Character of Renaissance Architecture - Charles Herbert Moore

Openings, mediæval Florentine form, [102] (cut);
of domestic architecture in Perugia, [102];
reveals are shallow in earlier buildings, [104];
cathedral of Como, variety of illogical forms in, [148] (cut);
See [Window openings].
Order and symmetry of a mechanical kind seen in Renaissance architecture, [133].
Order, colossal, so-called, early use of, [40].
Order, classic, use of without structural meaning in Renaissance architecture, [6], [29], [43], [244];
Brunelleschi’s use of, [26];
unsuitable for a building of mediæval character, [29], [43];
disposition of, in various Renaissance façades, [42];
misapplication and distortion of by Italians of the Renaissance, [43];
used with propriety by the Greeks alone, [43];
the usual size of, compared with that of St. Peter’s, Rome, [67];
Vignola’s treatise on the Five Orders, [84];
the proportions of the, altered by Vignola, [85];
Vitruvius quoted on maintaining the purity of, [86];
inappropriate in a church interior, [98];
application of, in palace architecture, [107], [109];
Renaissance innovation in spacing the columns of, [112], [114];
podium introduced beneath, [112];
where the columns of, act somewhat as buttresses, [131];
aberrations and makeshifts made necessary by efforts to apply the classic orders to uses for which they were not adapted, [244];
transformed by the mediæval architects in a creative way, [248];
De l’Orme’s claim of having invented a new order, which he called the French order, [202] (cut), [206].
Of the Parthenon, Athens, [67];
the Temple of the Sun at Baalbek, [67¹];
chapel of the Pazzi, Florence, [29], [30] (cut);
ch. of Santa Maria Novella, Florence, [35], [42] (cut);
Palazzo Rucellai, Florence, [108], [109] (cut);
St. Paul’s, London, interior, difficulties of combining neo-classic style of, with the high vaulting, [243], [244];
Whitehall, banqueting hall, London, [228] (plate), [229] (cut), [230];
ch. of Sant’Andrea of Mantua, [40] (cut), [42];
ch. of San Biagio at Montepulciano, [78], [81] (cuts);
Duomo of Pienza, [42];
St. Peter’s, Rome, interior, [53], [66],
dwarfs the effect of magnitude in the interior, [67],
size compared with that of the Parthenon and Pantheon, [67],
diminishes the effect of altitude of the vaulting, [68];
Palazzo Cancelleria, Rome, podium introduced beneath, [112],
innovation in spacing the columns of, [113];
court of Palazzo Farnese, Rome, treatment of the capital, [118];
ch. of San Francesco della Vigna, Venice, [100];
ch. of San Giorgio Maggiore, Venice, raised on pedestals, [98], [101],
placed under the archivolts, [98];
library of St. Mark, Venice, [122], [123] (cuts);
Palazzo Contarini, Venice, [161];
Palazzo Vendramini, Venice, full orders in all three stories of façade, [161], [162],
arrangement in lateral bay of façade, [162];
town hall portico of Vicenza, the columns of, act somewhat as buttresses, [130], [131].
See [Columns].
Ornamentation, architectural, use of artificial elements in, [172–174] (cuts);
use of forms drawn from organic nature, [174].
See [Carving, architectural].
Oxford, St. Mary’s Church, porch, mentioned, [227];
Sheldonian theatre, Wren quoted on, [234].

Padua, town hall, Palladio’s scheme for town hall of Vicenza derived from, [130], [131].
Painting, Italian genius for, [6], [7];
most Renaissance architects were painters and sculptors, [6], [7], [84], [96].
Palace architecture of the Renaissance, Florentine, [102–111] (cuts and plate);
Roman, [112–134] (cuts);
of North Italy, [154–166] (cuts);
Venetian, [154–163] (cuts).
See [Renaissance architecture].
Palladian architecture, [95];
introduced into England by Jones, [227];
far from true to classic design, [228], [230];
rules are arbitrary and not in accord with the true principles of ancient art, [248].
Palladio, Quattro libri dell’Architettura di Andrea Palladio, [96⁴];
his influence greater than that of any other architect of the Renaissance, [95], [248];
quoted on his study of architecture, [96], [97];
quoted on his admiration of his own work, [131¹];
his compositions based on order and symmetry of a mechanical kind, [133];
concerned with the superficial appearance in architecture, [133];
ch. of San Francesco della Vigna, Venice, [100];
ch. of San Giorgio Maggiore, Venice, [97–100] (cuts);
ch. of the Redentore, Venice, [100] (cut);
Palazzo Valmarana, Venice, [133];
Loggia Bernarda, Vicenza, [133] (cut);
Palazzo Colleone-Porta, Vicenza, [133];
Palazzo Porta-Barbarano, Vicenza, [133];
the portico of the town hall, Vicenza, [130–132] (cut).
