BASE MATERIALISM

simulacral puzzle that is at heart of his interest in mimicry.

Caillois tells the story of the praying mantis, the ultimate mimetic
animal, who not only folds itself into a stalk-like immobility through
which it becomes visually indistinguishable from the branches on
which it sits, but outrunning the visual in this domain, uses the
strategy of playing dead as its main line of defense against preda-

form. Reflexive
field of the object
of the subject, a form tha
except the fact that "I am seeing
move, however, is to float the field of seei ence
subject; it wants to show that in the automatism 0 infinite repeti-
tion, the disappearance of the first person is the mechanism that
triggers formlessness.
(See "Liquid Words," "Threshole," and "Zone.")

.JOf.U
Ol ."17
'j
3W I Principe, glomltrique, de la
aretes constituent des
du triangle donne.
La construction de 1 I
tion doit etre effectuee
droite (voir 90). Ai . s
d'abord l'ombre M ,
Ie plan V n'extSteI:
_L' ombre
C'est la p
.j
t,/
---- .-
--

21-i2:i
Ombre portee d' une figure plane I 321
- ) V'. 0
____ 7 I
(An)
Ftg. 443
Youns writet"S i.ha.t Most obJect, 1at1.8,,-,sse,
and perform 011 :it most indlvJu.si act., creatiotl.
"t- ') 2
pass; and,
$cltn e as Aid
W1'a take an
,-;/ ch h
Giv<n)'Ist the waterfall dOi4{\.<B tnu t e
1 If, giv<nJ; 2nd the illuminating > , .(
youngeI-) oJd e.t"
consider cratiofts
we shall determine the conditions for the extra rapid
2!A.ni .. tion ------aJ <go I .pro UCllon L t IA _
expoSItiOn (= allegorical appearance) of several D'-Jec. U
4 f t 1 collisions seeming strictly to succeed . 1
to be,:i no exac.t y ( .... ultsl - - ",,,,,',,,',, " , prlV'dte cert.ainlY
each to certain laws, In order to '
More idiOSYhCfdf:.1c, isolate the@.!.Vofaccordance between this il1dividual to indi-
extra-rapid exposition (capable of all the
viJU.4J) than Qt1 eccentricities) on the one hand and the choice of the possi- efnpitiCls, t
bilities authorized by these laws on the other.
phtioSofhic.al LOmfortabJe Wah dnJ perform on
Algebraic comparison
1.( ab Qci1d1 nOW a being the exposition ki1DW.h to ii'wolve So tYlany
1 b b" the possibilities . .
cotrlW\tctl<3 facts J from the ratio is in no way given by a @ef'ler.1c. CDt\V-eniJOl'lS 8l'ld
b
i 4 a H
redUctions number c b = c but by the sign which separates to piain he-1
p
)
35 soon as arc:
a and b; a and b being" known" they become {
rel.dve . hot10i1 f (mci.i .
Ulllts and lose their numerical value (or in duration); 0 Vi -
( l t t _4- ,; the Jwhich separated them remains (sign of the b -t. 1
dudl at' :is 1C. creou.
oh
')
accordance or rather of. . . . . . look for it) .;s :..J
shaky - if it hqS c.rtttVtbied. The oiJer "'N'f"itef"s have w,t
feat"t\ed. (
12
5) (' Cfdft" any bet te.r tha.n the i Ylot'
ha"tfe they evm - tlec ... ,,,, '''-
iedt'fled moTe g of
the i tsef.
A sort of waterspout coming
sarily -
Tbey
over the malic moulds
from a distance in a half circle
mote inter -
(seen from the side) whicb t. 0
glid. moulds
(to be interpreted as the
(t))', with 0 t T*, be
__ g", td_--. rown . . ct to probability measure
:q . . t mensIOn an motIOns, W!(-), W!'(-) and
tialised at zero almost surely.
to the agents in the economy is described
{Ftlo<t<T.' which is taken to be the aug-
of the filtration generated by the 3-dimensional
Brownian Nn;fidn WI? ( .), satisfying Fro = F. Also, note that Fo is almost
trivial (in the sense that it is the smallest a-algebra that contains all the
lP-null sets of F) and, given that it contains only sets of measure either one
or zero, every Fo-measurable random variable is constant almost surely.
Furthermore, the Brownian motions satisfy, for all t E [0, T*], the follow-
ing quadratic variation formulas (W!, W!)t = Pnr t, (W!, Wr>t = PnI t and
<W!" wf)t = PrI t, where Pnr. PnI, PrI E (-1,1) are constants such that the
symmetric matrix P defined by
as
[
1 Pnr PnI 1
P = Pnr 1 PrI
PnI PrI 1
= PrI dt
t
(1.1)
be written informally
that these Brownian motions are not
s, none of the sources of randomness can be ob-
of the other two. In particular, the Brownian
lthough not perfectly.
We now aim to characterise the nominal and real term structures, which
will be linked by an inflation index or price level. For that purpose, we start
by introducing the following.
Definition 1.1.1. For 0 t T*, we denote by I(t) the value of the
inflation index at time t, in monetary units per unit of the price index.
In addition, we define the following financial assets, all expiring before
or at time T*.
2
--
"The phalanstery will be an immense lodging house," (Fourier had no conception
of family life,) F. Armand and R. Maublanc, Fourier (Paris, 1937), vol. 1, p. 85.
[W13a,2]
The cabalist, the composite, and the butterfly form appear under the rubric "dis-
tributives," or <passions> m8canisantes. <See W15a,2.> [W13a,3]
always brings selfish motives into play with passion. All is
e intriguer-the least gesture, a wink of the eye. Everything is
on and with alacrity." 17ziorie de l'uniti uniumeile (1834), voL 1,
very clearly how Fourier takes account of egoism .
. I 1 , workers who agitated were called cabaleurs.)
i
[W13a,4]
itself engenders the cherry; with Mercury, the straw-
e black currant; with Juno, the raisin; and so on." Armand
. :c, Fourier (Paris, 1937), vol.l, p. 114. [WI3a,5]
10 - classification of a genus, species, or group of beings or of
jJ\i .. ....... ,.n'ged symmetrically with respect to one or several of their properties,
sides proceeding from a center or pivot, according to an ascending
f) one side. descending on the other, like two flanks of an army ....
series, in which the world (!) of subdivisions is not determined.

