University of Virginia Library

Descriptive Catalogue

1. Aberdeen, George Hamilton Gordon, 4th earl of.

AN / INQUIRY / INTO THE / PRINCIPLES OF BEAUTY / IN /
GRECIAN ARCHITECTURE; / WITH / AN HISTORICAL VIEW
/ OF / THE RISE AND PROGRESS OF THE ART IN / GREECE.
/ BY GEORGE, EARL OF ABERDEEN, K. T. &c. / LONDON: /
JOHN MURRAY, ALBEMARLE-STREET. / 1822.

8vo. Title page (1 leaf); note (1 leaf); text ([1]-217).

The fourth earl of Aberdeen (1784-1860) was a diplomat, the foreign
secretary under the duke of Wellington, and the holder of various other
governmental offices. A trip to Greece in 1803 made him an ardent philhellenist,
and he became a founder of the Athenian Society.

His Inquiry into the Principles of Beauty in Grecian Architecture
was first published as an introduction to William Wilkins's translation
of The Civil Architecture of Vitruvius (London, 1812) and was called
there "An Introduction Containing an Historical View of the Rise and
Progress of Architecture amongst the Greeks." It was printed separately
in London in 1822 and again in 1860 as No. 130 of Weale's series of Rudimentary
Works for the Use of Beginners.

The book is not quite as rudimentary as the title of Weale's series
might suggest. Aberdeen examines Homer and other literary sources for
architectural information and describes surviving monuments, proportions,
and the origin of the arch. He sets out to analyze sublimity as
follows:

Although he notes that Edmund Burke (1729-97) in The Philosophical
Inquiry into the Origin of Our Ideas on the Sublime and the
Beautiful observes "that uniformity and succession of parts, as the great
causes of the artificial infinite, tend mainly in architecture to produce
sublimity" (p. 9), he is, in actuality, anti-Burke, anti-flowing line, a
proponent of angularity, and a supporter of neoclassicism.

His note on the value of the Greek remains is illuminating both for
its description of the state of archaeology then and for its condemnation
of the copyist:

Jefferson ordered the book for the University in the section on "Architecture"
of the want list and a copy had been received by 1828. This
copy subsequently disappeared, but another has recently been acquired,
the gift of the Thomas Jefferson Memorial Foundation.

U. Va.

*NA270.A2.1822

2. Adam, Alexander.

ROMAN ANTIQUITIES: / OR, AN / ACCOUNT / OF THE /
MANNERS AND CUSTOMS / OF THE / ROMANS; / RESPECTING
THEIR / GOVERNMENT, MAGISTRACY, LAWS, JUDICIAL

PROCEEDINGS, RELIGION, GAMES, / MILITARY AND
NAVAL AFFAIRS, DRESS, EXERCISE, BATHS, MARRIAGES,
DI- / VORCES, FUNERALS, WEIGHTS AND MEASURES,
COINS, METHOD OF WRITING, / HOUSES, GARDENS, AGRICULTURE,
CARRIAGES, PUBLIC BUILDINGS, &c. &c. / DESIGNED CHIEFLY / TO
ILLUSTRATE THE / LATIN CLASSICS, / BY EXPLAINING
WORDS AND PHRASES, FROM THE RITES AND / CUSTOMS
TO WHICH THEY REFER. / BY ALEXANDER ADAM, LL. D. /
RECTOR OF THE HIGH SCHOOL OF EDINBURGH. / REVISED,
CORRECTED, AND ILLUSTRATED WITH NOTES
AND ADDITIONS, / BY P. WILSON, LL. D. / PROFESSOR OF
LANGUAGES IN COLUMBIA COLLEGE. / NEW-YORK: /
PRINTED BY WILLIAM A. MERCEIN, NO. 93 GOLD-STREET, / For Kirk &
Mercein, W. B. Gilley, C. Wiley & Co. John Sayre, Scott & Seguine,
John Tie-/bout, L. & F. Lockwood, E. Bliss, Samuel Campbell & Son,
A. T. Goodrich & Co. G. A. / Banks, New-York, and Cushing & Jewett,
and F. Lucas, jun. Baltimore. / Sept. 1819.

8vo. Title page ([i]); preface to first ed. ([iii]-vii); note to 2d ed.
(viii); table of contents ([ix]-xii); (1-16 skipped); text ([17]-548);
Latin index (549-56); index of proper names and things (557-65).

Title page inscribed: `S. A. Elliot's-1829-Bought at the sale of
Mr. Jefferson's library.'

Alexander Adam (1741-1809) was the son of a farmer. He learned
Latin at the parish school, then went to Edinburgh where he attended
lectures at the university and at nineteen became the headmaster of Watson's
Hospital. He later was the tutor to the family of a Mr. Kincaid, and
finally rector of the High School. Lord Cockburn said of him, "He was
born to teach Latin, some Greek, and all virtue."

He was paid £600 for Roman Antiquities, which was first published
in 1791 and subsequently went into several editions, being issued both
in England and in America. Although its architectural passages are
minor, it does treat, in descriptions taken from Roman literature, of libraries
(pp. 492-93), houses (pp. 493-96, 499-503), villas and gardens
(pp. 504-6), and public buildings (pp. 543-47).

A sample description follows:

Laid in the University of Virginia's copy is a letter, dated February
24, 1950, from E. Millicent Sowerby:

"The book" refers to the specific copy of the book now in the library.
Thus, although the University has Jefferson's own copy of Adam
(see Plate I), acquired in recent years by the McGregor Library, there
is no record that the copy he ordered for it, in the section on "HistoryCivil-Antient"
of the want list, was ever received. Since Jefferson ordered
his copy during June 1821 and his drawings for the Rotunda were approved
by the Board of Visitors on April 2, 1821, the book cannot have
had any influence on the design of the University.[2]

U. Va.

*A1819.A332

M

3. Adam, Robert.

RVINS OF THE PALACE / OF THE EMPEROR DIOCLETIAN /
AT SPALATRO IN DALMATIA / BY R. ADAM F.R.S. F.S.A. /

Plate I. From No. 2. Title page. Copy originally owned by Jefferson.

ARCHITECT TO THE KING / AND TO THE QUEEN /
PRINTED FOR A. MILLAR / MDCCLXIIII

Folio. Title page ([i]); dedication ([iii]-iv); list of subscribers (4
leaves); introduction ([1]-4); text ([5]-17); explanation of plates
([19]-33); 60 engraved plates, of which 11 are folding (Plate I of a total
of 61 plates is missing).

The engravers for this notable work were Francesco Bartolozzi (1725 or
1727-1813 or 1815), a Florentine who came to England just in time to
work on the book and who went to Lisbon in 1802 to become director of
the National Academy there; James Basire (1730-1802), who had studied
with Dalton and in Rome, and who became both the father and
grandfather of engravers also named James Basire; Domenico Cunego
(1727-94), Italian, who, though a painter, distinguished himself as an
engraver; Peter Mazell (fl.1761-97), English; F. Patton (fl.1754-64),
English; Edward Rooker (ca. 1712-74), English, who worked on several
architectural books, particularly for Chambers and Stuart as well as
Adam; P. Santini; Anthony Walker (1726-65), one of a family of Scottish
engravers who settled in London, Anthony studying at St. Martin's
Lane Academy and working largely for Boydell; and Zucchi, a member
of an Italian family of engravers which originated in Venice, flourished
during both the seventeenth and eighteenth centuries, and worked in
many Italian and foreign centers.

The professionals among the subscribers include four architects,
three booksellers, two carpenters, a carver, the Clerk of the Signet, fourteen
doctors, eight ecclesiastics, an engineer, two merchants, six painters,
two printers, and two statuaries. Charles-Louis Clérisseau, Adam's assistant;
Adam's three brothers, John, James, and William; Giovanni
Battista Piranesi; James Dawkins; Thomas Whatley; and Joshua Kirby,
the "Designer in Perspective to his Majesty," all appear on the list. But
also included is a "Major General Julius Caesar"!

Robert Adam (1728-92) was not only an architect himself but the
son of the architect William Adam and the brother of the architects
John, James, and William Adam. Educated at the University of Edinburgh,
he went to Italy in 1754. On his return to England he was appointed
architect to the king and queen and in 1762 became both F.R.S.
and F.S.A.

He describes in his introduction his entourage for his investigations
at Spalatro, the modern Split: "Having prevailed on Mr. Clerisseau, a
French artist, from whose taste and knowledge of antiquities I was certain
of receiving great assistance in the execution of my scheme, to accompany
me in this expedition, and having engaged two draughtsmen,

of whose skill and accuracy I had long experience, we set sail from Venice
on the 11th of July, 1757, and on the 22nd of that month arrived at
Spalatro" (p. 2). There is a figure of one of the draughtsmen at work in
his Plate XXXIII, the "View of the Inside of the Temple of Jupiter"
(see Plate II).

He also gives a description of his methods of work at the palace:
"By good fortune its remains are, in many places, so intire, as to be able
to fix, with the utmost certainty, the form and dimensions of the principal
apartments. The knowledge of these, leads to the discovery of the
corresponding parts; and the descriptions given us by Pliny and Vitruvius[3]
of the Roman villas, enable us to assign each apartment its proper
name, and to discover its use" (p. 7). This literary method was followed
by other authors, notably by the two preceding and Robert Castell (No.
21).

The DNB article on Adam says that the Ruins of the Palace of Diocletian
was published "because of its residential character, classical architecture
being studied in England exclusively from the remains of
public buildings." That this was a desirable procedure is corroborated
by Adam when he says:

The Ruins of the Palace of Diocletian has also been called "a work
of incalculable importance in the development of the European neoclassical
movement."[4]

Although Jefferson himself did not own a copy of this book, he may
very well have known it from the time of his stay in France where he,
too, worked with Charles-Louis Clérisseau (No. 29). In any case Adam's
"General Plan of the Palace restored" (see Plate III) would have been
to his liking with its many octagonal forms.

Jefferson ordered the Spalatro for the University in the section on
"Architecture" of the want list, but there is no record of its having been

Plate II. From No. 3. "View of the Inside of the Temple of Jupiter" in Diocletian's
Palace (Pl. XXXIII).

Plate III. From No. 3. "General Plan of the Palace [of Diocletian] Restored" (Pl. VI).

received during his lifetime. The library's present copy was acquired
during this century.

U. Va.

*NA320.A3.1764

4. Alberti, Leon Battista.

L'ARCHITETTVRA / DI LEONBATTISTA / ALBERTI / TRADOTTA
IN LINGVA / Fiorentina da Cosimo Bartoli, / Gentilhuomo,
& Academico / Fiorentino. / Con la aggiunta di Disegni. / In Venetia,
Appresso Francesco Franceschi, Sanese. 1565.

Small 4to. Title page (1 unnumbered p.); woodcut portrait (1 unnumbered
p.); dedication (1 leaf); poem ([1-2]); 2d dedication ([3]-4);
Alberti's preface (5-8); text, with 48 woodcut plates, of which 1 is folding,
all in numbered pagination, and with 35 additional woodcut figures
(9-404); index (14 unnumbered leaves).

Leon Battista Alberti (1404-72) was born in Genoa. He wrote easily in
Latin, was considered a fine organist, and was the author of Della statua,
De Pictura, and De re aedificatoria. His importance, not only in the fifteenth
century but also in the following centuries, may be partially measured
by the fact that all his books went into many editions, while the De
re aedificatoria, one of the monuments of architectural literature, was
translated into Italian, English, French, Spanish, and German.[5] It was
first printed by Alemanus in Florence in 1485. This translation into Italian
by Cosimo Bartoli (ca.1503-ca.1572), an Italian architect and
scholar, was first published in 1550.

There are two illustrations in the book which may have had some
influence on Jefferson. The first is an arcade which, in its simple form,
may have helped to suggest the simplicities of the arcades on the Ranges
at the University of Virginia (see Plate IV), though the book was no
longer in Jefferson's hands at the time he designed them. The second,
taken from Book VII, whose title may be translated as "On Ornaments
of Sacred Temples," would have reinforced Jefferson's argument with

Plate IV. From No. 4. Woodcut of arcade (p. 67).

his ornamentist, William Coffee, about the appropriateness of ornament
in domestic and public use (see Plate V).[6]

Sowerby points out that Jefferson paid "4." (dollars?) for his own
copy, which Kimball says was purchased between 1785 and 1789 (p.
92). That copy was sold to Congress. The book was not ordered for the
University. The present copy in the library is the gift of the Thomas
Jefferson Memorial Foundation.

M

Sowerby 4199

*NA2515.A33.1565

5. Aldrich, Henry.

THE / ELEMENTS / OF / CIVIL ARCHITECTURE, / ACCORDING
TO / Vitruvius and other Ancients, / AND THE / MOST APPROVED
PRACTICE OF MODERN AUTHORS, / ESPECIALLY
PALLADIO. / BY HENRY ALDRICH, D. D. / FORMERLY DEAN
OF CHRIST CHURCH. / TRANSLATED BY / THE REV. PHILIP
SMYTH, LL. B. / FELLOW OF NEW COLLEGE. / SECOND
EDITION. / OXFORD, / PRINTED BY W. BAXTER, / FOR
J. PARKER: / MESSRS. PAYNE AND FOSS, PALL MALL; AND
MESSRS. LAW AND / WHITTAKER, AVE MARIA LANE, LONDON.
/ 1818.

8vo. Engraved portrait ([ii]); title page ([iii]); preface to 2d ed.
([v]-vi); note ([vii]-viii); introduction by Philip Smyth (1-75); First
Part of text ([77]-124); Second Part of text (125-51); 55 engraved
plates.

Inscribed on page v: `University Library / June 1840 / John Beaford
/ London.'

Of Henry Aldrich (1647-1710), who was born at Westminster and educated
at Westminster School and Christ Church, Oxford, his translator
says in his introduction:

Aldrich says that he wrote for students who might follow "this
study from particular inclination . . . and [I] shall so explain to him
the language and most approved precepts of Architecture, that he may
either rest satisfied with my instructions, to be able by his own application
to study my omissions" (p. 78).

Aldrich's original scheme was for the volume to be divided into two
parts, each having three books: "The first book will contain general
rules: the second will speak of public and private edifices: the third of
the ornaments of building; the fourth will describe fortification: the fifth
naval Architecture: the sixth instruments of war" (p. 78). In this edition,
however, only the first two books were printed. They are as described
above, the first part basing its rules on the tripartite admonition
for utility, strength, and beauty and the second part expanded to include
descriptions of those buildings illustrated, among which are some by
Bramante, Raphael, Romano, Peruzzi, Palladio, and Vignola.

A copy of this book was presented by Joseph Coolidge to Jefferson
for the library at the University, as listed in the Kean catalogue; it disappeared,
however, and was replaced in 1840 by the present volume.

U. Va.

*NA2515.A4.1818

6. Arteaga, Esteban.

Vol. I. LE RIVOLUZIONI / DEL / TEATRO MUSICALE / ITALIANO
/ DALLA SUA ORIGINE FINO AL PRESENTE / OPERA

/ DI STEFANO ARTEAGA / MADRIDENSE / TOMO PRIMO. /
Il faut se rendre a ce Palais magique, / Ou les beaux vers, la dance, la
musique, / L'art de tromper les yeux par les couleurs, / L'art plus heureux
de seduire les coeurs, / De cent plaisirs font un plaisir unique. /
BOLOGNA MDCCLXXXIII / Per la Stamperìa di Carlo Trenti all'
Insegna / di Sant' Antonio. / Con licenza de' Superiori.

Small 8vo. Title page ([i]); dedication (iii-x); note (xi); table of contents
(xii-xiv); license (1 leaf); text (1-411); errata (1 leaf).

Vol. II. LE RIVOLUZIONI / . . . / MADRIDENSE / TOMO SECONDO.
/ BOLOGNA MDCCLXXXV. / . . .

Small 8vo. Title page ([iii]); dedication (v-xii); table of contents (xiiixiv);
license (1 leaf); text (1-207).

Vol. III. LE RIVOLUZIONI / . . . / MADRIDENSE / TERZO
ED ULTIMO TOMO / Arricchito delle Repliche fatte alle / Osservazioni
dell' Autore intorno / ad un' Estratto del Tomo II. /
BOLOGNA MDCCLXXXVIII / . . . .

Small 8vo. Title page ([iii]); dedication (v-ix); note (x-xii); errata
(xiv); imprimatur (unnumbered p.); half title (1 leaf); folded leaf of
music; text ([1]-216).

Esteban Arteaga (1747-99), a Spanish Jesuit, emigrated to Italy on the
suppression of his order. He went later to Paris where he died. He wrote,
in addition to the Rivoluzioni, the Investigaciones filosoficas sobre la
belleza ideal (Madrid, 1789) and Dell' influenza degli Arabi sull' origine
della poesia moderna in Europa (Rome, 1791).

The first edition of the Rivoluzioni was issued in 1783 in two volumes.
It was later expanded into three, and letters on the subject by
François Arnaud (1721-84) and Vicenzo Manfredini (1737-99) were
included. The first volume discusses such subjects as the nature of musical
drama, the origins of sacred music, profane music, opera seria, and
opera buffo, the progress of melody, and the introduction of eunuchs into
music, as well as giving a survey of the Italian musical scene. The second
volume discusses the decadence of Italian opera, the causes lying in
the vanity and ignorance of the singers and the abandonment of musical
poetry. The third volume is a continuation of the discussion in Vol. II
and includes letters from Arnaud and Manfredini. The entire work has
been called an acute and diligent book.

Jefferson owned and sold to Congress the three-volume edition of
Arteaga which was published in Venice in 1785, but the date of purchase

is not known. He ordered all three volumes for the University, in the
section on "Gardening. Painting. Sculpture. Music" of the want list, but
only two were received and these have not survived. The library's present
set, with the volumes dated 1783, 1785, and 1788, is a recent acquisition,
the gift of the Thomas Jefferson Memorial Foundation.

U. Va.

*ML1733.3.A7.1783

M

Sowerby 4256

7. Atwood, George.

A / DISSERTATION / ON THE / CONSTRUCTION AND PROPERTIES
/ OF / ARCHES. / BY / G. ATWOOD, ESQ. F.R.S. /
LONDON: / PRINTED BY W. BULMER AND CO. / CLEVELAND-ROW,
ST. JAMES'S. / FOR LUNN, OXFORD-STREET,
AND EGERTON, WHITEHALL. / 1801.

4to. Title page ([i]); preface ([iii]-viii); text ([1]-51); 6 folding engraved
plates (Plate VI, of a total of 7 plates, is missing).

George Atwood (1746-1807), a mathematician, was educated at Westminster
and Trinity College, Oxford.

He gives a clear account of the geometrical and trigonometrical approach
to his book and an equally clear account of the bases on which
the book is grounded:

In 1804 a supplement was "written at the request of a committee of
the House of Commons, then engaged in considering Telford's plan for
replacing London Bridge with a one-arched iron construction" (DNB).

The copy now in the library lacks the 1804 supplement, as apparently
did the copy received by Jefferson for the University, as shown
in the Kean catalogue.

U. Va.

*TG327.A88.1801

8. Baldinucci, Filippo.

Vol. I. COMINCIAMENTO / E / PROGRESSO / DELL' ARTE
DELL' INTAGLIARE IN RAME / COLLE VITE / Di molti de'più
eccellenti Maestri / della stessa Professione / OPERA / DI FILIPPO
BALDINUCCI / FIORENTINO / ACCADEMICO DELLA CRUSCA
/ Con Annotazioni / DEL SIG. DOMENICO MARIA MANNI /
MILANO / Dalla Società Tipografica de'Classici Italiani, / contrada
di s. Margherita, No. 1118. / ANNO 1808.

8vo. Engraved portrait ([iv]); title page ([v]); editor's preface (viixii);
author's preface (1-14); text (15-268); index (269-87); errata (1
unnumbered p.).

Vol. II. VOCABOLARIO TOSCANO / DELL' ARTE / DEL
DISEGNO / DI / FILIPPO BALDINUCCI / FIORENTINO. / VOLUME
PRIMO. / MILANO / Dalla Società Tipografica de'Classici
Italiani, / contrada di s. Margherita, No. 1118. / ANNO 1809.

8vo. Title page ([3]); dedication (5-8); preface (9-19); text (21-370);
errata (1 unnumbered p.).

Vol. III. VOCABOLARIO TOSCANO / . . . / VOLUME SECONDO.
/ . . .

8vo. Title page ([3]); text (5-255); additions (257-69); lecture (271319);
letter (321-59); errata (1 unnumbered p.).

Vol. IV. NOTIZIE / DE' PROFESSORI DEL DISEGNO / DA
CIMABUE IN QUA / OPERA / DI FILIPPO BALDINUCCI /
FIORENTINO / ACCADEMICO DELLA CRUSCA / CON NOTE
ED AGGIUNTE. / MILANO / Dalla Società Tipografica de'Classigi
[sic] Italiani / contrada dal Cappuccio. / ANNO 1811.

8vo. Title page ([iii]); editor's note (v-viii); dedication (ix-xii); author's
note (xiii-xxxii); text (1-541); index (543-82); errata (1 unnumbered
p.).

Vol. V. NOTIZIE / . . .

8vo. Title page ([3]); publisher's note (5-9); text (11-528); index
(529-45); errata (547).

Vol. VI. NOTIZIE / . . .

8vo. Title page ([3]); note by Giuseppe Piacenza (5-13); text (15403);
index (405-16); errata (1 unnumbered p.).

Vol. VII. NOTIZIE / . . .

8vo. Title page ([3]); text (5-642); index (643-62); errata (663).

Vol. VIII. NOTIZIE / . . .

8vo. Title page ([3]); text (5-570); notes (571); index (573-90); errata
(1 unnumbered p.).

Vol. IX. NOTIZIE / . . . / ANNO 1812.

8vo. Title page ([3]); text ([5]-568); index (569-81); errata (583).

Vol. X. NOTIZIE / . . .

8vo. Title page ([3]); text (5-478); index (479-86); errata (487).

Vol. XI. NOTIZIE / . . .

8vo. Title page ([3]); text (5-495); index (497-512); errata (1 unnumbered
p.).

Vol. XII. NOTIZIE / . . .

8vo. Title page ([3]); text (5-491); index (493-98); errata (499).

Vol. XIII. NOTIZIE / . . .

8vo. Title page ([3]); text (5-521); index (523-30); errata (531).

Vol. XIV. NOTIZIE / . . .

8vo. Title page ([3]); dedication (5-8); text (9-298); index (299312);
errata (1 unnumbered p.).

Filippo Baldinucci (1624-96) was born at Florence. He was a writer on
the history of the arts, but he had the fault of attempting to derive all
Italian art from the schools of Florence.

This edition is the first collected edition of his works. Volume I
treats of the lives of engravers from all countries and contains 157 entries;
Vol. II is the first part of a dictionary of the terms used in pictorial
design, from Ab to Nu; Vol. III contains the continuation of the dictionary
from Ob to Zu, a section of additions from A to V and ends with
a lecture Baldinucci gave at the Accademia della Crusca on December
29, 1690, and January 5, 1691; Vols. IV-XIV contain essays on the
works of various artists, some few by other authors. These last volumes
are not very well arranged, for they are not alphabetical internally or
from volume to volume. There are no illustrations in the set beyond the
initial portrait.

This is a set that was already in the library in the spring of 1825
when Jefferson was making up his want list.

U. Va.

*N27.B2.1808

9. Barlow, Peter.

An Essay on the Strength and Stress of Timber. 2d ed. London, 1818.

Not now owned by the University.

The University only has the third edition of this work, whereas Jefferson
presumably ordered the second edition. The third edition (of 1826)
contains 6 engraved plates, all folding and dated August 12, 1817, 250
pages of text, and an appendix of 55 pages. Interestingly enough, there
are also 26 pages of advertisements.

Peter Barlow (1776-1862), born at Norwich, was largely selftaught.
He kept a school, attained a considerable degree of scientific

knowledge, and eventually taught at the Royal Military Academy. He
was elected F.R.S. in 1823 and was an honorary member of the Cambridge
Philosophical Society and the Society of Civil Engineers.

His first book was An Elementary Investigation of the Theory of
Numbers, 1811; his second A New Mathematical and Philosophical Dictionary,
1814; and his third was this book, first issued in 1817. Its second
edition was in 1818, the edition of 1826 was the third, and it went into
its sixth edition in 1867.

In his text Barlow examines previous theories of strength and
stress, experiments most carefully, then sets up new theories based on
his experiments. He seems to have been one of the first to pronounce
theories of the strength of materials based on sufficient and valid experiments.
One should note, too, his early interest in iron as a structural
material.

The third edition, with its preface dated January 16, 1826, was
issued after Jefferson's list was made up and may well not have been
available in this country until after Jefferson's death. Since Jefferson
normally wanted the latest edition of a work, it may be assumed that
it was the second edition of 1818 which he ordered for the University,
in the section on "Technical Arts" of the want list. There is no record
of the library's having acquired any edition in Jefferson's lifetime.

U. Va.

[*TA405.B3.1826]

Bartoli, Pietro Santi. See La Chausse, Michel Ange de (No. 64).

10. Basan, Pierre François.

DICTIONNAIRE / DES GRAVEURS / ANCIENS ET MODERNES
/ DEPUIS L'ORIGINE DE LA GRAVEUR; / AVEC /
UNE NOTICE / DES PRINCIPALES ESTAMPES / Qu'ils ont
gravées. / SUIVI / Des Catalogues des OEuvres de Jacques / Jordans,
& de Corneille Visscher. / Par F. BASAN, Graveur. / PREMIERE
PARTIE. / A PARIS, / Chez / DE LORMEL, rue de Foin. / SAILLANT,
rue S. Jean de Beauvais. / VEUVE DURAND, rue des Noyers.
/ DURAND NEVEU, rue S. Jacques. / DESSAINT, rue du Foin. /
M.DCC.LXVII. / Avec Approbation & Privilege du Roi.

12mo. Half title (1 leaf); title page (1 leaf); note (i-iv); dictionary, 1st
part (1-342+, since the pagination 245-64 appears twice); [Half title
for 2d part missing;] dictionary, 2d part (343-572); supplement (57392);
errata, 1st part (1 leaf); errata, 2d part (1 leaf); [new pagination;]
supplement (1-192); index (193-227). (The catalogues are missing.)

Pierre François Basan (1723-97), French, studied under Etienne Fessard
and J. Daullé. He was an engraver and a seller of prints and objets
d'art. Of his more than 1,200 plates it is said that "la valeur . . . est
mediocrement cotée."

He says he will be "trop heureux si les soins que je me suis donné
pour parvenir à mon but, peuvent procurer aux Amateurs quelques-unes
des connoissances qui sont l'objet de leurs recherches" (pp. ii-iii). He
describes the structure of his work: "L'Ouvrage est divisé en deux
Volumes, & un toisieme faisant suite & contenant seul le Catalogue de
l'OEuvre de P. P. Rubens, d'une édition beaucoup plus ample & plus
correct que celui qui en avoit été publié en 1751, par le sieur Hecquet"
(p. iv).

The dictionary was first published in 1767, again in a very much
more handsome edition in 1789, and finally in 1809.

Jefferson ordered the 1767 edition for the University, in the section
on "Gardening. Painting. Sculpture. Music" of the want list, contrary
to his usual practice of buying the latest edition. It was in the library by
1828, but it has not survived. The recently acquired copy the gift of the
Thomas Jefferson Memorial Foundation, is still missing the catalogues
of Jordans and Vischer.

U. Va.

*NE800.B3.1767

11. Becker, Wilhelm Gottlieb.

Neue Garten und Landschafts-Gebaüde. Leipzig: Voss und Cie., 179899.

Not now owned by the University.

Sowerby, who had no opportunity to examine a copy, describes the book
as a folio volume with four parts and thirty-four plates. She gives the
date of purchase by Jefferson for his own library as June 21, 1805, its
price as $17.00, and the cost of its binding at $2.00.

Although references to Becker are few, Sowerby says he was a
German landscape artist and antiquarian.

Jefferson, in a study of garden pavilions with notes (Kimball, Fig.
164 and N-182), cites the Becker work: "Chinese model. wood Becker
pl. 10-a." The Chinese designs in the book were drawn by the architect
Schäffer and included detailed explanations.

Jefferson's French title, "Becker. Plans d'architecture," is not on
the book, but that this was the book ordered for the University, in the
section on "Architecture" of the want list, seems certain from Jefferson's
use of the same title for the copy of the same work that he sold to
Congress. No record of its receipt at the library during his lifetime
exists.

U. Va.

M

Sowerby 4223

12. Birch, William, and Son.

The / CITY OF PHILADELPHIA, / in the State of Pennsylvania /
North America; / as it appeared in the Year 1800 / consisting of
TWENTY EIGHT Plates / Drawn and Engraved by W. BIRCH &
SON. / Published by W. Birch, Springfield Cot, near Nethaminy Bridge
on the Bristol Road, Pennsylvania. Decr. 31st. 1800.

Folio. Engraved frontispiece (1 leaf); engraved title page (1 leaf); 28
engraved plates; list of subscribers (1 unnumbered p.).

The University owns a microprint copy only.

William Birch (1755-1834) was born in Warwickshire and educated
in Bristol and London. In England he exhibited miniatures at the Royal
Academy, in 1785 received a medal from the Society of Arts, and published
a series of views called Delices de la Grande Bretagne (London,
1789). Emigrating to this country in 1794, he worked on the City of
Philadelphia between 1798 and 1800 and included in it a series of views
of the city and of its prominent buildings. He published a view of New
York in 1803, issued a series of plates of American country seats in
1808, and executed a number of miniatures.

On the page of subscribers for the City of Philadelphia he says:

The list of subscribers includes "Thomas Jefferson, Vice-President of U.
States" and "Mr. B. Henry Latrobe, Richmond, Virginia."

Jefferson's own copy was sold to Congress. The work was not ordered
for the University.

M

Sowerby 4161

13. Borghini, Raffaello.

Vol. I. IL / RIPOSO / DI / RAFFAELLO BORGHINI. / VOLUME
PRIMO. / MILANO / Dalla Società Tipografica de'Classici
Italiani, / contrada di s. Margherita, No. 1118. / ANNO 1807.

8vo. Half title ([i]); title page ([iii]); foreword (v-ix); preface by
Monsignor Bottari (xi-xxiv); text (1-288); errata (1 unnumbered p.).

Vol. II. IL / RIPOSO / . . . / VOLUME SECONDO. / . . .

8vo. Half title ([1]); title page ([3]); text (5-261); errata and notes
(1 leaf).

Vol. III. IL / RIPOSO / . . . / VOLUME TERZO. / . . .

8vo. Half title ([1]); title page ([3]); text (5-234); index (235-58);
errata (1 unnumbered p.).

Raffaello Borghini (1541-88) was born in Florence. He wrote comedies
such as the Diana pietosa, 1585, as well as Il Riposa, which was first issued
in 1584.

Il Riposo, concerning Italian artists, was partially drawn from
Vasari (No. 122) and B. Varchi, but it has, in addition, interesting information
on Florentine mannerism. It is a work in four books bound in
three volumes, printed partly because of "la squisitezza della lingua," as
the publisher says.

Although a set was in the University's library before Jefferson
made up his want list and was well identified in the 1828 Catalogue,

that set did not survive. It has recently been replaced by the present set,
the gift of the Thomas Jefferson Memorial Foundation.

U. Va.

*N7420.B7.1807

14. Brusco, Giacomo.

DESCRIPTION / DES BEAUTÉS / DE GENES / ET DE SES ENVIRONS
/ Ornée de differentes Vuës, / de tailles douce, et de la Carte /
Topographique de la Ville. / A GENES MDCCLXXXI / CHEZ YVES
GRAVIER / Libraire sous la Loge des Banquie.

12mo. Engraved, folding map; title page (1 leaf); preface (1-2); text,
with 20 engraved plates, of which 17 are folding, inserted (3-138); index
(139-42); list of plates (1 unnumbered p.).

Fifteen of the folding plates are surprisingly vigorous views of Genoa
engraved by Guidotti (see Plate VI), and the other two are maps. The
three single-page plates, presumably by another hand, are of Genoese
costumes and are more hackneyed than the plates of views. One of the
maps is labeled in Italian.

Practically nothing is known of Giacomo Brusco. He wrote this
handsome guide with its interesting views of the city and its buildings
because "le grand nombre de Morceaux de peinture, de sculpture, &
d'architecture, que j'ai vus dans cette superbe Ville, & qui ne sont pas
assez connus, m'a fait naître l'idée d'en dresser un mémoire, que je crois
devoir rendre public" (p. 1).

Although Jefferson visited Genoa during April 1787, the date of his
purchase of this book is not known. His copy was sold to Congress. It
was not ordered for the University. The library's present copy is the
gift of the Thomas Jefferson Memorial Foundation.

M

Sowerby 3910

*DG632.B7.1781

15. Builder's Dictionary.

Vol. I. THE / Builder's Dictionary: / OR, / Gentleman and Architect's
/ COMPANION. / Explaining not only the / TERMS of ART /

Plate VI. From No. 14. "Vue du Pont Royal" at Genoa.

In all the several / Parts of ARCHITECTURE, / But also containing
the / THEORY and PRACTICE / Of the / Various Branches thereof,
requisite to be known by /

• Masons,

• Carpenters,

• Joiners,

• Bricklayers,

• Plaisterers,

• Painters,

• Glaiziers,

• Smiths,

• Turners,

• Carvers,

• Statuaries,

• Plumbers, &c.

Also Necessary Problems in / Arithmetic, Geometry, Mechanics,
Perspective, / Hydraulics, and other Mathematical Sciences. / Together
with / The Quantities, Proportions, and Prices of all Kinds of
Materials / used in Building; with Directions for Chusing, Preparing,
/ and Using them: The several Proportions of the Five Orders of /
Architecture, and all their Members, according to Vitruvius, / Palladio,
Scamozzi, Vignola, M. Le Clerc, &c. / With Rules for the
Valuation of Houses, and the Expence calculated / of Erecting any
Fabrick, Great or Small. / The Whole Illustrated with more than Two
Hundred Figures, many of / them curiously Engraven on CopperPlates:
Being a Work of great / Use, not only to Artificers, but likewise
to Gentlemen, and others, / concerned in BUILDING, &c. /
Faithfully Digested from the most Approved Writers on these Subjects.
/ In TWO VOLUMES. / LONDON: / Printed for A. Bettesworth
and C. Hitch, at the Red-Lion in Pater-noster- / Row; and S. Austen,
at the Angel and Bible in St. Paul's Church-Yard. / M. dcc. xxxiv.

8vo. Engraved frontispiece (1 leaf); title page (1 unnumbered p.); endorsement
(1 unnumbered p.); preface (4 leaves); text, with 15 engraved
plates inserted, and numerous woodcut figures (242 leaves).

Vol. II. THE / Builder's Dictionary / . . . / Vol. II / . . .

8vo. Endorsement (1 leaf); title page (1 leaf); text with numerous
woodcut figures (see Plate VII) and 18 engraved plates inserted (247
leaves and 1 unnumbered p.); advertisement (1 unnumbered p.); errata
(1 unnumbered p.).

The endorsement says:

January 11. 1731/4.

We have perused these Two Volumes of the Builder's Dictionary, and do
think they contain a great deal of useful Knowledge in the Building Business.

Nicholas Hawksmoor,

John James

James Gibbs.

Plate VII. From No. 15. "The Proportions of the Ionic Order, by equal Parts"
(Vol. II, p. IO).

While the title page describes the contents of the book, the preface
contains much sound advice and is certainly worthy of the endorsement
of Hawksmoor, James (see No. 37), and Gibbs (Nos. 48, 49a, and 49b):

Simplicity is generally understood to be the Groundwork of Beauty,
and Decoration of Magnificence.