Pallaiuolo, Simone, Palazzo Guardagni, Florence, [107].
Palustre, Leon, L’Architecture de la Renaissance, [89²];
quoted on the entablature of St. Andrea di Ponte Molle, Rome, [89].
Paris, Church of St. Etienne du Mont, of Flamboyant Gothic form, with neo-classic west front and central portal, [213], [214];
portal with columns modelled after those claimed by De l’Orme as his own invention, [214].
Church of St. Eustache, a Gothic structure overlaid with Renaissance details, [213].
Fountain of the Innocents, [194–196] (cut);
a reproduction of the scheme of a Roman triumphal arch, [196].
Hotel Cluny, a forerunner of the Renaissance châteaux, [180].
Louvre, Lescot’s work on the west wing, [196–200] (cut);
orders, [198], [199];
the salient pavilions, have no function, [198];
breaking of the entablature in, [199];
sculptured festoons heavy and formal, [199].
Palace of the Tuileries, work of De l’Orme, [200–207] (cuts);
peculiar form of column claimed by De l’Orme as his invention, [201–206] (cut);
basement arcade, [207];
attic story, [207].
Parthenon, metal clamps in masonry, [22²];
effect of a dome erected on, [89].
Pavia, Church of the Certosa, general description of façade, [136–137];
Lombard Romanesque forms with pseudo-classic elements engrafted on them, [137];
window openings, [137] (cut).
Church of San Pietro in Cielo d’Oro, portal framed by structural members without structural meaning, [148] (cut).
Pazzi, Chapel of the. See [Florence].
Pediment, breaking of the, [93–95] (cut), [117] (cut);
one placed within another, [95] (cut);
of Baalbek, [95] (cut).
Pellegrini, Palazzo Brera, Milan, [166].
Perugia, domestic architecture, [102].
Church of S. Bernardino, general description of façade, [135] (plate);
affords a rare instance of the use of colour in Renaissance architecture, [135].
Peruzzi, Baldassare, his plan for St. Peter’s, Rome, [47²];
Palazzo Massimi, Rome, [114–116] (cut).
Piers, pierced transversely and longitudinally, [38], [39], [150] (cuts);
ch. of Santissima Annunziatta, Arezzo, [83] (cut);
ch. of San Lorenzo, Florence, [34] (cut);
château of Blois, France, polygonal staircase tower, [190] (cut);
ch. of Sant’Andrea of Mantua, [38], [39] (plate);
ch. of Sant’Agostino, Rome, alternate system, [72];
St. Peter’s, Rome, [53], [66], [68];
Todi, [75], [76] (cut);
ch. of San Giorgio Maggiore, Venice, [97], [98] (cut);
ch. of St. Mark, Venice, [150] (cut);
ch. of San Salvatore, Venice, [151] (cut).
Pietra Santa, Giacomo da, said to have built the ch. of Sant’Agostino, Rome, [72].
Pilaster strips, form proper decoration for mediæval structures, [29], [82].
Pilasters, coupling of, [31];
use of, in the treatment of the angles of buildings, [78–81] (cut);
the panelling of, [160];
of Kirby Hall, England, support nothing but miniature pedestals, [219];
portico of the chapel of the Pazzi, [31] (cut);
façade of Santa Maria Novella, Florence, [37], [38];
National Museum, Florence, meaningless and artificial design in carving, [173] (cut);
château of Azay le Rideau, France, combination of pseudo-Gothic and neo-classic forms, [186] (cut);
façade of ch. of Sant’Andrea of Mantua, [41] (cut);
San Biagio, Montepulciano, use of, on the angles in interior, [78] (cut);
Palazzo Contarini, Venice, grouping of those of three different proportions and magnitudes, [161] (cut).
Pisa cathedral, dome, [12].
Pisan Romanesque architecture, of façade of Santa Maria Novella, Florence, [37].
Poleni, Memorie Istoriche delle Gran Cupola del Tempio Vaticano, [59³];
his strengthening of the dome of St. Peter’s, [62], [63];
quoted on poor work of Bramante, [64].
Pollaiuolo, Simione, called Il Cronaca, court and cornice of Palazzo Strozzi, Florence, [106].
Pontoise, church of St. Maclou, remarkable Renaissance north portal, [214].
Porches, church of San Zeno of Verona, a model from which an illogical form of Renaissance portal is derived, [146] (cut);
Cranborn Manor-House, England, illustrates Elizabethan neo-classic ornamentation, [221], [222] (cut);
Kirby Hall, England, [220];
resemble Louvre pavilions, [220].
