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 ^ APPLIED IM^GE I 
 
 2^^ 1653 East Mam Street 
 
 S"^ Rochester, New York 14609 U5A 
 
 '-SS (716) 482 - 0300 - Phone 
 
 ^S (716) 288 - 5989 - Fa. 
 
^kr^ 
 
 •j*.:^^^2i 
 
'~""^?y'irT~* vy^ ~ 
 
 
Builders' 
 Architectural Drawing 
 
 SELF-TAUGHT 
 
 C'UMAIMINf; DF-CHU'TliiNS lir l>KAMIN(; I N>TKI'MIIN1 s AMI 
 i AHIISMIHIK-., Vlllll Ml I Ks POM I SINI, THRM, A N II HIN rS A^ TO 
 TMKIH CARP AHIIMANAI.KMKNI. K I 1 KS KIR LAVINi.i.ir ^tlMI■LK 
 KRAWINI.S ANU KXEl I 1 I M, SAMK AHK I.IV(N,ANII IH» MCIIIINI I-, 
 lAICHr NTKH BV SIHK. IINAW 111 NCAIIi, P IN>, r IMK PIAN^, NEXI 
 HIP. KI.R\ ATKIMS, A>l> PINAI LV IMK UK TAILS l.P llt'lLIIINI.H, INILI U- 
 IN(, PiUNIIAlKlNS, WAI I -., IliinKS, MINIM <W-,, SI AIM-.. ANII ALL "THRM 
 IrpMS HPI^iriREIl PllR PINtSHINI. II (IIMI'LPIP IN KVI.RV PARIItl I AR. 
 
 By FRED T. HODGSON 
 
 .iuthor of "Practical Uses of the Slctl Square," "Modern <\tr- 
 
 fmtry," Common Sense Stair Huiltling anU 
 
 Hanctrailing. " i-tc. 
 
 ILL VST RAT ED 
 
 CHICAGO 
 FREDERICK J. DRAKE & CO.. PUBI-l 
 
 1904 
 
 •RS 
 
 _l 
 
HI 
 
 
 
 ! 
 
 COPVHIGHT. igoj 
 
 1 
 1 "^ 
 
 IKhUbHICK J, UHAKt: A Ol. 
 
 1 
 
 CHICACfO, ILL., U.S.A. 
 
 
 
 1997 
 
PRKI'ACE 
 
 HavihB been moi.. or le», interested in Archi- 
 tecture .- , .He building trades for nearly a half 
 a centu,, have in that time l,ecome acquainted 
 wuh a great many workmen, who, while filling a 
 subordmate position, possessed aspirations and 
 ambifons, which, had they had a fair knowledge 
 of draw,ng and geometry, would have lifted them 
 to the hightest place in the department in which 
 they labored. To give similar good fellows a 
 chance to obtain the necessary knowledge to 
 enable them to apply f , ,he better positions 
 w h a certamty of their being able to fill them 
 w.th cred,t ,s the motive which has prompted 
 the comp,lat,on of this book, and, knowing the 
 quality and magnitude of their wants, by 
 personal contact with the workmen in the shop 
 and on the building, I think I am qualified, to !, 
 large extent, to cull from th. vast treasure hous, 
 of mdustnal and technical literature, which added 
 to my own experience, to present to the work- 
 man m the simplest for a possible the ma'erial 
 he requires to help him Jong i„ the struggle for 
 
 III 
 
IV 
 
 PREFACE 
 
 better conditions. To attempt to write a book 
 on the subject of architectural drawing and claim 
 for it originality, is simply out of the question; 
 for very little that is original can be said, indeed 
 very little is wanted to be said, for the literature 
 now obtainable seems to cover every point and 
 every phase of the subject. 
 
 It may be asked then: "Why make another 
 book on the subject?" This seems a just and 
 reasonable query, and one that deserves a well 
 considered answer, and I will, to the best of my 
 ability, endeavor to make such answer. First, 
 then, while admitting that all that need be said 
 on the subject has been said, and better said than 
 I can say it, yet, it is so scattered and broken up, 
 a bit here, and a bit there, that the student for 
 whom this work is prepared would require to 
 own a gold mine to be able to purchase all the 
 works containing just what he requires; secondly, 
 as this work is specially designed for active 
 workmen who have no time to wade through 
 ponderous tomes to find what may be a simple 
 matter after all, they would probably be forced 
 to forego the knowledge if it could not be 
 obtained in a cheap and handy form, therefore, 
 it is thought that by gathering together, and 
 putting within reach of those who want them, a 
 
 .,r^'f\li'mz 
 
 'iPB!£uai^E^M| 
 
PREFACE y 
 
 series of instructions containing what is con- 
 sidered the most suitable to satisfy the require- 
 ments I have undertaken to fill, and which I 
 hope will prove satisfactory to the young work- 
 man. Doubtless there are many things in this 
 little work that, in the opinion of many persons, 
 might be dispensed with; it maybe, and likely is, 
 that there are many good things omitted, many 
 things that would have proved extremely useful, 
 but in palliation I can justly say. that everything 
 I have found en the subject, that was plain, 
 simple and within the capacity of most of the 
 persons this book will reach, and that were not 
 too extensive, I have made use of. and to the 
 best of my ability have placed them before my 
 readers in such language as I am sure will meet 
 with their approval. 
 
 Collingwood, Ont,. Jan.. 1904. 
 
 ".o's^riv 
 
•M^feisaw 
 
 s?'^M&Jii^o^M^':jii'"if--- ^■Ji^^m^'-'^^SBSi^WKm^ssm^ 
 
INDEX 
 
 A 
 
 , . Page 
 
 .\<1 vice to draftsmen 13 
 
 Advice to Young Men 13 
 
 Advantage of knowing liow 14 
 
 A box of instruments 35 
 
 A nierican instruments 39 
 
 Attic plan for brick cottage Ill 
 
 Ashler work 118 
 
 Arch over window 12(5 
 
 A rampart arch 131 
 
 A straight arcli 131 
 
 Arches of various kinds 146 
 
 Arabesque fretwork 173 
 
 Anthemion 185 
 
 A wrought iron design 213 
 
 A circular ornamental design 215 
 
 Arrangement of flutes and tillets 223 
 
 Arrangement of Doric order 228 
 
 Advice to student 241 
 
 Alphabets : 246 
 
 A method of hatching showing materials .- 258 
 
 A parting word 262 
 
 B 
 
 Beam compasses 31 
 
 Brown's ellipsograph 34 
 
 I>ow pens and pencils 43 
 
 Boxwood scales 46 
 
 Brick cottage plans 108 
 
 Brick foundations 1 14 
 
 Blocked coursed work 118 
 
 Bond in brickwork 1 10 
 
 Brick courses 130 
 
 Brickwork generally , , ,] 121 
 
 Bonding in 9-inch walls 122 
 
 Bed of arch 130 
 
 Brick and stone arches 145 
 
 Box frame weights \\ 162 
 
 Balusters \ / 1 75 
 
 Barge boards 179 
 
 Border mouldings , , .] 1 83 
 
 Border, Egyptian style , 186 
 
 VII 
 
 E^5sawi^»fi'^.\r'.^ir^"«5:5a 
 
VIII 
 
 INDFX 
 
 I 
 
 Border, Byzantine style ^"ig" 
 
 Byzantine Rosette \sd 
 
 Balustrades oqo 
 
 ^*'«°ny- "^^■■■■■■■^^^;::;::;;;::: 2o» 
 
 lilock letters 24^ 
 
 Blue prints 261 
 
 C 
 
 Cheap drawing boards i« 
 
 Cartridge paper on 
 
 Cleaning pen 50 
 
 Circular or: aments «,, 
 
 Circular segments gi 
 
 Curves of various grades 63 
 
 Circles and straight lines mixed 57 
 
 Curved mouldings gg 
 
 Compass drawn scrolls ' ' y^ 
 
 Cutting lead pencils 9'^ 
 
 Cellar plan for cottage kw 
 
 Crown of arches jog 
 
 Casings for door and window finish j.^ 
 
 Cornice for frame building j-jg 
 
 Cornice for brick building iJd 
 
 Curved and straight lines i«2 
 
 Complicated fret work [ 170 
 
 Chain moulding 17'' 
 
 Continuous moulding 1^7 
 
 Curved line ornaments ..............[.. 17s 
 
 Cut scroll work 1^0 
 
 Conventional flower ] hL, 
 
 Conventional lotus !«/. 
 
 Cut Gothic border .'.'.'.'.".'.' urn 
 
 Cincjuefoil Gothic ornament li.Q 
 
 Curves for cut work jgg 
 
 Cut work for barge boards, etc 199 
 
 Carvers' ornaments oqq 
 
 Cut work for balustrades o()o 
 
 Columns o.g 
 
 Columns, fluted .'..'.".■.■ o-Z 
 
 Columns with fillets got 
 
 Columns with fillets and reeds '.>> 
 
 Corinthian order of architecture gjG 
 
 Column and section, Corinthian gW 
 
 Colors used in drawings 24!) 
 
 Colors representing materials ........!.. . . . , . . . [ [ 254 
 
 D 
 
 Drawing boards. How to make iy 
 
 Drawing b<jard grooved iq 
 
 Drawing paper oq 
 
 ':.i:'mf?/fii^'^"^^:m^-hS!3^m^i^Bm^ 
 
INDEX 
 
 1 
 
 
 Damp-stretching 22 
 
 Drawing table , 04 
 
 Drawing pens ....'.'".'..'.'.'.'.".[ 3H 
 
 Drawing lines 53 
 
 Drawing circles .■■■■..'......'.'.... 54 
 
 Drawing concentric curves 5.5 
 
 Drawing ec^ientric curve.* ■..■■'........'...... 55 
 
 Drawing circular ornaments 57 
 
 Drawing variable curved ornaments '. tiS 
 
 Doric mouldings " [' 73 
 
 Describing ellipses by aid of trammel .... . . . . . .... 78 
 
 Dotted line work . 88 
 
 Dimension lines 93 
 
 Different grades of |)encils 99 
 
 Drawing arches '/ ][ I37 
 
 Doorway entrance ........,....!. 151 
 
 Diagonals and squares 164 
 
 Drops for norches and verandas 203 
 
 Drops for oalcony 209 
 
 Drawings for iron work 213 
 
 Drawing sections of fluted columns 220 
 
 Dividing circumferences of columns ] 221 
 
 Drawing of Tuscan order ........... 226 
 
 Doric order of architecture 228 
 
 Drawi.ig the Doric order ...........! 228 
 
 Design of Ionic capital and entablature 234 
 
 Designs Tor letters 044 
 
 Descriptio.i of colors 250 
 
 Defining use of colors 253 
 
 E 
 
 Ellipsograph 33 
 
 Ellipsograph illustrated ....'.'...'..'.....'. 34 
 
 English drawing instruments 39 
 
 Elliptical mouldings 76 
 
 Elliptical turves by string 77 
 
 Elliptical curve by trammel 7^^ 
 
 Egg shiped figures, How to draw them '...'. h" 
 
 Examples in line work ' ' ' ' yjj 
 
 Erasions ... 9k 
 
 End e^vatir .id section of cottage .................. 113 
 
 English bon( brickwork ... 124 
 
 Elevation of brickwork ...........'. 12.j 
 
 Extiados of arches 129 
 
 Elliptical arches in brickwork 134 
 
 Elevation of doorway 25j 
 
 Elevation of window " " ' ^33 
 
 Elevation 01 inside door and finish 155 
 
 Eg^-ptian ornament ' ^^q 
 
 Elaborated acroil .' ^^,^ 
 
* INDEX 
 
 Egg and dare ^\lf^ 
 
 Echinus ^^^ 
 
 Egyptian lotus l)ord<'i' ■■■.......'...... lyjj 
 
 Ela>K)rate t ; ctry 197 
 
 Eave Ijoards . . . ." ..'....'....". 'iQ-r 
 
 Kiliptical wrouglif. iron scroll 213 
 
 Etliptical nrnaiiientation " o|(j 
 
 Entasis of columns 2'>r, 
 
 Elevation of Tuscan order 2''« 
 
 Elevation of Doric order 228 
 
 Elevation of Conipub< « order 2;J0 
 
 -Free-hand drawing , < 
 
 French curves .,(i 
 
 Flat S(!ales so 
 
 Figured plans ..........".'.. jo-. 
 
 Floor plans for cot tage 1 li) 
 
 Front elev-ttion of brick cottage 1 1> 
 
 Foumirttion f(K)tings 114 
 
 Fourteen inch brick wall 12.-) 
 
 Flat arches in brickwork '. . 141 
 
 Finish of inside d(K)r 1 ^r^ 
 
 Fret work ,. 1 - " 
 
 Figured ornaments ............'."' 175 
 
 Finished scroll work i -"j) 
 
 Fence Inwirds, ornamental oj j 
 
 Fluting columns " ' o.^ 
 
 Flutes and fillets ....'. ogi 
 
 Figures for drawings ........'.'..'. 24'i 
 
 Flowing of colors ogy 
 
 G 
 
 Good tools 
 
 (ireek mouldings . . . 
 
 (rothic brick sirches 
 
 viothic arches generally {'•r, 
 
 (Jothic! ogee arches . . . '. 1 'j^ 
 
 (iothic arches of various kinds 14(5 
 
 ( > utter and cornice 1 
 
 Gutter and cornice open i 
 
 Gothic perforated work i 
 
 Greek fret work , -, 
 
 Greek lily ■■'''■ ■'.'.'.'.'.'.'.'.'.'.'.'.'.'.[['.'.'. m 
 
 Greek anthemim .ufr 
 
 Gothic ornament in border ijij) 
 
 Gothic tracery 194 
 
 Greek Ionic [ o'j-j 
 
 17 
 m 
 
 ir,9 
 «i 
 
 106 
 
 r*4-.'>-2t',' 
 
 J?0^'K-i-: 
 
INDEX 3 
 
 J, Paot; 
 
 Hard rubber scales in 
 
 yiundy nietliod of drawing soroIlN ..'..'. 1-4 
 
 1 itcUiuf^ lines C« 
 
 tlow to hold the lead jieru-il 1,5 
 
 Herring Ixjne brickwork lojt 
 
 Hov to descrilie an elliptical arch 1 -L 
 
 Horseshoe arches joy 
 
 Horseshoe arches of several stvles. .!.... iau 
 
 Hexagon oniaiiient ' 2^7 
 
 Handling brushes in coloring o^j 
 
 Hatching, showing materials ■■■■■■.............. 'Im 
 
 I 
 
 Introduction ^ . 
 
 Instruments in Morocco ca.se. in 
 
 Instrunien! in wooden box l^ 
 
 Inserting ink in pen \{ 
 
 Ink bi u^h \ Vo 
 
 Inking in ro 
 
 Inking lines ■■.........[...'..... "^ 
 
 Intrados of arches ,'.J'q 
 
 Inside shutter finish ,5., 
 
 In.side window finish ] j-.j 
 
 Inside finish of sliding doors ] 1 rjij 
 
 Introduction to the order of architecture o\s 
 
 Ionic mouldings 034 
 
 J 
 
 Joining curves ..<. 
 
 Joining straight lines to curved lines! ".'. «- 
 
 Joints in masonry , ,A 
 
 Joints in bric^kwork '.]'. \:d 
 
 Joints in bonded work jo, 
 
 Joints in an-hes }.■;' 
 
 Joints shown in brick arches 1 j/. 
 
 Jamb in section ;2: 
 
 Joint of sliding dcors .■■■■.............. 15-' 
 
 K 
 Keystone of arch joq 
 
 L 
 
 Linework u- 
 
 Linework in shade and shadow '..'. ^2 
 
 Laying off dimensions .,, 
 
 Lead jwncils cut to shape g.i 
 
 Lan(\et arches 1 !!« 
 
 Lintels of stone I,- 
 
 140 
 
 mmmm 
 
« INDEX 
 
 Layinj? out diagonalH f\^ 
 
 Laying out hexaKon work 167 
 
 I^yitiK out turned ornanientM ........'.'.'.'. 175 
 
 Laying out scrolls ....'.." 178 
 
 Lotus ornamentations i8(j 
 
 Ikying out tracery .............[['.[.'. 196 
 
 Laying out cut work 206 
 
 Laying out flutes of coliunns 218 
 
 Lh> ing out fillets and flutes 221 
 
 L'lying out letters 243 
 
 iiettering generally ......'...'. 244 
 
 Laying on of colors. " 353 
 
 M 
 
 Manner of sharpening pen 40 
 
 Manner of closing pen 43 
 
 Mouldings '. . . . 69 
 
 Methods of describing Greek niouiding!4. ...........'..'. 71 
 
 Method of describing ellipses 77 
 
 Method of describing arch 134 
 
 Moorish archei. {hq 
 
 Moorish arches of various kind.s 145 
 
 Miscellaneous arches 149 
 
 Mixed ornament ^^ 
 
 Moorish f r<3t work 1 72 
 
 Mixed Greek ornament 1 74 
 
 Mouldings of Tu.scan order i2« 
 
 Mouldings for Doric order 028 
 
 Modillions 238 
 
 Miscellaneous matters 241 
 
 Making of letters 242 
 
 Methods of coloring 250 
 
 Mixing colors ........'.'. 2.53 
 
 Materials shown by 'latching 258 
 
 Method of mixing iiik . . 260 
 
 O 
 
 Ornamental curves 59 
 
 Ornaments from circles 60 
 
 < )vals 81 
 
 Ornamental line work 87 
 
 Ogee arches 137 
 
 Ogee Tudor arches 138 
 
 Ogee Gothic arches .............[[.[ 138 
 
 Openings in stone work .'..'.'... 143 
 
 Ornamental Gothic work 166 
 
 Ornamental cut work 199 
 
 Ornamental balustrades ...........]. 205 
 
 Ornamental iron work ' ' ' 215 
 
 Order on archit' ture '. 223 
 
 ^^i»le£::^-«flKi«."-'M«BWIHJH7J 
 
INDEX $ 
 
 Open letters ^44 
 
 Old style letters '..',..'.'.',. 245 
 
 P 
 
 Preface 2 
 
 Paper tacks 21 
 
 Prices of drawing \yeuH '.'...'.'...'.'.'.'.'.'.'.'. 89 
 
 Pens, with and without ink Td 
 
 Proper method of holding pen .'.'.'....'.'...]'.'.'. )(i) 
 
 i^oHJtion of hand when drawing j)-) 
 
 Pencil lines and erasions .............[.. }»7 
 
 Preliminary rough sketches 102 
 
 Plans in part 105 
 
 Plan of cellar ..................'.'..[.. 108 
 
 Plan of courses in brickwork .........'....[. 125 
 
 Plan of details 150 
 
 rVicket for sliding doors 157 
 
 Plan of pocket for sliding doors ............'..'. '7 
 
 Perforated stone woik ...'.'.'. itttf 
 
 Panel work in fret ..............[.[.. 201 
 
 Pickets for ornamental fence 211 
 
 Pro{)ortions for Tuscan order 226 
 
 Proportions of Doric order 228 
 
 Plnn and elevation of Ionic column 234 
 
 Plar and elevation of Corinthian order 28(S 
 
 Proportion of Com{)osite order 239 
 
 Proiwrtion of letters 243 
 
 Preparing paper for coloring ............. 249 
 
 Preparing colors ] ' ' 353 
 
 Preventing ink from "creeping" 260 
 
 Q 
 
 Quatrefoil jgj 
 
 Quatereal columns 21^ 
 
 R 
 
 Roman mouldings 70 
 
 Rubber for erasing ] \] ^^ 
 
 Rough sketches ...'..'.'... 100 
 
 Rough sketches figured 1(C> 
 
 Rough sketches of details ,, ] lojj 
 
 Random rubble work 1 1(5 
 
 Rough stone work ............... 1 itt 
 
 Rubble work coursed '/' ' ^ ig 
 
 Rustic stone work ......" \n 
 
 Running bond in brickwork 123 
 
 Rubble arches .'.[ i^q 
 
 Rosette, Egyptian istj 
 
 Roman hoi dor ] , " jy^ 
 
INDEX 
 
 Roman Roflette \^^ 
 
 Konmn orimiu«nt ...'....'.'.....'. 188 
 
 UunniiiK elliptii^rtl ornHinent .........[..,.' 210 
 
 Kunian Ionic order o;^^ 
 
 Rim'w letterH ..................... 24:i 
 
 UnUtui'Mng colored dntwinKH '....'.'.'. 25"* 
 
 Kougli NliudiiiK 259 
 
 KeiHMiimn's "Blue print making" . 2«1 
 
 S 
 
 Met a(]uareH .,(j 
 
 Hwivel 8(}uare8 oy 
 
 Htraiglit edges 29 
 
 Hcale-trianguiar ■■.............'.. ;iO 
 
 Spiic'es aa 
 
 Swiiw drawing instruments ■ ..l. ..]...[... hH 
 
 •Steel scales 47 
 
 Showing various curves 83 
 
 Hcroils, how to draw them uo 
 
 String and jjencil 84 
 
 Sli!U-i)eniiig lead penrils projierly .........'. 94 
 
 Sketciies of windows ' .'. 104 
 
 Scale for work 107 
 
 Section of brick cottjtge .........'. 113 
 
 Sideelevation of cottage '. na 
 
 Stone foundation 1 , j 
 
 Stone walls '.'.'.'.'.'.'.'.'.".'. ijij 
 
 S<iuareil stone work 119 
 
 Senii-citcular arches l''7 
 
 Span of arches 109 
 
 Spring of arches 109 
 
 Segmental arclies yi^ 
 
 Segment of Tuilor arches 130 
 
 Senu-elliptical arches joo 
 
 Stone arches with otf.sets '.',.', mo 
 
 Segmental (Jothic arches ^17 
 
 Secti(m of .Joor jamb jr.. 
 
 Shutter linings 150 
 
 Splav of window jambs * jlj^ 
 
 Sp'-tion of window jamb and (lni.sh iJu 
 
 Sliding doors jl„ 
 
 Section of sliding door pocket ij){{ 
 
 Section of corner studs ]'r,y 
 
 Section of window finish 158 
 
 Section of corni(!e iJiy 
 
 Section of cornit-e for brief building. iJji 
 
 Section for Iwx frame jg^ 
 
 Section for window sill 1(52 
 
 Straigiit and curved lines 183 
 
 Squares and dia.gonals . , , jg^ 
 
 <f^«' Ma^BMeV^t Tn/ w^YVIKLIIi 
 
L\D£X 7 
 
 StraiKht Hne ornnnipntation . . . ^\':.'\ 
 
 Strap work "j» 
 
 Star work ... ' •" 
 
 S<-roll work '.'.'.'.'.'.'. ' 'i" 
 
 S«M()ll work for CHrvers '.'.'.'. .1'^ 
 
 S<Toll work on t.|li,,t,i<-Hl plan . . ' X,^ 
 
 SoniethinK "" arcl.itwtiirHl ord»rs olw 
 
 StH'tions of rolurnns y? 
 
 Swtion of I)ori(! onlcr o. jj: 
 
 SwtioiiH of Fonic or<ler ."to, 
 
 SinKle linu letters .-*" 
 
 SliHcled letterHHml H^ures. . ! !! ! ', 
 
 Stone, wotKl an<l iron sliown by colors * 
 
 Shading for lUfferent forniM .'........" 
 
 T 
 
 Thumb tacks 
 
 Tf e wpmres ........'. 
 
 Traniniel ....'.... 
 
 Tlie (IniwinK pen diwu-sseti ...'.'. 
 
 Triangles • ■ 
 
 The lead |)enc<i) 
 
 Tee Mpiare and {wncil 
 
 Thrast in archeH \" ". 
 
 Tudor arch ] *'* 
 
 Tudor arches of various kinds.' .' f^ 
 
 Tiles and diagonals ... ^ 
 
 Trefoil ornament ' • • • ^ 
 
 Turned ornaments ''- f 
 
 Tracery ' 1 • '"i 
 
 The Tascan order of archite<-ture' .' .' }^ 
 
 The <ire<Man Doric --•5 
 
 The Ionic order of arc^iiitei-ture' '.'.'. ^ 
 
 The Conntliian order of architecture. T,^ 
 
 The Composite f)rder of archite.tiire . . .' ol. 
 
 The r.^e ot colors m .Irawii.-'. . X... 
 
 Tints m coloring -■•" 
 
 U 
 
 Use of bow i>en and i)encil 
 
 U.ses of pencils generallv . . ']i 
 
 L rns ■ 4fi 
 
 U.se of colors in drawings '*'"' 
 
 Use of hair pencils for coloring '.'.'.'. ~V.l 
 
 Use of heavy ink lines . . ,-••' 
 
 200 
 
 V 
 
 Variable curves 
 
 Various mouldings . , ' "" 
 
 ^ 76 
 
 trR«,"'.*rt*-* 
 
 iHr>l^CiT.ai'a«g'? ?»,BlA l tW 
 
INDEX 
 
 Vertical meMurement* 
 
 VouH8')iri» • 
 
 Ver"*Hl Hine of ttrcl'-*w 
 
 VariouK Hrchea 
 
 VerKe boardw 
 
 Veranda cut work 
 
 Volut^H in lonio order . 
 VarioUH letter! 
 
 1(M 
 
 r.» 
 
 2!n 
 244 
 
 W 
 
 WhUh of Htone 
 
 VVallH of brick. •••••::•• „• 
 
 Window ojienings in bru-k waiw 
 
 Window linings .• 
 
 Window fran«e with weightH 
 
 Winilow tlnish at »iU 
 
 Wave niouldingsJ 
 
 Wave wtoUh 
 
 Work for balconies • •,•••••,••• 
 
 Wh It materials are repreaeuted by colors 
 
 114 
 
 114 
 
 142 
 
 15*? 
 
 183 
 
 162 
 
 177 
 
 178 
 
 202 
 
 255 
 
PLATES 
 
 Plate 1 
 
 Plate 
 
 Plate 
 
 Plate 
 
 Plate 
 
 Plate 
 
 Plate 
 
 Plate 
 
 Plate 
 
 Eighteen illtutrations .... 
 
 •■i. Plan of Cottage 
 
 8. Full Frame for Cott- 
 
 4. Showing Diapoeitic ..oists 
 
 «• Elevation of Front a ^ End of Cotiage Z 
 
 6. Constructive Details ^ 
 
 '■ «!!z!'^!^T!!:*"^'««<>'construc;ic;n::: ::::::: ,^ 
 
 10 
 32 
 48 
 64 
 
 8. Shows Plans of Windows. I).,ors. etc ,o. 
 
 I'late 11. Doors and Door Finish ^^ 
 
 Plate 12. Stairs. Newels and Balusters ''* 
 
 It^eu S«^i?"-^^«^''-frntei:::::: 'Z 
 
 I late 14. Elevation of a Book-case ^ 
 
 Platel.1 Kitcnen and Students Desk ^ 
 
 P ate 16. Section and Plans of Window ^'^" 
 
 S ]l S!"""" '^^°'^°- '" «*-« WaU 
 
 1 late 1». Sections of Windows in Wood 
 
 240 
 248 
 35G 
 
 »*..___ 
 
 fc 
 
Architectural Drawing Self Taught 
 
 INTRODUCTIOxNI 
 
 Before entering i„,o the subject on which this 
 work ,s be,ng prepared, the editor and compiler 
 would hlce ,0 say a few words to the reader in 
 connection therewith. 
 
 It will be noticed that the title of this work is 
 Architectural and Builders' Drawing Self- 
 Taught ; and this title fairly conveys to the 
 .ntelhgent reader, the scope of the volume, as 
 the work ,s intended solely for young progressive 
 carpenters and builders who are not going" 
 
 the bottom of their trades, and who have not 
 had an opportunity of acquiring a knowledge of 
 architectural drawing or the use of drating 
 nstruments. Many of the best draftsmen in the 
 
 from the ranks of the working men; men who 
 had gamed the most of their knowledge of the 
 laws of construction and exactness in the work- 
 shop, a, the bench, or _on the buildings where 
 
12 
 
 AnciIlTECTURAI. DRAWING SELF TAtTfillT 
 
 they wen; employed; and I may say that it is 
 within the power of ninety per cent of workmen 
 to become fairly good draftsmen, by their own 
 efforts, and the aid of such books as the one I 
 have now prepared for this i)urpose; and the 
 young man who has by his own efforts, per- 
 severance and ability, succeeded in being able 
 to place on paper or board with pen and pencil, a 
 plain elevation of a dr or, window, house, stone 
 wall, or \ eranda, drawn to scale, and so made as 
 to convey to his fellow^ workman a correct idea 
 of what is intended, that man has achieved a 
 result • which should — and generally does — 
 advance his wages, increase his importance, and 
 make him a more valuable and useful citizen. 
 It is not to be supposed that this little work 
 alone, even though thoroughly digested, will 
 enable the reader to become a fmishetl drafts- 
 man, nor is it so inten ' d, but it will aid him 
 materially in acquiring such knowledge as will 
 give him a good start on the highway to success. 
 Wherever the student can attain access to a 
 school for drawing, there he should at once 
 proceed, for a few hours spent over a drawing 
 board under competent supervision, will do more 
 towards giving him an insight into the methods 
 and practice of good drafti^manship than it is 
 
ARrillTKfTURAI DRAWING SELF TAUGHT 
 
 l.'J 
 
 possible to (obtain by many days of book study. 
 Where there are no such schools available the 
 student should try and ^v.t into an architect's 
 office, or into the office of some mechanical 
 draftsman, and either pay for, or work for, a 
 series of lessons on dra\vin^^ but when none of 
 these conditions exist, he should take up a series 
 of studies in practical ^'eometry in connection 
 with drawinjr; us a knowledirc of {^rcoinetry as 
 presented in either "Modern Carpentry and 
 Joinery", or other works published in this series 
 of work-manuals, by Messrs. brederick J. Drake 
 &Co. 
 
 The construction of geometrical figures is 
 exceedingly good exf:rcise and will not only 
 give the reader good theor(;ti( al knowledge, but 
 will help him in his drawing lessons and practice 
 him in exactness. 
 
 By application and determination "to fight it 
 out to a finish" the earnest stude-nt will be sure 
 to m?ke a good -perhaps a first-class -drafts- 
 man for, to the really earnest man, nothing is 
 impossible within the range of human 
 accomplishments. 
 
 I have referred in the foregoing to "exactness." 
 This is the first "necessity" in a drawing that is 
 intended to be used as a guide for actual work. 
 
14 
 
 ARCIIITKCTrn.VL DHAWIXG SKLF TAUGHT 
 
 I' 
 
 A dravvin^r niay be rounrh, dirty and inartistically 
 done, but if it be complete and correct it serves 
 its purpose, and is immeasurably superior for 
 practical uses to the inexact artistic one, which 
 may dazzle with its shade and shadows and 
 fineness of execution, Init leads to confusion and 
 failure and consequent cha<^rin and loss. 
 
 I have thought it necessary to inject into this 
 little work a few remarks and a few illustrations 
 on Free Hand Drawing, as many persons are 
 gifted wi'i the power of being able to make a 
 fair drawing of objects on sight, and it was 
 thought that, perhaps, a few hints in this direc- 
 tion would be necessary to make the book 
 complete, as these hints may aid those who have 
 these gifts, and stimulate those who have them 
 not, to cultivate the art, as a knowledge of it is 
 one of the most useful aids the drawing student 
 can possess. 
 
 It must be remembered this work does not 
 pretend to lead the student beyond the realm of 
 plain practical drawing, such as the everyday 
 workman will find useful and convenient, when- 
 ever he wishes to convey to others an idea of 
 what he intends to erect, or to lay out on paper 
 or board a piece of work he is about to 
 execute. I have eschewed perspective, and 
 
AIiraiTFXTUHAJ. DUAWINO SKLK TAUGHT U 
 
 elaborate (.rawings of any kind, but, should it 
 be thought wise, I may h('reafter, prepare a 
 work for this series, dealing with perspective 
 and a higher grade of work than h herewith 
 presented. 
 
 SOMETHING ABOUT URAWiSG INSTRUMENTS 
 
 In all kinds of geometrical, architectural and 
 mechanical drawing, the accuracy of the work 
 will depend much, in theory, on the excellency 
 of the drawing instruments used. 
 
 Practically, these instruments are not quite 
 perfect, and any carelessness or negligence of 
 the draftsman when using them, may render 
 them unfit for accuracy of operation. Indeed, 
 the hand and eye of the operator, viewed simply 
 as instruments, for executing conceptions of 
 form, are vastly superior and more varied than 
 the best of appliances used by the draftsman, and 
 well directed efforts should, and will, bring out 
 this capacity so that, other things being equal, he 
 will make the most expert and elegant drafts- 
 man whose eye is most reliable in its estimate 
 cf form and size, and whose free hand is most 
 skilled in expressing these elements of figure. 
 Instruments, however, are necessary, and a little 
 talk on the subject will not be out of place, and 
 may prove of practical value to the reader. 
 
16 
 
 ARCHITECTURAL, DRAWING SELF TAUGHT 
 
 PLATE I. 
 
 This plate exhibits some eighteen different 
 sketches. No. i shows a plain method of laying 
 out a room having sliding doors in it. No. 2 
 shows the same room presented on another 
 method. No 3 exhibits another simple plan ot 
 marking off the same room, while No. 4 shows 
 the walls in plain black. These four examples 
 are intended to convey to the student some idea 
 of the various methods of illustrating. No. 5 
 shows the layout of a porch, with an angle on 
 one corner. No. 6 shows the plan of the porch 
 roof. Nos. 7 and 8 show plan of semi-octagon 
 bay-windows, and roof plan, while No. 9 shows 
 the roof plan for a pentagon bay-window. Nos. 
 10 and II show two plans ot stairs that are 
 suggestive. Nos. 12 and 13 exhibit two styles of 
 laying out a bath room. No. 14 shows several 
 ways of laying out fireplaces, while 15, 16 and 17 
 show portions of a pantry and kitchen. 
 
■\ 
 
 
 .^^ 
 
 
 PoK.v.h 
 
 ")T"(^'^N 
 
 rr 
 
 Tf= 
 
 =--=0 
 
 Poc 
 
 r- 
 
 ^- PmK (^ 
 
iH i'^il\3tfl^G PLTiTEJ. 
 
 'It 
 
 e.^ 
 
 / m ■ ' i 
 
 v-^ 
 
 
 F^tPl^Lt^ 
 
 t 
 
 r") 
 
 17 
 
 5Mr 
 
AmilITWTlHAI, DHAWINO MELF TAUGHT 17 
 
 Almost, in every department of life the best 
 results can only be obtained by the skilful 
 employment of the best means available. Some- 
 limes a ijenius accomplishes supreme results with 
 the most primitive of means, but it is not for 
 geniuses this work is prepared, but for everyday 
 sort of people, people who do not expect to 
 build houses without materials, or become 
 draftsmen without lonjr and careful preparation- 
 and such bcinir the case it is in order that the 
 reader b^ advised to purchase the best instru- 
 ments and accessories his means will admit of. 
 
 "A fine workman requires fine tools," and no 
 man can do a fine piece of work not having the 
 proper tools wherewith to do it. so no man can 
 do a good piece of drafting without having the 
 necessary tools; therefore, it will not be out of 
 place to commence with a description of the 
 instruments required. an<l the manner of using 
 them. ** 
 
 The first thing the young student will require 
 will be a drawing board. This may be made at 
 home, but should be true on its face and the 
 edges should be exactly at right-angles with 
 each other, or perfectly s.^uurr. The board may 
 be made ,n size, to suit requirements, but should 
 never hf, less than 12 by 17 inches. Indeed, it is 
 
Id 
 
 AIUIIITKCri'HAr. DliAWINO HtA.V TAIOMT 
 
 belter lo have two or three boards of sizes 
 vir>ing from I2XJ7 to 36x60 inches. 
 
 Fig. I. 
 
 T!;cy may be clamped on the ends with stuff 
 about I '4 inches wide and the thickness of the 
 hoard, or they maybe held to^^ether with battens 
 either screwed on to he underside as shown at 
 
 ^- '•• 
 
 I'i{^. I, or dovetailed into the board across the 
 grain as shown at I-'ig. 2. At I'ig. 3 a much 
 
 i 
 
 H 
 
ARC IIITK^TIHAL I>HAW1\0 SK.I.K TVfOilT 
 
 10 
 
 better board is shown and one I 
 
 can recommend 
 
 Fig. 3. 
 
 as possessing nearly all the qualities of a perfect 
 board. 
 
 A glance at the illus- 
 tration will exi)lain the 
 good qnalitit's of this 
 style of board. The wood 
 used should be carefully 
 selected pin(; or bass wood 
 with hardwood cross-bars at back. To pre- 
 vent the warpinj,^ of the wood, the board is 
 sawed half way throui,di at about every two 
 inches, and for the purpose of allowing to con- 
 tract and expand, the cross bars are not glued 
 on, but fastened with screws, which run in oblong 
 metal slots. At the ends, pieces of hardwood 
 are inlaid, to give the T-square a smooth work- 
 ing edge. They are also cut at every few 
 inches, to allow for contraction and expansion 
 of the board. 
 