Entries in the Dictionary often run to several pages, as in the case
of that for Water, which is thirty-eight pages long, or sometimes are
comparatively simple, as follows:

Rule of Three

Rule of Proportion

commonly call'd the Golden Rule is a Rule which teaches how to find a
fourth Proportional Number to three others given.

Sowerby points out that Kimball (on p. 134) proves that Jefferson
used this book before 1771. Jefferson sold his own copy to Congress and
then ordered this book for the University in the section on "Architecture"
of the want list. Though not directly associated with Jefferson, the
library's present copy is from the books of Joseph C. Cabell, one of the
original Visitors of the University, and is thus intimately associated with
the beginnings of the University.

U. Va.

*NA 31.B82.1734

M

Sowerby 4187

16. Builder's Price Book.

The Builder's Price-Book. . . . 5th ed., corrected. London, 1788.

The University does not own the fifth edition of this book but has recently
acquired a copy of the sixth edition.

THE / BUILDER'S / PRICE-BOOK; / CONTAINING / A CORRECT
LIST OF THE PRICES / ALLOWED BY THE MOST
EMINENT / SURVEYORS IN LONDON, / TO THE SEVERAL /
ARTIFICERS CONCERNED IN BUILDING; / INCLUDING /
THE JOURNEYMEN'S PRICES. / THE SIXTH EDITION, / CORRECTED.
/ BY AN EXPERIENCED SURVEYOR. / LONDON: /
Printed for I. and J. TAYLOR, at the Architectural Library, / No. 56,
opposite Great Turnstile, Holborn. / MDCCLXXXVIII.

Small 8vo. Title page (1 leaf); foreword (1 unnumbered p.); table of
contents (1 unnumbered p.); text ([1]-176); [new pagination:] catalogue
of books ([1]-8).

Although Sowerby had no copy of the fifth edition for examination, she
describes it as a small quarto of eighty-three leaves; as having been
entered in Jefferson's undated manuscript catalogue with no price, as
having been bound for Jefferson during August 1805, and as having
been printed for I. and J. Taylor. Its original price was 2.6. sewed.

The editor says of his book in his foreword to the sixth edition:

Prices are for units of work for blacksmiths, bricklayers, carpenters,
carvers, gilders, glaziers, joiners, masons, painters, pavers,
"Plaisterers," plumbers, sawyers, and slaters. These are given in a series
of tables with the prices for the work, at various levels of skill, for each
trade.

The catalogue of books at the end of the sixth edition ("Catalogue
of Modern Books on Architecture, &c.") lists fifty-nine titles from the
Architectural Library at No. 56, Holborn.

Jefferson's copy of the fifth edition was sold to Congress. The book
was not ordered for the University.

M

Sowerby 1181

[*TH435.B82.1788]

17. Builders' Prices.

Builders' Prices, Philadelphia, Washington, and Pittsburgh. [Philadelphia?,
ca.1815-26.]

Not now owned by the University.

The secrecy which surrounded price books and their destruction through
use in computing their owners' estimates make them some of the most
difficult of books to find. Their use, however, was widespread. In a letter
of January 26, 1819, now in the University collection, from Alexander
Garrett to Jefferson, it is stated, for example, that James Dinsmore
agreed to work by Latrobe's price book.

This title, otherwise identified only as an octavo, is from the 1829
sale catalogue, lot 243, and was in Jefferson's library at the time of his
death. It was not ordered for the University.

M

18a. Burney, Charles.

THE / PRESENT STATE / OF / MUSIC / IN / FRANCE and
ITALY: / OR, / The JOURNAL of a TOUR through those / Countries,
undertaken to collect Materials for / A GENERAL HISTORY OF
MUSIC. / By CHARLES BURNEY, Mus D. / Ei cantarono allor si
dolcemente, / Che la dolcezza ancor dentro mi suona. / DANTE, Purg.
Canto 2do. / LONDON, / Printed for T. Becket and Co. in the Strand.
/ MDCCLXXI.

8vo. Title page (i); explication of some musical terms, etc. (iii-vii); introduction
(1-8); text (9-369); index (5 leaves); advertisement (1 unnumbered
p.); errata (1 unnumbered p.).

Charles Burney (1726-1814) grew up at Shrewsbury under the care of
an old nurse. He was later educated at the free school in Chester, then
studied music with his elder brother James at Shrewsbury. In London
he continued his musical studies under Arne. He later became a wellknown
London figure, a critic and composer, and a lively and busy man.
He was elected F.R.S. in 1773.

He began his journey to Italy "in the beginning of June 1770." In
his introduction he states most clearly the reasons for writing his book:

Dr. Burney describes his musical experiences under the headings
of the various localities where they occurred and in the order of his arrival
at the various towns.

Sowerby points out that Jefferson met Burney in London and, in
1786, asked him to supervise the making of a harpsichord ("mahogany,
solid not veneered, without any inlaid work"). Burney was delighted to
execute the commission, and Jefferson, in thanking him, spoke of "the
reading of your account of the state of music in Europe" (Sowerby
4254).

Jefferson ordered the work for the University, in the section on
"Gardening. Painting. Sculpture. Music" of the want list, without specifying
whether he wanted this edition or a second one, of 1773 (No. 18b).
Although neither edition was received, it may be presumed that he
would have preferred that of 1773. Nevertheless it was a copy of the
1771 edition, the first, that he sold to Congress.

The library's present copies of both editions are in the MackaySmith
Collection.

U. Va.?

*ML195.B96.1771

M

Sowerby 4253

18b. Burney, Charles.

THE / PRESENT STATE / OF / MUSIC / . . . / THE SECOND
EDITION, CORRECTED. / . . . / Printed for T. Becket and Co.
Strand; J. Robson, New Bond-Street, and G. Robinson, PaternosterRow,
1773.

8vo. Advertisements (i-ii); title page (iii); explication of some musical
terms, etc. (v-viii); introduction (1-8); text (9-409); index, with errata
at bottom of last page (5 leaves).

For information about Charles Burney and general information about
the book, see No. 18a. This, the second edition, seems to have been reset
and is slightly expanded from the first. The original errata have been
corrected, but some new ones have crept in.

U. Va.?

*ML195.B96.1773

19. Burney, Charles.

Vol. I. THE / PRESENT STATE / OF / MUSIC / IN / GERMANY,
/ THE NETHERLANDS, / AND / UNITED PROVINCES.

/ OR, / The JOURNAL of a TOUR through those / Countries, undertaken
to collect Materials for / A GENERAL HISTORY OF MUSIC.
/ By CHARLES BURNEY, Mus. D. F.R.S. / IN TWO VOLUMES. /
VOL. I. / Auf Virtuosen sen stolz, Germanien, die du gezeuget; / In
Frankreich und Welschland sind grosere nicht. / Zacharia. / THE
SECOND EDITION CORRECTED. / LONDON, / Printed for
T. Becket, Strand; J. Robson, New Bond-/Street; and G. Robinson,
Paternoster-Row. 1775.

8vo. Title page (i); introduction (iii-viii); text (1-372); index (37380).

Vol. II. THE / PRESENT STATE / OF / MUSIC / IN / GERMANY,
/ . . . / VOL. II / . . .

8vo. Title page (1 leaf); advertisement (1 unnumbered p.); proposals
for printing by subscription a general history of music (1 unnumbered
p.); text (1-344); index (345-52).

For information about Dr. Burney and his relationship with Jefferson,
see No. 18a.

This present work was written almost as a continuation of the preceding
volume. Burney says,

This work follows the same organization as that on France and
Italy. It was first published in 1773.

Jefferson ordered the work for the University, in the section on
"Gardening. Painting. Sculpture. Music" of the want list, without specifying
the edition, though his general instructions to Hilliard would

certainly have produced the corrected edition if they had produced either.
No copy of this, however, is known to have been acquired in Jefferson's
lifetime. The copy Jefferson sold Congress was the 1773 edition. The
library's present copy of the 1775 edition is in the Mackay-Smith Collection.

U. Va.?

*ML195.B963.1775

M [1773]

Sowerby 4254

20. Caslon, William, and Son.

A / SPECIMEN / OF / Printing Types, / BY / W. Caslon and Son, /
Letter Founders, / London. / Printed by JOHN TOWERS, / MDCCLXIV.

Small 8vo. Engraved portrait added; title page (1 leaf); text (37
leaves).

William Caslon (1692-1766) was born in Worcestershire. Apprenticed
to an engraver of gun locks and barrels there, he set up shop in 1716 in
London, where he began cutting type punches at the request of John
Watts, the printer. Watts then backed a small foundry for Caslon
where he cut type in the "English Arabic," pica roman, italic, Hebrew,
and Coptic. From 1742 he worked with his son William (1720-78). The
firm was continued by William II's wife after his death, and by their
two sons, William III and Henry. William III removed to Sheffield,
where his new firm, later known as Stephenson, Blake, and Co., has had
a very long life. Henry's firm, under the later name of A. W. Caslon
and Co., has had an equally long tenure.

The book of type samples ranges from a very clear Roman to a
series of non-Roman alphabets - Greek, Hebrew, Coptic. "Aethiopick,"
Etruscan, Syriac, "Arabick," Armenian, Samaritan, and Saxon - as well
as music and typographical ornaments.

Sowerby points out that Jefferson bought his copy at the sale of the
library of the Rev. Samuel Henly in March 1785, a copy which must
have been either the 1763 or 1764 edition, since it seems too early for the
1785 edition to have reached this country. Since Jefferson usually preferred
a later edition, it is supposed that the 1764 edition would be the
more suitable.

Jefferson's own copy was sold to the Library of Congress. It was
not ordered for the University. The library's present copy is a gift of the
Thomas Jefferson Memorial Foundation.

M?

Sowerby 1135

*Z250.C343.1764

21. Castell, Robert.

THE / VILLAS / OF THE / ANCIENTS / ILLUSTRATED. / BY /
Robert Castell. / Vos sapere & solos aio bene / vivere, quorum /
Conspicitur nitidis fundata pecunia Villis. / Hor. / LONDON: / Printed
for the AUTHOR. / MDCCXXVIII.

Folio. Title page (1 leaf); dedication (1 leaf); preface (1 leaf); list of
subscribers (1 leaf); text (1-128); index (1 leaf); 13 engraved plates,
of which 6 are folding.

The engravers were P. Fourdrinier, who may be supposed to be either
Paul or Pierre Fourdrinier (fl.1720-60), Paul being known as "Old"
Fourdrinier and Pierre as "Young" Fourdrinier, both having worked in
London; and G. King, who may be George King, an English engraver
said to have flourished ca.1740, though that date seems a little late for
this book.

The crafts or professions are not listed on the pages of subscribers,
but a copy went to Paul Foudrinier and to a clergyman, and two copies
to James Oglethorpe.

Very little is known about Robert Castell other than the evidence
of this book. It has been lately established that he was not the German
architect who settled in Ireland in the second decade of the eighteenth
century under the name of Robert Castele, Castle, Cassel, or Cassels.

Castell says that he

He also tells us that "the Antients esteem'd four Things essential to
that of a good one [i.e., situation], viz. good Roads for themselves and
Carriages, or the Conveniency of a navigable River; next, fertile Land to
produce what was necessary for the Support of Man and Beast; wholesome
Water; and, lastly, an healthy Air; which last-mentioned, as it
immediately regarded the Life of the Inhabitant, was chiefly to be
considered" (p. 17).

It is not known at what date this rather literary work, with its
restorations based on ancient texts (see Plate VIII), came into Jefferson's
hands. Sowerby suggests that he probably bought it in England,
and Kimball (p. 92) states that he bought it between 1785 and 1789.
His own copy was sold to Congress. Although it was ordered for the
University in the section on "Architecture" of the want list, there is no
record of its having been acquired during Jefferson's lifetime. The
present copy has come into the collection recently, the gift of an anonymous
donor.

U. Va.

*NA324.C3.1728

M

Sowerby 4191

Plate VIII. From No. 21. Title page.

22. Cellini, Benvenuto.

Vol. I. VITA / DI / BENVENUTO CELLINI / OREFICE E
SCULTORE FIORENTINO / DA LUI MEDESIMO SCRITTA /
Nella quale si leggono molte importanti notizie / appartenenti alle Arti
ed alla Storia del Secolo XVI. / Ora per la prima volta ridotta a buona
lezione / ed accompagnata con note / DA / GIO. PALAMEDE CARPANI.
/ MILANO / Dalla Società Tipografica de'Classici Italiani, /
contrada di s. Margherita, No. 1118. / Anno 1806.

8vo. Half title ([i]); engraved portrait of Cellini (ii); title page (iii);
publisher's note (v); preface by Antonio Cocchi (vii-xxiv); letter of
Cellini (xxv-xxvi); sonnet by Cellini (xxvii); note on Laurentian Ms.
(xxviii); text (1-453); chronology (454-65); appendix (1 unnumbered
p.).

Vol. II. VITA / DI / BENVENUTO CELLINI /. . . . / VOLUME
II. /. . . / Contrada del Cappuccio. / ANNO 1811.

8vo. Engraved frontispiece (Perseus); half title ([i]); title page (iii);
publisher's note (v); chronology (vii-xlvi); text (1-496); notes (497502);
emendation (1 unnumbered p.).

Vol. III. DUE TRATTATI / DI / BENVENUTO CELLINI /
SCULTORE FIORENTINO / UNO / DELL' OREFICERIA / L'ALTRO
/ DELLA SCULTURA. / Coll'aggiunta di altre operette del
medesimo. / MILANO. / Dalla Società Tipografica de'Classici Italiani
/ contrada del Cappuccio. / ANNO 1811.

8vo. Half title ([i]); title page (iii); publisher's note (v-viii); preface
of Florence, 1731 edition (ix-xlvii); dedication (xlix-lii); prormeio (liiilx);
oreficeria (1-151); on sculpture (153-217); fragment on the art of
drawing (219-29); letters, discourses, and poems (233-99); executed
works of sculpture, etc. (300-310); travels (311-14); exploits (31521);
illnesses (322-23); index (324-417); errata (1 unnumbered p.).

Benvenuto Cellini (1500-1571), born in Florence, was apprenticed to
Andrea di Sandó Marcone, a goldsmith. He completed many important
works both as goldsmith and sculptor in spite of his turbulent life. He
wrote a treatise on sculpture and dictated his famous autobiography to a
secretary. It was first printed in Italian in 1728, in English in 1771, in
German in 1796, and in French in 1822.

The first two volumes of this edition, comprising the Vita, were
edited by Gio. Palamede Carpani. The third volume includes the Due
trattati as well as a series of miscellaneous works.

There was a set of this edition already in the University's collection
when Jefferson made up his want list, but it subsequently disappeared.
It has been replaced in recent years by the present set, the gift of the
Thomas Jefferson Memorial Foundation.

U. Va.

*NB623.C3.1806

23. Chambers, Sir William.

DESIGNS / OF / CHINESE / BUILDING, / FURNITURE,
DRESSES, / MACHINES, and UTENSILS. / Engraved by the Best
Hands, / From the ORIGINALS drawn in China / BY / Mr. CHAMBERS,
Architect, / Member of the Imperial Academy of Arts at Florence.
/ To which is annexed, / A DESCRIPTION of their TEMPLES,
HOUSES, GARDENS, &c. / LONDON: / Published for the AUTHOR,
and sold by him next Door to Tom's Coffee-house, Russelstreet,
/ Covent-Garden: Also by Mess. Dodsley, in Pall-mall; Mess.
Wilson and Durham; / Mr. A. Millar, in the Strand, and Mr. R. Willock,
in Cornhill. / Mdcclvii.

Folio. Title page (1 leaf); dedication (1 leaf); list of subscribers (1
leaf); preface (2 leaves); text (1-19); title page in French (1 leaf);
dedication in French (1 leaf); preface in French (2 leaves); [new
pagination:] text in French (1-19); 21 engraved plates.

The plates were engraved by P. Fourdrinier (see No. 21); J. Fougeron,
an engraver in London whose first name was Ignace; Charles Grignion
(1716-1810), who was born in London of French parents, did some
work with Hogarth (No. 56), was a founder member of the Royal
Academy, and had a son, also named Charles, who was an engraver as
well; Edward Rooker (see No. 3); and P. Sandby, who may have been
Paul (1725-1809) or Pierre (1732-1808).

Among the subscribers were architects, a "Bookseller at Bath," a
builder, a carver, ecclesiastics, an engraver, the "Master of Perspective
to HRH, Prince of Wales," a professor of moral philosophy, and a
sculptor. Listed with the architects were John and James Adam, James
Payne, and John Vardie. "J. Reinolds" was among the painters, and both

Plate IX. From No. 23. Pavilion in the Court of the Pagoda of Ho-nang, Canton (Pl. II).

Plate X. Jefferson's drawing for Hotel D East, University of Virginia (N-362).

Paul and Thomas Sandby were listed, Thomas being identified as
"draughtsman to HRH, the Duke."

William Chambers (1726-96) was born at Stockholm where his
grandfather was a prosperous English merchant. His father returned to
England in 1728, but William, at sixteen, went to China with the Swedish
East India Company, where he made a series of sketches which were
later published in this book in 1757. At eighteen he went to Italy to study
architecture and while in Rome lived with Charles-Louis Clérisseau (No.
29).

After his return to England he became architectural tutor to the
Prince of Wales (afterwards George III), to whom this book is dedicated,
a founding member and the first treasurer of the Royal Academy,
and the comptroller of His Majesty's works. He was eventually knighted
and was buried in Westminister Abbey, in the Poet's Corner. His books
include, in addition to Designs for Chinese Buildings, the Treatise of
Civil Architecture (1759; 2d ed., 1768; 3d ed., 1791); the Buildings at
Kew, 1763 (No. 24); and the Dissertation on Oriental Gardening, 1772.

He introduces his Designs of Chinese Buildings by saying:

This book (as well as Chambers's Dissertation on Oriental Gardening)
was extremely influential in spreading a taste for things Chinese.
Kimball (p. 126) states that Jefferson knew the book as early as 1771.
It is supposed to have been a source for what Jefferson called "Chinese
railings," and certainly Plates II, III, VI, and XI show railings which do
relate to the ones he designed, the first three most closely (see Plates IX
and X). Jefferson used the term on an early scheme for the pavilions at
the University of Virginia (N-309), a drawing which may be dated before
May 1817, as well as on subsequent drawings for the University.

Jefferson ordered the book for the University in the section on "Architecture"
of the want list, but there is no record of its having been received
by the library during his lifetime. The present copy was recently
acquired, the gift of an anonymous donor. Jefferson's own copy was sold
to Congress.

U. Va

*DS708.C4.1757

M

Sowerby 4220

24. Chambers, Sir William.

Plans, Elevations, / Sections, and Perspective Views / OF THE / GARDENS
/ AND / BUILDINGS / At KEW in Surry, / The Seat of
Her ROYAL HIGHNESS / The Princess Dowager of Wales. / BY /
WILLIAM CHAMBERS, / MEMBER / Of the Imperial Academy of
Arts at Florence, and of the Royal Academy of Architecture at Paris, /
ARCHITECT / To the KING, and to Her Royal Highness the Princess
Dowager of WALES. / LONDON, / Printed by J. Haberkorn, in Grafton
Street, St. Anne's Soho; / Published for the Author, / And to be
had at his House in Poland Street; / Likewise of A. Millar, D. Wilson,
and T. Becket, all in the Strand; and of R. and J. Dodsley / in
Pall-Mall; R. Sayer in Fleet-Street, A. Webley in Holborn, J. Walter
at Charing-/Cross, and Dorothy Mercier at the Golden Ball, Windmill
Street, Golden Square. / MDCCLXIII.

Folio. Engraved frontispiece (1 leaf); title page (1 leaf); dedication (1
leaf); description of plates (1-8); 41 engraved plates, of which 2 are
folding (2 of a total of 43 are missing).

The engravers were James Basire (see No. 3); Charles Grignion
(see No. 23); Tobias Miller, or Müller (fl.1763-90), born in Nuremburg,
but working in London where he had a brother, Johann Sebastian
Miller, or Müller, also an engraver; James Noual; F. Patton (see No. 3);
Edward Rooker (see No. 3); P. Sandby (see No. 23); and William
Wollett (1735-85), of Dutch descent but English birth, who became
engraver to the king in 1775.

The frontispiece, an allegory on architecture with the royal coronet,
the Prince of Wales feather, and the badge of the Garter being used to
form a kind of "Corinthian" capital, was drawn by William Hogarth
(No. 56) and engraved by William Wollett. It was first used in Kirby's
Perspective of Architecture, 1761 (No. 63).

For a note on Chambers, see No. 23. In 1762 Chambers built for
Augusta, Dowager Princess of Wales, several temples and what were
called "unmeaning falballas of Turkish and Chinese chequerwork" at
Kew. Among these was the famous pagoda, which survives, and is illustrated
in this work. Chambers had sketched in Canton and later published
a Chinese pagoda in Plate I of his Designs of Chinese Buildings
(No. 23).

He endorses this book by saying: "All the architectural designs and
ornaments were done by me with the greatest care and accuracy, the figures

drawn by Signor Cipriani, and the views by Messieurs [Jos.] Kirby
[No. 63], Thomas Sandby, and [Wm.] Marlow, all of them excellent
draftsmen. The whole work is engraved by the most eminent of our
Artists."

Plate VIII of this work shows an elevation of a garden seat by
William Kent, while Plate XXXIV shows its plan (see Plates XI and
XII). These were copied in pen and ink and wash by Cornelia Jefferson
Randolph while she was at Monticello with her grandfather Thomas
Jefferson (see Plate XIII).

Many of the plates in this book are in the Chinese taste, especially
Plates IX, XI, XV, XXIII, XXV, XXXII, XXXVIII, XXXIX, and XL,
but Plate XV, "the House of Confucius," is especially good for railings
and may have strengthened Jefferson's liking for this form. In addition,
some of the plates show pavilions in a neoclassic manner.

Sowerby points out that Jefferson, on his visit to Kew, was primarily
interested in the Archimedes screw for raising water and went so
far as to illustrate it in his notes.

Jefferson's own copy of this work, which Kimball (p. 93) says was
acquired before 1783, was sold to Congress. He ordered it for the University
in the section on "Architecture" of the want list, but it has not survived.
It has recently been replaced by the present copy, the gift of the
Thomas Jefferson Memorial Foundation.

U. Va.

*NA7746.K4C4.1763

M

Sowerby 4225

Chambray, Fréart de. See Fréart de Chambray (No. 46).

25. Charnock, John.

Vol. I. [Engraved title page:] HISTORY / of / Marine / ARCHITECTURE.
/ By John Charnock Esqr. FSA. / LONDON. / MDCCCI.

Vol. I. [Printed title page:] AN / HISTORY / OF / MARINE ARCHITECTURE.
/ INCLUDING AN / ENLARGED AND PROGRESSIVE
VIEW / OF THE / NAUTICAL REGULATIONS AND
NAVAL HISTORY, / BOTH CIVIL AND MILITARY, / OF ALL
NATIONS, / ESPECIALLY OF GREAT BRITAIN; / DERIVED
CHIEFLY FROM / Original Manuscripts, / AS WELL IN PRIVATE

Plate XI. From No. 24. Plan of "Mr. Kents Garden Seat" (Pl. [XXXIV]).

Plate XII. From No. 24. "Garden Seat" (Pl. [VIII]).

Plate XIII. Cornelia Jefferson Randolph's drawing for a garden
seat (N-497).

COLLECTIONS AS IN THE GREAT PUBLIC REPOSITORIES: /
AND DEDUCED FROM / THE EARLIEST PERIOD TO THE
PRESENT TIME. / IN THREE VOLUMES. / VOL. I. / By JOHN
CHARNOCK, ESQ. F.S.A. / London: / Printed for R. Faulder, Bondstreet;
G. G. and J. Robinson and Co. Paternoster-row; A. and J.
Black, and H. Parry, Leaden-/hall-street; T. Egerton, Charing
Cross; G. Nicoll, Pall Mall; C. Law, Ave Maria-lane; J. Sewell,
Cornhill; J. White, Fleet-/street; W. J. W. Richardson, Royal Exchange;
Leigh and Sotheby, York-street; Cadell and Davies, and
W. Otridge and / Son, Strand; I. and J. Boydell, Cheapside; F. and C.
Rivington, St. Paul's Church-yard; T. Payne, Mews Gate; Heather /
and Co. Leadenhall-street; Longman and Rees, J. Wallis, and H. D.
Symonds, Paternoster-row; J. Debrett and J. Wright, / Picadilly;
J. and A. Arch, Gracechurch-street; Vernor and Hood, Poultry;
J. Hookham, and J. Carpenter and Co., Bond-/street; J. Bell, Oxfordroad;
Crosby and Letterman, Stationer's-court; Bunney and Gold,
Shoelane; Darton and Harvey, / Gracechurch-street; D. Steel, Towerhill;
J. Hardy and Sons, Ratcliffe Highway; Lackington, Allen and
Co. Finsbury-/square; E. Lloyd, Harley-street; and S. Deighton, Cambridge:
/ By Bye and Law, St. John's-square, Clerkenwell. / MDCCC.

4to. Engraved title (1 leaf); printed title page ([i]); dedication (iii-vi);
preface (vii-xcv); list of plates (xcvi); advertisement (xcvii-c); test,
with 18 engraved plates inserted (1-368).

Vol. II. AN / HISTORY / OF / MARINE ARCHITECTURE. / . . .

4to. Title page (1 leaf); list of plates (1 leaf); text, with 36 engraved
plates inserted, of which 19 are folding (1-496).

Vol. III. AN / HISTORY / OF / MARINE ARCHITECTURE. /
. . . / MDCCCII.

4to. Title page (1 leaf); list of plates (1 leaf); text, with 46 engraved
plates, of which 1 is folding, inserted (1-412); general table of contents
(413-36).

The engraved title page of Vol. I has a medallion designed by Benjamin
West and D. Serres, engraved by Shipster (see Plate XIV). The engravings
in Vol. I, a few of which are touched with acquatint, are charming
drawings of ships. The engravers were Thomas Hall (fl.1800), an
English painter, engraver, and user of acquatint; James Newton (1748ca.1804);
and R. Shipster (fl.1796-99), English, a student of Bartolozzi

see No. 3). The engravings in Vol. II are by James Newton and Charles
Tomkins, and the engravings in Vol III are by Barlow, James Newton,
and Charles Tomkins.

John Charnock (1756-1807) was educated at Winchester and Trinity
College, Oxford. After a break with his father, he devoted himself
entirely to naval affairs. His first book, The Rights of a Free People,
1792, was quickly followed by the six-volume work Biographia Navalis:
Impartial Memoirs of the Lives and Characters of the Navy of Great
Britain from the Year 1660, 1794-98. These were then succeeded by A
Letter on Finance and on National Defense, 1798; this work, the History
of Marine Architecture, 1800-1802; and the Life of Lord Nelson, 1806.

There is, perhaps, a question of the actual date of issue of the History
of Marine Architecture. The title page is dated 1800, the engraved
title page is dated 1801, the dedication is dated December 31, 1800, and
the advertisement in Vol. I is dated April 6, 1802. Since the title page of
Vol. II is dated 1801 and that of Vol. III 1802, it may very well be that
the entire work was issued in 1802. Or perhaps this set is a second
printing of the first edition.

In referring to the wartime uses of marine architecture and the
improvements those uses may have brought, Charnock shows himself
both thoughtful and sensitive. He says:

The set ordered by Jefferson for the University in the section on
"Technical Arts" of the want list is still in the library, though it now
lacks a frontispiece.

U. Va.

*VM15.C48.1801

26. Chippendale, Thomas.

THE / GENTLEMAN / AND / CABINET-MAKER'S / DIRECTOR.
/ BEING A LARGE / COLLECTION / OF THE MOST /
Elegant and Useful Designs of Household Furniture / IN THE /

Plate XIV. From No. 25. Engraved title page.

GOTHIC, CHINESE and MODERN TASTE: / Including a great
Variety of / BOOK-CASES for Libraries or Private / Rooms.
COMMODES, / LIBRARY and WRITING-TABLES, / BUROES,
BREAKFAST-TABLES, / DRESSING and CHINA-TABLES, /
CHINA-CASES, HANGING SHELVES, / TEA-CHESTS, TRAYS,
FIRE-SCREENS, / CHAIRS, SETEES, SOPHA'S, BEDS, /
PRESSES and CLOATHS-CHESTS, / PIER-GLASS SCONCES,
SLAB FRAMES, / BRACKETS, CANDLE-STANDS, / CLOCKCASES,
FRETS, / AND OTHER / ORNAMENTS. / TO WHICH
IS PREFIXED, / A Short EXPLANATION of the Five ORDERS of
ARCHITECTURE, / and RULES of PERSPECTIVE; / WITH /
Proper Directions for executing the most difficult Pieces, the Mouldings
being exhibited / at large, and the Dimensions of each Design specified:
/ THE WHOLE COMPREHENDED IN / One Hundred and
Sixty COPPER-PLATES, neatly Engraved, / Calculated to improve
and refine the present Taste, and suited to the Fancy and Circumstances
of / Persons in all Degrees of Life. / Dulcique animos novitate tenebo.
Ovid. / Ludentis speciem dabit & torquebitur. Hor. / BY / THOMAS
CHIPPENDALE, / Of St. MARTIN'S-LANE, CABINET-MAKER. /
The SECOND EDITION. / LONDON, / Printed by J. Haberkorn,
in Gerard-Street, / For the AUTHOR, and sold at his House in St. Martin's-Lane.
/ Also by T. Osborne, Bookseller, in Gray's-Inn; H. Piers,
Bookseller, in Holborn; R. Sayer, Print-/seller, in Fleetstreet; J. Swan,
near Northumberland House, in the Strand. At Edinburgh, by / Messrs.
Hamilton and Balfour: And at Dublin, by Mr. John Smith, on the
Blind-Quay. / M DCCLV.

Folio. Title page in red and black (1 leaf); engraved dedication (i);
preface (iii-vi); list of subscribers (vii-x); description of plates, with
pp. 25-27 misbound (1-27); 160 engraved plates.

The engravers were Matthew Darly (fl.1754-72), English engraver and
caricaturist; Johann Sebastian Miller, or Müller (1715-85), also known
as John Miller and sometimes caled L'Espérance, born in Nuremburg
but working principally in England where he arrived in 1744; and
Tobias Miller, or Müller (see No. 24).

There was only one architect among the subscribers, James Payne.
But four booksellers, one bricklayer, eighty-six cabinetmakers, four carpenters,
ten carvers, one chemist, two engravers, two founders, one
jeweler, thirteen joiners, one merchant, one organmaker, two painters,
one picture-frame maker, two plasterers, two professors of philosophy,
seventeen "upholders," five "upholsterers," and one watchmaker were included.

Thomas Chippendale (d.1779) was born in Worcestershire. By
1752 he had become a cabinetmaker and upholsterer in London, and his
reputation was great enough by 1754, the date of the first issue of his
Gentleman and Cabinet-Maker's Director, that his book was stocked by
booksellers in London, Edinburgh, and Dublin. This edition (1755) is
the second, and the third was published in 1762. Its contents are well outlined
on the title page.

By 1793, however, the book had gone out of fashion. Sheraton said
of it at that time that "as for the designs themselves, they are now wholly
antiquated and laid aside, though possessed of great merit according to
the times in which they were executed" (DNB).

Chippendale must have been rather used to disparaging statements,
though he did not live to hear Sheraton's, for he says at the end of his
preface:

Just as his plates begin with an examination of the orders, so we
find him placing the relation between architecture and cabinetmaking
first in importance in his preface:

Chinese adaptations permeate the book, even in furniture designated
Gothic or French, as in Plate XVII on the frets of "French Chairs."
It is especially strong in Plates XCIII, CX, CXI, CXV, and CLVII-CLX
(see Plates XV and XVI). The three plate descriptions that follow are

Plate XV. From No. 26. "China Case" (No. CX).

Plate XVI. From No. 26. "Chinese Railing" (No. CLX).

typical and may very well have strengthened Jefferson's interest in
Chinese forms:

Jefferson sold his copy to Congress, an edition which Kimball incorrectly
called the third, saying Jefferson had acquired it after 1789. The
copy now at the University duplicates Jefferson's and is the gift of the
Class of 1952. Jefferson did not order it for the University.

M

Sowerby 4221

*NK2542.C5A3

27. Clarke, Edward Daniel.

GREEK MARBLES / BROUGHT / FROM THE SHORES / OF
THE / EUXINE, ARCHIPELAGO, and MEDITERRANEAN, /
AND DEPOSITED IN THE / VESTIBULE OF THE PUBLIC LIBRARY
/ OF THE / UNIVERSITY OF CAMBRIDGE, / BY / EDWARD
DANIEL CLARKE, LL.D. / LATE FELLOW OF JESUS
COLLEGE, / AND PROFESSOR OF MINERALOGY IN THAT
UNIVERSITY. / CAMBRIDGE: / PRINTED BY ORDER OF THE
SYNDICS OF THE PRESS. / SOLD BY PAYNE, PALL MALL,
CADELL AND DAVIES, STRAND, LONDON, AND THE / BOOKSELLERS
OF THE TWO UNIVERSITIES. / M.DCCC.IX.

Small 4to. Engraved frontispiece; title page (1 leaf); advertisement (1
leaf); preface ([i]-vii); text (1-79); postscript (81); 3 engraved plates
inserted.

Three of the plates were drawn by John Flaxman (1755-1826), who
was born at York, the son of a maker and seller of plaster casts who
worked principally in London. Flaxman, although a child prodigy gaining
a first prize from the Royal Society of Arts at the age of twelve, also
studied at the Royal Academy Schools and spent some time in Rome. He
returned to England to execute an immense amount of work, both sculpture
and drawings. Pettro William Tompkins (1760-1840), the engraver,
was born in England. He studied with Bartolozzi (see No. 3)
and became a distinguished engraver in the chalk and dotted manner.
Many small prints that bear his name may have been engraved by
scholars under his direction. For Sir William Gell, who drew the fourth
plate, see No. 47.

Edward Daniel Clarke (1769-1822), a traveler, antiquary, and
mineralogist, was born in the vicarage at Willingdon, Sussex, the grandson
of William Clarke, the antiquary. He was educated at Tonbridge
Grammar school and Jesus College, Cambridge. He received his B.A.
in 1790, his M.A. in 1794, and his L.L.D. in 1803. He later traveled in
Italy, Germany, Scotland, Scandinavia, Russia, and Asia Minor before
he found himself in Greece in 1801. There he arranged the removal of
the colossal statue of Ceres, now generally called a Kistophoros, but it
was necessary to bribe the waiwode of Athens, purchase the statue, and
obtain a firman. The boat bearing the statue and the other marbles sank
just off the coast of England, but the crates were salvaged. After
Clarke's return to England, he was given two livings on the occasion of
his ordination. In 1808 he was appointed the university professor of
mineralogy at Cambridge and in 1817 was made the librarian of the
University.

He published some sixteen works in all, such as Testimonies of Different
Authors Respecting the Colossal Statue of Ceres . . . at Cambridge,
1802, and the six-volume quarto work Travels in Various
Countries of Europe, Asia, and Africa, 1810-23, as well as this book,
which was first published in 1809 at the expense of Cambridge University.

In his preface Clarke says: "The Collection, such as it is, must be
considered, after all, merely a gleaning. . . . But, if future travelers
from the University, hereafter visiting the territories in which these
monuments were found, contribute also their portion, Alma Mater will
have no reason to blush for her poverty in documents so materially affecting

the utility and dignity of her establishment. The foundation, at
least, of a Collection of Greek Marbles may be said to have been laid"
(pp. i-ii).

The text is a catalogue of the collection, chiefly fragments with
inscriptions, but the centerpiece of the collection was the remains of
what was thought to be the colossal statue of Ceres of Eleusis.

