Descriptive Catalogue Part 5: S-U

ELEMENTI / DI / ARCHITETTURA / CIVILE / DEL PADRE / FEDERICO SANVITALI / DELLA COMPAGNIA DI GESU. / OPERA 'OSTUMA. /IN BRESCIA. /Dalle Stampe di GIAMMARIA RIZARDI

. / MDCCLXV. / CON LICENZA DE' SUPERlORI.

4to. Engraved portrait (1 leaf ); title page ( [i] ); dedication ( [iii]-viii ); text (1-105); advertisement (106); 4 engraved plates, all folding.

Federico Sanvitali (1704-61) was an Italian architect and mathemaician. He divided his Elementi into three parts- "solidità" "comodità" and "venustà.&rdquo ; Each part is further divided into definitions and problems with their solutions given.

Kimball (p. 99) says Jefferson acquired this book between 1785 and 1789. His copy was sold to Congress. It was not ordered for the University, whose present copy has been recently acquired, the gift of the Thomas Jefferson Memorial Foundation.

M *NA2515.S2.1765 Sowerby 420

LES / CINQ ORDRES / D'ARCHITECTURE / DE / VINCENT SCAMOZZI, / VINCENTIN, / ARCHITECTE DE LA REPUBLIQUE DE VENISE: / Tirez du sixième Livre de son Idée generale d'Architecture: / AVEC LES PLANCHES ORIGINALES. / Par AUGUSTIN CHARLES D'AVILER, Architecte.

/ A PARIS, / Chez JEAN BAPTISTE COIGNARD, Imprimeur du Roy, / ruë Saint Jacques, à la Bible d'or. / M. DC. LXXXV. / AVEC: PRIVILEGE DE SA MAIESTÉ.

Folio. Title page (1 leaf ); preface (2 leaves); table of contents (1 leaf); Latin-French glossary of terms (1 leaf ); text, with 37 engraved plates inserted (1-143).

Vincenzo Scamozzi (ca.1552-1616) was Italian. He had studied the works of Palladio (Nos. 91, 92a-d, 93, and 94) and finished the Teatro Olimpico in Vicenza after Palladio's death. His L'idea dell'architettura, from which this work is taken, was first published in Venice, 1615. It was translated into German and published in Nuremberg as Grundregeln der Bautunst in 1647; into French as Oeuvres d'architecture (Paris, 1685); and English as The Mirror of Architecture (London, 1690).

Augustin Charles D'Aviler (1655-1700) was a French architect who translated here only the sixth book of Scamozzi's work. It is, of course, the one dealing with the orders (see Plate CXVIII). He says in the preface:

Or ce qu'il y a de plus remarquable dans l'Architecture de Scamozzi, c'est qu'elle est fondée sur les raisons les plus vraysembles de la nature, sur la doctrine de Vitruve, & sur les exemples des plus excellens Edifices de l'Antiquité: sa maniere de profiler est Geometrique, mais elles est si contrainte par les figures dont il se sert pour décrire ses moulures, que la grace du dessein n'y a presque point de part; ce qui a donné à cet Auteur la reputation d'avoir une maniere seche, qui provient de la quantité des moulures qui entrant dans ses profils, dont il y en a plus de rondes que de quarrées, & de ce qu'elles ne sont point meslées alternativement, ainsi qu'il est necessaire pour les rendre plus variées....

Parce qu'on s'est servi dans cette edition des planches originales, elles sont telles que Scamozzi les avoit fait graver.

Scamozzi begins by defining the term order:

LES Ancien Architectes sont dignes de loüange en beaucoup de choses; mais particulierement plus avoir trouvé & mis en usage les Ordres d'Architecture avec les ornemens de toutes les parties, dont le corps de chaque Ordre est composé. Pour traiter ce sujet avec methode, nous parlerons d'abord des corps entiers, & ensuite de leurs parties.

Le mot d'Ordre pris en general signifie beaucoup de choses; mais en Architecture on l'employe pour exprimer l'harmonie & la composition de diverse choses proportionnées les unes aux autres, & relatives & unies ensemble, comme sont les Piedestaux, les Colonnes & les Entablements, parceque toutes les parties & tous les membres ont une structure bien reglée & bien ordonnée. [P. 1]

La difference d'un Ordre à l'autre, consiste dans la proprieté des Modules, qui dépend de la juste distribution des grandeurs des parties, & dans la belle disposition de leurs membres, qui fait paroistre la solidité dans un Ordre, & la delicatesse dans un autre. Ces choses doivent estre reglées par l'example de la Nature, qui a donné à l'homme né pour le travail des membres forts & robustes, & qui formé le corps de la femme avec une delicatesse convenable à son sexe. [P. 2]

Kimball (p. 99) says Jefferson acquired this edition of Scamozzi between 1785 and 1789. Sowerby points out that Jefferson had it bound with a Vignola (No. l23b), and a Serlio (No. 113) . He sold his copy to Congress.

This edition was not ordered by Jefferson for the University, whose copy has been recently purchased, the gift of the Thomas Jefferson Memorial Foundation.

M *NA2812.S2.1685 Sowerby 4178

THE / Mirror of Architecture: / OR THE / Ground Rules of the / Art of Building. / Exactly laid down by /

VINCENT SCAMOZZI, / Master-Builder of / VENICE. / Whereby the principal Points of Architecture are easily and plainly / demonstrated for the Benefit of all Lovers and Ingenious Practi-/tioners in the said Art. / With the Description and Use of a Joint-Rule, fitted with Lines for / the ready finding the Lengths and Angles of Rafters , and Hips, and / Collar-Beams, in any Square or Bevelling Roofs at any pitch; and the ready drawing the Architrave, Frize, and Cornice in any Order. / With other useful Conclusions by the said Rule. By John Brown. /The SEVENTH EDITION. / Whereunto is Added, A Compendium of the Art of Building

. Giving / a Brief Account of the Names, Natures, and Rates of all the Ma-/terials, belonging to the Erection, of an Edifice: And what Quan-/tity of each sort will be needful for the Building of any House. / Whereby Estimates, Valuations and Contracts may be made be-/tween Builder and Workman, without Damage to either. And / how to measure the Works of the several Artificers belonging / to Building; and what Methods and Customs are observ'd therein. / By WILLIAM LETBUBN [sic]. / LONDON. / Printed for B. Sprit, 1734.

Small 4to. Engraved portrait ( 1 leaf ); title page ( 1 leaf ); note ( 1 leaf ); engraved plate and description ( 1 leaf); text of

The Mirror of Architecture

, with 51 engraved plates, of which 3 are folding, inserted (1-56); half title ([57]); text of Compendium

, with 1 engraved plate inserted (58-[112]).

For information about Scamozzi, see No. 111a. Sir Henry Wotton (1568-1639), who wrote the Compendium of the Art of Building,

was an English diplomat and poet. The curious spelling "Leybubn" on the ; title page is a misprint for Leybourn. William Leybourn (1626-1700?) was a mathematician.

