Page:Character of Renaissance Architecture.djvu/310

262 Mathematicians' report on the condition of St. Peter's dome in 1742, 60.

Mediæval art, structural forms of, formed, for the most part, the basis of Renaissance design, 43, 247; considered false and barbaric by the neo-classicists, 97, 248; its architects transformed the classic orders in a creative way, 248.

Melani, Archittetura Italiana, 150$1$, 154$1$, 250$2$; quoted on architecture of the Renaissance, 250.

Metope, problem of making half a metope fall at the end of the frieze, 121, 122 (cuts).

Michelozzi, The Riccardi, Florence, 103; praised by Vasari, 105; the Strozzino, Florence, 106; chapel of St. Peter Martyr, ch. of Sant' Eustorgio, Milan, 142; his work in Venice, 149.

Middle Ages, conditions of the, 1; spirit of, and that of the Renaissance, 2, 5-6; individuality of, 5.

Middleton, Ancient Rome, 52I; cited on the dome of the Pantheon, 52$1$.

Milan, church of Sant' Eustorgio, chapel of St. Peter Martyr, 142; circular celled vault, 142.


 * Church of San Lorenzo mentioned, 140.


 * Church of Santa Maria delle Grazie, 140 (cut); description of exterior, 140; dome, 140; its encircling arcade suggests the encircling colonnade of the dome of St. Peter's, 142.


 * Church of Monasterio Maggiore, 142; compound window openings, 143. Church and sacristy of San Satiro, 138-140 (cut); reflects ch. of St. Andrea of Mantua, 138; orders of the interior of the sacristy, 139 (cut).


 * Ospedale Maggiore, 164; larger features are of mixed and debased mediæval character with no application of classic orders, 164; window openings, 165 (cut).


 * Palazzo Brera, arches sprung from pairs of columns connected by short entablatures, 166.

Milanesi, cited, 34$1$, 35.

Milizia, Memorie degli Architette, etc., quoted, 23$2$, 84$1$; cited on Alberti, 35, 44; cited on use of entablature block, 36; cited on safety of the dome of St. Peter's, 58$4$; cited on the strengthening of the dome of St. Peter's, 62; on ch. of Consolazione at Todi, 74; on spire-like tower of ch. of Santo Spirito, Florence, 81; cited on Vignola, 84; on dome of Sant' Andrea di Ponte Molle, Rome, 86; on window openings framed with orders, crowned with pediments, 109; quoted on Sansovino, 119, 121; quoted on Vignola, 128; quoted on De l'Orme, 194.

Montalembert, cited, 5$1$.

Montepulciano, church of San Biagio, 77-83 (cuts); interior, 78-80 (cut); ressauts, 78, 90; Doric order, 78; use of pilasters on the angles, 78, 81; exterior, 81-83 (cut); dome, 81; facade, 81; panels of upper story, 81; orders, 81, 83; towers, 81.

Naples museum, composite capital showing Roman leafage, 175.

Nave of ch. of Santissima Annunziatta, Arezzo,83 (cut); Sant' Andrea of Mantua, 38 (plate); ch. of Sant' Agostino, Rome, 72; ch. of San Giorgio Maggiore, Venice, 97, 98.

Nelli, Discorsi di Architettura, 21$3$; quoted on Brunelleschi's scaffolding, 21$3$; cited on stability of Florence dome, 23$3$, 24$1$.

Neo-classicists, their confidence in the art of Roman antiquity as the embodiment of all true principles of architectural design, 97.

Neo-pagan spirit of the Renaissance, 2, 4, 8. Nicholas V, Pope, rebuilding of basilica of St. Peter, 47.

Norton, C. E., Church Building in the Middle Ages, 21$1$; cited on building of the dome of the Florence cathedral, 21$1$.

Openings, mediæval Florentine form, 102 (cut); of domestic architecture in Perugia, 102; reveals are shallow in earlier buildings, 104; cathedral of Como, variety of illogical forms in, 148 (cut). See Window openings.

Order and symmetry of a mechanical kind seen in Renaissance architecture, 133.

Order, colossal, so-called, early use of, 40.

Order, classic, use of without structural meaning in Renaissance architecture, 6, 29, 43, 244; Brunelleschi's use of, 26; unsuitable for a building of mediæval character, 29, 43; disposition of, in various Renaissance facades, 42; misapplication and distortion of by Italians of the Renaissance, 43; used with propriety by the Greeks alone, 43; the usual size of, compared with that of St. Peter's, Rome, 67; Vignola's treatise on the Five Orders, 84; the proportions of the, altered by Vignola, 85; Vitruvius quoted on maintaining the purity of, 86; inappropriate in a church interior, 98; application of, in palace architecture, 107, 109; Renaissance innovation in spacing the columns of, 112, 114; podium introduced beneath, 112; where the columns of, act somewhat as buttresses, 131; aberrations and makeshifts made necessary by efforts to apply the classic orders to uses for which they were not adapted, 244;