former being circular and the latter square, but adapted to each other in size, a beautiful combination is produced of a circle inscribed within a square; and the result is variety, contrast, and harmony. In its profile or _section_,—by which latter term is understood the contour of any moulding or other member,—it is usually very flat, little more than a portion of a cone (turned downwards), with scarcely any perceptible degree of convexity, except just beneath the abacus, where it is suddenly rounded and diminished, so that the abacus does not seem to press upon or compress it too much. We arrive now at the entablature, the first or lowermost division of which, the architrave, otherwise called by the Greek name of _epistylium_ (from ἐπι, upon, and στύλος, column), is no more than a plain surface whose height, including the _tænia_ or fillet which finishes it and separates it from the frieze, is equal to the upper diameter of the column. Such, at least, may be considered its standard proportion, that by means of which it conforms to and harmonizes with the column itself. The second or middle division of the entablature, namely, the frieze, constitutes in the Doric style a very characteristic feature of the Order, being invariably distinguished by its triglyphs and metopes. The former of these are upright channeled blocks, affixed to or projecting from the frieze, and are supposed to have been originally intended to represent the ends of inner beams laid upon the architrave transversely to it. The _metopes_, on the contrary, are not actually architectural members, but merely the intervals or spaces between the triglyphs; so that without the latter there could not be the others, because it is the triglyphs which produce the metopes. With slight variations in different examples, the frieze is of about the same height as the architrave,—a trifle less, rather than more; and the average proportion for the breadth of the triglyphs is the mean diameter of the column, or that taken midway of the shaft. The face of the triglyph has two _glyphs_ or channels carved upon it, and its edges beveled off into a half channel, thus making what is equal to a third glyph, whence the name triglyph, or _three-channeled_. We have till now reserved speaking of what, although it shows itself upon the architrave, belongs to the triglyph, and is in continuation of it, namely, the fillet and _guttæ_ attached to the tænia of the architrave immediately beneath each triglyph, and corresponding with it in width. These small conical guttæ or _drops_ are supposed, rather whimsically, by some to represent drops of rain that have trickled down the channels of the triglyph, and settled beneath the ledge of the architrave. Others suppose them to have been intended to indicate the heads of nails, screws, or studs. Leaving all such suppositions to those who have a taste for them, we will be satisfied with discerning artistic intention and æsthetic effect.