Mantua, church of Sant’ Andrea, 38–42 (cut and plate); erected and ornamented on Roman models, 38; nave, 38 (plate); piers, 38, 39, 53; its interior one of the finest of the Renaissance, 39; its scheme foreshadows that of St. Peter’s, 39, 53; façade, 39–42 (cut); early use of so-called colossal order, 40 (cut), 53, 66; resemblance of central arch to that of ch. of Santa Maria Novella, Florence, 41; panelled pilasters, 41, 160; reflection of, seen in Bramante’s church of San Satiro of Milan, 138. Martin, _Hist. de France_, 180^1. _Mathematici, Parere di tre, sopra i danni che si sono trovato nella cupola di S. Pietro, etc._, 60^1. 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, _Architettura Italiana_, 150^1, 154^1, 250^2; 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_, 52^1; cited on the dome of the Pantheon, 52^1. 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, 34^1, 35.