No. I.

THE height of the uppermost Line AB is taken from the Tuscan Cornice (in the sixth Plate) and is divided into 4 ⅞ parts: draw a Line straight up so long as you will, as CA, and divide into 5 equal parts, then divide the uppermost fifth part into 8 parts, and take 7 of them, and setting one foot of the Compasses in the Point C, and the other foot to the up­permost seventh part, draw an Arch of a Circle from that se­venth part so far as the Line AB may be set on it from A to B, and draw a Line sloping from B to C, and draw every fifth part with the Compasses between the two Lines AC and BC; the undermost drawn Line GL is 1 part, HM 2 parts, IN 3 parts, KO 4 parts of the Line AB divided into 4 ⅞ parts: then to divide the parts so, you must see what use you have thereof in your Cornice, and divide the Line AB into so many parts as there is occasion, as in 3 parts: so draw a Line ⅓ from the point C, and into 4 parts, and draw a Line ¼ from the point C, and then into 5, and draw a Line ⅕ from the point C. Then to strike out the small members of the Cornice, set the Compasses from H to the Line ⅕, the which will give ⅖ parts of the Line AB, then follows ⅙: therefore set your Compasses on F and the Line ⅓, then have you the ⅙ part, next follows the part 1: therefore set your Compasses from G to L, the which is 1 part: then set the Compasses on G and the Line ⅕, the which is then ⅕ parts, then set your Compasses on F and ¼, and add that to GL, and it makes together 1 ⅛ parts, then follow two parts ⅕, then set the Compasses from I to the Line ¼, the which is ¾ parts, then on F and ⅓, which is ⅙ parts, then on H and 1/ [...], which [Page] is 2/32, and on G and the Line ¼, which is ¼, and do the like with every member of the Cornice and the Base, as you may see plainly in the sixth Figure.

No. II.

The Slope Line PQR is upon the Cornice of Composita, where is to be divided into 7 and 11/12 parts, and one half twelfth part 7 11/12:½ and may be drawn after the same manner, as with the Dorick, Ionick and Corinthian, as you see plainly in the 24th Figure.

No. III.

The Author gives well the dividing the members in general of the Ornament, Impost and Arch with the Base and Cimacia, but not so plain in particular how much every member must be. There have been several Lovers of the Art have endeavoured to find out the dividing of the minutes. So I thought necessary to put the minutes to it, and of the same to make a Scale. And for to make the Scale right, divide your Model into 6 parts on one side, and divide the other side into 10 parts, and so draw your Lines Diagonal ways, after the manner of the draught of the Diagonal Scale in the next leaf ensuing. So is your Scale made by which all the members are easily and rightly divided.

Upon these five Theorems all the skill of Arching and Vaulting is grounded: As for those Arches which our Arti­zans call of the third and fourth point, and the Tuscan Writers di terzo, and di quarto acuto, because they always concur in an acute Angle, and do spring from the division of the Diameter into three, four or more parts at pleasure; I say, [...]hese both for the natural imbecillity of the sharp Angle it self, and likewise for their very uncomliness ought to be exiled from judicious eyes, and left to their first Inventers the Goths or Lombards, amongst other Relicks of that bar­barous Age.

Thus of my first Partition of the parts of every Fabrick into five heads; having gone through the two former and been incidently carried into this last Doctrine touching Arches and Vaults, the next now in order are the Apertions, un­der which term I do comprehend doors, windows, stair­cases, chimnies, or other conducts; in short, all Inlets or Outlets, to which belong two general cautions.

[Page 15] First, That they be as few in number and as moderate in dimension as possibly may consist with other due respects; for in a word, all openings are weaknings.

Secondly, That they do not approach too near the Angles of the Walls, for it were indeed a most essential Solecism to weaken that part which must strengthen all the rest: A pre­cept well recorded but ill practised by the Italians themselves, particularly at Venice, where I have observed divers Pergoli or Meniana (as Vitruvius seemeth to call them) which are certain ballised outstandings to satisfie curiosity of sight) very dangerously set forth upon the very point it self of the Mura [...] Angle.

Before I come to the casting and comparting of the whole work (being indeed the very definitive sum of this Art, to distribute usefully and gracefully a well chosen plot) I shall collect some Notes belonging to these particular Overtures.

Of Doors and Windows.

These Inlets of men and light I couple together, because I find their due dimensions brought under one Rule, by Leon. Alberti (a learned searcher) who from the School of Pythagoras (where it was a fundamental Maxim, that the Images of all things are latent in numbers) doth determine the comliest proportions between breadths and heights, namely the Sym­metry of two to three in their breadth and length, in others the double, as two to four, there will indubitably result from either a graceful and harmonious contentment to the Eye. Our Master Vitruvius seems to have been an extream lover of luminous Rooms, and indeed I confess that a frank light can misbecome no Edifice, yet on the other side we must take heed to make a House all Eyes like Argus, which in Northern Climates would be too cold, in Southern too hot. Besides there is no part of Building more expenceful than Windows, or more ruinous, not only for that vulgar reason as being exposed to all wind and weather, but because con­sisting of so different and unsociable pieces, as Wood, Iron, Lead and Glass, and those small and weak, and easily shaken.

[Page 16]Of Doors there is this distinction; some were called Fores, some Valvae; Those, as the word may seem to import, did open outwards, these inwards, and were commonly of two leaves or panes (as we call them) thereby requiring indeed a lesser Circle in their unfolding, and therefore much in use among the Italians at this day. But I charge them with an Imperfection, for though they let in as well, yet they keep out worse.

Of Stair-Cases.

To make a compleat stair-case is a curious piece of Ar­chitecture; the vulgar cautions are these.

That it have a liberal light against all Casualties of slips and falls.

That the space above the head be large and airy, because a man doth spend much breadth in breathing.

That the half paces be well distributed at competent di­stances for reposing on the way.

That to avoid Encounters, and besides to gratifie the be­holder, the whole stair-case have no niggard Latitude, that is, for the principal Ascent in Royal Buildings at the least ten foot.

That the breadth of every single step or stair be never less than one foot, nor more than eighteen inches.

That they exceed by no means half a foot in their height or thickness, for our legs do labour more in elevation than in distention.

That the steps be laid where they join somewhat sloping, that the foot may in a sort ascend and descend together; which though observed by few, is a secret and delicate de­ception of the pains in mounting.

Lastly, to reduce this doctrine to some Natural or at least Mathematical ground, Vitruvius borroweth these proportions that make the sides of a Rectangular Triangle; that is, three for the Perpendicular from the stair-head to the ground, four for the-ground-line it self or recession from the Wall, and five for the whole Inclination or slopeness in the Ascent. There are likewise Spiral or Cocklestairs, and sometimes running about a Pillar, sometimes vacant, wherein Palladio (a man very expert [Page 17] in this point) was wont to divide the Diameter of the first fort into three parts, yielding one to the Pillar and two to the Steps of the second, into four whereof he gave two to the Stairs, and two to the Vacuity, which had all their light from above, and this in exact Oval is as a Master-piece. You have here insert­ed the Types of several Stair-Cases with their Ichnography; one whereof is a piece of Rarity, being a pair of double Stairs, whereon two persons, the one ascending, the other descending, shall not come at one another, made by Peidro del Bergo and Iehan Cosin at Sciamburg in France in the Kings Palace.

Describe a Semicircle for the Ichnography, which divide in 12 equal parts, and in it describe a smaller Cicle as at C. For the bigness of the Newel draw lines from those Divisions in the great Semicircle into the Semicircle made for the bigness of the Newel, so will that Semicircle also be divided into 12 equal parts; then on every of the points in the great Semicircle erect Perpendiculars, and those Perpendiculars shall shew the ends of each respective step; as the Perpendicular at 11 bounds the out­ward end of the first step, the Perpendicular at 22 bounds the second step, &c. to 24, which makes good a whole Circle in the Ichnography, and Perpendiculars erected from the inner Semicircle mark on the Newels the ends of the same steps: work the same way with the steps on your right hand. The Newel is pierced through in divers places to let in light.

Of Chimnies.

The Italians, who make frugal fires, are not in this case the best Counsellors, therefore from them we may better learn how to raise fair Mantles within, and how to disguise gracefully the shafts of Chimnies abroad; therefore shall lay down the Obser­vations of Phil. de l' Orme, a man diligent in this part of work.

First he observeth, that who in the disposition of the Building will consider the Region and the Winds that ordinarily blow from this or that Quarter, might so cast the Rooms, which need most fire, that he should little fear the incommodity of Smoke. But if the Error lies in the Structure it self, then he makes a Logical Enquiry, That either the Wind is too much let in above at the mouth of the Shaft, or the Smoke stifled below. If none of these, then there is a repulsion of the Fume by some higher Hill [Page 18] or Fabrick that overtops the Chimny; if likewise not this, then he concludes that the Room is little and close, so as the Smoke cannot issue wanting a supply of Air; and so having a Natural Reason of the Cause, we apply sutable Remedies.

Touching Conducts for the Suillage and other Necessities of the House, (which how base soever in use, yet for the Health of the Inhabitants are as considerable as the rest) I find in Authors this Counsel, that Art should imitate Nature in those ignoble Conveyances, and separate them from sight (where there wants a running Water) into the most remote, and lowest, and thickest part of the Foundation, with secret vents posting up through the Walls, like a Tunnel to the wi [...]d Air aloft.

Thus, having considered the Apertions and Overtures according to their particular Requisites, I come to the Contexture of the whole work under the term of Compartition, into which (being the mainest piece) I cannot enter without a few general Precautions.

First, Let no man that intendeth to build, settle his fancy upon a Draught of the Work in Paper, how exactly soever measured or neatly set off in perspective, without a Model or Type of the whole Structure, and of every parcel or partition in Board or Wood.

Next, That the said Model be as plain as may be without Co­lours or other beautifying, lest the Pleasure of the Eye preoccu­pate the Judgment.

Lastly, The bigger this Type is, the better; not that I would persuade a man to such an Enormity, as that Model made by Ant. Labaco of St. Peters Church in Rome, containing 22 foot in length, 16 in breadth, and 13 in height, and costing 4184 Crowns, the price of a reasonable Chappel. Yet in a Fabrick of 30 or 40 Thousand pounds, 30 pounds may be expended in an exact Mo­del; for a little Penury in the Premisses may easily breed some Absurdity of a far greater Charge in the Conclusion.

