphs being
supports for the cornice and the metopes merely filling of
the space between.
PLATE XLVIII.
INTERCOLUMNIATION OF THE GREEK IONIC
ORDER
To draw the Greek Ionic intercolumniation divide the
whole height into 214 parts, one of which will be the module
Take 4 parts for the entablature and 17^ for the column.
The module will be divided into 18 parts, and, for the subdivisions, each part into 18 minutes. For detailed instructions, see Plate XLIX.
PLATE XLIX.
ENTABLATURE, CAPITAL AND BASE OF THE
GREEK IONIC ORDER.


resembles that of the Erechtheium, the grace and richness
of which are remarkable.
In order to give the dimensions of the different members
of mouldings, which are very delicate, the module is divided
into 18 parts, and each of these parts, into 18 minutes.
In these orders, which were extremely rich, the frieze
was almost always decorated with bas-reliefs.
PLATE L.
INTERCOLUMNIATION OF THE GREEK
CORINTHIAN ORDER.
But very few examples of the Greek Corinthian order
are known. That which is given in this plate is derived
from the building known as the Monument of Lysicrates at
Athens.
To draw the Greek Corinthian intercolumniation, the
height being given, divide this dimension into 27 equal
parts, one of which will be the module  Allow 5 modules
for the entablature and 22 for the column. The columns
should be spaced 9A modules from axis to axis. For detailed
description of this order see Plate LI.
PLATE LI.
ENTABLATURE, CAPITAL AND BASE OF THE
GREEK CORINTHIAN ORDER.
FIGURE 1. Section of (ireek Corinthian Entablature and Capita!.
FIGURE 2. Elevation of Entablature and Capital.
FIGURE 3. Plan of Capital.
FIGURE 4. Plan of Dentils.
This plate represents the details of the Greek Corinthian
intercolumniation. It will be observed that the module is
always equal to one-half the diameter of the shaft of the
column at its base. The module is divided into 18 parts and
each part into 18 minutes. In the plate an astragal in the
shape of a row of pearls has been added to the capital,
although in the Monument of Lysicrates there is a hollow at
this place. This added member should probably be of metal.
PLATE LII.
STUDY OF DOORWAYS.
This plate shows in Figure 1 the entrance to the gardens of the Farnese Palace, on the Palatine in Rome, built
in the rustic style by Vignola.  The upper part, which has
been suppressed in this plate, was not built by Vignola
Figure 2 shows the entrance door of the Museum of the
Ecole des Beaux-Arts, Paris, of which M. Duban was the
architect.
PLATE LIII.
STUDY OF DOORWAYS.
Figure 1 represents a doorway designed by Vignola for
the Cancelleria Palace, Rome, but which was never executed.
It will be noted that the width is equal to half the height.


FIGCIRE 1.
FIGURE 2.
FIGURE 3.
FIGURE 4.
FIGURE 5.


Elevation of the Greek Ionic Entablature and Corner
Capital.
Section of the Entablature.
Side Elevation of the Corner Capital.
Plan of the Corner Capital.
Capital and Base of the Greek Ionic Pilaster.


The Greek Ionic orders were far from being always the
same, and upon the Acropolis at Athens alone a number of
examples have been found. The order given in this plate




18


EXPLANATION OF PLATES


The door-frame is about one-eighth of the width of the
opening.
Figure 2 represents the doorway of the Palace of Caprarola, and is also by Vignola. The height is twice the
width; the pilasters are eight diameters high, and the entablature is one-quarter the height of the pilasters.
PLATE LIV.
MAIN DOORWAY OF THE FARNESE PALACE,
ROME.
FIGURE 1. Elevation of the doorway.
FIGURE 2. Section.
FIGURE 3. Plan.
FIGURE 4. Detail of the cornice.
The main doorway of the Farnese Palace is given as an
example of the round arched rusticated doorway. The projection of the cornice is occasioned by the stone balcony
above it, but which is not shown in the plate.
PLATE LV.
STUDY OF DOORWAYS.
This plate shows the difference between an interior and
exterior doorway of very similar form. Figure 1 shows a
doorway in the second story of the Farnese Palace, built
from the designs of Vignola.
Figure 2 shows the entrance door of the Church of St.
Laurent in Damaso, after Vignola. On account of its richness this doorway harmonizes very well with the Corinthian
order.
PLATE LVI.
DOORWAY OF THE PANTHEON AT ROME.
FIGURE 1. Elevation of the Doorway.
FIGURE 2. Detail of the Cornice and of the Face of the Door-jamb
or Architrave.
FIGURE 3. Section of the Door-jamb or Architrave.
It has been established that the portico which precedes
the rotunda of the Pantheon, and of which this doorway
with its folding bronze doors is a part, was built in the time
of Agrippa.
PLATE LVII.
STUDY OF WINDOWS.
In Figure 1 is represented the window of the lower
story of the Palace of Caprarola. The height is double the
width, and the frame, or architrave, is a the width of the