Portals, from Serlio, in which the entablature is removed between the ressauts, [117], [118] (cut);
illogical use of arch and entablature in the portals of north Italy, [144], [145] (cuts);
illogical Renaissance portal derived from the porch of San Zeno of Verona, [146] (cut);
unreason of Renaissance portals compared with those of Greek or Gothic art, [156];
of cath. of Como, illogical use of arch and entablature, [144], [145] (cut), [149];
Stanway House (England) gatehouse, neo-classic features, [223];
Wollaton Hall, England, illustrates Elizabethan neo-classic ornamentation, [224] (cut);
ch. of Santa Maria Novella, Florence, [36] (cut), [41];
château of Azay le Rideau, France, neo-classic details worked into a pseudo-Gothic scheme, [184];
château of Chenonceaux, France, Flamboyant and neo-classic forms combined, [188] (cut);
ch. of San Pietro in Cielo d’Oro, Pavia, [148] (cut);
Palazzo Cancelleria, Rome, of almost Greek purity of design, [114];
Scuola di San Marco, Venice, [156] (cut);
Porta del Palio, Verona, [125] (cut).
Portico, château of Écouen, the order of a Roman temple is produced without admixture of mediæval details or Italian corruptions, [192].

Raphael, plans for St. Peter’s, Rome, [47²].
Ravenna, ch. of San Vitale mentioned, [140].
Relief carving of the Renaissance, see [Carving, Architectural, of the Renaissance].
Renaissance, conditions of, [1];
intellectual movement in, [2], [8];
neo-pagan revival in, [2], [8];
its spirit as manifested in its fine arts, [3], [4], [6], [8];
its architects were sculptors and painters, [6];
art of painting in, [7].
Renaissance architecture, element of individuality in, [4], [6];
the classic style which was followed was that of the decadent Greek schools as represented in Roman copies, [4], [247];
architects were generally also painters and sculptors, [6], [96];
a surface architecture, [6];
little heed given to structural propriety, [23], [64], [66], [116];
use of the classic order, [29];
passing of the entablature through the arch imposts, [29];
use of stucco, [32];
alternation of wide and narrow intervals, [38];
misapplication of the classic orders, [43], [247];
the designers worked on a foundation of mediæval ideas from which they could not free themselves, [43], [247];
use of Roman models, [43], [117], [119], [247];
breaking of the pediment, [93] (cut), [117];
use of structural members without structural meaning, [116], [133], [135], [156], [165];
entablature removed between the ressauts, [117];
later architecture the work of men of little genuine artistic inspiration, [119], [133];
architectural shams extensively produced by later architects, [121], [132];
attempt to make half a metope fall at the end of the frieze, [121–122] (cut);
barbaric compositions of frequent occurrence in later, [124];
based on order and symmetry of a mechanical kind, [133];
independent personal effort to be original at the bottom of most of the mistakes of, [206];
no architects of, had a true conception of the principles of classic art, [230];
theatrical in its spirit, [232];
no true adaptation of classic elements in Renaissance design, [247];
great influence of short-sighted and mechanical Italian rules in modern times, [248], [250];
claims advanced for it as the only architecture of correct principles since that of classic antiquity are without justification, [250];
sculpture of, see [Carving, architectural, of the Renaissance].
Renaissance architecture, in England, [216–246] (cuts);
Elizabethan art, [216–225] (cuts);
its best features were of native growth out of the mediæval feudal castle and the latest phase of perpendicular Gothic, [216], [225];
use of classic details, [217], [218–225] (cuts);
flimsiness of material in interiors and ornamental details, [217], [218];
buildings have little foreign character in plan and outline, but neo-classic forms are confined to ornamentation, [218], [221];
strange aberrations of design wrought by foreigners and native craftsmen, [218–225] (cuts);
fantastic gables features of the more showy architecture, [220];
Flemish and Dutch ornamental workers, [220], [224];
the design and execution of the buildings were performed by building craftsmen, [224], [225].
Work of Jones and Wren, [226–246] (plate and cuts);
use of classic details becoming established, [226], [228];
acceptance of neo-classic style by the people, [228], [232], [233].
Renaissance architecture, Florentine; church architecture, [26–43] (cuts);
palace architecture, [102–111] (cuts and plate).
See also [Renaissance architecture] and [Florence].
Renaissance architecture, in France, early, [179–193] (cuts);
the French Renaissance château, conditions which gave rise to, [180];
evolved from the feudal castle of the Middle Ages, [180], [201];
factitious in composition, [179], [181], [211³];
distorted neo-classic details worked into a pseudo-Gothic scheme, [184], [190];
a survival of later Gothic habit of design is shown where the continuity of upright lines is obtained in the use of superimposed pilasters with ressauts in the entablatures, [188], [190];
has a distinctly French expression, [179], [193], [194];
later French Renaissance given a more marked neo-classic dress by Lescot and De l’Orme, [194–215];
misuse of structural forms in ornamentation, [199];
excessive profusion of ornament, [200];
church architecture, Gothic structural forms largely entwined with a misapplication of classic details, [213–215].
