In moulded pottery more definition is possible than in thrown variety, but the profiles are comparatively blunt and never attain the precision due to turning. _Metal Mouldings_ In metal, mouldings may be rolled or drawn. In the first they are formed in the solid, but drawn mouldings are formed in plate or sheet metal and are therefore hollow and of uniform thickness. [Illustration: ROLLED METAL MOULDINGS No. 147.] By either method mouldings of any required section are obtainable provided they are not undercut. Both varieties are ordinarily obtainable in various sections and sizes in iron, brass, bronze, and silver. Where special sections are required, the cost of the tools necessary for their production would have to be taken into account. [Illustration: DRAWN METAL MOULDINGS No. 148.] _Wrought Iron_ Though the employment of rolled or drawn mouldings is usual in wrought iron-work, the effect is somewhat mechanical and lacking in character. Preferably only such forms as are attained by either swaging or building up should be employed as being more characteristic of the material and method of working. [Illustration: No. 149. Wrought Iron Swaged Moulding.] [Illustration: No. 150. Wrought Iron Built-up Mouldings.] _Silver-work_ In silver-work drawn mouldings are usually formed by hand, the necessary draw plates being made by the workman. [Illustration: No. 151. Wrought Iron Built-up Mouldings.] _Spinning_ Mouldings in metal are also formed by the process of spinning, in which undercutting is not permissible. [Illustration: SPUN METAL No. 152.] _Repoussé_ They are also possible in Repoussé work, but are soft in character, and lack the precision that marks the mechanical production. CHAPTER IV ARCHITECTURAL PROPORTIONS _Introduction_ In architectural drawing concise draughtsmanship is essential, the profiles of mouldings in particular should be well defined. Architectural designs, which should always be drawn to scale, are expressed geometrically, that is in plan, elevation and section. The actual effect is therefore a matter of conjecture only to be grasped by those familiar with the arbitrary form of expression. Perspectives are generally made with a view to depicting the appearance to the uninitiated, but are practically useless as working drawings. The student is advised to take advantage of every opportunity of studying existing examples in museums and elsewhere. This study should not be confined to geometric drawings, but these should be supplemented by sketches and careful observation. Attention should also be paid to the profiles of mouldings. A practice should be made also of making freehand sketches of the various features, indicating broadly the effects of light and shade. The study of architectural proportions should be methodical, and the general divisions given here might advantageously be committed to memory. When this is accomplished attention may be devoted to individual features.