Descriptive Catalogue Part 3: L-O

Raccolta di gemme antiche figvrate, incise da Pietro Santi Bartoli ed illustrate da Michelangelo Causeo de La Chausse. 2 vols. Rome, 1805.

Not now owned by the University.

Michel Ange de La Chausse (fl.1700), although French, lived most of his life in Rome.

Pietro Santi Bartoli (1635-1700) was an Italian painter and engraver. As an engraver he executed plates not only from antiquity but also after pictures by Raphael, Annibale Carracci, Lanfranco, and others.

Jefferson had owned a work listed in Sowerby as Le gemme antiche figurate di Michel Angelo Causeo de La Chausse (Rome, 1700). Since its title page was engraved by "Petrus Sanctes Bartolus," it may very well be the first, or at least an early, edition of this work. It is described as a quarto volume with 200 engraved plates of gems.

Jefferson ordered this, the second (?), edition of the work for the University in the section on "Gardening. Painting. Scultpure. Music" of the want list, but there is no record of its ever having been received.

U. Va. M Sowerby 4232

RECHERCHES / SUR / LA PRÉPARATION / QUE LES RO- MAINS / DONNOlENT / à LA CHAUX / Dont ils se servoient pour leurs construc-/tions, & sur la composition & l'emploi / de leurs Mortiers. / Par M. DE LA FAYE, Trésorier g&ecute;né ral des / Gratifications des Troupes.

/ A PARIS, / DE L'IMPRIMERIE ROYALE. / M.DCCLXXVII.

8vo. Title page ([i]); note (iii-vi); text ([1]-83); [new pagination:] index (i-ix).

The book contains two other essays bound in, the Mémoire sur une découverte dans l'art de bâtir by Sr. Loriot and La Faye's Mémoire pour servir de suite aux recherches sur la préparation que les romains donnoient à la chaux , neither of which are a part of the previous work.

La Faye says:

Si les anciens monumens qu'offre l'Italie, ne devoient leur conservation qu'à la chaleur du climate & à la qualité particulière des sables & des pierres que le sol y produit, il ne resteroit aucuns vestiges des constructions qui ont éété faites par les Romains au nord de la France & en Angleterre, avec les seules matières que le pays leur procuroit. Il semble donc que la durée & la soliditée des anciens monumens sont dûes à la qualitÉ des matières, qu'à la façon de les employer. Cette réflexion m'a engagé à faire des recherches sur les constructions des Romains. J'ai recueilli tout ce que les Auteurs anciens ont écrit sur ce sujet, & après avoir comparé leurs textes, j'ai reconnu qu'il s'accordoient parfaitement sur une mannière de préparer la chaux, qui est ignorée de nos jours, & qui diffère absolument de la nôtre. J'ai fait éteindre de la chaux suivant ce procédé, je l'ai m≖lée avec nos sables, comme ont fait les Romains, en observant dans les divers mélanges, les proportions indiquées par les Auteurs. Les mortiers que ces effais m'ont procurés, ont acquis une si grande dureté, que j'ai cru pouvoir les employer aux différens travaux de construction & d'embellissement auxquels ils étoient propres. D'après le succès qu'ont eu mes épreuves, j'ose me flatter qu'en sy conformant, on parviendra à donner à nos constructions la même solidité que nous remarquons dans celles des Romaines. [Pp. (1)-3]

Jefferson was undecided about the classification of this book, for, as Sowerby notes, in his own catalogue he first listed it under "Technical Arts" and then transferred it to the section on "Architecture." Kimball (p. 95) says Jefferson bought his copy betwen 1785 and 1789. It was sold to Congress, where it was put back under "Technical Arts."

Jefferson ordered it for the University in the section on "Technical Arts" of the want list, but there is no record of its acquisition until the recent duplicate entered the collections. It is the gift of the Thomas Jefferson Memorial Foundation.

U.Va. M *TP881.L67.1777 Sowerby 1176 and 4205

Vol. I. ANNALES DU MUSÉE / ET DE / L'ÉCOLE MODERNE DES BEAUX-ARTS. / RECUEIL de Graveurs au trait, d'après les principaux / ouvrages de peinture, sculpture, ou projets d'archi-/tecture qui chaque année ont remporté le prix, soit / aux écoles spciales, soit aux concours nationaux; / les productions des Artistes en tous genres, qui, aux/ différentes expositions, ont été citées avec éloges; / les morceaux les plus estimés ou inédits de la galerie / de Peinture; la suite complète de celle des Anti-/ques; édifices anciens et modernes, etc. Rédigé par / C. P. LANDON, Peintre, ancien Pensionnaire de / la République, a l'école des Beaux-Arts à Rome; / membre de l'Athénée des Arts, de la Société Philo-/technique; de celle libre des Sciences, Lettres et / Arts de Paris; et Associé-Correspondant de la Société d'émulation d'Alençon.

/ TOME PREMIER. / A PARIS, / Chez C. P. LANDON, Peintre, au Louvre. / DE L'IMPRIMERIE DES ANNALES DU MUSÉE. / AN IX. - 1801.

8vo. Half title ([i]); engraved frontispiece (1 leaf); title page ([iii]); dedication ([v]); table of contents ([vii]-xii); text, with 72 engravings inserted ([1]-148).

Vol. II. [Not now owned by the University.] Vol. III. [Not now owned by the University.] Vol. IV. ANNALES DU MUSÉE / . . . / TOME QUATRIÈME. /
8vo. Half title (1 leaf); engraved frontispiece (1 leaf); title page (leaf); table of contents ([i]-vi); text, with 72 engravings inserted (9-152)

Vol. V. ANNALES DU MUSÉE / . . . / TOME CINQUIÈME. /
8vo. Half title (1 leaf); engraved frontispiece (1 leaf); title page (1 leaf); table of contents ([i]-vi); text, with 72 engravings inserted (9-152); dedication (1 leaf).

Vol. VI. ANNALES DU MUSÉE / . . . / TOME SIXIÈME. / . . / AN XII. - 1804.
8vo. Half title (1 leaf); engraved frontispiece (1 leaf); title page (1 leaf); table of contents ([i]-vi); text, with 72 engravings inserted (9-151).

Vol. VII. ANNALES DU MUSÉE / . . . /TOME SEPTIÈME. / . . . / An XII.-1803.
8vo. Half title (1 leaf); engraved frontispiece (1 leaf); title page (1 leaf); table of conents ([i]-vi); text, with 72 engravings inserted (9-151).

Vol. VIII. ANNALES DU MUSÉE / . . . / TOME HUITIÈME. / . . .
8vo. Half title (1 leaf); engraved frontispiece (1 leaf); title page (1 leaf); table of contents ([i]-ii); subscription form (1 leaf); text, with 72 engravings inserted (9-152).

Vol. IX. ANNALES DU MUSÉE / . . . / RECUEIL de Gravures au trait, contenant la collection / complète des peintures et sculptures du Musée Napo-/léon; les principaux ouvrages de peinture, sculpture, / ou projets d'architecture qui, chaque année, ont rem-/porté le prix aux concours public; les productions des / Artistes en tous genres, qui, aux différentes expositions, / ont été cités avec éloges; édifices public, etc. / Rédigé . . . / TOME NEUVIÈME. / . . .
8vo. Half title (1 leaf); engraved frontispiece (1 leaf); title page (1 leaf); table of contents ([i]-v); text, with 72 engravings inserted (9-147).

Vol. X. ANNALES DU MUSÉE / . . . / TOME DIXIÈME. / . .
8vo. Half title (1 leaf); engraved frontispiece (1 leaf); title page (1 leaf); table of contents ([i]-v); subscription form (1 leaf); text, with 72 engravings inserted (9-148).

Vol. XI. ANNALES DU MUSÉE / . . .
8vo. Half title (1 leaf); engraved frontispiece (1 leaf); title page (1 leaf); table of contents ([i]-vi); dedication (1 leaf); text, with 72 engravings inserted (9-149).

Vol. XII. ANNALES DU MUSÉE. / . . . / TOME DOUZIÈME. /
8vo. Half title (1 leaf); engraved frontispiece (1 leaf); title page (1 leaf); table of contents ([i]-vi); dedication (1 leaf); text, with 72 engravings inserted (9-150).

Vol. XIII. ANNALES DU MUSÉE / . . . / RECUEIL de Gravures au trait, contenant la collection / complète des Peintures et Sculptures du Musée Na-/poléon et de celui de Versailles; les objets les plus / curieux du Musée des Monumens francais; les prin-/cipales productions des Artistes vivans, en peinture, / sculpture et architecture, édifices publics, etc.; avec / des notices historiques et critiques.
8vo. Half title (1 leaf); engraved frontispiece (1 leaf); title page (1 leaf); table of contents ([i]-vi); dedication (1 leaf); text, with 72 engravings inserted (9-152).

Vol. XIV. ANNALES DU MUSÉE / . . . /TOME QUATORZIÈME. /. . .
8vo. Half title (1 leaf); engraved frontispiece (1 leaf); title page (1 leaf); table of contents ([i]-vi); text, with 71 (of a total of 72) engravings inserted (9-148).

Vol. XV ANNALES DU MUSÉE / . . /TOME QUINZIÈME. /
8vo. Half title (1 leaf); engraved frontispiece (1 leaf); title page (1 leaf); table of contents ([i]-iv); text, with 72 engravings inserted (9-140).

Vol. XVI. ANNALES DU MUSÉE / . . /TOME SEIZIÈME. / . . .
,p 8vo. Half title ([i]); engraved frontispiece ([iv]); title page ([v]); table of contents ([vii]-x); dedication (1 leaf); text, with 72 engravings inserted (3-136); note to printer (1 leaf).

Vol. XVII. PAYSAGES / ET / TABLEAUX DE GENRE / DU MUSÉE NAPOLEON; / Gravé a l'eau forte par divers artistes, et publies par/ C. P. LANDON, peintre, ancien pensionnaire de / l'Académie de France, &aggrave; Rome; membre de plusiers / Société littéraires. / Recueil pouvant faire suite aux Annales du musée, par le même / Auteur; et réunissant, comme cette dernière collection, un choix / de productions modernes, avec l'explication des planches.
8vo. Half title (1 leaf); engraved frontispiece (1 leaf); table of contents, misbound from another volume ([i]-vi); [new pagination:] table of contents (iii-iv); dedication (1 leaf); note to publisher (1 leaf); text, with 71 engravings inserted (9-97).

Binder's number for this is Volume I.

Vol. XVIII. ANNALES DU MUSÉE / . . . / PAYSAGES ET TABLEAUX DE GENRE. / TOME DEUXIÈME. / . . .
,p 8vo. Half title (1 leaf); title page (1 leaf); table of conents ([i]-v); text, with 70 engravings inserted (5-88).

Binder's number for this is Volume II.

Vol. XIX. ANNALES DU MUSÉE / . . . / PAYSAGES ET TABLEAUX DE GENRE. / TOME TROISIÈME. / . . . /1808.
,p 8vo. Half title (1 leaf); title page (1 leaf); table of contents, misbound from Vol. III ([iii]-iv); [new pagination:] partial table of contents (iii); note (1 leaf); text, with 72 engravings inserted (3-76).

