,transcriber's ,note3 ,this text uses some ,unicode characters that are not supported by all fonts and may not display correctly1 for example 4 ,superscripted text is indicated like this1 italicised text like this1 upright text within italic passages like this4 ,most #8figure' illustrations have been moved from their position in the original book3 each figure is placed by the passage that describes it1 for ease of reference4 ,a list of changes made to the original text 7to correct suspected printing errors7 is given at the end4 ,rules and ,examples of ,,perspective ,,proper ,,for ,painters and ,architects1 etc4 ,in ,english and ,latin2 ,containing a most easie and expeditious ,method to ,,delineate in ,,perspective ,all ,,designs relating to ,,architecture1 ,,after ,a ,,new ,,manner1 ,wholly free from the ,confusion of ,occult ,lines3 ,,by ,,that ,,great ,,master ,,thereof1 ,,andrea ,,pozzo1 ,soc4 ,jes4 ,engraven in #aje ample folio ,plates1 and adorn'd with #bjj ,initial ,letters to the ,explanatory ,discourses3 ,printed from ,copper-,plates on ye best ,paper ,by ,john ,sturt4 ,done into ,english from the ,original ,printed at ,rome #afic in ,lat4 and ,ital4 ,by ,mr ,john ,james of ,greenwich4 ,illustration ,,london3 ,,printed by ,benj4 ,motte1 ,,mdccvii4 ,sold by ,john ,sturt in ,golden-,lion-,court in ,aldersgate-,street4 ,,perspectiva ,,pictorum ,,et ,,architectorum1 ,,andre ,,putei1 ,e ,,societate ,,jesu4 ,in qu docetur ,modus expeditissimus ,delineandi ,optic omnia qu pertinent ad ,architecturam4 ,illustration ,,londini3 ,juxta ,exemplar ,,rom excusum1 ,,mdcxciii4 ,ex ,sculptur ,joannis ,sturt1 et ejusd4 ,cur adornata3 ,,typis ,benj4 ,motte1 ,,mdccvii4 ,illustration ,illustration ,,to ,her most ,sacred ,majesty1 ,,queen ,,anne4 ,may it please your ,majesty6 ,the ,condescension of the late ,emperor of ,germany to patronize this ,,work in the ,original1 could not have incited me to the ,presumption of laying the ,translation at ,your ,royal ,feet2 had not the ,art of ,,perspective1 of which it treats1 been so nearly ally'd to the ,noble ,arts of ,,painting and ,,architecture4 ,the ,first of these ,your ,majesty has been pleas'd to honour1 as well in expressing a ,satisfaction with the ,performances1 as in extending ,your ,royal ,munificence to that great ,master thereof1 ,signor ,verrio4 ,,and although ,affairs of higher ,consequence have hitherto deferr'd ,your ,majesty's ,commands for ,raising ,,white-,,hall from its ,ruins2 yet has not ,architecture been without ,encouragement1 under ,your ,majesty's ,most ,auspicious ,reign3 ,witness the great ,dispatch lately given to those ,noble ,fabricks of ,s4 ,,paul's1 ,greenwich-,hospital1 and ,blenheim4 ,,these seem to presage1 that a ,time is coming1 when1 through the ,blessing of ,peace1 and the ,happy ,influence of ,your ,majesty's ,government2 ,,white-,,hall shall become a ,structure worthy its ,great ,restorer1 and its ,name as much ,celebrated among ,palaces1 as ,your ,royal ,vertues are ,illustrious among ,princes3 ,when ,your ,majesty's ,subjects shall exert themselves as much to their ,country's ,honour1 in the ,arts of ,design1 and ,civil ,architecture2 as they have already done in the ,art ,military1 and ,personal ,valour4 ,,preliminary to such ,happy ,season1 ,i presume this ,art of ,perspective made ,practicable1 may not be improper2 being ,one of the most ,useful1 though hitherto the most ,obscure and ,confus'd1 of all the ,lineary ,arts4 ,i therefore1 with all ,submission1 beg ,leave to supplicate ,your ,majesty's ,pardon for this ,address1 and ,your ,gracious ,protection of this ,specimen of ,english ,graving2 to which if ,your ,majesty vouchsafe ,your ,royal ,,patronage1 it will effectually animate the future ,endeavours of1 ,may it please ,your ,majesty6 ,your ,most ,obedient ,subject1 ,j4 ,,sturt4 ,,preface ,,to ,,this ,,translation4 ,,notwithstanding the ,art of ,,perspective must be acknowledg'd so highly and indispensably requisite in the ,practice of ,painting1 ,architecture1 and ,sculpture2 that in the ,first of these especially1 nothing commendable can be perform'd without its ,assistance3 ,yet such have been the ,difficulties and ,obscurities met with in the first ,attempts1 and so great the ,perplexity and ,confusion of ,lines in the ,practice thereof2 that the best ,instructions1 hitherto made ,english1 have invited very few to such a ,prosecution of this ,study1 as might render their ,performances of this kind1 truly valuable4 ',,tis something unaccountable1 that1 among so many learned ,persons as have handled this ,subject1 ,priests1 ,architects1 and ,painters2 very few1 if any of them1 have given ,directions proper for shunning that ,disorder and ,confusion of ,lines1 which1 in most ,instances1 must necessarily attend the ,execution of their ,rules3 ,in all or most of which1 the whole ,space for the ,performance is confin'd between the ,lines of the ,plan and ,horizon2 which1 where the ,scale is small1 and the ,height of the ,eye not very much advanc'd1 renders the ,work exceedingly confus'd2 and where those ,lines are coincident1 7which frequently happens7 the ,method becomes utterly impracticable4 ,,this ,author's great ,experience in the ,practice of ,perspective1 having furnish'd him with excellent ,,rules for ,shortning the ,work1 and ,obviating the foremention'd ,difficulties2 he has here very generously imparted them1 and especially the latter1 in the ,tenth and ,eleventh ,figures4 ,and tho' on ,perusal of the first three or four ,plates1 this ,method may possibly seem the same that some others have before made use of2 yet whoever shall diligently observe and copy the ,rules and ,examples of the succeeding ,figures1 must necessarily acknowledge the great ,advantage this has in a ,perspective-,plan and ,upright1 clear and distinct2 whence the finish'd ,piece is deduc'd1 without the least ,incumbrance of the ,work4 ,the ,explanations of the ,rules here given1 are short and instructive2 and the ,architectonical ,designs produc'd to exemplify them1 ,noble and ,magnificent4 ,,the ,manner of ,designing1 where the ,perspective is drawn on several ,ranges of ,frames one behind the other1 and such ,scenes of ,theaters whose ,grooves lie oblique to the middle ,line1 is also here laid down3 ,and by our ,author's ,method1 ,horizontal ,perspective1 or that of ,ceilings1 is render'd less difficult than the ,vertical1 or that against an upright ,wall4 ,upon the whole1 nothing seems wanting that may make a ,work of this nature complete2 unless what concerns ,designs which are either ,circular1 or abound with many ,columns3 ,for the ,performance whereof1 the ,author1 as he promises in the ,sixty-fifth ,figure1 has1 in a ,,second ,volume1 given a ,rule more proper for the purpose2 which also may possibly be made ,english in due time1 if this ,part meet with ,encouragement4 ,,what the ,author once intended should make a ,part of that ,second ,volume1 he afterwards inserted in the ,ninety-third and following ,figures of this ,book3 ,in the last of which1 particular ,notice should be taken of his ,conclusion2 ,that if ,painters would not run into inextricable ,errors1 they ought as strictly to observe the ,rules of ,perspective1 in designing the ,figures of ,men and ,animals2 as they do in painting ,columns1 ,cornices1 or other ,parts of ,architecture4 ,,that none therefore be discourag'd in their first ,attempts1 through the ,brevity or ,silence of our ,author2 7who1 writing in a ,country where the ,principles of this ,art are more generally known than with ,us1 had no need to insist so long on some things1 as might be thought necessary to ,beginners7 we shall endeavour to speak as plainly as we can to a point or two1 most liable to be misunderstood1 or to prove a ,stumbling-,block at the ,entrance2 and then add a ,word of ,advice to such as shall attempt the putting these ,rules in ,execution4 ,,the ,author1 in both his ,explanations of the first ,plate1 has given some ,account of what he would have his ,reader understand1 by ,designing in ,perspective2 and a right ,conception of this point being of great ,use to facilitate the ,work1 we thought it not improper1 to describe something more particularly1 what is meant by the ,art ,perspective3 but shall at present speak only of ,that1 which1 whether ,vertical or ,horizontal1 is receiv'd on a ,flat and ,even ,superficies2 ,this being of much the more general ,use1 and1 when rightly understood1 renders the ,difficulties of the ,circular or ,irregular ,surfaces1 easy and familiar4 ,,perspective is the ,art of ,delineating1 on a flat ,superficies1 as a ,wall1 ,ceiling1 ,canvas1 ,paper1 or the like1 the ,appearances of ,objects1 as seen from ,one determinate ,point3 ,for tho' in ,works of great ,length1 ,two1 ,three1 or more ,points of ,sight are sometimes made use of2 yet such may more properly be said to be ,several ,views conjoin'd1 than ,one ,piece of ,perspective3 ,of which see the ,author's ,opinion1 at the ,end of this ,treatise4 ,,in ,perspective1 the ,eye of the ,beholder is esteem'd a ,point1 from whence ,rays are suppos'd to proceed to every ,angle of the ,object4 ,the ,wall or ,canvas to be painted 7which we shall here call the ,section7 is imagin'd to intervene at right ,angles to the ,axis of the said ,rays1 and1 by dissecting them1 to receive the ,appearance of the ,object1 in greater or less ,proportion1 as the ,section is more or less remote from the ,point of ,sight4 ,our ,author's ,rule is1 ,that the ,distance of the ,eye ought to be equal to the greatest ,extent of the ,object1 whether in ,length or ,height3 ,as1 to view a ,building that is a hundred ,foot long1 and fifty high2 he would have the ,distance a hundred ,foot3 ,to view a ,tower sixty ,foot wide1 and a hundred and fifty ,foot high2 the ,distance should be a hundred and fifty ,foot4 ,this ,distance is not strictly to be understood of the ,space between the ,eye and the ,object1 but of the ,space between that and the ,section1 the ,plan of which our ,author calls the ,line of the ,plan1 or ,ground-line2 for it's often requisite1 that the ,section be plac'd at some ,distance before the ,object1 on account of ,projectures of ,cornices1 and other ,parts of the ,work that advance1 as in the ,eighth ,figure4 ,,the ,place of the ,eye1 with respect to its ,height above the ,ground1 ought to be such1 as is most natural and agreeable to the ,object4 ,thus in ,architecture1 the ,basements and inferior ,parts of a ,building are improper to be set above the ,eye1 and their ,cornices and ,entablatures have but an ill ,effect when below it4 ,general ,perspectives indeed require the ,sight to be taken at a ,birds ,view2 and on other ,occasions the ,place of the ,eye may be vary'd3 but the best and most general ,rule is1 not to exceed five or six ,foot ,height above the ,ground4 ,the ,height of the ,eye above the ,ground1 thro' which a ,line is drawn1 call'd the horizontal ,line1 is set on by the same ,scale of ,proportion1 as the ,design bears to the real ,work2 and the ,point of ,sight so plac'd therein1 as may render the ,object most agreeable4 ,from the ,point of ,sight1 either on one or both sides in the horizontal ,line1 you are to set1 by the same ,scale1 the ,distance you stand from the ,section4 ,and by means of these ,points of ,sight and ,distance1 and the ,measures of the ,parts brought on the ,lines of the ,plan and ,elevation of the ,section1 by the same ,scale2 all the ,examples of this ,volume are reduc'd into ,perspective2 as is manifest on ,inspection of the ,figures4 ,,what we would add1 by way of ,advice1 is1 ,i4 ,,that you very carefully observe1 what the ,author understands by ,breadth1 ,length1 and ,height1 in his ,explanation of the ,fifth ,plate1 before you proceed to practise on any ,figure2 otherwise you'll certainly misunderstand him2 especially in the ,third ,figure4 ,,ii4 ,,that the ,rules of the ,tenth and ,eleventh ,figures be particularly regarded1 for avoiding ,confusion in the ,plans and ,uprights4 ,,iii4 ,,that from the ,disposition of the ,perspective-,plans and ,uprights1 with respect to the finish'd ,pieces in the ,twelfth and many following ,figures1 you would observe1 with what ,dispatch the said ,pieces may1 without the ,help of ,compasses1 be delineated by your ,drawing-,square2 viz4 the ,perpendiculars from the ,perspective-,plan1 and the level ,lines from the ,perspective-,upright1 or ,section4 ,,iv4 ,,that you would accustom yourself in ,works that have many ,lines1 to make the ,perspective-,plans and ,uprights for each ,part distinct1 so as to prevent all ,danger of ,confusion4 ,thus you may have one ,plan and ,upright for the ,basement of a ,building2 and when that is drawn on your finish'd ,piece1 remove them1 and place those of the ,body of the ,house2 and when that's complete1 do so by the ,attick1 c4 always observing so to place the ,plan below1 and the ,upright on one side of your neat ,draught1 that your ,drawing-,square may command each of them2 which will mightily shorten your ,work4 ,v4 ,,that the ,author's ,advice of taking the ,figures in ,course1 be strictly follow'd in the ,practice2 which will be a great means to render the ,whole easy and pleasant4 ,,this is the ,sum of what we thought most proper to advertise you2 and have only this farther to request1 ,that if any ,mistakes may have escap'd the ,press undiscover'd1 as we well hope there are few or none1 you will favourably correct and pardon them4 ,,monita ad ,,tyrones4 ,concinnitatem ac symmetriam optic delineationes dificiorum habere nequeunt1 nisi utramque mutuentur ab ,architectura4 ,proinde necesse est1 ut in istius graphide ac intelligentia te aliquandiu exerceas1 donec uniuscujusque elevationis vestigium formare didiceris1 ex eoque eruere sectionem totius longitudinis1 ut in ,opere toto videre est1 prsertim figuris sexagesimaoctava septuagesima4 ,siquidem ex vestigio ex sectione derivatur in opticas imagines congrua rerum singularum profunditas4 ,subjiciam his consilium summi momenti2 videlicet1 egregi intelligas oportet figuram secundam1 priusquam progrediaris ad tertiam1 idemque de cteris dictum velim2 nam singulas eo disposuimus ordine1 ut qu prcedit1 necessaria sit ad percipiendas eas qu sequuntur4 ,si aliqua sint in explicatione1 qu initio non intelligas1 ipsum schema spius diligenter inspicies2 ac vicissim si aliqua desint in schematibus1 ex declarationibus ea supplebis4 ,lapsus ver quos deprehenderis1 facil pro tua benignitate1 mihi1 ut spero1 condonabis4 ,,advice to ,,beginners4 ,the ,perspective of ,structures here treated of1 can have no ,grace or ,proportion1 without the ,help of ,architecture4 ',tis therefore absolutely necessary1 that you employ yourself for some time in ,drawing1 and the ,study of that ,art2 till you can readily describe the ,plan of any ,upright1 and from thence project the ,section or ,profile1 as is shewn through the whole ,course of this ,work2 and more particularly1 in the ,sixty-eighth and ,seventieth ,figures3 ,forasmuch as the proper ,depth of each ,part of the ,perspective1 is determin'd by the ,plan and ,profile thereof4 ,i shall add this one thing more1 which is indeed of the last ,importance2 to wit1 that you endeavour to understand the ,second ,figure throughly1 before you proceed to the ,third2 and so of the rest3 they being dispos'd in such ,order1 that the ,knowledge of the preceding ,figure is always necessary to a right ,understanding of that which follows4 ,if you meet with any thing which at first seems difficult in the ,description1 a diligent ,inspection of the ,figure may relieve you3 ,and on the other hand1 if you find not in the ,figure every thing you desire1 you may have ,recourse to the ,explanation4 ,what ,errours you discover in the ,work1 ,i hope you'll generously overlook and pardon4 ,,ad ,lectorem ,perspectiv studiosum4 ,ars ,perspectiva1 oculum1 licet sagacissimum inter sensus nostros exteriores1 mirabili cum voluptate decipit2 eademque necessaria est iis1 quibus in pingendo1 tum singulis figuris positionem ac deformationem suam congru tribuere1 tum colores umbras1 magis vel minus intendere aut remittere1 prout oportet1 cur est4 ,ad id autem sensim sine sensu illi perveniunt1 qui solo studio ,graphidis non contenti1 singulis ,architectur ,ordinibus exact deformandis assueverint4 ,nihilominus1 inter multos qui opus hujusmodi magno impetu aggressi hucusque fuerunt1 paucos numeramus1 qui animum ipso statim initio non desponderint1 ob magistrorum librorumque penuriam1 ordinat ac perspicu docentium opticas projectiones1 principiis hujus artis1 usque ad omnimodam perfectionis consummationem4 ,quum autem sentiam1 long multorum annorum exercitatione1 me non minimam facilitatem in hac disciplina mihi parasse3 censeo ,studiosorum voluntati me satisfacturum1 eorumque profectui consulturum1 si methodos expeditissimas in lucem proferam1 ad singulorum ,architectur ,ordinum opticas delineationes perficiendas1 adhibit communi regul1 ex qua omnia linearum occultarum offendicula sustulimus4 ,deinde1 si tempus vires ad aliud ,opus conscribendum ,bonitas ,divina dederit1 projectiones quascunque absolvemus regul qua in prsentia uti soleo1 ac mult facilior universalior est regula communi vulgata1 quamvis hc sit fundamentum alterius4 ,itaque1 ,lector studiose1 constanti animo negotium tuum suscipe2 ac lineas omnes tuarum operationum1 ad verum oculi punctum ducere1 ad gloriam scilicet ,,dei ,o4,m4 tecum omnin decerne4 ,sic votis honestissimis1 ut auguror tibi ac spondeo1 feliciter potieris4 ,,to ,the ,lovers of ,perspective4 ,the ,art of ,,perspective does1 with wonderful ,pleasure1 deceive the ,eye1 the most subtle of all our outward ,senses2 and is very necessary to be known of all1 who in ,painting would give a due ,place and ,proportion to their ,figures1 and more or less ,strength requisite to the ,lights and ,shades of the ,picture4 ,this might be insensibly attain'd1 if ,persons1 not content with the ,study of ,drawing only1 would accustom themselves exactly to delineate the several ,orders of ,architecture4 ,nevertheless1 among many who have hitherto vigorously undertaken this ,work1 there have been but very few1 who have not been in a manner quite discourag'd1 through want of ,masters and ,books to teach them clearly and methodically the ,rules of ,perspective-,projections1 from the first ,principles of the ,art1 to the entire ,perfection thereof4 ,wherefore1 apprehending that by long and constant ,practice in ,works of this kind1 ,i had acquir'd a ,method to facilitate the same2 ,i judg'd it might be for the ,satisfaction and ,advantage of the ,studious1 to publish the shortest way for designing in ,perspective the several ,orders of ,architecture1 by a common and easy ,rule1 free from the ,incumbrances of occult ,lines4 ,but if it please ,god to give me ,life and ,health to compose another ,book1 ,i shall therein shew the ,method of putting ,works into ,perspective by the ,rule ,i make use of at present1 which is more easy and general than the common way1 though this be the ,foundation of the other4 ,therefore1 ,reader1 my ,advice is1 that you chearfully begin your ,work1 with a ,resolution to draw all the ,lines thereof to that true point1 the ,glory of ,,god2 and ,i durst predict1 and promise you good ,success in so honourable an ,undertaking4 ,,the ,approbation of this ,edition4 ,at the ,request of the ,engraver1 ,we have perus'd this ,volume of ,,perspective2 and judge it a ,,work that deserves ,encouragement1 and very proper for ,instruction in that ,,art4 ,chr4 ,wren1 ,j4 ,vanbrugh1 ,n4 ,hawksmoor4 ,illustration ,,pozzo's ,,architecture ,,in ,,perspective4 ,illustration3 ,,fig4 ,i4 ,,figura ,,prima4 ,explicatio linearum ,plani ,horizontis1 ac ,punctorum ,oculi ,distanti4 ,ut principia ,perspectiv facilis intelligas1 pono tibi ob oculos ,templum1 in cujus interiori facie1 prter ctera1 pingendum sit aliquid ad ,perspectivam pertinens4 ,templi hujus vestigium geometricum est ,a1 elevatio geometrica in longum est ,b1 in latum est ,c4 ,in ,a est locus ,hominis aspicientis lineam ,,de1 cui paries pingendus incumbit4 ,in ,b idem ,homo ex edem distanti intuetur lineam ,,fg1 qu refert elevationem parietis4 ,in figura ,c supponimus ,hominem consistere regione ipsius parietis3 easdemque proportiones mensuratum translatas esse ex vero pariete in figuram ,c1 qu ipsum in parvo reprsentat4 ,prima ergo linea ,,hi dicitur linea terr vel plani1 ex qu incipit1 eidemque incumbit dificium4 ,secunda linea ,,non priori parallela1 dicitur horizontalis1 in qu ponitur ,o punctum oculi1 ,n punctum distanti4 ,duo autem puncta distanti nobis posita sunt1 ut unum adhibeas ex qu parte volueris2 nam ad figuras optic contrahendas sufficit unum punctum distanti3 nec fieri potest ulla optica delineatio1 quin primo loco designentur du parallel1 una plani seu terr1 altera horizontis1 notando in line horizontis1 punctum oculi1 seu opticum1 punctum distanti4 ,porr unam eandemque rem triplici ,schemate reprsentare oportuit1 ut videas1 locum ex quo aspicienda est figura ,c esse punctum ,n unius ex rectis ,,no1 quam concipere debemus veluti normaliter infixam in ,o2 ac distantiam inter ,o ,n eandem esse debere cum distanti inter ,a ,,de1 inter ,b ,,gf4 ,in picturis multum spatii occupantibus1 punctum oculi poni solet in medio line horizontalis3 atque ubi altitudo pictur sit major latitudine1 distantia ,,no fiet qualis altitudini4 ,si latitudo pictur sit major altitudine1 distantia ,,no fiet qualis latitudini2 ita enim unico intuitu totum pictur spatium comprehendi poterit4 ,porr quamvis eadem distantia diverso modo adhibeatur in vestigio ,a1 in elevationibus ,b ,c2 nihilominus sectiones visualium cum pariete vestigii ,a1 elevationis ,b1 omnin conspirant cum sectionibus visualium figur ,c4 ,jam si velimus ut spectatori in ,a ,b paries depictus videatur distare lineis ,,de ,,gf1 quanta est longitudo quadrati ,p1 cujus elevatio est ,q2 ex punctis ,a ,b fiant visuales ad puncta extrema quadrati1 notando sectiones visualium cum pariete ,,de ,,gf1 qui ab aliis vocatur velum1 vitrum diaphanum1 sectio1 tela1 vel tabula4 ,invenies autem1 lineas ,,rs ac ,,tv esse quales1 ac similiter lineas ,,xz ,,yk2 sic de aliis4 ,the ,first ,figure4 ,explication of the ,lines of the ,plan and ,horizon1 and of the ,points of the ,eye and of the ,distance4 ,that you may the better understand the ,principles of ,perspective1 here is presented to your ,view a ,temple1 on the inner ,wall of which1 amongst other things1 one would paint something in ,perspective4 ,the ,geometrical ,plan of this ,church is ,a1 the ,geometrical ,elevation1 or ,upright1 lengthwise is ,b1 breadthwise is ,c4 ,in ,a is the ,place from whence a ,man beholds the ,line ,,de1 which is the ,plan of the ,wall that is to be painted3 ,in ,b the same ,man1 from the same ,distance1 looks upon the ,line ,,fg1 that represents the ,elevation of the ,wall4 ,in ,fig4 ,c1 the ,man is supposed to stand opposite to the said ,wall2 and this ,figure contains1 in ,little1 the very same ,proportions of ,measures transferr'd from the real ,wall4 ,the first ,line therefore ,,hi is call'd the ,ground-line1 or ,line of the ,plan1 at which the ,edifice begins1 and on which it stands4 ,the second ,line ,,non1 parallel to the former1 is call'd the ,horizontal ,line1 wherein is plac'd ,o the ,point of the ,eye1 and ,n the ,point of the ,distance4 ,two ,points of ,distance are here laid down1 that you may make use of which you please2 for that on one ,side only is sufficient for the fore-short'ning ,figures in ,perspective3 ,neither can any ,optick ,delineation1 or ,perspective1 be described1 without first making two ,parallels2 one of the ,plan1 or ,ground-line1 the other of the ,horizon2 marking1 in the ,line of the ,horizon1 the ,point of the ,eye1 or ,sight1 and the ,point of ,distance4 ,it was thought besides expedient to put one and the same ,thing into three ,schemes or ,designs1 to let you see1 that the ,place1 from which the ,figure ,c is to be look'd upon1 is the ,point ,n1 one of the right ,lines ,,no1 which must be conceived as fixt at right ,angles into ,o2 the ,distance ,,on being the same as that between ,a and ,,de in the ,plan1 or between ,b and ,,gf in the ,upright4 ,in ,pictures taking up a great deal of ,room1 the ,point of ,sight ought to be made in the middle of the ,horizontal ,line2 and where the ,height of the ,picture happens to be greater than the ,breadth1 the ,distance ,,no must be made equal to the ,height4 ,if the ,breadth of the ,picture exceed the ,height1 the ,distance ,,no must be made equal to the ,breadth3 ,for so will the ,extent of the ,picture be the better comprehended1 or receiv'd1 at one ,view4 ,and altho' the same ,distance may seem to be used in a different manner in the ,plan ,a1 and in the ,elevation ,b1 from what it is in ,c2 nevertheless the ,sections of the visual ,rays1 with the ,wall of the ,plan ,a1 and of the ,elevation ,b1 have a perfect ,correspondence with the ,sections of those of the ,figure ,c4 ,now1 if to the ,spectator in ,a and ,b1 we would have the farthest ,part of the ,work seem to recede from the ,lines ,,de and ,,gf1 as much as the ,square ,p does1 whose ,elevation is ,q2 draw from the ,points ,a and ,b1 the visual ,rays to the extreme ,points of the ,square ,p and ,q2 noting the ,sections they make with the ,walls ,,de and ,,gf2 which by some is call'd the ,veil1 ,transparent ,medium1 ,section1 ,cloth1 or ,table3 and you'll find ,,rs equal to ,,tv1 ,,xz equal to ,,yk2 and so of the rest4 ,illustration3 ,,fig4 ,,ii4 ,,figura ,secunda4 ,modus delineandi optic ,quadratum4 ,ante descriptionem opticam quadrati ,a1 quod fingimus delineatum esse in papyro separat1 ducend sunt du line parallel2 altera plani1 altera horizontis1 ut jam docuimus2 notando in linea horizontis punctum oculi ,o1 punctum distanti ,e4 ,tum translat in lineam plani latitudine ac longitudine ipsius quadrati ,a1 ita ut linea ,,cb sit qualis latitudini1 ,,dc sit qualis longitudini4 ,ex punctis ,b ,c fiunt visuales ,,bo1 ,,co ad punctum oculi2 ex puncto ,d fit recta ,,de ad punctum distanti4 ,demum ubi visualem ,,co secat recta ,,de1 fit ,,gf parallela ad ,,cb2 habesque quadratum optic contractum4 ,compendium temporis laboris facies1 prsertim in schematibus qu abundant lineis1 si chartulam in medio complicaveris1 eademque utaris1 ut latitudinem ac longitudinem quadrati transferas in lineam plani4 ,the ,second ,figure4 ,manner of delineating a ,square in ,perspective4 ,before the ,square ,a1 which is supposed to be drawn on a separate ,paper1 can be laid down in ,perspective1 two parallel ,lines must be drawn2 one of the ,plan1 the other of the ,horizon1 as is already intimated2 noting in the ,horizontal ,line the ,point of ,sight ,o1 and the ,point of ,distance ,e4 ,then1 when the ,length and ,breadth of the ,square ,a shall be transferr'd into the ,line of the ,plan1 so that the ,line ,,cb be equal to the ,breadth1 and ,,dc be equal to the ,length1 let the visual ,lines ,,bo1 ,,co be drawn from the ,points ,b and ,c to the ,point of ,sight ,o1 and the right ,line ,,de from the ,point ,d to the ,point of ,distance4 ,lastly1 where the ,line ,,de cuts the ,visual ,,co1 make ,,gf parallel to ,,cb3 and you have the ,square ,optically contracted1 or fore-shorten'd in ,perspective4 ,to spare ,time and ,pains1 especially in ,figures that abound in ,lines1 fold your ,paper in the middle1 and make use of it to transfer the ,breadth and ,length of the ,square1 into the ,line of the ,plan4 ,illustration3 ,,fig4 ,,iii4 ,,figura ,,tertia4 ,optica delineatio rectanguli1 alter parte longioris4 ,latitudo ,,bc rectanguli ,a ponatur in linea plani1 adhibito circino1 vel chartul complicat2 ex punctis ,b ,c fiant visuales ad ,o1 punctum perspectiv4 ,tum papyro ex altera parte iterum complicat1 notetur longitudo ,,cd rectanguli2 ducendo tum rectam ,,de ad punctum distanti1 tum rectam ,,fg parallelam ad ,,bc1 qu complebit opticam delineationem rectanguli4 ,altera figura ostendit complicationem cruciformem papyri1 qu adhiberi potest in delineandis rectangulis1 seu latitudo eorum sit major longitudine1 aut vice vers2 seu latitudo longitudo sint quales4 ,the ,third ,figure4 ,the ,delineation of an ,oblong ,square in ,perspective4 ,let the ,breadth ,,bc of the ,square ,a1 be plac'd in the ,line of the ,plan1 by the ,compass1 or a folded ,paper1 and from the ,points ,b and ,c1 make the ,visuals to the ,point of ,sight ,o4 ,then fold your ,paper cross-wise1 and mark ,,cd the ,length of the ,square1 drawing the ,line ,,de to the ,point of ,distance1 and the ,line ,,fg parallel to ,,bc1 which will complete the ,optick ,delineation of the oblong ,square4 ,the other ,figure shews the ,folding of the ,paper cross-wise1 which is of ready use in delineating ,squares1 whose ,breadth exceeds their ,length1 or vice vers2 or whose ,length and ,breadth are equal4 ,illustration3 ,,fig4 ,,iv4 ,,figura ,,quarta4 ,optica descriptio quadrati duplicis4 ,iam incipies frui compendio papyri complicat4 ,nam eam admovendo line plani1 nullo negotio notare poteris puncta #a1 #b1 #c1 #d1 #e1 #f1 linearum visualium1 qu ducentur ad ,o punctum perspectiv4 ,exinde complicat rursum chartul in crucem ad ,p1 notabuntur hc puncta2 #g1 coincidens cum puncto #f1 nisi quadratum distet linea plani2 #h1 #i1 #aj4 ,ductis autem rectis ex #h1 #i1 #aj1 ad punctum ,e1 ubi secant visualem #f1 #g1 ,o fient parallel1 eritque completa delineatio4 ,in medio quadrati ,b1 aliud quadratum facil describetur1 ducendo diagonales seu diametros ab angulo ad angulum1 ut in figura4 ,the ,fourth ,figure4 ,the ,optical ,delineation of a double ,square4 ,here you'll find the ,advantage of your folded ,paper2 for1 applying it to the ,line of the ,plan1 you readily mark the ,points #a1 #b1 #c1 #d1 #e1 #f1 of the visual ,lines1 which must be drawn to the ,point of ,sight ,o4 ,then folding the ,paper cross-wise1 as in ,p1 you mark the ,points #g1 #h1 #i1 #aj1 placing the ,point #g on that of #f1 unless you would have the ,square removed within the ,line of the ,plan4 ,then from #h1 #i1 #aj1 drawing ,lines to the ,point of ,distance ,e2 where they intersect the ,line #f1 #g1 ,o1 draw ,parallels to the ,line of the ,plan2 and your ,work is done4 ,within the ,square ,b1 you may easily inscribe another ,square1 by help of the ,diagonals2 as may be seen in the ,figure4 ,illustration3 ,,fig4 ,v4 ,,figura ,,quinta4 ,vestigia quadratorum1 cum elevationibus4 ,suppositis iis qu jam diximus de ,contractione optica ,quadratorum1 notandum est1 vestigium primi ,quadrati distare linea plani spatio ,,ba optic contracto2 quia linea ,,bd habet visuali ,,ao1 distantiam ,,ba4 ,eodem modo ,quadratum secundum distat linea plani spatio ,,ea1 sic deinceps4 ,velim observes1 in omnibus his ,quadratis lineas longitudinis esse partes visualium1 lineas vero latitudinis esse parallelas line plani1 in primo ,quadrato duci ex punctis1 in quibus line ,,bd1 ,,cd1 tendentes ad punctum distanti1 secant visualem ,,ao4 ,sub singulis vestigiis ,quadratorum1 delineavimus alia omnino similia1 per qu parvo labore fient tres bases1 erigendo ad libitum duas primas perpendiculares quales2 ac ducendo tum duas visuales ad punctum oculi ,o1 tum reliquas1 ut in figura4 ,supponendum est autem1 geometricam altitudinem cujuslibet rei desumi ex lineis normalibus ad lineam plani2 quemadmodum latitudo longitudo geometrica desumuntur ex eadem linea plani4 ,tres ali bases inferiores formantur sine lineis occultis ex vestigio ex elevatione longitudinis optic deformatis1 adhibendo solas altitudines ac latitudines angulorum4 ,nomine altitudinis intelligimus distantiam cujuslibet anguli linea plani2 nomine latitudinis intelligimus distantiam anguli ab una aliqua linea normali ad lineam plani2 dummodo h normales eandem habeant positionem respectu basium1 respectu vestigiorum elevationum4 ,quemadmodum autem per concursum altitudinis ,,fg1 latitudinis ,,hi1 ope duorum circinorum invenitur unus angulus in una basi2 ita inveniuntur cteri tum in ea1 tum in reliquis4 ,the ,fifth ,figure4 ,plans of ,squares1 with their ,elevations4 ,besides what has been already said of the fore-short'ning of ,squares in ,perspective1 it is convenient to observe1 ,that the ,foot of the first ,square is here set within the ,line of the ,plan1 as much as the ,space ,,ba optically contracted2 because the ,line ,,bd has the ,distance ,,ba from the ,visual ,,ao3 ,and in like manner1 the second ,square is distant from the ,line of the ,plan the ,space ,,ea2 and so for the rest4 ,i would have you observe in all these ,squares1 ,that by the ,length ,i always understand part