- 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 alia 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, l' Cinque Ordine 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. Chllteau, 1711, 1811; Entretiens sur l' Architecture, 2078; 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 transalpine 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 Florence, 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 neoclassic 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, hut 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,
