136 THE president's address. 



In nearly every old cross we can detect a carefully calculated 

 good effect produced by " Entasis." 



This entasis is, as a rule, entirely overlooked by most of 

 those who seek to reproduce the original designs. 



The proper amount of " swelling " for column, obelisk, and 

 cross-shaft, was so nicely adjusted by the ancient artificers that 

 modern imitators frequently fail altogether to realize its presence ; 

 and so, by cutting a straight outline, these latter starve their 

 monuments, and afterwards wonder — "What can it be that is 

 amiss?" The effect convinces them that something is wrong, 

 but the uninitiated eye cannot detect the nature of the defect. 



The real secret lies in the difference I have mentioned 

 between the new work and the old : — entasis has been neglected 

 by the modern sculptor. 



The surfaces of a shaft properly bowed out appear richly 

 flat, whilst a straight outline looks poor and hollow. In other 

 words: — the exact balance of slight convexity is required where 

 straightness would appear concavity. May this expression, 

 should it ever reach so far, awaken some artistic feeling, on this 

 point, in those of the modern Cross-cutters who so fail. 



Next, as to ornamental design and details : — 



Upon many of our early sculptured stones simple varieties 

 of the Greek-key pattern occur. Concentric circles, spirals, 

 scrolls and interlaced work, greatly diversified, also appear. The 

 cable-moulding, too, was in early use. 



Some of the devices were intended to be symbolical, and 

 nearly every particular detaU has its meaning. 



Perhaps the central single boss upon a Cross may have 

 signified that there is but One true Deity. 



Around it were often placed interlaced triple knots suggestive, 

 like the three-fold endless plait, of the Trinity in Unity. The 

 circle, for Eternity, connected the cross-members. Such a 

 combination proclaimed Everlasting Redemption by the power of 

 the Deity. Eive bosses have been regarded as typical of the five 

 Wounds of the Eedeemer, whilst the Crucifixion is represented 

 by a small figure, upon the disc or cross-head, with the arms 



