Pediment, breaking of the, 93-95 (cut), 117 (cut); one placed within another, 95 (cut); of Baalbek, 95 (cut).
Pellegrini, Palazzo Brera, Milan, 166.
Perugia, domestic architecture, 102.
- Church of S. Bernardmo, general description of façade, 135 (plate); affords a rare instance of the use of colour in Renaissance architecture, 135.
Peruzzi, Baldassare, his plan for St. Peter's, Rome, 472; Palazzo Massimi, Rome, 114-116 (cut).
Piers, pierced transversely and longitudinally, 38, 39, 150 (cuts); ch. of Santissima Annunziatta, Arezzo, 83 (cut); ch. of San Lorenzo, Florence, 34 (cut); château of Blois, France, polygonal staircase tower, 190 (cut); ch. of Sant' Andrea of Mantua, 38, 39 (plate); ch. of Sant' Agostino, Rome, alternate system, 72; St. Peter's, Rome, 53, 66, 68; Todi, 75, 76 (cut); ch. of San Giorgio Maggiore, Venice, 97, 98 (cut); ch. of St. Mark, Venice, 150 (cut); ch. of San Salvatore, Venice, 151 (cut). See Orders.
Pietra Santa, Giacomo da, said to have built the ch. of Sant' Agostino, Rome, 72.
Pilaster strips, form proper decoration for mediæval structures, 29, 82.
Pilasters, coupling of, 31; use of, in the treatment of the angles of buildings, 78-81 (cut); the panelling of, 160; of Kirby Hall, England, support nothing but miniature pedestals, 219; portico of the chapel of the Pazzi, 31 (cut); façade of Santa Maria Novella, Florence, 37, 38; National Museum, Florence, meaningless and artificial design in carving, 173 (cut); château of Azay le Rideau, France, combination of pseudo-Gothic and neoclassic forms, 186 (cut): façade of ch. of Sant' Andrea of Mantua, 41 (cut); San Biagio, Montepulciano, use of, on the angles in interior, 78 (cut); Palazzo Contarini, Venice, grouping of those of three different proportions and magnitudes, 161 (cut). See Orders.
Pisa cathedral, dome, 12.
Pisan Romanesque architecture, of façade of Santa Maria Novella, Florence, 37.
Poleni, Memorie Istorische delle Gran Cupola del Tempio Vaticano, 598; his strengthening of the dome of St. Peter's, 62, 63; quoted on poor work of Bramante, 64.
Pollaiuolo, Simione, called Il Cronaca, court and cornice of Palazzo Strozzi, Florence, 106.
Pontoise, church of St. Maclou, remarkable Renaissance north portal, 214.
Porches, church of San Zeno of Verona, a model from which an illogical form of Renaissance portal is derived, 146 (cut); Cranborn Manor-House, England, illustrates Elizabethan neo-classic ornamentation, 221, 222 (cut); Kirby Hall, England, 220; resemble Louvre pavilions, 220.
Portals, from Serlio, in which the entablature is removed between the ressauts, 117, 118 (cut); illogical use of arch and entablature in the portals of north Italy, 144, 145 (cuts); illogical Renaissance portal derived from the porch of San Zeno of Verona, 146 (cut); unreason of Renaissance portals compared with those of Greek or Gothic art, 156; of cath. of Como, illogical use of arch and entablature, 144, 145 (cut), 149; Stanway House (England) gatehouse, neo-classic features, 223; Wollaton Hall, England,, illustrates Elizabethan neo-classic ornamentation, 224 (cut); ch. of Santa Maria Novella, Florence, 36 (cut), 41; château of Azay le Rideau, France, neo-classic details worked into a pseudo-Gothic scheme, 184; château of Chenonceaux, France, Flamboyant and neo-classic forms combined, 188 (cut); ch. of San Pietro in Cielo d' Oro, Pavia, 148 (cut); Palazzo Cancelleria, Rome, of almost Greek purity of design, 114; Scuola di San Marco, Venice, 156 (cut); Porta del Palio, Verona, 125 (cut).
Portico, château of Ecouen, the order of a Roman temple is produced without admixture of mediæval details or Italian corruptions, 192.
Raphael, plans for St. Peter's, Rome, 472.
Ravenna, ch. of San Vitale mentioned, 140.
Relief carving of the Renaissance, see Carving, Architectural, of the Renaissance.
Renaissance, conditions of, 1; intellectual movement in, 2, 8; neo-pagan revival in, 2, 8; its spirit as manifested in its fine arts, 3, 4, 6, 8; its architects were sculptors and painters, 6; art of painting in, 7.
Renaissance architecture, element of individuality in, 4, 6; the classic style which, was followed was that of the decadent Greek schools as represented in Roman copies, 4, 247; architects were generally also painters and sculptors, 6, 96; a surface architecture, 6; little heed given to structural propriety, 23, 64, 66, 116; use of the classic order, 29; passing of the entablature through the arch imposts, 29; use of stucco, 32; alternation of wide and narrow intervals, 38; misapplication of the classic orders, 43, 247; the designers worked on a foundation of mediæval ideas from which they could not free
