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. Geymüller, Baron H. von, _Die ursprünglichen Entwürf für Sanct Peter in Rom_, 47^2, 49^2. Gisors, Church of SS. Gervais and Protais, the west front Flamboyant Gothic with incongruous Renaissance details, 214. Gotch, _Architecture of the Renaissance in England_, 217^1; cited on Kirby Hall, England, 218^3; 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, 7^1; cited on dome of Salamanca, 57^2, 59^2; cited on early stage of apsidal vault development, 59^1. Gothic architecture, one of the three distinctive styles of architecture, 6; beauty and structural logic of, 7; use of wooden ties, 22^2; why a dome cannot have the character of a Gothic vault, 20, 21, 56–59 (cuts); variety which arises through some new constructive idea, 211^1; 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.