lies in the fact that in them In and Yo stand symbolized and
contrasted. They no longer obey a law of utility, but an abstract
law of beauty, for in becoming sexually expressive as it were, the
construction itself is sometimes weakened or falsified. The familiar
classic console or modillion is an example: although in general
contour it is well adapted to its function as a supporting bracket,
embedded in, and projecting from a wall, yet the scroll-like ornament
with which its sides are embellished gives it the appearance of
not entering the wall at all, but of being stuck against it in some
miraculous manner. This defect in functional expressiveness is
more than compensated for by the perfection with which feminine
and masculine characteristics are expressed and contrasted in the
exquisite double spiral, opposed to the straight lines of the moulding
which it subtends (Illustration 10). Again, by fluting the shaft of a
column its area of cross-section is diminished but the appearance of
strength is enhanced because its masculine character--as a supporting
member resisting the force of gravity--is emphasized.

[Illustration 9: CROSS SECTION OF BUTTRESS.]

The importance of the so-called "orders" lies in the fact that they
are architecture epitomized as it were. A building consists of a wall
upholding a roof: support and weight. The type of the first is the
column, which may be conceived of as a condensed section of wall; and
of the second, the lintel, which may be conceived of as a condensed
section of roof. The column, being vertical, is Yo; the lintel, being
horizontal, is In. To mark an entablature with horizontal lines in the
form of mouldings, and the columns with vertical lines in the form
of flutes, as is done in all the "classic orders," is a gain
in functional and sex expressiveness, and consequently in art
(Illustration 11).

[Illustration 10: CORINTHIAN MODILLION; CLASSIC CONSOLE; IONIC CAP]

The column is again divided into the shaft, which is Yo; and the
capital, which is In. The capital is itself twofold, consisting of a
curved member and an angular member. These two appear in their utmost
simplicity in the _echinus_ (In) and the _abacus_ (Yo) of a
Greek Doric cap. The former was adorned with painted leaf forms,
characteristically feminine, and the latter with the angular fret
and meander (Illustration 12). The Ionic capital, belonging to a more
feminine style, exhibits the abacus subordinated to that be