THE 


BRITISH ARCHITECT: 


OR, 


The Builder's Treaſury of STAIR-CASES. 


CONTAINING, 


I. An eafier, more intelligible, and expeditious METHOD of drawin 
the FIVE ORDERS, than has hitherto been publiſhed, by a Scars of Twelve 


equal Parts, free from thoſe troubleſome Diviſions called Aliquot Parts, Shewing alſo 
how to glue up their Col uus and CAPITALsõ. 


II. Likewiſe STAIR-CASES, (thoſe moſt uſeful, ornamental, and neceſſary Parts 
of a BuiLDING, though never before ſufficiently deſcribed in any Book, Ancient or 
Modern); ſhewing their moſt convenient Situation, and the Form of their Aſcending 
in the moſt grand Manner: With a great Variety of curious ORNnamenTs, whereby 
any Gentleman may fix on what will ſuit him beſt, there being ExameLes of 


7 Kinds; and neceſſary DIXECTIONS for ſuch Perſons as are unacquainted with that 
RANCH. 


II. Dzs16ns of ARCHES, DOORS, and WINDOWS. 


IV. A great Variety of New and Curious CHIMNEY-PIECES, in the moſt 
elegant and modern TAsTE. 


v. CORBELS, SHIELDS, and other beautiful Dzcox aTI0Ns. 


VI. Several uſeful and neceſſary RULES OF CARPENTRY; with the Manner 
of TRUSS'D ROOFS, and the Nature of a ſplay'd circular SOFF IT, both 


in a ſtreight and circular Wall, never publiſhed before. Together with Raking Cok- 
NI CRS, Genius, and ANalx RrRACKETS, deſcribed. 


The Whole being illuſtrated with upwards of One Hundred DEs is and ExXaMPLEs, 
curiouſly engraved by the beſt Hands on Sixty Folio Copper-Plates. 


By ABRAHAM SIT AN, CARPENTER. 


_ 


The SECOND EDITION. 


TO ND 0 Ne. 


Printed for the AurHOR: And fold by THOMAS ME16GHAN, over-againſt EarPs- 
Court in Drury-Lane; W. Mzapows, over-againſt the Roya-Ex change in 
Cornbill, and H. PI ERS, near the Bull and Gate Inn, Higb-Holbourn. 


MDCCL. 


THE 


INTRODUCTION. 


HOSE who are well acquainted with this Subject, 
and have had large PraCtice in it, muſt, I think, 
allow that there needs no Apology for preſenting the 

Public with the enſuing Treatiſe, which is chiefly defign'd for 


the Benefit of ſuch, as have had leſs Practice therein; to 
whom I hope it will prove no uninſtructive Piece. Many 


Books of Architecture have been wrote, and ſome of 
them Pieces of great Value; yet after careful Peruſal I have 
never found any of them fit to give a Learner tolerable Satiſ- 
faction. And I might venture to ſay, there is no Book yet 
extant which contains the Rules and Examples of Drawing 
and Working in ſo large a Variety, and at the fame Time 


in ſo plain and conciſe a Manner, as this ſingle Volume. 


Palladio, Scamozzi, and Vignola, are certainly the beſt 
and moſt celebrated Authors who have wrote on Architec- 
ture; yet they contain not all that is neceſſary to be known 
on this Subject; particularly with regard to Stair- Caſes, tho 
allow'd by them all to be one of the moſt conſiderable and 
uſeful Parts of a Building. The Examples which they have. 


left us of theſe, are of very little Uſe either for Drawing, / 


or Working. Palladio tells us, that all Care imaginable 
mult be taken in placing the SHair-Caſes; and that it is dif- 
ficult to find a proper Situation for them, which will no 
Ways damage the reſt of the Fabrick; that the leſs they 
are concealed from ſuch as enter the Houſe, the more orna- 
mental they will appear; and that you ſhould have a Sight 
of the beſt Part of the Houſe before you arrive at them, by 


which 


iv INTRODUCTION. 


which Means the Fabrick will ſeem larger than it realy is. 
With ſuch general Directions he contents himſelf ; and 
pretty much the ſame might be ſaid of Chimney-Pieces. But 
in both theſe Subjects I have laid down ſeveral Rules, and 
ſhewn ſeveral Examples, which will be found uſeful both for 


Drawing and Working. 


There will be very little Difficulty to underſtand the Pro- 
portions of the Five Orders; the Retail Meaſures being ex- 
actly adjuſted by a familiar Scale of Twelve equal Parts; 
and all the G Meaſures, ſuch as thoſe of the Baſe, Shaft, 
Capital, Architrave, Freeze, and Cornice, are ſhewn up the 
Sides of the entire Orders, and explained in View of the De- 
ſigns. The Doors, Windows, Chimneys, and the Decora- 
tions, being fully deſcribed in their proper Places, it would be 
needleſs to ſay any thing more of them here. | 


Altho' moſt of the Terms of Architecture have been al- 
ready explained by ſeveral Authors, yet for the Benefit of 


thoſe who may not have ſuch Books, I ſhall here, beyond 
what I at firſt propoſed, give their Explication. 


An Order in Architecture ſignifies, a Compoſition of the 
ſeveral Parts of an Entire Column; ſuch as the Baſe, Shaft, 
or Body of the Column, the Capital, Architrave, Freeze, 
and Cornice; when theſe are all regulated by their proper 
Meaſures, ſome being plain, and groſs, others compoſed of 
more delicate Parts, according to the different Orders for 
which they are intended, and are all united, and adapted 
to their proper Places; they then form that Part of a 
Building, which 1s called an Order ; and which adds greatly 
to the Beauty of the Building, if rightly adapted, not to 
the Situation o, but alſo to the Rank and Dignity of the 
Owner. op Columns 


INTRODUCTION. "= 


Columns may be called Entire without Pedeſtals ; the chief 
Uſe of theſe being for Balluſtrades, Obeliſts, Statues, and 
Dados of Wainſcotted Rooms, &c. where they are generally 
a fifth Part of the Height of the Room; the particular 
Meaſures of Pedeſtals are ſet to the Arches of each Order, 
where, I think they are of little Uſe, except to ſhew their 
Proportions, for in Porticos and Colonnades, to which Columns 
are chiefly uſed, we ſeldom find them ſet upon Pede/tals. 
The Doric-Order is ſo far from having a Pedeſtal, that in 
its Original it had no Ba/e, as Palladio has ſhewn in his 
Colonnades; and for this Yitruvins gives an odd Reaſon, 
which is, that this Order is like a ſtrong and robuſt Man, 
ſuch as Hercules, who was never repreſented but with his 
Feet bare; Whereas the Baſe of a Column bears more Re- 


lation in its Uſe, to a Man's Foot, than to his Shoe ; and 
may therefore be eſteem'd a neceſſary Part. 


Of the ſeveral Parts of the Orders more particularly. 


The Baſe imports the Suſtent or Foot. 


In the TUSCAN ORDER it is compoſed of three Parts. 