of the visual ,lines1 and by the ,breadth those parallel to the ,ground-line2 which in the first ,square are drawn from the ,points in which the ,lines ,,bd1 ,,cd1 tending to the ,point of ,distance1 intersect the ,visual ,,ao4 ,under the ,plans of these ,squares are described three others just like them1 which are easily converted into three ,bases1 by erecting1 at pleasure1 the two first ,perpendiculars of equal ,height1 and thence drawing two ,visuals to the ,point of ,sight ,o1 which also bound the rest1 as in the ,figure4 ,observe also1 ,that the ,geometrical ,height of every thing is to be set perpendicularly from the ,ground-line1 or ,line of the ,plan1 as the ,geometrical ,length and ,breadth are also placed on the same ,line4 ,the three other ,bases below are form'd without the ,help of ,occult ,lines1 by making use only of the ,heights and ,breadths of the ,angles1 taken from the ,perspective ,plan and ,upright4 ,by ,height ,i understand the ,distance of each ,angle1 or ,corner1 from the ,ground-,line2 ,by ,breadth1 the ,distance of an ,angle1 or ,corner1 from any ,line perpendicular to the ,ground-line2 provided these ,lines have always the same ,place in respect of the ,bases1 as they have in respect of the ,perspective ,plan and ,upright4 ,and as1 by the ,help of two ,compasses1 the ,height ,,fg1 and the ,breadth ,,hi determine the ,corner of the first ,base2 so1 in like manner1 are found the ,corners of the other ,bases4 ,illustration3 ,,fig4 ,,vi4 ,,figura ,,sexta4 ,modus optic delineationis1 absque lineis occultis4 ,in hac figura sexta1 vestigium geometricum ,b seorsim posui ab elevatione geometrica ,a1 ut deinceps faciemus4 ,vestigium ,b optic contractum in ,e est ,,nmrs2 elevatio contracta longitudinis vestigii est ,,ftsn4 ,posito autem qud altitudines ,,fn1 #a1 #e1 #b1 #f1 sint quales2 latitudines ,,nm1 #a1 #b1 #e1 #f1 sint quales2 rect ,,nm1 #e1f1 sint in linea ,x plani2 rect ,,fn1 #a1 #e1 sint in perpendiculo ,v3 anguli #c #d basis ,c habent eandem elevationem seu distantiam linea ,x plani1 quam habet angulus ,t3 anguli #a #b habent elevationem1 quam angulus ,f3 anguli #c #g habent eandem latitudinem seu distantiam perpendiculo ,v1 quam habet angulus ,r3 anguli #b #f habent eandem latitudinem1 quam habet angulus ,m4 ,the ,sixth ,figure4 ,the ,manner of designing in ,perspective1 without occult ,lines4 ,in this sixth ,figure1 ,i have design'd the ,geometrical ,plan ,b separately from the ,geometrical ,elevation ,a1 as ,i shall always do hereafter4 ,the ,plan ,b optically contracted1 or put in ,perspective1 in ,e1 is ,,nmrs2 the ,elevation of its ,length in ,perspective is ,,ftsn4 ,then supposing the ,heights ,,fn1 #a1e1 #b1f1 equal2 and the ,breadths ,,nm1 #a1b1 #e1f1 equal2 the ,lines ,,nm1 #e1f1 to be in the ,line of the ,plan ,x2 and the ,lines ,,fn1 #a1e1 in the ,perpendicular ,v3 the ,angles #c and #d of the ,base ,c have the very same ,elevation or ,distance from the ,line of the ,plan ,x1 as has the ,angle ,t3 the ,angles #a and #b have the same ,elevation with the ,angle ,f3 the ,angles #c and #g have the same ,breadth or ,distance from the ,perpendicular ,v1 as the ,angle ,r has3 the ,angles #b and #f have the same ,breadth1 as the ,angle ,m has4 ,illustration3 ,,fig4 ,,vii4 ,,figura ,,septima4 ,aliud exemplum vestigii geometrici1 cum elevatione longitudinis4 ,si delineanda sit basis dissecta in quatuor partes1 fiat vestigium ,a cum suis divisionibus longitudinis ,,ed latitudinis ,,cd4 ,easdem vero divisiones latitudinis habebit in ,,ef elevatio ,b qu pertingit usque ad ,x4 ,porro ad contractionem opticam vestigii adhibebitur papyrus complicata in latum in longum1 transferendo in lineam plani latitudinem longitudinem vestigii4 ,deinde nullo negotio fiet optica deformatio elevationis1 ut clar positum est in figura4 ,quomodo autem ex vestigio ex elevatione longitudinis optic imminutis eruatur basis nitida sine lineis occultis1 ex prcedentibus manifestum est4 ,optarem ut per assiduam circini tractationem in hac methodo exercenda operam sedul ponas2 quum ex ea pendeat omnis facilitas delineationum opticarum4 ,the ,seventh ,figure4 ,another ,example of a ,geometrical ,plan and ,upright1 put in ,perspective4 ,for drawing in ,perspective a ,pedestal1 or ,base1 divided into four ,parts1 make the ,plan ,a with its ,divisions of ,length ,,ed1 and of ,breadth ,,cd2 and the same ,divisions of ,breadth ,,ef1 in the ,elevation ,b1 prolong'd to ,x4 ,then make the ,perspective-,plan1 by transferring the ,breadth and ,length into the ,ground-line1 by means of your ,paper folded cross-wise4 ,from which ,plan the ,perspective-,upright is very easily made1 as may be plainly seen in the ,figure4 ,how the ,base below1 without occult ,lines1 is made from the ,perspective-,plan and ,upright1 is manifest from what has been said before4 ,i could wish you would be very diligent in the ,practice of this ,method by the ,compass2 because the ,dispatch of ,perspective-,delineations chiefly depends thereon4 ,illustration3 ,,fig4 #h4 ,,figura ,,octava4 ,optica projectio stylobat4 ,si libitum fuerit delineare stylobatam1 cum projecturis in summo imo1 incipies ab elevatione geometrica ,a1 ducendo occultas ad id necessarias1 tum versus perpendicularem ,l1 tum deorsum pro vestigio geometrico ,b1 cujus distanti transferentur in spatium ,g4 ,si mensur longitudinis distent spatio ,c mensuris latitudinis1 vestigium deformatum videbitur distare linea ,k plani1 quantum est idem spatium ,c4 ,in construenda optica elevatione ,d1 visuales ex punctis line ,l dabunt lineas latitudinis2 lineas vero altitudinis accipies ex lineis vestigii contracti1 ut in figura4 ,in formando stylobata nitido ,,ef1 locum anguli ,h dabit concursus latitudinis ex linea ,l usque ad ,m1 altitudinis ex linea ,k usque ad ,i4 ,concursus tum ejusdem altitudinis1 tum latitudinis ex ,l usque ad ,o1 dabit angulum ,n4 ,demum altitudinem anguli ,p accipies ex ,k usque ad ,q2 latitudinem ex ,l usque ad ,r4 ,the ,eighth ,figure4 ,the ,projection of a ,pedestal in ,perspective4 ,if you would draw a ,pedestal1 with the ,projecture of its ,cap and ,base1 you must begin with the ,geometrical ,elevation ,a1 by drawing such occult ,lines as are necessary1 as well sideways to the ,perpendicular ,l1 as downwards for making the ,geometrical ,plan ,b1 whose ,distances must be transferr'd1 and carry'd into the ,space ,g4 ,if the ,measures of the ,length be placed the ,distance of the ,space ,c1 from those of the ,breadth1 the ,perspective-,plan will then appear removed within the ,ground-line ,k1 as much as the said ,space ,c is4 ,in the ,construction of the ,perspective ,elevation ,d1 the ,visuals drawn from the ,points of the ,line ,l give the ,lines of the ,breadth2 and those of the ,height are taken from the ,lines of the ,perspective-,plan1 as in the ,figure4 ,in delineating the clean or finish'd ,pedestal ,,ef1 the ,intersection of the ,breadth from ,l to ,m1 with the ,height from ,k to ,i1 gives the precise ,place of the ,corner ,h4 ,the ,intersection of the same ,height with the ,breadth ,,lo gives the ,angle ,n4 ,lastly1 the ,angle ,p is found by the ,intersection of the ,height ,,kq1 with that of the ,breadth ,,lr4 ,illustration3 ,,fig4 ,,ix4 ,,figura ,,nona4 ,optica delineatio ,architectur ,jacobi ,barozzii2 primum1 de ,stylobata ,ordinis ,etrusci4 ,perspectiva nusquam claris emicat1 qum in ,architectura4 ,iccirco tibi ob oculos pono ,architecturam ,jacobi ,barozzii1 quem patria nuncupant ,il ,vignola1 reliquis fortasse usitatiorem2 in eaque continetur elevatio geometrica singulorum quinque ,ordinum1 qui vocantur1 ,etruscus1 ,doricus1 ,ionicus1 ,corinthius1 ,romanus1 vel ,compositus2 delineando seorsim partes cujuscunque ,ordinis in figuris grandioribus4 ,elevationi geometric suum vestigium nos addemus2 ex vestigio autem ex elevatione optic deformatis1 eliciemus apparentias solidorum juxta regulam traditam4 ,exempli gratia1 si delineare velis stylobatam quadratum pilam ,ordinis ,etrusci1 prter elevationem geometricam ,a delineare oportet vestigium geometricum ,b2 ex ambobus autem optic contractis formatur stylobata nitidus ,d1 cum anta pila existente ad latus1 accipiendo altitudines linea plani1 latitudines linea perpendiculari ad ipsum planum4 ,in alia delineatione posuimus pilam ex adverso1 ut eis omni modo delineandis assuescas4 ,ad vitandam confusionem linearum1 proderit ut figur fiant his nostris mult grandiores3 in quem finem singulis paginis apposita est scala modulorum4 ,hoc nomine intelliguntur partes quales1 in quas dividuntur line latitudinis altitudinis elevationum geometricarum2 ac line latitudinis longitudinis vestigiorum geometricorum4 ,si moduli sint parvi1 subdividuntur singuli in duodecim partes2 ac prout fuerint grandiores1 subdividuntur in partes triginta1 vel sexaginta1 vel centumviginti4 ,modulos ,etruscum ,doricmque in partes duodecim2 reliquos autem in octodecim partiti sunt4 ,the ,ninth ,figure4 ,the ,architecture of ,vignola in ,perspective2 and first1 of his ,pedestal of the ,tuscan ,order4 ,perspective never appears more graceful1 than in ,architecture2 for which ,reason ,i present you with that of ,james ,barozzi1 from his ,country generally call'd ,vignola2 which perhaps is more in use than any other2 and contains the ,geometrical ,upright of each of the five ,orders1 viz4 the ,tuscan1 ,dorick1 ,ionick1 ,corinthian1 and the ,roman1 or ,composite2 together with a separate ,delineation of the ,parts of each ,order1 in larger ,figures4 ,to this ,geometrical ,elevation we shall add the ,plan1 and1 from both of them reduc'd into ,perspective1 shall draw the ,appearances of ,solids1 according to the ,rule before laid down4 ,for ,example3 ,if you would draw the square ,tuscan ,pedestal1 and its ,pilaster1 you must1 from the ,geometrical ,elevation ,a1 make the ,geometrical ,plan ,b2 and from both of them reduc'd in ,perspective1 draw the finish'd ,pedestal ,d1 with that of its ,pilaster on the ,side1 by taking the ,heights from the ,ground-line1 and the ,breadths from a ,line perpendicular to the same4 ,on the other ,side we have placed the ,pilaster on the ,back-part1 that you may practise the ,drawing them in any manner4 ,for avoiding the ,confusion of ,lines1 ,i advise you to make the ,figures as much larger than ours as you can2 for which purpose there is annex'd a ,scale of ,modules to each ,figure4 ,by this ,name we understand the equal ,parts1 into which the ,lines of the ,breadth and ,height of the ,geometrical ,uprights1 and of the ,breadth and ,length of the ,geometrical ,plans1 are divided4 ,if the ,modules are small1 they are subdivided into twelve ,parts2 and according as they are larger1 into thirty1 sixty1 or an hundred and twenty ,parts4 ,i have divided the ,tuscan and ,dorick ,module into twelve ,parts1 and that of the other ,orders into eighteen4 ,illustration3 ,,fig4 #aj4 ,,figura ,,decima4 ,optica deformatio stylobat ,dorici2 ubi de modo vitandi confusionem1 in vestigiis delineandis4 ,elevatio geometrica ,b stylobat ,dorici continet eandem symmetriam partium qu habetur apud ,barozzium2 ex eaque eruitur vestigium geometricum ,a per lineas occultas1 qu descendant ex punctis terminativis prcipuarum projecturarum4 ,earundem projecturarum distanti transferend sunt in lineam elevationis1 notando puncta qu necessaria sunt ad deformandam elevationem longitudinis stylobat4 ,si ob propinquitatem line plani ad lineam horizontis1 vestigium evadat confusum1 fiant in distantia congrua sub linea plani ali line planorum ipsi parallel1 cum suis vestigiis4 ,quid autem emolumenti afferat distantia major pr minori1 ostendit vestigium ,e distinctis vestigio ,d4 ,singula hc vestigia fiunt notando in linea cujuslibet plani mensuras latitudinis longitudinis vestigii ,a1 ducendo lineas ad eadem puncta oculi ac distanti4 ,stylobatam nitidum descripsimus ex parte ,g1 tum ex necessitate1 tum ut videas1 pro distantia ,,fo1 usurpandam esse distantiam ,,go penitus qualem4 ,the ,tenth ,figure4 ,a ,dorick ,pedestal in ,perspective2 with the ,manner of avoiding ,confusion1 in designing the ,plans4 ,the ,geometrical ,elevation ,b has the same ,members and ,proportions1 as the ,dorick ,pedestal of ,vignola2 and the ,geometrical ,plan ,a is form'd1 by letting fall occult ,lines from the principal ,projectures of the ,upright4 ,occult ,lines are also to be continued to the ,perpendicular ,f1 from the several ,members requisite for elevating in ,perspective the ,length of the ,pedestal4 ,when1 by reason of the too near ,approach of the ,ground-line to that of the ,horizon1 the ,plan becomes thereby confus'd2 draw at a convenient ,distance underneath1 other ,ground-lines parallel to the first2 together with the ,plans in ,perspective4 ,and of what ,advantage the ,removal of the ,ground-line is1 is evident from the ,plan ,e1 which is much more distinct than the ,plan ,d4 ,each of these ,plans is made1 by marking upon its respective ,ground-line the ,measures of the ,breadth and ,length of the ,plan ,a1 and by drawing ,lines to the same ,points of ,sight and ,distance1 which were first assign'd4 ,we have placed the finish'd ,pedestal on the ,side ,g1 partly for want of ,room1 and partly to shew1 that the ,point of ,distance ,g is there made use of1 ,,go being equal to ,,fo4 ,illustration3 ,,fig4 ,,xi4 ,,figura ,undecima4 ,stylobat ,ionici deformatio2 ubi de vitanda confusione in elevationibus4 ,tum in figura prcedenti1 tum rursus in hac1 ostendimus quid agendum sit ubi vestigia ,,aa nimium obliquentur1 unde oritur confusio2 prcipu in lineis parallelis qu exhibent latitudines4 ,non minor difficultas interdum occurret in elevationibus longitudinis optic deformandis2 qud videlicet1 ob nimiam earum obliquitatem1 pervium non sit altitudines singularum projecturarum prob discernere ac designare4 ,ad scopulos istos declinandos1 loco elevationis ,b adhibebitur elevatio ,c1 qu distinctior est1 tum ill1 tum duabus intermediis ,d ,e1 ob majorem distantiam quam habet puncto oculi4 ,in delineando stylobata nitido1 latitudines accipientur ex ultimo vestigio1 ponendo unam cuspidem circini in linea perpendiculari1 qu proxima est liter ,o3 altitudines accipientur ex elevatione ,c1 ponendo unam cuspidem circini in linea plani1 ut in prcedentibus ostensum est4 ,the ,eleventh ,figure4 ,the ,ionick ,pedestal in ,perspective2 with the ,manner of avoiding ,confusion1 in ,elevations4 ,as in the foregoing ,figure1 so in this also is shewn what is to be done1 where the ,plans ,,aa lie so oblique1 as to cause ,confusion2 especially in the ,parallel-lines which give the ,breadths4 ,the like ,inconvenience often happens in elevating the ,lengths in ,perspective2 when by their too near ,approach to the ,point of ,sight1 the ,contour of the several ,mouldings can't be distinctly delineated3 ,for avoiding which1 instead of ,b you may make use of the ,elevation ,c1 which is not only more distinct than the former1 but better than either of the two intermediate ones ,d or ,e1 by so much as it is more remote from the ,point of ,sight4 ,in designing the finish'd ,pedestal1 the ,breadths are taken from the lowest ,plan1 by setting one ,point of the ,compasses in the perpendicular ,line ,,ol3 the ,heights are taken from the ,elevation ,c1 by placing one ,point of the ,compasses in the ,ground-line1 as has been shewn before4 ,illustration3 ,,fig4 ,,xii4 ,,figura ,duodecima4 ,deformatio stylobat ,corinthii1 cum duabus pilis4 ,ornatus grati1 stylobat ,corinthio addit sunt pil1 qu pone columnas locari solent4 ,ut autem pil claris appareant1 columna omissa est1 cujus deformand rationem nondum tradidimus4 ,mensuras omnes ex ,barozzio acceptas esse demonstrat ipsum schema1 in quo elevatio geometrica stylobat est ,a2 vestigium ejus geometricum est ,b3 pil ,,cc4 ,vestigium optic contractum est ,d1 elevatio longitudinis stylobat optic contracta est ,e1 ac methodo consuet ex iis eruetur stylobata nitidus cum suis pilis4 ,the ,twelfth ,figure4 ,the ,corinthian ,pedestal1 with its ,pilasters1 in ,perspective4 ,for ,ornaments sake1 we have added to this ,corinthian ,pedestal the ,pilasters1 which are usually placed behind ,columns3 ,and that they may be the more perspicuous1 have left out the ,column1 not having yet shewn the ,manner of putting it in ,perspective4 ,the ,scheme shews the ,measures are taken from ,vignola2 in which the ,geometrical ,upright of the ,pedestal is ,a2 the ,geometrical ,plan of the same is ,b2 that of the ,pilasters ,,cc4 ,the ,plan in ,perspective is ,d1 the ,elevation in ,perspective is ,e2 from which the finish'd ,pedestal and ,pilasters are drawn by the usual ,method4 ,illustration3 ,,fig4 ,,xiii4 ,figura ,decimatertia4 ,projectio stylobat1 ordinis ,compositi4 ,quum pagina non caperet integrum stylobatam tant molis1 fingere oportuit detractum illi esse aliquid de trunco2 ac partem supremam stylobat sustentari ab infima1 non immediat1 sed per quatuor asseres2 eisque impositam fuisse adjumento funium suspensorum ex trochlea4 ,elevatio geometrica stylobat est ,b2 vestigium geometricum est ,a4 ,ex his eruitur optica delineatio vestigii ,c elevationis ,d4 ,ac postea formatur stylobata nitidus ,e1 accipiendo latitudines ex vestigio ,c1 altitudines ex elevatione ,d4 ,the ,thirteenth ,figure4 ,the ,projection of a ,pedestal1 of the ,composite ,order1 in ,perspective4 ,wanting ,room in this ,page to describe so large a ,pedestal entire1 we imagine it to have lost part of its ,trunk1 and the upper part to be set on the lower2 not immediately1 but on four ,cross-pieces that intervene2 and for placing it thereon1 we suppose the ,assistance of ,ropes and a ,pulley4 ,the ,geometrical ,elevation of the ,pedestal is ,b2 its ,plan ,a2 from whence are found their ,projections in ,perspective ,d and ,c4 ,then taking the ,breadths from the ,plan ,c1 and the ,height from the ,elevation ,d1 you complete the finish'd ,pedestal ,e4 ,illustration3 ,,fig4 ,,xiv4 ,figura ,decimaquarta4 ,deformatio circulorum4 ,ut stylobatis imponere liceat columnas cum suis basibus capitellis1 docendus est modus qui servandus est in projectione optica circulorum1 tum singularium1 tum duplicium aut multiplicium circa idem centrum4 ,vestigium geometricum ,a constat quadrato in quatuor partes quales diviso1 cui circulus inscribitur1 additis diagonalibus3 ubi h secant circulum1 fiunt rect parallel ad singula latera ipsius quadrati4 ,deinde quadratum cum omnibus divisionibus optic imminuitur2 ac tum per quatuor puncta ubi tres line rect se intersecant1 tum per quatuor extrema reliquarum duarum diametrorum circuli1 ducetur cum venustate circumferentia circuli ,b4 ,si addere velimus alium circulum1 vestigio geometrico ,c inscribetur aliud quadratum2 indeque habebitur optica delineatio duplicis circuli ,d4 ,inter hos duos quomodo liceat describere tertium1 per octo sectiones quadratorum1 ostendunt figur ,e ,f4 ,uno verbo1 circuli describuntur per quadrata1 adhibendo sectiones visualium cum parallelis ad lineam plani2 ac nullum est punctum in quadratis circulis ,a1 ,c1 ,e1 cui per sectiones illas nequeat inveniri punctum correspondens in quadratis circulis ,b1 ,d1 ,f4 ,nihilominus ubi opus habeas pluribus circulis1 autor tibi sum ne multiplices quadrata1 plus confusionis allatura tibi quam adjumenti4 ,the ,fourteenth ,figure4 ,circles in ,perspective4 ,that upon ,pedestals you may be able to place ,columns with their ,bases and ,capitals1 it is requisite you should know the ,manner of putting ,circles into ,perspective2 whether single1 double1 or many concentrick4 ,the ,geometrical ,plan ,a consists of a ,square with a ,circle inscrib'd1 whose ,diameters divide it into four equal ,parts2 and the ,diagonals being drawn where they intersect the ,circle1 continue ,lines parallel to each ,side of the ,square4 ,the ,square1 with all its ,divisions1 being put in ,perspective2 by the four extreme ,points of the ,diameters1 and by those of the ,intersection of the ,diagonals1 you neatly trace by hand the ,circumference ,b4 ,if you would add another ,circle1 you must inscribe another ,square1 as in the ,plan ,c2 from whence you find in ,perspective the double ,circle ,d4 ,between these two ,circles1 you may1 by the eight ,intersections of the ,squares1 describe a third2 as is evident by the ,figures ,e and ,f4 ,in a word1 all ,circles are described by the ,help of ,squares1 tracing them by the ,intersections of the visual ,lines1 with those parallel to the ,ground-line3 ,nor is there any ,point in either the ,squares or ,circles ,a1 ,c1 ,e1 whose correspondent ,point may not be readily found by such ,sections1 in the respective ,squares and ,circles ,b1 ,d1 ,f4 ,nevertheless1 where your ,work requires many ,circles1 ,i would advise you to use as few ,squares as possible2 lest they perplex1 rather than assist you4 ,illustration3 ,,fig4 ,,xv4 ,figura ,decimaquinta4 ,optica delineatio ,column4 ,descripturi frustum cylindricum ,i uniforme1 fiet elevatio ,a1 vestigium geometricum ,b1 saltem quoad medietatem4 ,ex hoc optic deformato1 ut vides in ,c1 ducend sunt parallel tum latitudinis ad visualem ,d1 tum elevationis ad visualem ,e2 ex quibus describentur circuli optic contracti ,f ,l1 accipiendo latitudines ex vestigio ,c1 altitudines ex perpendiculari ,m2 juxta hanc methodum circuli ,f ,l fiunt sine ope quadratorum4 ,demum ducend sunt perpendiculares ,g ,h1 qu tangant circulos ,f ,l in punctis terminativis maxim latitudinis4 ,nullum est punctum in vestigio ,c1 cui per lineas latitudinis elevationis nequeat inveniri locus correspondens in circulo ,f4 ,exempli gratia2 locus puncti #g est punctum #f4 ,hunc autem locum habemus per tres lineas1 ,,cd1 ,,de1 ,e#g4 ,in delineandis duobus frustis cylindricis1 cum summo imo scapo1 eandem regulam servare oportebit4 ,the ,fifteenth ,figure4 ,a ,column in ,perspective4 ,being to describe ,part of the ,shaft of a ,pillar without ,projectures1 make the ,elevation ,a1 and the ,geometrical ,plan ,b1 at least to the middle3 ,from this brought into ,perspective1 as you perceive in ,c1 must be drawn ,parallels both of ,breadth to the ,visual ,d1 and of ,elevation to the ,visual ,e2 from which are described the ,circles in ,perspective ,f and ,l1 taking the ,breadths from the ,plan ,c1 and the ,heights from the ,perpendicular ,m3 ,and according to this ,method the ,circles ,f and ,l are made1 without the ,help of ,squares4 ,lastly1 draw the ,perpendiculars ,g and ,h1 by the ,points which terminate the greatest ,breadth of the ,circles ,f and ,l4 ,there is not a ,point in the ,plan ,c1 but what1 by means of the ,lines of ,breadth and ,elevation1 may be found in the ,circle ,f4 ,for ,instance2 the ,place of the ,point #f is #g1 which is found by the three ,lines ,,cd1 ,,de1 ,e#g4 ,in designing the two ,pieces of a ,pillar1 with the ,projecture of the ,fillet at ,head and ,foot1 you must observe the very same ,rule4 ,illustration3 ,,fig4 ,,xvi4 ,figura ,decimasexta4 ,optica projectio basis ,etrusc4 ,ex elevatione geometrica ,a eruitur vestigium ,b4 ,hoc autem deformato in ,c ,d1 ex circulis vestigii ,c habentur latitudines column1 quadr1 ac tori triplicis basis3 eodem modo ex vestigio ,d habentur latitudines quadr ac tori ultim basis4 ,ex maximis latitudinibus circulorum vestigii ,c ereximus perpendiculares ad partes qu ipsis respondent in basi2 ut agnoscas qunam sint puncta maxim latitudinis in eisdem partibus4 ,hc puncta 7qu in circulo maximo vestigii ,c sunt ,m ,n7 invenientur tangendo circumferentiam uniuscujusque circuli regul parallel ad lineam perpendicularem ,e1 nam si figura exact delineata fuerit1 regula tanget singulos toros trium basium in punctis maxim hinc inde latitudinis4 ,magis laborandum erit in reperiendis altitudinibus quatuor basium4 ,verum si sedul inspiciatur deformatio elevationis ,f1 aliarumque duarum1 7qu fact sunt1 notatis in linea perpendiculari ,e divisionibus desumptis ex elevatione geometrica ,a7 constabit1 nullum esse punctum in circulis vestigii ,c1 cui nequeat inveniri punctum correspondens in toro quadra ipsius basis1 ut ostendunt line occult1 qu incipiunt ex ,m ,n4 ,earum qulibet ex vestigio ,c pervenit ad lineam visualem1 continuatur cum linea altitudinis ex visuali ad elevationem ,f1 cum alia linea latitudinis ex elevatione ,f ad basim4 ,porr ex figura constat1 superficiem superiorem quadr subduci oculis columna1 aliquid ex parte postica tori quod cteroqui conspiceretur1 abscondi quadra4 ,proinde torus1 qui ex punctis maxim latitudinis retrorsum flectitur1 eousque delineandus est1 quoad hinc inde occurrat quadr ipsum cooperienti4 ,prstaret autem singula membra ita exact delineari1 quasi essent diaphana2 ut partes oculis impervi1 omnino cohreant cum partibus qu ipsis conspicu sunt4 ,complet delineatione1 si figuram tuam ex perpendiculo puncti oculi ex debita distantia contemplatus fueris1 omnes defectus facil deteges statim corriges4 ,prcipuam diligentiam pones in formando emendando toro1 qui habet duas rotunditates2 unam quatenus ambit columnam2 alteram quatenus caret angulis1 ut ostendit elevatio geometrica in ,i4 ,the ,sixteenth ,figure4 ,the ,tuscan ,base in ,perspective4 ,from the ,geometrical ,elevation ,a1 is drawn the ,plan ,b2 which being put into ,perspective1 as you see in ,c and ,d1 from the ,circles of the ,plan ,c you have the ,breadths of the ,column1 and of the ,list1 and ,torus of the three ,bases3 ,and after the same manner1 by the ,plan ,d1 you have the ,breadth of the ,list and ,torus of the last ,base4 ,from the greatest ,breadth of the ,circles of the ,plan ,c1 we have erected ,perpendiculars to the ,parts that answer them in the ,base1 to the end that you may see where the ,points fall1 which terminate the greatest ,breadth of those ,parts4 ,these ,points 7which in the biggest ,circle of the ,plan ,c are ,m and ,n7 are found by touching the ,extremity of the ,circumference with a ,line parallel to the ,perpendicular ,e3 for if the ,figure were exact1 that ,line would touch every ,torus of the three ,bases in the extreme ,points of their ,breadth4 ,the ,heights of the four ,bases are something more difficult to be found4 ,nevertheless1 if you consider well the ,elevation ,f1 and the other two ,g and ,h1 7which are made by transporting the ,divisions of the ,elevation ,a upon the ,perpendicular ,e7 it will plainly appear that there is no ,point in the ,circles of the ,plan ,c1 to which there may not be a correspondent ,point found in the ,torus and ,list of the said ,base2 as the occult ,lines shew1 that arise from ,m and ,n2 each of which is a ,continuation of three ,lines3 ,the first of ,breadth1 from the ,plan ,c to the ,visual2 the second of ,height1 from the ,visual to the ,elevation ,f2 the third of ,breadth1 from the ,elevation ,f to the ,base4 ,now1 tho' it's plain by the ,figure1 that the ,body of the ,column prevents the ,sight of good part of the ,fillet1 and the same ,fillet takes off from part of the ,torus1 which would otherwise be visible2 for which ,reason the ,back-part of the ,torus is continu'd only till it meet the same3 ,yet it's certainly best to draw every ,member complete1 as tho' the ,work were transparent2 that the ,parts hidden from the ,eye may the better agree with those that are expos'd to it4 ,when your ,draught is finish'd1 if you view it at the due ,distance1 and perpendicularly to the ,point of ,sight2 you'll readily discover and rectify what's amiss4 ,your chief ,care will be employ'd in shaping the ,torus1 difficult by reason of its ,roundness both ways2 namely1 in the ,contour of its ,moulding1 as in the ,elevation ,i2 and in the ,circuit it makes about the ,column4 ,illustration3 ,,fig4 ,,xvii4 ,figura ,decimaseptima4 ,deformatio basis ,doric4 ,ad vitandam satietatem quam pareret nimia uniformitas1 unam ex basibus invertimus4 ,utraque autem basis delineata est methodo quam tradidimus figur prcedenti4 ,eademque methodus ade manifest patet ex lineis occultis latitudinum elevationum1 ut superfluum futurum sit ipsam repetere4 ,the ,seventeenth ,figure4 ,the ,dorick ,base in ,perspective4 ,that you may not be tir'd with practising one and the same thing1 ,i have here1 for ,variety-sake1 inverted one of the ,bases4 ,both of 'em are drawn after the ,manner explain'd in the foregoing ,figure2 which is so evident from the occult ,lines of the ,plan and ,elevation here given1 that ,i think it superfluous to say any more of it4 ,illustration3 ,,fig4 ,,xviii4 ,figura ,decimaoctava4 ,optica delineatio basis ,ionic4 ,ex multitudine ac varietate figurarum hujus ,operis1 disces1 mi ,lector1 modum deformandi res demissas sublimes1 magnas parvas4 ,in hac figura1 linea cui bases duarum columnarum incumbunt1 est conjunctim linea plani1 linea horizontalis2 linea cui bases trium columnarum incumbunt1 est altior linea horizontali4 ,quemadmodum autem1 si linea plani sit inferior linea horizontali1 line qu tendunt ad punctum oculi ad punctum distanti1 ascendunt sursum2 ita si linea plani sit superior horizontali1 line qu veniunt ad punctum oculi ad punctum distanti1 tendunt deorsum4 ,qud si in eadem tabula sint plura plana1 eorumque aliqua sint altiora1 alia ver demissiora linea horizontali1 line omnes planorum1 ac linea horizontalis1 sunt invicem parallel2 adeoque ex linea1 qu omnes eas normaliter secet1 statim dignosci potest1 in qua proportione1 singula plana sint altiora vel profundiora linea horizontali4 ,velim quoque observes1 latitudinem column medi1 minorem esse latitudine columnarum lateralium2 discrimen inter hujusmodi latitudines e est majus1 qu punctum distanti fuerit vicinius puncto oculi4 ,qu dicta sunt de columnis1 intelligere oportet de basibus1 de optica delineatione ambarum4 ,nihilominus1 si figura ex debito puncto inspiciatur1 column pict habebunt eandem apparentiam1 quam haberent column solid1 invicem quales4 ,the ,eighteenth ,figure4 ,the ,ionick ,base in ,perspective4 ,by the ,multitude and ,variety of ,figures in this ,work1 the ,reader will be instructed in delineating things1 however different in ,size or ,situation4 ,in this ,figure1 the ,line on which the two ,columns rest1 is both the ,horizontal and the ,ground-line2 that on which the three ,columns are plac'd1 is so much higher than the ,horizontal ,line4 ,and as1 where the ,ground-line is beneath the ,horizontal1 the ,lines drawn to the ,points of ,sight and ,distance tend upwards2 so1 where the same is above the ,horizontal1 the ,lines to the ,points of ,sight and ,distance tend downwards4 ,if in the same ,picture there are different ,grounds1 some higher1 others lower than the ,horizontal ,line2 yet are all those ,ground-lines1 and the ,horizontal1 parallel one to another2 and therefore1 by a ,line cutting them all perpendicularly1 you presently know in what proportion each ,plan or ,ground is higher or lower than the ,horizontal4 ,i would have you observe1 ,that the ,breadth of the middle ,column is1 by the ,perspective1 render'd less than that of the ,side-,columns2 and that this ,difference is the greater1 as the ,point of ,distance approaches nearer to the ,point of ,sight4 ,what has been said of the ,columns1 is also to be understood of the ,bases1 and the ,projections of all their ,parts in ,perspective3 ,nevertheless1 if the ,picture be view'd from its due ,place1 the ,columns will have the same ,effect1 as if solid2 and all appear equal one to the other4 ,illustration3 ,,fig4 ,,xix4 ,figura ,decimanona4 ,optica imminutio basis ,corinthi4 ,hc basis juxta regulas traditas optic contracta est4 ,porr altitudo superficiei ,a est eadem cum altitudine line visualis ,,cd2 latitudo crucis ,a est eadem cum latitudine crucis secundi circuli vestigii ,b1 incipiendo minimo omnium4 ,du line normaliter infix basi1 ostendunt maximam latitudinem quam habere debet columna supra imum scapum4 ,maxima latitudo tori superioris utriusque astragali1 est eadem cum maxima latitudine tertii circuli4 ,maxima latitudo tori inferioris est eadem cum maxima latitudine ultimi circuli4 ,the ,nineteenth ,figure4 ,the ,corinthian ,base in ,perspective4 ,this ,base is put in ,perspective by the ,rules before laid down4 ,the ,height of the ,superficies ,a is the same with that of the visual ,line ,,cd2 the ,breadth of the ,cross ,a is the same with that of the second ,circle of the ,plan ,b1 beginning with the least4 ,the two ,lines that stand perpendicularly on the ,surface of the ,base1 shew the greatest ,breadth of the ,columns ,shaft above the ,fillet4 ,the ,extent of the upper ,torus and the two ,astragals1 is the same with that of the third ,circle2 and the ,extent of the lower ,torus is the same with that of the outward ,circle4 ,illustration3 ,,fig4 ,,xx4 ,,figura ,vigesima4 ,basis ,acticurga optic imminuta4 ,basis ,acticurga ,pictoribus pr reliquis familiaris est1 quia cum omnibus fer ,ordinibus egregi consentit4 ,porr ex punctis ,e ,f maxim utrinque latitudinis extimi circuli vestigii1 habetur maxima latitudo tori inferioris ,,cd4 ,ac ctera qu spectant ad ipsum ad torum ,,ab1 petenda sunt ex dictis de basi ,etrusca4 ,the ,twentieth ,figure4 ,the ,attick ,base in ,perspective4 ,the ,attick ,base is more frequently made use of by ,painters1 than any other2 because it suits well with most of the ,orders4 ,the ,points ,e and ,f1 the greatest ,breadth of the outward ,circle of the ,perspective-,plan1 give the greatest ,breadth of the lower ,torus ,,cd4 ,and whatever else relates either to this or the upper ,torus ,,ab1 is to be sought in the same ,manner1 as has been shewn in the ,tuscan ,base4 ,illustration3 ,,fig4 ,,xxi4 ,figura ,vigesimaprima4 ,optica imminutio capitelli ,etrusci4 ,edem cum reliquis form1 edemque methodo capitella delineanda sunt3 quum habeant ipsa quoque suum cimatium quadratum1 sint rotunda4 ,linea plani solet in iis fieri altior line horizontali3 quia quum capitella imponenda sint columnis homine altioribus1 plerumque apparent sublimiora nostris oculis4 ,the ,twenty-first ,figure4 ,the ,tuscan ,capital in ,perspective4 ,the ,manner before deliver'd concerning ,bases1 is of the same ,use in delineating ,capitals2 forasmuch as these also have their square ,abacus1 and their round ,members4 ,the ,ground-line in ,capitals is usually plac'd above the ,horizon2 because when they are set upon ,columns which exceed a ,man's ,height1 they are generally represented above the ,eye4 ,illustration3 ,,fig4 ,,xxii4 ,figura ,vigesimasecunda4 ,optica projectio capitelli ,dorici4 ,capitellum hoc pluribus membris constat1 adeque operosius est qum prcedens4 ,nihilominus accurata delineatio vestigii geometrici omnes difficultates complanabit4 ,twenty-second ,figure4 ,the ,projection of a ,dorick ,capital1 in ,perspective4 ,this ,capital consisting of more ,members than the foregoing1 will be more troublesom to put in ,perspective2 but an accurate ,delineation of the ,geometrical ,plan will certainly remove many seeming ,difficulties4 ,illustration3 ,,fig4 ,,xxiii4 ,figura ,vigesimatertia4 ,deformatio capitelli ,ionici4 ,capitellum ,ionicum poscit duas elevationes geometricas distinctas1 alteram faciei1 alteram lateris2 ex iisque conflatur vestigium geometricum ,a1 quod optic contrahitur1 translatis in ,b punctis latitudinis ,c1 in ,e punctis longitudinis ,d more consueto3 ut ex punctis ,b latitudinis1 line tendant ad punctum oculi2 ex punctis ver ,e longitudinis1 line tendant ad punctum distanti4 ,ex vestigio capitelli optic contracto eruenda est elevatio longitudinis ut in figura4 ,ex utrisque ver juxta morem fiet capitellum nitidum1 acceptis latitudinibus ex vestigio1 altitudinibus ex elevatione longitudinis4 ,hc quoque dabit maximam latitudinem singularum volutarum4 ,modum delineandi capitellum ,ionicum1 in quo helices volutarum obliquentur1 dabimus infra figur trigesim4 ,twenty-third ,figure4 ,the ,ionick ,capital in ,perspective4 ,the ,ionick ,capital requires two distinct geometrical ,elevations1 one of the ,front1 the other of the ,side2 from both which is found the geometrical ,plan ,a1 which is put in ,perspective by transferring into ,b the ,points of ,breadth ,c1 and into ,e the ,points of ,length ,d1 after the usual ,manner2 that from the ,points of ,breadth ,b1 ,lines may be drawn towards the ,point of ,sight2 and from the ,points of ,length ,e1 towards the ,point of ,distance4 ,from the ,plan of the ,capital in ,perspective1 is to be drawn the ,upright of the ,length1 as in the ,figure2 and from both1 as usual1 the finish'd ,capital is wrought1 by taking the ,breadths from the ,plan1 and the ,heights from the ,elevation2 this giving the utmost ,height1 and that the utmost ,breadth of each of the ,volutes4 ,the ,manner of describing the ,ionick ,capital1 whose ,volutes lie obliquely1 we shall hereafter treat of in the ,thirtieth ,figure4 ,illustration3 ,,fig4 ,,xxiv4 ,figura ,vigesimaquarta4 ,optica projectio capitelli ,corinthii4 ,capitellum ,corinthium absolvere non poteris1 nisi elevatione geometrica ejusque vestigio exactissim delineatis juxta regulas ,barozzii4 ,ad formandum ex vestigio ,b vestigium ,e1 rectis occultis fient quadrata necessaria ad contractionem opticam quatuor vel trium saltem circulorum2 translatis in lineam ,d divisionibus line ,c1 aliis1 more consueto4 ,contrahentur deinde lineis occultis vestigia foliorum1 absolventur ctera qu posita sunt in vestigio ,e4 ,ut fiat optica elevatio longitudinis ,f1 in lineam perpendicularem ,h transferentur ex elevatione ,a omnes ejus divisiones4 ,complebitur autem per lineas rectas1 qu ex punctis divisionum ducantur ad punctum oculi1 ac per rectas ex circulorum summitate ac profunditate1 qu rect sint parallel ad lineam ,d1 ac perveniant ad visualem ,g2 indeque descendant1 ac sint parallel ad lineam perpendicularem ,h4 ,capitellum nitidum exordieris ab infimo circulo ,i1 ostendente ambitum column4 ,succedent folia #a1 #b1 quorum latitudines accipientur ex vestigio ,e per circinum1 posit un ejus cuspide in linea ,h2 altitudines ver accipientur ex elevatione ,f1 posita una cuspide circini in linea ,d4 ,idipsum dico tum de foliis #c1 #c1 #d1 #d1 tum de folio #e1 ac de aliis1 demum de cymatio4 ,descensus ver line curv ipsius cymatii incipiet ex acie ,l4 ,twenty-fourth ,figure4 ,the ,corinthian ,capital in ,perspective4 ,there is no ,completing the ,corinthian ,capital1 unless you most accurately describe its ,geometrical ,elevation and ,plan1 according to the ,rules of ,vignola4 ,being to form the ,plan ,e from the ,plan ,b1 you must1 with occult ,lines1 make the ,squares necessary for bringing four1 or at least three of the ,circles into ,perspective2 transferring into the ,line ,d the ,divisions of the ,line ,c1 and the rest as usual4 ,then1 with other occult ,lines1 contract the ,plans of the ,leaves1 and finish what's farther requisite in the ,plan ,e4 ,to make the ,optick ,elevation of the ,length ,f1 you must transfer into the ,perpendicular ,h all the ,divisions of the ,elevation ,a2 and complete the same1 by ,lines drawn toward the ,point of ,sight1 till they meet their respective ,perpendiculars2 which proceeding from all parts of the ,circles parallel to the ,line ,d1 intersect the ,visual ,g2 from whence they descend1 ,parallels to the ,perpendicular ,h4 ,in working the clean ,capital1 you should begin with the lowest ,circle ,i1 which denotes the ,compass of the ,column4 ,then make the ,leaves #a1 #b1 by taking their ,breadths from the ,plan ,e1 with the ,compasses1 and keeping one ,point of them upon the ,line ,h2 and their ,heights from the ,elevation ,f1 keeping one ,point on the ,line ,d4 ,the same must be done1 as well by the ,leaves #c1 #c1 #d1 #d1 as by the ,leaf #e1 and the others2 and last of all1 by the ,abacus also2 the ,sinking of the ,horns whereof answers that of the visual ,line ,l4 ,illustration3 ,,fig4 ,,xxv4 ,figura ,vigesimaquinta4 ,optica descriptio capitelli ,compositi4 ,ex iis qu diximus de capitello ,corinthio1 didiceris modum faciendi capitellum ,compositum4 ,velim autem tibi persuadeas1 cum lectione harum regularum qu sunt magistri inanimes1 circini usum perpetu conjungi oportere4 ,hic enim vivi magistri defectum unic supplere potest4 ,the ,twenty-fifth ,figure4 ,the ,composite ,capital in ,perspective4 ,from what has been said of the ,corinthian ,capital1 may be learnt the ,manner of putting the ,composite also into ,perspective4 ,i wish ,i could prevail with you1 that to the ,reading of the ,rules1 which in themselves are but lifeless ,masters1 you would constantly add a diligent ,practice of the ,figures by the ,compasses2 this being the only way to supply the ,want of a living ,master4 ,illustration3 ,,fig4 ,,xxvi4 ,figura ,vigesimasexta4 ,deformatio coronicis ,etrusc4 ,post capitella sequuntur coronices1 qu utpote quadrat1 minimam habent arduitatem4 ,inter coronices ver1 nulla est ,etrusc simplicior ac facilior4 ,ex elevatione geometric1 more solito1 formatur vestigium geometricum2 ex eoque optic contracto eruitur similis elevatio longitudinis4 ,demm ex elevatione vestigio componitur coronix nitida4 ,memineris autem duas esse lineas1 qu hinc inde terminant latitudinem elevationis optic4 ,linea qu altior est1 dat altitudinem anterioris faciei coronicis1 alia qu est depressior1 dat altitudinem faciei posterioris4 ,et ita erit in posterum4 ,twenty-sixth ,figure4 ,the ,tuscan ,entablature in ,perspective4 ,after ,capitals we proceed to ,entablatures1 which because they are square1 are less difficult than the former4 ,and of all ,entablatures1 that of the ,tuscan ,order is the most simple and easie to be put in execution4 ,from the ,geometrical ,upright is drawn1 as usual1 the ,geometrical ,plan2 from the ,plan put in ,perspective is describ'd the ,optick ,elevation of the ,length2 and from both the latter is wrought the clean ,entablature requir'd4 ,you may observe1 here are two ,lines that terminate the ,breadth of the ,perspective on one side and the other4 ,the ,line which proceeds from the higher ,corner of the ,visual1 gives the ,height of the most advanc'd ,part2 that from the lower determines the ,height of the ,back-part4 ,and so for the future4 ,illustration3 ,,fig4 ,,xxvii4 ,figura ,vigesimaseptima4 ,optica delineatio coronicis ,doric4 ,in faciend coronice ,doric1 qu majorem operam poscit1 ob denticulos triglyphos2 communis regula servanda est4 ,si autem libeat coronicem nitidam describere in papyro separat ab ejus prparationibus1 id profect licet1 tum in hoc1 tum in quocunque alio schemate4 ,twenty-seventh ,figure4 ,the ,dorick ,entablature in ,perspective4 ,in making the ,dorick ,entablature1 which has something more ,work in it than the former1 on account of its ,dentels and ,triglyphs2 the common ,rule is to be observ'd4 ,and if you would delineate the finish'd ,entablature in a ,paper distinct from that of its ,preparations1 you are at liberty so to do1 either in this or any other ,figure4 ,illustration3 ,,fig4 ,,xxviii4 ,figura ,vigesimaoctava4 ,prparatio figur sequentis4 ,in figur vigesimaoctav1 qu continet vestigium elevationes geometricas figur vigesimnon1 oportuit latus ,c delineare seorsim facie ,b2 quia facies exhibet latitudinem dificii1 latus ver exhibet longitudinem2 atque una non est alteri qualis4 ,in vestigio geometrico solidus paries est ,a3 circuli referunt summum scapum columnarum4 ,ctera dant projecturas coronicis1 cum suis mutulis4 ,twenty-eighth ,figure1 ,preparatory to the following ,figure4 ,in this ,twenty-eighth ,figure1 which contains the ,plan and ,geometrical ,elevations of the ,twenty-ninth ,figure1 it was requisite to delineate the ,side ,c separately from the ,front ,b2 because the ,front1 which signifies the ,breadth of the ,building1 and the ,side1 which shews its ,length1 are not equal one to the other4 ,in the ,geometrical ,plan the solid ,wall is ,a3 the ,circles express the ,nakeds of the ,pillars ,shafts at top4 ,the rest is the ,projecture of the ,cornice1 with its ,mutules4 ,illustration3 ,,fig4 ,,xxix4 ,figura ,vigesimanona4 ,optica projectio dificii ,dorici4 ,habes in hac figura vigesimanona1 opticam delineationem vestigii1 unius ex elevationibus figur vigesimoctav2 nimirum1 elevationis longitudinis2 ex quibus eruitur imago nitida dificii ,ordinis ,dorici1 cum summitatibus capitellis trium columnarum2 ejusque epistylium1 zophorus1 corona4 ,,bo est linea horizontis2 ,,ac est linea plani2 in quam1 ex lineis ,d ,c figur vigesimoctav1 transferuntur puncta latitudinis longitudinis duarum elevationum2 prolongando versus ,c ipsam lineam plani1 ut oportet4 ,operaberis autem1 ut diximus figur vigesimatertia2 nimirum1 in puncto ,v desinet latitudo vestigii1 incipiet longitudo2 ex punctis latitudinis line tendent ad punctum oculi2 ex punctis longitudinis line occult tendent ad punctum distanti4 ,ubi ver h line secant visualem ,,vo1 fient parallel ad lineam ,,ac1 cum cteris qu necessaria sunt ad complendam delineationem opticam vestigii4 ,elevatio ,c figur vigesimoctav optic contrahetur more consueto1 translatis in lineam ,,ab divisionibus line ,e vel ,f1 ex quibus fient visuales ad punctum oculi2 ac demissis ex linea visuali ,,ao perpendicularibus ad lineam ,,ac1 ita ut line parallel ad lineam plani ,,ac continuentur cum aliis lineis parallelis ad lineam ,,ab4 ,hic quoque locum habet observatio illa1 cujus meminimus figura vigesimasexta1 de lineis qu deorsum excurrunt1 hinc inde terminant membra elevationis optic4 ,ex iis autem desumuntur projectur omnes coronicis capitellorum4 ,twenty-ninth ,figure4 ,a ,projection of the ,dorick ,order in ,perspective4 ,in this ,twenty-ninth ,figure1 you have in ,perspective the ,plan1 and one of the ,uprights of the ,twenty-eighth ,figure2 namely1 that of the ,length2 from whence is drawn this finish'd ,piece of the ,dorick ,order1 which has the upper ,part and ,caps of three ,pillars1 with their ,architrave1 ,freeze1 and ,cornice4 ,,bo is the ,horizontal-line2 ,,ac that of the ,plan2 into which1 from the ,lines ,d and ,c of the ,twenty-eighth ,figure1 are transferr'd the ,points of ,breadth and ,length of the two ,elevations2 first prolonging the ,line itself1 as much as is needful1 through ,c4 ,the ,work is then perform'd1 as was shewn in the ,twenty-third ,figure2 namely1 the ,divisions of the ,breadth of the ,plan end in the ,point ,v1 at which those of ,length begin4 ,from the first1 ,lines are drawn to the ,point of ,sight2 and from the latter1 occult ,lines are directed to the ,point of ,distance3 ,and where these cut the ,visual ,,vo1 ,lines are drawn parallel to ,,ac2 with those that are farther necessary for completing the ,plan in ,perspective4 ,the ,elevation ,c of the ,twenty-eighth ,figure is put in ,perspective1 as usual1 by transferring the ,divisions of the ,line ,e1 or ,f1 into that of ,,ab in this ,plate2 from whence drawing ,visuals to the ,point of ,sight1 they are intersected by ,perpendiculars let fall from those ,divisions of ,,ao made by the ,parallels to the ,ground-line ,,ac1 and again continu'd parallel to the ,perpendicular ,,ab4 ,the ,observation1 mention'd in the ,twenty-sixth ,figure1 is also pertinent in this place2 ,that the ,lines1 which1 in the ,perspective-,elevation1 tend downward1 give the ,advance and ,recess of the several ,members of the ,work2 and from them are taken all the ,projectures of the ,entablature and ,capitals4 ,illustration3 ,,fig4 ,,xxx4 ,,figura ,trigesima4 ,optica projectio dificii ,ionici2 ubi de modo jungendi fictum cum vero4 ,si tibi ,pictor quum sis1 occasione apparats quadraginta horarum1 vel sepulcri ,domini1 mutare ad tempus libeat formam architectur alicujus ,ecclesi jungendo fictum cum vero1 ut mihi spius contigit ,mediolani ac ,rom1 cum ingenti spectatorum delectatione admiratione2 paucis ostendam tibi modum quem servare debeas in operando4 ,sectio coronicis ver1 qu1 ut suppono1 videri debet continua esse cum coronice picta in telario1 est ,a2 elevatio geometrica coronicis1 reliquorum qu delineanda sunt1 est ,b2 vestigium geometricum est ,c4 ,porr1 tum vestigium tum elevatio longitudinis optic contrahentur more consueto1 ut vides in ,c ,b3 ex iisque formabitur in telario coronix nitida cum columna anta2 ipsumque telarium depictum1 normaliter coagmentandum erit ver coronici4 ,ut fiat ea pars longitudinis1 qu coronicem pictam continuare videatur cum vera1 erui non potest ex elevatione deformata2 oportet sectionem ,a transferre in ,d1 ducendo visuales ex punctis terminativis membrorum sectionis ,d1 usque dum occurrant lineis latitudinis eorundem membrorum4 ,quod si colores in telarium scit inducantur1 angulus in ,e1 quamvis mer depictus1 videbitur verus2 ex adverso1 anguli quos telarium ipsum depictum facit cum diversis ade crepidinibus coronicis ver1 nusquam apparebunt1 prterqum in quadra sim dumtaxat2 unio architectur ver cum ficta dignosci non poterit4 ,the ,thirtieth ,figure4 ,an ,ionick ,work in ,perspective2 with the ,manner of reconciling the fictitious to the solid ,architecture4 ,if1 being a ,painter1 you were requir'd1 against the ,solemnity of the ,holy-,week1 to alter for a while the ,architecture of some ,altar-piece1 by joining ,painting to the real ,work2 as ,i have often done1 both at ,rome and ,milan1 to the great ,satisfaction and ,surprize of the ,beholders3 ,i shall briefly shew the ,method to be observ'd in performing the same4 ,the ,dissection of the solid ,cornice1 which ,i here suppose shall appear continu'd in that painted on the ,canvass1 is ,a2 the ,geometrical ,elevation of the ,cornice1 and other ,parts to be drawn1 is ,b2 the ,geometrical ,plan is ,c4 ,the ,plan and ,elevation of the ,length are put in ,perspective after the usual manner1 in ,c and ,b2 from those the finish'd ,cornice1 with the ,pillar and ,pilaster1 are delineated on the ,canvass2 and the ,picture is then conjoin'd1 at right ,angles1 to the true ,cornice4 ,for adjusting the ,members so1 that the painted ,cornice may seem to be the real one continu'd1 7which can't be done by the ,perspective ,upright7 you must transfer the ,section ,a to ,d2 and from the terminating ,points of the several ,members thereof1 draw visual ,lines1 till they meet those of their respective ,members in the ,perspective4 ,and if the ,colours are laid by a skilful ,hand1 the ,angle at ,e1 tho' painted only1 will appear as real2 and on the contrary1 the ,angles which the ,members of the painted ,cornice make with the different ,projectures of those of the true1 will never be discern'd1 unless in the very uppermost ,fillet2 but the ,conjunction of the real with the painted ,architecture1 will be altogether imperceptible4 ,illustration3 ,,fig4 ,,xxxi4 ,figura ,trigesimaprima4 ,optica projectio coronicis ,corinthi1 cum capitello summitate column4 ,in hoc schemate linea plani est ,,cie1 horizontis est ,,dfo2 punctum oculi est ,o1 distanti est ,d4 ,elevatio geometrica capitelli ,corinthii cum sua coronice est ,a1 quorum divisiones cernuntur in perpendiculari ,,cd4 ,vestigium geometricum ,b habet longitudinem qualem latitudini3 optic autem contrahitur methodo consueta4 ,nimirum1 translatis divisionibus latitudinis longitudinis in lineam plani ,,cie2 ex punctis latitudinis fiunt visuales ad punctum oculi2 ex punctis ver longitudinis fiunt occult ad punctum distanti3 hoc modo habes quicquid necessarium est ad contractionem opticam vestigii4 ,nam line longitudinum sunt partes visualium1 ut patet in ,,gn1 ,,hl3 line latitudinum1 parallel ad lineam plani fiunt ex punctis in quibus line tendentes ad punctum distanti secant visualem ,,ho1 ut vides in ,,nl4 ,porro1 si tantundem prolongaretur horizontalis ,,do1 ita ut haberet duo puncta distanti remota qualiter ab ,o1 medietas diagonalium1 qu sunt in quadrato majori ,,gnlh optic deformato1 in quadratis ejus minoribus1 tendent ad unum punctum distanti2 altera medietas ad aliud punctum distanti4 ,elevatio longitudinis optic contrahitur ductis parallelis ad ,,ce1 qu ubi pervenerint ad visualem ,,io1 continuentur cum aliis parallelis ad ,,ik4 ,prterea1 translatis in lineam ,,ik divisionibus line perpendicularis ,,cd1 ex punctis divisionum fiunt visuales ad punctum oculi1 ac ducuntur singula membra ipsius elevationis1 cujus latitudines sunt partes visualium1 altitudines ver sunt partes linearum parallelarum ad ,,ik4 ,demm ex vestigio ex elevatione longitudinis1 formatur coronix nitida cum capitello4 ,ut autem facilis delineentur mutuli1 primm fient quadrat form1 ut in ,m2 deinde congruus flexus in singulos inducetur4 ,the ,thirty-first ,figure4 ,the ,optick ,projection of a ,corinthian ,cornice1 with the ,capital and ,,part of the ,column4 ,in this ,figure the ,line of the ,plan is ,,cie1 that of the ,horizon is ,,dfo2 the ,point of ,sight is ,o1 the ,point of ,distance ,d2 the ,geometrical ,elevation of the ,corinthian ,capital1 with its ,entablature1 is ,a2 whose ,divisions are seen in the ,perpendicular ,,cd4 ,the ,length and ,breadth of the ,geometrical ,plan ,b are equal1 and the ,plan is put into ,perspective after the usual ,method2 to wit1 by transferring the ,divisions of ,breadth and ,length into the ,line ,,cie2 from the ,points of ,breadth drawing ,visuals to the ,point of ,sight2 and from those of ,length occult ,lines to the ,point of ,distance3 by which ,intersections you have all that's necessary for putting the ,plan into ,perspective4 ,for the ,lines of ,length are ,parts of visual ,rays1 as is manifest by ,,gn1 ,,hl2 and the ,lines of ,breadth are made ,parallels to the ,ground-line1 from the ,intersections before-mention'd1 as is seen in ,,nl4 ,moreover1 if the ,horizontal-line ,,do were so prolong'd1 as to receive another ,point of ,distance equidistant from ,o2 half the diagonal ,lines of the great ,square ,,gnlh1 and of the lesser ,squares contain'd therein1 would tend to one ,point of ,distance1 and the other half to the other4 ,the ,elevation of the ,length is put in ,perspective1 by continuing the ,parallels to ,,ce1 till they cut the ,visual ,,io2 and from thence dropping ,lines parallel to ,,ik3 ,then transferring into ,,ik the ,divisions of the ,perpendicular ,,cd1 from them make visual ,lines to the ,point of ,sight1 and draw the several ,members of the ,upright2 whose ,breadths are ,parts of ,visuals1 and their ,heights ,parts of ,perpendiculars1 or ,lines parallel to ,,ik4 ,lastly1 from the ,plan and ,elevation of the ,length1 you delineate the finish'd ,cornice and ,capital3 ,but that you may more easily draw the ,modillions1 first make them in a square ,form1 as in ,m2 and that will very much assist you to give the ,scroll of each a more agreeable ,turn4 ,illustration3 ,,fig4 ,,xxxii4 ,figura ,trigesimasecunda4 ,delineatio geometrica coronicis1 ,ordinis ,compositi4 ,ut hoc schema grandius ac distinctius esset1 ejus medietatem dumtaxat suscepi delineandam4 ,,pn est vestigium geometricum4 ,m est solidus paries4 ,,oo spatia columnarum4 ,in ,h sunt crepidines coronicis4 ,elevatio geometrica latitudinis dificii constat epistylio ,t1 zophoro ,l1 coron ,v1 supra quam eminet fastigium ,s4 ,jam ut inveniatur centrum arcuum1 distanti ,,av fiat qualis distantia ,,ac4 ,positaque una cuspide circini in ,c1 alia extendatur usque ad ,v3 ita fient arcus1 quorum ultimus est ,,bd1 omnesque sunt concentrici4 ,elevatio ,f ostendit longitudinem dificii ex parte ,,gi2 elevatio ,e ostendit longitudinem ipsius ex parte ,,dr4 ,thirty-second ,figure4 ,the ,geometrical ,design of a ,cornice1 of the ,composite ,order4 ,that this ,figure might be larger and more distinct1 ,i have here describ'd only the ,half of it4 ,,pn is the ,geometrical ,plan4 ,m is the solid ,wall4 ,,oo are the ,places of the ,columns4 ,h shews the ,projectures of the ,cornice4 ,the ,geometrical ,elevation of the ,breadth of the ,frontispiece1 consists of the ,architrave ,t1 the ,freeze ,l1 and the ,cornice ,v1 over which is rais'd the ,pedament ,s4 ,for finding the ,center of the arch'd ,lines of the ,pedament1 make the ,distance ,,ac equal to that of ,,av2 and placing one ,point of the ,compasses in ,c1 extend the other to ,v1 and describe the ,arch4 ,the other ,arches1 of which ,,bd is the utmost1 have all the same ,center4 ,the ,elevation ,f shews the ,length of the ,work on the ,side ,,gi4 ,the ,upright ,e shews the ,length of the same on the ,front ,,dr4 ,illustration3 ,,fig4 ,,xxxiii4 ,figura ,trigesimatertia4 ,deformatio coronicis ,composit4 ,figura hc trigesimatertia minus ardua tibi videbitur1 si ex ea delineandam primm suscipias medietatem qu respondet vestigio ,,pn elevationi ,,br figur trigesimsecund2 rejecto in ultimum fastigio1 postqum ctera compleveris4 ,linea ,,bv est horizontalis4 ,punctum oculi est ,v1 punctum distanti remotum est ab ,v spatio ,,bv1 additis modulis quatuordecim cum dimidio4 ,linea plani est ,,ar1 in quam ex ,q versus ,a transfertur latitudo ,p2 ex ,q versus ,r transfertur longitudo ,n1 cum omnibus earum divisionibus2 ut ex punctis latitudinis fiant visuales ad punctum oculi2 ex punctis longitudinis fiant occult ad punctum distanti4 ,ex his habes quicquid necessarium est ad projectionem opticam vestigii1 ut ostendimus figur trigesimaprim4 ,eademque methodo1 quam ibi servavimus1 contrahes elevationem ,p longitudinis coronicis3 ac tum ex illa1 tum ex vestigio1 eruetur coronix nitida more consueto4 ,ut delineetur fastigium1 transferend sunt in lineam ,,ab divisiones ipsius ex elevatione ,f figur trigesimsecund1 ac ducend visuales ad punctum oculi1 additis lineis terminativis uniuscujusque membri1 qu accipientur ex vestigio ,q optic deformato4 ,centrum ,o arcuum fastigii nitidi1 remotum est summitate coronicis1 medietate distanti1 quam habent ungues quadr cui fastigium ipsum incumbit4 ,ac proinde1 si accipias ex elevatione ,p diversas altitudines membrorum fastigii2 latitudines ver accipias ex vestigio ,q2 opus tuum feliciter absolves4 ,the ,thirty-third ,figure4 ,a ,composite ,cornice in ,perspective4 ,this ,thirty-third ,figure will be found the less difficult1 if you first attempt that ,half which answers to ,,pn in the ,plan1 and ,,br in the ,upright of the ,thirty-second ,figure2 leaving the ,pedament1 till all the rest be finish'd4 ,the ,line ,,bv is the ,horizontal4 ,v is the ,point of ,sight2 the ,point of ,distance is fourteen ,modules and a half without the ,point ,b1 more than the ,interval ,,bv4 ,the ,line of the ,plan is ,,ar1 in which from ,q toward ,a you have the ,divisions of ,breadth of the foregoing ,plan ,p2 and from ,q to ,r those of the ,length thereof ,n3 ,from the former1 ,visuals are drawn to the ,point of ,sight2 and from the latter1 occult ,lines to the ,point of ,distance4 ,and from these you have all that's necessary for putting the ,plan in ,perspective2 as was shewn in the ,thirty-first ,figure4 ,by the ,method there observ'd1 you may also describe the ,perspective-,elevation of the ,length ,p2 and from this1 and the ,plan1 delineate the finish'd ,cornice after the usual ,manner4 ,for making the ,pedament1 the ,divisions of the ,elevation ,f in the ,thirty-second ,figure1 must be transferr'd into the ,line ,,ab1 and ,visuals drawn from them to the ,point of ,sight2 giving to each ,member its proper ,out-line and ,contour1 as may be taken from the ,perspective-,plan ,q4 ,the ,center ,o of the ,arches in the finish'd ,pedament1 is plac'd below the upper ,member of the ,cornice1 as much as half the ,extent of the upper ,fillet from whence the ,pedament springs4 ,and by taking the several ,heights of the ,members thereof1 from the ,elevation ,p2 and the ,breadths from the ,plan ,q2 you will successfully finish and complete your ,work4 ,illustration3 ,,fig4 ,,xxxiv4 ,figura ,trigesimaquarta4 ,prparatio ad figuram trigesimamquintam4 ,si placuerit conferre figuram trigesimamtertiam cum prsenti figura trigesimaquarta1 dignosces vestigium elevationem coronicis ,composit alio modo hic deformari1 mutando scilicet longitudinem in latitudinem1 latitudinem in longitudinem4 ,propterea hc figura tantum spatii occupat1 ut eam seorsim coronice nitida delineare oportuerit4 ,divisiones latitudinis in vestigio incipiunt ex ,v versus ,r1 sunt edem cum divisionibus rect ,,ig figur trigesimsecund4 ,divisiones longitudinis incipiunt ex ,v versus ,s1 sunt edem cum divisionibus rect ,,ip duplicatis4 ,ex divisionibus latitudinis fiunt visuales ad punctum oculi2 ex divisionibus longitudinis fiunt rect ad punctum distanti2 cum reliquis qu necessaria sunt ad complendum vestigium ,,avdc4 ,elevatio longitudinis coronicis fastigii1 optic contrahitur per lineas parallelas ad lineam plani ,,as2 qu ubi pervenerint ad visualem ,,ac1 continuentur cum aliis parallelis ad perpendiculum ,p1 ut diximus figur trigesimaprim4 ,in idem perpendiculum ,p transferuntur ex figur trigesimasecund divisiones rect ,,dr2 insuper altitudines1 quas puncta ,,kxz habent supra rectam ,,va2 fientque visuales ad punctum oculi3 sectiones autem visualium cum parallelis ad perpendiculum ,p1 dabunt sex puncta sim fastigii1 respondentia punctis ,,kxz duplicatis1 figur trigesimsecund2 earumque ductu formandus est supremus arcus4 ,eodem artificio fient reliqui omnes4 ,facilis delineabitur coronix1 cujus maximam partem occupant line visuales ad punctum oculi3 porr1 membra omnia1 except sim1 communia sunt coron fastigio4 ,adeoque puncta similia in lineis terminativis membrorum singulorum1 ex quibus desumuntur crepidines ungues figur nitid1 sunt parallela ad perpendiculum ,p4 ,the ,thirty-fourth ,figure1 ,preparatory to the ,thirty-fifth4 ,if you please to compare the ,thirty-third ,figure with this ,thirty-fourth ,figure1 you will perceive the ,plan and ,elevation of this ,composite ,cornice to be delineated differently from that2 to wit1 by making the ,length of that the ,breadth of this1 and the ,breadth of that the ,length of this3 ,on which account1 this ,figure takes up so much ,room1 that there was a necessity of drawing the finish'd ,cornice on a separate ,paper4 ,the ,divisions of ,breadth in the ,plan begin from ,v toward ,r2 and are the same with those of the ,line ,,ig in the ,thirty-second ,figure4 ,the ,divisions of ,length are set from ,v toward ,s2 and are the same with those of the ,line ,,ip in the ,thirty-second ,figure2 which being the ,half1 is here doubl'd4 ,from the ,divisions of ,breadth1 ,lines are drawn to the ,point of ,sight2 and from those of the ,length1 ,lines to the ,point of ,distance2 with the farther ,requisites for completing the ,plan ,,avdc in ,perspective4 ,the ,upright of the ,length of the ,cornice and ,pedament1 is made by producing ,parallels to the ,ground-line ,,as2 till they intersect the ,visual ,,ac2 and thence continuing ,lines parallel to the ,perpendicular ,p1 as was directed in the ,thirty-first ,figure4 ,into the same ,perpendicular ,p are transferr'd the ,divisions of the ,line ,,dr in the ,thirty-second ,figure2 and also the ,heights which the ,points ,,kxz have above ,,va in the same ,figure4 ,from all which1 ,visuals are drawn to the ,point of ,sight2 which being intersected by the ,perpendiculars1 give six ,points on the ,cima of the ,pedament1 which answer to the said ,points ,,kxz of the ,thirty-second ,figure1 doubl'd3 ,by these the outward ,arch is form'd4 ,and by the same ,rule1 you find ,points for all the others4 ,you will more easily draw the ,cornice1 the greatest ,part of it consisting of visual ,lines to the ,point of ,sight3 ,moreover1 all the ,members1 except the upper ,cima1 are common both to the ,cornice of the ,entablature1 and to the ,pedament2 so that the corresponding ,points1 in the ,out-lines of their several ,members1 from whence the ,breaks and ,contours of the finish'd ,piece are taken1 are found in the same ,parallels to the ,perpendicular ,p4 ,illustration3 ,,fig4 ,,xxxv4 ,figura ,trigesimaquinta4 ,deformatio coronicis ,composit1 ad latus inspect4 ,artificium nitid coronicis1 ex vestigio elevatione figur trigesimquart eruend1 non differt ab eo quod sp traditum est4 ,itaque supposito1 qud linea plani horizontis1 ac puncta oculi ac distanti1 habeant in hoc schemate situm omnino eundem1 quem habent in prcedenti2 ope duorum circinorum1 invenientur distanti1 quas anguli necessarii ad integram delineationem coronicis1 habent linea plani1 linea normali ad ipsam lineam plani4 ,nam ducendo lineas visuales1 aliasque lineas parallelas ad ipsum perpendiculum1 cum terminis flexibus qui conveniunt singulis membris1 complebitur delineatio4 ,in fastigio visuales sunt penitus occult3 puncta autem similia ,h ,l1 ex quibus fastigium incipit introrsum flecti1 incidunt in unam eandemque visualem4 ,idipsum dico de aliis punctis similibus4 ,nam line rect omnes1 qu in figura trigesimatertia sunt parallel ad lineam plani1 in figuris trigesimaquarta trigesimaquinta sunt partes linearum visualium4 ,the ,thirty-fifth ,figure4 ,a ,side-,view of the ,composite ,cornice1 in ,perspective4 ,the ,manner of drawing this finish'd ,cornice1 from the preceding ,plan and ,elevation1 is the same with that so often shewn you4 ,admitting therefore1 that the ,lines of the ,plan and ,horizon1 and the ,points of ,sight and ,distance1 have the very same ,position in this1 that they had in the preceding ,scheme2 all the ,angles necessary for delineating the entire ,cornice1 are readily found by the help of two pair of ,compasses2 taking their ,distances one way from the ,ground-line2 and the other way from a ,line perpendicular to the same3 ,then drawing the visual and perpendicular ,lines1 and keeping the ,place and ,contour of the several ,mouldings1 you complete your ,design4 ,in the ,pedament the visual ,lines are