Descriptive Catalogue Part 2: D-K

VITE / DE' PITTORI ANTICHI / SCRITTE ED ILLUSTRATE / DA CARLO DATI / NELL' ACCADEMIA DELLA CRUSCA / LO SMARRITO. /

Colle postille della prima edizione e con quelle che scritte /in margine dello stesso Autore furono publicate /nella seconda. / MILANO / Dalla Società Tipografica DE' CLASSICI ITALIANI, / contrada di s. Margherita, No. 1118. / ANNO 1806.
8vo. Engraved portrait of Dati (1 leaf); title page ([1]); note on the author ([3]-15); dedication (16-18); note to the reader (19-25); text (27-294); index ( 1 unnumbered p. ); errata ( 1 unnumbered p. ) .

Carlo Roberto Dati (1619-76) was born in Florence. He was an author, a philosopher, a scientist, and a disciple of Galileo. From 1663 he was secretary of the Academia della Crusca. His numerous linguistic and scientific writings, as well as the Vite for which he is perhaps best known, were praised for both style and language. The Vite was first issued in 1667 at Florence. The book is a com- pilation of the lives of the painters of antiquity, such as Apelles, Par- rhasius, and Zeuxis.

It was in the University library before Jefferson made up his want list. Although it appeared in the Kean catalogue, it was more fully iden- tified in the 1828 Catalogue . That copy has not survived, but a duplicate has been acquired recently, the gift of the Thomas Jefferson Memorial Foundation.

U. Va. *ND110.D3.1806

NOVVELLES / INVENTIONS / POVR BIEN BASTIR ET / A PETITS FRAIZ, TROVVEES / N'AGVERES PAR PHILIBERT DE / L'orme Lyonnois, Architecte, Con-/seiller & Aumosnier ordinaire / du feu Roy HENRY, / & Abbé de S. Eloy / les Noyon.

/ A PARIS, / De l'Imprimerie de Hierosme de Marnef, & / Guillaume Cauellat, au mont S. Hilaire / l'enseigne du Pelican. / 1576.

Folio. Title page (1 leaf); dedication (2 leaves); letter to reader (3 un-numbered pp.); poem (1 unnumbered p.); text (1-94); table of con- tents (2 leaves); colophon (1 leaf). Full-page woodcuts appear on pp. 12, 18, 26, 30, 32, 35, 42, 44, 50, 52, 55, 57, 66, 69, 72, 78, 83, and 85, and numerous woodcut figures appear in the text.

Philibert Delorme, or de l'Orme (ca.1510-70) was born at Lyons, the son of a master workman, Jehan de l'Orme, who taught him the arts of building. He then studied in Italy and returned to France under the patronage of Cardinal du Bellay. In 1545 he was maistre architect et conducteur général des bastiments et édifices, ourrages, et fortifications in Brittany, under royal appointment. By 1548 he was at Fontainbleau under Henri II, but he lost his appointments in 1559. A French judgment of Delorme calls him un des plus grands maitres en l'art de bâtir, non seulement de France, mais du monde entire

The first edition of this work was in 1561, and the dedication in the 1576 edition is still dated September 8, 1561 (see Plate XXII). The book is primarily a study of timber and timber framing, especially for large, and often barrel-vault-shaped, roofs. It first examines the best kinds of wood and then progresses into the uses of wood in framing. Delorme's other book, Le premier tome de l'architecture, 1567, is an entirely differ- ent text.

On the back of the drawing of the framing plan of the dome of the Rotunda for the University of Virginia (see Plate XXIII), Jefferson noted "on the top of the wall lay a curbed plate, in Delorme's manner, consisting of 4. thicknesses of 3.i. each. 22.i. wide, pieces 12.f. long, breaking joints every 3.f. bolted through with bolts of iron having a nut & screw at their end. On this curved plate the ribs of the roof are to rest." He also specifies on the same drawing that "the ribs are to be 4. thick- nesses of 1.i. plank, in pieces 4.f. long, breaking joints at every foot." There are several illustrations in Delorme showing similar constructions (pp. 12, 18, 32, 35, and 42), but the illustration on page 14 shows a rib made up of short pieces of wood such as Jefferson specified (see Plate XXIV ) .

The book was ordered for the University in the section on "Archi- tecture" of the want list but was not received during Jefferson's lifetime, although he wrote General Joseph Smith, June 21, 1825: I was much indebted to you for the kind loan of De Lorme's Architecture. It is now packed up in readiness to be returned. It is one of those of the Catalogue given to Mr. Hilliard, and which he would probably be very willing to take at a reasonable price (U. Va. Library).

Jefferson sold his own copy to Congress. Kimball (p. 90) says it was acquired between 1785 and 1789. A duplicate has only recently en- tered the library's collections, the gift of the Thomas Jefferson Memorial Foundation.

U.Va. M *NA2517.D4.1576 Sowerby 4183

LES / ÉDIFICES ANTIQUES / DE ROME, / MESURES ET DESSINÉS TRES-EXACTEMENT / SUR LES LIEUX / PAR FEU M. DESGODETZ, / ARCHITECTE DU ROI. / NOUVELLE ÉDITION.

/ A PARIS, RUE DAUPHINE, / Chez Claude-Antoine JOMBERT, File aîné, / Libraire du ROI pour le Génie & l'Artillerie. / DE L'IMPRIMERIE DE MONSIEUR. / M.DCC.LXXIX. / AVEC APPROBATION, ET PRIVILEGE DU ROI.

Folio. Engraved title page (1 leaf); title page ([I]); dedication ([iii]-iv); note on new edition ([v]-viii); preface of original edition ([ix]-xi); table of chapters (1 unnumbered p. ); text (1-140); 137 engraved plates, of which 21 are folding.

The plates were drawn by Desgodetz. The engravers were Nicolas Bonnart (1646-1718), the brother of two painters and the father of a second Nicolas who was both a painter and an engraver; J. B. Brebes (fl.1682), French; De la Boissier; Louis, or Ludwig, de Chastillon, or Chatillon, Chaillon, or Chaillot (1639-1734), French, a painter and engraver; Nicolas Guerard (1648-1719), French, who had a son Nicolas, also an engraver; Sébastien Le Clerc (No. 69); Jean Le Pautre (1618-82), who began life as a carpenter, executed plans and ornaments, and went on to become famous as an engraver; Pierre Le Pautre (1660-1744), son of Jean Le Pautre, both a sculptor and an engraver and holder of the Prix de Rome; le Potre (a misspelling for Le Pautre?); A. D. Marotte; and Jean Jacques Tournier (1604-ca.1670), or perhaps Georges Tournier (fl.1650-84), although some say they were the same person.

The engraved title in this edition (see Plate XXV) is the same as that for the 1682 edition, except that the date has been removed and inserted. The other plates are restrikes of those in the 1682 edition.

Antoine Babuty Desgodetz (1653-1728), born in Paris, was educated at the Académie and, in 1674, became a pensionnaire du roi at the French academy in Rome. On his return to France he became contrôleur des bâtiments de Chambord, 1680; contrôleur des monuments de Paris, 1694; and a professor at the Académie, 1707.

His eighteenth-century editor gives a good account of Desgodetz and the reasons for reissuing his book:

Antoine Desgodetz naquit à Paris en Novembre 1653, & s'adonna, dès ses premières annél'étude de l'Architecture, pour laquelle il avoit un goût décidé. Il se livra à cet Art avec tant d'ardeur, qu'à l'âge de dix-neuf ans (1672) il obtint la permission d'être présent aux conférences de l'Académie. Deux ans après (1674), M. Colbert l'envoya en Italie pour l'exécution du projet dont nous venons de parler. De retour dans sa patrie (1677), il rassembla tous les dessins qu'il avoit faits de ces somptueux Edifices, dont les vestiges ont encore aujourd'hui tant d'admirateurs. Il ajouta une description historique & critique sur chacun de ces objets, & en fit un recueil qu'il publia (1682) à Paris en un volume in-folio sous ce titre, Les Edifices antiques de Rome , &c:, &c c'est ce même Ouvrage dont nous donnons aujourd'hui une Edition nouvelle. [P. vi]

Lorsque M. Desgodetz revint à Paris, il rendit compte de ses travaux à M. Colbert, qui en fut se satisfait qu'il chargea de choisir les meilleurs Graveurs en Architecture, pour faire exécuter ses dessins aux dépens de Sa Majesté: il ordonna que rein ne fût épargne pour rendre cet Ouvrage digne de la grandeur & de la magnificence de Louis XIV. Ce Monarque fit présent de l'Edition à l'Auteur, laquelle, à la vérité, fut tirée à petit nombre & bientôt épuisée. Après la mort de M. Desgodetz, ces Planches sont passée dans les mains d'un de ses neveux, qui n'a point voulu qu'elles vissent le jour tant qu'il a vécu. Depuis nombre d'années, ce Livre infiniment recherch&eavcute; étoit devenu d'un prix excessif; . . . Des héritiers plus traitables viennent heureusement de consentir à les céder; ce sont ces mêmes Planches que l'on s'empresse d'offrir aux Curieux instruits, avec le texte de l'Auteur, que l'on redonne sans aucun changement. [Pp. (v)-vi]

Desgodetz himself says

Je ne doute point que mon entreprise ne paroisse bien téméraire, de vouloir traiter un sujet sur lequel les plus savans Architectes ont déja travaillé, & qu'ils semblent avoir entièrement épuisé: je ne le fais aussi qu'avec beaucoup de répugnance, ayant de la peine à me persuader qu'il se puisse rien ajouter aux Ouvrages excellens que Palladio [No. 91], Serlio [No. 113] & Labacco nous ont laissés des Edifices anciens, & à ce que M. de Chambray en a remarqué dans son Parallèle de l'Architecture antique avec la moderne [No.46].

Ma premiere intention a donc été, lorsque j'ai entrepris de mesurer avec précision les Antiquités de Rome, de savoir lequel de ces Auteurs qui sont en réputation devoit être suivi, comme ayant donné les véritables mesures. Mais lorsqu'étant sur les lieux j'ai employé tout le soin nécessaire pour être éclairci sur ce doute, j'ai été bien surpris de trouver un autre éclaircissement que je ne cherchois pas, qui a été de voir que ceux qui ont mesuré jusqu'à présent les Edifices antiques, ne l'ont pas fait avec précision; & qu'il n'y a aucun de tous les dessins que nous en avons, où il ne se trouve des fautes très-considérables. [P. ix]

Ayant communiqué ces dessins à Messieurs de l'Académie Royale d'Architecture, lorsque j'ai été de retour, & à quelques autres personnes intelligentes pour les examiner, ils m'ont témoigné de les approuver assez pour me donner la confiance de les présenter a Monseigneur Colbert, qui m'ordonna de les mettre en état d'être gravés par les plus habiles de ceux qui gravent l'Architecture pour le Roi, & d'être imprimés; voulant que le tout fût fait aux dépens de Sa Majesté, afin que rien ne manquât de sa part à la perfection de cet Ouvrage. [p. x]

Mais je n'ai pas cru que pour éviter le reproche d'une vaine ostentation d'exactitude, je dusse m'absentir d'exposer les choses telles que je les ai trouvées, puisque cette exactitude est la seule chose dont il s'agit ici. [p. xi]

The accuracy of Desgodetz's measurements, the brilliance of his drawings, and the beauty of the engraved plates have made this a most respected and desired book.

Of the twenty-five buildings dealt with, at least six may be traced as influences in Jefferson's work. The orders of four, the Pantheon, the baths of Diocletian, the theater of Marcellus, and the temple of Fortuna Virilis, were used as models for buildings at the University of Virginia, though at the time the University was built Jefferson no longer owned Desgodetz and went to Palladio (No. 92b) and Fréart de Chambray (No. 46) for details. Desgodetz devotes no less than twenty-three plates to the Pantheon and describes very elaborately and carefully the frieze ornaments for the temple of Fortuna Virilis.

Jefferson had also used Desgodetz earlier to derive the frieze ornaments for the entrance hall, the parlor, and his own bedroom at Monticello. Note: p91.1 That for his bedroom was taken from the fourth plate for the temple of Fortuna Virilis (see Plates XXVI and XXVII) and that for the entrance hall from the fourth plate for the temple of Antonin and Faustina (see Plates XXVIII and XXIX). The frieze in the parlor is taken from the temple of Jupiter the Thunderer (see Plates XXX and XXXI). Only a portion of the entablature of the last temple remained, but as the plates show, Jefferson faithfully copied Desgodetz's rendering, and Desgodetz's description of the temple applies equally to the frieze at Monticello: Du Temple de Jupiter tonnant.... Dans la frize, les têtes de boeuf ne répondent pas au droit du milieu des colonnes; & les instrumens des sacrifices sont semés sans ordre & sans symétrie. On ne peut savoir ce qui étoit à l'angle de la frise, parce qu'il est ruiné (p.. 59).

Sowerby points out that Jefferson's copy was ordered on July 20, 1791. It was the Jombert edition that Jefferson owned and later sold to Congress. It was also this edition which he ordered for the University in the section on "Architecture" of the want list. A copy was at the University before the 1828 Catalogue was compiled, but it is listed there as "1729" presumably a misreading of the Roman numerals. That copy has not survived, but a duplicate, the gift of the Thomas Jefferson Memorial Foundation, has replaced it.

U.Va. M *NA311.D4.1779 Sowerby 4198

THE / THEORY and PRACTICE / OF / GARDENING: / Wherein is fully handled / All that relates to Fine GARDENS, / COMMONLY CALLED / PLEASURE-GARDENS, / Consisting of / PARTERRES, GROVES, BOWLING-GREENS, Sc. / CONTAINING / Several PLANS, and general DISPOSITIONS of GARDENS, New Designs / of Parterres, Groves, Grass-plots, Mazes, Banqueting-Rooms, Galleries, / Portico's, and Summer-houses of Arbour-work, Terrasses, Stairs, Fountains,/ Cascades, and other Ornaments of use in the Decoration and Embelish-/ ment of Gardens. / WITH / The Manner of making the GROUND, forming DESIGNS suitable to the Place, / and putting them in Execution, according to the Principles of Geometry. / The Method of Setting and Raising in little time, all the PLANTS requisite in fine GARDENS: / Also the Way to find WATER, to convey it into Gardens, and to make Basons and Fountains / for the same. / Together with REMARKS and GENERAL RULES in all that concerns the ART of / GARDENING. / By Le Sieur ALEXANDER LE BLOND. / Done from the late Edition printed at Paris, / By JOHN JAMES of Greenwich. / The Second Edition. / With very large ADDITIONS, and a new TREATISE of FLOWERS / and ORANGE- TREES. / LONDON: / Printed for BERNARD LINTOT, at the Cross-Keys, between the / Temple-Gates, in Fleet-street. 1728.