The lowermoſt Part is a flat Member, and is called the 
Plinth; © 


The next is the Aſtragal, which is in Form of a Semi- 
Circle, with its Fillet; this, when uſed in the Bae, is 
commonly called a Torus, which turns round the Column; 
the ſmall Hollow or Cavity joining to the Fillet belongs to 
the Column. The firſt third Part of the naked Shaft, or 
Body of the Column, repreſents a Cylinder, the other two, 
the Fruſtum of a Cone, but ſomething ſwelling ; on the up- 
permoſt Part of the Shaft is an Aſtragal, which employed 
in this Place is called a Collar, and turns round the Column, 

a The 


fi INTRO DUCTHO; ME 


The next Puig is the Cipita, which begins with a Freeze, 
here called the Neck, at ine upper Part of which is a ſmall 
Hollow, with a ſmall Liſt, or Fillet, which ſeparates 1 it from 
the Ruarter-Rownds or Ovolo, Over the Ovolo is à ſquare 
Plinth, which is in this Place called an Abacus, and has ſome- 
times a ſmall Hollow and FR on the upper Part, where | it 


Joins ; 


The e eee - The firſt Part of which is calle the 
Architrave ; this generally conſiſts of two Faſcras, above both 
which is a Fillet with a Hollow underneath it. The next Part 


is a large plain Faſcia, called the Freeze, ſeparating the Ar- 
chitrave' from the Cornice. 


* 


The firſt Part of the Cornice is the Bed-Mould, which is 
compoſedof a Hollow, a Quarter-Round, and Fillets; over 
this is the Faſcia, or Front of the Soſſit, Corona, or Eaves, 
which is- ſometimes plain, and ſometimes a large Hollow, as 


in Palladiv. At the Top of all is the Cima or Ogee, with 
its two Fillets. 


An Ogee is formed by two Segments of a Circle, the one 
Convex, and the other Concave, being ſometimes the ſixth 
Part of a Circle; but ſometimes a much guzcker Curve, that 
is to a ſhorter Radius, eſpecially when uſed for the ho- 
rizontal, or level Part of the Cornice, at the returned Part 


of the Foot of a Pediment ; for elſe the Raking-Ogee will 
have a bad Effect. 


In the DORIC ORDER. The Baſe is called the Attic, 


and beſides the Plinth is compoſed of two Toruſſes ; the up- 
permoſt of which has two Fillets; the Hollow betwixt the 
Toruſſes is ſometimes called the Scotia. 


The 


EA 


INTRO DUCTION. wil 


The Capital in ins Order is ſomething, diffrent. "SN the 
former, having an Aſfragat, or Bead at the loger Part of 
the Quarter- Round; Pa/ladio ſets to this Part three Annu- 


lets, Liſts or Filets The Abacus, or Faſcia. above the 
Cound, has an n Opec, "I Ree, 


Fa 


9 8 


The Architravs | is com poet * two Faſcias; on | the up- 


per are ſix ſmall Drops, or Bells cut like a Dove-Tail, ſet 
under a Fillet, whoſe Extent is equal to the Width of the 


Trighph over it. The Tr:g/yphs are projecting Parts in the 


Freeze, with perpendicular Channels or Gutters; the Depth 
of each i is formed by a right Angle, and is half the Width. 


'The Metopes are the Space between them, which are perfect 


Squares; the Trighphs are capt with a Fillet. 


As for as Cornice ; the Bed-moulds 1 in "this Order are va- 


rious. That fix'd to the Profile is only a Ruarte?-Round \ with 


its Fillet; above this are the Modillions capt with an Oe, 
ſet perpendicularly over the Yig, and equal to them in 
Width; the Spaces in the Soffit betwixt the Modillions, 
which often contain various Sorts of Flowers, are called Cof- 


fers, both in this and the following Orders. 


In the TONIC ORDER. The Baſe nearly corre- 
ſponds with the former, there being only a Bead introduced 


above the upper Torus ; the Capital is different, for here and 


in the following Orders, the Varter-Round at the upper 


Part with its Fillet and Hollow is called an 4bacas; and 


in the Centre or Middle of this Capital is a eee 


from which ſprings the Fillet of the Scroll or Yolute. Some- 
times in this Place you have a Roſe or Foliage Flower. The 
lower Quarter-Round is carved with Eggs and Darts. 


The 


„ ——_—_— 


— 3 
„ 


viii INTRODUCTION. 


The Architrave in this Order has generally three Faſcias, 
which ſome ſeparate by Beads, others by the Projection of 
a ſmall Fillet only, as in the two lower; the upper has a 
large Ogee and Fillet, the Carving and Enrichment of 
which is called Sezen-leaved Graſs. The Freeze has no- 
thing particular, except that it ſometimes ſwells. The 
Cornice has a Dentil Bed-Mould; its firſt Member is an 
Ogee with its Fillet, over which are the Dentils or Teeth ; 
the next Member is a Quarter-Round, or Ovolo, with its 
Fillet; above this is the Fuſcia, which contains the Mo- 
dillions, capt by an Ogee; over this is the Faſcia, or 
Front of the Soffit, and then two Ogees, with their 


Fillets. 


There is no Occaſion to enlarge upon the two other Or- 
ders, the Corinthian and Compoſite; ſince their Mouldings 
have the ſame Names, as what I have already mentioned. 
The Corinthian Capital has two Rows of Leaves one above 
another; between the Leaves of the upper Tier is ſhewn 
the Helices or Stalks, from which ſpring the Scrolli that 
ſupport the Abacus. 


But ſince Architecture is much more eaſily learnt by the 
Eye, than the Ear, I proceed to explain my Plates, 
which I ſhall do as briefly as poſſible; the Figures them- 
ſelves being much more expreſſive than Words. 


To PROrORT ION the 


T USC 4 N Order. 


A N Y Height being given for this Order, 


Let it be divided into nine equal Parts, as is 
ſhewn up the Side of the Column. 


Then, one of theſe Parts is the Diameter of the 
Column at its Baſe ; ſeven Parts are given to the 
Shaft, or Body of the Column, including the Baſe 
and Capital; and two to its Entablature, which 
includes the Architrave, Freeze, and Cornice. 


Having found the Diameter of the Column at its 
Baſe, 


Let it be divided into four equal Parts, as in 
PLATE II. Then divide one of theſe into twelve, 
which is done thus : 


Take the Extent of one of theſe four Parts, 
and ſet it from A to B; then ſet your Compaſſes at 
Pleaſure, and run twelve Diviſions, as on the Line 
B C; from the Extent of theſe Diviſions draw a 
Line to A; when theſe Diviſions are ſquared up 


from the Baſe Line, that is, drawing the Perpen- 
diculars 1, 2, 3, &c. your Scale is made, and the 
Line A B is divided into twelve equal Parts; as 
would eaſily appear by drawing Parallels from each 
of theſe Perpendiculars to AB. 


Then diſpoſe of theſe Meaſures to the Height 
and Projection of each particular Part, as you ſee 
them ſet in the PLATE, whichis all you have todo, 


ä——ũ—æ:—wäẽ ũ M —＋⏑ Z 


24 


In making the Scale, it is plain, that your Com- 
paſſes may be ſet at any Diſtance ; for ſet up C D 
equal to A B, from D run twelve Diviſions with 
your Compaſſes at a /maller Diſtance than before, 
from their Extent draw , a Line to C, and ſquare 
up from the Baſe as before; than theſe Diviſions, 


if rightly drawn, will exactly anſwer to the for- 
mer. 


When a Column happens to be juſt a Foot Dia- 
meter, each of theſe Parts will be a Quarter of an 


Inch, fince there are forty-eight Quarters in a 


Foot. When the Diameter 1s two Feet, each Part 
will be half an Inch; if four Feet, an Inch; and 
whether more or. leſs, it will be ſhewn by the 
Scale. Under the Columm 1sſhewn a Cornice from 


Palladio. 


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To PRO rORTION the 


DOOR C Order. 


HIS PLATE exhibits at one View, all the 


articular Parts of this Order, together with 
ſeveral different Cornices, to be uſed as Occaſion 
may require. 


It would be needleſs to ſay any thing more of 
the Scale, ſince tis the ſame fie all the Orders, 


Any Height being given for the Doric Order, 
Let it be divided into ten equal Parts, as is 
ſhewn up the Side of the Column. 


