SECTION VI. Instruments, & other things necessary for the lunch of Civil and Civil Architecture, & of a glass chajjls. Plates i. i. & 3. The most necessary instruments are the compass, the ruler, the square, the protractor, the pencil holder, the holder, or stencil, a glass chaííì 3 & brushes. As these instruments make known, we will not stop to give the figures, if not of a few, to show how they must be made to be more convenient & of better use, & finally to show what we can add to some others for the same reasons. We therefore need at least two copper compasses, one of six inches, and the other of four, both German-style, and with changing tips, one of which will be in ink, the other in holder. pencil, which will be hinged, so that the compass is much open, we can put the plumb pencil on the paper, by means of the hinge. We can put the small four-inch compass in a case, with a coulan pencil holder, four-inch, which will be eight-sided. This case will be very convenient to carry in the pocket, and much more useful than the pencil-holder which contains a compass which makes it screw, because the latter cannot have changing tips. Note% that the coulans pencil holder must enclose a stencil. We could also have a spring-loaded pencil holder, which pushes at both ends, to carry it as well in a special case; but it must be five inches long by four lines of size, so that we can put a pencil one inch long. It would still be good if it was eight-sided, one of which was the thumbs marked j, one of which was divided into lines. Aota. That the small round pit that the ori makes at the point with the ink of the compasses to encircle the ink, is an abuse, because it is impossible that the ink can hold there for a single moment, fans fall all of a sudden in the groove, and from there to the paper, where she does what is called pâté in writing; this little pit is therefore absolutely useless. The needle holder, or stitcher, to be used for several purposes, must be made up of two pieces which can be assembled with screws; one which carries the needle by one of its ends, & serves as a calquoir by the other end: with regard to the other piece, it serves to enclose the needle by one of its ends, & by the other , she wears a pencil, as is evident from the Fìg. i. Plate r. This instrument must be of copper, at least three and a half inches long, and four lines in diameter. Jiors of work, in order to be able to measure a pencil an inch in length. As for the protractor, it is more convenient to use horn than copper ”. The rules must be of a dry wood, so that it is not subject to torment. The woods that torment the least make ebony & Indian wood; but the ink which the pen communicates with the ruler, flows too furry these kinds of wood, because of their hardness, which prevents it from being attached enough to be able to hold there; so that it escapes easily, & falls on the paper, which makes us prefer the apple tree, the pear tree, the dogwood, the cormier & the wild, although these kinds of wood are more likely to be tormented. If the tree can make itself united, it would be the cleanest to make rules, because it torments less than the others; however we will use it for the big rules to make the borders of the drawings. Presently we will say that it is necessary to have four rules; the first, which is six pumice long and four lines thick at most. The second, one foot long by the same thickness & width. The third, a foot and a half long, two inches wide & four lines thick. And the fourth, two and a half feet long, the same width & thickness. It is still necessary to have a square of the same wood & the same thickness as the rulers, one side of which is at least eight inches in length; & the other six inches. Note that it is not enough that the reghs be drawn on both sides; it is still necessary that their width & thickness are well gauged; we will know its usefulness in practice. Only cabinetmakers can set the rules well. The brushes will be sizes marked by Figs. 3. & 4. PI. 1. It will be good to have a dozen of the means, marked by Fig. 3. & three or four large, as in Fig. 4. The means & the big ones, to be good & clean to wash, must make the point reasonably strong, being moistened, as it is represented by the Figures y. & 4. & not weak, as shown in Figure t. Nor should the tip be dull. The means do in. goose feather pipes & fat in cone feathers. It will be good to have irois or four penknives, because one often finds oneself in small places where one does not find ends of them, 8c For lack of a good canifon cannot cut a feather well. Those with large sleeves do better in the hand. It will still be good to have half a dozen copper tongs to hold the drawings and the paper in which the copy of the defln must be made; but these pliers must be as light as possible. In addition to these instruments, it will be appropriate to stock up on a dozen fine needles, to prick the designs that we want to copy, & two or three dozen yellow pins to make lace, for, failing that pliers, attach what you want to copy. It is also necessary to have a dozen small vases of fajance to put the colors, which are approximately two inches in diameter by nine lines of height at most, and which are of the shape marked by Figure i. Plate 3, having the right edge, & not overturned, like those where we put ointment there, for the reasons that we will know in practice. ————————————————————————— SECOND PART. SECTION I. Some definitions. I. f \ N says, make C ink from China, that is to say, rub the bread or stick of ink from China with clear water in some shell or earthenware vase; the water & the vase must be very clean, no grease or dirt. • 2. It is said that a line is well nourished, or else square, when it is well equal in all: its length, and that it is red, or quite black, even when it is large o J untied. 