dorns, and
approximate it to its opposite, the concave. On the other hand, the
ornament left projecting from the concave, must be sparing enough, and
dispersed enough, to allow the concave bell to be clearly seen beneath
it; otherwise it will choke up the concave profile, and approximate it
to its opposite, the convex.

Sec. XXXIX. And, secondly, in its style. For, clearly, as the sculptor
of the concave profile must leave masses of rough stone prepared for his
outer ornament, and cannot finish them at once, but must complete the
cutting of the smooth bell beneath first, and then return to the
projecting masses (for if he were to finish these latter first, they
would assuredly, if delicate or sharp, be broken as he worked on; since,
I say, he must work in this foreseeing and predetermined method, he is
sure to reduce the system of his ornaments to some definite symmetrical
order before he begins); and the habit of conceiving beforehand all that
he has to do, will probably render him not only more orderly in its
arrangement, but more skilful and accurate in its execution, than if he
could finish all as he worked on. On the other hand, the sculptor of the
convex profile has its smooth surface laid before him, as a piece of
paper on which he can sketch at his pleasure; the incisions he makes in
it are like touches of a dark pencil; and he is at liberty to roam over
the surface in perfect freedom, with light incisions or with deep;
finishing here, suggesting there, or perhaps in places leaving the
surface altogether smooth. It is ten to one, therefore, but that, if he
yield to the temptation, he becomes irregular in design, and rude in
handling; and we shall assuredly find the two families of capitals
distinguished, the one by its symmetrical, thoroughly organised, and
exquisitely executed ornament, the other by its rambling, confused, and
rudely chiselled ornament: But, on the other hand, while we shall
often have to admire the disciplined precision of the one, and as often
to regret the irregular rudeness of the other, we shall not fail to find
balancing qualities in both. The severity of the disciplinarian capital
represses the power of the imagination; it gradually degenerates into
Formalism; and the indolence which cannot escape from its stern demand
of accurate workmanship, seeks refuge in copyism of established forms,
and loses itself at last in lifeless mechanism. The license of the
other, though often abused, permi