wholly occult2 and the ,points ,h and ,l1 where the ,pedament begins to break back1 being of like ,height1 are found in one and the same ,visual3 ,and the same may be said of all ,points that are of equal ,height from the ,plan2 for all the right ,lines1 which in the ,thirty-third ,figure are ,parallels to the ,ground-line1 in the ,thirty-fourth and ,thirty-fifth ,figures are ,parts of the visual ,lines4 ,illustration3 ,,fig4 ,,xxxvi4 ,,figura ,trigesimasexta4 ,prparatio ad figuram trigesimamseptimam4 ,in vestigio geometrico ,c1 in ejus elevatione ,,ab1 prcipuas tantm lineas adnotavi1 ne figuram confunderem1 ut studiosorum industri aliquid relinquerem4 ,linea plani ,,eg habet divisiones latitudinis ,p1 longitudinis ,q1 vestigii geometrici ,c4 ,ex punctis latitudinis ducentur more solito visuales ad ,o punctum oculi2 ex punctis longitudinis fient occult ad punctum distanti1 quod extra lineam ,,ab protenditur modulis quatuordecim3 ubi occult ex divisionibus longitudinis secant visualem ,,fo fiunt parallel ad lineam plani ,,ef1 adhibitis sectionibus talium parallelarum cum visualibus1 ad complendam deformationem vestigii4 ,edem line qu in vestigio deformato sunt parallel ad ,,ef1 prolongantur usque ad visualem ,,eo1 continuantur cum aliis parallelis ad perpendiculum ,,de4 ,fiunt quoque visuales ad punctum oculi ex divisionibus elevationis ,,ab translatis in perpendiculum ,,de2 adhibitis sectionibus talium parallelarum cum visualibus1 ad complendam deformationem longitudinis elevationis4 ,the ,six and thirtieth ,figure1 ,preparatory to the ,thirty-seventh4 ,in the ,geometrical ,plan ,c1 and in the ,elevation thereof ,,ab1 ,i have only mark'd the principal ,lines1 as well for avoiding ,confusion in the ,figure1 as that something might be left to the ,industry of the ,studious4 ,the ,line of the ,plan ,,eg has the ,divisions of ,breadth ,p1 and of ,length ,q1 of the ,geometrical ,plan ,c4 ,from the ,points of ,breadth are drawn1 as usual1 ,visuals to the ,point of ,sight ,o2 ,from the ,points of ,length occult ,lines are produc'd to the ,point of ,distance1 which lies fourteen ,modules without the ,line ,,ab3 ,and where the occult ,lines from the ,divisions of ,length cut the ,visual ,,fo1 ,parallels are made to the ,ground-,line ,,ef2 and from the ,intersections of those ,parallels with the ,visuals1 you complete the ,delineation of the ,plan in ,perspective4 ,the ,lines which in the ,plan are parallel to ,,ef1 being prolong'd to the ,visual ,,eo1 are then continu'd parallel to the ,perpendicular ,,de4 ,and from the ,divisions of ,,ab1 produc'd to ,,de1 visual ,lines are drawn to the ,point of ,sight2 which intersecting the ,perpendiculars aforesaid1 you from thence find the ,length of the ,elevation in ,perspective4 ,illustration3 ,,fig4 ,,xxxvii4 ,,figura ,trigesimaseptima4 ,deformatio column ,etrusc4 ,ex prparatione quam exhibuimus figur trigesimasext1 eruitur columna hc nitida ,ordinis ,etrusci1 optic imminuta per latitudines altitudines partium singularum2 qu accipiuntur ope duorum circinorum1 ut spis dictum est4 ,the ,thirty-seventh ,figure4 ,a ,tuscan ,column in ,perspective4 ,from the ,preparation exhibited in the ,thirty-sixth ,figure1 is drawn this complete ,piece of the ,tuscan ,order1 brought into ,perspective by means of the ,breadths and ,heights of the several ,parts1 exactly taken off with the ,compasses1 as has been often said4 ,illustration3 ,,fig4 ,,xxxviii4 ,,figura ,trigesimaoctava4 ,prparatio ad figuram trigesimamnonam4 ,hc figura est simillima figur trigesimsext4 ,in vestigio ,p limes prominenti coronicis est ,r2 coron ver in stylobat est ,t4 soliditas stylobat est ,v4 ambitus column in imo est ,x1 in summo ,z4 ,the ,thirty-eighth ,figure4 ,preparatory to the ,thirty-ninth4 ,this ,figure is very much the same with the ,thirty-sixth4 ,in the ,plan ,p1 the utmost ,projecture of the ,cornice is ,r2 that of the ,cap of the ,pedestal is ,t2 the ,trunk of the ,pedestal is ,v2 the naked ,shaft of the ,column at bottom is ,x1 at top is ,z4 ,illustration3 ,,fig4 ,,xxxix4 ,,figura ,trigesimanona4 ,deformatio dificii ,dorici4 ,habes hoc loco dificium ,doricum1 addito statu unius ornamento4 ,velim autem1 ut si figuram aliquam ex his desumptam1 delineandam assumas1 aliquid mutes saltem in loco punctorum oculi aut distanti4 ,hoc modo majores in hac arte progressus facies2 si alicubi clator aberraverit1 ex lapsu illius nullum senties detrimentum4 ,the ,nine and thirtieth ,figure4 ,a ,piece of ,dorick ,architecture in ,perspective4 ,in this ,plate you have a ,dorick ,composition1 with the additional ,ornament of a single ,statue2 but ,i would advise1 when you undertake to work after any of these ,designs1 you would at least place the ,points of ,sight and ,distance somewhat differing from those here given2 which ,practice will both greatly further your ,progress in this ,art1 and prevent any ,inconvenience1 that may arise from a ,mistake of the ,engraver4 ,illustration3 ,,fig4 ,,xl4 ,,figura ,,quadragesima4 ,vestigium geometricum dificii ,ordinis ,dorici4 ,vt studiosorum1 qui sedul se exercuerint in praxibus hucusque traditis1 ad majora inhient1 utilitati serviam1 delineandam suscepi medietatem arcs cum tribus columnis1 ac totidem statuarum loculamentis4 ,ad vitandam autem confusionem1 ea dumtaxat membra in vestigio adumbrantur1 qu recensuimus figur trigesimaoctav1 ostendunt characteres ,a1 ,b1 ,c1 ,d1 ,e4 ,the ,,fortieth ,,figure4 ,the ,geometrical ,plan of a ,design1 of the ,dorick ,order4 ,for the ,benefit of the ,studious1 who1 having reduc'd to ,practice the ,rules hitherto laid down1 aim at yet greater ,things2 ,i have here undertaken to delineate half an ,arch adorn'd with three ,columns1 and as many ,niches for ,statues4 ,but to avoid ,confusion1 ,i have given full ,lines to those ,members only1 which were mention'd in the ,thirty-eighth ,figure1 and which are here denoted by the ,characters ,a1 ,b1 ,c1 ,d1 ,e4 ,illustration3 ,,fig4 ,,xli4 ,,figura ,quadragesimaprima4 ,elevatio geometrica dificii ,dorici4 ,ex vestigio geometrico eruitur hc elevatio geometrica longitudinis dificii nostri4 ,et iccirc figura ista quadragesimaprima1 cujus mensur omnes desumpt sunt ex ,barozzio1 congruit longitudini figur quadragesim4 ,the ,forty-first ,,figure4 ,the ,geometrical ,elevation of the foregoing ,design4 ,this ,upright is drawn from the foregoing ,geometrical ,plan2 and therefore all the ,parts of this ,design1 whose ,measures are taken from ,vignola1 exactly answer those of the ,fortieth ,figure4 ,illustration3 ,,fig4 ,,xlii4 ,,figura ,quadragesimasecunda4 ,modus vitandi confusionem1 in contractione vestigiorum1 elevationum4 ,contractiones vestigii figur quadragesim1 elevationis figur quadragesimprim1 ob nimiam obliquitatem quam habent1 valde confus sunt4 ,medebimur tamen incommodo isti1 uti fecimus figuris decim undecim4 ,et ostendit chartula1 exhibens in parvo tum figuram hanc quadragesimamsecundam1 tum quatuor sequentes4 ,the ,forty-second ,,figure4 ,the ,manner of avoiding ,confusion1 in reducing ,plans and ,elevations into ,perspective4 ,the ,reducing into ,perspective the ,plan of the ,fortieth ,figure1 and the ,upright of the ,forty-first ,figure1 would become very confus'd1 through the great ,obliquity of the ,rays3 ,we have therefore remedy'd the ,inconveniences of both1 by the ,methods explain'd in the ,tenth and ,eleventh ,figures4 ,and this ,plate contains in little1 what is more at large describ'd in ,parts1 as well in this1 as the four subsequent ,figures4 ,illustration3 ,,fig4 ,,xliii4 ,,figura ,quadragesimatertia4 ,contractio vestigii figur quadragesim4 ,linea plani mult remotior est line horizontali in hoc schemate1 qum in prcedenti4 ,ideo istud vestigium vacat omni confusione4 ,ctera patent ex iis quae spis dicta sunt1 ex figur hujus inspectione4 ,oportet autem1 rectas parallelas ad lineam plani1 prolongari usque ad visualem ,,to1 7qu cadit extra paginam7 ut adminiculo parallelarum1 fiat elevatio longitudinis nostri dificii1 de qu dicemus figur quadragesimaquart4 ,the ,forty-third ,,figure4 ,the ,plan of the ,fortieth ,figure in ,perspective4 ,by placing the ,ground-line in this1 much more remote from the ,horizontal1 than it is in the foregoing ,figure1 all ,confusion is here avoided4 ,the rest is evident from what has been often said on this ,head1 and a bare ,inspection of the ,figure4 ,parallels to the ,ground-line must nevertheless be continu'd to the ,visual ,,to1 which falls without this ,page2 that from them may be rais'd the ,elevation of the ,length of this ,design1 which we shall handle in the next ,figure4 ,illustration3 ,,fig4 ,,xliv4 ,,figura ,quadragesimaquarta4 ,contractio elevationis figur quadragesimprim4 ,rect parallel ad lineam plani figur quadragesimterti1 ubi pervenerint ad visualem ,,to1 continuand sunt1 more solito1 cum parallelis ad lineam perpendicularem4 ,in hanc autem transferre oportet omnes divisiones1 quas ex ,barozzio habet elevatio hujus ordinis2 ac ducere visuales4 ,quomodo autem1 adminiculo visualium parallelarum1 compleatur elevatio1 constat ex figura1 clarius ex chartula figur quadragesimsecund4 ,numeri #a1 #b1 #c1 #d1 geminati1 ostendunt centra altitudines semicirculorum seu arcuum figur quadragesimquint2 videlicet1 numerus inferior designat centrum1 superior ver designat altitudinem semicirculi4 ,the ,forty-fourth ,,figure4 ,the ,elevation of the ,forty-first ,figure in ,perspective4 ,when the ,parallels to the ,ground-line in the ,forty-third ,figure1 are prolong'd to the ,visual ,,to1 they are then1 as usual1 to be continu'd ,parallels to the ,perpendicular3 ,on which ,perpendicular1 those ,divisions given by ,vignola1 for the ,proportions of this ,order1 are to be transferr'd2 and ,visuals drawn from them to the ,point of ,sight4 ,how by these ,visuals and ,parallels the ,elevation is rais'd in ,perspective1 is manifest in part from this ,figure1 but more clearly from the ,forty-second ,figure4 ,the ,numbers #a1 #b1 #c1 #d1 which you here see doubl'd1 give the ,centers and ,heights of ,semicircles of the ,arches in the ,forty-fifth ,figure2 the lower ,numbers denoting the ,centers1 and the upper ,numbers the ,heights of the ,semicircles of the same4 ,illustration3 ,,fig4 ,,xlv4 ,,figura ,quadragesimaquinta4 ,dimidium dificii ,dorici optic deformati4 ,huic figur delineand plures priverunt1 ejusdemque latitudines mutuati sumus ex figura quadragesimatertia1 altitudines ex quadragesimaquarta4 ,superest autem1 ut lumina umbr scit inducantur in singulas partes dificii4 ,the ,forty-fifth ,,figure4 ,one ,half of the ,dorick ,design in ,perspective4 ,the foregoing ,figures being preparatory to this1 the ,breadths are taken from the ,forty-third1 and the ,heights from the ,forty-fourth ,figure4 ,it only remains1 that the ,lights and ,shades be skilfully dispos'd to each ,part of the ,work4 ,illustration3 ,,fig4 ,,xlvi4 ,,figura ,quadragesimasexta4 ,alterum dimidium ejusdem dificii4 ,supersedere poteram delineatione alterius medietatis dificii nostri4 ,verm oper non peperci1 ut ostenderem diversitatem luminum umbrarum1 qu conveniunt partibus cteroqui omnino similibus4 ,the ,forty-sixth ,,figure4 ,the other ,half of the same ,design4 ,i might very well have omitted this ,half of the ,design1 but that ,i spar'd no ,pains1 to shew the ,diversity of the ,lights and ,shadows1 that must be given to those ,parts of the ,work1 which in other ,respects are alike4 ,illustration3 ,,fig4 ,,xlvii4 ,,figura ,quadragesimaseptima4 ,vestigia dificii ,ionici4 ,vestigium geometricum ,a dificii ,ionici1 sub se habet suam deformationem ,b4 ,hc autem ut evadat distinctior1 lineam plani1 qu in sequentibus figuris habebit distantiam ,,pe ab horizontali ,,oe1 deorsum protraximus in ,,cd1 ut etiam fecimus figur quadragesimasecund quadragesimaterti4 ,linea visualis ,,om eundem habet usum1 quem visualis ,,ot figur quadragesimterti2 videlicet1 ut in ea terminentur parallel ad lineam plani ex membris vestigii ,b1 eademque continuentur cum aliis parallelis ad rectam ,,ec1 pro deformand elevatione quam apponemus figur quadragesimanon4 ,the ,forty-seventh ,,figure4 ,the ,plan of an ,ionick ,building4 ,the ,geometrical ,plan of this ,ionick ,work is ,a1 underneath is its ,perspective ,b2 to render which more distinct1 the ,ground-line that in the following ,figures has only the ,distance ,,pe from the ,horizontal ,,eo1 is here remov'd downward to ,,cd1 as was done in the ,forty-second and ,forty-third ,figures foregoing4 ,the visual ,line ,,om is of the same use as that of ,,ot in the ,forty-third ,figure2 namely1 to terminate the ,lines which are drawn from the ,members of the ,plan ,b parallel to the ,ground-line2 from whence they are again continu'd parallel to the ,perpendicular ,,ec1 for making in ,perspective the ,elevation inserted in the ,forty-ninth ,figure4 ,illustration3 ,,fig4 ,,xlviii4 ,,figura ,quadragesimaoctava4 ,elevatio geometrica dificii ,ionici4 ,ex hac elevatione qu clar ostendit membra totius dificii secundum longitudinem dissecti1 desumuntur altitudines ac terminationes membrorum singulorum4 ,peritiores tamen hac figur delineand supersedere solent1 quia terminationes haberi possunt ex vestigio ,a figur quadragesimseptim1 altitudines ver ponend iterum sunt figur sequenti4 ,the ,forty-eighth ,,figure4 ,the ,geometrical ,upright of the foregoing ,ionick ,design4 ,from this ,figure 7which distinctly shews the ,composition of the whole ,work1 in respect of its ,length7 are taken the ,heights and ,terminations of the several ,members thereof4 ,but those that are skill'd in this ,art1 usually omit the delineating these ,elevations2 because the ,terminations may be taken from the ,plan ,a in the ,forty-seventh ,figure2 and the ,heights must be repeated in the following ,figure4 ,illustration3 ,,fig4 ,,xlix4 ,,figura ,quadragesimanona4 ,deformatio elevationis dificii ,ionici4 ,hc figura continens deformationem prcedentis elevationis1 perficitur methodo illa1 quam ostendimus figur quadragesimasecund2 nimirum1 ex vestigio ,b figur quadragesimseptim1 ducere oportet parallelas ad lineam plani ,,cd1 qu ubi pervenerint ad visualem ,,om1 continuand sunt cum aliis parallelis ad lineam ,,ec4 ,easdem parallelas in hanc figuram translatas secant visuales ex linea recta ,,ab1 in qua posit sunt altitudines dificii ,ionici1 desumpta vel ex figura prcedenti1 vel ex ,barozzio4 ,nullum autem est punctum in membris hujus elevationis1 quod non inveniatur per sectiones visualium ex linea ,,ab1 cum parallelis ad eandem lineam4 ,the ,forty-ninth ,,figure4 ,the ,elevation of the ,ionick ,design in ,perspective4 ,this ,plate containing the ,perspective of the foregoing ,upright1 is drawn by the ,method laid down in the ,forty-second ,figure2 to wit1 from the ,plan ,b of the ,forty-seventh ,figure1 ,parallels to the ,ground-line ,,cd are prolong'd to the ,visual ,,om2 and thence are continu'd ,parallels to the ,perpendicular ,,ec4 ,these being transferr'd into this ,figure1 are intersected by the visual ,lines that proceed from ,,ab1 which contains the ,heights of this ,ionick ,composition1 agreeable to the foregoing ,figure1 and the ,rules deliver'd by ,vignola4 ,now there is no ,point in any ,member of this ,upright1 but may be found by the ,intersection which the visual ,line from ,,ab makes with its respective ,perpendicular4 ,illustration3 ,,fig4 ,l4 ,,figura ,quinquagesima4 ,architectura ,ionica4 ,ex vestigio figur quadragesimseptim1 ex elevatione figur quadragesimnon1 eruitur hoc dificium ,ionicum1 quod esse poterit vel principium alicujus turris campanari1 aut basis cujuspiam arcs triumphalis4 ,vereor ut clator suam diligentiam in hoc schemate satis probaverit4 ,ejus tamen errata facil ipse deteges1 omni studio cavebis4 ,the ,fiftieth ,,figure4 ,a ,design of ,ionick ,architecture4 ,from the ,plan of the ,forty-seventh ,figure1 and from the ,upright of the ,forty-ninth ,figure1 is drawn this ,ionick ,piece2 which might well serve for the lower ,order of a ,turret1 or for part of a ,triumphal-,arch4 ,i fear the ,engraver has not been so exact in this ,scheme1 as he ought2 but you will readily discover his ,mistakes1 and carefully beware of them4 ,illustration3 ,,fig4 ,,li4 ,,figura ,quinquagesimaprima4 ,ordo ,corinthius4 ,complectitur hc pagina molem contractam ,ordinis ,corinthii1 cum suis prparationibus4 ,vestigium ,a exhibet parietem pone columnas cavum instar canalis4 ,idem vestigium optic deformatur in ,d3 omissque elevatione geometric1 per ejus altitudines notatas in line ,,bc projicitur elevatio2 ac methodo consuet1 ex vestigio elevatione componitur dificium1 addito statu unius ornamento4 ,the ,fifty-first ,,figure4 ,a ,corinthian ,design in ,perspective4 ,this ,plate contains the ,perspective of a ,corinthian ,work1 with its ,preparations4 ,the ,geometrical ,plan ,a shews the ,wall wrought hollow behind the ,columns4 ,the said ,plan in ,perspective is ,d3 and leaving out the ,geometrical ,elevation1 the ,perspective thereof is describ'd1 by transferring the ,heights of the former into the ,line ,,bc4 ,from the ,perspective-,plan and ,upright the ,design is finish'd after the usual ,manner2 to which is added the ,ornament of a single ,statue4 ,illustration3 ,,fig4 ,,lii4 ,figura ,quinquagesimasecunda4 ,delineatio column spiralis1 ,ordinis ,compositi4 ,posita elevatione geometrica column rect1 ac divisione illius in vigintiquatuor partes quales1 columna spiralis absolvitur per partes circumferenti circulorum1 quorum diametri sunt quales diversis latitudinibus column rect1 ut ostendit figura in ,a4 ,ad projectionem opticam elevationis1 notand sunt quatuor occult rect1 qu ex terminis convexitatis concavitatis infimarum spirarum ejusdem elevationis ,a1 descendunt ac desinunt in duos circulos vestigii geometrici ,b4 ,vestigium ipsum optic imminutum habetur in ,c3 edem autem sunt maxim hinc inde latitudines1 tum in circulo majori1 tum in convexitate infimarum column spirarum2 edem sunt maxim latitudines1 tum in circulo minori1 tum in concavitate ipsarum spirarum2 ut dignosces applicando regulam spiris simul circulis4 ,ex quatuor punctis maxim latitudinis duorum circulorum1 incipiunt quatuor line parallel ad lineam plani1 qu ubi pervenerint ad visualem ,,ed1 continuand sunt cum parallelis ad perpendiculum ,,df4 ,in eandem lineam ,,df1 ex elevatione ,a transferre oportet vigintiquatuor partes quales altitudinis column1 ac ducere visuales ad ,o punctum oculi4 ,per sectionem autem visualium cum prdictis quatuor parallelis ad lineam ,,df1 ducuntur line undulat ,,mn1 ,,pq1 ex quibus eruuntur line utrinque terminativ column spiralis nitid4 ,ex linea ver ,,gh habetur facies anterior stylobat1 column coronicis2 ex linea ,,il habetur facies eorum posterior4 ,the ,fifty-second ,,figure4 ,the ,description of a wreath'd ,column1 of the ,composite ,order4 ,having made the ,geometrical ,elevation of a streight ,column1 and divided the ,height of its ,shaft into ,four and twenty equal ,parts2 the ,wreathing is describ'd by ,parts of the ,circumference of ,circles1 whose ,diameters are equal to the several ,breadths1 or ,diameters1 of the streight ,column2 as is shewn in the ,figure ,a4 ,for putting the ,upright into ,perspective1 four streight occult ,lines are of use1 which descend from the ,extent of the ,swellings and ,sinkings of the lower ,wreaths of the ,column ,a2 and terminate in two ,circles of the ,geometrical ,plan ,b4 ,the said ,plan laid down in ,perspective is ,c4 ,the utmost ,extent of the greater ,circle determines that of the ,convex ,parts of the lower ,wreaths3 ,the greatest ,breadth of the lesser ,circle gives that of the hollow ,parts of the said ,wreaths2 as may be perceiv'd1 by applying a ,ruler from the ,wreaths to the ,circles of the ,plan4 ,from the four ,points of greatest ,breadth in those ,circles1 four ,lines parallel to the ,ground-line are continu'd to the ,visual ,,ed1 and thence again continu'd parallel to the ,perpendicular ,,df4 ,from the ,elevation ,a1 the ,four and twenty equal ,parts of the ,columns ,height are transferr'd into the ,line ,,df1 and ,visuals drawn from each to the ,point of ,sight ,o4 ,by the ,intersections of those ,visuals with the four ,perpendiculars aforesaid1 are drawn the wav'd ,lines ,,mn1 ,,pq2 from which1 both the ,out-lines of the finish'd ,column are describ'd4 ,but the ,fore-part of the ,pedestal1 ,column1 and ,cornice1 is taken from the ,line ,,gh2 the ,back-part of the same from the ,line ,,il4 ,illustration3 ,,fig4 ,,liii4 ,a4 ,fig4 ,quinquages4 tertia ,a4 ,ordines ,architectur1 desumpti ex ,palladio ,scamozzio4 ,de ,ordinibus ,architectur1 prter ,barozzium1 egregi scripserunt ,palladius ,scamozzius2 ac singuli1 jure merito1 suos habent asseclas patronos4 ,ut erg1 etiam juxta laudatissimorum ,autorum placita1 opticas projectiones facere possis1 omnes ,ordines in hac pagin exhibere volui1 ut in eorum ,libris inveniuntur4 ,the ,fifty-third ,figure ,a4 ,the ,orders of ,architecture1 taken from ,palladio and ,scamozzi4 ,besides ,vignola1 ,palladio and ,scamozzi have also written excellently well of the ,orders of ,architecture2 and each of 'em have deservedly their ,followers and ,admirers4 ,that you might therefore be enabl'd to make ,designs in ,perspective1 after the ,proportions of the most celebrated ,masters1 ,i have in this ,plate given you the ,measures of all the ,orders1 as deliver'd by them in their ,books4 ,illustration3 ,,fig4 ,,liii4 ,b4 ,fig4 ,quinquages4 tertia ,b4 ,modus triplex delineandi columnas spirales4 ,column figur superioris carent ea concinnitate1 qua prdit sunt column spirales ne celeberrimi ,equitis ,bernini ad sepulcrum ,s4 ,petri in ,vaticano4 ,itaque methodum triplicem exhibeo ad minuenda spatia totius altitudinis column4 #a4 ,recta ,,oa sit qualis altitudini ,,ab column4 ,fiat autem recta ,,ob1 arcus ,,ap ex centro ,o1 divisus in partes duodecim quales1 ducendo rectas1 qu per puncta divisionum desinant in columnam rectam2 ac demum fiant parallel ad basim3 ,spatia inter has parallelas dabunt aperturam circini pro triangulis quilateris pro spiris1 ut ostendit columna #a4 #b4 ,translat in ,c terti parte altitudinis column ab ejus imo scapo1 habeat circinus aperturam ,,cd2 ac posito uno ejus crure prius in ,d1 postea in ,c1 fiant duo parvi arcus ad ,e3 sectio illorum arcuum erit centrum arcs ,,dc1 quem oportet dividere in duodecim partes quales1 ex punctis divisionum ducere parallelas ad basim4 ,tum spatiis inter parallelas divisis in quatuor partes quales1 tres ex illis partibus dabunt longitudinem crurum pro triangulis isoscelibus2 vertices autem triangulorum erunt centra singularum spirarum1 ut ostendit columna #b4 #c4 ,duct ex medio summitatis ,g rect ,,gf1 spatium ,,hf transferatur in ,i1 fiat recta ,,il parallela ad basim ,,hf2 spatium ,,il transferatur in ,n1 ac fiat ,,nm1 sic deinceps4 ,in parvis columnis triangula sine sensibili errore duci possunt per diagonales3 in columnis tamen grandioribus1 alterutrum ex modis antea explicatis adhibere necesse est4 ,the ,fifty-third ,figure ,b4 ,three different ,ways of delineating wreath'd ,columns4 ,the wreath'd ,columns describ'd in the ,fifty-second ,figure1 being divided into ,twenty-four equal ,parts1 want very much of that ,elegancy of ,contour1 which is visible in those brass ,pillars1 made by the famous ,cavalier ,bernino1 for ,s4 ,peter's ,sepulcher in the ,vatican4 ,wherefore ,i here lay before you three several ,ways of diminishing the ,spaces through the whole ,height of the ,column4 #a4 ,make the right ,line ,,oa equal to ,,ab the ,height of the ,column2 then draw the ,line ,,ob1 and on the ,center ,o describe at pleasure the ,arch ,,ap1 which divide into twelve equal ,parts1 and by the ,divisions draw streight ,lines from the ,center ,o to the ,line of the ,column2 and lastly continue the same ,parallels to the ,base4 ,the ,spaces between these ,parallels1 shall be the ,sides of equilateral ,triangles1 wherewith you are to describe the ,wreath of the ,column1 as is seen in ,column #a4 #b4 ,having set the third ,part of the ,columns ,height1 from the ,bottom of the ,shaft to the ,point ,c2 with the ,interval ,,cd1 from the ,centers ,d and ,c1 describe the ,parts of ,arches intersecting at ,e4 ,on the ,center ,e1 with the same ,interval1 describe the ,arch ,,dc1 which divide into twelve equal ,parts2 and from the ,points of those ,divisions1 draw ,parallels to the ,base4 ,then dividing each ,space between the ,parallels into four equal ,parts2 three of those ,parts shall be the ,sides of the ,isosceles ,triangle2 whose ,vertex is the ,center whereon to describe each ,wreath of ,column #b4 #c4 ,having drawn from the midst of the ,columns top ,g1 the ,line ,,gf1 make ,,hi equal to ,,hf1 and draw ,,il parallel to the ,base ,,hf3 ,again1 make ,,in equal to ,,il1 and draw ,,nm also parallel1 and so on4 ,in small ,pillars1 the ,centers of the ,diagonals of these ,spaces may1 without sensible ,errour1 serve for describing the ,wreaths2 but in greater ,columns1 either of the other two ,methods is rather to be chosen4 ,illustration3 ,,fig4 ,,liv4 ,,figura ,quinquagesimaquarta4 ,vestigia dificii ,ordinis ,corinthii4 ,descripturi dificium ,corinthium octangulare1 ponimus hic vestigia unius ex quatuor partibus pilarum1 quibus imponetur fornix in modum tholi1 ut constabit in figur quinquagesimaoctava4 ,ad faciliorem descriptionem1 in parte inferiori pagin posui vestigium geometricum stylobat1 in superiori vestigium geometricum coronicis1 cum latitudinibus longitudinibus membrorum singulorum2 ut eas transferendo in lineam plani more consueto1 utrumque vestigium optic deformetur4 ,ad vitandam confusionem1 prius notare oportebit puncta qu spectant ad membra propinquiora solido parieti1 deinde alia4 ,the ,fifty-fourth ,,figure4 ,the ,plan of a ,design of the ,corinthian ,order4 ,being to describe an ,octangular ,corinthian ,work1 ,i have here inserted the ,plan of one ,quarter of the ,composition2 which is vaulted in ,form of a ,cupola1 as is seen in the ,fifty-eighth ,figure4 ,to render the ,plan less confus'd1 ,i have1 in the lower part of the ,plate1 given the ,geometrical ,plan of the ,pedestal2 and in the upper part1 that of the ,cornice2 with the ,breadths and ,lengths of each ,member3 so that by transferring the same into the ,ground-line1 after the usual ,manner2 you delineate each ,plan in ,perspective4 ,for avoiding ,confusion1 'twill be requisite first1 to transfer the ,points of those ,members that are next the ,solidity of the ,wall2 and then proceed to the others4 ,illustration3 ,,fig4 ,,lv4 ,,figura ,quinquagesimaquinta4 ,elevatio dificii ,ordinis ,corinthii4 ,elevatio geometrica dificii octangularis congruit cum duobus ejus vestigiis figur antecedentis4 ,quia ver elevatio parietis abscondit secundam ex quatuor columnis1 eademque in dificio deformato conspicua futura est2 iccirc eam lineis occultis designare oportuit4 ,the ,fifty-fifth ,,figure4 ,the ,geometrical ,elevation of a ,corinthian ,work4 ,the ,geometrical ,elevation of this ,octangular ,design1 is wholly correspondent to the two ,plans of the foregoing ,figure3 ,but because the ,wall in this ,upright takes off the ,sight from the second of the four ,columns1 which is notwithstanding visible in the finish'd ,perspective that follows2 'tis requisite to delineate the same with occult ,lines1 as in the ,figure4 ,illustration3 ,,fig4 ,,lvi4 ,,figura ,quinquagesimasexta4 ,deformatio vestigiorum elevationis dificii ,corinthii4 ,in hac figur1 lineam plani coincidere volui cum linea horizontis4 ,itaque videri non posset vestigium inferius1 nisi ut alias deorsum protraxi lineam plani1 hic converso sursum promovissem lineam horizontis1 quam constitui mediam inter lineas plani utriusque vestigii1 ut amb projectiones essent qu distinct4 ,in elevatione1 columna secunda1 quam1 ut dixi1 paries abscondit1 lineis occultis designanda est4 ,the ,fifty-sixth ,,figure4 ,the ,perspective ,plans and ,upright of the ,corinthian ,design foregoing4 ,in this ,figure1 ,i have made the ,ground-line coincident with that of the ,horizon1 in which case the lower ,plan can't be seen1 unless the ,ground-line be sunk lower1 as before intimated2 or contrariwise1 the ,point of ,sight rais'd higher1 as ,i have here done1 keeping it in the midst between the ,ground-lines of the two ,plans1 that the ,perspective of both might be equally distinct4 ,in the ,elevation1 the second ,column1 which ,i mention'd to be hidden by the ,wall1 should be design'd with occult ,lines4 ,illustration3 ,,fig4 ,,lvii4 ,,figura ,quinquagesimaseptima4 ,adumbratio figur sequentis4 ,figuram hanc seorsim delineavi1 ut videas quomodo facienda sit operis totius adumbratio1 accipiendo altitudines membrorum singulorum ex elevatione2 latitudines longitudines ex vestigiis4 ,qu omnia ex diagrammatis inspectione clarissim apparent4 ,the ,fifty-seventh ,,figure4 ,the rough ,draught of the following ,figure4 ,i have drawn this ,figure apart1 that you may see the ,manner of describing the ,out-line of the whole ,work1 by taking the ,heights of the several ,members from the ,elevation1 and their ,breadths and ,lengths from the ,plans2 all which is very plain1 upon ,inspection of the ,figure4 ,illustration3 ,,fig4 ,,lviii4 ,,figura ,quinquagesimaoctava4 dificium ,ordinis ,corinthii octangulare4 ,hucusque descripsimus pilas anticas sinistras dificii ,corinthii4 ,en hoc loco medietatem dexteram totius ,operis4 ,integrum ver dificium habebis figur sexagesim4 ,the ,fifty-eighth ,,figure4 ,part of an ,octangular ,work of the ,corinthian ,order4 ,hitherto the nearest left-hand ,quarter of this ,corinthian ,design has been describ'd4 ,in this ,plate you have the right-hand ,half of the whole ,work2 and in the ,sixtieth ,figure1 the entire ,perspective compleat4 ,illustration3 ,,fig4 ,,lix4 ,,figura ,quinquagesimanona4 ,vestigia tabernaculi octangularis4 ,projectiones rerum octangularium sunt quadratis difficiliores3 ide in eis explicandis diligenti non peperci4 ,moles cujus vestigia vides in ,a ,b1 convenit in multis cum e quam ereximus figur quinquagesimaoctav4 ,visualis ,,cd recipit sectiones perpendicularium1 qu deserviunt pro elevatione figur sequentis1 ut spius dictum est4 ,si facies interior delineanda sit seorsim facie anteriori1 illam perficies ope linearum ,,ce1 istam ope linearum ,,fd4 ,the ,fifty-ninth ,,figure4 ,the ,plans of an ,octangular ,tabernacle4 ,octangular ,figures being more difficult to be put in ,perspective1 than the ,square2 ,i shall use my best ,endeavours to render the ,method as plain as possible4 ,the ,composition whose ,plans you see in ,a and ,b1 has much ,affinity with that describ'd in the ,fifty-eighth ,figure4 ,the ,visual ,,cd receives the ,sections1 from which ,perpendiculars are rais'd for the ,elevation and ,profile of the following ,figure1 as has been often said4 ,if you would delineate the ,back-part separate from the ,fore-part1 you may do the former by means of the ,line ,,ce1 and the latter by that of ,,fd4 ,illustration3 ,,fig4 ,,lx4 ,,figura ,,sexagesima4 ,tabernaculum octangulare4 ,hoc tabernaculo aliquoties usus fui pro expositione quadraginta horarum4 ,si colores scit inducti fuerint in duos ordines telariorum1 resectis omnibus qu ad molem ipsam non pertinent1 spectatoribus imponet1 solida videbitur4 ,oportebit autem exemplar extern faciei eruere ex parte ,,df vestigii elevationis2 exemplar interioris faciei eruere ex parte ,,ec1 servando in omnibus regulas quas hucusque tradidimus4 ,the ,,sixtieth ,,figure4 ,an ,octangular ,tabernacle in ,perspective4 ,i have sometimes made use of this ,tabernacle for the ,exposition of the ,forty ,hours4 ,if the ,colours are laid by a skilful ,hand1 on two ,ranges of ,cloth1 and the ,frame cut away according to the ,out-line of the ,work1 they will wonderfully deceive the ,eye1 and appear as solid2 but then the outer ,range must be drawn after the ,plan and ,elevation of the ,part ,,df in the foregoing ,figure2 and the inner ,range after that of ,,ec2 in all things observing the ,rules hitherto deliver'd4 ,illustration3 ,,fig4 ,,lxi4 ,,figura ,sexagesimaprima4 ,modus erigendi machinas1 qu constant pluribus ordinibus telariorum4 ,ex figur inspectione addisces modum erigendi machinas qu constant pluribus ordinibus telariorum4 ,tabernaculum hoc nostrum indiget duobus tantum ordinibus2 nam telaria propinquiora oculo exprimunt faciem externam1 remotiora exhibent faciem internam4 ,ne autem lateant stipites quibus telaria sustinentur1 medietatem telariorum adumbrare omisimus4 ,recta ,,ls est linea plani1 recta ,,dg est linea horizontalis2 ac punctum distanti quod cadit extra paginam in recta ,,cg prolongat1 debet esse remotum puncto ,c1 quantum in