28. In varj luoghi tanto di fuora, quanto fra le due Cupole si vedon rotti, o distaccati alcuni pezzi di marmo a coda di rondine messi in questi ultimi anni attroverso alle spaccature per vedere se la fabrica faceva moto.
29. I paletti de’ cerchi L che cingono la Cupola interiore, si vedono in alcuni luoghi rimossi dal sito verticale per più once.
30. Di fuora nell’ordin’ Attico da _m_ fino ad _n_ si vedono in più siti delle aperture orizontali nelle commessure de’ travertini rialzati un tantino, e un simil moto si riscontra in alcuni stipiti delle finestre esteriori nel corridoretto K, che gira tra le due Cupole.
31. Questo è ciò, che abbiamo veduto cogli occhi nostri. Di più fatti esaminare i pilastri _b_ col piombino si è trovato, che sbilanciano in fuora, altri tre once, altri due e mezza, ed altri meno, e altrettanto in circa sbilanciano pur’ in fuora i pilastri de’ contraforti G, che stanno attaccati al tamburo. Ma de’ pilastri esteriori de’ medesimi contraforti alcuni sbilanciano un tantino in dentro, altri stanno a un di presso a piombo.
32. La gran spaccatura sopra il pilone della Veronica sul cornicioncino dell’Attico in _h_ è di quattro once, e vene sono due vicinissime, in cui essa diramasi di un’oncia e mezza fra tutte due. Quella in faccia sopra il Longino è di due once e mezza. Ivi le spaccature in giro sono in numero 27, e tanto grosse, che messe insieme si trovano di 22 once, e poco più sù di 24.
INDEX
- Aachen, dome, [11] (cut).
- Abutments, lack of, in the dome of Florence cathedral, [22], [23];
- of dome of St. Peter’s, [50] (cut), [53].
- Agnolo, Baccio d’, his work on the Palazzo Bartolini, Florence, [109];
- his innovation in framing window openings, [109], [116].
- Aisles, treatment of façade over the, in ch. of Santa Maria Novella, Florence, [37];
- in ch. of Sant’Agostino, Rome, [74].
- Alberti, Leon Batista, said by Milizia to be regarded as one of the principal restorers of the architecture of antiquity, [35];
- his use of the Roman triumphal-arch design as a model for his façades, [38], [39–43] (cuts);
- applied himself to writing on, rather than practising architecture, [107], [108];
- his influence seen in Bramante’s works, [112];
- ch. of Santa Maria Novella, Florence, [35], [41], [42];
- ch. of Sant’Andrea of Mantua, [38–42] (cut and plate), [53];
- Palazzo Rucellai, Florence, [107], [108] (cut).
- Angelo, Michael, [90];
- design for the tomb of Pope Julius II., [46];
- his work on St. Peter’s, [53–65] (cuts), [237];
- date of his appointment as architect of St. Peter’s, [53];
- his alterations of Bramante’s plan, [53], [70];
- his admiration for the dome of Florence cathedral, [55];
- quoted on the Pantheon dome, [55];
- defects in his scheme, [63], [64];
- his makeshifts, [66];
- windows of Palazzo Farnese, Rome, [116], [117] (cut).
- Angle, Roman treatment of the, [79] (cut);
- pilasters on the, [78–81] (cut).
- Arabesque, Renaissance in imitation of Roman, [167] (cuts).
- Arcades, of the court of Palazzo Farnese, use of Roman combination of arch and entablature, [118];
- cloister of Santa Maria della Pace, Rome, [119];
- château of La Rochefoucauld, France, Flamboyant arches framed with pilasters, [188].
- Arch, the radical nature of the change wrought in architecture by the introduction of, was never grasped by the imperial Roman designers, [37];
- the Roman triumphal, used as a model of Renaissance façades, [38], [39–43] (cuts);
- the Roman arch and entablature scheme applied to a continuous arcade, [118], [119];
- of Flamboyant depressed or three-centred form, [184], [188].
- Architectural carving of the Renaissance, [167–178] (cuts).
- See [Carving, Architectural].
- Architectural shams, use of, in the Renaissance, [32], [121], [132].
- Architecture, the communal and individual spirit in, [4], [5];
- its division into three distinctive styles and two classes, [6], [7];
- proper meaning of the term, [152];
- structural integrity a fundamental prerequisite of good, [24];
- use of structural members without structural meaning violates the true principles of architectural design, [68];
- mechanical rules cannot reach the law of the proportions of a genuine work of art, [133], [207], [249];
- conscious effort to be original in, is inevitably disastrous, [206];
- the noblest, has always been mainly a social, communal, and national, not a personal product, [206].