series, which comprehend. at various levels, 3, 12, 32, 134,404

-==---
.. rmand and Maublanc, Fourier (Paris, 1937), vol. 1, p . 127.
. [W13a,6]
passion corresponds to an organ of the human body.
[WI3a,7]
, _ arising series are so dynamic that one
__ -.. . In one' s room. Cited In Armand and Maublanc, Founer
[W13a,8]

Hordes: " These sources are the penchant

of pride, impudence, and insubordination. " Fourier. Le
nel et soc;.etaire (Paris, 1829), p. 246 . .l\) [W14,1]
they should wear a religious symbol
0>
....
w

61
c
::3 .
n
..,
Up wue. M1y y bacL ttdc. .J. er - -wah
"ose 6tJ a of the
&.e atJJ 4e- Lookin! 1me-
cotMJ&ce
poer Lait&1 "Wj& .a tabJparl= ctt
Vlad,VV'{ r Wa5 f1V\a11y So desperate he... r.;wt 2MlAy
home to a ae- d
ll.,e sh1p he
74 ISOLATION
bounJ for-
.
Th15 vc:tage Hred
hi5

e-My
ale r

',f:'e hL
tf #le Sed
\viltt 3 love-
cont1nued. to
elM hi!> I

as Q
4p to > d4Ild
Leonard Woolf who called his wife "the least political animal since
Aristotle invented the definition." As Jane Marcus puts it:
In the interest, I'm sure, of protecting her reputation, ...
[he) suppressed some of his wife's feminist and socialist
writings. In Collected Essays he tells us when an essay origi-
nally appeared in TLS [Times Literary Supplement) but not
when one appeared originally in The Daily Worker. He re-
printed an early draft of Woolf's introduction to Margaret
Uewellyn Davies's Life as We Have Known It rather than a
later version which she reworked with the help of the work-
ing women themselves. H
Marcus goes on to describe Woolf's "Professions for Women"
which "exists in the Berg collection in a version three times as
long and three times as strong" as the one I..eonard Woolf printed
in The Death of the Moth and Collected Essays. (It is nowobtain-
able in The Pargiters [New York: Harcourt Brace Jovanovich,
1978 I, pp. xxvii-xliv.) Much of Marcus' "Art and Anger" is de-
voted to the essay; for example, omitted from the printed essay is
the following tribute to Dame Ethel Smythe:
She is of the race of pioneers, of pathmakers. She has gone
before and felled trees and blasted rocks . ...
But the version Woolf herself wrote first and then cancelled
goes like this:
[She is) one of the icebreakers, the gun runners, the win-
dow smashers. The armoured tanks who climbed the rough
ground, drew the enemies [sic) fire.
The unpublished version of the essay goes on with an astonishing
dialogue between "fisherwoman's" reason and imagination, in
which the imagination (pulling on her stockings) hears from the
reason "My dear, you were going altogether too far," and with a
sketch about "a man returning from a hard day in the city" to find
the kitchenmaid reading Plato, the cook writing a Mass in 8 Flat,
the parlormaid playing billiards, and the housemaid doing mathe-
matics_ 26 But I am giving into irresistible temptation and stealing
from Marcus' splendid essay (which also contains much about
Elizabeth Robins, an actress and unjustly ignored novelist, whose
C" ""
C" "C'\