superiori parte figur quinquagesimnon1 punctum distanti est remotum puncto oculi4 ,eadem horizontalis ,,dg secatur normaliter in ,c recta ,,ef1 qu est sectio extern faciei tabernaculi1 ex ,c incipiunt divisiones in partes quales pro reticulatione anterioris faciei telariorum1 ut dicemus figur sexagesimasecunda4 ,recta ,,il qu est sectio intern faciei tabernaculi1 distat ad libitum recta ,,ef cui est parallela4 ,porr1 per divisiones rect ,,ef 7ut vides in ,m1 ,n1 ,o7 ex puncto distanti ducend sunt visuales ad rectam ,,il pro reticulatione aliorum telariorum3 distantia enim ,,dc facit ut augere oporteat ea qu in telariis pinguntur1 alioquin justo minora viderentur4 ,atque hinc dignosces1 cur arcus qui in telariis anterioribus pertingeret solum ad ,b1 in posterioribus elevetur usque ad ,h4 ,figura sequenti proponemus modum delineandi faciem internam telariorum1 adhibita reticulatione extern faciei3 ad intelligentiam ver illius methodi1 fiat in hac figur recta ,,hp parallela ad ,,dc1 ac recta ,,bc dividatur in totidem partes quales1 in quot partes divisa fuerit recta ,,pc4 ,the ,sixty-first ,,figure4 ,the ,manner of erecting ,machines1 that consist of several ,ranges of ,frames4 ,by casting your ,eye on the ,figure1 you'll readily apprehend the ,manner of erecting the several ,ranges of ,frames4 ,this ,tabernacle last describ'd needs only two of them2 the ,frame next the ,eye represents the outer ,face1 and the hinder ,frame the inner ,face thereof4 ,i have here describ'd but the ,half-,breadth of the said ,frames1 that you might have a ,sight of the ,poles and ,braces which support them4 ,the ,line ,,ls is the ,line of the ,plan1 or ,ground-line2 the ,line ,,dg is that of the ,horizon2 and the ,point of ,distance1 which falls without the ,page ,,cg prolong'd1 is as far from the ,point ,c1 as the ,point of ,distance is from the ,point of ,sight in the upper ,part of the ,fifty-ninth ,figure4 ,the ,horizontal ,,dg is cut perpendicularly in ,c by the ,line ,,ef1 which is the ,section of the outer ,face of the ,tabernacle2 and from the ,point ,c begin the equal ,divisions for the ,net-work of the foremost ,frame1 as is shewn in the ,sixty-second ,figure4 ,the ,line ,,il1 which is the ,section of the inner ,face of the ,tabernacle1 may at pleasure be set nearer or farther from the ,line ,,ef1 to which it is parallel4 ,by the ,divisions of the ,line ,,ef 7as ,m1 ,n1 ,o7 ,lines are drawn from the ,point of ,distance to the ,perpendicular ,,il1 for the ,net-work of that ,frame2 for the ,distance ,,dc obliges the ,parts of ,d to be painted larger1 otherwise they will appear less than they really ought4 ,and from hence you may discern1 why the ,arch1 which in the foremost ,frame would reach only to ,b1 does in the hindmost rise up to ,h4 ,in the following ,figure is shewn the ,manner of delineating the inner ,frame1 from the ,net-work of the outer ,face2 for the better understanding of which1 make the ,line ,,hp in this ,figure parallel to ,,dc1 and let the ,line ,,bc be divided into as many equal ,parts1 as the ,line ,,pc was4 ,illustration3 ,,fig4 ,,lxii4 ,,figura ,sexagesimasecunda4 ,de reticulandis telariis1 qu reprsentent dificia solida4 ,duo exemplaria tabernaculi qu seorsim delineanda sunt1 conjunctim habes in ,a4 ,utrisque deservit eadem reticulatio1 quam suis numeris insignivimus4 ,postquam ergo designaveris amplitudinem totius dificii1 cum proportione ad ipsam reticulabis pavimentum ,b aul cujuspiam quod capiat rem totam1 ascriptis eisdem numeris quos habet exemplar3 ejusque retis ope1 ducentur in pavimento line terminativ totidem membrorum1 quot futura sunt telaria exprimentia faciem externam tabernaculi4 ,ubi hc parata fuerint1 singula disponentur exact suis locis in ipsomet pavimento2 ac funiculis colore nigro imbutis1 repetetur in telariis eadem reticulatio1 additis ad libitum pluribus visualibus2 quarum adjumento dum seorsim pinguntur telaria1 duci queant rect tendentes ad punctum oculi seu perspectiv4 ,alia quoque reticulatio super pavimento necessaria est pro intern facie tabernaculi3 ac du reticulationes pavimenti eam inter se proportionem habebunt1 quam habent divisiones rectarum ,,il1 ,,ef1 figur sexagesimprim4 ,hujus retis ductu fient line terminativ telariorum cum reliquis1 ut jam indicavimus4 ,juxta hanc methodum nequeunt duci line terminativ interioris faciei1 nisi fiat in pavimento aliud rete deleto priori1 quod esset vald laboriosum4 ,postquam ergo ex vestigio figur quinquagesimnon eruta sint duo exemplaria1 in exemplar faciei extern transferatur recta ,,pc figur sexagesimprim1 in exemplar faciei intern transferatur recta ,,bc4 ,si autem recta ,,pc divisa fuerit in quindecim partes quales1 dividetur ,,bc in quindecim partes quales1 atque ope harum divisionum reticulare oportebit utrumque exemplar4 ,porr licet quadrata in reti exemplaris faciei extern sint majora quadratis exemplaris intern faciei1 nihilominus idem rete pavimenti deserviet pro ducendis lineis terminativis utriusque faciei4 ,qu dicta sunt de duobus exemplaribus1 valent de aliis quotcunque4 ,exempli grati2 si construere placeat quinque ordines telariorum1 fient quinque exemplaria in papyro4 ,si in omnibus exemplaribus usurpetur eadem reticulatio1 in pavimento facere oportet quinque diversas reticulationes4 ,si autem in exemplaribus fiant quinque divers reticulationes1 in pavimento sufficit una reticulatio4 ,curandum est ut singula retis quadrata in telariis sint exacta1 omnesque illorum anguli sint recti4 ,modus expeditissimus faciendi angulos rectos est hujusmodi4 ,posito uno crure circini in puncto ,f line rect ,,ef1 alioque crure posito ubilibet in ,o1 fiet circulus ,,gfi1 ex puncto ,g diameter ,,gi4 ,si recta ,,hf transeat per puncta ,i ,f1 est normalis ad ,,ef4 ,the ,sixty-second ,,figure4 ,of making the ,net-work on ,frames1 for representing the ,architecture as solid4 ,you have jointly in ,a1 the two ,designs of a ,tabernacle1 which are to be drawn separately2 the same ,net-work serving for both1 which is also mark'd with ,numbers4 ,when you have therefore resolv'd on the ,size of your ,work1 on the ,pavement of some ,room capacious enough make a ,net-work answerable1 and affix thereto the ,numbers1 as in your ,copy3 ,by the ,help of which1 you may on the ,pavement describe the ,out-line of all those ,members that are requisite to the outer ,frame of the ,tabernacle4 ,this being done1 let the ,frame be laid exactly in its place on the said ,pavement1 and with a black ,line strike thereon the same ,net-work2 adding as many visual ,lines as you please1 which will be of ,use for drawing ,lines to the ,point of ,sight1 when you come to paint the ,frames asunder4 ,another ,net-work on the ,pavement is also necessary for the inner ,face of the ,tabernacle1 which should bear such ,proportion to this1 as the ,divisions of the ,line ,,il do to those of ,,ef in the ,sixty-first ,figure2 and by this means the ,out-lines of the inner ,frame1 c4 may be drawn1 as has been shewn already4 ,thus the ,out-line of the inner ,face can't be describ'd1 without rubbing out the first ,net-work1 and making a second on the ,pavement2 which would be very troublesom4 ,wherefore1 from the ,plan of the ,fifty-ninth ,figure1 take the two ,designs1 and transfer the ,line ,,pc of the ,sixty-first ,figure on the outer ,face1 and the ,line ,,bc on the inner ,face4 ,then if ,,pc were divided into fifteen equal ,parts1 ,,bc shall be divided in the same manner1 and by these ,divisions make the ,net-work on each ,design4 ,and although the ,squares of the outer ,face be larger than those of the inner one1 the same ,net-work may nevertheless serve for giving the ,out-line of both4 ,what has been said of these two ,designs1 may be understood of many4 ,for ,instance2 if five ,ranges of ,frames were requir'd1 five ,designs must be made in ,paper4 ,if in all the ,designs the same ,net-work be us'd1 then five several ,net-works must be made on the ,pavement2 but if the ,designs have five different1 then one ,net-work on the ,pavement will suffice4 ,you must be very careful that all the ,squares of the ,net-work be exactly divided1 and at right ,angles4 ,the ready way of making a right ,angle is thus3 ,placing one ,foot of the ,compasses in the ,point ,f of the ,line ,,ef1 and the other at pleasure in ,o1 describe the ,circle ,,gfi2 and from the ,point ,g draw the ,diameter ,,gi4 ,the ,line ,,fh drawn by the ,points ,,fi1 shall be perpendicular to ,,fe4 ,illustration3 ,,fig4 ,,lxiii4 ,,figura ,sexagesimatertia4 ,vestigia dificii quadrati4 ,vestigium geometricum ,a hujus dificii habet in ,b suam deformationem4 ,discrimen inter pilas ,c ,d oritur ex eo1 qud in ,c posita sint vestigia stylobatarum1 in ,d autem posita sint vestigia coronicum4 ,the ,sixty-third ,,figure4 ,the ,plan of a square ,design4 ,the ,geometrical ,plan of this ,design ,a1 is brought into ,perspective in ,b4 ,the ,difference between the ,parts ,c and ,d arises from hence1 that the ,plan of the ,pedestals is plac'd in ,c1 and that of the ,cornice in ,d4 ,illustration3 ,,fig4 ,,lxiv4 ,,figura ,sexagesimaquarta4 dificium quadratum4 ,ex deformatione vestigii elevationis1 methodo consuet eruitur imago totius dificii1 qu potest esse exemplar ar maxim alicujus ,ecclesi4 ,hanc machinam1 non sine communi approbatione1 aliquoties adhibui1 in apparatu quadraginta horarum2 locum in medio vacuum occupantibus ,angelis cum nubibus1 addit figurarum aliquot copi in parte inferiori4 ,modus faciendi in telariis remotioribus ab oculo partem tholi rotundi quam hic vides1 deducitur ex iis qu tradidimus in projectione circulorum4 ,the ,sixty-fourth ,,figure4 ,a square ,design in ,perspective4 ,from the ,plan and ,upright in ,perspective1 this finish'd ,piece of the whole ,work is delineated after the usual ,manner1 and may serve for the ,design of a great ,altar in a ,church4 ,i have sometimes1 for the ,solemnity of the ,forty ,hours1 expos'd this painted on a ,machine1 with an universal ,satisfaction2 ,angels with ,clouds possessing the higher part of the ,hemisphere within1 and ,groups of ,figures the lower part4 ,the ,manner of designing on the inner ,frame1 that part of the said ,cupola which you here see1 is deduc'd from what has been before said of putting ,circles into ,perspective4 ,illustration3 ,,fig4 ,,lxv4 ,,figura ,sexagesimaquinta4 ,vestigium dificii rotundi optic imminutum4 ,qui sedulam operam in circulis deformandis non posuerint1 eosque minimo negotio ex usu describere nequiverint1 frustra conabuntur projicere vestigia dificiorum rotundorum4 ,ad vitandam confusionem1 proderit in vestigio notare primm lineas occultas membrorum prcipuorum2 iisque translatis in elevationem1 addere sensim reliquas4 ,hac industri ego ipse in hoc schemate usus sum4 ,quum autem experimento didicerim summam arduitatem harum descriptionum1 aliam regulam adhibere jamdiu cpi1 quam1 ut supr diximus1 in aliud ,opus reservamus4 ,the ,sixty-fifth ,,figure4 ,the ,plan of a ,circular ,work in ,perspective4 ,they that have not diligently apply'd themselves to the putting ,circles into ,perspective1 and1 by a constant ,practice1 render'd the ,work familiar to them1 will in vain attempt that of the ,plans of round ,buildings4 ,to prevent ,confusion1 you'll do well1 first to mark the occult ,lines of the principal ,members2 and after those are transferr'd into the ,upright1 then proceed to the rest1 as ,i myself did in this ,figure4 ,but having found by ,experience1 the great ,difficulty of describing these round things1 ,i have long since made use of another ,method1 which1 as ,i said before1 is reserv'd for another ,volume4 ,illustration3 ,,fig4 ,,lxvi4 ,,figura ,sexagesimasexta4 ,projectio dificii rotundi4 ,mirifice oculis imponunt imagines rerum rotundarum1 si omnibus resectis qu ad eas non pertinent1 exact delineat ac depict fuerint4 ,hanc figuram ex vestigio eruere oportebit methodo consuet1 eamque in ,templo ,s4 ,ignatii ,collegii ,romani construxi pro feri ,v ,,vi ,hebdomad sanctioris4 ,intra arcum1 super altari1 locus erat urn sepulcrali1 cum ,venerabili ,sacramento4 ,sub altari visebatur simulacrum ,christi ,domini ,cruce depositi3 in medio columnarum1 imago ,beat ,virginis dolentis2 super balaustiis ,angeli lugentes1 cum instrumentis cruciatuum ,salvatoris4 ,the ,sixty-sixth ,,figure4 ,a ,circular ,design in ,perspective4 ,the ,appearance of round things1 if well design'd1 masterly painted1 and the ,frame cut away to the ,out-line of the ,work1 do wonderfully deceive the ,eye4 ,this ,figure is drawn from the ,plan1 as usual2 and was put in execution by me1 in the ,church of ,s4 ,ignatius of the ,roman ,college1 for the ,thursday and ,friday of the ,holy ,week4 ,within the ,arch1 on the ,altar1 was plac'd a sepulchral ,urn containing the ,holy ,sacrament4 ,beneath the ,altar was laid a ,figure of our ,saviour ,christ taken down from the ,cross4 ,in the midst of the ,tambour1 was a ,picture of the ,blessed ,virgin in extreme ,sorrow2 and on the ,ballustrade1 ,angels mourning1 bearing the ,instruments of the ,passion4 ,illustration3 ,,fig4 ,,lxvii4 ,,figura ,sexagesimaseptima4 ,vestigium geometricum1 ac prima prparatio ad figuram septuagesimamprimam4 ,egregiam ade speciem prsetulit1 atque oculis ade imposuit machina quam construxi anno #afhe1 pro supplicatione quadraginta horarum1 in ,templo ,urbis ,farnesiano1 ut decreverim satisfacere ,studiosis1 publici juris faciendo non mod imaginem totius dificii1 sed etiam illius vestigia elevationes3 qu omnia e diligenti delineavimus1 veluti ,opus ipsum non pennicillo colorandum1 sed lapidibus extruendum fuisset4 ,spatia nigrantia soliditatem designant parietum columnarum4 ,cter line sunt crepidines stylobatarum coronicum4 ,initium delineationis fiet ab iis membris1 ex quibus oriuntur line occult posit in ,a1 7qu autem dicuntur de hac medietate1 intelligi debent de ali7 ne multitudo linearum confusionem pariat4 ,in ,b line curv occult sunt vestigium tholi qui complet summitatem dificii4 ,vestigium ,c exhibet ambulacrum interius4 ,omisimus autem vestigium theatri1 quia pagin angustia illud non capit4 ,the ,sixty-seventh ,,figure4 ,the ,geometrical ,plan1 and first ,preparation to the ,seventy-first ,figure4 ,the ,machine which ,i erected in the ,year #afhe1 in the ,church ,farneze1 or ,jesuits ,church at ,rome1 for the ,devotions of the ,forty ,hours2 had so admirable an ,effect1 and so pleasantly deceiv'd the ,eye1 that ,i resolv'd to gratify the ,studious1 not only with a general ,view1 but with the ,plan and ,elevation thereof2 all which was perform'd with such ,exactness1 that the ,work itself seem'd rather to consist of solid ,stones1 than to be wrought by the ,painter's ,hand4 ,the hatch'd ,part denotes the ,solidity of the ,walls and ,columns4 ,the other shews the ,breaks and ,projectures of the ,pedestals and ,cornices4 ,lest many ,lines should cause ,confusion1 begin with those ,members1 which produce the occult ,lines on the ,side ,a2 understanding the same also of the other half4 ,in ,b the occult curv'd ,lines are the ,plan of the ,cupola which crowns this ,structure4 ,the ,plan ,c is that of the inner ,vestibule1 but that of the ,theater is here omitted1 through ,want of ,room in the ,page4 ,illustration3 ,,fig4 ,,lxviii4 ,,figura ,sexagesimaoctava4 ,elevatio geometrica vestigii prcedentis1 secunda prparatio ad figuram septuagesimamprimam4 ,in hoc schemate habes elevationem dificii sectam in longum1 quam figur septuagesim optic projiciemus3 eisdemque membris constare videbis elevationem deformatam1 quibus constat elevatio geometrica4 ,hinc disces ad excogitandas hujusmodi machinas1 eandem ,architectur scientiam in ,pictore necessariam esse1 qu ad construenda solida dificia exigitur in ,architecto4 ,the ,sixty-eighth ,,figure4 ,the ,geometrical ,elevation of the foregoing ,plan1 and second ,preparation to the ,seventy-first ,figure4 ,in this ,figure you have the ,elevation of the aforesaid ,structure dissected lengthwise2 the ,perspective thereof is describ'd in the ,seventieth ,figure2 and you may observe that both of them consist of the same ,members3 whence you may perceive1 that for designing things of this kind1 the ,painter ought to have no less ,skill in ,architecture1 than is requir'd for the ,execution of solid ,works4 ,illustration3 ,,fig4 ,,lxix4 ,,figura ,sexagesimanona4 ,deformatio vestigii figur sexagesimseptim1 prparatio tertia ad figuram septuagesimamprimam4 ,artificium projectionis vestigii hujus1 explicatum nobis est figur quadragesimasecund4 ,nimirum1 ut parallel sint invicem distantiores1 lineam plani deorsum protraximus1 ut ex intuitu figur statim cognosces4 ,the ,sixty-ninth ,,figure4 ,the ,plan of the ,sixty-seventh ,figure in ,perspective1 and third ,preparation to the ,seventy-first ,figure4 ,the ,artifice us'd in projecting the ,perspective of this ,plan1 has been already shewn in the ,forty-second ,figure2 namely1 that for giving the greater ,distance between the ,parallels1 the ,ground-line is drawn much lower than its true ,place2 as is manifest on ,inspection of the ,figure4 ,illustration3 ,,fig4 ,,lxx4 ,,figura ,,septuagesima4 ,deformatio elevationis figur sexagesimoctav1 prparatio quarta ad figuram septuagesimamprimam4 ,qu dicta sunt de projectione vestigii nostri dificii1 habent locum in elevatione4 ,nimirum1 ut parallel invicem notabiliter distarent1 usi sumus industri quam declaravimus figur quadragesimasecund4 ,the ,seventieth ,,figure4 ,the ,perspective of the ,elevation of the ,sixty-eighth ,figure1 and the fourth ,preparation to the ,seventy-first ,figure4 ,what has been said of the ,perspective-,plan of this ,structure1 is also here practis'd in the ,elevation2 namely1 that the ,parallels might be sufficiently distinct1 the ,perpendiculars are drawn more remote from the ,point of ,sight1 as was shewn in the ,forty-second ,figure4 ,illustration3 ,,fig4 ,,lxxi4 ,,figura ,septuagesimaprima4 ,theatrum reprsentans ,nuptias ,can ,galil1 constructum ,rom1 anno #afhe4 in expositione ,ven4 ,sacramenti in ,templo ,farnesiano ,societatis ,,jesu4 ,ex antecedentibus prparationibus eruimus projectionem nobilis hujus ,architectur1 qu oculos implebat tum ad lucem solis diurnam1 tum prcipu ad lumen candelarum2 ex quibus mult palam erant exposit1 ali omnino latebant1 ut illuminarent sex diversos ordines telariorum quibus tota machina constabat1 non computando in hoc numero telaria1 qu in medio arcs maximi exprimebant nubes refertas ,angelis adorantibus ,venerabile ,sacramentum4 ,nubes istas omisimus1 ne absconderentur partes interiorum dificiorum4 ,in disponendis autem ordinibus telariorum1 servatus est modus quem declaravi figur sexagesimaprima sexagesimasecunda2 ac prterea in eligenda eorum distantia curatum fuit1 ut candel in parte postica telariorum collocat1 illuminarent faciem telariorum interiorum4 ,porr quot membra prcipua in duabus faciebus majoribus1 totidem distincta telaria numerabantur1 quorum proinde connexiones discerni vix poterant2 eorumque aliquot paria ferreis hamulis copulata erant1 ut explicari ac replicari possent1 ad faciliorem tractationem diuturnioremque conservationem4 ,qui hucusque sequuti me fuerint1 nihil dubito quin suum iter felicissim sint prosequuturi2 atque ,opera his nostris majora melioraque inventuri4 ,the ,seventy-first ,,figure4 ,a ,theater representing the ,marriage of ,cana in ,galilee1 erected in the ,jesuits ,church at ,rome1 in the ,year #afhe2 for the ,solemnity of exposing the ,holy ,sacrament4 ,from the foregoing ,preparations1 is drawn the ,perspective of this noble ,piece of ,architecture2 which struck the ,eye when seen by ,day-light1 but was more especially surprizing by ,candle-light2 many of the ,candles being expos'd to ,sight1 and others altogether hidden1 to illuminate the six different ,ranges of ,scenes1 of which the whole ,work consisted1 without reckoning that in the midst of the great ,arch1 representing ,clouds fill'd with ,angels adoring the blessed ,sacrament4 ,those ,clouds are here omitted1 that the inner ,parts of the ,work might be the better seen4 ,in disposing the several ,ranges of ,scenes1 the same ,method was observ'd1 which was deliver'd in the ,sixty-first and ,sixty-second ,figures2 and great ,care was also taken in their ,distances1 that the ,candles plac'd on the ,back of one of them might illuminate the ,face of the other behind it4 ,moreover1 each ,scene consisted of as many parts1 as there were principal ,members in the two greater ,faades2 so that the ,joints were scarcely discernible3 and some ,pairs of them being coupl'd with ,hinges1 folded and unfolded1 for the more easy managing and preserving them4 ,i doubt not but those who have follow'd me thus far1 will be encourag'd so to prosecute their ,studies1 as to be able to design even greater and more noble ,works1 than these of mine4 ,illustration3 ,,fig4 ,,lxxii4 ,,figura ,septuagesimasecunda4 ,de theatris scenicis4 ,theatris qu jam delineavimus affinia sunt theatra scenica3 in his tamen non ade facil reperitur punctum oculi seu perspectiv4 ,prterea1 quia ex obliquitate canalium intra quos moventur scen1 oritur ut line rect qu videri debent parallel ad lineam plani1 non debeant esse parallel sed obliqu1 harum delineatio difficultate non caret4 ,incommodum istud vitari posset adhibendo canales parallelos ad poscenium1 ut alicubi fieri solet1 prsertim in ,germani4 ,nihilominus usus ,italicus affert hoc adjumentum1 ut illi quibus incumbit suggerere actoribus1 vel scenas movere1 aliisque similibus presse1 facilius lateant liberius fungantur munere suo4 ,ut brevem summam habeas eorum qu deinde latius declaraturi sumus1 hanc figuram contemplare4 #a1 #b1 #c1 #d1 est vestigium aul qu habet in longitudine centumviginti palmos ,romanos1 in latitudine sexaginta palmos2 ut ostendit scala ,s triginta palmorum4 ,medietatem loci occupat theatrum1 medietatem obtinent podia loca spectatorum4 ,o punctum in quo uniuntur line visuales1 ,d locus pro apparentiis rerum magis ac magis distantium4 ,,bc locus poscenii4 ,,hh sunt canales obliqui1 quorum latitudo est dupla latitudinis scenarum4 ,,fg frons facies theatri4 ,,ao ejus profunditas aut longitudo4 ,e locus pro psaltibus1 tibicinibus1 fistulatoribus4 ,k spatium pro spectatoribus4 ,i vestigium podiorum4 ,l scal podiorum4 ,n ipsorum elevatio4 ,m declivitas tabulati1 cum sectione elevatione theatri1 scenis ex latere inspectis1 qu cum suis canalibus congruunt1 ut demonstrant line occult4 ,,oo linea normalis ad lineam horizontalem4 ,p ,q elevatio scenarum coram inspectarum1 qu introrsum flectuntur2 in latitudine congruunt cum canalibus vestigii ,b1 in altitudine cum sectionibus elevationis ,m2 ut constat ex lineis occultis4 ,in edem elevatione ,m pars altitudinis tribuenda est scenis1 pars laquearibus ,r1 per qu jungitur unumquodque par telariorum4 ,,vv line ad explorandum an detur vacuum inter scenas laquearia1 vel inter scenas1 vel inter laquearia4 ,in quibusdam autem scenis1 loco laquearium pinguntur nubes aer4 ,the ,seventy-second ,,figure4 ,of ,scenes for the ,stage4 ,scenes for the ,stage have very much ,affinity with those lately describ'd1 but the ,point of ,sight is not so easily found in these2 and from the ,obliquity of the ,grooves in which the ,scenes run1 it comes to pass1 that the right ,lines which ought to appear parallel to the ,line of the ,plan1 must not be drawn parallel thereto1 but oblique2 which is a ,work of some ,difficulty4 ,this indeed may be avoided1 by fixing the ,grooves parallel to the ,poscene2 as is usual in some ,places1 especially in ,germany4 ,nevertheless1 the ,italian ,manner has this ,advantage2 ,that those who are employ'd to prompt the ,actors1 and shift the ,scenes1 c4 are less expos'd to ,sight1 in the ,performance of their ,business4 ,in this ,figure ,i have given you an ,abridgment of those things1 which shall hereafter be more enlarg'd on4 ,the ,numbers #a1 #b1 #c1 #d1 denote the ,area of a ,hall an hundred and twenty ,roman ,palms in ,length1 and sixty in ,breadth2 as is manifest from the ,scale of thirty ,palms mark'd ,s4 ,half this ,space is taken up by the ,stage1 the other half by the ,spectators4 ,o is the ,point in which the visual ,lines concenter4 ,d is the ,place of those things that are to appear most remote4 ,,bc is the ,place of the ,poscene4 ,,hh are the oblique ,grooves1 whose ,lengths are double the ,breadth of the ,scenes4 ,,fg is the ,front of the ,stage4 ,,ao is its ,depth or ,length4 ,e is the ,place for the ,musick4 ,k is the ,room for ,spectators4 ,i is the ,plan of the ,galleries4 ,l the ,stairs to the same4 ,n is the ,elevation of the ,galleries4 ,m shews the ,declivity of the ,floor1 with the ,section and ,elevation of the ,stage and ,scenes view'd on the ,side2 answering their respective ,grooves1 as the occult ,lines demonstrate4 ,,oo is a ,line perpendicular to that of the ,horizon4 ,p and ,q are the ,elevation of the ,scenes view'd in ,front1 turning inwards1 in ,breadth agreeing with the ,length of the ,grooves of the ,plan ,b2 and in ,height answering that of the ,sections of the ,elevation ,m2 as is evident from the occult ,lines4 ,in this ,profile ,m1 part of the ,height belongs to the ,scenes1 and part to their ,soffites1 or ,ceilings1 ,r2 where each ,pair of these ,frames are join'd4 ,,vv are the ,lines by which is espy'd what ,vacancy there is either between the ,scenes and their ,ceilings1 between the ,scenes themselves1 or between their respective ,ceilings2 though in some ,scenes the ,place of these last is supply'd by painting therein the ,air with ,clouds1 c4 ,illustration3 ,fig4 lxxiii4 ,,figura ,septuagesimatertia4 ,aliud vestigium theatri1 ubi de modo inveniendi ejus punctum4 ,si pingend sint scen theatri alicujus antea constructi1 delineare oportebit vestigium geometricum ex ipso erutum1 7ad formam vestigii quod cernis in hac pagin7 ut inveniatur longitudo theatri1 seu distantia quam ejus punctum habet puncto ,a3 id autem nullo negotio fiet1 accipiendo distantias ,,bc inter primos canales1 ,,de inter ultimos1 ac ducendo visuales ,,mo1 ,,no3 nam theatrum habebit longitudinem ,,ao1 ac punctum perspectiv in vestigio theatri erit ,o4 ,prterea scire oportebit longitudinem latitudinem canalium1 eorumque numerum1 distantias1 flexus2 ac prcipu curandum est1 ut licet sint obliqui ad lineam ,,mn1 sint invicem paralleli in unoquoque latere1 ac singuli tangant lineas ,,mo1 ,,no4 ,jam si rect ,,ao fiat qualis recta ,,fa1 in ,f erit punctum distanti3 adeoque si theatrum juxta methodum nobis tradendam depictum fuerit1 spectatori qui consistat in ,f apparebit veluti tabula picta juxta leges perspectiv1 posita in ,a4 ,the ,seventy-third ,,figure4 ,another ,plan of a ,theater1 with the ,method of finding the ,point of ,sight therein4 ,if it be requir'd to paint the ,scenes of some ,theater already built1 the ,geometrical ,plan thereof must first be carefully drawn1 7as you see1 for ,example1 in this ,plate7 that the ,length of the ,theater may be found2 or the ,distance of its ,point from that of ,a2 which is easily done1 by taking the ,interval ,,bc of the first ,grooves1 and ,,de of the latter2 and drawing the ,visuals ,,mo1 ,,no3 for ,,ao is the ,length of the ,theater1 and the ,point of ,sight1 or ,perspective1 therein1 is ,o4 ,moreover the ,length and ,breadth of the ,grooves must be known1 as also their ,numbers1 ,distance1 and ,obliquity2 and especial ,care must be taken1 that though they be oblique to the ,line ,,mn1 that on each ,side they be ,parallels between themselves1 and that they all touch the ,lines ,,mo1 ,,no4 ,if you then make ,,ao equal to ,,fa1 the ,point of ,distance will be ,f2 and if the ,theater be painted according to the ,rules hereafter given1 it will appear to him that views it from ,f1 as a regular ,piece of ,perspective plac'd in ,a4 ,illustration3 ,,fig4 ,,lxxiv4 ,figura ,septuages4 quarta4 ,sectio ,scenarum ,theatri4 ,prter vestigium ,theatri delineanda est sectio scenarum4 ,itaque si acceptis mensuris altitudinis1 quam punctum ,a unde incipit tabulatum1 ac punctum ,d poscenii1 habent supra planum horizontale ,,fv1 fiant ex perpendiculo ,,nv tum recta ,,ado ex qua innotescit declivitas tabulati1 tum recta ,,no1 qu sit parallela ad ,,fv qualis rect ,,ao figur septuagesimterti2 punctum theatri in elevatione est ,o2 in poscenio ver punctum theatri est ,q4 ,si maxima scenarum altitudo sit ,,eb1 recta ,,oe dat altitudinem omnium reliquarum4 ,vera tamen altitudo cujuslibet scen est illa quam habet linea major1 ex minori autem dignoscitur quantum obliquitas cujusque scen apparenter minuat altitudinem extrem illius line4 ,porro excessus quo linea major superat minorem tum in summo tum in imo1 diligenter notandus est1 hinc enim pendet intelligentia figur septuagesimquint4 ,punctum ,m quod est remotum ab ,n quantum in figura septuagesimatertia punctum ,f est remotum ab ,a1 designat locum unde ,theatrum spectari oporteat1 ut ibidem notavimus4 ,in construendo tabulato solet servari hc regula1 ut altitudo puncti ,o sit qualis altitudini oculi1 elevatio ex ,a usque ad ,d sit nona circiter vel decima pars ipsius longitudinis ,,ad4 ,expediret autem ad scenas facilius movendas1 pavimentum ,f esse profundius pavimento ,g1 ut erecto corpore sub tabulato ambulari possit4 ,seventy-fourth ,figure4 ,the ,section or ,profile of ,scenes for ,theaters4 ,besides the ,plan of the ,theater1 the ,section of the ,scenes is also to be delineated1 for finding the ,point of the ,theater in the ,elevation4 ,wherefore1 setting the ,measures of the ,heights which the ,point ,a1 where the ,floor of the ,stage begins1 and the ,point ,d of the ,poscene1 have above the ,level of the ,horizontal ,,fv2 from the ,perpendicular ,,nv draw the right ,line ,,ado1 which gives the ,declivity of the ,stage2 then make ,,no parallel to ,,fv1 and equal to ,,ao of the ,seventy-third ,figure3 ,the ,point of the ,theater in ,elevation is ,o2 the ,point of the same on the ,poscene is ,q4 ,if ,,eb be the greatest ,height of the first ,scene1 the ,line ,,oe determines the ,height of all the others4 ,the longest of the two ,lines gives the true ,height of each ,scene2 and the shorter discovers how much of that ,height the ,sight loses on the ,out-line1 by the oblique ,position of the ,scenes4 ,moreover1 the ,excess of the longer ,line above the shorter1 as well at top as at bottom1 is to be well observ'd2 for on this depends the right ,understanding of the ,seventy-fifth ,figure4 ,the ,point ,m1 which is as far distant from ,n1 as that of ,f is from ,a in the ,seventy-third ,figure1 denotes the ,place from whence the ,stage ought to be view'd2 as is there mention'd4 ,in laying the ,floor of the ,stage1 this ,rule is commonly observ'd1 ,that the ,height of the ,point ,o be made equal to the ,height of the ,eye1 and that the ,rise of the ,floor from ,a to ,d1 be about a ,ninth or ,tenth ,part of the ,length ,,ad4 ',tis also requisite1 for the better shifting the ,scenes1 that the ,pavement ,f be sunk lower than that of ,g1 that a ,man may walk upright under the ,floor thereof4 ,illustration3 ,,fig4 ,,lxxv4 ,,figura ,septuagesimaquinta4 ,elevatio scenarum coram inspectarum3 ubi docetur artificium ut scen obliqu appareant rect4 ,scen quas vides in ,s1 habent suam latitudinem vestigio figur septuagesimterti1 altitudinem ab elevatione figur septuagesimquart1 ac censentur erect canalibus insert1 qu omnia reprsentantur etiam figur septuagesimasecunda in ,p ,q4 ,velim observes quantum elevetur tabulatum in principio ,a1 in poscenio ,d1 in puncto theatri ,o4 ,similiter notare oportet elevationem singularum scenarum1 qu propter obliquitatem canalium flectuntur introrsum3 iccirco line ,,bl1 ,,ki1 partis ,c1 non videntur parallel ad lineam plani1 ut reipsa sunt2 ac visualis ,,lf non tendit ad punctum oculi ,o1 sed ad punctum ,f4 ,si autem excessus apparens1 quem recta ,,bk habet in summo imo supra rectam ,,li transferatur in partem ,e scenarum1 7iidem excessus desumi etiam possunt ex figura septuagesimaquarta7 ac ducantur rect ,,lg1 ,,ih1 habebuntur line apparenter parallel ad lineam plani4 ,si fiat recta ,,lo1 qu cum ,,lg faciat angulum ,,glo qualem angulo ,,blf1 eadem ,,lo tendet exactissim ad punctum ,o oculi1 eque utendum erit ut visuali4 ,in ,p supponimus scenas ,m ,n jacere super pavimento unas super aliis1 ac duas lineas ,,rt habere distantiam eandem cum duabus ,,li1 ita in reliquis scenis4 ,ubi notandum est1 lineas ,,rs1 ,,tv1 easdem esse cum lineis ,,lg1 ,,ih1 scenarum ,e3 nihilominus lineas ,,rs1 ,,tv1 non esse parallelas1 quum tamen ,,lg1 ,,ih1 videantur parallel4 ,proinde1 si fiat recta ,,rl1 anguli ,,srl1 ,,glo1 sint quales1 rect ,,rl utendum erit tanquam visuali1 in ,l erit punctum accidentale