4to. Title page in two colors ([I]); table of contents (ii-vii, with ii-iv missing, and v-vi partially torn away); advice to the binder and errata (1 unnumbered p.); text (1-297); index (6 leaves); 24 engravings (of a total of 38; 14 have been cut or torn out), all folding.

The engraver signs himself "Ver. Gucht." He might have been Michael van der Gucht (1660-1725) or either of his sons, Gerard (1697-1776) or Jan, or John (1697-1776), both of whom trained with their father. Jan became a friend of Hogarth (No. 56).

As a French work, Théorie et practique du jardinage , this book was first published in 1709 under the initials L. S. A. J. D. A., for Le Sieur A. J. Desallier d'Argentville. The second edition (1713) and third edition (1722) came out under the name of Alexander Le Blond, who had done some drawings for it. His name was retained, even in translation, until 1747, when, as Sowerby points out, Dezallier d'Argentville brought out an edition under his own name and explained the earlier confusions.

Antoine Joseph Dezallier d'Argentville (1680-1765) was born in Paris. He studied with B. Picart, de Piles, and Le Blond and also studied natural history. He published, in addition to the Théorie , an Histoire naturelle , 1742, the three-volume Abrégé de la vie des plus fameux peintres , 1745-52, and Ennumerationis fossilium , 1751.

John James (d.1742) worked under Wren, Vanbrugh, Campbell, and Ripley. He was clerk of the works at Greenwich Hospital, 1705; master carpenter at St. Paul's Cathedral, 1711; surveyor of Westminster Abbey, 1725; Master of the Carpenter's Company, 1724; and, it is thought, surveyor of His Majesty's works, 1736. He was especially active in the field of architectural publishing and translation. In addition to the Theory, whose first edition in English was before 1712, he published a translation from the Italian of Pozzo's Rules and Examples of Perspective , 1707; a translation from the French of Claude Perrault's A Treatise of the Five Orders of Columns in Architecture , 1708 (see No. 96a); and A Short Review of the Several Pamphlets and Schemes That Have Been Offered to the Publick in Relation to the Building of a Bridge at Westminster , 1736.

Jean Baptiste Alexander Le Blond (1679-1719) was a French architect especially interested in gardens.

The book is: divided into four Parts, which contain, in all, twenty two Chapters.

IN the first Part is taught all the Theory of Gardening, it being necessary, as every one knows, to learn the Theory before the Practice....

THE second Part teaches the Practice of Gardening....

THE third Part contains the Manner of planting and raising in little time, the Plants and Flowers proper for Pleasure-Gardens.

THE fourth and last Part shews the Method of searching out Water, conveying it into Gardens, and of making Basons, Fountains, and Cascades.

It does not conceal the fact that wealth is needed in order to have a handsome garden, it is full of good advice, and it is most interesting on the relations between the architect and the client, relations which apparently have not changed much over the centuries:

SUPPOSING, then, that a private Person, wealthy, and curious in the Art of Gardening, would be at the necessary Expence of planting a handsome Garden, I lead him, step by step, from the Choice he ought to make of a good Soil, to the Execution and highest Perfection of his Garden, instructing him in whatever he ought to know, that he be not impos'd upon by the Countrymen and Artificers he shall have occasion to employ. [P. 4]

THE first Thing, and the most essential to be observed is chusing a Place to plant a Garden in, is the Situation and Exposition of the Ground. [P. 7]

To make a complete Disposition and Distribution of a general Plan, respect must be had to the Situation of the Ground: For the greatest Skill in the right ordering of a Garden, is, thoroughly to understand, and consider the natural Advantages and Defects of the Place; to make use of the one, and to redress the other: Situations differing in every Garden....

Tis, therefore, the great Business of an Architect, or Designer of Gardens, when he would contrive a handsome Plan, with his utmost Art and good OEconomy to improve the natural Advantages, and to redress the Imperfections, Bevellings, and Inequalities of the Ground. With these Precautions he should guide and restrain the Impetuosity of his Genius, never swerving from Reason, but constantly submitting, and conforming himself to that which suits best with the natural Situation of the Place.

AN Architect has sometimes great cause to complain, that he is oblig'd to subject his Genius and good Taste to the wrong Notions of the Gentlemen he has to do with, who are often so fond of their own Opinions, as to spoil many good Designs. This, without Enquiry into the Cause, is by Criticks generally, though unjustly, thrown upon the Architect, unless he may be said to have deserv'd it for his blind Complaisance. [P. 15]

The design of gardens in 1709 was still primarily worked out "according to the Principles of Geometry," as the title page says, an approach which may be seen in the book's discussion of parterres:

THE Name of Parterre has its Original from the Latin Word Partiri, to divide; and according to some, a Parterre denotes a flat and even Surface.

THE Compartiments and Borders of Parterres are taken from Geometrical Figures, as well rightlined, as circular, mix'd, &c. [P. 39]

PARTERRES of Embroidery are so called, because the Box wherewith they are planted, imitates Embroidery upon the Ground. These are the finest and most magnificent of all, and are sometimes accompanied with Knots and Scrolls of Grass-work. Their Bottom should be sanded, the better to distinguish the Foliage and Flourish'd-work of the Embroidery, which is usually filled with Smiths-Dust, or black Earth. [P. 41]

The book does not seem to have had an influence on Jefferson, since there is almost no evidence that he used this formal kind of garden design. The library's present copy duplicates the one Jefferson sold to Congress. He did not order it for the University.

M *SB461.D48 Sowerby 4226

ALEXANDRI DONATI / E SOCIETATE JESU / ROMA / VETUS AC RECENS / Utriusque AEdificiis / ILLUSTRATA. / In multis locis aucta, castigatior reditta, indice locupletissimo, / & Figuris AEneis illustrata. / EDITIO ULTIBIA. / AMSTELAEDAMI, / Prostant apud JANSSONIO-WAESBERGIOS / & JOANNEM WOLTERS. 1695. / Cum Privilegio.

4to. Engraved frontispiece (1 leaf); two-color title page (1 leaf); dedication (2 leaves); note to reader (1 unnumbered p.); index of chapters, with notes to binders and note of privilege, each 1 leaf, misbound within index (3 unnumbered pp.); text, with go engravings, of which 3 are folding maps (1-356); poetic quotations (1 unnumbered p.); indexes (19 unnumbered pp. ) . Alessandro Donati (1584-1640) was an Italian professor and antiquary.

The first edition of this book was in 1633. It gives a description of ancient Roman buildings with many quotations from ancient authors. The engraved plates, all unsigned, show the buildings both in their seventeenth-century condition and in the author's restorations, with some illustrations from coins. The frontispiece is an allegory of Rome, pagan and Christian (see Plate XXXII).

Jefferson's own copy, acquired about 1778 according to Kimball (p. 93), was sold to Congress. He ordered the book for the University in the section on &ldquo"Architecture"&rdquo of the want list, but there is no record of its having been received before his death. The library's present copy is a recent acquisition, the gift of the Thomas Jefferson Memorial Foundation.

U.Va. M *DG63.D67.1695 Sowerby 4195

Vol. I. THE / HANDMAID / TO THE / ARTS, / VOL. THE FIRST. / TEACHING /

/ LONDON: / Printed for J. NOURSE, Bookseller in Ordinary to his / MAJESTY. / MDCCLXIV.

8vo. Title page ([I]); dedication ([iii-iv]); preface ([v]-xxvii); table of contents (9 unnumbered pp.); text ([1]-522); index (10 leaves).

Vol. II. THE / HANDMAID / TO THE / ARTS, / VOL. THE SECOND. / TEACHING, / I. The preparation of inks, cements, and sealing-wax, of every kind. II. The art of engraving, etching, and scraping mezzotintos; with the preparation of the aqua fortis, varnishes, or other grounds, &c. in the best manner now practised by the French; as also the best manner of printing copper-plates; an improved method of producing washed prints, and of printing in chiaro obscuro, and with colours, in the way practised by Mr. Le Blon. III. The nature, composition, and preparation of glass of every sort; as also the various methods of counterfeiting gems of all kinds, by coloured glass, pastes, doublets, or the use of foils. IV. The nature and composition of porcelain, as well according to the methods practised in China, as in the several European manufactories; with the best manner of burning, glazing, painting, and gilding the ware. V. Preparation of transparent and coloured glazings, for stone or earthen-ware. VI. The manner of preparing and moulding papier mache, and whole paper, for the forming boxes, frames, festoons, &c. and of varnishing, painting, and gilding the pieces of each kind; with the method of making the light Japan-ware. To which is added an APPENDIX; / CONTAINING / Several supplemental articles belonging, in some manner, to / heads before treated of, either in this or the first volume; / particularly, the method of marbling paper, of taking off / paintings from old and transferring them to new cloths; of / weaving tapestry, both by the high and low warp; and of / manufacturing paper hangings of every kind. / The SECOND EDI- TION,

8vo. Title page ([I]); preface ([iii]-xiv); table of contents (7 leaves); text ([1]-409); half title for appendix ([411]); appendix (4]342); index ( 5 leaves ) .

Robert Dossie (d. 1777) was English, some say an apothecary.

The first edition of his book is given as 1758. It is essentially a how- to-do-it book, and its title pages indicate the fields it investigates (see Plate XXXIII). Dossie notes the camera obscura, a device used by Jef- ferson whose own camera obscura still exists at Monticello, as follows: "In the drawing after nature . . . some reflected image is obtained by means of a camera obscura, which affords an opportunity both of draw- ing the figure, and imitating the natural colour of the objects" (I, 386) . And again: "The second method used to facilitate the drawing after nature, to wit, by the reflected image of the object, is performed by the camera obscura, of which a portable kind adapted to this purpose is com- monly made by the opticians. It is needless, therefore, to give any de- scription of these instruments" (I, 394).

Sowerby points out that Jefferson's own set, later sold to Congress, was entered in his undated manuscript catalogue as having cost "9/6." He ordered the same edition for the University in the section on "Technical Arts" of the want list, and the library still owns the set acquired on is order.
U. Va. M *TPl44.D72.l764 Sowerby 1094

. RECUEIL ET PARALLÈLE / DES É:DIFICES DE TOUT GENRE, ANCIENS ET MODERNES, / REMARQUABLES PAR LEUR BEAUTÉ, PAR LEUR GRANDEUR OU PAR LEUR SINGULARITÉ, ET DESSINÉS SUR UNE MÊME ÉCHELLE. / Par J. N. L. DURAND, Architecte et Professeur d'Architecture à l'Ecole Poly-technique.

Il importe extrêmement aux Architectes, aux Ingénieurs civils et militaires, aux / Peintres d'histoire et de paysage, aux Sculpteurs, aux Dessinateurs, aux Décorateurs / de téêtres, en un mot, à tous ceux qui doivent construire ou représenter des édi-/fices et des monumens, d'é tudier et de connoître tout ce qu'on a fait de plus / inté ressant en architecture dans les pays et dans tous les siècles. /

Mais les édifices qui méritent quelque considération se trouvent confondus avec une / foule d'autres qui ne sont remarquables en rien; il sont de plus dispersés dans près de / trois cents volumes, la plupart infolio, dont la collection monteroit à un prix / énorme; et il est impossible aux artistes de s'en procurer la connoissance entière, / par une autre voie que celle des bibliothèques. /

Ce moyen-là même exige un tems infini, et n'est d'ailleurs practicable que pour les artistes / qui habitent les grandes villes. De plus, quand ils seroient tous à portée d'en faire usa-/ge; peut-être que les avantages qu'il leur procureroit ne les dédommageroit que foi-/blement de leurs peines. En voici la raison: souvent un volume n'est composé que d'objets / de différent genres; tandi que ceux qui sont du même genre se trouvent disséminés / dans un grand nombre de voulmes. Or on sent combien, dans ce cas-là, les comparaisons, / qui, seules peuvent amener à juger et à raisonner, doivent être longues, pénibles, impar-/faites et peu fructueuses. La différence des échelles ajoute encore à ces inconvéniens.

Dans cet état de chose, j'ai pensé que si détachant des trois cents volumes dont je / viens de parler, les seuls objets qui sont essentiels à connoître, je les rassemblois dans un / seul volume d'un prix tout au plus égal à celui d'un ouvrage ordinaire d'architecture; / ce seroit offrir aux artistes un tableau qu'ils pourroient parcourir en peu de tems, examiner sans peine, étudier a-/vec fruit; surtout, si classois les édifices et les monumens par genres; si je les / rapprochois selon leur degré d'analogie; si je les assuietissois en outre à une même / échelle: et c'est ce que j'ai entrepris de faire. Pour arriver plus sûrement à ce but, j'ai / rejeté de ce recueil, nonseulement tous les objets qui n'offroient aucun intérêt en eux-/mêmes, mais encore ceux qui ressemblant plus ou moins à d'autres morceaux d'un / intÉrêt majeur n'auroient fait que grosser le volume, sans augmenter la masse des idées.-/

Peutre-être, trouvera-t-on dans ce recueil, quelques édifices qui paroîtront peu / intéressans; mais comme ce sont presque les seuls de ce genre qui existent, j'ai / cru devoir les y placer afin d'appeler l'attention sur ce genre d'architecture. /

On y trouvera aussi des restaurations peu authentiques, telles que celles des / thermes par Palladio, et de plusiers édifices de l'ancienne Rome par Piranèse, / Pirro Ligorio &c.; mais je n'ai pas voulu priver les architectes des beaux / partis que ces restaurations présentent, et dont il peuvent faire de fréquentes / et d'heureuses applications. /

Je me suis même permis, non-seulement de les simplifier, mais encore d'en / offrir qui sont presque entierement de ma facon, j'espé qu'on me pardonnera / d'avoir osé me ranger à côté de ces grands maitres; pour peu que l'on fasse / attention que loin d'avoir voulu les corriger, je ne me suis attaché qu'à manifester d'u-/ne mannière plus évidente, l'esprit qui règne dans leur magnifiques productions. /

Cet ouvrage composÉ de quatre-vingt-douze planches se trouve à l'Ecole Polytechnique, chez l'Auteur. Prix 180 francs. / Les artistes pourront le prendre par cahier. Chaque cahier est de six feuilles. Prix 12 francs. / PARIS,AN IX [1800].

