DE S

266

DET

ings perfectly clear to any person of common capacity, how-ever ignorant he may be of architecture.

To begin with the plan .—This may be described as themap of the building. By its means we distinguish mostclearly the exact shape and extent ot the structure as regardsthe space on which it stands ; the thickness of the walls, theinternal arrangement of all the rooms and passages ; and thesituation and width of doors, windows, fireplaces, stair-cases, &c. The raised and solid parts, such as walls, columns,piers, &c., are shaded; the voids and apertures, such as doors,windows, &c., are left white. For every story of a buildingthere should be a separate plan, although it is not usual, inbooks of designs, to give more than those of the ground-floor,and the principal one above it.

Next to the plan we may describe the Elevation. This maybe defined as a vertical plan; it shows the front, or oneexternal face of the building, and gives the precise formsand measurements of every part, drawn to scale. It must be ob-served, that the particular in which an elevation differs fromother drawings, and from the appearance of the objects them-selves, is, that no distinction is made between curved hori-zontal lines and straight ones; so that, whether the part bea plane or a curved surface, can be understood only from theshadowing, unless there happens to be something that assistsin denoting curvature of plan. Thus, the mouldings of thebase of a column are all straight lines ; consequently, with-out shadow to express rotundity, we could not determinewhether they belonged to a flat or a round surface, unless theshaft be fluted, in which case the flutes will diminish in width,according to their distance from the centre.

Elevations have sometimes given to them something of apictorial character, by colouring as well as by shadowing,and-not unfrequently by the addition of sky and background.It would be better, perhaps, were such accompaniment re-stricted to what may be just sufficient to relieve the building,instead of being extended over the whole picture, and care-fully worked up ; because such additions to the usual plainarchitectural drawing are calculated to give a formal andstiff appearance to the drawing, offensive to good taste andsimplicity. In modern architectural publications, especiallyforeign ones , outline elevations are now generally given; theseare preferable to those which are shadowed, as they exhibitall the forms more distinctly, and admit of being measuredwith much greater exactness.

We next proceed to describe the Section. A section is theprojection or geometrical representation of a building sup-posed to be cut by a vertical plane, for the purpose of exhi-biting the interior, and describing the height, breadth, thick-ness, and manner of construction of the walls, &c. By thesection we are made acquainted with a variety of particulars,in regard to which a plan cannot be made to afford any infor-mation. It shows us the thickness of the walls and floors, theheights of the rooms, the forms and profiles of ceilings, whe-ther flat, coved, or arched, also the exact forms of domes andskylights. It shows the heights of the doors, how they arepanelled and decorated, the form of the chimney-pieces, &c.,and, in some instances, furniture and fittings-up are advan-tageously introduced, with a view to judge of effect. Fordetailed and filled-up sections, it is usual to employ outlinewith the walls and floors shaded, the former as more solid,being made darker than the latter. When, on the otherhand, the elevations of the rooms themselves are shadowed,the thickness of the intersected walls, &e., are left white, inorder to prevent confusion, and exhibit the profiles better.

Indispensable and interesting, however, as they are, sec-tions are a far more conventional mode of drawing than ele-vations, because they represent a building as it never can be

_ t fl ken

seen, except where the front of a house has been ^ ^

tio»'

ildi"?

for the purpose of rebuilding it, while the floors and P^ ta in 8walls are left standing; in which case any one may ju p pr ’good idea of the nature of a section, but of one sespective. _ f a b«‘

Besides general sections showing the whole 01 *from top to bottom, there are frequently partial ° n ’ ylie 11ing only the rooms on one floor, or even a single r° a ’j a rg efit is desired to show any particular apartment onscale than could conveniently be done any other 0 f h 8times recourse is had to a plan of the room with ? a jjy vvl J * c .sides drawn around it, as if laid flat on the grounmeans the whole of the apartment is described. ^ ca n j>sections also are given, to show more accurately t 1 ^ jt^

done on a plan, the soffits of entablatures, the cei ^ ca piornaments, the window recesses, and door-cases, atals of columns and projection. . n3) ^ t

Besides the usual plans, elevations, and sec i ^ gS peC fshould also be detailed drawings, answering, in s0 0 r e c ° rto what are termed working drawings ; these give ‘ ^ iaI i c 8

tu uuat aic tet uiou tt/i// nv/vy o . ».

rect idea of the minutim and finishing of the sub]

desirable to

, b» T ® Jd

be obtained from the general design only

n a complete design, however, it is deou—-spective views both of the exterior and principal P ar . s ra cte<’interior. Ihese enable a person to comprehend the ch dj . a ,vand effect ot the design as a whole, which, without suchmgs, can be judged of only piecemeal. The Poo ®drawing of the exterior ought to exhibit the edit!ce b ® Wot the most frequented points of view, and ought a sso contrived as to make it impressive from every p° in . t ^it can be seen, and particularly from those positions 11

, le gieatest part of the design is comprehende

Vlew ‘ v >i>*

In very large works, a model will be useful for pr®

many mistakes that might otherwise arise, as all ol) lf

can be easily seen by inspection ; but when draw » p 0 rB»'

are used, from the number that are necessary to

ance ot the work, a long examination and conside)

requisite ; and after all, some of the most essentia .

overlook® ^ th e

requisite :

**^*«ZS!* and fre ^y ** —

articles Apabtmbwt ves Peeting designs , we referDESIGNING thf' EAK ’ Building, House. t heappearance of natm-oi i? rt delineating or draWJ »

DESK, a part of n° ^ bnes 011 a pD ne ' r ea tffr ' 3

desk; also a kind of as the clerk’s or P re

t} >e printed service of fh° S y’ Um where the clergy® 1 "

. LfESTINA, Latin e .^ n Shsh church. . 014 ’

In which sense tha + ° pi ar °r other support of* yljr®employed by eC oW is used b y Vitruvius ; b®\ , &/them to the aisle of ] aSt . lca * 'writers, it is usually t>PP

DETACHED CQL ini' m 01 ' t0 a smalJ Ce “'

Column, which see. the same as D

all the ptrti’Jf r ° m tbe Fr ench, dUaiUer) the delin&^ble

*>r thlZcltion T?’ 80 t0 sniLentlyinf ^

denominated^ " t the work. The ’ ' :l * ot ‘

T he expression dctif^T^'

a moulding i s exhihhf a so med in othel ' „ pils said to detail on 111 Prohle by abutting on C ».

minute and DW i! i * 16 p,ane - Details in the iia f tfivg’

as distincnjighcrf „ u,ar Parts of a picture, statue, ® b pK

of a c omfoSion m the general conception, or *

^erebjf^thin^ 10 ^, ^ rom tbe Latin , detenor)^ ^ Morchitecture in £,„ • rendered worse. This wai i 41 s ,

more particular^ ■ f from the Greeks to the

Particularly ln the decUnQ q£ ^ KomiUJ em p>re-

detail

,.a a 8 > a dt way 9 '_ o ia0®> .„