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THE LIBRARY
OF
THE UNIVERSITY

OF CALIFORNIA

GIFT OF
Gwynn Officer

ARCH.
LIBRARY

 

  

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5.....31.5.2775: .2. ...“1.1x...‘.l\.hl.!..1J1t

A

. THE _
AMERICAN BUILDER’S COMPANION ;

l ' N

SYSTEM or ARCHITECTURE;

n.

PARTICULARLY ADAPTED

 

TO THE PRESENT STYLE OF BUILDING.

 

TREATING
ON PRACTICAL GEOMETRY ; ON rLANs AND ELEVATIONS 0F HOUSEs, FOR
THE ORIGIN OF BUILDING. BOTH TOWN. AND COUNTRY.

OF THE FIVE ORDERS OF ARCHITECTURE ; 0F ON CHURCHES, COURT’_HOU5ES,'&C.
THEIR PARTICULAR PARTS AND EMBELLISH— ON SASHES, SASH FRAMES, $HUTTERS, DOORS,
MENTS, AND OF THEIR APPLICATION. CORNICEs, BASE AND SUREASE MOULD-
ALSO, VERY FULLY ON STAIRs ; , INGS, ARCHITRAVEs, 8L0.

ILLUSTRATED WITH

 

SIXTY- THREE COPPERPLJI TE ENGRJI VINGS.
FIFTH EDITION, CORRECTED AND ENLARGED,

WITH A PLAN AND ELEVATIONS OF A CHURCH, AND TWO ADDITIONAL PLATES ON HANDBAILS

FOR CIRCULAR STAIRS.

 

 

, BY ASHER. BENJAMIN,
‘ ARCHITECT AND CARPENTER"

 

 

BOSTON :
PUBLISHED BY R. P. St C. WILLIAMS,
GORNHILL SQUARE ;
No. 79 Washington-Street, opposite the Old State House,
1826.

 

ARCH.
llBRARY

   
   

”' , ‘ DISTRICT OF MflSSflCHUSETTg-srujo WIT.

‘7 I District Clerk’s Ofiice.

BE it remembered, that on the twenty fourth day of Fe; ryr Ai 1). 1820, and 1n the forty
fourth year of the Independence of the United States of America, R. P. & C. WILLIAMS,
of the said district, have deposited in this office the title of a Book, the r1ght whereof they
claim as Proprietors, 1n the Words following, to wit.

 

“ The American Builder’s Companion, or, a System of Architecture, particularly adapted
to the present style of Building Treating on Practical Geometry—The Origin of Building—‘
Of the five Orders of Architecture—0f their particular parts and embellishments,” and of
their application—aAlso very fully on Stairs—0n Plans and Elevations of Houses, for both
town and country—On Churches, Court Houses, &c.—0n Sashes, Sash Frames, Shutters,
Doors, Cornices, Base and Surbase Mouldings, Architraves, &c. 8w. Illustrated with sixty
one copperplate engravings. Fourth Edition. Corrected and enlarged; with an additional
Plan and ElevatiOns of a Church. By Asher Benjamin, Architect and Carpenter.”

In conformity to the act of the Congress of the United States, entitled, “ An act for the en-
couragement of learning, by securing the copies of maps, charts, and books, to the authors and
proprietors of such copies, during the times therein mentioned,” and also to an act, entitled,
“ An act supplementary to an act, entitled, An act for the encouragement of learning, by se-
curing the copies of maps, charts, and books, to the authors and proprietors of such copies,
during the times therein mentioned; and extending the benefits thereof to the arts of designing,
engraving and etching historical and other prints.”

Clerk of the District

JN0~ W- DAVIS: g of Massachusetts.

 

0. 5mm, PRINTER—BOSTON.

 

 

N ,1; Zé 55
B44 ,. .
/QZ¢.,.-

*' ' ; mm;
« uBRARy

' PREFACE,

TO THE THIRDIEDITION.

 

 

'—~__—==e99@e®e©eeo

F IVE, years having elapsed since the first publication of the American Builder ; .
, during which time I have been constantly employ ed in drawing and executing plans
for buildings. _ The experience of thattime enables me to confirm some, and re-
ject other former methods.

Sixteen plates, which‘were in the first edition, I_ have .laid aside, and. have ‘add-
ed— twe‘nty-nine new ones; which almost make this a new WOrk. I

'I have first laid down and explained such problems in 'Geometry, as are abso-
lutely necessary to the well understanding of the subject. I have next treated on
the origin of building, of mouldings, and of the orders. I have endeavoured to .
explain them so clearly and fully, that they cannot be misunderstood. At first '
they were Selected from several authors, drawn at large, and wrought; After care- , ,_:
ful examination, such parts as I did not approve, were altered, by drawing and I K
working them over again, and repeating this process several times, till after the
most minute and careful examination of every part of the four first orders, I was
confirmed in the opinion, that no further alterations for the better could be made 3
for the result of which experiments see these orders as they are severally laid down.

I have giVen the T uscan, column eight diameters in height, in imitation of the I
Trajan and Antonian columns at Rome, which are of that height, and reckoned. of v
the Tuscan order ; and have regularly progressed, by giving the Doric nine, the,
Ionic ten, the Corinthian and composite eleven diameters each. "

V I expect it will be said by some, who rigidly adhere to the proportions of the an:
,c-ients, that the Tuscan column ought not to be but seven, the Doric eight, . the:

_ W28£3§390 -

 

 

 

xv PREFACE. . '

Ioniciifinefind the Corinthian & Composite ten Diameters each in height. Experience
has taught‘me that no determinate rule for columns, in all situations, will answer ;
.‘fhey must be proportioned according to the weight, or apparent weight they are to
sustain. I do not recollect, in the course of seventeen years extensive practice, to
have made either of the orders larger than the proportion here given ; and in but
few cases so large. My principal aim has been directed toward explaining with
perspicuity, the foundation of this art ; the orders, and their particular parts. ‘ For
this eXplanation I am principally indebted to Sir William Chamber’s incomparable
Treatise on Civil Architecture ; how far I have succeeded in my attempt, I must
submit to the judgment of others.

I have given examples of sashes, sash frames, and shutters ; and how to set them
in a brick wall ; have also treated fully on stairs 3 for which, I must acknowledge
myself indebted to P. Nicholson’s excellent books on that subject.

' Several plans and elevations of buildings of different kinds, are to be found in
this work, With observations on their several and particular parts. -

Note. It may perhaps be asked, why Mr. Raynerd’s name, which appeared in
the first edition, does not appear in this ; 1 answer, he sold all his right and title to
the work soon after its first publication. The plates in this edition, Which were
drawn and explained by him, have his name aflixed to them.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

&.

 

TH E

AMERICAN BUILDER’S COMPANION.

 

 

PLATE 1.

PRACTICAL GEOMETR'Y.
DEFINITIONS.

A POINT is that which has position, but no magnitude nor dimensions ; ”neither;

length, breadth, nor thickness, as A.
A right line, is length without breadth or thickness, as 1.
A mixed line, is both right and curved, as 2.
A curve' line continually changes its direction between its extreme points, as 3.
, Parallel lines are always at the same perpendicular distance ; and they never
{meet though ever so far produced, as 4 and 5.
Oblique right lines change their distance, and would meet, if produced, on the
side of the least distance, as 6.
One line is perpendicular to another, when it inclines not more on the one

side than the other ; or when the angles on both sides of it are equal, as p 7.

A surface, or superfices, is an extension, or a figure, but without thickness, .

as 8.
A body, or solid, is a figure of three dimensions; namely, length, breadth,

and thickness, as 9.

A line, or a circle, is tangential, or a tangent to a circle, or other curve, when
it touches it without cutting when both are produced, as 10.

An angle is the inclination, or opening of two lines, having different direc-
tions, and meeting ina point, as 11. '

A right angle is that which is made by one line perpendicular to another, or
when the angle on each side are equal to one another, as the lines a 6, and a c,

on 16.

B:

-4” “

6 1 AMERICAN BUILDER’S COMPANION.

An acute angle is less than a right angle, as 123

An obtuse angle, is greater than a right angle, as 13.

Plain figures that are bound by right lines have names according to the num-
ber of their sides, or of their angles ; for they have as many sides as angles ;
the least number being three. A figure of three sides and angles, is called a tri-
angle, as 14, 15. 16, and 17 ; and they receive particular denominations from the
relations of their sides and angles.

An equilateral triangle, is that whose three sides are all equal, as 14.

A right angled triangle, is that which has one right angle, as 16.

An isosceles triangle has only two sides equal, as 15.

A scalene triangle has all sides unequal, as 17.

An obstuse angled triangle has one obstuse angle, as 17.

Of four sided figures there are many sorts ; as the. square 18, which is a plain
regular figure, Whose superfices are limited by four equal sides, all at right
angles with one another.

The parallelogram 19, receives its name from its opposite. sides.- andends, being
parallel to each other; the parallelogram is also called, a long square, or oblong,
in consequence of its being longer than it is wide.

The rhomboids 20, is an equilateral parallelogram, whose, angles. are obliqiie,
as 20.

A trapezium is a quadrilateral, which has neither of its, side. parallel, as, 21.

-A trapezoid hath only one pair of its oppnsitesides parallel, as ‘22.

Plane figures having more than four sides are in general called polygons, and
reactive other particular names, according tn the number of their. sides or angles.

A pentigon, is a polygon of five sides, as fig. 13, plate 2.

A hexigon, is a polygon of six sides, as fig. 14, plate 2.

A heptagon has seven sides; an octagon eight; a nonagonnine; a decagon
ten ;. anundecagon eleven; and a dodecagon twelve.

A regular polygon has all its sides and its angles equal; and if they are not
equalthe polygon, is irregular.

An equilateraltriangle, is also a regular figure of three sides, and a square is one
of four ; the former being called a trigon, and the latter a tetragon.

  
 
  

 
  
 
 
   
 

which is every‘iiii
,5 The radius of 7 , . _ p ,
'1’ “I §em,aa6 23. .3 '1 3;, g ‘_
Admeter of a circle, 1s_ a riggt hue drawn._ ) I
both sides 9f the circumference, as c d, oI; 23-., W
A chord 18 a right line Joining the extremities of an arch, as (13:24.
A semicircle, lS half the circld, or a segment cut off by diameter, as c d, 25.
A section, is any part Of ,a. circle, bounded by an arch and tWG rad11, drawn to .
, 3 its extremities, as 26. . . . _ , ,
A quadrant, or quarter of a circle, 18 a sector, having a quarter of the circum- V , * , '
ference for its arch, and. the two radii are perpend1cular to each other, as c a and ‘ i A
$127 , . . . . 5 .
The measure (11‘ any ught lined angle, 13 an arch of any c1rcIe containea' lie "
tween the two lines, which form the angle, and the angular pomt being 111. ‘Ithe
cenuie, as 30. ..

,_ The height, or al‘f‘tud'e of any figure, as pErpendlcufar ‘Iét’ (iii? 15h afiglemr '
1 1. it's vortex to the oppositE side, called the Base, as the line, a b,‘ 29 ‘ " ‘ ”j- i
When an angle 1s denoted by three letters, the middle 6116 is the“ plaééwfhhé
' angle, and the other two denote the sides containing that angle; thns, let a b d, be

the angle at 29'; 3 15*1he angutar point, a 3 and 3 d ’ are the? Wslflés @311

if?“ ta1n1ngthatangle.""' "' _, , ‘ W

..;)‘}3I:‘J{i;..=1 £51.53... :, in,“ "
"2:4.

\ r
J

 

 

 

       
   

 

s 5:: , AMERICAN BUILDER’S COMPANION;

PLATE II.

FIG. 1.

T o draw a perpendicular to a given point in a line. a 6 isaline, and d a
given point; take at and 6, two equal distances on each side of d, and with your
compasses in aand 6, make an intersection at c, and draw c d, which is the per—
pendicular required. '

FIG. 2.

To erect a perpendicular on the end of a line. Take any point you please
above the line, as c, and with the distance 0 I), make the arch, a I) d, and draw the
line a a, to cut it at d, and draw d l), the perpendicular.

FIG. 3.

To make a perpendicular with a ten foot rod. Let 6 a be six feet ; take eight
feet in your compasses ; from 6 make the arch c, with the distance ten feet from
a ; imake the intersection at c, and draw the perpendicular, c b.

FIG. 4.

To let fall a perpendicular froma given point in a line. In the point 6 make

an arch to cross the line a b, at c d ,- With the distance a d,make the intersection
4 and draw cf; the perpendicular.
‘ FIG. 5.

To divide aline in two equal parts by perpendicular. In the points a and 6,
describe two arches to intersect at c and e, and draw the line 0 e, which makes the
Perpendicular required.

, FIG. 6.

To erect a perpendicular on the segment of a circle, a 6. From 2', draw the
arch e d; and, with the distance, ed, and on o and 01, make the intersection c, s.
. and draw the perpendicular c 2'

FIG. 7 and 10.

An angle being given, to make another equal to it, from a point, in a right line,’

Let a, c, e, be the given angle, and d n, a right line ; d the given point; on a make

: . . \
. s , a ‘

. I.IUI.WII!\ WWIAH‘V‘x/f
V r

\

 

«3-3‘ ~N-

 

 

 

 

 

 

 

 

 

 

~ _ 1 o divide. any given angle Into tw f equal pegs 011 p, the angular p"
-_ i th the radius, a e, or any other, make the circle 6 fl,- on e and (1, With the
@111“ e c, make the intersection c, and draw the line a a, whi9h .i§ 111$ déwfion
required - 1 .- . ..
' FIG.a .. ‘ 7 ‘
T9 dmde a r1ght line given, into any nutnbe1; 9f eQual parts Let qé be a
gwen line, to be divided into ten equal pa,1§s:' , take any d1stanee 1n yogi-190131911319
' gases, more than one tenth of that line, and run them ofi' onthe ling 11g, and 1111111
that distance, make the triangle [2, i, g, and draw each tenth division to the angle
i; take the length of the given line a ,6, and set one foot of the compasses at a, 0n
lithé‘ lineo' gi, and let the ether fall on the line h 1, at 6, parallel‘ to [2 g, and draW
{he line a b, which gives the ten divisions reQuired , the lines (I c and f c, or any
others which are shorter than the base line of the triangle, can also be draWn across .1-
~it; which When done, will be diVided Into tenths. ‘ '
1? FIG. 11. _.., - _ r;
g T 0 make an equilateral triangle upon a right line. Take (211?,‘the-giv'6h
V l side, in your cOmpasses , and on a and 6, make the intersection c, and drgw'
‘a c, and e c. 1 “ -
‘ FIG.
To make a geometrical square upon a right line. VV ith the given side (2' 0,;
1and in the points d and 0, describe two arches to intersect at a; divide a c, into

\
_li

,figFIG 13,14, and 15.
he sides of any polygon being given to describe the polygon to any num-

 

 

 

 

.10 AMERICAN BUILDER’S COMPANION.

any radius, it will be most convenient to make it equal to the side of the polygon;
then divide the Semicircle into the same number of equal parts as you would have
' sides in the polygon, and draw the lines from the centre through the several equal
' divisions in the semicircle, always omitting the two last, and run the given side
round each way upon those lines; join each side, and it will be completed.

’ FIG. 13. ’

How to describe a pentagon. Let a .5, be the given side, and continue it out
to o , on a the centre, describe a semicircle , divide it into five equal parts;
through 2, 3, and 4, draw a 2 a c, a 12, make 5 6, equal to a 5, 2 c, and e 6, each
equal to a5, oraZ; join a 2, 2 c, c b, and 65 , in the same way may any poly.
gon be drawn, only divide the semicircle into the same number of parts that the
polygon 15 to have sides.

 

 

 

 

 

 

 

 

 

   
    
 
     
   
     
            
     
      
    
   
 
 
  
   
  
 
   

FIG 1'

m Ii, [1 g,’ and fa, Which completes the' octagon.

FIG. 2. 3

Any three lines being given to make a triangle. I Take One of the given sides, 6“

126 and make it the base of the triangle; take the second side, c a, in your com- 1 3
passes, place one foot 1n (1, and make the arch at 0; take the third side, 60,, and?
place one foot of the compasses in 6, and make the intersection c, then draw 0 a, V
and c 6, which completes the t1 rangle. ‘ J. "

" FIG 3. A ' 1 . , 7 :9 3
Two rightlmes'bemg given to find a mean proportion. Join a c, and Ic 6,111
one straight line; divide it into two equal parts at the point 11, with the radius 72 a. J ”_ "'
or 726'; describe a semicirCle, and erect the perpendicular c (I then 15 6 c, to c dI ,

asod,istoca. '- ‘I' .1

  

\vs

FIG. 4. V - '

To make a geometrical Square, equal to a triangle given. Let a 6 n, be? the

given triangle; extend 6 a? a; make a 0, equal to half of n r, and with one half I I I _
of 6 a, on the point 0, make a semicircle; from a, erect a perpendicular interseCt-I “ .1 "

6 ing the circle atf; make ad, (1 e, and 12]; each equal to a f and the geometrical} 1 V
square is completed. 4. i .

’ ' ' . V ‘ ”7., - .\ Y (
. JV .

., a FIG. 5 I 3 . I :7 3 a; .
,1, ’ ' s A tangent line being given to find the point where it touches the circle. From I ”
Irfi any point in the tangent line a 6, as. e, draw a line from the centre e; divide a .0,

into two equal parts at d; on (1' With the radius (1 e, or d 0, describe an arch, cutting
94111: given circle at f which Is the point required '

 

 

 

7’, )1 hr",

, U1 DER’S COMMMO '

,3?“

FIG 6.

~ ' FIG, 7. ‘ 1
Two circles being given to make another circle to contain the same quantity.
Let A and B be the two given circles , draw a 0, cutting the two circles in their

centres , on c erect a perpendicular; make c d, equal to a 6, the diameter ofi! the i
‘ c1rcle A; draw the line (1 6; divide d 6 into two equal parts at e; on c, with
the distance 3 d, or e 6, describe the circle D, which IS equal m‘gize, to the two .

\ 1 l5.)
tfigiven circles A and B. ‘ _ , 1 , _ ‘ ' ,

, - FIG. 8._ - ' .‘v
, To draw a segment of a circle to any length and height. a 6 ,13 the length, n c,
$14 the height; divide the length a 6 into two equal parts by a perpendlctflarfd ‘ .
1 d1v1de c b by the same method, and their meeting at f W111 be the centre for drawing
9” the arch b c a, Which Is the segment required.
° ' FIG. 9. "
To describe the representation of an elIipsis by centres. Divide g 12 into three
equal parts. atd and r , With that distance, and on d and 1', make the 1nte15ect1ons '
z and or; from t, through d and r, draw a n, and i e , frbm a, through d, and r, draw _, q I,
o c; and 9 a; on d and r, describe the circlé c g e, and a 11_ n; on a and 2 describe i“ 1
the c1rcles a c, and n e. .

 

 

 

 

 

 

 

4 .
H.W. Snyder.

I

.- ‘.
n‘

I
u

. 3

 

 

 

 

 

 

 

 

 

 

 

 

   
 
   
   
 
      
   
   
   
   
   
   
 
  
   
  
   
  
 
 
 
     

N BUILDEMS‘ 611111;? NI

PL‘ATE IV.

FIG. 1.