Folio. Engraved double title page; engraved double index plate; plates l-90, all double engravings.

The engravers were Louis-Pierre Baltard (1764-1846), architect, engraver, and painter who trained, partially, in Rome after 1786; Coquet, an early nineteenth-century French engraver; J. J. De la Porte, French; Antoine-Joseph Gaitte (1753-ca.l835), French engraver, principally of monuments; Lepagellet, or Lepagelet, or le Pagelet, French, working in Paris; Charles Pierre Joseph Normand (1765-1840), Prix de Rome, 1792, an architect and engraver and a member of the Académie des Beaux-Arts; Pierre Nicolas Ransonnette (1745-1810), student of Choffard, dessinateur et graveur de Monsieur, frère du roi, and a painter as well as an engraver ( see also No. 64); and Jean-Baptiste Réville (1767-1825), a student of Berthault.

Jean-Nicolas-Louis Durand (1760-1834) was the son of Nicolas Durand (1739-1830), who was the architecte de la Province de Champagne and the architecte des Dames de France. Jean-Nicolas-Louis studied with Boulée and at the École des Beaux-Arts, eventually holding a professorship at the école Polytechnique from 1795 to 1830. In addition to Recueil

he also issued his Précis des leçons d'architecture

1801-5.

The only "text" in the Recueil is that on the title page. The plates show historic building types drawn to the same scale for comparative purposes. Both the drawing and the restorations are very neoclassic.

The date on the title page reads "An IX," which the compiler of the University's 1828 Catalogue

took to mean 1801 instead of 1800. A1though it was in the University's collection by 1828 as a result of Jefferson's order in the section on "Architecture" of the want list, it did not survive. The library's present copy is a recently acquired duplicate, the gift of the Thomas Jefferson Memorial Foundation.

U. Va. *NA.202.D8.1800

Encyclopédie méthodique, ou par ordre de matieres, par une SocietÉ de Gens de Lettres. Paris, 1782-1832.
Not now owned by the University, except for some volumes outside the fine arts and a microfilm copy of the volumes on

Musique.

Not completed until 1832, this encyclopedia was eventually to reach 102 numbers, or 337 parts, comprising l66-l/2 volumes of quarto text and 51 parts of illustrations with a total of 6,439 plates. Jefferson's own set, which he sold to Congress, contained l36-l/2 volumes.

In 1828 the library had 162 of the volumes, probably all that had been issued to that date. Of these, only the volumes concerning mathematics are now in the collections, but these alone are enough to confirm that the dating of the set in the printed Catalogue

is wrong. The beginning date of 1787 given there is almost certainly a misprint for 1782, when the printing of the encyclopedia actually began.

Jefferson, presumably to distinguish the set from the alphabetically arranged work of Diderot and D'Alembert, referred to it under the name of its first publisher, Panckoucke. Since the present listing concerns the fine arts, the following sections are relevant, and indeed, as Brunet pointed out long ago, the volumes on the different subject matters have for more than a century usually been sold separately: Antiquités et mythologie

. 10 parts in 5 vols., plus 2 vols. of 380 plates. Architecture.

3 vols. Art aratoire et jardinage

. 1 vol. and 54 plates. Arts et métiers

. 16 parts in 8 vols., and 1,509 plates. Beaux-arts.

2 parts in 4 vols., and 1 vol. of 115 plates. Musique.

3 parts in 2 vols., with 188 plates.

U.Va. M Sowerby 4889

MEMOIRE / SUR LA DÉCOUVERTE / D'UN CIMENT / IM-PÉNÉTRABLE A L'EAU; /ET SUR L'APPLICATION DE CE MÊME CIMENT/ A UNE TERRASSE DE LA MAISON DE L'AUTEUR.

/Par M. D'Etienne, Chevalier de l'Ordre Royal, / & Militaire de S. Louis, Bc. Sc. / PRIX, TROIS LIVRES. / A PARIS, / De l'Imprimerie de PH.-D. PIERRES, Imprimeur Ordinaire du Roi. / Et se vend chez L'Auteur, rue de Mesnil-montant, près le Boulevard du Temple. / M. DCC. LXXXII.

Small 4to. Title page (1 leaf); dedication (1 leaf); text ([1]-19); engraved headpiece; 1 woodcut tailpiece.

Jean d'Etienne (1725-98) was a French engineer and mathematician. The cement is, as the title of the book states, impénétrable a l'eau. Etienne gives its composition and the preparation of the floor to receive it. The book is a paperbound pamphlet.

Sowerby described the book as the first edition, a quarto of fourteen leaves. Jefferson acquired his copy between 1785 and 1789, according to Kimball (p. 93), and sold it to Congress. This edition was printed by Philippe-Denys Pierres, who a few years later was to print Jefferson's Notes on Virginia.

Jefferson ordered the book for the University in the section on &dquo;Technical Arts&dquo; of the want list, but there is no record of its having been received by the library. It should be noted that Jefferson listed this book under &dquo;Architecture&dquo; in his catalogue of his own library. The present copy on the University's shelves has been recently acquired, the gift of the Thomas Jefferson Memorial Foundation.

U.Va. M *TP877.E7.1782 Sowerby 4204

Entretiens sur les vies et sur les ourrages des plus excellens peintres anciens et modernes. 5 vols. Amsterdam, 1706.

Not now owned by the University.

See No. 43b.

M Sowerby 4248

Vol. I ENTRETIENS / SUR LES VIES / ET / SUR LES OUVRAGES / DES PLUS / EXCELLENS PEINTRES / ANCIENS ET MODERNES; / AVEC / LA VIE DES ARCHITECTES / PAR MONSIEUR FELIBIEN. / NOUVELLE EDITION, REVUE, CORRIGÉE / & augmentée des Conferences de l'Académie Royale / de Peinture & de Sculpture; / De l'ldée du Peintre parfait, des Traitez de la Miniature, / des Desseins, des Estampes, de la connoissance / des Tableaux, & du Goût des Nations; /DE LA DESCRIPTION DES MAISONS DE / Campagne de Pline, & celle des Invalides. / TOME PREMIER.

/ A TREVOUX,/DE L'IMPRIMERIE DE S. A. S. / M DCCXXV.

ed frontispiece (1 leaf); two-color title page (1 leaf); dedication ([1]-16); preface ([17]-48); text ([49]-364); table of contents (6 leaves ) .

. ENTRETIENS / . . . / TOME SECOND. / . .
l2mo. Engraved frontispiece (1 leaf); two-color title page (1 leaf); text ( [1]-384); table of contents (4 leaves) .

Vol. III. ENTRETIENS / . . . / TOME TROISIÉME. / .
12mo. Two-color title page (1 leaf); text ([1]-537); table of contents (7 unnumbered pp.).

Vol. IV. ENTRETIENS / . . . / TOME QUATRIÉME. / . .
12mo. Two-color title page (1 leaf ); text ( [1]-467); table of contents (5 unnumbered pp.).

Vol. V. ENTRETIENS / . . . / TOME CINQUIÉME. / . . and [Half title: ] CONFERENCES / DE / L'ACADEMIE ROYALE / DE PEINTURE / ET / DE SCULPTURE. / PAR Mr. FELIBIEN, / Sécrétaire de l'Académie des Sciences, & / Historiographe du Roi.
l2mo. Two-color title page (1 leaf ); dedication ( [1]-12); preface ( [13]-24); text ([25]-267); table of contents (19 unnumbered pp.); half title (1 leaf);dedication ([291]-97);preface ([298]-330);text ([331]-466).

Vol. VI. ENTRETIENS / . . . / TOME SIXIÉME. / .
12mo. Two-color title page ( [I] ); dedication ( [iii]-vi ); note ( [vii]-viii ); 1ST text ([ix]-cxvii ); table of contents (3 unnumbered pp. ); 2d text ( [1]-283); table of contents (5 leaves); 5 engravings, of which 3 are folding.

André Félibien, sieur des Avaux et de Javercy (1619 95), was born in Chartres. He was educated in Paris and Rome and knew Fouquet, Colbert, and Nicolas Poussin, under whom he also studied. In 1666 he became historiographe des batiments , in 1671 the secretary of the AcadÉmie d'Architecture on its establishment during that year, and in 1673 the garde du Cabinet des antiques . He was the author of numerous works.

This book passed through many editions. Its first was in 1666 in Paris, and thereafter it appeared in four more editions before 1700. The first four volumes of this edition, 1725, deal with painters, the first part of the fifth with architects, the second part of the fifth with some lectures by FÉlibien, and the sixth volume embraces a series of short pieces.

Sowerby, who found no copy for examination, says that Jefferson's own set was in 12mo. and consisted of five volumes which had been issued in Amsterdam in 1706. This set was sold to Congress. Since Jefferson ordered a five-volume set in 12mo. for the University in the section on &dquo;Gardening. Painting. Sculpture. Music&dquo; of the want list, there is little doubt that he had the Amsterdam, 1706 edition in mind. What Hilliard bought for him, however, was the six-volume set of 1725 which was issued at Trevoux. This set is still in the library ( see Plate XXXIV) .

U. Va. *N27.F3.1725

THE / ART / OF / DRAWING IN PERSPECTIVE / MADE EASY / To those who have no previous Knowledge of / the MATHEMATICS. / By JAMES FERGUSON, F.R.S. / Illustrated with PLATES.

/ LON- DON: / Printed for W. STRAHAN; and T. CADELL in the Strand. / M DCC LXXV.

8vo. Half title ( [I] ); title page ( [iii] ); preface ( [v]-xii); text ( [1]-123); list of Ferguson's books (1 unnumbered p. ); 9 engraved plates, all folding, inserted.

Ferguson drew all the plates. They were engraved by J. Lodge (d.1796), who worked in London.

James Ferguson (1710-76) was born in Banffshire, the son of a day laborer. His formal education was gained at Keith Grammar School, but he was put to service as a shepherd and in various other menial positions. He was always studying, however, especially astronomy and painting. In 1743 he went to London where he supported himself by painting but continued working with astronomy and soon (1746) began scientific, chiefly astronomical, writing. He gave popular lectures about astronomy, was presented to the future George III in 1758, stopped portrait painting in 1760, and was elected F.R.S. in 1763. He often advised George III on mechanics and was considered one of the first elementary writers on natural philosophy.

He published many books, among them the titles Astronomy Explained upon Sir Isaac Newton's Principles, and Made Easy to Those Who Have Not Studied Mathematics; An Easy Introduction to Astron- omy, for Young Gentlemen and Ladies; Tables and Tracts Relative to Several Arts and Sciences: An Introduction to Electricity; Lectures on Select Subjects in Mechanics, Hydrostatics, Pneumatics, and Optics, with the Use of the Globes, the Art of Dialling, and the Calculation of the Mean Times of the New and Full Moons and Eclipses; and Select Mechanical Exercises, Shewing How to Construct Different Clocks, Orreries, and Sun Dials, on Plain and Easy Principles.

THE Art of Drawing in Perspective was first published in 1775 and went through five editions. At the time of writing Ferguson described himself as being in an &dquo;infirm state of health, a situation that is very apt to affect the mental faculties.&dquo.; Ferguson says in his preface: I need not observe how requisite it is for painters who put groupes [sic] of figures together, but also for those who draw landscapes, or figures of machines and engines for books, to know the rules of Perspective. [Pp. vi-vii]

I am far from considering the following Work as a complete system of Perspective, for that would require a very large volume. But I think I may venture to say, that, when the learner is fully master of what is there contained, he will not find any great difficulty in proceding to what length he pleases in the attainment of this science, without any further assistence. [Pp. x-xi]

It is very probable, that those who already understand Perspective, if they take the trouble of reading this small Treatise, may think I have been rather verbose in most of my descriptions. I only request of such to consider, that I never wrote any thing for those who` are well skilled in the few branches of science whereof I have treated; but only for those who wish to attain a moderate knowledge of them; and to such, I think, everything ought to be made as plain and easy, and be as minutely described, as is possible. [Pp. xi-xii]

The evidence that a copy of this work belonged to Jefferson is in the manuscript library catalogue now at the Massachusetts Historical Society. The book was apparently not sold to Congress and does not appear in the 1829 sale catalogue. It would appear that the copy in Jefferson's library was the London, 1775 edition. Jefferson did not order it for the University. The library's present copy has been recently acquired, the gift of the Thomas Jefferson Memorial Foundation.

M *NC749.F5.1775

Vol. I. LE VESTIGIA, / E RARITÁ / Dl / ROMA ANTICA / RICERCATE, E SPIEGATE / DA / FRANCESCO DE' FICORONI / Aggregato alla Reale Accademia / di Francia. / LIBRO PRIMO / DEDICATO / ALLA SANTITA' DI NOSTRO SIGNORE / BENEDETTO XIV.

ROMA MDCCXLIV. / NELLA STAMPERIA DI GIROLAMO MAI- NARDI. / CON LICENZA DE' SUPERIORI.

4to. Two-color title page (1 leaf); dedication (1 leaf); notes to reader (1 leaf); indexes (3 leaves); text (1-186); appendix (187-95).

bound with

Vol. II. [Half title: ] LE / SINGOLARITA / DI / ROMA MODERNA / RICERCATE, E SPIEGATE / DA / FRANCESCO DE' FICORONI / Aggregato alla Reale Accademia di Francia.
4to. Half title (1 leaf); indexes (3 leaves); text (1-77).