Renaissance architecture, Lombard, [135], [136–149];
neo-classic influences confined largely to ornamental details, [136];
illogical scheme of openings which became characteristic of, [144–149] (cuts).
Renaissance architecture, North Italian, profusion of ornament a marked characteristic of, [136];
Lombard Romanesque forms modified by neo-classic features mark the character of, [144];
church architecture of the, [135–153] (cuts);
mixture of mediæval and pseudo-classic forms, [149];
palace architecture of the, [154–166] (cuts);
later architecture of the, based on the art of Palladio and Vignola, [165].
See [Renaissance architecture].
Renaissance architecture, Venetian, [135];
church architecture, [149–153];
palace architecture, [154–163] (cuts);
its most characteristic architecture is that of the palaces of the grand canal, [159];
the usual scheme of the front that of a wide central bay wholly occupied by openings flanked by lateral bays with a solid wall on either side of an opening, [162], [163];
neo-classic influences confined largely to ornamental details, [136];
illogical scheme of openings which became characteristic of, [144–149] (cuts);
drew some of its material from Florentine and Lombard sources, [149];
later architecture follows the measurably uniform style of Vignola and Palladio, [153], [162];
overlaying with heavy orders the typical unequal main divisions of the palace fronts, [162], [163].
Ressauts, irrational use of, [38];
of façade of Santa Maria Novella, Florence, [37];
of San Francesco of Rimini, [38];
of ch. of Santa Maria degli Angeli, Assisi, [89].
Rhenish Romanesque style of ch. of Sant’Agostino, Rome, [72].
Ribs, system of, in Florence dome, [16–19], [55] (cuts);
in Gothic vaulting have nothing of the character of dome ribs, [20], [21], [56];
of St. Peter’s dome, Rome, [55], [56], [59];
of cath. of Salamanca, [57], [58].
Riccio, Antonio, his work on east side of the court of the Ducal Palace, Venice, [154] (plate).
Rimini, San Francesco of, church of, [35];
façade, [38], [42];
modelled on the arch of Septimius Severus, [38], [42];
ressauts, [38].
Roman arch and entablature scheme applied to a continuous arcade, [118], [119].
Roman architecture, furnished models for Renaissance architecture, [38], [40], [43], [97];
use of entablature block in, [37];
use of the arch in, [37];
the ressaut, [38];
triumphal arch design a model for Renaissance façades, [38], [39–43] (cut);
treatment of the angle, [79] (cut).
Roman architectural carving, furnished models for Renaissance work, [167];
tasteless and meaningless designs, [170¹];
leafage of, compared with Greek leafage, [174] (cuts).
Roman Renaissance, church architecture of the, [66–101] (cuts);
palatial architecture, [112–134].
See [Renaissance architecture] and [Rome].
Romanesque architecture, [7];
Rhenish Romanesque style of ch. of Sant’Agostino, Rome, [72].
Rome, its monuments the inspiration of Renaissance architecture, [3], [43], [247];
St. Peter’s, rebuilding and demolishing of the old basilica, [47];
work of Rossellino, [47];
work of Bramante, [47–53] (cuts), [63], [64], [70];
date of the beginning of building, [47];
general plan, [47], [53], [66] (cut);
the plans of Raphael and Peruzzi, [47²];
work of Michael Angelo, [54–65] (cuts), [66];
work of Maderna, [66], [245];
short-sighted admiration of, [71];
design of Antonio San Gallo, [71];
influence of, seen in other churches, [90], [92];
arabesque on door-valves, [170] (cut);
Wren’s scheme for St. Paul’s based on the model of, [236], [237];
comparison of, with St. Paul’s, [236], [239], [241], [243], [245].
Dome, [44–65] (cuts);
use of the Pantheon and the Basilica of Maxentius as models, [49–52] (cuts);
drum, [50] (cut), [53];
abutments, [50] (cut), [53];
colonnade, [51], [56], [142];
lantern, [52];
piers, [53], [66], [68];
buttresses, [53] (cut), [55], [56], [59];
design of Michael Angelo, [53–65] (cuts);
his alterations of Bramante’s scheme, [53–55], [64];
attic, [54] (cut);
vault shells, [54] (cut), [55];
ribs, [55], [56], [59];
binding chains, [59], [60], [62];
ruptures in, [59], [60–63] (cut), [64];
mathematicians’ report of the condition of the structure in 1742, [60] (cut);
violation of laws of stability in, [64], [65];
strengthening of Bramante’s work, [64¹];
its beauty exaggerated, [65];
likeness of Wren’s scheme of St. Paul’s to, [236].