Binder's number for this is Volume III. Volume III of the PAYAGES series serves as both Vols. III and IV of that series, thus completing the set.

Vol. XX (?). [Not now owned by the University.] Vol. XXI (?). ANNALES DU MUSÉE / . . . / TOME COMPLEMENTAIRE. / . . . /1809.
8vo. Half title (1 unnumbered p.); advertisement (1 unnumbered p.); engraved frontispiece (1 leaf); dedication [54]; avis ([7]-8); table of plates ([9]-14); text (15-134), with 99 engravings of which 7 are folding inserted; table generale ([135]-209). Binder's number for this is Volume XVII.

The engravings in Vols. I-XVI are largely by Charles Pierre Joseph Normand (see No. 40) and are executed in a neoclassic line making all the works of art look as though they were by the same artist. Volumes XVII-XIX have plates in chiaroscuro.

Charles Paul Landon (1760 1826) was born at Nonant, Nor- mandy. He studied at the atelier Regnault and at Rome. He became known both as a genre painter and for his writings on art. He issued over ten different titles, was associated with the Journal des arts, des sciences, et de la littrature, and was a proprietor of the Gazette de France. He dedicated his first volume of his Annales A MADAME BONAPARTE. MADAME,

Vous aimez les Arts, comme votre illustre Epoux aime la gloire, avec idoltârie! La gloire l'a récompensé; les arts vous doivent leur hommage.

Ce recueil, que j'ose vous dédier, est destiné à retrace les chefs-d'oeuvre que la France posséde. Ils se multiplieront par les encouragemens que vous prodiguez aux artistes.

Agréez avec bienveillance ce faible tribut de ma reconnaissance et de mon respect.

LANDON. [I, (v)]

The volumes contain ancient and modern examples of painting and sculpture, as well as some plates of buildings. Most notable among the buildings, perhaps, is that on Plate 68 of Vol. VII, which is the "Façade de l'hotel de Salm." He says of this building, already discussed in No. 64: "L'hotel de Salm, aujourd'hui le palais de la Legion d'hon-neur, . . . est une des plus riches et des plus fastueuses habitations qui qui [sic] aient été érigées à Paris, depuis vingt-cinq années" (VII, 143).

Jefferson owned and sold to Congress a ten-volume set, complete only for volumes issued to 1806. His order for the University for twenty volumes in the section on "Gardening. Painting. Sculpture. Music" of the want list shows that he was aware of the supplement. Hilliard apparently filled the order with a sixteen-volume set consisting of the supplement and Vol. IV-XVI of the main set. This is the set described in the 1828 Catalogue. It is still in the library, but Vols. I and XXI have recently been added to it, the gift of the Thomas Jefferson Memorial Foundation. Volumes II and III are still missing, as is Vol. XX unless the double volume of Vol. XIX serves also as Vol. XX.

U.Va. M *N2010.L3.1800 Sowerby 4244

Practical Geometry / Applied to the USEFUL ARTS of / Building, Surveying, Gardening and Mensuration; / Calculated for the SERVICE of / GENTLEMEN as well as ARTISANS, / And set to View / In FOUR PARTS, / CONTAINING, / I. PRELIMINARIES or the Foundations of the several ARTS / above-mentioned. / II. The various Orders of Architecture, laid down and improved from / the best Masters; with the Ways of making Draughts of Buildings, Gardens, / Groves, Fountains, &c. the laying down of Maps, Cities, Lordships, Farms, Sc. / III. The Doctrine and Rules of Mensuration of all Kinds, illustrated by / select Examples in Building, Gardening, Timber, Sc. / IV. Exact Tables of Mensuration, shewing, by Inspection, the Super-/ficial and Solid Contents of all Kinds of Bodies, without the Fatigue of Arithme-/tical Com-putation: / To which is annexed, / An Account of the Clandestine Practice now generally obtaining in / Mensuration, and particularly the Damage sustained in felling Timber by Measure. / The WHOLE / Ex-emplify'd with a large Number of Folio Copper Plates, curiously / En-graven by the best Hands. /By BATTY LANGLEY.

/The Second Edition. / LONDON: / Printed for AARON WARD at the King's-Arms in Little-Britain. 1729.

Small folio. Bookseller's advertisement (1 leaf); two- color title page (1 leaf); dedication (1 leaf); preface ([i]-viii); table of contents (4 leaves); text ([1]-136); 40 engraved plates, of which 25 are double.

Batty Langley (1696-1751) was born at Twickenham, Middlesex, the son of a gardener. He worked first as a landscape gardener, but he moved to London ca.1736. There he started, with his brother Thomas, an academy of architectural drawing; one source says that his pupils were carpenters. He also had a large surveying connection and was a valuer of timber. A building he designed for Nathaniel Blackerby, son-in-law of Nicholas Hawksmoor, was called in the press &ldquoa curious grotesque temple, in a taste entirely new" (DNB).

He wrote no less than twenty-one books, almost all of which appeared in many editions. The Practical Geometry was first issued in 6; this edition of 1729 is labeled &ldquoSecond Edition,&rdquo though one authority gives issues for both 1728 and 1729. The work is really a how-to-do-it book, and Langley says:

My design . . . is to treat of architecture, gardening, mensuration and Land-surveying, in a method as easy and intelligible as it is new and generally useful. I shall begin with the fundamental, or first principles of these several arts, and gradually conduct my reader from the easier parts of 'em up to the hardest, taking particular care all along to let him see the utile as well as the dulce thereof; the fruitful practice, and not the barren theory only. From a failure of authors in this point, I apprehend it is that these arts are at present much less cultivated than they merit. An author cannot do them greater jus- tice, than to paint them as they are, most useful and delightful employments; of great importance in human life. To convince the world of this truth, as it is the design, so it wou'd be the highest recommendation of the present treatise.

One should note that the garden designs are still formal (see Plate LXVI), although a few meandering paths do appear within the formal divisions of the plates.

Jefferson sold his copy of the 1729 edition to Congress. He 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 *T353.L28.1729 Sowerby 4185

Vol. I. TRAITÉ / D'ARCHITECTURE / AVEC / DES RE- MARQUES / ET DES OBSERVATIONS / TRES-UTILES / Pour les Jeunes Gens, qui veulent s'appliquer / à ce bel Art. / Par SEB. LE CLERC, Chevalier Romain, / D. & G. O. du C. du Roy. / A PARIS,

/ Chez PIERRE GIFFART, Libraire & Graveur du Roy, /rue S. Jacques, à l'Image de Sainte Therese. / MDCCXIV. / AVEC: APPROBATION ET PRIVILEGE DE SA MAJESTÉ.

4to. Title page (1 leaf); note to reader (3 unnumbered pp.); license (3 unnumbered pp.); text ([1]-194); table of contents (1 leaf).

Vol. II. TRAITÉ / D'ARCHITECTURE / SECOND VOLUME / Contenant / LES FIGURES.
4to. Engraved title page (1 leaf); engraved half title (1 leaf); 181 engraved plates.

Sébastien Le Clerc (1637-1714) was born at Metz. Taught by his father, a silversmith and engraver, he began engraving at the age of seven and at twelve astonished observers by his ability. In 1665 he went to Paris where Le Brun took him under his protection. He was given a flat at the Gobelins by Colbert in 1669; in 1672 he was a member of the royal academy; a little later he was appointed professor of geometry; in 1690 he was made draftsman and engraver to the king; and in 1706 he was created a Roman knight.

Le Clerc became the father of a son, also Sébastien (1676-1763), a painter who in turn became the father of a son, Sébastien Jacques (1734-85), sometimes called Leclerc des Gobelins, who was both a painter and an engraver.

Le Clerc published many books, among them the next entry, No. 70, and at least two works on perspective. The Traité d'architecture was first issued in this edition and later translated into Russian on the order of Peter the Great. All the plates of this work were engraved by Le Clerc, the last one executed just six months before his death.

The work was an early example of the French "cours d'architecture," written especially for the young man wishing to become a professional architect. The plates are particularly well drawn and handsomely engraved (see Plate LXVII), as one would expect of a man whom Desgodetz (No. 36) called one of the best engravers in France.

Le Clerc begins his book with a series of definitions and requirements for the study of architecture: L'Architecture en general est l'Art de bien bâtir; & cet Art se distingue en deux parties principales, l'une Civile, & l'autre Militaire.

La Civile a pour but, de mettre les hommes à couvert des injures du temps, de leur donner des demeures & des habitations solides, convenables, commodes, saines & agreables.

. . . Dans le Dessein, on fait attention à la distribution des appartemens, a leurs commoditez & usages; à la belle apparence du Bâiment, au juste accord & rapport de ses parties, & leurs proportions & élegance. [I, (1)-2]

Cette belle & noble maniere de bâtir, est celle dont les anciens Grecs & Romains nous ont donnez les premiers idées, par les Bâtimens magnifiques qu'il élevoient pour la gloire de leurs faux Dieux, de leurs Princes, & sur-tout pour la magnificence publique....

On distingue cette Architecture de la commune & de l'ordinaire, par ses ordres de Columnes & de Pilastres, par leur accompagnemens, comme les Frontons, les Niches, les Balustrades, les Vases, les Statues, & les autres ornemens. Par ce nobles & riches ordonnances de Portails, de Vestibules, de Peristyles, de Dmes, de Salons, & de Portiques que les Architects ont inventez, pour composer ces grands & pompeux Edifices, que marquent toûjours la gloire de ceux pour qui ils sont élevez. [Pp. 4-5]

Entre les Arts, celui de l'Architecture est un des plus étendus & des plus difficiles; c'est pourquoi un jeune homme qui vent s'y appliquer & s'y rendre habile, ne doit negleger aucune des connoissances qui peuvent lui ouvrir l'esprit, lui donner du genie, de l'exactitude, & du bon goût pour tout ce qui peut avoir quelque rapport aux Bâtiments.

Ces études peuvent neanmoins se réduire au Dessein, à la Geometrie, à l'Arithmetique, aux Mecaniques ou Forces mouvantes, à la Coupe des pierres, à la Perspective, au Nivellement, & aux Hydroliques. [P. 6]

The copy that Jefferson sold to Congress had the work bound in one volume. Kimball (p. 96) says Jefferson had acquired his copy between 1785 and 1789. The library still owns the set acquired on Jefferson's order in the section on "Architecture" of the want list (see Plate LXVIII). It is in two volumes, not one as specified.

U.Va. M *NA2515.L46.1714 Sowerby 4180

Traité de géométrie théorique et pratique, à l'usage des artistes . Paris, 1774.
Not now owned by the University.

For information about Le Clerc, see No. 69. Sowerby says that the 1774 edition is an octavo of 124 leaves with 54 folded engraved plates. The first edition of this work has been variously dated as either 1668 or 1669, but the 1744 edition seems to be the first with engravings.

From an examination of the 1764 edition which is on the Uni- versity's shelves (*QA464.L46.1764) it would appear, in spite of the charming engravings after drawings by Cochin fils, that the book is essentially a handbook of geometry for artisans, who are, presumably, the "artistes" of the title.

Jefferson's own copy of this work was sold to Congress. Although he had not ordered it for the University, there was a copy of the 1764 edition in its collections before 1828, but it has not survived.

