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Rules and Examples of

PERSPECTIVE PROPER FOR

ainterSandAichited 5
3 etc,

$tt Cttglttir atib Xatm :

(Imtainuu] a moftca/ic andeaptditioud *. Method to


DELINEATEinPERSPECTIVE
AHIJESIGNS relating to ARCHITECTURE,
AFTER ANEW MANNER,
IVholly free from the Confufion of Occult Lines:
by that GREAT MASTER thereof,

NDREA POZZCW
L
Enprjvcn inio^ ampleJolio Platen, and adorn dwith 200 Initial ctters to
the Explamtfm~ij Dijcourjh-Smn. ted from Copper-Plates any bcjlPaper

^one into Englifli from the Original Printed at Rome 1693 inLat.andltal.
r
Bi/^ II JohnJanus qfGreimvieh.

LONDON:
PRINTED for J. Senex and R. Gosling in Fkefijtmt;^. In nys

in S!P////j C//tuc/t lard; J.Ofborn and T.Longrnan fnTa&<rn#/terR<x?i>


-

.......
PERSPECTIVA
PICTORUM JET
ARCHITECTORUM,
AND REM PUTEI,
I
E S C I E T A T E IE S U.

In qua\docetur Modus expeditiiTimus Delineandi

Optic ^e omnia que pertinent ad Architedtur am.

L O N D I N I:
Juxta Exemplar ROM^t excufum, M D C X C HI.
Ex ScuLptura Joannis Stuft,et e/'ufcL^ L 'lira iiaornata:

STTMPTIBUS J. Senex, R.Gofling, G.Innys, J. Ofboni et T. Longman.


n

/
TO
Her moft Sacred Majefty;

Queen ANNE
c
\Lu/ itpleafc i/oiir^ ttqjcfti/.'
-

HE Condefcenjton of the late Emperor


of Germany to patronize /&Work
in the Original, could not have incited
me Prefumption of laying the
to the

Tranflation at Tour Royal Feet $ had not the Art of


Perspective, of which it treat s, beenfo nearly allyd
( a ) to
E D I C A T I O N.

to the noble Arts ^Painting and Architecture.


The Firft of thefejour Majefty has been pleas d to ho-
nour, as well in expreffing a Satisfaction with the Per-

formances, as in extending Tour Royal Munificence to


that great Mafter thereof Signor Verrio.

Ant> altho Affairs of higher Confequence have


hitherto deferrdyour Majefty s Commands for Raifing
WHIT E -HAL L from its Ruins $ yet has not
Architecture been without Encouragement, under
Your Majefty s Mojt Aufpicious Reign : Witnefs the
great Dijpatch lately given to thofe Noble Fabricks of
St.VAULs, Grccnwich-Hojpital, and Blenheim.

These feem toprefage, that aTime is coming, when


thro the Bleffing of Peace, and the happy Influence
of Tour Majefty s Government, WHITE -HALL
Jball become a Structure worthy its Great Reftorer,
and its Name as much Celebrated among Palaces, as
TourRoyalVertues are Illustrious among Princes : When
Tour Majefty s SubjeSls Jball exert themfelves as much
to their Country s Honour, in the Arts of Defign, and
Civil Architecture, as they have already done in the
Art Military, and Perfonal Valcur.

Preliminary tofuch Happy Seafon, Iprefume this


Art cf PerfpeCtive made Practicable, may not be
improper $ being One of the moft Ufeful, tho hitherto
the
!

DEDICATION.
the moB Obfeme and Confusd, of all the Lineary Arts.
I, therefore, with all Submiffion, beg Leave tofuppli-
cate Tour Majefty s Pardon for this Addrefi, and Tour
Gracious Protection of this Specimen of Englifh
Graving $ to which, if Your Majefty vouchfafe Your
Royal Patronage, it will effectually animate the
future Endeavours of

May it pleafe your Majefty

Tour Mofi Ohedient Suhjeft,

[liPS] J. Sturt.
^L. .
1
'

P F A C
R E TO THIS

TRANSLATION.
OTWITHSTANDING the Art of PERSPECTIVE
rauft be acknowledg'd fo highly and indifpenfably requifite

in the Pra&ice of Tainting, Architecture, and Sculpture j

that in the Firft of thefe efpecially, nothing commendable


can be performed without its Affiftance : Yet fuch have been
the Difficulties and Obfcurities met with in the firft Attempts,
and fo great the Perplexity and Confufion of Lines in the
Practice thereof 5 that the beft Inftructions, hitherto made
Englifh, have invited very few to fuch a Profecution of this Study, as might render
their Performances of this kind, truly valuable.

5
T i s fomething unaccountable, that, among fo many learned Perfons as have handled
this Subject, Priejls, Architects., and 'painters 5 very few, if any of them, have given
Directions proper for fhunning that Diforder and Confufion of Lines, which, in moft
Inftances, muft neceflarily attend the Execution of their Rules : In all or moft of which
the whole Space for the Performance is confin'd between the Lines of the Plan and
Horizon 5 which, where the Scale is fmall, and the Height of the Eye not very much
advancd, renders the Work exceedingly confus'd 5 and where thofe Lines are coincident,

(which frequently happens) the Method becomes utterly impracticable.

This Author's great Experience in the Practice of 'PerfpeStive, having furnifh'd him
with excellent RULES for Shortning the Work, and Obviating the foremention'd
Difficulties j he has here very generoufly imparted them, and efpecially the latter, in the
Tenth and Eleventh Figures. And tho on Perufal of the firft three or four Plates, this
Method may poffibly feem the fame that fome others have before made ufe of 3 yet
whoever (hall diligently obferve and copy the Rules and Examples of the fucceeding
Figures, muft neceflarily acknowledge the great Advantage this has in a Perfpective-Plan
and Upright, clear and diftinct 5 whence the finifh'd Piece is dedue'd, without the leaft
Incumbrance of the Work. The Explanations of the Rules here given, are fhort and
inftructive 5 and the Architectonical Defigns produe'd to exemplify them, Noble and
Magnificent.

The Manner of Defigning, where the Perfpective is drawn on feveral Ranges of


Frames one behind the other, and fuch Scenes of Theaters whofe Grooves lie oblique
C b ) to
PREFACE.
to the middle Line, is alfo here kid- down : And by our Author's Method, Horizontal
c
Perfpetf;i eve, or that of Ceilings, is render'd lefs difficult than the Vertical, or that againft

an upright Wall. Upon the whole, nothing feems wanting that may make a Work of
this nature complete 3 unlefs what concerns Defigns which are either Circular, or abound
with many Columns : For the Performance whereof, the Author, as he promifes in the
Sixty-fifth Figure, has, in a SECOND Volume, given a Rule more proper for the

purpofe ; which alfo may poffibly be made Englijh in due time, if this Part meet with

Encouragement.

What the Author once intended fhould make a Part of that Second Volume, he
afterwards inferted in the Ninety-third and following Figures of this Book : In the laft

of which, particular Notice fhould be taken of his Conclusion 3 That if Painters would
not run into inextricable Errors, they ought as JlriElly to obferve the Rules of Per-

fpective, in dejigning the Figures of Men and Animals, as they do in painting Columns,

Cornices, or other Tarts of Architeflure.

That none therefore be difcourag'd in their firft: Attempts, thro' the Brevity or
Silence of our Author, (who, writing in a Country where the Principles of this Art are
more generally known than with Us, had no need to infift fo long on fome things, as
might be thought neceflary to Beginners) we mail endeavour to fpeak as plainly as we
can to a Point or two, moil liable to be mifunderftood, or to prove a Stumbling-Block
at the Entrance 3 and then add a Word of Advice to fuch as mall attempt the putting
thefe Rules in Execution.

The Author, in both his Explanations of the firft Plate, has given fome Account
of what he would have his Reader underftand, by 'Dejigning in T erfpettive : and a
right Conception of this Point being of great Ufe to facilitate the Work, we thought it

not improper, to defcribe fomething more particularly, what is meant by the Art 'Per-'

fpeSlive 3 but (hall at prefent fpeak only of That, which, whether Vertical or Horizon-
tal, is receivd on a Flat and Even Superficies : This being of much the more general
Ufe 3 and, when rightly underftood, renders the Difficulties of the Circular or Irregular

Surfaces, eafy and familiar.

PERSPECTIVE is the Art of Delineating, on a flat Superficies, as a Wall,


Ceiling, Canvas, Paper, or the like, the Appearances of Objects, as feen from One
determinate Point : For tho in Works of great Length, Two, Three, or more Points
of Sight are fometimes made ufe of 3
yet fuchmay more properly be faid to be Several
Views conjoin'd, than One Piece of Perfpective Of which fee the
: Author's Opinion, at
the End of this Treatife.

I.N Perfpective, the Eye of the Beholder is efteem'd a Point, from whence Rays are

fuppos'd to proceed to every Angle of the Object. The Wall or Canvas to be painted
(which we mall here call the Seffion) is imagin'd to intervene at right Angles to the Axis
of the faid Rays 5 and by directing them, to receive the Appearance of the Object, in

greater or lefs Proportion, as the Section more or lefs remote from the Point of Sight.
is

Our Author's Rule is, That the Diftance of the Eye ought to be equal to the greateft
Extent
.

PREFACE.
Extent of the Object, whether in Length or Height : As, to view a Building that is a
hundred Foot long, and fifty
;
he would have the Diftance a hundred Foot
high To :

view a Tower fixty Foot wide, and a hundred and fifty Foot high 3 the Diftance fliould
be a hundred and fifty Foot. This Diftance is not ftrictly to be underftood of the Space
between the Eye and the Object, but of the Space between that and the Section, the Plan
of which our Author calls the Line of the Plan, or Ground-line for it's often requifite,
that the Section be plac'd at fome Diftance before the Object, on account of Projectures
of Cornices, and other Parts of the Work that advance, as in the Eighth Figure.

The Place of the Eye, with refpect to its Height above the Ground, ought to be
fuch, as is raoft natural and agreeable to the Object. Thus in Architecture, the Bafe-
ments and inferior Parts of a Building are improper to be fet above the Eye, and their
Cornices and Entablatures have but an ill Effect when below it. General Perfpectives
indeed require the Sight to be taken at a Bird's View 3 and on other Occafions the Place
of the Eye may be vary'd : but the beft and mod general Rule is, not to exceed five
or fix Foot Height above the Ground. The Height of the Eye above the Ground, thro'
which a Line is drawn, call'd the horizontal Line, is fet on by the fame Scale of Pro-
portion, as the Defign bears to the real Work 3 and the Point of Sight fo plac'd therein

as may render the Object moft agreeable. From the Point of Sight, either on one or
both fides in the horizontal Line, you are to kt, by the fame Scale, the Diftance you
Hand from the Section. And by means
of thefe Points of Sight and Diftance, and the
Meafures of the Parts brought on the Lines of the Plan and Elevation of the Section
by the fame Scale 3
all the Examples of this Volume ak reduc'd into Perspective 5 as is
manifeft on Infpection of the Figures.

What we would add, by way of Advice, is,

I. That you very carefully obferve,what the Author underftands by Breadth,


Length, and Height, in his Explanation of the Fifth Plate, before you proceed to
practife on any Figure 3 otherwife you'll certainly mifunderftand him, efpecially in the
Third Figure.

II. That the Rules of the Tenth and Eleventh Figures be particularly regarded,

for avoiding Confufion in the Plans and Uprights.

III. That from the Difpofition of the Perfpective-Plans and Uprights, with refpect
to the finifli'd Pieces in the Twelfth and many following Figures, you would obferve

with what Difpatch the faid Pieces may, without the help of Compafles, be delineated
by your Drawing-Square 3 viz. the Perpendiculars from the Perfpective-Plan, and the
level Lines from the Perfpective-Upright, or Section.

IV. That you would accuftom yourfelf in Works that have many Lines, to make
the Perfpective-Plans and Uprights for each Part diftinct, fo as to prevent all Danger of
Confufion. Thus you may have one Plan and Upright for the Bafement of a Buildino-
and when that is drawn on your finifli'd Piece, remove them, and place thofe of the
Body of the Houfe 3 and when that's complete, do fo by the Attick, &c. always
1
obferving
PREFACE.
obferving fo to place the Plan below, and the Upright on one fide of your neat Draught,
that your Drawing-Square may command each of them ; which will mightily Ihorten

your Work.

V. That the Author's Advice of taking the Figures in courfe, be ftrictly follow'd in

the Practice 3 which will be a great means to render the Whole eafy and pleafant.

This is the Sum of what we thought moft proper to advertife you 3 and have only
this farther to requeft, That if any Miftakes may have efcap'd the Prefs undifcover'd, as

we well hope there are few or none, you will favourably correct and pardon them.

MONITA
MONITA ad TYRONES.
O NC INN I TA TE M. fymmeiriam optica
ac delineationes adificiorum
habere nequeunt, niji utrdmque mutuentur ab Architectural. 'proinde
necejfe eft, tit in iflius graphide ac intelligeniia te aliquandiu exerceas y
donee uniufctijiifque ehvationis vejiigium formare didiceris, ex eoque eruere
Jeflionem totius longitudinis, tit in Opere
toto videre ejl, prafertim
figuris fexagejima otfava & Siquidem ex veftigio
feptuage/ima. ex &
fettione derivator in opticas imagines cbngriia rertim Jingularum pro-
funditas.

Subjiciam his confitium fummi momenti 5 videlicet, egregie intelligas oportet figtiram fecundam,
priufquam progrediaris ad tertiam, idemque de cateris diffium velim 5 nam fingtilas eo difpofuimus
or dine, tit qua pracedit, necejfaria fit ad percipiendas eas qua fequuiitur. Si aViqtiaJint in ex-
plicatione, qua initio non intelligas, ipjiim fchema
fapius diligent er infpicies ; ac vicifjimfi aliqua
dejint in fchematibtis, ex declarationibtis ea fuppjebis. Lapjiis verb qteos deprehenderis, facile pro
'tit a benignitate, mihi, tit Jpero, condonabis.

ADVICE to BEGINNERS.
HE Perfpective of Structures here treated of, can have no Grace or Pro*
portion, without the Help of Architecture. 'Tis therefore abfolutely ne-
ceflary, that you employ yourfelf for fome time in Drawing, and the
Study of that Art 5 till you can readily defcribe the Plan -of any Upright,
and from thence project the Section or Profile, as is fhewn thro' the
whole Courfe of this Work 5 and more particularly, in the Sixty-eighth
and Seventieth Figures Forafmuch as the proper Depth of each Pare
:

of the Perlpedive, is determined by the Plan and Profile thereof.

I mall add one thing more, which is indeed of the laft Importance 3 to wit, that you endea^
this

vour to underhand the Second Figure thorowlyj before you proceed to the Third j and fo of the
reft they being difpos'd in fuch Order, that the Knowledge of the preceding Figure is always ne
:

ceftary to a right Underftanding of that which follows, if you meet with any thing which at firft
feems difficult in the Defcription, a diligent Infpection of the Figure may relieve you And on: the
other hand, if you find not in the "Figure every thing you defire, you may have recourfe to the
Explanation. What Errors you difcover in the Work, I hope you'll generouily overlook and
pardon.

( c ) AD
A D

Le&orem Perfpe&ivse ftudiofum.


R S 1 rfpe}i va
> r
y
oculum y licet fagacijjimilm inter fenfus nojlros exteriores, mi~
rabili cum vohiptate decipit^ eademque necejfaria ejt its, quibus inpingendo i
tiim Jingulis Jiguris pojittonem ac deformationem Jiiam congrue tribuere^
turn colores & umbras, magis <vel minus intendere ant remittere, prout
oportet, cur a eft. jid id antem fenjim fine Jenfu illi perveniunt, qui
Jblo jludio Graphidis non contenti, Jingulis Architecture Ordinibus exaffe
deformandis ajfueverint. Nihilominus, inter multos qui opus hujufmodi
vnagno tmpetu aggrejli hucufque fuertint, paucos numeramus, qui animum
ipfojlatim initio non dejponderint, ob magijlrorum librorumque penuriam,
ordinate ac perjpicue docentium opticas projectiones, a principiis hujus artis, ufque ad omnimodani
perfectionis confummationem. hmm autem Jentiam, longa multontm annorum exercitatione, me non
minimam facilitatem in hac difciplina mihi parajfe : cenfeo Jludioforum vohntate me fatisfaiurum. y
torumque profetfui confultumm, Ji methodos expeXitiJJimas in lucem proferam, ad Jingulorum drchi-
tetiura Ordinum opticas delineationes perficiendas, adhibit a communi regula, ex qua omnia linearum
occult arum offendicula fujlulimus.
<
Deinde, Ji tempus &
vires ad aliud Opus confcribendum Bonitas
tDivina dederit, projetfiones quafcunque abfblvemus regula qua in prafentia uti Jbleo, ac mult a fa-
cilior & imiverfalior eji regula communi &
vulgata, quamvis hac Jit fundamentum alterius.
Itaque, LeSlor (tudiofe, conjlanti animo negotium tuum fufcipe 3 ac lineas omnes tuarum operationum y
ad verum oculi punffium ducere, ad gloriam Jcilicet DEI
O.M. tecum omnino deceme. Sic votis
hmejliflimisj ut auguror tibi ac Jpondeo, feliciter potieris.

TO

The Lovers of Perfpetive.