Now after these Premonishments, I come to the Compartition it self, by which is understood a graceful and useful Distribution of the whole Ground-plot, both for Rooms of Office and of Re­ception or Entertainment, as far as the Capacity thereof and the nature of the Country will comport.

The Gracefulness will consist in a double Analogy or Corre­spondency, First, between the Parts and the Whole, whereby a great Fabrick should have great Partitions, great Lights, great Entrances, great Pillars or Pilasters; in sum, all the Parts great. [Page 19] The next between the Parts themselves, not only considering the breadth and length, as before when we spake of Doors and Win­dows, but likewise their height, a point hardly reducible to any general Precept.

True it is, the Ancients did determine the Longitude of all Rooms which were longer than broad, by the double of their Latitude; and the Height half as much more as the Latitude, which Dimensions modern Architects vary upon discretion: sometimes squaring the Latitude, and then making the Diagonal or overthwart Line from Angle to Angle of the said square; the measure of the Height sometimes more, but seldom lower, than the breadth it self.

The usefulness consists in a sufficient Number of Rooms of all sorts, and their apt Coherence without Distraction, without Con­fusion, that it may be well united, and may appear airy and spi­ritous, fit for the welcome of chearful Guests; about which the greatest difficulty will be in contriving the Lights and Stair-cases; in which respect the ancient Architects were at much ease; for both the Greeks and Romans (of whose private Dwellings Vitru­vius hath left some Description) had commonly two Cloistered open Courts, one serving for the Womens side, and the other for the Men, who now adays would perchance take so much separati­on unkindly. Howsoever by this means the reception of Light into the body of the Building was very prompt both from without and from within, which we must now supply by some open form of the Fabrick, or among graceful refuges by Tarrasing any story which is in danger of Darkness, or lastly, by perpendicular Lights from the Roof, of all others the most natural: For the second difficulty, which is casting the Stair-Case, which is no hard point of it self, but as they are incumbrances of room for other use, I have marked a willingness in the Italian Artizans to distribute the Kitchin, Pantry, Bake-house, washing Rooms, and even the Buttry likewise under ground next above the Foundation, and sometimes level with the Floor of the Cellar, raising the first Ascent into the House fifteen foot or more for that end, which besides removing Annoys out of sight and gaining much room above, doth also by the Elevation of the Front add Majesty to the whole Aspect; and with such a disposition of the principal Stair-Case which commonly doth deliver us into the plain of the second Story, there may be wonders done with a little room. [Page 20] But though petty Offices may be well enough so remote, yet by the natural Hospitality of England the Buttry must be more visi­ble, and we need perchance for our Raunges a more spacious and luminous Kitchin than the aforesaid Compartition will bear, with a more competent nearness to the Dining Room. It is like­wise necessary to contrive a Room for a Conservatory of the Meat that is taken from the Table till the Waiters eat, which with us by an old fashion is more unseemly set by in the mean time.

Now touching the distribution of Lodging Chambers, I must here reprove a Fashion, which hath prevailed through. Italy, without antient Examples: Namely, that they so cast their Par­titions, as when all Doors are open, a man may see through the whole House; which doth necessarily put an intolerable servitude upon all the Chambers, save the inmost, whence none can arrive but through the rest, or else the Walls must be extreme thick for secret Passages. And yet this will not serve the turn, without at least three Doors to every Room, a thing most insufferable in cold and windy Regions, and every where no small weakning to the whole Work; being only grounded upon the fond Am­bition of displaying to a Stranger all our Furniture at one sight: there being another defect, which necessarily follows such a servile disposing of inward Chambers, that they must be forced to make as many common great Rooms, as there shall be several Stories; which (besides that they are usually dark, a point hardly to be avoided, running as they do through the middle of the whole House) do likewise devour so much Place, that thereby they want other Galleries and Rooms of Retreat. Thus having given you general Lights and Directions, and discovered some Faults, the rest must be committed to the Sagacity of the Archi­tect, who will be often put to divers ingenious shifts, when he is to wrestle with Scarcity of Ground: as sometimes to damm one Room (though of good use) for the benefit and beauty of all the rest; another while to make those fairest which are most in sight, and to leave the other (like a cunning Painter) in shadow. I will close this Part, touching Compartition, as chearfully as I can, with a short Description of a feasting or entertaining Room after the AEgyptian manner, who seem (at least till the time of Vitruvius) from the antient Hebrews and Phoenicians (whence all Knowledge did flow) to have retained with other Sciences in a high degree, also the Principles and Practice of this magnificent [Page 21] Art; there being no Form for such a Royal use comparable ima­gined like that of the aforesaid Nation.

Let us conceive a Floor or Area of goodly length (for example at least of 120 Foot) with the breadth somewhat more than half of the longitude: About the two longest sides and head of the said Room shall run an Order of Pillars, which Palladio doth sup­pose Corinthian, supplying that point out of Greece, because we know no Order proper to AEgypt; the fourth side I will leave free for Entrance: On the foresaid Pillars was laid an Architrave, which Vitruvius mentioneth alone, Palladio adds thereunto (and with reason) both Frize and Cornice, over which went up a con­tinued Wall, and therein half or three-quarter Pillars, answer­ing directly to the Order below, but a fourth part less; and be­tween these half Columns above, the whole Room was win­dowed round about.

Now from the lowest Pillars there was laid over a Contignati­on or Floor born upon the outward Wall and the head of the Co­lumns with Tarrace and Pavement sub dio, saith our Master, and so indeed he might safely determine the matter in AEgypt, where they fear no Clouds; therefore Palladio (who leaveth this Tarrace uncovered in the middle and ballised about) did perchance con­strue him rightly, though therein discording from others. Al­ways we must understand a sufficient breadth of Pavement left between the open Part and the Windows, for some delight of Spectators that might look down into the Room. The Latitude I have supposed contrary to some former Positions a little more than half the Length; because the Pillars standing at a competent distance from the outmost Wall, will by interception of the sight, somewhat in appearance diminish the breadth: In which cases (as I have said before) Discretion may be more licentious than Art. This is the Description of an AEgyptian Room for Feasts and other Jollities; about the Walls whereof we must imagine intire Statues placed below, and illuminated by the descending Light from the Tarrace, as likewise from the Windows between the half Pillars above. So as this Room had abundant and ad­vantageous Light; and besides other garnishing must needs re­ceive much State by the Height of the Roof, that lay over two Orders of Columns.

And so having run through the four Parts of my first general Division, namely, Foundation, Walls, Apertions, and Compartition: [Page 22] The House may now have leave to put on his Hat, having hither­to been uncovered it self, and consequently unfit to cover others; which point, though it be the last of this Art in Execution, yet it is always in Intention the first; for who would build but for shelter? I shall now only deliver a few of the properest, and (as I may say) naturallest Considerations that belong to this remaining Piece.

There are two Extremities to be avoided in the Cover or Roof, that it be not too heavy nor too light, the first will suffer a vul­gar Objection of pressing too much the Under-work. The other containeth a more secret Inconvenience, for the Cover is not only a bare Defence, but likewise a kind of Band or Ligature to the whole Fabrick, and therefore would require some reasonable Weight; but of the two a House top-heavy is the worst, next, there must be a care of Equality, that the Edifice be not pressed on the one side more than on the other. And here Palladio doth wisely advise that the inward Walls might bear some good share in the Burthen, and the outward be the less charged. Thirdly, the Italians are very careful in giving the Cover a graceful Pen­dence or Slopeness, dividing the whole breadth into nine parts, whereof two shall serve for the Elevation of the highest Top or Ridg from the lowest. But in this point, the quality of the Region is considerable; for as our Vitruvius insinuateth, those Climes that fear the falling and lying of much Snow, ought to provide more inclining Pent-houses, and Comeliness must yield to Necessity.

Thus have you briefly laid down, from the best Authors, the Ground-Rules of the Art of Building; which being well con­sidered, may be of great use to the ingenious Architect in the managing of any Royal or Noble Design.

I.

IN the first Figure here is shown the several Orders of Co­lumns how they differ from each other, and how high every one must be.

The Tufcan must be 11 ¼ Models high; whereof the Pedestal must be 1 ⅞ Model, or 1 Model 52½ minutes: the Column must be 7 ½ Models, the Ornament must be 1⅞ Mo­del, and so the Ornament is one fourth of the height of the Column, and the Pedestal also is one fourth of the height of the Column.

[Page 2]The Dorick must be 12 Models 53 ½ minutes high; where­of the Pedestal must have 2 Models and 16 minutes; the Co­lumn must be 8½ Models; the Ornament must be 2⅛ Models: so the Ornament is one fourth of the height of the Column, and the Pedestal is 3¾ of the height of the Column.

The Ionick must be 13 Models high; whereof the Pedestal must have 2½ Models; the Column must have eight Mo­dels and three fourths; the Ornament must have 1¾ Model: and so the Ornament comes to be one fifth part of the height of the Column, and the Pedestal 3½ of the height of the Co­lumn.

The Roman or the Composita must be 14 7/10 Models high, or 14 Models 42 minutes; whereof the Pedestal must be 3 Mo­dels; the Column 9¾ Models; and the Ornament must have 1 19/20 Model, or 1 Model and 57 minutes: so the Ornament comes to he one fifth part of the height of the Column, and the Pedestal 3 3/4 of the height of the Column.

The Corinthian must be 15⅓ Models high; whereof the Pe­destal must be 3⅓ Models, the Column must be 10 Models; the Ornament must have 2 Models: and so the Ornament comes to be one fifth part of the height of the Column, and the Pede­stal one third of the height of the Column.

II.

If you would make Galleries without the Pedestal, you must take the height of 9⅜ Models to make the work the more state­ly; so you may make one gross Base under of ½ Model: the breadth must be 11⅔ Models; the middle inter-Column must be 3 Models; the inter-Column of either side must be 2⅓ Mo­dels. But if you will make them of six Columns, they must be 18⅓ Models, and of eight Columns, they must be 25 Mo­dels: the height for the lights of the Gate must be 4/7 of the height of the Column, with his Architrave and Friese, and comes to 4 Models and 59 minutes; and the breadth is 2/7, the height is 2 models and 29½ minutes: The Ornament must be one fourth of the height of the lights, the door is 1¼ Model.

