In Early Modern times, the practice of integrating caryatids into building facades was revived, and in interiors they began to be employed in fireplaces, which had not been a feature of buildings in Antiquity and offered no precedents. Early interior examples are the figures of Heracles and Iole carved on the jambs of a monumental fireplace in the "Sala della Jole" of the Doge's Palace, Venice, about 1450. In the following century Jacopo Sansovino, both sculptor and architect, carved a pair of female figures supporting the shelf of a marble chimneypiece at Villa Garzoni, near Padua. No architect mentioned the device until 1615, when Palladio's pupil Vincenzo Scamozzi included a chapter devoted to chimneypieces in his "Idea della archittura universale". Those in the apartments of princes and important personages, he considered, might be grand enough for chimneypieces with caryatid supporters, such as one he illustrated and a similar one he installed in the "Sala dell'Anticollegio", also in the Doge's Palace.