3. We call tint, a color as liquid as water, & whose body is transparent . parent & not opaque, so that being extended over a few strokes does not prevent it. to see them. 4. The shade in black to wash the parapets of earth in the plans which are taken with the cord, as do the plans in full, as an inch for one hundred toises, & as a line for three toises, should not be darker in copier than that of mine stone, or black pencil; that in red, to wash cut, broken, or flayed masonry, must imitate the color of pink, or cherry, which only completes, blush; in yellow, to wash mimes in projects, will match that of the shuttle flower or cabbage; & that in color of bowls, to wash the works of carpentry & joinery, will not be darker than that of the cut of oak wood, freshly felled with the coigne; & these strong shades as dark in color as we have just indicated 9 will be called whole shades. 5. And when these colors will only extinguish the whiteness of the paper, eníòrte, yet whatever the color may know, they will be called light or faint colors, which will be suitable for washing the same types of work, when they will not be cut *, broken or flayed, like all that will be facade. 6. The shade which will be higher in color than the whole, will be called strong shade, and it is of this one that we will use to draw lines. Note ^ that when this shade is too sharp, the lines do not draw clearly., Because the color being too thick, it does not run easily on the paper, this means that the line is slobbery, that is to say, is not neite. > 7. Finally, we will call halftone, which will be between the whole and the weak. 8. We say to give a shade, not to lay a shade. We say auífi pajfer a shade. 9. We say to wash a plan or a profile, & not to paint, nor even to illuminate, because the colors being more liquid than water, when we use them, it actually seems that we wash the paper , & from there comes the word of wash, to signify the use of the colors in the military & civil arcbitecture. 10. It is said that a destiny or a wash is hard, when the colors or shades are too strong or too dark in color; & conversely we say that it is tender, when it has the con tr a i re, 11. To soften a tint is to weaken or diminish the color insensibly to nothing on one side, retaining the whole force ”on the other side, as in the shadows escaped from flat superficies; or on both sides, keeping the hue melting in the middle, as well as the convex fuperficies, the shadow of which is produced by the convex body itself, as we will further imply in Section XII " II. The cut shadow is the one that is equal in all areas; & on the man a softened or fleeting shadow, when it decreases imperceptibly to nothing on one side, as on the slopes or glacis; or even on both sides, like that which is done on a column, & which is produced by the column itself; for if it were produced by another body in the column, it would not be softened, but cut, as we will see in Section XII. 13. It is said that certain things are counted in the accompaniment of a final plan, when they are too well arranged, and more than they ordinarily do in the place, like plowed land; some arranging them in a way too regular, which is consequently not natural, & the others, to avoid this regularity, embarrassenr the pieces of ground the ones in the others, in a way which is not natural either , & which makes a bad impression, as we will explain later in the article on plowed land. Section J. third part. 14. In the plan of a city, one calls canton, or rather ijle of the houses, a space isolated from the streets, which is occupied with buildings; & in the big cities, several islands together & contiguous make up what is called the district, which usually bears the name of the largest street, or that of the Parish or the most famous Church in the district. 15. We also call neighborhood in urí 1 barracks corps, tomes Jes rooms which are on the right & on the left of the staircase which communicates with these rooms. 16. The term “location of year ~ building” means all the ground that a building must occupy. ,; 17. One calls, plan in geometry, any surface to which one can apply ia rule fur all directions; but in terms of building & all other works, plan is the trace of the location of a building, which shows its distribution in all its extent; we also know 1 thickness of the walls: or plan is the Horizontal section of a building,. . i- -. . 