III.

The Tuscan Arch must be 3 Models and 52 minutes wide; the Pilasters under to the foot of the Column must be 34 mi­nutes; the height to the top of the Impost is 5 models and 16 minutes; the Impost is 27 minutes high, divided into 8¼4▪ the small Arch or Bow is 26 minutes divided into 8 parts: the Arch must make an half Circle, and somewhat more than ⅛ of the Model; and for the projecture of the Impost to diminish the sight. Upon the right and left side you must make Win­dows; of the middle Gate the Key-piece is 40 minutes high.

IV.

If you will make the Tuscan Gallery with the Pedestal, the whole height must be 11 ¼ Models, and the breadth 13 ⅔ mo­dels of both the outermost Columns distance, whereof the middle inter-Column must be 3 models 40 minutes; the inter-Columns on the right and the left side must be 3 models: But if you make the Gallery of 6 Columns, they must be 21 ⅔ models; and if they be of eight Columns, they must be 29 ⅔ models: The height for the lights of the Gate must be 4/7 parts of the under-edge of the Pedestal, to the up­per edge of the Friese, and 6 models and 3 ⅔ minutes; and the breadth is 2/7 parts, and is 3 Models and 1 ⅚ minute: the Or­nament must be one fourth of the height of the lights of the Door, and is 1 model and 31 minutes, whereof the Archi­trave must be 30 ⅓ minutes; the Friese 24 ¼ minutes; the Cor­nice 36 ½ minutes.

V.

The Tuscan Arch is in distance from one Pedestal to the other 4 models [...]0 minutes; the Pilaster on the foot of the Column is 40 minutes; the height from under the Pedestal, to the up­per edg of the Impost, is 6 models, 12 ½ minutes; the height of the Impost is 41 ⅚ minutes; the Arch or Bow is 29 minutes; the Key-piece in the Arch is 50 minutes high; the Arch is higher ½ a Circle and 10 minutes for the projecture of the Impost: there the Arch beings, divided into 5 parts, 4 of the same are for the lights of the Door of the principal Gate, and is 5 mo­dels and 5 minutes; the breadth of the lights is 2 models 32 ½ minutes; the Ornament is 1 model 16 ½ minutes high, where­of the Architrave muh have 25 ½ minutes; the Friese 20 5/12 minutes; the Cornice 30 7/12 minutes: or divide the Ornament 1 model 16 minutes in fifteen parts, and give five to the Archi­trave, four the Friese, six the Cornice.

VI.

The sixth shews the particular members of the Tuscan Co­lumn: On the right side have we the Pedestal and the Base: the Pedestal is ¼ of the height of the Column, and comes to 1 ⅞ model, which must be divided into 5 parts; whereof give the under- Cimacium and the Plinth 1 ⅓ of the Troco, make 2 ⅔ the upper Cimacium 1 part, the upper Cimacium is 22 ½ mi­nutes: divided into 5 7/24 parts, the Base is ½ a model, and is to be divided into 5 parts. Under the body of the Column is one small list of ½ part, making 3 minutes: of the left side is the Ornament and the Capital; the Capital is ½ model high, and is to be divided in 10 parts; the like part hath also the Astragal; the Ornament is ¼ off; the Column high take 1 ⅞ model: this divided in 17 ½ parts, whereof give the Architrave 5 prrts, the Friese 6 ⅓ parts; the Cornish 6 parts; the Architrave 5 parts, is 32 ½ minutes, divided in 8 ⅞ parts; the Friese is 41 minutes, with his uppermost list, which is placed right over the middle of the Column, so high as the Friese is, and the breadth 30 minutes: after this breadth the Friese jets out 7 ½ minutes. Here is also after the Friese the List of 2 ½ minutes; the Orna­ment [Page 5] is 39 minutes high, divided in 4 ⅞ parts, so you may this Column, and all its members, with the Impost; and also all the other four Columns must be divided after the same manner with minutes; whereof the Column must be divided into sixty minutes, and made after this manner: The Scale is made in the first Figure, and the Rule wherewith you divide your parts shall be set P, and for minutes an M. it may be easily un­derstood.

VII.

Here followeth the great and small Impost with his Arch and Ornament of the Principal Gates; upon the right side is the Impost and Arch; the Impost and Arch of the small Arch stands beneath, marked with the Letter K; the Impost is 27 minutes high, divided in 8 ¼ parts; the like part hath Astra­gal of the Impost: the small Arch or Bow is 26 minutes, divi­ded in 8 ⅞ parts; the height of the great Impost is 41 ⅚ mi­nutes divided in 6 parts; the great Arch or Bow is 29 mi­nutes high, divided in 8 ⅞ parts. Of the left side is the Or­nament of the principal Gate, and is 1 model 16 ½ minutes high, whereof cometh 25 ½ minutes: the Architrave divided into 8 ⅓ parts; the Friese is 20 5/12 minutes high; the Cor­nish is 30 7/72 minutes high, divided in 4 7/12 parts.

VIII. Of the DORICK Order.

IF you will make the DORICK Gallery without the Pe­destal, then must you divide the whole height into 10 mo­dels 37 ½ minutes; and to make the Work appear the statelier, you may make one gross Base under of half a model high, and of 4 Columns breadth must be 9 models 45 minutes; whereof the middle inter-Column must be 2 ¾ models; the inter-Columns of either side must be 1 ½ model; of 4 Columns breadth in the Friese must be 8 Triglyphs, and 7 Metops: but you will make them of 6 Columns, you must divide the breadth into 14 ¾ models; and there must be in [Page 6] the Friese of the 6 Columns 12 Triglyphs and 11 Metops: Also if you will make the Gallery of eight Columns, then must the breadth be 19 ¾ models; the height of the lights of the door is 4/7 of the height of the column with his Archi­trave and Friese, and comes to 5 ⅓ models and the breadth of the light of the door must be 2 models 40 minutes: the Ornament must be ¼ of the height of the lights of the door; and is 1 model 20 minutes divided in 15 parts; give 5 to the Architrave, 4 the Friese, 6 the cornish; and so the Ar­chitrave is 26 ⅔ minutes, the Friese 21 ⅓ minutes, the Cornish 32 minutes.

IX.

The Dorick Arch must be 6 models 15 minutes wide from the middle of one Column, to the middle of the other; and must stand a little more than half out of the Pilaster: the Pilaster is 32 minutes broad under on the Foot of the Co­lumn; the Impost is 27 ½ minutes high, divided in 8 2/6 parts: the like part also hath the Astragal: underneath the height of the Arch or Bow is 27 ¼ minutes divided into 6 ⅓ parts; the Key-piece in the Arch is high 40 minutes; the Arch is higher than half a Circle 10 minutes for the Projecture of the Impost; the height to the top of the Impost from the Base is 6 models 4 ½ minutes.

X.

The Dorick Gallery with the Pedestal, the whole height of the Column must be 12 models and 53 ½ minutes; and four Columns must be 13 ½ models broad, whereof the middle inter-Column must be 4 models; the inter-Column of the side 2 ¾ models: Upon the four Columns must be 11 Triglyphs and 10 Metops; but 6 Columns must be 21 models broad, and 17 Triglyphs, and 16 Metops; but 8 Columns must be the breadth of 28 ½ models, 23 Triglyphs and 22 Metops: the light of the door is 4/7 of the under edge of the pedestal, to the uppermost edge of the Friese, and is 6 models 57 ¾ minutes; the breadth is 3 models 24 ¾ minutes; the Ornament is high one fourth of the height of [Page 7] the lights, and ¼ which is 1 model 38 1/6 minutes, whereof the Architrave must have 32 ¾ minutes, the Friese 26 1/6 minutes, the Cornish 39 ¼ minutes.

XI.

If you would make the Dorick Gallery with the Pedestal, then must the distance from one Pilaster to the other be 5 ¼ mo­dels; the height from the under-edge of the Pedestal to the upper-edge of the Impost, is 7 models 6 minutes; the Impost is 50 minutes high; the Arch or Bow 34 minutes; the Cor­ner-piece is 50 minutes; the Arch is higher than a half-Circle 12 ½ minutes for the projecture of the Impost; the height of the lights for the Doors is 5 models and 52 minutes: the breadth of the Lights is two models and 52 minutes: the Or­nament is 1 model 23½ minutes high, of which the Architrave hath 27 ⅚ minutes; the Friese is 22 ¼ minutes; the Cornish is 33 5/12 minutes: or divide the Ornament in 15 parts, 5 the Architrave, 4 the Friese, 6 the List.

XII.

Here is shown the particular members of the Dorick Co­lumn: On the right side we have the Pedestal and the Base; the Pedestal is 3 ¾ of the height of the Column, and comes to 2 models and 16 minutes, divided into 6 parts; whereof give the under- Cimacium 2 parts, the body of the Column makes 3 parts; the upper Cimacium 1 part, the under- Cima­cium is 45 minutes: There hath the Plinth 30 minutes; the other members in 15 minutes, divided into 3 ¾ parts; the upper Cimacium is 22 ½ minutes divided in 5 3/2 9/4 parts; the Base is one half model, divided in 5 ⅔ parts; the List upon the Base is ⅓, or 2 minutes, and stands off from the Column: on the left side is the Ornament and Capital; the Capital is one half model high, divided in 11 7/12 parts; and the like part hath the Astragal: the Ornament is ¼ of the height of the Column, and is 2 models 7 1/2 minutes divided in 18 1/6 thereof give the Architrave 5 parts, is 35 minutes divided in 7 ⅔ parts; the Friese 6 ⅓ parts, is 45 minutes; the List above the Friese ⅔ is 5 minutes; the Cornish 6 parts 42 minutes, divided in 6 7/24 [Page 8] parts (the Author gives 6 ¼ parts) that it may come forth more in the Cornish must come in 10 Dentils, besides the Grape that hangeth on each side.

XIII.

