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1
'
P F A C
R E TO THIS
TRANSLATION.
OTWITHSTANDING the Art of PERSPECTIVE
rauft be acknowledg'd fo highly and indifpenfably requifite
5
T i s fomething unaccountable, that, among fo many learned Perfons as have handled
this Subject, Priejls, Architects., and 'painters 5 very few, if any of them, have given
Directions proper for fhunning that Diforder and Confufion of Lines, which, in moft
Inftances, muft neceflarily attend the Execution of their Rules : In all or moft of which
the whole Space for the Performance is confin'd between the Lines of the Plan and
Horizon 5 which, where the Scale is fmall, and the Height of the Eye not very much
advancd, renders the Work exceedingly confus'd 5 and where thofe Lines are coincident,
This Author's great Experience in the Practice of 'PerfpeStive, having furnifh'd him
with excellent RULES for Shortning the Work, and Obviating the foremention'd
Difficulties j he has here very generoufly imparted them, and efpecially the latter, in the
Tenth and Eleventh Figures. And tho on Perufal of the firft three or four Plates, this
Method may poffibly feem the fame that fome others have before made ufe of 3 yet
whoever (hall diligently obferve and copy the Rules and Examples of the fucceeding
Figures, muft neceflarily acknowledge the great Advantage this has in a Perfpective-Plan
and Upright, clear and diftinct 5 whence the finifh'd Piece is dedue'd, without the leaft
Incumbrance of the Work. The Explanations of the Rules here given, are fhort and
inftructive 5 and the Architectonical Defigns produe'd to exemplify them, Noble and
Magnificent.
an upright Wall. Upon the whole, nothing feems wanting that may make a Work of
this nature complete 3 unlefs what concerns Defigns which are either Circular, or abound
with many Columns : For the Performance whereof, the Author, as he promifes in the
Sixty-fifth Figure, has, in a SECOND Volume, given a Rule more proper for the
purpofe ; which alfo may poffibly be made Englijh in due time, if this Part meet with
Encouragement.
What the Author once intended fhould make a Part of that Second Volume, he
afterwards inferted in the Ninety-third and following Figures of this Book : In the laft
of which, particular Notice fhould be taken of his Conclusion 3 That if Painters would
not run into inextricable Errors, they ought as JlriElly to obferve the Rules of Per-
fpective, in dejigning the Figures of Men and Animals, as they do in painting Columns,
That none therefore be difcourag'd in their firft: Attempts, thro' the Brevity or
Silence of our Author, (who, writing in a Country where the Principles of this Art are
more generally known than with Us, had no need to infift fo long on fome things, as
might be thought neceflary to Beginners) we mail endeavour to fpeak as plainly as we
can to a Point or two, moil liable to be mifunderftood, or to prove a Stumbling-Block
at the Entrance 3 and then add a Word of Advice to fuch as mall attempt the putting
thefe Rules in Execution.
The Author, in both his Explanations of the firft Plate, has given fome Account
of what he would have his Reader underftand, by 'Dejigning in T erfpettive : and a
right Conception of this Point being of great Ufe to facilitate the Work, we thought it
not improper, to defcribe fomething more particularly, what is meant by the Art 'Per-'
fpeSlive 3 but (hall at prefent fpeak only of That, which, whether Vertical or Horizon-
tal, is receivd on a Flat and Even Superficies : This being of much the more general
Ufe 3 and, when rightly underftood, renders the Difficulties of the Circular or Irregular
I.N Perfpective, the Eye of the Beholder is efteem'd a Point, from whence Rays are
fuppos'd to proceed to every Angle of the Object. The Wall or Canvas to be painted
(which we mall here call the Seffion) is imagin'd to intervene at right Angles to the Axis
of the faid Rays 5 and by directing them, to receive the Appearance of the Object, in
greater or lefs Proportion, as the Section more or lefs remote from the Point of Sight.
is
Our Author's Rule is, That the Diftance of the Eye ought to be equal to the greateft
Extent
.
PREFACE.
Extent of the Object, whether in Length or Height : As, to view a Building that is a
hundred Foot long, and fifty
;
he would have the Diftance a hundred Foot
high To :
view a Tower fixty Foot wide, and a hundred and fifty Foot high 3 the Diftance fliould
be a hundred and fifty Foot. This Diftance is not ftrictly to be underftood of the Space
between the Eye and the Object, but of the Space between that and the Section, the Plan
of which our Author calls the Line of the Plan, or Ground-line for it's often requifite,
that the Section be plac'd at fome Diftance before the Object, on account of Projectures
of Cornices, and other Parts of the Work that advance, as in the Eighth Figure.
The Place of the Eye, with refpect to its Height above the Ground, ought to be
fuch, as is raoft natural and agreeable to the Object. Thus in Architecture, the Bafe-
ments and inferior Parts of a Building are improper to be fet above the Eye, and their
Cornices and Entablatures have but an ill Effect when below it. General Perfpectives
indeed require the Sight to be taken at a Bird's View 3 and on other Occafions the Place
of the Eye may be vary'd : but the beft and mod general Rule is, not to exceed five
or fix Foot Height above the Ground. The Height of the Eye above the Ground, thro'
which a Line is drawn, call'd the horizontal Line, is fet on by the fame Scale of Pro-
portion, as the Defign bears to the real Work 3 and the Point of Sight fo plac'd therein
as may render the Object moft agreeable. From the Point of Sight, either on one or
both fides in the horizontal Line, you are to kt, by the fame Scale, the Diftance you
Hand from the Section. And by means
of thefe Points of Sight and Diftance, and the
Meafures of the Parts brought on the Lines of the Plan and Elevation of the Section
by the fame Scale 3
all the Examples of this Volume ak reduc'd into Perspective 5 as is
manifeft on Infpection of the Figures.
II. That the Rules of the Tenth and Eleventh Figures be particularly regarded,
III. That from the Difpofition of the Perfpective-Plans and Uprights, with refpect
to the finifli'd Pieces in the Twelfth and many following Figures, you would obferve
with what Difpatch the faid Pieces may, without the help of Compafles, be delineated
by your Drawing-Square 3 viz. the Perpendiculars from the Perfpective-Plan, and the
level Lines from the Perfpective-Upright, or Section.
IV. That you would accuftom yourfelf in Works that have many Lines, to make
the Perfpective-Plans and Uprights for each Part diftinct, fo as to prevent all Danger of
Confufion. Thus you may have one Plan and Upright for the Bafement of a Buildino-
and when that is drawn on your finifli'd Piece, remove them, and place thofe of the
Body of the Houfe 3 and when that's complete, do fo by the Attick, &c. always
1
obferving
PREFACE.
obferving fo to place the Plan below, and the Upright on one fide of your neat Draught,
that your Drawing-Square may command each of them ; which will mightily Ihorten
your Work.
V. That the Author's Advice of taking the Figures in courfe, be ftrictly follow'd in
the Practice 3 which will be a great means to render the Whole eafy and pleafant.
This is the Sum of what we thought moft proper to advertife you 3 and have only
this farther to requeft, That if any Miftakes may have efcap'd the Prefs undifcover'd, as
we well hope there are few or none, you will favourably correct and pardon them.
MONITA
MONITA ad TYRONES.
O NC INN I TA TE M. fymmeiriam optica
ac delineationes adificiorum
habere nequeunt, niji utrdmque mutuentur ab Architectural. 'proinde
necejfe eft, tit in iflius graphide ac intelligeniia te aliquandiu exerceas y
donee uniufctijiifque ehvationis vejiigium formare didiceris, ex eoque eruere
Jeflionem totius longitudinis, tit in Opere
toto videre ejl, prafertim
figuris fexagejima otfava & Siquidem ex veftigio
feptuage/ima. ex &
fettione derivator in opticas imagines cbngriia rertim Jingularum pro-
funditas.
Subjiciam his confitium fummi momenti 5 videlicet, egregie intelligas oportet figtiram fecundam,
priufquam progrediaris ad tertiam, idemque de cateris diffium velim 5 nam fingtilas eo difpofuimus
or dine, tit qua pracedit, necejfaria fit ad percipiendas eas qua fequuiitur. Si aViqtiaJint in ex-
plicatione, qua initio non intelligas, ipjiim fchema
fapius diligent er infpicies ; ac vicifjimfi aliqua
dejint in fchematibtis, ex declarationibtis ea fuppjebis. Lapjiis verb qteos deprehenderis, facile pro
'tit a benignitate, mihi, tit Jpero, condonabis.
ADVICE to BEGINNERS.
HE Perfpective of Structures here treated of, can have no Grace or Pro*
portion, without the Help of Architecture. 'Tis therefore abfolutely ne-
ceflary, that you employ yourfelf for fome time in Drawing, and the
Study of that Art 5 till you can readily defcribe the Plan -of any Upright,
and from thence project the Section or Profile, as is fhewn thro' the
whole Courfe of this Work 5 and more particularly, in the Sixty-eighth
and Seventieth Figures Forafmuch as the proper Depth of each Pare
:
I mall add one thing more, which is indeed of the laft Importance 3 to wit, that you endea^
this
vour to underhand the Second Figure thorowlyj before you proceed to the Third j and fo of the
reft they being difpos'd in fuch Order, that the Knowledge of the preceding Figure is always ne
:
ceftary to a right Underftanding of that which follows, if you meet with any thing which at firft
feems difficult in the Defcription, a diligent Infpection of the Figure may relieve you And on: the
other hand, if you find not in the "Figure every thing you defire, you may have recourfe to the
Explanation. What Errors you difcover in the Work, I hope you'll generouily overlook and
pardon.
