The aesthetic effect derived from the interplay of forces in the Ionic form is similar to that in the Doric, only more delicate and elastic. The slender columns, being less rugged and resistant than the Doric, seem to transmit the weight supported, which shows itself, therefore, in the outward spreading molded base; but this apparent lack of strength in the column is compensated for by the elastic energy in the coiled spring of the volutes, upon which, with the slight mediation of a narrow band, the entablature rests. Here most of the upward energy of the Ionic form is concentrated; for although the dentils of the frieze perform the function of the triglyphs, they are too small to do it effectively; the style lacks, therefore, the gentle harmonizing of forces all over, characteristic of the Doric, and evinces instead a clean-cut elastic tension at a given point. This effect is, however, somewhat softened by the breaking up of the downward force of weight by means of the recessed divisions of the architrave. In the Corinthian capital, which has the same general feeling as the Ionic, the elastic tension is still further diminished through the renewed emphasis on the mediating abacus, the reduction of the size of the volutes, and the overhanging floral carvings. However, by reason of the strength given by the bell and the projecting outward and upward curving form of the abacus, the suggestion of weakness in the Corinthian form is overcome, but the gentleness remains. If the Greek construction expresses a balance between the upward and downward forces, the arched forms that followed express the victory of the upward. In the arch the upward force, instead of being arrested where the support meets the mass to be carried, is continued throughout the mass itself. Of the two chief types of arches, the round and the pointed, each has a specific feeling. We shall study the round form first, where the vertical tendency is indeed victorious, but only through reconciliation and compromise.