M Sowerby 3710

GALERIES / DES ANTIQUES, / OU / ESQUISSES des Statues, Bustes et Bas-reliefs, / fruit des conquêtes de l'Armée d'Italie. / PAR AUG. LEGRAND.

/ A PARIS / CHEZ ANT. AUG. RENOUARD / XI. - 1803.

8vo. Half title (1 leaf); engraved frontispiece (1 leaf); title page ([i]); dedication ([iii]); introduction ([v]-viii); text, with 92 engraved plates inserted ([1]-51).

Augustin Legrand (fl.1803-30) issued his Galeries des antiques to celebrate the removal to Paris of many works of art from Italy after Napoleon's conquests there. He says:

La Galerie des Antiques du Musée central des Arts de France, est un des plus superbes trophées élevés à la gloire de l'Armée d'Italie, car fort peu d'objets provenant de l'interieur de la France y ont été ajoutés.

C'est au Capitole et au Vatican que ces chefs-d'oeuvres ont été choisis par les citoyens Barthelemi, peintre, et Moitte, sculpteur, commissaires nommés par le Gouvernement, a la recherche des objets de sciences et arts . . . an exécution du traité de Tolentino. [P. (v)]

Nous offrons donc ce Recueil aux artistes, aux élèves, a tous nos concitoyens sur-tout aux étrangers comme une réminiscence utile et agreable. [P. viii]

In Jefferson's third manuscript catalogue of his collection of works of art, the entry concerning a statue in the hall at Monticello says "#17. a Cleopatra in marble. # see this correction pa. 11,&rdqo; and the correction says "see Notice de la Galerie des Antiques du Musee Napoleon. No. 60." Jefferson mistook the number, which is "59. Ariadne," in the Galeris des antiques, illustrated on Plate No. 5 (see Plates LXIX and LXX). Legrand says:

Cette figure est plutôt connue sous le nom de Cléopâtre.

Couchée sur les rochers de Naxos, ou le perfide Thésée vient de l'abandonner, Ariadne est ici représentée endormie, telle qu'elle était au moment où Bacchus l'appercevant, en devint amoureux, et telle que plusieuers monumens antiques de Sculptures et de Poësie nous la retracent. Sa tunique à demi-détachée, son voile négligemment jeté sur sa tête, le désordre de la draperie dont elle est enveloppée, témoignent les angoisses qui ont précédé cet instant de calm. A la partie supérieure du bras gauche, on observe un bracelet qui a la forme d'un petit serpent, et que les Anciens appelaient ophis . C'est ce brasselet [ sic ], pris pour un véritable aspic, qui a fait croire long-tems que cette figure représentait Cléopâtre se donnant la mort par la piqûre de ce reptile.

Cette statue, en marbre de Paros, a fait pendant trois siècles, l'un des principaux ornemens du Belveder du Vatican, où Jules II le fit placer; elle y décorait une fontaine, et donnait son nom au grand corridor construit par le Bramante. [P. 4]

Jefferson's own copy was sold to Congress. He ordered the work for the University in the section on "Gardening. Painting. Sculpture. Music" of the want list, and it was in the library by 1828. That set has survived until the present.

U.Va. M *N2030.L5.1803 Sowerby 4243

A / TREATISE / OF / PAINTING, / BY / Leonardo da Vinci. / Translated from/The Original Italian, /And adorn'd with a great Number of Cuts. / To which is prefix'd, / The AUTHOR'S LlFE; / Done from / The Last Edition of the French. / LONDON;

/ Printed for J. SENEX at the Globe in Salisbury / Court; and W. TAYLOR, at the Ship in Pater-/Noster-Row. MDCCXXI.

8vo. Engraved frontispiece (1 leaf); two-color title page (1 leaf); dedication (2 leaves); translator's preface (5 leaves); life of Leonardo ([1]-27); text, with 34 engraved plates, of which 4 are folding ([29]-189); index ( 3 leaves); bookseller's advertisement (1 unnumbered p.).

John Senex (d. 1740) was a cartographer, an engraver, and a bookseller in London.

Leonardo da Vinci (1452-1519), Italian man of the Renaissance and painter, has towered above most of the other figures of the Renaissance through the subsequent centuries. His Treatise of Painting has had many editions in many languages. It was first issued in 1651. Sowerby notes that this edition in English is the first of this translation, which was made from the 1716 edition of the French translation by Roland Frart de Chambray (No. 46), first issued during the same year as the first Italian edition.

According to the manuscript catalogues of Jefferson's collection of paintings and sculpture, he owned a painting copied from the St. John of Leonardo. The painting hung in the hall at Monticello and is described by Jefferson in his third catalogue as "a bust of the natural size. The right han[d] pointing to heaven, the left, deeply shaded, is scarcely s[een] pressing his breast which is covered by his hair flowi[ng] thickly over it. It is seen almost full face. On canv[as]. Copied from Leonardo da Vinci." In the original the hand is covered as much by St. John's hair shirt as by his own hair.

Jefferson's own copy was sold to Congress. He ordered it for the University in the section on "Gardening. Painting. Sculpture. Music" of the want list, but there is no record of its having been received. The present copy in the library is from the collection of T. W. Tottie.

U.Va. M *ND1130.L6.1721 Sowerby 4237

LES RUINES / DES PLUS BEAUX / MONUMENTS / DE LA GRECE:/ OUVRAGE DIVISÉ EN DEUX PARTIES,/Où L'ON CONSIDERE, DANS LA PREMIERE, CES MONUMENTS / DU COTÉ DE L'HISTOIRE; ET DANS LA SECONDE, / DU COTÉ DE L'ARCHITECTURE. / Par M. LE ROY, Architecte, ancien Pensionnaire du Roi à Rome, / & de l'Institut de Bologne.

/ A PARIS, / Chez / H. L. GUERIN & L. F. DELATOUR, rue Saint Jacques. / JEAN-LUC NYON, Libraire, quai des Augustins. / A AMSTERDAM, / JEAN NEAULME, Libraire. / M. DCC. LVIII. / AVEC APPROBATION ET PRIVILEGE DU ROI.

Folio. Title page ([i]); dedication (iii-iv); preface (v-viii); essay on the history of civil architecture (ix-xiv); text for Part I, with 28 engraved plates inserted (1-56); half title for Part II (1 leaf); [new pagination:] essay on the principles of civil architecture (i-vi); text for Part II, with 38 engraved plates inserted (1-25); table of contents (26-27); notes (28).

The engravers were Le Bas; Littret de Montigny; de Neufforge; and Pierre Patte (1723-1814), an architect and engraver (No. 95). The engravings in Part I are largely pictorial, while in Part II they are architectural.

Julien David Le Roy (1724-1803) was the son of Julien Le Roy, horologer du roi , who lived in the Louvre. Julien David won the Rome prize in architecture in 1751 and after three years in Rome spent an ad-ditional year in Greece.

His Ruines (see Plate LXXI) was his first published work. It had a quick success in spite of some grave errors, which were corrected in the second edition of 1770. Le Roy also published Histoire de la disposition donnée par les chrétiens à leurs temples , 1764, with a German translation in 1778, and Observations sur les édifices des anciens peuples , 1767.

In order to get to Greece, he communicated "à Rome, le projet & le plan de mon voyage, à M. l'Abbé de Canillac, Auditeur de Rote & Commandeur de l'Ordre du Saint Esprit, & à feu M. de la Bruere, chargé des affaires du Roi en cette Ville" (p. vi) . Allowed by them to travel via Venice to Constantinople, he then had to obtain the permission of the Grand Seigneur before going on to Greece.

He tells why he divided the work into two parts:

J'ai Considéré les Monuments que j'ai recueillis dans la Grece sous deux points de vue différents, qui forment la division naturelle de cet Ouvrage en deux Parties; dans la premiere, j'envisage ces Monuments du côté Historique; dans la second, du côté de l'Architecture; par-la je me procure un double avantage. Les détails d'Architecture étant séparés de la partie Historique, elle en deviendra moins languissante; & ces mêmes détails étant rapprochés les uns des autres dans celle qui concerne particuliérement l'Architecture & comme réunis sous un même point de vue, rendront les comparaisons plus faciles à faire & à saisir.

His book is one of the earliest to deal with Greek architecture (see Plate LXXII), having been published before Stuart and Revett (No. 119) began issuing their volumes in 1762. Sowerby notes, however, that Le Roy was actually in Greece a year later than Stuart and Revett. His book is also earlier than Major's work on the Greek ruins at Paestum (No. 76), which did not appear until 1768.

The edition in Jefferson's own library is not certain, but that copy was sold to Congress. He ordered the book for the University in the section on "Architecture" of the want list without specifying the edition, but the copy in the library by 1828 was the 1758 edition. It has not survived, the copy now on the library's shelves being a recent acquisition, the gift of the Thomas Jefferson Memorial Foundation.

U.Va. M? *NA271.L6.1758 Sowerby 4189

Roma illustrata . . . et Georgii Farbricii chemnicensis veteris Romae . . . Ex nova recensione Antonii Thysii. London, 1692.

Not now owned by the University.

Justus Lipsius (1547-1606) was a Belgian humanist who embraced Protestantism. He published many works of learning and history. The first edition of the Roma illustrata

was issued at Leyden, 1645. Georg Fabricius (1516-71) was a German poet, historian, and archaeologist. Antoine Thysius (ca.l603-65) was a Dutch historian and librarian of Leyden University.

Sowerby describes this book as a small octavo of 193 leaves with an engraved frontispiece, one folded plate, and engravings in the text. Jefferson sold his copy to Congress. It was not ordered for the University.

M Sowerby 117

DISCOURS / SUR LES / MONUMENS PUBLICS / DE TOUS LES ÂGES / ET DE TOUS LES PEUPLES CONNUS, / SUIVI / D'une Description de Monument projeté à la gloire / de Louis XVI & de la FRANCE. / TERMINÉ / Par quelques Observations sur les principaux Monumens modernes / de la ville de Paris, & plusiers Projets de décoration / & d'utilit&eacunte; publique pour cette Capitale. / DÉDIÉ AU ROI. / Par M. l'Abbé DE LUBERSAC, Vicaire genérál de Narbonne, / Abbé de Noirlac & Prieur de Brive.

/ A PARIS, / DE L'IMPRIMERIE DE CLOUSIER, Rue Saint-Jacques, vis-à-vis les Mathurins. /M. DCC.LXXV.

Folio. Half title (1 leaf); frontispiece and explanation of frontispiece (2 leaves); title page (1 leaf); dedication (4 leaves); note (i-viii); text ([1]-288); 2 folding, engraved plates; [new pagination:] observations on the monuments of Paris ([i]-lxxix); license (1 unnumbered p.).

The two engravings of the front (see Plate LXXIII) and back view of a monument in the form of an obelisk are very spirited. The monument was designed by Lubersac and drawn by Touze. The plates were engraved by L. T. Masquilier, perhaps Louis-Joseph Masquelier (1741-1811).

Charles François de Lubersac de Livron (1730-84) was an abbé as well as an author. His Discours sur les monumens publics is primarily a means of flattering his monarch, but its most interesting portion is that containing a description of existing monuments.

Kimball (p. 96) says Jefferson acquired his copy, which was later sold to Congress, during his years in France. Sowerby notes that this edition was its first. Jefferson ordered the work for the University in the section on "Architecture" of the want list, and it had entered the collections before his death, but that copy has not survived. The present duplicate has been recently received, the gift of the Thomas Jefferson Memorial Foundation.