18. We say fragment of plan :, to signify part of a plan. 19. The walls that end a building are called the building's cage. We also die an elcalíer's cage, to signify the walls which contain it. ' - .. * • xo. We call facades, the exterior surfaces which terminate a high building along its plane. These facades can be inclined to the horizon, as with the covering of terraces. This inclination is what is called talut; or they are perpendicular, as in civil buildings (a% where they are used to show their height 8c those of their parts, like doors & windows * These facades also serve to show the orders of architecture & their orneftieris, when there are < ii "Ort calls cuts the drawings which show the parts of the interior of a building or any other work; or it is the section of a building by a vertical plane: this section also serves to show the height of each floor in the buildings \ & the contour lines of these designs, both those which mark the thickness of the walls and those which finish the bankruptcies of the cornices of the building, form what is called profile. What is seen from the side is also called a profile. he. The designs which represent an elevated edifice * in its plan, which means that we always see two sides of it, are called elevations, and the perspective which these kinds of drawings are used to, is called cavalier perspective. 23. It is said that the parts of a drawing detach one from the other, when it seems that they each move away according to their degree; cé qui est leset des Ombres 8c des (a) Caf $ n coïripté póilr nothing very very little you give them, which is called fruit, which is about an inch per floor. te decreasescolor reductions given by the way. 24. In military architecture, the word place means a fortified city i & the parts of the fortification, such as bastions, half-moons, covered paths, & the like, are called works. 25. The term talut is the line that marks the distance from the base of the surface of a surface at the foot of said surface. This line must always be very unlinked. 26. The plans, the profiles, the elevations & the facades, are named in general, dejfìns. " 27. Although the slope of the top of a parapet & a glacis of a covered path about the same, we have, however, the diving of a parapet, & the glacis of a covered path. 28. To unclog a drawing, it is after having put the lines in pencil & in ink of China or carmine, pass a crumb of stale bread 3 to remove the lines of the pencil. —————————————————————————- SECTION VI. Positions for the particular card. of a place, & í / í / landscape which must be included. PI. zo. Before explaining how and in what taste we must draw the positions in the particular map of a place, it is good to say that when we have [ocr errors] not all the time it takes to raise the map of boroughs & villages with their streets, We can represent them in elevation, in the way they are in pl. 20. Then it will be more convenient to make it higher, and in the taste that we will say, the hamlets, the farmhouses, the castles, the abbeys, the priories, the chapels, the commanderies, the country houses & other than the 'there are furious paths, like little cabarets & hostels. With regard to other positions, such as windmills & water mills, lime kilns with bricks & tiles, quarries, crosses, posts & markers marking the boundaries of flnages & seigneuries, & those who teach paths, note trees & the gallows, they must always be drawn in elevation 3 in the style we will say below, & as we see it in: plate 20. For bridges, ferries, fords, locks & dikes, they cannot be represented otherwise than they are expressed & figured in the same plate 20. In addition, the names of the positions will be written very closely alongside their figures. Here is in alphabetical order all that we have to deal with in this Section, in order: to be able to find with more facility this. which we will need. Abbey. We will draw the plan as it will be, in carmine, & we will wash with half a half all that will be building, observing to put a small cross in the plan of the Church; & we will write the name & furnom near the position. But when we want to represent it in. elevation, we will draw in Indian ink a small Church with a steeple spire, at the top of which we will be a small cross with a crofle. We will wash the bell tower in blue, & the cover of the Church in red, with vermilion. ~ Note tree. We will be a little bigger than the others, observing that it appears more, and we will give it a little green-brown stroke with the brush on the side of the shadow, & a small yellow-light green stroke on the side of the day. ^ Wood ^} See the first Section. Town. We will design the carmine plan, 'as it will be, & we will fill it with a half-tone all that will be building, observing to put a small cross to the Church. But if it is in elevation, it will be represented by a Church with a steeple bell tower, a tower, and three small houses; all in the taste that it is represented, always observing to wash the bell tower in blue & the cover of the Church in red, as well as that of the houses, with vermilion. Brickyard. We will always represent it in elevation, by a small lean-to, as we see it, & we will wash its cover with vermilion. Canal, See the first SeBion. Career. One will represent it by an obscure entry, in the taste that one sees it. Chapel. We will send it in Indian ink, as it is represented, with a small cross at the tip of the pinion, & we will wash the cover with vermilion .; Castle. We will also draw it in Indian ink, as we see it, & we will wash the cover of the main building in blue, and that of the two towers in red with vermilion. Heated. lYoytz the first SeBion. Path. § I - Commandery. We will draw it in Indian ink, like the Chapels; but we will represent the cross, which