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| Box | Runs | Wins | 2nds | 3rds | Win % |
|---|---|---|---|---|---|
| 1 | 1 | 1 | 0 | 0 | 100% |
| 2 | 2 | 1 | 0 | 0 | 50% |
| 3 | 0 | 0 | 0 | 0 | 0% |
| 4 | 0 | 0 | 0 | 0 | 0% |
| 5 | 0 | 0 | 0 | 0 | 0% |
| 6 | 1 | 0 | 0 | 0 | 0% |
| 7 | 2 | 1 | 0 | 0 | 50% |
| 8 | 1 | 1 | 0 | 0 | 100% |
| M | T | W | T | F | S | S |
|---|---|---|---|---|---|---|
| laquo; Aug | nbsp; | nbsp; | ||||
| nbsp; | 1 | 2 | ||||
| 3 | 4 | 5 | 6 | 7 | 8 | 9 |
| 10 | 11 | 12 | 13 | 14 | 15 | 16 |
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Georgian theories of proportion and symmetry governing the design of the façade were developed in the early eighteenth century and derived from the classical temples of Ancient Greece and Rome. Adapting Palladio’s principles, the Neo-Palladians created a system of proportions and ratios based on the square and circle (or cube and sphere). The square, in particular was considered the key to architectural beauty: and Robert Morris (1703-54) in his ‘Lectures on Architecture’ of 1734 and 1736 established seven ideal proportions, all based on the cube. Proportions based on squares were used to determine window openings and the system of window openings relative to wall areas, thus if the house was three bays wide (the usual width of the Georgian town house) then the space occupied by the first and second floor windows would usually be made roughly a square. Picture shows Dowry Square, Bristol, c1750. |
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