- Arezzo, church of Santissima Annunziatta, [83];
- nave, [83] (cut).
- Arnolfo, his design for the dome of Florence cathedral, [13] (cut), [16].
- Artificial elements in architectural ornamentation, use of, [172].
- Assisi, church of Santa Maria degli Angeli, [89];
- date, [89];
- general plan, [89];
- chapels, [90];
- orders, [90] (cut);
- piers, [90] (cut);
- ressauts, [90];
- influence of St. Peter’s in, [90];
- façade, [90].
- Athens, the Propylæa, spacing of the columns of the order, [113];
- National Museum, leafage of capital from Epidaurus, [174] (cut).
- Attic wall, use in an interior as a support for vaulting, [151], [243];
- of the façade of the chapel of the Pazzi, Florence, [31];
- of Michael Angelo’s dome of St. Peter’s, Rome, [54].
- Baalbek, Pantheon of, [292];
- entablature, [292];
- breaking of the pediment, [94], [95] (cut), [117];
- ressauts, [95].
- Baccio d’Agnolo, architect of tower of Santo Spirito, Florence, [82].
- Balconies, with balustrades, [160].
- Baldinucci, _Lettera di Filippo Baldinucci Intorno al modo di dar Proporzione alle Figure_, etc., [2492];
- quoted on rules of proportion in art, [250].
- Barley, ear of, in Renaissance and in Greek carving compared, [169] (plate and cut).
- Barrozzi, Giacomo. See [Vignola].
- Beltrami, Luca, _Il Pantheon_, [891].
- Benedict XIV, Pope, his inquiries as to the safety of the dome of St. Peter’s, [60].
- Bernini, Wren’s meeting with him at Paris, [233].
- Berty, Adolphe, _Les Grands Architectes Français de la Renaissance_, [1941], [2001];
- quoted on Lescot, [194], [1961];
- quoted on De l’Orme, [2001].
- Bettini, Giovanni, his work on the church of Santa Maria Novella, Florence, [35].
- Blind arcade, forms proper decoration for mediæval interiors, [29].
- Bloomfield, Reginald, A History of Renaissance Architecture in England, [218], [2322];
- quoted on Inigo Jones, [232].
- Bologna, Palazzo Bevilacqua, [165];
- window openings of mediæval form without central shaft, [165].
- Bourges, house of Jacques Cœur, a forerunner of the Renaissance châteaux, [180].
- Bramante, his birth and early work, [44];
- the Tempietto of San Pietro in Montorio, [44–46] (cut), [239];
- his work on St. Peter’s, Rome, [47–53] (cuts), [63], [64], [70], [236];
- his use of the Pantheon and Basilica of Maxentius as models, [49–52] (cuts);
- alteration of his scheme by others, [493], [53–55], [64], [70];
- weakness of his scheme, [52];
- accused of poor workmanship, [64];
- ch. of Santa Maria della Consolazione at Todi, [74–77] (cuts);
- his work on the cathedral of Como, [144];
- ch. of Santa Maria delle Grazie, Milan, [140], [142];
- ch. of San Satiro, Milan, [138] (cut);
- cloister of Santa Maria della Pace, Rome, [119];
- Palazzo Cancelleria, Rome, [112–114] (cut).
- Brescia, Palazzo Comunale, [163],
- of the broletto type, [163],
- window openings, [164];
- Palazzo Martinengo, peculiar and meaningless style of window opening, [166] (cut);
- Palazzo Municipale, leafage of capitals, [176] (cut).
- Brunelleschi, the dome of Florence cathedral, [10–25], [22], [48], [50], [54], [55];
- his own account of the dome quoted, [181], [221];
- his great ability, [21];
- his scaffolding, [213];
- why he led the way in a wrong direction, [22], [25], [63];
- character of his work in general, [26];
- his use of the orders, [26];
- the chapel of the Pazzi, Florence, [26–32] (cuts), [175];
- ch. of San Lorenzo, Florence, [33];
- ch. of Santo Spirito, Florence, [33];
- the Pitti palace, Florence, [106];
- Palazzo Pazzi or the Quaratesi, Florence, [106];
- leafage of capital, [175] (cut).
- Bullant, _Reigle Géneralle de Architecture_, [1921];
- his reproduction of the order of a Roman temple in the portico of the château of Écouen, [192].
