Fig. xxxvi.
Fig. xxxvi.
Præparatio ad figuram trigesimamseptimam.
Investigio geometricoC, & in ejus elevationeAB, præcipuas tantùm lineas adnotavi, ne figuram confunderem, & ut studiosorum industriæ aliquid relinquerem. Linea planiEGhabet divisiones latitudinisP, & longitudinisQ, vestigii geometriciC. Ex punctis latitudinis ducentur more solito visuales adOpunctum oculi; ex punctis longitudinis fient occultæ ad punctum distantiæ, quod extra lineamABprotenditur modulis quatuordecim: & ubi occultæ ex divisionibus longitudinis secant visualemFOfiunt parallelæ ad lineam planiEF, adhibitis sectionibus talium parallelarum cum visualibus, ad complendam deformationem vestigii.
Eædem lineæ quæ in vestigio deformato sunt parallelæ adEF, prolongantur usque ad visualemEO, & continuantur cum aliis parallelis ad perpendiculumDE. Fiunt quoque visuales ad punctum oculi ex divisionibus elevationisABtranslatis in perpendiculumDE; adhibitis sectionibus talium parallelarum cum visualibus, ad complendam deformationem longitudinis elevationis.
Preparatory to the Thirty-seventh.
Inthe Geometrical Plan C, and in the Elevation thereof AB, I have only mark’d the principal Lines, as well for avoiding Confusion in the Figure, as that something might be left to the Industry of the Studious. The Line of the Plan EG has the Divisions of Breadth P, and of Length Q, of the Geometrical Plan C. From the Points of Breadth are drawn, as usual, Visuals to the Point of Sight O; From the Points of Length occult Lines are produc’d to the Point of Distance, which lies fourteen Modules without the Line AB: And where the occult Lines from the Divisions of Length cut the Visual FO, Parallels are made to the Ground-Line EF; and from the Intersections of those Parallels with the Visuals, you complete the Delineation of the Plan in Perspective.
The Lines which in the Plan are parallel to EF, being prolong’d to the Visual EO, are then continu’d parallel to the Perpendicular DE. And from the Divisions of AB, produc’d to DE, visual Lines are drawn to the Point of Sight; which intersecting the Perpendiculars aforesaid, you from thence find the Length of the Elevation in Perspective.
Fig. xxxvii.
Fig. xxxvii.
Deformatio columnæ Etruscæ.
Expræparatione quam exhibuimus figurâ trigesimasextâ, eruitur columna hæc nitida Ordinis Etrusci, opticè imminuta per latitudines & altitudines partium singularum; quæ accipiuntur ope duorum circinorum, ut sæpiùs dictum est.
ATuscanColumn in Perspective.
Fromthe Preparation exhibited in the Thirty-sixth Figure, is drawn this complete Piece of theTuscanOrder, brought into Perspective by means of the Breadths and Heights of the several Parts, exactly taken off with the Compasses, as has been often said.
Fig. xxxviii.
Fig. xxxviii.
Præparatio ad figuram trigesimamnonam.
Hæcfigura est simillima figuræ trigesimæsextæ. In vestigioPlimes prominentiæ coronicis estR; coronæ verò in stylobatâ estT. soliditas stylobatæ estV. ambitus columnæ in imo estX, in summoZ.
Preparatory to the Thirty-ninth.
ThisFigure is very much the same with the Thirty-sixth. In the Plan P, the utmost Projecture of the Cornice is R; that of the Cap of the Pedestal is T; the Trunk of the Pedestal is V; the naked Shaft of the Column at bottom is X, at top is Z.
Fig. XXXIX.
Fig. XXXIX.
Deformatio ædificii Dorici.
Habeshoc loco ædificium Doricum, addito statuæ unius ornamento. Velim autem, ut si figuram aliquam ex his desumptam, delineandam assumas, aliquid mutes saltem in loco punctorum oculi aut distantiæ. Hoc modo majores in hac arte progressus facies; & si alicubi cælator aberraverit, ex lapsu illius nullum senties detrimentum.
A Piece ofDorickArchitecture in Perspective.
Inthis Plate you have aDorickComposition, with the additional Ornament of a single Statue; but I would advise, when you undertake to work after any of these Designs, you would at least place the Points of Sight and Distance somewhat differing from those here given; which Practice will both greatly further your Progress in this Art, and prevent any Inconvenience, that may arise from a Mistake of the Engraver.
Fig. xl.
Fig. xl.
Vestigium geometricum ædificii Ordinis Dorici.