Exterior, [68–70] (cut);
makeshifts necessitated by the use of the colossal order, [68–70] (cut);
aisle walls carried to the height of the clerestory, [68], [245];
domes over the aisles, [68–70] (cut), [245].
Interior, Bramante’s scheme, [53], [66];
Michael Angelo’s work, [53], [66–70];
piers, [53], [66], [68];
effect of magnitude dwarfed by the colossal order, [53], [67], [68];
great size of the structural parts, [68];
part of the vault hidden by the cornice, [68], [92];
its ornamentation a cheap deception, [71];
ressauts, [90], [92].
Church of the Gesù, [91–95] (cuts);
Vignola’s plan given in his book on the Five Orders, [92];
interior, general scheme, [92];
orders, [92];
entablature, [92];
façade, [92–95] (cuts);
broken pediments of, [93], [95];
scroll work and hermæ, [93];
reversed consoles, [95];
tablets, [95] (cut).
Church of Sant’Agostino, [72–74] (cuts);
its architects, [72];
date, [72];
the general style is Rhenish Romanesque, [72];
nave, [72];
Renaissance ornamental details, [72] (cut);
façade, [73], [74] (cut);
truncated pediment, [74];
tablets in wall surface, [74];
dome, [74].
Church of Sant’Andrea di Ponte Molle, [86–89] (cuts);
dome, [86];
façade, [86–88] (cut), [92], [101];
likeness to the Pantheon, [87];
entablature, [89] (cut).
Church of San Biagio, entablature, [78] (cut).
Church of Santa Maria della Pace, cloister arcade, [119].
Church of St. Paul outside the wall, entablature, [30¹].
The Tempietto, [44–46] (cut);
the dome and its drum, [44], [74];
resemblance to the temple of Vesta, [44], [45];
orders, [45], [83];
dome of St. Paul’s, London, recalls, [239].
Arch of Septimius Severus used as model of façades by Alberti, [38], [39–43] (cut);
treatment of angle in, [79].
Arch of the Silversmiths, [39].
Arch of Titus, scheme of, used by Sansovino in the Loggetta of the Campanile, Venice, [123].
Basilica of , columns and arches, [37];
as model for St. Peter’s, [49].
Baths of Caracalla, entablature, [29].
Pantheon, [10], [15¹], [87];
said to be taken as model for dome of Florence cathedral, [16];
grandeur of, [23];
as model for Bramante’s dome of St. Peter’s, [49], [52] (cuts);
its internal character, [52¹];
abutments, [49] (cut), [52];
not a homogeneous structure, [89].
Porta Maggiore, form of column similar to that claimed by De l’Orme as his own invention, [205].
Temple of Peace. See [Basilica of Maxentius].
Theatre of Marcellus, its façade followed by Sansovino for the library of St. Mark’s, [122].
Palazzo Cancelleria, façade, [112–114] (cut);
window openings, north Italian, [112], [149];
podium introduced beneath each order, [112];
spacing of the columns of the order, [112], [114];
projecting bays at each end, [113];
portal of almost Greek purity of design, [114];
court, [114].
Palazzo Farnese, [116–118];
window openings framed by structural members without structural meaning, [116], [117] (cut);
removal of entablature between ressauts over window openings, [117] (cut);
court, treatment of columns, [118].
Palazzo Girand Torlonia, [112];
window opening, north Italian, [112], [149].
Palazzo Massimi, façade described, [114–116] (cut);
wall above basement unbroken by pilasters or string courses, [114];
portico, [114], [115];
spacing of columns and pilasters of basement, [114];
window openings, [115].
Ronsard, his poem on Lescot cited, [196].
Roof, timber, built over early domes, [10], [11].
Rossellino, his use of the orders in the Duomo of Pienza, [42], [43];
his work on the basilica of St. Peter, Rome, [47].
Ruptures, in the dome of Florence cathedral, [23], [24];
in the dome of St. Peter’s, Rome, [59], [60–63] (cut);
not necessarily alarming in a properly constructed vault, [62²].
Rustication of masonry, [109];

Salamanca, cathedral of, dome, how it approaches and differs in nature from a Gothic vault, [57–59] (cuts).
San Gallo, Antonio, the elder, [90];
his work on ch. of San Biagio, Montepulciano, Rome, [78–83];
ch. of Santissima Annunziatta, Arezzo, [83].
San Gallo, Antonio, the younger, his design for St. Peter’s, Rome, [71];
Palazzo Farnese, Rome, [116].
