Rules and Examples of Perspective Proper for Painters and Architects

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GLASGOW SCHOOL OF ART LIBRARY

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Rules and Examples of

PERSPECTIVEPROPER FOR

ainterSandAichited$tt Cttglttir atib Xatm:

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

DELINEATEinPERSPECTIVE

AHIJESIGNS relating toARCHITECTURE,AFTER ANEW MANNER,

IVholly free from the Confufion of OccultLines:

by that GREATMASTER thereof,

NDREA POZZCWEnprjvcn inio^ ampleJolioPlaten, andadorndwith 200 InitialL ctters to

the Explamtfm~ijDijcourjh-Smn. tedfrom Copper-Plates any bcjlPaper

^one into Englifli from the Original Printed at Rome 1693 inLat.andltal.

Bi/^ IIrJohnJanus qfGreimvieh.

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

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



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PERSPECTIVAPICTORUM

JET

ARCHITECTORUM,ANDREM PUTEI,

I

E S C IE T A TE IE S U.

In qua\doceturModus expeditiiTimus Delineandi

Optic ^e omnia que pertinent ad Architedturam.

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.



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/



TO

Her moft Sacred Majefty;

Queen ANNE

c\Lu/ itpleafc i/oiir^ ttqjcfti/.'

-

HE Condefcenjton ofthe late Emperor

ofGermany to patronize /&Work

in the Original, could not have incited

me to the Prefumption of laying 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 beenpleas 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 Commandsfor Raifing

WHITE-HALL 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.

Thesefeem toprefage, that a Time is coming, when

thro the Bleffing of Peace, and the happy Influence

of Tour Majefty s Government, WHITE-HALLJball 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 SubjeSlsJball 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



DEDICATION.the moBObfeme and Confusd, ofall the Lineary Arts.

I, therefore, with all Submiffion, beg Leave tofuppli-

cate Tour Majefty s Pardonfor this Addrefi, and Tour

Gracious Protection of this Specimen of Englifh

Graving $ to which, ifYour 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 R E F A CTO THIS

TRANSLATION.OTWITHSTANDING the Art ofPERSPECTIVErauft be acknowledg'd fo highly and indifpenfably requifite

in the Pra&ice of Tainting, Architecture, and Sculpturej

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 madeEnglifh, have invited very few to fuch a Profecution of this Study, as might render

their Performances of this kind, truly valuable.

5T 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

cPerfpetf;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 Conclusion3 That if Painters would

not run into inextricable Errors, they ought as JlriElly to obferve the Rules of Per-

fpective, in dejigning the Figures ofMen 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 Terfpettive : 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 Onedeterminate Point : For tho in Works of great Length, Two, Three, or more Points

of Sight are fometimes made ufe of3yet fuch may 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 is more or lefs remote from the Point of Sight.



PREFACE.Extent of the Object, whether in Length or Height : As, to view a Building that is a

hundred Foot long, and fifty high;he would have the Diftance a hundred Foot : 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 Scale3

all the Examples of this Volume ak reduc'd into Perspective5 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 Figure3otherwife 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-Square3 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.

ONCINNITATEM. ac fymmeiriam optica delineationes

adificiorumhabere nequeunt, niji utrdmque mutuentur ab Architectural. 'proinde

necejfe eft,tit in iflius graphide ac intelligeniia te aliquandiu exerceas

y

donee uniufctijiifque ehvationis vejiigiumformare didiceris, ex eoque eruere

Jeflionem totius longitudinis, tit in Opere toto videre ejl, prafertim

figuris fexagejima otfava &feptuage/ima. Siquidem ex veftigio & 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

ordine, tit qua pracedit, necejfaria fit ad percipiendas eas qua fequuiitur. Si aViqtiaJint in ex-

plicatione, qua initio non intelligas, ipjiim fchema fapius diligenter infpicies ; ac vicifjimfi aliqua

dejint in fchematibtis, ex declarationibtis ea fuppjebis. Lapjiis verb qteos deprehenderis, facile pro

'tita benignitate, mihi, tit Jpero, condonabis.

ADVICE to BEGINNERS.H E 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 this one thing more, which is indeed of the laft Importance 3 to wit, that you endea^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

rvayoculum

ylicetfagacijjimilm interfenfus nojlros exteriores, mi~

rabili cum vohiptate decipit^ eademque necejfaria ejt its, quibus inpingendoi

tiim Jingulis Jiguris pojittonem ac deformationem Jiiam congrue tribuere^

turn colores & umbras, magis <vel minus intendere ant remittere, prout

oportet, cura 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 fatisfa£iurum.y

torumque profetfui confultumm, Ji methodos expeXitiJJimas in lucem proferam, adJingulorum drchi-

tetiura Ordinum opticas delineationes perficiendas, adhibita communi regula, ex qua omnia linearum

occultarum offendicula fujlulimus.<Deinde, Ji tempus& vires ad aliud Opus confcribendum Bonitas

tDivina dederit, projetfiones quafcunque abfblvemus regula qua in prafentia uti Jbleo, ac multa 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 operationumy

ad verum oculi punffium ducere, ad gloriam Jcilicet DEI O.M. tecum omnino deceme. Sic votis

hmejliflimisj ut auguror tibi ac Jpondeo, feliciter potieris.

T O

The Lovers of Perfpe£tive.

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 this kind, I had

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 by the Rule I make ufe of at prefent, which is more eafy and general

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

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PERSPECTIVE.



FIGURA PRIMA,Explicatio linearum Plani & Horizontis, ac Punctorum Oculi & Diftantiaj.

T principia Terfpettiva facilius intelligas, pono tibi ob oculos Templum, in cujus in-

teriori facie,prater ccetera, pingendum fit aliquid adcPerJpettivampertinens. Tern-

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-

rtetis : eafdemque proportions menfurarum tranftatas ejfe ex vero pariete infigu-

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 NO N prioriparallela, 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 debere cum diftantia inter A & D E, inter B © G F.

In pitturis multum fpatii occupantibus, punttum oculiponi 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 ; ita 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 cumpariete 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 DE S G F, quanta eft Ion*

qitudo quadrati P, cujus elevatio eft Q_; ex punttis A & B fiant vijuales ad puntta extrema quadrati, notando

fiettiones vijualium cum pariete D E & G F, qui ab aliis vocatur velum, vitrum diaphanum, jettio, tela, vel ta-

bula. Invenies autem, lineas RS acTV ejfe aquales, acfimiliter lineas XZ £sYK; & fie de aliis.

TheFirft 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

|

the Edifice begins, and on which it ftands. The fecond Line N O 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 fufficient for the fore-fhort'ning Figures in Perfpective : Neither can any Optick

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 O muft be made

equal to the Height. If the Breadth of the Picture exceed the Height, the Diftance N O 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.

43



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Fig.xxxvi

o't> h&pomtofctiftance li/cj xxJlJacUdu ivitJicrut the lintA3

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FIGURA Trigeilmafexta,

Prseparatio ad Figuram trigefimamfeptimain.

Nvejligio 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 lineam 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 adpuntluM

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; andfrom 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,

F IGURA Trigefimafeptima.

Deformatio Columns BTRUSCiE.

Xprdeparatione quam exhibuimus Figurd tri-

gejtmafextd, eruitur columna h<zc nitida Or-

dinis Etrufci, optice imminuta per latitudi-

nes £^ altitudines partiumJtngularum $ 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 theBreadths

and Heights of the feveral Parts, exa&ly taken off with

the Compaffes, as has been often faid.



W»— . ... —V .. -f Fife, xxxv



F IGU RA Trigefimaoftava-

Praeparatio ad Figuram trigefimamnonam.

y£C Figura eft Jimillima Figure trigejimtf-

fextce. In veftigioV limesprominentia co-

ronicis ejiR?- 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 famewith

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

moft Proje&ure of the Cornice isR .; 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 IGURA Trigefimanona.

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 mutesfaltem in

loco pim&orum oculi aut diffantice. Hoc

modo majores in hac arte progrefjus fades ; & Ji alicubi che-

lator aberraverit, ex lapfu illius nullumfenties detrimentum.

The Thirtv-ninth FIGURE.

A Piece of DORICK Architecture in Perfpeffiive.

N this Plate you have a Dorick Compo-

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 fromthofe here given ; which Practice will both greatly further

your Progrefs in this Art, and prevent any Inconvenience,

that may arife from a Miftake of the Engraver.



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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 GeometricalPlan ofa 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 for Statues. But to avoid Confafion,I have given full Lines to thofe Members only, which were

mentiond in theThirty-eighth Figure, and which are here

denoted by the Characters A, B, C, D, E.

F IGURA 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, exa£Hy anfwer

thofe of the Fortieth Figure,



FIGURA Quadragefimafecunda.>

Modus vitandi confufionem, in contra&ione

veftigiorum, & elevationum.

ONTRACTIONES veftigii jtgurd qua-

dragejirna, & elevationis 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 IGUThe Manner of avoiding Confifjion, in reducing Plans

andElevations

into PerfpeSlive.