U.Va. M *NA9335.L83.1775 Sowerby 4210

THE / RUINS / OF / PAESTUM, / OTHERWISE / POSIDONIA, / IN / MAGNA GRAECIA. / By THOMAS MAJOR, Engraver to His MAJESTY.

/ LONDON: / Published by T. MAJOR, in St. Martin's Lane. / Printed by JAMES DlXWELL, MDCCLXVIII.

Folio. Title page (1 leaf); dedication (1 leaf); list of subscribers ([i-ii]); note ([iii]-iv); text, with 4 engraved headpieces and 1 engraved tailpiece numbered XXVI, XXVII, XXV (misnumbered for XXVIII), XXIX, and XXIX [sic] ([5]-39); explanation of plates (4 45); list of works of Thomas Major (1 unnumbered p.); 25 engraved plates numbered I-XVIII, XIXa, XIXb, and XX-XXIV.

The plates were all engraved by Thomas Major, but they were drawn by Magri and J. G. Soufflot in part.

Among the list of subscribers were one builder, eight doctors, ten ecclesiastics, three engravers, one mason, one painter, one plasterer, one sculptor, and one surveyor. The architects included William Chambers, Francis Hiron of Warwick, Robert Mylne, William Newton, and J. G. Soufflot. William Caslon, the letter founder (No. o, was also a subscriber.

Thomas Major (1720-99) studied in Paris with Le Bas and Cochin. While he was there he was thrown into prison as a hostage for the French who were taken prisoner at Culloden. He returned to England in 1753 where he produced plates etched, then well finished with the graver. He was the first engraver to become an associate of the Royal Academy. In addition he was engraver to the stamp office for forty years and was appointed engraver to the king.

He says that the work "owes its Birth" to

an English Gentleman . . . who procured at Naples several fine Drawings of these Temples. The other Views were taken in Presence of his Excellency Sir James Gray, whilst His Majesty's Envoy Extraordinary and Plenipotentiary at the Court of Naples. The Plans, Elevations, and Measures, the Public owe to that eminent Artist, Mons. J. G. SOUFFLOT: They were by him accurately taken on the Spot, and he has generously assisted the Engraver in this Undertaking. Thus furnished with Materials . . . the Engraver was induced to believe that this Performance, from the singular Construction of the Edifices, would prove acceptable to the Public. These Temples . . . are noble Monuments of the Magnificence of that ancient City.

He gives the organization of his work: &lquo;This work is divided into three Parts. The first contains a summary Account of the Origin of Paestum, or Posidonia, and likewise of its ancient and modern State: The second, a Description of the Temples, with some occasional Remarks thereon: The third is a Dissertation upon the Coins and Medals of that City" (p. iv). And he speaks of the origin of architecture:

All Historians agree, that Architecture took its Rise in Greece; and that the Doric Order here described, on account of the shortness of its Columns, and the simplicity of the Entablature and Capital, comes the nearest to the Origin of Architecture: and what is here advanced appears the more probable, as these Columns have no Bases.

The Doric Order took its Rise from the simple Construction of the Grecian Huts, which were supported by the Trunks of Trees; in imitation whereof, the first Idea of Columns was borrowed.... This Order being the first and most ancient of all, and retaining more of the Structure of the primitive Huts than any other, it has also undergone the greatest Changes in its Proportions. We shall only consider it here in its first State, as being to our Purpose. The Columns were in general extremely short, they not having any fixed Rules to determine their Proportions. This appears from these Temples at Paestum, which are not five Diameters in height.

He knew both Stuart and Revett (No. 119) and Le Roy (No. 73) before he produced his Ruins of Paestum (see Plates LXXIV-LXXVI). This edition is its first. It was translated into French in 1769 and into German in 1781.

Jefferson ordered this work for the University in the section on "Architecture" of the want list, and it was received by 1828, but the copy has not survived. The library's copy was acquired during this century and is from the collection of William Arthur, sixth duke of Portland.

U. Va. *NA285.P3M2.1768

Maps. Collection of Plans of Towns.
Not now owned by the University.

A large folio with this binder's title was sold by Jefferson to Congress. Sowerby's note on it gives the known details. In 1805 it was bound into an atlas 16 by 25 inches. Before April 10, 1791, the collection contained plans of Frankfurt am Main, Karlsruhe, Amsterdam, Strasbourg, Paris, Orlans, Bordeaux, Lyons, Montpelier, Marseilles, Turin, and Milan. Some of Jefferson's later purchases of American maps are also detailed by Sowerby, though the chief group of these may have remained in Jefferson's private library until his death. Compare, for example, lot 347 in the 1829 sale catalogue, Plans and Forts of America , 8vo. No such group of plans was ordered for the University.

M Sowerby 3859

Vol. I. ANTIQUITÉS/D'HERCULANUM/ GRAVRÉE PAR F. A. DAVID / AVEC / LEURS EXPLICATIONS / Par P. Sylvain M. / TOME I.

/ A Paris chez David, Graveur, rue / des Noyers, en face de celle des Anglois / Avec Privilége du Roi. / 1781 [17802].

4to. Engraved title page (1 leaf); historical note ([1]-7); text, with 134 engravings on 65 plates inserted (8-165); table of sizes (166-68).

Vol. II. ANTIQUITÉS / D'HERCULANUM / . . . / TOME II. / . . . / 1781.
4to. Engraved title page (1 leaf); text, with 141 engravings on 72 plates inserted ([1]-212); table of sizes (213-15).

Vol III. ANTIQUITÉS / D'HERCULANUM / . . . / TOME III. /
4to. Engraved title page (1 leaf); text, with 130 engravings on 72 plates inserted ([1]-200); table of sizes (201-3).

Vol. IV. ANTIQUITÉS /D'HERCULANUM/ . . . /Par P. Syl- vain Maréchal / TOME IIII / . . .
4to. Engraved title page (1 leaf); text, with 130 engravings on 72 plates inserted ([1]-116); table of sizes (117-19).

Vol. V. ANTIQUITÉS / D'HERCULANUM / . . . / TOME V. / . . .
4to. Engraved title page (1 leaf); text, with 181 engravings on 108 plates inserted ([1]-95); table of sizes (97-99).

Vol. VI. ANTIQUITÉS / D'HERCULANUM / . . . / TOME VI. / . . . / TOM I. BRONZES.
4to. Engraved title page (1 leaf); text, with 144 engravings on 72 plates inserted ([1]-96); table of sizes (97-98).

Vol. VII. ANTIQUITÉS / D'HERCULANUM / . . . / TOME VII. / . . . / TOM II BRONZES.
4to. Engraved title page (1 leaf); text, with 163 engravings on 108 plates inserted ([1]-101); table of sizes (102-3).

Vol. VIII. ANTIQUITÉS / D'HERCULANUM / . . [Maréchal's name deleted] / TOME VIII / . . . [Printed title page:] ANTIQUITÉS / D'HERCULANUM / OU / LES plus belles Peintures Antiques, Marbres, / Bronzes, Meubles, trouvés dans les Excavations / d'Herculanum, Stabia & Pompeïa; / GRAVÉES PAR M. DAVID, / Graveur du Roi de Prusse, de MONSIEUR, de l'Académie / Royale de Peinture de Berlin, de celle des Sciences & / Belles-Lettres de Rouen. / Avec leurs Explications Françoises. / TOME VIII.
4to. Engraved title page ( 1 leaf ); printed title page (1 leaf); text, with 72 engravings on 66 plates inserted ([1]-52).

Vol. IX. ANTIQUITÉS /D'HERCULANUM / . . . / Par P. Sylvain M. / TOME IX.A PARIS / Chez F. A. David, rue Pierre-/Sarrazin No. 13. [1781 deleted.] [Printed title page:] ANTIQUITÉS / D'HERCULANUM, / Ou les plus belles Peintures antiques, et les / Marbres, Bronzes, Meubles, etc. etc. / trouvés dans les excavations d'Herculanum, / Stabia et Pompeia, / GRAVÉES PAR F. A. DAVID, / AVEC LEURS EXPLICATIONS,/ PAR P. S. MARÈCHAL. / TOME NEUVIÈME.
4to. Engraved title page (1 leaf); printed title page (1 leaf); text, with 129 engravings on 58 plates inserted ([1]-108).

Vol. X. ANTIQUITÉS / D'HERCULANUM / . . . / TOME X. / . . . [Printed title page:] ANTIQUITÉS / . . . / TOME DIXIÈME. /
4to. Engraved title page (1 leaf ); printed title page (1 leaf ); text, with 59 engravings on 59 plates inserted ([1]-86).

Vol. XI. ANTIQUITÉS / D'HERCULANUM / . . . / TOME XI. / . . . [Printed title page:] ANTIQUITÉS / . . . / TOME ONZIÈME. / . / AN VI.

4to. Half title (1 leaf); engraved title page (1 leaf); printed title page (1 leaf); text, with 28 engraved plates inserted and 29 engraved plates following ([1]-44); index (45-58).

Vol. XII. ANTIQUITÉS / PEINTURES ANTlQUES / D'HERCU- LANUM / et celles du Tombeau / des Nasons / AVEC / LEURS EXPLICATIONS / TOM. XII. [Printed title page:] ANTIQUITÉS/OU/LES PLUS BELLES/ PEINTURES ANTIQUES / D'HERCULANUM / ENVOYÉES PAR S. M. LE Rol DE NAPLES ET / DES DEUX-SICILES AU GOUVERNEMENT FRANÇAIS EN L'AN XI (1803), / et celles / DU TOMBEAU DES NASONS; / GRAVÉES PAR F. A. DAVID, / AVEC des explications et des recherches relatives à / l'Histoire, à la Mythologie, aux Usages anciens / et à l'Art. / TOME DOUZIÈME.
4to. Half title (1 leaf); engraved title page (1 leaf ); printed title page (1 leaf); text, with 34 engraved plates inserted ([1]-46); index (47-48).

The engraver was François-Anne David (1741-1824), a Parisian who studied with Le Bas and became engraver to the king of Prussia. David was a member of the Royal Academy of Painting of Berlin, as well as that of Sciences and Letters at Rouen.

Pierre Sylvain Maréchal (1750-1803) seems to have been known as a pornographic writer, a result, perhaps, of his association with Herculaneum.

The first five volumes of this work are devoted to painting, Vols. VI and VII are concerned with bronzes, Vol. VIII with objects and furniture, Vols. IX-XI with lamps ( see Plate LXXVII ), and the twelfth volume with paintings.

This edition of the Antiquités d'Herculanum was entered by Brunet under the name of its engraver, François-Anne David, and though it was issued in both quarto and in octavo, there still remains some doubt as to whether the quarto set was the one Jefferson had in mind when he ordered, in the section on "Architecture" of the want list, a seven-volume set for the University. One thing, however, is certain: this edition is what Jefferson got from his order, because the 1828 Catalogue acknowledges the presence of the twelve-volume set. Of this, only the first nine volumes have survived.

