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_, 13^2; quoted on Brunelleschi’s account of the dome of Florence, 18^1. 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, 188^1. 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. Italian domestic architecture, 102; unwise admixture of classic elements in, 107, 109; spirit of display in, 105, 110. Italian genius for painting, 6, 7. Jamb shafts, tapering, 137 (cut), 142, 149, 150. Jones, Inigo, his work on Kirby Hall, England, 218^3; influence of Vitruvius and Palladio on, 226, 227; travel and study in Italy, 227; _Stonehenge Restored_, 227; Whitehall, 227–230 (plate and cut); Banqueting Hall, London, 227 (plate); had no true conception of the principles of classic art, 230; old St. Paul’s west front, 230–232 (cut); the spirit of his architecture theatrical, 232. Julius II, Pope, the building of St. Peter’s, 44, 46. Kent, William, _The Designs of Inigo Jones, consisting of Plans and Elevations for Publick and Private Buildings_, 229^2; scheme for the palace of Whitehall, London, 229; old St. Paul’s cathedral, west front, 231 (cut). Lantern of Florence dome, 25; St. Peter’s, Rome, Bramante’s plan, 52 (cut); ch. of Santo Spirito, Florence, 83. Leafage, Greek and Roman compared, 174–176 (cuts); Renaissance, 175. Lescot, Pierre, 194; Fountain of the Innocents, Paris, 194–196 (cut); influence of Serlio, 196; west wing of the Louvre, 196–200 (cut). Letarouilly, _Edifices de Rome Moderne_, 72^1; cited on ch. of Sant’Agostino, Rome, 72. Loftie, W. J., _Inigo Jones and Sir Christopher Wren_, 242^1. Lombard blind arcade recalled in the ch. of Santa Maria dei Miracole, Venice, 151 (cut). Lombard Romanesque architecture, towers, 82.