Part 11

_Respondeo, objectionem hanc dupliciter intelligi posse: vel enim intelligi posset, non esse assignandum unicum punctum toti illi spatio; atque in hoc sensu vera est; cum enim spatium illud valde oblongum sit, dividi debuit in partes, atque assignanda tribunæ, quam dicunt, tholo, & fornici, propria puncta; cum hoc communiter doceant, ubi situs nimium est longus, & parùm altus. Vel potest intelligi de qualibet ex dictis partibus, & sic intellecta penitùs falsa est. Primò, quia præstantiores fornices aularum, & templorum, qui optico artificio ornati sint, si unicum opus reddunt, à suismet authoribus determinatum idemque unicum punctum accepisse compertum est. Secundò, quia cum ars optica sit mera veri fictio, non id pictor facere potest, ut à qualibet parte simulet veritatem, verùm ab uno determinato puncto id ostendit. Tertiò, quia si, ~e. g.~ fornici, qui uno integroque optico opere ornetur, plura puncta assignaveris, nullum reperies locum, unde integrum opus spectare possis, & ad summum ex quolibet puncto tantùm partem illius spectabis, nusquam verò totum opus. Ex dictis igitur rationibus concludo ab inducentibus plura puncta in eodem opere induci malum majus eo, quod unicum punctum inducit; quare hoc omnino necessarium est situi in quo unicum opus formandum sit, ad quod collimare debeant ex omni operis parte figuræ simul & architectura. Quo posito, negari rationabiliter nequit, à me etiam concedi unicum punctum spectando fornici amplo, aptoque ad repræsentandum unicum opus, qualis est fornix in D. Ignatii templo. Si verò propter situm irregularem, ut dicimus, architectura extra punctum aliquantulum deformetur, & figuræ pariter operi optico intermixtæ extra commune punctum aliquam patientur deformitatem, præterquam quod à supradictis rationibus excusatur, nequaquam id vitio arti est, sed laudi; quandoquidem ars à suo puncto exhibet, proportione positâ, ut rectum, ut planum, ut concavum, id quod tale non est._

An Answer to the Objection made about the Point of Sight in Perspective.

_Every one does not approve, that in a Perspective of great Extent one Point of Sight only should be assign’d the whole Work; as for Example, In the whole Length of the Nave, Cupola, and Tribune, express’d in the Ninety-third Figure, they will by no means allow of one single Point, but insist upon several._

I answer, This Objection may be understood two ways; either that one Point alone is not sufficient for that whole Length, and in this sense ’tis true; for that Space being very long, it ought to be divided into Parts, and proper Points assign’d to the Tribune, Cupola, and Vault of the Nave; as is commonly taught, where the Situation is of a great Length, and not very high. Or it may be understood of any One of the said Parts, and so is altogether false. _First_, Because in the Vaults of Halls or Churches painted by the greatest Masters, if they consist of one Piece only, we find but one Point of Sight assign’d. _Secondly_, Since Perspective is but a Counterfeiting of the Truth, the Painter is not oblig’d to make it appear real when seen from _Any_ part, but from _One_ determinate Point only. _Thirdly_, Because, if in a Vault, for Example, where you would paint one entire Design of Architecture and Figures, you assign several Points of Sight, you will find no place whence you may take a perfect View of the Whole, and at best you can only view each Part from its proper Point. From all which Reasons I conclude, that the Introduction of many Points into the same Piece, is more injurious to the Work, than making use of one only: Wherefore ’tis absolutely necessary in a regular Situation, and where the Work is all of a piece, so to place the same, as that the Figures and Architecture may from every part of the Design have respect thereto. This suppos’d, I confess that I myself make use of one Point of Sight only, in very large Vaults that consist of one Design, such as that of the Nave of the Church of S. _Ignatius_. If therefore through the Irregularity of the Place, the Architecture appear with some Deformity, and the Figures intermix’d therewith seem any thing lame and imperfect when view’d out of the proper Point, besides the Reasons just now given, it’s so far from being a Fault, that I look upon it as an Excellency in the Work, that when view’d from the Point determin’d, it appear, with due Proportion, streight, flat, or concave; when in reality it is not so.

INDEX.

FIG.

_INSTRUMENTA paranda_, UTENSILS for Drawing.

_Explicatio linearum plani I. Explication of the Lines of & horizontis, ac punctorum the Plan and Horizon, and of oculi & distantiæ_, the Points of the Eye and of the Distance.

_Modus delineandi opticè II. The Manner of delineating a quadratum_, Square in Perspective.

