Vestigium geometricum ædificii Ordinis Dorici.
_Vt studiosorum, qui sedulò se exercuerint in praxibus hucusque traditis,
& ad majora inhient, utilitati serviam, delineandam suscepi medietatem
arcûs cum tribus columnis, ac totidem statuarum loculamentis. Ad vitandam
autem confusionem, ea dumtaxat membra in vestigio adumbrantur, quæ
recensuimus figurâ trigesimaoctavâ, & ostendunt characteres ~A~, ~B~,
~C~, ~D~, ~E~._
The FORTIETH FIGURE.
_The Geometrical Plan of a Design, of the ~Dorick~ Order._
For the Benefit of the Studious, who, having reduc’d to Practice the
Rules hitherto laid down, aim at yet greater Things; I have here
undertaken to delineate half an Arch adorn’d with three Columns, and as
many Niches for Statues. But to avoid Confusion, I have given full Lines
to those Members only, which were mention’d in the Thirty-eighth Figure,
and which are here denoted by the Characters A, B, C, D, E.
[Illustration: FIG. XLI.]
FIGURA Quadragesimaprima.
Elevatio geometrica ædificii Dorici.
_Ex vestigio geometrico eruitur hæc elevatio geometrica longitudinis
ædificii nostri. Et iccircò figura ista quadragesimaprima, cujus
mensuræ omnes desumptæ sunt ex Barozzio, congruit longitudini figuræ
quadragesimæ._
The Forty-first FIGURE.
_The Geometrical Elevation of the foregoing Design._
This Upright is drawn from the foregoing Geometrical Plan; and therefore
all the Parts of this Design, whose Measures are taken from _Vignola_,
exactly answer those of the Fortieth Figure.
[Illustration: FIG. XLII.]
FIGURA Quadragesimasecunda.
Modus vitandi confusionem, in contractione vestigiorum, & elevationum.
_Contractiones vestigii figuræ quadragesimæ, & elevationis figuræ
quadragesimæprimæ, ob nimiam obliquitatem quam habent, valde confusæ
sunt. Medebimur tamen incommodo isti, uti fecimus figuris decimâ &
undecimâ. Et ostendit chartula, exhibens in parvo tum figuram hanc
quadragesimamsecundam, tum quatuor sequentes._
The Forty-second FIGURE.
_The Manner of avoiding Confusion, in reducing Plans and Elevations into
Perspective._
The Reducing into Perspective the Plan of the Fortieth Figure, and
the Upright of the Forty-first Figure, would become very confus’d,
through the great Obliquity of the Rays: We have therefore remedy’d
the Inconveniences of both, by the Methods explain’d in the Tenth and
Eleventh Figures. And this Plate contains in little, what is more at
large describ’d in Parts, as well in this, as the four subsequent Figures.
[Illustration: FIG. XLIII.]
FIGURA Quadragesimatertia.
Contractio vestigii figuræ quadragesimæ.
_Linea plani multò remotior est à lineâ horizontali in hoc schemate, quàm
in præcedenti. Ideo istud vestigium vacat omni confusione. Cætera patent
ex iis quae sæpiùs dicta sunt, & ex figuræ hujus inspectione. Oportet
autem, rectas parallelas ad lineam plani, prolongari usque ad visualem
~TO~, (quæ cadit extra paginam) ut adminiculo parallelarum, fiat elevatio
longitudinis nostri ædificii, de quâ dicemus figurâ quadragesimaquartâ._
The Forty-third FIGURE.
_The Plan of the Fortieth Figure in Perspective._
By placing the Ground-line in this, much more remote from the Horizontal,
than it is in the foregoing Figure, all Confusion is here avoided. The
rest is evident from what has been often said on this Head, and a bare
Inspection of the Figure. Parallels to the Ground-line must nevertheless
be continu’d to the Visual TO, which falls without this Page; that from
them may be rais’d the Elevation of the Length of this Design, which we
shall handle in the next Figure.
[Illustration: FIG. XLIV.]