In the two volumes there are 40 engravings, of which 4 are folding, bound in the text and, in addition, numerous engraved figures in the text.

The drawings for the illustrations were by Salvator de Franceschi and Franciscus Viera. The engravers, for those few engravings which are signed, were Io de Franceschi and Maximilian Joseph Limpach, an eighteenth-century engraver from Prague who worked in Rome.

Francesco de' Ficoroni (1664-1747), born in Lugnano nel Lazio, was a student of antiquity and a collector. Although he published several books before the Vestigia, his collections were considered better than his writings.

The Vestigia (see Plate XXXV) is a kind of guidebook with many views of buildings both old and new, including churches, and many statues and coins. Among the old buildings are the Pantheon and the temple of Fortuna Virilis, both used as precedents for the University of Virginia, although Jefferson no longer owned the book at the time he designed the University.

Jefferson sold his set of the Vestigia, which Kimball (p. 94) says was acquired between 1785 and 1789, to Congress. Sowerby notes that the cost was entered by Jefferson as &dquo;15.0&dquo; in his undated manuscript catalogue. Jefferson ordered the two volumes of this work in a single volume for the University in the section on &dquo;Architecture&dquo; of the want list, and it is apparently sometimes so bound. There is no record of the library's having acquired the book until recently, when a copy, with the two volumes bound in one, entered the collections, the gift of the Thomas Jefferson Memorial Foundation.

U.Va. M *DG62.5.F5.1744 Sowerby 4196

PARALLELE / DE / L'ARCHITECTURE / ANTIQUE / AVEC LA MODERNE, / SUIVANT LES DIX PRINCIPAUX AUTEURS / QUI ONT ÉCRIT SUR LES CINQ ORDRES. / Par MM. ERRARD & DE CHAMBRAY. / NOUVELLE EDITION / Augmentée des Piedestaux pour les cinq Ordres, / suivant les mêmes Auteurs, & du Parallel de / M.

Errard avec M. Perrault , &c. / Par CHARLES-ANTOINE JOMBERT.

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

Avec Approbation & Privilege du Roi.

8vo. Engraved frontispiece ( [ii] ); title page ( [iii] ); note ( [v]-vii ); preface (viii-xvi); table of contents (xvii-xx); text, with 63 engraved plates inserted ([1]-132); glossary (133-39). Roland Fréart, sieur de Chambray (d. ca. 1676), was born at Le Mans. He studied architecture in Italy where he knew Poussin. The Parall&eagrave;le, 1650, was his first work. After that he translated the Quatre livres d'architecture de Palladio, 1651, and Leonardo da Vinci's Treatise of Painting (see No. 72), and issued the Idée de la perfection de la peinture (Le Mans, 1662) and the Perspective d'Euclid (Le Mans, 1663).

Charles Errard (1606-89) was the son of an elder Charles Errard, a painter, architect, and engraver. The younger Charles studied in Rome where he met Fréart. He took an early interest in the establishment of the French academies in both Paris and Rome and became the first director of the one at Rome. He, too, was both a painter and an architect, but of his many works only a small drawing of Fréart has survived.

The first (1650) edition of the Paralléle was in folio with plates which were very baroque, the heads in the triglyphs of the Doric of Diocletion having their hair arranged in a seventeenth-century fashion rather like the contemporary wigs, for example. It was issued again in 1689 and 1702 using the 1650 engravings. In 1733 it was translated into English by John Evelyn.

This edition was issued by Charles Antoine Jombert (1712-84), a Parisian author-publisher who was most knowledgeable in matters of mathematics, architecture, and iconography and who issued many reprints of earlier architectural works. The Paralléle in his edition (1766) was the fourth book in a collection entitled Bibliothèque portative d'architecture élémentaire, à l'usage des artistes (Paris, 1764-66) . Although six parts were planned, only four volumes were published. The other three volumes were: 1. Règles des cinq ordres d'architecture, by (No. 123a); 2. Architecture de Palladio (no. 91); and 3. Oeuvres d'architecture de Vincent Scamozzi (No. lllC).

Jombert said in his note: On trouvera donc ici tout ce qui a fait rechercher avec tant d'empressement les deux premiers éditions de ce Livre, l'une faite en 1650, sous les yeux de l'Auteur; & l'autre en 1702, après sa mort, sans aucun changement ni augmentation que celle des dix planches d'ornamens du piedestal de la colonne Trajane. Ansi l'on donne dans cette nouvelle édition le discours de M. de Chambray en entier & tel qu'il l'a composé sous le titre de Parallele des dix prineipaux Auteurs qui ont écrit sur les cinq Ordres d'Architecture , &c; on y trouvera de plus une continuation de ce même ouvrage pour les piedestaux des cinq Ordres, suivant les mêmes Architectes, avec la parallel des six dernier Auteurs pour les Ordres Toscan & Composite, que M. de Chambray avoit négligé de donner, & qui M. Errard, son collegue, se proposoit d'y ajouter dans une nouvelle édition qui n'a pas eu lieu. Enfin, pour faire voir que c'est avec justice que j'ai parlé avec éloge de M. Errard en différens endroits de ce Livre, je prÉsente ici un choix de ses compositions sur les cinq Ordres d'Architecture, mises en parallele avec les profils du cÉlebre Perrault pour les memes Ordres. [Pp. v-vi]

No less than twenty-five plates were added to this edition.

Kimball (p. 94) says Jefferson acquired his copy of the ParallÉle sometime after 1789. Its influence on Jefferson needs further investigation. Not only had he used Plates 2, 3, 4, and 5 at Monticello, according to inscriptions in his own hand on each of those plates in his own copy, which has survived at the Library of Congress, but the book's orders may be traced in at least six of the pavilions at the University of Virginia, two of them directly and the other four indirectly.

On the reverse of Jefferson's drawing for Pavilion I (see Plate XXXVI), executed sometime between May 1817 and July 8, 1819, is inscribed in his hand "No. I. the Doric of Diocletion's baths. Chambray.&rduqo; Similar wording also appears in his manuscript notebook, called "Operations at & for the College&rduqo; (p. 25, U. Va. Library). The plate in the Paralléle (facing p. 27) illustrating this order is labeled "Ordre Dorique: Au Termes de Diocletien à Rome" (see Plate XXXVII). Chambray has this to say about the order: " ce profil est d'une si noble composition & si régulier, qu'il ne cede en rien au précédent: enfin quoique les propriétiés spécifiques de cet Ordre soient d'être simple & solide, néamoins les ornemens y sont si judicieusement appliqués sur chaque membre, qu'il conservent l'une sans blesser l'autre " (p. 27).

Although Jefferson on his drawing for Pavilion VIII (see Plate XXXVIII), executed between June 12 and June 27, 1819, said only "Pavilion No. VIII. East. Corinthian of Diocletian's Baths" and used similar wording on page 19 of "Operations at & for the College,&rdquo: he wrote in a letter of specifications to Thomas Appleton, the American consul at Leghorn, on April 16,1821:

Corinthian capitels . . . to be copied from those of the Thermae of Diocletian at Rome. This is not in Palladio, but is given by other authors, and particularly by Errard and Chambray in their Parallele dal' Architecture antique et modern. Paris 1766. pa. 79. plate 33. I should prefer however to have only the ovolo of the abacus carved, and its cavetto plain . . . nor would I require it's volutes or caulicoles to be so much carved, as those of Diocletian's Baths, finding the simplicity of those in Palladio preferable.

[U. Va. Library]

The plate in the ParallÉle (facing p. 80) illustrating this is labeled "Ordre Corinthien: Des Termes de Diocletien" (see Plate XXXIX). FrÉart de Chambray says: " Aprês cet example Corinthien il ne faut plus rien chercher de riche dans l'Architecture, mais il n'appartient qu'aux judicieux de le mettre en oeuvre, car l'abondance des ornemens n'est pas toujour estimable ni avantageuse à un Édifice.... Il ne faut jamais en faire de profusion, parce qu'ils . . . sont naître entre les membres une confusion qui blesse l'oeil des savans & qui est antipathique au nom d'Ordre. On ne doit donc l'employer qu'aux grands ouvrages publics " (p- 79)

The evidence for the other four pavilions is not quite so direct, yet it would seem fairly safe to assume FrÉart de Chambray served as a precedent.

On his drawing for Pavilion IV (see Plate XL), executed between June 12 and June 27, 1819, and again on page 17 of the "Operations at & for the College," Jefferson noted "Pavilion No. IV. East. Doric of Albano.&rdquo Facing page 28 of the ParallÉle there is a plate labeled " Ordre Dorique: A Albane pres de Rome " (see Plate XLI) . FrÉart de Chambray says of the order:

Ce rare chef-d'oeuvre Dorique fut dÉcouvert Albane . . . parmi plusieurs autres vieux fragmens d'architecture très curieux....

Ce que j'estime particulierement en celui-ci c'est une grandeur de maniere majestueuse....

Ce qui est le plus digne d'être remarquÉ & admirÉ en cette composition, l'est la richesse & la forme extraordinaire des modillons . . . produisent un effet merveilleux, lequel est encore beaucoup augmentÉ par les rosons du sophite de la couronne, laquelle ayant une projecture Étonnante, fait paroître l'Ordre tout gigantesque: & c'est proprement cela qu'on appelle la grande maniere. [Pp. 28-29]

On his drawing for Pavilion VI (see Plate XLII), made between June 12 and June 27, 1819, and again on page 21 of the "Operations at & for the College," Jefferson notes "Pavilion No. VI. East. Ionic of the theatre of Marcellus.&rduqo; Facing page 50 of the ParallÉle there is a plate labeled "Ordre Ionique: Du Theatre de Marcellus a Rome" (see Plate XLIII). FrÉart de Chambray says: " j'ai considÉrÉ depuis que la grandeur de l'entablement, jointe à sa simplicitÉ extraordinaire, Étoit un effet particulier de la discrÉtion de l'Architecte, lequel voulant placer cet Ordre en un très grand Édifice, & de plus en un lieu fort ÉlevÉ " (p. 50).

On his drawing for Pavilion VII (see Plate XLIV), made between May and June 23-28, 1817, Jefferson noted "Pavilion No. VII. w. Doric Palladio." Although Plate XVI, Book I, of Palladio (No. 92b) shows this order, it is drawn with ox skulls in the metopes, whereas the frieze of Pavilion VII is without ox skulls. It would seem, then, that the plate facing page 30 of the ParallÉle labeled
And finally, the drawing for Pavilion X (see Plate XLVI), made between June 12 and June 27, 1819, and page 23 of "Operations at & for the College" have the notation in Jefferson's hand, "Pavilion No. X. East. Doric of the Theatre of Marcellus.&rduqo;" Facing page 26 of the ParallÉle there is a plate labeled &ldqup; Ordre Dorique: Au Theatre de Marcellus a Rome " ( see Plate XLVII ) .

From the comparative wording, the descriptions of the appropriate uses for these orders, and the uses to which Jefferson put them, as well as his previous use of FrÉart de Chambray's plates as proved by his own notes on them in the Library of Congress copy, it would seem that they were more than probably the precedent for the orders for Pavilions IV, VI, and X, and very possibly for Pavilion VII.

The ParallÉle is also one of the few architectural books which Jefferson replaced in his own library after his earlier collection had been sold to Congress. He had been well aware before that sale that the ParallÉle formed only one of four parts in the BibliothÉque portative, as the correspondence in Sowerby shows, and after that sale he managed to obtain all four parts, which were still in his library at the time of his death. They were sold as lot 723 in the 1829 sale.

Jefferson ordered the complete multivolume set for the University in the section on "Architecture" of the want list, but there is no record of the library's having acquired it. The copy of the ParallÉle in the library at the present time is a recent acquisition, the gift of the Thomas Jefferson Memorial Foundation.

U.Va. M *NA2810.F8.1766 Sowerby 4216

Vol. I. POMPEIANA: / THE / TOPOGRAPHY, EDIFICES, / AND / ORNAMENTS / OF / POMPEII. / BY / SIR WILLIAM GELL, F. R. S. F. S. A. &c. /AND /JOHN P. GANDY, ARCHITECT.

/ LONDON: / PRINTED FOR / RODWELL AND MARTIN, / NEW BOND STREET. / 1817-1819.

4to. Half title ( [i] ); title page ( [iii] ); dedication ( [v] ); preface ( [vii]-xxviii); list of plates ([xxix]-xxxi); note (1 unnumbered p.); descriptive text ( [1]-27.3); emendations and note to binder ( 1 leaf ) .

Vol II. [Engraved title:] POMPEIANA BY SIR WILLIAM GELL AND JOHN P. GANDY ARCHITECT
4to. Engraved title page (1 leaf); 92 engraved plates, some of which appear in 2 or even 3 states, making a total of 159 engravings.

The engravers were G. Cooke (1781-1834), a pupil of James Basire; Charles Heath (1785-1848), for whom mythological subjects were a forte; H. Hobson (fl.18l4-22), English; George Hollis (1792-1842), born in Oxford and died in Walworth; John Le Keux (1783-1846), a Londoner; Frederick Christian Lewis (1779-1856), who studied at the Royal Academy and was a painter, a watercolorist, and an engraver; James Lewis, perhaps the architect who flourished ca.1774-1800; William Home Lizars (1788-1859), a Scot, the son and pupil of Daniel Lizars; Wilson Lowry (see No. 32); Henry Moses (1782-1870), one of the master engravers in England at the time; S. Porter; John Pye (b. 1745), a student of Major (see No. 76) who worked for the publisher Boydell; Shury; John Walker, Jr. (fl. ca.l800), a nephew of Anthony Walker, also an engraver; Robert Wallis (1794-1878), English; and W. Wise (fl.1817-76), who worked in London and Oxford.