One of theſe Parts is the Diameter of the Co- 
lumn at its Baſe; eight Parts are given to the 
Shaft, or Body of the Column, including the 
Baſe and Capital; and two to the Entablature ; 
(which always means the Architrave, Freeze, and 
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on the upper Part are moſt common ; they are 
work'd to an Arris, and are funk down two dif- 
ferent Depths, one of which is deſcribed by the 
fourth Part of the Circle, the other by a fixth ; as 
is ſhewn on the PLATE to the Right-hand of the 
Baſe : The Square, or Fillet of the other Sort, is 
equal to one third Part of the Flute, as in the 
following Orders. 


PLATE V. Shews the Baſe, Architrave, 
and Cornice at large. 


The Scale there exhibited 1s two Inches and a 


porter „which gives the Proportion of a Column 
of nine Inches Diameter. 


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— . 


The TUSCAN Order. 


PLATE I. Kepreſents the principal Parts of this Order. 
[ PLATE IL Exhibits each particular Part at large. 

| The Baſe, Capital, Architrave, and Cornice are near Pal- 

ladio's Proportions; but the Freeze is nine Parts more than his, 
and fo make the whole Entablature equal to two Diameters, and alſo 
equal to two Sevenths of the Height of the Column. The Height of 
Scamozzi's Freeze exceeds that which is exhibited in this Profile by one 
Part and a Quarter. 


The DORI/C Order. 


P ATE III. Repreſents the principal Parts of this Order. 

PLATE IV. Shews each particular Part at large, with two 
different Sorts of Coronas, or Soffts; one with its Modillions and Flow- 
ers; the other is what both Palladio and Scamozzi copied from the 
Theatre of Marcellus at Rome; and on the Left-hand of this is Palla- 
dio's Bed-mould; which is all the conſiderable Difference in this Order. 

| B | Scamoxxi 


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Scamozz1 gives a Dentil. Bed- mould, the Meaſures of which are placed 
to the lower Cornice in PLATE III. The Cornice over this has a Frei: 


Bed mould, taken from the Bath of Dioclefian, at Rome. 
PLATE V. Exhibits the Mouldings at large, in Out- lines. 


The IO NIC Order. 


P ATE VI. Repreſents the principal Parts of this Order. 
PLATE VII. Repreſents each particular Part at large. 

The Modillions fix d to the Profile, with the Leaves underneath them, 
have been practiſed by Sir Chrifopher Wren, with the Bed. mould in the 
ſame Proportion as here exhibited, but not toothed. The ſame PLATE 
alſo exhibits Palladio's Cornice, with the Modillions finiſh'd ſtrait be- 
hind ; his Bed-mould is the ſame here as that which he has given to the 
Doric Order: The Height which he aſſigns to the Freeze in this Or- 
der is twenty-one Parts, and it ſwells equal to the Projection of the 
Architrave. 

PLATE VIII. Shews the Gluing up of the Capital. 

PLATE IX. Exhibits the Mouldings at large, in Out-lines. 


The CORINTHI AN Order. 


P LATE X. Repreſents the principal Parts of this Order. 
PLATE XI. Exhibits each particular Part at large. 

The Modillion placed to this Profile, is ſhorter than Palladio's, by 
two Parts and a Half, and ſeems to have a much better 77u/s; ſince 
his is longer in Proportion, than any that we find among the Ancients, 
who certainly did nothing without the greateſt Reaſon. Palladio's 
Freeze to this Order is twenty-five Parts. The Height of the Column 
in this Order is equal to ten of its Diameters; and the Entablature to 
two, or to one fifth Part of the Column's Height. 

PLATE XII. Shews the Gluing up of the Capital. 

PLATE XIII. Exhibits the Mouldings at large, in Out-lines. 

The 


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TONTC Order. , 


nA 


A NY Height being giving for this Order, 
Let it be divided into eleven equal Parts, 

as is ſhewn up the Side of the Column: One of 

them 1s the Diameter at the Baſe. 5 

Nine Parts are given to the Shaft, including the 
Baſe and Capital, and two to the Entablature. 

You have here four different Sorts of Cornices for 
this Order, and two different Sorts of Modillions; 
the one turned up behind, like the Corinthian, p 
ſometime with a Scroll and Leaf behind, and a ; 
Leaf on the under Side, ſet within a ſmall Li, 
or Fillet; and the other is from Palladio. s 

PLATE VIII. Shews all the Parts of the Capital. | 

FIG. I. Shews a Capital, with an Ogee- Abacus. 

FIG. II. A different Capital, with the Scrolls 4 
touching the Ovolo. 


FId. III. The Plan of a Capital, with its Scroll 


—X 


on one Corner; the dotted Lines on the other Cor- % 
ner ſhew the Thickneſſes of the Pieces to be glued | 
ON. | 

Fi6. IV. Shews the Body of the Capital. 2 


FId. V+ Shews the Scroll; To draw which, 
take the Diſtance from 2, to the Centre in your 
Scale, FIG. VIII. ſet the Compaſſes at 1, in FIG. V. 
and deſcribe a Stroke at C, with the ſame Di- 
ſtance from 2, croſs the former Stroke in C, and 
this will be the Centre to turn that Part from 1 
to 2; and fo proceed with the reſt, taking the ſe- 
veral Diſtances from the Scale, in which, the Di- 
ſtances from 1 to the Centre, or from 2 to the 
Centre, are reſpectively equal to thoſe of from 1 0 
the Centre, or from 2 to the Centre in the Scroll, — 
and ſo on. Þ |, Fr ttt 

To make the Scale in FIG. VIII. The Baſe . 
Line contains nine Parts, and the Upright twelve: ß Sz 
Divide the Circular Line, from F16. VIII. to the 
Eye of the Volute, into twenty-four equal Parts, 
thro' which draw Lines from where they meet to 
the Upright Line. 

The Eye of the Volute contains two Parts and an 
Half. 
FI. VI. Shews half the Plan of a Square Ca- 
pital, wherein the Figures 1, 2, 3, 4, 5, 0, repre- 
ſent the Thickneſſes of the Pieces to be glued on e 
to the Corners. uu ee e 28 
FIG. VII. Shews the Body of the Capital, Tm = => SY 
with the Mouldings worked before the Pieces are 

glued on. . IL | 


2218: 


PLATE IX. Shews the Baſe, Architrave and 4 2 | If 
Cornice at large, with the Manner of forming their _—_—_ 
Modillions. W 


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To PROr²ORT ION the 


CORINTHI AN Order. 


A NY Height being given for this Order, 


Let it be divided into twelve equal Parts, as is 


ſhewn up the Side of the Column. 


One of them is the Diameter of the Column at 
the Baſe; Ten Parts are given to the Haft, in- 
cluding the Baſe and Capital; and two to the En- 


zablature. 


The Capital in this Order is one Diameter and 


a ſixth Part. 


This PLATE alſo exhibits another Cornice larger 
than that fixed to the Profile, but yet is not near ſo 


large, as that which Vignola has given to his Co- 
rinthian. 


"Tis not neceſſary to ſay any more of the Propor- 
tions, the Meaſures being ſet to the reſpective Parts. 


PLATE XII. Shews the different Parts of the 
Capital. 


F 16. I. Shews the Pieces glued upon the Di- 


agonal. 


FI6. II. Shews the Capital viewed Angle-ways, 
with Part of the naked Bell of the Cap. 


