the arch; but this is so far in retreat, and so inconspicuous, that it does not properly complete the pediment triangle. Precedents for many of these Renaissance aberrations of design may be found in ancient Roman art, and this particular one is foreshadowed at Baalbek, where in the pediment already noticed (p. 95) the entablature, as well as the raking cornice, is broken, the middle part being set back in the plane of the wall, and the parts over the supporting pilasters forming ressauts. But I know of no ancient instance in which the entablature is completely removed between the ressauts, unless the one figured by Serlio[94] (reproduced in Fig. 64) be ancient. He does not say that it is, but he describes it among other things that he calls ancient, and says that he found it between Foligno and Rome, and that it exhibits an architectural license because the architrave is broken by the arch. [Illustration: FIG. 63.--Window of the Farnese.] [Illustration: FIG. 64.--Portal from Serlio.] In the court of the Farnese we have a frank return to the ancient Roman combination of arch and entablature, with a Doric order in the basement, an Ionic order next above it, and an order of Corinthian pilasters in the top story. Where engaged orders are thus used in the inside of a rectangle it is usual to set a section of a pilaster in the angle, as the architect has done here. But the treatment of the capital in this angle becomes a matter of difficulty which cannot be overcome in an entirely satisfactory manner. This is especially the case where the Ionic order is used, as in the principal story of this court. It is necessary here to have parts of two capitals, on the angle strip of pilaster, in order that there may be a bolster on each side parallel with those of the other capitals in the colonnade to which it belongs, and a volute on each side facing in the same direction as the others in the same series. Thus two volutes have to be mitred together with awkward effect. A further awkwardness arising from this misuse of the orders is that of bringing three supporting members together in the angles, the end column of each adjoining colonnade, and the pilaster set in the angle in which they meet.