Vtstudiosorum, qui sedulò se exercuerint in praxibus hucusque traditis, & ad majora inhient, utilitati serviam, delineandam suscepi medietatem arcûs cum tribus columnis, ac totidem statuarum loculamentis. Ad vitandam autem confusionem, ea dumtaxat membra in vestigio adumbrantur, quæ recensuimus figurâ trigesimaoctavâ, & ostendunt characteresA,B,C,D,E.
The Geometrical Plan of a Design, of theDorickOrder.
Forthe Benefit of the Studious, who, having reduc’d to Practice the Rules hitherto laid down, aim at yet greater Things; I have here undertaken to delineate half an Arch adorn’d with three Columns, and as many Niches for Statues. But to avoid Confusion, I have given full Lines to those Members only, which were mention’d in the Thirty-eighth Figure, and which are here denoted by the Characters A, B, C, D, E.
Fig. xli.
Fig. xli.
Elevatio geometrica ædificii Dorici.
Exvestigio geometrico eruitur hæc elevatio geometrica longitudinis ædificii nostri. Et iccircò figura ista quadragesimaprima, cujus mensuræ omnes desumptæ sunt ex Barozzio, congruit longitudini figuræ quadragesimæ.
The Geometrical Elevation of the foregoing Design.
ThisUpright is drawn from the foregoing Geometrical Plan; and therefore all the Parts of this Design, whose Measures are taken fromVignola, exactly answer those of the Fortieth Figure.
Fig. xlii.
Fig. xlii.
Modus vitandi confusionem, in contractione vestigiorum, & elevationum.
Contractionesvestigii figuræ quadragesimæ, & elevationis figuræ quadragesimæprimæ, ob nimiam obliquitatem quam habent, valde confusæ sunt. Medebimur tamen incommodo isti, uti fecimus figuris decimâ & undecimâ. Et ostendit chartula, exhibens in parvo tum figuram hanc quadragesimamsecundam, tum quatuor sequentes.
The Manner of avoiding Confusion, in reducing Plans and Elevations into Perspective.
TheReducing into Perspective the Plan of the Fortieth Figure, and the Upright of the Forty-first Figure, would become very confus’d, through the great Obliquity of the Rays: We have therefore remedy’d the Inconveniences of both, by the Methods explain’d in the Tenth and Eleventh Figures. And this Plate contains in little, what is more at large describ’d in Parts, as well in this, as the four subsequent Figures.
Fig. xliii.
Fig. xliii.
Contractio vestigii figuræ quadragesimæ.
Lineaplani multò remotior est à lineâ horizontali in hoc schemate, quàm in præcedenti. Ideo istud vestigium vacat omni confusione. Cætera patent ex iis quae sæpiùs dicta sunt, & ex figuræ hujus inspectione. Oportet autem, rectas parallelas ad lineam plani, prolongari usque ad visualemTO, (quæ cadit extra paginam) ut adminiculo parallelarum, fiat elevatio longitudinis nostri ædificii, de quâ dicemus figurâ quadragesimaquartâ.
The Plan of the Fortieth Figure in Perspective.
Byplacing the Ground-line in this, much more remote from the Horizontal, than it is in the foregoing Figure, all Confusion is here avoided. The rest is evident from what has been often said on this Head, and a bare Inspection of the Figure. Parallels to the Ground-line must nevertheless be continu’d to the Visual TO, which falls without this Page; that from them may be rais’d the Elevation of the Length of this Design, which we shall handle in the next Figure.
Fig. xliv.
Fig. xliv.
Contractio elevationis figuræ quadragesimæprimæ.
Rectæparallelæ ad lineam plani figuræ quadragesimætertiæ, ubi pervenerint ad visualemTO, continuandæ sunt, more solito, cum parallelis ad lineam perpendicularem. In hanc autem transferre oportet omnes divisiones, quas ex Barozzio habet elevatio hujus ordinis; ac ducere visuales. Quomodo autem, adminiculo visualium & parallelarum, compleatur elevatio, constat ex figura, & clarius ex chartula figuræ quadragesimæsecundæ. Numeri1,2,3,4, geminati, ostendunt centra & altitudines semicirculorum seu arcuum figuræ quadragesimæquintæ; videlicet, numerus inferior designat centrum, superior verò designat altitudinem semicirculi.
The Elevation of the Forty-first Figure in Perspective.