Jefferson's "4" annotation on the order for this book for the University,
in the section on "History-Civil-Antient" of the want list, either
indicates an error on his part as to the number of volumes or else doubt
as to whether the format was quarto or octavo. The book was in the
collection by 1828 but has not survived. The present copy on the library's
shelves, a gift from the Thomas Jefferson Memorial Foundation, is from
the collection of Baron Northwick.

U. Va.

*NB87.C53.1809

28. Clendinin, John.

THE / PRACTICAL SURVEYOR's / ASSISTANT. / IN TWO
PARTS. /

Part the I. being a Table of Difference
of Latitude and Departure,
fitted to every Degree of the Quadrant,
and continued from one tenth
of a Perch to a Mile.

Part the II. a like Table fitted to
every quarter of a Degree of the
Quadrant and continued from one
tenth of a Perch to Four hundred and
fifty Perches.

CALCULATED BY / JOHN CLENDININ, / LAND SURVEYOR. /
PHILADELPHIA: / PRINTED BY BENJAMIN JOHNSON, / FOR
THE AUTHOR. / M,DCC,XCIII.

8vo. Title page (1 leaf); subscription list (2 leaves); tables ([1]-45).

Sowerby points out that John Clendinin, a surveyor of 47 Sugar Alley,
appears in the Philadelphia directory only in 1793. She had seen no copy
of the Assistant for collation. The book contains only two series of tables,
as described on the title page.

Jefferson sold his copy of the Assistant to Congress. He did not
order it for the University, whose present copy is a part of the Stone
Collection.

M

Sowerby 3709

*TYP1793.C54

29. Clérisseau, Charles-Louis.

ANTIQUITÉS / DE / LA FRANCE, / Par M. Clerisseau, Architecte,
de l'Académie Royale de Peinture / & Sculpture de Paris, Membre
de la Société Royale de Peinture, / Sculpture & Architecture de
Londres. / PREMIERE PARTIE. / A PARIS, / De l'Imprimerie de
Philippe-Denys PIERRES, rue S. Jacques. / Et se vend / Chez /
L'Auteur, au Louvre, Porte de la Colonnade. / Le Sieur Poulleau,
Graveur, à l'Estrapade. / Le Sieur Joullain, Md d'Estampes, Quai de
la Mégisserie, à la ville de Rome. / M. DCC. LXXVIII.

Folio. Half title ([i]); title page ([iii]); dedication ([v-vi]); preface
(vii-xiv); table of plates (xv-xxii); list of subscribers (1 leaf); engraved
frontispiece (1 leaf); 41 engraved plates.

The engraver was C. R. G. Poulleau, who also acted as one of the sellers
of the book.

The list of subscribers included fourteen architects, four men of
law, four doctors, one engineer, one engraver, one engraver of medals,
seven painters, and one sculptor.

Charles-Louis Clérisseau (1721-1820), born in Paris, was educated
at the Académie de Peinture et de Sculpture there and later at
Rome after he had won the Prix de Rome in 1746. While in Rome he
knew Winckelmann (Nos. 128a & b); Robert Adam, whom he accompanied
to Spalatro (No. 3); Chambers, who lived with him in Rome
(Nos. 23 & 24); and Piranesi (No. 99). He went to London to work
with the Adam brothers in 1771, but their bankruptcy sent him back to
France in 1778. Although he was appointed first architect to Catherine II
of Russia in 1783, he returned to France before the Revolution and he
settled in the country, gaining membership in the Legion d'honneur under
the Empire. He had been an Academician as early as 1769 and also
was a member of the Academy of St. Petersburg.

This work was first issued in 1778 (see Plate XVII). The second
edition of 1806 had a text by J. G. Legrand. Plates I-IX illustrate the
"Maison quarrée," Plates X-XIX the amphitheater at Nîmes, and Plates
XX-XLI a temple near the baths at Nîmes and fragments found nearby.

Clérisseau prefers the spirit of the ancient monuments to exact
copies and tells us why:

He had several reasons for starting with Nîmes in general and with
the "Maison quarrée" in particular:

Clérisseau assisted Jefferson with his designs for the Capitol at
Richmond, and, of course, the "Maison quarrée" was chosen by Jefferson
as his model. The resemblance between the two buildings, beyond the
use in both of the rectangular, porticoed temple form, is not great, however,
due primarily to the change in orders from the Corinthian of the
original to the Ionic of the Capitol (see Plates XVIII, XIX, XX, and
XXI). The introduction of windows in the Capitol also lessens the resemblance
to the original temple in both Jefferson's drawings and in the
model made under Clérisseau's supervision and sent to Richmond from
Paris (N-280). (See also No. 80 for further information on Jefferson
and the temple.)

Sowerby points out that Jefferson bought this book from Clérisseau
himself in 1786, a year before his famous visit to Nîmes. Jefferson "pd.
Clerissault for a book 72 f." according to his notebook for June 2, 1786.
But Jefferson had known about the building before that, since he was
using it in his designs for the Capitol as early as September 20, 1785, as
stated in a letter to James Madison.

Plate XVIII. From No. 29. "Facade de la maison quarree à Nismes" (Pl. II).

Plate XIX. From No. 29. "Elevation laterale de la maison quarrée à Nismes" (Pl. III).

Plate XX. Jefferson's drawing for the front elevation of the Capitol, Richmond
(N-273-79). See Plate XVIII.

Plate XXI. Jefferson's drawing for the side elevation of the Capitol, Richmond
(N-273-79). See Plate XIX.

The half title of this book is "Monumens de Nismes." The book is
called "Première Partie," but this volume is all that was ever published.
This edition was printed by P. D. Pierres, who a few years later was to
print the first edition of Jefferson's Notes on Virginia.

Jefferson's own copy of the book was sold to Congress. He ordered
it for the University in the section on "Architecture" of the want list, but
there is no record that it was acquired in his lifetime. The copy in the
library now was acquired soon after 1950.

U. Va.

*NA335.N5C6.1778

M

Sowerby 4209

Coetnempren, Armand-Guy Simon de, comte de Kersaint. See Kersaint,
Armand-Guy Simon de Coetnempren, comte de (No. 62).

30. Cointeraux, François.

Ecole d'architecture rurale. Paris, 1791.

The University owns only Henry Holland's translation and condensation
of the work, titled:

PISÉ, / Or the Art of Building strong and durable / Walls, to the
Height of several Stories, with / nothing but Earth, or the most common
Ma-/terials. Drawn up and presented to the / Board of Agriculture,
by Henry Holland, / Esq.

The translation appeared in the American Farmer, Baltimore, for March
30, April 6, April 13, and April 27, 1821. It is an essay on the method
of building with tamped earth. The University's copy consists of loose
quarto sheets torn from the original journal.

François Cointeraux (b. 1739) worked at Lyons where the use of
pisé had been known for centuries.

Sowerby describes the French work as a first edition and an octavo
in four parts. She also points out that Jefferson "had seen building in
this way near Lyons" and "had known the author at Paris, where he
raised some walls to shew his manner," as Jefferson wrote in a letter of
April 13, 1800, to William Short in Paris; that Jefferson had told Washington
that Cointeraux was not entitled to any particular answer when

Cointeraux had asked to be brought to this country; and that Jefferson
had made a précis called "Pisé walls. Cointeraux's new method of 1808."

Jefferson sold his copy to Congress. He did not order it for the
University.

M

Sowerby 1177

[*TH1421.C675.1821]

31. Collection of Papers.

Collection of Papers on Naval Architecture, Originally Communicated
through the Channel of the European Magazine. 2d ed. 2 vols. London,
1791-1800.

Not now owned by the University.

This was ordered by Jefferson for the University in the section on "Technical
Arts" of the want list, but there is no record of the library's ever
having received a copy. Jefferson sold his own copy, or at least a part of
it, to Congress. The British Museum description, rather than Sowerby's
annotation on the above edition, has been given here.

U. Va.

M

Sowerby 1227

32. Cresswell, Daniel.

THE / ELEMENTS / OF / LINEAR PERSPECTIVE, / DESIGNED
/ FOR THE USE OF STUDENTS / IN THE / UNIVERSITY.
/ By D. CRESSWELL, A.M. / FELLOW OF TRINITY
COLLEGE, CAMBRIDGE. / CAMBRIDGE: / Printed by FRANCIS
HODSON, / FOR J. DEIGHTON; / AND SOLD BY LONGMAN,
HURST, REES, ORME, AND BROWN, / PATERNOSTER-ROW,
LONDON: AND PARKER, OXFORD. / 1811.

8vo. Title page ([i]); preface (iii-x); table of contents (1 leaf); text
(1-66); errata (1 leaf); 9 engraved, folding plates.

The engraver, Wilson Lowry (1762-1824), was born in Whitehaven
but worked in London. He was the son of Strickland Lowry, the portraitist
and illustrator, and the pupil of John Brown.

Daniel Cresswell (1776-1844) was educated at Cambridge. In addition
to the Perspective he also wrote a Treatise on Spherics. He gives
his reasons for the Perspective, notes the uses of the camera lucida, and
points out what is new in his book in its preface:

This treatise on perspective is a straightforward exposition of the
subject with diagrammatic plates, except for the last, which shows a
simple, rendered interior.

There are two copies of the text at the University (QA515 and
QA535). In each the Elements of Linear Perspective is bound with the

Treatise on Spherics, the Elements of Linear Perspective first in QA515
and second in QA535. The spine of QA515 is labeled "Cresswell's Sup.
to Euclid."

There is evidence from the nature of the 1825 Kean entry and the
1828 Catalogue printed entry that the binding for QA535 was done between
these years. A copy of this book was already at the University before
Jefferson made up his want list.

U. Va.

*QA515.C7.1811; *QA535.C7

33. Cutbush, James.

Vol. I. THE AMERICAN / ARTIST'S MANUAL, / OR / DICTIONARY
OF PRACTICAL KNOWLEDGE / IN THE / APPLICATION
OF PHILOSOPHY / TO / THE ARTS AND
MANUFACTURES. / Selected from the most complete European Systems,
/ WITH / ORIGINAL IMPROVEMENTS / AND / APPROPRIATE
ENGRAVINGS. / ADAPTED TO / THE USE OF THE
MANUFACTURERS OF THE UNITED STATES. / BY JAMES
CUTBUSH. / IN TWO VOLUMES-VOL. I. / PHILADELPHIA: /
PUBLISHED BY JOHNSON & WARNER, AND R. FISHER. / W.
Brown Printer, Church Alley. / 1814.

8vo. Title page (1 unnumbered p.); copyright (1 unnumbered p.); dedication
([i]); preface ([iii]-iv); text with 14 engravings, of which 1 is
folding, inserted and with numerous figures (336 leaves).

Vol. II. THE AMERICAN / ARTIST'S MANUAL / . . . / IN
TWO VOLUMES-VOL. II. / . . .

8vo. Title page (1 unnumbered p.); copyright (1 unnumbered p.); text,
with 22 engravings inserted and with many figures in the text (348
leaves).

The engravers were Hugh Anderson (fl.1811-24), a Philadelphian;
Joseph H. Seymour (fl.1719-1822), who worked at Worcester, Boston,
and Philadelphia; and either Benjamin Tanner (1775-1848) or his
brother Henry S. Tanner (1786-1858), both of whom worked along the
eastern seaboard.

James Cutbush (1788-1823), an American chemist, introduces his
book by saying:

His book is, in actuality, a dictionary of crafts, which is a synonym
for the word "arts" as used in the title. The entries on the following subjects,
however, are pertinent to the fine arts-bricks, bricklayers, building,
cement, color making, engraving, etching, gaslight, nails, pencils,
stucco, and whitewash. It is interesting to note in connection with this list
that Jefferson wished to have the possibility of using gaslights at the
University of Virginia investigated, as seen in a letter of May 20, 1826,
to John H. Cocke, although the suggestion seems to have come from the
first faculty members.

Cutbush defined building as

Jefferson ordered this book for the University in the section on
"Technical Arts" of the want list, but there is no evidence that a set was
acquired before 1828. The library's present set was the gift of A. C.
Taylor.

U. Va.

*T9.C95.1814

34. Dati, Carlo Roberto.

VITE / DE' PITTORI ANTICHI / SCRITTE ED ILLUSTRATE /
DA CARLO DATI / NELL' ACCADEMIA DELLA CRUSCA / LO
SMARRITO. / Colle postille della prima edizione e con quelle che scritte

/ in margine dello stesso Autore furono publicate / nella seconda. /
MILANO / Dalla Società Tipografica de' Classici Italiani, / contrada
di s. Margherita, No. 1118. / ANNO 1806.

8vo. Engraved portrait of Dati (1 leaf); title page ([1]); note on the
author ([3]-15); dedication (16-18); note to the reader (19-25); text
(27-294); index (1 unnumbered p.); errata (1 unnumbered p.).

Carlo Roberto Dati (1619-76) was born in Florence. He was an author,
a philosopher, a scientist, and a disciple of Galileo. From 1663 he was
secretary of the Academia della Crusca. His numerous linguistic and
scientific writings, as well as the Vite for which he is perhaps best
known, were praised for both style and language.

The Vite was first issued in 1667 at Florence. The book is a compilation
of the lives of the painters of antiquity, such as Apelles, Parrhasius,
and Zeuxis.

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

U. Va.

*ND110.D3.1806

35. Delorme, Philibert.

NOVVELLES / INVENTIONS / POVR BIEN BASTIR ET / A
PETITS FRAIZ, TROVVEES / N'AGVERES PAR PHILIBERT
DE / L'orme Lyonnois, Architecte, Con-/seiller & Aumosnier ordinaire /
du feu Roy Henry, / & Abbé de S. Eloy / les Noyon. / A PARIS, /
De l'Imprimerie de Hierosme de Marnef, & / Guillaume Cauellat, au
mont S. Hilaire / à l'enseigne du Pelican. / 1576.

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

Philibert Delorme, or de l'Orme (ca.1510-70) was born at Lyons, the
son of a master workman, Jehan de l'Orme, who taught him the arts of

building. He then studied in Italy and returned to France under the
patronage of Cardinal du Bellay. In 1545 he was maistre architect et
conducteur général des bastiments et édifices, ouvrages, et fortifications
in Brittany, under royal appointment. By 1548 he was at Fontainbleau
under Henri II, but he lost his appointments in 1559. A French judgment
of Delorme calls him "un des plus grands maitres en l'art de bâtir, non
seulement de France, mais du monde entire."

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

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

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

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

U. Va.

*NA2517.D4.1576

M

Sowerby 4183

Plate XXII. From No. 35. Title page.

Plate XXIII. Jefferson's specifications for the framing of the Rotunda, University
of Virginia (N-332, recto).

Plate XXIV. From No. 35. "Comme les pieces des Courbes se monstrent quand
ells sont toutes assembles" (p. 14).

36. Desgodetz, Antoine Babuty.

LES / ÉDIFICES ANTIQUES / DE ROME, / MESURÉS ET DESSINÉS
TRES-EXACTEMENT / SUR LES LIEUX / PAR FEU M.
DESGODETZ, / ARCHITECTE DU ROI. / NOUVELLE ÉDITION.
/ A PARIS, RUE DAUPHINE, / Chez Claude-Antoine Jombert, File
aîné, / Libraire du ROI pour le Génie & l'Artillerie. / DE L'IMPRIMERIE
DE MONSIEUR. / M.DCC.LXXIX. / AVEC APPROBATION,
ET PRIVILÈGE DU ROI.

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

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

The engraved title in this edition (see Plate XXV) is the same as
that for the 1682 edition, except that the date has been removed and
1779 inserted. The other plates are restrikes of those in the 1682 edition.

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

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

Desgodetz himself says

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

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

Jefferson had also used Desgodetz earlier to derive the frieze ornaments
for the entrance hall, the parlor, and his own bedroom at Monticello.[11]
That for his bedroom was taken from the fourth plate for the
temple of Fortuna Virilis (see Plates XXVI and XXVII) and that for
the entrance hall from the fourth plate for the temple of Antonin and
Faustina (see Plates XXVIII and XXIX). The frieze in the parlor is
taken from the temple of Jupiter the Thunderer (see Plates XXX and
XXXI). Only a portion of the entablature of the last temple remained,
but as the plates show, Jefferson faithfully copied Desgodetz's rendering,
and Desgodetz's description of the temple applies equally to the frieze
at Monticello: "Du Temple de Jupiter tonnant. . . . Dans la frize, les
têtes de boeuf ne répondent pas au droit du milieu des colonnes; & les
instrumens des sacrifices sont semés sans ordre & sans symétrie. On ne
peut savoir ce qui étoit à l'angle de la frise, parce qu'il est ruiné" (p. 59).

Sowerby points out that Jefferson's copy was ordered on July 20,
1791. It was the Jombert edition that Jefferson owned and later sold to
Congress. It was also this edition which he ordered for the University in
the section on "Architecture" of the want list. A copy was at the University
before the 1828 Catalogue was compiled, but it is listed there as

Plate XXVI. From No. 36. "Du temple de la Fortune Virile, à Rome" (Pl. IV, p.44).

Plate XXVII. Frieze in Jefferson's bedroom, Monticello. See Plate XXVI.

Plate XXVIII. From No. 36. "Du portique du temple d'Antonin et de Faustine, a
Rome" (Pl. IV, p. 50).

Plate XXIX. Frieze in entrance hall, Monticello.

Plate XXX. From No. 36. "Du temple de Iupiter Tonant, à Rome" (Pl. II, p. 59).

Plate XXXI. Frieze in parlor, Monticello.

"1729" presumably a misreading of the Roman numerals. That copy has
not survived, but a duplicate, the gift of the Thomas Jefferson Memorial
Foundation, has replaced it.

U. Va.

*NA311.D4.1779

M

Sowerby 4198

37. Dezallier d'Argentville, Antoine Joseph.

THE / THEORY and PRACTICE / OF / GARDENING: / Wherein
is fully handled / All that relates to Fine Gardens, / COMMONLY
CALLED / PLEASURE-GARDENS, / Consisting of / Parterres,
Groves, Bowling-greens, &c. / CONTAINING / Several Plans, and
general Dispositions of Gardens, New Designs / of Parterres, Groves,
Grass-plots, Mazes, Banqueting-Rooms, Galleries, / Portico's, and
Summer-houses of Arbour-work, Terrasses, Stairs, Fountains, / Cascades,
and other Ornaments of use in the Decoration and Embelish-/
ment of Gardens. / WITH / The Manner of making the Ground, forming
Designs suitable to the Place, / and putting them in Execution, according
to the Principles of Geometry. / The Method of Setting and
Raising in little time, all the Plants requisite in fine Gardens: / Also
the Way to find Water, to convey it into Gardens, and to make Basons
and Fountains / for the same. / Together with Remarks and General
Rules in all that concerns the Art of / GARDENING. / By Le Sieur
Alexander Le Blond. / Done from the late Edition printed at Paris, /
By JOHN JAMES of Greenwich. / The Second Edition. / With very
large Additions, and a new TREATISE of Flowers / and OrangeTrees.
/ LONDON: / Printed for Bernard Lintot, at the Cross-Keys,
between the / Temple-Gates, in Fleet-street. 1728.

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

The engraver signs himself "Ver. Gucht." He might have been Michael
van der Gucht (1660-1725) or either of his sons, Gerard (1696-1776)
or Jan, or John (1697-1776), both of whom trained with their father.
Jan became a friend of Hogarth (No. 56).

As a French work, Théorie et practique du jardinage, this book was
first published in 1709 under the initials L. S. A. J. D. A., for Le Sieur

A. J. Desallier d'Argentville. The second edition (1713) and third edition
(1722) came out under the name of Alexander Le Blond, who had
done some drawings for it. His name was retained, even in translation,
until 1747, when, as Sowerby points out, Dezallier d'Argentville brought
out an edition under his own name and explained the earlier confusions.

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

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

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

The book is:

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

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

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

M

Sowerby 4226

*SB461.D48

38. Donati, Alessandro.

ALEXANDRI DONATI / E SOCIETATE JESU / ROMA / VETUS
AC RECENS / Utriusque AEdificiis / ILLUSTRATA. / In multis
locis aucta, castigatior reditta, indice locupletissimo, / & Figuris AEneis
illustrata. / EDITIO ULTIMA. / AMSTELAEDAMI, / Prostant
apud Janssonio-Waesbergios / & Joannem Wolters. 1695. / Cum
Privilegio.

4to. Engraved frontispiece (1 leaf); two-color title page (1 leaf); dedication
(2 leaves); note to reader (1 unnumbered p.); index of chapters,
with notes to binders and note of privilege, each 1 leaf, misbound within
index (3 unnumbered pp.); text, with 90 engravings, of which 3 are folding
maps (1-356); poetic quotations (1 unnumbered p.); indexes (19
unnumbered pp.).

Alessandro Donati (1584-1640) was an Italian professor and antiquary.

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

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

U. Va.

*DG63.D67.1695

M

Sowerby 4195

Plate XXXII. From No. 38. Frontispiece.

39. Dossie, Robert.

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

I. A perfect knowledge of the MATERIA
PICTORIA; or, the nature,
use, preparation, and composition,
of all the various substances employed
in PAINTING, as well vehicles,
dryers, &c. as colours; including
those peculiar to enamel
and painting on glass.

II. The means of delineation, or the
several DEVICES employed for the
more easily and accurately making
DESIGNS FROM NATURE, or DEPICTED
REPRESENTATIONS;
either by off-tracing, calking, reduction,
or other means; with the
methods of taking casts, or impres-
sions, from figures, busts, medals,
leaves, &c.

III. The various manners of GILDING,
SILVERING, BRONZING,
with the preparation of the genuine
GOLD and SILVER powders,
and the imitations of them, as
also of the fat oil, gold sizes,
and other necessary compositions;
- the art of JAPANNING, as
applicable not only to the former
purposes, but to coaches, snuffboxes,
&c. in the manner lately
introduced; - and the method of
STAINING DIFFERENT KINDS
OF SUBSTANCES, with all the
several colours.

The whole being calculated, as well for conveying a more / accurate and
extensive knowledge of the matters treated of / to professed artists, as to
initiate those who are desirous to / attempt these arts, into the method of
preparing and using / all the colours, and other substances employed in
painting in / oil, miniature, crayons, encaustic, enamel, varnish, distemper,
and fresco, as also in gilding, &c. / The Second Edition, with
considerable Additions and / Improvements. / LONDON: / Printed for
J. Nourse, Bookseller in Ordinary to his / MAJESTY. / MDCCLXIV.

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

Vol. II. THE / HANDMAID / TO THE / ARTS, / VOL. THE
SECOND. / TEACHING, /

I. The preparation of inks, cements,
and sealing-wax, of every kind.

II. The art of engraving, etching,
and scraping mezzotintos; with
the preparation of the aqua fortis,
varnishes, or other grounds, &c.
in the best manner now practised
by the French; as also the best
manner of printing copper-plates;
an improved method of producing
washed prints, and of printing in
chiaro obscuro, and with colours, in
the way practised by Mr. Le Blon.

III. The nature, composition, and
preparation of glass of every sort;
as also the various methods of
counterfeiting gems of all kinds,
by coloured glass, pastes, doublets,
or the use of foils.

IV. The nature and composition
of porcelain, as well according to
the methods practised in China,
as in the several European manufactories;
with the best manner
of burning, glazing, painting, and
gilding the ware.

V. Preparation of transparent and
coloured glazings, for stone or
earthen-ware.

VI. The manner of preparing and
moulding papier mache, and whole
paper, for the forming boxes,
frames, festoons, &c. and of varnishing,
painting, and gilding
the pieces of each kind; with
the method of making the light
Japan-ware.

To which is added an Appendix; / CONTAINING / Several supplemental
articles belonging, in some manner, to / heads before treated of,
either in this or the first volume; / particularly, the method of marbling
paper, of taking off / paintings from old and transferring them to new
cloths; of / weaving tapestry, both by the high and low warp; and of /
manufacturing paper hangings of every kind. / The Second Edition,
. . .

8vo. Title page ([i]); preface ([iii]-xiv); table of contents (7 leaves);
text ([1]-409); half title for appendix ([411]); appendix (413-62);
index (5 leaves).

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

The first edition of his book is given as 1758. It is essentially a howto-do-it
book, and its title pages indicate the fields it investigates (see
Plate XXXIII). Dossie notes the camera obscura, a device used by Jefferson
whose own camera obscura still exists at Monticello, as follows:
"In the drawing after nature . . . some reflected image is obtained by
means of a camera obscura, which affords an opportunity both of drawing
the figure, and imitating the natural colour of the objects" (I, 386).
And again: "The second method used to facilitate the drawing after
nature, to wit, by the reflected image of the object, is performed by the

Plate XXXIII. From No. 39. Title page (Vol. I). Copy received on Jefferson's
order.

camera obscura, of which a portable kind adapted to this purpose is commonly
made by the opticians. It is needless, therefore, to give any description
of these instruments" (I, 394).

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

U. Va.

*TP144.D72.1764

M

Sowerby 1094

40. Durand, Jean-Nicolas-Louis.

RECUEIL ET PARALLÈLE / DES ÉDIFICES DE TOUT
GENRE, ANCIENS ET MODERNES, / REMARQUABLES PAR
LEUR BEAUTÉ, PAR LEUR GRANDEUR OU PAR LEUR SINGULARITÉ,
ET DESSINÉS SUR UNE MÉME ÉCHELLE. / Par
j. n. l. Durand, Architecte et Professeur d'Architecture à l'Ecole Polytechnique.
/

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

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

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

à juger et à raisonner, doivent être longues, pénibles, impar-/faites et peu
fructueuses. La différence des échelles ajoute encore à ces inconvéniens.
/

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

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

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

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

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

Folio. Engraved double title page; engraved double index plate; plates
1-90, all double engravings.

The engravers were Louis-Pierre Baltard (1764-1846), architect, engraver,
and painter who trained, partially, in Rome after 1786; Coquet,

an early nineteenth-century French engraver; J. J. De la Porte, French;
Antoine-Joseph Gaitte (1753-ca.1835), French engraver, principally of
monuments; Lepagellet, or Lepagelet, or le Pagelet, French, working
in Paris; Charles Pierre Joseph Normand (1765-1840), Prix de Rome,
1792, an architect and engraver and a member of the Académie des
Beaux-Arts; Pierre Nicolas Ransonnette (1745-1810), student of Choffard,
dessinateur et graveur de Monsieur, frère du roi, and a painter as
well as an engraver (see also No. 64); and Jean-Baptiste Réville (17671825),
a student of Berthault.

Jean-Nicolas-Louis Durand (1760-1834) was the son of Nicolas
Durand (1739-1830), who was the architecte de la Province de
Champagne and the architecte des Dames de France. Jean-Nicolas-Louis
studied with Boulée and at the École des Beaux-Arts, eventually holding
a professorship at the École Polytechnique from 1795 to 1830. In addition
to the Recueil he also issued his Précis des leçons d'architecture,
1801-5.

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

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

U. Va.

*NA202.D8.1800

41. Encyclopédie méthodique.

Encyclopédie méthodique, ou par ordre de matieres, par une Societé de
Gens de Lettres. Paris, 1782-1832.

Not now owned by the University, except for some volumes outside the
fine arts and a microfilm copy of the volumes on Musique.

Not completed until 1832, this encyclopedia was eventually to reach 102
numbers, or 337 parts, comprising 166½ volumes of quarto text and 51
parts of illustrations with a total of 6,439 plates. Jefferson's own set,
which he sold to Congress, contained 136½ volumes.

In 1828 the library had 162 of the volumes, probably all that had
been issued to that date. Of these, only the volumes concerning mathematics
are now in the collections, but these alone are enough to confirm
that the dating of the set in the printed Catalogue is wrong. The beginning
date of 1787 given there is almost certainly a misprint for 1782,
when the printing of the encyclopedia actually began.

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

Antiquités et mythologie. 10 parts in 5 vols., plus 2 vols. of 380
plates.

Architecture. 3 vols.

Art aratoire et jardinage. 1 vol. and 54 plates.

Arts et métiers. 16 parts in 8 vols., and 1,509 plates.

Beaux-arts. 2 parts in 4 vols., and 1 vol. of 115 plates.

Musique. 3 parts in 2 vols., with 188 plates.

U. Va.

M

Sowerby 4889

42. Etienne, Jean d'.

MEMOIRE / SUR LA DÉCOUVERTE / D'UN CIMENT / IMPÉNÉTRABLE
A L'EAU; / ET SUR L'APPLICATION DE CE
MÊME CIMENT / A UNE TERRASSE DE LA MAISON DE
L'AUTEUR. / Par M. D'Etienne, Chevalier de l'Ordre Royal, / &
Militaire de S. Louis, &c. &c. / Prix, trois livres. / A PARIS, / De
l'Imprimerie de Ph.-D. PIERRES, Imprimeur Ordinaire du Roi. / Et
se vend chez l'Auteur, rue de Mesnil-montant, près le Boulevard du
Temple. / M. DCC. LXXXII.

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

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

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

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

U. Va.

*TP877.E7.1782

M

Sowerby 4204

43a. Félibien, André.

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

Not now owned by the University.

See No. 43b.

M

Sowerby 4248

43b. Félibien, André.

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

12mo. Engraved frontispiece (1 leaf); two-color title page (1 leaf);
dedication ([1]-16); preface ([17]-48); text ([49]-364); table of contents
(6 leaves).

Vol. II. ENTRETIENS / . . . / TOME SECOND. / . . .

12mo. Engraved frontispiece (1 leaf); two-color title page (1 leaf);
text ([1]-384); table of contents (4 leaves).

Vol. III. ENTRETIENS / . . . / TOME TROISIÉME. / . . .

12mo. Two-color title page (1 leaf); text ([1]-537); table of contents
(7 unnumbered pp.).

Vol. IV. ENTRETIENS / . . . / TOME QUATRIÉME. / . . .

12mo. Two-color title page (1 leaf); text ([1]-467); table of contents (5
unnumbered pp.).

Vol. V. ENTRETIENS / . . . / TOME CINQUIÉME. / . . .

and

[Half title:] CONFERENCES / DE / L'ACADEMIE ROYALE / DE
PEINTURE / ET / DE SCULPTURE. / PAR Mr. FELIBIEN, /
Sécrétaire de l'Académie des Sciences, & / Historiographe du Roi.

12mo. Two-color title page (1 leaf); dedication ([1]-12); preface ([13]24);
text ([25]-267); table of contents (19 unnumbered pp.); half title
(1 leaf); dedication ([291]-97); preface ([298]-330); text ([331]-466).

Vol. VI. ENTRETIENS / . . . / TOME SIXIÉME. / . . .

12mo. Two-color title page ([i]); dedication ([iii]-vi); note ([vii]-viii);
1st text ([ix]-cxvii); table of contents (3 unnumbered pp.); 2d text ([1]283);
table of contents (5 leaves); 5 engravings, of which 3 are folding.

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

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

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

U. Va.

*N27.F3.1725

44. Ferguson, James.

THE / ART / OF / DRAWING IN PERSPECTIVE / MADE EASY
/ To those who have no previous Knowledge of / the Mathematics. /
By JAMES FERGUSON, F.R.S. / Illustrated with Plates. / LONDON:
/ Printed for W. Strahan; and T. Cadell in the Strand. /
M DCC LXXV.

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

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

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

He published many books, among them the titles Astronomy Explained
upon Sir Isaac Newton's Principles, and Made Easy to Those
Who Have Not Studied Mathematics; An Easy Introduction to Astronomy,
for Young Gentlemen and Ladies; Tables and Tracts Relative to
Several Arts and Sciences; An Introduction to Electricity; Lectures on

Plate XXXIV. From No. 43b. Title page (Vol. I). Copy received
on Jefferson's order.

Select Subjects in Mechanics, Hydrostatics, Pneumatics, and Optics,
with the Use of the Globes, the Art of Dialling, and the Calculation of
the Mean Times of the New and Full Moons and Eclipses; and Select
Mechanical Exercises, Shewing How to Construct Different Clocks, Orreries,
and Sun Dials, on Plain and Easy Principles.

The Art of Drawing in Perspective was first published in 1775 and
went through five editions. At the time of writing Ferguson described
himself as being in an "infirm state of health, a situation that is very apt
to affect the mental faculties."

Ferguson says in his preface:

The evidence that a copy of this work belonged to Jefferson is in
the manuscript library catalogue now at the Massachusetts Historical
Society. The book was apparently not sold to Congress and does not appear
in the 1829 sale catalogue. It would appear that the copy in Jefferson's
library was the London, 1775 edition.

Jefferson did not order it for the University. The library's present
copy has been recently acquired, the gift of the Thomas Jefferson Memorial
Foundation.

M

*NC749.F5.1775

45. Ficoroni, Francesco de'.

Vol. I. LE VESTIGIA, / E RARITÁ / DI / ROMA ANTICA / RICERCATE,
E SPIEGATE / DA / FRANCESCO DE' FICORONI /

Aggregato alla Reale Accademia / di Francia. / LIBRO PRIMO / DE-
DICATO / Alla Santita' di Nostro Signore / BENEDETTO XIV.
/ IN ROMA MDCCXLIV. / Nella Stamperia di Girolamo Mainardi.
/ CON LICENZA DE' SUPERIORI.

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

bound with

Vol. II. [Half title:] LE / SINGOLARITÁ / DI / ROMA MODERNA
/ RICERCATE, E SPIEGATE / DA / FRANCESCO DE'
FICORONI / Aggregato alla Reale Accademia di Francia.

4to. Half title (1 leaf); indexes (3 leaves); text (1-77).

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

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

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

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

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

U. Va.

*DG62.5.F5.1744

M

Sowerby 4196

Plate XXXV. From No. 45. Title page (Vol. I).

46. Fréart de Chambray, Roland.

PARALLELE / DE / L'ARCHITECTURE / ANTIQUE / AVEC LA
MODERNE, / Suivant les dix principaux Auteurs / qui ont écrit
sur les cinq Ordres. / Par MM. ERRARD & DE CHAMBRAY. /
NOUVELLE EDITION / Augmentée des Piedestaux pour les cinq
Ordres, / suivant les mêmes Auteurs, & du Parallel de / M. Errard avec
M. Perrault, &c. / Par CHARLES-ANTOINE JOMBERT. / A PARIS,
RUE DAUPHINE, / Chez L'AUTEUR, Libraire du Roi pour l'Artillerie
/ & le Génie, à l'Image Notre-Dame. / M. DCC. LXVI. / Avec
Approbation & Privilege du Roi.

8vo. Engraved frontispiece ([ii]); title page ([iii]); note ([v]-vii); preface
(viii-xvi); table of contents (xvii-xx); text, with 63 engraved plates
inserted ([1]-132); glossary (133-39).

Roland Fréart, sieur de Chambray (d. ca. 1676), was born at Le Mans.
He studied architecture in Italy where he knew Poussin. The Parallèle,
1650, was his first work. After that he translated the Quatre livres d'architecture
de Palladio, 1651, and Leonardo da Vinci's Treatise of Painting
(see No. 72), and issued the Idée de la perfection de la peinture (Le
Mans, 1662) and the Perspective d'Euclid (Le Mans, 1663).

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

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

This edition was issued by Charles Antoine Jombert (1712-84), a
Parisian author-publisher who was most knowledgeable in matters of
mathematics, architecture, and iconography and who issued many reprints
of earlier architectural works. The Parallèle in his edition (1766)
was the fourth book in a collection entitled Bibliothèque portative d'architecture
élémentaire, à l'usage des artistes (Paris, 1764-66). Although six
parts were planned, only four volumes were published. The other three

volumes were: 1. Règles des cinq ordres d' architecture, by Giacomo Barrozzio
da Vignola (No. 123a); 2. Architecture de Palladio (no. 91); and
3. Oeuvres d'architecture de Vincent Scamozzi (No. 111c).

