connection is desired, the difference in direction must be abruptly and sharply indicated. In the profiles in the view the various curves have been continued in dotted lines beyond the profiles, so as to bring out and make clear these two laws. You see that wherever there is a _b._ 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 pure art that they may not be used for comparison in an article on ornament. [Illustration: FIG. 5.] [Illustration: FIG. 6.] As outlines are composed of profiles, the same laws govern. That the curved line is the line of beauty stands out most evidently in the study of antique designs. Vertical lines and horizontal lines are the lines of support and strength, and must always have proper consideration; but in pure ornament the office of straight lines seems to be confined to connecting curves and to emphasizing their contrasts. [Illustration: FIG. 7.] The next view (Fig. 3) is to illustrate the progress already made. On the upper line are the three rough outline sketches for modern articles, of which the final use and destination are shown on the lower line. In the sketch to the left the fine effect is produced by a few curves, of which the connections are boldly and finely contrasted. In the second sketch an equally pleasing effect is produced by curves, of which the principal ones are continuously connected, while in the third sketch there is a pleasing exhibition of both kinds of connections. The lower line gives you your first notion of the use of ornament in marking and embellishing the lines of form. [Illustration: _Contours bátards et indécis_ FIG. 8.] The next view (Fig. 4) exposes forms in which the above laws are violated, and by whose ugliness you can not fail to be impressed. On the top line are objects of which the curves are so weak and undecided that it would be difficult to state whether the connections are continuous or contrasted. In the second line is shown how ugly is the effect when straight lines are substituted for curved lines, and in the third line is shown how ugly effects may be produced even by curved lines when not used in obedience to some accepted and apprehended principle. [Illustration: FIG. 9.]