  

_’e de , draw c f c i, e g, and e 6; on c and “c, with the distance 0 f or c i, describe
,rthe arches ifi, and 3-,}; on d, and d, with the distance a’a, or d 6, describe the
.archesfag,and z 6 [2.
FIG. 2.
To make an ellipsis with a cord. Take half Of the longer d1ameter a c, which
7 is a 2', Or c z_' , "with that distance fix one foot of the compasses in o , interseCt a c
at 6 and d , tack 1n a nail at 6 and (I, then lay a cord round d and 6, and make it
meet at at; fix a pencil at o, and move your hand around, keeping“ the cord tight,
will descnbe an ellipsis.
"‘ “ '~ FiG. 3. _
To describe an ellipsis by ordinates. Make a circle with the radius a c, or-
, a 6; divide the half circle into any number of parts, say 10 make c 5, perpen-
3% f , dicular to o 6, and equal to one halF of the smaller diameter of the ellipsis ,
draw ordlnates through each cf the ten divisions on the semicircle c d 6; draw a 5, _ 7 ‘
V_ ; then 0 a 5 will be the scale to set ofl' your oval take 4 1, from the scale, and set ' ‘ i I -
2'7 - ,it from 1. to 1, in your oval both ways, and at eaCh end ~ then take 3, 2, from“ the 7
' 5 scale, and set it from 2 to 2 each way on the oval; find all the other points in the i
’ .same manner , a curve being traced through each of these points, will form the ‘

 

 

’ true ellipsis. . i 9 .

ir‘: 1r, _ .‘ FIG. 4. _

7 To describe an ellipsis bya.t1‘amme1 g f e, is a trammel rod; g, a nut, with
_ ' a hole through it, to hold a pencil‘; at f and e, are two other sliding nuts; make
i the diStance off from 3', one half of the shorter diameter of the ellipsis, and from

$ to 6, equal to one half of the longer diameter , the points f and e, being put into

‘1

  
   
     
   
   
   
     
     
         
   
  
    

   
  

, FIG. 5, and 6.
To draw a semiellipsis by the intersection of lines. Let the given ax1s‘ b,
a 6, and divide it into any number of parts, as 10 , also let the height be dimgéd

_into half that number of parts, as 5, make 12 9 equal to 9 Ir, the height of the arch s j

. then from the point e, draw lines through the equal divisions of the axis a 6 ; like-- , ‘
“ ”wise through the points, 1, 2, 3, 4, c, in the height 6 c, draw _lines tending to the

crown at p, whiCh will intersect at the points, 0 22 ml, and lines being drawn

through the §1V1s1ons of a c, at p, at the crown , in the same manner will form the .

"5'" points i [z g‘f; a curve being traced through these points, Wilt show the true

‘ '* Aficurve of we ellipsis. ,

7 ‘ FIG. 7 ,. '

e How to draw the segment of a circle by intersecting lines. 0 Let g e; be. the ~

length Of the segment, a 6, its height; draw the cord 6 c, and 6 g , draw I: c, and

V, in I ‘ ff, 0’, at right angles with 6 e, and 6 g, and from the centre at a, divide a e, and ag, '

V , feach into five equal parts , also from 6, at the crown, in the centre of the line d c,

, , ,1 d1v1de 6 o, and 6 (I, each 1nto five equal parts , and draw 1 1, 2 2, 3 3, 4 4, e c, and

‘ i ‘ A gd, through the divisions 1, 2, 3, 4, 5, on e 5, and g 5, draw lmes to the crown at-l
_ 6; Which will intersect the other lines at the points m n o r, and qflc z .. die curve

' I . being traced the segment mee complete.

 

 

 

 

 

 

 

 

 

    
   
     
    

, , 111113112111311111113 co

PLATE V.

FIG. A. . .
To describe a representation of a semiellipsis by the intersection of right hues..-

  

‘ a Let c d be the transverse diameter, d 6 equal to one half of the conjugate diameter; .
‘ ‘ ‘f’chwded 6, and 6 6, each into six equal parts, and draw the lines d 1,1 2, 2 3,‘ 3 4: l'

4 5 and 5 6, whichb completes one half; proceed in the same mannen to draw the
.1 other half, and also to draw fig. B and C. ' ”

 

Norm—This way of representing an ellipsis. IS not a correct one , but 111 most-1.)“; '.
_‘c,ases it will answer in practice, particularly, Where exactness is n0t required. It» '
1 . . may be observed, that the curve is changed 'by the number 0f parts you make use
_‘ 1. i of ; if divided into a great number cf parts, it makes the curve too quick , if into
i -' a small number, it makes it too flat; by taking the medium betWeen these tWo ex~ A

" w'iiltremes, .you Will approximate nigh the truth.

_ ‘ ~ ’ ‘FIG D .
\ The tranSverse and conjugate diameters of an elhp51s being given to dtaW
,1/‘ its representation. Draw c a’ parallel, and equal to o r, bisect it in i, draw 2' 11,:
and d w, cutting each other at m,- bisect m r, by a perpendicular meeting r w,
produced at n , draW n d,cuttr11g c e, at a; make 0 3‘, equal to ad , o 71, equal to _

, o 1:, through the points a, n, g, h draw the lines 713‘, g/z, ha, andn a; andin‘

the centres n, g, 11, (2, describe the four sectors, and it will prOduce the representgn

 

 

 

1 » ti fire uired. ' " ‘v 1 ' , '
é: ~ Divide o 8 into any number of parts, and draw the ordinates, a a, 1‘ b, 2 c, 3 (11, g

4:, Sfifilz, 7i, and ck; transfer thosedlstances to aa, 1b, 2c, 3d, 4e, Sfi'
&c. to figs. 4, 3, 2, and 1, and through the points, a, a, b c,d,c,'j; [1, 5,15 and
8 trace their curves and the thing 1Sdone._

 

   

PLATE V'I. ‘

~ - FIG.\l. _
HbW to find the curvature of the different ribs in plaister groins. Fig. I. A.
Let e n 1 2 3 4 56 7 O 8, be the given arch, standing over 3 n l 2 3 4, 3:3. to
8 on the plan, or any other” position parallel to it , let 6 c, and a f be the angles“
Ibf the plan Over which the ribs are to be placed, divide the base line 3 8, of the" 3
, _ ’“glven rib A, into any number ofiarts, and through those .parts draw lines from.
9‘: the arch to the diagonal line f 0, Which is the base line of the rib D, continue 3, x

i thEm at right angles through the rib B, and transfer the distfizes 1n A the given "

rib nn,i1, 22, 33, 44, 55,3,6 77, 00, to nn, 11, 22, 33, 44, 5,5 3'3,~
7 7,a11d O 0, On D and B, and trace the curves, Which Will complete the angle
rib D, and side rib D 1 ‘1 ' '

NOTE. The ribs D and B, may be described With the trammel, which 1sl‘aidi

9%:
if, '1

doWn on plate 4, fig 4.34 3 3
“2" , ~ FIG \

,. To drawa segment of a circle by rods to any length and height. Take tWo rods,

(1%, and d? a, eac'li equal to o n, the opening, place them to the height at d; and

tHe 31111 a n,- p‘u‘t a piece across them a c n, to keep them tight, and move th6

rode around the po‘intso n‘, and it Will describe th3‘1 segment at the point (1‘42“: :43.

fir, ~ 3 FIG 3 3 t , 4133i» ~ _ _.-_,

How to find the raking mouldings for a pediment. LetA A’be the given rh ‘
ing, B, the raking moulding, and D, the return moUlding: draw the line 13 a, in B, , _ '
at right angles With the rake of the pedrment arid e- a, in D, perperidiculafi?“ for
parallel to E 6’, iii A‘; make 0 a in B,“ and c -, D; eagh equahto c 'a in A; divider
1113 curve of the given cimarect'a. A,ir1‘tb any‘hfimber of par-ts,- as here, 1111049114
and draw lines upon the rake and parallel to‘ it; With the- dietan'c'es 1 2,.a1id 3 47 in:
A, make the points from 2 to 1, and 3- to 4, in B: and D, and through those lpOints
trace the curves 3 4 1 n, in B, and 19 4,1 0, in D

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FIG. 1..

How to diminish the shaft: of a column, Let. 6 f be the central ‘l’me; divide 1‘ 1,,

it into four parts, and at one fourth make the line a 6 across the column; on 0
make the half circle a e 6; with the d1stance f 1, at the neck of the column, 11nd 1111

four parts: alSo, from c to f1nto four parts, and draw lines through each of those
divisions ; and with the distances 2 2,3 3, and 4 4, in A, on the line 6 .6 make

CUI‘VCS. ‘

. . FIG 2 1
,1 How to set out flutes and fillets on a pilaster. Divide a 6 into twenty nine equal
*7 : parts, and give three of them to each flute, and one to a fillet.

FIG. 3. . - ,

How to set out flutes and fillets of a column{ Draw thé .ul‘i‘nes a' 6, and 66',
through the centre of the column, and at right angles with each other ; diviideitrhé
circnmference of the column into ninety six equal parts ; with one and one half of
those parts in your compasses, and on the lines a‘ 6, and c d, at 3,3,3, 3, describe
the flutes. - the circle r o s g, is the size of the column at its neck, Wl§re the flutes
and fillets are divided, by drawing each line of the fillets across it, pointing to the
. ~ centre.

- FIG; 4.‘ 1 a 1,
Shows how to set out flutes Without fillets”, on’th‘e Doric column. Dividé‘ the ‘ci‘r.
c‘umference into twenty equal parts ; with three fohrths of one of those” parts, on the

1' ,g /z zj and k, are also centres for drawing the other flutes 5' n 0 r is the size of the

column at its neck
E

1, 'on the central line, make the points 1,1, 011 the circle , divide from 1 to 1:, into
, 1

1'“ the points 2 2,3 3,4 4, on the sides of the column, and 1n those points, aiid 1n 1 6, 1
find 1 a, tack in nails or brads, bend a lath around them, and by it mark the.

points 5 and 4, make the intersection j; and 011 f describe the flute 5 4, d a 6 6 61'

   
  
       
     
   
   
   
   
   
   
   
   
   
     
     
   
   
   
 
 
 
 
  
   

g ~-1_I__:.‘I,’LATE VIII.
_. .. ,. FIG. 1. - ' : ~

a "1'0 draw the Ionic volute. ' Draw a geometrical square within the eye 09

the volute, and bisect its sides in the points 1 3, and 42 4 ; and from those points,
‘ draw the lines 1 3,, and ‘2 4; divide each of them into six’ equal parts ; 'see‘A,‘

the eye, at large ;*place‘one foot of the compasses at 1, on the side of the geomet~ ~
A ,rical Square, and extend the other to d, and draw the arch d c ; then with the dis. "
«a ‘ , tance 2 e, and on 2', describe the arch cf; on 3', and with the distance 3 j; describe
the arch f g ;' with the distance 4 g, and on 4, describe'the arch gii ; and with the
distance 5 i, and on 5, describe ik ; and with the distance 6 Ir, describe ’lcn ;‘
and with the‘ distance 7 12, describe 7: a ,- and with the distance 8 0, describe a m ,~ , _
and with the distance 9 m, describe mr ; with 10 », describe rs ,- with 11 .9, de.‘ '5.- ’ V, ‘

  
 

g scribe s t ,- with 12 t, describe I u: ; and 011 72, describe d a, which completes the ’2
youtside line. - ~ _ . .,
vi To describe the inside line, which diminishes the fillet, divide l 5 in A, into ‘ ‘:

five equal parts, and set one of them from 1 23 4 5 6 7 8 9 10 11 and 12, to- .
ward the centre of the eye, which will be the twelve centres for drawing the
inside line.
FIG. 2.
To draw the representation of an elliptical volute. Draw the line I) a, cutting" '
the eye in itsgcentre; divide 2 g, the diameter of the eye, into six equal parts ,

\ * ‘ , ono- or with the distance g a, describe a half circle a b; on 2, and with the distance
2 6, describe the circle 6 c ; on 3, and with the distance 3 c, describe c d; on 41,, , ' t g
and With the distance 4 d, describe d e , on 5, and with the distance 5 c, describe . 7 .. , , 5%

e f , on 6, and with the distance 6 f descr1be f g , to draw the inside line, divide
one sixth of the diameter of the eye into five parts, and set one of them from g 2

. 3 4 5 and 6, toward the centre of the eye, whiCh will be the centres for drawing
, , the inside line. B, is the eye at' large. '

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PLATES 1X
On plate 9, are fifteen, and an the lower. part of plate 10, are six designs for

_ mouldings all of which have then particular parts figured; and the centres for

I

 

drawing their curves, are marked on the plates, which, Ithinlc,.wi11 make them :

sufficiently plain, Without any further explanauom
e ; V ' ' PLATE X. "

To describe the quirk ovolo, A. With one fourth of 211:, in your compasses, and
On (I, which is two and one half parts frorn the line 2 Ir, describe the arch n c, with
the distance a 6; from a a11d 42, make the point of interSection at c; 011 0, describe
the arch a c, which complétes the mealding.

~

'ence‘ in them is, their projections , A, projects four parts, B, five parts, and C,

six parts., : ' '
To draw the quirk ovolo D, and the hollow E. Draw the lines a 6, in D and E,
hand divide a 6 111 F, into eight parts , draw lines from each of those parts, at right
, angles with a 6 1n F, and parallel to the fillets of D and E, cutting the lines a 6 1n D
.. ' and E, at 2 4 9 7 10 12 and 14 transfer the distances 1 2, 3 4, 5 9, 6 7, 8 10,11
12, 1314, in T, to“12,34. 59, 67, 810, 11 12,1314,inD andE, andbythose
4 points trace their curves and they are complete. In the same way may those
' mouldings be drawn to any projection.

 

 

 

The above directiOns “ill be observed 111 describing B and C, the only differs-l

    

PLATE IX

 
   
  
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
   

1..

NAMES 0F \MOULDINGS.

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‘1.
I, < $111
54.3%...1-11, . .-

\ ‘ vA, cavetto, er bellow; B, 'cavetto- and ‘ astrigal ;’ C, ovolo and fillet ; D, ovals
and astrigal 1- E, cimareve—rsa, or ogee, ° F:- cimarever'sa and bead; G, astrigal, - H,

‘ head; I, cimarecta; K, L, and M, are scoties of different projections and curves ,
N, O, P, are quirk ogees,

' Norm—If mouldings are only composed'of parts of a circle, and straight lines,

a X, I .- they are called Roman; because the Romans, in their buildings, seldom or never,

1 V employed any ether Curve 'for mouldings, than that of a circle, - but if a moulding
is made of part. of anLellipsis, or a parabola, or any hyperbole, the mouldings are
then in the»! Grecian taste; hence it appears, that mouldings of the Grecian .1 taste,
are of much greater variety than those of the Roman, where only parts of circles .

~ are concerned

Although I have made use of the Roman ovolo and ogee in all the orders& I ' y
do not generally use them in practice , the bending, or turning: inward, of the x
upper edge of the Grecian, , or quirk. ovolo, when the sum shines on its surface \ - ’
causes a beautiful variety of light and shade, which greatly relieves- it from plane
surfaces , and if it is entirely 111 shadow but receives a reflected light, the bending, , _,
or turning inward, at the top, wili cause it to contain a greater quantityof shade m i _ Q i
, , , that place, but softened downward around the moulding to the under edge In the
- Roman ovolo there IS no turning inward, at the top ; therefdre, when the sun shines - ~

 

 

on itssurface, it will not be so bright, on its upper edge, as the Grecian ovolo ; nor
will it cause so beautiful a line of distinction from the other mouldings, with which
'it is combined, when it is in shadow, and when lighted by reflection.

 

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1 of the upper and under edges will also make a strong Inie of dlstmctlon 011 be
edges, between 1t and other mouldings, or, of planes connected with it; ,
the upper and .under edges of the Raman qgee, being pegpendlcular 1;?) the: 13011,

the lightest place on its surface will not be lighter than arperpendxqular 11111116 surface; _ .
nor will 1t be bétter relieved 1n shadow than perpendlcularplanefiqrfaCes, also in I.
s’hadow. . . , p 1 , ‘

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To describe the Grecian ovolri the tangent a 6 at the‘bottom,‘ and the point of I, ‘

tact d, and} the "greatest'prcnectlon of tii6 mouldmg at c, being giYen. From

aw a d e,perpend1cular through c, draw c 6 parallel to it; also, throughlg? draw, .. -_ _ , f

. 1' a??? 7 Id to the tangent 6 a, cutting me at (2’; make (1 e equal to a (1, then “711107 be

"the centrerof an ellipSis, and c d and d a, will be two semicon‘lugate diameters, from

f'whiCh the ellipsis may be described divide 6 e and c (1, Reach into a like number

of equal parts , from th6 point ”a, and through-"the pOints I_ 2, 3, in 6 c, draw lines ,

3130 from 6, through the points 1, 2, 3, in c d, drafv lines cutting the forIner at 4,
" 1 5, 6 which will give the points through which the curve is to be traced". , ..

... ’ ' FIG. 2 ' ' ' is.

This figure 13 described' in the same manner as fig. I. "It has a greater project

tion, the tangent being also taken In a higher position. ' I ' I

' 1 i - FIG. 3.
To aeSCIIbe a scotia. Join [the ends of each fillet by the right line a 6; bisect
a 6 at (I; through a’ draw c d e parallel to the fillets, and make 0 (f, and d 3, each
equal to the depth of the scotia , divide d.a, d6, 6f and a g, each into a like
number of equal parts; from the point e, and through the points 1 2,3, in ag
and 6 f draw lines , also from c, through the points 1, 2, 3, in d a and d 6, draw
lines, cutting the former at the points 4, 5, 6, and 7, 8, 9, through which points
. the curve is to be traced.‘ '

‘\

. V ~. FIG. 4 :‘5, and 6.
7 Draw 0' f a continuation of the upper side of the under fillet; through 6, draw
6 g, pe1§1dicular to 3']; cutting it at g, and the tangent f c, at the point e , also

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from that of 4,15 occasioned by the tangent lin.
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,- ~ THE ORIGIN-'oF-BUILDING.

~ Bur-.1. nmcs were certainly among the first wants of mankind; and architec-i
{are meet, undoubtedly, be classed among the earliest antedi‘luvian arts. Scrip-
ture iififai‘mSfl'Sithat Cain built a city; and'soon after the delugr-e we hear 'of
many qties, anal of an attempt to build a tower that should reach the sky.
A miracle stopped the progress, and prevented the Completion 0t that hold
design. ‘ '
«The first men, living 1n a warm climate, wanted no habitations, - every grove

afiorded a shad higvfrom the rays of the sun, and shelter fion the dews riff the

 

 

' night . rain fell but seldom, nor was it ever suflicic ntly cold to render closer dwell-

ings than groves, either desirable or necessary, even in the hours of repose. '1 hey
fed upon the spontaneous productions of the soil, and lived without care, and with-
out labour.

,But when the human species increased, and the produce of the earth, however
luxuriant, was insufficient to supply the requisite food. When frequent disapf

- pointmentsrdrew on contention, with all its' train of calamities, then separation

became necessary, and colonies dispersed to difi'erent regions, where frequent
rains, storms, and piercing cold, forced the inhabitants to seek for better shelter
than trees. , . v

. ~‘ At first they most likely retired to caverns, formed by nature in recksfio hollow

trunks of trees, or to holes dug by themselves in the earth , but soon disgusted
with the damp and darkness of these habitations, they began to search after more
wholelmne and comfortable dwellings.

