Entablature, passing through the arch impost, 29, 30 (cut); in Roman art, 29, 30, 37; springing of a vault from, 29, 68; Vignola’s, 85 (cut); removing of, between the ressauts, 117 (cut); Roman arch and entablature scheme applied to a continuous arcade, 118, 119; breaking of, 134 (cut), 199 (cut); used with the arch illogically in the portals of north Italy, 144, 145 (cuts); ch. of Santissima Annunziatta, Arezzo, 83 (cut); the chapel of the Pazzi, Florence, running through the impost, 29 (cut); façade of ch. of Sant’Andrea of Mantua, 40 (cut); ch. of Sant’Andrea di Ponte Molle, Rome, the two parts which have no _raison d’être_ under a vault have been omitted, 89 (cut); ch. of San Biagio, Montepulciano, Rome, 78 (cut); the Gesù, Rome, has no ressauts except at the crossing, 92; ch. of St. Paul outside the wall, Rome, 30^1; St. Peter’s, Rome, interior, dwarfs the effect of its altitude, 68; façade of ch. of San Francesco della Vigna, Venice, 100; of ch. of San Giorgio Maggiore, Venice, placed above small pilasters of the archivolts, 98; The Redentore, Venice, 101; Todi, 75, 76 (cut). Entablature block, in Roman art, 30, 37; in ch. of San Lorenzo, Florence, 33 (cut); in façade of Santa Maria Novella, Florence, 36 (cut); in nave of ch. of Sant’Agostino, Rome, 72 (cut). Entasis of columns in church of San Giorgio Maggiore, Venice, 98. Façades, of the Badia of Fiesole, 32 (cut); chapel of the Pazzi, Florence, 30 (cut); ch. of Santa Maria Novella, Florence, 35 (cut); old St. Paul’s cathedral, London, incongruous mixture of, 230–232 (cut); Whitehall, London, banqueting hall, 227 (plate), Westminster front, 229 (cut), circular court, 230; ch. of Sant’Andrea of Mantua, 39–42 (cut); ch. of the Gesù, Rome, Vignola’s, 92–95 (cuts), Della Porta’s, 95 (cut); ch. of Sant’Andrea di Ponte Molle, Rome, 86–88 (cut), 92; ch. of Sant’Agostino, Rome, 74 (cut); Palazzo Cancelleria, Rome, description of, 112–114 (cut), projecting bays at each end, 113, portal of almost Greek purity of design, 114; Palazzo Massimi, Rome, 114–116 (cut); ch. of San Giorgio Maggiore, Venice, 99 (cut); Scuola di San Marco (Venice), 156–158 (cut); ch. of Santa Maria dei Miracole, Venice, a marvel of excellence in mechanical execution, 151, 152 (cut). Fiesole, church of the Badia, façade, 32 (cut); likeness to chapel of the Pazzi, 32. Filarete, Antonio, Ospedale Maggiore, Milan, 164 (cut); window openings, 165 (cut); arabesque on door-valves of St. Peter’s, Rome, 170 (cut).