FIGURA Quadragesimaquarta.
Contractio elevationis figuræ quadragesimæprimæ.
_Rectæ parallelæ ad lineam plani figuræ quadragesimætertiæ, ubi
pervenerint ad visualem ~TO~, continuandæ sunt, more solito, cum
parallelis ad lineam perpendicularem. In hanc autem transferre oportet
omnes divisiones, quas ex Barozzio habet elevatio hujus ordinis; ac
ducere visuales. Quomodo autem, adminiculo visualium & parallelarum,
compleatur elevatio, constat ex figura, & clarius ex chartula figuræ
quadragesimæsecundæ. Numeri ~1~, ~2~, ~3~, ~4~, geminati, ostendunt
centra & altitudines semicirculorum seu arcuum figuræ quadragesimæquintæ;
videlicet, numerus inferior designat centrum, superior verò designat
altitudinem semicirculi._
The Forty-fourth FIGURE.
_The Elevation of the Forty-first Figure in Perspective._
When the Parallels to the Ground-line in the Forty-third Figure, are
prolong’d to the Visual TO, they are then, as usual, to be continu’d
Parallels to the Perpendicular: On which Perpendicular, those Divisions
given by _Vignola_, for the Proportions of this Order, are to be
transferr’d; and Visuals drawn from them to the Point of Sight. How by
these Visuals and Parallels the Elevation is rais’d in Perspective, is
manifest in part from this Figure, but more clearly from the Forty-second
Figure. The Numbers 1, 2, 3, 4, which you here see doubl’d, give the
Centers and Heights of Semicircles of the Arches in the Forty-fifth
Figure; the lower Numbers denoting the Centers, and the upper Numbers the
Heights of the Semicircles of the same.
[Illustration: FIG. XLV.]
FIGURA Quadragesimaquinta.
Dimidium ædificii Dorici opticè deformati.
_Huic figuræ delineandæ plures præiverunt, ejusdemque latitudines mutuati
sumus ex figura quadragesimatertia, altitudines ex quadragesimaquarta.
Superest autem, ut lumina & umbræ scitè inducantur in singulas partes
ædificii._
The Forty-fifth FIGURE.
_One Half of the ~Dorick~ Design in Perspective._
The foregoing Figures being preparatory to this, the Breadths are taken
from the Forty-third, and the Heights from the Forty-fourth Figure. It
only remains, that the Lights and Shades be skilfully dispos’d to each
Part of the Work.
[Illustration: FIG. XLVI.]
FIGURA Quadragesimasexta.
Alterum dimidium ejusdem ædificii.
_Supersedere poteram delineatione alterius medietatis ædificii nostri.
Verùm operæ non peperci, ut ostenderem diversitatem luminum & umbrarum,
quæ conveniunt partibus cæteroqui omnino similibus._
The Forty-sixth FIGURE.
_The other Half of the same Design._
I might very well have omitted this Half of the Design, but that I spar’d
no Pains, to shew the Diversity of the Lights and Shadows, that must be
given to those Parts of the Work, which in other Respects are alike.
[Illustration: FIG. XLVII.]
FIGURA Quadragesimaseptima.
Vestigia ædificii Ionici.
_Vestigium geometricum ~A~ ædificii Ionici, sub se habet suam
deformationem ~B~. Hæc autem ut evadat distinctior, lineam plani, quæ in
sequentibus figuris habebit distantiam ~PE~ ab horizontali ~OE~, deorsum
protraximus in ~CD~, ut etiam fecimus figurâ quadragesimasecundâ &
quadragesimatertiâ. Linea visualis ~OM~ eundem habet usum, quem visualis
~OT~ figuræ quadragesimætertiæ; videlicet, ut in ea terminentur parallelæ
ad lineam plani ex membris vestigii ~B~, eademque continuentur cum aliis
parallelis ad rectam ~EC~, pro deformandâ elevatione quam apponemus
figurâ quadragesimanonâ._
The Forty-seventh FIGURE.
