upon the sides of the gable; and their spiral ascending lines lead the
eye up to the finial which completes the composition. We may trace the
same principle in the carved fillings of the subsidiary parts, such as
the trefoiled panels, the secondary mouldings, and the cusps of the
arches, which continue the line-motive or decorative harmony to the last
point (see illustration, p. 120[f071]). The elegance and lightness of
the pinnacles is increased in the same way, and further emphasized by
the long vertical lines of the sunk panels upon their sides.

[Illustration (f071): From Canopy of Tomb of Gervaise-Alard 1303. Temp
ED^wd^ I^st^ Winchelsea]

In church doorways we may see certain voussoirs of the arch allowed to
project from the hollow of the concave moulding, and their surfaces
carved into bosses of ornament; while, again, the doorway is emphasized
by the recurring lines of the mouldings, with their contrasting planes
of light and shadow, and the point of their spring is marked by a
carved lion, controlled in the design of its contour by the squareness
of the block of stone upon which it is carved (see illustration, p.
121[f072]).

[Illustration (f072): Structural Control of Line in Architectural
Enrichments West Door Walberswick Ch. Suffolk]

The carvings of miserere seats in our cathedral choirs often afford
instances of ingenious design and arrangement of elements difficult to
combine, yet always showing the instinct of following the control of the
dominating form and peculiar lines of the seat itself. There is an
instance of one from St. David's Cathedral--apparently a humorous
satire--a goose-headed woman offering a cake to a man-headed gull (?),
or perhaps they are both geese! I won't pretend to say, but it evidently
is intended to suggest cupboard love, and there is a portentously large
pitcher of ale in reserve on the bench. But note the clever arrangement
of the masses and lines, and how the lines of the seat and the curves
of the terminating scroll are re-echoed in the lines of the figures and
accessories.

[Illustration (f073): C. 1460-1480 Wood Carving Miserere Seat Choir
Stalls St. David's Cathedral. Controlling Line in Design of Subsidiary
Architectural Decoration.]

A stone-carving from the end of a tomb in the same cathedral--that of
Bishop John Morgan, 1504--of a griffin with a shield shows an emphatic
repetition of the inclosing line of the arched recess in the curves of
the wings which foll