Oxford, St. Mary’s Church, porch, mentioned, 227; Sheldonian theatre, Wren quoted on, 234. Padua, town hall, Palladio’s scheme for town hall of Vicenza derived from, 130, 131. Painting, Italian genius for, 6, 7; most Renaissance architects were painters and sculptors, 6, 7, 84, 96. Palace architecture of the Renaissance, Florentine, 102–111 (cuts and plate); Roman, 112–134 (cuts); of North Italy, 154–166 (cuts); Venetian, 154–163 (cuts). _See_ Renaissance architecture. Palladian architecture, 95; introduced into England by Jones, 227; far from true to classic design, 228, 230; rules are arbitrary and not in accord with the true principles of ancient art, 248. Palladio, _Quattro libri dell’Architettura di Andrea Palladio_, 96^4; his influence greater than that of any other architect of the Renaissance, 95, 248; quoted on his study of architecture, 96, 97; quoted on his admiration of his own work, 131^1; his compositions based on order and symmetry of a mechanical kind, 133; concerned with the superficial appearance in architecture, 133; ch. of San Francesco della Vigna, Venice, 100; ch. of San Giorgio Maggiore, Venice, 97–100 (cuts); ch. of the Redentore, Venice, 100 (cut); Palazzo Valmarana, Venice, 133; Loggia Bernarda, Vicenza, 133 (cut); Palazzo Colleone-Porta, Vicenza, 133; Palazzo Porta-Barbarano, Vicenza, 133; the portico of the town hall, Vicenza, 130–132 (cut). Pallaiuolo, Simone, Palazzo Guardagni, Florence, 107. Palustre, Leon, _L’Architecture de la Renaissance_, 89^2; quoted on the entablature of St. Andrea di Ponte Molle, Rome, 89. Paris, Church of St. Etienne du Mont, of Flamboyant Gothic form, with neo-classic west front and central portal, 213, 214; portal with columns modelled after those claimed by De l’Orme as his own invention, 214. Church of St. Eustache, a Gothic structure overlaid with Renaissance details, 213. Fountain of the Innocents, 194–196 (cut); a reproduction of the scheme of a Roman triumphal arch, 196. Hotel Cluny, a forerunner of the Renaissance châteaux, 180. Louvre, Lescot’s work on the west wing, 196–200 (cut); orders, 198, 199; the salient pavilions, have no function, 198; breaking of the entablature in, 199; sculptured festoons heavy and formal, 199. Palace of the Tuileries, work of De l’Orme, 200–207 (cuts); peculiar form of column claimed by De l’Orme as his invention, 201–206 (cut); basement arcade, 207; attic story, 207. Parthenon, metal clamps in masonry, 22^2; effect of a dome erected on, 89.