Monseigneur, since the sublime jobs that our Mighty Monarch gives you every day for the
the more important affairs of his State and the conferences that you have with the most elected people, do not prevent you from giving the architects, painters and sculptors favorable audiences, and from carrying out very worthily the Superintendence of buildings, arts and manufactures of France. These considerations, My Lord, compel me to take the liberty of presenting to you a work where I have tried to clarify what I found obscure in the authors, and to settle what seemed confused to me having for this examined the best books that have dealt with this matter, and consulted for the difficult and confusing things, excellent surveyors. It is my Lord who makes me dare to tell you, that by the care I have taken, this work contains certain and easy rules, to find the most beautiful proportions of the orders of architecture. You will also see some peculiarities practiced by the Ancients, although held so hard by the modern ones, that until now none of them has put them into use. The dignity of this matter and the new practices that I have added to it, give me the courage to offer you this treaty, and to make it public under your illustrious name, to protect it from attack, boredom and to let you know that I am with you with deep respect.
Bishop,
Pl. I
Your very humble and very obedient servant A. Bosse.
With privilege for twenty years. 1663.
Order and method of the figures shown in this volume.
It is divided into four main parts.
The first contains the orders of the columns of the architecture, then the division or distribution by rough shape of the large members that compose them and also of the menus and finally by the stopping of their plates in planes of elevations and profiles, both by the ordinary measure of the model and its parts, by that of the foot and its inches and lines, larger or smaller than that which in France is called King's foot, and some other peculiarities on this subject.
But as there are different tastes or feelings about the proportion of the large members of these orders, for some want that the part that I call through or entablature, which contains the architecture, the Frieze and the cornice, has from above the quarter of the height of its column ; and on the other the quarter, and even a little less than the quarter especially the Ionic, Corinthian and compound. I have tried to satisfy them, although I believe that the excellent architects of these beautiful orders were able, depending on the occasion, to change their measurements, since their very members were added to the large parts only to adorn them, as well as the embroidery on the clothes.
In the second part is deduced the means of effect that the ornaments, bases, supports, and balusters of the degrees or stairs of consideration, adjusting from one end to the other, and from bottom to top, on either side, without irregularity, nor corruption, jump and false encounter of number, parallelism or gauge between following their steps, rest or bearings, as much as the occasion may permit.
In the third is a practice of stopping in small or drawing on paper, and by relief model, so that wanting to make it actually build in large, it makes to the eye the effect that one proposed by the order of this small, without being forced to undo and redo the large when it is thus built.
In the fourth is the way to find exactly on the representations of geometric bodies or objects, the place of the days shadows and geometrical shadows, caused by sunlight. In addition to what is amply explained In My treatise on the lessons I gave in the Royal Academy of painting and sculpture, I had made an ample speech of the difficulties I had to hear from one end to the other several authors who dealt with these orders, sets on the misperceptions, omissions and contradictions they made of them and even in bad choices. But having judged that it would still be only repetitions, I easily removed it having content myself to follow in several things, the most esteemed, namely Palladio, Scamozzi and Vignole and especially Palladio to the reserve of some dubious opinions quoted in his first book of the chapter of abuses and other reasoning and precepts that make judge that he knew less geometry than Vignole, but in reward he had in my opinion a better taste to choose the beautiful proportion of these orders.
Those who will have the curiosity to judge the works of these authors can see them in their works or in the Treatise of parallels [parallel of ancient and modern architecture...] of Monsieur de Chambray to whom I must have said in the Fourteenth and Fifteenth chapters that until now the way of making the Oval scrolls with the Compass had not been demonstrated since this gave me the opportunity to find it, as I put it in the treaty that follows it.
And since I saw that it was not necessary to explain most of what is represented of these orders to the < e>prints that make up this volume, since the measurements of their heights and widths are put on each by numbers with some instructions, I decided to engrave with the chisel the bit of board that there is.
But since these things are made to teach practice, it is not necessary to make long narratives, and it is enough that the book let her know to the eye what will happen without doubt to many skilled in these matters, and also more easily to others by this little speech. Because the length bores most of those who practice mainly when there are meeting letters and numbers. Nevertheless, I will explain one of these orders to better hear the others. In addition to the fact that in the following treatise or the crossbars of these orders are a quarter of the height of their column, I have made a speech about it and a number of peculiarities which are not in it. I.e. pedestals, friezes, Compass tracings, Oval scroll profiles and creeping arches, and then a number of doors and other parts of buildings or buildings.
