IN Architecture the edges of projecting courses are softened into curved profiles, sometimes enriched with details, which are technically known as mouldings. These are invariably a stumbling-block to the beginner, presumably due to want of appreciation of their purpose, which properly understood, is indicative of their desirable employment.

Mouldings are an important factor in effect, not only in Architecture, but in structural form generally. In flat decoration they have to some extent their corollary in borders, the proportionate widths of which are governed by similar rules.

Of mouldings with curved profiles there are only six distinct forms, though the individual character of these curves is subject to great variation in treatment.

Purpose

As suggested, mouldings have a distinct purpose, are, in fact, functional features, and may be defined as Sheltering or Crowning, Bracketing or Supporting, and Binding.

In any composition where they may be necessary these functions should be taken into consideration.

The profiles should always be concise whether the character of the curve be refined or robust.

In classic architecture the relative proportions of the mouldings to the other features are defined, and these proportions will be found useful in other than purely architectural design.

The Fillet

Mouldings are divided from each other by narrow vertical bands or Fillets, the employment of which is universal.

The Fillet in projection is equal to its height, and though strictly divisional in its employment, is shown in conjunction with the curved profiles to indicate relative proportion.

Sheltering Mouldings

There are two mouldings of curved profile in each category, the Sheltering being the Cavetto and the Cyma Recta.

The Cavetto

The Cavetto is the culminating moulding of the Italian Doric cornice, and is a concave curve, which may be the result of a quarter circle.

The Cavetto profile is used in other positions, which would appear to challenge the previous statement, but reflection will confirm the contention.

For instance, the vertical face of the Frieze in some instances terminates with a cavetto curve which, though surmounted by the cornice, is yet at the top of the frieze. The upper extremity of the column shaft is similarly treated, and, it may be urged, so is the lower, but this, though an exception to the rule, is at least an Æsthetic necessity.

The projection of the Cavetto is equal to the height of the curve, and the crowning Fillet may be from one-third to one-fourth the total height, preferably the latter.

Cyma Recta

The other sheltering moulding, the Cyma Recta, is a curve of double flexure with upper fillet. Its proper employment is as the crowning member of the cornice, though, like the Cavetto, it is employed in other positions, notably as a plinth moulding, when it appears in a reversed position.

The projection is about equal to the height of the curved profile, the height of the crowning fillet being from one-fourth to one-fifth of the whole.

Bracketing Mouldings

The supporting mouldings are the Ovolo and the Cyma Reversa.

The Ovolo

The Ovolo is composed of a full convex curve, either a quarter circle or slightly elliptic, which in height is equal to projection; and a fillet at base one-fifth the total height. Frequently this lower member is in the form of a half round bead of the same dimension as the fillet.

As a Bracketing moulding the Ovolo occurs in the capital of the Doric column, and in the Ionic and Corinthian cornices under the corona or facia, and is employed in other positions, where the sense of support is justified.

Cyma Reversa

The Cyma Reversa, like the Cyma Recta, is a curve of double flexure, and is headed with a fillet one-third to one-fourth the total height. The projection is equal to the height of curved profile.

The Cyma Reversa is employed in the cornice of the Doric order as a supporting moulding to the dentil course and below the culminating Cavetto. It also occurs in the Capital of the column, where it forms the upper member of the abacus. An apparent contradiction of the theory of employment, which however is justified by the circumstance that the column forms the support for the entablature.

It also occurs as a supporting moulding under the capping of the pedestal, and is used in similar positions in the other orders.

Binding Mouldings

The Binding mouldings, the Torus and the Scotia, appear chiefly on columns and pilasters, particularly the Scotia, which is essentially a base moulding.

The Torus

The Torus is a convex curve composed of a full half circle, with upper fillet one-fifth to one-sixth the total height. The projection is decided by the curvature, which is based on a semi-circle with centre slightly in advance of the vertical line of fillet.

The Torus varies in size according to position. For instance, in the base of the Ionic column two are employed, the lower being the larger. It is also invariably used on a smaller scale as a necking moulding beneath the Capitals; in the small form it is commonly known as a bead or astragal.

This employment of the Torus is distinctly appropriate and suggestive in the sense of imparting strength by binding. When used in other positions its purpose should be equally evident.

The Scotia

The Scotia in section is a deeply recessed concave curve with upper fillet, and is generally used between the upper and lower Torii of the base.

The upper fillet is of less projection than the lower extremity of curved profile. The extreme projection being merely equal to the height of curve and that of the upper fillet about one-half, the fillet being about one-fifth the total height.

The Facia

The foregoing constitute the range of mouldings with curved profiles, but there is another member, the Facia, that is an important feature in composition.

The Facia, which is rectilinear in form with external face vertical or slightly inclined, may be classed with the binding mouldings.

