tion of classic orders. The building is of brick with elaborate ornaments of terra-cotta, and has but two stories including the basement. The basement has a blind arcade of round arches on stumpy columns with Corinthianesque capitals, and a compound opening of two pointed arches under a larger pointed arch is set in each bay (Fig. 94). The faces of the jambs and archivolts of these openings are heavily adorned with mouldings and foliate ornaments in terra-cotta relief, while the archivolts of the arcade above have more simple neo-classic profiling, and more refined and conventional foliate ornamentation. The window-sills are on coupled corbels of heavy and inelegant form, and the whole arcade is raised on a high base with ressauts under the columns. Medallions with busts in high relief are set in the tympanums of the windows and in the spandrels of the arcade, while a wide frieze somewhat like an entablature crowns this part of the composition. The upper story has a plain brick wall with windows like those of the basement enclosed within rectangular panels.
Fig. 95.
Other peculiarities of design are found in some of the early Renaissance palaces of Bologna, where in the Palazzo Bevilacqua the windows of the principal story have the mediæval form of two small arches under a larger arch, modified by the omission of the central shaft which gives the middle of the tympanum the form of a pendant. But it is not worth while to follow these aberrations of early northern Renaissance design further. The palace architecture of the later Renaissance in north Italy has no distinctive character that calls for particular comment. It is for the most part based on the art of Palladio and Vignola which we have already enough considered. While it exhibits many more of those misadjustments of structural members, and other vagaries of design, in which Italian architects have been at all times fertile, it has no great importance to justify special remark. To point out in detail many such mean-