_The Plan of an ~Ionick~ Building._
The Geometrical Plan of this _Ionick_ Work is A, underneath is its
Perspective B; to render which more distinct, the Ground-line that in
the following Figures has only the Distance PE from the Horizontal
EO, is here remov’d downward to CD, as was done in the Forty-second
and Forty-third Figures foregoing. The visual Line OM is of the same
use as that of OT in the Forty-third Figure; namely, to terminate the
Lines which are drawn from the Members of the Plan B parallel to the
Ground-line; from whence they are again continu’d parallel to the
Perpendicular EC, for making in Perspective the Elevation inserted in the
Forty-ninth Figure.
[Illustration: FIG. XLVIII.]
FIGURA Quadragesimaoctava.
Elevatio geometrica ædificii Ionici.
_Ex hac elevatione quæ clarè ostendit membra totius ædificii secundum
longitudinem dissecti, desumuntur altitudines ac terminationes membrorum
singulorum. Peritiores tamen hac figurâ delineandâ supersedere
solent, quia terminationes haberi possunt ex vestigio ~A~ figuræ
quadragesimæseptimæ, altitudines verò ponendæ iterum sunt figurâ
sequenti._
The Forty-eighth FIGURE.
_The Geometrical Upright of the foregoing ~Ionick~ Design._
From this Figure (which distinctly shews the Composition of the whole
Work, in respect of its Length) are taken the Heights and Terminations
of the several Members thereof. But those that are skill’d in this Art,
usually omit the delineating these Elevations; because the Terminations
may be taken from the Plan A in the Forty-seventh Figure; and the Heights
must be repeated in the following Figure.
[Illustration: FIG. XLIX.]
FIGURA Quadragesimanona.
Deformatio elevationis ædificii Ionici.
_Hæc figura continens deformationem præcedentis elevationis, perficitur
methodo illa, quam ostendimus figurâ quadragesimasecundâ; nimirum, ex
vestigio ~B~ figuræ quadragesimæseptimæ, ducere oportet parallelas ad
lineam plani ~CD~, quæ ubi pervenerint ad visualem ~OM~, continuandæ
sunt cum aliis parallelis ad lineam ~EC~. Easdem parallelas in hanc
figuram translatas secant visuales ex linea recta ~AB~, in qua positæ
sunt altitudines ædificii Ionici, desumpta vel ex figura præcedenti, vel
ex Barozzio. Nullum autem est punctum in membris hujus elevationis, quod
non inveniatur per sectiones visualium ex linea ~AB~, cum parallelis ad
eandem lineam._
The Forty-ninth FIGURE.
_The Elevation of the ~Ionick~ Design in Perspective._
This Plate containing the Perspective of the foregoing Upright, is
drawn by the Method laid down in the Forty-second Figure; to wit, from
the Plan B of the Forty-seventh Figure, Parallels to the Ground-line
CD are prolong’d to the Visual OM; and thence are continu’d Parallels
to the Perpendicular EC. These being transferr’d into this Figure, are
intersected by the visual Lines that proceed from AB, which contains the
Heights of this _Ionick_ Composition, agreeable to the foregoing Figure,
and the Rules deliver’d by _Vignola_. Now there is no Point in any Member
of this Upright, but may be found by the Intersection which the visual
Line from AB makes with its respective Perpendicular.
[Illustration: FIG. L.]
FIGURA Quinquagesima.
Architectura Ionica.
_Ex vestigio figuræ quadragesimæseptimæ, & ex elevatione figuræ
quadragesimænonæ, eruitur hoc ædificium Ionicum, quod esse poterit
vel principium alicujus turris campanariæ, aut basis cujuspiam arcûs
triumphalis. Vereor ut cælator suam diligentiam in hoc schemate
satis probaverit. Ejus tamen errata facilè ipse deteges, & omni studio
cavebis._
The Fiftieth FIGURE.