San Gallo, Giuliano da, designed Palazzo Gondi, Florence, [107], [176];
leafage of capital, [176] (cut).
San Giovanni, Florence Baptistery, [14], [16].
Sanmichele, Porta del Palio, Verona, [125] (cut);
Palazzo Canalla, Verona, [126];
Palazzo Pompei alla Vittoria, Verona, [126];
Palazzo Bevilacqua, Verona, [126], [127] (cut).
Sansovino (Jacopo Tatti), his predilection for classic forms, [119], [120];
library of St. Mark, Venice, [121] (cut), [130];
his attempt to make half the metope fall at the end of the frieze, [121], [122];
small free-standing column placed on each side of the pier to bear the archivolt, often spoken of as an invention of, [123], [130], [131] (cut);
Loggetta of the Campanile, Venice, [123];
his use of a form of column claimed by De l’Orme as his own invention, [205].
Scaffolding said to have been employed by Brunelleschi, [21³].
Scamozzi, [133], [134];
peculiar form of compound window, sometimes called his invention, [134] (cut).
Scrollwork, of façade of the ch. of the Gesù, Rome, [93].
Sculpture, on buildings, has in Gothic art only an appropriate architectural character, and a high degree of excellence in the development of form, [167];
Greek, is in a measure independent of the building on which it is placed, [167];
of the human figure in Renaissance art, has little proper architectural character, [167];
relief carving of the Renaissance, [167–178] (cuts).
See [Carving, architectural, of the Renaissance].
Sebastiano, architect of ch. of Sant’Agostino, Rome, [72].
Serlio, Regole Generali di Architettura di Sebastiano Serlio, [44²], [196²];
cited on the work of Bramante on St. Peter’s, Rome, [47²], [49];
quoted on corner pilasters, [79];
cited on the removal of the entablature between the ressauts, [117] (cut);
influence on Lescot, [196];
his column practically the same as that claimed by De l’Orme as his own invention, [203] (cut).
Sgrilli, Descrizione e Studj dell’Insigne Fabbrica di S. Maria del Fiore, quoted, [23].
Siena, Palazzo Pubblico, [102].
Soane Museum, John Thorpe’s drawings, [218²], [221].
Spavento, church of San Salvatore, Venice, [150].
Spire, Gothic, far removed from anything proper to classic composition, [83].
Steeples, Wren’s, [246];
are the outcome of the Renaissance spire-like towers, [82].
Strozzi, Filippo, [110].
Stucco, use in Renaissance architecture, [32], [132], [133].
Syria, St. Simeon Stylites, use of the free-standing column under the archivolts, [131] (cut);
Basilica of Shakka, form of window opening reproduced in architecture of the Renaissance, [134].

Tablets, rectangular in façade surface, [74];
ugly shapes of, in the façade of The Gesù, Rome, [95] (cut);
of Vignola, [95] (cut).
Tatti, Jacopo. See [Sansovino].
Thorpe, John, his plans show a French influence, [218], [220];
little is known of him, [218²];
Kirby Hall, England, [218–220] (cuts);
Longford Castle, [221].
Thrust, the, of a dome, [15¹], [24], [52].
Ties, wooden used in Gothic buildings, [22²].
Tivoli, temple of Vesta, resemblance of the Tempietto, Rome, to, [44], [45] (cut).
Todi, church of Santa Maria della Consolazione, [74–77] (cuts);
the scheme is Byzantine, [74], [77];
dome, [74], [75], [77];
interior, [75] (cut);
orders, [75–77] (cut);
piers, [75], [76];
exterior, [77] (cut);
similarity between the sacristy of San Satiro, of Milan, and, [140];
between cath. of Como and, [144].
Towers, spire-like, of the Renaissance, [81];
scheme based on the Lombard Romanesque tower and the mediæval campanile, [82];
of ch. of San Biagio at Montepulciano, [78], [81] (cuts);
of ch. of Santo Spirito, Florence, [81], [82] (cut);
Giotto’s, [82].
Triglyph, problem of the arrangement of, at the end of the frieze, [121], [122] (cuts).
Triumphal arch used as a model of Renaissance façades, [38], [39–43] (cuts).

Vanvitelli, his placing of binding chains around the dome of St. Peter’s, Rome, [62].
Variety, unmeaning, different from that which results from an active inventive spirit, [211¹].
Vasari, Le Opere di Giorgio Vasari quoted, [16];
cited on Brunelleschi’s account of the dome of Florence, [18¹], [22¹];
cited, [33¹], [110];
cited on Alberti’s work, [35], [44], [107];
cited on rebuilding St. Peter’s, Rome, [47];
his short-sighted admiration of St. Peter’s, [71];
quoted on Michelozzi, [105], [149];
cited on the Palazzo Strozzi, Florence, [106].
