There is another presentation of form which is in reality but a modification of profile, but which, because it looks as if it had been separately applied, and also because it is separately treated in books, must be considered by itself. The term “molding” has been given to variations in surfaces which have both useful and ornamental uses. Moldings are as old as architecture, and vary with schools of architecture. [Illustration: FIG. 10.] In the next view (Fig. 5), taken from Mayeux’s work, are given the most ordinary Greek moldings with their French names. However necessary it must be for the architect, and however admirable it may be for the art student, to know the names of all moldings by heart and to be able to describe each one accurately, such proficiency is not required at present and is not necessary for the understanding of the present theme. Some moldings have square edges, some round. The curved edges of some are simple, of others complex. Each has its name, and of some the name is descriptive. The term molding would seem to indicate that moldings were made apart and subsequently applied to the main object. Whatever be the origin of moldings, the same rules apply to them which apply to other profiles, with the additional rule that moldings must always be kept subordinate to the principal object. For instance, in the view (Fig. 6) the pedestal marked _bon_ is good, because the body of the pedestal is the principal object and it is clearly seen that the moldings at the base and at the top are subordinate and merely ornamental, while the pedestal marked _mauvais_ is decidedly bad, because more vertical space is given to the moldings than to the shaft, confusing outline, weakening the shaft, and destroying the sense of strong and steady support. Readers may at once make use of the information already acquired by seeing how these rules apply to their own lamps, candlesticks, pieces of furniture, etc. The next view (Fig. 7) shows incidentally how much better it is under all circumstances to mark with fillets and lines the changes from one curve to another, for you certainly see how much more substantial character and beauty has _B_ than _A_. [Illustration: FIG. 11.] Finally, let it be said, and said emphatically, that though there are profiles which require the use of the compass to draw them, and though all architectural details must be worked out with mathematical accuracy, those profiles and outlines are the most beautiful where it is evident that artistic skill governing a free hand has controlled and where mechanical assistance is so subordinate as to be overlooked.