 While the cheapest boards are made of white 
 pine or basswood, it doesn't necessarily follow 
 that boards may not be made of other woods; 
 cedar, mahogany and straight grained walnut 
 make very fine boards and answer very well 
 where you do not require to use pins for securing 
 the paper to the board. When, then, hardwood 
 
 ^,, V 
 
20 
 
 AIU'IIITKCTURAL DRAWING SKI.F TAUGHT 
 
 boards are used, it is as well to employ glue or 
 mucilage in fastening paper to the board. 
 
 Drawing paper comes in rolls :>\ ii»d?finite 
 lengths, and from 36 to 54 inche wide, anci in 
 sheets of various sizes. It is ma !•; in difieient 
 tints, is generally very tough, and is chiehy used 
 for details; it is much cheaper than Whatman's, 
 and for many purposes answers just as well. 
 There is also a paper comes in rolls called 
 "Cartridge paper" of a buff color, very strong 
 and cheap, and admirably suited for details and 
 like work. Tracing cloth, also, comes in rolls, 
 18, 30, 36, and 42 inches wide; it is convenient 
 and durable, and may be folded up almost any 
 number of times without injury. 
 
 Tracing paper is made of different qualities 
 and sizes; it is renderetl transparent, and 
 qualified to receive ink lines and tinting without 
 spreading. Like tracing cloth, when placed 
 over a drawing already executed, the drawing is 
 distinctly visible through the paper, and may be 
 copied or traced directly by the ink instruments; 
 thus an accurate copy may be made with great 
 expedition. We cannot give reliable price 
 quotations of these papers, as they vary some- 
 what, and may be different prices in different 
 localities. 
 
 -ir^j-; •■^•'v;:Vf'!' 
 
m^\'m..M. 
 
 ARCHITECTURAL DRAWIXG SELF TAUGHT 21 
 
 The paper should be fastened to the board 
 with pins or thumb-tacks simi 
 exhibited in Fig, 4. These i 
 
 lilar to those 
 
 made with a 
 
 broad flat head, ^ .„^,^, 
 
 or silver, and rounded so as to permit I 
 
 the square to slide easily over them, ^'^' -* 
 
 and the stem should be of steel and riveted or 
 
 screwed into the head. 
 
 Fig. 5 exhibits several styles of "thumb-tacks," 
 
 all of which are well enough in their way. 
 
 There is a 
 
 number of other 
 
 styles of tacks 
 
 of various kinds ^ - ■■ ^*v 
 
 besides the ones P 
 
 shown. 
 
 When the 
 young student gets down to 
 makes use of good paper 
 damp the edges of the paper, then glue the 
 edges and place fairly on the board, holding it 
 in place with pins or other suitable a-r^Iiances, 
 which may be removed when the work is dry 
 and ready to operate upon. This method of 
 fastening is sufficient where no shadowing or 
 coloring is to be applied, and if the sheet is not 
 too long a time upon the board. It has the 
 
 Fig. 
 
 "real work' 
 he should 
 
 and 
 
 first 
 
 I 
 
 -^.. 
 
 1^ 
 
22 
 
 ARrillTKCTrnAL DRAWIXG SEI-F TAUGHT 
 
 i 
 
 advantage, too, of preserviio^ to the paper its 
 natural quality of surface. With mounted paper, 
 there is no other proper way of fastening. For 
 large, colored, or elaborate drawings, however, 
 a damped sheet is preferable, and where the 
 coloring is a flat tint, damp stretching is indis- 
 pensable, as the partial wetting by water color 
 causes the surface to buckle; partial wetting of 
 loose paper by water color causes the surface to 
 buckle. 
 
 Damp-stretching is performed in the following 
 manner: lay the sheet on the board, with the 
 face side under, and have the thick edges 
 trimmed from the paper; draw a wet sponge 
 freely and rapidly over the upper side, beginning 
 at the center, damping the en -urface, and 
 allow the sheet to rest for a fc mutes till it 
 be damped through, and the surface-water 
 disappears. Those parts which appear to revive 
 sooner than others, should be retouched with the 
 sponge. The damping should be done as lightly 
 as possible, as the sponge always deprives the 
 paper of more or less of its sizing. The sheet is 
 now turned over and placed fair with the edges 
 of the board— sufficiently clear of the working 
 edges to permit the free action of the drawing- 
 square. The square, or an ordinary straight- 
 
^^^hBO^Hahdii^-u^^^^ 
 
 ^j_L_, ",';'^^iV^_;_^3Ej 
 
 F^^syg ^vm^^j^lgCT ^ 
 
 HP, 1 
 
 o 
 
 3 e 
 
 'j 
 
 ,' 
 
 ARCHITErTUnAL DRAWIXO SELF TAUGHT 23 
 
 edge, is next applied to the paper, and set a little 
 w.thm one edge, which is then turned up over 
 the square and smeared with glue. The paper 
 «s then turned down and pressed on the board, 
 after which ,t is rubbed down all along the "lap' 
 with some smooth article. The same process is 
 performed on the other edges of the ,aper 
 The whole is « i • 
 
 then left to dry. 
 which, when 
 completed, 
 leaves the sur- 
 face flat and 
 tense. 
 
 It is not likely 
 the ordinary 
 workman will 
 want to color his 
 drawings, there- 
 fore he will find 
 
 it safer, and less trouble, to simply tack his 
 
 paper on the board with the thumb tacks, and 
 
 nk but I have thought it well to give some hint. 
 
 for cot"' ."""" °' P^^P^'-'"^ ^^^ P^-^P-^ 
 
 say on this subject and on the subject of color 
 
 ■111 
 
 I 
 I ! 
 
 
 V- 
 
 Z 
 
 wm 
 
24 
 
 ARCHITECTUKaL drawl 5ELF TAUGHT 
 
 Having prepared a drawing board, the next 
 thing will be to provide a table or desk to rest 
 the board on. I show a very good scheme for 
 this purpose in sketch Fig. 6, and which can 
 readily be made by any workman who can use 
 tools. This should be fixed in some place where 
 there is an abundance of light and in such a 
 position that the light will fall on the board from 
 the left side as shown in Fig. 7. The height and 
 
 Fig- 7. 
 
 projection of the table or desk are m.arked in 
 Fig. 6, and a movable block of about 3 inches 
 square is shown at A, which can be moved in 
 such a fashion that the -ngle of the board may 
 
'1-^' .#jeHP\ 
 
 ARCHITECTURAL DRAWING SELF TAUGHT 25 
 
 be made to suit the operator. This block must 
 of course be as long as the drawing board. 
 
 Fig. 7 shows the board in position with the 
 paper tacked on, and the proper position of the 
 hands are shown as they should appear while 
 making the drawing. 
 
 The next thing to be considered is the T 
 square. This 
 needs but little 
 description, a s 
 every workman 
 is supposed to 
 know what this 
 instrument is; it 
 may, however, 
 be noted that 
 T-squares differ 
 in construction. 
 In the common- 
 est the "blade", 
 or thin portion, 
 is fixed flush 
 
 Fig. 8. 
 
 With one side of the "butt", or "head", as at 
 A, Fig. 8. In other forms the blade is fast- 
 ened in the middle of the butt, B. and this is 
 tlie preferable form for large squares; others, at 
 C., tig. 8, have the blade above the level of the 
 
l\ 
 
 26 
 
 A..( nil KCTl HAL DHAWINT, SKLF TAUOIIT 
 
 head, to ()(;nnit set-squares to ^ro over it. Very 
 large squares have a couple of little studs, as 
 shown in the figure B, to steady them. 
 
 Irench curves, L, Fig. 9, are made in a great 
 variety of combinations. They art extremely 
 
 handy for draw- 
 ing curves not 
 easily struck by 
 the compasses, 
 and also for ec- 
 centric curves, 
 which the com- 
 passes are not 
 able to describe 
 as in medieval 
 m o u I d i n g s of 
 some forms. In 
 i n k i n g-in a 
 curve by the aid of one of these appliances 
 the edges must be turned about on the pencilled 
 drawing until some part is found which 
 corresponds, when the edge of the curve will 
 guide the drawing-pen. There are a great 
 variety of these curves as may be seen at Fig. 
 10. These variable or irregular curves are made 
 of thin wood, hard rubber or celluloid, and are 
 sold for a f-w cents each. 
 
 Fig. 9. 
 
^ 
 
 m 
 
 m 
 
 ARrniTKCTtnAi, nn vw.xr; ski.f TAt',;nT ^27 
 
 The set s(]uare or squares, similar to those 
 
 shown at I'ifr. r, C I) K nn,? n 
 
 h- V. ^, 1^ K and H, are ^rrcat aids 
 
 Fig. lo. 
 
 ■«6^5^' 
 
 o <Iraw,ng as tl.ey may be e.nploycd in conjunc- 
 
 ..on w„h the T-square, for linin,. off angles, or 
 
 aymg oflf parallel lines as shown by the <lot,e,l 
 
 ■nes EG, and FH. These set squares are „,ade 
 
 Fig. It. 
 
 to suit different angles, and in many styles 
 as wll be seen in Fig. „. Th. manner o^ 
 
 I 
 
^ IK-. 
 
 28 
 
 AHCIIITKCrniAI, I)R\WI\(i SKI.r TAl'CMT 
 
 using them will suggest itself as the work pro- 
 ceeds. 
 
 T-squaies ot a superior kind may be obtained 
 from any dealer in mathematical instruments 
 for from $i.oo to $6.00 each, but in most cases 
 the workman can .nake his ovn squares, as well 
 as his own drawing boards, and save money by 
 the operation. The squares shown at Vig. 12 
 are of a superior kind, the blades and one edge 
 
 E 
 
 •o 
 
 m^ 
 
 Fit,'. 12. 
 
 of the stocks having ebony or other hard wood 
 glued on the edges to prevent them from wear- 
 ing. The lower square has a movable stock, 
 which is operated by a thumb screw, thus 
 enabling the draftsman to set the blade to any 
 angle desired. The working of this will be 
 easily understood by the reader. 
 
.'^^i-A^^-^if^ 
 
 AIUimWTUHAL I)K.V\VI\(i HYILV TAIOIIT 
 
 ^9 
 
 Another accessory, and one the workman can 
 make for himself, is a straight edge— or several 
 of them— which may be made of hard -wood, or 
 it may be made of good clean straight grained 
 soft wood, and have hardwood edges glued on 
 as shown in i-ig. 13. l^rhaps it would be well 
 to have three or four of these straight edges in 
 different lengths and widths, say one 16 in. long, 
 
 ^ 
 
 -srjw.' 
 
 1 
 
 Fig. 13- 
 
 one 30 in. long, and another 40 in. long. The 
 widths may be 2 in., 2'/^ in., and 354: in. 
 respectively, They should not be more than 
 three-sixteenths of an inch thick, but would be 
 better if they were thinner. 
 
 A rule or scale is always necessary, for all 
 architectural or other drawings that are intended 
 to be worked from, must be made to scale. 
 Usually, in this country, scales are made and 
 marked off to some proportion of the English 
 foot, when intended for architectural work. 
 One sixteenth of an inch may represent one 
 
30 
 
 , r 'itJC 
 
 !■: 
 
 AIM liriKCIlUAl. IJIIAWINO 8KLF TArwilT 
 
 foot or one yard, as tlu- case .nay be. so also may 
 one eijrhth, one quarter, or one half of an inch 
 represent one foot or one yard, jusl as the 
 <Iraftsman determines. One eighth of an inch is 
 the most used, though one quarter of an inch is 
 
 the scale generally employed. I- or workmen's use 
 three quarters of an inch scale is handy, as this 
 makes one sixteenth of an inch represent one 
 inch of the actual work, which is quite con- 
 venient in a working drawing. 
 
 Scales may be had flat or triangular, and in 
 boxwood, ivory or hird rubber, and one foot 
 
 Fig- 15. 
 long. The flat scales are very handy, but are 
 sometimes confusing, because often wo or more 
 scales are laid off on one edge. Perhaps the 
 handiest scale for actual use, is the triangular 
 one, which is similar to Fig. ,4. There are six 
 
..A»^"! 
 
 ARCmTK(TLHAL UHAWlNd MKI.K TAl(;||T 
 
 ;{i 
 
 edges on this scale, each edge having a different 
 marking 'jr scale. The flat scal«; is shown at 
 I'ig- 15- 'I'his scale is 12 inches long, with 16 
 scales, as follows:* j^, ,\. ■;. m- ^i, U, ^{, r^, ,, 
 I '4. i/i. i?:t, 2, 2J4. 2|<, and 3 inches to th<; foot, 
 the first division of 
 each scale subdi- 
 vided in 12 parts, 
 each. 
 
 Besides t h e s e 
 there are many 
 other kinds of 
 scales made use of 
 by Architects, En- 
 giiieers, and Sur- 
 veyors, but these 
 shown and d e - 
 scribed, will suffice 
 for the purpose 
 for which this book is prepan;d. as it is not 
 intended to en, body in this work other than the 
 simplest methods of plain architectural work, 
 and such as can be executed .vith the simplest 
 kind of instruments. 
 
 There is a number of other accessories used 
 in drawing besides these mentioned, that are 
 not placed in a regular box or case of instru- 
 
 FifJ. 16. 
 
3< 
 
 AHCIIlTKtTUIUI. DUAWINU HKU TAUGHT 
 
 PLATF£ 2. 
 
 Following up the ideas presented ate i, I 
 
 give herewith the plans for ;- JI cottage and 
 show the cellar plan, first floor plan and chamber 
 plan. This is drawn to a scale of .^ of an inch 
 to the foot, but I would advise the student to 
 double the size, which, as a matter of fact, the 
 original drawings of these examples is the scale 
 to which they are made, namely A of an inch to 
 the foot. Every item neces-ary for a house of 
 this description is shown on these plans. 
 
 i JI 
 
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 ^^ 
 
 I 
 
 ( 
 
 i 
 
 )!B#Mp««IB«»~-: 
 
 imr^mm 
 
 i 
 
1 
 
 I 
 
 
 1 
 
 ARCHITECTURAL DRAWING SELF TAUGHT 33 
 
 ments, such as splines, ellipsographs, and beam- 
 compasses; the latter being designed for 
 drawmg circles of large diameter, and are so 
 made that the points can be moved to the 
 desired distance apart. One steel point may be 
 removed and a pencil or inking pen inserted. Set 
 screws hold the heads m position on the sliding 
 bar A, Fig. i6. This bar may be of wood, or of 
 metal, preferably the former, and it may be of 
 any desired length. 
 
 a 
 
 Fig. 17. 
 
 Splines are flexible strips of wood or metal, 
 and are used for forming curves-regular or 
 variablc-and are held in position by a peculiar 
 attachment which serves to hold the curve in 
 position as shown at S S S. Fig. 17. These 
 attachments are made of lead. 
 
 The ellipsograph is a costly instrument and 
 one which the ordinary workman would seldom 
 require; besides, there are a number of ways by 
 which an ellipse may be drawn, and figures 
 approaching an ellipse, so I would not advise 
 
34 
 
 AULllITECTUHAL UUAWINO SEL*- TAUGKT 
 
 the young draftsman to purchase the more 
 expensive one until his means or business 
 warranted it. I give an illustration, however, of 
 
 Fig. 1 8. 
 
 Browne's patent ellipsograph in order to acquaint 
 my readers with the style of instrument. This 
 is an excellent device, and can be adjusted to 
 
 wmim^ifwm. 
 
':». 
 
 M 
 
 ARCHITFXTURAL DRAWING SELF TAUGHT 35 
 
 form ellipses or ovals of all kinds within the 
 limits of the instrument. It is shown with some 
 of the attachments at Fig. i8. The price of this 
 device varies from $9.00 to $14.00. A very 
 good one may be obtained for about $12.00. 
 
 Apart from the conventional box of instru- 
 ments, the appliances now described will be 
 about all the young workman will require 
 unless, of course, he intends to study for an 
 architect or mechanical engineer, when, of 
 course, he will have passed beyond the limits of 
 this work which is intended only for such work- 
 men as have no other opportunities of learning 
 the rudiments of draftsmanship. 
 
 It will be in order now to say something about 
 the instruments proper the beginner will require 
 so I will, as briefly as possible, describe the 
 instruments, explain their uses, and offer a few 
 suggestions as to their care and management. 
 
 A BOX OF INSTRUMENTS 
 
 It is not my province to recommend any 
 particular make of instruments for, so far as i 
 am aware any of. the ordinary makes-that are 
 not intended for school children-will serve the 
 purpose of learning their use. and afterward^ 
 the student, when advanced sufficiently, a more' 
 
36 
 
 AnCHITKCrUHAL DHAWIXG SELF TAUGHT 
 
 costly and more complete set may be obtained if 
 found necessary. While, of course, purchasing 
 drawing instruments is like purchasing tools, 
 that is, it is always better to buy the very best 
 that can be bought, and I may say that the best 
 may be obtained in single pieces or in boxes 
 containing only three or four pieces. However, 
 perhaps, it is best in our case to get a set similar 
 to the case shown at Fig. 19. This is a Morocco 
 
 case which con- 
 tains two divid- 
 ers, pen and pen- 
 cil points, draw- 
 in^ pen, and a 
 six inch flat 
 scale. This case 
 can be bought 
 for about $4.00, 
 for which sum instruments ought to be fairly good; 
 if, however, the student can afford it, and feels 
 t!uit he had better purchase a set of instruments 
 that will meet all his needs, present and future, 
 why then he had better invest in a better quality 
 of goods, and purchase a case containing a 
 greater number of instruments and of a finer 
 grade, such as I show at Fig. 20, which may be 
 obtained for about $Jo.oo or $25.00. This case 
 
 Fig. 19- 
 
 I 
 
AluniTKcirnAi, duawinc; ski.i imcjiit 
 
 .'17 
 
 
 contains, besides ihe box, one sji in. dividers, 
 with pen, pencil and needle points, lengthening 
 bar; 3'^ in. dividers, with pen, pencil and needle 
 points; 5 in. plain dividers; 5 in. hair spring 
 
 Fig. 20. 
 
 dividers; spring bow dividers, pen and pencil, 
 needle points, ivory handle; 4>^ in. ivory handle 
 hinged drawing pen, needle point; 5^^ in. ivory 
 handle hinged drawing pen, needle point; 
 German silver protractor, ebony rule and scale. 
 

 % AHCMITKrnJHAL I)U\\VIV(J HVA.r TAt^r.flT 
 
 These instruments are made of fine German 
 silver with superior steel points. 
 
 ( 
 
 / 
 
 Fig. 21. 
 
 Fine Swiss made instruments cost more than 
 German ones, as some of the Swiss cases run up 
 
 IT mm.'^^s^s^SiMm'ii^ " i sm^Ki^-^ih^t 
 
ARrHiTRcrrnAL hrawivg sklf TAtrouT 30 
 
 to $150.00 and $i75.cjo. Knglish and American 
 made instruments arc hi^rh priced, but as a rule 
 are more substantial and in the end give bet- 
 ter satisfaction than other makes. 
 
 The first things to be considered in a set of 
 instruments arc the compasses. These generally 
 include dividers and pen and pencil attach- 
 ments. It is not necessary to illustrate or de- 
 scribe the form of these instruments, as they 
 may be seen in the .ase as shown in Fig. 20, 
 and the interchangeable parts will easily find 
 the place they are intended for when required 
 for use; so I will not dwell on the subject of com- 
 passes longer. 
 
 Perhaps the most important article in the case 
 to ^he young student is the pen, and I will there- 
 fore devote more space to a description of it 
 than I will to any other of the instruments, as a 
 proper knowledge of its use and care will be of 
 great assistance in the work before us. 
 
 A DRAWING PEN 
 
 This is the most useful and the most used 
 instrument in the case. Fig. 21. which is taken 
 from Keuffel and Esser Co/s catalogue, shows a 
 variety of pens of the very best make, pens that 
 are suited for any kind of line drawings in ink 
 

 40 ARnilTFX-nJttAL DUAWISG HELf TArOilT 
 
 The prices of these, with ivory handles, range 
 from $1.40 to $2.50 each, and they are warranted 
 to be the best of their kind. 
 
 A few words as to the use and care of this 
 instrument may not be out of place at this 
 juncture, as it is important the instrument should 
 be well understood by the student so that he 
 may the better be able to make the best of it. 
 The man who devotes himself exclusively to any 
 particular vocation, day after day. for several 
 years, acquires an intimate knowledge of its 
 details that is not easily imparted to the novice 
 through the medium of pen and ink. and often 
 when it is attempted, the finer details which con- 
 tribute so much to success are passed over lightly 
 or are omitted altogether. "In the course of his 
 experience he acquires ways and means of 
 prosecuting his work, if he be intelligent and 
 progressive, which makes its execution easy and 
 places him on the list of "skilled operators." 
 
 The art of mechanical drawing contains a few 
 of those mysteries which, if published at all, have 
 not been given a very wide circulation. 
 
 Our scientific libraries and dealers in technical 
 works are copiously ?upplie<l with books on 
 mechanical drawing, in any of which may be 
 found the illustrations of tools, curves, inks, 
 
ARriTITKfTtTHAL nHAWINO HKI-F TAUOHl' 
 
 41 
 
 
 colors, etc., carefully reproduced from the 
 catalogues of dealt;rs, but the accompanying 
 :'escription does not always give a clear idc^a jf 
 the relative merits of the different tools shown, 
 how they should be selected, handU;d, and kept 
 in repair, and, while it is not intended in this 
 work to describe the methotls of caring for and 
 repairing all the instruments a box contains, it 
 is necessary the pen should have more than a 
 passing notice. 
 
 It is a custom with many makers of first-class 
 instruments to hinge one jaw of the ruling pen 
 to the little separating block above the adjusting 
 screw, so that it may be opened after the adjust- 
 ing screw is removed. In a pen of this kind the 
 joint should be very snug, as the least amount of 
 play will allow the point of one jaw to slip ahead 
 of the other, which would destroy the efficiency 
 of the pen. In the opinion of the writer this 
 joint is altogether unnecessary. It increases the 
 lirst cost as well as complicates the instrument, 
 and if used often, will get out of order, even 
 with the very Ixtst workmanship. If used 
 properly the points need never be separated 
 further than the adjusting screw will permit. 
 Many draftsmen have the hinge joint brazed or 
 soldered so as to fix the movable jaw to the 
 
 I 
 
 
->^Jr- 
 
 r 
 
 iS 
 
 4-2 
 
 vut iirir<n u\i. duwvimj sklf tauoiit 
 
 |-' 
 
 
 srparatin^ Motk aii'l make it permanent. The 
 points of a pen should never be separatetl for 
 sharpening', which is the only purpose for 
 whieh the hin^e' is made. W hen the point 
 lias become dull from use it will be found 
 with a shape similar to b'ig. 22. To restore 
 i: to the proper form the jaws should be 
 closet! by the adjusting screw . so that the 
 v^y points press yently a<.jainst each other; 
 then with a fnii; )ilstone worked with a 
 1 circular motion en the high con rs it 
 
 rig. should Ix; ijrounfl to a diape similar to 
 lij^. 23. The poin; will then bt- blunt, but 
 will liavt tlie [)U:, cr working when the 
 sides ;ire reduced, which should be care- 
 fully don(^ by layintx the side of the pen 
 on the suiii .it an angle with its surface 
 that will allow the metal tu be ^^round in 
 I straight line to a <listance of about one 
 (juarter of an in^ h from th'- point. The 
 jaws should be ojxned freijUenti^v as the 
 work progn ---es and tlie points examineii 
 to a\oi(l grinding through the point of 
 ''■ one i iw into that )f he other. The 
 sides are to be rediu^ ! t '1 th<: ) oint-. of h 
 jaw are ('(nial and ju t l:ne 'nough to slice 
 sp.i.ooth.; V over the paper without produc g a 
 
AJinilTKfTI'nM, nRAWINO HK.I.F T\T'«||T 
 
 i'l 
 
 cuttin;,' or scratt hin^ sens;=tion. When the 
 
 points are not sharp enough to make a clean 
 
 fine line the hhint part is <;asily visible with tl'.e 
 
 naked eye, hut wh«ii it is sufficiently re- 
 
 (hiced it is hardly possibh- to see it. Vhv. 
 
 shape of the curves in the sides, or jaws, 
 
 of a pen is also an important feature. If 
 
 the pen is too open near the point on 
 
 account of the jaws being too mu( h curved, 
 
 as in lig. 24, it will leave too much c - ] 
 
 space for ink. causing it to dry quickly or ''''^ 
 
 to fall out in us ng. lig. 25 shows about 
 
 the proper am nt of cur\ c in the jaws 
 
 t« give sufficient ink space. ^'^ '^ 
 
 Wooden hand!- s, though not quite as 
 elej^.int as bone, are preferable as they 
 an iOt liable t( breaT when accidentally 
 swept off the drawing-board — ^^ accident 
 that destroy, nine-tenths of the bone 
 handles. 
 
 For spring bow pens ami pen( il com- 
 passes it is idv'sable to have 011 the 
 adjusting screw, when the pen or pen< d 
 is set to draw ts largest circle. With a 
 pen that is not too strong spr-nir 
 
 an experienced draftsm, 
 his centers to drav.- a s 
 
44 
 
 ARnilTECTURAL DRAWING SELF TAUGHT 
 
 the circle, as this may be easily accomplished 
 by springing the pen gently toward the side 
 to be shaded, as he continues the movement 
 of drawing the circle. The pivot, or needle 
 point, should always be adjustable. When it is 
 made solid with the leg of the instrument it is 
 generally shaped like the point of a sewing 
 needle, and will pierce a large hole through the 
 paper or tracing cloth with the slightest pressure 
 if used several times in the same center; and 
 should a small piece be broken off the point, the 
 pen will be useless unless a similar length be 
 ground off the nibs of the pc.: 
 
 A very common source of annoyance 'n nearly 
 all bow pens and pencil compasses is found in 
 the eye or socket provided for the pencil. In 
 many cases it is found too large to hold the 
 ordinary naked lead, and too small for those 
 covered w^ith wood. Frequently draftsmen are 
 obliged to overcome this difficulty by the clumsy 
 makeshift of reducing the wood till it fits the 
 socket. 
 
 Sometimes a small bushing is provided with 
 the compass, that will fit in the eye and hold the 
 lead. This is unsatisfactory, as the pencil cannot 
 be readily adjusted as the point wears away. 
 The most effective treatment an instrument of 
 
ARCHITECTURAL DRAWING SELF TAUGHT 45 
 
 this kind can have is to file away the metal in 
 the parting or "split" of the socket and close in 
 its sides so as to reduce the eye sufficiently to 
 grasp the hexagon lead of a 6H pencil; this 
 makes the pencil-holder very convenient as well 
 as economical, the butts of worn pencils may be 
 stripped of their wood and the leads used in the 
 compasses. 
 
 So much for t'.ie pen in its various forms; and 
 now a few words concerning some of the other 
 instruments. Among these may be found some 
 possessing various degrees of usefulness, and 
 others having no merit whatever. Some of the 
 devices that have been invented for making 
 broken or dotted lines may be classed among the 
 latter. The proportional compasses or dividers 
 is a very good tool to have in stock, but it should 
 never be used for transferring drawings from 
 one scale to another when accuracy is required; 
 not only is the instrument liable to be in error,' 
 but if there should be any mistakes in measure- 
 ment in the original drawing they will be trans- 
 ferred to the new in a greater degree. 
 
 A much more effective and convenient pointer 
 than that usually found in sets of instruments 
 may be made on the one end of a 6H pencil by 
 reducing it to a fine point. The dot or point left 
 
46 
 
 ARCHITECTUUAL DRAWING SELF TAUGHT 
 
 i; 
 
 by it, indicating the dimension, is always easily 
 found, and, as the other end of the pencil may 
 be made "chisel shaped" or flat for drawing 
 lines, the operation of laying off dimensions and 
 drawing the lines may be carried on without 
 changing tools or losing time. For sharpening 
 pencils, it is very convenient to have a fine file, 
 attached by a string to the under side of the 
 drawing board, or what is still better, as the file 
 very soon gets dull, a piece of wood made about 
 the shape of a small flat file with a piece of 
 emery cloth glued to each side. In using, the 
 pencil should be rubbed on the emery. 
 
 The boxwood scale with triangular section, 
 same as shown at Fig. 14, has served its purpose 
 well, but it, too, has its weak points. The 
 requirements of a good scale are that the 
 graduations and figures shall be plain and 
 indelible, that it be perfectly straight and the 
 edges sharp, so that the division lines may be 
 brought close to the paper. The boxwood scale 
 does not possess the first of these features as 
 the lines will be often dimmed or partially 
 obliterated with two or three years' use. 
 
 Some draftsmen have a habit of taking off 
 dimensions by placing one leg of the dividers on 
 any particular division and extending the other 
 
 "wm.'^vfi. 
 
 '«9V>^. mei^ukv. 
 
AHCIIITECTURAL DRAWING SKLF TAUGHT 
 
 47 
 
 to the distance required. When this is done 
 with a boxwood scale its usefulness is limited to 
 a very short time. The grain of the wood must 
 be straight, or it will be apt to warp or spring. 
 Some excellent scales are made of hardened 
 steel, by a firm in iVovidence, R. I., which seem 
 to me to be as near perfection as possible. 
 Draftsmen as a rule, however, object to making 
 use of steel scales, and they have not come into 
 general use; and for this reason, these scales, we 
 are informed, cannot be obtained unless specially 
 ordered at the factory. 
 
 Every metallic instrument the draftsman uses 
 should, when possible, be nickel-plated. There 
 is nothing contributes so much to their pres- 
 ervation, no amount of careful polishing and 
 wiping will so effectuall>- prevent rusting and 
 discoloring, and nothing improves their appear- 
 ance so much or makes them so agreeable to 
 handle. The cost of plating is insignificant 
 compared with the benefit derived, as the 
 average cost of plating would not exceed ten 
 cents for each tool or instrument. 
 
 In selecting triangles it is essential to have 
 them of a material that will not change shape 
 with each atmospheric disturbance. For a 
 number of reasons hard rubber is the best that 
 
 -.afrfc^ .<...ltfka..-t-';:^l 
 
48 
 
 ARCHITECTURAL DRAWING SELF TAUGHT 
 
 PLATE 3. 
 
 On this Plate I show the side frame of the small 
 cottage with all the openings for windows, also 
 two sections of the framework, with the heights 
 marked on for the different stories and sizes of 
 timbers. The stonework and cellar windows are 
 shown. 
 
t-.-.. Mir 
 
 "^^^^sni 
 
cr» 
 
 4^lC-^ 
 
CL" 'JT'-V-JT^UfSriiP-' ,^-ilk\%l^^'-::,'>t^S^?^3Bk 
 
AIUIIITEfTURAL URAWING SELF TAUGHT 
 
 40 
 
 has been offered to the trade. It is unchange- 
 able, under ordinary conditions, and may be 
 made into angles from ,•, to A of an inch thick, 
 which is about right for handiness and strength. 
 There are very few woods that are adapted to 
 this purpose, because of their liability to warp 
 and twist, and generally they have to be made 
 too thick for convenient use. The same rule 
 holds good in the selection of a T-square; the 
 blade should be as stiff as possible and the edges 
 not more than 'i^ of an inch thick; when the 
 edges are thicker it is difficult to draw long 
 parallel lines, particularly with the pen, as the 
 point of contact between the pen and the blade 
 of square is on the upper corner, while the 
 position of the jjoint, when the pen is held 
 vertically, must be the same distance from the 
 lower corner of the edge of the blade on account 
 of the angle formed between the side of the pen 
 and the edjre of the blade. On the other hand, 
 it is not advisaiile to have the edge less than ^\ 
 of an inch thick; this would bring the point of 
 contact too close to the point of the pen and 
 would render it liable to smear the ink. An 
 excellent T-square patented some time ago has 
 a thin piece of brass plate with a knife-edge 
 inserted in the working edge of the blade. This 
 
50 
 
 AWHITKCTL'RAL DHAWINO 8KJ.I TAIGIIT 
 
 does very well when only a pencil is used, but a 
 pen cannot he workv^d successfully against so 
 thin an edge. A blade made of two different 
 kinds of wood similar to that shown in I'ig. 12, 
 such as a mahogany center and ebony edges, 
 while being excellent in their way, are liable to 
 warp and "buckle" and require watching. 
 Squares with swivel butts are very convenient 
 for certain kinds of work, but for general pur- 
 poses and for such students as this book \a 
 intended, the swivel st ck had bettt^r be 
 eschewetl. It is much more convenient to have 
 the blade secured to the stock as shown at A 
 and C, Fig. 8, than to have it dovetailed or 
 mortised into the stock as shown at B, lig. 8. 
 By this means th(; upper surface of the stock is 
 on the same level as the drawing-board and 
 does not interfere with the angl's or scales 
 when working near it. 
 
 Perhaps the most troublesome appendage to a 
 draftsman's outfit is found in the many forms ef 
 porcelain ink saucers and "j)iles." I'or holding 
 and mixing soft colors the pile of saucers does 
 very well, but it takes a long time to rub ink by 
 this method b(;for<; a good black ink i.i produced 
 as the smooth bottom of these; dishiis does not 
 abrade the slick of ink rapidly. There arc 
 
ARCHITKCTUHAL DU.Wi.NG SELF TAUOIIT 
 
 51 
 
 several preparations of liquid ink that may be 
 purchased, but they lack that solid black body 
 in fine lines that is so necessary for drawings or 
 tracings that have to be copied 
 by the blue printing process. Pre- 
 pared liquid ink requires a longer 
 time to dry and is more liable to 
 smear than ink made fresh from 
 the stick. Th<!re is an ink saucer 
 made by a firm in New York City 
 that seems to meet all require- 
 ments. It is simply a slab of slate 
 about four inches square and three- 
 fourths of an inch thick, having a 
 cup or saucer shaped cavity for 
 holding the ink turned in its cv_n- 
 ter, and covered over with a piece 
 of plate glass. A good black ink 
 may be mixed in this saucer in a 
 few minutes by the grinding action 
 of the slate on the stick when 
 being rubbed. While it is quite 
 necessary to have the ink with some 
 "body" in it. it is not best to make it too thick, 
 as it will not flow well then, and will be apt to 
 dry too quickly and c'og up the pen. 
 
 When the ink is ready to use, a portion of it 
 
 Fig. 26. 
 
rti 
 
 AHflllTKCTlMlAI, I)H\WIN<; «Kl.l TMTOIIT 
 
 may be inscrtid lu'twcen iln; nih. of th' pen 
 until there is ai out as mu h ink in the pen as 
 shown by the shaded part in i i^. 26, where two 
 pens are shown, one cliarj^c! an<l one empty. 
 The ink may be put in the pen by the aid of a 
 
 I: 
 
 Fig 27. 
 
 camel hair or sable brush, such as siiown in big. 
 
 27, which is full size. Ch m off a'i supcrHuotJ^ 
 
 ink from the oulsitie i ihc 
 nib'^ of ihe f)en with a j iece 
 of chamois leather or a clean 
 linen cloth, and you are 
 ready for work. I'he pen 
 may be filled by anotht r 
 method which i- often 
 adopted by draftsmen, as 
 follows: Take the pen and 
 open it, say, about a six- 
 t(.'enth of an inch, clean the 
 nibs well with chamois, then 
 close the i)cn with the screw 
 until the light just shows 
 
 between the nibs, then breathe gently betweer. 
 
 the nibs and dip them cu.efully into the ink, just 
 
 Fig. 28. 
 
.\HflIITK<-nH\l l.»A\viN<! Hji TMH.i/T 
 
 ...i 
 
 touching thr Hurf.ue uf the l,.,uul, m.l thr i„k 
 will run up U'tw.fn the nihn by attractior of th. 
 moisture caused hy the breath ouii.e ii si<le of 
 the nibs. 
 
 VV< suppose th*- paprr to be stretched on the 
 drawinj^r board, and either hehl in i.lacr by '.cin^r 
 pasted or by thun;'- > ..cks, such as show, n l\rs" 
 4 and 5. When all is ready, hold t'u; pe./ a^ 
 shown in I'hjr. ,S, ,nd car- uilly ink in ,11 he 
 
 I'ig. 2g. 
 
 horizontal lines, both full and dotted, 
 where ptjssible any slijrht irre^nilaritf. s that 
 
 correctin«r 
 
 m 
 
 lav'i 
 
 ^X'f'I' '1 
 
 I ad 
 
 ay 
 
 jfraduu d nnes, I-i^r. jq, be 
 then with the middle fin 
 
 Ic in pencillin^^ In drawing th( 
 
 iie 
 
 28, turn th 
 
 )f th 
 
 fin ',/ith the thinnest, 
 r. as shown in Vi^r, 
 
 screw v., i.n: [M 11 i.cicK, say, aboi... .^ 
 quarter of a revolution for eac h of the others, 
 the last opening being about the right thickness' 
 for the border line. As the border line takes 
 longer to dry it is very easy to smear, but of 
 course this may be avoided I)y lettinir the ink 
 dry while preparing the ink-leg for the com- 
 passes. U is well to practice this method of 
 
AnriimxTrKAi- drawixo ski.k taught 
 
 drawing lines a number of times until a certain 
 amount of perfection is attained. 
 
