Page:Character of Renaissance Architecture.djvu/316

268 Stucco, use in Renaissance architecture, 32, 132, 133

Syria, St. Simeon Stylites, use of the free standing column under the archivolts, 131 (cut); Basilica of Shakka, form of window opening reproduced in architecture of the Renaissance, 134.

Tablets, rectangular in façade surface, 74; ugly shapes of, in the façade of The Gesù, Rome, 95 (cut); of Vignola, 95 (cut).

Tatti, Jacopo. See Sansovino.

Thorpe, Juhn, his plans show a French influence, 218, 220; little is known of him, 218$2$; Kirby Hall, England, 218-220 (cuts); Longford Castle, 221.

Thrust, the, of a dome, 15$1$, 24, 52.

Ties, wooden used in Gothic buildings, 222.

Tivoli, temple of Vesta, resemblance of the Tempietto, Rome, to, 44, 45 (cut).

Todi, church of Santa Maria della Consolazione, 74-77 (cuts); the scheme is Byzantine, 74, 77; dome, 74, 75, 77; interior, 75 (cut); orders, 75-77 (cut); piers, 75, 76; exterior, 77 (cut); similarity between the sacristy of San Satiro, of Milan, and, 140; between cath. of Como and, 144.

Towers, spire-like, of the Renaissance, 81; scheme based on the Lombard Romanesque tower and the mediæval campanile, 82; of ch. of San Biagio at Montepulciano, 78, 81 (cuts); of ch. of Santo Spirito, Florence, 81, 82 (cut); Giotto's, 82.

Triglyph, problem of the arrangement of, at the end of the frieze, 121, 122 (cuts).

Triumphal arch used as a model of Renaissance façades, 38, 39-43 (cuts).

Vanvitelli, his placing of binding chains around the dome of St. Peter's, Rome, 62.

Variety, unmeaning, different from that which results from an active inventive spirit, 211$1$.

Vasari, Le Opere di Giorgio Vasari quoted, 16; cited on Brunelleschi's account of the dome of Florence, 18$1$, 22$1$; cited, 33$1$, no; cited on Alberti's work, 35, 44, 107; cited on rebuilding St. Peter's, Rome, 47; his short-sighted admiration of St. Peter's, 71; quoted on Michelozzi, 105, 149; cited on the Palazzo Strozzi, Florence, 106.

Vault, Gothic, why a dome cannot have the character of a, 20, 21, 56-59 (cuts).

Vaults, the nature of the construction of a circular-celled vault on Gothic principles, 56-59 (cuts); of the chapel of the Pazzi, Florence, 27, 28, 56; ch. of San Spirito, Florence, 34; chapel of St. Peter Martyr, ch. of Sant' Eustorgio, Milan, 142.

Venetian Renaissance. See Renaissance, Venetian.

Venice, church of The Redentore, general scheme, 100 (cut); east end, 100, 101; orders, 101; façade, 101.


 * Church of S. Fantino, 151.


 * Church of San Francesco della Vigna façade, 100.


 * Church of San Giorgio Maggiore, 97; nave, 97, 98; piers, 97, 98 (cut); orders raised on pedestals, 98, 99; placed under the archivolts, 98; entablature, 98, 99, 101; façade, 99 (cut), 101.


 * Church of Santa Maria Formosa reproduces features of St. Andrea of Mantua with details of the character of the Lombardi, 153.


 * Church of Santa Maria dei Miracole, 151 (cut), 156; refinement in details, 151; façade a marvel of excellence in mechanical execution, 151, 152 (cut); Lombard blind arcade recalled in decoration of the facade, 151; carving of ear of barley and flower stalks, 169 (plate); carved mask from a pilaster, 178 (cut).


 * Church of St. Mark, piers pierced longitudinally and transversely, 150 (cut).


 * Church of San Salvatore, 150, 151; peculiar pier supports of the barrel vaulting, 150 (cut); use of an attic as support for vaulting, 151; its system is that of the ch. of St. Mark, 151.


 * Church of San Zaccaria, general description of interior, 149, 150; singular column of nondescript character, 150 (cut).


 * Palaces of the grand canal, finest are those of the later mediæval period, 159.


 * Palazzo Contarini, 161; details of façade, 161; window openings, 161 (cut); grouping of pilasters of three different proportions and magnitudes, 161 (cut).


 * Palazzo Corner-Spinelli, 160 (plate); window openings, mediæval features, incompleted circle in the tympanum space, 160; pilasters, panelling of, 160.


 * Palazzo Cornaro, description of the front, 124; unequal main divisions of the front overladen with heavy orders, 162.


 * Ducal Palace, east side of the court, 154 (plate); façade described in detail, 154, 155; window openings described, 154, 155; north side of court, window openings, 155 (cut); giant's stair, fine execution of, 156; arabesque after Roman model, 167 (cut); grotesque creatures in the relief of the Scala d' Oro, 177 (cut).


 * Palazzo Grimani, façade, 163.


 * Palazzo Pesaro, 163.