Character of Renaissance Architecture - Charles Herbert Moore

East end of the Redentore, Venice, [100], [101].
Elizabethan Art, [216–225] (cuts).
See [Renaissance in England].
England, Renaissance in, Architecture of the, [216–246] (cuts).
See [Renaissance in England].
Burghley House, chimneys in the form of a Doric order, [217] (cut);
Cranborne Manor-House, porch and façade illustrate Elizabethan neo-classic ornamentation, [221], [222] (cut);
Hardwick Castle, mention of, [217];
Kirby Hall, façades of the court, [218–220] (cut),
pilasters supporting nothing but miniature pedestals, [219],
window openings said to have been inserted by Inigo Jones, [218],
porch, description of, [220],
its scheme a variation of Lescot’s Louvre pavilions, [220],
gables of Flemish or Dutch origin, [220] (cut);
Longford Castle, [221];
French influence in, [221];
resemblance to château of Chambord, France, [221];
Lower Walterstone Hall, window illustrating Elizabethan neo-classic ornamentation, [221] (cut);
Stanway House, gatehouse portal, neo-classic features, [223];
Tixall Castle, gatehouse, neo-classic ornamentation, [222];
Westwood Park, porch in the form of a Roman triumphal arch, [223];
Wollaton Hall, neo-classic ornamentation, [223],
chimney-stacks in the semblance of Doric columns, [223],
portal, [224].
Entablature, passing through the arch impost, [29], [30] (cut);
in Roman art, [29], [30], [37];
springing of a vault from, [29], [68];
Vignola’s, [85] (cut);
removing of, between the ressauts, [117] (cut);
Roman arch and entablature scheme applied to a continuous arcade, [118], [119];
breaking of, [134] (cut), [199] (cut);
used with the arch illogically in the portals of north Italy, [144], [145] (cuts);
ch. of Santissima Annunziatta, Arezzo, [83] (cut);
the chapel of the Pazzi, Florence, running through the impost, [29] (cut);
façade of ch. of Sant’Andrea of Mantua, [40] (cut);
ch. of Sant’Andrea di Ponte Molle, Rome, the two parts which have no _raison d’être_ under a vault have been omitted, [89] (cut);
ch. of San Biagio, Montepulciano, Rome, [78] (cut);
the Gesù, Rome, has no ressauts except at the crossing, [92];
ch. of St. Paul outside the wall, Rome, [30¹];
St. Peter’s, Rome, interior, dwarfs the effect of its altitude, [68];
façade of ch. of San Francesco della Vigna, Venice, [100];
of ch. of San Giorgio Maggiore, Venice, placed above small pilasters of the archivolts, [98];
The Redentore, Venice, [101];
Todi, [75], [76] (cut).
Entablature block, in Roman art, [30], [37];
in ch. of San Lorenzo, Florence, [33] (cut);
in façade of Santa Maria Novella, Florence, [36] (cut);
in nave of ch. of Sant’Agostino, Rome, [72] (cut).
Entasis of columns in church of San Giorgio Maggiore, Venice, [98].

