Order, classic, use of without structural meaning in Renaissance architecture, 6, 29, 43, 244; Brunelleschi’s use of, 26; unsuitable for a building of mediæval character, 29, 43; disposition of, in various Renaissance façades, 42; misapplication and distortion of by Italians of the Renaissance, 43; used with propriety by the Greeks alone, 43; the usual size of, compared with that of St. Peter’s, Rome, 67; Vignola’s treatise on the Five Orders, 84; the proportions of the, altered by Vignola, 85; Vitruvius quoted on maintaining the purity of, 86; inappropriate in a church interior, 98; application of, in palace architecture, 107, 109; Renaissance innovation in spacing the columns of, 112, 114; podium introduced beneath, 112; where the columns of, act somewhat as buttresses, 131; aberrations and makeshifts made necessary by efforts to apply the classic orders to uses for which they were not adapted, 244; transformed by the mediæval architects in a creative way, 248; De l’Orme’s claim of having invented a new order, which he called the French order, 202 (cut), 206. Of the Parthenon, Athens, 67; the Temple of the Sun at Baalbek, 67^1; chapel of the Pazzi, Florence, 29, 30 (cut); ch. of Santa Maria Novella, Florence, 35, 42 (cut); Palazzo Rucellai, Florence, 108, 109 (cut); St. Paul’s, London, interior, difficulties of combining neo-classic style of, with the high vaulting, 243, 244; Whitehall, banqueting hall, London, 228 (plate), 229 (cut), 230; ch. of Sant’Andrea of Mantua, 40 (cut), 42; ch. of San Biagio at Montepulciano, 78, 81 (cuts); Duomo of Pienza, 42; St. Peter’s, Rome, interior, 53, 66, dwarfs the effect of magnitude in the interior, 67, size compared with that of the Parthenon and Pantheon, 67, diminishes the effect of altitude of the vaulting, 68; Palazzo Cancelleria, Rome, podium introduced beneath, 112, innovation in spacing the columns of, 113; court of Palazzo Farnese, Rome, treatment of the capital, 118; ch. of San Francesco della Vigna, Venice, 100; ch. of San Giorgio Maggiore, Venice, raised on pedestals, 98, 101, placed under the archivolts, 98; library of St. Mark, Venice, 122, 123 (cuts); Palazzo Contarini, Venice, 161; Palazzo Vendramini, Venice, full orders in all three stories of façade, 161, 162, arrangement in lateral bay of façade, 162; town hall portico of Vicenza, the columns of, act somewhat as buttresses, 130, 131. _See_ Columns. Ornamentation, architectural, use of artificial elements in, 172–174 (cuts); use of forms drawn from organic nature, 174. _See_ Carving, architectural.