HE Art of PERSPECTIVE does, with wonderful Pleafure, deceive
the Eye, the moft fubtle of all our outward Senfes 5 and is very necef-
fary to be known of all, who in Painting would give a due Place and
Proportion to their Figures, and more or lefs Strength ' recjuifite to the
Lights and Shades of the Picture. This might be infenfibly attain'd, if
Perfons, not content with the Study of Drawing only, would accuftom
themfelves exactly to delineate the feveral Orders of Architecture. Ne-
verthelefs, among many who have hitherto vigoroufly undertaken this
Work, there have been but very few, who have not been in a manner
quite" difcourag'd, thro' want of Mailers and Books to teach them clearly and methodically
the Rules of Perfpective-Projections, from the firft Principles of the Art, to the entire Perfection
thereof. Wherefore, apprehending that by long and conftant Practice in Works of had
this kind, I

acquir'd a Method to facilitate the fame 3 I judg'd it might be for the Satisfaction and Advantage of
the Studious, to publilh the fhorteft Way for defigning in Perfpective the feveral Orders of Archi-
tecture, by a common and eafy Rule, free from the Incumbrances of occult Lines. But if it pleafe
God to give me Life and Health to compofe another Book, I fhall then fhew the Method of put-
ting Works into Perfpective Rule I make ufe of at prefent, which is more eafy and general
by the
than the common way, tho this be the Foundation of the other. Therefore, Reader, my Ad-
vice is, that you chearfully begin your Work, with a Refolution to draw all the Points thereof to
that true Point, the Glory of GOD
j and I durft predict, and promife you good Succefs in fo ho-
nourable an Undertaking,
THE
Approbation of this Edition.
T the Requeft of the Engraver, We have
perus'd this Volume of Perspective; and
judge it % WORK that deferves Encou-
ragement, and very proper for Inftruc-
tion in that ARX

Chr. Wren^
y. Vanhrugb,

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POZ s

ARGHITECTU
I N

PERSPECTIVE.
;

FIGURA PRIMA,
Explicatio linearum Plani & Horizontis, ac Punctorum Oculi & Diftantiaj.
T principia Terfpettiva facilius
intelligas, pono tibi ob oculos Templum, in cujus in-
c
teriori facie, prater pingendum fit aliquid ad PerJpettivam pertinens. Tern-
c cetera,
pli hujus vejtigium geometrkum eft A, elevatio geometrica in longum eft B, in la-
tum eft C. In A eft locus Hominis a/picientis lineam D E, cut paries pingendus in-
cumbit. In B idem Homo ex eddem diftantia intuetur lineam F G, qua refert ele-
vationetnparietis. In figura C fupponimus Homiuem confiftere e regione ipfius pa-
rte t is : eafdemque proportions menfurarum tranftatas ejfe ex vero pariete in figu-
ram C, qua ipjum in parvo reprafentat.
Trima ergo linea H I dicitur linea terra vel plani, ex qua incipit, eidemque in-
cumbit Aidificium. Secunda linea N O N priori parallela, dicitur horizontalis, in qua
ponitur O punttum oculi, & N punttum diftantia. T)uo autem puntta diftantia a
nobis pofitafunt, ut unum adhibeas ex qua parte volueris nam ad figuras opticb ;

tontrahendas fujficit unum punttum diftantia : nee fieri poteft ulla optica delineatio, quin primo loco defignentur
dua parallela, una plani feu terra, altera horizontis, notando in lined horizontis punttum oculi, feu opticum,
& punttum diftantia. Torrb unam eandemque rem triplici Schemate reprafentare oportuit, tit videas, locum
ex quo afpicienda eft figura C ejfe punttum N unius ex rettis N O, quam concipere debemus veluti normaliter
infixam in O ac diftantiam inter O SJ N eandem ejfe deb ere cum diftantia inter A & D E, inter B G F.
;

In pitturis multum fpatii occupant ibus, punttum oculi poni folet in medio linea horizontalis : atque ubi altitudo
pittura fit major latitudine, diftantia NO
fiet aqualis altitudini. Si latitudo pittura fit major altitudine,
diftantia NO
fiet aqualis latitudini ; it a enim unico intuitu totum pittura fpatium comprehendi poterit. Torrb
quamvis eadem dijtantia diverfo modo adhibeatur in vejtigio A, in &
elevationibus B &
C ; nihilominus fiettiones
vijiialium cum pariete ueftigii A, &
elevationis B, omninb confpirant cum fettionibus vifualium figura C.
Jam fi velimus Ut fpettatori in A B&paries depittus videatur diftare a lineis G F, DE S
quanta eft Ion*
qitudo quadrati P, cujus elevatio eft Q_; ex punttis A&
B fiant vijuales ad puntta extrema quadrat i, notando
fiettiones vijualium cum pariete ED &
G F, qui ab aliis vocatur velum, vitrum diaphanum, jettio, tela, vel ta-
bula. Invenies autem, line as RS acTV ejfe a quales, ac fimi liter lineas XZ sYK; & fie de aliis.

The Firft Figure.


Explication of the Lines of the T/an and Horizon, and of the Points of the Eye
and of the Diflance.
HAT you may the better underftand the Principles of Perlpedive, here is prefented to
your View a Temple, on the inner Wall of which, amongft other Things, one would
paint fomething in Perfpecl:ive. The Geometrical Plan of this Church is A, the Geo-
metrical Elevation, or Upright, lengthwife is B, breadthwife is C. In A is the Place
from whence a Man beholds the Line DE, which is the Plan Of the Wall that is to
be painted in B the fame Man, from the fame Diftance, looks upon the Line FG,
:

that reprefents the Elevation of the Wall. In Fig. C, the Man is iuppos'd to fland
oppofite to the faid Wall ; and this Figure contains in little, the very fame Propor-
tions of Meafures transferr'd from the real Wall.
The firft Line therefore HI is call'd the Ground-line, or Line of the Plan, at which
43 |
the Edifice begins, and on which it ftands. The fecond Line NO
N, parallel to the
former, is call'd the Horizontal Line, wherein is plac'd O
the Point of the Eye, and
N the Point of the Diftance. Two Points of Diftance are here laid down, that you may make ufe of which you
pleafe : for that on one Side only is Neither can any Optick
fufficient for the fore-fhort'ning Figures in Perfpective :

Delineation, or Perfpective, be defcrib'd, without firft making two Parallels ; one of the Plan or Ground-line, the
other of the Horizon ; marking, in the Line of the Horizon, the Point of the Eye, or Sight, and the Point of
Diftance. It was thought befides expedient to put one and the fame Thing into three Schemes or Defigns, to let
you fee, that the Place, from which the Figure C is to be look'd upon, is the Point N, one of the right Lines NO,
which muft be conceived as fixt at right Angles into ; O
the Diftance O
N being the fame as that between A and
DE in the Plan, or between B and GF
in the Upright.
In Pictures taking up a great deal of Room, the Point of Sight ought to be made in the middle of the Horizontal
Line ; and where the Height of the Picture happens to be greater than the Breadth, the Diftance N muft be made O
equal to the Height. If the Breadth of the Picture exceed the Height, the Diftance NO
muft be made equal to the
Breadth For fo will the Extent of the Picture be the better comprehended, or receiv'd, at one View. And altho
:

the fame Diftance may feem to be ufed in a different manner in the Plan A, and in the Elevation B, from what it
is in C ; neverthelefs the Sections of the vifual Rays, with the Wall of the Plan A, and of the Elevation B, have
a perfect Correfpondence with the Sections of thofe of the Figure C.
Now, if to the Spectator in A
and B, we would have the fartheft part of the Work feem to recede from the
Lines DE and GF, as much -as the Square P does, whofe Elevation is Q_; draw from the Points A and B, the vi-
fual Rays to the extreme Points of the Square P and Qj noting the Sections they make with the Walls D E and G F
which by fome is call'd the Veil, Tranfparent Medium, Section, Cloth, or Table and you'll find R S equal to:

T V, X Z equal toYK; and fo of the reft.


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o
't> h&pomtofctiftance li/cj xxJlJacUdu ivitJicrut the lint A3

-+- 1

G ' '
FIGURA Trigeilmafexta,
Prseparatio ad Figuram trigefimamfeptimain.

N vejligio Geometrico C, & in ejus elevatione A B, pracipuas tantuiH


Tineas adnotavi, ne figuram confunderem, & tit Jltidioforum indufirid
aliquid rehnqtierem. Linea plant E G habet divijiones latitudinis P &
longitudinis Q> 'vejiigii Geometrici C. Ex punffis latitudinis dticentur
more folito vijiaks ad O puntlum octili $ ex punffis longitudinis fient
occulta ad puntfum dijlantia, quod extra Tineam AB protenditur mo~
dulis quatuordecim : & ubi occulta ex divifionibus longitudinis fecant
vifualem ]?0,fiunt parallels ad line am plant EF, adhibitis JecJionibus
talium parallelarum cum vifualibus, ad complendam deformationem vejligii.

Eadem linea qua in vejligio deformato funt parallela ad EF, prolongantur ufque ad vifiialem
EO, & continuantur cum aliis parallelis ad perpendictilum D E. Fiunt quoque vifiiales ad puntluM
ociili ex divifionibus elevationis AB tranjlatis in perpendictilum DE 5 adhibitis feffiionibtis talium
parallelarum cum vtftialibus, ad complendam deformationem longitudinis elevationis.

The Thirty-fixth FIGURE,


Preparatory to the Tbirty-feventh Figure.

N the Geometrical Plan C, and in the Elevation thereof A B, I have


only mark'd the principal Lines, as well for avoiding Confufion in the
Figure, as that fomething might be left to the Induitry of the Studious.
The Line of the Plan EG has the Divifions of Breadth P, and of
Length Q, of the Geometrical Plan C. From the Points of Breadth
are drawn, as ufual, Vifuals to the Point of Sight O 5 From the Points
of Length occult Lines are produced to the Point of Diftance, which lies
4/
fourteen Modules without the Line AB : And where the occult Lines
from the Divifions of Length cut the Vifual FO, Parallels are made to the Ground- line EF; and
from the Interferons of thofe Parallels with the Vifuals, you complete the Delineation of the Plari
in Perfpeclive.

The Lines which in the Plan are Parallel to E F, being prolong'd to the Vifual E O, are then
continu'd parallel to the Perpendicular DE. And from the Divifions of AB, produc'd to DE,
vifual Lines are drawn to the Point of Sight 5 which interfering the Perpendiculars aforefaid, you
from thence find the Length of the Elevation in Perfpe&ive,
FI GURA Trigefimafeptima.
Deformatio Columns BTRUSCiE.
Xprdeparatione quam exhibuimus Figurd tri-

gejtmafextd, eruitur columna h<zc nitida Or-

dinis Etrufci, optice imminuta per latitudi-

nes ^ altitudines partium Jtngularum $ qute

accipiuntur ope duorum circinorum, ut f<e-

piiis diSium eH.

The Thirty-feventh FIGURE.


A TUSCAN Column in PerfpeSlive.

ROM the Preparation exhibited in the


Thirty-fixth Figure, is drawn this com-
plete Piece of the Tufcan Order, brought
into Perfpe&ive by means cf the Breadths
and Heights of the feveral Parts, exa&ly taken off with
the Compaffes, as has been often faid.
W . ... V .. -f Fife, xxxv
F I G U R A Trigefimaoftava-
Praeparatio ad Figuram trigefimamnonam.

yC Figura eft Jimillima Figure trigejimtf-

fextce. In veftigioV limes prominentia co-

ronicis eji R -
?
corona verb in ftjlobatd eft

T ; Soliditas ftylobata eft V ; ambitus co-

lumns in imo eft X, infummo Z.

he Thirty -eighth FI
Preparatory to the Thirty-ninth Figure.

HIS Figure is very much the fame with

the Thirty-fixth. In the Plan P, the ut-

moft Proje&ure of the Cornice is R .; that

of the Cap of the Pedeftal is T ; the

Trunk of the Pedeftal is V ; the naked

Shaft of the Column at bottom is X, at top is Z.


F I G U R A Tr igefimanona.
Deformatio sedificii DOR I CI.

ABES hoc loco adificium Doricum, addito

ftatu< unius ornamento. Velim autem, ut


Ji Figuram aliquant ex his defumptam, de-
lineandam afjumas, aliquid mutes faltem in
loco pim&orum oculi aut diffantice. Hoc
modo majores in hac arte progrefjus fades ; & Ji alicubi che-
lator aberraverit, ex lapfu illius nullum fenties detrimentum.

The Thirtv-ninth FIGURE.


A Piece of DORICK Architecture in Perfpeffiive.

N you have a Dorick Compo-


this Plate

sition, with the additional Ornament of a

fingle Statue but I would advife, when


;

you undertake to work after any of


thefe Befigns, you would at leaft place
the Points of Sight and Diftance fomewhat differing from
thofe here given ; which Practice both greatly further
will

your Progrefs in this Art, and prevent any Inconvenience,

that may arife from a Miftake of the Engraver.


F1GJ3KK
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FIGURA Ouadragefiim
Veftigium geometricum sedificii Ordinis BQRICI
TJiudioforum, qui fedulo fe exercuerint in
praxibus hucufque traditis, & ad majora in-
hient, utilitatiferviam, delineandamfufce-
pi medietatem arcus cum tribus columnis, ac
totidemftatuarum loculamentis. Ad vitan-
dam autem confujionem, ea duntaxat membra in veftigio
adumbrantur, quce recenfuimusfigura trigejimaoffiavd, & often-
dunt charafteres A,B,C,D,E

The Fortieth FIGURE.


The Geometrical Plan of a Dejtgn> of the DORICK Order.
OR the Benefit of the Studious, who ha-
ving reducd to Pra&ice the Rules hither-
to laid down, aim at yet greater Things ;

I have here undertaken to delineate half


an Arch adornd with Three Columns,
and as many Niches But to avoid Confafion,
for Statues.
I have given full Lines to thofe Members only, which were

mentiond in the Thirty-eighth Figure, and which are here


denoted by the Characters A, B, C, D, E.
F I G U R A Quadragefimaprima.
Elevatio geometrica aedificii Dorici

X vejiigio geometrico eruitur hcec elevatio geo~


metrica longitudinis adificii noftrh Et ic-

circo fgura ifta quadragejimaprima^ cujus

menfurce omnes defumptf funt ex Barozzio,

congruit longitudini fgur<e quadragejim*

The Forty-firft FIGURE.


The Geometrical Elevation of the foregoing Dejtgn*

HIS Upright is drawn from the foregoing


Geometrical Plan; and therefore all the

Parts of this Defign, whofe Meafures


are taken from Vignola, exaHy anfwer

thofe of the Fortieth Figure,


FIGURA Quadragefimafecunda.
>

Modus vitandi confufionem, in contra&ione


& elevationum.
veftigiorum,

ONTRACTIONES veftigii jtgurd qua-


dragejirna, & elev ationis figure quadrageji-

mceprimce, ob nimiam obliquitatem quam ha-


bent, valde confuf* funU Medebimur ta-
men incommoda ijla, uti fecimus Jiguris de-
cima, fif. undecimd. Et qjiendit chartula, exhibens inparvo
turn figuram banc quadragejimam fecundam* turn quatuor
fequentes.

The Forty-fecond F I GU
The Manner of avoiding Confifjion, in reducing Plans
and Elevations into PerfpeSlive.

HE Reducing into Perfpe&ive the Plan


of the Fortieth Figure, and the Upright
of the Forty -firft Figure, would become
7

very confus d, thro the great Obliquity


of the Rays: We have therefoie reme-
dy d the Inconveniences of both, by the Methods ex-
plaind in the Tenth and Eleventh Figures. And this
Plate contains in little, what is more at large defcrib'd in
Parts, as well in this, as the four fubfequent Figures.
FIGURA Quadragefimatertia.
Contra&io veftigii figure quadragefimse.

1NEA plant multo remotior eji a line a horizontals in hoc

fchemate, quam in pracedenti. Ideo iftud vefligium vacat

omni confujione. Catera patent ex its quce fapius dicia

funt, & ex figure hups infpetlione. Oportet autem, reffas

parallelas ad lineamplani, prolongari ufque ad vijualem TO,


(qua cadit extra paginam) ut adminiculo parallelarum, fiat

elevatio longitudinis noftri adificii, de qua dicemus figure quadragefemaquart*.

The Forty-third FIGURE.


The Plan of the Fortieth Figure in Perfpe&ive.

Y placing the Ground-line in this, much more remote


from the Horizontal, than it is in the foregoing Figure,

all Confufion is here avoided. The reft is evident from


what has been often faid on this Head, and a bare In-
fpe&ion of the Figure. Parallels of the Ground-line
mull: neverthelefs be continu'd to the Vifual TO, which

falls without this Page ; that from them may be rais'd the Elevation of the

Length of this Defign, which we ihall handle in the next Figure.


T(- i
i ' ncv-)

Fig. xlhi
F I G U R A Quadragefimaquarta.
Contra&io elevationis figure quadragefimaeprimje*
X
E C TAL parallels adlineam plani figura quadragefimatertia^
ubi pervenerint ad vijualem TO, continuandcejunt, more Jo*

lito, cum parallelis ad lineam perpendicularem. In banc


autem transferre oportet omnes divifiones, quas ex Barozzio
habet elevatio hujus ordinis ; ac ducere vijuales. Qyomodo
autem, adminiculo vifualium & parallelarum, compleatur
elevatio, conftat ex figura & clarius ex ehartula figure quadragejinnefecunda.
Numeri 5,2,3,4, geminati ofiendunt centra & altitudines femicirculorum Jeu ar~

cuum figure quadragejimaquinta ; videlicet, numerus inferior dejignat centrum7


fuperior vero dejignat altitudinem femicirculi.

The Forty -fourth


The Elevation of the Forty-firfi Figure in PerfpeSiive.

HEN the Parallels to the Ground-line in the Forty-third

Figure, are prolong'd to the Vifual TO, they are then,


as ufual, to be continued Parallels to the Perpendicular :

On which Perpendicular, thofe Divifions given by Vig-


nola, for the Proportion of this Order, are to be transferr'd ;

and Vifuals drawn from them to the Point of Sight. How


by thefe Vifuals and Parallels the Elevation is rais'd in PerfpecTive, is mani-
fell in part from this Figure, but more clearly from the Forty-fecond Figure.
The Numbers 1, 2, 3, 4, which you here fee doubPd, 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 fame.
FIGURA Quadrageiimaquinta.
Dimidium sedificii DORICI optice
deformati.

XJICJigUrce delineandtf plures praiverunt, ejuf-

demque latitudines mutuati fumus ex figura


quadragefirnatertia, altitadines ex quadrage-

Jimaquarta. Supereji autem, ut lumina &


umbrtffcite inducantnr injtngulas partes adificii.

The Forty-fifth FIGURE.


One Half of the DO RICK Deftgn
in Perfpettive.

HE foregoing Figures being preparatory


to this, the Breadths are taken from the
Forty-third, and the Heights from the
Forty-fourth Figure. It only remains,
that the Lights and Shades be skilfully

difposd to each Part of the Work.


FIG. XLVI.
FIGURA Quadrasfefimafexta,
Alteram dimidium ejufdem aedificiie

UPERSEDERE poteram delineatione

alterius medietatis <edificii nqftri, verum


opera non peperci, ut oflenderem diverjita^

tem luminum & umbrarum, qu conveniuni


partibus caterhqui omninojimilibusk

The Forty-fixth FIGURE.


The other Half of the fame De/tm.

Might very well have omitted this Half of


the Defign, but that I fpard no Pains, to
fhew the Diverfity of the Lights and Sha-
dows, that muft be given to thofe P&rts
of the Work, which in other Refpets are alike
F I G U R A Quadragefimafeptima.
Veftigia ^dificii I ONIC I.