Here is shewn the great and small Impost with his Arch and Ornament of the Principal Gate of the Dorick, Order: On the right side is the Impost and Arch, the Impost and the Arch of the smaller Bow, standing below, marked with the Letter K: the Impost is 27 ½ minutes high, divided in 8 ⅚ a like part hath also the Astragal of the Impost; the small Arch or Bow is 27 ¼ minutes, divided in 6 ⅓ parts; the height of the Impost Major or greater Impost, is 50 mi­nutes, divided into 9 ⅜ parts; the great Arch or Bow is 34 minutes high, divided in 6 ⅔ parts: On the left side is the Ornament of the principal Gate; and is high 1 model 23 ½ minutes, whereof the Architrave hath 27 ⅚ minutes, divided in fix ⅔ parts; the Friese is 22 ¼ minutes; the Cornish is [...]3 5/12 minutes, divided in 4 ¾ parts.

XIV. Of the IONICK Order.

IF you would make the IONICK Gallery without the Pedestal, then must you divide the whole height in 10 ½ models, to make the Work shew the more stately; and un­der it make one gross Base of half a model high, and of four Columns breadth must be 10 models and 21 minutes; whereof the middle inter-Column must have 2 ½ models; the inter-Columns that stand on the right and left side must be 1 model 55 ½ minutes; on the middle of each Column and the Pilaster must be one modilion; in the outermost inter-Columns shall be 5 spaces, in the middlemost 6 spaces; the four Columns have from the middle of the first to the middle of the last Column 16 spaces and modillions: but if men will make them of 6 Columns, then must they divide the breadth in 16 1/6 models, and there comes on the 6 Columns between the modillions 26 spaces; and of eight Columns must the breadth be 22 models, and there comes on the 8 Columns 36 spaces between the modillions: the height of the lights of the Doors is 4/7 of the height of the Column, with his Architrave and Friese above the modil­lions, and the light comes to 5 models and ⅚ the breadth of the lights of the doors comes to 2 models 48 ½ minutes; the Ornament must be and ¼ and ½ of the height of the lights of the doors, and is 1 model and 18 minutes, divided in 15 parts; give 5 to the Architrave, 4 the Friese, 6 the Cornish; and the Architrave is 26 ¾ minutes, the Friese 20 minutes, the Cornish 31 ¼ minutes.

XV.

The minor or smaller Ionick Arch must be wide from one Pi­laster to the other 3 models 50 minutes, aud must stand more than one half out of the Pilaster; the Pilaster is 30 minutes under on the breadth of the Column; the Impost is high 28 ½ minutes, divided in 9 ½ parts; such like parts hath also the A­stragal there under the height of the Arch or Bow 24 ¼ minutes, divided in 7 1/24 parts; the Key-piece in the Arch is 50 minutes high; the Arch is higher than one half Circle 12 minutes; the height from above the Impost to the under-edge of the Base, is 6 models and 18 minutes.

XVI.

The Ionick Gallery with the Pedestal, the whole height of the Column must be 13 models, and the 4 Columns breadth must be 12 ⅔ models, whereof the middle inter-Column must be 3 ⅔ models; the inter-Column on the side must be 2 ½ models; on the four Columns, from the middle of the first, to the middle of the last Column, cometh 20 spaces and modillions, of 6 Co­lumns breadth is 19 ⅔ models, and hath 32 spaces between the modillions; and of 8 Columns breadth is 26 ⅔ models, and hath 44 spaces between the modillions: the light of the door is 4/7 from the under-edge of the Pedestal of the Column, Architrave and Friese, to the upper-edge of the modillions, and is 7 models 17 minutes; the breadth of the door of the lights is 3 models 30 ⅜ minutes; the Ornament must be ¼ and ½ of the height of the lights of the doors, and is 1 ⅝ model divided in 15 parts; give 5 to the Architrave, 4 the Friese, 6 the Cornish; the Architrave is 32 ½ minutes, the Friese 26 minutes, the Cornish 39 minutes.

XVII.

If you would make the Ionick Arch with the Pedestal, then must the distance from one Pilaster to the other be 4 models and 50 minutes; the height from the under-edge of the Pede­stal, to the upper-edge of the Impost, is 7 models and 35 mi­nutes the Impost is 50 ¼ minutes high; the Arch or Bow 30 ½ minutes; the corner-piece 1 model; the Arch is higher than one half Circle 15 minutes; the height of the lights of the door is 6 models 16 ½ minutes; the breadth of the lights is 3 models and 2 minutes; the Ornament is high 1 model 25 ½ mi­nutes; the Architrave hath 28 ½ minutes; the Friese hath 22 ⅘ minutes; the Cornish 34 1/5 minutes; the Pilaster is 35 minutes broad under on the Column.

XVIII.

Here is shown the particular members of the Ionick Co­lumn: On the right side you have the Pedestal and Base; the Pedestal is 3 ½ of the height of the Column, and comes to 2 ½ models, which divided into 6 ⅔, thereof give the un­der- Cimacium 2 parts, the Trunk or the Neck 3 ⅔; the up­per- Cimacium is 1 part, the under- Cimacium 45 minutes; thereof give the Plinth 30 minutes, the other 15 minutes, di­vided in 4 ¼ parts; the upper- Cimacium is 22 ½ minutes divi­ded in 6 ⅝ parts; the Base is half a model, divided in 5 7/12 parts; on the Column be two members, divided out with the aforesaid parts, is 3 ¾ minutes: On the left side is the Capital and Ornament; the Capital is 31 ½ minutes high of the un­der-edge of the Scroll, or more; the Astragal on the upper-edge of the Abacus is 18 ⅚ minutes, divided in 7 1/40 parts: The Ornament is 1 ¾ model high, and is ⅕ of the height of the Co­lumn, divided in 15 parts, give the Architrave 5, the Friese 4, the Cornish 6, the Architrave 5 parts and 35 minutes, divi­ded in 8 ¼ parts; the Friese is 28 minutes, and must have one List on of ¼ part, such like part as the Cornish hath of 1 ½ minute; the Cornish is 42 minutes, divided in 7 5/12 parts, and ½ twelfth part, or in 7 ½¼ parts; but if you are to make great or Royal Work, then commonly is the Friese carved: So must [Page 12] the Ornament be between ¼ and ⅕ part of the height of the Co­lumn, and divided in 16 ⅔ parts; give the Architrave 5 parts, the Friese 5 ⅔ the Cornish 6 parts.

XIX.

Here is shewn the great and small Impost with his Arch and Ornament of the principal Gate of the Ionick Order: On the right side is the Impost and Arch, the Impost and the Arch of the small Bow, standing beneath the Impost, is 28 ½ minutes high, divided in 9 ½ parts; such like parts hath also the Astragal: The Arch or Bow is 24 ¼ minutes, divided in 7 1/24 parts; the great Impost, is high 50 ¼ mi­nutes, divided in 8 11/24 parts; the great Arch or Bow is high 30 ½ minutes, divided in 7 ½ parts: On the left side is the Ornament of the Principal Gate, and is high 1 model 25 ½ minutes; the Architrave is high 28 ½ minutes, divided in 7 parts; the Friese is high 22 ⅘ minutes; the Cornish is high 34 minutes, divided in 5 17/24 parts; under and above the Friese is one fillet of ¼ part of the aforesaid parts.

XX. Of the ROMAN Order.

IF you would make the ROMAN Gallery without the Pedestal, then must you take the height of 11 7/10 mo­dels, and make one gross Base under of ½ model high; and of 4 Columns breadth must be 9 models 40 minutes, whereof the middle inter-Column must have 2 ¼ models; the in­ter-Column standing on the right and left side, must be 1 mo­del 42 ½ minutes: On the middle of each Column must come one Modillion; and in the outer inter-Column must come 5 spaces; in the middle inter-Column 6 spaces: the 4 Columns have from the middle of the first to the middle of the last Co­lumn 16 spaces and Modillions; but if you make them 6 Columns, then must the breadth be 15 1/12 models, and there comes on the 6 Columns between the Modillions 26 spaces; and of 8 Columns the breadth must be 20 ½ models, and there comes on the 8 Columns 36 spaces between the Modillions: the height of the lights of the doors is 4/7 of the height of the Co­lumn with his Architrave and Friese: from the upper edge of the Modillions, and the lights, is of 6 models 30 minutes; and the breadth of the lights of the doors, of 3 models 25 minutes: The Ornament must be 3 ¼ parts of 15 parts of the height of the lights, and is 1 model 24 ½ minutes divided in 15 parts; 5 for the Architrave, 4 the Friese, 6 the Cornish; and the Architrave is 27 ½, the Friese 22, the Cornish 33, without the Gola and Orle, the which next belongs to the Cornish of the Frontispiece.

XXI.

The small Roman Arch must be from one Pilaster to the other 4 models and 34 minutes, and must stand somewhat more than half out of the Pilaster: the Pilaster is 28 minutes; under on the breadth of the Column, the Impost is high 31 1/9; minutes, divided in 11 1/12 parts: such like parts hath also the Astragal: there under the height of the Arch or Bow is 28 minutes, divi­ded in 7 ⅔ parts; the Key-piece in the Arch is high 50 minutes; the Arch is higher than one half-Circle 14 minutes; the height from above the Impost, from the under-edge off from the Base, is 6 models 54 minutes.

XXII.

The Roman Gallery with the Pedestal, the Column must be 14 models 42 minutes high; and the breadth of 4 Columns must be 11 models and 50 minutes; whereof the middle inter-Column must be 3 ⅓ models: the inter-Column on the side 2 models 15 minutes: On the 4 Column from the middle of the first, to the middle of the last Column cometh 20 spaces and Mo­dillions; of 6 Columns breadth is 18 models and 20 minutes, and hath 32 spaces between the Modillions; and of 8 Columns breadth is 24 models and 50 minutes, and hath 44 spaces be­tween the Modillions: the lights of the doors is high 4/7 from the under edge of the Pedestal with his Column; the Architrave and Friese to the upper edge of the Modillions, comes to 8 models 12 ⅘ minutes; the breadth of the lights of the doors is 3 models 53 ½ minutes; the Ornament must be 3/14 and ¼; for the Architrave, Friese, and Cornish of the height of the lights of the doors, and comes to 1 model and 53 minutes, divided in 15 parts; give 5 to the Architrave, 4 the Friese, 6 the Cor­nish; and the Architrave is 37 ⅔ minutes, the Friese 30 ⅙ mi­nutes, the Cornish is 45 1/ [...] minutes.

XXIII.