- Buttresses, in support of domes, [10], [53];
- of St. Peter’s, Rome, [53] (cut), [55], [56], [59];
- of a circular Gothic vault, [571];
- concealing of, in St. Paul’s, London, [244], [245] (cut).
- Byzantine architecture, [6], [7];
- term loosely applied, [291];
- the dome on pendentives is the distinguishing structural feature of, [291];
- their domes were properly constructed, [63];
- scheme prevails in Renaissance architecture, [74].
- Caen, church of St. Pierre, exterior of apse with Lombard Renaissance details applied to a Flamboyant structural scheme, [214].
- Cambridge, England, Caius College, gate of honor, neo-classic features, [223].
- Carving, architectural, of the Renaissance, [167–178] (cuts):
- Sculpture of the human figure on Renaissance buildings has little proper architectural character, [167];
- Relief carving, [167–178] (cuts);
- pictorial treatment of, [158];
- a great deal is in close imitation of Roman models, [167] (cut), [171], [172];
- the best is superior to that of ancient Rome, [168], [170], [176];
- conventionalization of forms, [169] (plate and cut);
- formal convolutions of, [170], [171];
- the finish, in many cases, mere surface smoothing, [170], [171];
- two schemes which are used with wearisome repetition, [171];
- arrangement of composition and treatment of details often artificial and inorganic, [172] (cut), [173] (cuts);
- the finest forms those of foliation, [170], [174];
- leafage of capitals, [175–178] (cuts);
- artificial convention of the ridges which mark the subdivisions of the leaf surface, [176] (cuts);
- the grotesque is uniformly weak and characterless, [176–178] (cuts);
- _Putti_ are without particular merit as design, [178].
- Casati, _I Capi d’Arte di Bramante da Urbino nel Milanese_, [1381], [1421].
- Cecchini, _Opinione Intorno lo Stato della gran Cupola del Duomo di Firenze_, [241];
- cited on the stability of the dome of Florence cathedral, [233], [241].
- Celled vault, a Gothic circular, [20], [21];
- nature of its construction, [56–59] (cuts).
- Chains, binding, [12], [22], [74];
- of the dome of Florence cathedral, [19], [241];
- of St. Peter’s, Rome, [59], [60].
- Chambers, Sir William, _Treatise on the Decorative Part of Civil Architecture_, [1341].
- Chimney-stacks in shape of Doric columns in Elizabethan houses, [217] (cut), [223].
- Church, the, in Middle Ages and Renaissance period, [1–3].
- Church architecture, of the Florentine Renaissance, [26–43] (cuts);
- of the Roman Renaissance, [66–101] (cuts);
- of the Renaissance in North Italy, [135–153].
- Clamps, metal, used in masonry, [222];
- of St. Peter’s dome, [60].
- Classic inspiration in the Renaissance, [4], [97], [119].
- Classic models, the classic style which was followed in the Renaissance was that of the decadent Greek schools as represented in Roman copies, [4], [247];
- misuse of, [33], [84].
- Claudian aqueduct, [106].
- Coffering, Roman, in interior of church of Sant’Andrea of Mantua, [39].
- Colonnade of Bramante’s scheme for St. Peter’s dome, [51], [56].
- Columns, small, free-standing, placed by Sansovino on each side of the pier to bear the archivolt, [123], [130];
- often spoken of as an innovation of Sansovino and Palladio, but instances of it occur in Græco-Roman architecture of Syria, [131] (cut);
- peculiar form of, claimed by De l’Orme as his own invention, [201–206] (cut);
- practically the same column occurs in Serlio’s book, [203] (cut);
- an ancient adumbration of this form occurs in the Porta Maggiore, Rome, [205];
- other Italian examples of the same column, [205], [206];
- mention of its use in England, [221], [222], [229];
- notion that the Ionic order was designed after female proportions, [207].
- Communal spirit of the Middle Ages, [4], [5].
- Como, cathedral, [144–149] (cuts);
- description of exterior, [144];
- details are mediæval Lombard modified by neo-classic elements, [144];
- portals, illogical use of arch and entablature in, [144], [145] (cuts), [149];
- window openings, variety of illogical forms in, [148] (cut);
- tapering jamb shafts, [149].
- Consoles, reversed over the aisle compartments of an exterior, [37], [74], [95].
- Constantinople, Hagia Theotokos, dome, [10] (cut);
- church of St. Sophia, dome mentioned, [10].
- Conventionalization of forms in relief carving of the Renaissance, [168] (cut).
- Corinthian capitals, [84].
- Corner pilasters, [78–81] (cut).