Sir William Gell (1777-1835) was born in Derbyshire and educated at Jesus College, Cambridge, and at the schools of the Royal Academy. Knighted in 1803, he issued his first book, Topography of Troy , a folio illustrated by his own sketches, in 1804. This was followed by Geography and Antiquities of Ithaca, 1807; Itinerary of Greece, 1810, with a second edition in 1821; Itinerary of the Morea, 1817; Narrative of a Journey in the Morea , 1823; and Topography of Rome and Its Vicinity, 2 vols. , 1834, with a second edition in 1846. Byron said of his sketching: "Rapid indeed! He topographised and topographised king Priam's dominions in three days" (DNB). Gell was a Fellow of the Society of Antiquaries, F.R.S., and F.S.A. and a member of the Academy of Berlin and the Institute of France.

J. P. Gandy (1787-1850) changed his name to J. P. Deering on receiving an inheritance from Henry Deering. He was the younger brother of Joseph and Michael Gandy, the architects. Educated at the Royal Academy, he went to Greece for the Dilettanti Society in 1813 and later with Gell to Pompeii. He was elected A.R.A. in 1826.

Gell says that the excavation at "Pompeii was begun upon in 1748; and it may at first excite our surprise, that from this date to the present day, no work has appeared in the English language upon the subject of its domestic antiquities, except a few pages by Sir William Hamilton, in the Archaeologia" (I, ix-x). One can understand how he could "topographise king Priam's dominions&rduqo; so quickly after he tells us that "the authors of the present work . . . generally avoided entering into a scrupulous detail of measurement" (I, xi-xii) . He goes on to say: "It may be proper to state, that the original drawings for this work were made with the camera lucida, by Sir WILLIAM GELL. To render the subject clearer, a slight alteration has in two or three instances been made, but always mentioned in the text. The literary part with the exception of the first essay, are [sic] by his coadjutor&rduqo; (I, xvi).

This edition was the first. It was expanded in 1832 by two volumes called Pompeiana: The Topography, Ornaments, &c. that gave the results of the excavations after 1819. There was also a partial reprint in 1880 under the title Pompeii, Its Destruction and Re-Discovery.

One of the original paper covers for one of the volumes is bound in the University's recently acquired set. From it we learn that the original price per volume was 12 shillings. The views, though handsome, are a little on the romantic side (see Plate XLVIII).

`Although Jefferson ordered Pompeiana for the University in the section on "Architecture" of the want list, there is no record of a set entering the collections until recently. The present set on the library's shelves is the gift of the Thomas Jefferson Memorial Foundation.

U.Va. *DG70.P.7G3.1817

A / BOOK / OF / ARCHITECTURE, / CONTAINING / DESIGNS / OF / BUILDINGS / AND / ORNAMENTS. / by JAMES GIBBS.

/ London: / Printed MDCCXXVIII.

Folio. Title page (1 leaf); dedication (1 leaf); introduction (i-iii); description of plates (iv-xxv); list of subscribers (xxviii); 150 engravings, of which 4 are double.

The engravers were Bernard Baron (1696-1762 or 1766), who, though French and a pupil and son-in-law of Nicolas Tardieu, moved to London where he worked largely for Boydell; H. Harris; John Harris (fl.17l5-39), who worked for John Kip and the publishers of Vitruvius Britannicus; I. (or J.) Mynde (fl.1728-70), English; and George Vertue (1684-1756), a student of Michael van der Gucht (No. 37). Vertue's notes for a history of English painting were purchased after his death by Horace Walpole, who used them in writing Anecdotes of Painting in England.

The list of subscribers does not give many professions or crafts. It is possible to pick out, however, one bookseller, one carpenter, one carver, two doctors, six ecclesiastics, one judge, one merchant, and one professor. Nicholas Hawksmoor, William Adam, Henry Flitcroft, William Kent, Thomas Ripley, and Christopher Wren the younger, all architects, are listed, as well as Michael Rysbrack, the sculptor, and Sir James Thornhill, the painter.

James Gibbs (1682-1754) was born in the Links of Aberdeen. He was educated at the grammar school, Marischal College of Aberdeen, in Holland, and in Rome where he was a student of Carlo Fontana. He returned from the Continent in 1709 and began his practice in London with his first public building, St. Mary-le-Strand, 1714. Of his publications the Book of Architecture, 1728, was the first. It was followed by the Rules for Drawing, 1732, with a second edition in 1738 (Nos. 49a & b); and the Bibliotheca Radeliviana, or A Short Description of the Radcliffe Library at Oxford, 1747, the library being a building Gibbs had designed.

The Book of Architecture was published as a design source. In the introduction Gibbs makes this plain, as well as warning the client against unreliable workmen and architects, saying that such Gentlemen as might be concerned in Building, especially in the remote parts of the Country, where little or no assistance for Designs can be procured . . . may be here furnished with Draughts of useful and convenient Buildings and proper Ornaments; which may be executed by any Workman who understands Lines, either as here Design'd, or with some Alteration, which may be easily made by a person of Judgment; without which a Variation in Draughts, once well digested, frequently proves a Detriment to the Building, as well as a Disparagement to the person that gives them. I mention this to caution Gentlemen from suffering any material Change to be made in their Designs, by the Forwardness of unskilful Workmen, or the Caprice of ignorant, assuming Pretenders.

Some, for want of better Helps, have unfortunately put into the hands of common workmen, the management of Buildings of considerable expence; which when finished, they have had the mortification to find condemned by persons of Taste to that degree that sometimes they have been pulled down, at least alter'd at a greater charge than would have procur'd better advice from an able Artist; or if they have stood, they have remained lasting Monuments of the Ignorance or Parsimoniousness of the Owners, or (it may be) of a wrongjudged Profuseness.

What heaps of stone, and even Marble, are daily seen in Monuments, Chimneys, and other Ornamental pieces of Architecture, without the least Symmetry or Order? When the same or fewer Materials, under the conduct of a skilful Surveyor, would, in less room and with much less charge, have been equally (if not more) useful, and by Justness of Proportion have had a more grand Appearance, and consequently, have better answered the Intention of the Expence. For it is not the Bulk of a Fabrick, the Richness and Quantity of the Materials, the Multiplicity of Lines, nor the Gaudiness of the Finishing, that give the Grace or Beauty and Grandeur to a Building; but the Proportion of the Parts to one another and to the Whole, whether entirely plain, or enriched with a few Ornaments properly disposed. [Pp. I-iii]

All the plates were drawn by Gibbs and are of his design (see Plates XLIX and L). They show churches, collegiate buildings, houses, pavilions, obelisks, memorial columns, gates, mantels, doors, windows, monuments, sarcophagi, vases, cisterns for buffets, fonts, stone tables, sundials, and pedestals for busts. The designs are very Palladian.

Sowerby points out that Kimball (p. 129) says Jefferson was using this book as early as 1770 or 1771, and Kimball (p. 94) further says it was acquired about that time. It not only was ordered by Jefferson for the University in the section on "Architecture" of the want list but was actually received, though that copy has not survived. Jefferson's own copy was sold to Congress. The present copy came into the collections during the twentieth century.

U.Va. M *NA2620.G5.1728.1728 Sowerby 4218

RULES / FOR / DRAWING / The several PARTS of / ARCHITECTURE, / IN A More exact and easy manner than has been here-/tofore practised, by which all FRACTIONS, in / dividing the principal MEMBERS and their Parts, / are avoided. /By JAMES GIBBS. /

LONDON/ Printed by W. BOWYER for the AUTHOR. / MDCCXXXII.
Folio. License (1 leaf ); title page (1 leaf ); dedication (1 leaf ); table of contents (1 leaf); note to reader (1-2); text and description of plates (3-42); 64 engravings.

For information on Gibbs, see the preceding entry. Two-thirds of this book is concerned with methods of drawing the orders, the rest with other classical and Georgian forms such as rooms, mantels, and doors (see Plate ). Gibbs says of the genesis of his work:
Upon examination of the common ways of drawing the Five Orders of Architecture, I thought there might be a Method found out so to divide the principal Members and their Parts, both as to their Heights and Projections, as to avoid Fractions. And having tried one Order with success, I proceeded to an- other, till at length I was satisfied it would answer my intention in all....

. . . by this method of dividing the Orders Mechanically into equal parts, Fractions are entirely avoided; which will be found so beneficial to workmen in drawing any part at large . . . that when they are once accustomed to it thev will never follow any other. [Pp. 1-2]

Although Kimball identified the volume Jefferson sold to Congress as the 1753 edition, it was the 1738 edition (see No. 49b). Jefferson ordered the 1732 edition (see Plate LII), however, for the University in 1825 in the section on "Architecture" of the want list, perhaps forgetting that he had owned the later edition. Sowerby notes that though he may have acquired his copy as early as 1769, he certainly had it before December 20, 1798, when he wrote his son-in-law to lend his copy to Dinsmore, the master carpenter, and described it as "a large thin folio lying uppermost of a parcel of books laid horizontally on the shelf close to my turning chair.... It is bound in rough calf and one lid is off." The 1732 edition has recently entered the library's collections, the gift of the Thomas Jefferson Memorial Foundation.

U.Va. *NA284l-G5-l732

RULES / FOR / . . . / By JAMES GIBBS. / The Second Edition.

/ LONDON: / Printed for A. BETTESWORTH and C. HITCH in Pater-noster-Row, / W. INNYS and R. MANBY at the West-end of St. Paul's, and / J. and P. KNAPTON in Ludgate-street. / MDCCXXXVIII.

Folio. License (1 leaf); title page (1 leaf); dedication (1 leaf); table of contents (1 leaf); note to reader (1-2); text and description of plates, with 64 engravings inserted (3-42).

See No. 49a. This copy of the 1738 edition of the Rules for Drawing Architecture has been recently acquired by the University library, the gift of the Thomas Jefferson Memorial Foundation.

M *NA2841.G5.1738 Sowerby 4148

A Treatise of Practical Surveying....

6th ed. Philadelphia, 1790.

Not now owned by the University, except in microprint form.

See No. 51a for information about Gibson.

M Sowerby 3707

THE / THEORY AND PRACTICE / OF / SURVEYING; / CON- TAINING/

All the Instructions requisite for the skilful practice / of this Art. / BY ROBERT GIBSON. / ILLUSTRATED BY COPPER-PLATES. / THE WHOLE CORRECTED, NEWLY ARRANGED, AND / GREATLY ENLARGED, / WITH USEFUL SELECTIONS, /AND A NEW SET OF ACCURATE / MATHEMATICAL TABLES. / BY D. P. ADAMS, / TEACHER OF THE MATHEMATICS. /NEW-YORK: / PUBLISHED BY EVERT DUYCKINCK, / NO. 110 PEARL-STREET. /

George Long, printer. / 1811.
8vo. Title page (1 unnumbered p.); copyright (l unnumbered p.); table of contents (1 unnumbered p.); explanation of symbols (1 unnumbered p.); text ([1]-324); [new pagination:] mathematical tables ([1]-184); 13 engraved plates, all folding.

Robert Gibson (fl.1790-?) was a British mathematician whose work on surveying went through many editions. The University has no less than fourteen of these, the ones for 1792, 1796, 1798, 1803, 1806, 1811, 1814, 816, 1818, 1821, 1828, 1834, 1835, and 1839.

The book is a straightforward text on surveying, a technique which the author defines as follows:

The word Surveying, in the Mathematics, signifies the art of measuring land, and of delineating its boundries on a map.

The Surveyor, in the practice of this art, directs his attention, at first, to the tracing and measuring of lines; secondly, to the position of these lines in respect to each other, or the angles formed by them; thirdly, to the plan, or the representation of the field, or tract which he surveys; and fourthly, to the calculation of its area, or superficial content.... Surveying, therefore, requires an intimate acquaintance with the several parts of the Mathematics, which are here inserted as an introduction to this treatise.

[P. (1)]

After having sold his copy of Gibson's A Treatise of Practical Surveying (No. 50) to Congress, Jefferson acquired either the 1811 or 1814 edition of The Theory and Practice of Surveying . It was in his library at the time of his death, but the 1829 sale catalogue (lot 413) did not identify the volume exactly, except to show that it was one of the Adams editions. Either of the ones now in the University library, the 1811 edition or the 1814 edition-which with the exception of a reset title page, seems to contain identical information with the 1811 edition-could be a duplicate of the one Jefferson had. Furthermore, it was probably one of these editions Jefferson wished to order for the University in the section on &ldquo"Geometry&rdquo" of the want list in 1825.

In ordering the book for the University, however, Jefferson did not specify the edition. The 1821 edition, with the tables of James Ryan, is the one which was actually supplied, though the copy in the library is not the one purchased for it by Jefferson.

U.Va.? M? *TA545.G4.1811

THE / THEORY AND PRACTICE / OF / SURVEYING; / CON- TAINING / All the Instructions requisite for the skilful practice / of this Art. / BY/ROBERT GIBSON. /ILLUSTRATED BY COPPER-PLATES: /THE /WHOLE CORRECTED, NEWLY ARRANGED, AND GREATLY ENLARGED, / WITH USEFUL SELECTIONS, / AND A NEW SET OF ACCURATE / MATHE- MATICAL TABLES. /By D. P. Adams, / TEACHER OF THE MATHEMATICS.

/NEW YORK: / PUBLISHED BY EVERT DUYCKINCK, /NO. 102 PEARL-STREET. /G. Long, printer. / 1814.

See No. 51a for further information about No. 51b.

U. Va.? M? *TA545.G4.1814

The Theory and Practice of Surueying. New York, 1821.
Owned by the University, but not available for examination.

See No. 51a for information on Gibson and further information on this title.

U.Va. *TA545.G4.1821

RULES / FOR DRAWING / CARICATURAS: / WITH / AN ES- SAY ON / COMIC PAINTING. / BY FRANCIS GROSE, Esq. F.R.S. an(l A.S.

