By the experiments I had made at Pæstum, and still later at an aqueduct about four-score miles from Algiers, where were the ruins of Jol or Cæsarea, the capital of the younger Juba and Cleopatra, I had found the immense time it would take a single hand to design the whole parts of any ancient fabric of ornamental architecture, so as to do it and the public justice. All the members of the Tuscan were plain, easily measured, and as easily drawn, but by the account I had from Shaw, and the inscriptions copied, and one awkward representation of three temples which he actually gives in his work, I found all here were ruins of architecture in the best time of Trajan, Hadrian, and the Antonines.
The description he gives of Jibbel Aures, Jemme, Hydra, and Spaitla sufficiently shows this. I found that without a number of assistants it was impossible even to do tolerable justice to such a multitude of objects, of greater consideration for taste, materials, and number than those at Rome, where all the orders of architecture, Composite, Corinthian, and Ionic, were to be found in their most perfect state. But where was that assistance to be obtained? and what encouragement was it in my power to give? that would induce a number of men of merit to dedicate so much of their time to the dangers of such an undertaking, unknown ways, sickly climates, and dangerous journeys. That I might not, however, be wanting to myself, I applied to Mr. Byres, Mr. Lumsden, and several other intelligent gentlemen then in Rome; several students were spoken to, but none would venture. A M. Chalgrin, a Frenchman, engaged himself, was terrified, and then drew back.
All the assistance I could get was a young man, a Bolognese, called Luigi, surnamed Balugani, which signifies short-sighted. This was very feeble help; but being of good disposition, in twenty-two months which he stayed with me at Algiers, by close application and direction he had greatly improved himself in what I chiefly wished him to apply to, foliage and ornaments in sculpture.
Assisted by him alone, the voyage to Africa and Asia was performed. He contracted an incurable distemper in Palestine, and died after a long sickness, after I entered Ethiopia, having suffered constant ill-health from the time he left Sidon. I had drawing instruments a prodigious quantity of pencils, India ink, and colours. To these was added an instrument upon constructing whose parts great care was taken by Messrs. Nairne and Blunt, opposite to the Royal Exchange, under my constant direction and inspection; this was a large camera obscura,[1] upon whose specula great attention and pains had been shown, and many improvements and conveniences were added, which was all enclosed in a case representing a huge folio book, about four feet long and ten inches thick.
This, attentively used, and placed with taste and judgment, forwarded the work of drawing in a manner not easily conceivable; in a moment it fixed the proportion of every part to what size you pleased; it gave you in clear weather the sharpest, truest, and most beautiful projection of shade; every break that was in the building was truly represented upon the paper, every vignette, that nature had hung upon the summit or edges of the cornice, gave hints that could not be mistaken where the artist could place others with equal or superior advantage. It is true there were inconveniences in those lines at a distance from the focus, but those errors were mechanical and known, and easily redressed. A small one of these, an imperfect instrument, made at Rome, the young man Luigi had brought with him to Algiers, which afterwards served in good stead in saving my more excellent one.
I shall just name the quantity of work done.
First, thirteen large views of Palmyra, upon the largest imperial paper, the drawings twenty-two inches high, two of the same of Baalbec.[2]
On large imperial paper, of a smaller size—
Two views of the ruins of Carthage.
A temple over the fountain of Zowan.[3]