Here it may be proper, without going into the particular facts and reasonings upon which the inference is founded, merely to state, that, regarding the introduction of the arch into classic architecture, the weight of evidence is against any knowledge of its use or construction prior to the era of Alexander. Indeed, the arch is contrary to the whole genius of the Greek system, which delights in the simplicity of horizontal and perpendicular lines, to which the contrasts, minute divisions, and constantly recurring breaks of arched building, are most directly opposed. During the pure ages of truly Grecian taste, the very improvements and changes which successively ensued, all tended to guide invention farthest from the arch. To add elevation to the column, and to increase the unbroken length of the entablature, were objects most directly pursued. The greater richness or variety of ornament thus admitted, was an advantage rather incidental than contemplated, though with exquisite skill rendered available-- ----without o'erflowing--full. Whether the Ionic order of architecture originated merely as a variation on the 'Dorian mode,' or as a separate invention, it is not easy, and not of much importance, to determine. The two ideas may be reconciled; remains of Ionic are found coeval with the earliest certain accounts of the Doric edifices; so far the former was independent, and having arisen among the Ionian states, where subsequently it continued to be employed in preference, it thus obtained a distinct name and character. Afterwards, however, on being brought into use in European Greece, architects appear to have studied its capabilities, chiefly in contrast with the corresponding proprieties of the Doric. Here something like an encroachment was made on its separate identity; or rather, the artists of those times contemplated each system as a modification, in part, of one great whole, bearing a relation only to the emotions of grandeur and beauty. This is still the proper view in which the orders are to be regarded in reference to excellence in architectural composition. Now, indeed, the moderns possess the advantage of a principle then unknown--the principle of association, which both limits the field of choice, and increases the beauty of a just selection.