The note for this book says: There having been many Masters who have with great Care and Industry brought this Art to a great Perfection, among whom the Famous Master Vincent Scamozzi , Chief Builder of the Magnificent City of Venice , deserves to be plac'd in the First and Chiefest Rank by the consent of all Judicious Artists. Therefore for the benefit of our own Nation, and that it may be made most useful for all Artificers in Building, and Lovers and Practitioners in this most useful Art, and for the greater Splendor and Glory of Princes Courts, Gentlemens Seats, and whole Cities, especially the most Famous City of London , you have the larger book reduc'd into a smaller Volume, and the Author has given Parts [see Plate CXIX], divided into Minutes; whereby the Principal Rules of Architecture are made plain to ordinary Capacities, by Joachim Schuym, an Ingenious Artist.

Kimball (p. 99) says this work may have entered Jefferson's library about 1778, and may have come from the sale of William Byrd's library. It should be noted that this is the seventh edition. Jefferson sold his copy to Congress.

The book was not ordered for the University by Jefferson. The library's present copy, the gift of the Thomas Jefferson Memorial Foundation, bears the bookplate of John Adam.

M *NA2515.S3.1734 Sowerby 4179

OEUVRES / D'ARCHITECTURE / DE / VINCENT SCAMOZZI, / ARCHITECTE DE LA RÉPUBLIQUE DE VENISE. / NOUVELLE ÉDITION. / Revue & corrigée exactement sur l'original Italien.

/ A PARIS, RUE DAUPHINE, / Chez JOMBERT, Libraire du Roi pour l'Artillerie / & le Génie à l'Image Notre-Dame. / M. DCC. LXIV.

Large 8vo. Engraved frontispiece ([ii]); title page ([iii]); preface (vxi); table of contents (xii-xviii); life of Scamozzi (xix-xxix); errata (xxx-xxxi); binding order for plates (xxxii); text ([1]-240); 82 engraved plates, of which 2 are folding, inserted, and several woodcut tailpieces.

The frontispiece (see Plate CXX) was engraved by Grégoire Huret (1606-70), who was born at Lyons. He worked there at first then went to Paris where he became a member of the Académie Royale de Peinture et Sculpture in 1663. The frontispiece is engraved "Oeuvres d'architecture de Scamozzi: A Paris chez Jombert rue Dauphine 1764." Although the frontispiece is undated, its inscription is obviously superimposed over the earlier engraving.

See No. 111a for information about Scamozzi. The book is Part III of the Bibliothèque portative d'architecture issued by Jombert. See No. 46 for further information about this series. The Oeuvres consists of three divisions devoted to the orders and one to houses, mostly palaces, by the author.

Jefferson ordered the book for the University in the section on "Architecture" of the want list, but there is no record of its having been received. The library's present copy has been recently acquired, the gift of the Thomas Jefferson Memorial Foundation.

U.Va. *NA2810.S35.1764

DISCORSI / SOPRA / L'ANTICHITA DI ROMA / DI / VICENZO SCAMOZZI / ARCHITETTO VICENTINO / Con XL. Tauole in Rame.

/ IN VENETIA, / APPRESSO FRANCESCO ZILETTI. MDLXXXIII.

4to. Engraved title page (1 leaf); dedication, etc. (6 leaves); table of contents (8 leaves); text (42 unnumbered pp.); 40 double-page engravings.

The plates are signed either "Battista P" or "B. P. V. F.," as Giovanni Battista Pittoni, called Vicentino (1520-83), frequently signed his work. Pittoni was born and worked in Vicenza, producing chiefly landscapes with ruins or mythological subjects. Some of the plates carry the date 81. For the engraved title page, see Plate CXXI.

For information about Scamozzi, see No. 111a. Each plate of this book is accompanied by a careful description written by Scamozzi of the ancient buildings shown. The plates give views of Rome, and are rather spirited and energetic (see Plate CXXII).

Kimball (p. 99) says Jefferson bought this book some time between 1785 and 1789. Sowerby, who had not seen a copy, describes it as a folio volume. Jefferson's own copy was sold to Congress.

He ordered it for the University in the section on "Architecture" of the want list, but there is no record of its having been received. The library's present copy is the gift of Julian P. Boyd.

U.Va. M *NA310.S3.1583 Sowerby 4194

IL SETTIMO LI-/BRO D'ARCHITETTV-/RA DI SEBASTIANO SERGLIO / BOLOGNESE. NEL QVAL SI /

TRATTA IDI MOLTI ACCIDENTI, / che possono occorrer' al Architetto, in diversi luoghi, & istrane for-/me de siti, è nelle restauramenti, o restitutioni di case, è come / habiamo à far, per siruicij de gli altri edifici è simil' / cose, come nella sequente pagina si lege. / Nel fine visono aggiunti sei palazzi, con le sue piante è fazzate, in diuersi modi fat-/te, per fabricar in villa per gran Prencipi. Del sudetto autore,/Italiano è Latino. /Sebastiani Serlij Bononiensis Architecturae liber septimus. /IN QVO MALTA EXPLICANTVR, QVAE ARCHITE-/cto variis locis possunt occurrere, tam ob inusitatam sites rationem, tam si quando instau-/rare sine restituere aedes, aut aliquid pridem factum in opus adbibere, aut caetera / huiusmodi facere necesse Merit: prout proxima pagina indicator. / Ad finem adiuncta sunt sex palatica, ichnographia 8e orthographia variis rationibus descripta, quae / ruri à magno quopiam Principe extrui possint. Eodem autore. / Italicè & Latinè . / Ex. MUSAEO IAC. DE STRADA S. C. M. ANTIQVARII, CIVIS ROMANI. / Cum S. C. M. Priailegio: & Regis Galliarum. / FRANCOFVRTI AD MOENVM, / Ex officina typographica Andreae Wecheli. / M. D. LXXV.

Folio. Title page (1 unnumbered p.); synopsis (1 unnumbered p.); dedication (3 unnumbered pp.); notes to readers (5 unnumbered pp.); licenses (1 leaf ); text, with 120 full-page woodcut plates inserted (1-243).

Sebastiano Serlio (1475-1552 or 1554) worked first as a painter ln perspective. He then studied with Peruzzi in Rome and thereafter worked as an architect. He died at Fontainebleau, where he had worked for some time.

His Trattato di architettura was published piecemeal, in haphazard order, and in various locations. Book IV was first with a Venice, 1537 edition; it was followed by Book III, 1540; Books I and II, 1545; Book V, 1547; Book VI, 1551; and Book VII, 1575 in Frankfurt.

Book VII contains illustrations of villas, palaces, fireplaces, city gates, window frames (see Plate CXXIII) and other details, multishaped plans, and various mannerist compositions. It should be noted that this book is one of the earliest of any of the architectural works in Jefferson's library.

