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, Juhn, 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, no; 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 Miracole, 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 facade, 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.