opening. In Figure 2 is given an example of a window of
the rustic order from the first story of the entrance building
of the Villa of Pope Julius II. at Rome. The height is here
also double the width.
PLATE LVIII.
DRAWING OF THE SHADOWS OF THE TUSCAN
AND DORIC BASES.
FIGURE 1. Vertical and Horizontal Projections of the Tuscan
Base.
FIGURE 2. Vertical and Horizontal Projections of the Doric Base.
In order to find the shadows on the Tuscan and Doric
bases cut the bases by vertical planes parallel to the direction of the ray of light; curves of section will thus be
obtained, by the aid of which draw, point by point, the
limits of the shadow and light, locating these points by
tangents at 45~, which should be prolonged until they meet
the curves of section.
In order to obtain these sections by means of the vertical planes at 45~ it will be necessary, for the curved surfaces, to consider the intersection of these vertical planes
at 45~ with the sections of the same surfaces by horizontal
planes. An examination of the plate, however, will make
the method of drawing clear.


NOTE.- There are various methods in use for casting shadows on
architectural drawings. That used for capitals and bases in the following plates is known as the " slicing method." It is desirable that
the student should thoroughly understand and be familiar with this
process, although in practice shorter and more practicable methods arc
used, which cannot be explained here.
The most satisfactory text-book on Shades and Shadows is that of
Professor Pillet, translated by Prof. Julian Millard.
PLATE LIX.
DRAWING OF THE SHADOW OF THE TUSCAN
CAPITAL
To obtain the shadows on the capital the same process
(the " slicing method") is employed as for the base, that is
to say, by making use of the sections obtained by a series
of vertical planes cutting the capital parallel with the ray
of light. Besides the shadows on the capital there are also
given the shadows cast by the capital upon a vertical plane
passing through the axis.
PLATE LX.
SHADOW OF THE DORIC CAPITAL.
The same process is here used as for the Tuscan capital.
The capital surmounted by an architrave will cast a
shadow such as that shown in this plate, upon a vertical
plane parallel to the picture, and passing through the axis
of the column.




EXPLANATION OF PLATES


19


PLATE LXI.
STUDY OF THE SHADOW OF THE CAPITAL OF
THE IONIC ORDER.
Upon this plate are indicated the shadows of the Ionic
capital seen from the front, and the shadows cast by the
capital upon a vertical plane parallel to the picture plane and
passing through the axis of the column. The method employed to obtain the different points of the shadow is always
the same.
PLATE LXII.
STUDY OF THE SHADOW OF THE BASE AND
OF THE CAPITAL OF THE IONIC ORDER
SEEN IN PROFILE.
In the capital, as the edge of the cast shadow upon the
shaft is made up of the expression of the listels of the volute
and of the cincture, as well as of the line of shade on the
cushion, it was necessary to draw separately the curves of
the listel to obtain in plan the horizontal projections, and in
the elevation the vertical projections of their principal points,
and also the shade of the cushion as is indicated by the
figures.*
For the base, it is necessary again to employ the method
of vertical cuts, as A B, upon each of which the lines which
are tangent to the base and parallel to the direction of the
light give the limits of the shades upon the convex surfaces,
while the secant lines give those of the cast shadows on the
concave surfaces.
* The student will be able to follow this process if it is remembered
that it is first necessary to determine the dividing line between light
and shade upon the listels, cushion and cincture, shown in elevation in
light and shade, and in the plan by hatching. To establish this line of
division the profile of the listel is drawn, in dotted lines, at the right
of the elevation, and that of the cincture of the cushion at the left.
The remaining steps are obvious.
PLATE LXIII.
STUDY OF THE SHADOW OF THE
CORINTHIAN CAPITAL.
FIGURE 1. Shadow of the Abacus and the Vase of the Corinthian
Capital.
FIGURE 2. Shadow of the whole Corinthian Capital.
The shadow in Figure 1 is obtained by making a series
of sections by means of vertical planes parallel to the direction of the light. In Figure 2 it is necessary to study separately the shadow of each of the ornaments of the capital in
order to obtain an exact knowledge of the general shadow.
Only the final result is here given.


