Page:Character of Renaissance Architecture.djvu/307

Rh Fiesole, church of the Badia, façade, 32 (cut); likeness to chapel of the Pazzi, 32.

Filarete, Antonio, Ospedale Maggiore, Milan, 164 (cut) ; window openings, 165 (cut); arabesque on door-valves of St. Peter's, Rome, 170 (cut).

Fine Arts, of an epoch, the expression of its conditions, 1, 3; of the Renaissance, spirit of, 3, 4, 6; of the Middle Ages, spirit of, 2, 5.

Flamboyant Gothic style of Castle Château-dun, 184 (cut).

Florence, condition in Middle Ages and in Renaissance, 2, 3; Board of Works of Florence cathedral, 21, 22$1$.


 * Badia, façade, 32 (cut).


 * Baptistery, dome, details of construction, 14 (cut); forms inspiration for dome of the Florence cathedral, 16, 20; entablature, 30$1$; attic wall, 31; Ghiberti gates, inorganic composition with over-naturalism in details, 173 (cut).


 * Cathedral of, dome, 10-25 (design of Arnolfo, 13 (cut); modelled on the dome of the Baptistery, 16, 20, 50; details of construction, 16-20; its rib system gives it nothing of Gothic character, 20; shell, 16, 54; rib system, 16 (cuts), 55; binding chains, 19, 22; magnitude of the work, 21, 22; deliberations of the Board of Works, 21$1$, 22$1$; scaffolding, 21$3$; is fundamentally false in principle, 22, 23, 24; stability of, 23; lantern, 25; has nothing of classic Roman character, 25; its octagonal form, 55$1$; its fine features, 65.


 * Chapel of the Pazzi, 26-32 (cuts); its central vault, 27 (cut), 56; interior, 28-30 (cut); Byzantine in form, 29; orders of, 29, 31, 32; entablature, 29, 30 (cut); portico, 30 (cut), 134; panelled attic wall, 31, 81; false use of the orders, 109; leafage of capitals, 175.


 * Church of Santa Croce, pulpit, carving of, 171, 172 (cut); leafage of capitals, 176; see Chapel of the Pazzi.


 * Church of Sant' Jacopo Soprarno, 32.


 * Church of San Lorenzo, 33; celled vault, 33; mediæval features, 34; piers, 34 (cut).


 * Church of Santa Maria del Fiore, false front of wood mentioned, 120.


 * Church of Santa Maria Novella, 35; façade, 35-38 (cut), 42; orders, 35 (cut), 112; mediæval features, 35, 38; portal, 36 (cut), 41; tower, 82.


 * Church of Santo Spirito, 33; spire-like tower of, 81 (cut); pseudo-classic details, 82; lantern, 83.


 * Museum, Roman arabesque used as model for Renaissance, 167 (cut); pilaster with carving of a meaningless and artificial composition, 173 (cut).


 * Palazzo Bartolini, 109, window openings, 109 (cut), 116; Palazzo Gondi, 107, arcades of the court, 107, leafage of capitals, 176 (cut); Palazzo Guardagni, 107; Palazzo Mozzi, 102; the Pitti palace, its façade as monotonous as the Claudian aqueduct, which it resembles, 106; the Quaratesi, 106; Palazzo Riccardi, 103 (cut and plate), moderation shown in, 103, no, façade, 103, window openings, 103, arcades of interior court, 104; Palazzo Rucellai, 107, 108 (cut), application of classic orders, 108, 112, window openings, 109, rustication of the masonry, 109, resemblance between Palazzo Cancelleria and, 112, 114; Palazzo Strozzi, 106, cornice, 106, fortress-like character, 106; the Strozzino, 106; Palazzo Vecchio, 102.

Florentine Renaissance, church architecture of the, 26-43 (cuts and plate); palace architecture, 102-111 (cuts and plate); see Renaissance architecture.

Foliation, the finest feature of Renaissance architectural carving, 174.

Fontana, Carlo, cited on dome of Pisa, 13$1$; cited on stability of Florence dome, 23$3$; quoted on Michael Angelo, 55$1$, 24$1$; cited on safety of St. Peter's dome, 59; Il Tempio Vaticano e sua Origine, etc., Discritto dal Cav. Carlo Fontana, etc., 71$2$; cited on short-sighted admiration of St. Peter's, 71; cited on binding chains, 74.

France, Châteaux of, see Renaissance in France.


 * Castle Châteaudun, portal and bay in the Flamboyant Gothic style, 184 (cut).


 * Château of Azay le Rideau, 182-187 (cuts); general description, 182-184; portal and bay of characteristic French Renaissance design in which neo-classic details are worked into a pseudo-Gothic scheme, 184-187 (cut); window openings, 186; one of the finest monuments of the early Renaissance in the country, 187; portal, 214.


 * Château of Blois, cornice with neo-classic and mediæval elements combined, 182, (cut); court façade, 188-190 (cut); superimposed orders of pilasters of the court façade ornamented with bead mouldings, 188 (cut); polygonal stair-case tower, 190 (cut); garden façade, 190; open gallery of, 191.


 * Château of Chambord, its multiplicity of soaring features resembles a late Gothic building, 191; resemblance of Longford Castle, England, to, 221.