If you make the Roman Arch with the Pedestal, then must the distance from one Pilaster to the other be 5 ½ models; the height from the under-edge of the Pedestal to the upper-edge of the Impost, is 8 models 42 ½ minutes; the Impost is high 55 ½ mi­nutes; the Arch or Bow is 33 minutes; the Corner-piece is 1 model high; the Arch is higher than a half-Circle 17 ½ minutes; the lights of the Doors is 7 models 18 minutes high: the breadth of the Lights is 3 models 26 ½ minutes: the Ornament is high 1 model 24 minutes; thereof the Architrave hath 31 ⅓ minutes; the Friese is 25 1/12 minutes; the Cornish is 37 7/12 minutes: the Pilaster under on the Column is 32 ½ minutes broad; the Architrave 31 ⅓ minutes, divided in 7 ⅔ parts; the Cornish is 37 1/12 minutes, divided in 5 23/24 parts; about the Friese is one List of ¼ part that goes off from the Friese.

XXIV.

Here is shewn the particular members of the Roman Column: On the right side you have the Pedestal and Base: the Pede­stal is 3 ¼ of the Column's height, and comes to 3 model, which divided in 8 parts, give thereof the under- Cimacium 2 parts, the neck 5 parts, the upper Cimacium 1 part, the under Cimacium 45 minutes: thereof give the Plinth 30 mi­nutes, the other 15 minutes, divided in 4 ⅙ parts; the neck of the Pedestal is high 1 ⅞ model, and the breadth is 1 model 24 minutes; the upper Cimacium is 22 ½ minutes, divided in 6 ⅘ parts; the Base is ½ model, divided in 6 parts: On the Co­lumn be two members, and are to be divided out with the aforesaid parts 3 ¾ minutes. On the left side is the Capital and Ornament; the Capital is high 1 model and ⅙, or 70 minutes, which divided in 23 ⅓ parts, to make the ground of the Capital, take 1 Square of 1 ½ model, each side of the Square draw one round Circle of 6/7 of a model, or 51 minutes, or so thick as the Column is above, and all the other jettings over the like, as be made in Corinthi; but the Scrolls are made after the Ionick manner: The Ornament is 1 model 57 mi­nutes [Page 16] and is ⅕ of the height of the Column, divided in 15 parts; thereof give the Architrave 5 parts, the Friese 4 parts; the Cornish 6 parts; the Architrave 5 parts is 39 minutes, divided into 9 parts; the Friese 31 ¼ minutes; the Cornish 46 ¾ minutes, divided in 7 11/12 and a half part, or in 7 23/24.

XXV.

Here follows the great and small Impost with his Arch and Ornament of the principal Gate of the Roman Order: On the right side is the Impost and Arch; the Impost and Arch of the small Bow standing beneath, the Impost is high 31 ⅓ minutes, divided in 11 1/12 parts; such like part hath also the Astragal; the Arch or Bow is high 28 minutes, divided in 7 ⅔ parts; the great Impost is high 55 ½ minutes, divided in 8 11/15 parts; the great Arch or Bow is high 33 ⅞ minutes, di­vided in 7⅔ parts. On the left side is the Ornament of the principal Gate, and is high 1 model 24 minutes; the Ar­chitrave is high 31 ⅓ minutes, divided in 7 ⅓ parts; the Friese is high 25 1/12 minutes; the Cornish is high 37 minutes and 7/12, divided in 5 13/24 parts; under on the Friese is one list of ¼ part and ½ minute.

XXVI. Of the CORINTHIAN Order.

IF you will make the CORINTHIAN Gallery without a Pedestal, then must you divide the whole height in 12 mo­dels, and you shall place under it one gross Base of one half mo­del high, and of the 4 Columns breadth must be 9 models; whereof the middle inter-Column must have 2 models: they that stand on the right and left side must have the inter-Column of 1 ½ model; on the middle of each Column and Pilaster must be one modillion; in the outermost inter-Column shall be 5 spa­ces, and in the middle 6; the 4 Columns have from the middle of the first to the middle of the last Column 16 spaces and mo­dillions: but if you make them of the breadth of 6 Columns, then must you divide the breadth into 14 models; and there comes on the 6 Columns between the modillions 26 spaces; and of the 8 Columns the breadth must be 19 models, and there comes on the 8 Columns 36 spaces between the modillions: the height of the Lights of the Doors is 4/7; of the flat of the Column that come under the spaces of the modillions, or in 6 parts under to the Architrave; and the Light is of 6 ⅔ models; the breadth of the Lights is 3 models and 5 minutes; the Ornament must be ⅕ of the height of the Light, and divided likewise in 15 of the like parts; give 5 to the Architrave, 4 the Friese, and 6 the Cornish; and the Architrave is 26 ⅔ minutes, the Friese 21 ⅓ minutes, the Cornish 32 minutes: So the whole Ornament is 1 model 20 minutes.

XXVII.

The small Corinthian Arch must be 4 models 8 minutes wide from one Pilaster to the other, the Pilaster is 26 minutes broad under on the Column, the Impost is 33 ⅓ minutes high, divi­ded in 7 19/24 parts: the height of the Arch or Bow is 25 minutes, divided in 9 11/12 parts; the Key-piece in the Arch is 50 minutes high; the Arch is higher than one half-Circle 16 minutes; the height from above the Impost to the under-edge off of the Base, 7 models and 20 minutes.

XXVIII.

The Corinthian Gallery with the Pedestal, the Column must be 15 ⅓ models high; and the breadth of 4 Columns II mo­dels; whereof the middle inter-Column must be 3 models; the inter-Column on the side must be 2 models: On the 4 Columns from the middle of the first, to the middle of the last cometh 20 spaces and Modillions, of 6 Columns breadth is 17 models, and hath 32 spaces between the Modillions; and of the breadth of 8 Columns is 23 models, and hath 44 spaces between the Modilli­ons: the Light of the door is 4/7 of the under-edge of the Pe­destal with his Column to the upper-edge of the Modillion, and is 8 models 32 ½ minutes high; the breadth of the Lights of the door is 3 models 59 ⅙ minutes; the Ornament must be ⅕ of the height of the Lights of the doors, and is 1 model 42 ⅖ minutes, divided into 15 parts; thereof the Architrave hath 5 parts, and the Friese 4, and the Cornish 6; and the Architrave is 34 mi­nutes, the Friese 27 minutes, the Cornish is 41 minutes.

XXIX.

If you will make the Corinthian Arch with the Pedestal, then must the distance from one Pilaster to the other be 5 models; the height from the under-edge of the Pedestal, to the upper-edge of the Impost, is 9 ½ models; the Impost is high 55 1/12 mi­nutes; the bigness of the Arch must be 1/10 of the breadth, like the foregoing Arch, and is 30 minutes; the Corner-piece 1 mo­del; the Arch is higher than one half Circle 20 minutes; the height of the Lights of the door is 8 models, and the breadth of the Lights of the door is 3 models 45 minutes, the Orna­ment is high 1 model 36 minutes; the Architrave hath 32 mi­nutes, divided in 9 ⅚ parts; the Friese is 25 ½ minutes, and hath one list of ⅕ part under the Cornish; the Cornish is 38 ½ minutes, divided in 5 ⅖ parts; the Pilaster under on the Column is 30 minutes broad.

XXX.

Here followeth the particular members of the Corinthian Column: On the right side you have the Pedestal and Base; the Pedestal is ⅓ of the heighth of the Column, and is 3 ⅓ models, which divided in ⅞ 8 parts, thereof give the under- Cimacium 2 parts, the Neck of the Pedestal 5 ⅞ parts; the upper- Cimacium 1 part, the under- Cimacium is 45 minutes; thereof give the Plinth 30 minutes, the other member is 15 minutes, divided in 4 ⅛ parts; on the Cimacium is also two members, one Torus of ¾ and one list of ⅓: of the afore­said parts, the upper- Cimacium is 22 ½ minutes, divided in 7 ⅜ parts, there under is one list of ⅜ parts goes off from the neck; the Base is one half model, divided in 6 ⅓ parts, and must go off the shaft of the Column 1/ [...] part and a ½ part: On the left side is the Ornament and the Ca­pital; the Capital is high 1 model ⅙ or 70 minutes, which divided in 23 ⅓ parts; the Astragal is 1 ⅖ of the parts of the Capital: The Ornament is ⅕ part of the Columns height, and is 2 models; this divided in 15 parts, give 5 the Architrave, [Page 20] 4 the Friese, 6 the Cornish; the Architrave is 40 minutes divi­ded in 12 1/12 parts; the Friese is 32 minutes, the Cornish is 48 minutes, divided in 7 3/120. So much it projects, and is just 7 1/ [...] parts.

XXXI.

Here followeth the great and small Impost with his Arch and Ornament of the principal Gate of the Corinthian Order: On the right side is the Impost and Arch, the Impost and Arch of the small Bow stands marked with the Letter K; the Impost is high 33 ⅓ minutes, divided in 7 19/24 parts; The small Arch or Bow is high 25 minutes, divided in 9 11/12 parts; the height of the great Impost is 55 7/12 minutes, divided in 7 13/120; the great Arch or Bow is 30 minutes, divided in 9 11/12 parts: On the left side is the Ornament of the principal Gate, and is high 1 mo­del 36 minutes; thereof the Architrave hath 32 minutes, divi­ded in 9 5/6 parts; the Friese is 25 minutes; the Cornish 38 ½ minutes, divided in 5 ⅖ parts.

XXXII.

Here is shewn how you shall lessen the Columns; the Tuscan Column is ¼ smaller above than beneath; the Dorick ⅕ the Io­nick 1/ [...]; the Roman or Composita is 1/7; the Corinthian is ⅛: which are to be divided in 12 equal parts, 3 of which must go up in a straight line in the Tuscan Column; of the Ionick 3 ½ goes up in a straight line, and the Corinthian 4 parts goes straight up; of the Dorick, and Roman or Composita, is a measure between the Tuscan and Ionick, and between the Ionick and Corinthian; the other lessenings men may easily see how they shall make them in the Figure here set down.

XXXIII.

Shews how you may make the Corinthian Base, and the upper and under- Cimacium, with his Diagonal lines for inlarging the Projecture.

XXXIV.