PLATE LXIV.
DRAWING OF THE SHADOWS OF MODILLIONS,
AND OF A PEDIMENT.
FIGURE 1. Study of the Cast Shadows of Pediment with Modillions.
FIGURE 2. Study of the Shadows of a Cornice of the Corinthian
Order.
To determine the shadows cast by the cornice, draw
from above the lines A C and B D, next the horizontal lines
C E', D G', next by bringing down the points E, F, G, by
means of lines at 450 the points E' F' G' will be obtained.
To draw the shadow of the pediment, first locate the
lines M' P, O' N', R S, X Y, by making sections by means
of vertical planes parallel to the ray of light, then locate
successively the limits of the shadows, proceeding as with
the cornice.
For Figure 2 the process is the same; it is only necessary to find a greater number of points to obtain the curves.
PLATE LXV.
SHADOWS OF THE TUSCAN PORTICO
WITH PEDESTAL.
To find the cast shadows of this portico draw lines at
450 from all points in the plan which can cast shadows, to
the planes upon which the shadows should be cast. From
these points erect perpendiculars which may be intersected
by lines at 450 from the corresponding.points in the elevation. These intersections give the successive points of the
desired shadows. For the details of the shadows cast by
the capital directions are given on Plate 59.
PLATE LXVI.
STUDY OF THE SHADOWS OF THE IONIC
ARCADE WITH PEDESTAL.
The shadows of this portico are determined by the
same process as that employed in the preceding plates.
The shadow of a niche is shown in order to explain the
method by which it is drawn.*
The shadow of the niche falls upon two kinds of surfaces, - the cylindrical surface, and the spherical surface,
forming the head of the niche.
To obtain that part of the shadow which falls upon the
spherical surface of the niche draw through the centre O
of the circle which forms the top of the niche, a line at 45~
to the horizontal, cutting the circle at the two points A and.
B. Erect a perpendicular to this line at 0, cutting a line I
1-, which is made parallel to A B, in the point C, from which
as a centre describe a semi-circle of the same diameter as
the niche. Then from the point D as centre and with the
radius D E describe an arc cutting the line F D G, which is
also parallel to A B, in the point F. At the point F erect a
perpendicular to F D, cutting the line I H in the point I;
then join I and D with a straight line which will be the
diagonal of a cube, the side of which is equal to the radius
of the niche, and at the same time will be the direction of
*The method given at the foot of Plate I.XVI being incorrect, a
method is here given which has been adapted to the diagram shown
in the plate.