HE Reducing into Perfpe&ive the Plan

of the Fortieth Figure, and the Upright

of the Forty-firft Figure, would become

very confus d, thro7

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 Quadrageiimaquinta.

Dimidium sedificii DORICI optice

deformati.

XJICJigUrce delineandtfplurespraiverunt, 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 DORICK 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.

F IGURA 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 ofthe 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 Refpe£ts are alike



F IGURA Quadragefimafeptima.

Veftigia ^dificii ION I C I.

ESTlGIUMgeometricum A adificii Ionici,

fubfe habetfuam deformationem B. Hac

autem ut evadat difiinSlior, lineam plani,

qua infequentibusfiguris habebit diftantiam

PE ab horizontal! OE, deorfumprotraximus

in CD, ut etiarnfecimus figurd quadrageji-

mafecundd

&quadragefimatertid. Lineavifualis OM eun-

dem habet ufum, quern vifualis OT figurce quadragejimteter-

tice ; videlicet, ut in ea terminenturparallels ad lineam plani

ex membris veftigii B, eademque continuentur cum aliis pa-

rallel!s ad reSiam E C, pro deformandd elevatione quam ap-

ponemusfigurd quadragejtmanond. .

I IrH

n;Y> -^V^J^jjsjgJSi

t)mk- 1

lEvJ

-r^-if

. v^.^

The Forty-feventh FIGUThe Plan of an IONICK Building,

HE GeometricalPlan of this IonickWork 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 OMis of the fame ufe as that ofO T,

in theForty-third Figure ; namely, to terminate the Lines

which are drawn from theMembers of the Plan B parallel

to the Ground-line ; from whence theyare 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 IGURA Quadragefimaoftava.

Elevatio geometrica aedificii ION I CI.

X hac elevatione, qua dare qftendit membra

totitis 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 iterumfuntfigurd

fequenti.

The Forty-Eighth FIGURE.The Geometrical Upright of theforegoing lONICKDeJign.

ROM this Figure (which diftin&ly fhewsthe Compofition of the whole Work, in

refpe£t 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 there

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 ION ICI

AL C Figura, continens deformationempracedentis elevationis

perficitur methodo ilia, quant oflendimus figur* quadrageji-

mafecunda; nimirum, ex vejiigio B figura quadragefimae-

feptimte, ducere oportet parallelas ad lineam plant CD, qua

uhi pervenerint ad vifualem OM, continuandcefunt cum aliis

parallelis adlineam EC. Eafdem parallelas in hancfiguram

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 CDare 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 vejiigiofigure 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 chelatorfuam diligentiam in hocfchematefatisprobaverit*

Ejus tamen errata facile ipfe deteges, & ornniJiudio cavebisi

The Fiftieth FIGUA Dejign of ION I CK Architecture,

if -.j

ROM the Plan of the Forty-feventh Fi-

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.

FIGURA Quinquagefmiaprima.

Ordo CORINTHIUS.

OMPLECTITUR hxcpagina molem con-

trailam OrdinisCorintbii, cumfiuisprtfpara-

tionibus. Vefiigium A exhibetparietempone

columnas cavum infiar canalis. Idem vefii-

gium optice deformatur inD: omijfdque ele-

vatione geometried, per ejus altitudines notatas in lined BCprojicitur elevatio ; ac methodo confinetd, ex vefiigio &f elevd-

tione componitur <edificium, additofiatute unius ornamento.

ia^:-W^fc ?:i

j*"SrtyllB

"*McE

f^lil^sfiHEiiis

\

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 D : and

leaving out the Geometrical Elevation, the Perfpe£tive

thereof is defcrifrd, by transferring the Heights of the

former into the Line BC. From the Perfpe£tive-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

OSITA 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, notandafunt quatuor 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 cohmnafpirarum 5 eadem funt maxima latitudines, turn in circulo minori turn hi

concavitate ipfarumfpirarum 5 ut dignofces applicando regulamfpirisJimul& 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 Shaft into Four and Twenty equal Parts 5 the

Wreathing is defcrib'd

by Parts of the Circumference of Circles, whofeDiameters are equal to the feveral Breadths, or Diameters, of the ftreigk

Column5 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 A5and 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_5from 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.

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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 membrorumJingulorum ; ut eas transferendo in lineam 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.

EINGto 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,

igiven the Geometrical Plan of the Pedeftal

;and in

the upper part, that of the Cornice ; with the Breadths and Lengths of

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

the ufual manner, you delineate each Plan in Perfpedtive. For avoiding

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. liv.

i I i t iii iii iiij i ii iiiii ii ii iiiii iii Mil i i iii i iii i ijj i i i iiii ii i ii i i4-4-



-I IIII

Fig. la/:

tti 1—i—i—r-

iTHE-QUVjOO'-f'-l

1

ilM M teJ^Ss'r



FIGURA Quinquag

Elevatio sedificii Ordinis CORINTHII

LEVAT10 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 GeometricalElevation 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

finiflid Perfpeftive that follows ; 'tis requilite to delineate

the fame with occult Lines, as in the Figure.



F IGURA Quinquagefmiafexta.

Deformatio Veftigiorum & elevationis sedificii

CORINTHII.

N hac Figurd, lineam plani coincidere volui

cum lima horizontis. Itaque videri nonpojfet

veftigium inferius, nifi ut alias deorfumpro-

traxi lineamplani, hie e converfofurfumpro-

movijfem lineam horizontis, qitam confiitui

mediam inter lineasplani utriufque vejtigii, ut amb&projeBio-

nes ejfent deque diftmSla. In elevatione, columna fecunda*

quam, ut dijxi,paries abfeondit, lineis occultis dejignanda eft.

The Fiftv-fixth FIGURE.j

The Perfpeffiive Plans and Upright of theCORINTHIAN

Dejign foregoing.

N this Figure, I have made the Grcmid-

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 fecondColumn, Avhich I mention d to be

hidden by the Wall, fliould be defignd with occult Lines.



lr": :lasogw|

Tig. lvh.

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§»

5



FIGURA Quinquagefimafeptima.

Adumbratio Figure fequentis*

IGURAM bancfeorfim 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.

Have drawn this Figure apart, that you

may fee the Manner of defcribing the

Out-line of the whole Work, by taking

the Heights of the feveral Members from

• the Elevation, and their Breadths and

Lengths from the Plans ; all which is very plain, upon

Infpe&ion of the Figure.

IBf* ^Hs&H

jijp|jl3fiipBSr^'

SB\fKg?*?.'=j\fia^^^

[_*s»kflIVj ./

--~ .***^l



F IGURA Quinquagefimaodava.

JEdiMum Ordinis

CORINTHIIQBangulare.

TJCTJSQJJE defcripfimuspilas 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 HERTO the neareft Left-hand

Quarter of this Corinthian Defign has

been defcribd. In this Plate you have

the Right-hand Half of the wholeWork;and in the Sixtieth Figure, the entire

Perfpective compleat



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•E

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'.. A

F IGURA Quinquagefiinanona.

Veftigia Tabernaculi oftangularis.

ROJECTIONES reriim 08angularurnfunt quadratis difficiliores : ideb in eis expli-

candis diligentU nonpepercu Moles, cujus

veftigia vides in A £f B, convenit in multis

3 cum ea quam ereximusfigura quinquagejima-

Ottawa* Vifudlis CD recipitfeBionesperpendicularium, qu<e

deferviuntpro elevatione

figurefequentis,

utfepius diBum eft.

Sifades interior delineandajitfeorjim a facie anteriori, illam

perficies ope linearum CE, ifam ope linearum FD.

The Fifty-ninth FIGURE.The Plans of an OBangular Tabernacle.

CTANGULAR Figures bein.2; more

difficult to be put in Perfpe&ive, than theSquare ; 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 theFore-part, you may do the former by means

of the Line CE, and the latter by that of FD.



FIGURA Sexagefima.

Tabernaculum o£tangulare»

OC tabernaculo aliquoties ufus fuipro expd-

Jitione quadraginta horarum. Si colores

fcite induBi fuerint in duos ordines tela-*

riorum^ refefflis omnibus qua ad molem ip-

fam nonpertinent> 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 FIGUREAn 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 appearas folid ; but then the outer Ranse mull be drawn after

the Plan and Elevation of the Part D F 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

Xfigura infpettione addifces modum erigendi machinas qua conflat 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 linea plant, re£ia DG eji linea horizontalis-, ac puncTum diflantia

quod cadit extra paginam in ret~ia C G prolongate., debet ejfe remotum &

punttoQ, quantum infuperiori partefigura quinquageJlmanona,puniium

difiantia eji remotum a puntlo oculi. Eadem horizontalis DG fecatur

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 ducendafunt vifuales act

reflam I L pro reticulatione aliorum telariorum : difiantia enim D C facit ut augere oporteat ect

qua in telarits pinguntur, 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, adhibita reticulatione

externa faciei', ad intelligentiam verb illius methodi, fiat in hacfigura. recta HP parallela ad DC,

ac retfa BC dividatur in totidem partes aquales, in quot partes divifa fuerit re£ta P C.

