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); oath, 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 Florens, 191; Die Baukunst der Renaissance in Italien, 201; cited on domes, 201.
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 neoclassic 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; facade 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), Delia 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).