-40
r::::.> 0 :t:. tv

V (l

P>
(l).., s "'
8

(.,0) Q>
-i- H -1'
r. -1'
to
g ... on their clothing." "Although the Little Hordes perform the most difficult :s-' cp' '--=< t-
s tasks ... , they receive the least remuneration. They would accept nothing at all if ;r C 1)7
that were permitted in association .... All authorities, even monarchs, owe the f S- f C"'"
D-\.. first salute to the Little Hordes. With their pygmy horses, the Little Hordes com- (l i!" t::
prise the globe's foremost regiments of cavalry; no industrial army can begin a' f f- Q.- 11\
campaign without them. They also have the prerogative of initiating all work done L (' '"

.J r!
'0' s:: :;
r:
f' s:--'8
,..,..
}-
in the name of unity." Charles Fonrier, Le Nouveau Monde industriel et societaire H $ t!:'
lParis, 1829), p. 247-248 and 244-246.
31
[W14,2J t1J v.- Il III

(!) (p 0 ., :lfanoeuvre tartare--llr curvilinear mode" of the Little Hordes, in contrast to the 1
'S"" (fl "manoeuvre moderne--or rectilinear mode" of the Little Bands. "The Horde re- (t
Ie t semhles a square bed of variegated tulips: one hundred cavaliers will together .......
(i (+ tlisplay two hundred colors, artistically contrasted." Fourier, Le Nouveau ll'Ionde.
Q p.249.
32
[W14.3] ":t?
H 5.
.! "Whoever shall abuse quadrupeds, birds, fish or insects , either by hard usage or
t by unnecessary cruelty, will be liable to the tribunal of the Little Hordes. And
c+ j II> ;t. wha,"v.r hi .... may be, he would be brou,.,t bel.., tm.. tribunal 01 clriIdren, and
r+ r'"' (b treated as inferior in moral sentiment to children themselves." Fourier. Le Nou-
H () c;: r;eau Monde (Paris, 1829), p. 248.
33
[W14.4j
r-l' :t> The Little Hordes are obliged to look after the concorde sociale; the Little BantU.
. .-..) l. tp the charme social. [W14,5! C)
1 :::: ... "The Little Hordes will come to the beautiful by way of the good, by speculative ;..
(/0) vi defilement." Fourier, Le Nouveau Monde, p. 255.34 [W14.6j
=" "1
t;:" 4 f) 11> " Just as the Little Hordes have their Druids and Druidesses, the Little Bands have .,...
S- t their own adult associates, who are known as Corybants. They also have their ow. 4
{& S-- allies among the groups of voyagers who travel about Harmony. Whereas the Little
Hordes are allied to the big hordes of Adventurers and Adventuresses, who 0--
tr to the industrial armies, the Little Bands are associated with the big hands of 2
r. Knights and Ladies Errant , who are dedicated to the fine arts." Fourier, Le Nm.
1Il
;+



""
C)
J
('\


s;'



i veau Monde (Paris, 1829). p. 254.
35
[W14aX .s'
n
:=;; t-:"") The Little Bands have jurislliction over offenses against meadows and gardem !:f!..
and over questions of language. [W14a.2

1--
"If the vestalate is called upon lo mislead the minds of the children concerniDl'
, exual relations , the tact manifest in the use of two sets of genital-urinary appn.
tus .Iea the child complete .ignorance of sex." E. d#
C) socwlogle phalanstenenne (Pans , 1911), p. 424 (s .v. "tact ' ). likeWIse, the cour'
... tesy of the boys toward the girls in the Little Bands is designed to mask the mearu..
"I' !l;allant behavior among adults. 01 [W14a..l
J
... w F=: 0 r' C) -
'" :s-"-< '"t .., r rf'o

fl (l ()
l
11\ fl
(l ::s- 0 !b Vl ;s- ..... OJ
l "a t 5: tr 1. ...
(1) $" l2-. tJ:
JU 'oV l'"" () s ....... '" ::s
: -. :. Q..- (l 0 (\ ,. Vih

r+-

r-
.,..
:s
,.
o



ll-"""
"

..