I somehow separated these two treaties for the convenience of many workers.
I put a pedestal under the column of the Tuscan order and Palladio put only a dice or base. It makes that the sleepers of this order and the Doric are a quarter of their columns and for the Ionic and Corinthian and composite of the fifth. And I, I decided to give all these sleepers the fifth, albeit to satisfy everything, if I can, I give them another quarter, content to say that when we build from these very high orders and powerful that it is necessary to give them so quarter and even a little higher, because of their decrease in the eye and fifth to the less elected, especially when they are without pedestal. When the pedestals have a height of one third of their columns, they seem to me well proportioned, that is, when their tops or tops and especially their bottoms, the complaint is much higher than those of Vignole Pl. II
In order to remove from the eye the extraordinary hailstorm of his dice without also making it so short or stocky as those of the Doric and Corinthian of Palladio, which did as I believe only on his contempt cited in his first book in the chapter of abuses, when he finds it good that the lowest members of these orders appear to depart and fall under the burden of others.
The Ancients rarely put pedestals under the columns but a number of steps or a high basement. Its top is the area, or cobblestone, of the building that turned to
the surrounding of the building which is usually in height, as well as the pedestals, one third of the columns also have its ornaments at its bottom and at its top.
The outside and inside of buildings are not built in the same way everywhere, i.e. temples, hotels and special lodges, both because of the climate and the necessity of use of the inhabitants; which often makes many take the license to change more or less What Remains of the beautiful of antiquity which must have my opinion be all in moderation fear of falling like many in ridiculous compositions and especially to change these orders when they are well straight and measured, because it would be dangerous to follow indifferently everything that is seen of it. Although very ancient, since there were at that time as bad architects, painters and sculptors as now, and even if it is to be believed Vitruvius, he introduced himself from his time into the practice of architecture of things to be built in the order of nature ; for me, I noticed in several buildings productions that had bothered me as to the buildings, so much back and forth body and interruption between following their ornaments and parallelisms in several places that serve only to ruin at the eye the great nobles and Majesties. In addition to this quantity of orders over each other because on several occasions, it seems to me that only one is more beautiful and more noble, but as sometimes one is obliged to put there, I believe that two would suffice, provided that the most material is below. And although the long use has prevailed to put the compound on the Corinthian, the compound being partly taken from the Ionic, it must pass for more material than the Corinthian.
Having also seen pieces of architecture whose pedestals, columns and sleepers, with these forward bodies, built in places where the distance was so short that the eye could only see them several times, I hold that if they had been made with little protrusion, by Pilaster and bas reliefs, as well as the fountain of the Holy Innocents of this city, they would make without comparison a more beautiful effect ; which work was beautiful jewels of architecture that would have been seen.
But to finish this speech with this board, I will briefly deal with the distribution of the large members of these orders and not the menus, because they are all amply explained to the following Stampas.
For print XIII, when it is with pedestal and the cross at height the fifth part of its column, one must divide the given height of the order into 23 equal parts and take for the pedestal, 15 for the column and the remaining for the cross. Now, this division of pedestal, column and cross, usually serves for all the other orders, it is enough only to know that if one wants to make a Tuscan, < it> must divide into 14 equal parts the height of the column that contained 15 of these 23, and one of these 14 will be the module or Fundamental foot to measure all the large and small members of the order and also the half or half diameter of the column by its bottom.
