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86 surprising as they are expressly condemned by Vitruvius, who warns his readers against them as follows: "If dentiled cornices are used in the Doric order, triglyphs applied above the voluted Ionic, thus transferring parts to one order which properly belong to another, the eye will be offended, because custom otherwise applies these peculiarities." The Roman writer might, indeed, have given a better reason why the purity of the orders ought to be maintained, namely, because to each of them the fine artistic genius of the Greeks had given its appropriate details.



In designing entire buildings Vignola shows no less freedom in unclassic and incongruous combinations. This is manifested in the earliest of his church edifices, that of Sant' Andrea di Ponte Molle outside of the Porta del Popolo at Rome (Figs. 44, 45, and 46). It is a small, oblong, rectangular enclosure covered with a dome of oval plan on pendentives. The structural scheme is thus primarily Byzantine, but the architectural treatment is Roman. The dome is built in a praiseworthy form, and follows the construction of the dome of the Pantheon. An enclosing drum is carried up from the pendentives to a considerable height, and the haunch of the vault is well fortified by stepped rings of masonry. These rings are criticised by Milizia as awkward and unnecessary because, he affirms, the vault might have been made secure without them. He probably means that it might have been bound with chains in the usual manner of the Renaissance. As in the Pantheon, the drum rises so high above the springing that but little of the dome is visible externally. The character of the rectangular substructure is puzzling to the eye of a beholder who looks for meaning and congruity in architectural forms. Wrought in shallow relief upon its façade is an order