- Cornice, of St. Peter’s, Rome, dwarfs the effect of altitude, [68], [92];
- breaking of, [93–95] (cut).
- Cosimo de’ Medici, [103], [110].
- Court, circular, of Vignola, influences De l’Orme and Jones in building the courts of the Tuileries and Whitehall, [130], [131].
- Cunningham, _The Lives of the Most Eminent British Painters, Sculptors, and Architects_, [2172], [226] ff.;
- quoted on the unsubstantial structures of the Renaissance in England, [217].
- De l’Orme, Philibert, _Le Premier Tome de l’Architecture_, [2002] ff., [209];
- a man with little artistic genius, [200], [209];
- overestimated by Viollet le Duc, [2001], [2073];
- Adolphe Berty on, [2001];
- studied the antique in Rome, [200];
- his work on the Tuileries, [200–207] (cut);
- peculiar form of column claimed by him as his own invention, [201–206] (cut);
- his doorway, with use of the peculiar column, [203] (cut);
- description of doorway quoted from his book, [209] (cut).
- Delaborde, Viscount, quoted, [73].
- Della Porta, [73];
- façade of ch. of the Gesù, Rome, [95] (cut).
- Dolcebono, architect, Church of Monastero Maggiore, Milan, [142], [143].
- Domes, construction of early, [10–15];
- hidden externally by drum and timber roof, [10], [11] (cut);
- Byzantine, on pendentives, [10] (cut), [291];
- polygonal, [12], [243];
- pointed in outline, [12], [14], [16], [52];
- octagonal, [13], [14], [16];
- hemispherical, [243], [52];
- Arabian, [121];
- binding chains, [12], [241];
- the thrust, [151], [24], [52];
- why a dome cannot have the character of a Gothic vault, [20], [21], [56–59] (cuts);
- proper mode of constructing, settled by the ancient Romans and Byzantines, [63];
- attempt of the architects of the Renaissance to solve the great dome problem, [241], [242];
- most modern domes modelled after St. Peter’s and St. Paul’s are wooden constructions, [242];
- of Hagia Theotokos, Constantinople, [10] (cut);
- of Florence cathedral, [10–25], [65],
- design of Arnolfo, [13],
- modelled on dome of Baptistery, [16],
- details of construction, [16–20],
- magnitude of the work, [21],
- stability of, [23];
- of Florence Baptistery, details of construction, [14] (cut),
- dome of Florence cathedral derived from, [16], [20];
- vault of the chapel of the Pazzi, Florence, not a dome, [27] (cut), [28], [56];
- ch. of San Lorenzo, Florence, [34];
- vault of ch. of Santo Spirito, Florence, [34];
- St. Paul’s, London, rejected scheme, [235] (cut),
- likeness to Bramante’s scheme for St. Peter’s, Rome, [236] (cut),
- likeness to Michael Angelo’s scheme, [237],
- present structure, [239] (plate),
- recalls Bramante’s San Pietro in Montorio, Rome, [239],
- structural system of, [239–242] (cut);
- ch. of Santa Maria delle Grazie, Milan, [140] (cut);
- vault of the chapel of St. Peter Martyr, ch. of Sant’Eustorgio, Milan, like vault of chapel of the Pazzi, Florence, [142];
- ch. of San Biagio at Montepulciano, [81] (cut);
- Pisa cathedral, [12] (cut);
- ch. of Sant’Andrea di Ponte Molle, Rome, [86];
- Antonio San Gallo’s design for St. Peter’s, Rome, [71];
- Tempietto, Rome, [44] (cut);
- cath. of Salamanca approaches the nature of a Gothic vault, [57–59] (cut);
- Todi, [74] (cut), [77].
- Domestic architecture. See [Palace architecture].
- Doorway, of De l’Orme, [203] (cut);
- of Serlio, [203] (cut).
- Drum, of a dome, raised above the springing of the dome, [10–14], [23];
- dome set on the top of, [12];
- of the dome of Florence cathedral, [16];
- the central vault of the chapel of the Pazzi, Florence, [27] (cut);
- the Tempietto of San Pietro in Montorio, Rome, [44];
- St. Peter’s, Rome, [50] (cut), [53].
- Du Cerceau, engraving of the Fountain of the Innocents, Paris, [195] (cut);
- work of Lescot on the Louvre, [197] (cut);
- work of De l’Orme on the Tuileries, [201] (cut), [2212];
- project for the château of Charleval, [209].
- Durm, _Die Dom Kuppel in Florenz_, [191];
- _Die Baukunst der Renaissance in Italien_, [201];
- cited on domes, [201].