With regard to proportion, the height of the Facia should either exceed or be less than that of the curved moulding with which it is invariably surmounted. The projection being either considerably less or more than its height.

When used in the cornice or in the capping of pedestals its under face is generally recessed, this recess being equal to the height of the top fillet of supporting moulding.

Only occasionally the Facia is furnished with an upper fillet (for instance, when it occurs immediately below the Cyma Recta) to which it is reconciled by a Cavetto curve.

The Facia is a divisional feature between the mouldings of curved profile to which it is in valuable contrast.

Decoration of Mouldings

Mouldings may be plain or decorated, usually by carving, the details probably being derived from the painted decoration of an early period.

When thus enriched the moulding is formed as to its profile, and the details carved back from the face, leaving the highest parts in the original surface. The carving being deeper and more sharply defined in the case of mouldings that are in shadow. Such, for example, as the Ovolo, and in lighter relief on those more exposed to direct light.

The decoration of mouldings ordinarily consists of the repetition of a unit, composed on a central axis, in which curves are contrasted with vertical features.

The principle involved is to base the detail on the sectional curvature or profile line.

Orthodox Details

Thus the orthodox detail of the Ovolo, technically known as the “Egg and Tongue,” consists of a framing curve, which is obtained by repeating the profile on a centre line enclosing an ovoid shape. The angles between the outer curves being occupied by a tongue or dart.

As previously stated, this moulding is deeply carved, the ovoid being bold and well-rounded; the edges of the framing curves (in some instances grooved or channelled) being left sharp and precise.

Frequently the “Bead and Reel” enrichment occurs at the base of the Ovolo instead of the Fillet, this being the characteristic detail of the Bead or Astragal.

The treatment of the Cyma Reversa is identical and results in the detail known as the “Leaf and Dart”; but the carving is not so deep and the relief, in consequence, comparatively slight.

Angle Leaf

When mouldings meet at mitral angles it is customary to employ a covering leaf the midrib of which forms the angle.

The same principle is applicable to the Cyma Recta and the Cavetto, though these mouldings are more often left plain; when decorated the relief is comparatively slight.

The Scotia needs no decoration, the cast shadow resulting from its form being sufficiently effective.

The Torus, though frequently left plain, can be decorated in various ways.

The Guilloche is perhaps the most characteristic, but as suggestive of its function, the Torus is at times carved in the form of a rope or cable. Leaves suggestive of a wreath are used, also a reed band crossed at intervals with ribbons, quite in keeping with the suggestion of binding.

The Facia is generally plain, but the decoration, if used should, following the principle, be rectilinear in character; such as vertical flutings, or the key detail, both of which are used.

Dentils

Dentils, which form a distinctive feature in cornices, are a series of rectilinear blocks, attached to a Facia, and may be placed in the category of supporting members.

In their formation they are carved back from a facia of the requisite projection.

In proportion they should be from one and a half to one and three quarters their width in height, the intervals between being about half the width.

The first Dentil at the angle, lines flush with the return face of supporting Facia leaving a right angular interval between the two end Dentils. This space is sometimes occupied by a pendant knob, acorn-like in shape. The heads of intervals are often sloped backwards and downwards, or occupied by a narrow fillet set back from face. Below the Dentils the supporting Facia is displayed to about the height of a fillet.

Considerable license prevailed in the later developments of the Renaissance in the decoration of mouldings, license which is permissible providing the general principle be borne in mind. The concensus of opinion is in favour of repetition of a simple unit and absence of variety. The vertical tendency resulting from the bi-symmetrical character of the unit is desirable, and in happy contrast to the horizontal direction of the moulding, while it also emphasises the sense of structural support.

The profiles also are amenable to considerable variation, the curves being the direct result of Geometry, or Freehand, either treatment being a matter of attitude and discretion.

Employment

When employed in Architecture the forms and proportions given will be found most suitable. In interior decoration and structural work, as in furniture, considerable latitude is permissible.

It must be understood that the profiles of mouldings should not be designed merely for the play of line, but for the effect resulting from light and shade. In those close to the eye and in fair light, elliptic curves will be more effective than more rounded sections, which are most suitable to remote positions.

In composition, mouldings of curved profile should always be separated by fillets or occasionally a facia, and the various members associated with regard to their functional purpose. Obvious repetition of the same dimension is to be avoided, and contrast should exist not only in the shapes of profiles, but also in their respective heights.

Attitude

Attitude must be taken into account, as, for instance, in a cornice which is above the eye level it is apparent that the mouldings will not appear in elevation but in perspective; and not only the respective heights will be visible, but also the projections.

When mouldings are decorated the details ranging above each other should be so distributed as to fall in vertical alignment. This is particularly necessary when the Ovolo enrichment occurs below dentils, or where it is surmounted by Modillions as in the Corinthian cornice.

