Profiles and outlines are made up of any number of straight and curved lines connected at any and every variety of angle. The view (Fig. 2) shows a few possibilities of combination of lines into profiles. The particular thing to be observed in these profiles is that individual curves are preceded or followed by curves which curve in the same direction or in the opposite direction--that is, regarding the curves as concave or convex from a given side of the profile, sometimes a concave curve meets a concave curve, sometimes it meets a convex curve. In these particular profiles the straight lines which unite the curves are so small and so insignificant that they appear as mere connections. Where the adjoining curves are homogeneous the connection is called continuous--_raccords continus_, as Mayeux puts it. When the adjoining curves are different, the connection is called contrasted--_raccords contrastés_. In the view all continuous connections are marked _a_; all contrasted connections are marked _b_. Now follow these lines up and down slowly and deliberately--not once or twice, but a number of times. See exactly where the connections occur, and where the connections are continuous, and where they are contrasted. In these profiles are shown forth and made evident two of the most important and general laws not only of ornament, but of all artistic composition: First, that connected curves of the same kind must run substantially in the same direction; and, second, that for purposes of strong contrast curves of different kinds must be joined--that is to say, that where contrasted connection is desired, the difference in direction must be abruptly and sharply indicated. In the profiles in the view the various curves have been continued in dotted lines beyond the profiles, so as to bring out and make clear these two laws. You see that wherever there is a _b._ the dotted lines cross at, or nearly at, right angles, and that wherever there is an _a._ there is no crossing at all of the dotted lines. The essence of these two laws is of such importance in all artistic and decorative composition that beginners might well be put to drawing profiles until the principles involved have been absorbed and made a part of artistic apprehension. The profiles in the view are all pleasing, because the laws are observed. Try your hand at drawing profiles in which the laws are not observed, and you will quickly perceive the difference. The most beautiful of pure profiles are those presented by Greek entablatures. The most beautiful of Greek outlines are those presented by Greek vases. The beauties of Greek sculpture and of renaissance design belong so strictly to the domain of pure art that they may not be used for comparison in an article on ornament.