ESTlGIUMgeometricum A adificii Ionici,


I
.
;
IrH
Y> -^V^J^jjsjgJSi
n fubfe habet fuam deformationem B. Hac
autem ut evadat difiinSlior, lineam plani,
t)mk- 1

J
qua in fequentibus figuris habebit diftantiam
lEv -r^-if

. v^.^
PE ab horizontal! OE, deorfumprotraximus
in CD, ut etiarn fecimus figurd quadrageji-
mafecundd & quadragefimatertid. Lineavifualis OM eun-
dem habet ufum, quern vifualis OT figurce quadragejimteter-
tice ; videlicet, ut in ea terminentur parallels ad lineam plani
ex membris veftigii B, eademque continuentur cum aliis pa-
rallel!s ad reSiam E C, pro deformandd elevatione quam ap-
ponemus figurd quadragejtmanond. .

The Forty-feventh FIGU


The Plan of an IONICK Building,

HE Geometrical Plan of this Ionick Work is

A, underneath is its Perfpe&IveB; to ren-


der which more diftind, the Ground-line
that in the following; Fiaures has only the
Diftance PE from the Horizontal E O, is
here remov d downward to C B, as was
done in the Forty-fecond and Forty-third Figures forego-
in2". The vifualLine OM
is of the fame ufe as that of T, O
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 contiriu d
;

parallel to the Perpendicular E C, for making in Perfpec-


tive the Elevation inferted in the Forty-ninth Figure.
t/ hr HiVircnitnt (ii

li hi- Vi/hincc id it~K Hodhlas without the line E. C. ......

Fig. xlye.

P 'Ike G/\nind line of the fmloruvruj Fiijur,


F I G U R A Quadragefimaoftava.
Elevatio geometrica aedificii ION I CI.
X hac elevatione, qua dare qftendit membra
t otitis cedificiifecundum longitudinem dijfecli,
defumuntur altitudines ac terminationes
membrorum Jingulorum. Peritiores tamen
hac figurd delineandd fuperfedere folent*
quia terminationes haberi pojfunt ex vejiigio A figure qua-
dragejimtffeptim<> altitudinis verbponendtf iterum funt figurd
fequenti.

The Forty-Eighth FIGURE.


The Geometrical Upright of the foregoing lONICKDeJign.

ROM this Figure (which diftin&ly fhews


the Compofition of the whole Work, in
refpet of its Length) are taken the
Heights and Terminations of the feveral
Members thereof. But thofe that are
skilld in this Art, ufually omit the delineating the re
Elevations ; becaufe the Terminations may be taken
from the Plan A in the Forty-feventh Figure and the ;

Heights mull be repeated in the following Figure.


FIGURA Quadragefinianona*
Deformatio Elevationis sedificii I ON I CI
AL C Figura, continens deformationem pracedentis elevationis

perficitur methodo ilia, quant oflendimus figur* quadrageji-

mafecunda; nimirum, ex vejiigio B figura quadragefimae-

feptimte, ducere oportet parallelas ad line am plant CD, qua


uhi pervenerint ad vifualem OM, continuandce funt cum aliis
parallelis adlineam EC. Eafdem parallelas in hanc figuram
tranjlatas Jecant vifuales ex linea reffa AB, in qua pojita funt altitudines adi-
ficii Ionici, defumpta vel ex figura pnecedenti, vel ex Barozzio. Nullum autem
eji punclum in membris hujus elevationis, quod non inveniatur per feftiones vi-

fualium ex linea AB, cnm parallelis ad eandem lineam.

The Forty-ninth FIGURE.


The Elevation of the IONICK Dejign in PerfpeSlive.

HIS Plate containing the Perfpective of the foregoing


Upright, is drawn by the Method laid down in the

Forty-fecond Figure ; to wit, from the Plan B of the


Forty-feventh Figure, Parallels to the Ground-line CD
are prolong'd to the Vifual OM ; and thence are con-
tinu'd Parallels to the Perpendicular EC. Thefe being
transferred into this Figure, are interfered by the vifual Lines that proceed

from AB, which contains the Heights of this Ionick Compofition, agreeable

to the foregoing Figure, and the Rules delivered by Vignola. s!ow there is

no Point in any Member of this Upright, but may be found by the Interfection

which the vifual Line from AB makes with its refpeclive Perpendicular.
Fl G. XL IX
FlG^L
FIGURA Quinquagefima,
Architeftura IONIC A.
X vejiigio figure quadragejim^feptimce, y ex
elevationefigure quadragejtmtfnonce, eruitur
hoc cedificium Ionicum, quod ejfe poterit vet
principium alicujus turris campanarite, aut
bajis cujujftiam arcus triumpbalis. Vereor
at chelator fuam diligentiam in hocfchematefatisprobaverit*
Ejus tamen errata facile ipfe deteges, & ornniJiudio cavebisi

The Fiftieth FIGU


A Dejign of I ONICK Architecture,

ROM the Plan of the Forty-feventh Fi-


if - .j

gure, and from the Upright of the Forty-


ninth Figure, is drawn this lonick Piece %

which mkht well ferve for the lower


Order of a Turret, or for part of a
Triumphal-Arch. I fear the Engraver has not been fo
exa& in this Scheme, as he ought ; but you will readily
difcover his Miftakes* and carefully beware of them.
FIGUR A Quinquagefmiaprima.
Ordo CORINTHIUS.
ia^:-W^fc ?:i
OMPLECTITUR hxcpagina molem con-
j*": SrtyllB trailam OrdinisCorintbii, cumfiuisprtfpara-
"*McE tionibus. Vefiigium A exhibet parietempone
f columnas cavum infiar canalis. Idem vefii-
^lil^sfiHEiiis
\ gium optice deformatur inD: omijfdque ele-
vatione geome tried, per ejus altitudines notatas in lined BC
projicitur elevatio ; ac methodo confine td, ex vefiigio &f elevd-
tione componitur <edificium, additofiatute unius ornamento.

The Fifty-firfl: FIGURE.


^CORINTHIAN Dejign in Pertfetiive.

HIS Plate contains the Perfpe&ive of a


Corinthian Work, with its Preparations.
The Geometrical Plan A (hews the Wall
wrought hollow behind the Columns.
The faid Plan in Perfpe&ive is and D :

leaving out the Geometrical Elevation, the Perfpetive


thereof by transferring the Heights of the
is defcrifrd,

former into the Line BC. From the Perfpetive-Plan and


Upright the Defign is finilhd after the ufual Manner to ;

which is added the Ornament of a fingle Statue.


-
Figura Quinquagefiniafecunda.
Delineatio columns fpiralis, Ordinis COMPOSITL
OS ITA elevatione Geometrica cohmna refta, ac divifione illius in <vt-
gintiquatuor partes aquales, cohmna fpiralis abfohitur per partes dr-
cumferentia circulorum, quorum diametri funt aquales diver/Is latitudi-
nibus cohmna reffa, ut ojtendh Jigura
in A. Ad projecTionem opticam
elevationis, not anda funtquatuor occulta recta, qua ex terminis connexi-
tatis &
concavitatis infimarum fpirarum ejufdem elevationis A, defcen-
ditnt ac dejinunt in duos circulos vejligii geometrici B. Veftiptum ipfum
optice imminutum habetur in C : eadem autem funt maxima hhic hide
latitudines, turn in circulo majori, turn in convexitate infimarum cohmna
fpirarum 5 eadem funt maxima latitudines, turn in circulo minori turn hi
concavitate ipfarum fpirarum 5 ut dignofces applicando regulam fpiris Jimul circulis. Ex qua- &
tuor punfits maxima latitudinis duorum circulorum, hicipiunt quatuor linea parallela ad lineam
plant, qua ubi pervenerint ad vifualem ED, continuanda funt cum parallelis ad perpendiculum
D F. In eandem lineam D F, ex elevatione A transferre oportet vigintiquatuor partes aquales
altitudinis cohmna, ac ducere vifuales ad O punclum oculi. 'Per feffionem autem vifualiitm cum
pradifiis quatuor parallelis ad lineam D F, ducuntur linea undulata MN, PQ, ex qiiibvs eruun-
tur linea utrinque terminativa cohmna fpiralis nitida. Ex linea verb GH habetuy- fades ante-
rior Jtylobata, cohmna & coronicis 3 ex linea I L habetur fades eorum pojletior.

The Fifty-fecond F
The Description of a wreath' d Column, of the COMPOSITE Order.

AVING made the Geometrical Elevation of a freight


Column, and di-
vided the Height of its Four and Twenty equal Parts 5 the
Shaft into
Wreathing is defcrib'd by Parts of the Circumference of Circles, whofe
Diameters are equal to the feveral Breadths, or Diameters, of the ftreigk
Column 5 as is fliewn in the Figure A. For putting the Upright into
Perfpe&ive, four ftreight occult Lines are of ufe, which defcend from
the Extent of the Swellings and Sinkings of the lower Wreaths of the
Column A 5 and terminate in two Circles of the Geometrical Plan B.
'*? The faid Plan laid down in Perfpe&ive is
C. The utmoft Extent of the
greater Circle determines that of the Convex Parts of the lower Wreaths The greateit Breadth of
:

the leifer Circle gives that of the hollow Parts of the faid Wreaths 5 as may be perceived, by apply-
ing a Ruler from the Wreaths to the Circles of the Plan. From the Four Points of greateft Breadth
in thofe Circles, four Lines parallel to the Ground-line are continued to the Vifual E D, and thence
again continu'd parallel to the Perpendicular D F. From the Elevation A, the four and twenty
equal Parts of the Column s Height, are transferr'd into the Line D F, and Vifuals drawn from each
to the Point of Sight O. By the Interferons of thofe Vifuals with the Four Perpendiculars afore-
faid, are drawn the wav'd Lines MN,PQ_ 5 from which, both the Out lines of the fmifh'd Co-

lumn are defcribd. But the Fore-part of the Pedeftal, Column, and Cornice, is taken from the
Line GH; the Back-part of the fame from the Line I L.
o
^

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FIGURA Quinquageilmaquarta.
Veftigia sedificii Ordinis CORINTHII.
ESCRIPTURI adificium Corinthium oclangulare, ponimus
hie veftigia unius ex quatuor partibus pilarum, quibus impo-

netur fornix in modum tholi, ut conftctbit in figura quinqua-

gefimaotlava. Ad faciliorem defcriptionem, in parte infe-

riori paginte pofui vejligium geometricnm Jljlobata, in fu-

periori vejligium geometricum coronicis, cum latitudinibus &*


longitudinibus membrorum Jingulorum ; ut eas transfer endo in line am plani more con-

fueto, utrumque vejiigium optice deformetur. Ad vitandam confujtonem, prius no-

tare oportebit puntla qua fpeclant ad membra propinquiora folido parieti, deinde

alia.

The Fifty-fourth FIGURE.


The Plan of the Deftgn of the CORINTHIAN Order.

EING to defcribe an Octangular Corinthian Work, I

have here inferred the Plan of one Quarter of the Com-


pofition ; which is vaulted in form of a Cupola, as is

feen in the Fifty-eighth Figure. To render the Plan

lefs confus'd, I have, in the lower part of the Plate,

i
given the Geometrical Plan of the Pedeftal ; and in
with the Breadths and Lengths of
the upper part, that of the Cornice ;

each Member : fo that by transferring the fame into the Ground-line, after

you delineate each Plan in Perfpedtive. For avoiding


the ufual manner,
Confufion, 'twill be requifite firft, to transfer the Points of thofe Members

that are next the Solidity of the Wall ; ann then proceed to others.
Fig. li v.

i I i t iii iii iiij i ii iiiii ii i i iiiii iii Mil i i ii i i i ii i ijj i i i iiii ii i ii i i


4-4-
-I III I tti 1
i i r-

iTHE-QUVjOO'-f'-l

Fig. la/: 1

ilM M teJ^Ss' r
FIGURA Quinquag
Elevatio sedificii Ordinis CORINTHII
L E VAT10 geometrica tedificii octangularis
congruit cum duobus ejus vejtigiis figurd
antecedents. Quia verb elevatio parietis

abfcondit fecundam ex quatuor columnist


eademque in adificio deformato confpicua

futura eji ; iccirco earn lineis occultis dejignare oportuit*

The Fifty-fifth FIGU


The Geometrical Elevation of a CORINTHIAN Wort
HE Geometrical Elevation of this Octan-
gular Defign, is wholly correfpondent to
the two Plans of the foregoing Figure :

But becaufe the Wall in this Upright


takes off the Steht from the feccnd of
the four Columns, which is notwithftanding v?fible in the

finifli d Perfpeftive that follows ; 'tis requilite to delineate

the fame with occult Lines, as in the Figure.


F I G U R A Quinquagefmiafexta.
Deformatio Veftigiorum & elevationis sedificii

CORINTHII.
N hac Figurd, line am plani coincidere volui
cum lima horizontis. Itaque videri nonpojfet
veftigium infer ius, nifi ut alias deorfumpro-
traxi lineam plani, hie e converfofurfumpro-
movijfem lineam horizontis, qitam confiitui
mediam inter line as plani utriufque vejtigii, ut amb&projeBio-
nes ejfent deque diftmSla. In elevatione, columna fecunda*
quam, ut dijxi, paries abfeondit, line is occult is dejignanda eft.

The Fiftv-fixth
j
FIGURE.
The Perfpeffiive Plans and Upright of the CORINTHIAN
Dejign foregoing.

N this have made the Grc mid-


Figure, I
line coincident with that of the Horizon,
in which cafe the lower Plan cant be feen,
unlefs the Ground-line be funk lower, as
before intimated ; or contrariwife, the
Point of Sight rais'd higher, as I have here done, keeping
it in the midft between the Ground lines of the two Plans,

that the Perfpe&ive of both might be equally diftinft. In


the Elevation, the fecond Column, Avhich I mention d to be
hidden by the Wall, fliould be defignd with occult Lines.
lr": :lasogw|
Tig. lvh.

''/_!"

5
FIGURA Quinquagefimafeptima.
Adumbratio Figure fequentis*

IGURAM banc feorfim delineavi, ut videas


quomodo facienda fit operis totius adumbra-
tio, accipiendo altitudines membrorumfingii-

lorum ex elevatione ; latitudines & kngitu-


dines ex veftigiis. Qua omnia ex diagram-
matis injpe&ione clarijjime apparent.

The Fiity-feventh FIGURE.


The rough Draught of the following Figure.

IBf* ^Hs&H
Have drawn this Figure apart, that you
IfiipBSr^' jijp|jl3
may fee the Manner of defcribing the

SB \f Kg?*?. '=j\fia^^^
Out-line of the whole Work, by taking
the Heights of the feveral Members from
-
[_
*skflIVj ./ :
-~ .***^l

the Elevation, and their Breadths and


Lengths from the Plans ; all which is very plain, upon
Infpe&ion of the Figure.
F I G U R A Quinquagefimaodava.
JEdiMum Ordinis CORINTHII
QBangulare.

TJCTJS QJJE defcripfimus pilas anticasji-

niftras adijicii Corinthii. En hoc loco me-

dietatem dexteram totius Operis. Integrum


verb adificium habebisfigura fexagejima.

The Fifty-eighth FIGURE.


Part of an Octangular Work of the
CORINTHIAN Order.

IT HER TO the neareft Left-hand


Quarter of this Corinthian Defign has
been defcribd. In this Plate you have
the Right-hand Half of the whole Work;
and in the Sixtieth Figure, the entire
Perfpective compleat
!/C

\[F

EEEEfcS^^i

'.. A
F I G U R A Quinquagefiinanona.
Veftigia Tabernaculi oftangularis.

ROJECTIONES reriim 08angularurn


funt quadratis difficiliores : ideb in eis expli-
candis diligentU nonpepercu Moles, cujus
veftigia vides in A f B, convenit in multis

Ottawa*
3
Vifudlis
cum ea quam ereximus figura quinquagejima-
CD recipit feBiones perpendicularium, qu<e
deferviuntpro elevatione figure fequentis, utfepius diBum eft.
Si fades interior delineandajitfeorjim a facie anteriori, illam
perficies ope linearum CE, ifam ope line arum FD.

The Fifty-ninth FIGURE.


The Plans of an OBangular Tabernacle.

CTANGULAR Figures bein.2; more


difficult to be put in Perfpe&ive, than the
Square ; I fhall ufe my beft Endeavours
to render the Me
hod as plain as poffible.
The Compofition whofe Plans yen fee in
A and B, has much Affinity with that defcrib'd in the
Fifty-Eighth Figure. TheVifualCD receives the Sec-
tions, from which Perpendiculars are rais'd for the Ele-
vation and Profile of the following Figure, as has been
of en faid. If you would delineate the Back-part fepa-
rate from the Fore-part, you may do the former by means
of the Line CE, and the latter by that of FD.
FIGURA Sexagefima.
Tabernaculum otangulare

OC tabernaculo aliquoties ufus fui pro expd-


Jitione quadraginta horarum. Si colores

fcite induBi fuerint in duos ordines tela-*

riorum^ refefflis omnibus qua ad molem ip-

fam non pertinent > fpeBatoribus imponet, gf


folida videbitur. Oportebit autem exemplar externa faciei
eruere ex parte DF vejiigii& elevationis; exemplar interio-
ris faciei eruere ex parte E C, fervando in omnibus regulas

quas hucufque tradidimus*

The Sixtieth FIGURE


An Octangular Tabernacle in PerfpeSlive*

Have fometimes made ufe of this Taber-


nacle for theExpofition of the Forty Hours*
If the Colours are laid by a skilful Hand,
on two Ranges of Cloth, and the Frame
cut away according to the Out-line of the
Work, they will wonderfully deceive the Eye, and appear
as folid but then the outer Ranse mull be drawn after
;

the Plan and Elevation of the Part DF in the foregoing

Figure ; and the inner Range after that of EC ; in all

things obferving the Rules hitherto delivered.


Fig. lxi.
exage
Modus erigendi machinas, cpx conftat pluribus ordinibus telariorurrh

X figura infpettione addifces


<
modum erigendi machinas qua confl at plurU
bus ordinibus telariorum. Tabernaculum hoc nojlrum indiget duobus tan-
turn ordinibus ; nam telaria propinquiora oculo exprimunt faciem exter-
nam, remotiora exhibent faciem intemam. Ne autem lateant jiipites qui-
bus telaria fuflinentur, medietatem telariorum adumbrare omifimus. Ret~ia
LS eji line a plant, reia DG eji puncTum diflantia
linea horizontalis-, ac
quod cadit extra paginam in ret~ia C G prolongate., debet ejfe remotum &
punttoQ, quantum in fuperiori parte figura quinquageJlmanona,puniium
difiantia eji remotum a puntlo oculi. Eadem horizontalis fecatur DG
normaliter iy C a ret~la EF, qua eft fettio externa faciei tabernaculi, exC incipiunt dim/tones &
in partes aquales pro reticulatione anterioris faciei telariorum, ut dicemus figura. fexagefimafecunda.
Retta IL qua eji fe6lio interna faciei tabernaculi, dijlat ad libitum a retla EF cut eft parallela*
tPorrb, per divifiones refia EF {ut njides in M,N,0) ex puncio diflantia ducenda funt vifuales act
reflam I L pro reticulatione aliorum telariorum : difiantia enim DC facit ut augere oporteat ect

qua in telaritspinguntur, alioquin jufto minora viderentur. Atque hinc dignofces, cur arcus qui
in telariis anterioribus pertingeret folum ad B, in pojlerioribus elevetur ufque ad H.
Figura fequenti proponemus modum delineandi faciem intemam telariorum, adhibit a reticulatione
externa faciei', ad intelligentiam verb methodi, fiat in hac figura. recta
illius parallela HP ad DC,
ac retfa BC dividatur in totidem partes aquales, in quot partes divifa fuerit reta P C.