 In dravvintr circles, care must be taken in 
 holdinfr the compasses in order to get an even 
 
 Fig. 30. Fig. 31. 
 
 thickness of lines, and the pen should always 
 stand vertically ovrs ihr. work, as shown in Fig. 
 30. When a number of circles drawn from a 
 common center is necessary, as shown in I*ig. 31, 
 be sure to draw the outside, or the one having 
 
 the greatest radius, first, when the other circles 
 may follow in regular order. The sharp curves 
 as shown in l"i^. ;~,i are always the most difficult 
 to dtaw correctly, while the Hat curves, or 
 curves with greater radius, are, within certain 
 limits, much easier to describe. The curves 
 shown at I'ig. 32 are llat ones, and well within 
 
 iS--»BiTO-i»»rt!«Ksi^'*'sirT5HW^r>uiimh^^ *i"-3i->-.w= ^«^ «.->' ss-mtr . - 
 
AiicruTfXTumi. nuAWixo sfxp taught 
 e range of the ordinary compass. Th 
 
 ss 
 
 th 
 
 .°:,; "■""■i>ry compass. The inner 
 
 curve ,s "dotted" an.l to form this without a 
 dotting pen, with any degree of regularity 
 requires considerable cure and practice, but it i^^ 
 much better to make ail dotted lines with the 
 ordinary pen, than to make use of a dotting pen 
 wh,ch to a new beginner is generally a source of 
 
 ^'ig- 33- 
 
 Pig. 34. 
 
 F'g- 35- 
 
 trouble and disappointment. The examples of 
 circles shown at l-i^s. .3, 34 and 35 offer good 
 pracuee ,n curve drawing, with the compasses. 
 Before drawmjr them, however, it will be best to 
 draw a pa.r of center lines for each circle, cutting 
 each other at right angles in the center, and it 
 IS a good rule never to draw a circle under any 
 circumstances wuhout having two center lines to 
 mark ,ts proper situation. In the first circle 
 'g. 3^, mark off points one quarter of an inch 
 ap..rt along one of the diameters from the 
 circumference to the center, and then describe 
 the concentric circles with the compasses, taking 
 
f 
 
 50 
 
 AnCIIlTECTURAL DRAWING SELF TAUGFIT 
 
 care not to bore a large hole through the paper 
 with the point. The compasses, if properly 
 sharpened, should barely penetrate the paper 
 and leave no impression on the boarvl. 
 
 To fill up the middle circle, l*"ig. 34, set the 
 compasses to the radius, and then, putting the 
 point at the intersection of one of the center 
 lines with the circumference, mark across the 
 circumference on each side; do the same at each 
 intersection of the center line with circumference, 
 and it will be found that the circumference is 
 then divided into twelve equal parts. \ow 
 join each opposite joint by a line passing 
 through the center and the figure will be 
 complete. 
 
 The last figure to be drawn, Fig. 35, is the 
 most difficult, but has the best effect, so it is 
 worth taking some pains ov^er. Draw the two 
 center lines, put in the large circles and divide 
 the horizontal diameter into '4 in. spaces. Take 
 the small compass, set it to ,'4 in. radius, and 
 then put in the smallest semicircle on each side. 
 Then set it to >< in. radius, and put in the ne.xt 
 semicircle; then to % in. radius for the next two 
 semicircles, which should exactly meet at the 
 center. Now to i in. radius, and, lastly to i J4 in. 
 radius, checking the curves before actually 
 
ARCHITECTURAL DRAWING SELF TAUGHT 57 
 
 those 
 
 ffers 
 
 drawing them, by seeing 
 already drawn. 
 
 Here is an example 
 altogether with curved 1 
 good practice. This re- 
 quires accurate division 
 and correct draftsman- 
 ship. 
 
 A few practical exam- 
 ples of the use of curves 
 are shown in the follow- 
 ing figures: Fig. 37 
 shows a scheme by which ^''K- ^^ 
 
 an ornament may be constructed where all the 
 
 '*'K 37- 
 
>8 
 
 AnciIlTECTURAL DHAWIXG SELF TAUOIIT 
 
 I'M) 
 
 curves are drawn with one radius. The manner 
 of getting the centers is shown by the dotted 
 lines. P'igs. 38 and 39 exhibit another combina- 
 tion of curves which is easy to draw. To make 
 I*"ig. 39 is perhaps the easiest of them all, as it 
 is formed of curves drawn with one point of the 
 
 I'iK. 3^'. 
 
 compass resting on one corner of each of the 
 smaller squares which are shown by the dotted 
 lines. 
 
 The three examples shown in Figs. 40,41, and 
 42 arc a litrle more tlifficult to draw than the 
 previous ones. I'ig, 40 may be termed a trefoil 
 ornament, as the central divisions are drawn 
 
AnCTTKrrtTnAL DRAWIVO SELF TAUGHT 
 
 50 
 
 from the three points of an equilateral triangle 
 which ,s shown by the dotted lines. This style 
 
 of an ornament 
 is in frequent 
 "se in church 
 work as the tri- 
 angle is sup- 
 posed to be 
 symbolic of the 
 Trinity. The 
 student should 
 copy this often 
 enough so that 
 
 ™ 
 
 I'^ig. 40. 
 
 Jfr'^TiHi-i 
 
 
 
 
I 
 
 60 
 
 AncniTfxTrnAi- dhawino self tatioht 
 
 he can draw or describe it from memory 
 alone. 
 
 Fi^. 41 is simple enough when the principle is 
 understood. The circles inside are drawn from 
 
 IMi;. 41 
 
 six centers, or from the six jjoints of a hexagon. 
 Care must be taken not to cross the lines at the 
 intersections of the circles, when such crossings 
 are not intended. This will give good practice. 
 
 I'ig. 42 is somewhat complicated, but it is 
 surmised that no trouble will be found in the 
 formation of the ornament; at least, there 
 ought not to be, if the student has been mindful 
 of what lias gone before. 
 
 There are many situations in which a curved 
 
ARCHITKCTURAL DRAWING SELF TAUGHT 61 
 
 line is required that calls for more or less skill 
 
 to properly adjust to the purpose, and in order 
 
 to arm the student with the proper knowledge 
 
 to find centers for this purpose, the following 
 
 problem is laid before him: Suppose we have 
 
 three points that are not in a straight line as 
 
 ABC, Fig. 43, 
 
 through which 
 
 we want to 
 
 draw a portion 
 
 of a circle. Let 
 
 BHCbeachord 
 
 of the segment 
 
 H, and BJA a 
 
 chord enclosing 
 
 t h e segment. 
 
 Bisect or divide 
 
 in equal parts 
 
 the chord BC ^^'^- ^^' 
 
 at II. and square down from this point to D 
 
 Do the same with the chord AJB. squaring over 
 
 from J to I), then the point where JD and HD 
 
 intersect will be the center of the circle. 
 
 This is a very important problem, and will be 
 found useful in many ways. 
 
 The same result may be obtained by the use 
 of the con passes alone as may be seen as follows: 
 
 •.^i 
 
If 
 
 im 
 
 Gi 
 
 ARCIIITKCTURAI. DUAWINO SELF TAUOUT 
 
 Suppose AB, FJR. 44, to be the curve, from the 
 point A and B strike ares of equal radius inter- 
 
 F'g- 41- 
 
 seating at c and t/, and draw a line through the 
 intersections cutting the arc at c. This line will 
 
 pass through the 
 center. Then from 
 points c and //, with 
 Q a rather shorter ra- 
 dius, strike arcs in- 
 tersecting at/ and j^, 
 draw a line through 
 these intersections, 
 and where the pre- 
 vious line is cut will 
 
 Fig. 44. 
 
 be the center as shown at //. 
 A practiced application of this example may be 
 
 «> 
 
Am 1IITK(TI'HAL ORAWIVO .SKLF TAUGHT f 
 
 used on F.g. 45. where it is desired to round off 
 a corner as shown at HAC. The center of the 
 TT/y-z-r^T-^ -.r ^"""^^ '^ shown at O, 
 
 from which the curve 
 is struck, 
 
 I'itr- 4^J shows tlie 
 methodjustdescribed 
 apph'ed to three 
 strai^^ht h'nes form- 
 in^r two ri^dit angles 
 and havinj^r two adja- 
 cent corners rounded. 
 I'JI?- 47 iihows how 
 to deal with two parallel lines that are to be joined 
 tangentiallyby a semicircle. In this case bisect the 
 space between tl,e two lines by a perpen.Jicular 
 line tha. must contain the center of the circle from 
 
 Fig. 4r-. 
 
 r 
 
 Fi 
 
 ig- 4' 
 
 Imjj. 4- 
 
 ImK- 4>i. 
 
 '•''S- 49- 
 
 ^vhichthe equired circle isdraun. Deiermine 
 the extreme position -f rhcrcur.-, ,,n<i ,„ark from 
 It. along the center Ji,.,, a distaru ■• ..qnal to half 
 t.ie distance between :!-- hnes. auM 'his mark 
 
 ti 
 
64 
 
 AKClllTLCTUBAL DRAWING SELF TAUGHT 
 
 Xr..: 
 
 PLATK 4. 
 
 This plate shows the disposition ot the joists 
 in first and second stories, also the position of 
 rafters and ridjres on the roof. These sketches 
 show the trimmers for fireplace and stairs. The 
 manner of drawing is very simple and should 
 offer no difficulties to the student. 
 
4. 
 
 m 
 
 kh 
 
 
MICROCOPY RESOLUTION TEST CHART 
 
 (ANSI and ISO TEST CHART No. 2) 
 
 1.0 
 
 I.I 
 
 y^ 12.8 
 
 1^ 
 
 1^ 1^ 
 
 m 
 
 S us 
 
 BIM 
 
 •- ^ 
 
 1.25 WWWA 
 
 1.8 
 
 1.6 
 
 A /APPLIED IM/^GE Inc 
 
 ^K 1653 East Main St-eel 
 
 S"*a Rochester, New York 14609 USA 
 
 '•Sa (/16) 482 - 0300 - Phone 
 
 ^S ("6) 288 - 5989 - Fax 
 
 : W^^^P'!^''-*^^"^*.'^-. -^^^-It^ay-^fe/ 
 
! 
 
 m 
 
 ^ 
 
 Pl/^teA 
 
!l 
 
ARCHITECTURAL DRAWIXG SELr" TAUGHT 6.5 
 
 will be the center of the required circle. The 
 example shown at Fig. 48 is a little more diffic , 
 to deal with, as in this figure the lines Which it is 
 desired to join by a curve, are not at right 
 angles. Therefore inside these, and at a 
 distance from them equal to the radius of the 
 curve which it is desired to use, draw two 
 parallel lines. To do this, take the radius in the 
 compasses and strike two arcs at some distance 
 apart along the inside of each line. Tangent to 
 these draw the two inner straight lines shown 
 dotted, and their intersection will give the 
 center required. The exact points of junction 
 ot the straight lines with the curve can be found 
 by drawing perpendiculars from the center to 
 the straight lines by the method shown on the 
 left hand side of Fig. 48. 
 
 The illustration. Fig. 49. on the left side, is 
 exactly similar to Fig. 48 with the exception that 
 It represents a sharper angle than that shown by 
 the angle or corner of che previous example. 
 
 At Fig. 50 is shown a method of joining a 
 curve to a straight line by a smaller curve. In 
 this example, after drawing the given straight 
 l>ne and circle, set the compasses to the required 
 radius, and from any point in the circumference 
 of the circle describe a short arc outside it. 
 
 ^IMfJ^ 
 
 i^o.i:Wt-^ 
 
m 
 
 ARCHITECTURAL DRAWING SELF TAUOHT 
 
 i 
 
 Fror the center of the circle draw a straight line 
 through this last point, and its intersection with 
 the arc will give the radius of an arc concentric 
 with the large circle, which must be drawn 
 towards the given line. Then, with the required 
 radius, again set off arcs from the given line to 
 give a parallel line, as in Figs. 47 and 48. The 
 intersection of this parallel line with the larger 
 arc will give the center to use for the connecting 
 
 Fig- 50. Fig. 5,. Fig. 52. 
 
 curve. In every case it will be observed that the 
 perpendicular line from the center of the 
 junction curve to the line, or the line joining the 
 centers of the two curves, will give the exact 
 termination of the junction curve. 
 
 lig. 51 is practically the same as Fig. 49 with 
 different radii. 
 
 Fig. 52 shows two circles of different size 
 joined by two curves of equal radii set off upon 
 the same principle as Figs. 50 and 51. 
 
 Fig. 53 shows a straight line cutting a circle 
 
ARCHITECTURAL DRAWING SELF TAUGHT 67 
 
 and joined by small curves on the inside. Afr.r 
 drawing the circle and straight line, take the 
 required radius of connecting curve and draw a 
 short arc on ihe insi<le of large ,urve-say, on 
 the center line-and from the main center draw 
 an arc concentric with the large circle, but inside 
 >t. Then, with the required radius, obtain a line 
 parallel to the given line, and the intersection^ 
 
 :y■'^C'■^} 
 
 Fig- 51- 
 
 •^r. lij L. 
 
 Fig. 54- 
 
 Of this parallel line with the large arc will give 
 the centers for the connecting curves. 
 
 F.g. 54 shows two given parallel straight lines 
 which are to be joined by an ogee or reversed 
 curve. Select a point on one of the lines from 
 which the curves may start, draw a horizontal 
 line and also an inclined line, making an angle 
 of 6c degrees with it. The latter line produced 
 
 to 
 
 cut the other given straight line will mark 
 
 termination of th 
 
 th( 
 
 1 
 
 ine, and it will give th 
 
 e curves. Hjsect this 
 
 mciincd 
 
 e j mction point betwe 
 
 he two curves. Bisect each half of the inchned 
 Ime and produce the bisection to meet the 
 
68 
 
 ARCIIITK/TURAL DRAWING 9KLF TAtTOHT 
 
 horizontal lines, to jrive the centers for the 
 curves. Before drawing the curves, join these 
 centers, to see that a straight line will pass 
 exactly through the junction of the two curves, 
 and then put in the curves with a radius equal 
 to half the length of the inclined line. This is 
 a very useful curve, and is similar to those used 
 for cross-over roads on railways. In architecture 
 the best curves are produced from conic sections 
 or freehand. Circular curves have a harsh 
 appearance. There are nevertheless, many 
 cases where they are necessary or desirable. 
 
 The draftsman will often be called upon to 
 describe mouldings of various kinds, and it is 
 proper he should know how to form these so 
 that they may accord with the style for which 
 they are intended ••'• ther this be Greek, 
 
 Poman, or otherwise. 
 
 1 — ' Tpo following exam- 
 
 i.-.j.^ pi js are old, but are 
 ; of a kind that will 
 
 Fig. 55. 
 
 always be in vogue 
 and it is but fitting 
 the young student 
 
 and workman should know how to draw them 
 
 correctly. 
 The example shown at F"ig. 55 is a Scotia or 
 
 
 .■.^M.fm 
 
ARCllITECTUKAL nnvWlNG SKLF TAUOIir 
 
 m 
 
 Fig. 56. 
 
 cove and is drawn as follows: Divide <i, b into 
 three equal parts; with r as a center and the 
 radius c, a, describe the semi-circle c, a, iL Then 
 with f/ as a center 
 
 and d, e as radius, ^"i =^4^--— ^tf 
 
 describe the quad- 
 rant r, b, then a, c, 
 b, will form the line 
 of moulding. 
 
 F"ig. 56 shows an- 
 other method of 
 getting a deeper moulding. Let a, a, be the upper 
 line and c, c, the lower; from a, drop a perpendic- 
 ular to c; divide a, c, into seven equal parts; 
 throuqrh the third of these, from a, draw a W. 
 
 parallel to a, a; 
 from /;, with b, a, 
 draw the semicir- 
 cle b, d, and from 
 d, draw to c, per- 
 pendicular to b, d ; 
 produce a, a, to r; 
 from (\ as a center, 
 r, with e, in, as radius, describe part of a cin'- 
 to n. 
 
 Fig. 57 shows an "echinus," or "ovolo." This 
 is one of the most useful of mouldings, and was 
 
 "I T.:"».iioa' 
 
AnrmTF.fTrnAi, dhawivo sklf TAronr 
 
 employed larjrely by the (Greeks in many 
 posiiions. Let d, h be the two points; join them 
 by a line a, b\ divide this into seven equal parts; 
 from /;, with b, i, and from a, with 1h same 
 radius, describe arcb cutting in c\ from c, with 
 c, ix, describe the arc a, b. Another method of 
 describing an ovolo is shown at Fig. 58. Let a, 
 b, and c, d, be the two horizontal lines of the 
 
 figure. Divide b, d, 
 into four equal parts; 
 make d, e, equal three 
 of these; draw e, /; 
 then with any radius 
 greater than half of 
 (f, /, with d, and / as 
 c<mters respectively, 
 describe the arc, cutting ^t g, from which, as a 
 center, 'srribe the arc, '. 
 
 At Fig. 59 I show a moulding called a 
 "quirked ovolo." The projection in this case is 
 made equal to five-sevenths of its height, as seen 
 by the divisions, and the radius of the circle b, 
 c, is made equal to two of the divisions, but 
 other proportions may be taken. Describe the 
 circle b, c, forming the upper part of .ne contour, 
 and from the point .^, draw g, h, to f rm a 
 tangent to the lower part of the curve- Draw 
 
 "^-.^ 
 
ARCHITErTirRAL DRAWIXO HKKF TAr«IIT Ti 
 
 r. a perpendicularly to ^. /,. and make ,. / 
 equal to the radius ./...of the circle A.: join/ 
 
 '/. by a straight line, wliici, bisect by a line per- 
 pendicular ,0 it, meeting ^•, „, in «; join „. ,/. and 
 
 Fig. 60. 
 
 produce the line to c: Then from .7 
 with the radius a, c, or a, g, describe the ^ve 
 Fig. 60 is a method where the t 
 
 LUHK 
 
 a center, 
 
 '''^^.^V^*!^" 
 
n 
 
 AIUIHTKCTL'H.VL DnAWINO M, y TATOIIT 
 
 and the projection- arc jrjven. Throu^rli the 
 point of extreme projection /;, draw the vertical 
 line X'. //. and throuj^h fi, dr.nv /;, <. paralhl to x^ 
 //, and produce it to ti, making' r. n, rquii] to r, t/. 
 Divide f. h, and c, l>, each into the sarn<; number 
 
 Fig. 6i. 
 
 of equal parts, ana through the points of divii i 
 in I, h, draw from a, straight lines, and through 
 the points of division in i\ b, draw from d, right 
 lines, cutting those drawn from a. The inter- 
 sections will be the points through which the 
 curve is traced. 
 
 In Fig. 6i I exhibit a method of describing the 
 
AHcnnrATviuL i.uawino hfxk TAvom ?:, 
 
 - vi.rcian Uonc capita, 
 he tangent .. .. ar ...o^ ..tic . /. bein« ^iven 
 ^^raw ./...,./,,. p,rpe: i.cuhr to th. horizon 
 and <lrnw ,. /, and .,/ at ri;,hr an,,lcs to ./. .. ^. 
 /',«. Makex-.« equal ^ 
 
 to ^, //, and r, >6 ecual 
 to ^/, c- ., //, /.. iji. 
 vide//. ' id/ /nnto 
 the same number of 
 parts, and draw lines 
 
 Fig. 61. 
 
 from a, through tht 
 divisions of Jk, A, and 
 lines from ^ through the divisions of / /,. and 
 their mtersections are points in the curve 
 . In Pi^rs. 62 and 6.3 I show a cove or "cavetto" 
 
 mould. To de- 
 scribe it let aS, 
 <^<^^ Fig. 63, be 
 the lines at top 
 and bottom 
 
 Fig. 63. 
 
 |«if>t*...j^'' From b, draw to 
 
 d, perpendicular 
 . ,. . . toa,^; divided 
 
 mto three equal parts; from d, lay on dc to . 
 equa to two of these parts; join te, from . and 
 b, with radius greater :han half eb, draw arcs 
 cutting in/; from/ v .h / b, draw the arc be 
 
 If 
 
74 
 
 ARCHITECTURAL DRAWING SELF TAUGHT 
 
 ■I' 
 
 1 
 
 i 
 
 Fig. 64. 
 
 c^""^"-*"^' 
 
 Another method of describing this moulding is 
 shown at Fig. 64. a/; and cc/. are the two h^nes 
 divide the perpendicular into five equal parts,' 
 
 make de equal to 
 ' \d five of these and 
 proceed as in the 
 last example. 
 
 The next exam- 
 ple is the Q';ua 
 recta moulding. 
 This is considered 
 the most beautiful of mouldings; and this figure 
 IS the simplest form, and is easily described; ab, 
 and cd, T ,g. 65, are top and bottom lines of' the' 
 moulding, /.. the height and ./. the projection 
 l>ivide the line d, 
 id^nl) into twelve 
 equal parts; take 
 six of these parts 
 as radius, with /; 
 and 6 as centers, 
 describe the arcs 
 
 £, with 8 as a center, and the same radius 
 describe the arc 67^, then with i and 6 as centers 
 describe the arcs at h, with h as a center, describe 
 the arc d, 6. 
 
 Fig. 66 shows a cywa recta formed by two 
 
 i^msf^ 
 
ARCHITECTOHAL DRAWING SKIP TAUGHT ^ 
 
 opposite curves, shown by the use of ordinates. 
 By takmg a greater number of points than 
 shown, as centers, the figure will resemble an 
 elhpfcal curve. The manner of drawing the 
 curves ,s shown on the diagram and may be 
 easily followed. ^ 
 
 Fig. 66. 
 
 ell Ptical quadrants. These curves may be 
 obtained by following the lines in the diagram 
 eliotlT ''' ""'"'''^ ^'^^" f- "■'^'ning 
 dec bedb"?- """^ '"°"'*"S "" best be 
 
 i Will describe later on- r.r ^u„ 
 
 «k«. • , , ' °^ *^"^ curve mav be 
 
 obtained by the use nf t\.^ w , 
 
 in Fig. i8. ellipsograph, shown 
 
 ■u'lxVffr.riT 
 
70 
 
 ARCHITF-OTURAL DRAWING SELF TAUGHT 
 
 I 
 
 These examples will fully suffice to give the 
 learner good practice on circular curves, as by a 
 combination of these, nearly every form of 
 moulding may be made. A few words on 
 elliptical and some of the higher curves may 
 not be amiss, but I do not think it wise to over- 
 
 Fig. 67. 
 burden this work with examples and instructions 
 that the ordinary draftsman or workman may 
 never be called upon to make use of. 
 
 One of the simplest methods of forming an 
 e iipse is by the aid of two pins, a string and a 
 lead pencil as shown at Fig. 68. Suppose F B 
 to be the major or longest axis, or diameter, and 
 D C the minor or shorter axis or diameter, and 
 E and K the two foci. These two points are 
 
ARCIIITEfTUHAL DH.UVIXCJ SKLK TAUGHT 
 
 77 
 
 obtained by taking the half of the major axis A 
 B or F A on the compasses, and, standing one 
 point at D, cut the points E and K on the line F 
 B, and at these points insert the pins at E and 
 K as shown. Take a string as shown by the 
 dotted lines and tie to the pins at K, then stand 
 
 the pencil at C and run the string round it and 
 carry the string to the pin E, holding it tight 
 and winding it once or twice round the pin, and 
 then holding the string with the finger. Run 
 the pencil around, keeping the loop of the string 
 on the pencil, and it will guide the latter in the 
 formation of the curve as shown. When one- 
 half of the ellipse is formed, the string may be 
 used for the other half, commencing the curve 
 at F or B, as the case may be. This is commonly 
 
 '--"aiMi >,- J i. i nA. 
 
78 
 
 !■ j 
 
 AHCHITECTURAL DRAWING SELF TAUGHT 
 
 called "a gardener's oval," because gardeners 
 make use of it for forming ornamental beds for 
 flowers, or in making curves for walks, etc., etc 
 This method of forming the curve is based on 
 the well-known property of the ellipse that the 
 sum of any two lines drawn from the foci to 
 their cirv^umference is the same. 
 
 The illustration shown at Fig. 69 sh^ws a 
 trammel and the method of using it which is 
 
 very simple. The in- 
 strument consists of 
 two principal parts, 
 Q the fixed part in the 
 form of a cross as 
 C D, A B, and the 
 movable tracer H G. 
 The fixed pit'^e is 
 made of two triangular bars or pieces of wood 
 of equal thickness, joined together so as to 
 be in the same plane. On one side of the 
 frame when made, is a groove forming a 
 right-angled cross; the groove is shown. In 
 this groove, two studs are fitted to slide 
 easily. These studs are to carry the tracer and 
 guide it on proper lines. The tracer may have 
 a sliding stud on the end to carry a lead-pencil, 
 or it may have a number of small holes passed 
 
 Fig. 69. 
 
 rMf^mmum. 
 
ARCHITECTUHAL DHAWIXG SE^F TAUGHT 79 
 
 through it, as shown in the cut, to carry the 
 pencil. To draw an ellipse wiih this iristrument, 
 we measure off half the distance of the major 
 axis from the pencil to the stud G, and half the 
 minor axis from the penc'i point to the stud K, 
 then swing the tracer round, and the pencil will 
 describe the ellipse required. The studs have 
 little projections on thjir tops, that fit easily into 
 the holes in the tracer, but this may be done 
 away with, and two 
 brad-awls or pins may 
 be thrjst through the 
 tracer and into the 
 studs, and then proceed 
 with tl;e work. With 
 this instrument an el- 
 lipse may easily I t de- 
 scribed. 
 
 A figure that approximates an ellipse may be 
 described by the compasses, and it is well for 
 the draftsman to acquaint himself with the 
 manner ir ^vhich this is done, and to this end I 
 submit pe .ps the most useful metnod for this 
 purpose. Let us describe the oval shown at 
 Fig. 70. Lay off the length C D. and at right 
 angles to it and bisecting it lay off the width A 
 B. On the larger diameter lay off a space equal 
 
 
i.l^f 
 
 
 If 
 
 80 
 
 ARCIHTECTUIiAL DHAWINO SELF TAUGHT 
 
 PLATE 5. 
 
 This elevation shows the front and side eleva- 
 tion of the cottage in finished order. Two styles 
 of drawing are shown, the one being in plain line 
 and the other shaded. I would not advise the 
 student to attempt shading until such time as iie 
 feels assured he can make a presentable piece 
 of work. Of course, I mean, he should not 
 attempt to shade any drawings for exhibition 
 until he has had good practice on preliminary 
 work. This plr e is a very good one to copy. 
 
 t 
 
*» 
 
 
h i 
 
 I < 
 
 = Platf3. 
 
 ^^f^r ^^/o ^^0^ 
 
■hi 
 
 I 
 
 5iO(? feLSV|<\riof{5 
 
; !■ 
 
 i 
 
 
 '• i 
 
 III 
 ?1 i 
 
 ... k^ww^'^-mi ^'^:^.r^r^'M^-im 
 
ARCHITKf URAL DIIAWI.VO SELF TAITOMT 
 
 81 
 
 to the shorter diameter or width, as shown by D 
 E. Divide the remainder of th. '.-ngth or larger 
 diameter E C into three equal parts; with two 
 of these parts as a radius, and R as a center 
 stnke the circle (;SFT. Then, with V as a 
 center and F G as a radius, and G as a center 
 and G I as radius strike the arcs as sh' 
 intersecting each other and cutting the . 
 drawn through the shorter diameter at O . 
 P respectively. From O. through the po^ 
 G and F, draw OL and OM, and likewise f- 
 P through the same points draw PK and 
 With O as center and OA as radius, strike iie 
 arc LM, and with P as center and with ,ke 
 radius, or PB which is the same, strike th. 
 KN. With F and G as centers, and with F 1 > ano 
 C G which are the same, for radii, str, th. 
 arcs NM and K L respectively, thus comp.eting 
 the figure. 
 
 The oval is not an ellipse, nor are any of the 
 figures obtained by using the compasses, as no 
 part of an ellipse is a circle, though it may 
 approach closely to it. The oval may sometimes 
 be useful to the draftsman, and it may be well to 
 Illustrate one or two methods by which this 
 figure may be described. 
 
 Let us describe a diamond or lozenge-shaped 
 
 II 
 
tli 
 
 M AHCIIITWTURAL OKAWINO SKLK TAUOHT 
 
 figure, such as shown at Fig. 71. and then trace 
 a curve insid.- of it as shown, touching the four 
 sides of the n^rure, and a beautiful egg-shaped 
 curve will he formed. I'or effect we may 
 elongate the lozenge or shorten it at will, 
 placing the shorter diameter at any point. 
 
 1 1 
 
 II 
 
 11 
 
 Fig. 71. 
 
 An egg-shaped oval may also be inscribed in 
 a figure having two unequal but parallel sid-s, 
 both of which are bisected by the same line,' 
 perpendicular to both as shown in Fig. 72! 
 Thc:.e few examples are quite sufficient to satisfy 
 the requirements of tlu- ordinary draftsman, as 
 they give the key by which he may construct 
 any oval he may ever be called upon to form. 
 
Am IIITKtTlHAL DHAWIXO 8KLK TAUOIIT 88 
 
 Scrolls often have to be drawn by draftsmen 
 and these may be obtained, more or less 
 accurately by various methods. One method 
 employed, is by making? use of two lead pencils 
 well sharpened and arranjred as shown in I-ig. 
 7}- A piece of strin,^ is tied tightly around one 
 of the pencds and wouml around the conical end 
 as shown, while the po?- of the second pencil 
 
 r^^ 
 
 Fitf. 72. 
 
 I-^'g- 73. 
 
 either pierces the string or the string is looped 
 to hold the pencil, near the other pencil, which 
 leaves the arrangement ready for work. To 
 draw the scroll the pencils must be kept vertical 
 the point of the first kept firmly in the hole or 
 center of the figure, and the second pencil must 
 then be carried around the first, with the mark- 
 ing point held in touch with the paper, the 
 distance between the two increasing regularly as 
 the stnng unwinds. 
 
 This is a rough-and-ready means of drawing a 
 
 ip-m 
 
 .--;.</ 
 
84 
 
 ARCHITECTURAL DRAWIXG SELF TAUGHT 
 
 scroll, but it has the quality of being fairly 
 correct. 
 
 Another similar method is shown in Fig. 74, 
 only in this case the string unwinds from a spool 
 on a fixed center A, D, B. Make loop E in the 
 end of the thread, in 
 which place a pencil 
 as shown. Hold the 
 spool firmly and move 
 the pencil around 
 i t , unwinding the 
 thread. A curve will 
 be described, as 
 shown in the lines. 
 It is evident that the 
 proportions of the 
 figureare determined 
 by the size of the spool. Hence a larger or 
 smaller spool is to be used, as circumstances 
 require. 
 
 A simple method of forming a figure that 
 corresponds to the spiral somewhat is shown in 
 Fig. 75. This is drawn from two centers only, a 
 and e, and if the distance between these centers 
 is not too great, a fairly smooth appearance will 
 be given to the figure. The method of describ- 
 ing is simple. Take ai as radius and describe 
 
 Fig- 74. 
 
ARCHITECTURAL DRAWING SELF TAUGHT 
 
 85 
 
 a semicircle; then take ei and describe semi- 
 circle 12 on the lower side of the line AB. Then 
 with 32 as radius describe semicircle below the 
 line AB; lastly with 33 as radius describe semi- 
 circle above the line and the figure is complete. 
 These examples, and what may be 'jduced 
 from them, will be quite enough to satisfy the 
 requirements of the draftsman who does not 
 intend to follow this art further than as an aid 
 
 to his profession as a builder and workman, so 
 now I will offer a few pages on straight line 
 work. 
 
 LINE WORK 
 
 In previous pages I gave a few suggestions 
 regarding line work done with the ruling pen, 
 and I now supplement them by submitting the 
 following examples numbered from Fig. 76 to 
 78 inclusive, which the student is advised to 
 

 |: 
 
 1 
 
 ' 
 
 
 
 
 
 
 j 
 
 I 
 
 lIt v'jfixamatiisa 
 
 86 
 
 ARCIIITKCTURAL DRAWING SELF TAUGHT 
 
 draw and redraw, fjrst by measuring off the 
 distances, and then by attempting to get the 
 exact distances without measurement. If the 
 hnes in the examples are placed less than one- 
 sixteenth of an inch apart, they will appear, at a 
 little distance, like an even tint of shading, and 
 the closer they are the more difficult will it be 
 to get the appearance quite uniform, but this 
 
 Fig. 76. 
 
 Fig- 77- 
 
 Fig. 78. 
 
 kind of work makes excellent practice for the 
 pen. 
 
 These examples are selected from a large 
 number of possible combinations, as giving 
 variety of practice uiule not appearing too 
 difficult. They are, however, more difficult 
 than they appear, so that they must be com- 
 menced with the determination to produce very 
 neat and accurate drawings. 
 
 After drawing the border line in pencil, }( in. 
 from each edge of the paper, find by measure- 
 ment the center of the paper, so that the second 
 
ARCHITECTURAL DRAWING SRLP TAUGHT 87 
 
 square, Fig. -jt, may be placed in the middle 
 rule a horizontal line for the square to rest 
 upon, draw the middle one in outline first and 
 then the others, each measuring 3 in. along one 
 side. The spaces between the border line and 
 each of the squares should be equal. In the 
 upper half of the first square. Fig. 76. mark off 
 equal divisions of % in. each, and draw hori- 
 zontal hnes; then, in the lower half, mark off 
 simdar distances and draw vertical lines In 
 the second square. Fig. 76. equal distances must 
 be set off from each of the sides, and parallel 
 lines drawn, so as to make a number of com- 
 plete squares. These should be drawn with a 
 fine chisel-pointed pencil, and then tested by 
 drawmg diagonal lines from opposite corne-s 
 If the squares have been correctly set out, all the 
 angles will be upon one or other of the diagonal 
 Imes. In the third square. Fig. 78, the inner 
 squares are drawn with their angles tangent to 
 the sides of tne one next larger. If very fine 
 pencil lines are drawn across opposite angles of 
 the c Iter square, and then two other lines 
 bisecting the sides, it will be found easy to join 
 up the mner squares to the points so found. 
 ^ After the squares are completed in pencil, fill 
 in or Ime over with the ruling pen and ink. 
 
 ;9i 
 
; ! 
 
 88 
 
 ARCHITECTURAL DRAWING SELF TAtOHT 
 
 Fig. 79. 
 
 The set of lines shown at Fig. 79 are of 
 
 different strength or breadth, all of which, may 
 
 __^_____________^^____^^ be drawn by a skil- 
 
 ^B==^=^=:^=s»s:=B ful use of the pen. 
 
 ■^■^■■^■i^BMHnBi^iiMaBB ^" Simple work of 
 
 this kind the lines 
 ne d not be pen- 
 ciled only perhaps, 
 to define the limits 
 of the lines. 
 
 Fig. 80 gives 
 practice in draw- 
 ing dotted lines. 
 Such lines are 
 
 necessary in all kinds of working drawings. The 
 
 more important 
 
 ones should be first 
 
 drawn with peucil. 
 These methods 
 
 of lining should be 
 
 practiced until the 
 
 student can make 
 
 them clear and 
 
 clean without much 
 
 effort. The illus- 
 tration shown at ^'& ^o- 
 
 Fig. 81 exhibits a method of cross lines, in 
 
 m^^^ 
 
 ^^m 
 
 dk.. 
 
ARrHlTECTt'KAL DRAWING SELF TAUGHT 89 
 
 making of /hich the student must be careful 
 and .ee that one set of lines are perfectly dry 
 berore being crossed by the others. It is well 
 to try the pen upon a separate piece cf paper 
 before applying it to the drawing. 
 
 Where the 
 drawings are 
 complex or very 
 particular, they 
 should always 
 be made first in 
 pencil and inked 
 in afterwards; 
 then, if any cor- 
 rections are nec- 
 essary, they may 
 be made before 
 
 i "T- 
 
 :::t:~'"-'t-i 
 
 1 t 
 
 --.-.:.:"■ 
 
 "~~ 
 
 
 "~ 
 
 
 
 ■"" 
 
 1 "I — 
 
 
 - 
 
 1 ' '"■" 
 
 
 ^H 
 
 ±\\ UN 
 
 i 
 
 ■hiiiiiiirTTTI 1 1 
 
 
 B 
 
 Fig. 8i. 
 
 the inkmg is done, and the superficial lines 
 can be taken out by erasing them. To erase 
 strong pencil marks requires hard rubbing, 
 which destroys the surfac. of the paper. Be 
 careful in making pencil lines and do not get in 
 "^ore than are wanted, as confusion in inking is 
 sure to follow if too many lines are in evidence. 
 1 he pending being done, the drawing may be 
 jnked in. but before starting the following 
 instructions must be considered. The drawing 
 
 
 vH 
 
 ■in 
 
 I 
 
 h4 
 
 m 
 
;1^ 
 
 JO 
 
 ARCHITECTURAL DRAWIXO SELF TAUGHT 
 
 pen is filled by dropping the ink between the 
 nibs while hekl in a nearly vertical position, as 
 before stated. The pen can be used with a 
 straight edge ruler; the taper to the point is 
 sufficient to throw it far enough away from the 
 edge to prevent blotting if care is taken. The 
 breadth of the line is regulated by adjusting the 
 screw. If the pen is not in use, even for a short 
 
 time, be sure to 
 take out the ink 
 with a blotter and 
 dry the pen thor- 
 oughly. The nibs 
 should be kept per- 
 fectly bright and 
 clean. The liquid 
 India ink which 
 comes in bottles is 
 nowgenerallyused. 
 This much being thoroughly understood, I will 
 now try and giv^e a few hints as to the proper 
 method of using the drawing pen. Fig. 82 shows 
 the method of holding the pen. The pen is held 
 between the thumb and two forefingers, and 
 carrierl along the ruler from left to right, with 
 the flat blades always parallel to the direction 
 of the line; otherwise the pen will either be 
 
 iimmmiiaMmmmwmi'ir ^ 
 
 Fig. 82 
 
ABCHlTECTtinAL DBaWIXO SELF TAtlGI... 9) 
 
 running on the edge of the blade only, or in such 
 a position that the ink cannot flow freely from 
 us pomts. The result in either case would be a 
 broken or ragged line, a condition to be a^ oided, 
 or a bad drawing will result. 
 