Kimball (p. 100) says the Settimo Libro entered Jefferson's library between 1785 and 1789. Sowerby notes that it was bound with a Scamozzi (No. 111a) and a Vignola (No. 123b). Jefferson sold his copy to Congress. He did not order it for the University. The library's present copy is a recent acquisition, the gift of the Thomas Jefferson Memorial Foundation.

M *NA2717.S51.1575 Sowerby 4176

A / NARRATIVE OF THE BUILDING / AND / A DESCRIPTION of the CONSTRUCTION / OF THE / EDYSTONE LIGHTHOUSE / WITH STONE: / TO WHICH IS SUBJOINED, / AN APPENDIX, giving some Account of the LIGHTHOUSE on the SPURN POINT, / BUILT UPON A SAND. /BY JOHN SMEATON,

CIVIL ENGINEER, F.R.S. / LONDON: / PRINTED FOR THE AUTHOR, BY H. HUGHS: /

SOLD BY G. NICOL, / BOOKSELLER TO HIS MAJESTY, PALL-MALL. 1791.
Folio. Title page with engraving ([i]); dedication ([iii-iv]); preface (vvi); table of contents (vii-xiv); text (1-184); appendix (185-92); description of plates (193-98); 23 engraved plates, of which 1 is folding.

The engravers were A. or O. Birrel (fl.1786-l800), who worked at London; William Faden; John Record (fl. 1768-90), English; Henry Roberts (d. ca.1790), an English engraver who died at about age 80; Edward Rooker (see No. 3); Charles Reuben Ryley (1752-98), a native of London who became a history painter and an engraver; and Sam Ward.

Many of the plates in this work are dated; the dates range from 1761 to 1790.

John Smeaton (1724-92) was born near Leeds, the son of an attorney. He was educated at Leeds Grammar School and his father's office. He went to London to further his legal studies, but he abandoned the law and became a philosophical instrument maker. By 1750 he was a Fellow of the Royal Society.

The new Edystone Lighthouse (1756-59) was built of stone by Smeaton. Replacing an earlier wooden one, it made use of an ingenious system of interlocking stones in order to withstand the force of the waves. The engraving on the title page is a very romantic and Turneresque view (see Plate CXXIV).

Jefferson would have had a special interest in the chapter "Containing Experiments to Ascertain a Complete Composition for Water Cements; with Their Results," since he had at least one other work on the same subject (No. 42).

Kimball (p. 100) says this book entered Jefferson's library between 1785 and 1789, but Sowerby quotes a letter of May 11, 1791, from Jefferson thanking Benjamin Vaughan for it. Jefferson's copy was sold to Congress. This edition was not ordered for the University. The library's present copy has been recently acquired, the gift of the Thomas Jefferson Memorial Foundation.

M *TC375.S63.1791 Sowerby 4213

A / NARRATIVE OF THE BUILDING / AND / A DESCRIPTION OF THE CONSTRUCTION / OF THE / EDYSTONE LIGHTHOUSE / WITH STONE: / TO WHICH IS SUBJOINED, / AN APPENDIX, / GIVING SOME ACCOUNT OF /THE LIGHTHOUSE ON THE SPURN POINT, / BUILT UPON A SAND. / BY JOHN SMEATON, CIVIL ENGINEER, F. R. S. / THE SECOND EDITION.

/

LONDON: / PRINTED BY T. DAVISON, LOMBARDSTREET, WHITEFRIARS; / FOR LONGMAN, HURST, REES, ORME, AND BROWN, PATERNOSTER-ROW. / 1813.
Folio. Title page ( [i]); dedication ([iii-iv]); preface ( [v]-vi); table of contents ([vii]-xiv); text ([1]-184); appendix ([185]-92); description of plates ( [193]-98); 23 engraved plates.

For information about John Smeaton, see No. 1l4a. The contents of this edition are the same as those in the edition of 1791.

Kean's catalogue of May 1825 shows that the University library owned a copy of Smeaton's Narrative; the 1828 Catalogue annotation of the copy identifies it as likely to be this 1813 edition. Nevertheless, Jefferson included the Narrative in the section on "Architecture" of the want list. Since he owned a copy of the 1791 edition, it may have been that edition that he was ordering for the University. He is presumed, however, to have been a party to the acquisition of the 1813 edition and may simply have forgotten that the title had already been acquired. The library's copy did not survive, but a duplicate has recently entered the University collections, the gift of the Thomas Jefferson Memorial Foundation.

U. Va. *TC375.S63.1791a

The Report of the Committee for Conducting Experiments of the Society.

London, 1800.

Not now owned by the University.

Jefferson ordered a copy of this Report for the University in the section on "Technical Arts" of the want list, but there is no record of the library's ever having received a copy.

POLYMETIS: / OR, / An ENQUIRY concerning the / AGREEMENT / Between the WORKS of the / ROMAN POETS, / And the REMAINS of the / ANTIENT ARTISTS. / BEING / An ATTEMPT to illustrate them mutually from / one another. / IN TEN BOOKS. / By the Revd. Mr. SPENCE. /

Omnes artes, quae ad humanitatem pertinent, habent quoddam commune vinculum; / & quasi cognatione quâdam inter se continentur. Cicero; pro Arch. / The Verse and Sculpture bore an equal part; / And Art reflected images to Art. / Pope, of Poetry and Statuary. / -Each from each contract new strength and light. / Id. of Poetry and Painting. / LONDON: / Printed for R. DODSLEY; at Tully'sHead, Pall-Mall. / M.DCC.XLVII.

Folio. Title page ( [i] ); preface ( iii-v ); list of subscribers ( vii-xii ); text, with 41 engraved plates, of which 2 are folding and 2 double, inserted ([1]-327); description of plates ([329]-36); index of figures ([337]40); classical index ([341]-51); index (353-61); binder's directions and errata ( [362]).

The engraver for this book was Louis-Phillipe Boitard (d. after 1770), who worked in both France and England. His engravings for the Polymetis formed his most considerable work.

Joseph Spence (1699-1768) was born in Hampshire, the son of a rector. He was educated at Eton, Winchester, Magdalen Hall, Oxford, and New College, Oxford. He received his B.A. in either 1723 or 1724, took holy orders in 1724, and was given his M.A. in 1727. He was professor of poetry from 1728 to 1738 and was appointed Regius professor of modern history in 1742. He traveled abroad as companion to several noblemen. Dr. Johnson said of him that "his learning was not very great, and his mind not very powerful; his criticism, however, was commonly just; what he thought, he thought rightly, and his remarks were recommended by coolness and candour" ( DNB ) .