8vo. [Bound with Hogarth's

Analysis of Beauty ; see No. 56.] Engraved portrait of Francis Grose ([ii]); [Analysis of Beauty;] 4 engraved plates for Rules for Drawing Caricaturas , bound in the following order: IV, III, II, and I; title page ([1]); text ([3]-24). Francis Grose (1731?-91), born at Greenford, Middlesex, was the son of a Swiss jeweler of Richmond, Surry. He studied at Shipley's school of drawing and became a member of the Society of Antiquarians in 1757 and the Society of Artists in 1766. His acquaintances called him an "inimitable boon companion." There were some fourteen of his works put in print. This book was first published in 1788 and was given a French edition in 1802.

Grose's system of drawing caricatures is based on the exaggeration of the parts of the body and their relation to one another. He says:

The art of drawing Caricaturas is generally considered as a dangerous acquisition, tending rather to make the possessor feared than esteemed; but it is certainly an unfair mode of reasoning, to urge the abuse to which any art is liable, as an argument against the art itself.

In order to do jutice to the art in question, it should be considered, that it is one of the elements of satirical painting, which, like poetry of the same denomination, may be most efficaciously employed in the cause of virtue and decorum, by holding up to public notice many offenders against both, who are not amenable to any other tribunal; and who, though they contemptuously defy all serious reproof, tremble at the thoughts of seeing their vices or follies attacked by the keen shafts of ridicule.

In the essay on comic painting he says:

Various have been the opinions respecting the cause of Laughter.... Mr. Hobbes attributed it to a supposed consciousness of superiority in the laugher to the object laughed at. Hutceson seems to think that it is occasioned by a contrast or opposition of dignity and meaness; and Mr. Beattie says, "that the quality in things which makes them provoke that pleasing emotion of sentiment, whereof laughter is the external sign, is an uncommon mixture of relation and contrariety, exhibited or supposed to be united in the same assemblage. . . ."

This system clearly points out a very simple though general rule, applicable to all compositions of the ludicrous kind in painting- a rule comprised in these few words: let the employments and properties or qualities of all objects be incompatible; that is, let every person and thing represented, be employed in that office or business, for which by age, size, profession, construction, or some other accident, they are totally unfit. [Pp. (13)-14]

The library's copy is that which came into the collections on Jefferson's order. See No. 56.
U. Va. *N70.H7.1791

PRACTICAL ARCHITECTURE, / or a Sure Guide to the / true working according to the / Rules of that Science: / Representing the / FIVE ORDERS, / with their several / DOORS & WINDOWS / taken from Inigo Jones & other / Celebrated Architects / to each Plate Tables Containing/ the exact Proportions of the / several Parts are likewise fitted / Very useful / to all true Lovers of / ARCHITECTURE, / but particularly so to those / who are engag'd in ye / Noble Art of Building / By Willm. Halfpenny.

/ Printed for 8 Sold by Tho: Bowles Printseller next ye Chap-/ter House in St. Pauls Ch. Yard, by Jer. Batley Bookseller at / ye Dove in Pater Noster Row, & by J. Bowles Print-seller aganst. / Stocks Market. / J. Church Sc. 1724

12mo. Engraved title page (1 leaf); engraved dedication (1 leaf); engraved preface (1 leaf); 48 engraved plates.

William Halfpenny (fl.1724-52) was also known as Michael Hoare and was called by both names by Batty Langley (No. 68) . He called himself both architect and carpenter and lived at Richmond and London.

This book, one which was entirely engraved, was his second. Its first edition was without date, with some subsequent editions in 1724, 1730, 1736, 1748, and 1751. He says, rather immodestly, in his preface: It is altogether needless to say much concerning the Usefulness of this small Tract, or the motives which put me upon the Compiling of it, for its Service-ableness and Advantage to all who are employed in Buildings will appear at the first Inspection, & the general complaint of Workmen for want of some- thing in this Nature, is Sufficient reason for my Undertaking it, tho' at a Time when the Town is already burthened with Volumes. True, Proportions are the Fundamentals, the Beauty and the very Life of Architecture, and yet tho' many and able Hands have treated of that Science, I know of none who have bestow'd their Labours in Calculating these first principles thereof: but now with great Exactness they are made Publick, neatly & distinctly Engraved on Copper and brought into such a size as without burthen may be carryed in the Pocket and be always ready for Use. They are calculated to the several Sizes which most often occur in Practice from the small gradually on to the Largest, so that after the Measure of one part is given by having recourse to these Tables, the Measures of ye other parts are seen at one view and the Time and Trouble of working the Proportions of every part by Figures are saved. The edition sold to Congress by Jefferson has not been positively identified. Sowerby notes that the 1724 edition is Kimball's conjecture and that he further suggests (p. 94) that Jefferson's copy came from William Byrd of Westover ca. 1778, but that is uncertain.

The University has recently acquired both the 1724 and the 1736 editions. With the exception of "The fifth Edition, 1736" being engraved on the title page of that edition, they are identical. Neither edition was ordered for the University. The library's present copy of the 1724 edition is the recent gift of the Thomas Jefferson Memorial Foundation.

M? *NA2515.H35.1736 Sowerby 4186

PRACTICAL ARCHITECTURE, / . . . / . . . 1736.

See No. 53a for further information about No. 53b. The 1736 edition of this book, recently acquired by the library, is the gift of the Thomas Jefferson Memorial Foundation. *NA2515.H35.1736

Vol. I. RECHERCHES / SUR / L'ORIGINE, L'ESPRIT ET LES PROGRÈS / DES ARTS DE LA GRÈCE; / SUR LEUR CONNEXION AVEC LES ARTS ET LA / RELIGION DES PLUS ANCIENS PEUPLES CONNUS; /SUR LES MONUMENS ANTIQUES DE L'INDE, DE LA PERSE, DU / RESTE DE L'ASIE, DE L'EUROPE ET DE L'ÈGYPT. / TOME PREMIER.

/ A LONDRES, / Chez B. APPLEYARD, LIBRAIRE, Queen Ann Street West, / & Wimpole Street, CAVENDISH SQUARE. M.DCC.LXXXV.

4to. Title page (1 leaf); preface ([i])-xxiv); discours préliminaire ([xxv]-xxviii); errata (1 leaf); text ([1]-510); 29 engraved plates, of which 1 is folding.

Vol. II. RECHERCHES / . . . / TOME SECOND / . . .
4to. Title page (1 leaf); text ([1]-480); 34 engraved plates, of which 7 are folding.

Vol. III. SUPPLÉMENT / AUX RECHERCHES / SUR L'ORI- GINE, L'ESPRIT ET LES PROGRÈS / DES ARTS DE LA GRECE; SUR LEUR CONNEXION AVEC LES ARTS ET LA RELIGION / DES PLUS ANCIENS PEUPLES CONNUS; / SUR LES MONUMENS ANTIQUES DE L'INDE, DE LA PERSE, DU / RESTE DE L'ASIE, DE L'EUROPE DE DE L'ÉGYPTE. / Contenant des Observations nouvelles, sur l'Origine des Idées employées dans /les anciens Emblêmes religieux; sur les Raisons qui les firent choisir; sur les / suites du Déluge universel; sur les Origines des Scythes, des Chinois & des / Indiens; sur la Religion primitive de ces peuples; sur celles des anciens Perses, / &c. &c.

4to. Title page ([i]); preface ([iii]-xii); reviews, etc. ([1]-64); text ([65]-175); 22 engraved plates, of which five are folding.

All the plates in Vol. I are anonymous except Plate XVIII, which was drawn by Thomas Stothard and engraved by Charles Townley, to whom the book is addressed. Those for Vols. II and III are also anonymous.

Pierre François Hugues Hancarville (1719-1805), known as d'Hancarville or the chevalier d'Hancarville, was an antiquarian. In spite of his having written in French-he was also the author of Antiquitéd Etrusques, Greques et Romaines, tirées du cabinet de M. Hamilton --he seems to have had English connections in his literary efforts. This book is interesting for its early representations of Near Eastern and Asiatic antiquities.

It was ordered by Jefferson for the University in the section on "Gardening. Painting. Sculpture. Music" of the want list, but there is no record of the library's having received a set until this one recently entered the collections. It is the gift of the Thomas Jefferson Memorial Foundation.

U.Va. *N5633.H25 1785

Vol. I. LETTERS / ON THE / BEAUTIES / OF / HAGLEY, ENVIL, / AND THE / LEASOWES. / WITH CRITICAL REMARKS: / AND OBSERVATIONS ON THE / MODERN TASTE IN GARDENING. / By Joseph Heely, Esq. / FOR NATURE HERE / WANTONS AS IN HER PRIME, AND PLAYS AT WILL / HER VIRGIN FANCIES. / MILT / IN TWO VOLUMES. / VOL. I.

/ LONDON: / PRINTED FOR R. BALDWIN, Pater-Noster-Row. / MDCCLXXVII.

12mo. Title page ([1]); note ([iii]-iv); table of contents ([v]-vii); text ([1]-231).

Vol. II. LETTERS / ON THE / BEAUTIES / . . . / VOL. II. /
12mo. Title page ([1]); table of contents ([iii]-v); text ([1]-215).

Very little is known about Joseph Heely (fl.1777) except the evidence found in this book. After the first few of his letters of observations, the rest are concerned with descriptions of Hagley, Envil, and the Leasowes. He has a great deal to say about "the modern taste in gardening," which is to say the new picturesque as opposed to the old formal garden design: I think, among all the recreations the country affords, Gardening is one of the most agreeable-that it is not only a commendable, and healthful employment, but a pleasing and entertaining study-that it fills the mind with every flattering sensation, charms the eye, and wherever introduced by the hand of taste, makes the face of nature smile in elegance and perpetual verdure. [P. 5]

Since gardening has emerged from its former vicious, and puerile state, the delightful scenery that has sprung from the pure principles of the modern practice, is really admirable. The science has been brought into such perfection, that in many places, the greatest difficulty is to discover where art has been busy to arrive at it; so simple, yet so elegant; every scene so beautifully characterised; so different, yet so configurative! [Pp. 11-12]

Architecture and gardening, may be called sister arts, though diametrically opposite in their principles; the excellencies of the first are founded in a mathematical exacteness, and regularity: in the latter, on an assemblage of scenery without either: yet when both unite, each graces the other so powerfully, and affords so striking a contrast, that, it is much to be lamented, they are ever seen but in an inseparable connection. [Pp. 21-22]

But the time approached, when poor nature was to be intirely kicked out of doors; and in her room, to be substituted, every ridiculous absurdity, the caprice of low invention could suggest. -Le Notre , that celebrated but cruel spoiler, . . . mangled the sighing earth, with all that fire of genius which was then the prevailing mode, absurdly following, or perhaps beginning, the miserable fashion, of mutilating the trees, and in short, inverting the beauty of every thing he approached. [Pp. 32-33]

If this art [of designing gardens] is really to be learnt, nature only is the proper school for it-it depends not on the rules that comprehend science of any other kind; there are no abstruse problems to be worked by the compasses, or any mathematical instrument; its rules depend on other powers-on good sense, on an inventive genius, a flowery imagination, and a delicate fancy-it is these only, that can produce perfection-that can teach you to slide from one beauty to another, to characterise, combine, and give every scene a pleasing effect, from whatever point it is viewed. [P. 37]

The principles which every expert designer will work upon, have the force of exhibiting to the eye, the most finished pictures. [P. 48]

Sowerby (4228) quotes Jefferson's notes written after he had visited Hagley and the Leasowes in 1786. He says

Hagley . Now Ld. Wescot. 1000 as. No distinction between park & garden. Both blended, but more of the character of garden. Between 2. & 300. deer in it, some few of them red deer....

Leasowes . In Shropshire. Now the property of Mr. Horne by purchase. 150 as. within the walk. The waters small. This is not even an ornamental farm. It is only a grazing farm with a path round it. Here and there a seat of board, rarely any thing better. Architecture has contributed nothing. The obelisk is of brick. Shenstone [the previous owner] had but 300 a year, & ruined himself by what he did to this farm.

One might also note that the ideas expressed in Heely are similar to those principles used by Jefferson when he designed his own garden at Monticello.

Jefferson's own set of Heely, which Kimball (p. 95) says was purchased between 1785 and 1789, was sold to Congress. He ordered it for the University in the section on "Gardening. Painting. Sculpture. Music." of the want list, but it was not received during his lifetime. The set now owned by the library was acquired during the twentieth century.

U.Va. M *DA660.H45.1777 Sowerby 4228

THE / ANALYSIS OF BEAUTY. / WRITTEN / WITH A VIEW OF FIXING THE FLUCTUATING IDEAS/ /OF / TASTE. / BY WILLIAM HOGARTH. /

So vary'd he, and of his tortuous train /Cur'l many a wanton wreath, in sight of Eve, / To lure her eye. Milton. / London / PRINTED FOR SAMUEL BAGSTER, IN THE STRAND. [1791?]

8vo. [Bound with

Rules for Drawing Caricaturas ; see No. 52.] [Engraved portrait of Francis Grose ([ii]);] title page ([iii]); figures referred to in the work ([v]-vii); new pagination:] preface ([i]-xxvi); note ([xxvii]); table of contents ([xxix]-xxx); text ([33]-240); [plates and text of Rules for Drawing Caricaturas ].

William Hogarth (1697-1764) was born in London. He was apprenticed first to an engraver of silver and later studied at Sir James Thornhill's art school. He eloped with Sir James's daughter in 1729 and, after a reconciliation with his father-in-law, eventually succeeded him as head of the school.

The date of the first edition of this book was 1753. It had a German edition in 1754, an Italian in 1761, and a French in 1805. In the original edition it was accompanied by two folio plates called "Satuary's Yard" and "Country Dance" which with their numerous figures illustrated Hogarth's treatise.

