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 a wide departure from that of any previous type of design. The form of the building is mediæval, being, with exception of the central vault, essentially Byzantine, but the details are classic Roman, and consist of a shallow order of fluted Corinthian pilasters with the entablature at the level of the vaulting imposts. In such a building, however, and used in this way, a classic order is out of place; for an order is a structural system designed for structural use, but the order here has no more structural function than if it were merely painted on the walls. It is used, of course, with a purely ornamental motive, but as ornament it is inappropriate. A proper ornamental treatment of such an interior would be either by marble incrusting, mosaic, or fresco, or else by pilaster strips, or colonnettes, and blind arches, which would break the monotony of the broad wall surfaces without suggesting an architectural system foreign to the character of the building. Such arcading would have an appropriate structural suggestiveness, if not an actual structural use; but a classic order is unsuitable for a building of mediæval character. The mediæval pilaster strip and blind arcade were designed for this use, and they have the further advantage that their proportions may be indefinitely varied to meet varied needs, as the proportions of the classic orders may not. But in their lack of a true sense of structural expression, and in their eagerness to revive the use of classic forms, the designers of the Renaissance failed to consider these things.

A particularly awkward result of this improper use of an order is that the entablature passes through the arch imposts, making an irrational structural combination. This scheme was, however, extensively followed in the subsequent architecture of the Renaissance, but it is a barbarism for which no authority can, I believe, be found in ancient Roman design. The