20


EXPLANATION OF PLATES


the ray of light in the revolved plane. Through the point E
draw a line parallel to the line I D until it intersects the
semi-circle at the point N, and join the points N and C by a
straight line. This line will be the edge of the shadow on
the spherical surface of the niche as it shows on the revolved
plane. To obtain this line in elevation take several points
such as a, b, c, through which draw lines at 45~ parallel to
A B, and perpendiculars to these lines, cutting the line I H in
the points a' b' c'. From these points draw lines parallel to
the ray of light I D cutting the line of shadow N C in the
points a" hb c" which will be the representations in this
revolved plane of the shadows cast by the points a b c on
the sphere of the niche. To obtain these points in elevation
draw through the points a" b" c" parallels to 0 C until they
meet the lines at 45~ passing through the points a, b, c, of
the elevation. The intersections of these lines will give the
points through which a curve can be drawn which will give
the portion of the shadow on the spherical surface of
the niche.
To obtain the shadow on the cylindrical surface of
the niche take other points d, e, f, through which also draw
lines at 450, and project these points upon the line P Q of
the plan in the points d' e' f' * Through these projected
points draw parallels to A' B' until they cut the circle representing in plan the depth of the niche. Through the points
thus obtained draw perpendiculars which will cut the lines
at 45~ drawn from the corresponding points in elevation.
These intersections give the last points of the second part of
the curve of the shadow.
That part of the shadow which falls across the band of
mouldings within the niche, is found by a method similar to
the one employed in finding the shadow on the cylindrical
surface, since the surfaces of these mouldings, on which the
shadow is visible, are also cylindrical.
These letters have been omitted in the plate, but the points can
easily be identified between P and A in the plan.
PLATE LXVII.
WOODEN FLOORS.
The name floor is given to the horizontal carpentry construction used to separate the different stories of a structure
and to support the flooring of boards or parquetry. Floors
are made up of three parts: first, the ceiling, second, the
timber work, proper, and third the pavement or parquetry.
When the floor is of small size joists only are used, spaced,
as a rule, 33 c. m on centres. When the floor is larger, the
joists are carried by stronger timbers, called girders.
Girders should be inserted at least 25 c. m. in the wall. The
dimensions of timbers are proportioned to the load they are
required to carry. To insure the proper preservation of
wood it should be isolated, as far as possible, from the
masonry, and closed in as little as possible.
Two examples of floor construction are here given with
the principal arrangements commonly met with.
A. Hearth of the fireplace.
B. Header.
C. Trimmer.
D. Joist.
E. Trimmers.
H. Joist.
M. Girder with joists on top.
N. Girder with joists hung.
P. Iron stirrup.


PLATE LXVIII.
EXTERIOR TIMBER FRAMING.
Timber work, though less strong, is used instead of
masonry. Interior timber framing does not differ from that
used for exteriors except that the former is thinner and
lighter. For timber framing 4. metres in height the corner
posts are made 25 c. m. section, the studs next openings 15
c. m, and studs and filling timbers from 10 to 12 c. m.
When timber work is built three or four stories high the
corner posts are made of from 25 to 30 c. m. section, and
the sills and plates and girts from 20 to 25 c. m.
The spaces between the timbers are filled vith boards
or brickwork, if the timbers are intended to show, and by
lath and plaster work if they are to be covered.
It is preferable to allow the construction to show.


a. Sill and Plate.
). Corner PoLt.
c. Window Siuds.
d. Brace.
f. Trusses.
g. IHeader.
h. Sill-piece.


j. Filling in.
m. Plate.
n. Studs.
p. Crossed braces.
r. Joists.
s. Underpinning.


PLATE LXIX.
TRUSSES FOR STRAIGHT WOODEN ROOFS.
The name roof is given to the top part of a buildingl
upon which is applied the covering intended to protect it
from the weather. To carry this covering it is necessary
at intervals of from 4 to 5 m. to use trusses constructed of
wood or iron.   The disposition of these trusses varies
according to the necessities of construction, the materials
employed for the roof covering, and the climate. Three
examples for straight roofs are here given.


a. Tie beams.
b. King post.
c. Principal.
d. Strut.
e. Strut.
a. Tie beam.
1. Brace.
c. Tie beam.
d. King post.
e. Principal.
f. Brace.
g. Strut.


FIGURE 1.
FIG TRE I.


f. Purlin.
g. Ridlge Purlin.
h. Jack rafter.
i. Plate.
1. Foot rafter.
h. Strut.
i. lPurlin.
k. Ridge Purlin.
1. Plate.
m. Tie.
n. Jack rafter.
o. Foot rafter.


PLATE LXX.
PRINCIPAL TYPES OF MANSARD ROOFS.
FIGURES 1, 2 and3. Different Mansard Roofs with Lower Tie
Beam.
FIGURE 4. Mansard Roof without Lower Tie Beam.
The trusses of a mansard roof are spaced as are those
of other roofs, generally from 4 to 5 m apart. When the
types of roof shown in Figs 1, 2, 3, are used for dwelling
houses the braces f are left out and may be replaced by iron
brackets or angles. The tie beam a then receives a series
of timbers 0.33 on centres and 0.17 x 0.07, upon which are
nailed the lathes for plastering.




