DOI Page / Citation link:
https://doi.org/10.11588/diglit.4423#0063
38 THE FIRST GIVEN PROPORTIONS.
and first Projections, the Plan, et cet. These first elements being correctly given, the calcula-
tions become very simple.
In Figs. 1 and 2, complete Sections are given through the Acropolis, showing all the
general levels, and the true level of each of the given points of sight.
Fig. 1 is a general Section from west to east, showing the Propylsea, the statue of
Minerva, and the Parthenon.
Fig. 2 is a general Section from north to south, showing the Parthenon and the
Erechtheium.
The points of view are numbered upon the Sections, as well as upon the Plan.
For the levels that are given we are indebted to Mr. Penrose, who has laid down both the
Plan and the levels with his usual accuracy, and without this data it would be impossible with
any certainty to make the required calculations.
GENERAL REMARKS.
From direct observation we become sensible that objects in nature often assume an
apparent form, different from their true geometrical form: thus the apparent magnitudes of lines,
surfaces, and solids, vary from the true magnitudes, and consequently the eye presents objects
to the mind different in form and in magnitude from what they really are, but we are enabled
in many instances, from the picture that the eye presents of the object, mentally to restore the
geometrical forms. From our physical organization, the eye has not the power of presenting
a picture to the mind otherwise than in perspective. The stars, as we see them traced on the
imaginary celestial sphere, are a perspective representation of the firmament, every landscape is
a perspective view, and also each work of Architecture when executed can only be viewed in
perspective. The mind of the observer is supposed to judge of the design by the pictures that
are presented to it through the medium of the eye, and the Architect must not expect the
beholder, when contemplating the executed work, to correct and make perfect that which
presents itself as apparently imperfect. If we intend the design to appear perfect in Proportion,
the parts must be so arranged that, when the work is executed, it should appear to all who
contemplate it, exactly proportioned in all its parts ; if the lines are intended to appear, either
mathematically straight or curved, they must be adjusted so as apparently to produce that effect.
The idea, as it exists in our own minds as a perfect work of Art, must be preserved when it is no
longer a mere conception, but becomes visible to the eye, and is contemplated from some
fixed point of view, towards which the observer is led by the arrangement of the roads, the
Sculpture, and the entrances.
Therefore, commencing with the given Proportions and forms, we have firstly to conceive
the whole design, and, secondly, to translate it into an external visible work that shall agree
and first Projections, the Plan, et cet. These first elements being correctly given, the calcula-
tions become very simple.
In Figs. 1 and 2, complete Sections are given through the Acropolis, showing all the
general levels, and the true level of each of the given points of sight.
Fig. 1 is a general Section from west to east, showing the Propylsea, the statue of
Minerva, and the Parthenon.
Fig. 2 is a general Section from north to south, showing the Parthenon and the
Erechtheium.
The points of view are numbered upon the Sections, as well as upon the Plan.
For the levels that are given we are indebted to Mr. Penrose, who has laid down both the
Plan and the levels with his usual accuracy, and without this data it would be impossible with
any certainty to make the required calculations.
GENERAL REMARKS.
From direct observation we become sensible that objects in nature often assume an
apparent form, different from their true geometrical form: thus the apparent magnitudes of lines,
surfaces, and solids, vary from the true magnitudes, and consequently the eye presents objects
to the mind different in form and in magnitude from what they really are, but we are enabled
in many instances, from the picture that the eye presents of the object, mentally to restore the
geometrical forms. From our physical organization, the eye has not the power of presenting
a picture to the mind otherwise than in perspective. The stars, as we see them traced on the
imaginary celestial sphere, are a perspective representation of the firmament, every landscape is
a perspective view, and also each work of Architecture when executed can only be viewed in
perspective. The mind of the observer is supposed to judge of the design by the pictures that
are presented to it through the medium of the eye, and the Architect must not expect the
beholder, when contemplating the executed work, to correct and make perfect that which
presents itself as apparently imperfect. If we intend the design to appear perfect in Proportion,
the parts must be so arranged that, when the work is executed, it should appear to all who
contemplate it, exactly proportioned in all its parts ; if the lines are intended to appear, either
mathematically straight or curved, they must be adjusted so as apparently to produce that effect.
The idea, as it exists in our own minds as a perfect work of Art, must be preserved when it is no
longer a mere conception, but becomes visible to the eye, and is contemplated from some
fixed point of view, towards which the observer is led by the arrangement of the roads, the
Sculpture, and the entrances.
Therefore, commencing with the given Proportions and forms, we have firstly to conceive
the whole design, and, secondly, to translate it into an external visible work that shall agree