Whenthe Parallels to the Ground-line in the Forty-third Figure, are prolong’d to the Visual TO, they are then, as usual, to be continu’d Parallels to the Perpendicular: On which Perpendicular, those Divisions given byVignola, for the Proportions of this Order, are to be transferr’d; and Visuals drawn from them to the Point of Sight. How by these Visuals and Parallels the Elevation is rais’d in Perspective, is manifest in part from this Figure, but more clearly from the Forty-second Figure. The Numbers 1, 2, 3, 4, which you here see doubl’d, give the Centers and Heights of Semicircles of the Arches in the Forty-fifth Figure; the lower Numbers denoting the Centers, and the upper Numbers the Heights of the Semicircles of the same.
Fig. xlv.
Fig. xlv.
Dimidium ædificii Dorici opticè deformati.
Huicfiguræ delineandæ plures præiverunt, ejusdemque latitudines mutuati sumus ex figura quadragesimatertia, altitudines ex quadragesimaquarta. Superest autem, ut lumina & umbræ scitè inducantur in singulas partes ædificii.
One Half of theDorickDesign in Perspective.
Theforegoing Figures being preparatory to this, the Breadths are taken from the Forty-third, and the Heights from the Forty-fourth Figure. It only remains, that the Lights and Shades be skilfully dispos’d to each Part of the Work.
FIG. XLVI.
FIG. XLVI.
Alterum dimidium ejusdem ædificii.
Supersederepoteram delineatione alterius medietatis ædificii nostri. Verùm operæ non peperci, ut ostenderem diversitatem luminum & umbrarum, quæ conveniunt partibus cæteroqui omnino similibus.
The other Half of the same Design.
I mightvery well have omitted this Half of the Design, but that I spar’d no Pains, to shew the Diversity of the Lights and Shadows, that must be given to those Parts of the Work, which in other Respects are alike.
Fig. xlvii.
Fig. xlvii.
Vestigia ædificii Ionici.
VestigiumgeometricumAædificii Ionici, sub se habet suam deformationemB. Hæc autem ut evadat distinctior, lineam plani, quæ in sequentibus figuris habebit distantiamPEab horizontaliOE, deorsum protraximus inCD, ut etiam fecimus figurâ quadragesimasecundâ & quadragesimatertiâ. Linea visualisOMeundem habet usum, quem visualisOTfiguræ quadragesimætertiæ; videlicet, ut in ea terminentur parallelæ ad lineam plani ex membris vestigiiB, eademque continuentur cum aliis parallelis ad rectamEC, pro deformandâ elevatione quam apponemus figurâ quadragesimanonâ.
The Plan of anIonickBuilding.
TheGeometrical Plan of thisIonickWork is A, underneath is its Perspective B; to render which more distinct, the Ground-line that in the following Figures has only the Distance PE from the Horizontal EO, is here remov’d downward to CD, as was done in the Forty-second and Forty-third Figures foregoing. The visual Line OM is of the same use as that of OT in the Forty-third Figure; namely, to terminate the Lines which are drawn from the Members of the Plan B parallel to the Ground-line; from whence they are again continu’d parallel to the Perpendicular EC, for making in Perspective the Elevation inserted in the Forty-ninth Figure.
Fig. xlviii.
Fig. xlviii.
Elevatio geometrica ædificii Ionici.
Exhac elevatione quæ clarè ostendit membra totius ædificii secundum longitudinem dissecti, desumuntur altitudines ac terminationes membrorum singulorum. Peritiores tamen hac figurâ delineandâ supersedere solent, quia terminationes haberi possunt ex vestigioAfiguræ quadragesimæseptimæ, altitudines verò ponendæ iterum sunt figurâ sequenti.
The Geometrical Upright of the foregoingIonickDesign.
Fromthis Figure (which distinctly shews the Composition of the whole Work, in respect of its Length) are taken the Heights and Terminations of the several Members thereof. But those that are skill’d in this Art, usually omit the delineating these Elevations; because the Terminations may be taken from the Plan A in the Forty-seventh Figure; and the Heights must be repeated in the following Figure.
Fig. xlix.
Fig. xlix.
Deformatio elevationis ædificii Ionici.
Hæcfigura continens deformationem præcedentis elevationis, perficitur methodo illa, quam ostendimus figurâ quadragesimasecundâ; nimirum, ex vestigioBfiguræ quadragesimæseptimæ, ducere oportet parallelas ad lineam planiCD, quæ ubi pervenerint ad visualemOM, continuandæ sunt cum aliis parallelis ad lineamEC. Easdem parallelas in hanc figuram translatas secant visuales ex linea rectaAB, in qua positæ sunt altitudines ædificii Ionici, desumpta vel ex figura præcedenti, vel ex Barozzio. Nullum autem est punctum in membris hujus elevationis, quod non inveniatur per sectiones visualium ex lineaAB, cum parallelis ad eandem lineam.