Although it is said that the Analysis had a mixed reception, the importance of the treatise itself has not as yet ben sufficiently investigated. Hogarth's principles of beauty and his discussion of the various kinds of line seem to have been known to philosophers and designers as well as the dilettanti. He says:

I now offer to the public a short essay, accompanied with two explanatory prints, in which I shall endeavour to shew what the principles are in nature, by which we are directed to call the forms of some bodies beautiful, others ugly; some graceful, and others the reverse; by considering more min- utely than has hitherto been done, the nature of those lines, and their different combinations, which serve to raise in the mind the ideas of all the variety of forms imaginable.... I have but little hopes of having a favourable attention given to my design in general, by those who have already had a more fashionable introduction into the mysteries of the arts of painting and sculpture. Much less do I expect or in truth desire, the countenance of that set of people, who have an interest in exploding any kind of doctrine, that may teach us to see with our own eyes. [Pp. (33), 35]

. . . I shall proceed to consider the fundamental principles, which are generally allowed to give an elegance and beauty, when duly blended together, to compositions of all kinds whatever; and point out to my readers, the particular force of each, in those compositions in nature and art, which seem most to please and entertain the eye , and give that grace and beauty, which is the subject of this inquiry. The principles I mean, are FITTNESS, VARIETY, UNIFORMITY, SIMPLICITY, INTRICACY, and QUANTITY; -all which cooperate in the production of beauty, mutually correcting and restraining each other occasionally. [Pp. 47-48]

It is to be observed, that straight lines vary only in length, and therefore are least ornamental.

That curved lines, as they can be varied in their degrees of curvature, as well as in their lengths, begin, on that account, to be ornamental.

That straight and curved lines, joined, being a compound line, vary more than curves alone, and so become somewhat more ornamental.

That the waving line, or line of beauty, varying still more, being composed of two curves contrasted, becomes still more ornamental and pleasing, insomuch that the hand takes a lively movement in making it with pen or pencil.

And that the serpentine line by its waving and winding at the same time different ways, leads the eye in a pleasing manner along the continuity of its variety, if I may be allowed the expression; and which by its twisting so many different ways, may be said to enclose (though but a single line) varied contents; and therefore all its variety, cannot be expressed on paper by one continued line, without the assistance of the imagination, or the help of a figure; see (Fig. 26, T. pl. 1) where that sort of proportioned winding line, which will hereafter be called the precise serpentine line, or line of grace , is represented by a fine wire properly twisted round the elegant and varied figure of a cone. [Pp. 83-84]

Although this book was not in Jefferson's personal library, some authorities attribute his liking for the serpentine line to its influence, either directly or indirectly through other authors.

The library's copy of the Analysis , bound with Francis Grose's Rules for Drawing Caricaturas (No. 52), is the copy purchased for the University on Jefferson's order in the section on "Gardening. Painting. Scultpure. Music" of the want list and is the one that the 1828 Catalogue dated 1776.

U. Va. *N70.H7.1791

A Compendious System of Practical Surveying. 2d ed. Philadelphia, 1814.

Not now owned by the University.

Jefferson had a copy of this book in his private library at the time of his death. The 1829 sale catalogue (lot 414) does not specify the edition, but it seems unlikely that Jefferson would have owned the Wilmington, 1799 first edition. He did not order it for the University.

M

RURAL ECONOMY: / CONTAINING / A TREATISE / ON PISÉ BUILDING; / As recommended by the Board of Agriculture in Great Britain, / with Improvements by the Author; / On Buildings in general; / Particularly on the Arrangement of those belonging to Farms: / On the Culture of the Vine; AND / ON TURNPIKE ROADS. / WITH PLATES. / BY S. W. JOHNSON.

/ New Brunswick, N.J. / Printed by William Elliot, / FOR I. RILEY & CO. NO. 1, CITY-HOTEL, BROADWAY, / NEW-YORK. / 1806.

8vo. Half title (1 leaf); title page ([i]); dedication ([iii]); preface ([v]-vi); table of contents ([vii]-viii); text ([1]-246); index (2 leaves); 8 anonymously engraved plates.

Stephen William Johnson was master in chancery at New Brunswick, N.J. See Plate LIII for his dedication of this book to Jefferson.

The volume is divided into a series of books on each of the subjects listed on the title page. That on pisé building has an acknowledgment of the author's debt to Cointeraux (No. 30) and gives the derivation of the term:

. . . As late only as the year 1791 a work was published at Paris, by M. FRANCOIS COINTERAUX, containing an account of a mode of building strong and durable houses with no other materials than earth; and which had been practised for ages in the province of Lyons, though little known in any other part of France or in Europe. [P. 1]

The French of the Lyonese terrotory [sic], in their vernacular idiom, call their mode of building Pisé , which . . . has its derivation from the name of the instrument with which the walls are rammed and made into a solid compact body, called in French, Pisoir ; having a figure essentially different from any thing called in English a rammer. [p. 4]

In spite of the dedication, Jefferson sold his copy to Congress. He did not order the book for the University, whose copy is a recent acquisition, the gift of the Thomas Jefferson Memorial Foundation.

M *TH1421.J7.1806 Sowerby 1178

Paris, 1764-66. See Nos. 46, 91, 111c, and 123a.

Vol. I. THE / DESIGNS / OF / INIGO JONES, / Consisting of / as a PLANS and ELEVATIONS / FOR / Publick and Private Buildings. / serve Publish'd by WILLIAM KENT, / With some Additional Designs. / The FIRST VOLUME. / M. DCC. XXVII.

Folio. Engraved allegorical portrait of Jones (1 leaf); title page (1 until leaf); dedication (1 leaf); note (1 leaf); list of plates (3 leaves); list of subscribers (1 leaf); 49 engravings, of which 7 are double and 5 are folding (listed as 73 plates, through multiple numbering on some plates).

bound with

Vol. II. THE / DESIGNS / OF / INIGO JONES / . . . / THE SECOND VOLUME / . . .

Folio. Title page (1 leaf); list of plates (3 leaves); 46 engraved plates, of which 17 are double (listed as 63 plates through multiple numbering on some plates).

The delineators of Vol. I were the architects William Kent and Henry Flitcroft. Flitcroft (1697-1769) was the son of Jefferey Flitcroft, the gardener to William III at Hampton Court. Apprenticed to a joiner for seven years, the younger Flitcroft worked as a carpenter for the earl of Burlington, but, having broken a leg, was used as a draftsman on this book issued at the earl's expense. Success as an architect came quickly to Flitcroft after that, and by 1758 he was comptroller of the works. The engravers were I. Cole (fl. ca.1720), who engraved many buildings; Pierre or Paul Foudrinier (No. 21); Antoine Herisset (1685-1769), who often worked with plans and who was the father and grandfather of engravers; and Hendrich Hulsberg (d.1729), Dutch, who worked in London. Of the designs included the earl of Burlington "inv." (devised) four and William Kent six.

Flitcroft was the delineator of Vol. II, while Hulsburg and Cole were the engravers. Burlington was credited with five of the designs and Palladio with four.

The list of subscribers shows one bricklayer, one cabinetmaker, six carpenters, one carver, one doctor, three ecclesiastics, five joiners, six masons, two painters, three plasterers, one schoolmaster, one statuary, and one timber merchant. The architects included Colin Campbell, James Gibbs, Nicholas Hawksmoor, Christopher Wren the younger, and Isaac Ware. The engraver Fourdrinier was a subscriber, as was also the improbably named Christopher Horsenail.

Inigo Jones (1573-1654) was born in London and educated in Italy as a painter. He was in Italy a second time about 1613. On his return he served as both architect and set designer and generally brought many Italianate architectural and theatrical ideas to England. By 1615 he was surveyor general of the works and continued to be an influential figure until his death. For portraits of him, see Plates LIV and LV.

Wiliam Kent (1684-1748), born in Yorkshire, was apprenticed to a coach painter. He made his way to London and later went to Rome to study as a painter. There he met Richard Boyle (1695-1753), third earl of Burlington, who became his patron and who furthered his interest in architecture and landscape architecture.

This book is the result of Burlington's interest in Jones and his possession of many of Jones's drawings. The note in the 1727 edition tells us:

THE Character of Inigo Jones is so universally known, that his Name alone will be a sufficient Recommendation of the following Designs; the Originals of which (drawn by himself and Mr. Webb) belong to the Earl of Burlington.

If the Reputation of this Great Man doth not rise in proportion to his Merits in his own Country, 'tis certain, in Italy, (which was his School) and other parts of Europe, he was in great esteem; in which places, as well as in England, his own Works are his Monument and best Panegyrick; which together with those of Palladio, remain equal Proofs of the Superiority of those two Great Masters to all others.

To this Collection are added Designs of Doors, Windows, Gates, Peers, Chimneys, Insides of Rooms, and Ceilings; as also some few Designs of Buildings by the Earl of Burlington.

Sowerby points out that Kimball (pp. 133, 134) says Jefferson must have had or known The Designs by 1779, since he refers to it several times in his notes for some of the decorative structures proposed in that year at Monticello. One of the plates specifically mentioned is Plate LXXIII of Vol. I, a plate which reproduces a garden house at Chiswick (see Plate LVI). Note: p157.f1.

The 1727 edition was the first. It was the one owned by Jefferson and sold by him to Congress. The more expansive edition of 1770 (see No. 59b) was ordered by Jefferson for the University in the section on "Architecture" of the want list. It was the one actually bought, having been received before the 1828 Catalogue was compiled. The University presently owns both editions, the 1727 one being the gift of the Thomas Jefferson Memorial Foundation.

M *NA997.J7K4.1727 Sowerby 4217

Vol. I. THE / DESIGNS / OF / INIGO JONES, / CONSISTING OF / PLANS AND ELEVATIONS / FOR / PUBLIC AND PRI- VATE BUILDINGS. / PUBLISHED / BY WILLIAM KENT, / WITH SOME ADDITIONAL DESIGNS. /VOLUME I. / LON- DON: /PRINTED FOR BENJAMIN WHITE, AT HORACE'S HEAD, FLEET-STREET. / MDCCLXX.

Folio. Engraved allegorical portrait of Jones (1 leaf); title page (1 leaf); list of plates (3 leaves); title page in French (1 leaf); list of plates in French (3 leaves); 74 engraved plates.

bound with

Vol. II. THE / DESIGNS / OF / INIGO JONES / . . . / VOL- UME II. / . . .

Folio. Title page (1 leaf); list of plates (3 leaves); title page in French (1 leaf ); list of plates in French (3 leaves ); 64 engraved plates.

In Vol. I the frontispiece and seventy-three of the engraved plates are the same as those in the 1727 edition. The seventy-fourth plate is a perspective of the proposed Whitehall Palace. In Vol. II an engraved perspective of Wentworth House has been added to the sixty-three plates that appeared in the 1727 edition.

See No. 59a for further information. This 1770 edition was acquired by the library during the twentieth century.

U.Va. *NA997.J7K4.1770

Phantasm / OF / AN UNIVERSITY: / WITH / Prolegomena. / BY / CHARLES KELSALL, ESQ. / AUTHOR OF "A LETTER FROM ATHENS," AND OF "A TRANSLATION OF / THE TWO LAST PLEADINGS OF CICERO AGAINST VERRES." / "

MINIME MIRUM EST SI SCIENTIAE NON CRESCANT, CUM / "A RADICIBUS SUIS SINT SEPARATAE.&rdquo / FRANCISC. BACON, Nov. Org. Aphor. lxxx. / LONDON: / PRINTED BY J. MOYES, GREVILLE STREET, HATTON GARDEN, / FOR WHITE, COCHRANE, AND CO. FLEET STREET. / M.DCCC.XIV.

Large 4to. Half title (1 leaf); title page (1 leaf ); dedication (1 leaf); half title for Part the First (1 leaf); text ([1]-123); 2 engraved plates; half title for Part the Second (1 leaf); text ([127]-74); engraved plate; list of engravings (1 leaf ); 15 engravings, all folding.

The plates were designed by Charles Kelsall. The engravers were Henry Moses (No. 47); J. Rolfe; and Charles Wild (1781-1835), an architectural painter and engraver.

In his Phantasam , (fl.18l2-20), a writer who used three pseudonyms --Zachary Craft, Arpinas Laurea, and Britannicus Mela-as well as his own name, gives his proposals for a new university, saying that the "great art of education is not to immerse minds in science, but to store them so far, that an elastic reaction and play of the intellectual powers may remain" (p. 25).

He suggests that a university should consist of six colleges, for Civil Polity and Languages, Fine Arts, Agriculture and Manufactures, Natural Philosophy, Moral Philosophy, and Mathematics. At a proposed cost of £5,000,000 he would build a complex of these six colleges, each in a single building in the center of its own courtyard, edged with dormitories, the courtyards grouped so that there is a large central court containing a chapel and a library.

He says that his main object . . . is the architectural disposition of a new University.... With the hope of but rarely violating the Vitruvian rules, of abiding generally by the spirit of the Grecian school, and of indulging occasionally in the display of the best parts of the Italian style, I have undertaken the following designs, and submit them to the candid decision of the public" (pp. 127-28).

He goes on to describe in neoclassic, but somewhat pompous, terms the ideal university's senate house, public library, and museum:

The Ionic columns are from the Temple of Erechtheus at Athens, with the omission of the flutings. The Doric are after Vitruvius, as delineated by Galiani. The Apollo of Belvedere, and Pallas of Velletri, one of the best statues of the goddess transmitted from antiquity, stand on each side of the portico of the Public Library. I know not whether my having introduced two windows in the intercolumniations of the wings will be approved. The araeostyle disposition has, however, been there adopted. The windows are rather larger than I could have wished. [P. 133]

He then suggests that the subjects for the pedimental scultpure of this group should be "Ptolemy Lagus lays the first stone of the Alexandrian Library" and "Sylla orders the Library of Apellicon, the Peripatetic, to be removed to Rome." In spite of these neoclassic directions, he also gives alternate elevations for his institution in the Saxon and Norman and Gothic Revival modes (see Plate LVII). The second part of the Phantasm contains the architectural detail.

The copy received by Jefferson for the University before he made up the want list was the gift of James Madison, but it has not survived. A duplicate has been recently acquired, the gift of the Thomas Jefferson Memorial Foundation.

U. Va. *LA637.K5.1814

Romae Antiquae Notitia , or The Antiquities of Rome. London, 1746.

Not now owned by the University.

See No. 61b.