_A Design of ~Ionick~ Architecture._
From the Plan of the Forty-seventh Figure, and from the Upright of the
Forty-ninth Figure, is drawn this _Ionick_ Piece; which might well serve
for the lower Order of a Turret, or for part of a Triumphal-Arch. I fear
the Engraver has not been so exact in this Scheme, as he ought; but you
will readily discover his Mistakes, and carefully beware of them.
[Illustration: FIG. LI.]
FIGURA Quinquagesimaprima.
Ordo Corinthius.
_Complectitur hæc pagina molem contractam Ordinis Corinthii, cum suis
præparationibus. Vestigium ~A~ exhibet parietem pone columnas cavum
instar canalis. Idem vestigium opticè deformatur in ~D~: omissâque
elevatione geometricâ, per ejus altitudines notatas in lineâ ~BC~
projicitur elevatio; ac methodo consuetâ, ex vestigio & elevatione
componitur ædificium, addito statuæ unius ornamento._
The Fifty-first FIGURE.
_A ~Corinthian~ Design in Perspective._
This Plate contains the Perspective of a _Corinthian_ Work, with its
Preparations. The Geometrical Plan A shews the Wall wrought hollow
behind the Columns. The said Plan in Perspective is D: and leaving
out the Geometrical Elevation, the Perspective thereof is describ’d,
by transferring the Heights of the former into the Line BC. From the
Perspective-Plan and Upright the Design is finish’d after the usual
Manner; to which is added the Ornament of a single Statue.
[Illustration: FIG. LII.]
Figura Quinquagesimasecunda.
Delineatio columnæ spiralis, Ordinis Compositi.
_Posita elevatione geometrica columnæ rectæ, ac divisione illius in
vigintiquatuor partes æquales, columna spiralis absolvitur per partes
circumferentiæ circulorum, quorum diametri sunt æquales diversis
latitudinibus columnæ rectæ, ut ostendit figura in ~A~. Ad projectionem
opticam elevationis, notandæ sunt quatuor occultæ rectæ, quæ ex terminis
convexitatis & concavitatis infimarum spirarum ejusdem elevationis
~A~, descendunt ac desinunt in duos circulos vestigii geometrici ~B~.
Vestigium ipsum opticè imminutum habetur in ~C~: eædem autem sunt
maximæ hinc inde latitudines, tum in circulo majori, tum in convexitate
infimarum columnæ spirarum; eædem sunt maximæ latitudines, tum in circulo
minori, tum in concavitate ipsarum spirarum; ut dignosces applicando
regulam spiris simul & circulis. Ex quatuor punctis maximæ latitudinis
duorum circulorum, incipiunt quatuor lineæ parallelæ ad lineam plani,
quæ ubi pervenerint ad visualem ~ED~, continuandæ sunt cum parallelis ad
perpendiculum ~DF~. In eandem lineam ~DF~, ex elevatione ~A~ transferre
oportet vigintiquatuor partes æquales altitudinis columnæ, ac ducere
visuales ad ~O~ punctum oculi. Per sectionem autem visualium cum
prædictis quatuor parallelis ad lineam ~DF~, ducuntur lineæ undulatæ
~MN~, ~PQ~, ex quibus eruuntur lineæ utrinque terminativæ columnæ
spiralis nitidæ. Ex linea verò ~GH~ habetur facies anterior stylobatæ,
columnæ & coronicis; ex linea ~IL~ habetur facies eorum posterior._
The Fifty-second FIGURE.