we will put at the tip of the gable, as we see it, & we will wash the cover in blue, to better distinguish it from the chapel. Dike. It will be represented by two untied black lines, between which we will wash with a tint of Chinese ink when it is of earth, & by a large red lineonly when it is masonry. Dunes. We will draw and wash them like the mountains, with a fable color. Lock. We will roughly draw a simple pan carmine figure, as we see it. Pond. "\ Arrow. > See the first Seflion. Forest, j Lime Kiln. We will draw it in Indian ink as we see it, & we will fill with a strong carmine shade the opening through which we throw the wood. Gibets. We will draw them naturally as they are, observing the carmine pillars & the crosspieces in Indian ink. These patibular figures which are double, triple & quadruple, ordinarily make the highways & fur the eminences of the lands which have high, medium & low justice. Ford. It is marked by a small path punctuated in black, crossing the river. Hamlet. We will draw in carmine the plan of the houses, which we will wash with a shade of the same color. Corn if it is in elevation, it will be sent out by only three houses, which we will draw in Indian ink, and we will wash their cover with vermilion. We will always observe to arrange the three houses in the same way in the map ” Hurdles ^ '\ See the first SeHiott. Hotel. We will represent it by a small house in elevation, to which we will put a sign, all drawn in 1 ink of China, & in the taste that we see it. The cover will be washed with vermilion, & the small sign with blue. Garden * See the first Section. Island of bourgeois houses. We will bring together in the square plan all the ists of the bourgeois houses in one, like A&B, pl. 10, without marking any street, because it is not possible to go into greater detail when the scale of the map is only one inch for four cents, & we will wash this total ist of a carmine half, softening in the middle. Villa. If it is in plan, we will draw & wash it with carmine; & fi it is in elevation, we will represent a small house in pavilion, of which we will wash the cover with vermilion. Swamp. See * the first Section. Water Mill. It will be expressed by a small house with a wheel in the water, drawn in Indian ink, & the cover of the house will be washed with vermilion. Mill / Wood & stone windmills. We will draw them in Chinese ink, in the taste we see; & we will wash the cover of the stone one with the vermilion, 8t of the wooden one with the bistre, Wall or wall. Its thickness will be expressed by a single line in carmine. Fortified place. The striker of the city walls & detached works will be expressed by two lines only, one that will mark its coating> which will be carmine, íì the coating is masonry, or India ink if is only grass; & the other line will always be black & untied, to mark the inner slope: rampart. We will also mark the counterscarp with a red line íì it is masonry; or black if it is only grass: the path covered by a black line t a little stronger than that of the foot of its glacis, which must be untied. Stone bridge. We will mark it with two red lines, without washing anything. Wooden bridge. This one by two untied black lines, marking the beams across; nothing will be washed there either. Post which marks the limits of the Lordships. We will draw them in Indian ink, observing to put a small badge on top which we will fill with blue. Post with arms to indicate M paths. We will also draw them in ink cf China, as we see them, observing to put as many arms into it as there are paths to teach. Meadows. See the first feiïion. Priory * See Abbey, with the exception that instead of a stick, it will be only a half, as it was marked. Well. ~ \ River. i Stream. \ See the first Ravines, f section. Trails. I Plowed land. J Town. See Bourg, if it's in plan; but if it is in elevation, we will express it by three houses & a church, with a spire, which we will wash in blue; & the cover of the church in a tint of vermilion, as well as that of the three houses. Vines. See the first section. City. Either it is fortified or it is not, it is always better in these map forts to represent it in plan with its fortifications, if there are any, or with a simple enclosure, than one will mark with a red line, roughly according to the outline it will have, & a very untied black which will make it parallel, to mark the fotti-. See the first game » Notes for sea charts * 1 °. In the seaports we will mark by numbers, in the places where it will be necessary, the number of measuring rods or measurements of water, which remains at slap sea in the full moons of the equinoxes, 2 °. The sandbanks will be dotted 8c, washed like the other sands. 30. What will be vase will be washed in noire. 40. Rocks that never cover will be washed in red. 50. The benches of the flat rocks overhanging the sea will be chopped & washed in red. 6 °. The rocks which cover & uncover, will be expressed by a red cross. 7 ". Those who never discover there will be marked with a double cross; and since these rocks will be close to the ground, they can be aligned by a few fixed points on the ground, from where the lines which will pass through these points will form an angle whose summit will come to the place of the rock. 80. the places where you can anchor will be marked with small anchors. 