Jombert said in his note:

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

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

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

Although Jefferson on his drawing for Pavilion VIII (see Plate
XXXVIII), executed between June 12 and June 27, 1819, said only "Pavilion

No. VIII. East. Corinthian of Diocletian's Baths" and used similar
wording on page 19 of "Operations at & for the College," he wrote in a
letter of specifications to Thomas Appleton, the American consul at Leghorn,
on April 16, 1821:

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

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

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

Plate XXXVI. Jefferson's drawing for Pavilion I, University of Virginia (N-355).

Plate XXXVII. From No. 46. "Ordre Dorique: Au Termes de Diocletien à Rome"
(Pl. 3).

Plate XXXVIII. Jefferson's drawing for Pavilion VIII (N-325).

Plate XXXIX. From No. 46. "Ordre Corinthien: Des Termes de Diocletien" (Pl.
33).

Plate XL. Jefferson's drawing for Pavilion IV, University of Virginia (N-322).

Plate XLI. From No. 46. "Ordre Dorique: A Albane pres de Rome" (Pl. 4).

Plate XLII. Jefferson's drawing for Pavilion VI (N-324).

Plate XLIII. From No. 46. "Order Ionique: Du Theatre de Marcellus a Rome"
(Pl. 16).

Plate XLIV. Jefferson's drawing for Pavilion VII, University of Virginia (N-311).

Plate XLV. From No. 46. "Ordre Dorique: Palladio [and] Scamozzi" (Pl. 5).

Plate XLVI. Jefferson's drawing for Pavilion X, University of Virginia (N-326).

Plate XLVII. From No. 46. "Ordre Dorique: Au Theatre de Marcellus a Rome"
(Pl. 2).

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

On his drawing for Pavilion VII (see Plate XLIV), made between
May and June 23-28, 1817, Jefferson noted "Pavilion No. VII. w. Doric
Palladio." Although Plate XVI, Book I, of Leoni's Palladio (No. 92b)
shows this order, it is drawn with ox skulls in the metopes, whereas the
frieze of Pavilion VII is without ox skulls. It would seem, then, that the
plate facing page 30 of the Parallèle labeled "Ordre Dorique: Palladio"
(see Plate XLV), which is labeled in Jefferson's own hand in his copy at
the Library of Congress as having been used in the dining room at Monticello,
and which is without ox skulls, might very well have been the
model for Pavilion VII.

And finally, the drawing for Pavilion X (see Plate XLVI), made
between June 12 and June 27, 1819, and page 23 of "Operations at & for
the College" have the notation in Jefferson's hand, "Pavilion No. X. East.
Doric of the Theatre of Marcellus." Facing page 26 of the Parallèle there
is a plate labeled "Ordre Dorique: Au Theatre de Marcellus a Rome"
(see Plate XLVII).

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

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

Jefferson ordered the complete multivolume set for the University
in the section on "Architecture" of the want list, but there is no record of
the library's having acquired it. The copy of the Parallèle in the library

at the present time is a recent acquisition, the gift of the Thomas Jefferson
Memorial Foundation.

U. Va.

*NA2810.F8.1766

M

Sowerby 4216

47. Gell, Sir William.

Vol. I. POMPEIANA: / THE / TOPOGRAPHY, EDIFICES, /
AND / ORNAMENTS / OF / POMPEII. / BY / SIR WILLIAM
GELL, F. R. S. F. S. A. &c. / AND / JOHN P. GANDY, ARCHITECT.
/ LONDON: / PRINTED FOR / RODWELL AND MARTIN,
/ NEW BOND STREET. / 1817-1819.

4to. Half title ([i]); title page ([iii]); dedication ([v]); preface ([vii]xxviii);
list of plates ([xxix]-xxxi); note (1 unnumbered p.); descriptive
text ([1]-273); emendations and note to binder (1 leaf).

Vol II. [Engraved title:] POMPEIANA BY SIR WILLIAM GELL
AND JOHN P. GANDY ARCHITECT / London, Published July 1,
1819, by Rodwell & Martin, New Bond Street.

4to. Engraved title page (1 leaf); 92 engraved plates, some of which
appear in 2 or even 3 states, making a total of 159 engravings.

The engravers were G. Cooke (1781-1834), a pupil of James Basire;
Charles Heath (1785-1848), for whom mythological subjects were a
forte; H. Hobson (fl.1814-22), English; George Hollis (1792-1842),
born in Oxford and died in Walworth; John Le Keux (1783-1846), a
Londoner; Frederick Christian Lewis (1779-1856), who studied at the
Royal Academy and was a painter, a watercolorist, and an engraver;
James Lewis, perhaps the architect who flourished ca.1774-1800; William
Home Lizars (1788-1859), a Scot, the son and pupil of Daniel
Lizars; Wilson Lowry (see No. 32); Henry Moses (1782-1870), one of
the master engravers in England at the time; S. Porter; John Pye (b.
1745), a student of Major (see No. 76) who worked for the publisher
Boydell; Shury; John Walker, Jr. (fl. ca.1800), a nephew of Anthony
Walker, also an engraver; Robert Wallis (1794-1878), English; and
W. Wise (fl.1817-76), who worked in London and Oxford.

Sir William Gell (1777-1835) was born in Derbyshire and educated
at Jesus College, Cambridge, and at the schools of the Royal Academy.
Knighted in 1803, he issued his first book, Topography of Troy, a

folio illustrated by his own sketches, in 1804. This was followed by Geography
and Antiquities of Ithaca, 1807; Itinerary of Greece, 1810, with
a second edition in 1827; Itinerary of the Morea, 1817; Narrative of a
Journey in the Morea, 1823; and Topography of Rome and Its Vicinity,
2 vols., 1834, with a second edition in 1846. Byron said of his sketching:
"Rapid indeed! He topographised and topographised king Priam's dominions
in three days" (DNB). Gell was a Fellow of the Society of
Antiquaries, F.R.S., and F.S.A. and a member of the Academy of Berlin
and the Institute of France.

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

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

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

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

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

U. Va.

*DG70.P.7G3.1817

Plate XLVIII. From No. 47. "Pompeii. Peristyle or Inner Court of the House of
Pansa" (Pl. 35).

48. Gibbs, James.

A / BOOK / OF / ARCHITECTURE, / CONTAINING / DESIGNS
/ OF / BUILDINGS / AND / ORNAMENTS. / by James
Gibbs. / London: / Printed MDCCXXVIII.

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

The engravers were Bernard Baron (1696-1762 or 1766), who, though
French and a pupil and son-in-law of Nicolas Tardieu, moved to London
where he worked largely for Boydell; H. Harris; John Harris (fl.171539),
who worked for John Kip and the publishers of Vitruvius Britannicus;
I. (or J.) Mynde (fl.1728-70), English; and George Vertue
(1684-1756), a student of Michael van der Gucht (No. 37). Vertue's
notes for a history of English painting were purchased after his death by
Horace Walpole, who used them in writing Anecdotes of Painting in
England.

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

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

The Book of Architecture was published as a design source. In the
introduction Gibbs makes this plain, as well as warning the client against
unreliable workmen and architects, saying that

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

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

U. Va.

*NA2620.G5.1728

M

Sowerby 4218

Plate XLIX. From No. 48. St. Mary le Strand (Pl. 21).

Plate L. From No. 48. Ditchley (Pl. 39).

49a. Gibbs, James.

RULES / FOR / DRAWING / The several PARTS of / ARCHITECTURE,
/ IN A More exact and easy manner than has been here-/tofore
practised, by which all Fractions, in / dividing the principal Members
and their Parts, / are avoided. / By JAMES GIBBS. / LONDON /
Printed by W. Bowyer for the AUTHOR. / MDCCXXXII.

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

For information on Gibbs, see the preceding entry. Two-thirds of this
book is concerned with methods of drawing the orders, the rest with
other classical and Georgian forms such as rooms, mantels, and doors
(see Plate LI). Gibbs says of the genesis of his work:

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

U. Va.

*NA2841.G5.1732

Plate LI. From No. 49a. "Rustick Doors" (Pl. XLIII).

Plate LII. From No. 49a. Title page.

49b. Gibbs, James.

RULES / FOR / . . . / By JAMES GIBBS. / The Second Edition. /
LONDON: / Printed for A. Bettesworth and C. Hitch in Paternoster-Row,
/ W. Innys and R. Manby at the West-end of St. Paul's,
and / J. and P. Knapton in Ludgate-street. / MDCCXXXVIII.

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

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

M

Sowerby 4148

*NA2841.G5.1738

50. Gibson, Robert.

A Treatise of Practical Surveying. . . . 6th ed. Philadelphia, 1790.

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

See No. 51a for information about Gibson.

M

Sowerby 3707

51a. Gibson, Robert.

THE / THEORY AND PRACTICE / OF / SURVEYING; / CONTAINING
/ All the Instructions requisite for the skilful practice / of
this Art. / BY ROBERT GIBSON. / ILLUSTRATED BY COPPERPLATES.
/ THE WHOLE CORRECTED, NEWLY ARRANGED,
AND / GREATLY ENLARGED, / WITH USEFUL SELECTIONS,
/ AND A NEW SET OF ACCURATE / MATHEMATICAL TABLES.
/ BY D. P. ADAMS, / TEACHER OF THE MATHEMATICS.

/ NEW-YORK: / PUBLISHED BY EVERT DUYCKINCK, /
NO. 110 PEARL-STREET. / George Long, printer. / 1811.

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

Robert Gibson (fl.1790-?) was a British mathematician whose work on
surveying went through many editions. The University has no less than
fourteen of these, the ones for 1792, 1796, 1798, 1803, 1806, 1811, 1814,
1816, 1818, 1821, 1828, 1834, 1835, and 1839.

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

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

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

U. Va.?

*TA545.G4.1811

M?

51b. Gibson, Robert.

THE / THEORY AND PRACTICE / OF / SURVEYING; / CONTAINING
/ All the Instructions requisite for the skilful practice / of
this Art. / BY / ROBERT GIBSON. / ILLUSTRATED BY COPPER-PLATES:
/ THE / WHOLE CORRECTED, NEWLY ARRANGED,
AND GREATLY ENLARGED, / WITH USEFUL
SELECTIONS, / AND A NEW SET OF ACCURATE / MATHEMATICAL
TABLES. / By D. P. Adams, / TEACHER OF THE
MATHEMATICS. / NEW YORK: / PUBLISHED BY EVERT
DUYCKINCK, / NO. 102 PEARL-STREET. / G. Long, printer. /
1814.

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

U. Va.?

*TA545.G4.1814

M?

51c. Gibson, Robert.

The Theory and Practice of Surveying. New York, 1821.

Owned by the University, but not available for examination.

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

U.Va.

*TA545.G4.1821

52. Grose, Francis.

RULES / FOR DRAWING / CARICATURAS: / WITH / AN ESSAY
ON / COMIC PAINTING. / BY FRANCIS GROSE, Esq. F.R.S.
and A.S. / London: / PRINTED FOR SAMUEL BAGSTER, IN
THE STRAND. [1791?]

8vo. [Bound with Hogarth's Analysis of Beauty; see No. 56.] Engraved
portrait of Francis Grose ([ii]); [Analysis of Beauty;] 4 engraved plates

for Rules for Drawing Caricaturas, bound in the following order:
IV, III, II, and I; title page ([1]); text ([3]-24).

Francis Grose (1731?-91), born at Greenford, Middlesex, was the son
of a Swiss jeweler of Richmond, Surry. He studied at Shipley's school of
drawing and became a member of the Society of Antiquarians in 1757
and the Society of Artists in 1766. His acquaintances called him an "inimitable
boon companion." There were some fourteen of his works put in
print. This book was first published in 1788 and was given a French edition
in 1802.

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

In the essay on comic painting he says:

The library's copy is that which came into the collections on Jefferson's
order. See No. 56.

U. Va.

*N70.H7.1791

53a. Halfpenny, William.

PRACTICAL ARCHITECTURE, / or a Sure Guide to the / true
working according to the / Rules of that Science: / Representing the /
FIVE ORDERS, / with their several / DOORS & WINDOWS / taken
from Inigo Jones & other / Celebrated Architects / to each Plate Tables
Containing / the exact Proportions of the / several Parts are likewise
fitted / Very useful / to all true Lovers of / ARCHITECTURE, / but
particularly so to those / who are engag'd in ye / Noble Art of Building
/ By Willm. Halfpenny. / Printed for & Sold by Tho: Bowles
Printseller next ye Chap-/ter House in St. Pauls Ch. Yard, by Jer. Batley
Bookseller at / ye Dove in Pater Noster Row, & by J. Bowles Printseller
aganst. / Stocks Market. / J. Church Sc. 1724

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

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

This book, one which was entirely engraved, was his second. Its
first edition was without date, with some subsequent editions in 1724,
1730, 1736, 1748, and 1751. He says, rather immodestly, in his preface:

The edition sold to Congress by Jefferson has not been positively
identified. Sowerby notes that the 1724 edition is Kimball's conjecture

and that he further suggests (p. 94) that Jefferson's copy came from
William Byrd of Westover ca.1778, but that is uncertain.

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

M?

Sowerby 4186

*NA2515.H35.1724

53b. Halfpenny, William.

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

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

*NA2515.H35.1736

54. Hancarville, Pierre Francois Hugues, chevalier d'.

Vol. I. RECHERCHES / SUR / L'ORIGINE, L'ESPRIT ET LES
PROGRES / DES ARTS DE LA GRECE; / SUR LEUR CONNEXION
AVEC LES ARTS ET LA / RELIGION DES PLUS
ANCIENS PEUPLES CONNUS; / SUR LES MONUMENS ANTIQUES
DE L'INDE, DE LA PERSE, DU / RESTE DE L'ASIE,
DE L'EUROPE ET DE L'EGYPT. / TOME PREMIER. / A LONDRES,
/ Chez B. APPLEYARD, LIBRAIRE, Queen Ann Street
West, / & Wimpole Street, Cavendish Square. M.DCC.LXXXV.

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

Vol. II. RECHERCHES / . . . / TOME SECOND / . . .

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

Vol. III. SUPPLÉMENT / AUX RECHERCHES / SUR L'ORIGINE,
L'ESPRIT ET LES PROGRÈS / DES ARTS DE LA
GRÈCE; SUR LEUR CONNEXION AVEC LES ARTS ET LA RELIGION
/ DES PLUS ANCIENS PEUPLES CONNUS; / SUR LES
MONUMENS ANTIQUES DE L'INDE, DE LA PERSE, DU /
RESTE DE L'ASIE, DE L'EUROPE DE DE L'ÉGYPTE. / Contenant
des Observations nouvelles, sur l'Origine des Idées employées
dans / les anciens Emblêmes religieux; sur les Raisons qui les firent
choisir; sur les / suites du Déluge universel; sur les Origines des Scythes,
des Chinois & des / Indiens; sur la Religion primitive de ces peuples;
sur celles des anciens Perses, / &c. &c. / A LONDRES, / Chez B. APPLEYARD,
LIBRAIRE, Queen Ann Street West / & Wimpole Street,
Cavendish Square. / M.DCC.LXXXV.

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

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

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

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

U. Va.

*N5633.H25.1785

55. Heely, Joseph.

Vol. I. LETTERS / ON THE / BEAUTIES / OF / HAGLEY, ENVIL,
/ AND THE / LEASOWES. / WITH CRITICAL REMARKS:
/ AND OBSERVATIONS ON THE / MODERN TASTE IN GARDENING.

/ By Joseph Heely, Esq. / For nature here / Wantons
as in her prime, and plays at will / Her virgin fancies. / Milt /
IN TWO VOLUMES. / VOL. I. / LONDON: / Printed for R.
BALDWIN, Pater-noster-row. / MDCCLXXVII.

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

Vol. II. LETTERS / ON THE / BEAUTIES / . . . / VOL. II. /
. . .

12mo. Title page ([1]); table of contents ([iii]-v); text ([1]-215).

Very little is known about Joseph Heely (fl.1777) except the evidence
found in this book. After the first few of his letters of observations, the
rest are concerned with descriptions of Hagley, Envil, and the Leasowes.
He has a great deal to say about "the modern taste in gardening," which
is to say the new picturesque as opposed to the old formal garden design:

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

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

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

U. Va.

*DA660.H45.1777

M

Sowerby 4228

56. Hogarth, William.

THE / ANALYSIS OF BEAUTY. / WRITTEN / WITH A VIEW
OF FIXING THE FLUCTUATING IDEAS/ /OF / TASTE. / BY
WILLIAM HOGARTH. / So vary'd he, and of his tortuous train /Cur'l
many a wanton wreath, in sight of Eve, / To lure her eye. Milton. / London:
/ PRINTED FOR SAMUEL BAGSTER, IN THE STRAND.
[1791?]

8vo. [Bound with Grose's Rules for Drawing Caricaturas; see No. 52.]
[Engraved portrait of Francis Grose ([ii]);] title page ([iii]); figures

referred to in the work ([v]-vii); new pagination:] preface ([i]-xxvi);
note ([xxvii]); table of contents ([xxix]-xxx); text ([33]-240); [plates
and text of Rules for Drawing Caricaturas].

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

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

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

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

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

U. Va.

*N70.H7.1791

57. Jess, Zachariah.

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

Not now owned by the University.

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

M

58. Johnson, Stephen William.

RURAL ECONOMY: / CONTAINING / A TREATISE / ON PISÉ
BUILDING; / As recommended by the Board of Agriculture in Great
Britain, / with Improvements by the Author; / On Buildings in general;
/ Particularly on the Arrangement of those belonging to Farms: / On
the Culture of the Vine; AND / ON TURNPIKE ROADS. / WITH
PLATES. / BY S. W. JOHNSON. / New Brunswick, N.J. / Printed by
William Elliot, / FOR I. RILEY & CO. NO. 1, CITY-HOTEL,
BROADWAY, / NEW-YORK. / 1806.

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

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

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

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

M

Sowerby 1178

*TH1421.J7.1806

Jombert, Charles Antoine. Bibliothèque portative d'architecture élémentaire,
à l'usage des artistes. Paris, 1764-66. See Nos. 46, 91, 111c,
and 123a.

Plate LIII. From No. 58. Dedication page.

59a. Jones, Inigo.

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

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

bound with

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

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

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

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

The list of subscribers shows one bricklayer, one cabinetmaker, six
carpenters, one carver, one doctor, three ecclesiastics, five joiners, six
masons, two painters, three plasterers, one schoolmaster, one statuary,
and one timber merchant. The architects included Colin Campbell,

James Gibbs, Nicholas Hawksmoor, Christopher Wren the younger, and
Isaac Ware. The engraver Fourdrinier was a subscriber, as was also the
improbably named Christopher Horsenail.

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

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

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

Sowerby points out that Kimball (pp. 133, 134) says Jefferson must
have had or known The Designs by 1779, since he refers to it several
times in his notes for some of the decorative structures proposed in that
year at Monticello. One of the plates specifically mentioned is Plate
LXXIII of Vol. I, a plate which reproduces a garden house at Chiswick
(see Plate LVI).[12]

Plate LIV. From No. 59a. Frontispiece.

Plate LV. From No. 59a. Title page (Vol. I).

Plate LVI. From No. 59a. Elevation of a temple in the garden at Chiswick (Vol. 1,
Pl. 73).

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

M

Sowerby 4217

*NA997.J7K4.1727

59b. Jones, Inigo.

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

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

bound with

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

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

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

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

U. Va.

*NA997.J7K4.1770

60. Kelsall, Charles.

Phantasm / OF / AN UNIVERSITY: / WITH / Prolegomena. / BY /
CHARLES KELSALL, ESQ. / AUTHOR OF "A LETTER FROM
ATHENS," AND OF "A TRANSLATION OF / THE TWO LAST
PLEADINGS OF CICERO AGAINST VERRES." / "MINIME
MIRUM EST SI SCIENTIAE NON CRESCANT, CUM / "A
RADICIBUS SUIS SINT SEPARATAE." / FRANCISC. BACON,
Nov. Org. Aphor. lxxx. / LONDON: / PRINTED BY J. MOYES,
GREVILLE STREET, HATTON GARDEN, / FOR WHITE,
COCHRANE, AND CO. FLEET STREET. / M.DCCC.XIV.

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

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

In his Phantasam, Charles Kelsall (fl.1812-20), a writer who used
three pseudonyms - Zachary Craft, Arpinas Laurea, and Britannicus
Mela - as well as his own name, gives his proposals for a new university,
saying that the "great art of education is not to immerse minds in science,
but to store them so far, that an elastic reaction and play of the intellectual
powers may remain" (p. 25).

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

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

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

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

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

U. Va.

*LA637.K5.1814

61a. Kennett, Basil.

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

Not now owned by the University.

See No. 61b.

M

Sowerby 114

61b. Kennett, Basil.

Romae Antiquae Notitia; / OR THE / ANTIQUITIES OF ROME. /
IN TWO PARTS. / TO WHICH ARE PREFIXED / TWO ESSAYS,
/ CONCERNING THE / ROMAN LEARNING AND THE
ROMAN EDUCATION. / BY BASIL KENNETT, of C. C. C. Oxon.

Plate LVII. From No. 60. "The College of the Mathematics" (Pl. XI).

/ Ne desinat unquam / Tecum Graia loqui, tecum Romana vetustas. /
Claudian. / FIRST AMERICAN EDITION, / EMBELISHED
WITH FIFTEEN ENGRAVINGS. / PHILADELPHIA: / HICKMAN
& HAZZARD NO. 121, CHESTNUT STREET. / 1822

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

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

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

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

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

U. Va.

*DC76.K34.1822

62. Kersaint, Armand-Guy Simon de Coetnempren, comte de.

Discours sur les monumens publiques, prononcé au Conseil du Département
de Paris, le 15 decembre 1791, par Armand-Guy Kersaint. Paris,
1792.

Not now owned by the University.

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

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

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

U. Va.

M

Sowerby 4212

63. Kirby, John Joshua.

Vol. I. THE / PERSPECTIVE / OF / ARCHITECTURE. / A
WORK ENTIRELY NEW; / DEDUCED FROM THE PRINCIPLES
OF / DR. BROOK TAYLOR: / And PERFORMED by / TWO
RULES only of Universal Application. / BEGUN BY / Command of
His Present MAJESTY / WHEN / PRINCE OF WALES / BY /
JOSHUA KIRBY, Designer in Perspective to His MAJESTY. / LONDON:
/ PRINTED FOR THE AUTHOR, / By R. FRANCKLIN, in
Russel-Street, Covent-Garden: / and SOLD by T. PAYNE, at the MewsGate;
Messrs. KNAPTON and HORSEFIELD, in Ludgate-Street; /
Messrs. DODSLEY, in Pall-Mall. T. LONGMAN, in Paternoster-Row;
T. DAVIES, in Russel-Street, / Covent-Garden; and J. GRETTON, in
Bond-Street. 1761.

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

Vol. II. [No title page.]

Folio. 73 engraved plates.

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

John Joshua Kirby the younger (1716-74) was the eldest son of
John Kirby, a schoolmaster and topographer. The younger Kirby was
born at Wickham Market, Suffolk. He was trained first as a coach and

Plate LVIII. From No. 63. Frontispiece (Vol. I).

house painter. He knew Gainsborough at Ipswich, tried landscape, then
studied linear perspective at St. Martin's Lane Academy, where he later
taught it. He was a friend of Hogarth, who designed the frontispiece for
this book. Gainsborough remained Kirby's friend and asked to be buried
beside him at Kew.

Besides being the designer in perspective to His Majesty (George
III) and clerk of the works at Kew Palace, he was elected F.R.S. in
1767, F.S.A. in 1768, and was both secertary and president (1768) of
the Society of Artists.

In addition to this work, which was first issued in 1761, Kirby had
earlier published Dr. Brook Taylor's Method of Perspective Made Easy,
Both in Theory and Practice, 1754. This book was based on Dr. Taylor's
(1685-1731) two treatises, Linear Perspective, 1715, and New Principles
of Linear Perspective, 1719. Kirby later published Dr. Brook Taylor's
Method of Perspective Compared with the Examples Lately Published
. . . as Sirifatti's by J. Ware . . . Being a Parallel between Those
Two Methods of Perspective. In Which the Superior Excellence of Taylor's
Is Shown, ca.1767.

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

He then describes the organization of his book:

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

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

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

U. Va.

*NA2710.K6.1761

M

Sowerby 4207

64. Krafft, Johann Karl.

PLANS, COUPES, ÉLÉVATIONS / DES PLUS BELLES / MAISONS
ET DES HOTELS / CONSTRUITS A PARIS ET DANS LES
ENVIRONS. / Publiés par J.-Ch. KRAFFT, Architecte, et N.
RANSONNETTE, Graveur. / A PARIS / Chez / LES deux Associés,
Krafft, Architecte, rue de Bourgogne, No. 1463, fauxbourg Saint-Germain;
/ et Ransonnette, Graveur, rue du Figuier, No. 43, quartier
Saint-Paul; / Ch. Pougens, Imprimeur-Libraire, quai Voltaire, No. 10;
/ Fuchs, Libraire, rue des Nathurins Saint-Jacques, No. 334; / Calixte
Volland, Libraire, quai des Augustins, No. 25; / Levrault, Libraire,
quai Malaquais, au coin de la rue des Petits-Augustins./

GRUNDRISSE, DURCHSCHNITTE UND AUFRISSE / DES
SCHOENSTEN IN PARIS / UND DER UMLIEGENDEN GEGEND
BEFINDLICHEN HAEUSER UND PALLAESTE. /

Plate LIX. From No. 63. Dedication plate (Vol. II, Pl. LV).

Herausgegeben von J. Ch. KRAFFT, Baumeister, und N. RANSONNETTE,
Kupfestecher. / PARIS / Bey / Im Verlage bey den
Herausgebern, dem Baumeister Krafft, rue de Bourgogne, No. 1463,
fauxbourg / Saint-Germain; und dem Kupferstecher Ransonnette, rue
du Figuier, No. 43, quartier / Saint-Paul; / Carl Pougens, Buchdrucker
und Buchhaendler, quai Voltaire, No. 10; / Fuchs, Buchhaendler,
rue des Maturins Saint-Jacques, No. 334; / Calixte
Volland, Buchhaendler, quai des Augustins, No. 25; / Levrault,
Buchhaendler, quai Malaquais, au coin de la rue des Petits-Augustins. /
PLANS, FORMS, ELEVATIONS / OF THE MOST REMARKABLE
/ HOUSES AND HOTELS / ERECTED IN PARIS AND
ITS ENVIRONS / Published by J. Ch. KRAFFT, Architect, and
RANSONNETTE, Engraver. / PARIS, / By / Sold by the Editors,
Krafft, Architect, rue de Bourgogne, No. 1463 fauxbourg Saint-Germain;
/ and Rannsonnette, Engraver, rue du Figuier, No. 43, quartier
Saint-Paul; / Ch. Pougens, Bookseller, quai Voltaire, No. 10; / Fuchs,
Bookseller, rue des Mathurins Saint-Jacques, No. 334; / Calixte Volland,
Bookseller, quai des Augustins, No. 25; / Levrault, Bookseller,
quai Malaquais, au coin de la rue des Petits-Augustins. / De l'Imprimerie
de CLOUSIER, rue de Sorbonne, No. 390. [1801-2]

Folio. Engraved frontispiece; title page (1 leaf); "conclusion" (1 leaf);
note ([1]-2); 20 cahiers, each with 1 leaf of description of the plates and
six engraved plates.

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

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

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

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

Two other plates, Nos. 73 and 74 (see Plates LXI and LXII), may
have strengthened Jefferson's remembrance of what Krafft called "the
Hotel Salm, Lille street, built in the year 1787, by Rousseau, Architect."
Certainly Jefferson had known this building very well in Paris, going
nearly every day to look at it, and it seems to have had a certain influence
on his shaping of the Lawn at the University (see Plate LXIII). The

colonnade surrounding the court of the Hotel de Salm, with a dominant
portico at the end and a pavilionlike arched entrance on either side into
service courts, may very well have been a remembered prototype for the
Lawn.[13]

And finally there is the Krafft plate No. 49 (see Plate LXIV), the
"House of Mrs. Guimard, Mont-Blanc street, built in the year 1770 by
Ledoux, Architect." On the drawing Jefferson made for Pavilion IX at
the University (see Plate LXV), he wrote "Latrobe," indicating that it
derived from some suggestions Latrobe had sent him for the University.
Jefferson's composition must certainly have derived from the Guimard
house also, though the derivation may very well have been second- or
thirdhand through Latrobe and possibly others. Jefferson could have
seen the house during his stay in Paris; it was illustrated in this book;
and both Latrobe and his pupil Robert Mills, who was also Jefferson's
pupil and friend, used similar compositions.[14]

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

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

U. Va.

*NA7348.P2K8.1803

M

Sowerby 4214

65. La Chausse, Michel Ange de.

Raccolta di gemme antiche figurate, 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

66. La Faye, Polycarpe de.

RECHERCHES / SUR / LA PRÉPARATION / QUE LES ROMAINS
/ DONNOIENT / 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 général 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:

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.

*TP881.L67.1777

M

Sowerby 1176 and 4205

67. Landon, Charles Paul.

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 spéciales, 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. /
A PARIS, / Chez C. P. Landon, Peintre, quai Bonaparte, no. 23 au /
coin de la rue de Bacq. / AN XII. - 1803.

8vo. Half title (1 leaf); engraved frontispiece (1 leaf); title page (1
leaf); table of contents ([i]-vi); text, with 72 engravings inserted (9152).

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 (9152);
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 (9151).

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 (9151).

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 (9147).

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 / . . . / TOME ONZIÈME. /
Chez C. P. Landon, Peintre, quai Bonaparte, no. 1, au coin / de la rue
du Bacq. / DE L'IMPRIMERIE DES ANNALES DU MUSÉE. /
1806.

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. / PAR C. P. Landon,
Peintre, ancien pensionnaire de / L'Académie de France, à Rome; membre
de plusiers / Sociétés littéraires. / Cet Ouvrage classique a obtenu
une Médaille d'argent à / l'exposition publique de 1806. / TOME TREIZIÈME.
/ . . . / 1807.

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 QUINZIÉME. /
. . .

8vo. Half title (1 leaf); engraved frontispiece (1 leaf); title page (1
leaf); table of contents ([i]-iv); text, with 72 engravings inserted (9140).

Vol. XVI. ANNALES DU MUSÉE / . . / TOME SEIZIÈME. /
. . . / Chez C. P. Landon, Peintre, rue de l'Université, no. 19, vis-à-/vis
la rue de Beaune. / . . . / 1808.

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 publiés
par / C. P. Landon, peintre, ancien pensionnaire de / l'Académie
de France, à Rome; membre de plusiers / Sociétés 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. / TOME PREMIER. / A
PARIS, / Chez C. P. Landon, Peintre, quai Bonaparte, no. 23, et chez /
les principaux Libraires et Directeurs des postes. / DE L'IMPRIMERIE
DES ANNALES DU MUSÉE. / An XIII-1805.

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. / . . .

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.

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 PAYSAGES
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 [5-6]; 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, Normandy.
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 littérature, 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
idolâtrie! 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'hôtel de Salm." He says of this building, already discussed
in No. 64: "L'hotel de Salm, aujourd'hui le palais de la Legion d'honneur,
. . . 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.

*N2010.L3.1800

M

Sowerby 4244

68. Langley, Batty.

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, &c. / III. The Doctrine
and Rules of Mensuration of all Kinds, illustrated by / select Examples
in Building, Gardening, Timber, &c. / 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 Computation:
/ 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 / Exemplify'd
with a large Number of Folio Copper Plates, curiously / Engraven
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, sonin-law
of Nicholas Hawksmoor, was called in the press "a 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
1726; this edition of 1729 is labeled "Second Edition," though one
authority gives issues for both 1728 and 1729. The work is really a howto-do-it
book, and Langley says:

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

Sowerby 4185

*T353.L28.1729

Plate LXVI. From No. 68. Entrance into a shady walk (Pl. XXXI).

69. Le Clerc, Sébastien.

Vol. I. TRAITÉ / D'ARCHITECTURE / AVEC / DES REMARQUES
/ 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.

Plate LXVII. From No. 69. "Ordre Romain," details (Vol. II, Pl. 49).

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 Bâtiment, 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 Dômes, 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.

*NA2515.L46.1714

M

Sowerby 4180

Plate LXVIII. From No. 69. Title page (Vol. I). Copy received on Jefferson's order.

70. Le Clerc, Sébastien.

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 University'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

71. Legrand, Augustin.

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:

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," 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 Galeries
des antiques, illustrated on Plate No. 5 (see Plates LXIX and LXX).
Legrand says:

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.

*N2030.L5.1803

M

Sowerby 4243

72. Leonardo da Vinci.

A / TREATISE / OF / PAINTING, / BY / Leonardo da Vinci. /
Translated from / The Original Italian, / And adorn'd with a great

Plate LXIX. From No. 71. "Ariadne" (Pl. 5, No. 59).

Plate LXX. Copy of Ariadne owned by Jefferson. See Plate LXIX.

Number of Cuts. / To which is prefix'd, / The Author's Life; / 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 Fréart 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.

*ND1130.L6.1721

M

Sowerby 4237

73. Le Roy, Julien David.

LES RUINES / DES PLUS BEAUX / MONUMENTS / DE LA
GRECE: / OUVRAGE DIVISÉ EN DEUX PARTIES, / Où l'on

considere, dans la premiere, ces Monuments / du côté de l'Histoire;
et dans la seconde, / du côté 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 additional
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:

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.

*NA271.L6.1758

M?

Sowerby 4189

74. Lipsius, Justus.

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.1603-65) 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

Plate LXXII. From No. 73. "Vue du Temple de Minerve à Athene" (Pl. IV).

75. Lubersac de Livron, Charles François de.

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'utilité 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 (17411811).

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.

*NA9335.L83.1775

M

Sowerby 4210

Plate LXXIII. From No. 75. "Monument à la gloire du Roi et de la France"
(opp. p. 228).

76. Major, Thomas.

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 Dixwell, MDCCLXVIII.

Folio. Title page (1 leaf); dedication (1 leaf); list of subscribers ([iii]);
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 (43-45); 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. 20), 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

He gives the organization of his work: "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. [Pp. 20-21]

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

77. 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

Plate LXXIV. From No. 76. "A View of the three Temples, taken from the East" (Tab. II).

Plate LXXV. From No. 76. "A View of the Hexastyle Ipteral Temple, taken from
the South" (Tab. VII).

Plate LXXVI. From No. 76. "A View of the Hexastyle Peripteral Temple, taken
from the North West" (Tab. XV).

plans of Frankfurt am Main, Karlsruhe, Amsterdam, Strasbourg, Paris,
Orléans, 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

Maréchal, Pierre Sylvain.

Vol. I. ANTIQUITÉS / D'HERCULANUM / GRAVÉES 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 [1780?].

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. Sylvain
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. / A PARIS, / Chez l'Auteur, M. DAVID, rue des Cordeliers, / au
coin de celle de l'Observance. / M. DCC. LXXXIX. / AVEC PRIVILÉGE
DU ROI.

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. MARÉCHAL. / TOME NEUVIÈME. / A PARIS, / Chez
l'Auteur, F. A. DAVID, / rue Pierre-Sarrazin, no. 13. / M. DCC.
LXXX [?].

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. /
. . . / Chez F. A. David, rue Pierre-/Sarrazin, No. 14 / [1781 deleted].

[Printed title page:] ANTIQUITÉS / . . . / TOME DIXIÈME. /
. . . / rue Pierre-Sarrazin, no. 14. / M. DCC. XCVII.