M Sowerby 114

Romae Antiquae Notitia; / OR THE / ANTIQUITIES OF ROME. / IN TWO PARTS. /TO WHICH ARE PREFIXED /TWO ESSAYS, / CONCERNING THE / ROMAN LEARNING AND THE ROMAN EDUCATION. / BY BASIL KENNETT, of C. C. C. Oxon. / Ne desinat unquam / Tecum Graia loqui, tecum Romana vetustas. / CLAUDIAN. / FIRST AMERICAN EDITION, / EMBELISHED WITH FIFTEEN ENGRAVINGS. / PHILADELPHIA: / HICK-MAN & HAZZARD NO. 121, CHESTNUT STREET. / 1822

8vo. Folding engraving; title page ([i]); dedication ([iii]-iv); preface ([v]-vii); table of contents ([ix]-xii); text ([1]-356); index (7 leaves); scriptores (4 leaves); 14 engravings, of which 5 are folding.

Basil Kennett (1674-1715) was born at Postling, Kent. He was educated by his brother, the bishop of Peterborough; at a school at Bicester; at the house of Sir William Glynne; and at Oxford. In 1697 he was a fellow and tutor at Corpus Christi, Oxford, but in 1706 he was appointed chaplain at the English factory at Leghorn. He did not return to Oxford until 1714.

He published many works and many translations from the Greek and Latin. This work was first issued in 1696 and went into many editions, among them one in 1746 as well as this American edition of 1822.

The text included descriptions of various buildings of ancient Rome, including the Pantheon. The University owns a 1726 edition, and the plates in the American, 1822 edition are the same as those in the earlier editions.

Jefferson sold his own copy, which was the 1746 edition, to Congress. The library received the Philadelphia, 1822 edition on Jefferson's order in the section on "History-Civil-Antient" of the want list, and that copy survives.

U.Va. *DC76.K34.1822

,

Discours sur les monumens publiques, prononcé au Conseil du Département de Paris, le 15 decembre 1791, par Armand-Guy Kersaint. Paris, 1792. Not now owned by the University.

Armand-Guy Simon de Coetnempren, comte de Kersaint, (1742-93), entered the French navy in 1755. He had an active part in the early stages of the French Revolution and became a deputy for the Département de Paris, but was beheaded on December 4, 1793.

Sowerby describes the book as the first edition, a quarto of forty-seven leaves with twelve plates engraved by Poulleau (see No. 29).

The book was sold by Jefferson to Congress. He had acquired it after 1792 according to Kimball (p. 95). It was ordered by Jefferson for the University in the section on "Architecture" of the want list, but there is no record of the library's ever having acquired it.

U. Va. M Sowerby 4212

Vol. I. THE / PERSPECTIVE / OF / ARCHITECTURE. / A WORK ENTIRELY NEW; /DEDUCED FROM THE PRINCI- PLES OF / DR. BROOK TAYLOR: / And PERFORMED by / TWO RULES only of Universal Application. / BEGUN BY / Command of His Present MAJESTY / WHEN / PRINCE OF WALES / BY / JOSHUA KIRBY, Designer in Perspective to His MAJESTY.

/ LONDON: / PRINTED FOR THE AUTHOR, / By R. FRANCKLIN, in Russel-Street, Covent-Garden: / and SOLD by T. PAYNE, at the Mews-Gate; Messrs. KNAPTON and HORSEFIELD, in Ludgate-Street; / Messrs. DODSLEY, in Pall-Mall. T. LONGMAN, in Paternoster-Row; T. DAVIES, in Russel-Street, / Covent-Garden; and J. GRETTON, In Bond-Street. 1761.

Folio. Engraved frontispiece; title page (1 leaf); dedication (1 leaf); preface (2 leaves); introduction ([i]-ii); text (1-60); index and errata (1 leaf).

Vol. II. [No title page.]
Folio. 73 engraved plates.

The engraved frontispiece by Hogarth (see Plate LVIII) was used in Vol. I of this book first, although it was also used two years later in No. 24. The engravers were James Basire (see No. 3); Samuel Boyce (d. 1775), English; J. Fougeron (see No. 23); C. Grignion (see No. 23); John Joshua Kirby, Jr. (see below); Peter Mazell (fl.1761-97), English; F. Patton (see No. 3); and John Ryland (fl.1757-90), English.

John Joshua Kirby the younger (1716-74) was the eldest son of John Kirby, a schoolmaster and topographer. The younger Kirby was born at Wickham Market, Suffolk. He was trained first as a coach and house painter. He knew Gainsborough at Ipswich, tried landscape, then studied linear perspective at St. Martin's Lane Academy, where he later taught it. He was a friend of Hogarth, who designed the frontispiece for this book. Gainsborough remained Kirby's friend and asked to be buried beside him at Kew.

Besides being the designer in perspective to His Majesty (George III) and clerk of the works at Kew Palace, he was elected F.R.S. in 1767, F.S.A. in 1768, and was both secertary and president (1768) of the Society of Artists. In addition to this work, which was first issued in 1761, Kirby had earlier published Dr. Brook Taylor's Method of Perspective Made Easy, Both in Theory and Practice , 1754. This book was based on Dr. Taylor's (1685-1731) two treatises, Linear Perspective , 1715, and New Principles of Linear Perspective , 1719. Kirby later published Dr. Brook Taylor's Method of Perspective Compared with the Examples Lately Published . . . as Sirifatti's by J. Ware . . . Being a Parallel between Those Two Methods of Perspective. In Which the Superior Excellence of Taylor's Is Shown , ca.1767.

Kirby scrupulously differentiates between his and Dr. Taylor's contributions to this work:

All the figures, which are produced as general rules in this work, I have ventured to call my own; not having had any other assistance herein, than some elegant designs for the Perspective; and likewise all the prints which particularly relate to the architectonic sector, which is an instrument of a new and curious construction; and by which, persons wholly unacquainted with architecture, may be enabled to delineate any part of it, with elegance and exactness.

Now if any one should say, that my rules (strictly speaking) may all be obtained from the study of Dr. Taylor, I would answer, that the same kind of remark will hold good against every mathematician, that has wrote since the time of Euclid....

I make no doubt, however, that the method for drawing many of the finished examples, will at least be considered as new. [Preface]

It shall be our business to strike into a new path, and endeavour to establish such principles for this part of perspective as shall have a rational theory, and fully answer the end proposed by them. [P. i] He then describes the organization of his book:

This volume is divided into four books, and each of these into several sections. In the first book we have given a few simple, but general rules. In the second book we have shewn how, with these rules, to put all the five orders of architecture into perspective. The third book relates wholly to the doctrine of light and shadows which explains this part of perspective in a new and familiar manner. In the fourth and last book, we have shewn the application of our general rules, beginning with simple colonnades, and ending with elegant structures. [P. ii]

This is a sumptuous work, surely one of the most handsome of all the books on perspective that have been published. In addition to his textual acknowledgment of his debt to Dr. Taylor, Kirby made a pictorial acknowledgment, for he includes a plate, No. LV, which shows a shrine to Dr. Taylor. This plate is dedicated to Dr. Taylor's daughter (see Plate LIX). It is also said that George III contributed the design for the house engraved on Plate LXIV of Kirby's book.

Although we do not know exactly when the set came into Jefferson's library, Kimball (p. 95) points out that it was purchased sometime between 1785 and 1789 and that the method of perspective described is that used by Jefferson in his bird's-eye view of the University of Virginia (N-335). One must, however, admit the view is not completely successful.

Jefferson specifically ordered this edition for the University in the section on "Architecture" of the want list, though there is no record of the library's having acquired it during Jefferson's lifetime. His own set was sold to Congress. The library's present set entered the collections recently, the gift of the Thomas Jefferson Memorial Foundation.

U.Va. M *NA2710.K6.1761 Sowerby 4207

PLANS, COUPES, ÉLÉVATIONS / DES PLUS BELLES / MAISONS ET DES HOTELS / CONSTRUITS A PARIS ET DANS LES ENVIRONS. / PUBLIÉS PAR J. CH. KRAFFT, ARCHITECTE, ET N. RANSONNETTE, GRAVEUR.

/ A PARIS / Chez / LES deux AssociÉs, KRAFFT, Architecte, rue de Bourgogne, No. 1463, fauxbourg Saint-Germain; /et RANSONNETTE, Graveur, rue du Figuier, No. 43, quartier Saint-Paul; / CH. POUGENS, Imprimeur-Libraire, quai Voltaire, No. 10; / FUCHS, Libraire, rue des Nathurins Saint-Jacques, No. 334; / CALIXTE VOLLAND, Libraire, quai des Augustins, No. 25; / LEVRAULT, Libraire, quai Malaquais, au coin de la rue des Petits-Augustins./

GRUNDRISSE, DURCHSCHNITTE UND AUFRISSE / DES SCHOENSTEN IN PARIS /UND DER UMLIEGENDEN GEGEND BEFINDLICHEN HAEUSER UND PALLAESTE. / HERAUSGEGEBEN VON J. CH. KRAFFT, BAUMEISTER, UND N. RANSONNETTE, KUPFESTECHER. . / PLANS, FORMS, ELEVATIONS / OF THE MOST REMARKABLE / HOUSES AND HOTELS /ERECTED IN PARIS AND ITS ENVIRONS / PUBLISHED BY J. CH. KRAFFT, ARCHITECT, AND RANSONNETTE, ENGRAVER.
Folio. Engraved frontispiece; title page (1 leaf); "conclusion" (1 leaf); note ([1]-2); 20 cahiers, each with 1 leaf of description of the plates and six engraved plates.

The engraver Pierre Nicolas Ransonnette (1745-1810) was a Parisian who had been a student of Choffard and had held the appointment of draftsman and engraver to Monsieur, brother of the king (see also No. 40). For the engraved frontispiece, see Plate LX.

Johann Karl Krafft (1764-1833), though an Austrian, lived and worked mostly in Paris. He says in the English portion of his note that the

revolution, which has taken place in the arts, and particularly in architecture, since the last twenty five years in France, has been remarked by every man of taste.

Knowledge, which has spread itself throughout every class of society, a passion for traveling, and progressive improvements have brought about in the art of building, and decorating public edifices verv remarquable [sic] changes. The great number of private Houses, erected in the new parts of the town for opulent proprietors, who brought back with them from their travels in Italy, and other Countries the taste of Novelty, and a certain propensity of deviating from the old, servile method of Building, of freeing themselves from many received prejudices, operated a complete change in the outward features of architecture; and those foreigners, who fancy they acquire a perfect idea of this art in consulting the old collections of our Buildings, or in deriving their principles from these works, which have formerly treated of this subject, are vastly mistaken.

We look upon it as an important service rendered to society to publish, what may well be called the monuments of architecture regenerated in the nineteenth Century, and those, which towards the end of the eighteenth, have prepared this regeneration.

We have, therefore, made choice of those Buildings, the most elegant, the most agreable, as well for the outward, as the inward distribution and decorations; and in order to present them the more faithfully, we have consulted the Artists themselves, under whose care they have been erected....

We shall not allow ourselves the least censorious reflexion on the works of men, the greatest part of whom are still living, in order that every one may enjoy the greatest latitude of judging.... Moreover it appears to us, that it only belongs to the following generation, to judge impartially the preceeding one; for we often view too near our contemporaries, and can seldom disengage ourselves from the influence of our passions. We are actuated either by hatred or friendship, and we have too many examples before us of critics, who, whether severe or indulgent, have judged, without meaning so perhaps, the person of the author, while they imagined that they only judged his works. [Pp. ( 1 )-2]

This is a surprisingly inclusive book with its illustrations of notable late eighteenth-century Parisian buildings. The work of no less than forty-three architects is represented, among them Bellanger, Boullée, Durand, Ledoux (including his own house), Legrand, Moitte, Rousseau, and Soufflot. All the years from 1762 to 1802 are represented with the exception of 1763-66, 1768-69, 1771, 1773, 1782, 1785, 1791, and 1794.

Several plates in the book seem to have possible Jeffersonian connections. That for the "House belonging to M. Vassale, situated in the street Pigalle, near by the Chausée d'Antin, built in the year 1788, by M. Henry, Architect" shows a circular building with enlongated oval, octagonal, and irregularly shaped rooms fitted within the circle. The oval rooms Jefferson later put in the Rotunda for the University of Virginia are reminiscent of this arrangement, although there seems to be a closer precedent for the Rotunda plan in the Steiglitz Plans et dessins (No. 117).

Two other plates, Nos. 73 and 74 (see Plates LXI and LXII), may have strengthened Jefferson's remembrance of what Krafft called "the Hotel Salm, Lille street, built in the year 1787, by Rousseau, Architect." Certainly Jefferson had known this building very well in Paris, going nearly every day to look at it, and it seems to have had a certain influence on his shaping of the Lawn at the University (see Plate LXIII). The colonnade surrounding the court of the Hotel de Salm, with a dominant portico at the end and a pavilionlike arched entrance on either side into service courts, may very well have been a remembered prototype for the Lawn. See William B. O'Neal, "Origins of the University Ground Plans," University of Virginia Alumni News, L (Nov. 1962), 6.

And finally there is the Krafft plate No. 49 (see Plate LXIV), the "House of Mrs. Guimard, Mont-Blanc street, built in the year 1770 by Ledoux, Architect." On the drawing Jefferson made for Pavilion IX at the University (see Plate LXV), he wrote "Latrobe," indicating that it derived from some suggestions Latrobe had sent him for the University. Jefferson's composition must certainly have derived from the Guimard house also, though the derivation may very well have been second- or thirdhand through Latrobe and possibly others. Jefferson could have seen the house during his stay in Paris; it was illustrated in this book; and both Latrobe and his pupil Robert Mills, who was also Jefferson's pupil and friend, used similar compositions. Note: p179.f2

Sowerby notes that Jefferson bought the Krafft on December 24, 1804, for $40.00. During the following year he tried to get whatever further parts might have been issued, but Part XX, which he already had, was the last. His copy was later sold to Congress.

He ordered the book for the University in the section on "Architecture" of the want list, but there is no record of the library's having acquired it during his lifetime. The library's present copy is a recent purchase, the gift of the Thomas Jefferson Memorial Foundation.

U.Va. M *NA7348.P2K8.1803 Sowerby 4214

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