Façades, of the Badia of Fiesole, [32] (cut);
chapel of the Pazzi, Florence, [30] (cut);
ch. of Santa Maria Novella, Florence, [35] (cut);
old St. Paul’s cathedral, London, incongruous mixture of, [230–232] (cut);
Whitehall, London, banqueting hall, [227] (plate);
Westminster front, [229] (cut),
circular court, [230];
ch. of Sant’Andrea of Mantua, [39–42] (cut);
ch. of the Gesù, Rome, Vignola’s, [92–95] (cuts);
Della Porta’s, [95] (cut);
ch. of Sant’Andrea di Ponte Molle, Rome, [86–88] (cut), [92];
ch. of Sant’Agostino, Rome, [74] (cut);
Palazzo Cancelleria, Rome, description of, [112–114] (cut),
projecting bays at each end, [113],
portal of almost Greek purity of design, [114];
Palazzo Massimi, Rome, [114–116] (cut);
ch. of San Giorgio Maggiore, Venice, [99] (cut);
Scuola di San Marco (Venice), [156–158] (cut);
ch. of Santa Maria dei Miracole, Venice, a marvel of excellence in mechanical execution, [151], [152] (cut).
Fiesole, church of the Badia, façade, [32] (cut);
likeness to chapel of the Pazzi, [32].
Filarete, Antonio, Ospedale Maggiore, Milan, [164] (cut);
window openings, [165] (cut);
arabesque on door-valves of St. Peter’s, Rome, [170] (cut).
Fine Arts, of an epoch, the expression of its conditions, [1], [3];
of the Renaissance, spirit of, [3], [4], [6];
of the Middle Ages, spirit of, [2], [5].
Flamboyant Gothic style of Castle Châteaudun, [184] (cut).
Florence, condition in Middle Ages and in Renaissance, [2], [3];
Board of Works of Florence cathedral, [21], [22¹].
Badia, façade, [32] (cut).
Baptistery, dome, details of construction, [14] (cut);
forms inspiration for dome of the Florence cathedral, [16], [20];
entablature, [30¹];
attic wall, [31];
Ghiberti gates, inorganic composition with over-naturalism in details, [173] (cut).
Cathedral of, dome, [10–25];
design of Arnolfo, [13] (cut);
modelled on the dome of the Baptistery, [16], [20], [50];
details of construction, [16–20];
its rib system gives it nothing of Gothic character, [20];
shell, [16], [54];
rib system, [16] (cuts), [55];
binding chains, [19], [22];
magnitude of the work, [21], [22];
deliberations of the Board of Works, [21¹], [22¹];
scaffolding, [21³];
is fundamentally false in principle, [22], [23], [24];
stability of, [23];
lantern, [25];
has nothing of classic Roman character, [25];
its octagonal form, [55¹];
its fine features, [65].
Chapel of the Pazzi, [26–32] (cuts);
its central vault, [27] (cut), [56];
interior, [28–30] (cut);
Byzantine in form, [29];
orders of, [29], [31], [32];
entablature, [29], [30] (cut);
portico, [30] (cut), [134];
panelled attic wall, [31], [81];
false use of the orders, [109];
leafage of capitals, [175].
Church of Santa Croce, pulpit, carving of, [171], [172] (cut);
leafage of capitals, [176];
See [Chapel of the Pazzi].
Church of Sant’ Jacopo Soprarno, [32].
Church of San Lorenzo, [33];
celled vault, [33];
mediæval features, [34];
piers, [34] (cut).
Church of Santa Maria del Fiore, false front of wood mentioned, [120].
Church of Santa Maria Novella, [35];
façade, [35–38] (cut), [42];
orders, [35] (cut), [112];
mediæval features, [35], [38];
portal, [36] (cut), [41];
tower, [82].
Church of Santo Spirito, [33];
spire-like tower of, [81] (cut);
pseudo-classic details, [82];
lantern, [83].
Museum, Roman arabesque used as model for Renaissance, [167] (cut);
pilaster with carving of a meaningless and artificial composition, [173] (cut).
Palazzo Bartolini, [109];
window openings, [109] (cut), [116];
Palazzo Gondi, [107];
arcades of the court, [107];
leafage of capitals, [176] (cut).
Palazzo Guardagni, [107];
Palazzo Mozzi, [102];
the Pitti palace, its façade as monotonous as the Claudian aqueduct, which it resembles, [106];
the Quaratesi, [106];
Palazzo Riccardi, [103] (cut and plate),
moderation shown in, [103], [110],
façade, [103],
window openings, [103],
arcades of interior court, [104];
Palazzo Rucellai, [107], [108] (cut);
application of classic orders, [108], [112],
window openings, [109],
rustication of the masonry, [109],
resemblance between Palazzo Cancelleria and, [112], [114];
Palazzo Strozzi, [106],
cornice, [106],
fortress-like character, [106];
the Strozzino, [106];
Palazzo Vecchio, [102].
Florentine Renaissance, church architecture of the, [26–43] (cuts and plate);
palace architecture, [102–111] (cuts and plate).
See [Renaissance architecture].
Foliation, the finest feature of Renaissance architectural carving, [174].
Fontana, Carlo, cited on dome of Pisa, [13¹];
cited on stability of Florence dome, [23³];
quoted on Michael Angelo, [55¹], [24¹];
cited on safety of St. Peter’s dome, [59];
_Il Tempio Vaticano e sua Origine_, etc., Discritto dal Cav. Carlo Fontana, etc., [71²];
cited on short-sighted admiration of St. Peter’s, [71];
cited on binding chains, [74].
France, Châteaux of, see [Renaissance in France].
Castle Châteaudun, portal and bay in the Flamboyant Gothic style, [184] (cut).
Château of Azay le Rideau, [182–187] (cuts);
general description, [182–184];
portal and bay of characteristic French Renaissance design in which neo-classic details are worked into a pseudo-Gothic scheme, [184–187] (cut);
window openings, [186];
one of the finest monuments of the early Renaissance in the country, [187];
portal, [214].
Château of Blois, cornice with neo-classic and mediæval elements combined, [182], (cut);
court façade, [188–190] (cut);
superimposed orders of pilasters of the court façade ornamented with bead mouldings, [188] (cut);
polygonal staircase tower, [190] (cut);
garden façade, [190];
open gallery of, [191].
Château of Chambord, its multiplicity of soaring features resembles a late Gothic building, [191];
resemblance of Longford Castle, England, to, [221].
Château of Charleval, [209–213] (cuts);
exterior façade, pilasters which have no entablature to support, [210];
unmeaning variation of the detail of the several bays, [210];
interior façade, the division of the building into two stories not expressed on the outside, [211];
court of Kirby Hall, England, resembles, [218].
Château of Chenonceaux, portal where Flamboyant idea is treated in neo-classic details, [188] (cut).
Château of Écouen, architectural scheme is comparatively simple, [191];
in the portico of the court is reproduced the order of a Roman temple without admixture of mediæval details or Italian corruptions, [192].
Château of Fontainebleau follows the general character of early French Renaissance, [191].
Château of La Rochefoucauld, arcades of the court where Flamboyant arches are framed with pilasters, [188];
open gallery, [191].
Château of St. Germain en Laye, [192], [193];
buttresses, [192];
window openings, [192].
Villers Cotterets, column claimed by De l’Orme as his own invention, [202] (cut).
French architecture, Renaissance influence upon, [179].
French Renaissance. See [Renaissance in France].
Frieze, problem of the arrangement of metope and triglyph at the end of, [121], [122] (cuts);
of library of St. Mark, Venice, [123] (cut).