The library has recently acquired a second set of twelve volumes. The information on the title pages and contents has been taken from this second set. The indifference to exact binding orders in the eighteenth and early nineteenth centuries is well illustrated by these two sets. The first set is bound in the following order: engraved title, title page, text, and engravings. The engraved titles and the title pages for this first set are late and were evidently bound in the earlier volumes after publication of Vol. VIII. On the other hand, the second set lacks printed title pages for the first seven volumes, some of which must certainly have been published in the years between 1780(?) and 1789. This second set is the gift of the Thomas Jefferson Memorial Foundation.

U. Va. *DG70.H5M2.1780

Nuove ricerche sull;equilibrio della volte.

Bergamo, 1785.

Not now owned by the University.

Lorenzo Mascheroni (1750-1800) was a mathematician and professor of philosophy who worked at Bergamo, Milan, and Paris.

Kimball (p. 96) says Jefferson acquired this book between 1785 and 1789. Sowerby quotes a letter from Jefferson in which he says the book "appears to be a very scientifical work." This edition is the first.

Jefferson's copy was sold to Congress. It was not ordered for the University. The library has several of Mascheroni's books on geometry but has not yet acquired this work.

M Sowerby 4203

HISTOIRE / ABRÉGÉE / DE LA VILLE / DE NÎMES, / AVEC: / LA DESCRIPTION / DE SES ANTIQUITÉS. / PREMlERE PARTlE. /

Quod adest, memento / Componere aequas ...... Hor. Od. 23. Lib. 3. / À AMSTERDAM. /M. DCC.LXVII and

HISTOIRE / . . . / SECONDE PARTlE, / CONTENANT / LA DESCRIPTION DE SES ANTIQUITÉS. / ConsidÉre le terrible pouvoir des annÉes! Rome semble ensÉvÉlie / sous ses propres dÉbris, & n'offre aux yeux que des voutes / ébranlÉes & des temples ruinÉs. Pope, Épit. a M. Addison. / . . .
8vo. Half title, Part I (1 leaf ); title page (1 leaf ); text ( [1]-158); table of contents (2 leaves); half title, Part II (1 leaf); title page (1 leaf); preface (1 leaf); [new pagination:] text ([1]-28); 9 engravings, all folding.

One engraving is signed by C. L. Verdier as both delineator and engraver. All the engravings are rather poor.

Jean François Dieudonné de Maucomble (1735-68) started a projected series of city histories which was abandoned when this one (see Plate LXXVIII) was given a bad critical reception. Nevertheless this had a second edition in 1806.

He gives the origins of the name of Nîmes in this passage: NÎMES, destinÉ à jouir de tous les honneurs des Villes célèbres, a, ainsi qu'elles, son origine fabuleuse. Plusieurs Ecrivains, d'après Parthenius & Etienne de Bisance, lui ont donné pour Fondateur Nemausus, un des Héraclides; mais d'autres, avec plus de raison, ne l'etablissant qu'aprés la ville de Marseille, prennent l'etymologie de ce nom Nemausus , dans le mot celtique Nemos , qui signifie lieu consacré à la Religion (p. (1)).

Sowerby points out that Jefferson called the "Maison Quarr& acute;e," described on pages 11-13 of this book and illustrated in Figs. 13 and 14, "one of the most beautiful & precious morsels of architecture left us by antiquity" in a letter to James Madison, September 20, 1785; that he called it "the most perfect remains of antiquity which exist on earth" in a letter to Thomas Shippen, September 29, 1788; that he visited it in 1787; but that in his memorandum of his visit to Nîmes he inexplicably made no mention of the temple. And, of course, he used the temple as precedent for the Capitol in Richmond (see No. 29).

Jefferson sold his own copy of this book to Congress. He 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 *DC801.N71M3.1767 Sowerby 3886

Die Schöne Landbautunst oder Neue Ideen und Vorschriften.

Leipzig, 1798.

Not now owned by the University.

Although there was earlier uncertainty over the identification of this work, the above information seems correct from a comparison of the plates mentioned by Jefferson. On the drawing of garden temples reproduced in Kimball as No. 161, there is a note in Jefferson's hand: "No. 1 maybe a Gothic for design see Meinert No. 8.37.38.45." Meinert is also mentioned by Jefferson on two of his other drawings reproduced as Nos. 164 and 165 in Kimball. This rather fugitive book contains suggestions for a series of very simple, neoclassic and neoGothic buildings, primarily for rural areas.

Sowerby, who had no copy for inspection, points out that Jefferson paid $16.80 for his copy, purchased in 1805 at the same time as Nos. 11 and 117. He spent a further $2.50 to have it bound.

Jefferson sold his copy of the book to Congress. He ordered it for the University in the section on "Architecture" of the want list, but there is no record of the library's ever having received a copy.

U.Va. M Sowerby 4224

Description du pont de Brienne, construit à Bordeaux.

Bordeaux, 1788?.

Not now owned by the University.

Sowerby describes this book as a quarto pamphlet of eleven leaves with a folding engraving of the bridge at the end. Jefferson sold it to Congress, but did not order it for the University.

M Sowerby 4200

Vol. I. PRINCIPJ / DI / ARCHITETTURA CIVILE / DI / FRANCESCO MILIZIA / TERZA EDIZIONE VENETA / Riveduta, emendata, ed accresciuta de Figure disegnate / ed incise in Roma /DA/ GIO. BATTISTA CIPRIANI SANESE.

/ TOMO PRIMO. / BASSANO / DALLA TIPOGRAPHIA GIUSEPPE REMONDINI E FIGLI / 1813.

8vo. Title page ([1]); note to reader (3-4); life of Milizia (5-9); note (10); text (11-277); table of contents (278-80); lo engraved plates, all folding.

Vol. II. PRINCIPJ / . . . / TOMO SECONDO. / . .
8vo. Title page ([1]); text ([3]-304); table of contents (305-8); 12 engraved plates, all folding.

Vol. III. PRINCIPJ / . . . / TOMO TERZO / . . .
8vo. Title page ([1]); text, with folding table at p. 169 and 8 folding plates at p. 161 ([3]-259); table of contents (260-63); 5 engraved plates, all folding.

For Cipriani, see No. 93. Francesco Milizia (1725-98) was a critic and a theoretician of neoclassicism. After settling in Rome in 1761, he became a member of the circle of friends which revolved around Anton Raphael Mengs and Johann Joachim Winckelmann. He published no less than twelve books and two translations, many of them appearing in several editions, while his Vita di' piu celebri architetti , in turn, was translated into both French and English. The first edition of the Principi di architettura civile was in 1781. He says: L'Architettura è l'Arte di fabbricara: e prende denominazioni differenti secondo le diversità de'suoi oggetti. Si chiama ARCHITETTURA CIVILE, si il suo ogetto si raggira intorno alla costruzione delle fabbriche destinate al comodo, ed ai varj usi degli uomini raccolti in Civil Societa. [I, 11] Qualunque fabbrica per potersi dire COMPITÀ, deve sempre avere i tre requisiti seguenti. 1. BELLEZZA, 2. COMODITÀ, 3. SOLIDITA.... Nella prima parte si tratterà della BELLEZZA, nella seconda della COMODITà, e nella terza della SOLIDITÀ dell'Architettura. [I, 15] La Belezza dell'Architettura dipende da quattro principj, che sono 1. ORNATO, 2. SIMMETRIAS 3. EURITIMIA, 4. CONVENIENZA....

Per Ornato s'intende tutto quel pulimento, che s'impiega, o se soprap- pone al vivo d'una fabbrica.

I principali Ornati sono gli Ordini, le Sculture , le Pitture , i Marmi , gli Stucchi ec. [I, 17]

La Simmetria e una proporzionata quantità di misura, che le parti debbono avere fra loro, e col tutto. [I, 160]

La parola euritmia è quasi fuori d'uso, e il suo significato si è impropriamente unito alla voce simmetria, la quale già si è che cosa è. L'euritmia consiste nella uniforme corrispondenza delle parti simili, le quali debbono essere tali, e tante da un lato, come dall'altro, e similmente disposte, acciocchèo faccia un grato aspetto. [I, 189]

La Convenienza, che da taluni viene anche chiamata decoro, costume, o proprietà, deve guidicarsi come il primo principio dell'Arte de fabbricare.

La convenienza prescrive a ciascun genere di edificio il suo carattere distinto, e retalivo all sua grandezza, disposizione, ricchezza, o semplicità. [I, 198]

La Comodità di qualunque edificio comprende tre oggetti principali che sono. 1. La sua situazione. 2. La sua forma. 3. La distribuzione delle sue parti. [II, 3]

Questa sei condizioni sono necessarie per una buona situazione; 1. bontà di terreno, 2. l'aria, 3. l'acqua, 4. esposizione sana, 5. comodità di luogo, 6. amenità di veduta. [II, 5]

. . . Sempre colla mira a questo triplice vantaggio va considerata la varia eleganza delle forme, le quali non possono essere che di tre genere, curve, rette, e miste. [II, 15]

. . . Onde nell'Architettura la distribuzione è di due sorti; l'una ha per oggetto il terreno, o la pianta di un edificio qualunque ripartito nei suoi pezzi interni; l'altra riguarda il ripartimento esterno dell'elevazione di qualunque edificio, o sia della decorazione delle facciate. [II, 21]

He introduces the third volume, largely concerned with the nature and strengths of materials, by saying: " I1 più essenzial requisito degli edificj è la Solidità, senza di cui la bellezza, la comodità, la magnificenza divengono un nulla " (III, 3).
Although this work came into Jefferson's hands late in his life, in 1824, he decided to have it used for "a course of lectures" on architecture at the University when that institution was opened, as he states in his letter of October 24, 1824, to Joseph Coolidge (U. Va. Library): "I ought sooner to have thanked you for the valuable work of Milizia, on Architecture. Searching as he does, for the sources and prototypes of our ideas of beauty in that fine art, he appears to have elicited them with more correctness than any author I have read, and his work, as a text book, furnishes excellent matter for a course of lectures on the subject, which I shall hope to have introduced into our institution.&rduqo; In addition, on a drawing for a proposed observatory for the University, which may be dated after October 24, 1824, he wrote "See Observatory of Paris. 2. Milizia. pa. 187. pl IX. c." (see Plates LXXIX and LXXX). A comparison of Jefferson's drawing with Vol. II, Plate IX, Figs. C and D in Milizia shows striking similarities, especially in the use of octagonal towers. Milizia labels Fig. C as "Pianta terrena dell' Osservatorio di Parigi" and Fig. D as "Metà de]la pianta dell secondo piano."

Milizia has this to say about the observatory:

L'osservatorio è ordinariamente un edificio quadrato, situato, ed elevato bene in alto con un terrazzo in cima per le osservazioni astronomiche. Sovente su questo terrazzo si construisce un padiglione per contenere gli strumenti al coperto. Quando questo edificio è internamente isolato da qualunque altro, deve avere gran basamento, contenere più stanze per professore, per i custodi, per le macchine, e molti terrazzi, rastremandosi a misura, che s'inalza. La sua decorazione esteriore sia semplice, ma d'un genere egregio, e d'un carattere deciso ricavato dal destino della fabbrica. Vale più l'osservatorio di Parigi, che tutte le piramidi, e i tempi dell'Antichità. [II, 187]

There was a set of this edition in Jefferson's private library at the time of his death. It was sold as lot 720 in the 1829 sale. The order from Jefferson for the University in the section on "Architecture" of the want list was presumably for this edition, the latest he could have known of, since he is not likely to have heard of the 1825 reprint (edition?) and would probably have preferred the 1813 edition to any of the earlier ones. There is no record of the library's ever having received the set. The library's present set is a recent acquisition, the gift of the Thomas Jefferson Memorial Foundation.