_The Description of a wreath’d Column, of the Composite Order._
Having made the Geometrical Elevation of a streight Column, and divided
the Height of its Shaft into Four and twenty equal Parts; the Wreathing
is describ’d by Parts of the Circumference of Circles, whose Diameters
are equal to the several Breadths, or Diameters, of the streight Column;
as is shewn in the Figure A. For putting the Upright into Perspective,
four streight occult Lines are of use, which descend from the Extent
of the Swellings and Sinkings of the lower Wreaths of the Column A;
and terminate in two Circles of the Geometrical Plan B. The said Plan
laid down in Perspective is C. The utmost Extent of the greater Circle
determines that of the Convex Parts of the lower Wreaths: The greatest
Breadth of the lesser Circle gives that of the hollow Parts of the said
Wreaths; as may be perceiv’d, by applying a Ruler from the Wreaths to
the Circles of the Plan. From the four Points of greatest Breadth in
those Circles, four Lines parallel to the Ground-line are continu’d to
the Visual ED, and thence again continu’d parallel to the Perpendicular
DF. From the Elevation A, the Four and twenty equal Parts of the Columns
Height are transferr’d into the Line DF, and Visuals drawn from each to
the Point of Sight O. By the Intersections of those Visuals with the
four Perpendiculars aforesaid, are drawn the wav’d Lines MN, PQ; from
which, both the Out-lines of the finish’d Column are describ’d. But the
Fore-part of the Pedestal, Column, and Cornice, is taken from the Line
GH; the Back-part of the same from the Line IL.
[Illustration: FIG. LIII. A.]
Fig. Quinquages. tertia A.
Ordines Architecturæ, desumpti ex Palladio & Scamozzio.
_De Ordinibus Architecturæ, præter Barozzium, egregiè scripserunt
Palladius & Scamozzius; ac singuli, jure merito, suos habent asseclas &
patronos. Ut ergò, etiam juxta laudatissimorum Autorum placita, opticas
projectiones facere possis, omnes Ordines in hac paginâ exhibere volui,
ut in eorum Libris inveniuntur._
The Fifty-third Figure A.
_The Orders of Architecture, taken from ~Palladio~ and ~Scamozzi~._
Besides _Vignola_, _Palladio_ and _Scamozzi_ have also written
excellently well of the Orders of Architecture; and each of ’em have
deservedly their Followers and Admirers. That you might therefore be
enabl’d to make Designs in Perspective, after the Proportions of the most
celebrated Masters, I have in this Plate given you the Measures of all
the Orders, as deliver’d by them in their Books.
[Illustration: FIG. LIII. B.]
Fig. Quinquages. tertia B.
Modus triplex delineandi columnas spirales.
_Columnæ figuræ superioris carent ea concinnitate, qua præditæ sunt
columnæ spirales æneæ celeberrimi Equitis Bernini ad sepulcrum S. Petri
in Vaticano. Itaque methodum triplicem exhibeo ad minuenda spatia totius
altitudinis columnæ._
1. _Recta ~OA~ sit æqualis altitudini ~AB~ columnæ. Fiat autem recta
~OB~, & arcus ~AP~ ex centro ~O~, divisus in partes duodecim æquales,
ducendo rectas, quæ per puncta divisionum desinant in columnam rectam;
ac demum fiant parallelæ ad basim: Spatia inter has parallelas dabunt
aperturam circini pro triangulis æquilateris & pro spiris, ut ostendit
columna ~1~._
2. _Translatâ in ~C~ tertiâ parte altitudinis columnæ ab ejus imo scapo,
habeat circinus aperturam ~CD~; ac posito uno ejus crure prius in ~D~,
postea in ~C~, fiant duo parvi arcus ad ~E~: sectio illorum arcuum erit
centrum arcûs ~DC~, quem oportet dividere in duodecim partes æquales,
& ex punctis divisionum ducere parallelas ad basim. Tum spatiis inter
parallelas divisis in quatuor partes æquales, tres ex illis partibus
dabunt longitudinem crurum pro triangulis isoscelibus; vertices autem
triangulorum erunt centra singularum spirarum, ut ostendit columna ~2~._
3. _Ductâ ex medio summitatis ~G~ rectâ ~GF~, spatium ~HF~ transferatur
in ~I~, & fiat recta ~IL~ parallela ad basim ~HF~; spatium ~IL~
transferatur in ~N~, ac fiat ~NM~, & sic deinceps. In parvis columnis
triangula sine sensibili errore duci possunt per diagonales: in columnis
tamen grandioribus, alterutrum ex modis antea explicatis adhibere necesse
est._
The Fifty-third Figure B.