Galleries, open, covered by extension of the main roof in French châteaux, [191].
Genoa, portal containing columns claimed by De l’Orme as his own invention, [206].
Geymüller, Baron H. von, _Die ursprünglichen Entwürf für Sanct Peter in Rom_, [47²], [49²].
Gisors, Church of SS. Gervais and Protais, the west front Flamboyant Gothic with incongruous Renaissance details, [214].
Gotch, Architecture of the Renaissance in England, [217¹];
cited on Kirby Hall, England, [218³];
on Longford Castle, England, [221];
on Tixall Castle, [222];
on Stanway, Westwood Park, Wollaton Hall, [223].
Gothic, King James’s, [227].
Gothic architectural carving, has at once an appropriate architectural character and a high degree of excellence in the development of form, [167], [172];
foliation, [176];
the grotesque, [177].
_Gothic architecture, development and character of_ cited, [7¹];
cited on dome of Salamanca, [57²], [59²];
cited on early stage of apsidal vault development, [59¹].
Gothic architecture, one of the three distinctive styles of architecture, [6];
beauty and structural logic of, [7];
use of wooden ties, [22²];
why a dome cannot have the character of a Gothic vault, [20], [21], [56–59] (cuts);
variety which arises through some new constructive idea, [211¹];
French Renaissance châteaux in which distorted neo-classic details are worked into a pseudo-Gothic scheme, [184];
Wren’s scheme to reconcile the Gothic to a better manner, [238], [243], [245].
Gothic art forms a new French order, a true evolution out of the ancient orders superbly adapted to new conditions, [206].
Goujon, sculptures of the fountain of the Innocents, Paris, [196].
Greek architectural carving, vitality of, [169] (cut), [171], [174] (cut);
beauty of leafage, [174], [176] (cuts).
Greek architecture, the classic style which was followed in Renaissance architecture was that of the decadent Greek schools as represented in Roman copies, [4], [247];
the only proper use of the classic order made in, [43].
Greek coin (of Metapontum), conventionalized ear of barley on, compared with Renaissance carving, [169], [170] (cut).
Greek sculpture on buildings is in a measure independent of the building on which it is placed, [167].
Grotesque, the, in architectural carving, the northern races only capable of conceiving it in an imaginative way, [177];
in Renaissance architecture uniformly weak and characterless, [176], [177] (cuts).
Guasti, _Santa Maria del Fiore_, [13²];
quoted on Brunelleschi’s account of the dome of Florence, [18¹].
Gubbio, his work on the ducal palace, Venice, arabesque after Roman model, [167] (cut).

Hermæ, of façade of the Gesù, Rome, [93];
of the Tuileries, Paris, [207].
Human figure, in sculpture, on buildings, [167];
has little proper architectural character in the Renaissance, [167].