The animal creation pointed out both materials and manners of construction.
Swallows, rocks, bees, and storks, were the first builders. Man observed their 1n-

‘ stinctive Operations: he admired: he imitated: and being endued with reasoning

faculties, and of a structure suited to mechanical purposes, he soon outdid his mas-
ters in the builder’s art. "‘ ‘ '
Rude and unseemly, doubtless, wére the first attempts: without experience or
tools the builder collected a few bows of trees, spread them 1n a conic shape, and
covering them with rushes or leaves and clay, formed his hut, suflicient to shelter

its hardy inhabitants at night, or in seasons of bad weather. But 1n the course

 

 

 

mam-“crewman _ 0MPANION.

if time man naturally grew more expert, they invented tools to shorten and im- .
prove labour; fell upon neater, more durable modes of construction, and forms
'better adapted than the cone, to the purposes for which their nuts were intended.
T hey felt the want of convenient habitations, wherein to taste the comforts of pri-
vacy, to rest securely, and be effectually screened from troublesome excesses of
weathers, They wanted worn to exercise the arts, to which necessity had given” ‘
birth , to deposit the grain that agriculture enabled them to raise in abundance ,
to secure the flocks which frequent disappointments in the chace, forced them to

collect‘and domesticate. lhus stimulated, their fancy and hands \\ ent arduously
to work, and tl e progress of unprovement was rapid , .
. That the primitive hut was of a conic figure it is reasonable to conjecture, ’ for
of that form do the American Aborigines buildtheir wigwams , and from its be-
inggimplest of the solid forms, and most easily c011st111cted. I And wherever wood
was found, they probably built in the ma1111e1 above described; but, soon as the
inhabitants discovered the inclined sides, and the want of uplight space in the coen,
they changed it for the cube, and as is it is supposed, proceeded in the fOlIOng ‘
manner. \ '

Having, says Vitruvius, marked out the space to be OCCUplCd by the hut, they
fixed 1n the ground several upright trunks of trees to form the sicles, filling the
intervals between them with branches, cloSely interwoven, and spread over with
clay. The sides thus completed, folir beams were iaid on the upright trunkq.
which, being well fastened together at the angles of their junction, kept the sides
firm, - and likewise served to support the covering ,’ or roof of the building, com-
posed of smaller trees, placed horizontally like joists, upon which, were laid seve-
ral beds of reeds, leaves, and earth, or clay

By degrees, other 1mpro‘e1nents took place; and means were found to make the
fabric lasting, neat and handsome, as well as convenient. The bark and other
protuberances we re taken from the trees that formed the sides ;» these trees'_were
raised above the dirt and humiditv, 01 stones ; were covered at the top with
other stelies and firmly bound round at both ends with ozier, or cords, to secure
them fiom splitting The spaces between the joists of the roof, Were closed up
with clay or-wax, and the ends: of them eithersmoothed, or- coVere‘d with boards.

1,,

     

 

 

 

 

 

   
 
 
  

a

 

. The-Hitterentlbeds of materials that Composedi’the covering, were but "straight at

theeaves, and distinguished from each other-by different projections. The form
of the roof too was altered ; for being, on account of its flatness, unfit to thJow off
the rains which sometimes fell inlgreat abundance, it was raised in the middle, on
tr trees disposed “like rafters, after the form of "a gable roof. , .

This construction, simple as it appears, probably gave birth to most of the parts
that now adorn our buildings , particularly to the Orders, which may be consid-
ered as the basis of the whole decorative part of architecture; for when structures
of wood were set‘amde, and men began. to erect solid, stately edifices of stone, hav-

ng nothing nearer rto'amatate, they naturally copied the parts-which necessitymtro-
I duc‘ed in the primitive hut; insomuch that the upright trees, with‘the stones and

cordage at each end of them, were the origin of columns, bases, and capitals ; the
b cams-and joists, gave rise to architraves and friezes, with their triglyphs an'dwm'e-
tops ; and the gable roof was the origin of pediments ; as the beds ‘of materials,
f orrning the covering, and the rafters supporting-them; “were of corn’ices ; with
their corona", their mutules, modillions, and dentils. 7 '

As, in many other arts, so in architecture, there are certain elementary forms,
which, though ' simple in their nature, and few in number, are the principal
constituent objects of every composition, however- complicated or iextensive it

may be.
0

1

OF THE i’ARTS \VHIGH COMPOSE T'HE ORDERS OF ARCHITECTURE, AND OF THEIR
PROPERTIES, APPLICATION, AND EMBELLISHMENTS.

é

Of these there ‘are, in this art, two distinct sorts; the first consisting-of such

fp arts, as represent those that were essentially necessary in the construction of the

primitive huts; as the shaft of the column, with the plinth of 1ts base, and the abac-
as of its capital, representing the upright trees, Withithe stones used'tora1se, vand-
to cover them. Likewise the architrave and triglyph, representing the beams an
joists; the mutules, modilliOns, and dent-ils, either representing the rafters, or same

other pieces of timber ‘employed to support the covering , and the cOrona, repre-

senting the beds of materials which composed the Covering itself. All them are

 

, M,

 

1 _-¢M__.fi_~w“ .1.-

 

properly distinguished by the appellation of essential parts, and form the first 01-355.]

The subservient members, contrived for the use and ornament of these, and in»

tended either to support, to shelter,or to. unite them gracefully together,whieh are .

usually called mouldings, constitutethe second class.

"Of regular mouldings, there are eight, Which/are, the fillet, the astraga‘lorébead,
the cimareversa or ogee, the écimarecta, the cavetto or hollow, the o‘volo or quarter
- mund, the scotia, and the torus.

'..l he names of these are allusive to their forms , and the forms are adapted to the
uses Which they are intended to serve. The ovolo and ogee‘, heing strong at their
extremities are fit lOr supports , the cimarecta and cave‘tto, though improper for
that purpose, as they are Weak 1n the extreme parts, and terminate in a point,‘ere
well contrived for coverings to- shelter other members; the tendency of their out-
line being very opposite to the direction of falling Water, which, for that reason,

, cannot glide aIOng their surface, but must necessarily drop. The torus and-astragal,
shaped like ropes,vare intended to ‘bind- and strengthen the partson which they are
employed; and the use of the fillet and scotia, is only to separate, contrast, and
strengthen the effect of the other mouldings ; to give a graceful turn to the profile,
and to prevent that confusion, which would be occasioned by Joining several eon~

vex members together. 1

p A11 assemblage of essential parts and. mouldings, is termed. a profile , and
on the choice, dispositions, and proportions of these, depend the beauty or
deformity 'of the composition. The most perfect profiles, are such as consist of
‘fewmou'ldings,’varied both in form and size ; fitly applied, with regardto their
uses, and so distributed, that the straight and curved ones, succeed each other
"alternately. In every profile, there should be a predominant member, :to 1Whichaall
the others ought to seem subservient ; and made, either to support, to fortify, orato
shelter it from injuries of Weather; and whenever «the profile is considerable, or
much complicated, the predominant Should always ‘be accOmlmnied with.one,=0r'
more, other principal members , in form and dimension, calculated *to attract the
eye; create momentary pauses , and assist the perception or the beholder. These
predominant and prinCipal'members, ought alvv'aysto be ’of the essential class, and
generally rectangular; ’Thus,*in a'cornice, theeorona-predominate ; .thezmodillions
and den’tiles are principals in the compositions ; the cimarectaand cavetto, lcover
them; the ovolo and ogee, support them.

9

 

7‘
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AMERIC.4N BUIIDER’S UGMANION ,‘ .i ' V as

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AMERIOL. , in “R’S'COMPANION

When ornaments are employed to decorate a profile, some of the mouldings
‘ should always be left plain, in order to form a proper repose , for when all are
--enriched, the figure of the profile is lost in confusion. In an entablature, the
corona should not be ornamented; nor the modillion band; neither should the
plinths of column, fillets, nor scarcely any square members be carved; for,
generally speaking, they are either principal in the composition,.or used as
, boundaries to other parts: in both which cases their figures should be‘simple,
distinct and unembarrassed. The dentil band should remain uncut, Where the
ovolo and ogee immediately above and below it are enriched; for when the
dentils are marked, the three members are confounded together and :beingpdv-
eredwith ornaments, become ‘far too rich for the remainder of - the, composition,
which are defects, at all times studiously to.- be avoided; as a distinct outline,
and an equal distribution of enrichments, must, On every occasion, be strictly at.
tended to.

Ornaments should neither be too frugally employ ed, nor distributed with too
‘much profusion; their value will 1ncrease, in pmportion to the judgment and dis.
cretion shown in their application. . , 1

Variety 1n ornaments should not be carried to an excess. In architecture they
are only accessaries; and therefore they should not be too striking, nor capable
of long detaining the attention from the main object. Those of the mouldings in,
particular, should be simple, uniform, and never composed of more than two dif-
ferent representations upon each moulding, - which ought to be out each equally
deep , be formed of the same number of parts ; all neaaly of the same dimensions,
in order to produce one even uninterrupted hue throughout , that so the eye may
:not be more strongly attracted by any part in pa1t1cular, than by the whole compo-
sition. ', ; - - ' < - . '

All the Ornaments in the entablature are to be governed by the modillions, or
mutules~ , and the distribution of these must depend on the interv als of the col-1
11mm 3am and be so disposed, that one of them may come directly over the axis of
each column. It is farther to be observed, that the ornaments must partake of the
character of the Order they enrich; those used in the Doric and Ionic orders, are
to be of- simple forms, and of larger bulk than those employed 1n the Corinthian or
Composite. ' > . .. ' ,. :7 ,l . .

  

,7.

AMERICAN BUILDiEiVSB COMPANION. ~ ' ' 291‘

'When frieies, or other larger members, are to be enriched, ‘ the ornaments may \

be significant, and serve to indicate the destination or use of the building , the
rank, qualities, profession, and achievments of the owner.

In sacred places, all obscene, grotesque, and heathenish representations ought
to be avoided; for indecent fables, extravagant conceits, or instruments and sym-
bols of pagan worship, are very improper ornaments in structrires consecrated to
christian devotion. ‘ ' ‘ '

With regard to the manner of executing ornaments, it is to be remembered,
that, as in sculpture, drapery IS not estimable, unless its folds, are contrived to grace,
and indicate the parts and articulations of the body it covers ; so in architecture,
the most exquisite ornaments lose all their value, if they Icad, alter, or confuse the
’form they are designed to enrich and adorn. ‘

The method of the ancient soulptors, 1n the execution of architectonic ornaments,
was, to aim at a perfect representation of the object they chose to imitate , so that:
the chesnuts, acorns, or eggs, with which the ovolo is commonly enriched, are, in
the antiques, cut round, and almost entirely detached ; as are likewise the berries
or beads, 011 the astragal, which are generally as much hollowed into the solid of
the body, as the moulding projects beyond it; but the leaves; shells, and flow-
ers, that adorn the cavetto, cima, ogee, and torus, are kept flat, like the things they.
represent \ , 4 ‘ I’

In the application of their ornaments, they observed to use such as required
a considerable relief on mouldings, that in themselves are clumsy, as" the ovolo
and astragal ; which, by means of the deep incisions 'made in them 'to form these
enrichments, acquired an extraordinary lightness; but on more elegant parts, as
the cavetto, and cima, they employed thin bodies, which could be represented
Without entering too far into the solid. The ornaments of their corn-ices Were
boldly marked, that they might be distinguished from afar ; but those of the basis
of columns, or of pedestals, being nearer the eye, were more slightly expressed ; as
well on that account, as beCause it would have been improper to weaken these
parts, and impossible to keep them clean, had there been, any deep cavities in them,

to harbour dust or filth.
H

 

    
  

 

 

    

 

 

 

, ~13When objects are near, and liable to close 1nspect10n, every part of the ornament
‘ = shuld be expressed, and well finished; but when they a1e much exalted, the detail.

may be slightly touched, or entirely neglected; for it is suilicient if the general
form be distinct, and the principal masses‘strongly marked. A few rough strokes],
from the hand of a skilful master, are much more effectual than the most elaborate .
finishings of an artless imitator , which, seldom consisting in more than smoothing
and neatly rounding off the parts, are calculated to destroy, rather than to pro- .
(111cc effect. 2* p '

OF THE ORDERS OF ARCHITECTURE IN GENERAL. .

as .
The Orders of architecture, as has been observed, are the basis upon WhiCh the

whole deLOratlve part: of the art is chiefly built, and toward which the attention of
the artist must ever be directed, even where no orders are introduced In them,
originate most of the forms Used 1n decoratibn; they regulate. most of the propor-
tions; and to their combination, multiplied, varied, and arranged, in a thousand
difi'erent ways, architecture IS indebted for its most splendid productions. '
TheSe orders are different modes of building, said, originally, to have been 1mi-
tated from the primitive .hutS° , being composed of such parts as were essen;
tial in their construction, and afterward also in the temples of antiquity; which,
though-at first simple and rude,- were, in the. course'lioff time, andsby' the ingentii-
ty of sua6%ding architects, Wrought up and improved, to such a pitch of per-
fection, that they were by way of excellence, distinguished by the?" name of
orders. 'wf‘r ; p» -' . * '
9f these there are five , three said to be of Grecian origin, are called Grecian or-
ders, ' being distinguished by» the names of porno, Ionic, and Corinthian; they e11-
hibit three distinct characters of. confpos1t1on , supposed to have been Suggested by»

,_ thfisdtVfi‘Slty 0f charaeter 111 the human frame. ”I he remaining two, being of Italian:

ofiigrn, are called Latin orders ,- they are distinguished by the. names of Tuscan and
Roman, and were probably invented with a View of extending the characterisuc

   

 

          
 
 
   
  
      
  
 
 
 
 
 
 
 
 
 
 
 
 
  
 
  
 
 
  

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bounds, on One side, still farther tOWard. Strength and similarity 11.22215 mythic 311112?"
toward elegance and profusion of enrichments. 2 . 2 2- 2 2., :2 2.335:- 2 :292318.

is.

At what time the orders were invented, or by whom improved to the utmost;
remains, at; least,»doubtful2 222And of their or1g1nl21ttle21sknown but from the rela-
tion of Vitruvius , the .veraCity of which has been much questioned, and 15,1 prob-2‘7
ably, not much to be depended on. i . 22 ' ‘ ' - 2 22 Lt

“ Dorms,” Says he, “ son of Helenes and the nymph Optica. king of Achaiai
and of all the PelOponnesus, having formerly built atemple to Juno,':in22tl12e tan-2

i cient city of Argos, this temple happened to be in the manner which. is cailkd
2‘ Doric ; and was afte1ward imitated in many others, built in the several citiea of
Achala. a 2 2 2 2 ‘ . 22 fit?“

~“ About the same time, the. Athenians, after having consulted the oracle of Apol-2
10, at Delphos, by the common consent of all Greece, sent into Asia thirteen colo-

‘ nies,: each: under the cemmand of a Separate captain; but allg. under the general di-

rection of Ion, son of Xuthus and Ureusa.‘ Ion being arrived in Asia, conquered

all Caria, and founded thirteen large cities ; the inhabitants Whereof, having expel-

led the Carians and Leleges, caHed the country Ionia, 1n honor of Ion, their leader ; 2
and erected temples, of which the first, dedicated to Apollo Panionius, was. :builtafter
the manner of those they had seen in Achaia, which they called Doric, because tem-

ples of the same sort had been erected in the cities of the Dorians.

22“ Butsome time after, btfilding a temple to Diana, different from these, and
of a more delicate structure ; beingformed .upon the proportions of a femalei‘bod'y‘,
as the Doric had-been 'upon those of a robust man ; and adorning the capitalsof
their columns with volutes, to represent the curls of a woman’s hair; and the shafts ‘7
With flutings, to express the folds'of-her garment. They gave to this second man:
net»- of building‘ethe name of Ionic , because it was invented and first used by- the
Ionians. “‘2' ' 2 ' ‘ ’

“ The third sort of columns, which are called Corinthian, and represent the deli-
cate figure of a young girl, owe their birth to the following accident‘

“ A young W‘eman of Corinth being dead, her nurse placed on her tomb a
basket, containing certain trinkets, 1n which she delighted, when alive , covering it
with a tile to shelter them from the weather. The basket happened accidentally to
be set on a root of the acanthus, which, pushing forth its leaves and sprigs in the

    
  

 

 

 

   

 

AMER’IGAN ; BUILfiER’S COMPANIO

spring, comed- the sides or it , and Some of them, lenger than the rest, being ob-
structed by the angles of the tile, were forced downward, and by degrees, curled
into the form of volutes. w ‘

, “ Callimachus, a celebrated sculptor, passing near the tomb, observed the bas-
ket and , in how graceful a manner the leaves of the acanthus had surrounded it 1
the form pleased him exceedingly ; he imitated it on the tops of some columns, 1
which he afterward exeCuted at Corinth ; establishing and regulating by this mod-
e1, the manner and preportions of the Corinthian order.” ‘

0f the two Latin orders, the Tuscan 15 said to have been invented by the in-
habitants of Tuscany, before the Romans had intercourse with the Greeks, or were .
acquainted 'with their arts ; whence it is called TusCan. . Probably; how-
ever, these people, originally a colony "of Greeks, only imitated, in the best
manner they could, what they remembered in their own country , simplifying
the Doric, either to expedite their work, or perhaps, to adapt it to the. abilities of
their workmen. ' . » - , A

w'l he second Latin order, though of Roman production, 1s but of modern adop-
tion ; the ancients never having considered it as a distinct order. ~=It 1s a mixture
of the Ionic and Corinthian; and 15 now distinguished by the names of Roman, or
Composite. _

The ingenuity of man has, hitherto, not been able to produce a sixth order,
though large premiums has been offered, and numerous attempts been made, by
men of the first rate talents to accomplish it. Such 15 the fettered human Imagina-
tioni; such the scanty store of 1ts ideas, that Doric, Ionic, and Corinthian, have ever-
floated uppermost; "- and all that has ever been produced, amounts to nothing more
than different arrangements and combinations of their parts. ,

A11 order 18 composed of two principal members , the column, and the entabla-
ture ; each of which 15 divided into three .principal parts. Those of the column,
are the base, the shaft, and the capital. / Those of the entablature, are the architrave,
the frieze, and the cornice. All these are again subdivided into many smaller parts;
the disposition, number, forms, and dimensions, of which, characterize; each order,

and express the degree of strength or delicacy, richnesss or Simplicity peculiar .to‘
it! ‘

 

 

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AMERICAN BUILDER’S-GOMPANION. " 33 »

The simplest, and most solid of all, is the Tuscan. It is composed of few, and
large parts, devoid of ornaments ; and is of a construction so massive, that it seems
capable of supporting the heaviest burdens. ‘

There is no regular example of this order “among the remains oi antiquity.
Piranisi has given a drawing of a Tuscan base, found at Rome, but of what date
is u 1certain. Vitruvins. 1n an indistinct manner, has mentioned its general prepar—
tions , but through his whole boak does not refer to one structure of this order.
The T raj'an and Antonine columns at Rome are reckoned of the Tuscan order ;
they have eight diameters for their height ; the torus and capitals are certainly more
ornamented than is consistent with Tuscan plainness. The fiuting to the necks also
are after'the most ancient Doric examples. It is somewhat singular there should be
no remains of this order , and were it not for What little Vitruvius has written of
it, it certainly might have been lost to the modems. The plainness of its appear-
ance, no doubt, caused it to be neglected at Rome ; but 111 no other place has been
diSCOV ered any truly ancient example.

As this 01 der conveys ideas of strength and rustic simplicity, it may very prop-
erly be used for- rural purposes; for farm houses, barns, sheds, stables, and green-
houses- ; for gates of parks and gardens , for prisons, arsenals , also, in colo-
nades and porticos, surrounding squares, markets, and granaries, or store-houses ;
and generally, wherever magnificence is not required, and expense is to be avoid-
ed. ' i
i The design, here annexed, and also the Doric, Ionic, Corinthian, and (‘om-I
posite orders, [have selected from several authors, and have made all the altera-
tions, that 111 my opinion, were necessary to render them conformable to the prac-
tice of the present tune.

I he Doric order next in strength to the T uscan, and of a grave, robust, mas-
culine aspect, is, by Scammozzi, called the Herculean. .Being the most-ancient
‘of all the order”, it retains more of the structure of the primitive huts, in its form,
than, any of the rest; having triglyphs in the frieze, to represent the ends of
joists; and mutules in its cornice. to represent rafters, W1tl1 inclined solfits, to
express their direction in thp originals, from whence they were imitated. Its

 

F.