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

Y cafting your 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 DG is cut perpendicularly in C by the

Line E F, which is the Section of the outer Face of the Tabernacle;and from the Point C begirt

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 H P in this Figure parallel

to DC, and let the Line BC be divided into as many equal Parts, as the Line PC was.



F IGURA Sexagefimafecunda.

De reticulandis telariis, qua: reprsfentent xdificia folida.

1)0 exemplaria tabernaculi qua Jeorfim delineanda funtyconjunctim habes in A.

1)trifque defervit eadem reticulatio, quam fuis numeris infignivimus. Toftquam

ervodefignaveris 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 totidem membrorum, quot futura fimt telaria exprimentiafaciem exter-

nam tabernaculi. Vbi hac parata fuerint, Jingula difponentur exacte 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 reticulattones 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 intertoris 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 re£ia 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, atque ope harum divifionum reticulare oportebit utrkmque exemplar. Torrb licet

quadrata in reti exemplaris faciei externa fint majora- quadratis exemplaris interna faciei, nihilominus idem

rete pavimenti deferviet pro ducendis lineis terminativis utriufque 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 exalta, omnefque illorum anguli fint recti. Modus

expeditijfimus faciendf\ngulos rectos eft hujufmodi. Tofito uno crure circini in puncto F linea 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.

O U have jointly in A, the two Defigns of a Tabernacle, which are to be drawn fe*

parately ; the fame Net-work ferving 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 FHdrawn by the Points F I, ihall be perpendicular to F E.



FiG.Lxm.



F IGURA 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 Perfpe£tive 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 inD.



FIGURA Sexagefimaaiiarta.

^Edificium quadratum.

Xdeformatione veftigii £s? elevationis, methodo

confuetd eruitur imago totius rfdificii, qu£

poteft ejfe exemplar ar£ maxima alicujusRc-

tlefice. Hanc machinam, nonjine communi

approbatione, aliquoties adhibui, in apparatu

J

quadraginta horarum ; locum in medio vacuum

occupantibus Angelis cum nubibus, additd figurarum aliquot

copid in parte inferiori. Modusfaciendi in telariis remotio-

ribus ab oculopartem 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 andUpright in Perfpe&ive,

this finifhd Piece of the wholeWork is de-

lineated after the ufual Manner, and mayferve 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 pofuerint7

eofcjue minimo negotio ex ufu defcribere nequiverint, frujira

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

neas occultas membrorum pracipuorum ; iifque tranjlatis in

elevationem, addere 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

Iac depictafuerint. Ham figuram ex vefligio eruere oportebit

methodo confueta, eamque in Templo iS.Ignatii CollegiiRomani

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, wasplac'd a fepulchral

Urncon-

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

feptuagefimamprimamGREG 1AM 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 crepidinesJiylobatarum&coronicum. Initium delineationis fiet ab

its membris, ex quibus oriuntur linea occulta pojiia 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 completfummitatem 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 FortyHours5 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 Cis that of the inner Veftibule, but that of the Theater is here omitted, thro' want of Room in

the Page.



F IGURA Sexageiirnao£tava.

Elevatio geometrica veftigii prsecedentis, & fecunda prse-

paratio ad figuram feptuagefimamprimam.

N hocfchemate habes elevationem tfdijiciife-

Bam in longi/m, quam figurdfeptuagejimd o-

pticeprojiciemus : eifdemque membrisconfiare

videbis elevationem deformatam, quibus con-

fiat elevatio geometrica. Hincdifces adex-

cogitandas hujufmodi machinas, eandem Ar-chiteffiurce fcientiam in PiBore necejfariam ejfe, qua adcon-

firuenda folida tedificia exigitur in ArchiteBo.

The Sixty-eighth FIGURE.The Geometrical Elevation of theforegoing 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 mayobferve 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 veftigii figure fexagefiniaefeptiiii^e, & prce-

paratio tertia ad figuram feptuagefimainprimaiiL

RTIFICIUMprojeffionis veftigii hujus, ex-

plicatum a nobis eft jigurd quadragefimafe-

cundd ; nimirum, ut parallels Jint invicem

dijiantiores, lineamplani 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 Infpe£tion 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 notabt'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 SeventyfirB 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.



FlG.LXXI

. ;. r .;, 77]



FIGURA finaabruna.

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 multa 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 ifas omijimus, ne abfonderentur 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 fuityut 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 poterant3eorumque aliquot paria ferreis hamulis copulata erant, ut explu

cart ac replicari pojfent, ad faciliorem tra£latwnem 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,

eretiedin the Jefuits Church at Rome, /// the Year 1685 5

for the Solemnity of expojing the Holy Sacrament.

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

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

but was more efpecially furprizing by Candle-light5 many of the Can-

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 Sixty-fecond Figures5and great Care was a'ifo

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 Facades5 fo that the Joints were icarcely difcermble : 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 referiturpunclum 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, velfeenas

movere, aliifque fimilibus praejfe, facilius lateant & liberius fungantur munere

fao -

,

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'vigintipalmos 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 for the Stage have very much Affinity with thofe lately defcrib'd, but the

Point of Sight is not fo eafily found in thefe ; and from the Obliquity of the

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 whoare 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. H H 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. MIhevvs 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.



F IG U RA 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, & DE inter ultimos, ac ducendo vifualesMO,NO: nam theatrum habebit longitudinem AO, ac punclum

perfpecliva invejligio theatri erit

O. Praterea Jcire opor-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 AO fiat aqualis retla FA, in F erit punclum diftantia : adeoquefi

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 fomeTheater 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 DEof the latter ; and drawing the Vifuals MO, NO: for

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 M NT,

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 infpe£r.arum : ubi docetlir artificium tit feenaz oblique

appareant redtae.

CEISIjE quas iides in S, habent fuam latitudinem A veftigio Jigttra fep*

tuagefimatertia, altitudinem ab eleniationefigurafeptuage/imaquarta, ac

cenfentur ere6ta

&canahbus inferta, qua omnia

reprafentanturetiam

I figuva feptuagefimafecundlin^ & Q. Velim obferves quantum elevetur

tabulatum in principio A, in pofcenio D, o> in punfio theatri O. Stmt*

liter notare oportet elevationem Jlngularum fcenarum, qua propter obit'

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 habet in fummo & imo fupra retiam LI, transferatur in partem E fcena-

vum, (iidem escej/us defumi etiam pojfunt ex figurafeptuagefimdqiiarta) ac ducantur retla LG, IHj

habebuntur linea apparenterparallela ad lineam plant. Si fiat rebla LO, qua cum LGfaciat an-

gulum G'LO aqualem angulo B L F, eadem LO tendet exaffifjime adpuntlum 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, & ita 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 quodfuperejl mte-

lario ultra tales lineas, pro nihilo computabitur, ibique pingetur aer aut aliquid aliud. 'Puntlum

accidentale oculi propingendis fcenis M, erit in I.

The Seventy-fifth FIGUThe 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 their Height from the Elevation of the Seventy-fourth Figure,

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 are5and 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 K has

at top and at bottom, above the Line LI, be transferr'd en the Side of the Scenes E, (which Excefs

may alfo be taken from the Seventy-fourth Figure) and you draw the Lines L G, I H 5thefe Lines

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<

andlerve for a vifual Line.

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

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 SR 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 N3and the Lines

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.



TME-CLA-.5''J0V'-I

iChOCL fARTILiBfVAKT:

I

Fig. ixxvn.



FIGURA Sep

Modus reticulandi & pingendi fceoas theatric

O S 7*QUAM in pannmento exattififime difpofueris turn pofceiihtm, tunl

ex ordtne fcenas reliquas, unam alteri incumbentem, lit figura fep~

tuagefimaquintl declaravimus, fiet linen horizontals, in qua notanda

funt tria puncfa perfpe£ftva, iimim in O ufi'i futurism in p'wgendo

pofcenio, ac duo rehqua him hide, fingula videlicet pro fcenis partis

oppofita. Jamfupponendo quod in parvo exemplar't K prima fcena faBa

fuerit reticulatio per quadrata perfeffa-, proportionalis d'wifio fiet turn

in retJa H I prima fcena B, tuni in recta C D. Toflea ex puntlo E, per

fingula punffia dwifionum retfa HI, fient vifuales adhibendo funiculum colore nigro imbutum 5 ea-

rumque ope, utfigura oftenAit, reticulare 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

pun£io E, abfohetur reticulatio pofcemi, cujus quadrata effe debent perfecia, fecus quadrata fcena-

rum. In parte infertori pagtna, dua fcena G & F oftenAunt ornamenta qua in fcenis depingt pofi

funt. Velim autem obfrves, turn Tineas tranfverfas coronicum, qua non funt invicem paralleTa,

turn vifuales qua tendunt ad punfia oppofita. Nam ejufmodi Tinea continent Anas peculiares difficult

tates proje£iionum theatralium -, eafque ut fuperes, exaltefervanda funt regula quas declaravimus.