FI d. III. Repreſents the Body of the Capital, 
with ſome of the Blocks glued on; FIG. II. at 
the upper Corner to the Left ſhows how much the 
Capital ſhould taper, at each Side, fince ſeven and 


an Half on the other Side is ſcarce ſufficient for the 
Plan of the Abacus. 


F16. IV. Shews the Capital, with all the Mea- 
ſures of the Height, Width, and Projection ſet to 
every Part. 


F IG. V. Shews the Plan of the Capital, with 
the Manner of Reverſing the Cants, for gluing 
on the lower Teer of Leaves. | 


FIG. VI. Shews half the Front ofa Square Ca- 
pital. 


FI d. VII. Shews the Plan of a Capital, one Part 
Circular, and the other Square, with the Manner 
of ſetting out the Flutes, and Leaves of each. 


PLATE XIII. Shews the Caſe, Architrave, 


and Cornice at large, drawn by the ſame Scale as 
the Doric and Tonic. 


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COMPOSITE Order. 


A N Y Height being given for this Order, 

Let it be divided into twelve Parts, as the 
Corinthian, there being no Difference in the Origi- 
nal betwixt theſe two, except in the Capital, the 
Compoſite having a proper Tonic Capital above the 
Leaves; theſe Leaves commonly differ from the 
Corinthian, being carved with what is call'd Par- 

ey. 
a There are Two different Cornices; one of them 
has an Architrave-Modillion, which Palladio and 
Scamoz2i copied from a Corinthian Work at Rome, 
call d the Frontiſpiece of Mero, from which they 
both took their Tonic Baſe. 

PLATE XVI. Shews the Manner of Gluin 
and Fluting Columns, which may be uſeful to hots 
who have had but little Practice in this Way. 

FIG. I. Shews a Column in the Reel; the Pieces 
at each End on which the Columm hangs, have their 
upper Ends left level with the upper Side of the 
Column, that when a ſtraight Rule 1s laid on thoſe 
two Pieces, and FIG. VI. placed to the Bottom of 
the Column, and FIG. VII. to the Top, with the 
Flutes and Fillets drawn on each of them, then 
Lines drawn by the Rule from the Bottom to the 
Top, will ſwell, and diminiſh your Flutes. 

FIG. II. Shews a Pilaſter, with two Gapes ; 
one to gage from a ſtraight Side, and the other to 
gage one that diminiſhes : It will be ſufficient to 
put in Teeth for three Flutes, and gage from each 
Side, for when there are more, tis difficult to run 
the Gage true. 

Fi. III. Shews two Ribs glued together. 
Fic. IV. Shews a Column glued up. 
FIG V. Shews the Rule, for diminiſhing the 


Ribs, before they are glued together. Sometimes 


when the Stuff is thin, each Rib is fix'd to a Tem- 
plet, and bent near to the ſwelling of the Column, 
and fo glued two and two together. To diminiſh 
the Column, divide the Height into ſeven Parts; 
at two of thoſe Parts ſtrike a Semi-circle; then 
draw the dotted Lines from the Neck of the Co- 
{umn to the Semi-circle; divide the remaining 
Part of the Semi-circle into four equal Parts, 
where theſe cut the Semi- circle, they will give the 
diminiſhing Parts, as is ſhewn up the Side of the 
Column, by the Figures 1, 2, 3, 4. 

FIG. VI. Shews the Splaying Mould of the 
Ribs, and the Backing Mould. 
FI. VII. Shews two Fluzes in a Rib. You are 
always to obſerve, that the Flutes happen not in 
the Joints. 


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The COMPOSITE Order. 


P LATE XIV. Repreſents the principal Parts of this Order. Un- 
derneath you have Palladio's Cornice. He gives twenty-four Parts 
to his Freeze in this Order, which is half the Diameter of his Column. 
PLATE XV. Exhibits this Order, as in its Original ; with each par- 
ticular Part at large. 


PLATE XVI. Shews the Manner of Gluing up Columns. 


Of the Arches of all the Orders. 


LATE XVII. Repreſents two Taſcan Arches; one with Pedeſtalt, 
and the other with a Plinth, only the Diameter of the Column, 
which agrees with Palladio's. 

The Piers are never more than half the Opening, nor leſs than one 
Third; but Palladio ſeems to have more Regard to the Pierage and 
Opening of the Arch, than to the Space betwixt the Modi/lions. He 
takes no Notice of the Rifing of his Arch above a Semi-circle ; as Sca- 
-0221 has ſhewn his Tuſcan, rifing ſeven Minutes and a Half, which is 

equal to fix of theſe Parts, his Doric rifing ten Minutes, his Tonic 
twelve, his Compoſite fourteen, and his Corinthian ſixteen Minutes. 

Sir Chriſtopher Wren ſeems to have exceeded theſe Proportions, in 
ſome of the Arches of St. Paul's; but this probably was the Effect of 
his very juſtly conſidering, that a lofty Arch, at a near View, will have 
Part of its Beauty hid, by the Projection of the Impofts ; which made 
it neceſſary to give the greater Riſing above a Semi- circle to his Arches, 
which are lofty, and to be view'd but at a ſmall Diſtance from their 
Feet. If the Arch be low, or is to be view'd at any conſiderable Di- 
ſtance, it need not riſe but little above a Semi-circle, the Impo/s not 
being then capable of hiding much of it. 

The lower Part of the Key- ſtone, and the Architrave that turns round 


the Arch, may be both made of the ſame Width. | 
It would be needleſs to ſay much more of the Arches, fince the Mea- 


ſures are ſet to each particular Part in the Figures. 


P 


PLATE 


(4) 

PLATE XVIII. Repreſents two Doric Arches; one with a great, 
and the other with a ſmall Iinpoſt; and different Key-ftones. The Width 
of theſe Arches is regulated by their Number of 7r:iglyphs. 

PLATE XIX. Repreſents two Tonic Arches, with different 3 
and Key-ſtones. 

PLATE XX. Exhibits two dna Arches, with their Mea- 
ſures ſet to each Part. 

PLATE XXI. Shews the Intercolumniations of each Order from 
Palladio; with two Arches for Door-ways. You are to obſerve, that 
theſe Arches cannot be put in Practice, but where the Impo/? is above 
the Eye, which cannot well be leſs than the Height of fix Feet. 


Several Deſigns from Palladio, of Arches 
over Arches. 


LATE XXII. The Deſign in the Middle is taken from Palladio's 

third Book. The Triglyphs over the lower Arch, are not to be 
the Guide in regulating its Width, there being but five in the whole | 
Width betwixt the Columns, which are nine Diameters in the Clear. 
Over this Arch is a Venetian Window, of nine Diameters and eight Parts, 
from Column to Column ; the eight Parts are occaſioned by the Columns 
underneath diminiſhing one ſixth Part. 

The other three Deſigus are taken from Palladio's ſecond Book. The 
Deſign on the Right-hand repreſents two Arches, one over the other ; 
the lowerof whichis a Doric Arch, five Diameters from Column to Co- 
lumn, and the Ionic above it is five Diameters and eight Parts. The 
Columns ſtand on a Plinth equal to half their Diameter, and the Ba/- 
luſters are in the Opening of the Arch. 

Underneath you have the Ionic Order ſet upon a Ruſtic Baſement 
At the left-hand are two Deſigns of Venetian Windows; the Opening 
of each Arch is fix Diameters and a Half; the Spaces on each Side may 
be the common Intercolumniation, as there repreſented. 


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1 


Four Different Deſigns of Doors. 


P LATE XXIII. The lower Deſign to the Right hand is a Doric 
Door with Ruftic Tambs. 


