Buildings have received a great accession of richness, and the frieze, which was before plain, is now ornamented. But the Order itself is not improved, at least does not show itself to the same advantage as before, by being raised so much higher above the eye than it was at first; it looks comparatively diminished, and the beauty of its details is lost. We have, indeed, the Order; and nothing is wanting but that impressiveness and effect which gave such charm to the portico of Carlton House. As to that variety of the Corinthian which passes under the name of _Composite_, the reader may now, after what has been said and shown, be left to judge whether it can with any propriety be classed as a distinct Order, instead of being reckoned merely as a variety of the other, and by no means the most striking variety of that foliaged-capital class. The difference between the two extends to no more than a part of the detail of the capital, the general normal character or Corinthianism of which is no way affected. And if the Ionic Order be allowed to comprehend many decidedly marked varieties of the voluted-capital type, there surely can be no necessity for splitting Doric and Corinthian, and getting out of them the Tuscan and Composite Orders. It will, perhaps, be fancied by some that by thus reducing the number of the Orders to three, we in some degree limit the resources which the Architect derives from them. The fact, however, is precisely the reverse; for although we limit them in number, we set no limits to their respective powers. A hundred different examples, each marked by individual character, or peculiarity of treatment, may yet all belong to the same generic type or order. Ancient examples are not to be considered merely as _patterns_, to be copied mechanically, but as studies for the Architect’s guidance and instruction. COLUMNIATION. Columns and entablatures in themselves do not, properly speaking, constitute an Order, although they serve as specimens of it. They must enter into and regulate the organization of a structure before they can become by composition what is, strictly speaking, an Order. As exhibited in their temples, the system of columniation practised by the Ancients was strictly organic and natural. Instead of being something accessory, supplementary to, and independent of the fabric, that might be either omitted or applied at pleasure, as commonly practised in Italian and modern composition, the Order itself constituted the exterior of the building, at least of that side or front of it where it was introduced, when it was not continued throughout; so that the Order and its dimensions once established, and the mode of intercolumniation determined, the edifice shaped itself. Before we enter upon the subject of intercolumniation, it will be desirable to explain the various forms of temples, and the technical terms by which they are distinguished.