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 ANTIQUES / D'HERCU-
LANUM / et celles du Tombeau / des Nasons / AVEC / LEURS
EXPLICATIONS / TOM. XII. / A PARIS / Chez David, Rue de
Vaugirard, No. 1202. / AN XI. (1803)

[Printed title page:] ANTIQUITÉS / OU / LES PLUS BELLES /
PEINTURES ANTIQUES / D'HERCULANUM / Envoyées par S.
M. le Roi 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. / A PARIS, / Chez DAVID,
rue de Vaugirad, no. 1202. / An XI. (1803.)

4to. Half title (1 leaf); engraved title page (1 leaf); printed title page
(1 leaf); text, with 34 engraved plates inserted ([1]-46); index (4748).

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.

Plate LXXVII. From No. 78. Two lamps (Vol. XI, Pl. 45).

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

79. Mascheroni, Lorenzo.

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

80. Maucomble, Jean Francois Dieudonné de.

HISTOIRE / ABRÉGÉE / DE LA VILLE / DE NÎMES, / AVEC /
LA DESCRIPTION / DE SES ANTIQUITÉS. / PREMIERE
PARTIE. / . . . . . . Quod adest, memento / Componere aequus
. . . . . . Hor. Od. 23. Lib. 3. / À AMSTERDAM. / M. DCC.
LXVII.

and

HISTOIRE / . . . / SECONDE PARTIE, / 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: "Nimes,
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'après 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 Quarrée," 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

Plate LXXVIII. From No. 80. Title page.

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

Sowerby 3886

*DC801.N71M3.1767

81. Meinert, Friedrich.

Die Schone Landbaukunst 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

82. Migneron de Brocqueville.

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

83. Milizia, Francesco.

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); 10 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 fabbricare: 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. Solidità. . . . 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. Simmetria, 3. Euritimia, 4. Convenienza. . . .

Per Ornato s'intende tutto quel pulimento, che s'impiega, o se soprappone
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 veduto, 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, acciocchè il tutto 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: "Il 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." 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 della pianta dell secondo piano."

Milizia has this to say about the observatory:

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.

*NA1111.M55.1813

M

84. Mitchell, Robert.

PLANS, AND VIEWS IN PERSPECTIVE, / WITH / DESCRIPTIONS,
/ OF / BUILDINGS / ERECTED IN ENGLAND AND

Plate LXXIX. From No. 83. Observatory at Paris (Vol. II, Pl. IX).

Plate LXXX. Jefferson's drawing for an observatory for the University of Virginia (N-381).

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]-8); 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:

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.

*NA2620.M5.1801

M

Sowerby 4208

Plate LXXXI. From No. 84. "Staircase and Music Gallery in the House of Selwood
Park" (Pl. 4).

85. Mitford, William.

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: / IN A SERIES OF LETTERS TO A
FRIEND. / London: / Printed by Luke Hansard & Sons, near LincolnsInn
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:

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

86. Montfaucon, Bernard de.

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]-165).

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

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:

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 ninevolume
edition for the University in the section on "History-CivilAntient"
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

Plate LXXXII. From No. 86. The Pantheon, Rome (Vol. II, Pl. 4, opp. p. 35).

Plate LXXXIII. From No. 86. The Colosseum, Rome (Vol. III, Pl. 46, opp. p. 162).

recently acquired, the gift of the Thomas Jefferson Memorial Foundation.

U. Va.

*DE57.M79.1721

87. Morris, Robert.

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, SummerHouses,
&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.1755), English.

The subscribers included one attorney, seven bricklayers, twentyone
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.1754) 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.

Plate LXXXIV. From No. 87. House with a "Back Break for Part of the Octogon"
(Pl. 2).

Plate LXXXV. Jefferson's sketch for a Hotel, University of Virginia (N-359).

Plate LXXXVI. From No. 87. "A Plan . . . of a Little Garden-House" (Pl. 9).

Plate LXXXVII. Jefferson's drawing for Pavilion II, University of Virginia (N321).

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:

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.[15] 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 semioctagon,
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 "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-419), 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

Sowerby 4219

*NA7328.M6.1755

88. Nicholson, Peter.

THE / Carpenter and Joiner's Assistant; / CONTAINING / PRACTICAL
RULES / FOR / MAKING ALL KINDS OF JOINTS, AND

Plate LXXXVIII. From No. 87. An octagonal temple or chapel (Pl. 31).

Plate LXXXIX. From No. 87. An octagonal temple or chapel (Pl. 32).

VARIOUS METHODS / OF HINGEING THEM TOGETHER; /
FOR HANGING OF DOORS ON STRAIGHT OR CIRCULAR
PLANS; / For Fitting 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, of 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 90). This particular work was
first issued in 1792, and again in 1793, 1797 (see Plate XC), 1798, and
1810. He says:

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

89. Nicholson, Peter.

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. / INCLUDING
/ 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. / MDCCXCIII.

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:

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 anything
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

90. Nicholson, Peter.

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

plication 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, PRINCESSTREET
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 50-58, 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 59-102, 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:

This eminently interesting work, with its emphasis on the importance
of mathematics in architecture, went through at least five editions,
in 1795-98, 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

91. Palladio, Andrea.

[Half title:] BIBLIOTHEQUE / PORTATIVE / D'ARCHITECTURE
/ ÉLÉMENTAIRE, / A L'USAGE DES ARTISTES / Divisée
en six Parties. / SECONDE PARTIE. / Contenant / L'Architecture
de Palladio.

[Title page:] ARCHITECTURE / DE / PALLADIO, / CONTENANT
/ Les cinq Ordres d'Architecture, suivant / cet Auteur, ses observations
sur la maniere / de bien bâtir, & son Traité des grands /
Chemins & des Ponts, tant de charpente / que de maçonnerie. / NOUVELLE
ÉDITION / A PARIS, RUE DAUPHINE, / Chez Jombert,
Libraire du Roi pour l'Artillerie / & le Génie, à l'Image Notre-Dame. /
M. DCC. LXIV.

8vo. Half title ([i]); engraved frontispiece (1 leaf); title page ([iii]);
advertisement (v-vii); table of contents (viii-x); life of Palladio (xi-xii);
preface (xiii-xvi); text, with 75 engraved plates inserted, of which 1 is

double ([1]-149); approbation (150); privilege of the king (150-51);
registration (152).

For information about Palladio, see No. 92a. This book is Part II of the
Bibliothèque portative d'architecture élémentaire . . . which CharlesAntoine
Jombert began publishing in 1764 at Paris. For further information
on the Bibliothèque and the other three parts that were published,
see Nos. 46, 111c, and 123a.

Sowerby notes that Jefferson wrote on the flyleaf of his copy

     

	D
prime cost supposed 15 =	2.75
worth in the US	4.81

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

U. Va.

*NA2515.P253.1764

M

Sowerby 4215

92a. Palladio, Andrea.

Vol. I. THE / ARCHITECTURE / OF / A. PALLADIO; / IN
FOUR BOOKS. / CONTAINING, / A short Treatise of the Five
Orders, and the most / necessary Observations concerning all Sorts of
Building, / AS ALSO / The different Construction of Private and
Publick Houses, / High-ways, Bridges, Market-places, Xystes,
and / Temples, with their Plans, Sections, and Uprights. / To which
are added several Notes and Observations made by INIGO JONES, /
never printed before. / Revis'd, Design'd, and Publish'd / By GIACOMO
LEONI, a Venetian; Architect to his most / Serene Highness,
the / ELECTOR PALATINE. / Translated from the Italian Original. /
LONDON: / Printed by John Watts, for the Author. / M DCC XV.

Folio. Engraved portrait of Palladio (1 leaf); engraved frontispiece (1
leaf); title page (1 leaf); biography of Palladio (1 unnumbered p.);
translator's preface (3 unnumbered pp.); Palladio's preface (2 leaves);
list of subscribers (1 leaf); text, with plates I-VII and XXXVII inserted
(1-54); title page in French (1 leaf); biography of Palladio in French
(1 unnumbered p.); translator's preface in French (3 unnumbered pp.);

[new pagination:] Palladio's preface in French (1-3); text in French
(3-33); title page in Italian (1 leaf); biography of Palladio in Italian
(1 leaf); Palladio's preface in Italian (i-ii); text in Italian (iii-xxx);
plates VIII-XLIII, except for XXXVII which is inserted in English text.

Vol. II. THE / ARCHITECTURE / OF / A. PALLADIO; / BOOK
the SECOND. / CONTAINING / The Designs of several Houses
which he has Built / either in Town, or in the Country. / WITH /
Some other Designs of the Manner of Building amongst the / Greeks
and Romans. / Revis'd, Design'd, and Publish'd / By GIACOMO
LEONI, . . . / . . . / Printed by John Watts, for the AUTHOR.

Folio. Title page (1 leaf); dedication in Italian (2 leaves); text (1-37);
title page in French (1 leaf); [new pagination:] text in French ([1]-23);
title page in Italian (1 leaf); text in Italian (i-xxi); 61 engraved plates.

Vol. III. THE / ARCHITECTURE / . . . / BOOK the THIRD. /
Wherein is treated / Of Ways, Streets, Bridges, Squares, Basilicas or
Courts / of Justice, Xistes, or Places of Exercise, &c. / The Whole Revis'd,
Design'd, and Publish'd / . . .

Folio. Title page (1 leaf); preface (1-3); text (4-37); title page in
French (1 leaf); [new pagination:] preface in French (1-2); text in
French (2-23); title page in Italian (1 leaf); dedication in Italian (1
leaf); list of new subscribers in English (1 leaf); preface in Italian
(i-ii); text in Italian (ii-xxii); 22 engraved plates of which 1 is double.

Vol. IV. THE / ARCHITECTURE / . . . / BOOK the FOURTH. /
PART the FIRST. / Wherein is treated / Of the Antient Temples in
Rome, and some others to / be seen in Italy, and other Parts of Europe
/ . . .

Folio. Title page (1 leaf); preface ([1]-2); list of new subscribers (1
leaf); text (3-33); title page in French (1 leaf); [new pagination:]
preface in French (1-2); text in French (2-20); title page in Italian
(1 leaf); dedication in Italian (1 leaf); preface in Italian (i-ii); text in
Italian (ii-xx); 54 engraved plates, of which 7 are double and mostly
multinumbered.

Vol. V. THE / ARCHITECTURE / . . . / BOOK the FOURTH. /
PART the SECOND. / . . . / CUM PRIVILEGIO.

Folio. Title page (1 leaf); Leoni's preface to the reader (1 leaf); text
(1-17); table of contents (4 unnumbered pp.); license (1 unnumbered
p.); title page in French (1 leaf); [new pagination:] text in French

(1-12); title page in Italian (1 leaf); text in Italian (i-xii); 50 engraved
plates, numbered LV-CIV, of which 7 are double and mostly multinumbered.

The plates were all drawn by Leoni and were engraved by Thomas Cole
(perhaps I. Cole who flourished ca.1720); John Harris (No. 48); Bernard
Picart (1632-1721), a pupil of his father and of Sébastien Le Clerc
(No. 69) who worked in Holland where he became one of the best of
the engravers during the first part of the eighteenth century; and Van
der Gucht (No. 37).

The subscribers listed in the first volume included one attorney, one
carpenter, one engineer, and two booksellers. Sir Christopher Wren was
the only architect mentioned. Those mentioned in the third volume included
two bricklayers, two carpenters, four clerks of His Majesty's
works, one draughtsman, two gardeners, one joiner, four masons, one
stone carver, and one surveyor. The earl of Burlington and James Gibbs
were in this volume. In the fourth volume the new subscribers included
two booksellers, one bricklayer, four carpenters, one clerk of His Majesty's
works, and two masons.

Andrea Palladio (1508 or 1518-80), born in Vicenza, became one
of the most eminent architects, and a major influence in the architectural
field, especially in England and America, for a very long period of time.
His I quattro libri del' architettura was first published in Venice in 1570
and has since been translated into many languages and has had many
editions. For portraits of Palladio, see Plates XCII and XCIII.

For information on Inigo Jones, see No. 59a.

Giacomo Leoni (1686-1746) redrew all the plates in this book. He
is supposed to have come to England for that purpose at the instigation
of the earl of Burlington, and he remained there until his death.

Nicholas du Bois was the translator of the text into both French and
English. He says in his preface in the first volume:

Leoni tells of the work of executing the drawings and his failure to
get permission to use Jones's notes in his preface to the last volume:

Kimball (p. 97) says a copy of this edition of Palladio, the first
with the Leoni plates, was in Jefferson's hands before 1783. There is no
question that Palladio was a major influence in Jefferson's architectural
life, but since the second edition of the Leoni Palladio may be more easily
connected by documents to Jefferson's designs, the extent of that influence
will be discussed in No. 92b.

This edition of the Leoni Palladio was in the library Jefferson sold

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

M

Sowerby 4175

*NA2517.P3.1715

92b. Palladio, Andrea.

Vol. I. THE / ARCHITECTURE / OF / A. PALLADIO; / IN
FOUR BOOKS / CONTAINING / A short Treatise of the Five Orders,
and the most / necessary Observations concerning all Sorts of /
Building; / AS ALSO / The different Construction of Private and
Publick Houses, / High-ways, Bridges, Market-places, Xystes,
and / Temples, with their Plans, Sections, and Uprights. / Revis'd, Design'd,
and Publish'd / By GIACOMO LEONI, a Venetian; Architect to
His most / SERENE HIGHNESS, the Late / ELECTOR PALATINE.
/ Translated from the Italian Original. / In TWO VOLUMES. /
The Second Edition. / LONDON, / Printed by John Darby for the
Author, and all the Plates by / John Vantack. M. DCC. XXI.

and

THE / ARCHITECTURE / OF / A. PALLADIO; / BOOK the SECOND.
/ CONTAINING / The Designs of several Houses which he
has / Built either in Town, or in the Country. / WITH / Some other
Designs of the Manner of Building amongst the / Greeks and Romans.
/ Revis'd, Design'd, and Publish'd / By GIACOMO LEONI, a
Venetian; Architect to His Most / Serene Highness, the Late / ELECTOR
PALATINE. / Translated from the Italian Original. / Printed for
the AUTHOR.

Folio. Engraved frontispiece (1 leaf); title page (1 leaf); dedication (1
leaf); list of subscribers and errata (1 leaf); Leoni's preface (1 unnumbered
p.); biography of Palladio (1 unnumbered p.); engraved portrait
of Palladio (1 leaf); Palladio's preface (2 leaves); text, with 43
engraved plates inserted ([1]-54); title page ([55]); text, with 61 engraved
plates inserted (57-93).

bound with

Vol. II. THE / ARCHITECTURE / . . . / BOOK the THIRD./
Wherein is Treated of / Ways, Streets, Bridges, Squares, Basilicas or
Courts / of Justice, Xistes or Places of Exercise, &c. / The Whole Revis'd
. . .

and

THE / ARCHITECTURE / . . . / BOOK the FOURTH. / Wherein
is Treated / Of the Antient Temples in Rome, and some others to / be
seen in Italy, and other parts of Europe. / The Whole Revis'd . . .

Folio. Title page (1 leaf); preface (1-3); text with 22 engraved plates,
of which 1 is double, inserted (4-37); title page ([39]); preface
(41-42); text with 104 engraved plates, of which 14 are double and
mostly multinumbered, inserted (43-90); table of contents (2 leaves).

Although the title page says "all the Plates by JOHN VANTACK," it
clearly means they were printed by him, since they are identical with
those in No. 92a.

The subscription list includes one apothecary, two attorneys, four
booksellers, three bricklayers, five carpenters, one clerk of the works,
two doctors, an order for twelve copies from the draughtsman to the office
of His Majesty's Ordnance, one ecclesiastic, four engineers, six joiners,
three masons, thirteen merchants, one pattern drawer, one plasterer,
one printseller, one schoolmaster, and one surveyor.

In this second edition of the Leoni Palladio the text has been considerably
rearranged, with the French and Italian versions omitted. The
English text is the same as that in the 1715 edition, but it has been reset.
Leoni's preface makes no reference to the notes of Inigo Jones.

Palladio, when describing the Villa Emo, says that "people may go
under shelter every where about this House, which is one of the most
considerable conveniencies that ought to be desir'd in a Country-house"
(I, 82). This was a statement that Jefferson put into practice in at least
three instances-at Monticello, at Edgemont, and at the University of
Virginia. At the University he may very well have derived the form of
the arcades of the Ranges from Palladio as well (see No. 87), and we
know that he checked the proportions of the arches against Palladio in
his specifications for the arcades.[16]

Jefferson ordered the capitals for Pavilions II, III, and V at the
University from Italy and specified that they be carved after particular
plates in Leoni's Palladio, 1721 (see plates XCIV-CII).[17] Since the order
at Pavilion II is based on Palladio's plates of the temple of Fortuna
Virilis, it is reasonable to suppose that the entablature for Pavilion IX,
which is based on the same order, is also derived from Palladio. Even the

Plate XCIV. From No. 92b. "Of the Temple of Fortuna Virilis or Manly Fortune"
(Vol. II, Bk. IV, Pls. XXXV, XXXVI, and XXXVII).

Plate XCV. Jefferson's drawing for Pavilion II, University of Virginia (N-321).

Plate XCVI. From No. 92b. "Of the Corinthian Order" (Vol. I, Bk. I, Pl. XXVI,
opp. p. 31).

Plate XCVII. Jefferson's drawing for Pavilion III, University of Virginia (N-316).

Plate XCVIII. From No. 92b. "Of the Ionick Order" (Vol. I, Bk. I, Pl. XX, opp.
p. 28).

Plate XCIX. From No. 92b. "Of the Ionick Order" (Vol. I, Bk. I, Pl. XXI, opp.
p. 29).

Plate C. Jefferson's drawing for Pavilion V, University of Virginia (N-356). See
Plates XCVIII and XCIX.

Plate CI. From No. 92b. Elevation "Of the Pantheon, now call'd the Rotunda"
(Vol. II, Bk. IV, Pls. LVI and LVII).

Plate CII. Jefferson's drawing for the elevation and section of the Rotunda, University
of Virginia (N-328). See Plate CI.

order for Pavilion VII is derived from Palladio via Fréart de Chambray
(No. 46).

Jefferson also ordered the capitals for the columns of the Rotunda
from Italy, again citing Palladio as the model.[18] At the time of the design
of the Rotunda, the best reference available to Jefferson concerning the
Pantheon, which he used as his precedent as he notes on his drawing of
the plan for the dome room (N-331), was Leoni's Palladio, 1721.[19]

These many uses of Palladio at the University of Virginia hardly
substantiate the statement that "from Morris [No. 87] came practically
as many designs as from Palladio."[20]

One has only to add the many other allusions to Palladio, and
especially to the Villa Rotunda, in Jefferson's oeuvre to begin to understand
the strong underlying Palladian basis in his design vocabulary, a
basis which can hardly be too much emphasized.

The case for arguing that this edition of Palladio was the one recorded
by Kean as being in the University's collection in 1825, though
physically then "at Monticello," rests on the certainty, as noted above,
that this was one of the editions used during the construction of the
University. The volumes apparently never got back from Monticello because
they do not appear in the 1828 Catalogue. The copy now in the
library was the gift of Thomas Nelson Page.

U. Va.

*NA2517.P3.1721

92c. Palladio, Andrea.

Vol. I. THE / ARCHITECTURE / OF / A. PALLADIO; / IN
FOUR BOOKS. / CONTAINING / A short Treatise of the Five Orders,
and / the most necessary Observations concerning / all sorts of
Building: / AS ALSO / The different Construction of Private and
Publick Houses, / High-ways, Bridges, Market-places, Xystes,
and / Temples, with their Plans, Sections, and Uprights. / Revis'd, Design'd,
and Publish'd / By GIACOMO LEONI, a Venetian, / Architect
to His Most Serene Highness, the Late / ELECTOR PALATINE. /
Translated from the Italian Original. / THE THIRD EDITION, CORRECTED.
/ With NOTES and REMARKS of / INIGO JONES: /

Now first taken from his Original Manuscript in Worcester College Library,
Oxford. / AND ALSO, / An APPENDIX, containing the Antiquities
of ROME. / Written by A. PALLADIO. / And a Discourse of
the FIRES of the Ancients. / Never before Translated. / IN TWO
VOL UMES. / LONDON: / Printed for A. Ward, in Little-Britain; S.
Birt, in Ave-Mary-Lane; D. Browne, / without Temple-Bar; C. Davis,
in Pater-noster-Row; T. Osborne in / Gray's-Inn; and A. Millar,
against St. Clement's Church in the Strand. / M. DCC. XLII.

and

THE / ARCHITECTURE / OF / A. PALLADIO; / BOOK the SECOND.
/ CONTAINING / The Designs of several Houses which he
has / Built either in Town, or in the Country / WITH / Some other
Designs of the Manner of Building among / the Greeks and Romans.
/ Revis'd, Design'd, and Publish'd / By GIACOMO LEONI, a
Venetian, Architect to His Most / Serene Highness, the Late / ELECTOR
PALATINE. / Translated from the Italian Original. / With
NOTES, by INIGO JONES. / . . .

and

THE / ARCHITECTURE / . . . / BOOK the THIRD. / Wherein is
Treated of / Ways, Streets, Bridges, Squares, Basilicas or Courts / of
Justice, Xistes or Places of Exercise &c. / The Whole Revis'd, Design'd,
and Publish'd / . . . / VOL. I.

Folio. Engraved frontispiece (1 leaf); two-color title page ([i]); advertisement
(iii); Leoni's preface to the second edition and biographical
note on Palladio (iv); engraved portrait of Palladio (1 leaf); Palladio's
preface (v-vii); text (1-37); Jones's notes (38-40); 53 engraved plates;
title page Book II ([41]); text (43-69); Jones's notes (70-72); 61 engraved
plates; title page, Book III ([73]); preface (75-77); text (78102);
Jones's notes (103-4); 22 engraved plates.

Vol. II. THE / ARCHITECTURE / . . . / BOOK the FOURTH. /
Wherein is Treated / Of the Ancient Temples in Rome, and some others
/ to be seen in Italy, and other parts of Europe. / . . . / VOLUME
the SECOND. / . . .

and

APPENDIX. / THE / ANTIQUITIES / OF / ROME. / BY / ANDREA
PALLADIO. / To which is added, / A Discourse of the FIRES
of the Ancients. / Now first Translated from the Italian. / LONDON:
/ . . . / VOL. II.

Folio. Title page, Book IV ([1]); preface (3-4); text (5-41); Jones's

notes (42-53); table of contents (54-56); 104 engraved plates; title
page, Appendix ([57]); note to reader ([58]); text (59-100).

At last it was possible for Leoni to include in this edition the notes left
by Inigo Jones, for:

As for the appendix, we are told: "At the end of the Second Volume
is added, by way of Appendix, a Tract written by A. Palladio, intitled,
The Antiquities of Rome, &c. now first translated from the Italian" (I,
iii).

Palladio says of Rome:

The text of the Four Books, though reset, is identical with the
English text of both the 1715 and 1721 editions. The plates are also the
same. The remarks of Inigo Jones are mostly corrections of dimensions
or usages of classical elements by Palladio. It is said Jones traveled about
the Vicentine area carrying his copy of Palladio with him as a reference.

Kimball (p. 97) says Jefferson probably had a copy of this edition
before 1769. That copy was sold to Congress. It was not ordered for the
University. The library's present set is a recent acquisition, the gift of
the Thomas Jefferson Memorial Foundation.

M

Sowerby 4147

*NA2517.P3.1742

92d. Palladio, Andrea.

LES QVATRE LIVRES / DE L'ARCHITECTVRE / D'ANDRÉ
PALLADIO. / Mis en François; / Dans lesquels, / a prés vn petit Traité
des / cinq Ordres, auec quelques-/vnes des plus necessaires ob-/seruations
pour bien bastir, / Il parle de la construction des / maisons particulieres,
des grand / chemins, des Ponts, des Pla-/ces publiques, des
Xystes, / des Basiliques, & des / Temples. / A PARIS, / De l'Imprimerie
d'Edme Martin. / ruë S. Iacques, au Soleil d'or. / M. DC. L.

Folio. Title page (1 leaf); translator's note (1 leaf); text with many
woodcut illustrations (1-329).

It should be noted that the illustrations are woodcuts and not engravings
as stated in Sowerby.

For information on Roland Fréart de Chambray, the translator, see
No. 46. His estimation of Palladio was high: "Je diray donc seulement
tout en un mot, auec le consentement uniuersel des intelligens, qu'il est
premier entre ceux de sa profession, & qu'on peut tenir ce Liure comme
un Palladium de la uraye Architecture" (Translator's note). This translation
of Palladio by Fréart de Chambray was first issued in this edition
of 1650 (see Plates CIII-CVI; compare Plates CV and CVI with Plate
XCIV).

Jefferson sold his copy to Congress. Kimball (p. 98) says it had
entered his library between 1785 and 1789. It was not ordered for the
University, whose present copy has recently entered its collections, the
gift of the Thomas Jefferson Memorial Foundation.

M

Sowerby 4181

*NA2515.P254.1650

93. Palladio, Andrea.

I CINQUI ORDINI / DELL'ARCHITETTURA / DI ANDREA
PALLADIO / ILLUSTRATI / E RIDOTTI A METODO FACILE /
UMILIATI / A S. E. IL SIG. CAVALIERE / D. DOMENICO ANTONIO
DI SOUZA / COUTINHO / INVIATO STRAORD. E
MINISTRO PLENIP. DI S. M. F. / PRESSO S. M. IL RE DI
SARDEGNA / &c. &c. &c. / DA GIO. BATTISTA CIPRIANI /
SANESE / ROMA / CON PERMESSO / 1801

and

Plate CIII. From No. 92d. Title page.

Plate CIV. From No. 92d. Villa Rotunda (woodcut on p. 87).

Plate CV. From No. 92d. Temple of Fortuna Virilis (woodcut on p. 241).

Plate CVI. From No. 92d. Temple of Fortuna Virilis (woodcut on p. 242).

SCELTA / DI ORNATI / ANTICHI.E MODERNI / DISEGNATI
ED INCISI / DA / GIO. BATT. CIPRIANI / ROMA / CON PERMESSO
/ 1801.

4to. Engraved title page (1 leaf); dedication (1 leaf); note (1 leaf);
text (1-24); 25 engraved plates; title page (1 leaf); 30 engraved plates.

For information about Palladio, see No. 92a. Giovanni Battista Cipriani
(1727-1785 or 1790) was born in Florence but died in London where he
had studied and worked. He was a pupil of Bartolozzi and became a
member of the Royal Academy, for which he designed the certificate of
admission. He restored, or was in charge of the restoration of, the Rubens
ceiling in the Banqueting House, Whitehall.

The posthumously issued Cinque ordini is a handsome but straightforward
book of the orders with a supplement of ornament. All the
plates are beautifully drawn and engraved, as one would expect of
Cipriani. (see Plate CVII)

This quarto edition of Cipriani is known from the Kean list to have
been in the library at a time when only Jefferson controlled the acquisitions.
Later records of this volume (e.g., 1828 Catalogue entries on pp.
105 and 108) make one wonder whether there were two copies of this
edition in the library; or, if there was only one, whether it was given to
Jefferson for the library by Joseph Coolidge or James Madison. In any
case no copy survived. The library's present copy has been recently acquired,
the gift of the Thomas Jefferson Memorial Foundation.

U. Va.

*NA2810.P3.1801

94. Palladio, Andrea.

THE / FIRST BOOK / OF / Architecture, / BY / ANDREA PALLADIO
/ Translated out of ITALIAN: / With an Appendix Touching /
DOORS and WINDOWS, / By Pr. LE MUET Architect to the
French King. / Translated out of French by Godfrey Richards: / The
whole Illustrated with above Seventy Copper Cutts. / ALSO, / Rules
and Demonstrations, with several Designs for the Framing / of any manner
of Roofs, either above Pitch or under Pitch, / whether Square or
Bevel, / never Published before by that In-/genious Architect Mr. William
Pope of London. / WITH / Designs of Floors, of Variety of small
Pieces of Wood Inlayed, / lately made in the Pallace [sic] of Queen

Plate CVII. From No. 93. Base and pedestal (Tab. XIV).

Dowager, at Sommerset-/House; a Curiosity never practiced in England
before. / The Sixth Edition Corrected and Enlarged with the new Model
of the Cathedral of St. Pauls in London. / LONDON, / Printed for Tho.
Braddyll, and Eben. Tracy on Lon-/don-Bridge, MDCC.

8vo. Engraved frontispiece (1 leaf); title page (1 leaf); Richards's preface
(1 leaf); text, with 66 (not 70) engraved plates, of which 4 are
folding, inserted (1-237).

Pierre Le Muet (1591-1669) was born at Dijon. By 1616 he was the
holder of the first of a series of offices before becoming, in 1628, Architecte
ordinaire du roi. After Lemercier's death he was associated with the
building of the church of Val-de-Grace in Paris. His books included
Manière de bien bastir pour toutes sortes de personnes, etc. (Paris, 1623
and 1647); Traité des cinq ordres d'architecture dont se sont servi les
anciens, traduit du Palladio augmenté de nouv. inventions pour l'art de
bien bastir etc. (Paris, 1645 and Amsterdam, 1682); and Augmentations
de nouveaux bastimens faicts en France par les ordres et desseins de
Sieur L. M. (Paris, 1647).

Godfrey Richards, the translator, points up the scarcity of English
architectural books at the turn of the eighteenth century when he tells us
about this edition of Palladio's Book I:

That Jefferson owned a copy of this work is clear from the annotation
"Palladio's 1st book of architecture, with Le Muet on doors &
windows" (see Plate CVIII) in his manuscript library catalogue now at
the Massachusetts Historical Society, but the copy apparently did not

Plate CVIII. From No. 94. Double staircase (p. 213).

go to Congress in 1815, and there is no record of it in the 1829 sale. Perhaps
it was never returned after it had been loaned to James Oldham,
the contractor, as stated in Jefferson's letter to him of December 24,
1804, and quoted in Sowerby (4175): "There never was a Palladio here
[in Washington] even in private hands till I brought one: . . . I send
you my portable edition, which I value because it is portable. It contains
only the 1st book on the orders which is the esesential part."

Kimball (pp. 97-98) says this book entered Jefferson's library between
1785 and 1789. Which edition Jefferson owned, however, is a
matter of speculation. Kimball listed as possibilities the first, second,
third, seventh, and twelvth editions (of 1663, 1668, 1676, 1708, and 1733
respectively, though he misprinted two of these dates). The edition now
at the University, the gift of the Reverend Lee M. Dean, is as likely as
any other, so far as is now known. It was not ordered for the University.

M

*NA2517.P3.1700

95. Patte, Pierre.

MONUMENS / ÉRIGÉS EN FRANCE / A LA GLOIRE / DE
LOUIS XV, / Précédés d'un Tableau du progrès des Arts & des
Sciences sous / ce règne, ainsi que d'une Description des Honneurs &
des / Monumens de gloire accordés aux grands Hommes, tant chez les /
Anciens que chez les Modernes; / Et suivi d'un choix des principaux
Projets qui ont été proposés, pour placer la / Statue du ROI dans les
différens quartiers de Paris: / Par M. PATTE, Architecte de S. A. S.
Mgr. le Prince Palatin, Duc-règnant / DE DEUX-PONTS. / Ouvrage
enrichi des Places du Roi, gravées en taille-douce. / Praesenti tibi maturos
largimur honores. HOR. lib. II, ep. l. / A PARIS, / Chez /
L'Auteur, rue des Noyers, la sixième porte cochère, à droite, en entrant
/ par la rue Saint Jacques. / Desaint, / Saillant, / Libraires, rue
Saint-Jean de Beauvais. / M. DCC. LXV. / AVEC APPROBATION
ET PRIVILÈGE DU ROI.

Folio. Title page (1 leaf); preface (1 leaf); engraved floor plan (1
leaf); text, with 39 engraved plates, of which 6 are folding, inserted
([1]-229); table of contents (230-32); 18 engraved plates numbered
XL-LVII, all folding; supplement (233-36); license, errata, and note to
binder (1 leaf).

It is notable that one of the engraved headpieces in this book was designed
by Boucher and engraved by Cochin, with the exception of the
portrait of Louis XV which appears in it and which was engraved by
Le Mire (see Plate CIX). The engravers of the plates were C. Frussotte
(fl.1765), French; Nöel Le Mire (1724-1800), who studied with Le
Bas and de Descamps and became, though working in Paris, a member
of the Académie Royale et Imperiale des Beaux-Arts of Vienna, 1768;
Loyer (fl.1760), French; Martin Marvie, or Marvye, (1713-1813),
French; and Pierre Patte (see below).

Pierre Patte (1723-1814) was born in Paris but died in Nantes.
He was both an architect and an engraver (see No. 73). His book is
adulatory (see Plate CX) as he says in his preface:

Kimball (p. 98) says a copy of this work had entered Jefferson's
library between 1785 and 1789. That copy was sold to Congress, but
Jefferson also ordered it for the University in the section on "Architecture"
of the want list. It was received by the library, but that copy has
not survived. The library's present copy is a recent acquisition, the gift
of the Thomas Jefferson Memorial Foundation.

U. Va.

*NA1046.P3.1765

M

Sowerby 4211

96a. Perrault, Claude.

ORDONNANCE / DES CINQ ESPECES / DE COLONNES / SELON
LA METHODE / DES ANCIENS. / Par M. PERRAVLT de
l'Academie Royale des / Sciences, Docteur en Medecine de la Faculté /
de Paris. / A PARIS, / Chez JEAN BAPTISTE COIGNARD Imprimeur
& Libraire / ordinaire du Roy, ruë S. Jacques, à la Bible d'or. /
M. DC. LXXXIII. / AVEC PRIVILEGE DE SA MAJESTÉ.

Folio. Title page (1 leaf); dedication (2 leaves); license, (1 leaf);
preface (i-xxvii); table of contents (xxviii); text (1-124); 6 engraved
plates.

Plate CIX. From No. 95. Headpiece.

Plate CX. From No. 95. "Colonne Ludovise," from a project for the Place Dauphine
(Pl. XLIII).

The engravers were Louis de Chastillon (see No. 36); Sébastien Le
Clerc (see Nos. 36 and 69); and Pierre Le Pautre (see No. 36).

Claude Perrault (1613-88) was educated as both a mathematician
and a physician. He continued in both fields all his life and, indeed, died
of a malady contracted while dissecting a camel at the Jardin du Roi.
He was the architect of both the east colonnade of the Louvre and the
Observatory and became a member of the Académie Royale d'Architecture.

He tells how he organized his book:

This edition was the first for this work, but it was later translated
into English and quotations will be given primarily from that version
(see No. 96b). Jefferson ordered this French edition for the University
in the section on "Architecture" of the want list, and it was received but
did not survive. The present copy is a recent acquisition, the gift of the
Thomas Jefferson Memorial Foundation.

U. Va.

*NA2812.P38.1683

96b. Perrault, Claude.

A / TREATISE / OF THE / FIVE ORDERS / IN / ARCHITECTURE.
/ To which is Annex'd A / Discourse concerning Pilasters: /
and of several Abuses introduc'd into / ARCHITECTURE. / Written

Plate CXI. From No. 96a. "De l'Ordre Corinthien" (Pl. V).

in French / By CLAUDE PERRAULT. / OF THE / Royal Academy
of PARIS, / And made English / By John James of Greenwich.
/ The Second Edition. / To which is added, / An Alphabetical
Explanation of all the Terms in Architecture, / which occur in this
Work. / London: / Printed for J. Senex, and R. Gosling in Fleetstreet;
W. Taylor in Pater-noster-Row; / W. and J. Innys in St. Paul's
Church-Yard; and J. Osborn in Lombard-street. / M. DCC. XXII.

Folio. Title page (1 leaf); engraved title page (1 leaf); John James's
dedication, engraved (1 leaf); Perrault's dedication (2 leaves); preface
(i-xxi); table of contents ([xxii]); text, with 6 engraved plates inserted
([1]-131); [new pagination:] glossary ([i]-xii).