Let the Height of the Column be divided into eleven equal Parts; 
then one and two Thirds is the Length of the K2y-/fone. From the 
Middle of one Column to the Middle of the other is ſix Diameters and 
a Quarter; and the Eutablature is one fourth Part of the Height of the 
Columns. You are to obſerve, that when the Columns ſtand on a Step, 
as in this Deſign, they are to have only their proper Plinth; but when 
uſed as repreſented by the lower Deſign on the Left-hand, there is 
ſometimes Half the Diameter, ſometimes three Quarters, and often the 
whole Diameter given to the Plintb. The upper Deſign on the Left- 
hand is an Ionic Door; the Entablature is two Ninths of the Column's 
Height, as is ſhewn on the Side; and the Modillion with the Space be- 
twixt each, is Half the Diameter and three Parts, 


Several Deſigns of Doors and Windows. 


LATE XXIV. The Truſſes for theſe Doors and Windows are de- 
ſcribed in the following, or on Plate XXV; and their Archi- 
traves, Freezes, and Cornices, at large on Plate XXVI. 


C The 


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(6) 


The Corner of a Door and Window, or 


Chimney at large. 


LATE XXV. You have in this PLATE the Corner of a Door, 
Window, or Chimney, with its Truſs at large; and the Meaſures 


ſet to each particular Part. 


There are three different Rules, or Proportions for Pediments ; which 
are two Ninths, one Fifth, or one Fourth of the whole Extent, Tis 
the firſt of theſe that I have followed in F 16. I. two Ninths being the 
mean Proportion betwixt the other Two. 

In F 16. II. I have ſhewn the Manner of the Raking Cornice. To 
deſcribe this——Firſt form the lower Ogee, which is the Level, or Ho- 
rizontal Part of the Cornice, from which draw the Lines that repreſent 
the Pitch of the Pediment, and divide its Height into four equal Parts, 
as in the Figure; then draw the Raking Lines 1, 2, 3, to the lower 
Ogee, and where they cut that Moulding, draw dotted Lines, as @ & to 
the upright Line; then transfer theſe to the other two Ogees, and à 5, 
ab, and a 6, will have each of them an equal Projection from their re- 
ſpeftive Uprights: And fo of the reſt. It will be needleſs to deſcribe 
the Manner of a Raking Hollow, or Round, they being both form'd in 
an Ogee. 

FIG. III. Repreſents the upper Part of the Modillion with its Cape 
ping. The Raking Mould may be found in the ſame Manner as in 
FIG. II. 


Two Deſigns of Cornices for Doors, or 
Windows 


P LATE XXVI. To proportion the upper Deſign Divide 

the Opening of the Door into fix equal Parts, as is uſual; one of 
them is the Width of the Architrave, which may be divided into twen- 
ty-four Parts, by dividing one Fourth of it into fix Parts; and diſpoſe 
them, as you ſee them mark'd in the Deſign. The Freeze, as ſhewn up 
the Side, is three Fourths of the Architrave; and a ſwelling Freeze 
muſt have its Projection equal to that of the Arcbitrave. I have ſhewn 


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a Pine-Apple to this Bed-Mould; but it ſometimes returns, with the 
Face of a Dentil each Way, 

In the lower Deſign, the Architrave is divided into twenty-one Parts, 
by one third Part divided into Seven, as is ſhewn on the Side; and this 
regulates the Cornice, as above. The Fillets of the Ogees of the Archi- 
trave in both theſe Deſigns are drawn in their uſual Proportions ; but 
may have full as good an Effet, if made one Fourth, or one Half of a 
Part more; which may be taken from the Faſcias. 

Beneath the lower Cornice at the Right-hand, is an Ogee, with a Hol- 
low at the Foot; which is ſometimes uſed for a Cornice. 


The Manner of proportioning Pedeftal 


Stairs. 


LATE XXVII. Stairs of this Kind are ſeldom uſed leſs than four 
Feet wide; for which Width I have drawn a Rail at large. This 
may be divided into four equal Parts, and one of them is the Projection 
of the Mouldings, excluſive of the Space at the Foot of the Hollow. 
To the Left-hand of the Rail is ſhewn one of theſe Parts divided in- 


to nine; diſpoſe of theſe nine Parts to the Height, and Projection of 
each Moulding, as you ſee in the PLATE. 


To the Right-hand of the Rail, you have a different Cornice and Baſe 
regulated by the ſame Method. | 

On the Top of the PLATE to the Left-hand is ſhewn the upper Part 
of a Pedeſtal. 1 
To proportion the Margin and Mouldings of which — 

Let the Width be divided into ſix equal Parts; one of them is the 
Margin, and Half that may be the Moulding. 

Or, you may proportion this by the Scale of nine Parts below ; taking 
{ix of them for the Margin, and three for the Moulding. 

To the Right-hand of this, is the Baſe proportion'd to the Rail at 
large. 

Obſerve, that for every Foot the Stairs exceed four in Width, you are 
to encreaſe the Width of the Pedeſtal by three Quarters of an Inch. If 


they are leſs then four Feet, then the Width of the e muſt be 
one eighth Part the Length of the Step. 


Another 


(8) 
Another Sort of Pedeſtal Stairs. 


PE ATE XXVIII. Theſe Stairs have a Raz/ and Balluſter different 
from the former. 
To the Left-hand you have the Architrave, Freeze, f Bed-mould, 
for the $/ring-Board, in Proportion to the Rail below. The Freeze is 
twenty-ſeven Parts, or three Fourths of the Width of the Pedeſtal. 


To each Moulding J have ſet the Meaſures of its Height and Projec- 
tion; which Method is alſo obſerved in the following Deſigns, 


A Different Rail and Balluſter. 


LATE XXIX. Theſe Balluſters are very rich, and would, in my 
Opinion, produce a very good Effect, if put in Practice. 
| The Space betwixt each Balluſter, is equal to Half the Width of the 
Balluſter, which is alſo equal to the ſhorter Side of the ſquare Part at 
Top. The ſhorter Side of the P/inth is three Fourths of the Width of 
the Balluſter. And the Balluſter's whole Width is equal to the Width 
of the riſing Part, on the upper Side of the Rail drawn at large. 


Another Sort of Pedeſtal Stairs. 


LATE XXX. Theſe Stairs have a different Rail, and Balluſters, 
ſtill richer than the foregoing. The Meaſures of the Ty 


Parts are proportion 'd as before. 


This PLATE alſo exhibits two different Sorts of Freezes; that over 
the Deſign with Oak-Leaves and Acorns. 


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(9) 
The Section of the Rail. 


LATE XXXI. This PLATE repreſents the Section of the Rail, 
with its Baſe, Architrave, Freeze, Bed- mould, and String board. 
The Plnth, with the twenty-three Parts ſet to it, ſtands along the 
Landing on the Gallery. The other Part of the String-board which 
falls below, covers the ſoiſts. 

To the Right is a Pedeſtal, with its Baſe turned round. Either of 
| theſe Methods may be uſed, as is thought moſt proper ; but I take the 
former to be the beſt Way, when the Baſe finiſhes againſt the Pedeſtal. 


A Flight of Bracket Stairs. 


LATEXXXIL This PLATE exhibits a Flight of four Steps of 

very rich Bracket-Stairs ; over which is a Bracket drawn at large. 
For the Length of the Balluſter, take the perpendicular Height from 
the Moſe of the Step, to the under Side of the Rail, which ought not 
to exceed two Feet two Inches. 

PLATE XXXIII. A Flight of Stairs, with very rich Brackets. 

PLATE XXXIV. A Flight of Stairs, with two different Brackets, 
at large. 


A Stair-Caſe with two Flights. 


