Page:Character of Renaissance Architecture.djvu/317

Rh :Palazzo Valmarano, 133.


 * Palazzo Vendramini, 161; full orders in all three stories, 161, 162; grouping of mediæval window openings, 162; balconies, 162; disproportion of topmost entablature, 162.


 * Library of St. Mark, 121 (cut); arrangement of the metope in the frieze, 121, 122 (cuts); orders, 122; frieze and balustraded balconies, 123; free standing column under the archivolt in the order of the upper story, 123, 130.


 * Loggetta of the Campanile, 123.


 * Scuola di San Marco, description of façade, 156-158 (cut); portal, described, unreason of its composition, 156 (cut); carvings, 157.


 * Scuola di San Rocco, façade described, 158 (cut); portal, 159; window openings with mediæval features and others with pseudo-Corinthian colonnettes, 159 (cut), 160.


 * The Zecca, form of column claimed by De l'Orme as his own invention, 205.

Verona, church of San Zeno, porch and portal, 146 (cut).


 * Palazzo Bevilacqua, description of façade, 126, 127 (cut).


 * Palazzo Canalla, 126.


 * Palazzo del Consiglio, 163 (plate); presents a mediæval broletto scheme dressed out in Renaissance details, 163; in respect to its finest qualities it belongs to the Middle Ages, 163.


 * Palazzo Pompei alia Vittoria, 126.


 * Porta del Palio, description of façades, 125 (cut), 126.

Vicenza, Town hall portico by Palladio, 130-132 (cut); use of free standing columns under the archivolts, 130; columns of the great orders act somewhat as buttresses, 131.


 * Palazzo Colleone-Porta, 133.


 * Palazzo Porta-Barbarano, 133.


 * Palazzo Valmarano, 133.


 * Loggia Bernarda, 133 (cut).

Vignola, l' Cinque Ordine d' Architettura, 84, 85,92; entablature which he calls his own invention, 85 (cut); his unclassic and incongruous combinations, 86, 95; eliminates mediæval forms, 92; tablet from, 95 (cut); great influence of his writings, 248; ch. of Sant' Andrea di Ponte Molle, Rome, 86-89 (cuts), 92; ch. of Santa Maria degli Angeli, Assisi, 89; ch. of the Gesù, Rome, 91-95 (cuts); Palazzo Caprarola, near Viterbo, 128.

Violette-le-Duc, S. V. Chllteau, 171$1$, 181$1$; Entretiens sur l' Architecture, 207$8$; quoted on French architects of the Renaissance, 179$1$; quoted on château of Chambord, 191; quoted on De l'Orme, 200$1$; his genius more scientific than artistic, 200$1$; quoted on the château of Charleval, 211, 212; errs in his reasoning in his discourse on Renaissance architecture, 211-213.

Villani, quoted, 2.

Villari, cited, 3$1$.

Viterbo, Palazzo Caprarola, near Viterbo, general description of, 128-130; a source of inspiration to later architects of transalpine Renaissance, 130.

Vitruvius, 85; quoted on the orders, 86; taken by Palladio as his master, 96, 97; later Renaissance architects based their practice on the writings of, 119; cited on meaningless Roman ornamental designs, 170$1$; notion that the Ionic order was designed after female proportions, derived from, 207$1$.

Walpole, Horace, Anecdotes of Painting, 226; quoted on Inigo Jones, 226, 229; quoted on faults of Jones's façade of old St. Paul's; London, 231, 232.

Ware, Isaac, A Complete Body of Architecture, 248$1$, 249$1$; quoted on the rules of ancient architects, 248, 249.

Wenz, Paul, Die Kuppel des Domes Santa Maria del Fiore zu Florence, 20$1$.

Willis, his term "continuous impost" used, 188$1$.

Window openings, framed by structural members without structural meaning, 116; a peculiar form of compound, sometimes called an invention of Scamozzi, 134 (cut), 143; the same form occurs in the basilica of Shakka, 134 (cut); tapering jamb shafts, 137 (cut), 142, 149; illogical scheme of, which became characteristic of Lombard and Venetian Renaissance architecture, 148 (cut); mediæval form of those in Venetian palaces, 159 (cut), 160, 162; Lower Walterstone Hall, England, illustrates Elizabethan neo-classic ornamentation, 221 (cut); château of Azay le Rideau, France, Flamboyant Gothic and neoclassic forms combined, 186 (cut); château of Charleval, France, unmeaning variation of details, 210, 211 (cut); Palazzo Bartolini, Florence, 109 (cut); Palazzo Guardagni, Florence, 107; the Quaratesi, Florence, 106; the Riccardi, Florence, mediæval in their larger features, hut with tapering jamb shafts, 103; Palazzo Rucellai, Florence, 109 (cut); Ospedale Maggiore, Milan, 165 (cut); of the Certosa of Pavia, tapering jamb shafts, 137 (cut); Palazzo Cancelleria, 112 (cut); of Palazzo Farnese, Rome,