_Optica delineatio III. The Delineation of an oblong rectanguli, alterâ parte Square in Perspective. longioris_,

_Optica descriptio quadrati IV. The Optical Delineation of a duplicis_, double Square.

_Vestigia quadratorum cum V. Plans of Squares with their elevationibus_, Elevations.

_Modus opticæ delineationis VI. The Manner of designing in absque lineis occultis_, Perspective without occult Lines.

_Aliud exemplum vestigii VII. Another Example of a geometrici, cum elevatione Geometrical Plan and Upright longitudinis_, put into Perspective.

_Optica projectio stylobatæ_, VIII. The Projection of a Pedestal in Perspective.

_Optica delineatio IX. The Architecture of _Vignola_ Architecturæ Jacobi in Perspective, and first of Barozzii, & primum de his Pedestal of the _Tuscan_ stylobata Ordinis Etrusci_, Order.

_Optica deformatio stylobatæ X. A _Dorick_ Pedestal in Dorici; ubi de modo vitandi Perspective, with the Manner confusionem in vestigiis of avoiding Confusion in delineandis_, designing the Plans.

_Stylobatæ Ionici XI. The _Ionick_ Pedestal in deformatio; ubi de vitanda Perspective, with the Manner confusione in elevationibus_, of avoiding Confusion in Elevations.

_Deformatio stylobatæ XII. The _Corinthian_ Pedestal, with Corinthii, cum duabus pilis_, its Pilasters, in Perspective.

_Projectio stylobatæ Ordinis XIII. The Projection of a Pedestal Compositi_, of the _Composite_ Order.

_Deformatio circulorum_, XIV. Circles in Perspective.

_Optica delineatio columnæ_, XV. A Column in Perspective.

_Optica projectio basis XVI. The _Tuscan_ Base in Etruscæ_, Perspective.

_Deformatio basis Doricæ_, XVII. The _Dorick_ Base in Perspective.

_Optica delineatio basis XVIII. The _Ionick_ Base in Ionicæ_, Perspective.

_Optica imminutio basis XIX. The _Corinthian_ Base Corinthiæ_, in Perspective.

_Basis Atticurga opticè XX. The _Attick_ Base in imminuta_, Perspective.

_Optica imminutio capitelli XXI. The _Tuscan_ Capital in Etrusci_, Perspective.

_Optica projectio capitelli XXII. The Projection of a Dorici_, _Dorick_ Capital in Perspective.

_Deformatio capitelli XXIII. The _Ionick_ Capital in Ionici_, Perspective.

_Optica projectio capitelli XXIV. The _Corinthian_ Capital in Corinthii_, Perspective.

_Optica descriptio capitelli XXV. The _Composite_ Capital in Compositi_, Perspective.

_Deformatio coronicis XXVI. The _Tuscan_ Entablature Etruscæ_, in Perspective.

_Optica delineatio coronicis XXVII. The _Dorick_ Entablature Doricæ_, in Perspective.

_Præparatio figuræ XXVIII. Preparatory to the following sequentis_, Figure.

_Optica projectio ædificii XXIX. A Projection of the _Dorick_ Dorici_, Order in Perspective.

_Optica projectio ædificii XXX. An _Ionick_ Work in Ionici; ubi de modo jungendi Perspective, with the Manner fictum cum vero_, of reconciling the fictitious to the solid Architecture.

_Optica projectio coronicis XXXI. The Optick Projection of a Corinthiæ, cum capitello & _Corinthian_ Cornice, with the summitate columnæ_, Capital and part of the Column.

_Delineatio geometrica XXXII. The Geometrical Design of a coronicis Ordinis Compositi_, Cornice of the _Composite_ Order.

_Deformatio coronicis XXXIII. A _Composite_ Cornice in Compositæ_, Perspective.

_Præparatio ad figuram XXXIV. Preparatory to the trigesimamquintam_, Thirty-fifth.

_Deformatio coronicis XXXV. A Side-View of the Compositæ ad latus inspectæ_, _Composite_ Cornice in Perspective.

_Præparatio ad figuram XXXVI. Preparatory to the trigesimamseptimam_, Thirty-seventh.

_Deformatio columnæ Etruscæ_, XXXVII. A _Tuscan_ Column in Perspective.

_Præparatio ad figuram XXXVIII. Preparatory to the trigesimamnonam_, Thirty-ninth.

_Deformatio ædificii Dorici_, XXXIX. A Piece of _Dorick_ Architecture in Perspective.

_Vestigium geometricum XL. The Geometrical Plan of a ædificii Ordinis Dorici_, Design of the _Dorick_ Order.