LATE XXXV. Here I muſt advertiſe the Reader, that I by no 
Means intended to confine myſelf to the Rules of Perſpective ; 
but to repreſent the Deſign in the moſt hf, Form; and therefore con- 


tinued the Steps all parellel to the firſt viſual Line ; for had they all di- 
refed to the Point of Sight, it would have made the Deſign /e/e/s for 
what is intended. 


FIGd. II. Shews the Manner of drawing the Ramp; which is to rife, 


equal to the Height of the firſt Step of the next Flight, and as much 


as its Kneeling; as is ſhewn by the Ramp interſecting the Rail of the 
ſecond Flight. 


BD | FIG. I, 


—— — — 


- 
236 Mis 1 * jr s or ot — 


(10 
F16. I. Shews you how to make the two Knees agree with each other, 
which is done by A. the Wo: Lines from the Middle of the 
Aſtragal. 
FIG. III. Shews the ſtraight Rail, 1 a circular Cap. 


FIG. IV. Shews the Manner of Dove-tailing the Riſer into the 
Step. And 


FIG. V. Exhibits the Plan of the Stairs. 


A Stair-Caſe with three Flights: 


LATEXXXVI. This Plate repreſents a Stair-Caſe of three 


Flights, with its Landing Rai ; and under the third Flight you 
have two different Sorts of Rails. 

FIG. I. Shews the ſolid Part of the Step out of which the Scroll is 
formed; where o repreſents the Over: ſail of the Step; 5 the Thickneſs 
of the Bracket, with its Mitring to the Riſer; and s the String-board. 

FId. III. Shews the Scale for drawing the Scroll of FIG. II. To 
perform which; Take the Diſtance from 1 to the Centre, in FIG. II. 


and ſet it from 1 to the Centre in FId. III. Divide that Extent into three 
Parts, then ſet ſour ſuch Parts on the upper Side of the State, and draw 


the Line from 4 to 1; ſet one Foot of your Compaſſes at 4, and ſtrike 
the Circular Line, let that be divided into twelve equal Parts, and then 
draw Lines from 4 through thoſe Diviſions, to the upright Line. 

[ The Scale being thus made, then by it to draw the Scroll. 

Inſtead of taking from 1 to the Centre, or from 2 to the Centre in 
the Scale, as was ſhewn for the Ionic Scroll, you are here to take the 
Mean betwixt them; then ſet one Foot of your Compaſſes in 1, and 
deſcribe a Stroke at c; take the ſame Diſtance, and with one Foot in 2, 
crols the Stroke at c, then from c, turn the Part from 1 to 2, and pro- 
ceed in the ſame Manner; for if the Diſtance were taken in the Scale 
from 1 to the Centre, it would ſtrike the Circle roo flat, and if it be 
taken from 2, it then ſtrikes the Circle too quick. 

When this 1s well underſtood, there will be no great Difficulty in 


drawing the Scroll over FIG. I. which throws itſelf out farther in Pro- 


portion than that in FIG. II. for this will always be the Caſe, when the 
upper Line of the Scale, which conſiſts of four Diviſions in F16. III. is 
made but with three Diviſionsorleſs ; whence it appears, that the upper 


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Line of the Scale may be drawn at what Length you pleaſe, according as 


you would bring in, or keep out the the Scroll. 


The Manner of ſquaring T wiſt-Rails. 


LATE XXXVII. Fic. II. Exhibits the Piteb- Board, to ſhew 
what Part of the Step, the twiſted Part of the Rail contains; the 
three dotted Lines drawn from the Rail to the Piteh- board repreſent the 
Width of the Rail, that from the Middle ſhews the Ridge, or Middle of 
the Rail, which is to be kept level. The dotted Lines a, and 4, ſhew 
how much half the Width of the Rail turns up from its firſt Beginning 
to 3. 

FId. III. Shews the ſame Piteb-board, with the Manner of the Rails 
turning up. If the Sides of the twiſted Part of the Rail, be ſhaped by 
the Rail-Mould, fo that they direct down to its Ground-Plan; that is, 
the upper Side of the Rail being firſt ſtruck by the Mould, then apply 
the Mould to the under Side, as much back as the Bevel of the Pizch- 
board ſhews, by being ſtruck on the Side of the Rail, and then Fic. 
III. being applied to the Outſide of the Rail, from its firſt twiſting 
Part to 3, will ſhew how much Wood is to be taken off. 

FIG. V. Exhibits the Square of the Rail, with the Raking-Line of the 
Piteh board, drawn through the Middle on the upper Side; then draw 
the Depth of the Side of the Rail parallel to this, and the dotted Lines 
from the Diagonal of the Rail; theſe Lines ſhew what Quantity of Wood 
will be wanting on the upper and lower Sides of the Rail. Set your 
Compaſſes at c, and draw the Circular Stroke from the Raking Part of the 
Pitch-board to b, take the Diftance à 6, and transfer it from à to &, in 
FIG. VII. the ſeveral Diſtances thus found, may be ſet at any Number 
of Places, ranging with the ſtraight Part of the Rail; and it then forms 
the Width of the Mould, for the twiſting Part of the Rail. 

FIG. VII. Shews the Sweep of the Rail. The Rail cannot be fix'd 
leſs than one fourth Part from the NVofng, or Front of the Step. 

The remaining Part of the Pitcb- board may be divided into any 
Number of Parts, as here into four; from theſe Diviſions draw Lines 
acroſs the Piteb- board to the Raking-Line, then take the Diſtances from 


the Ground-Line of the Pizch-board to the Plan of the Rail, and ſet them 


perpendicular from the Raking-Line of the Pizch-board; fo ſhall theſe 
Diviſions, when the Rail is in its proper Poſition, lay directly over the 
Diviſions on the Ground-Plan. In 


- 
— — — <3,” 1 222 — — 
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(12) 

In this Figure J, n, and u, riſe as much above 9, as the dotted Line 
in FIG. V. does above the Width of the Rail; and they fink as much 
below o, as the other dotted Line in FIG. V. falls below the Width of 
the Rail; the ſame Thickneſſes muſt be glued upon o, tho the greateſt 
Part will come off in ſquaring. The Reaſon of placing the Letters, J, 


n, and u, where you ſee them, is, that they might not obſtruct the 
ſmall Diviſions of the Rail-Mould. 

FIG. IV. Shews how to find the Rail, when it takes more than one 
Step. The remaining Part of the Pizch-board is divided into four Parts, 
as before in FIG. VII. and it takes in two ſuch Parts of the next Step. 
Draw Lines from theſe Diviſions to the Diagonal of the Pizch-board, as 
in F16. VII. then take the Diſtance à b, and ſet it from c, to d, and fo 
proceed with the other Diviſions. 

Here 1s alſo ſhewn another Way to find the Outſide of the Rail-Mould. 
Draw all the Diviſions acroſs the Plan of the Rail; then take the Di- 
ſtance from the Ground-Line of the Pitch- board to 4, transfer it from 
the Diagonal of the Pizch-board to 4 on the Rail; and fo proceed with 
the other Diſtances. Then, when the Nail is put in its proper Poſi- 
tion, c will be perpendicular to , and all the Diviſions, as, 1, 2, 3, 4, 
Sc. in the Rail, will be perpendicularly over 1, 2, 3, 4, e. in the 
Ground-Plan. 

FIG. VI. Shews the Plan of a Rail of five Steps. 

To find the Rail, ſet ſive Diviſions, as from e, to h, which 18 
the Height of the five Steps; draw the Diagonal from h, to the Plan 
of the Rail; then take the Diſtance e f, and transfer it from g, to b, 
and proceed in the ſame Manner with the other ſeven Diſtances. 