The Seventy-feventh FIGURE.The Manner of making the Net-work or Squares\ and

fainting the Scenes of Theatres.

FTER you 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 Pofcene5

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 B5and with a black Line ftrike

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 theothers. Laftly,

bythe 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 IGURA Septuagefimao&ava,

De proje&ionibus horizontalibus.

UEMADMODUM facilior eft deformatio columnarurn

jacentium, quam columnarum ereclarum; (nam linea qua in

iftis Junt perpendiculares} in illis Junt vijuales> ac nullus

circuius amittitfuamformam) ita projefftones horizontales,

quas in laquearibus delineare neceffe eft, contra quam Pifto-

i

res imaginantur, expeditiores & faciliores Junt verticalibus

quas hucufque traBavimus. JS/am ut jlylobata & columns appareant erefta, pin-

genda funt veluti jacentes.

Deformationeshorizontales

aujpicamur amutulis,

quia columns ac Jiylobataidentidem Us imponuntur, ut magis in profpetlu Jint. Ob diverjitatem verb quam

habet latus mutuli a Jua facieyutriufque 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

the Ground, than thofe that are Erect, (the Lines in

thefe laft being Perpendiculars, which in the former are

Vifuals, wherein no Circle lofes its Form) fo the Hori-

zontal Projections of Perfpective, proper for Cielings,

contrary to the Judgment Painters ufually make, are per-

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.

L fil' Hff^ if

m %Jfjfc '

m mmk v

'

1 'V-'^S gffsBft ^B^fiW^frftp^

Wk%i ir^^1

- ~^A3lEESffl*lla'lM

aairiHiBBSaB&^alflMSnlKUJH



2|s-i

t—

• •

It1



* ^ o cC

hu=«Q

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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 oftenAunt Tinea

occulta qua ex Aivifiombus faciei tenAunt aApunttum 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-

I

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

,\

~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 reveraJit longituAo, RL altituAo. AA faciliorem Aefcriptionem hujus

figura obfervanAum eft,reftis I L, L M, GH, hujus pagina inejfe A'vvifiones retfarum DC, F E

?

A B, figura feptuagejimaoclava.

i

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

twhich, 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 mutuliinumbrati.

M hac Figura Juas umbras mutulo addidi-

mus : eumque Ji in ahum fupra oculum ele-

vaveris, £^ ex diftantia quam ipji dedi-

musfufpexeris ; miraberisprofeffib, 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,

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ftantia eji GF.

The Eighty-feventh FIGURE.The Preparation necejjary to the following Figure, and to

all other horizontalPerJ^eBives, whether onfat or vaulted

Cielings.

HE Figure AA reprefents one of

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IH you would have appear rais'd

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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 memin1

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 nequeant.

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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Ut Perfpe£liv<e Tyronibus confulerem, qui fortajfe non adeo

facilepercipient duodecim primasfigurarum 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 Hortoculi, &diftantias; de hoc ultimo preffius. zou, andof the Toints of Sight and T>ifance but

more efpectally of this lafl.

TRESlinea 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

de duobus puntlis ajjignalur oculo, & vulgb dicilur puntlum oculi;

alteram verb affgnatur diftantia, a qua nomen babet. Puntlum

oculi notifiimum eft, puntlum verb diftantice non ita ; in hujus igilur

explications morabcr, & ut clarius oftendam quidfit, &? quomodo

formandum fit, felegi defcriptionem Ecclefia geometrice habitam,

quam in tres partes divifi, in veftigimn, fetlionem, & inferiorem

faciem, in qua facie velit quis pingere, feu delineare aliquid optice,

ut elongetitr ad menfuram apertura quadrati P, ut babes in veftigio,

& ad menfuram profunditatis Q^ quam babes infetlione.

Super faciem C C C C, quam puta effe delineamentum, babes

rationem, qua debes difponere fupraditla puntla, &f lineas. Herit linea plani .-NON erit linea horizontalis, quafierifolet diftans

a linea plani altitudine hominis, at vides in B. Puntlum oculi erit

in O •, puntlum diftantia erit in N, ex qua parte malueris. Hoc

puntlum N debet tantum abeffe a punilo O, quantum luo arbiiratu

tu vis procul effe ut videas profunditatem illius quadrati P O, ficut

vides in exemplo veftigii, &? fetlionis ; ubi rem velv.t in fuo ftatu

Tiaturali exhibeo : in Us enim lam abeft N db O, quam abeft homo

ab A ad DE, & homo B in fetlione, ab F G, ubi eft murus in

quo pingendum, vel 'delineandum eft.

Si ulterius curiose defcriptionem ham confideres, videbis quam bene

refpondeat qaadiatum P in piano, fcf elevalio Q^ ut naturalis flatus

reim fetlione Perfpetliva pofila in facie CCCC, qua eft delinea-

tio. Videbis enim vifuales, qua fecant in piano fpatium R S ita pa-

riter fecare fpatium T V in elevatione : &? fegmentum vifualiufn

X Z in fetlione refpondere Y K in elevatione, quod demonftratione

non caret.

I G.

Quadratum optice delineatum.

POS cT§>UAM defcripferis in papyro feparata quadratum

geometricum A, fades duas lineas parallelas inter fe diftantes

altitudine, quam dederis puntlo oculi ; linea inferior erit linea plani,

linea fuperior erit linea horizontalis, fuper quam ponuntur puntla

oculi O, £5? diftantia E, quodfit ex parte quam mavis : linea dif-

tantia non debet effe brevior magnitudine rerum defcribendarum.

transfer poftea circino latitudinem quadrati A in C B, una cum

vifualibus ad puntlum O ; & finuliter transfer longitudinem ipfius

quadrati in D C, ducens lineatn a- puntfo D ad puntlum diftantia

E, tranfeuntem per vifualem CO, & ubi illafecat, habebis termi-

num quadrati optici GFCB, ducens paralellam ad lineam plani

in G F.

Ut autem hoc idem (itius abfolvcremi fcepius chartam complkavi,

ut babes in A.

Ground-line: The iecond where the Eye is plac'd"horizontal Line

: I {hall fpeak of the third in the ElevationsOf the Points, one is affign'd to the Eye, the other to the Di'

ue

- J? fi

Ift

?f th

,efe is §en£ralIy known, the latter notfo

well underftood, tho of great Ufc for giving the Removal orDepth of every ObjecL I fhall therefore infift a-while on theExplanation of the Point of Diftance ; and that I may moreclearly fhew what it is, I have chofen the geometrical Defcrip-tion of a Church, which is divided into three Parts viz thePlan, Profile, and inner Face ; in the midfc of which Face' onewould paint a piece of Perfpeftive, that mould feem to recede as much as the Square P in the Plan,

and the Depth Oin the Profile. ^ vc~

On the Face CCCC, which fuppofe that of the Defcn youlee the manner of difpofing the two Lines and the two°PointsH

Iis the Ground-line. NO N is the horizontal Line, which

is ufually made a Man's Height above the Ground-line, as in BThe Point of Sight is O, the Point of Diftance N, on whichfide you will. This Point N muft be as fir from O as the Difence you determine to place your felf at for viewing theDepth of the Square PQj as is exemplify'd in the Plan andprofile, where you lee the thing as in its natural Pofition • Andin them N is diftant from O, as far as the Man in A is remov'd

^ w^.E

''

u01'/10 Ma

"B in

?C Pl

'

0file fr°m F G>whi* is

the Wall to be drawn or painted upon.

If you farther and more itridly examine this

Defcriptionyou 11 difcern how well the Square of the Plan P, and theEle'vation Q. correlpond as if naturally put into Perfpedtive oathe luce CCC C, which is the Draught. For you fee theVifuals which cut the Space RS in the Plan, cut the fame

lPve

\ D"V,he UPriShc '

and die Segment of the VifualsX Zin the Profile,,

anlwer that of Y K in the Elevation : whichneeds no Demonftration.

'

'

II.

A Square in Terfpeclive.

AFTER you have drawn on a feparate Paper the eeometrical Square A, make two parallel Lines

as much diftantone trom the other, as you would have the Height of the EveThe under Line is the Plan or Ground-line-, the uppei^Lme isthat of the Horizon on which are plac'd the Points of Si-htO and of Diftance E, on which fide you pleafe The L?neof Diftance mould not be lhorter than the Extent of thethincrto be defcrib'd in Perfpeftive. Then with your Compafies fe?the Breadth of the Square A on CB, and draw Vifuals to thePoint O

;and from the Length of the Square transferr'd intoDC, draw a Line from the Point D to the Diftance E • anrl

where that cuts the Vifual C O, by drawing a Line parallel toLit, you defenbe the Square mPerfpeftive GFCB

For the more quick Difpatch of this, I commonly fold thePaper, as you fee in A.

'

A a

Fig. HI,

£ I G.

Re&angulus altera parte oblongior optice.

QUIDQUID inproximo quadrate vidifti, fades inprafenli.

