Vignola’s design for the façade (Fig. 49) presents the familiar features of his style as already embodied in the earlier façade of St. Andrea, but with additional infractions of propriety, as well as of classic form in its more elaborate details. This façade corresponds in outline with the form of the building, except for the podium of the upper story (which contradicts the roof lines of the side chapels), and the abutting walls of curved outline over the side compartments. The chief aberrations of detail are the broken pediments of the doors and windows, and the barbaric scrollwork and hermæ, the use of which this architect did much to establish. How far the barbarism of breaking the pediment was an independent freak of the Renaissance I do not know. Instances of somewhat similar treatment occur in the Roman architecture of Syria, as in Baalbek (Fig. 51), where the middle part of the pediment is in retreat of the rest, so that the ends form ressauts. Of the complete removal of a part of the cornice I know no instance in the Roman architecture of antiquity. To this, however, the architects of the later Renaissance were, in their desire for novelty of design, led. But the cornice of a pediment is, like the roof of an entire building, suggestive of shelter for the parts below. The actual necessity for such shelter may be slight, but any justification which the raking cornice has must be for expression, if nothing more, of a sheltering roof to what it surmounts (unless we are to assume that architectural design is a matter of purely fanciful composition of lines with no structural meaning or expression). To cut a piece out of the middle of it is an architectural solecism. [Illustration: FIG. 51.--Pediment of Baalbek.] The actual façade by Della Porta (Fig. 50) follows the main lines of Vignola’s design, but the details are much altered. The podium of the upper story is raised in height, reversed consoles are substituted for the plain curved abutments of Vignola, and the raking cornices of the small pediments are made whole. But other aberrations take the place of those which are eliminated, as that of placing one pediment within another over the central portal, and the ugly shapes and framings of the tablets and niches that break the wall surfaces. Della Porta had acquired these habits of design from his master, Vignola, and how far Vignola himself could go in such monstrosities is shown in some of the figures of his book already spoken of. Figure 52 from this book affords an instance. [Illustration: FIG. 52.--Tablet from Vignola.]