_Elevatio geometrica XLI. The Geometrical Elevation of ædificii Dorici_, the foregoing Design.

_Modus vitandi confusionem XLII. The Manner of avoiding in contractione vestigiorum Confusion in reducing Plans & elevationum_, and Elevations into Perspective.

_Contractio vestigii figuræ XLIII. The Plan of the Fortieth quadragesimæ_, Figure in Perspective.

_Contractio elevationis XLIV. The Elevation of the figuræ quadragesimæprimæ_, Forty-first Figure in Perspective.

_Dimidium ædificii Dorici XLV. One half of the _Dorick_ opticè deformati_, Design in Perspective.

_Alterum dimidium ejusdem XLVI. The other half of the ædificii_, same Design.

_Vestigia ædificii Ionici_, XLVII. The Plan of an _Ionick_ Building.

_Elevatio geometrica XLVIII. Geometrical Upright of the ædificii Ionici_, foregoing _Ionick_ Design.

_Deformatio elevationis XLIX. The Elevation of the _Ionick_ ædificii Ionici_, Design in Perspective.

_Architectura Ionica_, L. A Design of _Ionick_ Architecture.

_Ordo Corinthius_, LI. A _Corinthian_ Design in Perspective.

_Delineatio columnæ spiralis LII. The Description of a Ordinis Compositi_, wreath’d Column of the _Composite_ Order.

_Ordines Architecturæ LIII. A. The Orders of Architecture desumpti ex Palladio & taken from _Palladio_ and Scamozzio_, _Scamozzi_.

_Modus triplex delineandi LIII. B. Three different ways of columnas spirales_, delineating wreath’d Columns.

_Vestigia ædificii Ordinis LIV. The Plan of a Design of the Corinthii_, _Corinthian_ Order.

_Elevatio ædificii Ordinis LV. The Geometrical Elevation Corinthii_, of a _Corinthian_ Work.

_Deformatio vestigiorum LVI. The Perspective-Plans and & elevationis ædificii Upright of the _Corinthian_ Corinthii_, Design foregoing.

_Adumbratio figuræ LVII. The rough Draught of the sequentis_, following Figure.

_Ædificium Ordinis Corinthii LVIII. Part of an Octangular Work octangulare_, of the _Corinthian_ Order.

_Vestigia Tabernaculi LIX. The Plans of an Octangular octangularis_, Tabernacle.

_Tabernaculum octangulare_, LX. An Octangular Tabernacle in Perspective.

_Modus erigendi machinas quæ LXI. The Manner of erecting constant pluribus ordinibus Machines that consist of telariorum_, several Ranges of Frames.

_De reticulandis telariis, LXII. Of making the Net-work on quæ repræsentent ædificia Frames, for representing solida_, the Architecture as solid.

_Vestigia ædificii quadrati_, LXIII. The Plan of a square Design.

_Ædificium quadratum_, LXIV. A square Design in Perspective.

_Vestigium ædificii rotundi LXV. The Plan of a Circular Work opticè imminutum_, in Perspective.

_Projectio ædificii rotundi_, LXVI. A Circular Design in Perspective.

_Vestigium geometricum, ac LXVII. The Geometrical Plan, and prima præparatio ad figuram first Preparation to the septuagesimamprimam_, Seventy-first Figure.

_Elevatio geometrica LXVIII. The Geometrical Elevation of vestigii præcedentis, & the foregoing Plan, and secunda præparatio ad second Preparation to the figuram septuagesimamprimam_, Seventy-first Figure.

_Deformatio vestigii figuræ LXIX. The Plan of the Sixty-seventh sexagesimæseptimæ, & Figure in Perspective, and præparatio tertia ad figuram third Preparation to the septuagesimamprimam_, Seventy-first Figure.

_Deformatio elevationis LXX. The Perspective of the figuræ sexagesimæoctavæ, & Elevation of the Sixty-eighth præparatio quarta ad figuram Figure, and fourth Preparation septuagesimamprimam_, to the Seventy-first.

_Theatrum repræsentans LXXI. A Theater representing the nuptias Canæ Galilææ, Marriage of _Cana_ in constructum Romæ anno _Galilee_, erected in the 1685, in expositione Ven. Jesuits Church at _Rome_, Sacramenti, in templo 1685, for the Solemnity of Farnesiano Societatis Jesu_, exposing the Holy Sacrament.

_De theatris scenicis_, LXXII. Of Scenes for the Stage.

_Aliud vestigium theatri; LXXIII. Another Plan of a Theater, ubi de modo inveniendi ejus with the Method of finding punctum_, the Point of Sight therein.