But if on this same column height one wanted to make a Doric order, it would have to be divided into 16, and for an Ionic in 18 and finally for the Corinthian and the compound in 20. So one of these 16, 18 and 20 parts will be as I said, each for its order, the fundamental module or foot to measure all the other members. I have previously divided into 30 parts, and on occasion, each in 1/2, 1/3, 1/4, and the foot in 12 inches, the inch in 12 rows and the line in 10 point, dividing first their pedestals in 3, namely low trunk and crown, their columns also in 3, namely base, barrel and marquee and their sleepers in 3 architrave, Frieze and cornice. And finally its other members menu, carrying the heights on the line that passes in the middle of the pedestal and column named its axle then the half-widths to the right and left of icelui on front lines that are perpendicular to it as it will be to the boards XIII, XIV, XV, XVI, XVII. I gave this measure of feet for these orders because all the workers, and those who want to know them, draw them, know and use it, and there is not the same of the module. And because painters and draftsmen can by this means make only one perspective scale, for all they have to do on their paintings. And, finally, to have read in the visions of the prophet Ezekiel that of his time there was to measure the buildings of the Canes consisting of 6 cubits more or less large, it made me think that
we could also make toises, of proportional feet, larger than that of King, in the same way that for designs, we make them more or less small.
With regard to the degrees or stairs of consideration, before I had any knowledge of this natural between the ensues of their balusters and supports and the regularities and symmetries of their steps, rest or steps, I was astonished to see the extraordinary errors, and the breaks between ensues mainly in places where there was no shortage of space ; as can be seen in Luxembourg, in the Cardinal Palace and in many great houses of this city, which made me believe that it could not be done otherwise. Until the late Monsieur Desargues had taught me and made known that he was the first to correct this error.
It will also be seen in this treaty if what I have understood from him, touching on the way to permanently stop the design of a building so that being built in large, it makes the effect that one may have proposed, is not a beautiful thing and well thought out. And if there is no reason to believe that the authors of these beautiful orders did not ignore it.
The planks of this treaty and the second make known, with their little explanatory discourse, What is more important to know in these matters. Following are many boards that need no explanation. Pl. III
Tuscan. We will see by this < e > print and the 4 that follow, the geometrical representation of the 5 orders of columns located for arcs that will be used after a few instructions.
Pl. IV Doric. When for these columns it is possible by length of stones to bake these joints, it is well el
better. Pl. V
Ionic. Pl. VI Corinthian. PL. VII composed. Pl. VIII
Plan or plate, profile and elevation of Tuscan, Doric and Ionic orders, with pedestal. Set their imposts and wall thickness.
For the Ionic order the thickness of its wall is represented too small. < He> must follow the figures of his plan. Pl. IX
In this print and the following are contained some geometry practices to designate the 5 orders. Pl. X
To trace the volute of the Tuscan order. Pl. XI
As in all appearances, the way of building Wood served as a model to that of stone. Pl. XII
Differences of columns to pillars and pilasters and remarks on the situations of these pilasters behind the columns. Pl. XIII
Draft-shaped Division of the heights and widths of the large members of the Tuscan and Doric orders.
PL. XIV draft-shaped Division of the heights and widths of the large members of the Ionic orders,
Corinthian and compound. Pl. XV
To close the heights, half widths and profiles of the menus members of the Tuscan order on the draft above.
PL. XVI to form the half-width Heights and profiles of the menus members of the base and chapiteau
from the Tuscan column. Set of its architrave, Frieze and cornice that make the quarter of icelle according to Palladio. Pl. XVII
To form the half-width Heights and profiles of the menu members of the pedestal of the base, barrel and marquee of the Doric order. Pl. XVIII
To form the heights, half widths and profiles of the menu members of the architrave, Frieze and cornice contained in the Doric crossbeam. Pl. XIX
To form the heights, half-widths and profiles of the menus of the marquee of the Doric order, together with its architrave, Frieze and cornice making the quarter of its column according to Palladio. Pl. XX
For the heights, half widths and profiles of the menu members or parts of the pedestal and column of the Ionic order. Pl. XXI
Evaluation of the face of the Ionic capital. Pl. XXII
The heights, half widths and profiles of the menu members of the architrave, Frieze and cornice of the Ionic order. Pl. XXIII
For the heights, half widths and profiles of the menu members of the pedestal, base and barrel of the Corinthian order. Pl. XXIV
Corinthian capital with olive leaves and half of its plan. Pl. XXV
The heights, half-widths and profiles of the menu members of the architrave, Frieze and cornice of the Corinthian order. Pl. XXVI
For the heights, half-widths and profiles of the menus members of the pedestal, base and barrel of the composite order. Pl. XXVII
Acanthus or brancursin leaf-shaped marquee and half of its plan. Pl. XXVIII
The heights, half widths and profiles of the menu members of the architrave, Frieze and cornice of the composite order. Pl. XXIX
Sketching the Doric order without pedestal to show the interval from one column to the other /
The same for the Ionic order. Pl. XXX
Roughing of a facade part of a Corinthian order temple with its pediment to see the height of icelui together the space from one column to another and that of the front of the entrance of said temple. Pl. XXXI
The heights and protrusions of the menu members or parts of the arc imposts of the Doric, Ionic, Corinthian and compound orders.