The Sixty-firft F
The Manner of eretfing Machines, that con/ifl of federal Ranges of Frames.

Y caftingyour Eye on the Figure, you'll readily apprehend the Manner


of erecting the feveral Ranges of Frames. This Tabernacle lad defcrib'd
needs only two of them ; the Frame next the Eye reprefents the outer
Face, and the hinder Frame the inner Face thereof. I have here defcrib'd

but the Half-Breadth of the faid Frames, that you might have a Sight of
the Poles and Braces which fupport them. The Line LS is the Line of
the Plan, or Ground-line ; the Line DG is that of the Horizon ;
and
the Point of Diftance, which falls' without the Page CG prolonged, is as
far from the Point C, as the Point of Diftance is from the Point of Sighe
in the upper Part of the Fifty-ninth Figure. The Horizontal is cut perpendicularly in DG
by the C
Line E F, which is and from the
the Section of the outer Face of the Tabernacle begirt
;
Point C
the equal Divifions for the Net-work of the foremoft Frame, as is (hewn in the Sixty-fecond Figure.
The Line I L, which is the Section of the inner Face of the Tabernacle, may at pleafure be fee
nearer or farther from the Line E F, to which it is parallel. By the Divifions of the Line E F (as
M, N, O) Lines are drawn from the Point of Diftance to the Perpendicular I L, for the Net-work
of that Frame ; for the Diftance DC obliges the Parts of D to be painted larger, otherwife they will
appear lefs than they really ought. And from hence you may difcern, why the Arch, which in the
foremoft Frame would reach only to B, does in the hindmoft rife up to H.
In the following Figure is fliewn the Manner of delineating the inner Frame, from the Net-work
of the outer Face $ for the better underftanding of which, make the Line P in this Figure parallel H
to DC, and let the Line BC be divided into as many equal Parts, as the Line PC was.
F I G U R A Sexagefimafecunda.
De reticulandis telariis, qua: reprsfentent xdificia folida.

exemplaria tabernaculi qua Jeorfim delineanda funty conjunct im habes in A.


1)0
1)trifque defervit eadem reticulatio, quam fuis numeris infignivimus . Toftquam
ervo defignaveris amplitudinem totius adificii, cum proportioue ad ipfam reticu-
laris pavimentum B aula cujufpiam quod capiat rem totam, afcriptis eifdem nu-
me'Yis qttos habet exemplar : ejufque retis ope, ducentur in pavimento linea ter-
minativa tot idem membrorum, quot futura fimt telaria exprimentia faciem exter-
nam tabernaculi. Vbi hac parata fuerint, Jingula difponentur exact e fuis locis
in ipfomet pavimento ; ac funiculis colore nigro imbutis, repetetur in telariis ea-
dem reticulatio, odditis ad libitum pluribus vifualibus ; quorum adjumento dum
feorfim pinguntur telaria, duct queont recta tendentes ad punttum oculi feu per-
fpettiva. Alio quoque reticulatio fuper pavimento necejfaria eft pro interna facie
tabernaculi ; ac dua ret iculat tones pavimenti earn inter fe proportionem habebunt,
quam habent divifiones rettarum IL, EF, figure fexagefimaprima. Hnjus retis
duttufient linea terminativte telariorum cum reliquis, tit jam indicavimus.
Juxta banc methodum nequeunt dtici linea terminativa inter tor is faciei, nifi fiat in pavimento aliud rete de-
leto priori, quod ejfet vdlde laboriofum. Tofiquam ergo ex veftigio figure quinquagefimanona eruta fint dito
exemplaria , in exemplar faciei externa transferatur reia PC figura fexagefimaprima, in exemplar faciei in
tenia transferatur retta B C. Si autem retta P C divifa fuerit in quindecim partes aquales, dividetur B C in
quindecim partes aquales, at que ope harum divifionum reticular e oportebit utrkmque exemplar. Torrb licet
quadrata in reti exemplaris faciei externa fint major a- quadrat is exemplar is interna faciei, nihilominus idem
rete pavimenti deferviet pro ducendis lineis terminativis utriuf que faciei. Qua dicta fitnt de duobus exempla-
ribus, valent de aliis quotcunque. Exempli gratia ; fi confiruere placeat quinque ordines telariorum, fient quinqne
exemplaria in papyrot, Si in omnibus exemplaribus ufurpetur eadem reticulatio, in pavimento facere oportet
quinque diverfas reticulationes. Si autem in exemplaribus fiant quinque diverfa reticulationes, in pavimento
Jiifficit una reticulatio.
Curandum eft ut fingula retis quadrata in telariis fint exalt a, omnefque
illorum anguli fint recti. Modus
expeditijfimus faciendf\ngulos rectos eft hujufmodi. Tofito uno crure circini in puncto F line a recta EF,
alioque crure fofito ubilibet in O, fiet circulus GFI, ^
ex puncto G
diameter GI. Si recta HF
tranfeat per
puntta 1 & , efi normalis ad E F.

The Slxty-fecond FIGURE.


Of making the Net-work on Frames, for reprefenting the Architecture as folid.

OU
have jointly in A, the two Defigns of a Tabernacle, which are to be drawn fe*
; the fame Net-work ferving
parately for both, which is alfo mark'd with Numbers.
When you have therefore refolv'd on the Size of your Work, on the Pavement of
fome Room capacious enough, make a Net-work anfwerable, and affix thereto the
Numbers, as in your Copy By the Help of which, you may on the Pavement de-
:

fcribe the Out-lines of all thofe Members that are requifite to the outer Frame of the
Tabernacle. This being done, let the Frame be laid exactly in its place on the faid
Pavement, and with a black Line ftrike thereon the fame Net-work ; adding as ma-
ny Vifual Lines as you pleaie, which will be of Ufe for drawing Lines to the Point
of Sight, when you come to paint the Frames afunder. Another Net-work on the
Pavement is alfo neceiTary for the inner Face of the Tabernacle, which fhould bear fuch
Proportion to this, as the Divifions of the Line I L do to thofe of EF in the Sixty-firft
Figure ; and by this means the Out-lines of the inner Frame, &c may be drawn, as has been ihewn already.
.

Thus the Out-lines of the inner Face can't be defcrib'd, without rubbing out the firft Net-work, and making a fe-
cond on the Pavement ; which wou'd be very troublefome. Wherefore, from the Plan of the Fifty-ninth Figure, take
the two Defigns, and transfer the Line PC of the Sixty-firft Figure on the outer Face, and the Line BC on the in-
ner Face. Then if P C were divided into fifteen equal Parts, B C fhall be divided in the lame manner, and by thefe
Divifions make the Net-work on each Defign. And altho' the Squares of the outer Face be larger than thofe of
the inner one, the fame Net-work may neverthelefs ferve for giving the Out-lines of both. What has been faid of
thefe two Defigns may be underftood of many. For Inftance, if five Ranges of Frames were requir'd, five Defigns
muft be made in Paper. If in all the Defigns the fame Net-work be us'd, then five feveral Net-works niuft be
made on the Pavement ; but if the Defigns have five different, then one Net work on the Pavement will fuffice.
You muft be very careful that all the Squares of the Net-work be exactly divided, and at right Angles. The
ready way of making a right Angle is thus Placing one Foot of the Compaffes in the Point F of the Line E F, and
:

the other at pleafure in O, defcribe the Circle G F I ; and from the Point G draw the Diameter G I. The Line F H
drawn by the Points F I, ihall be perpendicular to F E.
FiG.Lxm.
FIGURA Sexagefimatertia.
Veftigia aedificii quadrati.

ESTIGIUM geometricum A hujus adificii

habet in BJuam deformationem. Difcri-*

men inter pilas C *f D oritur ex eo, quod


in C pojitajint vejligiajtylobatarurn, in D
autem pojita jint vejiigia coronicum.

The Sixty-third FIGURE.


The Plan of a Square Dejign.

|||hE Geometrical Plan cf this Befign A,


ill is brought into Perfpetive in B. The
Difference between the Parts C and D
|| arifes from hence, that the Plan of the
44

Pedeftals is placd in C, and that of the Cornice in D.


FIGURA Sexagefimaaiiarta.
^Edificium quadratum.

X deformatione veftigii s? elevationis, methodo


confuetd eruitur imago totius rfdificii, qu
pot eft ejfe exemplar ar maxima
alicujusRc-
tlefice. Hanc machinam, nonjine communi
approbatione, aliquot ies adhibui, in apparatu
quadraginta horarum ; locum in medio vacuum
J

occupantibus Angelis cum nubibus, additd figurarum aliquot


copid in parte inferiori. Modus faciendi in telariis remotio-
ribusab oculo partem tholi rotundi quam hie vides, deducitur
ex Us qua tradidimus in projeffiione circulorwm.

The Sixty-fourth FIGURE.


A Square Dejign in Perfpeffiive.

ROM the Plan and Upright in Perfpe&ive,


of the whole Work is de-
this finifhd Piece
lineated after the ufual Manner, and may
ferve for the Defign of a great Altar in
a Church. I have fometinies, for the
Solemnity of the Forty Hours, expos d this
painted on a Machine, with an univerfal Satisfaction An-

gels with Clouds poflefling the higher part of the Hemi-


sphere within, and Groups of Figures the lower part.
The Manner cf defigning on the inner Frame, that part of
the faid Cupola which you here fee, is deducd from what
has been before faid of putting Circles into Perfpe&ive.
'.", ...
FIGURA Sexagefimaquinta,
Veftigium tedificii rotundi optice imminutum.
1

UI fedulam operant in circutis deformandis non pofuerint


7

eofcjue minimo negotio ex ufu defcribere nequiverint, frujira


conabuntur projicere vefligia gdificiorum rotundorum. Ad
vitandam confujtonem, proderit in vefligio notare primum li-

neas occultas membrorum pracipuorum ; iifque tranjlatis in

elevationem, adder e fenfim reliquas; Hac induflria ego ipfe

in hoc Jchemate ufuJ fum. lyurn autem experimento didicerim


.
fummam ardui-
tatem harum defer iptionum, aliam regulam adhibere jamdiu coepi, quam? ut fupra
diximus, in aliud Opus refervamns.

The Sixty-fifth FIGURE.


The Plan of a Circular Work in PerfpeBive.

HEY that have not diligently apply'd themfelves to


the putting Circles into Perfpective, and, by a con-
ftant Practice, render'd thi Work familiar to them,
will in vain attempt that of the Plans of round Build-
ings. To prevent Confufion, you'll do well, firft to
mark the occult Lines of the principal Members ; and
after thofe are transferr'd into the Upright, tten proceed to the reft, as I

my felf did in this Figure. But having founl by Experience, the great
Difficulty of defcribing thefe round things, I have long fince made ufe of
another Method, which, as I faid before, is referv'd for another Volume.
FIGURA Sexagefimafexta.
Proje<9:io aedificii rotundu

IRIFJCE oculis imponunt imagines rerum rotundarum, Ji

omnibus refeclis qua ad eas non pertinent, exaffe delineates

I ac depict afuer int. Ham figuram ex vefligio eruere oportebit

methodo confueta, eamque in Templo iS.Ignatii Collegii Romani

confiruxi, pro feriaV.& VI. Hebdomada Janclioris. Intra


arcum, juper altari, locus erat urnce fepulchrali, cum Vene-

fabili Sacramento. Sub altari vifebatur Jimulacrum Chrifli Domini e Cruce de

pofiti : in medio columnarum, imago Beata Virginis dolentis ; Juper balauftiis

Angeli lugentes, cum inftrumentis cruciatuum Salvatoris.

The Sixty-firth FIGU


A Circular Dejign in PerfpeSiive.

HE Appearance of round things, if well delign'd, mafter-

ly painted, and the Frame cut away to the Out-line of


the Work, do wonderfully deceive the Eye. This Fi-
gure is drawn from the Plan, as ufually ; and was put
in execution by me, in the Church of S. Ignatius of the
Roman College, for the Thurfday and Friday of the Holy
Week. Within tne Arch, pn the Altar, was plac'd a fepulchral Urn con-

taining the Holy Sacrament. Beneath the Altar was laid a Figure of our

Saviour Chrift taken down from the Crofs. In the midft of the Tambour,

was a Piclure of the BlefTed Virgin in extreme Sorrow ; and on the Baluftrade,

Angels mourning, bearing the Inftruments of the Paffion.


FIG. LXVI.
rtHE-fiL'ASGOW-
:-
iCHOC'-' t\T

Fig. lxyh.
FIGURA Sexagefimafeptima.
Veftigium geometricum, ac prima prseparatio ad figuram
feptuagefimamprimam
GREG 1 AM adeb fpeciem prafetulit, atque oculis adeb impofuit ma*
china quam conjlruxi anno \6)s<) :i
pro fupplicatione qmdraginta horarum^
'in Templo Urbis Famejlano, ut decreverim fatisfacere Studiofis, publici
juris faciendo non modb imaginem totius adificii, fed etiam illius vejligia

& elevationes : qua omnia ea. diligentia. delineavimus, veluti Opus ipfum
non penicillo colorandum, fed lapidibus extruendum fuijfet. Spatia fit'

grantia foliditatem dejignant parietum & colamnarum. Catera linea


funt crepidines Jiylobatarum & coronicum. Initium delineationis fiet ab
its membris, ex quibus oriuntur linea occulta pojii a in A, {qua autem dicuntur de hac medietate,
intelligi debent de alia) ne multitudo linearum confujionem pariat . In B linea ciirva occulta funt
vejiigium tholi qui complet fummitatem adificii. Vejiigium C exhibet ambulacrum interius. Omi/i-
mus autem vejiigium theatri, quia pagina angujiia illud non capit.

The Sixty-feventh FIGURE.


The Geometrical Plan, and jirji Preparation to the
Seventy-firji Figure.

HE Machine which I erected in the Year 1^85, in the Church ofFarneze,


or Jefuits Church ztRome, for the Devotions of the Forty Hours 5 had fo
admirable an Effect, and fo pleafantly deceivd the Eye, that I refolv'd
to gratify the Studious, not only with a general View, but with the Plan
and Elevation thereof 5 all which was perform 'd with fuch Exactnel's,
that the Work itfelf feem'd rather to confift of folid Stones, than to be
wrought by the Painter's Hand. The hatched Part denotes the Solidity

of the Walls and Columns. The other fhews the Breaks and Projectures
of the Pedeftals and Cornices. Left many Lines fhould caufe Confufion, begin with thofe Mem-
bers, which produce the occult Lines on the Side A 5 understanding the fame alfo of the other half.
In B the occult curv'd Lines are the Plan of the Cupola which crowns the Structure. The Plan C
is that of the inner Veftibule, but that of the Theater is here omitted, thro' want of Room in
the Page.
FIGURA Sexageiirnaotava.
Elevatio geometrica veftigii prsecedentis, &
fecunda prse-
paratio ad figuram feptuagefimamprimam.

N hoc fchemate habes elevationem tfdijiciife-


Bam in longi/m, quam figurd feptuagejimd o-
pticeprojiciemus : eifdemque membrisconfiare
videbis elevationem deformatam, quibus con-
fiat elevatio geometrica. Hincdifces adex-
cogitandas hujufmodi machinas, eandem Ar-
fcientiam in PiBore necejfariam ejfe, qua adcon-
chiteffiurce

firuenda folida tedificia exigitur in ArchiteBo.

The Sixty-eighth FIGURE.


The Geometrical Elevation of the foregoing Plan, andfecond
Preparation to the Seventy-firfi Figure.

N this Figure you have the Elevation of


the aforefaid Structure differed length-
wife ; the Perfpe&ive thereof is defcribd
in the Seventieth Figure ; and you may
obferve that both of them confift of the
fame Members whence you may per-
:

ceive, that for defigning things of this kind, the Painter


ought to have no lefs Skill in Archite&ure, than is re-
quir'd for the Execution of folid Works.
i

....

FIG.LXVm
LI I '
'
' -

Fig. lxix.
FIGURA Sexagefimanona,
Deformatio figure fexagefiniaefeptiiii^e,
veftigii prce- &
paratio tertia ad figuram feptuagefimainprimaiiL

RTIFICIUMprojeffionis veftigii hujus, ex-


plicatum a nobis eft jigurd quadragefimafe-
cundd ; nimirum, ut parallels Jint invicem
dijiantiores, lineam plani deorfum protraxi-
mus, ut ex intuitu figure? ftatim cognofces.

The Sixty-ninth FIGURE.


The Plan of the Sixty-feventh Figure in PerfpeSiive, and
third Preparation to the Seventy-firtf Figure.

HE Artifice us'd in projecting the Perfpeo


tive of this Plan, has been already fhewn
in the Forty-fecond Figure namely, that
;

for giving the greater Diftance between


the Parallels, the Ground-line is drawn
much lower than its true Place ; as is ma-
nifeft on Infpetion of the Figure.
FIGURA SEPTUAGESIMA.
Deformatio elevationis figure fexagefimsec&avse, & prse-
paratio quarta ad fi^uram feptuagefimam primam.

U^E diSlafunt de projeSlione vefligii nojiri


tfdificii, habent locum in elevationei nimi-
rum, ut parallels invicem not abt'liter difta-
rent, ufifumus induflria quam declaravimtk

fgurd quadragejimafecunda.

The Seventieth FIGURE.