Impost, continuous, [188¹].
Individuality, element of, in Renaissance architecture, [4];
as developed by Middle Ages and by Renaissance, [5].
Innocent XI, Pope, his inquiries as to the safety of the dome of St. Peter’s, [59].
Intellectual movement in the Renaissance, [2], [8].
Ionic volutes, [84].
Italian domestic architecture, [102];
unwise admixture of classic elements in, [107], [109];
spirit of display in, [105], [110].
Italian genius for painting, [6], [7].

Jamb shafts, tapering, [137] (cut), [142], [149], [150].
Jones, Inigo, his work on Kirby Hall, England, [218³];
influence of Vitruvius and Palladio on, [226], [227];
travel and study in Italy, [227];
_Stonehenge Restored_, [227];
Whitehall, [227–230] (plate and cut);
Banqueting Hall, London, [227] (plate);
had no true conception of the principles of classic art, [230];
old St. Paul’s west front, [230–232] (cut);
the spirit of his architecture theatrical, [232].
Julius II, Pope, the building of St. Peter’s, [44], [46].

Kent, William, _The Designs of Inigo Jones, consisting of Plans and Elevations for Publick and Private Buildings_, [229²];
scheme for the palace of Whitehall, London, [229];
old St. Paul’s cathedral, west front, [231] (cut).

Lantern of Florence dome, [25];
St. Peter’s, Rome, Bramante’s plan, [52] (cut);
ch. of Santo Spirito, Florence, [83].
Leafage, Greek and Roman compared, [174–176] (cuts);
Renaissance, [175].
Lescot, Pierre, [194];
Fountain of the Innocents, Paris, [194–196] (cut);
influence of Serlio, [196];
west wing of the Louvre, [196–200] (cut).
Letarouilly, _Edifices de Rome Moderne_, [72¹];
cited on ch. of Sant’Agostino, Rome, [72].
Loftie, W. J., _Inigo Jones and Sir Christopher Wren_, [242¹].
Lombard blind arcade recalled in the ch. of Santa Maria dei Miracole, Venice, [151] (cut).
Lombard Romanesque architecture, towers, [82].
Lombard Romanesque, style modified by neo-classic elements mark the Renaissance architecture of northern Italy, [144];
a porch which forms a model from which an illogical Renaissance portal is derived, [145] (cuts).
Lombardi, the, [149];
architectural carving of, [169] (plate).
Lombardo, Martino, Scuola di San Marco, Venice, façade, [156].
Lombardo, Pietro, [149];
ch. of Santa Maria dei Miracole, Venice, [151] (cut);
Palazzo Corner-Spinelli, Venice, [160] (plate).
Lombardo, Tullio, [149];
ch of San Salvatore, Venice, [150].
London, St. Paul’s cathedral, west front of old structure by Inigo Jones, [230], [232] (cut);
Wren ordered to submit designs for the restoration of, [234];
his drawings for the new structure, [235–238] (cuts);
rejected scheme with details of its dome, [235], [236] (cut);
likeness of dome to Bramante’s scheme for St. Peter’s, [236];
likeness to Michael Angelo’s scheme, [237];
façade of the second design a close copy of Inigo Jones’s, [238];
present structure never embodied in any set of drawings, [239];
plan has no beauty comparable to that of St. Peter’s, [239] (cut);
comparison of, with St. Peter’s, [236], [239], [241], [243], [245];
plan and elevation, [239];
dome, [239–242] (plate);
recalls Bramante’s San Pietro in Montorio, [239];
structural system of, [240] (cut);
vaulting of the nave has somewhat the effect of Gothic vaulting, [243];
use of attic wall in support of vaulting, [243];
neo-classic orders of the interior, [244], [245] (cut);
intersecting of archivolt and entablature, [244];
concealing of the buttresses, [244], [245] (cut);
vaulting of the apse, [245].
Whitehall, Banqueting Hall, [227] (plate);
of Palladian design, [228];
orders of the façade, [228];
scheme for the palace illustrated by Kent, [229];
plan is French in character rather than Italian, [229];
order of the basement has a structural character, [229] (cut);
façade of circular court, orders of, [230].
Church of St. Stephen’s, [246];
ch. of St. Bride’s, [246];
ch. of St. Mary-le-Bow, [246];
ch. of St. Peter’s, Cornhill, [246].
Longhena, architect, Palazzo Pesaro, Venice, [163].