 

 

 

 

 

   

-.i 34 . AMERICAN BUILDER’S COMPANION.
_column too, is often seen in ancient works, executed without a base, in imitation
of the trees, used in the first buildings, without any plinths to raise them above the
ground. Delicate ornaments are repugnant to its characteristic solidity, and it
succeeds best, in the simple regularity of its proportions. Nosegays and garlands
of flowers grace not a Hercules, who always appears more becomingly, with a
I rough club and lion’s skin. For there are beauties of _ various sorts, and often so
dissimilar, in their natures, that those which may be highly proper on one occasion,
may be quite the reverse, even ridiculously absurd, on others.

The ancients employed the Doric in temples dedicated to Minerva, to Mars,
and to Hercules; whose grave and manly dispositions, suited well with the char-
acter of this order. Serlio says it is pr0per for churches dedicatedto Jesus Christ ;
to, St. Paul, St. Peter, or any other saints, remarkable for their fortitude, in ex-
posing their lives, and suffering for the christian faith. It may be employed in the
houses of generals, or other martial men ; in mausoleums erected to their memory ;

likewise in all kinds of military buildings , as arsenals, gates of fortified places,

guard- -rooms, and similar structures. \

The Ionic, being the second of the Grecian orders, holds a middle station, be-
tween the other two; and stands in equipoise between the grave solidity of rhe
Doric, and the elegant delicacy of the Corinthian. Among the antiques, how-
ever, We find it in different dresses; sometimes more simple, and bordering on
Doric plainness, all according to the fancy of the architect, or nature of the struc-
ture Where employed. 'It is, throughout, of a more slender construction than
either of the afore described orders ; its appearance, though simple, is graceful and
majestic; its ornaments should be few; rather neat than luxuriant.

As the Doric order is, particularly in churches or temples, dedicated

male saints, so the Ionic IS principally used in such as are consecrated to females

I.

(.0

of the matronal state. It 1s likewise employ ed 111 courts of justice, in libraries
colleges, seminaries, and other structures, having relation to. arts or letters ;
and in private houses ; and in all places dedicated to ‘peace and tranquilli-
ty. The ancients employed it in temples sacred to Juno, 'to Bacchus, to _Diana,
and other deities, whose dispositions held a medium between the severe" and the

efl‘eminate. _ 1 "

 

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AMERICAN BUILDER’S COMPANION. ’ 35‘

The Corinthian. Itsproportions are elegant in the extreme; every part of the
order is divided into -a great variety of members; and abundantly enriched with a
diversity of ornaments. The ancients, sayS-De Chambray, aiming at the repre-
sentation of a feminine beauty, omitting nothing, either calculated to embellish, or
capable of perfecting their work. And he observes, that in many examples left of
this order, such a profusion of different ornaments is introduced, that they seem to
have exhausted imagination in the contrivance of decorations for this masterpiec':
of the art.‘ ,

The ancients frequently employed the Ionic entablature in the Corinthian order,
as appears by many of the buildings; and sometimes, according to Vitruvius
even the Doric. ’ '

When the modillion cornice is employed on large concave surfaces, the sides
of the modillions and coffers of the soflit, should tend toward the centre of the
-curve ;, but when the concave is small, it Will be better to direct them toward
the opposite point in the circumference, that the contraction may be lessipercep.
tible, and the parts dependant thereon, suffer less deviation from the 11att1ral
form. The same rul-_.s must be observed with regard. to dentils, to the abacus
and bases of columns or pilasters, and likewise to the flanks of the pilaster itself.
'But on a convex surface, the sides of these should be parallel to each other; for
it would be unnatural and very disagreeable, to see them the narrowest where they
spring out of the cornice, diverging as they advance forward, forming sharp
angles, and a sort of mutilated triangular plan, with enlarged solids, and di-
\ minished intervals; all calculated to destroy the usual proportions and beauty of
the composition. A

The Corinthian Order is proper for all buildings, where elegance, gaiety and
magnificence are required, The ancients employed it in temples dedicated to Ve-
nus, to Flora, Proserpine, and the nymphs of fountains ; because the flowers, foli-
age, and volutes, with which it is adorned, seemed well adapted to the delicacy
and elegance of such deities. Being the most splendid of all the orders, it is proper
for the decoration of squares, or galleries and arcades, surrounding them; for
churches, and on account of its rich, gay, and graceful appearance, it may with
propriety, .be used in theatres, in ball or banqueting rooms, and in all places conse-
crated to festive mirth, or convivial recreation.

 

 

 

 

36' ' AMER-101111 BUILDER’S COMPANmN.

Care must be taken in Corinthian, as well as in Composite capitals, that the feet.
of the lower leaves, do not project beyond the upper part of» the shaft of the col-
umn ; because they then hide a considerable part of the upper row of leaves, and
give a stunted, disagreeable form to the whole capital. The different divisions of

Abe acanthus leaf, and bunches of olive or parsely, which compose the total of each
leaf, must be firmly marked, and massed in a very distinct manner ; the stems
that spring from between the upper leaves, are to be kept low upon the vase of the
capital, while rising between the leaves, then spring gradually forward, to form the
difi'erent volutes. ‘

The compoSite or Roman order, certainly owes its origin to that constant solidi-
tude after novelty, which ever renders the mind of man restless in an enlightened
and highly cultivated age ' ‘he desire of varlety and novelty, either of new inven-
tion, or combination, certainly engaged the Roman a1 Chl ects to unite with the pro-
portions and enrichments of the Corinthian order, the angular volute, and dentils of
the Ionic, and by this union to com pose a new 01 der. L

The introduction of the angular Ionic volute, and the omission of the upper row
of leaves in the capital, certainly give it a more bold and noble aspect, than that of
the Corinthian capital, yet different from that of any of the o;her orders, possessing
an elegance and projection very pleasing, and may be used with very agreeable
and happy effects. '

.I. here are many examples remaining at Rome, which show the general estima-

‘ tion of this order there, in the height of its splendour and prosperity. In their

triumphal arches it was used wit h good effect, where it. produced an agreeable

» boldness, uniting elegance and ornament. '

[he example here given of the column, its base, and capital, is that executed
in the triumphal aICh, erected 111 h mm of Vt spasian and Titus at Rome.

1 he entablature 1s nearly a cow 01 that of Sir \\ illiam Chambers.

The cornice differs from the Corinthian, only in the, modiliions, which are square,
and composed of two facias. _The 50th of the intervals between the dentils, may be
_ hollowed upward behind the little fillet in front, which occasions a dark shade, that
marks the dentil'more distinctly. And the same method may be observed in the
Ionic and Corinthian orders, ior the same reason. The roses in the, soflit of the
corona, are’ not to project beyond its horizontal surface. .

 

 

 

. ' AMERICAN BUILDER’S, commuters.“

Tho Romans used the Composite order gnore frequently in their triumphed arches,
than in any other buildings; meaning to express their dominion over those nations,
that invented the orders of which this is composed. It may, with propriety, be

used, Wherever elegance and magnificence are to be united; but it is more particu- .

larly adapted to buildings, designed to cOmmemorate signal events, or, to celebrate
the virtues and achievments of conquerors and legislators ; because the capitals, and
other ornaments, may be Composed of emblems, and of allusive representations.

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PLATE XII. - a; q _ . p .

i To draw the Tuscan Order to any given height.- Divide E F, fig. B, into thirty
nine equal parts ; take four of them for the diameter of the column, just above its
base, as the scale 1', k, which is divided into sixty equal parts, and are called min-
utes , first divide z k into twelve equal parts, then one twelfth, as 5 1:, into five,
each of which is called a minute ;* then each member of the order is 'so many min-
utes of this scale, either 1n height or projection.

If it should be necessary to add a subplinth, divide the whole height into forty
three equal parts; give four of them to the diameter of the column, and four or one
diameter to the height of the subplinth , if a pedestal be required, divide the whole,
height into forty eight parts , take four of them for the diameter of the column, and

. give nine or two diameters and fifteen minutes to the he ight of the pedestal. ' On

plate 21 1sa block cornice, which may sometimes be Used instead of the plain one,
where it is seen at a considerable distance ; draw it by the same scale by which the
rest of the order IS drawn. _

To diminish the column, divide its shaft into three equal parts ;- leave the
lowest third part undiminished ; divide the remaining two thirds into any number
of parts, as three at 1, 2, and 50, and divide the difference of the semidiameter e i.
in D, or b a, on A, at the top, into three equal parts ; draw a line from c, at the

, base of A, to 2 at the t0p,. which will intersect the _ line 2, 3, at 3 ; then draw a

line from c to 1, which will intersect 1, 4, at 4, tack in brads at c, 4, 3, and a ;
bend a thin lath or strip, round them, and you will have the contour or curve of the '
column. 4“ '

NOTE. Figs.A , and D, are diminishing rules ; I have explained that of A; V,

. which shows the same thing as D, which Is not in its just propo1t10n but clearer to
inspection .

3“ Proceed in the same manner to make the scale ofminutesfor all the other orders

 

 

 

 

 

 

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PLATE XIII.

To draw the Doric order. Divide the whole height intosi-xty five equal parts ;‘~
six of which are the diameter of the column, just above its base ; the column, in-
cluding base and capital, is nine diameters high; the entablature is one diameter
and fifty two minutes high.

If 1t should be required to execute this order on a pedestal, divide the whole
height into eighty equal parts, six of which’ are the diameter of the column; the
pedestal is two diameters. and thirty minuteshigh, or fifteen of those parts. ,

If required to execute it on a subplinth, divide the height into seventy one equal
parts; give, as before, six to the diameter of the column, and one diameter to the
subplinth.

A, is the plancer of a mutule; divide g/z, and e c, each into six equal parts ,
also c 12, and e g, each into five equal parts , draw diagonal lines across the mu-
tule, and through each of those‘divisions, the intersection of which will make the
centres for drawing the bells ; B, is a section of the mutule,‘ taken from a to I), on
A ; C, is a triglyph ; divide its breadth' into twelve equal parts ; give one to- each
half channel on the outside ; two for each space or interval ; and two for each. chan-
nel, and two parts will remain in the middle ;' every two divisions, or parts, is the
width of a bell ; the sides of each bell, if continued, would terminate in a point at
the top of the fillet above them; D, shows the plancer, or lower end of the bells,
also the under edge of the fillet above t' 1cm , E is a section of the triglyph from
o to q , the triglyphs and mutules each, are thirty minutes wide , the centre of one
i , of each ought always to be placed exactly over the Centre of- a column ; the spaces-
between the triglyphs, called metopes, are always squarefi"é and may be left plain, or
enriched with pateras or oxheads, according to fancy ; when the column is fluted, r
it has twenty in number, and those Without fillets ; to diminish its shaft, proceed
as before directed in the 'l‘uscan order.

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PLATE XIV

.

To draw the Ionic order. ' Divide the whole height into forty Seven equal parts,..:

' fOur of which are the diameter of the column, Just above its base; the column, inclu-
‘d‘ing base and capital, 1s ten diameters high, the entablature 1s one diameter andsfor-
I ty fiVC minutes high.’ " 1 1,. « , « .9 . 19. ,1,

If it should be required to execute this order on a pedestal, divide the whole
height 1nto twenty nine equal parts , two of which are the diameter of the column : p
the pedestal is two diameters and forty fiVC minutes high , if necessary to execute:
it- on a subplinth, divide the whole height into fifty one equal parts; four of which
Will be the diametercf the Column ; ‘make the su'hplinthgpne diameter/thigh ; make
the modillions ten,‘ ten and One half, ”oreleven ininhtes infr‘ont, a plaCe them thirty
one minutes from centre to centre}; always the cent-re of a modillion exactly oyer'

.the centre of each column , to draw the purve of the planeer, or under side of it,

see plate2Q. _ . Q 1 ~. 1 ,3 (.3 a . f H

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FIG.. 2, PLATEgj'éQS Lei—‘1

* Divide a 6, into six equal parts; on 4, make thearch 5, 2",”‘on e, which is 1- 1-2]
part; from 4, make the arch i, n, on a ,- with the same distanCe in your compas-'
ses, complete the arc-h, n, 1’, a. Fig. 1, is the plancer of the cornice; on plate 21,
is an Ionic cornice, w1th dentils, which may be drawn from the same scale as the

'rest of the order, and used. instead of. the modillion cornice.

L

   

     

 

  

PLATE XV. .

- '9

.To draw the Corinthian order. Divide the whole height into twenty six equal
parts , give two of them to the diameter of the column . if, on a subplinth, di-g I
Vide the whOle height into twenty eight parts: give tWo of them to the diameter of.
the column, and make the subplinth one diameter of the column in height. * if i
a pedestal 16 to be added, divide the whole height into thirty four equal parts ;- two
of which are the diameter of the columzn make the pedestal three diameters of the ,
column in height, the entablature is two diameters high; Cornice, forty eight
Wminutes , frieze, forty one , architrave, thirty one , capital, SeVenty , base, thirty
minutes , column, including base and capital, eleven diameters. ,. /‘f have given this ’
order Palladios Ionic base for the sake of variety but the Attic base may, with
propriety; be used 111 all the orders, except the 'l usc11n:if no enrichments are used
in the frieze, it may be reduced to thirty six minutes in height, the modillions are
“thirteen minutes in front, and thirty five from centre to centre. The directions
given for placing modillions in the Ionic order, are to be strictly observed in ’
this, and 111 the aComposite order.

 

 

 

 

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COMPOSIEE’E ”ORDER. ‘ - '5

  
 
 
 
 
  
   
   

To draw this order, divide its he1gl1t into seventy nine equal parts , take six of
them for the diameter Of the column. .1- If a subplmth .be required, divide it into
' eighty five parts, take six as before, for the (hamster make the Subplinth one diam- I
eter. If a pedestal be necessary, divide it into ninety. seven parts, take six for the
diameter, give the pedestal threeadlameters. "

The modilliOns are eleven and a half minutes in fiont, me asuring on the lower
facia; and thirty eight minutes from centre” to centre. Their plancer may be em-
. bellished with eight bells each, whke those Of the Dorie mutule, see a and c.--6 re-
presents a pannel sunk up into the planeer betvveen the modillions. ' '

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FIG; 3a .. 1 ‘

Shows the mouldings, which may be turned or worked out of a solid plank. ‘ 1_

F164“ ,- 7

_ Shows the volute and abacus which may be made but of a solid piece of timber . _ '
Let the grain of the wood be horizontal. They may be completely finished before 7 "
they are put together. i ' -

FIG. 2.

~ . .7 Shows the projection of the volute and abadus frolh‘i' the face' of the” column.

‘ Shows the appearance when put together.
' "l . ' ‘“ q A FIG. 5

' l , 1 Is a simple way of drawing a volute; the height IS twenty four minutes, which

' ‘ ‘ divide 1n twelve parts; No. 7, will be the centre of the eye , draw a square .in the

fl _ centre cf it of the size of one of those parts , the angles, which are No. 1, 2,3, 4.

it will be the four centres. This square, being divided into four parts both ways,

Will give four more centres. 5, 6,7, 8, /which are all that are wanted. A circle

"being described at the angles of the square, will be the size of the eye ; from 1, on

7 the eye, draw the line from A to B, then from 2, on the eye, draw the line from B to

C, and so on until 1t is completed.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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' x height of the ovolo above, 1s from the upper side of the eye, to the upper side or

the fillet of. the astragal, is equal to the height of the fillet , and the projection of thé
head 13 a semicircle; make the ovolo a quarter of a circle, WhoSe projection is .

section through the side at A B, or through the plan. at C D; the OrnamEnta1

 
 
 
 
 
 
 
 
  

“L111. 11 XVIII ’ , .

Shows the front s1de, and plan of the Roman Ionic capital The upper part of
the astragal is equal 1n thickness, and m height, to the eye of the volute, ‘ the

the fillet 1n the second revolution5 'the projection of the cincture, 'o'r hollow unde1‘ ' .

from the perpendicular line of the fillet. ’ 'l‘ he dotted line upon the volute, is at

part is drawn by hand.

 

  
  
 
  

 

PLATET‘I

How to Work the Cormth1an cap1tal The first thing to be done -1s, to get out,
four blocks, fig. 1_, tony two minutes square, and sixty one minutes long; these
"being formed 1ike fig. 2, and tacked together, will form the block; the projection
and height of all its parts may be taken froth fig. 4, and drawn on the block ,
1 after which each quarter may be wrought separate. The corners being taken 011‘
' at C, fig. 2, will give an opportunity of securing it to the bench; be much easier to
1 get a1 to relieve ltS parts; b31n less danger of breaking; and likewise save some 2'
tithe 1n cutting a hole through to fit on the neck of the column. ' The abacus {may
be got out of plank 1n fOur pieces, in form of A fig. 3, and nailed, 0r dewellc'd”
7 together., The flower, 1n the centre, must be made separate and nailed on , all the
rest of the parts may be got from fig; 6.

 

 

 

 

 

 

 

 

 

 

 

   

 

 

 

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or COLUMNS.

Columns, when Well disposed of, "are very ornamental, and in Some cases, of real:

' use ; but care ought to be taken, that they be properly placed in such situations as

they will appear to advantage; and in such numbers, and of such size, as will best
suit the building on which they are placed. '

Columns, when placed within one, or one and a half diameter of each other, may
be made smaller than if placed singly. There are but few places where they
ought to be placed nearer to each other than one half of their diameter. ._ Whenf

more than two are wanted, the largest opening ought to be left in the centré * I

if more than four are wanted place two of them about one diameter from each
other, at each angle of the portico or building on which they are placed. When
placed in front of a building, they ought to stand in front of the piers; and never

before windows or doors. When they are placed one over another, they ought

to be exactly so, and the lightest on the top, as the stontest is best calculated for

support. . W here one column 13 placed on the top of another, the diameter at the- I
base of the upper column, ought to be taken from the diameter of the neck of the»

lower one. Columns for- the support of galleries in churches, should be no larger
than IS necessary to support the weight they have to sustain, on account of their oc-
cupying too much room in the pews, and obstructing the sight of the congregation,

they, 1n that case, may be from ten to twelve, or thirteen diameters high , their
entablature, taken from a scale made on their diameter. If columns be placed over
them, for the support of the roof, they must be placed on a pedestal, which will con-

tinue around the front of the gallery, and ought to be ornamented with the base and '

cornice of the pedestal, or some other mouldings of their size, or nearly so. ' Avoid
making the cornice of the pedestal frOm five to nine inches, and placing a small 'cor-

nice, nearly the size the cornice of the pedestal ought to be, just. above ,. the lower
' Columns,‘ which awkward manner of finishing fronts of galleries is‘ very often to be

‘met with in churches and meeting houses, especially in country towns.

 

 

 

 

   
 
  
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
  

0F PJLASTERS. ,

Pilasters, are, I believe, a Roman invention. The Greeks employed antae in
their temples to receive the architraves Where they entered upon the Walls of the

’cell. These, though they were in one direction of equal diameter with the columns,

of the front, were, in flankg extravagantly thin in proportion to their height; and
neither their bases’nor capitals, bore any resemblance to thoseuof the columns they
accompanied. The Reman artists disgusted, probablv, with the meagre aspect of
these antae, and the want of accord in their bases and capitals, substituted pilasters
in their places, which, being proportioned and decorated 1n the same manner with
the columns, are certainly more seemly, and preserve the unity of the composition
much better.

They differ fiom columns in their plan only, which IS square, as that of the col-
umn .is round. Their bases, capitals, and entablatures, have the same parts, With
.all the same heights and projections, as those of columns , and they are distinguish-
ed 1n the same manner, by the names of Tuscan, Doric, Ionic, Corinthian and
Composite. Columns are certainly the most perfect. , Nevertheless there are oc-
casions, in which pilasters may be employed with great propriet 7 ; and some,
Where they are, on various accounts, even preferable to columns.

Engaged pilasters are employed in churches, galleries, halls, and other interior
decorations, to: save room; for as they seldom project beyond the solid of the
Walls, more than one quarter of their diameter, they do not occupy near so
much space, even as engaged columns. They are likewise employed 1n exterior
decorations ; sometimes alone, instead of columns, on account of their being less
expensive.