( c ) AD
A D
TO
acquir'd a Method to facilitate the fame 3 I judg'd it might be for the Satisfaction and Advantage of
the Studious, to publilh the fhorteft Way for defigning in Perfpective the feveral Orders of Archi-
tecture, by a common and eafy Rule, free from the Incumbrances of occult Lines. But if it pleafe
God to give me Life and Health to compofe another Book, I fhall then fhew the Method of put-
ting Works into Perfpective Rule I make ufe of at prefent, which is more eafy and general
by the
than the common way, tho this be the Foundation of the other. Therefore, Reader, my Ad-
vice is, that you chearfully begin your Work, with a Refolution to draw all the Points thereof to
that true Point, the Glory of GOD
j and I durft predict, and promife you good Succefs in fo ho-
nourable an Undertaking,
THE
Approbation of this Edition.
T the Requeft of the Engraver, We have
perus'd this Volume of Perspective; and
judge it % WORK that deferves Encou-
ragement, and very proper for Inftruc-
tion in that ARX
Chr. Wren^
y. Vanhrugb,
N. Hawk/moor,
le-
ns
u
iei
of
it
;
afc
Jilt'
cral
Hi
ii!;!;i!i!iiiiiiiiiiii[|||lll|]|
POZ s
ARGHITECTU
I N
PERSPECTIVE.
;
FIGURA PRIMA,
Explicatio linearum Plani & Horizontis, ac Punctorum Oculi & Diftantiaj.
T principia Terfpettiva facilius
intelligas, pono tibi ob oculos Templum, in cujus in-
c
teriori facie, prater pingendum fit aliquid ad PerJpettivam pertinens. Tern-
c cetera,
pli hujus vejtigium geometrkum eft A, elevatio geometrica in longum eft B, in la-
tum eft C. In A eft locus Hominis a/picientis lineam D E, cut paries pingendus in-
cumbit. In B idem Homo ex eddem diftantia intuetur lineam F G, qua refert ele-
vationetnparietis. In figura C fupponimus Homiuem confiftere e regione ipfius pa-
rte t is : eafdemque proportions menfurarum tranftatas ejfe ex vero pariete in figu-
ram C, qua ipjum in parvo reprafentat.
Trima ergo linea H I dicitur linea terra vel plani, ex qua incipit, eidemque in-
cumbit Aidificium. Secunda linea N O N priori parallela, dicitur horizontalis, in qua
ponitur O punttum oculi, & N punttum diftantia. T)uo autem puntta diftantia a
nobis pofitafunt, ut unum adhibeas ex qua parte volueris nam ad figuras opticb ;
tontrahendas fujficit unum punttum diftantia : nee fieri poteft ulla optica delineatio, quin primo loco defignentur
dua parallela, una plani feu terra, altera horizontis, notando in lined horizontis punttum oculi, feu opticum,
& punttum diftantia. Torrb unam eandemque rem triplici Schemate reprafentare oportuit, tit videas, locum
ex quo afpicienda eft figura C ejfe punttum N unius ex rettis N O, quam concipere debemus veluti normaliter
infixam in O ac diftantiam inter O SJ N eandem ejfe deb ere cum diftantia inter A & D E, inter B G F.
;
In pitturis multum fpatii occupant ibus, punttum oculi poni folet in medio linea horizontalis : atque ubi altitudo
pittura fit major latitudine, diftantia NO
fiet aqualis altitudini. Si latitudo pittura fit major altitudine,
diftantia NO
fiet aqualis latitudini ; it a enim unico intuitu totum pittura fpatium comprehendi poterit. Torrb
quamvis eadem dijtantia diverfo modo adhibeatur in vejtigio A, in &
elevationibus B &
C ; nihilominus fiettiones
vijiialium cum pariete ueftigii A, &
elevationis B, omninb confpirant cum fettionibus vifualium figura C.
Jam fi velimus Ut fpettatori in A B&paries depittus videatur diftare a lineis G F, DE S
quanta eft Ion*
qitudo quadrati P, cujus elevatio eft Q_; ex punttis A&
B fiant vijuales ad puntta extrema quadrat i, notando
fiettiones vijualium cum pariete ED &
G F, qui ab aliis vocatur velum, vitrum diaphanum, jettio, tela, vel ta-
bula. Invenies autem, line as RS acTV ejfe a quales, ac fimi liter lineas XZ sYK; & fie de aliis.
that reprefents the Elevation of the Wall. In Fig. C, the Man is iuppos'd to fland
oppofite to the faid Wall ; and this Figure contains in little, the very fame Propor-
tions of Meafures transferr'd from the real Wall.
The firft Line therefore HI is call'd the Ground-line, or Line of the Plan, at which
43 |
the Edifice begins, and on which it ftands. The fecond Line NO
N, parallel to the
former, is call'd the Horizontal Line, wherein is plac'd O
the Point of the Eye, and
N the Point of the Diftance. Two Points of Diftance are here laid down, that you may make ufe of which you
pleafe : for that on one Side only is Neither can any Optick
fufficient for the fore-fhort'ning Figures in Perfpective :
Delineation, or Perfpective, be defcrib'd, without firft making two Parallels ; one of the Plan or Ground-line, the
other of the Horizon ; marking, in the Line of the Horizon, the Point of the Eye, or Sight, and the Point of
Diftance. It was thought befides expedient to put one and the fame Thing into three Schemes or Defigns, to let
you fee, that the Place, from which the Figure C is to be look'd upon, is the Point N, one of the right Lines NO,
which muft be conceived as fixt at right Angles into ; O
the Diftance O
N being the fame as that between A and
DE in the Plan, or between B and GF
in the Upright.
In Pictures taking up a great deal of Room, the Point of Sight ought to be made in the middle of the Horizontal
Line ; and where the Height of the Picture happens to be greater than the Breadth, the Diftance N muft be made O
equal to the Height. If the Breadth of the Picture exceed the Height, the Diftance NO
muft be made equal to the
Breadth For fo will the Extent of the Picture be the better comprehended, or receiv'd, at one View. And altho
:
the fame Diftance may feem to be ufed in a different manner in the Plan A, and in the Elevation B, from what it
is in C ; neverthelefs the Sections of the vifual Rays, with the Wall of the Plan A, and of the Elevation B, have
a perfect Correfpondence with the Sections of thofe of the Figure C.
Now, if to the Spectator in A
and B, we would have the fartheft part of the Work feem to recede from the
Lines DE and GF, as much -as the Square P does, whofe Elevation is Q_; draw from the Points A and B, the vi-
fual Rays to the extreme Points of the Square P and Qj noting the Sections they make with the Walls D E and G F
which by fome is call'd the Veil, Tranfparent Medium, Section, Cloth, or Table and you'll find R S equal to:
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o
't> h&pomtofctiftance li/cj xxJlJacUdu ivitJicrut the lint A3
-+- 1
G ' '
FIGURA Trigeilmafexta,
Prseparatio ad Figuram trigefimamfeptimain.
Eadem linea qua in vejligio deformato funt parallela ad EF, prolongantur ufque ad vifiialem
EO, & continuantur cum aliis parallelis ad perpendictilum D E. Fiunt quoque vifiiales ad puntluM
ociili ex divifionibus elevationis AB tranjlatis in perpendictilum DE 5 adhibitis feffiionibtis talium
parallelarum cum vtftialibus, ad complendam deformationem longitudinis elevationis.
The Lines which in the Plan are Parallel to E F, being prolong'd to the Vifual E O, are then
continu'd parallel to the Perpendicular DE. And from the Divifions of AB, produc'd to DE,
vifual Lines are drawn to the Point of Sight 5 which interfering the Perpendiculars aforefaid, you
from thence find the Length of the Elevation in Perfpe&ive,
FI GURA Trigefimafeptima.
Deformatio Columns BTRUSCiE.
Xprdeparatione quam exhibuimus Figurd tri-
ronicis eji R -
?
corona verb in ftjlobatd eft
he Thirty -eighth FI
Preparatory to the Thirty-ninth Figure.
Fid xl
MocL.4.
I
I I MM |
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FIGURA Ouadragefiim
Veftigium geometricum sedificii Ordinis BQRICI
TJiudioforum, qui fedulo fe exercuerint in
praxibus hucufque traditis, & ad majora in-
hient, utilitatiferviam, delineandamfufce-
pi medietatem arcus cum tribus columnis, ac
totidemftatuarum loculamentis. Ad vitan-
dam autem confujionem, ea duntaxat membra in veftigio
adumbrantur, quce recenfuimusfigura trigejimaoffiavd, & often-
dunt charafteres A,B,C,D,E
The Forty-fecond F I GU
The Manner of avoiding Confifjion, in reducing Plans
and Elevations into PerfpeSlive.
falls without this Page ; that from them may be rais'd the Elevation of the
Fig. xlhi
F I G U R A Quadragefimaquarta.
