walls, are treated in a way which is particularly noteworthy. In the Roman corruptions of Greek architecture these antæ were confused with and often treated as flattened and applied shafts. The fact of passive resistance of the wall, in contrast to the active resistance of the colonnade, is carefully but very unobtrusively expressed in these wall-terminations in the purest Doric. Where the strongly ascending force of the shaft sacrifices power in order to prove its abundance, the antæ are increased in breadth and strength by successive cappings, or by mouldings so undercut as to express a rolling over or sufferance from superimposed weight; there is no _entasis_ or visible swell in the antæ--until they were used by later architects who had lost the sense of what entasis meant; these wall-terminations were further strengthened by a base, which no Doric shaft ever had. The base and capping were, more or less, continued along the top and bottom of the whole wall, the doors and other apertures of which usually diminished in width towards the top, suggesting--but still in a passive and unobtrusive way--the simple reality of weight and pressure in the wall, and affording a further and most important contrast to the living “emporstreben,” as the German critics call it, of the line of shafts. Thus Mr. Ruskin is wrong in saying that “in the Greek Temple the wall is as nothing; the entire interest is in the detached columns and the frieze (entablature?) they bear.” The wall is the expression of the passive life that becomes active when it is concentrated in the colonnade, and has so much more work to do.