The _bead-and-spool_ repeat explains itself. It shows a variation, according as the conventionalisation was derived from a spool that is wound or that is unwound. The _heart-leaf_, also sometimes called the _lily-leaf_, is a remarkable instance of the closeness with which the Greek artist studied nature and of the imagination he displayed in simplifying the natural form into a convention, while at the same time preserving the principles of its construction. =Projections.=--Unlike Egyptian architecture, the Hellenic is distinguished by the number and importance of its projections; which may be compared to the lines, angles, and curves which constitute the features of a human face and give it expression. They are the means by which the architect engraves upon his buildings expressive designs of light and shade. We have already spoken of the projections involved in the column and entablature, but may now specifically enumerate the various types of moulding that these involve; noting at the same time the particular ornament that was employed on each, if it were decorated. For such was the logic and refinement of the Hellenic taste that it adopted motives of ornament that corresponded to the planes of the surfaces of the moulding. Thus, when the moulding took the form of the _cyma recta_--a curve outward growing into a curve inward--Hogarth’s “line of beauty”--the decorative feature applied to it was the anthemion, whose curves have a corresponding direction. On the other hand, for the reversed form of moulding, known as the _cyma reversa_ where the inward precedes the outward curve, they used the heart-leaf. Again, the moulding known as _ovolo_, in which the contour of an egg is followed, is enriched with the egg-and-dart. The _fillet_, a small band used to separate the other mouldings, was usually left plain; as also were the simple hollow, called _cavetto_, and the deep hollow which separated the two _tori_ in the base of columns. When the torus was embellished, the motives used on the semicircular surface were the interweave or plait, known as guilloche, or rows of leaves, tied with bands, so that the moulding resembled a wreath. Another small, separating moulding was the _bead_, which in contour approaches a circle, and, when decorated, received the bead-and-spool enrichment. The distinction of the Hellenic use of all these mouldings and enrichments was the extreme delicacy of the cutting, which the hardness of the marble permitted and the clear sunshine helped to reveal; so that it has been said that “while the Hellenes built like Titans, they finished like jewellers.” But this did not involve a finicking precision, for it was but an instance of the feeling for proportion and choice relation of parts to one another that embraced the whole building.