And, perhaps, in the very same cornice may be seen an example of the third species, in that ornamental member called by the architects _cyma recta_, or talon, which indeed is no more than a larger sort of waving or ogee moulding; wherein, by the convex parts gently gliding into the concave, you may see four contrasted gradating shades, shewing so many varied recessions from the eye; by which we are made as sensible of its waving form as if we saw the profile out-line of some corner of it, where it is miter'd, as the joiners term it. Note, when these objects have a little gloss on them these appearances are most distinct. Lastly, the serpentine shade may be seen (light and situation as before) by the help of the following figure, as thus; imagine the horn, figure 57, plate II, to be of so soft a nature, that with the fingers only, it might be pressed into any shape; then beginning gently from the middle of the dotted line, but pressing harder and harder all the way up the lesser end, by such pressure there would be as much concave above, as would remain convex below, which would bring it equal in variety or beauty to the ogee moulding; but after this, by giving the whole a twist, like figure 58, these shades must unavoidably change their appearances, and in some measure, twist about as the concave and convex parts are twisted, and consequently thereby add that variety, which of course will give this species of shade, as much the preference to the foregoing, as forms composed of serpentine lines have, to those composed only of the waving. See Chapter IX and Chapter X. [Illustration: Figs. 57 and 58] I should not have given my reader the trouble of compleating, by the help of his imagination, the foregoing figure, but as it may contribute to the more ready and particular conception of that intricate variety which twisted figures give to this species of shade, and to facilitate his understanding the cause of its beauty, wherever it may be seen on surfaces of ornament, when it will be found no where more conspicuous than in a fine face, as will be seen upon further enquiry. The dotted line [Fig. 97 B p. I], which begins from the concave part, under the arch of the brow, near the nose, and from thence winding down by the corner of the eye, and there turning obliquely with the round of the cheek, shews the course of that twist of shades in a face, which was before described by the horn; and which may be most perfectly seen in the life, or in a marble busto, together with the following additional circumstances still remaining to be described. [Illustration: Fig. 97] As a face is for the most part round, it is therefore apt to receive reflected light on its shadowy side[15], which not only adds more beauty by another pleasing tender gradation, but also serves to distinguish the roundness of the cheeks, &c. from such parts as sink and fall in: because concavities do not admit of reflections, as convex forms do[16].