The works of Sanmichele show an equally exclusive employment of classic features, with the same freedom in deforming them and using them in novel and ungainly ways. In the Porta del Palio of Verona, a characteristic example of his work, he has used a pseudo-Doric order in which the columns are fluted after the Ionic manner with fillets between the channels, and are raised on heavy square plinths. The columns are disposed in pairs, dividing the façade into three wide intervals and four narrow ones (Fig. 70), and each wide space has a large rectangular recess spanned by a flat arch, with a sculptured keystone in the form of a console, under the entablature of the order. At the level of the soffit of this arch the wall is crowned by a cornice passing behind the columns. The central bay has a large rectangular portal without jamb mouldings, and in each lateral bay is a small doorway framed with classic jamb mouldings and a pediment on consoles. Over each of these openings is a secondary flat arch with deep voussoirs reaching to the soffit of the upper one. Pilasters take the place of columns on the angles of the façade, and the walls are rusticated. In the façade of the opposite side the scheme is varied, and is plainer. The columns of the order are disposed as before, but instead of being fluted they are rusticated like the walls, and have no bases, while a large round-arched opening, with impost mouldings and a plain keystone, fills each wide interval. Of Sanmichele’s palace fronts the best in Verona is, I think, that of the Palazzo Canossa, where over a high rusticated basement he has placed a shallow order of Corinthian pilasters in pairs, set close together, on a podium with ressauts. This order embraces both the principal floor and a low story above it, and has considerable elegance. The effect of the whole front is broad and quiet, save for the heavy balustrade with showy statues which crowns it. It will be seen, as we pass in review these different compositions, that the range of eccentricities of design embodied in them is as great as we find in the works of the earlier Renaissance, though they show fewer mediæval characteristics. The Palazzo Pompei alla Vittoria, also by Sanmichele, for instance, has a Doric order over a plain rusticated basement, like that of the Porta del Palio, but with the columns equally spaced, except that the central intercolumniation is made wider than the others in conformity with the width of the portal beneath it, and a pilaster is coupled with a column on each angle. Plain round-arched windows occupy the intervals between the columns, and a corbel in the form of a sculptured head is set under the entablature of the order over the crown of each arch. The plain windows of the basement have clumsy rectangular sills on consoles. [Illustration: FIG. 71.--Palazzo Bevilacqua.]