 In marking off dimensions on a drawing a 
 system of rough lines is generally adopted which 
 ■s dlustrated at Fig. 83, when a dimension is 
 shown gu.ding the sight from arrow-point to 
 
 i- ■■■■■■ ■■■■.,■::::', 
 
 Pig. 83. 
 
 arrow-point. These lines should consist of 
 strokes not more than one-sixteenth of an inch 
 long and should have not Uss than a quarter of 
 an mch space between f.em. It will be worth 
 whde to measure these distances for a few 
 tm,es at first when drawin, them so as to get 
 mto the practice of getting them about right 
 though ,„ a very short time the draftsman will' 
 be able to str.ke the distances near enough h- 
 out measuring. When making 'Inishe,. draw- 
 ings m practice, it is found best, when inking in 
 
 It Z 'Tu'^!''' "' """ '"'' ""- '-"'-W 
 
 at the ends by black arrow-heads 
 When it is desired to show the interior con- 
 
 11 r'll 
 
0« 
 
 AHriiiTrcrritM, nuvwivr. self TAi'aiiT 
 
 I 
 
 
 
 <: 
 
 struction of any object, an imaginary cut is made 
 through it, and the representation of the cut 
 surface is called a s'.ction. The direction of the 
 cut is marked upon the orijrinal drawing by a 
 
 I'iii. ."4. 
 
 line of section, formed of strokes and dots placed 
 alternately, with a letter at each end, as A B 
 upon Fig. 84. This line is usually in red ink, 
 but as all the work in the present lessons is 
 black and white, this dotted section line may be 
 made the same as the other lines. 
 
 The mode of marking off distances between 
 two points is shown at Fig. 8s, where the 
 
 - 6'. AV{ . 
 
 Fig. 85. 
 
 ■> 
 
 arrow-heads mark the limitation; that is, the 
 distance between the lines which are touched by 
 the points of the arrows, is 6 feet four and a 
 half inches. This is marked off regardless of 
 scale, and the method will be found useful when 
 roughing out a house plan, elevation, or other 
 similar work, as the dimensions of rooms, sizes 
 
AnniiTKcTunAL dhawixg hi:lf t.vigiit 
 
 93 
 
 of windows and doors, hei^dits of ccilinfrs. and 
 all other dinu.nsions can be ^riven without draw- 
 in^r to scale. I will have more to say of this 
 later on. 
 
 THK I.KAD I'KNCII, 
 
 So far I have said but little re^rardin^r the lead 
 pencil, which is a very important factor in the 
 
 Fig. 86. Fij, 8,. 
 
 draftsman's hands. As before stated, all draw- 
 ings of any importance should first be made in 
 pencil; and a hard pencil should be used for the 
 purpose; in fact, there should be two pencils, 
 one of which should be pointed similar to those 
 shown at Fig. 86, and the other should be 
 sharpened with a chisel-point similar to those 
 shown at Fig. 87. These two illustrations. Figs. 
 86 and Sy, show two methods of si,. pening, 
 either of which will answer the purpose quite 
 well. 
 
 lit 
 
 ■ W4 
 
04 
 
 AUrillTWTrU.VL DHAWINO SELF TAUGHT 
 
 The pencil should be used solely at first for 
 practicing, and the moi xpensive drawing 
 pencils are often the most economical to use in 
 drawing. There are many well-known makes 
 that may be depended upon to work smoothly 
 and evenly without grittiness or inequality of 
 texture. The number of H's marked upon the 
 pencil indicates its relative hardness. For 
 general use those marked H or HH will be 
 suitable, while for particuln.rly fine work 
 HliHHHH may be necessary. For roughly 
 sketching details on a large scale, a very soft 
 lead, such as BBB, will be found pleasantest to 
 work with. Pencils of unvarnished cedar are to 
 be preferred, and those of a hexagonal section 
 do not roll off the sloping surface of the draw- 
 ing-board or desk. 
 
 Almost the first lesson for a draftsman is how 
 to properly sharpen a pencil, which is not easy 
 for the beginner to accomplish satisfactorily. A 
 pencil point should be well sharpened so that 
 when the pencil is passing along the edge of the 
 square it should be c'ose against it; and in 
 ordinary drawing or tracinfj, a clear view should 
 be obtained completely around it on the paper. 
 
 A ijund point wears away very rapidly, and 
 will hardly make even one fine line, whereas if 
 
AKflllTKCTrUAL Ult.VWIXO MF,I-F TM'OIIT 
 
 9> 
 
 the edge be kept the full thickness of the lead 
 in the direction of the line the pencil will last 
 very much lonj^er and produce better work; the 
 flat faces of the lead i)oint may be slij^ditly 
 rounded. 
 
 If properly sharpened, one operation of the 
 knife on the wood will be sufficient to allow of 
 several re-sharpeninj^s of the lead, whilst a 
 badly-sharpened point requires further hacking 
 
 Fig. 8S, 
 
 Fig. 89. 
 
 of the wood every time the lead is slightly worn. 
 Fig. 88 shows the T-square and pencil with 
 the two hands in position for drawing an 
 ordinary horizontal line;. The pencil should be 
 upright when looking in the lengthways direction 
 of the line, and sloping about five degrees from 
 the upright in the direction in which it is l)eing 
 drawn, as would be seen at right angles to the 
 line, and in Fig. 89 the method of holding the 
 pencil for freehand or tracing work is shown. 
 This is on a larger scale in onlcr to sliow the 
 
 
 r1 
 
 ill 
 
 ■f 
 
 I' 
 
 I i i 
 
 M 
 
00 
 
 AltClllTECTURAL DHAWIXO 8KLF TAIOIIT 
 
 -*l 
 
 PLATE 6. 
 
 This plate shows the draftsman how to prepare 
 details so that they may be followed by the actual 
 workman. This shows some details of the 
 porch, giving the construction of cornice and 
 other work. 
 
 This Is shown here to a scale of one quarter 
 of an inch to the foot. It represents, of course, 
 a portion of the cottage. 
 
i'*,' 
 
 
 ., ,, 
 
?!«J5!iS_ 
 
 
 Plati 
 
 WIf 
 
 ^^>.. 
 
 v35i:^x;::;SSS3^^ 
 
 D ENTAIL. 
 
 oi~ Porch 
 
 n 
 
 m 
 
 ^^SEc^SSS 
 
 ii 
 
 I 
 
 \\ 
 
 \V 
 
 \ 
 
 \ 111 
 
 (77m 
 
?•«*«• ^ 
 
 Plate.Io, 
 
 (ori,^l>-UcTiori 
 
 L^^uimmzi^ 
 
 --1- 
 
 -f= 
 
 ?i -51 
 
 ip 
 
, ! '' 
 
 II 
 
 S ■ 
 
 i l< 
 
 i< 
 
 .J44JL .A. J.,l ^"WiPP^«P"Pi^ 
 
.*:i:<«A-, OM 
 
 ARCHITECTURAL DRAWING SKLF TAUGHT 
 
 97 
 
 manner of holding the pencil for this kind of 
 work. 
 
 After this from each edge of the paper mark 
 off }< in. and draw a border line all round, with 
 plain square corners. The three fingers at the 
 back of the stock of the T-square keep it close 
 to the adge of the board, which is not eas, to do 
 at first starting, but with a little patience and 
 perseverance every border line can be drawn 
 with equal facility. It is important to note that 
 all pencil lines upon a drawing should be thin; 
 
 . > » I , >» , , . >^ ^ 
 
 4- 
 
 - «j - »/V 
 
 Fig. 90. 
 
 Fig. 9' 
 
 if made thick they cannot be inked over so 
 neatly, and the paper will have a greasy feel to 
 the pen. The india rubber should be used very 
 sparingly and if possible only after a drawing is 
 completely inked in. 
 
 A pencil line drawn in error should have a 
 wavy mark across it, as in Fig. 90, and one 
 drawn full, but intended to be inked in dotted, 
 should be marked as in Fig. 91; this is instead 
 of rubbing them out at the time. Another 
 fundamental principle is always to draw a line 
 far enough at the first attempt, but not to draw 
 it beyond the distance it is known to be wanted. 
 
 ii 
 
r 
 
 ARCHITECTURAL DRAWING L -ivF TAUGHT 
 
 An unnecessary line takes time to draw, wastes 
 the pencil point, and takes time to rub out; all 
 matters of moment when excellence is in view. 
 Of course, all corrections must be made whilst 
 the drawing is in pencil, for a drawing, while in 
 ink, cannot be corrected, without great injury 
 being done to it, as crasions of ink spoil the 
 surface of the paper and disfigure the whole 
 work. 
 
 h 
 
 Fig. 92- 
 
 When a drawing is completed, the pencil lines 
 may be erased by using a proper rubber similai 
 to that shown at Fig. 92, which can be pur- 
 chased for a few cents. Some of these erasers 
 are made so that one end of them is specially 
 devised for rubbing out pencil lines while the 
 other end is intended for erasing ink lines. 
 Never use the ink end when it can possibly be 
 avoided, as it will destroy the fine surface of the 
 paper and disfigure the drawing. 
 
 When it can be afforded, it is best to buy a 
 case of assorted pencils. They will come 
 cheaper this way. and a case will last 'or years 
 
-"I-^J^.^. 
 
 ARCHITKCTURAL UUAWIXG SELF TAUOUT 
 
 99 
 
 and the draftsman will always have at hand 
 pencils to suit all sorts of work, saber's pencils 
 were considered the best for many years, but 
 they are rapidly being driven out of the market 
 by pencils of American manufacture. Uixon's 
 pencils are excellent and may be relied upon to 
 give good results, but, in my own practice I 
 make use of 'Eagle Pencils" and find in them 
 the best of satisfaction. This, however, is per- 
 haps after all merely a matter of taste, a pref- 
 erence for a name or firm. 
 
 Pencils— like all other drawing appliances- 
 should be kept in a case and should always be 
 in order for work, so that in a hurried job, there 
 will be no need to hunt all over fo- a pencil, or 
 a knife to sharpen it. These few hints regarding 
 pencils will, I hope, prove useful to the young 
 draftsman. 
 
 
 m 
 
 I 'iil 
 
 1 
 
 
 PRELIMINARY ROUGH SKETCHES 
 
 Often workmen are called upon to make a 
 rough sketch of a piece of work before making 
 a drawing of it in order to get a fair under- 
 standing with the employer. A rough sketch 
 taken off-hand with dimensions put on in figures 
 will often give to the person ordering the work 
 a clear idea of what he intends and thus 
 
 '^a- 
 
100 ARCHITECTURAL DRAWING SELF TAUGHT 
 
 ^i . .1 
 
 t<Z> V 
 
 iw 
 
 Fig- 93- 
 
ARCHlTKCTrnAL DHAWIN(} SEI.K TAl-(}nT 
 
 101 
 
 prevent disputes, annoyances and misunder- 
 standings. 
 
 Rough sketches may be made of any size and 
 without reference to scale or regard to exactness, 
 providing always, the dimensions are given. In 
 order to illustrate this I show a rough sketch of 
 a house plan at Fig. 93. We suppose, for 
 instance, a man wants a small house; in the 
 house he desires a parlor 18x20 feet, a dining 
 room 18x20 feet and a kitchen 18x22 feet, and a 
 side hall with stairway, 6'6", length of the house, 
 with all the necessary windows, bays, and doors, 
 also chimneys and fire-places. The whole may 
 be drawn, without scale, as shown in the pur- 
 posely rough illustration. This at once gives a 
 orrect idea of the plan of the house and the 
 general lay out. After satisfying all the con- 
 ditions required in the plan, a rough sketch of 
 the elevation, showing height of ceilings, pitch 
 of roof, windows and other necessaries; may be 
 reduced to scale and drawn on paper in regular 
 order. Another rough sketch is shown at I'ig. 
 94. on a much smaller basis. I do not advise 
 making these sketches too small, particularly if 
 they are intended to submit to a prospective 
 owner, as then they are apt to be misleading. 
 Any one acquainted with buildin^r matters or 
 
 f 
 
 i " 
 
 I 
 
 I 
 
 ■R^ 
 
A'-t»^ _■ 
 
 10^ 
 
 AHCIUTECTURAL DIIAWINC SKLF TArOIlT 
 
 the readin^r of plans, will have no difficulty 
 whatev( r n thorou^^hly unilerstanding these 
 rough sketches, or in making a scale drawing 
 from them, if they have the least knowledge of 
 
 drawing. The windows and 
 =^-=-^- -*- * — doors are she -vn so far as posi- 
 tion is concerned, and are 
 marked respectively, W and 
 D. Where the dimensions of 
 
 Po.z 
 
 
 
 Cvf* 
 
 M 
 
 m 
 
 ■^ 
 
 L6t, 
 
 Sciif -'5«'^ these are decided upon, these 
 
 j-H-H-i^ dimensions may be marked on 
 
 I 
 
 4 
 
 't 
 
 the plan, and a rough sketch 
 of the elevation given; if for 
 a door, make it as shown in 95, 
 showing number of panels, 
 and in such style as intended. 
 If the door is elaborate, then, 
 of course greater pains will 
 have to be taken, and this can 
 best be done by making it a 
 scale drawing. If the design 
 wanted is for a window, then 
 a rough sketch may be mads similar to the 
 one shown at Fig. 96, which is a simple 6 light 
 window. A more elaborate sash is shown at 97, 
 which may be roughed out to the style shown, 
 or to any other style desired. 
 
 
 Fig- 94- 
 
ARCMITKCTrnA!, n»AWI\(J SF.LF TAt'OUT K).'} 
 
 These five roii^rh examples arc quite sufficient 
 to convey to the student an idea of how he can 
 lay out a rouj,di sketch from which he may 
 construct an exact scale drawin-. I„ the plans 
 shown, I have not jrivcn thickness of walls; this 
 
 ^^'ii- 95- Fig. yfi. 
 
 the draftsman can arrange when he plots out 
 his plan. 
 
 I now present a few examples which show the 
 method of marking oif measurements and show- 
 ing the thickness of walls, dimensions of windows, 
 etc. The illustration shown at Fig. 98 is sup- 
 posed to be the front of a building having a front 
 entrance and windows, and an "over-all" me.s- 
 
 t!5 
 
 < ^ 
 
 ni 
 
aMJ^^ .Ibl."*^-. 
 
 104 
 
 AHciiiT!:fTiinAL nnvwistj hki.k TAioiir 
 
 urement of 30/6". This shows i8'o" for the pro- 
 jection, and 2i'6" for the reserved part. 
 
 Thes(r measurements should be a^ram sub- 
 divided, shovvinjj: the lengths of brickwork, 
 widths of openinjjfs, etc.; and the line of meas- 
 urements inside gives the 
 thickness of the walls, di- 
 mensions of rooms, etc. The 
 distance that the part pro- 
 jects should also be noted 
 as shown by 30". The in- 
 side measurements and the 
 smaller dimensions should 
 exactlyagree with the "over- 
 all" measurement given. 
 
 In drawing pencil lines 
 they should always be 
 drawn longer than the ac- 
 tual length of the lines to 
 be inked in, so that the 
 exact point of intersection 
 with other lines can be better 
 "een. When the drawing has been inked in, these 
 extra lengths, of course, have to j cleaned off 
 with india rubber, as well as a great many other 
 pencil lines which are necessary in the process 
 of making the drawing, but whicli form no part 
 
 F'«. 97. 
 
 
AUriIITK.TI HM. I.UAWIVC; MKLF TVroilT ](}.", 
 
 of thv. Ii„ishe<l clrawinjr. Those -construction 
 'ncs, as they are calle.l, should be drawn as 
 I'k'htly as possible, so as to be easily removed 
 Without greatly dnmajring the surface of the 
 paper. When dra.vinjr circles or arcs of circles 
 with the compasses, a little pencil mark should 
 be made round the center point, so that it can 
 be found without any trouble when it is desired 
 to mk m the drawing. It is useless to draw in 
 
 Fijr. ,jS. 
 
 pencil every one of a long series of circles or 
 arcs which are alike; it will be more expeditious 
 to mark the centers only after drawing one or 
 two, for in the inking-in of the work when the 
 compasses are once set to the correct radius the 
 centers will be a I that is required to draw them 
 in full. 
 
 Every working drawing when it leaves the 
 draftsman should be carefully and completely 
 figured as shown in Fig. 98. A little time spent 
 in figuring builders' drawings, so that the sizes 
 
 
..T^ 
 
 liiriiirii'r TBrrTi' 
 
 |(K'> 
 
 MtnillK II l(\l. l>U\\VIN(i HKI-K lAPdllT 
 
 
 of window ami door opening's, thicktU'ss of walls. 
 <t(.. .lit- cU'.irlv stated, will save time, worry 
 afid itu-oinrniciuc. A mcasurcmrnt of feet 
 only should always hav( a ( iphcr in the place of 
 the imhcs a^ .'So", and arrow -In-ads, as In-forc 
 d«'s( riliid, ^lunild show ihc < xtrcnic limits of the 
 intcnth d dinirnsions, l'rrhap-> it may tiot hr. 
 ncrt--sar\- to t\plain to the student the use of 
 the foot and iiK h marks. ' and " whl should 
 always l)c plated over ilimcnsions ti^ The 
 
 sin<rU> mark <lenoiin,ir f,Ht. an' douhU; mark 
 
 represi ntin<,' iiu lies, when employed they ^^reatly 
 as !st in readiuLj of plans. 
 
 X'ertical nuasuremeni ^ showing' tin; heij^ht of 
 rooms or -torics are best li^ured from lloor to 
 floor —rarely from door to < <.ilin>,^- l)ut allow .nce 
 must be made for the deptli of joists and tliick- 
 ness of floor and ceiling 'llu iiei.i^dn of windows 
 should be always figured from the top of the sill 
 to the un ler^id(.' of the head, and their position 
 from the level of the floor to the top of the sill, 
 this ^nvini,^ exactly the opening in the frame or 
 brickwork. When a drawing is carefully figured 
 it is much easier for the workman to jnderstantl, 
 and mistakes ami misunderstandings are less 
 liable to occur. 
 
 \\ e have now reached a point where the 
 
-^ tl^ 
 
 AnnuTK(Trn\i, drawivo «ki,k taioiit 
 
 107 
 
 f 
 
 student may venture to attempt a rouyh draw- 
 ing for a small cottage, and to this end the 
 following illustrations are submitted. 
 
 We will sui)pose that a brick cottagf 31 feet 
 long and i(/6" wide is to be built, having threr 
 rooms and a hall on main tloor. a cellar, and 
 ^ttic containing three bedrooms, and attic. The 
 foundation is to be of stone, the superstructure 
 of bricks, and the roof of wood, shinghui. 
 Having the paper properly tacked on the draw- 
 
 ing board, ready for work, we next decide upon 
 a scale. I would suggest a scale of four feet to 
 the inch; that is. each quarter of an inch should 
 represent one foot of the building; and as thi. is 
 an easy scale, ami on.; that can be readily under- 
 stood by the student, he will have no trouble in 
 dealing with it. A scale is shown at I'ig. 99. 
 Of course, the quarter inch must be divided into 
 twelve parts-which will be found on any good 
 rubber or ivory scale-then square off a fine 
 pencd line from your left hand across the paper 
 near the lower edge of the board. I-Vom this 
 hne, draw another at a convenient point at right 
 angles to the first line. Make these lines with a 
 
 II 
 
108 
 
 ARCHITECTURAL DRAWINO SKLF TAIV.IIT 
 
 fine pointed HH pencil, and so li^dit that they 
 may be easily erased. 1^'rom the junction of the 
 two lines, l*", Fig. loo, measure off 734^ inches, 
 which will equal 31 quarter inches, which again 
 represent 31 feet by scale. From this point, B, 
 square up another line. PVom E to V, is a 
 
 Fig. 100. Cellar Plan. 
 
 distance of 4/8 inches, which contains 19 quarter 
 inches and one ji of an inch. The 19 quarter 
 inches represent 19 feet on scale, and the ^ of 
 an inch represents 6 inches, thus, making the 
 total distance between F and 1'", 19 feet and 6 
 inches. Square over from F to A, and the lines 
 A B, E 1"", form the boundary of the cellar plan. 
 
ARCHITECTURAL DRAWING SELF TAUGHT 
 
 109 
 
 The cellar walls are supposed to be of stone, and 
 are therefore i8 inches thick, so we measure off, 
 working to the inside always, H of an inch, 
 which according to our scale, represents i ft. 6 
 in., the proper thickness of the wall. 
 
 It will be noticed that at R we have projected 
 the wall inside the cellar; this projection is 
 intended to carry the chimney and fireplace. 
 Here we show two projections, but in practice 
 the projection is made in one as shown by the 
 dotted lines. The same is also done with the 
 chimney foundation shown at S. While the 
 shaded parts shown would be ample to carry the 
 chimney and fireplace above, it is generally 
 more economical to make a solid block of stone- 
 work, as shown by the dotted lines. In actual 
 practice, the first stones laid should project 
 beyond the faces of the wall six or more inches 
 on each side in order to give the foundation a 
 wider base. These bottom stones are called 
 "footings." They should never be less than 6 
 inches thick. 
 
 The partition V is built of bricks laid on stone 
 footings. This wall is nine inches thick— the 
 length of a brick— and runs up to the floor joists. 
 The partition on the opposite side of the stair- 
 way is a studded, 1' thed and plastered one. The 
 
110 
 
 AlU IIITKCTURAL DUAWINU SKl.K TAUCIHT 
 
 openings, (), O, arc for the cellar windows and 
 are three feet ('4 inch) wide. The framework 
 outside the windows are curbs, built around the 
 windows to prevent the earth from filling in 
 against the glass. The student need not mind 
 the shading unless he desires to fill in the walls. 
 
 First Floor Plan. 
 
 This sketch i? row a complete plan of the cellar, 
 and one that c m b- worked to. 
 
 It will now be in order to draw the first floor 
 plan, as shown in Fig. loi. Proceed the same 
 as before, only in this case the outer walls are 
 made % inch thick, which represents one foot, 
 making the wall one and one-half bricks thick. 
 Measure off the openings as shown, making the 
 
ARCniTKCTUH.VL DUAWIXG SIXF TAVGIIT 
 
 111 
 
 Fig. 102. Attic Plan. 
 
 window openings which are represented by three 
 lines running through the openings {^<i inch 
 wide), which is three feet. The two door open- 
 
 Fig. i;,5. Front Elevation. 
 
112 
 
 ARCHITECTURAL DRAWING SELF TAUGHT 
 
 PLATE 7. 
 
 Plate 7 exhibits a portion of cornice and roof 
 of main building. This shows the construction, 
 with roof boards and shingles, also the finished 
 portion of roof and cornice. 
 
 EMM 
 
©eT^'Ls 
 
 
/ 
 
 f^ 
 
 7/C, 
 
 '^^msfl^Bsi 
 
AnrniTKCTrRAL dhawinq self taioht 113 
 
 ings are 13-16 inch, or 3 feet 3 in. Measure off 
 the partitions and lay off to sizes as figured. Be 
 careful to have the chimneys and fireplaces, R. 
 
 Fig. 104. End Elevation and Section. 
 
 R. S., directly over those in the cellar. The 
 stairs in cellar are directly under the stairs as 
 shown in this plan. The projections shown at 
 the doors are steps. 
 
114 
 
 A;«'iirrK(-iiH.\L duawixg hklf TAruin' 
 
 The plan shown at I-'i^r. 102 is for the attic 
 story. A part of the hci^^ht of this will run up 
 into the roof as will be shown in section Fig. 104. 
 Here the chimneys take another shape and are 
 "drawn in" to suit the flues. The partitions are 
 varied and the stairs land in the hall by three 
 
 LilE^L^V;^j 
 
 •• • 4 
 
 i 
 
 a^^^^^ig^^s^s^ 
 
 l'>K- 10;. Fig. 106. 
 
 winders. The windows are not so wide as those 
 in the stories below, only being 2 ft. 3 in. in th(; 
 openings. Measure off the rooms as they are 
 figured, making the partitions of 2x4 in. studs, 
 and marking off the newel and rail for stairs as 
 shown. 
 
 The elevation shown at Fig. 103 requires but 
 little explanation, as it is simj^h; and easily 
 understood. The windo\\s are .^ feet wide in the 
 opening and 5 ft. 3 in. from lintel to sill; so. 
 
ARrHITWTURAI, DHAWINti SKLF T.VUOIIT 115 
 
 keeping these figures in mind, the window and 
 sashes may be hiid out readily. The door, Trom 
 floor to lintel, including fanlight, is 8 feet high, 
 Ijy 3 ft. 3 in. in width. The rest is easy. 
 
 A part of the end elevation and a sectional 
 view are shown at Fig. 104. In the section the 
 
 t"^,.,' 
 
 f •". -r li..: I— -^ -=- in- .,- .,r 
 
 .v.-^/;:lfi,.^;. 11^=- .11.. J^' I; ^ (I. H:-''"-' 
 
 ;;»•■ 
 
 5?^,.^ /I 
 
 
 
 1 /^^<f^ :i 
 
 ■• -^ ^T^r^' I . .11,, ^ • '-i J *— ^ 
 
 
 'lU 
 
 
 V/v,., 
 
 
 Fig. 107. 
 
 foundation footing is shown at O; the projection 
 of doorsteps is also shown on the ground line. 
 
 All these examples should first be made in 
 pencil, after which, when corrected, they may be 
 'Tilled in" with ink. 
 
 I have mentioned something regarding "foot- 
 ings" for foundations and it may not be out of 
 place at this point to say something more of 
 
<F^ TT 
 
 ii« 
 
 AlK IlITfc(TUHAI. UUWVI.NG SKLF TALGUT 
 
 l< 
 
 i 
 
 teiiii 
 
 them. The illustrati* n shown at Fig. 105 shows 
 thf^ footinj^ and a portion of section of wall that 
 
 would be suitable for 
 
 the brick i)artition 
 runninjr fhrouj^h the 
 cellar of the cottage 
 we have jusr dis- 
 cussed. Here is a 
 flat stone foor-ng 
 with three courses of 
 ^'^^^^^^^^^ Ticks on top before 
 ^^^<^^f ^^^: ^<:^^^, the regular wall corn- 
 Fig. ic3. niences. The dotted 
 lines show the top of 
 cellar floor whether it be plank or cement. When 
 the whole foundation and wall are to be of stone, 
 the student may lay it off in accordance with 
 the class < f ma- 
 sonr\' employed. 
 One methoil of 
 shoeing square 
 rubble work in 
 a wall, is exhib- 
 ited at Fi«r. 106. 
 
 
 g. 109. 
 
 This siiows a section of the wall, thro, jgh B,at Fiy 
 107. Coursed rubble work is shown at Fig. lob. 
 while rando!'^ rubble worl is shown ^ Fig. 109. 
 
AnriiiTWTriJM, imwviv*! hu.v Tvrtiiir 1I7 
 
 In this style of masonry, tht: wall is bruu^'ht (c a 
 level throii^rhout its len^^th at about every i > ,.r 
 14 Inches, in hei^jht, so as to form courses uf 
 that depth. This wall is built of stones rou^^h 
 from the quarry, rejranlless of size or shape. 
 
 Another style of masonry built up of irrej^nilar 
 stones that have been broken up from lar^rc 
 field stones is 
 shown at lig. 1 10 
 The foundation 
 and rorners are 
 built lip of squared 
 ston< This kind 
 of work is some- 
 tim<s 'led irreg- 
 ular r' hie, rustic 
 work, or field stone 
 
 masonry. It dues *''^- ''"• 
 
 very well for garden wails, retaining alls, cel- 
 lar walls for small buildin^rs, bu. should not be 
 used where great strf-njrth is n-quired. 
 
 Klock course masonry is where the cours.-s of 
 stone run in strai ht horizontal line^ as shov n 
 at Fig. in. Ashler masonrv lilt up 
 
 courses of more or less unifor 
 from 10 to 14 inches deej 
 quoins or corners, anu other 
 
 M 
 
118 
 
 ARCHITECTURAL DRAWING SELF TAUGHT 
 
 I 
 
 
 by different names, according to thie face put 
 upon the stone — from quarry-pitched, or rock 
 ashler, to wrought ashler. A sample of the work 
 is shown in Fig. 112. 
 
 There are many other forms of stonework, 
 but the examples given are quite sufficient for 
 the purposes of this work, and other forms may 
 well be left to the trained architect. Perhaps a 
 
 jilj 
 
 
 ':i;v;' |i"": i 
 
 
 
 %^-^^.\ 
 
 S:'\ 
 
 
 ■?i,i 
 
 
 !l!l!':'::„„;. 
 
 ii'iiln' ■''■'■ 
 
 r.if.f 
 
 1. "; 
 
 .:'•■■-- m•.^M 
 
 
 
 
 1 . ...ir.'- 
 
 
 )|l'" ■'".!. Il/I 
 
 
 iliilll'nrr^ -. 
 
 r. y 
 
 1 
 
 ..•■' ■;,.,.■ .n|.' 
 
 1" ■"■■" 
 
 :ill-M'l;"l!" -,. •'•■"('1'" 1 
 
 !iij;.:7"';::::,: 
 
 
 
 ' I''.'-Il1lllil 
 
 
 Fijj. III. 
 
 few examples of brickwork will not be out of 
 place at this point, as they w^ill give to the 
 student a slight insight into the manner of 
 "bonding," which is quite an important matter in 
 brickbuilding. 
 
 At Fig. 113, the end section of a single brick, 
 or 9 inch wall, is shown, having a two brick or 
 18 inch footing. This will be easily understood 
 as will also the section shown at Fig. 114. The 
 
ARCItlTWTURAL DRAWINO SELF TAUGHT 
 
 119 
 
 latter shows the section of a brick and a half 
 wall, known generally as a 14 inch wall. The 
 footing for this is formed of three bricks, 
 
 ill a' I 
 
 jm 
 
 mff' ■mjf% 
 
 ii, I 'I 
 
 I i#'^'' J, 
 
 ill, I. 
 
 :ii ■•■fM'. 
 7 
 
 iir^nf 
 
 'ji' 'ii|:!iii'.i|l:!.ii- ""■„!?"■-'! 
 
 it 
 
 i: i 
 
 »^ 
 
 i,!|l- 
 
 mf •'ill 
 i'''ii.' ..II ill 
 
 \r' 
 
 '^S3^ 
 
 Fig. 112. 
 
 making it 28 inches wide. The footing is 
 diminished until it is only two bricks wide on 
 which the actual wall commences. Other thick- 
 
 
 * I 
 
 S 
 
 ^'■g- "3- Fig. 1,4. 
 
 nesses of walls are formed on the same principle 
 
 so other examples of this kind are unnecessary. 
 
 At Fig. 115 I show two plans of an 18 inch 
 
120 ARCHITECTURAL DRAWING SELF TAUGHT 
 
 M/all which illustrates the method of "bonding" 
 or breaking joints. I also show a r,ection of the 
 
 wall shaded. 
 
 Before proceeding further, it may be well to 
 explain the meaning of the term "bond,"" or 
 "bonding." "Bond" is an arrangement of bricks 
 
 2-Brick WaU. 
 
 SKtiem 
 
 
 
 
 or — 
 
 
 I 1 ' 
 
 
 
 
 
 
 „_1_ 
 
 lIZ 
 
 __ 
 
 
 .1_ 
 
 r.4.« 
 
 f 
 
 
 
 
 
 
 
 
 1 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 Fig. 115- 
 
 or stones placed in juxtaposition so as to 
 prevent the vertical or plumb joint between ?ny 
 two bricks or stones falling into a continuous 
 straight line with that between any other two. 
 This is called "breaking joint," and when it is 
 not properly carried out, that is, when two or 
 more joints do fall into the same line, as at x y, 
 
ARCHITECTURAL DRAWING SELF TAUGHT 
 
 121 
 
 Fig ii6, they form what is called a straight 
 joint. Straight joints split up and weaken the 
 part of the wall in which they occur, and should 
 therefore be avoided. A good bond breaks the 
 vertical joints, both in the length and thickness 
 of the wall, giving the bricks or stones a good 
 lap over one another in both directions, so as to 
 afford as much hold as possible between the 
 different parts of the wall. 
 
 
 Fig. I if). 
 
 A further effect of bond is to distribute the 
 pressure which comes upon each brick over a 
 large number of bricks below it. Thus, in Fig. 
 ii6, there is a proper bond among the bricks 
 forming the face of the wall, and the pressure 
 upon the brick A is communicated to every brick 
 within the triangle A, B, C. 
 
 A defective bond, either in brickwork or 
 masonry, may look very well upon the face of 
 the work, as in Fig. ii6, where the bricks 
 regularly break joint vertically, but in which 
 
122 
 
 AIUIIIT; CTUHAL DRAWING SELF TAUGHT 
 
 there is no bond whatever across the thickness 
 of the wall, which, it will be seen, is really 
 composed of two distinct slice; of brickwork, 
 each 4,"/ inches thick, and having no connction 
 with one another, except that afforded by the 
 mortar. To avoid this defect, the bricks or 
 stones forming a w'all are not all laid in the 
 same direction as in Fig. ii6, but some are laid 
 parallel to the length of the wall and others at 
 right angles to them, so that the length of one 
 of the latter overlaps the width of the two below 
 it, as shown in Fig. 115. In this figure, a wall is 
 shown in section at the top, two bricks in 
 thickness. The second diagram shows a plan of 
 the courses, 2, 4, 6, as numbered in the section, 
 while the lower diagram shows the plan of the 
 courses, as they are laid in the wall, of the 
 courses numbered i, 3, 5, in the section. 
 
 When bricks are laid lengthwise in the wall, 
 as shown in Fig. 117, they are called "stretchers"; 
 when they are laid across the wall, as in Fig. 
 118, they are called "headers." "Stretchers" 
 are bricks or stones which lie parallel to the 
 length of the wall, those in the exterior of the 
 work showing one side in the face of the wall. 
 
 "Headers" are bricks or stones whose lengths 
 lie across the thickness of the walls, the ends, or 
 
ARrHITECTUHAL DRAWIXO SELF TAUGHT 123 
 
 "heads," of those thin walls like the diagram or 
 m the outside of thick walls, being visible on 'the 
 face. 
 
 If the student copies these examples and 
 thmks as he draws, grasping the reasons why 
 
 Fig. 117. 
 
 Fig. iiS. 
 
 the bricks are laid in the manner shown, he will 
 accomplish two purposes, learning to draw and 
 acquiring a constructive knowledge. 
 
 There are a variety of "bonds" in brickwork 
 all of which it will be necessary for the archi- 
 te ctural student to be familiar with, and I pro- 
 pose • offer a few examples for practice and to 
 expla i them at the same time. 
 
 The bond chiefly used in this country for 
 ordinary work is called running "bond " This 
 consists of three, four or five running courses of 
 stretchers, and then a course of headers, as 
 shown in Fig. 1,9, where there are three courses 
 of stretchers and one course of headers The 
 small portions of bricks, or "bats," designated by 
 
 
W4 
 
 \H(-|liri.(TrHAl. DHAWIXO HKI.F TAKillT 
 
 XXXX, arc tcnmul closers, and arc required to 
 fill out the courses. 
 
 In Kn^dish 'Ijond" there is in the; face wall a 
 course of headers, then a course of stretchers, 
 and so on all the way. This arranj^^ement is for 
 the front of the wall, and in the thick walls the 
 bricks are made to join in to the best advantage. 
 
 E 
 
 i VTP 
 
 m'i i'i i'i rrrTl 
 
 I'. I .1,1 
 
 ^=^=^&rn 
 
 m^m 
 
 yrpv.i 
 
 Ml II II II II l> 
 
 Fig. 119. 
 
