us other
arrangements for making an arch spring from the capital of a column;
one of these, from the palace of Diocletian at Spalatro, we are able
to illustrate (Fig. 149).

[Illustration: FIG. 148.--FROM THE BATHS OF DIOCLETIAN, ROME. SHOWING
A FRAGMENTARY ENTABLATURE AT THE STARTING OF PART OF A VAULT.]

[Illustration: FIG. 149.--FROM THE PALACE OF DIOCLETIAN, SPALATRO.
SHOWING AN ARCH SPRINGING FROM A COLUMN.]

In conclusion, it may be worth while to say that the Roman writers and
architects recognised five orders: the Tuscan, Doric, Ionic,
Corinthian, and Composite, the first and last in this list being,
however, really only variations; and that when they placed the
orders above one another, they invariably used those of them which
they selected in the succession in which they have been named; that is
to say, the Tuscan or Doric lowest, and so on in succession.

[Illustration: FIG. 150.--MOULDINGS AND ORNAMENTS FROM VARIOUS ROMAN
BUILDINGS.]

_The Ornaments._

[Illustration: FIG. 151.--ROMAN CARVING. AN ACANTHUS LEAF.]

[Illustration: FIG. 152.--THE EGG AND DART ENRICHMENT. ROMAN.]

The mouldings with which Roman buildings are ornamented are all
derived from Greek originals, but are often extremely rough and
coarse. It is true that in some old Roman work, especially in those of
the tombs which are executed in marble, mouldings of considerable
delicacy and refinement of outline occur, but these are exceptional.
The profiles of the mouldings are, as a rule, segments of circles,
instead of being more subtle curves, and the result is that violent
contrasts of light and shade are obtained, telling enough at a
distance, but devoid of interest if the spectator come near.

[Illustration: FIG. 153.--WALL DECORATION OF (SO-CALLED) ARABESQUE
CHARACTER FROM POMPEII.]

Carving is executed exactly on the same principles as those which
govern the mouldings--that is to say, with much more coarseness than
in Greek work; not lacking in vigour, or in a sort of ostentatious
opulence of ornament, but often sadly deficient in refinement and
grace.

Statues, many of them copies of Greek originals, generally executed
with a heavy hand, but sometimes clearly of Greek work, were employed,
as well as bronzes, inlaid marbles, mosaics, and various devices to
ornament the interiors of Greco-Roman buildings; and free use was made
of ornamental plaster-work, both on walls and vaults.

Coloured