The PerfpeSlive of the Elevation of the Sixty-eighth Figure,
and the fourth Preparation to the Seventy firB Figure.
HAT has been faid of the Perfpe&ive-
Plan cf this Structure, is alfo here pra-
&isd in the Elevation ; namely, that the
Parallels might be fufficiently diftinft, thef
Perpendiculars are drawn more remote
from the Point of Sight, as was fhewn in
the Forty-fecond Figure.
FlG.LXX.
. ;. r .;, 77]

FlG.LXXI
FIGURA fi naabruna.
Theatrum reprsefentans Nuptias
ftructum Romse, anno 1685. in expofidone
cramenti in Templo Farnefiano Societatis JE
X antecedentibus praparationibus eruimus projeffionem nobilis hiijus Av*
chiteffura, qua oculos impkbat turn ad facem foils diurnam, turn pra
c'ipue ad lumen candelarum ; ex quibus mult a palam erant expofta, alia

omnino latebant, ut illuminarent fex diverfbs ordines telariorum qu'tbui


tota mavhina conjlabat, non computando in hoc numero tela/ia, qua in
medio arcus maximi exprimebant mtbes refertas Angelis adorantibus Ve-
nerabile Sacramentum. Nubes if as omijimus, ne abfonder entur partes
tMeriorum adifriorum. In difponendts autem ordinibus telariorum, ft"
vatus eji modus quern declaravi figura. fexagefimaprima &
fexagefima*
fecunda $ ac praterea in eligenda eorum difaniia ciiratum fuit y ut candela
in parte pojiica telariorum collocata, illuminarent faciem telariorum interiorum. tPorro quot mem'
bra pracipua in duabus faciebus majoribus, totidem difincia telaria numerabantur, quorum proinde
connexiones difcerni vis pot erant 3 eorumque aliquot paria ferreis hamulis copulata erant, ut explu
cart ac replicari pojfent, ad faciliorem tralatwnem diuturnioremqitc confervationem.
hii hucufque fequuti me fuerint, nihil dubito quin fuum iter feliciffme fmt profequuturi ^ atque
Opera his nojlris majora melioraque inventuri.

The Seventy-firft FIGURE.


/I Theater reprefenting the Marriage of Cana in Galilee,
ere tie din the Jefuits Church at Rome, /// the Year 1685 5

for the Solemnity of expojing the Holy Sacrament.


ROM the foregoing Preparations, drawn the Perfpective o f this noble
is :

Piece of Architecture which {truck the Eye when ieen by Day-licrhtj


;

but was more efpecially furprizing by Candle-light many of the Can-


5

dles being expos'd to Sight, and others altogether hidden, to illuminate


thefe fix different Ranges of Scenes, of which the whole Work confifted
?

without reckoning that in the midft of the great Arch, reprefenting


Clouds fill'd with Angels adoring the bleffed Sacrament. Thofe Clouds
are here omitted, that the inner Parts of the Work might be the better
feen. In difpofing the feveral Ranges of Scenes, the lame Method was
obierv'd, which was delivered in the Sixty-full and and great Care was a'ifo
Sixty-fecond Figures 5

taken in their Diftances, that the Candles plac'd on the Back of one of them might illuminate the
Face of the other behind it. Moreover, each Scene confifted of as many Parts, as there were prin-
cipal Members in the two greater Facades fo that the Joints were icarcely difcermble
5 arid lome :

Pairs of them being coupled with Hinges, folded and unfolded, for the more cafy managing and
preferving them.
I doubt not but thofe who have follow'd me thus far, will be encouraged fo to profecute their

Studies, as to be able to defign even greater and more noble Works,* than thefe of mine.
Septuageflmafecunda.
De theatris fceniciSi

HEATRIS qua jam delineavimns affinia funt theatra fcenica; in his tamen non
adeb facile refer itur punclum oculi feuperjpeiliva. Traterea^ quia ex obliquitate
canalium intra quos moventur fcena, oritur ut linea retla qua videri debent pa-
rallela ad lineam plant, non debeant effe parallels fed obliqua, harum delineatio
difficultate non caret. Incommodum iftud vitari pojfet adhibendo canales parallelos
ad pofienium, ut alicubi fieri /diet, prafertim in Germania. Nihilominus ufus Ita-
licus affert hoc adjumentum, ut illi quibus incumbit fuggerere acloribus, vel feenas
movere, aliifque fimilibus praejfe, facilius lateant &
liberius fungantur munere

f ao -

,
1)t brevem fummam habeas eorum qua deinde lathis declaraturi fumus, hanc
figurant contemplare. 1,2,3,4, eft veftigium aula qua habet in longitudine centum-
Jr'viginti palmos Romanos, in latitudine fexaginta palmos ; ut oftendit fcala S triginta
palmorum. Medieiatem loci occupat theatrum, medietatem obtinent podia & loca fpeclatorum. O punclum in
quo uniuntur linea vifuales, D locus pro apparentiis rerum magis ac magis diftantium. BC locus pofcenii.
HH funt canales obliqui, quorum latitudo eft dupla latitudinis fcenarum. F Q frons
fades theatri. A O ejus
profunditas aut longitudo. E locus pro pfaltibus, tibicinibus, 6s fiftulatoribus. K fpatium profpetlatoribus. I
veftigium podiorum. L fcala podiorum. N ipforum elevatio. M declivitas tabulati, cum feclione elevatione
theatri. Et fcenis ex latere infpeBis, qua cum fuis canalibus congruunt, ut demonftrant linea occulta. O O linea
normalis ad lineam horizontalem. P &
Q_ elevatio fcenarum coram injpeclarum, qua introrfum flefluntur ; in
latitudine congruunt cum canalibus veftigii B, in altitudine cum fetlionibus elevationis M
; ut conftat ex lineis
occultis. In eadem elevatione M pars altitudinis tribuenda eft fcenis, pars laquearibus R, per qua jungitur
unumquodque per telariorum. V &
V linea ad explorandum an detur vacuum inter feenas laquearia, vel inter
feenas, vel inter laquearia. In quibufdam autem fcenis, loco laquearium pinguntur nubes &
aer.

The Seventy-fecond FIGURE.


Of Scenes for the Stage*
CENES have very much Affinity with thofe lately defcrib'd, but the
for the Stage
Point of Sight not fo eafily found in thefe ; and from the Obliquity of the
is

Grooves in which the Scenes run, it comes to pafs, that the right Lines which
ought to appear parallel to the Line of the Plan, muft not be drawn parallel there-
to, but oblique which is a Work of fome Difficulty. This indeed may be avoided
;

by fixing the Grooves parallel to the Pofcene ; as is ufual in fome Places, efpecially
in Germany. Neverthelels, the Italian Manner has this Advantage, That thofe who
are employ'd to prompt the Actors, and lhift the Scenes, &c. arelefs expos'd to Sight,
in the Performance of their Bufinefs.
In this Figure I have given you an Abridgment of thofe things, which fhall here-
after be more enlarg'd on. The Numbers 1, 2, 3, 4, denote the Area of a Hall an
"^ hundred and twenty Roman Palms in Length, and fixty in Breadth ; as is manifeft
from the Scale of thirty Palms mark'd S. Half this Space is taken up by the Stage, the other half by the Spectators.
O is the Point in which the vifual Lines concenter. D is the Place of thofe things that are to appear moft remote.
BC is the Place of the Pofcene. HH are the oblique Grooves, whofe Lengths are double the Breadth of the Scenes.
FG is the Front of the Stage. AO is its Depth or Length. E is the Place for the Mufick. K is the Room for
Spectators. I is the Plan of the Galleries. L the Stairs to the fame. N is the Elevation of the Galleries. M
Ihevvs the Declivity of the Floor, with the Section and Elevation of the Stage and Scenes vievv'd on the Side
;
anfvvering their refpective Grooves, as the occult Lines demonftrate. O O is a Line perpendicular to that of the
Horizon. P and Q_are the Elevation of the Scenes view'd in Front, turning inwards, in Breadth agreeing with the
Length of the Grooves of the Plan B and in Height anfwering that of the Sections of the Elevation
; M ; as is evi-
dent from the occult Lines. In this Profile M, part of the Height belongs to the Scenes, and part to their Sof,
fites, or Cielings, R; where each Pair of thefe Frames are join'd. VV are the Lines by which is efpy'd what Va-
cancy there is either between the Scenes and their Cielings, between the Scenes themfelves, or between their refpective
Cielings ; tho in fome Scenes the Place of thefe laft is fupply'd by painting therein the Air with Clouds, S?r.
I

FIG URA Septuagefimatertia.


Aliud veftigium theatri, ubi de modo inveniendi
ejus pundum.
/ pingenda fint Jcena theatri alicujus antea conftrufli, deli-
neate oportebit vefiigium geometricum ex ipjo erutum, (ad
formam vefligii quod cemis in hac pagina) ut inveniatur longi-
tudo theatri, feu diftantia quam ejus punclum habet a pwMo
A id autem nullo negotio fiet, accipiendo dijiantias BC inter
:

primos canales, & DE1

inter ultimos, ac ducendo vifuales MO,


NO: nam theatrum habebit longitudinem AO, ac punclum
Praterea Jcire opor-
perfpecliva in vejligio theatri erit O.
tebit longitudinem & 1

latitudinem canalium, eorumque numerum, dijiantias, &


flexus ac pracipm curandum eft, ut, licet Jint obliqui ad lineam
; M
N, fint in-
vicem paralleli in unoquoque latere, ac finguli tangant lineas MO, NO. Jam
Ji recite AOfiat aqualis retla FA, in F erit punclum diftantia : adeoque fi
theatrum juxta methodum a nobis tradendam depiclum fuerit, fipecJatori qui con-
fifiat in F apparebit veluti tabula pitla juxta leges perjpecliva, pofita in A.

The Seventy-third F
Another Plan of a Theater, with the Method offinding
the Point of Sight therein.

F it be requir'd to paint the Scenes of fome Theater already


built, the Geometrical Plan thereof mu ft flrft be carefully-
drawn, fas you fee, for Example, in this Plate) that thi
length of the Theater may be found; or the Diftanca
of its Point from that of A which is eafily done, by
;

taking the Interval BC of the firft Grooves, and DE


of the latter and drawing the Vifuals MO,
; for NO:
AO
is the Length of the Theater, and the Point of

Sight, or Perfpeclive, therein, is O. Moreover the Length and Breadth of


the Grooves muft be known, as alfo their Numbers, Diftance, and Obliquity;
and efpecial Care muft be taken, that tho they be oblique to the Line NT, M
that on each Side they be Parallels between themfelves, and that they all
touch the Lines MO, NO. If you then make A O
equal to FA, the Point
of Diftance will be F and if the Theater be painted according to the Rules
;

hereafter given, it will appear to him that views it from F, as a regular Piece
of Perfpeclive plac'd in A.
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FIGURA Septuagefimaquinta a

Elevatio fcenarum coram infper.arum : ubi docetlir artificium tit feenaz oblique
appareant redtae.

CEISIjE quas iides inhabent fuam latitudinem A veftigio Jigttra fep*


S,

tuagefimatertia, altitudinem ab eleniatione figura feptuage/imaquarta, ac


cenfentur ere6ta &
canahbus inferta, qua omnia reprafentantur etiam
I figuva feptuagefimafecundlin^ Q. &
Velim obferves quantum elevetur
tabulatum in principio A, in pofcenio D, o> in punfio theatri O. Stmt*
liter qua propter obit'
not are oportet elevationem Jlngularum fcenarum,
quitatem canalium fecJuntur introrfum: iccirco linea BL, KI, partis C$
non videntur parallela ad lineam plant, ut reipfa funt 5 ac vifualis L F
non tendit ad punt~lum ocuh O, fed ad puntlum F, Si autem excejfiis ap-*
parens, quern reefa BK &
imo fupra r etiam LI, transfer atur in partem E fcena-
habet in fummo
vum, (iidem escej/us defumi etiam pojfunt ex figura feptuagefimdqiiarta) ac ducantur retla LG, IHj
habebuntur linea appar enter parallela ad lineam plant. Si fiat rebla LO, qua cum LGfaciat an-
gulum G'L O aqualem angulo B L F, eadem LO tendet exaffifjime ad puntlum O Oculi, eaque uten-
dum erit ut vifuali.
In P fupponimus fcenas Md?"N jacere fuper pavimento unas fuper atiis, ac duas lineas R T,
habere diftantiam eandem cum duabus LI, it a in reliquis fcenis. &
Ubi notandum eft, lineas RS,
TV, eafdem effe cum lineis LG, I
H, fcenarum E : nihilominus lineas RS, TV, non ejfe paraU
lelaSy quum tamen LG, IH, videantur parallela. 'Proinde ft fiat retla KL, angali SRL, &
GLO, Jint aquales reel: a. RL
utendum erit tanquam vifuaH, in L erit puntlum accidentale oculi
pro pingendis fcenis N, ac hnca RS, TV, habebuntur ut parallela: id atitem quod fuperejl mte-
lario ultra tales lineas, pro nihilo computabitur, ibique pingetur aer aut aliquid aliud. 'Puntlum
accidentale oculi pro pingendis fcenis M, erit in I.

The Seventy-fifth FIGU


The Elevation of Scenes in Front, and how the oblique Scenes are made to appear directs

HE Seenes in S have their Breadth from the Plan of the Seventy-third Fi-
gure, and Height from the Elevation of the Seventy-fourth Figure,
their
and are iuppos'd to ftand perpendicularly in their Grooves 5 all which is
alfo reprefented in P and Q. or the Seventy-fecond Figure. I would have

you oblerve, how much the Floor rifes, from its Edge A, to the Pofcene
D, and to the Point of the Theater O. You mould alio note the Ele-
vation of each Scene, which, by reafon of the Obliquity of the Grooves,
turn inward Wherefore the Lines B L, K I, of the Part C, do not feem
:

Parallels to the Ground-line, as they really are 5 and the Vifual L F tends
not to the Point of Sight O, but to the Point F. But if the feeming Excefs, which the Line B has K
at top and at bottom, above the Line LI, be transferr'd en the Side of the Scenes E, (which Excefs
may be taken from the Seventy-fourth Figure) and you draw the Lines L G, I
alfo 5 thefe Lines H
will appear Parallels to the Line of the Plan. Then drawing the Line LO, lb as to make the An-
gle GLO equal to the Angle BLF, the faidLO (hall tend direclly to the Point of Sight O and <

lerve for a vifual Line.


In P, I fuppofe the Scenes M and N to
one upon another on the Floor, and the two Lines
lie

RT to have the fame Diftance as the Lines LI-; and fo of the others. Where you are to take
^Notice, that the Lines RS, TV, are the fame with the Lines LG, IH, of the Scenes E and that :

the Lines RS, TV, are not Parallels ; akho LG, I H, feem to be fo. Therefore, if you draw
the Line R L, fo that the Angles S R L, and G L O, be equal ;
the Line R L mall ferve as a Vifual,
and L fhall be the accidental Point of Sight, for painting the Scenes of the Side 3
and the Lines N
RS, TV, (hall be us'd as Parallels. What remains on the Frame beyond thofe Lines, is to be

reckon'd as nothing } but you may paint there Air, or what you pleafe. The accidental Point of
Sight for painting the Scenes of the Side M, is I.
FIGURA Septuagefimafexta.
Modus delineandi exemplar fcenarum.

TERUM delineavimus fcenas ereSias fuper


tabulator in B nudas, in A depiSfas, ad-
ditis projeSiuris coronicum ^ aliorum orna-
mentorum. Deformat io fcenarum A eruitur
methodo confueta ex veftigio C, in quo vi-

debis lineam plani deorfum protraffam. Vejiigium autem


geometricum eji in

The Seventy-fixth FIGURE.


The Manner of delineating the Dejtgns of Scenes.

N you have another Defign of


this Plate

Scenes ere&ed on the Floor the naked ;

Scenes are B -
?
the painted ones A ; with
the additional Proje&ures of Cornices
and other Ornaments. The Draught of
the Scenes A is produc'd from the Plan C, after the ufu-
al Manner ; in which you may
obferve the Ground-line
to be lower than its true place, for the greater Diftinc-
tion of the Parallels, The Geometrical Plan is D.
TME-CL A-.5''J0V'-I
iChOCL fARTI
LiBfVAKT:
Fig. ixxvn.
I
FIGURA Sep
Modus reticulandi & pingendi fceoas theatric
O S 7* QUA M in pannmento exattififime difpofueris turn pofceiihtm, tunl
ex ordtne fcenas reliquas, unam alteri incumbent em,
figura fep~
lit

tuagefimaquintl declaravimus, fiet linen horizontals, in qua notanda


funt tria puncfa perfpeftva, iimim in ufi'i O
futurism in p'wgendo
pofcenio, ac duo rehqua him hide, fingula videlicet pro fcenis partis
oppofita. Jam fupponendo quod in parvo exemplar't K prima fcena faBa
fuerit reticulatio per quadrat a perfeffa-, proportionalis d'wifio fiet turn
in retJa H
I prima fcena B, tuni in recta D. C
Toflea ex puntlo E, per
dwifionum retfa HI, fient vifuales adhibendo funiculum colore nigro imbutum 5 ea-
fingula punffia
rumque ope, ut figura oft en Ait, reticular e oportebit fcenam B, turn remota ea fcenam illi fi.bjetlam,
f eodem modo aliam &
aliam-, ac demum per divfiones quas in recJa LM
factum inflates ex
punio E, abfohetur reticulatio pofcemi, cujus quadrat a effe debent perfecia, fecus quadrat a fcena-
rum. In parte infer tori pagtna, dua fcena G &
F oft en Aunt ornament a qua in fcenis depingt pofi
funt. Velim autem obfrves, turn Tineas tranfverfas coronicum, qua non funt invicem par alleTa,
turn vifuales qua tendunt ad punfia oppofita. Nam ejufmodi Tinea continent Anas peculiar es difficult
tates projeiionum theatralium -, eafque ut fuperes, exalte fervanda funt regula quas declaravimus.

The Seventy-feventh FIGURE.


The Manner of making the Net- work or Squares\ and
fainting the Scenes of Theatres.
FTERyou have with great Exadtnefs difpos'd the Pofcene on the Pave-
merit, and the others in order one upon another, as was mention'd in
the Seventy-fifth Figure ; draw the Horizontal-line, and mark therein
three Points of Sight That in O, for the Ufe of the Pofcene 5 and the
:

Points on the Sides, for the Service of the oppofite Scenes refpedtively.
Then, fuppofing that the Net-work of the fmall Draught of the firft
Scene A, confifts of perfect Squares tranfport the fame Divisions both on
;

the Lines HI and CD of the firft Scene B and with a black Line ftrike
5

the Vifuals from the Point E, by the Points of the Divifions of HI ; and
by the Help of thofe Vifuals make the Net-work of the Scene B, as is done in the Figure. When
that's done, lay it afide 5 and do the next in the fame manner 5 and fo of the others. Laftly, by

the Divifions, which the Vifuals from the Point Emake on the Perpendicular LM, finifh the Net-
work on the Pofcene, which confifts of perfeft Squares, tho that of the Scenes does not. The
two Scenes of the lower part of the Plate, G and F, {hew what Diverfity of Ornament the Painter
may introduce. I would have you alfo take particular Notice, both of the tranfverfe Lines of the
Cornice, which are not Parallels to each other ; and of the Vifuals which are directed to their op-
pofite Points becaufe in thefe two Particulars lies the greater! Difficulty of defcribing Theatrical
:

Defigns; for the furmounting which, it's abfolutely necedary, that you carefully regard the Rules
hitherto delivered.
F I G U RA Septuagefimao&ava,
De proje&ionibus horizontalibus.
UEMADMODUM facilior eft deformatio columnarurn
jacentium, quam columnarum ereclarum ; (nam linea qua in
iftis Junt perpendicular es} in illis Junt vijuales> ac nullus
circuius amittit fuamformam) ita projefftones horizontales,

quas in laquearibus delineare neceffe eft, contra quam Pifto-


i
res imaginantur, expeditiores & facilior es Junt verticalibus
quas hucufque traBavimus. JS/am ut jlylobata & columns appareant erefta, pin-
genda funt veluti jacentes.
Deformationes horizontales aujpicamur a mutulis, quia columns ac Jiylobata
identidem Us imponuntur, ut magis in profpetlu Jint. Ob diverjitatem verb quam
habet latus mutuli a Jua facie y utriufque delineationem geometricam feorjim in hac
figura exhibemus.