EXPLANATION OF PLATES


21


a. Tie beam.                   g. Struts.
b. Strut.                      i. Angle plate.
c. Lower tie beam.            k. Ridge purlin.
d. King post.                  1. Wall plate.
e. Principal of truss.        m. Foot rafter.
f. Braces.                    n. Purlin and block.
PLATE LXXI.
HIP ROOFS.
When roofs do not end in a gable a sloping framework
is used instead. These triangular portions of roof placed at
the end of a roof are called hips  If the walls are at right
angles the hip is called droite (straight). If the walls are
not at right angles the hip is called biaise (slanting).


A. Hip Roof.
B. Pitch Roof.
P. Truss.
Q. Half truss.


0. Hip rafter.
L. Jack rafters.
R. Jack rafters.
T. Tie beam of truss.


PLATE LXXII.
JOINERY. STUDY OF DOORS AND WINDOWS.
FIGURE 1. Elevation of Window from the Inside.
FIGURE 2. Section on the line AB.
FIGURE 3. Section on the line CD.
FIGURE 4. Section on the line HG.
FIGURE 5. Elevation of an Interior Door.
FIGURE 6. Section on the line EF.
FIGURE 7. Section on the line LM.
This plate shows, ill general and in detail, interior doors
and simple windows. Wood, being subject to expansion
and contraction and warping, the problem to be solved
by the joiner is to overcome these inconveniences. Rails
and stiles should be made of sufficient strength to resist
warping, and reinforced by pieces of iron such as the plates
shown at g in Fig. 1 To avoid swelling and shrinking,
pieces of small dimensions, and especially so across the
grain, should be used  Woodwork should then be put together in such a way that the variations of the wood may
take place without showing on the surface. The details of
this plate will make clear the methods to be adopted for
this purpose.
Exterior doors differ in no way from interior ones
except in being made stronger.


vaults formed by the intersection of two barrel vaults.
These two barrel vaults may be similar (of equal section)
which simplifies the arrangement. When it is desired to
admit light from above, the arrangement shown in Figure 3
is used.
PLATE LXXIV.
STUDY OF DIFFERENT GROINED VAULTS.
FIGURE 1. Oblong Groined Vault.
FIGURE 2. Vault with Double Groins and Pendentives.
FIGURE 3. Vault with Double Groins and Cut-off Sides.
Groined vaults are formed by the intersection of one or
more barrel vaults. More examples are given here in order
to show some of the varieties of this kind of vault.
PLATE LXXV.
VAULTS UPON PENDENTIVES.
FIGURE 1. Vaults upon Pendentives with Trumpets, Lunettes
and Arches.
FIGURE 2. Vault upon Pendentives with Lunettes.
The domical vault with pendentives is obtained by cutting
a sphere by four vertical planes. When it is desired to allow
the light to enter from above the sphere is cut by a fifth
plane, this time horizontally.
Two types of the construction of this kind of vault are
given. Reference should be made to special treatises upon
stereotomy for further details.
PLATE LXXVI.
STUDY OF CAISSONS.
FIGURES 1 AND 4.- Section upon a plane parallel to the elements
of the Barrel Vault.
FIG URiES 2 AND) 5.-Section upon a plane perpendicular to the
elements of the Barrel Vault.
FIG URIES 3 AND 6.-Development of a portion of the Vault.
FIGURE 7.- Section of a Dome with Caissons.
FIGURE 8.-Plan of a quarter of the Dome and Caissons.
FIGURE 9.- Development of a segment for the purpose of drawing the Caissons.
Caissons are hollow compartments formed upon the surface of a vault in order to diminish the weight, and at the
same time retain the desired strength. Caissons give an
opportunity for enrichment, either by their form or by
applied ornament, appropriate to the building in which they
are employed Several examples are given here
To draw in projection the caissons of a barrel vault first
develop a portion of the vault sufficient to show all the details
of the decoration, then project all the parts by means of
elements of the surface.
The surface of a domical vault cannot be exactly developed. It is necessary, therefore, to work by approximation,
by developing a segment, which should be taken as small as
possible.


a. Jamb.
a'. Head and sill.
b. Side rails.
b'. Meeting rails.
c. Upper rail.
c'. Lower rail with drip.
f. Muntins.
g. Iron braces.
h. Hinges.
k.   Double bolt with levers.


im. Jamb.
m'. Door-head.
n. Architrave.
o. Stiles.
o.' Stiles.
q. Panels.
p. Panel mouldings.
s. Lock
r. Top and bottom bolts
I h. Iinge.


