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Rh themselves, 43, 247; use of Roman models, 43, 117, 119, 247; breaking of the pediment, 93 (cut), 117; use of structural members without structural meaning, 116, 133, 135, 156, 165; entablature removed between the ressauts, 117; later architecture the work of men of little genuine artistic inspiration, 119, 133; architectural shams extensively produced by later architects, 121, 132; attempt to make half a metope fall at the end of the frieze, 121122 (cut); barbaric compositions of frequent occurrence in later, 124; based on order and symmetry of a mechanical kind, 133; independent personal effort to be original at the bottom of most of the mistakes of, 206; no architects of, had a true conception of the principles of classic art, 230; theatrical in its spirit, 232; no true adaptation of classic elements in Renaissance design, 247; great influence of short-sighted and mechanical Italian rules in modern times, 248, 250; claims advanced for it as the only architecture of correct principles since that of classic antiquity are without justification, 250; sculpture of, see Carving, architectural, of the Renaissance.

Renaissance architecture, in England, 216-246 (cuts);


 * Elizabethan art, 216-225 (cuts); its best features were of native growth out of the mediæval feudal castle and the latest phase of perpendicular Gothic, 216, 225; use of classic details, 217, 218-225 (cuts); flimsiness of material in interiors and ornamental details, 217, 218; buildings have little foreign character in plan and outline, but neoclassic forms are confined to ornamentation, 218, 221; strange aberrations of design wrought by foreigners and native craftsmen, 218-225 (cuts); fantastic gables features of the more showy architecture, 220; Flemish and Dutch ornamental workers, 220, 224; the design and execution of the buildings were performed by building craftsmen, 224, 225.


 * Work of Jones and Wren, 226-246 (plate and cuts); use of classic details becoming established, 226, 228; acceptance of neo-classic style by the people, 228, 232, 233.

Renaissance architecture, Florentine; church architecture, 26-43 (cuts); palace architecture, 102-111 (cuts and plate). See also Renaissance architecture and Florence.

Renaissance architecture, in France, early, 179-193 (cuts); the French Renaissance château, conditions which gave rise to, 180; evolved from the feudal castle of the Middle Ages, 180, 201; factitious in composition, 179, 181, 211$3$; distorted neoclassic details worked into a pseudo-Gothic scheme, 184, 190; a survival of later Gothic habit of design is shown where the continuity of upright lines is obtained in the use of superimposed pilasters with ressauts in the entablatures, 188, 190; has a distinctly French expression, 179, 193, 194; later French Renaissance given a more marked neo-classic dress by Lescot and De l'Orme, 194-215; misuse of structural forms in ornamentation, 199; excessive profusion of ornament, 200; church architecture, Gothic structural forms largely entwined with a misapplication of classic details, 213-215.

Renaissance architecture, Lombard, 135, 136-149; neo-classic influences confined largely to ornamental details, 136; illogical scheme of openings which became characteristic of, 144-149 (cuts).

Renaissance architecture. North Italian, profusion of ornament a marked characteristic of, 136; Lombard Romanesque forms modified by neo-classic features mark the character of, 144; church architecture of the, 135-153 (cuts); mixture of mediæval and pseudo-classic forms, 149; palace architecture of the, 154-166 (cuts); later architecture of the, based on the art of Palladio and Vignola, 165. See Renaissance architecture.

Renaissance architecture, Venetian, 135; church architecture, 149-153; palace architecture, 154-163 (cuts); its most characteristic architecture is that of the palaces of the grand canal, 159; the usual scheme of the front that of a wide central bay wholly occupied by openings flanked by lateral bays with a solid wall on either side of an opening, 162, 163; neo-classic influences confined largely to ornamental details, 136; illogical scheme of openings which became characteristic of, 144-149 (cuts); drew some of its material from Florentine and Lombard sources, 149; later architecture follows the measurably uniform style of Vignola and Palladio, 153, 162; overlaying with heavy orders the typical unequal main divisions of the palace fronts, 162, 163.

Ressauts, irrational use of, 38; of façade of Santa Maria Novella, Florence, 37; of San Francesco of Rimini, 38; of ch. of Santa Maria degli Angeli, Assisi, 89.

Rhenish Romanesque style of ch. of Sant' Agostino, Rome, 72.