the tabernacles; at Petra it takes its place among the main supports of the façade. At Petra, too, the plastic freedom of late Hellenistic architectural forms makes itself felt. Broken podiums are found upon wall paintings of the second style at Boscoreale, though their architectural counterpart cannot be pointed out at so early a date; broken entablatures are present in late Hellenistic work at Alexandria, but not elsewhere in the Greek cultural sphere at the same period.[322] Both these features, together with the preference for engaged columns instead of piers, are common at Petra, and they are like sign-posts pointing to the source whence the stone-cutters of Petra drew their inspiration. There are, it is true, early examples of the broken architrave in Italy in the triumphal arches of Rimini (27 B.C.) and Aosta (25 B.C.), but the systematic use of broken podium and entablature is one of the distinctive features of the later Imperial period. In the Lion Tomb at Petra, which recalls the tabernacle of the tomb F 4 at Madâin Ṣâliḥ, architrave, frieze, and cornice are broken over the angle columns and piers. In the tombs of the second century the principle is carried further; architrave, frieze, and cornice are all broken, and the system is extended to the plinth-like member which is interposed between the entablature and the dwarf order of the attic, and, when the façade reaches a second story, to the upper entablature also.[323] In the Corinthian tomb, the Dair, and the Khazneh a second order is superimposed upon the first. In each case a tholos occupies the centre of the upper story and the pairs of flanking columns are crowned by a broken pediment. In the Dair an engaged pier and quarter-column fill out the façade on either side (Plate 82, Fig. 2). In the Corinthian tomb the lower zone is complete in itself (Plate 82, Fig. 1). The engaged columns stand upon a high plinth and carry a broken architrave composed of frieze and cornice only; the dwarf piers are placed upon a broken plinth with a moulded cornice, which is interrupted above the central door by a moulded archivolt. The dwarf columns carry a complete entablature, architrave, frieze, and cornice, and a low broken pediment occupies the centre of the façade. Above this structure the second order, with its tholos, stands upon a moulded plinth. In the Storied tomb the lower order carries a complete entablature and a broken attic which contains the gables and archivolts of the doors; upon a plinth with a moulded cornice rises a second order bearing an entablature; a second plinth, itself divided by a horizontal moulding, carries a dwarf order which is crowned by a third entablature (Fig. 30). Yet another order crowned the tomb, but it was built, not rock-cut, and little of it remains. The tholos in these façades is a Hellenistic motive, though it is known to us at an early period only from wall paintings and from literary