Contra&io elevationis figure quadragefimaeprimje*
X
E C TAL parallels adlineam plani figura quadragefimatertia^
ubi pervenerint ad vijualem TO, continuandcejunt, more Jo*
J
qua in fequentibus figuris habebit diftantiam
lEv -r^-if
. v^.^
PE ab horizontal! OE, deorfumprotraximus
in CD, ut etiarn fecimus figurd quadrageji-
mafecundd & quadragefimatertid. Lineavifualis OM eun-
dem habet ufum, quern vifualis OT figurce quadragejimteter-
tice ; videlicet, ut in ea terminentur parallels ad lineam plani
ex membris veftigii B, eademque continuentur cum aliis pa-
rallel!s ad reSiam E C, pro deformandd elevatione quam ap-
ponemus figurd quadragejtmanond. .
Fig. xlye.
from AB, which contains the Heights of this Ionick Compofition, agreeable
to the foregoing Figure, and the Rules delivered by Vignola. s!ow there is
no Point in any Member of this Upright, but may be found by the Interfection
which the vifual Line from AB makes with its refpeclive Perpendicular.
Fl G. XL IX
FlG^L
FIGURA Quinquagefima,
Architeftura IONIC A.
X vejiigio figure quadragejim^feptimce, y ex
elevationefigure quadragejtmtfnonce, eruitur
hoc cedificium Ionicum, quod ejfe poterit vet
principium alicujus turris campanarite, aut
bajis cujujftiam arcus triumpbalis. Vereor
at chelator fuam diligentiam in hocfchematefatisprobaverit*
Ejus tamen errata facile ipfe deteges, & ornniJiudio cavebisi
The Fifty-fecond F
The Description of a wreath' d Column, of the COMPOSITE Order.
the leifer Circle gives that of the hollow Parts of the faid Wreaths 5 as may be perceived, by apply-
ing a Ruler from the Wreaths to the Circles of the Plan. From the Four Points of greateft Breadth
in thofe Circles, four Lines parallel to the Ground-line are continued to the Vifual E D, and thence
again continu'd parallel to the Perpendicular D F. From the Elevation A, the four and twenty
equal Parts of the Column s Height, are transferr'd into the Line D F, and Vifuals drawn from each
to the Point of Sight O. By the Interferons of thofe Vifuals with the Four Perpendiculars afore-
faid, are drawn the wav'd Lines MN,PQ_ 5 from which, both the Out lines of the fmifh'd Co-
lumn are defcribd. But the Fore-part of the Pedeftal, Column, and Cornice, is taken from the
Line GH; the Back-part of the fame from the Line I L.
o
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FIGURA Quinquageilmaquarta.
Veftigia sedificii Ordinis CORINTHII.
ESCRIPTURI adificium Corinthium oclangulare, ponimus
hie veftigia unius ex quatuor partibus pilarum, quibus impo-
tare oportebit puntla qua fpeclant ad membra propinquiora folido parieti, deinde
alia.
i
given the Geometrical Plan of the Pedeftal ; and in
with the Breadths and Lengths of
the upper part, that of the Cornice ;
each Member : fo that by transferring the fame into the Ground-line, after
that are next the Solidity of the Wall ; ann then proceed to others.
Fig. li v.
iTHE-QUVjOO'-f'-l
Fig. la/: 1
ilM M teJ^Ss' r
FIGURA Quinquag
Elevatio sedificii Ordinis CORINTHII
L E VAT10 geometrica tedificii octangularis
congruit cum duobus ejus vejtigiis figurd
antecedents. Quia verb elevatio parietis
CORINTHII.
N hac Figurd, line am plani coincidere volui
cum lima horizontis. Itaque videri nonpojfet
veftigium infer ius, nifi ut alias deorfumpro-
traxi lineam plani, hie e converfofurfumpro-
movijfem lineam horizontis, qitam confiitui
mediam inter line as plani utriufque vejtigii, ut amb&projeBio-
nes ejfent deque diftmSla. In elevatione, columna fecunda*
quam, ut dijxi, paries abfeondit, line is occult is dejignanda eft.
The Fiftv-fixth
j
FIGURE.
The Perfpeffiive Plans and Upright of the CORINTHIAN
Dejign foregoing.
''/_!"
5
FIGURA Quinquagefimafeptima.
Adumbratio Figure fequentis*
IBf* ^Hs&H
Have drawn this Figure apart, that you
IfiipBSr^' jijp|jl3
may fee the Manner of defcribing the
SB \f Kg?*?. '=j\fia^^^
Out-line of the whole Work, by taking
the Heights of the feveral Members from
-
[_
*skflIVj ./ :
-~ .***^l
\[F
EEEEfcS^^i
'.. A
F I G U R A Quinquagefiinanona.
Veftigia Tabernaculi oftangularis.
Ottawa*
3
Vifudlis
cum ea quam ereximus figura quinquagejima-
CD recipit feBiones perpendicularium, qu<e
deferviuntpro elevatione figure fequentis, utfepius diBum eft.
Si fades interior delineandajitfeorjim a facie anteriori, illam
perficies ope linearum CE, ifam ope line arum FD.
qua in telaritspinguntur, alioquin jufto minora viderentur. Atque hinc dignofces, cur arcus qui
in telariis anterioribus pertingeret folum ad B, in pojlerioribus elevetur ufque ad H.
Figura fequenti proponemus modum delineandi faciem intemam telariorum, adhibit a reticulatione
externa faciei', ad intelligentiam verb methodi, fiat in hac figura. recta
illius parallela HP ad DC,
ac retfa BC dividatur in totidem partes aquales, in quot partes divifa fuerit reta P C.
The Sixty-firft F
The Manner of eretfing Machines, that con/ifl of federal Ranges of Frames.
but the Half-Breadth of the faid Frames, that you might have a Sight of
the Poles and Braces which fupport them. The Line LS is the Line of
the Plan, or Ground-line ; the Line DG is that of the Horizon ;
and
the Point of Diftance, which falls' without the Page CG prolonged, is as
far from the Point C, as the Point of Diftance is from the Point of Sighe
in the upper Part of the Fifty-ninth Figure. The Horizontal is cut perpendicularly in DG
by the C
Line E F, which is and from the
the Section of the outer Face of the Tabernacle begirt
;
Point C
the equal Divifions for the Net-work of the foremoft Frame, as is (hewn in the Sixty-fecond Figure.
The Line I L, which is the Section of the inner Face of the Tabernacle, may at pleafure be fee
nearer or farther from the Line E F, to which it is parallel. By the Divifions of the Line E F (as
M, N, O) Lines are drawn from the Point of Diftance to the Perpendicular I L, for the Net-work
of that Frame ; for the Diftance DC obliges the Parts of D to be painted larger, otherwife they will
appear lefs than they really ought. And from hence you may difcern, why the Arch, which in the
foremoft Frame would reach only to B, does in the hindmoft rife up to H.
In the following Figure is fliewn the Manner of delineating the inner Frame, from the Net-work
of the outer Face $ for the better underftanding of which, make the Line P in this Figure parallel H
to DC, and let the Line BC be divided into as many equal Parts, as the Line PC was.
F I G U R A Sexagefimafecunda.
De reticulandis telariis, qua: reprsfentent xdificia folida.
OU
have jointly in A, the two Defigns of a Tabernacle, which are to be drawn fe*
; the fame Net-work ferving
parately for both, which is alfo mark'd with Numbers.
When you have therefore refolv'd on the Size of your Work, on the Pavement of
fome Room capacious enough, make a Net-work anfwerable, and affix thereto the
Numbers, as in your Copy By the Help of which, you may on the Pavement de-
:
fcribe the Out-lines of all thofe Members that are requifite to the outer Frame of the
Tabernacle. This being done, let the Frame be laid exactly in its place on the faid
Pavement, and with a black Line ftrike thereon the fame Net-work ; adding as ma-
ny Vifual Lines as you pleaie, which will be of Ufe for drawing Lines to the Point
of Sight, when you come to paint the Frames afunder. Another Net-work on the
Pavement is alfo neceiTary for the inner Face of the Tabernacle, which fhould bear fuch
Proportion to this, as the Divifions of the Line I L do to thofe of EF in the Sixty-firft
Figure ; and by this means the Out-lines of the inner Frame, &c may be drawn, as has been ihewn already.
.
Thus the Out-lines of the inner Face can't be defcrib'd, without rubbing out the firft Net-work, and making a fe-
cond on the Pavement ; which wou'd be very troublefome. Wherefore, from the Plan of the Fifty-ninth Figure, take
the two Defigns, and transfer the Line PC of the Sixty-firft Figure on the outer Face, and the Line BC on the in-
ner Face. Then if P C were divided into fifteen equal Parts, B C fhall be divided in the lame manner, and by thefe
Divifions make the Net-work on each Defign. And altho' the Squares of the outer Face be larger than thofe of
the inner one, the fame Net-work may neverthelefs ferve for giving the Out-lines of both. What has been faid of
thefe two Defigns may be underftood of many. For Inftance, if five Ranges of Frames were requir'd, five Defigns
muft be made in Paper. If in all the Defigns the fame Net-work be us'd, then five feveral Net-works niuft be
made on the Pavement ; but if the Defigns have five different, then one Net work on the Pavement will fuffice.