Transferres latitudinem B C in B C, 6? longitudinem in C D,

auctns latitudinem, BC ad punblum oculi O, & longitudinem CDadpuntlum diftantics E. Ubiverb bac tinea fecat vifualem CO,

mV terminus, reilanguli fupradicli FG, B C, iitf«u parallelam ut

fupra.

III.

^ o£/<w£ Square in TerfpecJive.

WHAT was done in the preceding repeat in this Third

Figure, Transfer the Breadth B C into B C, and the

Length into CD, drawing the Breadth B C to the Point of

Sight O, and the Length CD to the Point of Diftance E.

Where this cuts the Vifual C O, you terminate the Square

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 cir-

cino, aut duplicando chartulam, latitudinem cujufcumquelinea,

ut vides inpunclis i, 2, 3, 4, 5, 6, fuper tineam plani in iifdemnu-

meris, & ab ifiis transferes vifuales adpunclumO. Poftea transfer

longitudinem 7, 8, 9, 10,fuper lineam plani in iifdem pariter nume-

ric, & ab ifiis due tineas ad punblum diftantia E. Ubi his tinea

fecant tineam 6, 7, O, fiunt tinea parallels ad lineam plani, &quadratum conficitur ;

parem conftrutlionem fades de quadrato fe-

cundo & terlio, facile ex diclis.

THE double Square A is made after the fame manner as

the former, by tranfporting either with the Compaffes,

or folded Paper, the Breadth of every Line, as you fee the

Points 1, 2, 3, 4, 5, 6, on the Ground-line mark'd with the

fame Numbers ; and from thefe draw Vifuals to the Point of

Sight. Then transfer the Points of Length 7, 8, 9, 10, into

the Ground-line, as you fee alfo in the fame Numbers ; and di-

rect their Lines to the Point of Diftance E, where thefe inter-

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.

FIGU R AM banc in duas partes divifi ; in fuperiori parte

vides tria quadrata optica atiquantulum adumbrata, eaque tarn

inter fe diftantia, quanta eft difiributio fuper tineam plani. BC erit

quadratum primum. Secundum erit in EF. Si ergopofueris longi-

tudinem quaclrati in B C, eamque duxeris ad difiantiam, fecabit in

D.D vifualem AO. Si pariter pofueris alterum fpatium longitudi-

nis ejufdemquadrati in

EF,

&duxeris ad lineam difiantia, habe-

bis fecundum quadratum optice. Idem fades de tertio, cs? de aliis,

qua difiribuenda fttnt.

In fecunda parte. Si defideresfupra totidem veftigia formare ele-

vationes cuborum, 13 ftftobatarum, ut in inferiori figura parte vi-

des, fails erit ex omni veftigiorum angulo elevare tineas occullas, &apparentes, determinando altitudinem fades hprimocubo, £:? anguli

ejufdem faciei dabunt alti ludinem omnium aliorum.

Immb etiam totidem cubosformarepotes finelineis occultis, ducendo

folhn apparentes, ut vides in tribus expofitis adumbralis, csf nitidis,

quorum perpendicularesfumuntur ab angidis veftigiorum, ut infupe-

riori figura babes in H, & tinea plani tranflata funt ab angiitis

elevationis, ut videturin

F.

Several Tlans of Squares, with their Elevations.

IHA V E divided this Figure into two Parts •, In the upper-

moft you have three Squares in Perfpective a little fhadow'd,

diftant from one another, according to their Diftribution on

the Ground-line. BC is the firft Square ; EF the fecond. If

you then fet the Length of a Square on B C, and draw Lines

to theJPoint of Diftance, they will interfect the Vifual A O in

DD. In like manner, if you fet another Length of the laid

Square on E F, and draw to the Point of Diftance, you'll have

the fecond Square in Perfpective. The fame you may do in

the third, and as many as you have occafion for.

In the fecond Part you fee, that if upon the forementioned

Plans, the Elevations of Cubes and Pedeftals were requir'd, it

would fuffice to elevate the occult and vifible Lines from every

Angle of the Plan ; and determining the Height of the Face

L of the firft Cube, the Angles of that Face drawn to the

Point of Sight, give the Height of all the others.

You may form the fame Cubes without occult Lines, draw-

ing only thofe that are apparent, as you fee in the three Cubes

that are finifh'd and fhadow'd ; the Perpendiculars of which

are taken with the CompafTes from the Angles of the Plan, as

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.

DE S ID ER ANS facili metbodo figuram banc exponere, dabo

rationem elevandi corporafine lineis occultis, ut infuperiori te-

tigi ; oftendam igitur bic, quomodo quinque cubi adumbrati defuman-

tur ab eorum veftigiis, (3 elevationibus.

Duas debes facere praparationes, fi tibeat, in cbartis etiamfejara-

tis. Prima erit formare geometrice veftigium, & elevationem, ut

vides in B ti? A. Secunda erit diftribuere fuper lineamplani latitu-

dinem veftigii B, puta in N M, & in duabusproximis : Illius lon-

gitudo MX duEta ad difiantiam D, fecat vifualem M O in R.

Spatium autem obliquatum E utile etiam eft aliis duobus quadralis

pqfitis fuper eandem lineam plani ; anguli quorum tranflati ad dif-

tantiam B, totidem angulos dabunt inter vifuales NO, MO. Hoc

pofito, duces perpendicularum ad angulum N, qua in elevationibus

geometrids femper neceffaria eft, eaque tertia tinea eft, quam fupra

dixi. Transfer poftea altitudinem A in N F, cum vifualibus F O,

NO, fc? invenies altitudinem S T. Hoc pariter de cajeris eveniet.

The Manner of defigning in TerfyeBive without occult

Lines.

BE I N G defirous to make this Rule as eafy as poffible, I fhall

give a farther Account of raifing Solids without the Help

of occult Lines, which I only touch'd upon in the foregoing Fi-

gure. I therefore here fhew you, how the five fhadow'd Cubes

of this Figure are taken from their Plans and Elevations.

Two things preparatory are to be done, and, if you pleafe, on

feparate Papers. The firft is to defcribe the Geometrical Plan and

Elevation, as you fee in B and A. The fecond is, to difpofe on

the Ground-line the Breadth of the Plan B ; as for Example, in

N M, and the two next to it. The Length thereofM X, drawn

to the Point of Diftance D, cuts the Vifual MO inR; and die

Forefhortning E ferves alfo for the other two Squares plac'd

upon the fime Ground-line, whofe Angles being directed to the

Diftance D, give as many Angles on the Vifuals N O, _M O.

This done, erect a Perpendicular on the Angle N, which in

Geometrical Elevations is always neceffary, and is the third Line

mention'din the firft Figure. Then carry the HeightA on NF,

drawing the Vifuals F O, N O, which determine the Height ST,

and that ofthe other Squares. Scien-



Sciendum fupereft quonam modefupraditld praparatione uti pofiis

ad conftruendosftylobatas adumbratos, fc? inornatos.

Super aliam igitur cbartam difponefitum cum duabus lineis, plant

fcilicet, & borizofitis, una cum puntlo oculi O, £s? perpendiculari

V, ejufdem menfurm cum fupraditla prceparalione, & faciens uli

me feciffie vides. Experire poftea circino NF aqualia ejfe i, 5, &?

2, 6. Metire pariter ST, tf invenies cequalia J & 3 ; fades

poftea lineas planas, & vifuales ad puntlum oculi, 6f babebis pla-

num fuperius cubi in 1, 2,3,4. Hoc idem faciendum eft de aliis.

Uno verba : anguli veftigiorum dabunt tibi lineas perpendiculares, &angidi elevationis dabunt lineas planas ; atque bocfemper erit.

It remains to be known, how to make ufe of the forefaid

Preparation for the Conftruction of the fhadow'd Pedeftals.

On another Paper, therefore, difpofe the Horizontal andGround-lines, together with the Point of Sight O, and the-

Perpendicular V, keeping the fame Meafures as in the afore-

faid Preparation, and doing as I have done. You may Droveby the Compaffes, thatNF is equal to 1, 5, and 2, 6, and'mea-furing S T, you'll find it equal to 7, 3 ; then drawing the le-

vel Lines, and the Vifuals to the Point of Sight, you have the

upper Face of the Cube C in 1, 2, 3, 4. The fame muft bedone in the others. In a word, the Angles of the Plan give

you the perpendicular Lines, and the Angles of the Elevationgive the level Lines, or thofe parallel to the Ground-line ; andthis you are always to underftand for the future.

F 1 g. VII.

AHud exemplum conftruendi veftigium geometricuin.cum

elevatione longitudinis.

VIDES hie ftylobatam P in quatuor partes divifum, C51

adumbratum. Si ilium optice delineare velis, conftruere de-

bes fupraditlaspr&parationes, geometricam nempe, & opticam. No-

vtine geometricce intelligo veftigium A, & elevationem B ; nomine

vera optica;, Mum id quod includitur in G, C, D, E, O.

transfer igitur latitudinem geometricam CD veftigii A faper li-

neamplant pariter CD, fcf transfer longitudinem D ILfuper lineam

plant pariter DE, operansmore folito ; & babebis veftigium optice".

