Part 10 (1/2)

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[Ill.u.s.tration: _Fig. 193. Ogee-Reversa._]

[Ill.u.s.tration: _Fig. 194. Bead or Reedy._]

You will notice that the ogee is somewhat like the cymatium, the difference being that the concaved part is not so p.r.o.nounced as in the ogee, and the convexed portion bulges much further than in the ogee. It is capable of use with other moldings, and may be reversed with just as good effect as the ogee.

THE REEDY.--Fig. 194 represents the reedy, or the bead--that is, it is made up of reeds. It is a type of molding which should not be used with any other p.r.o.nounced type of molding.

THE CAs.e.m.e.nT (Fig. 195).--In this we have a form of molding used almost exclusively at the base of structures, such as columns, porticoes and like work.

[Ill.u.s.tration:_ Fig. 195. Cas.e.m.e.nt._]

Now, before proceeding to use these moldings, let us examine a Roman-Doric column, one of the most famous types of architecture produced. We shall see how the ancients combined moldings to produce grace, lights and shadows and artistic effects.

THE ROMAN-DORIC COLUMN.--In Fig. 196 is shown a Roman-Doric column, in which the cymatium, the ovolo, cavetto, astragal and the ogee are used, together with the fillets, bases and caps, and it is interesting to study this because of its beautiful proportions.

[Ill.u.s.tration: _Fig. 196._]

The pedestal and base are equal in vertical dimensions to the entablature and capital. The entablature is but slightly narrower than the pedestal; and the length of the column is, approximately, four times the height of the pedestal. The base of the shaft, while larger diametrically than the capital, is really shorter measured vertically.

There is a reason for this. The eye must travel a greater distance to reach the upper end of the shaft, and is also at a greater angle to that part of the shaft, hence it appears shorter, while it is in reality longer. For this reason a capital must be longer or taller than the base of a shaft, and it is also smaller in diameter.

It will be well to study the column not only on account of the wonderful blending of the various forms of moldings, but because it will impress you with a sense of proportions, and give you an idea of how simple lines may be employed to great advantage in all your work.

LESSONS FROM THE DORIC COLUMN.--As an example, suppose we take a plain cabinet, and endeavor to embellish it with the types of molding described, and you will see to what elaboration the operation may be carried.

APPLYING MOLDING.--Let Fig. 197 represent the front, top and bottom of our cabinet; and the first thing we shall do is to add a base (A) and a cap (B). Now, commencing at the top, suppose we utilize the simplest form of molding, the band.

This we may make of any desired width, as shown in Fig. 198. On this band we can apply the ogee type (Fig. 199) right side up.

But for variation we may decide to use the ogee reversed, as in Fig.

200. This will afford us something else to think about and will call upon our powers of initiative in order to finish off the lower margin or edge of the ogee reversa.

[Ill.u.s.tration: _Fig. 197._]

[Ill.u.s.tration: _Fig. 198._]

[Ill.u.s.tration: _Fig. 199._]

If we take the ogee recta, as shown in Fig. 201, we may use the cavetto, or the ovolo (Fig. 202); but if we use the ogee reversa we must use a convex molding like the cavetto at one base, and a convex molding, like the torus or the ovolo, at the other base.

In the latter (Fig. 202) four different moldings are used with the ogee as the princ.i.p.al structure.

BASE EMBELLISHMENTS.--In like manner (Fig. 204) the base may have the cas.e.m.e.nt type first attached in the corner, and then the ovolo, or the astragal added, as in Fig. 203.

[Ill.u.s.tration: _Fig. 200._]

[Ill.u.s.tration: _Fig. 201._]