You muft be very careful that all the Squares of the Net-work be exactly divided, and at right Angles. The
ready way of making a right Angle is thus Placing one Foot of the Compaffes in the Point F of the Line E F, and
:
the other at pleafure in O, defcribe the Circle G F I ; and from the Point G draw the Diameter G I. The Line F H
drawn by the Points F I, ihall be perpendicular to F E.
FiG.Lxm.
FIGURA Sexagefimatertia.
Veftigia aedificii quadrati.
my felf did in this Figure. But having founl by Experience, the great
Difficulty of defcribing thefe round things, I have long fince made ufe of
another Method, which, as I faid before, is referv'd for another Volume.
FIGURA Sexagefimafexta.
Proje<9:io aedificii rotundu
taining the Holy Sacrament. Beneath the Altar was laid a Figure of our
Saviour Chrift taken down from the Crofs. In the midft of the Tambour,
was a Piclure of the BlefTed Virgin in extreme Sorrow ; and on the Baluftrade,
Fig. lxyh.
FIGURA Sexagefimafeptima.
Veftigium geometricum, ac prima prseparatio ad figuram
feptuagefimamprimam
GREG 1 AM adeb fpeciem prafetulit, atque oculis adeb impofuit ma*
china quam conjlruxi anno \6)s<) :i
pro fupplicatione qmdraginta horarum^
'in Templo Urbis Famejlano, ut decreverim fatisfacere Studiofis, publici
juris faciendo non modb imaginem totius adificii, fed etiam illius vejligia
& elevationes : qua omnia ea. diligentia. delineavimus, veluti Opus ipfum
non penicillo colorandum, fed lapidibus extruendum fuijfet. Spatia fit'
of the Walls and Columns. The other fhews the Breaks and Projectures
of the Pedeftals and Cornices. Left many Lines fhould caufe Confufion, begin with thofe Mem-
bers, which produce the occult Lines on the Side A 5 understanding the fame alfo of the other half.
In B the occult curv'd Lines are the Plan of the Cupola which crowns the Structure. The Plan C
is that of the inner Veftibule, but that of the Theater is here omitted, thro' want of Room in
the Page.
FIGURA Sexageiirnaotava.
Elevatio geometrica veftigii prsecedentis, &
fecunda prse-
paratio ad figuram feptuagefimamprimam.
....
FIG.LXVm
LI I '
'
' -
Fig. lxix.
FIGURA Sexagefimanona,
Deformatio figure fexagefiniaefeptiiii^e,
veftigii prce- &
paratio tertia ad figuram feptuagefimainprimaiiL
fgurd quadragejimafecunda.
FlG.LXXI
FIGURA fi naabruna.
Theatrum reprsefentans Nuptias
ftructum Romse, anno 1685. in expofidone
cramenti in Templo Farnefiano Societatis JE
X antecedentibus praparationibus eruimus projeffionem nobilis hiijus Av*
chiteffura, qua oculos impkbat turn ad facem foils diurnam, turn pra
c'ipue ad lumen candelarum ; ex quibus mult a palam erant expofta, alia
taken in their Diftances, that the Candles plac'd on the Back of one of them might illuminate the
Face of the other behind it. Moreover, each Scene confifted of as many Parts, as there were prin-
cipal Members in the two greater Facades fo that the Joints were icarcely difcermble
5 arid lome :
Pairs of them being coupled with Hinges, folded and unfolded, for the more cafy managing and
preferving them.
I doubt not but thofe who have follow'd me thus far, will be encouraged fo to profecute their
Studies, as to be able to defign even greater and more noble Works,* than thefe of mine.
Septuageflmafecunda.
De theatris fceniciSi
HEATRIS qua jam delineavimns affinia funt theatra fcenica; in his tamen non
adeb facile refer itur punclum oculi feuperjpeiliva. Traterea^ quia ex obliquitate
canalium intra quos moventur fcena, oritur ut linea retla qua videri debent pa-
rallela ad lineam plant, non debeant effe parallels fed obliqua, harum delineatio
difficultate non caret. Incommodum iftud vitari pojfet adhibendo canales parallelos
ad pofienium, ut alicubi fieri /diet, prafertim in Germania. Nihilominus ufus Ita-
licus affert hoc adjumentum, ut illi quibus incumbit fuggerere acloribus, vel feenas
movere, aliifque fimilibus praejfe, facilius lateant &
liberius fungantur munere
f ao -
,
1)t brevem fummam habeas eorum qua deinde lathis declaraturi fumus, hanc
figurant contemplare. 1,2,3,4, eft veftigium aula qua habet in longitudine centum-
Jr'viginti palmos Romanos, in latitudine fexaginta palmos ; ut oftendit fcala S triginta
palmorum. Medieiatem loci occupat theatrum, medietatem obtinent podia & loca fpeclatorum. O punclum in
quo uniuntur linea vifuales, D locus pro apparentiis rerum magis ac magis diftantium. BC locus pofcenii.
HH funt canales obliqui, quorum latitudo eft dupla latitudinis fcenarum. F Q frons
fades theatri. A O ejus
profunditas aut longitudo. E locus pro pfaltibus, tibicinibus, 6s fiftulatoribus. K fpatium profpetlatoribus. I
veftigium podiorum. L fcala podiorum. N ipforum elevatio. M declivitas tabulati, cum feclione elevatione
theatri. Et fcenis ex latere infpeBis, qua cum fuis canalibus congruunt, ut demonftrant linea occulta. O O linea
normalis ad lineam horizontalem. P &
Q_ elevatio fcenarum coram injpeclarum, qua introrfum flefluntur ; in
latitudine congruunt cum canalibus veftigii B, in altitudine cum fetlionibus elevationis M
; ut conftat ex lineis
occultis. In eadem elevatione M pars altitudinis tribuenda eft fcenis, pars laquearibus R, per qua jungitur
unumquodque per telariorum. V &
V linea ad explorandum an detur vacuum inter feenas laquearia, vel inter
feenas, vel inter laquearia. In quibufdam autem fcenis, loco laquearium pinguntur nubes &
aer.
Grooves in which the Scenes run, it comes to pafs, that the right Lines which
ought to appear parallel to the Line of the Plan, muft not be drawn parallel there-
to, but oblique which is a Work of fome Difficulty. This indeed may be avoided
;
by fixing the Grooves parallel to the Pofcene ; as is ufual in fome Places, efpecially
in Germany. Neverthelels, the Italian Manner has this Advantage, That thofe who
are employ'd to prompt the Actors, and lhift the Scenes, &c. arelefs expos'd to Sight,
in the Performance of their Bufinefs.
In this Figure I have given you an Abridgment of thofe things, which fhall here-
after be more enlarg'd on. The Numbers 1, 2, 3, 4, denote the Area of a Hall an
"^ hundred and twenty Roman Palms in Length, and fixty in Breadth ; as is manifeft
from the Scale of thirty Palms mark'd S. Half this Space is taken up by the Stage, the other half by the Spectators.
O is the Point in which the vifual Lines concenter. D is the Place of thofe things that are to appear moft remote.
BC is the Place of the Pofcene. HH are the oblique Grooves, whofe Lengths are double the Breadth of the Scenes.
FG is the Front of the Stage. AO is its Depth or Length. E is the Place for the Mufick. K is the Room for
Spectators. I is the Plan of the Galleries. L the Stairs to the fame. N is the Elevation of the Galleries. M
Ihevvs the Declivity of the Floor, with the Section and Elevation of the Stage and Scenes vievv'd on the Side
;
anfvvering their refpective Grooves, as the occult Lines demonftrate. O O is a Line perpendicular to that of the
Horizon. P and Q_are the Elevation of the Scenes view'd in Front, turning inwards, in Breadth agreeing with the
Length of the Grooves of the Plan B and in Height anfwering that of the Sections of the Elevation
; M ; as is evi-
dent from the occult Lines. In this Profile M, part of the Height belongs to the Scenes, and part to their Sof,
fites, or Cielings, R; where each Pair of thefe Frames are join'd. VV are the Lines by which is efpy'd what Va-
cancy there is either between the Scenes and their Cielings, between the Scenes themfelves, or between their refpective
Cielings ; tho in fome Scenes the Place of thefe laft is fupply'd by painting therein the Air with Clouds, S?r.
I
The Seventy-third F
Another Plan of a Theater, with the Method offinding
the Point of Sight therein.
hereafter given, it will appear to him that views it from F, as a regular Piece
of Perfpeclive plac'd in A.
<n y ui
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FIGURA Septuagefimaquinta a
Elevatio fcenarum coram infper.arum : ubi docetlir artificium tit feenaz oblique
appareant redtae.