90. Finally, the roads from one place to another will also be marked by two parallel lines postulated in black. SECTION I. Parts of the entire Plan, & generally everything included. as well as the surrounding landscape. In what taste &. in what detail we must express everything. Board? Warning, We have drawn this Section in alphabetical order, in order to find the things we need more easily. Arsenal. In the places with a scale of an inch or an inch & a half and a half percent, you will draw and wash with carmine the masses of the buildings, observing to leave blank all that will be court, as much as will be possible, as a, pl. 14. But when the scale is of a line for three toises at most, we can very well distinguish the arsenal from other buildings, or by marking the forges with small bellows, & the arm mills & horse with small wheels, which we will both draw in Indian ink, observing to place them in the part of buildings which suits them, which is always the furthest from the housing of the Ossiciers from the weapons room. We will distinguish aufli ee which will be shed. And finally we will represent, where we want, in plan, the roof of the weapons room, by marking the edges & the knots of the cover, (like AA pL 15), & Your will draw & wash everything, as it says art. 2, SeB. 3, zs. part. Bac. We will express it by a small black line that we will cross the river, ea giving it a curvature on the side of the water current, & by marking a stake at each end. This curved line marks the cord which leads the ferry, pl. 14. Bench. There is no need to mark it, unless 1 scale of the plan does. or at least one line for three toises 1 then we will express it by a very unlinked black line, which will mark all together are hi, not being able to enter into a greater detail, unless the scale is of a line for height . Cofferdam. In plans the scale of which is an inch or an inch & a half and a half toises, it will be expressed by two untied lines 6c parallel, which will be red if the cofferdam is of masonry & black if is only of earth; observing to put in the middle of the length of the first a small zero, to mark the small turret called lady ,, as to that which is at the flanked angle of the bastion 4, (pL 14) dontl it is customary to prevent one from slipping from one end of the cofferdam to the other; & we will wash between the two parallels & in the lady, the color that will suit, by sart. 2, Secl. 3, part 2. We will not mark the taiuts neither of the one nor the other, not being sensitive, according to this scale ^ as it is easy to see by the one who is at the flanked angle of the bastion 2, pl. 14. But when the scale is one line for three toises at most, those of masonry will be marked by three carmine lines, the middle one of which will be very loose, observing not to pass it over the lady, & we will wash them in light red. See ^ he who has a strap flanked by the bastion 4, pl. 15. With regard to those of earth, they will mark their talut, and they will be washed like parapets. See ^ celuiqui ejl with strap flanked by the baflion 1.0 / 17. Private building. In plans with a scale of an inch or an inch & í half percent fathoms, we will draw the outline in carmine, & we will wash it in a halftone, except what will be yard & garden, as much as possible, as marked b on the board. 14); otherwise we will wash the whole place, softening in the middle, distinguishing neither courtyard nor garden, like the two ists c & d, or softening fans, like those marked t. But when the scale is one line for three toises at most, we can represent j if we want, the plan of the cover, by marking the edges & the valleys, & by washing it with the color that will agree, by Vart. zSecs. 3, second part. See ^ building B. pl. ib. Barbed battery. In plans the scale of which is an inch or an inch & a half percent toises, we will mark only. menc its location by untied lines, which will be red if its covering is of masonry, or black if it is of grass, fans mark the planks of the plaretorme; but we will mark the small ramps by which the cannon is mounted, observing to put two, when the bastion is empty; as at the one at the flanked angle of the bastion z (plate I4), & only one when it is full, as at that of the bastion 4, same plate. But when the scale is of a line for three toises at most, the taluts of its covering will be marked, when it is only grass; we also maze the maciriers of the platform, which we will wash with a light wood color, as we can see at the flanked corners of the bastions z & 4, pL 15. Battery with embrasures. It is hardly possible to mark them, unless the scale is of a line at least for three toises, still this is not absolutely necessary. Berm. It is also not necessary to mark it, unless the scale of the plan is at least one line for three toises; then we will express it by a thin, well nourished black line; but it is always necessary to mark them with half-coated works, in order to distinguish them from whole coatings. See ^ the half-moons I, 3 & 5. pt * 14 & U- a. - \ Wood, or Forest. The taste must be ex thoughtful; because it happens ibuvent that there is a lot to do in accompanying a plan & in the maps; it is therefore necessary to flee from the taste which sends the most, provided that it is passable, and fuivi from good Designers; 'The one we are going to teach is fuivi from many. First I