The Elevation of theIonickDesign in Perspective.
ThisPlate containing the Perspective of the foregoing Upright, is drawn by the Method laid down in the Forty-second Figure; to wit, from the Plan B of the Forty-seventh Figure, Parallels to the Ground-line CD are prolong’d to the Visual OM; and thence are continu’d Parallels to the Perpendicular EC. These being transferr’d into this Figure, are intersected by the visual Lines that proceed from AB, which contains the Heights of thisIonickComposition, agreeable to the foregoing Figure, and the Rules deliver’d byVignola. Now there is no Point in any Member of this Upright, but may be found by the Intersection which the visual Line from AB makes with its respective Perpendicular.
Fig. l.
Fig. l.
Architectura Ionica.
Exvestigio figuræ quadragesimæseptimæ, & ex elevatione figuræ quadragesimænonæ, eruitur hoc ædificium Ionicum, quod esse poterit vel principium alicujus turris campanariæ, aut basis cujuspiam arcûs triumphalis. Vereor ut cælator suam diligentiam in hoc schemate satis probaverit. Ejus tamen errata facilè ipse deteges, & omni studio cavebis.
A Design ofIonickArchitecture.
Fromthe Plan of the Forty-seventh Figure, and from the Upright of the Forty-ninth Figure, is drawn thisIonickPiece; which might well serve for the lower Order of a Turret, or for part of a Triumphal-Arch. I fear the Engraver has not been so exact in this Scheme, as he ought; but you will readily discover his Mistakes, and carefully beware of them.
FIG. LI.
FIG. LI.
Ordo Corinthius.
Complectiturhæc pagina molem contractam Ordinis Corinthii, cum suis præparationibus. VestigiumAexhibet parietem pone columnas cavum instar canalis. Idem vestigium opticè deformatur inD: omissâque elevatione geometricâ, per ejus altitudines notatas in lineâBCprojicitur elevatio; ac methodo consuetâ, ex vestigio & elevatione componitur ædificium, addito statuæ unius ornamento.
ACorinthianDesign in Perspective.
ThisPlate contains the Perspective of aCorinthianWork, with its Preparations. The Geometrical Plan A shews the Wall wrought hollow behind the Columns. The said Plan in Perspective is D: and leaving out the Geometrical Elevation, the Perspective thereof is describ’d, by transferring the Heights of the former into the Line BC. From the Perspective-Plan and Upright the Design is finish’d after the usual Manner; to which is added the Ornament of a single Statue.
Fig. lii.
Fig. lii.
Delineatio columnæ spiralis, Ordinis Compositi.
Positaelevatione geometrica columnæ rectæ, ac divisione illius in vigintiquatuor partes æquales, columna spiralis absolvitur per partes circumferentiæ circulorum, quorum diametri sunt æquales diversis latitudinibus columnæ rectæ, ut ostendit figura inA. Ad projectionem opticam elevationis, notandæ sunt quatuor occultæ rectæ, quæ ex terminis convexitatis & concavitatis infimarum spirarum ejusdem elevationisA, descendunt ac desinunt in duos circulos vestigii geometriciB. Vestigium ipsum opticè imminutum habetur inC: eædem autem sunt maximæ hinc inde latitudines, tum in circulo majori, tum in convexitate infimarum columnæ spirarum; eædem sunt maximæ latitudines, tum in circulo minori, tum in concavitate ipsarum spirarum; ut dignosces applicando regulam spiris simul & circulis. Ex quatuor punctis maximæ latitudinis duorum circulorum, incipiunt quatuor lineæ parallelæ ad lineam plani, quæ ubi pervenerint ad visualemED, continuandæ sunt cum parallelis ad perpendiculumDF. In eandem lineamDF, ex elevationeAtransferre oportet vigintiquatuor partes æquales altitudinis columnæ, ac ducere visuales adOpunctum oculi. Per sectionem autem visualium cum prædictis quatuor parallelis ad lineamDF, ducuntur lineæ undulatæMN,PQ, ex quibus eruuntur lineæ utrinque terminativæ columnæ spiralis nitidæ. Ex linea veròGHhabetur facies anterior stylobatæ, columnæ & coronicis; ex lineaILhabetur facies eorum posterior.
The Description of a wreath’d Column, of the Composite Order.
