Page:Character of Renaissance Architecture.djvu/314

266 Ribs, system of, in Florence dome, 16-19, 55 (cuts); in Gothic vaulting have nothing of the character of dome ribs, 20, 21, 56; of St. Peter's dome, Rome, 55, 56, 59; of cath. of Salamanca, 57, 58.

Riccio, Antonio, his work on east side of the court of the Ducal Palace, Venice, 154 (plate).

Rimini, San Francesco of, church of, 35; façade, 38, 42; modelled on the arch of Septimius Severus, 38, 42; ressauts, 38.

Roman arch and entablature scheme applied to a continuous arcade, 118, 119.

Roman architecture, furnished models for Renaissance architecture, 38, 40, 43, 97; use of entablature block in, 37; use of the arch in, 37; the ressaut, 38; triumphal arch design a model for Renaissance fa9ades, 38, 39-43 (cut); treatment of the angle, 79 (cut).

Roman architectural carving, furnished models for Renaissance work, 167; tasteless and meaningless designs, 170$1$; leafage of, compared with Greek leafage, 174 (cuts).

Roman Renaissance, church architecture of the, 66-101 (cuts); palatial architecture, 112-134. See Renaissance architecture and Rome.

Romanesque architecture, 7; Rhenish Romanesque style of ch. of Sant' Agostino, Rome, 72.

Rome, its monuments the inspiration of Renaissance architecture, 3, 43, 247.


 * St. Peter's, rebuilding and demolishing of the old basilica, 47; work of Rossellino, 47; work of Bramante, 47-53 (cuts), 63, 64, 70; date of the beginning of building, 47; general plan, 47, 53, 66 (cut); the plans of Raphael and Peruzzi, 472; work of Michael Angelo, 54-65 (cuts), 66; work of Maderna, 66, 245; short-sighted admiration of, 71; design of Antonio San Gallo, 71; influence of, seen in other churches, 90, 92; arabesque on door-valves, 170 (cut); Wren's scheme for St. Paul's based on the model of, 236, 237; comparison of, with St. Paul's, 236, 239, 241, 243. 245.


 * Dome, 44-65 (cuts); use of the Pantheon and the Basilica of Maxentius as models, 49-52 (cuts); drum, 50 (cut), 53; abutments, 50 (cut), 53; colonnade, 51, 56, 142; lantern, 52; piers, 53, 66, 68; buttresses, 53 (cut), 55, 56, 59; design of Michael Angelo, 53-65 (cuts); his alterations of Bramante's scheme, 53-55, 64; attic, 54 (cut); vault shells, 54 (cut), 55; ribs, 55, 56, 59; binding chains, 59, 60, 62; ruptures in, 59, 60-63 (cut), 64; mathematicians' report of the condition of the structure in 1742, 60 (cut); violation of laws of stability in, 64, 65; strengthening of Bramante's work, 64I; its beauty exaggerated, 65; likeness of Wren's scheme of St. Paul's to, 236.


 * Exterior, 68-70 (cut); makeshifts necessitated by the use of the colossal order, 68-70 (cut); aisle walls carried to the height of the clerestory, 68, 245; domes over the aisles, 68-70 (cut), 245.


 * Interior, Bramante's scheme, 53, 66; Michael Angelo's work, 53, 66-70; piers, 53, 66, 68; effect of magnitude dwarfed by the colossal order, 53, 67, 68; great size of the structural parts, 68; part of the vault hidden by the cornice, 68, 92; its ornamentation a cheap deception, 71; ressauts, 90, 92.


 * Church of the Gesù, 91-95 (cuts); Vignola's plan given in his book on the Five Orders, 92; interior, general scheme, 92; orders, 92; entablature 92; façade, 92-95 (cuts): broken pediments of, 93, 95; scroll work and hermæ, 93; reversed consoles, 95; tablets, 95 (cut).


 * Church of Sant' Agostino, 72-74 (cuts); its architects, 72; date, 72; the general style is Rhenish Romanesque, 72; nave, 72; Renaissance ornamental details, 72 (cut); facade, 73, 74 (cut); truncated pediment, 74; tablets in wall surface, 74; dome, 74.


 * Church of Sant' Andrea di Ponte Molle, 86-89 (cuts); dome, 86; façade, 86-88 (cut), 92, 101; likeness to the Pantheon, 87; entablature, 89 (cut).


 * Church of San Biagio, entablature, 78 (cut).


 * Church of Santa Maria della Pace, cloister arcade, 119.


 * Church of St. Paul outside the wall, entablature, 30$1$.


 * The Tempietto, 44-46 (cut); the dome and its drum, 44, 74; resemblance to the temple of Vesta, 44, 45; orders, 45, 83; dome of St. Paul's, London, recalls, 239.


 * Arch of Septimius Severus used as model of façades by Alberti, 38, 39-43 (cut); treatment of angle in, 79.


 * Arch of the Silversmiths, 39.


 * Arch of Titus, scheme of, used by Sansovino in the Loggetta of the Campanile, Venice, 123.


 * Basilica of Maxentius, columns and arches, 37; as model for St. Peter's, 49.