figure the trees by four or five small pen strokes each, in Indian ink, observing to put two or three together at intervals, & sometimes more, without storing them too regularly, or making them too equal, also mixing in small brushwood at intervals, sowing them lighter each in places than in others; when I run away I give my light shade of green throughout the whole extent of the wood, and when this shade is well dry, I give a little touch of dark green as each tree, on the shade side, to make it in relief, the everything in the taste marked in pl. 14. rì Bakery. When it is underground, like below a full bastion, or in the rampart of a curtain wall, you can see its shape by lines punctuated in red, according to wax. 7, Secî. z, second part; & when it is above ground, we draw the building as it is, detail it as the size of the scale allows it, & wash it like other buildings. > tsi: r .. -tu-ivimi Channel. If it is clad in masonry, the lines which will mark its cladding will be red; but if it is not coated, the lines will be black, and the bed will be washed with the color of water, like rivers; & if it is planned, we will wash its edges in yellow, softening on the land side., See ^ plate 14.. „.., .. -r - '. Caponiere. In plans whose scale is one inch or an inch & a half for a hundred fathoms, we will mark the parapet by a line only, like the one at the throat of the half moon i {pl. 14 & 15), which crosses the ditch, observing leaving a passage on the side of the counterscarp, to communicate in the ditch & in the others that of covered paths, since it is done the same. *. -. • But when the scale is one line for three toises at most, the bench must be marked there, as well as "as with other works, as we can see from the one at the throat of the half-moon 1, pl s f. Rider. It will not be necessary to mark the embrades of the batteries there, nor the taluts of its covering, except when the plan is on the scale of a line for three toises at most; which is not absolutely necessary; moreover, his parapet will be washed with an entire shade of Chinese ink, like that of other works. Heated. We will draw it in Chinese ink, and we will mark its heights there 3 provided that the scale of the plan is not less than one inch for one hundred toises; & we will wash one of its taluts with a halftone of China ink, which will be on the dark side. We will also mark the bridges where. there will be, watching to do [graphic] & we will wash its glaze as them of stone in red, & those of wood in Indian ink, marking them with planks of their floor, as much as possible, all in the taste of the road that crosses the marsh, fìg. 14. Paths. They will be marked by two lines untied & tender in Indian ink, drawn carelessly & not serme, observing to put hedges where there will be, by small scraps, in the taste of those of the landscape (pl. 14 ), without washing anything. I cannot pass over madly the bad taste of some Designers, on the subject of the paths, some marking them by two parallel lines, & giving on one side a cut shadow, which lifts them up like a roadway ", while they most often make hollow; others finally wash them in a reddish earth color; but these tastes are worth nothing, and are not natural: with regard to those who make punctuated, quite other than the one who made the plan is entitled to take them for aqueducts or underground paths, as there are crazy about the Paris Observatory. Covered path. The line marking the parapet must be a little less thick than that of the masterful line of the square; moreover, they do not wash their embankments, but only their glazes, with a halftone of Chinese ink; by imperceptibly softening anything towards their foot. Chemin des Rondest We don't wash anything there either. Graveyard. They are usually marked with small red or black crosses, to mark some of stone, and others of wood. Countercarp. See; Coating. Communication. Those which make to communicate to some redoubt or telescope which make at the foot of the glacis of the covered way, are expressed in the plans whose scale is an inch or an inch & a half and a half percent toises at most, by two black lines only for fans to enter into one, greater detail, as it is easy to see by those who communicate from the covered path to glasses 6 & 7, pl. 14. But when the scale is one line for three toises at most, it will be good to mark the crosspieces that we make there to prevent reinforcement; & the two lines that mark the communication will be hooked like the covered paths. See 7 ^ that of glasses 6 & 7, pl. 15. Guard house. In plans where Pécheile is an inch or an inch & a half for a hundred toises, we will mark it with a small rectangle drawn & washed in carmine. Vyyei that of the half-moon 3. pl. 14. [ocr errors] But when the scale is of a line "three toises at most, one can very well explain his gallery which is used to put weapons under cover during the day. See ^ celuh of the half-moon 3, pl. iî>. Dikes. Those making masonry will be drawn & washed in carmine, observing to make the line on the side of the water larger than the other, which must be untied; & those which only make earth will be refined & washed in Indian ink; but those which do not support the water until at a certain height, serving as a discharge from the canal whose water they support, always make of masonry, & paved, above which