To find the Width of the Rail- Hould draw the Lines acroſs the 
Plan of the Rail, as at I, ſet that Diſtance from the Diagonal to i; and 
ſo proceed with the reſt, as was ſhewn in FId. IV. 

Having formed the Sides of the Razl, perpendicalar to its Grownd- 
Plan, and having ſquared the lower End of the Rail, then take a thin 
Lath, and bend it within the Rail, as is repreſented by mn, in FIG. I. 

This is the readieſt Method for ſquaring a ſalid Rail; but if the Rail 
be bent in the Thickneſſes, the Vofing of the Steps muſt be drawn upon 
a Cylinder, or ſome other ſolid Body of a ſufficient Width, to contain the 
Width of the Rail, or Hring- board. 


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to make the Thickneſs of your Rail; glue them altogether upon your 
Cylinder or Templet, confine them till they are dry, then the Rail taken 


off is ready ſquared. Proceed in the ſame Manner with the Architrave 
marked 72. 


A Dog-Leg Stair-Caſe. 


P ATE XXXVIII. The Rail and Balluſters of the ſecond Flight 
© are removed out of their proper Place, in order to ſhew the 
Manner of their finiſhing to the next Story. At the End of the Vin- 
ders is a Sky-Light, with what is generally called a Bridge-Flig he. 

To make a Pitch-board, to frame for the Winders. Divide the 
whole Width into as many Parts, as you have Steps to come againſt it, 
which in this Defign are four, allowing the ſame Height as to the other 
Steps ; this Height will be ſufficient for the whole, though it cannot 
anſwer to every Step, ſince they are of different Lengths. , 

PLATE XXXIX. Repreſents twelve different Sorts of Braglets, 
at large. | 

PLATE XL. Shews eleven different Sorts of Balluſters, at large. 

PLATE XLI. Exhibits three Plans of Houſes ; wherein the moſt 
convenient Situation of the Stair-Caſes is ſhewed. 8 

The Situation of the Chimneys is indeed different from what is com- 
monly practiſed in England; but is taken from Palladio, who ſeldom 
failed placing his Chimneys betwixt the Windows, that Perſons might at 
once enjoy the Benefit of the Fire, and the Proſpect. 


A circular ſplay d Soffite, for Doors and 
Windows: 


LATE XLII. Fic. I. Shews the Opening of a Window in a 
ſtraight Wall: Draw the Lines ranging with the Splay of the Jamo, 
where theſe meet, as at a, is the Length of the Radius, for drawing the 
Curvature of the Soffte ; then take the Diſtance @ 5, transfer it from c 


to d, in FIG. II. then ſet your Compaſſes in c, and draw the circular 
Line e d; then ſet on the Width of your Soffze, and draw the external 


E | Line; 


( 14 ) 
Line; this, when bent to a Semi-Circle, will range along with each 


Part of the ſtraight Wall. 
FIG. III. Repreſents the Opening of a Window, of the ſame Width 


as the former, in a circular Wall. 
FIG. IV. Shews the open Part of the Arch. 


The Arch-Line may be divided into any Number of Parts, as here into 
Twelve. Draw Lines perpendicular from the Ba/e-Line through all theſe 
Diviſions to the Line 5; then in FIG. V. draw a circular Line, as if for a 
ſtraight Wall, and divide it in the ſame Number of Parts, as the Arch. 
Line in FIG. IV. then take off the Diſtances from the Line 55, to the cir- 
cular Wall, and ſet them from the outſide Line in FIG. V. as at 1, 2, 3, 
Sc. to 12. Then you will have the true Curvature of your Soffite, which 
when bent to a Semi-Circle, will inevery Part agree with a circular Wall. 

F16. VI. Shews a Cone, cut off by the Wall-Line. 


A Cornice for a Chimney. 


P LATE XLII. To proportion this Cornice, Let the Architrave 
be divided into three equal Parts; divide one of them into ten, 


and diſpoſe them to the Height and Projection of each Moulding, as is 
ſhewn in the Plate. | 

I have made theſe Diviſions by a Diagonal Scale, becauſe I take that 
to be the readieſt Way, once ſetting the Compaſſes being ſufficient. 

The Architrave is one ſixth Part of the Opening, as uſual. 


A different Cornice and Architrave. 


LATE XL V. The Architrave here is divided as in the former; 
the Meaſures are to be diſpoſed as in the Plate. 


A different Cornice and Architrave. 


P LAT E XLV. The Architrave here is divided into four Parts, 
and one of them into eight; diſpoſe of them, as in the Plate, to 
each particular Part. 


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A Cornice in the ſame Form, but larger 
in Proportion than the foregoing. 


LATE XLVLI. The Architrave is here divided into three Parts, 


and one of them into ten; diſpoſe the Meaſures as in the 
Deſign. 


Several different Mouldings for Frames. 


PE ATE XLVII. There are three different Rules for proportioning 
theſe Mouldings ; One is to divide the whole Width of the 


Frame into ſeven equal Parts, and take one for the Moulding ; the next 
is to divide it into fifteen, and take two for the Moulding; and the laſt 
is to divide it into eight equal Parts, one of which is given to the Mould. 
ing. Having thus found the Width, you may divide it into three equal 
Parts, and one of them into nine; then diſpoſe theſe Parts to the 
Height and Projection of each Moulding, as is ſhewn in the Plate. 


A Chimney-Piece, with a Frame over it, 
for a Picture or Pannel. 


PEATE XLVIII. The Opening of this Chimney is a perfect Square, 

which 1s certainly a very good Proportion, except when they 

run to a great Extent; then the Width of the Chimney may be divided 

into thirteen Parts, twelve of which may be the Height; or into ſeven 

Parts, and take fix for the Height; or into fifteen, and aſſign thirteen 
for the Height. 

Whichſoever Proportion you follow, it makes uo Alteration in the Or- 


naments. The Architrave is one ſixth, as uſual; the Width of the Ar- 
chitrave, and one third Part more, gives the Height of the Freeze. 


© Over this Chimney-Piece is a very rich Frame, for a Picture or Pan- 
nel. To proportion which, — Divide the Width within into eight Parts, 
ſeven of theſe Parts will be the Height within, and one of them is the 
Width of the Moulding; as was ſhewn at large in the foregoing Plate. 
The Knees at the Corners are to be made of different Lengths, according 
to the Ornaments which are intended to be put in. 


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LATE XLIX. The Architrave of this Chimney-Piece is one 
ſixth Part of the Opening ; and the Truſs 1s two Thirds . the 
Architrave. 
Over this Chimney-Piece is a very rich Frame; the Ornament on the 
Top is repreſented ſomething in the Form of a Pediment. 
The Moulding of the Frame ans be proportioned as the cr 


Another Chimney Piece, with a very rich 
Frame over it, adorned with a Pediment. 


P LATE. L. The Architrave from Outſide to Outſide, is di- 
vided into ſeven equal Parts; one of which is the Width of the 
Truſs; and the Height of the Architrave is one fifth Part, together 
with its large Ovolo, adorned with Shells and Flowers. 
The Frame may be proportioned as the former. 
The Knuees at the Corners are e here twice the Width of the Moulding. 


A Deſign fr. a Chimney-Piece in a 
lower Story. 


PAT E LI. In this Deſign, the Height of the Freeze is two 
Sevenths of the Width of the Opening of the Chimney; and the 
Truſſes up the Side of the Chimney are one fifth: The Width of the 
Truſſes, that ſupport the Cornice, may be one fixth of the Opening. 

The Architrave is between one fifth, and one ſixth Part. 