Sheweth how the Corinthian Ornament is to be made, as the Architrave, Friese and Cornice with his Diagonal lines for inlarging the Projecture, easie to be understood; so draw one Diagonal line after a perfect quadrate of the whole Projecture of the Cornice; and in these Diagonal lines must all the Perpendicular lines come for the mem­bers that are in the Projecture; and this outermost end must we then after this measure draw with the said Dia­gonal, so that in the crossing, you make right Angels, that the height of the drawing members be parralel near to the Diagonal.

XXXV.

This is the Ornament of the Corinthian Order of the prin­cipal Gate, and is 1 model 36 minutes high, (as before is de­clared) thereof the Architrave hath 32 minutes; the Friese 25 ½ minutes; the Cornish 38 ½ minutes; the Architrave 32 mi­nutes, divided into 9 ⅚ parts; thereof sticks farther out as the outer-edge of the Door-stile 7 ⅔ parts, or 8 ½ minutes farther for Cornishing; and let the ears of the Architrave be 17 parts long; of the fore-given parts, or 55 ½ minutes to underneath, besides all other the Cornishing of the Architraves, as you may see in the Figure; the Friese is 25 ½ minutes, divided in 7 parts for making the Voluta or Scroll, and draw one line up: the fourth part, or 14 ½ minutes frome above off right Parallels; so there remains 3 parts or 11 minutes for the standing out be­neath, and the eye of the Scroll is 1/7 part, or 3 minutes and 2/14 of [Page 22] the height of the Friese; and draw a Line perpendicular from above to the under-edge of the ear of the Architrave, and where the lines cut cross each other, here is the middle of your eye: strike out the cross 4 parts 16 ½ minutes near to the outside, and 3 ½ parts, or 12 ½ minutes to the inside, and draw your Scroll then after this manner here drawn: the Scroll or Voluta beneath is ⅕ part 5 ½ minutes smaller, as the upper-Scrol is, and is high 20 minutes, and the breadth 12 ½ minutes: divide the height in 8 parts, and draw a Parallel-line of 4 ½ parts, or 11 ¼ minutes from beneath to above, and there the Parallel-line cut cross the Perpendicular is the middle of the eye, strikes out cross 3 ½ parts, or 8 ¾ minutes to above, and 4 parts or 10 minutes to the outside; and there remains over 5 parts, or 12 ½ minutes to the inside; farther all that belongs to it may you in the Figure here plainly see; as for the breadth of the Scroll is 2 ⅝ parts of the Cornices given parts, or 19 minutes; the other members be­fore may be seen in the Figure.

XXXVI.

Here is shown two Chimney-mantils, with their Prosile.

XXXVII.

Here is shown the ground of the Building of the Lord Strozzi standing at Florence, the like is described in the Authors third Book in the seventh Chapter.

XXXVIII.

The half of the Building on the ground to be seen inwards of the Building of the Lord Strozzi.

XXXIX.

The other half with the up-rising to be seen with the foreside of the foresaid Building.

XL.

Here we have the under-side of the Cornice of all the five Co­lumns; A of the Tuscan, B of the Dorick, C the Ionick, D the Roman or Composita, E the Corinthian.

Use I. To lay down a Line, that shall represent any Number of Feet and Inches given or required.

Take the Number given laterally from the 30, or 40 Scale from the Center, and that is the Line required.

But if these Scales are too great, or too small, then take your Number of parts, and the length thereof Laterally.

As for Example; suppose I would have 3 Inches to repre­sent 30 Foot, take out 3 Inches between your Compasses, and make it a parallel in 30 and 30, and the 30 Scale is set to your desire.

Use II. To increase or diminish a Line to any Proportion.

Take the given Line between your Compasses, and make it a parallel in the parts thereof; then the parallel extent of the parts you would have it increased, or diminished to, is the Augmenta­tion, or Diminution, which was required.

Example, Let 3 Inches represent 8 Foot, and to the same pro­portion I would have 10 Foot, or 5 Foot, viz. more or less.

Take 3 Inches between your Compasses, and make it a parallel in 8, and 8 on the 30 Scale; then the parallel distance between 5 and 5, doth diminish the Line, and the parallel between 10 and 10 doth Increase the Line to the proportion required.

Use III. To divide a Line into any Number of parts or models under 30.

Take the given Line, and make it a parallel in the parts on the 30 Scale into which you would have it divided, then the parallel extent between 1 and 1 shall divide the Line accordingly.

Example, Let 4 Inches be a Line to be divided into 9 parts, take 4 Inches, (or any distance whatsoever) and make it a pa­rallel [Page 4] in 9 and 9 on the 30 Scale; then the parallel distance be­tween 1 and 1 shall divide 4 Inches into 9 parts required: Note, that for more exactness and conveniency, you may Double 9, or Triple 9, viz. 18, or 27, and then if you make the Line to be divided, a parallel in Triple the Number you must take out 3 in stead of one, and that shall divide the Line into the parts re­quired.

Example, I would have 5 Inches put into 10 parts, take 5 Inches between your Compasses, and make it a parrallel in 30, and 30 the Triple of 10, then take out parallel 3, and 3 the Triple of one: and that shall divide the Line given being 5 Inches into 10 parts or models exactly: the like for any other. And note, as the Rule stands you may take out any number of parts or models whatsoever, to that Scale.

Use IV. Any two Lines given, to find their Proportion one to another according to any other Number.

Take the Lines severally, and lay them Laterally from the Center, on the 30 or the 40 Scale, which you please; and the Numbers of Feet and Inches, to which they reach, shall shew their proportion one to another of the parts of the Line on which they are measured.

Example, I have 2 Lines, suppose one is 2 Inches long, and the other 5, or any other unknown part.

Take 2 Inches the measure of one Line, and measure it Laterally on the 30 Scale, and it gives 5 Foot ½ an Inch, then take out 5 Inches the supposed length of the other Line, and it gives Laterally 12 Foot 8 Inches; then I say one Line is 5 Foot and half an Inch, and the other is 12 Foot 8 Inches of a Scale of 30 Foot in 11 Inches 3 quarters length.

Or if you conclude on the Term or number of one Line, then make that Line a parallel in the parts thereof, then take the other Line, and carry it parallelly till it stay in like parts, on both Legs in the common Line, and that shall be the Denomination of the other Line.

Use V. Two Lines being given, to find a Third in continual Proportion to them.

Take both the Lines, and lay them laterally on both Legs, and note the Feet and Inches to which they do extend as in the last.

Then take out the lateral extent of the second Line, and make a parallel in the terms of the first Line, keeping the com­mon Line at that opening, then the parallel extent from the terms of the second Line, shall be the lateral 3d Term or Line in Proportion.

Example, Suppose I have one Line 3 Foot long, and another 5 Foot, and I would have another to bear proportion to 5, as 3 doth to 5 increasing, being in numbers thus; as 3 is to 5, so is 5 to what? Here note that 3 is the first number, and 5 the second.

The first Line laid from the Center, on the 30 Scale, extends to 7 Foot 7 Inches, and 5 Inches; the second Line gives 12 Foot 8 Inches.

Now the lateral second Line, viz. 5, or 12 Foot 8 Inches, made a parallel 7 in Foot 7 Inches, the terms of the first Line, then take out the parallel extent from 12 Foot 8 Inches (the measure of 5) and it shall give 21 Foot 1 Inch laid laterally from the Center, for a third Proportional required; which, measured on the Inches, is 8 Inches and a third, the answer required; for as 3 is in propor­tion to 5, so is 5 to 8, and a third part.

But by the Line of Numbers, having the quantity of the Lines given in Numbers, do thus:

The extent of the Compasses from the first Number 3, to the second Number 5, shall reach the same way from the second Number 5, to 8.33 the third proportional Number required.

Use VI. To divide a Line in such sort as another Line is divided.

Take the whole Line that is divided, and lay it laterally on both Legs, and fit the Line that is to be divided parallelly in the ends thereof, then lay every part of the divided Line late­rally [Page 6] in like manner, as the whole Line was laid, and the parallel extent between those parts shall divide the Line accordingly: as for Example;

Suppose I would divide a Line of 8 Inches ¼ long in such sort as the Line of Circles on the inside of the 30 Scale is divided.

Take out 8 Inches ¾, and make it a parallel in 2 and 2, the divided Line, then take out the parallel distance from 3 and 3, and that shall give the point 3 from the end of the Line you would divide, and so consequently all the rest in order, as far as you please.

Use VII. To find a mean Proportional between two Lines or Numbers.

Open the 30 Scale to a right Angle, by making lateral 21 Foot 2 Inches a parallel in 15 Foot.

Then find the Sum and half Sum, the Difference and half Dif­ference, between your two Numbers; and having the half Sum between your Compasses, set one Point to the half Difference counted laterally on one Leg; and wheresoever the other Point shall touch the common Line on the other Leg, is the mean Pro­portional required.

Example, Suppose a piece of Timber be 10 Inches one way, and 18 inches another, what is the Square equal, which is the mean Proportional between them? the sum of 10 and 18 is 28, the half sum is 14; the difference between 10 and 18 is 8, the half Difference is 4▪ Now the 30 Scale standing Square, taking 14 the half Sum between your Compasses, and then set one Point in 4 on one Leg, and turn the other Point of the Compasses to­ward the common Line, and there it shall shew 13 [...]/12 near the Square equal required.

Use VIII. To work the Rule of Three by the Line of Lines to 30 or to 3 Num­bers given to find a fourth, in Geometrical Proportion Direct.

Make the lateral second a parallel in the first, then the parallel third shall give the lateral fourth number required.

[Page 7] Example, If one Foot of Timber cost 10 d. what shall 6 Foot cost? facit 60 d.

Make Lateral 10 a Parallel in 10 counted as 1, then the Paral­lel extent between 6 and 6 shall reach to Lateral 60, the Answer required (in pence.)

Again, another Example:

If 50 Foot, or a Load of Timber cost 44 s. what shall one Foot cost?

Take the Lateral Extent from 22 the half of 44 s. and make it a Parallel in 25 the half of 50, then the Parallel distance be­tween 2 and 2 counted as 4 Foot shall give the Lateral Number of 3 s. 6 d. the price of 4 Foot, whose fourth part is 10 d. ½ the price of one Foot. Note this help is used, to avoid the nearness to the Center where the work is inconvenient.

Use IX. To measure flat Measure by the Scale of 30.

At any Inches broad to find how much in length makes a Foot.

