The order of the Temple of Antoninus and Faustina is another example intermediate between these two. The columns are in this instance very similar to those of the Pantheon, and the architrave is plain. The frieze, however, is ornamented with more taste than any other in Rome, and is a very pleasing example of those conventional representations of plants and animals which are so well suited to architectural purposes— more like Nature than those of the Greeks, but still avoiding direct imitation sufficiently to escape the affectation of pretending to appear what it is not and cannot be. The Maison Carrée at Nîmes presents an example of a frieze ornamented with exquisite taste, while at Baalbec, and in some other examples, we have them so over-ornamented that the effect is far more offensive, from utter want of repose, than the frieze in the Temple of Jupiter Stator ever could be from its baldness. Besides these there are at least fifty varieties of Corinthian capitals to be found, either in Rome or in various parts of the Roman Empire, all executed within the three centuries during which Rome continued to be the imperial city. Some of them are remarkable for that elegant simplicity which so evidently betrays the hand of a Grecian artist, while others again show a lavish exuberance of ornament which is but too characteristic of Roman art in general. Many, however, contain the germs of something better than was accomplished in that age; and a collection of them would afford more useful suggestions for designing capitals than have yet been available to modern artists. COMPOSITE ORDER. Among their various attempts to improve the order which has just been described, the Romans hit upon one which is extremely characteristic of their whole style of art. This is known by the distinguishing name of the Composite order, though virtually more like the typical examples of the Corinthian order than many of those classed under the latter denomination. The greatest defect of the Corinthian capital is the weakness of the small volutes supporting the angles of the abacus. A true artist would have remedied this by adding to their strength and carrying up the fulness of the capital to the top. The Romans removed the whole of the upper part and substituted an Ionic capital instead. Their only original idea, if it may be so called, in art was that of putting two dissimilar things together to make one which should combine the beauties of both, though as a rule the one generally serves to destroy the other. In the Composite capital they never could hide the junction; and consequently, though rich, and in some respects an improvement on the order out of which it grew, this capital never came into general use, and has seldom found favour except amongst the blindest admirers of all that the Romans did. [Illustration: 182. Composite Order.] [Illustration: 183. Corinthian Base, found in Church of St. Praxede in Rome.]