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POPULAR SCIENCE MONTHLY 



joined — that is to say, that where contrasted connection is de- 

 sired, the difference in direction must be abruptly and sharply indi- 

 cated. In the profiles in the view the various curves have been 

 continued in dotted lines beyond the profiles, so as to bring out 





Fi.i. t;. 



and make clear these two laws. You see that wherever there is 

 a h. the dotted lines cross at, or nearly at, right angles, and that 

 wherever there is an a. there is no crossing at all of the dotted lines. 

 The essence of these two laws is of such importance in all artistic 

 and decorative composition that beginners might well be put to 

 drawing profiles until the principles involved have been absorbed 

 and made a part of artistic apprehension. The profiles in the 

 view are all pleasing, because the laws are observed. Try your 

 hand at drawing profiles in which the laws are not observed, and 

 you will quickly perceive the difference. The most beautiful of 

 pure profiles are those presented by Greek entablatures. The most 

 beautiful of Greek outlines are those presented by Greek vases. 

 The beauties of Greek sculpture and of renaissance design belong 



so strictly to the domain of 

 ^y^ H^ )\^ j5 pure art that they may not 



be used for comparison in 

 an article on ornament. 



As outlines are com- 

 posed of profiles, the same 

 laws govern. That the 

 curved line is the line of 

 beauty stands out most evi- 

 dently in the study of an- 

 tique designs. Vertical 

 lines and horizontal lines 

 are the lines of support and 

 strength, and must always 

 have proper consideration; 

 hut in pure ornament the office of straight lines seems to be con- 

 fined to connecting curves and to emphasizing their contrasts. 



The next view (Fig. 3) is to illustrate the progress already 

 made. On the upper line are the three rough outline sketches for 