11 L
::c :;:- 5'
() ...,-ij
rt

t "

t I =n

.:t: f.

F " fA ..
v r"

0 ()
f s::


- !
"
.T
r


P? r

....

-
=:'.JB

:;-:
(1""
::;:.
.."

i

....
,.
(l
g 0
.... j

(D l'
'Pek door e.)(Cepf l.1e lolA"}
tMe 1t1to A people. dc:or P ';m) whick "c. preferrecl.
he WOCAIJ .,ot Lise kis cbr tW. SroWld .
ki ftCtl, aU c9t1J bw2Ze:., haJ worlc.ed
I i n of ra-t1cw\s
nc. of eh-e . i>ut
(cspons1bl
e
br .
Connec.t1.ut afe Cs9t'"dS j
waf\ter Pete WOA lei. CMKl door; ret\.\Se CMt

Wki te sbAt=f
MARRIAGE AND LOVE
THE popular notion about marriage and love is that
they are synonymous, that they spring from the same
motives, and cover the same human needs. Like most
popular notions this also rests not on actual facts, but
on superstition.
Marriage and love have nothing in common; they
are as far apart as the poles; are, in fact, antagonistic
to each other. No doubt some marriages have been
foo \) the result of love. Not, however, because love could
assert itself only in marriage; much rather is it be-
cause few people can completely outgrow a conven-
tion. There are to-day large numbers of men and
women to whom marriage is naught but a farce, but
who submit to it for the sake of public opinion. At
d any rate, while it is true that some marriages are
-people. oor. based on love, and while it is equally true that in some
cases love continues in married life, I maintain that it
does so regardless of marriage, and not because of it.
r. . On the other hand, it is utterly false that love
r ,x-ed Cofl\f\C- results from marriage. On rare occasions one does
hear of a miraculous case of a married couple falling
liotl tha in love after marriage, but on close examination it
256 CHAPTER THREE POPULARFESTIVE FORMS 257
1. Oh In Ce1lin$ CAt VY1c9ded da UrfS, ctd V\ot
C8t rode 1nvtsibl-e b,ke (JI/e\ 'telA
2. Dd Urr S t10 had AI/'! hsded dark .p .ace.J
3. At
AVI UID
, C&1 has
AVl
Wuz..
4. AV'I Ccilin!;
cat sawed
teL-, 11te., t..o
Sce-z. stuff's)
An spl1Lted
teh lite from
dark.
bvtt
the people do not perceive a static image of their unity (eine Ge-
sla, t) but instead the uninterrupted continuity of their becoming
and growth, of the unfinished metamorphosis of death and reo
newal. For all these images have a dual body; everywhere the geni.
tal element is emphasized: pregnancy, giving birth, the procreative
force (Pulcinella's double hump, the protruding belly). We have
pointed this out and will resume this subject in another chapter.
Carnival with all its images, indecencies, and curses affirms the
people's immortal, indestructible character. In the world of carni-
val the awareness of the people's immortality is combined with the
reali-zation that established authority and truth are relative.
Popular-festive forms look into the future. They present the vic-
tory of this future, of the golden age, over the past. This is the
victory of all the people's material abundance, freedom, equality,
brotherhood. The victory of the future is ensured by the people's
immortaljty. The birth of the new, of the greater and the better, is
as indispensable and as inevitable as the death of the old. The one
is transferred to the other, the better turns the worse into ridicule
and kills it. In the whole of the world and of the people there is
no room for fear. For fear can only enter a part that has been sep-
arated from the whole, the dying link torn from the link that is
born. The whole of the people and of the world is triumphantly
gay and fearless. This whole speaks in all carnival images; it reigns
in the very atmosphere of this feast, making everyone participate
in this awareness.
In connection with the realization of the whole (eternally un-
finished) we would like to quote another excerpt from Goethe's
"Nature." " ... Its crown is love. Only through love can we draw
near to it. It has placed abysses between creatures, and all crea
tures long to merge in the universal embrace. It divides them, in
order to bring them together. It atones for a whole life of suffering,
by the mere pressing of lips to the cup of life."
iAht W(Jz.. ok
c..U2 z...
We shall conclude by stressing that the carnival awareness of the
people's immortality is intimately related to the immortality of the
can 5ee in becoming of being and is merged with it. In his body and his life
man is deeply aware of the earth and of the other elements, of the
J.ar-k At"\. Vlot {ripz. over V\ethin.
5. An i"3 Cat 5ayed
sun and of the starfilled sky. The cosmic nature of the grotesque
body will be analyzed in our fifth chapter.
Let us now turn to our second question concerning the functions
of popular-festive forms in Rabelais' novel.
Our starting point will be a brief analysis of the French comic
drama "The Play in the Bower" (leu de fa Fcuillee) of the trouba-
dour Adam de la Halle from Arras. This drama was written in
1262, almost three hundred years before Rabelais. The first comic
play, it presents a feast of carnival type, using this theme and all
the privileges implied by it: the right to emerge from the routine
of life, the right to be free from all that is official and consecrated.
The theme is treated simply, but directly. It is typically carnival-
esque from beginning to end.
