Mathematicians' report on the condition of St. Peter's dome in 1742, 60.
Mediæval art, structural forms of, formed, for the most part, the basis of Renaissance design, 43, 247; considered false and barbaric by the neo-classicists, 97, 248; its architects transformed the classic orders in a creative way, 248.
Melani, Archittetura Italiana, 1501, 1541, 2502; quoted on architecture of the Renaissance, 250.
Metope, problem of making half a metope fall at the end of the frieze, 121, 122 (cuts).
Michelozzi, The Riccardi, Florence, 103; praised by Vasari, 105; the Strozzino, Florence, 106; chapel of St. Peter Martyr, ch. of Sant' Eustorgio, Milan, 142; his work in Venice, 149.
Middle Ages, conditions of the, 1; spirit of, and that of the Renaissance, 2, 5-6; individuality of, 5.
Middleton, Ancient Rome, 52I; cited on the dome of the Pantheon, 521.
Milan, church of Sant' Eustorgio, chapel of St. Peter Martyr, 142; circular celled vault, 142.
- Church of San Lorenzo mentioned, 140.
- Church of Santa Maria delle Grazie, 140 (cut); description of exterior, 140; dome, 140; its encircling arcade suggests the encircling colonnade of the dome of St. Peter's, 142.
- Church of Monasterio Maggiore, 142; compound window openings, 143. Church and sacristy of San Satiro, 138-140 (cut); reflects ch. of St. Andrea of Mantua, 138; orders of the interior of the sacristy, 139 (cut).
- Ospedale Maggiore, 164; larger features are of mixed and debased mediæval character with no application of classic orders, 164; window openings, 165 (cut).
- Palazzo Brera, arches sprung from pairs of columns connected by short entablatures, 166.
Milanesi, cited, 341, 35.
Milizia, Memorie degli Architette, etc., quoted, 232, 841; cited on Alberti, 35, 44; cited on use of entablature block, 36; cited on safety of the dome of St. Peter's, 584; cited on the strengthening of the dome of St. Peter's, 62; on ch. of Consolazione at Todi, 74; on spire-like tower of ch. of Santo Spirito, Florence, 81; cited on Vignola, 84; on dome of Sant' Andrea di Ponte Molle, Rome, 86; on window openings framed with orders, crowned with pediments, 109; quoted on Sansovino, 119, 121; quoted on Vignola, 128; quoted on De l'Orme, 194.
Montalembert, cited, 51.
Montepulciano, church of San Biagio, 77-83 (cuts); interior, 78-80 (cut); ressauts, 78, 90; Doric order, 78; use of pilasters on the angles, 78, 81; exterior, 81-83 (cut); dome, 81; facade, 81; panels of upper story, 81; orders, 81, 83; towers, 81.
Naples museum, composite capital showing Roman leafage, 175.
Nave of ch. of Santissima Annunziatta, Arezzo,83 (cut); Sant' Andrea of Mantua, 38 (plate); ch. of Sant' Agostino, Rome, 72; ch. of San Giorgio Maggiore, Venice, 97, 98.
Nelli, Discorsi di Architettura, 213; quoted on Brunelleschi's scaffolding, 213; cited on stability of Florence dome, 233, 241.
Neo-classicists, their confidence in the art of Roman antiquity as the embodiment of all true principles of architectural design, 97.
Neo-pagan spirit of the Renaissance, 2, 4, 8. Nicholas V, Pope, rebuilding of basilica of St. Peter, 47.
Norton, C. E., Church Building in the Middle Ages, 211; cited on building of the dome of the Florence cathedral, 211.
Openings, mediæval Florentine form, 102 (cut); of domestic architecture in Perugia, 102; reveals are shallow in earlier buildings, 104; cathedral of Como, variety of illogical forms in, 148 (cut). See Window openings.
Order and symmetry of a mechanical kind seen in Renaissance architecture, 133.
Order, colossal, so-called, early use of, 40.
Order, classic, use of without structural meaning in Renaissance architecture, 6, 29, 43, 244; Brunelleschi's use of, 26; unsuitable for a building of mediæval character, 29, 43; disposition of, in various Renaissance facades, 42; misapplication and distortion of by Italians of the Renaissance, 43; used with propriety by the Greeks alone, 43; the usual size of, compared with that of St. Peter's, Rome, 67; Vignola's treatise on the Five Orders, 84; the proportions of the, altered by Vignola, 85; Vitruvius quoted on maintaining the purity of, 86; inappropriate in a church interior, 98; application of, in palace architecture, 107, 109; Renaissance innovation in spacing the columns of, 112, 114; podium introduced beneath, 112; where the columns of, act somewhat as buttresses, 131; aberrations and makeshifts made necessary by efforts to apply the classic orders to uses for which they were not adapted, 244;
