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together, constitute design : these, by the Greeks, are
named l8éat: they are called ichnography, orthography,
and scenography. The first is the representation on a
plane of the ground-plan of the work, drawn by rule and
compasses. The second is the elevation of the front,
slightly shadowed, and shewing the forms of the intended
building. The last exhibits the front and a receding side
properly shadowed, the lines being drawn to their proper
vanishing points. These three are the result of thought
and invention. Thought is an effort of the mind, ever
incited by the pleasure attendant on success in compassing -
an object. Invention is the effect of this effort;
which throws a new light on things the most recondite,
and produces them to answer the intended purpose.
These are the ends of arrangement. Proportion is that
agreeable harmony between the several parts of a building, -
which is the result of a just and regular agreement
of them with each other; the height to the width, this
to the length, and each of these to the whole. Uniformity -
is the parity of the parts to one another; each
corresponding with its opposite, as in the human figure.
The arms, feet, hands, fingers, are similar to, and symmetrical -
with, one another; so should the respective
parts of a building correspond. In sacred buildings,
for instance, measures for the columns and the width
of the triglyphs must be similar. In the balista, by the
size of the hole which the Greeks call oo; in
ships, by the space between the thowls, which space in
Greek is called dxaiki, we have a measure, by the
knowledge of which the whole of the construction of
a vessel may be developed. Consistency is found in that
work whose whole and detail are suitable to the occasion.
It arises from circumstance, custom, and nature. From
circumstance, which the Greeks call Oeuariguòs, when
temples are built, hypæthral and uninclosed, to Jupiter
Thunderer, Cœlus, the Sun and Moon ; because these
divinities are continually known to us by their pre¬