 Thus, an English bond nine-inch wall will have 
 for each course of stretchers two rows side by 
 side, breaking joint horizontally. The joints in 
 the inside courses should be one-half the width 
 of the brick from the vertical joints of the 
 stretchers above and below\ A fourteen inch 
 wall in English bond is shown at Eig. 120, which 
 represents four courses in elevation, and the 
 
ARCI!ITK(Trii.\I, DKAWINC HV.l.V lALOIIT 
 
 1J.3 
 
 second course and the top course, from the top, 
 in plan. It is absolutely necessary in this wall 
 to have a row of headers back of the stretchers, 
 as if they were all stretchers in this course, there 
 would be a mortar joint all the way up throu^rh 
 
 
 " ' ' ' ' ' I 4 -r-^ 
 
 S-4 
 
 ELLVATION 
 
 
 
 
 
 
 
 
 
 
 1 1 1 1 
 
 HLA 
 
 N or 
 
 COUK 
 
 SE A 
 
 
 
 
 PLAN OF COUaSE B 
 
 Fig. 120. 
 
 the wall along the line A B. There are shown 
 two ways to make the headers in any course; 
 break joints with the stretchers in the same 
 course. In the plan of course A at the left- 
 hand end there will be seen a closer X. which is 
 half of a brick split lengthwise. This piece. 
 
 1.' 
 
 i 
 
126 
 
 AUCHlTKtTUUAh DUAWINO HKhF TAUOIIT 
 
 g\2l'ix2]i, bein^ put in next to the last stretcher. 
 In the plan of course 13 it will be seen that the 
 same thing is done by using three-quarter bricks 
 laid flatwise. 
 The example shown at 121 exhibits several 
 
 1' s 1" iiA-n/T^L ,' ' , .1 , ,1 
 
 -T^^f- 
 
 X\VyVvV/VVV/Ss 
 
 ^Jn!| 1,' 
 
 ,';i i/<j 
 
 'X 1 1' '1 1 ' 
 
 
 
 1 1 y^^ /"^ 
 
 <\>''\ 1 II 
 
 .,__! — !_y\^ 
 
 r\.C\ ' ' ' 
 
 ^^~w 
 
 Wv^ 
 
 -r^^ 
 
 
 ^^R-AA^ 
 
 ~ 1 i — 1 ' 1 
 
 
 ' . ' 
 
 1 1 1 
 
 w 
 
 
 ■■' '1 ,' ^ 
 
 1 1 1 
 
 1 IF 1 1 
 
 
 II II 1 
 
 1 1 
 
 11 II 
 
 
 II It 1 
 
 1 1 1 
 
 II 1 » 
 
 
 1 1 II 1 
 
 1 , ,1 1, , 
 
 n"M' ', 
 
 Fig 121. 
 
 styles oi laying bricks; C shows the arch A, 
 I. ring bone filling over a window, S, a stone 
 siil F the general brickwork and W the window 
 opening. This is a good example to draw, 
 though it is not by any means good architecture. 
 These examples are sufficient for my purpose, 
 
AIM IIITKCnUAI. DKAWING SKLF TAroHT 
 
 127 
 
 and should the student desire to know more 
 about the bonding of brickwork, he may procure 
 a copy of a manual on brick and stone work I 
 have in preparation, and which will be published 
 by Drake ik Co. shortly. 
 
 DRAWING ARCHES 
 
 It is absolutely necessary the draftsman 
 should know how to draw the forms of arches 
 that are in common use, and in order to instruct 
 
 Fig. 125. 
 
 him on this point, the following e.xamples are 
 submitted for him to study and work out. The 
 arch shown at Fig. 122 is simply a semicircular 
 one, and the simple line of arch is drawn from 
 a center as shown. When an arch of this form 
 is used for brick or stone work as shown at Fig. 
 123, a new set of conditions arise, as the joints 
 of the bricks or stone must be shown so that the 
 right bevels or angles may be given them. 
 These joints all radiate to the center of the arch 
 as shown. It may not be out of place at this 
 
 wmrmfm' 
 
 %.. u 
 

 k 
 
 128 
 
 ARCIIITECTUKAL rUAWING SFXF TAUGHT 
 
 PLATE 8. 
 
 This plate shows the outside of a plain window 
 frame, a door frame, corner board, and a 
 sectional elevation of sash and frame. This is a 
 very simple plate, and the young draftsman will 
 find no difficulty in re-drawing these details. 
 
w m,-jMv. ' , . . • ■ ■ ■» 
 
i 
 
 1 
 
 r) 
 
 L ^ T f d. 
 
 I 
 
 Out Side Frames and 
 
n I 
 
 h 
 
 I 
 
 ANC ORNER 
 
 II 
 
 I 
 
 J 
 
 i 
 
■rr^Tr 
 

 ARCHITECTURAL DRAWING SELF TAUGHT 129 
 
 point to give a description of the arch, with the 
 terms used in connection therewith, and, I may 
 say, the definitions given apply to all other 
 arches as well as to the one in Pig. 123: 
 
 (i) The SPAN of an arch is the distance 
 between the points of support, which is generally 
 the width of the opening to be covered, as A B. 
 These points are called the springing points; 
 the mass against which the arch rests is called 
 the ABUTMENT. 
 
 (2) The RISE, HEIGHT OR VERSED 
 SINE of an arch is the distance from C to D 
 
 (3) The SPRINGING LINE of an arch is the 
 Ime A B, being a horizontal line drawn across 
 the tops of the s'-oport where the arch 
 commences. 
 
 (4) The CROWN of an arch is the highest 
 point, as D. 
 
 (5) ^'OUSSOIRS is the name given to the 
 stones forming the arch. 
 
 (6) The KEYSTONE is the center or upper- 
 most voussoir. D. so called because it is the last 
 ^tone set, and wtxiges or keys the whole 
 together. Keystones are frequently allowed to 
 project from the faces of the wall and in some 
 buildings are very elaborately carved. 
 
 (7) The INTRADOS or SOFFIT of an arch 
 
 , t=fjii.-i.-'5^«aE-=rv 
 
130 
 
 AKCHITECIURAL DRAWING SELF TAUGHT 
 
 is the under side of the voussoirs forming the 
 curve. 
 
 (8) The EXTRA DOS or HACK is the upper 
 side of the voussiors, 
 
 (9) The THRUST of an arch is the tendency 
 which all arches have to descend in the middle, 
 and to overturn or tJinist asunder the points of 
 support. The amount of the thrust of an arch 
 depends on the proportions between the rise and 
 the span; that is to say, the span and li'eight to 
 be supported bein^ definite, the thrust will be 
 diminished in proportion as the rise of the arch 
 is increased, and the thrust will be increased in 
 proportion as the crown of the arch is lowered. 
 
 (10) The JOINTS of an arch are the lines 
 formed by the adjoininj^ faces of the voussoirs; 
 these should generally radiate to some definite 
 point, and each should be perpendicular to a 
 tangent to the curve of each joint. In all curves 
 comijosed of arcs of circles, a tangent to the 
 curve at any point will be perpendicular to a 
 radius drawn from the center of the circle 
 through that point, consequently the joints in 
 all such arches should radiate to the center of 
 the circle of which the curve forms a part. 
 
 (11) The BKD of an arch is the top of the 
 abutment; the shape of the bed depends on the 
 
ARCHITECTURAL DRAWING SELF TAUGHT 131 
 
 quality of the curve, and is explained in the 
 diagrams. 
 
 (12) A RAMPART ARCH is one in which the 
 springing lines are not on the same level 
 
 (13) A STRAIGHT ARCH or. as it is more 
 properly called, a plal-band, is formed of a row 
 of wedge shaped bricks or stones of equal 
 depth placed in a horizontal line; the upper 
 ends of the pieces being broader than the lower 
 prevents them from falling down. 
 
 (14) ARCHES are named from the shape of 
 the curve of the underside, and are either simple 
 or complex. The simple curves may be defined 
 as those that are described from one center, 
 as Fig. 122. or by a continuous motion, as the 
 ellipse. parabola, hyperbola. cycloid, and 
 epicycloid; and complex arches are those 
 which are described from lwo 
 
 or more fixed centers, as many 
 
 of the Ciothic and Moorish 
 
 arches are. 
 
 Fig. 124 shows the manner 
 
 of drawing a segmental arch 
 
 The center of this is below the springing lines 
 
 A segmental arch, drawn out for brickwork 
 
 IS shown at Fig. ,25, in which the joint lines are 
 
 marked off. 
 
i 
 
 ! 
 
 
 132 
 
 AnCHITECTITRAL DHAWIXG SKLF TAUGHT 
 
 A segmental arch drawn from two centers is 
 shown at Fig. 126. The centers are shown so 
 that the student will have no trouble in describ- 
 
 \ 
 
 ••.'7 
 
 • ' 4 
 
 Fig. 126. 
 
 ing it. The joints for brick or stone work may 
 be laid out aroupd this arch, by using the centers 
 as fixed points and runnini,^ ratlial lines through 
 the curved lines. 
 
 The diagram shown at big. 127 illustrates a 
 
 V 
 
 Fiv;. .2- 
 
 Fig. 128 
 
 Tudor arch. It is struck from three centers as 
 shown. It is sometimes called an elliptical 
 Gothic arch, and may be struck as follows: 
 
AHCim KtTURAL DHAWIXG 8KLF TAUGHT 
 
 133 
 
 Divide the span, ad, Fi<r. 128, into three equal 
 parts by the points, cf. From a, with radius aj\ 
 describe an arc, and from <•,/, and d, describe 
 similar arcs, which intersect at ij. Now bisect 
 the span, ad, and raise a perpendicular to /. 
 Draw a line throufrh // and jc, and produce 
 these lines. With compasses from /with radius, 
 fd, describe arc to/, and from c, with the same 
 radius, describe a similar arc to ;///. Then from 
 /with radius ij, describe arc,//, and from /same 
 radius, the curve ///, when the interior curve of 
 the arch will be completed, the remainder of the 
 arch bein-,^ set out in the usual manner. 
 
 The elliptical arch can best be described with 
 the trammel shown at Tig. 69, or with a string 
 as described at Fig. 68, but the joints for brick 
 or stone work must be obtained by a method 
 very different from that illustrated for circular 
 arches. To obtain the correct lines for the 
 elliptical arch shown at b"ig. 129, we must pro- 
 ceed as follows: Let ZZ be the foci, and B a 
 point on the intrados where a joint is required; 
 from ZZ draw lines to B, bisect the angle at B 
 by a line drawn through the intersecting arcs 
 1) produced for the joint to F. Joints at i and 
 2 are found in the same manner. The joints for 
 the opposite side of the arch may be transferred 
 
 
 -S,l 
 
 J" " 
 
1 
 
 1 134 
 
 ARCIIITKCTURAL 
 
 DRAWING SKLK 
 
 TAUGHT 
 
 
 as sh 
 
 own 
 
 . The 
 
 semi 
 
 -axes 
 
 of the 
 
 ellipse, 
 
 H G. 
 
 1 GK. 
 
 are 
 
 in the 
 
 same 
 
 ratio 
 
 as G K 
 
 to G A. 
 
 The 
 
 1 
 
 
 
 
 K 
 
 
 
 
 Fig. 119. 
 
 voussoirs near the springing line of the iirch are 
 thus increased in size for greater strength. 
 The diagram shown at Fig. 130 shows a lancet 
 
 8— El 
 
 Fig. 130. 
 
 Fig. 131, 
 
 arch. This is drawn by placing the centers of 
 the curves outside the figure as at G and F. E 
 O, show the width of the opening, and H J, the 
 height. 
 
ARCHITECTI HAL DRAWIXG SKLF TAUGHT 185 
 
 A completed lancet arch is shown at Fig. 131, 
 the radial or joint lines being exhibited. These' 
 lines are drawn from the centers in all cases. 
 
 The diagram shown at Fig. 132 represents an 
 equilateral, Gothic arch. This is drawn with the 
 compasses set to the width of the opening, one 
 leg being placed at the junction of the sprincring 
 line when the other leg describes the curv^e of 
 
 Fijr. 132. 
 
 fig- «33- 
 
 one side. The same process forms the other 
 side of the arch. 
 
 The completed equilateral arch is shown at 
 i'^S- t;,;„ w,th th(. method of laying out the 
 curves. 7 he centers being X and Y. As before 
 stated, the joints in all these arches should be 
 struck at nght angles to tangents of the curve, 
 which m the case of arcs of circles will cause the 
 joints to radiate to the center from which the 
 curve is struck. There are cases, however 
 when th-s de cannot be followed, as take the 
 last dlustnion Fig. 13;,. for instance, when the 
 
 ^j 
 
 I I 
 
 I 
 
 i S! 
 
 I 
 
 - * 1 
 
136 
 
 ARf HITKCTUHAL ORAWINO SELF TAUOUT 
 
 I 
 
 I'iK- '54 
 
 bonding is not what a good workman would 
 desire, yet it is better than the bonding shown 
 in Fig. 134, though perhaps not so handsome; 
 that, however, is a matter of taste. The employ- 
 ment of the method shown at I'ig. i;^3 gets rid 
 of the small angle closers which show in the 
 crown of I'ig. i.i4- To get the lines properly, as 
 
 shown in Fig. 133, run up the 
 two dotted lines at an angle 
 of fifty degrees, with the 
 springing line X Y, on each 
 side of the arch. These are 
 produced to cut through the 
 curve lines at C and I). 
 The joints of the arch from X to C are 
 radiated to Y, those from D to Y to X, and 
 those in the upper portion of the arch to the 
 intersection of the two inner lines at B, whereby 
 the bricks at the crown are eased off. In 
 pointed or two-centered arches, other than 
 equilateral,, the same method may b.: followed, 
 the angles of the dotted lines being greater or 
 less as the circumstances of the case may require. 
 In setting out gauged arches care must be 
 taken to draw first a middle or "key" brick at 
 the crown of the arch, the 'd:)ject being to pro- 
 viile a brick t^^ resist the increased strain at the 
 
 I 
 
g- '3S- 
 
 ARCHITECT HAL DRAWING SELF TAUGHT 137 
 
 point; and secondly, to have the effect of pro- 
 ducing an equal number of bricks in the arch 
 excluding the key, so that it may ,. 
 be finished the same on each side. *' 
 
 The next arch is drawn upon 
 the same principles as the ogee 
 curve shewn in I'i^:. 135, and with 
 the construction hnes given re- 
 quires no further explanation. It is defective as 
 a scientilic arch, but occurs often in the Deco- 
 rated Period, towards the end of the fourteenth 
 century, .\fter that period the arches were 
 made flatter, examples of which are the seg- 
 mental, or two-centered, and the Tudor, or 
 four-centered, arches. 
 
 To describe an equilateral ogee arch, like 
 Fig- 136, proceed as follows: Make \'Z the 
 given span: make YX equal YZ. bisect YZ in A; 
 £. ^x^ n 'J" A as center, with A \ as ra- 
 dius describe the arcs Y B ind 
 Z C; on n and X as centers 
 descrlbt.' ^Uq arcs B D and X D, 
 and on C and X ds centers de- 
 scribe ;he arcs C }■; and X E; 
 
 on E and D as cen'crs describe 
 the arcs B X and C X. 
 
 The flat oge.^ arch shown at Fig. 137 requires 
 
188 
 
 AM( IIITKiTlHAI, OKAWIN'U »KLF TAUGHT 
 
 A e 
 
 some little different treatment to the previous 
 onu. To obtain the proper curves and centers 
 for this style of arch proceed as follows: Let 
 
 A B be the outside width 
 of the arch, and C D the 
 height, and let A E be the 
 breadth of the rib. 
 
 Bisect A B in C, and 
 
 erect the perpendicular 
 
 C D; bisect A C in F, and 
 
 draw 1" J parallel to C D. 
 
 Through D draw J K parallel to A B, and 
 
 makt! I) K equal to I) J. 
 
 I'Vom ¥ set off I*" G equal to A E, the breadth 
 of the rib, and make C H equal to C G. 
 
 Join G J and H K; then G and H will be the 
 centers for drawing the lower portion of the 
 arch, J and K will be the centers for describing 
 the up{)cr portion, and the ( ontrary curves will 
 meet in the linos G j and H K. 
 
 This style of arch is seldom used in substantial 
 work other than in Gothic architecture; the 
 carpenter, however, often makes use of it in 
 porch, veranda and arbor work, and sometimes 
 in grille work, so it is well to have a knowledge 
 of it. 
 
 Another arch, not in common use, is the 
 
AHClIiTKi 1L|(.\I< DHAWIXO »ELF TAUGHT 
 
 ISO 
 
 horseshoe or Moorish arch; two examples are 
 shown at I-i^rs. , ;S and ,;c). In the (irst the 
 cur\-e is struck from a center situated above the 
 sprin^inK line. This is said to hr th(; stron^'est 
 
 Fig. 138. 
 
 Fig. 139. 
 
 of all arches when properly constructed and is 
 often employed for tunnelinjr and other heavy 
 Mork where ^rrcat resisting stren^rth is required. 
 The figure shown at i:,q is sometimes called a 
 Gothic horseshoe arch because of its beinjj 
 pointed. It is somewhat similar to the last, but 
 IS struck from two centers. I and J. The special 
 peculiarities of these arches is. that they arc nar- 
 rowed m on the sprin-injr Ii„es, which ^nves to 
 them a pleasin<r ai)pearance. 
 
 Often arches are formed by havinj,r them two 
 or more bricks deep, or they may be rouj,h and 
 turned m half-brick rinjrs. 4.; inches thick, as 
 shown at U in I-^.. ,40. In arches of quick 
 curve, with not mon- than 2 or 3 feet radius, 
 this method is absolutely necessary to prevent 
 
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 1.8 
 
 ^ yiPPLIED INA^GE Inc 
 
 ^^ 1653 Fast Main Street 
 
 T^ Rochester. Ne« Yorl< 14609 USA 
 
 ^= (716) 482 - 0300 - Phone 
 
 ^S (716) 288 - 5989 - Fax 
 
140 
 
 ARCHITECTURAL DRAWIXG SKLF TAUGHT 
 
 very large points at the ex trades. In the section 
 of portions of small arches shown in the illus- 
 tration, of which one t^w is turned, in nine inch 
 rings consisting of headers. It will be seen that 
 
 ■-. ly 
 
 Fig. 140. 
 
 the mortar joints in this are much wider at the 
 top than those of the portion /i/i, built in rings 
 half a brick in thickness. The line of joints in 
 both these examples are radial, all being drawn 
 from the center point. 
 
 The most common — so-called arch — is what is 
 termed "gauged straight arches," and with these, 
 in brickwork, the draftsman will have the most 
 to deal, and I purpose showing him several 
 examples. Such arches are in very common use, 
 and are generally 12 inches, or four courses of 
 brickwork, in depth. 
 
 The sommering or splay of the bricks depends 
 
AnriiiTKCTiniAL drawing self taught 
 
 141 
 
 upon the anule 
 
 given to the skewbacks 
 
 or 
 
 sprinprings, and varies with the distance of each 
 voussoir from 
 the springing. 
 
 The s k e w - 
 backs are gen- 
 erally inclined 
 at 60° from the 
 horizontal, and are struck by prolonging the sides 
 of an equilateral triangle, as shown on Fig. 142. 
 The joints give a better appearance when 
 horizontal as at B, Fig. 141; but to save labor 
 they are frequently formed as at A, and care- 
 fully concealed by rubbing over, false horizontal 
 joints being marked on the face, though in 
 
 course of time 
 the true joints 
 are sure to show 
 up and expose 
 the sham. 
 The arch 
 
 shown at Fig. 
 . s*** / . 
 
 142 is sometimes 
 
 called a French 
 
 or Dutch arch. 
 
 It is sometimes used by builders when intended 
 
 to be plastered or covered over. Such arches 
 
 i;#:: 
 
 \ 
 
 * i 
 
 >i j^ 
 
 IBii 
 
 n 
 
142 
 
 AHCHITKC'TURAL DRAWING SELF TAUGHT 
 
 are unreliable, and the draftsman should never 
 make them if intended to be built, unless they 
 are to be built up in good Portland cement 
 mortar. The joints may be arranged as shown 
 at A or at B; if, as at A only whole bricks should 
 be used. 
 
 Sometimes, in building arches of this kind, it 
 may be necessary to "plug" the brickwork as 
 shown at PPPP, Fig. 143, for the purpose of 
 
 If < 
 
 i 
 
 Fig. 143. 
 
 attaching finished work to them by screws or 
 other devices, and the draftsman .nust note this 
 on his drawings in order to save future trouble. 
 The manner of forming the skewbacks is shown 
 in this illustration, at o o; the angle of this line 
 should be about sixty degrees. 
 
 In placing in arches of this kind, there must 
 always be timber or concrete lintel behind the 
 face bricks to carry the wall, and over this 
 lintel, there should be a relieving arch built. 
 
ARCHITECTURAL DRAWING SELF TAUGHT 
 
 143 
 
 This latter arch is j^'enerally built up roughly 
 unless it is intended to carry a great weight, then 
 care miTst be taken in its construction. 
 
 Betore leaving the subject of arches it ma^ 
 be well to exhibit some examples in stone, and 
 should the student never be called upon to 
 prepare drawings for such work, their con- 
 
 'i i ' 
 
 ' lis 
 
 Fig. 144. 
 
 struction on paper will make good practice. 
 The example shown at Fig. 144 is a very 
 common one in stonework and shows how the 
 style of work is prepared. It will be seen that 
 the joints are generally radial, while horizontal 
 joints are formed to receive the stone above. 
 
 Another style of opening in stonework is 
 shown at Fig. 14s, where the head of the 
 
 m 
 
144 
 
 AHCHITECTURAL DRAWING SELF TAUGHT 
 
 -if S 
 
 PLATE 9. 
 
 Plate 9 shov s three examples of inside finish — 
 a door, a window, and sliding door — opening 
 with trim. These like the other examples shown 
 in Fig. 8 are easily understood. 
 
 I 
 

 V J 
 
 'I* 
 
 .Iti 
 
 \^ 
 
 HI 
 
 ,*»' 'i 
 

PLATta 
 
 ^ 
 
 ^ 
 
 \ 
 
 i ! 
 
 1^- 
 
 ,!| 
 
 m 
 
\l 
 
 -i iii 
 
ARCHITKCTirnAL I)H AWING S«^:i,F TVlfiHT 145 
 
 window or door is flat. There is a relieving 
 arch thrown over the hntel or cap u :arry the 
 
 T 
 
 Fig. 145- 
 
 weight over to the jambs. The face of the 
 window is all of dressed stone, while the walls 
 are formed of irregular stones. 
 
 Anot.ier style of work is shown at Fig. 146, 
 where the walls are formed of square stones laid 
 
 lit 
 
 fi^ 
 
 ^^11 
 
 ^11 
 
 ?l* 
 
 IK 
 
140 AHCIIITKCTUHAL DUAWINO 8KLK TAfOHT 
 
 
 if^^^h 
 
 /^ ^ 
 
 up in irregular courses, and the relieving arch 
 ends against a regularly prepared skewback. 
 
AncilITKCnu.VL I)HAWI.\(J SKI.F T M Gil T 
 
 147 
 
 At I- 
 
 \^. 147 ar<; irroui 
 
 I some of the principal 
 forms of arch shown in architecture. At A is 
 the semicircular arch, ilescribin^r half r circle. 
 B is a form of ellipti. al arch, not unfrequently 
 employed. It is no m reality, elliptical at all, 
 save in appearance, .jein^^ a segmental • -, i. or 
 one formed by the se^mient of a circle, ; .h is 
 struck from below the springini^s. The elliptical 
 arc.i C is formed of several circles. The stilted 
 arch I) rises from [)oints below its center. The 
 Gothic nrchitects employed various forms of the 
 pointed arch at different epochs. K is what is 
 usually termed an equilateral arch, so called 
 because the two sprin^in^r points and the crown 
 of the arch form an equilateral or equal-sided 
 tr anjrle. F, ti. lancet r h, is more pointed 
 than the preceding. It W truck from outside 
 the springings, and h-s me outline of an isosceles 
 or equai-leg- d trian, :< , of which the base is, of 
 course, less t._n the suk-s. G, the "drop" arch, 
 in contradistinction to the last example, is less 
 pointed than the equilateral arch. It is struck 
 from within the springings, ind has a triangular 
 outline, in which the base is longer than the 
 sides. H, the "segmental Gothic arch", is 
 composed of two segments of a circle, meeting 
 obtusely. I, the "oj^ee" arch, was introduced at 
 
 *i=i 
 

 ii 
 
 148 
 
 ARCHITKCTUnAL DRAWING SELF TAUGHT 
 
 a late period of Gothic architecture, and is 
 struck from four points. K, the "Tudor," arch 
 prevailed during the close of the Gothic, and 
 takes its name from the then ruling family of 
 the English dynasty. It has a much flattened 
 arch, low mouldings, and a profusion of panel- 
 ings. I now come to arches of the form that are 
 designated "foiled" arches, imitating the foils 
 or leiflets of a leaf, which are generally divided 
 into three varieties, viz., trefoils, cinquefoils. and 
 polyfoils. L, M, N exhibit three forms of the 
 "trefoil" or three-Iobed arch, O is an example of 
 the cinquefoil or five-lobed arch, and P, one of 
 the "polyfoil" or many-lobed arch. The latter 
 form is principally confined to Romanesque and 
 Saracenic architecture, and is especially met 
 with in Moorish and Saracenic buildings. The 
 latter people also employed a peculiar arch, 
 special to themselves, and generally styled the 
 "horseshoe" arch, shown at Q. This is only 
 found in Arabic or Moorish buildings. The so- 
 called "flat" arch, R, is in reality not an arch at 
 all, though the voussoirs are so arranged as to 
 radiate from a center, and arc laid in parallel 
 courses. This arch is employed in doorw^ays, 
 windows, and fireplaces of buildings, and the 
 intrados arc generally supported by a bar of 
 
AKClUTEt I'L'HAL UKA\VI\(i SKLK TAICIIT 
 
 14 J; 
 
 iron or beam of wood. In some very ancient 
 examples the voussoirs are cut to a peculiar 
 form, with the idea of securing great stability 
 and strength, as shown at Fig. 148, which is 
 copied from the fireplace of Coningsbergh 
 Castle. 
 
 I think the foregoing illustrations of arches 
 and the accompanying description are quite 
 sufficient for my purpose, as the student can 
 
 I I 
 
 \\\\\ r'MJJf^ 
 
 I'ig. 148. 
 
 gather from them all he will immediately require 
 to know, and after a thorough mastery of these 
 examples he will have no difficulty in obtaining 
 a higher knowledge from the thousand and one 
 other sources that are available, should he so 
 desire. 
 
 
 i _ 
 I i -1 
 
 SOME miscp:[.la\eou.s practice 
 
 Suppose it is necessary to show a door and 
 casings in a brick wall, with jamb linings, grounds 
 
 'fif 
 
150 
 
 ARCHITECTURAL DRAWING SELF TAUGHT 
 
 1^ 
 
 i 
 
 , 
 
 and other finishings, we commence by first 
 laying out the plan as shown at Fig. 149; we 
 decide upon the height and width of door, also 
 
 Fig. 149. 
 
 Style of door, and finish, and work to scale 
 accordingly. In this case I show an elevation, 
 Fig. 151, and plan respectively with a four 
 
 pandcd door with 
 jamb and soffit lining. 
 Fig. 150 shows a por- 
 tion of the plan en- 
 larged. 
 
 In this case it will 
 be seen that the door 
 is hung to the jamb 
 lining itself; the lat- 
 ter is a' 'ached to a 
 backing da dovetailed in between the framed 
 grounds, and secured to wood bricks in the wall, 
 the edges of which may be seen in section 
 Fig. 152. 
 
 In some cases the grounds arc tongucd into 
 
 ' 
 
ARCHITE( Tl HAL DU.WVIXG SELF TAUGHT 151 
 
 the jamb linings, but this is very seldom 
 done. 
 
 I A\ 
 
 Fig. i;: 
 
 The jamb lininnrs go right through the depth 
 of the opening, and on one side of the wall have 
 their edges rebated to receive the door; the 
 
 fmwi 
 
 m 
 
152 
 
 AKCHITKCTIHAL DIIAWIXG SELF TAUGHT 
 
 i 
 
 
 ■'V, 
 
 A^-- 
 
 ^, 
 
 '1e 
 
 ^I^Cj 
 
 "t5.t '^;i^ '^«^; 
 
 XvN 
 
 ■»-7 ' rX. , 
 
 JiSlil \ 
 
 jfA 
 
 
 edges on the other 
 side of the wall 
 being (in superior 
 work) similarly re- 
 bated to corre- 
 spond. 
 
 The soffit lining 
 is secured to cra- 
 dling or backing c, 
 consisting of rough 
 stuff attached to 
 the under side of 
 the lintels over the 
 opening. 
 
 Of course the 
 doorway might be 
 spanned by a 
 rough brick arch, 
 or by a concrete 
 beam, w i L h o u t 
 wood lintels, i n 
 which case the 
 framing would be 
 secured to plugs 
 let into the arch 
 or beam. 
 
 The enlarged 
 
AiuniTECTrnAL drawing self taught 153 
 
 plan in Fig. ,50 differs slightly from lig. 149, 
 inasmuch as a smaller architrave is shown on 
 the inside of .he doorxvay. The paneling of the 
 
 soffit lining is often shou,. in dotted lines upon 
 
 the plan of the (ioorway. 
 
 The whole ele- 
 vation of one side 
 
 of the door is 
 
 shown at Fig. 151, 
 
 and a section is 
 
 shown at Fig. 152, 
 
 with a portion of 
 
 the jamb lining re- 
 moved. This latter 
 
 is a good scheme 
 
 as It shows the 
 
 workman exactly 
 
 what is required of 
 him. 
 
 The illustration 
 shown at Fig. 153 shows a vertical section oi 
 a window aid frame for a brick hou. e. .^ 
 
 purposely cit short in order to show all tne 
 parts. It will be readily unde/stood. as \VL 
 stands for wood lintel, b j for botton; joints. 
 ib inside blinds, etc. Fig. 154 shows the same win-' 
 dow in f levation with shutters or blinds in sight. 
 
 I-'ig- 154- 
 
 ji'i 
 
 7},is|7i| 
 
 }?.'■■ 
 
 r^mi v'^ 
 
 WW! 
 
154 
 
 AiMiiirr.crniM. diiawinc hki.k taitgiit 
 
 III 
 
 .» rri 
 
 Thr plan is shown at ]'"\^. 155. 'Miis show;- 
 thr s'luttiTs box splayed from tlu; \ .li'. The 
 (lotted I'lus show the shiilters partly folded. 
 
 In i-edrawin^ these examples the student 
 should make them at i.-ast twice or three times 
 the si/(> sh.own herewith; this can readily be 
 
 Fipr- 155- 
 
 done by taking the distances on a compass and 
 transferring to th(; i)aper on which the drawing 
 is to be ma(U\ If the drawing is to be twice the 
 size of the original, then space off the distance 
 of each feature twice, if to be three times the 
 distance, then space off three times, and so on 
 for other sizes. Ry following this advice, the 
 student will become familiar with his instru- 
 
 k. -.A^-.mif 
 
 "mp 
 
AIWMITF.fTi;UAL F.HAWINr; SKIJ TMfMIT ].-, 
 
 mcnt^ 
 
 and with th(; various kinds of 
 
 In leed, this work 
 
 tenchor of [)rimary d 
 
 o 
 
 bt 
 
 is int(:nfl«Ml, ucsides be 
 
 TuUimr, to If; a hf;I 
 
 aininy som<- knowlf-d^rf^ oi archit 
 
 work, 
 in^/ a 
 p';r in 
 
 <-'ctural con- 
 
 struction as well; for, 
 
 it is supposed, it will 
 
 fall chiefly into the 
 
 hands of young stu- 
 
 dents, apprentices, 
 
 and fellows who have 
 
 not had a fairly jrood 
 
 opportunity of ac- 
 
 quirinnr a Knowledge 
 of either drawing or 
 construction, but who 
 are desirous of learn- 
 ing what they can of 
 both, during their 
 spare moments. 
 
 The plates, follow- 
 ing the general illus- 
 trations, will place before the student many 
 thmgs not as yet touched upon, but I ha- e 
 deemed it necessary to show a few miscellaneous 
 Items both for practice, and because of their con- 
 structive value to the young builder. 
 The door and casing shown in Fig. 156 is a 
 
 l"iii. '56. 
 
 :rfil 
 
 ' »i 
 
156 
 
 MU'iinrcnHM. duawincj ski.i TArciiir 
 
 ^ood ('\aiii|)l(' for drawing; its proportions arc 
 noarl>' perfect, uul tho style; is modern. This is 
 an inside door as shown hy thi; base. 
 
 The sliding (h)ors shown at 1' i<4. 157 an; v(.'ry 
 nearly built in the same styh; as the single door 
 
 shown in Fig. 156. These may be drawn to any 
 special scale, or they may be transferred from 
 the illustration. I show a section of the wall 
 into which the sliding doors run at Fij. 158. 
 This drawing show^ the method of construction. 
 
AUCHITMirUAK J)|{A\VI\(; y.u.y TvrtiirT 
 
 l.->7 
 
 the end-wood of the studdinjr birinj^r seen; also, 
 the h'ninjrs to protci i the pocket. 
 The ilhistration, as l"\>^. 1^9, shows a method 
 
 Fig. I;S. 
 
 of adjustinjr the joint at the junction of the 
 doors. The section shows clearly how the joint 
 is hidden from view. 
 
 A section and elevation 
 of trim for a door is 
 shown in V'lvr. 160. In 
 this drawinjr the door, 
 
 th 
 
 e step, the stud, the 
 
 Fig- I5'^ 
 
 plaster and the ti 
 
 ran are shown in place, and at 
 
 the bottom, tiie plinth block and ba 
 
 %: 
 
 se are also 
 
U8 
 
 ARrillTECTUnAL nRAWlXO SELF TAUGHT 
 
 ft* 
 
 shown in section. This style of finish is called 
 "block finish," because of the turned block being 
 
 placed on the corner. 
 Fig. i6i exhibits a 
 corner of a balloon 
 frame, showing the 
 manner of placing 
 the studs, corner 
 boards and other 
 finish. 
 
 I show at Fig. 162 
 a drawing of a cor- 
 nice for a balloon 
 frame house. The 
 
 
 
 
 "" 
 
 ■ 
 
 
 
 (g) 
 
 
 
 
 
 
 
 
 J 
 
 i 
 
 
 A 
 
 ~i 
 
 
 
 2x4 
 
 v^V 
 
 i.,..6'-. 
 
 Fig. 160. Fig. 161. 
 
 method of construction is made quite apparent 
 and can easily be followed. The walls are 
 boarded or "sheeted" on the outside, and then 
 covered with siding or clapboards. 
 
 rr^^r^ 
 
AliriinK'TlHAI. DKAUIXO HKLF TAliOIIT 
 
 I.i0 
 
 The next drawinj^, Vv^. 163, shows a section of 
 a corner for a brick wall. Tht; j^uttcr and com- 
 
 Fij,f. 1(12. 
 
 plete finish for cornice arc shown; also, an iron 
 rod or anchor built into tiu- wall, havin^^ a nut 
 on the top wh' " . intended to hold the i)latc 
 
 ll 
 
 fi 
 
 ,.»'; i' 
 
 *'^-'VW3«vmj. 
 
100 
 
 AltCIIITECTUUAL UliAWINU »tLJ lAlOIIT 
 
 PLATE lO. 
 
 This plate shows a number of details half life 
 size. A portion of elevation and section of 
 trim head are given, also section of casinjjf, picture 
 frame mould, plinth-block, base and floor step. 
 The face of plinth-block is also shown. 
 
 Tc^^^'^^Ssf^!?'?'^'^!^!^^!^ 
 
'5- 
 i 
 
 't 
 
 i 
 
 7S?^7r?s7af ,!3*S5a 
 

 
/ / ,1 
 / / / 
 
 // / 
 
 ' {, 
 
 I u 
 
 p)/- 
 p 
 
 ! !l 
 
 \. 
 
 P'l 
 
 V 
 
 \ 
 
 /A/ 
 I i 
 
 ' r'\ \ 
 
 Vil 
 
 ~,\ 
 
 M(P1^ 
 
 
 J » 
 1 lA 
 
 m 
 
 l-f 
 
 k 
 
 . '* 
 
 a 
 
 *4i 
 
 ■? 
 
 
 , 
 
 *1, 
 
 f 
 
 ,* 
 
 l^ 
 
 tf 
 
 4 
 
 
 
 4, 
 1 
 
 
 
 m\ 
 
 vfi.^ 
 
■.U>: 
 
ARCHITECTURAL DRAWING SELF TAUGHT 161 
 
 in its place on the wall. A section of a box 
 window frame is shown at Fig. 164. The weights 
 are seen in the box, the stud forming part of the 
 box. This is designed for a balloon frame 
 house, and it wul be seen that the inside trim 
 
 
 
 Xx 3 
 IRON AKCHORS 
 
 t X < V o o \ 
 
 i X 10 \ \ 
 
 V^, ,^.A- 
 
 'Fig. 163. 
 
 forms one side of the box. This is an exceed- 
 ingly cheap way to make a frame as but very 
 little stuff is required in its construction. 
 
 The section of window frame shown in Fig. 
 
