- Château of Charleval, 209-213 (cuts); exterior façade, pilasters which have no entablature to support, 210; unmeaning variation of the detail of the several bays, 210; interior façade, the division of the building into two stories not expressed on the outside, 211; court of Kirby Hail, England, resembles, 218.
- Château of Chenonceaux, portal where Flamboyant idea is treated in neo-classic details, 188 (cut).
- Château of Ecouen, architectural scheme is comparatively simple, 191; in the portico of the court is reproduced the order of a Roman temple without admixture of mediæval details or Italian corruptions, 192.
- Château of Fontainebleau follows the general character of early French Renaissance, 191.
- Château of La Rochefoucauld, arcades of the court where Flamboyant arches are framed with pilasters, 188; open gallery, 191.
- Château of St. Germain en Laye, 192, 193; buttresses, 192; window openings, 192.
- Villers Cotterets, column claimed by De l'Orme as his own invention, 202 (cut).
French architecture. Renaissance influence upon, 179.
French Renaissance. See Renaissance in France.
Frieze, problem of the arrangement of metope and triglyph at the end of, 121, 122 (cuts); of library of St. Mark, Venice, 123 (cut).
Galleries, open, covered by extension of the main roof in French châteaux, 191.
Genoa, portal containing columns claimed by De l'Orme as his own invention, 206.
Geymiiller, Baron H. von. Die ursprünglichen Entwürf für Sanct Peter in Rom, 472. 492.
Gisors, Church of SS. Gervais and Protais, the west front Flamboyant Gothic with incongruous Renaissance details, 214.
Gotch, Architecture of the Renaissance in England, 2171; cited on Kirby Hall, England, 2183; on Longford Castle, England, 221; on Tixall Castle, 222; on Stanway, Westwood Park, Wollaton Hall, 223.
Gothic, King James's, 227.
Gothic architectural carving, has at once an appropriate architectural character and a high degree of excellence in the development of form, 167, 172; foliation, 176; the grotesque, 177.
Gothic architecture, development and character of, cited, 71; cited on dome of Salamanca, 572, 592; cited on early stage of apsidal vault development, 591.
Gothic architecture, one of the three distinctive styles of architecture, 6; beauty and structural logic of, 7; use of wooden ties, 222; why a dome cannot have the character of a Gothic vault, 20, 21, 56-59 (cuts); variety which arises through some new constructive idea, 2111; French Renaissance châteaux in which distorted neo-classic details are worked into a pseudo-Gothic scheme, 184; Wren's scheme to reconcile the Gothic to a better manner, 238, 243, 245.
Gothic art forms a new French order, a true evolution out of the ancient orders superbly adapted to new conditions, 206.
Goujon, sculptures of the fountain of the Innocents, Paris, 196.
Greek architectural carving, vitality of, 169 (cut), 171, 174 (cut); beauty of leafage, 174, 176 (cuts).
Greek architecture, the classic style which was followed in Renaissance architecture was that of the decadent Greek schools as represented in Roman copies, 4, 247; the only proper use of the classic order made in, 43.
Greek coin (of Metapontum), conventionalized ear of barley on, compared with Renaissance carving, 169, 170 (cut).
Greek sculpture on buildings is in a measure independent of the building on which it is placed, 167.
Grotesque, the, in architectural carving, the northern races only capable of conceiving it in an imaginative way, 177; in Renaissance architecture uniformly weak and characterless, 176, 177 (cuts).
Guasti, Santa Maria del Fiore, 132; quoted on Brunelleschi's account of the dome of Florence, 181.
Gubbio, his work on the ducal palace, Venice, arabesque after Roman model, 167 (cut).
Hermæ, of façade of the Gesù, Rome, 93; of the Tuileries, Paris, 207.
Human figure, in sculpture, on buildings, 167; has little proper architectural character in the Renaissance, 167.
Impost, continuous, 1881.
Individuality, element of, in Renaissance architecture, 4; as developed by Middle Ages and by Renaissance, 5.
Innocent XI, Pope, his inquiries as to the safety of the dome of St. Peter's, 59.
Intellectual movement in the Renaissance, 2, 8.
Ionic volutes, 84.