HE Seenes in S have their Breadth from the Plan of the Seventy-third Fi-
gure, and Height from the Elevation of the Seventy-fourth Figure,
their
and are iuppos'd to ftand perpendicularly in their Grooves 5 all which is
alfo reprefented in P and Q. or the Seventy-fecond Figure. I would have
you oblerve, how much the Floor rifes, from its Edge A, to the Pofcene
D, and to the Point of the Theater O. You mould alio note the Ele-
vation of each Scene, which, by reafon of the Obliquity of the Grooves,
turn inward Wherefore the Lines B L, K I, of the Part C, do not feem
:
Parallels to the Ground-line, as they really are 5 and the Vifual L F tends
not to the Point of Sight O, but to the Point F. But if the feeming Excefs, which the Line B has K
at top and at bottom, above the Line LI, be transferr'd en the Side of the Scenes E, (which Excefs
may be taken from the Seventy-fourth Figure) and you draw the Lines L G, I
alfo 5 thefe Lines H
will appear Parallels to the Line of the Plan. Then drawing the Line LO, lb as to make the An-
gle GLO equal to the Angle BLF, the faidLO (hall tend direclly to the Point of Sight O and <
RT to have the fame Diftance as the Lines LI-; and fo of the others. Where you are to take
^Notice, that the Lines RS, TV, are the fame with the Lines LG, IH, of the Scenes E and that :
the Lines RS, TV, are not Parallels ; akho LG, I H, feem to be fo. Therefore, if you draw
the Line R L, fo that the Angles S R L, and G L O, be equal ;
the Line R L mall ferve as a Vifual,
and L fhall be the accidental Point of Sight, for painting the Scenes of the Side 3
and the Lines N
RS, TV, (hall be us'd as Parallels. What remains on the Frame beyond thofe Lines, is to be
reckon'd as nothing } but you may paint there Air, or what you pleafe. The accidental Point of
Sight for painting the Scenes of the Side M, is I.
FIGURA Septuagefimafexta.
Modus delineandi exemplar fcenarum.
Scenes are B -
?
the painted ones A ; with
the additional Proje&ures of Cornices
and other Ornaments. The Draught of
the Scenes A is produc'd from the Plan C, after the ufu-
al Manner ; in which you may
obferve the Ground-line
to be lower than its true place, for the greater Diftinc-
tion of the Parallels, The Geometrical Plan is D.
TME-CL A-.5''J0V'-I
iChOCL fARTI
LiBfVAKT:
Fig. ixxvn.
I
FIGURA Sep
Modus reticulandi & pingendi fceoas theatric
O S 7* QUA M in pannmento exattififime difpofueris turn pofceiihtm, tunl
ex ordtne fcenas reliquas, unam alteri incumbent em,
figura fep~
lit
Points on the Sides, for the Service of the oppofite Scenes refpedtively.
Then, fuppofing that the Net-work of the fmall Draught of the firft
Scene A, confifts of perfect Squares tranfport the fame Divisions both on
;
the Lines HI and CD of the firft Scene B and with a black Line ftrike
5
the Vifuals from the Point E, by the Points of the Divifions of HI ; and
by the Help of thofe Vifuals make the Net-work of the Scene B, as is done in the Figure. When
that's done, lay it afide 5 and do the next in the fame manner 5 and fo of the others. Laftly, by
the Divifions, which the Vifuals from the Point Emake on the Perpendicular LM, finifh the Net-
work on the Pofcene, which confifts of perfeft Squares, tho that of the Scenes does not. The
two Scenes of the lower part of the Plate, G and F, {hew what Diverfity of Ornament the Painter
may introduce. I would have you alfo take particular Notice, both of the tranfverfe Lines of the
Cornice, which are not Parallels to each other ; and of the Vifuals which are directed to their op-
pofite Points becaufe in thefe two Particulars lies the greater! Difficulty of defcribing Theatrical
:
Defigns; for the furmounting which, it's abfolutely necedary, that you carefully regard the Rules
hitherto delivered.
F I G U RA Septuagefimao&ava,
De proje&ionibus horizontalibus.
UEMADMODUM facilior eft deformatio columnarurn
jacentium, quam columnarum ereclarum ; (nam linea qua in
iftis Junt perpendicular es} in illis Junt vijuales> ac nullus
circuius amittit fuamformam) ita projefftones horizontales,
m %mk if
L fil '
Hff ^
the Ground, than thofe that are Erect, (the Lines in
Jfjfc '
mm v
thefe laft being Perpendiculars, which in the former are
'
^B^fiW^frftp^
Vifuals, wherein no Circle lofes its Form) fo the Hori-
1 'V-'^S gffsBft
s
-i
2|
It
* ^ o cC
hu=Q
f~ --^ *
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FIGURA Septuagefimanona a
The Seventy-ninth F
The Plan and Elevation of a Corbel in Perfpe&ive*
does the Office of a Plan ; and the Side ferves here for the Elevatior .
as is plain from the occult Lines, which from the Divisions of the Face
end to the Point of Sight, and from thofe of the Side tend to the Point
of Diftance 5 both which Points, in this and the fucceeding Figure, fall
without the Plate. From the Interferons of thefe Lines arc drawn
others, that determine each Part of the Perfpeclive-Plan 5 by means of
t
which, the Elevation of the Side being alfo form'd, the Breadths and
Lengths of the folid Corbel are taken, as ufual, from the Plan, and the Heights from the Eieta-
tion. Here and henceforward, the Terms of Length and Height are made ufe of, as tho the Pian
of each Perfpective were vertical $ according to which Supposition, I L is the Breadth of the Cor-
bel, SR the Height, and RL the Length; whereas in reality SR is the Length, and RL the
Height. For the more ready Defcription of this Figure you will do well to obferve, that the
Lines I L, L M, G H, of this Plate, bear the fame Divisions as DC, F E, A B, of the Seventy
eighth Figure,
FIGURA Oftogefima.
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HE
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Ut Perfpeliv<e Tyronibus confulerem, qui fortajfe non adeo
facile percipient duodecim primas figurarum explicationes*
totidem novas explicationes hie addo.
Explicatio linearum plani, horizontis, pun&orum & An Explanation of the Lines of the 'Plan and Hort
oculi, &diftantias; de hoc ultimo preffius. zou, and of the Toints of Sight and T>ifance but
more efpec tally of this lafl.
the w^.
Wall to u
''
non caret.
l
X v the Profile,
Zin \ K in the Elevation : which
,
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I G. II.
Quadratum optice delineatum. A Square in Terfpeclive.
POS T>UAM
A,
c
defcripferis in papyro feparata quadratum
fades duas lineas parallelas inter fe dift antes
AFTERSquare
you have drawn on a feparate Paper the eeome
geometricum A, trical make two parallel Lines as much diftant
altitudine, quam dederis puntlo oculi ; linea inferior erit linea plani, one trom the other, as you would have the
Height of the Eve
linea fuperior erit linea horizontalis, fuper quam ponuntur puntla The under Line is the Plan or Ground-line-, the
uppei^Lme is
oculi O, 5? diftantia E, quod fit ex parte quam mavis : linea dif- that of the Horizon on which are plac'd
the Points of Si-ht
tantia non debet effe brevior magnitudine rerum defcribendarum. O and of Diftance E, on which fide you pleafe The
L?ne
transfer poftea circino latitudinem quadrati A
in C B, una cum of Diftance mould not be lhorter than the
Extent of thethincr
vifualibus ad puntlum O & finuliter transfer longitudinem ipfius
; to be defcrib'd in Perfpeftive. Then with your Compafies fe?
quadrati in D C, ducens lineatn puntfo D ad puntlum diftantia
a- the Breadth of the Square A on CB, and
draw Vifuals to the
E, tranfeuntem per vifualem CO, & ubi illafecat, habebis termi- Point O ; and from the Length of the Square
transferr'd into
num quadrati optici GFCB, ducens paralellam ad lineam plani DC, draw a Line from the Point D to the Diftance
E anrl
QUID QUID
Transferres latitudinem
in proximo
BC
quadrate vidifti, fades inprafenli.
in B C, 6? longitudinem in C D,
WHAT Figure,
was done
in the preceding repeat in this Third
Transfer the Breadth B C into B C, and the
auctns latitudinem, BC ad punblum oculi O, longitudinem& CD Length into CD, drawing the Breadth B C to the Point of
adpuntlum dift antics E. Ubiverb bac tinea fecat vifualem CO, Sight O, and the Length CD
to the Point of Diftance E.
mV terminus, reilanguli fupradicli FG, B C, iitf u parallelam ut Where this cuts the Vifual C O, you terminate the Square
fupra. FG, BC, by drawing the Parallel, as before.
F i c. IV.
Quadratum duplex optice. A double Square in TerJpeBive.
ut vides in punclis i, 2, 3, 4, 5, 6, fuper tineam plani in iifdemnu- or folded Paper, the Breadth of every Line, as you fee the
meris, &
ab ifiis transfer es vifuales adpunclumO. Poftea transfer Points 1, 2, 3, 4, 5, 6, on the Ground-line mark'd with the
longitudinem 7, 8, 9, 10, fuper lineam plani in iifdem pariter nume- fame Numbers ; and from thefe draw Vifuals to the Point of
ric, & ab due tineas ad punblum diftantia E.
ifiis
Ubi his tinea Sight. Then transfer the Points of Length 7, 8, 9, 10, into
fecant tineam 6, 7, O, fiunt tinea parallels ad lineam plani, & the Ground-line, as you fame Numbers ; and di-
fee alfo in the
quadratum conficitur ; par em conftrutlionem fades de quadrato fe- rect their Lines to the Point of Diftance E, where thefe inter-
cundo & terlio, facile ex diclis. fect the Vifual 6, 7, O, make Parallels to the Ground-line, and
the Square is complete. The fame is done in defcribing the
middle Square, and that on the other Side.
