It is to be noted that the design of the Ca d’Oro is incomplete. One has to imagine on the left a wing similar to that on the right. The massing of the openings in the centre of the façade, instead of their even distribution along the whole front, was peculiar to Venetian palaces. It is apparent, although in a less pronounced manner, in the spacing of the façade of the Vendramini. Another Venetian peculiarity is the limiting of the beauty of the design to the main façade. Even when a side abutted on another canal or a garden, the walls were finished in stucco instead of marble; embellishments were omitted and, worst of all, not even was the cornice continued. These limitations impair the integrity of the design and seriously diminish its dignity. The fact is even more apparent in the case of the Vendramini, for by this time the horizontal members of the façade had acquired a definite constructive meaning, and the failure to continue them around the sides betrays an indifference to the logic of design. The façade of the Vendramini is no longer _astylar_ (columnless), as, with the exception of the window columns, is that of the Riccardi. The adaptation of classic details has proceeded so far that pilasters are introduced as decorative features in the ground story, and engaged columns in the upper ones; an excuse for their appearance being suggested by attaching their capitals to the string courses and cornice. This device was drawn from the example of the Roman buildings, in which the Greek relation of upright and horizontal members was diverted from an element of construction into an element purely of design. Further, while the windows of the Vendramini recall the character of the _arcade_ type, they have advanced to the _order_ type, the openings being framed by pilasters or columns. Thus, this design embodies more or less all the changes which the Early Renaissance brought about in secular buildings. =Vendramini--Cancellaria.=--Comparing the =Vendramini=, however, with Bramante’s adaptation of classic details as illustrated, for example, in the =Palazzo della Cancellaria=, we can see how far removed it is in feeling from the productions of the fully developed Renaissance. By the latter time (1505) the nutriment derived from the antique had been digested and assimilated. The antique not only contributed to, but, in its revived form, was becoming a part of the spirit of the time. Architecture was becoming identified with a culture that was fast losing its fresh, Italian inspiration in an unqualified admiration and imitation of what was antique and pagan.