When pilasters are used alone, as principal in the composition, they should pro- L
I jeCt one quarter of their diameter beyond the walls, which gives them a 'sufiicient

boldness, and in the COrinthian and Composite orders, is likewise most regular ,
because the stems of the volutes, and the small leaves in flank of the capital, are
then out exactly through their centres.

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not project above one 1 , , . , ' when they are on

a. line vs;ish columns, their proleetion is to be regulated by that of the columns ,
and consequentlyz. it never can ,be less than a semidiameter, even when the
columns are engaged as much. as possible. This extraordinary projection, how-
ever, Will occasion no very great deformity, as the largest apparent breadth of
the pilaster will exceed the least, only in the ratio of eleven to ten, or there-
rabouts. But if- columns be detached, the angular pilaster should always be coupled
with a column, to hide its inner flank, ' because the pilasters will otherwise appear
disproportionate, when seen from the point of View proper for the Whole building, _
«especially if it be small, and the point of view near. * ,
It 15 sometimes customary to execute pilasters without any diminution ; dimin-
ished pilasters are, however, on many accounts, much. preferable. There is zmore

“variety in their form ; their capitalsnare better proportioned, both in the Whole, and

'intheir parts, particularly in the Corinthian and Composite Orders; and the irregu-

‘r-larities, occasioned by the passage of the architraves, from diminished columns, to

undiminished pilasters, are thereby avoided; as are likewise the difficulties of regu—
larly distributing the modillions and other parts of the entablature, either when the ’ '

‘ pilasters are alone, or accOmpanied With columns.

The shafts of the pilasters are sometimes adorned with flutings, in the same man-
ner as those of columns ; the plan of which may be a trifle above a semicircle, and '
they must be to the number of seven on each face, which makes them nearly of
the same size with those of the columns. 'lhe interval between them must be
either one third, or one fourth of the flute 1n breadth. I
V The capitals of Tuscan or Doric pilasters, are profiled in the same manner as
those of the respective columns ; but in the capitals of the other orders, there are
some trifling differences to be observed. In the antique Ionic capital, the extraor-
dinary projection of the ovolo makes it necessary, either to bend it inward considQ

_ erably toward the extremities, that it' may pass behind the volutes, 'or instead of

keeping the volutes flat 1n front, as they commonly are in the antique, to twist them
outward till they give room for the passage of the ovolo.

 

 

  

‘91

angular IOnic v6lutes. l‘ , ‘ " ' ' ' '
What has been said with regard to the passage of the ovolo behind the volutes ' '
in the Ionic order, is likewise to be remembered in the Composite, and' m the Co-
rinthian, the lip or edge of the vase or basket, may be bent a little inward toward
its extremities; by which means, itwill easily pass behind the vo1utes. The leaves?

in the Corinthian and Composite capitals, must not project beyond the top of the 1
shaft. The diameter \of the capital must be exactly the same as that of 1 the trip: oft}? f
the shaft ; and to make out the thickness of the small bottom leayes, their edges. , », 1'

may be bent a trifle outward ; and the large angular leaves may be directed inward:

' in their approach toward them. In each‘front of the Composite or Corinthian. pil!
aster capital, there must be two small leaves, with one entire, and two half large

ones, and wrought 1n the same manner as those of the columns are , the only dif.

ference being, that they will be Semewhat broader. ‘ ‘

The employing of half or other parts of pilasters, that meet, and as it were, pen;
etrate each other, in inward or outward angles, should, as much as possible, be
avoided, because it generally occasions several irregularities 1n thaentablatures.

 
  
 
  
  
 
 
   
  
 
 
  

 

 

 

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3 PLATE 23, g.
Are four designs for ornamental mouldings. If intended to be finished in stucco,

3 , they must first be modelled 1n clay. All the parts should be as open and free as
. possible, and proper leaves made to finish the mitres, both external and inte _. 3 _
\ 1 33:“ Care must be taken to put them up perfectly straight, and not to show any i"
3 . 7101n111gs. ’ ~ '

In order to model them, or any other moulding, good, fine tempered clay should
be provided (pipe clay IS best.) A templet must be made of wood to fit the profile
‘_ ', ”of the moulding. Then run on a board, a piece of clay moulding about a foot long-
_ 3 p y, This mOulding may then be modelled to any pattern, and a wax mould taken of it:
" " 1 g V / which will do to cast a great number of feee In modelling mouldings, they ought
4. ; f2, ' . - '- to be cut as deep as possible, to give, them a. bold appearance, and the parts not .
» -~ - ‘ , - crowded too close together. After they are 'cast they must be undercut, to relieve - .7 3 5,

"‘ them from their ground, which will give them a rich and bold appearance.

Norn. They may be a little larger than plain mouldings, and not so much
guirked, , for it willbe difficult to take them out of the moulds. _ - p . ' ;

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01‘ PEnnsT-Aizs;

‘ l’ I have judged it more regular to treat (if ’the pedestala asia' separate‘ body ; hav-
_ hug no more connection with the order, than as an attic, a basement, or any other.
part with which .it may, on some cccasions, be accompanied ,
‘Apedestal, like a: column or an entablature, 1s composed of three principal parts ;' I i i V
which are, the basey-the dye, . and the cornice. The dye lS always ofitnearly the A
same figure, being cOnstantly either'a cube, or a parallelepiped, ' but the base and
cornice are varied, and adorned with more or fewer mOuldings, according to the

- s1mp11c1ty or richness of the composmon 1n which the pedestal is employed"; hence,

 

 

pedestals are, like columns, distinguished by the names of I uscan, Doric, Ionie',
. _ . , Corinthian, ”and Composite. 2 ' ' > - , , ‘ ' I ‘ A .
1 - Some authors are vetzy averse to pedestals, and compare a column raised on a - t,
A I i A pedestal, to a man mounted on stilts, imagining that they were first introduced I V
merely through necessity, and for want of columns of a suflicient length. ‘1'. 1 . V
, With regard to the proportion which their height ought to bear, to that of the . I i"
i columns they are to support, ,it is by no .mea-ns fixed; the ancients and modems ‘ ’7
‘ 100, having in their works varied greatly in this respect and adapted their pro . . ‘3‘:
portion to the occasion, or to the respective purposes for which the pedestals were.
.1 ' intended. . A 1 p
I have given the Tuscan, two diameters, fifteen minutes; the Doric, two diam-
e‘ters, thirty minutes’fthe Ionic, two diameters, forty fixe minutes , the Corinthian ' A 1"
1'and Composite, threé’diameters each, in Height , but it is not necessary to ad-
' .i”‘here always to this ploportion , it is, however, to be observed that when pedes_ '
tals are profiled under each column, and the dye is much less than a square in
height, the pedestal has a clumsy appearance , and when a pedestal of the same
kind exceeds one third of the height of the column, it has alean, unsolid,
tottering aspect. But if they are continued Without any breaks, this need not be

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the parts of the order and become themselves too principal in the composition.
The plan of the dye is 'alWays rfiafifeqfifibflt of the plinth of the column.
It 1s sometimes customary to adorn dyes of pedestals with p10Ject1ng
With panels sunE 111, and surroUndhd With mbuIdmgs. '; The forhier of these 311%.
tices ought seldom to be admit ed, as these tablets alter the general figure of the
pedestal, and When they project 111uch, give it a heavv appearance. The lqiter
should be reserved for large pedestals only. . . - ,1 1
With regard to the applicatlon of pedestals, it must be observed that when 891.
umns are entirely detached, and at a conSIderable diStance from the Wall as When
they are employed to form porehes, or portions, they should never be placed on de-
tached pedestals , for then they may indeed be compared to men mounted on stilts,

’as they have a very Weak and tOttering appearance.
. § 7 .91,

 

' PLATE; XXV A}.

On this plate are four designs for unpost mouldings. To draw them to a given
height, divide that height into twenty, or from that to twenty three equal parts,
as 1udgmentmay dictate, one of which will be the height of the impost , divide it 1
into as many parts, as are Contained in the impost to be used; then each member, ‘
eithe!‘ m height or projeetion, is so many parts of that division, as are figured 011
the plate. _ The four designs for architraves, immediately above those for imposts,

can also be drawn by dividing their Width into as many Parts as are thereon ”com ,
ta1ned

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 
 
 
 
 
 
 
  
   
 
  
   
 
  
 
    
 
 
  
  

 

 

 

I, or ranENTS~

.1_‘

A pedinient consists of a horizontal cornice, supporting a triangular, or curvi-
lineal space, either plain or adorned, called the tympan, which is covered either

with two portions of straight, inclined: cornice, or with one curvilineal cornice,
following the direction of 1ts upper outline. ‘ ' ‘

Pediments owe their origin, most probably, to the inclined roofs of the primi-

tive huts. Among the Romans they were used only as coverings to their sacred

buildings, till Caesar obtained leave to cover his house, with a pointed. roof, after

the manner ~ of temples. In the remains of antiquity we meet with two kinds of,
‘ fithem, viz., triangular and circular. The former of these are promiscuously applied

to cover small or large bodies . but the latter being of a heavier figure, are never
employed but as coverings to doors, niches, windows, or gates, where the small'
ness of their dimensions compensates for the clumsiness of their form.

It is to be observ.,ed that the cimarecta and fillet above it, of the cornice, are

always omitted 1n théhorizontal one of a pediment '; that part of the profile being, .

directed upward to finish theinclined cornices. This difference— of direction,in-
creases the height of the cimarecta ”very considerably, and makes it far too large

' for the other parts of the entablature ; to obviate which, it will always be better,

whenever the whole object is covered with a pediment, to make the profile of the

cimarecta lowerth t‘an usual by which means it may, notwithstanding the increase '
ed

occasioned by th difference of 1ts direction, he made of a siZe suitable to the rest
of the cornice. But if the inclined cornice of the pedin‘ient be, on each side, joined
-0 the horizontal ones, the only good method of lessening the abovemcntioned deg-
formity IS, to give very little projection to the cimarecta , by which means the in.
crease in its height may be rendered very trifling. ‘

The modii 121115, mutulcs, dentils, and other ornaments, of the inclined cornicer

must always answer perpendicularly over thbse of the horizontal cornice, and their ‘

sides be always perpendicular to the horizon.

31.3) ‘

 

  

 

height must be increased and when long, it ,m be 1mm1shed for if a small '1" A
pediment be made low, the mobile; $9511.19?” ghigbis always of the same height
Whatever may be the dimension of the pediment, will leave little, or no space, for
the tympan , .cgnsequenfiy, little, or do plain mpose, BetWeen the heriz-Gutal and
inclined confines. And if a large pednne‘n't be thade high, itzwi‘fl have) too lofty-£1,
tym pan, an'ci'the ’Whole composition“Will“éippearw’ straggling, andtooiheavyifonfliai '
Which is to support it. The best proportion R)r the height, is Trom one fifth its“. ‘

~ one quarter of the base, according to the extent of the pediment; and the character .

p of the body it serves to cover. ‘ ‘ “'

The face of the tympan is always placed on a line perpendicular with theifiice of
ithe R'ieze‘ , and, When large, mayibe adorned-with sculpture, representing the arms
«or c’yphér oPthe oWner; trophies of various kinds, suited to the nature of the struc-
tum bet, When small, it is 'much better ieft plain.

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I’LATES Xxvi. and xxvu

OF CORNICS.

To proportion corniCe‘s to the eaves/of buildings, divide the whole .height into

1 thirty parts, give one part to the height of the cornice. For example, suppose a
house to be thirty five feet high, divide thirty five feet into thirty parts, and one

thirtieth will be fourteen inches, which must be divided into as many parts as are

contained 1n the height of the cornice you make use of, and those parts given to

the mouldings in height and projection, as figured on the plate. It is sometimes

' necessary to vary the above proportion. If it be required to proportion 21 cornice
to a basement story house of forty feet high, and twenty five feet front, unconnected
with any other building, I would advise to divide the height into forty parts,
which would be twelve inches for the height of the cornice. Again, if a house he
forty feet high, and from fifty to sixty feet front, or a block of buildings from seventy
five to one hundred feet front, one thirtieth may not be too large for the cornice ;
and if a house of two stories high, say twenty. five feet whole height, and from
fifty to sixty feet front, one thirtieth would be ten inches, which would not
be large enough ; in that case I would advise to make it eleven'ai 1d a half or twelve
inches” A, is a copy of the original drawing for the cave cornice of that very large
house which was lately built for Thomas Amory, Esq. in Park plzice, sixty four
'feet on Park street, one hundred and five on Beacon street; walls sixty two feet
high; cornice twenty inches high, which is about one thirty seventh‘part of the
height ; the drops, or bells, at the foot of the cornice, lie on the brick Wall, so that
the bricks in the interval between the drops are plainly seen, and ought not to be
considered as a part of the cornice. B C and D are inttnded for eave cornices

and B C. and D, on plate 27, are also intended for cave cornices. The entablature ‘
A, 1n plate 27, is intended for frontispicces, and is drawn from the same scale of; 1 .
minutes as the orders, and may be used .with some of their columns. H G F": E9 1

P . , ‘ ‘

  

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To proportlon comices
qfthe room. Ifa room zm‘fiiflt

3mg: tech-eight , \
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REMARKS ‘di‘v‘ CORNICES. ~ ' _

As cormces make a ve1;y cons1derab1e part Of architegture,‘ therezoannot {be too‘

gnuich care taken to make them appear to as much advantage as possible, and to
manage their mouldings so as to take up no more room than is su flicrent to answer

:1er 4" rvr

the purpose.
The projection of cornices, for rooms, ought to be at least one fourth more.

~ than their height , the parts should be as few as possible,_ and those well propor-
tioned ; not crowd in any moulding that cannot be seen. About half of the pro-
jections ought to be given to the plancere, which will prevent/ its looking bulky.
and give it a light appearance. Their fillets ought not to be too small, give them -
(a good projection before each moulding ; at least 'as much as they rise. ,Their'
quirks ought to be large, as the principal beauty of plain comices depends on the
shadows ()1 their quirks. When mouldings are ornamented, they may be larger
than when plain, as carving lightens them. They ought never to be too much
crowded with ornaments, but always leave a sufficiency of plain space to form a
. contrast. Three. embellishments are generally suflicient for any cornice, and one
may be in the plancere.‘ Stucco cornices admit of much greater variety than
wooden ones, but nearly the same rules apply to both. ~
Observe that the ornaments be bold, and proportioned to the height of the.
room , not to make the same mouldings serve. for a » room of twenty feet high that
was modelled for one of ten ; and that they always be such as, will appear natural and
open. ' In some cases Where the room is low, the plancere may be laid flat on the
ceiling, or even sunk level with it.- Their projection may, in some cases, be
double their height, and their height when enriched, with three ornaments, about a
thirtieth part of the height of the room. Their projection ought, in some measure
to be conformable to the size, as well as their height, to that of the room. This
will admit of no exact i’ule , therefore must, in a great measure, depend on the

judgment of the designer.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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THREIVBEEIGKHT 18m; mnflnzns.

: 1 To model friezeslfiorz stimco, 1athe firstufliiag tofibesdone, is to prLepare a ground of
inlay not? proper sizmrand about half an» mch thick, Whichsmus't be floated perfectly 7
ev'finm a stifi' board.:3! Thwdraufing: of the. frieze *may then bezlaid on it, and +the - ~ “1;; 1
It outlines traced with a tool or pencil, which will leave indented outlines 1111 the clay ' , .,
A sufficient quantity of fine clay may then be laid on all the parts which are to be
raised, with a small trowel or tool. T he artist will then exercise his 0W1); skill 1n _
‘ embossing It to a proper degree of boldness, according to the height of the room, f "
J. and the good or bad effect it may have, depends a great deal on this first emboss. 7 ' ‘ , $31
J. i This may be; performed with small spear shaped tools, made of iron, wood, or bone. ‘ " , ‘i- 1
‘ _, -‘ . ~¥Tl1e fingeiil gust do a great part in rounding, and softening its bold parts, when it . “ .3 5,
i i 95' 1s embossed, to have a proper effect. It may then be finished by smoothing 1t With ‘ is ”-‘i a» 3!
-‘ \ the fingers and Small tools, using a Small quantity of oil. When the modelling is . i ..
" finished, and a. mould taken ofi‘, it must be cast with plaster of Paris, and neatly _ . ‘-
, _ undercut and relieved 111 all the bold parts. The cornice and architrave shOuld be ‘ .
£21 finished before the frieze is put up, and sinking made in the Wall to receive the V ’ 3;
I thickness of the cast, so that when finished, the ground of the frieze should be ex-r '
, r, tactly over the line of the wall. The casts must be soaked before put up, and the ' ‘i ,
,1 7 ' , j. joinings finished so as not to be seen. Thwame process will do for any ornament
—. _y i p " ‘ _ that has a flat ground: “

 

 

 

 

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' To be used in centrepieces for ceilings, or any 0th: place required. The
. rules for modelling friezes will do here, eXcept that they must be modelled and
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Fwd {II

Is a design fora (IoorI case, intended forI inside finishmg, where the room is so
large as to require more than an architrave round the door. Divide the width of
the deor into eight equal parts , make theII architrave equal to one of theIIInI. .
Make the frieze and cornice equal to one sIevIenth or the height of the door. Make

I. the truss one twelfth of the whole height, and make the tablet one eighth of the whole 'II
_?height, in width, and make its- length one half of that of blocking course. The.

side pilasters may be in width equal to the architrave; :, ' , , -3: .. ,

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III 5~x¢r 1 --..*,:\ ' FIG 2 1

Is a front door Inith dnly two columns or p1lasters. This is intended for a Situa-g
_ tiOn that will not admit of more in width, and where there is sufficient height”.
II I. " f , 4” The entabl'ature may be of the Corinthian order, with fancy capitals of one diam-~
I 'I “ '* I , *eter in height. Make the tablet in length equal to one half of that ofthe frieze.
, _ Where thereI‘Iis sufficient room, and theIexpense not regarded I would alWays
I'I’LI; .v Q” . recommend more than two columns, as a single column on each side of a door has . '
I I but anaked annearance. I ' ’ (I y , I

  

 

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Is a de51gn, for a Yenetian entrance calculated for a brick house. ; Where a great

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d‘eéi oI' hght 1s required” The pilasters Inay be made fifteen or Sixteen diameters

high ' make the arch1trave in Width the same as tIiat (If Ihé plasters ; and the ‘sfde I" i

('7'; ,

I 1 7 hghts 1n, helght Iwo'thlrds of the he1ght of the opemng , *7. . I ‘3
' , ‘ ‘ ,1313 2._,;. 1. '

Is a. design forianfi'ont door, calculated for a low sto‘ry, that will admit. 025 no! :Iiint,'
over the door, The whole height is seventeen "diametefis ’of the comm ffihe,
blocking, course, and tablet, help to make up the deficiency of. the fanlight. It will i
be §eeIi thaI the columns and pilasters (if Ihis door are very. slender, which ought gen-‘

'.4: ~',:v‘~

erally to be the case Ivhen placed veI'y near each other.

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Contams two. des1gns for trusses; four for .e'y ones ; with 'a profile plan, and,

ficntfof a mOdill-ion. "Ialtawould-beuabsurd: to“ c6n'fii1e4‘5‘the student to any? particular: j
propertions for trusses, as their situation must, in a great measure, determine their
size and dimensious. We frequently see them, and with propriety too, of every"
size and dimension. I would, however, =rec0mmend [them to be made with: less "
iii-projection ithan'is comm-only: practised? Keystou'es' are less” "used now than they
rifl'were formerly. - 'The ancients used" them inalmosti' every door 0r Window. - ~This j
‘ might be oing to excess, but they are very useful, as well as handsome, in some
Situatlons , serving to Wedge- and strengthen the arch, as well as to give its centre
. a bold and conspicuous appearance. 5-If :Omamented, they ought to be bold and

striking, and emblematical of the building. Mask or heads are proper ornaments
{orifhem if well executed. . a . -

 

     
  
 
 
 
 
 
 
 
 
 
   
 
 
 
    

SEVEN DESIG8S FOR BANISTERS AND FIVE DESIGNS FOR URNS.

