§ IX. These then being the two primal groups, we have next to note the combined group, formed by the concave and convex lines joined in various proportions of curvature, so as to form together the reversed or ogee curve, represented in one of its most beautiful states by the glacier line a, on [Plate VII.] I would rather have taken this line than any other to have formed my third group of cornices by, but as it is too large, and almost too delicate, we will take instead that of the Matterhorn side, e f, [Plate VII.] For uniformity’s sake I keep the slope of the dotted line the same as in the primal forms; and applying this Matterhorn curve in its four relative positions to that line, I have the types of the four cornices or capitals of the third family, e, f, g, h, on [Plate XV.]

These are, however, general types only thus far, that their line is composed of one short and one long curve, and that they represent the four conditions of treatment of every such line; namely, the longest curve concave in e and f, and convex in g and h; and the point of contrary flexure set high in e and g, and low in f and h. The relative depth of the arcs, or nature of their curvature, cannot be taken into consideration without a complexity of system which my space does not admit.

Of the four types thus constituted, e and f are of great importance; the other two are rarely used, having an appearance of weakness in consequence of the shortest curve being concave: the profiles e and f, when used for cornices, have usually a fuller sweep and somewhat greater equality between the branches of the curve; but those here given are better representatives of the structure applicable to capitals and cornices indifferently.

§ X. Very often, in the farther treatment of the profiles e or f, another limb is added to their curve in order to join it to the upper or lower members of the cornice or capital. I do not consider this addition as forming another family of cornices, because the leading and effective part of the curve is in these, as in the others, the single ogee; and the added bend is merely a less abrupt termination of it above or below: still this group is of so great importance in the richer kinds of ornamentation that we must have it sufficiently represented. We shall obtain a type of it by merely continuing the line of the Matterhorn side, of which before we took only a fragment. The entire line e to g on [Plate VII.], is evidently composed of three curves of unequal lengths, which if we call the shortest 1, the intermediate one 2, and the longest 3, are there arranged in the order 1, 3, 2, counting upwards. But evidently we might also have had the arrangements 1, 2, 3, and 2, 1, 3, giving us three distinct lines, altogether independent of position, which being applied to one general dotted slope will each give four cornices, or twelve altogether. Of these the six most important are those which have the shortest curve convex: they are given in light relief from k to p, [Plate XV.], and, by turning the page upside down, the other six will be seen in dark relief, only the little upright bits of shadow at the bottom are not to be considered as parts of them, being only admitted in order to give the complete profile of the more important cornices in light.

§ XI. In these types, as in e and f, the only general condition is, that their line shall be composed of three curves of different lengths and different arrangements (the depth of arcs and radius of curvatures being unconsidered). They are arranged in three couples, each couple being two positions of the same entire line; so that numbering the component curves in order of magnitude and counting upwards, they will read—

k l m n o p 1, 2, 3, 3, 2, 1, 1, 3, 2, 2, 3, 1, 2, 1, 3, 3, 1, 2.

m and n, which are the Matterhorn line, are the most beautiful and important of all the twelve; k and l the next; o and p are used only for certain conditions of flower carving on the surface. The reverses (dark) of k and l are also of considerable service; the other four hardly ever used in good work.

§ XII. If we were to add a fourth curve to the component series, we should have forty-eight more cornices: but there is no use in pursuing the system further, as such arrangements are very rare and easily resolved into the simpler types with certain arbitrary additions fitted to their special place; and, in most cases, distinctly separate from the main curve, as in the inner line of No. 14, which is a form of the type e, the longest curve, i.e., the lowest, having deepest curvature, and each limb opposed by a short contrary curve at its extremities, the convex limb by a concave, the concave by a convex.

§ XIII. Such, then, are the great families of profile lines into which all cornices and capitals may be divided; but their best examples unite two such profiles in a mode which we cannot understand till we consider the further ornament with which the profiles are charged. And in doing this we must, for the sake of clearness, consider, first the nature of the designs themselves, and next the mode of cutting them.

XVI.
CORNICE DECORATION.