paved is maintained by a frame * which one expresses like that which support, the water from the canal passing through the redoubt 8 .. pl. 1.4. Ladder. The simplest & cleanest taste for scales; drawings. See, e% those of pl. 4. Church. See particular building. In addition, put a small cross in the place of the high altar. Fireworks. It is not absolutely necessary to do so. mark, to. unless the scale of the plan is one line for height charts at most, because they are not sensitive when 1 scale is smaller. Staircase. Nor is it necessary to mark the stairs which are made at the re-entrant angles of the counterscarp to climb on the covered path, as well as those which are at the throats of detached works to climb in the same way; unless the scale is also one line for three toises at most. Vbye ^ la pl. 15. Steep. See Coating. Ecíuje. When the scale of the plan is smaller than an inch for thirty-six canvases, the bajoyers & piles are marked with a line only in carmine, the size of that of the coverings of the works, observing to make the pointed piles at both ends, to express the front & rear spouts. See the lock which already has a strap springing from the covered path of bajlion 4, plate 14. But when the scale of the plan is one line for three toises at most, that is to say, one inch for thirty-six toises, we will mark `` thickness of the bajoyers & piles of 1 lock by two lines untied with carmine, between which we will wash with an entire shade of the same color. See the one standing on the covered path opposite the flank strap of the bajlion 4, pl. 1 5. Eìang. We will mark the edges & the heated one which supports the waters, with the ink of China, observing to mark also the slopes of this road; & if it is coated on the del side water, as it sometimes happens, whether this coating is dry stone or with mortar, we will express it like the other coatings, by a red line, & we will mark the place of the valve by two lines punctuated in across the entire width of the road; we will also observe to make by interval in 1 pond & fur fes edges some rushes & reeds, the whole irregularly, & we will wash the extent with the color of water by softening in the middle. See \ that of the., Pl. 14. Arrow. Pouf mark & ​​know the current of water from rivers & streams, we put a small arrow in their bed, or next to their edge, when this bed does not have enough width to be able to place it, which arrow you draw quite small in India ink & in the simplest taste. See the one that marks the course of the river, pl. 14 & ii>. The little dart is the tip of the arrow that you should hear walking first with the water. Fountain. If the basin of its source is of masonry, we will draw the plan in carmine, & we will fill it with water color. Fojfês. If they are full of water, they will be washed with the color of water, softening the shade towards the middle, & keeping the strength at the edges, as much as possible; & the ditches are dry, we will wash them reddish earth color. Strawberries. We do not mark them in an entire plan: we can say in passing that they are no more useful than the fifth wheel on a cart, especially when the piece is well palised at the foot & fur its berm; they therefore serve him, at most, only as an ornament. Glaze. We wash them with a halftone of Chinese ink, retaining their strength at the top, and weakening them imperceptibly to nothing near their feet. It will be observed not to wash all the faces, but only one alternately. Sentry box. They are not marked in an entire plan, except their passage, when the scale of the plan is one inch for thirty-six toises at most; but this is pretty useless. Hall. In plans the scale of which is only an inch or an inch & a half for a hundred toises, it would be necessary to wash its site with a halftone of carmine, like the other islands of the Buildings. But when the scale of the plan is one inch for thirty-six toises at most, the pillars will be marked, which we will draw and wash with carmine. See% that marked C, pl. 1 5. Hospital. See Particular building. Heights. We will draw them with a pen, or simply with a brush with Indian ink. Note that it is not easy to succeed in good taste, especially with the pen, because it is more difficult to represent them in plan, as one must always do, than in perspective. See mountain. Hurdles. We will express them by small brush, in Indian ink, over which we will give a small brush stroke with worm d. Gardens. We will draw them with a half-ink of China ink, in the style we see them (Plate 14.); & we will give a few brushstrokes with green in places, & yellow in others; all irregularly & very lightly. Note that the gardens in pl. 14, are closed by small ditches or canals that the river fills with water. The houses of middle-class houses. We will draw the outline in carmine, observing to make the lines on the side of the day untied, & those on the side of the shadows larger, as we explained in the second part, seclion zt fur-tout in the plans where the streets are a little regular; because when they are too irregular, it is more appropriate to make all the lines untied; then the extent of each island will be washed with a halftone of carmine, weakening it in the middle, like that which is marked d (pl. 14) & £> (/> /. 15); or if we like better, we will wash them together "with a light shade, like those marked