looked diminutive, more especially beneath such a greatly exaggerated entablature. Tested by ordinary rules, this last must be pronounced monstrous, licentious in the extreme, perhaps downright barbarous; and, no doubt, would be so, were it not protected by the name of Sansovino. His English copyist has therefore sufficient authority for it,—not so, Sansovino himself: whence, then, did he get his _precedent_? Well, he dispensed with precedent, and using the privilege of a Master in his Art, ventured beyond its written rules and conventionalities,—ventured where he might have failed, and exposed himself to derision,—but succeeded, and has been crowned by applause. In Art, as in other things, success sanctifies enterprize: if you fail, the world calls you a madman or fool; if you succeed, it bows down to you as a genius. It must be confessed that such an entablature as Sansovino has there given his Ionic Order would be nothing less than monstrous, did the Order itself constitute the edifice, as in the antique temple; instead of which, the two Orders there introduced are no more than ornamental accessories, and the greatly enlarged entablature of the upper one is to be regarded as proportioned with reference not so much to its own columns as to the general mass of the entire façade. It may be as well to remark here, that both the Carlton Club House and Whitehall Chapel are instances of _super-columniation_, or two Orders placed one over the other—in the former building, an Ionic over a Doric—in the latter, a Corinthian over an Ionic Order. And in both cases the columns are _attached_ or _engaged_, as is said of columns which are united to the face of a wall so as not to project from it as much as their diameter, but only about half or three-quarters of it, and are therefore termed respectively _half_ or _three-quarter_ columns. CORINTHIAN ORDER. [Illustration]