III. The _Korinthian_ order exhibits, instead of the tapering Doric, a slender column--ending in a richly-decorated, upward-striving capital. There is something of the Doric style in the Ionic, and something of the Ionic in the Korinthian. The Doric was, however, the basis of Greek architecture. _A._ The _Doric_ order had six distinct developments of style. _a._ The _proto-Doric_, compressed and heavy. _b._ The _lax Archaic-Doric_, slender, with more distinctly-tapering columns. _c._ The _stern Archaic-Doric_, more finished and graceful in its proportions. _d._ The _pure Doric_, most correct in all its details. _e._ The _Attic-Doric_, during the rule of Perikles, combining utmost severity with the very highest refinement in execution. _f._ The _Makedonian-Doric_ style; not correctly proportioned, the columns becoming elongated, and the distances narrowed. Gorgeousness and vanity predominate. _B._ The _Ionic_ order had three distinct phases of development in style. _a._ The first _simple_ in form, with the strongly-pronounced volute. _b._ The _richly ornamented_ style, as in the temple of Minerva Polias. _c._ The _compound_ style; half Doric and half Ionic. _C._ The _Korinthian_ order passed through four phases of style: _a._ The _undecided_ style; half Ionic and half Korinthian. _b._ The _finished_ style; graceful and rich. _c._ The _over-decorated_ style, with strong Ionic forms. _d._ The _variegated_ style, with decorative additions of trophies, winged-horses, dolphins, and eagles; half northern and half southern--combining Asiatic with Greek forms. _D._ The Doric intermingled with Ionic forms produced in Attica a peculiar order, or rather mere style, neither Doric, nor Ionic, nor Korinthian--a kind of eclectic style which we may very properly call the _Attic_ style. The Erechtheium of Athens was in this style. There are six principal distinctions in this style, which justify us in treating it as totally distinct from those mentioned under _A_, _B_ and _C_:-- 1. A particular plinth is wanting in the base. 2. Instead of this, a double contraction is transformed into one, united to the common support by means of a strong circular ovolo. The contractura is expressed on a small scale in the base. 3. The shaft is more slender in proportion. 4. The volutes are more projecting. 5. The frieze is considerably higher than it is generally in any of the other orders. 6. The corona is without the dentated ornament; but the projecting plinth is strongly undercut, and powerfully overhangs the finishing member of the frieze.