The "Play in the Bower" has scarcely any footlights, one might
say, to separate it from real life. The performance was given in
Arras and the action is also set in Arras, the author's hometown.
The characters are the author himself (the young troubadour), his
father Maitre Henri, and other citizens of Arras who appear un-
der their real names. The topic of the play is Adam's intention to
leave Arras and his wife to study in Paris. This episode actually
took place in the troubadour's life. However, there is a fantastic
element interwoven with the many features of real life. The play
was performed on the first of May, which was the time of the fair
and of a popular festival, and the drama's entire action is coordi
nated with these events.
"The Play in the Bower" is divided into three parts. The first
part could be defined as carnivalesque and biographical, the sec-
ond part as carnivalesque and fantastic, and the last part as a car
nivalesque banquet.
In the first part of this play the personal family affairs of the au-
thor, Adam, are presented with utmost freedom and familiarity.
There follows a no less frank presentation of the other citizens of
Arras, in which their private lives and their boudoir secrets are
disclosed.
The play starts with Adam appearing in a scholastic gown (this is
!
-
W-e ir1JeeJ. a.s follows:
IS b Mso
A t:l-
t-cJ'ue.,w _
YlAcle bl,c1s r
20
4
III. 159
20
5
forms. This 'culture of materials', as he called it, was the basis for" 1\
later system of design which he taught first in Petrograd in the IOl Ii
Inkhuk, then in Ki ev, and when he turned to Moscow in 19
2
7, whe; ,
he was appomted Director of the Ceramic Facult y in the reorgani 7l.,1
Vkhutemas, the Vkhutem - HIgher Techni cal Institute. It was at t" l,
time that he began working on his glider which he called L ela/fill
the word IS a combination of'to fl y' and Tatlin's own nanle Th
d . I . IS \\ .1\
ma e entire y of wood and was based on a close stud y of natur.1i
159 Tatlin' s model of his glider Lelallill in Moscow in 1932
- -........ - -
t:k
ace. j poe!5 of
Odes scA(decl plalAe..s
of be, i\Sj J So em avtcl SO At ca 'lerJ
.'t\ "'is Mt)v&i we,\l
o\4l tk of ,,,,re and re.su(tCckcL
all of a.1Y 1uc. - Stiewtc.es I )
artl &t
e.ss<ttlC.eS c.W1tde. daiMCcl
uuk.d t1vo+." of
W
I (' 0 Vl adimir Tatlin, COYll cr Relic!; 191 5
forms . Tatlin would take baby insects and grow them in boxes; when
(hey were fully grown he would take them out into a field and watch
(hem respond to the wind, unfold their wings against it and fl yaway.
Ili s fini shed glider looks like a great insect itself, so closely has the
organi c structure been interpreted . It is report ed that new experiments
,Ire being done in Russia on the basis of thi s design ofTatlin's. Thus
perhaps Tatlin's dream may come true. He may intuiti vel y have
.Irrived at a soluti on through his 'culture of materi als' and attenti on to
organi c forms, whi ch he called the basis of all design: ' M Y ma chine is
built on the princi ple of life, organi c forms. Through the observa ti on
of these forms I ca me to the conclusion that the most aesthetic forms
.IIT the most economi cal. Work on the formatioll of ma teria l is art.' 8
3W I Principes geometriques de La
aJiHes constituent des ra
du triangle donne.
La construction de 1'0
tion doit etre effectuee d&fW)"Ire
droite (voir 90). Ai
d' aboI'd l' ombre ...,..1"'4'''
Ie plan V n' exis
L'ombre
C'est la par
'de 1'0
cote -du tl'i'a"Dgle en regard
Ie triangle et Ie plan V est par.1'
quoi sur la figure 443 la projection frontale du tria
Le rayon visuel perpendiculaire au plan H et passa
point d'intersection des projections horizontales AB et D
Ombre partie d' une figure plane I 321
v....... LA '\ 0 7 i
. 442
(A
H
)
Fig. 443
21 - i:!:i
~
~ - . . . . .
" '. - - \ . ~ :
'\-
\
..
2. If there be no sand-pits where it can be dug, river sand or sifted gravel
must be used. Even sea sand may be had recourse to, but it dries very
slowly; and walls wherein it is used must not be much loaded, unless
carried up in small portions at a time. It is not, however, fit for those
walls that are to receive vaulting. In plastered walls, built with new pit
sand, the salt which exudes destroys the plaster;
3. but plaster readily adheres to and dries on walls built with new pit
sand, and vaulting may safely spring from them. If sand have been dug a
long time, and exposed to the sun, the moon, and the rain, it loses its
binding quality, and becomes earthy; neither when used does it bind the
so as to prevent them sliding on their beds and
- _ +. '+ to be used in walls where great weights are to be
sgpporteet. sand is excellent for mortar, it is unfit for
a rich quality, when added to the lime and
not suffer it to dry without cracks. The
when tempered with beaters, makes the
to an
,mVwater are added
bodieJ. are a compound
being soft, those
earth, hard, of fire,
286 I Projections coUes
78. Ligna drolte
Introduisons Ies notions IHkessaires pour com prendre ce qui suit.
On appeUe distance horizontale la longueur Ie la projection hori-
zontale d 'un segment de droite. Composons Ie rapport de la distance
verticale hB - hA des points A et B du segment considere it leur

