. The Decorator's assistant. vius, a torus and fillet, resting upon twoscotias, divided by astragals and fillets. TheAttic base consists of two toruses, or tori, anda scotia, and is applicable to every orderexcept the Tuscan. The Corinthian base hastwo toruses, two scotias, and two Composite base has one astragal less thanthe Corinthian; but in this order the Ionicand Corinthian bases are indifferently em-ployed. Base Line (in perspective), the commonsection of a picture and the geometrical plane. Basement (from base, low), in architecture,the lowest storey of a building. Basis,
. The Decorator's assistant. vius, a torus and fillet, resting upon twoscotias, divided by astragals and fillets. TheAttic base consists of two toruses, or tori, anda scotia, and is applicable to every orderexcept the Tuscan. The Corinthian base hastwo toruses, two scotias, and two Composite base has one astragal less thanthe Corinthian; but in this order the Ionicand Corinthian bases are indifferently em-ployed. Base Line (in perspective), the commonsection of a picture and the geometrical plane. Basement (from base, low), in architecture,the lowest storey of a building. Basis, the foundation or groundwork. Bas-Relievo (from the Italian basso-relievo),low or flat sculpture. All works in sculptureare classed under this heading when the sub-jects represented are not isolated, but areadherent to the ground, whether they are of asimilar or a different material, and applied orfixed thereto, or form a part of the material inwhich they are wrought. Battlement (in architecture), an indentedparapet or (To be continued.) Malleable Glass.—The celebrated Pro-fessor Schonbein has advanced a great waytowards the discovery of malleable glass, as hehas invented a method of rendering papier-mach6 transparent, by a peculiar processdenominated catalytic—i2ez;Me Scientifique etIndustrielle. Ancient Stainetr <§lass in (Ki)urcf)^s storied windows, richly dight,Casting a dim, religious light. Milton. It is very curious to mark how particular artsgradually decline, are sunk in oblivion, andthen, after a lapse of some years, suddenly areagain brought into notice, and once moreengage the attention of persons of taste. Gothic architecture is a notable instance of thetruth of this remark; and the art which wehave chosen as the subject of this paper, inconnection with that peculiar style, will serveas another striking instance. It is true thatthe art was never entirely lost, as has been as-serted by some; but it received but little support, and in most cases was ex
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