Vault, Gothic, why a dome cannot have the character of a, [20], [21], [56–59] (cuts).
Vaults, the nature of the construction of a circular-celled vault on Gothic principles, [56–59] (cuts);
of the chapel of the Pazzi, Florence, [27], [28], [56];
ch. of San Spirito, Florence, [34];
chapel of St. Peter Martyr, ch. of Sant’Eustorgio, Milan, [142].
Venetian Renaissance. See [Renaissance, Venetian].
Venice, church of The Redentore, general scheme, [100] (cut);
east end, [100], [101];
orders, [101];
façade, [101].
Church of S. Fantino, [151].
Church of San Francesco della Vigna façade, [100].
Church of San Giorgio Maggiore, [97];
nave, [97], [98];
piers, [97], [98] (cut);
orders raised on pedestals, [98], [99];
placed under the archivolts, [98];
entablature, [98], [99], [101];
façade, [99] (cut), [101].
Church of Santa Maria Formosa reproduces features of St. Andrea of Mantua with details of the character of the Lombardi, [153].
Church of Santa Maria dei Miracoli, [151] (cut), [156];
refinement in details, [151];
façade a marvel of excellence in mechanical execution, [151], [152] (cut);
Lombard blind arcade recalled in decoration of the façade, [151];
carving of ear of barley and flower stalks, [169] (plate);
carved mask from a pilaster, [178] (cut).
Church of St. Mark, piers pierced longitudinally and transversely, [150] (cut).
Church of San Salvatore, [150], [151];
peculiar pier supports of the barrel vaulting, [150] (cut);
use of an attic as support for vaulting, [151];
its system is that of the ch. of St. Mark, [151].
Church of San Zaccaria, general description of interior, [149], [150];
singular column of nondescript character, [150] (cut).
Palaces of the grand canal, finest are those of the later mediæval period, [159].
Palazzo Contarini, [161];
details of façade, [161];
window openings, [161] (cut);
grouping of pilasters of three different proportions and magnitudes, [161] (cut).
Palazzo Corner-Spinelli, [160] (plate);
window openings, mediæval features, incompleted circle in the tympanum space, [160];
pilasters, panelling of, [160].
Palazzo Cornaro, description of the front, [124];
unequal main divisions of the front overladen with heavy orders, [162].
Ducal Palace, east side of the court, [154] (plate);
façade described in detail, [154], [155];
window openings described, [154], [155];
north side of court, window openings, [155] (cut);
giant’s stair, fine execution of, [156];
arabesque after Roman model, [167] (cut);
grotesque creatures in the relief of the Scala d’Oro, [177] (cut).
Palazzo Grimani, façade, [163].
Palazzo Pesaro, [163].
Palazzo Valmarano, [133].
Palazzo Vendramini, [161];
full orders in all three stories, [161], [162];
grouping of mediæval window openings, [162];
balconies, [162];
disproportion of topmost entablature, [162].
Library of St. Mark, [121] (cut);
arrangement of the metope in the frieze, [121], [122] (cuts);
orders, [122];
frieze and balustraded balconies, [123];
free-standing column under the archivolt in the order of the upper story, [123], [130].
Loggetta of the Campanile, [123].
Scuola di San Marco, description of façade, [156–158] (cut);
portal, described, unreason of its composition, [156] (cut);
carvings, [157].
Scuola di San Rocco, façade described, [158] (cut);
portal, [159];
window openings with mediæval features and others with pseudo-Corinthian colonnettes, [159] (cut), [160].
The Zecca, form of column claimed by De l’Orme as his own invention, [205].
Verona, church of San Zeno, porch and portal, [146] (cut).
Palazzo Bevilacqua, description of façade, [126], [127] (cut).
Palazzo Canalla, [126].
Palazzo del Consiglio, [163] (plate);
presents a mediæval broletto scheme dressed out in Renaissance details, [163];
in respect to its finest qualities it belongs to the Middle Ages, [163].
Palazzo Pompei alla Vittoria, [126].
Porta del Palio, description of façades, [125] (cut), [126].
Vicenza, Town hall portico by Palladio, [130–132] (cut);
use of free-standing columns under the archivolts, [130];
columns of the great orders act somewhat as buttresses, [131].
Palazzo Colleone-Porta, [133].
Palazzo Porta-Barbarano, [133].
Palazzo Valmarano, [133].
Loggia Bernarda, [133] (cut).
Vignola, I Cinque Ordini d’Architettura, [84], [85], [92];
entablature which he calls his own invention, [85] (cut);
his unclassic and incongruous combinations, [86], [95];
eliminates mediæval forms, [92];
tablet from, [95] (cut);
great influence of his writings, [248];
ch. of Sant’Andrea di Ponte Molle, Rome, [86–89] (cuts), [92];
ch. of Santa Maria degli Angeli, Assisi, [89];
ch. of the Gesù, Rome, [91–95] (cuts);
Palazzo Caprarola, near Viterbo, [128].
