e to be traced to
anterior styles. There is nothing like them in Egyptian work, and
little or nothing in Assyrian; and though a suggestion of some of them
may no doubt be found in Persian examples, we must take them as having
been substantially originated by Greek genius, which felt that they
were wanted, designed them, and brought them far towards absolute
perfection. They were of the most refined form, and when enriched were
carved with consummate skill. They were executed, it must be
remembered, in white marble,--a material having the finest surface,
and capable of responding to the most delicate variations in contour
by corresponding changes in shade or light in a manner and to a degree
which no other material can equal. In the Doric, mouldings were few,
and almost always convex; they became much more numerous in the later
styles, and then included many of concave profile. The chief are the
OVOLO, which formed the curved part of the Doric capital, and the
crowning moulding of the Doric cornice; the CYMA; the BIRD'S BEAK,
employed in the capitals of the antae; the FILLETS under the Doric
capital; the hollows and TORUS mouldings of the Ionic and Corinthian
bases.

The profiles of these mouldings were very rarely segments of circles,
but lines of varying curvature, capable of producing the most delicate
changes of light and shade, and contours of the most subtle grace.
Many of them correspond to conic sections, but it seems probable that
the outlines were drawn by hand, and not obtained by any mechanical or
mathematical method.

The mouldings were some of them enriched, to use the technical word,
by having such ornaments cut into them or carved on them as, though
simple in form, lent themselves well to repetition.[18] Where more
room for ornament existed, and especially in the capitals of the Ionic
and Corinthian orders, ornaments were freely and most gracefully
carved, and very symmetrically arranged. Though these were very
various, yet most of them can be classed under three heads. (1.) FRETS
(Figs. 116 to 120). These were patterns made up of squares or L-shaped
lines interlaced and made to seem intricate, though originally simple.
Frequently these patterns are called Doric frets, from their having
been most used in buildings of the Doric order. (2.) HONEYSUCKLE
(Figs. 94 and 111 to 114). This ornament, admirably conventionalised,
had been used freely by the Assyrians, and the Greeks only adopted
what they found r