Havingmade the Geometrical Elevation of a streight Column, and divided the Height of its Shaft into Four and twenty equal Parts; the Wreathing is describ’d by Parts of the Circumference of Circles, whose Diameters are equal to the several Breadths, or Diameters, of the streight Column; as is shewn in the Figure A. For putting the Upright into Perspective, four streight occult Lines are of use, which descend from the Extent of the Swellings and Sinkings of the lower Wreaths of the Column A; and terminate in two Circles of the Geometrical Plan B. The said Plan laid down in Perspective is C. The utmost Extent of the greater Circle determines that of the Convex Parts of the lower Wreaths: The greatest Breadth of the lesser Circle gives that of the hollow Parts of the said Wreaths; as may be perceiv’d, by applying a Ruler from the Wreaths to the Circles of the Plan. From the four Points of greatest Breadth in those Circles, four Lines parallel to the Ground-line are continu’d to the Visual ED, and thence again continu’d parallel to the Perpendicular DF. From the Elevation A, the Four and twenty equal Parts of the Columns Height are transferr’d into the Line DF, and Visuals drawn from each to the Point of Sight O. By the Intersections of those Visuals with the four Perpendiculars aforesaid, are drawn the wav’d Lines MN, PQ; from which, both the Out-lines of the finish’d Column are describ’d. But the Fore-part of the Pedestal, Column, and Cornice, is taken from the Line GH; the Back-part of the same from the Line IL.
FIG. LIII. A.
FIG. LIII. A.
Ordines Architecturæ, desumpti ex Palladio & Scamozzio.
DeOrdinibus Architecturæ, præter Barozzium, egregiè scripserunt Palladius & Scamozzius; ac singuli, jure merito, suos habent asseclas & patronos. Ut ergò, etiam juxta laudatissimorum Autorum placita, opticas projectiones facere possis, omnes Ordines in hac paginâ exhibere volui, ut in eorum Libris inveniuntur.
The Orders of Architecture, taken fromPalladioandScamozzi.
BesidesVignola,PalladioandScamozzihave also written excellently well of the Orders of Architecture; and each of ’em have deservedly their Followers and Admirers. That you might therefore be enabl’d to make Designs in Perspective, after the Proportions of the most celebrated Masters, I have in this Plate given you the Measures of all the Orders, as deliver’d by them in their Books.
Fig. liii. b.
Fig. liii. b.
Modus triplex delineandi columnas spirales.
Columnæfiguræ superioris carent ea concinnitate, qua præditæ sunt columnæ spirales æneæ celeberrimi Equitis Bernini ad sepulcrum S. Petri in Vaticano. Itaque methodum triplicem exhibeo ad minuenda spatia totius altitudinis columnæ.
1.RectaOAsit æqualis altitudiniABcolumnæ. Fiat autem rectaOB, & arcusAPex centroO, divisus in partes duodecim æquales, ducendo rectas, quæ per puncta divisionum desinant in columnam rectam; ac demum fiant parallelæ ad basim: Spatia inter has parallelas dabunt aperturam circini pro triangulis æquilateris & pro spiris, ut ostendit columna1.
2.Translatâ inCtertiâ parte altitudinis columnæ ab ejus imo scapo, habeat circinus aperturamCD; ac posito uno ejus crure prius inD, postea inC, fiant duo parvi arcus adE: sectio illorum arcuum erit centrum arcûsDC, quem oportet dividere in duodecim partes æquales, & ex punctis divisionum ducere parallelas ad basim. Tum spatiis inter parallelas divisis in quatuor partes æquales, tres ex illis partibus dabunt longitudinem crurum pro triangulis isoscelibus; vertices autem triangulorum erunt centra singularum spirarum, ut ostendit columna2.
3.Ductâ ex medio summitatisGrectâGF, spatiumHFtransferatur inI, & fiat rectaILparallela ad basimHF; spatiumILtransferatur inN, ac fiatNM, & sic deinceps. In parvis columnis triangula sine sensibili errore duci possunt per diagonales: in columnis tamen grandioribus, alterutrum ex modis antea explicatis adhibere necesse est.
Three different Ways of delineating wreath’d Columns.
Thewreath’d Columns describ’d in the Fifty-second Figure, being divided into Twenty-four equal Parts, want very much of that Elegancy of Contour, which is visible in those brass Pillars, made by the famous CavalierBernino, for S.Peter’s Sepulcher in theVatican. Wherefore I here lay before you three several Ways of diminishing the Spaces through the whole Height of the Column.