Pi g. 388
distance horizon tale lab (fig. 388) et designons
. hlJ-h
A
= lab
La valeur i = tg ex est dite pente de la
de la: droite sur Ie plan H o.
Le rapport inverse h lab, ,distance horizon
B- LA
dont les cotes different de l'unite s'appelle intervalle de
Ie designe par L. Ainsi, 10rsque hB - hA = 1, lab = L
De ces definitions on deduit immediatement que
l'intervalle d'une droite sont des grandeurs inverses qui s'ecri
d
. 1
. onc = T'
. L'intervalle s'emploie pour effectuer la graduation d'une dro
Graduer une droite, c'est marquer sur sa projection les points dont
Ies cotes sont exprimees en nombres entiers (cotes rondes).
Pour graduer la droite AB (fig. 389), il faut avant tout determiner
I'intervalle L = h lab, . Dans notre exemple, lab = 12,2 111,
B- 1.1l
hlJ - hA = 4,5 m et L = 2,7 m.
Ligne droite I
Oll porte it partir du point aM jusllu'au point C4 de cote ronde
Ie plus proche Ie segment lt determine par Ie rapport
11 4 - 3,4
T= l
d 'Oll l'OIl tire it = O,G 2,7 = 1,02 m.
Les points suivants de cotes rondes 5, G et 7 sout distants l'uu
de l'autre de L = 2,7 m. Si ell portalll du point C4 des intervalles
t D,50 2
! I ,
Fig. 389
projcclioll du segment u gauche du point . , lJJ!"
. de coLes 3, 2, 1 et ellIiIl 0 qui est la trace horizoJl -
la vraio lOllgueur tlu segment AB on procede sui-
389. A cet effel Ie trapeze ABaa.4b7,9 de la figure 388
sur vlan du dessill. Les bases ,trapeze sont consti-
les proJelantes et Bb
7

9
, et les cotes par Ie segment AB
projection cette derniere etant prise comme charniere.
rabll-ttement, Ie trapeze prend la position Les
points Ac et Be se trouvellt aIOl's sur les perpelldiculaires a la chal'-
uiere, Ie premier a Ia distance hJl = 3,4 III de la projection
et Ie deuxieme it Ia distance hlJ = 7,9 m. Les deux segments qui
representent les bases du trapeze sont construits it I'echelle du dessin.
Pour simplifier Ie dessin, il est d 'usage de dessiner non pas Ie tra-
peze, mais 10 triallgle rectangle hachure des figures 388 et 389. Les
angelique. mais, tout au contraire, cornrne un sacrilege
I 'ensemble. la partie exterieure de la plante. si l'on
terpretation introduite ici, revet une signification sans
contre-partie parfaite des