He explains his interest in and the origin of his work by saying: THE following work is the result of two very different scenes of life, in which I have happened to be engaged. The one, was my having been Professor of Poetry, in the University of Oxford, for ten years; and the other, my being abroad, for above half that space of time. The former obliged me to deal in Poetical Criticism; as the latter, (and particularly the considerable stay that I made, both at Florence, and at Rome,) led me naturally enough into some observation and love for the fine remains of the antient artists. As these two periods of my life happened partly to coincide, this put me on the thoughts of joining these studies together: and in doing this indeed I found very little difficulty; for, (as Cicero says in the motto to my book,) there is a natural connexion between all the polite arts: and consequently, they may rather seem to meet one another, than to have been brought together by any contrivance. [P. iii]

MY confining myself to the Roman writers only, or such of the Greeks as were quite Romanized; has been of great use to me, toward making the whole work the less perplexed. My chief stock was laid in from all the Roman poets, quite from Ennius down to Juvenal; and from several of their prosewriters, from Varro down to Macrobius. Had I gone lower, the authorities would have grown still weaker and weaker; and my subject would have been the more liable to have been confused. [P. v]

The book is cast in the form of dialogues between Polymetis, a fictitious person, and his guests who have retired to a villa. This edition is the first, but by am it was in a fourth edition. As late as 1802 it was issued in an abridged form.

Jefferson knew this book as early as 1771, for he made a notation that year in a want list of works of art: "Diana Venetrix (see Spence's Polymetis)" (Kimball, fig. 79). Spence illustrates the Diana Venatrix in Plate XIII, Fig. IV (see Plate CXXV), and describes it as "DIANA VENATRIX: an Onyx; in Senator Buonaroti's collection, at Florence" (p. 330). He further says:
OF all the various characters of this goddess, there is no one more known, than that of her presiding over woods; and delighting in hunting. The Diana Venatrix, or goddess of the chace, is frequently represented as running on, and with her vest as flying back with the wind; notwithstanding its being shortened, and girt about her, for expedition. She is tall of stature; and her face, tho' so very handsome, is something manly. Her legs are bare; very well shaped, and very strong. Her feet are sometimes bare too; and sometimes adorned with a sort of buskin, which was worn by the huntresses of old. She often has her quiver on her shoulder; and sometimes holds a javelin, but more usually her bow, in her right hand. It is thus she makes her appearance in several of her statues; and it is thus the Roman poets describe her: particu\-larly, in the epithets they give this goddess; in the use of which they are so happy, that they often bring the idea of whole figures of her into your mind, by one single word.

I BELIEVE there is scarce any one of all the little circumstances I have mentioned, which has escaped the poets. Her javelin and bow are as frequent in them, as in the antiques which represent her. Ovid takes notice of the shape of her leg; and Virgil is so good as to inform us, even what color her buskins were of. statues of Diana were very frequent in woods. She was represented there, all the different ways they could think of. Sometimes, as hunting; some\-times, as bathing; and sometimes, as resting herself after her fatigue. Statius gives us a very pretty description of the latter; which I should be very glad to see well executed in marble, or colours. [P. 100]

Spence uses quotations from Ovid, Virgil, and Statius to annotate this passage.

The copy of Polymetis that Jefferson sold to Congress was this edi\-tion. The library's present copy is the one ordered by Jefferson in the section on "Gardening. Painting. Sculpture. Music" of the want list. The 1828 Catalogue entry indicating that the one Hilliard sent was an 1813 edition is an error, brought about by an accidental transfer of imprint from the preceding item.
U.Va. M *N5613.S7.1747 Sowerby 4230

PLANS ET DESSINS /TIRÉS DE LA/BELLE ARCHITEC-TURE / OU / REPRESENTATIONS / D'EDIFICES EXECUTES OU PROJETTES / EN 115 PLANCHES / AVEC / LES EXPLICA TIONS NÉCESSAIRES / LE TOUT ACCOMPAGNÉ / D'UN / TRAITOR: ABRÉGÉ / SUR / LE BEAU / DANS L'ARCHITEC-TURE / PAR / Dr. C. L. STIEGLITZ.

/ LEIPZIG / CHEZ VOSS ET COMPAGNIE / MOSCOU /CHEZ RISS ET SAUCET / 1800.

Folio. Engraved frontispiece (1 leaf ); title page (1 leaf); dedication (1 leaf ); note (1 leaf ); preface (1 leaf ); text ([1]-14); 113 engraved plates with descriptions inserted.

Note: There is some doubt that the Stieglitz is the proper identification of Jefferson's order for the " Portfeuille des artistes, ou dessins de cha-teaux, etc. (4to) Leips. 1800. " for the University. In Jefferson's own memorandum on garden temples (N-182), he cites among various sources for a Gothic temple Plate XXX from the &ldquo ;Leipsic Portefeuille. " Plate XXX in Stieglitz shows a residence whose central feature is an Ionic portico screening an apsidal entrance space. The only Gothic structures in the work are two pavilions shown on Plates LXXIII and LXXIV.

On the other hand, if one accepts the Stieglitz as the "Leipsic Portefeuille." there is an interesting, but undocumented, connection with Jeffer\-son's architectural work, as pointed out below. Until further information is available it seems worthwhile to investigate the Stieglitz here. The engravers were Gottlieb Böttger (fl.1796), who worked at Leipzig; Philibert Boutrois (fl.1775-l8l4), who worked in Paris; Coquet (see No. 40); Johann-Adolph Darnsteds, or Darnstadt (1769-1844), who was in Dresden by 1784, a member of the academy at Dresden by 1811, and who later worked in Berlin, Milan, and Copenhagen; Delettre; Gustave\_Georg Endner (1754-1824), who was born at Nuremberg and died near Leipzig; Carl Frosch (b.177l), who worked in Leipzig; C. Frussotte ( see No. 95); Antoine-Joseph Gaitte ( see No. 40); Grünter; Heluis, or Helvis (fl.l799), who worked in Paris; Hullmann; Jean-Baptiste Liénard (1750-1807), French; Claude-Alexandre Moisy (1763-ca.l827), French; Piquet; Pierre Nicolas Ransonnette (see No. 40); Jean-Baptiste Réville (see No. 40); Johann Friederich Schröter (1770-1836), a native of Leipzig and engraver to Leipzig University after 1813; and van Mael.

Christian Ludwig Stieglitz (1756-1836), a jurist and an architec\-tural historian, was educated at Leipzig. He published nineteen works from 1787 until his death.

He says of architecture and the beautiful in architecture:

Les amateurs et surtont [sic] les connoisseurs recevront donc ici, un ouvrage, principalement dé'voué à la beauté de cet art. [Preface]

La forme dans les productions de l'architecture est déterminée par le but de l'oeuvre, au quel il faut necessairement qu'elle corresponde, sans quoi elle seroit sans utilité. Ce qui fait que les formes dans l'architecture sont bien diférentes de celles qu'on observe dans le dessein, la sculpture et la pein\-ture.

Le beau dans l'architecture, ne peut donc naître que de la beauté de la forme. Or le but de l'oeuvre déterminant cette forme, il ne sauroit lui com\-muniquer aucune beauté. [P. 3]

Le beau nait premierement de l'ordre, qui exige que la disposition des parties d'un bâtiment ne soit rien moins qu'arbitraire, mais soumise absolument à de certaines regles, soit orizontalement, soit perpendiculairement. . . .