 165 exhibits the portion cut at the sill. This 
 
 ft.. 
 
 t 
 
 ml 
 
i 
 
 162 
 
 ARC'HITKCTl'HAL DHAWIXG SKLF TAUGHT 
 
 Fig. 164. 
 
 shows the construction of the frame at the 
 bottom, including inside and outside finish. 
 
 It will be in order 
 now to fo'low the 
 plates I have pre- 
 pared, in which a 
 large number of 
 constructive de- 
 tails are presented. 
 I would advise Lhat 
 the student copy 
 each item as pre- 
 sented, making 
 each one twice the size as shown on the plates; 
 this will make instruc- 
 tive practice and will 
 soon fit the young 
 draftsman for work of 
 a higher and more elab- 
 orate kind. 
 
 The foregoing illus- 
 trations have been 
 especially prepared and 
 drawn, with a view of 
 leading the student by 
 easy steps to a fair knowledge of the use of his 
 instruments and th<: laying out ot work on paper. 
 
 Fig. 165. 
 
ARCHITKCTl RAI, DitAAVING HKUV TAIGIIT 
 
 ().'} 
 
 Each item, too, has a constructive value, as 
 all are drawn from examples of actual work, 
 and will, therefore, convey in some measure a 
 true knowledjre of construction, without v/hich 
 the work of the mechanical draftsman has but 
 little value. 
 
 Strtight Line. 
 
 Curred.Xine. 
 
 Fig. i66. 
 
 SOME ORXAME' taI, E.XAMPI.ES 
 
 We have nov reached a stajre whrre an 
 attempt at orn ntal jreometrical drawing is 
 permissible, and .lough it is not my intention 
 to go deeply into this subject, a few examples 
 along with brief descriptions win j^robably start 
 some of my readers on a course of drawing 
 extending far beyond the limits of this work. 
 
 This kind of drawing-like most other 
 drawing— is composed of straight lines, curvc-d 
 lines and mixed lines, as shown in I-'ig. i66. but 
 
164 
 
 AIKIIITKCTUHAI. DRAWING SELF TAVGIIT 
 
 ,uch lines arc regular, and are made by the aid 
 of compasses, or oth^r ins uments, and this 
 
 fact distinguishes geometrical drawings from 
 drawings wrought freehand. Suppose we desire 
 
 
 -9-r 
 
 I 
 I 
 
 FiK'. 169- 
 
 / 
 
 Fig. 170. 
 
 Fig. 171. 
 
 to show a square diagonally either for ornamental 
 or practical purposes, we simply proceed as 
 
Ai{riTiTK(Trr<\i. drawing sklf taicjiit 
 
 HW 
 
 '.ff 
 
 follows: Figs. 167 and 168 show the diagrams; 
 join the lines a b, c d, Fig. 167, crossing at e, as 
 shown in Fig. 168. Take half c d, I'ig. 167, as c 
 e, and set it off from m. Fig. 168, to e h, g f; 
 join these, and parallel to them draw the 
 internal squares and 
 we have a figure 
 more or less orna- 
 mental. Again, sup- 
 pose we desire a 
 "lozenge" or dia- 
 mond shape; this 
 can be accomplished 
 by a similar method 
 as shown at F"igs. 
 
 169 and 170. Vig. 
 
 170 shows the man- 
 ner in which it is 
 drawn; two lines c b, 
 and e d, intersect at 
 a; a c, a b, a e, a d, 
 are each equal to half of a b, e f, Fig. i6c); and 
 a h, a m, a g, a f, Vig. 170, to half of h m, e d. 
 F""ig. 169. Let us put one of these examples to 
 some further purpose; this is dc^ne in Fig. 171, 
 which shows how this style of drawing may 
 be used for filling in spaces. 
 
 Fig. I- 
 
 st I 
 
 ■'■* . 
 
 y.n 
 
 
 ^*'. 
 
ICO AHCIUTKCTUUAL DUAWINtJ SKI.F TAUOIIT 
 
 Tho example shown at l'i<;. 172 exhibits a 
 method of drawing' a (Icsi^ai for a diamond- 
 shaped pattern. 
 a & e a e ^ '\\\(\ dotted lines 
 * \i/ \ //x /jrX / / / show the construc- 
 
 / tion, the distance 
 
 / between the dia- 
 
 mond as e f g h, a 
 
 b c d, being equal 
 
 Pij, ,,3. to the distance a f, 
 
 a d e. The use of 
 this is probably shown at Fig. 173, when a design 
 for tile patterns is shown, the lines a b c d f are 
 drawn to the angle shown and are parallel to 
 
 Fi^^ 174- 
 
 each other, the distances being shown at i h g. 
 
 Another illustration of a square being set 
 
 diagonally is shown at I'ig. 174, which illustrates 
 
 
AnniiTKcn i;\i unwvisc ski.k T\r<iirT 
 
 Ui' 
 
 an open Ijalustradc id ( iotliic st> !«•. 'Ilic student 
 should have no diffK utiy whatever in hi\in^r this 
 diagram off, as it i> a very simi)l(: matter. 
 
 I*'««- '75 'in<J i7(> show a.iot' .-r (h;sijrn having 
 
 '•"'■fs'. '7?. FiK^ 1-6. 
 
 six sides, which is oft(;n (MTiploy(.'d in decoration 
 and in (iothic architecture. The manner of lay- 
 ing it out is shown in I-ig. 175. and comph:ted 
 figures are shown at I-ig. 176. 
 
 i-,i 
 
 I he same figure in conjunction witli the square 
 is shown in finished work at Fig. 177. This 
 represents a perforated balustra(k,- or parapet; 
 the curved lines are olitained by the compass, 
 centers being easily found. 
 
 i -T- 
 
 ■-■i 
 
 
ir.8 
 
 MM'MITKCTIMl.M. DUAWINC SKI. I TvrdllT 
 
 A Still more complicated lij^iirc is shown at 
 I'ig. 17S. This may be formed as follows: If 
 th<' points I J. j;, ,^4. 45. >,(■), 67. 7S are joined, an 
 octagon will l»e formed, and a square hy joininj^ 
 () 10, i^ II. riu; octagon forms the basis of tlu! 
 combination, and is the first thinjj to be drawn. 
 
 Fig. i-S. 
 
 which may be done as in Fig. 179, by forming a 
 square, and thereafter an octagon the side of 
 which is equal f e, f g. l)raw lines, i i m, distant 
 from each other equal to the distance between 
 the rhomboids in Fig. 178. Parallel to the 
 diagonal lines c b, a d, draw lines equal to i i. 
 From e, one end of the octagon side, draw a line 
 
If! 
 
 AFM IIITHTIKAI, DRAWING HKI.K TAI (llll 
 
 10» 
 
 perpendicular to < d, joining' the diagonal a d 
 in h. I'Voni n, the end «»f anoth.rr side- of the 
 octa^(on, draw parall(tl to e .' ;i lin(; cutting the 
 diaj^onal d a in o, parallel to e h, k t; draw lines 
 p t, n s; two of thf; rhomboids will thus he 
 formed; the remainder are rlrawn in a similar 
 way. These beinjr ohtain(;d, the squares, as in 
 I'i^. 178, inc. easily drawn. 
 
 Some ^ood exami)les in strai^^ht line work are 
 shown in the foilowinjr illustrations. Thu ., we 
 
 A?V^ 
 
 \x 
 
 XXa 
 
 X 
 
 ^ 
 
 XXCX' 
 
 x>m7 
 
 Fig:. '-9- 
 
 Fig. Ho. 
 
 see by makin<r dia^rona! lines, as shown at Fitr. 
 i.So, the character of the example becomes 
 ornamental, and this may be very much changed 
 again by the introduction of small circles at the 
 junction of the lines, as shown in one instance. 
 This may again be elaborated by adtling a line 
 or dot to the circle as shown. 
 
 Another example formed of squares and half 
 
 ^1 
 
iro 
 
 \m imn M km himwim; si m ixrciir 
 
 •^tui.ircs issluiun ill I j.^. iSi. '\'\\[- ur in-Minrnl 
 shows hou ■■'-(|ii. ires' m.i\ l.r p|. i. rd M) as to 
 fxhiliit stars <>i- ciIk r iMiinicd uniamrnts. Tlu: 
 sIkuIciI portion shows ili --Mr li'^iirr. 
 
 Another example partakint^ of the same 
 nature is shown at IIlj. 1S2. d'his ma> In; 
 
 fTv^T- 
 
 
 \ 
 
 / 
 
 _I'-/L' 
 < 
 
 / \ 
 
 n/\rnx\ i-i 
 
 • li'', I S I . 
 
 Vk:. ist 
 
 termed a basket pattern and is formed of iiitt-r- 
 lacin*,' straps. 'I'his |.attern is an e.xceechn^rly 
 jj^ood one for exercise, as it is composed of short 
 lines and re(]iilr;'s careful work to ])re\( nt over- 
 'ippini,r, which Avould spoil the work. In startinj^ 
 d endin;_^ a line, endeavor to have the line 
 clear and distinct and of an even thickness as 
 shown in the example. Lin(;s must not be left 
 short, but must join the cross lines as tho-ij^h 
 they were under them. To draw a panel of 
 interlacinf,^ strap work, as shown in example, 
 without a flaw, i^ fairly good workman. hip. 
 
AK' nil I I I I II \t. liltWVISr. Hill IXMilll 
 
 171 
 
 I li«- ••xaini.lr shou ii at I i^;. t-S'^ i^ a littlr tiu)n; 
 clilficsilt to \,\i)[ (}\\i than ( ith<r of tlir pnvions 
 OIKS, and ilic >tii»|«rit will ha\»; lo iis'- hi?, 
 
 I— _ I i. I I 
 I 1 ,- --^^ I — ' I 
 
 I ! ,-, 1 I — 1 r-,-r— 
 
 'r ' in 1 If "1 ! In . 
 
 , I , - 4 Li i ( ^ , j-.J. i ; 
 
 
 "rTllv 
 
 
 
 Ua I L J , ' — ! ■ 
 
 J 
 
 rive. i<v 
 
 I ■\,'. 1*4. 
 
 coin[)ass('s and Mt sf|uar(-s anfl cxfrriM: consid- 
 '•raMc- jiid^mcnt. This «:.\anipl<: is a stra[Av<jrk 
 fret, and i^ a ^Mod on<; to follow for (^ractic^. 
 
 V\<^. i,S4 is a modifica- 
 tion of th«: ani<: orna- 
 ir;«-nt, a (juartcr ( irclc l;e- [ 
 in-,^ used on all i;.\tf'rnal ^^ 
 an_i,des instead of havin'^ 
 the lines join with a riLrht 
 an<,rl(.'. In other words, the ornament is a com- 
 bination of curves and -.raiudu Hnes. 
 
 Copy these e.\am[.l(.'s four or rive times and 
 you will be astoni-hed at \(.ur own expertness. 
 
 lor i^ractice I offer a few virni/ie exatnplcs of 
 frets; the tirst three !iLriire>, 1S5, iS^xand 1^7. are 
 
 F-^ H.. 
 
 HI- 
 
■rfff?;: 
 
 si I 
 
 17^2 
 
 AI{fllITF,(TT HAL 1)HA\V1.\(; SKLF TArCHT 
 
 Fig. 1 8 6. 
 
 purely Greek examples, the first being the 
 simplest form of running (ireek fret. Its con- 
 struction is very simple and easy, and may be 
 
 reproduced with a 
 T and set squares 
 alone. I-'ig. 185 is 
 constructed nearly 
 in the same man- 
 ner, there being 
 two more angles 
 in the latter than the former. The next fret is 
 a little more difficult to lay off, but I appre- 
 hend the student will have no great difficulty in 
 producing Fig. 1S6. 
 
 Another style of fret, partaking somewhat of 
 the arabesque;, is 
 shown at I'ig. 
 187. This can be 
 repeated or con- 
 tinued at will. 
 After drawing 
 one complete 
 figure, its combi- 
 nation will prove quite easy, though some little 
 trouble and cj.re will be experienced in forming 
 the first complete figure as shown. 
 
 At Fig. 188 a very diffcn-ent kind of fret is 
 
 Fig. 187 
 
Cm' v.. 
 
 ARCHITKCTVUM. DHAWIXG SF.I.F TAIGIIT 173 
 
 This is composed of different figures, as 
 -i ( forms ■> complete square, a number of which 
 :iV: set off at regular intervals, then arrange so 
 that the points a 
 od will be covered, 
 by the points b o c, 
 and continue the ■ 
 fret to the required 
 length. 
 
 In working or- 
 naments havin<» 
 
 curved lines in them, many examples can be pre- 
 sented, but I do not intend to illustrate more than 
 I think will be necessary to enable the student 
 
 1 
 
 e- e 
 
 Bi 
 
 m 
 
 Fig. i88. 
 
 
 I 
 
 .{ 
 
 
 
 Y .r -\.\ 
 
 I 
 \ 
 
 :/^. 
 
 \\ 
 
 
 ^■> 
 
 
 Fig. 189 
 
 to fairly understand the principles on which the 
 ornamentation is based. The diagram shown in 
 Fig. 189 will suggest to the draftsman something 
 of the method in which combination of circles 
 
174 
 
 AK( IUTi;( TLKAI. UUAWl.NG HKLF TAIGIIT 
 
 l 
 
 may be used for ornamental purposes. Mere a 
 
 (liai^onal square, c d f ^, is first formed, one side 
 
 of which is equal to the (Hstance between the 
 
 centers of the circles, as a, b, c, d. 
 
 ■— ^ The radii of the circles described 
 
 ..^., from the points d c <^ f is equal to 
 
 half the side, as d m, f n, etc. 
 
 t^ Exemplifications of this ri<^ure are 
 
 often found in (lOthic perforated 
 
 parapets and similar work. 
 
 Another class of drawing is 
 shown in V\^. 190, where parts of 
 circles and strai<^ht lines are used 
 in order to form the ornament. 
 In order to makti this, j)ro(eed as 
 follows: Draw the base line b first, then make 
 a b at ri^dit angles to the tirst line. The; respec- 
 tive depths of the moulding must then be meas- 
 ured off on this line, as d, h, m, o, and r, /, t, 
 show the center line of the torus s, and e f, and 
 u V show the centers of the ogees, and g n, the 
 quarter round. Mere in this example we have 
 most of the mouldings in use in architecture — 
 the ogee, or cyma recta, and the reverse ogee, or 
 cyma reverse, the torus, the astragal, the quar- 
 ter-round, and the fillet. 
 
 Fig. iQi shows a tlesign for a baluster that can 
 
 'K- '9'^ 
 
 uL 
 
 '. .r^ . 
 

 AIU'lllTIXTrUAI, 1)HA\V1.\<; SKI. I TAlCillT 
 
 I to 
 
 readily l)c: drawn 1)\ the studiiu. as tlic cent rs 
 for the various curves are L^ixen. The center 
 of the lower curve is at a; centers for the upper 
 curves may be foiu^.d 1-y drawini^^ a line c b; from 
 a and b describe arc s cuttin^^ in d, with radius d 
 
 Fig. KM- 
 
 Fii(. IV-. 
 
 a describe an arc cuttini; the line c d in c; c in 
 the center of tlu: curve which is continued to the 
 dotted line c b; a strai^du line is then continued 
 to the nc-ck of the baluster. The other curves 
 and lines arc; readily obtained. 
 
 'l"he urn-shapc;d ornament shown in I'ij^. \<-)2 is 
 somewhat more comi)licated than the previous 
 
170 
 
 AKClllTKl rUIlAL UUAWlXtJ SKLF TAIGHT 
 
 8*1 
 
 P 
 
 H 
 
 t 
 
 :X'- ' 
 
 , 
 
 .VV: 
 
 il^" 
 
 PLATE II. 
 
 Plate 1 1 shows four doors of the style to be 
 used in the cottage. These doors are drawn to 
 a scale of one-half inch to the foot. The same 
 character prevails in these four examples, the 
 sliding doors being merely one of the second 
 floor doors. The front doors are chamfered 
 around the panels instead of being moulded, as 
 the others are. The front and rear door maybe 
 fitted WMth glass if so desired, in the second 
 panel from top. 
 
^)- 
 
 
 I 
 I 
 
 ill 
 
» 7 
 
 V 
 
 Plate.II. 
 
 StcoWo Fu!R. D2?H 
 
 ^Lipir^G D°°R^ 
 
 ^-•VOKSI 
 
TE.II. 
 
 
 -:«= 
 
 ~}' 
 
 
 
 
 ■ t 
 
 
 // 
 
 /. 
 
 I 'j 
 
 DoeR^ ; 
 
 R^\ D??R^ 
 
 I 
 
 ^^ 
 
 III 
 
 '-^ 
 
 
 I 
 
 ^'i 
 
 u 
 j^ 
 
 Fr^i^T' D;°R^ 
 
 111 
 

 
 p 
 
 I 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 L ■ 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ? 
 
 
 1 
 
 
 
 
 if 
 
 
 I 
 
 
 
 
 ■I 
 
 
 1 
 
 ^mmi 
 
 - 1 
 
 Hh 
 
 B 
 
 F^^^ft i 
 
 ■! 
 
 t'^^B i 
 
 
 fHfli 
 
 ;i 
 
 
 " 
 
 
 
 
 
 
 
 
 
 if 
 
 ^ 
 
 ■ ; jgi^B 
 
 1 
 
 
 i 1 
 
 
 '■ •■! 
 
 ^^^^^S ^ 
 
 
 HsmK 
 
 ■ ■■ ' 
 
 
 «[ 
 
 - 
 
 
 n< 
 
 i P 
 
 
 ^B; 
 
 
 
 H[ 
 
 1 
 
 
 ^^^^^^R ' 
 
 fi 
 
 
 
 
 
 
 
 
 
 n 
 
 ■ 1 
 
 
 
 n[ 
 
 ■ 
 
 
 B^B ^ 
 
 
 
 
 i 
 
 
 
 
 Ih 
 
 
 
 v^^ 
 
 Br ' 
 
 
 
 pHMUJ 
 
 4. 
 
 
ARflllTKCTlTRAL DUAWI.NO »KLF TAUGHT 
 
 177 
 
 Fig. 195. 
 
 example. It is suite' 1 to many purposes, par- 
 ticularly that of terminal. To form it we first 
 «lraw a center line b h, then the base a b, c c, 
 the fillet (1, and the 
 turved lines f f, jr 
 g; ( f and e e are 
 the centers of the 
 circles; join g h; 
 bisect it by the line 
 i i, cutting g g in k k; from k, with the radius k 
 h, describe arcs g h, and the line n n, the centers 
 of the cap moulding are found. 
 
 The last three examples are of a purely 
 practical kind, and their determination suggests 
 many other forms which will doubtless appeal 
 to the student's imagination. 
 
 The ornament shown at Fig. 193 is called a 
 Giiillochc, or chain, and is formed by concentric 
 
 circles overlapping 
 each other. This 
 pattern is easily 
 drawn with com- 
 passes, but is here 
 given as a freehand 
 study, in order to give the student an exercise 
 in severity and accuracy of form. 
 
 Figs. 194 and 195 are studies of the wave-line. 
 
 Fig. 194. 
 
 i-i j 
 
 ji 
 
i 
 
 i 
 
 '~^ Ai.Tiiii' (H i!\i. iiiiWViM; .si:i,i I \i<;iiT 
 
 'rii''\- arc. in f.ui, 
 
 IK- (Nina rrcia rcpratcd, ilic 
 
 depth hciivr lt->N<-ii<'(l in I i.;. k,^. 
 
 Ml;-. H)') is a stu(l\ nf the chiiiciitar) Iin«s of 
 a nmiiiii;.; st-roll, Innncd of ilu- waxc-liin', with the 
 
 addiiioii ()| spirals. 
 
 ;;;;:— Cuvr iiiiist lic takcM 
 
 in (h-aw in^x these spi- 
 
 ral 
 
 >«) that th( 
 
 y 
 
 ■y "y> 
 
 and font I'luous manner. 
 
 nia\' prociM' 
 
 d I" 
 
 I'oin 
 
 the stem in a smooth 
 
 Tl 
 
 \rv siK'uld stall as a 
 
 ( iiniiation of the waxc-liiu; so ^j^raihiall)', that 
 
 if tlie stem lieyond the spiral were rt^moxcd th 
 scroll would he perfect, and that if tlu.- scroll wer 
 
 '«• "97 
 
 emam imin- 
 
 taken away the waAc-line woidd r 
 
 jured. 1 his should also he the; cas(; in l'i;j^. 197, 
 
 in which tendrils are added to the scrolls. 
 
 %^ -Kr ■■>• _ -,, -*_?i:»^5a»^'?TOas?iBsi*^s^ 
 
Al(( llHl,< 1 1 livi. iil;\\\f\(, >i 1,1 i\i«.iii 
 
 I7!» 
 
 M;^. !</''» i'' -i fiirilii r clalioiMtloii III t li<- s.iiiii; 
 (Itsign, tlir lints l)(-in;,f <li»iilil<(I. 
 
 \\'fX' 100 '^ ai)(jtli<r ^impli' ninriin_r |);iti<Tn 
 h.iscd on the \v.i\ c-linc. 
 
 The example >h»j\vn .ti I i^f. 20; i^ an orna- 
 
 
 mental nKuildin'^' aJapti d fur \\()()i|-(ar\ in;^, and 
 gi\-cs tlie pattern and half the reiM-it. 
 
 Ha\in(,,r drawn the ujipi-r and losM-r liori/imtai 
 lines, draw A 15, C 1), h. 1-. ami (1 II; th(; 
 distance Ixjtween them heiriL," '-qua!. Thiin it 
 
 ill be seen that (," D and (.II art- tht- center 
 lines of the heart, and that A I) and I{ I" are the 
 center lines of tlic tMh^rmj ^r leaf LeLween thi^ 
 hearts. Xow draw the curvf I, and !>alancf it 
 hy the curve 1. 
 
 It will of course he uniler>tooii that althuuudi 
 
 f'-ma 
 
I HO 
 
 AIM IIITM-n ll.M, l>|(AWIN(i HKI.K TVIOIIT 
 
 i 1 1 
 IE > 
 
 i! 
 
 the instructions and l«»tt<'rin^; refer to the com- 
 plete fi^Mire, it is intended that the corresponding,' 
 lines in the repeat are to l»e drawn at the same 
 lime; -n fact, whatever lenjjfth of tin- mouldin^r 
 is to he drawn, these divisions (-r compartments 
 should be first set out, and the single curve 
 
 Fig. loo. 
 
 drawn in each before proceeding' any further. 
 On no account should one portion be completed 
 before the oiIkts have been sketched, for as 
 each set of curves is drawn the drawing becomes 
 more complex, and the difficulty of accurate 
 balancing is increased. 
 
 When these curves have been completed, the 
 interior ones which depend 7ipo>i, but are not 
 parallel /o them, are to follow. In drawing these 
 the greatest care is necessary so that the curves 
 

 \Ui IIITfrTIUM. |iU\\VI\(. -iKI.J l\l<,iri 
 
 IHI 
 
 may run j,'ra(<fully downwank, the s(*a(«- 
 b«*tw(M'n th<- inner an<l outer curves becoming,' 
 j^radually narrower. 
 
 The center r>''»rt at C is now to be drawn. 
 f(jllowin^^ tin; plan already laid down, viz.: to 
 draw first th<- le-ft an<l then the rij^ht side <jf th<: 
 ri^rure; and after this the leaves between thr- 
 he: re to be drawn in th«; same manner. 
 
 'i .. i>att(.-rn shown at I'it,'. 201 is for a runnin^^ 
 arran«,'fd so as to n-jxat; (i will thr-refor*- join 
 on to //. and thus the d«si^rn may be coiu.nued. 
 It will be seen tiiat in onh-r to ♦quali/e the 
 spacers so as to carry (jut thi> arran<rement, the 
 whole is divided intcj squares, and the central 
 Hower is placed on the intersection of the 
 diagonals. 
 
 In commencinjr this design, the general form 
 is to be sketched of each scroll risin^r out of the 
 previous one. At this stage no notice should 
 be taken of the husks or foliage r d, etc.. but the 
 scrolls should be sketched as if consisting of the 
 main stem only, and the husks should then be 
 drawn outside the original form. 
 
 Great care must be exercised to insure the 
 smooth, spiral character of the curves. There 
 must be no an'jrular breaks, but the eye must be 
 carried onward towards the center of each 
 
18'-2 Ai{( iiiii;* riHAi. uiiWViNCi ski.k TAVcirr 
 
 I 
 
 ■iP 
 
 
AFKIIlTKCTrUAI, l)I{A\VI\(; SIM.l lAt(;||'r 
 
 IS.'5 
 
 scroll, and the luisks nuist .ippcar as additions, 
 but not as excrescences. In order to test tin? 
 correctness of the forms, turn the sketch upside 
 down, place it vertically, or in any other direc- 
 tion, and if the desi<,rn has been correctly 
 sketched, the scrolls should be equally perfect 
 in whatever position they may be viewed. This 
 
 rii^. ;oi. 
 
 Fi;_!f. 205. 
 
 should be repeatedly done durin^r the projrress 
 of the work, so that any part which may be too 
 full or too flat may be improv(;(l before th(; 
 husks, flowers, foliage, or other details are 
 added. 
 
 The ornament shown in Fig. 20:; is calh-d the 
 pAJiiniis, the egg and tongue, or egg and dart 
 moulding. It is much used by carvers for 
 borders and similar work. 
 
184 ARCHITECTURAL DRAWING SELF TAUGHT 
 
 The moulding shown at Fig. 203 is the Greek 
 astragal, chaplet, or knuckle-bonc ornament; 
 this, also, is quite a favorite moulding with 
 carpenters and cabinet-makers, because it can 
 
 Fig. 204. 
 
 be turned in a lathe and then split in two .-r 
 quartered. 
 
 Fig. 204 shows the Greek conventional lily 
 form. It has a faint resemblance to the 
 Egyptian lotus, but has a Grecian delicacy 
 about it that is absent in Egyptian forms. 
 
 The Oi namcnt shown in Fig. 205 is th«^ Greek 
 
AncniTEf'TURAL DRAWIN'G SELF TAUGHT 
 
 la- 
 
 .Inlhcmion. This is a very good example for 
 practice. It can all be drawn by the aid of 
 compasses. 
 
 Fig. 205. 
 
 The border shown at Fig. 206 is purely 
 Egyptian, and is partly made up of the open 
 lotus flower and the bud. This is a 
 
 very 
 
186 
 
 ARCHITECTURAL DRAWING SELF TAUGHT 
 
 common ornament for stenciling, incised work 
 and low relief carving. 
 
 A circular or rosette ornament is shown at 
 Fig. 207 which is formed of a circle and four 
 
 Fig. 206. 
 
 lotus flowers. This may be drawn free-hand or 
 by the aid of compasses. A conventional form 
 of the lotus, in a more finished and elaborate 
 
 state, is shown in 
 ¥\g. 208. This or- 
 nament was much 
 in use with the an- 
 cient Egyptians, and 
 was considered as 
 being a sort of sa- 
 cred emblem with 
 them. Indeed, the 
 lotus was known by 
 Egyptians as "the 
 sacred flower." 
 The illustration shown at Fig. 209 is a Roman 
 border, and is composed of curve J and straight 
 
 Fig. 207. 
 
 ■1, '■■... f, .W 
 
ARCHITECTURAL DRAWING SKLF TAITGHT 187 
 
 lines.. This border is found on many of the old 
 Roman buildings now extant and appears to 
 
 Fig. 108. 
 
 have oeen a favorite ornament with the old 
 designers. 
 
 Fig. 209. 
 
 The ornament or rosette shown in Fig. 2cqK is 
 a Roman one used largely during the period of 
 
 i 
 
188 
 
 ATUIlITF.rTl'nAL DUAWIXG SELF TAUGHT 
 
 the decay of art, 
 about the second 
 century of our era. 
 It is quite elabo- 
 rate, but is not by 
 any means effec- 
 tive. The orna- 
 ment shown in Fi<^. 
 2IO is also Roman 
 but is the product 
 
 I 
 
AIMIIITMTIUAI, l)l{A\VI\(J HKI.K TAlOin 
 
 180 
 
 of a better period and offers som<; advanced 
 lines for the student's consideration. 
 
 Fig. 211. 
 
 The scroll border shown at Fi^r. 211 is of the 
 Byzantine style of architecture, and is quite 
 
 effective in its way The rosette shown in Fig. 
 212 is also of that style and offers «rood practice 
 to the student. 
 
 These latter e.xamples are taken mostiv from 
 
I 
 
 190 
 
 AUC'lllTEtTUHAl. DUAWIXG SELF TAUGHT 
 
 classic executed work, and while they only 
 touch the fringe of classic ornament, they will, 
 to some extent, give to the student an idea of 
 the ornaments employed in the historical styles, 
 and thus enable him to design his work on these 
 lines with intelligence. 
 
 GOTHIC ORNAMENT 
 
 Gothic style is so much different to the styles 
 that preceded it, that a separate chapter may 
 well be devoted to it in order that the student 
 
 Fig. 213. 
 
 may have a fair opportunity of judging for him- 
 self the peculiarities of the style. 
 
 The first example presented is a Gothic 
 border, Fig. 213, which, it will be seen, has a 
 character of its own, that is far apart from other 
 ornamentation. The main features of this style 
 lie in the fact that its members all have a vertical 
 
 i S 
 
AUCHlTKCTLU/iL. UHAWIXti SELF TAL'GJIT 
 
 101 
 
 tendency as may be noticed in its pointed 
 arches, its sharp spires, its pinnacles, its but- 
 tresses, its clustf-'r cohimns, and its wonderful 
 traceried windows and doors. Its chitjf elements 
 arc window tracery, trefoils, quatrefoils, cinque- 
 foils, zij^za<rs, garj^oyles, fleur-de-lis and ball 
 flowers. These, 
 along with many 
 other e X a m pies 
 of ornamentation, 
 and peculiar lay- 
 out of plan and 
 elevation, may be 
 said to constitute 
 the Gothic style. 
 
 The illustration 
 shown at Fig. 214 
 represents the tre- 
 foil ornament, a; used in windows and other 
 decoration, and is formed as follows: Draw 
 the equilateral triangle as shown by the 
 dotted lines a b c, then bisect it as at c f and a 
 e, cutting the line c f, which gives the center for 
 the surrounding circles; a b and c are the 
 centers of the trefoil curves. 
 
 The next illustration. Fig. 215, is the quatrefoil 
 and is described from the corners, h m, f g, of a 
 
 Fig. 214. 
 
 '3, 
 
iDi 
 
 A«ti::Tl.CTL'»'\L IJUAWIXG SELF TAUUIIT 
 
 i 
 
 ! 
 
 I 
 
 I 
 
 PLATE 12. 
 
 This plate shows a portion of the stairs, com- 
 plete and under construction. The newel ^ ost 
 and balusters are plain and chamfered. The 
 bottom step is rounded off at t'^ ; newel. 
 
it r 
 
n .. 
 
 (l^^(^^ ^%^(§)'^(^^^ 
 
Wif^ 
 
 'i r J 
 
 PlRTE.12. 
 
 'T 
 
 L. 
 
 M. 
 
 r- 
 
 r 
 
 A 
 
 y 
 
 / 
 
 —j_ 
 
' i 
 
 i 
 
ARCHITECTURAL DRAWING SELF TAUGHT 
 
 193 
 
 Ji 
 
 square; a is the center of the surrounding circles, 
 found by the intersection of the diajjonals, a b, 
 
 c d, of the square; 
 the curves, s s s s, 
 are drawn from 
 the center a; while 
 those meeting in 
 [i^ 1 1 1 1 are described 
 from the centers, 
 h m, f and g. 
 
 The cinquefoil. 
 Fig. 216, is de- 
 scribed from the 
 corners of the pen- 
 tagon, a b, d e f ; by dividing e d equally on the 
 point g, and draw- 
 ing a line from 
 a to it, cutting the 
 perpendicular e c 
 in h, the center n 
 is the point from 
 which the sur- 
 rounding circles 
 are drawn. The 
 other parts of this 
 ornament are 
 easily drawn. Fig. hg. 
 
 M 
 III' 
 
 Hi 
 
194 
 
 ARCHITKCTUUAL DHAAVIN'G SKLF TAUGHT 
 
 Two more examples, and then I have finished 
 in this style, but these are elaborate and will, 
 doubtless, try the skill and patience of the stu- 
 dent, but the results will well repay for the labor, 
 
 Fig. 21-. 
 
 and will open up new and unexplored fields for 
 practice, for hundreds of desijrns maybe formed 
 by aid of the knowledge gained in understanding 
 the examples herewith presented. 
 
 -w^w 
 
ARCHITECTURAL DRAWING SKLF TALGHT 
 
 195 
 
 The diagram shown at Fig. 217 exhibits the 
 skeleton work for the finished tracory shown at 
 iMg. 318. The centers for all the curves of one 
 third of the work are all shown hy the heavy 
 black dots. By a little study and patience the 
 
 Fig. iiS. 
 
 Student will soon be able to draw the completed 
 work, Fig. 21 8. 
 
 In I-"ig. 219 we have another skeleton for a 
 still more elaborate piece of work. The centers 
 
 K: 
 
106 
 
 aiuiiitp:('Tuual duawing self taught 
 
 : I 
 
 
 are all shown by black dots, and portions of the 
 curves are also jj^iven. The completed work 
 shown at V'l^. 220 jias a very rich and ornate 
 appearance. These two examples are quite 
 
 Fig. 219. 
 
 sufficient to give the student a good insight into 
 (iothic tracery work, but it must be remembered 
 that in (lOthic work the designs of this character 
 are inniunerabk-. Portions of these designs are 
 
ARCHITECTUHAL I)HA\V1N(J Si:i.r TAiroilT 
 
 U)7 
 
 used in window and door heads, and in a 
 bcindred other places, always with effect. 
 
 It will be noticed that in these two designs 
 given, that the trefoil, or three circles, forms the 
 
 Fig. 220. 
 
 foundation of the whole of the work. All the 
 other ornamentation seems to cluster around 
 the three larger circles; this is the peculiarity 
 of these two examples, but it must be borne in 
 
 I 
 
 i:- 
 
\m 
 
 AHCHITKCl't^RAl- DRAWINT. SKLF TAUGHT 
 
 U 
 
 mind that the trefoil is not the only basis around 
 which the old Gothic designers built their 
 tracery; but these are sufficient for our purposes. 
 
 SOME rkACTICAL KXAMI'LES OF ORNAMENTATION 
 
 The studious draftsman will soon discover 
 ■Jiany new worlds to conquer if he pays much 
 
 — attention to his 
 
 ' work, and he will 
 
 ' ' — find that, for or- 
 
 namental work, 
 
 the power of his 
 
 'I j\l/' . , 
 
 T-- compasses is ai- 
 
 ''^" ^*'" most without 
 
 limit. I offer a few simple examples herewith, 
 
 f 
 
 ::&;'■' 
 
 1 
 
 7- ~r 
 
 Fig. 221. 
 
 and will follow them up with others of a more 
 complicated nature. 
 
 The illustrations shown at Figs. 221 and 222 
 
 
ARCIIITECTUHAL UHAWlNO SELF TAUGHT 
 
 lOD 
 
 show the finished work, and working diagrams. 
 The method of drawing these curves and orna- 
 ments is quite apparent, the centers are all 
 given, and the dotted lines show the direction 
 of the curves. A very little practice on these 
 
 examples will enable the draftsman to describe 
 them in quick time, and will give him an insight 
 into the methods employed in designing orna- 
 ments of this kind. 
 
 Another very simple design, and one that 
 requires but little description on the manner 
 
 hi 
 1 'I 
 
 i n 
 
 it 
 
 i 
 
200 
 
 AmillTKCTURAL DnAWIXG SKT.F TAVGIIT 
 
 of making it, is self-evident, antl is shown at Fig. 
 223. This is a very effective ornament, and at 
 one time was much in vogue. 
 
 The ornament shown at Fig. 224 is drawn 
 right and left, one-half being complete, and the 
 other half exhibiting the various centers from 
 
 rv\4 
 
 Fig. 224. 
 
 which the curves of the pattern are drawn. The 
 method of forming scrolls has bee. described in 
 ;■ previous chapter, so that it is unnecessary to 
 repeat at this stage. The design is simple, the 
 centers being all given and the dotted lines 
 show the radii of the curves. 
 
ARCHITECTURAL DRAWING SELF TAUGHT 
 
 ^01 
 
 The design shown at Fig. 225 is taken from 
 an old example of panel work and has rather a 
 quaint look. The draftsman will have no great 
 difficulty in lining out this design. 
 
 The ornament shown at Fig. 226 is intended ^ 
 for a double barge-board, having a belt runnin?*^ 
 
 along the center, di- 
 vidingtheupperfrom 
 the lower portion. 
 This design is some- 
 what complicated, 
 and I therefore give 
 herewith a full de- 
 scription of the meth- 
 od of describing it. 
 To properly divide 
 the diameter a, b, of 
 the circle a b, c, d, 
 into six equal parts, through the third of these, 
 •drawing the line c, d, e, f, g, at right 
 angles to a, b. From 3, with distance equal to 
 one of the parts on a, b, set off the line a, c, to 
 the points 6 and 7, and through the points, 2, 4, 
 6, and 7, draw lines, forming a square. Then 
 from the point 3 as a center, with 35 or 31 as 
 radius, describe the circle hi. isd. Then with 
 half the distance 5b, nia, and upon the lines 6 
 
 Fig. 225. 
 