_Sectio scenarum theatri_, LXXIV. The Section or Profile of Scenes for Theaters.

_Elevatio scenarum coram LXXV. The Elevation of Scenes in inspectarum; ubi docetur Front, and how the oblique artificium, ut scenæ obliquæ Scenes are made to appear appareant rectæ_, direct.

_Modus delineandi exemplar LXXVI. The Manner of delineating scenarum_, the Designs of Scenes.

_Modus reticulandi & LXXVII. The Manner of making the pingendi scenas theatri_, Net-work or Squares, and painting the Scenes of Theaters.

_De projectionibus LXXVIII. Of horizontal Projections. horizontalibus_,

_Projectiones vestigii & LXXIX. The Plan and Elevation of elevationis mutuli_, a Corbel in Perspective.

_Horizontalis projectio LXXX. The horizontal Projection mutuli inumbrati_, of a shaded Corbel.

_Stylobatæ Corinthii LXXXI. _Corinthian_ Pedestals in horizontaliter contracti_, an horizontal Perspective.

_Columna Corinthia LXXXII. A _Corinthian_ Column in horizontaliter deformata_, horizontal Perspective.

_Capitella Corinthia LXXXIII. A _Corinthian_ Capital in horizontaliter contracta_, horizontal Perspective.

_Coronix Corinthia_, LXXXIV. A _Corinthian_ Cornice.

_Coronix Corinthia LXXXV. A _Corinthian_ Cornice in horizontaliter contracta_, horizontal Perspective.

_Horizontalis projectio LXXXVI. A Column in horizontal columnæ_, Perspective.

_Præparatio necessaria ad LXXXVII. The Preparation necessary to sequentem figuram, & ad the following Figure, and to projectiones horizontales all other horizontal in laquearibus vel Perspectives, whether on flat testudinibus_, or vaulted Ceilings.

_Horizontalis projectio LXXXVIII. The horizontal Projection balustiorum figuræ of the Balustrade of the octogesimæseptimæ, cum Eighty-seventh Figure, view’d brevi distantia_, at a small Distance.

_Horizontalis projectio LXXXIX. A horizontal Piece of Architecturæ in laqueari Architecture in a square quadrato_, Ceiling.

_Horizontalis projectio XC. A Cupola in horizontal tholi_, Perspective.

_Tholus figuræ nonagesimæ, XCI. The Cupola of Fig. 90, with cum luminibus & umbris_, its Lights and Shades.

_Tholus octangularis_, XCII. An Octangular Cupola.

_Vestigium templi XCIII. The Geometrical Plan of S. Ludovisiani S. Ignatii _Ignatius_’s Church at _Rome_. almæ urbis_,

_Orthographia templi XCIV. The Orthography of S. Ludovisiani_, _Ignatius_’s Church.

_Aliæ præparationes ad XCV. Other Preparations to figuras 98 & 99_, the 98th and 99th Figures.

_Aliæ præparationes ad XCVI. Other Preparations to figuras 98 & 99_, the 98th and 99th Figures.

_Alia præparatio ad figuras XCVII. Another Preparation to the 98 & 99_, 98th and 99th Figures.

_Quadrans Architecturæ XCVIII. Fourth-part of the horizontalis in fornice, Architectonical Design on the cum luminibus & umbris_, Vault of S. _Ignatius_’s Church, with its Lights and Shades.

_Alter quadrans totius XCIX. Another Quarter of the operis_, whole Design.

_Modus reticulationis C. The Method of drawing the faciendæ in testudinibus_, Net-work on Vaults.

_FINIS._

SUBSCRIBERS.

A

His Grace the DUKE of S^{T}. ALBANS. _M^{r}. Tho. Acres._ _Capt. Matthew Adams._ _Hen. Aldrich, DD. DC.C._ _M^{r}. Joseph Alleine Writing M^{r}._ _M^{r}. W^{m}. Allingham, Teacher of Mathemat. Chan̄el-Row-Westm^{r}._ _James Anderson, Writer to Her Ma^{tys} Signet, Reg. Scot._ _M^{r}. Robert Andrews, Letter-Founder._ _Tho. Atkinson, Gent._ _J. Aislabie, Esq^{r}._