Take Lateral 12, make it a Parallel in the breadth given, then take out Parallel 12 again, and it shall give the length of a Foot required.

Example, At 9 Inches broad, as Lateral 12, to Parallel 9, so is Parallel 12, to Lateral 16, the length required.

Use X. The breadth of a Board given in Inches, and the length in Feet, to find the Content in Feet and Inches required.

Take the Lateral Length in Feet, and make it a Parallel in 12, then the Lateral distance, between the Inches broad, shall give the Parallel Content.

Example, Of 15 Foot 3 Inches long, and 9 Inches broad.

Take Lateral 15 Foot 3 Inches, and make it a Parallel in 12, then take out Parallel 9 and 9, and it shall give Lateral 11 Foot and a half the Content.

Use XI. To measure Timber by the Line of Lines to 30.

At any Inches Square to find how much makes a Foot of Timber.

If the Piece be not Square, then by the eighth Use make it Square: Then thus;

Take the Lateral Side of the Square in Inches, make it a Pa­rallel in 12, then take out the Parallel Side of the Square, and it shall give a Lateral 4th Number.

Then take out Lateral 12, and make it a Parallel in the 4th Number, and then take out Parallel 12 again, and it shall shew the answer in Inches laid Laterally from the Center.

Example▪ At 9 Inches Square what makes a Foot?

As lat. 9. to par. 12, so is par. 9. to lat. 6. ¾: Again,

As lat. 12 to par. 4th, viz. 6 ¾, so is par. 12, to 21 Inches 1/ [...] the length to make one Foot required.

Use XII. The Inches, Square, and Length given in Feet, to find the Content in Feet and Inches.

As the Lat. Side of the Square to Parallel 12, so is the par. lenth to lat. 4th: Again,

As the Lat. 4th to parallel 12, so is the par. side of the Square to Lateral Content.

Example, at 9 Inches Square and 20 Foot long.

As lat. 9 to par. 12, so is par. 20 to lat. 15, a 4th number: Again,

As lat. 15 the 4th to par. 12; so is parallel 9 to lat. 11 ¼, the Content required.

Thus much for the General Use, being too long a Disgression from the matter mainly intended.

Use XIII. The Breadth of any Frame being given, to find the Length of the Rafter and Perpendicular by Inspection only.

In being a General received Rule, that the Length of the Raf­ters should be three-quarters the breadth of the House, (or Frame) for true pitch, and 40 the Feet in one Scale, being equal in length to 30 the Number of Feet in another Scale, and 30 being 3 quarters of 40. Therefore,

If you seek for the breadth of the House on the 40 Scale, then right against it, on the 30 Scale, is the length of the Rafter re­quired. Also if you seek the length of the Rafter on the 40 Scale, on the 30 Scale, right against it, is the height of the Perpendicu­lar required, viz. from the Raising-piece to the top of the Ga­ble end or Rafter required.

Example, If a House be 30 Foot broad, the Rafter ought to be 22 Foot 6 Inches, and the Perpendicular 16 Foot 9 Inches and a ½; for right against 30, counted on the 40 Scale, on the 30 Scale is 22—6 the Rafter, and right against 22—6 on the 40 Scale on the 30 is 16—9 ½ the Perpendicular.

1. Also by the Line of Numbers, the Extent of the Compasses, from 20 to 15, will reach the same way from the Breadth of any House to his proprotionable Rafter at true pitch.

2. And the Extent from 20 to 18, turned the same way from any Breadth of a House to his proportionable Hip-Rafter, in square Frames.

3. Also the Extent from 20 to 11 18/100 will reach the same way from the width of any House to his proportionable Perpen­dicular, at square and true pitch.

4. And the Extent from 20 to 28—28, will reach from any o­ther House Breadth to his proportional whole Diagonal Line re­quired, at square and true pitch.

5. And the Extent from 20 the breadth to 26—63 the near­est distance at that breadth, shall reach from any other breadth to his proportional nearest distance required, if it were needful. But the Angles in all Roofs great or small, if true pitch and square, are the same in all Frames.

Use XIV. The Breadth of the House and the Height of the Perpendicular being given to find the Rafters Length, the Hips Length, the Dia­gonal Line, from Corner to the King-post, and any Angle required, in square Frames. What the Perpendicular Height of the Gable end ought to be at true pitch by the last Rule you may readily see, and the better make estimate of the quantity of alteration. Which being once resolved on, then thus proceed.

First open the two 30 Scales to a Right Angle by making Lateral 21 Foot 2 Inches ½ a parallel in 15, and 15 in the brass Center-pins.

1. Then count half the Breadth of the House on one Leg, and the Length of the Perpendicular resolved on, on the other Leg, then the parallel distance between them, measured Laterally from the Center, Rafter. shall give the true Length of the Rafter required.

Hips.2. For the Hips Length count the Length of the Rafter last found on one Leg, and the half Breadth of the House on the other Leg, and take the parallel distance between, and measure it from the Center Laterally, and it shall be the true Length of the Hips required.

Diagonal.3. For the Diagonal Line, count the half Breadth of the House on both Legs, and take the parallel distance between, and measure it from the Center, and it shall be the Length of the Diagonal Line, from the Corner to the King-post.

Hips Length.4. Again for the Hips count the Diagonal Line last found on one Leg, and the Perpendicular height on the other Leg, and the parallel distance between shall be the Hips true Length measured as before from the Center.

Example. In a House of 20 Foot wide at true pitch. See Fig. 1. let ABCD represent a Frame of a House 20 Foot wide, BI the half width, BA and CD equal to BC the whole width being 2 points to draw the Diagonal Lines by. IE being equal to IB, and the half EI laid from E to G gives IG the true Length of the Rafters, and GB or GC the Length of the Hips.

Or thus, Three quarters of CB, viz. CH gives CF and BF the Rafters Length; the same extent also laid upon the mid­dle [Page 11] Line from I to G, gives CG and BG the Hips Length, IF is the Perpendicular Height, E is the Point of the Diagonal Line or King-post, perpendicularly opposite to or right under the meeting point of the 2 Hips, and the 2 Rafters when raised and set in their places.

Thus much for Illustration what to do, now for Application how to do.

The Width of the House is always given, the Length of the Rafter, or the Height of the Perpendicular is next resolved on, which in our Example being true pitch is also resolved on, either by Inspection as before, or else by operation in this manner.

1. The Breadth of the House being 20 Foot, and the Per­pendicular resolved on to be 11 Foot 2 Inches ½. To find the Rafters Length, work thus,

Open the 30 Scale to a Right Angle (by Use the seventh) count 10 the half Breadth of the House on one Leg, For the Raf­ters Length. and the Perpendicular Height 11 2 ½ on the other Leg, ( viz. both on the 30 Scale from the Center) and take the parallel distance be­tween them, (on the common Line) and measure it from the Center, and it shall give just 15 Foot the Length of the Rafter required CF.

2. But if according to the Width of any Frame, you resolve on the Rafters Length, and would have the Perpendicular Height of the Gable end, then thus:

Count the Length of the Rafter from the Center, and take the Lateral Extent thereof (being 15) between your Compas­ses, the Compasses being so set, For the Per­pendicular. set one point in 10 the half Width of the Frame, and turn the other point parallelly to the common Line, and there it shall shew 11 Foot 2 1/7 Inches, the true Height of the Perpendicular at true pitch required. IF 11 Foot 2 Inches 1/7.

3. For the Length of the Hips, Count the half Breadth of the House on one Leg, and the Rafters Length on the other Leg, and take the parallel distance between, and it shall give the true Length of the Hips required. For the Hips Length. As here, the parallel distance between 15 and 10, shall be Lateral 8, the true Length of the Hips required in a Square Frame 20 Foot wide true pitch. CG.

4. For the Diagonal Line from the Corner to the King-post. [Page 12] Count the half Width of the House, Half the Dia­gonal Line. viz. 10 Foot on both Legs, and take the Parallel extent between, and it shall reach from the Center to 14 Foot 1 Inch ⅝ being the Line CE in the Figure.

5. Otherwise for the Hips Length, Count the half Diagonal on one Leg 24 1 ⅝ and the Perpendicular 11 Foot 2 In. Inches 2 2/7 on the other Leg, Hip. and the Parallel distance between, mea­sured from the Center, will give the true Hips Length 18, viz. the Line CG.

Thus much for the Rafters and Hips in Square Frames at true pitch, the measure of whose Angles and Lengths are as fol­loweth,

Use XV. To find the Lengths and Angles of the Rafters and Hips, or Sleepers, in Bevelling Frames at any Piton.

1. For the length of the Rafter, set the 30 Scales square, then count the half length of the Bevel-end on one Leg, Rafter. (being always more there than the half breadth) and the Perpendicular resolved on, on the other Leg: Then the Parallel distance between, measured laterally, shall be the length of the Raf­ter required, and a Ruler laid to the two Points of the Com­passes to set on the 30 Scales, and a Bevel set, as before in Square Frames is shewed, shall give the Angles at head and foot required.

2. For the Hips length, count the Rafters length on one Leg and the half breadth of the Bevel-end of the House, more by half the number of Inches bevelling on the other Leg, and take the Parallel distance between, Hips. and measure it laterally from the Center, and it shall be the length of the longest Hip-Rafter. And for the shortest Hip count less than the Bevel-end, by half the number of Inches bevelling, and that shall be the short Hip required.

3. The Inches, or Feet and Inches of Bevelling being given, to and how much one corner is under, and the other over 90 Degrees (or just Square) open the 30 Scales, Angle of the Frame. and take the breadth of the House over at the nearest distance, between [Page 15] your Compasses, from the 30 Scale from the Center laterally, and make it a Parallel in 15 and 15 for 60 of the Chords.

Then take the Feet and Inches Bevelling from the same 30 Scale laterally, and carry it Parallelly till it stay in like parts; then just against it on the Degrees or Tangents are the Degrees and Minutes required, that one corner is more, and the other less than 90 Degrees.

Use XVI. To find the Rafters, Hips and Angles in Bevel and Taper Frames, being broader at one end than the other. See Fig. III.