The engraver for this edition was John Sturt (1658-1730), English,
who worked on a large number of religious and artistic books of the
time.

For information on Claude Perrault, see No. 96a. For information
on John James, see No. 37.

Perrault says:

John James, in the glossary, gives two very interesting definitions:

Kimball (p. 98) says this book entered Jefferson's library between
1785 and 1789. It was sold by him to Congress. Sowerby notes that

Kimball identifies Jefferson's copy wrongly as the 1708 first edition. It
was not ordered for the University, whose present copy is a recent acquisition,
the gift of the Thomas Jefferson Memorial Foundation.

M

Sowerby 4182

*NA2812.P4.1722

97. Perrier, François.

ILLmo. D. D. ROGERIO DV PLESSEIS / DNO. DE LIANCOVRT
MARCHI-/ONI DE MONTFORT, COMITI DE / LA ROCHEGVION
&. a. VTRIVSQVE / ORDINIS CHRISTIANISSIMAE /
MAIESTATIS E QVITI REGIIS A / CUBICVLIS PRIMARIO. /
Heroi Virtutum et magnarum arti-/um eximio cultori. / Auorum pace
belloque praestantium / Et aeui melioris decora referenti; / SEGMENTA
nobilium signorum e statuaru, / Quae temporis dentem inuidium
euasere / Vrbis aeternae ruinis erepta / Typis aeneis abse
commissa / Perpetuae uenerationis monumentum. / Franciscus Perrier. /
D. D. D. / M.D.C. XXXVIII / Romae, superiorum permissu. / Cum
privilegio summi / Pontificis.

Folio. Engraved title page (1 leaf); 100 engraved plates, of which 2
are folding; engraved index (2 leaves).

All the plates were drawn and engraved by Perrier, the first plate bearing
a full signature and the others being initialed.

François Perrier, who worked under the name François Perrier Le
Bourguigon or Perrier Le Bourguigon (1584-1656), studied in Rome
with Lanfranco. He returned to Mâcon and Paris, but being unsuccessful,
he went back to Rome where he stayed for some ten years.

This book is a first edition. It contains views of sculpture found in
Rome (see Plate CXII), sometimes several views of the same statue.

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
library's present copy has been recently acquired, the gift of the Thomas
Jefferson Memorial Foundation.

U. Va.

*NB86.P45.1638

M

Sowerby 4231

Plate CXII. From No. 97. Laocoön (Pl. I).

98a. Pilkington, Matthew.

A / DICTIONARY / OF / PAINTERS / FROM THE REVIVAL OF
THE ART TO THE PRESENT PERIOD; / BY / THE REV. M.
PILKINGTON, A. M. / A / NEW EDITION, / WITH CONSIDERABLE
ADDITIONS, AN APPENDIX, AND AN INDEX; / BY /
HENRY FUSELI, R. A. / STAT SUA CUIQUE DIES: BREVE ET
INREPARABILE TEMPUS / OMNIBUS EST VITAE: SED
FAMAM EXTENDERE FACTIS, / HOC VIRTUTIS OPUS. VIRGIL.
AENEID. LIB. X. / LONDON: / PRINTED FOR J.
WALKER; WILKIE AND ROBINSON; R. LEA; J. STOCKDALE;
SCATCHERD / AND LETTERMAN; CUTHELL AND MARTIN;
VERNOR, HOOD, AND SHARPE; LONGMAN, / HURST, REES,
AND ORME; CADELL AND DAVIES; LACKINGTON, ALLEN,
AND CO.; / BLACK, PARRY, AND KINGSBURY; W. MILLER;
J. HARDING; J. MAWMAN; J. MURRAY; / CROSBY AND CO.;
J. FAULDER; AND J. JOHNSON AND CO. / 1810.

4to. Title page ([i]); dedication, dated `Dublin, 1770' ([iii]); preface
([v]-xii); bibliography ([xiii]-xiv); glossary ([xv]-xx); editor's note (1
leaf); note to new edition (1 leaf); text ([1]-658); index ([659]-78).

The title page of this copy is inscribed: `Presented by C. B. Ogle
Esq. to G. Hayter, 1813.' The bookplate is inscribed: `To / Angelo C.
Hayter, / From his affectionate Father, / Sir George Hayter. / 1864.'

Matthew Pilkington (1700?-1784) was born in Dublin and educated at
Trinity College there. He became the vicar of Donobate and Portrahan,
county Dublin, about 1722. His Dictionary of Painters was the first such
work in English.

Pilkington speaks of his work and of painting in general in his
preface:

This book has a long publishing history. It was first issued in
London in 1770. There was a new edition, emended by James Barry, the
painter, in 1798; another with additions by John Wolcott, M.D., in
1799; one in 1805, and again in 1810 with additions by Henry Fuseli, the
painter and keeper of the schools of the Royal Academy; this was corrected
by Watkins for an edition of 1824; in 1829 Richard Davenport
made additions; in 1840 Alan Cunningham did the same; in 1851 there
was a new issue of the Davenport version; and finally in both 1852 and
1857 Davenport and Cunningham combined forces on editions.

Fuseli points out, in a note to his 1805 edition, the additions of
articles he made and his emendations. In his 1810 edition Fuseli says he
had added over three hundred names, especially of the Spanish school.

It was the 1810 edition which Jefferson ordered for the University
in the section on "Gardening. Painting. Sculpture. Music" of the want
list, but it was not supplied. It is worth noting that half a century later,
in 1871, Lowndes was still saying that the 1810 edition was the "best."
The University's present copy has come into the collections recently, the
gift of the Thomas Jefferson Memorial Foundation.

U. Va.

*ND35.P6.1810

98b. Pilkington, Matthew.

Vol. I. A GENERAL / DICTIONARY OF PAINTERS; / CONTAINING
/ MEMOIRS / OF / THE LIVES AND WORKS / OF
THE MOST EMINENT / Professors of the Art of Painting, / FROM
ITS REVIVAL, BY CIMABUE, / IN THE YEAR 1250, / TO THE
PRESENT TIME. / BY MATTHEW PILKINGTON, A. M. / A
NEW EDITION, / REVISED AND CORRECTED THROUGHOUT,
WITH NUMEROUS ADDITIONS, / PARTICULARLY OF
THE MOST DISTINGUISHED ARTISTS / OF THE BRITISH
SCHOOL. / -Reperire, apta atque reperta docendum / Digerere, atque
suo quaeque ordine ritè locare, / Durus uterque Labor. VIDA, Lib. 2.
Poetic. / Ut Plurimis prosimus, enitimur. CICERO. / IN TWO VOLUMES.

/ VOL. I. / London: / PRINTED FOR THOMAS M'LEAN,
26 HAYMARKET. / 1824.

8vo. Half title ([i]); title page ([iii]); dedication ([v]); editor's preface
([vii]-xvii); bibliography ([xix]-xxvii); glossary ([xxix]-xxxvi); text
([1]-543).

Vol. II. A GENERAL / DICTIONARY OF PAINTERS; / . . . /
VOL. II. / . . .

8vo. Half title (1 leaf); title page (1 leaf); text ([1]-533); supplement
([535]-68).

For information about Pilkington, see No. 98a. The editor of this edition
takes a dim view of English painting during the third quarter of the
eighteenth century when he says: "When this Dictionary was first
undertaken, there existed nothing of the kind in our language; nor
were there any helps for such a compilation to be obtained, except in
foreign tongues, the Art of Painting being at that time as low as it well
could be in this country" (I, [vii]).

This was the edition revised and corrected by Watkins and the one
supplied to the University despite Jefferson's order for the 1810 edition.
The set originally received has not survived, but a duplicate set has
been recently acquired, the gift of the Thomas Jefferson Memorial
Foundation.

U. Va.

*ND35.P6.1824

99. Piranesi, Giovanni Battista.

VARIE VEDUTE / DI ROMA / Antica e Moderna / Disegnate e
Intaglia / te da Celebri Autori / In ROMA 1748. / A spese di Fausto
Amidei Librario al'Corso

Small folio. Engraved title page (1 leaf); 83 engraved plates.

The engravers included in this volume are Paolo Anesi (ca.1700-after
1761), a landscape painter and an engraver of views and portraits who
worked in Rome; Jerome-Charles Bellicard (1726-86), a Parisian who
won the Prix de Rome, 1747, and became a professor at the Académie
in 1762, but who was ruined by gambling; F. Pierre Duflos (eighteenth
century), a painter and engraver who worked at Rome; Jean-Laurent Le
Geay, an architect, painter, and engraver who won the Prix de Rome,
1732, and worked in Germany after leaving Rome; and Piranesi.

Giovanni Battista Piranesi (1720-78), though a Venetian who
trained with Lucchesi and Zucchi, worked primarily in Rome as both an
architect and an engraver, his engravings forming by far the greater
part of his life's work.

The present volume, which has recently come into the University's
collections, has a title more or less matching that given in Jefferson's
want list for the University, in the section on "Architecture." Although
the book includes some engravings by other hands, there are some
thirty-seven with an engraved "Piranesi F" signature and a good many
more with an inked imitation of that signature. Among these is that
for the temple of Fortuna Virilis, whose beautiful Ionic order was later
used at the University (see No. 92b). The title page is dated 1748,
but the seven plates by Bellicard are dated 1750, which might mean that
this volume was expanded by the inclusion of plates by others after the
1748 date.

The title of this book matches that given by Sowerby. It is something
of a composite, which will surprise no one familiar with the bibliography
of Piranesi. The restrikes from the Piranesi plates have been
so numerous and so unsystematized that it is difficult to determine either
what Jefferson was ordering for the University or what he himself
bought for his private library. He recommended that the University get
a single-folio volume which he called "Vedute di Roma antica et
moderna del Piranesi." The volume in his own library, which, according
to Kimball (p. 98), entered it in 1805 and was later sold to Congress,
was described in 1840 as a Rome, 1748, quarto edition with the binder's
title Varie Vedute di Roma antica e Moderna, but the volume is not now
known to be in existence and thus escapes further analysis.

It seems clear enough that Jefferson did not own the two-volume
folio edition of the 1760s issued by Piranesi, the 127 plates of which
were to make up Vols. XVI and XVII of the 1800 collected restrike.

The copy now on the library's shelves is the gift of the Thomas
Jefferson Memorial Foundation.

U. Va.

*NA1120.P78.1748

M

Sowerby 4197

100. Piroli, Tommaso.

Vol. I. ANTIQUITÉS / D'HERCULANUM, / GRAVÉES / PAR
TH. PIROLI, / ET PUBLIÈES / PAR F. ET P. PIRANESI, FRÉRES.
/ TOME PREMIER. / PEINTURES. / À PARIS, / CHEZ /

PIRANESI, Frères, place du Tribunat, no. 1354; / LEBLANC, Imprimeur-Libraire,
place et maison / Abbatiale St.-Germain-des-Prés, no.
1121. / AN XII. = 1804.

Large 4to. Half title (1 leaf); title page ([i]); dedication ([iii-iv]); publisher's
note ([v]-viii); 48 engraved plates, each with page of text inserted.

Vol. II. ANTIQUITÉS / D'HERCULANUM, / . . . / PEINTURE.
/ TOME II. / . . .

Large 4to. Half title (1 leaf); title page (1 leaf); 48 engraved plates,
each with a page of text inserted; errata (1 leaf).

Vol. III. ANTIQUITÉS / D'HERCULANUM / . . . / TOME III. /
PEINTURES. / . . . / AN XIII. = 1805.

Large 4to. Half title (1 leaf); title page (1 leaf); 60 engraved plates,
each with a page of text inserted; table of contents (4 leaves).

Vol. IV. ANTIQUITES / D'HERCULANUM / . . . / TOME IV. /
BRONZES. / . . .

Large 4to. Half title (1 leaf); title page (1 leaf); note (1 leaf); 48 engraved
plates, each with page of text inserted; table of contents (2
leaves).

Vol. V. [Not now owned by the University.]

Vol. VI. [Not now owned by the University.]

[Note: In the University's second set of the Antiquités the title pages
for Vols. V and VI are as follows:

Vol. V. ANTIQUITÉS / D'HERCULANUM, / . . . / TOME V. /
BRONZES. - TOME II. / . . . / An XIV. = 1805.

bound with

Vol. VI. ANTIQUITÉS / D'HERCULANUM, / . . . / TOME VI. /
LAMPES ET CANDÉLÂBRES. / . . . / LEBLANC, Imprimr.Libre.,
rue de la Paix, maison / Abbatiale Saint-Germain-des-Pres, no.
I. / An XIV. = 1806.]

Tommaso Piroli (ca.1752-1824) was born in Rome, studied in Florence,
and worked as an engraver in both Rome and Paris. His publisher said
of him and his plates for this work:

The volumes are, essentially, picture books. The first three are
devoted to paintings, the fourth and fifth to bronzes, and the sixth to
lamps and candlebra. In spite of the publisher's avowal, the plates do
not preserve "la grâce, l'esprit et le sentiment des productions originales"
quite as well as one might suppose, a certain awkwardness appearing in
the draughtsmanship occasionally.

The library still has the first four of the six volumes acquired on
Jefferson's original order made in the section on "Gardening. Painting.
Sculpture. Music" of the want list. In addition it has a complete set
bound in three volumes.

U. Va.

*DG70.H5P6.1804

101. Plumier, Charles.

L'ART / DE TOURNER, / OU / DE FAIRE EN PERFECTION
TOUTES / SORTES D'OUVRAGES AU TOUR. / DANS LEQUEL,
/ Outre les principes & élemens du Tour qu'on y enseigne
méthodiquement pour tourner tant le / bois, l'ivoire &c. que le fer &
tous les autres métaux, on voit encore plusieurs belles machi-/nes à faire
des Ovales, tant simples que figurées de toutes grandeurs; la maniere de
tourner le / globe parfait, le rampant, l'excentrique, les pointes de diamant,
les facettes, le panier ou échi-/quier, la couronne ondoyante, la
rose à raiseau, les manches de couteaux façon d'Angleterre, / les ovaires,
la torse à jour ondée & goderonnée, les globes concentriques, la massuë à
pointes, les / tabatieres barlongues de toutes figures, le bâton rompu, les
cannelures, les écailles &c. & géné-/ralement toutes les methodes les plus
secrettes de cet art, avec la disposition des Tours, &c. / OUVRAGE
TRES CURIEUX, ET TRES NECESSAIRE / à ceux qui s'exercent
au Tour. / Composé en François & on Latin en faveur des Etrangers, &
enrichi de prés de / quatre-vingt Planches. / Par le R. P. CHARLES

PLUMIER, Religieux Minime. / A PARIS, RUE S. JACQUES, / Chez
CLAUDE JOMBERT, au coin de la ruë des Mathurins, / vis-à-vis
l'Eglise, à l'Image de Nostre Dame. / M. D. CCI. / AVEC PRIVILEGE
DU ROY.

Folio. Engraved half title (1 leaf); two-color title page (1 leaf); dedication
(3 unnumbered pp.); preface (13 unnumbered pp.); table of
contents (3 leaves); licenses (3 unnumbered pp.); list of plates (1 unnumbered
p.); text (1-187); engraved plates 1-65, 73, 80, and another
15 without numbers (making a total of 82), of which 1 is folding.

A slip of paper has been pasted over the words `A LYON' and an
illegible address on the title page.

The engravers were A. Bouchet, an eighteenth-century engraver at Lyon;
T. Buys; Michel-François Demaso (1654-?), an engraver and painter
who was born at Lyon; and Sébastien Le Clerc (Nos. 36 and 69).

Although Charles Plumier (1646-1706) wrote several works, the
Art de tourner does not seem to have been a major one among his oeuvre.
He entered orders at sixteen and became a botanist and traveler, having
journeyed to the Antilles in 1689 and to America between 1693 and 1695.

This work, somewhat outside his interests, sets forth the process
and the machinery necessary for turning a great variety of objects (see
Plate CXIII). It is of particular interest for its advice on balusters, moldings,
and finials, as well as the layout of the shop necessary for the operation.
When he speaks of profiles he says: "J'appelle le profil un simple
contour; & le bon goût cet agrément à la vûë qui d'abord satisfait l'esprit
par le seul port & aspect de l'ouvrage. Veritablement il est bien difficile
de pouvoir expliquer ce bon goût, & d'en établir des regles précises,
puisqu'il dépend plutôt de l'idée & du genie des gens que d'aucune
methode certain. L'oeil seul en droit prescrire les regles & les lois"
(p. 133).

Jefferson sold his copy of the book to Congress. It was not ordered
for the University. The library's present copy has been recently acquired,
the gift of the Thomas Jefferson Memorial Foundation.

M

Sowerby 1183

*TT201.P73.1701

102. Potter, John.

Vol. I. Archaeologia Graeca, / OR THE / ANTIQUITIES OF
GREECE: / BY / JOHN POTTER, D. D. / LATE ARCHBISHOP

Plate CXIII. From No. 101. Tools (Pl. 73).

OF CANTERBURY. / A NEW EDITION; / WITH / A LIFE OF
THE AUTHOR, / BY ROBERT ANDERSON, M. D. / AND / AN
APPENDIX, / CONTAINING / A CONCISE HISTORY OF THE
GRECIAN STATES, / AND A SHORT ACCOUNT OF THE LIVES
AND WRITINGS OF THE / MOST CELEBRATED GREEK AUTHORS;
/ BY GEORGE DUNBAR, F. R. S. E. / AND PROFESSOR
OF GREEK IN THE UNIVERSITY OF EDINBURGH. / IN TWO
VOLUMES. / VOL. I. / - Antiquam exquirite Matrem - VIRG. / - Vos
exemplaria Graeca / Nocturna versate manu, versate diurna. - HORAT. /
EDINBURGH: / PRINTED FOR STIRLING & KENNEY; AND
FOR LONGMAN, HURST, / REES, ORME, BROWN, & GREEN;
J. NUNN; BALDWIN, CRADOCK, / & JOY; HARDING & CO.;
J. CUTHILL; G. & W. B. WHITTAKER; R. / SCHOLEY; R. SAUNDERS;
HURST, ROBINSON, & CO.; T. & J. ALLMAN; / W. GINGER,
LONDON; WILLIAMS, ETON; AND PARKER, OXFORD. /
1824.

8vo. Engraved folding map; title page (1 leaf); life of Potter ([i]-xii);
table of contents ([viii]-xv); directions for binding plates (unnumbered
p.); text, with 9 engraved plates inserted ([1]-527).

Vol. II. Archaelogia Graeca, / . . . / VOL. II. / -Simili froudescit
virga metallo. - VIRG. / Quis reprehendit nostrum otium, qui in co non
modo nosmetipsos hebescere et languere / nolumus, sed etiam, ut plurimus
prosimus, enitimur? - CIC. / . . .

8vo. Title page (1 leaf); table of contents ([i]-iv [misnumbered `vi']);
text, with 23 engraved plates inserted ([1]-422); [new pagination:] text
of general history (1-112); index (4 leaves); index of Latin words (1
leaf); index of Greek words (6 leaves).

The engravings are by Daniel Lizars (d. 1812), who turned to engraving
after his father's death in order to maintain his brothers and sisters,
and by William Home Lizars (1788-1859), his son and pupil.

John Potter (1674?-1747), born in Wakefield, Yorkshire, was the
son of a linen draper. He was educated first at the local grammar school,
but entered University College, Oxford, at 14. He earned his B.A. in
1692, his M.A. in 1694, his B.D. in 1704, and his D.D. in 1706. He was
ordained in the priesthood in 1699 and pursued a brilliant ecclesiastical
career. He became Regius professor of divinity at Oxford in 1707, bishop
of Oxford in 1715, and archbishop of Canterbury in 1737.

He was the author of many learned works. The Archaeologia Graeca
was a rather early one, Vol. I being issued first in 1697 and its second
volume in 1698. It subsequently went into many editions.

The text, which is concerned mainly with the laws, customs, and
habits of the ancient Greeks, contains a few descriptions of temples and
a few plates of illustrations of them from which architectural information
may be gained.

Ordered by Jefferson for the University in the section on "HistoryCivil-Antient"
of the want list, this set was in the library by 1828, but the
original copies have not survived. The library's present set was the gift
of R. L. Harrison.

U. Va.

*DF76.P86.1824

103. Preti, Francesco Maria.

Elementi di architettura. Venice, 1780.

Not now owned by the University.

Francesco Maria Preti (1701-74), born at Castelfranco, was an architect,
mathematician, and tract writer.

Sowerby describes the Elementi di architettura as a quarto of thirtyfive
leaves with four engraved plates, all folding, and gives the above
date for its first edition. Kimball (p. 99) says the book entered Jefferson's
library between 1785 and 1789.

Jefferson sold his copy to Congress. It was not ordered for the University.

M

Sowerby 4202

104. The Repertory of Arts and Manufactures.

Vol. I. THE / REPERTORY / OF / ARTS AND MANUFACTURES:
/ CONSISTING OF / ORIGINAL COMMUNICATIONS, /
SPECIFICATIONS OF PATENT INVENTIONS, / AND / SELECTIONS
OF USEFUL PRACTICAL PAPERS / FROM THE /
TRANSACTIONS / OF THE / PHILOSOPHICAL SOCIETIES /
OF ALL NATIONS, &c. &c. / VOL. I. / LONDON: / PRINTED
FOR G. AND T. WILKIE, AND G. G. AND J. ROBERTSON, /
PATERNOSTER-ROW: P. ELMSLY, STRAND; / W. RICHARDSON,

CORNHILL; J. DEBRETT, PICADILLY; / AND J. BELL,
NO. 148, OXFORD-STREET. / 1794.

8vo. Title page ([i]); table of contents (iii-vii); list of plates (viii);
[new pagination:] note (i-iv); text, with 25 engraved plates inserted
(1-432); index (433-40).

Vol. II. THE / REPERTORY / . . . / VOL. II. / . . . / 1795.

8vo. Title page ([i]); table of contents (iii-vii); list of plates (viii);
text, with 24 engraved plates inserted (1-432); index (433-40).

Vol. III. THE / REPERTORY / . . . / VOL. III. / . . . / PRINTED
FOR THE PROPRIETORS; / AND SOLD BY T. HEPTINSTALL,
NO. 131, FLEET-STREET; / G. G. AND J. ROBINSON, PATERNOSTER-ROW;
P. ELMSLY, / STRAND; W. RICHARDSON,
CORNHILL; J. DEBRETT, / PICADILLY; AND J. BELL, NO. 148,
OXFORD-STREET. / . . .

8vo. Title page ([i]); table of contents (iii-vii); list of plates (viii); text,
with 24 engraved plates inserted (1-432); index (433-40).

Vol. IV. THE / REPERTORY / . . . / VOL. IV. / . . . / 1796.

8vo. Title page ([i]); table of contents (iii-vii); list of plates (viii); text,
with 23 engraved plates inserted (1-432); index (433-40).

Vol. V. THE / REPERTORY / . . . / VOL. V. / . . .

8vo. Title page ([i]); table of contents (iii-vii); list of plates (viii); text,
with 23 engraved plates inserted (1-432); index (433-40).

Vol. VI. THE / REPERTORY / . . . / VOL. VI. / . . . / 1797.

8vo. Title page ([i]); table of contents (iii-vii); list of plates (viii); text,
with 22 engraved plates inserted (1-432); index (433-40).

Vol. VII. THE / REPERTORY / . . . / VOL. VII. / . . . / AND
SOLD BY H. LOWNDES, No. 77, FLEET-STREET / T. HEPTINSTALL,
NO. 304, HOLBORN; / . . .

8vo. Title page ([i]); table of contents (iii-vii); list of plates (viii); text,
with 21 engraved plates inserted (1-432); index (433-40).

Vol. VIII. THE / REPERTORY / . . . / VOL. VIII. / . . . /
PRINTED FOR THE PROPRIETORS; / AND SOLD BY H. LOWNDES,
NO. 77, FLEET-STREET; / G. G. AND J. ROBINSON, PATERNOSTER-ROW;

P. ELMSLY, / STRAND; W. RICHARDSON,
CORNHILL; J. DEBRETT, / PICADILLY; AND J. BELL, NO. 148,
OXFORD-STREET. / 1798.

8vo. Title page ([i]); table of contents (iii-vii); list of plates (viii); text,
with 22 engraved plates inserted (1-432); index (433-40).

Vol. IX. THE / REPERTORY / . . . / VOL. IX. / . . .

8vo. Title page ([i]); table of contents (iii-vii); list of plates (viii); text,
with 18 engraved plates inserted (1-432); index (433-440).

Vol. X. THE / REPERTORY / . . . / VOL. X. / LONDON: /
PRINTED FOR, AND SOLD BY, THE PROPRIETORS, / NO. 182,
FLEET-STREET; WHERE COMMUNICATIONS FOR / THIS
WORK ARE REQUESTED TO BE ADDRESSED. / 1799.

8vo. Title page ([i]); table of contents (iii-vii); list of plates (viii); text,
with 21 engraved plates inserted (1-432); index (433-40).

Vol. XI. THE / REPERTORY / . . . / VOL. XI. / . . . / PRINTED
BY JOHN NICHOLS, / RED-LION-PASSAGE, FLEET-STREET, /
FOR, AND SOLD BY, THE PROPRIETORS, NO. 182, FLEET-/
STREET; WHERE COMMUNICATIONS FOR THIS / WORK
ARE REQUESTED TO BE ADDRESSED. / . . .

8vo. Title page ([i]); table of contents (iii-vii); list of plates (viii); text,
with 19 engraved plates inserted (1-432); index (433-40).

Vol. XII. THE / REPERTORY / . . . / VOL. XII. / . . . / 1800.

8vo. Title page ([i]); table of contents (iii-vii); list of plates (viii); text,
with 19 engraved plates inserted (1-432); index (433-40).

Vol. XIII. THE / REPERTORY / . . . / VOL. XIII. / . . .

8vo. Title page ([i]); table of contents (iii-vii); list of plates (viii); text,
with 18 engraved plates inserted (1-432); index (433-40).

Vol. XIV. THE / REPERTORY / . . . / VOL. XIV. / . . . / 1801.

8vo. Title page ([i]); table of contents (iii-vii); list of plates (viii); text,
with 20 engraved plates inserted (1-432); index (433-40).

Vol. XV. THE / REPERTORY / . . . / VOL. XV. / . . .

8vo. Title page ([i]); table of contents (iii-vii); list of plates (viii); text,
with 20 engraved plates inserted (1-432); index (433-40).

Vol. XVI. THE / REPERTORY / . . . / VOL. XVI. / . . . / 1802.

8vo. Title page ([i]); table of contents (iii-vii); list of plates (viii); text,
with 16 plates inserted (1-432); index (433-40).

Of the engraved plates, a few are folding in each volume.

At the very beginning of this journal the publishers say:

In the sixteen volumes there are some fifty-three articles that relate,
mostly in a utilitarian way, to the fine arts. The architectural and building
subjects include such things as heat, materials, bridges of iron, and
colors. There are articles on stucco (III, 1); on fireplaces (IV, 226); on
boring wooden water pipes or aqueducts, a problem which was to concern
Jefferson quite a lot during the building of the University (IX, 45); on
laying water pipes (X, 251); on water closets (XI, 237); on the making
of bricks (XIII, 148); on bridges, warehouses, etc., without wood, i.e.,
out of cast iron (XIV, 145); on a speedy elevator (XV, 26); and on
painting with milk (XV, 411). Count Rumford (see No. 109) has a
good many articles, some on heat, which seems to have been a favorite
subject with the Repertory.

The nonarchitectural and nonpainterly articles cover a considerable
range. A typical one is "Specifications of Mr. Unwin's Patent for rendering
Soap-suds, after being used in scouring, &c. capable of serving
again" (IV, 168).

Jefferson's order for the University in the section on "Technical
Arts" of the want list called for fifteen volumes only. He was apparently
thinking only of the first series, or else was ignorant of the fact that the
journal ran much longer. As a result of the original order, the University
actually received more than the sixteen volumes in its first years of operation.
Of the first series of the original set a mutilated copy of the
fourth volume survives. The library, however, has recently acquired a

duplicate set of the sixteen volumes, the gift of the Thomas Jefferson
Memorial Foundation.

U. Va.

*T1.R4

105. Roland Le Virloys, Charles François.

Vol. I. DICTIONNAIRE / D'ARCHITECTURE, / CIVILE, MILITAIRE
ET NAVALE, / ANTIQUE, ANCIENNE ET MODERNE, /
ET DE TOUS LES ARTS ET MÉTIERS QUI EN DÉPENDENT; /
Dont tous les Termes sont exprimés, / en François, Latin, Italien,
Espagnol, Anglois et Allemand. / Enrichi de cent une Planches de
Figures en Taille-douce, / POUR EN FACILITER L'INTELLIGENCE,
/ AUQUEL ON A JOINT / Une Notice des Architectes,
Ingénieurs, Peintres, Sculpteurs, / Graveurs & autres Artistes les
plus celebres, / dont on rapporte les principaux Ouvrages. / PAR
M. C. F. ROLAND LE VIRLOYS, / ci-devant Architecte du Roi de
Prusse, & depuis de l'Impératrice-Reine. / TROIS VOLUMES INQUARTO.
/ TOME PREMIERE. / A PARIS. / Chez les LIBRAIRES
Associés. / M. DCC. LXX. / AVEC APPROBATION ET PRIVILEGE
DU ROI.

4to. Half title (1 unnumbered p.); list of associated bookshops (1 unnumbered
p.); title page (1 leaf); dedication ([i-ii]); preface ([iii]-iv);
text ([1]-648).

Vol. II. DICTIONNAIRE / D'ARCHITECTURE / . . . / TOME
SECOND / . . .

4to. Half title (1 leaf); title page (1 leaf); text (1-671).

Vol. III. DICTIONNAIRE / D'ARCHITECTURE / . . . / TOME
TROISIEME. / . . . / M. DCC. LXXXI. / . . .

4to. Half title (1 leaf); title page (1 leaf); text (1-152); 99 engraved
plates, of which 36 are folding and 5 are double; [new pagination:] half
title ([1]); vocabularies in Latin, Italian, Spanish, English, and German
([3]-290); errata (291-98); licenses (1 leaf).

Charles François Roland Le Virloys (1716-72) was a French architect
who was, at one time, architect to the king of Prussia.

His Dictionnaire has many handsome engravings illustrating its
subjects (see Plate CXIV), including even the monograms of engravers.
Its definition of the word art is especially useful for us since it includes
the contemporary shades of meaning, which are not always understood
today:

Art, f. m. Lat. Ars. It. & Esp. Arte, Ang. Address, All. Kunst.

Est en général ce qui se fait par l'industrie & l'address des hommes; c'est aussi
la méthode de bien une chose: ce qui a donné lieu à une division de l'art, en
Arts libéraux, & Arts Méchaniques.

Les Arts libéraux . . . dont l'exercise est noble & honnête, sont ceux
où l'esprit travaille plus que la main; tels sont l'Architecture civile, militaire
& navale, la Peinture, la Sculpture, la Musique, la Poésie, la Médecine, &c.

Les Arts Méchaniques . . . sont ceux où le corps travaille plus que
l'esprit, comme la Maçonnerie, la Charpenterie, la Serrurerie, la Menuiserie,
la Vitrerie, Plomberie, Marbrerie, Horlogerie, Fonderie, &c. [I, 109]

Kimball (p. 99) says Jefferson bought his set between 1785 and
1789. It was bound in two volumes and was later sold to Congress. The
book was not ordered for the University, whose present set has been recently
acquired, the gift of the Thomas Jefferson Memorial Foundation.

M

Sowerby 4206

*NA31.R6.1770

106. Rondelet, Jean Baptiste.

Vol. I. TRAITÉ / THÉORIQUE ET PRATIQUE / DE / L'ART
DE BÂTIR, / Par J. RONDELET, / Architecte de l'Eglise de SainteGeneviève;
Membre du Comité / consultatif des Bâtimens de la Couronne,
et du Comité / des Bâtimens Civils auprès du Ministre de
l'Intérieur; / Professeur de Stéréotomie à l'Ecole spéciale d'Architecture;
/ de l'Académie des Sciences, Belles-Lettres et Arts de / Lyon, et de
plusieurs autres Sociétés savantes. / TOME PREMIERE. / PARIS, /
CHEZ L'AUTEUR, ENCLOS DU PANTHÉON. / M DCCC XII.

4to. Half title ([i]); title page ([iii]); avant-propos ([v]-xvi); text, 1st
book ([1]-228); text, 2d book ([229]-432); summary ([433]-42); list
of subscribers (443-48).

Vol. II. TRAITÉ / . . . / TOME DEUXIÈME. / . . . / DE L'IMPRIMERIE
DE GILLÉ. / M DCCC XIV.

4to. Half title (1 leaf); title page (1 leaf); text, 3d book ([1]-172); text,
4th book ([173]-345); summary ([346]-49).

Plate CXIV. From No. 105. Topiary work (Vol. III, Pl. LXXXIX).

Vol. III. TRAITÉ / . . . / TOME TROISIÈME. / CINQUIÈME
LIVRAISON. / . . .

4to. Half title (1 leaf); title page (1 leaf); text, 5th book ([1]-400);
summary ([401]-12); supplement (2 leaves).

Vol. IV. TRAITÉ / . . . / TOME QUATRIÈME. / PREMIÈRE
PARTIE. / CHARPENTE, AVEC 60 PLANCHES. / PARIS, / CHEZ
L'AUTEUR, ENCLOS DU PANTHÉON. / M DCCC X.

and

TRAITÉ / . . . / TOME QUATRIÈME. / DEUXIÈME PARTIE. /
COUVERTURE, MENUISERIE ET SERRURERIE, AVEC 31
PLANCHES. / . . . / DE L'IMPRIMERIE DE GILLÉ. / M DCCC
XIV.

4to. Half title, [Part I] (1 leaf); title page (1 leaf); text, 6th book
([1]-382); [new pagination:] supplement (1-2); summary ([3]-7);
errata (1 unnumbered p.); half title, [Part II] (1 leaf); title page (1
leaf); [old pagination:] text, 7th book (383-557); summary ([559]-62);
errata (1 leaf).

Vol. V. TRAITÉ / . . . / TOME QUATRIÈME. / TROISIÈME
PARTIE. / . . . / DE L'IMPRIMERIE DE FAIN, PLACE DE
L'ODÉON. / M DCCC XVII.

4to. Half title (1 leaf); title page (1 leaf); text, 8th book ([561]-886);
10 folding tables; [new pagination:] appendix ([1]-80); summary
([81]-93); errata (1 leaf).

Vol. VI. [No title page.]

4to. 92 engraved plates, of which 19 are folding, the rest double.

Vol. VII. [No title page.]

4to. 96 engraved plates numbered XCIII-CLXXX and A-H, of which 57
are folding and the rest double.

The engravers were Adam; Aubertin; Louis-Pierre Baltard (see No. 40);
Antoine-Joseph Gaitte (see No. 40); Hibon; A. Mosy; C. Normand (see
No. 40); B. Rondelet; P. B. Rondelet; P. B. Rondelet, the nephew; J. E.
Thierry; Thierry, fils; and Thierry, the nephew.

The subscribers included eighty-two architects, among them
Jacques Guillaume Legrand, Jean-Nicolas-Louis Durand, and Johann
Karl Krafft; thirty-two engineers also subscribed. One hundred and

twenty-five copies were taken by the office of the Minister of the Interior,
as well as fifty copies by the office of the Minister of War.

Jean Baptiste Rondelet (1743-1829) was the son of a master mason.
He was educated by the Jesuits, by his father, and by Jean-François
Blondel at the Académie d'Architecture. He then became an inspector for
the Panthéon under Soufflot. After further study in Italy, he returned to
become a professor of construction at the Beaux-Arts and a member of
the Institute.

