Church, the, in Middle Ages and Renaissance period, 1-3.
Church architecture, of the Florentine Renaissance, 26-43 (cuts); of the Roman Renaissance, 66-101 (cuts); of the Renaissance in North Italy, 135-153.
Clamps, metal, used in masonry, 222; of St. Peter's dome, 60.
Classic inspiration in the Renaissance, 4, 97, 119.
Classic models, the classic style which was followed in the Renaissance was that of the decadent Greek schools as represented in Roman copies, 4, 247; misuse of, 33, 84.
Claudian aqueduct, 106.
Coffering, Roman, in interior of church of Sant' Andrea of Mantua, 39.
Colonnade of Bramante's scheme for St. Peter's dome, 51, 56.
Columns, small, free-standing, placed by Sansovino on each side of the pier to bear the archivolt, 123, 130, often spoken of as an innovation of Sansovino and Paliadio, but instances of it occur in Graeco-Roman architecture of Syria, 131 (cut); peculiar form of, claimed by De l'Orme as his own invention, 201-206 (cut), practically the same column occurs in Serlio's book, 203 (cut), an ancient adumbration of this form occurs in the Porta Maggiore, Rome, 205, other Italian examples of the same column, 205, 206, mention of its use in England, 221, 222, 229; notion that the Ionic order was designed after female proportions, 207.
Communal spirit of the Middle Ages, 4, 5.
Como, cathedral, 144-149 (cuts); description of exterior, 144; details are mediæval Lombard modified by neo-classic elements, 144; portals, illogical use of arch and entablature in, 144, 145 (cuts), 149; window openings, variety of illogical forms in, 148 (cut); tapering jamb shafts, 149.
Consoles, reversed over the aisle compartments of an exterior, 37, 74, 95.
Constantinople, Hagia Theotokos, dome, 10 (cut); church of St. Sophia, dome mentioned, 10.
Conventionalization of forms in relief carving of the Renaissance, 168 (cut).
Corinthian capitals, 84.
Corner pilasters, 78-81 (cut).
Cornice, of St. Peter's, Rome, dwarfs the effect of altitude, 68, 92; breaking of, 93-95 (cut).
Cosimo de' Medici, 103, no.
Court, circular, of Vignola, influences De l'Orme and Jones in building the courts of the Tuileries and Whitehall, 130, 131.
Cunningham, The Lives of the Most Eminent British Painters, Sculptors, and Architects, 2172, 226 ff.; quoted on the unsubstantial structures of the Renaissance in England, 217.
De l'Orme, Philibert, Le Premier Tome de l' Architecture, 2002 ff., 209; a man with little artistic genius, 200, 209; overestimated by Viollet le Duc, 2001, 2078; Adolphe Berty on, 2001; studied the antique in Rome, 200; his work on the Tuileries, 200-207 (cut); peculiar form of column claimed by him as his own invention, 201-206 (cut); his doorway, with use of the peculiar column, 203 (cut); description of doorway quoted from his book, 209 (cut).
Delaborde, Viscount, quoted, 73. Della Porta, 73; façade of ch. of the Gesù, Rome, 95 (cut).
Dolcebono, architect. Church of Monastero Maggiore, Milan, 142, 143.
Domes, construction of early, 10-15; hidden externally by drum and timber roof, 10, II (cut); Byzantine, on pendentives, 10 (cut), 291; polygonal, 12, 248; pointed in outline, 12, 14, 16, 52; octagonal, 13, 14, 16; hemispherical, 248, 52; Arabian, 121; binding chains, 12, 241; the thrust, 151, 24, 52; why a dome cannot have the character of a Gothic vault, 20, 21, 56-59 (cuts); proper mode of constructing, settled by the ancient Romans and Byzantines, 63; attempt of the architects of the Renaissance to solve the great dome problem, 241, 242; most modern domes modelled after St. Peter's and St. Paul's are wooden constructions, 242; of Hagia Theotokos, Constantinople, 10 (cut); of Florence cathedral, 10-25, 65, design of Arnolfo, 13, modelled on dome of Baptistery, 16, details of construction, 16-20, magnitude of the work, 21, stability of, 23; of Florence Baptistery, details of construction, 14 (cut), dome of Florence cathedral derived from, 16, 20; vault of the chapel of the Pazzi, Florence, not a dome, 27 (cut), 28, 56; ch. of San Lorenzo, Florence, 34; vault of ch. of Santo Spirito, Florence, 34; St. Paul's, London, rejected scheme, 235 (cut), likeness to Bramante's scheme for St. Peter's, Rome, 236 (cut), likeness to Michael Angelo's scheme, 237, present structure, 239 (plate), recalls Bramante's San Pietro in Montorio, Rome, 239, structural system of, 239-242 (cut); ch. of Santa Maria delle Grazie, Milan, 140 (cut); vault of the chapel of St. Peter Martyr, ch. of Sant' Eustorgio, Milan, like vault of chapel of the Pazzi, Florence, 142; ch.
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