PLATE LXXIII.
BARREL VAULTS AND CLOISTERED VAULTS
FI(GURE 1. Barrel Vault.
FIGURE 2. Cloistered Vault.
FIGUItE 3. Cloistered Vault with open top.
Figure 1 shows a straight barrel vault anld the stone
joints. Figures 2 and 3 show two cloistered vaults, that is,




I




I
I


I
I




GLOSSARY


Abaque. Abacus.
Aisselier. Brace.
Annelet. Annulet, or cincture.
Annelet, orle ou cincture. Annulet, or
cincture, or fillet.
Antes. Antae.
Appui. Sill-piece
Arbaletrier. Principal.
Arcade. An opening arranged in masonry, and composed of an arch supported either on columns or on piers
Architrave, Architrave.
Archivolte. Archivolt.
Arctier. Hip rafter.
Assises  Courses, of stonework.
Atre de la chemin6e. Hearth of the fireplace.
Axe. Axis.
Axe du chapiteau. Axis of the capital.
Baguette. Baguette, or astragal.
Balustrade. Balustrade.
Base. Base
Base de la colonne. Base of the column
Batis de dormant   Jamb, of door or
window
Baton   Astragal, or narrow band.
Baton ou baguette. Astragal.
Battants de noix contre dormant. Side
rails.
Battants meneaux. Meeting rails.
Blochet. Tie.
Cadres de panneaux. Panel mouldings.
Caissons  Caissons.
Canaux. Channels. The channels of the
triglyph.
Cannelure. Flute.
Cannelure demi-circulaire. Semi-circular
flute.
Cathete. Cathetus.
Caulicole. Cauliculus
Cavet Cavetto.
Chambranle. Door-jamb, or architrave.
Window-jamb, or architrave.
Chapiteau. Capital.
Chapiteau des triglyphes. Capital of the
triglyphs.
Cheminee. Fireplace
Chevetres. Trimmers.
Chevron. Jack rafter.
Chevrons. Jack rafters.
Cincture. Cinctutre.
Clef. Key, or key-stone.


Colonne. Column.
Comble. Roof.
Comble droit Straight roof.
Composite. Composite.
CongO. Conge, or apophyge.
Conge inferieure. Lower conge.
Contrefiche. Strut
Coque des oves. Shell of the eggs.
Corinthien. Corinthian.
Corniche. Cornice.
Corniche de la porte. Cornice of the
doorway.
Corniche du piedestal.  Cornice of the
pedestal.
Cote. Side, meaning in this case side
elevation.
Cote de la cannelure. Side of the flute,
referring to the listel between the
flutes.
Coupe. Section.
Coupe larmes. Drip, or drip moulding.
Coupole. Dome.
Coussinet. Cushion.
Coyau. Foot rafter.
Cremone   Double bolt, with levers.
Croix de St. Andr6. Cross bracing in
the form of the letter X.
Croupe. Hip roof.
Croupe biaise. A hip roof upon a building with walls not at right angles.
Croupe droite. A hip roof upon a building with walls at right angles.
Cymaise. Cymatium.
Dards. Darts.
D'axe en axe From axis to axis.
De ou dez. Die.
De ou tronc. Die.
Decharges. Trusses.
Demi ferme. Half truss
Denticules. Dentils.
Detail de la cornice. Detail of the cornice.
Details des gouttes dans l'architrave sous
le triglyphe. Details of the guttae, or
drops, in the architrave under the triglyph
Detail d'une goutte du soffite. I)etail of
a drop of the soffit.
Dez Die.
Diametre de la colonne. Diameter of
the column
Dorique. Doric.


