A more elaborate design by the same architect is that of the front of the Palazzo Bevilacqua (Fig. 71). Here an order of rusticated Doric pilasters, supporting an entablature with channelled consoles in the place of triglyphs, and a cornice surmounted with a balustrade forming a balcony to the story above, divides the basement wall into alternately wide and narrow bays. A round-arched window in each bay has a heavy keystone in the form of a sculptured bust, which forms at the same time a corbel to the entablature. The unequal spacing of the pilasters leads to an awkward irregularity in the spacing of the channelled consoles which do duty as triglyphs in the frieze. One of them is set over the centre of each pilaster, and the spaces over the wide intervals each give place to three of them, while over the narrow intervals there is too much room for one and not enough for two. The designer has chosen to have but one, and the effect of the resulting wider spacing over the narrow bays is both unpleasant and unclassic. The upper story has a still more barocco character. A Corinthian order with columns of alternately straight and spiral channelling, spaced in conformity with the pilasters of the basement and raised on pedestals, frames in a series of round-arched windows which are alternately large and small in correspondence with the magnitudes of the intervals. The window of each wide bay nearly fills the space enclosed by the order, and a keystone in the arch forms a corbel to the entablature, while the spandrels are adorned with sculptures in high relief after the manner of those of the Roman triumphal arches. Over the smaller arch in each narrow bay the spandrels are in relief and are crowned with a pediment surmounted by a horizontal cornice on a shallow ressaut corresponding to that of the spandrels, while over all this a plain oblong rectangular opening lights a low top story which is not otherwise expressed in the composition. In these narrow bays the corbels are introduced under the entablature as in the wider ones, and carved festoons fill the spaces between them and the capitals on either side. It is a capricious scheme, by which the designer has sought to quicken the jaded sensibilities of people surfeited with architectural aberrations. Of course the arrangement of these elements is based on a certain rhythmical order which often appears to be thought a sufficient justification of such meaningless compositions; but order and rhythm do not alone constitute a fine work of art.