Panel mouldings cannot legitimately be considered as functional in the foregoing sense, though in wood-work they are directly incidental to the construction. Regarded as frames, their general purpose may be considered as to bind or enclose.

In stone-work it may be at times desirable to introduce panel effects, which may be obtained by boasting out or recessing parts, possible only on a large scale. A comparatively simple and justifiable treatment is to sink channels of moulded profiles framing the enclosed area, which is left in the original plane. A treatment that is effective and comparatively economical.

Wood Panelling

Panelling in wood-work is not only legitimate, but structurally necessary, as it is not practical to cover large areas except by some method of building up.

Therefore, not only panelling, but doors and structural wood-work generally are constructed of stiles

and rails, forming framings; the spaces enclosed being occupied by the panels.

The edges of the stiles and rails are moulded. In the late Gothic and Tudor periods the mouldings were often simply scribed; but later the profiles became more distinct in contour.

These early mouldings were narrow and simple in form, arrived at mainly by softening or rounding the square edges of the frame.

Applied Mouldings

Applied mouldings were apparently employed in the Jacobean period, and the sections became more elaborate. Worked independently, they were frequently higher in relief than the framings. The facility with which they could be worked and applied resulted at this period in a fashion for complicated mitreing hardly justifiable from a constructional point of view, though effective if not overdone.

In the composition of such mouldings it is desirable that the sizes and contours employed should be contrasting, and that all curved sections be divided by fillets.

As the width of the moulding throughout is uniform, it is obvious that mitral angles must be perfect bi-sections of the meeting lines.

With regard to proportion, the width of mouldings may generally be one-fourth to one-eighth that of the panel according to desired effect, robust or refined.

Bolection Moulding

When boldness in appearance is required the type known as the Bolection Moulding may be used. This, in its orthodox form, is a species of inner frame between the main framing of the stiles and rails, and the panels, but was more commonly an applied moulding.

In any case, it is worked independently, and its outer edges lap the framing, on which it is in relief, resulting in strong effect of light and shade.

Panel mouldings may be decorated by carving with the orthodox enrichments or variants based on them, but should always be in contrast to the panels they enclose.

In furniture, mouldings play an important part, and in many positions can be regulated by functional considerations. In horizontal positions, such as in tables and sideboards, where personal contact is possible, any moulded edges should be of softly rounded character for obvious reasons.

Plaster

In plaster-work mouldings may be cast in a mould or run by the strigil. When decorated, the former only is possible, and as such work is originally modelled, it is permissible to introduce details of a plastic nature, such as interrupting the run by imposed and enveloping floral or other forms.

Mechanically produced mouldings cannot be undercut, though this is practicable in plaster where the jelly mould is employed.

Mouldings are used for decorative and divisional purposes in various materials, and to some extent their character is affected by the formative process involved.

Wood-turning

Thus in wood-turning the general profiles are kept fairly soft, taking usually, as in the case of stair rails and furniture legs, the baluster form. As a rule there is little variation between the maximum and minimum diameters.

The baluster shafts have bases and capitals of curved profiles, with intervening fillets, which latter may be fairly sharp, as they are by their position protected from damage.

Metal Turning

Turning is also employed in metal work, the stems and bodies of Dutch candelabra, both standard and hanging, being originally cast as to general form and finished in the lathe.

The general treatment is similar to that of wood-turning, except that the material being much harder, the mouldings can be more sharply defined and delicate in detail.

Pottery

The throwing of pottery is analagous to turning, but by this method little more can be accomplished than thickened edges. The Greek vases show some precision of profile, the result of turning on a lathe after the vessel had been formed on the wheel.

In moulded pottery more definition is possible than in thrown variety, but the profiles are comparatively blunt and never attain the precision due to turning.

Metal Mouldings

In metal, mouldings may be rolled or drawn. In the first they are formed in the solid, but drawn mouldings are formed in plate or sheet metal and are therefore hollow and of uniform thickness.

By either method mouldings of any required section are obtainable provided they are not undercut.

Both varieties are ordinarily obtainable in various sections and sizes in iron, brass, bronze, and silver.

Where special sections are required, the cost of the tools necessary for their production would have to be taken into account.

Wrought Iron

Though the employment of rolled or drawn mouldings is usual in wrought iron-work, the effect is somewhat mechanical and lacking in character. Preferably only such forms as are attained by either swaging or building up should be employed as being more characteristic of the material and method of working.

Silver-work

In silver-work drawn mouldings are usually formed by hand, the necessary draw plates being made by the workman.

Spinning

Mouldings in metal are also formed by the process of spinning, in which undercutting is not permissible.

RepoussÉ

They are also possible in RepoussÉ work, but are soft in character, and lack the precision that marks the mechanical production.