 . 5|- 
 
209 
 
 ARCHlTECTUnAL DUAWIXO SELF TAUGHT 
 
 i 
 
 Fig. zi6. 
 
ARCIIITE(TrRAL DnvWlNO SFl.F T\!'OlfT 
 
 20.1 
 
 am] 7, producetl to right and left, describe from 
 the centers j, k, 8q, the arcs of circles which will 
 join the parts of circle, 15, hi, as 5I. Im, hn, 50, 
 with the sides 2 and 4 of the square. The small 
 circles as j, k, 89, give the standard for the 
 
 Fig. 127. 
 
 various centers and center lines, the moulded 
 part d, bein^ drawn to depth as shown. Set off 
 from the d the distance of the diameter of small 
 circles as k, from the point d, nine and a half 
 times to the point f, which terminates the design. 
 The line p, q is drawn at right angles to g f, 
 through the first part, r, s, through the third ai. 1 
 the line t, u, through a point midway between 
 
 ■Jt-Vi 'Mil. 
 
'204 
 
 AUnilTWTrHAL im.vWlNO Hi:i,K TMdllT 
 
 the sixth and seventh points. All the circles 
 and arcs of circh's are eith'T equal > parts or 
 multiples of the standard circle as k, or f, any 
 one of the six di\ isions on the line a. b. 
 
 The design shown at I'ij^. J27 is also a pattern 
 for a verge hoard, and is a very good example 
 of the kind. The centers for the circles are all 
 shown in the working diagram, the cutting lines 
 all being represented by the; dotted lines. I 
 purposely leave this without a further descrif)- 
 tion so that the draftsman may exercise his own 
 skill in working it out, not a very difficult matter 
 when tiie reference letters are given. 
 
 The drawing shown at Fig. 228 is a design for 
 a balcony panel, showing frame and drop mould- 
 ings. Suppose a, b, to be the total height; then 
 divide it intp seven equal parts and through the 
 fourth of the points draw a line c, d at right 
 angU's to a, b. Make the facia at top equal to 
 the distance between the sixth and seventh 
 points. From the line d, set off to e, and f, and 
 make f, g; e, h, each equal to two-thirds of one 
 of the parts on a, b, as 7, S. Through the point 
 2, draw a line parallel to c, d, through e, f; g, 
 h, draw lines parallel to a, b. Make b, j, equal 
 to e, f. and through j, draw a line parallel to c, 
 d, joining f, e. Bisect 2, j, in the point k, and 
 
ARniITK( FIBAL 1)H.V\VI\<; t^kAA TAUUIII 
 
 20: 
 
 Mi 1 1 
 
 throuirh k, draw m, k, I, pardlel to c. i\. With 
 one-fourth of the distance of ^, h. or c, f. ^ct off 
 
 Fig. 2i8 
 
 from the points j, k, o, and m, on each siile of 
 the center lines, as to o, and n, from 2, and i. 
 
206 
 
 AUCIIITECTURAL DRAWING SELF TAUGHT 
 
 From these points as centers, as o, and n, with 
 radii equal to o, i, describe arcs cutting as at p, 
 and from p, describe an arc joining o, n. Do the 
 same at all the other points, and describe the 
 double arcs. Divide one of the parts into which 
 a, b, is divided, as the lowest part b, I, into four 
 equal parts, as in the points of r, and s. With 
 two of these as radius, from the point k, in 
 center describe the circle k, t, u, and put in the 
 ornament with the arcs as shown. Through the 
 points I, s, 2, and q, as the line a, b, draw lines 
 with distance q b set off from q to v, and from 
 V draw a line parallel to a b, parallel to m, k, 1. 
 With r, s, as radius, from v, as center describe 
 the arc v, x. With half the distance q, v, set off 
 from X, to >•, and through y, draw a line parallel 
 to V, w, as y, z; the point z, is the center of the 
 arc y, a. The arc from a, is described with 
 radius x, y, and through the center a line to b. is 
 drawn parallel to w, v. The arc c, is described 
 from the point d. The dotted lines and radii 
 show how the other parts are put in. The 
 ornaments at f, are put in the lines drawn from 
 the center k, to the corner points, as at e. 
 
 These examples make splendid practice for 
 the young student, and if repeated two or three 
 times, they will become so impressed on the 
 
 mm- 
 
 - 't8ami^ia^bi^iV4sr:fstJ^ovvsr'xit:mig»'w 
 
 ,'«?ii*L'^-.fV''f : 
 
 x|%-»_^.».«u},-._*rjto/ 
 
ARCHITECTURAL DRAWING SKLl' TAUGHT 
 
 ^01 
 
 mind that they may be produced at will without 
 copy, and enable one to form designs, with the 
 aid of rule and compass, to suit almost any 
 situation. All these examples are formed in 
 exact architectural proportions, a matter that is 
 often lost sight of by the draftsman, who is 
 sometimes astonished at his own uncouth 
 creations, which become as offensive to the 
 trained eye as vulgar language does to the 
 cultivated ear. In the formation of ornaments, 
 like everything else in this world, there is an 
 "eternal fitness," a fact which should never be 
 lost sight of. 
 
 The design show., at Fig. 229 is a very useful 
 one and will answer very nicely for a drop or an 
 eaves board. Suppose a, b, to be the height of 
 the lower part of the design which is divided 
 into thirteen equal parts. Then, through the 
 second, sixth, seventh, and eleventh of these, 
 draw lines at right angles to a b. b>om point I, 
 with half the distance of the space between 
 points I and 2, as radius, describe the circle d. 
 From the point 2, draw lines at an angle of 45" 
 to the line c f, cutting the semicircle; these 
 points, as g and h, give the centers of the semi- 
 circles, l*roni one center of the circle described 
 between the points 3 and 4 draw lines at right 
 
£08 
 
 ARCHITECTURAL DRAWING SELF TAUGHT 
 
 PLATE 13. 
 
 Plate 13 shows a mantel in elevation and 
 section, also a plan of the shelf, with construc- 
 tion lines. This is drawn to a scale of ^ of an 
 inch to the foot. 
 
 ' 
 
 .(\>. 
 
 'j^>..: mif>Bmi')Js*iiJBKm-y7^ivifrfi^imK9i,s^K'ww:gf'ik^B<ik 
 
•:-','.\ '"'-~4(..-j ■;■ u:*-\». ij i 'Xt, / „y:- 
 
% 
 
 if • 
 
 PLRTEia 
 
=? 
 
 'f 
 
 % 
 
 '!^^ 
 
 
 M^ 
 
 9 ^^ 
 
 r 
 
 ill 
 
 
 
 J- 
 
 Si 
 
H 
 
 i 'i 
 
 
 
AIIC'IITIX'TIKAL DRAWING SELF TAUGHT 
 
 200 
 
 Fig. 219. 
 
 V i 
 
 11 
 
 i -i 
 
 'i 1 
 
 
210 
 
 AR( IIITKCTURAL DRAWING SELF TAUGHT 
 
 angles to tlu; lino e, f. to i and j. These are the 
 centers of the parts of circles thus shown, 
 r'inishinir the circle at the point k draw the line 
 k. 1, parallel to a h; on this line the center m, of 
 the arcs n and o, is found. 6 and p are the 
 centers of the arcs q and r. The remaining 
 portions of the design may readily he put in 
 from the lines, curves and centers given. 
 
 The example shown at Fig. 230 illustrates an 
 elaborate design suited for a balustrade and 
 many other purposes. Let a b be the height; 
 divide this into two equal parts in the point c, 
 through c, draw a line at right angles to a b, as 
 d c d. Draw the distance a b, into eighteen, or 
 a c, into nine equal parts. With one of these, 
 from the center c, describe the circle e, f, g, 
 h, and from the point where this cuts the line, 
 a b; d, d, describe circles, the radius of which 
 is onr-fourth of one of the parts, o.- a. •. Then 
 with the distance as h, g, from these fjoints as 
 centers, describe arcs cutting in the point i 
 from i, as a center with e, the same ratlius still 
 kept on the compasses, describe an arc j. Do 
 the sam<> frr)m the other points, as g, f; f, e; e. 
 li, and thus lind the centers from wl-.ich the arcs 
 corresponding to j. are described. Irom the 
 points k, 1, where the outside of t'lc Siuail circles 
 
 Ki -.rf- 
 
ARCIIITECTUIIAL DUAWIXO SKLF TALGIIT 211 
 
 m 
 
 
 Fig. 230. 
 
! 
 
 SIS 
 
 ARCHITEtTfH.VL Dli WVINU SELF TAUGHT 
 
 !'!■ 
 
 e and g, cut the line d, d, as center- with i, j, or 
 c, g, as radius, describe arcs as t, r, s, or u. q, v, 
 stopping at lines n, m; o, p, drawn through the 
 points k, and 1, parallel to a, h. Next, from i, 
 set off to the point p, and do the same at the 
 other and corresponding points, thus finding the 
 four centers m, n, o, and p. From these, with 
 e, c, d, or i, j, as radius, describe arcs which are 
 joined by straight lines with the semicircles w, 
 and X,. I the upper and lower ends of the design. 
 To find the centers of these semicirrles, divide 
 the distance between the points I, and 2, on the 
 line a b, into four equal parts, and at the points 
 draw a line z, z; from the point y set off in the 
 line z z, a distance equal to b g, to the points a 
 and b. From these points a and b with a radius 
 equal to y, I, or y, 2, describe semicircles, as w, 
 c; X, c. Join the points w, and x, by straight 
 lines e, e, with the arcs described from the points 
 p, and n. From a point in the center between 
 b, and c, and a, and c, describe a small arc, and 
 join this with another arc with the points, as d, 
 d; the center of the arcs being at c, c. The 
 lower arc, d, f, is des( riljed from the center g, 
 which is on a line drawn t'ltough a point the 
 third in the distance b, I, un the line b a. To 
 describe the part marked A, cut out the part B, 
 

 ARCIIITFXTUUAL DIUWINd SELF TAlOIIT 
 
 B. From the point m, o, and n, and p, describe 
 small circles, the radius beinj^ one-fourth part 
 of one of the parts on a b. With a radius equal 
 to half of one of the parts as I 2, on the line a b, 
 describe circles from the point f, f; k, k, having a 
 
 1- 'I 
 
 space between them equal to the space at c, as 
 1, 1, antl with a radius ec}ual to the diameter of 
 thci-e circles, describe from the points I, 1, the 
 arcs 111, n; m. n. I'' rem n, n, which are equidistatu 
 from the center line, a space equal to the radius 
 of the small circles n, p; describe with radius of 
 these small circles the arcs meeting in the j)oint 
 
MICROCOPY RESOLUTION TBST CHART 
 
 (ANSI and ISO TEST CHART No. 2) 
 
 ^ APPLIED IM/IGE 
 
 '653 East Main Street 
 
 Rochester. Ne« York 14609 USA 
 
 (;i6) 482 - 0300 - Ptione 
 
 (716) 288- 5989 - Fa» 
 
i ; 
 
 214 
 
 AurniTKCTrRAL nnvwiNG sp-lf taught 
 
 o. With \v, V, or s, t, as radius, set off on the Hne 
 h, h; from the points 1, 1, to h, h, and from h, h, 
 describe the arcs 1, p, 1, p, the centers of the 
 arcs p, p, are q. q. 
 
 These examples are quite sufficient for our 
 purpose so far as woodwork and decoration are 
 concerned, but it may not be amiss to supple- 
 ment them with a few on the same line, that will 
 answer for iron, for wood, or for designs in 
 stencilling or other decorative work. To this 
 end, I present an ornament in Fig. 231, that is 
 suitable for a central ornament, and one that 
 may be employed for many purposes. Carvers 
 frequently make use pf this as a skeleton figure 
 for carved panel work as it may be elaborated 
 to almost any extent. The manner of drawing 
 it is as follows: Let, a a, be the center line, and 
 a, b, the distance from upper rail to center of 
 lower part of design; through b, draw the line c, 
 d, at right angles to a, b; c, d, in the length of the 
 lower part of the design. Divide c, b, b, d, into 
 two equal parts in the points e, and f, with 
 radius e, c, describe an arc cutting in the point i; 
 from i, with i, a, describe the arc b, a, h. P'rom 
 the point b, set off the distance e, f, to the point 
 j; and through j, draw a line k, k, parallel to c, 
 d. From j, with the distance b, f, set off to the 
 
ARCIIITECTURAI. DRAWING SELF TAUGHT 215 
 
 points 1, and m, and these will be the centers of 
 arcs forming the upper part of the design. The 
 lines and centers for the spiral terminations of 
 
 'Ig. 2^1 
 
 the leading curves thus described as shown in 
 the drawing. 
 
 The skeleton shown in the illustration, Fig. 
 232, exhibits an ornament drawn altogether with 
 the compass. The centers are all shown and 
 lettered for reference; r being the general 
 
210 
 
 AUCIllTECTUnAL DRAWING SELF TAroiIT 
 
 center, while a, 
 j, d, i, m and c 
 show the (livis- 
 
 • 
 
 ions and radia- 
 tinj^ lines of one- 
 half of the fi<^- 
 iire. As the cen- 
 ters may all be 
 framed at the 
 intersections of 
 the dotted lines, 
 further explan- 
 ations are un- 
 necessary'. 
 
 I close this 
 department by 
 illustrating a n 
 ornament in 
 which the ellipse 
 predominates, 
 Fig. 233, which 
 exhibits a run- 
 ning scroll suit- 
 ed to 11 any pur- 
 poses. On the 
 continent of Eu- 
 rope scrolls of 
 
W *^' ? ' 
 
 ARCniTKCTURAL DRAWING SKLF TAUGHT 
 
 217 
 
 this kind are often used as window screens, 
 beiftT attached to the frame and covered 
 wit! gauze, or woven wire, to pnvent insects 
 getting in the house when the window is open. 
 This shows only half the design. The height 
 of this section, a, b, is divided into nine 
 equal parts, the width of the framework is 
 equal to one of these parts. From c, at right 
 angles to c, d, draw the line c, f, and with the 
 distance a, b, from the point c, set off to the 
 points e and f, and through these points draw 
 lines at right angles to c, f; f, g, is the center 
 line of the design. From the point f, with four 
 of the parts on the line a, b, set off to the point 
 h, and through h, draw at right angles to f, g, 
 the line i, i. From the point h, set off to i, i, five 
 .of the parts in a, b, making i, i, equal to ten of 
 these parts; divide i, i, into five equal parts; the 
 f^rst j, and fourth k, are the foci of the elliptical 
 ornament, which draw as shown. Through the 
 point 4 on a, b, draw a line 41, and make the 
 distance m, 1, equal to h, i; put in the elliptical 
 part as shown, and finish as in the diagram, in 
 which all the centers and center lines are given. 
 Rules for describing the ellipse were given in 
 previous pages, that should the student 
 experience any difficulty in describing the 
 
^218 
 
 AUCIUTKCTI'UAK DH.WVINO SELK TAUailT 
 
 elliptical curves, he may refer to those pages for 
 
 assistance. 
 
 SOMKrillNC. ON ORDKKS OK ARCHITKCTURE 
 
 It is 1 Jt my intention to enter deeply into a 
 description of the onlers of Architecture or to 
 give the student a history of their rise and 
 growth, or analy/o their peculiarities; it is 
 
 
 enough for our purpose, to be able to draw 
 them, and to give to each order its own pro- 
 portion and arrangement. Before we can do 
 this, however, it will be necessary for us to be 
 able to lay off a section of a colurin, showing 
 
Am mitmhuai, dhauino hki.k lAircHT 
 
 219 
 
 the position of /lutes and fillets in plan and 
 elevation. This is hrou^.h'. (,ut nicely in Fig. 
 2.14. when: the d(,tted linens show the width of 
 Hutes and fillets as tl^<, will appear on the 
 elevation. Suppose a b V]^. 234 to be the 
 diameter of the column, then bisect it in c; and 
 
 ! 
 
 draw c d. Make lines corresponding to these, 
 and from the point c, with c b, describe the 
 semicircle a d b, representing half the column. 
 Bisect the quadrant a d. in the point e. and 
 divide the arcs a e, e d. by points g, f, h. m. 
 Mark the position of these by radial lines from 
 c. as in the example. Divide the part a g into 
 eight equal parts; and with three of these as 
 radius, froi- the points m the quadrant, as g. f, 
 

 ««0 
 
 VHCIUTM'IIHAI, 1)HA\V1N(} SKl.F lAl (JUT 
 
 etc., (Icscribo semicircles. Six parts will thus be 
 given to each llute, and two to each fillet; and 
 the column will havi; twenty-four llutes. 
 
 To ilcscribe the Hutes in a Doric column with- 
 out the tillets, proceed as follows: Lay out the 
 portion of cohmin as in the previous example, 
 by dividing the quailrant bee. Fig. 235, into six 
 
 Fig. 136. 
 
 equal parts, as e, m, n, etc., giving to the entire 
 column twenty-four flutes as before. Draw 
 radial lines from b. Divide a f into four equal 
 parts, and lay one of these on a b produced to c; 
 from b, with b e, describe a semicircle as e m n, 
 cutting the radial lines. Bisect a f in o, and 
 with f o as radius, from the points— where the 
 dotted semicircle intersects the radial lines— as 
 
AH('mTK<"n;n\N duawim; skkk tvught 
 
 m 
 
 P 
 
 
 
 centers, dcscrih*; the arcs as in the example. 
 Another method is shown in Fij^. 236. which is 
 formed as follows: Make the semicircle a d e 
 and divide the (|uadrant bad into five equal 
 parts, so as to ^ive twenty flutes to the column. 
 Produce a b to f; bisect a e in h, and from e lay 
 off e h to m; join h m. and with distance h e lay 
 
 LC 
 
 off on the radial line b e to n. From b, with b 
 n, describe the dotted semicircle, f n o. The 
 centers f the flutes are placed where the radial 
 lines intersect this semicircle. From n, with n 
 m, describe the lines as shown, ^nd finish the 
 section. 
 
 A section of a column having flat flutes and 
 fillet is shown at 237. To describe this draw the 
 semicircle a d c, and divide the quadrant bad 
 into si.x equal parts, divide a e into five equal 
 
 11 
 
 m 
 
222 
 
 
 AIK lllTKCTfHAl, DHAWiNCJ HVA.V TAirdin 
 
 parts. With two of these from th<! radial line 
 lay off on each side, as f h. With on-.; part lay 
 off from c to m, and from m, with h m. d<scrihe 
 a semicircle c d a; complete the dia^nam as 
 shown. This will give the depth of the (lutes, 
 
 \ 
 
 one; the width four, and the width of the rilijt>. 
 one. 
 
 In Fig. 2^8 we give a method of describin<r 
 the cabled moulding with fillets between. Divichr 
 the semicircle a c d in the same proportion as in 
 Fig- -34. giving an equal number as in that 
 example. From b, with b e on the compass, 
 describe the semicircle c f f. From the points 
 where the radial lines intersect this, as centers, 
 with a e. describe the curves as in the example. 
 
 I will now endeavor to explain what are known 
 as "The orders of Architecture," showint^ their 
 
AlU IIITWTrKAr, DliAWINrj SKI.K TAr<.lir 
 
 ^43 
 
 various mcMnlx-rs, their f)ro|)ortion, and the 
 manner )f .irran^crnc nt. 
 
 "Order, in an:liit(;(:tiire," says an authority, 
 "is a systi'm or asscinhl.ij^re of parts subject to 
 certain uniforni rstahlish<<l fjrofjortions, regu- 
 lated l)y the offici; (;ach part has to perform. 
 An order may be said to Im! the ^r(;nus, whereof 
 the species are Tuscan, Doric, Ionic. Corinthian 
 and Composite;; and consists of two (;ssential 
 parts; a column and an entablature.' 
 
 These again arc subdivided, the first into 
 three parts. nam<.-l> : th(; base, the shaft and the 
 capital: the second also into three [>arts, namely: 
 the architrave; or chi(;f beam, C I'i^r. 239, which 
 stands immediately on the column: the frieze B, 
 which lies on the architrave, and the cornic-. A. 
 which is the crowning or uppermost member of 
 the order. In the subdi\i-ions certain horizontal 
 members are used, which from the curved form 
 of their edges ar(> called mouldings, the con- 
 struction of which depends on a certain knowl- 
 edge of geometry. This ai)plication may be 
 seen in the illustration; thus a is the ogee, b, the 
 cornice, c Me ovolo, d the cavetto, which with 
 fillets compose the cornice f f the facia. 
 
 The capital of tlie c* lumn consists of the 
 upper members or abacn-, g, the ovolo moulding- 
 
iu 
 
 AUClllTKCTUUAL . UAWlNo SELF TAUOilT 
 
 PLATE 14. 
 
 This plate shows an elevation for a cheap book- 
 case suited for the cottage under consideration. 
 The end elevation is also shown with ; \ce of 
 drawers laid off. The scheme for a box stall 
 shown in the drawing is somewhat out of the 
 usual course, but maybe found very convenient 
 in stable construction. 
 
(J 
 
 n 
 
; 
 
 D 
 
 LfM 
 
 
 a, :\ t 
 
 IWi l H 
 
D 
 
 • LAT^i 
 
 J 
 
 % 
 
 BQX 
 
 >l 
 
 .5 I 
 
 m 
 
 ■' i 
 
 ill I 
 J- 
 
 11'. 
 
ARCHITECTURAL DRAWING SKLF TAUGHT 
 
 225 
 
 c, the astragal i i, and the neck h. The base 
 consists of the torus k, and the plinth 1. The 
 character of an order is displayed, not only in its 
 columns but in its general forms and details, 
 whereof the column is, as it were, the regulator; 
 the expression being of strength, grace, elegance, 
 lightness, or richness. Though a building be 
 without columns it is nevertheless said to be of 
 an order, if its details be regulated according to 
 the method prescribed for such order. 
 
 In all the orders a similar unit of reference is 
 adopted for the construction of their various 
 parts. Thus, the lower diameter of the column 
 is taken as the proportional measure of all the 
 other parts and members, for which it is subdi- 
 vided into sixty parts, called minuter,, or into 
 two modules of thirty minutes each. Being pro- 
 portional measures, modules and minutes are 
 not fixed ones like feet and inches, but are vari- 
 able as to the actual dimensions which they 
 express — larger or smaller according to the 
 actual size of the d:ameter of the column. l'"or 
 instance, if the diameter be just five feet, a 
 minute being one-sixtieth, will be exactly one 
 inch. Therefore, before commencing to draw 
 an elevation of any one of the orders, the 
 diameter of the column must be determined, and 
 
 'i 
 
 ■ 't 
 
 ''ms^'-::^> 
 
226 AUCniTECTUUAL 1)1{.\WIN(; SKLF TAUGHT 
 
 Fill. -39- 
 
 ut i 
 
 et- 
 
 
 
 
 "X 
 
 — 
 
 <>i 
 
 j 
 
 »A 
 
 i ^ 
 
 rig-i. 
 
 »*- 
 I 
 
 i 
 
 ! ^ 
 
 '^ 
 
 ! ! 
 
 » . 
 
 
ARCIIITM'TIIRAL DKAWING SELF TAUGHT 
 
 227 
 
 from that form a scale of equal parts, by sixty 
 divisions, then lay off the witlths and heights of 
 the different members according to the propor- 
 tions of the required order as marked on the 
 body or on the sides of the illustrations. 
 
 ^'ig- 239 presents an illustration of the Tuscan 
 order, considered by ai Nitects as a spurious or 
 plain sort of Doric, and hardly entitled to ren.ark 
 as a distinct order. E in the frieze correspond- 
 ing to the triglyph, illustrates still further the 
 connection of the two orders; but by many 
 architects this member is not introduced. No. i 
 is an elevation of capital and entablature, \o. 2 
 of the base, and Xo. 3 of a detached capital. 
 Oiu example is constructed according to the 
 rules given by \'incent Scamozzi. 
 
 Examples of two capitals are given, differing 
 merely in the number of mouldings in the abacus. 
 
 In fact, this introduction of simple mouldings 
 is about the 01 ly variety allowable in the ord 
 Ornament is not admitted, nor are the pillars 
 ever lluted. 
 
 A slightly convex curvature, or entasis, is 
 given in execution to the outline of the shaft of 
 a column, b\' classic architects, just sufficient to 
 counteract and correct its appearance, or fancied 
 appeal ance, of curvature in a mtrary oirection 
 
m 
 
 €28 ARCIMTKCTURAL DRAWING SELF TAUGHT 
 
 \ 
 
 1 
 
 Fig. 240. 
 
ARCHITECTURAL DRAWING SELF TAl OUT 
 
 229 
 
 (i.e., cc.icavely), which might else take place, 
 and cause the middle of ihe shaft to appear 
 thinner than it really is. 
 
 No. 4 represents the form of a half column 
 from the Pantheon at Rome. In No. 5 another 
 example of entasis, the lower third of the shaft 
 is uniformly cylindrical; the two upper thirds 
 are divided into seven equal parts. On ihe 
 semicircle shown in the fij^ure, is a chord cut off 
 parallel to the diameter, the length of which is 
 fifty-two parts only one-half being shown. 
 Divide the part a b of Oie circumference 
 between the diameter and chord into seven 
 equal parts, and draw parallel lines from each 
 division to those of the upper part of the 
 column, which will give the diameter of the 
 shaft at each division; by increasing the number 
 of the divisions, more diameters for different 
 parts of thp shaft may be found. 
 
 Fig. 240 exhibits an example of the Doric- 
 order, from the temple of Minerva in the island 
 of Egina. The dimensions are given in parts of 
 the diameter, as in the preceding example, and 
 iC same capital letters denote corresponding 
 part.s. No. i is an elevation of the capital and 
 the entablature. No. 2 of the base, and a part 
 of the Podium. No. 3 shows the forms of the 
 
 mr. 
 
 \M.,i^. '.^iUtLU.-i. 
 
li 
 
 «30 
 
 ARtlllTKrrUHAL URAWINO SELF TALOUT 
 
 flutes at the top of the shaft, and Xo. 4 at the 
 base. No. 5 the outline of the capital on an 
 enlarged scale. 
 
 The Doric order may be said to be the 
 original of the Greek orders, of which there are 
 properly but three; the Doric, Ionic, and Corin- 
 thian, which differ in the proportion of their parts 
 and in some of their ornaments and mouldings. 
 Of the Doric, the mutules a a, the triglyphs b b, 
 the guttae or drops d d of the entablature, the 
 echinus f and the annulets g g of the capital, 
 may be considered characteristic. With regard 
 to the arrangement of triglyphs, one is placed 
 over every column and one or more inter- 
 mediately over every inter-column — a span 
 between two columns — at such a distance froin 
 each other that the metopes c, or spaces between 
 the triglyphs, are square. 
 
 In the best Greek examples of the Doric order 
 there is only a singh.' triglyph over each inter- 
 column. One peculiarity of the Grecian Doric 
 frieze is, that the end triglyphs, instead of being 
 like the others in the same axis or central line 
 as the column beneath, are placed quite up to 
 the edge or cuter angle of the frieze. Th. 
 mutules are thin plates or shallow blocks 
 attached to the untier side of soffit of the 
 
ARCHITKf rtUAI. DH.VWINO MKI.K TAICJIII 
 
 <3l 
 
 corona, over each triglyph and each motope, 
 with the former of which they correspond in 
 breadth, and their soffits, or under surfaces, are 
 wrou^dit into three rows of guttae or drops, 
 conical or otherwise shaped, each r j\v consisting 
 of six guttae, or the sam(; number as thoss 
 beneath each tri^rlyph. Though a few excep- 
 tions to the contrary exist, the shaft of the Doric 
 cohimn was generally what is technically called 
 (luted. The number of cha .„ls or flutes is 
 either sixteen or twenty, afterwards increased in 
 the other circles to twenty-four, for they are 
 invariably of an even number, capable of being 
 divided by four, so that there shall always be a 
 center flute on each side of the column. 
 
 Fig. 241 presents an example of the Ionic 
 order, taken from the temple of Minerva Xolias 
 at Athens. Xo. i is an elevation of capital and 
 entablature, Xo. 2 the base, Xo. t, is a half of 
 the plan of the column at the base and the top; 
 Xo. 4 an elevation of the side of the capital. 
 In the proportions of its shaft, which are more 
 slender, and the addition of a base, it differs 
 from the Doric; but the capital is the indicial 
 mark of the order by which it is immediately 
 recognized. It is far more complex and irregular 
 than the other orders of capitals; instead of 
 
 .. R 
 
 ^^^^^T 
 
i3i 
 
 AHCUn'ia.TUKAL DRAWING SELF TAUGHT 
 
 !^ 
 
 PLATE 15. 
 
 Plate 15 exhibits an odd piece of furniture, 
 termed a "kitchen desk." Twelve students can 
 sit around this desk and work with ease. The 
 elevations show the manner of finish, with 
 drawers on top of case under the desk top, and 
 doors below, that cover shelves, intended for 
 books or other similar materials. 
 
!»-!- 
 
 W"mraiM4iPiL I A . J.J. < . L 
 

 P LA T EJ5. 
 
 
tT\M \ Desk, 
 
 T'v 
 
 ^S55. 
 
 •*«■ 
 
 i 
 
 A^-L 
 
 ^/r' 
 
 5TUDE.f#5 
 
 Bt"« 
 
1 
 
 ■ I 
 
ARCHITECTURAL DRAWING SELF TAUGHT 
 
 233 
 
 showing four equal sides, it exhibits two fronts, 
 with spirals or volutes parallel to the architrave 
 and narrowed, baluster sides (No. 4), as they are 
 termed, beneath the architrave. 
 
 When a colonnade was continued in front and 
 along the flanks of the building, this form of 
 capital occasioned an offensive irregularity; for, 
 while all the other columns on the flanks 
 showed the volutes, the end one showed the 
 baluster side. It was necessary that the end 
 column should, therefore, have two adjoining 
 volute faces, which was effected by placing the 
 volute at the angle diagonally, so as to attain 
 their two voluted surfaces placed immediately 
 back to back. This same diagonal dispositi(m 
 of the volutes is employed for all capitals alike, 
 in Roman and Italian examples of this order. 
 
 The capital admits of great diversity of 
 character and decoration— it sometimes is with- 
 out necking, sometimes with; which may either 
 be plain or decorated, to suit the entire design. 
 The capital may also be modified in its pro- 
 portions, first as regards its general proportion 
 to the column; secondly, as regards the size of 
 the volutes compared with the width of the face. 
 In the best Greek examples the volutes are 
 much bolder than in the Roman. The spirals 
 
234 ARrillTKCTrHAL DHAWINO SKI.F TAUGHT 
 
 'in 
 
 It '|P 
 
 i> 1 
 
 I 
 
 wMJmj^MjmjmMJmjm^^Mr'Siiii'M. m 
 
 21 
 
 jipyr.-i,:^ '!^ 
 
 "•■ 1 
 
 WifiMMi^jMifii^fdkiMLn^iJM 
 
 '^^&P 
 
 F 
 
 loNic Order. 
 
 i I 'I I I J 
 
 Fig. 241 
 
 M' 
 
ARCHITECTUUAL UUAWIXO SELF TAUGHT 235 
 
 also of the volutes may be either single or 
 maniold, and th<; eye or center of the spiral 
 may be made iar-cr or smaller, flat or convex, 
 or curved as a rosette. 
 
 Fig. 242 represents an example of the Corin- 
 thian order, from the Arch of Hadrian, at 
 Athens. This order is distinguished from the 
 Ionic, more by its deep and foliated capital than 
 by its porportions-the columns of both have 
 bases diffcrin^r but little from each other, and 
 their shafts are fluted in the same manner. ' 
 
 Although the order itself is the most delicate 
 and hghtest of the three, the capital is the 
 largest, being considerably more than a diameter 
 m heicrht, varying in diffc-n nt examples from 
 one to one and a half diameter; upon the 
 average about a diameter and a quarter. 
 
 The capital has two rows of lea/es. eight in 
 each row. so disposed that of the taller ones, 
 composing the upper row, one comes in the 
 middle, beneath each face of the abacus, and the 
 lower leaves alternate with the upper ones, 
 coming between the stems of the latter; so that 
 m the first or louer tier of leaves there is in the 
 middle of each face a space between two leaves 
 occupie.l by tl),> stem of the central face, above 
 them. Over these two rows is a third series of 
 
 jM. 
 
! 
 
 23G ARrillTECTUUAL DRAWIN(i HKLF TAUGHT 
 
 Fig. 242. 
 
 i^ 
 
 m^ 
 
AI{( lUTl.cn HAi, UUAWINO SELF TAUGJ'T 
 
 237 
 
 eight leaves, turned so as to support the small 
 volutes which, in turn, support the angles of the 
 abacus. Besides these outer volutes, which are 
 invariably turned diagonally, as in the four-faced 
 ionic capital, there are two smaller ones, termed 
 caulicoli, which meet each other beneath a 
 flower on the face of the abacus. The abacus 
 Itself is not, properly speaking, a square, 
 although it may be said to be so in its general 
 form. But instead of being straight, the sides 
 of the abacus are concave in plan, being curved 
 outwards so as to produce a sharp point at each 
 corner, which is usually cut off. 
 
 The proper Corinthian base differs from that 
 of the usual Ionic or Attic, in having two smaller 
 scotiae, separated by t\ j astragals; however, 
 both kinds are em loyed indiscriminately. The 
 shaft is fluted, in oral, similarly to that of the 
 Ionic column, bi sometimes the flutes are 
 cabled, as it is called; that is, the channels are 
 hollowed out for only about two-ihirds of the 
 upper part of the shaft and the remainder cut 
 so that each channel has the appearance of 
 being partly tilled up by a round staff or a piece 
 of rope, hence the term cahjincr. 
 
 The cornice is very much higher than in the 
 other cJers, which makes more projection also. 
 
 t- 
 
"38 
 
 AncniTKCTUHAL IJKAWING SP^LF TAUGHT 
 
 rrom this greatly increased 'lepth of cornice, 
 it consists of a great number of mouldings 
 beneath the corona, for that and the cymatium 
 over it invariably retain their places as crowning 
 members of the whole series of mouldings. In 
 the illustration square blocks or dentels are 
 introduced, but often to the dentels is added a 
 row of modillions immediatel>' beneath and sup- 
 porting the corona. These modillions are 
 ornamental blocks, curved in their under surface 
 somewhat after the manner of the letter S laid 
 on its edge, and between them and the dentels, 
 also below the latter, are other mouldings, 
 sometimes cut, at others left plain. Sometimes 
 a plain, uncut dentel band is substituted for 
 dentels; sometimes, in simpler cornices, that is 
 omitted altogether and plainer blocks are 
 employed instead of modillions; or else both 
 dentels and modillions are omitted. The dentel 
 is not peculiar to this order, but is considered as 
 more properly belonging to the Ionic. 
 
 The composite order is very much akin to the 
 Corinthian, and is sometimes called the Roman 
 Corinthian. It is frequentl)- formed with square 
 plinths or pcdcsials beneath the column. The 
 base is nearly like those of the Doric and Ionic. 
 The shaft is channeled with twenty-four flutings 
 
ARCHITKCTUHAI, DRAWING SELF TAUGHT ?.99 
 
 separated by fillets. 
 The capital consists of 
 two rows of acanthus 
 leaves, eight in (;ach 
 row; the upper row be- 
 ing placed over the 
 meeting points of those 
 in the lower row. lour 
 spiral volutes in each 
 face spring from two 
 bunches of acanthus 
 leaves; and twoof th(Mn 
 are so connected at the 
 corners as to support 
 the abacus of the cap- 
 ital. (See F"ig. 243.) 
 Each face of the aba- 
 cus, besides being 
 moulded into an ovolo 
 form, is a slight differ- 
 ence between the Cor- 
 inthian and Composite. 
 The Corinthian archi- 
 trave is divided into 
 
 I'^'g-- 14 V 
 
 fv. 
 
 three facias, the Composite into two; tlie facias 
 being m both cases separated from another by 
 small enriched mouldings. 
 
«40 
 
 AlWIIlTKtTUKAL DRAWING SELF TAUGHT 
 
 If 
 
 
 PLATE i6. 
 
 Plate i6 shows sections and plans of windows, 
 for wood and for brick buildings, with weights 
 where the mullion is narrow and will not admit 
 of two weights passing each other. One section 
 shows the manner of constructing the angle of 
 a bay window where boxes and weights are 
 required. This is a very useful plate for the 
 young draftsman. 
 
» 
 
 ' » 
 
 I f. 
 
 it 
 

 .^^viiT 
 
 
 VN/,| 
 
 HSiTuiiillYf 
 
 PLATLik 
 
 PLAN OFWINDOWS FOR WOOD BU I LDI N 
 
 OND FOK BF\ICf\ 
 
PLAN ?FMULLI?NS 
 
 f^^rH90?FH/^NGlN6 I 
 MULLI9N 
 
 •■V 
 
 r •! 
 
 !ij 
 
 r^ 
 
 I* 
 
 •f 
 
 i. 
 