Maderna, the western bays of St. Peter’s, Rome, [68].
Majano, Benedetto da, the Palazzo Strozzi, Florence, [106].
Mantua, church of Sant’ Andrea, [38–42] (cut and plate);
erected and ornamented on Roman models, [38];
nave, [38] (plate);
piers, [38], [39], [53];
its interior one of the finest of the Renaissance, [39];
its scheme foreshadows that of St. Peter’s, [39], [53];
façade, [39–42] (cut);
early use of so-called colossal order, [40] (cut), [53], [66];
resemblance of central arch to that of ch. of Santa Maria Novella, Florence, [41];
panelled pilasters, [41], [160];
reflection of, seen in Bramante’s church of San Satiro of Milan, [138].
Martin, _Hist. de France_, [180¹].
_Mathematici, Parere di tre, sopra i danni che si sono trovato nella cupola di S. Pietro, etc._, [60¹].
Mathematicians’ report on the condition of St. Peter’s dome in 1742, [60].
Mediæval art, structural forms of, formed, for the most part, the basis of Renaissance design, [43], [247];
considered false and barbaric by the neo-classicists, [97], [248];
its architects transformed the classic orders in a creative way, [248].
Melani, _Architettura Italiana_, [150¹], [154¹], [250²];
quoted on architecture of the Renaissance, [250].
Metope, problem of making half a metope fall at the end of the frieze, [121], [122] (cuts).
Michelozzi, The Riccardi, Florence, [103];
praised by Vasari, [105];
the Strozzino, Florence, [106];
chapel of St. Peter Martyr, ch. of Sant’Eustorgio, Milan, [142];
his work in Venice, [149].
Middle Ages, conditions of the, [1];
spirit of, and that of the Renaissance, [2], [5–6];
individuality of, [5].
Middleton, _Ancient Rome_, [52¹];
cited on the dome of the Pantheon, [52¹].
Milan, church of Sant’Eustorgio, chapel of St. Peter Martyr, [142];
circular celled vault, [142].
Church of San Lorenzo mentioned, [140].
Church of Santa Maria delle Grazie, [140] (cut);
description of exterior, [140];
dome, [140];
its encircling arcade suggests the encircling colonnade of the dome of St. Peter’s, [142].
Church of Monasterio Maggiore, [142];
compound window openings, [143].
Church and sacristy of San Satiro, [138–140] (cut);
reflects ch. of St. Andrea of Mantua, [138];
orders of the interior of the sacristy, [139] (cut).
Ospedale Maggiore, [164];
larger features are of mixed and debased mediæval character with no application of classic orders, [164];
window openings, [165] (cut).
Palazzo Brera, arches sprung from pairs of columns connected by short entablatures, [166].
Milanesi, cited, [34¹], [35].
Milizia, _Memorie degli Architetti_, etc., quoted, [23²], [84¹];
cited on Alberti, [35], [44];
cited on use of entablature block, [36];
cited on safety of the dome of St. Peter’s, [58⁴];
cited on the strengthening of the dome of St. Peter’s, [62];
on ch. of Consolazione at Todi, [74];
on spire-like tower of ch. of Santo Spirito, Florence, [81];
cited on Vignola, [84];
on dome of Sant’Andrea di Ponte Molle, Rome, [86];
on window openings framed with orders, crowned with pediments, [109];
quoted on Sansovino, [119], [121];
quoted on Vignola, [128];
quoted on De l’Orme, [194].
Montalembert, cited, [5¹].
Montepulciano, church of San Biagio, [77–83] (cuts);
interior, [78–80] (cut);
ressauts, [78], [90];
Doric order, [78];
use of pilasters on the angles, [78], [81];
exterior, [81–83] (cut);
dome, [81];
façade, [81];
panels of upper story, [81];
orders, [81], [83];
towers, [81].

Naples museum, composite capital showing Roman leafage, [175].
Nave of ch. of Santissima Annunziatta, Arezzo, [83] (cut);
Sant’Andrea of Mantua, [38] (plate);
ch. of Sant’Agostino, Rome, [72];
ch. of San Giorgio Maggiore, Venice, [97], [98].
Nelli, _Discorsi di Architettura_, [21³];
quoted on Brunelleschi’s scaffolding, [21³];
cited on stability of Florence dome, [23³], [24¹].
Neo-classicists, their confidence in the art of Roman antiquity as the embodiment of all true principles of architectural design, [97].
Neo-pagan spirit of the Renaissance, [2], [4], [8].
Nicholas V, Pope, rebuilding of basilica of St. Peter, [47].
Norton, C. E., Church Building in the Middle Ages, [21¹];
cited on building of the dome of the Florence cathedral, [21¹].