ively at the base of structures, such as columns, porticoes and
like work.

[Illustration:_ Fig. 195. Casement._]

Now, before proceeding to use these moldings, let us examine a
Roman-Doric column, one of the most famous types of architecture
produced. We shall see how the ancients combined moldings to produce
grace, lights and shadows and artistic effects.

THE ROMAN-DORIC COLUMN.--In Fig. 196 is shown a Roman-Doric column, in
which the cymatium, the ovolo, cavetto, astragal and the ogee are used,
together with the fillets, bases and caps, and it is interesting to
study this because of its beautiful proportions.

[Illustration: _Fig. 196._]

The pedestal and base are equal in vertical dimensions to the
entablature and capital. The entablature is but slightly narrower than
the pedestal; and the length of the column is, approximately, four times
the height of the pedestal. The base of the shaft, while larger
diametrically than the capital, is really shorter measured vertically.
There is a reason for this. The eye must travel a greater distance to
reach the upper end of the shaft, and is also at a greater angle to that
part of the shaft, hence it appears shorter, while it is in reality
longer. For this reason a capital must be longer or taller than the base
of a shaft, and it is also smaller in diameter.

It will be well to study the column not only on account of the wonderful
blending of the various forms of moldings, but because it will impress
you with a sense of proportions, and give you an idea of how simple
lines may be employed to great advantage in all your work.

LESSONS FROM THE DORIC COLUMN.--As an example, suppose we take a plain
cabinet, and endeavor to embellish it with the types of molding
described, and you will see to what elaboration the operation may be
carried.

APPLYING MOLDING.--Let Fig. 197 represent the front, top and bottom of
our cabinet; and the first thing we shall do is to add a base (A) and a
cap (B). Now, commencing at the top, suppose we utilize the simplest
form of molding, the band.

This we may make of any desired width, as shown in Fig. 198. On this
band we can apply the ogee type (Fig. 199) right side up.

But for variation we may decide to use the ogee reversed, as in Fig.
200. This will afford us something else to think about and will call
upon our powers of initiative in order to finish off the lower margin or
edge of the ogee reversa.

[Illustration: _Fig. 197._]

[