1. Make the right Line OA equal to AB the Height of the Column; then draw the Line OB, and on the Center O describe at pleasure the Arch AP, which divide into twelve equal Parts, and by the Divisions draw streight Lines from the Center O to the Line of the Column; and lastly continue the same Parallels to the Base. The Spaces between these Parallels, shall be the Sides of equilateral Triangles, wherewith you are to describe the Wreath of the Column, as is seen in Column 1.
2. Having set the third Part of the Columns Height, from the Bottom of the Shaft to the Point C; with the Interval CD, from the Centers D and C, describe the Parts of Arches intersecting at E. On the Center E, with the same Interval, describe the Arch DC, which divide into twelve equal Parts; and from the Points of those Divisions, draw Parallels to the Base. Then dividing each Space between the Parallels into four equal Parts; three of those Parts shall be the Sides of theIsoscelesTriangle; whoseVertexis the Center whereon to describe each Wreath of Column 2.
3. Having drawn from the midst of the Columns top G, the Line GF, make HI equal to HF, and draw IL parallel to the Base HF: Again, make IN equal to IL, and draw NM also parallel, and so on. In small Pillars, the Centers of the Diagonals of these Spaces may, without sensible Errour, serve for describing the Wreaths; but in greater Columns, either of the other two Methods is rather to be chosen.
Fig. liv.
Fig. liv.
Vestigia ædificii Ordinis Corinthii.
Descripturiædificium Corinthium octangulare, ponimus hic vestigia unius ex quatuor partibus pilarum, quibus imponetur fornix in modum tholi, ut constabit in figurâ quinquagesimaoctava. Ad faciliorem descriptionem, in parte inferiori paginæ posui vestigium geometricum stylobatæ, in superiori vestigium geometricum coronicis, cum latitudinibus & longitudinibus membrorum singulorum; ut eas transferendo in lineam plani more consueto, utrumque vestigium opticè deformetur. Ad vitandam confusionem, prius notare oportebit puncta quæ spectant ad membra propinquiora solido parieti, deinde alia.
The Plan of a Design of theCorinthianOrder.
Beingto describe an OctangularCorinthianWork, I have here inserted the Plan of one Quarter of the Composition; which is vaulted in Form of aCupola, as is seen in the Fifty-eighth Figure. To render the Plan less confus’d, I have, in the lower part of the Plate, given the Geometrical Plan of the Pedestal; and in the upper part, that of the Cornice; with the Breadths and Lengths of each Member: so that by transferring the same into the Ground-line, after the usual Manner; you delineate each Plan in Perspective. For avoiding Confusion, ’twill be requisite first, to transfer the Points of those Members that are next the Solidity of the Wall; and then proceed to the others.
Fig. lv.
Fig. lv.
Elevatio ædificii Ordinis Corinthii.
Elevatiogeometrica ædificii octangularis congruit cum duobus ejus vestigiis figuræ antecedentis. Quia verò elevatio parietis abscondit secundam ex quatuor columnis, eademque in ædificio deformato conspicua futura est; iccircò eam lineis occultis designare oportuit.
The Geometrical Elevation of aCorinthianWork.
TheGeometrical Elevation of this Octangular Design, is wholly correspondent to the two Plans of the foregoing Figure: But because the Wall in this Upright takes off the Sight from the second of the four Columns, which is notwithstanding visible in the finish’d Perspective that follows; ’tis requisite to delineate the same with occult Lines, as in the Figure.
Fig. lvi.
Fig. lvi.
Deformatio vestigiorum & elevationis ædificii Corinthii.
Inhac figurâ, lineam plani coincidere volui cum linea horizontis. Itaque videri non posset vestigium inferius, nisi ut alias deorsum protraxi lineam plani, hic è converso sursum promovissem lineam horizontis, quam constitui mediam inter lineas plani utriusque vestigii, ut ambæ projectiones essent æquè distinctæ. In elevatione, columna secunda, quam, ut dixi, paries abscondit, lineis occultis designanda est.
The Perspective Plans and Upright of theCorinthianDesign foregoing.
Inthis Figure, I have made the Ground-line coincident with that of the Horizon, in which case the lower Plan can’t be seen, unless the Ground-line be sunk lower, as before intimated; or contrariwise, the Point of Sight rais’d higher, as I have here done, keeping it in the midst between the Ground-lines of the two Plans, that the Perspective of both might be equally distinct. In the Elevation, the second Column, which I mention’d to be hidden by the Wall, should be design’d with occult Lines.