U.Va. M *NA1111.M55.1813

PLANS, AND VIEWS IN PERSPECTIVE,/WITH/DESCRIPTIONS, / OF / BUILDINGS / ERECTED IN ENGLAND AND SCOTLAND: / AND ALSO / AN ESSAY, / TO ELUCIDATE / THE GRECIAN, ROMAN AND GOTHIC ARCHITECTURE, / ACCOMPANIED WITH DESIGNS. / BY ROBERT MITCHELL, ARCHITECT. /

PLANS, DESCRIPTIONS, ET VUES EN PERSPECTIVE, / DES / EDIFICES / ERIGÉS EN ANGLETERRE ET EN ECOSSE: / SUIVI / D'UN ESSAI / SUR / L'ARCHITECTURE GREQUE, ROMAINE ET GOTHIQUE, / AVEC / DES DESSEINS ILLUSTRATIFS, / PAR ROBERT MITCHELL, ARCHITECTE. / London: / Printed, at the ORIENTAL PRESS, by WILSON ? Co. for the Author: / AND SOLD BY J. TAYLOR, ARCHITECTURAL LIBRARY, HIGH HOLBORN; R. FAULDER, NEW BOND-STREET; / J. AND T. CARPENTER, OLD BOND-STREET; T. EVANS, PALL-MALL: AND J. WHITE, FLEET-STREET. / 1801.

folio. Frontispiece, a colored aquatint (1 leaf); title page (1 leaf); introduction (1 leaf); description of plates ([1]4); essay ([9]-15); description of plates in French ([17]-24); essay in French ([25]-32); 16 aquatint plates, of which 11 are colored (of a total of 18, numbering the frontispiece; Plate 14, "A Section of the Rotunda in Leicester Square," is missing).

Robert Mitchell (fl.1800) was an architect who lived in London. He exhibited in the Royal Academy for the years 1782, 1796, 1797, and 1798. He designed the Rotunda in Leicester Square for Robert Barker and his panoramas.

He was one of the early proponents of the Gothic Revival, and he explains why he wrote the book, as well as the beauties of Gothic architecture, by saying:

The Plates in this Work are a representation of a portion of the Buildings which he [the author] has been employed in constructing, the four last Plates excepted, which are Designs intended to elucidate an Essay on Architecture. This Dissertation upon the Three Styles of Architecture he is desirous may be read with attention, and particularly what relates to the Gothic Architecture. . . . If what has been advanced can contribute to remove those prejudices which have long prevailed against a style of Architecture that is the source of much pleasure to many, his intentions will be fully answered, and his wishes completely gratified. [Introduction]

ARCHITECTURE, as an art connected with science, had not existence till the invention of the column, and its application in the construction of buildings.

It must be confessed that this is the prominent feature which possesses such real beauty and elegance as cannot admit of any substitute.

Whoever will investigate the subject will, it is apprehended, find, that there never has existed, in any age or nation, but three styles of Architecture, the Grecian, the Roman, and the Gothic; as all other forms which have been introduced, shew Architecture, either in the progress which it afterwards attained, or on its decline. [P. 9]

The Gothic is a style of Architecture truly original. Whoever will attentively examine it, as found in buildings in its purest style, will certainly find that it has not anything in common with either the Grecian or Roman Architecture, in whatever constitutes their principles, or wherein they are distinguished by their forms. [P. 1l]

In viewing a Gothic building, all the parts are found united, whilst, in the Grecian or Roman Architecture, they are cut asunder by the horizontal lines. The striking effects of a Gothic building are produced by taking in the whole, in all its relations; but, in the Greek and Roman, chiefly by examining the elegance and fine proportions of their parts. [P. 1l]

. . . When we reflect that a style of Architecture, as is the case in the Gothic, has since been invented, and established in practice, in which correct forms, or strict proportions, have been disregarded; and, notwithstanding which, effects are produced in this style of Architecture, which, in certain cases, make stronger impressions upon the mind than can be effected by the Greek or Roman-it will then be confessed, that, in the whole circle of human knowledge, there is no example of so astonishing a revolution taking place in any art or science....

The Greek and Roman Architecture will ever charm, from their beautiful forms, all persons of real taste; but compositions in these styles, from being the result of positive rules, are easily comprehended, and soon lose the attraction of novelty. Whilst the Gothic edifices are found to possess infinite variety, their compositions require more ingenuity and science to produce them, and are more difficult to be comprehended: from these circumstances it is that we never return to examine a Gothic structure without finding new subjects for contemplation. [Pp. 13-14]

To demonstrate his thesis Mitchell shows a residential plan and perspectives of Greek, Roman, and Gothic exteriors for it. The other buildings of his own design, however, are very Regency in feeling (see Plate LXXXI), including his plates for the Leicester Square Rotunda.

Although Kimball (p. 96) says Jefferson received his copy of this book sometime between 1801 and 1805, Sowerby points out that the evidence for the latter date as quoted by Kimball is nonexistent. The earlier date, of course, stands since it was the date of publication. Jefferson's own copy was sold to Congress.

He ordered this book for the University in the section on "Architecture" of the want list, but there is no evidence of its having entered the library. The library's present copy, a presentation copy from the author to the Right Honorable Lord Witeworth, has been recently acquired, the gift of the Thomas Jefferson Memorial Foundation.

U.Va. M *A2620.M5.1801 Sowerby 4208

PRINCIPLES OF DESIGN / IN / ARCHITECTURE / TRACED IN OBSERVATIONS ON BUILDINGS / PRIMEVAL, EGYPTIAN, PHENICIAN OR SYRIAN, / GRECIAN, ROMAN, GOTHIC OR CORRUPT ROMAN, /ARABIAN OR SARACENIC, OLD ENGLISH EC-/CLESIASTICAL, OLD ENGLISH MILITARY AND/ DOMESTIC, REVIVED ROMAN, REVIVED GRECIAN, /CHINESE, INDIAN, MODERN ANGLO-GOTHIC, AND / MODERN ENGLISH DOMESTIC: /11\1 A SERIES OF LETTERS TO A FRIEND.

/ London: / Printed by Luke Hansard & Sons, near Lincolns- Inn Fields; / FOR T. CADELL & W. DAVIES IN THE STRAND. / 1809.

8vo. Title page ([i]); table of contents ([iii]-vi); errata (1 leaf); text ( [1]-293).

William Mitford (1744-1827) was educated at Cheam School, Surrey, Queen's College, Oxford, and Middle Temple. He never practiced law, however, and was principally a historian.

He wrote An Essay on the Harmony of Language, 1774 and 1804; A History of Greece, which went into many editions beginning in 1784; Considerations . . . on the Corn Laws, 1791; and Observations on the History . . . of Christianity, 1823.

This book was first issued in 1809 and again in 1824. It is written in the form of letters which are conversational in tone. Mitford is very clear in his definition of terms, so that the reader is able to follow his arguments without difficulty. These definitions seem to be the most interesting part of the book:

Architecture, in all its branches, originating from the wants of mankind, the first Principle of DESIGN in building must be UTILITY. [P. 4]

But this first essential and characteristical purpose, [of utility] . . . being attained, the mind of man would soon begin to look farther. [P. 8]

Hence would arise a second Principle of Design in architecture: it would be desired, with the useful to connect the graceful, the splendid, the awful, and to avoid the offensive and the mean. [P. 9]

Of the picturesk and beautiful, Gratification of the Mind through the Eye is the ultimate object. But, of architecture, Use is the first object; gratification of the mind through the eye but secondary. [P. 12]

. . . But those forms which among infinitely varying tastes, the general sense of mankind reckons beautiful, have all, I am inclined to believe. a natu ral and necessary and intimate connection with the useful. I say those forms which the general sense of mankind has agreed to call beautiful: because, after the various attempts of very ingenious, very learned, and very able men to analyze and define beauty, there is yet no complete agreement. [Pp. 12-13]

Architecture is essentially among the useful arts. Through its power to impress ideas of the sublime and beautiful, it becomes associated among the ornamental arts, or those commonly called the fine arts. Hence arise two distinct characters of Design in architecture, the useful and the ornamental. The term Design certainly may be properly applicable to both. But, in the practice of language it is more commonly limited to Architecture considered as one of the fine arts, the sister of Painting, than extended to it as simply a useful art. [Pp. 13-14]

In a chapter called "Sense and Nonsense in Architecture," he says: "Nonsense in architecture is principally observable in the misapplication of forms, invented for use, where they are strickingly useless intruders; or sometimes, where they are even inconvenient, and obviously adverse to use" ( p. 256 ) .

Kimball (p. 97) says Jefferson's copy of Mitford came into his hands after 1819, misdating the publication year as 1819 instead of 1809. Since this was in Jefferson's library at the time of his death and is not noted in Sowerby, it probably entered his collection after the sale of his large library to Congress in 1815. The book, which was not ordered for the University, was sold after Jefferson's death as lot 730 in the 1829 sale. The University's present copy is a recent acquisition, the gift of the Thomas Jefferson Memorial Foundation.

M *NA2750.M6.1809

Vol. I. ANTIQUITY / EXPLAINED, / And REPRESENTED in / SCULPTURES, / BY THE / Learned Father MONTFAUCON,/ Translated into English by / DAVID HUMPHREYS, M. A. / And Fellow of Trinity-College in Cambridge. / VOLUME the FIRST.

/ LONDON: / Printed by J. TONSON and J. WATTS. / MDCCXXI.

Folio. Two-color title page (1 leaf); dedication (1 leaf); preface (5 leaves); table of contents (21 unnumbered pp.); introduction (7 unnumbered pp.); text, with 98 engravings, of which 20 are double, inserted ([1]-260 ) .

Vol. II. ANTIQUITY / . . . / VOLUME the SECOND. / . . .
Folio. Two-color title page ([1]); text, with 61 engravings, of which 1 is folding and 16 double, inserted ( [3]-284) .

Vol. III. ANTIQUITY/ . . . / VOLUME the THIRD. / . . . / MDCCXXII.
Folio. Two-color title page ([1]); text, with 63 engravings, of which 12 are double, inserted ([3])-227).

Vol. IV. ANTIQUITY / . . . / VOLUME the FOURTH. / . . .
Folio. Two-color title page ([1]); text, with 46 engravings, of which 28 are double, inserted ([3]-193).

Vol. V. ANTIQUITY / . . . / VOLUME the FIFTH. / . . .
Folio. Two-color title page ([1]); text, with 51 engravings, of which 19 are double, inserted ( [3]-16q ) .

Vol. VI. THE / SUPPLEMENT / TO / ANTIQUITY / EXPLAINED, / And REPRESENTED in / SCULPTURES / By THE / Learned Father MONTFAUCON. / Translated into English by DAVID HUMPHREYS, M. A. / And Fellow of Trinity College in Cambridge. / In FIVE VOLUMES. / VOLUME the FIRST. and

THE / SUPPLEMENT / TO / ANTIQUITY / EXPLAINED, / And REPRESENTED in / SCULPTURES. VOLUME the SECOND.
Folio. Two-color title page (1 leaf); preface (3 leaves); table of contents (6 leaves); text, with 31 engravings, of which 6 are double, inserted ([1]-132); title page ([133]); text, with 23 engravings (numbered 32-54), of which 1 is folding and 2 are double, inserted ([135]-256).

