FRIEZE.—The middle one of the three divisions of an entablature. It derives its name from the Italian _Fregio_, ornament, as being that part of the entablature especially appropriate for sculptural embellishment, yet, in contradiction to such signification, the frieze is all but invariably made a mere plain surface by Modern Architects; except the Order employed happens to be Doric, and then triglyphs are introduced as matter of course, but the metopes left blank, even though ornateness is studied in other respects, and in parts not comprehended in the Order itself. For the Ionic Order, Modern Architects have sometimes employed the so-called _pulvinated_ frieze (p. 50), that is, one whose face is curved convexly; but upon what principle they have appropriated such form of the frieze to that Order in particular, when it is just as suitable for the Corinthian, is not said, and not to be guessed. HYPOTRACHELIUM.—The necking of a capital introduced between the capital itself and the shaft of the column. In the Grecian Doric, the hypotrachelium is little more than nominal, being marked only by one or more horizontal channels or incisions, and the flutings continued through them; whereas to the Modern Doric capital a distinct necking is given by the astragal which separates the capital from the shaft, and marks its commencement. But that is considered an essential part of the capital, and as to the Corinthian capital it does not admit of any necking; wherefore the Ionic one possesses a great advantage over either of them, inasmuch as it may have a distinct necking or not, and it may be either plain or enriched. INTERCOLUMN and INTERCOLUMNIATION.—The subject of Intercolumniation is treated of at page 77, &c. These two terms are generally confounded together; or rather, the second is very improperly substituted for the other, contrary to all analogy of language and distinctness of meaning. Having only a general collective import, _Intercolumniation_ can, like _Columniation_, be used only in the singular. We may say of a portico, &c., that its intercolumniation is good or poor, close or straggling, but not that it consists of so many intercolumniations (according as the number may be), since such mode of expression is no better than a solecistical vulgarism. We might just as well describe a tetrastyle portico as having four _columniations_, as say that it has three _intercolumniations_. ‘LYSICRATES’ CAPITAL, 55.