oculi pro pingendis scenis ,n1 ac line ,,rs1 ,,tv1 habebuntur ut parallel3 id autem quod superest in telario ultra tales lineas1 pro nihilo computabitur1 ibique pingetur aer aut aliquid aliud4 ,punctum accidentale oculi pro pingendis scenis ,m erit in ,i4 ,the ,seventy-fifth ,,figure4 ,the ,elevation of ,scenes in ,front1 and how the oblique ,scenes are made to appear direct4 ,the ,scenes in ,s have their ,breadth from the ,plan of the ,seventy-third ,figure1 and their ,height from the ,elevation of the ,seventy-fourth ,figure2 and are suppos'd to stand perpendicularly in their ,grooves2 all which is also represented in ,p and ,q of the ,seventy-second ,figure4 ,i would have you observe1 how much the ,floor rises1 from its ,edge ,a1 to the ,poscene ,d1 and to the ,point of the ,theater ,o4 ,you should also note the ,elevation of each ,scene1 which1 by reason of the ,obliquity of the ,grooves1 turn inward3 ,wherefore the ,lines ,,bl1 ,,ki1 of the ,part ,c1 do not seem ,parallels to the ,ground-line1 as they really are2 and the ,visual ,,lf tends not to the ,point of ,sight ,o1 but to the ,point ,f4 ,but if the seeming ,excess1 which the ,line ,,bk has at top and at bottom1 above the ,line ,,li1 be transferr'd on the ,side of the ,scenes ,e1 7which ,excess may also be taken from the ,seventy-fourth ,figure7 and you draw the ,lines ,,lg1 ,,ih2 these ,lines will appear ,parallels to the ,line of the ,plan4 ,then drawing the ,line ,,lo1 so as to make the ,angle ,,glo equal to the ,angle ,,blf1 the said ,,lo shall tend directly to the ,point of ,sight ,o2 and serve for a visual ,line4 ,in ,p1 ,i suppose the ,scenes ,m and ,n to lie one upon another on the ,floor1 and the two ,lines ,,rt to have the same ,distance as the ,lines ,,li2 and so of the others4 ,where you are to take ,notice1 that the ,lines ,,rs1 ,,tv1 are the same with the ,lines ,,lg1 ,,ih1 of the ,scenes ,e3 and that the ,lines ,,rs1 ,,tv1 are not ,parallels2 altho' ,,lg1 ,,ih1 seem to be so4 ,therefore1 if you draw the ,line ,,rl1 so that the ,angles ,,srl1 and ,,glo1 be equal2 the ,line ,,rl shall serve as a ,visual1 and ,l shall be the accidental ,point of ,sight1 for painting the ,scenes of the ,side ,n2 and the ,lines ,,rs1 ,,tv1 shall be us'd as ,parallels4 ,what remains on the ,frame1 beyond those ,lines1 is to be reckon'd as nothing2 but you may paint there ,air1 or what you please4 ,the accidental ,point of ,sight for painting the ,scenes of the ,side ,m1 is ,i4 ,illustration3 ,,fig4 ,,lxxvi4 ,,figura ,septuagesimasexta4 ,modus delineandi exemplar scenarum4 ,iterum delineavimus scenas erectas super tabulato2 in ,b nudas1 in ,a depictas1 additis projecturis coronicum aliorum ornamentorum4 ,deformatio scenarum ,a eruitur methodo consuet ex vestigio ,c1 in quo videbis lineam plani deorsum protractam4 ,vestigium autem geometricum est in ,d4 ,the ,seventy-sixth ,,figure4 ,the ,manner of delineating the ,designs of ,scenes4 ,in this ,plate you have another ,design of ,scenes erected on the ,floor2 the naked ,scenes are ,b2 the painted ones ,a2 with the additional ,projectures of ,cornices and other ,ornaments4 ,the ,draught of the ,scenes ,a is produc'd from the ,plan ,c1 after the usual ,manner2 in which you may observe the ,ground-line to be lower than its true place1 for the greater ,distinction of the ,parallels4 ,the ,geometrical ,plan is ,d4 ,illustration3 ,,fig4 ,,lxxvii4 ,,figura ,septuagesimaseptima4 ,modus reticulandi pingendi scenas theatri4 ,postquam in pavimento exactissim disposueris tum poscenium1 tum ex ordine scenas reliquas1 unam alteri incumbentem1 ut figur septuagesimaquint declaravimus1 fiet linea horizontalis1 in qua notanda sunt tria puncta perspectiv1 unum in ,o usui futurum in pingendo poscenio1 ac duo reliqua hinc inde1 singula videlicet pro scenis partis opposit4 ,jam supponendo qud in parvo exemplari ,a prim scen facta fuerit reticulatio per quadrata perfecta2 proportionalis divisio fiet tum in recta ,,hi prim scen ,b1 tum in recta ,,cd4 ,postea ex puncto ,e1 per singula puncta divisionum rect ,,hi1 fient visuales1 adhibendo funiculum colore nigro imbutum2 earumque ope1 ut figura ostendit1 reticulare oportebit scenam ,b1 tum remot ea scenam illi subjectam1 eodem modo aliam aliam2 ac demum per divisiones quas in recta ,,lm faciunt visuales ex puncto ,e1 absolvetur reticulatio poscenii1 cujus quadrata esse debent perfecta1 secus quadrata scenarum4 ,in parte inferiori pagin1 du scen ,g ,f ostendunt ornamenta qu in scenis depingi possunt4 ,velim autem observes1 tum lineas transversas coronicum1 qu non sunt invicem parallel1 tum visuales1 qu tendunt ad puncta opposita4 ,nam ejusmodi line continent duas peculiares difficultates projectionum theatralium2 easque ut superes1 exact servand sunt regul quas declaravimus4 ,the ,seventy-seventh ,,figure4 ,the ,manner of making the ,net-work or ,squares1 and painting the ,scenes of ,theaters4 ,after you have with great ,exactness dispos'd the ,poscene on the ,pavement1 and the others in order one upon another1 as was mention'd in the ,seventy-fifth ,figure2 draw the horizontal ,line1 and mark therein three ,points of ,sight3 ,that in ,o1 for the ,use of the ,poscene2 and the ,points on the ,sides1 for the ,service of the opposite ,scenes respectively4 ,then1 supposing that the ,net-work of the small ,draught of the first ,scene ,a1 consists of perfect ,squares2 transport the same ,divisions both on the ,lines ,,hi and ,,cd of the first ,scene ,b2 and with a black ,line strike the ,visuals from the ,point ,e1 by the ,points of the ,divisions of ,,hi2 and by the ,help of those ,visuals make the ,net-work of the ,scene ,b1 as is done in the ,figure4 ,when that's done1 lay it aside2 and do the next in the same manner2 and so of the others4 ,lastly1 by the ,divisions1 which the ,visuals from the ,point ,e make on the ,perpendicular ,,lm1 finish the ,net-work on the ,poscene1 which consists of perfect ,squares1 though that of the ,scenes does not4 ,the two ,scenes of the lower part of the ,plate1 ,g and ,f1 shew what ,diversity of ,ornament the ,painter may introduce4 ,i would have you also take particular ,notice1 both of the transverse ,lines of the ,cornice1 which are not ,parallels to each other2 and of the ,visuals which are directed to their opposite ,points3 because in these two ,particulars lies the greatest ,difficulty of describing ,theatrical ,designs2 for the surmounting which1 it's absolutely necessary1 that you carefully regard the ,rules hitherto deliver'd4 ,illustration3 ,,fig4 ,,lxxviii4 ,,figura ,septuagesimaoctava4 ,de projectionibus horizontalibus4 ,quemadmodum facilior est deformatio columnarum jacentium1 qum columnarum erectarum2 7nam line qu in istis sunt perpendiculares1 in illis sunt visuales1 ac nullus circulus amittit suam formam7 ita projectiones horizontales1 quas in laquearibus delineare necesse est1 contra qum ,pictores imaginantur1 expeditiores faciliores sunt verticalibus1 quas hucusque tractavimus4 ,nam ut stylobat column appareant erect1 pingend sunt veluti jacentes4 ,deformationes horizontales auspicamur mutulis1 quia column ac stylobat identidem iis imponuntur1 ut magis in prospectu sint4 ,ob diversitatem ver quam habet latus mutuli sua facie1 utriusque delineationem geometricam seorsim in hac figura exhibemus4 ,the ,seventy-eighth ,,figure4 ,of horizontal ,perspective4 ,as it is easier to describe in ,perspective ,columns lying on the ground1 than those that are erect1 7the ,lines in these last being ,perpendiculars1 which in the former are ,visuals1 wherein no ,circle loses its ,form7 so the horizontal ,projections of ,perspective1 proper for ,ceilings1 contrary to the ,judgment ,painters usually make1 are perform'd with more ,ease and ,expedition1 than the vertical1 which we have hitherto treated of2 forasmuch as the ,pedestals and ,columns that must appear erect1 are painted as if lying on the ground4 ,i have usher'd in these horizontal ,designs with those of ,corbels1 because1 for setting the ,pedestals and ,columns more in ,view1 they generally seem to be supported by them4 ,and the ,side of this ,corbel being different from its ,face1 ,i have here inserted a ,geometrical ,description of each distinct4 ,illustration3 ,,fig4 ,,lxxix4 ,,figura ,septuagesimanona4 ,projectiones vestigii elevationis mutuli4 ,facies mutuli quam delineavimus figur septuagesimaoctav1 gerit hic munus vestigii2 latus ver gerit munus elevationis2 ut ostendunt line occult1 qu ex divisionibus faciei tendunt ad punctum oculi1 ex divisionibus lateris tendunt ad punctum distanti 7puncta oculi ac distanti in hac sequentibus figuris cadunt extra paginam47 ,per sectiones harum linearum ducuntur line qu terminant singulas partes vestigii deformati2 hujusque adjumento ducitur elevatio lateris1 ac methodo consuet latitudines longitudines mutuli solidi eruuntur ex vestigio1 altitudines ex elevatione4 ,hic deinceps nomina longitudinis altitudinis usurpamus1 veluti planum cujuslibet perspectiv esset verticale2 in qu suppositione1 ,,il esset latitudo mutuli1 ,,sr altitudo1 ,,rl longitudo3 quum ,,sr rever sit longitudo1 ,,rl altitudo4 ,ad faciliorem descriptionem hujus figur observandum est1 rectis ,,il1 ,,lm1 ,,gh1 hujus pagin inesse divisiones rectarum ,,dc1 ,,fe1 ,,ab1 figur septuagesimoctav4 ,the ,seventy-ninth ,,figure4 ,the ,plan and ,elevation of a ,corbel in ,perspective4 ,the ,face of the ,corbel describ'd in the ,seventy-eighth ,figure1 in this does the ,office of a ,plan2 and the ,side serves here for the ,elevation2 as is plain from the occult ,lines1 which from the ,divisions of the ,face tend to the ,point of ,sight1 and from those of the ,side tend to the ,point of ,distance2 both which ,points1 in this and the succeeding ,figure1 fall without the ,plate4 ,from the ,intersections of these ,lines are drawn others1 that determine each ,part of the ,perspective-,plan2 by means of which1 the ,elevation of the ,side being also form'd1 the ,breadths and ,lengths of the solid ,corbel are taken1 as usual1 from the ,plan1 and the ,heights from the ,elevation4 ,here and henceforward1 the ,terms of ,length and ,height are made use of1 as though the ,plan of each ,perspective were vertical2 according to which ,supposition1 ,,il is the ,breadth of the ,corbel1 ,,sr the ,height1 and ,,rl the ,length2 whereas in reality ,,sr is the ,length1 and ,,rl the ,height4 ,for the more ready ,description of this ,figure you will do well to observe1 that the ,lines ,,il1 ,,lm1 ,,gh1 of this ,plate1 bear the same ,divisions as ,,dc1 ,,fe1 ,,ab1 of the ,seventy-eighth ,figure4 ,illustration3 ,,fig4 ,,lxxx4 ,,figura ,,octogesima4 ,horizontalis projectio mutuli inumbrati4 ,in hac figur suas umbras mutulo addidimus3 eumque si in altum supra oculum elevaveris1 ex distanti quam ipsi dedimus suspexeris2 miraberis profect1 in alium long concinniorem subit mutatum fuisse4 ,the ,,eightieth ,,figure4 ,the ,horizontal ,projection of a shaded ,corbel4 ,in this ,figure you have the ,corbel finish'd with its proper ,shades2 which1 if plac'd above the ,eye1 and beheld from the ,distance here assign'd it2 you'll be strangely surpriz'd at the sudden and most agreeable ,alteration you'll find therein4 ,illustration3 ,,fig4 ,,lxxxi4 ,figura ,octogesimaprima4 ,stylobat ,corinthii horizontaliter contracti4 ,in deformandis hisce stylobatis1 usi sumus projectione vestigii elevationis1 quam exhibet figura duodecima2 ut figuram illam cum ist conferenti manifestissim constabit4 ,porr stylobatas pingi solere incumbentes mutulis1 diximus figur septuagesimaoctav4 ,the ,eighty-first ,figure4 ,corinthian ,pedestals in an ,horizontal ,perspective4 ,in delineating these ,pedestals1 ,i have made use of the ,plan and ,upright put into ,perspective in the ,twelfth ,figure2 as will evidently appear1 by comparing that ,figure with this4 ,i have already mention'd1 in the ,seventy-eighth ,figure1 that in painting these ,pedestals1 they are generally suppos'd to be upheld by ,corbels4 ,illustration3 ,,fig4 ,,lxxxii4 ,figura ,octoges4 secunda4 ,columna ,corinthia horizontaliter deformata4 ,vestigium elevatio stylobat1 quem delineavimus figur duodecim1 suppeditat mensuras pilarum hoc loco deformandarum1 ut ex iis eruatur contractio column4 ,huic autem soli suas umbras addidimus1 ut claris appareat modus artificium totius operationis4 ,ex his vides1 quadrata circulos in perspectiv horizontali omnin retinere suam figuram1 eamque dumtaxat restringi paulatim coarctari3 quicquid in contrarium verbis pennicillo docuerint ,pictores nonnulli4 ,eighty-second ,,figure4 ,a ,corinthian ,column in ,horizontal ,perspective4 ,the ,plan and ,elevation of the ,pedestal delineated in the ,twelfth ,figure1 gives also the ,measures for reducing these ,pilasters into ,perspective2 from which the ,contraction of the ,column is taken4 ,i have shadow'd only this last1 that the ,manner of the whole ,work might be the more conspicuous4 ,by this you see the ,squares and ,circles in ,horizontal ,perspective always retain their ,figures1 without any ,alteration1 save that of being gradually diminish'd and made less2 notwithstanding what some ,painters have taught and practis'd to the contrary4 ,illustration3 ,,fig4 ,,lxxxiii4 ,figura ,octogesimatertia4 ,capitella ,corinthia horizontaliter contracta4 ,habes in hac pagin deformationes vestigii elevationis capitelli ,corinthii1 quas desumpsimus ex delineationibus geometricis1 transferendo mensuras earum in lineas plani ,,ab1 elevationis ,,ac1 ita ut facillim dignosci possit unde nascantur singul partes capitellorum nitidorum4 ,nihil dubito quin deformationes horizontales sis experturus faciliores verticalibus quas dedimus figur vigesimaquart4 ,nam in horizontalibus gyrus foliorum circulis clauditur1 quorum centra mutuantur latitudines suis vestigiis in punctis #a1 #b1 #c1 #d2 altitudines ver capitellis elevationis in punctis #e1 #f1 #g1 #h4 ,eighty-third ,,figure4 ,a ,corinthian ,capital horizontally contracted in ,perspective4 ,you have in this ,plate the ,perspective both of the ,plan and ,elevation of the ,corinthian ,capital1 drawn from the ,geometrical ,descriptions1 by transferring their ,measures into the ,ground-line ,,ab1 and into that of the ,elevation ,,ac2 so that you may readily discover from whence every part of the finish'd ,capital is produc'd4 ,i don't doubt but you'll experience these horizontal ,perspectives to be much less difficult than the vertical propos'd in the ,twenty-fourth ,figure4 ,for in these the ,circuit of the ,leaves is determin'd by perfect ,circles1 whose ,centers take their ,breadths from the ,plan at the ,points #a1 #b1 #c1 #d2 and their ,heights from the ,capitals of the ,elevation1 at the ,points #e1 #f1 #g1 #h4 ,illustration3 ,,fig4 ,,lxxxiv4 ,figura ,octogesimaquarta4 ,coronix ,corinthia4 ,si faciend sint coronices qu habeant angulos1 elevatio geometrica ,a reprsentabit unum latus1 alterum sectio ,b4 ,curandum est autem1 ut crepidines partium1 quas fingere volumus incumbere columnis1 non obsint concinn distributioni mutulorum4 ,ad contractionem elevationis ,a sectionis ,b1 in lineam plani ,,ef elevationis ,,eg transferre oportet puncta diversarum latitudinum1 quas habent in elevatione ,a ungues epistylii1 zophori1 coron1 ducendo ex iis lineas ad punctum oculi2 in partem ver ,,fh line ,,fe transferre oportet puncta longitudinis1 ducendo lineas ad punctum distanti4 ,hac industri perficies utramque deformationem1 quarum una geret munus vestigii1 altera elevationis4 ,utrobique autem designabis lineas terminativas partium coronicis1 ac sectionum ,c ,d4 ,eighty-fourth ,,figure4 ,a ,corinthian ,cornice4 ,if you are to describe ,cornices having ,angles1 admit the ,elevation ,a to represent one ,side1 and the ,section ,b the other4 ,but ,care is to be taken1 that the ,breaks of those ,parts which are suppos'd to be set directly over the ,columns1 do not obstruct the regular ,distribution of the ,modillions4 ,for contracting into ,perspective the ,elevation ,a1 and the ,section ,b1 you must transfer into the ,ground-line ,,ef1 and into that of the ,elevation ,,eg1 the ,points of the several ,breadths made by the ,projectures of the ,architrave1 ,freeze1 and ,cornice of the ,elevation ,a2 and from them draw ,lines to the ,point of ,sight3 ,then on the ,part ,,fh of the ,line ,,fe1 you must note the ,points of ,length1 and draw ,lines from them to the ,point of ,distance4 ,by this ,practice you complete these two ,contractions1 one of which does the ,office of a ,plan1 the other that of an ,elevation4 ,it's also requisite1 that you draw the ,out-line of the ,members of the ,cornice on each side the ,angle1 the ,sections ,c and ,d4 ,illustration3 ,,fig4 ,,lxxxv4 ,figura ,octogesimaquinta4 ,coronix ,corinthia horizontaliter contracta4 ,soliditas coronicis cum omnibus projecturis eruta est ex vestigio elevatione figur octogesimquart4 ,hic autem finem imponimus partibus rerum1 ad integra dificia gradum facturi4 ,the ,eighty-fifth ,figure4 ,a ,corinthian ,cornice in ,horizontal ,perspective4 ,the ,solidity of this ,cornice1 with all its ,projectures1 is deduc'd from the ,plan and ,elevation of the foregoing ,figure4 ,with this therefore ,i shall conclude the ,description of ,parts of things1 and proceed to that of entire ,structures4 ,illustration3 ,,fig4 ,,lxxxvi4 ,figura ,octogesimasexta4 ,horizontalis projectio column4 ,postquam sigillatim descripsimus mutulum1 stylobatam1 columnam coronicem1 omnia ista conjungere placuit3 ita claris apparebit quomodo disponere oporteat delineationes geometricas1 ut ex iis eruantur projectiones horizontales4 ,linea plani est ,,cd1 perpendicularis ,,ci4 ,in ,a est elevatio geometrica longitudinis column1 7supponimus columnam delineari veluti jacentem humi47 ,in ,b ejus vestigium geometricum1 cum divisionibus latitudinis in line ,,er4 ,puncta longitudinis transferentur in lineam plani ,,cg1 puncta altitudinis ,,ec transferentur in ,,cf1 ducendo rectas ex divisionibus ,,cg ad punctum distanti1 ex divisionibus ,,cf ad punctum oculi4 ,per sectiones ver visualis ,,co erigentur perpendicula1 complebitur elevatio ,h1 ex qu eruetur columna nitida ,l4 ,si super vestigio ,m formare placeat aliam columnam1 ejus latitudines accipiend sunt ex columna ,b2 ac sectio projicienda est in ,n1 ut ex hac tamquam ex elevatione eruatur columna ,p4 ,si aliam columnam in angulo addere libitum fuerit1 ope sectionum ,,hn facil illam complebis4 ,the ,eighty-sixth ,figure4 ,a ,column in horizontal ,perspective4 ,after the separate ,description of a ,corbel1 ,pedestal1 ,column1 and ,cornice2 ,i have here conjoin'd them all1 that you might the better perceive how to dispose ,geometrical ,elevations for the ,business of horizontal ,perspective4 ,the ,line of the ,plan is ,,cd1 the ,perpendicular ,,ci2 the ,geometrical ,elevation of the ,length of the ,column1 suppos'd to be lying on the ,ground1 is ,a4 ,the ,geometrical ,plan thereof is ,b1 with the ,divisions of its ,breadth on the ,line ,,er4 ,the ,points of ,length being transferr'd on the ,line of the ,plan ,,cg1 and the ,points of ,height ,,ec into ,,cf2 from the ,divisions of ,,cg ,lines are drawn to the ,point of ,distance2 and from those of ,,cf to the ,point of ,sight4 ,from the ,sections of the ,visual ,,co1 ,perpendiculars are erected1 and the ,elevation ,h completed1 from whence is taken the finish'd ,column ,l4 ,if upon the ,plan ,m you would delineate another ,column1 the ,breadths thereof must be taken from the ,column ,b1 and another ,profile design'd in ,n1 which serves as an ,elevation for making the ,column ,p4 ,if another ,column were requir'd in the ,angle1 the ,profiles ,,hn assist you in the ready ,performance thereof4 ,illustration3 ,fig4 lxxxvii4 ,,figura ,octogesimaseptima4 ,prparatio necessaria ad sequentem figuram1 ad projectiones horizontales in laquearibus vel testudinibus4 ,exhibet hc figura in ,,aa unum ex quatuor parietibus aul1 cujus altitudinem veram ,,ih velis attollere apparenter usque in ,l1 pingendo in laqueari1 vel in testudine1 seriem balaustiorum4 ,in ,b est vestigium geometricum quart partis laquearis4 ,in ,c habetur elevatio medietatis latitudinis4 ,in ,d est sectio coronicis mutulorum4 ,in ,e posita est elevatio medietatis longitudinis4 ,in ,f est punctum oculi1 in ,g punctum distanti3 adeque tota distantia est ,,gf4 ,the ,eighty-seventh ,,figure4 ,the ,preparation necessary to the following ,figure1 and to all other horizontal ,perspectives1 whether on flat or vaulted ,ceilings4 ,the ,figure ,,aa represents one of the four ,walls of a ,hall1 whose true ,height ,,ih you would have appear rais'd to ,l1 by painting a ,ballustrade in the ,ceiling thereof4 ,b is the ,geometrical ,plan of the fourth part of the said ,ceiling2 ,c is the ,elevation of half the ,breadth2 ,d is the ,section of the ,cornice and ,corbels2 ,e is the ,elevation of half the ,length4 ,in ,f is the ,point of ,sight1 in ,g the ,point of ,distance2 so that the ,distance itself is ,,fg4 ,illustration3 ,,fig4 ,,lxxxviii4 ,figura ,octogesimaoctava4 ,horizontalis projectio balaustiorum figur octogesimseptim1 cum brevi distantia4 ,claritatis grati totum laquear divisum est in quatuor partes4 ,prima continet contractionem vestigii elevationis1 qu perficiuntur methodo consueta4 ,nam linea ,,aov est horizontalis1 ,,bc est linea plani4 ,punctum oculi est ,o1 distanti ,e4 ,secunda pars continet sectionem ,l1 qu dat projecturas mutulorum aliarumque partium1 desumendas ex sectione ,d figur octogesimseptim1 deformando eam in angulis ,b ,c4 ,tertia pars complectitur delineationem integram sine umbris3 ultima pars eandem complectitur cum umbris4 ,ob punctum distanti parum remotum puncto oculi1 nimiam amplitudinem ac deformem apparentiam habere videtur hc delineatio4 ,nihilominus1 si ex distantia ,,eo figuram suspexeris1 omnis deformitas evanescet4 ,ut fucus imperitis fiat1 industrii ,pictoris interest parare sibi geminum exemplar suorum ,operum1 in quibus distantia sit nimis brevis2 unum videlicet palam ostendendum1 in quo punctum distanti sit remotum puncto oculi1 quantum necesse est ad vitandam omnem deformitatem4 ,alterum ver1 in ipsomet ,opere clam usurpandum4 ,si pingend sint testudines1 oportet prius facere in eis reticulationem peculiarem2 qu quia difficilis est1 paucis explicari nequit1 in aliud ,opus reservatur4 ,eighty-eighth ,figure4 ,the horizontal ,projection of the ,ballustrade of the ,eighty-seventh ,figure1 view'd at a small ,distance4 ,for the better ,illustration of this ,figure1 ,i have divided the whole ,ceiling into ,four ,parts4 ,the first contains the ,plan and ,elevation in ,perspective1 after the usual manner2 ,,aov being the horizontal ,line1 ,,bc that of the ,plan2 the ,point of ,sight ,o1 and that of ,distance ,e4 ,the second ,part contains the ,section ,l1 which gives the ,projectures of the ,corbels and other ,parts taken from the ,section ,d of the ,eighty-seventh ,figure1 by drawing it in the ,angles ,b and ,c4 ,the third ,part comprehends the ,delineation of the ,perspective without ,shadows4 ,the fourth ,part contains the same wholly shadow'd and finish'd4 ,through the near ,approach of the ,point of ,distance to the ,point of ,sight1 you may perhaps imagine this ,draught will appear too wide1 and so have an ill ,effect3 ,but when once you view it from its due ,distance ,,eo1 you will find all such ,doubts vanish and come to nothing4 ,when you have to deal with ,persons unskill'd in these things1 and are to paint for so small a ,distance2 your best way is to make two ,draughts2 one for publick ,shew1 in which you may place the ,point of ,distance so far from the ,point of ,sight1 as is necessary for preventing ,deformity2 and the other you may privately make use of in performing your ,work4 ,if you are to paint arch'd or vaulted ,ceilings1 a particular kind of ,net or ,lattice-work must first be made therein2 the ,performance whereof being difficult1 and not capable of being explain'd in few words1 ,i have reserv'd it for another ,volume4 ,illustration3 ,,fig4 ,,lxxxix4 ,figura ,octogesimanona4 ,horizontalis projectio architectur in laqueari quadrato4 ,si laquear sit quadratum1 valde distans ab oculo1 architecturam huic similem in eo depingere licebit4 ,a est elevatio geometrica2 eadem ver deformata in ,b ,c1 gerit munus vestigii elevationis4 ,medietas unius ex quatuor partibus1 usui esse potest in toto opere1 aut premendo chartam1 aut e perforat1 immittendo per foramina carbonem minutissim contusum4 ,eighty-ninth ,,figure4 ,an horizontal ,projection of ,architecture in a square ,ceiling4 ,if the ,ceiling be square1 and very remote from the ,eye1 you may paint in it some such ,piece of ,architecture as this4 ,a is the geometrical ,elevation2 the same reduc'd into ,perspective in ,b and ,c does the ,office of a ,plan and ,elevation4 ,the ,half of one of the four ,parts may suffice for the ,draught of the whole ,work1 either by tracing over the ,lines of the ,paper1 or by pricking small ,holes therein1 and pouncing them through with ,charcole finely powder'd4 ,illustration3 ,,fig4 ,,xc4 ,,figura ,nonagesima4 ,horizontalis projectio tholi4 ,initium hujus rei fiet vestigio geometrico1 in quo du series circulorum designant columnas2 ali line designant stylobatas1 ac projecturas ungues basium coronicum4 ,linea plani est ,,ab1 horizontalis ,,cd1 perpendicularis ,,ad4 ,punctum oculi est ,o1 distanti ,d2 adeque figura hc debet habere supra oculum altitudinem ,,do4 ,punctum oculi positum fuit extra ipsum tholum1 ut qui eum aspiciunt1 minus defatigentur1 ac plus appareat de architectura de artificio2 secus ver contingeret si punctum oculi esset in medio4 ,itaque puncta line ,,ef transferentur in partem ,,ag line ,,ad4 ,centrum ,i vestigii transferetur in ,h ex omnibus his punctis fient visuales ad ,o4 ,deinde altitudine tholi1 ac divisionibus partium singularum tum ipsius1 tum latern1 translatis in lineam ,,ab1 ex punctis divisionum fient rect ad punctum distanti ,d4 ,ubi autem h secant visualem ,,ao1 erigentur perpendicula1 quorum sectiones cum visuali ,,ho dabunt centra pro singulis circulis4 ,inter visuales ,,ag ducere oportet lineas terminativas columnarum coronicum2 quemadmodum fieret1 si ex vestigio eruta fuisset elevatio geometrica4 ,his positis1 aggredieris delineationem opticam ipsius tholi1 translatis in perpendicularem ,,eo centris ope parallelarum ,,hi1 ,,ln2 ac semidiametro ,,lm fiet circulus ,,np pro sim coronicis3 semidiametro ,,st fiet circulus ,,qr1 sic de reliquis4 ,quomodo autem per rectas ex angulis vestigii ad punctum oculi1 habeantur ungues coronicis1 ostendunt numeri #a1 #b1 #c1 #d2 line ver laterales unguium tendunt ad centra suorum circulorum1 ut videre est in ,n #c1 #d4 ,in vestigio1 ne nimium occupetur1 mutulos omisimus4 ,ex his patet necessitas faciendi vestigium geometricum totius tholi1 ac non sufficere vestigium unius column2 quum singul peculiares exigant deformationes4 ,quum autem ,opus ipsum delineandum ac pingendum fuerit1 ipsum desumere non poteris ex parvo exemplari1 ope reticulationis2 ,quinimo suis locis ducere oportebit lineas visuales1 invenire centra omnium circulorum4 ,figendo autem funiculum in singulis centris1 ipsius adjumento facillim absolves omnes circumferentias4 ,the ,ninetieth ,figure4 ,a ,cupola in horizontal ,perspective4 ,in the ,execution of this ,work1 you are to begin with the ,geometrical ,plan2 in which the two ,ranges of ,circles denote the ,columns1 the other ,lines shew the ,pedestals1 with the ,projectures and ,breaks of the ,bases and ,cornices4 ,the ,line of the ,plan is ,,ab1 that of the ,horizon ,,cd1 the perpendicular ,line is ,,ad4 ,the ,point of ,sight is ,o1 that of ,distance ,d2 wherefore this ,figure ought to be plac'd as much above the ,eye1 as the ,height ,,do4 ,i have set the ,point of ,sight something without the ,cupola1 that the ,eye might be less weary'd in viewing the ,work1 and embrace more of the ,architecture1 than it could have done1 had the ,point of ,sight been in the midst4 ,the ,points of the ,line ,,ef are transferr'd into ,,ag1 part of the ,line ,,ad4 ,the ,center of the ,plan ,i is continu'd to ,h1 and from all these ,points visual ,lines are drawn to ,o4 ,then placing the ,heights of every part both of the ,cupola and ,lantern on the ,line ,,ab1 from the ,points of those ,divisions draw ,lines to the ,point of ,distance ,d2 and where they cut the ,visual ,,ao1 erect ,perpendiculars intersecting the ,line ,,ho2 which ,points are the ,centers of the several ,circles4 ,on the ,visuals1 between ,,ag1 must be describ'd the ,out-lines of the ,columns and ,cornices1 in like manner as when a ,geometrical ,upright is rais'd from a ,plan4 ,this done1 you proceed to the ,delineation of the ,cupola itself in ,perspective1 by transferring into the ,perpendicular ,,eo the several ,centers of ,,ho1 by ,parallels to ,,hi1 as ,,ln1 c4 ,on the ,center1 with the ,interval ,,lm1 describe the ,circle ,,np1 for the ,nose of the ,cornice2 and with the ,semidiameter ,,st describe the ,circle ,,qr1 and so of the rest4 ,the ,numbers #a1 #b1 #c1 #d1 shew how the ,breaks of the ,cornice are determin'd by ,lines from the ,angles of the ,geometrical ,plan tending to the ,point of ,sight1 till they intersect the ,circle3 ,the ,returns of which ,breaks are made by ,lines tending to the ,centers of their respective ,circles2 as is plain from ,n #c1 and ,n #d4 ,in this ,plan ,i have omitted the ,corbels1 lest ,i should too much encumber the ,work4 ,hence appears the ,necessity of making the ,geometrical ,plan of the whole ,cupola1 the ,plan of a single ,column not being sufficient2 by reason each requires its particular ,delineation4 ,and when the ,work itself is to be drawn for painting1 you can't well take it from a small ,draught by way of ,net-work or ,squares1 but the visual ,lines should be drawn in their proper places1 and the several ,centers found2 in which1 by fixing ,strings1 you may readily describe the ,circumferences of all the ,circles4 ,illustration3 ,,fig4 ,,xci4 ,figura ,nonagesimaprima4 ,tholus figur nonagesim1 cum luminibus umbris4 ,tholus quem vides in hac pagin1 pollicetur sibi vitam diuturniorem illo1 quem super telario plano insignis amplitudinis1 depinxi anno #afhe4 in ,templo ,s4 ,ignatii ,collegii ,romani4 ,proinde si casus aliquis illum absumat1 non deerunt qui ex isto eundem in melius reficiant4 ,mirati fuerunt ,architecti nonnulli1 qud columnas anteriores mutulis imposuerim1 id enim in solidis dificiis ipsi non facerent4 ,verm eos metu omni liberavit amicissimus mihi ,pictor1 ac pro me spopondit1 damnum omne se statim reparaturum1 si fatiscentibus mutulis1 columnas in prceps ruere contingat4 ,the ,ninety-first ,figure4 ,the ,cupola of the ,ninetieth ,figure1 with its ,lights and ,shades4 ,the ,cupola in this ,plate will in all ,likelihood be of longer ,duration1 than that which ,i painted on a very large ,table1 for the flat ,ceiling of the ,church of ,s4 ,ignatius of the ,roman ,college1 anno #afhe4 ,for if that suffer by any ,accident1 with the help of this its place may be supply'd by a better4 ,some ,architects dislik'd my setting the advanc'd ,columns upon ,corbels1 as being a thing not practis'd in solid ,structures2 but a certain ,painter1 a ,friend of mine1 remov'd all their ,scruples1 by answering for me1 ,that if at any time the ,corbels should be so much surcharg'd with the ,weight of the ,columns1 as to endanger their ,fall1 he was ready to repair the ,damage at his own ,cost4 ,illustration3 ,,fig4 ,,xcii4 ,figura ,nonages4 secunda4 ,tholus octangularis4 ,ex circulo fiet octagonum1 accipiendo medietatem quadrantis circuli1 ut habeantur singula latera octagoni4 ,in eisdem lateribus distribuetur vestigium geometricum totius architectur1 cum projecturis omnium membrorum1 juxta modum quem servavimus in limbo circulari figur nonagesim4 ,utiliter etiam fieret elevatio geometrica totius ,operis2 quamvis ob spatii angustias ego eam omiserim4 ,deinde posit una cuspide circini in centro circuli1 extendetur alia cuspis ad altitudinem singularum projecturarum inter spatium ,a ,b1 ut hic vides3 atque ope parallelarum1 omnia transferentur in lineam ,,cd1 ut fiat optica deformatio1 quam poscit sectio elevationis1 cum aliis prparationibus1 ut in figura prcedenti4 ,nam hic quoque ope circulorum invenire oportet puncta extrema in prominentiis membrorum singulorum architectur3 ut conjungendo puncta per lineas rectas1 qu forment facies octagoni1 compleatur totum ,opus4 ,ninety-second ,figure4 ,an ,octangular ,cupola4 ,from the ,circle describe the ,octagon1 by taking half the ,quadrant of the former for each ,side of the latter4 ,on these ,sides the ,geometrical ,plan of the whole ,architecture