The Seventy-eighth FIGURE,


Of Horizontal PerfpeSlhe.

S it is eafier to defcribe in Perfpective Columns lying on

m %mk if
L fil '
Hff ^
the Ground, than thofe that are Erect, (the Lines in
Jfjfc '

mm v
thefe laft being Perpendiculars, which in the former are
'

^B^fiW^frftp^
Vifuals, wherein no Circle lofes its Form) fo the Hori-
1 'V-'^S gffsBft

zontal Projections of Perfpective, proper for Cielings,


Wk%i ir^^ 1
-
~^A3lEESffl*lla'lM contrary to the Judgment Painters ufually make, are per-
aairiHiBBSaB&^alflMSnlKUJH

form'd with more Eafe and Expedition, than the Verti-


cal,which we have hitherto treated of; forafmuch as the Pcdcftals and Co-
lumns that muft appear erect, are painted as if lying on the Ground.
I have ulher'd in thefe Horizontal Defigns with thofe of Corbels, becaufe,
for fetting the Pedeftals and Columns more in View, they generally feem to
be fupported by them. And the Side of this Corbel being different from
its Face, I have here inferted a Geometrical Defcription
of each diftinct.
i

s
-i
2|

It
* ^ o cC
hu=Q
f~ --^ *
j _
FIGURA Septuagefimanona a

Proje&iones veftigii & elevationis mutuli.

A C IE S mutuli quam Aeiineaxiimus Figura feptuagejimaotfav!, gerii


hie munus vejligu 5 latus verb gerit munus elevatioms $ ut oft en Aunt Tinea
occulta qua ex Aivifiombus faciei ten Aunt aA punttum oculi, ex Aivijiom-
bus lateris tenAunt aA punfflum Aiftantia (puncta oculi ac Aiflantia in
hac & fequentibus figuris caAunt extra paginam.) 'Per fetfiones harurri
linearum Aucuntur Tinea qua termhiant Jlngulas partes vejligii Aefor-

j ^"^^^1^1 matt 3 hujufque aAjumento Aucitur elevatio lateris, ac methoAo confueta


I \
,
~ JatituAines & longituAines mutuli foliAi eruuntur ex njejiigio, altituAi-
nes ex elevatione. Hie & Aeinceps nomina longituAinis & altituAinis ufurpamus, veluti planum
cujujlibet perjpeciiva ejfet vertieale ; in qua fuppofitione, IL ejjet latituAo mutuli, SR altituAoy
RL JongituAo: quum SR rever a Jit longituAo, RL altituAo. AA faciliorem Aefcriptionem hujus
figura obfervanAum eft, reftis I L, L M, GH, hujus pagina inejfe A'vvifiones retfarum DC, F Ei?
A B, figura feptuagejimaoclava.

The Seventy-ninth F
The Plan and Elevation of a Corbel in Perfpe&ive*

HE Face of the Corbel defcrib'd in the Seventy- eighth Figure, in this

does the Office of a Plan ; and the Side ferves here for the Elevatior .

as is plain from the occult Lines, which from the Divisions of the Face
end to the Point of Sight, and from thofe of the Side tend to the Point
of Diftance 5 both which Points, in this and the fucceeding Figure, fall

without the Plate. From the Interferons of thefe Lines arc drawn
others, that determine each Part of the Perfpeclive-Plan 5 by means of

t
which, the Elevation of the Side being alfo form'd, the Breadths and
Lengths of the folid Corbel are taken, as ufual, from the Plan, and the Heights from the Eieta-
tion. Here and henceforward, the Terms of Length and Height are made ufe of, as tho the Pian
of each Perfpective were vertical $ according to which Supposition, I L is the Breadth of the Cor-
bel, SR the Height, and RL the Length; whereas in reality SR is the Length, and RL the
Height. For the more ready Defcription of this Figure you will do well to obferve, that the
Lines I L, L M, G H, of this Plate, bear the fame Divisions as DC, F E, A B, of the Seventy
eighth Figure,
FIGURA Oftogefima.
Horizontals proje&io mutuli
inumbrati.

M hac Figura Juas umbras mutulo addidi-


mus : eumque Ji in ahum fupra oculum ele-

vaveris, ^ ex diftantia quam ipji dedi-

mus fufpexeris ; miraberis profeffib, in alium

longe concinniorem fubitb mutatum fuijje.

The Eightieth FIGURE.


The Horizontal Projection of a
Shaded Corbel.

N this Figure you have the Corbel fi-

nilhd with its proper Shades; which, if

plac d above the Eye, and beheld from


the Diftance here affignd it ; youll be
ftrangely furpriz d at the fudden and moft agreeable Al-
teration you 11 find therein.
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FIGURA Oaose LllIIcL

Prseparatio neceffaria ad fequentcm figuram, ad &


proje&iones horizontales in laquearibus vel teftu-
dinibus,

XHIBET hacfigura in A A unum ex qua-


tuor parietibus aulce, cujus altitudinem ve-
ram IH apparenter ufque inh,
velis at t oiler e
pingendo in laqueari, vel in tejiudine, feriem
balaujiiorum. InT$ eji vejiigium geometricum
quarts partis laquearis. In habetur ele~C
vatio medietatis Imtitudinis. In D
eji feBio coronicis f mutu~
lorum. In Upojita eji elevatio medietatis longitudinis. InF
eji punSlum oculi, in Gpunffum dijiantite : adeoque tota di-
ft antia eji
GF.

The Eighty-feventh FIGURE.


The Preparation necejjary to the following Figure, and to
all other horizontal PerJ^eBives, whether on fat or vaulted
Cielings.

HE
Figure AA reprefents one of the
four Walls of a Hall, whofe true ght
IH you would have appear rais'd
by painting a Baluftrade in the Ci
thereof B is the Geometrical of
the fourth part of the faid Cielin Cis
the Elevation of half the Breadth D
is the Sedion
;

the Cornice and Corbels ; E is the Elevation of half e


Length. In F is the Point of Sight, in the Point of G
Diftaoce; fo that the Diftance itfelf is FG,
i I

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if
F I GURA Nonagefimatertia.
Veftigium templi Ludovifiani S. Ignatii alm^ urbk
ONSTITUERAM huic Lihro finem imponere figura,

nonagefimafecunda ; nihilominus ut Jatisfaciam precibus ami-


corum, cupientium addifcere modum reticulationis optica-,
qua adhibetuT in fuperficiebus irregularibus, ejujque memin 1
figura oHogefimaotlava publici juris facere decrevi ejus corr
Jlruenda methodum. Ipjiufmet retis ope delineavi non fottm
(edificium mox reprafentandum, fed etiam figuras omnes tef-
tudinis templi Ludovifiani, in qua pingenda nunc occupor.
Eademque reticulatione, qua erit ultima figura hujus Libri, dabimus Operi nofi.ro
Juum complementum quum nulla Jit Juperficies, in qua fuas delineationes juxta
;

'Perfpeilwa regulas, earum rerum Studiofi abfolvere ne queant.


Exhibet hac figura veftigium totius templi. ^uamvis enim non indigeam nifi
tefiudine inter januam maximam & 1

tbolum ;
proderit nihilominus Architellura
Studiojis, univerji Operis elegantiam acjjmmetriam per otium contcmplari.

The Ninety-third FIGURE.


The Geometrical Plan of the Church ofS. Ignatius at Rome*
Had once determin'd to end this Book with the Ninety-
fecond Figure but at the Requefb of fome Friends, who
;

were defirous to learn the Making of Perfpeclive Net-


Work for irregular Surfaces, as was hinted in the Eigh-
ty-eighth Figure; I refolv'd to publifh the Manner of
performing the fame. By the Help of this Net- Work,
I delineated not only the Architecture now to be treated
of; but alfo each Figure in the Vault of the Church of
S. Ignatius, which I am at prefent employ'd in painting. The Method is laid
down in the lafl Figure of this Book, and entirely compleatsthe fame; there
being no Superficies, how irregular foever, but the Studious may thereon de-
fcribe, by thefe Rules, whatever Perfpedtive he has occafion for.
This Figure contains the Plan of the whole Church ; for tho my prefent
Delign requir'd no more than the Vault of the Nave, between the great Door
and the Cupola I thought it might be neverthelefs acceptable to the Curious
;

in Architecture, to have a View of the whole Defign, fo celebrated for the


Elegancy and Proportion of its Parts.
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l I II i
Ut Perfpeliv<e Tyronibus confulerem, qui fortajfe non adeo
facile percipient duodecim primas figurarum explicationes*
totidem novas explicationes hie addo.

For the greater Help to Beginners, and thofe who are


lefs converfant in the Art of Perfpedtive, 1 here fub-
join a farther Explanation of the firft Twelve Figures
of this Book
I G. I.

Explicatio linearum plani, horizontis, pun&orum & An Explanation of the Lines of the 'Plan and Hort
oculi, &diftantias; de hoc ultimo preffius. zou, and of the Toints of Sight and T>ifance but
more efpec tally of this lafl.

TRES linea diverfi inter fe nominis, &? muneris, item,


duo puntla pracipue necejfaria funt, ut delir.eatio qualibet
&
eptice reddi queat : prima vacatur linea plani, fecunda borizonta-
lis ubi eft puntlum oculi ; de tertia loquar in elevationibus : alteram Ground-line: The
iecond where the Eye is plac'd"
de duobus puntlis ajjignalur oculo, &
vulgb dicilur puntlum oculi; horizontal Line fpeak of the third in the Elevations
: I {hall
alteram verb affgnatur diftantia, a qua nomen babet. Puntlum Of the Points, one is affign'd to the Eye, the other to
the Di'
oculi notifiimum eft, puntlum verb diftantice non ita ; in hujus igilur
explications morabcr, & ut clarius oftendam quid fit, &? quomodo u
e fi ft
-
I ?J?
f th efe is enralI known, the
, y
well underftood, tho of great Ufc for giving
latter notfo
the Removal or
formandum fit, felegi defcriptionem Ecclefia geometrice habitam, Depth of every ObjecL I fhall therefore infift
a-while on the
quam in tres partes divifi, in veftigimn, fetlionem, inferiorem & Explanation of the Point of Diftance ; and that
I may more
faciem, in qua facie velit quis pingere, feu delineare aliquid optice, clearly fhew what it is, I have chofen the geometrical
Defcrip-
ut elongetitr ad menfuram apertura quadrati P, ut babes in veftigio, tion of a Church, which is divided into three
Parts viz the
& ad menfuram profunditatis Q^ quam babes in fetlione. Plan, Profile, and inner Face ; in the midfc of
which Face' one
would paint a piece of Perfpeftive, that mould
feem to re
cede as much as the Square P in the Plan, and
in the Profile.
the Depth
^ vc~ O
Super faciem C C C C, quam put a effe delineamentum, babes On the Face CCCC, which fuppofe that of the Defcn
you
rationem, qua debes difponere fupraditla puntla, &f lineas. H lee the manner of difpofing the two Lines and the twoPoints
erit linea plani .-NON qua fierifolet diftans
erit linea horizontalis, H I
is the Ground-line.
is the horizontal NON
Line, which
a linea plani altitudine hominis, Puntlum oculi erit
at vides in B. is ufually made
Man's Height above the Ground-line,
a
as in B
in O puntlum diftantia erit in N, ex qua parte malueris. Hoc
, The Point of Sight is O, the Point of Diftance N,
on which
puntlum N
debet tantum abeffe a punilo O, quantum luo arbiiratu fide you will. This Point N
muft be as fir from O as the Di
tu vis procul effe ut videas profunditatem illius quadrati P O, ficut fence you determine to place your felf at for
viewing the
vides in exemplo veftigii, &? fetlionis ; ubi rem velv.t in fuo ftatu Depth of the Square PQj as is exemplify'd in
the Plan and
Tiaturali exhibeo : in Us enim lam abeft db O, quam abeft homo N profile, where you lee the thing as in its natural
Pofition And
& homo B

ab A ad DE, in fetlione, ab F G, ubi eft murus in in them N


is diftant from O, as far as
the Man in A is remov'd
quo pingendum, vel 'delineandum E 01'/10 Ma " B in C Pl 0file fr m F G whi is
^
'
eft.

the w^.
Wall to u
''

be drawn or painted?upon. > *


Si ulterius curiose defcriptionem ham confideres, videbis quam bene If you farther and more itridly examine
this Defcription
refpondeat qaadiatum P in piano, fcf elevalio Q^ ut naturalis flatus you 11 difcern how well the Square of the Plan P,
and theEle'
reim fetlione Perfpetliva pofila in facie CCCC, qua eft delinea- vation Q. correlpond as if naturally put into Perfpedtive oa
tio. Videbis enim vifuales, qua fecant in piano fpatium R S ita pa- the luce CCC C, which is the Draught. For you fee the
riter fecare fpatium TV in elevatione : &? fegmentum vifualiufn Vifuals which cut the Space RS in the Plan, cut the fame
XZ in fetlione refpondere YK in elevatione, quod demonftratione P e he
and die UP S hc
D"V, anlwer that of Y Segment of the Vifuals
ri

non caret.
l
X v the Profile,
Zin \ K in the Elevation : which
,
'

'

needs no Demonftration. '

I G. II.
Quadratum optice delineatum. A Square in Terfpeclive.

POS T>UAM
A,
c
defcripferis in papyro feparata quadratum
fades duas lineas parallelas inter fe dift antes
AFTERSquare
you have drawn on a feparate Paper the eeome
geometricum A, trical make two parallel Lines as much diftant
altitudine, quam dederis puntlo oculi ; linea inferior erit linea plani, one trom the other, as you would have the
Height of the Eve
linea fuperior erit linea horizontalis, fuper quam ponuntur puntla The under Line is the Plan or Ground-line-, the
uppei^Lme is
oculi O, 5? diftantia E, quod fit ex parte quam mavis : linea dif- that of the Horizon on which are plac'd
the Points of Si-ht
tantia non debet effe brevior magnitudine rerum defcribendarum. O and of Diftance E, on which fide you pleafe The
L?ne
transfer poftea circino latitudinem quadrati A
in C B, una cum of Diftance mould not be lhorter than the
Extent of thethincr
vifualibus ad puntlum O & finuliter transfer longitudinem ipfius
; to be defcrib'd in Perfpeftive. Then with your Compafies fe?
quadrati in D C, ducens lineatn puntfo D ad puntlum diftantia
a- the Breadth of the Square A on CB, and
draw Vifuals to the
E, tranfeuntem per vifualem CO, & ubi illafecat, habebis termi- Point O ; and from the Length of the Square
transferr'd into
num quadrati optici GFCB, ducens paralellam ad lineam plani DC, draw a Line from the Point D to the Diftance
E anrl

in G F. where that cuts the Vifual C O, by drawing a


Line parallel to
Lit, you defenbe the Square mPerfpeftive
For the more quick Difpatch of this, I commonly
GFCB
Ut autem hoc idem (itius abfolvcremi fcepius chartam complkavi,
'
fold the
ut babes in A. Paper, as you fee in A.
A a
Fig. HI,
I G. III.

Re&angulus altera parte oblongior optice. ^ o/<w Square in TerfpecJive.

QUID QUID
Transferres latitudinem
in proximo
BC
quadrate vidifti, fades inprafenli.
in B C, 6? longitudinem in C D,
WHAT Figure,
was done
in the preceding repeat in this Third
Transfer the Breadth B C into B C, and the
auctns latitudinem, BC ad punblum oculi O, longitudinem& CD Length into CD, drawing the Breadth B C to the Point of
adpuntlum dift antics E. Ubiverb bac tinea fecat vifualem CO, Sight O, and the Length CD
to the Point of Diftance E.

mV terminus, reilanguli fupradicli FG, B C, iitf u parallelam ut Where this cuts the Vifual C O, you terminate the Square
fupra. FG, BC, by drawing the Parallel, as before.

F i c. IV.
Quadratum duplex optice. A double Square in TerJpeBive.

EODEM modo confines quadratum duplex A, transferens


cino, aut duplicando chartulam, latitudinem cujufcumquelinea,
cir-
THE double Square A is made after the
the former, by tranfporting either with the Compaffes,
fame manner as

ut vides in punclis i, 2, 3, 4, 5, 6, fuper tineam plani in iifdemnu- or folded Paper, the Breadth of every Line, as you fee the
meris, &
ab ifiis transfer es vifuales adpunclumO. Poftea transfer Points 1, 2, 3, 4, 5, 6, on the Ground-line mark'd with the
longitudinem 7, 8, 9, 10, fuper lineam plani in iifdem pariter nume- fame Numbers ; and from thefe draw Vifuals to the Point of
ric, & ab due tineas ad punblum diftantia E.
ifiis
Ubi his tinea Sight. Then transfer the Points of Length 7, 8, 9, 10, into
fecant tineam 6, 7, O, fiunt tinea parallels ad lineam plani, & the Ground-line, as you fame Numbers ; and di-
fee alfo in the

quadratum conficitur ; par em conftrutlionem fades de quadrato fe- rect their Lines to the Point of Diftance E, where thefe inter-
cundo & terlio, facile ex diclis. fect the Vifual 6, 7, O, make Parallels to the Ground-line, and
the Square is complete. The fame is done in defcribing the
middle Square, and that on the other Side.

I G. V.
Quadratorum veftigia cum elevationibus. Several Tlans of Squares, with their Elevations.