Vol. VII. THE / SUPPLEMENT / . . . / VOLUME the THIRD. and

THE / SUPPLEMENT / . . . / VOLUME the FOURTH. and

THE / SUPPLEMENT / . . . / VOLUME the FIFTH.
Folio. Title page ([257]); text, with 26 engravings (numbered 55-80), of which 6 are double, inserted ([259]-386); title page ([387]); text, with 23 engravings (numbered 81-103), of which 8 are double, inserted ([389]-482); title page ([483]); text, with 25 engravings (numbered 104-128), of which 1 is double, inserted ([485]-571).

Bernard de Montfaucon (1655-1741) began life as a soldier, but after an early military career he entered the Benedictine order in 1675. In 1687 he was called to Paris where the order had a collection of medals, and in 1698 he was sent to Italy. He was a member of the Académie des Inscriptions, 1719, and wrote altogether some thirteen books. The present work was issued in French between 1719 and 1724.

Montfaucon himself tells the origin of his work and something of its organization:

About four and thirty Years ago, my Superiors appointed me to put out an Edition of the Greek fathers: I presently applied my self to those Studies which would enable me to do it with Success. I perceived immediately that profane Learning was absolutely requisite, in order to a full Understanding of the Fathers of the Church.... I therefore applied my self to a serious Study of Antiquity . . . and . . . began to make a Collection of Drawings and antique Pieces about six and twenty Years ago. [I, I]

I have reduced into one Body all Antiquity. By the Word Antiquity I mean only what may be the Object of the Sight, and may be represented by Figures; and this alone is of a vast Extent. [I, iii]

. . . The first Volume . . . which treats of the Gods of the Greeks and Romans, and contains almost all their Mythology....

The Second Volume contains the religious Worship of the Greeks and Romans and the Gods and Religion of the Barbarious Nations....

The Third Volume was thought a fit place to speak of the Ancients Hunting, and Fishing before the Instruments of the Arts. [I, iv]

The second volume has two plates of the Pantheon (see Plate LXXXII) and no less than eight concerning the Maison Carrée, while Plates 14, 15, and 16 are also especially architectural. Volume III shows some public buildings (see Plate LXXXIII); Vol. IV, which deals with military matters and roads, contains a good many illustrations of military architecture; Vol. V, which deals with funerals and lamps, also has a number of architectural illustrations. The supplemental volumes contain only a few architectural illustrations, but, of course, the entire work is full of illustrations taken from coins and statues.

Jefferson, perhaps ignorant of the last volume, ordered a nine-volume edition for the University in the section on "History-Civil-Antient" of the want list, but there is no record that any of the volumes were received during his lifetime. The library's present set has been recently acquired, the gift of the Thomas Jefferson Memorial Foundation.

U. Va. *DE57.M79.

SELECT / ARCHITECTURE: / BEING / REGULAR DESIGNS / OF / PLANS and ELEVATIONS /Well suited to both TOWN and COUNTRY; / IN WHICH / The Magnificence and Beauty, the Purity and Simplicity of DESIGNING / For every Species of that Noble Art, / Is accurately treated, and with great Variety exemplified, / From the Plain TOWN-HOUSE to the stately HOTEL, / And in the Country from the genteel and convenient Farm-House / to the Parochial-Church. / With Suitable Embellishments. / Also / Bridges, Baths, Summer-Houses, &c. to all which such Remarks, Explana/tions and Scales are annexed, that the Comprehension is rendered easy, and / Subject most agreeable. /

Studium sine divite vena. Hor. / Illustrated with FIFTY COPPER PLATES, Quarto. / By ROBERT MORRIS, Surveyor. / LONDON: / Sold by ROBERT SAYER, opposite Fetter-Lane, in Fleet-Street. MDCCLV. / Price 10 s. 6 d.

4to. Two-color title page (1 leaf); preface (1 leaf); introduction (4 leaves); explanation of plates (1-8); list of subscribers ([i]-iv); 50 engraved plates.

The plates were drawn by Morris and engraved by Richard Parr (fl.l755), English.

The subscribers included one attorney, seven bricklayers, twenty-one carpenters, three carvers, one glazier, two instrument makers, four joiners, seven masons, five painters, one plasterer, and six surveyors. The architects subscribing were John Adam, Sr., John Adam, Jr., Robert Adam, James Horn, William Jones, and John Sanderson, while the engraver Richard Parr was also listed.

Robert Morris (fl. l754) was an architect "of Twickenham," as he described himself in one of his books, as well as a surveyor, according to the title page of Select Architecture

. He had trained with his kinsman Roger Morris, the carpenter and principal engineer to the Board of Ordinance. Robert Morris was associated with both the earl of Burlington and John Carr, as well as with his relative.

He wrote, in addition to this work which was first issued in 1755 and again in 1759, the following: An Essay in Defense of Ancient Architecture, 1728; Lectures on Architecture

, 1734, with a second part issued in 1736, and a second edition of the first part in 1759, a book which was based on lectures given between October 1730 and January 1735 for the Society for the Improvement of Knowledge in Arts and Sciences, which he had founded; Rural Architecture,

1750; The Architectural Remembrancer,

1751; Architecture Improved,

1755; and, with T. Lightoler and John and William Halfpenny, The Modern Builder's Assistant,

1742, with a second edition in 1757.

Morris wrote Select Architecture

because he thought that there were "so few Persons residing in the Country, that are capable of Designing, something of this Nature might be acceptable." He goes on to say:

Most who have wrote on this Subject, have raised nothing but Palaces, glaring in Decoration and Dress; while the Cottage, or plain little Villa, are passed by unregarded. Gaiety, Magnificence, the rude Gothic, or the Chinese unmeaning Stile, are the Study of our modern Architects; while Grecian and Roman Purity and Simplicity are neglected.

As an Admirer of those last mentioned, I place myself and my following Designs, before you. [Preface]

The Ground Work of the Whole arises from the Beauty or Purity, and Simplicity, of Designing: By Purity, I mean, free from being corrupted, Exactness, and Unmixedness; and by Simplicity, Plainness, and without Disguise.

. . . Unnatural Productions are the Things I would mark out for avoiding in Design, so as to make the Reverse more to be studied, and every Structure, to whatever End raised, to be considered as to its Use, Situation and Proportion; and to make Art fit and tally with Nature in the Execution, so they may be equally subservient to each other. [Introduction]

Kimball (p. 97) says Jefferson had a copy of Select Architecture as early as 1783. As Clay Lancaster has pointed out, it was a book well used by Jefferson. Note: p236.fl It is uncertain whether he owned a copy at the time of building operations at the University of Virginia, but he undoubtedly remembered Morris's use of arcades, and his liking for the projecting semi-octagon, so frequently illustrated in Morris, as in Plate 2 (see Plate LXXXIV), is reflected in an unfinished sketch for one of the hotels of the University (see Plate LXXXV). Lancaster (p. 10) has suggested that the plan of Pavilion II at the University was derived from Plate 9 of Select Architecture, a plan for what Morris calls &lduqo;a little Garden-House. . . . The Dress is plain and Simple" (see Plate LXXXVI). A comparison of Jefferson's drawing for this pavilion (see Plate LXXXVII) and Plate 9 in Morris tends to show differences, however, rather than similarities.

Lancaster (p. 10) has also suggested Morris as a source for the arcades of East and West Ranges at the University. He describes them as having "long arcades of brick set on square piers. The model for these passages onto which open the students' rooms may well have been a Select Architecture plate [plate 38] showing the front elevation of a 'Green House.' This is an open gallery adjoining three rooms with doors and windows only at the rear of the building. The plinth and projecting course at the necking of each pier appear on the students' quarters, which, like Morris' greenhouse, are hipped-roofed." But it should be noted that the piers of the arcades of the Ranges are rectangular, not square as in Morris's plate, and the roofs of the Range dormitories were originally flat, not hipped as Lancaster describes and as they appear in Morris's plate. Thus, the resemblance between the Morris and Jefferson designs is considerably weakened, and it is problematical whether Palladio (No. 92b), or Morris might be the major source for Jefferson's designs.

The direct use of Palladio by Jefferson as he designed the University is discussed at No. 92b, but it may be pointed out here that although Plates 16, 17, 29, 38, and 44 in Morris show arcades, in no case does he show an arcade of the length of the Ranges, whereas Palladio shows one with the same number of bays as the longest arcade on the Ranges.

On the other hand, one cannot help wondering if Jefferson's drawing for an octagonal chapel (N-41g), perhaps intended for Williamsburg, might not have been inspired by the Morris Plates 31 and 32 (see Plates LXXXVIII and LXXXIX) in spite of Jefferson's reference on the drawing to "Pallad. B. 4. Pl. 38. 39," designs which show a circular rather than an octagonal building.

Jefferson sold his copy of Morris to Congress. It was not ordered for the University. The library's present copy was acquired during the twentieth century.

M *NA7328.M6.1755 Sowerby 4210

THE / Carpenter and Joiner's Assistant; / CONTAINING / PRACTICAL RULES / FOR / MAKING ALL KINDS OF JOINTS, AND VARIOUS METHODS / OF HINGEING THEM TOGETHER; / FOR HANGING 01F DOORS ON STRAIGHT OR CIRCULAR PLANS; / FOR F1TTING UP WINDOWS AND SHUTTERS TO ANSWER VARIOUS PURPOSES, / WITH RULES FOR HANGING THEM: / For the Construction of Floors, Partitions, Soffits, Groins, Arches for Masonry; / for constructing Roofs, in the best Manner from a given Quantity of Timber: / For placing of Bond Timbers; with various Methods for adjusting Raking/ pediments, enlarging and diminishing of Mouldings; taking Dimensions for / Joinery, and for setting out Shop Fronts. / With a new Scheme for constructing Stairs and Hand-rails, and for Stairs / having a Conical Well-hole, &c. &c. / TO WHICH ARE ADDED, /EXAMPLES OF VARIOUS ROOFS EXECUTED, / WITH THE SCANTLINGS, FROM ACTUAL MEASUREMENTS. /With RULES for MORTICES and TENONS, and for fixing IRON STRAPS, &c. / Also Extracts from M. Belidor, M. du Hamel, M. de Buffon, &c. / On the STRENGTH OF TIMBER, with Practical Observations. / Illustrated with SEVENTY-NINE PLATES, and copious Explanations. / BY PETER NICHOLSON, /AUTHOR OF THE CARPENTER'S NEW GUIDE, &c.

/ LONDON: / PRINTED FOR I. AND J. TAYLOR, AT THE ARCHITECTURAL LIBRARY, / Opposite GREAT-TURNSTILE, HOLBORN 1797.

4to. Title page ( [i] ); preface ( [iii]-viii ); table of contents ( [ix]-xi ); explanation of plates, with 79 engraved plates, pf which 5 are folding, inserted ([1]-79).