L'ordre et la symétrie sont donc dans un bâtiment deux titres pour prétendre à la beauté; cependant ils ne suffisent pas encore pour atteindre à la beauté des formes, c'est la proportion de qui on peut l'obtenir. [P. 4]

Comme il y a diverses especes de bâtiments, il y a aussi les divers caracteres, qui y conviennent, que l'artiste ne doit pas négliger par ce qu'ils exigent tout son attention....

Voici donc les principales especes de caracteres: le majestueux, , le sérieux , le magnifique , le terrible, le gracieux et le merveilleux. [P. 6]

This edition is the first of this beautiful neoclassic work of plates of designs for buildings, chiefly country houses. There were two later Paris editions, in 1801 and 1809. It seems to have been an international production with its Leipzig and Paris editions, its French and German engravers, its text in French, and its agents in Leipzig and Moscow.

Plate XIII shows a plan of a country house which has oval rooms fitted within a circular space at one end of the building (see Plate CXXVI). The house is described as follows: " La magnificence et la simplicité se trouvent réunies dans le bâtiment réprésenté ici. Les avant\-corps des deux façades sont magnifiques tandis qu'une modeste simplicité caractérise les parties reculées. " The layout of this house bears a striking resemblance to the oval rooms fitted into the circular plan of the Rotunda of the University of Virginia by Jefferson on his drawing for the Rotunda's first floor, a drawing dated about March 29, 1821, or before (see Plate CXXVII). The Stieglitz plan may have been a remembered prototype for the Rotunda plan, if, indeed, the volume has been correctly identified.

Kimball (p. 98) says Jefferson bought his copy of the ;Portfeuille des artistes, ou dessins de chateaux etc. between 1800 and 1805. Sowerby pinpoints the date to June 21, 1805, quoting the correspondence between Jefferson and his bookseller Reibelt, and notes its cost as $14.40 with a binding cost of $2.50.

That Jefferson made his desideratum note for the University in the section on "Architecture" of the want list from a recollection of the copy he sold to Congress seems certain. That copy, however, has not survived. Hilliard never found a copy for the University, and Sowerby despaired of identifying the book. The University's recent acquisition of the Stieglitz lessens the doubt that this is the volume Jefferson specificied, although he described it as quarto instead of folio. The library's present copy is the gift of the Thomas Jefferson Memorial Foundation.

U.Va.? M? *NA2600.S69.1800 Sowerby 4222

STOWE: / A / DESCRIPTION / Of the Magnificent / HOUSE and GARDENS / Of the RIGHT HONOURABLE / George Grenville Nugent TEMPLES / EARL TEMPLE, / Viscount and Baron COBHAM, / One of the four Tellers of his MAJESTY'S Exchequer. / Lord Lieutenant and Custos Rotulorum of the County of / BUCKINGHAM, / Colonel of the Militia for the said County; / And one of his Majesty's most Honorable Privy Council. / Embellished with a General Plan of the Gardens. / And also a separate Plan of the HOUSE, and of each / BUILDING, with Perspective Views of the same. / A NEW EDITION, / With all the Alterations and Improvements that have / been made therein, to the present Time. / With the Description of the Inside of the House. /

Where Order in Variety we see, / And where, tho' all Things differ, all agree, / Nature shall join you, Time shall make it grow, / A Work to wonder at perhaps a STOWE. POPE. BUCKINGHAM,/Printed and Sold by B. SEELEY. / Sold also by J. FIELI)ING, No. 23, Pater-noster-Row, London; and /T. HODGKINSON, at the New Inn at STOWE. /M DCC LXXXIII.

Small 8vo. Folding engraved frontispiece (1 leaf); title page ([1]); list of plates ([2]); dedication ([3]); ode (5-6); text, with engraved plates, of which 2 are folding, inserted (7-39); explanation of plans ([40]); 7 engraved plates of plans.

The plans were delineated by B. Seeley and engraved by Gabriel(?) L. Smith (1724-83), a Londoner who had studied both in London and Rome.

This little volume is a simple guidebook to a very early example of the "English garden," which was designed in part by William Kent (see No. 59a). The first edition of Stowe was published in 1745 or 1747.

The plates are important for their illustrations of meanders in plan (see Plate CXXVIII), a feature Jefferson used in his own garden at Monticello. Sowerby notes that Jefferson, when he visited Stowe. described it in the following terms: "Stowe . . . 15. men and 18. boys employed in keeping pleasure grounds. Within the walk are considerable portions separated by inclosures & used for pasture.... The inclosure is entirely by ha! ha!"
The edition of 1783 is the one Jefferson sold to Congress. It was not ordered for the University. The library's recently acquired copy is the gift of the Thomas Jefferson Memorial Foundation.

M *DA664.S8.1783 Sowerby 4229

STOWE. A Description / of the / HOUSE and GARDENS / of the / Most Nobel & Puissant Prince, / GEORGE-GRENVILLE-NUGENT-TEMPLE / MARQUIS OF BUCKINGHAM.

Printed and Sold by J. Seeley, Buckingham, Sold also by/ J. Edward's Pall Mall, & L. B. Seeley Paternoster Row, London [1797]

Engraved frontispiece ( [2] ); title page ( [3] ); list of plates ( [5] ); engraved plate ([8]); text, with 23 engraved plates inserted ([9]-63); references to plans ([64]); 7 engraved plates of plans, of which 2 are folding.

The plates were drawn and engraved by Thomas Medland (d. after 1822), an English landscapist and engraver. They bear the inscription "Published July 17th 1797, by J. Seeley, Buckingham."

For general information about Stowe, see No. 118a. This new edition has completely new engravings. The contrast in the descriptions of the same features of the gardens may be seen in the examples quoted here. No. 1l8a says of the Grotto (see Plate CXXIX) that it "stands at the Head of the Serpentine River, and on each side a Pavilion, the one ornamented with Shells, the other with Pebbles and Flints broke to Pieces. The Grotto is furnished with a great number of Looking-glasses both on the Walls and Ceiling, all in Frames of Plaster-work, set with Shells and Flints. A Marble Statue of Venus, on a Pedestal stuck with the same." The later No. 118b describes the Grotto (see Plate CXXX) as having "trees which stretch across the water, together with those which back it, and others which hang over the cavern, form[ing] a scene singularly perfect in its kind.... In the upper [end] is a fine marble statue of VENUS rising from her bath, and from this the water falls into the lower bason."

In 1825 Jefferson ordered only a single octavo volume for the University in the section on "Gardening. Painting. Sculpture. Music" of the want list. Under this specification the library acquired the 1797 edition. The copy received then survives.
U. Va. *DA664.S8.1797

Vol. I. THE ANTIQUITIES OF / ATHENS. / MEASURED AND DELINEATED / BY JAMES STVART F.R.S. AND F.S.A. / AND NICHOLAS REVETT. / PAINTERS AND ARCHITECTS. / VOLVME THE FIRST

/LONDON / PRINTED BY JOHN HABERKORN, MDCCLXII.