is to be dispos'd1 with the ,projectures of all the ,members thereof1 in the same manner as was done in the circular ,border of the ,ninetieth ,figure4 ,it will also be expedient1 to make the ,geometrical ,elevation of the whole ,work1 tho' thro' ,want of ,room ,i have here omitted it4 ,then placing one ,point of the ,compasses in the ,center of the ,circle1 extend the other to the ,height of the several ,projectures between ,a and ,b1 as you see in the ,figure2 and by help of the ,parallels transfer them all into the ,line ,,cd1 for putting the ,profile of the ,upright into ,perspective1 and drawing the other ,requisites1 as in the foregoing ,figure4 ,for here also1 by means of the ,circles1 are found the extreme ,points of the ,projectures of the several ,members of the ,architecture2 and by conjoining these ,points with strait ,lines agreeable to the ,shape of the ,octagon1 the whole ,work is completed4 ,illustration3 ,,fig4 ,,xciii4 ,,figura ,nonagesimatertia4 ,vestigium templi ,ludovisiani ,s4 ,ignatii alm urbis4 ,constitueram huic ,libro finem imponere figur nonagesimasecunda2 nihilominus ut satisfaciam precibus amicorum1 cupientium addiscere modum reticulationis optic1 qu adhibetur in superficiebus irregularibus1 ejusque memini figur octogesima octava1 publici juris facere decrevi ejus construend methodum4 ,ipsiusmet retis ope delineavi non solm dificium mox reprsentandum1 sed etiam figuras omnes testudinis templi ,ludovisiani1 in qua pingenda nunc occupor4 ,eademque reticulatione1 qu erit ultima figura hujus ,libri1 dabimus ,operi nostro suum complementum2 quum nulla sit superficies1 in qua suas delineationes juxta ,perspectiv regulas1 earum rerum ,studiosi absolvere nequeant4 ,exhibet hc figura vestigium totius templi4 ,quamvis enim non indigeam nisi testudine inter januam maximam tholum2 proderit nihilominus ,architectur ,studiosis1 universi ,operis elegantiam ac symmetriam per otium contemplari4 ,the ,ninety-third ,,figure4 ,the ,geometrical ,plan of the ,church of ,s4 ,ignatius at ,rome4 ,i had once determin'd to end this ,book with the ,ninety-second ,figure2 but at the ,request of some ,friends1 who were desirous to learn the ,making of ,perspective ,net-work for irregular ,surfaces1 as was hinted in the ,eighty-eighth ,figure2 ,i resolv'd to publish the ,manner of performing the same4 ,by the ,help of this ,net-work1 ,i delineated not only the ,architecture now to be treated of2 but also each ,figure in the ,vault of the ,church of ,s4 ,ignatius1 which ,i am at present employ'd in painting4 ,the ,method is laid down in the last ,figure of this ,book1 and entirely completes the same2 there being no ,superficies1 how irregular soever1 but the ,studious may thereon describe1 by these ,rules1 whatever ,perspective he has occasion for4 ,this ,figure contains the ,plan of the whole ,church2 for though my present ,design requir'd no more than the ,vault of the ,nave1 between the great ,door and the ,cupola2 ,i thought it might be nevertheless acceptable to the ,curious in ,architecture1 to have a ,view of the whole ,design1 so celebrated for the ,elegancy and ,proportion of its ,parts4 ,illustration3 ,,fig4 ,,xciv4 ,figura ,nonages4 quarta4 ,orthographia templi ,ludovisiani4 ,vt magis tibi gratificer1 orthographiam seu elevationem templi ,ludovisiani in longum dissecti delineavi1 cum omnibus mensuris qu vestigio sunt communes2 addito tholo juxta ideam ,autoris4 ,ejus autem nondum constructi loco1 positum est in ,a ,b telarium cum tholo depicto1 de quo supra in figuris nonagesim nonagesimaprim4 ,ninety-fourth ,,figure4 ,the ,orthography1 or ,geometrical ,elevation of the ,inside of ,s4 ,ignatius's ,church4 ,for your greater ,satisfaction1 ,i have here given the ,geometrical ,upright of the ,church dissected lengthwise1 with all its ,measures agreeable to those of the ,plan2 as also the ,cupola design'd by the ,author3 ,which not being yet built1 instead thereof is plac'd between ,a and ,b1 the painted ,cupola before describ'd in the ,ninetieth and ,ninety-first ,figures4 ,illustration3 ,,fig4 ,,xcv4 ,figura ,nonages4 quinta4 ,ali prparationes ad figuras nonagesimamoctavam nonagesimamnonam4 ,ex hac figura in quatuor partes divisa1 disces ex uno intuitu methodum qua sum auspicatus opticam delineationem templi ,ludovisiani4 ,prima pars exhibet latus dextrum testudinis inter januam templi ac tholum4 ,secunda pars continet vestigium ejusdem testudinis1 arcubus ac lunulis distinct4 ,tertia pars continet latus dextrum testudinis usque ad summitatem fenestrarum1 unde incipit ,architectura quam pingimus in fornice4 ,quarta pars est vestigium geometricum fornicis1 cum prominentia quam habent arcus in summitate jam dicta fenestrarum4 ,fingimus autem eandem esse soliditatem1 tum dificii depicti1 tum navis templi2 sol enim column1 qu respondent pilis templi1 prominent extra dificium4 ,the ,ninety-fifth ,figure4 ,other ,preparations to the ,ninety-eighth and ,ninety-ninth ,figures4 ,by this ,figure divided into four ,parts1 you will at first ,sight perceive the ,method ,i observ'd in beginning the ,perspective ,design of this ,church of ,s4 ,ignatius4 ,the first ,part shews the right-hand ,side of the ,vault between the ,door and the ,cupola4 ,the second contains the ,plan of the same ,vault1 with its ,arches and ,lunettes4 ,the third ,part represents the same right-hand ,side1 to the top of the ,windows2 where begins the ,architecture painted in the ,vault4 ,the fourth ,part contains the ,geometrical ,plan of that part of the ,vault which is painted2 with the ,lunettes made by the ,arches above the ,heads of the aforesaid ,windows4 ,the ,disposition of the painted ,architecture above1 is the same with that of the ,nave of the ,church2 save that1 answerable to the ,pilasters below1 ,i have suppos'd ,columns projecting over the ,work4 ,illustration3 ,,fig4 ,,xcvi4 ,figura ,nonagesimasexta4 ,ali prparationes ad figuras nonagesimamoctavam nonagesimamnonam4 ,prima pars figur hujus trifariam divis1 reprsentat elevationem geometricam lateris templi supra coronicem1 dificii in testudine pingendi4 ,secunda pars complectitur arcum testudinis maximum1 elevationem geometricam faciei ejusdem dificii4 ,tertia pars exhibet vestigium totius dificii pingendi in testudine1 cujus amplitudo eadem est cum amplitudine navis1 ut antea dicebamus4 ,porr vestigium geometricum non minus necessarium est ad pingendum dificium1 qum ad ipsum ex materi solid extruendum1 ut alibi monuimus4 ,the ,ninety-sixth ,figure4 ,other ,preparations to the ,ninety-eighth and ,ninety-ninth ,figures4 ,in this ,figure1 which consists of three parts1 the first represents the ,geometrical ,elevation of the ,right-side of the ,nave above the ,cornice1 and of the ,design painted in the ,vault4 ,the second contains the great ,arch of the ,vault1 and the ,geometrical ,elevation of the ,front of the said ,design4 ,the third part shews the ,plan of the whole ,work painted on the ,vault1 the ,extent and ,disposition of which is the same with that of the ,nave1 as beforemention'd4 ,the ,geometrical ,plan1 as ,i have formerly hinted1 is no less necessary for the painting a ,design in ,perspective1 than it is for raising a ,structure with solid ,materials4 ,illustration3 ,,fig4 ,,xcvii4 ,figura ,nonages4 septima4 ,alia prparatio ad figuras nonagesimamoctavam nonagesimamnonam4 ,ut optica projectio vestigii elevationis quart partis totius ,operis distinctior evaderet1 mensuras partium singularum quadruplicavi1 eandemque methodum in hac delineatione tenui1 qu figuris octogesimasext1 octogesimaseptim1 octogesimaoctav1 octogesimanon1 explicata fuit4 ,punctum oculi positum est in medio navis ,ecclesi2 punctum distanti est in line ex qu incipit arcus testudinis4 ,ninety-seventh ,figure4 ,another ,preparation to the ,ninety-eighth and ,ninety-ninth ,figures4 ,that the ,perspective of the fourth part of the ,plan and ,elevation of this ,work might be more distinct1 ,i have in this ,figure made the ,measures of each part four times as big as in the former2 and have kept the same ,method in this ,delineation1 as was deliver'd in the ,eighty-sixth1 ,eighty-seventh1 ,eighty-eighth1 and ,eighty-ninth ,figures foregoing4 ,i have set the ,point of ,sight in the midst of the ,nave of the ,church2 and the ,point of ,distance is in the ,line from which the ,arch of the ,vault springs4 ,illustration3 ,,fig4 ,,xcviii4 ,figura ,nonages4 octava4 ,quadrans ,architectur horizontalis in fornice1 cum luminibus umbris4 ,habes in hac pagin quadrantem totius ,operis1 modo consueto erutum ex prcedenti3 nimirm1 cuspide circini ex angulis vestigii accipiuntur line perpendiculares2 ex angulis ver elevationis desumuntur line parallel1 ac line visuales ad punctum oculi4 ,ninety-eighth ,figure4 ,a fourth ,part of the ,architectonical ,design1 painted on the ,vault of ,s4 ,ignatius's ,church2 with its ,lights and ,shadows4 ,in this ,figure you have a ,quarter of the whole ,work1 drawn from the foregoing ,figure1 after the usual ,manner2 namely1 by taking with the ,compasses the perpendicular ,lines from the ,angles of the ,plan2 and the parallel ,lines from those of the ,elevation1 as also the visual ,lines to the ,point of ,sight4 ,illustration3 ,,fig4 ,,xcix4 ,figura ,nonagesimanona4 ,alter quadrans totius ,operis4 ,ob diversitatem duorum quadrantum1 tum in longitudine1 tum in luminibus umbris1 seorsim apponendum utrumque censui2 ut in eis delineandis omnem difficultatem tibi adimerem4 ,the ,ninety-ninth ,figure4 ,another ,quarter of the whole ,design4 ,by reason of the ,difference of the two ,quarters1 as well in ,length1 as in their ,lights and ,shadows1 ,i resolv'd to describe them separately1 that you might find no ,difficulty in designing the whole ,work4 ,illustration3 ,,fig4 ,c4 ,,figura ,centesima4 ,modus reticulationis faciend in testudinibus4 ,opera qu fiunt in planis1 contenta sunt duplici reticulatione1 ut notum est4 ,nam una earum fit in exemplari1 altera fit in superficie in qu ipsum ,opus pingendum est4 ,at ver testudines exigunt tres reticulationes4 ,prima fit in exemplari1 quod supponimus delineatum esse juxta regulas ,perspectiv horizontalis4 ,secunda reticulatio constat ex funiculis1 est pensilis2 cujus formam geometricam habes in ,m4 ,locum ubi figendi sunt clavi qui sustineant funiculos1 exhibent rect ,,ab1 ,,ef3 optica ver deformatio retis est in ,n4 ,punctum oculi est ,o1 distanti est ,,lo4 ,itaque si imagineris1 tempore nocturno1 lumen candel aut lucern existere in ,o1 atque reti ex funiculis projici lineas umbrosas in testudinem1 edemque line pennicillo colorentur1 habebitur tertia reticulatio ad pingendam testudinem necessaria4 ,dixi si imagineris1 quia in testudinem obductam tabulato1 ac remotam reti1 mult magis lumine1 vel projici nequeunt umbr1 vel nequeunt esse vivid ac distinct1 ut oportet4 ,itaque ubi nimia fuerit distantia1 figes in ,o extremitatem fili2 eque usque ad testudinem extenso1 utris veluti radio ac lumine candel1 ad notandum umbr locum4 ,proderit etiam1 ut super tabulato motum fili obsecundes lumine alicujus candel1 quod ipsi filo proxim admoveas4 ,atque his aliisque adminiculis1 tuque industri1 colores induces super lineis umbrosis1 ac tertiam reticulationem absolves4 ,posset etiam rete ex filis figi in parv distanti coronice1 puta in ,,gh1 unde incipit basis dificii3 tunc autem umbr in fornice sunt magis distinct ac visibiles4 ,diligentissim curabis1 ne mensur exemplaris discrepent ullatenus mensuris testudinis3 ut rete incidens in angulos1 arcus1 aut lunulas testudinis1 exact respondeat reti exemplaris4 ,demum si in vitia qu emendari nequeant1 incidere nolis2 scito1 regulas omnes ,perspectiv horizontalis1 qu in hominibus aut animalibus1 ac in columnis aut coronicibus pingendis1 omnino servari oportere4 ,the ,hundredth ,figure4 ,the ,method of drawing the ,net or ,lattice-,work on ,vaults4 ,for ,works on a flat ,superficies1 two ,net-works are sufficient2 as has been already intimated3 ,one drawn on the ,copy2 the other on the ,table to be painted4 ,but for arch'd ,surfaces1 or ,vaults1 three are requir'd3 ,one made on the ,copy1 which ,i suppose drawn according to ,rules of horizontal ,perspective4 ,the second consists of a ,frame of small ,cords or ,threads1 to be hung up2 the ,geometrical ,form of which is ,m4 ,the ,lines ,,ab1 ,,ef1 shew the ,place where this ,frame is to be fix'd1 in the same manner as the ,perspective ,n4 ,the ,point of ,sight is ,o2 of ,distance1 ,,lo4 ,therefore1 if you imagine a ,lamp or ,candle fix'd in the ,night-time at the ,point ,o2 the ,shadows of the ,thread1 thrown thereby on the ,vault1 being trac'd by a ,pencil1 make the third ,net-work requir'd for painting the same4 ,i say1 if you imagine a ,lamp thus fix'd2 because either the ,scaffold to the ,vault1 or the great ,distance of the ,vault from the ,net-work1 or the greater of both from the ,light1 may prevent the ,shadows from being thrown at all1 or at least1 may render them so faint1 as not to be distinct enough for the purpose4 ,therefore1 where this happens1 instead of the ,light fix one ,end of a ,thread in the ,point ,o2 and extending the other to the ,vault1 make use of it as a ,ray from the ,lamp or ,candle1 for describing the ,place of the ,shadows4 ,it will be also of great use1 to second the ,motion of the ,thread with the ,light of a ,candle you may have by you on the ,scaffold1 holding the same near the ,thread itself4 ,by this1 and other such ,helps1 which your own ,industry will suggest1 you may lay these ,shadows in ,colours1 and complete the third ,net-work requir'd4 ,the ,frame of ,threads may also be fix'd nearer the ,vault at some ,distance above the ,cornice1 as at ,,gh1 where the painted ,architecture begins2 for the ,shadows thrown on the ,arch will by that means become more visible and distinct4 ,you must be very careful1 that the ,measures of your ,copy are exactly the same with those of the ,vault1 that the ,net-work thrown into the ,angles1 ,arches and ,lunettes of the ,vault1 may perfectly correspond with that of your ,copy4 ,lastly1 if you would not run into inextricable ,errors2 assure yourself1 that all these ,rules of horizontal ,perspective are as strictly to be observ'd in the ,figures of ,men or ,animals1 as in painting ,columns1 ,cornices1 or the like4 ,ut ,perspectiv ,tyronibus consulerem1 qui fortasse non adeo facil percipient duodecim primas figurarum explicationes1 totidem novas explicationes hic addo4 ,for the greater ,help to ,beginners1 and those who are less conversant in the ,art of ,perspective1 ,i here subjoin a farther ,explanation of the first twelve ,figures of this ,book4 ,,figura ,,prima4 ,explicatio linearum plani1 horizontis1 punctorum oculi1 distanti2 de hoc ultimo pressis4 ,tres line diversi inter se nominis1 muneris1 item1 duo puncta prcipu necessaria sunt1 ut delineatio qulibet optic reddi queat3 prima vocatur linea plani1 secunda horizontalis ubi est punctum oculi2 de tertia loquar in elevationibus3 alterum de duobus punctis assignatur oculo1 vulg dicitur punctum oculi2 alterum ver assignatur distanti1 qua nomen habet4 ,punctum oculi notissimum est1 punctum ver distanti non it2 in hujus igitur explicatione morabor1 ut claris ostendam quid sit1 quomodo formandum sit1 selegi descriptionem ,ecclesi geometric habitam1 quam in tres partes divisi1 in vestigium1 sectionem1 interiorem faciem1 in qua facie velit quis pingere1 seu delineare aliquid optic1 ut elongetur ad mensuram apertur quadrati ,p1 ut habes in vestigio1 ad mensuram profunditatis ,q1 quam habes in sectione4 ,super faciem ,,cccc quam puta esse delineamentum1 habes rationem1 qua debes disponere supradicta puncta1 lineas4 ,,hi erit linea plani3 ,,non erit linea horizontalis1 qu fieri solet distans linea plani altitudine hominis1 ut vides in ,b4 ,punctum oculi erit in ,o2 punctum distanti erit in ,n1 ex qua parte malueris4 ,hoc punctum ,n debet tantum abesse puncto ,o1 quantum tuo arbitratu tu vis procul esse ut videas profunditatem illius quadrati ,,pq1 sicut vides in exemplo vestigii1 sectionis2 ubi rem velut in suo statu naturali exhibeo2 in iis enim tam abest ,n ab ,o1 quam abest homo ab ,a ad ,,de1 homo ,b in sectione1 ab ,,fg1 ubi est murus in quo pingendum1 vel delineandum est4 ,si ulteris curios descriptionem hanc consideres1 videbis quam bene respondeat quadratum ,p in plano1 elevatio ,q1 ut naturalis status rei in sectione ,perspectiv posit in facie ,,cccc1 qu est delineatio4 ,videbis enim visuales1 qu secant in plano spatium ,,rs1 ita pariter secare spatium ,,tv in elevatione3 segmentum visualium ,,xz in sectione respondere ,,yk in elevatione1 quod demonstratione non caret4 ,,first ,,figure4 ,an ,explanation of the ,lines of the ,plan and ,horizon1 and of the ,points of ,sight and ,distance2 but more especially of this last4 ,for beginning any ,design in ,perspective1 there are principally requir'd three ,lines1 and two ,points3 ,one ,line where the ,feet stand1 which is call'd the ,line of the ,plan1 or ,ground-line3 ,the second where the ,eye is plac'd1 call'd the horizontal ,line3 ,i shall speak of the third in the ,elevations4 ,of the ,points1 one is assign'd to the ,eye1 the other to the ,distance4 ,the first of these is generally known1 the latter not so well understood1 though of great ,use for giving the ,removal or ,depth of every ,object4 ,i shall therefore insist a while on the ,explanation of the ,point of ,distance2 and that ,i may more clearly shew what it is1 ,i have chosen the ,geometrical ,description of a ,church1 which is divided into three ,parts2 viz4 the ,plan1 ,profile1 and inner ,face2 in the midst of which ,face one would paint a ,piece of ,perspective1 that should seem to recede as much as the ,square ,p in the ,plan1 and the ,depth ,q in the ,profile4 ,on the ,face ,,cccc1 which suppose that of the ,design1 you see the ,manner of disposing the two ,lines and the two ,points4 ,,hi is the ,ground-line4 ,,non is the horizontal ,line1 which is usually made a ,man's ,height above the ,ground line1 as in ,b4 ,the ,point of ,sight is ,o1 the ,point of ,distance ,n1 on which side you will4 ,this ,point ,n must be as far from ,o1 as the ,distance you determine to place yourself at for viewing the ,depth of the ,square ,,pq2 as is exemplify'd in the ,plan and ,profile1 where you see the thing as in its natural ,position3 ,and in them ,n is distant from ,o1 as far as the ,man in ,a is remov'd from ,,de2 or the ,man ,b in the ,profile from ,,fg1 which is the ,wall to be drawn or painted on4 ,if you farther and more strictly examine this ,description1 you'll discern how well the ,square of the ,plan ,p1 and the ,elevation ,q1 correspond as if naturally put into ,perspective on the ,face ,,cccc1 which is the ,draught4 ,for you see the ,visuals which cut the ,space ,,rn in the ,plan1 cut the same ,space ,,tv in the ,upright2 and the ,segment of the ,visuals ,,xz in the ,profile1 answer that of ,,yk in the ,elevation2 which needs no ,demonstration4 ,,figura ,,secunda4 ,quadratum optic delineatum4 ,postquam descripseris in papyro separata quadratum geometricum ,a1 facies duas lineas parallelas inter se distantes altitudine1 quam dederis puncto oculi2 linea inferior erit linea plani1 linea superior erit linea horizontalis1 super quam ponuntur puncta oculi ,o1 distanti ,e1 quod sit ex parte quam mavis3 linea distanti non debet esse brevior magnitudine rerum describendarum4 ,transfer poste circino latitudinem quadrati ,a in ,,cb1 un cum visualibus ad punctum ,o2 similiter transfer longitudinem ipsius quadrati in ,,dc1 ducens lineam puncto ,d ad punctum distanti ,e1 transeuntem per visualem ,,co1 ubi illa secat1 habebis terminum quadrati optici ,,gfcb1 ducens parallelam ad lineam plani in ,f4 ,ut autem hoc idem citis absolverem1 spius chartam complicavi1 ut habes in ,a4 ,,second ,,figure4 ,a ,square in ,perspective4 ,after you have drawn1 on a separate ,paper1 the ,geometrical ,square ,a1 make two parallel ,lines as much distant one from the other1 as you would have the ,height of the ,eye4 ,the under ,line is the ,plan or ,ground-line2 the upper ,line is that of the ,horizon1 on which are plac'd the ,points of ,sight ,o1 and of ,distance ,e1 on which side you please4 ,the ,line of ,distance should not be shorter than the ,extent of the thing to be describ'd in ,perspective4 ,then with your ,compasses set the ,breadth of the ,square ,a on ,,cb1 and draw ,visuals to the ,point ,o2 and from the ,length of the ,square transferr'd into ,,dc1 draw a ,line from the ,point ,d to the ,distance ,e2 and where that cuts the ,visual ,,co1 by drawing a ,line parallel to ,,gf1 you describe the ,square in ,perspective ,,gfcb4 ,for the more quick ,dispatch of this1 ,i commonly fold the ,paper1 as you see in ,a4 ,,figura ,,tertia4 ,rectangulus altera parte oblongior optic4 ,quidquid in proximo quadrato vidisti1 facies in prsenti4 ,transferres latitudinem ,,bc in ,,bc1 longitudinem in ,,cd1 ducens latitudinem ,,bc ad punctum oculi ,o1 longitudinem ,,cd ad punctum distanti ,e4 ,ubi vero hc linea secat visualem ,,co1 erit terminus rectanguli supradicti ,,fg1 ,,bc1 ducens parallelam1 ut supra4 ,,third ,,figure4 ,an ,oblong ,square in ,perspective4 ,what was done in the preceding1 repeat in this ,third ,figure4 ,transfer the ,breadth ,,bc into ,,bc1 and the ,length into ,,cd1 drawing the ,breadth ,,bc to the ,point of ,sight ,o1 and the ,length ,,cd to the ,point of ,distance ,e4 ,where this cuts the ,visual ,,co1 you terminate the ,square ,,fg1 ,,bc1 by drawing the ,parallel1 as before4 ,,figura ,,quarta4 ,quadratum duplex optic4 ,eodem modo construes quadratum duplex ,a1 transferens circino1 aut duplicando chartulam1 latitudinem cujuscumque line1 ut vides in punctis #a1 #b1 #c1 #d1 #e1 #f1 super lineam plani in iisdem numeris1 ab istis transferes visuales ad punctum ,o4 ,postea transfer longitudinem #g1 #h1 #i1 #aj1 super lineam plani in iisdem pariter numeris1 ab istis duc lineas ad punctum distanti ,e4 ,ubi h line secant lineam #f1 #g1 ,o1 fiunt line parallel ad lineam plani1 quadratum conficitur2 parem constructionem facies de quadrato secundo1 tertio1 facil ex dictis4 ,,fourth ,,figure4 ,a double ,square in ,perspective4 ,the double ,square ,a is made after the same manner as the former1 by transporting1 either with the ,compasses1 or folded ,paper1 the ,breadth of every ,line1 as you see the ,points #a1 #b1 #c1 #d1 #e1 #f1 on the ,ground-line mark'd with the same ,numbers2 and from these draw ,visuals to the ,point of ,sight4 ,then transfer the ,points of ,length #g1 #h1 #i1 #aj1 into the ,ground-line1 as you see also in the same ,numbers2 and direct their ,lines to the ,point of ,distance ,e4 ,where these intersect the ,visual #f1 #g1 ,o1 make ,parallels to the ,ground-line1 and the ,square is complete4 ,the same is done in describing the middle ,square1 and that on the other ,side4 ,,figura ,,quinta4 ,quadratorum vestigia cum elevationibus4 ,figuram hanc in duas partes divisi2 in superiori parte vides tria quadrata optica aliquantulum adumbrata1 eaque tam inter se distantia1 quanta est distributio super lineam plani4 ,,bc erit quadratum primum4 ,secundum erit in ,,ef4 ,si ergo posueris longitudinem quadrati in ,,bc1 eamque duxeris ad distantiam1 secabit in ,,dd visualem ,,ao4 ,si pariter posueris alterum spatium longitudinis ejusdem quadrati in ,,ef1 duxeris ad lineam distanti1 habebis secundum quadratum optic4 ,idem facies de tertio1 de aliis1 qu distribuenda sunt4 ,in secunda parte4 ,si desideres supra totidem vestigia formare elevationes cuborum1 stylobatarum1 ut in inferiori figur parte vides1 satis erit ex omni vestigiorum angulo elevare lineas occultas1 apparentes1 determinando altitudinem faciei ,l primo cubo1 anguli ejusdem faciei dabunt altitudinem omnium aliorum4 ,imm etiam totidem cubos formare potes sine lineis occultis1 ducendo solm apparentes1 ut vides in tribus expositis adumbratis1 nitidis1 quorum perpendiculares sumuntur ab angulis vestigiorum1 ut in superiori figura habes in ,h1 line plani translat sunt ab angulis elevationis1 ut videtur in ,f4 ,,fifth ,,figure4 ,several ,plans of ,squares1 with their ,elevations4 ,i have divided this ,figure into two ,parts2 ,in the uppermost you have three ,squares in ,perspective a little shadow'd1 distant one from another1 according to their ,distribution on the ,ground-line4 ,,bc is the first ,square2 ,,ef the second4 ,if you then set the ,length of a ,square on ,,bc1 and draw ,lines to the ,point of ,distance1 they will intersect the ,visual ,,ao in ,,dd4 ,in like manner1 if you set another ,length of the said ,square on ,,ef1 and draw to the ,point of ,distance1 you'll have the second ,square in ,perspective4 ,the same you may do in the third1 and as many as you have occasion for4 ,in the second ,part you see1 that if upon the fore-mention'd ,plans the ,elevations of ,cubes or ,pedestals were requir'd1 it would suffice to elevate the occult and visible ,lines from every ,angle of the ,plan2 and determining the ,height of the ,face ,l of the first ,cube1 the ,angles of that ,face drawn to the ,point of ,sight1 give the ,height of all the others4 ,you may form the same ,cubes without occult ,lines1 drawing only those that are apparent1 as you see in the three ,cubes that are finish'd and shadow'd2 the ,perpendiculars of which are taken with the ,compasses from the ,angles of the ,plan1 as is shewn in ,,hi of the upper ,figure2 and the level ,lines are transferr'd from the ,angles of the ,elevation1 as in ,,fg of the same ,figure4 ,,figura ,,sexta4 ,modus delineandi optic sine lineis occultis4 ,desiderans facili methodo figuram hanc exponere1 dabo rationem elevandi corpora sine lineis occultis1 ut in superiori tetigi2 ostendam igitur hic1 quomodo quinque cubi adumbrati desumantur ab eorum vestigiis1 elevationibus4 ,duas debes facere prparationes1 si libeat1 in chartis etiam separatis4 ,prima erit formare geometric vestigium1 elevationem1 ut vides in ,b ,a4 ,secunda erit distribuere super lineam plani latitudinem vestigii ,b1 puta in ,,nm1 in duabus proximis3 ,illius longitudo ,,mx ducta ad distantiam ,d1 secat visualem ,,mo in ,r4 ,spatium autem obliquatum ,e utile etiam est aliis duobus quadratis positis super eamdem lineam plani2 anguli quorum translati ad distantiam ,b1 totidem angulos dabunt inter visuales ,,no1 ,,mo4 ,hoc posito1 duces perpendicularem ad angulum ,n1 qu in elevationibus geometricis semper necessaria est1 eaque tertia linea est1 quam supra dixi4 ,transfer postea altitudinem ,a in ,,nf1 cum visualibus ,,fo1 ,,no1 invenies altitudinem ,,st4 ,hoc pariter de cteris eveniet4 ,sciendum superest quonam modo supradicta prparatione uti possis ad construendos stylobatas adumbratos1 inornatos4 ,super aliam igitur chartam dispone situm cum duabus lineis1 plani scilicet1 horizontis1 una cum puncto oculi ,o1 perpendiculari ,v1 ejusdem mensur cum supradicta prparatione1 faciens uti me fecisse vides4 ,experire postea circino ,,nf qualia esse #a1 #e1 #b1 #f4 ,metire pariter ,,st1 invenies qualia #g #c2 facies postea lineas planas1 visuales ad punctum oculi1 habebis planum superius cubi in #a1 #b1 #c1 #d4 ,hoc idem faciendum est de aliis4 ,uno verbo3 anguli vestigiorum dabunt tibi lineas perpendiculares1 anguli elevationis dabunt lineas planas2 atque hoc semper erit4 ,,sixth ,,figure4 ,the ,manner of designing in ,perspective without occult ,lines4 ,being desirous to make this ,rule as easy as possible1 ,i shall give a farther ,account of raising ,solids without the ,help of occult ,lines1 which ,i only touch'd upon in the foregoing ,figure4 ,i therefore here shew you1 how the five shadow'd ,cubes of this ,figure are taken from their ,plans and ,elevations4 ,two things preparatory are to be done1 and1 if you please1 on separate ,papers4 ,the first is1 to describe the ,geometrical ,plan and ,elevation1 as you see in ,b and ,a4 ,the second is1 to dispose on the ,ground-line the ,breadth of the ,plan ,b2 as1 for ,example1 in ,,nm1 and the two next to it4 ,the ,length thereof ,,mx1 drawn to the ,point of ,distance ,d1 cuts the ,visual ,,mo in ,r2 and the ,foreshortning ,e serves also for the other two ,squares plac'd upon the same ,ground-line1 whole ,angles being directed to the ,distance ,d1 give as many ,angles on the ,visuals ,,no1 ,,mo4 ,this done1 erect a ,perpendicular on the ,angle ,n1 which in ,geometrical ,elevations is always necessary1 and is the third ,line mention'd in the first ,figure4 ,then carry the ,height ,a on ,,nf1 drawing the ,visuals ,,fo1 ,,no1 which determine the ,height ,,st1 and that of the other ,squares4 ,it remains to be known1 how to make use of the foresaid ,preparation for the ,construction of the shadow'd ,pedestals4 ,on another ,paper therefore dispose the ,horizontal and ,ground-lines1 together with the ,point of ,sight ,o1 and the ,perpendicular ,v1 keeping the same ,measures as in the aforesaid ,preparation1 and doing as ,i have done4 ,you may prove by the ,compasses1 that ,,nf is equal to #a1 #e1 and #b1 #f1 and measuring ,,st1 you'll find it equal to #g1 #c1 then drawing the level ,lines1 and the ,visuals to the ,point of ,sight1 you have the upper ,face of the ,cube ,c in #a1 #b1 #c1 #d4 ,the same must be done in the others4 ,in a word1 the ,angles of the ,plan give you the perpendicular ,lines1 and the ,angles of the ,elevation give the level ,lines1 or those parallel to the ,ground-line2 and this you are always to understand for the future4 ,,figura ,,septima4 ,aliud exemplum construendi vestigium geometricum1 cum elevatione longitudinis4 ,vides hic stylobatam ,p in quatuor partes divisum1 adumbratum4 ,si illum optic delineare velis1 construere debes supradictas prparationes1 geometricam nempe1 opticam4 ,nomine geometric intelligo vestigium ,a1 elevationem ,b2 nomine vero optic1 totum id quod includitur in ,,gcdeo4 ,transfer igitur latitudinem geometricam ,,cd vestigii ,a super lineam plani pariter ,,cd1 transfer longitudinem ,,de super lineam plani pariter ,,de1 operans more solito2 habebis vestigium optic4 ,transfer poste elevationem ,,hx in ,,cg perpendicularis2 ducens visualem ,,go1 eleva ad lineam ,,go omnem angulum1 quem planum facit in linea ,,co1 habebis altitudinem necessariam etiam sectionis4 ,transferes denique circino in aliam chartam angulos vestigii1 qui dabunt tibi lineas perpendiculares1 anguli sectionis dabunt lineas planas3 ,visuales vero duces ad punctum oculi4 ,,seventh ,,figure4 ,another ,example of a ,geometrical ,plan1 with the ,elevation of its ,length4 ,if you would delineate in ,perspective the ,pedestal ,p1 which you here see divided into four ,parts1 and shadow'd2 you must make the two foregoing ,preparations2 namely1 the ,geometrical and the ,perspective4 ,by the ,geometrical1 ,i mean the ,plan ,a1 and the ,elevation ,b2 ,by the ,perspective1 all that's contain'd within ,g1 ,c1 ,d1 ,e1 ,o4 ,then transfer the ,geometrical ,breadth ,,cd of the ,plan ,a1 into ,,cd of the ,ground-line2 and the ,length ,,de of the said ,plan into ,,de of the ,ground-line working after the usual manner2 and you will have the ,plan in ,perspective4 ,again1 set the ,elevation ,,hx on ,,cg of the ,perpendicular1 and drawing the ,visual ,,go1 elevate thereto every ,angle made by the ,plan on the ,line ,,co1 and you have all the ,heights necessary for the ,profile4 ,lastly1 by the ,compasses you transport on a clean ,paper the ,angles of the ,plan1 which give the perpendicular ,lines2 and those of the ,profile1 which give the level ,lines4 ,the ,visuals you draw to the ,point of ,sight4 ,,figura ,,octava4 ,stylobata optic4 ,hic etiam postquam feceris supradictas prparationes1 geometricam scilicet1 opticam2 facies prsentem stylobatam adumbratum1 transferens circino angulos vestigii1 ut construas perpendiculares2 angulos sectionis1 ut formes lineas planas1 ut supra4 ,nam sic duo anguli vestigii ,,mo dabunt lineas perpendiculares ,,ef2 angulus vestigii ,r dabit perpendicularem ,p1 sic reliqui anguli dabunt reliquas lineas perpendiculares4 ,similiter sectione angulus ,i dabit lineam planam ,,hn4 ,breviter1 primus terminus sectionis ,,id dabit altitudinem linearum planarum in facie stylobat adumbrati ,,efhn4 ,secundus terminus ,q dabit altitudinem faciei opposit1 occult ,p4 ,duo tamen moneo2 primum1 ut faciens vestigia geometrica1 ducas ab elevatione ,a totidem lineas ad latera vestigii ,b1 quot angulos invenies in prominentiis supradict elevationis ,a1 ut manifest vides in lineis quas ex punctis composui1 ill enim stylobata ,a cadunt super vestigium ,b2 quare prominentia major in elevatione ,l facit lineam majorem ,l in vestigio4 ,secundum quod moneo sit1 ut volens elongare vestigium optic delineatum ,,mor linea plani ,k1 quantum erit spatium ,c in eadem linea plani1 tantumdem elongabitur spatium ,g linea ejusdem plani4 ,,eighth ,,figure4 ,a ,pedestal in ,perspective4 ,here also1 after you have made the two foregoing ,preparations1 the ,geometrical and the ,perspective2 this shadow'd ,pedestal is made by taking with the ,compasses the ,angles of the ,plan1 for drawing the ,perpendiculars1 and the ,angles of the ,profile for the level ,lines1 as before4 ,thus the two ,angles of the ,plan ,,mo1 give the perpendicular ,lines ,,ef4 ,the ,angle of the ,plan ,r1 gives the ,perpendicular ,p2 and the other ,angles give their respective ,perpendiculars4 ,so likewise in the ,profile1 the ,angle ,i gives the level ,line ,,hn4 ,in short1 the first ,out-line of the ,profile ,,id gives the ,height of the level ,lines on the ,front of the shadow'd ,pedestal4 ,the other ,out-line ,q gives the ,height of the occult and back part thereof4 ,nevertheless1 two things are to be observ'd2 first1 that in making the ,geometrical ,plan1 you draw from the ,elevation ,a1 as many ,lines to the ,side of the ,plan ,b1 as you have ,angles in the ,projectures of the said ,elevation2 as is manifest in the pointed ,lines1 which fall1 from the ,upright ,a1 on the ,plan ,b1 where that of the greatest ,projecture ,l in the ,elevation makes the outer ,line ,l of the ,plan4 ,the second thing to be observ'd1 is1 ,that if you would have the ,perspective-,plan ,,mor as far within the ,ground-line ,k1 as the ,breadth of the ,space ,c on the same ,line1 the ,space ,g will then be the ,distance thereof from the said ,ground-line4 ,,figura ,,nona4 ,optica delineatio ,architectur ,jacobi ,barozzii3 primum1 de stylobata ,ordinis ,etrusci4 ,quandoquidem omnibus nota est ,architectura ,barozzii1 eam hic penitus immutatam cum suis regulis particularibus1 generalibus expono2 ,metieris autem illam modulis ut fieri solet2 qui igitur illam desiderat1 in sequentibus figuris inveniet totam1 simulque discet optic reddere4 ,cum autem non minus ,optic studioso quam ,architectur necesse sit1 efficere delineamenta rei construend1 ab hoc ver1 ab illo fict1 id est1 cum uterque facere debeat vestigium1 elevationem1 sectionem1 faciem1 ob id delineavi hic stylobatam ,ordinis ,etrusci cum suo vestigio1 quem vides in ,,ab1 ut facilis percipias quod in proxima figura dixi1 totidem scilicet angulis prominentiarum elevationis1 totidem ducendas esse lineas super lineam vestigii2 cum hoc necesse sit ad inveniendum illorum angulorum cum istis lineis concursum in suis degradationibus4 ,nota1 longitudinem1 quam voco ,f ductam in ,g esse illam1 qua non solm nascitur vestigii obliquitas1 verm etiam ab illa nascitur obliquitas illius quam voco sectionem ,e4 ,ob id in altero hujus ejusdem figur stylobata totum id contrario videbis4 ,non amplis repetam quonam modo eruatur nitida delineatio1 de qua superis pluries2 dicam tamen angulos primi termini sectionis ,e daturos lineas planas faciei ,d1 angulos vestigii daturos omnes perpendiculares4 ,,ninth ,,figure4 ,the ,architecture of ,vignola put in ,perspective2 and first1 the ,pedestal of the ,tuscan ,order4 ,since every one is acquainted with ,vignola's ,architecture1 ,i determine not to alter it1 but to explain it1 with its general and particular ,rules2 measuring the same with ,modules1 after the usual manner4 ,he therefore that has it not1 may find it in the following ,figures1 and at the same time learn the ,method of putting it in ,perspective4 ,and whereas the ,drawing the ,plan1 ,elevation and ,profile of what's to be built1 is no less necessary for him that studies ,perspective1 than for the ,architect1 the first performing in ,appearance1 what the latter does in ,reality2 ,i have therefore here delineated the ,tuscan ,pedestal1 with its ,plan1 as you see in ,,ab1 that you may the better apprehend what ,i said in the foregoing ,figure1 ,that from all the ,angles of ,projecture in the ,elevation1 ,lines must be let fall on the ,plan2 this being of absolute necessity for finding the ,correspondence of the ,angles with the ,lines in the ,perspective ,projection4 ,observe1 that what ,i always call ,length1 as from ,f to ,g1 is that from which proceeds not only the ,foreshortning of the ,plan2 but also that which ,i call the ,profile ,e4 ,wherefore1 in the opposite ,pedestal of the same ,figure1 you'll see a contrary ,disposition of the ,whole4 ,i shall not here repeat1 how the finish'd ,pedestal is taken from these2 having so largely spoken of that before2 but briefly tell you1 that the ,angles of the first ,out-line of the ,profile ,e give the level ,lines of the ,face ,d1 and the ,angles of the ,plan give all the ,perpendiculars4 ,,figura ,,decima4 ,stylobata ,doricus1 ratio vitandi difficultatem quamdam1 qu occurrit inter illum optic delineandum4 ,hic oritur difficultas hc4 ,vestigium ,a optic translatum in ,c ade contrahitur1 ut distinct videri nequeat ubi collocetur circini pes1 ut transferri possint perpendiculares stylobat adumbrati2 totaque hc difficultas oritur propinquitate quam habet linea horizontalis1 seu punctum oculi cum linea plani4 ,ut igitur illam vincas3 ,duces lineam plani inferis quantum libuerit1 super illam feres denu latitudinem1 longitudinem more solito1 retinendo puncta oculi1 distanti ,,of1 sic videbis vestigia magis minusve distincta2 ,vestigium enim ,e distinctius est vestigio ,d1 ,d distinctius est vestigio ,c4 ,,tenth ,,figure4 ,a ,dorick ,pedestal1 with the ,manner of shunning a ,difficulty1 which occurs in putting the same in ,perspective4 ,in this ,figure a ,difficulty arises1 which is this2 ,that the ,plan ,a put in ,perspective in ,c1 is so foreshorten'd1 that one can't see distinctly1 where to place the ,compasses1 for transferring the ,perpendiculars on the shadow'd ,pedestal2 which is caus'd by the too near ,approach of the horizontal ,line to the ,ground-line4 ,for avoiding this ,difficulty1 draw another ,ground-line as much below the first as you please1 and carry the ,breadth and ,length thereon1 after the usual manner1 still keeping the same ,points of ,sight and ,distance ,o and ,f3 ,and according to the ,removal of the ,ground-line1 the ,plans will be more or less distinct2 as you see the ,plan ,e is more distinct than ,d1 and ,d is more so than ,c4 ,,figura ,,undecima4 ,stylobata ,ionicus1 ratio vitandi aliam difficultatem in elevationibus4 ,in elevationibus etiam sectionis optic potest accidere1 ut si visualis ,,lk nimis recta sit1 sectio ,b restringatur4 ,elongando lineam plani ab ,l ad ,m1 visualis ,,mn erit inclinatior1 consequenter sectio ,c erit latior1 distinctior4 ,nota1 difficultatem hanc spe spis te habiturum in figuris prcipu1 qu multas lineas habent1 ut in figura quadragesimasecunda1 ubi pariter rationem vitandi confusionem reddam4 ,neque tibi molesti sim1 quod in hac figura lineam horizontalem infra lineam plani collocaverim1 id enim feci1 ut illarum diversos effectus videas1 utque tu in tuis studiis mutes1 discas4 ,,eleventh ,,figure4 ,the ,ionick ,pedestal1 and the ,way to shun another ,difficulty in the ,elevations4 ,in ,elevations of the ,profile in ,perspective1 it may sometimes happen1 that the ,visual ,,lk may be so direct1 as to render the ,profile ,b too close and narrow2 wherefore prolonging the ,ground-line from ,l to ,m1 make the ,visual ,,mn1 which being much more oblique1 does consequently render the ,profile ,c more broad and distinct4 ,and observe1 that this ,difficulty will very often occur2 especially in ,figures that have many ,lines1 as the ,forty-second ,figure has1 where ,i speak also of the manner of avoiding the same4 ,nor let it trouble you1 that in this ,figure ,i have plac'd the horizontal ,line below the ,ground-line2 which ,i have done1 that you might see their different ,effects1 and by changing the ,disposition of your ,designs1 improve and learn4 ,,figura ,,duodecima4 ,stylobata ,corinthius cum suis pilis4 ,fecisse septimam figuram magno tibi documento erit ad construendum1 dividendum stylobatam ,a1 vestigium ,b2 cum nihil addere debeas prter pilas ,c cum coronice1 qu duo latera ambit4 ,optic hoc vestigium delineabis in ,d1 qu delineatio distinctior est1 quia inferis duxi lineam plani2 distinctior etiam est sectio ,e1 cum elongaverim visualem ,,fg4 ,sic semper agam1 ut detur locus figur adumbrat1 ut etiam videas perpendiculares stylobat adumbrati cadere super angulos vestigii1 lineas planas incidere diametro super angulos sectionis ,e4 ,iterm libenter moneo1 ut facias supradictas prparationes in chartulis separatis1 ut initio assuescas transferendis figuris nitidis circino2 facile enim tibi postea erit integras machinas ,perspectiv jucundioris delineare1 ut videbis3 in hoc enim tota regul hujusce1 totius operis facilitas sita est4 ,,twelfth ,,figure4 ,a ,corinthian ,pedestal1 with its ,pilasters4 ,the ,performance of the ,seventh ,figure will be a great ,assistance to you1 in the ,construction and ,division of this ,pedestal ,a1 and the ,plan ,b2 since you have nothing more to add here1 but the ,pilasters ,c1 and the ,mouldings which surround the two ,sides4 ,this ,plan is put in ,perspective in ,d1 and becomes more distinct by my sinking the ,ground-line lower2 and the ,profile ,e is also more distinct by the ,removal of the ,visual ,,fg1 as mention'd in the foregoing ,chapter4 ,this ,i shall always do1 that there may remain ,room for the shadow'd ,figure1 and that you may also see that the ,perpendiculars of the shaded ,pedestal fall directly upon the ,angles of the ,plan1 and that the level ,lines directly answer the ,angles of the ,profile ,e4 ,i repeat my ,advice1 that you would make the foresaid ,preparations on several ,papers1 and accustom yourself at the beginning to take off the finish'd ,figures with the ,compasses2 for it will become very easy to you afterward1 to design entire ,machines of delightful ,perspectives1 as you'll see hereafter4 ,and indeed in this ,practice1 the ,facility of this ,rule1 and of all that follows in this ,work1 does chiefly consist4 ,respondetur objectioni fact circa punctum oculi opticum4 ,non omnium sensus est1 uni optico operi unicum tantm punctum assignare1 e4 g4 toti spatio fornicis1 tholi1 tribun1 quam vocant1 express in figura nonagesimatertia1 nolunt concedi unicum punctum1 volunt concedi plura4 ,respondeo1 objectionem hanc dupliciter intelligi posse3 vel enim intelligi posset1 non esse assignandum unicum punctum toti illi spatio2 atque in hoc sensu vera est2 cum enim spatium illud valde oblongum sit1 dividi debuit in partes1 atque assignanda tribun1 quam dicunt1 tholo1 fornici1 propria puncta2 cum hoc communiter doceant1 ubi situs nimium est longus1 parm altus4 ,vel potest intelligi de qualibet ex dictis partibus1 sic intellecta penits falsa est4 ,prim1 quia prstantiores fornices aularum1 templorum1 qui optico artificio ornati sint1 si unicum opus reddunt1 suismet authoribus determinatum idemque unicum punctum accepisse compertum est4 ,secund1 quia cum ars optica sit mera veri fictio1 non id pictor facere potest1 ut qualibet parte simulet veritatem1 verm ab uno determinato puncto id ostendit4 ,terti1 quia si1 e4 g4 fornici1 qui uno integroque optico opere ornetur1 plura puncta assignaveris1 nullum reperies locum1 unde integrum opus spectare possis1 ad summum ex quolibet puncto tantm partem illius spectabis1 nusquam ver totum opus4 ,ex dictis igitur rationibus concludo ab inducentibus plura puncta in eodem opere induci malum majus eo1 quod unicum punctum inducit2 quare hoc omnino necessarium est situi in quo unicum opus formandum sit1 ad quod collimare debeant ex omni operis parte figur simul architectura4 ,quo posito1 negari rationabiliter nequit1 me etiam concedi unicum punctum spectando fornici amplo1 aptoque ad reprsentandum unicum opus1 qualis est fornix in ,d4 ,ignatii templo4 ,si ver propter situm irregularem1 ut dicimus1 architectura extra punctum aliquantulum deformetur1 figur pariter operi optico intermixt extra commune punctum aliquam patientur deformitatem1 prterquam quod supradictis rationibus excusatur1 nequaquam id vitio arti est1 sed laudi2 quandoquidem ars suo puncto exhibet1 proportione posit1 ut rectum1 ut planum1 ut concavum1 id quod tale non est4 ,an ,answer to the ,objection made about the ,point of ,sight in ,perspective4 ,every one does not approve1 that in a ,perspective of great ,extent one ,point of ,sight only should be assign'd the whole ,work2 as for ,example1 ,in the whole ,length of the ,nave1 ,cupola1 and ,tribune1 express'd in the ,ninety-third ,figure1 they will by no means allow of one single ,point1 but insist upon several4 ,i answer1 ,this ,objection may be understood two ways2 either that one ,point alone is not sufficient for that whole ,length1 and in this sense 'tis true2 for that ,space being very long1 it ought to be divided into ,parts1 and proper ,points assign'd to the ,tribune1 ,cupola1 and ,vault of the ,nave2 as is commonly taught1 where the ,situation is of a great ,length1 and not very high4 ,or it may be understood of any ,one of the said ,parts1 and so is altogether false4 ,first1 ,because in the ,vaults of ,halls or ,churches painted by the greatest ,masters1 if they consist of one ,piece only1 we find but one ,point of ,sight assign'd4 ,secondly1 ,since ,perspective is but a ,counterfeiting of the ,truth1 the ,painter is not oblig'd to make it appear real when seen from ,any part1 but from ,one determinate ,point only4 ,thirdly1 ,because1 if in a ,vault1 for ,example1 where you would paint one entire ,design of ,architecture and ,figures1 you assign several ,points of ,sight1 you will find no place whence you may take a perfect ,view of the ,whole1 and at best you can only view each ,part from its proper ,point4 ,from all which ,reasons ,i conclude1 that the ,introduction of many ,points into the same ,piece1 is more injurious to the ,work1 than making use of one only3 ,wherefore 'tis absolutely necessary in a regular ,situation1 and where the ,work is all of a piece1 so to place the same1 as that the ,figures and ,architecture may from every part of the ,design have respect thereto4 ,this suppos'd1 ,i confess that ,i myself make use of one ,point of ,sight only1 in very large ,vaults that consist of one ,design1 such as that of the ,nave of the ,church of ,s4 ,ignatius4 ,if therefore through the ,irregularity of the ,place1 the ,architecture appear with some ,deformity1 and the ,figures intermix'd therewith seem any thing lame and imperfect when view'd out of the proper ,point1 besides the ,reasons just now given1 it's so far from being a ,fault1 that ,i look upon it as an ,excellency in the ,work1 that when view'd from the ,point determin'd1 it appear1 with due ,proportion1 streight1 flat1 or concave2 when in reality it is not so4 ,,index4 ,,fig4 ,,instrumenta paranda1 ,,utensils for ,drawing4 ,explicatio linearum plani ,i4 ,explication of the ,lines of horizontis1 ac punctorum the ,plan and ,horizon1 and of oculi distanti1 the ,points of the ,eye and of the ,distance4 ,modus delineandi optic ,,ii4 ,the ,manner of delineating a quadratum1 ,square in ,perspective4 ,optica delineatio ,,iii4 ,the ,delineation of an oblong rectanguli1 alter parte ,square in ,perspective4 longioris1 ,optica descriptio quadrati ,,iv4 ,the ,optical ,delineation of a duplicis1 double ,square4 ,vestigia quadratorum cum ,v4 ,plans of ,squares with their elevationibus1 ,elevations4 ,modus optic delineationis ,,vi4 ,the ,manner of designing in absque lineis occultis1 ,perspective without occult ,lines4 ,aliud exemplum vestigii ,,vii4 ,another ,example of a geometrici1 cum elevatione ,geometrical ,plan and ,upright longitudinis1 put into ,perspective4 ,optica projectio stylobat1 ,,viii4 ,the ,projection of a ,pedestal in ,perspective4 ,optica delineatio ,,ix4 ,the ,architecture of ,vignola ,architectur ,jacobi in ,perspective1 and first of ,barozzii1 primum de his ,pedestal of the ,tuscan stylobata ,ordinis ,etrusci1 ,order4 ,optica deformatio stylobat ,x4 ,a ,dorick ,pedestal in ,dorici2 ubi de modo vitandi ,perspective1 with the ,manner confusionem in vestigiis of avoiding ,confusion in delineandis1 designing the ,plans4 ,stylobat ,ionici ,,xi4 ,the ,ionick ,pedestal in deformatio2 ubi de vitanda ,perspective1 with the ,manner confusione in elevationibus1 of avoiding ,confusion in ,elevations4 ,deformatio stylobat ,,xii4 ,the ,corinthian ,pedestal1 with ,corinthii1 cum duabus pilis1 its ,pilasters1 in ,perspective4 ,projectio stylobat ,ordinis ,,xiii4 ,the ,projection of a ,pedestal ,compositi1 of the ,composite ,order4 ,deformatio circulorum1 ,,xiv4 ,circles in ,perspective4 ,optica delineatio column1 ,,xv4 ,a ,column in ,perspective4 ,optica projectio basis ,,xvi4 ,the ,tuscan ,base in ,etrusc1 ,perspective4 ,deformatio basis ,doric1 ,,xvii4 ,the ,dorick ,base in ,perspective4 ,optica delineatio basis ,,xviii4 ,the ,ionick ,base in ,ionic1 ,perspective4 ,optica imminutio basis ,,xix4 ,the ,corinthian ,base ,corinthi1 in ,perspective4 ,basis ,atticurga optic ,,xx4 ,the ,attick ,base in imminuta1 ,perspective4 ,optica imminutio capitelli ,,xxi4 ,the ,tuscan ,capital in ,etrusci1 ,perspective4 ,optica projectio capitelli ,,xxii4 ,the ,projection of a ,dorici1 ,dorick ,capital in ,perspective4 ,deformatio capitelli ,,xxiii4 ,the ,ionick ,capital in ,ionici1 ,perspective4 ,optica projectio capitelli ,,xxiv4 ,the ,corinthian ,capital in ,corinthii1 ,perspective4 ,optica descriptio capitelli ,,xxv4 ,the ,composite ,capital in ,compositi1 ,perspective4 ,deformatio coronicis ,,xxvi4 ,the ,tuscan ,entablature ,etrusc1 in ,perspective4 ,optica delineatio coronicis ,,xxvii4 ,the ,dorick ,entablature ,doric1 in ,perspective4 ,prparatio figur ,,xxviii4 ,preparatory to the following sequentis1 ,figure4 ,optica projectio dificii ,,xxix4 ,a ,projection of the ,dorick ,dorici1 ,order in ,perspective4 ,optica projectio dificii ,,xxx4 ,an ,ionick ,work in ,ionici2 ubi de modo jungendi ,perspective1 with the ,manner fictum cum vero1 of reconciling the fictitious to the solid ,architecture4 ,optica projectio coronicis ,,xxxi4 ,the ,optick ,projection of a ,corinthi1 cum capitello ,corinthian ,cornice1 with the summitate column1 ,capital and part of the ,column4 ,delineatio geometrica ,,xxxii4 ,the ,geometrical ,design of a coronicis ,ordinis ,compositi1 ,cornice of the ,composite ,order4 ,deformatio coronicis ,,xxxiii4 ,a ,composite ,cornice in ,composit1 ,perspective4 ,prparatio ad figuram ,,xxxiv4 ,preparatory to the trigesimamquintam1 ,thirty-fifth4 ,deformatio coronicis ,,xxxv4 ,a ,side-,view of the ,composit ad latus inspect1 ,composite ,cornice in ,perspective4 ,prparatio ad figuram ,,xxxvi4 ,preparatory to the trigesimamseptimam1 ,thirty-seventh4 ,deformatio column ,etrusc1 ,,xxxvii4 ,a ,tuscan ,column in ,perspective4 ,prparatio ad figuram ,,xxxviii4 ,preparatory to the trigesimamnonam1 ,thirty-ninth4 ,deformatio dificii ,dorici1 ,,xxxix4 ,a ,piece of ,dorick ,architecture in ,perspective4 ,vestigium geometricum ,,xl4 ,the ,geometrical ,plan of a dificii ,ordinis ,dorici1 ,design of the ,dorick ,order4 ,elevatio geometrica ,,xli4 ,the ,geometrical ,elevation of dificii ,dorici1 the foregoing ,design4 ,modus vitandi confusionem ,,xlii4 ,the ,manner of avoiding in contractione vestigiorum ,confusion in reducing ,plans elevationum1 and ,elevations into ,perspective4 ,contractio vestigii figur ,,xliii4 ,the ,plan of the ,fortieth quadragesim1 ,figure in ,perspective4 ,contractio elevationis ,,xliv4 ,the ,elevation of the figur quadragesimprim1 ,forty-first ,figure in ,perspective4 ,dimidium dificii ,dorici ,,xlv4 ,one half of the ,dorick optic deformati1 ,design in ,perspective4 ,alterum dimidium ejusdem ,,xlvi4 ,the other half of the dificii1 same ,design4 ,vestigia dificii ,ionici1 ,,xlvii4 ,the ,plan of an ,ionick ,building4 ,elevatio geometrica ,,xlviii4 ,geometrical ,upright of the dificii ,ionici1 foregoing ,ionick ,design4 ,deformatio elevationis ,,xlix4 ,the ,elevation of the ,ionick dificii ,ionici1 ,design in ,perspective4 ,architectura ,ionica1 ,l4 ,a ,design of ,ionick ,architecture4 ,ordo ,corinthius1 ,,li4 ,a ,corinthian ,design in ,perspective4 ,delineatio column spiralis ,,lii4 ,the ,description of a ,ordinis ,compositi1 wreath'd ,column of the ,composite ,order4 ,ordines ,architectur ,,liii4 ,a4 ,the ,orders of ,architecture desumpti ex ,palladio taken from ,palladio and ,scamozzio1 ,scamozzi4 ,modus triplex delineandi ,,liii4 ,b4 ,three different ways of columnas spirales1 delineating wreath'd ,columns4 ,vestigia dificii ,ordinis ,,liv4 ,the ,plan of a ,design of the ,corinthii1 ,corinthian ,order4 ,elevatio dificii ,ordinis ,,lv4 ,the ,geometrical ,elevation ,corinthii1 of a ,corinthian ,work4 ,deformatio vestigiorum ,,lvi4 ,the ,perspective-,plans and elevationis dificii ,upright of the ,corinthian ,corinthii1 ,design foregoing4 ,adumbratio figur ,,lvii4 ,the rough ,draught of the sequentis1 following ,figure4 dificium ,ordinis ,corinthii ,,lviii4 ,part of an ,octangular ,work octangulare1 of the ,corinthian ,order4 ,vestigia ,tabernaculi ,,lix4 ,the ,plans of an ,octangular octangularis1 ,tabernacle4 ,tabernaculum octangulare1 ,,lx4 ,an ,octangular ,tabernacle in ,perspective4 ,modus erigendi machinas qu ,,lxi4 ,the ,manner of erecting constant pluribus ordinibus ,machines that consist of telariorum1 several ,ranges of ,frames4 ,de reticulandis telariis1 ,,lxii4 ,of making the ,net-work on qu reprsentent dificia ,frames1 for representing solida1 the ,architecture as solid4 ,vestigia dificii quadrati1 ,,lxiii4 ,the ,plan of a square ,design4 dificium quadratum1 ,,lxiv4 ,a square ,design in ,perspective4 ,vestigium dificii rotundi ,,lxv4 ,the ,plan of a ,circular ,work optic imminutum1 in ,perspective4 ,projectio dificii rotundi1 ,,lxvi4 ,a ,circular ,design in ,perspective4 ,vestigium geometricum1 ac ,,lxvii4 ,the ,geometrical ,plan1 and prima prparatio ad figuram first ,preparation to the septuagesimamprimam1 ,seventy-first ,figure4 ,elevatio geometrica ,,lxviii4 ,the ,geometrical ,elevation of vestigii prcedentis1 the foregoing ,plan1 and secunda prparatio ad second ,preparation to the figuram septuagesimamprimam1 ,seventy-first ,figure4 ,deformatio vestigii figur ,,lxix4 ,the ,plan of the ,sixty-seventh sexagesimseptim1 ,figure in ,perspective1 and prparatio tertia ad figuram third ,preparation to the septuagesimamprimam1 ,seventy-first ,figure4 ,deformatio elevationis ,,lxx4 ,the ,perspective of the figur sexagesimoctav1 ,elevation of the ,sixty-eighth prparatio quarta ad figuram ,figure1 and fourth ,preparation septuagesimamprimam1 to the ,seventy-first4 ,theatrum reprsentans ,,lxxi4 ,a ,theater representing the nuptias ,can ,galil1 ,marriage of ,cana in constructum ,rom anno ,galilee1 erected in the #afhe1 in expositione ,ven4 ,jesuits ,church at ,rome1 ,sacramenti1 in templo #afhe1 for the ,solemnity of ,farnesiano ,societatis ,jesu1 exposing the ,holy ,sacrament4 ,de theatris scenicis1 ,,lxxii4 ,of ,scenes for the ,stage4 ,aliud vestigium theatri2 ,,lxxiii4 ,another ,plan of a ,theater1 ubi de modo inveniendi ejus with the ,method of finding punctum1 the ,point of ,sight therein4 ,sectio scenarum theatri1 ,,lxxiv4 ,the ,section or ,profile of ,scenes for ,theaters4 ,elevatio scenarum coram ,,lxxv4 ,the ,elevation of ,scenes in inspectarum2 ubi docetur ,front1 and how the oblique artificium1 ut scen obliqu ,scenes are made to appear appareant rect1 direct4 ,modus delineandi exemplar ,,lxxvi4 ,the ,manner of delineating scenarum1 the ,designs of ,scenes4 ,modus reticulandi ,,lxxvii4 ,the ,manner of making the pingendi scenas theatri1 ,net-work or ,squares1 and painting the ,scenes of ,theaters4 ,de projectionibus ,,lxxviii4 ,of horizontal ,projections4 horizontalibus1 ,projectiones vestigii ,,lxxix4 ,the ,plan and ,elevation of elevationis mutuli1 a ,corbel in ,perspective4 ,horizontalis projectio ,,lxxx4 ,the horizontal ,projection mutuli inumbrati1 of a shaded ,corbel4 ,stylobat ,corinthii ,,lxxxi4 ,corinthian ,pedestals in horizontaliter contracti1 an horizontal ,perspective4 ,columna ,corinthia ,,lxxxii4 ,a ,corinthian ,column in horizontaliter deformata1 horizontal ,perspective4 ,capitella ,corinthia ,,lxxxiii4 ,a ,corinthian ,capital in horizontaliter contracta1 horizontal ,perspective4 ,coronix ,corinthia1 ,,lxxxiv4 ,a ,corinthian ,cornice4 ,coronix ,corinthia ,,lxxxv4 ,a ,corinthian ,cornice in horizontaliter contracta1 horizontal ,perspective4 ,horizontalis projectio ,,lxxxvi4 ,a ,column in horizontal column1 ,perspective4 ,prparatio necessaria ad ,,lxxxvii4 ,the ,preparation necessary to sequentem figuram1 ad the following ,figure1 and to projectiones horizontales all other horizontal in laquearibus vel ,perspectives1 whether on flat testudinibus1 or vaulted ,ceilings4 ,horizontalis projectio ,,lxxxviii4 ,the horizontal ,projection balustiorum figur of the ,balustrade of the octogesimseptim1 cum ,eighty-seventh ,figure1 view'd brevi distantia1 at a small ,distance4 ,horizontalis projectio ,,lxxxix4 ,a horizontal ,piece of ,architectur in laqueari ,architecture in a square quadrato1 ,ceiling4 ,horizontalis projectio ,,xc4 ,a ,cupola in horizontal tholi1 ,perspective4 ,tholus figur nonagesim1 ,,xci4 ,the ,cupola of ,fig4 #ij1 with cum luminibus umbris1 its ,lights and ,shades4 ,tholus octangularis1 ,,xcii4 ,an ,octangular ,cupola4 ,vestigium templi ,,xciii4 ,the ,geometrical ,plan of ,s4 ,ludovisiani ,s4 ,ignatii ,ignatius's ,church at ,rome4 alm urbis1 ,orthographia templi ,,xciv4 ,the ,orthography of ,s4 ,ludovisiani1 ,ignatius's ,church4 ,ali prparationes ad ,,xcv4 ,other ,preparations to figuras #ih #ii1 the #ihth and #iith ,figures4 ,ali prparationes ad ,,xcvi4 ,other ,preparations to figuras #ih #ii1 the #ihth and #iith ,figures4 ,alia prparatio ad figuras ,,xcvii4 ,another ,preparation to the #ih #ii1 #ihth and #iith ,figures4 ,quadrans ,architectur ,,xcviii4 ,fourth-part of the horizontalis in fornice1 ,architectonical ,design on the cum luminibus umbris1 ,vault of ,s4 ,ignatius's ,church1 with its ,lights and ,shades4 ,alter quadrans totius ,,xcix4 ,another ,quarter of the operis1 whole ,design4 ,modus reticulationis ,c4 ,the ,method of drawing the faciend in testudinibus1 ,net-work on ,vaults4 ,,finis4 ,,subscribers4 ,a ,his ,grace the ,,duke of ,s,t4 ,,albans4 ,mr4 ,tho4 ,acres4 ,capt4 ,matthew ,adams4 ,hen4 ,aldrich1 ,,dd4 ,,dc4,c4 ,mr4 ,joseph ,alleine ,writing ,mr4 ,mr4 ,wm4 ,allingham1 ,teacher of ,mathemat4 ,chanel-,row-,westmr4 ,james ,anderson1 ,writer to ,her ,matys ,signet1 ,reg4 ,scot4 ,mr4 ,robert ,andrews1 ,letter-,founder4 ,tho4 ,atkinson1 ,gent4 ,j4 ,aislabie1 ,esqr4 ,b ,mr4 ,r4 ,baker1 ,teacher of ,mathemat4 ,mr4 ,henry ,bankes4 ,mr4 ,matthew ,bankes4 ,mr4 ,john ,barnes1 ,bookseller4 ,mr4 ,chr4 ,bateman1 ,bookseller4 ,allen ,bathurst1 ,esq4 ,mr4 ,benj4 ,beardwell1 ,printer4 ,his ,grace the ,,duke of ,,beaufort4 ,the ,honble4 the ,lady ,mary ,bertie4 ,mr4 ,philip ,bishop1 ,bookseller1 ,exon4 ,mr4 ,saml4 du ,bois4 ,jon4 ,bridgeman1 ,esq of ,blodwell ,salop4 ,james ,broughton1 of ,westmr4 ,gent4 ,mr4 ,jon4 ,buckler1 for the ,mathemat4 ,soc4 ,jones ,coffee-house ,finch-lane4 ,mr4 ,wm4 ,butcher1 ,carpenter1 ,richmond4 ,mr4 ,jon4 ,brown1 ,cl4 of the ,works at ,windsr4 ,ferd4 ,buss1 ,carpr4 ,c ,mr4 ,chr4 ,cass4 ,john ,churchill1 ,esq1 ,mr4 ,carpenter1 to ,her ,,ma,,ty4 ,mr4 ,robt4 ,churchill1 ,mason4 ,mr4 ,tho4 ,churchill ,bricklayer ,westm4 ,edwd4 ,coke1 ,esq4 ,mr4 ,collins ,mason4 ,the ,rt4 ,honble4 ,the ,l,d ,,coningsby4 ,mr4 ,richd4 ,conyers4 ,his ,excell4 ,fr4 ,cornaro1 ,venetian ,amb4 ,will4 ,cowper1 ,surgeon4 ,john ,crauford1 ,esq4 ,tho4 ,curtis1 ,joyner4 ,d ,the ,rt4 ,honble4 ,the ,,earl of ,,denbigh4 ,mr4 ,charles ,delafaye4 ,edmund ,dummer1 ,esq4 ,mr4 ,john ,dowling1 ,painter4 ,e ,mr4 ,talbot ,edwards1 ,engineer to ,her ,,ma,,ty4 ,mr4 ,john ,ellis1 ,com4 ,brazen-,nose-,coll4 ,oxon4 ,mr4 ,emmet4 ,mr4 ,robert ,inglish1 ,comptll4 of ,her ,,ma,,ties4 ,royal ,hospl4 at ,chelsea4 ,the ,rt4 ,honble4 ,the ,,earl of ,,essex4 ,mr4 ,john ,ettie1 of ,york4 ,mr4 ,richd4 ,evans4 ,f ,mr4 ,john ,farlow1 ,painter4 ,matthew ,foxall1 ,gent4 ,g ,john ,gape1 ,esq1 ,st4 ,albans4 ,saml4 ,gee1 ,gent4 ,his ,excell4 ,snr4 ,jacob ,giraldi ,kt4 ,envoy from the ,gr4 ,d4 of ,toscany4 ,mr4 ,tho4 ,gittins ,bookseller ,shrewsbury4 ,capt4 ,john ,goodwyn4 ,mr4 ,john ,gough1 ,agent4 ,wm4 le ,grand1 ,esq4 ,mr4 ,richd4 ,gregory1 ,carpenter4 ,mr4 ,jam4 ,grove1 ,mr4 ,carpenter4 ,mr4 ,john ,grove1 ,her ,,maties4 ,plaisterer4 ,richd4 ,graham1 ,esq4 ,h ,mr4 ,charles ,hale1 ,plomber4 ,sr4 ,tho4 ,hanmer1 ,bart4 ,john ,harris1 ,d4,d4 ,mr4 ,tho4 ,harris1 ,plate ,polisher4 ,mr4 ,n4 ,hawksmoor1 ,cl4 of ,her ,,ma,,ties ,works4 ,mr4 ,jacob ,henckell4 ,john ,henley1 ,esq4 ,mr4 ,robt4 ,hester4 ,mr4 ,tho3 ,hill4 ,mr4 ,tho3 ,highmore1 ,serjeant-,painter4 ,mr4 ,cha4 ,hopson1 ,mr4 ,joyner4 ,sr4 ,james ,how1 ,kt4 ,mathew ,humberston1 ,esq4 ,sr4 ,george ,hungerford1 ,kt4 ,cadnum ,wilts4 ,sam4 ,horn1 ,painter4 ,i ,mr4 ,john ,james1 of ,greenwich4 ,mr4 ,r4 ,janeway1 ,printer4 ,mr4 ,john ,johnson4 ,mr4 ,hen4 ,jones4 ,k ,mr4 ,robt4 ,knaplock1 ,bookseller4 ,l ,mr4 ,bernard ,lens ,painter1 ,drawing-,mr4 to ,christs-,hospitall4 ,mr4 ,bernard ,lens1 ,painters4 ,mr4 ,edwd4 ,lens1 ,m ,mr4 ,sam4 ,marriot1 ,junr4 ,mr4 ,john ,mist1 of ,st4 ,ann ,westmr4 ,mr4 ,benj4 ,motte1 ,printer4 ,mr4 ,james ,moore4 ,mr4 ,robt4 ,more1 ,writing-,mr4 ,mr4 ,george ,moult1 ,chymist4 ,jos4 ,moyle1 ,esq4 ,n ,wm4 ,naper1 ,esqr4 ,david ,netto4 ,mr4 ,wm4 ,newton1 ,math4 ,mr4 to ,chr4 ,hospl4 ,wm4 ,nicholas1 ,esqr4 ,mr4 ,john ,nicholson1 ,bookseller4 ,mr4 ,john ,nix4 ,mr4 ,john ,norris1 of ,westmr4 ,mr4 ,john ,nutt1 ,printer4 ,o ,dr4 ,adam ,oatley1 of ,pickford1 ,arch,d4 of ,salop and ,hereford4 ,mr4 ,austin ,oldesworth1 ,stationer4 ,mr4 ,danl4 ,osburn ,b4,d4 ,exeter ,coll4 ,his ,grace the ,,duke of ,,ormond4 ,sr4 ,james ,oxenden1 ,kt4 ,bart4 ,p ,ralph ,palmer1 ,esq4 ,mr4 ,barth4 ,peisley1 ,oxon4 ,mr4 ,elias ,pen ,writing-,mr4 ,mr4 ,tho4 ,pestel1 ,jeweller4 ,clement ,petit1 ,esq4 ,madam ,dorothea ,petit4 ,mr4 ,james ,petiver1 ,pharm4 ,lond4 ,,frs4 ,mr4 ,edmund ,powel1 ,printer4 ,mr4 ,john ,paine4 ,r ,the ,rt4 ,honble ,the ,,lord ,,raby4 ,the ,rt4 ,honble ,richard ,,earl of ,,ranelagh4 ,edw4 ,richards1 ,esq1 ,,lb4 ,exeter ,coll4 ,benj4 ,robinson ,sec4 to the ,dutchess of ,bucclough4 ,dr4 ,tancred ,robinson4 ,mr4 ,richd4 ,rogerson1 ,carpenter4 ,chr4 ,rawlinson1 ,esq1 of ,cark-,hall1 ,lanc4 ,s ,the ,right ,honble ,james ,,earl of ,,salisbury1 ,christ ,church ,oxon4 ,mr4 ,john ,savage1 ,a4 ,m4 ,edw4 ,sayer1 ,esqr1 of ,barkhamsteed4 ,mr4 ,will4 ,scrimshire4 ,the ,right ,honble ,the ,,earl of ,,seafield1 ,chanc4 of ,scotland4 ,dr4 ,hans ,sloane1 ,s4,r4,s4 ,mr4 ,joseph ,smart1 ,town-,clerks-,office4 ,mr4 ,ralph ,snow1 ,writing-,mr4 ,sam4 ,stebbins1 ,esqr4 ,rob4 ,steel1 ,bookbinder1 in little ,britain4 ,mr4 ,james ,stone1 ,gent4 ,mr4 ,john ,stuart1 ,stationer4 ,mr4 ,jacob ,sturt1 of ,woodhouse1 ,sussex4 ,t ,mr4 ,john ,tallman4 ,mr4 ,john ,taylor4 ,mr4 ,lewis ,thomas1 ,oxon4 ,mr4 ,john ,thorpe1 ,a4,m4 ,f4,r4,s4 ,mr4 ,edw4 ,thwaites1 ,a4,m4 ,queens ,coll4 ,mr4 ,john ,tijou4 ,andr4 ,tooke1 ,a4,m4 ,geom4 ,prof4 ,gresham ,col4 ,benj4 ,tooke1 ,bookseller4 ,mr4 ,will4 ,townsend1 ,oxon4 ,lewis ,tremayne1 ,esqr4 ,capt4 ,edw4 ,tuffnall1 ,st4 ,margt4 ,westmr4 ,mr4 ,john ,tuffnall1 ,joyner1 ,st4 ,margt4 ,westmr4 ,cholmondley ,turner1 ,esqr4 ,v ,j4 ,vanbrugh1 ,comptll4 of ,her ,,maties ,works c4 ,w ,saml4 ,waters1 ,gent4 ,mr4 ,jon4 ,wilbraham1 ,brazen-,nose-,coll4 ,mr4 ,john ,wilkinson1 of the ,excheqr ,gent4 ,mr4 ,john ,white4 ,mr4 ,saml4 ,whitfield4 ,mr4 ,tho4 ,whitmore1 ,painter4 ,mr4 ,john ,williams1 ,printer4 ,mr4 ,waldive ,willington4 ,sr4 ,francis ,windham ,kt4 ,mr4 ,henry ,wise1 ,mr4 ,gardener4 ,nicol ,wolstenholme1 ,esqr4 ,sr4 ,chr4 ,wren ,kt4 ,survr4 ,genl4 of ,her ,,ma,,ties ,works4 ,transcriber's ,note ,the following is a list of changes made to the original text to correct suspected printing errors3 ,under the heading3 ,,figura ,,quarta #f1 #g1 #f1 #g1 ,o ,,figura ,,octava4 ex lilinea ex linea ,the ,ninth ,figure4 yon must you must ,figura ,trigesimaprima4 qudrat quadrat ,figura ,trigesimaquinta4 denineationem delineationem ,the ,seventy-second ,,figure4 hundred an twenty hundred and twenty ,,figura ,,octogesima4 qnam quam ,,figura ,nonagesima4 centrum ,centrum ,figura ,nonagesimaprima4 spospondit spopondit ,,figura ,,secunda4 longitudidinem longitudinem ,,figura ,,quinta4 superoiri superiori ,,index4 ,doric ,dorick 7twice1 lines ,,xl and ,,xlv7 ,,subscribers4 ,gr4 ,d4 of ,tosoany ,gr4 ,d4 of ,toscany ,respondetur objectioni444 punctum aliqualem punctum aliquam