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Rh transformed by the mediæval architects in a creative way, 248; De l'Orme's claim of having invented a new order, which he called the French order, 202 (cut), 206.

Of the Parthenon, Athens, 67; the Temple of the Sun at Baalbek, 67$1$; chapel of the Pazzi, Florence, 29, 30 (cut); ch, of Santa Maria Novella, Florence, 35, 42 (cut); Palazzo Rucellai, Florence, 108, 109 (cut); St. Paul's, London, interior, difficulties of combining neoclassic style of, with the high vaulting, 243, 244; Whitehall, banqueting hall, London, 228 (plate), 229 (cut), 230; ch. of Sant' Andrea of Mantua, 40 (cut), 42; ch. of San Biagio at Montepulciano, 78, 81 (cuts); Duomo of Pienza, 42; St. Peter's, Rome, interior, 53, 66, dwarfs the effect of magnitude in the interior, 67, size compared with that of the Parthenon and Pantheon, 67, diminishes the effect of altitude of the vaulting, 68; Palazzo Cancelleria, Rome, podium introduced beneath, 112, innovation in spacing the columns of, 113; court of Palazzo Farnese, Rome, treatment of the capital, 118; ch. of San Francesco della Vigna, Venice, 100; ch. of San Giorgio Maggiore, Venice, raised on pedestals, 98, 101, placed under the archivolts, 98; library of St. Mark, Venice, 122, 123 (cuts); Palazzo Contarini, Venice, 161; Palazzo Vendramini, Venice, full orders in all three stories of façade, 161, 162, arrangement in lateral bay of façade, 162; town hall portico of Vicenza, the columns of, act somewhat as buttresses, 130, 131. See Columns.

Ornamentation, architectural, use of artificial elements in, 172-174 (cuts); use of forms drawn from organic nature, 174. See Carving, architectural.

Oxford, St. Mary's Church, porch, mentioned, 227; Sheldonian theatre. Wren quoted on, 234.

Padua, town hall, Palladio's scheme for town hall of Vicenza derived from, 130, 131.

Painting, Italian genius for, 6, 7; most Renaissance architects were painters and sculptors, 6, 7, 84, 96.

Palace architecture of the Renaissance, Florentine, 102-111 (cuts and plate); Roman, 112-134 (cuts); of North Italy, 154-166 (cuts); Venetian, 154-163 (cuts). See Renaissance architecture.

Pallailian architecture, 95; introduced into England by Jones, 227; far from true to classic design, 228, 230; rules are arbitrary and not in accord with the true principles of ancient art, 248.

Palladio, Quatro libri dell' Architettura di Andrea Palladio, 96$4$; his influence greater than that of any other architect of the Renaissance, 95, 248; quoted on his study of architecture, 96, 97; quoted on his admiration of his own work, 131$1$; his compositions based on order and symmetry of a mechanical kind, 133; concerned with the superficial appearance in architecture, 133; ch. of San Francesco della Vigna, Venice, 100; ch. of San Giorgio Maggiore, Venice, 97-100 (cuts); ch. of the Redentore, Venice, 100 (cut); Palazzo Valmarano, Venice, 133; Loggia Bernarda, Vicenza, 133 (cut); Palazzo Colleone-Porta, Vicenza, 133; Palazzo Porta-Barbarano, Vicenza, 133; the portico of the town hall, Vicenza, 130-132 (cut).

Pallaiuolo, Simone, Palazzo Guardagni, Florence, 107.

Palustre, Leon, L' Architecture de la Renaissance, 892; quoted on the entablature of St. Andrea di Ponte Molle, Rome, 89.

Paris, Church of St. Etienne du Mont, of Flamboyant Gothic form, with neo-classic west front and central portal, 213, 214; portal with columns modelled after those claimed by De l'Orme as his own invention, 214.


 * Church of St. Eustache, a Gothic structure overlaid with Renaissance details, 213.


 * Fountain of the Innocents, 194-196 (cut); a reproduction of the scheme of a Roman triumphal arch, 196.


 * Hotel Cluny, a forerunner of the Renaissance châteaux, 180.


 * Louvre, Lescot's work on the west wing, 196-200 (cut); orders, 198, 199; the salient pavilions, have no function, 198; breaking of the entablature in, 199; sculptured festoons heavy and formal, 199.


 * Palace of the Tuileries, work of De l'Orme, 200-207 (cuts); peculiar form of column claimed by De l'Orme as his invention, 201-206 (cut); basement arcade, 207; attic story, 207.

Parthenon, metal clamps in masonry, 22$2$; effect of a dome erected on, 89.

Pavia, Church of the Certosa, general description of façade, 136-137; Lombard Romanesque forms with pseudo-classic elements engrafted on them, 137; window openings, 137 (cut).


 * Church of San Pietro in Cielo d'Oro, portal framed by structural members without structural meaning, 148 (cut).

Pazzi, Chapel of the. See Florence.