D R A

305

D R A

tiou I Sever al stories of a building differ in their construc-

each

ler . story requires a separate plan. The sections aretile n, y Parallel to the sides of the edifice, taken throughat l e st complex or principal part. Most buildings requirea bnijjj. tvv ° sections, some many more. When the sides bf•ary ln S are dissimilar, as many elevations will be neces-I'hc B,e edifice has sides.

t'ytlie n . Um ' J er, the form, and disposition of rooms are shown’Hg, The architect who gives the design of a build-

CaroLn* to be well acquainted with the constructive partsl‘is i de Pent >-y, masonry, and bricklaying, before he commitsto Paper , or otherwise he may be liable to publicIja^' See Design.

•aove „ Giit > in mechanics, the force or power necessary tothj y Machine, as a horse-mill, waggon, cart, plough, &c., Gi,t i in carpentry and joinery ; when a tenon is in-,,° be pinned to the cheeks or sides of a mortise, andS| d * hole through the tenon is put nearer to thehorn th*" l ' lan tbe holes through the cheeks of the mortisea "d'ich abutment; , which receives the shoulder of the tenon,he p| n . comes in contact with the shoulder of the tenon,

, Sa 'd to draw, or have a draught.

*,'> 1 ) t 0 ^? T ’ ' n masonry, a part of the surface of the stone"'e breadth of the chisel on the margin of the stone,V stoa a °^ding to a curve or straight line, as the surface of■hen ,, e 18 to be reduced to a plane or curved surface.8 ne . the < . irau S }l ts are formed round different sides of thef Pp 'yini> e lnter mediate part is wrought to the surface, byWly a8tr aight-edge or templet. In large stones, par-tbe substance is required to be much reduced,it st °n e Se yeral intermediate parallel draughts, dividingy eril >edj ^“‘distantly in its length, are made, and thus the

ion t ti at<5 P arts may be hewn down nearly by the eye,it BR ATTn a PPi'cation of the straight-edge or templet.\v° Ve abl e y COMPASSES, those provided with several°*'ds n P° U| t3, to draw fine lines in architecture. See theb ^AWt, Ass ar| d Mathematical Instruments .tb p ' a Hed k when a mortise and tenon is intended to

^ abojji’i P y piercing the hole through the tenon, nearer totalent ,er t * lan tbe imles through the cheeks from the’' n which the shoulder is to come in contact, thelw 0r j| a ten on is said to be draw-bored : see the follow-

iJ'e fru' B ° RE PINS, pieces of steel, made in the form• s > y,|'" op a cone, but rather taper, and inserted intjf ( j V|| 'g tlif a tbe greatest diameter next to the handle, forto the draw-bores of a mortise and tenon, in

o r ' n S the shoulder of the rail close home to the(i^'borg n . tbe edge of the style ; when this is effected, theat P 11 ) 8 ) if more than one be used, are to be takentlnae , and the holes immediately filled up with

in general, a bridge constructed ofat on e 8 na ii e< l or bolted to a frame. This being fas-ti i(* 0,1 tal] y en< i> by means of strong hinges, to a beam laidV w. ot li(;r atl< ^ P ar allel to the frame, and being acted upon* j. . e el s ® X . tre mity by levers, or by chains, worked either\ a ? ,( ied t b y hand ; the platform thus constructed may•f,, V pla Ce j a Perpendicular direction. Drawbridges arebri ( j I . 0Ter narrow ditches, in fortresses, at the ends8q 80s, and especially over the excavations close to^es a <j r at they may be raised or let down at pleasure.

Crimes are made close on the outside of thei [’’t f r ^ e ptb l° nr y ought to be sunk so as to admit of the'Sg 0 ** 1 th e ? * be frame to lie within it ; else the oblique’ at >(J 8qo es iegers’ batteries would act on the edge of thea re nder it unserviceable. In canal navigation,4 i

and in wet docks, swing bridges, that turn horizontally uponone end as an axis, have almost wholly superseded draw-bridges. See Iron Bridge.

DRAWING, in its strict meaning, may be defined as theart of representing objects, on any convenient surface, bylines describing their form and contour. This is independentof colour, and even of shadow ; because, notwithstandingform may be expressed by outline alone, shadow, whilegiving surface and substance, must be dependent upon form,and, in many cases, requires to be accurately defined accord-ing to the rules of perspective.

Before proceeding to describe the process of ordinaryarchitectural drawing, we shall venture to insert some caustic,though just observations of Mr. Bartholomew, on this neces-sary study.

“ There is no small boasting, in the present day, of archi-tectural drawing. An architect cannot draw too well ; butwhen he obtains much practice, he will find, that, besidesdesigning the form and the details of his works, he has littletime for drawing ; in general, he has as little time for makingthe clean and fair copies of his drawings as the sculptor hasfor the stone-cutting department of his art; while, if hecannot design, and is unacquainted with the other manybranches of knowledge which he should possess, he shouldcease to call himself an architect.

“ In making drawing his sole study, (but with the inter-ruptions which business will naturally bring,) the pupilbecomes only a bad artist, and no architect at all. Thepernicious folly of imagining, that he who can make anarchitectural drawing must of necessity be able to make anarchitectural building, has wrought largely towards the ruinof real architecture, and has tended more than anything elseto fill our metropolis, and other places, with white-washedand even stone ruins, which the weak have mistaken forarchitecture, and has led to that general disregard to struc-tural propriety, which is the besetting sin of modern works.

“ Now, the time spent in learning to draw badly; a workwithout truth, without philosophy, without art, withoutstructural excellence, without geometrical ground-work,without adaptation to its purpose, without real beauty, eitherabstract or obvious ; this time, so misemployed, might havebeen successfully employed by him (were architectural edu-cation such as it should be) in, by the age of twenty-five orthirty years at the utmost, learning thoroughly all the knownarts of trussing, of roofing, of vaulting, of doming, offorming arches, pyramids, and all other parts of architecturein structural perfection. This safe ground-work, with thenecessary growth of mind, expansion of power, freedom ofability, would lead the professing architect to soar aloft, overall the chained spirits who fancy a few water-colours alonecan raise them above San Micheli and Palladiq—above Wrenand Chambers. They know they cannot surpass Raffaelloand Buonarotti in drawing ; yet they do not consider thatthey might with ease surpass them both in architectural de-sign and construction : thus they choose that competition inwhich they cannot succeed, and neglect the one in whichthey might gain an easy victory. They might be the firstof architects, but they choose rather to be the last of artists :instead of gazing with an astonished ignorance upon ancientbuildings, they might as much surpass them as the scienceof the moderns surpasses that of the ancients.”—‘ Bartholo-mew’s Specifications for Practical Architecture.’ Howeversevere these strictures may appear, there is great truth inthem, and they deserve the serious attention of the student.

Drawing is the basis of architecture, engraving, andpainting ; and may be divided into outlines and shadowing.The outline, or contour, represents the boundaries of an