V- iii 4 '.‘|.

To proportion banisters, the highest must be first found, ithen divide it into ssiit - Q , 1
parts, one of which will be the diameter , .the plinth is one half the diameter, the J , " », \2:
. abacus one third. In whatever form they are made, let them be slender at ten, ‘i
and stout at bottom. . . . " ,
Banisters, when used for balustrades, may be considered as a pedestal to an if
‘ order, and the proportion may be the same. When a balustrade lS placed over an ‘1
, order, It's height must be the same as an entablature it stands on , there In situa-
' 5s . .tionthatrequires them to .be lower, but it is often necessary tomake. h . igher’.
T he,plinthl of the balu‘str‘ade must be placed exactly on the _-line‘of the wall; if 7011
the top of a house, or if on an entablature,-.i_t ‘mustbeperpendicula-r over Iheftieze,

o

' ' We. frequently see balustrades project out as far as the nose of the cornice, =but;.this
is a very bad and unnatural practice, for should another order be put on such 5' bal-
ustrade, it would break down the cornice. 7 g '

Urns admit of a great variety of forms, and when well executed, will be veiy or-l
namental in-their proper places, but they ought not to be used in every situatlon;

The ancients used them to depr slt the ashes and bones of' the dead, and for sacred

uses only ‘;‘ and wliie the mind is impressed with these ideas, it cannot .be pieasiug

to see them in every situation. Their use ought to be principally Confined , to y "

menuments, wall pieces, churches, mausoleums, mourning pieces, 810. Ste.

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L. ,3 -‘ - . " EXAMPLES Eon AficHIIEAYEs, EASE. AND suEEA’sEs
TO proportion base and surbase [mouldings to the pedestal part of rooms, divide
from the floor to the top of the 511er into ten parts, give one to the height
‘ of the surbase. Suppose the height from the floor 'to the top of the rsurbase to be
five feet eight inches, one tenth would be three inches and one fifth of an inch:
' which divide into as many parts :as are contained in the height of thesurbase you
. .. make use of, and those parts given to the mouldingsinheight and projection,as ,
E . " A I figured on the plate. The same scale, or parts, will draw the base mouldings in
' i I ' P preportion to ’the surbase; let the plinth be from fivecto six inches wide. '
To proportion architraves to doors and windows, diVide the door into eight
7 _ parts, give one to the width of the architrave. If a door is three feet six inches . \
; . - Wide, one eighth would be five and a quarter inches. Divide five and a quarter " ' A,
mches, into as many parts “as are contained 1n the architrave you make use of, and
those parts given 'to the moulding as figured on the plate., It is ivery often necessw _. .
rytovary-fhis proportion, and oftener for inside of windows than for doors; For

 

example if a door is three feet six inches wide, the opening between the archi.

traves to the windows of the same room, would probably be as :much as four feet

‘ four inches , one eigth of which would be sixand a half inches, which would be
very improper, as you would have two widths of 'architraves in the/same room. I
‘ therefore "should advise to make the architrave to the window five anda quarter‘
inches. Again, if a door should be six feet 'wide, one eighth of it would be nine

‘1» ~17 3, V, ,- inches, which wouldbe too large, and‘may be reduced to six anda half, or» seven
' .‘ » . , z ' x , . ' . . . , u o o o

3 , ,’ 5:761“: rt-l-f‘_:;_&1nches. Some Judgment should be eXerc1sed respecting the Situation 1n whlch

; L I ” ~r architraves are to be used. ~l~f~they are on external parts of buildings, and atra con.

siderable distance from the eye, it Will be proper to make them larger than if used.
on internal finishing, and near to the (:3 e.

i

 

 

    

   

:Are six designs for ornamentaljstuceo ceilings, iwithsome" of their parts enlarged-

It~ was not my intention when I first began this work, tolay down any rules fOr
vorn'amcntal stucco work, but merely to give a few examples by drawings ; but as
it'ha’s-never before been attempted, to my knowledge, and my principal aim being
to explain those parts of architecture which have been overlooked by others, and
Willing to give the student every information in my power, although it is the most

‘ , difficult branch in architecture to learn, and still more so to instruct ; ,yet Ihope .

the following hints will be of some use to those who are young in the business
and beino injury to those who are well acquainted with the art of Stucco working;
When a ceiling or walls ofLa roOm are, to be ornamented, the first: thing to be done
‘ after the size, height, and form-are known, is to draw a design ; after which, all
, the parts are to be drawn at large; When this is done, and the plastering finish-
ed, which‘should be floated perfectly even, there . are. two ways of executing it on
stucco work, the first is by what is called laying it on by hand, which is modelling
it on the ceiling with stuccofi’e with small iron 'or wooden tools. This kind, if

executed in .a masterly style, is _to be preferred; but where workmen cannot be.

got to 'eX‘chte it, or its expense is too great, the parts may then be modelled
in clay, and moulds taken from them, and the ornaments cast with plaster of
'Paris. 'lhough this is not the best method, it is much less expensive, and
requires less skill to perform it; and if well managed will have a very good
effect. In ornamenting ceilings, the figure should be of a proper boldness and
strength of. shadow to the height of the room, and be significant of its use.
'1 hey ought to be , such as Will appear ornamental, or they had better be left out;
and those parts which were ‘cast With grounds be sunk level with the line of the

* The stucco is made of lime putty, mixed with pulverised marble, or raw plaster of paris,with

csometimes a littlewhite sand and a little white hair,*to prevent it from cracking. a The mixture.
is then pm: on a dry brick wall for twenty four hours, after which it is taken off and well beaten)

:and put on again. This is repeated for four or five days, when it will be fit for use. This prep-
elation makes it tough, and prevents it from cracking.

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room is very high, there ~maybetbold~andvvell placed strbkes, without regard to a\
great deal of delicacy. The principal Object is to Show a sufficient quantity of
shadow, to give if a rich and bold appearance, without having the parts too large
and heavy. A ceiling may sometimes be panelled to advantage, but ought not to
be laid out in too many geometrical figures. Regard ought to be paid to the
use of a room, as it is as easy to introduce emblematical subjects as those void of
meaning. \An ornament, however well eXecuted, is not fit to be put in every'room.

Those that would be exceedingly well adapted to a dancing room, for instance,‘
would be ridiculous if put in a church or a courthouse ;‘ or those modelled for a
drawingroom or a bedroom, would not be fit for a diningroom or a hall. ,

In ornamenting a dining room, there may be introduced grapevines, wheat, bar-
ley, or fruit of any kind ; cups, vases, &c. or. any thing that denotes eating or drink—
ing ; but care must be taken to group them in some graceful form- . \ I

In a drawing reom, foliage, wreaths, festoons, or baskets of flowers, With myrtles, “,7
jasmines, convolvalus, roses, &c. displayed with taste, and ina lively manner. Ev-

1“)

ery subject that is introduced, ought to approach as near to nature as art will admit . a
- of. A hall, saloon, or staircase, ought to exhibit something of more solidity and i
strength. Therefore trophies of difi'erent kinds may be introduced, and, not so l ‘ f“?
highly ornamented as the rest of the house. I would not recommend the last
mentioned apaltments to be finished higher than the Doric order, if regard is paid ‘
to any. It is to be remembered that objects are not to be dispersed about a room'
without ordsr, but should be grouped into trbphies, with a great deal of judgment, < 5
and care taken to give them as easy and natural an appearafieeas possible, and. intro-.
duce nething that will look stifl' or mechanical. To imitate nature requires‘a great
deal of ort. A trophy of love may be composed of cuPid’s bow and quiver, hymen’ s
torCh, do}: es or a wreath of roses, inyi'tles or jasmines, 8:0. 8w. A trophy of

   
 

music ;
branch, 81c? tro of war , drums, fifes, trumpets,swords, battleaxes, fascine, _ , 1-,

flutes, hautboy s, music book, French born, with laurel “ x

Colours, palm branches, &c. or any warlike implement. A trophy of peace; 3

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ornamental. "21-1? should be°take_ V wever, not to'overload them With ornaments,
‘21.?(‘5‘3’3f‘ 7113’“? '1’“ 4‘»: 4317;31’

~ ‘ oazbfllFK aro exposod and 1a “to bo broken. The proporhon of chimneypreces If '
I ' am Obliged to leave to} thé Judgnient' ot l't'lie'2 workmen fbr', Hi my opmloh ho éiriic‘t

‘ “f; ‘31]? ‘19; i"~-!5':"'i .~ I" .11-
c 1r1;1§ can be laidi down. that will answer for eyery mom. A room, hoWeveri 21122111, '

‘ A21

most hav; a fire place large eoough to be (uso‘i'ulwgrfid bhoulfl the same-bro’poft‘idfi be
u§ed in a room twenty feet hlgh, and large 1n proPortlon, it would be bi) large};

. got {to lookawell, +and be too high in the coining for the smoke to ascend Withbtit-
, X , ‘ spreading into the room. It Will be found by Count Rumford’s experiments,
' thot the nearer :the throat of the chimney 15 to the fire the bettbr draft The small-
test. opening should never be less than two ”ft-Seldiinie mches in helght, and the»
2‘ \ _ largest ought not to be higher than three feet two inches, but two feet eleven) \ '
' : g E inches will be found to be a useful height for common rooms, and the width;

may be about four feet.

 
 

  
 

 

 

 

 

   

      
  
  
     

 

      

A 1s a des1gn mtended for an guide doc 21 .. . ' Lo repfitto'ri the fmezie panel, divide
'1ts1W1dth into four parts , 3ive three of them to the he1ght of the panel AIl fite
. othfi parts are figured 111 feet and inches on the plate. ' ' '

‘ [Into five parts ' give four Of them to its heIght. Ogtmde doors ought to be two

1 the last mentloned thlekness, they ought not in any case he less than One aitd One
, half inch 111 th1ckness.‘ N i ' " '
‘9'- - C D E and F, are deSIgns I‘Or sashes ; and are intended to be placed over either

. 1ns1de 01' outside doors. Their small bars may be made of either wood, item, or
, gaginvter. .1 . , ‘ -1\» ~ A}‘1;‘- ‘ I ' f 191;; ‘

1;,‘.,1 } '._. . . , .. . .1; g'

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B 1s a design intended for an outmde door, divide the width Of t e frieze panel‘

1inches thick, and never less than One and three qnarters. Inside deers Ought to Be

 
 
 
 
 
 
 
 
 
  
   

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

     

     

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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LATF. XXXIX. '

0F WINDOWS, &c.

a

 

FIG. 1.

Shows the manner of setting a sash, frame stone cap, and sill, into a brick wall.
' To findthe size of the keystone and bevel of the ends of the .cap, divide the lower
' edge 0f the cap into three parts}, and the middle third into six parts ; give two to
the centre part of the keystone, and one to eachof’its Wings, Withthe distance 1 2;
make the dotted Circular lines 1 and 2; intersect, Which is the centre for drawing
the edges of the keystone. Take one half of the line 3 a and set it to b,- draW
the line 3 b, Which completes the bevel of the cap

A Face of stone sill. ‘

B Bead round sash frame, from one inch to one and a half inches 1n diameter.

FIG. 2.

. Is a section of fig. 1, taken from the top of the stOne cap to the floor of the
‘ house. ,

E Section of stone cap. ‘

F ' section of cap to sash frame.

G Face of pulley stile.

H Section of sill to-sash frame.

I SectiOn of_ stone Sill.

K Elbow:

L L Shutters.

M Section of lintel over Windows.
,N Section of plank furring on hrick wall.

0 Section of plastering. 7 , r
P P P Section ofbrigk work. > , ‘ ‘

 

 

 

 

 

 

   
  
 
 
 
  
 
 
 
  
   
   
  
 

, .9 Section of cap‘ to 'saSh frantic... V
., 3 1 Q Q , i 1' Section of soflit. " , . _ ; _ . ,1
i I I: Insidebead. -' T " ' 1 .1 "
'g’ Parting bead. . ‘ - ' I ‘ I, , I .‘
’ 4 * , a Outside lining. _ ‘ , . — . ‘ '

 

 

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* r o _ Section of sill to sash frames, &c. ' V
‘ “ ' H 11 Inside bead. ' ~ -” ,'
g Parting bead , the shaded part between I; and g is a section of the bot- ' :9
tom rail of the sash: . . j“ _ _ g t 7
‘ (1 Outside lining. _ ‘ ' ' i
S :1 Section of sill to sash frame. .
. 1) Section of back under Window. ' ,
' I ' a Section of bead, tongued into sill of sash frame.
Section of the meeting rails of the top and bottom sash, with the side elevations-
of. the upright bars. G E and F are plans fOr upright bars. ‘ _
' ~ FIG.4. -. » ,

Is a section of a sash frame shutters, back lining, rough furrings, plastering
grounds, and architrave.
; a“ a Section of outside casing.

 
 

-‘ b S’ection'ol‘ puiley stile.

 
 

~ . ‘ é Section of inside lizing. 9 -
A (1 Seed in of back lining, next to bricks.
' (9 "Se ction of parting strip.

 
 
    

     
   
  
    
     

7c ancl l Secuon of shutters.

m Section of back lining Of the bdxmg, tongued mto the ground _ . g 5 1
, ‘n and 1ns1de l1n1ng c. - . , ,1 g . . _ . '
.0 Section of architrave. ' .1 g ~ 21' '

p Section of plank farting,"
9 Section of plastering.

_ A B l and H mouldings at large for shutters. C and D’ moufdmgs at large ' L, i ‘
for doors. ‘ . A 3 ‘ “

* This hinge that hangs the shutter k to the i11s1de lining a, ought to have the: half of its tlnck— _,' 7 1
’ , F. nfss let into the inside 11111115 0, which, by mistake, is not sepresentecl on the 15Tafe.

.-,1 , ,1 ,

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Isa- plan tbrmteefi m 5.32:6? hid? mm em‘emor. angles afie. smug”
on A to be the height or pitch eff 1119:061an Ila findzhhe length (if the hip tafter; draw.
the base line of the hip from the angle, 5 toil, imthenoemre'of the: beam , that set“
up the height of the pitch to 9, and at right angles, from 8, 5, and draw the line 9, 5,

whigh' 1s thelengthroftheuhipg lToJind-‘the backingpf hips» drew the lihe 3th

'i at, right angles fmm the baseline .05 the hi9; placeronejbot of the Icempasfees at i,

’ extend themherteb, and turn it mad tog draw the Lines g e and g}; Whieh gives
the baglemg of the hip. This method Will give: thehaehihg of any hip,, athlete, 0r
bevel _ I .5 '

f':'*“ ‘--;..‘~-‘Fm2ms.,

Are examples for prineipal rafters; Ste. fornoufs ;. filatofifiwg 2, isttElli put methn

“ : er, Will be suffimnthtsfmngj if the bearing should theextended to eighty feet, fig ‘
i .73, must have two columns Ufor-the supperts oieaeh pair of principal rafters. .

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Shows a form in which a roof- may be framed; 1‘?wli"ere you w1sh a dome to rise
above the level of the plates. I have made use of this example,- where it had seven.

ty; feet bearing, without the least settlement. *-

FIG. 2. ' ' A 7 I X

Shows how to find the length Width, and curve of a soflit, to fit a-circnlar headed
window, standing 1n a circular wall , divide the arch from c to‘ 12 its base,_into any
number of .parts, as here into 12'; draw line'sthrough it, and” continue them ' across

\the wall B, on which the window is to stand, 1 inake e, c, in D, = equal ' in'len-g‘tli :‘to 1

the stretch of the arch A, from c vto 12, divide e c, in 19,? into the same number of

‘ parts as the line 12 c in A 1s divided into , transfer 0 2, 3 4, 5 6, 7 8, 9 10,1’1 12,
' 810. 1n B to D , and from B to D, transfera 2, c 4, c 6, g 8,10, and’ #112, the thick-

mess of. the Wall, and through their points trace the edges of the 50th
1 ' , ' F-IG 3 - -
Shows how to find the different curves for the edges of boards to cover a dome
Fig. 3, the dome ; divide it into as many parts as; you have boards ; g,- (1, c, d, are
plans of feur boards, with their edges in the right form to bend round the dome ;

through 1 and 2, also 2 and 4, draw right lines, until they” meet at a,‘ which is

the centre for drawing the edges of the first course of boards, g,- proceed in the

same manner to find the centres for drawing the edges of (1, c, and d,whic11 are at.
c, o and e.

39 This design has been freqently used since the publication of the second edition of this nook -

where it had from seventy to seventy eight feet bearing, and has answered my expectation in"
every instance

 
  
  
   
 
 
 
 
 
 
 
 
 
 
 
 
  
    

 

 

 

 

 

 

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Shows the manner of placing newels.. They always ought to be placed so as to
cause the extreme part Of the nosing cf the step to be flush with them, as they

 

are represented by the dotted lines on the plate..-
‘ $ . , FIG 2

p A Is a newel for a plain staircase. 1) Side view of hand rail, B and B Sections -

of steps. C and C Section of risers.

 

. FIG13“. _ 4.
,7 Shows the manner (51' framing carriages to circular stairs. a.- c a": 6' are the ends
, 0of the plank riser. D is a side view of a plank riser. The shaded parts are the
” V ' ' mortaises to receive the tenons of Ir, &c, n n n n n n n n n are sections of open

 

_ plank partitiOn.
a. p , ’ FIG; 41, ' ,
.‘ .. y' ‘ Is an elevation of fig. 3,. with the-circular part“ stretched out. a: c d e and 6' are)
k ' I . i the end views of. the-plank risers, and fg hi k, side views‘offg II file. In fig. 3,

1:. ' , the dottedlinesshow both mortaises and tenons toaf c g d 11 e z' b and Ir. [m are
V the sections. of. astringboard made of plank, ,of‘ which lm in fig, 4 is a side View.

   

 

 

 

 

 

 

 

 

 

PLATE'XLI‘V -- ' ' ~
nhsokrpvnoiv or sums,
HOW T07 DRAW THE scROLL or A HAND'fiAiL To an NUMBER or REVOLUTIONS.

, FIG. A.

Drawa circle from the centre g, G 15 14, L K J 1 H, about three and a half
inches in diameter, and divide the circumference into eight parts ; at the points G '
15 14, L K J and H through all those points, and from the centre 3/, draw lines 0,
4, 1, 5, 2, 6, 3, 7. Suppose that y o is the distance you intend the centre of the
scroll to be from the beginning of the twist ; from a draw ,0 perpendicular to o G on
o, with the distance 0 G, make the quarter ‘of a circle ,1) G.‘ ' Now suppose 'it were
required to mate two re‘votunous 111 this scroll; and, since every revolution cont-ah
eight parts, ‘t‘het’e Wil 1,1 of'cou‘is'e, be sixteen in two revolutions; therefore divide the '
quarter circle ,2) G into Sixteen equal parts, ”and 'dr'aW’Tines from each of those sixteen
divisions, parallel with 0 p cutting a G’ at 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, II, 12, .13, 1-4
and 15 ; at y place one foot of the compasses, and extend the other to 1 on G 0 ;
1 make a point with the feet," which falls om, zit-1 “on the outside “of the rail; stil1
keep one foot at 3;, 11’11d‘take the distances 3/ 2', y 3,? £1, 3/5, 1/6, 97, y '8, 3,19, 5211:.
and‘prick them down at 2. 3, 4, ,5, 6, 7, 8,9, 8‘36. ’on the outside of’the “rail." “To
draw the-curve draw the linen a parallel to o 3/, which is the beginning-ofth‘e 'twiiSt;
and about tn 0 inches from the line 0 3/, take the distance 0 y in vour compasses, and
place one foot at 1, on the outside edge of the rail, and intersect the line a a at a,
which' is the centre for drawmg the curve a 1. Take the distance 1 y in the com-
passes ; place one Foot at 2, and intersect the line 1 a at b; which is the centre for
drawing the curve 1, 2 Take the distance 2 y, and from 3, intersect the line 1 a at
c, which IS the centre for (11 awmo' the curve 2, 3. Take the distance 3 y, and from
4, intersect the line 2 6 at d, which is the centre for drawing the curve 3, 4. Take
the distance 4 y, and from 5, intersect the line 3 0, Which' Is the. centre for drawing

C

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To DRAW T1111 FACE MWLD.