FIGU R AM banc in duas partes


vides tria quadrata optica atiquantulum
divifi ; in fuperiori parte
adumbrata, eaque tarn
IH A you
VE
moft
divided this Figure into two Parts In the upper-
,

have three Squares in Perfpective a little fhadow'd,


inter fe diftantia, quanta eft difiributio fuper tineam plani. erit BC diftant from one another, according to their Diftribution on

quadratum primum. Secundum erit in Si ergopofueris EF.


longi- the Ground-line. BC is the firft Square ; EF
the fecond. If
tudinem quaclrati in B C, eamque duxeris ad difiantiam, fecabit in you then fet the Length of a Square on B C, and draw Lines
D.D vifualem AO. Si pariter pofueris alterum fpatium longitudi- to theJPoint of Diftance, they will interfect the Vifual O in A
nis ejufdem quadrati in F, E &
duxeris ad lineam difiantia, habe- DD. In like manner, if you fet another Length of the laid
bis fecundum quadratum optice. Idem fades de tertio, cs? de aliis, Square on E F, and draw to the Point of Diftance, you'll have
qua difiribuenda fttnt. the fecond Square in Perfpective. The fame you may do in
the third, and as many as you have occafion for.
In fecunda parte. Si defideresfupra totidem veftigia for mare ele- In the fecond Part you fee, that if upon the forementioned
vationes cuborum, 13 ftftobatarum, ut in inferiori figura parte vi- Plans, the Elevations of Cubes and Pedeftals were requir'd, it
des, fails erit ex omni veftigiorum angulo elevare tineas occullas, & would fuffice to elevate the occult and vifible Lines from every
apparentes, determinando altitudinem fades hprimocubo, :? anguli Angle of the Plan ; and determining the Height of the Face
ejufdem faciei dabunt alti ludinem omnium aliorum. L of the firft Cube, the Angles of that Face drawn to the
Point of Sight, give the Height of all the others.
Immb etiam totidem cubosformare potes finelineis occultis, ducendo You may form the fame Cubes without occult Lines, draw-
folhn apparentes, ut vides in tribus expofitis adumbralis, csf nitidis, ing only thofe that are apparent, as you fee in the three Cubes
quorum perpendicular es fumuntur ab angidis veftigiorum, ut in fupe- that are finifh'd and fhadow'd the Perpendiculars of which
;

riori figura babes in H, &


tinea plani tranflata funt ab angiitis are taken with the CompafTes from the Angles of the Plan, as
elevationis, ut videtur in F. is (hewn in HI of the upper Figure and the level Lines are
;

transfer'd from the Angles of the Elevation, as in F G of the


fame Figure.

F 1 g. VI.

Modus delineandi optice fine lineis occultis. The Manner of defigning in TerfyeBive without occult
Lines.

DE S ID E R ANS facili metbodo figuram banc exponere, dabo


rationem elevandi corpora fine lineis occultis, ut in fuperiori te- B
EING defirous to make this Rule as eafy as poffible,
give a farther Account of raifing Solids without the Help
I fhall

tigi ; oftendam igitur bic, quomodo quinque cubi adumbrati defuman- of occult Lines, which I only touch'd upon in the foregoing Fi-
tur ab eorum veftigiis, (3 elevationibus. gure. I therefore here fhew you, how the five fhadow'd Cubes
of this Figure are taken from their Plans and Elevations.
Duas debes facere praparationes, fi tibeat, in cbartis etiam fejara- Two things preparatory are to be done, and, if you pleafe, on
tis. Prima erit for mare geometric e veftigium, elevationem, ut & feparate Papers.The firft is to defcribe the Geometrical Plan and
vides in B ti? A. Secunda erit diftribuere fuper lineam plani latitu- Elevation, as you fee in B and A. The fecond is, to difpofe on
dinem veftigii B, puta in N M, & in duabus proximis : Illius lon- the Ground-line the Breadth of the Plan B as for Example, in
;

gitudo MX
duEta ad difiantiam D, fecat vifualem in R. MO N M, and the two next to it. The Length thereof X, drawn M
Spatium autem obliquatum E
utile etiam eft aliis duobus quadralis to the Point of Diftance D, cuts the Vifual MO inR; and die
pqfitisfuper eandem lineam plani ; anguli quorum tranflati ad dif- Forefhortning E ferves alfo for the other two Squares plac'd
tantiam B, totidem angulos dabunt inter vifuales Hoc NO, MO. upon the fi me Ground-line, whofe Angles being directed to the

pofito, duces perpendicularum ad angulum N, qua in elevationibus Diftance D, give as many Angles on the Vifuals O, _M O. N
geometrids femper neceffaria eft, eaque tertia tinea eft, quam fupra This done, erect a Perpendicular on the Angle N, which in
dixi. Transfer poftea altitudinem A in N F, cum vifualibus F O, Geometrical Elevations is always neceffary, and is the third Line
NO, fc? invenies altitudinem S T. Hoc pariter de cajeris eveniet. mention'din the firft Figure. Then carry the Height on NF, A
drawing the Vifuals F O, N
O, which determine the Height ST,
and that of the other Squares. Scien-
Sciendum fupereft quonam mode fupraditld praparatione uti pofiis It remains to be known, how to make ufe of the forefaid
ad conftruendosftylobatas adumbratos, fc? inornatos. Preparation for the Conftruction of the fhadow'd Pedeftals.
On another Paper, therefore, difpofe the Horizontal and
Super aliam igitur cbartam difpone fitum cum duabus lineis, plant Ground-lines, together with the Point of Sight O, and the-
fcilicet, & borizofitis, una cum puntlo oculi O, s? perpendiculari Perpendicular V, keeping the fame Meafures as in the afore-
V, ejufdem menfurm cum fupraditla prceparalione, & faciens uli faid Preparation, and doing as I have done. You may Drove
me feciffie vides. Experire poftea circino NF aqualia 5, &?
ejfe i, by the Compaffes, thatNF is equal to 1, 5, and 2, 6, and'mea-
2, 6. Metire pariter ST, tf invenies cequalia J & 3 fades ; furing S T, you'll find it equal to 7, 3 ; then drawing the le-
poftea lineas planas, vifuales & ad puntlum oculi, 6f babebis pla- vel Lines, and the Vifuals to the Point of Sight, you have the
num fuperius cubi in 1, 2,3,4. Hoc idem faciendum eft de aliis. upper Face of the Cube C in 1, 2, 3, 4. The fame muft be
Uno verba : anguli veftigiorum dabunt tibi lineas perpendiculares, & done in the others. In a word, the Angles of the Plan give
angidi elevationis dabunt lineas planas ; atque bocfemper erit. you the perpendicular Lines, and the Angles of the Elevation
give the level Lines, or thofe parallel to the Ground-line ; and
this you are always to underftand for the future.

F 1 g. VII.

AHud exemplum conftruendi veftigium geometricuin.cum Another Example of a Geometrical Tlati^ with the
elevatione longitudinis. Elevation of its Length.

VIDES
adumbratum.
hie ftylobatam P in quatuor partes divifum, C5
Si ilium optice delineare velis, conftruere de-
1

IFyouyouhere
would delineate in Perfpective the Pedefi-al P, which
fee divided into four Parts,
and fhadow'd ; you
bes fupraditlas pr&parationes, geometricam nempe, & opticam. No- muft make the two foregoing Preparations namely, the Geo-
;

vtine geometricce intelligo veftigium A, & elevationem B; nomine vtetrical and the Perfpetiive. By the Geometrical, I mean the
vera optica;, Mum id quod includitur in G, C, D, E, O. Plan A, and the Elevation B ; by the Perfpetiive, all that's
contain'd within G, C, D, E, O.
transfer igitur latitudinem geometricam CD A faper
veftigii li- Then transfer the Geometrical Breadth of the Plan A, into
neam plant pariter CD, fcf transfer longitudinem D ILfuper lineam C D of the Ground-line ; and the Length D E of the laid
plant pariter DE, & babebis veftigium
operansmore folito ; optice". Plan into D E of the Ground-line working after the ufual
'Transfer poftea elevationem H X C G perpendicularis ducens
in ; manner ; and you will have the Plan in Perfpeftive. Again,
vifualem G O, eleva ad lineam G O omnem angulum, que?n pla- fet the Elevation HX
on C G of the Perpendicular, and draw-
num facit in linea CO, & babebis altitudinem necefifariam etiam ing the Vifual G O, elevate thereto every Angle made by the
fetlionis. Plan on the Line CO, and' you have all the Heights necefTary
for the Profile.
Transferes denique circino in aliam cbartam angulos veftigii, qui Laftly, by the Compaffes you tranfport on a clean Paper
dabunt tibi lineas perpendiculares, &
anguli fetlionis dabunt lineas the Angles of the Plan, which give the perpendicular Lines
;

planas : Vifuales vero duces adpuntlum oculi. and thofe of the Profile, which give the level Lines. Ths
Vifuals you draw to the Point of Sight.

I G. VIII.
Stylobata optice. ATedejialin Ter/pecJive,

HIC tricam
etiam poftquam feceris fupraditlas praparationes, geome-
fcilicet, &
opticam ; fades prefentem ftylobatam ad-
HERE parations,
you have made the two foregoing Pre-
alfo, after
the Geometrical
and the Perfpedtive ; this
umbratum , transfer ens circino angulos veftigii, ut conftruas per- fhadow'd Pedeftal is made by taking with the Compaffes the
pendiculares; & angulos fetlionis, ut formes lineas planas, utfupra. Angles of the Plan, for drawing the Perpendiculars, and the
Nam fie duo anguli veftigii MO dabunt lineas perpendiculares Angles of the Profile for the level Lines, as before. Thus the
EF; angulus veftigii K dabit perpendicular em V, &
fie reliqui an- two Angles of the Plan M
O, give the perpendicular Lines
guli dabunt reliquas lineas perpendiculares. Similiter a feHiojie an- EF. The Angle of the Plan R, gives the Perpendicular P ;
gulus I dabit lineam planam H N. Breviter, primus terminus fec- and the other Angles give their refpeclive Perpendiculars. So
tionis I D dabit altitudinem linearum planarum in facie ftylobatm likewife m the Profiles, the Angle I gives the level Line N.' H
admnbrati E F H N. Secundus terminus Qjlabit altitudinem faciei In fhort, the firft Out-line of the Profile I D gives the Height
oppofita, & occulta; P. of the level Lines on the Front of the fhadow'd Pedeftal. The
other Out-line Q^gives the Height of the occult and back
part thereof.
Duo tamen moneo ; primunt, ut faciens veftigia geomelrica, ducas Neverthelefs, two Things are to be obferv'd ; firft, that in
ab elevatione A totidem lineas ad latera veftigii B, quot angulos making the Geometrical Plan, you draw from the Elevation A,
inveniens in prominentiis fupraditla elevationis A caduntfuper vefti- as many Lines to the Side of the Plan B, as you have Ancde3
gium B quare prominentia major
, in elevatione L facit lineam ma- in the Projecliures of the faid Elevation as is manifeft in the
,

jor em L in veftigio. pointed Lines, which fall from the upright A, on the Plan B,
where that of the greateft Projedture L in the Elevation makes
the outer Line L of the Plan.
Secundum quod moneo jit, ut volens elongare veftigium optice The fecond thing to be obferv'd, is, That if you would
delineatum MOR linea plani K, quantum erit fpatium C in ea- have the perfpeclive Plan M
O R as far wirhin the Ground-line
dem linea plani, tantumdem elongabitur fpatium Ga linea ejufdem K, as the Breadth of the Space G on the fame Line, the Space
plani. G will then be the Diftance thereof from the faid Ground-line.

F 1 g. IX.
Optica delineatio Architecture Jacobi Barozzi : & pri- The Architecture of Vignola put in 'Perfpetlive ; and
mum, de ftylobata Ordinis Etrufci. frf, The Tedejtal of the Tufcan Order,
QUA ND O QUID E M
rozzii, earn hie penitus
omnibus nota
immutatum cum fuis
eft Architeclura Ba-
regulis particu-
SINCE
I
every one is acquainted with Vignola's Architecture,
determine not to alter it, but to explain it, with its
laribus, & generalibus expono ; Metieris autem Mam modulis ut general and particular Rules ; meafuring the fame with Mo-
fieri filet; qui igitur illam defiderat, in fequentibus figuris inveniet dules, after the ufual manner. He therefore that has it not,
totam, fimulque difcet optice redftere. Cum autem non minus Op- may find it in die following Figures, and, at the fame time,
tica; ftudiofo quam Architetlurcs necefife fit, efficere delineamenta learn the Method of putting it in Perfpective. And whereas
rci
rti conftriienda, ab hoc vere, ab Mo ficli, id eft, cum uterqui fa- the Drawing the Plan, Elevation and Profile of what's to bp
cere debeat veftigium, elevationem, feclionem fcf'faciem, ob id deli- built, is no lefs neceffary for him that ftudies Perfpeclive, thna

neavi hie JlylobaSam Ordinis Elrufci cumfuo veftigio, quern vides in for the Architect, the firft performing in Appearance, what
AB, ut facilius percipias quod inproximafigura di::i, a totidem fci- the latter does in Reality ; 1 have therefore here delineated
licet angulis prominentiarum elevationis, totidem ducendas ejfe lineas the Tufcan Pedeftal, with its Plan, as you fee in B, that yog A ,

fuper lineam veftigii ; cum hoc necejfe fit ad inveniendum illorum an- may the better apprehend what Iforegoing Figure,
faid in the
gulorum cum iftis lineis concurfum in fuis degradationibus. Nota That from all the Angles of Proje&ure in the Elevation, Line$
longitudinem, quamvoco F duclam'm G ejfe Mam, a quanonfolum muft be let fall on the Plan ; this being of abfolute neceflity for
tiafcitur veftigii obliquitas, verum etiam ab ilia nafcitur obliquitas finding the Correfpondence of the Angles with the Lines in
illius quam voco feclionem E. Ob id in altera hujus ejufdem figures the Perspective Projection. Obferve, that what I always call
Jlylobata totum idi contrario videbis. Length, as from F to G, is that which proceeds not only the
Forefhortning of the Plan ; but alio that which I call the Pro-
file E. Wherefore in the oppofite Pedeftal of the fame Figure
you'll fee a contrary Difpofition of the whole.
Non ampliits repetam quonam modo eruatur nitida delineatio, de I fhall not here repeat, how the finifh'd Pedeftal is taken from

qua fuperiiis pluries; die am t amen angulos primi termini feelionis E thefe ; having fo largely fpoken of that before but briefly ;

daturas lineas planas faciei D, & angulos veftigii daturos omnes per- tell you, that the Angles of the firft Out-line of the Profile
E
pendiculars. give the level Lines of the Face D, and the Angles of the Plai
give all the Perpendiculars.

t I G. X.
Stylobata Doricus, &
ratio vitandi difficultatem quam- yfDorick Tedefal, with the Manner of jhunning a
dam quae occurrit inter ilium optice delineandam. Difficulty ) -which occurs in pitting the fame in 'Per-
spective.

HICC oritur difficultas hac, Veftigium


adeo contrahitur, ut dftincle videri nequeat ubi collocetur
A opticH tranflatamin
INPlan A Figure
this
put Perfpeclive
in
a Difficulty arifes, which
in C, is
is this
fo forefhortn'd, that
; That the
one
circini pes, ut transferri pojfint perpendicidares jlylobata adumbrati where to place the Compaffes, for transfer-
can't fee diftinftly
totaque hac difficultas oritur a propinquitate quam habet linea ho- ring the Perpendiculars on the fhadow'd Pedeftal ; which is
rizontalis, feu puntJum oculi cum linea plant. Ut igitur Mam vin- caus'd by the too near Approach of the horizontal Line to the
tas: Duces lineam plani inferius quantum libuerit, fuper Mam fe- & Ground-line. For avoiding this Difficulty , draw another
res denub latitudinem, cjf longitudinem more foliro, relinendo puncla Ground-line as much below the firft as you pleafe, and carry
oculi, & diftantia OF, 13 ftc videbis veftigia magis minufve di- the Breadth and Length thereon, after the ufual manner, (till
ftintla ; Veftigium enim E difiinclius eft veftigio D, &D difiinclius keeping the fame Points of Sight andDiftance O and F: And
eft veftigio C. according to the Removal of the Ground-line, the Plans will
be more or lefs diftincl: ; as you
fee the Plan E
is more diftinel

than D, and D is more fo than C.

F i g. XI.
Stylobata Ionicus, & ratio vitandi aliarn difficultatem in The Ionick Tedeftal, and the Way to fhun another 'Dif-
elevationibus. ficulty in the Elevations.

IN L K lis
elevalionibus etiam feelionis optice poteft ac cider e, ut ft vifua-
nimis reSa Jit, feclio B reftringatur. Elongando lineam
Elevations of
INhappen, the Profile in Perfpeftive,
that the Vifual L K may
be fo direct, as to render
it mayfometimes

plani ab L ad M, vifualis MN erit inclinatior, & confequenter the Profile B too clofe and narrow wherefore prolonging the
,

feclio C erit latior cif diftinclior. Ground-line from L to M, make the Vifual MN, which being
much more oblique, does confequently render the Profile C
-more broad and diftinft.
Nota, difficultatem banc Jape fapius te habiturumin figuris pm- And obferve that this Difficulty will very often occur efpe- ;

tipue, qua multas lineas habent, ut infigura quadragefima fecunda, cially in Figures that have many Lines, as the Forty Second Fi-
ubi pariter rationem vitandi confufionem reddam. gure has, where I fpeak alfo of the Manner to avoid the fame.
Nor let it trouble you, that in this Figure I have plac'd the
Nequetibi moleftice fim, quod in hac figura lineam horizontalem, horizontal Line below the Ground-line ; which I have done,
infra lineam plani collocaverim, id enim feci, ut illarum diverfos that you might fee their different Effecfs, and by changing the
tffeclus videas, utque tu in tuisftudiis mutes, di? difcas. Difpofition of your Defigns, improve and learn.

F i g. XII.
Stylobata Corinthius cum fuis pilis. A Corinthian Tedeftal with its Tildfiers.