Io proportion the Frame and its Truſſes over this Chimney. Divide 
the Extent from the Outſides of the Truſſes in the Freeze, into ten 
equal Parts; one of them ſhall be the Width of the Truſſes above; 
ther Part muſt be given to the Ovolo, with its Margin and See; ja 
fix Parts muſt be aſſigned for the Width within; 

The Plinthon which this Frame ſtands, is half one of thoſe Parts. 


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469 


Another Chimney-Piece, with a Frame 
and Pediment over it. 


P LATE LII. The Arcbitrave is here one ſixth Part of the Opening, 


the Freeze is three Fourths of the Architrave, and the Truſſes up 
the Side are one Fifth of the Opening. 


The Width of the Truſſes to the Frame, is one Ninth of the whole 
Extent, that is perpendicularly over the Architrave. 


You may obſerve that this, and all the foregoing Chimneys, with 
their Mantlings, (which are their Architraves, Freezes, and Cornices ) 
are proper Deſigns for Chimneys, without the Frames over them. 


Different Sorts of Chimne y=Pieces, with 
different Truſſss 


P. ATE LIII. To the lower Chimney is ſhewn a Pannel, with a 
Pediment over it. The Meaſures are expreſſed on the Plate. 


| Two very grand Deſigns of Chimneys. 


PL ATE LIV. In the upper Defgn, the Architrave and Freeze, 
| are each of them one ſixth Part of the Opening; the 774. is 
the ſame Width as the Architrave. 


In the lower Deen the Height of the Freeze is twice the Width of 
the Architrave. 


The reſt of the Meaſures are to be ſeen in the Plate, 


The Nature of Angle Brackets, Groins, 
and Frets. 


LATE LV. FIG. I. Shews the Quarter of a Circle. 

To find its Hip, or Angle-Bracket ;——Divide its Projection into 
any Number of equal Parts, as here into fix ; then draw the dotted Lines 
from theſe Diviſions to the Diagonal-Line, or ProjeQion of the Angle- 


F Bracket ; 


(18) 
Bracket ; this will divide the Projection of the Angle into the fame 
Number of equal Parts; then take the Heights 1, 2, 3, 4, 5, 6, from 
the Ground-Line of the Quarter-Circle, and ſet them up from the Dia- 
gonal, and then will your Hip, or Angle-Bracker, anſwer that of the 
{traight Part. - 

FIG. II. Shews the Manner of fading the Hip- Mould of an 1 
Divide your Ogee into any Number of Parts, here into ſix as before; then 
take the Projection from the Upright Line, and ſet them up 3 the 
Diagonal, as in the former Figure. 

FIG. V. Shews the Manner of finding the Hip-Mould of the ſame 
Ogee, when turned the reverſe Way. 

FIG. III. Stews you how to trace out a Bracket, which riſes more than 
it projects; Divide its Projection into any Number of equal Parts, 
as here into ſeven, and draw the Lines from 1 to 1, from 2 to 2, &c. 

FIG. IV. Shews a Bracket of the ſame Height and Projection. To 
find its Angle-Bracket or Hip ; Divide its Projection into any Num- 
ber of equal Parts, then take the Diſtances I, 2, 3, &c. to 7, upon the 
traced Bracket, and ſet them from the Diagonal, to 1, 2, 3, &c. to y. 
This 1s ſufficient to ſhew, that 1f the traced Bracket had been drawn in 
any other irregular Form, the ſame Method would do to find its Hip. 

F 16. VII. Exhibits an Elliptic Arch, not riſing fo high as a Semi- 
Circle. 

FId. VI. Exhibits an Arch . over; wherein the "Ig Fi igures 
1, 2, 3, &c. repreſent ſo many Ribs, or Jacl-Rafters ſet upon the cir- 
cular Body of the Arch, in order for another Arch to interſe& it, where 
thoſe boarded over the Groins, are formed. 

Underneath are three different Sorts of Frets; : and two common 
Chimney-Pieces, each containing two different Deſigns. 

PLATE LVI. Exhibits four different Sorts of Corbels, or Con- 
ſoles, for ſetting Statues or Buſts upon. . 

PLATE LVII. Shews fix different Deſigns of Shields. 

PLATE LVIII. Exhibits four other Sorts of $b3elds. 


Tru ſſes of different Sorts. 


LATE LIX. FIG. I. Shews the Form of a Truſs'd Roof, with 
three King - Pots, that may carry ſeventy Feet, or upwards, 
FId. II. Exhibits an M Roof, capable of carrying as great an Ex- 


tent as the former; indeed both theſe Deſigns are capable of carrying 
almoſt any Extent. Fis, III. 


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(19) 
FIG. II. Repreſents two different Sorts of 7ruſſes. 
FIG. IV. Shews the Manner of piecing Timber. 


Sometimes the Joint may be extended as far as a, with another Bolt 
through it. 


To the Left is ſhewn a different Sort of Joint. 
Fils. V. Shews the Manner of Trufling a Girder. 


If you leave your Truſſes full long, then with the Pieces h and c, you 
may make them as tight as you pleaſe. 


FIG. VI. Repreſents the Manner of Truſſing Partitions. 


The Manner of laying a Frame in 
Ledgment. 


LATE LX. Fra. I. Shews the Manner of backing a Hip. 
Divide the Thickneſs of the Hip into two qual Parts; then 
having found the Pitch of your Hip, as is ſhewn in FId. II. ſet one of 
theſe Parts upon the Baſe-Line, from þ to @; and it ſhews what Wood 


is to be taken off. 
If the Side of the Building comes in with a Bevel, as the dotted 


Line b, in FIG. I. then transfer half the Thickneſs of the Hip, from 
d toc, in FIG. III. and take the Diſtance F e, in FIG. I. and ſet it 
from c tog, in FIG. III. this will ſhew how much is to be taken off 
the Hip, when the Building bevels. 
FIG. IV. Shews the Principal, with its two Hips for the Bevel-End. 
FId. V. Shews the * Hip, laid out ranging with the Side of the 


Building. 
In FId. VI. The dotted Lines repreſent the Beam laid Parallel to the 


Bevel-End. 
In F16. VII. The Jotted Lines ſhow the Principal, as it will appear 


when the Beams are laid Bevel. 
FId. VIII. IX. and X. Repreſent the Frame for the Square-End. 
F16. XI. Repreſents a circular Body. | 
To find the Curve, for any Lath or Margin, to be bent round this 
Body, parallel to its Baſe; Let the Points 6 and c, repreſent the 
Margin which you intend to bend round; then draw a right Line thro? 
thoſe Points, to meet the Perpendicular, or Diameter produced as in a, 
and it gives the Length @ 5, the ſhorter, and @ c, the longer Radius for 
ſtriking the Curve required. And if a Margin was to be bent round 
any 


( 20 ) 6 

any other Part of this circular Body, as d e, draw a right Line through 
thoſe two Points as before, to interſe& the Perpendicular, as in f, and 
it gives the Lengths F d, and F e, to ſtrike the Curve. This may be 
ſufficiently demonſtrated by a right Cone applied all round ; or, which 
is the ſame Thing, if the Radius was turned upon a Spindle at a, it would 
touch the circular Body every where at an equal Diſtance from the Baſe, 

FIG. XII. Shews the Method of bending a Corn ice round any circular 


Body. When you have found the Spring of your Cornice, which 1s 


ſhewn at the Right-hand, let the dotted Lines be drawn parellel to the 
Spring, and where they interſect the Centre, or Middle of this Body, 
as in c, you will have the Radius to ſtrike the Curve of your Cornice, 
This may be proved in the ſame Manner as the foregoing. 


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