.- ~~~> FIG, B

Make h f parallel to 2 6 on fig. A and make f g equal to one riser; and draw
lines from g [1, cutting the lines h f and 2 6 1111 fig. A at right angles, to the Out-
side scroll z j I: l m n, 810. then continue those lines at right angles from h.g,.zis _
. , far as the Whole breadth of the face mould; make the line 2 6, on B parallel to 12 g , -_ '
1 then transfer the distances from the line 2 6 ‘on A, to the line 2 6, on B, i 2', jj, ii '
k 71,11,171 m, n n, &c. and from those points, trace the Curve line Of the scroll, A
which completes the face mould. '

 
 
 
 
 
  
 
 
 
 
 
 
 
 
 
  
    

‘

 

 

TO DRAW THE FALLING MOULD.

Make the pitch board C; make e 11 equal to the tread of one step, and d 6 equal ‘
J , ’ i i to one riser; divide d 6 1n six parts, and draw the line 1 a f 3, and make 1 11 613311111 7
if ' . to the distanCe from the face of the second riser to the begining of the twist; make,
V: I a 3 equal to the distance from a, on A, where the twist begins, to 3, where the rail
wbe1omes horizontal; divide f 7 on C, into Seven parts, also f 3 into seven parts, - V
. and, by intersecting the lines 3 f 7, the curve of the top rail is given.

 

3 TO DRAW THE INSIDE FALLING MOULD. . , i, . ' ’

The inside falling mould, D, is drawn in the same manner ’as the outside falling .,
mould, (3, excepting its being shorter, which is occasioned by a difi'erEnce of length
between the inside and outside of the twist part of the rail. I ‘

In practice, the above mould should be drawn on and cut out of pasteboard, which
will bend round the rail. E ' _

E 'is a design for nosing t1? steps, full size for practice.

 

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HOW TO FIND THE BAKING, OR FACE MOULD

Place your pitch board, a 6 c, in fig. D; then draW ordinates across the scroll,
' at discretion, and take the length of the line (I 6, with its divisions, on the longest

side of the pitchboard, and lay it on d 6 in E; ‘ then the ordinates being drawn in '

E, it will be traced from fig. D, as the letters direct.
HOW.T_O FIND THE PARALLEL THICKNESS OF STUFF.

Let a 6 c; be the pitchboard, in F, and let the level of the scroll rise onesixt‘h, as

in the last plate; and from the end of the pitchboard at 6, set from 6 to d, half the «

;thickness of the baluster, to the inside; then set from d to e, half the W1dth of the
frail," and draw the form of the tail on the end at e, the front 6, being where the front
riser c0mes , then the point (3 will be the projection of the rail before it; then draw
a dotted km to touch the nose of the scroll, parallel with c 6, the longeSt side of the

pitchboard; then will the distance between this dotted line and the under tip of the ‘

scroll, show the true thickness of stuff, which 13 nearly five inches and a half; but
there 15110 occasion for the thickness to come quite to the under side , if 1t come to
the under side of the hollow, it will be quite Sufficient, as a little bit glued under
the hollow, could not be discernible, and can be no hurt to the scroll; therefore, a
piece about four inches and a half will do. ‘ a i ‘

\

FIG; A. V 1

‘ Is a scroll ofa smaller size, den in the same manner, and with the same cen-

tres as the others are, but With a centre less. The method of finding the making ‘6

mould, and thickness of stuff, is the Same asfig. D

 

 
  

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,1 - . Let fig. 1 be the plan of a ”rail, 6 ad, and 6 c d the two sides fer the circular part;

i ' a b, and d _e, the breadths of two common steps, at the beginning and end of the
winders , make'the Whole stretchout of the straight line, A B C D E, fig. 2,
equahto a b 0 die, round the outside, going upward, fig. 1 ; that is _make‘ A
B,\in?7fig«2,' equal- to {a 6, fig. ‘1 ; the last common step in the ascent before

\ the winders 1; BC D, in fig. 2,. equal to the circumference of the semiCircular
part, bed, [113.], and D E, in fig. 2,. equal to d e ; on the outside, fig. 1, the ,
first common step immediately after ascending'the Winders, draw the lines B F, ' .»
D G, and E H, perpendicular to A E; make. B F, equ'al'to. the height of one
step ; _make D G, one step higher than the number of, winders that is'inthe-
example ; suppose the circular part to contain eight winders, then D G, will be etiualip ,.
to the height of nine steps ; make E H equal to. the height often steps ; then join 1-, A '—
AF, F G, and’G H, and describe the parabolical parts A “I, and K H, and the under
edge of the falling mOuld will be completed, the upper edge will be formed by draw.
ing a line parallel to it, equal to the thickness of the raft. Bisect the stretchont of
the circular part B D, at C; from C, draw C M, perpendicular to A E, cutting 7
both edges of the falling mould at L and M; bisect L M, at N, and through N,

.I draw 0 P at right angles to the falling mould ; cutting it at O and P through the

I pomts, O and P, draw 0 Q, and P R, each perpendicular to A E, cutting A E. at _ _ ,

5,» d R; let ST be the Joint on the straight part; then from the point S and T, ‘ 7; N

draw, VSVU and T V, perpendicular to A E, cutting it at U and V, then take the dis» i '

tances C R and C Q, 111 fig. 2, and appl)r them in the middle Of the circular part,

fig. 1, from c to r, and from c to q, and draw to the centre 7' Z, and 9 Z, cutting the - I g

inside of the rail at r and q , also take the distances B V, and B U, fig 2, and apply '

them from b to v, and from b to u, fig. 1 , then draw '0 v and u u at right angles to.

 

 

 

 

   

 

 

 

  

, . 1 , ,g s- are shown at the
shadowed parts, and draw the chord line, .310, to touch theSe ”sections without cut-
ting them; then take any number of mtermedlate pomts, aS 5, 6, 7, 8, in the chOrd
u r, and draw the lines .5 5, 6 6, 7 7, 8 8, perpendicular to u 1', cutting the chord of
the face..mould, a e,,at the pointsa5, 6, 17,-»‘8; continue the lines u s and rp, till they
.cut the chord line of the ;face mould, M, at '0 and 9; through all the points, .9 '0, 5,
6, .-7,.8,-i0, '10, 9,.draw lines perpendicular to the chord of the face mould, s a, for

" ordinates, points beingfound in'each of them corresponding to these ;’ on the plan ,

and lines being traced through these points, the face mould X, will be completed 1n
the usual manner. .

N. B. The small iletters on thesections Of-~ the‘face mould, and similar capitat

letters-on the :fallingmould, show corresponding places in each.

How arm KCUT THE JOINTS.

'The‘ stuflimust first beg-cutout by the face mould, and the joints made exactly
'rplllml), according to the face mould, as is shown by fig. ‘ 3 and 4. ' f

To make this appear plain, of fig. 3 and 4, are difl‘erent views of the solid rail,
got out by the face mould X. Fig. 3, shows the topa 11d convex side of the piece,
which Is to maLe the rail; take the distance 9 p, from the chord' line of the face
mould, down the perpendicular fig 1, and set it from 9 to p, in fig. 3 , then apply
the shadowed part of the falling mould at fig. 2, which Is to correspond to the
.biock of the rail, fi0‘.3 ; that 15 apply the point S, the upper edge of the loWer end
of the falling mould at fig. 2, to the point 3 at fig. 3, and bend the falling mould
round until the pgint P, the lower edge of the upper end of the falling mould, co-
incide with the point}; draw a line all round by the falling mould” , it will show
how to cut off the ends of the rail, and will also give the upper and lower edge of
the rail Fig. 4, shows the concave side of the piece, in order to show the ends,

having similar lette1s of reference as before. From .9 in fig. 4, draw .93, tit 2right 6

'8)
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1’ Which afi’pfy the _ § . 1 s ’ 1n fig: 4 ar‘1d the
upfier edge bf’ the loWer é‘hd”df' the’”fall"’g*’m‘6uld ”’tb {He paint s, and drawvlmes
abdve and béloW‘be :the 11170 edges of thé faliing 111611111 :111d it Will glve't'he 1111111 ’

     

 

 

of the upper and‘ under ”edges bf the rail By "this method of proceedihg, the Work-
men will be enabled to "15111 the 'stufi' of a hand rail With very great accuracy ’ 1
' ’ “W7.” ‘ ' ’
1.
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Let fig A be the plan of rail through the centre of C,. draw the diameter .2 z:
\ and produce it to A; also produce the side of the rail out to. 2, then take the di- 7
.4 6 ameter z .2, put the foot of the compasses in y, and cross. the line A z at A,
‘ ' I, through A and y draw the line A 2, cutting the side of the rail produced at 2,
‘ \ then the)d1stance from z to 2, is half the arch line of the rail; take the distance 2 2
, 1 and place it on the right line '0 v at G, on each side of w to v and v,- draw U B, and .
.‘ \ ‘ v C, each perpendicular to the right line I) v, and equal to the height of a step ,
i draw the hypothenuse v C, and the common pitchboards, v B D, and C E F, at
each end; make '0 H equal to v D, and c G equal to c. F; and ease off the angles,
G C F, and D 11 H, by the common method of intersecting lines, which will give
the curve of the under edge of the falling mould; draw a line parallel to it equal
to the thickness of the rail, will give the upper edge , produce the line I: v, ut to y,
y from the middle 10, of the line v v at G, make at y equal to w y, at 1' 1e plan .-D
A, 9 being the place of the joint upon the plan, draw the line 9 2 1 ,perpendicular to v v, .
4 ’ cutting the upper side of the falling mould at 2, and the under side at 1; from 1,
draw the 11ne l 6, parallel to vv, cutting the We 8 w, produced at 6; draw the tan- 7

p ' gent 11111: M L, parallel to the chord a 6, draw any number of indefinite perpendic-
1 '- ulars, observmg to draw a perpendicular through every joint, as from the joint 11 g‘ ..
L I «and 6 y;1;he11 take the distance 1 2 from your falling mould at G and set it from
\ p M to 0., of the plan at B; also from L make L N 0, equal to 6 7 8 at G , then the

u shaded parts at N o, and M 0, are sections of the rail , then draw a line 0 6, to touch 2

i the corners of the section at o and 6,- at the points a, a, d, e,f g, 6, 6-, and p, draw

peipendlculars to o 6; then 0, being pricked from the plan at B, as the 10111315
(1111361 will be the true face mould.

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.‘TO “Mm .nLLmG noun or; 3.111;, :11va 1111111111111" mcn IN '11 : mime To Finn ;

7 . , g 1 . . m not momma or THE CIRCULAR mar.
At the plan fig. A, a c is the stretchout of half the circular part of the rail,- found
« ,‘thus, ' divide the radius into four equal parts, and set three of the divisions out to
3, and draw a line from 3 to 6, cutting the side of the rail produced at a; 9* from the
point]; in the right line 12 g at B, made f I: and f g, each equal to the stretchout of ‘
half the rail, that is, equal‘to a c, fig. A ; draw the perpendiculars lz o,fl, and g t, at
B ; apply the pitchboard of a common step at F; through the point t draw t Ir, *
parallel to g h, cutting the line f 1 at It ,- from k to I set up the height of the wind-
ers; through I draw] n, parallel to glz, cutting the line /1 cat 72 ; from 72 make 72 a,
r, equal to the height of a step, for the quarter space upon a landing which i only rises
. one step , draw the hy pothenuse l o ; again, draw 0 p parallel to g 12, and p g,- per.
- g ‘ pendicular to 0 p draw 9 o , then 0 p q is the pitchboard Of another common step
‘ above the winders ; then these angles being eased ofl' by the method of intersecting ,
lines, the falling mould will be completed; maLe f u, and fv, from f equal to a 1!,
'fig. A, that IS the stretchout from the middle of the arch at I), to the joint , draw
‘ -_ v x and u z parallel to f I; then take the heights from 1 to y and z, and set themv
from A to B, and c will give the section, B C , then take 112 I from the falling mould,
and from I), make D E equal to it, will give the section D E; then take w x from
' B, and make F, G at E equal to it; from u draw w r, parallel to g lz,cutt1ngfm at '
A ;fr0m r take the heights from m and l, and set (1p these heights from from H to

1, rand K at F, it will give the section I K; then the face moulds up D and E will
be traced as before directed.

3‘ The line a c is nearly equal to the semicircumferenco, _'and 1s the most exact of any that has
1.“ ever been shown by a geometrical method , it may be depended on in practice.

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AMERIQAN BUILDER’S GOMP'ANION. as

PLATE XLXIX.

THE TREAD OF A WINDING STAIR BEING GIVEN, ROUND THE MIDDLE AND THE- PLAN OF THE}
RAIL. TO DIMINISH THE ENDS OF STEPS AT THE RAIL, SO THAT THE BALUSTERS SHALL BE,

REGULAR (JR OF EQUAL HEIGHT WHEN FINISHED.

Let the first Winder begin about the first step before the circle of the rail at D ;
from a to e, in the plan, fig. A, is the stretchout of half the circular part of the rail ;
the method of finding has already been explained in the foregoing plates , from c
draw 6 H perpendicular to the side of the rail ; by reckoning round the dotted line
from 5 to 10, you will find there are five treads, or five winders ; therefore from g to
5, set up the height of five steps ; produce the longest side, a b, of the pitchboard
D, to c ; bisect 6 c, at 2 ; draw a line from 2 to 5 ; then divide 2 I) and 2 5, each in-
to the same number of equal parts, and intersect the angle by the common method
of intersecting lines, will give the under edge of the falling mould ; then a line
draw parallel to it, the thickness of the rail, will give the upper edge, which is the-
falling mould for half the rail ; draw the lines 1 l, 2 Ir. 3 i, and 4 l2, parallel to 6 g,
to intersect the falling mould, at the points 12, i, k, l ; from these points draw the
parallel dotted lines to g H, down to the rail at s t v u ; from c draw 0 s, c t, c v, and
a u, cutting the arch line of the rail, m, n, 0, [2, will give the ends of the steps at the
rail ; then draw lines from m, 71, 0,1), through 6, 7, 8, 9, will be the plan of the

steps.
TO FIND THE FACE MOULD OF A RAIL, SO'THAT IT MAY BE GOT OUT OF THE LEAST THICKNESS

OF STUFF POSSIBLE.

Lay down the plan of the rail at any convenient place, as No. 3 ; draw the chords
of rail, N o, and 0 P, from the centre K, draw K E, perpendicular to the chord N
0, cutting the outside of the rail at C ; in the same manner draw the chord w a, at
the plan, fig. A ; from E‘he centre g, draw g j; perpendicular to it, cutting the out.

 

 

   

at No. 3, from A eqMI to A a

mould to touch the shaded sections, perpendicularto N Q and A F; from E (III:
.E M perpendicular to B R; Inake 0 5L at N92 ,equal to G I, at No. 3; make z' e

' perpendicular to c 1', equal to E L at No. 3; make L M equal to c e at No. 2; from I
E draw E T, parallel to A F, cutting chord, line B R at T; from the points T and

M, draw the line T M, then T M will be one of the ordinates ; all the other ordi-

nates are drawn at discretion parallel to it. ,

The reader will take notice, that before theface mould at N o. 3' can 1 be applied,

the edge of the plank must be first bevelled according to No. 2 ; then the plumb

line Will bedrawn on the bevelled edge of the plank, by the bevel that is drawn at '
No, 3. A, ‘

Noun—By this mode bf proceeding, a three inch plank will almost be sufficient
forme rail of this kind, however it may ramp ; whereas in many cases, by the corn»
vmon method, it may require a plank of five or six inches thick. Many other ad§van’-
tages will attend the setting out of this plan ; I shall mention one or tWo.‘ In fixing
Ihe banisters, they will be all regular, and the stringboard will be as easy as the rail
Litself ; the skirting Wlll also be quite regular; for the ends of the steps are Wider

and wider as they go round to the middle of the semicircle ; lastly, a; blacksmith
/ may put an iron rail with very little trouble, the banisters being all regular; whe1 e-
as, no other plan will admit of 1t, unless it be set out in this manner.

 

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winding part of the rail, which 1s six steps from t to w,- , in order to bring the rail
With an easy turn round to the landing, set ofi‘thé height to another step from w to"
7, and let the under edge of the rail be half the height of a step above that to C; Or
it may be more according to the discretion of the workmanx, then the rail will be
half the height of a step more upon thela11d1ng, than it is upon the Winders, - through '
C draw C f parallel to the base, 111d cominue the line 2 u, that forms the intersec-
tion below the Winders up to D, and ease at the? angle u D c by intersecting lines,
will give the underedge of the mouldgturning up to the ,l’anding 53in order” that the
last step beyond the quarter should follow the mould, draw a line through 7, the
height of the last step, parallel to u 6, or c c, cutting the underside of the falling
mould at A; through A, draw A, B, parallel to Cl; then u B 13 the tread of the
last step of the rail, Which 18 set from g to E. The face moulds at D and F are .
completed mthe same manner as directed in the last plate, and the moulds in plate

47 ., fig. D, is also laid down by the same method, the height of the sections being
taking frog‘the falling mould that cOrresponds to that place of. the rail: which the
face mou 15 made for , and the bevels that are laid down above each face mould
will show how much you must bevefihe edge of Your plank, before you can apply
the face moulds to the plank 1;; then draw the plumb of your rail, upon the bevelled
edge, by the other bevels that ar “
to each side of the plank, keeping

   
 

n at the sections , then apply your mould.
r Withthe bevelled edge, the same as in oth-
er caSes before mentioned. ’ . ' 7 i -. ,

     

 

   
   
  
  
  
   
    
   
   

Kifélfe‘nian’d bellai' fido}; ltW’geffty éefen:

_ .4 a Cellar, nihc by twentv two feet-5
' "I ' I» CC , 6 Kitchen, sixteen by fifteen feet. _ ' "
V I L 0 Kitchen closet, six feet squfle. '

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, NO. 2
' PARLOUR FLOOR , .,
d Parlbfir, sixteen feet square, _ , \

' ‘ 6“ Breakfast- rdom, eigh't‘feet six inches by sixteen feet.
g China 010586, six feat square.
f Frdfit enh‘y, eight feét six iriche's, by six feet

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A i; . . , . A I No.3 ‘
\ Chamber floor, with the dimensions figured on the plate.
No. 4. . e :44 - '

. Elmer ahamber floor, with all the dimensions; figured: on the

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Basement story floor, twenty five by thirty seven feet.
a Kitchen, fifteen feet six inches by seventeen feet, in the clear. , _ .
6 Breakfast or counting room, fifteen feet six inches by twelve feet six inches. " _

 

4'; i ' ' NO. 2. ' . ,, 9"". , Q. .
i ' 1 PARLOUR FLOOR . 1 - 4%.: '- .
'17, . i " 'T I. ‘ ‘
- " a and d, Parlour and diningroom, fifteen feet six inches by seventeen feet. f _ . A; £3.
, .. “ f’chma closet, seven feet by six feet. , . , . ' ‘ X '
g 5;} fi‘ 1: 4:"- fie lerm'y seven feet square. , ., . ' ‘ 7 ,' " ~ ,.
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' :11? ‘4: . . , CHAMBER'FLOOR.
, * J ,_ 'A '- ._ g Spare chamber, thirteen feet six inches, by seventeen feet. ' , . ' ' ~ .1
. i ' I J Lady’ s or gentleman’s bedchamber, fifteen feet six inches by seventeen feet. ._ ;
t i k Dresssingroom seven feet by‘six feet. ' ' T ,7 .. ‘ ; , , . , “v _ :
F i '5 It Small bedchamber, nine feet by twelve feet. 1 1: ' ' I, » 7 4 4;;
S ."f; Glass 1n basement story, eleven by seventeen iliyches, six lights eae‘h windowfiw . '- ‘_ 'é‘
f ' \Pnnc1pal floor, eleven by sixteen inches, twelve lights each window. Chamber._' 1:“ _-'
1 2. floor, eleven by fifteen inches, tWClVe lights each WindOW. Upper chamber floor, '. § ‘1.
i ,. eleven by fifteen inches, nine lights each Window. Q - r . ‘. 39f",
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é - . E _ Basement. story fioOr, fifty four by thu'ty five feet. \
‘i ’ a Hall, or principal entrance.
6 Kitchen, twenty feet square. . . , , ,1
e Oflice, eleven by twenty feet. . . L Li a. .. »:
d Library, ten by twenty feet. ‘ , . , 1.: 1 . p ggf';
No.72?" -‘ 1 ‘ * -' ¢ «*1 f
\ . PAR’LOUR‘ FLOOR; ‘ ' ‘- _ ° , *- é “’ l.
f Diningroom, twenty by thirty feet, 1n the clear. ' ' ' “‘1, .v 7" _ H ' .3
' g Parlour, twenty feet Square. -' ~ .5- - 75".- “ p ;
Iz BreakfastrOOm, eleven by eighteen Peel“. I . . i . i ' " .j .
’ i Pantry, or china closet, ten by eleven feet. 1' , .~ ' i e ‘ ._ ; i e"; *
fi,rep1‘e5ents that part of the railing Which IS placed exedtly ever each Window . ; . i
_ from ate 6, is the Width of. the Window;f1“~otn 660 c, is a part of the panel and _\
a railing, which Is placed over'the peers, be1LWe'en windOWS. ’_ i .. E. 1
- 311mm basémeut ’Etory, si‘x gets 1:: awindow, 'o'f‘twelve anda hareby twenty , i,
_ L” . {We mixes; Principal near, Nerve And a half by tWenty one inehes, twelve —
i“ i ' ligh’te eéteh WindoVP. fihafi‘fbel‘ story, ‘thei’ve 513d a half by twenty ineh‘eser twelve *
p p . "7. lights each window. Upper chambefli’oor twelve and a halflby nineteen inches? ,-
9} nine lights eachMmdow.

