the other it becomes as one to _eight_; which is not at all too much, while the other way the shaft is much too lanky, and the capital too low,—as is probably felt by those who cannot explain the cause of such disagreement and disproportion. ENTABLATURE.—There is not much to say, at least there is no occasion for saying much, relative to this part of the Roman and Modern Ionic Order. The ancient examples of it are by far too few to admit of any general laws for it being derived from them; nor are the examples themselves very satisfactory. That of the Ionic of the Theatre of Marcellus is, perhaps, the best upon the whole, and seems to have been that which has guided the Moderns in the composition of their entablature, although they have very greatly diminished the proportions of the cornice, which is there nearly equal to both architrave and frieze together. In the Athenian Ionic we may set down the architrave, frieze, and cornice as about 50, 50, and 35 minutes respectively, making altogether two diameters and 15 minutes (or a quarter of a diameter); therefore the cornice is to each of the other two divisions of the entablature only as 35 to 50. In the Roman Ionic, on the contrary, the cornice is by much the largest division: in the Fortuna Virilis example the measures are,—architrave 38', frieze 19', cornice 70'; in that of the Theatre of Marcellus, 43'—36'—66', making the entire entablature 127', or 2 diameters 7'. Although modern Architects vary from these proportions, and some of them make the frieze equal to or more than the architrave, they all agree—in doctrine at least, if not in practice—in making the cornice the largest division of the entablature; and as the projection is usually equal to its height, or thereabouts, the cornice thus gains in importance both ways, and, as far as its mere proportions are concerned, becomes an adequate finishing to the entire Order. This latter mode certainly appears more in accordance with artistic principle: shall we then presume to say that the Greeks were wrong in their treatment of the Ionic cornice?—Well, let us say then, that they were not quite so right as they might have been. To us, the Asiatic Ionic cornice (for instance that of the Priene Order) is far more satisfactory than either the Hellenic or Athenian; and in our opinion it would require a cornice richer still, to correspond with the highly elaborated Erechtheum capital, and maintain due artistic keeping in the whole of that Order. These remarks partake, perhaps, too much of digression: we will therefore dismiss them, and the cornice also, merely adding that either dentels, or larger plain blocks, placed rather wide apart from each other, are considered the proper characteristic marks of the Ionic cornice.