INDEX
Aachen, dome, 11 (cut).
Abutments, lack of, in the dome of Florence cathedral, 22, 23; of dome of St. Peter's, 50 (cut), 53.
Agnolo, Baccio d', his work on the Palazzo Bartolini, Florence, 109; his innovation in framing window openings, 109, 116.
Aisles, treatment of façade over the, in ch. of Santa Maria Novella, Florence, 37; in ch. of Sant' Agostino, Rome, 74.
Alberti, Leon Batista, said by Milizia to be regarded as one of the principal restorers of the architecture of antiquity, 35; his use of the Roman triumphal-arch design as a model for his façades, 38, 39-43 (cuts); applied himself to writing on, rather than practising architecture, 107, 108; his influence seen in Bramante's works, 112; ch. of Santa Maria Novella, Florence, 35, 41, 42; ch. of Sant' Andrea of Mantua, 38-42 (cut and plate), 53; Palazzo Rucellai, Florence, 107, 108 (cut).
Angelo, Michael, 90; design for the tomb of Pope Julius II., 46; his work on St. Peter's, 53-65 (cuts), 237; date of his appointment as architect of St. Peter's, 53; his alterations of Bramante's plan, 53, 70; his admiration for the dome of Florence cathedral, 55; quoted on the Pantheon dome, 55; defects in his scheme, 63, 64; his makeshifts, 66; windows of Palazzo Farnese, Rome, 116, 117 (cut).
Angle, Roman treatment of the, 79 (cut); pilasters on the, 78-81 (cut).
Arabesque, Renaissance in imitation of Roman, 167 (cuts).
Arcades, of the court of Palazzo Farnese, use of Roman combination of arch and entablature, 118; cloister of Santa Maria della Pace, Rome, 119; château of La Rochefoucauld, France, Flamboyant arches framed with pilasters, 188.
Arch, the radical nature of the change wrought in architecture by the introduction of, was never grasped by the imperial Roman designers, 37; the Roman triumphal, used as a model of Renaissance façades, 38, 39-43 (cuts); the Roman arch and entablature scheme applied to a continuous arcade, 118, 119; of Flamboyant depressed or three-centred form, 184, 188.
Architectural carving of the Renaissance, 167-178 (cuts). See Carving, Architectural.
Architectural shams, use of, in the Renaissance, 32, 121, 132.
Architecture, the communal and individual spirit in, 4, 5; its division into three distinctive styles and two classes, 6, 7; proper meaning of the term, 152; structural integrity a fundamental prerequisite of good, 24; use of structural members without structural meaning violates the true principles of architectural design, 68; mechanical rules cannot reach the law of the proportions of a genuine work of art, 133, 207, 249; conscious effort to be original in, is inevitably disastrous, 206; the noblest, has always been mainly a social, communal, and national, not a personal product, 206.
Arezzo, church of Santissima Annunziatta, 83; nave, 83 (cut).
Arnolfo, his design for the dome of Florence cathedral, 13 (cut), 16.
Artificial elements in architectural ornamentation, use of, 172.
Assisi, church of Santa Maria degli Angeli, 89; date, 89; general plan, 89; chapels, 90; orders, 90 (cut); piers, 90 (cut); ressauts, 90; influence of St. Peter's in, 90; façade, 90.
Athens, the Propylæa, spacing of the columns of the order, 113; National Museum, leafage of capital from Epidaurus, 174 (cut).
Attic wall, use in an interior as a support for vaulting, 151, 243; of the façade of the chapel of the Pazzi, Florence, 31; of Michael Angelo's dome of St. Peter's, Rome, 54,
Baalbek, Pantheon of, 292; entablature, 292; breaking of the pediment, 94, 95 (cut), 117; ressauts, 95.
Baccio d'Agnolo, architect of tower of Santo Spirito, Florence, 82.
Balconies, with balustrades, 160.
Baldinucci, Lettera di Filippo Baldinucci Intorno al modo di dar Proporzione alle Figure, etc., 2492; quoted on rules of proportion in art, 250.
Barley, ear of, in Renaissance and in Greek carving compared, 169 (plate and cut).
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