Pl. XXXII
About column orders over each other.
When we decorate the buildings with these orders and put them one on top of the other, those who thought that it was not necessary to lower the barrel of their column from above testified there
not be more educated in the precise effect of the vision than the author of the practical perspective, nor in their solid and pleasant situation and distribution by making them fake as well as at the portal of one of the famous churches of this city, rue Saint Antoine or as is represented here next by the first figure.
And, especially since there are suggestions to place them well so that their main members do not misrepresent. I'll say something about it especially when they have a pedestal. I desired of which that of the order from above, the Sharp of the trunk or die of the pedestal, bearing lead on that of the Frieze and its column from above, as in the third figure, then make that its half was the module to measure all the heights of the large and small member ; I say heights, not their half-widths or protrusions, because the I would like to do them according to the module or foot found e o, because the decrease of the large and small members of an order, is not so sensitive to the eye in width as in height.
When there is no pedestal, second figure, it would be good that the half diameter a b was the given modulus of the order which is such that e d top of the column below, and thus, according to that the most ordinary distance, to see the building, is greater, to make the plinth e f is higher. I also believe that it would be appropriate not to decrease so much from the top the column of the one below, because it would still help not so much decrease the modulus of the one below. I have noticed in friezes and architraves of some orders of the Treaty of parallels of Monsieur de Chambray], that they have more protrusion than the Sharp of the column from above, which may well have been done to facilitate what above, but the result of all this is that it is necessary, on occasions, that the architect use them with caution. And after all, I declare that these particularities with a few others would well deserve further meditation and dissension. A practitioner of these orders either in masonry or carpentry must know that being obliged to make them more or less high both outside and inside the buildings, that the eye of the beholder will not change the elevation and that thus, if he is wise, he must change the measures in proportion, because there is much difference between looking at a height of 40 or 50 feet of an elevation of eye from 4 to 5, with one of 12 or 13 of the same elevation of eye.
Finally, I believe that it is rarely necessary to put pedestals on top orders, unless they are to be falsely worn or to reduce too much the columns or pilasters, nor to put them outside the buildings exposed in the streets but in courtyards, vestibules, halls, lounges and so somewhat high bases are better suited, in my opinion.
I will say in this space, to those who want, that the decrease of the barrel of the columns begins from their birth or bottom that they do not pretend to force others to use it too, at least until they are of their opinion but, to believe like them that the rules and practices of geometry and perspective do not serve for nothing the representation of tables of stories and solids or bodies composed of lines and curved surfaces, they will not find, please, bad that they are absolutely denied and to them warn that it is going against the demonstration.
PL. XXXIII ways to draw or describe everything in one stroke as with the Compass the curved line that forms
on either side and on the other side the barrel of the columns either from their third to the bottom, or whether they are bulged by the third or by their middle. Pl. XXXIV
Art of conducting stairs with ornaments without interruption of parallelism and without unevenness.
As far as the names of each member in particular are concerned, I name the whole space or extent of the staircase of which if the shape is flat as in the grand du Louvre. I say flat core and according to the vulgar chessboard if it is curved as to that of the Tuileries. I say core at angles or sides and so other mixed, or not.
Also, if the kernel is empty as audit Luxembourg, I say kernel up to date or lantern.
What is commonly called stairs with 2, 3, 4, 6 and 8 cores, I say staircase core with 2, 3, 4, 6 and 8 pillars or pilasters. And as for the other names, they will be found in the boards.
Now, in order that the architectural ornaments of height of the core of an up-to-date staircase, follow each other in all natural regularity, without variation of parallelism along the ramps, and without the pillars of the angles, height of support and balusters being different in height, it is necessary that the line or net that rakes in each ramp, the stops of the steps between passed from one end and the other, top and bottom, the stops of the last of a half-width of step after which, it is necessary that the two nets of the two ramps that lead to the same angle of the Core go from levels meet as in the board XXXV that follows.