Doucine. Cyma recta.
Echarpe. Brace.
Elevation. Elevation.
Elevation principale. Principal elevation.
Empanons Jack rafters.
Entablement. Entablature.
Entrait. Lower tie beam.
Entr'axe.  Distance between one axis
and another.
Entrecolonnement. Intercolumniation.
Equerre en fer. Iron brace.
Etrier en fer. Iron stirrup.
Eschelle  Scale.
Eschelle de la plan et de la coupe. Scale
of the plan and of the section.
Eschelle des, etc. Scale for, etc.
Eschelle du detail. Scale for the detail.
Etage. Story (of a building).
Face. Fascia.
Face de l'abaque. Fascia of the abacus.
Face de larchitrave. Fascia of the architrave.
Face de l'archivolte. Fascia of the archivolt
Face de l'imposte. Fascia of the impost.
Face du tailloir. Fascia of the abacus.
Faitage. Ridge purlin.
Faux chevetres. Joists.
Fenetres. Windows.
Ferme' A roof-truss.
Feuille. Leaf.
Feuille des caulicoles. Leaf of the cauliculi.
Filet  Fillet
Filet ou anneau. Fillet, or ring.
Fleuron. Rose, or flower.
Frise. Frieze
Frise de la porte. Frieze of the doorway.
Fronton. Pediment.
Fit ou vif de la colonne. Shaft of the
column.
Galbe. Entasis. The swelling of the
shaft of a column.
Generatrices. Generatrices.
Gorgerin. Neck, or necking.
Gorgerin ou frise  Neck, or necking, of
the shaft.
Gousses. Pods.
Goutte. Drop.
Goutte carree. Square drop.
Goutte droite  Straight drop.
Goutte rampante. Sloping drop




24


GLOSSARY


Goutte ronde. Round drop.
Gouttes. Drops, or guttat.
Gouttiere. Gutter.
Grande feuille. Large leaf.
Grande salle  Large hall. In this case,
applied to the cella of the Roman ternple.
Guettes. Braces.
Hauteur de, or hauteur du, etc. Height
of, etc.
Hauteur de l'arcade   Height of the
arcade.
Hauteur de la colonne.  Height of the
column.
Imposte  Impost.
lonique. Ionic.
Jamb de force. Brace.
Jambette. Strut
Jet d'eau. Drip.
Lambourde. Summer attached to girder.
Largeur de, or largeur du, etc. Width of,
etc.
Largeur de l'arcade.  Width of the
arcade.
Larmier. Corona.
Ligne. Line.
Ligne droite. Straight line
Ligne spirale. Spiral line
Lincoir. Trimmer.
Linteau. Lintel.
Listeau. Listels. Plural of listel.
Listel de l'abaque. Listel of the abacus.
Listel, ou cincture. Listel, or cincture.
Longs pans. Slope of the roof.
Marches   Steps.
Menuiserie. Joinery.
Metope Metope.
Metres  Metres   Equal to 39.37 inches.
Modillons. Modillions.
Module. Module. An arbitrary unit of
measure.
Montants. Stiles.
Moulures. Mouldings.
Moulures de chambranle. Mouldings of
the architrave (of the door or window).
Mutule. Mutule.
Mutule avec gouttes en dessous.  Mutule with drops beneath.
Nu de l'architrave.  Surface, or plane,
of the architrave.
Nu du fat. Face of the shaft.
Nu du vase. Face of the vase.


(Eil de la volute. Eye of the volute.
Ombre. Shadow.
Ombre porte.     Cast shadow, as distinguished from shade.
Ombre propre. Shade, as distinguished
from cast shadow.
Ove. Ovolo.
Oves. Eggs.
Pan de bois. Framed timber work.
Panne de lierne. Purlin.
Panneaux. Panels.
Pannes Purlins.
Parties. Parts, the divisions of a
module.
Paumelle. Hinge.
Pendentif. Pendentive.
Petite feuille. Small leaf.
Petits bois. Muntins.
Piedestal. Pedestal.
Plan. Used either for plan, as in architecture, or plane, as in geometry.
Plancher. Floor.
Plinthe. Plinth.
Plinthe ou socle de la base. Plinth of
the base.
Poincon   King post.
Porte. loorway
Portique. Portico.
Poteau. Post.
Poteaux. Posts.
Poteaux corniers. Corner posts.
Poteaux d'huisserie. Window studs.
Poutre. Girder.
Poutre avec lambourde.    Girder with
joists hung.
Poutre portant solives. Girder carrying
floor joists.
Projection horizontale  Horizontal projection.
Projection verticale. Vertical projection.
Quart de rond. Quarter round.
Quart de rond, ou ove. Quarter round,
or ovolo
Reglet. Reglet, or listel.
Reglet, ou listel. Reglet, or listel.
Remplissage. Filling in.
Renfle. Having entasis.
Rez-de-chaussee.   First story, ground
floor.
Rosace. Rose, or flower
Rose. Rose.
Rose, ou fleuron. Rose, or flower


