The Roman Corinthian order is found in infinite variations. In certain small examples in tombs, gateways and the like, its proportions are thick and stumpy, as in the triumphal gateway at Saintes, of the time of Tiberius. In other cases it is extremely slender, as in the arch of Augustus at Susa. At times there are no modillions in the cornice, as in the temple of Antoninus and Faustina, at Rome (A.D. 141), and in the great temple of Venus, at Rome (A.D. 135), rebuilt by Maxentius (after 307). The modillions are replaced by the square, projecting blocks adopted by the Renaissance for the Composite order. Moreover, many types of capital exist. In some the two rows of leaves are at approximately equal height and kept tight to the bell, so that the effect is very vertical. In others, the lower row of leaves is made tall, so that the projecting leaf ends of both rows are close together and project markedly, giving almost the effect of a wreath around the capital. In other smaller examples, such as many at Pompeii, the ornament is hardly more than a frosting of the stucco surface of the bell. In the colonnade of the temple of Apollo, at Pompeii (rebuilt c. A.D. 63), a Doric entablature is supported by Corinthianesque columns. In some examples, rampant animals take the place of the corner volutes, as in the order of the temple of Concord, at Rome (A.D. IO) and in the capitals of the Roman gateway at Eleusis, in Greece (1st cen tury A.D.). Another type, common in pilasters, substitutes for the cauliculi, with their double scrolls, an S-scroll at each side, turned in to the centre below and out to the corners above. This type gave rise to many 15th century early Renaissance capitals. The most characteristic examples of the best type of the Roman Corinthian order are those of the round temple of Vesta, at Tivoli (probably Augustan) ; the portico of the Pantheon, perhaps from the original building by Agrippa (27 B.c.) ; the interior of the Pantheon (A.D. '15-125) the portico of Octavia; the temple of Castor and Pollux on the forum (either of the re building under Tiberius A.D. 6, or of the time of Hadrian), which is remarkable for the decoration of the middle band of the archi trave and for the large, interlacing, central volutes of the capital; and that of the temple of Jupiter at Baalbek in Syria (time of Hadrian). An interesting order in brick and terra-cotta, evidently never stuccoed, is a doorway from an ancient Roman police sta tion in Rome (early 3rd century) ; a more elaborate type of cut brick Corinthian with octagonal columns recessed into the wall is in the tomb of Annia Regilla (late 2nd century).
The Roman Composite order was actually only one of many variations of the Corinthian, and its erection into another order is a purely Renaissance idea. Vitruvius makes no mention of it and the earliest example known is one from a small garden pavilion in a house court recently (1928) excavated in Pompeii; an early monumental type is that of the arch of Titus, at Rome (completed A.D. 81), in which the exquisite composite capitals
carry a normal Corinthian entablature. The bold richness of this type of capital was particularly popular during the later empire and the most magnificent example, remarkably delicate in execu tion for its late date, is one in the baths of Caracalla (211-216).
the middle and late 15th century in Italy and the early i6th century in France, the early Renaissance architects developed modified Corinthianesque orders of the most exquisite delicacy, in connection with doors, tombs and the like. The most characteristic feature of these orders is the general use of S-scrolls instead of volutes and cauliculi, and the use frequently of only small leaves beneath them at the corners of pilaster capitals. In the working out of the details of capitals of this type, the personalities of such sensitive designers as the Della Robbias, Desiderio da Settignano (1428-64) and Mino da Fiesoli (1431-84) achieved some of their most characteristic and delicate expression. At times dolphins, birds and even cherubs' heads replaced the scrolls under the cornice of the capital. The entablatures of these orders are almost always without modillions, but characterized by a jewel-like delicacy in the carving of the ornamented mouldings. In the arrangement of this there is the greatest variety. During the high and late Renaissance the orders tend to become more normal, but little strict archaeology is found and much individuality of design is still present. The work of B. Peruzzi (1481-1537), of D. Bramante (i444-1514), of Vig nola and of Palladio is particularly noteworthy. Typically Renaissance variations are rusticated orders like those in the gates of Verona by San Michele (1530) and the banded columns developed by Philibert Delorme for the Tuileries in Paris (1564), and followed in the Grande Gallerie (1578) and twisted columns like those of Bernini's baldacchino in S. Peter's at Rome (1633).
During the Baroque period, especially in Spain, all kinds of forms were used which approximate the orders, but are so broken up and contorted, and so varied in detail, that they can be as signed to no definite classification.
The 20th century has seen a reaction against the archaeological correctness of orders of the revival period. Orders, where occur ring, are treated with the utmost freedom, and those styles seem most popular in which a like freedom prevailed, such as the late Georgian style of the Adam brothers, and American colonial, with its slimness and attenuation. In so-called modernist work, the order tends to pass from use as a superfluous ornament. In exceptional cases, however, especially in Scandinavia, extremely free and modified orders are still used, as in the concert hall at Stockholm, by Ivar Tengbom, and in America in portions of the interior of the Nebraska State capitol by B. G. Goodhue and the Goodhue associates, still (1928) under construction. (See, also