I G. V.
Quadratorum veftigia cum elevationibus. Several Tlans of Squares, with their Elevations.
F 1 g. VI.
Modus delineandi optice fine lineis occultis. The Manner of defigning in TerfyeBive without occult
Lines.
tigi ; oftendam igitur bic, quomodo quinque cubi adumbrati defuman- of occult Lines, which I only touch'd upon in the foregoing Fi-
tur ab eorum veftigiis, (3 elevationibus. gure. I therefore here fhew you, how the five fhadow'd Cubes
of this Figure are taken from their Plans and Elevations.
Duas debes facere praparationes, fi tibeat, in cbartis etiam fejara- Two things preparatory are to be done, and, if you pleafe, on
tis. Prima erit for mare geometric e veftigium, elevationem, ut & feparate Papers.The firft is to defcribe the Geometrical Plan and
vides in B ti? A. Secunda erit diftribuere fuper lineam plani latitu- Elevation, as you fee in B and A. The fecond is, to difpofe on
dinem veftigii B, puta in N M, & in duabus proximis : Illius lon- the Ground-line the Breadth of the Plan B as for Example, in
;
gitudo MX
duEta ad difiantiam D, fecat vifualem in R. MO N M, and the two next to it. The Length thereof X, drawn M
Spatium autem obliquatum E
utile etiam eft aliis duobus quadralis to the Point of Diftance D, cuts the Vifual MO inR; and die
pqfitisfuper eandem lineam plani ; anguli quorum tranflati ad dif- Forefhortning E ferves alfo for the other two Squares plac'd
tantiam B, totidem angulos dabunt inter vifuales Hoc NO, MO. upon the fi me Ground-line, whofe Angles being directed to the
pofito, duces perpendicularum ad angulum N, qua in elevationibus Diftance D, give as many Angles on the Vifuals O, _M O. N
geometrids femper neceffaria eft, eaque tertia tinea eft, quam fupra This done, erect a Perpendicular on the Angle N, which in
dixi. Transfer poftea altitudinem A in N F, cum vifualibus F O, Geometrical Elevations is always neceffary, and is the third Line
NO, fc? invenies altitudinem S T. Hoc pariter de cajeris eveniet. mention'din the firft Figure. Then carry the Height on NF, A
drawing the Vifuals F O, N
O, which determine the Height ST,
and that of the other Squares. Scien-
Sciendum fupereft quonam mode fupraditld praparatione uti pofiis It remains to be known, how to make ufe of the forefaid
ad conftruendosftylobatas adumbratos, fc? inornatos. Preparation for the Conftruction of the fhadow'd Pedeftals.
On another Paper, therefore, difpofe the Horizontal and
Super aliam igitur cbartam difpone fitum cum duabus lineis, plant Ground-lines, together with the Point of Sight O, and the-
fcilicet, & borizofitis, una cum puntlo oculi O, s? perpendiculari Perpendicular V, keeping the fame Meafures as in the afore-
V, ejufdem menfurm cum fupraditla prceparalione, & faciens uli faid Preparation, and doing as I have done. You may Drove
me feciffie vides. Experire poftea circino NF aqualia 5, &?
ejfe i, by the Compaffes, thatNF is equal to 1, 5, and 2, 6, and'mea-
2, 6. Metire pariter ST, tf invenies cequalia J & 3 fades ; furing S T, you'll find it equal to 7, 3 ; then drawing the le-
poftea lineas planas, vifuales & ad puntlum oculi, 6f babebis pla- vel Lines, and the Vifuals to the Point of Sight, you have the
num fuperius cubi in 1, 2,3,4. Hoc idem faciendum eft de aliis. upper Face of the Cube C in 1, 2, 3, 4. The fame muft be
Uno verba : anguli veftigiorum dabunt tibi lineas perpendiculares, & done in the others. In a word, the Angles of the Plan give
angidi elevationis dabunt lineas planas ; atque bocfemper erit. you the perpendicular Lines, and the Angles of the Elevation
give the level Lines, or thofe parallel to the Ground-line ; and
this you are always to underftand for the future.
F 1 g. VII.
AHud exemplum conftruendi veftigium geometricuin.cum Another Example of a Geometrical Tlati^ with the
elevatione longitudinis. Elevation of its Length.
VIDES
adumbratum.
hie ftylobatam P in quatuor partes divifum, C5
Si ilium optice delineare velis, conftruere de-
1
IFyouyouhere
would delineate in Perfpective the Pedefi-al P, which
fee divided into four Parts,
and fhadow'd ; you
bes fupraditlas pr¶tiones, geometricam nempe, & opticam. No- muft make the two foregoing Preparations namely, the Geo-
;
vtine geometricce intelligo veftigium A, & elevationem B; nomine vtetrical and the Perfpetiive. By the Geometrical, I mean the
vera optica;, Mum id quod includitur in G, C, D, E, O. Plan A, and the Elevation B ; by the Perfpetiive, all that's
contain'd within G, C, D, E, O.
transfer igitur latitudinem geometricam CD A faper
veftigii li- Then transfer the Geometrical Breadth of the Plan A, into
neam plant pariter CD, fcf transfer longitudinem D ILfuper lineam C D of the Ground-line ; and the Length D E of the laid
plant pariter DE, & babebis veftigium
operansmore folito ; optice". Plan into D E of the Ground-line working after the ufual
'Transfer poftea elevationem H X C G perpendicularis ducens
in ; manner ; and you will have the Plan in Perfpeftive. Again,
vifualem G O, eleva ad lineam G O omnem angulum, que?n pla- fet the Elevation HX
on C G of the Perpendicular, and draw-
num facit in linea CO, & babebis altitudinem necefifariam etiam ing the Vifual G O, elevate thereto every Angle made by the
fetlionis. Plan on the Line CO, and' you have all the Heights necefTary
for the Profile.
Transferes denique circino in aliam cbartam angulos veftigii, qui Laftly, by the Compaffes you tranfport on a clean Paper
dabunt tibi lineas perpendiculares, &
anguli fetlionis dabunt lineas the Angles of the Plan, which give the perpendicular Lines
;
planas : Vifuales vero duces adpuntlum oculi. and thofe of the Profile, which give the level Lines. Ths
Vifuals you draw to the Point of Sight.
I G. VIII.
Stylobata optice. ATedejialin Ter/pecJive,
HIC tricam
etiam poftquam feceris fupraditlas praparationes, geome-
fcilicet, &
opticam ; fades prefentem ftylobatam ad-
HERE parations,
you have made the two foregoing Pre-
alfo, after
the Geometrical
and the Perfpedtive ; this
umbratum , transfer ens circino angulos veftigii, ut conftruas per- fhadow'd Pedeftal is made by taking with the Compaffes the
pendiculares; & angulos fetlionis, ut formes lineas planas, utfupra. Angles of the Plan, for drawing the Perpendiculars, and the
Nam fie duo anguli veftigii MO dabunt lineas perpendiculares Angles of the Profile for the level Lines, as before. Thus the
EF; angulus veftigii K dabit perpendicular em V, &
fie reliqui an- two Angles of the Plan M
O, give the perpendicular Lines
guli dabunt reliquas lineas perpendiculares. Similiter a feHiojie an- EF. The Angle of the Plan R, gives the Perpendicular P ;
gulus I dabit lineam planam H N. Breviter, primus terminus fec- and the other Angles give their refpeclive Perpendiculars. So
tionis I D dabit altitudinem linearum planarum in facie ftylobatm likewife m the Profiles, the Angle I gives the level Line N.' H
admnbrati E F H N. Secundus terminus Qjlabit altitudinem faciei In fhort, the firft Out-line of the Profile I D gives the Height
oppofita, & occulta; P. of the level Lines on the Front of the fhadow'd Pedeftal. The
other Out-line Q^gives the Height of the occult and back
part thereof.
Duo tamen moneo ; primunt, ut faciens veftigia geomelrica, ducas Neverthelefs, two Things are to be obferv'd ; firft, that in
ab elevatione A totidem lineas ad latera veftigii B, quot angulos making the Geometrical Plan, you draw from the Elevation A,
inveniens in prominentiis fupraditla elevationis A caduntfuper vefti- as many Lines to the Side of the Plan B, as you have Ancde3
gium B quare prominentia major
, in elevatione L facit lineam ma- in the Projecliures of the faid Elevation as is manifeft in the
,
jor em L in veftigio. pointed Lines, which fall from the upright A, on the Plan B,
where that of the greateft Projedture L in the Elevation makes
the outer Line L of the Plan.
