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     If I were writing your paper I would begin with a
(short) description of an existing Greek revival structure
in Belmont, Arlington, or anywhere in the greater Boston
area.  (I can find one for you if you wish.)

     I would go there and describe what I see, not only of
the columns, identifying them as Doric, Ionian, Corinthian
or hybrid, of the entablature, the roof, the windows, ...
but also the trees, the sidewalk on which I stood, the
people - on foot, in automobiles, on bicycles, with baby
strollers - passing by and noticing, or not noticing.

     Next I would describe, as you have, the structure and
function of such columns in ancient Greek temples, largely
using text that you have already written.

     Then, if I had time and energy, I would try to
formulate some comments about the aesthetics (art theory) of
this architectural style.  This would undoubtedly be the
most difficult and risky section of your essay, but also the
one from which you could learn the most.  (If you are
interested, I can look for some books to help you get
started.)

     In conclusion I would ask my reader to follow me in his
imagination back to the existing building with the
description of which I began, to look at it again, and see
in it now not only this one unique structure but to see it
as a symbol of the thousands of buildings which have been
built over the past two and a half thousand years, inspired
by the "noble simplicity and silent greatness" of Greek art.

     which in architecture as in music defines a standard so
perfect that it survives changes in fashion and taste, a
standard to which men return century upon century with the
realisation that this is how houses should be built, that
this is how music should sound.

     [The phrase "noble simplicity and silent greatness" was
coined in the eighteenth century by Johann Jakob
Winckelmann, one of the greatest connoisseurs of Greek art
of all time.  He used the words: edle Einfalt und stille
Groesse.]

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