54 A RECENT VISIT TO THE DALMATIAN COAST. 
which originally formed the roof of the vestibule has, however, 
fallen in ; but you will readily notice by a comparison with Adam's 
engraving (fig. 5) how very little imagination was required in 
this case to restore the building to its original state. 
The entablature of the portico, which is of statuary marble sup- 
ported by Corinthian columns of granite, is divided, as is usual in 
classical architecture, into architrave, frieze, and cornice, but 
between the two central columns the whole entablature with its 
three members springs boldly into an arch. This is all very 
terrible from a purely classical point of view, and has given occasion 
for Adam and others to object to this deviation from the pure 
simplicity of the ancients. It is only since Adam’s time that the 
full significance of this apparent barbarism has been properly 
interpreted. It marks almost the first step towards the final 
abandonment of trabeated construction, which had long survived 
its principals, and the complete emancipation of the arch. A few 
words of explanation may perhaps be desirable. 
There can be little doubt that the entablature, 7.¢., that part of 
the architectural design which surmounts the columns, owed its 
origin in classic architecture to the unconscious imitations of 