 B 
 
 ^^^^^^^^1 \ 
 
 lilt 
 
 T^mBi 
 
 ^jj 
 
 i ■ 
 
 
 1 ^fl? 
 
 i 
 
 . Hi 
 
 
 ■Ti 
 
 ! 1 
 
 4 MHI' 
 
 ! : 
 
 ^m 
 
 i ' 
 
 
 i ' 
 
 
 i ' 
 
 ) ^h| 
 
 1 ■ 
 
 
 ; ' 
 
 
 ; ; 
 
 HflBM^Ifi|' 
 
 
 
 4 
 
 
 ! I 
 
 
 ' ■ 
 
 
 ; 
 
 . 1 .. ,i^ii ^^9 
 
 
 
 
 
 
 
 ^ ■■ 
 
 
 i| 
 
 
 
 ^n 1 
 
 : 
 
 Hi 
 
 
 ^H 1 
 
 i 
 
 ! ' 
 
 
 I 
 
 
 
 i'^^^^^^t^^^^^M 
 
 [ 
 
 *\7^U 
 
 H^^ 
 
above a,,.;;;: ;, zi:::"'' '"T"'- 
 
 v^umpos has mutulcs on the ^nff,f 
 
 -odillions. U?,„. 4: . ■""""'■"'"• ■■""'•" 
 
 along the under s do of th' '"'° "'°''"'''"^- 
 panel. ^^ ™™"^' '» •'" '^"riched 
 
 cioL;;r':;;r; ';:: '°"°""' '^'^ f"---.- 
 
 HraftsL..; hf : ; ■™'^' 7' -'V be a fair 
 edtr,. „f '•"■'• "bta.ned a knowl- 
 
 ' a. : Tar fl^''"=""7 -' ~„on 
 after and paid for at a good ;ate ""^'" 
 
 # 
 
 ^ ? 
 
 1 
 
 MLSCELLANEOU? 
 
 abHefde^Hptntf-rrir^"^^^^ 
 sometimes -, i.Vfi .• "'^ ^^ '^ '^ 
 
 style oT lette : """'"' '° '''=^'* °" "^at 
 g fe« examples, .0 ti.at tl,e draftsman ma. 
 
2ii 
 
 ARCniTECTUHAL DRAWING SELF TAUGHT 
 
 have something lo aid him in deciding. Orna- 
 mental letters had better be avoided until such 
 time as the draftsman feels he can make them 
 with ease and celerit>-, and plain lettering had 
 best be the rule; however, I give a few examples 
 
 ABCDEFCHI JKLMNO 
 PQRSTUVWXYZ&c 
 
 Fig. 244 
 
 of both plain and ornamental, so that the student 
 can determine for himself the styles of letter he 
 will employ. 
 
 A simple block letter is shown in Fig. 244, 
 with one letter G enlarged at the end. These 
 letters, as will be seen, may be made in single 
 or double line, as may be desired. Figures 
 
 123456 7 890 
 
 appearing in the heading. Fig. 245, should be 
 the same size as the lett(;rs, but as dimensions 
 on the drawing they should not be more than % 
 in. deep, nor less than i'^ in. When dimensions 
 are put upon a drawing, the distance to which 
 they should extend should be carefully shown 
 by dotted lines, with arrow-heads at the extremi- 
 
 w::^mim^ 
 
ARCHITECTUHAl. DHAWING SKLF TAUGHT 243 
 
 tie"- k-c- i.i:i>: the fractions level, and with the 
 sm il u-rii,,.s vvo-thirds the size of the large 
 ont>. The feet should be marked by a single 
 accent thus . and the inches by a double accent 
 thus ", with a full stop on the lint between the 
 figure. If the dimensions consist of an even 
 number of feet, then inches should be repre- 
 sented by o". The omission has led to serious 
 mistakes in practical work, which should always 
 be guarded against, and, notwithstanding the 
 examples of text-books and the practice of 
 some examiners, this is an important point 
 always observed b\ practical draftsmen. 
 
 After inking in all the figures, pencil out the 
 heading very carefully, makmg the letters a 
 little thicker than those used in Fig. 244; G, R, 
 S C, and M will be found the most difficult. 
 The distanct? apart of the letters should not be 
 quite uniform, but should Ik* such as will look 
 uniform. b\)r example, as I between M and X 
 would require more than the- usual space to look 
 right; on the oth(;r hand, a T between L and J 
 would r<.-quire to slightly overlap to give the 
 right effect. The junction points A, M, X, V, 
 and W should not be sharp but the same width 
 as the thickness of th(; strokes. 
 
 Leave K in. between the words of the heading. 
 
 If 
 
 W^ 
 
 i 
 
 ^M 
 
 
 
 
 ---3 
 
 
 il 
 
 
 11 
 
 1 
 
 1 
 
 h 
 
IT 
 
 u 
 
 244 
 
 AUCUITKCTUKAL UUAWIXG SELF TAUGHT 
 
 Pi 
 
 It is then much easier to read than if ci amped 
 closer together or spaced wider apart. 
 Remember that the printing — being thicker — 
 will take longer to dr}-, and be careful not to 
 use the intlia rubber too soon. It will be 
 observed that the guide lines for the square and 
 center lines for the circle, as described above, 
 have not been inked in, as they would spoil the 
 
 ABCDEFGH IJ 
 K L M N PQRST 
 UVWXYZ 
 
 Fhr;. 246. 
 
 effect of the tlrawing, but on machine drawings 
 it is usual to put the center lines in red, using a 
 little crimson lake for the purpose. 
 
 Another block letter is shown at Fig. 246, 
 which is easy to make and quite effective. This, 
 and the three following examples, are taken 
 from "The Draftsman," an excellent little 
 journal for the young draftsman, as it is full of 
 useful matter, and will help him along materially. 
 The journal is published monthly, in Cleveland, 
 Ohio, and only costs one dollar a vear. 
 
AKClllTECTUHAK DIt.vWI.NG SKI.K TAUGHT 
 
 ^24.» 
 
 The letters shown at Fi|r. 247 have some pre- 
 tentions to ornamentation, but on the whole they 
 are very simple and easy to make. 
 
 ji B G D E F G |I I J K L M N 
 PQR8TUVWXYZ' 
 1 2 345 6 7 B 9 D 
 
 P'v^. 24-. 
 
 Fig. 248 exhibits a sort of Runic letter that is 
 q -irnamental and would require considerable 
 Px . c before it could be formed nicely. 
 
 BBc:s)B3r0Mir 
 
 Fi-. 248 
 
 The letters shown at Ficr. 249 are good old 
 style characters and are always in order for 
 almost any kind of work. 
 
2Mi 
 
 AUCHITKCTIH .1, DU.VWlXCi SKLF TAUGHT 
 
 The two styles of >pcn letters shown in lig. 
 250 may sometimes be foimd useful, but as a rule 
 I do not recommend this style of letter; it does 
 not "show up" enou,L,di for the trouble; at the 
 same tim(;, it offers excellent practice for the 
 draftsman. 
 
 These examples are quite suffieient for my 
 purpose, but the student will do well to try his 
 
 ABCDEFGHI 
 
 JKLMNOPQ R 
 S T U V W X Y Z 
 
 ■K- -49 
 
 hand on other styles, many of which he can find 
 in public prints, headings, and other places. 
 
 While I do not advise the youny^ student to 
 attem|)t the colorin<^ of drawin<^s, yet, if he 
 advances himself sufficiently to be able to make 
 a goo<l drawing, there is no reason why he 
 should not attempt to color some; of his work, 
 and to aid him in doing so I submit for his 
 guidance the following hints and ^:uggestions 
 regarding this work. The fust thing to do when 
 
AHCIIITfXTUKAL l)l{AU ING SKLF TAUGI 
 
 T i47 
 
 coloring i s in 
 tended is to see 
 that the |)apcr 
 has all the super- 
 fluous sizing re- 
 moved by being 
 sponged lightly 
 with clean water. 
 The paper, and 
 everything 
 about it, must 
 be kept perfect- 
 ly clean. Line 
 off the spaces, 
 with very fmc 
 pencil marks, 
 that are to be 
 tinted. Never 
 use the eraser 
 on the part to 
 be tinted, either 
 before or after 
 tinting. Try the 
 tinting process 
 on a piece of 
 waste paper un- 
 til the proper 
 
 r' 
 
 ||f i 
 
 m \ 
 
 i^ 
 
 lij 
 
 r 
 
 Ii 
 
t \ 
 
 448 
 
 AUCmTKt TUUAL DRAWING SKLF TAUGH '' 
 
 PLATE 17. 
 
 This plate shows a basement window in a 
 stone wall, the elevation showing the outside of 
 the window, and the section exhibits the manner 
 of constructing^ the frame and placing the sashes. 
 This is drawn to a scale of K of an inch to the 
 foot. 
 
 ^iiiF^i 
 
 y^*»-*= 
 

^T?hLBA6tMEINT Wmo?W 
 
 Plate.17. 
 
 l! 
 
Aiui.rrKm-nAi. nnAWivo .ki.f tai out ^.>y 
 
 tint i. obtained. bcf<,rc applying to the cJravvinK^ 
 Dark tmts are formcl [,y applyinjr a number of 
 h^rht ones over each other, but a second tint 
 should not be appbed until the f.rst one is 
 perfectly dry. Always finish tintin,. one portion 
 of drawmR before h-avin.!, it. Otherwise it will 
 be cloudy. See that the pape.r is damp before 
 you begin to tint. Ink in all lines after the 
 t^mtinjr ,s complet(.l and the (Jrawingis perfectly 
 
 The colors used for representing wood. iron, 
 and other materials, are as follows: For soft 
 Pine, a v.ry pale tint of sienna; for hard pine 
 burnt sienna with a little carmine added; for oak' 
 a mixture of burnt sienna and yellow ochre is 
 used. Mahogany is represented by burnt sienna 
 and a portion of dragons blood. For walnut 
 dragon's blood and burnt umber are used For 
 bncks. burnt sienna and carmine make a good 
 color. Gray stones are represented by a mixture 
 of black and wh.te, with a little Prussian blue 
 and .arminc added-pale ink alone is sometimes 
 used for stone work. Brown freestone is rep- 
 resented Ly burnt sienna, carmine, and ink. 
 \Vrought ,ron is represented by a light tint of 
 Prussian blue, and cast iron by a gray tint com- 
 posed of black, white, and a little indigo. Brass 
 
 '.X 
 
 1 
 
 1 
 
 1 
 
 1 
 
 
2'>() 
 
 AUCHlTICTrUVI. duawincj hki.k TvroiiT 
 
 hm 
 
 is tinlctl with j^'amho^c. (iamboijc, slightly 
 mixed with vermilion, makes a good color for 
 co[)per. Silver is represented by an almost 
 invisible blue. 
 
 Many draftsmen have a natural talent for 
 using suitable colors, and putting them on in a 
 suitable manner, but others must go through the 
 drudgery of careful practice according to rule. 
 A perfectly uniform tint such as tlesired on an 
 engineer's drawing is not required on an 
 architect's drawing, and still less on that for use 
 by a builder; but unless the draftsman learns 
 first to lay on a flat and uniform wash of any 
 tint, he is not likely to be able to put on an 
 appropriate rough tint. For water-color sketch- 
 ing a flat tile with shallow recesses is suitable 
 for mixing the colors, but this is quite unsuited 
 for a draftsman's use. He should invariably use 
 the nests of round saucers fitting one on the 
 other, and of a size to hold as much color as 
 would be required to completely finish the color- 
 ing of any one material on one sheet. The 
 saucers should be kept covered while in use, 
 and washed out when done with. The lightest 
 tints should, as a rule, be put on first, and the 
 brush should always be of ample size. Color 
 brushes should be kept scrupulously clean, 
 
Aiiniirf;,Tim,i. r.iiAwi.v,, «ki,> ihiciit iii 
 
 never put in the mouth, always washed alu-r 
 "sms, the surphis moisture shaken out, and then 
 put away in the box and not laid on a ,lusty 
 shelf to dry. ' 
 
 A little practice in the laying of colors one 
 ove, -other will be used for impressing on the 
 me. the (,'eneral effect of combination, and 
 
 ^so a knowle,lge of the primary colors an.l 
 Ihe.r secondaries. Xearly all water-col,.,-, are 
 trans^paren.,an,l a n,e,lium tint of anyone color 
 'f la.d over another after it is dry. will allow the 
 first color to show through. A more intimate 
 combmatmn may be made by mi.sing the colors 
 .together m the same palette ami putting then, 
 on with the brush in one operation 
 
 Wipe the brush lightly on the edge of the 
 saucer to remove the surplus color, and hold it 
 as described for a lead pencil when about to 
 draw a vertical line: commence at the top left 
 hand of the space to be colored; pass the brush 
 How.nwards, then along the top, then down by 
 short strokes from the top to the length of the 
 first stroke and so carry the color downwards 
 or he whole width, finishing at the bottom 
 right-iiand corner. 
 
 To produce good and uniform coloring, never 
 damp the paper before commencing, refill the 
 
 ii 
 
'252 AUClllTECTUllAL DUAWIXO SELF TAVUilT 
 
 brush often, ^^ently wiping it on the edge of the 
 saucer each time. The margin of the color must 
 not dry before the next stroke reaches it, and a 
 part once colored must never be retouched, 
 even though it looks uneven. Retouching is a 
 fruitful source of failure; for color, looking 
 uneven when wet may dry even, but if touched 
 again when partially dried it is certain to show 
 uneven when dry. 
 
 There is an advantage in having plenty of 
 color in the brush, but when nearing the bottom 
 boundary the amount must be reduced, so that 
 there is not a pool left at the lower corner. By 
 regulating the amount of color any slight excess 
 may be picked up with the brush by simply 
 raising it slowly, point last, from the corner. 
 The brush should not be wiped in any way, but 
 simply washed in clean water, when done with, 
 or before use with another color. It will soon 
 be found that with a given amount of color in 
 the brush more or less of it may be left behind 
 as the brush is allowed to trail or is used side- 
 ways, and it is by unconscious adjustments of 
 this kind that a good colorist produces uniform 
 
 results. 
 
 There are certain tints employed by architects 
 to designate works of various kinds, and I give 
 
 'fWivi^'v" 
 
ARCMITKCTUHAL wI»AWI\G SKLF TAUGHT 
 
 253 
 
 them herewith so that the student may have 
 them within reach if he has occasion for their 
 use. It must be understood, however, that 
 nearly every drawing ofifice of any note has 
 rules of its own tor marking and coloring 
 drawings, so that the rules given herewith may 
 differ materially from many others in vogue. 
 
 Banks (Steep)— Shaded with graduated warm 
 sepia, darkest at top of bank; vertical hill- 
 shading in India ink or dark sepia. 
 
 Brass— Gamboge with yellow ochre or burnt 
 sienna. 
 
 Bricks (Blue)— Elevation, indigo and India 
 ink; section, indigo. (Red)— Elevation, light red 
 (pale); section, India red (dark). 
 
 Brickwork (Xew) -Elevation, Roman ochre; 
 section, crimson lake. (Old)-Elevation, India 
 ink (pale); section, India ink (dark). 
 
 Buildings (Brick or Stonej— Crimson lake. 
 (Wood)— Sepia. 
 
 Cast Iron— Payne's grey; neutral tint. 
 
 Chain— Elevation, Prussian blue (dot and 
 stroke); section, no color. 
 
 Concrete— Sepia with black marks; or indigo, 
 or Payne's grey with black marks and small 
 light spots left. 
 
 Copper— Gamboge with lake; elevation, 
 
 I? t 
 
 l-i 
 
 |i| 
 
254 
 
 AlUlllTECTUWAL DIIAWING SELF TAUGHT 
 
 crimson lake and burnt sienna; section, crimson 
 lake and burnt sienna (dark). 
 
 Earth— Burnt umber or warm sepia, left 
 jagged at edges; or sepia, light and dark. 
 
 I'Llectric-bell Wires— Yellow. 
 
 Fields and Vacant Lands— White. 
 
 Fir and Deal (rough)— Elevation, burnt sienna 
 or gamboge; section, burnt sienna (edged round 
 and hatched). 
 
 Footpaths (Flagged)— Yellow ochre. 
 
 G'_ss— Green; Prussian blue; neutral tint. 
 
 Glass Roofs — Cross-hatching of Prussian 
 blue. 
 
 Granite — Purple madder; pale India ink. 
 
 Greenheart— Elevation, indigo and gamboge; 
 section, indigo and gamboge (dark). 
 
 Gun-metal— Elevation, Indian yellow; section, 
 Indian yellow (dark). 
 
 Lead — Indigo; indigo with India ink. 
 
 Leather— Elevation, burnt umber (very pahj, 
 section, burnt umber (dark). 
 
 Mahogany— Elevation, light red and burnt 
 sienna; section, light red and burnt sienna (dark.) 
 
 Meadows and Cultivated Grass— Prussian 
 green; Hooker's green. 
 
 Oak — Elevation, burnt umber (pale); section, 
 burnt umber (dark). 
 
 s.?*^-*^' -•.*-',■»••*'■*. "w^- 
 
AHCHITECTUnAL DRAWING 8KLF lAUGIIT 
 
 255 
 
 Pine and Spruce (v.rought)— Elevation, burnt 
 sienna (pale); section burnt sienna (dark rings). 
 
 Pipes (Cold-water)— Prussian blue. (Gas)— 
 Indigo with lake. (Hot-water)— Crimson lake. 
 (Rain-water)— Elevation, Prussian blue (outline); 
 section, Prussian blue (outline). (Soil)— Eleva- 
 tion, burnt sienna; section, burnt sienna (out- 
 line). 
 
 Plaster— Payne's -'rey. Plaster and Cement-- 
 Elevation, India ink (pale); section, India ink 
 (dark). 
 
 Railways— Neutral tint between the rails of 
 each track. 
 
 Rope— Elevation, burnt sienna (dot and 
 stroke); section, no color. 
 
 Rosewood — Burnt sienna with lake. 
 
 Sewers and Drains — Prussian blue. 
 
 Skies (in perspectives)— Cobalt blue. 
 
 Slate— Elevation, Payne's grey; section, 
 Payne's grey (dark). 
 
 Steel— Elevation, violet carmine (very pale); 
 section, violet carmine (dark); or indigo with a 
 little lake. 
 
 Stone — Yellow ochre; gamboge with Indian 
 red and burnt umber; sepia; Prussian blue. 
 
 Representing stone in section by Prussian blue 
 is to be avoided, though in common use. 
 
 I 
 * 
 ■I 
 
 i 
 
256 
 
 ARCHITECTURAL DRAWING SELF TAUGHT 
 
 PLATE 1 8. 
 
 This plate shows two elevations and sections 
 of windows, one designed for wooden build- 
 ings, and the other for brick buildings. The 
 vertical sections of frames and sashes are shown 
 in both cases, and the manner of constructing 
 the sills is given. The segmental headed 
 window shows finish around the frame suited for 
 brick. Both frames show exterior finish, and 
 that designed for wood shows the lines of 
 siding on o"e side. These examples are drawn 
 to a scale of H <^f an inch to the foot. 
 
■'.35«:« 
 
•?^^(i^^M 
 
I 
 
 LLLVATlJ 
 
 •3ECTl?M9rwiND2WJ"^ W-»-°D ^i.^jsMt BUILDINGS 
 
 V M 
 
^w^r 
 
ARC .nXKCTURAL DnAWIXO SELF TAUGHT io7 
 
 Pruss,:an blue should be retained entirely for 
 wrought-iron work. 
 
 Stone Dressings— Elevation, French blue 
 (very pale); section. French blue (dark). 
 Streets (Paved)— Neutral tint. 
 Timber (Existing) — Elevation, India ink 
 (pale); section, India ink (etched). 
 Tubes (Speaking)— Green, 
 Water— Elevation, Prussian blue (washed); 
 section, Prussian blue (lines). Water may have 
 graduated blue edges. 
 
 Windows Inside— Elevation, French blue 
 (pale); section. Hooker's green. No. 2 (dark). 
 
 Windows Outside— Elevation, Payne's grey 
 (dark); section. Hooker's green, No. 2 (dark). 
 
 Wrought-iron (Bright)— Elevation, Prussian 
 blue (very pale); section, Prussian blue (dark). 
 (Rough)— Payne's grey. 
 
 York and Soft Stone— Elevation, sepia (very 
 pale); section, sepia. 
 
 Zinc— Elevation, French blue (very pale); 
 section. French blue (dark). 
 
 Often various materials are shown by the 
 manner in which the sections of such materials 
 are hatched or lined off as may be seen by the 
 illustration shown at Fig. 251, where a large 
 number of sections are given. By this method 
 
 I i 
 i i 
 
 i I 
 
 I-' » 
 
 4 
 
 I 
 
 ii 
 
 i 
 
 If 
 if 
 
258 AiKiriTF.cTunAL nnAWiNO self taught 
 
 the material is reco}|nizccI by the method of 
 hatching, and no color is required, the whole 
 being done in black and white. 
 
 It may be necessary sometimes for the drafts- 
 man to shade portions of his work, and, though 
 this book does not pretend to deal with the 
 
 fig 151. 
 
 higher class of tlrawing, it ma}- not be out of 
 place to say a few words on shading, and offer a 
 few rough illustrations, showing how some 
 objects may be shaded even by an inexperienced 
 hand. The principles of shading are very 
 simple, but do not seem to be generally under- 
 stood, even by architects. All the exhibition 
 drawings of an Architectural Association were 
 
 ^WflS^ 
 
AIlClIITECnrRAK DllAWTXO SEU" TAIGHT 
 
 259 
 
 spoilt one year by the roof shading being 
 reversed, presumably in order to comply with 
 some fancied natural requirement. The prin- 
 ciples are as follows: (i) The more distant the 
 object the less distinct the light and shade, 
 
 and vice versa; {2) for the sake of uniformity 
 the light is usually supposed to come from the 
 left, and on a drawing is generally taken as 
 coming down the long side of a 45 set square, 
 when one edge is placed diagonally on the paper 
 and at right angles to it; (3) on inclined surface 
 in the light the farthest part is the darkest and 
 in the shade the nearest part is the darkest; (4) 
 cylindrical surfaces follow the same rules, but 
 on the right hand or low- r sides the effect 
 appears as though some reflected light were 
 shown towards the edge. The accompanying 
 
 Iff 
 M 
 
 i 
 
 :4l 
 
>i(iM 
 
 A»tflITF( TUnVL DUAWIXO SELF TAVOUT 
 
 illuy rations, l-'ig. 252, show the appUcation of 
 ; ' es' rules. 
 
 W len ink Hnes to any considerable extent 
 li.vv : 10 be erased, a small pieat of lamped soft 
 ^ police hk:. t)e rubbed over uiem till they 
 .ii-,.^Pi '^^.r. As, however, this process is apt to 
 disc "lo' the paper, the spc>ny:e must be passed 
 tliroUK^ 'jlean water, and applied again to take 
 up the straggling ink. For small erasures of ink 
 lines, a sharp erasing knife should be used; thi-^ 
 is an instrument with a short triangular bla('e 
 fastened to a wooden or ivory handle. A sharp 
 rounded pen-blade applied lightly and rapidly 
 does well, and the surface may be smoothed 
 down by the thumb nail or a paper-knife handle. 
 In ordinary working drawings a line may readily 
 be taken out by damping it with a lair pencil 
 and quickly applying the india ubber; and, to 
 smooth the surface so roughenec! alight applica- 
 tion of the knife is expedient. In drawing's 
 intended to be highly fmished, particular pains 
 should be taken to avoid the necessity for 
 corrections, as ev(;rything of thi kind detracts 
 from the appearance. 
 
 A little Prus^ m blue, mixed with the ink 
 makes it flow frrcr and adds to the c-lor. In 
 inking in on ordinary tracing ch ., ^he f.tudent 
 
AHciiiTM Trn.vi. ii«i.\\»i\«j Hy.i.i T.\r(iiiT 
 
 4(51 
 
 will find the ink will "creci. " in such a manner 
 that the lines will be broken. This can be pre- 
 vented if a drop of ox i^iiH be mixed with the 
 ink, but where ox-^jall is not available, Prussian 
 blue may be substituted, and this will, ti. some 
 extent, work freer over th< cloth. 
 
 As thi^ book is not intended for making 
 finished (.raftsn n, I have u.oided in 11 cases— 
 except in the rders of Architecture — offer- 
 ing any very elaborate* or 'inishei. examples, 
 as the student can find a nuinJjer of \ rks in th( 
 market that will lead him to a higher ulan*' if he 
 so determines, afte, he h s well mast -d what 
 I have served up to h fi. Xeith« have I 
 thougiit it desirable lo desc 'le the method of 
 making blue prints, ; > this n hod, or irethods, 
 1 IS been rendered o^ an» )ver again in th« 
 technical joui lals, yea s past. If, however, 
 
 the stut^ient de^ire- .o learn how to make blue 
 prints, I Would id ise him to purchase a copy 
 of "Blue Print I.iaKing" by P. Reissmann, which 
 can bf ha i ; rom th»- publishers of this book, 
 price 2S cents ihis is in excellent little work, 
 and goes iiito th( ubject thoroughK . 
 
 It must be in .ersiood that this work is pre- 
 
 ired purposely ^r the workman who has no 
 
 time to ittend ni. ht srhool, or money to spare 
 
■rSii' 
 
 262 
 
 ARCHITEfTrRAL DRAWIXG SELF TAUGHT 
 
 to take a course in any one of the excellent 
 correspondence schools; therefore, the illustra- 
 tions have been left in a plain state, so that the 
 student would not be frightened on the threshold 
 of his work by fancy and elaborate drawings. I 
 state this fact, partly to make it easy for the 
 student, and partly to disarm critics, who can, if 
 they are so disposed, find many defects in the 
 illustrations. 
 
 FINIS 
 
HOUSE PLAN SUPPLEMENT 
 
 PERSPECTIVE VIEWS 
 AND FLOOR PLANS 
 
 OF 
 
 Twenty-five Low and 
 Medium Priced Houses 
 
 Full and Complete Working Flans and Specifications or any of 
 these houses will be m.led at the low prices named, on the same 
 aay_ the order is received. 
 
 OTHER PLANS 
 
 We illustrate in "Practical Uses of the Steel Square - Vol I- 
 "Practical Uses of the Steel Square," Vol. II; and "Modern 
 Carpentry, 75 other plans, 2,- in each book, none of which are 
 duplicates of those we illustrate herein. 
 
 For further information, address 
 
 The Publishers. 
 
 fi-tid All Orders for Plans to 
 
 Frederick J.Drake © Co. 
 
 2n-2l3 EAST MADISON ST.. CHICAGO 
 
 jl 
 ^ i 
 ■;! 
 
 it 
 
 s - 
 
25-HOUSE DESIGNS~25 
 
 ~VT7"ITHOUT extra cost to our readers we have added to 
 ^ * Common-Sense Handrailing and Stair Building the 
 
 perspective view and floor plans of twenty-five low and 
 medium priced houses, such as are being built by 90 per cent of 
 the home builders of to-day. We have given the sizes of the 
 houses, the cost of the plans and the estimated cost of the build 
 ings based on favorable conditions and exclusive of phmibing 
 and heating. 
 
 The extremely low prices at which we will sell these complete 
 working plans and specifications makes it possible for everyone 
 to have a sei to be used, not only as a guide when building, but 
 also as a con\enience in getting bids on the various kinds of work. 
 They can be made the basis of contract between the contractor 
 andthe home builder. They will save mistakes which cost money, 
 and they will prevent disputes, which are never settled satisfac- 
 torily to both parties. They will save money for the contractor, 
 because then it will not be necessary for the workmen to lose time 
 waiting for instructions. We are able to furnish these complete 
 plans at these prices because we sell so many and they are now 
 used in every known country of the world where frame houses are 
 built. The regalar price of these plans, when ordered in the usual 
 manner, is from $50.00 to 875.00 per set, while our charge is but 
 8500, at the same time furnishing them to you more complete and 
 better bound. 
 
II 
 
 Of What Our Plans Consist 
 
 ALL OF OUR PLAN'S are accurately drawn one-cjuarter inch 
 scale to the foot. 
 We use only the best quality heavy r.allia Hiiie Print Paper 
 No. lOOOX, akin« every precaution to have all the blue prints of 
 even color and every line and t';j,'ure perfect and distinct. 
 We furnish for a complete set of plans : 
 
 
 FRONT ELEVATION 
 REAR ELEVATION • 
 LEFT ELEVATION 
 RIGHT ELEVATION 
 
 ALL FLOOR PLANS 
 
 CELLAR AND FOUNDATION PLANS 
 
 ALL NECESSARY INTERIOR DETAILS 
 
 Specifications consist of fifteen to twenty pajjesof typewritten 
 matter, giving full instructions for carrying out the work. 
 
 Both the plans and specifications are bound in cioth and 
 heavy waterproof paper in an artistic and suh.-t.uitial manner. 
 
 We guarantee all plans and sjjccificat^.ns to be full, com- 
 plete and accurate in every particular. F.very plan being 
 designed and drawn by a licensed architect. 
 
 Our equipment is so complete that we can mail t(> you the 
 same day the order is received, a comnlete set of plans and 
 specifications of any house illustrated herein. 
 
 Our large sales of these plans demonstrates to us the wisdom 
 of making these very low prices. 
 
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Remember 
 
 Wc- can mail out the same day we receive the order 
 any cmiplete set of .Diking phins and specifications 
 we illustrate in this book. 
 
 Remember also 
 
 That, if you are going to build, complete working 
 plans and specifications always 
 
 Save Money 
 
 for both the owner and contractor. 
 
 They prevent mistakes and disputes. 
 They save time and n-.oney. 
 
 Thev tell %ou what you will get and what you 
 are to do. 
 
 S4 
 
Estimated Cost 
 
 It is impossible for any one to estimate the cost of a 
 building and have the figures hold good in all sections 
 of the countr\'. 
 
 We do not claim to be able to do it. 
 
 The estimated cost of the houses wi- illustrate is 
 based on the most favoraijle conditions in all respt-cts 
 and does not include Plumbing and Heating. 
 
 Possibly thesi' houses cannot be Ijuilt in- >ou at the 
 prices we name Ijccause we ha\e used minimum mate-rial 
 and labor prices as our basis. 
 
 Tlu' home l)uilder shouU consult tlie Lumber 
 Dealei.the Hardware Dealer, and the Reliable Con- 
 tractors of his town. Their knowledge of conditions 
 in your particular locality makes them, .nd them only, 
 capable of making \ou a correct estimate of the cost. 
 
 «5 
 
DRAWING OUTFITS for STUDENTS 
 
 SKTOF nKAUINO 
 I.NsTKl.MK.NTfS 
 
 laimn«: Ruling p,.n, r.' , jn . 
 compasses, a in., wilt. ,,on anif 
 pencrl and lengtlK ninlr bar- 
 extra steel divider point • 
 
 **•'**«* ♦a.as 
 
 **J^T OF DRAWING 
 INSTKt'.MK.NT.S 
 
 No. n«2, in pocket ca.se, con- 
 taiM.nK: Ruling pen, 5'^ j,, • 
 
 C(.mpas.sps,«in.,withpen a d 
 pencil pon.ts and lengthening 
 .bar; steel sprnii,' b<;w pen, S'2 
 111.: extra st,-el divider poim 
 »'•"•_«** $4.S0 
 
 No aan'*^!^^*'^*'' boarij. 
 
 No.^.ti,,. l.lxA' ,„„,„,,„,„ (jravvin- 
 
 „ siir(,irr.i. " 
 
 *="'''• $1.00 
 
 . T SyUARE 
 -No. L'070. 24 in., 
 plain blade, lived 
 
 lleail. 
 
 *•;"«»! $o.;{5 
 
 NT .«^ TRIANGLE 
 
 Eael..-.-*^'-.. «'■"■• ''■•'^dwood,30^M;,)-, 
 
 TRIANGLE *"" 
 
 Each . . ."• ^'"'- " '"■• ''ardwood, 45-. 
 
 _• $0.'4R uaau 
 
 ■*" *■;"«••• : . .*. .!'. .:'^"^' '^; 3 >". to the ft.; MB ]„. 
 
 Jpl.OO 
 
 V:uU No. -'1.^1, s. Mardwnd. 
 
 -^o.-ir, 
 
 Sundries 
 
Fred T. Hodgson's New (1903) Books For Buildera 
 
 STEEL SQUAR.E 
 
 A TREATISE OF THE PRAOTiOAl USES OF 
 
 By FRED. T. HODGSON. Jkrchitect. 
 
 Now ami up-to^.te. Published May Isf. 1903. Do not mistake this edition 
 lor ttie one published over 20 years ago. 
 
 ThiMi.- the latest practiical work on 
 41? ^ T "<J"»'f ""d its u.fes pnly 
 iHlica. It iHthorouRh, af^'unttf, clear 
 and .asi y unci, rstood. Confoundinif 
 tf rni.s and phrases have bten relig. 
 lou.sly avoidedwhere possible, 
 and everythiiiK in the book has been 
 inade so plain that a bf)y twelve years 
 or ace, pos.se.«.sjnK ordinary intelli- 
 gence, can understand it from beirin- 
 nine t<j end. 
 
 It is an exhauRtive work includintp 
 80ni«» very incenioiiH devices for laying 
 out levels for rafters, braces and oth-^r 
 inclined work; alMo chapters on the 
 Square as a calculating machine, show- 
 ing how to mea.sure Solids, Surfaces 
 and DistBTK-es— very useful to builders 
 and estimators. (Chapters on rcflng 
 and how to form them by the aid o)* 
 the Square. Octagon, Hexagon, Hii) 
 and other roofs are shcA-n and ex- 
 plained, ard the manner of getting 
 the rafter-, and Jacks given. Chajiters 
 on heavy timl>er framing, shr wing hew 
 the 8<iuare is used for layint" out Mor 
 Msps, Tenons, Shoulders, Inclin(><J 
 
 work^ The work ako contains a largTm.^b.^r"o^]''di»g4ms! sho^fin'HJ."vJ 
 the Spuaro may be used in flndinK R-vels, Angles, Stair Treads and he v«l 
 
 out%t";r^H?."in.""'J.' ^'»??' '""^ oil.r Kafters,V..ides*meth^s for la^ng 
 °"l?.^"'':,=^,J'l">:?i.'*t?''-. •''-"»*-''-«.""'i Timber structures (fenerallv. AlsS 
 
 s generally. Also 
 f the perspective and floor plans 
 
 contains 25 beautiful halftone illustratior 
 
 of & medium priced h(jusfs. 
 
 tnrJ'^lio^^'"'' «'^'"."?s ^-.ifh ndreds of fine illustrations and explana- 
 
 aanrc';"o"ung^oroid^'" ^ " ^'•''"* """^ °^ instruction -^Th'e 
 
 supe^rrriS;?,'f"p"arer?^. .1^1%^ iUustrations, prints! on . 
 
 Price, 2 Vols., cloth binding. «, nrt 
 
 ^l*^.' 2 Vole., half.leather binding...'. .■.■..■.■.■.■.■.■."■.■.■. ' xiSt 
 
 Single Volumes, Par* • ->"♦•• ^•"'' 
 
 c?oth. 
 
 1.00 
 
 Pert I, hall- leather ..;.; ,-0 
 
 Pertii.cioth ..: :: io2 
 
 Part II. one half-leather ..*..',■.'■.!!'.'. I.S^ 
 
 SEND FOR COMPLETE ILLUSTRATED CATALOGUE FREE 
 
 FR.EDER.ICK J. DICAKE (^ CO. 
 
 PUBLISHERS OF SELF-EDUCATIONAL BOOKS 
 211 E. MADISON STREET ^ v CHICAGO 
 
Modem Carpentr 
 
 so that any „„e „).,, c,,,, ,„, ■ ,. :^' 
 
 easily and to .„l|„w ,1,.. ,,,,•' L 
 
 with„ut difficulty. ' ^^ '" '•^"'^ 
 
 rJi"/ ^Ti" "'"'^'"' '"^-'h'"!^ of laying 
 roofs, rafters, stairs, fl.or.. honors 
 bevels, ioinlng mouldings. miter7n '' 
 
 work, splayed work, and many other 
 
 th.n,s the carpenter wants t.k.ouV.VK 
 
 h^m^n h,s every day vocatu.,.. n ,s t ^ 
 
 mo^ complete and very latest w,' V ., 
 
 practical and reliable. On! V , ''"^'"''"^J. '-"g thorough. 
 
 be without. "" '^ ''"-•'■ "" carpenter can afford to 
 
 _ The work is printed fr,„u n^w JarL... ,v 
 
 Of crean. wove p„,....., ,„,„„,. ,«:;i*';r;;:XS!;K"" " '""^••'"^ •^-•^»' 
 
 Pfiee 
 
 $1.00 
 
 FREDERICK J. DRAKE & CO 
 
 2"-2l3 E. Madison 5.., Chicago. 
 
itry 
 
 l»r, Practical 
 
 ft quidr 
 alning and 
 
 ^ '"■•<«, it is 
 
 ©rough, 
 
 afford to 
 
 r qualitj 
 
 o. 
 
 I 
 
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