'Transfer poftea elevationem H X in C G perpendicularis ; ducens

vifualem G O, eleva ad lineam G O omnem angulum, que?n pla-

num facit in linea CO, & babebis altitudinem necefifariam etiam

fetlionis.

Transferes denique circino in aliam cbartam angulos veftigii, qui

dabunt tibi lineas perpendiculares, & angulifetlionis dabunt lineas

planas : Vifuales vero duces adpuntlum oculi.

Another Example of a Geometrical Tlati^ with the

Elevation of its Length.

IFyou would delineate in Perfpective the Pedefi-al P, which

you here fee divided into four Parts, and fhadow'd; you

muft make the two foregoing Preparations ; namely, the Geo-

vtetrical and the Perfpetiive. By the Geometrical, I mean the

Plan A, and the Elevation B ; by the Perfpetiive, all that's

contain'd within G, C, D, E, O.

Then transfer the Geometrical Breadth of the Plan A, into

CD of the Ground-line ; and the Length D E of the laid

Plan into D E of the Ground-line working after the ufual

manner ; and you will have the Plan in Perfpeftive. Again,

fet the Elevation H X on C G of the Perpendicular, and draw-ing the Vifual G O, elevate thereto every Angle made by the

Plan on the Line CO, and' you have all the Heights necefTary

for the Profile.

Laftly, by the Compaffes you tranfport on a clean Paperthe Angles of the Plan, which give the perpendicular Lines

;

and thofe of the Profile, which give the level Lines. ThsVifuals you draw to the Point of Sight.

I G.

Stylobata optice.

HIC etiam poftquam feceris fupraditlas praparationes, geome-

tricam fcilicet, & opticam; fades prefentem ftylobatam ad-

umbratum , transferens circino angulos veftigii, ut conftruas per-

pendiculares; & angulosfetlionis, ut formes lineas planas, utfupra.

Nam fie duo anguli veftigii M O dabunt lineas perpendiculares

EF; angulus veftigii K dabit perpendicularem V, & fie reliqui an-

guli dabunt reliquas lineas perpendiculares. Similiter a feHiojie an-

gulus I dabit lineam planam H N. Breviter, primus terminus fec-

tionis I D dabit altitudinem linearum planarum in facie ftylobatm

admnbrati E FH N. Secundus terminus Qjlabit altitudinem faciei

oppofita, & occulta; P.

Duo tamen moneo ; primunt, utfaciens veftigia geomelrica, ducas

ab elevatione A totidem lineas ad latera veftigii B, quot angulos

inveniens in prominentiisfupraditla elevationis A caduntfuper vefti-

gium B •, quare prominentia major in elevatione L facit lineam ma-

jorem L in veftigio.

Secundum quod moneo jit, ut volens elongare veftigium optice

delineatum MOR« linea plani K, quantum erit fpatium C in ea-

dem linea plani, tantumdem elongabitur fpatium G a linea ejufdem

plani.

VIII.ATedejialin Ter/pecJive,

HERE alfo, after you have made the two foregoing Pre-

parations, the Geometrical and the Perfpedtive ; this

fhadow'd Pedeftal is made by taking with the Compaffes the

Angles of the Plan, for drawing the Perpendiculars, and the

Angles of the Profile for the level Lines, as before. Thus the

two Angles of the Plan M O, give the perpendicular Lines

EF. The Angle of the Plan R, gives the Perpendicular P ;

and the other Angles give their refpeclive Perpendiculars. Solikewife m the Profiles, the Angle I gives the level Line H N.'

In fhort, the firft Out-line of the Profile ID gives the Height

of the level Lines on the Front of the fhadow'd Pedeftal. Theother Out-line Q^gives the Height of the occult and back

part thereof.

Neverthelefs, two Things are to be obferv'd ; firft, that in

making the Geometrical Plan, you draw from the Elevation A,as many Lines to the Side of the Plan B, as you have Ancde3

in the Projecliures of the faid Elevation •, as is manifeft in the

pointed Lines, which fall from the upright A, on the Plan B,

where that of the greateft Projedture L in the Elevation makesthe outer Line L of the Plan.

The fecond thing to be obferv'd, is, That if you wouldhave the perfpeclive PlanM O R as far wirhin the Ground-line

K, as the Breadth of the Space G on the fame Line, the Space

G will then be the Diftance thereof from the faid Ground-line.

F 1 g. IX.

Optica delineatio Architecture Jacobi Barozzi : & pri-

mum, de ftylobata Ordinis Etrufci.

QUAND O QUID EM omnibus nota eft Architeclura Ba-

rozzii, earn hie penitus immutatum cum fuis regulis particu-

laribus, & generalibus expono ; Metieris autem Mam modulis ut

fieri filet; qui igitur illam defiderat, in fequentibus figuris inveniet

totam, fimulque difcet optice redftere. Cum autem non minus Op-

tica;

ftudiofo quamArchitetlurcs

necefife fit,efficere delineamenta

The Architecture of Vignola put in 'Perfpetlive ; and

frf, The Tedejtal of the Tufcan Order,

SINCE every one is acquainted with Vignola's Architecture,

I determine not to alter it, but to explain it, with its

general and particular Rules ; meafuring the fame with Mo-dules, after the ufual manner. He therefore that has it not,

may find it in die following Figures, and, at the fame time,

learn the Method of putting it in Perfpective. And whereas

rci



rti conftriienda, ab hoc vere, ab Mo ficli, id eft, cum uterqui fa-

cere debeat veftigium, elevationem, feclionem fcf'faciem, ob id deli-

neavi hie JlylobaSam Ordinis Elrufci cumfuo veftigio, quern vides in

AB, ut facilius percipias quod inproximafigura di::i, a totidem fci-

licet angulis prominentiarum elevationis, totidem ducendas ejfe lineas

fuper lineam veftigii ; cum hoc necejfefit ad inveniendum illorum an-

gulorum cum iftis lineis concurfum in fuis degradationibus. Nota

longitudinem, quamvoco F duclam'm G ejfe Mam, a quanonfolum

tiafcitur veftigii obliquitas, verum etiam ab ilia nafcitur obliquitas

illius quam vocofeclionem E. Ob id in altera hujus ejufdem figures

Jlylobata totum idi contrario videbis.

Non ampliits repetam quonam modo eruatur nitida delineatio, de

qua fuperiiis pluries; dieam tamen angulos primi termini feelionisEdaturas lineasplanas faciei D, & angulos veftigii daturos omnesper-

pendiculars.

the Drawing the Plan, Elevation and Profile of what's to bp

built, is no lefs neceffary for him that ftudies Perfpeclive, thna

for the Architect, the firft performing in Appearance, what

the latter does in Reality ; 1 have therefore here delineated

the Tufcan Pedeftal, with its Plan, as you fee in A B, , that yogmay the better apprehend what I faid in the foregoing Figure,

That from all the Angles of Proje&ure in the Elevation, Line$

muft be let fall on the Plan ; this being of abfolute neceflity for

finding the Correfpondence of the Angles with the Lines in

the Perspective Projection. Obferve, that what I always call

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.

I fhall not here repeat, how the finifh'd Pedeftal is taken fromthefe ; having fo largely fpoken of that before ; but briefly

tell you, that the Angles of the firft Out-line of the Profile Egive the level Lines of the Face D, and the Angles of the Plai

give all the Perpendiculars.

t I G.

Stylobata Doricus, & ratio vitandi difficultatem quam-

dam quae occurrit inter ilium optice delineandam.

HIC oritur difficultas hac, Veftigium A opticH tranflatamin

C adeo contrahitur, ut dftincle videri nequeat ubi collocetur

circini pes, ut transferri pojfint perpendicidaresjlylobata adumbrati

totaque hac difficultas oritur a propinquitate quam habet linea ho-

rizontalis, feu puntJum oculi cum linea plant. Ut igitur Mam vin-

tas: Duces lineam plani inferius quantum libuerit, & fuper Mam fe-

res denub latitudinem, cjf longitudinem more foliro, relinendo puncla

oculi, & diftantia OF, 13 ftc videbis veftigia magis minufve di-

ftintla ; Veftigium enim E difiinclius eft veftigio D, & D difiinclius

eft veftigio C.

X.

yfDorick Tedefal, with the Manner of jhunning aDifficulty) -which occurs in pitting the

fame in 'Per-spective.

IN this Figure a Difficulty arifes, which is this ; That the

Plan A put in Perfpeclive in C, is fo forefhortn'd, that onecan't fee diftinftly where to place the Compaffes, for transfer-

ring the Perpendiculars on the fhadow'd Pedeftal ; which is

caus'd by the too near Approach of the horizontal Line to the

Ground-line. For avoiding this Difficulty , draw another

Ground-line as much below the firft as you pleafe, and carry

the Breadth and Length thereon, after the ufual manner, (till

keeping the fame Points of Sight andDiftance O and F: Andaccording 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

Dis more fo than C.

F i g. XI.

