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310 XXVII. THE CORNICE AND CAPITAL.. DECORATION,
lief, 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/", 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 reaoj,—
k 1, 2, 3,
I 3, 2, 1,
m 1, 3, 2,
n 2, 3, 1,
o 2, 1, 3,
p 3, 1, 2.
m and n, which are the Matterhorn line, are the most beautiful and important of all the twelve; k and I the next; o and
p are used only for certain conditions of flower carving on
the surface. The reverses (dark) of k and I 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, theu, are the great families of profile lines
| Title | The stones of Venice - 1 |
| Creator | Ruskin, John |
| Publisher | J. Wiley |
| Place of Publication | New York |
| Date | 1889 |
| Language | eng |
| Type | Books/Pamphlets |
| Title | 00000359 |
| Type | Books/Pamphlets |
| Transcript | 310 XXVII. THE CORNICE AND CAPITAL.. DECORATION, lief, 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/", 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 reaoj,— k 1, 2, 3, I 3, 2, 1, m 1, 3, 2, n 2, 3, 1, o 2, 1, 3, p 3, 1, 2. m and n, which are the Matterhorn line, are the most beautiful and important of all the twelve; k and I the next; o and p are used only for certain conditions of flower carving on the surface. The reverses (dark) of k and I 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, theu, are the great families of profile lines |
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