Such ornamentation of the frieze is absolutely part and parcel of the Order; and the value of it will be best understood by comparing those parts of the Bank, in which it is retained, with others in which it is omitted. The same Order, with the frieze enriched, has also been since employed in the front of St. Paul’s School, St. Paul’s Churchyard; but there, owing to windows and other disturbing circumstances, its effect is greatly impaired, as is the case even in the centre of the south front of the Bank itself, where it differs widely from the beautiful loggia at the north-west angle of that edifice, and compared with which it manifests in the part first mentioned a sad falling off, becoming no better than a dull, spiritless, prosaic version of its real self. In a word, it is out of its element. [Illustration] The next, and it must be the last example which can here be noticed, is that of the so-called ‘Jupiter Stator,’ which may be said to exhibit _Corinthianism_ in its fullest luxuriance. Great as is the dissimilarity between this and the preceding example of the Order, they are alike in one respect, each being perfect in its way, complete, and harmonious in all its parts; and we ought to be thankful that two such opposite specimens of one and the same—namely, the foliaged-capital style—have been preserved to us for our admiration, and for our instruction also, as if on purpose to convince us what opposite kinds of beauty may be arrived at where, though the general configuration of the Order is adhered to, a different spirit and character are infused into it. Of the example now referred to, the character is elaborate richness subdued by refined taste. Though of lower proportions than usual, the capital is singularly ornate, and a corresponding degree of ornateness is diffused over the entire Order. The second or middle facia of the architrave, and all the members of the cornice, except the dentels and the cymatium over the corona, are sculptured, and the whole is consistently finished up in every part. The first application among us of this superb example of the Corinthian was in Holland’s beautiful portico to Carlton House, where, instead of being moderated, its richness was even augmented, the bases of the columns being carved, and the frieze sculptured. That portico has disappeared: the columns, indeed, still remain, having been used for the portico of the National Gallery, but the Order itself exists no more—at least not there. Another copy of it we now have in the Treasury Buildings, Whitehall, where it was applied by Soane, but with no great judgment or taste, his building being quite at variance with the Order he selected for it, the former being any thing but Corinthian in character. Perhaps he selected it, as we have done, for the purpose of exhibiting in two of his works such very distinct styles of Corinthian as are the Tivoli and the Jupiter Stator Orders. As now altered by Mr. Barry, the Treasury