It should be noted that there may be such a situation constraint that one could not put on its staircase all the aforementioned regularity. But, having the place without constraint, the first thing we must do is to imagine climbing through a solid or base in glacis instead of steps, as in the board 35 figure A, in which we see that through the angles of the levels, with the creepers, pass plumb lines and, along which on either side can be pilasters or straight feet ; and in addition, parallel ornaments reigning above and below the base or solid both at levels and creepers as in figures B and C.
This presupposes that it remains only to concern equal steps notched in this base in glaze and that these platforms in levels are entrenched from above half a height of step the lines FF Figure C of the base shaving the edges of these steps, by this means the architect or mason can bake the defects of which I have spoken.
But as the plinth may be designed folding and rotating, I was forced to make the geometrical representation of its plane that encloses between its ramps and platforms the space that I call core, as in plank 37 figure D, where we can also see the profiles drawn on the faces of the walls, supposedly developed or inverted at level around said planes ; said Plank carries on itself its explanatory discourse.
If one wants to apply protruding ornaments to the void or day of the core, instead of carving them in its thickness so that the sequence and regularity if meet both on the side of the void as on the side of the steps, it is necessary to add to the width of the plane of the core the width of that of the ornaments and take the line that determines this plane on the side of the void , for rule of the situation of the steps and the terms where the ornaments must join ramp and level, as well as to the thirty-sixth board.
For a greater understanding of subtle things, see the order to be followed in practice.
Having designated the plate of the nucleus of degrees or stairs up to date with that of the ornaments to be made protruding in said day, it is necessary to take, as in this 36th plate figure first, the lines B'c, bd, ce, de, or their equals mn, al, hg, pf, for foundation and rule of situation of the steps and the conduct of the ornaments and divide them each into as many width and steps as one wants to put there and one more. Making this division by their half-widths, then leaving one towards each of its ends, mark there between games the whole steps that meet there. For example, having to put 7 steps along the MN ramp, we will say 7 steps plus one make 8 that make 16 half-widths of steps, starting from the right mn will be divided into 16 equal parts by 15 points. In addition to the two half-widths mK, on, and we will plot starting from K to 0.7 steps which are 14 of these 16 half-widths, thus, to allow in the other QR ramp, 4 steps between pf we will divide pf into 10 equal parts by 9 points between the last two pq and rf. Then, we will draw between q and r the 4 steps of two half widths each, which can be done the same between gh et al.If we want to put steps for the surplus, <it >must know that everything that is contained in the angles as a, B, M, N, E, p, g, e, f, H, D, l, is level. And that all that is outside the contents of said angles goes along its ramp both on the side of the steps and on the side of the void. However, this example is universal to those who hear it, as can be seen below, figures 2 and 3. But since their angles are not straight, to facilitate each one's intelligence, it must be considered that in figure 1 dbce is the empty or day, the chopped space is the plate or plane of the nucleus, and the surrounding Nets both inside and outside s, rh, m, are the plane of the projection of the ornaments, which appears more clearly in
figure 3, representing the angle h, E, g, to which I even added the plan of the enclosure wall m, b, D, n, with the ornaments ogl and NZ, x on the side of the steps that can also advance from above protruding on icles under the ceiling. This known, either taken from the point a, the lines a, I, b, and a, the perpendicular to ra and sa that make the angle bac, the content of which is level, and as for the distribution of the steps, the figure shows it quite clearly. The way being the same as above.
Plate 38 shows the ways to order what on according to the constraint of the places, which comes next, by the fault of the architects who do not hear this rule do not take first what makes them place.
We can only see that the Greeks have made great degrees than what we do and can do now. The cause being as I believe that their use and convenience of building did not oblige them, because the most beautiful and majestic of their buildings were outside and in their lower departments, places we call porticos, courtyards, perrons, vestibules, lounges, halls. But since we usually make very rich departments on our first floors, this forces us to make them suitable for them, being without doubt or considerable members or part of the buildings, which does not mean that we do not make other small ones to serve as landfills or discharges.