Rondelet says in his preface:

Parts of this work were first issued in 1802, but it was not finally
completed until Blouet contributed three volumes in 1847, 1848, and
1852. The plates are very handsome, especially those for framing and
for marquetry. There are illustrations of Egyptian, Greek, Roman, and

Gothic buildings, and much information on stereotomy. Not only does
Plate CLXXV (see Plate CXV) show the Coalbrookdale bridge, but
several other iron bridges are shown. The second volume of plates illustrates
chiefly carpentry, framing, and parquetry.

Jefferson ordered this set for the University, in the section on
"Technical Arts" of the want list, but there is no record of its ever having
been received. The University's present set, with Vol. IV bearing an
earlier imprint than the other volumes, is a recent acquisition, the gift
of the Thomas Jefferson Memorial Foundation.

U. Va.

*NA2521.R7.1817

107. Rossi, Filippo de.

RITRATTO / DI ROMA ANTICA, / NEL QVALE SONO FIGVRATI
/ I principali Tempij, Theatri, Anfiteatri, Cerchi, Nau- /
machie, Archi Trionfali, Curie, Basiliche, / Colonne, Ordine del Trionfo,
Dignità / Militari, e Ciuili, Riti, Cerimonie / & altre cose notabili. / Aggiuntoui
di nuouo le Vite, & Effigie de'primi / Rè di essa, e le Grandezze
dell'Imperio Ro-/mano; con l'Esplicationi Istoriche de' / più celebri Antiquarij
/ IN ROMA / Appresso Filippo de'Rossi. M. DC. LIV. / Con licenza
de'Superiori.

Small 8vo. Engraved half title (1 leaf); title page (1 leaf); dedication (1
leaf); note to reader (1 unnumbered p.); list of contents (4 leaves); text
(1-413); sonnet (1 unnumbered p.); ode (1 unnumbered p.); colophon
(1 unnumbered p.); 126 engraved plates inserted, and numerous woodcut
tailpieces.

Filippo de Rossi (fl.1654) was an Italian architect about whom not
much is known. His Roma antica is, in actuality, a guide to ancient Rome
with many illustrations, including one of the Pantheon.

Kimball (p. 99) says the book entered Jefferson's library between
1785 and 1789. His copy was sold to Congress. See Sowerby for a comment
on Kimball's effort to redate it 1645.

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

U. Va.

[Not yet catalogued]

M

Sowerby 4192

Plate CXV. From No. 106. "Pont de Coalbroockdale" (Vol. VII, Pl. CLXXV, p.
588).

108. Rossi, Filippo de.

RITRATTO / DI ROMA MODERNA, / NEL QVALE SONO EFFIGIATI
/ Chiese, Corpi Santi, Reliquie, Indulgenze, Monasterij, /
Hospedali, Oratorij, Compagnie de' Secolari, / Collegij, Seminarij, Palazzi,
Fabbriche, Archi-/tetture, Pitture, Scolture, Librarie, Musei, Giar-/
dini, Fontane, e Ville sì dentro la Città, come / fuori, Pontefici, Cardinali,
e Principi, che / l'hanno illustrata, & altre cose notabili. / Distinto
in sei giornate da diuersi Autori, con le Dichia-/rationi Historiche di
quanto in' esso si contiene / in questa nuoua Editione accresciuto, e /
migliorato in molti luoghi. / IN ROMA, / Appresso Filippo de' Rossi,
MDCLII. / Con licenza de' Superiori.

12mo. Engraved title page missing, but photostat inserted (1 leaf); dedication
(2 leaves); index (12 leaves); text, with many engraved illustrations
on the text pages ([1]-560).

For Filippo de Rossi, see No. 107. In spite of this book's title, many
classical Roman buildings are illustrated, especially if they had been put
to some contemporary use. The Pantheon, for example, is among this
number.

Kimball (p. 99) says this book entered Jefferson's library between
1785 and 1789. Jefferson sold his copy 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 having acquired it during his lifetime. The library's
present copy has been recently purchased, the gift of the Thomas
Jefferson Memorial Foundation.

U. Va.

*DG62.5.R65.1652

M

Sowerby 4193

109. Rumford, Benjamin Thompson, Count.

Vol. I ESSAYS, / POLITICAL, ECONOMICAL, / AND / PHILOSOPHICAL.
/ BY BENJAMIN Count of RUMFORD, / KNIGHT
OF THE ORDERS OF THE WHITE EAGLE, AND ST. STANISLAUS;
/ Chamberlain, Privy Counsellor of State, and Lieutenant-General
in the Service / of his Most Serene Highness the Elector
Palatine, Reigning Duke / of Bavaria; Colonel of his Regiment of

Artillery, and Commander in / Chief of the General Staff of his Army;
F. R. S. Acad. R. / Hiber. Berol. Elec. Boicoe. Palat. et Amer. Soc. /
The First American, / From the Third London, Edition. / VOL. I. /
BOSTON: / Printed by Manning & Loring, / For DAVID WEST.
Sold at his Book-store, No. 56, / Cornhill; by Ebenezer S. Thomas,
Charleston, S. Carolina; / and by Solomon Cotton & Co. Baltimore. /
March, 1798.

8vo. Engraved portrait ([ii]); title page ([iii]); dedication ([v-vi); table
of contents ([vii]-xxiii); text, with 6 woodcut plates inserted between pp.
376-87 ([1]-464).

Vol. II. ESSAYS / . . . / VOL. II. / . . . / AUGUST, 1799.

8vo. Title page (1 leaf); note (1 leaf); table of contents (7 leaves); text,
with 11 engraved plates inserted, of which 1 is folding ([1]-496).

Vol. III. ESSAYS / . . . / A NEW EDITION. / Vol. III. / Boston: /
Printed for WEST AND GREENLEAF, / No. 56, CORNHILL. /
1804.

8vo. Title page (1 leaf); note ([i]-iv); partial table of contents ([v]-vii);
remainder of contents (3 leaves); text, with 8 engraved plates inserted,
of which 1 is folding, and with many woodcut figures in the text and 5
woodcut plates inserted ([1]-498).

Benjamin Thompson (1753-1814) was born in Woburn, Massachusetts.
He was educated in Woburn, Byfield, and Medford and showed an early
aptitude for drafting and mathematics. Although he was apprenticed to
an importer, he continued his scientific studies with the Rev. Thomas
Banerd of Salem. A Loyalist, he went over to England in 1776. He was
knighted there in 1784 and given the title of Count of the Holy Roman
Empire in 1791 by the Elector of Bavaria. He chose the name of Rumford,
which was the old name of Concord, New Hampshire, to accompany
this honor. He later married Mme. Lavoisier, the widow of the
physicist, but they were soon separated. He remained, however, in Paris
until his death.

Rumford's principal work was in the fields of food, thermodynamics,
the absorption of moisture, and gunpowder. He was a member of the
academies of Berlin, Munich, and Mannheim; he helped found the Royal
Institution in London; he was a foreign honorary member of the American
Academy of Arts and Sciences; and he was offered the post of superintendent
of West Point. When his will was read, it was found that he
had left a professorship to Harvard and $5,000 for a medal to the American
Academy of Arts and Sciences.

His Essays were first published in 1796 and had an edition as late as
1880 as well as a reprint in 1969. The edition of 1798-1804 was the first
American one.

Jefferson owned the first two volumes, later sold to Congress, and
some of the chapters had a notable influence on him as a practicing architect;
e.g., "Essay IV. Of Chimney Fire-Places, with Proposals for
Improving them to save Fuel; to render Dwelling-houses more Comfortable
and Salubrious, and effectually to prevent Chimnies from
Smoking" (I, [301]-87), first published in the Bibliothèque Britannique
in Geneva in 1796 and again in the same year in Vol. I of the London edition
of Rumford's Essays, Political, Economical, and Philosophical, and
"Essay I. Of the Management of Fire, and the Economy of
Fuel" (II, [1]-196). From these essays Jefferson derived his peculiar
but efficient forms for fireplaces so evident at Monticello (see Plates
CXVI and CXVII).

In 1799 Wilson Cary Nicholas asked Jefferson for the dimensions
of the Rumford fireplaces. Jefferson replied on May 2 saying he had
used them "with great satisfaction," although he had changed Rumford's
proportions of the back opening from one-third the front to one-half,
which would allow him to burn wood rather than coal. There is also an
undated memorandum on "Count Rumford fireplaces" (N-146b) in
which Jefferson specifies the proportions of the fireplaces in the two
"square rooms" of the first floor of Monticello, added after 1796.

All three volumes of the American edition were ordered by Jefferson
for the University in the section on "Technical Arts" of the want list,
but there is no evidence that they had been received by 1828. The library
has acquired a set of the books in the twentieth century.

U. Va.

*Q113.R92.1798

M

Sowerby 1182

110. Sanvitali, Federico.

ELEMENTI / DI / ARCHITETTURA / CIVILE / DEL PADRE /
FEDERICO SANVITALI / Della Compagnia di Gesu. / OPERA
POSTUMA. / IN BRESCIA. / Dalle Stampe di Giammaria Rizzardi.
/ MDCCLXV. / CON LICENZA DE' SUPERIORI.

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

Federico Sanvitali (1704-61) was an Italian architect and mathematician.
He divided his Elementi into three parts-"solidità," "comodità,"

Plate CXVI. From No. 109. Plans of fireplaces (Vol. I, p. 385).

Plate CXVII. Fireplace in Martha Jefferson Randolph's bedroom, Monticello.

and "venustà." Each part is further divided into definitions and problems
with their solutions given.

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

M

Sowerby 4201

*NA2515.S2.1765

111a. Scamozzi, Vincenzo.

LES / CINQ ORDRES / D'ARCHITECTURE / DE / VINCENT
SCAMOZZI, / VINCENTIN, / ARCHITECTE DE LA REPUBLIQUE
DE VENISE: / Tirez du sixième Livre de son Idée generale
d'Architecture: / AVEC LES PLANCHES ORIGINALES. / Par AUGUSTIN
CHARLES D'AVILER, Architecte. / A PARIS, / Chez
JEAN BAPTISTE COIGNARD, Imprimeur du Roy, / ruë Saint
Jacques, à la Bible d'or. / M. DC. LXXXV. / AVEC PRIVILEGE DE
SA MAIESTÉ.

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

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

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

Scamozzi begins by defining the term order:

Kimball (p. 99) says Jefferson acquired this edition of Scamozzi
between 1785 and 1789. Sowerby points out that Jefferson had it bound
with a Vignola (No. 123b), and a Serlio (No. 113). He sold his copy to
Congress.

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

M

Sowerby 4178

*NA2812.S2.1685

111b. Scamozzi, Vincenzo.

THE / Mirror of Architecture: / OR THE / Ground Rules of the / Art
of Building. / Exactly laid down by / VINCENT SCAMOZZI, / Master-Builder

of / VENICE. / Whereby the principal Points of Architecture
are easily and plainly / demonstrated for the Benefit of all Lovers
and Ingenious Practi-/tioners in the said Art. / With the Description
and Use of a Joint-Rule, fitted with Lines for / the ready finding the
Lengths and Angles of Rafters, and Hips, and / Collar-Beams, in any
Square or Bevelling Roofs at any pitch; and the ready drawing the Architrave,
Frize, and Cornice in any Order. / With other useful Conclusions
by the said Rule. By John Brown. / The SEVENTH EDITION. /
Whereunto is Added, A Compendium of the Art of Building. Giving / a
Brief Account of the Names, Natures, and Rates of all the Ma-/terials,
belonging to the Erection, of an Edifice: And what Quan-/tity of each
sort will be needful for the Building of any House. / Whereby Estimates,
Valuations and Contracts may be made be-/tween Builder and Workman,
without Damage to either. And / how to measure the Works of the
several Artificers belonging / to Building; and what Methods and Customs
are observ'd therein. / By WILLIAM LEYBUBN [sic]. / LONDON.
/ Printed for B. Sprit, 1734.

Small 4to. Engraved portrait (1 leaf); title page (1 leaf); note (1 leaf);
engraved plate and description (1 leaf); text of The Mirror of Architecture,
with 51 engraved plates, of which 3 are folding, inserted (1-56);
half title ([57]); text of Compendium, with 1 engraved plate inserted
(58-[112]).

For information about Scamozzi, see No. 111a. Sir Henry Wotton
(1568-1639), who wrote the Compendium of the Art of Building, was
an English diplomat and poet. The curious spelling "Leybubn" on the
title page is a misprint for Leybourn. William Leybourn (1626-1700?)
was a mathematician.

The note for this book says:

Plate CXIX. From No. 111b. "The Ornament of A Corinthian Doare or window"
(Pl. 35).

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

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

M

Sowerby 4179

*NA2515.S3.1734

111c. Scamozzi, Vincenzo.

OEUVRES / D'ARCHITECTURE / DE / VINCENT SCAMOZZI, /
Architecte de la République de Venise. / NOUVELLE ÉDITION.
/ Revue & corrigée exactement sur l'original Italien. / A PARIS, RUE
DAUPHINE, / Chez Jombert, Libraire du Roi pour l'Artillerie / & le
Génie à l'Image Notre-Dame. / M. DCC. LXIV.

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

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

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

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

U. Va.

*NA2810.S35.1764

Plate CXX. From No. 111c. Frontispiece.

112. Scamozzi, Vincenzo.

DISCORSI / SOPRA / L'ANTICHITA DI ROMA / DI / VICENZO
SCAMOZZI / ARCHITETTO VICENTINO / Con XL. Tauole in
Rame. / IN VENETIA, / Appresso francesco ziletti. mdlxxxiii.

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

The plates are signed either "Battista P" or "B. P. V. F.," as Giovanni
Battista Pittoni, called Vicentino (1520-83), frequently signed his work.
Pittoni was born and worked in Vicenza, producing chiefly landscapes
with ruins or mythological subjects. Some of the plates carry the date
1581. For the engraved title page, see Plate CXXI.

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

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

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

U. Va.

*NA310.S3.1583

M

Sowerby 4194

113. Serlio, Sebastiano.

IL SETTIMO LI-/BRO D'ARCHITETTV-/RA DI SEBASTIANO
SERGLIO / BOLOGNESE. NEL QVAL SI / TRATTA DI MOLTI
ACCIDENTI, / che possono occorrer' al Architetto, in diuersi luoghi, &
istrane for-/me de siti, è nelle restauramenti, o restitutioni di case, è come
/ habiamo à far, per siruicij de gli altri edifici è simil' / cose, come nella
sequente pagina si lege. / Nel fine visono aggiunti sei palazzi, con le sue
piante è fazzate, in diuersi modi fat-/te, per fabricar in villa per gran
Prencipi. Del sudetto autore, / Italiano è Latino. / Sebastiani Serlij

Plate CXXI. From No. 112. Title page.

Plate CXXII. From No. 112. "Il Tempio di Giove Tonante" (Pl. 2).

Bononiensis Architecturae liber septimus. / IN QVO MVLTA EXPLICANTVR,
QVAE ARCHITE-/cto variis locis possunt occurrere,
tum ob inusitatam situs rationem, tum si quando instau-/rare siue restituere
aedes, aut aliquid pridem factum in opus adbibere, aut caetera /
huiusmodi facere necesse fuerit: prout proxima pagina indicatur. / Ad
finem adiuncta sunt sex palatica, ichnographia & orthographia variis rationibus
descripta, quae / ruri à magno quopiam Principe extrui possint.
Eodem autore. / Italicè & Latinè. / Ex. Musaeo Iac. de Strada S. C.
M. Antiqvarii, Civis Romani. / Cum. S. C. M. Priuilegio: & Regis Galliarum.
/ Francofvrti Ad Moenvm, / Ex officina typographica Andreae
Wecheli. / M. D. LXXV.

Folio. Title page (1 unnumbered p.); synopsis (1 unnumbered p.);
dedication (3 unnumbered pp.); notes to readers (5 unnumbered pp.);
licenses (1 leaf); text, with 120 full-page woodcut plates inserted (1243).

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

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

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

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

M

Sowerby 4176

*NA2717.S51.1575

Plate CXXIII. From No. 113. "Delle finistre & usci" (p. 77).

114a. Smeaton, John.

A / NARRATIVE OF THE BUILDING / AND / A DESCRIPTION of
the CONSTRUCTION / OF THE / EDYSTONE LIGHTHOUSE /
WITH STONE: / TO WHICH IS SUBJOINED, / An APPENDIX,
giving some Account of the Lighthouse on the SPURN POINT, /
BUILT UPON A SAND. / By JOHN SMEATON, CIVIL ENGINEER,
F.R.S. / LONDON: / PRINTED FOR THE AUTHOR, BY
H. HUGHS: / SOLD BY G. NICOL, / BOOKSELLER TO HIS MAJESTY,
PALL-MALL. 1791.

Folio. Title page with engraving ([i]); dedication ([iii-iv]); preface (vvi);
table of contents (vii-xiv); text (1-184); appendix (185-92); description
of plates (193-98); 23 engraved plates, of which 1 is folding.

The engravers were A. or O. Birrel (fl.1786-1800), who worked at London;
William Faden; John Record (fl. 1768-90), English; Henry Roberts
(d. ca.1790), an English engraver who died at about age 80; Edward
Rooker (see No. 3); Charles Reuben Ryley (1752-98), a native of
London who became a history painter and an engraver; and Sam Ward.

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

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

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

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

Kimball (p. 100) says this book entered Jefferson's library between

Plate CXXIV. From No. 114a. Title page.

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

M

Sowerby 4213

*TC375.S63.1791

114b. Smeaton, John.

A / NARRATIVE OF THE BUILDING / AND / A DESCRIPTION
OF THE CONSTRUCTION / OF THE / EDYSTONE LIGHTHOUSE
/ WITH STONE: / TO WHICH IS SUBJOINED, / AN
APPENDIX, / GIVING SOME ACCOUNT OF / THE LIGHTHOUSE
ON THE SPURN POINT, / BUILT UPON A SAND. / BY
JOHN SMEATON, CIVIL ENGINEER, F. R. S. / THE SECOND
EDITION. / LONDON: / PRINTED BY T. DAVISON, LOMBARDSTREET,
WHITEFRIARS; / FOR LONGMAN, HURST, REES,
ORME, AND BROWN, PATERNOSTER-ROW. / 1813.

Folio. Title page ([i]); dedication ([iii-iv]); preface ([v]-vi); table of
contents ([vii]-xiv); text ([1]-184); appendix ([185]-92); description
of plates ([193]-98); 23 engraved plates.

For information about John Smeaton, see No. 114a. The contents of this
edition are the same as those in the edition of 1791.

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

U. Va.

*TC375.S63.1791a

115. Society for the Improvement of Naval Architecture.

The Report of the Committee for Conducting Experiments of the Society.
London, 1800.

Not now owned by the University.

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

U. Va.

116. Spence, Joseph.

POLYMETIS: / OR, / An Enquiry concerning the / AGREEMENT
/ Between the WORKS of the / ROMAN POETS, / And the REMAINS
of the / ANTIENT ARTISTS. / BEING / An Attempt to
illustrate them mutually from / one another. / IN TEN BOOKS. / By
the Revd. Mr. Spence. / Omnes artes, quae ad humanitatem pertinent,
habent quoddam commune vinculum; / & quasi cognatione quâdam inter
se continentur. Cicero; pro Arch. / The Verse and Sculpture bore an
equal part; / And Art reflected images to Art. / Pope, of Poetry and
Statuary. / - Each from each contract new strength and light. / Id. of
Poetry and Painting. / LONDON: / Printed for R. Dodsley; at Tully'sHead,
Pall-Mall. / M.DCC.XLVII.

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

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

Joseph Spence (1699-1768) was born in Hampshire, the son of a
rector. He was educated at Eton, Winchester, Magdalen Hall, Oxford,
and New College, Oxford. He received his B.A. in either 1723 or 1724,
took holy orders in 1724, and was given his M.A. in 1727. He was professor

of poetry from 1728 to 1738 and was appointed Regius professor
of modern history in 1742. He traveled abroad as companion to several
noblemen. Dr. Johnson said of him that "his learning was not very
great, and his mind not very powerful; his criticism, however, was commonly
just; what he thought, he thought rightly, and his remarks were
recommended by coolness and candour" (DNB).

He explains his interest in and the origin of his work by saying:

The book is cast in the form of dialogues between Polymetis, a fictitious
person, and his guests who have retired to a villa. This edition
is the first, but by 1777 it was in a fourth edition. As late as 1802 it was
issued in an abridged form.

Jefferson knew this book as early as 1771, for he made a notation
that year in a want list of works of art: "Diana Venetrix (see Spence's
Polymetis)" (Kimball, fig. 79). Spence illustrates the Diana Venatrix
in Plate XIII, Fig. IV (see Plate CXXV), and describes it as "DIANA
VENATRIX: an Onyx; in Senator Buonaroti's collection, at Florence"
(p. 330). He further says:

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

The copy of Polymetis that Jefferson sold to Congress was this edition.
The library's present copy is the one ordered by Jefferson in the
section on "Gardening. Painting. Sculpture. Music" of the want list. The
1828 Catalogue entry indicating that the one Hilliard sent was an 1813
edition is an error, brought about by an accidental transfer of imprint
from the preceding item.

U. Va.

*N5613.S7.1747

M

Sowerby 4230

117. Steiglitz, Christian Ludwig.

PLANS ET DESSINS / TIRÉS DE LA / BELLE ARCHITECTURE
/ OU / REPRESENTATIONS / D'EDIFICES EXECUTÉS
OU PROJETTÉS / EN 115 PLANCHES / AVEC / LES EXPLICATIONS
NÉCESSAIRES / LE TOUT ACCOMPAGNÉ / D'UN /
TRAITÉ ABRÉGÉ / SUR / LE BEAU / DANS L'ARCHITECTURE
/ PAR / Dr. C. L. STIEGLITZ. / LEIPZIG / CHEZ VOSS
ET COMPAGNIE / MOSCOU /CHEZ RISS ET SAUCET / 1800.

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

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

On the other hand, if one accepts the Stieglitz as the "Leipsic Portefeuille,"
there is an interesting, but undocumented, connection with Jefferson's
architectural work, as pointed out below. Until further information
is available it seems worthwhile to investigate the Stieglitz here.

The engravers were Gottlieb Böttger (fl.1796), who worked at
Leipzig; Philibert Boutrois (fl.1775-1814), who worked in Paris; Coquet
(see No. 40); Johann-Adolph Darnsteds, or Darnstadt (1769-1844),
who was in Dresden by 1784, a member of the academy at Dresden by
1811, and who later worked in Berlin, Milan, and Copenhagen; Delettre;
Gustave-Georg Endner (1754-1824), who was born at Nuremberg and
died near Leipzig; Carl Frosch (b.1771), who worked in Leipzig;
C. Frussotte (see No. 95); Antoine-Joseph Gaitte (see No. 40); Grünter;
Heluis, or Helvis (fl.1799), who worked in Paris; Hullmann; JeanBaptiste
Liénard (1750-1807), French; Claude-Alexandre Moisy (1763ca.1827),
French; Piquet; Pierre Nicolas Ransonnette (see No. 40);
Jean-Baptiste Réville (see No. 40); Johann Friederich Schröter (17701836),
a native of Leipzig and engraver to Leipzig University after 1813;
and van Mael.

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

He says of architecture and the beautiful in architecture:

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

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

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

That Jefferson made his desideratum note for the University in the
section on "Architecture" of the want list from a recollection of the copy
he sold to Congress seems certain. That copy, however, has not survived.
Hilliard never found a copy for the University, and Sowerby despaired
of identifying the book. The University's recent acquisition of the

Stieglitz lessens the doubt that this is the volume Jefferson specificied,
although he described it as quarto instead of folio. The library's present
copy is the gift of the Thomas Jefferson Memorial Foundation.

U. Va.?

*NA2600.S69.1800

M?

Sowerby 4222

118a. Stowe.

STOWE: / A / DESCRIPTION / Of the Magnificent / HOUSE and
GARDENS / Of the Right Honourable / George Grenville Nugent
Temple, / Earl TEMPLE, / Viscount and Baron COBHAM, / One of
the four Tellers of his Majesty's Exchequer. / Lord Lieutenant and
Custos Rotulorum of the County of / Buckingham, / Colonel of the
Militia for the said County; / And one of his Majesty's most Honorable
Privy Council. / Embellished with a General Plan of the Gardens. / And
also a separate Plan of the House, and of each / Building, with Perspective
Views of the same. / A NEW EDITION, / With all the Alterations
and Improvements that have / been made therein, to the present
Time. / With the Description of the Inside of the House. / Where Order
in Variety we see, / And where, tho' all Things differ, all agree,- / Nature
shall join you, Time shall make it grow, / A Work to wonder atperhaps
a Stowe. Pope. / BUCKINGHAM, / Printed and Sold by
B. Seeley. / Sold also by J. Fielding, No. 23, Pater-noster-Row, London;
and / T. Hodgkinson, at the New Inn at Stowe. / M DCC
LXXXIII.

Small 8vo. Folding engraved frontispiece (1 leaf); title page ([1]); list
of plates ([2]); dedication ([3]); ode (5-6); text, with 12 engraved
plates, of which 2 are folding, inserted (7-39); explanation of plans
([40]); 7 engraved plates of plans.

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

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

The plates are important for their illustrations of meanders in plan
(see Plate CXXVIII), a feature Jefferson used in his own garden at
Monticello. Sowerby notes that Jefferson, when he visited Stowe, described

Plate LXIII. From No. 118a. "A Plan of the House & Gardens . . . at Stowe"
(frontispiece).

it in the following terms: "Stowe . . . 15. men and 18. boys
employed in keeping pleasure grounds. Within the walk are considerable
portions separated by inclosures & used for pasture. . . . The inclosure
is entirely by ha! ha!"

The edition of 1783 is the one Jefferson sold to Congress. It was not
ordered for the University. The library's recently acquired copy is the
gift of the Thomas Jefferson Memorial Foundation.

M

Sowerby 4229

*DA664.S8.1783

118b. Stowe.

STOWE. / A Description / of the / HOUSE and GARDENS / of the /
Most Noble & Puissant Prince, / GEORGE-GRENVILLE-NUGENTTEMPLE
/ Marquis of Buckingham. / Printed and Sold by J. Seeley,
Buckingham, Sold also by / J. Edward's Pall Mall, & L. B. Seeley
Paternoster Row, London [1797]

4to. Engraved frontispiece ([2]); title page ([3]); list of plates ([5]);
engraved plate ([8]); text, with 23 engraved plates inserted ([9]-63);
references to plans ([64]); 7 engraved plates of plans, of which 2 are
folding.

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

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

Plate CXXIX. From No. 118a. Garden pavilions (Pl. VI).

Plate CXXX. From No. 118b. "Grotto" (opp. p. 25).

a fine marble statue of Venus rising from her bath, and from this the
water falls into the lower bason."

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

U. Va.

*DA664.S8.1797

119. Stuart, James, and Nicholas Revett.

Vol. I. THE ANTIQVITIES OF / ATHENS. / MEASURED AND
DELINEATED / BY JAMES STVART F.R.S. AND F.S.A. / AND
NICHOLAS REVETT. / PAINTERS AND ARCHITECTS. / VOLVME
THE FIRST / LONDON / PRINTED BY JOHN HABERKORN,
MDCCLXII.

Folio. Engraved portrait (1 leaf); title page (1 leaf); dedication (1
leaf); list of subscribers (3 leaves); engraved, folding map; preface
([i]-viii); engraved, folding plate; description of preceding plate (ix-x);
text, with 70 engraved plates, of which 1 is folding, inserted ([1]-52);
errata (1 leaf).

Vol. II. THE ANTIQVITIES OF / ATHENS / . . . / VOLVME
THE SECOND / . . . / PRINTED BY JOHN NICHOLS. /
MDCCLXXXVII.

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

Vol. III. THE ANTIQVITIES OF / ATHENS / . . . / VOLVME
THE THIRD. / . . . / PRINTED BY JOHN NICHOLS,
MDCCXCIV.

Folio. Title page ([i]); preface (iii-xviii); 2 engraved plates, of which
1 is folding; [new pagination:] description of plates ([i]-vi); folding, engraved
plate; list of ancient place names (vii-xxv); text, with 72 engraved
plates, of which 1 is folding and 1 is double, inserted (1-64);
errata (1 leaf).

Vol. IV. THE ANTIQVITIES OF / ATHENS / . . . / VOLVME
THE FOVRTH. / LONDON: / PRINTED BY T. BENSLEY, FOR
J. TAYLOR, HIGH-HOLBORN, MDCCCXVI.

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

Vol. V. [Outside this study.]

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

The engravers for Vol. II were François-Germain Aliament (173490),
who had studied with his brother Jacques and had set up a school
in London; Daniel Lerpinière (1745-85), of French descent but born in
London; James Newton (1748-ca.1804), pupil of his father Edward;
William Sharp (1749-1824), who worked in London; and Samuel Smith
(1745-1808), who also worked in London.

The engravers for Vol. III were Lerpinière; Newton; William Blake
(1757-1827), who studied with James Basire (see No. 3), Ryland, and
at the Academy of Paris in London and who later became known for his
beautiful, mystical books; John Hall (1739-97), who was engraver to
George III; John Harding (fl.1790), English; John Landseer (17691852),
who worked in London and was the father of the more famous
Edwin; Wilson Lowry (see No. 32); Thomas Medland; John Record
(see No. 114a); William Skelton (1763-1848), pupil of James Basire
and William Sharp; and John Walker (fl.1794), a nephew of Anthony
Walker (see No. 3).

The engravers for Vol. IV were Lerpiniere; Record; Thomas Baxter
(1782-1821), English; James Davis; Peter Mazell (see No. 63);
Henry Moses (see No. 47); Henry Taylor; James Taylor (1745-97),
London; and Edmond Turrell (fl.1815-20), London.

The subscribers' list in Vol. I contains the names of three builders,
two carpenters, eleven doctors, twenty-three ecclesiastics, one joiner, two

lawyers, ten painters, one plasterer, and three sculptors. The architects
listed are John Adam, Robert Adam, James Adam, Lancelot Brown,
Henry Flitcroft, David Hiorne, James Payne, William Robinson, John
Smeaton, and Vanvitelli. James Basiere, the engraver; David Garrick,
the actor; and Uvedale Price, the writer on taste, were also subscribers.

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

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

Stuart tells why and how he and Revett went to Athens and how
they divided their labors on the book:

The Antiquities of Athens must have one of the longest publishing
histories on record, with its first planning in 1748, its first volume appearing
in 1762, and its fifth, and last (though it was earlier thought

the fourth would be the last), not being issued until 1830. There was a
second edition of Vols. I-III between 1825 and 1830 and a third edition
of these three volumes in 1841. The editor of Vol. IV says:

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

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

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

U. Va.

*NA280.S9.1762

M

Sowerby 4190

120. Toulongeon, François Emmanuel Toulongeon, vicomte de.

Vol. I. MANUEL / DU / MUSÉUM FRANÇAIS, / Avec une description
analytique et raisonné de / chaque tableau, indiqué au trait par

Plate CXXXI. From No. 119. "A View of the Tower of the Winds in its present
Condition" (Vol. I, Chap. III, Pl. I).

Plate CXXXII. From No. 119. "The Elevation of the Tower of the Winds" (Vol.
I, Chap. III, Pl. III).

Plate CXXXIII. From No. 119. "Of the Temple of Theseus: capital and entablature"
(Vol. III, Chap. I, Pl. VI).

une gra-/vure à l'eau forte, tous classés par Écoles, et / par O Euvre des
grands artistes. / PAR F. E. T. M. D. L. I. N. / A PARIS, / Chez
Treuttel et Würtz, Libraires, / quai Voltaire, no. 2. / Et à Strasbourg,
grand'rue, no. 15. / AN X. - 1802.

and

MANUEL / . . . / ÉCOLE ITALIENNE. / OEUVRE DU DOMINIQUIN
/ ET DE SPADA. / . . . / AN XI. - 1802.

8vo. Title page (1 leaf); introduction (3 leaves); text, with 18 engraved
plates inserted (34 leaves); half title for "Seconde Livraison" (1 leaf);
title page (1 leaf); text, with 20 engraved plates inserted (35 leaves).

Vol. II. MANUEL / . . . / ÉCOLE FLAMANDE. / OEUVRE DE
RUBENS. / . . . / AN XI. - 1803.

and

MANUEL / . . . / ÉCOLE ITALIENNE. / OEUVRE DE RAPHAËL.
/ . . . / AN XII.-1803.

8vo. Half title for "Troisième Livraison" (1 unnumbered p.); advertisement
(1 unnumbered p.); title page (1 leaf); text, with 48 engraved
plates inserted (64 leaves); half title for "Quatrième Livraison" (1 unnumbered
p.); advertisement (1 unnumbered p.); title page (1 leaf);
text, with 39 engraved plates inserted (74 leaves); errata (1 leaf).

Vol. III. MANUEL / . . . / ÉCOLE FRANÇAISE. / OEUVRE DE
LEBRUN. / . . . / AN XII. - 1804.

and

MANUEL / . . . / ÉCOLE FLAMANDE. / OEUVRE / DE VAN
OSTADE, / DE GERARD DOW, / DE VAN DYK. / A PARIS, /
Chez TREUTTEL et WÜRTZ, Libraires; / Et à STRASBOURG,
même adresse / AN XII. - 1804.

8vo. Title page (1 leaf); text, with 34 engraved plates, of which 3 are
folding, inserted (50 leaves); half title for "Sixième Livraison" (1 leaf);
title page (1 leaf); text, with 49 engraved plates inserted (67 leaves).

Vol. IV. MANUEL / . . . / ÉCOLE FRANÇAISE. / OEUVRE DE
VERNET. / A PARIS / Chez TREUTTEL et WÜRTZ, Libraires, /
rue de Lille, no. 703; / Et à STRASBOURG, même Maison de Commerce.
/ AN XIII. - 1805.

and

MANUEL / . . . / ÉCOLE VÉNITIENNE. / OEUVRE DU TITIEN.
/ A PARIS / Chez TRUETTEL et WÜRTZ, Libraires, / rue
de Lille, derrière les Théatins. / . . . / 1805.

8vo. Half title for "Septième Livraison" (1 unnumbered p.); advertisement
(1 unnumbered p.); title page (1 leaf); text ([1]-72); 29 engraved
plates; half title for "Huitième Livraison" (1 unnumbered p.);
advertisement (1 unnumbered p.); title page (1 leaf); text, with 25 engraved
plates, of which 1 is folding, inserted (37 leaves).

Vol. V. MANUEL / . . . / ÉCOLE ITALIENNE. / OEUVRE DE
PAUL VÉRONÈSE. / . . . / rue de Lille, no. 17, derrière les Théatins.
/ . . . / 1806.

and

MANUEL / . . . / ÉCOLE FRANÇAISE. / OEUVRE DE LESUER.
/ GALERIE D SAINT-BRUNO, / Exposée au Luxembourg; décrite et
analysée par M. L. R. F. / . . . / 1808.

8vo. Half title for "Neuvième Livraison" (1 unnumbered p.); advertisement
(1 unnumbered p.); title page (1 leaf); text, with 17 engraved
plates, of which 1 is folding, inserted (37 leaves); prospectus (1 leaf);
half title for "Galerie de Saint-Bruno" (1 unnumbered p.); advertisement
(1 unnumbered p.); title page (1 leaf); text, with 26 engraved
plates, of which 2 are folding, inserted (47 leaves).

