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130 later architects of the transalpine Renaissance, and De l'Orme's oval courts of the Tuileries, and the circular courts of the palace of Whitehall by Inigo Jones, suggest its influence.

But in domestic and civic architecture Palladio was more prolific than Vignola, and his work has had a correspondingly wider influence. Among the earlier civic buildings by him is the well-known portico of the town hall of his native city, Vicenza. This portico of two stories covers three sides of a building of oblong rectangular plan, dating from the Middle Ages, and consisting of a great hall over a low basement. Palladio's scheme (Fig. 72) for this portico is plainly derived from the town hall of Padua to which he refers in his book as a most notable edifice. But while basing his design on that of Padua, he modifies it by features drawn from other sources. In place of the simple arcades of the mediæval Paduan model, he has substituted a complicated combination of arches with large and small orders, in which the inspiration of Sanso-vino's Library of St. Mark in Venice is apparent. The free-standing column under the archivolt of Sansovino's upper story (Fig. 65, p. 120) is reproduced by Palladio in both stories of the portico of Vicenza. But instead of a single column, he has inserted a pair on each side of the arch, ranged in the direction of the thickness of the wall, as shown in the plan (Fig. 73).



The intervals between the columns of the great orders are very wide, because they had to conform with the spacing of the openings in the mediæval structure enclosed; but the arches within the intervals are necessarily of narrower span, since their crowns could not rise above the soffit of the entablature. Thus the free-standing columns of the small order which support these arches are set farther away from the pier than they are in Sansovino's scheme. This free-standing column supporting the