Folio. Engraved portrait (1 leaf); title page (1 leaf); dedication (1 leaf); list of subscribers (3 leaves); engraved, folding map; preface ([i]\_viii); engraved, folding plate; description of preceding plate (ix\_x); text, with 70 engraved plates, of which 1 is folding, inserted ([1]\_52); errata ( 1 leaf )

Vol. II. THE ANTIQUITIES OF / ATHENS / . . . /VOLVME THE SECOND / . . . /
Folio. Title page (1 leaf); note to reader (i); introduction (iii-iv); half title (1 unnumbered p.); advertisement (1 unnumbered p.); folding, engraved plate; [new pagination:] explanation of preceding plate (iii-iv); double, engraved plan; explanation of plan (v-vii); text, with 72 engraved plates of which 1 is folding, inserted (1-46).

Vol. III. THE ANTIQUITIES OF / ATHENS / . . . / VOLVME THE THIRD. / . . .
Folio. Title page ([i]); preface (iii-xviii); engraved plates, of which 1 is folding; [new pagination:] description of plates ([i]-vi); folding, engraved plate; list of ancient place names (vii-xxv); text, with 72 engraved plates, of which 1 is folding and 1 is double, inserted (144); errata (1 leaf).

Vol. IV. THE ANTIQVITIES OF/ATHENS/ . . . /VOLVME THE FOVRTH.
Folio. Engraved portrait (1 leaf); title page (1 leaf); preface ([i]-xvii); notes (xviii-xx); memoirs of Stuart and Revett (xxi-xxxi); text, with 87 engraved plates inserted ([1]-36); errata (37-42); index (43-44).

Vol. V. [Outside this study.]
The engravers for Vol. I were James Basire (see No. 3); I. or J. Cole (fl.1750), English; Pierre Fourdrinier (see No. 21); James Green (1755-ca.1800), English; Charles Grignion (see No. 23); Charles Knight (1743-1826), who worked in London; Conrad Martin Metz (1749-1827), who was born in Bonn, studied with Bartolozzi (see No. 3) in London, and went to Rome in 1802; W. Palmer (fl.1750), English; Edward Rooker (see No. 3); Sir Robert Strange (1721-92), who studied in Edinburgh and in Paris with Le Bas, and who later went to Italy and became a member of the academies of Rome, Florence, Bologna, Parma, and Paris; and A. Walker (see No. 3).

The engravers for Vol. II were François-Germain Aliament (1734-90), who had studied with his brother Jacques and had set up a school in London; Daniel Lerpinière (1745-85), of French descent but born in London; James Newton (1748-ca.1804), pupil of his father Edward; William Sharp (1749-1824), who worked in London; and Samuel Smith (1745-1808), who also worked in London.

The engravers for Vol. III were Lerpinière; Newton; William Blake (1757-1827), who studied with James Basire (see No. 3), Ryland, and at the Academy of Paris in London and who later became known for his beautiful, mystical books; John Hall (1739-97), who was engraver to George III; John Harding (fl.1790), English; John Landseer (1769-1852), who worked in London and was the father of the more famous Edwin; Wilson Lowry (see No. 32); Thomas Medland; John Record (see No. 1l4a); William Skelton (1763-1848), pupil of James Basire and William Sharp; and John Walker (fl.1794), a nephew of Anthony Walker (see No. 3).

The engravers for Vol. IV were Lerpiniere; Record; Thomas Baxter (1782-1821), English; James Davis; Peter Mazell (see No. 63); Henry Moses (see No. 47); Henry Taylor; James Taylor (1745S7), London; and Edmond Turrell (fl.1815-20), London.

The subscribers' list in Vol. I contains the names of three builders, two carpenters, eleven doctors, twenty-three ecclesiastics, one joiner, two lawyers, ten painters, one plasterer, and three sculptors. The architects listed are John Adam, Robert Adam, James Adam, Lancelot Brown, Henry Flitcroft, David Hiorne, James Payne, William Robinson, John Smeaton, and Vanvitelli. James Basiere, the engraver; David Garrick, the actor; and Uvedale Price, the writer on taste, were also subscribers.

James Stuart (1713-88) was born in London, the son of a mariner who died early, leaving his son to support the family by painting fans for Louis Goupy, many with classical scenes. Stuart was given a premium at age thirteen or fourteen at the Society of Arts for a self-portrait. He went to Rome in 1741 where he met Revett. They went on to Athens in 1750-51 and returned to England in 1755. Stuart was F.R.S. and F.S.A., as well as a member of the Society of Dilettanti.

Nicholas Revett (1720-1804) was born in Suffolk. He was in Rome by 1742, studying painting. After the publication of the first volume of the Antiquities of Athens, he quarreled with Stuart, sold his rights to the publication to Stuart, and had no connection with succeeding volumes. He went to Asia Minor in 1764-66 and later published The Antiquities of Iona, Vol. I, 1769, and Vol. II, 1797.

Stuart tells why and how he and Revett went to Athens and how they divided their labors on the book: THE ruined Edifices of Rome have for many years engaged the attention of those, who apply themselves to the study of Architecture.... Many representations of them ... have been But altho' the World is enriched with Collections of this sort already published, we thought it would be a Work not unacceptable to the lovers of Architecture, if we added to those Collections, some Examples drawn from the Antiquities of Greece. [I, (i)]

We were then at Rome, where we had already employed 6 or 7 years in the study of Painting, and there it was that towards the end of the year 1748, I first drew up a brief account, of our motives for undertaking this Work, of the form we proposed to give it, and of the subjects of which we then hoped to compose it. [I, v]

We did not set out from Rome till the month of March 1750.... On the 19 January, 1751, we embarked on board an English Ship [from Venice]. . . . We arrived safely on March 1l, N.S. at Corinth . . . and on the 17 at night anchored in the Pireus. [I, vi-vii]

The Architectural Prints compose, I imagine, the most useful and inter\-esting part of this Work; and at the same time, that, which I apprehend is least liable to censure: for our joint endeavours were here diligently employed, and my Friend Mr. Revett wholly confined his attention to this part. [I, vii]

The Antiquities of Athens must have one of the longest publishing histories on record, with its first planning in 1748, its first volume appearing in 1762, and its fifth, and last (though it was earlier thought the fourth would be the last), not being issued until 1830. There was a second edition of Vols. I-III between 1825 and 1830 and a third edition of these three volumes in 1841. The editor of Vol. IV says: It has been the singular fate of this work that only the first volume was published by the author, and that each succeeding one has been ushered into the world by a different editor. The first appeared in the second bears 1787 on the title page, but was not published till after Stuart's death, which happened in February, when the arrangements were completed by Mr. Newton; and in Mr. Revely appears as the editor of the third. After a further interval of twenty years, the papers put into my hands by Mr. Taylor, enable me to offer to the public the fourth and last volume. [IV, (i) ]

The appearance of Vol. I caused what was called "Grecian gusto" to reign supreme. In spite of Le Roy (No. 73), who did not visit Athens until 1754 after Stuart and Revett had finished there, but who published Les ruines in 1758, and in spite of Dalton's inaccurate views of Athens of 1749, Stuart and Revett "may fairly claim to have been pioneers of classical archaeology" and their work to have been "the commencement of the serious study of Classical art and antiquities"(DNB).Nor can one underestimate the importance of their plates detailing the various buildings discussed (see Plates CXXXI and CXXXII), especially those dealing with the columns of the Parthenon and Theseum (see Plate CXXXIII; compare with Plate XCI), for they seem to have been the direct ancestors of the books treating of the Greek orders of many later authors, both in England and the United States.