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

He gives his definition of beauty in his introduction in Vol. I:

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

Jefferson made direct use of it in at least six instances during the
compilation of his final catalogue of his collections of painting and sculpture,
a catalogue in which he gave the location of each object at Monticello,

and which is now at the University of Virginia. These instances
were:

As an example of the way Jefferson was influenced by the Manuel,
compare item 72 above with Toulongeon's text for the Ascension of St.
Paul:

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

U. Va.

*N2030.T7.1802

M

Sowerby 4245

121. Tredgold, Thomas.

ELEMENTARY PRINCIPLES / OF / CARPENTRY: / A TREATISE
/ ON THE PRESSURE AND EQUILIBRIUM OF BEAMS
AND TIMBER FRAMES; / THE RESISTANCE OF TIMBER;
AND THE CONSTRUCTION OF / FLOORS, ROOFS, CENTRES,
BRIDGES, &c. / WITH PRACTICAL RULES AND EXAMPLES. /
TO WHICH IS ADDED, / AN ESSAY ON THE NATURE AND
PROPERTIES OF TIMBER, / INCLUDING THE METHODS OF
SEASONING, AND THE CAUSES AND PREVENTION OF DECAY,
/ WITH DESCRIPTIONS OF THE KINDS OF WOOD USED
IN BUILDING. / ALSO, / NUMEROUS TABLES / OF THE
SCANTLINGS OF TIMBER FOR DIFFERENT PURPOSES, THE
SPECIFIC GRAVITIES OF MATERIALS, &c. / ILLUSTRATED
BY TWENTY-TWO ENGRAVINGS. / BY THOMAS TREDGOLD.
/ -While we give ourselves infinite trouble to pursue investigations
relating to the motions and masses of / bodies which move at immeasurable
distances from our planet, we have never thought of determining
the forces / necessary to prevent the roofs of our houses from
falling on our heads. EDIN. REV. vol. vi. p. 386. / LONDON: /
PRINTED FOR J. TAYLOR, / AT THE ARCHITECTURAL LIBRARY,
No. 59, HIGH HOLBORN. / 1820.

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

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

Other than the evidence of this book, there is little known about

Thomas Tredgold. The delineator for the twenty-two plates, he gives his
reasons for publishing this treatise as follows:

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

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

U. Va.

*TH5604.T8.1820

122. Vasari, Giorgio.

Vol. I. DELLE VITE / De' più Eccellenti / PITTORI, SCVLTORI,
/ ET ARCHITETTI. / DI GIORGIO VASARI / Pittore, & Architetto,
Aretino. / PARTE PRIMA, E SECONDA. / In questa nuoua edizione
diligentemente reuiste, ricoret-/te, accresciute d'alcuni Ritratti, & arricchite
/ di postille nel margine. / AL SERENISSIMO / FERDINANDO
II. / GRAŃ DVCA / DI TOSCANA. / IN BOLOGNA, MDCXLVIII.
/ Per gli Eredi di Euangelista Dozza. Con licenza de' Superiori.

4to. Half title (1 leaf); title page (1 leaf); dedication (1 leaf); table of
contents (1 leaf); editor's note (3 unnumbered pp.); poems (5 unnumbered
pp.); text (1-432).

Vol. II. DELLE VITE / . . . / PARTE TERZA / Secondo Volume.
/ In questa nuoua edizione diligentemente corrette, accresciute d'alcuni /
Ritratti, e postille nel margine, con nuoua aggiunta. / IN BOLOGNA /
Presso gli Heredi di Euangelista Dozza. M.DC.LXIII. / Con licenza
de'Superiori.

4to. Half title (1 leaf); title page (1 leaf); note on Vasari (3 unnumbered
pp.); table of contents (1 unnumbered p.); letter from Marcello
Adriani to Vasari (18 leaves); text (1-407); license ([408]); index (66
leaves).

Vol. III. DELLE VITE / . . . / PARTE TERZA / Primo Volume. /
. . .

4to. Half title (1 leaf); title page ([1]); preface (3-6); [new pagination:]
table of contents (5-6); text (7-543).

The Parte Terza, Secondo Volume, is misbound in Vol. II, while
the Parte Terza, Primo Volume, is misbound in Vol. III. All through the
volumes there is a series of woodcut portraits of the artists at the head of
each biography.

Giorgio Vasari (1511-74) studied painting in Florence with Andrea del
Sarto, Baccio Bandinelli, G. B. Rosso, and Francesco Salvaiti. He went
to Rome in 1531 with Cardinal Ippolito de Medici. While there he
studied the works of Michelangelo and became one of his acquaintances.

Vasari decided to write Le vite in 1546 and a first edition was issued
in 1550. The title above was given to the 1568 edition. The work has
gone through innumerable editions in many languages during the intervening
centuries.

Sowerby notes that Jefferson, in a letter of August 28, 1814, mentions
Vasari in a discussion of the copies of portraits of Columbus and
Vespuccius at Monticello.

This edition, which is both the one Jefferson sold to Congress and
the one he ordered for the University in the section on "Gardening.
Painting. Sculpture. Music" of the want list, has its dedication signed by
Carlo Menolessi. There is no record of Jefferson's order for the University
having been filled, but a duplicate of the set has been recently
acquired, the gift of the Thomas Jefferson Memorial Foundation.

U. Va.

*N6922.V3.1648

M

Sowerby 4240

123a. Vignola, Giacomo Barozzio da.

[Half title:] BIBLIOTHEQUE / PORTATIVE / D'ARCHITECTURE
/ ÉLÉMENTAIRE, / A L'USAGE DES ARTISTES. / Divisée
en six Parties. / PREMIERE PARTIE. / Contenant / Les cinq Ordres
d'Architecture de Vignole.

[Title page:] REGLES / DES / CINQ ORDRES / D'ARCHITECTURE.
/ Par Jacques Barrozzio de Vignole. / NOUVELLE ÉDITION,
/ Traduite de l'Italien & augmentée de Remarques. / A PARIS,
RUE DAUPHINE, / Chez Jombert, Libraire du Roi pour l'Artillerie
/ & le Génie, à l'Image Notre-Dame. / M. DCC. LXIV.

8vo. Half title (1 leaf); engraved frontispiece ([ii]); title page ([iii]);
advertisement (v-viii); preface (ix-xii); table of contents (xiii-xiv);
license (xv-xvi); engraved half title (1 unnumbered p.); text (1-72);
67 engraved plates, of which 6 are folding.

The frontispiece was drawn by I. B. Corneille and engraved by I. Mariette.
The plate is very worn and is certainly an earlier plate with the
inscription for this new book superimposed For the title page, see Plate
CXLI.

I. B. (Jean-Baptiste) Corneille (1649-95), born in Paris, studied
with his father, Michel, and Charles d'Errard (see No. 46) as well as in
Rome. He married Madeleine Mariette, sister of Jean Mariette.

Jean (or I.) Mariette (1660-1742), born in Paris, was the son of a
family of painter-engravers. He studied with his brother-in-law, Corneille
and was advised by Charles Le Brun to concentrate on engraving. His

Plate CXLI. From No. 123a. Title page.

son Pierre-Jean (or I.) Mariette (1694-1774) had a greater reputation
and became, as well as an engraver, a notable collector of drawings.

Giacomo Barozzio, or Barocchio, da Vignola, called Vignola (150773),
came under the influence of Serlio (No. 113). He worked in Rome
from 1530; was in France, 1541-43; returned to Bologna, 1543-50; and
was in Rome again from 1550. His work both as architect and writer
has had immense influence in the world of architecture.

He published his Due regole della prospettiva pratica in 1538. The
first edition of the Regola delli cinqui ordini was 1562. It has had many
editions, translations, and adaptations since.

In the preface Vignola says:

The book, which is Part I of the Bibliothèque portative d'architecture
issued by Jombert in 1764 (see No. 46), consists mostly of the study
of orders, but there are many details besides. These show paving patterns,
interior entablatures, pedestals "extraordinaires," vaulting, and
symbolic columns.

Jefferson, who had owned only Part IV of the Bibliothèque before
the sale of his library to Congress, managed to obtain all four parts of
the set before his death. That set was sold as lot 723 in the 1829 sale.

He ordered the complete set for the University in the section on
"Architecture" of the want list, but there is no record of the library's
having acquired it. The present copy of the Vignola has come into the
collections recently, the gift of the Thomas Jefferson Memorial Foundation.

U. Va.

*NA2810.V55.1764

M

123b. Vignola, Giacomo Barozzio da.

Regola delli cinque Ordini / D'ARCHITETTVRA / Di M. GIACOMO
BAROZZIO DA VIGNOLA. / Con la nuova aggionta di Michel-Angelo
Buonaroti. / Regel van de vüf Ordens der Architecture / Ghestelt by
M. Iacob Barozzio van Vignola. / Met een nieu byvoegsel van Michel
Angelo Buonaroti. / Reigle des cinq Ordres / D'ARCHITECTVRE, /
De M. Iacques Barozzio de Vignole. / Avec une augmentation nouvelle de
Michel Angelo Bonaroti. / Regel der funff orden von Architectur /
Ghestelt durch M. Iacob Barozzio von Vignola. / Auffs news vermehrt
mit etliche herliche Gebäwen von Michel Angelo Bonaroti. / `t AMSTERDAM,
/ Ghedruct by Willem Ianssz, woonende op't Water by de
/ oude Brugghe inde gulden Sonnewyser. / Ao. M. DC. XIX.

Folio. Title page ([1]); engraved portrait ([3]); dedication (5); note
to reader (7-11); text, with 42 engraved plates inserted (12-94).

For information about Vignola and the Regola, see No. 123a. See also
Plates CXLII and CXLIII.

The text of this edition is in Italian, French, Dutch, and German.
Jefferson sold his copy to Congress. Sowerby notes that it was bound
together with Serlio (No. 113) and Scamozzi (No. 111a) for Jefferson.
It was not ordered for the University. The library's present copy of this
edition has recently entered its collections, the gift of the Thomas Jefferson
Memorial Foundation.

M

Sowerby 4177

*NA2810.V552.1619

124. Visconti, Ennio Quirino.

A LETTER / FROM THE / CHEVALIER ANTONIO CANOVA: /
AND / TWO MEMOIRS / READ TO THE ROYAL INSTITUTE
OF FRANCE / ON THE / SCULPTURES / IN THE COLLECTION
/ OF / THE EARL OF ELGIN; / BY THE / CHEVALIER
E. Q. VISCONTI, / MEMBER OF THE CLASS OF THE FINE
ARTS, AND OF THE / CLASS OF HISTORY AND ANCIENT
LITERATURE; / AUTHOR OF THE ICONOGRAPHIE GREQUE,
/ AND OF THE MUSEO PIO-CLEMENTINO. / TRANSLATED

Plate CXLII. From No. 123b. Engraved portrait.

Plate CXLIII. From No. 123b. Door from the Villa Caprarola (p. 73).

FROM THE FRENCH AND ITALIAN. / LONDON: / PRINTED
FOR JOHN MURRAY, ALBEMARLE-STREET, / BY W.
BULMER AND CO. CLEVELAND-ROW. / 1816.

Large 8vo. Title page ([i]); catalogue of the Elgin marbles, vases, casts,
and drawings (iii-xx); Canova's letter (xxi-xxii); half title: `MEMOIR
/ ON THE / SCULPTURES / WHICH BELONGED TO / THE
PARTHENON / AND TO SOME OTHER EDIFICES / OF / THE
ACROPOLIS, / AT ATHENS. / READ AT A PUBLIC MEETING
OF THE TWO CLASSES OF / THE ROYAL INSTITUTE OF
FRANCE, / IN THE YEAR 1815.' (1 leaf); memoir (1-176); half
title: `MEMOIR / ON A / GREEK EPIGRAM WHICH / SERVED
FOR AN EPITAPH ON THE TOMB / OF THE / ATHENIAN
WARRIORS KILLED AT POTIDAEA. / READ TO THE CLASS
OF HISTORY AND ANCIENT / LITERATURE OF THE ROYAL
INSTITUTE OF FRANCE, / IN THE MONTH OF SEPTEMBER
1815' (1 leaf); memoir (179-205); index (207-21).

Antonio Canova (1757-1822), the celebrated sculptor, was also a
painter, though his paintings are not much remembered today. He was
born at Possagno, near Bassano, and died at Venice. He studied with indifferent
masters, from nature, and from the antique. He became a leader
in neoclassicism and was twice called to Paris by Napoleon.

Thomas Bruce, seventh earl of Elgin and eleventh earl of Kincardine
(1766-1841), educated at Harrow, Westminster, St. Andrews
University, and in Paris, entered the army, and later the diplomatic
service. In 1799 he was sent to the Ottoman Porte, where he became interested
in Greek art. He sent artists to Athens in 1800 to record the
monuments and in 1801 received a firman from the Porte to "fix scaffolding
round the antient Temple of the Idols, and to mould the ornamental
sculpture and visible figures thereon in plaster and gypsum," as
well as "to take away any pieces of stone with old inscriptions or figures
thereon."

He spent £74,000 on removing his collection and was given
£35,000 in 1816 for it by the English government after an inquiry as to
his ownership. Previous to that he had opened it to the public at his
house in Park Lane and then in Burlington House.

Ennio Quirino Visconti (1751-1818), born in Rome, worked at
the Vatican, became president of the Istituto Nazional delle Scienze e
delle Arti, Rome, and after his move to France the administrator of
antiquities at the Louvre. His studies of the iconography of Greece and
Rome brought together for the first time all such material and examined
it scientifically. He was also a great enthusiast of the Elgin marbles.

The letter from Canova is a letter of thanks to the earl of Elgin
for allowing him to see the marbles. He says:

Visconti's memoirs are a rather pompous display of erudition.

Jefferson ordered this book for the University in the section on
"History-Civil-Antient" of the want list, and a copy was received before
1828, but it has not survived. The library's present copy has been recently
acquired, the gift of the Thomas Jefferson Memorial Foundation.

U. Va.

*NB92.E6.1816

125a. Vitruvius Pollio.

ABREGÉ / DES DIX LIVRES / D'ARCHITECTURE / DE / VITRUVE.
/ A PARIS, / Chez Jean Baptiste Coignard, / ruë S.
Jacques, à la Bible d'or. / M. DC. LXXIV. / AVEC PRIVILEGE DU
ROY.

12mo. Title page (1 leaf); note (1 leaf); table of contents (4 leaves);
text (1-224); note (1 unnumbered p.); 11 engraved plates with explanations;
glossary (25 unnumbered pp.); license and errata (1 unnumbered
p.).

Marcus Vitruvius Pollio, who lived at the time of Augustus, was a
Roman architect whose codification of the art of architecture is one of
the earliest documents in the field to come down to us. The rediscovery
of a copy of his treatise caused great excitement. It was first printed in
1486, only some thirty years after the use of movable type became
known.

The translator of this edition says:

A copy of either the Paris, 1674 or the Amsterdam, 1681 edition
(both translated by Perrault) was in Jefferson's library at the time of
his death and was sold as lot 722 in the 1829 sale. Kimball (pp. 100101)
says it was purchased in 1819 and identifies it as the Paris, 1674
edition, but there is nothing in the sale catalogue to indicate which of
the duodecimo editions it actually was.

Jefferson did not order it for the University. The library's copy of
the Paris, 1674 edition is a recent acquisition, the gift of the Thomas
Jefferson Memorial Foundation.

M?

*NA2515.V742.1674

125b. Vitruvius Pollio.

Architecture générale de Vitruve. Amsterdam, 1681.

Not now owned by the University.

See No. 125a for information about Vitruvius and about this edition.

Jefferson did not order this book for the University.

M?

125c. Vitruvius Pollio.

[First half title:] M. VITRUVII POLLIONIS / DE ARCHITECTURA
/ LIBRI DECEM. / TOMUS I.

[Second half title:] (M. VITRUVII POLLIONIS / DE ARCHITECTURA
/ LIBRI DECEM. / TOMUS II.

[Title page missing: DE ARCHITECTURA LIBRI DECEM. OPE
CODICIS GUELFERBYTANI, EDITIONIS PRINCIPIS, CETERORUMQUE
SUBSIDIORUM RECENSUIT, ET GLOSSARIO IN
QUO VOCABULA ARTIS PROPRIA GERM. ITAL. GALL. ET

ANGL. EXPLICANTUR, ILLUSTRAVIT AUGUSTUS RODE. Berlin,
1800-1801.]

4to. Half title (1 leaf); half title (1 leaf); note to reader (2 leaves);
notes on Vitruvius (6 leaves); table of contents (2 leaves); text (1264);
[new pagination:] half title ([1]); glossary ([3]-72); geographical
and historical index (73-80).

For information on Vitruvius Pollio, see No. 125a.

This edition of Vitruvius, with its text in Latin and with no illustrations,
was ordered by Jefferson for the University in the section
on "Architecture" of the want list, but was never received. The library's
present copy was a gift of the Virginia Chapter of the American Institute
of Architects.

U. Va.

*NA2515.V5.1800

125d. Vitruvius Pollio.

LES DIX LIVRES / D'ARCHITECTURE / DE / VITRUVE /
CORRIGES ET TRADVITS / nouvellement en François, avec des
Notes / & des Figures. / Seconde Edition reveuë, corrigée, & augmentée.
/ Par M. PERRAULT de l'Academie Royalle des Sciences, Docteur en
Medecine / de la Faculté de Paris. / A PARIS, / Chez JEAN BAPTISTE
COIGNARD, / Imprimeur ordinaire du Roy, ruë S. Jacques,
à la Bible d'or. / M. DC. LXXXIV. / AVEC PRIVILEGE DE SA
MAJESTÉ.

Folio. Engraved frontispiece (1 leaf); title page (1 leaf); dedication (3
unnumbered pp.); note (1 unnumbered p.); preface (6 leaves); text,
with 67 engraved plates, of which 9 are double, inserted and with many
woodcut figures ([1]-354); index, errata, and license (7 leaves).

The engravers were Gerard Edelinck, or Edelink (1640-1707), a
Fleming who worked in Paris after having been called there by Colbert
in 1665, eventually becoming engraver to Louis XIV and a member of
the academy; Estienne Gantrel (1646-1706), born at Metz but working
in Paris where he was made engraver in ordinary to the king; Jacques
Grignon (ca. 1640-after 1698), often called le vieux, who was perhaps
an ancestor of Charles Grignon I and Charles Grignon II (see No. 23);
Sébastien Le Clerc (Nos. 36 and 69); Pierre Le Pautre (see No. 36); I.

Patiany; either Nicolas Pitau I (1632-71), the son of Jean Pitau, a
silversmith and the master of Gérard Edelinck, or Nicolas Pitau II
(1670-1724), a pupil of Edelinck; Gérard Scotin (1643-1715), the son
of the sculptor Pierre Scotin and the father and grandfather of engravers;
Jean Jacques Tournier (see No. 36); and P. Vanderbanc.

For information on Virtuvius Pollio, see No. 125a. For information
of Claude Perrault, see No. 96a.

The quality of this edition may be judged by the quality of the
engravers who worked on it (see Plates CXLIV and CXLV). They
were mostly associated with the court, as was Perrault, and some of
them were considered at the top of their profession.

Kimball (p. 100) says Jefferson had this book before 1775. Sowerby
notes that a letter written by Jefferson August 13, 1813, makes a
specific reference to it: "Perrault, in his edition of Virtuvius, Paris 1684.
fol. Plates 61.62." He later sold his copy to Congress.

Jefferson ordered this book for the University in the section on
"Architecture" of the want list, and it was in the library by 1828, but
it has not survived. The library's present copy is a recent acquisition, the
gift of the Thomas Jefferson Memorial Foundation.

U. Va.

*NA2517.V85.1684

M

Sowerby 4173

126a. Ware, Isaac.

A / COMPLETE BODY / OF / ARCHITECTURE. / ADORNED
WITH / PLANS and ELEVATIONS, / FROM / ORIGINAL DESIGNS.
/ By ISAAC WARE, Esq. / Of His Majesty's Board of
Works. / In which are interspersed / Some Designs of INIGO JONES,
never before published. / LONDON: / Printed for T. Osborne and J.
Shipton, in Gray's-Inn; / J. Hodges, near London-Bridge; L. Davis, in
Fleetstreet; J. Ward, in Cornhill; / And R. Baldwin, in Pater-NosterRow.
/ MDCCLVI.

Folio. Engraved frontispiece (1 leaf); two-color title page (1 leaf);
preface (5 unnumbered pp.); list of plates (3 unnumbered pp.); table
of contents (4 leaves); text, with 122 engraved plates, of which 4 are
folding and 3 are double, inserted ([1]-748); index (2 leaves).

The engravers were R. Benning (fl.1714-56), English; Samuel Boyce
(d.1775), English; Butler Clowse (d.1782), English; B. Cole (fl.1756),

Plate CXLIV. From No. 125d. Frontispiece.

Plate CXLV. From No. 125d. Title page.

English; I. (or J.) Couse; Matthew Darly (fl.1756-72), engraver and
caricaturist, whose wife was also an engraver; R. Edwards (fl.1756),
English; Pierre Fourdrinier (see No. 21); Charles Grignion (see No.
23); James Hill (d.1803), who was English but later worked in
America; I. (or J.) Mynde (see No. 48); I. (or J.) Noual (see No. 24);
F. Patton (see No. 3); W. Proud (fl.1756-60), English; Henry Roberts;
and I. Ware, who was also the delineator.

Isaac Ware (d.1766) was a chimney-sweep's boy who was found
sketching on the walls of Inigo Jones's Banqueting House, Whitehall.
His evident talent persuaded Burlington to send him to Italy, and his
subsequent career justified this gesture. By 1728 he was clerk of the
works at the Tower of London; the next year he held the same post
at Windsor; in 1735 he was draughtsman and clerk itinerant to the
Board of Works; in 1736 he was secretary and draughtsman to the
board at Windsor and at Greenwich; in 1738 he was clerk of the works
to His Majesty's palace; and in 1763 he was Master of the Carpenter's
Company.

He was active in the publishing field, too. He did the drawings and
one or two engravings for Ripley's Houghton, 1735, and the engravings
for Rookby, 1735. He published the Designs of Inigo Jones and Others
in 1735(?), and again in 1743 and 1756(?); a translation of Palladio,
1738; another of Sirrigatti's Practice of Perspective, 1756; and an edition
of Brook Taylor's Method of Perspective, 1766.

Ware says of his Complete Body of Architecture:

As might be expected from this note, the book is filled with strong,
sturdy, mid-Georgian designs. The DNB gives "1735?" as the date of

the first edition of this work and tends to identify it with Ware's
1735(?) edition of Designs of Inigo Jones, while giving 1756 and 1767
as the dates of subsequent editions. Kimball (p. 101), however, calls
the 1767 edition the second rather than the third. An examination of
the three volumes seems to corroborate Kimball, for the Designs of
Inigo Jones, 1735(?), is a small quarto with plates from Jones's designs
delineated by Ware and engraved by Pierre Fourdrinier (see No. 21)
and with no text at all. A Complete Body of Architecture, while incorporating
some designs of Inigo Jones, is a folio volume with an extended
text and a series of folio plates (see Plates CXLVI and
CXLVII). In addition, the Jones designs are supposed to have been
"never before published" according to the title page of the Complete
Body of Architecture, 1756.

There was a copy of either the 1756 or 1767 edition in Jefferson's
private library at the time of his death. It came into his possession after
1815 (Kimball, p. 101), and it was sold as lot 721 in the 1829 sale. The
copy Jefferson ordered for the University in the section on "Architecture"
of the want list can be identified as either of these two editions from the
title, though there is no record of the library's ever having received it.
The University's present copy has been recently acquired, the gift of
the Thomas Jefferson Memorial Foundation.

U. Va.?

*NA2517.W3.1756

M?

126b. Ware, Isaac.

A / COMPLETE BODY / . . . / LONDON: / Printed for J. Rivington,
L. Davis and C. Reymers, R. Baldwin, / W. Owen, H. Woodfall,
W. Strahan, and B. Collins. / MDCCLXVII.

Folio. Engraved frontispiece (1 leaf); two-color title page (1 leaf);
preface (5 unnumbered pp.); list of plates (3 unnumbered pp.); table
of contents (4 leaves); text, with 122 engraved plates, of which 11 are
folding, inserted ([1]-748).

For information on Isaac Ware, see the preceding entry.

Except for the change in the arrangement in the plates, there is
little difference between this edition and the preceding entry. See that
entry for fuller information on it.

Plate CXLVI. From No. 126a. "Variations in the Doric Entablatures" (Pl. 16).

Plate CXLVII. From No. 126a. "Of the several kinds of windows" (Pl. 67).

The library's present copy is the gift of the Thomas Jefferson
Memorial Foundation.

U. Va.?

*NA2517.W3.1767

M?

127a. Whately, Thomas.

OBSERVATIONS / ON / MODERN GARDENING, / ILLUSTRATED
BY / DESCRIPTIONS. / Where Wealth, enthron'd in Nature's
pride, / With Taste and Bounty by her side, / And holding
Plenty's horn, / Sends Labour to pursue the toil, / Art to improve the
happy soil, / And Beauty to adorn. F. / THE SECOND EDITION. /
LONDON, / Printed for T. PAYNE, at the Mews-gate. / MDCCLXX.

8vo. Title page (1 leaf); table of contents (3 leaves); text ([1]-257).

Thomas Whatley (d.1772) was a politician and a student of literature.
He wrote widely, especially on politics. He says about gardening in
general:

Of terror as an agreeable sensation he says:

But disgust may stem from another characteristic:

And he defines picturesque in the following way:

The book is divided into sections on ground, wood, water, rocks,
buildings, art, picturesque beauty, character, the farm, the park, the
garden, the riding, and the seasons. It uses the following gardens as
examples - Moor Park, Ilam, Claremont, Esher, Blenheim, Wotton,
Middleton, Matlock, Bath, Dovedale, Enfield Chace, Tintern Abbey,
Caversham, Leasowes, Wolvern farm, Painshill, Hagley, Stowe, Persfield.

The book had its first edition in 1770, and a second that same year.
It had gone into a fourth edition by 1777, a fifth in 1793, and an expanded
edition in 1801. A French translation appeared in 1771 and
exerted considerable influence on later French authors.

Although Kimball (p. 101) says Jefferson had his copy of the
Observations on Modern Gardening before 1783, Sowerby (4227) says
his copy was bought in 1785 from the Rev. Samuel Henley. That he had

a copy before March 1786 we know from a note made by Jefferson,
quoted in Sowerby:

As can be seen the importance of this book in the Jefferson canon
is very great, and its influence on his feeling for garden design cannot
be overestimated.

This is the edition Jefferson sold to Congress. Although he had
another copy of this book at the time of his death, it is not known
whether it was this edition or that of 1777. The library's present copy of
the second edition has recently entered its collections, the gift of the
Thomas Jefferson Memorial Foundation. It is uncertain whether it was
this edition or that of 1777 which was ordered for the University.

U. Va.?

*SB471.W55.1770

M

Sowerby 4227

127b. Whately, Thomas.

OBSERVATIONS / ON / MODERN GARDENING, / . . . / THE
FOURTH EDITION. / . . . / Printed for T. Payne and Son, at the
Mews-Gate. / M DCC LXXVII.

8vo. Title page (1 leaf); table of contents (3 leaves); text ([1]-257).

For general information on this work and its author, see No. 127a. Although
reset, this edition's material is the same as that in the 1770
edition.

Jefferson did not specify in the section on "Gardening. Painting.
Sculpture. Music" of the want list which edition of this book he wanted
for the University, but this is the one Hilliard supplied him with, though
the copy has not survived. It is perhaps also this edition that was in Jefferson's
private library at the time of his death and was sold as lot 727

in the 1829 sale (see also No. 127a). The library's present copy has been
recently acquired, the gift of the Thomas Jefferson Memorial Foundation.

U. Va.?

*SB71.W55.1777

M?

128a. Winckelmann, Johann Joachim.

Vol. I. STORIA / DELLE / ARTI DEL DISEGNO / PRESSO GLI
ANTICHI / DI / GIOVANNI WINKELMANN / Tradotta dal
tedesco / CON NOTE ORIGINALI DEGLI EDITORI. / TOMO
PRIMO. / IN MILANO. MDCCLXXIX. / Nell' Imperiale Monistero
di s. Ambrogio Maggiore. / CON APPROV AZIONE.

4to. Half title ([i]); title page ([iii]); dedication ([v]); editor's note
([vii]-xii); preface ([xiii]-xxxviii); eulogy of Winckelmann ([xxxix]liv);
index (lv-lxiv); text ([1]-347); 17 engraved plates, all folding.

Vol. II. STORIA / . . . / TOMO SECONDO. / . . .

4to. Title page ([1]); text ([3]-336); table of plates (337); table of
headpieces and tailpieces (338-42); index (343-55); list of subscribers
(5 unnumbered pp.); 1 engraved plate.

The engravers were Domenico Aspari (1745-1831), painter and engraver
after the manner of Piranesi and the father of Carlo Aspari, also
an engraver; Domenico Cagnoni, who worked in Milan during the
second half of the eighteenth century; and Hier-Manrelli.

Johann Joachim Winckelmann (1717-68) was born in Brandenburg,
the son of a poor shoemaker. He was educated in Berlin, Salzwedel,
and Halle, where he was a student of theology in 1738. His
interest was in Greek art and literature, but he went to Jena as a medieval
student. He then became a tutor and a librarian. In 1754 he was librarian
to Cardinal Passionei. In 1755 he went to Rome as librarian to Cardinal
Archinto and was later librarian to Cardinal Albani. He is buried at
Trieste, where, on his way back from a visit to the court of Maria
Teresa, he was murdered by a man named Arcangeli.

He had an unrivaled knowledge of ancient art, and his book sets
forth its history and its principles. It is said that to his contemporaries
it came as a revelation and exercised a profound influence on the best

minds of the age. His book was first issued as Geschichte der Kunst des
Altertums, 1764.

The present book is a first edition of the translation by Carlo
Amoretti (1741-18??). It is the edition Jefferson sold to Congress. The
library's copy is a recent acquisition, the gift of the Thomas Jefferson
Memorial Foundation. Jefferson did not order it for the University.

M

Sowerby 4247

*N5330.W77.1779

128b. Winckelmann, Johann Joachim.

Vol. I. STORIA / DELLE / ARTI DEL DISEGNO / PRESSO GLI
ANTICHI / DI / GIOVANNI WINKELMANN / Tradotta dal Tedesco
/ E IN QUESTA EDIZIONE CORRETTA E AUMENTATA /
DALL' ABATE / CARLO FEA / GIURECONSULTO / TOMO
PRIMO. / IN ROMO / DALLA STAMPERIA PAGLIARINI /
MDCCLXXXIII. / CON LICENZA DE' SUPERIORI.

4to. Half title (1 leaf); engraved frontispiece (1 leaf); title page (1
leaf); dedication ([i]-iv); note to reader ([v]-xvi); note of Milanese
monastery ([xvii]-xxii); note of Viennese editors ([xxiii]-lx); eulogy of
Winckelmann ([lxi]-lxxxii); index (lxxxiii-xcvi); text, ([1]-451);
license (1 unnumbered p.); 18 engraved plates.

Vol. II. STORIA / DELLE / ARTI DEL DISEGNO / . . . /
TOMO SECONDO. / . . .

4to. Half title ([1]); title page ([3]); text ([5]-427); 11 engraved
plates.

Vol. III. STORIA / DELLE / ARTI DEL DISEGNO / . . . /
TOMO TERZO. / . . . / MDCCLXXXIV. / . . .

4to. Half title ([i]); title page ([iii]); editor's note ([v]-xii); preface
([1]-14); table of contents (15-16); text ([17]-514); index of monuments
(515-36); index of authors (537-51); index (552-604); [new
pagination:] half title for rebuttal of Carlo Fea to Onofrio Boni on Vol.
III ([1]); text ([3]-40); 23 engraved plates.

The engravers for Vol. I were Carlo Baroni (fl.1761-75), who worked
at Rome; Benigo Bossi (1727-ca.1793) or (probably) Giacomo Bossi
(fl.1782-98), who worked at Rome; Girolamo Caretoni; L. Cunego;

Alessandro Mochetti (1760-1810), who worked at Rome; Giovanni
Petrini, who worked during the second half of the eighteenth century
in Rome; M. di Pietro; Carmine Pignatari (fl.1760-83), who worked at
Naples and Herculanum; Francesco Rastaini (b.1750), who worked at
Rome; Christoforo Silvestrini (1750-ca.1813), a Roman; and Camillo
Tinti (ca.1738-96), who studied with Domenico Cunego (see No. 3)
and worked at Rome. The engravers for Vol. II were Benigo Bossi,
Caretoni, Mochetti, and Giovanni Battista Dassori (fl.1783-92). The
engravers for Vol. III were Benigo Bossi and Caretoni, or Carattoni, together
with Ferdinando, Pietro, or Vincenzo Campana, and Francesco
Faccendo (1750-1820), a Roman.

For information about Winckelmann and this book, see No. 128a.
This new edition of the Storia delle Arti is the one Jefferson ordered for
the University in the section on "Gardening. Painting. Sculpture. Music"
of the want list, but there is no record of its ever having been received.
The library's present copy was the gift of the Virginia State Library.

U. Va.

*N5330.W77.1783

129. Wood, Robert.

THE / RUINS / OF / BALBEC, / OTHERWISE / HELIOPOLIS /
IN / COELOSYRIA. / LONDON: / PRINTED IN THE YEAR
MDCCLVII.

Folio. Title page (1 leaf); text ([1]-16); explanation of plates (17-28);
46 engraved plates, of which 10 are folding.

The engravers for this volume were Pierre Foudrinier (see No. 21) and
Thomas Major (No. 76).

Robert Wood (1717?-71) was born in Riverstown Castle, county
Meath. His education is a little obscure, but he traveled in the Middle
East as early as 1742-43. He was in Asia Minor again in 1749-50 when
he went to Palmyra and Balbec. He had met Stuart and Revett (No.
119) in Athens and helped them later with the publication of their
Antiquities of Athens. Wood was under secretary of state from 1756
to 1763 and became a member of the Society of Dilettanti in 1763.

The Ruins of Balbec was first published in 1757 (see Plate
CXLVIII). A French translation came out that same year and a second
English edition in 1827. Gibbon characterized this book and the Ruins

Plate CXLVIII. From No. 129. "View of the hexagonal court" (Tab. IX).

of Palmyra as "the magnificent descriptions and drawings of Dawkins
and Wood, who have transported into England the ruins of Palmyra and
Balbec" (DNB).

Wood tells why he has published the Ruins of Balbec and the adventurous
time he and Dawkins had gathering the material for it

Kimball (p. 101) says The Ruins of Balbec entered Jefferson's
library between 1785 and 1789. This copy Jefferson sold to Congress.

He ordered the book for the University in the section on "Architecture"
of the want list, and it was received before 1828 but has not survived.
The library's present copy was the gift of G. Harris.

U. Va.

*NA335.B2W8.1757

M

Sowerby 4188

130. Wood, Robert.

THE / RUINS / OF / PALMYRA, / OTHERWISE / TEDMOR, /
IN THE / DESART. / LONDON: / PRINTED IN THE YEAR
M DCC LIII.

Folio. Title page (1 leaf); publisher's note (2 leaves); engraved, folding
plate; text, with 3 engraved plates inserted ([1]-35); explanation of
plates ([36]-50); 56 engraved plates, of which 1 is folding.

The engravers were Pierre Fourdrinier (see No. 21); T. Gibson, perhaps
the T. Gibson (1680-1751?) who was primarily a painter; Thomas
Major (No. 76); Johann Sebastien Müller (see No. 26); and T. M.
Müller, Jr., perhaps the son of Tobias and nephew of Johann Müller.

For information on Robert Wood, see No. 129. Wood tells of the
inception of this book, the rigors of the journey, and the entourage necessary
for it in his text.

The Ruins of Palmyra first appeared in 1753. There was a French
translation that same year, and other French editions in 1819 and 1829.
There was a second English edition in 1827.

Jefferson ordered the book for the University in the section on
"Architecture" of the want list and it was received by 1828, but it has not
survived. The library's present copy was the gift of G. Harris.

U. Va.

*NA335.P2W8.1753