We will see on the board or <e>print figure 1, a sample of the bad effect of these stairs when the parallelism of these ornaments is interrupted that the Workers name protrusions and also when regularity is lacking.
With Privilege.
PL. XXXV representation of the massif in platform to walk above the body from which derive, are or
come the marches (figure A). Representation of the things below as completed (figure B). Representation of the squares of each part of the plinths, steps or supports and others
ornaments to be placed under it (figure C). Pl. XXVI
Plate or plane of the degree core or staircase up to date with that of the ornaments to be made protruding in said Day and the same at the bottom of an irregular. Pl. XXXVII
The second plank is the geometrical representation of the plates or planes of the folded returns of the walls of two staircases and their main members then on the side and on the other these walls by development and on them the length, width, height and placement of the steps drawn, essential things for practice.
PL. XXXVIII [Staircase Plans]
PL. XXXIX [ramps and Staircase plan]
PL. XL Perron made in the year 1653 in the large courtyard of the castle of Vizille in Dauphiné, near
Grenoble, belonging to Monseigneur the Duke of Lesdiguières. Pl. XLI
A way of geometrally stopping on paper the drawings of the buildings so that being built in large, they make the effect that was proposed.
This subject would require a larger speech for the satisfaction of each one, but since the number is small of those who have the genius to seek its end, I will be content for the present with this speech and the following 2 stamps.
We must therefore be certain that everything that is built is intended to please the eye, especially objects that have length, width, thickness or depth, must be based on optics.
I have known through several interviews, reasoning and observations the following (know) that everyone who has more or less strong sight to see far, places more or less near an object to look at it. And depending also that it is more or less large and that while it wishes to see it with a single eye without changing the head, this object naturally determines to the eye the place from which it should be seen. And although several parts of the effects of vision are demonstrated, nevertheless, it is not the same of the pleasure of objects, since often animated or not bodies are apart or variously located, what pleases one does not please another and since the beauty of these things is not yet defined, I do not pretend to define it but only advance that the one who established in the say of the scholars of the reasons somehow more plausible than others must be the best received.
For example, I believe that if one were to give height to a door only once its width or as opposed to another, three times that many will name it disproportion, that the same would be the height of the large masses of buildings according to their situations with regard to the eye, if they were extremely short or too slender or enlivened. And the like to the distribution of icelles by their plans and with respect to their elevation, being more or less tightened or expanded either to the buildings of cities or of countryside and in their exits and adjacent parts, since all these things must have between them and their total, a pleasant and judicious fit, both the supposed views horizontally and vertically and inclined to the horizon. For this reason, the elevations of the housings, pavilions and covered galleries of the large buildings must be proportionate to their lengths and to those of their squares, courtyards and gardens, lest they make to the eye the effect of the low dwellings built in the front courtyards of the country buildings.
I have noticed many times that those who had a fine eye and a clear judgment for these things first noticed at the avenues of the buildings if their large masses kept between them a beautiful and pleasant distribution and proportion. And then, entering into their courts and in their insides, both considering from outside the insides and from within the outsides, and especially to the Departments of Sir, if all their parts were agreeable.
Moreover, I still recognized in them one thing, or most did not reflect, that as the species emanating from the object in bulk stopped their eyes in the natural place to consider them with an eye, they then passed until another object was the same, according to its more or less of height and width.
And on this, it will be noticed that the capital satisfaction to the eye is to first see its object from a single eyelet, and then all its detail according to the distance proportional to the opening of the angle of this vision.
But, from all that I have said and will say on this subject, the result will be that one must have the genius and the taste for beautiful things otherwise null, since everyone must pretend to bring them only to the point of his own feelings, and not that of others. Thus, I suppose one is touched by the distinction of Things received for beautiful.
Many who build similar works in large, usually make the drawings on paper or small card models that they often examine by radiation of the eye different from those whose work they will see in kind and this is what causes that after having been done so, they make another effect to the eye that they have not thought of. Note that the 2 eyes are not so suitable for examining a design in small as only one but the big one.