Jefferson owned only the first volume of this work, which Kimball (p. 100) says came into his collections between 1785 and 1789, but he does not seem to have been much influenced by it. He later sold it to Congress.

Jefferson ordered the first four volumes, all that had been published before his death, for the University in the section on "Architecture" of the want list. There is no record, however, that the library acquired a set before 1828. The library's present set of all 5 volumes was the gift of G. Harris.

U.Va. M *NA280.S9.1762 Sowerby 4190

Vol. I. MANUEL / DU / MUSÉUM FRANÇAIS, / Avec une description analytique et raisonné de / chaque tableau, indiqué au trait par une gravure à l'eau forte, tous classés par

Écoles, et /par OEuvre des grands artistes. /PAR F. E. T. M. D. L. I. N.S /A PARIS,/ Chez Treuttel et Würtz, Libraires, / quai Voltaire, no. 2. / Et à Strasbourg, grand'rue, no. 15. / AN X.\-1802.

and

MANUEL / . . . /ÉCOLE ITALIENNE. / OEUVRE DU DOMINIQUIN / ET DE SPADA. / . . . / AN XI.-1802.
8vo. Title page (1 leaf); introduction (3 leaves); text, with 18 engraved plates inserted (34 leaves); half title for "

Seconde Livraison " (1 leaf); title page (1 leaf); text, with 20 engraved plates inserted (35 leaves).

Vol. II. MANUEL / . . . /ÉCOLE FLAMANDE. / OEUVRE DE RUBENS. / . . . / AN XI.-1803. and MANUEL / . . . /ÉCOLE ITALIENNE. OEUVRE DE RAPHAEL. / . . . / AN XII.-1803.
8vo. Half title for "

Troisième Livraison " (1 unnumbered p.); advertisement (1 unnumbered p.); title page (1 leaf); text, with 48 engraved plates inserted (64 leaves); half title for " Quatrième Livraison " (1 un\-numbered p. ); advertisement (1 unnumbered p.); title page (1 leaf); text, with 39 engraved plates inserted (74 leaves); errata (1 leaf).

Vol. III. MANtJEL / . . . / ÉCOLE FRANçAISE. / OEUVRE DE LEBRUN. / . . . / AN XII.-1804. and MANUEL / . . . /ÉCOLE FLAMANDE. / OEUVRE / DE VAN OSTADE,/DE GERARD DOW,/DE VAN DYK./A PARIS,/ Chez TREUTTEL et WÜRTZ, Libraires; /Et \à STRASBOURG, même adresse / AN XII.-1804.
8vo. Title page (1 leaf); text, with 34 engraved plates, of which 3 are folding, inserted (50 leaves); half title for "

Sixième Livraison " (1 leaf); title page (1 leaf); text, with 49 engraved plates inserted (67 leaves).

Vol. IV. MANUEL / . . . /ÉCOLE FRANÇAISE. /OEUVRE DE VERNET. / A PARIS / Chez TREUTTEL et WÜRTZ, Libraires, / rue de Lille, no. 703; / Et ` STRASBOURG, même Maison de Com\-merce. / AN XIII- - 1805. and MANUEL / . . . / ÉCOLE VÉNITIENNE. / OEUVRE DU TITIEN. / A PARIS / Chez TRUETTEL et WÜRTZ, Libraires, / rue de Lille, derrière les Théatins. / . . . / 1805 8vo. Half title for " Septième Livraison " (1 unnumbered p.) ; advertise- ment (1 unnumbered p.); title page (1 leaf); text ([1]-72); 29 engraved plates; half title for " Huitième Livraison " (1 unnumbered p.); advertisement (1 unnumbered p. ); title page (1 leaf ); text, with 25 engraved plates, of which 1 is folding, inserted (37 leaves).

Vol. V. MANUEL / . . . / ÉCOLE ITALIENNE. / OEUVRE DE PAUL VÉRONÉSE. / . . . / rue de Lille, no. 17, derrière les Théatins./ . . . / 1806. and MANUEL / . . . / ÈCOLE FRANÇAISE. / OEUVRE DE LESUER. / GALERIE D SAINT-BRUNO, / Exposée au Luxembourg; décrite et analysée par M. L. R. F. / . . . / 1808 8vo. Half title for " Neuvième Livraison " (1 unnumbered p. ); advertisement (1 unnumbered p.); title page (1 leaf); text, with 17 engraved plates, of which 1 is folding, inserted (37 leaves); prospectus (1 leaf); half title for " Galerie de Saint-Bruno " (1 unnumbered p.); advertisement (1 unnumbered p.); titlè page (1 leaf); text, with 26 engraved plates, of which 2 are folding, inserted (47 leaves).

François Emmanuel Toulongeon, vicomte de Toulongeon (1748-1812), had a military and political career although he cultivated the sciences, letters, and the arts. He became a member of the Institute des Sciences Morales et Politiques in 1797, and he left many literary works.

He gives his definition of beauty in his introduction in Vol. I: LA beauté dans les arts est ou naturelle ou de convention; celle-ci tient à la perfection du travail, à certaines règles établis et convenues, que l'étude a fait deriver de la nature corrigée et embellie; c'est ce qu'on appelle le Beau-idéal, qui souvent n'est pas à la portée du vulgaire, dont le mérite peut être perdu pour celui qui n'a pas appris à le connaître et à l'apprécier.... Les beautés naturelles sont l'imitation vraie de la nature; elles sont d'un effet sûr et général.

Sowerby notes that Jefferson purchased his copy of this work in 1805. This set was in four volumes, all that were published in 1805, but was later bound into three.