_Three different Ways of delineating wreath’d Columns._
The wreath’d Columns describ’d in the Fifty-second Figure, being divided
into Twenty-four equal Parts, want very much of that Elegancy of Contour,
which is visible in those brass Pillars, made by the famous Cavalier
_Bernino_, for S. _Peter_’s Sepulcher in the _Vatican_. Wherefore I here
lay before you three several Ways of diminishing the Spaces through the
whole Height of the Column.
1. Make the right Line OA equal to AB the Height of the Column; then draw
the Line OB, and on the Center O describe at pleasure the Arch AP, which
divide into twelve equal Parts, and by the Divisions draw streight Lines
from the Center O to the Line of the Column; and lastly continue the same
Parallels to the Base. The Spaces between these Parallels, shall be the
Sides of equilateral Triangles, wherewith you are to describe the Wreath
of the Column, as is seen in Column 1.
2. Having set the third Part of the Columns Height, from the Bottom of
the Shaft to the Point C; with the Interval CD, from the Centers D and
C, describe the Parts of Arches intersecting at E. On the Center E,
with the same Interval, describe the Arch DC, which divide into twelve
equal Parts; and from the Points of those Divisions, draw Parallels
to the Base. Then dividing each Space between the Parallels into four
equal Parts; three of those Parts shall be the Sides of the _Isosceles_
Triangle; whose _Vertex_ is the Center whereon to describe each Wreath of
Column 2.
3. Having drawn from the midst of the Columns top G, the Line GF, make HI
equal to HF, and draw IL parallel to the Base HF: Again, make IN equal to
IL, and draw NM also parallel, and so on. In small Pillars, the Centers
of the Diagonals of these Spaces may, without sensible Errour, serve for
describing the Wreaths; but in greater Columns, either of the other two
Methods is rather to be chosen.
[Illustration: FIG. LIV.]
FIGURA Quinquagesimaquarta.
Vestigia ædificii Ordinis Corinthii.
_Descripturi ædificium Corinthium octangulare, ponimus hic vestigia unius
ex quatuor partibus pilarum, quibus imponetur fornix in modum tholi, ut
constabit in figurâ quinquagesimaoctava. Ad faciliorem descriptionem,
in parte inferiori paginæ posui vestigium geometricum stylobatæ,
in superiori vestigium geometricum coronicis, cum latitudinibus &
longitudinibus membrorum singulorum; ut eas transferendo in lineam
plani more consueto, utrumque vestigium opticè deformetur. Ad vitandam
confusionem, prius notare oportebit puncta quæ spectant ad membra
propinquiora solido parieti, deinde alia._
The Fifty-fourth FIGURE.
_The Plan of a Design of the ~Corinthian~ Order._
Being to describe an Octangular _Corinthian_ Work, I have here inserted
the Plan of one Quarter of the Composition; which is vaulted in Form of a
_Cupola_, as is seen in the Fifty-eighth Figure. To render the Plan less
confus’d, I have, in the lower part of the Plate, given the Geometrical
Plan of the Pedestal; and in the upper part, that of the Cornice; with
the Breadths and Lengths of each Member: so that by transferring the same
into the Ground-line, after the usual Manner; you delineate each Plan
in Perspective. For avoiding Confusion, ’twill be requisite first, to
transfer the Points of those Members that are next the Solidity of the
Wall; and then proceed to the others.
[Illustration: FIG. LV.]
FIGURA Quinquagesimaquinta.
Elevatio ædificii Ordinis Corinthii.
_Elevatio geometrica ædificii octangularis congruit cum duobus ejus
vestigiis figuræ antecedentis. Quia verò elevatio parietis abscondit
secundam ex quatuor columnis, eademque in ædificio deformato conspicua
futura est; iccircò eam lineis occultis designare oportuit._
The Fifty-fifth FIGURE.
_The Geometrical Elevation of a ~Corinthian~ Work._
The Geometrical Elevation of this Octangular Design, is wholly
correspondent to the two Plans of the foregoing Figure: But because the
Wall in this Upright takes off the Sight from the second of the four
Columns, which is notwithstanding visible in the finish’d Perspective
that follows; ’tis requisite to delineate the same with occult Lines, as
in the Figure.