Stylobata Ionicus, & ratio vitandi aliarn difficultatem in

elevationibus.

IN elevalionibus etiam feelionis optice poteft accidere, ut ft vifua-

lis L K nimis reSa Jit, feclio B reftringatur. Elongando lineam

plani ab L ad M, vifualis M N erit inclinatior, & confequenter

feclio C erit latior cif diftinclior.

Nota, difficultatem banc Jape fapius te habiturumin figurispm-tipue, qua multas lineas habent, ut infigura quadragefima fecunda,

ubi pariter rationem vitandi confufionem reddam.

Nequetibi molefticefim, quod in hac figura lineam horizontalem,

infra lineam plani collocaverim, id enim feci, ut illarum diverfos

tffeclus videas, utque tu in tuisftudiis mutes, di? difcas.

The Ionick Tedeftal, and the Way to fhun another 'Dif-

ficulty in the Elevations.

IN Elevations of the Profile in Perfpeftive, it mayfometimes

happen, that the Vifual L K may be fo direct, as to render

the Profile B too clofe and narrow •, wherefore prolonging the

Ground-line from L toM, make the Vifual MN, which being

much more oblique, does confequently render the Profile C-more broad and diftinft.

And obferve that this Difficulty will very often occur ; efpe-

cially in Figures that have many Lines, as the Forty Second Fi-

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

horizontal Line below the Ground-line ; which I have done,

that you might fee their different Effecfs, and by changing the

Difpofition of your Defigns, improve and learn.

Stylobata Corinthius cum fuis pilis.

F i g. XII.

FEC I S SE feptimam figuram magno tibi documenta eritadcon-

ftruendem & dividendumftylobatam A, & veftigium B; cum

nihil addere debeasprater pilas C cum coronice, qua duo latera am-

bit, Optice hoc veftigium delineabis in D, qua delineatio diftinclior

eft, quia inferius duxi lineam plani ; & diftinclior etiam eftfeclio E,

cum elongaverim vifualem F G. Sic femper agam, ut detur locus

figura adumbrata, & ut etiam videas perpendicidares Jlylobata a-

dumbrati caderefuper angulos veftigii, & lineas planas incidere e dia-

metro fuper angulos feelionis E. Iteriim libenter moneo, ut facias

fupradiclas praparationes in charlulis feparatis, ut initio ajfuefcas

transferendisfiguris nitidis circino ; facile enim tibi poftea erit inte-

gras rnachinas Perjpeclivajucundioris delineare, ut videbis : in hoc

enim tota regula hujufce^ & totius operis facilitasJita eft.

A Corinthian Tedeftalwith its Tildfiers.

TH E Performance of the Seventh Figure will be a great

Affiftance to you, in the Conftruftion and Divifion of this

Pedeftal A, and the Plan B ; fince you have nothing more to

add here but the Pila'fters C, and the Mouldings which furround

the two Sides. This Plan is put in Perfpeftive in D, and be-

comes more diftinc~t by my finking the Ground-line lower ; and

the Profile E is alfo more diftincl by the Removal of the Vifual

F G, as mentioned in the foregoing Chapter. This I ihall al-

ways do, that there may remain Room for the fhadow'd Figure,

and that you may alfo fee that the Perpendiculars of the fhaded

Pedeftal fall diredtly upon the Angles of the Plan, and that the

level Lines direftly anfwer the Angles of the Profile E. I re-

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 circwnpunSium 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 unicumpuntlum toti illi Jpatu ; atque in hoc ftnfu vera eft 3

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

tribuna, qiiam diennt, tholo, £9 fornici, propria puntla ; cum hoc communiter do~

ceant, nbi Jitus nimium eji loiigus, © pariim altus. Vel po; eft intelligi de qualibet

ex ditlis partibus, & fie hitelleEta penitus falfa eft. Trimb, quia praftantiores

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 partefimulet veritatem, verum ab uno determinatopuncld

id oftendit. Tertib, quiafi, e.g. fornici, qui uno integroque optico opere ornetur^

plura pmnttu ajfiguaveriri' nullum reperies locum, unde integrum opus Jpeflare 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 firmandim fit, ad quodcoliimare debeant

ex omni operis partefipurte fimul £f> architeclura. <j>ho P^fito, negari rationabiLiter nequit, a me etiam coneedi unicum puntlum fpe-

ctando fornici amplo, aptoque adreprafeutandum unicum opus, qualis eft fornix in T). Ignatii templo. Si verb

propterfitum irregularem, ut dicimus, architeclura extra puntlum aliquantulum deformetur, & figure pariter

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 onlyfhotild 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 oneJingle 'Point, but injlfi

upon feverah

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

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 ofthe

Whole, andat beft

youcan 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

far from being a Fault, that I look upon it as an Excellency in the Work, that when view'd from the Point de-

termin'd, it appear, with due Proportion, (height, flat, or concave ; when in reality it is not fo.

INDEX./NSTRVMENTA paranda,

Explicatio linearum plant & horizontis, ac

puntlorum oculi © difiantia,

Modus delineandi optice quadratum,

Optica delineatio retJanguli, altera parte longioris,

Optica defcriptio quadrati duplicis,

Veftigia quadratorum cum elevationibus,

Modus optica delineationis abfque lineis occultis,

Aliudexemphtm vefiigii geometric~i, cum elevatione

longitudinis,

Optica projetlio fiylobata,

Optica delineatio ArchiteBura Jacobi Barozzii,

&primum de fiylobata Ordinis Etrufii,

Optica deformatio fiylobata Rorici ; ubi de modo

vitandi confufionem in veftigiis delineandis,

Stylobata Ionici deformatio ; ubi de vitanda confu-

fione in elevationibus,

Reformatio fiylobata Corinthii, cum duabus pilis,

Trojeclio fiylobata Ordinis Compofiti,

Reformatio circulorum,

Optica delineatio columna,

Opticaprojetlio bafis Etrufia,

Reformatio bafis Rorica,

Optica delineatio bafis Ionica,

Optica imminutio bafis Corinthia,

Bafis Atticurga optice imminuta.

Optica imminutio capitelli Etrufii,

Optica projetlio capitelli Rorici,

Reformatio capitelli Ionici,

Opticaprojetlio capitelli Corinthii,

Optica defcriptio capitelli Compofiti,

Reformatio coronicis Etrufia,

Optica delineatio coronicis Rorica,<Praparatio figura fequentis,

Optica projeclio adificii Rorici,

Optica projeclio adificii Ionici ; ubi de modo jun-

gendifiEtum cum vero.

Optica projeclio coronicis Corinthia, cum capitello

& fummitate columna,

Relineatto geometrica coronicis Ordinis Compofiti,

Reformatio coronicis Compofita,

*Praparatio adfiguram trigefimamquintam,

Reformatio coronicis Compofitce ad latus infpetla

Vraparatio adfiguram trigefimamfeptimam,

Reformatio columna Etrufia,

Traparatio adfiguram trigefimamnonam,

Reformatio adificii Rorici,

Veftigium geometricum adificii Ordinis Rorici,

Elevatio geometrica adificii Rorici,

Modus vitandi confufionem in contratlione vefiigi-

orum & elevationum,

Contratlio vefiigii figura quadragefima,

Contratlio elevationis figura quadragefimaprima,

Rimidium adificii Rorici optice deformati,

Alterum dimidium ejufdem adificii,

Vejiigia adificii Ionici^

Elevatio geometrica adificii Ionici,

Reformatio elevationis adificii Ionici,

ArchiteElura Ionica,

Ordo Corinthius,

Relineatio columna Jpiralis Ordinis Compofiti,

Ordines Architetlura defumpti ex Talladio & Sca-

mozzio.

Fig.

TJTENSILS for Drawing.

I. ^ Explication of the Lines of the Plan and Ho-rizon, and of the Points ofthe Eye and ofthe Diftance.

II. The Manner of delineating a Square in Perfpedtive.

III. The Delineation of an oblong Square in Perfpedtive.

IV. The Optical Delineation of a -double Square.

V. Plans of Squares with their Elevations.

VI. The Manner of defigning in Perfpedtive without

occult Lines.

VII. Another Example of a Geometrical Plan and Up-

right put into Perfpedtive.

VIII. The Projection of a Fedeftal in Perfpedtive.

IX. The Architecture oiVignola in Perfpedtive, and

firft of his Pedeflal of the Ttifcan Order.

X. A Rorick Pedeflal in Perfpedtive, with the Manner

of avoiding Confufion in defigning the Plans.

XI. The lonick Pedeftal in Perfpedtive, with the Man-ner of avoiding Confufion in Elevations.

XII. The Corinthian Pedeftal, with its Pilafters, in Per-

fpedtive.