Sabliire. Plate.
Sablieres. Plates.
Sablieres de chambree. Plate.
Salle. Hall.
Scotie. Scotia.
Scotie inferieure. Lower scotia.
Scotie superieure. Upper scotia.
Serrure. Lock
Socle  Socle.
Socle de la base  Socle of the base.
Socle maronnerie.   Base of masonry,
underpinning.
Socle ou base du pi6destal. Base of the
pedestal.
Soffite. Softit.
Solive. Joist.
Solives. Joists.
Solives d'enchevetrement. Headers.
Tailloir. Abacus.
Talon. Cyma reversa.
Talon renverse  Reversed cyma-reversa.
Tirant. Tie-beam.
Tore   Torus.
Torse. Twisted
Toscan. Tuscan.
Tournisse. Stud.
Trace. Drawing, or representation
Travese de dormant. The head, and the
sill of a door.
Traverse du haut. Upper rail.
Traverses. Stiles.
Triglyphe. Triglyph.
Triglyphes avec canaux.     Triglyphs
with channels.
Tronc. Shaft.
Tympan. Tympanum.
Tympan du fronton. Tympanum of the
pediment.
Vase. Vase
Verrou Bolt.
Volute Volute.
Voute   Vault.
Voute d'arete. Groined vault.
Voute d'arete barlongue. Oblong groined
vault.
Voute en arc de cloltre.    Cloistered
vault
Voute en arc de cloitre ouverte par le
haut. Cloistered vault open at tle top.
Voute en berceau. Barrel vault.
Vo-te sur pendentifs. Vault upon pendentives.




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7                            ENTABLEMENT ET CH-APITEAU DE LORDEE TOS CAN                      PL-VII


-  rwcde.CffARLES SCHLMID, EDITEUR,.51, Itue dew*                                                                          j,,ajmn  c
l~'~d~/enc,~  ma  lc~dac hazim/cm de la -In/mce fin u lm/ domne pa,ci Consen/et d modmki' 7'~ dont  ac/cc/ poa1' I/~zrehzlicce, mm/ide, 2i pcccumcc peer ac
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deciccir lee mi'  ert 7ae~ptex pert/i~e pacceulia c/mimer p/ice di/n,cive.


IMP'I LEMCECIER, PARIS




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PIEDESIAL ET BASE DE LOROPRE DOR IQJE


PLXH1


P pq,:a,,                                          CHIAR LES SCHMIH M ITE'   R-                                      -__5        _ _ _ _- -  __
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IMPW3 LEMcECIER, PARIS.


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____  --  - ___-  CHARLES~                                           -__________
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e t.LtP ro/2/ etitt  cd/a  4q ie,  /e  poi0/1  0.  du9'tel  oni  nziweiw,  nit/a t  de- 1~qaar  "re  1;~mn   aSe 'ur ', vr hleaziw  de- p oiittr,  en i  n. Ih,2rawl  i qe upai-  aenwyk  X Y' =PP
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ENTABLEMENT ET CHAPITEAU DE L'ORDRE DORIOUE GREC


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47  ETABEMET F CHJATFU IE LEDR  DUI7UEMIE         DL?{XXI


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68                                  FAN DE BOIlD, LXTEIKETJR                            FL. LYVI


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PRINCIPALTX TYPES DE COMVBLE S ALA MANSARD


P-L LXX


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74                                          'ETUDE DE DIVERISES VOUITES EDARETE.


FIL. LXXIV


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