[Illustration: FIG. LVI.]
FIGURA Quinquagesimasexta.
Deformatio vestigiorum & elevationis ædificii Corinthii.
_In hac figurâ, lineam plani coincidere volui cum linea horizontis.
Itaque videri non posset vestigium inferius, nisi ut alias deorsum
protraxi lineam plani, hic è converso sursum promovissem lineam
horizontis, quam constitui mediam inter lineas plani utriusque vestigii,
ut ambæ projectiones essent æquè distinctæ. In elevatione, columna
secunda, quam, ut dixi, paries abscondit, lineis occultis designanda est._
The Fifty-sixth FIGURE.
_The Perspective Plans and Upright of the ~Corinthian~ Design foregoing._
In this Figure, I have made the Ground-line coincident with that of
the Horizon, in which case the lower Plan can’t be seen, unless the
Ground-line be sunk lower, as before intimated; or contrariwise, the
Point of Sight rais’d higher, as I have here done, keeping it in the
midst between the Ground-lines of the two Plans, that the Perspective
of both might be equally distinct. In the Elevation, the second Column,
which I mention’d to be hidden by the Wall, should be design’d with
occult Lines.
[Illustration: FIG. LVII.]
FIGURA Quinquagesimaseptima.
Adumbratio figuræ sequentis.
_Figuram hanc seorsim delineavi, ut videas quomodo facienda sit operis
totius adumbratio, accipiendo altitudines membrorum singulorum ex
elevatione; latitudines & longitudines ex vestigiis. Quæ omnia ex
diagrammatis inspectione clarissimè apparent._
The Fifty-seventh FIGURE.
_The rough Draught of the following Figure._
I have drawn this Figure apart, that you may see the Manner of describing
the Out-line of the whole Work, by taking the Heights of the several
Members from the Elevation, and their Breadths and Lengths from the
Plans; all which is very plain, upon Inspection of the Figure.
[Illustration: FIG. LVIII.]
FIGURA Quinquagesimaoctava.
Ædificium Ordinis Corinthii octangulare.
_Hucusque descripsimus pilas anticas sinistras ædificii Corinthii. En hoc
loco medietatem dexteram totius Operis. Integrum verò ædificium habebis
figurâ sexagesimâ._
The Fifty-eighth FIGURE.
_Part of an Octangular Work of the ~Corinthian~ Order._
Hitherto the nearest left-hand Quarter of this _Corinthian_ Design has
been describ’d. In this Plate you have the right-hand Half of the whole
Work; and in the Sixtieth Figure, the entire Perspective compleat.
[Illustration: FIG. LIX.]
FIGURA Quinquagesimanona.
Vestigia tabernaculi octangularis.
_Projectiones rerum octangularium sunt quadratis difficiliores: ideò
in eis explicandis diligentiæ non peperci. Moles cujus vestigia
vides in ~A~ & ~B~, convenit in multis cum eâ quam ereximus figurâ
quinquagesimaoctavâ. Visualis ~CD~ recipit sectiones perpendicularium,
quæ deserviunt pro elevatione figuræ sequentis, ut sæpius dictum est. Si
facies interior delineanda sit seorsim à facie anteriori, illam perficies
ope linearum ~CE~, istam ope linearum ~FD~._
The Fifty-ninth FIGURE.
_The Plans of an Octangular Tabernacle._
Octangular Figures being more difficult to be put in Perspective,
than the Square; I shall use my best Endeavours to render the Method as
plain as possible. The Composition whose Plans you see in A and B, has
much Affinity with that describ’d in the Fifty-eighth Figure. The Visual
CD receives the Sections, from which Perpendiculars are rais’d for the
Elevation and Profile of the following Figure, as has been often said. If
you would delineate the Back-part separate from the Fore-part, you may do
the former by means of the Line CE, and the latter by that of FD.
[Illustration: FIG. LX.]