Jefferson made direct use of it in at least six instances during the compilation of his final catalogue of his collections of painting and sculpture, a catalogue in which he gave the location of each object at Monticello, and which is now at the University of Virginia. These instances were: [Parlor, middle tier.] 36. A Transfiguration. Copied from Raphael. Whole length figures of .I. On Canvas. The subject Matt. 17.1.-8. See 4. Manuel du Museum. Pl. 1. [See Plate CXXXIV]

[Parlor, lower tier.] 51. A Descent on Copper. The Christ is of about 10.I. Behind him is the virgin weeping. On each side angels. It is copied from Vandyke by Diepenbec. See Rubens management of the same subject. 3. Manuel du Museum. 483. [See Plate CXXXV]

[Dining room, upper tier.] 68. Diogenes in the market of Athens. Laertius in the life of this philosopher tells us that appearing in a public place in midday with a lanthorn in his hand he was asked by the crowd what he was doing? He answered he was seeking if he could find a man. This anecdote is the subject of this piece. It is a groupe [sic] of . figures, half lengths, of full size on canvas. Copied from Rubens. See 3. Manuel du Museum. 495. [See Plate CXXXVI]

[Dining room, upper tier.] 72. An Ascension of St. Paul into the third heaven. From Dominiquin. On canvas. The original is in the collection of the king of France. The principal figure is 22.I. The head is inspired. The Saint sees the heavens open and expands his arms towards the glorious light he sees. He is supported by angels. The groupe is no longer ascending, but in a state of rest to give him time to contemplate the scene. See 2 Manuel. 778. [See Plate CXXXVII]

[Dining room, upper tier.] 73. The holy family copied from Raphael on canvas. The figures are whole lengths. the Virgin & infant Jesus, Joseph, Elizabeth & the infant John & 2 angels. See the 4. Manuel du Museum Pl. 3. [See Plates CXXXVIII and CXXXIX]

[Dining room, upper tier.] 75. A Flagellation of Christ, a groupe of lo figures, the principal of which is 21.I. He is bound to a post, two soldiers whipping him with bundles of rods, and a third binding up another bundle. On the right are the Superintendants & Spectators. The subject Matt. 27.26. It is copied on wood from Devoes. See the same subject treated very similarly by Rubens. 3. Manuel du Musee. 501. [See Plate CXL]

As an example of the way Jefferson was influenced by the Manuel, compare item 72 above with Toulongeon's text for the Ascension of St. Paul : Ce tableau paraît avoir inspiré celui de l'assomption de la Vierge par le Poussin. Le Dominiquin avait pensé le premier qu'une scène qui se passe au troisième ciel doit être d'une couleur nette, brillante et point vaporeuse. La tête de St.-Paul est inspirée; il voit les cieux ouverts et tend les bras vers la lumière glorieuse qu'il aperçoit: il faut étudier le bel engencement de toutes les différentes parties de la figure de St.-Paul. La belle disposition des draperies; la manière savante dont les anges sont placés; le groupe ne monte plus; il est en repos pour donner au saint le loisir de contempler. Ce tableau est surtout remarquable par sa touche ferme et assurée; il n'y a pas un coup de pinceau qui ne soit de maître; rien n'est essayé; tout est posé en place, net, franc, arrèté. [I, 2d Pt., No. 778]

Jefferson's own set was sold to Congress. He ordered the work for the University in the section on "Gardening. Painting. Sculpture. Music" of the want list, and the library still has the set acquired on his order.

U.Va. M *N2030 T7.1802 Sowerby 4245

ELEMENTARY PRINCIPLES / OF / CARPENTRY: / A TREATISE / ON THE PRESSURE AND EQUILIBRIUM OF BEAMS AND TIMBER FRAMES; /THE RESISTANCE OF TIMBER; AND THE CONSTRUCTION OF / FLOORS, ROOFS, CENTRES, BRIDGES, &c. / WITH PRACTICAL RULES AND EXAMPLES. / TO WHICH IS ADDED, / AN ESSAY ON THE NATURE AND PROPERTIES OF TIMBER, / INCLUDING THE METHODS OF SEASONING, AND THE CAUSES AND PREVENTION OF DECAY, / WITH DESCRIPTIONS OF THE KINDS OF WOOD USED IN BUILDING. / ALSO, / NUMEROUS TABLES / OF THE SCANTLINGS OF TIMBER FOR DIFFERENT PURPOSES, THE SPECIFIC GRAVITIES OF MATERIALS, &c. / ILLUSTRATED BY TWENTY-TWO ENGRAVINGS. / BY THOMAS TREDGOLD.

/-While we give ourselves infinite trouble to pursue investigations relating to the motions and masses of / bodies which move at immeasurable distances from our planet, we have never thought of de- termining the forces / necessary to prevent the roofs of our houses from falling on our heads. EDIN. REV. vol. vi. p. 386. / LONDON: / PRINTED FOR J. TAYLOR, / AT THE ARCHITECTURAL LIBRARY, No. 59, HIGH HOLBORN. / 1820.

4to. Title page ( [iii] ) ; dedication ( [v] ) ; preface ( [vii]-xiv) ; table of contents ([xv]-xx); text ([1]-238); index ([239]-50); errata (1 leaf); 22 engraved plates.

The engraver was James Davis, about whom nothing is known.

Other than the evidence of this book, there is little known about Thomas Tredgold. The delineator for the twenty-two plates, he gives his reasons for publishing this treatise as follows: In the course of the last century several treatises on Carpentry have appeared; but in none of them is to be found any thing on the mechanical principles of the art, except it be a few rules for calculating the strength of timber; and these are founded upon erroneous views of the subject, and therefore are not to be relied upon. The greater part of the works on Carpentry are confined almost wholly to what is termed "finding the lines;" a branch of science to which the celebrated Monge gave the name of Descriptive Geometry: and in the works of Mr. P. Nicholson [Nos. 88, 89, and go], this part of Carpentry has been so ably handled, that little more seems to be required on the subject.

But the knowledge of practical and descriptive geometry is not the only part of science that a Carpenter ought to acquire; for when it is considered that the art of Carpentry is directed chiefly to the support of weight or pressure, it will be obvious that a considerable knowledge of the principles of mechanics is required to practise it with success. And it is not to carpenters alone that the study of the mechanical principles of Carpentry should be confined; for in the modern practice of building, it forms one of the most important departments of the science of construction; and a knowledge of construction is so essential to the art of design, in Architecture, that it is difficult to believe how much it has been neglected, and how little it is esteemed by the students of that profession. [P. vii]

As the mechanical principles of Carpentry have never been published in a separate form, I have attempted in the following pages, to supply that defect. [P. viii]

The Elementary Principles of Carpentry being a title which includes all that is essential to the art, it therefore embraces a wider range than I have attempted to fill; and to avoid promising more in a title than is performed in the work, I have omitted the definite article, and made it ELEMENTARY PRINCIPLES OF CARPENTRY.

Lord Kames made a like limitation to his Elements of Criticism, which of course suggested this. [P. x]

The Elements is divided into ten sections-nature and laws of pressure; results of experiments; construction of floors; roofs; domes; partitions; centers for bridges; wooden bridges; construction of joints and straps; nature and properties of timber.

The book was ordered by Jefferson for the University in the section on "Technical Arts" of the want list, but there is no record that it was received during his lifetime. A recently acquired copy has now entered the library's collections, the gift of the Thomas Jefferson Memorial Foundation.

U. Va. *TH5604.T8.1820

Return to Part 4: P-R
Continue to Part 6: V-Z