XIII. The Projection of a Pedeftal ofthe Compofite Order.

XIV. Circles in Perfpedtive.

XV. A Column in Perfpedtive.

XVI. The Tufcan Bafe in Perfpedive.

XVII. The Rorick Bafe in Perfpedtive.

XVIII. The lonick Bafe in Perfpedtive.

XIX. The Corinthian Bafe in Perfpedtive.

XX. The Attick Bafe in Perfpedtive.

XXI. The Tufcan Capital in Perfpedtive.

XXII. The Projection of a Rorick Capital in Perfpedtive.

XXIII. The lonick Capital in Perfpedtive.

XXIV. The Corinthian Capital in Perfpedtive.

XXV. The Compofite Capital in Perfpedtive.

XXVI. The Tufcan Entablature in Perfpedtive.

XXVII. The Rorick Entablature in Perfpedtive.

XXVIII. Preparatory to the following Figure.

XXIX. A Projection of the Rorick Order in Perfpedtive.

XXX. An lonick Work in Perfpedtive, with the manner of

reconciling the ficticious to thefblid Architecture.

XXXI. The Optick Projection of a Corinthian Cornic .with

the Capital and part of the Column.

XXXII. The Geometrical Defign of a Cornice of the Compo-fite Order.

XXXIII. A Compofite Cornce in Perfpedtive.

XXXIV. Preparatory to the Thirty -fifth.

XXXV. A Side-View of thzCcmpofite Cornice in Perfpedtive.

XXXVI. Preparatory to theThirty-feventh.

XXXVII. A Tufcan Column n Perfpedive.

XXXVIII. Preparatory to theThirty-ninth.

XXXIX. A Piece of 'Dwi^Architedture in Perfpedtive.

XL. The Geometrical Plin ofa defign ofthe Rorick Order.

XLI. The Geometrical Ilevation ofthe foregoing Defign.

XLII. The Manner of avoiding Confufion in reducing

Plans and Elev:tions into Perfpedtive.

XLIII. The Plan of the fortieth Figure in perfpedtive.

XLIV. The Elevation of the Forty-firft Figure in Perfpedtive.

XLV. One half of the Rorick Defign in Perfpedtive.

XLVI. The other half of the fame Defign.

XLV1I. The Plan of an lonick Building.

XLVIII. Geometrical Upright of the foregoing lonick Defign.

XLIX. The Elevation of the lonick Defign in Perfpedtive.

L. A Defign of lonick Architecture.

LI. A Corinthian Defign in Perfpedtive.

LH. The Defcription of a wreath'd Column of the Com-

pofite Order.

LIII. A. The Orders of Architecture taken from Talladio

and Scamozzi.Modus



INDEX.Modus triplex delineandi columnas fpirales,

Veftigia adificii Ordinis Corinthii,

Elevatio adificii Ordinis Corinthii,

Reformatio vefiigiorum & elevationis adificii Co-

rinthii,

Adumbratio figura fequentis,

Mdificium Ordinis Corinthii oBangulare,

Vejiigia Tabemaculi oBangularis,

Tabernaculum oclangulare,

Modus erigendi machinas qua confiantpluribus ordi-

nibus telariorum,

Re reticulandis telariis, qua reprafentent adificia

folida,

Vejiigia adificii quadrati,

JEdificium quadratum,

Vefiigium adificii rotundi optice imminutum,

'ProjeBio adificii rotundi,

Vefiigium geometricum, ac prima praparatio adfi-gurant

feptuagefimamprimam,Elevatiogeometrica vefiigii pracedentis, &/ecunda

praparatio adfiguram feptuagefimamprimam,

Reformatio vefiigii figura fexagefimafeptima, &praparatio tertiaadfiguramfeptuagefimamprimam,

Reformatio elevationisfigurafexagefimaoBava , &praparatio quarta adfiguram feptuagefimampri-

mam,

Theatrum reprafentans nuptias Cana Galilaa, con-

firuBum Roma anno 1685, in expofitione Ven.

Sacramenti, in templo Farnefiano Societatis Jefu,

Re theatris fcenicis,

Aliud vefiigium theatri ; ubi de modo inveniendi

ejuspunBum,SeBio fienarum theatri,

Elevatiofienarum coram infpeBarum ; ubidocetur

artificium, ut fcena obliqua apparent reBa,

Modus delineandi exemplarfienarum,

Modus reticulandi & pingendi fcenas theatri.

ReprojeBionibus horizontalibus,

"ProjeBiones vefiigii & elevationis mutuli,

Horizontalis projeBio mutuli inmnbrati,

Stylobata Corinthii horizontaliter contraBi,

Columna Corinthia horizontaliter deformata,

Capitella Corinthia horizontaliter contraBa,

Coronix Corinthia,

Coronix Corinthia horizontaliter contraBa,

Horizontalis projeBio columna,

'Praparatio neceffdria ad/equentemfiguram,&adpro-

jeBioues horizontales in laquearibus vel tefiudinibus,

Horizontalis projeBio balujiiorum figura oBogefi-

mafeptima, cum brevi diflantia,

HorizontalisprojeBio ArchitcBura in laqueari qua-

drato,

HorizontalisprojeBio tholi,

Tholus figura nonagefima, cum luminibus & umbris,

Tholus oBangularis,Vefiigium templi Ludovifiani S. Ignatii alma urbis,

Orthographia templi Ludovifiani,

Alia praparationes adfiguras 98 @ 99,

Alia praparationcs adfiguras 98 S> 99,

Aliapraparatio ad figuras $>S & 99,

Ghiadrans ArchiteBura horizontalis infornice, cum

luminibus S> umbris,

Alter quadrans totius operis,

Modus reticulationis facienda in tefiudinibus,

FlG«LIU. B. Three different w ays of delineating wreath'd Columns

LIV.

LV.

LVI.

The Plan of a Defign of the Corinthian Order.

The Geometrical Elevation of a Corinthian Work*

. The Perfpective-Plans and Upright of the Corinthian

Defign foregoing.

LVII. The rough Draught of the following Figure.

LVHI. Part of an Octangular Work of the Corinthian Order*

LIX. The Plans of an Octangular Tabernacle.

LX. An Octangular Tabernacle in Perfpective.

LXI. The Manner of erecting Machines that confift of feve*

ral Ranges of Frames.

LXII. Of making the Net-work on Frames, for reprefenting

the Architecture as folid.

LXIIL The Plan of a fquare Defign.

LXIV. A fquare Defign in Perfpective.

LXV. The Plan of a Circular Work in Perfpective.

LXVI. A Circular Defign in Perfpective.

LXV1I. The Geometrical Plan, and firft Preparation to the Se-

venty-firft Figure.

LXVIII. The Geometrical Elevation of the foregoing Plan, and

LXIX.

LXX.

fecond Preparation to the Seventy-full Figure.

. The Plan of the Sixty -feventh Figure in Perfpective,

and third Preparation to the Seventy-firft Figure.

The Perfpective of the Elevation of the Sixty-eighth

Figure, and fourth Preparation to the Seventy-flrfr.

LXXI. A Theater reprefenting the Marriage of Cana in G'alike

erected in the Jefuits Church at Rome,* 1685, for the

Solemnity of expofing the Holy Sacrament.

LXXII.

LXXIII.

Of Scenes for the Stage.

and

Another Plan of a Theater, with the Method of find-

ing the Point of Sight therein.LXXIV. The Section or Profile of Scenes for Theaters.

LXXV. The Elevation of Scenes in Front, and how the oblique

Scenes are made to appear direct.

LXXVI. The Manner of delineating the Defigns of Scenes.

LXXVIh The Manner of making the Net-work or Squares,

painting the Scenes of Theaters.

LXXVIII. of horizontal Projections.

LXXIX. Xhe Plan and Elevation of a Corbel in Perfective.

LXXX. xhe horizontal Projection of a ihaded Corbel.

LXXXI. Corinthian Pedeftais in an horizontal Perfpective.

LXXX1I. A Corinthian Column in horizontal Perfpective.

LXXXI1I. a Corinthian Capital in horizontal Perfpective.

LXXXIV. A Corinthian Cornice.

LXXV. A Corinthian Cornice in horizontal Perfpective.

LXXXVI. A Column in horizontal Perfpective.

LXXXVII. The Preparation necefiary to the following Figure, and

to all other horizontal Perfpectives, whether on flat

or vaulted Cielings.

LXXXVIir. The horizontal Projection of the Baluftrade of the

Eiffhty-ieventh Figure, viewed at a fmall Diftance.

A horizontal Piece "of Architecture in a fquare Cie-XXXIX.ling.

XC. A Cupola in horizontal Perfpective.

XCI. The Cupola of Fig. 90, with its Lights and Shades.

XCII. An Octangular Cupola.

XCIII. The Geometrical Plan of S. Ignatius*?, Church at Rome.

XCIV. The Orthography of S. Ignatius's Church.

XCV. Other Preparations to the 98th and 99th Figures.

XCVI. Other Preparations to the 98th and 9 9th Figures.

XCVII. Another Preparation to the 98th and 99th Figures.

XCV1II. Fourth-part of the Architectonical Defign on the Vault

of S. Ignatius's Church, with its Lights and Shades,

XCIX. Another Quarter of the whole Defign.

C. The Method of drawing the Net-work on Vaults.

FINIS.



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Rules and Examples of Perspective Proper for Painters and Architects

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