Violette-le-Duc, S. V. Château, [171¹], [181¹];
Entretiens sur l’Architecture, [207³];
quoted on French architects of the Renaissance, [179¹];
quoted on château of Chambord, [191];
quoted on De l’Orme, [200¹];
his genius more scientific than artistic, [200¹];
quoted on the château of Charleval, [211], [212];
errs in his reasoning in his discourse on Renaissance architecture, [211–213].
Villani, quoted, [2].
Villari, cited, [3¹].
Viterbo, Palazzo Caprarola, near Viterbo, general description of, [128–130];
a source of inspiration to later architects of trans-alpine Renaissance, [130].
Vitruvius, [85];
quoted on the orders, [86];
taken by Palladio as his master, [96], [97];
later Renaissance architects based their practice on the writings of, [119];
cited on meaningless Roman ornamental designs, [170¹];
notion that the Ionic order was designed after female proportions, derived from, [207¹].

Walpole, Horace, Anecdotes of Painting, [226];
quoted on Inigo Jones, [226], [229];
quoted on faults of Jones’s façade of old St. Paul’s, London, [231], [232].
Ware, Isaac, A Complete Body of Architecture, [248¹], [249¹];
quoted on the rules of ancient architects, [248], [249].
Wenz, Paul, Die Kuppel des Domes Santa Maria del Fiore zu Florenz, [20¹].
Willis, his term “continuous impost” used, [188¹].
Window openings, framed by structural members without structural meaning, [116];
a peculiar form of compound, sometimes called an invention of Scamozzi, [134] (cut), [143];
the same form occurs in the basilica of Shakka, [134] (cut);
tapering jamb shafts, [137] (cut), [142], [149];
illogical scheme of, which became characteristic of Lombard and Venetian Renaissance architecture, [148] (cut);
mediæval form of those in Venetian palaces, [159] (cut), [160], [162];
Lower Walterstone Hall, England, illustrates Elizabethan neo-classic ornamentation, [221] (cut);
château of Azay le Rideau, France, Flamboyant Gothic and neo-classic forms combined, [186] (cut);
château of Charleval, France, unmeaning variation of details, [210], [211] (cut);
Palazzo Bartolini, Florence, [109] (cut);
Palazzo Guardagni, Florence, [107];
the Quaratesi, Florence, [106];
the Riccardi, Florence, mediæval in their larger features, but with tapering jamb shafts, [103];
Palazzo Rucellai, Florence, [109] (cut);
Ospedale Maggiore, Milan, [165] (cut);
of the Certosa of Pavia, tapering jamb shafts, [137] (cut);
Palazzo Cancelleria, [112] (cut);
of Palazzo Farnese, Rome, framed by structural members without structural meaning, [116] (cut);
Ducal Palace, Venice, east side of court, [154];
north side, pseudo-Corinthian order of, [155] (cut);
Palazzo Contarini, Venice, grouping of the pilasters, [161] (cut);
Palazzo Corner-Spinelli, Venice, mediæval features, incomplete circle in the tympanum space, [160];
Palazzo Corneri, Venice, [124] (cut);
Palazzo Vendramini, Venice, grouping of, in the bays of the façade, [162];
Scuola di San Rocco, Venice, with mediæval features and with pseudo-Corinthian colonnettes, [159] (cut);
Palazzo Bevilacqua, Verona, [126], [127];
Palazzo Branzo, Vicenza, a peculiar form of compound window, sometimes called an invention of Scamozzi, [134].
Wren, Sir Christopher, Parentalia, or Memoir of the Family of the Wrens, [232³] ff.;
professor of astronomy at Oxford, [233];
quotations from a letter written during his visit to Paris, [233];
quoted on his Sheldonian theatre, Oxford, [234];
ordered to submit designs for the restoration of old St. Paul’s cathedral, London, [234];
his drawings of plans for the new structure, [235–238] (cuts);
building of the present structure, [239–245] (cuts);
his scheme to “reconcile the Gothic to a better manner,” [238], [243], [245];
he learned his art on the scaffold in close contact with the works, [239];
his churches other than St. Paul’s exhibit a medley of elements from spurious Gothic to pseudo-classic in irrational combinations, [245], [246];
his spires are hybrid compositions of barbaric character, [246].

Development and Character of Gothic Architecture

By CHARLES HERBERT MOORE

Second Edition, Rewritten and Enlarged. With Ten Plates in Photogravure and more than 200 Illustrations in the Text