B

_M^{r}. R. Baker, Teacher of Mathemat._ _M^{r}. Henry Bankes._ _M^{r}. Matthew Bankes._ _M^{r}. John Barnes, Bookseller._ _M^{r}. Chr. Bateman, Bookseller._ _Allen Bathurst, Esqꝫ._ _M^{r}. Benj. Beardwell, Printer._ His Grace the DUKE of BEAUFORT. The Hon^{ble}. the Lady Mary Bertie. _M^{r}. Philip Bishop, Bookseller, Exon._ _M^{r}. Sam^{l}. du Bois._ _Jo^{n}. Bridgeman, Esqꝫ of Blodwell Salop._ _James Broughton, of Westm^{r}. Gent._ _M^{r}. Jo^{n}. Buckler, for the Mathemat. Soc. Jones Coffee-house Finch-lane._ _M^{r}. W^{m}. Butcher, Carpenter, Richmond._ _M^{r}. Jo^{n}. Brown, Cl. of the Works at Winds^{r}._ _Ferd. Buss, Carp^{r}._

C

_M^{r}. Chr. Cass._ _John Churchill, Esqꝫ, M^{r}. Carpenter, to Her MA^{TY}._ _M^{r}. Rob^{t}. Churchill, Mason._ _M^{r}. Tho. Churchill Bricklayer Westm._ _Edw^{d}. Coke, Esqꝫ._ _M^{r}. Collins Mason._ The R^{t}. Hon^{ble}. The L^{D} CONINGSBY. _M^{r}. Rich^{d}. Conyers._ _His Excell. Fr. Cornaro, Venetian Amb._ _Will. Cowper, Surgeon._ _John Crauford, Esqꝫ._ _Tho. Curtis, Joyner._

D

The R^{t}. Hon^{ble}. The EARL of DENBIGH. _M^{r}. Charles Delafaye._ _Edmund Dummer, Esqꝫ._ _M^{r}. John Dowling, Painter._

E

_M^{r}. Talbot Edwards, Engineer to Her MA^{TY}._ _M^{r}. John Ellis, Com. Brazen-Nose-Coll. Oxon._ _M^{r}. Emmet._ _M^{r}. Robert Inglish, Compt^{ll}. of Her MA^{TIES}. Royal Hosp^{l}. at Chelsea._ The R^{t}. Hon^{ble}. The EARL of ESSEX. _M^{r}. John Ettie, of York._ _M^{r}. Rich^{d}. Evans._

F

_M^{r}. John Farlow, Painter._ _Matthew Foxall, Gent._

G

_John Gape, Esqꝫ, S^{t}. Albans._ _Sam^{l}. Gee, Gent._ His Excell. S^{nr}. Jacob Giraldi K^{t}. Envoy from the Gr. D. of Toscany. _M^{r}. Tho. Gittins Bookseller Shrewsbury._ _Capt. John Goodwyn._ _M^{r}. John Gough, Agent._ _W^{m}. le Grand, Esqꝫ._ _M^{r}. Rich^{d}. Gregory, Carpenter._ _M^{r}. Jam. Grove, M^{r}. Carpenter._ _M^{r}. John Grove, Her MA^{ties}. Plaisterer._ _Rich^{d}. Graham, Esqꝫ._

H

_M^{r}. Charles Hale, Plomber._ _S^{r}. Tho. Hanmer, Bar^{t}._ _John Harris, D.D._ _M^{r}. Tho. Harris, Plate Polisher._ _M^{r}. N. Hawksmoor, Cl. of Her MA^{TIES} Works._ _M^{r}. Jacob Henckell._ _John Henley, Esqꝫ._ _M^{r}. Rob^{t}. Hester._ _M^{r}. Tho: Hill._ _M^{r}. Tho: Highmore, Serjeant-Painter._ _M^{r}. Cha. Hopson, M^{r}. Joyner._ _S^{r}. James How, K^{t}._ _Mathew Humberston, Esqꝫ._ _S^{r}. George Hungerford, K^{t}. Cadnum Wilts._ _Sam. Horn, Painter._

I

_M^{r}. John James, of Greenwich._ _M^{r}. R. Janeway, Printer._ _M^{r}. John Johnson._ _M^{r}. Hen. Jones._

K

_M^{r}. Rob^{t}. Knaplock, Bookseller._

L

_M^{r}. Bernard Lens Painter, Drawing-M^{r}. to Christs-Hospitall._ _M^{r}. Bernard Lens_, } Painters. _M^{r}. Edw^{d}. Lens_, }

M

_M^{r}. Sam. Marriot, Jun^{r}._ _M^{r}. John Mist, of S^{t}. Ann Westm^{r}._ _M^{r}. Benj. Motte, Printer._ _M^{r}. James Moore._ _M^{r}. Rob^{t}. More, Writing-M^{r}._ _M^{r}. George Moult, Chymist._ _Jos. Moyle, Esqꝫ._

N