They generally consist of a bead, a cyma reversa, and a fillet, a vertical member dentilled or not, another bead, and an ovolo, | supporting a plain vertical face, one third of bed mouldings in height, which bears the modil-] lions, and is surmounted by a cyma reversa, which breaks around the same. The modillions are horizontal consoles, in width equal to their height, bearing large volutes at the inner end and smaller ones at the outer extremity, joined by a graceful curve, underneath which spreads an acanthus leaf; the space between them is about twice the width of the modillion itself. Resting upon the modillions is the corona, sur-, mounted by a small congeries of mouldings, a cymatium, and a fillet. The soffit of the corona is coffered between the modillions; in the centre of each is placed a rosace. - The composite order may be considered as a sort of Corinthian, as the principal difference exists in the capital, where the volutes occupying about one quarter of the total height rest upon a bead and ovolo; the central tendrils are also omitted, and the upper row of leaves is higher than in I the ordinary Corinthian. Besides this particular composite capital, the Roman monuments furnish us with others ornamented with trophies, eagles, masks, etc.

The pediments of the Roman edifices were steeper than those of the Grecian; the cymatium was continued along the flank cornices, thereby doing away with the antefixae. - The Doric order, on account of its simplicity, was very rarely employed by the Romans. In the few examples which have been preserved, the proportions are more slender, the projections less hardy than in the Grecian Doric; and, in endeavoring to give it more elegance, this order lost with the Romans its simplicity and grandeur. At Albano an example has been discovered where most of the mouldings are ornamented. The baths of Diocletian furnish us with still another example greatly enriched. The necking is ornamented with small rosaces, the echinus is sculptured with leaves, the metopes and corona are also enriched with sculpture, while the cornice resembles that generally employed in the Ionic order. The best examples of this order bequeathed to us by the Romans decorate the temple of Hercules at Cori, and the theatre of Marcellus at Rome. The former, however, is almost wholly Greek. In the latter example, the column, composed of shaft and capital, is about eight diameters in height. The capital, occupying about one half of a diameter in height, may be divided into three nearly equal parts.

The uppermost, given to the abacus, of less projection than in the Grecian examples, is crowned by a cyma reversa and fillet; the ovolo supporting the abacus is a semi-torus resting on three fillets, and occupies the middle division; while the lower third is taken up by a necking which is separated from the shaft by a small torus and fillet. The shaft, less conoidal than in the Grecian examples, is without flutes, the superior diameter being about four fifths of the diameter at the base. The total height of the entablature is about one quarter of that of the column; its projection is about equal to its height. The architrave is one half of a diameter in height; the frieze 1 1/2 diameter. The principal difference in the distribution of the Grecian and Roman Doric frieze is in the position of the triglyph over the column at the angle. The Romans preserved the same intereolumniation throughout, and placed the triglyph directly over the column, thus forming half metopes at the angles. In the cornice the bed mouldings occupy more height than in the Grecian types, and are composed generally of a cyma reversa, dentil, and ovolo, separated by fillets.

The corona is of less importance, it being sacrificed to the cymatium, which in return is of more value than in the Grecian Doric. The soffit generally bears mutules, though sometimes these latter members are dispensed with. The only examples of the Ionic order in ancient Rome are to be found in the temples of Saturn and Fortuna Virilis, in the baths of Diocletian, in the Colosseum, and in the upper order of the theatre of Marcellus. The total height of the columns varies between eight and nine diameters. The base, about one half of a diameter in height, is composed of a torus resting on a plinth, a scotia, and a second torus; the three upper members have fillets intervening. The shaft, slightly increased in diameter at one third of its height, is either plain or fluted; in the latter case the flutes, separated by fillets, are semicircular, and are 20 in number. The diminution of the shaft varies between one eighth and one tenth of a diameter. The capitals, occupying about one half of a diameter, vary; those of the theatre of Marcellus and of the temple of Fortuna Virilis are without a necking. The volutes, connected by horizontal instead of curved lines, are bolstered, and the abacus crowning the volutes is composed of a cyma reversa and a fillet.

In the Ionic capitals of San Lorenzo at Rome (generally thought formerly to have belonged to the temple of Jupiter and Juno), there exists a necking. The temple of Saturn presents still a third species, the volutes being doubled and inclined at an angle of 45°. The height and projection of the entablature are nearly equal, varying between one quarter and one fifth of the height of the column. The architrave and frieze are equal in height, and are a little less than that occupied by the cornice. The frieze is either with or without sculpture. The bed mouldings of the cornice generally consist of a cyma reversa, a dentil course, and ovolo, separated by fillets, together occupying rather less than one half of the entire height of the cornice; the corona and crown mouldings, with the cymatium, complete this order. - The whole of the Roman possessions were covered with massive structures which embodied the Roman spirit of defiance and the supremacy of the conqueror. We find everywhere in her own limits and in her possessions roads, aqueducts, bridges, ports, forums, basilicas, temples, mausoleums, palaces, baths, theatres, amphitheatres, hippo-dromes, naumachias, triumphal arches, cloacas, prisons, fountains, cisterns, monumental columns, villas, grottoes, and markets.

During the empire, Rome was adorned with its beautiful Pantheon, Asia was endowed with many beautiful structures, and Athens itself became embellished with the famous temple of Jupiter Olympius. The baths or thermae of Augustus, Nero, Titus, Caracalla, and Diocletian were renowned for a magnificence which was hardly surpassed even by their palaces. In fact, throughout all the Roman structures, from the palace of the Caesars to the villas of Lucullus, Sallust, and Hadrian, the greatest display of splendor and luxury prevailed. But, of all their structures, perhaps the most stupendous was the Colosseum, capable of containing more than 100,000 spectators. It was partially destroyed in 1084, by Robert Guiscardthe Norman, who conceived the idea that it was to be used as a citadel against him. Though from the ruins the popes have taken sufficient material to construct the Farnese palace, the Cancella-ria, and St. Mark, the cragged and crumbling remains are still gigantic and imposing.