Peter Nicholson (1765-1844) was born in East Lothian, the son of a stonemason. He was educated at the village school and apprenticed to a cabinetmaker. As a journeyman he went to Edinburgh where he studied mathematics. At twenty-four he was in London where he set up a night school for mechanics. He moved about a great deal, going to Carlisle in 1805, Glasgow in 1806 where he worked as an architect, to London again in 1810, to Morpeth in 1829, and to Newcastle-on-Tyne in 1832 where he set up another school. He died at Carlisle. He had received the gold medal of the Society of Arts in 1814.

He issued some twenty-four other books in related fields besides the three here examined (see also Nos. 89 and go). This particular work was first issued in 1792, and again in 1793, 1797 (see Plate XC), 1798, and 1810. He says:

It may be proper for me here again to observe, that this book will not supersede or render useless my former publication The Carpenter's New Guide [No. 89] , by no means; the subjects, a few instances only excepted, are totally different: the two volumes will form a complete treatise on the Carpenter and Joiner's business; besides, the Elements or Principles, as the basis of practice, laid down in the beginning of the Carpenter's Guide, I earnestly recommend to be well understood by every one who wishes to attain to eminence and accuracy in the profession; for whoever shall attempt the practical parts of the Carpenter's business without a due knowledge of the principles, will be like a ship at sea without rudder or compass, the port may be obtained, but the labour will be great and the event doubtful. [P. vi]

Jefferson ordered the book in 1825 for the University in the section on "Technical Arts" of the want list, but there is no record of its ever having been received by the library during his lifetime. The duplicate presently on the shelves has recently entered the collections, the gift of the Thomas Jefferson Memorial Foundation.

U. Va. *TH5605.N6.1797

THE / Carpenter's New Guide: / BEING A / COMPLETE `BOOK OF LINES / FOR / CARPENTRY AND JOINERY. / TREATING FULLY ON / Practical Geometry, Soffits, Brick and Plaister Groins, Niches of every Descrip-/tion, Sky-lights, Lines for Roofs and Domes, with a great Variety of Designs / for Roofs, Trussed Girders, Floors, Domes, Bridges, &c.;-Stair-cases and / Hand-Rails of various Constructions; Angle Bars for Shop Fronts, &c.; / and Raking Mouldings; with many other Things entirely new. / The whole founded on true Geometrical Principles; and the Theory and Practice / well explained, and fully exemplified / ON SEVENTY-EIGHT COPPER-PLATES, / CORRECTLY ENGRAVED BY THE AUTHOR. / INCLUD- ING / SOME OBSERVATIONS AND CALCULATIONS ON THE / STRENGTH OF TIMBER. / BY / PETER NICHOLSON.

/ LONDON: / PRINTED FOR I. AND J. TAYLOR, / AT THE ARCHITECTURAL LIBRARY, No. 56, HIGH HOLBORN. / MDCCII.

4to. Title page ([iii]); preface ([v]-viii); list of plates ([ix]-xii); text, with 78 engraved plates inserted ([1]-76); [new pagination:] catalogue of books ([1]-4).

For information on Peter Nicholson, see No. 88. About this book Nicholson says:

To a book intended merely for the use of Practical Mechanics, much Preface is not necessary....

In this Second Edition the arrangement is gradual and regular, such as a student should pursue who wishes to attain a thorough knowledge of his profession; and as it is Geometry that lays down all the first principles of building, measures, lines, angles, and solids, and gives rules for describing the various kinds of figures used in buildings; therefore, as a necessary introduction to the art treated of, I have first laid down, and explained in the terms of workmen, such problems of Geometry as are absolutely requisite to the well understanding and putting in practice the necessary lines for Carpentry. [P. v]

In that nice and elegant branch of the Building Art, called Joinery, Stairs and Hand-rails take the lead; and notwithstanding the great importance of this subject, I am sorry to find it has been treated, by authors in general, in a very clumsy and slovenly manner. For Stair-cases, in general, I have laid down right methods, on principles entirely new, and which, since the publication of the former edition of this work, I have the satisfaction to say, have been put in practice, and found to answer well. [P. vii]

In this Second Edition the arrangement of the subjects is progressive and regular; and besides eighteen additional plates, many of the others have been re-engraved, the subjects, in some, made more intelligible, and, in others, multiplied: So that this edition may be considered as a New Work. [P. viii] The Carpenter and Joiner's Assistant (No. 88) was meant to be a work complementary to this one.

Jefferson in ordering this for the University in the section on "Technical Arts" of the want list did not specify in the way of edition any- thing more than "London"" and there were London editions in 1792, 1793, 1797, 1801, 1805, and 1808 that he could have meant. There is no record of any edition having been received by the library in Jefferson's lifetime. After 1808, the book was issued again in London in 1835, 1854, and 1856.

The library's recently acquired copy, the gift of the Thomas Jefferson Memorial Foundation, is well worn and has carpenters' drawings on some of its blank pages. What is more interesting is the four-page catalogue for the Architectural Library bound in at the end with its listing of over 100 titles in stock at the shop of that name in London.

U. Va.? *TH5605.N62.1793

Vol. I. THE / PRINCIPLES / OF / ARCHITECTURE, / CONTAINING THE / FUNDAMENTAL RULES OF THE ART, / IN / GEOMETRY, ARITHMETIC, & MENSURATION; /

With the Application of those Rules to Practice. / THE TRUE METHOD OF / Drawing and Ichnography and Orthography of Objects, / GEOMETRICAL RULES FOR SHADOWS, / ALSO THE / FIVE ORDERS OF ARCHITECTURE; / WITH A GREAT / VARIETY OF BEAUTIFUL EXAMPLES, / SELECTED FROM THE ANTIQUE; / AND / MANY USEFUL AND ELEGANT ORNAMENTS, / WITH RULES FOR PROJECTING THEM. / By P. NICHOLSON, Architect. / Illustrated with Two Hundred and Sixteen Copper-plates, engraved in a / superior Manner by W. Lowry, from original Drawings by the Author. / IN THREE VOLUMES. /THE SECOND EDITION WITH ADDITIONS,/REVISED AND CORRECTED BY THE AUTHOR. /VOL. I. / London: / PRINTED FOR J. BARFIELD, WARDOUR-STREET, / AND T. GARDINER, PRINCES-STREET CAVENDISH SQUARE. / 1809.

8vo. Title page ([i]); preface ([iii]-xii ); table of contents ([xiii]-xxxiii ); half title (1 leaf); text, with 49 engraved plates inserted ([1]-53); half title ([55]); text ([57]-149); half title ([151]); text, with 9 engraved plates, numbered 5~58, inserted ([153]-266); advertisement (1 unnumbered p. ) .

Vol. II. THE / PRINCIPLES / . . . / VOL. II. / . .
8vo. Title page ([i]); preface ([iii]-viii); table of contents ([ix]-xvi); text, with 44 engraved plates, numbered 5e102, of which 1 is folding, inserted ([1]-81).

Vol. III. THE / PRINCIPLES / . . . / VOL. III. / . .
8vo. Title page ([i]); preface ([iii]-xi); table of contents (4 leaves); text, with 114 engraved plates, numbered 112-216, of which 1 is folding, inserted ([1]-114); directions to binder (1 leaf).

For information about Wilson Lowry, the engraver, see No. 32. For information on Peter Nicholson, see No. 88. Nicholson tells us:

Although a number of publications have at different times appeared, professing to treat of the Principles, or Elements of Architecture , it is justly complained of them, that they do not fully correspond to their title. For not sufficiently entering into those mathematical principles, on which this noble art ultimately rests, and from which indeed it derives its very existence, they may rather be said t o consider it merely as an art, than as a science also; and are more calculated to instruct the Student in drawing Architectural Plans, than to point out and elucidate those unalterable rules, and first principles, which, however unperceived, must enter into the very essence of every plan that is correct and practicable. [I, (iii)-iv]

In this Volume, the PRINCIPLES only are laid down. The GEOMETRICAL part is first attended to. [I, vii]

Number, as well as magnitude, being concerned in Architecture, ARITHMETIC follows next. [I, ix-x]

MENSURATION itself is then explained. This, showing the proportion one magnitude bears to another of the same kind, is necessary to enable the architect to proportion the scantlings of his timber, and to give strength and stability to his design. [I, xi-xii]

In the first volume I have very fully treated on PRACTICAL GEOMETRY. This it is the object of the present volume to apply, in the solution of various useful problems, in the several branches of our art.

I have first shown the method of describing ARCHES of every kind. [II, (iii)]

I have next explained the manner of describing both Grecian and Roman MOULDINGS, by applying the general principles of the Ellipsis, Parabola, and Hyperbola, to this particular subject. [II, iv]

The ICHNOGRAPHY AND ELEVATION OF OBJECTS being necessary to represent their true outline in all the varieties of position to the projecting plane, I have given instructions for them, and then proceed in the last place to treat of the PROJECTION OF SISADOWS: A subject hitherto entirely neglected by writers on Architecture, notwithstanding its importance in orthographical or geometrical designs. [II, vi-vii]

I NOW submit the third and last volume of this Work.... It treats of the Decorative parts of Architecture....

On this subject many able authors have already written; but the plan I have followed is different from theirs. It has not been so much my object to entertain the eye by a multitude of descriptive Drawings, as to enable the learner to understand and imitate those he meets with. This purpose I have thought would be most effectually answered, by first explaining those mathematical principles, to which all chaste ornament owes its beauty and permanence; and then showing the exemplification of them in those specimens of ancient magnificence, which have escaped the ravages of time. [III, (iii)-iv]

Greece indeed has been long in the possession of barbarians, which, till of late, has occasioned it to be greatly neglected, few people caring to risk their lives among them. At length, however, Monsieur Le Roy [No. 73], a traveler of great assiduity, and repute, took the trouble to make drawings from the remaining antiquities of that ancient repository of arts and learning: and the world have [sic] since been still more indebted to the united labors of Stuart and Revett [No. 1l9], for those accurate representations with which they have elucidated this subject.

Grecian Architecture being thus happily recovered from the ruins in which it was concealed, it is found far preferable to the Roman, both in the beauty of its designs, and the elegance and proportion of their parts [see Plate XCI; compare with Plate CXXXIII]. The numerous members of the latter render their profiles trifling and confused; their overloaded cornices make them clumsy and inelegant; . . . while the boldness of the Grecian commands the attention of the spectator; the grandeur of its parts, and the graceful curvature of its mouldings; producing the most happy variety of light and shade upon its surfaces. [III, vi-vii]

An artificial arrangement of leaves, branches, fruit, flowers, drapery, &c. either singly or combined in any manner with each other, are [sic] called ornaments in architecture. [III, (1)]

This eminently interesting work, with its emphasis on the importance of mathematics in architecture, went through at least five editions, in 1795S8, 1809, 1836, 1841, and 1848. The engraved plates in all the volumes are especially beautiful, even those which are purely diagrammatic.

Jefferson, in ordering this book for the University in the section on "Architecture" of the want list, specified only a three-volume edition in octavo, which could have referred to the original edition of 1795-98 or the 1809 edition. There is no record that either edition was received by the library before Jefferson's death. The library's present set has been recently acquired, the gift of the Thomas Jefferson Memorial Foundation.

U. Va. *NA2520.N58.1809

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