- 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, 52I; 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 facade followed by Sansovino for the library of St. Mark's, 122.
- Palazzo Cancelleria, facade, 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, facade 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 P'arnese, 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 alia 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 freestanding 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 Generale 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, Discrizione 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.