Therefore, in order to permanently stop similar works on paper or in models so as to ensure that the large ones make the desired effect, it is necessary to make the figures of plates or planes of profile and geometral elevations on a scale a little sensitive, and for example of an inch for foot or more ; then examine and consider the effect of these figures by looking at each of them apart from a single eye as in bounding, and of the various possible places: first, from the front, from the side, from above, from below, from near and far, from above, from below, and generally, in any case at a distance proportional to the distance and elevation of the eye whose great, being implemented, can be seen as I said both from near and far, by approaching and retreating the said figures little by little from the eye, or the eye of icelles as much as it will be possible, carefully examining how they affect or affect the imagination or too weighty,
too small and too small, then of knowledge or not of strong differences between them form, outline and Idea, according to that of each other. And, this agreement or convenience is not tainted by making it find, and this, by decreasing, increasing, rounding, softening, flattening, discovering, hiding, ennobling, this until that on all sides, the thing returns in pleasure, and that the idea finds nothing more that pleases it.
Now, above all, I say that it is witness not to hear the beautiful construction of these works when one spends time and money there to do what will not be seen and that it is not enough to know only that reason of optics and perspective which obliges to raise on dice or bases, the orders of columns placed on others, so that the cornice of the First does not hide the bases or bottom of the pedestals.
But, as there are people who often fight what they hear only in part and say that one is not obliged to look at a building from one place, which would influence however. It would be better, in my opinion, that he made various places a mediocre pleasure than a greater one, especially when all these places are also destined to be seen, which does not destroy my proposal, and even less, the figures that follow and their speeches that will better complete the deduction of the total, bearing in mind that in that figure 4 and in plate II after the speech of the doors, there is a misrepresentation that is corrected there. Pl. XLII
Geometrical representations of plans, profiles and elevations of some of the things we just talked about.
In the first figure is the looking SI whose eye embraces the facade of a building agb of the distance Sa, double of a b, its elevation and profile, the 2 that of a door cd, and the 3 being in a courtyard ca, still looking at this facade ab and these ornaments. One 4 looks at that of the door af, and finally, both 5 and 6 in a living room, one considering these sides and the other its vault q, p, o, n, l, figure 2.
In figure 3 is in plane seen three times as the eye I for a, B, and for dc and z for a c.
In figure 4 by the lines hm, distance from the looking, m o and the slender line HC, object it is known that they oison will make the parts H2, 23, 34 and others. And the way, to increase or decrease them with certainty (which is part of what I said), because one must see that the line of level mH continues at Will and that o bc, that the opening of the angle H O C will not change and on this, it is easy to conceive that HC and these divisions being assumed the natural and the small to lead Ic and Ul closer to the eye that they will be the profiles in small view under the same angle and visual radiation, and that their distance and elevation eye will be proportionate to the large HC. The use of this figure 4 is explained in plate H preceding that of the doors.
But to return to our subject, I will say right that depending on the situation of the buildings, the distances are determined and that without constraint, that of double their height and sounding their width, is the most natural, especially to see the effect of their large limbs and thus, by bringing in proportion of the more or less large, however, because of this constraint, it seems to me that the shortest should not be only of their same height or width; distinguishing in some way the large walls or enclosures or it would take extraordinary and all to see little. Now, of these distances, the main and most considerable are, first figure, the 2 for the cd door, the 3 for ab, of which we can see the mass of the building and most of its detail, which must let us know that to the buildings, these large numbers of front bodies or rear bodies frequent there and so often repeated are only unnecessary expense and wasted time because besides their sides or flanks are rarely seen, they hide from sight a part of the work and take away its noble and powerful Your Majesty.
Therefore, that the plane figure 3 and the elevation ab first figure being now assumed to be the drawing, it is necessary that the eye I raised from 4 to 5 feet from the ground floor to the level sca m (know of those that the scale of the drawing) approaches and retreats little by little from the object ab, that 2 of cd and 3 of said ab and so other possible. For, for that of the vault q o l of the living room, figure 2, it can hardly be
examined only from one place and a little from the side and the other from the Point s, his station, thus the eye being thin, he will recognize in the space of these recedes, which will make him a good or bad effect to the eye. However, it should be noted that this retreat should be heard only from the place where the Looking can still see within the object, as from half Ia, 2C, 3A, 4a and c.
Pl. XLIII [Church portal project by Desargues]
PL. XLIV to find on the geometric bodies the geometrical squares of their days shadows and shadows.