Secundum quod moneo jit, ut volens elongare veftigium optice The fecond thing to be obferv'd, is, That if you would
delineatum MOR linea plani K, quantum erit fpatium C in ea- have the perfpeclive Plan M
O R as far wirhin the Ground-line
dem linea plani, tantumdem elongabitur fpatium Ga linea ejufdem K, as the Breadth of the Space G on the fame Line, the Space
plani. G will then be the Diftance thereof from the faid Ground-line.
F 1 g. IX.
Optica delineatio Architecture Jacobi Barozzi : & pri- The Architecture of Vignola put in 'Perfpetlive ; and
mum, de ftylobata Ordinis Etrufci. frf, The Tedejtal of the Tufcan Order,
QUA ND O QUID E M
rozzii, earn hie penitus
omnibus nota
immutatum cum fuis
eft Architeclura Ba-
regulis particu-
SINCE
I
every one is acquainted with Vignola's Architecture,
determine not to alter it, but to explain it, with its
laribus, & generalibus expono ; Metieris autem Mam modulis ut general and particular Rules ; meafuring the fame with Mo-
fieri filet; qui igitur illam defiderat, in fequentibus figuris inveniet dules, after the ufual manner. He therefore that has it not,
totam, fimulque difcet optice redftere. Cum autem non minus Op- may find it in die following Figures, and, at the fame time,
tica; ftudiofo quam Architetlurcs necefife fit, efficere delineamenta learn the Method of putting it in Perfpective. And whereas
rci
rti conftriienda, ab hoc vere, ab Mo ficli, id eft, cum uterqui fa- the Drawing the Plan, Elevation and Profile of what's to bp
cere debeat veftigium, elevationem, feclionem fcf'faciem, ob id deli- built, is no lefs neceffary for him that ftudies Perfpeclive, thna
neavi hie JlylobaSam Ordinis Elrufci cumfuo veftigio, quern vides in for the Architect, the firft performing in Appearance, what
AB, ut facilius percipias quod inproximafigura di::i, a totidem fci- the latter does in Reality ; 1 have therefore here delineated
licet angulis prominentiarum elevationis, totidem ducendas ejfe lineas the Tufcan Pedeftal, with its Plan, as you fee in B, that yog A ,
fuper lineam veftigii ; cum hoc necejfe fit ad inveniendum illorum an- may the better apprehend what Iforegoing Figure,
faid in the
gulorum cum iftis lineis concurfum in fuis degradationibus. Nota That from all the Angles of Proje&ure in the Elevation, Line$
longitudinem, quamvoco F duclam'm G ejfe Mam, a quanonfolum muft be let fall on the Plan ; this being of abfolute neceflity for
tiafcitur veftigii obliquitas, verum etiam ab ilia nafcitur obliquitas finding the Correfpondence of the Angles with the Lines in
illius quam voco feclionem E. Ob id in altera hujus ejufdem figures the Perspective Projection. Obferve, that what I always call
Jlylobata totum idi contrario videbis. Length, as from F to G, is that which proceeds not only the
Forefhortning of the Plan ; but alio that which I call the Pro-
file E. Wherefore in the oppofite Pedeftal of the fame Figure
you'll fee a contrary Difpofition of the whole.
Non ampliits repetam quonam modo eruatur nitida delineatio, de I fhall not here repeat, how the finifh'd Pedeftal is taken from
qua fuperiiis pluries; die am t amen angulos primi termini feelionis E thefe ; having fo largely fpoken of that before but briefly ;
daturas lineas planas faciei D, & angulos veftigii daturos omnes per- tell you, that the Angles of the firft Out-line of the Profile
E
pendiculars. give the level Lines of the Face D, and the Angles of the Plai
give all the Perpendiculars.
t I G. X.
Stylobata Doricus, &
ratio vitandi difficultatem quam- yfDorick Tedefal, with the Manner of jhunning a
dam quae occurrit inter ilium optice delineandam. Difficulty ) -which occurs in pitting the fame in 'Per-
spective.
F i g. XI.
Stylobata Ionicus, & ratio vitandi aliarn difficultatem in The Ionick Tedeftal, and the Way to fhun another 'Dif-
elevationibus. ficulty in the Elevations.
IN L K lis
elevalionibus etiam feelionis optice poteft ac cider e, ut ft vifua-
nimis reSa Jit, feclio B reftringatur. Elongando lineam
Elevations of
INhappen, the Profile in Perfpeftive,
that the Vifual L K may
be fo direct, as to render
it mayfometimes
plani ab L ad M, vifualis MN erit inclinatior, & confequenter the Profile B too clofe and narrow wherefore prolonging the
,
feclio C erit latior cif diftinclior. Ground-line from L to M, make the Vifual MN, which being
much more oblique, does confequently render the Profile C
-more broad and diftinft.
Nota, difficultatem banc Jape fapius te habiturumin figuris pm- And obferve that this Difficulty will very often occur efpe- ;
tipue, qua multas lineas habent, ut infigura quadragefima fecunda, cially in Figures that have many Lines, as the Forty Second Fi-
ubi pariter rationem vitandi confufionem reddam. gure has, where I fpeak alfo of the Manner to avoid the fame.
Nor let it trouble you, that in this Figure I have plac'd the
Nequetibi moleftice fim, quod in hac figura lineam horizontalem, horizontal Line below the Ground-line ; which I have done,
infra lineam plani collocaverim, id enim feci, ut illarum diverfos that you might fee their different Effecfs, and by changing the
tffeclus videas, utque tu in tuisftudiis mutes, di? difcas. Difpofition of your Defigns, improve and learn.
F i g. XII.
Stylobata Corinthius cum fuis pilis. A Corinthian Tedeftal with its Tildfiers.
Hon omnium fenfus eft, uni optico operi unicum tantum punclum affignare, e. g. toti fpatio for*'
nicis, tholi, & tribune, quam vocant, exprelTas in figura nonageilmatertia, nolunc coneedi uni-
cum pun&um, volunt coneedi plura.
*
ES^P O NT) E
O, objetlioncm banc dnpliciter intelligi pojfe : vet enim intelligi pofi
fit,, 11011 ejfe affignandum unicum puntlum toti illi Jpatu
.
at que in hoc ftnfu vera eft 3
;
cum enim fpatitim Mud valde oblongum Jit, dividi debuit in partes at que ajfignandd i
tribuna, qiiam diennt, tholo, 9 fornici, propria puntla ; cum hoc communiter do~
ceant, nbi Jitus nimium eji loiigus, pariim alt us. Vel po; eft intelligi de qualibet
ex ditlis partibus, &
fie hit elle Eta penitus falfa eft. Trimb, quia pr aftantiores
fornices aularum, &
templorum, qui optico artificio oruati fint, fi unicum opus red-
dibits a fuifmet authoribtts determinatum idemqne unicum puntlum accepiffe com
pertum eft. Secundb, quia cum ars optica fit r,iera veri fitlio, 11011 id piclor fa-
cere poteft, ut a qualibet parte fimulet veritatem, verum ab uno determinato puncld
id oftendit. Tertib, quiafi, e.g. fornici, qui uno integroque optico opere ornetur^
plura pmnttu ajfiguaveriri' nullum reperies locum, unde integrum opus Jpe flare pojjis, &
ad ftummum ex quoli*
bet punclo tantum partem illius fpeclabis, nufiquam verb totum opus. Ex ditlis igitur rationibus concludo ab
inducentibus plura puntla in eodem opere induct malum majus eo, quod unicum puntlum inducit ; quare hoc
bmnino necejfarium eft fitui in quo unicum opus firman dim fit, ad quod coliimare debeant ex omni operis parte
fipurte fimul f> architeclura. <j>ho P^fito, negari rationabi Liter nequit, a me etiam coneedi unicum puntlum fpe-
ctando fornici amplo, aptoque adreprafeutandum unicum opus, qualis eft fornix in T). Ignatii templo. Si verb
propter fitum irregular em, ut dicimus, architeclura extra puntlum aliquantulum deformetur, figure par iter&
dperi optico intermixta extra commune puntlum aliqualem patientur deformitatem, praterquam quod a fupra-
ditlis rationibus excufatvr. neqnaquam id vitio arti eft, fed laudi ; quandoquidem ars a fuo punclo exhibet,
proportioiie pofitd, ut reilum, ut planum, ut concavum, id quod tale non eft.