FEC I S S E feptimam figuram magno tibi documenta eritadcon-


ftruendem &
dividendum ftylobatam A, veftigium B; cum & TH E
Performance of the Seventh Figure will be a great
Affiftance to you, in the Conftruftion and Divifion of this
nihil addere debeasprater pilas C cum coronice, qua duo latera am- Pedeftal A, and the Plan B ; fince you have nothing more to
bit, Optice hoc veftigium delineabis in D, qua delineatio diftinclior add here but the Pila'fters C, and the Mouldings which furround
eft, quia inferius duxi lineam plani ; &
diftinclior etiam eftfeclio E, the two Sides. This Plan is put in Perfpeftive in D, and be-
cum elongaverim vifualem F G. Sic femper agam, ut detur locus comes more diftinc~t by my finking the Ground-line lower and ;

figura adumbrata, &


ut etiam videas perpendicidares Jlylobata a- the Profile E is alfo more diftincl by the Removal of the Vifual
dumbrati caderefuper angulos veftigii, &
lineas planas incidere e dia- F G, as mentioned in the foregoing Chapter. This I ihall al-
metro fuper angulos feelionis E. Iteriim libenter moneo, ut facias ways do, that there may remain Room for the fhadow'd Figure,
fupradiclas praparationes in charlulis feparatis, ut initio ajfuefcas and that you may alfo fee that the Perpendiculars of the fhaded
transferendis figuris nitidis circino ; facile enim tibi poftea erit inte- Pedeftal fall diredtly upon the Angles of the Plan, and that the
gras rnachinas Perjpecliva jucundioris delineare, ut videbis : in hoc level Lines direftly anfwer the Angles of the Profile E. I re-
enim tot a regula hujufce^ &
totius operis facilitas Jita eft. peat my Advice, that you would make the forefaid Preparations
on feveral Papers, and accuftom your felf at the beginning, to
take off the finifh'd Figures with the Compaffes ; for it will
become very eafy to you afterward, to defign entire Machines
of delightful Perfpeclives, as you'll fee hereafter. And indeed
in this Practice, the Facility of this Rule, and of all that fol-
lows in this Work, does chiefly confift, I N-
Kefpondetur objeBioni Jaffa circwn punSium oculi oplicuffl*

Hon omnium fenfus eft, uni optico operi unicum tantum punclum affignare, e. g. toti fpatio for*'
nicis, tholi, & tribune, quam vocant, exprelTas in figura nonageilmatertia, nolunc coneedi uni-
cum pun&um, volunt coneedi plura.
*

ES^P O NT) E
O, objetlioncm banc dnpliciter intelligi pojfe : vet enim intelligi pofi
fit,, 11011 ejfe affignandum unicum puntlum toti illi Jpatu
.
at que in hoc ftnfu vera eft 3
;

cum enim fpatitim Mud valde oblongum Jit, dividi debuit in partes at que ajfignandd i

tribuna, qiiam diennt, tholo, 9 fornici, propria puntla ; cum hoc communiter do~
ceant, nbi Jitus nimium eji loiigus, pariim alt us. Vel po; eft intelligi de qualibet

ex ditlis partibus, &
fie hit elle Eta penitus falfa eft. Trimb, quia pr aftantiores
fornices aularum, &
templorum, qui optico artificio oruati fint, fi unicum opus red-
dibits a fuifmet authoribtts determinatum idemqne unicum puntlum accepiffe com
pertum eft. Secundb, quia cum ars optica fit r,iera veri fitlio, 11011 id piclor fa-
cere poteft, ut a qualibet parte fimulet veritatem, verum ab uno determinato puncld
id oftendit. Tertib, quiafi, e.g. fornici, qui uno integroque optico opere ornetur^
plura pmnttu ajfiguaveriri' nullum reperies locum, unde integrum opus Jpe flare pojjis, &
ad ftummum ex quoli*
bet punclo tantum partem illius fpeclabis, nufiquam verb totum opus. Ex ditlis igitur rationibus concludo ab
inducentibus plura puntla in eodem opere induct malum majus eo, quod unicum puntlum inducit ; quare hoc
bmnino necejfarium eft fitui in quo unicum opus firman dim fit, ad quod coliimare debeant ex omni operis parte
fipurte fimul f> architeclura. <j>ho P^fito, negari rationabi Liter nequit, a me etiam coneedi unicum puntlum fpe-

ctando fornici amplo, aptoque adreprafeutandum unicum opus, qualis eft fornix in T). Ignatii templo. Si verb
propter fitum irregular em, ut dicimus, architeclura extra puntlum aliquantulum deformetur, figure par iter&
dperi optico intermixta extra commune puntlum aliqualem patientur deformitatem, praterquam quod a fupra-
ditlis rationibus excufatvr. neqnaquam id vitio arti eft, fed laudi ; quandoquidem ars a fuo punclo exhibet,
proportioiie pofitd, ut reilum, ut planum, ut concavum, id quod tale non eft.

An Anfwer to the Obje&ion made about the Point o(


Sight in Perfpe&ive.

Every one does not approve, that in 'Perfpe^ive of great Extent oneToint of Sight only fhotild be"
affignd the whole Work 5 as for Example, In the whole Length of the Nave, Cupola, and Tribune,
exprefsd in the Ninety-third Figure, they will by no means allow of one Jingle 'Point, but injlfi

upon feverah

I "ANSWER, be underftood two ways ; either that one Point


This Objection may
aone is not fufficient for that whole Length, and in this fenfe 'tis true for that Space ;

being very long, it ought to be divided into Parts, and proper Points affign'd to the
"Tribune, Cupola, and Vault of the Nave as is commonly taught, where the Situa-
;

ton is of a great Length, and not very high. Or it may be underftood of any One
f the faid Parts, and lb is altogether falfe. Firft, Becaufe in the Vaults of Halls or
Churches painted by the greateft Matters, if they confift of one Piece only, we find
lut one Point of Sight affign'd. Secondly, Since Perfpedive is but a Counterfeiting
f the Truth, the Painter is not oblig'd to make it appear real when
feen from Any
prt, but from One determinate Point only. Thirdly, Becaufe, if in a Va.uk, for Ex-
ample, where you would paint one entire Defign of Architecture and Figures, you

align feveral Points of Sight, you will find no place whence you may take a perfect

View of the Whole, and at beft you can only view each Part from its proper Point. From all which Reafons
I conclude, that the Introdu&ioi of many Points into the fame Piece, is more injurious to the Work, than ma-
king ufe of one only Wherefore 'tis ablblutely
: neceflary in a regular' Situation, and where the Work is all of

a piece, fo to place the fame, as that the Figures and Architecture may from every part of
the Defign have re-
fpecT: thereto. This fuppos'd, I confefs that 1 my felf make ufe of one Point of Sight only, in very large Vaults
that confift of one Defign, fuch as that of the Nave of the Church of S. Ignatius. If therefore thro' the Irre-

gularity of the Place, the Architecture appear with fome Deformity, and the Figures intermix'd
therewith feem
any thing lame and imperfect, when view'd out of the proper Point, befides the Reafons juft now given, it's fo
when view'd from the Point de-
far from being a Fault, that I look upon it as an Excellency in the Work, that
or concave when in reality it is not fo.
termin'd, it appear, with due Proportion, (height, flat, ;
INDEX. Fig.
/NSTRVME NTA paranda, TJTENSILS
^ for Drawing.
Explicatio linearum plant & horizontis, ac I. Explication of the Lines of the Plan and Ho-
puntlorum oculi difiantia, rizon, and of the Points of the Eye and of
the Diftance.
Modus delineandi opt ice quadratum, II. The Manner of delineating a Square in Perfpedtive.
Optica delineatio retJanguli, altera parte longioris, III. The Delineation of an oblong Square in Perfpedtive.
Optica defcriptio quadrati duplicis, IV. The Optical Delineation of a -double Square.
Veftigia quadratorum cum elevationibus, V. Plans of Squares with their Elevations.
Modus optica delineationis abfque lineis occultis, VI. The Manner of defigning in Perfpedtive without
occult Lines.
Aliud exemphtm vefiigii geometric~i, cum elevatione VII. Another Example of a Geometrical Plan and Up-
longitudinis, right put into Perfpedtive.
Optica projetlio fiylobata, VIII. The Projection of a Fedeftal in Perfpedtive.
Optica delineatio ArchiteBura Jacobi Barozzii, IX. The Architecture oiVignola in Perfpedtive, and
& primum de fiylobata Ordinis Etrufii, firft of of the Ttifcan Order.
his Pedeflal
Optica deformatio fiylobata Rorici ; ubi de modo X. A Rorick Pedeflal in Perfpedtive, with the Manner
vitandi confufionem in veftigiis delineandis, of avoiding Confufion in defigning the Plans.
Stylobata Ionici deformatio ; ubi de vitanda confu- XI. The lonick Pedeftal in Perfpedtive, with the Man-
fione in elevationibus, ner of avoiding Confufion in Elevations.
Reformatio fiylobata Corinthii, cum duabus pilis, XII. The Corinthian Pedeftal, with its Pilafters, in Per-
fpedtive.
Trojeclio fiylobata Ordinis Compofiti, XIII. The Projection of a Pedeftal of the Compofite Order.
Reformatio circulorum, XIV. Circles in Perfpedtive.
Optica delineatio columna, XV. A Column in Perfpedtive.
Optica projetlio bafis Etrufia, XVI. The Tufcan Bafe in Perfpedive.
Reformatio bafis Rorica, XVII. The Rorick Bafe in Perfpedtive.
Optica delineatio bafis Ionica, XVIII. The lonick Bafe in Perfpedtive.
Optica imminutio bafis Corinthia, XIX. The Corinthian Bafe in Perfpedtive.
Bafis Atticurga optice imminuta. XX. The Attick Bafe in Perfpedtive.
Optica imminutio capitelli Etrufii, XXI. The Tufcan Capital in Perfpedtive.
Optica projetlio capitelli Rorici, XXII. The Projection of a Rorick Capital in Perfpedtive.
Reformatio capitelli Ionici, XXIII. The lonick Capital in Perfpedtive.
Optica projetlio capitelli Corinthii, XXIV. The Corinthian Capital in Perfpedtive.
Optica defcriptio capitelli Compofiti, XXV. The Compofite Capital in Perfpedtive.
Reformatio coronicis Etrufia, XXVI. The Tufcan Entablature in Perfpedtive.
Optica delineatio coronicis Rorica, XXVII. The Rorick Entablature in Perfpedtive.
< to the following Figure.
Praparatio figura fequentis, XXVIII. Preparatory
Optica projeclio adificii Rorici, XXIX. A Projection of the Rorick Order in Perfpedtive.
Optica projeclio adificii Ionici ; ubi de modo jun- XXX. An lonick Work in Perfpedtive, with the manner of
gendi fiEtum cum vero. reconciling the ficticious to thefblid Architecture.
Optica projeclio coronicis Corinthia, cum capitello XXXI. The Optick Projection of a Corinthian Cornic with .

&
fummitate columna, the Capital and part of the Column.
Relineatto geometrica coronicis Ordinis Compofiti, XXXII. The Geometrical Defign of a Cornice of the Compo-
fite Order.
Reformatio coronicis Compofita, XXXIII. A Compofite Cornce in Perfpedtive.
*Praparatio adfiguram trigefimamquintam, XXXIV. Preparatory to the Thirty -fifth.
Reformatio coronicis Compofitce ad latus infpetla XXXV. A Side-View of thzCcmpofite Cornice in Perfpedtive.
Vraparatio ad figuram trigefimamfeptimam, XXXVI. Preparatory to theThirty-feventh.
Reformatio columna Etrufia, XXXVII. A Tufcan Column n Perfpedive.
Traparatio adfiguram trigefimamnonam, XXXVIII. Preparatory to theThirty-ninth.
Reformatio adificii Rorici, XXXIX. A Piece of 'Dwi^Architedture in Perfpedtive.
Veftigium geometricum adificii Ordinis Rorici, XL. The Geometrical Plin of a defign of the Rorick Order.
Elevatio geometrica adificii Rorici, XLI. The Geometrical Ilevation of the foregoing Defign.
Modus vitandi confufionem in contratlione vefiigi- XLII. The Manner of avoiding Confufion in reducing
orum &
elevationum, Plans and Elev:tions into Perfpedtive.
Contratlio vefiigii figura quadragefima, XLIII. The Plan of the fortieth Figure in perfpedtive.
Contratlio elevationis figura quadragefimaprima, XLIV. The Elevation of the Forty-firft Figure in Perfpedtive.
Rimidium adificii Rorici optice deformati, XLV. One half of the Rorick Defign in Perfpedtive.
Alterum dimidium ejufdem adificii, XLVI. The other half of the fame Defign.
Vejiigia adificii Ionici^ XLV1I. The Plan of an lonick Building.
Elevatio geometrica adificii Ionici, XLVIII. Geometrical Upright of the foregoing lonick Defign.
Reformatio elevationis adificii Ionici, XLIX. The Elevation of the lonick Defign in Perfpedtive.
ArchiteElura Ionica, L. A
Defign of lonick Architecture.
Ordo Corinthius, LI. A
Corinthian Defign in Perfpedtive.
Relineatio columna Jpiralis Ordinis Compofiti, LH. The Defcription of a wreath'd Column of the Com-
pofite Order.
Ordines Architetlura defumpti ex Talladio & Sca- LIII. A. The Orders of Architecture taken from Talladio
mozzio. and Scamozzi. Modus
INDEX.
;

FlG
Modus triplex delineandi columnas fpirales, LIU. B. Three different w ays
of delineating wreath'd Columns
Veftigia adificii Ordinis Corinthii, LIV. The Plan of a Defign of the Corinthian Order.
Elevatio adificii Ordinis Corinthii, LV. The Geometrical Elevation of a Corinthian Work*
Reformatio vefiigiorum & elevationis adificii Co- LVI. . The Perfpective-Plans and Upright of the Corinthian
rinthii, Defign foregoing.
Adumbratio figura fequentis, LVII. The rough Draught of the following Figure.
Mdificium Ordinis Corinthii oBangulare, LVHI. Part of an Octangular Work of the Corinthian Order*
Vejiigia Tabemaculi oBangularis, LIX. The Plans of an Octangular Tabernacle.
Tabernaculum oclangulare, LX. An Octangular Tabernacle in Perfpective.
Modus erigendi machinas qua confiant pluribus ordi- LXI. The Manner of erecting Machines that confift of feve*
nibus telariorum, ral Ranges of Frames.
Re reticulandis telariis, qua reprafentent adificia LXII. Of making the Net-work on Frames, for reprefenting

folida, the Architecture as folid.


Vejiigia adificii quadrati, LXIIL The Plan of a fquare Defign.
JEdificium quadratum, LXIV. A fquare Defign in Perfpective.
Vefiigium adificii rotundi optice imminutum, LXV. The Plan of a Circular Work in Perfpective.
'ProjeBio adificii rotundi, LXVI. A Circular Defign in Perfpective.
Vefiigium geometricum, ac prima praparatio adfi- LXV1I. The Geometrical Plan, and firft Preparation to the Se-
gurant feptuagefimamprimam, venty-firft Figure.
Elevatio geometrica vefiigii pracedentis, &/ecunda LXVIII. The Geometrical Elevation of the foregoing Plan, and
praparatio adfiguram feptuagefimamprimam, fecond Preparation to the Seventy-full Figure.
Reformatio vefiigii figura fexagefimafeptima, & LXIX. . The Plan of the Sixty -feventh Figure in Perfpective,
praparatio tertia adfiguram feptuagefimamprimam, and third Preparation to the Seventy-firft Figure.
Reformatio elevationis figura fexagefimaoBava , & The Perfpective of the Elevation of the Sixty-eighth
praparatio quarta adfiguram feptuagefimampri- LXX. Figure, and fourth Preparation to the Seventy-flrfr.
mam,
Theatrum reprafentans nuptias Cana Galilaa, con- LXXI. A Theater reprefenting the Marriage of Cana in G'alike
firuBum Roma anno 1685, in expofitione Ven. erected in the Jefuits Church at Rome,* 1685, for the
Sacramenti, in templo Farnefiano Societatis Jefu, Solemnity of expofing the Holy Sacrament.
Re theatris fcenicis, LXXII. Of Scenes for the Stage.
Aliud vefiigium theatri ; ubi de modo inveniendi LXXIII. Another Plan of a Theater, with the Method of find-
ejus punBum, ing the Point of Sight therein.
SeBio fienarum theatri, LXXIV. The Section or Profile of Scenes for Theaters.
Elevatio fienarum coram infpeBarum ; ubidocetur LXXV. The Elevation of Scenes in Front, and how the oblique
artificium, ut fcena obliqua apparent reBa, Scenes are made to appear direct.
Modus delineandi exemplar fienarum, LXXVI. The Manner of delineating the Defigns of Scenes.
Modus reticulandi & pingendi fcenas theatri. LXXVIh The Manner of making the Net-work or Squares, and
painting the Scenes of Theaters.
Re projeBionibus horizontalibus, LXXVIII. of horizontal Projections.
"ProjeBiones vefiigii & elevationis mutuli,
LXXIX. Xhe Plan and Elevation of a Corbel in Perfective.
Horizontalis projeBio mutuli inmnbrati,
LXXX. xhe horizontal Projection of a ihaded Corbel.
Stylobata Corinthii horizontaliter contraBi,
LXXXI. Corinthian Pedeftais in an horizontal Perfpective.
Columna Corinthia horizontaliter deformata, LXXX1I. A Corinthian Column in horizontal Perfpective.
Capitella Corinthia horizontaliter contraBa, LXXXI1I. a Corinthian Capital in horizontal Perfpective.
Coronix Corinthia, LXXXIV. A Corinthian Cornice.
Coronix Corinthia horizontaliter contraBa, LXXV. A Corinthian Cornice in horizontal Perfpective.
Horizontalis projeBio columna, LXXXVI. A Column in horizontal Perfpective.
'Praparatio neceffdria ad/equentemfiguram,& adpro- LXXXVII. The Preparation necefiary to the following Figure, and

jeBioues horizontales in laquearibus vel tefiudinibus, to all other horizontal Perfpectives, whether on flat
or vaulted Cielings.
Horizontalis projeBio balujiiorum figura oBogefi- LXXXVIir. The horizontal Projection of the Baluftrade of the
Eiffhty-ieventh Figure, viewed at a fmall Diftance.
mafeptima, cum brevi diflantia,
Horizontalis projeBio ArchitcBura in laqueari qua- LXXXIX. A horizontal Piece "of Architecture in a fquare Cie-
drato, ling.

Horizontalis projeBio tholi, XC. A Cupola in horizontal Perfpective.


Tholus figura nonagefima, cum luminibus &
umbris, XCI. The Cupola of Fig. 90, with its Lights and Shades.
Tholus oBangularis, XCII. An Octangular Cupola.
XCIII. The Geometrical Plan of S. Ignatius*?, Church at Rome.
Vefiigium templi Ludovifiani S. Ignatii alma urbis,
Orthographia templi Ludovifiani, XCIV. The Orthography of S. Ignatius's Church.
Alia praparationes adfiguras 98 @ 99, XCV. Other Preparations to the 98th and 99th Figures.
Alia praparationcs adfiguras 98 S> 99, XCVI. Other Preparations to the 98th and 9 9th Figures.
Alia praparatio ad figuras $>S & 99, XCVII. Another Preparation to the 98th and 99th Figures.
Ghiadrans ArchiteBura horizontalis infornice, cum XCV1II. Fourth-part of the Architectonical Defign on the Vault
luminibus S> umbris, of S. Ignatius's Church, with its Lights and Shades,
Alter quadrans totius operis, XCIX. Another Quarter of the whole Defign.
Modus reticulationis facienda in tefiudinibus, C. The Method of drawing the Net- work on Vaults.

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