364 THE STONES OF VENICE DECORATION

the line of the Matterhorn side, of which before we took only a fragment. The entire line e to g on Plate 7 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 15, 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.

§ 11. 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 1, 2, 3,

l 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 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.

§ 12. If we were to add a fourth curve to the component

[Version 0.04: March 2008]