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For the Pallladian façade this system of proportions was combined with the architectural elements of the Roman temple consisting of a rusticated basement, columns or pilasters, entablature (including the cornice and pediment) and attic. Five types of columns with the superstructure they supported – known as the Five Orders – were used to determine the adornment of the façade (see drawing below). The Five Orders were the Tuscan, Doric, Ionic, Corinthian and Composite and were easily distinguished by the particular carving of the capitals and their individual proportions. The Orders were applied to a building for decorative purposes and also to ‘order’ the design of the facade. The Orders were either applied to the facade or implied by dividing the facade in height according to the divisions of an individual column. Even where the main architectural components of the temple were absent their presence could be implied by the use of certain details. Thus a cornice or even a flat string course was used to suggest the location of the entablature, or a sill band or string course at first floor level could be used to indicate the line of the column base while another above the ground floor windows could be used to indicate the junction between the column pedestal and temple podium. In a three storey high house, for example, the temple composition was implied by the ground floor storey corresponding to the area of the podium while the two stories above fell within the area of the column shaft. For the largest and grandest terraced block the temple formula provided further inspiration for the front. By adding a pediment over the centre the row was given a palace-like front. Now the overall unity of the design was more important than the facades of individual houses. John Wood (1704-5) adopted the palace front for the north side of Queen Square in Bath, started in 1728, and thereafter the pediment was widely used.

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.

Inputs	Contact input (peak/valley reset, Laser, LED), Analog input (emissivity, e-slope, background temperature) 0/4-20mA
Outputs	Ethernet, Profinet 0/4-20 mA, max. load: 500 Ω RS485 (2-wire half duplex), networkable Relay, 48 V, 300 mA, response time < 2 ms
Power Supply	20 to 48 VDC, 500 mA Power over Ethernet (PoE)
Environmental Rating	IP65 (IEC529) / NEMA-4
Ambient Temperature W/Out Cooling	0 to 65 °C (32 to 149 °F)
E2R W/Out Cooling	0 to 60 °C (32 to 140 °F)
With Air Cooling	0 to 120 °C (32 to 250 °F)
With Water Cooling	0 to 175 °C (32 to 350 °F)
With ThermoJacket	0 to 315 °C (32 to 600 °F)
Storage Temperature	-20 to 70 °C (-4 to 158 °F)
Relative Humidity	10% to 95%, non-condensing
Shock	IEC 68-2-27
Vibration	IEC 68-2-6
Weight-Optical head	1220 g (2.69 lbs)
Head with Air/Water Cooled Housing	2980 g (6.57 lbs)

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