   

 

 

 

 
 
   
  

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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Is the principal floor, forty seven by thirty three feet. ' ' {I y ’ , _ _ ‘ ,
a a Parlour and diningroom, twenty two by sixteen feet, each ., f i I. ' ' > 1 f . ,
6 Kitchen, twenty by seventeen feet. » , y a ; ' ‘ > y .7 _‘
c Breakfastroom, mne by fourteen feet. ‘ ' ’ ' " 9* _, ‘ y 11",:
d Library, ten by fifteen feet. . 1‘ ' F 1 3 ’ 6 ’ ' ‘ -

Entry, ten by fifteen feet. _ “
e Pantry or chma closet, eight by nine feet - .; a ._ .g , . ,

 

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Chamber floor, which contains five hemmers. fledimdnsions7as'3 oh the
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A, Basement story, forty seven by thirty Feet from out to out.
c Kitchen, seventeen by twenty one feet. .
d Storeroorn, ten by six feet. ‘ l .
m Kitchen closet, four by sixteen feet. ‘ ,
P Entry and back stairs ‘ i
f Cellar, seventeen, feet square.
e Cellar, tWenty two by ten, feet.
23 In 12 Foundation of steps.

B, Principal floor.

. :3 i Parlour, seventeen by twenty one feet.

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k China closet, ten by six feet.

1 Back stairs [and entry.

‘11 Front entry and stairway, nine'feet wide.

3' Drawingroom, seventeen by twenty seven feet.

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On the chamber floor may be four bedchambers, and on the attic floor three.

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PLATE. LYI.
PLAN AND ELEVATION FOR A MEETING HOUSE,

VVhich contains. fifty pews on the first floor, and will accommodate about four hun— ,
dred people, which will be suHiciently large for most country parishes. The front
of the front gallery, IS intended to come exactly over the partition, A. The wall, '
including the eave cornice, is thirty three feet high. Make the eave cornice about
one twenty eighth part of thirty three feet. , make the cornice to the lower, about ,
one twenty fifth part of the height, Which 1s eleven inches; make the cornice to
the next story, which 13 an octagon, one twentieth part of the height, which is nine
inches. The cornice B, on plate twenty seven, would be proper for the cave cor-
nice , and D, on plate twenty six, for the cornice to the tower. D, on plate tWen-
ty seven for the cornice to the next story.

The windows 1n the first story, are to contain twenty to ur panes of glass, of ten I
by fifteen inches; second story, twenty eight panes of glass, ten by fifteen inches.—
This house may be built of wood, and on account of its simple plainness, fora less
sum of money, than houses of this sort usually are built.

A A,

 

 

 

 

 

 

 

PLATE LVII.
PLAN AND ELEVArrIoN m. A MEETINGr HouSE.

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This plan was copied from the original drawing, which was made for the congre-
gational meeting- -house at West Boston. The size of the house 13 seventy fiVe feet
square , porch, twenty by [forty six feet ; to contain one hundred and twelve pews
on'the lower floor. The gallery is supported by columns of the Composite Order.
T he ceiling has a dome 1n the centre, of forty two feet 1n diameter, which rises
six: feet; the level parts of the ceiling, are ornamented with sunk panels.

The cave cornice is taken from B, on plate twenty six, and 15 one twenty eighth-
part of the height. ' The third story of the porch is proportioned exactly after the
‘ Doric order. The cornice to the 'attic story is about one seventeenth 'part of the
height, and 1s taken from D, on plate twenty seven. The cupola has the propor-

Lit-ions of the Ionic order. The windows 1n the firSt story contain twenty four panes
“ of glass of eleven by fifteen inches. Windows of the second story, contain twenty

;. eight panes of glass, of eleven by sixteen inches. Windows in the third story of
the porch contain twenty eight panes ~of glass, eleven by fifteen. inches, with
circular heads. Attic story, six panes eleven by eighteen inches.

 

 

 

 

 

 

 

 

 

 

 

 

 

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. PLATE LVIII. » 3 3 3
”~‘ 3 _ PLAN AND ELEVATION For: A countfiwsn .fi ‘
A, Plan Of firSt llOor.
d Clerk’s office, sixteen by twenty one feet. 6
a Room for grand 'Juty‘,381xtéen by twenty onekfeett If?
g Register of deeds oflice, sixteen feet square. .3 3 )7.“ ’

 

 

f Probate court, sixteen feet square. 3 ~g \3 3; J , .. V
c Hall andstalrwaypfprty two by twenty one feet. 333.337: 3V , i
, W. 333 Plan of the secondfloor. i '
D, Courtroom, forty by thirty seven feet. ' A
rJudges’ seat. 3_ - . 3. _ -.
y 9 Small lobbies. ‘ , ' I '1 i d ,
ac Clerk’s'seat. ‘ L 7 ' ' '6 V V 7
W Table.
3. v Attorney general’s seat. 3 _ 33,: 33 33 3
' .9 .9 .9 Attorney’ s seats. i ,3 i ,3 , r 333.333 7.! .3 3, =
pppppruryseats. 3‘
w w Shenfl'boxes. - . ,J

t Passage between attorney’ 5 seats and bar. -

 

 

. n n Constable’s boxes. fl 3
_m Bar. : . I 3 ' 3 i . ‘
a a Stand for witnesses. ' i
j Stairway.
h and : J11ryroorns, fifteen by twenty one feet each. 3 3 3
6 6 6 6 Seats for witnesses. - - - -- ,3 » ., , 33 3 , 3

 

 

()verh and» 6' '7 U '. . Wafeet each; aad over
the cirCuIar seats c c c, a gallery which Will contamjabout one hundred people. It
'is‘ intended to have a dome 1n the ceiling Qver thQ courtroom, of thirty feet diame-

I ter, and to rise above the horizontal celling five feet

000600-00”

PLATE A _ _
PLAN AND ”ELEVATION OF A CHURCH

Plate A, fig. (1, is a plan , fig. 6,2111 elevation of a Church, draWn On a sdaIe of

twenty feet to an inch, which will contain about one thousand people. The dotted

' .line on the plan represents the li‘dht ; 1111's?! "f-‘fhe gallery, h’Whic‘h is "iritendéd‘fo'-Srun

.“ across the front only, and 1161 continue along the sides of the house, as is common
in churches in this country.

 

  
  
 
  
  
   
   
 
 

PLATE B.

‘Plate B, fig. 0, isa sidexelevation for the same building. Fig. d represents aplan
:of the cupola, - 1, shews the shape and size of the tower, as it rises from the roof of
e house; 2, the shape and size of the story which 1s intended to contain the bell
and clock; 3, the shape and size of the octagon story, Which IS to be finished after
6 Ionic order, and 4, the Slze and shape of the base which 1s to support the roof.
.6 shows the size and shape of the glass, and the manner of finishing the inside of

zone of the windows, any part of which may be measured by the scale of feet below it.

I

 

   

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

OBSERVATIONS

.‘i _ . 1 . 5":

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0N BUILDING OF HOUSES, T0 ELUCIDATE THE PRECEDING PLANS, AND
ASSIST THE STUDENT IN THE PRAC'I‘ICAL PARTS

The first thing to be done 1n planning a house, is to know the wants of the
person who" is to occupy it; the next to know the situation of the ground it is to
cover , then to take into consideration the number, size, and height of the rooms
wanted , also, proper convenient stairs, entries, passages, 810. Let the kitchen be
situated, so as to have as easy a communication with the dining and breakfast-
rooms as possible; let the pantry or china closet communicate With the dining.
room by a door, and with the passage from the kitchen by a door or window.
Place the door 111 such a manner as to make the distance from one part of the houSe
to the other, as_ short as possible , still keepen uniformity 1n vie ,i’ ‘s it is one of the
greatest beauties 1n architecture ; yet convenience ought not to make too great a

 
 
 
  
  
 
 
  
    
  
  
  

sacrifice to it. The eye ought to see, at the same time, every part of the building,
and be sure that no one part of it interferes with another , a
rooms are properly lighted, and at the same time, that there are a _
of windows, and of a size suitable for the external part of the building.
Strength, convenience, and beauty, are the principal things to be attem
To have strength, there must be a good solid foundation, and never plaCc p
over openings of Windows or doors. 0 11ings of windows or doors in different
stories, ought to be exactly perpendicular, one over the other. Care ought to be 4‘ 1
taken, not to place heavv girders or beams oVer doors or windows, or to lay tlmbe'
of any kind under fireplaces. As to the proportion of windows to rooms, I do not ’ i
believe any certain determined rule can be given for their height and breadth, al-
though there are several European Writers, who have given rules“ for their propor-

tion. I think Sir Willian Chambers has given the best proportion of any one I
B B

   

    

      

of the roOr‘ns n. he, rinc pal‘fl torrether, and takes (me eighth part thereof for the .
width of the window 'Ihe Width and height of doors, depends on the size and
height of rooms in some degree, although there 1s not any room so small as not to
require. a" door-suflic‘ientl‘y large for a‘ person to pass through its opening. In the
course of my owir practice, have made (10ch for rooms iof sixteen by eighteen or
twenty feet, and ten feet big, three feet wide, and seven feet or seven feet two in?
ches high When rooms have been twenty by twenty three or twenty four feet,
‘and twelve or fourteen feet high, I have made the doors three feet six or seven inch-.
es Wide, and, seven feet eight inches, or eight feet high , all the doors in the same
room ought to be of the same siZe, except where tWo doors are placed together be-
1 ‘tween the two principal roorns, which are called folding doors. They ought to be
made from eight to twelve inches higher than the other doors of the room, or they
will, on account of their width, appear to be lower than the others ; these folding
doors are commonly used in Boston, and are very convenient, particularly so when
placed between sn1all rooms, both for the circulation of air, when windows and
doors are opened and for the reception of large companies.
i e ofthe outside doors, must be governed by the building 111 which they
a town house with a narrow front and small windows on each side,
‘e'fifty tWo, three feet four or six inches will do very well fOr its width, but
,_ fot a large house, and Without side lights, it ough to be made much wi'
say from three feet ten inches tofour feet; and in some cases, four feet four
.. inches wide, and never less than twfiiarn'eters high.
'I he chimney ought not to project into the room more than from fifteen to twen—.
ty inches if it can be avo1ded, and care should be taken to place them on the most
y‘ convement side of the room. For size of fireplaces, see eXplanation of chimney-
pieces. Never make the funnel less than twelve inches square, and if there IS

sufficient room sixteen inches 18 a good size where a fireplace is about four
feet betweenthe lambs. '

 

 
 
 
 
  
   
  
  
 
  

 

   

 

 

       

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PLATEC i ’ 3933+
METHOD 9F BUILDING KITCHEN FIREPLACES WITH RUMFORD’S
ROASTERS AND BOILERS

Represents a froht view or elevation of a kitchen fireplace, common brick avéh,
Rumford roaster and doers t9 gthe berlers '

N B .--The height of this buck work from the hearth 9, to the top Q 1: 1W9.

   

 

The‘ space above the~belx f , .511d1ngshutter, hanging by weights» '
to slide up and doWn, and close 1n the stéam of the boflers. ‘1 . . 9
S, at the d’otted lines, 1's the passage for the stearn to go oli‘~ 111to the chlmney ' A @-
R, represents the front of the roaster, with its Hues for the smoke t9 pass r9und ' '9
the Cylinder into the chimh’ey. ’ ‘ ' ' ‘ ‘
E, represents the front of the oven.

  
   

FIG. 2.

\

Represents boilers with the brick work closed round the rims, and two

F, 1n fig. 1 and 2, represents flue of fireplace.

G, flue of oven. - . , , . .. _

T, inside of roaster with its flees , mark out the dot at the back end “Wher
steam tube comes in.

FIG. 3.

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.Represents the fines of the boilers passing mm the canal, at the. level of r K, in

fig..5

I‘,’ 1s the canal for smoke to pass into the chimney

   

 

i 1 ~35 ' - Is the ground plan of fireplace and ashpits. . 11,15

' FIG 5 . '1
Represents the inside section of the thirteen and a half inch boiler, with its steam

,dish and cover , on the descent from door to grate is one and a half inches. 1

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" ‘ ' GENERAL OBSERVATIONS.
.11: - 1
E1ght or nine inches ought to be allowed from the top 0f the grates to the b $9,113; ”

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_ * of the boilers, the distance between the fire a11d ashplt d'oor Mmay vary according to
. the depth Of the ,boilers; as~appears.1n fig
Make the space between the grates and bettom of the roaster not less than one

, 1 foot, the distance between the fire and ash door may be from two to five bricks,
as is most conveluent the space round the roaster for the smoke, two and a half
,inches, ' round the boilers, two inches.
11 small boilers one brick will be sufficient to cover the fines ; but 1n large ones,
5 washkettles, they ought to be covered with two.
a the small lines that lead from the boileis, two inches high and three long.
in canal ought to be fiom eight to twelve inches deep, below the bottom of
mall ones. 1
‘i’Where it can convenientlv be done, it is best to lead the smoke of the roaster
6911711 as low as the top of the bottom shelf, which will greatly assist in retaining the
’ heat. ‘ , -
I: ' - '77' i - Note. a This plate was drawn by Mr. Lancaster, who has been more successful
' in settmg Rumford’s masters and boilers, than any other person , and was explain-
éd by him and Mr. H0we, who is the only one that makes them 1n Boston.

 

 

 
 
 
 
 
 
   
  
  
 

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AMERICAN BUILDER’S COMPANION, " 7 105

PLATE D.

EXPLANATION or THE SOLIDS.
FIG. 1.

Shows, the rail as cOmpietely squared upOn a cylinder, with the plan of the hol-
low cylinder underneath from which the rail is formed. 1

FIG. 2.

Exhibits the manner in which the elevation of the helix or spiral “line which
forms one of the outside arrises of the rail 13 drawn. .

Divide the exterior circle into any number Of equal parts, or according to the
number of Steps: and divide the height, or part of the axis intended forsoue revolu-
tion, into the same number of equal parts , draw lines through the points. of divi—
sion perpendicular to the axis , and from the points .of division In the exterior circle

draw lines parallel to the said axis ; through every two corresponding points draw

a curve a b c, &c. and this curve will form one of the arris lines as represented . in

fig. 1."

are in number.

This will give some idea of the rail according to the definitionI have given of it.

Though the figure here exhibited for a rail 1n the square is supposed to be cut
out ol'a hollow cylinder in one entire piece, in -‘order to convey more readily ‘tlie
idea of the helixal solid ;' it is evident, however, that the square helix may be cut
out of short pieces of wood, so that the fibres of the wood may run in any direction
we please. Therefore, since We have this in our choice, the nearer the fibres run
in the direction of the length of the piece, or to the arris lines of the helixal solid
the stronger it will be. '

There are two diflerent kinds of 101nts one is formed by planes parallel to the
axis of the cylinder , and the other by a plane perpendicular to one of the arris lines
of the 1ail ' those joints that are formed by plane-s parallel to the axis cf the cylin-
der, are called splice joints , and those Joints that are formed by planes perpendicu-

lar to the arris lines, are calicd butt-joints.
C C

The same curve may be repeated in as many equal heights as the «revolutions '

 

‘1’

 

 

 

 

11511111118 .1 10111110119111 m CYLINDROME CoN’I‘AjNED’ 2121mm: We £ARALLEL PLANES ; my
. 3 HERE THE CYLINDBDME Is WHAT Is COMMONLY DENOTED A HOLLOW CYL’INDER.

 

Shows the thickness of the por tion, and thejnclination of the Cutting planes to
the base, which cutting planes Will form two equal and similar sections; and as it -
is well knovvn that the section of a cylinder is an ellipse, each section or face Will be
contained between two cencentric and ‘sitnilar ellipses , but it is Obvious, that as

   
  
 
   
  
   
  

2W9».

the cylindrome, unless the Cutting planes Were extended to: aterygi’éii‘lote lS ‘f’tice ,
, from each other; and conSE'quently theWasfe OT’WOd Wen be very great. The
- _ solid :here‘exhibitedistherefine of no practical utility, but 18 absolutely necessary

 

 

- in theory, as an» idea of the parts of’any thing which are very dissimilar cannot eas-

il be formed Without?“ ving a cerrect idea of the Whole.

  

' FIG. 2.

' , . ed on aplane, 1n such a manner that another plane, which is perpendicular to the
planes of the Sections of the solid 1s neither parallel nor perpendicular to the pl me
p . tion. This position presents the most correct idea of the real form of the
Solid £01116 1n1agination. One of the sectional sides is brought entirely to View,
the other being concealed by the body itself, and a portion of each of the curved
sides 1s shown.
The method of representing such a solid will easily be found, by observing that
' fending letters inthe elevations, figs. 1 and 2, have equal heights, and
x ' " i " I‘lennumerals on the plane are equal.

 
 
  

a g ' . ‘ FIG. 3. ,
A representation of half the solid; but even herethe waste of wood would be

tOO great ;‘ and as the fibres of the wood are Cut across On both sides, the piece
would be" too weak. 4

 

 

 
 

the solid returns to itself, the entire helix cannot be nia'de of so great a portion of

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

thquhLE nouns“?

 

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Rudiments of flrchilecture—~being a Treatise
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The Principles of flrchiteclure—By P. Nichol-
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