Every one does not approve, that in 'Perfpe^ive of great Extent oneToint of Sight only fhotild be"
affignd the whole Work 5 as for Example, In the whole Length of the Nave, Cupola, and Tribune,
exprefsd in the Ninety-third Figure, they will by no means allow of one Jingle 'Point, but injlfi
upon feverah
being very long, it ought to be divided into Parts, and proper Points affign'd to the
"Tribune, Cupola, and Vault of the Nave as is commonly taught, where the Situa-
;
ton is of a great Length, and not very high. Or it may be underftood of any One
f the faid Parts, and lb is altogether falfe. Firft, Becaufe in the Vaults of Halls or
Churches painted by the greateft Matters, if they confift of one Piece only, we find
lut one Point of Sight affign'd. Secondly, Since Perfpedive is but a Counterfeiting
f the Truth, the Painter is not oblig'd to make it appear real when
feen from Any
prt, but from One determinate Point only. Thirdly, Becaufe, if in a Va.uk, for Ex-
ample, where you would paint one entire Defign of Architecture and Figures, you
align feveral Points of Sight, you will find no place whence you may take a perfect
View of the Whole, and at beft you can only view each Part from its proper Point. From all which Reafons
I conclude, that the Introdu&ioi of many Points into the fame Piece, is more injurious to the Work, than ma-
king ufe of one only Wherefore 'tis ablblutely
: neceflary in a regular' Situation, and where the Work is all of
a piece, fo to place the fame, as that the Figures and Architecture may from every part of
the Defign have re-
fpecT: thereto. This fuppos'd, I confefs that 1 my felf make ufe of one Point of Sight only, in very large Vaults
that confift of one Defign, fuch as that of the Nave of the Church of S. Ignatius. If therefore thro' the Irre-
gularity of the Place, the Architecture appear with fome Deformity, and the Figures intermix'd
therewith feem
any thing lame and imperfect, when view'd out of the proper Point, befides the Reafons juft now given, it's fo
when view'd from the Point de-
far from being a Fault, that I look upon it as an Excellency in the Work, that
or concave when in reality it is not fo.
termin'd, it appear, with due Proportion, (height, flat, ;
INDEX. Fig.
/NSTRVME NTA paranda, TJTENSILS
^ for Drawing.
Explicatio linearum plant & horizontis, ac I. Explication of the Lines of the Plan and Ho-
puntlorum oculi difiantia, rizon, and of the Points of the Eye and of
the Diftance.
Modus delineandi opt ice quadratum, II. The Manner of delineating a Square in Perfpedtive.
Optica delineatio retJanguli, altera parte longioris, III. The Delineation of an oblong Square in Perfpedtive.
Optica defcriptio quadrati duplicis, IV. The Optical Delineation of a -double Square.
Veftigia quadratorum cum elevationibus, V. Plans of Squares with their Elevations.
Modus optica delineationis abfque lineis occultis, VI. The Manner of defigning in Perfpedtive without
occult Lines.
Aliud exemphtm vefiigii geometric~i, cum elevatione VII. Another Example of a Geometrical Plan and Up-
longitudinis, right put into Perfpedtive.
Optica projetlio fiylobata, VIII. The Projection of a Fedeftal in Perfpedtive.
Optica delineatio ArchiteBura Jacobi Barozzii, IX. The Architecture oiVignola in Perfpedtive, and
& primum de fiylobata Ordinis Etrufii, firft of of the Ttifcan Order.
his Pedeflal
Optica deformatio fiylobata Rorici ; ubi de modo X. A Rorick Pedeflal in Perfpedtive, with the Manner
vitandi confufionem in veftigiis delineandis, of avoiding Confufion in defigning the Plans.
Stylobata Ionici deformatio ; ubi de vitanda confu- XI. The lonick Pedeftal in Perfpedtive, with the Man-
fione in elevationibus, ner of avoiding Confufion in Elevations.
Reformatio fiylobata Corinthii, cum duabus pilis, XII. The Corinthian Pedeftal, with its Pilafters, in Per-
fpedtive.
Trojeclio fiylobata Ordinis Compofiti, XIII. The Projection of a Pedeftal of the Compofite Order.
Reformatio circulorum, XIV. Circles in Perfpedtive.
Optica delineatio columna, XV. A Column in Perfpedtive.
Optica projetlio bafis Etrufia, XVI. The Tufcan Bafe in Perfpedive.
Reformatio bafis Rorica, XVII. The Rorick Bafe in Perfpedtive.
Optica delineatio bafis Ionica, XVIII. The lonick Bafe in Perfpedtive.
Optica imminutio bafis Corinthia, XIX. The Corinthian Bafe in Perfpedtive.
Bafis Atticurga optice imminuta. XX. The Attick Bafe in Perfpedtive.
Optica imminutio capitelli Etrufii, XXI. The Tufcan Capital in Perfpedtive.
Optica projetlio capitelli Rorici, XXII. The Projection of a Rorick Capital in Perfpedtive.
Reformatio capitelli Ionici, XXIII. The lonick Capital in Perfpedtive.
Optica projetlio capitelli Corinthii, XXIV. The Corinthian Capital in Perfpedtive.
Optica defcriptio capitelli Compofiti, XXV. The Compofite Capital in Perfpedtive.
Reformatio coronicis Etrufia, XXVI. The Tufcan Entablature in Perfpedtive.
Optica delineatio coronicis Rorica, XXVII. The Rorick Entablature in Perfpedtive.
< to the following Figure.
Praparatio figura fequentis, XXVIII. Preparatory
Optica projeclio adificii Rorici, XXIX. A Projection of the Rorick Order in Perfpedtive.
Optica projeclio adificii Ionici ; ubi de modo jun- XXX. An lonick Work in Perfpedtive, with the manner of
gendi fiEtum cum vero. reconciling the ficticious to thefblid Architecture.
Optica projeclio coronicis Corinthia, cum capitello XXXI. The Optick Projection of a Corinthian Cornic with .
&
fummitate columna, the Capital and part of the Column.
Relineatto geometrica coronicis Ordinis Compofiti, XXXII. The Geometrical Defign of a Cornice of the Compo-
fite Order.
Reformatio coronicis Compofita, XXXIII. A Compofite Cornce in Perfpedtive.
*Praparatio adfiguram trigefimamquintam, XXXIV. Preparatory to the Thirty -fifth.
Reformatio coronicis Compofitce ad latus infpetla XXXV. A Side-View of thzCcmpofite Cornice in Perfpedtive.
Vraparatio ad figuram trigefimamfeptimam, XXXVI. Preparatory to theThirty-feventh.
Reformatio columna Etrufia, XXXVII. A Tufcan Column n Perfpedive.
Traparatio adfiguram trigefimamnonam, XXXVIII. Preparatory to theThirty-ninth.
Reformatio adificii Rorici, XXXIX. A Piece of 'Dwi^Architedture in Perfpedtive.
Veftigium geometricum adificii Ordinis Rorici, XL. The Geometrical Plin of a defign of the Rorick Order.
Elevatio geometrica adificii Rorici, XLI. The Geometrical Ilevation of the foregoing Defign.
Modus vitandi confufionem in contratlione vefiigi- XLII. The Manner of avoiding Confufion in reducing
orum &
elevationum, Plans and Elev:tions into Perfpedtive.
Contratlio vefiigii figura quadragefima, XLIII. The Plan of the fortieth Figure in perfpedtive.
Contratlio elevationis figura quadragefimaprima, XLIV. The Elevation of the Forty-firft Figure in Perfpedtive.
Rimidium adificii Rorici optice deformati, XLV. One half of the Rorick Defign in Perfpedtive.
Alterum dimidium ejufdem adificii, XLVI. The other half of the fame Defign.
Vejiigia adificii Ionici^ XLV1I. The Plan of an lonick Building.
Elevatio geometrica adificii Ionici, XLVIII. Geometrical Upright of the foregoing lonick Defign.
Reformatio elevationis adificii Ionici, XLIX. The Elevation of the lonick Defign in Perfpedtive.
ArchiteElura Ionica, L. A
Defign of lonick Architecture.
Ordo Corinthius, LI. A
Corinthian Defign in Perfpedtive.
Relineatio columna Jpiralis Ordinis Compofiti, LH. The Defcription of a wreath'd Column of the Com-
pofite Order.
Ordines Architetlura defumpti ex Talladio & Sca- LIII. A. The Orders of Architecture taken from Talladio
mozzio. and Scamozzi. Modus
INDEX.
;
FlG
Modus triplex delineandi columnas fpirales, LIU. B. Three different w ays
of delineating wreath'd Columns
Veftigia adificii Ordinis Corinthii, LIV. The Plan of a Defign of the Corinthian Order.
Elevatio adificii Ordinis Corinthii, LV. The Geometrical Elevation of a Corinthian Work*
Reformatio vefiigiorum & elevationis adificii Co- LVI. . The Perfpective-Plans and Upright of the Corinthian
rinthii, Defign foregoing.
Adumbratio figura fequentis, LVII. The rough Draught of the following Figure.
Mdificium Ordinis Corinthii oBangulare, LVHI. Part of an Octangular Work of the Corinthian Order*
Vejiigia Tabemaculi oBangularis, LIX. The Plans of an Octangular Tabernacle.
Tabernaculum oclangulare, LX. An Octangular Tabernacle in Perfpective.
Modus erigendi machinas qua confiant pluribus ordi- LXI. The Manner of erecting Machines that confift of feve*
nibus telariorum, ral Ranges of Frames.
Re reticulandis telariis, qua reprafentent adificia LXII. Of making the Net-work on Frames, for reprefenting
jeBioues horizontales in laquearibus vel tefiudinibus, to all other horizontal Perfpectives, whether on flat
or vaulted Cielings.
Horizontalis projeBio balujiiorum figura oBogefi- LXXXVIir. The horizontal Projection of the Baluftrade of the
Eiffhty-ieventh Figure, viewed at a fmall Diftance.
mafeptima, cum brevi diflantia,
Horizontalis projeBio ArchitcBura in laqueari qua- LXXXIX. A horizontal Piece "of Architecture in a fquare Cie-
drato, ling.
FINIS.