First, when the Frame is broader at one end than the other, then the middle breadth is to be the guide for the Rafters Length, and the Perpendicular to be equal to the middle Raf­ters perpendicular on both ends; though one pair of Rafters is longer than another, and the Roof in winding thereby: Which winding may many times be remedied by some convenient artifice or other, as the ingenious Workman will soon perceive. As thus in brief:

Let ABCD represent the Frame of a House Bevelling at both ends, and broader by 2 Foot at one end than the other; as here in the Bevelling figure, being 20 Foot on one side, and 24 Foot on the other side at one Bevel-end 10 Foot 4 Inches, and at the other end 8 Foot 1 Inch ½, but at the nearest distance over, only 10 Foot and 8 Foot.

First, for your more apparent satisfaction, draw the true form of the Frame by as large a Scale as you conveniently can, with the Sides and Angles as exact as you can, as ABCD; then draw the middle Line EF quite through the length, and GH through the breadth of the Frame Perpendicular one to the other; then measure GH as suppose 9 Foot, then lay off the half of GH from H to I and K, then take out ¾ of GH, and lay it from K and I to L 6 Foot 9 Inches for a pair of middling Rafters for this Taper-House, LG being the common Perpen­dicular at the middle and both ends of the Roof, 5 Foot 0 Inch ⅝ of an Inch.

And for the principal Rafters, To find the Length of the very principal (or single) Raf­ter in a Taper Frame. or other Rafters, open the 30 Scale square, and then count the Perpendicular 50 ⅝ on one Leg, and half the distance between the Rafter-feet or half breadth of the Frame at that place on the other Leg; and the Parallel di­stance between shall be the true Length of the Rafter required.

[Page 20]Then for the Hips Length, first make AM and BM equal to AE or BE at one end, and make CN and DN equal to DF or CF, and draw the Lines MM and NN at both ends, also make Ab and Bb equal to AB, and Ca and Da equal to CD, and draw the Diagonal Lines AS and BS, and CO and DO at each end extended, and set down the measures of them.

These Lines being drawn, you have the half Diagonal Lines AS and BS, and CO and DO, and may measure them by your Scale, to find their Lengths, or set the Rule to the Angles AES and BES, find them by the 30 Scale; also you have the Bevel-ends of the Frame, and the nearest distance over from side to side of the Frame.

Use XVII. To find the Length and Angles of every Principal particular Rafter in Frames broader at one end than the other.

The Perpendicular, as before was hinted, is to be the same all over the Roof. Therefore open the Rule Square, and take from the Perpendicular on one Leg, to the half breadth of the Frame on the other Leg, measure it from the Center, and that is the Length required. For the Angles lay a Rule to the Com­pass-points, and set a Bevel, as before is shewed, and you have the Angles at the Raising-piece, (and Ridge of the House) to cut the Rafters feet by.

The same Rule serves to draw out a pair of Well-Stairs, to give Hypothenusaes, or strings, at any particular height and breadth; for the 30 Scales set Square, and the Perpendicular height counted on one Leg, and the breadth on the other Leg, the measure between is always the Hypothenusa, or string in fly­ing Stairs, as may plainly appear.

Use XVIII. To find the Length and Angles of Collar-Beams in any Roof.

Take the whole breadth of the Frame between your Com­passes, and set one point in the Length of the Rafter on one Leg, and the other point in the same place on the ether Leg: then the two Legs represent the two Principal Rafters, and a Rule laid to the Compass-points represents the Raising-piece; then at any height that you please above the Raising-piece, [Page 24] apply a Rule parallel to it, and the measure between laid from the Center, gives the length, (remembring to add wood for the Tenons) and a Bevel laid to the 30 Scale, and Rule, gives the true Angle to cut it by, (where the Timbers be square.)

Use XIX. To find the Lengths and Angles of Rafters, and Purloyns in Bevel Frames.

The Length of the Rafters is shewed before, to find it by the half breadth of the Square or Bevel-end, and the Perpendicular answerable to that Roof, (as afterwards in the Example.) And the Angle of the Foot, and outsides or backs of the Bevel-end Rafters, and the upright of the Gable end, must be to an Angle less and more than 90 degrees by the Angle at the corner of the Frame where that Rafter is to stand, being more at the sharp Angle, and less at the blunt Angle, as in Figure IV you may see; the true quantity of which Angle is thus found by the Rule.

Take the Length of the Rafter for the Bevel-end in Feet and Inches, and make it a Parallel in 15, then half the quantity of Feet and Inches Bevelling, taken from the same Scale, and car­ried parallelly till it stay in like parts, shall shew right against it in the Tangents the Degrees and Minutes required.

And this is the Angle that the blunt corner is to be laid in Legement more than a square, and the sharp Angle less than a Square or 90 Degrees, both out of Level, and out of square also, when you tumble or stripe in, the Tenons of the Purloins, the thing desired.

Example, Let AB represent the Bevel-end of a Frame, being out of Square from the Line AC 6 foot, as the Line CB sheweth; then if AC be 20 foot, AB will be 20 Foot 10 Inches. Then draw EL the middle Line of the Frame, and GM and HK, the Lines at three quarter of the breadth of the Frame, then take ED the half Bevel, and lay it from G to F, and from H to I, and draw the Lines AF and BI, for the out­side Lines of the two Bevel-end Rafters: end the two other Lines parallel to them, according to the Breadth or Scantling of your Bevel-end Rafters, as here in the figure 8 Inches broad. [Page 25] Thus the Lines AF and BI represent the two end Rafters, laid in Legement to fit in the Purloins, as for their lying out of Square from the Raising-pieces. And to the same Angle they are to be laid out at Level, that the cutting of the Purloin ends may fit the Rafter sides, when erected in their places, according as the ends F and I of the Bevel-end Rafters are, according to the Angl [...]s AFG and AFM, the one being 11 degrees and 20 minutes under, and the other 11, 20 above 90 degrees.

Also, Note that if PK and OM do represent a pair of square Rafters, at any intended distance from A, then TS and RQ will give the true Length of the Purloins fit for those places, RQ being the shortest Purloin, and TS the longest Purloin.

To find by the Rule only how long the Purloin must be on the outside more or less than the distance on the Raising-pieces, where you intend the two Square Rafter feet shall stand, do thus: set the 30 Scales to the same Angle that the Bevel-end Rafters lie out of Square, when they lie in Legement, to frame which here is to 11 degrees and 20 minutes.

Then count from the Center the quantity of Feet and Inches you intend to make the Mortise-holes from the Rafter Foot, in the Rafters, for the Tenons of your Purloins; and take from thence to the nearest distance to the other Line, and that shall shew the quantity that the one Purloin is to be longer, and the other shorter, than the distance between the Rafter-feet on the Raising pieces. Example thus:

Set the 30 Scales to the Angle GAF, then count AS the place for the Mortise-hole from A on the Rafter, and take the nearest distance from thence to the other 30 Scale that shall give SV, the quantity how much TS is shorter than AO, and how much RQ is longer than PB.

Note, that if you count 3 quarters of 20 Foot 10 Inches, being the Length of the Bevel-end, that then you will make the Rafters too long by 4 Inches and a half, as in the Figure you may see: therefore the surest way to find the Rafters Length is to set the Scales to a Square, and then to take the Parallel Extent from the Common Perpendicular, to the ½ breadth be­tween the place for the Rafter-feet on the Raising-piece: So that the Length of the Rafters for the Bevel-end at true pitch, is AF 15 Foot 3 Inches, and not AW 15-7-½, which is [Page 26] just 3 quarters of AB the Bevel-end over which the two Rafters are to stand. For then the top of the Bevel-end Rafters would be too high for the top of the Square Rafters being cut just 15 Foot, three quarters of 20 Foot the breadth of the Frame.

Use XX. The Vse of the Scales to lay down or measure out on Paper, or Board, the Members and Parts of the fine Columns, and their Or­naments, with their names and measures, digested into a Table, for the more ease and use of Workmen.

For the drawing of the fine Columns and their Ornaments is largely before treated of in the former part, by models, minutes and quarters, and considering the harmony between it and our Scales to 30, that are parted into 12 parts, so that when every Figure or Foot, on the Scales to 39 represent a model, then every Inch is 5 minutes; and for small Paper-draughts, that way of counting is near enough; but when you use it for a bigger draught, that the whole Scale of 30 may represent 3 models only: then every Figure will represent 6 minutes, and the 12 Inches be­tween are half minutes: but in very great Work, as in Tem­ples, or Castles, then the whole Foot or Scale to 30 may repre­sent half of one Model only, and then every Figure or Foot is a Minute, and every Inch or small division is the 12th part of a Minute; for I count it to be a large Column, whose Diameter at the Base (which is a Model) is above 3 Foot, and by this man­ner of computation, which is natural to most Scales, the Scales to 30 may be rendred convenient for small, or moderate, or large uses, as in the following Examples may somewhat appear.

In reading of which you must have recourse to the former Figures, whose Members are marked with 1 2 3 4 5 6 7 8 9 10, and which Figures direct you to the names in every of the Co­lumns which I found to be wanting in the former part, so that the method here used is thus:

• 1. The first Column in the Table is 1 2 3 4 5 6 7 8 9 10 11 12, &c. answerable to the Figures on the 6th Figure, in our pre­sent Example, which will streightway guide you to the meaning of the names or terms in the Table by comparing it and the figure together, whereby you may readily find every part or member, and its proper name.
• [Page 27]2. The second Column is the names of the Part or Member in the gross and particular also, as the Pedistal, the Base, the Shaft, the Capital, the Architrave, Frieze, and the Cornice, are the names in gross; the other are the names of the members in particular.
• 3. The third Column in the Table is the several measures of the particular members, in Models, Minutes, and Quarters, as in the Figures, though more easily to be seen than in the Figures, because of the straightness of the room there.
• 4. The fourth Column in the Table is the measure of every particular part and member from the Pedistal, Base or bottom, to the top of the Cornice, being useful in small draughts where the whole Pillar is exprest.
• 5. The fifth Column in the Table is the several measures of every particular member of each gross part, being useful when you draw large draughts of any Work, or part thereof.
• 6. The sixth Column in the Table is the measure of the Pro­jecture of every particular part from the middle Line of the Co­lumn (or from the smallest or most inward part of the Pillar, the rest being substracted) but I judge the middle Line to be the best Epocha to begin the account of projecture for the conveni­ency of the Compasses: and this Table of Projectures as all the rest, is to Models, Minutes, and Quarters; as by trial you may see at one view what each gross part and every particular part is.